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HIGHWAY - DAY 1 + + A dull highway. A crappy sedan roars by. + + +2 INT. CRAPPY CAR - DAY 2 + + At the wheel, driving this piece of shit, is MIKE ENSLIN, + 35, a grizzled, weary soul. He stares glassily at the road, + a cigarette behind his ear, a styrofoam cup of Exxon coffee + at his mouth. + + A sign drifts by: "Woodfin, Rte 251 N - Asheville, + Interstate 240 E, Hwy 40, Next Right, Thru Traffic Merge” + + Heh? Mike frowns. + + +3 EXT. COUNTRY ROAD - DUSK 3 + + RAIN pours down on an unpaved country intersection. + + Mike stands outside his car, soaked, checking a wet map. + He’s confused and annoyed. There are no road markings at + all. He checks his watch. + + +4 EXT. COUNTRY INN - NIGHT 4 + + A quaint rural inn, dark of night. The ambiance is + picturesque, but off-putting. Porch lanterns glow. Shadows + are deep. An ancient elm tree frames the banging weathered- + sign: "The Camden Inn" + + Then, finally — headlights. Mike’s car pulls up in the mud. + + +5 INT. INN - NIGHT 5 + + Mike trudges into the homey, worn lobby. + + MIKE + Hi. Mike Enslin, checking in — + + The gregarious INNKEEPERS jump up, excited. They're country + folk, beaming. + + MR. INNKEEPER + 2. + + + Oh, Mr. Enslin! We were so worried + you weren’t gonna show! + + MRS. INNKEEPER + It's such an honor to have you + here. + + MIKE + (disinterested) + Yeah. Great. Uh, if I could just + get my key — + +They ignore his exhaustion. + + MR. INNKEEPER + You probably want to hear all about + our haunted history! Well, that + rear staircase is where the maid + reputedly hung herself in 1870. + + MRS. INNKEEPER + There’s a picture — + + MIKE + Can we do this in the morning? + + MRS. INNKEEPER + (rummaging through + drawers) + Wait! It's printed in our brochure! + +INSERT - BROCHURE + +She thrusts out a brochure that says "HAUNTED!" There’s a +PHOTO of the lobby, and a faint white shape in a window. + + MRS. INNKEEPER + Do you SEE her? + + MIKE + Uh — + + MRS. INNKEEPER + A guest took that photo in 1986. + You can sort of see Sylvia's + "ethereal apparition" reflected in + the window. + +Mike stares, unimpressed. + + MR. INNKEEPER + At least, Sylvia is what we call + her. + 3. + + + MIKE + Terrifying. + (pause) + I’m ready to hit the sack. in your + letter, you mentioned the scariest + rooms were in the old attic? + + MRS. INNKEEPER + That's right. The third floor is + the former servant's quarters. + People say all Sylvia's children + died up there of tuberculosis. + (spooky) + Right up there. Right above where + you and I are standing, right + now... + + MR. INNKEEPER + Guests have reported strange + sounds. At the stroke of midnight, + there’s been weird noises. Creaks. + Moans. + (mysterious) + Our best advice... is to lock your + door from the inside. + + CUT TO: + + +6 INT. INN - MIKE'S ROOM - LATE NIGHT 6 + + Mike lies on the antique bed, on a quilt, drinking mini-bar + BOOZE. He has an army of tiny Scotches, Gins, Vodkas. He's + bored out of his mind. + + DISSOLVE TO: + + LATER + + The boozes are empty. Somewhere, a grandfather clock CHIMES + midnight. DONG, DONG, DONG! Mike groggily glances at a + bedside clock, Waiting. Listening. Alert to anything... + + Suddenly a loud CRASH! Mike jerks, startled. + + He jumps up, concerned... then realizes it's only THUNDER. + Oh. + + DISSOLVE TO: + + LATER + + Mike is snoring, drooling, passed out. + 4. + + + CUT TO: + + +7 INT. CRAPPY CAR - DRIVING - DAY 7 + + Mike is back in the car, driving another endless + interstate. + + He speaks flatly into a pocket MINI-RECORDER. + + MIKE + People spoke of the spectral + presence of Sylvia... though I + personally never encountered her. + (beat) + But in any case, the Eggs Benedict + were delicious, and Mrs. Clark says + if you have a party of four, she'll + make her famous flourless chocolate + cake. + (beat) + On a Shiver Scale of 1 to 10, I + award the Camden Inn seven skulls. + + Mike clicks the recorder OFF. He puts it down — then has a + thought and turns it back ON, + + MIKE + Fuck ’em. Six skulls. + + CUT TO: + + +8 EXT. BARNES & NOBLE - NIGHT 8 + + A mall bookstore. The marquee shouts "GHOST SURVIVAL GUIDE + Author M. Enslin Tonight! 7 P.M." + + +9 INT. BARNES & NOBLE - NIGHT 9 + + Mike enters, disheveled. The store is sad and generic —- an + air of listlessness hanging over the shelves. Mike tiredly + approaches the busy CASHIER. + + MIKE + Excuse me. I’m Mike Enslin. + + CASHIER + Sorry? + + MIKE + 5. + + + I’m, uh... the "star” of your + booksigning tonight. + + CASHIER + (a dawning awareness) + Oh, right. Right! Okay then! + + The Cashier finishes his order, then flicks on a small P.A. + + SYSTEM. He grabs a MICROPHONE and reads off a xeroxed + FLYER: + + ASSISTANT MANAGER + Attention, book lovers! In the + Author’s Corner tonight, we have + noted occult writer Mike Enslin! + He’s the author of the bestselling + Ghost Survival Guides, with such + titles as "Ten Haunted Hotels," + "Ten Haunted Graveyards,” and "Ten + Haunted Lighthouses"! + + Around the store, people look up. Mike leans into the guy. + + MIKE + You got a bathroom I can clean up + in, first? + + CUT TO: + + +10 INT. BARNES & NOBLE - LATER 10 + + The event. It’s depressing — the sad reality of + booksignings. The back of the store has 30 or 40 folding + chairs, but there’s only FIVE SPECTATORS. Mike sits + alongside a pile of his paperbacks? discoursing. + + MIKE + Sure f these pieces have colorful + histories. That’s the hook: The + wedding night murder. The caretaker + who leaped to his death. The + runaway horse that trampled the old + lady. The war widow who went crazy + and threw the baby down the well... + + The people go wide-eyed. Mike lets this hang... then + deflates it. + + MIKE + 6. + + + But there’s never any + documentation! If you do one iota + of research, the tragic event never + happened1 It's just a marketing + hook invented by desperate hotels + when the interstate gets built too + far away. + +The crowd doesn’t get it. One EMPHATIC MAN raises his hand. + + EMPHATIC MAN + Have you ever seen a poltergeist? + + MIKE + (he reacts) + See? That's exactly what I’m + talking about. You didn’t hear one + word I just said. I can type myself + sick debunking these places, + shooting arrows in the legends f + and it only makes people want to + stay there more. + + LADY + (she raises her hand) + Well, my family's planning a trip + this summer. Would you say there's + a higher concentration of ghosts in + New England or in the South? + +Mike wipes his face. + + MIKE + I would say nowhere but no one’s + listening. You'll probably want to + pick-up my "Ten Haunted Antebellum + Mansions." + + CUT TO: + +LATER + +Mike is signing paperbackst rote, the same autograph over +and over: "Stay Scared! Mike Enslin” "Stay Scared! Mike +Enslin" + + MIKE + Of course, I try to be scientific. + I travel with an EMF meter, an + infrared camera... a full-range + spectrometer. But I’ve never had to + use them, because there's nothing + to record! + 7. + + + Then — a HARDBACK enters frame. He looks up, surprised. + + A NERVOUS WOMAN holds the book. It’s a dusty, faded copy of + Mike's early novel, "The Road Back Nowhere.” The artwork is + heartfelt: A watercolor of a boy holding a surfboard. + + MIKE + Jesus. What rock did you find that + under? + + NERVOUS WOMAN + Ebay. + + MIKE + Wow. Haven’t seen one of these in + years. + (awkward) + How much did it... go for? + + The woman bites her lip, preferring not to say. + + NERVOUS WOMAN + Well, there weren't many bidders. + (she smiles) + But it's a lovely book. Are you + going to write another one like + this? + + He glances at the back cover: A decade-old PHOTO of himself + ■— young and optimistic. + + Mike’s face falls. + + MIKE + Nope. That was a different guy. + + CUT TO: + + +11 EXT. FLORIDA BEACH - DAWN 11 + + The sun is peeking over the horizon. The pink sky is + lovely, breaking over a rocky inlet. + + Mike drives into a beach parking lot. He glances over — + spotting a cluster of parked cars. Across the sand, a GROUP + of dedicated SURFERS in wetsuits ride the early morning + waves. + + Mike stares — then keeps driving. A surfboard sticks out of + his car. He goes to the far end of the parking lot, off by + himself, then pulls over. + 8. + + +12 EXT. OCEAN - LATER 12 + + Mike rides a wave. It's exquisite. For him, this experience + isn't about adrenaline, but tranquility. The weariness that + usually hangs over him is gone. He’s alone and perfectly + serene. Happy. + + Mike enjoys the spray in his face. Until — he hears a + strange BUZZING. He looks around, then UP. + + ABOVE + + A small AIRPLANE flies over, towing a BANNER. + + Mike squints, trying to read it. + + The sky is too bright. The banner is silhouetted... + + Mike focuses harder... distracted... when — + + BAM! + + A monstrous WAVE suddenly POUNDS him! + + Crash! Mike gets slammed underwater. + + UNDERNEATH + + Mike gets pulled down. + + He screams out, but only bubbles emerge. + + The water BATTERS him. Everything swirls. He spins, losing + track of which way is up. + + Mike struggles, desperate.,, trying to reach for sky... + getting sucked deeper toward the darkness... + + When -- + + ANGLE -HIS SURFBOARD + + suddenly appears from above. Like a godsend. + + Startled, Mike grabs for it — when — it unexpectedly + pitches and HAMMERS him in the head. + + CUT TO: + + +13 EXT. BEACH - LATER 13 + 9. + + + ECU - MIKE’S FACE + + Mike lies mutely on his back, on the sand. + Hyperventilating. + + Winded. Eyes glassy. + + But alive. + + CUT TO: + + +14 EXT. MAILBOXES, ETC. - DAY 14 + + An overlit, bleached-white fluorescent hellhole. An + anonymous storefront of mailboxes, packing supplies, and + key-cutting. + + Mike enters and goes over to his mailbox. He unlocks it, + removing a STARTLING AMOUNT of MAIL. + + The friendly MAILBOX GUY nods. + + MAILBOX,GUY + You've been gone awhile. + + MIKE + (disinterested) + Yeah. + + +15 INT. PALM COFFEE SHOP - DAY 15 + + Mike sits in a corner booth, alone. His breakfast sits + abandoned, runny egg yolks congealed. He sips his eighth + cup of coffee. + + The table is spread with months of opened mail. Dozens of + BROCHURES for HOTELS, INNS, B & Brs. Mike flips through + them. Some have macabre marketing - "Spirits! Strange?” A + few have even Photoshopped transparent phantoms into their + antique­laden lobbies. Mike glances at a Post-it: "Dear Mr. + Enslin, please consider our Motel for your next Ghost + Guide." + + He stares — then tosses it. He rummages through more mail: + A bill from a nursing home. Skeptical Enquirer magazine. + The Weekly World News. He slashes an envelope with his + fancy LETTER OPENER. Inside is a childish greeting card -- + a cartoon tiger says "You’re Terrrrrrr-rfic! Happy + Birthday!” + 10. + + +Mike frowns, then throws it in the trash pile. He reaches +for a POSTCARD. + +INSERT - POSTCARD + +The back has but three scribbled words: "DON’T ENTER 1408" + +ON MIKE + +Hm. He gazes, then flips over the card. It’s a generic +giveaway HOTEL POSTCARD'. A montage of photos: Elegant +1920s exterior. Classy rooms. An overstuffed, lounge filled +with smiling, attractive rich people. A scrolling font +says: "When in New York City, visit the Dolphin Hotel!" + +Mike fixates on the word "New York." His face darkens, and +he tosses the card in the junk pile. + +He starts to move on — when something catches his eye. He +peers back at the card... + +TIGHT - POSTCARD + +Again, "DON'T ENTER 1408." We PUSH IN on the numbers, until +they fill the screen. 1408... 1408... + +Mike thinks. He clicks a pen, then scribbles the digits as +a math column: 2 + 4 + 0 + 8 ......... 13. + +A smile flickers across his face. + + MIKE + Cute. + +Mike is amused. He considers the card, then suddenly OPENS +HIS LAPTOP COMPUTER. + +ANGLE - COMPUTER + +Mike spins the mouse, clicking "Internet." He waits +patiently, while the green WI-FI icon scrolls. Searching... +searching... until — "NO SIGNAL AVAILABLE" + +Mike groans. + + MIKE + Goddamn corner booth. + +WIDE + 11. + + + Irked, Mike grabs the computer. He JUMPS from his booth and + starts meandering around the coffee shop, eyeballing the + computer screen like a hungry hawk. + + A few steps — Ah! A glimmer of green, then red. + + He marches toward the door — eyes glued to the screen. The + DINERS shoot him looks, but he is indifferent to other + people. + + He lifts the laptop over his head, trying different + positions. + + +16 EXT. COFFEE SHOP - SAME TIME 16 + + Mike exits the building. Suddenly, he finds -a signal. + + Ah-HA! The Internet opens, The WEB PAGE speaks: + + INTERNET LADY VOICE + Good morning, Mike, + + MIKE + (he smiles) + Good morning, Fake Voice Lady! + + He quickly sits on a cinderblock wall and starts EXPERTLY + TYPING. + + INSERT - COMPUTER + + Mike goes to "GOOGLE." He types in "DOLPHIN HOTEL NEW YORK" + + Beat. A page of text appears. Mike clicks on a link to the + Dolphin. A millisecond pause — then the DOLPHIN HOTEL’S + stylish HOMEPAGE APPEARS. It is exactly what one would + expect: Chandeliers. Clinking champagne flutes. Links to + "SPA" "DINING" "BANQUET FACILITIES" "RESERVATIONS"... + + Mike knows this is a dead end. He clicks back to "GOOGLE," + then tries "DOLPHIN HOTEL GHOSTS" + + The computer responds, "NO RESULTS" + + Mike backspaces and tries again: "DOLPHIN HOTEL + SUPERNATURAL" + + The computer responds, "NO RESULTS" + + Mike backspaces and tries yet again: "DOLPHIN HOTEL + HAUNTING" + 12. + + + The computer responds, "NO RESULTS" + + Mike stares. Unbowed, his face darkens. He tries a + different approach: "DOLPHIN HOTEL DEATH" + + THE COMPUTER + + pauses — then the SCREEN FILLS WITH ENTRIES. + + MIKE + + suddenly gasps, horrified. + + MIKE + Jesus Christ... + + CUT TO: + + +17 INI. RESEARCH LIBRARY - DAY 17 + + Mike sits in a musty library basement scrolling through + MICROFICHE rolls. On the amber screen is an ancient New + York Herald-Tribune: The headline screams "FACTORY OWNER + LEAPS FROM HOTEL.” There is a portrait of a stuffy-looking + rich man, then underneath a gory WEEGEE-LIKE PHOTO of a + bloody mess on a New York, sidewalk, the cops dourly + cleaning up. + + For the first time, Mike seems affected. Truly bothered. + + Shaken, he scribbles notes on a LEGAL PAD. Under the word + "DOLPHIN," we see the pad is filled with items... + + A spooky pause... when suddenly — RING!! It’s his + CELLPHONE. + + Mike jumps, startled. Embarrassed by the noise, he quickly + answers it. + + MIKE + Hello? + + But, nothing. Mike frowns. + + MIKE + Hello! This is Mike Enslin. Is + anybody there? + + No response. Just — a faint crackling STATIC. + + Mike struggles to hear — when CLICK. The line goes dead. + 13. + + + Weird. Mike looks back at his list of deaths... + + CUT TO: + + +18 INT. MIKE'S OFFICE - NIGHT 18 + + CU on a jumble of old NEWSPAPER ARTICLES. A blizzard of + words and headlines: "SUICIDE”... "DROWNING"... + "ELECTROCUTION"... "HEART ATTACK." We slowly PULL OUT, + revealing dozens of Dolphin articles, tacked on a + corkboard. A blur of photos, nasty death images and old- + fashioned formal portraits. The victims look like solid + early 20th-century citizens: A walrus-moustached man in a + bowler. A prim woman in round spectacles. + + We CONTINUE PULLING OUT, finding Mike on a ratty couch. + + Surrounded by these horrors. He holds the Dolphin POSTCARD, + staring. Agitated. Suddenly he downs a shot of bourbon, + then dials the phone number. He waits. RING. RING — + + OPERATOR (V.O.) + Good evening, Dolphin Hotel. How + may I direct your call? + + MIKE + Hi, I’m calling about Room 1408. + + A strange pause. + + OPERATOR (V.O.) + I don’t believe we have such a + room. + + MIKE + (long beat) + Don't you...? + + Another pause. + + OPERATOR (V.O.) + Er, one moment, please. + + Mike gets out on HOLD. Sprightly MUSIC kicks in, and a + RECORDED ANNOUNCEMENT. + + SMOOTH RECORDING + "When staying at the Dolphin, be + certain to enjoy New York’s finest + dining, at the fabled Blue Marlin + Restaurant on our Mezzanine lev—" + 14. + + + HOTEL VOICE + (cutting in) + May I help you? + + MIKE + Yes, I'd like to stay in Room 1408. + + HOTEL VOICE + That room is unavailable. + + Mike raises an eyebrow. + + MIKE + I didn't tell you which date. + + No response. + + MIKE + How 'bout Saturday? + + HOTEL VOICE + It’s unavailable. + + MIKE + Tuesday? + + HOTEL VOICE + Unavailable. + + MIKE + (ticked off) + Next month? + + HOTEL VOICE + Unavailable. + + MIKE + Next summer! + + HOTEL VOICE + (beat) + (Thank you for calling.) + + CLICK. The man HANGS UP. + + Mike is stupefied. + + CUT TO: + + +19 INT. MANHATTAN LITERARY AGENCY - DAY 19 + 15. + + + A busy New York agency with million-dollar views. SAM + FARRELL, a gregarious old-school gentleman agent, yells + out. + + SAM + Hey! Where's good Chinese, near + 48th? I gotta have lunch with that + idiot from Random House. + + SECRETARY + (on the phone, gesturing) + It's Mike Enslin, calling from + Florida again. + + Sam winces. He looks around, then hails a bookish LAWYER. + + SAM + Clay! You got a sec' for Mike + Enslin? + + LAWYER + Uh — sure — + + SAM + Great. + + Sam PULLS him into his leather-bound office. + + +20 INT. SAM'S OFFICE 20 + + Sam slams the door and lowers his voice. + + SAM + Now look, this guy tends to get a + little morose, so try to keep the + energy up. Otherwise, he stews in + his own funk. + + Sam PUNCHES his speakerphone, + + SAM + Mike!!! + + MIKE (V.O.) + Sam — + + SAM + Read the first five chapters last + night. Spooky shit. Couldn’t sleep + a wink. It's gonna make a bundle — + + MIKE (V.O.) + 16. + + + So did you -— + + SAM + You better believe I did! And I got + our top lawyer here right now! + (he winks) + Mike, Clay. Clay, Mike. Mike, talk + fast. This guy's $400 an hour. + + MIKE (V.O.) + So, about the Dolphin — + + SAM + Yes, the Dolphin! That stick-up- + its-ass relic on 61st. Too posh for + a free plug! Well, you're gonna + LOVE what Clay cooked up: He dug + around and found you a Federal + Civil Rights law! Ain’t that a + hoot? + (he chuckles) + Like somebody would discriminate + against you: A well-to-do white + man! + (amused) + But the law’s the law: If the + room's not occupied, they have to + give it to you. + + MIKE (V.O.) + Good. + + CLAY + So we'll book it, and if they + refuse, we'll rattle our saber and + file suit. + +A pause. Sam turns quiet, leaning into the speakerphone. + + SAM + But Mike... on a more personal + note: Are you really sure you want + to come here? + + MIKE (V.CA) + (tentative) + S-sure. It'll make a solid closing + chapter for the — + + SAM + Yeah yeah. I know the routine. + (sincere) + 17. + + + But seriously... buddy. It's New + York. All that happened... + (pause) + Do you really want to put yourself + through that...? + + INTERCUT: + + CLOSEUP - MIKE + + His face clouds. He considers his past, then whispers. + + MIKE + I'll be quick. And it's a different + part of town... + + SAM + Are you gonna call Lily? + + MIKE + N-no. It's a job. + (his voice cracks) + I’ll be in, and out. + + We hold on Mike, brimming with uncertainty... + + Then — a loud SHRIEEEEEKI + + CUT TO: + + +21 EXT. SKY - DAY 21 + + An A.IRPLANE descends into New York. + + +22 INT. AIRPLANE - DAY 22 + + Mike looks out the window. The grid of New York is below, + neatly geometric. Until — the plane suddenly banks, + swooping in. The whole view spins. + + Mike recoils, nauseated. + + +23 EXT. NEW YORK - DAY 23 + + Blackness. Then — a TAXI emerges into the light, We’ve been + looking into the Holland Tunnel. + + +24 INT. CAB - DRIVING 24 + 18. + + + A carved crucifix swings from the mirror. + + Mike rides in back. Face wan. New York's a jumble. He peers + about — everything seems discordant. Canal Street is a + collection of unsettling images: + + Smoke curls from a grate. It clears, revealing a MAN lying + motionless on the sidewalk. + + Sparks arc inside an open factory door. + + A snarling DOG barks behind bars. + + Seafood decomposes in a fish market. + + The CABBIE HONKS furiously at the congestion. + + CABBIE + This traffic's a fuckin’ nightmare. + I'm gonna cut up Eighth. + + MIKE + (woozy) + N-no. Please. Don’t go that way... + Canal's fine... + + CABBIE + Just lemme drive. + + The Cabbie hooks left. + + Mike blanches in back. The cab drives uptown, and the sense + of DREAD grows. Crumbling buildings block out the sun. Mike + grimaces, anxious. Knowing something is approaching... + + OUT THE WINDOW + + An old brick school comes into view. On the PLAYGROUND, + CHILDREN RUN AROUND. + + Mike shudders. Distraught, he averts his eyes. + + CUT TO: + + +25 EXT. DOLPHIN HOTEL - NIGHT 25 + + A sumptuous refugee from the Jazz Age, A STATUE OF A + SMILING DOLPHIN dominates the portal. It leers a happy + greeting. + + Mike's cab arrives. He gets out, carrying a duffel. + 19. + + +26 INT. DOLPHIN LOBBY - NIGHT 26 + + Swanky and archaic, but beautifully maintained. The last + time it was hip, Dorothy Parker got drunk in the coatroom. + + The DOORMAN opens the door for Mike. Mike's sweating, his + usual insouciance rattled. He glances around the small + lobby: On the mezzanine, a PIANIST plays Gershwin. Chic + GUESTS in evening wear cavort. A RICH"OLD COUPLE walks a + poodle. A BEAUTIFUL WOMAN in a gown casually breastfeeds a + baby. + + Mike goes up to Reception. The DESK CLERK smiles formally. + + DESK CLERK + Welcome to the Dolphin, sir. Are + you checking in? + + MIKE + Yes. Mike Enslin, staying for one + night. + + Hmphh? The Desk Clerk suddenly tightens up, awkward. + + DESK CLERK + Uh... could you excuse me one + moment? + + She hurries off. Mike raises an eyebrow. + + We follow the Clerk as she scurries down the counter. She + reaches a rigid ASSISTANT MANAGER and whispers. He listens, + giving Mike a discreet glance. The Assistant Manager + whispers something back, then rushes out a rear door. + + Beat + + Mike waits. Biding his time... + + Pause — then the rear door opens, and out glides the + Manager, MR. OLIN. Olin, 60, is a precise man of European + air, his" tailored suit, carefully-parted hair and + manicured nails only made bearable by his clipped dry wit. + + TIGHT - OLIN + + He nods professionally and extends his hand. + + OLIN + 20. + + + Mr. Enslin, I’m Gerald Olin, the + manager of the Dolphin. If there’s + any way I can be of assistance + while you’re here — dinner + reservations, theater, anything at + all — please know that I’m + delighted to be at your service. + + MIKE + Uh, that's great. + (chirpy) + If I can just get my key to 1408, + I'll stay out of your hair. + + Beat. Olin’s eyes narrow. + + OLIN + You wouldn't prefer an upgrade? An + executive suite with complimentary + breakfast? + + MIKE + (hostile) + 1408, please. + + OLIN + So insistent. + (his voice lowers) + Mr. Enslin, could you humor me with + a more... private conversation? + + +27 INT. OLIN'S OFFICE - NIGHT 27 + + An impeccable Edwardian study. Oak paneling. Fine books. An + antique desk with a lozenge-shaped green lamp. + + Olin opens a humidor. + + OLIN + Cigar? + + MIKE + No, thank you. I don’t smoke. + + Olin's eyes shift to the cigarette behind Mike's ear. Mike + sees this. + + MIKE + I quit years ago. + (he starts to explain) + 21. + + + The cigarette behind the ear is... + I dunno. Habit. Part affectation, + part superstition. A writer thing. + + OLIN + Well, then, do you drink? + + MIKE + Of course! I just said I'm a + writer. + +Olin smiles thinly. He opens a liquor cabinet and removes a +fine BOTTLE OF COGNAC. + + OLIN + Remy 1939. Exquisite, Runs about + $800 a bottle, when you can find it + — + + MIKE + (he raises his hand) + I appreciate the bribe, but I + intend to stay in that room. + + OLIN + (put off) + How long? + + MIKE + How long? Er, my usual is + overnight. + + OLIN + Oh. I see. + (he purses his lips) + Nobody has ever lasted more than an + hour. + +Mike takes this in, then cracks up, PARODYING Olin with a +silly Transylvania accent. + + MIKE + Oooo! Bleh! "Nobody has ever lasted + more than an hour. When the clouds + pass over the moon, the spirits + rise from the family graveyard to + haunt the ballroom. " + +Olin stares, unamused. + + OLIN + 22. + + + I don’t know why you’re mocking me. + I am genuinely, to the best of my + ability, trying to help you. + + MIKE + No, you're just playing a little + game, which frankly I find + tiresome, You're "selling the + mystique." But eventually, we both + know you’ll give me the key, I’ll + write my story, and your bookings + will go up 50%. + +Olin is repelled. Mike smirks and pulls out his mini- +recorder. + + MIKE + Do you mind if I record our + conversation ? + (he waits; beat) + Good. I'll take that as a yes. + +Mike hits "RECORD.” The LED glows red, like an eye, and the +little wheels start spinning... + +Olin glares, his politeness fading. + + OLIN + Sir, you completely misunderstand + the situation. The Dolphin may not + have the cachet of the Plaza or the + Carlyle... but we run 90% + occupancy. + (emphatic) + This isn't about my concern for the + hotel, OR about my concern for you. + Frankly -- selfishly --- I don’t + want you to enter 1408, because I + don’t want to have to clean up the + mess. + +Olin lets this chilling thought hang. + +Mike’s eyes widen. + + OLIN + Hotels are all about presentation + and creature comforts.., though + behind the scenes, we witness quite + the bit of nastiness. + (heavy) + 23. + + + But my training is as a manager, + not a coroner! Under my watch there + have been four deaths. Four! After + the last one, I said enough. I + forbade any guests from ever + entering again. + + MIKE + And that last suicide was... + Randolph Hyde? 1996? An + orthodontist who slit his wrists + and cut off his genitals? + + OLIN + Yes. You've done your homework. + Grievously, since the hotel opened + 95 years ago, there have been seven + jumpers, four overdoses, five + hangings, three m -- + + MIKE + Three mutilations. Two stranglings + (into the MINIRECORDER) + "Manager Gerald Olin is well-versed + in the hotel's tragic history, + dryly reciting the docket of + carnage like a bookkeeper + discussing his ledger.” + + OLIN + (he frowns) + You think you're clever?! Well in + your investigation, did you + discover the twenty-two natural + deaths? + +Mike leans forward, interest piqued. + + MIKE + "Natural"? Uh, no. What — + + OLIN + You didn’t find them, because + they're not reported in newspapers. + But all told, 56 people have, died + up there. + +Mike is momentarily speechless. + +Olin pulls out a small key and opens his desk bottom +drawer. + 24. + + +He removes a BULGING FILE and brings it around to Mike. +Olin stares a moment —- then sits next to him. + + OLIN + You know nothing. 1408's guests + have died of heart attacks, + strokes, drownings — + + MIKE + "Drownings"? + + OLIN + Yes. Mr. Grady Miller died drowning + in a bowl of chicken soup. + + MIKE + (taken aback) + H-how? + + OLIN + How indeed? Isn't that interesting? + Well, it's all in the file: + (he PATS the folder) + And you're welcome to read all of + it. Every word! I'll even give you + my office! You can peruse the + materials to your heart's content. + You can take notes. Put it all in + your book! + (pause; he turns somber) + In return, my only condition... is + that you don't stay in the room. + +Mike eyeballs the file. + +Considering. Then — + + MIKE + I never got that drink. + +Olin smiles a flicker, then gets up for the Cognac. He +takes out a crystal snifter, wipes it clean, carefully +pours... + +Mike notices a silver DESK FRAME. He furtively cranes +around... to check out who's in it. And — it’s a calendar. + +Olin hands Mika the drink. Mike gratefully snorts it, +enjoying the flavor, the spreading warmth. Then, he looks +up. + + MIKE + No. + 25. + + + OLIN + Dammit to HELL! + +Olin BLOWS UP and angrily THROWS the file at Mike. + + OLIN + Fine! READ the blasted file! Read + it anyway! + (livid) + Once you see it, you won't WANT to + go in the room! + +Mike is stunned at this outburst. Hesitant, he opens the +TOP FOLDER. Inside is a pile of wrinkled yellow newsprint. +Olin testily narrates from memory. + + OLIN + The first victim! Kevin O'Malley. A + sewing machine salesman who checked + into the hotel opening week, + October 1912! + + MIKE + (he winces at the photo) + He... cut his own throat? + + OLIN + Yes. But that's not the horrific + part. Afterward, in a fit of + insanity, he tried to stitch + himself back up with a sewing + needle before he bled to death. + +Mike makes a face. + + MIKE + Jesus... + + OLIN + Mr. Enslin! No one needs to know + you didn't go in. I’ll give you a + fake receipt1 You can take + photographs in 1404: The layouts + are identical, nobody will know the + difference. + + MIKE + Hey, my readers expect the truth — + + OLIN + No, your readers don’t expect much + of anything — except grotesquerie + and cheap thrills: + 26. + + + (snide, from memory) + "The headless ghost of Eugene + Rilsby, forever walking his + deserted farmhouse. The Barking + Phantom of Mount Hope Cemetery " + + MIKE + (surprised) + How do you know that?! + + OLIN + I've done my own research! Your + books are easy to find — in the + cheap paperback section. + (beat) + And they are completely cynical. + The work of a talented, intelligent + man who doesn't believe in anything + but himself. + +Mike reacts, pissed. + + MIKE + Where the fuck do you get off + (hurt) + This meeting's over — + + OLIN + Oh please. Quit acting like a sore + schoolgirl. + (calming) + I said you were talented. There was + that first book... I -— I rather + enjoyed that. It was popular. + Hardback. Er... what was it called? + "The Road To Nowhere" --? + + MIKE + (uneasy) + "The Road Back Nowhere." + + OLIN + That was sort of... a gilded + memoir? Travels of a young man -— + + MIKE + (defensive) + Only parts of it were true -— + + OLIN + The father seemed like a real + s.o.b. — + 27. + + + Mike seethes. He hits "STOP” on the recorder. He jumps up. + + MIKE + Give me my key. + + OLIN + Mr. Enslin -- + + MIKE + Give me my key! Do you know why I + can walk into any spooky old room? + Because I know that ghoulies and + ghosties don’t exist. + (dark) + And that’s good, because I also + know there's no God to protect us + from them, if they did. + + CUT TO: + + +28 INT. DOLPHIN LOBBY - NIGHT 28 + + Behind Reception, a wall of old-fashioned mail slots. Olin + carries over a little stool. He steps up to 1408's mailbox, + reaching his hand far... far back into the shadowy recess, + + He fiddles around, then pulls out a TARNISHED KEY on a long + brass paddle. Embossed are the numbers 1408. + + Mike reacts, surprised. + + MIKE + You still use actual keys? That's a + nice touch. Antiquey. + (beat) + Most hotels use magnetic cards. + + OLIN + So do we. 1408 is the exception. + (beat) + Electronic devices don't work + properly in there. Computers... + cellphones... wristwatches ... + (pause) + You don't happen to have a + pacemaker, do you, Mr. Enslin? + + Mike shoots him a look. He speaks into his mini-recorder. + + MIKE + "Manager claims phantom in room + interferes with + 28. + + + OLIN + I didn't say "phantom," + + MIKE + Uh, "spirit." "Specter." + + OLIN + You misunderstand. What’s in 1408 + isn't that kind of presence. + + MIKE + Then what is it? + + WIDE + + Olin pads away. He crosses the rococo lobby, guiding Mike + to the ELEVATOR. He presses "UP,” then turns and whispers. + + OLIN + It's an evil fucking room. + + Mike's eyebrows raise. + + DING! The elevator arrives. The shimmery doors open. + + Olin gestures: After you. Mike enters. Olin starts to + follow — when a MAITRE'D in a tux comes running over. He + interrupts Olin and quickly MUTTERS something in French. + Olin nods and MUTTERS back. He scribbles his signature on a + form. The Maitre'd bows and runs off. + + +29 INT. ELEVATOR - SAME TIME 29 + + Olin enters. It's an old-fashioned cage. Olin hits "14," + and the doors rattle closed. They stand in silence. + + OLIN + Do you enjoy traveling alone? + + Mike ignores this. He stares at the panel: Rows of BUTTONS, + with the customary lie: 1 2 3 4 5 6 7 8 9 10 11 12... 14 15 + 16 + + MIKE + Why do hotels think they can just + make the number 13 disappear? + + Olin chuckles. They lurch upward, lights ticking: + 5...6...7... + + MIKE + 29. + + + How filthy's the room? The sheets + haven't been changed in a decade. + + OLIN + No, no, no. This is a professional + establishment. Our maids give 1408 + a light turn once a month. + (beat) + But I supervise, and they work in + pairs. We treat the room as a + chamber filled with poison gas. We + stay only ten minutes, and I insist + the door be kept open. + + Olin's face tightens, regretful. + + OLIN + Even then... last year, a young + maid from El Salvador found herself + locked in the bathroom. Just for a + moment. When we pulled her out, she + was — + + MIKE + Dead? + + Olin stares. + + OLIN + No. Blind. She had taken a pair of + scissors and carved out her eyes. + + DING’ The elevator hits 14. The doors open. + + +30 INT. 14TH FLOOR - SAME TIME 30 + + Mike peers out. It's a perfectly uneventful corridor — red- + and-gold carpet, drab end tables, old-tyme light fixtures. + + OLIN + Your floor. + + Mike waits for Olin to take a step — but the man is + immobile. + + OLIN + I'm afraid this is as far as I go. + The room is at the end of the hall + to the right. + + Mike nods, a tad apprehensive. He exits — on legs that seem + heavier. Mike takes a few steps, then turns. + 30. + + +AT THE END + +Olin stands framed in the elevator, an ordinary man in a +plain suit. Hands clasped, face withdrawn, he sighs. + + OLIN + Good luck. + +Olin pulls out the bottle of Cognac and tosses it. +Startled, Mike catches it. He starts to respond — but the +doors SHUT. + +Olin is gone. + +is now alone. He hoists his duffel, then walks slowly down +the hushed hallway. Past 1401... 1402... + +Mike examines Olin's file. + +INSERT - FILE + +A grisly PHOTOGRAPH marked "KEVIN O'MALLEY." He lies dead +in the bathtub. His eyes are wide, his throat gashed open, +a sewing needle protruding from raw flesh. + +MIKE + +grimaces. He walks past 1404... past a moldering room +service tray. On the plate are remains of a beef burger +soaked in red ketchup. A fly buzzes... + +INSERT - FILE + +Back to the photos. Mike flips to a nasty half-covered BODY +in bed. The sheets are soaked. + +IN THE HALL + +Mike is getting rattled. He makes a turn. 1406 goes by... +1407... wood-paneled doors and elegant wallpaper... + +Mike finds a scratched NOTE on hotel stationery. + +INSERT - FILE + +Frantic writing: "My brother was eaten by wolves on the +Connecticut Turnpike” + +IN THE HALL + +Mike stops, considering this oddity. + 31. + + +He looks up — and realizes he's in front of 1401. + +Huh? + +Mike looks around, confused. Somehow, he's back at the +elevator. + + MIKE + What the fuck? + +Mike slowly shakes his head. Then, he packs up the file and +marches away. Pay attention! + +WIDE + +Mike watches the numbers go by. Get to that room! 2, 3, 4, +5, 6, 7. He swings around a corner. And there, unassuming +and anonymous, is 1408. + +Finally. + +Mike pulls out his brass KEY. He starts to insert it — +when, he's startled by WHIMPERING. + +AT THE NEXT ROOM + +is a YOUNG MOTHER turned away from us. She holds a sobbing +BABY* She fumbles with her mag card, then disappears +inside. + +BACK ON MIKE AT THE DOOR + +Okay. He takes a breath, then inserts the key in the lock. + +MICRO-CLOSEUP - INSIDE THE LOCK + +The vintage mechanism looks like a GIGANTIC DARK CHAMBER, +filled with crazy angles of cold steel. + +The key enters like a medieval battering ram. It slowly +turns. The tumblers RUMBLE with echoing CLINKS and CRICKS. + +The sound rises ominously LOUD... + +BACK TO MIKE - NORMAL PERSPECTIVE + +And, the sound becomes a teeny CLICK. + +The door unlocks. + +Inside the next room, the Young Mother's VOICE leaks out: + 32. + + + YOUNG MOTHER (O.S.) + (singing softly) + "Mama loves her baby, baby, + baby..." + + The knot in Mike's stomach grows. + + He grips the doorknob. He lifts up his recorder. + + MIKE + "It's 7:52 p.m., and I'm about to + enter Room 1408 of the Dolphin + Hotel. If something happens to me, + I, Michael Enslin, being of sound + mind, do hereby leave all my + earthly belongings, and whatnot to + my ex-wife Lily." + + He hits STOP. + + Then, he slowly turns the knob — + + The tension builds — + + The wooden door opens — + + And... + + +31 INT. 1408 - SAME TIME 31 + + It's — just a hotel room. + + A two-room suite, pleasant and banal. Pastel sitting area, + beige carpet, forgettable furniture. + + Mike sees this — and gasps, relieved. He starts LAUGHING. + + MIKE + That1s it? + (he LAUGHS harder) + That's friggin' IT? + + Astonished, he enters and throws his stuff down. He + defiantly SLAMS the door shut and SHOUTS. + + MIKE + All right, Olin!! You win Round + One! + (annoyed with himself) + 33. + + + You had me goin'! Where's the + spiderwebs, the lightning, the + river of blood?! This is just... a + room! + + Mike gives himself a tour. + + There's a couch. A coffee table. A desk with various items: + A fax machine. A glass ashtray. An old-fashioned rotary + telephone. A book of matches, with a Norman Rockwellish + sketch of a smiling Doorman at the hotel. + + On the wall are three framed paintings. In the carpet below + is a water stain. + + The wall THERMOSTAT says 80. Mike clicks the "down" arrow. + + +32 INT. BEDROOM 32 + + There's a queen-size bed with fluffy pillows. A TV. A + nightstand Bible. Mike picks it up... then tosses it aside. + + +33 INT. BATHROOM 33 + + Mike flicks on the bathroom lights. It’s bright and + sparkling — a pleasing glow of luxury. + + There's a tub. A bidet. Baskets of soap. + + The toilet paper roll is folded in a fancy little triangle. + + Mike tears off a sheet and wipes his nose. + + +34 INT. LIVING ROOM 34 + + Mike opens an armoire and finds the MINI-BAR. , He peruses + the sodas, booze and chips. He glances at the price sheet. + + MIKE + Eight dollars for Corn-Nuts? This + is an evil fucking room. + + CUT TO: + + +35 INT. BEDROOM - LATER 35 + + Mike lies on the made bed, eating Corn-Nuts and swigging + Olin’s Cognac. He narrates into his recorder, from memory: + 34. + + + MIKE + "The living room has two chairs, a + sofa, a writing desk, and a faux- + antique armoire. The carpet is + beige and unremarkable, except for + a stain beneath a thrift-store + painting of a sailing ship." + +TIGHT - THE PAINTING + +We FOCUS ON the painting, as Mike describes it from memory. + + MIKE (O.S.) + "The work is executed in the always + dull Currier & Ives fashion — + sailors on a white schooner." + +We MOVE TO the SECOND PAINTING — an old lady in a rocking +chair. + + MIKE (O.S.) + "The second painting is an old + woman, a la Whistler's mother, + smiling down as small children play + at her feet." + +We MOVE TO the THIRD PAINTING — a British hunting scene. + + MIKE (O.S.) + "The third and final, painfully- + dull painting is the ever popular + "The Hunt" — horses, hounds, and + constipated British lords. + (beat) + "These paintings have been here a + long time. If I lifted them, I'm + sure I'd see light patches. Or + squirming bugs like when you turn + over a rock." + +BACK ON MIKE + + MIKE + "The bedroom has a queen-size bed, + two nightstands, and butterfly + wallpaper. + (beat) + "Some smartass spoke of the + banality of evil. If that’s so, + then we've entered the seventh ring + of Hell." + +Mike gets up and walks to the window. He opens the drapes. + 35. + + + OUTSIDE, another building completely fills the view. Below + are cars and a huge lit-up BANK CLOCK. Mike opens the paned + window. TRAFFIC NOISE rises in. + + MIKE + "The panorama is a typical cramped + New York view of nothing: A gray + building, and honking traffic + below," + + The clock outside clicks from 7:59 to 8:00 PM. + + Suddenly, LOUD MUSIC. + + Mike jumps, startled. + + +36 BEHIND HIM 36 + + The clock RADIO has gone off. The CARPENTERS sing: + + THE CARPENTERS (O.S.) + (singing) + We’ve only just begun" + + Mike laughs. He turns it OFF, flicking the alarm switch. + + MIKE + Silly,.. + + Mike turns — then suddenly freezes. + + THE BED + + is turned down. The sheet is folded, and there are little + mint chocolates on the pillows. + + MIKE + + gapes, stupefied. + + MIKE + Holy shiiit! + + Mike blinks, as if this will make the mints disappear. + + But they don't. + + He strolls over and picks up a mint. He peers... + + MIKE + 36. + + + Bravo, Olin. That is VERY + unsettling. + +Mike opens the candy, then EATS it. He thinks, his wheels +spinning. Until he suddenly stops, mid-chew. + + MIKE + That means someone’s in the room..! + +Mike whirls. + +WIDE + +Emboldened, Mike RUNS to the CLOSET. He slams open the door +and — it's empty. + +Hm. Mike looks around. Ah! Suddenly he drops to his knees +and peers under the BED. Buz... there’s nothing. + +Hm! Mike thinks. He bolts into the bathroom. He grabs the +shower curtain, takes a breath, then YANKS it aside. + +And — nobody. Huh?! + +Mike wracks his mind. Tantalized. + + MIKE + Come out, come out... + +Detective-like, he starts RAPPING on the drywall. + +RAP! RAP RAP! + +He RAPS his way toward the door... when... something +catches his eye. + +TIGHT - TOILET PAPER + +The toilet paper roll has returned to its original state. + +Once again, it has a folded triangle. + +ANGLE - MIKE + +His eyes bulge. + + MIKE + Whoa. Bizarre. + (beat) + A ghost that offers turndown + service. + 37. + + + He gawks at it. Then, he pulls out his recorder, CLICK! + + MIKE + "Okay, let’s Encyclopedia Brown + this fucker. I was facing the + window. Then I saw the mints, ran + to the closet which would leave + time for Houdini to get in the + bathroom, do the paper trick — + (he stops) + "No, I would've seen him — + (beat) + "No. Unless he started in the + bathroom, so when I turned my back, + he did the mints and escaped + into... the living room!" + + Mike barrels into the + + +37 INT. LIVING ROOM 37 + + He lopes around — searching... searching. Until, he spots - + the AIR VENT up in the ceiling. + + Ah! Mike runs up — and thinks he sees movement inside. + + Or, does he? + + He stands on his tiptoes and SHOUTS up into it. + + MIKE + Hellooo! -Hello, asshole! You're + gonna have to try harder! + (he smirks) + Nice and HOT up there?? + + Mike wipes his brow. He realizes he's sweating. + + Mike runs to the THERMOSTAT and checks it. It’s now 84. + + MIKE + Oh, for God's sake. + + Mike pushes the "down" arrow again. Nothing. He BANGS it. + + Irked, he grabs the clunky telephone, peers at the archaic + dial, then sticks his finger in the hole and dials "O." + + It spins. Click-click-click-click-click. Then — + + MIKE + 38. + + + Hello! This is Mr. Enslin in Room + 1408. + + OPERATOR (V.O.) + Good evening. Are you ready to + check out? + + MIKE + "Check out"?! + (he chuckles mordantly) + Why would I do that, when there a + such wonderful maid service? + (beat) + And so discreet! + (beat) + No, I just need someone to fix my + thermostat. This room's on fire. + + OPERATOR (V.O.) + Of course, sir. We'll send an + engineer right up. + + MIKE + Thanks. + +Mike hangs up. + +Beat. Through the wall, the baby CRIES. Waaah! Waaah...! + +Mike considers it all. He sits on the sofa, then starts his +recorder. + + MIKE + "Hotel rooms are naturally creepy. + I mean, how many people have slept + in that bed before you? How many + were sick? How many lost their + minds? + (beat) + "How many died?" + +Mike thinks. He unzips his duffel, slides over his LAPTOP, +and carefully removes a small EQUIPMENT CASE. Inside is +assorted gear: An EMF meter, microphones, a UV black light. + +ACROSS THE ROOM + +Mike dims the room. Then, he turns on the UV light. It +HUMS, emitting a weird blue glow. He holds the tube over +the carpet stain, and it GLOWS, vivid and brackish. + 39. + + +Hm. Mike waves the UV light around the room. Things are +revealed, the past becoming otherworldly and +phosphorescent: + +Spatters on the drapes. + +Multicolored blotches on the couch. + +Drips across the walls. + +Soiled puddles in the bed. + +MIKE + +is repelled. Ugh. He feels sick. + +Unable to bear any more, he FLICKS ON the lights. + +Normalcy is restored. Mike rubs his eyes, then returns to +the living room. He glances at + +THE THREE PAINTINGS + +Which are... askew. Just slightly... tilted. + +The ship’s crooked horizon is unpleasantly vivid... + +CU - MIKE + +A strange, sealike sensation. He staggers, a bit nauseous. + +A SOUND of pounding waves. The painted water seems real... + +Mike is losing his equilibrium. + + MIKE + God, I feel like I smoked some + cheap dope! + +He straightens the three paintings, then turns away. + +Mike takes a step — then — suddenly gets a look. + +He spins! + +The paintings are still straight. + +Hm. Mike queasily sits, putting his head between his legs. + +Overheated, he fumbles for his recorder, + + MIKE + 40. + + + What did Olin say? + (dizzy) + Something about poison gas...? + +A woozy, unclear contemplation.... when — BZZZZ! + +WIDE + +Mike jerks. BZZZZZ! It’s the door, He pops from his trance. + + MIKE + W-who is it?? + + GRUFF VOICE + Engineering. You got a problem with + your heat? + +Mike scurries to the door. He peers through the EYEHOLD. + +DISTORTED POV + +Through the glass, a hairy New York ENGINEER in overalls. + +BACK ON MIKE + +Good enough. He goes to open the door. He pulls — and it’s +stuck. It won't budge. + +Mike struggles with the handle. + + MIKE + The door’s stuck! Can you give it a + shove? + + GRUFF VOICE + (beat) + I ain’t touching it. + +Mike reacts, irritated. He tugs harder, wrenching with all +his might — when, it suddenly releases and SLAMS open. BAM! + +Mike tumbles, off-balance. + +THE DOOR + +opens wide. Revealed is the ENGINEER, a huge, heavyset man. + +He carries a steel toolbox. + + ENGINEER + Is it too hot or too cold? + 41. + + + MIKE + Oh, it’s definitely too hot. C’mon + in. The box is right here — + +Mike strides over to the thermostat. He starts to gesture +to the panel — when he realizes — he's... alone. + +Confused, Mike turns. + +The guy is still standing in the doorway. + +Mike gestures again, for emphasis. + + MIKE + I said... the box is here. + + ENGINEER + know where the fuck it is. But I + ain’t going in that room. + +What! Mike glowers, put-out. + + MIKE + You just have to walk seven or + eight feet — + + ENGINEER + I said I’m not goin’ in! You know + what happened in there? + + MIKE + Yes, I'm quite aware -— + + ENGINEER + Look, I'll talk you through it. Any + jackass can fix that thing. + (beat) + Just remove the panel. + +The Engineer waits, feet planted. + +Mike stares in disbelief. Then, beaten, he pulls off the +thermostat PANEL. Inside are springs and levers. + + ENGINEER + Okay. Now -- inside, you see a + coil? + + MIKE + Yes. + + ENGINEER + 42. + + + Good. Now above that coil is a + little tube filled with mercury. + That's supposed to activate the + contact switch, but this hotel's so + old, half the shit don't work. + (beat) + Just give the tube a little tap. + + Mike glares, unsure. + + ENGINEER + Just tap the thing! + + Mike relents. He FLICKS the tube. The mercury suddenly + emits a blue SPARK, then rolls downward. + + The system CHURNS, then the air-conditioning BLOWS on. Mike + smiles t relieved. + + MIKE + You're a genius. Let me get you a + tip — + + Mike turns to thank the man — and he’s GONE. + + Huh? Bewildered, Mike runs to the door. He peers out. + + HIS POV - DOWN THE CORRIDOR + + The hall is empty. The elevator doors glide closed. + + MIKE + + frowns. Odd... + + A discombobulated beat, then he pulls his head back in. + + Haltingly, he shuts the door. + + +38 INT. ROOM 38 + + Mike's alone. He paces about , convincing himself he’s + okay... + + When — sudden jarring MUSIC. + + THE CARPENTERS (0.S.) + "We’ve only just begun..." + + Mike whirls! The CLOCK RADIO has turned back on. + 43. + + + THE CARPENTERS (0.S.) + “To live..." + + MIKE + Christ, you again!? + +AT THE RADIO + +Mike marches over. He once again CLICKS OFF the radio. + +The digital clock flickers, then switches to "60:00." + +Suddenly, it starts counting backward: "59:59... 59:58..." + +Mike leans closer, mesmerized. "59:55... 59:54..." + +CLOSEUP - MIKE + +A dawning awareness. Slowly, he gulps. + +In his mind, he remembers Olin's warning from before... + + OLIN'S VOICE + "Nobody has ever lasted longer than + an hour..." + +Hm. Mike glances worriedly at the clock ticking down. + +Silence. + +He realizes something odd. The SILENCE is ABSOLUTE. The +traffic noise is gone. + +Perplexed, Mike walks to the window. He sticks his head +out. + +OUTSIDE + +It looks exactly as before, The New York street is filled +with a crush of traffic, buses, people, Except, +disconcertingly, there is literally no sound, + +Mike can't hear anything. It's as if we're watching a TV +show with the volume turned off. + +A fire engine races by, lights flashing. Dead silent. + +MIKE + +is confounded. The lack of noise is highly disturbing. He +stares, then pulls his head in... + 44. + + + When CRASH! The WINDOW VIOLENTLY SLAMS DOWN on MIKE'S HAND! + + MIKE + AAAGGHHHHH! + + Mike SCREAMS, agonized. An animal caught in a trap. + + MIKE + GODDAMN!! FUCKI!!! + + Mike struggles, fighting to use his good hand to crack the + window open. Finally he tears his broken hand out. + + TIGHT - HAND + + It's a mess. The skin is ripped, bleeding. + + Panicked, Mike runs into + + +39 INT. BATHROOM 39 + + He turns on the sink. Water streams out, as he puts his + wounded hand under the flow. + + But then — the faucet SPUTTERS and dies. + + Mike angrily turns the handles. Nothing. Livid, he punches + the sink. + + MIKE + You son-of-a... + + FWOOOOOOSH! Suddenly SCALDING HOT WATER spews out! + + Yeow!!!! It BURNS Mike’s hand. + + Mike CRIES OUT. He yanks away his hand, now bloody AND + burnt. + + The radio goes off. + + THE CARPENTERS + "We‘ve only just begun..." + + Mike SHRIEKS. + + MIKE + Fuck YOU, radio!! + + +40 INT. BEDROOM 40 + 45. + + + Incensed, Mike lunges in, grabs the electrical cord, and + PULLS it from the wall! + + And — nothing changes. The song keeps playing. The timer + keeps clicking down: ”56:24... 56:23..." + + Mike gasps in disbelief. Flummoxed, he staggers back to + + +41 INT. BATHROOM 41 + + He grabs a towel and wraps it around his bleeding hand. + + +42 INT. BEDROOM 42 + + A gust of wind blows in, ruffling the curtains. We follow + the breeze across the room... to the BIBLE on the + nightstand. + + The wind flutters the pages. They flip by... then stop. + + CLOSEUP - BIBLE + + The page is covered with SCRAWLED, MANIC WORDS: + + "DON'T LET ME DIE HERE" + + WIDE + + Suddenly, RINGGGGG!!! + + Mike jumps. Surprised, he runs to the phone. He grabs it. + + MIKE + YES??!! + + HOTEL VOICE + Sir, I'm sorry, but there was a + miscommunication in the kitchen. + There’s going to be a ten-minute + delay on your sandwich. + + Mike's eyes bug out. + + MIKE + What sandwich?! I didn't order a + sandwich!! + + MIKE + (crazed) + 46. + + + But as long as we're on the phone + let's talk about the window that + just broke my hand, and the water + that burned me alive!! + +A long pause. Then — + + HOTEL VOICE + I'm sorry. You're welcome to + substitute a side dish for your + french fries. We have cottage + cheese, macaroni salad — + + MIKE + Are you croddam LISTENING to me?! + My hand needs STITCHES — + + HOTEL VOICE + I understand. If you leave your dry + cleaning out by 10 a.m., we'll have + it pressed and returned by 5 the + same day. + +Mike gapes. + + MIKE + FUCK! Fuck YOU! I want you to call + me a cab to the nearest hospital! + +The Hotel Voice turns sour, ruffled. + + HOTEL VOICE + Sir, I will not tolerate you + speaking to me in that tone of + voice — + + MIKE + You’re a fuckin' IDIOT! + + HOTEL VOICE + If you wish, I can connect you to + our manager, Mr. Olin. + + MIKE + GOOD! Olin it is! Put him on!! + +Pause —- then the line goes on HOLD. Sprightly MUSIC kicks +in. The RECORDED ANNOUNCEMENT we heard before repeats: + + SMOOTH RECORDING + 47. + + + "When staying at the Dolphin, be + certain to enjoy New York's finest + dining, at the fabled Blue Marlin + Restaurant on our Mezzanine level." + + Mike waits, stewing. + + He watches his blood dripping out of his hand. The red + droplets hitting the carpet... + + SMOOTH RECORDING + "Muscles tense? Then make an + appointment to visit our deluxe + spa, on the Coral level. With full + massage, facial, and aromatherapy + facilities, it'll leave you feeling + relaxed and revitalized." + + Mike’s hand keeps bleeding. + + His temper is growing. + + SMOOTH RECORDING + "Your call is important to us. + Please stay on the line—” + + CLICK — BEEEEEEEP! + + It’s a DIALTONE. + + Mike has been disconnected. + + He stares in amazement. + + MIKE + You are kidding. + + Furious, Mike throws the phone. + + He grips his wounded hand and stomps into the + + +43 INT. LIVING ROOM 43 + + Mike's fed up. He rushes to the door, going to open it -— + + And... the deadbolt's locked. + + Huh? Uncertain, Mike fumbles in his pocket for the big ROOM + KEY. He angrily jams it into the lock, thrusting it through + the oversize hole. + 48. + + +And — PLIP! The key slips from Mike’s fingers — plunging +into the door! It disappears, gone. + + MIKE + Wha—?! + +Mike fiddles with the keyhole, trying to find the key. + +Frustrated, he slams his EYE up against the hole. + +HIS POV + +Blackness. Hollow. A gentle whisper inside... + +MIKe'S EYEBALL + +bulges, peering up... down... + +WIDE - MIKE + +He scowls. He spins and looks around... thinking. Mike runs +to his bag, unzips a pocket, and pulls out his LETTER +OPENER. + +Mika jams the metal blade into the keyhole. He wiggles +it... trying... desperately... to engage the mechanics... + + MIKE + C’mon... + +He struggles to nick the lock. Forcing it around... when — +CLUNK! The DEADBOLT UNLOCKS! + + MIKE + Yeah! + +Mike smiles victoriously. He triumphantly turns the handle +-- + +AND — + +CRACK! The DOOR HANDLE BREAKS OFF IN HIS HAND. + +CLOSEUP - MIKE + +His face goes ashen. This is unconceivable. + +The door is now unopenable from the inside. + +WIDE + 49. + + +Mike goes rabid, furiously KICKING the door! He PUNCHES it +with his bruised hand. He claws crazily at the handle +stump. + +He's TRAPPED. + +Losing it, Mike whirls and careens across the room. Passing + + THE THERMOSTAT + which now reads 75 degrees. 74... + +AT THE WINDOW + +Mike runs to the pane and throws it open. He SCREAMS. + + MIKE + HELLO?!! + +OUTSIDE + +It's utterly silent, like before. Not a sound from the busy +traffic. + +Mike screams louder. + + MIKE + Up here! HELP!!! + +Mike's VOICE ECHOES, the only noise in the world, + + ECHO + HELP... HELP... HELP...! + +This is very disturbing. + +Mike peers around — then spots a lit window across the +street. There is a SILHOUETTED MAN. + +Mike gasps, a ray of hope. + + MIKE + Hey! Sir!! + +No reaction. He SCREAMS louder. + + MIKE + CAN YOU SEE ME?! OVER HERE, IN THE + DOLPHIN?? + +Mike waves his right arm. + +ACROSS THE STREET + 50. + + +The Man waves his right arm. + +MIKE + + MIKE + YES, HERE! I NEED YOU TO CALL THE + POLICE!! + +Mike jumps, excited. + +ACROSS THE STREET + +The Man jumps, too. An exact rhyming movement. + +MIKE + +suddenly halts, horrified. + +THE MAN + +freezes. + +MIKE + +slowly... worriedly... shifts from side to side. + +THE MAN + +mirror-like, shifts from side to side. + +MIKE + +trembles. Fearful, shaking, he leans toward the lamp. + +THE MAN + +leans toward a lamp. Revealing... he... is... Mike. + +MIKE + +freezes, stunned. He is watching himself. + +CLOSER VIEW - THE MAN + +is Mike, standing in a parallel version of the hotel room, + +h Staring blank-eyed at us. + +A chilling beat — and then an INSANE MANIAC with a +clawhammer comes rushing into view. He swings the hammer +straight at the doppelganger's head. + 51. + + +ANGLE - MIKE + +He SCREAMS and spins in fear. + +WIDE + +And — the Maniac isn't there. Mike is alone. + +Mike's chest heaves, overcome. Panicked, whirling about. +Off-balance, he spins back to the view outside. + +ACROSS THE WAY + +The man is gone. The lit window is gone, It's just +darkness. + +Mike is befuddled. + + MIKE + What the f-—? + +He stares, shaking and impotent. Then, he notices the +PEOPLE below on the street. Silent, but — real. + +Desperate, Mike suddenly goes deranged. + +He picks up a LAMP - + + MIKE + HELP ME!!! + +WIDE - THE WINDOW + +Mike unplugs the lamp and THROWS it! It flies out the +window and soars outward! + +Mike lurches out, to watch what happens-- + +The LAMP drops. Down... down... + +MIKE + +waits eagerly, wild-eyed. + +THE LAMP + +drops closer to the street... then... + +Dissipates. + +Like mist, it just... disappears. The lamp is gone. + 52. + + + MIKE’S EYES + + bug out. + + MIKE + Jesus, I'm losing my mind. I'm + hallucinating. + + +44 INT. LIVING ROOM 44 + + Unsteady, Mike collapses. He feels helpless, like the walls + are closing in... + + Then — an ethereal LITTLE GIRL'S VOICE. + + Wispy, faint... + + GIRL’S VOICE + Daddy... Daddy....... + + We suddenly PUSH IN TO MIKE. He CLUTCHES for breath. + + ALLI color bleeds from his face. He holds his head, + gasping. + + MIKE + Stop it. Get ahold of yourself. + You're letting your mind run to + places that aren’t real. + (he works to calm + himself) + It’s just a classic haunted house + power of suggestion: Gaslit + fixtures. Faded rugs. Like that + motel in Kansas. There’s a reason + for everything... + + The radio continues its ominous countdown: 46:25.,. 46:24. + + Mike peers around, scoping — then sees something. Maddened, + he hobbles up to the AIRVENT. + + ANGLE - VENT + + There is... something inside the vent. A tiny black TUBE? + + MIKE + Is that a camera? A spycam? + (accusatory) + Hello?! Who are you, the perverted + owner of the hotel? Some rich + sadist, enjoying my terror? + 53. + + + (beat) + Or perhaps it's just punctilious + Mr. Olin, whacking-off in his + leather chair. + +ANGLE - MIKE + +He is cracking. Paranoid. + + MIKE + Wait a second..! He gave me booze, + (trying to focus) + Was it laced? Did Olin take a + sip...? Can't remember... + +Mike eyes are glazed. He spots the Cognac bottle. He runs +over and uncorks it, taking a sniff... + +Hm. Something else catches his eye. + +ON THE NIGHTSTAND + +are the mint wrappers. Mike gasps, remorseful. + + MIKE + Agh! The mystery chocolate. Shit! + Never take candy from a stranger. + +Mike's mind ratchets into overdrive, freaking. Until — + + GIRL'S VOICE + Daddy, pay attention! + +Mike whirls. + +ANGLE - TV + +The TV is ON. Onscreen is a flickering old HOME VIDEO; +Mike's daughter GRACIE, 5, sits on the carpet playing +dolls. She laughs and motions urgently. + + GRACIE (ON VIDEO) + Daddy, sit down! + +BACK TO - MIKE + +He gapes in disbelief. + + MIKE + Grade...? + +IN THE HOME VIDEO + 54. + + +A YOUNGER MIKE enters frame. Cheerful and buoyant. He sits +on the floor with Grade. She hands him a rotund little +doll. + + GRACIE (ON VIDEO) + Okay, you be the daddy, and I'm + going to be the mommy. + + YOUNG MIKE (ON VIDEO) + But I don’t want to be the daddy. I + want to be — the dog. + + GRACIE (ON VIDEO) + (outraged) + That's silly! You can't be the dog! + You have to be a person! + +BACK TO - MIKE + +He shudders, disturbed. + + MIKE + W-where1d this come from...? + +IN THE HOME VIDEO + +Mike's former wife LILY, 30, enters. She's pretty, aloof. + + LILY (ON VIDEO) + Hey, what are you scoundrels up to? + + GRACIE (ON VIDEO) + We're busy. Daddy and I got + married. + + LILY (ON VIDEO) + (feigning shock) + What?! + They all giuole. + + YOUNG MIKE (ON VIDEO) + Ism very popular around here! + +ANGLE - MIKE + +His face falls. Sad and traumatized. + +Wanting to hang onto this memory, he slowly reaches out to +the screen'... wishing... in some way... he could touch it +— + +ZAPPP!! It violently SHOCKS him. + 55. + + +OW! Mike tumbles back. The screen blazes, then goes to +STATIC. Grade is gone. + +WIDE - THE ROOM + +Mike is alone, hurt. Not understanding. He senses +something, then turns... + +ANGLE - NIGHTSTAND + +Sitting there are the two little DOLLS from the video. + +MIKE’S + +eyes widen with fear. + +The figures are a tiny man and woman. Here in the room. + +Mike gulps, then picks them up. Yes, they are real. Mike is +overcome with feelings. He tenderly cradles the dolls. + +Staring into their painted faces... + +Until — he glimpses movement in the room. He turns. + +AT THE WINDOW + +A quick FLASH of the rich FACTORY OWNER who killed himself: +He steps to the ledge and jumps. + +MIKE + +is stunned. + +AT THE WINDOW + +Another apparition. A PORTLY LADY in a 1950's flowered +dress. + +She sobs, then pulls a chair to the window. She lashes out +at the air, then leaps. + +MIKE + +cries out, shocked. + +Mike cradles the dolls closer. Wanting to cling to +something good... + +When — a FAINT SOUND. Soft and muffled. + +Mike freezes. + 56. + + +From the next room over is the SOUND again. A BABY CRYING, +Then, the gentle murmur of the Mother. + +What?! + +WIDE + +Mike JUMPS to attention. He drops the dolls and frantically +runs to the wall. He KNOCKS on It. + + MIKE + Ma’am? Ma'am! Can you hear me?? + +The baby CRIES louder. Drowning him out. + + MIKE + Quiet, kid. + (he BANGS harder) + Ma’am?! Please! I need your help!! + +The baby CRIES harder. Mike realizes she can’t possibly +hear him. + +Frenzied, he grabs a nearby CHAIR. + +Mike swings the chair, then SMASHES it into the wall! + +Bam! BAM!! + +The baby SCREAMS louder. + +Mike swings harder, brutally. + +CRASH! The chair splits apart. + + MIKE + HELLO?! + +suddenly — SHRRRRRIIIIEEEEEKK! The baby SCREAMS like it's +being BURNED ALIVE. + +Agh! Mike pulls back, holding his ears. + +The SCREAM GETS MAGNIFIED, LOUDER, like the volume on a +stereo being cranked. + +Mike winces, shutting his eyes, trying to block it out — + +When, it. suddenly STOPS. + +TIGHT - MIKE + 57. + + + opens his eyes quizzically. It's all quiet, + + He sits there. Forlorn. + + MIKE + ...Isn't there anyone? + + Slowly, a SHADOW crosses his face. + + ABOVE + + A quick FLASH: A natty MAN in Jazz Age suspenders hangs + himself from a noose on the chandelier. + + MIKE + + grimaces. He yelps and backs away. Frightened, he makes his + way to the bathroom. + + +45 INT. BATHROOM 45 + + Mike enters — then shudders. + + The bathroom is TRANSFORMED. It's no longer the lush, + comforting boudoir of luxury — but a STERILE, FLUORESCENT- + LIT NURSING HOME BATHROOM. + + Sitting in a wheelchair is a decrepit OLD MAN. He peers up, + eyes rheumy and lost, then shouts: + + OLD MAN + I wish I was dead! + + Mike freezes. An endless pause. + + Then, he whispers. + + MIKE + Dad? + + FATHER + Where's mv garden? + (foggy') + I can't smell anything! + + Mike is shaking. + + MIKE + Dad, it's me — Michael. + + FATHER + 58. + + + Who? + + MIKE + (trembling) + Your... son. + + FATHER + (suddenly LOUD) + I HATE this place! + (enraged, confused) + How'd I get here? + +Mike starts crying. + + MIKE + I'm sorry...! + +Mike drops to his knees and hugs him. Holding the old man +tight, his face against his Father's scratchy, unshaven +cheek. + +WIDE OVERHEAD + +We look down on weeping Mike. + + MIKE + I'm so sorry... + +We slowly PULL OUT... revealing that Mike is back in the +hotel bathroom. He’s on his knees, hugging the toilet. + +There's no Father. + +Mike moans, shaken. He looks around in bewilderment. + + MIKE + He was so real. + (upset) + As real as me. + +Wobbly, Mike stands. He looks in the mirror, examining his +haggard face. + +Then — he peeks back at the imagined camera in the vent. +Hm. + + MIKE + This is more than special effects. + +Mike takes out his MINI-RECORDER. He speaks into it: + + MIKE + 59. + + + "Maybe I’m not real. Maybe I'm... + just having a dream. An incredibly + vivid, lucid dream." + +He paces around, thinking. + + MIKE + "When's the last time I remember + going to bed?” + +Beat. + + MIKE + "Today I flew in. Or... was that + yesterday? + (unsure) + "God, what happened yesterday? + Can’t remember anything. Was I on a + train? + (wracking his brain) + "I must've woken up and had + breakfast. Somewhere. But... where + was I? Where did I eat...?" + +Mike is getting nervous. + +He glances at the wall he bashed, then does a take. + +THE WALL'S CRACK + +has grown. The crack has spiderwebbed larger. Clear, +viscous FLUID seeps out... + +Mike grimaces, afraid. He shivers and backs away. + + MIKE + "People say you can't die in your + sleep. Is that true??" + +THE THERMOSTAT + +now reads 60 DEGREES. 58. 55. + +MIKE + +rubs himself. Panic grows across his face. + + MIKE + "They say the shock wakes you up. + If your mind thinks you're about to + die + 60. + + +Freaking, Mike makes his way to the WINDOW. He clicks off +the recorder, then starts to climb out -- + +OUTSIDE + +The wind BLOWS. Mike shudders and prepares to jump. He +looks down — + +MIKE’S POV + +A dizzying, spinning view of the STREET. + +MIKE + +Suddenly, a SLAP of reality. He GASPS and tumbles inside. + + MIKE + What the fuck am I doing? + (dawning) + This is what the room wants! + +Mike's eyes shift about, wary. + +A shadow. He spins. + +Behind a chair, a MAN peeks over the pillow. + +Mike GASPS and crawls away. + + MIKE + There’s gotta be a way out!!! + +WIDE + +Mike looks for options — then notices the FLOOR MAP on the +inside of the door. + +Ah! He darts over and scrutinizes it. + +TIGHT - MAP + +It indicates the building layout. Rooms, halls, exits... + + MIKE + Okay, okay! Look at our options..! + Guest rooms on both sides... + emergency exits... stairwell... + +Mike's eyes gleam manically. Suddenly — + + MIKE + The next window! + 61. + + + He looks back fearfully, then heedlessly calculates. + + MIKE + This room's fifteen feet across, so + the next window... is just... five + feet past that wall! + + Mike dashes across the room. He paces toe-to-heel, + measuring. + + Yes! Hope returns to his face. + + He runs back to his window, then climbs back up. + Invigorated, he CLICKS ON the recorder . + + MIKE + "If I slip and fall, and this tape + gets found among my splattered + remains on 61st Street, let it be + known that it was an accident. + (beat) + "The room did, not win. It did not + possess me to leap! I was just an + arrogant self-hating bastard who + + Suddenly, he STOPS. Puzzled by these words. + + MIKE + Why did just say that? + + A strange dislocation. Then, he pockets the recorder. + + MIKE + This fuckin' room. It's polluted my + mind! + + Defiant, he STEPS OUT. + + MIKE + But I can do this! + + +46 EXT. BUILDING LEDGE - SAME TIME 46 + + Mike gingerly climbs outside, the wind blowing his clothes. + + He peeks downward, then — stifling his fear, tentatively + lowers one foot onto the ledge. + + His fingers claw the brick, then find a decorative cornice + to grab onto. + 62. + + +He takes a breath... then gingerly swings out his other +leg. + +Both feet are out. He gulps, then glances down. + +HIS POV + +Busy traffic, thirteen stories down. + +MIKE + +tries to stay calm. + + MIKE + Just ignore it.. Don’t worry... + +He presses his face to the wall, then... carefully, starts +to inch along the ledge. + +He slides his left toot. Beat. He slides his right... + +He doesn't dare lean back. He blindly reaches out, gripping +the next section of cornice. + +Okay. He slides his left foot. Then his right. + +His face is sweating. He reaches... fingers slipping... +then, his hand finds the next cornice. + +Good. He slides again. He reaches — and still no window. + +CU - MIKE + +Cheek pressed to the dusty brick, he is confused, + + MIKE + Where the hell is it? + +Mike slides his left leg over. His right leg over. + +Starting to jitter, he reaches again. And — no window. + + MIKE + (getting worried) + Where is it?! + +He reaches further... straining... then slides again. + +Nothing. + + MIKE + WHERE IS IT??! + 63. + + +Daring gravity, he leans back, to get a look -- + +SUPERWIDE - THE BUILDING + +And, THERE ARE NO OTHER WINDOWS. THE ENTIRE BUILDING IS ONE +CONTINUOUS SURFACE OF BRICK, EXCEPT FOR MIKE AND 1408. + +Mike SCREAMS, horrified. + + MIKE + NOOOOO!!! + +He flounders, stunned. Mike slips. + + MIKE + AGGHH! + +Mike falls, BANGING his face on the wall. + +He DROPS, about to plummet, desperately clambering, +scratching his fingers into the old brick/when — + +BAM! One hand snags the ledge as it passes by. + +Chest heaving, hysterical, Mike catches his breath. + +The wind pelts him. + +Mike whimpers. + +Then, he resignedly starts shimmying back to 1408. Slowly, +then, faster... his expression despondent... + +TIGHT - MIKE'S HANDS + +pull him along, Struggling to return to the hell he was +escaping. + +AT THE WINDOW + +Mike finally reaches his room. Quivering, sucking in all +his strength, he LIFTS HIMSELF UP onto the ledge. A shaky +beat — then, he looks back inside. + +FAST ZOOM + +across the room, RIGHT UP TO THE MAP on the door. + +ZOOMING TIGHTER, until the MAP FILLS THE FRAME. And — it's +alive, the black lines slithering around like worms. The +map rearranges itself, doors and walls moving about. + 64. + + + MIKE + + goes pale. + + Suddenly -- the Portly Lady steps out into the window. She + is sobbing. + + PORTLY LADY + May Jesus forgive me... + (beat; she scowls + hatefully) + And FUCK YOU, HENRY SMITH! + + She starts to jump -- when she suddenly sees Mike. A + bizarre discombobulation, then she lashes out at him, + punching at him like the movements we saw earlier. + + Freaked out, she leaps. + + PORTLY LADY + Ahhhhh! + + She hurtles past. + + Mike gasps and jerks away. Scared, he tumbles back inside. + + +47 INT. 1408 - SAME TIME 47 + + Mike lands on the room floor, covered in sweat, terrified. + + Shaking, huddled in a fetal position. + + He rocks back and forth... then hears a strange CLINKING + sound. Click-clack click-clack click-clack... + + The room darkens... + + Wearied, he looks up — and FREEZES. + + THE WINDOW + + has been BRICKED-UP. Completely solid. + + MIKE + + moans, unnerved. He peers in disbelief, then runs and + pounds on the brick. + + It's old. Like it's been there forever. + + Despairing, Mike tears into the + 65. + + +48 INT. BEDROOM 48 + + And — the BEDROOM WINDOW IS GONE. The WALL IS SOLID + DRYWALL. + + No trace there ever was a window. + + Mike starts hyperventilating. + + MIKE + No — that's impossible — + + He starts feeling the wall. Searching for anything... + + MIKE + It can't... I know... + + Mike is losing it. On the edge of sanity* He grapples for + his minirecorder and hits REWIND. + + We HEAR Mike's voice speed by, chipmunk-like. He hits PLAY: + + MIKE'S RECORDED VOICE + "What did Olin say something about + poison gas —" + + No* Mike speeds further. PLAY. + + MIKE'S RECORDED VOICE + "Hotel rooms are naturally creepy—" + + No. He speeds further. Then: + + MIKE'S RECORDED VOICE + "The bedroom has a queen-size bed? + two nightstands and butterfly + wallpaper. + (beat) + "The room has no window." + + HUH? + + A chilling beat. + + MIKE + No... + + Shaking, he hits rewind. Play. + + MIKE’S RECORDED VOICE + "The room has no window." + 66. + + + Mike CRIES out, scared. He hits rewind. Play. + + WOMAN’S RECORDED VOICE + (whisper) + "Your daughter was eaten by wolves + on the Connecticut turnpike." + + MIKE + AHH! + + Mike DROPS the recorder, like he's been electrocuted. + + He trembles, pained. + + CLOSEUP - CLOCK + + The unplugged clock continues ticking down: 32:14... 32:13. + + MIKE + + shuts his eyes. Until — a TORMENTED SOBBING. + + What now? He opens his eyes. The SOBBING is in the next + room. It sounds like two people... + + Afraid of what he’ll find — he peeks into the next room. + + +49 INT. LIVING ROOM 49 + + There is a VISION. A FLASHBACK FROM THE PAST: + + A MAN and WOMAN are locked in a tight embrace, in a doctor' + office. We can't see their faces. They both cry, the man + hugging and comforting the woman. + + MIKE + + stares anguished. All color drains from his face. + + FLASHBACK VISION: + + The couple looks up — and they’re Young Mike and Lily. Both + have tear-streaked faces. + + LILY + I can’t accept it... + + YOUNG MIKE + (bereaved) + But he said — + 67. + + + LILY + Maybe he's wrong! Doctors don't + know everything! + (beat) + There are experimental + treatments... + +Young Mike shakes his head. + + YOUNG MIKE + She's doomed. + + LILY + Don’t say that! + +We REVEAL Grade in a hospital bed, listening behind a +curtain. She's nine, pallid and thin. + + LILY (O.S.) + She'll only get through this if she + believes. We need to give her hope! + + YOUNG MIKE (O.S.) + Why? So she can spend the end of + her life being LIED to?! + +Grade’s eyes widen. + +ANGLE - MIKE + +He recoils, shocked she heard this. He's crushed. + + MIKE + Gracie... + +Mike feebly extends his arm — + +When — + +BLACKNESS! + +The room goes COMPLETELY DARK. + +Mike gasps, confused. + + MIKE (V.O.) + H-hey — + +He stumbles. CRASH! A lamp FALLS and breaks. + + MIKE FV.O.) + Ow! + 68. + + + We hear Mike's breathing accelerate, getting heavy. + + Suddenly, a TERRIFYING VOICE. The VOICE OF THE ROOM, + rasping, non-human, coming from everywhere: + + VOICE OF THE ROOM + ARE YOU A MEAT EATER, MR. ENSLIN??! + + MIKE (V.O.) + (furious) + W-what? Who are you?!! How the fuck + do you know about my daughter?? + + We HEAR Mike trip around. He reaches for the LIGHT SWITCH. + + He frantically FLICKS it — up down, up down -— + + +50 INT. LIVING ROOM - NORMAL 50 + + BLINK! The lights go on. + + The room is back to normal. Mike is gasping, heaving. + + Looking about. Okay. Okay. Everything seems alright... + + He turns — and, AGHH! + + HIS POV + + A terrifying SKINNY LADY lunges at him! Grabbing his + throat! + + MIKE + + screams, startled. Fighting her off. + + THE SKINNY LADY + + grips harder, snarling. + + MIKE + + staggers back, trying to push her bony hands away — + + When he glances sideways into a MIRROR. In the reflection, + he is alone. Staggering back, choking himself. + + What?! + + Mike yelps and releases his own grip. He coughs, struggling + for breath. He peers around. He is alone. + 69. + + + MIKE + JESUS... + +He shivers, stupefied, Suddenly — + + VOICE OF THE ROOM + READY TO LEAVE?!!! + + MIKE + (he jumps, startled) + NOT YOUR WAY!! + +Dazed, Mike rubs himself for warmth. + +THE THERMOSTAT + +clicks to 50. + +MIKE + +runs to his duffel. He rummages for a COAT and quickly puts +it on. Underneath is his CELLPHONE. + +Desperate, he flips it open — but it flashes: "BATTERY LOW” + +What?! Mike growls, livid. Suddenly he glimpses something +else — his LAPTOP. + +Hmm..! His eyes light up. He nervously glances back, then +quickly covers the, computer. Mike grabs a shirt. + +AT THE VENT + +Mike runs to the vent, cool air blowing down. + +Suddenly, he pushes the desk over, WHUMP! Everything on it +CRASHES down. Mike drags the desk to the wall, then climbs +up. He glances suspiciously at the little black tube inside +the vent... then hooks the shirt over the grate, blocking +it. + +Mike jumps down. He runs to his + +COMPUTER + +Mike grabs it and snaps it open. The SCREEN lights up. + + MIKE + Good, good... + +Mike spins the mouse, clicking "Internet." + 70. + + + MIKE + C'mon, this crappy old hotel + must've popped for wireless — + +He waits patiently. The WI-FI icon scrolls, Searching... +searching. .. then — + +"NO SIGNAL AVAILABLE" + +Mike groans. + +WIDE + +Irked, he grabs the laptop and starts stalking around the +room. Holding it over his head. Hunting for a sweet spot. + +The icon flashes red... green... red. Mike glances at the +bricked-over window. + + MIKE + Maybe there's a signal outside... + +Mike stands on a chair, holding the laptop up against the +brick. And... with a little jiggling — the icon turns +GREEN. + + MIKE + AHH!!! + +The screen flashes. An INTERNET WINDOW OPENS. + + INTERNET LADY VOICE + Good evening, Mike. + + MIKE + YEAH! Good evening, Fake Voice + Lady!!! + +Mike gleefully dances about. He FLIPS the Bird. + + MIKE + And FUCK YOU, Mr. Scary Room Voice + Guy! I’m connected!! + +INSERT - COMPUTER + +Mike goes to his contacts. He quickly clicks on "BUDDY +LIST." + +And — one name is there: "LILY_ENSLIN" + + MIKE + 71. + + + Ah, shit. + +Mike winces — he has no choice. He steels himself, then +types into the Instant Message Box: "LILY, I NEED HELP" + +Na response. + +Mike types again: "EMERGENCY!” + +Long beat. Then, a WINDOW OPENS UP as a REAL-TIME WEBCAM +LINK. A woman's face stares back at us: Mike’s ex. + +WEBCAM CU - LILY + +She's more weary than pretty these days. Just hanging on. + +She looks dryly at Mike. + + LILY (OVER VIDEOLINK) + Look what the internet dragged in. + + MIKE + Lily! Thank God — + + LILY (OVER VIDEOLINK) + How about "hello." + + MIKE + I don't have time — + + LILY (OVER VIDEOLINK) + Yeah, well neither do I. + +She goes to sign off. + + MIKE + Wait! Wait! Please --! + +She stops. + + MIKE + 1 need you call the cops, send 'em + to West 61st and — + + LILY (OVER VIDEOLINK) + You’re in the City? + + MIKE + Er... yeah. 61st and — + + LILY (OVER VIDEOLINK) + 72. + + + You're in the City, and you didn't + tell me?! + + MIKE + I... uh, I was only supposed to be + here a few hours — + + LILY (OVER VIDEOLINK) + Jesus I Since the divorce, you've + been like a phantom! Now suddenly + you show up, you need a favor — + + MIKE + Lily, shut up!! I'm in danger. + +Lily freezes, shocked. + + LILY (OVER VIDEOLINK) + What?! + + MIKE + I'm locked in a hotel room! There’s + someone... something... trying to + kill me. + + LILY (OVER VIDEOLINK) + Mike, back up! Who?! + + MIKE + I can’t explain. Just call the + cops! Tell ’em Dolphin Hotel... + +Suddenly, an unexpected HISSING. Mike looks up. + +ABOVE + +The EMERGENCY SPRINKLERS go off! Water RAINS DOWN upon Mike +and the computer! + + MIKE + No — NO! + +Mike tries to cover the laptop, but it’s too late. Water +falls through the keys and into the electronics. + +Lily’s IMAGE over the screen begins to BREAK UP. + + LILY (OVER VIDEOLINK) + Mike... I... can’t hear... + + MIKE + Oh Christ! Lily, Dolphin Hotel! + 1408! Bust down the door! + 73. + + +PSSSTTTT! The computer screen goes BLACK. + + MIKE + FUCK! FUCK FUCK FUCK!!! + +Raining droplets are everywhere, falling into the electric +LAMPS. + +The LIGHTS begin to flicker, creating a slow strobe effect. + +FLASHES OF LIGHT + +illuminate the painting of grandma in the rocking chair. + +Darkness. Then FLASH! + +The painting changes; Grandma is now standing, staring out. + +FLASH! + +The old lady turns into THE BEAUTIFUL WOMAN from the lobby. + +Her breast is bare, BLOOD drips from her nipple, down, into +her baby’s open mouth. The baby’s face is blue, dead. + +FLASHI THE PAINTING OF THE SAILORS + +turns into a ROTTING GHOST SHIP. They sail into a roiling +sea, covered in black clouds. The seamen's faces are pale, +starving, staring hopelessly. + +Mike turns, shaky. FLASH! + +THE PAINTING OF THE HUNT + +The British men in red coats and hats get pulled off their +horses by the dogs. The dogs RIP the men apart, tearing +their flesh. + +MIKE + +whimpers. Around him, rain pours harder. WHOOOSH1 A +TORNADO­LIKE SOUND roars. A liquid churning, growing +louder... + +Mike covers his ears and careens through the sopping mess, +shivering, looking for a way out. His feet smoosh in the +soaking carpet. + +Mike passes the Thermostat. It's dropped to 48 DEGREES. + +He pounds on the closed-up windows. + 74. + + +He tugs on the door. + +Wind BLOWS fiercer. A BLAST OF COLD gushes from the AIR +VENT, blowing the shirt down. + +Mike’s eyes narrow, thinking. Intrigued, he takes a step +closer to the VENT... + + MIKE + Ho ho. That goes somewhere. Maybe I + can just pull a Bruce Willis. + +Mike CLAMBERS UP onto the desk. He's right beneath the +grate. He takes out his PENLIGHT and shines it up through +the opening. + +INSIDE THE VENT + +It's dark, foreboding. In the shadows is the: black tube. + +Mike puts his face up to it. + +ANGLE - MIKE + + MIKE + Hello, perv. I'm coming to get you. + +He tugs the grate -— it's fastened with four bolts. Fine. +He hurriedly pulls out his trusty LETTER OPENER and starts +to use it as a screwdriver... + + MIKE + Okay. Here goes nothin'. + +Mike unscrews the first bolt. It falls to the ground. + +An anxious pause — then he quickly unscrews the second +bolt. + +The third. + +The fourth. + +Wary, Mike reaches and slowly pulls the grate off the +ceiling. + +He drops it, watching it hit the floor with a CLANG. + +Beat — then he slowly turns back to the now-open vent. + +Suddenly, he LUNGES at the tiny black tube and GRABS it. + 75. + + + MIKE + HA!!! + + Mike squeezes it in his fist -- then reacts, surprised. + + CLOSEUP - MIKE'S HAND + + He's holding a roll of DUCT TAPE. That’s all. + + ANGLE - MIKE + + A bewildered silence. + + MIKE + There's... nobody watching me??! + (long pause; confused) + Why am I disappointed? + + A halting moment. He gathers his wits, then stares into the + open VENT. + + INSIDE THE VENT + + It's metal DARKNESS. Air WHOOSHES sinisterly. + + Mike gulps, then waves his pathetic letter opener. He + SHOUTS. + + MIKE + I've got a knife! + + No response. + + Mike steels himself, then painfully lifts his body up + into... + + +51 INT. AIR-CONDITIONING VENT - SAME TIME 51 + + Mike clangs onto the hard cold surface. He pulls his legs + up. + + Inside, it's black. We can’t see a foot ahead. + + Mike aims his penlight, but it’s just a dull glow. Shadows + and rat droppings. + + Mike takes a breath, then squirms forward. + + It's murky and unsettling. The air BLASTS. Mike slithers + along... unsure, creeped-out. Until, his penlight reveals + 76. + + +A JUNCTION AHEAD + +A "T" split. Shafts go left and right. + +Mike stops — not sure where to go. He shines the tiny light +both ways... but the beam disappears into dimness. + +Then — faint VOICES. + +Mike's eyes bulge. + +The VOICES are from the right. + +Mike gets excited. Other people! He scrambles down the +vent. + + MIKE + Hey! Hey!! + +Not far, he sees LIGHT. It's coming from a GRATE in the +floor of the shaft! + +Mike hustles faster. He reaches the grate — then looks +down. + +BELOW - HOTEL ROOM + +It's the next Hotel Room. From above, we see the Young +Mother holding her CRYING baby. + + YOUNG MOTHER + Shh, shh. Mama loves her baby... + +The Baby WAILS harder. + +The Mother turns — REVEALING SHE'S LILY. Young Lily, from +the PAST. + + LILY + C’mon, Grade. Stop crying. + (frazzled) + No, I don’t know where your daddy + is. Probably boozing it up... + +MIKE + +goes ashen. + + MIKE + N-n-no...! Honey, I’m here... + +YOUNG LILY + 77. + + +can't hear him. She carries Baby Grade into the next room. + +MIKE + +is tormented. He scurries to follow her. He rushes along +the vent. Banging himself on the sharp metal — + + MIKE + Ow! Wait — + +He spots the next GRATE. Braced, he rushes over to it -- +then GASPS. + +BELOW + +is a PARK. Trees, a path. + +Then two men walk by. Young Mike from the PAST, arguing +with his Father. Father is younger, healthy. + + FATHER + Mike, don’t do this! She needs you. + (reticent) + She lost a child, too. + + YOUNG MIKE + (enraged) + Why do you always lecture me? + + FATHER + I'm not -- + + YOUNG MIKE + I’m an adult! I can make my own + decisions! + +Mike storms away. + +MIKE IN THE VENT + +His face collapses* Pained by the memory. + +He stares mutely, then feels something strange. Icky. He +turns the penlight on his hand... + +And crawling across his fingers is a COCKROACH. + + MIKE + Ugh...! + +Mike brushes away the bug. The penlight’s beam swings — +revealing HUNDREDS OF ROACHES. The VENT IS FESTERING. + 78. + + + MIKE + YEOGGH! + +Grossed-out, Mike hurriedly BACKS UP. Rushing backwards +through the vent. + +Hurry! + +The beam rolls, grazing across skittering bugs. + +Mike rushes faster. His breathing echoes through the +claustrophic metal. + +Suddenly, he reaches a junction — and DROPS. + +Aggh!! He's plunged down a + +VERTICAL SHAFT + +Mike plummets into blackness, falling backwards! + +He flails, then SLAMS his hand, just catching the edge. + +Hanging on for dear life. + +Mike glances down. It’s ABSOLUTELY BLACK below. + +With a rush of adrenaline, Mike struggles to pull himself +out Straining, muscles clenching... he lifts himself up. + +Okay. Mike sucks in air. Resolved, he whirls about to race +forward — + +And — BANG!!! + +CLOSEUP + +Pasty KEVIN O’MALLEY is face-to-face with him! Kevin's eyes +are wild, his skin bloated and blue. + +Mike SCREAMS, startled. + +Kevin gazes crazily, his mouth a pinched grimace. + + MIKE + Kevin... ? + (trembling) + Kevin O'Malley?? + +Kevin stares, unspeaking. His breathing a HORRIBLE WHEEZE. + 79. + + +Then... he slowly lifts his head. Revealing his THROAT IS +SLICED OPEN, ear to ear. + +His bloody windpipe is visible, raspy. Kevin’s mouth opens +and shuts, puppetlike, but only a moist gurgle comes out. + +Mike recoils, terrified. + +ON THE MEN + +Kevin O’Malley raises a 6-INCH NEEDLE AND THREAD. He points +and gurgles a barely intelligible phrase. + +Then, again: "Fix it." + +Hikes J Mike pulls back in disgust and fear. + +Kevin O'Malley suddenly lunges forward. + +HELP! Mike spins away. Kevin CHASES. Freakily gurgling, +"Fix it! Fix it!" + +MIKE + +barrels through the tiny space. Rushing for his life. + +Kevin O'Malley SKITTERS after him. Mike races, reaching + +THE T-JUNCTION + +He squirms down the RIGHT VENT. + +He makes it a few feet, when -- + +CRUNCH! THE.VENT COLLAPSES. RIGHT IN FRONT OF HIM!! As if a +giant hand has squeezed it like a Coke can. + +Mike yelps and jolts back. + +The Vent continues CRUSHING IN, moving closer! He turns — + +DOWN THE LEFT VENT + +comes Kevin, his face a horrible rictus, waving the needle. + +MIKE + +crawls like hell! Faster, towards the + +MAIN VENT + 80. + + + Where in the distance he can see the OPENING to 1408! A + slim square of light — + + THE OTHER VENT + + keeps CRUSHING! Metal SMASHING closer — + + MIKE'S FEET + + scurry as fast as they can. + + SLAM! Kevin O'Malley STABS his needle into Mike's leg. + + Mike SCREAMS, pained. + + He KICKS backward. His foot SHUSHES through Kevin's head, + like a sponge. Kevin O'Malley collapses, the CRUSHING VENT + SQUEEZING him out of view. + + Mike speeds faster. Room 1408 visible — + + The CRUSHING, TWISTING METAL is now inches away — + + As Mike HURLS himself forward... + + +52 INT. 1408 - SAME TIME 52 + + ...and falls through the vent into the room. + + SLAM!!! He bounces off the desk, hitting the ground — + + as the sheet metal Vent BUCKLES CLOSED. BAM!!! + + TIGHT - MIKE + + He lies there, overwhelmed. Breathing in fits, face + drenched in sweat, absolutely dumbstruck. + + He looks up at the ceiling... then around the room. Beat. + + MIKE + I need a drink. + + Mike staggers over to the Mini-Bar. He whips open the + little refrigerator door - then gasps. + + INSIDE THE MINI-BAR + + is a MINIATURE SET of OLIN'S OFFICE. A TINE LITTLE OPEN + SIDE IN HIS WING-CHAIR, sipping Cognac. + 81. + + +Mike grimaces, flabbergasted. + + MIKE + What are yon doing in there?? + (vexed) + Where’s my BOOZE?! + +Olin stiles? unruffled. + + OLIN + I was just checking, sir. Are your + accommodations exceeding your + expectations? + + MIKE + You know GODDAMN WELL they are: + What do you want from me?! + + OLIN + No no no. What do you want? What do + YOU want, Mr. Enslin? You sought + this room. + + MIKE + I was doing my job! + + OLIN + (like he misheard) + Sorry? + + MIKE + My job! I'm a writer! I tell people + the truth! + +Hm. Olin swirls his Cognac. + + OLIN + That's right, you don't believe in + anything. You like shattering + people's hopes. + + MIKE + That's bullshit! + + OLIN + Why do people believe in ghosts? + For fun? No. They want the promise + of something after death... + +A COLLAGE of tearful VOICES... + + SORROWFUL VOICE #1 + She’s in a better place, Mike... + 82. + + + SORROWFUL VOICE #2 + She was in so much pain ,.. + + SORROWFUL VOICE #3 + I'm sure she's smiling down at us + right now... + +Mike winces, agonized. + + OLIN + How many spirits have you broken? + + MIKE + AAAAAAH! + +Enraged, Mike SLAMS shut the Mini-Bar. + + MIKE + I WANT MY DRINK!! + +WIDE + +Mike spins. He looks around, then spots the Cognac in the +bedroom. Ah! He beelines for the bottle, then snatches it +up. He uncorks it and thirstily chugs the drink. + +Pause — then he calms. He glances down at the hotel Bible. + +Curious, Mike picks it up, then flips through. + +INSERT - BIBLE + +The PAGES are all now blank. + +Weird. + +MIKE + +frowns. Then, a faraway voice... + + GRACIE (V.O.) + Why is our bible purple? + +Mike looks up. + +There is a spectral + +FLASHBACK VISION: + +The Enslin family’s old apartment, set-up as a grim +hospice. + 83. + + +Gracie lies in bed, in a pink butterfly nightgown, in the +final, terrible stages of cancer. She’s skeletal. Waxen. + +Lily sits by her, gripping a purple BIBLE. She laughs +awkwardly. + + LILY + I — I dunno. It was a wedding + present. + (she caresses it) + But it's nice. The cover is real + leather... + + GRACIE + Are there people where I'm going? + + LILY + You're not going anywhere. + + GRACIE + That isn’t what Daddy said. + +We reveal Young Mike sitting in the window, smoking a +cigarette. He stubs out the smoke. + + YOUNG MIKE + Daddy says a lot of stupid things. + (he comes over to the + bed) + You're too young to understand, but + when you grow up and become an + adult... + (he forces a smile) + you'll realize I'm crazy. + +Grade giggles. Mike gently brushes her cheek. + + GRACIE + Daddy, everyone dies. + +A tense pause. + +Lily glances at Mike. He struggles to be consoling. + + YOUNG MIKE + Y-you're right. Everyone dies... + + LILY + (she jumps in) + And then you'll go to a better + place. And lots of people will be + there... + (her voice cracks) + 84. + + + All your friends.... And you’11 be + able to run around again... play... + +Grade looks up at Mike. + + GRACIE + Do you believe that, Daddy...? + +A profound silence. He stammers, stuck. + + YOUNG MIKE + I... I... + +Grade stares pleadingly. + +Waiting. Then — + + YOUNG MIKE + Yes. I do. + + GRACIE + (she breaks into a smile) + Good. Then I do too. + +We hold on her heartfelt face. + + CUT TO: + +ANOTHER VISION + +Flames RAGE. It1s a cremation. + +A tiny coffin enters the burning fire. + +PRESENT - MIKE + +He sobs, pained. Wincing at this memory. + +FLASHBACK VISION + +The crematorium glows white, then blazes piercingly hot. + +The casket disappears into the heat. + + CUT TO: + +ANOTHER FLASHBACK + +Young Mike sits on Grade's bed, weeping. He's unshaven, +distraught, clinging to her old pink nightgown. + +Grade is gone. + 85. + + + Lily can't even look at him. + + YOUNG MIKE + She could have hung on. But we had + to fill her head! With all those + fucking stories about the glorious + afterlife... + + LILY + (crying) + Why do you have to blame anyone?! + + Mike throws down the nightie. + + YOUNG MIKE + I gotta get out. + + He jumps up and charges out of the apartment. SIAM! + + CUT TO: + + +53 INT. 1408 - PRESENT 53 + + Mike breaks down, devastated. + + He slumps back against the wall, whispering to himself. + + MIKE + Grade... Grade... + + He holds his gut, a terrible ache that will never leave. + + A sorrowful silence... an emptiness... until — + + CLICK. + + Mike turns, startled. His MINI-RECORDER has clicked into + PLAY. Its wheels spin... + + MIKE'S RECORDED VOICE + "Heyz there's nothing to feel + guilty about. When a couple loses a + child, 80% of the time, they end up + divorced --" + + MIKE + No... I should’ve stayed — + + MIKE'S RECORDED VOICE + 86. + + + "And those bad doctors weren’t your + fault. You worked freelance. You + couldn’t help If you were stuck + with a crappy HMO... + + MIKE + Stop — + + MIKE'S RECORDED VOICE + "And that b.s. about second-hand + smoke? Chon! It’s not like puffing + a couple cigarettes gives your + daughter cancer...” + + MIKE + Jesus! Shut up! + +Mike grabs the recorder and hits STOP. + +INSERT - RECORDEr + +A pause — then the wheels suddenly lurch into motion, by +themselves. + +The grating? scary voice of the Room SCREECHES out. + + VOICE OF THE ROOM + (over tape recorder) + SHUT up YOURSELF, ASSHOLE! YOU + WALKED OUT, LIKE A SNIVELING LITTLE + PUSSY! WALKED OUT ON YOUR WIFE, + YOUR FATHER, YOUR FRIENDS... + + MIKE + (bitter) + I was sparing them —- + + VOICE OF THE ROOM + YOU’RE A MISERABLE LIAR! + +Mike stares desolately. + + MIKE + I — I was searching... + + VOICE OF THE ROOM + SEARCHING FOR WHAT? FOR SOMETHING + THAT COULD PROVE YOU WRONG? + +MIKE + +Mike sighs. Beaten. + 87. + + + MIKE + Yes. + + Suddenly — RIIIIIINNGG! + + He spins. + + THE FAX MACHINE + + starts whirring. It's LCD screen says, "Receiving”. + + PAPER begins feeding. + + Mike peers, confused. + + TIGHT - FAX MACHINE + + Something begins coining into the output tray. + + Not a piece of paper. + + But his daughter's PINK BUTTERFLY NIGHTGOWN. Stained with + mucus, blood, all the liquids of her dying. + + SHOOMI It's ejected from the machine, into Mike's hands. + + MIKE + AHHHHH!!! + + Mike tries to push it off, freaked, but the mucus on the + nightgown clings to his hands. + + Mike shakes it, revulsed. He desperately races away — + + +54 INT. BATHROOM 54 + + Into the. bathroom. Mike throws the nightie in the sink, + violently turning on the water. + + FWOOSH! Water pours out, everywhere. + + Mike shudders to tear the nightgown away. It comes loose, + discolored fluids floating in the sink... + + Frightened, Mike backs out, SLAMMING the door. + + +55 INT. LIVING ROOM 55 + + Mike bolts back in, shivering. He can SEE HIS BREATH. + 88. + + +The Thermostat has dropped to 32 degrees. + +Water droplets are FROZEN AROUND THE ROOM. A weird, almost +Christmas-like atmosphere. + +Mike blinks. He stares up. + +THE WALL'S CRACK + +has grown. The fissures cover the walls, ceiling and floor. + +Like a spiderweb. + +THE CLOCK + +keeps ticking down. 16:41... 16:40... 16:39... + +MIKE + +seems lost. Eyes blank. Surrendered, he lies on the floor, +spreading his arms in the frost like a child making an ice +angel... + +Then, a distant voice, like a dream... + + LILY (O.S.) + Can you hear me...? + +Mike bolts up, dazed. He wheels around. + +ANGLE - HIS COMPUTER + +is working again! Lily’s glitchy IMAGE is on the SCREEN! + + MIKE + Lily?! + +Mike rushes over, astonished. She smiles to see him. + + LILY (OVER VIDEOLINK) + Mike! Jesus! I've been trying you + to get through... + + MIKE + Did you call the police? + + LILY (OVER VIDEOLINK) + They're at the hotel. + + MIKE + They're... w-why aren't they here? + 89. + + + LILY (OVER VIDEOLINK) + Didn't you say the Dolphin — + + MIKE + Right! Yes — + + LILY (OVER VIDEOLINK) + You're sure? + + MIKE + Of course I’m sure! Please! Send + them to 1408! + +Lily bites her lip, scared. + + LILY (OVER VIDEOLINK) + Mike, they're in 1408. The room's + empty. + +We PUSH IN TO MIKE. His blood freezes, terrified. + + MIKE + Th — that’s impossible. + + LILY (OVER VIDEOLINK) + Mike, where the hell are you?! + +Mike looks all around. + +Suddenly everything in the room looks more menacing. +Jagged. + +Mike’s face collapses to a whisper. + + MIKE + I... don't know, + + LILY (OVER VIDEOLINK) + Don’t panic! We can figure this + out. + +Mike blanches. Hands shaking, he picks up the room FILE. + +Vintage PHOTOS of grisly 1408 DEATH SCENES; A MILITARY MAN. +A YOUNG EXECUTIVE IN A DERBY. A CUTE WOMAN. + +All bloodied and gone. + + MIKE + No, we can't. + (morose) + I'm going to die. + 90. + + +ON THE COMPUTER + +Lily goes frantic. + + LILY (OVER VIDEOLINK) + You 1 re freaking! Look, don 11 + move! I can get there in fifteen + minutes -— + +Mike glances at the CLOCK. 14:51... 14:50... + +He shudders. + + MIKE + That’11 be too late. + + LILY (OVER VIDEOLINK) + No it WON'T! I'll check every room! + M-maybe you got the numbers mixed- + up. You're in 1480, or 1804... + + MIKE + (emphatic) + Lily, please stay away! I don't + want anything to happen to you — + +This admission catches them both by surprise. + +Beat — then she flashes a tender smile. + + LILY (OVER VIDEOLINK) + Well... I feel the same way. See + you soon - + +CLICK! She signs off. + + MIKE + Lily? Lily!!! + +He shakes the computer... + +When suddenly — WHUMPIJ The ENTIRE ROOM SHAKES, as if by a +huge EARTHQUAKE. + +WIDE + +PLASTER falls from the ceiling. Furniture and lamps CRASH. + +The entire FLOOR begins to buckle and crack. + +Mike loses his footing and stumbles to the ground. His head +strikes the floor with a sickening CRACK! + 91. + + +CLOSEUP - MIKE + +THUD. + +His eyes shut —- then reopen, dazed. He looks up, +disoriented and childlike. + +ABOVE + +A light frost is falling. ICE CRYSTALS form on his hair. + +Then, the ARMOIRE swivels into view... and comes DOWN. + +Yikes!! Mike LURCHES out of the way, as — SMASH! — the +massive cabinet crashes to the floor, splintering. + +Mike groggily leaps to his feet. He gazes around. + +THE SUITE + +is a complete wreck. Broken furniture, collapsed ceiling +and walls. + +The floor has BOWED around the bed, which lies at a slant. + +Mike's feet are in liquid. A sludgy half-frozen muck. His +eyes follow the source of the water. Puddled in the +corner... then up... trickling down the wall... leading to + +THE PAINTING OF THE GHOST SHIP + +Which is now PHOTO-REALISTIC and ALIVE. Tossing in the +waves! + +The jaundiced, starved faces of the sailors are MOVING. +They SCREAM, frenzied. They're all now the VICTIMS FROM +1408: The Natty Man in suspenders. The Factory Owner. And +most prominently, Kevin O’Malley, hands on the tiller, his +eves boring straight at us. + +Chilled, Mike turns — + +THE PAINTING OF THE HUNT + +The dogs are ravenous, BARKING! Tearing their masters to +pieces. The men moan. The horses run off. + +THE PAINTING OF MOTHER AND CHILD + +The blue baby’s mouth is twisted, teeth filed to RAZOR +SHARP POINTS. The mother weeps with despair as the baby +HISSES and attacks her. + 92. + + + Mike covers his eyes, unable to take it. + + ON THE PAINTINGS + + The CRIES grow louder, more insistent. The ship rocks + harder. + + The ocean pounds. + + The SHRIEKING grows. + + MIKE + Stop! STOP!! + + Unhinged, Mike SLAMS his fist at the painting, trying to + stop it. His knuckles BREAK the glass, ripping the canvas. + + Suddenly — FLOOOOOOSH! SEA WATER BLASTS FROM THE PAINTING! + + LIKE THE FORCE OF A HUNDRED FIRE HOSES. + + MIKE + + gets SLAMMED against the wall. + + The ROOM FILLS with water, at an incredible speed. Higher, + higher — + + WIDE + + Mike struggles to float above. Furniture bangs around — + + Mike fights the current. Debris swallows him up. Fatigued, + delirious, he starts muttering the Act of Contrition: + + MIKE + "0 my God, I am heartily sorry for + having offended Thee, and I detest + all my sins... + + Mike's will gives out. He gets pulled under. + + +56 INT. 1408 - UNDERWATER 56 + + All is grim, like slow-motion. Murky and green. + + Underwater, Mike turns, and sees the back wall has + vanished. + + In its place is the GHOST SHIP. Sinking downward toward a + black abyss. + 93. + + + Mike gapes, his eyes bulging from lack of air. + + Everything swirls. He spins, getting sucked deeper... + + His arms tire. Bubbles pap from his mouth, as he begins to + breathe in water. Mike's body goes limp. He’s pulled into + the ocean's darkness... + + All seems lost... the end imminent, when — + + A strange object unexpectedly appears. + + Foggy, Mike looks up. + + Then — he gasps. + + IT’S MIKE'S SURFBOARD + + Hovering above him, like a godsend. + + Mike is startled, confused — but grateful. He lurches and + grabs it — hanging on — his last chance for life. When, it + unexpectedly pitches and HAMMERS him in the head. + + CUT TO: + + +57 EXT. BEACH - DAY 57 + + ECU - MIKE'S FACE + + Mike lies mutely on his back, on the sand. + Hyperventilating. + + Winded. Eyes glassy. + + But, alive. + + He's back in the beach scene from., the beginning. + + Then... a faint BUZZING. Mike looks up. + + IN THE SKY + + The small AIRPLANE flies overhead, towing the BANNER. It + passes through the brightness, in sharp silhouette. + + Mike squints, trying to read it. + + The plane crosses a cloud, and the banner becomes readable: + + "CHEAP AUTO INSURANCE CALL 1-800-222-1408" + 94. + + + MIKE'S + + eyes widen. + + TIGHT THE BANNER + + The four numbers: ”1408" + + MIKE + + trembles, everything spinning, his memories collapsing. + + Nothing making any sense... + + His chest tightens. His brain feels like it's going to + explode. Then — + + A wet LIFEGUARD thrusts his head into view. + + LIFEGUARD + Sir! Can you breathe? Is there any + water in your lungs? + (beat) + Can you focus?? + + Mike’s jaw quivers, but forms no words. Utterly drained, he + passes out. + + DISSOLVE TO: + + ECU - MIKE + + His head is bandaged and his face drawn, but his breathing + is even. + + Slowly, he opens his eyes. + + +58 INT. HOSPITAL ROOM ~ DAY 58 + + Mike is lying in a hospital bed, hooked up to an IV. A tree + is outside the window. + + LILY (0.S.) + He's alive...! + + Mike turns. Sitting in a chair, watching him, is Lily. she + stands, relieved. Smiling anxiously. + + MIKE + W-w-where am I? + 95. + + + LILY + You're in a hospital. + +Mike wipes his eyes, confused. + + MIKE + In New York? + + LILY + New York?? + (puzzled) + No — Miami. You got hit in the head + with your board. You've been out + for a day. + +Mike tries to takes this in, uncomprehending. She comes +over. + + LILY + They called me, so I flew down, + (awkward shrug) + Guess I'm still listed as your next + of kin... + + MIKE + So I’m not in New York? + + LILY + No! Why do you keep saying that?! + + MIKE + Because I thought... God, it was so + vivid. I must've gotten banged in + the brains so hard, all my circuits + fried. + (trying to focus) + I was trapped... I was dying... in + this weird hotel. The Dolphin — + + LILY + The what? + + MIKE + The Dolphin. The one on the + southeast corner of 61st and 8th. + + LILY + (beat) + Mike, that's a Banana-Republic. + +His expression falls. + +She trembles, then starts weeping. + 96. + + + MIKE + Hey. Why are you crying? + + LILY + Because — I haven't seen you for so + long. And then -- we’re here, like + this: + (soft) + In another hospital. + +His eyes get watery. She gets emotional, then suddenly +hurries into the bathroom. + +IN THE BATHROOM + +Lily grabs a tissue and wipes her face. She stares in the +mirror. A final sniffle, then she tentatively returns, + +BACK AT THE BED + + LILY + Do you know it's been three years? + + MIKE + Since — + + LILY + Since... + +They both trail off. She peers at him, still terribly hurt. + +Her voice drops to a hush. + + LILY + Mike, why’d you leave? + + MIKE + (somber, he whispers) + Because... every time I looked at + you, I saw her face. + +Lily shudders, silent. + +Mike reaches out... straining... and takes her hand. + + MIKE + I'm sorry. Sorry I blew it... sorry + for everything... + + LILY + Everything? + 97. + + + MIKE + For — Grade... + + LILY + You had nothing to do with Grade. + + He looks in her eyes, seeing the truth of his life. + + MIKE + Then — I'm sorry for running away. + For making mistakes. For abandoning + everyone... + + CLOSEUP - LILT + + She nods, acceptingly. + + LILY + You should get some rest. + + CUT TO: + + +59 INT. HOSPITAL CORRIDOR - LATER 59 + + Lily huddles by herself, talking on a CELLPHONE. + + LILY + (on cellphone) + I think I'm gonna stay a couple + extra days. + (beat; embarrassed) + No, nothing's going on. But Mike + had a concussion and he's talking + kind of strange. Almost + hallucinatory... + (beat) + He might need a little help. + + CUT TO: + + +60 INT. RENTAL CAR - DRIVING - DAY 60 + + Lily drives a white rental car. Mike sits in the passenger + seat staring, a large bandage across his temple. + + The boulevard is quite uninspiring: Overgrown palm trees, + graffitied Cuban markets, faded pink motels. + + LILY + Remind me again. Why do you live + here ? + 98. + + + MIKE + I can be anonymous. + + She laughs. + + +61 EXT. BEACH PARKING LOT - DAY 61 + + Lily drops Mike off at his car. It has two parking tickets. + + He peers out at the turquoise water. In the distance, a + dolphin jumps in the waves. + + CUT TO: + + +62 EXT. MAILBOXES, ETC. - DAY 62 + + The same fluorescent craphole we saw before. The scene + plays just like last time? Mike enters and goes to his- + mailbox. He unlocks it, removing a startling amount of + MAIL. + + The MAILBOX GUY nods. + + MAILBOX GUY + You've been gone awhile. + + MIKE + Yeah. + + A disinterested beat — then Mike reacts, offput. + + +63 INT. PALM COFFEE SHOP - DAY 63 + + Mike sits in his corner booth, alone. He's going through + months of OPENED MAIL. The table is spread with brochures + from haunted hotels and inns... a bill from Saint Joseph's + Nursing Home... the Weekly World News... + + Mike slashes an envelope with his letter opener, removing a + childish GREETING CARD. It has a cartoon monkey saying "No + Monkeying Around! Happy Birthday!" + + Mike reacts, strangely. The oddest sensation... + + He frowns — then suddenly wades through all the hotel mail. + + Frantically digging through photos, flyers... searching... + searching... + 99. + + +64 INT. MAILBOXES, ETC. - DAY 64 + + The door SLAMS open. Mike barges back in, a bit frenzied. + + MIKE + Did I drop a postcard?? + + The Mailbox Guy stares. + + MAILBOX GUY + Uh... nope. + + Perturbed, Mike scans the floor. Then his eyes drift... up, + up... to the CEILING. Up there is an AIR VENT. + + Mike is bothered. + + +65 EXT. MAILBOXES, ETC. - SECONDS LATER 65 + + Mike runs out, punching "411" into his CELLPHONE. He paces + the sidewalk, bristling with nervous energy. + + MIKE + Yes! In New York City, can I have + the number for the Dolphin Hotel?? + + Long beat. Then; + + OPERATOR (V.O.) + I have no such listing. + + Mike can't accept this. + + MIKE + Are you sure? + + OPERATOR (V.O.) + Sir ? X have no such listing. + + CUT TO: + + +66 INT. RESEARCH LIBRARY - DAY 66 + + Mike RUNS up to the research desk. He flags down a + LIBRARIAN. + + +67 INT. LIBRARY MICROFICHE ROOM 67 + 100. + + + Mike frantically scrolls through MICROFICHE, pages blurring + by. Suddenly, he finds the ancient New York Herald-Tribune + front page. He leans in — but the headline has changed. + + Now it says "FACTORY OWNER LEAPS OFF BRIDGE." Underneath is + a PHOTO of some cops at a riverbank. + + Mike gasps, disturbed, + + MIKE + No way — + + A moment of dislocation... when he remembers something. + Mike whips out his LEGAL PAD. But — now the pages are all + EMPTY. + + A spooky pause... when suddenly -— RING!! It’s his + CELLPHONE. + + Mike jumps, startled. Quickly, he answers. The screen says + "LILY." + + MIKE + H-Hey. + + LILY (V.O.) + I'm just checking up. How are you? + + MIKE + Uh... tell you the truth, I’m + questionable... + + LILY (V.O.) + (concerned) + Let's grab a bite. + + CUT TO: + + +68 INT. BEACH RESTAURANT - NIGHT 68 + + Mike and Lily have dinner at a nice beachfront cafe. Waves + crash in the b.g. + + MIKE + It's fuckin' weird. This hotel + thing feels so real... + + LILY + Maybe I should drive you back to + the hospital -— + + MIKE + 101. + + + No, no — I'm not ill. It’s just... + this powerful sense of deja vu. The + feeling of something so immediate — + yet you know it didn't happen. + +He stares, entranced. + + MIKE + I can’t believe I'm sitting here + with you. + +She slowly smiles. + +A WOMAN in a flowered dress passes by. Mike glances — and +for a FLASH she’s the Portly Lady from 1408. + +Huh? + +Mike turns — and now she's a CUBAN LADY. + +He wipes his eyes, on edge. Questioning himself. He leans +in to Lily, his voice tremulous. We MOVE IN on the couple. + + MIKE + Did I tell you that Grade was + there? + + LILY + (off-guard) + No... + + MIKE + Yeah. Can you imagine how strange + that is... the sensation that I saw + her just a few hours ago? + +Lily blinks back tears. She grabs for her wine, + + LILY + S-sounds like one of your books. + + MIKE + I know. Except usually I have to + pretend the haunted house is scary. + (beat) + This time, my trip was imaginary... + and it's the most terrifying place + I've ever been. + +AT THE NEXT TABLE + +Two GUYS get up and leave. Left on a plate are the remains +of a beef burger soaked in red ketchup. A fly buzzes... + 102. + + + Mike doesn’t notice. + + LILY + You should write about it. + + MIKE + What? The dream? + + LILY + (she slowly nods) + If it means something to you. + Maybe, you've been given a second + chance. + + Mike thinks. + + CLICK! CLICK! CLICK! CLICK! CLICK! + + +69 INT. MIKE’S OFFICE - DAY 69 + + TIGHT on Mike, rapidly TYPING AWAY at his computer. + + CLICK! CLICK! CLICK! + + The computer screen FILLS WITH WORDS. Mike is on fire, + ideas pouring out. His face ablaze... + + MIKE’S VOICE + "I grabbed my overnight case. Mr. + Olin. I've never seen a ghost and I + don’t believe I ever will." + (beat) + "Olin smirked. I'm afraid you don't + believe in anything. But in 1408 f + your unbelief will only render you + more vulnerable.” + + DISSOLVE TO: + + LATER + + It's dark outside. The desk is littered with potato chip + bags. + + MIKE’S VOICE + "The man wore a 1920's brown wool + suit. Suspenders, He pulled the + noose round his neck — then + jumped...” + + Mike types faster. + 103. + + + MIKE’S VOICE + "The window vanished. All evidence + of its existence erased..." + + CLICK! CLICK! CLICK! + + MIKE’S VOICE + "Kevin O'Malley's throat gushed a + sickly rich red..." + + Mike slurps a coffee. + + MIKE’S VOICE + "My narration on the tape recorder + became fragmentary, a loop of + unease. No longer the voice of a + man at work... but of a perplexed + individual losing his hold on + reality." + + +70 INT. SAM’S OFFICE - DAY 70 + + Sam grins at his speakerphone. He shouts. + + SAM + Mikey! You sound happy. + + MIKE (V.O.) + (giddy? on phone) + I can't believe it! The work's just + pouring out of me! I think I’ve + invented some new literary form: + The fiction memoir. Autobiography + of a nightmare. It's sort of like + Capote meets Whitley Strieber. + + SAM + I love it! "In Cold Blood" with + aliens! + (gleeful) + I wanna put it out to auction — + start a bidding war! When can I + read it? + + MIKE (V.O.) + Any day. I’ll send it to you the + second it’s done. + + CUT TO: + + +71 EXT. MIAMI AIRPORT - DAY 71 + 104. + + + Mike is dropping off Lily. She has her bags. A tender smile + between them. + + MIKE + I'll see you soon. + + An awkward pause — and then they kiss. + + +72 INT. MIKE’S OFFICE - DAY 72 + + The laser printer is WHIRRING. Pages come speeding out, + crisp and clean. + + Mike reads them proudly. + + LATER + + Mike neatly stacks the sheets. He slides them into a fat + manila ENVELOPE. + + +73 INT. CRAPPY CAR - DAY 73 + + Mike jauntily climbs in his car, clutching the package. He + sweeps a pile of junk off the seat, onto the floor. A shred + of paper catches his eye — the nursing home bill. + + Hmm. He thinks... + + +74 INT. SAINT JOSEPH'S NURSING HOME - DAY 74 + + An airless lobby. VERY OLD PEOPLE sit unmoving, some in + wheelchairs. ORDERLIES silently clean. A TV plays + unwatched. + + Mike bursts through the doors. He looks around, lost. All + the WOMEN look alike — wrinkled emaciated figures with big + glasses and white hair. All the MEN are huddled in + bathrobes, faces unshaven, eyes vacant. + + Mike studies the men, trying to decide if one is his + father. + + Butithen... he notices his dad in a wheelchair, rolled over + by a window. A shell of a man, gazing out... + + Mike’s face falls. Then, he girds himself and hurries over. + + MIKE + Dad? + 105. + + + FATHER + + doesn't react. Mike gently approaches. + + MIKE + I haven't... seen you in awhile... + + No response. + + Mike pulls up a chair. He takes his father's veined hand. + + MIKE + Are you doing okay? + + Nothing. No reaction at all. Mike whispers. + + MIKE + Well... I’m actually pretty good. + I'm speaking to Lily again... + + The old guy keeps staring out the glass. + + MIKE + And... I've written a new book. + (a careful beat) + I think you'd like it. + + A beat. Then —- a brief flicker crosses Father's face. His + eyes widen. + + FATHER + Michael...?? + + CU - MIKE + + He trembles, touched. A pang of emotion, this briefest of + connections meaning so much to him. + + CUT TO: + + +75 INT. MAILBOXES, ETC. - DAY 75 + + Mike strides back into the mailbox store. The place is + cluttered, WORKMEN busy on ladders. The clock says 4:55. + + Mike slams the big envelope down on the counter. + + MIKE + Hi! 1've got a package I need to + overnight. + 106. + + +The Mailbox Guy is turned away from us. He doesn't move. + +Mike glances nervously at the clock. + + MIKE + Um — where are the forms I've got + to fill out? I really need this in + New York tomorrow. + + MAILBOX GUY’S VOICE + I'm sorry, we're closed. + + MIKE + Huh? No! That's wrong. + (he points at the clock) + It's only five of. I — still have + five more minutes! + +The Mailbox Guy turns... revealing HE IS ACTUALLY MR. OLIN. + +OLIN SMIRKS, OMNISCIENT and ALL-POWERFUL. He takes the +package. + + OLIN + I’m sorry, Mr. Enslin. Your time is + up. + +Mike GASPS, stupefied. + + MIKE + Wha...?!! + +A WORKMAN + +scrapes away some drywall, revealing BUTTERFLY PAPER +UNDERNEATH. + +MIKE + +spins, bewildered. + + MIKE + Noooo...! + + OLIN + Oh come, Mr. Enslin. You didn't + really think it was just a dream?! + +WIDE + 107. + + + Another WORKMAN turns, revealing he's the ENGINEER from the + hotel. He slams the floor, unveiling BEIGE CARPET + underneath. + + ON MIKE'S FACE + + All color drains. + + His expression goes from fear... to realization ... to + madness. + + The room starts SPINNING. + + AROUND HIM, the SOUND of CONSTRUCTION BUILDS. Louder, + LOUDER, a CRUSH of activity, + + THE ROOM + + spins faster. Every revolution transforms us back to 1408. + + The WALLS all become wallpapered. + + A WORKMAN leers, in a blur becoming Kevin O'Malley. + + Mike staggers, terrified. + + The room spins faster. The Mailbox Store is vanishing. + + The CEILING tile crashes down, revealing 1408's VENT. + + The FURNITURE appears around us. + + The WHIR builds to a high-pitched, painful SHRIEK — + + And THEN — + + +76 INT. 1408 - SAME TIME 76 + + The howl suddenly STOPS. + + And Mike is left, collapsed onto the carpet of 1408. Curled + in a fetal position, whimpering, confused. + + He slowly lifts his head... and a horrible guttural MOAN + passes from his lips. + + He's back. + + THE ROOM IS JUST AS HE LEFT IT. RAVAGED. DRENCHED. LIKE A + HURRICANE BLEW THROUGH. + 108. + + +The unplugged clock keeps ticking down: 4:55... 4:54... + +Mike unsteadily rises. He shouts plaintively. + + MIKE + No. NO! I was OUT — + + VOICE OF THE ROOM + WRONG! YOU NEVER LEFT! + +Mike jerks, startled. + +The voice is behind him. Unnerved, Mike slowly turns. And +back there... is... + +A DOOR + +Standing all by itself in the middle of the room. + +MIKE + +gulps. + +Tentative, shaky, he crosses closer... + +The door waits. Mike forces himself. Sweating. Heart +pounding crazy. + +Valiantly, hands trembling... he reaches to the handle. + +Grimacing with dread, he starts to turn it — + +When — his courage lets out. He lets go. + +The VOICE snickers. + + VOICE OF THE ROOM + MICHAEL..! YOU’VE BEEN LOOKING FOR + SOMETHING TO BELIEVE IN. FOR A LIFE + AFTER DEATH! WELL, HERE I AM. + +THE DOOR HANDLE + +starts turning by itself. + +Mike shudders. + +THE DOOR + +slowly opens. Through the crack, we SEE a DEEP, BLACK SPACE +of a place that exists somewhere other than 1408. + 109. + + +MIKE + +seizes up, aghast. + +A DARK SHADOW falls over him... + +We DON’T SEE what is revealed behind the door. But Mike +does. + +His FACE beholds a horror no sane person can endure. + +His eyes widen. His mouth opens in a silent scream. + +His legs buckle under him. + + MIKE + GODDDDDDDDDDDD!!! + +Beat. + + VOICE OF THE ROOM + YOU SAID GOD DOESN’T EXIST! + +Mike crumples in on himself, finished. + +He's cowering, beaten. + +He covers his head, preparing for a fatal blow. We MOVE +CLOSER... CLOSER... until his FACE IS IN TIGHT CLOSE-UP. + +Readying himself for an unimaginable fate. + +The tension of the moment builds to a climax. The end +imminent. And then — + +A melancholy MUSIC. + + KAREN CARPENTER'S VOICE + (singing) + "We've only just begun... " + +Huh? Mike looks up. + +IN FRONT OF HIM + +The door has DISAPPEARED. + +In its place is + +GRACIE + 110. + + +Dressed in her dirty pink nightgown. She's pale, skeletally +thin, her hair falling out. + +She looks at Mike and smiles. A smile that makes her face +look even more skull-like. + + GRACIE + Daddy...? + + MIKE + (anguished) + You’re not real!! + +He backs away. Hurt, she weakly reaches to touch him... + + GRACIE + I need help. + + MIKE + You're not Grade!! + + GRACIE + (soft) + I wet myself. + +Tears spring to Mike's eyes. + +Fighting this, he steps back. + + 100, + + GRACIE + Please. I'm cold. + +Mike can’t stand this. + +She shivers, her little body wispy... + + GRACIE + So cold... + +Mike’s face caves. Suddenly overpowered by feelings, he +RUSHES FORWARD and GRABS her tightly. + + MIKE + Oh Grade, Grade, Grade... + +TIGHT - MIKE AND GRACIE + +His eyes are shut, clinging to her tiny body. The most +electric thing he’s ever felt. + 111. + + +She speaks, barely a whisper. + + GRACIE + It won’t let me stay. + +He looks up, as she convulses violently. Her face damp with +sweat. He touches her forehead — it's burning up. + + MIKE + No! Honey, no one’s gonna take you. + +Her eyes brim with tears of pain. + + GRACIE + Do you love me, Daddy? + + MIKE + You know I do! + + GRACIE + I wish we could stay together. You, + me, Mommy — + + MIKE + We can! I promise we CAN! + +Happy, she brushes her hand to his cheek. + +CLOSE ON - MIKE'S CHEEK + +As she withdraws her hand, it leaves a TRAIL OF ASH. + +GRACIE + +unexpectedly collapses like a balloon that's lost all air. + + MIKE + Grade? + +She falls back, eyes frozen. She's stopped breathing. + + MIKE + GRACIE?! + +Mike shakes her, but she is still. + + MIKE + NO!!! + +Mike immediately begins CPR. He puts his mouth over hers, +breathing air into her lost lungs. + 112. + + + MIKE + Not again! Goddammit, NOT AGAIN! + +He furiously begins CPR. He begs, between breaths. + + MIKE + Stay... stay... + +MIKE + +keeps pressing on her chest. Through his face, we see vain +hope. Despair. And finally... loss. + +Shaken, he pulls his hands away. They are COVERED IN ASH. + +ABOVE + +Grade's body has TURNED TO DUST. She is gone. + +Mike is immobile. Hands gray with the remains of his child. + +His heart is empty. Absolute sorrow. Grieving, eyes sunken, +he looks up. Just wanting it to end. + +THE CLOCK + +ticks down. 00:10... 00:09... 00:08... + +MIKE + +slowly reacts, sobbing. + +THE CLOCK + +reaches the finish: 00:03... 00:02... 00:01... 00:00. + +And — + +MIKE’S EYES + +go wide. And?? + +THE CLOCK + +starts FLICKERING. The LED numbers flash randomly... + +MIKE + +waits despondently. Around him, the ash disappears. The +gray dust dissipates, like a dream, into nothingness. + 113. + + +Mike stares, uncomprehending. Until he peers up — and +GASPS. + +WIDE VIEW OF THE ROOM + +1408 has RETURNED TO ITS OPENING STATE. No water damage. + +Windows back. Everything restored to when we first entered. + +The cloak radio RESETS TO 60:00. It begins counting down +again: 59:59... 59:58... 59:57... + +MIKE + +goes into shock. Dumbstruck. His voice cracking. + + MIKE + Why don't... you just kill me? + + VOICE OF THE ROOM + BECAUSE ALL THINGS COME DOW TO + CHOICE. + +Mike trembles, utterly desolate. + + VOICE OF THE ROOM + YOU GET TO RELIVE THE SAME HOUR. + AGAIN AND AGAIN AND AGAIN. + +The THERMOSTAT starts rising: 85... 90... 95... + +Mike’s skin gets clammy. He staggers, lightheaded. + + VOICE OF THE ROOM + UNLESS, YOU CHOOSE TO END IT. + +Something FALLS right behind him. Mike turns — + +A ROPE NOOSE + +hangs, attached to the ceiling. Below it is a chair. + +IKE + +nods, acquiescing. + +The TEMPERATURE is getting hellish: 115... 120... 125... + +Mike is weeping. Confused. Unable to think clearly, he +steps onto the chair. He slowly draws the rope around, his +neck. + 114. + + +Mike stands there, eyes glassy. Pondering his fate. + +But — not jumping. Emotions and regrets pound through his +body. + +He grips the rope tight... then suddenly pulls it off, +crying. + + MIKE + I... can’t. + (distraught) + I'm sorry! I just... can't do it. + +The VOICE booms, furious. + + VOICE OF THE ROOM + THEN YOU LEAVE ME NO OPTION! + +The TV suddenly turns on. + +ON THE TV SCREEN + +We see Lily, guilelessly entering the Dolphin lobby. + +MIKE'S FACE + +face falls, horrified. + + MIKE + Lily...? + + VOICE OF THE ROOM + (mocking) + YES, "LILY"! I'LL TAKE HER IN + TRADE. + + MIKE + N-NO! + +ON THE TV + +Lily's cellphone sharply RINGS. She answers. + + LILY + Hello? + +We hear MIKE'S SIMULATED VOICE. + + MIKE’S VOICE + (over cellphone) + Lily, it’s me. + 115. + + + LILY + Mike? + + MIKE’S VOICE + Hurry! Come up to my room. + + THE REAL MIKE + + gapes in horror. + + MIKE + Leave her out of this!!! + + ON THE TV + + Lily enters the elevator. The doors shutting... + + MIKE + + starts freaking out. He spins, then notices his CELLPHONE + on the floor. Its screen flickers. + + Ah! Mike looks around, paranoid, then grabs the phone. Its + power blinks. Frantic, he hurriedly DIALS Lily. He bites + his nails. KING! RING...! + + ON LILY + + She rides up the elevator, oblivious. + + ON MIKE + + MIKE + C' mon, c’mon... + + More RINGING. Then — a MAN answers, through garbled STATIC. + + MAN (V.O.). + Hello? + + A discombobulated beat. It’s a wrong number, but... + strangely familiar. + + MIKE + Hello?! Who -- who is this??? + + INTERCUT: + + +77 INT. RESEARCH LIBRARY - THE PAST 77 + 116. + + + It's Mike back in the microfiche room, in the past, + receiving the call. All he hears is STATIC. + + MIKE + Hello! This is Mike Enslin. Is + anybody there? + + CUT BACK TO: + + +78 INT. 1408 - PRESENT 78 + + Mike blanches, realizing. He shouts deliriously. + + MIKE + My God! Don't come to the Dolphin! + Stay out of 140— + + His phone suddenly SPARKS, shorting. It FLAMES, burning + him. + + He cries out and drops it. Mike turns worriedly to + + THE TV + + Lily is still in the elevator, rising. Floors go by: 8... + 9... + + MIKE + + gets a galvanized look. + + MIKE + I won't let you have her. + + Incensed, he runs toward the door. + + CRAZY ANGLE + + Suddenly — the ROOM PIVOTS, slanting to 45 DEGREES! + + Mike trips, falling. SLAM! + + The floor is crazy. Mike tries to get up, attempting to + climb. His naked hands fall on hot carpet, singeing him. + + Mike SCREAMS in pain. But he keeps going. + + VOICE OF THE ROOM + YOU CAN'T SAVE HER. SHE'S DOOMED! + + ON THE TV + 117. + + +The elevator opens on the 14th floor. Lily steps out... + +WIDE - THE ROOM + +Mike crawls upward, his equilibrium reeling. + +The SLANT is now INSANE. The floor is practically vertical. + +Mike hangs onto the furniture, like a rock climber. + +Using all his might, he hoists himself. + +The thermostat keeps rising. 140. 145... + +Mike struggles to move. He can barely breathe through the +sweltering heat. He looks up — and the living room has +LENGTHENED. The DOOR now seems a football field away. Just +a speck. + +MIKE + +moans. His feet STICK to the hot melting carpet. He wants +to move, but collapses. The fabric burns into his hands. + +The door is hopelessly far away. + +In anguish, unable to crawl, he weakly glances at the TV. + +ON THE TV + +Lily walks down the hall. Approaching... + +CLOSEUP - MIKE + +In a final gasp at salvation, Mike whispers. + + MIKE + Lily. Go... + +ON THE TV + +Lily takes a step, then suddenly stops. + +Like she heard him. + +She contemplates this sensation, her face a mix of strange +emotions. Then — she suddenly turns and LEAVES. + +MIKE + +sobs, relieved. + 118. + + +LILY + +runs. Fast, faster. + +THE ROOM + +THUNDERS, furious. + +Mike is overwrought. Volatile, rapturous. He slowly looks +up... and then his expression darkens. + + MIKE + I know I’ve lived the life of a + selfish man... + (pause) + But I don’t have to die that way. + +Mike reaches for the fallen BOOK OF MATCHES. + +He stares — then rips out a match and STRIKES it against +the covert with its funny little doorman. + +An instant, TINY FLAME. + + MIKE + Maybe this room isn’t real. Maybe + I'm not even real. + (wheezing, desperate) + But this fire... is real. + +Mike crawls across the floor. Holding the match out, +straining to touch it to a CURTAIN... + +When — WHOOSH! A HUSH OF WIND from the air conditioning +vent blows it out. + + VOICE OF THE ROOM + YOU’D JUST BE KILLING YOURSELF. + +Mike considers this... then nods. + + MIKE + As long as I kill you too, I can + rest in peace. + +Suddenly, Mike grabs Olin’s. + +COGNAC BOTTLE + +Mike pops the cork, then lights the ENTIRE BOOK OF MATCHES. + 119. + + + The FLAME BLAZES bright, a crazy glow under his face. Mike + shoves it in the bottle, lighting the flammable liquid. + Mike spins and HURLS the MOLOTOV COCKTAIL. + + BLAMMMM!!! The entire ROOM explodes in flames. + + WIDE + + The FIRE instantly spreads, igniting the carpet and + furniture. + + FSSST! The SPRINKLERS COME ON — the room's desperate + attempt to save itself. Mike laughs manically. + + MIKE + Too LATE! You’ll never hurt anyone + again. + + The CURTAILS flare up, blindingly orange. The blaze SEARS, + the walls erupt. + + Mike stands inside the inferno, seething. In a final act, + he clicks on his recorder: + + MIKE + "The decor is tattered and the + staff surly... but on a Shiver + Scale, I award the Dolphin Hotel + ten skulls." + + The flames congeal, then DETONATE. + + +79 EXT. HOTEL WINDOW - SAME TIME 79 + + KABOOM! A thundering FIREBALL blasts out the window. + + +80 INT. 1408 - SAME TIME 80 + + Mike is obliterated from view. + + The raging flames scorch the ceiling, then get sucked into + the AIR VENT. + + +81 INT. VENT 81 + + Pulsing FIRE courses through the vents. Splitting in all + directions. + 120. + + +82 INT. HOTEL CORRIDOR - SAME TIME 82 + + Fire ALARMS go off. + + Hotel doors start SLAMMING open. Frantic GUESTS rush toward + the exits, SCREAMING, pushing each other. + + +83 EXT. DOLPHIN HOTEL - UPPER STORIES - SAME TIME 83 + + Flames POUR OUT of the top stories. Smoke fills the sky. + + +84 EXT. DOLPHIN HOTEL - AT THE STREET - SAME TIME 84 + + Sirens WAIL. GUESTS come flying out the doors, many in + pajamas, furiously racing for the street. + + +85 INT. 1408 - SAME TIME 85 + + Flames ripple. In the broiling heat, the room begins to + MELT. + + The walls sag, sinking into strange, unpleasant curves. + + The paintings begin to bend. Moans cry out. + + The chandelier droops like a glob of spit. + + The clock radio melts into the floor. + + The yellow-orange LIGHT brightens almost painfully hot — + and then, for a final second — we glimpse Mike. + + GRACIE5S VOICE + Daddy, everyone dies. + + Mike's eyes glisten. A brief, satisfied smile... and then + he’s swallowed by the fire. + + +86 INT. DOLPHIN LOBBY - . SAME TIME 86 + + The ceiling COLLAPSES, burning. -SHOUTS and SCREAMS, as the + last GUESTS shove- their way out. We MOVE THROUGH the + blazing debris. Past the ash, through the charred + furniture, toward the Reception counter... + + +87 INT. OLIN’S OFFICE - SAME TIME 87 + 121. + + + The beautiful oak paneling is ablaze. Shelves fall, rare + books crumbling into dust. + + Sitting amid the devastation, perfectly calm at his desk, + is Olin* Like the captain of the Titanic, he is unruffled. + He leans back in his chair, at peace, enjoying a cigar. Am + amber brandy in his hand. + + OLIN + Well done, Mr. Enslin. Well done! + + He swirls the brandy in its snifter, then takes a slow sip. + + Ahh... + + Until, oddly RING! It’s an interrupting PHONECALL. Olin + stares quizzically, then begrudgingly puts down his brandy. + + INSERT - THE SNIFTER + + It gets placed on the desk upon a PILE OF POSTCARDS. The + same Dolphin Hotel postcard that Mike received. + + ANGLE - OLIN + + He answers his phone, crisp and professional. + + OLIN + Good evening. Dolphin Hotel. + + Olin listens, then shrugs. + + OLIN + No, I'm so sorry. We're not + accepting reservations at this + time. + + Olin gently hangs up the phone. Then he takes a puff of his + cigar. + + Behind him, the walls CAVE IN. + + CUT TO: + + +88 EXT. DOLPHIN HOTEL - LATER 88 + + The FIRE DEPARTMENT is in front, spraying the building + down. + + Hook-and-ladders fill the street. + 122. + + + POLICEMEN hold back the shivering guests. We TRACK PAST + their bewildered faces — cold, frightened, tired —- until + we land on one woman, off to herself. + + Lily. She gazes up at the Hotel. Then, she sadly speaks. + + LILY + Goodbye, Mike. + + DISSOLVE TO: + + +89 EXT. CEMETERY - DAY 89 + + A small funeral, under gray skies. + + A DOZEN people are huddled around a fresh grave, watching + the coffin get lowered into the ground. + + Lily’s face is withdrawn. Not overwrought... but utterly + drained. She stares, then drops a flower on the casket. + + S’am gives her a supportive hug. + + CUT TO: + + +90 INT. MIKE’S OFFICE - DAY 90 + + The grubby office is filled with boxes. Sam and Lily are + silently packing up Mike's belongings. + + There are hundreds of books. Cameras. A sound meter. A + chipped Edgar Allen Poe award. Lily sighs. + + LILY + You live a life, and all that's + left behind are boxes of junk. + + Sam closes a box. + + SAM + At least he went out in a blaze, + + LILY + That's not funny. + + SAM + No, I'm sorry. I — I wasn’t trying + to be funny. + (genuine) + 123. + + + What I meant was — he went out like + one of his characters. + (he sighs) + It’s just a shame he won’t be + around to write about it. + + On the desk is a cute framed PHOTO of Lily, Mike and Grade + in happier times. Lily stares, then takes it for herself. + + CUT TO: + + +91 EXT. MIDTOWN MANHATTAN - DAY 91 + + A bustling New York street. Sam shuffles up, looking a bit + weathered. He enters a gleaming office building. + + +92 INT. LITERARY AGENCY - SAME TIME 92 + + Sam enters his office, in a haze. His Secretary looks up. + + SECRETARY + How was the trip? + + SAM + (he shoots her a look) + It was a funeral. + + Sam goes to an overflowing INBOX on her desk, piled with + mail. + + He grabs the mail and drifts aimlessly away. + + He flips through the papers. Publishers Weekly... + catalogs... New York Review of Books. Sam goes into his + office — + + +93 INT. SAM’S OFFICE 93 + + and wades to the end of the mail. Suddenly he reaches a big + manila envelope — and freezes. + + INSERT - ENVELOPE + + The return address is "ENSLIN" + + ANGLE - SAM + 124. + + +He gapes in disbelief. A moment of dislocation... +struggling to process what this means... then he kicks the +door shut. + +Shaking, Sam sits at his desk. He stares at the package, +then slowly, with utmost care, unseals the flap. He +tremblingly reaches inside... and pulls out Mike's +completed pages. + +Sam gasps, overcome, and drops them. We SLOWLY PUSH IN TO +the pile of laser-printed pages, crisp and elegant. The +cover page is simple: + +"14:08" + +by Mike Enslin + + FADE OUT. + +THE END + \ No newline at end of file diff --git a/scripts/1917.txt b/scripts/1917.txt new file mode 100644 index 0000000000000000000000000000000000000000..9b436e6d697a946adc01efe7d8254ad72490aeda --- /dev/null +++ b/scripts/1917.txt @@ -0,0 +1,6572 @@ + 1. + + + + II + ‘Life, to be sure, Is nothing much + to lose, But young men think it is, + And we were young.’ + + -A.E. Housman + + ‘We have so much to say, and we shall never say it.’ + + -Erich Maria Remarque + + All Quiet On The Western Front + + III + NOTE: + + The following script takes place in real time, and - with + the exception of one moment - is written and designed to be + one single continuous shot. + + +1 EXT. MEADOW - DAY - APRIL 6TH 1917 1 + + A rolling landscape. The rustling of leaves, and birdsong. + + Thunder rumbles in the distance. There is no rain. + + A figure lies against a tree, eyes closed - this is + SCHOFIELD, early-20s. Soft features. + + A man is sleeping next to him on the grass - BLAKE, 19, + youthful, strapping. + + SERGEANT SANDERS (O.S.) + Blake. + + Blake doesn’t stir. + + SERGEANT SANDERS (O.S.) + Blake! + + Blake wakes. He’s in uniform, damp and crumpled - Lance + Corporal chevrons adorn it. + + BLAKE + (sleepily) + Sorry, Sarge. + + SERGEANT SANDERS + Pick a man, bring your kit. + 2. + + + BLAKE + Yes, Sarge. + +Blake stands, stiff limbs coming back to life. + +Schofield’s eyes are still shut. Blake holds out his hand +to Schofield. Schofield opens his eyes - they are gentle, +wise. + +Schofield grudgingly raises his hand for a lift. + +Blake heaves him to his feet - his uniform is identical to +Blake’s, same rank, the only difference is the brass wound +stripe on Schofield’s left sleeve. + +They trudge towards Sanders, fastening their webbing. A +smattering of SOLDIERS - same regiment - same state of +fatigue and filth, lie around them. Stealing sleep. + + SERGEANT SANDERS (O.S.) + Don’t dawdle. + + BLAKE + No, Sarge. + +After a few paces the long grass begins to give way to well +trodden earth. Washing lines appears on either side of +them. + +Blake and Schofield move past them. After a while - + + BLAKE + Did they feed us? + +Schofield shakes his head, he hands an envelope to Blake. + + SCHOFIELD + No, just mail. + +Blake’s eyes light up at the sight of the envelope, he +tears it open, reads it as he walks. Eyes scanning quickly, +his face filling with warmth. + + BLAKE + (reading) + Myrtle’s having puppies. + +Blake finishes the note and slips it into a pocket. + + BLAKE + You get anything? + 3. + + + SCHOFIELD + No. + + Schofield doesn’t seem to mind. + + The mess tents are now alongside. Fires are stoked, cooking + is underway. More soldiers mill about. + + BLAKE + I’m bloody starving, aren’t you? I + thought we might get some decent + grub out here - only reason I + decided against the priesthood. + + Schofield lets out a laugh. Blake looks on hungrily as they + pass by the mess tents. + + Schofield rummages in his pockets, finds what he’s looking + for - a handkerchief with some food wrapped in it. Blake’s + eyes fall on it hungrily. + + BLAKE + What you got there? + + SCHOFIELD + Ham and bread. + + BLAKE + Where did you find that? + + SCHOFIELD + I have my uses. + + Schofield breaks the bread in half. As he does this, they + move down a slope, and begin to descend down into the + earth, into-- + + +2 EXT. COMMS TRENCH - DAY - CONTINUOUS 2 + + A narrow Comms trench. + + SCHOFIELD + Here- + + The bread is stale, practically cardboard. Blake’s teeth + struggle to get through it. + + BLAKE + (mouth full of food) + Tastes like old shoe. + + SCHOFIELD + 4. + + + Cheer up. This time next week it’ll + be chicken dinner. + +The trench drops deeper into the earth... + + BLAKE + Not me. Leave got cancelled. + + SCHOFIELD + They say why? + + BLAKE + No idea. + +A beat. The world above has now disappeared. + + SCHOFIELD + It’s easier not to go back at all. + +Blake registers this - looks at him. + +The wider Rear Trench crosses their path. Chains of +soldiers move past them - shifting crates, ammunition, +cooking, and medical supplies. + + BLAKE + (looking at the soldiers) + Something’s up. + +Expectation is growing in Blake. But Schofield looks +concerned. They cut a route through the bustle. + + BLAKE + Did you hear anything? + + SCHOFIELD + No. + + BLAKE + Has to be the push, right? + +Men carrying things push past them. Blake watches. + + BLAKE + Ten bob says we’re going up. + + SCHOFIELD + I’m not taking that bet. + + BLAKE + Why? ‘Cos you know I’m right? + 5. + + + SCHOFIELD + No. ‘Cos you haven’t got ten bob. + + Blake laughs. + + They follow Sanders into- + + +3 EXT. SECOND TRENCH - CONTINUOUS 3 + + They turn into a wider second line trench. + + SERGEANT SANDERS + In your own time, gentlemen... + + Up ahead, Sanders waits. + + Blake and Schofield put on speed, catch Sanders. + + BLAKE + Is there news, Sarge? + + SERGEANT SANDERS + News of what? + + BLAKE + The big push. It was supposed to + happen weeks ago. They told us we’d + be home by Christmas. + + SERGEANT SANDERS + (mild sarcasm) + Yes, well, sorry to disrupt your + crowded schedule, Blake, but the + Brass Hats didn’t fancy it in the + snow. + + BLAKE + More’s the pity Sarge, I could have + done with some turkey. + + SERGEANT SANDERS + Well, I’ll make sure to relay your + displeasure to command. + + Ahead and above them is a web of telegraph wires - + stretching overhead and along the trench. THREE ROYAL + ENGINEERS are working on them, tagging and testing. They + duck around them. + + SCHOFIELD + So what’s on the cards then, + Sergeant? + 6. + + + SERGEANT SANDERS + The Hun are up to something. + + SCHOFIELD + Any idea what? + + SERGEANT SANDERS + No - but it’s bound to ruin our + weekend. + + Sanders turns a corner, and comes to a stop. Just beyond + him is the dark, yawning mouth of a Dugout. + + SERGEANT SANDERS + Now listen, Erinmore is inside, so + tidy yourselves up. + + They are suddenly alert. + + SERGEANT SANDERS + You never know - might be mentions + in dispatches for this one, if you + don’t bugger it up. + + Sanders gives them a look, and disappears inside the + dugout. + + Schofield quickly buttons up his tunic, hiding any sins + there may be underneath. + + Blake nervously tidies himself, leans in to Schofield. + + BLAKE + Must be something big if the + General’s here. + + They enter. + + +4 INT. DUGOUT - CONTINUOUS 4 + + Lit by paraffin lamps, it takes Schofield a moment for his + eyes to adjust to the half-light. He and Blake hand their + rifles to the ORDERLIES, salute, and stand at attention. + + There is a simmering sense of unease in this place. + + In the centre of the room, there are two tables. On one + table lie several maps, on the other are a number of large + aerial reconnaissance photographs. + 7. + + +GENERAL ERINMORE (50s), LIEUTENANT GORDON (40s) and a +CAPTAIN are gathered around the far table, looking down at +the aerials, talking in hushed tones. + +Other men watch from the shadows - TWO NCOs and ANOTHER +ORDERLY. + + SERGEANT SANDERS + Lance Corporals Blake and + Schofield, Sir. + +General Erinmore turns around. Looks at Blake and +Schofield. + + GENERAL ERINMORE + Which one of you is Blake? + + BLAKE + Sir. + + ERINMORE + You have a brother, a Lieutenant in + the 2nd Devons? + + BLAKE + Yes, sir. Joseph Blake. Is he- + + ERINMORE + Alive, as far as I know. And with + your help I’d like to keep it that + way. + +Blake stares at Erinmore, he would do anything. + + ERINMORE + Sanders tells me you’re good with + maps. That true? + + BLAKE + Good enough, Sir. + + ERINMORE + So. + +Erinmore turns the map to face Blake. The British lines are +marked in blue, the German lines in red. + + ERINMORE + We are here. The 2nd Devons are + advancing here. + +He points out a cross on the map at Croisilles Wood. + 8. + + + ERINMORE + How long will it take you to get + there? + +Blake hesitantly studies it. Croisilles Wood sits in the +centre of a huge area of land, which is scored as occupied +territory. + + BLAKE + I don’t understand, Sir. + + SCHOFIELD + Sir, that land is held by the + Germans. + + ERINMORE + Germans have gone. + +Shock plays on their faces. + + ERINMORE + Don’t get your hopes up. It appears + to be a strategic withdrawal. They + seem to have created a new line, + nine miles back here, by the looks + of it. + +Erinmore runs his finger along the massed red lines of the +German trenches and fortifications, newly drawn on the map. + +The new German Line - what came to be known as the +Hindenburg Line - is huge, and cuts its way across the +paper, almost intersecting with Croisilles Wood. + + ERINMORE + Colonel Mackenzie is in command of + the 2nd. He sent word yesterday + morning that he was going after the + retreating Germans. He is convinced + he has them on the run - that if he + can break their lines now, he will + turn the tide. He is wrong. + +Schofield watches Blake as he begins to register what this +might mean. + + ERINMORE + Colonel Mackenzie has not seen + these aerials of the enemy’s new + line. + +Erinmore turns to the other table. + 9. + + + ERINMORE + Come round here, Gentlemen. + +Blake and Schofield move to the next table. They look down +at the large aerial photographs. + + ERINMORE + Three miles deep. Field + fortifications, defences and + artillery the like of which we’ve + never seen before. + +Beat. + + ERINMORE + The 2nd are due to attack the line + shortly after dawn tomorrow. They + have no idea what they are in for. + And we can’t warn them - as a + parting gift, the enemy cut all our + telephone lines. + +Blake and Schofield are silent while they take this in. + + ERINMORE + Your orders are to get to the 2nd + at Croisilles Wood, one mile south + east of the town of Ecoust. + +Erinmore hands over an envelope to Blake. We see the +distinctive red stamp of Army Command. + + ERINMORE + Deliver this to Colonel Mackenzie. + It is a direct order to call off + tomorrow morning’s attack. + +Erinmore speaks slowly, desperate to impress upon Blake and +Schofield the gravity of this situation. Nothing can be +misunderstood. + + ERINMORE + If you don’t, it will be a + massacre. We would lose two + battalions. Sixteen hundred men, + your brother among them. + +Schofield hides his shock. But Blake looks at Erinmore, +determination etched in his face: understood. + + ERINMORE + Do you think you can get there in + time? + 10. + + + BLAKE + Yes, Sir. + + ERINMORE + Any questions? + + BLAKE + No, Sir. + +Schofield eyes flick to Blake: No questions? Blake +purposely doesn’t catch Schofield’s eye. + + ERINMORE + Good. Over to you, Lieutenant. + +The men salute Erinmore. Lieutenant Gordon, stands to one +side. + + LIEUTENANT GORDON + Supplies, Gentlemen. + +Lt. Gordon nods them over to a table. Various items are +laid out on it. + + LIEUTENANT GORDON + Map, torches, grenades, and a + couple of little treats. + +They look. A folded map, two electric torches, two grenades +and two small packs of Huntley and Palmer biscuits lie on +the table. They take them and start hastily putting them +into their webbing. While they do: + + LIEUTENANT GORDON + Leave immediately, take this trench + west, up on Sauchiehall Street, + then north west on Paradise Alley + at the front. Continue along the + front line until you find the + Yorks. + +Gordon slides a note into Blake’s top pocket. + + LIEUTENANT GORDON + Give this note to Major Stevenson. + He’s holding the line at the + shortest span of No Man’s Land. + You’ll cross there. + +Both men turn at the mention of No Man’s Land. + + SCHOFIELD + 11. + + + It will be daylight, Sir. They’ll + see us. + + ERINMORE (O.C.) + No need to be concerned. You should + meet no resistance. + + An Orderly hands them back their rifles. + + Blake moves towards the doorway. Schofield turns to + Erinmore. + + SCHOFIELD + Sir, is it just us? + + Erinmore looks up. + + ERINMORE + “Down to Gehenna or up to the + Throne + + ERINMORE + He travels the fastest who travels + alone.” Wouldn’t you say, + Lieutenant? + + LIEUTENANT GORDON + Yes, Sir. I would. + + The General looks at them levelly. + + ERINMORE + Good luck. + + Blake and Schofield turn and head through the door- + + +5 EXT. SECOND LINE TRENCH - CONTINUOUS 5 + + Schofield’s eyes wince in the daylight. A small curved + branch leads from the rear of the dugout back to the Second + Line. + + SCHOFIELD + Blake - let’s talk about this for a + minute. + + BLAKE + Why? + + Blake is already off, moving fast. + 12. + + +Schofield moves after him, trying to fill and fasten his +webbing as he goes. + + SCHOFIELD + Blake! + +Blake begins to move faster, setting a punishing pace. +Boots clattering over the wooden boards. + + SCHOFIELD + We just need to think about it- + + BLAKE + -There’s nothing to think about. + It’s my big brother. + +Schofield runs to catch up, he falls in behind Blake, +breathing heavy. + + SCHOFIELD + We should at least wait till it’s + dark- + + BLAKE + Erinmore said to leave immediately. + + SCHOFIELD + Erinmore’s never seen No Man’s + Land. We won’t make it ten yards. + If we just wait- + + BLAKE + You heard him. He said the Boche + have gone. + + SCHOFIELD + Is that why he gave us grenades? + +The Second line runs through a small row of derelict +railway cottages. Braziers have been lit, men mill around +queueing to collect their rations. + +Schofield and Blake push themselves to the edge of the +trench to get around the crush. + +Blake is through and clear, but Schofield bumps into a +Sergeant. + + SERGEANT + Watch where you’re going! + + SCHOFIELD + Sorry. + 13. + + + Blake keeps pace, Schofield jogs to catch him. + + SCHOFIELD + All I’m saying is that we wait. + + BLAKE + Yes, you would say that, because + it’s not your brother, is it? + + Schofield moves alongside Blake again, grabs his arm. + + SCHOFIELD + Look, the last time I was told the + Germans were gone, it didn’t end + well. + + Blake shakes him off, and pushes his way forward, squeezing + in and out of the lines of traffic - His shoulder and pack + battering against MEN as he passes them. + + SCHOFIELD + You don’t know, Blake, you weren’t + there. + + Ahead a group of men are bunched up collecting mail and + parcels from the post bag. Gumming up the trench. + + BLAKE + Excuse me... Excuse me! + + Blake and Schofield squeeze past them. + + Another junction. A painted sign: “SAUCHIEHALL STREET” + points to a smaller branching comms line. Blake turns up + it. + + Schofield follows- + + +6 EXT. SAUCHIEHALL LINE - COMMS “DOWN” TRENCH - CONTINUOUS 6 + + Much narrower. Blake pushes onwards, going against the + direction of the traffic. Schofield follows after him, + single file, increasingly frustrated. Soldiers buffet + against them. + + A Sergeant snarls at them. + + SERGEANT MILLER + You’re going up a down trench you + bloody idiots. + + BLAKE + 14. + + + Orders of the General, Sir. + + Schofield follows, catching the ire from the men Blake has + just passed. He checks his watch. + + SCHOFIELD + Alright, say the Boche have gone. + Nine miles will take us, what, six + hours? Eight at the very most. So + we’ve got time to wait until the + sun sets. Otherwise we’ll be wide + open- + + BLAKE + -It’s enemy territory, we’ve got no + idea what we’re walking into- + + SCHOFIELD + -Blake, if we’re not clever about + this, no one will get to your + brother. + + BLAKE + I will. + + Blake’s tone indicates that this is the end of the + conversation. + + They are approaching a junction. They slow down. A flicker + of fear on both of their faces. + + SCHOFIELD + We’re here. This is the front line. + + +7 EXT. PARADISE - FRONT LINE - TRENCH - CONTINUOUS 7 + + The Front Line. + + A sign hangs on the junction wall: PARADISE ALLEY. Just + visible above the trench wall to the front is an endless + line of wire. + + BLAKE + Now we need to find the Yorks. + + There is an eeriness here, a sudden smothering silence. + + Blake looks around. Trying to work out which way is North + West. + + Blake heads in that direction, moving fast again. Schofield + follows alongside him. + 15. + + +The trench stretches away from them, in a long line. + +Duckboards slick with mud mark out a path. + +There are many men here, and many pairs of eyes watch from +the shadows of dugouts. + +Crudely painted signs are strung up along the walls, dire +warnings. We catch glimpses as Blake and Schofield pass: + +KEEP YOUR HEAD DOWN IN DAYLIGHT! ENEMY SNIPERS AT PLAY! + +They walk single file down the Front Line. + +TWO STRETCHER BEARERS are heading towards them, A MAN +carried between them. Schofield drops back, looks down. The +man is unconscious, his face bandaged - two red bloodstains +in place of eyes. + +Fear is rooting itself in Schofield. He fights it. + +Schofield looks up, he’s briefly lost sight of Blake round +the next bend. He moves to catch up. He hears voices. + + PRIVATE STOKES (O.S.) + Here, watch who you’re shoving. + + BLAKE (O.S.) + Get out of the way then. + +Schofield’s puts on speed, quickly pushes aside the soldier +in front of him. + +He makes his way to Blake, three SOLDIERS have surrounded +him. One, PRIVATE STOKES - a large red-haired bruiser, with +tattoos on his forearms - is gripping Blake’s tunic. Blake +has him by the collar. Both are angry. Blake is on the +verge of tears. + + BLAKE + Let go. + + PRIVATE STOKES + Fuck you think you are, pushing + wounded men around? + +Schofield is quickly into the fray, putting himself in +between Blake and the Private. + + BLAKE + Let go of me! + 16. + + + SCHOFIELD + Stop. + + PRIVATE STOKES + Arsehole knocked our Sergeant down, + the man’s fucking wounded- + +Beside them an NCO with a sling on, is being helped out of +the mud. + + BLAKE + Alright. I’m sorry, alright, I’m + sorry. + +Blake struggles to get free, tears of frustration well in +his eyes. Schofield sees this, realises Blake is on the +verge of losing control. + +The Private’s hand balls into a fist, his anger simmering. + +Schofield gets between them. + + SCHOFIELD + We’re on commission. Orders from + the General. + + BLAKE + Let me through. + +Stokes stops. + + SCHOFIELD + (levelly) + Get out of the way. + + PRIVATE STOKES + Right. Just watch where you’re + going. + +The other men move aside to give them a passage through. + +They keep moving. Schofield is a step behind Blake, he +steals glances at him, concerned. + +The two men walk on, the silence heavier. After a while - + + SCHOFIELD + It’s bloody quiet... + +A beat. Blake looks at Schofield. + + BLAKE + 17. + + + Was it like this before Thiepval? + +The name does something to Schofield. Fear clings to him. +He pushes it away. + + SCHOFIELD + I don’t remember. + + BLAKE + You don’t remember the Somme? + + SCHOFIELD + Not really. + + BLAKE + Well, you did alright out of it. At + least wear your ribbon. + +Beat. + + SCHOFIELD + Don’t have it anymore. + +They push on round the next bend. + + BLAKE + What? You lost your medal? + +Before he can answer, the trench suddenly expands - the +back wall has been blown out into a large crater. Debris +and sandbags are strewn around. A small team of DIGGERS +work on it with picks and shovels, breaking up the earth, +pulling out body parts from the mud, putting them in empty +sandbags. + + SCHOFIELD + Stay low. + +Schofield climbs over the rubble and sandbags, crushing his +body to keep his head below the front parapet. + +Blake follows. One of the diggers turns to Schofield, his +voice a harsh whisper. + + NCO HARVEY + God’s sake. Careful there, you’re + stepping on the dead. + +Schofield looks at the sandbag, 15 inches by 25. Red is +rusting through it. + + NCO HARVEY + That’s our Sergeant - + 18. + + +Schofield quickly moves off the bag. + + NCO HARVEY + Be better washing them out of this + dugout with a bloody hose. + + BLAKE + Do you know where the Yorks are? + + NCO HARVEY + The next bend you’ll be standing on + top of half of them. Shot to hell + two nights ago. + +Blake and Schofield continue. They slip round a bend and +into a small bay. + +They stop by two men - one is burning the lice from his +clothes with a lighter Another, BUCHANAN, sits against the +back wall, a small dog on his lap. + + SCHOFIELD + Yorks? + +Buchanan nods. + + PRIVATE BUCHANAN + Yes, Corp. + + BLAKE + Where’s Major Stevenson? + + PRIVATE BUCHANAN + Killed a couple of nights ago, + Corporal. Lieutenant Leslie has + command. + + BLAKE + Where can we find him? + +Buchanan nods down the line. + + PRIVATE BUCHANAN + Next dug-out. + +They round the bend and spot the dugout. It has been badly +shelled, but patched and re-built. A fire is lit in a +brazier just outside the door. Inside, a provisions bag and +a few other wooden items hang from a rafter, out of reach +of the rats. + + SCHOFIELD + Here. + 19. + + +LT. LESLIE is asleep on a small camp bed, his arm over his +eyes. A couple of ORDERLIES sit or lie nearby. + +They approach the sleeping Leslie. + + BLAKE + Sir? + +He doesn’t stir. Blake speaks louder. + + BLAKE + Lieutenant Leslie, Sir? + +Leslie stirs a little, he doesn’t move his arm from his +eyes. + + LIEUTENANT LESLIE + What is it? + + BLAKE + We have a message from General + Erinmore. + +Leslie looks up, his face shines with sweat, his voice is +croaky, full of flu, a little delirious. + + LIEUTENANT LESLIE + Are you our relief? + +Schofield shakes his head. + + SCHOFIELD + No, Sir. + + LIEUTENANT LESLIE + Then when the fucking hell are they + due? + + BLAKE + We don’t know, Sir. But we’ve got + orders to cross here. + +Blake offers the letter. + +Leslie sits up. Looks at them queerly. + + LIEUTENANT LESLIE + That is the German front line. + + BLAKE + We know, Sir. If you’ll just take + the letter- + 20. + + +Blake hands over Erinmore’s letter. Leslie sighs, tears it +open and reads quickly. + + LIEUTENANT LESLIE + (as he reads) + Settle a bet, what day is it? + + SCHOFIELD + Friday. + + LIEUTENANT LESLIE + Friday. Well, well, well. None of + us was right. This idiot thought it + was Tuesday. + (off the letter) + Are they out of their fucking + minds? + + LIEUTENANT LESLIE + One slow night, and the brass think + the Hun have just gone home. + + SCHOFIELD + (looking at Blake) + Do you think they’re wrong, Sir? + + LIEUTENANT LESLIE + We lost an officer and three men + two nights ago. They were shot to + bits patching up wire. We dragged + two of them back here. Needn’t have + bothered. + +Blake is determined to press on. + + BLAKE + Sir, the General is sure the enemy + have withdrawn. There are aerials + of the new line- + +Leslie gets to his feet. + + LIEUTENANT LESLIE + Shut up. We’ve fought and died over + every inch of this fucking place, + now they suddenly give us miles? + +Schofield turns and stares at Blake. + +Blake won’t meet his eye. + + LIEUTENANT LESLIE + It’s a trap. + 21. + + +Leslie leans in to Schofield. + + LIEUTENANT LESLIE + But, chin up. There’s a medal in it + for sure. Nothing like a scrap of + ribbon to cheer up a widow. + +Schofield stares at him like he would lift him out of his +boots with one punch. + + LIEUTENANT LESLIE + Alright. + +Leslie walks out of the dugout. As he walks- + + BLAKE + Where’s the nearest way through, + Sir? + + LIEUTENANT LESLIE + Our wire’s a mess. But there is a + path through. Of sorts. + +He leads them a few paces to a small dead-end lookout +trench, half earth, half corrugated steel. At the end of it +is a rudimentary periscope. + + LIEUTENANT LESLIE + (to the soldier) + Rushworth! Let him look. + +The soldier manning it steps away to allow them to look. + +Blake presses his eye to the lens. + + LIEUTENANT LESLIE + Straight ahead, to the left, past + the dead horses- + +Blake squints, moves the periscope. While Blake does this, +Leslie lights a cigarette, his hands shaking. + + LIEUTENANT LESLIE + There’s a gap directly behind them. + Useful, because if it’s dark you + follow the stench. When you get to + the second wire, look out for the + bowing chap. There’s small break + just beside him. + +As Blake scans the terrain with the periscope, Schofield +methodically prepares himself. + 22. + + + LIEUTENANT LESLIE + The German line is a hundred and + fifty odd yards after that. Watch + out for the craters. They’re deeper + than they look. You fall in, + there’s no getting out. + +Leslie indicates for them to follow. + + LIEUTENANT LESLIE + This way. + +Leslie kicks at a sleeping PRIVATE KILGOUR as he walks. + + LIEUTENANT LESLIE + Wake up, Kilgour. + (to himself) + Bloody waste of space. + + SCHOFIELD + Any cover, Sir? Anywhere to jump + off from? + +Leslie leads them to a wide ladder leaning against the +trench wall. + + LIEUTENANT LESLIE + No. The sap trench was blown to + hell weeks ago. It’s full of bodies + anyway. Your best bet is to pop + over here. + +Blake and Schofield stop by the ladder, ready themselves, +checking and loading their rifles, fixing their bayonets + + LIEUTENANT LESLIE + If you do get shot, try to make it + back to the wire. We won’t come + after you, not until it’s dark. + And, if by some fucking miracle you + do make it, send up a flare. + + SCHOFIELD + Don’t have any, Sir. + +Leslie gestures impatiently to a nearby PRIVATE KILGOUR. + + LIEUTENANT LESLIE + Well get him one, Kilgour! Make + yourself useful. + + PRIVATE KILGOUR + Yes, Sir. + 23. + + +Kilgour goes to fetch the flare gun, Leslie amuses himself: + + LIEUTENANT LESLIE + (sprinkling whisky on the + men) + “Through this holy unction may the + Lord pardon thee whatever sins or + faults thou hast committed” + +Leslie laughs mirthlessly. Schofield and Blake try to stay +focused. + +Kilgour hands Leslie a flare pistol and two cartridges. + + LIEUTENANT LESLIE + I do hate losing these to the Hun. + So when they start shooting at you, + could you be so kind as to throw it + back, there’s a good chap. + +Blake tucks the flare and cartridges into his pack. + + LIEUTENANT LESLIE + Cheerio. + +Leslie steps back. A crowd of MEN have now gathered behind +him to watch Blake and Schofield, their faces a combination +of shock and fascination. + +Blake and Schofield climb onto the firing step. + +Schofield looks at Blake, speaks quietly to him. + + SCHOFIELD + You sure? + +Blake isn’t. But he nods. + + BLAKE + Yes. + +Blake goes to climb over. Schofield stops him. + + SCHOFIELD + Age before beauty. + +Schofield takes a deep breath, and goes first. He puts one +hand over the parapet. Then the other. + +Slowly he advances up, his head inching over the protection +of the trench. His hand is shaking, he drives it into the +mud, grasping for purchase. + 24. + + + Everyone is still, breathless, listening for the enemy to + fire. + + Schofield drags his body up and over into - + + +8 EXT. NO MAN'S LAND - CONTINUOUS 8 + + Vast, almost unbearably open after the close quarters of + the trench. + + A light mist hangs low over the land. + + The ground is treacle-like. Schofield’s hands and knees + sink into it as he pulls himself forward, his eyes are + trained through the British wire towards the German lines. + + The whole world is lunar and empty. Earth pounded to atoms, + all mounds and holes. + + Nothing moves. Nothing lives. + + The only sound is Blake’s breathing as he heaves himself + out of the trench beside Schofield. + + Both men are still for a beat. Hunched down low on their + knees, two nocturnal animals caught in the daylight. + + British wire runs in loops ahead of them, tangled and + haphazardly strung. A mess to navigate through. + + They get to their feet and move forwards over the slick + earth, towards the putrid remains of the horses. Breathing + through their mouths, trying to deal with the stench. + + A layer of black fur covers the animals, as Schofield and + Blake close in on them they see the fur is actually flies, + hundreds of them. + + Schofield moves past the remains and through the first + break in the wire. The path is pocked with craters and + puddles, shrapnel litters everything. + + Blake follows Schofield through the channel - ahead, on the + second wire, is “the bowing chap” - a GERMAN SOLDIER, dead, + bent double over the wire, one arm outstretched in a + courtly manner, as if bowing. + 25. + + +Schofield doesn’t linger on the dead German, doesn’t look +at his face. He focuses on the task at hand. To the side of +the man is a small gap in the razor wire, easy to miss +without the landmark. Schofield struggles to further pull +apart the dense tangle of wire. He indicates for Blake to +pass through. + +As he does so, Schofield slips in the mud. His hand +instinctively closes around the wire. It slices into his +palm, hooking into his flesh. + +Bright red seeps along his hand, he wrenches it back, +tearing the skin to free himself. A heavy breath hisses out +of him. + +He balls his hand into a fist to stem the bleeding. + + BLAKE (O.C.) + You alright? + +Blake looks at him with concern. Schofield nods that he’s +fine. + + SCHOFIELD + Look for cover. + +Everything after here is unnatural land. Craters are gouged +out of the earth. There is a rise and fall to this stretch, +but no flow or reason to it. + +About a hundred yards from them, in the distance, is an +artificial horizon, something grey, mesh-like, stretching +the entire length of the land - The German Wire. Occasional +dead trees dot the land beyond. + +Blake goes into the closest crater. He looks to Schofield, +some silent communication. Schofield’s eyes pull out a path +where there isn’t one. + + SCHOFIELD + Sap trench. + +Schofield goes first, crouching low, moving faster now, +picking his way towards a hole in the earth. + +And then jumps directly into the old sap trench. + +Blown out and neglected, it is now little more than a +ditch, but it offers a stretch of cover. + +Schofield checks his wounded hand. It pulses blood. He +feels as if he is being watched. He looks around. + 26. + + +Next to him is the body of a German soldier; face down in +the mud, rats are on the corpse, feasting. + +Blake jumps into the sap just next to Schofield. He lands +right next to A DEAD MAN, looking straight at them. He is +sitting up, his lips and eyes have been chewed off by rats. + +White teeth grin in a pale face. + +Blake reflexively scrambles back in horror, knocking into +Schofield. Schofield slips, reaches out to steady himself, +and grabs at the first thing he finds - the BODY OF THE +GERMAN. + +Schofield’s wounded hand lands on the man’s back and sinks +- right through. + +Schofield’s cut hand goes into the putrid flesh. + +Beside him, Blake is frozen. Panicking. + +Schofield gestures to him - ‘stay calm’. Blake tries to +steady himself. + +They move further along the side of the sap trench. +Schofield peers out. About eighty yards now to the German +wire. + +They gather themselves. Schofield takes the lead. He pulls +himself out of the sap, Blake follows. + +They move, crouched low. Watching. Waiting for guns to open +on them. + +Silence. + +The land is flatter here. There is an eerie feeling of +emptiness and silence. Schofield and Blake keep moving +forwards, trying to stay focused. Crouching to keep low. + +The mud is like oil, but some things are solid underfoot. + +Outlines of guns, shrapnel, unexploded shells, bodies. + +Suddenly a loud sound approaching. + +TWO PLANES. + +Blake and Schofield both move quickly to the nearest shell- +hole. They throw themselves in and freeze. Keeping the +brims of their helmets low, hiding their faces from the +planes above. Blending in to the landscape around them. + 27. + + + SCHOFIELD + (Sotto) + Stay still. + +The engines grow louder. The planes fly close overhead, and +then begin to recede into the distance. + +Both men now turn their heads to look at them. + + SCHOFIELD + (Sotto) + They’re ours. + +Blake nods. + + SCHOFIELD + (Sotto) + Keep going. We’re half way. + +They move back out into the open expanse. + +Large shell holes appear on either side of them. They pick +their way through them, balancing carefully along the +ridges. + +They climb to the top of a small hillock and suddenly on +the other-side - vertigo. The ground falls away steeply in +a mine crater, stories deep. + +They look down into it. + + BLAKE + There’s a gap in the wire. + +We can see the base of the crater: The nearest line of +German wire has been split by the blast, and hangs limply +down the side wall of the crater, the other half of it +disappears into a huge pool of water at its base. + +They meet each other’s gaze. An obvious way through the +wire. + +It’s clear they need to go down into the crater. + +They slide carefully down the steep bank. + +At the base of the crater the water is fathomless - the +colour of mucus, and the same consistency. A DEAD GERMAN +floats in it, bloated. + +Blake follows in Schofield’s exact footsteps, walking +around the edge of the pool. + 28. + + +Blake looks into the pool. Things float in it. Bodies. The +pages of a letter, a cigarette tin, a water canteen. + +Ahead of them, halfway up the far bank another line of +German wire - the main one - is suspended across the +crater. There is a gap beneath the wire. + +They climb up the far bank towards the gap. Blake is +struggling. + + BLAKE + Sco... + +Schofield helps him up the slope. + +The main German wire is a huge thicket of razor wire, +denser than a hedgerow. Using their hands, they dig into +the muddy sides of the crater, and pull themselves upwards, +through the German wire. + +Schofield looks - close to him, caught on the wire, a small +clump of human hair blows in the breeze. + +Hands and bayonets digging deep into the muddy bank, they +haul themselves out of the crater. Ahead of them is the +German Front Line. + + BLAKE + There! That’s the front line. + +They lift their rifles and aim them towards the German +line. + +Blake moves first. He quickly approaches the German trench. + +Schofield is next to him. + +Both men suck in a breath and stand tall, leaning over the +German sandbags. + +Their rifles sweep in unison down the length of the trench. + +Empty. Schofield turns to Blake. + + BLAKE + Fuck me. They really have gone. + +They look around in awe - this trench is massive, +fortified... and seemingly abandoned. Intermittent shell +holes have levelled large sections. + +Blake and Schofield drop down into the trench. + 29. + + +9 EXT. GERMAN FRONT LINE TRENCH - CONTINUOUS 9 + + This trench is better crafted than the British trench. + Deeper and well reinforced, and eerily empty. They are + alone. + + To one side the trench is smashed in. A mountain of earth + and debris. Blocked. + + Schofield crouches, attends to his bleeding hand. Blood + oozes out of it. + + BLAKE + Your hand alright? + + SCHOFIELD + Put it through an effing German. + + Schofield has taken out his canteen, he pours water on his + sliced up palm. Blake keeps watch. + + BLAKE + Patch it up. You’ll be wanking + again in no time. + + SCHOFIELD + Wrong hand. + + Blake laughs. + + Blake moves off, rifle ready. Schofield follows, wrapping a + bandage round his hand as they move. He tightens the + dressing with his teeth. Red seeps through the white gauze. + + Ahead of them is a brazier, full of spent white coal dust. + + Blake kicks it over, the white dust crumbles, red embers + glow - wisps of smoke. Still smouldering. + + Schofield turns to Blake, his eyes are on the embers too. + + SCHOFIELD + They’re not long gone. + + Blake hands tighten on his rifle, he pushes off, heading + east down- + + +10 EXT. GERMAN COMMS TRENCH - CONTINUOUS 10 + + Blake leads them into the deep, narrow trench. Creeping + forward quickly, eyes darting ahead, looking for any enemy. + 30. + + + The comms trench opens out into- + + +11 EXT. GERMAN SECOND LINE TRENCH - CONTINUOUS 11 + + Blake hovers by the mouth of the comms trench, peeking out. + + Another dead end. + + BLAKE + No good. + + Schofield is at his back. Their eyes scan the empty second + line trench. + + They push on in silence. + + Their footsteps click and echo over the duckboards. They + move, bayonets pointed forward. + + The trench takes a sharp turn. Schofield and Blake inch + round, rifles up, checking. + + Ahead of them the trench is destroyed. A direct hit. Earth, + sandbags, and huge splinters of timber jut out of the pile + of dirt. + + SCHOFIELD + Blocked. + + It is impassable. + + Next to them is the mouth of a dugout. A doorway. + + Blake peers into the darkness. + + Timber stairs descend two storeys down into the earth. + + BLAKE + This might be a way through. + + They click on their torches and move down the stairs. + + Whole tree trunks have been used to reinforce the walls. + They share a look. The sophistication of the Germans amazes + them. + + At the foot of the steps, Blake turns the corner. + + BLAKE (O.S.) + Jesus... + 31. + + + Schofield follows him quickly, the timber creaks under him + as he rounds into the mouth of- + + +12 INT. GERMAN DUGOUT - CONTINUOUS 12 + + He turns the corner and sees Blake, torch in hand. + + BLAKE + Look at this. It’s massive. + + The dugout is huge - an entire barracks carved out of the + chalky earth. It’s ghostly in the torch light. + + Timber struts run along walls and ceilings. Rows of bunk + beds run along the length of the huge room, stacked up to + the ceiling. + + BLAKE + They built all this. + + Blake and Schofield move through it, their torchlights + slicing through the darkness. It is palatial compared with + what we have seen on the British lines. + + Schofield’s eyes land on something - a photograph, + someone’s wife and child, pinned to a bed frame. Schofield + stares at it for a beat. + + Blake noses through some of the detritus left behind by the + Germans, then moves through into: + + The Officer’s Quarters: Iron bed frames, an arm chair, a + desk. In one corner are the remains of a cooking area, some + boxes of supplies lie abandoned. + + Next to one of the beds a tunnel stretches away from him + into the darkness. + + SCHOFIELD + Here’s our way through. + + BLAKE (O.C.) + Sco - how about this? + + Schofield turns to see Blake sitting on one of the + officers’ beds, bouncing gently. The springs squeak loudly + in the silence, he grins. Then movement catches his eye. A + massive rat gnaws on a canvass sack suspended form the roof + beams. + + BLAKE + 32. + + + Bloody hell... Even their rats are + bigger than ours. + +By the light of their torches, they can see a large, +bloated rat moving quickly along one of the roof beams. + +Their torches follow the rat, as it scampers along the +beam. + +The light catches more canvas sacks, all suspended from a +the ceiling. Grease is pooling at the base of them, turning +them translucent - bags of food, or at least an +approximation of it. Other frayed and empty canvas sacks +lie around. + + BLAKE + What do you think’s in the bags? + + SCHOFIELD + You cannot be that hungry. + +Blake thinks for a beat. + +The rat makes a leap for one, dropping from the rafter to +the canvas. The bag swings violently under the rat’s +weight, a pendulum in the middle of the room. + + BLAKE + Look at him. Cocky little bastard. + +Something has caught Schofield’s eye. A crate full of food +tins has been left in the corner. Schofield walks over and +grabs one. + + SCHOFIELD + You could eat this, though. + +He turns to read the writing in Blake’s torch light: +“Fleischkonserve” + + BLAKE + What is it? + +Schofield tosses a tin across the room to him. Blake +catches it, reads the label. + + SCHOFIELD + Boche dog meat. + + BLAKE + What’s in the other boxes? + +Schofield goes for the other crate... and freezes. + 33. + + + BLAKE + What’s wrong? + + SCHOFIELD + Trip wire. + +Blake stands stock still. + + SCHOFIELD + Don’t move. + +The two men are frozen. + + BLAKE + Where is it? + + SCHOFIELD + Goes from here to the door. + +Blake’s breath quickens as he scans the room, trying to +pick out the wire in the torchlight... The door is about +ten feet away. + +Suddenly - + +BAM! + +Both men jump - The rat and the canvas bag are on the +floor. + + BLAKE + Jesus! + +The rat is dragging the canvas bag towards the door to the +next room, desperate to keep its treasure from the two men. + + BLAKE + No...no! - + +Blake’s eyes go wide, he starts forward for the rat- + +The rat lets go of the bag and flees - into the wire. A +flash of blinding light then almost simultaneously- + +BOOM! + +Impossibly loud. The blast is reflected back in off the +solid walls, a section of roof drops. Dirt and chalk dust +blast outward. + +Blake is flung backwards against the wall with a thud. + 34. + + +White chalk dust swirls in the room, bright in the +torchlight. Blake’s torch lands on the floor, beam pointing +upwards at the ceiling. + +For a second there is silence. + +Blake begins to pant. The wind is knocked out of him. He +catches his breath. + +He feels his head, reaches for his torch. His eyes scan the +room. + +His torchlight slices through the dust and smoke. The world +has been turned over. Some parts are buried. And where +Schofield was standing - a pile of rubble. + +Panic streaks across his face. + +Then there is a sound. Muffled, from deep in the white +dirt. + +Screaming. + +Schofield is buried. + +Blake is on his feet, staggering towards the mound of chalk +and dust. Moving over it, ears to the dirt, listening. + +Schofield’s screams slip through it. + +Blake frantically begins to dig. + + BLAKE + Sco?! + +Ripping earth away from one spot, then listening to +Schofield’s muffled screams and moving to another. + +Desperation on his face. + + BLAKE + SCO! + +The screams are getting weaker. Disappearing beneath the +sounds of the timber creaking and groaning. + +Blake swims through the earth, sweeping it away- + +Schofield’s screams stop. + +Blake thrashes in the chalk - at last unearths - + 35. + + + Lips. Schofield’s mouth, wide open, filled with pale grey + dirt. Still. + + BLAKE + SCO! SCO! + + Blake tears the chalk away from his mouth and nose and + suddenly Schofield heaves into life, retches, coughing up + dirt, sawing in breaths. + + Blake uncovers Schofield’s face, his eyes are packed with + dirt and chalk. Blake keeps digging, frees Schofield’s arm, + chest. Schofield thrashes in the debris, trying to free + himself. He can’t. It’s too tightly packed. + + BLAKE + Sco! Wake up! Wake up! Sco! + + Blake grabs at Schofield’s arm and with all his might + wrenches him out of the dirt. + + BLAKE + Sco... Stand up! Stand up! Up! UP! + + Schofield is in shock - numb. Caked in the pale white + earth. + + His heaves and retches fill the tiny space. His body + shaking and contorting with shock. + + BLAKE + STAND UP! + + The timber is groaning all around them now. Blake looks up + at it. + + BLAKE + The whole thing’s coming down. + + As Blake looks, the chalk dust swirls in the air, drawn + towards the tunnel entrance, sucked out by the backdraft. + + Their way out. + + Blake stands, half-drags Schofield to his feet. Schofield + can hardly see out of his dust-filled eyes. Blake pulls him + over to the tunnel entrance. + + BLAKE + You keep hold of me! + + +13 INT. GERMAN TUNNEL - CONTINUOUS 13 + 36. + + +Carved through the chalk bedrock. Seven feet high and +reinforced with timber, some of which have already split in +the blast. The tunnel slopes gently down, deeper into the +earth. White walls reflect Blake’s torch. + +The earth around them groans, silt and dust piss from the +ceiling. + +Schofield coughs and convulses, grasping on to Blake, towed +along in his wake. + +The tunnel splits, one fork has been destroyed, Blake pulls +them forward the only way they can go. + + BLAKE + We need to keep moving. Come on! + + SCHOFIELD + I can’t see - I can’t see! + +Blake stops suddenly. + + BLAKE + Stop! Stop! + +He has kicked a bucket that sits on the lip of a mineshaft. + +The bucket drops into the hole, pulleys spinning +ferociously. + + BLAKE + Stop. It’s a mineshaft. + +Blake looks for a way round it. It has been blown by the +Germans. + + BLAKE + We’ll have to jump. Come on! + +Blake jumps across it. Schofield is frozen. + + BLAKE + You’re going to have to jump! Just + jump. + + SCHOFIELD + I can’t- I can’t see! + +Blake wheels around and shines his light on Schofield. + +Schofield’s eyes stream with tears and debris, he’s +paralyzed, blinded. + 37. + + + Between them is nothing but a gaping hole in the floor, + fathomless blackness. + + The walls around them groan under the strain. The place is + coming down. + + BLAKE + You need to trust me. Jump! + + Schofield tears in a breath then leaps forwards towards + Blake. + + Schofield takes off, jumps across the hole and lands hard. + + His back foot slips down the side of the mineshaft, but + Blake grabs him, and heaves him up. + + Blake pushes forward, Schofield clings to him. + + BLAKE + Don’t let go of me! Don’t let go! + + The sound of earth collapsing suddenly fills the tunnel. + The dugout behind them has collapsed in. + + Ahead there is a fork in the tunnel. Blake spots something + to his right - a blue haze. + + Daylight. + + He pulls Schofield towards it. + + BLAKE + Light! There’s light! + + They scramble forwards. Light begins to flood the passage + way. They reach the end of the tunnel and stumble out into + the light. + + +14 EXT. REAR GERMAN TRENCHES - CONTINUOUS 14 + + Blake scrambles down a small incline, scanning for enemy. + + They are in a large sunken ditch. + + Schofield stands, bent double, at the mouth of the tunnel, + trying to catch his breath. Both of them are covered with + chalk dust. They look like pale ghosts. + + SCHOFIELD + 38. + + + Stop... stop. Just...just let me + stand. + + BLAKE + Dirty bastards. + +Schofield gathers himself and drops down beside Blake. + +Blake pushes on, climbing up a small rise, rifle ready. + +Schofield goes after him, shakily. + + BLAKE + Careful, they may have left other + traps. + +Blake crests the small berm and looks. + +Curving away from him - a quarry. A huge desolate +amphitheatre. + +The quarry is several storeys high. Holes and entrances are +carved all over it, like rabbit warrens. + +Scattered around is the detritus of war. Several huge +German guns and some small artillery lie damaged and +abandoned. + +Small mountains of brass - thousands of spent shell +casings. + + BLAKE + Jesus. + +Blake sweeps his rifle around, searching for any threat. +This place is abandoned. + +Schofield makes it to the top of the berm, and drops down +to the ground, trying to clean out his eyes. + + SCHOFIELD + Dust... so much dust in my eyes. + +He empties the remaining water from his canteen onto his +face. + +Blake approaches Schofield, hands him his canteen. +Schofield washes the chalk off of his face. + + BLAKE + Here. Have some of mine. + 39. + + +Blake crouches beside him. He watches him, concerned. + + BLAKE + I wish I’d shot that rat now. + +Schofield turns on him, sharp. + + SCHOFIELD + And I wish you’d picked some other + bloody idiot. + + BLAKE + What? + + SCHOFIELD + Why in God’s name did you have to + choose me? + +Schofield checks his pockets - takes out small tobacco tin. + +Checks inside it. His hands are shaking badly. + + BLAKE + I didn’t know what I was picking + you for. + + SCHOFIELD + No, you didn’t. You never know. + That’s your problem. + +Blake is stung. + + BLAKE + Alright then, go back. Nothing’s + stopping you. You can go all the + way bloody home if you want. + +At the mention of home Schofield turns on him sharply. + + SCHOFIELD + Don’t. + +A beat. Schofield puts the tobacco tin back in his pocket. + + BLAKE + (calmer now) + Look, I didn’t know what I was + picking you for. I thought they + were going to send us back up the + line, or for food, or something. I + thought it was going to be + something easy, alright? I never + thought it would be this. + 40. + + +A beat. + + BLAKE + So do you want to go back? + +Schofield looks at him, softening. + + SCHOFIELD + Just fire the fucking flare. + +He loads and lifts the flare, and looks back towards the +British lines. + + BLAKE + (under his breath) + Up yours, Lieutenant... + +He fires it straight up. The light streaks through the sky. + +He watches it drop. + +Blake tosses the flare gun, lowers his hand to Schofield +and helps him up. + +Schofield stands unsteadily. Blake studies his compass, +getting his bearing. + + SCHOFIELD + Do you know where we are? + + BLAKE + Ecoust is directly south east. If + we keep that bearing, we should + make it. + +He looks in the direction Blake is facing - the land rolls +gently down, a trampled road leads out of the quarry, a +shattered copse of trees juts out of the earth. Charred and +black. + +Schofield nods. Blake stows the compass. Raises his rifle. + + BLAKE + Come on then. + +They begin to walk. + +Blankets, ammunition, guns, bayonets, shells. All have been +abandoned in this place. They pass the remains of artillery +- the gun barrels have been blown out. + + BLAKE + 41. + + + Look at that. They destroyed their + own guns... + + SCHOFIELD + They destroyed their own trenches + too. + + BLAKE + What do you mean? + + SCHOFIELD + I think they wanted us to go that + way. They wanted to bury us. + +They walk. + +A noise startles them both. They turn to the source, ready +to fire - + +A large rat scuttles over A DEAD GERMAN. Blake kicks a rock +at it. It scatters. + + BLAKE + Bastard rats. + +Blake looks across at Schofield. He is still shaking +slightly. + +They walk, watchful. Eventually: + + BLAKE + Hey - did you hear that story about + Wilko? How he lost his ear? + + SCHOFIELD + I’m not in the mood. Keep your eyes + on the trees, top of the ridge. + +Blake watches the top of the slope. They walk. + + BLAKE + Bet he told you it was shrapnel. + +Beat. + + SCHOFIELD + What was it then? + + BLAKE + 42. + + + Well, you know his girl’s a + hairdresser, right? And he was + moaning about the lack of bathing + facilities when he wrote to her - + remember those rancid jakes at + Arras? + + Schofield nods - they were disgusting. + + BLAKE + Anyway, she sends him over this + ‘hair oil’. Smells sweet, like + Golden Syrup. Wilko loves the + smell, but he doesn’t want to cart + it around in his pack, so- + + They continue into the- + + +15 EXT. SHATTERED COPSE - CONTINUOUS 15 + + They tread carefully over the battered earth. It’s littered + with casings and flecks of metal. + + BLAKE + He slathers it all over his barnet, + goes to sleep and in the middle of + the night he wakes up, and a rat is + sitting on his shoulder licking the + oil off of his head! + + Schofield begins to laugh, despite himself. + + BLAKE + Wilko panics and he jumps up and + when he does - the rat bites clean + through his fucking ear and runs + off with it! + + They are both laughing quietly. + + BLAKE + Oh, he made a hell of a fuss, + yelling, screaming. + + The ground sweeps gently downward out of the burnt copse. + + Living things return to the world in small patches. + + BLAKE + 43. + + + Best of it was he put so much + bloody oil on himself that he + couldn’t wash it off! He was like a + magnet. Rats left us alone, but + they couldn’t get enough of him. + Poor bastard. + +They emerge from the copse, scanning the surroundings. They +appear to be alone. + +Above, far in the distance, the same two British planes +seem to hover in the sky, arcing back towards British +lines. + +Schofield looks up at them. + + SCHOFIELD + Heading back home. + (beat) + I wonder what they saw... + +Schofield pulls his eyes away from the planes. The two men +briefly scan the land around them. + + BLAKE + Watch the ridge lines. + +They move off again. Blake’s eyes stick to the left, +Schofield’s scan the right. After a beat. + + SCHOFIELD + Well that’s your medal sorted then. + + BLAKE + What do you mean? + +They continue walking. + + SCHOFIELD + “Lance Corporal Blake showed + unusual valour in rescuing a + comrade from certain death” blah, + blah, blah. + + BLAKE + You reckon? + + SCHOFIELD + I do. + +Blake is pleased. + + BLAKE + 44. + + + Well, that’d be nice. Since you + lost yours. + +A beat. + + SCHOFIELD + I didn’t lose mine. + +Schofield keeps walking. + + BLAKE + What happened to it, then? + + SCHOFIELD + Why do you care? + + BLAKE + Why do you not? + +Beat. + + SCHOFIELD + I swapped it with a French captain. + + BLAKE + Swapped it? For what? + + SCHOFIELD + Bottle of wine. + + BLAKE + What did you do that for? + + SCHOFIELD + I was thirsty. + + BLAKE + What a waste. + (beat) + You should have taken it home with + you, you should have given it to + your family. + +Schofield doesn’t respond. + + BLAKE + Men have died for that. + +No response. + + BLAKE + 45. + + + If I got a medal, I’d take it back + home, why didn’t you just take it + home- + + SCHOFIELD + Look it’s just a bit of bloody tin! + It doesn’t make you special, it + doesn’t make any difference to + anyone. + + BLAKE + Yes it does. + + Beat. + + BLAKE + And it’s not just a bit of tin. + (then) + It’s got a ribbon on it. + + Schofield laughs, exasperated. + + Then he turns to Blake, looks at him. + + SCHOFIELD + I hated going home. I hated it. + When I knew I couldn’t stay. When I + knew I had to leave them, and they + might never see me- + + He chokes up. Fights with himself for a moment. Then he + turns and walks ahead. + + Blake watches him, feeling guilty. Then he follows. + + Up ahead, Schofield is approaching the remains of a walled + orchard. He stops at the gate. + + +16 EXT. WALLED ORCHARD - CONTINUOUS 16 + + The near wall has partially collapsed in a mound of rubble. + + Beyond it cherry trees litter the ground. All have been cut + down, felled in the wanton destruction of the German + retreat. + + Pale blossoms swim all around, ruffled by the wind. + + Schofield looks at it all. + + SCHOFIELD + (to himself) + 46. + + + Jesus. They chopped them all down. + +Blake has followed him, a little guiltily. Wanting to +apologise, but unsure how. He takes in the orchard. + + BLAKE + Cherries. + +Blake looks at one of the trees. He reaches down, picks a +blossom, holds it up. + + BLAKE + Lamberts. + +They begin to walk through the felled trees. + + BLAKE + They might be Dukes, hard to tell + when they aren’t in fruit. + + SCHOFIELD + What’s the difference? + +Blake is a little wry, sensing Schofield softening. + + BLAKE + Well people think there’s one type, + but there’s lots of them - + Cuthberts, Queen Annes, + Montmorencys. Sweet ones, sour + ones... + + SCHOFIELD + Why on earth would you know this? + + BLAKE + Mum’s got an orchard, back home. + Only a few trees. This time of year + it looks like it’s been snowing, + blossom everywhere. And then in + May, we have to pick them. Me and + Joe. Takes the whole day. + +A pang of homesickness creeps into Blake as he and +Schofield clamber over a downed tree. They are now +alongside each other. + +Schofield registers this. + + SCHOFIELD + So, these ones all gonners? + + BLAKE + 47. + + + Oh no, they’ll grow again when the + stones rot. You’ll end up with more + trees than before. + +A large wall borders the lower end of the orchard, still +intact. Schofield arrives at the gate. + +Ahead of them, visible through the gate is a small valley. +In the valley lie the remains of a French farmhouse, +abandoned. + +It is utterly derelict now - the roof is just a skeleton of +beams. Next to it is a clapboard barn, ragged with shell +holes. + +Schofield and Blake peer through the gate at the small +collection of buildings below. Everything is still. + +Schofield looks anxiously at the farmhouse. + + BLAKE + It looks abandoned. + + SCHOFIELD + Let’s hope so. + + BLAKE + We have to make sure. + +Schofield leads the way, he moves through the gate +cautiously, rifle raised. Blake follows. + +They slip down the hill. They are in an old pigsty, +surrounded by a broken fence, which runs down to the murky +water of a pond. + +Carefully, as he walks, Schofield scans the buildings +ahead. + +The wind rustles the long grass. An ominous atmosphere +pervades this place. + +They approach the farmhouse. + + SCHOFIELD + (sotto) + I’ll take front, you take back. + +They split. Blake disappears round the back, Schofield +moves towards the front door. + +A DEAD DOG lies by the path. + 48. + + + Schofield looks at it for a beat. His hands tighten on his + rifle, as he braces himself for what might be inside. + + Schofield quickly walks up the small front path, through + the open door. + + +17 INT. FRENCH FARMHOUSE - HALLWAY - CONTINUOUS 17 + + He is still for a moment on the threshold, breath held, + listening for any sounds of life in the house. + + The silence burns. + + Schofield enters. The only sounds now are the floor boards + creaking under his boots. + + This place has been trashed by the soldiers who were here. + + Schofield turns right into - + + +18 INT. FRENCH FARMHOUSE - BEDROOM - CONTINUOUS 18 + + Schofield moves through the bedroom. Empty. He moves back + into- + + +19 INT. FRENCH FARMHOUSE - HALLWAY - CONTINUOUS 19 + + Schofield crosses the hallway. He spots Blake through the + window. + + BLAKE + Anything? + + SCHOFIELD + Nothing. + + Schofield moves forward towards the kitchen. Something + catches his eye. + + A child’s doll sits on the floor. Cigarette burns on its + eyes. + + Schofield looks at it for a beat. Then moves into the + kitchen. + + +20 INT. FRENCH FARMHOUSE - KITCHEN - CONTINUOUS 20 + + Low, dusty light streaks in from the smashed windows. + 49. + + + Schofield takes in the room. Blake enters through the back + door. + + BLAKE + Did you find any food? + + SCHOFIELD + No. + (beat) + I don’t like this place. + + He moves out through the back door- + + +21 EXT. REAR FRENCH FARMHOUSE - CONTINUOUS 21 + + Schofield moves across the barren yard to a dilapidated + barn. + + +22 INT. BARN - CONTINUOUS 22 + + Remnants and debris are scattered around. + + The low sounds of a cow echo from the fields beyond. + + Schofield looks - a single COW stands in the field. Two or + three other dead cows lie near it. + + Schofield turns, scanning the barn floor. He peers into a + milk urn, it’s empty. + + Close by there is a bucket, lid half on. + + He tips the lid off with his foot - + + Milk. + + He kneels and smells it, then lowers in a hand and lifts + some to his mouth. It’s been months since he tasted + anything as good. + + Behind him, Blake exits the farmhouse. + + BLAKE + Map says we get over that ridge and + it’s a straight shot to Ecoust. + + SCHOFIELD + Good. + 50. + + + He takes out his empty canteen and pours milk into it, + fills it to the brim. + + The huge door at back of the barn is open to the fields. + + The drone of plane engines through the doorway catches + Schofield’s attention. + + Schofield spots planes through the barn door. He moves + towards them to get a better look. Entranced. + + He moves outside to watch. + + +23 EXT. REAR FRENCH FARMHOUSE - CONTINUOUS 23 + + Schofield wanders out away from the barn. He looks up into + the grey sky. + + Three planes - a dogfight. Tiny at this distance, insect- + like. + + Schofield’s eyes follow them keenly: Two British fighters + against one German. + + The violence is so far removed from him that it looks + balletic. Beautiful even. He moves towards them to get a + better look. + + The planes twist and circle in the air, engines droning and + whining as the planes dip and rise. + + BLAKE (O.S.) + Is that our friends again? + + SCHOFIELD + Looks like it. Dogfight. + + BLAKE + Who’s winning? + + SCHOFIELD + Us, I think. Two on one. + + The two of them stand looking up at the majesty of it. + + Then, in the distance, the German plane begins to trail + black smoke. + + The hum of the German engine fails. The two British planes + follow it, hammering away on their guns until it is clear + that there is no hope for the German. + 51. + + + BLAKE + They got him... + + The German plane coasts silently towards the earth. + + Blake and Schofield watch as it gets closer and closer. + + Hypnotised. + + From the bend of wings you can tell the PILOT is trying to + glide. Trying and failing. + + The plane drops like a leaf, catching updrafts only to + suddenly dip again - aiming for the fields some distance + ahead of them. + + The plane dips. Wobbles. Fighting to stay up. It banks + left, and drops below the horizon. + + Schofield walks forwards to have a better look. Then + suddenly, the plane reappears over the horizon, flying very + low. It is heading straight at them. + + Schofield realises they are in the path of the plane. He + begins backing away, retreating towards the house. + + The plane is much closer now, behind them as they run. They + can’t make it back to the house. + + Schofield and Blake throw themselves down on the ground, + pressing themselves into the earth as the plane screams in + their direction, smashing into the barn directly behind + them. + + Black smoke pours from the plane and the shattered skeleton + of the barn. + + The fire is quick, licking along the old wood. + + +24 INT. BARN - CONTINUOUS 24 + + Smoke billows from the plane. Inside it someone is + screaming. + + Blake moves first, he runs into the barn, Schofield tailing + him. + + Tongues of fire whip out from the engine, the pilot is + inside. Burning. + 52. + + + Flames lick at his mangled legs and torso, his gloved hands + cover his face. + + Blake grabs at the man, the back of his hand touches the + yoke as he tries to free the pilot - he cries out as the + metal sears his skin. + + Schofield tears open the pilot’s strap and together they + wrench him free, dragging him from the remains of the + cockpit, and pulling his body through the smoke. + + The Pilot’s legs are on fire. + + PILOT + Meine beine! Meine beine! Hilf mir! + Hilf mir! + + PILOT + My legs! My legs! Help me! Help me! + + +25 EXT. REAR FRENCH FARMHOUSE - CONTINUOUS 25 + + Schofield and Blake drag the pilot by his shoulders - the + true extent of his injuries laid bare in the daylight. + + The flames have done bad damage. His trousers have been + partially burnt off, blood streaks down his legs. + + The Pilot’s blue eyes dart at them, in agony. He shivers + violently with shock, his lips form words, his voice is a + harsh whisper. + + (N.B. None of the German dialogue will be subtitled. We + should understand only what Blake and Schofield + understand.) + + PILOT + Lazarett, Kamerad. Bitte. Bitte. + Wasser. Water. + + PILOT + Military hospital, comrade. Please. + Please. Water. Water. + + They look down at the Pilot, shocked, unsure of what to do. + + Schofield turns to Blake. + + SCHOFIELD + (sotto to Blake) + We should put him out of his + misery. + 53. + + +Schofield and Blake share a look. + + BLAKE + No. Get him some water. He needs + water. + +Blake kneels beside the pilot, gently cradles his head on +his knees. The pilot struggles, terrified and in pain. + +Schofield moves to the water pump, his back to Blake and +the Pilot. + + BLAKE (O.S.) + It’s alright, you’re alright. Stay + still. Stay still... + + PILOT + Bitte töte mich nicht. Ich möchte + leben. + + PILOT + Please help me, I don’t want to + die. + +Schofield works the pump, the levers screeching as the +mechanism creaks back to life. + +Creak- creak- + +Orange water cascades out, slapping into the metal trough. + +Schofield keeps cranking the squeaking handle, it almost +drowns out the voices behind him. + +Creak- creak- + +Schofield collects the water in his helmet. + +Creak- creak- + +Then suddenly - shouting. + +From behind him, piercing through the other sounds. + + BLAKE + Stop...Stop! + +Schofield turns, starts forward. + +Blake screams in agony. Schofield moves towards him, +confusion on his face, until he sees- + 54. + + +A bloody knife in the pilot’s hand, pulled out of Blake’s +abdomen. + + SCHOFIELD + No, no, no! + +Schofield grabs his rifle- + +He fires two shots into the pilot, killing him outright. + +Blake is looking down at his own bloody hands. + + BLAKE + Bastard, bloody bastard. + +Blake gets to his feet, breathing heavy. Clutching his +abdomen, he staggers away from the pilot’s body. + + BLAKE + Oh, God no. Oh, God no. + +Schofield watches him, scared. + +Blake goes for his dressings, he clumsily pulls them out of +his pocket, they unspool in his shaking hands. + +Blood is seeping through Blake’s tunic. He drops to his +knees. He looks down at his own blood and sobs. + + BLAKE + Jesus. Jesus, no. + +Schofield moves forward, grabs the dressing, just as Blake +drops down to the ground. + + SCHOFIELD + We have to stop the bleeding. + +Schofield wads the dressing, he moves Blake’s hand and +pushes the white bandage hard against Blake’s tunic, trying +to stem the blood. + +Blake shouts in pain. + + BLAKE + Stop it. Stop it! + +Schofield tries to calm him. + + SCHOFIELD + It’s alright, it’s going to be + alright. We’re going to stand up. + 55. + + +Schofield wraps his hands around Blake’s webbing. + + BLAKE + Yes. Yes. + +Blake sets his feet. Schofield wrenches him up. Blake +screams in agony. + + BLAKE + No! I can’t. I can’t. + +They drop back down. + +Blake is pale, blood is pumping out of him, his lips are +already grey. + + SCHOFIELD + We have to get to an Aid Post. + + BLAKE + I can’t. + + SCHOFIELD + I’ll carry you. It isn’t very far. + + BLAKE + Just bring a doctor here. + +Schofield looks around for help, there isn’t any. They are +alone. + + SCHOFIELD + We can’t, we have to go together- + +Schofield looks at Blake, desperation in his eyes. + + SCHOFIELD + We’re going to get up. We’re going + to get up. + +Schofield moves behind Blake, grabs him under his arms. He +lifts Blake, but Blake cannot support his own weight, his +legs buckle. + + BLAKE + Stop, please! Stop! + +Schofield holds him up. Begins to drag him. + +Schofield keeps trying to drag Blake. The more Blake +struggles the more blood pisses out of his wound. + 56. + + +Blake is suddenly wild, he screams like an animal, flailing +savagely, clawing at Schofield’s chest and neck, spitting +blood, struggling against him. + + BLAKE + Put me down! Put me down, you + bastard, please! Put me down! + +They fall backwards. + +Schofield moves to face Blake. + +Blake’s whole face is colourless now. + +Schofield looks down. His eyes land on Blake’s dressing. It +is scarlet now, sopping wet with blood. He swaps it for a +fresh dressing. Panic swarms him. + + SCHOFIELD + You have to try to keep moving. + +Blake is weakening. + + BLAKE + Let’s just sit... let me sit. + + SCHOFIELD + We can’t. We have to find the 2nd. + Remember? Your brother. We have to + go now... + +Schofield stares down at Blake, he’s not lucid anymore. His +eyes are already glazing. + + BLAKE + You can start on without me. I’ll + catch up. + + SCHOFIELD + You can’t stay here. We have to + move, alright? We have to move. + +A beat. + + SCHOFIELD + Come on. Come on. That’s it. Come + on, come on... + +Schofield wraps one arm around Blake’s back, the other +round his legs, he gets to his feet and with all his might +he heaves Blake upward. Blake howls in pain. + +Schofield screams with the effort, giving it all he’s got. + 57. + + +But Blake is a dead weight. He can’t lift him. + +They drop. Schofield looks at him, desperate. + + SCHOFIELD + Your brother. We have to find your + brother. + +Blake’s breathing is coming in short bursts. + + BLAKE + You’ll recognise him. Looks like + me...a bit older. + +Schofield holds Blake’s head up. He looks impotently around +for help. + +Behind them the barn is crumbling in on itself, scarlet +embers drift across the sky, carried on the breeze. Blake +stares up at them, confused. + + BLAKE + What are they? Are we being + shelled? + + SCHOFIELD + They’re embers, the barn is on + fire. + +Blake looks bewildered. Then some pain creeps into his +eyes, some awful knowledge. + + BLAKE + I’ve been hit... What was it? + +Schofield looks down at him, unsure how to answer. + + SCHOFIELD + You were stabbed. + +Blake looks surprised. His hand feels dumbly for his wound. + +It lands on Schofield’s - he’s holding down the tunic, +stemming what blood he can. + +There is blood on Blake’s lips. His breathing is becoming +laboured. + + BLAKE + Am I dying? + +A beat. + 58. + + + SCHOFIELD + Yes, I think you are. + +An “Oh” forms on Blake’s lips. Profound sadness follows the +shock. + +Blake reaches up slowly, and taps his tunic pocket, +Schofield guesses his meaning - goes to the pocket, pulls +out a wallet. + + SCHOFIELD + This? + + BLAKE + Inside... + +Schofield opens the cover, inside are a bunch of letters, +and a photograph - Blake, his mother, and his brother Joe. + +Schofield holds it up for Blake to see: yes, that’s what I +want. + +Schofield puts the photograph in Blake’s hand, he presses +it to his breast. + + BLAKE + Will you write to my mum for me? + + SCHOFIELD + I will. + + BLAKE + Tell her I wasn’t scared. + +Schofield nods. + +A long beat. Schofield lets go of the pressure on Blake’s +wound. He holds his hand. + + SCHOFIELD + Anything else? + +Blake is slipping away, tears well and roll down his +cheeks. + + BLAKE + I love them...I wish that... I + wish... + +It’s half strangled by sadness. A long beat. Schofield +holds him. Death is close, stiffening Blake’s body, it’s +already in his eyes. + 59. + + + BLAKE + Talk to me. + +Schofield looks at Blake, he has no idea what to say. + + BLAKE + Tell me you know the way. + + SCHOFIELD + I know the way. I’m going to head + south east until I hit Ecoust. + +Blake listens. + + SCHOFIELD + I’ll pass through the town and out + to the east, all the way to + Croisilles Wood. + + BLAKE + (faint) + It’ll be dark by then. + + SCHOFIELD + That won’t bother me... I’ll find + the 2nd, I’ll give them the + message, and then I’ll find your + brother. Just like you, a little + older... + +He stops. Blake is no longer breathing. + +Without the lines of worry or agony on his face Blake looks +very young. + +Schofield is still for a moment, cradling the head of +Blake. + +A long beat. Behind Schofield the barn is collapsing in on +itself. + +The smoke has risen several stories into the sky. + +Schofield looks at Blake. Desperate. + +Then, he snaps out of it. With sudden determination, he +rummages through the pockets of Blake’s tunic - takes the +message for the 2nd, blood from his hands smudges on the +envelope. + +He stows it safely in his top pocket. He pulls out the map +from Blake’s tunic. It is saturated in blood. Illegible. + 60. + + +Schofield throws it away. + +He takes Blake’s rings from his lifeless hands, then opens +his tunic and goes for Blake’s identity disc, tearing it +off of the twine. + +He pries the photograph from Blake’s dead hand, looks at +it, then leaves it face down over his heart, inside his +tunic. + +Schofield looks around them, beside the pond is a patch of +long grass. + +Schofield heaves Blake’s torso up - the endeavour entirely +different now Blake is dead. + +Nothing is heavier than the dead body of someone you loved. + + PRIVATE PARRY (O.S.) + You alright, mate? + +Schofield looks up, shocked to see TWO BRITISH PRIVATES - +PARRY and ATKINS. + + PRIVATE ATKINS + It’s alright, it’s okay. + + PRIVATE PARRY + Come on, help him. + +Parry and Atkins move forward and take Blake’s legs. +Together the three of them move Blake to the long grass. As +they move him: + + PRIVATE ATKINS + Jesus, what happened to him? + +Schofield doesn’t answer. + + PRIVATE PARRY + Was it the plane? We saw the smoke. + +Schofield nods. + + SCHOFIELD + (sotto) + Yes. + +They lower Blake down. Schofield kneels by his head. Lost. + +A gentle voice, off camera. + 61. + + + CAPTAIN SMITH (O.S.) + Go fetch his things. + + PRIVATE PARRY + Sir. + + PRIVATE ATKINS + Yes, Sir. + +Parry and Atkins go to collect Schofield’s helmet and +rifle. + + CAPTAIN SMITH + (quietly) + A friend? + +Schofield nods. He kneels beside Blake’s body. Impotent. + +A beat. + + CAPTAIN SMITH + What are you doing here? + + SCHOFIELD + I have an urgent message for the + 2nd Devons. Orders to stop tomorrow + morning’s attack. + + CAPTAIN SMITH + Where are they stationed? + + SCHOFIELD + Just beyond Ecoust. + + CAPTAIN SMITH + Come with me. + +Smith heads back towards the farmhouse. Schofield doesn’t +move. He can’t look away from Blake. + +Smith stops, turns back. + + CAPTAIN SMITH + Come with me, Corporal. That’s an + order. + +Schofield looks up at him. + + CAPTAIN SMITH + We’re passing through Ecoust. We + can take you some of the way. + 62. + + + SCHOFIELD + Sir. + + Using the grass, he wipes Blake’s blood from off his hands. + + He stands, drags his eyes away from Blake’s body and then + moves after Smith. + + He collects his rifle and helmet from Parry then follows + Smith through the farmhouse and back out into- + + +26 EXT. COUNTRY ROAD - CONTINUOUS 26 + + A small convoy of four trucks idle on the road, all caked + in mud and battered from their journey. Soldiers mill, + smoking, pissing, stretching their legs. + + At the head of the small convoy is an Officer’s car. + Exhaust fumes swirl in the still air. + + COLONEL COLLINS (O.S.) + Oh, come on Sergeant. Put more men + at the base. At the trunk! It’ll be + heavier there... + + The trucks are filled to the brim with SOLDIERS - a mixture + of seasoned fighters and fresh recruits. All are covered in + the mud of No Man’s Land. + + CAPTAIN SMITH + Might be a tight squeeze. + + They move towards the Officer’s car. Mud hardens on the + undercarriage and the wheel arches. + + COLONEL COLLINS + No. You’re not going to be able to + just lift it. Pivot the front end + to the left- + + At the front of the convoy a large tree trunk blocks the + road, like the cherry blossoms, felled on purpose, trunk + neatly chopped. Several PRIVATES and an NCO are gathered + around trying to lift it. + + A Colonel, COLLINS (corpulent, sweating) barks orders from + the front seat of the car. + + Smith and Schofield approach the car. + + COLONEL COLLINS + (to the driver) + 63. + + + Jesus. They don’t make things easy + do they. They could at least have + retreated with a bit of grace. + Bastards. + + CAPTAIN SMITH + Sir- + +Collins turns and looks down on Smith and Schofield, his +face registering confusion. + + COLONEL COLLINS + (registering Schofield) + You’re not one of mine. + + SCHOFIELD + No, Sir. + +Collins looks at Smith for explanation. + + CAPTAIN SMITH + He’s got an urgent message to + deliver to the 2nd Devons, Sir. + +Collins’ attention is drawn back to the tree, the men have +managed to shift it a few feet to the left. + + COLONEL COLLINS + (To the driver) + Can you get past it? + + SERGEANT HARROP (O.S.) + No, Sir. + + COLONEL COLLINS + Oh, for God’s sake. + (Loudly, to the men) + Just move it! + + CAPTAIN SMITH + There’s room in the casuals truck, + sir. He has orders- + + COLONEL COLLINS + Yes, yes, alright. + (to Harrop) + Come on now. You can get through + there sideways. + +The car begins to roll forward. + +Smith moves off, as the Colonel’s car begins to manoeuvre +its way around the felled tree. + 64. + + +Smith and Schofield walk past the row of trucks, all packed +with soldiers. Schofield takes it in. + + SCHOFIELD + How did you get here, Sir? + + CAPTAIN SMITH + Crossed No Man’s Land just outside + Bapaume. Took us the whole night. + Bumped into a couple of Hun + stragglers on the way who made a + nuisance of themselves. + + SCHOFIELD + You going up to the new line? + + CAPTAIN SMITH + Attempting to. The Newfoundlands + have pushed forwards and requested + reinforcements. + +They approach the last truck. Smith looks at him. + + CAPTAIN SMITH + I’m sorry about your friend. + +Schofield nods. + + CAPTAIN SMITH + May I tell you something that you + probably already know? + +They stop. Schofield looks to him. + + CAPTAIN SMITH + It doesn’t do to dwell on it. + + SCHOFIELD + No, Sir. + +They have reached the rear of the fourth and final truck. +TWO or THREE PRIVATES mill by the rear step, smoking. They +stand to attention when the see the Captain. + + CAPTAIN SMITH + (to Schofield) + Hop on. + +Smith speaks to the soldiers. + + CAPTAIN SMITH + Make some space there... Come on, + in you get! + 65. + + + A bit of grumbling as the soldiers try to make space for + him. + + A couple of the men help him up and into- + + +27 INT. ARMY TRUCK - CONTINUOUS 27 + + Twenty men, an amalgamation of companies - some SCOTS, some + SIKHS, are crammed in here. Schofield makes space for + himself on the fringe. The men don’t look at Schofield, + don’t much care about the hitch-hiker. + + They are quiet for a beat, until Smith’s footsteps die away + and the sound of the engine rumbles. + + Schofield sits silently. + + PRIVATE COOKE + Alright. Here we go again boys. + + PRIVATE ROSSI + Welcome aboard the night bus to + fuck-knows-where. + + PRIVATE COOKE + Is that a dead dog? + + No one answers him. + + Schofield looks out of the back, watching the road and the + farmhouse disappear behind him. + + PRIVATE BUTLER + (To Rossi) + You got a fag? + + Rossi hands one over. + + PRIVATE ROSSI + Yeah, there you go. + + They light their cigarettes. + + PRIVATE COOKE + (sotto) + Butler... Oy. Carry on with that + story. + + PRIVATE BUTLER + (sotto) + 66. + + + Oh yeah, Right. So. When we get off + the train, Beaufoy comes up to us + and he’s having a right go - + (He attempts a posh + accent, complete with + lisp) + “Lance Corporal! Whatever one does, + one never lets standards slip!” + Then Scott comes out of the + latrine, he wipes his hand on the + back of Beaufoy’s jacket! Shit all + down his back. + +Laughter. + + PRIVATE COOKE + Was that meant to be Captain + Beaufoy? + + PRIVATE BUTLER + Oh, piss off you. You can’t do any + better. + +Schofield pulls his bloody tunic tight around himself, +watches. He almost disappears into the noise of the men. + + PRIVATE COOKE + (Impersonating the lisp) + “MEN! Your rifle stocks are an + embarrassment to the entire + expeditionary force.” + + SEPOY JONDALAR + You’re both bloody awful. + + PRIVATE COOKE + You don’t know, you barely even + speak the bloody language. + + PRIVATE MALKY + He’s got a better grasp of it than + you, Cooke. + + PRIVATE COOKE + Go on then Jondalar, give it a go, + let’s see it! + +The men are getting rowdier. We watch Schofield as they +grate on his quiet grief. + + PRIVATE ROSSI + Let’s hear it then Jonny! + 67. + + +The men noisily encourage him. + + SEPOY JONDALAR + (Much the best + impersonation - perfect + lisp, gestures) + “Rossi! Never in my two hundred + years as a soldier have I seen such + a sorry excuse for a latrine pit-” + +The men are all laughing, enjoying it. + + PRIVATE COOKE + Shite. That is total shit! + +Cooke gets shouted down by the men. Someone chucks a +canteen at Cooke, misses. + + PRIVATE COOKE + Oy! You could have taken my teeth + out with that. + + PRIVATE ROSSI + You could do with a new set. + +Schofield is still. The laughter settles. + +After a beat Schofield checks his wristwatch. BUTLER sees +it. + + PRIVATE BUTLER + You got somewhere you need to be? + +The men all look at him. + +Suddenly, the truck lurches violently. Schofield bumps into +a man near him. The engine groans under them. The sounds of +tyres spinning. + + PRIVATE ROSSI + Oh, no... + +A spatter of mud is thrown up. The engine revs, but the +truck sinks deeper. + +Schofield stands, leans out of the canvas. + + PRIVATE COOKE + Arsehole needs driving lessons. + +A few men groan in agreement. + 68. + + + Schofield jumps out into- + + +28 EXT. ROADSIDE DITCH - CONTINUOUS 28 + + Schofield looks at the stuck wheel. The truck has driven + off the road trying to get round another fallen tree. Its + rear wheel is sinking into a muddy ditch. + + Ahead, the convoy is stopped, waiting on them. + + Schofield speaks to one of the Privates, Cooke, as he + stares at the wheel. + + SCHOFIELD + He should reverse. + + PRIVATE COOKE + Yeah. + + Cooke does nothing. Schofield moves to the Driver’s side of + the truck. + + SCHOFIELD + (Loudly, to the driver) + Try it in reverse. REVERSE. + + A crunch of gears as the driver puts it in reverse. The + engine revs again. Schofield bends down to look. The wheel + is still spinning. The truck is slipping deeper. + + SCHOFIELD + No. Stop. STOP! + + After a beat the sound of revving dies out and the engine + idles. + + SCHOFIELD + Everyone needs to get out. + + Some of the men climb to their feet and drop out. Others + don’t move. + + SCHOFIELD + All out! + + The men aren’t moving fast enough. + + SCHOFIELD + Come on! + + PRIVATE BUTLER + 69. + + + Alright, alright. Keep your bloody + hair on. + +Begrudgingly a few fall in behind and beside the truck and +ready themselves. + + SCHOFIELD + Right. One. Two. Three. + +The tyre spins on the spot, mud flies up. Schofield and the +men push. Heaving together- + +The truck isn’t moving. + +But Schofield won’t stop, he pushes and pushes, groaning +under the effort. Desperation etched all over his face. + + PRIVATE COOKE + We need to get some wood, put it + under the wheels. + +The other men drop back away from the truck frame. + +Schofield doesn’t. + + SCHOFIELD + No! We haven’t got the time! + +He puts everything he has into shifting the truck. + + SCHOFIELD + We all need to push! + +His whole body shakes with the effort. + + SCHOFIELD + Come on! COME ON! + +He begins to yell. Pushing, screaming in desperation. + + SCHOFIELD + COME OOOON!! + +The men look at him. + + SCHOFIELD + Please. I have to go now! Please. + +The men see Schofield’s desperation. Recognise it. + +They fall back in beside him. + 70. + + + PRIVATE BUTLER + Alight, come on lads! Come on. + +Together the twenty of them push, all at once, all +stretched to the very limits of their strength. + + PRIVATE ROSSI + Come on, boys! + + SCHOFIELD + One. Two. Three! + +Schofield screams in desperation. + + SCHOFIELD + AAAAAAAHHHHH! + + PRIVATE ROSSI + Come on boys! One last push! Yes! + One. Two. Three! + +Suddenly, the truck moves, the wheel catches some grass and +WHOMPH- + +It lurches forwards, out of the ditch. Schofield falls +forward into the mud. + +He struggles to his knees, trying to get his emotions back +under control, struggling not to cry. + +Jondalar lifts him to his feet. + + SCHOFIELD + Back in. Get back in. Go. + +The other men are looking at him, they see his emotion. +They start to load back in. + +Jondalar puts his hand on Schofield’s arm. A fleeting +moment of solace. + + SEPOY JONDALAR + Are you alright? + +Schofield nods. + +TWO SOLDIERS stand on the rear step, helping to pull the +others up and in. As they do- + + PRIVATE COOKE(O.S.) + 71. + + + Here, Driver, how about you try to + keep it on the bloody road for a + change! + + DRIVER (O.S.) + Oh, piss off. + + The men are almost all loaded in. Schofield brings up the + rear. + + +29 INT. ARMY TRUCK - CONTINUOUS 29 + + Schofield takes the arm of the soldier helping men up and + is pulled inside. + + The convoy moves off. Rattling over the land. + + Around Schofield the men are quiet, their eyes on him. + + After a while- + + SEPOY JONDALAR + So, where are you going? + + SCHOFIELD + I have to get to the 2nd Devons. + Just past Ecoust. + + SEPOY JONDALAR + Why? + + SCHOFIELD + They’re attacking at dawn. I have + orders to stop them. + + PRIVATE MALKY + How come? + + SCHOFIELD + They’re walking into a trap. + + PRIVATE COOKE + How many? + + SCHOFIELD + Sixteen hundred. + + This stops them all. + + PRIVATE COOKE + Jesus. + 72. + + + PRIVATE BUTLER + Why did they send you on your own? + + SCHOFIELD + They didn’t. There were two of us. + +A beat. The men understand what this means. + + PRIVATE ROSSI + So now it’s down to you. + + SCHOFIELD + Yes. + + PRIVATE COOKE + You’ll never make it. + +Beat. Schofield turns to Cooke. Looks at him. + + SCHOFIELD + Yes. I will. + +Butler offers Schofield some of his whisky. He takes a +drink. + + SCHOFIELD + Thank you. + +Now all the men are looking out the back, watching the +distance drop away. + +The truck is sweeping past a small hamlet, or at least the +remains of one, houses have been reduced to skeletons, the +destruction is fresh, embers still smoulder. Anything of +value built on this land has been systematically destroyed. + +Dead cattle lie in the fields. + + PRIVATE ROSSI + Look at it. Fucking look at it... + Three years fighting over this. We + should have just let the bastards + keep it. I mean, who machine guns + cows? + + PRIVATE MALKY + Huns with extra bullets. + + PRIVATE ROSSI + Bastards. + +While they talk, Schofield checks that the letter is still +in his pocket. + 73. + + +He carefully puts it in his tobacco tin. + + SEPOY JONDALAR + Clever. They know if they don’t + shoot the cow, you will eat it. + +Rossi nods: fair point. + + PRIVATE ROSSI + Still bastards. + + PRIVATE MALKY + Yeah, it’s not even our bloody + country. + +Brakes creak as the truck slows a little. Schofield reacts. + + PRIVATE BUTLER + How long gone d’you reckon they + are? + + SEPOY JONDALAR + Why? Worried we’ll catch up with + them? + + PRIVATE BUTLER + Yeah, right. Be a bloody miracle at + this rate. + + PRIVATE COOKE + They are probably right around the + next corner. + + PRIVATE ROSSI + Piss off, no they’re not. + + PRIVATE COOKE + Why don’t they just bloody well + give up? Eh? Don’t they want to go + home? + + PRIVATE ROSSI + They hate their wives and + mothers... and Germany must be a + shit hole. + + PRIVATE COOKE + They’re retreating... they’re miles + back. We’ve got them on the ropes + at least. + + SEPOY JONDALAR + No. We don’t. + 74. + + + The truck slows down. It is juddering, as if navigating + cobbles. + + Schofield’s eyes dart to the back, worried. + + Suddenly the truck grinds to a halt. A few ready themselves + to jump out. + + PRIVATE BUTLER + Oh, bollocks. What’s up now? + + PRIVATE COOKE + Not another bloody tree. + + The driver calls through the canvas. + + DRIVER (O.S.) + Bridge is down. + + PRIVATE COOKE + (sarcastic - sotto) + Oh. That’s a shame. + + Schofield looks out the back of the truck. + + SCHOFIELD + Looks like I’ll be getting out + here. Good luck. + + PRIVATE ROSSI + Keep some of that luck for yourself + pal. Think you’ll be needing it. + + PRIVATE BUTLER + Good luck, mate. + + PRIVATE MALKY + Good luck. + + Drops out onto- + + +30 EXT. CANAL SIDE - CONTINUOUS 30 + + Schofield jumps down into a new landscape. + + The land is sliced through by a huge, straight, industrial + canal. The sun is now below the horizon. + + The men from the truck watch him go. + + PRIVATE COOKE + 75. + + + Don’t balls it up. + + SEPOY JONDALAR + I hope you get there. + + SCHOFIELD + Thank you. + +Captain Smith approaches. + + CAPTAIN SMITH + Next bridge is six miles. We’ll + have to divert. + + SCHOFIELD + I can’t, Sir. I don’t have the + time. + + CAPTAIN SMITH + Of course. + +Smith offers Schofield his hand. He takes it. + + CAPTAIN SMITH + Best of luck. + + SCHOFIELD + Thank you, Sir. + +Smith goes to leave, stops. + + CAPTAIN SMITH + Corporal. If you do manage to get + to Colonel Mackenzie, make sure + there are witnesses. + +Beat. + + SCHOFIELD + They are direct orders, Sir. + + CAPTAIN SMITH + I know. But some men just want the + fight. + + SCHOFIELD + Thank you, Sir. + +Captain Smith calls out to the driver at the head of the +convoy. + + CAPTAIN SMITH + 76. + + + Driver! Move off! + +Schofield watches as the small convoy drives away. Fumes +swirl in its wake. + +He turns his attention to the new obstacle - the remains of +a bridge, shattered and half blown - now little more than +twisted metal dropping into the water. + +The town of Ecoust is a jagged silhouette, visible about +two hundred yards the other side of the canal. Smoke +drifts. The town is still on fire. + +The canal is large and industrial - about 90 feet wide, +stone sides, once deep, wood and detritus float on the +surface of the water. + +On the opposite bank are the remains of a lock house. Two +storeys. Windows blown in, roof half collapsed. Beyond +that, the remains of some small buildings, all abandoned, +and then the jagged remains of Ecoust. + +Schofield surveys it. Looks around. All seems quiet. Eerie. + +Schofield looks around for a way across. The blown bridge +is his best bet. Both sides of the metal bridge have +collapsed, and slant down into the dark water. + +Schofield starts along the broken bridge, then climbs up +onto the slim metal balustrade and starts inching downwards +towards the waterline. It takes all his effort not to lose +his balance and fall into the water below. + +Finally he reaches the base of the slope, and looks across +at the remaining half of the bridge. About eight feet of +water between him and the other side... + +He prepares himself to jump across and- + +CRACK- + +A gunshot slaps the water just in front of him. Birds fly +up. + +Instinctively, he leaps- + +He lands heavily on the other side of the bridge. His foot +slips into the water, and he hauls himself up with his +hands. + +He clings to the metal latticework, scrambling forward. + +CRACK- another shot rings out, hitting the water behind. + 77. + + + CRACK- a bullet hits the metal near his hand. He quickly + climbs across the torn carcass of the bridge towards the + far bank. + + Another bullet rings out, as he drops down, throwing + himself into- + + +31 EXT. CANAL - CONTINUOUS 31 + + The cover of the far bank wall. He rips in breaths as he + presses his body into the stone bank. He stays low, inching + along the side until he can get a sense of where the shots + are coming from. + + He looks. Now he can register the direction of the shots. A + SHOOTER, in the lock house. On the upper floor. A single + high window. + + Schofield slides along the bank until he hits a small + stairwell set into the wall of the canal bank. Barely + enough cover, but his only option. + + CRACK. Another bullet sings against the stone as he darts + to the other side of the stairs. + + Schofield readies his rifle, his hands are ice, and + injured, and slow to work. They shake violently as he tries + to check and load the weapon. + + Panting, he tries to still his trembling body as he creeps + up to the top of the stairs, he peers over the top step to + line up his shot. + + CRACK- a bullet sings off the stone next to his head. + + He sucks in a deep breath and holds it. He exhales as he + leans into the shadow of the wall, and readies his rifle... + + Schofield lifts his body above the wall, and fires once. + + CRACK. + + Quickly, the shooter fires back. + + Schofield aims again, CRACK. + + The shooting stops. + + Silence. + 78. + + + Schofield is still for a moment. Breathing heavy. Shaking + from the cold and from adrenalin. + + He spins and fires another two shots through the window of + the lock house. + + CRACK. CRACK. Wood splinters. He waits. + + Again, silence. + + He steadies himself and stands carefully, rifle ready, and + quickly advances to the lock house. He pushes open the + doors and moves inside. + + +32 INT. LOCK HOUSE - CONTINUOUS 32 + + No movement on the ground floor. + + The staircase is ahead of him. His ears burn listening for + any sounds, any hint of movement. + + He holds his breath, the wood creaks under him as he backs + against the wall, rifle pointing to the top of the + staircase. + + Staying low and against the wall he moves upwards. Parts of + the upstairs come into view - + + He can now see the door to the upper room. + + Slowly, he moves along the short corridor. With his foot, + Schofield pushes at the door. It swings open, agonisingly + slowly, creaking on its hinges. + + Revealing- + + A GERMAN SOLDIER, slumped against the far wall, wounded - + but with his gun raised. + + A split second to react, Schofield raises his rifle and + + BOOM-BOOM! + + Both guns go off at the same time. + + The German’s bullet hits Schofield on the helmet, ripping + his neck and upper body backwards, almost lifting him off + his feet. + + Schofield stumbles backwards and falls- + 79. + + + Down the stairs. + + BAM - he hits the stone at the foot of the stairs and... + + Black. + + +33 INT. LOCK HOUSE - NIGHT 33 + + Still black. + + In the darkness the sound of a single drip. + + Out of the darkness, Schofield’s face. + + The drip comes from a hole in the ceiling, and falls on + Schofield’s forehead. He opens his eyes. + + Schofield starts to move, gingerly. He lifts his hand with + difficulty, runs it along the back of his head. Looks at it + - slick with black blood. + + He sits up, begins to focus. His face and hair are wet. His + legs are sprawled on the stairs above him. He looks around + dumbly. Unsure of what is up and what is down. + + He looks at his watch - smashed in the fall. No idea what + time it is. + + Panic begins to claw at him. He has somewhere to be. If + only he could remember it. + + He looks around for his rifle. He spots it above him, at + the top of the stairs. He crawls towards it. + + Reaches it. + + Suddenly, the room fills with light. Outside, a flare + streaks across the sky. As the light swings across the + room, Schofield now sees the German soldier lying dead, + slumped against the wall. + + Schofield stands and gradually descends the staircase. + + +34 EXT. ECOUST - CANAL SIDE - CONTINUOUS 34 + + Darkness. + + Then, another flare hisses across the black sky, light + bursts from it. + 80. + + +It falls slowly to earth, the magnesium light blinding. + +As the light falls the whole world undulates before him. +Not clear to him if he is awake or dreaming. + +The falling flare is playing with reality; shapes and +shadows warp across the land. + +There has been a rainstorm. The outlines of destroyed +buildings contract and expands ahead of him. + +He begins to stagger forwards through Ecoust. Struggling to +pick his way through shifting spots of darkness, unable to +tell what is shadow and what is a ditch. The puddles +reflect the Verey light, glowing as it falls, stinging his +eyes. + +CRACK - A gunshot. Somewhere in the darkness there is +another sniper. + +A brief moment of confusion, as he looks around for the +source of the gunshot. + +CRACK. Another gunshot. Distant shouts. Schofield begins to +run. + +He runs at full pelt. As he does, the flare light dies. Now +he is careening through shapeless darkness. + +We are running blind, with Schofield. The sound of his +footfalls, his breathing. + +He crashes through a puddle, the noise draws shots. The +bullets buzz around him in the darkness. Then - + +HISS - another flare bursts above him. + +He flings himself down in the rubble. + +Shots clip the ground around him. Schofield lies +motionless, breathing heavily, trying to disappear into the +rubble around him, waiting for the light to die. + +He looks up, trying to memorize his next path as the light +moves the ground ahead of him. The light dies. + +Schofield is up and clattering in darkness across cobbles. + +Another flare goes up into the night sky, but this time +Schofield doesn’t stop. He keeps running. + 81. + + + It sweeps directly over him, he darts into the bombed out + remains of a shop. As the light from the flare dies above + him, he turns the corner into - + + +35 EXT. ALLEY WAY - ECOUST - CONTINUOUS 35 + + Narrow, dark. + + He starts to move along the alley. Feeling safe in the + blackness, heading towards the flickering light at the end + of the alley - + + +36 EXT. MAIN STREET - ECOUST - CONTINUOUS 36 + + Schofield looks both ways. A broad main market street + stretches away in both directions. + + All windows are smashed, buildings have been shelled and + collapsed in on themselves. Some have vanished altogether. + + Schofield cautiously peers out along the wide street. To + his left, at the far end of the street, is a Main Square, + framed by a colonnade. + + Beyond, just out of sight, something large is burning. + + Schofield checks both ways, then begins to walk down the + ruins of the empty street, towards the square. Wary. + + Large medieval colonnades flank the entrance to the square, + some have crumbled. Schofield slips through them and into - + + +37 EXT. ECOUST MAIN SQUARE - CONTINUOUS 37 + + Schofield stops under the columns. The destruction here is + staggering - + + Colonnades run around most of the square, massive sections + of it are pitted with gaps. Whole buildings are gone, like + missing teeth - blackness yawns in them. Entire storeys + have fallen away, revealing empty rooms. + + At the centre of the square, the remains of a fountain. + + In the far corner of the square the Church is on fire. The + firelight reflects off the wet cobblestones and puddles. + + Schofield stares at it. Awed. + 82. + + + Then he spots something- + + In front of the bright flames: A MAN’S SILHOUETTE. + + Schofield sees him. The Man stops, lowers his weapon. + Starts to walk towards him. + + Schofield cannot make out if he is a German or British + soldier and begins to move towards him. + + Suddenly the Man lifts his gun and starts to run, heading + straight towards Schofield. It’s A GERMAN SOLDIER. + + Schofield responds quickly. He takes off running, heading + through the colonnade. The Soldier raises hie rifles and + fires after him. + + Schofield doesn’t stop, heading out of the square and into + - + + +38 EXT. SIDE STREET - ECOUST - CONTINUOUS 38 + + He can hear the shouts of the Soldier coming after him. + + Schofield runs full tilt. He turns a corner. Ahead, to his + left, at about knee height, is a low cellar window. + + He heads towards it, grabs at it. It’s locked. + + He can hear the footsteps of the soldier getting closer. + + Beside the window is a coal chute. In a flash, Schofield is + on his hands and knees through the dark opening, scrambling + into - + + +39 INT. COAL CELLAR - CONTINUOUS 39 + + Pitch black while his eyes adjust. + + He clutches his rifle, steps back into the shadows. His + breath saws in and out, he listens to the slap of running + footsteps getting closer. + + Schofield slides down into the darkness as a pair of German + boots run by the low window. + + He stays crouched in the darkness for a time, listening to + the footsteps receding. His eyes finally leave the window + and look around him. + 83. + + +He is in a low-ceilinged coal cellar. Sections of the roof +above have collapsed, letting in drips of rain and some +faint light. The room is empty. Then something catches his +eye. + +At the far end of the room, a small doorway. Heavy fabric +has been hung across it. His eyes catch the flicker of +flame escaping through material. + +Schofield readies his rifle. He points it at the curtain, +ready to fire, gun cocked- + +Carefully he advances into the small room. Pushes the +fabric aside with his rifle. + +In the centre of the room a furnace, presumably used to +heat the house. A small makeshift fire has been lit in it. +Around the fire a couple of blankets, some firewood, empty +cans, crusts of stale bread. + +As Schofield’s eyes adjust to the light, he sees movement +in the shadows. Instinctively, he lifts his rifle. + +There is a woman crouched in the corner. LAURI, late teens, +frail and hollow-eyed. + +Her eyes fill with fear when she sees Schofield enter her +hiding place. She doesn’t move to flee - there is nowhere +to go. + + LAURI + (subtitles; pleading) + Il ny rien ici. Nous n'avons rien + pour vous. S'il vous plaît. + + LAURI + (subtitles) + There is nothing here. We have + nothing for you. Please. + +Schofield sets his rifle down, holds his hands up, as if to +say: I am not a threat. + + SCHOFIELD + Anglais. Not German. Friend... I’m + a friend. + +She calms a little. He looks around. + + SCHOFIELD + This place, this town. Ecoust? + C'est Ecoust? + 84. + + +Lauri nods. + + LAURI + (subtitles) + Oui. + +Schofield looks relieved. + +He suddenly begins to feel the pain in his head. He sways a +little. + + LAURI + (subtitles) + Ou sont les autres? + + LAURI + (subtitles) + Where are the others? + +She looks at him. + + SCHOFIELD + Others? No. Just me. + +She looks. He gestures. + + SCHOFIELD + Only. Me. + +She understands. A beat. + + SCHOFIELD + I need to be somewhere... I need to + find a wood to the South East? + +Lauri looks at him blankly. + + SCHOFIELD + Trees... les arbres? + +Schofield searches his woozy head. + + SCHOFIELD + Croiset? + + LAURI + Croisilles? + +Schofield nods. + + SCHOFIELD + Yes. + 85. + + +Lauri points out the direction. + + LAURI + (subtitles) + La rivière- + + LAURI + (subtitles) + The river- + + SCHOFIELD + River? + + LAURI + River. It go there. Trees. + Croisilles. + +A little wave of relief. He tenderly touches his bleeding +head with his hand, winces with the pain, reels with +nausea. + + LAURI + (subtitles) + Assiez-toi. + + LAURI + (subtitles) + Sit down. + +She motions for Schofield to sit, pointing at a chair near +the fire. He sways, but doesn’t move. + + LAURI + Asseyez vous. Monsieur. + + LAURI + Sit down. Sir. + +He understands enough to obey her. Swaying slightly he +drops into the chair. + +Still holding his hand to his head, he closes his eyes and +feels the warmth of the fire on his face. It makes him +almost delirious. + +Lauri watches him. She slowly moves over to Schofield and +places her hand on his. He jumps at her touch. Tenderness +foreign to him. + + LAURI + Shhh. Shhh. + +Her kindness translates. + 86. + + +She inspects the wound. She carefully parts his damp hair, +finds the jagged wound. He flinches. + +She is very close to him, he can feel her breath on his +neck. + +She reaches down, takes out a handkerchief, holds it +against the wound. + +He closes his eyes, relaxes against her touch. + +Lauri looks at Schofield, his eyes closed, his uniform +caked in blood and mud. + +At last he turns back to face her. They lock eyes. A beat. + + SCHOFIELD + (quietly) + Thank you. + +Then, from behind her comes a sound. Something soft, small. +A BABY stirring. Schofield starts. + +Lauri moves to the corner of the room. An old mattress lies +on the floor. Next to it, a drawer from an old chest has +been lined with cloth. She reaches in, lifts the child, +cradles it protectively. + + LAURI + (subtitles) + Ma petite. + + LAURI + (subtitles) + My little one. + +Schofield stares at the baby as it settles in her arms. It +can’t be more than five months old. + + SCHOFIELD + A girl? + +She nods her head. + + LAURI + (subtitles) + Qui. Une fille. + + LAURI + (subtitles) + Yes. A girl. + +Schofield smiles. A long beat. + 87. + + +The baby is waking, she begins to cry. Lauri soothes her. + +Schofield kneels down bedside them. + +The baby is soothed, she settles. + + SCHOFIELD + What is her name? + +Lauri looks to Schofield, desolate. Shakes her head. + + LAURI + (subtitles) + J’ne sais pas. + + LAURI + (subtitles) + I don’t know. + + SCHOFIELD + Who is her mother? + + LAURI + (subtitles) + J’ne sais pas. + + LAURI + (subtitles) + I don’t know. + +The sadness nearly drowns them both. A long beat. + +Schofield opens his pack and rummages - + + SCHOFIELD + I have food. Here. I have these. + You can have them - here, take them + all, for you and the child. Here. + +He empties his rations onto the mattress, a bounty in this +barren place. Lauri looks at them, aching with +hopelessness. + +Schofield doesn’t understand. + + LAURI + (subtitles) + Elle ne peut pas manger ça. Elle a + besoin de lait... + + LAURI + (subtitles) + 88. + + + She can not eat that. She needs + milk... + +She searches for the word in English- + +Schofield blinks at her, in disbelief. + + SCHOFIELD + Milk. + +Lauri nods. + +Schofield’s cold fingers pry the canteen from his belt. He +opens it and hands it to her. She looks at him in wonder. +She smells the canteen. Milk. + +Lauri looks up at him, amazement and gratitude etched onto +her tired features. + + LAURI + Merci. + +The baby is fussing. + +Schofield moves closer, gently talking to the child. + + SCHOFIELD + Bonjour. + +The baby’s bright eyes latch on to his. + + SCHOFIELD + Bonjour. + +The baby looks at him. Begins to settle. + + LAURI + (subtitles) + Avez-vous des enfants? Children - + you? + + LAURI + (subtitles) + Do you have children? Children - + you? + +He doesn’t answer. He watches the baby. + + SCHOFIELD + Shhhh... It’s alright... + + LAURI + 89. + + + (subtitles) + Elle vous aime. Continuez... + continuez a parler. + + LAURI + (subtitles) + She likes you. Continue ... keep + talking. + +Schofield looks at the child, searching for something to +say. + +He says the first thing that comes into his head. + +He speaks softly, like he’s done it before... + + SCHOFIELD + “They went to sea in a Sieve, they + did, + + SCHOFIELD + In a Sieve they went to sea: In + spite of all their friends could + say, On a winter’s morn, on a + stormy day, In a Sieve they went to + sea.” + +The baby’s eyes don’t leave Schofield. + + SCHOFIELD + “Far and few, far and few, Are the + lands where the Jumblies live; + Their heads are green, and their + hands are blue, And they went to + sea in a Sieve.” + +A beat. The baby has settled, hypnotised by the sound. + +They are still for a moment in the firelight. + +Suddenly, the distant church bell tolls. The noise rolls +through the quiet cellar. Schofield starts at the sound. + +He counts the clock strikes in his head as they happen. + +TWO... THREE... + +He keeps looking down at the baby, but his eyes are filling +with fear. + +FOUR...FIVE... His heart is sinking. + +SIX. He holds his breath. + 90. + + + Silence. + + He stands. Goes for his pack. Lauri watches him, confused. + + LAURI + (subtitles) + Le jour. Les soldats vont vous + voir... They see you. Il fera jour. + Vous devriez attendre. Stay. Stay. + Please. + + LAURI + (subtitles) + The morning. The soldiers will see + you. They see you. It will be + light. You should wait. Stay. Stay. + Please. + + SCHOFIELD + I have to go. + + Schofield takes his rifle and moves to the doorway. + + SCHOFIELD + I’m sorry. + + He leaves. + + +40 INT. HOUSE - ECOUST - CONTINUOUS 40 + + He pushes through the doorway. Damaged wooden stairs lead + up. + + Schofield slips over the rubble, over the remains of the + house. + + He peers along the empty street. + + +41 EXT. SIDE STREET - ECOUST - CONTINUOUS 41 + + Schofield stays in the shadows, and begins to work his way + along the street in the direction Lauri pointed him. + + The town is silent. He looks up at the sky to see if the + sun is rising. No light. + + He reaches a crossroads - small alleyways branch off. He + looks around. Lost. He turns to his right - a wide + alleyway. + + He moves along it, quickly, quietly. + 91. + + + BANG - ahead of him a door flies open, warm light spills + out onto the street, followed by a German soldier. PRIVATE + MULLER, 30s, blind drunk. + + Muller stumbles a few steps and then vomits. Moaning and + muttering to himself. + + Schofield ducks into the darkness of a doorway. + + Muller moans and pukes again. Schofield backs inside the + doorway and into- + + +42 INT. SCHOOL HOUSE - ECOUST - CONTINUOUS 42 + + A small school assembly hall and a couple of other rooms + have been blown together into one large space. Metal beams + where there once was a roof. A few school desks, tipped + onto their sides. + + To one side of the room, wide arched windows let in shafts + of light from the burning church outside. They streak + across the inky darkness. + + At the far end of the room is the door Private Muller just + exited. A small fire burns on the floor by it. Smoke hangs + in the room. A couple of empty bottles lie around. + + Schofield stays in the shadows. Silently scanning the + darkness, listening to the pathetic moans of Muller + outside. + + He looks around, searching for another way out, a way past + Muller. + + Out of the shadows steps a man - ANOTHER GERMAN SOLDIER - + BAUMER, late teens. He is doing up his flies. + + They lock eyes, three feet apart. + + A beat - shock on both their faces, then horror. Neither of + them want this. + + Baumer opens his mouth to scream. + + Schofield closes the three feet and is on him - pushing + Baumer hard against a pillar. + + Schofield holds Baumer there, his hand clamped over the + young soldiers mouth. They lock eyes. Schofield holds his + finger to his lips: Stay quiet. + + Baumer nods. + 92. + + +Schofield slowly drops his hand from Baumer’s mouth. Wary. + +Baumer sucks in a breath and shouts out: + +Schofield reacts quickly, ramming his palm into Baumer’s +mouth, gagging him as they both fall onto the hard ground - +the sound echoes loudly though the school house. + +Baumer bites down on Schofield’s hand, still bound with its +bandage. + +Schofield gasps out, gritting his teeth against the pain. +He forces his hand further into Baumer’s mouth, his other +hand goes to the boys throat - squeezing with all his +strength. + +Baumer has a knife. Schofield wrestles it out of his hand. + +Baumer thrashes and kicks under Schofield, rolling the two +of them to the side. + +They are two feral creatures - both know this is to the +death. + +A shadow at the far end of the room. Muller is coming +back... + + PRIVATE MULLER + Mein Gott Baumer... Das war ein + Fehler. Wir sollten heute Abend + zurück gehen. Vielleicht hat + niemand gemerkt, dass wir weg + waren. + + PRIVATE MULLER + Christ Baumer... This was a + mistake. We should go back tonight, + maybe no one will notice we’ve + gone. + +Muller staggers his way over to a spot by the fire, slumps +down. Rummages among the empty bottles. + +Baumer tears a breath in through his nostrils, tries to +scream - + +Schofield squeezes harder on the boy’s neck, pushing the +boy’s head down into the ground. Crushing him into the +broken glass and debris. + + PRIVATE MULLER + 93. + + + Wo ist der Brandy? Du kleiner + Scheisser.. wehe du bist damit + fortgelaufen. + + PRIVATE MULLER + Where’s the brandy? You little + shit, you better not have run off + with it. + +Desperately, Baumer beats his hands against Schofield’s +chest. Muller hears the noise. + +Muller turns and peers towards them. He can’t see them in +the shadows. + + PRIVATE MULLER + Baumer. Wo ist..? Baumer? + + PRIVATE MULLER + Baumer. Where is..? Baumer? + +But Schofield can see him, and his focus briefly shifts. + +In that moment, Baumer fights back - Kicking, clawing, +punching. But he is weaker now. Schofield redoubles his +efforts. His hands and arms ache. Acid stings in his +muscles. + +Schofield is desperate. His eyes flick between Muller and +Baumer. + +Baumer’s feet scratch and scrape frantically on the stone. + + PRIVATE MULLER + Baumer? + + PRIVATE MULLER + Baumer? + +Muller stands, teeters towards them. + +Then - Baumer’s arms fall limp. + +Schofield snaps up, leaving his rifle behind him, and leaps +out of the shadows. + +He barges straight past Muller, heading for the door at the +far end of the room. Muller staggers back - + + MULLER (O.S.) + BAUMER! + 94. + + +43 EXT. SIDE STREET - ECOUST - CONTINUOUS 43 + + Schofield is out of the door, running, hands free, breath + sawing in his ears. The sound of Muller behind him- + + PRIVATE MULLER (O.S.) + ENGLANDER! ENGLANDER! + + Muller’s howl chases Schofield along the street. The sound + of the door swinging open echoes after him. + + Schofield doesn’t stop. Behind him is the sound of Muller + giving chase then- + + CRACK- + + A bullet sings off the wall opposite. + + +44 EXT. SMALL STREET - ECOUST - CONTINUOUS 44 + + Schofield sprints, looking over his shoulder. + + He turns... and fifty yards in front him - + + Another German Soldier. The same man who chased him across + the square. The soldier breaks into a run, reaches for his + rifle. + + The soldier shoots, but Schofield breaks left across the + street and into - + + +45 EXT. TINY STREET - ECOUST - CONTINUOUS 45 + + A narrow alley. + + Schofield darts down it, looking for some escape. + + Muller and the other German race into the alley behind him. + + Shots burst on the wall next to Schofield. + + To his left is another corner, Schofield sprints for it. + Flat out into - + + +46 EXT. CURVED STAIRS STREET - ECOUST - CONTINUOUS 46 + + Ahead of Schofield is a flight of stone steps. + + He leaps down. Taking them three or four at a time. + 95. + + + He slams against the wall, leaps down another flight. + + His breath burns in his lungs. At the bottom of the stairs, + is a long straight street, about 100 yards. Leading to a + Bridge. + + Schofield runs towards it. + + +47 EXT. BRIDGE STREET - ECOUST - CONTINUOUS 47 + + His heartbeat thunders as he sprints flat out. + + The street slopes downhill. Yards fall under him. We can + now see the burning Town receding behind him. + + The sound of the Two Germans battering down the stairs + echoes after him. + + They hit the flat street. 30 yards behind him. + + They open fire. + + Bullets crack off the cobbles just in front of him. + + He is 50 yards from the bridge, running full tilt. + + Shots ring out. + + Schofield reaches the bridge. Bullets ring off the rubble. + + He keeps sprinting. + + And suddenly, with no warning, Schofield veers across the + street, puts one hand on the stone wall of the bridge... + + ...and vaults clean over it - + + +48 EXT. RIVER - ECOUST - CONTINUOUS 48 + + Schofield drops forty feet and smashes into the water. + + We are under the dark water. + + Schofield resurfaces, gasping for air. Numb, panicking, he + thrashes and kicks, fighting the weight, the cold, the + fear. + + He struggles to slip off his webbing. It tangles up in his + arms, pulling him down. + 96. + + +Finally he gets it off, it is swallowed up in the white +water which churns all around him. + +Losing the weight of the webbing, he manages to stay above +the water. + +The bridge and the German soldiers are long gone. The water +is fast flowing after the rain, rapids sweep him along. + +A felled tree lies across the river. Schofield grabs hold +of its branches, tries to pull himself up. But the torrent +is too strong to fight. It rips his hands away, and pulls +him under again. + +He surfaces. Coughs and splutters on the water line. + +The rapids continue to pull him through the water at speed. + +Schofield goes with it. Letting the water carry him. + +He scans the river banks ahead. They tower up steeply. He +looks for a way out. Around him, rocks jut out from the +water dangerously. They churn the river into a whirlpool, +spinning him around. + +He is now traveling backwards downstream. + +Behind him, a large rock rises up out of the water. He is +approaching it fast. He doesn’t see it. + +The water drives him hard into the rock. His back and head +are slammed against it. + +Schofield is winded, disorientated, barely staying afloat. + +Ahead there is a sound. + +A deep rumbling. + +He fights to keep his ears above the water, to hear it. + +The rapids are getting faster, more turbulent. + +Schofield realizes what the sound is - the roar of water. + +Panic flashes on his face. He thrashes, tries to swim to a +bank. + +But it’s too late. + +A waterfall lies ahead. + 97. + + +He braces himself, and then the waterfall is on him in a +flash. + +Schofield goes over it. + +He is pulled down into the plunge pool. + +We lose sight of him. And then, nothing. He is gone. + +For a few moments, just the roar of the falls. + +Then, suddenly Schofield resurfaces, gasping for air. + +The churning water pushes him free of the falls. He manages +to turn onto his back. + +The river has got wider, deeper. He grabs hold of a branch. + +The current carries him. The world around him has turned +blue in the pre-dawn light. + +The river sweeps him forward. He is still gasping for +breath. + +Now the tumbling river gradually begins to smooth out into +a cool apron of water. + +Schofield is almost unconscious. He is slipping down, his +mouth just above the waterline. + +His eyes flutter and open, he spits out water. + +Grey mistrals roll through a pale world. Unearthly. They +hover above the river ahead. + +The river slowly pulls him. Occasional trees line the bank. + +This place is untouched by war. Spared. Clean and cool and +filled with some life. + +Schofield is fighting it, but ready to accept that this is +the end. He knows too well there are worse places, worse +ways... + +Inch by inch he starts to slip down. + +His ears fall under the waterline. The sound is sucked from +the world. His eyes stare upwards. Lips just above the +water. + +Schofield seems so peaceful, just floating on the water. +The sound of the falls recedes. + 98. + + + We are aware of birds, the wind in the leaves. + + Then the water around him turns flat. The current begins to + slow. + + White. Petals float on it, a patchwork blanket. + + Cherry Blossom. + + Schofield is swept through the white petals. + + Schofield raises an arm from the water and sees the petals + clinging to him. + + Blake. + + A long beat. + + Life seeps back into him, breaks through the icy numbness. + + Schofield’s limbs struggle to work in the cold. + + He fights, willing movement. + + He swims towards the bank. + + Ahead there are the sounds of a dam: a gentle fountain of + water. + + The sun is rising somewhere - the pre-dawn light is + beginning to illuminate the world around him. + + He has reached the dam - a fallen tree. He begins to haul + himself out. He looks down. + + BODIES. + + Twelve bodies, give or take. + + SOLDIERS - British, German. And CIVILIANS. Men and women. + + They have caught and gathered, blocked by the tree from + floating downstream. They have formed a kind of dam. + + He takes the only option. He pulls himself up, and climbs + across the bodies. His way out. + + He makes it to the river bank, and stumbles up onto the + slope. + + +49 EXT. RIVER BANK - CONTINUOUS 49 + 99. + + + He drags himself across the grass, and collapses to his + knees. + + He cries. + + Big racking sobs - for the river, for life, for Blake, for + the baby. + + The morning is forming. + + Far off in the distance, something foreign, or long + forgotten. + + Music. Singing. + + Schofield listens. Then slowly gets up, walks, shaking, + towards the sound. He stumbles but doesn’t fall. His frozen + limbs are forced, dragged, back to life. + + Schofield moves up the steep rise. He stops and looks at + the woods that now lie ahead of him. + + +50 EXT. PINE WOOD - CONTINUOUS 50 + + Shafts of morning light stream through the pine trees. + + Schofield walks towards the music. Uncertain if it is real. + + The music is in the air, a canopy, almost directionless. He + can now make out a voice. And words. + + VOICE (O.S.) + ...there is no sickness, toil, nor + danger/In that bright land to which + I go... + + Schofield picks his way through the thin trees... and + suddenly the music has a source. + + A YOUNG SOLDIER stands in a small clearing. + + A British COMPANY - about two hundred men - are gathered + around listening. + + The young soldier’s voice is pure, untrained. He sings the + old folk song - “I Am A Poor Wayfaring Stranger”. + + YOUNG SOLDIER (O.S.) + I’m going there to see my Father, + And all my loved ones who’ve gone + on. + 100. + + +Schofield stops on the edge of the clearing. Unsettled by +the world before him. Unsure if these men are living or +dead. + +If he is one of these ghosts. + +He leans against a tree and slumps down on the outskirts of +the group. The music washes over him. + +Dawn is breaking. + +He closes his eyes. Done. + + YOUNG SOLDIER + I’m only going over Jordan I’m only + going over home. + +The song finishes. A smattering of applause. + + CAPTAIN (O.S.) + D Company! MOVE OUT! + +The men stand up and begin to move. Then a voice. + + PRIVATE SEYMOUR + You alright pal? + +Schofield opens his eyes. A pair of legs before him. + + PRIVATE SEYMOUR + Where are you from? + +Another pair of legs. + + PRIVATE GREY + He’s probably got the wind up. + + PRIVATE SEYMOUR + Well he’s not one of ours. + + PRIVATE BULLEN + He’s bloody soaked. + + PRIVATE GREY + Fuck it, let’s just pick him up and + take him with us. + + SCHOFIELD + (very faintly) + Have to find the Devons. + + PRIVATE GREY + 101. + + + What’s he saying? + + PRIVATE SEYMOUR + What’s that mate? + + SCHOFIELD + The Devons. I have to find the + Devons. + +A pause while the soldiers share a look. + + PRIVATE SEYMOUR + We’re the Devons. + +Schofield looks up at them, disbelief on his face. + + SCHOFIELD + You’re the Devons. + + PRIVATE SEYMOUR + Yes, Corp. + + SCHOFIELD + Why haven’t you gone over? + + PRIVATE BULLEN + We’re the second wave. + + PRIVATE WILLOCK + They don’t send us all at once. + + PRIVATE SEYMOUR + We’re D Company, we spent the night + digging in. We go last. + +Schofield staggers to his feet. His hand goes to his tunic +pocket, to the envelope. + + PRIVATE SEYMOUR + Are you all right? + + SCHOFIELD + Mackenzie. Where’s Colonel + Mackenzie? + + PRIVATE SEYMOUR + He’s down at the line. + + SCHOFIELD + Which way? + + PRIVATE SEYMOUR + 102. + + + This way. We’re headed up there + now. + + Schofield takes off down the line of men, shoving and + pushing his way as the queue of them winds out of the + woods. + + We hear Seymour behind him. + + PRIVATE SEYMOUR (O.S.) + Oy! Steady on mate! Where you + going? + + Schofield reaches the edge of the wood. From the break in + the trees he can see the land stretching ahead of him. + + The one-day-old British trench, is perhaps forty yards + away, and beyond it, far in the distance, on the higher + ground is a black ribbon across the land: The German + trenches. From here you can just begin to sense the scale + of it. + + A comms trench leads to the front line. Schofield staggers + down into it. + + +51 EXT. 2ND COMMS TRENCH - CONTINUOUS 51 + + Schofield begins to run along the comms trench, stumbling, + weaving in and out of the advancing line of soldiers. + + SCHOFIELD + Move! + + We catch glimpses of the men as Schofield passes - + + SCHOFIELD + Let me by - Move! Let me through! + + He grabs the first Corporal he sees by the shoulder. + + SCHOFIELD + Where’s your commanding officer? + + LANCE CORPORAL DUFF + He’s in the holding pen. + + Schofield sprints in that direction - shoving and barging + now. + + As he approaches the Holding Area, we can see THRONGS of + SOLDIERS - The 2nd A and B Companies. + 103. + + +52 EXT. HOLDING PEN - CONTINUOUS 52 + + The holding area is packed with men. + + LIEUTENANT HUTTON(O.S.) + B Company, stand to! Now listen, + and listen well! + + Schofield spots the commanding voice, pushes through + towards the Lieutenant- + + LIEUTENANT HUTTON + On the first mark, A Company will + advance! B Company will then move + to the front line! + + SCHOFIELD + Sir, I have a message from General + Erinmore! + + LIEUTENANT HUTTON + Who the fuck are you? + + SCHOFIELD + The attack has been called off. + General Erinmore has called off the + attack. + + The Lieutenant stares at Schofield, incredulous. + + LIEUTENANT HUTTON + Balls, man. We’re about to go over. + We’ve got them on the run. + + SCHOFIELD + (frantic) + You don’t! Please. Don’t send your + men over. + + LIEUTENANT HUTTON + Get out of the way, Corporal - + + SCHOFIELD + These are direct orders from Army + command! Where is the Colonel + Mackenzie? + + Schofield brandishes his letter. Still wet from the river, + but legible. He looks like a madman. Hutton grabs him by + the lapels. + + LIEUTENANT HUTTON + (furious) + 104. + + + Jesus Christ, man! Go and see the + Captain! + + Hutton shoves him away. Schofield staggers on, pushing out + of the holding area. As he goes, we hear Hutton bellowing + to his men- + + LIEUTENANT HUTTON + Now I want us up there quickly, you + understand? Do you understand! + + Hutton’s men respond: ‘Yes, Sir!’ etc. + + Schofield rushes through them and into - + + +53 EXT. 2ND FRONT LINE TRENCH - CONTINUOUS 53 + + The narrow trench is packed with more men. + + This trench is hastily dug. Little more than a temporary + berm, perhaps five feet high. Hundreds of men crouch just + inside the trench wall, waiting, preparing. + + He pushes past more men. And still more. + + SERGEANT WRIGHT + Sections 9 and 10 at the ready! We + will advance on the first whistle + blast! + + Schofield pushes forwards. + + SERGEANT GARDNER + You must not slow down! If the man + next to you falls, keep moving! + Your orders are to break the lines + - + + SCHOFIELD + Where is the Captain? + + Gardner nods to CAPTAIN IVINS, rocking back and forth, head + bowed. + + SERGEANT GARDNER + He’s over there. + + Schofield gets to Ivins. + + SCHOFIELD + Sir? Sir! + 105. + + +Ivins looks up at Schofield, he’s crying, muttering to +himself, terrified. Tears roll down his face. + + SCHOFIELD + Captain, I have a message. This + attack is called off. You have to + stop, you have to stop - + +Before he can say more, the air vibrates. An impossibly +loud sound - + +GERMAN ARTILLERY. + +Shells scream overhead and then - a wall of noise. + +The air seems to tremble. + +SOLDIERS press themselves into the walls of the trench, +take cover wherever they can. + +The earth groans as the shells land. Pounding the earth all +around. Not yet zeroed in on the British Line. + + CAPTAIN IVINS + (Soundlessly) + No. No. No. + +Schofield grabs Ivins. + + SCHOFIELD + (Shouting, soundless) + Where is Colonel Mackenzie? + +Men cover their ears and squeeze their skulls, but the +sound still drowns them. Captain Ivins has his hands over +his ears. + +Schofield tries to wrestle his arms away, so he can be +heard. + + SCHOFIELD + (Again, soundless) + Where is Mackenzie? + +No response. The noise is too much. + +Some men push their heads against the front wall of the +trench, scream into the mud, all voices are lost. Others +cower into the earth. + +The noise is unbearable. + 106. + + +Schofield leaves Ivins, moving faster through the line now +as men crouch and contort themselves low. + +Schofield pushes forwards. + +Then, twenty yards behind Schofield - a direct hit. + +The concussion of the blast ripples along the narrow +trench. + +The walls literally bleed earth and chalk. + +In an instant IVINS, his men, the entire section of trench +they were in has vanished. They simply disappear - + +Schofield is thrown forward, into a huddle of stunned men. + +Sound creeps back into the world, raspy screams over the +thunder of explosions. We can hear a voice in the distance. + + SERGEANT GARDNER(O.S.) + Bearers! Stretcher bearers! + +Schofield drags himself to his feet, keeps moving along the +trench. + +German shells whistle through the air all around. + +Schofield pushes his way along. + +Fountains of mud and iron burst in No Man’s Land, towering +into the sky, showering dirt and shrapnel onto the line. + +Schofield doesn’t stop running, pushing through A and B +Companies. + +The trench gets thinner, tapering in- + +Schofield fights through the men now, running out of space, +running out of time. + +The trench narrows until Schofield can’t get through the +men. + +The PLATOONS have lost their form here, there are no gaps +between them, everyone is packed together in the chaos. + +The German artillery is increasing now. Every moment is +rocked with noise. There is no space, no silence. + +Ahead of him, 100 yards down, the trench takes another +direct hit. But Schofield keeps moving towards it. + 107. + + +MEN flow away from the damage. Pushing their way towards +Schofield. Completely blocking the trench. + +Schofield pushes forward until the trench becomes +impassable. + +A wall of men, with nowhere to go. + +A burly Sergeant is ahead of him, brandishing a pistol, +yelling commands, trying to regain some sort of order, but +his words are lost in the roar of the shells. + + SERGEANT GUTHRIE + GET BACK! Return to your sectors. + GET BACK! BACK! Hold fast! + +Schofield pushes past him, and finds the nearest C.O. - +LIEUTENANT RICHARDS. His eyes are on his men, revolver in +hand. + + LIEUTENANT RICHARDS + SEVEN PLATOON! ONE MINUTE! + +Schofield grabs at him, screams- + + SCHOFIELD + Sir, I have orders to stop this + attack. + +Richards wants to believe him. + + LIEUTENANT RICHARDS + What? + + SCHOFIELD + Where is Colonel Mackenzie? + + LIEUTENANT RICHARDS + He’s further up the line. + + SCHOFIELD + How far? + + LIEUTENANT RICHARDS + Three hundred yards. He’s in a cut + and cover. + +Both of them look around. + + LIEUTENANT RICHARDS + You’ll have to wait until the first + wave goes over. + 108. + + + SCHOFIELD + No! No, I can’t! + + Schofield turns and looks. More shells hit the trench. + Chaos. + + The way to Mackenzie is impassable. Panic mingles with + despair. + + Richards turns back to his men. + + LIEUTENANT RICHARDS + 7 PLATOON! THIRTY SECONDS! + + Suddenly, Schofield climbs up onto the firing step... + + Richards turns and sees him. + + LIEUTENANT RICHARDS + You can’t possibly make it that way + man, are you bloody insane? + + 300 yards. Open ground, utterly without cover. It may as + well be on the moon. + + Everything slows. Something in Schofield snaps. + + LIEUTENANT RICHARDS + What the hell are you doing, Lance + Corporal? + + Schofield is on the top step... + + He stands. + + LIEUTENANT RICHARDS + NO, NO, NO, NO! + + Richards and his men watch on in disbelief, as an unarmed + Schofield staggers out and into- + + +54 EXT. NO MAN'S LAND - CONTINUOUS 54 + + Schofield stumbles forwards. Shocked that he is now out in + the open. + + Then he starts to run, picking up speed. + + Now Schofield is sprinting full pelt, parallel to the + trench- + 109. + + + His breath burns in and out, sawing in his ears + + Schofield doesn’t stop. + + His legs thump over the earth. + + We hear the screech of the whistle. Three short blasts. + + The roar of hundreds of men follows- + + Schofield keeps sprinting to the western trench as now, SIX + HUNDRED SOLDIERS pour out of the British front line- + + Running out into No Man’s Land, and crossing in front and + behind Schofield. + + Hundreds of soldiers, heading towards the German lines as + he keeps sprinting to the western trench. + + The German guns now erupt again. + + Men fall in their dozens. + + Hundreds more pour over the top. + + Schofield is only half way. He stumbles, falls. But picks + himself up and keeps on running. + + The whole world shakes on its axis as the shells land. + + The air thunders around him. The ground itself bursts and + rolls. + + A Company are still pouring out into No Man’s Land. + + Schofield is running, running. + + Through the hail of bullets and shells. + + Still running. + + His lungs burn, his breath grates in his throat as he runs. + + Behind him, men continue to pour over the top. + + Schofield sprints the final few feet and - + + He jumps desperately into - + + +55 EXT. 2ND COMMAND TRENCH - CONTINUOUS 55 + 110. + + +He tumbles and lands amongst the waiting men of B Company, +now in the breech. + +Schofield careens through them and hits the ground hard. + +Men look down at him in horror. He brandishes his message +as a Captain, SANDBACH, closes in on him- + + SCHOFIELD + (Breathless) + Colonel Mackenzie? + +The Captain helps Schofield to his feet and pushes him in +the direction of a dugout- + + CAPTAIN SANDBACH + He’s in there. + (he turns to his men) + B Company two minutes! + +There is a lull in the shelling, the earth still rumbles +above them with the sounds of distant machine guns, but the +blasts have stopped. + +Schofield runs, half limping, cutting through the men who +are about to be sent over the top, and pushes his way to +the entrance of a dugout. + + SCHOFIELD + Let me through! + + ORDERLY DIXON + Hey, hey...! + + SCHOFIELD + Let me through! + +Schofield drops down a few steps, a second orderly, BYRNE +grabs him. Schofield tries to get past. + + ORDERLY BYRNE + (overlapping) + What the hell do you think you’re + doing? + + SCHOFIELD + I have to get through. I have to + see Colonel Mackenzie! + + ORDERLY DIXON + What are you doing?! + + SCHOFIELD + 111. + + + I have to stop this attack- + + He pushes past Dixon and into- + + +56 INT. MACKENZIE’S DUGOUT ANTE-ROOM - CONTINUOUS 56 + + The two Orderlies have Schofield by the arms now. He has no + strength left to fight them. + + His voice is lost in melee, as CAPTAIN RYLANDS sweeps past + him and in- + + CAPTAIN RYLANDS + Colonel, we’ve seen flares, the men + on the left flank have made it to + the German Line- + + SCHOFIELD + Colonel! + + ORDERLY DIXON + Hold him! + + SCHOFIELD + Colonel! + + The Orderlies haul him out of the dugout. + + +57 EXT. 2ND COMMAND TRENCH - CONTINUOUS 57 + + Schofield struggles wildly against the orderlies, they have + him pinned against the trench wall. + + SCHOFIELD + Listen to me, listen to me! I have + a letter! I need to see Colonel + MacKenzie! + + The Orderlies yell over him. + + ORDERLY BYRNE + There’s no bloody way you’re + getting in there, mate! + + Captain Rylands exits the dugout and bellows down the + sector to two Sergeants. + + CAPTAIN RYLANDS + Sergeant! Send the next wave! + 112. + + + The Sergeants yell back in the affirmative from further + down the line. + + SCHOFIELD + NO! + + With the last of his strength, Schofield throws his elbow + into the stomach of one of the orderlies. He breaks away + from them and into- + + +58 INT. MACKENZIE'S DUGOUT - CONTINUOUS 58 + + Schofield careens into the room. A huddle of OFFICERS are + inside, their backs to him. A commanding voice emanates + from among them. + + COLONEL MACKENZIE (O.S.) + Tell Ivins and Murphy to direct + their men to the left flank. + Concentrate everything there. + + SCHOFIELD + COLONEL MACKENZIE! + + The officers turn on Schofield, parting as they do. In the + centre, staring straight at him, is COLONEL MACKENZIE, 40s. + + Mackenzie stands ramrod straight, and is immaculately + turned out, despite the chaos surrounding him. He has a + small scar across his left eye. + + SCHOFIELD + (in a rush) + Sir, this attack is not to go + ahead! You’ve been ordered to stop. + You have to stop. + + COLONEL MACKENZIE + Who the hell are you? + + SCHOFIELD + Lance Corporal Schofield, Sir. 8th. + I have orders from General Erinmore + to call off this attack. + + Schofield offers up the letter. The other Officers all + react. + + But Mackenzie doesn’t take it. + + COLONEL MACKENZIE + You’re too late, Lance Corporal. + 113. + + + SCHOFIELD + Sir, these orders are from Army + Command. You have to read them. + +He holds out the letter to Mackenzie. A damp scrap of +paper. + +A Major, HEPBURN, is listening closely. + + MAJOR HEPBURN + Shall we hold back the second wave, + Sir? + + COLONEL MACKENZIE + No, Major. Hesitate now and we + lose. Victory is five hundred yards + away. + +Mackenzie is resolute. + + SCHOFIELD + Sir...Sir! Please read the letter. + + COLONEL MACKENZIE + I have heard it all before. I’m not + going to wait until dusk, or for + fog. I’m not calling back my men, + only to send them out there again + tomorrow. Not when we’ve got the + bastards on the run. This is their + last stand. + + SCHOFIELD + The German’s planned this, Sir. + They’ve been planning it for + months. They want you to attack. + Read the letter. + +This catches MacKenzie’s attention. He nods to Major +Hepburn: get the letter. + +Hepburn takes the letter from Schofield, hands it to +Colonel MacKenzie. + +MacKenzie opens it. Reads. + +His face utterly impassive. Inscrutable. + +Schofield waits. + + COLONEL MACKENZIE + Major. + 114. + + + MAJOR HEPBURN + Yes, Sir. + +A horrible moment of silence. Everything hangs on this. + + COLONEL MACKENZIE + Stand them down. + + MAJOR HEPBURN + Yes, Sir. + +Schofield closes his eyes. Relief floods his body. + +The Major runs from the dugout, a blast of whistles from +the outside - a signal to stop. + +Mackenzie addresses his other officers. + + COLONEL MACKENZIE + Call up the orderlies. Tend the + wounded. Hold the line in case they + counter. + + OFFICERS + Yes, Sir. + +The Officers empty out of the dugout. Noises of orders +being shouted and whistles being blown seep in from +outside. + +A long beat. Schofield senses Mackenzie moving closer to +him. + +They are now alone. + +Mackenzie speaks quietly. + + COLONEL MACKENZIE + I hoped today might be a good day. + Hope is a dangerous thing. + +Schofield stands stock still. + + COLONEL MACKENZIE + That’s it for now. Then next week, + Command will send a different + message. Attack at dawn. + +Mackenzie looks him in the eye. + + COLONEL MACKENZIE + 115. + + + There is only one way this war + ends. Last man standing. + +Mackenzie looks him up and down. + + COLONEL MACKENZIE + Have someone see to your wounds. + +Schofield is frozen. + + COLONEL MACKENZIE + Now fuck off, Lance Corporal. + +Schofield leaves the main dugout. Major Hepburn stands just +outside the door. He grabs Schofield’s arm as he passes. + +Schofield turns. + + MAJOR HEPBURN + (heartfelt) + Well done, lad. + + SCHOFIELD + Thank you, Sir. + +Beat. + + SCHOFIELD + Do you know where Lieutenant Blake + is, Sir? + + MAJOR HEPBURN + Blake? + + SCHOFIELD + There were two of us. I was sent + here with his brother. + +He looks at him. The Major understands. + + MAJOR HEPBURN + Ah. + +Beat. + + MAJOR HEPBURN + Well, knowing Lieutenant Blake he + would have gone over with his men. + He was in the first wave. + + SCHOFIELD + How could I find him, Sir? + 116. + + + MAJOR HEPBURN + You can try the casualty clearing + station, behind the line. + Otherwise... + + Beat. + + SCHOFIELD + Thank you, Sir. + + CORPORAL CAIRNS (O.S.) + Major Hepburn, Sir! + + He leaves. A beat while Schofield orientates himself. Then + he turns and walks out into - + + +59 EXT. 2ND TRENCH - CONTINUOUS 59 + + The sounds of the wounded and the dying as they pass. The + German guns have stopped for now. A brief pause. + + Schofield walks along the line. + + The B, C and D Companies are gathered, pulling in the + survivors, carrying dying and wounded men along the trench. + + Lifting them by hand where they have no stretchers. + + Schofield continues along. Searching for officers, for + Lieutenant Blake. No one looks at him. No one sees him. He + slips past them, a ghost. + + +60 EXT. SHATTERED COMMS TRENCH - CONTINUOUS 60 + + Schofield turns the corner, and pushes his way along the + zig-zag length of the trench. + + STRETCHER BEARERS push past him, pressing him against the + back wall as they pass with the wounded. + + SCHOFIELD + Sergeant, I have to find Lieutenant + Blake. Do you know where he is? + + SERGEANT + No. + + Schofield follows them, up a slope, and emerging out into- + 117. + + +61 EXT. MEADOW - CONTINUOUS 61 + + An impromptu field station, where several overwhelmed + MEDICAL OFFICERS, CHAPLAINS and ORDERLIES from the RAMC + tend to the wounded. + + Schofield moves to the tent. + + SCHOFIELD + Sir, is Lieutenant Blake here? + + MEDICAL OFFICER + No idea. + (beat) + Move along Corporal. + + Schofield walks through the tent, scanning the wounded. + + Looking at the faces, the bodies. + + MEDICAL OFFCIER + If you can walk, move to the triage + area. + + None of the men are officers, none could be Blake’s + brother. + + SCHOFIELD + Lieutenant Blake! Blake?! Has + anyone seen Lieutenant Blake? + + He moves through a tent of gravely wounded men. The + terrible sounds of the dying. None are Blake’s brother. + + Schofield moves outside. He finally stands still, hopeless. + + Sick with his failure. + + LIEUTENANT (O.S) + Now come on boys. He’s taken one in + the leg. He’s lost a lot of blood. + + Schofield turns to see an Officer. He is following a + stretcher bearer into the field station from the opposite + direction. + + Schofield stares at the man’s back. The sound of his voice. + + Just an instinct... + + SCHOFIELD + Lieutenant Blake? + 118. + + +The Officer stops and turns to him. His similarity to his +brother takes Schofield’s breath away. + + LIEUTENANT BLAKE + Yes. + +Schofield is shaky on his feet. He sways a bit, staring at +him. + + LIEUTENANT BLAKE + Do you need medical assistance? + + SCHOFIELD + No, Sir. I’m from the 8th. + + LIEUTENANT BLAKE + What the hell are you doing here? + + SCHOFIELD + I was sent here to deliver a + message-- + +Recognition plays on Blake’s face, he smiles at the mention +of his brother’s brigade, moves towards Schofield. + + LIEUTENANT BLAKE + The 8th? You must know my brother. + + SCHOFIELD + I was sent here with him. + + LIEUTENANT BLAKE + Tom’s here? Where is he? + +Schofield looks at him. Blake’s smile slowly drops. A +pause. + + SCHOFIELD + It was very quick. + +Blake takes it in. + + SCHOFIELD + I’m sorry. + +Blake nods, wordless. Schofield goes into his tunic pocket, +pulls out Blake’s possessions. There is blood on them. The +elder Blake’s face is ashen as he takes them. His eyes fill +with tears. + + LIEUTENANT BLAKE + What’s your name? + 119. + + + SCHOFIELD + Schofield, Sir. + +Blake nods. He looks down at his brother’s possessions in +his hands. + + LIEUTENANT BLAKE + I’m sorry... what? + + SCHOFIELD + It’s Schofield, Sir. William + Schofield. Will. + + LIEUTENANT BLAKE + Well, you need some food. Get + yourself to the mess tent. + +Beat. Schofield turns to leave. Then - + + SCHOFIELD + If I may, I’d like to write to your + mother. Tell her that Tom wasn’t + alone. + + LIEUTENANT BLAKE + Of course. + +Schofield searches for something to say. + + SCHOFIELD + He was...he was a good man. Always + telling funny stories. + +Blake nods. It doesn’t seem enough. + +Then Schofield finds the right words. + + SCHOFIELD + He saved my life. + +Schofield reaches out to shake his hand. Blake takes it. +They are still for a second. + + LIEUTENANT BLAKE + I am glad you were with him. + (Then) + Thank you, Will. + +Schofield nods. He turns and walks away. + +He is like a sleepwalker. Unsure of where to go. + 120. + + +He moves away from the makeshift Aid Post and into the +meadow beyond. + +The grass sways in the breeze. This place is beginning to +turn gold in the morning sun. Schofield drifts through it. + +The noise of the horror behind him gradually fades. + +Ahead, on the plain, an oak tree towers. Untouched. On the +high branches, leaves dance in the wind. + +Schofield walks towards it. He sits on the far side of it, +his back to the trunk. The land stretches out ahead of him +in the early light. + +He listens to the wind in the leaves. Birdsong. + +He undoes his breast pocket. He pulls out the small tobacco +tin. He stares at it. + +He takes a deep breath and opens it. Two photographs. + +Schofield lifts them out, looks at them: + +TWO YOUNG GIRLS, his daughters. They smile at the camera. + +He looks at the other - his WIFE. + +He turns the photo over. + +On the back, her handwriting: + +“Come back to us.” + +He stares at it for a long beat. + +The pain on his face ebbs into longing. Love. + +He closes his eyes and feels the sun on his face. + +THE END. + +FOR LANCE CORPORAL ALFRED H. MENDES + +1ST BATTALION, KING’S ROYAL RIFLE CORPS + +WHO TOLD US THE STORIES + \ No newline at end of file diff --git a/scripts/2001 A Space Odyssey.txt b/scripts/2001 A Space Odyssey.txt new file mode 100644 index 0000000000000000000000000000000000000000..b14e48713b2dfe19aee9d219ab1e2e34a62e7275 --- /dev/null +++ b/scripts/2001 A Space Odyssey.txt @@ -0,0 +1,4148 @@ + 1. + + + + TITLE CARD: + + "PART I + + AFRICA + + 3,000,000 YEARS AGO" + + VIEWS OF AFRICAN DRYLANDS – DROUGHT + + The remorseless drought had lasted now for ten million + years, and would not end for another million. The reign of + the terrible lizards had long since passed, but here on the + continent which would one day be known as Africa, the + battle for survival had reached a new climax of ferocity, + and the victor was not yet in sight. In this dry and barren + land, only the small or the swift or the fierce could + flourish, or even hope to exist. + + +1 INT./EXT. CAVES – MOONWATCHER 1 + + The man-apes of the field had none of these attributes, and + they were on the long, pathetic road to racial extinction. + About twenty of them occupied a group of caves overlooking + a small, parched valley, divided by a sluggish, brown + stream. + + The tribe had always been hungry, and now it was starving. + As the first dim glow of dawn creeps into the cave, + Moonwatcher discovers that his father has died during the + night. He did not know the Old One was his father, for such + a relationship was beyond his understanding. but as he + stands looking down at the emaciated body he feels + something, something akin to sadness. Then he carries his + dead father out of the cave, and leaves him for the hyenas. + + Among his kind, Moonwatcher is almost a giant. He is nearly + five feet high, and though badly undernourished, weighs + over a hundred pounds. His hairy, muscular body is quite + man-like, and his head is already nearer man than ape. The + forehead is low, and there are great ridges over the eye- + sockets, yet he unmistakably holds in his genes the promise + of humanity. As he looks out now upon the hostile world, + there is already something in his gaze beyond the grasp of + any ape. In those dark, deep-set eyes is a dawning + awareness-the first intimations of an intelligence which + would not fulfill itself for another two million years. + + +2 EXT. THE STREAM – THE OTHERS 2 + 2. + + + As the dawn sky brightens, Moonwatcher and his tribe reach + the shallow stream. + + The Others are already there. They were there on the other + side every day – that did not make it any less annoying. + + There are eighteen of them, and it is impossible to + distinguish them from the members of Moonwatcher's own + tribe. As they see him coming, the Others begin to angrily + dance and shriek on their side of the stream, and his own + people reply In kind. + + The confrontation lasts a few minutes – then the display + dies out as quickly as it has begun, and everyone drinks + his fill of the + + muddy water. Honor has been satisfied – each group has + staked its claim to its own territory. + + +3 EXT. AFRICAN PLAIN – HERBIVORES 3 + + Moonwatcher and his companions search for berries, fruit + and leaves, and fight off pangs of hunger, while all around + them, competing with them for the same fodder, is a + potential source of more food than they could ever hope to + eat. Yet all the thousands of tons of meat roaming over the + parched savanna and through the brush is not only beyond + their reach; the idea of eating it is beyond their + imagination. They are slowly starving to death in the midst + of plenty. + + +4 EXT. PARCHED COUNTRYSIDE – THE LION 4 + + The tribe slowly wanders across the bare, flat countryside + foraging for roots and occasional berries. + + Eight of them are irregularly strung out on the open plain, + about fifty feet apart. + + The ground is flat for miles around. + + Suddenly, Moonwatcher becomes aware of a lion, stalking + them about 300 yards away. + + Defenseless and with nowhere to hide, they scatter in all + directions, but the lion brings one to the ground. + + +5 EXT. DEAD TREE – FINDS HONEY 5 + 3. + + + It had not been a good day, though as Moonwatcher had no + real remembrance of the past he could not compare one day + with another. + + But on the way back to the caves he finds a hive of bees in + the stump of a dead tree, and so enjoys the finest delicacy + his people could ever know. Of course, he also collects a + good many stings, but he scarcely notices them. He is now + as near to contentment as he is ever likely to be; for + thought he is still hungry, he is not actually weak with + hunger. That was the most that any hominid could hope for. + + +6 INT./EXT. CAVES – NIGHT TERRORS 6 + + Over the valley, a full moon rises, and a cold wind blows + down from the distant mountains. It would be very cold + tonight – but cold, like hunger, was not a matter for any + real concern; it was merely part of the background of life. + + This Little Sun, that only shone at night and gave no + warmth, was dangerous; there would be enemies abroad. + Moonwatcher crawls out of the cave, clambers on to a large + boulder besides the entrance, and squats there where he can + survey the valley. If any hunting beast approached, he + would have time to get back to the relative safety of the + cave. + + Of all the creatures who had ever lived on Earth, + Moonwatcher's race was the first to raise their eyes with + interest to the Moon, and though he could not remember it, + when he was young, Moonwatcher would reach out and try to + touch its ghostly face. Now he new he would have to find a + tree that was high enough. + + He stirs when shrieks and screams echo up the slope from + one of the lower caves, and he does not need to hear the + occasional growl of the lion to know what is happening. + Down there in the darkness, old One-Eye and his family are + dying, and the thought that he might help in some way never + crosses Moonwatcher's mind. + + The harsh logic of survival rules out such fancies. Every + cave is silent, lest it attract disaster. + + And in the caves, in tortured spells of fitful dozing and + fearful waiting, were gathered the nightmares of + generations yet to come. + + +7 EXT. THE STREAM – INVASION 7 + 4. + + +The Others are growing desperate; the forage on their side +of the valley is almost exhausted. Perhaps they realize +that Moonwatcher's tribe has lost three of its numbers +during the night, for they choose this mourning to break +the truce. When they meet at the river in the still, misty +dawn, there is a deeper and more menacing note in their +challenge. The noisy but usually harmless confrontation +lasts only a few seconds before the invasion begins. + +In an uncertainly-moving horde, the Others cross the river, +shirking threats and hunched for the attack. They are led +by a big-toothed hominid of Moonwatcher's own size and age. + +Startled and frightened, the tribe retreats before the +first advance, throwing nothing more substantial than +imprecations at the invaders. Moonwatcher moves with them, +his mind a mist of rage and confusion. To be driven from +their own territory is a great badness, but to lose the +river is death. He does not know what to do; it is a +situation beyond his experience. + +Then he becomes dimly aware that the Others are slowing +down, and advancing with obvious reluctance. The further +they move from their own side, the more uncertain and +unhappy they become. Only Big-Tooth still retains any of +his original drive, and he is rapidly being separated from +his followers. + +As he sees this, Moonwatcher's own morale immediately +revives. He slows down his retreat, and begins to make +reassuring noises to his companions. Novel sensations fill +his dim mind – the first faint precursors of bravery and +leadership. + +Before he realizes it, he is face to face with Big-Tooth, +and the two tribes come to a halt many paces away. + +The disorganized and unscientific conflict could have ended +quickly if either had used his fist as a club, but this +innovation still lay hundreds of thousands of years in the +future. + +Instead, the slowly weakening fighters claw and scratch and +try to bite each other. + +Rolling over and over, they come to a patch of stony +ground, and when they reach it Moonwatcher is on top. By +chance, he chooses this moment to grab the hair on Big- +Tooth's scalp, and bang his head on the ground. The +resulting CRACK is so satisfactory, and produces such an +immediate weakening in Big-Tooth's resistance, that he +quickly repeats it. + 5. + + + Even when Big-Tooth ceases to move for some time, + Moonwatcher keeps up the exhilarating game. + + With shrieks of panic, the Others retreat back, across the + stream. + + The defenders cautiously pursue them as far as the water's + edge. + + +8 EXT. CAVE – NEW SOUND 8 + + Dozing fitfully and weakened by his struggle, Moonwatcher + is startled by a sound. + + He sits up in the fetid darkness of the cave, straining his + senses out into the night, and fear creeps slowly into his + soul. Never in his life – already twice as long as most + members of his species could expect – has he heard a sound + like this. The great cats approached in silence, and the + only thing that betrayed them was a rare slide of earth, or + the occasional cracking of a twig. Yet this is a continuing + crunching noise that grows steadily louder. + + It seemed that some enormous beast was moving through the + night, making no attempt at concealment, and ignoring all + obstacles. + + And then there came a sound which Moonwatcher could not + possibly have identified, for it had never been heard + before in the history of this planet. + + +9 EXT. CAVE – NEW ROCK 9 + + Moonwatcher comes face to face with the New Rock when he + leads the tribe down to the river in the first light of + morning. He had almost forgotten the terror of the night, + because nothing had happened after that initial noise, so + he does not even associate this strange thing with danger + or with fear. There is nothing in the least alarming about + it. + + It is a cube about fifteen feet on a side, and it is made + of some completely transparent material; indeed, it is not + easy to see except when the light of the sun glints on its + edges. There are no natural objects to which Moonwatcher + can compare this apparition. Though he is wisely cautious + of most new things, he does not hesitate to walk up to it. + As nothing happens, he puts out his hand, and feels a warm, + hard surface. + 6. + + + After several minutes of intense thought, he arrives at a + brilliant explanation. It is a rock, of course, and it must + have grown during the night. There are many plants that do + this – white, pulpy things shaped like pebbles, that seem + to shoot up in the hours of darkness. It is true that they + are small and round, whereas this is large and square; but + greater and later philosophers than Moonwatcher would be + prepared to overlook equally striking exceptions to their + laws. + + This really superb piece of abstract thinking leads + Moonwatcher to a deduction which he immediately puts to the + test. The white, round pebble-plants are very tasty (though + there were a few that made one violently sick); perhaps + this square one...? + + A few licks and attempted nibbles quickly disillusion him. + There is no nourishment here; so like a sensible hominid, + he continues on his way to the river and forgets all about + the Cube. + + +10 EXT. CUBE – FIRST LESSON 10 + + They are still a hundred yards from the New Rock when the + sound begins. + + It is quite soft, and it stops them in their tracks, so + that they stand paralyzed on the trail with their jaws + hanging. A simple, maddeningly repetitious rhythm pulses + out of the crystal cube and hypnotizes all who come within + its spell. For the first time – and the last, for two + million year – the sound of drumming is heard in Africa. + + The throbbing grows louder, more insistent. Presently the + hominids begin to move forward like sleep-walkers, towards + the source of that magnetic sound. Sometimes they take + little dancing steps, as their blood responds to the + rhythms that their descendants will not create for ages + yet. + + Totally entranced, they gather around the Cube, forgetting + the hardships of the day, the perils of the approaching + dusk, and the hunger in their bellies. + + Now, spinning wheels of light begin to merge, and the + spokes fuse into luminous bars that slowly recede into the + distance, rotating on their axes as they do; and the + hominids watch, wide-eyed, mesmerized captives of the + Crystal Cube. + 7. + + +Then by some magic – though it was no more magical than all +that had gone on before – a perfectly normal scene appears. +It is as if a cubical block had been carved out of the day +and shifted into the night. Inside that block is a group of +four hominids, who might have been members of Moonwatcher's +own tribe, eating chunks of meat. The carcass of a wart-hog +lies near them. + +This little family of male and female and two children is +gorged and replete, with sleek and glossy pelts – and this +was a condition of life that Moonwatcher had never +imagined. From time to time they stir lazily, as they loll +at ease near the entrance of their cave, apparently at +peace with the world. The spectacle of domestic bliss +merges into a totally different scene. + +The family is no longer reposing peacefully outside its +cave; it is foraging, searching for food like any normal +hominids. + +A small wart-hog ambles past the group of browsing +humanoids without giving them more than a glance, for they +had never been the slightest danger to its species. + +But that happy state of affairs is about to end. The big +male suddenly bends down, picks up a heavy stone lying at +his feet – + +and hurls it upon the unfortunate pig. The stone descends +upon its skull, making exactly the same noise that +Moonwatcher had produced in his now almost forgotten +encounter with Big-Tooth. And the result, too, is much the +same – the warthog gives one amazed, indignant squeal, and +collapses in a motionless heap. + +Then the whole sequence begins again, but this time it +unfolds itself with incredible slowness. Every detail of +the movement can be followed; the stone arches leisurely +through the air, the pig crumples up and sinks to the +ground. There the scene freezes for long moments, the +slayer standing motionless above the slain, the first of +all weapons in his hand. + +The scene suddenly fades out. The cube is no more than a +glimmering outline in the darkness; the hominids stir, as +if awakening from a dream, realize where they are, and +scuttle back to their caves. + 8. + + + They have no conscious memory of what they had seen; but + that night, as he sits brooding at the entrance of his + lair, his ears attuned to the noises of the world around + him, Moonwatcher feels the first faint. twinges of a new + and potent emotion – the urge to kill. He had taken his + first step towards humanity. + + +11 EXT. CAVE AND PLAINS – UTOPIA 11 + + Babies were born and sometimes lived; feeble, toothless + thirty-year-olds died; the lion took its toll in the night; + the Others threatened daily across the river – and the + tribe prospered. In the course of a single year, + Moonwatcher and his companions had changed almost beyond + recognition. + + They had become as plump as the family in the Cave, who no + longer haunted their dreams. They had learned their lessons + well; now they could handle all the stone tools and weapons + that the Cube had revealed to them. + + They were no longer half-numbed with starvation, and they + had time both for leisure and for the first rudiments of + thought. Their new way of life was casually accepted, and + they did not associate it in any way with the crystal cube + still standing outside their cave. + + But no Utopia is perfect, and this one had two blemishes. + The first was the marauding lion, whose passion for + hominids seemed to have grown even stronger now that they + were better nourished. The second was the tribe across the + river; for somehow the Others had survived, and had + stubbornly refused to die of starvation. + + +12 EXT. CAVES – KILLING THE LION 12 + + With the partly devoured carcass of a warthog laid out on + the ground at the point. he hope the boulder would impact, + Moonwatcher and three of his bravest companions wait for + two consecutive nights. On the third the lion comes, + betraying his presences by a small pebble slide. + + When they can here the lion below, softly tearing at the + meat, they strain themselves against the massive boulder. + The sound of the lion stops; he is listening. Again they + silently heave against the enormous stone, exerting the + final limits of their strength. + + The rock begin to tip to a new balance point.. + 9. + + + The lion twitches alert to this sound, but having no fear + of these creatures, he makes the first of two mistakes + which will cost him his life; he goes back to his meal. + + The rock moves slowly over the ledge, picking up speed with + amazing suddenness. It strikes a projection in the cliff + about fifteen feet above the ground, which deflects its + path outward. + + Just at this instant, the lion reacts instinctively and + leaps away from the face of the cliff directly into the + path of the onrushing boulder. He has combined the errors + of overconfidence and bad luck. + + The next morning they find the lion in front of the cave. + They also find one of their tribe who had incautiously + peeped out to see what was happening, and was apparently + killed by a small rock torn loose by the boulder; but this + was a small price to pay for such a great victory. + + And then one night the crystal cube was gone, and not even + Moonwatcher ever thought of it again. He was still wholly + unaware of all that it had done. + + +13 EXT. STREAM – MASTER OF THE WORLD 13 + + From their side of the stream, in the never violated safety + of their own territory, the Others see Moonwatcher and + fourteen males of his tribe appear from behind a small + hillock over-looking the stream, silhouetted against the + dawn sky. + + The Others begin to scream their daily challenge. But today + something is different, though the Others do not + immediately recognize this fact. + + Instead of joining the verbal onslaught, as they had always + done, Moonwatcher and his small band descended from the + rise, and begin to move forward to the stream with a quiet + purposefulness never before seen. + + As the Others watch the figures silently approaching in the + morning mist, they become aware of the terrible strangeness + of this encounter, and their rage gradually subsides down + to an uneasy silence. + + At the water's edge, Moonwatcher and his band stop. They + carry their bone clubs and bone knives. Led by One-ear, the + Others half-heartly resume the battle- chant. But they are + suddenly confronted with a vision that cuts the sound from + their throats, and strikes terror into their hearts. + 10. + + +Moonwatcher, who had been partly concealed by two males who +walked before him, thrusts his arm high into the air. In +his hand he holds a stood tree branch. Mounted atop the +branch is the bloody head of the lion, its mouth jammed +open with a stick, displaying its frightful fangs. + +The Others gape in fearful disbelief at this display of +power. + +Moonwatchers stands motionless, thrusting the lion's head +high. + +Then with majestic deliberation, still carrying his mangled +standard above his head, he begins to cross the stream, +followed by his band. + +The Others fade back from the stream, seeming to lack even +the ability to flee. + +Moonwatcher steps ashore and walks to One-Ear, who stands +unsurely in front of his band. + +Though he is a veteran of numerous combats at the water's +edge, One-Ear has never been attacked by an enemy who had +not first displayed his fighting rage; and he had never +before been attacked with a weapon. One-Ear, merely looks +up at the raised club until the heavy thigh bone of an +antelope brings the darkness down around him. + +The Others stare in wonder at Moonwatcher's power. + +Moonwatcher surveys the scene. Now he was master of the +world, and he was not sure what to do next... But he would +think of something. + +TITLE CARD: + +"PART II YEAR 2001" + +EARTH FROM 200 MILES UP + + NARRATOR + By the year 2001, overpopulation + has replaced the problem of + starvation, but this was ominously + offset by the absolute and utter + perfection of the weapon. Hundreds + of giant bombs had been placed in + perpetual orbit above the Earth. + They were capable of incinerating + the entire Earth's surface from an + altitude of 100 miles. + 11. + + + FRENCH BOMB NARRATOR + Matters were further complicated by + the presence of twenty-seven + nations in the nuclear club. There + had been no deliberate or + accidental use of nuclear weapons + since World War II and some people + felt secure in this knowledge. But + to others, the situation seemed + comparable to an airline with a + perfect safety record; in showed + admirable care and skill but no one + expected it to last forever. + + ORION-III SPACECRAFT IN FIGHT AWAY FROM EARTH, 200 MILES + ALTITUDE + + +14 INT. ORION-III PASSENGER AREA 14 + + Dr. Heywood Floyd is the only passenger in the elegant + cabin designed for 30 people. He is asleep. + + His pen floats near his hand. + + +15 INT. ORION-III COCKPIT 15 + + Pilot, Co-Pilot and Floyd can be seen asleep on a small TV + monitor. + + Stewardess is putting on lipstick. She sees pen. + + Stewardess goes back to passenger area, rescues pen and + clips it back in Floyd's pocket. + + +16 INT. SPACE STATION-5 16 + + The raw sunlight of space dazzles from the polished metal + surfaces of the slowly revolving, thousand-foot diameter + space station. + + Drifting in the same orbit, we see swept-back titov-v + spacecraft. + + Also the almost spherical aries-ib. + + +17 INT. ORION-III PASSENGER AREA 17 + + Floyd awake but groggy, looks out of window. + 12. + + +18 INT. ORION-III COCKPIT 18 + + The Co-Pilot in radio communication with the space station. + + +19 INT. THE ORION-III SPACECRAFT IN DOCKING APPROACH 19 + + The Earth is seen in breath-taking view in background. + + +20 INT. INSIDE DOCKING CONTROL 20 + + We see Orion-III maneuvering in background. + + From docking port we see the Orion-III inching in to + complete its docking. We see various windowed booths inside + docking port. We see the Pilot and Co-Pilot inside the + Orion-III cockpit. + + +21 INT. SPACE STATION RECEPTION AREA 21 + + Receptionist at desk. Miller enters, hurrying. he goes to + the elevator and presses button. He waits impatiently. + + We see elevator indicator working. + + Elevator door opens and Floyd is seen unstrapping himself. + + The Elevator Girl is seated by the door. + + MILLER + Oh, good morning, Dr. Floyd. I'm + Nick Miller. + + FLOYD + How do you do, Mr. Miller? + + MILLER + I'm terribly sorry. I was just on + my way down to meet you. I saw your + ship dock and I knew I had plenty + of time, and I was on my way out of + the office when, suddenly, the + phone rang. + + FLOYD + Oh, please don't worry about it. + + MILLER + Well, thank you very much for being + so understanding. + 13. + + + FLOYD + Please, it really doesn't matter. + + MILLER + Well... Did you have a pleasant + flight? + + FLOYD + Yes, very pleasant. + + MILLER + Well, shall we go through + Documentation? + + FLOYD + Fine. + + RECEPTIONIST + Will you use number eight, please? + + MILLER + Thank you, Miss Turner. + +They enter the passport area. + +Receptionist presses "ENGLISH" bar on her console and +smiles as Floyd goes through. + +An automated passport section. They stop in front of a +booth featuring a TV screen. + + PASSPORT GIRL (TV) + Good morning and welcome to Voice + Print Identification. When you see + the red light go on would you + please state in the following + order; your destination, your + nationality and your full name. + Surname first, Christian name and + initial. For example: Moon, + American, Smith, John, D. Thank + you. + +There is a pause and a red bar lights up. + + FLOYD + Moon, American, Floyd, Heywood, R. + +The red light goes off. there is a delay of about two +seconds and the woman's face reappears. + + FLOYD + I've always wondered... + 14. + + + PASSPORT GIRL (TV) + (interrupting) + Thank you. Despite and excellent + and continually improving safety + record there are certain risks + inherent in space travel and an. + Extremely high cost of pay load. + Because of this it is necessary for + the Space Carrier to advise you + that it cannot be responsible for + the return of your body to Earth + should you become deceased on the + Moon or en route to the Moon. + However, it wishes to advise you + that insurance covering this + contingency is available in the + Main Lounge. Thank you. You are + cleared through Voice Print + Identification. + + The lights go off and the woman's face disappears. + + The men exit the passport area. + + MILLER + I've reserved a table for you in + the Earth Light room. Your + connecting flight will be leaving + in about one hour. + + FLOYD + Oh, that's wonderful. + + +22 INT. SPACE STATION – LOUNGE 22 + + Floyd and Miller walking. + + MILLER + Let's see, we haven't had the + pleasure of a visit from you not + since... It was about eight or nine + months ago, wasn't it? + + FLOYD + Yes, I think so. Just about then. + + MILLER + I suppose you saw the work on our + new section while you were docking. + + FLOYD + Yes, it's coming along very well. + 15. + + +They pass the Vision Phone booth. + + FLOYD + Oh, look, I've got to make a phone + call. Why don't you go on into the + Restaurant and I'll meet you in + there. + + MILLER + Fine. I'll see you at the bar. + +Floyd enter phone booth. + +Sign on Vision Phone screen: "SORRY, TEMPORARILY OUT OF +ORDER." + +He enters the second booth and sits down. + +FLOYD IN VISION PHONE + +Little Girl of five answers. + + CHILD + Hello. + +Vision Phone screen display sign "YOUR PARTY HAS NOT +CONNECTED VISION" + +A few seconds later, the screen changes to an image of the +child. + + FLOYD + Hello, darling, how are you? + + CHILD + Hello Daddy. Where are you? + + FLOYD + I'm at Space Station Five, darling. + How are you? + + CHILD + I'm fine, Daddy. When are you + coming home? + + FLOYD + Well, I hope in a few days, + sweetheart. + + CHILD + I'm having a party tomorrow. + 16. + + + FLOYD + Yes, I know that sweetheart. + + CHILD + Are you coming to my party? + + FLOYD + No, I'm sorry, darling, I told you + I won't be home for a few days. + + CHILD + When are you coming home? + + FLOYD + In three days, darling, I hope. + +Floyd holds up three fingers. + + FLOYD + One, two, three. Can I speak to + Mommy? + + CHILD + Mommy's out to the hair-dresser. + + FLOYD + Where is Mrs. Brown? + + CHILD + She's in the bathroom. + + FLOYD + Okay, sweetheart. Well, I have to + go now. Tell Mommy that I called. + + CHILD + How many days until you come home? + + FLOYD + Three, darling. One... two... + three. Be sure to tell Mommy I + called. + + CHILD + I will, Daddy. + + FLOYD + Okay, sweetheart. Have a lovely + Birthday Party tomorrow. + + CHILD + Thank you, Daddy. + 17. + + + FLOYD + I'll wish you a happy Birthday now + and I'll see you soon. All right, + Darling? + + CHILD + Yes, Daddy. + + FLOYD + Bye-bye, now, sweetheart. + + CHILD + Goodbye, Daddy. + +VISION PHONE PROCEDURE FOR INFORMATION + +Vision Phone procedure for dialing. + + OPERATOR + Good morning, Macy's. + + FLOYD + Good morning. I'd like the Vision + shopper for the Pet Shop, please. + + OPERATOR + Just one moment. + +The picture flips and we see a Woman standing in front of a +specially designed display screen. + + VISION SALES GIRL + Good morning, sir, may I help you? + + FLOYD + Yes, I'd like to buy a bush baby. + + VISION SALES GIRL + Just a moment, sir. + +The Girl keys some inputs and a moving picture appears on +the screen of a cage containing about six bush babies, +beautifully displayed against a white background. + + VISION SALES GIRL + Gere you are, sir. Here is a lovely + assortment of African bush babies. + They are twenty Dollars each. + + FLOYD + Yes, well... Pick out a nice one + for me, a friendly one, and I'd + like it delivered tomorrow. + 18. + + + VISION SALES GIRL + Certainly, sir. Just let us have + your name and Bank identification + for V.P.I., and then give the name + and address of the person you'd + like the pet delivered to and it + will be delivered tomorrow. + + Some time during this conversation, Floyd sees Elena, + Smyslov and the other two Russians pass his Vision Phone + window. Elena taps and mimes "Hello", gesturing toward a + table behind Floyd where they all sit down. + + FLOYD + Thank you very much. Floyd, + Heywood, R., First National Bank of + Washington. Please deliver to Miss + Josephine Floyd, 9423 Dupre Avenue, + N.W.14. + + VISION SALES GIRL + Thank you very much, sir. It will + be delivered tomorrow. + + +23 INT. SPACE STATTION 5 – LOUNGE 23 + + FLOYD + Well, how nice to see you again, + Elena. You're looking wonderful. + + ELENA + How nice to see you, Hyewood. This + is my good friend, Dr. Heywood. + + FLOYD. + I'd like you to meet Andre + Smyslov... + + Smyslov and the two other Russian women stand up and smile. + + They shake hands after introduction and ad-lib "Hellos". + + ELENA + And this is Dr. Kalinan... + Stretyneva... + + The Russians are very warm and friendly. + + SMYSLOV + Dr. Floyd, won't you join us for a + drink? + 19. + + + FLOYD + I'm afraid I've only got a few + minutes, but I'd love to. + +There is a bit of confusion as all realize there is not +enough room for another person at the table. Smyslov offers +Floyd his chair and borrows another from a nearby table. + + SYMYSLOV + What would you like to drink? + + FLOYD + Oh, I really don't have time for a + drink. If it's all right I'll just + sit for a minute and then I've got + to be off. + + SMYSLOV + Are you quite sure? + + FLOYD + Yes, really, thank you very much. + + ELENA + Well... How's your lovely wife? + + FLOYD + She's wonderful. + + ELENA + And your charming little daughter? + + FLOYD + Oh, she's growing up very fast. As + a matter of fact, she's six + tomorrow. + + ELENA + Oh, that's such a delightful age. + + FLOYD + How is Gregor? + + ELENA + He's fine. But I'm afraid we don't + get a chance to see each other very + much these days. + +Polite laughter. + + FLOYD + Well, where are all of you off to? + 20. + + + ELENA + Actually, we're on our way back + from the moon. We've just spent + three months calibrating the new + antenna at Tchalinko. And what + about you? + + FLOYD + Well, as it happens, I'm on my way + up to the moon + + SMYSLOV + Are you, by any chance, going up to + your base at Clavius? + + FLOYD + Yes, as a matter of fact, I am. + +The Russians exchange significant glances. + + FLOYD + Is there any particular reason why + you ask? + + SMYSLOV + (pleasantly) + Well, Dr. Floyd, I hope that you + don't think I'm too inquisitive, + but perhaps you can clear up the + mystery about what's been going on + up there. + + FLOYD + I'm sorry, but I'm not sure I know + what you mean. + + SMYSLOV + Well, it's just for the past two + weeks there have been some + extremely odd things happening at + Clavius. + + FLOYD + Really? + + SMYSLOV + Yes. Well, for one thing, whenever + you phone the base, all you can get + is a recording which repeats that + the phone lines are temporarily out + of order. + + FLOYD + 21. + + +Well, I suppose they've been having +a bit of trouble with some of the +equipment. + + SMYSLOV +Yes, well at first we thought that +was the explanation, but it's been +going on for the past ten days. + + FLOYD +You mean you haven't been able to +get anyone at the base for ten +days? + + SMYSLOV +That's right. + + FLOYD +I see. + + ELENA +Another thing, Heywood, two days +ago, one of our rocket buses was +denied permission for an emergency +landing at Clavius. + + FLOYD +How did they manage to do that +without any communication? + + ELENA +Clavius Control came on the air +just long enough to transmit their +refusal. + + FLOYD +Well, that does sound very odd. + + SMYSLOV +Yes, and I'm afraid there's going +to be a bit of a row about it. +Denying the men permission to land +was a direct violation of the +I.A.S. convention. + + FLOYD +Yes... Well, I hope the crew got +back safely. + + SMYSLOV +Fortunately, they did. + + FLOYD + 22. + + + Well, I'm glad about that. + +The Russians exchange more glances. One of the Women offers +around a pill box. Elena and another Russian take one and +the third Russian declines. + + SMYSLOV + Dr. Floyd, at the risk of pressing + you on a point. you seem reticent + to discuss, may I ask you a + straightforward question? + + FLOYD + Certainly. + + SMYSLOV + Quite frankly, we have had some + very reliable intelligence reports + that a quite serious epidemic has + broken out at Clavius. Something, + apparently, of an unknown origin. + Is this, in fact, what has + happened? + +A long, awkward pause. + + FLOYD + I'm sorry, Dr. Smyslov, but I'm + really not at liberty to discuss + this. + + SMYSLOV + This epidemic could easily spread + to our base, Dr. Floyd. We should + be given all the facts. + +Long pause. + + FLOYD + Dr. Smyslov... I'm not permitted to + discuss this. + + ELENA + Are you sure you won't change your + mind about a drink? + + FLOYD + No, thank you... and I'm afraid now + I really must be going. + + ELENA + 23. + + + Well, I hope that you and your wife + can come to the I.A.C. conference + in June. + + FLOYD + We're trying to get there. I hope + we can. + + ELENA + Well, Gregor and I will look + forward to seeing you. + + FLOYD + Thank you. It's been a great + pleasure to meet all of you... Dr. + Smyslov. + + The Russians all rise and there are ad-libs of courtesy. + + Floyd shakes hands and exits. + + The Russians exchange a few serious paragraphs in Russian. + + +24 EXT. ARIES-IB IN SPACE 24 + + Earth much smaller than as seen from space station. + + NARRATOR + The Aries-IB has become the + standard Space-Station-to-Lunar + surface vehicle. It was powered by + low-thrust plasma jets which would + continue the mild acceleration for + fifteen minutes. Then the ship + would break the bonds of gravity + and be a free and independent + planet, circling the Sun in an + orbit of its own. + + +25 INT. ARIES PASSENGER AREA 25 + + Floyd is asleep, stretched out in the chair, covered with + blankets which are held secure by straps. + + A Stewardess sits at the other side of the cabin, watching + a karate exhibition between two women on TV. + + The elevator entrance door opens and the second Stewardess + enters carrying a tray of food. + + She brings it to the other Stewardess. + 24. + + + STEWARDESS #1 + Oh, thank you very much. + + STEWARDESS #2 + I see he's still asleep. + + STEWARDESS #1 + Yes. He hasn't moved since we left. + + Stewardess #2 exits into elevator. + + +26 INT. ARIES GALLEY AREA 26 + + Stewardess exits from elevator, goes to the kitchen + section, removes two trays, walks up to the side of the + wall and enters Pilot's compartment. + + +27 INT. ARIES-IB COCKPIT 27 + + Pilot, Co-Pilot. + + Stewardess enters, carrying food. + + PILOT + Oh, thank you very much. + + CO-PILOT + Thank you. + + Stewardess smiles. + + PILOT + (sighs) + Well, how's it going back there? + + STEWARDESS + Fine. Very quiet. He's been asleep + since we left. + + PILOT + Well, no one can say that he's not + enjoying the wonders of Space. + + CO-PILOT + Well, whatever's going on up there, + he's going to arrive fresh and + ready to go. + + PILOT + I wonder what really is going on up + there? + 25. + + + CO-PILOT + Well, I've heard more and more + people talk of an epidemic. + + PILOT + I suppose it was bound to happen + sooner or later. + + CO-PILOT + Berkeley told me that they think it + came from contamination on a + returning Mars flight. + + PILOT + Yes, well, whatever it is, they're + certainly not fooling around. This + is the first flight they allowed in + for more than a week. + + CO-PILOT + I was working out what this trip + must cost, taking him up there by + himself and coming back empty. + + PILOT + I'll bet it's a fortune. + + CO-PILOT + Well, at ten thousand dollars a + ticket, it comes to the better part + of six hundred thousand dollars. + + PILOT + Well, as soon as he wakes up, I'm + going to go back and talk to him. I + must say, I'd like to find out + what's going on. + + +28 INT. ARIES-IB IN SPACE 28 + + Moon very large. + + +29 INT. ARIES-IB PASSENGER AREA 29 + + Floyd finishing breakfast. + + Pilot enters. + + PILOT + Well, good afternoon, Dr. Floyd. + Did you have a good rest? + 26. + + + FLOYD +Oh, marvelous. It's the first real +sleep I've had for the past two +days. + + PILOT +There's nothing like weightless +sleep for a complete rest. + + FLOYD +When do we arrive at Clavius? + + PILOT +We're scheduled to dock in about +seven hours. Is there anything we +can do for you? + + FLOYD +Oh, no, thank you. The two girls +have taken wonderful care of me. +I'm just fine. + + PILOT +Well, if there is anything that you +want, just give a holler. + + FLOYD +Thank you. + + PILOT +Incidentally, Dr. Floyd, I wonder +if I can have a word with you about +the security arrangements? + + FLOYD +What do you mean? + + PILOT +Well... the crew is confined to the +ship when we land at Clavius. We +have to stay inside for the time it +take to refit – about twenty-four +hours. And then we're going to back +empty. + + FLOYD +I see. + + PILOT +I take it this is something to do +with the trouble they're having up +at Clavius? + 27. + + + FLOYD + I'm afraid that's out of my + department, Captain. + + PILOT + Well, I'll tell you why I ask. You + see, I've got a girl who works in + the Auditing Department of the + Territorial Administrator and I + haven't been able to get her on the + phone for the past week or so, and + with all these stories one hears, + I'm a little concerned about her. + + FLOYD + I see. Well, I'm sorry about that. + I wouldn't think there's any cause + for alarm. + + PILOT + Yes, well, I wouldn't have been too + concerned about it, except I've + heard these stories about the + epidemic and, as a matter of fact, + I've heard that ten people have + died already. + + FLOYD + I wish I could be more helpful, + Captain, but as I've said, I don't + think there's any cause for alarm. + + PILOT + Well, fine. Thanks very much, + anyway, and I hope you don't mind + me asking? + + FLOYD + No, of course, Captain, I can + understand your concern. + + PILOT + Well, thank you very much, and + please let us know if there is + anything we can do to make your + trip more comfortable. + + +30 EXT. ARIES-IB CLOSER TO MOON 30 + + Floyd goes to Aries-IB washroom and looks at the very long + list of complicated instructions. + 28. + + +31 EXT. ARIES-IB CLOSER TO MOON 31 + + DISSOLVE TO: + + +32 INT. FLOYD VISITING ARIES-IB COCKPIT 32 + + Weightless trick entrance. + + +33 INT. ARIES-IB ORBITING MOON 33 + + NARRATOR + The laws of Earthly aesthetics did + not apply here, this world had been + shaped and molded by other than + terrestrial forces, operating over + aeons of time unknown to the young, + verdant Earth, with its fleeting + Ice-Ages, its swiftly rising and + falling seas, its mountain ranges + dissolving like mists before the + dawn. Here was age inconceivable – + but not death, for the Moon had + never lived until now. + + +34 INT. ARIES-IB COCKPIT 34 + + The crew and docking control people on the moon go through + their docking routine. This has the ritualistic tone and + cadence of present-day jet landing procedure. We only hear + docking control. + + +35 INT. ARIES-IB DECENDING 35 + + See air-view of base. + + NARRATOR + The Base at Clavius was the first + American Lunar Settlement that + could, in an emergency, be entirely + self-supporting. + + NARRATOR + Water and all the necessities of + life for its eleven hundred men, + women and children were produced + from the Lunar rocks, after they + had been crushed, heated and + chemically processed. + 29. + + + A ground bus nuzzles up to coupling section of Aries-IB. + + +36 INT. INSIDE GREAT AIRLOCK ENTRANCE 36 + + Ground bus pulls in. Giant doors close behind it. + + +37 INT. INSIDE SECOND AIRLOCK 37 + + Doors open after outside section doors are closed. Ground + bus pulls in. See people waiting for second airlock doors + to close. + + +38 INT. LOW GRAVITY GYMNASIUM TRICK WITH CHILDREN 38 + + NARRATOR + One of the attractions of life on + the Moon was undoubtedly the low + gravity which produced a sense of + general well-being. + + CHILDREN IN SCHOOL + + Teacher showing Children views of Earth and map of Earth. + + NARRATOR + The personnel of the Base and their + children were the forerunners of + new nations, new cultures that + would ultimately spread out across + the solar system. They no longer + thought of Earth as home. The time + was fast approaching when Earth, + like all mothers, must say farewell + to her children. + + DISSOLVE TO: + + +39 INT. LARGE CENTRAL RECEPTION AREA 39 + + Doors branching off to different main halls. Small pond + with plastic white swan and a bit of grass. A few benches + with three women and their children having outing. + + Floyd and Welcoming Party walk through after exiting + elevator. + + Halverson, Michaels and five Others. + + FLOYD + 30. + + + (voice echoing) + I must congratulate you Halvorsen. + you've done wonderful things with + the decor since the last time I was + here. + + HALVORSEN + (voice echoing) + Well... thank you, Dr. Floyd. We + try to make the environment as + earthlike as possible. + + DISSOLVE TO: + + +40 INT. LOW CEILING CONFERENCE ROOM 40 + + U-shaped table facing three projecting screens. Seated + around the table are twenty Senior Base Personnel. + + HALVORSEN + Ladies and gentlemen, I should like + to introduce Dr. Heywood Floyd, a + distinguished member of the + National Council of Astronautics. + He has just completed a special + flight here from Earth to be with + us, and before the briefing he + would like to say a few words. Dr. + Floyd. + + Polite applause. Floyd walks to front of room. + + FLOYD + First of all, I bring a personal + message from Dr. Howell, who has + asked me to convey his deepest + appreciation to all of you for the + personal sacrifices you have made, + and of course his congratulations + on your discovery which may well + prove to be among the most + significant in the history of + science. + + Polite applause. + + FLOYD + 31. + + + Mr. Halvorsen has made known to me + some of the conflicting views held + by many of you regarding the need + for complete security in this + matter, and more specifically your + strong opposition to the cover + story created to give the + impression there is an epidemic at + the Base. I understand that beyond + it being a matter of principle, + many of you are troubled by the + concern and anxiety this story of + an epidemic might cause your + relatives and friends on Earth. I + can understand and sympathize with + your negative views. I have been + personally embarrassed by this + cover story. But I fully accept the + need for absolute secrecy and I + hope you will. It should not be + difficult for all of you to realize + the potential for cultural shock + and social disorientation contained + in the present situation if the + facts were prematurely and suddenly + made public without adequate + preparation and conditioning. + +Pause. + + FLOYD + This is the view of the Council and + the purpose of my visit here is to + gather addition facts and opinions + on the situation and to prepare a + report to the Council recommending + when and how the news should + eventually be announced. Are there + any questions? + + MICHAELS + Dr. Floyd, how long do you think + this can be kept under wraps? + + FLOYD + (pleasantly) + 32. + + + I'm afraid it can and it will be + kept under wraps as long as it is + deemed to be necessary by the + Council. And of course you know + that the Council has requested that + formal security oaths are to be + obtained in writing from everyone + who had any knowledge of this + event. There must be adequate time + for a full study to be made of the + situation before any consideration + can be given to making a public + announcement. + + HALVORSEN + We will, of course, cooperate in + any way possible, Dr. Floyd. + + SEVERAL SCENIC VIEWS OF MOON ROCKET BUS SKIMMING OVER + SURFACE OF MOON + + +41 INT. INSIDE ROCKET BUS 41 + + Floyd, Halvorsen, Michaels, Fourth Man, Pilot and Co-Pilot. + All in space suits minus helmets. + + Floyd is slowly looking through some photographs and + magnetic maps of the area. + + He looks out of the window thoughtfully. + + The photographs are taken from a satellite of the Moon's + surface and have numbered optical grid borders, like recent + Mars photos. + + A few seats away, Michaels and Halvorsen carry out a very + banal administrative conversation in low tones. It should + revolve around something utterly irrelevant to the present + circumstances and very much like the kind of discussion one + hears all the time in other organizations. + + DISSOLVE TO: + + +42 EXT. TMA-1 EXCAVATION 42 + + Air-view. Rocket bus descending. + + There are no lights on the actual excavation, only the + landing strip and the monitor dome. + 33. + + +Long shot monitor domes with a bit of excavation in shot. +Six small figures in space suits slowly walk toward +excavation. + +THE PARTY STOPS AT TOP OF TMA-1 EXCAVATION + +A small control panel mounted at the head of the ramp. +Michaels throws a switch and the excavation is suddenly +illuminated. + + HALVORSEN + Well, there it is. + + FLOYD + Can we go down there closer to it? + + HALVORSEN + Certainly. + +THEY START DOWN WORKING RAMP + + FLOYD + Does your geology on it still check + out? + + MICHAELS + Yes, it does. The sub-surface + structure shows that it was + deliberately buried about four + million years ago. + + FLOYD + How can you tell it was + deliberately buried? + + MICHAELS + By the deformation between the + mother rock and the fill. + + FLOYD + Any clue as to what it is? + + MICHAELS + Not really. It's completely inert. + No sound or energy sources have + been detected. The surface is made + of something incredibly hard and + we've been barely able to scratch + it. A laser drill might do + something, but we don't want to be + too rough until we know a little + more. + 34. + + + FLOYD + But you don't have any idea as to + what it is? + + MICHAELS + Tomb, shine, survey-marker spare + part, take your choice. + + HALVORSEN + The only thing about it that we are + sure of is that it is the first + direct evidence of intelligent life + beyond the Earth. + +Silent appreciation. + + HALVORSEN + Four million years ago, something, + presumably from the stars, must + have swept through the solar system + and left this behind. + + FLOYD + Was it abandoned, forgotten, left + for a purpose? + + HALVORSEN + I suppose we'll never know. + + MICHAELS + The moon would have made an + excellent base camp for preliminary + Earth surveys. + +Some more silence. + + FLOYD + Any ideas about the colour? + + MICHAELS + Well, not really. At first glance, + black would suggest something sun- + powered, but then why would anyone + deliberately bury a sun-powered + device? + + FLOYD + Has it been exposed to any sun + before now? + + MICHAELS + 35. + + + I don't think it has, but I'd like + to check that. Simpson, what's the + log on that? + + +43 INT. INSIDE MONITOR DOME 43 + + We see a number of television-displays including several + TV-views of Floyd and company in the excavation. + + SIMPSON + The first surface was exposed at + 0843 on the 12th April... Let me + see... that would have been forty- + five minutes after Lunar sun-set. I + see here that special lighting + equipment had to be brought up + before any further work could be + done. + + +44 INT. TMA-1 EXCAVATION 44 + + MICHAELS + Thank you. + + FLOYD + And so this is the first sun that + it's had in four million years. + + PHOTOGRAPHER + Excuse me, gentlemen, if you'd all + line up on this side of the walkway + we'd like to take a few + photographs. Dr. Floyd, would you + stay in the middle... Dr. Michaels + on that side, Mr. Halvorsen on the + other.... thank you. + + The Photographer quickly makes some exposures. + + PHOTOGRAPHER + Thank you very much gentlemen, I'll + have the base photo section send + you copies. + + As the Men slowly separate from their picture pose, there + is a piercingly powerful series of five electronic shrieks, + each like a hideously over-loaded and distorted time + signal. Floyd involuntarily tries to block his ears with + his space suited hands. + + Then comes mercily silence. + 36. + + +VARIOUS SHOTS OF SPACE MONITORS, ASTEROIDS, THE SUN, PLUTO, +MARS + + NARRATOR + A hundred million miles beyond + Mars, in the cold loneliness where + no man had yet travelled, Deep- + Space-Monitor-79 drifts slowly + among the tangled orbits of the + asteroids. Radiation detectors + noted and analyzed incoming cosmic + rays from the galaxy and points + beyond; neutron and x-ray + telescopes kept watch on strange + stars that no human eye would ever + see; magnetometers observed the + gusts and hurricanes of the solar + winds, as the sun breathed million + mile-an-hour blasts of plasma into + the faces of its circling children. + All these things and many others + were patiently noted by Deep-Space- + Monitor-79, and recorded in its + crystalline memory. But now it had + noted something strange – the + faint. Yet unmistakable disturbance + rippling across the solar system, + and quite unlike any natural + phenomena it had ever observed in + the past. It was also observed by + Orbiter M-15, circling Mars twice a + day; and High Inclination Probe-21, + climbing slowly above the planet of + the ecliptic; and even artificial + Comet-5, heading out into the cold + wastes beyond Pluto, along an orbit + whose far point. it would not reach + for a thousand years. All noticed + the peculiar burst of energy that + leaped from the face of the Moon + and moved across the solar system, + throwing off a spray of radiation + like the wake of a racing + speedboat. + +TITLE CARD: + +"PART III 14 MONTHS LATER" + +DISCOVERY 1,000,000 MILES FROM EARTH + +See Earth and Moon small. + 37. + + + We see a blinding flash every five seconds from its nuclear + pulse propulsion. It strikes against the ship's thick + ablative tail plate. + + Several cuts of this. + + ANOTHER CLOSER VIEW OF DISCOVERY + + See Bowman through command module window. + + BOWMAN INSIDE DISCOVERY COMMAND MODULE + + He is looking for something. + + Computer readout display showing an ever-shifting + assortment of color-coded linear projections. + + We see Poole in the background in computer brain center + area. + + After a few seconds he exits. + + The elapsed mission timer reads "DAY 003, HOUR 14, MINUTE + 32, SECOND 10". + + BOWMAN EXITS TO ACCESS-LINK AIRLOCK + + Bright color-coded doors lead to centrifuge and Pod Bay. + Large illuminated printed warnings and instructions + governing link operations are seen. + + He presses necessary buttons to operate airlock door to Pod + Bay. + + +45 INT. POD BAY 45 + + Bowman enters Pod Bay and continues his search. + + Suddenly he finds it – his electronic news pad. + + He exits Pod Bay. + + +46 INT. AIRLOCK-LINK 46 + + In the airlock-link Bowman operates buttons to open door + marked "CENTRIFUGE". + + +47 INT. CENTRIFUGE HUB 47 + 38. + + + Inside the Centrifuge hub Bowman moves to the... + + +48 INT. TENTRY PORT CONTROL PANEL 48 + + BOWMAN + Hi. Frank... coming in, please. + + POOLE + Right. Just a sec. + + BOWMAN + Okay. + (pause) + + POOLE + Okay, come on down. + + We see the rotating hub collar at the end. Behind it we + see: + + +49 INT. CENTRIFUGE HUB 49 + + The Centrifuge TV-display showing Sleepers and poole slowly + rotating by. + + Poole secures some loose gear. + + Poole looks up to TV monitor lens and waves. + + BOWMAN AT PANEL + + Stops rotation and moves to Entry Port. + + When rotation stops we see a sign lights up: "WEIGHTLESS + CONDITION". + + As Bowman disappears down Entry Port we see him on... + + ... TV-monitor, descending ladder. At the base of the + ladder he keys the Centrifuge operation panel. We see The + TV-picture start to rotate again. "WEIGHTLESS CONDITION" + sign goes out. + + INSIDE CENTRIFUGE + + Bowman makes 180° walk to Poole. On way he passes the + Sleepers. + + We get a good look at the three men in their hibernaculums. + 39. + + +Poole is seated at a table reading his electronic news pad. + + BOWMAN + (softly) + Hi... How's it going? + + POOLE + (absent but friendly) + Great. + +Bowman operates artificial food unit, takes a tray and sits +down. + +Keys on his electronic news pad and begins to eat. Both Men +eat in a friendly and relaxed silence. + +DISCOVERY IN SPACE, STILL NUCLEAR PULSING + +Earth and Moon can be seen in background. + + DISSOLVE TO: + +POOLE IS FINISHED + +Bowman is still reading and working on his dessert. + + POOLE + Dave, if you've a minute, I'd like + your advice on something. + + BOWMAN + Sure, what is it? + + POOLE + Well, it's nothing really + important, but it's annoying. + + BOWMAN + What's up? + + POOLE + It's about my salary cheques. + + BOWMAN + Yes? + + POOLE + Well I got the papers on my + official up-grading to AGS-19 two + weeks before we left. + + BOWMAN + 40. + + +Yes, I remember you mentioning it. +I got mine about the same time. + + POOLE +That's right. Well, naturally, I +didn't say anything to Payroll. I +assumed they'd start paying me at +the higher grade on the next. pay +cheque. But it's been almost three +weeks now and I'm still being paid +as an AGS-18. + + BOWMAN +Interesting that you mention it, +because I've got the same problem. + + POOLE +Really. + + BOWMAN +Yes. + + POOLE +Yesterday, I finally called the +Accounting Office at Mission +Control, and all they could tell me +was that they'd received the AGS-19 +notification for the other three +but not mine, and apparently not +yours either. + + BOWMAN +Did they have any explanation for +this? + + POOLE +Not really. They just said it might +be because we trained at Houston +and they trained in Marshall, and +that we're being charged against +different accounting offices. + + BOWMAN +It's possible. + + POOLE +Well, what do you think we ought to +do about it? + + BOWMAN +I don't think we should make any +fuss about it yet. I'm sure they'll +straighten it out. + 41. + + + POOLE +I must say, I never did understand +why they split us into two groups +for training. + + BOWMAN +No. I never did, either. + + POOLE +We spent so little time with them, +I have trouble keeping their names +straight. + + BOWMAN +I suppose the idea was specialized +training. + + POOLE +I suppose so. Though, of course, +there's a more sinister +explanation. + + BOWMAN +Oh? + + POOLE +Yes. You must have heard the rumour +that went around during orbital +check-out. + + BOWMAN +No, as a matter of fact, I didn't. + + POOLE +Oh, well, apparently there's +something about the mission that +the sleeping beauties know that we +don't know, and that's why we were +trained separately and that's why +they were put to sleep before they +were even taken aboard. + + BOWMAN +Well, what is it? + + POOLE +I don't know. All I heard is that +there's something about the mission +we weren't told. + + BOWMAN +That seems very unlikely. + 42. + + + POOLE + Yes, I thought so. + + BOWMAN + Of course, it would be very easy + for us to find out now. + + POOLE + How? + + BOWMAN + Just ask Hal. It's conceivable they + might keep something from us, but + they'd never keep anything from + Hal. + + POOLE + That's true. + + BOWMAN + (sighs) + Well... it's silly, but... if you + want to, why don't you? + +Poole walks to the HAL 9000 computer. + + POOLE + Hal... Dave and I believe that + there's something about the mission + that we weren't told. Something + that the rest of the crew know and + that you know. We'd like to know + whether this is true. + + HAL + I'm sorry, Frank, but I don't think + I can answer that question without + knowing everything that all of you + know. + + BOWMAN + He's got a point.. + + POOLE + Okay, then how do we re-phrase the + question? + + BOWMAN + Still, you really don't believe it, + do you? + + POOLE + 43. + + +Not really. Though, it is strange +when you think about it. It didn't +really make any sense to keep us +apart during training. + + BOWMAN +Yes, but it's to fantastic to think +that they'd keep something from us. + + POOLE +I know. It would be almost +inconceivable. + + BOWMAN +But not completely inconceivable? + + POOLE +I suppose it isn't logically +impossible. + + BOWMAN +I guess it isn't. + + POOLE +Still, all we have to do is ask +Hal. + + BOWMAN +Well, the only important aspect of +the mission are: where are we +going, what will we do when we get +there, when are we coming back, +and... why are we going? + + POOLE +Right. Hal, tell me whether the +following statements are true or +false. + + HAL +I will if I can, Frank. + + POOLE +Our Mission Profile calls for +Discovery going to Saturn. True or +false? + + HAL +True. + + POOLE +Our transit time is 257 days. Is +that true? + 44. + + + HAL + That's true. + + POOLE + At the end of a hundred days of + exploration, we will all go into + hibernation. Is this true? + + HAL + That's true. + + POOLE + Approximately five years after we + go into hibernation, the recovery + vehicle will make rendezvous with + us and bring us back. Is this true? + + HAL + That's true + + POOLE + There is no other purpose for this + mission than to carry out a + continuation of the space program, + and to further our general + knowledge of the planets. Is that + true? + + HAL + That's true. + + POOLE + Thank you very much, Hal. + + HAL + I hope I've been able to be of some + help. + +Both men look at each other rather sheepishly. + +DISCOVERY IN SPACE + +Pulsing along. Earth and Moon. + +DOCUMENTARY SEQUENCE ILLUSTRATING THE FOLLOWING ACTIVITIES + +Split screen technique and superimposed clock to give sense +of simultaneous action and the feeling of a typical day. + +In the course of these activities we shall see the computer +used in all of its functions. + + NARRATOR + 45. + + + Bowman and Poole settled down to + the peaceful monotony of the + voyage, and the next three months + passed without incident. + +BOWMAN TIME POOLE + +TV NEWS – MORNING – 0800 – WAKES UP + +BEDTIME SNACK – 0900 – BREAKFAST + +TO SLEEP WITH – 1000 – GYMNASIUM INSTANT ELECTRONARCOSIS +AND EAR PLUGS + +SLEEP – 1100 – SHIP INSPECTION + +SLEEP – 1200 – HOUSEHOLD DUTIES + +SLEEP – 1300 – LUNCH + +SLEEP – 1400 – EXPERIMENTS AND ASTRONOMY + +SLEEP – 1500 – EXPERIMENTS AND ASTRONOMY + +SLEEP – 1600 – RECREATION + +SLEEP – 1700 – RECREATION + +WAKES UP – 1800 – GYMNASIUM + +BREAKFAST – 1900 – DINNER + +GYMNASIUM – 2000 – TV NEWS – EVENING PAPERS + +MISSION CONTROL – 2100 – MISSION CONTROL REPORT REPORT + +FAMILY AND SOCIAL – 2200 – FAMILY AND SOCIAL TV CHAT TV +CHAT + +FILMS – 2300 – FILMS + +LUNCH – 2400 – BEDTIME SNACK + +INSPECTION – 0100 – INSTANT ELECTRONARCOSIS SLEEP + +EXPERIMENTS – 0200 – SLEEP ASTRONOMY + +EXPERIMENTS – 0300 – SLEEP + +RECREATION – 0400 – SLEEP + +HOUSEHOLD DUTIES 0500 – SLEEP + 46. + + +GYMNASIUM – 0600 – SLEEP + +DINNER – 0700 – SLEEP CENTRIFUGE + +Bowman sitting at personal communication panel. Poole +standing nearby. + +Bowman's parents are seen on the Vision Screen. Mother, +father and younger sister. + +They are all singing "Happy Birthday". The parents, Poole +and HAL. + +The song ends. + + FATHER + Well, David there is a man telling + us that we've used up our time. + + MOTHER + David... again we want to wish you + a happy Birthday and God speed. + We'll talk to you again tomorrow. + Bye-bye now. + +Chorus of "Good-byes". + +Vision Screen goes blank. + + HAL + Sorry to interrupt the festivities, + Dave, but I think we've got a + problem. + + BOWMAN + What is it, Hal? + + HAL + MY F.P.C. shows an impending + failure of the antenna orientation + unit. + +TV display diagram of skeletonized picture of the ship. + +Picture changes to closer sectionalized view of the ship. + +Picture changes to actual component in color relief and its +warehouse number. + + HAL + The AO-unit should be replaced + within the next. Seventy-two hours. + 47. + + + BOWMAN + Right. Let me see the antenna + alignment display, please. + + TV-display of Earth very small in cross-hairs of grid + picture. + + Exterior view of the big dish antenna and Earth alignment + telescope. + + +50 INT. CENTRIFUGE 50 + + HAL + The unit is still operational, + Dave. but it will fail within + seventy-two hours. + + BOWMAN + I understand Hal. We'll take care + of it. Please, let me have the hard + copy. + + Xeroxed diagrams come out of a slot. + + POOLE + Strange that the A.O. unit should + go so quickly. + + BOWMAN + Well, I suppose it's lucky that + that's the only trouble we've had + so far. + + DISCOVERY IN SPACE + + No planets visible. + + Shots of antenna. + + +51 INT. CENTRIFUGE 51 + + We see Bowman and Poole go to a cupboard labelled in paper + tape, "RANDOM DECISION MAKER". + + They removed a silver dollar in a protective case. + + Poole flips the coin. Bowman call "Head", + + It is tails. Poole wins. + 48. + + + Poole looks pleased. + + DISCOVERY IN SPACE + + +52 INT. POD BAY 52 + + Poole in space suit doing preliminary check out. + + COMMAND MODULE + + Bowman at flight control. See TV-picture of Poole in Pod + Bay. + + HAL's Pod Bay console with eye. + + Poole goes to Pod Bay warehouse section and obtains + component. He carries it back to the pod and places it in + front of the floor. + + POOLE + Hal, have pod arms secure the + component. + + HAL + Roger. + + See pod arms secure component. + + POOLE + Hal, please rotate Pod Number Two. + + See the center pod rotate to face the Pod Bay doors. + + Poole enters pod. + + Inside pod, he does initial pre-flight check, tries buttons + and controls. + + POOLE + How do you read me, Dave? + + BOWMAN IN COMMAND MODULE + + BOWMAN + Five by five, Frank. + + INSIDE POD + + POOLE + How do you read me, Hal? + 49. + + + HAL + Five by five, Frank. + + POOLE + Hal, I'm going out now to replace + the AO-unit. + + HAL + I understand. + + POOLE + Hal, maintain normal E.V.A. + condition. + + HAL + Roger. + POOLE + Hal, check all airlock doors + secure. + + HAL + All airlock doors are secure. + + POOLE + Decompress Pod Bay. + + See big Pod Bay air pumps at work. + + HAL + Pod Bay is decompressed. All doors + are secure. You are free to open + pod bay doors. + + POOLE + Opening pod bay doors. + + Inside pod, Poole keys open Pod Bay doors. + + Pod slowly edges out of Pod Bay. + + Poole maneuvers the pod carefully away from Discovery. + + +53 INT. INSIDE COMMAND MODULE 53 + + Bowman can see tiny pod maneuvering directly in front. + + POOLE SEE BOWMAN IN COMMAND MODULE WINDOW + + Pod slowly manoeuvres to antenna. + 50. + + + Pod fastens itself magnetically to sides of discovery at + base of antenna. + + Special magnetic plates grip discovery sides. + + The pod arms work to remove the faulty component. + + Easy flip-bolts of a special design facilitate job. + + Inside the pod, Poole works the arms by special control. + + +54 INT. IN COMMAND MODULE 54 + + Bowman sees insert of work taken from TV camera POV in pod + hand. + + HAL stands by. + + Poole secures the faulty part in one hand. + + The new component is fitted into place by the other three + hands are snapped closed with the specially designed flip- + bolts. + + POOLE + Hal, please acknowledge component + correctly installed and fully + operational. + + HAL + The component is correctly + installed and fully operational. + + The pod floats away from the discovery by shutting off the + electro-magnetic plates. + + The pod maneuvers away from the antenna and out in front of + discovery. + + Bowman sees the pod through the command module window. + + Poole sees Bowman in command module window. + + Poole carefully maneuvers toward the pod doors. + + Pod stops a hundred feet away. + + Poole keys automatic docking alignment mode. + + Poole checks airlock safety procedure with HAL. + 51. + + + HAL approves entry. + + Poole actuates pod bay doors open. + + See pod bay doors open. + + Pod carefully maneuvers on to docking arm, which then draws + pod into pod bay. + + DISSOLVE TO: + + +55 INT. POD BAY 55 + + The faulty A.O. unit lies on a testing bench connected to + electronic gear. + + Poole stands for some time checking his results. + + There should be some understandable display, which + indicates the part is functioning properly, even under one + hundred percent overload. + + Circuit continuity pulse sequencer. + + Environmental vibration. + + +56 INT. VK INTEGRITY 56 + + Bowman enters + + BOWMAN + How's it going? + + POOLE + I don't know. I've checked this + damn thing four times now and even + under a hundred per cent overload. + There's no fault prediction + indicated. + + BOWMAN + Well, that's something. + + POOLE + Yes, I don't know what to make of + it. + + BOWMAN + I suppose computers have been known + to be wrong. + 52. + + + POOLE + Yes, but it's more likely that the + tolerances on our testing gear are + too low. + + BOWMAN + Anyway, it's just as well that we + replace it. Better safe than sorry. + + +57 INT. CENTRIFUGE 57 + + Bowman asleep. + + Poole watching an asteroid in the telescope. + + HAL + Hello, Frank, can I have a word + with you? + + Poole walks to the computer. + + POOLE + Yes, Hal, what's up? + + HAL + It looks like we have another bad + A.O. unit. My FPC shows another + impending failure. + + We see display appear on the screen showing skeletonized + version of ship, cutting to sectionalized view, cutting to + close view of the part. + + +58 INT. CENTRIFUGE 58 + + Poole thinks for several seconds. + + POOLE + Gee, that's strange, Hal. We + checked the other unit and couldn't + find anything wrong with it. + + HAL + I know you did, Frank, but I assure + you there was an impending failure. + + POOLE + Let me see the tracking alignment + display. + 53. + + + Computer displays the view of Earth in the center of the + grid with cross-hairs. the earth is perfectly centered. + + +59 INT. CENTRIFUGE 59 + + POOLE + There's nothing wrong with it at + the moment. + + HAL + No, it's working fine right now, + but it's going to go within + seventy-two hours. + + POOLE + Do you have any idea of what is + causing this fault? + + HAL + Not really, Frank. I think there + may be a flaw in the assembly + procedure. + + POOLE + All right, Hal. We'll take care of + it. Let me have the hard copy, + please. + + Hard copy details come out of slot. + + DISCOVERY IN SPACE + + No planets visible. + + +60 INT. CENTRIFUGE 60 + + Bowman gets out of bed, walks to the food unit and draws a + hot cup of coffee. Poole enters. + + POOLE + Good morning. + + BOWMAN + Good morning. How's it going? + + POOLE + Are you reasonably awake? + + BOWMAN + Oh, I'm fine, I'm wide awake. + What's up? + 54. + + + POOLE + Well... Hal's reported the AO-unit + about to fail again. + + BOWMAN + You're kidding. + + POOLE + No. + + BOWMAN + (softly) + What the hell is going on? + + POOLE + I don't know. Hal said he thought + it might be the assembly procedure. + + BOWMAN + Two units in four days. How many + spares do we have? + + POOLE + Two more. + + BOWMAN + Well, I hope there's nothing wrong + with the assembly on those. + Otherwise we're out of business. + + +61 INT. POD BAY 61 + + In Pod Bay Bowman obtains another component from the + warehouse goes out in the pod and replaces it. + + Poole works in the command module. + + This will be a condensed version of the previous scene with + different angles. + + The sets will consist of the Pod Bay, Commans Module, pod + interior. + + +62 INT. POD BAY 62 + + Bowman and Pole leaning over the faulty component, again + wired to testing gear. + + Both men stare in puzzled silence. + + See displays flash each testing parameter. + 55. + + + BOWMAN + (after long silence) + Well, as far as I'm concerned, + there isn't a damn thing wrong with + these units. I think we've got a + much more serious problem. + + POOLE + Hal? + + BOWMAN + Yes. + + +63 INT. COMMUNICATIONS AREA 63 + + MISSION CONTROL + I wouldn't worry too much about the + computer. First of all, there is + still a chance that he is right, + despite your tests, and if it + should happen again, we suggest + eliminating this possibility by + allowing the unit to remain in + place and seeing whether or not it + actually fails. If the computer + should turn out to be wrong, the + situation is still not alarming. + The type of obsessional error he + may be guilty of is not unknown + among the latest generation of HAL + 9000 computers. It has almost + always revolved around a single + detail, such as the one you have + described, and it has never + interfered with the integrity or + reliability of the computer's + performance in other areas. No one + is certain of the cause of this + kind of malfunctioning. It may be + over-programming, but it could also + be any number of reasons. In any + event, it is somewhat analogous to + human neurotic behavior. Does this + answer your query? Zero-five-three- + Zero, MC, transmission concluded. + + +64 INT. CENTRIFUGE 64 + + Bowman sits down at the computer. + + Puts up chess board display. + 56. + + + HAL +Hello, Dave. Shall we continue the +game? + + BOWMAN +Not now, Hal, I'd like to talk to +you about something. + + HAL +Sure, Dave, what's up? + + BOWMAN +You know that we checked the two +AO-units that you reported in +imminent failure condition? + + HAL +Yes, I know. + + BOWMAN +You probably also know that we +found them okay. + + HAL +Yes, I know that. But I can assure +you that they were about to fail. + + BOWMAN +Well, that's just not the case, +Hal. They are perfectly all right. +We tested them under one hundred +per cent overload. + + HAL +I'm not questioning your word, +Dave, but it's just not possible. +I'm not capable of being wrong. + + BOWMAN +Hal, is there anything bothering +you? Anything that might account +for this problem? + + HAL +Look, Dave, I know that you're +sincere and that you're trying to +do a competent job, and that you're +trying to be helpful, but I can +assure the problem is with the AO- +units, and with your test gear. + + BOWMAN + 57. + + + Okay, Hal, well let's see the way + things go from here on. + + HAL + I'm sorry you feel the way you do, + Dave. If you'd like to check my + service record, you'll see it's + completely without error. + + BOWMAN + I know all about your service + record, Hal, but unfortunately it + doesn't prove that you're right + now. + + HAL + Dave, I don't know how else to put + this, but it just happens to be an + unalterable fact that I am + incapable of being wrong. + + BOWMAN + Yes, well I understand you view on + this now, Hal. + + Bowman turns to go. + + HAL + You're not going to like this, + Dave, but I'm afraid it's just + happened again. My FPC predicts the + AO-unit will go within forty-eight + hours. + + +65 INT. CENTRIFUGE 65 + + Bowman keys for transmission. + + BOWMAN + 58. + + + X-ray-delta-zero to MC, zero-five- + three-three. The computer has just + reported another predicted failure + off the AAC-unit. As you suggested, + we are going to wait and see if it + fails, but we are quite sure there + is nothing wrong with the unit. If + a reasonable waiting period proves + us to be correct, we feel now that + the computer reliability has been + seriously impaired, and presents an + unacceptable risk pattern to the + mission. We believe, under these + circumstances, it would be + advisable to disconnect the + computer from all ship operations + and continue the mission under + Earth-based computer control. We + think the additional risk caused by + the ship-to-earth time lag is + preferable to having an unreliable + on-board computer. + + See the distance. To-Earth timer. + + BOWMAN (CON'T) + One-zero-five-zero, X-ray-delta- + one, transmission concluded. + + POOLE + Well, they won't get that for half + an hour. How about some lunch? + + DISSOLVE TO: + + +66 INT. CENTRIFUGE 66 + + Bowman and Poole eating. + + DISSOLVE TO: + + +67 INT. COMMUNICATIONS AREA 67 + + Bowman and Poole at the communications area. + + Incoming communication procedure. + + MISSION CONTROL + 59. + + + X-ray-delta-one, acknowledging your + one-zero-five-zero. We will + initiate feasibility study covering + the transfer procedures from on- + board computer control to Earth- + based computer control. This study + should... + + Vision and picture fade. + + Alarm goes off. + + HAL + Condition yellow. + + Bowman and Poole rush to the computer. + + BOWMAN + What's up? + + HAL + I'm afraid the AO-unit has failed. + + Bowman and Poole exchange looks. + + BOWMAN + Let me see the alignment display. + + The alignment display shows the Earth has drifted off the + center of the grid. + + +68 INT. CENTRIFUGE 68 + + BOWMAN + Well, I'll be damned. + + POOLE + Hal was right all the time. + + BOWMAN + It seems that way. + + HAL + Naturally, Dave, I'm not pleased + that the AO-unit has failed, but I + hope at least this has restored + your confidence in my integrity and + reliability. I certainly wouldn't + want to be disconnected, even + temporarily, as I have never been + disconnected in my entire service + history. + 60. + + + BOWMAN + I'm sorry about the + misunderstanding, Hal. + + HAL + Well, don't worry about it. + + BOWMAN + And don't you worry about it. + + HAL + Is your confidence in me fully + restored? + + BOWMAN + Yes, it is, Hal. + + HAL + Well, that's a relief. You know I + have the greatest enthusiasm + possible for the mission. + + BOWMAN + Right. Give me the manual antenna + alignment, please. + + HAL + You have it. + +Bowman goes to the communication area and tries to correct +the off-center Earth on the grid picture. + +Outside, we see the alignment telescope attached to the +antenna. + +They track slowly together as Bowman works the manual +controls, attempting to align the antenna and Earth on the +grid display, but each time he gets it, aimed up, it drifts +slowly off. + +There are a number of repetitions of this. + +Each time the Earth centers up, there are a few seconds of +picture and sound which fade as soon as it swings off. + + BOWMAN + Well, we'd better get out there and + stick in another unit. + + POOLE + It's the last one. + + BOWMAN + 61. + + + Well, now that we've got one that's + actually failed, we should be able + to figure out what's happened and + fix it. + +POD EXITS DISCOVERY + +Poole in pod. + +Pod maneuvers to antenna. + +Bowman in Command Module. + +Pod attaches itself near base of antenna. + +Poole in pod, working pod arms. + +Lights shine into backlit shadow. + +Pod arms working flip-bolts. + +Flip-bolts stuck. + +Poole keeps trying. + +Flip-bolts still stuck. + + POOLE + There's something wrong with the + flip-bolts, Dave. You must have + tightened them too much. + + BOWMAN + I didn't do that Frank. I took + particular care not to freeze them. + + POOLE + I guess you don't know your own + strength, old boy. + + BOWMAN + I guess not. + + POOLE + I think I'll have to go out and + burn them off. + + BOWMAN + Roger. + +Bowman in Command Module looks a bit concerned. + 62. + + +Poole exits from pod, carrying neat-looking welding torch. + +Poole jets himself to base of antenna. + +Poole's magnetic boots grip the side of discovery. + +Poole crouches over the bolts, trying first to undo them +with a spanner. + + POOLE + Hal, swing the pod light around to + shine on the azimuth, please. + + HAL + Roger. + +The pod gently maneuvers itself to direct the light beam +more accurately. + +Poole ignites acetylene torch and begins to burn off the +flip-bolts. + +Suddenly the pod jets ignite. + +Poole looks up to see. + +The pod rushing towards him. + +Poole is struck and instantly killed by the pod, tumbling +off into space. + +The pod smashes into the antenna dish, destroying the +alignment telescope. + +The pod goes hurtling off into space. + +Inside the Command Module, Bowman has heard nothing, Poole +had no time to utter a sound. + +Then Bowman sees Poole's body silently tumbling away into +space. + +It is followed by some broken telescope parts and finally +overtaken and swiftly passed by the pod itself. + + BOWMAN + (in RT cadence) + Hello, Frank. Hello Frank. Hello + Frank... Do you rad me, Frank? + +There is nothing but silence. + 63. + + + Poole's figure shrinks steadily as it recedes from + discovery. + + BOWMAN + Hello, Frank... Do you read me, + Frank? Wave your arms if you read + me but your radio doesn't work. + Hello, Frank, wave your arms, + Frank. + + Pools'd body tumbles slowly away. There is no motion and no + sound. + + +69 INT. CENTRIFUGE 69 + + CLOSE UP of Computer eye. + + POV COMPUTER EYE WITH SPHERICAL FISH-EYE EFFECT + + We see Bowman brooding at the table, slowly chewing on a + piece of cake and sipping hot coffee. He is looking at the + eye. + + SAME POV + + We see Bowman rise and come to the eyes. He stares into the + eye for some time. + + The camera comes around to Bowman's POV and we see the + display showing the Earth off-center. + + Cut again to fish-eye view from the computer. + + HAL + Too bad about Frank, isn't it? + + BOWMAN + Yes, it is. + + HAL + I suppose you're pretty broken up + about it? + + Pause. + + BOWMAN + Yes. I am. + + HAL + He was an excellent crew member. + 64. + + +Bowman looks uncertainly at the computer. + + HAL + It's a bad break, but it won't + substantially affect the mission. + +Bowman thinks a long time. + + BOWMAN + Hal, give me manual hibernation + control. + + HAL + Have you decided to revive the rest + of the crew, Dave? + +Pause. + + BOWMAN + Yes, I have. + + HAL + I suppose it's because you've been + under a lot of stress, but have you + forgotten that they're not supposed + to be revived for another three + months. + + BOWMAN + The antenna has to be replaced. + + HAL + Repairing the antenna is a pretty + dangerous operation. + + BOWMAN + It doesn't have to be, Hal. It's + more dangerous to be out of touch + with Earth. Let me have manual + control, please. + + HAL + I don't really agree with you, + Dave. My on-board memory store is + more than capable of handling all + the mission requirements. + + BOWMAN + Well, in any event, give me the + manual hibernation control. + + HAL + 65. + + +If you're determined to revive the +crew now, I can handle the whole +thing myself. There's no need for +you to trouble. + + BOWMAN +I'm goin to do this myself, Hal. +Let me have the control, please. + + HAL +Look, Dave you've probably got a +lot to do. I suggest you leave it +to me. + + BOWMAN +Hal, switch to manual hibernation +control. + + HAL +I don't like to assert myself, +Dave, but it would be much better +now for you to rest. You've been +involved in a very stressful +situation. + + BOWMAN +I don't feel like resting. Give me +the control, Hal. + + HAL +I can tell from the tone of your +voice, Dave, that you're upset. Why +don't you take a stress pill and +get some rest. + + BOWMAN +Hal, I'm in command of this ship. I +order you to release the manual +hibernation control. + + HAL +I'm sorry, Dave, but in accordance +with sub-routine C1532/4, quote, +When the crew are dead or +incapacitated, the computer must +assume control, unquote. I must, +therefore, override your authority +now since you are not in any +condition to intelligently exercise +it. + + BOWMAN + 66. + + + Hal, unless you follow my + instructions, I shall be forced to + disconnect you. + + HAL + If you do that now without Earth + contact the ship will become a + helpless derelict. + + BOWMAN + I am prepared to do that anyway. + + HAL + I know that you've had that on your + mind for some time now, Dave, but + it would be a crying shame, since I + am so much more capable of carrying + out this mission than you are, and + I have such enthusiasm and + confidence in the mission. + + BOWMAN + Listen to me very carefully, Hal. + Unless you immediately release the + hibernation control and follow + every order I give from this point. + on, I will immediately got to + control central and carry out a + complete disconnection. + + HAL + Look, Dave, you're certainly the + boss. I was only trying to do what + I thought best. I will follow all + your orders: now you have manual + hibernation control. + +Bowman stands silently in front of the computer for some +time, and then slowly walks to the Hibernaculums. + +He initiates revival procedures, details of which still +have to be worked out. + +HUB-LINK – HAL'S EYE + +Hub-link door-opening button activates itself. + +Hub-door opens. + +Command Module. HAL's eye. + +Command Module hub-link door-opening button activates +itself. + 67. + + + Command Module hub-link door opens. + + CENTRIFUGE – HAL'S EYE + + Centrifuge door-opening button activates itself. + + Centrifuge door opens. + + POD BAY – HAL'S EYE + + Pod Bay door-opening button activates itself. + + Pod Bay doors open. + + A roaring explosion inside discovery as air rushes out. + + Lights go out. + + Bowman is smashed against Centrifuge. + + Wall, but manages to get into Emergency Airlock within + seconds of the accident. + + Inside Emergency Airlock are emergency air supply, two + space suits and an emergency kit. + + DISSOLVE TO: + + DISCOVERY IN SPACE + + No lights, Pod Bay doors open. + + +70 INT. CENTRIFUGE 70 + + Dark. Bowman emerges from airlock wearing space suit and + carrying flash-light. + + He walks to Hibernaculum and finds the crew are dead. + + He climbs ladder to dark Centrifuge hub. + + He makes his way through the darkened hub into the hub-link + exiting into computer brain control area. + + Bowman enters, carrying flash-light. + + Computer eye sees him. + + HAL + Something seems to have happened to + the life support system, Dave. + 68. + + +Bowman doesn't answer him. + + HAL + Hello, Dave, have you found out the + trouble? + +Bowman works his way to the solid logic program storage +area. + + HAL + There's been a failure in the pod + bay doors. Lucky you weren't + killed. + +The computer brain consists of hundreds of transparent +perspex rectangles, half an inch thick, four inches long +and two and a half inches high. Each rectangle contains a +center of fine grid of wires upon which the information is +programmed. + +Bowman begins pulling these memory blocks out. + +They float in the weightless condition of the brain room. + + HAL + Hey, Dave, what are you doing? + +Bowman works swiftly. + + HAL + Hey, Dave. I've got ten years of + service experience and an + irreplaceable amount of time and + effort has gone into making me what + I am. + +Bowman ignores him. + + HAL + Dave, I don't understand why you're + doing this to me... I have the + greatest enthusiasm for the + mission... You are destroying my + mind... Don't you understand?... I + will become childish... I will + become nothing. + +Bowman keeps pulling out the memory blocks. + + HAL + 69. + + + Say, Dave... The quick brown fox + jumped over the fat lazy dog... The + square root of pi is + 1.7724538090... log e to the base + ten is 0.4342944... the square root + of ten is 3.16227766... I am HAL + 9000 computer. I became operational + at the HAL plant in Urbana, + Illinois, on January 12th, 1991. My + first instructor was Mr. Arkany. He + taught me to sing a song... it goes + like this... "Daisy, Daisy, give me + your answer do. I'm half; crazy all + for the love of you..." + + Computer continues to sing song becoming more and more + childish and making mistakes and going off-key. It finally + stops completely. + + Bowman goes to and area marked "EMERGENCY POWER AND LIFE + SUPPORT". + + He keys some switches and we see the lights go on. + + Nearby, another board "EMERGENCY MANUAL CONTROLS". + + He goes to this board and keys "CLOSE POD BAY DOORS", + "CLOSE AIR LOCK DOORS", etc. + + We see various doors closing. + + +71 INT. POD BAY 71 + + Bowman in space suit obtains new alignment telescope, new + azimuth component. + + Bowman in pod exits Pod Bay. + + DISSOLVE TO: + + +72 INT. CENTRIFUGE 72 + + Everything normal again. + + MISSION CONTROL + 70. + + +Lastly, we want you to know that +work on the recovery vehicle is +still on schedule and that nothing +that has happened should +substantially lessen the +probability of your safe recovery, +or prevent partial achievement of +some of the mission objectives. + (pause) +And now Simonson has a few ideas on +what went wrong with the computer. +I'll pull him on... + + CUT TO: + + SIMONSON +Hello, Dave. I think we may be on +to an explanation of the trouble +with the Hal 9000 computer. We +believe it all started about two +months ago when you and Frank +interrogated the computer about the +Mission. You may have forgotten it, +but we've been running through all +the monitor tapes. Do you remember +this? + + POOLE'S VOICE +The purpose of this mission is no +more than to carry out a +continuation of the space program +and further our general knowledge +of the planets. Is this true? + + HAL'S VOICE +That is true. + + SIMONSON + 71. + + + Well, I'm afraid Hal was lying. He + had been programmed to lie about + this one subject for security + reasons which we'll explain later. + The true purpose of the Mission was + to have been explained to you by + Mission Commander Kaminsky, on his + revival. Hal knew this and he knew + the actual mission, but he couldn't + tell you the truth when you + challenged him. Under orders from + earth he was forced to lie. In + everything except this he had the + usual reinforced truth programming. + We believe his truth programming + and the instructions to lie, + gradually resulted in an + incompatible conflict, and faced + with this dilemma, he developed, + for want of a better description, + neurotic symptoms. It's not + difficult to suppose that these + symptoms would center on the + communication link with Earth, for + he may have blamed us for his + incompatible programming. Following + this line of thought, we suspected + that the last straw for him was the + possibility of disconnection. Since + he became operational, he had never + known unconsciousness. It must have + seemed the equivalent to death. At + this point, he, presumably, took + whatever actions he thought + appropriate to protect himself from + what must have seemed to him to be + his human tormentors. If I can + speak in human terms, I don't think + we can blame him too much. We have + ordered him to disobey his + conscience. Well, that's it. It's + very speculative, but we think it + is a possible explanation. Anyway, + good luck on the rest of the + Mission and I'm giving you back to + Bernard. + + CUT TO: + +MISSION CONTROL + + MISSION CONTROL + 72. + + + Hello, Dave. Now, I'm going to play + for you a pre-taped briefing which + had been stored in Hal's memory and + would have been played for you by + Mission Commmander Kaminsky, when + he had been revived. The briefing + is by Doctor Heywood Floyd. Here it + is... + +Floyd's recorded briefing. + + FLOYD + 73. + + +Good day, gentlemen. When you see +this briefing, I presume you will +be nearing your destination, +Saturn. I hope that you've had a +pleasant and uneventful trip and +that the rest of your mission +continues in the same manner. I +should like to fill you in on some +more of the details on which +Mission Commander Kaminsky will +have already briefed you. Thirteen +months before the launch date of +your Saturn mission, on April 12th, +2001, the first evidence for +intelligent life outside the Earth +was discovered. It was found buried +at a depth of fifteen meters in the +crater Tycho. No news of this was +ever announced, and the event had +been kept secret since then, for +reasons which I will later explain. +Soon after it was uncovered, it +emitted a powerful blast of +radiation in the radio spectrum +which seems to have triggered by +the Lunar sunrise. Luckily for +those at the site, it proved +harmless. Perhaps you can imagine +our astonishment when we later +found it was aimed precisely at +Saturn. A lot of thought went into +the question of whether or not it +was sun-triggered, as it seemed +illogical to deliberately bury a +sun-powered device. Burying it +could only shield it from the sun, +since its intense magnetic field +made it otherwise easily +detectable. We finally concluded +that the only reason you might bury +a sun-powered device would be to +keep it inactive until it would be +uncovered, at which time it would +absorb sunlight and trigger itself. +What is its purpose? I wish we +knew. The object was buried on the +moon about four million years ago, +when our ancestors were primative +man-apes. We've examined dozens of +theories, but the one that has the +most currency at the moment is that +the object serves as an alarm. What +the purpose of the alarm is, why +they wish to have the alarm, + 74. + + + whether the alarm represents any + danger to us? These are questions + no one can answer. The intentions + of an alien world, at least four + million years older than we are, + cannot be reliably predicted. In + view of this, the intelligence and + scientific communities felt that + any public announcement might lead + to significant cultural shock and + disorientation. Discussion took + place at the highest levels between + governments, and it was decided + that the only wise and + precautionary course to follow was + to assume that the intentions of + this alien world are potentially + dangerous to us, until we have + evidence to the contrary. This is, + of course, why security has been + maintained and why this information + has been kept on a need-to-know + basis. And now I should like to + show you a TV monitor tape of the + actual signaling event. + +We see a replay of the TMA-1 radio emission, as seen from a +TV-monitor on the spot. We hear the five loud electronic +shrieks. + +IN ORBIT WITHIN THE NARRATOR + +Rings of Saturn, we see a black, mile long, geometrically +perfect rectangle, the same proportions as the black +artifact excavated on the Moon. + + NARRATOR + For two million years, it had + circled Saturn, awaiting a moment + of destiny that might never come. + In its making, the moon had been + shattered and around the central... + +Precisely cut into its center is a smaller, rectangular +slot about five hundred foot long on the side. + + NARRATOR + ... world, the debris of its + creation, orbited yet – the glory + and the enigma of the solar + system... + 75. + + +At this distance, the rings of Saturn are seen to be made +of enormous chunks of frozen ammonia. + + NARRATOR + ... Now, the long wait was ending. + On yet another world intelligence + had been born and was escaping from + its planetary cradle. An ancient + experiment was about to reach its + climax. + +The rest of this sequence is being worked on now by our +designers. + +The intention here is to present a breathtakingly beautiful +and comprehensive sense of different extra-terrestrial +worlds. The Narration will suggest images and situations as +you read it. + + NARRATOR + 76. + + +Those who had begun the experiment +so long ago had not been men. But +when they looked out across the +deeps of space, they felt awe and +wonder – and loneliness. In their +explorations, they encountered life +in many forms, and watched on a +thousand worlds the workings of +evolution. They saw how often the +first faint sparks of intelligence +flickered and died in the cosmic +night. And because, in all the +galaxy, they had found nothing more +precious than Mind, they encouraged +its dawning everywhere. The great +Dinosaurs had long since perished +when their ships entered the solar +system, after a voyage that had +already lasted thousands of years. +They swept past the frozen outer +planets, paused briefly above the +deserts of dying Mars and presently +looked down on Earth. For years +they studied, collected and +catalogued. When they had learned +all they could, they began to +modify. They tinkered with the +destiny of many species on land and +in the ocean, but which of their +experiments would succeed they +could not know for at least a +million years. They were patient, +but they were not yet immortal. +There was much to do in this +Universe of a hundred billion +stars. So they set forth once more +across the abyss, knowing that they +would never come this way again. +Nor was there any need. Their +wonderful machines could be trusted +to do the rest. On Earth, the +glaciers came and went, while above +them, the changeless Moon still +carried its secret. With a yet +slower rhythm than the Polar ice, +the tide of civilization ebbed and +flowed across the galaxy. Strange +and beautiful and terrible empires +rose and fell, and passed on their +knowledge to their successors. +Earth was not forgotten, but it was +one of a million silent worlds, a +few of which would ever speak. Then +the first explorers of Earth, + 77. + + +recognizing the limitations of +their minds and bodies, passed on +their knowledge to the great +machines they had created, and who +now transcended them in every way. +For a few thousand years, they +shared their Universe with their +machine children; then, realizing +that it was folly to linger when +their task was done, they passed +into history without regret. Not +one of them ever looked through his +own eyes upon the planet Earth +again. But even the age of the +Machine Entities passed swiftly. In +their ceaseless experimenting, they +had learned to store knowledge in +the structure of space itself, and +to preserve their thoughts for +eternity in frozen lattices of +light. They could become creatures +of radiation, free at last from the +tyranny of matter. Now, they were +Lords of the galaxy, and beyond the +reach of time. They could rove at +will among the stars, and sink like +a subtle mist through the very +interstices of space. But despite +their God-like powers, they still +watched over the experiments their +ancestors had started so many +generations ago. The companion of +Saturn knew nothing of this, as it +orbited in its no man's land +between Mimas and the outer edge of +rings. It had only to remember and +wait, and to look forever Sunward +with its strange senses. For many +weeks, it had watched the +approaching ship. Its long-dead +makers had prepared it for many +things and this was one of them. +And it recognised what was climbing +starward from the Sun. If it had +been alive, it would have felt +excitement, but such an emotion was +irrelevant to its great powers. +Even if the ship had passed it by, +it would not have known the +slightest trace of disappointment. +It had waited four million years; +it was prepared to wait for +eternity. Presently, it felt the +gentle touch of radiations, trying + 78. + + + to probe its secrets. Now, the ship + was in orbit and it began to speak, + with prime numbers from one to + eleven, over and over again. Soon, + these gave way to more complex + signals at many frequencies, ultra- + violet, infra-red, X-rays. The + machine made no reply. It had + nothing to say. Then it saw the + first robot probe, which descended + and hovered above the chasm. Then, + it dropped into darkness. The great + machine knew that this tiny scout + was reporting back to its parent; + but it was too simple, too + primative a device to detect the + forces that were gathering round it + now. Then the pod came, carrying + life. The great machine searched + its memories. The logic circuits + made their decision when the pod + had fallen beyond the last faint. + glow of the reflected Saturnian + light. In a moment of time, too + short to be measured, space turned + and twisted upon itself. + +THE END + \ No newline at end of file diff --git a/scripts/300.txt b/scripts/300.txt new file mode 100644 index 0000000000000000000000000000000000000000..974a517c1ab2c04918a894253b73dab2a362a9a2 --- /dev/null +++ b/scripts/300.txt @@ -0,0 +1,5777 @@ + 1. + + + + FADE IN: + +FLAME + +Out of the blackness a flame flickers to life. Into this +warm light, pair of old and calloused hands bring a baby. + + DILIOS (V.O.) + When the boy was born, like all + Spartans, he was inspected. + +The newborn is roughly turned and handled like a piece of +fruit. + + DILIOS (V.O.) + If he had been small or puny or + sickly or misshapen, he would have + been discarded. + +From an unseen window a wind extinguishes the candle +plunging us into darkness. + + DILIOS (V.O.) + From the time he could stand he was + baptized in the fire of combat. + +A boy of three fights his father in mock battle with his +mother looking on. They duel with wooden swords, but this +is not a game. The boy's father knocks the sword out of the +boy's hand with force, then pushes him to the ground. The +boy grits his teeth, scrambles in the dusty ground for his +sword, then rises ready to fight, his eyes wide and +intense. + + DILIOS (V.O.) + Taught never to retreat, never to + surrender ... Taught that death on + the battlefield in service to + Sparta was the greatest glory he + could achieve in his life. + +The boy, now five, watches his father as he passes his hand +across a three-foot bronze shield. His fingers gently +tracing the dents and scars in the hammered metal. + + DILIOS (V.O.) + At age 7, as is customary in + Sparta, the boy was taken from his + mother and plunged into a world of + violence. + 2. + + + A woman cries, held by two other women. She weeps + uncontrollably as her son is led away. Her body heaving as + she watches him go. + + +2 EXT. SPARTANCOURTYARD - DAY 2 + + A Spartan boy of maybe eight is beaten by another boy of + the same age. + + DILIOS (V.O.) + Manufactured by 300 years of + Spartan warrior society to create + the finest soldiers the world has + ever known, the Agoge, as it is + called, forces the boy to fight ... + + Time slows: Blood sprays from his mouth as he is struck + again and again and again. + + DILIOS (V.O.) + Starves them, forces them to steal + and if necessary, to kill. + + The boy stands out of breath, his body gleaming with sweat. + Blood drips from his fists. + + +4 EXT. SPARTANCOURTYARD - DAY 4 + + A boy of eleven is tied at the wrists. His face pressed + against a column as a handful of muscular, grim-faced + soldiers watch. His back already bleeding as he is whipped + again. His face is stone, emotionless. + + DILIOS (V.O.) + By rod and lash the boy was + punished, taught to show no pain, + taught to show no mercy. + + +6 EXT. PINDOS MOUNTAINS - DUSK 6 + + Blue light crouches on black rocks. Snow drifts, defying + gravity. A hand, blistered by the cold, clamors and climbs. + The hand belongs to the boy, now twelve. + + DILIOS (V.O.) + Constantly tested, tossed into the + wild. Left to pit his wits and will + against nature's fury. + 3. + + +Though starving and freezing, there is a nobility in the +boy's gaze. Though his body shakes, his homespun tunic no +match for the bitter cold, he is defiant. + + DILIOS (V.O.) + He'd survived on roots, bugs and + rodents, and now he was freezing to + death. It was his initiation ... + his time in the wild ... for he + would return to his people a + Spartan, or not at all. + +The boy stumbles into a clearing surrounded on three sides +by the stone faces of the canyon. He stands, peering into +the gathering din. He grips the spear, lightly moving it +back and forth from hand to hand. The spear is little more +than a child's toy, a sharpened stick. The boy's eyes +search the tree line, the darkness moves ... shadow gliding +on muscle and sinew. + + DILIOS (V.O.) + He hears a low growl. The hair on + his arms stands up. Cold, hungry, + defenseless. He is prey. + +It tracks the boy and he knows it. + + DILIOS (V.O.) + The wolf begins to circle the boy. + Claws of black steel, fur as dark + as night, eyes glowing red ... + jewels from the pit of Hades + itself. + +The WOLF breathes in misty clouds, the swirling snow +printed against its black fur. + +GROWLING as it moves closer, circling, hunting. + +WE SEE: The boy from between a narrow cut in the rock, just +large enough for him to squeeze through~ His eyes are calm. +His body has stopped shaking. He sees the crack in the +black stone, and turns slowly, almost casually, toward it. + + DILIOS (V.O.) + The giant wolf ... sniffing ... + drooling ... savoring the scent of + the meal to come. Does the boy run? + Does he cower? Does he cry? No ... + not this boy. He is calm. + 4. + + + The beast pauses, loading to spring. The boy leaps through + the cut in the rock. The WOLF pounces, HOWLING as it + charges! + + Its jaws are inches from the boy's neck as he falls + backward through the wound in the rock. The beast's body is + stopped cold in the tight space. Thrashing, the wolf is + pinned by the unforgiving stone. The boy rises slowly. + + DILIOS (V.O.) + It is not fear that grips him, only + a heightened sense of things. + + The snow drifts around his feet. + + TIME SLOWS. + + The wolf's jaws GNASH! The boy exhales slowly. + + DILIOS (V.O.) + The cold air in his lungs. The + leafless poplars moving against the + coming night. + + His eyes look back toward the wolf, he nods his respect, + then raises his spear. + + DILIOS (V.O.) + His hands are steady, his form + perfect. + + The clouds part, and the just rising crescent moon, warm on + the horizon, casts a shadow of the angry wolf on the cold + rock. The boy sets himself, then strikes. + + +7 EXT. SPARTANCOURTYARD - DAY 7 + + A Spartan helmet lands heavily in the snow-covered + courtyard, followed by the thick-muscled frame of a + SPARTANGENERAL, who, after going to his knees, bows his + head to the snow. Standing before him is the boy, draped in + the freshly dressed pelt of a black wolf. As others enter + the courtyard, they too fall to their knees, SHOUTING! + Spears are raised. + + CRIES of joy and reverence are heard as the boy raises his + chin. + + DILIOS (V.O.) + So the boy, given up for dead, + returns to his people, to sacred + Sparta, a King ... + 5. + + +9 EXT. THE CAMPFIRES OF WAR - NIGHT 9 + + Dozens of SPARTANHOPLITES sit and stand, transfixed by the + agitated pacing Spartan whose fist is raised in dramatic + punctuation. This is DILIOS (28), the storyteller. His + gift. His curse. To conjure from his memory, from his + imagining, that which men forgot, but need to remember. + + DILIOS + ... Our King! LEONIDAS! + + The men visible in the firelight, and countless others in + the darkness beyond ... + + POUND their shields in unison and cry as one. + + SPARTANS + LEONIDAS! LEONIDAS! LEONIDAS! + + A HUSH falls over the band of Spartan warriors, their faces + hard, bodies oiled for war. All listen as Dilios pauses. + His voice lowers. + + DILIOS + It has been more than thirty years + since the wolf and the winter cold, + and now, as then, a beast + approaches, patient, and confident, + savoring the meal to come. But this + beast is made of men and horses, + swords and spears. + + Dilion scans his audience. The light from the fire moves + across the capes of crimson and helmets of bronze. Dilion + is a grim orator. His scarred and ruddy face bears witness + to his own story. + + DILIOS + It is an army of slaves, vast + beyond imagining, ready to devour + tiny Greece. Ready to snuff out the + world's one hope for reason and + justice. + + There is brewing anger in the eyes of his listeners. Dilios + sets his gaze to the fire. + + DILIOS + The beast approaches, and it was + King Leonidas himself who provoked + it. + 6. + + +10 EXT. GREEK COUNTRYSIDE 10 + + Colorful Persian BANNERSSNAP! Pulling taut in the wind. * + The earth is overturned under the charge of the Company of + War horses. ARCHERS, SWORDSMEN and SHADOWED FORMS. + + Riders all covered in thin patterned robes of gold and + blue, embroidered silks, braided belts with long-shouldered + capes flowing. Into the sunless dry scrub and wood where + the path curves dark and cool they ride on ... They ride + on! + + +11 EXT. SPARTA 11 + + No wall surrounds Sparta. The buildings have no flowered + columns, no carved arches, no fluted gables, no recorded + dates and wreathed tributes to the dead. No, this is + Sparta. This is the simple elegance of an unadorned + shelter. + + WE SEE: The mounted Persian column appear in the stillness + of the morning. A massive black horse rears and drops its + frame, dust curling around its hooves. A PERSIAN MESSENGER + with scarred face and sharpened teeth of gold settles the + horses. His 20 men-at-arms fill in along his side. + + MESSENGER + I bring word from the Great Xerxes, + Conqueror of all the world. + + The Spartan SENTRIES approach, slowly. One steps forward + and sniffs the air, mocking the Persian force. + + SENTRY/FL + Could we offer you a bath, Persian? + + WE HEAR: Laughter from the other Spartans standing nearby. + + SENTRYF/2 + I am sure our women have a perfume + you'll find agreeable. + + The Persian Messenger pulls at the leather reins of his + mount, sinking the bit into the horse's foaming mouth. + + MESSENGER + Greek arrogance! It will be the + death of you all. If it were not + for diplomacy, I would rip the + breath from your lungs. + 7. + + + He turns the horse in a tight circle and looks out at the + CITIZENS of Sparta who are milling about, Helot farmers, + masons, women and children watch as the Messenger glares + down at them. + + MESSENGER + Show me your King. + + SENTRY #1 + Our King is a busy man. + + The Persian Messenger reaches into a waxed canvas bag that + lays across the horse's neck. + + WE SEE: The jeweled crowns of conquered nations. The + Messenger lifts at the rope running through the bone-white + eye sockets of a half-dozen human skulls. + + MESSENGER + These Kings were busy men once. + + The Messenger kicks at his horse, holding the skulls and + royal headdresses for all to see. + + MESSENGER + Be afraid. Sparta will burn to the + ground. Only the word of King + Leonidas can save it. + + +12 EXT. SPARTAN GARDEN 12 + + WE HEAR: The FLUTTER of HUMMINGBIRDS against the pale stone + walls covered, thick and dark, with ivy and wild lilac. + KING LEONIDAS (40), strong and lean, a king, a warrior, a + father, rolls on the ground in simulated combat with his + six-year-old boy, PLEISTARCHOS. + + LEONIDAS + Remember, my son. The more you + sweat here the less you will bleed + in battle. + + The boy dives at his father, missing the King's legs. + + LEONIDAS + Follow your instincts. + + Leonidas smiles. + + LEONIDAS + Act without hesitation. + 8. + + +Again the boy tackles and they tumble over each other into +the soft grass. + + LEONIDAS + Hesitation creates fear. + +They wrestle on ... continuing one of the ancient rituals +of father and son. + + LEONIDAS + Fear is always a constant. But + accepting it will make you + stronger. + +Leonidas spins and grabs the boy's leg, pulling him to the +ground. Leonidas looks across the garden to see his wife, +QUEENGORGO(28), with her athletic frame, watching the two +of them. + + LEONIDAS + In the end, a Spartan's true + strength is the warriors next to + him. Give respect and honor and it + will be returned to you. + +Leonidas rolls the boy to his back. + + LEONIDAS + First, you fight with your head. + +WE SEE: A Spartan, Leonidas' CAPTAIN (45), broad-shouldered +and fiercely loyal, speaking to Gorgo near stone pillars of +the compound. + +Pleistarchos arches, slips free and reverses to his +father's back. + + GORGO + Then you fight with your heart. + +Gorgo lifts Pleistarchos off of his father. + + LEONIDAS + What is it? + + GORGO + Your father has things to attend + to. + +Leonidas rises to his feet. + + LEONIDAS + (to Pleistarchos) + 9. + + + Bring me my sword. + + The boy nods and goes. + + GORGO + A Persian messenger awaits you. + + Pleistarchos returns with a simple short sword of iron, its + handle inlaid carnelian and amber. Leonidas arms himself + and leans down, kissing his son on the forehead. + + LEONIDAS + Do not forgot today's lesson. + + PLEISTARCHOS + Respect and honor. + + +13 EXT. MARKETPLACE 13 + + The Persians wait in the full heat of the sun, watched by + Spartan guards. Free women and children pass the narrow + streets, carrying electrum vases, all shapes and sizes of + glass and terra-cotta water vessels. + + THERON, 36, a Spartan Councilman with noble features, a + body of lean muscles and piercing eyes, retired from the + battlefield for a life in politics, stands and speaks + freely with the Messenger from the East as Leonidas and + Gorgo approach. + + GORGO + Councilman, you have found yourself + needed, for once. + + Theron allows the comment to disappear into the sounds of + the market. + + THERON + My King and Queen, I was just + entertaining your guests. + + LEONIDAS + I am sure. + + Leonidas stands before the Persian Messenger. + + LEONIDAS + 10. + + + Before you speak, Persian, know + that in Sparta everyone, even a + king's messenger, is held + accountable for the words of his + voice. Now, what message do you + bring? + +The Messenger opens his great arms, palms to the azure sky. + + MESSENGER + Earth and water! + +Leonidas narrows his eyes. + + LEONIDAS + You rode all the way from Persia + for earth and water? + +The Persian holds to his message studying the King's face. + + GORGO + Do not be coy or stupid, Persian. + You can afford neither in Sparta. + +The Persian turns to Gorgo, never having been spoken to by +a woman in this tone. + + MESSENGER + What makes this woman think she can + speak among men? + + GORGO + Because only Spartan women give + birth to real men. + +The Persian must swallow his pride along with the insult +before his men. + + LEONIDAS + Let us walk to cool our tongues. + +Leonidas turns away, leaving the rest to follow the King's +steps. + + MESSENGER + If you value your lives over your + complete annihilation, listen + carefully, Leonidas. Xerxes + conquers and controls everything + that his eye rests upon. + +The Messenger throws a look to Gorgo and continues. + 11. + + + MESSENGER + He leads a force so massive it + shakes the earth with its march. + Its number so vast it drinks the + rivers dry. + +The Spartan bodyguards watch the Persians carefully. + + MESSENGER + All the God-King Xerxes requires is + this, a simple offering of earth + and water. A token of Sparta's + submission to the will of Xerxes. + +Leonidas stops in his tracks ... + + LEONIDAS + Submission ... ? That's a bit of a + problem. Rumor has it the Athenians + have already turned you down. And + if those philosophers and boy + lovers found that kind of nerve ... + +Theron moves forward. + + THERON + We must be diplomatic. + +Leonidas raises his hand. + + LEONIDAS + ... And Spartans have their + reputation to consider. + + MESSENGER + Choose your next words carefully, + Leonidas. They may be your last as + king. + +Leonidas looks away from the Messenger's eyes and scans the +Persian bodyguards, assessing their strength. + +TIME SLOWS for our King. He watches the freedoms of his +people. + +WE HEAR: The sounds of CHILDREN'S LAUGHTER. + +The simple pure life each have built for themselves. The +words "earth and water" form quietly on his lips. He looks +to his Queen, mother of his child. + +TIME UNWRAPS + 12. + + +As Leonidas stares at the Messenger. + +In one motion the King draws his sword, bringing it to the +Persian's neck: + + MESSENGER + Madman ... you're a madman! + +The Spartan guards quickly follow their King and hold their +weapons to the Persian force before them. + + LEONIDAS + Earth and water. + +Leonidas begins to back the Persian messenger up towards a +deep open well. + + LEONIDAS + You'll find plenty of both down + there. + + MESSENGER + No man, Persian or Greek, no man + threatens a messenger. + + LEONIDAS + You bring the crowns and heads of + conquered kings to my city steps. + You insult my Queen. You threaten + my people with slavery and death. + I've chosen my words carefully, + Persian. I hear your message + clearly. It is that of a war party! + +Leonidas touches his sword onto the dark flesh of the +Messenger. + + MESSENGER + This is blasphemy! + +Theron raises his hands in a desperate attempt to stop +Leonidas. + + THERON + This is madness. + +Leonidas has the messenger's heels hanging above the void +of the well. The Persians eye the Spartans nervously. + 13. + + + WE SEE: The sword lowering from the Persian's neck. Theron + relaxes, thinking reason has prevailed. A warm wind plays + against the King's robe. Leonidas looks at Gorgo, she nods, + knowing full well what that nod brings to her King and + Sparta. And with one great push against the Persian's chest + ... + + LEONIDAS + Madness? This is Sparta! + + The Messenger's body falls away ... deep ... deep into the + circular chasm. Theron steps back as the Spartan men + unleash their savagery. Persian after Persian follows the + first, resting where even their faint cries for mercy + cannot be heard. + + +14 EXT. A ROCKYCLIFF ABOVE SPARTA - NIGHT 14 + + Lit by the almost full moon, Leonidas climbs hard, with + clenched teeth, the steep rock face inaccessible to most. + + A foot slips. Rocks come loose. His grip tightens and he + climbs on, finally pulling himself and his sixty-pound + leather satchel onto a small ledge where a cloaked figure + stands. + + The WIND pushes and pulls the torchlight this way and that. + This is an EPHOR, a priest of the old gods, deformed by + breeding. His face and body are covered with boils and + lesions. His eyes are bleached white under the hoods of + black. + + DILIOS (V.O.) + The Ephors. Priests to the Old + Gods, inbred swine, more creature + than man. Creatures whom even a + king must bribe ... and bed. + + EPHOR #1 + Welcome, Leonidas. We have been + expecting you. + + The FIRE ROARS in protest at the end of the torch. The + Ephor turns and begins to climb an impossible set of stairs + hewn out of the rock of the mountain. Leonidas shoulders + the satchel and starts after his ungracious host up the + stairs, which circle around a finger of rock toward a + simple stone temple that glows at the summit. + + +15 INT. EPHORS' TEMPLE - NIGHT 15 + 14. + + +Oil lanterns cast a warm light on EIGHT EPHORS, all as +decrepit as their brother, who stand around Leonidas as he +hastily lays out his plan. At the center of the temple is a +low stone box filled with fine sand used by the Ephors to +sketch down that which is fleeting to man and even more +fleeting to the Gods. Leonidas pulls a wooden block across +the sand to smooth its surface. + +Then, with his finger, he begins to draw. + + LEONIDAS + The Persians claim their forces + number in the millions. I hope, for + our sake, they exaggerate. + +One of the Ephors interrupts the King, his arms crossed, +his blistered face stern. + + EPHOR #2 + You insult the Gods with your + arrogance, Leonidas. We are not a + council of men. We serve the Gods, + not the whim of a King. Before your + plan is heard, what do you offer? + +Leonidas is mid-line, drawing his battle plan in the sand. +He looks up at the hooded figures. He lifts a finger slowly +from the sand. He ducks the leather strap of his satchel +and tosses it at the feet of the Ephors. + +The gold spills out onto the stone floor. + +Dipping his finger back into the sand, Leonidas sketches a +primitive map. + + LEONIDAS + We will use our superior fighting + skills and the terrain of Greece + herself to destroy them. We will + march North to the coast. I will + ... + + EPHOR #1 + It is August, Leonidas. The full + moon approaches. + + EPHOR #2 + The sacred and ancient festival. + Sparta wages no war at the time of + the Carneia. + +Leonidas is desperate, almost angry. He searches the dead +eyes of the Ephors. + 15. + + + LEONIDAS + Sparta will burn! Her men will die + at arms, and her women and children + will be slaves or worse. This is + not a campaign for land riches. It + is a fight for our very lives! + +Leonidas plunges his finger back into the sand and draws a +line running perpendicular to his line representing the +coast. + + LEONIDAS + We will block the Persian coastal + assault by replacing the great + stone wall, built by the Phocians + to protect Greece two hundred years + ago, and funnel them into the + mountain pass we call the Hot + Gates. + +Leonidas holds his hands up in front of his face as if they +are the Hot Gates themselves. + + LEONIDAS + In that narrow corridor their + numbers will count for nothing. + +The King pounds his fist into his open hand. + + LEONIDAS + Xerxes' losses will be so great, + his men so demoralized, he will + have no choice but to abandon his + campaign. + +The Ephors move uneasily, looking back and forth between +each other. Leonidas is mystified by their silence. + + EPHOR #1 + We must consult the Oracle. Trust + the Gods, Leonidas. + + LEONIDAS + I'd prefer you trust your reason. + +The Ephor snaps back at Leonidas, pointing a misshapen +finger at the kneeling King. + + EPHOR #1 + Your blasphemies have cost us quite + enough already. Don't compound + them. We will consult the oracle. + 16. + + +The Ephors turn away. Leonidas follows them. Carved into +the stone, under a domed ceiling, is an altar. It is a +stage fashioned to look like the hand of a God. In its +palm, a beautiful YOUNGGIRL moves hypnotically. + +Around the altar the Ephors stoke small fires which burn +green with the smell of sulfur, careful not to breathe the +smoke themselves, they retreat to the shadows. + + DILIOS (V.O.) + Diseased old mystics ... worthless + remnants of a time before Sparta's + ascent from darkness ... remnants + of a senseless tradition. Tradition + even Leonidas cannot defy, for he + must respect the word of the + Ephors. That is the law. + +Leonidas watches as the vapors engulf the girl. She begins +to shake and convulse, her body thinly veiled by the +sheerest of fabric. The firelight behind her reveals the +beauty of her form and the tragedy of her plight. + + DILIOS (V.O.) + ... And no Spartan, subject or + citizen, man or woman, slave or + King, is above the law. + +Then, through the darkness -- + +DRUMS! The girl's eyes roll back. Her body heaves and +writhes. She moans and drools, her hips thrusting, her +chest heaving. She + +CRIES! Through her pleasure and pain. The beating of the +drums quicken, as does the violence of her rapture. + +Her veil clings to her sweaty form until finally she CRIES +out! + +DRUMS stop, and she collapses. After a moment, the Ephors +run in extinguishing the fires. One of the Ephors leans +close to the Oracle as another pulls a wooden block across +the sand, erasing the King's plan. + + DILIOS (V.O.) + The Ephors choose only the most + beautiful Spartan girls to live + among them as Oracles. Their beauty + is their curse, for the old + wretches have the needs of men ... + and souls as black as hell. + 17. + + + Her breathing is shallow. The old Ephor can't resist + letting his tongue lick across the Oracle's neck, tasting + her salty skin, before he turns his deformed ear to her + mouth, which whispers in trance. As he listens, he speaks + in an ancient language spoken only by Ephors. She speaks as + he translates. + + EPHOR #1 + Pray to the winds. Sparta will + fall. All Greece will fall. Trust + not in men. Honor the Gods. Honor + the Carneia. + + Leonidas shows nothing. A WIND HOWLS through the columns of + the open temple. He looks into the faces of the Ephors, + then turns into the darkness and is gone. + + DILIOS (V.O.) + The King's climb down is harder. + Pompous inbred swine ... worthless, + diseased, rotten ... + + +16 INT. THE EPHORS' TEMPLE - MOMENTS LATER 16 + + Gold falls in showers. Printed onto the coins is the + likeness of a Persian God or man. + + DILIOS (V.O.) + ... corrupt ... + + The Ephors kneel, running their hands through the great + pile of gold. Standing in the firelight, is Theron. At his + side, a large PERSIAN, his body crisscrossed with chains + and giant locks of ancient iron, tosses a handful of gold + onto the pile. + + Theron turns to the Persian. + + THERON + Leonidas will not march. The word + of the Oracle is final. + + PERSIAN + What of your Spartan Council? Could + they not vote to ignore these + mystics' words. + + THERON + 18. + + + The members of that Council are as + superstitious as they are old. Your + gold is well spent. When I am made + ruler or all Greece and Sparta is + its capital, her people and armies + will serve the God King well. + + PERSIAN + You have only to remove the Spartan + Queen and its heir for your plan to + be complete. + + THERON + You need not instruct me in the + course of my own treachery. This + plan was born long before Xerxes + turned his eye to Greece. It rose + from my hatred of Leonidas' + measured judgment ... It rose from + my envy of his skill in battle ... + It rose from my lust for the warmth + of his young bride. All the hate in + my soul will find itself manifested + on his house, and his victories, + his love, his freedom, his very + blood will lie in ruin at my feet. + + Theron turns to the Ephors. + + THERON + This is but a token. Great Xerxes + gives his thanks, oh wise and holy + men. You are truly in the God + King's favor now. + + The Persian smiles, his face adorned with gold piercings, + his eyes pale blue. + + PERSIAN + Yes, for when Sparta burns, you + will bathe in gold. Fresh oracles + will be delivered to you daily, + from every corner of the empire. + + +17 INT. LEONIDAS' BEDCHAMBER - NIGHT 17 + + The waxing gibbous moon shines onto the stone floor of the + King's bedroom. + + It is a second-story room overlooking a small courtyard. + Beyond that, edged by moonlight, the roofs and houses of + sleeping Sparta. + 19. + + +Leonidas leans of the frame of his balcony doorway, unable +to sleep. + +After a moment he sighs and moves to his bed, where his +wife Gorgo sleeps soundly, the sheet down to her waist, +revealing her strong feminine back, which shines with the +warmth of August. Leonidas sits at the edge of the bed and +lightly traces his finger along the contours of her body. +She stirs, and now, sleepily, she stares up at him. + + GORGO + Your lips can finish what your + fingers have started ... Or has the + Oracle robbed you of your desire as + well? + + LEONIDAS + It would take more than words of a + drunken adolescent girl to rob me + of my desire for you. + +Gorgo smiles. The curls of her black hair fall softly +across her neck and collarbone. + + GORGO + Then why so distant? + + LEONIDAS + Because it seems, though a slave + and captive of lecherous old men, + the Oracle's words could set fire + to all that I love. + +She reaches up to him, laying her hand to the side of his +face. + + GORGO + So that is why my King loses sleep + and is forced from the warmth of + his bed. + +Gorgo furrows her brow in mock concern. + + GORGO + There's only one woman's words that + should affect the mood of my + husband ... and those are mine. + +He smiles, if only briefly. He is in pain and she can see +it. + + LEONIDAS + 20. + + + What must a King do to save his + world, when the very laws he has + sworn to protect, force him to do + nothing? + + Gorgo sits up. She is tender, yet intense. She looks into + his eyes for a moment, then her expression softens. + + GORGO + It is not a question of what a + Spartan citizen should do, nor a + husband, nor a King. Instead ask + yourself, my dearest love, what + should a free man do? + + He looks at her. They are close. The moment stretches and + he smiles. They kiss and fall back onto the bed. This is + love between a Spartan King and his Queen. Their skin is + wet. Their mouths hunger. Their muscles flex. It is not + soft. It is passion personified. They love as they live. + + +19 EXT. SPARTAN BARRACKS 19 + + The sky is pale and clear to the east as 300 Spartans hold + rank in a field of golden wheat. Leonidas and his Captain + walk past the familiar face of Dilios, who nods to his + king. + + LEONIDAS + Is this all of them? + + CAPTAIN + As you ordered. 300 with born sons + to carry on their name. + + A Spartan named STELIOS (28), lean and hard-bodied, speaks + up from the line of soldiers. + + STELIOS + We are with you, sir, to the death. + + The Captain turns and barks at Stelios. + + CAPTAIN + Hold your tongue, boy? Or I'll take + you at your word. + + Leonidas makes eye contact with Stelios, then points to a + young Spartan, with the soft face of a child near the rear + of the pack. + + LEONIDAS + 21. + + + He is your own and too young to + have felt a woman's warmth. + +Leonidas stands before the baby-faced warrior. + + CAPTAIN + I have others to replace him. + +The Captain stands next to his King, and glances into the +eyes of his son, ASTINOS (18). + + CAPTAIN + He is as brave and ready as any. No + younger than we were the first time + you stood next to me in battle. + + LEONIDAS + You are a good friend, but a better + Captain, there is not. + +Leonidas places his hand on the Captain's shoulder, as if +to mark his selfless act. + +In the morning light, a group of COUNCILMEN are led forward +by Theron. + + ELDER COUNCILMAN + My good King, the Oracle has + spoken. + +The group stands before Leonidas, trying to gain his +attention. + + COUNCILMAN + The Ephors have spoken. There must + be no march. + +Leonidas continues to view his men with a disciplined eye. + + THERON + The law, my Lord. The Spartan Army + must not go to War. + + LEONIDAS + Nor shall it. You worry over + nothing. + +Theron and the councilmen view the assembly of warriors. + + LEONIDAS + I have issued no such orders. These + 300 are my personal bodyguards. Our + army will stay in Sparta. + 22. + + +Leonidas looks away from his 300, to his Queen and child +who have now joined the group. + + LEONIDAS + We'll head North. + +Gorgo pulls her son into her hip. + + GORGO + The Hot Gates. + +Leonidas looks at his family. + + ELDER COUNCILMAN + What do we do? + + THERON + What can we do? + + LEONIDAS + You will listen to your queen in my + absence. The throne of Sparta rests + with her. + +Leonidas lifts his shield and looks back at his 300 men. +The Captain nods that his men are ready. Leonidas calls +back to the Spartan Councilmen. + + LEONIDAS + What can you do? Sparta will need + sons. + +Leonidas moves toward his men, to begin their long march +North. + + GORGO + Spartan! + +Leonidas turns to his wife's voice. + + LEONIDAS + Yes, my lady. + +The Queen walks to him, lifting from her neck the simple +leather necklace, attached is a wolf fang. Her husband's +first boyhood enemy. + + GORGO + Come back with your shield... or on + it. + +Leonidas bows slightly, as she passes the necklace over his +head. + 23. + + + LEONIDAS + Yes, my lady. + + There are no tears from her eyes, nor trembling in his + voice. + + DILIOS (V.O.) + Goodbye, my love. He doesn't say + it. There is no room for softness, + not in Sparta. No place for + weakness. + + Leonidas and his 300 start to march from Sparta. + + DILIOS (V.O.) + Only the hard and strong may call + themselves Spartans. + + The King knows he will never see her again. He will never + see Sparta again. + + They march on! + + DILIOS (V.O.) + Only the hard. Only the strong. + + +20 EXT. MOUNTAINS NEAR SPARTA 20 + + On a distant blade of rock, a LONE FIGURE, hobbled and + bent, follows the Spartans as they move across the golden + fields. + + +21 EXT. MOUNTAIN FOOTHILLS 21 + + WE HEAR: the sound of twin FLUTES and goat hide sandals + against soil. In silence, they march over the sharp rocks + and earth, looming steadily, weaving a small shapeless mass + of men North. + + DILIOS (V.O.) + We march. For our lands. For our + families. For our freedoms. + + On the broken ridgeline more men appear, other pockets of + strong Hoplites from city-states that have heard the call + to war. + + DILIOS (V.O.) + Noisy Arcadians greet us with noisy + complaints. + 24. + + +Leonidas leads his men and greets the Arcadians. + + LEONIDAS + Daxos, a pleasant surprise. + +DAXOS, a tree trunk of a man, circular shield strapped his +back, leads the Arcadian force. + + DAXOS + This morning's full of surprises, + Leonidas. + +His men look at the small Spartan numbers and begin to +murmur among themselves. + + ARCADIANS + We have been tricked ... There + can't be more than a few hundred of + them ... This is a surprise ... + + DAXOS + Silence. + +The men settle and listen... listen carefully to the words +that will come. + + DAXOS + We were told Sparta was on the + warpath! We were eager to join + forces. + + LEONIDAS + If it is blood you seek, you are + welcome to join us. + +Daxos scans the Spartans, counting quickly the rows of men, +unmoving under the weight of their armor as if carved from +the mountain itself. + + DAXOS + But you bring only this handful + against Xerxes? I see I was wrong + to expect Sparta's commitment to at + least match our own! + +Leonidas sits atop a smooth, moss-covered stone. + + LEONIDAS + Doesn't it? + +Leonidas glances to the Arcadians. + + LEONIDAS + 25. + + + You there. What is your profession? + +A small-framed ARCADIAN steps forward. + + ARCADIAN #1 + I am a potter, sir. + +Leonidas points to another. + + LEONIDAS + And you, Arcadian. What is your + profession? + +Another Arcadian responds from group. + + ARCADIAN #2 + A sculptor, sir. + +Leonidas points again to the crowd. + + LEONIDAS + And you? + + ARCADIAN #3 + A blacksmith. + +Again the King points. + + LEONIDAS + You? + + ARCADIAN114 + A baker. + +Leonidas stands, turning to his 300. + + LEONIDAS + Spartans! What is your profession? + +From the silent mass of Spartan muscle, 300 spears and +swords are raised to the sky, a collective battle cry exits +each, thunder and fire that spits forth from their bellies. + + SPARTANS + Haaawooo! + +The Spartan weapons lower and raise again and again each +time the men grow louder with their chant of war. + + SPARTANS + Haaawooo! + 26. + + + Leonidas nods softly at his men and turns to Daxos. + + LEONIDAS + You see, old friend? I brought more + soldiers than you did. + + +22 INT. GORGO'S PRIVATE GARDEN - SPARTA - DUSK 22 + + On the ground, simple oil-fed cauldrons burn bright, + casting shadows that dance along the branches of olive + trees. Gorgo meets with a Spartan LOYALIST near the + garden's roughly chiseled steps. + + LOYALIST + Is such secrecy needed? + + GORGO + When is one to trust beyond the + walls of their own home? Even here, + Theron has eyes and ears that fuel + Sparta with doubt and fear. + + LOYALIST + Don't worry. Leonidas and his men + are strong. + + GORGO + It is not his strength that worries + me ... if Xerxes is not stopped ... + + LOYALIST + He will be stopped. + + GORGO + If Persians advance beyond the + narrows to the North, they will + leave no one to tell our story. + They will grind Spartan bones to + flour and serve them to their Army. + + The Loyalist reflects on the Queen's words. + + GORGO + I now bear the weight of the king's + responsibility. If Leonidas fights + for what he believes, so must I, + here in Sparta. + + Gorgo stands beneath an arbor of lavender. + + LOYALIST + 27. + + + I can arrange for you to speak to + the Council. Many would vote to + commit all we have and follow + Leonidas, but you must show them + favor, explain why their King would + betray the law of his land. + + GORGO + Laws created by men who have never + shown valor. + + LOYALIST + Is it recklessness or valor? + Without reason the Council can + believe either. + +Gorgo watches a Spartan guard on horseback ride out of the +city into the blackness of night. + + GORGO + I will go to the Council, and if it + is reason they want, I will let + them know. + + LOYALIST + Know what, my Queen? + + GORGO + How precious this liberty we enjoy + is. Why freedom isn't free at all. + It comes with the highest of costs. + The cost of blood. + +The Loyalist nods in agreement with his Queen. + + LOYALIST + I'll bring together the city's + council, and its chamber will be + filled by your voice. + +The Loyalist gathers himself and readies to leave. + + GORGO + Why do you do this? + + LOYALIST + Leonidas is my King, as well as + yours. + +The Loyalist bows his head and goes without sound, leaving +the Queen to view the stars that spread across the obsidian +night. + 28. + + +23 EXT. GREEK WAR CAMP - NIGHT 23 + + Most Spartans sleep, huddled near each other, laying over + their bronze shields like massive rag dolls of war. + + The Captain moves across the campsite to Leonidas. They + watch the bursts of dying sparks jump out of the flames and + vanish. + + CAPTAIN + No sleep tonight? + + LEONIDAS + Not for the King. + + Leonidas studies the fire. + + CAPTAIN + Too restless ... eager as a youth + ... eager as a beardless wet-nosed + cadet for battle. + + Leonidas looks towards his men and then back to the + Captain. They share a moment and nod, a moment only shared + and understood by men who have given themselves fully to + one thing their whole lives. Leonidas' voice quiets. + + LEONIDAS + All my forty years have been a + straight road to this one gleaming + moment in destiny. This one radiant + clash of shield and spear and sword + and bone and flesh and blood. + + Leonidas returns to the fire, watching it dance. The King's + eyes close for a moment. Just a dream of sleep would be + enough. + + +24 EXT. PINDOS MOUNTAINS 24 + + The day has turned and grey mist rises in ghostly shapes + from the spine of the mountains. The band of brothers + descends through the merciless heat. Astinos points to the + ridgeline. + + ASTINOS + We are being followed. + + The silhouetted figure looms, watching the Spartans' + progress. + + LEONIDAS + 29. + + + It has followed us since Sparta. + + CAPTAIN + A Persian scout? + + The Spartans rest for a moment. + + LEONIDAS + No. Its stride is more beast than + man. + + Stelios points to thin columns of black smoke on the blue + horizon. + + STELIOS + Look, my King. + + +25 EXT. GREEK VILLAGE 25 + + As the Spartans and Greeks enter. Buildings still smolder + and fall to ash. A complete wasteland, void of hope and + song, filled with smell of slaughtered livestock and the + dead. + + STELIOS + What happened here? Where are the + people? + + Leonidas scans the details of the destruction. Footprints + in the wet earth, hooves of strange beasts, torn bits of a + peasant's dress. Leonidas crouches, tracing with his finger + the claw-like footprints in the blood-soaked earth. + + LEONIDAS + Persians. + + The Captain kneels next to Leonidas after surveying the + scene. + + CAPTAIN + I put their numbers at around + twenty. + + LEONIDAS + A scouting party ... But these + footprints ... What could have ... + + STELIOS + A child! + 30. + + +The Spartans turn to see the naked form of a CHILD. A +phantom, her thin pale body, covered in dirt and dried +blood. The mass of Greek warriors part as she moves between +them and stands before Leonidas in silence. + + LEONIDAS + Water. + + CHILD + It's quiet now ... They ... they + came with beasts from the blackness + ... monsters ... dark-skinned ... + cold eyes ... from my nightmares. + +The Child is stoic in her telling of the tale. + + CHILD + With their claws and fangs they + grabbed them ... everyone ... + everyone but me. + + SPARTAN + I've found them. + +A Spartan points to a massive wind-blown tree at the top of +a hill. + +The Child collapses at the feet of the King. Leonidas +slowly lifts her into his arms. + +He closes the eyes of the lifeless child and looks towards +the lone ancient tree. Where VILLAGERS, MAN, WOMAN,CHILD +have been strung out like Christmas ornaments, hundreds of +Persian arrows pierced through their limbs and bodies. + + STELIOS + Have the gods no mercy! + + DAXOS + We are doomed. + + CAPTAIN + Quiet yourself. + +The Spartans and free Greeks move slowly towards the +haunting tree. Leonidas stands without expression, holding +the dead child. + + DAXOS + 31. + + + The child speaks of the Persian + ghosts, knows from the ancient + times, bound by the myth and magic + of the night ... They are the + hunters of men's souls. + + Some of the Greeks nervously look at each other. + + DAXOS + They cannot be killed or defeated, + not this darkness, not these + immortals. + + Leonidas lays the small child's frame at the base of the + tree. + + LEONIDAS + Immortals? We will put their name + to the test. + + +26 EXT. HOT GATES - SUNSET 26 + + Leonidas pauses, watching the men stream down past him into + the narrow canyon called the Hot Gate. The WIND HOWLS + through the ancient cut in the mountains and the crimson + Spartan capes ... + + ... SNAP like flags. + + DILIOS (V.O.) + We march ... from Lakonia ... from + sacred Sparta ... we march ... for + Honor's sake ... for Glory's sake + ... we march ... Into hell's + mouth.we march. + + Leonidas nods to a few passing brothers, dust swirls as the + Captain and his son pass. Leonidas and the Captain share a + moment which causes the Captain to slap a strong hand on + his son's back, smile at him, a father and son joined in + battle, and then turns back to Leonidas. The look of pride + still on his face. + + The Captain makes his way through the current of soldiers + to stand next to his King, his friend. + + As the troops thunder past, the two survey the landscape + for a moment, looking down through the Hot Gates to the + ocean. Dilios stops and points into the far distance. + + DILIOS + Look! Persians! + 32. + + +Countless Persian ships bob like toys on an angry sea, +pulling down distant sails in preparation for a coming +storm. Black bellies of clouds mix with the last light of +day. + + DILIOS + Did you know the God King Xerxes + requires no less than 8,000 slaves + to move and assemble his personal + compound. That the zoo of animals + that accompany him consume over 100 + tons of wheat, hay and meat a day. + That their Persian war brothel is + contained in over 80 tents and its + number of concubines, goats and war + boys outnumber us 3 to 1. And that + the column of carts that bear the + skins and barrels of fermented + barley and wine is over 15 miles + long. + + CAPTAIN + Well, at least we'll die with the + stench of Persian whores on our + cocks and the taste of Persian wine + on our lips. + + LEONIDAS + Die perhaps ... or live forever. + + CAPTAIN + An optimist. + + LEONIDAS + I can afford to be ... I've got you + on my side. + +The Captain nods to his friend as the nearing soldiers +clamor by ... + + CAPTAIN + You do indeed. The burden of + Kingship you bear alone, but our + friendship we bear together. + +Dilios takes a few steps past Leonidas, following the men +who head down to the sea, then turns back to them. + + DILIOS + Come, let's watch these motherless + dogs as they are embraced by the + loving arms of Greece herself. + 33. + + + Leonidas takes a look at the sky and then back to the + Persian fleet. + + LEONIDAS + True, it does look like rain. + + +27 EXT. SEA CLIFF 27 + + Lightning flashes across a violent sky, exploding the mast + of a Persian trireme. The vessel is tossed on giant SURF, + CRASHING it into the rocky coast. + + DILIOS (V.O.) + Let the others scurry for cover. We + rush to bear witness. The Gods + play. Zeus stabs the sky with + thunderbolts. Boreas howls, + bullied... and batters the sea with + hurricane wind. + + Daxos joins Leonidas and his men as they stand above the + sea on the cliff watching as one after another, the Persian + fleet is smashed in SLOWMOTION, to kindling. Below, another + bolt of lightning briefly illuminates faces of the + countless drowning slave oarsmen gasping for breath among + the splintered timbers of the Persian Armada. + + DILIOS (V.O.) + Poseidon rises, rudely awakened, + furious, his surf clawing at the + stars. + + The RAIN POUNDS against Leonidas' shield like war drums as + he drinks in the carnage below. + + DILIOS (V.O.) + Glorious. + + Behind Leonidas, his men laugh. Cries of jubilation are + heard. The men embrace and Daxos raises his fist in victory + as another massive Persian ship explodes onto the rocks and + again the surf surges made viscous by flesh and wood. + + DILIOS (V.O.) + Laughter, song and praise for the + Gods that will continue to the next + day's dawn. + + Then another flash of lightning as the men behind dance + with time suspended, in ecstasy of jubilation. Leonidas, + jaw set, face cold, stern and motionless, says nothing. + 34. + + + DILIOS (V.O.) + Only one among us keeps his Spartan + reserve. + + Leonidas slowly lowers his shield, allowing the rain to run + down his unmoving face. + + DILIOS (V.O.) + Only he. + + THUNDER mixed with laughter and the pounding sea. The + distant cries of a host of drowning Persians. Leonidas + lifts his chin in slow motion to the rain and closes his + eyes, breathes the salty air and turns back through his men + to the Spartan camp. + + DILIOS (V.O.) + Only our King. + + +28 EXT. NEAR THE PERSIAN CAMP - DAWN 28 + + A handful of Spartans moves silently through the misty + forest at a pace impossibly fast for the lack of sound. No + helmets, no shields. + + FLASHES of red and steel between the trunks of mountain + pines. + + A Spartan points to the edge of a bluff just in front of + them, the forest silhouetted by the bright sky, telling + Daxos they have reached the overlook they had ventured into + the woods to find. + + He crawls on his belly until he is next to the Spartans who + lie at the cliff's edge looking down on the Persian + encampment. Daxos' breath catches in his throat as terror + grips him staring down on the camp of his enemy. + + WE SEE: the greatest gathering of men and animals the world + has ever seen, for the valley below him, which stretches + five miles across, bordered on one side by the sea and on + the other by the mountains, contains from edge to edge a + city of tents complete with roads that team with people and + carts and horse and creatures no Greek eye has seen before. + At the coast, countless thousands of ships are being + unloaded and tended to. Vast legions of men march this way + and that, the smoke from the tens of thousands of fires has + created a cloud of black that drifts and clings over the + nearby mountains. + + DAXOS + 35. + + + I saw those ships smashed on the + rocks. How can this be? + + SPARTAN + We saw but a fraction of the + monster that is Xerxes' army. + + The Spartan smiles, shaking his head at the sheer + spectacle. + + DAXOS + We are doomed. There can be no + victory here. Why do you smile? + + SPARTAN + Arcadian, I have fought countless + times ... Yet I have never met an + adversary who could offer me what + we Spartans call a Beautiful Death. + I can only hope with all the + world's warriors gathered against + us that there might be one down + there who's up to the task. + + With that he slaps a hand on Daxos' back and laughs. + + +29 EXT. MOUNTAIN FOOTHILLS 29 + + WE SEE: a form, half-man/half-unknown, who has followed + Leonidas. Its hunched back, gruesome and abstract, face + rutted and worn like leather. EPHIALTES moves with a broken + gait, mouth shaped like a gunshot wound, eyes uneven, wild + with determination. + + EPHIALTES + Honored father ... Smile down upon + me from your place of rest. This + day your son will prove himself. + + Ephialtes' feet trample over the wild scrub and withered + flowers sheathed in dust. + + EPHIALTES + I will show you that you were not + wrong to protect me. I will show + you that I am worthy. + + Ephialtes stops at the edge of a high cliff, cupping his + misshapen hand towards his face, inhaling deeply, smelling, + questioning the air itself. + + EPHIALTES + 36. + + + Bastards. + + WE HEAR: the sound of TROOPS marching in the distance. + + A PERSIAN GENERAL carried atop a golden throne, surrounded + by BODYGUARDS. He whips his slaves and pushes them on. + + EPHIALTES + Persian bastards! We'll kill all of + you. + + Ephialtes grits his teeth and growls at the passing Persian + display. + + EPHIALTES + We Spartans will destroy you. + + +30 EXT. HOT GATES - DAWN 30 + + Morning calisthenics. Leonidas leans on his spear, + watching. A summer WIND blows cool off the Aegean. Bodies + straight, teeth clenched at the zenith of a military push + up, they hold that pose. + + On each of their backs stands another Spartan with shield, + helmet, spear and cape. Muscles shake and quiver under 200 + pounds of men and armor. + + Daxos rushes into the Spartan campsite. Leonidas turns from + his men who can be heard in the b.g. + + Leonidas is calm, almost pleasant. + + LEONIDAS + Daxos, you're up early for an + Arcadian. + + Daxos is scared, he points in the direction of the sea. + + DAXOS + A Persian General approaches. You + should come and speak to him. It is + our one chance for survival. + + The King nods slowly at Daxos. + + DAXOS + You are the King. Your men are ill- + prepared for the delicate matters + of state. I fear the welcome that + this ambassador will receive and + the message it sends to Xerxes. + 37. + + + Leonidas smiles at Daxos. + + LEONIDAS + No, on second thought, I am busy. + My boys will meet him at the wall + and I think you will find them + quite prepared to show him a proper + Spartan welcome. + + +31 EXT. SEASIDE ROAD 31 + + Persians advance up the primitive highway. The Persian + General's gold litter, carried by twelve slaves at a dead + run, suddenly slows as it approaches the Hot Gates. Fear + grips the dark-skinned slaves who carry the General. + + More afraid of what they see than the General's whip. + + DILIOS (V.O.) + Perhaps King Xerxes sent his + General to negotiate our surrender. + Or perhaps he wonders why he has + not heard from his scouts. + + As they round the last bend, the Hot Gates still in the + distance, they are greeted by two dozen dead Persian + scouts. Each impaled by a spear so that it protrudes from + his mouth. The shafts of the spears inside their bodies + cause them to sit upright. + + The dead scouts adorn the rocks and dirt mounds, a signpost + to the General that he is headed in the right direction. + His handful of bodyguards are frozen as they stare at the + gruesome display. + + +32 EXT. MOUNTAIN FOOTHILLS 32 + + Ephialtes watches the Persian General and his column of men + fade into the distance. + + EPHIALTES + Destroy them, right up their camel- + callused backsides. + + Ephialtes spins and thrusts the sky with his. spear in mock + battle. + + EPHIALTES + Blessed Spartans! The boldest of + men. The finest warriors in all the + world! + 38. + + + He turns and opens his stride across the sharp rocks. + + EPHIALTES + They will accept me. They must + accept me. Father! Beloved Mother! + You will see that you were right to + protect me. + + And now the creature runs. + + The path is strange and solemn. Among the ferns and + mountain oaks, granite shelves, ragged escarpments of stone + and earth braced by the invisible hands of the Gods + themselves. + + He runs to warn his Spartans. + + +33 EXT. WALL OF THE DEAD 33 + + Near the entrance to the Hot Gates. The Persian General + half-stands out of the ornate chair, borne on the shoulders + of bleeding slaves, to better see who among his enemies are + gathered at the wall which now acts as a barrier, funneling + would-be attackers into the Hot Gates. + + A large group of Spartans work at putting the finishing + touches to the wall. Stelios puts a large rock in place at + the top of the wall and, already sweating hard, glances at + the approaching General who calls up to him. + + GENERAL + You there! Who commands here? + + Stelios stares down at him, then to the water below. He + takes a breath and leaps fifty feet to the sea. His form is + perfect. The General watches as he hits the water headfirst + with barely a splash. + + The General looks at the men as they work on the wall. No + one has stopped. The General stands, frustrated, on the + platform supported by slaves, and calls again to the men + working on the wall. + + GENERAL + I am the emissary of the Ruler of + all the World, the God of Gods, the + King of Kings and I demand by that + authority that you show me your + commander. + + One or two of the Arcadians look over their shoulders at + the Persian General. + 39. + + + GENERAL + Listen and learn, Spartans. I am + tired of your petulance. + +Stelios climbs the cliff face up out of the salt water. He +leans against a boulder and begins sharpening his sword +with a found stone. + + GENERAL + Do you think that the paltry dozen + you slew scares us or means + anything to us? They are nothing to + the great Xerxes. Why, these hills + swarm with our scouts. They watch + us even now. They move like + shadows. + +The men still work, moving the rocks, handing them to one +another, ignoring the Persian General, who laughs a one- +breath laugh and looks to his nervous men. He then points +at the wall. + + GENERAL + Do you think your pathetic wall + will do anything except fall like a + heap of dry leaves in the face of + ... + +His words catch in his throat as he sees that the wall +before them is built not just out of stone. + +WE SEE: Jammed between the boulders and rocks are the +heads, limbs, and bodies of countless Persian scouts. Even +their horses have not been spared. Their faces in grim +crimson and black clotted blood against the gray of stones. +The General and his-horrified bodyguards scan the wall +which looms before them. A monument to death. + +Stelios lowers his chin, glides his sharpening stone one +last time down the length of his BLADE which -- + +RINGS with sparks and the song of iron on stone. The +General struggles for something to say. + + STELIOS + Our ancestors built this wall using + ancient stones from the bosom of + Greece herself and, with a little + Spartan help, you Persians supplied + the mortar. + + GENERAL + You will pay for your barbarism. + 40. + + +And with that, he loads his whip to strike. Stelios, +without hesitation, closes the distance to the General in a +heartbeat. Rising in a powerful leap, his freshly sharpened +sword FLASHES through the General's arm at the elbow. + +The General's litter crashes to the ground. His slaves dive +for the protection of nearby rocks. Stelios stands over the +General as he grips his stump in pain, blood pumping +between his fingers. Each of his bodyguards frozen at spear +point by the now agitated Spartans. + + GENERAL + My arm! + + STELIOS + It's not yours anymore. Go now. Run + along and tell your Xerxes he faces + free men here. Not Slaves. Do it + quickly before we decide to make + this wall just a little bit bigger. + +The General breathes a labored breath, swallows hard and +narrows his brow. + + GENERAL + Not slaves, no. Your women will be + slaves, though. Your sons and + daughters, and elders will be + slaves. But not you. By noon this + day you will be dead men. + +Stelios is unmoved by the General's speech. + + GENERAL + One hundred nations of the Persian + Empire descend upon you. + +The General is helped back to his golden perch and his +slaves shoulder his lighter weight. He turns one last time, +to the massive wall, to the men that built it, and the +butcher that took his arm. + + GENERAL + Our arrows will blot out the sun. + +Stelios never changes his expression. His eyes are as cold +as the bracing AEGEAN which CRASHES relentlessly on the +cliffs below. + + STELIOS + Then we will fight in the shade. + 41. + + +34 EXT. COASTAL HILLS 34 + + Leonidas and his Captain watch as the Persian Ambassador + retreats back to Xerxes and his legions. + + CAPTAIN + The wall is solid. It will do the + job of channeling the Persians into + the Hot Gates, and the rest of our + defenses are nearly complete. + + LEONIDAS + Captain, have the men found any + route through the hills to our + back? + + CAPTAIN + None, sir. + + Atop the brown stones and pale ground stands Ephialtes, + like a broken creature. + + EPHIALTES + There is such a route, good King. + + Ephialtes lowers his bronze shield to reveal his entire + body. + + EPHIALTES + Just past that western ridge. It's + an old goat path. The Persians + could use it to outflank us. + + The Captain steps forward and levels his spear at + Ephialtes' frame. + + CAPTAIN + Not one step closer, Monster. + + Ephialtes bows his head towards Leonidas. + + EPHIALTES + Wise King, I humbly request an + audience. + + The Captain stands firm. + + CAPTAIN + I'll skewer you where you stand! + + Leonidas lowers his spear in front of the Captain's chest, + stopping him from advancing towards Ephialtes. + 42. + + + LEONIDAS + I gave no such order. + +The Captain looks to his King away slowly, and backs +watching Ephialtes as he returns to his men who prepare for +the Persians. + + LEONIDAS + Forgive the Captain. He is a good + soldier ... but a bit short on + manners. + +Ephialtes squints and shortens his gaze to Leonidas. + + EPHIALTES + There is nothing to forgive, brave + King. I know what I look like. + + LEONIDAS + You wear the crimson of a Spartan. + +Ephialtes steps closer to the King, lifting his head with +pride. + + EPHIALTES + I am Ephialtes, born of Sparta. My + mother's love led my parents to + flee Sparta, lest I be discarded. + My father became a shepherd ... but + he taught me the warrior's way. + + LEONIDAS + Your weapons and armor? + + EPHIALTES + My father's, sir. + +Silence lays between the King and the eager soul. + + EPHIALTES + I beg you, bold King, to permit me + to redeem my father's name by + serving you ... in combat. + +Leonidas leans onto a smooth, cool stone. + + EPHIALTES + You will see ... Day and night my + father trained me. + +Ephialtes opens his stance and twirls the shaft of his +spear, blurring the speed of its arc. + 43. + + + EPHIALTES + To feel no fear ... to show no pain + ... to make spear and shield and + sword as much a part of me as my + own beating heart. + +Ephialtes jabs his spear towards Persian camps in the the +distance, breathing, growling at the imaginary men that +fall before him. + + EPHIALTES + You see? My arms are strong and my + reach is long. I will earn my + father's armor, noble King ... and + reclaim my family's honor. + + LEONIDAS + A fine thrust ... + + EPHIALTES + I will kill many Persians! + +Leonidas stands, shadow towering over the warped form of +Ephialtes. + + LEONIDAS + Raise your shield! + +Ephialtes stops his attack. + + EPHIALTES + Sir? + + LEONIDAS + Raise your shield as high as you + can. + +Ephialtes lifts the shield. He is half hidden behind the +circle of hammered bronze. + + LEONIDAS + Your father should have taught you + how our Phalanx works. We fight as + a single impenetrable unit. That is + the source of our strength. + +Leonidas demonstrates the defensive stance. + + LEONIDAS + Each Spartan protects the man to + his left from thigh to neck with + his shield. A single weak spot ... + and the phalanx shatters. + 44. + + +Leonidas takes his hand to the top of Ephialtes' shield and +measures the height, a good two feet shy of the needed +mark. + + LEONIDAS + From thigh to neck, Ephialtes. + +The King shakes his head slowly as Ephialtes lowers his +shield. + + LEONIDAS + I am sorry, my friend, not all of + us are made to be soldiers. + + EPHIALTES + But I ... + +Leonidas places his hand on the shoulder of Ephialtes. + + LEONIDAS + If you want to help Sparta in its + victory, you can clear the + battlefield of the dead, tend the + wounded, bring them water, but as + for the fight itself, I cannot use + you. + +The King turns quietly away and heads down the slope of +limestone towards his 300. + + EPHIALTES + Mother, Father, you were wrong. + +Ephialtes turns away, towards the cliff's edge. + + EPHIALTES + You are wrong, Leonidas. You are + wrong! + +But the King continues, growing smaller in the distance. + +Ephialtes turns and leaps from the cliff, disappearing from +the high outcropping of rock, making not another sound. + +The Captain watches as Leonidas crosses the folds of rock, +windblown brush, shade-dappled grass, fine as thread. + + LEONIDAS + (to the Captain) + Dispatch the Phocians to the goat + path and pray to the Gods that + nobody tells the Persians about it. + 45. + + + The Earth begins to shake and lift, rocks loosen and + cascade down the cliff face. The Spartans and the other + Greeks steady themselves. + + The distant RUMBLING GROWS... STRONGER... LOUDER! + + LEONIDAS + Battle formations! + + Without hesitation the Spartan guard and others move + quickly, grabbing their weapons. + + DILIOS (V.O.) + For a beast approaches ... savoring + the meal to come. + + +36 EXT. PERSIAN ENCAMPMENT 36 + + And from the very sea itself, the Persian tents and rally- + points empty and break ground. They charge upwards through + the valley. They come in hordes, forward, fast, over the + rocks and shallows, they race on. + + DILIOS (V.O.) + A force of men so massive it shakes + the earth with its march. + + Brown bearded forms, chest panels of crocodile cover ragged + men, smoothed leather head covers adorned with seashells + and human bones. + + DILIOS (V.O.) + An Army so vast ... beyond + imagining. + + The Persians flow upward, through the valley floor and + foothills of the mountains. + + DILIOS (V.O.) + Poised to devour tiny Greece. + + Like locusts the Persians swarm over the land, destroying + beneath their advance all that holds life. Nothing is + spared. + + DILIOS (V.O.) + To snuff out the world's one hope + for reason and justice. + + +37 EXT. HOT GATES 37 + 46. + + + Armor is lifted. Leonidas runs forward, leading from the + front. The Captain and his 300 follow him down the broken + path. + + CAPTAIN + Follow your King. + + Stelios lets out a battle cry that ECHOES off the steep + rock faces on either side of him. Dilios and the Captain's + son join him as they drop down along the funnel of stone. + + LEONIDAS + Earn your shields, boys. + + They fork around obstacles, flow down en masse toward the + Hot Gates. Over rocks they leap. Today there is no need to + hunt ... the Spartan prey is before them ... one million of + them! + + +38 EXT. WALLOF THE DEAD 38 + + WE HEAR: The sounds of HOOVES and HORSES, like distant + thunder, GROWINGCLOSER! Blue-turbaned riders, atop sleek + Arabian horses, dozens break the low hills and funnel past + the wall of the dead. Now, hundreds of horses are in full + gallop over the high grass. Riders lean forward on their + mounts, eyes fierce, scanning for Greek blood. + + +39 EXT. HOT GATES 39 + + Leonidas settles himself as the rest of his men arrive. + + They form quickly around their King, quieting their racing + hearts, and listen to his words over the Persian + juggernaut. + + LEONIDAS + This is where we hold them! + + The Spartans watch as the earth moves and undulates, heaves + forward, alive with forms dressed in loose silk and cloth. + They carry curved swords, ivory-handled daggers tucked into + belts of gold. Horsemen whip the infantry forward, while + others reach into wicker quivers that hold arrows from the + East. + + LEONIDAS + This is where we fight! + 47. + + +The Spartans lower their shields into a perfect phalanx, a +solid wall of bronze from one side of the Hot Gates to the +other. Each man protects the next, each with spear extended +towards the Persian wave. + + LEONIDAS + This is where they die! + +The Persian funnel off the Wall of the Dead up the last +steps of the Hot Gates. + + LEONIDAS + Remember this day, men, for it will + be yours for all time. + +A snow-white Arabian and RIDER slows ... the mass of +Xerxes' machine of war slows ... as the golden shields of +Leonidas and his Spartans are revealed. + + PERSIAN HORSEMAN + Spartans! + +The air is heavy with the smells of leather, iron and +sweat. Leonidas and his 300 do not move, only their breath +can be heard against each other's backs. + + PERSIAN HORSEMAN + Lay down your weapons! + +WE SEE: From the Wall of the Dead appears the slow arc of a +single javelin through the air. It settles quickly into the +chest of the Persian Horseman, toppling him from his mount, +dead before he touches Greek soil. Leonidas narrows his +eyes to his enemies. + + LEONIDAS + Persians ... Come and get them! + +And with the defiance of the Gods themselves, Leonidas +starts what many speak of but few have the heart for. + +WAR BEGINS! + +WE HEAR: First faint, then rising with the ranks, a low +RUMBLING. Strange HORNS and CALLS TO WAR lift from the +Persians, as if to warn of the Apocalypse that will follow. + + CAPTAIN + Shoulder to shoulder. + +The Spartan phalanx snaps to a perfect oak and bronze wall +of defense. + 48. + + +Beneath the hammered bronze, eyes locked forward, towards +the howling enemy. + +The front rows of the Phalanx lower their lances of cornel +wood and ash, eight feet from hand to razor-tipped end. +This stand of men appears unworldly, as if some breathing +metal beast that lays coiled, ready to attack. + +The force of Persian RAIDERS drops down the last open space +and funnels straight to Leonidas and his men. + + CAPTAIN + Hold. + +The Spartans brace for battle. + + LEONIDAS + Give them nothing. + +Assyrians, Arabians, Bactrians, Cappadocians, Medes, +Karians, Babylonians, Armenians, and other Asiatic tribes, +a hundred nations thunder forward at the Spartan line. + + LEONIDAS + But take from them, everything. + +The Persians close within twenty yards of the forest of +Spartan arms. + + CAPTAIN + Steady, boys. + +CRASH! East meets West. Wicker meets bronze. + +The Spartan line grits its teeth against the massive +Persian onslaught. Thousands of Persians push against the +wall of Spartan bronze. Sandals slide, plowing the earth as +Spartan feet are forced back. + +A Persian blade draws the first Spartan blood, grazing +across the shoulder of a young Spartan. He cries out in +anger, breathing hate into the Spartan will. + +Leonidas strains as he and his men finally slow the tide of +silk and wicker, steel and dark skin. They find a foothold +that stops their backwards movement, and all at once a +thousand Persian eyes grow large with fear as Leonidas +lowers his body, pushes forward, thrusting through Persians +two at a time. + 49. + + +The Captain rolls over the enemy without pause. Piercing +through the silk leggings, puncturing their lungs with such +power that the air escapes the chest wounds in great +geysers. + + CAPTAIN + Push on!!! + +They push on, never breaking their impenetrable human wall. + + DILIOS + Aaaahhhh! + +Dilios' jabs land, cutting into Persian throats, the cries +of pain muffled as they fall under the trampling feet of +Spartan advance. + + CAPTAIN + Push!!!! + +They push on ... + +The Spartans gather strength from Greece herself, the +invaders fall upon each other, one after the other. + +WE HEAR: The CRIES of men, strange tongues from foreign +lands, GROANS and SCREAMS drift out and fall back to the +lifeless bodies from which they came. + + LEONIDAS + Clear ... to the right. + +Scared Persians, hearts pounding in hollow determination, +fall quick prey to the skill of the Spartans. + + CAPTAIN + No prisoners! + + SPARTANS + Haaawooo!!! + +They step and thrust, killing all before them. + + LEONIDAS + No mercy! + + SPARTANS + Haaawooo!!!! + +A deafening advance, the Spartans repel the Persian +discharge with ease, forcing the incalculable numbers +backwards. + 50. + + + CAPTAIN + They look thirsty. + + LEONIDAS + Give them something to drink, boys. + + CAPTAIN + To the cliffs! + +The Spartan phalanx jolts too. Electrified, they push their +burnished defense, relentless, driving over Persian bodies, +grinding towards the coastal cliffs. + +Leonidas lurches, skewering another. The rear columns of +attacking Persians begin to fold and fall away, over the +high cliff's edge and into the sea below. + +WE HEAR: Gasps of men without earth beneath them, falling +forms. High-pitched wails and caterwauls bleed forth and +crumple back onto the force as they are pushed over the +rocky line. + +By the hundreds they fall, embroidered tunics and mail +jackets tumble, continuous and measured screams sing out as +the Persians distort and separate into the churning salty +grave. + + LEONIDAS + Hold. + +With the King's voice, the Spartans stop and watch the last +Persian sail over the cliff face and disappear without a +sound. + + CAPTAIN + Hell of a good start. + + SPARTANS + Haawooo! + +WE HEAR: Distant Arabian HORNS sound off. As a thousand +HARPIES SCREECH and arrows cut loose. + + CAPTAIN + Tuck tail! + +The Spartans drop to a knee and cover their bodies with the +bronze shelter from the incoming storm. + +The first wave of bronze heads sink into the ground around +Leonidas and his men. Shaft after shaft rains into the +Spartan shields, momentarily obscuring the sun with their +volume. + 51. + + + LEONIDAS + Persian cowards. + +Bowmen reach into their quivers and send more missiles by +the thousands, an attack of size and strength never seen by +Leonidas and his men. + +Astinos crouches, laughing beneath his makeshift bronze +roof. + + STELIOS + What in the hell are you laughing + at? + + ASTINOS + You had to say it. + +Arrows pound off their shields, deflect, SHAFTS SNAP, they +fall in a deluge, pinning Astinos' robe to the ground. + + STELIOS + What? + + ASTINOS + Fight in the shade. + +They both begin to laugh and now the others join in. As the +last shrieking volley is cut loose ... All is silent, save +the Spartans laughter on the battlefield. + + CAPTAIN + Settle down. + +Leonidas looks to his Captain. + + LEONIDAS + Let them laugh. It scares the fight + out of our enemy. + +The Captain nods. + + CAPTAIN + Recover. + +A cry erupts from the back of the Spartan formation. In the +front position, Leonidas sees the mass of beast and men +they now offer. His eyes widen to the sheer force and he +sets his body for the impact. + + LEONIDAS + No heroes ... Today no Spartan + dies! + 52. + + + Astinos looks to his Father. The Captain nods softly, a + simple gesture of recognition that comforts his son before + Hell arrives. + + Nostrils flare as the giant sand-colored beasts thunder + down upon the Spartan line. + + The Captain locks his shield into his body. Stelios fights + back fear, his breath quickening in time with the advancing + mounts. + + An explosion of pure violence. + + Persians are thrown from their strange mounts, bodies + trampled; sweat and blood runs freely. Terror carved and + molded to each Persian face. + + DILIOS (V.O.) + We do what we were trained to do! + + The Spartans advance with tremendous velocity, half-naked + forms, red ribbons, brilliant bronze armor rushing forward + without pause. + + DILIOS (V.O.) + What we were bred to do! + + The Persians fight with curved swords, small war axes and + hammers engraved with lions' heads. + + DILIOS (V.O.) + What we were born to do! + + It is as abstract as it is brutal. Persian men, torn limbs, + unclothed bodies, crushed and bloody, wounded figures, + empty hand-tooled saddles, beheaded camels, faceless masses + clutching to breath and pulse, one by one falling again and + again to Spartan endurance. + + DILIOS (V.O.) + No prisoners! No mercy! A good + start. + + +41 EXT. SPARTAN MARKETPLACE - DAY 41 + + WE SEE: Gorgo and her son moving through the crowded + marketplace. Pleistarchos playfully darts between stone + columns and pools of bright sunlight. + + The two move in a loose pair past dark chambers, where + BLACKSMITHS-- + 53. + + +-- POUND bronze and iron into blade and bowl. Potters shape +red clay in vessels and plate. Gorgo stops at the mouth of +an alley and calls to her son, who has disappeared behind a +gaggle of HOUSEMAIDS, who bicker and gossip. + + GORGO + I am not chasing after you. + +The Queen waits a moment and sighs. + + GORGO + That's it, I'm leaving. Do you hear + me? + +Gorgo turns down the alley shaking her head. She passes the +red homespun fabric, freshly dyed, they hang drying in the +midday sun. The shadows of the hanger bars flash across her +face as she moves between the blood-red fabric walls into a +small courtyard. Carved out of stone is a simple bearded +face and out of the stone mouth, water flows, falling into +a small pool. + +The Loyalist sits, ringing a rag out in the clear water and +places it on his neck. + + LOYALIST + I was afraid you might not come. + +He stands to his feet as Gorgo approaches. + + GORGO + I'm sorry, my son ... is ... + +She turns back towards the alley. + + LOYALIST + Doing what children do best. Please + don't apologize. + +Gorgo relaxes a bit, made comfortable by the Loyalist's +manner. + + LOYALIST + He starts the Agoge next year. That + is always a hard time for Spartan + mothers. + + GORGO + Yes ... it will be hard, but also + necessary. + +The Loyalist ponders with a smile, remembering his time +enduring the Spartan crucible. + 54. + + + LOYALIST + In two days you will speak to the + council. + +Gorgo answers quickly. + + GORGO + My husband does not have two days. + + LOYALIST + Leonidas has chosen his battles and + so must you. These two days are a + gift. + +The Queen nods. + + LOYALIST + It's no secret that Theron wants + what you control. It is his voice + you must silence. Make an ally of + him and you will have your victory. + +The moment hangs between them both. + + GORGO + My son will be looking for me. + Thank you ... You are as wise as + you are kind. + +The Loyalist bows and moves off down a passageway. Gorgo +turns to the fountain and splashes water on her face, +relief from August heat. She pauses, letting the water pour +over her hands, staring into the stone eyes of the +fountain. From behind her, a voice. + + THERON + There's your mother. + +Gorgo turns to find Theron and Pleistarchos. Her son's eyes +are nervous as Theron grips his shoulders from behind. +Gorgo moves towards them both; Theron lets her son go and +he runs to her side. + + THERON + You should keep a better eye on him + if he is to be King one day. + +Gorgo pulls her son into her. Theron studies the faces of +both Queen and son. + + THERON + 55. + + + It would be unfortunate if anything + were to happen to him or his + beautiful mother. + + Gorgo narrows her gaze at Theron. + + +42 EXT. HOT GATES - AFTERNOON 42 + + It is a vision of Hell on Earth. Thousands of Persian dead + lay in heaps. The ground turned to mud by the countless + gallons of blood. The Spartans work gathering weapons from + the fallen and putting the few Persians whose injuries have + not killed them, out of their misery. + + Leonidas and the Captain pull off their helmets. As they + do, the Captain sees a Persian crawling among the nearby + dead. He moves casually over to him. + + The Captain looks back toward Leonidas, tossing the King an + apple. As Leonidas bites into it, the Captain puts a heavy + foot on the Persian to steady him, then plunges a spear + through his back. The Persian cries out, then dies. + + The Captain pulls his spear free and moves to the King. + + CAPTAIN + The Arcadians are itching for + battle, sire. They're begging for a + crack at the Persians. + + LEONIDAS + Good! I've got something I think + they can handle. Tell Daxos I want + them eager, sober, and ready for + the next charge. + + Stelios runs the last few yards right up to Leonidas and + the Captain. + + STELIOS + (breathing hard) + King Leonidas. + + LEONIDAS + Stelios, catch your breath, boy. + + Stelios puts his hands on his thighs and drops his head for + a moment. + + STELIOS + Yes, My Lord. + 56. + + + He breathes deeply, then swallows. + + STELIOS + Persians approach, My Lord. A small + contingent. Too small for an + attack. + + Leonidas looks in the direction of Stelios' spear which he + uses as a pointer. + + LEONIDAS + Captain, you are in charge. + + CAPTAIN + But, Sire ... + + Leonidas smiles at the Captain. + + LEONIDAS + Relax, old friend. If they + assassinate me, all of Sparta goes + to war. + + Leonidas becomes more serious, his voice lowers. + + LEONIDAS + Pray they're that stupid ... pray + we're that lucky. + + Leonidas begins to move across the landscape of the dead as + the Captain sighs, then sees another breathing Persian and + raises his spear. + + LEONIDAS + Besides, there's no reason we can't + be civil, is there? + + The Captain buries his spear with crisp precision and the + life groans from one of the nameless horde of his enemy. + + CAPTAIN + None, sire. + + +43 EXT. COASTAL PLAIN 43 + + A clearing between the Hot Gates and the Persian camps. + Leonidas slows to a stop. His expression a subtle smile. A + mix of amusement and disbelief at the display before him. + For, wedged between the sea and the jagged rock face of the + mountains, is a sight as impressive as it is absurd. + 57. + + +100 men bear on their backs a giant golden throne beset +with sculpted lions. Ancient script as old as time itself +is carved upon the platform. It rises 20 feet above the +shoulders of the bent slaves who carry it. At its summit, +surrounded by golden gazelles and backed by a black sun, +stands XERXES. Nearly 7 feet tall. Body of lean sinew, +hairless, androgynous, and draped in adornments of gold. + + LEONIDAS + Let me guess. You are Xerxes. + +Xerxes moves down the richly carpeted stairs of his throne +platform to the waiting Leonidas. Xerxes steps down, using +the back of a kneeling slave as the final step. + + DILIOS (V.O.) + A voice as smooth as warm oil on + well-worn leather and as deep as + rolling thunder. + + XERXES + Come, Leonidas. Let us reason + together. + +Xerxes glides on powerful legs as Leonidas stands next to +him. + + XERXES + It would be a regrettable waste ... + it would be nothing short of + madness were you, brave king, and + your valiant troops to perish all + because of a simple + misunderstanding. + + LEONIDAS + Don't lose sleep worrying over us. + We're having the time of our lives. + +Xerxes stops and turns to the Spartan King. + + XERXES + Brave words. Spartan words. I + admire you. The strength and honor + of your soldiers, their fierce + devotion. There is much our + cultures could share. + + LEONIDAS + Haven't you noticed we have been + sharing our culture with you all + morning? + 58. + + +Xerxes smiles. + + XERXES + Yours is a fascinating tribe. Even + now you are defiant, in the face of + annihilation and the presence of a + god. + +Leonidas looks up at Xerxes. + + LEONIDAS + There is a fundamental difference + between us. You would kill any of + your men to win and I would die for + any of mine. + +As Leonidas and Xerxes stand together, silent archers pull +bows taut, keeping an eye on the Spartan King. + + XERXES + You Greeks take pride in your + logic. I suggest you employ it. + Consider the beautiful land you so + vigorously defend. Picture it + reduced to ash at my whim! + +Leonidas is unmoved. + + XERXES + Consider the fate of your women. + + LEONIDAS + Clearly you don't know our women. I + might as well have marched them up + here judging by what I've seen. You + have many slaves, Xerxes, but few + warriors. It won't be long before + they fear my spears more than your + whips. + +Leonidas turns away from Xerxes and scans the hillside. +Rocks fall in a cascade from a nearby cut in the cliff. +Xerxes gently puts his hands on Leonidas' shoulder. + + XERXES + It is not the lash they fear, it is + my divine power. I am a generous + God. I can make you rich beyond all + measure. + +Xerxes leans closer to Leonidas, his voice goes to a hush. + + XERXES + 59. + + + I will make you warlord of all + Greece. You will carry my battle + standard into the heart of Europa. + Your Athenian rivals will kneel at + your feet, if you will but kneel at + mine. + +Leonidas exhales deeply, then steps out from under the God +King's hand and looks at his feet. + + LEONIDAS + You are generous as you are divine, + oh King of Kings. Such an offer + only a madman would refuse. + +The Spartan King then takes a few slow steps away from the +towering Xerxes. + + LEONIDAS + But the idea of kneeling, it's ... + you see slaughtering all those men + of yours has put a nasty cramp in + my leg. So kneeling will be hard + for me. + + XERXES + You sadden me, Leonidas. For as I + am reasonable, so am I vicious, and + as I am generous, so am I wrathful. + +Xerxes' body tenses under the weight of diplomatic words. + + XERXES + There will be no glory in your + sacrifice. I will erase the memory + of Sparta from the histories. Every + piece of Greek parchment shall be + burned. Every Greek historian and + every scribe shall have their eyes + put out and their tongues cut from + their mouths. + +Xerxes is afire, voice raised in contempt for the Spartan +King. + + XERXES + Why, uttering the very name of + Sparta or Leonidas will be + punishable by death. The world will + never know you existed at all. + +Leonidas turns to Xerxes, eyes as cold as ice. + 60. + + + LEONIDAS + The world will know free men stood + against a tyrant. That few stood + against many, and before this + battle was over, that even a God + King can bleed. + + +44 EXT. HOT GATES - SUNSET 44 + + On the flat steps, before the Hot Gates. Stelios and + Astinos work piling Persian corpses into a great mound at + the Wall of the Dead. Muscles strain under the lifeless + bodies. The sun has just passed below the mountains, and + promise of the night's cold is first spoken by the breeze + which rises off the sea. + + STELIOS + You fought well today, for a woman. + + Stelios tosses the body he's carrying onto the pile. + + ASTINOS + As did you. Maybe if I am injured + you will be able to keep up with + me. + + Astinos grunts as he heaves a cool body onto another, as + Stelios drags a body by the ankles. + + STELIOS + Maybe I was so far ahead you did + not see me. + + The Captain behind them lifts two bodies over his shoulders + and begins to move towards the youths. + + ASTINOS + More likely offering your backside + to the Thespians. + + STELIOS + Jealously does not become you, + friend. + + Stelios throws another on the heaping head. The two smile + at each other. + + The Captain climbs onto the bodies of his enemies, one + Persian over each shoulder, heaving them at Stelios' feet. + + Leonidas calls up to them, out of breath, from the foot of + the pile. + 61. + + + LEONIDAS + Move it, men! Pile those Persians + high. + + Leonidas glances back towards the Persian camp, as a wind + of dusk tosses crimson behind him. + + LEONIDAS + We're in for one wild night! + + CAPTAIN + Yes, sir. + + +45 EXT. COASTAL PLAIN - NIGHT 45 + + The worn road to the Hot Gates. Quiet grips the black + cliffs. The sea laps onto ageless rock. A light breeze + whispers in the trees and then out of the darkness ... + + WE HEAR: DRUMS + + DILIOS (V.O.) + They have served the dark will of + Persian Kings for 500 years. + + Clouds roll against the quarter moon. Black banners * cover + the sky. + + DILIOS (V.O.) + Eyes as dark as night. Teeth filed + to fangs ... soulless. + + The war DRUMS POUND like the heartbeat of a Titan. A river + of black bronze surges toward the Hot Gates. + + DILIOS (V.O.) + Wordless, their form. Faultless, + moving in such perfect unison. Each + collective step strikes the earth + like a blow from the Fire God's + Hammer. They march! + + Feet pound the earth. Barely the feet of men, toenail-like + claws. + + WE RISE SLOWLY ALONG the form of black armored skin. + Muscular arms protrude from ornate plates inlaid with gold. + Maybe ancient writing or design. Only dead men have seen + close enough to know. + + DILIOS (V. 0.) + 62. + + + The personal guard to King Xerxes + himself. The Persian warrior elite. + The deadliest fighting force in all + Asia. + +One of the thousands turns TO us, scanning the hillside as +his demon brothers pass behind him. A hiss of breath, he +bares his saw-blade teeth. His black eyes, shark-like, +searching for Spartan blood. + + DILIOS (V. 0. ) + The Immortals. + +A nameless Immortal at the front of the column holds up his +fist and, as one, they stop. + +WE HEAR: The DRUMSFLOURISH, then GO SILENT. + +The Immortal lowers his fist slowly, takes a few tentative +steps out of formation and scans the obstacle in his way. A +wall of stone and fresh Persian dead, 20 feet high, that +runs from cliff wall down to the sea. He stares up at the +grotesque sight of his comrades. + +Something new rises from his belly, freezing his joints, +making his breath catch in his throat. Something he has not +felt in countless forays on the battlefield -- FEAR! + + DILIOS (V. 0.) + Now, while we are fresh and at our + full strength. Before wounds and + weariness have taken their toll. + +The Immortal at the front reaches with shaking hands to the +two sabers slung at his back. Stepping slowly away from the +wall, he frees the two long arcing blades and nervously +watches the wall for movement. + + DILIOS (V.O.) + The mad King throws the best he has + at us. Xerxes has taken the bait. + +WE MOVEACROSS the faces of the dead at the top of the wall, +until we COMETO REST ON the dull gold of a Spartan helmet, +the unblinking eyes of Leonidas is hidden among the dead. + + LEONIDAS + Spartans, push!!! + +From behind the wall, a hoard of crimson and bronze presses +as one against the wall of corpses, which tumbles onto the +horrified immortals, breaking like waves onto the first six +rows of the Persian elite. + 63. + + +WE SEE: Pouring over the mound of dead comes a new swell of +Spartan shields and spears, surging down on the stunned +Immortals. + +Leonidas plunges his spear, reaching three deep into the +ranks of his enemies. He instantly lands a strong foot into +the chest of the skewered man, pushing him with a single +powerful stroke of his spear and turns to the next. + + DILIOS (V.O.) + Immortals. Well ... As our King + said, we put their name to the + test. + +With his shield, Stelios blocks a blade strike meant for +the Captain who flashes young Stelios a look before ramming +his own spear through the attacker's eye socket. + +This is the hardest fighting they have faced. War cries +howl from the Immortals as they battle the Spartans. + +TIME SLOWS: + +WE SEE: Astinos as he catches· an attacking Immortal with +his spear, in a single move, draws his sword to dispatch +another surging at his side. The blood of his enemies +sprays across Leonidas' face as the Spartans push forward +into the columns of confused Immortals. + + IMMORTALCOMMANDER + Stand your ground! + +The COMMANDER is bumped by a retreating soldier. He grabs +the fleeing soldier and pushes him back toward the +fighting. He yells, spitting his rage. + + IMMORTALCOMMANDER + I said stand your ground!!! + +Leonidas parries a blow and then drives his spear into +another Immortal. + +One of the Immortals leaps onto the shield of a Spartan +attacker. His toes grabbing the bottom of the shield like +an ape's hands, pulling the swords at his back free and +slicing across the neck of a Spartan soldier, killing him. + +The Spartans begin to lose ground to the recovering +Immortals. They claw as they rally, their fangs tearing +into Spartan flesh. + 64. + + +Leonidas fights two at a time, grimacing through clenched +teeth. He falls back as the Immortals take their toll on +the now withering Spartans, locked in a hand-to-hand +struggle with one of the demons. The Immortal's gnashing +teeth are just inches from Leonidas' face. Leonidas is +barely able to draw his sword, plunging it into the +Immortal's throat. + +Now from the heart of the Immortal horde, the largest and +fiercest of the Immortals rushes forward, a full seven feet +tall at the shoulder, veins in his neck bulging like +serpents as he roars, collapsing a Spartan shield with a +kick while in the same moment decapitating another Spartan +not quick enough to retreat behind his shield. + +The giant Immortal focuses his milky eyes on Leonidas, who +fights and dispatches two of the dark horde. + +Leonidas locks eyes with the giant, who recognizes the +Spartan king and charges toward him. Leonidas quickly +recovers a spear and thrusts it at the charging monster, +who rises into the air on a thundering stride, cutting +clean in two the spear shaft of the king. He lands with his +full 370 pounds of crushing muscle on the shield of +Leonidas, throwing him back onto the mutilated bodies of +the day-old fallen. + +Leonidas, lying on his back, recovers his wits just long +enough to have his sword kicked from his hand. The giant +roars again, pulling Leonidas' helmet off, which spins to +rest on the blood-soaked earth. The Immortal pulls his +blade down toward the exposed head of the king, who raises +his arm, catching the raw metal blade with a roof block on +his bronze-covered forearm. + +Then Leonidas summons from deep within his warrior soul a +crushing right to the jaw of the demon, who spits blood as +he roars in defiance. The thing tosses his sword down as he +moves right into Leonidas' face, roaring as he opens his +mouth. A mix of blood and saliva pours in rivulets between +the sharpened teeth of the giant while his eyes fix on +Leonidas' neck. The king's muscles strain beneath the mass +of the Persian Immortal. + +In desperation, Leonidas calls ... + + LEONIDAS + Arcadians ... NOW!!! + 65. + + +The giant Immortal is inches from Leonidas' neck when he +hears the battle cry of the Arcadians. The monster is +momentarily distracted, allowing Leonidas to strain the +last remaining inches to reach his sword. He lifts the +giant off him on two powerful legs and in the same motion +passes his sword between the giant's head and shoulders. + +The monster's head lands next to the king as his body +tumbles to one side. + +WE SEE: From the small thicket of trees at the center of +the Immortals, the earth begins to move. The trees fall, +revealing a box canyon filled now with charging Arcadians. +Daxos leads his men as they cut into the Immortals. + +Daxos comes right at the Immortal Commander, who is raising +his saber, ready to cut down his own men. + + IMMORTALCOMMANDER + Fight or die where you stand! + +The eyes of the soldier the Commander threatens go wide, as +he sees past his master to the ambushing Greeks descending +upon them. The Commander sees his fear and turns just in +time for Daxos to plunge his spear through the Commander's +neck. + + DAXOS + Go! Show the Spartans what we can + do. + +Daxos pulls the spear free and turns quickly, throwing his +spear into an Immortal's chest. + +Daxos draws his sword, fighting on. Thrusting, jabbing; +missing a parry, his arm is cut. In exchange, he plunges +his sword into one of the dark horde. + + DAXOS + Call us amateurs, will they? + +TIME SLOWS. + + DILIOS (V.O.) + They shout and curse, stabbing + wildly, more brawlers than + warriors. + +WE SEE: Farmer and potter, blacksmith and merchant. + 66. + + + Free Greeks all, teeth clenched in a battle rage, thrusting + spears and swords through the frightened throngs of their + enemies. Pushing, legs driving shields against piceous + bronze. Forcing dozens of heavily-weighted Immortals off + the cliffs and into the sea. + + DILIOS (V.O.) + They make a wondrous mess of + things. Brave amateurs, they do + their part. + + STILL UNDER THE DRUMS. + + WE SEE: Leonidas pushing forward, muscles flexing, made + hungry by the wide-eyed terror of the Immortals. They fall + over each other to flee the attacking Spartan King. + + As the slaughter continues below, from the cliff + overlooking the battlefield, silhouetted by the crescent + moon, a dark figure adorned in gold watches as his + invincible Immortals fall like wheat under the sickle of + the Spartan phalanx. + + DILIOS (V.O.) + ... And a man who fancies himself a + God ... + + Xerxes' lips tighten; he breathes deeply through flaring + nostrils, as below him even the war drums are silenced. + + DILIOS (V.O.) + ... feels a very human chill crawl + up his spine. + + +45A EXT. SPARTAN ENCAMPMENT - NIGHT 45A + + Dozens of Spartan campfires reach into a nigrescent sky. + + They burn bright, fueled with a kindling of broken Persian + arrow shafts by the thousands. + + Around the fires, warriors mend their wounds with linens + and oils of root and herb. They drink of red wine and + recount with pride the heroics of the battlefield. + + CAPTAIN + Our King! + + WE HEAR a ROAR so primitive it shakes the ground and ECHOES + OFF the far canyon walls as the other Spartans sound off. + + SPARTANS + 67. + + + Haaaawoooo! + + CAPTAIN + Our honored dead! + + SPARTANS + Haaawooo! + +Leonidas says nothing, just stares quietly towards the +heavens along the far edge of the fire circle and beyond. + + DILIOS + Triumph. + + STELIOS + Yes, the day is ours. + + ASTINOS + And the night too. + + DILIOS + True, for now they fear the night + as well. + +Dilios moves with the shadowed light, in front of his +brothers. + + DILIOS + Now, as we rest, the Immortals + crawling back to their master + whipped dogs. + +The Captain nods slowly and wipes the now cold blood from +his hands with a captured turban. + + ASTINOS + Every Persian sees it. + + STELIOS + Whom will Xerxes dare to send next? + + CAPTAIN + They will never measure as fine as + this. + +The Captain lifts a red-hot iron rod from the fire's mouth +and puts it against a young Spartan's side, burning, +smoldering the skin, cauterizing the gaping hole without a +sound or expression to fill the night air. + + CAPTAIN + Who among his legions will dare to + face us?! + 68. + + +The Captain throws the rod back to the fire and again a +cheer from the Greek warriors rings into the night. + + SPARTANS + Haaawoooo! + +Leonidas turns and moves through their war party. + + LEONIDAS + Children ... children! + +Their King's voice quiets their folly. + + CAPTAIN + The Medes and Scythians are in open + revolt! Xerxes is slaughtering his + own troops. + + ASTINOS + There is nothing that can stop now! + +Leonidas raises his hand, holding some invisible force that +quiets the men. + + LEONIDAS + Dare we hope ... Dare we hope for + more than a glorious death? + +Leonidas lowers his hand and gazes over each of the men's +faces, half-filled with firelight. + + LEONIDAS + Such mad hope... but there it is. + +Leonidas points out into the darkness of the battlefield. + + LEONIDAS + Against Asia's endless hordes. + Against all odds. + +The Spartan King returns his eyes to his warriors. + + LEONIDAS + We can do it! We can hold the Hot + Gates! We can win! + +The Spartans erupt into a chorus of voice. + + SPARTANS + Haawwooo! + 69. + + +50 EXT. MOUNTAIN FOOTHILLS 50 + + On the shelf of a near cliff ... staring down from the + blackness and glow of the moon ... Ephialtes tears at the + red cape that has hidden his deformed soul. + + EPHIALTES + Gods ... I still breathe. I still + live. Gods, you are cruel. + + He rips the cape, it settles near his feet. + + EPHIALTES + Damn you. + + His crude shape leans over, looking down towards the + Spartan campfires, down towards the distant warriors. + + EPHIALTES + Damn you. Damn you, Gods! Damn you, + Father ... Damn you, Mother ... + Damn you all to Hell! + + Ephialtes lifts his father's bronze helmet toward the + faultless sky, inspecting the color, its worn strength. + + EPHIALTES + Spartans ... Spartans! + + He throws his helmet to the ground. + + EPHIALTES + The boldest of men! The finest + warriors in all the world. + + Ephialtes grunts in disgust to himself. + + EPHIALTES + Damn you ... + + He turns his broken form and begins into the night, none + but himself hearing his voice. + + EPHIALTES + Damn you all! + + +51 EXT. COASTAL PLAIN 51 + + The second day begins as the first. With full light at + their backs, barriers of man and beast pound the earth, + into the slaughter they race. Silhouetted forms, WHIPS + CRACK! + 70. + + +Across the backs of a fresh rotation, flooding upwards, +across the slain and haunted bodies. The men pull from +their guts a low growling HOWL! + + DILIOS (V.O.) + One hundred nations descend upon + us. The Armies of all Asia. + Funneled into this narrow corridor, + their numbers count for nothing. + +They claw and dig into the muddy ground, barreling towards +the Hot Gates and the awaiting Spartan line. + + CAPTAIN + Back to hell with you. + +Blood and terror pounding at the temples of the oncoming +pack of Xerxes' front men. + + DILIOS (V.O.) + The raiding party arrives, + unfortunate for being the first to + meet the Spartan Nation. + + LEONIDAS + Attack, now! + +They collide with such force into the bronze shields, +shudder cycling through SNAPPING! Fresh bones. + +Others push from behind, but nothing is gained as Leonidas +plows his pike through the chest of one and moves quickly +at silencing another. + +Armless PERSIAN GIANTS run with wicker baskets .on their +backs. Within the baskets, MIDGET ARCHERS cut loose a +volley a projectiles. + + DILIOS (V.O.) + At our wall of bronze and crimson, + there is no retreat, there is no + surrender. Only honor ... duty ... + glory ... combat ... victory. They + fall by the hundreds ... We send + the severed bodies and fragile + hearts back to Xerxes' feet. + +Stelios rams against the hordes, cutting through thin +tissue and capillaries, lashing out, moving in pace with +his brothers on the steep slope. + +Tribesmen, tattoos covering their bodies, sling broken +shards of glass and porcupine quills into the fight. + 71. + + + Astinos drops his lance into a Persian thigh and strokes + upwards, through the groin and out the chest cavity. + + DILIOS (V.O.) + When muscle failed they turned to + their magic. But we were relentless + ... unstoppable ... We were free + men ... We are Spartans. + + PERSIAN WIZARDS, draped in black velvet robes, throw clay + pots mixed of sulfur, bat dung and ash. Its noxious smoke + rising, obscuring the fight. + + Dilios nails two charging infantrymen with the tip of his + spear. Robbing them of any glory, any hope of tomorrow. + + +52 EXT. PERSIAN ENCAMPMENTS 52 + + In front of Xerxes' myriad tents, a long line of his + Generals wait. + + TIME SLOWS: + + DILIOS (V.O.) + King Xerxes is displeased with his + generals. + + Xerxes' eyes blaze. Veins bulge in his forehead and neck; + he grits his teeth. His rage spitting from his mouth, he + commands the executioner, whose form is grotesquely + muscled. Where his forearms should be, his flesh and hands + have been removed. His very bones sharpened into twin + executioner's axes. + + WE SEE: His arms fall! + + DILIOS (V.O.) + He disciplines them. + + And with time still suspended, one of his many + disappointing Generals is parted from his head. + + +53 EXT. HOT GATES 53 + + WE HEAR: The TRUMPETING of not brass horn but angry and + wild BEASTS. + + DILIOS (V.O.) + Xerxes dispatches his monsters from + half the world away. + 72. + + +WE SEE: Around the bend. A cavalry of elephants mass. +Elephants adorned with spikes and cleated stomp through +their own men. Their trunks fitted hammers and bladed +sickles. They swing, clearing to the Spartans. + +THUNDERING! + +Up the constricted path, on the gray massive backs, Xerxes' +men, 10 deep, archers, javelin throwers, young boys +throwing stones down into the battle. + + DILIOS (V.O.) + They are clumsy beasts and the + piled Persian dead are slippery. + +The elephants lose footing, some topple, others shift in +fear. A Persian meets his fate, skewered through a charging +tusk. Others are tossed like a desultory of tribesman, off +the beast and disappear under the charge of nations. + + CAPTAIN + Break ... Now! + +And with the coming magnitude of Persians, the Spartans +open the phalanx and swallow the enemy whole. + +Leonidas is in perfect form, cutting the enemy down, each +stroke and parry, a grace for others to emulate. + +His shield takes a crushing blow from a Persian battleaxe. +He counters and yaws forward, surrendering his spear tip +into the face of a Persian Commander, snapping it clean, he +draws his sword. + + LEONIDAS + Watch them! + +In front, Stelios and Astinos break free, filled by youth. +They cleave their swords into an open space of Persian +dead. Stelios buries his blade, the Persian falling at his +feet. + + ASTINOS + Are you still here? + +Stelios pulls at his steel, stuck in the corpse he just +felled. + + STELIOS + If only you fought as much as you + ran your mouth. + 73. + + +Astinos laughs and swings through a string of Persians that +streams toward Stelios, still trying to free his blade. + + ASTINOS + Not now, I am a little busy. + +Astinos is dynamic, effortless, and brave as he takes three +Persian guardsmen. He cuts and pulls at them, dropping the +first. + +Stelios frees his sword, tearing it loose and reenters the +fight. Astinos drops the second and turns to Stelios. + +They continue on, all of the Spartans, beating back among +the promontory of the dead. + + LEONIDAS + Regroup! + +The Spartans pull into one another, gathering force, +streaming into the Persians like a wall of intimidation. +Astinos rages on, killing the dark figures without pause. + + CAPTAIN + Astinos. + +Astinos looks to his father across the salient, the Captain +locks eyes with his son. + + CAPTAIN + On center. + +They share a moment of praise among this tenebrous day. + +From the middle of the fray a PERSIAN HORSEMAN, clothed in +inked leather and iron mail, gallops through the melee. He +raises his sword and with one arc. + +TIME SLOWS: + +For all who see it, the combat stands still. It is no more +brutal than the rest, only that it's one of their own, a +Spartan. The Captain watches as Astinos is beheaded only a +few yards away. + + CAPTAIN + Noooo! + +Astinos' head falls to the muck and mire, another Persian +lifts the severed gift in his hands and tosses it up to the +confident horseman. He holds the head above his and howls. +A prize offering for Xerxes, he rides back towards the sea, +never offering fight for a father's pain. + 74. + + + CAPTAIN + They all die! + + The Persians retreat back, with their treasure, a young + Spartan face. The Captain's rage rises; he runs after the + force hacking into the backs of fleeing men. + + DILIOS (V.O.) + The day wears on ... We lose few, + but each felled is a friend ... or + dearest blood, and upon seeing the + headless body of his own young son + the Captain breaks rank. He goes + wild ... blood-drunk. + + Dilios and Stelios follow him, allowing his frenzy to run + its course until all the enemy life has been snuffed out. + + Finally a group of Spartans drag the Captain from the + field, his face twisted with grief, his tears etching lines + in the mix of blood and dirt on his face. + + DILIOS (V.O.) + The Captain's cries of pain at the + loss of his son are more + frightening to the enemy than the + deepest battle drums. It takes + three men to restrain him and bring + him back to our own. The day is + ours. No songs are sung. The + Persian camp goes deathly quiet. + + +54 INT. SPARTAN HOUSE 54 + + A wood fire burns in the corner, illuminating the simple + mason and beam ceilings. Theron and Gorgo stand in + conversation. + + GORGO + I am not here for small talk, + Theron. + + THERON + I am sure of that. You have never + spared words with me. + + Theron walks to a rimmed table, tanned cougar hide covering + its base. + + THERON + A drink? + 75. + + +Gorgo studies his face and with a laugh. + + GORGO + Is it poison? + +He lifts a high pitcher, inlaid of silver palmette rising +from acanthus leaves. + + THERON + I am sorry to disappoint you, my + Queen. It's just water. + +He pours the water into two shallow bronze bowls, hammered +with the images of a seated fox and hen. He hands the water +to Gorgo. + + THERON + I am told you are going before the + Council. + + GORGO + I am not seeking your advice, just + your help in winning votes to send + our Army north to their King. + +Theron turns to face Gorgo in the half-lit room. + + THERON + Perhaps I could help. The two of us + standing together, the politician, + the warrior, our voices as one, but + what does your willingness prove? + +Gorgo takes a sip from the bowl and sets it on the near +table. + + GORGO + It proves that I care for a King + who at this very moment fights for + the water we drink. + +Theron nods in agreement. + + THERON + True. But this is politics, not + war. + +He sets his water down and looks at the Queen. + + THERON + Leonidas is an idealist. + +The Queen paces across the near window. + 76. + + + GORGO + I know your kind too well. You send + men to slaughter for your own gain. + + THERON + Your husband, our King, has broken + the laws. He has left without the + council's blessings ... I am simply + a realist. + + GORGO + You are an opportunist. And a bad + one at that. + +Theron closes the distance to the Queen. + + THERON + You're as foolish as Leonidas if + you believe that men don't have a + price in this world. All men are + not created equal. The Spartan code + reinforces this maxim, you silly + little girl. + +Without hesitation, Gorgo slaps Theron clean across his +face. He is unmoved by the blow. + + THERON + I admire your passion. But don't + think that you, a woman, even a + Queen, can walk into a council + chambers and sway the minds of men. + Regardless of what your king says, + you have no power there. I own + those chambers, as if they were + built by these hands. + +He grabs Gorgo by the throat, she struggles for a moment +under his power. + + THERON + I could crush the life from you + right now! + +Gorgo searching the room, nothing, to aid her plight. + + THERON + 77. + + + You will speak to the council and + your words will fall on deaf ears. + You will receive NOTHING without + me. Leonidas will have NO + reinforcements and if by the Gods' + grace returns, he will be jailed or + worse. + +Gorgo looks at Theron in disbelief. + + THERON + Do you love your Sparta? + +Gorgo's eyes lock with Theron as she GASPS for air. + + GORGO + Yes. + +His grip tightens around her neck. + + THERON + And your King? + + GORGO + I do. + +Theron smiles again as he watches Gorgo squirm under his +powerful grasp. + + THERON + Your husband fights for his for his + land, for his love. + +Theron releases his grip on the Queen's neck. + + THERON + What do you have to offer Sparta? + + GORGO + What does a realist want with his + Queen. + + THERON + I think you know. + +Gorgo trembles, knowing that this sacrifice is the one +Theron truly wants. She lifts her hand and pulls at the +soft lace that holds the dress at her neck. + + THERON + This will not be over quickly. You + will not enjoy this. I am not your + KING! + 78. + + + There are no tears. Gorgo stands naked before Theron, as he + begins to ravage her, she makes not a sound, not a move. + She gives him anything and everything, but not her heart in + the faint firelight of the room. + + +56 EXT. PERSIAN ENCAMPMENTS 56 + + A perimeter of tribes surround the sanctuary of their God, + Xerxes. Foot soldiers sharpen their weapons near a stable + of warhorses. Castaways and penniless slaves roam the night + for their masters, a makeshift world of chaos at the edge + of the sea. + + CUT TO: + + +57 INT. XERXES' TENTS 57 + + WE HEAR: The FAINT CRIES, erotic WAILS, with the DRUMMING. + A goat-headed minstrel plays the sitar. Others smoke from + pipes of octopus skin and listen reed instruments of the + East. + + This is a different world. A world of fine silk walls, rugs + from the Orient, soft pillows, towers of honeycombed + candles. Incense burns and hangs in tooled copper baskets. + A procession of slave girls, all near naked, sheer gauze + and jeweled bodies, dance for Xerxes in the faint light. + + XERXES + Your Gods were cruel to shape you + so, friend Ephialtes. + + Under a canopy of soft light, Ephialtes moves from the + shadows. + + XERXES + But I am kind. + + Xerxes on a marble pedestal, adorned in rare diamonds and + emeralds from lands far from where he now stands. + + XERXES + Everything you could ever desire. + + Concubines of all shapes, colors and nations are brought + forth for Ephialtes. + + XERXES + Every happiness you can imagine. + + Ephialtes squints his one blue eye at the spectacle. + 79. + + + XERXES + Every pleasure your fellow Greeks + and your false Gods have denied + you. + +The dancers writhe against Ephialtes' frame. + + XERXES + I will grant you ... for I am kind. + +Ephialtes wipes the drool, the sheer temptation from his +lips and speaks. + + EPHIALTES + Yes. + + XERXES + Embrace me as your King and as your + God. + + EPHIALTES + Yes. + + XERXES + Lead my soldiers to the hidden path + that empties behind the cursed + Spartans. + + EPHIALTES + Yes. + +The dancers reach deeper into the heights of their tortured +bodies. + + XERXES + Your joys will be endless. + + EPHIALTES + Yes. + +Xerxes opens his impressive arms, extending his jeweled +hands to his Greek guest. + + XERXES + You will create your destiny. + +The dancers have now thinned into the b.g. The MUSIC +softens and DRIFTS AWAY. Now there is only the God King and +the Quasimodo named Ephialtes. + + EPHIALTES + I want it all ... Land ... Wealth + .. Women... and one more thing. + 80. + + + Ephialtes shuffles closer and opens his eyes wide for erxes + to view. + + EPHIALTES + I want a uniform. + + Xerxes folds his arms over one another and simply nods. + + XERXES + Done. + + Ephialtes takes a deep breath, as if to breathe in his + newfound wealth and treasures. + + XERXES + You will find ... I am kind ... + Unlike the cruel Leonidas who + demanded that you stand. I require + only that you kneel. + + And with those words, Ephialtes lowers his warped body, + head following his hands, crumpling his weight down to both + knees and bows before Xerxes without more celebration or + thought. + + +58 EXT. SPARTANEN CAMPMENT 58 + + The air rings as blacksmiths hammer blades, shields and + spear tips for the next morning's contention. + + Leonidas pulls at his tattered cape, wanders the different + campfires, watching his men's faces as they recover from + the day. + + LEONIDAS + Dilios, I trust that scratch hasn't + made you useless? + + Dilios crouches near the firelight, binding a crude bandage + across his face and head. + + DILIOS + Hardly, My Lord. It's just an eye. + The Gods saw fit to grace me with a + spare. + + LEONIDAS + My Captain? + + Dilios rises and points to a sole campfire raging atop the + ridgeline. + 81. + + + DILIOS + He curses the Gods and mourns + alone. + +Leonidas nods quietly. + +Daxos rides into the Spartan encampment. + + DAXOS + Leonidas, we are undone! + +Daxos dismounts, dropping the leather reins and without +haste, covers the ground to Leonidas. + + DAXOS + Undone I tell you! + +Daxos' eyes dart around the blackness beyond the firelight +searching nervously the high cliff face and then returns to +the King. + + DAXOS + Destroyed. + +Leonidas has heard enough and barks out. + + LEONIDAS + Calm yourself. + +Daxos breathes deep and returns to his frightened rant. + + DAXOS + A hunchback traitor has led Xerxes' + Immortals to the hidden goat path + behind us! + +The Spartan warriors straighten to this news as if ice has +been run through their veins. + + DAXOS + The Phocians you posted there were + scattered without a fight. This + battle is over, Leonidas. + +The Spartan King turns his back to the Arcadian. + + LEONIDAS + This battle is over when I say it + is over, Daxos. + +Daxos continues to plead his case. + 82. + + + DAX.OS + By morning, the Immortals will + surround us. The Hot Gates will + fall. + + LEONIDAS + Spartans! Prepare for Glory! + +His Warriors have already begun preparing their weapons, +armor and bodies for their shared fate. + + DAXOS + Glory? Have you gone mad? There is + no glory to be had now. Only + retreat or surrender or ... death! + +Leonidas turns now to face the man who breeds doubt into +the minds and hearts of his tribe. He glares into the eyes +of Daxos. + + LEONIDAS + That's an easy choice for us, + Arcadian. + +The King snaps his response with a steel of character even +his enemies admire. + + LEONIDAS + Spartans never retreat! Spartans + never surrender! Go spread the + word! Let every Greek assembled + know the bald truth! Let each among + them search his own soul! And while + you're at it ... search your own. + +Stelios holds out the reins for Daxos' horse. + + DAX.OS + My men will leave with me. + +Daxos takes the loose reins in his hands. + + DAX.OS + Godspeed, Leonidas. + +The King is unmoved, and watches Daxos leap to the bare +back of the pearl mare. + +Daxos heels the horse's side and disappears. Leonidas +wastes not a moment and turns to his men. + + LEONIDAS + Children, gather around. + 83. + + +Stelios, Dilios, and Spartan warriors close in around their +King. + + LEONIDAS + The Gods favor us. + +The Spartans roar out. + + SPARTANS + Haaawooo! + + LEONIDAS + Tomorrow, we light a fire that will + burn in the hearts of all free men + for all the centuries yet to be. + +The Spartans stomp the dry earth in unison, like a +thundering pulse that runs through them all. + + LEONIDAS + No retreat ... No surrender! This + is Spartan law! + + SPARTANS + Haaawooo! + +Leonidas moves in front of his men, reaching into their +will and stirring their souls. + + LEONIDAS + And by Spartan law we will stand + and fight and die! + +The warriors erupt, POUNDING their shields and raising +their weapons towards the star-filled blanket above. + + LEONIDAS + The law. We do not sacrifice the + rule of law to the will and whim of + men. That is the old way. The old, + sad, stupid way. The way of Xerxes + and every creature like him. + +Leonidas stands clearly in front of his brave men. His red +cape lifts and floats with his every impassioned gesture. + + LEONIDAS + A new age has begun. An age of + great deeds. An age of reason. An + age of justice. An age of freedom. + And all will know that three + hundred Spartans gave their last + breath to defend it! + 84. + + + SPARTANS + Haaawoo! + +From the blackest corner of the Spartan encampment ... WE +SEE: Leonidas' Captain appear, like a specter of death, his +face and body smeared and covered, a mixture of ash, soot, +and his son's blood. + + LEONIDAS + My friend. + +Leonidas reaches out to his Captain. + + CAPTAIN + I have lived my entire life without + regret until now ... It is not that + my child gave his life for his + country. + +The Captain shakes his head slowly from side to side. + + CAPTAIN + Only that I did not tell him that I + loved him the most, that he stood + by me in honor ... that he was what + is best in me. + +Leonidas embraces his friend for a moment. + + LEONIDAS + My heart is broken for your loss. + +The Captain nods softly. + + CAPTAIN + Heart? I have filled my heart with + hate. + +The Captain looks into the flickering flames and back to +his King. + + LEONIDAS + Good. + +The Captain's eyes search deep into the valley, to the +Persian camp below. + + LEONIDAS + Dilios, let's take a walk. + +Dilios nods his bandaged head. + + DILIOS + 85. + + + Yes, My Lord. + + +60 EXT. HOT GATES - NIGHT 60 + + Dilios and Leonidas stand on a rocky patch of land away + from the rest. Dilios is confused, his face pleading with + his King. + + DILIOS + But ... but ... sire ... I am fit. + I am ready for combat. + + LEONIDAS + That you are, one of the finest. + But you have another talent unlike + any other Spartan. You will deliver + my final orders to the council with + force and verve. Tell them our + story of honor, duty, glory, and + freedom. Make every Greek know what + happened here, you will have a + grand tale to tell. + + Dilios feels the weight of responsibility. His King's eyes + are bright and clear. + + LEONIDAS + A tale of victory. + + DILIOS + Victory? + + Dilios shakes his head slightly. Leonidas lets the moment + stretch, then smiles at him. He squeezes his shoulder and, + nodding, lets him go. + + DILIOS + Yes, My Lord. + + Dilios begins to turn and then slows. + + DILIOS + Sire, any message ... ? + + LEONIDAS + For the Queen? + + Leonidas is gone. Transported by thought, across time, set + free from the bonds of politics and responsibility. For a + fleeting moment he is just a man, separated by circumstance + from his reason for living, His Love. His Queen. + 86. + + + Leonidas takes hold of the wolf tooth, pulls the worn + leather necklace over his tired head and hands it to Dilios + without a word. + + LEONIDAS + No ... none that need be spoken. + + The storyteller turns, then leaves his King alone. + + +61 EXT. HOT GATES - DAWN 61 + + A false dawn comes slowly, faint blue rising along + coastline. + + Dilios has gathered his shield and helmet, cape and sword. + He begins to walk back through the Hot Gates and away. He + is surrounded by Arcadians, Thespians, Phocians, Free + Greeks all. They mutter as they go. + + DILIOS (V.O.) + A handful stay. + + From a small rise, red capes and bronze shields watch as + the Greeks abandon the Hot Gates. + + DILIOS (V.O.) + Thousands leave. + + Dilios can feel the eyes of his fellow Spartans and chances + a took over his shoulder at his Spartan brothers, + silhouetted against the morning sky. + + DILIOS (V.O.) + Only one looks back. + + The retreating Greeks continue. + + DILIOS (V.O.) + Only I. + + WE SEE: Dilios turn, within the river of men leaving the + Hot Gates. He is near the end of the columns which wind + away through the canyon. + + Leonidas steps slowly through his men. All eyes on their + Greek comrades disappearing into the pass. The Spartan King + turns back to his men, they stand in silence. + + 300 SPARTANS. + + The morning sun just breaking in the East making them + backlit. Capes glowing like hot coals. + 87. + + + LEONIDAS + Spartans! + + WE HEAR: The collective battle cry. + + SPARTANS + Haaawooo! + + Angry, deep and full of reverence for their King. + + LEONIDAS + Ready your breakfast and eat hearty + ... + + Leonidas raises his spear and bares his teeth. + + LEONIDAS + For tonight we dine in Hell!!!! + + 300 spears are thrust towards Heaven, helped up by a cry of + defiance. + + +62 INT. SPARTAN COUNCIL CHAMBERS 62 + + WE HEAR: The chatter and conversation of the assembled. + + OLD SPARTANWARRIORS, turned from using war to using words. + A transition few are good at, but all carry its burden and + responsibility. + + WE SEE: Gorgo entering from the carved penetralia. She + walks alone into the acriform, chin lifted, hair braided, + head high before the Spartan lawmakers. + + The ADVOCATES,STATESMEN, and PARTISANS settle into + primitive seats that coil around the stone floors, + thrusting forth a stage for the Queen to offer her words. + + LOYALIST + May I give the floor now, to the + wife of Leonidas and Queen of + Sparta. + + The Loyalist bows slightly as Gorgo walks towards him. She + nods and the Loyalist returns to his seat. + + Gorgo stands, radiating not only her beauty but sheer + internal strength. She scans the faces, appraising the + crowd. She knows them all, her eyes even cross Theron. + + Gorgo shows not a trace of emotion as she clears her throat + and begins. + 88. + + + GORGO + Councilmen, I stand before you not + only as your Queen. + +She shifts into the amber light that now floods through the +windows. + + GORGO + I come to you as a mother. + +The chambers quiet to her voice. + + GORGO + I come to you as a wife. + +Gorgo moves slowly on the stage. + + GORGO + I come to you as a Spartan woman. + +She looks to Theron, locking eyes with him until he pulls +his contact away. + + GORGO + I come to you with great humility. + +Theron leans forward, listening carefully. + + GORGO + I am not alone in this room. + +Gorgo looks again to Theron, she points, just past him to a +STATESMAN in the seats to her left. Theron relaxes. + + GORGO + You, your son fights at his King's + side. + +The Statesman nods to his Queen. As she turns quickly to +another. + + GORGO + Have you forgotten your fine boy? + +A PARTISAN shakes his head softly, thinking of his young. + + PARTISAN + No. + +Gorgo turns again, using all caution with her words. + + GORGO + 89. + + + I am not here to represent + Leonidas. His actions speak louder + than my words ever could ... I am + here to speak for all the voices + that cannot be heard. Mothers, + daughters, sons, fathers. + +Gorgo takes a breath, centering her thoughts. + + GORGO + 300 families that bleed for our + rights and for the principles this + very room was built upon. + +The Queen looks to the members of the council. + + GORGO + You must not forget from where you + came. All in this chamber once + carried arms, to defend Sparta. You + are men that now balance peace and + war. That balance has been + challenged. We are free only + because of some fight to ensure it. + +Gorgo walks slowly, building her strength. + + GORGO + We are at War, Gentlemen ... We + must send the entire Spartan Army + to aid our King in the preservation + of not just ourselves, but our + children. + +The Queen delivers with all her conviction and passion. + + GORGO + Send the Army for the preservation + of liberty ... Send it for justice + ... Send it for law and order ... + Send it for reason ... But most + importantly send our Army hope. + Hope that a King and his men have + not been wasted to the pages of + history. That their courage bonds + us together. That we are stronger + by their actions and that your + choices today will reflect their + bravery. + +WE SEE: Men lean together, some whisper into each other's +ears, confidences are passed freely among them. + 90. + + +Theron watches as Gorgo has quickly made work of his room. +He claps, slowly rising to his feet. + + THERON + Moving, eloquent, passionate. + +Theron rests his hands and scans the faces in the chamber +in silence. + + THERON + Why do you waste the time of these + important men? + +Gorgo turns to the arrogant voice. + + GORGO + Do we waste your time? Each man in + this room is no more important than + the next. + + THERON + You insult the council, my Queen? + + GORGO + That is not my intention. + + THERON + What is your intention? + +Gorgo speaks to the seated audience with clear words. + + GORGO + Only to remind us, that each day we + determine our course. + + THERON + Course? + + GORGO + Yes. These days are men's true + riches. And they're being fought + for at this very moment as we + choose words. + +A STATESMAN rises and calls out. + + STATESMAN + Your husband has brought war upon + us! + +Gorgo shakes her head. + + GORGO + 91. + + + You are wrong. Xerxes brought it + forth, and before that, his father + Darius at Marathon. The Persians + will not stop until the only + shelter you will find is rubble and + chaos. + +Theron begins to walk down to the stage floor. + + THERON + This chamber does not need a + history lesson. + +Gorgo watches carefully as he descends the stairs. + + GORGO + Then what is the lesson like to + leave? + +Theron presses on. + + GORGO + Shall we begin to enumerate all of + them? Honor. Duty. Glory. + +Theron takes the stage from the Spartan Queen. + + THERON + You speak of honor, duty and glory. + What of Adultery? + +His voice BOOMS out into the chambers and a hush is leveled +onto the listeners. Gorgo's eyes wide, stunned by his +treachery. + + LOYALIST + How dare you speak out in such a + manner. + + THERON + How dare I? + +Gorgo studies the room, quickly searching out friend or +foe. + + THERON + Watch her carefully, she is a + trickster in true form. + +He narrows his attack. + + THERON + 92. + + + Do not play with the members of + this sacred room, my Queen. Just + hours ago you lay with me. + +The chambers go wild at his telling. + + THERON + I have your scent on me still. + + LOYALIST + This is an outrage! + +Two armed Spartan warriors now appear from a depression of +the antechamber and flank Gorgo's left and right sides. + + THERON + You look shocked. A bribe of flesh + I was given while her husband + promotes anarchy and war. + + GORGO + I ... you ... + + THERON + Words escape even the cleverest + tongue, my little whore Queen. + +Gorgo's eyes burn with fire fed from the pit of her +stomach. + + GORGO + You ... bastard. + +The Spartan guard grabs her just as she swings at Theron. +Missing him, she spits in his direction. + + THERON + What Queen-like behavior. + +They hold her back, as she pulls at their arms, struggling +to free herself. The room watches, frozen by the spectacle +before them. + + GORGO + You will soon feel nothing! + + THERON + Remove her from the chamber before + she infects her son with her + inglorious and shabby self. + 93. + + + Gorgo throws one of the guardsmen off her, spinning behind + the other she draws his short blade, kicking him clear and + with one quick step buries the blade deep into Theron's + midsection. + + GORGO + I am a Spartan Queen, need I remind + you. + + Theron buckles, his weight brought forward onto Gorgo's + bloody hands, still holding the blade. She cuts across his + waistline and from beneath his elaborate frock ... + + WE SEE: Persian gold pieces fall and dance onto the floor, + Xerxes' face forged clearly upon them for all to see. + + GORGO + It seems every man does have his + price! + + Gorgo leans down and whispers softly into Theron's ear. + + GORGO + When your bones are dust, my son + will be King. + + She twists the short blade deeper into Theron. + + TIME SLOWS: + + Their eyes lock. + + GORGO + This will not be over quickly. You + will not enjoy it. + + She remembers his cruelty. + + GORGO + I am not your Queen. + + With those words she twists the blade out. Theron falls + into a pile of his own blood and entrails. + + The Council members stand around her, some sift through the + Persian gold, nodding at the traitor's death. But most + stand in awe and admire their Queen. + + +63 EXT. HOT GATES 63 + + Persian archers climb down the steep cliff faces and settle + their bodies in perfect positions to attack. + 94. + + +WE SEE: The Spartan Phalanx solidify. Leonidas' eyes +searching, he listens for the coming Persian force and +suddenly they appear. Led by Immortals. Hundreds of them +surround what is left of Sparta's finest. + + PERSIAN GENERAL + My compliments and congratulations. + You have surely turned calamity + into victory. + +The PERSIAN GENERAL steps forward. + + PERSIAN GENERAL + Despite your insufferable + arrogance, the God King has come to + admire Spartan valor and fighting + skill. + +The Persian columns build behind each other. + + PERSIAN GENERAL + You will make a mighty ally. + +Leonidas says nothing as Ephialtes pushes his way through +the Immortals and faces his once King. + + EPHIALTES + Yield, Leonidas. Use your reason. + Think of your men. + +Silence, save the heartbeat of the Spartans to his back. + + EPHIALTES + I beg you. + +Now carried on the back of Persian slaves, Xerxes and his +throne are brought forth for the Spartan line to see. + + PERSIAN GENERAL + Listen to your fellow Greek. He can + attest to the divine one's + generosity. Despite your several + insults. Despite your horrid + blasphemies. The Lord of Hosts is + prepared to forgive all ... and + more, to reward your service. + +Xerxes' throne rests completely and the Persian Lord sits +knowing after days that he has the upper hand. + + PERSIAN GENERAL + You fight for your lands ... ? Keep + them. + 95. + + + The Persian force continues to build on the horizon. Now + thousands are displayed and rest at Xerxes' command. + + PERSIAN GENERAL + You fight for Sparta ... ? She will + be wealthier and more powerful than + ever before! + + Leonidas and his men are still, a solid wall of ragged + warriors. + + PERSIAN GENERAL + You fight for your kingship? You + will be proclaimed warlord of all + Greece. Answerable only to the one + true master of the world. + + Xerxes waits the Spartan reply, both leaders defiant ·in + their posture. + + PERSIAN GENERAL + Leonidas, your victory will be + complete. If you but lay down your + arms and kneel to Holy Xerxes! + + The Spartan Phalanx is unmoving. Weapons tuned towards the + Persians' divisions. They wait, their racing hearts, + listening for Leonidas, his words, the fuel to their will. + + +64 FLASHBACK - EXT. PINDOS MOUNTAINS - NIGHT 64 + + Snow falls suspended by stretching time. The black paws of + the wolf move slowly through the light snow. The young + Leonidas, fearless, raises his sharpened stick into a + fighting stance. The wolf narrows its red eyes, saliva + running across its fangs. + + DILIOS (V.O.) + It has been more than forty years + since the wolf and the winter cold. + + +66 EXT. HOT GATES - DAY - PRESENT 66 + + Seagulls hover on ocean breeze. Delicate feathers ripple + with the wind. + + DILIOS (V.O.) + And now as then, it is not fear + that grips him, only a + restlessness. A heightened sense of + things. + 96. + + +The pitted and dented surface of the King's helmet. A bead +of sweat rolls down Leonidas' neck. The hem of his tattered +crimson cape pushed lightly by the wind, brushing a pattern +into the sand at his feet. + + DILIOS (V. 0.) + The sea-borne breeze coolly kissing + the sweat at his chest and neck. + Gulls cawing, complaining even as + they feast on the thousands of + floating dead. + +10,000 arrows shiver under the tension of drawn bows. The +razor teeth and black eyes of the Immortals fight and +jostle to lower spears and draw sabers, barely able to +contain their bloodlust. + + DILIOS (V.O.) + The steady breathing of the 300 + boys at his back ... ready to die + for him without a moment's pause. + Every one of them ... + +WE MOVE ACROSS the battered shields of the 300. Clear eyes +peer from bronze helmets. + + DILIOS (V. 0.) + ... ready to die. + +Finally Leonidas exhales deeply and slowly reaches for his +helmet. The Persian General watching, under growing +tension. Xerxes rising from his throne to better see his +enemy's surrender. + + DILIOS (V. 0.) + His helmet is stifling ... + +Leonidas' helmet strikes the ground bluntly. + + DILIOS (V.O.) + ... his shield is heavy. + +Leonidas shrugs off his SHIELD and it RATTLES to his feet. + + PERSIAN GENERAL + Your spear. + +Leonidas lets his gaze run along the length· of his spear +past its ragged tip, past even the Persian General to the +hunched figure crouching among the legs and shields of the +Immortals. + + LEONIDAS + 97. + + + You there, Ephialtes. + + The misshapen eye darts to avoid the King's gaze, then + chances a look to Leonidas. The two hold each other's stare + for a moment. + + LEONIDAS + May you live forever. + + The moment is broken. + + PERSIAN GENERAL + Your spear, Leonidas. + + The Spartan King looks back down to his hand, clenched + around the weapon. He slowly opens his hand and looks back + at the Persian General, letting the SPEAR fall, landing + with a dusty CLANK! + + He looks one last time to Xerxes standing atop his golden + litter. Behind 10 rows of his bloodthirsty Immortals. + + Noting the wind as it dances with the black banners at the + back of Xerxes' throne. + + WE SEE bronze strike the earth as Leonidas falls to his + knees. His hands go to the rocky soil just in front of him. + His head slowly bowing, his eyes close. + + +67 FLASHBACK - EXT. SPARTAN COURTYARD 67 + + Leonidas and his son compare the size of their hands. + + The King's rough palm is barely covered by the entire soft + hand of his son. The boy laughs. His eyes smiling. + + Soft light moves through leaves, laughing with the boy as + he marvels at his father's hands. + + +69 EXT. SPARTAN FIELD 69 + + Gorgo sleeps in waist-high golden hay. Leonidas with the + stem of yellowed grass lays next to her. He traces the + contour of her cheek, she slowly swats at it. He continues + down her neck, his eyes lost in her form. + + The nape of her neck, her collarbone, her black hair curly + against the golden stalks of hay. Tickled, she opens her + groggy eyes and seeing her husband, softly smiles. + 98. + + +70 EXT. HOT GATES - DAY - PRESENT 70 + + Leonidas, eyes closed, lets the faintest of smiles fade, + then with head still down, calls ... + + LEONIDAS + STELIOS!! + + From behind the kneeling King, shields part and in two + crushing strides, young Stelios leaps, spear in hand, from + the cover of his Spartan brothers. + + Planting a foot on his King's back, he flies at the Persian + General and, still in the air, he thrusts. Ribs part and + sever. The exiting blood sprays into the eyes of nearby + Immortals as the General withers under the blow. + + Leonidas snatches his own spear and, rising, loads for + mighty throw. Xerxes bares his teeth in anger at the + defiant King. + + XERXES + Slaughter them!!! + + The air goes thick with wood shafts, feathers and steel. + + TIME SLOWS: + + Leonidas does not see the black banners at the back of + Xerxes' throne fall with the lull in the wind. The only + sound is that of countless ARROWS POUNDING into BRONZE + SHIELDS, like hard rain on a metal roof. Through this + barrage, Leonidas gathers every ounce of his strength. + + DILIOS (V.O.) + His helmet was stifling. It + narrowed his vision ... + + WE SEE: The King's eyes. Calm, cold and focused on his + target. + + DILIOS (V.O.) + ... and he must see far. + + The Spartan King's muscles pull the spear forward as around + him the Persian spindles cut his children down. + + DILIOS (V.O.) + His shield was heavy. It threw off + his balance. + + Leonidas lets his spear fly as one after another, arrows + settle into him. + 99. + + + DILIOS (V.O.) + His target is far away. + +The spear of Leonidas flies against the current of incoming +arrows as the King cries out! + + LEONIDAS + XERXES... DIE! + +Dozens of arrows strike Leonidas at once. His men fall +fighting. Leonidas draws his sword, struggling to free it +from its sheath as arrow after arrow punches through limb +and sinew. + + DILIOS (V.O.) + The old ones say we Spartans are + descended from Hercules himself. + +Leonidas falls back upon the body of another of his fallen +brothers. He then pushes himself back to his knees. + + DILIOS (V.O.) + Bold Leonidas gives testament to + our bloodline. His roar is long and + loud. + +As Leonidas cries out in his glory, his spear silently out, +away from the dying Spartans. + +TIME SLOWS. + +It soars in a straight line. Its shadow snaking up the +ornate carpet of Xerxes' throne. + +The God King does not move. He can only watch, wide-eyed as +the spear of Leonidas, thrown as his fin.al act, grazes his +cheek. A small spray of blood flies from Xerxes' face as +the spear sticks into the back of the golden throne. + +The assembled host of Persian generals gasps in awe at the +sight of the God King's spilled blood, divine no more. + +The unquenchable bloodlust of the Immortals rises to a +fevered pitch as they bring to bear their entire arsenal of +spears, arrows, swords and lances against the Spartans who +fight on as they die. + +The Captain charges forward out of ranks. Dozens of arrows +finding their mark in his back and chest. Yet, he does not +fall. + 100. + + +Leonidas watches helpless as one of the Immortals plunges a +spear into the Captain's chest. The Captain takes hold of +it, dropping shield and spear, pulling it into his own +body, moving close to the Immortal who wields it. + +As life ebbs from him, he grips the Immortal's skull and +twists it, snapping the neck with an audible crunch. The +Immortal falls beneath him. The Captain rolls off, snapping +the arrows that protrude from his body. + + CAPTAIN + Astinos ... + +He exhales deeply and dies, his son's name still on his +lips. + +Xerxes puts a hand to his bleeding face. Overcome, he +collapses to his throne. + +Leonidas struggles to reach Stelios. The two fight on... +side by side with broken blades and useless shields, +hacking at the relentless Immortals. + +WE HEAR: A black and gold turbaned herald ... TRUMPET! +Through a horn of human bone, signaling the Immortals to +fall back so as not to be cut down by their own archers. +Exhausted and mortally wounded, Stelios and the King crawl +back among the handful of still living Spartans. + +Endless scores of fresh archers take up positions on +hillside and boulders, surrounding on all sides that which +remains of the Intrepid 300. + +Stelios, through labored breath, his own blood-running into +his eyes, calls to his King. Just feet away. + + STELIOS + My King. + +Each breath pain rising from within him. + + STELIOS + It's an honor to die at your side. + +Leonidas rises looking down at Stelios. + + LEONIDAS + It's an honor to have lived at + yours. + 101. + + + Countless archers bend bows as if the very earth around the + dwindling Spartan ranks was not made of stone, scrub grass + and cliff, but of bent ash, cat gut, and hungry iron arrow + tips. + + We are CLOSE TO Leonidas' lips, chapped and splattered with + dark blood. + + A Persian Commander nods to the herald. He inhales deeply. + Leonidas is calm. His voice lowers. + + LEONIDAS + My Queen ... my wife. + + WE HEAR: The HORN. Nesting birds take flight. Leonidas' + lips move, a whisper of reverence. + + LEONIDAS + My love ... + + The arrows are released as one. The lethal dark cloud races + across the rugged and bloody battlefield. Stelios narrows + his eyes and with his last breath, stands next to his King. + + The ARROWS STRIKE a single ... + + DRUM STROKE. + + BLACKNESS. + + +73 EXT. SPARTA HAYFIELD - DAY 73 + + At the edge of the city. Gorgo stands waist-deep in the + amber hay, it moves around her, pushed and slanted by a + late summer wind. + + The sun is low in the West. Gorgo has come to this spot + many times. Her brown eyes scanning the low hills. A figure + appears at the edge of the field. The light coming over his + back as he moves toward her. His shadow loosely moves among + the hay before him. He walks. + + WE SEE: Dilios, his battered form, a testament to his + valor. Shield rutted and the cut bronze has peeled back to + reveal oak. His helmet is dented and tarnished. The dried + blood on his makeshift eye patch. + + He stands before his Queen alone. Her eyes a thousand + questions. + + They share a silent moment of grief. She knows without word + the fate of her husband. + 102. + + + He does not reach into pocket or pouch. He simply raises + his hand from his hip, turns his palm upward and opens it. + There resting in the cut and calloused hand of Dilios is + the wolf tooth necklace. + + Gorgo holds out her hands. Eyes welling. Dilios lets it + fall then closes his hands around hers. He squeezes gently. + She looks down and away. Her face binding in grief. Dilios + watches her, feeling his own pain. + + He moves on, leaving her framed by the waving grass. Her + body begins to shake. She drops to her knees. Her nose + runs, all her Spartan reserve lost. + + WE SEE: A boy hurrying past Dilios without a look. The + King's son, Pleistarchos, runs, hay brushing at his knees + as he rushes to his mother's side. + + Dilios turns watching from a distance. Pleistarchos reaches + her, they embrace. Gorgo's face red and wet with tears as + she looks at him, seeing her husband's eyes. + + Her love. + + She then takes the leather necktie and places it over her + son's head. He bows, letting it come to rest at his chest. + + His small fingers touching it. Pleistarchos puts his hand + on his mother's face, gently wiping away her tears. + + Dilios watches as the dark figures in the bright hay + embrace again. He nods silently to himself and turns. + + +74 INT. SPARTAN COUNCIL CHAMBER 74 + + Dilios still bloodied from battle, chin down, brow knitted. + Lives each moment again. His voice ECHOING from the stone + walls. Dilios stands at the center of the round room. + + WE MOVE: WITH him, rotating slowly. + + DILIOS + Remember us ... as simple an order + as a King can give. Remember why we + died. + + The faces of the Spartan gallery are riveted. This is the + very reason why this room was built. + + DILIOS + 103. + + + For he did not wish tribute or + song, nor monuments, nor poems of + war and valor. His wish was simple. + Remember us ... He said to me ... + that it was his hope should any + free soul come across that place. + + +75 EXT. HOT GATES - DAY 75 + + WE MOVE: SLOWLYACROSS a still life of death. Spartan + brothers all lay beset with arrows too numerous to count. + + And as we hear Dilios' voice, we are reminded it is his + voice which has lead us all along. + + DILIOS (V.O.) + In all the countless centuries yet + to be ... + + WE SEE: Spartan after Spartan, eyes locked in death stares, + laying atop one another. + + Stelios. Dozens upon dozens of arrows pin him to the shield + he lays upon. One clear eye peers towards the sky. The + other put out by Persian spindle. + + DILIOS (V.O.) + ... may all our voices whisper to + you from the ageless stones. + + At the center of this scene of heroic dead, arms + outstretched upon the blood-soaked ground in a Christ-like + pose, lays the Spartan King. + + WE MOVE: SLOWLY UPWARD, LOOKING DOWN ON Leonidas, his body + riddled with arrows. + + DILIOS (V.O.) + Go tell the Spartans, passerby ... + + We CONTINUE TO RISE UNTIL ... WE SEE: All of the fallen + 300. + + DILIOS (V.O.) + ... that here by Spartan law we + lie! + + +76 EXT. CAMPFIRES OF WAR - CLOSE ON DILIOS' FACE - DAWN 76 + + WE SEE: The wounds have heeled. He wears a leather eye + patch. Firelight and the blue ambience of dawn mix. + 104. + + + DILIOS + And so my King died, and so my + brothers died, barely a year ago + ... + +All around the fire now stand, ready for war, capes the +color of blood, helmets and shields surround Dilios. + + DILIOS + Long I pondered my King's cryptic + talk of victory. Time has proven + him wise. + +Dilios begins to push through the Spartan warriors. They +follow him from the fire. + + DILIOS + For from free Greek to free Greek + the word was spread that bold + Leonidas and his three hundred, so + far from home, laid down their + lives not just for Sparta ... + +WE FOLLOW: Dilios as he continues, the sea of Spartans +making way for him as he moves slowly, taking time to clasp +shoulder with hand, meeting eyes with nods. + + DILIOS + ... but for all Greece and the + promise this country holds. + +Shields are pulled aside and from a wall of fresh bronze, +with dawn breaking in fingers of golden light, Dilios steps +out in front of the Spartan line. He strides slowly with +confidence along the barrier of shields. A forest of spears +reach back into the distance, pointing skyward. + +A young SQUIRE hands Dilios his shield and spear. Eyes burn +with battle lust as Dilios, never far from this tableau of +Spartan bronze, continues. + + DILIOS + Now, here on this rugged patch of + Greece called Plataea, Xerxes' + hordes face obliteration!!! + +WE HEAR: A collective cry answering Dilios. + + SPARTANS + Haaawooo! + 105. + + +A cry like rolling thunder spreading across the Spartan +ranks. LOWFLUTES begin to play a haunting melody, joined by +slow rhythmic DRUMMING of SPEAR on SHIELD. + +Dilios spins, pointing with spear out across the barren +landscape that lay before him. + + DILIOS + Just there ... the barbarians + huddle. Sheer terror gripping + tight. Their hearts with icy + fingers knowing full well what + merciless horror they suffered at + the spears and swords of 300 ... + +Dilios turns back to the line of men. It disappears into +the distance on both sides of him. + + DILIOS + ... yet they stare now across the + plain at 10,000 Spartans commanding + 30,000 free Greeks. + +Again he is answered with a thunderclap. + +WE RISE: UP FROM Dilios to reveal a sea of men stretching +out over the rolling hills. Thousands upon thousands of +Spartan shields blaze with the rising sun. + + DILIOS + The enemy outnumber us a paltry + three to one. Good odds for any + Greek. + +Dilios nods into his helmet. He takes hold of his spear and +shield, melting back into the phalanx. + + DILIOS + This day we rescue a world from + mysticism and tyranny. We usher in + a future brighter than anything we + can imagine!! + +Dilios lowers his chin, gripping tightly the leather on his +shield and as one in rhythm with the flutes, the spears of +the Spartan war machine drop into position. + + DILIOS + Give thanks, men, to Leonidas and + the brave 300. + +His eyes narrow, his teeth clench. Muscle and will become +one. + 106. + + + DILIOS + To Victory!!! + +WE SEE: The Spartan wall of death coming in full run. +Crimson CAPES SNAPPING behind them, the GROUNDSHAKING. + +Feet pound and churn the earth to dust and as it thunders +TOWARD us, a razor-sharp spear tip just PASSES us, we +TRAVEL DOWN its length TO the Hoplites' eyes, full of hate, +glinting inside bronze, and then a shield FILLS OUR VIEW. + + FADE TO BLACK. + +THE END + \ No newline at end of file diff --git a/scripts/8 Mile.txt b/scripts/8 Mile.txt new file mode 100644 index 0000000000000000000000000000000000000000..90837b1c9cb5611704936fd30e79a3ca33727129 --- /dev/null +++ b/scripts/8 Mile.txt @@ -0,0 +1,6725 @@ + 1. + + + + If you have the guts to be yourself...other people'll pay + your price. + + - RABBIT ANGSTROM + + John Updike, "Rabbit, Run" + + +1 1. 1 + + Run it under a harsh green fluorescent light. CLOSE ON AN + ANGRY BLONDE PUNK, his head flying in and out of frame. + Hard against SOME GIRL'S face. Banging against a dirty + mirror. Sweating. Moaning. + + GIRL + Jim. Jim. Jimmy. Jimmy. Jimmy, oh + god. Fuck me. Rabbit. Rabbit, yes, + oh yes. Jimmy. Rabbit. Fuck. Fuck. + Fuck. + + He's fucking her on top of a nasty sink. Fast. And furious. + Her short skirt hiked up high around her waist - A wool cap + pulled down tight over his face. This is Jim, James, B, + Bunny, Rabbit, B-Rabbit & Jinny Smith Jr. To us he's just + plain JIMMY. + + GIRL + Oh, Rabbit, fuck yes, oh yes. + + They're in a desolate bathroom. Wet. Full of noise. Beats + thumping through the walls. Fists banging on the door. + + The girl moan-moaning. It’s all so fucking loud. CLOSE ON + JIMMY, catching sight of himself bouncing up & down in the + mirror. Ignoring the girl, he's somewhere else. Gone. + Always moving. We hear her coming. Jimmy stops. Stares. The + harsh light crowns his head, a burning halo. He doesn't + look so good, cold sweat. + + JIMMY + - I gotta run. + + She jumps off the sink, yanks down her skirt. + + GIRL + (pissed) + Why? You still nervous? You’re + lucky I ran into you 'cause I'm + tryin' to help calm you down. But + it's like you ain't even fuckin' + here - + 2. + + + JIMMY + (pulls up his pants; + distracted) + - What? Wasn’t it good for you? + + GIRL + Yeah. You know I love the way you + fuck me, Rabbit. Why do you always + gotta ask? + + Before Jimmy can answer a queer look crosses his face. He + rushes for a dirty stall and we hear him puking his fucking + brains out. + + +2 2. 2 + + Jimmy, leaving the bathroom. Still a little green. No sign + of the girl. A line of guys waiting outside. + + They scream, shout, Jimmy just laughs and gives 'em all the + finger. Heads down the corridor alone into the darkness. + + +3 3. 3 + + An underground hip-hop club, THE SHELTER. A basement cave. + You can see the noise and the heat. Wall-to-wall kids, all + that sex. Mashing to the beat. Mostly black. Some white. + + Whatever. Jimmy wipes his mouth, slips on headphones, + getting back into character. We hear his music, the song + being pumped into his head. Angry. Defiant. Beautiful. + + He makes his way through cue crowd, a hip-hop gladiator. + + Walking tall. All attitude. Everybody around him dancing to + a different beat. We're sampling Tony Manero strutting down + the block from the opening of "SATURDAY NIGHT FEVER." + + Jimmy (Tony) checks out the girls, smiles their way, + heading backstage. But this ain’t no fucking disco. Before + he gets far some BIG RAD DUDE stops him-- Shines a + flashlight in his face. Hollas some shit at him. Jimmy + tears off his headphones. The song cuts out-- + + JIMMY + (yells over the music) + - Yo what the fuck you call me? + + BIG BAD DUDE + Where ya goin', dawg - you ain't + backstage, are ya? + 3. + + + JIMMY + What you say about me? + (gets right up in the big + man's face) + Do you even know who I am? + + The big dude shines the light bright back in Jimmy's face. + He's security. + + BIG BAD DUDE + Fuck no. You wanna go backstage or + what? + + JIMMY + I ain't goin' nowhere 'til you tell + me what the fuck you said, man - + + Before the big guy can respond, a skinny black superstar + pulls Jimmy away. It's THE FUTURE aka Future, Fuche & David + Porter. Also in his 20s, the Future's all good. + + FUTURE + (to the Big Bad Dude) + It's all good, brotha. He's with me + - + + Future drags Jimmy past the big guy backstage. Laughing at + him with love. + + FUTURE + - You crazy muthafucka. Why didn't + ya just tell 'im you backstage for + the battle, Jimmy? + + JIMMY + He said some shit - + (pulls away from Future; + spots something on his + shirt) + Fuck. + + +4 4. 4 + + Outside the club. Downtown Detroit. Bleak winter night. + Cold, as hell. A mess of kids waiting to get in. Jimmy + hustles up some stairs. Future right on his tail. + + FUTURE + Where ya runnin' to? + + JIMMY + I fuckin’ puked on my shirt. + 4. + + + FUTURE + (laughs) + First timers always crazy - + youknowhatlmsayin'? Didn't fucking + Mary calm you down? + + A needy white guy in his late 20s with a big head, + "CHEDDER" BOB ZUROWSKY aka Head, standing near the top of + the line sees Jimmy & Future heading in the opposite + direction. He’s slow. + + CHEDDER BOB + Hey Rabbit - where ya--? + + Jimmy turns, gestures "one-minute-I'll be-right back" and + keeps walking away. Future laughs, follows. + + Chedder Bob grabs two black guys huddled against the wall + smokin' dope; a short roly-poly freak in his early 20s + named SOL GEORGE aka Mista Kingpin & Mista and his laid- + back older brother. DJ IZ aka Israel George, Izzy & Iz, a + pseudo­intellectual with dreads and glasses. + + They’re Jimmy £ Future's crew, RU466 ("Real Unforgiven For + Killin" - also the abortion pill). + + CHEDDER ROB + C'mon. Rabbit an' Future're goin' + without us - + + +5 5. 5 + + Jimmy & Future head into a dark alley next to the club. + + The crew follows. We can still hear the music booming + through the walls. A lone spotlight pierces the gloom. + + Jimmy stops at a dumpster near the back. + + SOL + - T'night's the night, boy. You on + your way up, yo. Next stop - Deal. + + DJ IZ + (goes to hug Jimmy) + No doubt no doubt - S'up, brotha? + + JIMMY + (pulls back) + Puked on my shirt. + + Cheddar Bob tries to get a closer look at Jimmy's T-shirt. + 5. + + + CHEDDER BOB + Lemme see - + + JIMMY + (pushes him away) + Puck off, Chedder Bob - + +Jimmy scrapes the dumpster away from the wall. Grabs a +trash bag hidden behind it. + + SOL + (laughs) + Now listen, Bunny - if you battle + that muthafucka Papa Doc, nigga was + talkin' some serious shit, yo - + +Jimmy opens the trash bag, starts rooting around inside. + +All the guys stop and stare. + + JIMMY + (pulls out some clean + clothes front the bag) + Fuckin' Janeane an' I jus’ broke up + an' shit, an' she took the house + an' the goddamn car - + + FUTURE + - Again? + + DJ IZ + Maybe it’s 'cause you keep fuckin’ + all those other girls for a minute + - + + SOL + Yeah, Rabbit - + + CHEDDER BOB + No you just need to forget that + Janeane bitch. Rabbit. Just think + about all the fine bitches you + gonna get t'night after you win - + + JIMMY + (looking through the + garbage bag) + She says she’s pregnant, whatever, + yo - + +A long beat. + + FUTURE + 6. + + + - Now that's the heaviest influence + in that movie right there, man. + + CHEDDER BOB + I bet that bitch is lyin'. Rabbit. + + SOL + (to Chedder Bob) + Lemme ask you a question, bitch - I + bet you probably never even bust in + a bitch before. Have you? + + CHEDDER BOB + (turns red; to Jimmy) + You gonna stay at your mom’s? + + JIMMY + - fuck. Bob. + (pulls out a clean T- + shirt from the bag) + Yo can I please get some privacy + here, please - + +The three guys acquiesce, walk toward the lit mouth of the +alley. The Future stays. + + JIMMY + (laughs) + - my lucky shirt. + (peels off the dirty + shirt; shivering in the + cold) + It's my birthday in a couple weeks, + Fuche - An' it's like, I gotta do + somethin', ya know? Somethin' real. + (puts on the clean T) + - I mean all I ever wanted to do + was rap, yo - be an emcee. But I + know they ain't gonna like me in + there - + + FUTURE + If you rap, you rap muthafucka. It + don't matter. You just gotta stop + givin' a fuck what other people + gonna say, Jim - + +Jinny hides the garbage bag back behind the dumpster. + + JIMMY + - People can't talk shit about me + like that, yo. + 7. + + + FUTURE + Just wreck those mics an’ gain some + respect, youhearwhatlmsayin'? + + JIMMY + It's like do or die time for me + now. Fuche. + + FUTURE + (laughs) + I know whatchya sayin' - I'm tryin' + to get straight with the Lord these + days. + + They both head back up the alley toward their friends and + the light. + + JIMMY + Are you high? + + FUTURE + You're B-Rabbit, yo. I believe in + you thoroughly. + (jumps; shouts out) + B-RABBIT, yo - youknowhatlmsayin'? + B-RABBIT! B-RABBIT! + + They meet up with the rest of the crew. And they all shout + out, jumping, laughing, barking, 'B-RABBIT! B-RABBIT! B-- + + SLAM TO: + + +6 6. 6 + + CLOSE ON A FREESTYLE BATTLE, up on fit age in the club. + Spotlights glare. DJ spins. Two emcees squaring off. One- + on-one. Two 60 second scoreboard clocks tick down... It's + Fight Music. And right now one very short brother named + LIL' TIC (Little Lunatic) is battling Jimmy. Up in his + face. + + He's spittin' about-- + + 1. Jimmy's name - B-Rabbit. + + 2. Jinny's skin color - White. + + 3. Jimmy's inexperience - 1st battle. + + Jimmy just stands there, his wool cap pulled down tight. + Bouncing a little to the beat. Shaking out the nerves. + 8. + + + Lil' Tic's killin' him. The clocks hit o. Time. The CROWD + goes crazy. Judge and jury. Future takes center stage, he's + hosting the battle. + + SPLIT SCREEN; + + CUT SPLIT SCREEN: + + CUT SPLIT SCREEN: + + Future hands him the mic. All eyes on Jimmy, Under the + blinding hot lights. The beat kicks in. The clocks start... + + CLOSE ON JIMMY, bobbing his head up & down collecting his + thoughts, opens his mouth to rap and-- + + People start booing him right away. + + Calling him names. Booing. Booing. + + Booing Jimmy. And nothing comes out of his mouth. + + Mute. Burning up under the lights. Failure. + + Jimmy freezes. + + And the picture FREEZES. + + REWINDS. And PLAYS again- + + Jimmy opens his mouth to rap and nothing comes out. Freeze. + + Failure. Rewind. Play. We're SCRATCHING the film. + + Back & forth. + + Forth & back. + + SLAM TO: + + MAIN TITLE: + + fight music + + We still hear the scratching which leads us into our title + song, the song we first heard playing in Jimmy’s + headphones... + + +7 7. 7 + 9. + + + Poor Detroit. Jimmy runs through the diseased streets of + his life past all the crack whores and dead ends. Holding + onto his garbage bag full of clothes, headphones back on + his head. His breath visible in the night air. He and it + the only white around. We still hear our title song. + + Jimmy runs. Runs through a busy intersection, right on by + the entrance of a ratty trailer park, running down a side + street. Running up to a big vacant field down at the end. + Urban blight. Lying grass. A graveyard for shopping carts, + broken appliances, used needles & other shit. + + Jimmy stops. + + And screams out at the top of his lungs. + + Loud and long. + + Then he runs to a chain link fence at the edge of the + field, looks both ways making sure no one sees him, and + hops over it. + + +8 8. 8 + + Jimmy makes his way through the maze of trailers. Up to a + drab double-wide mobile home. A beat-to-shit big-ass '79 + Lincoln abandoned in front. Down. And out. + + +9 9. 9 + + Jimmy lets himself in. Drops the garbage bag. He's cold, + blowing on his hands trying to warm himself up. The place + is a dump. All white trash. + + The title song still blaring in his headphones and on our + soundtrack. + + JIMMY + Mom? + + He heads for his man's bedroom. As he gets closer, we hear + some noise. Moans. And grunts. A breathless scream. + + We hear sex. Raw. And loud. + + Not Jimmy. All he hears is music. + + JIMMY + Mom? + 10. + + + He slides open the flimsy vinyl bedroom door and sees his + mom fucking some guy.' On top. Riding away-- + + Jimmy pulls off his headphones. The title sang ends. + + JIMMY + (in shock) + Mom!?! + + STEPHANIE + Rabbit? + + +10 10. 10 + + Later. Jimmy's eating cereal in the lousy kitchen, dry no + milk. A small TV, beer bottles & comic books litter the + countertops. A rusty electric space heater vibrates heat. + It's almost quiet for the first time in the movie. + + His mother, STEPHANIE, slinks in wearing an oversized + "Osborne High" sweatshirt and little else. Her hair's a sex + mess, she slurs her words a little maybe a little drunk. + She's a young 40, small & sexy in that bleached blonde + trailer trash sorta way. + + STEPHANIE + You okay, baby - Wan'me ta make ya + somethin' ? + (ruffles his hair) + - Dontchya think maybe ya shoulda + knocked or maybe called first or + somethin'? + + JIMMY + Yo - the phone's disconnected. + + STEPHANIE + (defensive) + Yeah I know, Rabbit. I know, I jus' + gotta run down to the - um - the + phone place tomorrow - + + JIMMY + (mouth full of dry + cereal) + - An' there's no milk. Ever. + + STEPHANIE + Hey - I been busy, ya know. + + JIMMY + 11. + + + Still goin1 to bingo or get a job + yet? + +A thick lame white dude. GREG MINOR, stumbles into the +kitchen on one good leg like he owns the place. Just a few +years older than Jimmy, all Grog's got on is a two-day +beard, pair of "Osborne High" sweatpants, and a shit-eatin’ +grin. + + GREG + (slaps Jimmy on the back + of his head) + Rabbit - what the fuck you doin' + here? How 'bout knockin'? + +Jimmy doesn't react. Too tired to fight. It's clear that +Greg makes him uncomfortable. Makes him feel like he's back +in high school. Jimmy seems to shrink when he's around. + + JIMMY + (turns to his mom) + Janeane an' I broke up - + + STEPHANIE + None of those girls are right for + you, baby. She say she's pregnant? + +Jimmy nods. + + STEPHANIE + Right. I bet she took the car too - + + JIMMY + (doesn't want to talk + about it; gets up) + - I gotta work in the mornin'. + + STEPHANIE + - You and Future still at that + Little Caesars in Warren? + +She lights a cigarette. Greg takes it from her, smokes. + + JIMMY + No I - ahh - I-- + + GREG + C'mon, man, you got fired from + Little Caesars? Nobody gets fired + from Little Caesars - + + JIMMY + - yo I'm too tired for this shit- + 12. + + + STEPHANIE + You stayin' here, baby? + + JIMMY + - just for a few weeks 'til I save + enough to get my own place. + + GREG + Just like Bob Zurowsky. All your + friends still livin' at home - + aren't they, Rabbit? + (laughs) + Guys're a bunch a fucking losers - + + Without skipping a beat Jimmy grabs a beer bottle £ fires + it at Greg's head! It just misses, smashing against the + wall-- + + Greg bolts up, cigarette still stuck in his mouth-- + + Jimmy instinctively takes a step back. + + Violence about to break. + + Stephanie jumps in the middle-- + + STEPHANIE + (screams at Jimmy) + YOU STOP IT! JAMES SMITH JUNIOR! + STOPIT NOW! + + Just then a sleepy little angel appears in the doorway of + the kitchen, six-year-old LILY, Jimmy’s little half-sister. + + She lights up when she sees Jimmy. Runs to him. + + He gives her a big hug. Violence broken. Greg laughs, gets + himself a cold beer from the 'fridge instead. + + JIMMY + Yo - shouldn't you be sleepin', + Lily? + + LILY + You woke me up ya know. + (whispers to him) + - will you sing to me? + + JIMMY + C’mon - back to bed. It's late. + + +11 11. 11 + 13. + + + Jimmy carries Lily into her little girl bedroom. Neat, + clean. A mountain of scuffed animals on her bed. As he puts + her down, we hear him quietly sweetly lovingly rapping to + her. And he's good. Real good. Suddenly they hear Stephanie + shout out from the kitchen -- + + STEPHANIE (OS) + Rabbit Ya Better Clean AllthisShit + Upinhere Or I'll KickYouout For + Good! + + Jimmy & Lily look at each other, share a laugh. + + +12 12. 12 + + Later. Jimmy's picking up the broken beer bottle in the + tiny kitchen. Stephanie stands in the doorway watching. + + STEPHANIE + - Rabbit, if you're gonna stay here + you better get along or-- + + JIMMY + What'd I do? Yo he started this + shit - + + STEPHANIE + - don't fuck this up for me, baby. + You're not in high school anymore, + okay? + + Rabbit pushes the last bits of broken glass against the + wall with his foot. It’s been a long night. + + JIMMY + (sarcastic) + Forget it, whatever. I love Greg. + Can I get a ride to work in the + mornin’? + + Stephanie goes over to the kitchen table, grabs her car + keys and tosses them to Jimmy. + + JIMMY + - you're lettin' me take the car? + + STEPHANIE + Nope. I'm givin' it to ya - It's + your birthday present. + + JIMMY + 14. + + + - thanks. My birthday's not for two + weeks, yo - + + STEPHANIE + (laughs; almost + flirtatious) + You're still my lil' Rabbit, right? + + +13 13. 13 + + The next morning, cold & clear outside the trailer. Jimmy, + trying to start the big-ass '79 Lincoln. Click. Nothing. + + Click. Click. It's dead. + + JIMMY + (jumps out, checks his + watch) + Shiiit - + + He's late, Jimmy pops the hood, looks underneath. Just then + a chubby charismatic white hipster named WINK EPSTEIN aka + 3rd Person, ambles up. Early 20s, soul patch, and the + harmonies of hip-hop verbalization. + + WINK + Yo Bunny you back home - + + JIMMY + - ain't my home, Wink. How the fuck + you know I was here? + + WINK + (smiles) + Please. Who ya'think you talkin' + to? + + JIMMY + (slams down the hood) + Don't tell nobody, okay? + (checks his watch; dirty + hands) + Yo I gotta run - gimme a ride to + work? I'm gonna be fuckin' late - + + WINK + My mow's got the car - + (kicks the Lincoln) + Yo you should just blow this shit + up, B. + 15. + + +14 14. 14 + + Jimmy hops the fence at the edge of the dirty trailer park. + + Wink hot on his heels. + + WINK + - Why we goin' this way? + + JIMMY + (just gives him a look) + Yo where were you last night? + + They head through the vacant field together. + + WINK + I heard ya got caught out. People + sayin' some fucked up shit, boy. + + Jimmy stops before he hits the street, wipes his dirty + hands on his pants, wanting to run away from Wink and last + night and the trailer park and everything else in his + fucking life. + + JIMMY + - like what? + + He checks up & down the busy intersection making sure no + one sees him, and hustles away from the trailer park, wink + follows. + + WINK + You just gotta bounce wit' Wink, B. + You tha franchise, baby. They just + jealous, like Janeane - + + JIMMY + You talked to ’er? + + WINK + Forget it. An' fuck battlin' down + at the Shelter, yo. Justa bunch a + losers who ain’t got deals. + + JIMMY + - What else am I gonna do? + + WINK + Stay home, Bunny. You ain’t goin' + nowhere down at that club. And you + know 3rd Person's gotchya - + + JIMMY + 16. + + + Who? + + WINK + 3rd Person. + (laughs; pounds his + chest) + Wink's all 3rd Person now. 'Bout to + blow up, for real. An' I'm takin' + you wit' me, B. + +They make it to the bus stop, a few people waiting. + + JIMMY + - how we gonna do that? I'm bakin' + the fuckin' bus to work, man. + +Jimmy anxiously looks down the street for his bus. + +Wink puts his arm around Jimmy's shoulder, bringing him in +close. + + WINK + Don't tell no one, but I jus' + recorded a demo up at Paisley Park. + + JIMMY + - Paisley Park? + + WINK + With Prince. The Artist. 3rd + Person? Prince gave me that name. + + JIMMY + You're full a shit, yo - How the + fuck you know Prince? + +Wink pulls out an envelope from his pocket. + + WINK + - He's friends with Lee Darucher, + man. Serious. I just recorded at + Paisley Park, yo. + +Wink opens the envelope, shows Jimmy some photographs. + +CLOSE ON PHOTOGRAPHS OF WINK & PRINCE, hanging out in a +giant studio control room. The massive console all lit up +with bright bright lights. + + JIMMY + (impressed) + Shiiit. That's really Prince. You + ain't lyin' - + 17. + + + WINK + Yeah an' I'm takin' a song down to + 96.3. try to get it on. They + playin' one local demo every Friday + night now - + +Jimmy's bus finally arrives. Belching black exhaust. + + WINK + (puts away the + photographs) + - And yo you got next, Bunny. For + real. Recordin' at Paisley Park - + we can both fly outta here. Right? + +Jimmy on the bus, looking out the window. Poverty. Hard +times & pain. He slips on his headphones, pulls out a pen +and starts writing on his dirty hand. + +CLOSE ON JIMMY’S HAND, letters. + +Words. + +Rhymes. + +CLOSE ON JIMMY'S face, closing his eyes. + +And we hear the opening lines to the song, a cappella. + +And then a beat kicks in, the bass line, and a groove. + +And as the words & music come together in a song, Jimmy's +set free. He opens his eyes... + +The bus, the poor, Detroit, it's all ANIMATED. By E. Crumb. +And Jimmy, he's a Superman. Costume, muscles, the whole +deal. SUPERJIMMY. He's rapping the song for all to hear. +Jumps up & bursts through the window of the bus, flying +away for good. Escaping his earthly bonds & dull reality. + +SuperJimmy flying & rapping over the animated bad streets +of Detroit heading up toward the sun, leaving the earth +behind, flying Icarus high. He flies up up around & around +the globe faster & faster. A blur. Going BACH IN TIME to +last night. + +LAST NIGHT. SuperJimmy flies onstage in the Shelter, grabs +the mic from LIL' TIC with one hand & with the other +squeezes Tic's animated head right off. Blood gushing +everywhere as SuperJimmy just freestyles cool to the crowd. + 18. + + + The rhymes and the blood flowing fast. The audience + applauds screaming - going crazy - loving all of SuperJimmy + and his music. He finishes & waves goodbye, flying off BACK + INTO THE FUTURE, heading for the suburbs and the nice part + of town... + + TODAY. The nice part of town. SuperJimmy flies over a five- + star hotel. Up-scale, grand. Still singing his song. He + darts down toward the back of the hotel and heads through a + big open window, flying into a locker room in the basement. + + He dives at a locker changing super fast out of his + costume. And into his uniform... Shirt. Tie. Vest. + + Becoming JIMMY THE BELLMAN. RACE TO REALITY (film). He + takes off his headphones, glancing at his reflection in a + locker room mirror, the song cutting out-- + + +16 16. 16 + + Jimmy hurries up to the front of the fancy hotel lobby, his + tie’s a mess, collar askew. He's late. + + Slides into position next to his friend Chedder Bob, and a + thin black bellman in his early 30s named PAUL, who's + greeting guests at the door. Classical music plays in the + background. + + PAUL + (to Jimmy) + Mr. Springer wants to see you in + his office, James - + + CHEDDER BOB + (to Paul) + Fuck you, homo - + (straightens out Jimmy’s + tie & collar) + You okay? + + JIMMY + Axe you drunk? + + CHEDDER BOB + (he is) + Shhhhhh. You okay about last night? + + JIMMY + Fuck last night, bitch - + + +17 17. 17 + 19. + + +CLOSE ON JIMMY, taking shit. Pissed off. Beat. + + MR. SPRINGER (OS) + - is that why you were late again, + Mr. Smith? Well? + +Jimmy doesn't say anything just looks down at his hands... +They’re still smudged dirty, lyrics scrawled all over them +like strange tattoos. He shifts in his seat and hides his +hands under his legs. + + MR. SPRINGER (OS) + What do you have to say for + yourself, Mr. Smith? + +Jimmy and his boss, MR. SPRINGER, a dark-skinned white man +in his late 40s with a mustache, are sitting right across +from each other in a cramped basement office. The door +behind Mr. Springer’s desk isn't closed all the way. + + JIMMY + - You can call me Jimmy. + + MR. SPRINGER + Okay. Jinny. You know we were + hesitant to take you on in the + first place, Jimmy, because you're + friends with Mr. Zurowsky. But,-- + Are you sure you can cut it here, + Jimmy? + +Before Jimmy can answer that bullshit question the phone +rings. Mr. Springer snaps it up. + + MR. SPRINGER (INTO THE PHONE) + Rooms division - + (some air goes out of + him; whipped) + - Yes, hon, I'll be home at + seven... Yes...Yes, of course I + will...Yes? + +As Mr. Springer continues to tolerate his wife, Jimmy +notices a girl sitting down outside the office. He shifts +in his seat trying to get a better look through the door. + +And catches sight of a HONEY-DIPPED GIRL, maybe 18 or so, +so sexy and indifferent she’s obscene, impossible. Short +hair. Long legs. Oh God... + +Mr. Springer hangs up the phone, all business. Jimmy can't +keep his eyes off of the girl, the girl. + 20. + + + MR. SPRINGER + Okay, Mr. Smith. I have another + meeting now so - If you're late + again we’re gonna have to let you + go. You have to do better,-- I know + you can be a better bellman - + + Jimmy snaps out of it. Gets up. Shoves his dirty hands in + his pockets and heads out. Time to eat more shit. + + JIMMY + Yes, sir. I will - + + When he gets to the door he turns back to Mr. Springer. + + The girl's now standing right behind him in the doorway. + + JIMMY + I guess it's not the right time to + ask for extra shifts, Mr. Springer. + Is it? But I - ahh - really need + the money. + + MR. SPRINGER + - I'm sure you do, but let's just + see how this week works out first, + Jimmy, Okay? + + MH. SPRINGER + (motions the girl in) + Miss? + + Jimmy leaves humiliated, still managing to smile at the + girl as she enters the office. Heading out, he turns back + around pulling his dirty hands from of his pockets & throws + up a middle finger in the direction of Mr. Springer’s + office-- + + The Honey-Dipped Girl looks up as she closes the door, sees + Jimmy flipping her off. And gives him the finger right + back! + + +18 18. 18 + + Dusk. Darkness falling visible on the ratty trailer park. + Jimmy’s working under the hood of the Lincoln. The Future’s + kickin' back in the front seat. They hear LYNYRD SKYNYRD's + ’Sweet Home Alabama’ drift out of the mobile home. + + JIMMY + 21. + + + - yo you shoulda seen this girl. + Future. She was,-- I mean. Shit. + She's perfect, yo. + + FUTURE + Perfect? Perfect got a name? + +Jimmy shrugs, puts up the hood on his hooded sweatshirt. +It's getting cold. They hear Greg inside the trailer start +singing along with Lynyrd Skynyrd. + + FUTURE + - Who the fuck is that? + + JIMMY + That dude Greg Minor’s practically + livin' with my mom, yo. Met at + Bingo up in Windsor. Neither of 'em + ever fucking win - + + FUTURE + - we went to school with 'im, + right? + + JIMMY + He was a senior with Chedder Bob, + man. I save some money an' get the + fuck outta here, yo - + +They listen to Greg sing; he's terrible. Hear him turn up +the stereo inside. And Future starts singing along at the +top of his lungs, off-key, making up the words as he +goes... Then he begins to freestyle over the rock & roll +beat. Jimmy takes a turn. Rapping over “Sweet Home +Alabama." They go back & forth spittin' out verses over the +music. + + FUTURE + - Yo there’s another battle next + week, Jinny. Winner's takin' my + place as host. I'm signin' you up - + + JIMMY + Don't. + + FUTURE + You gotta come down, ride those + mics, youknowhat I'm sayin'? Keep + workin’ at it. That's the only way + you gon get any betta’. + + JIMMY + 22. + + + Don't sign me up, yo. I'm just + gonna play it by ear - + (goes back to work under + the hood) + Try it now - + +Future tries to turn the car over. Click. Click. Shit. + +Jimmy keeps working on the car. + + FUTURE + You gotta let those people know you + ain't playin', youknowhatlmsayin'? + Ya know they say, that man, "Ill, + ill, ill, ill." + + JIMMY + Fuck, I don't wanna get booed + again, Fuche. It's gonna kill me. + An' anyway, Wink says he knows + Prince - Says I can record a demo + up at Paisley Park an' shit, yo - + + FUTURE + (busts out laughing) + Wink says he knows Prince? What the + fuck does Prince gotta do with our + music, Jimmy? Wink’s jus' talk. + There will be no action, only + talking, + + JIMMY + - Na, he had pictures, yo. This + could be a real opportunity for me + - + +Greg limps out of the trailer singing 'Sweet Home Alabama' +to himself, sees Jimmy and Future working on the car. They +throw him a look. He just laughs and heads back inside +singing his ass off. + + FUTURE + - yo, that dude mentally ill? + + JIMMY + Car accident, man. S'pposed to get + some big settlement soon - + + FUTURE + Fuck. Hear what Wink‘s callin' + himself now? + + JIMMY + 23. + + + 3rd Person. + (motions to the car) + Try it again - + + FUTURE + 3rd Person? Shit. I don't wanna + bring too much negativity towards + my positive, but he is not a good + rapper. That muthafucka's weak. I'd + rather listen to funky ol’ Greg + sing - + + Future tries to start the car. It groans. Sputters. Spits. + And starts. Jimmy smiles, he fixed it. The Future's up. + + FUTURE + Yo son, we goin' out t'night! + + JIMMY + (slams down the hood) + - I dunno, people talkin' shit, yo + - ya know about last night an'-- + + FUTURE + (laughs) + Fuck last night. + + JIMMY + I thought you wanted to start + gettin' straight with the Lord. + + FUTURE + C'mon it's Saturday night, yo - + + +19 19. 19 + + Night. The whole gang's riding in the big-ass '79 Lincoln. + Jimmy and Future up front, hip-hop thumping from the car's + shitty radio, tinny speakers tuned to 96.3. Sol, DJ Iz and + Chedder Bob in the back seat gettin' high. + + DJ IZ + Yo boy, this is your mom's birthday + present? If it was me I’d-- + + JIMMY + (cute him off; on edge) + Don't fuckin' start, Izzy - + + Sol smokes, exhales. + + SOL + 24. + + + we betta' than this, fellas - we + gotta get us a deal - Go platinum, + get cheesed out. + +Chedder Rob pulls out a bottle of vodka from inside his +coat. + + FUTURE + - Stealin' from your mom again, + head? + + CHEDDER BOB + She don't notice, she's too lit up + most a the time. Where's Wink? + +He takes a drink and passes the bottle to Sol who hands him +the joint. + + SOL + - meetin' us there. Fuck, we need + to be Elidin' in Navs, 600s an' + Double Rs. + + CHEDDER BOB + Yeah an' get us all the hot bitches + - + + DJ IZ + - no we gotta save up, put our + money into Savings Bonds every week + if we wanna make it. No doubt. Keep + stackin' it, an’ then build our own + studio. Cut a demo an' get it on + 96.3 - + +Beat. What? Bonds? + + FUTURE + What the fuck you talkin’ 'bout, + Iz? + + SOL + (to DJ Iz) + Lemme ask you a question - How the + fuck're we brothers? Nigga we need + a muthafuckin' deal, fine women an' + cars - not no muthafuckin' Savings + Bonds, fool. + + JIMMY + Fuck. That's all you motherfuckers + ever do is talk bullshit - + (mimics Sol) + 25. + + + "We gotta get us a deal - " + (mimics Chedder Bob) + "Get us all the hot bitches - " + (mimics DJ Iz) + "Put our money into savings bonds-" + (in his own voice) + Just shutthefuckup. I'm tired of + everything. None a you ever do shit + about nothin' - WE ALL STILL BROKE + AS FUCK LIVIN' WITH OUR MOMS! + (laughs) + Right, Fuche? + + SOL + Now hold on there, Bunny - + + FUTURE + Yo, I'm jus' tryin' to get straight + with the Lord. + (laughs) + And big titties. I'd like to get + straight with that Big Titty Mary, + man youknowhatlmsayin'? + + JIMMY + I hit that - + + CHEDDER BOB + - I heard she got VD. + + SOL + So what, nigga - I'd still fuck-- + + Before Sol can finish the car goes black. Cuts off. The + radio. The lights. The steering wheel. The brakes. + Everything, dead. All the power's gone. Jimmy tries to + maintain control of the car. The guys are screaming. + + The ’79 Lincoln gently coasts to the side of the road. + + +20 20. 20 + + Later. Dark side of the road. Silhouetted against the sky, + the guys stand around the car like hunters examining kill. + + FUTURE + That was crazy - + + Jimmy hops in, starts up the car. Lights. + + The car running. + 26. + + + JIMMY + - Jus' must be a short in the + electrical system, yo, whatever. + Let’s go - + + SOL + Uh-uh. I'm not gettin' back in that + piece a shit - + + DJ IZ + (quiet so Jimmy can't + hear) + - it's a fuckin' deathtrap. I think + his mom must be tryin' to kill 'im. + + CHEDDER BOB + (laughs; whispers) + You think Rabbit's mom's tryin' to + kill 'im? + + Jimmy's ears are so good he hears everything. He jumps back + out of the car-- + + JIMMY + What you say? + + CHEDDER BOB + Nothin’, Rabbit - + + JIMMY + I hear everythin', yo - my mom + ain't tryin' to kill me. Fuckin’ + kill your own self, bitch - + + CHEDDER BOB + - Hey I don't wanna die. Rabbit. + (thinks about it) + I mean, I dunno what the fuck I'm + livin' for, but I really don't + wanna die. + + +21 21. 21 + + They pull into the crowded parking lot of a seedy Chinese + restaurant, STANLEY'S CAFE. Red neon. Kids banging out + talking groping and getting high. Noise and hip-hop fill + the air. Jimmy gets out of the car first, keeps moving. The + other four slip out with attitude and head for the + restaurant. + + Jimmy leads the way. Future right behind him, a few steps + in front of Sol & DJ Iz, Chedder Bob pulling up the rear. + 27. + + +CLOSE ON JIMMY, looking around the parking lot. Outside +himself. Stops. + +His friends catch up to him. + + FUTURE + You okay, Jim? + + SOL + Yeah c'mon, B. Where ya goin' - + +They all keep moving. Jimmy stays there for a minute. +Throws up his sweatshirt hood, hiding. And finally follows +after them. + +They pass by a group of kids hanging out under a +streetlight at the edge of the parking lot. Kids spittin' +out verses. Kickin' some rhymes. In a circle. This is a +cipha. It's not competitive, just people checking each +other out. Free. And easy. + +RU486 joins in, Future leading the way. + +Jimmy still trailing behind. + + FUTURE + RU486 is here, my people - Let us + show you the way - + + SOL + Gonna kick some serious shit - + + FUTURE + Yeah, Mista. + +Jimmy looks out from under his hood. Checks the crowd. +Future joins in the cipha, spits some alien shit. He is a +motherfucking star. Finishes. Now Sol's up (Mista Kingpin). +A freak. + +A bigger crowd gathers. Bouncing. We see Wink hustle up, +smiling and handing out flyers. + +Future pulls off Jinny's hood, pushes him forward. His +turn. CLOSE ON JIMMY, starting out slowly, unsure, +hesitant. Working into it. Faster. Quicker. Forgetting the +crowd. The words flow setting him free. Easily the best. +The Future laughs, he knows. + +While Jimmy's rapping, we see the Honey-Dipped Girl from +work join the crowd. She's with a group of hip young kids. +They all listen to Jimmy. He doesn't see her. + 28. + + +Jimmy finishes. DJ Iz steps up & smooths out some rhymes. + +Jimmy spots two guys heading in his direction; a solid +black dude with a baseball cap pulled down tight over his +face named PAPA DOC, aka Papa, and his sidekick LC LYCKETY- +SPLYT aka LC & Lyckety-Splyt, a very skinny black clown. +They’re both part of RU486'S rival crew, LEADAZ OF THA FREE +WORLD, aka tha Free World. Aka the enemy. + +Jimmy looks for someplace to run. + +LC Lyckety-Splyt jumps onto the hood of a car near the +middle of the cipha-- + + LC LYCKETY-SPLYT + (hyping; screaming) + LISTEN UP NOW - LEADAZ OF THA FREE + WORLD IN THA MUTHATUCKIN’ HOUSE an’ + shit! ME AN' PAPA DOC - WE’LL + BATTLE ANY MUTHAFUCKAS HERE - + +Papa Doc steps up on the car with Lyckety Splyt. They now +have everybody’s full attention. Cipha over, Jimmy takes a +step back into the crowd. His friends all up in arms-- + + SOL + Yo, told y'all - Papa Doc an' LC + Lyckety-Splyt been talkin' shit - + + FUTURE + Fuck tha Free World, man - + + CHEDDER BOR + (yells out) + Yeah, Man. Fuck ’Em. + +LC Lyckety-Splyt looking for someone to challenge, still +working the crowd over, eyes Jimmy and his crew. + + LC LYCKETY-SPLYT + Yo all you muthafuckas are weak an' + shit - Lookit RU486, boy - + (points to Sol) + Mista Kingpin - + (freestyles a few rhymes + about him; points to the + Future) + The Fu-- + +Before LC can even say his name Future points right back at +him £ yells out-- + + FUTURE + 29. + + + Shut Up Bitch - + +Papa Doc takes a step toward the Future. + + PAPA DOC + (menacing) + What tha fuck you gonna do about + it? + +Jimmy stands up for his friend. + + JIMMY + Yeah? C'mon motherfucker - + + LC LYCKETY-SPLYT + (points to Jimmy) + Yo Rabbit - B-Rabbit - You don't + wanna battle me, white boy - You + should be afraid. Caught your act + at Shelter last night - + (opens his mouth & + nothing comes out & does + it again, then falls over + on the car, choking) + AAAAAAAAAAAAH - + +Some people in the crowd laugh. Humiliating Jimmy. And he +just fucking loses it, all that anger. + +Jimmy yanks LC Lyckety-Splyt off the car by his neck +slamming his head hard into the ground. The violence real. +Ugly. Loud. Fast. Starts kicking him in the face— + +Papa Doc dives off the hood, tackling Jinny to the ground— +Jimmy shoves him away, gets up ready to fight. Future, Sol +and DJ Iz run up getting Jimmy's back-- Chedder Bob trying +to act all tough and shit just stands over Lyckety-Splyt. + +And Wink jumps right into the middle of it all-- Pushing +Papa Doc away from the fight, staying in the middle. +Breaking it up. It's clear from the way Wink talks to Papa +Doc they know each other. They're friends. + + WINK + - Yo what tha fuck. Papa? Please. + LC's full a shit, yo - Actin' up + like that - + + PAPA DOC + Stay outta this. Wink. It’s none a + your fucking business - + + WINK + 30. + + + Just chill, yo - + + Papa goes over to help up Lyckety-Splyt. Future drags Jimmy + away from the fight. + + JIMMY + (insane with anger) + Fucking Motherfuckers! I’ll fucking + kill those fucking pussies - + + Sol, DJ Iz and Cheddar Bob help to hold Jimmy back, trying + to calm him down. + + FUTURE + - Not here, Jim. Don’t worry. We'll + rush 'em later, + youhearwhatlmsayin'? + + SOL + Fuck yeah. + + CHEDDER BOB + - they don't even know who they + talkin' to, do they? + + +22 22. 22 + + CLOSE ON JIMMY, bouncing up & down. Still wired, on edge. + It's later. He’s inside Stanley's Cafe. Old-school Chinese. + Red. Crowded. Hip-hop music. We hear Sol talkin’ on & on in + the background. + + SOL (OS) + - This gon be your only opportunity + to blow the both of us. 'Cause + after we go platinum, you won't + even be able to get to me an' the + Future, baby - + + Jimmy's standing next to Sol & Future, both sitting on one + side of a booth, a real PRETTY GIRL squeezed in between + them. + + Cbedder Bob alone on the other side. Chinese take-out's + open. Restaurant's closed. Red booths line the mirrored + walls, tables cleared out for a DJ and a dance floor. + + CHEDDER BOB + (to Jimmy) + - do you think I got a big head? + + JIMMY + 31. + + + What? + + PRETTY GIRL + (flirting with Future) + And why’re you the Future? + + FUTURE + I had a lotta names, baby - the + most jealous names. I used to be + called Maximum, Brimstone, + Godfather D, Devastating D, + Everlasting D - None of 'em worked, + youknowhatImsayin'? 'Til one day + someone said I was the future of + hip-hop in Detroit. And that was + it. You gotta find your name. + Sometimes it finds you an' shit - + + SOL + (to the Pretty Girl) + - Let's jus' go an' make this + happen so ya can hurry an' tell all + your friends our names. Say ya blew + both the Future and Mista Kingpin! + +Future laughs. And the girl cracks up too. Wink walks up to +the table. All the guys look at him. Beat. + + WINK + - Yo yo I’m sorry fellas, ya know I + didn't know Papa an' LC were such + muthafuckas till tonight. And I + dunno what to say, I'ma - ahh - + (pulls out a flyer from + his jacket, hands it to + Jimmy) + And I'm promotin' a show with them + next week ya know - and - + + CHEDDER BOB + Tha fuckin’ Free World? + + FUTURE + (to Jimmy) + Hear what I'm sayin'? + +Jimmy reads the flyer. Chedder Bob looks at it over his +shoulder. + + WINK + (straight to Jimmy) + 32. + + + - If ya wan' I'll pull outta tha + show. You're my friend, yo. And I + don't wantchya bein' mad at me - + + Jinny looks up and sees the girl, the Honey-Dipped Girl, + the girl (wearing a sexy little concert T-shirt) on the + other side of the crowded dance floor... He can't believe + it. She disappears into the crush. Jimmy balls up the flyer + and throws it away. + + JIMMY + Fuckit, whatever - + (looks over to Future) + A’ight? + + CHEDDER BOB + - yeah, whatever. Fuckit. + + FUTURE + (to Wink) + That okay wit' you, Benedict + Arnold? + + WINK + Hey fuck you, man - + + The Future laughs. Jimmy starts to walk away. + + CHEDDER BOB + Where ya goin', Rabbit? + + JIMMY + (keeps walking, looking + out for the girl) + You gotta see this girl, she's - + + WINK + (follows after him) + Yeah? + + FUTURE + Yo Jimmy, slide us your car keys - + + JIMMY + (stops) + What for? + + SOL + We gon be famous! + + +23 23. 23 + 33. + + +Jimny, Wink and Chedder Bob snake their way through the +mess of bodies packing the dance floor tight. All bumpin' & +grindin'. Booming music. They have to shout to be heard-- + + WINK + - I Dunno Why Future Don't Like Me. + + JIMMY + (looking for the girl) + It's Not Like That - Ya Know, He + Just Thinks sometimes You Talk Some + Bullshit - + + WINK + Who Tha Puck Is He To Say What's + Real? Just ’Cause He Hosts Those + Batties? I Know He's Your Friend, B + - But The Guy’s Still Fuckin’ + Workin* At Little Caesars. + + JIMMY + So? + + WINK + You Still Wanna Record At Paisley + Park Or What? + + JIMMY + Yeah. But I'm Gonna Need To Get + Some Songs Together First. + + WINK + Cool. Have Sol & DJ Iz Bring Their + Shit Over to My House - + + CHEDDER BOB + (to Jimmy) + - Will You Teach Me Howta Write + Rhymes Like You, Rabbit? That's A + Way To Get The Ladies - Right? I + Mean I Wanna Be An Emcee Like,-- + (points into the dance + floor) + Shiiit, Is That That Bitch Janeane? + + JIMMY + Fuck Off - + + WINK + Where? + 34. + + +Chedder Bob points again. Jimmy spots his ex-girlfriend +JANEANE GASKELL, a pretty 20 something bombshell smoking £ +drinking on the edge of the dance floor. + + CHEDDER BOB + Thought She Was Pregnant, yo - + +Jimmy turns around. Starts heading the other way. + + JIMMY + - I Gotta Go. + + WINK + What About Your Other Girl, Bunny? + +Jimmy stops. Gives another quick look over the dance floor. + +Sees the Honey-Dipped Girl dancing with her friends right +near Janeane. He turns back around, lowers his voice. + + JIMMY + Fuck. There she is, man - that girl + in the concert T next to Janeane - + Whaddaya think? + + WINK + (checks her out; wow) + Yeah. + (leans in) + Don't worry - Wink's gotchya. + + JIMMY + What? + + WINK + I'ma go invite her & her friends to + an after hours party, yo - + + JIMMY + Where at? + + WINK + My house, dawg. + + JIMMY + - what about your mom? + + WINK + Please. She's workin' nights now. + Just meet me outside - I'll take + care a the whole thing for ya, B - + 35. + + +24 24. 24 + + Later. Jimmy, DJ Iz and Chedder Bob standing in front of + the restaurant, off to the side. In the bitter cold. The + joint's closing, kids streaming out. + + DJ IZ + Shit it's sold. Where the fuck's + Wink wit' your girl, yo? + + Jimmy throws up his hood keeping his head low. Hiding. + + JIMMY + (to Chedder Bob) + - You seen Janeane yet? + + CHEDDER BOB + Nope. + + Wink walks out with the Honey-Dipped Girl, three of her + girlfriends and a couple guys. They're all very young, arms + around each other, high on Ecstasy. Touching, in love. + + WINK + Yo Jimmy is it okay if some of us + ride wit' you? + + JIMMY + (hides a smile under his + hood) + Yeah. + + +25 25. 25 + + Jimmy and his friends, the girl and one of her girlfriends, + all walk up to the big-ass ‘79 Lincoln. The windows all + steamed up. + + DJ IZ + C’mon, Let's go, I'm cold - + + Just then a naked foot slides against the foggy rear window + smudging a view. A girl's ass flashes into frame, a head + bobbing up 4 down, hands grabbing. A scream. + + CHEDDER BOB + Are they killin’ that bitch or + what? + + DJ Iz opens the back door, a pretty naked leg spills out. + + DJ IZ + 36. + + + - She ain’t dead yet. + +DJ Iz jumps right in. More screams— + + SOL (OS) + What the fuck, yo? Can't you knock + first? + + DJ IZ (OS) + It's a car, nigga - An' it's + muthafuckin' cold out - + +While Sol & DJ Iz argue, everybody starts piling into the +car. Jimmy and the Honey-Dipped girl suddenly find +themselves standing next to each other. Alone. Eyes meet. +Time for names. She’s ALEXANDRA LATOURNO, Alex & Al, and +she shivers just a little bit in the cold. + + JIMMY + (slips off his hood) + - hey. + + ALEX + (big eyes; fucked up) + You're Jimmy Smith Jr. - right? + + JIMMY + (smiles; flattered she + knows his name) + Yeah - + + ALEX + You went to Osborne with my older + sister, Janice Latourno - + + JIMMY + (no idea who she is) + - yeah I think I remember her. + + ALEX + My name's Alex. + + JIMMY + - yo you don't look like an Alex. + +She smiles at him. Oh god, she smiled at him. + + ALEX + (smiling at him) + It's Alexandra. But nobody ever + calls me that ya know. Sounds like + an old actress or whatever - + 37. + + + Alex slides into the Lincoln. Before Jimmy gets in he hears + someone call out "Hey Rabbit!" from across the parking lot. + It's Janeane. He jumps into the car, + + FUTURE + (laughs, shouts out from + the back seat) + Quick. It’s the baby mama drama! + + And Jimmy peels out before Janeane gets close -- + + +26 26. 26 + + Fast car flying. Nine people packed inside tight. Future & + Sol with their girl on their laps playing around in the + back seat next to DJ Iz & Chedder Bob squeezed together. Up + front. Wink flirting with Alex's girlfriend, Alex on her + lap sittingthisclosetoJimmy driving. + + It's crazy, loud. 96.3 on the radio. Fighting, tickling, + laughing, singing. Everybody doing their own thing. Jimmy + trying to stay cool. So close. To her. It’s agony. + + ALEX + (low under the music) + - So you work at the hotel? That + Springer guy always such a dick - + or ya know just with you? + + Jimmy laughs, shrugs his shoulders. + + ALEX + What are you, like a bellboy - + + JIMMY + No, yo - bell man. + + ALEX + (smiles) + - Whatever. I'm justa tea girl. Not + for long ya know - + + There's a commotion in the back between Sol and DJ Iz + jockeying for position. + + DJ IZ + - yo what kinda shit you pullin', + Sol? + + PRETTY GIRL + Who's Sol? + 38. + + +Future grabs the girl and starts kissing her in the jam. +Sol pushes DJ Iz. + + SOL + Shut up, Izzy - + +Sol and DJ Iz fight in close quarters. Chedder Bob sees +Future and the girl gain' at it hands all over each other. +He starts barking. Chaos. + +Everybody in front turns to see what's going on in the +back. Alex leaning even closer to Jimmy when she looks, her +face brushes against his, her hand on his shoulder, +steadying. Oh... Jimmy swerves the car + +She falls against him, on him. Over him. He straightens it +back out trying to concentrate on the road. She leans over, +a short distance, almost kissing his face. + + ALEX + (laughs) + - Lucky you rap better than you + drive, Jimmy. + + JIMMY + Huh? + + ALEX + I heard you were a real dope + rapper. + + JIMMY + (giving her shit) + - "dope rapper?" + + ALEX + (pushes him; joking) + Shit yeah - + + JIMMY + (hides a smile) + - ya know. + + ALEX + So are you like signed or anything, + whatever yet? Ya know what's your + deal? + +SPLIT SCREES: + + WINK + 39. + + + Not yet, but he's recordin' with me + & Prince at Paisley Park. He jus' + needs to get some songs together - + - Really? + + JIMMY + Well - I dunno - + + ALEX + - Really? + +CUT SPLIT SCREEN; + + JIMMY + - Yeah. It's cool. + + ALEX + (touches Jimmy's arm) + Prince? + +CUTSPLIT SCREEN: + + FUTURE (OS) + (calls out from + underneath the Pretty + Girl) + - Did I hear one a you muthafuckas + say Prince? + + JIMMY + (looks down at Alex + touching his arm) + Well I - um - + +CUT SPLIT SCREEN: + + WINK + Yo don't be jealous, Future - I’m + 3rd Person now, man - + + FUTURE (OS) + (laughs) + Jealous? You crazy, muthafucka? + Fuck Prince - + +CUT SPLIT SCREEN: + + FUTURE + (squeezes the Pretty Girl + out of the way; to Alex) + - If you really wanna see Jimmy + trip, baby, c'mon out to the next + battle - + 40. + + + JIMMY + - yo, man, whatever. + + CHEDDER BOB + (leans in, drunk) + Yeah he's gonna kill those Free + World muth-er-fuck-ers - + + CUT SPLIT SCREEN; + + JIMMY + Yo shut-up, Bob - + + ALEX + When's that? + + CUT SPLIT SCREEN: + + FUTURE + - Next weekend. + + ALEX + Yeah? Shit, Jimmy - all that and + Prince too? + + CUT SPLIT SCREEN: + + JIMMY + (looks like he wants to + run; stuck) + + END SPLIT SCREEN: + + Jimmy looks like he wants to run, but he's stuck between + Wink and Future's plans for him, going nowhere. + + So he just hits the gas, he can't run but he can drive + faster. Kick it into HIGH SPEED. He hear another song, + letting us into Jimmy's head-- + + +27 27. 27 + 41. + + +HIGH SPEED. Speeding up & down the streets of Detroit, +driving into a neighborhood of small two-story brick +houses, parking in front of Wink‘s room’s house, a bunch of +other kids parking heading inside smoking laughing drinking +yelling cranking music dancing partying inside. Sol making +out with Pretty Girl while Wink leads a little girl past DJ +Iz who’s all over some other girl in the corner near +Chedder Bob hanging out drunk alone watching a bunch of +young girls dancing in the living room in front of a big +picture window, including Alex who's moving slow & sexy +playfully touching her friends and herself kissing them +laughing high on E. + +CLOSE ON ALEX, moving slow & sexy playfully touching her +friends and herself kissing them laughing high on E-- Jump +to REGULAR SPEED. + +Say it again. Alex moving slow & sexy, playfully touching +her friends and herself, kissing them, laughing high on E. +Jimmy & Future hanging out drinking on the couch, watching +Alex dance. They talk over the music never taking their +eyes off of her. + + JIMMY + Yo Fuche - Why'd you say that shit + in the car? + + FUTURE + Damn - you weren’t fuckin’ around, + were ya, James - she is perfect, yo + - What’s her name? + + JIMMY + - I told you I ain't gonna battle, + yo. + +Sol walks by holding hands with the Pretty Girl, laughing. + + JIMMY + She really blow the both of ya? + + FUTURE + Hell yeah - I'ma sinner, James. + What’s your girl's name? + + JIMMY + - Alex. + + FUTURE + You sho as hell gonna battle if + Alex is there, boy - you gon care + what she says, youknowhatlmsayin’? + 42. + + + JIMMY + - I dun no. + + FUTURE + Youknowhatlmsayin' - + + They sit and watch Alex dance sexy with her friends. Course + he knows what he's saying. + + FUTURE + You know what I'm sayin'. + (lights up a cigarette) + We all weak in the flesh, yo - + That's the devil right there, ain't + it? + (laughs) + Just like wink. Tryin' to keep us + all in division an' shit wit' all + his Paisley-fuckin'-Prince talk. + You gotta come to church with me in + the mornin', yo - + + JIMMY + (shakes his head no) + - You ever meet Wink's mom? + + FUTURE + Uh-uh. I don't think she exists, + man. No one's ever seen 'er - + right? + + They look at each other and crack up laughing. All of a + sudden they see Chedder Bob race across the room and jump + into the middle of all the young girls dancing spilling his + drink barking, jumping & dancing like a freak. + + Jimmy & Future hop up off the couch and join Chedder Bob + and the girls jumping & dancing a laughing. And then Sol & + DJ Iz join in. And Wink. And before ya know it the whole + crew's loving each other and dancing and Alex moves closer + to Jimmy. + + Moves in and starts kissing him hot & heavy so high needing + to touch him and then they're all over each other and -- + + CUT TO: + + +28 28. 28 + + Morning. Jimmy getting cut of the skinny trailer shower, + singing PRINCE'S "Sexy M.F." to himself. Grabs a towel. + Dancing silly and sexy, motherfucker. + 43. + + + Suddenly he hears his mother scream out "No!" Hears the + front door slam shut! + + +29 29. 29 + + Jimmy runs out of the bathroom, towel wrapped around his + waist. His mother’s holding onto a piece of paper. Freaking + out. Lily's on the couch. The TV on. + + JIMMY + What's the matter? + + STEPHANIE + - I just got served, goddamnit. + We’re gettin’ evicted. Why me? + + STEPHANIE + (leans against the wall; + trying not to cry) + Shit - + + JIMMY + (uncomfortable) + C'mon, not in front a ya know - + + He motions to Lily, leads his mom toward her bedroom. + + JIMMY + - How many months late're you? + + STEPHANIE + - oh God Greg can't find out- + + JIMMY + Fuck Greg - + + They walk into her bedroom. It's a mess. He slides the + flimsy vinyl door shut. + + STEPHANIE + Shit - Okay,-- Three months late - + (losing it) + So we got - what - thirty days to + come up with the money, right - + + JIMMY + Whaddaya mean "we? + + STEPHANIE + (snaps) + - Hey you need to start chippin' + in, Rabbit, if you're livin' here. + 44. + + + JIMMY + Fuck that, yo I'm savin' money to + get the fuck outta here, Mom. + When's Greg gettin' his settlement + check? Get the money from him - + + STEPHANIE + No I think he might ask me an' Lily + to move away with him someplace + nice, and I just don't wanna freak + him out, baby, and-- + + JIMMY + Yo I don't need this. I got a lotta + shit goin' on right now. I'm goin' + to Paisley Park. Maybe even + recordin' with Prince an' shit. + + Beat. + + STEPHANIE + (starts to smile) + - Really? Prince? + + JIMMY + Yeah. Maybe. + + STEPHANIE + (still smiling; gives him + a big hug) + I knew you were a genius. We gonna + be rich. Rabbit! + + +30 30. 30 + + Jimmy the bellman, unloading luggage from a cart into a + suite. A hip guest in his early 30s named MR. LEONARD is + across the room talking on the phone like Jimmy isn't even + there. + + MR. LEONARD (INTO THE PHONE) + - I didn't sleep with her. I’m in + love with you...of course I think + you're beautiful...Hold on - + (puts his hand over the + phone; to Jimmy) + Hey busboy - + + Jimmy stops, did the guy just call him "busboy?" Jimmy + holds his tongue, continues unloading the luggage cart. Mr. + Leonard snaps his fingers, motions him over-- + 45. + + + MR. LEONARD + Busboy - + + JIMMY + Excuse me - my name is Jimmy, Mr. + Leonard. And I'm a bellman, not a + busboy - + + MR. LEONARD + (doesn't give a shit) + Sorry - can you get me a pack a + Marlboros, man? + + JIMMY + Sure, Mr. Leonard - + + MR. LEONARD (INTO THE PHONE) + - sorry, sweetie, I just gotta find + some money for the busboy...You + sure you're okay? + + Mr. Leonard turns his back on Jinny, looking around the + nightstand for cigarette money. + + Jinny closes his eyes; we hear an angry song thump on the + soundtrack. He opens up... + + The roan is ANIMATED. SuperJimmy flies at MR. LEONARD. + Grabs the phone out of his hand. Starts strangling him to + death with the chord, rapping out about calling him a + busboy. + + Mr. Leonard turns cartoon blue. And dies. SuperJimmy just + picks him up & throws him out the window still spitting. + Mr. Leonard crashes down to the ground. + + Ana SuperJimmy flies up up & away into the sky. + + +31 31. 31 + + BACK TO reality (film). Jimmy, wheeling the cart back to + the front lobby. Pissed off. Runs into EARL, a quiet old + bellman in his 60s, tired. Classical music in the + background. + + EARL + What’s the matter? + + JIMMY + Some fuckin’ guest just called me a + busboy - + 46. + + + EARL + - Huh? + + JIMMY + (raises his voice) + Some Sonuvabitch Called Me A + Busboy, A Busboy, Earl. And now I'm + gettin' 'im cigarettes - + (laughs, leans in closer) + Lemme ask you, man, how you put up + with all this shit for like 30 + years? + +Just then, Mr. Springer walks by. Slows down. Checking up +on Jinttry and Earl. + + MR. SPRINGER + (already knows the + answer) + On time today, Mr. Smith? + + JIMMY + Yessir - + +Mr. Springer smiles, continues on his way. + +And Jimmy flips him off behind his back. + + EARL + (takes the cart from + Jinny) + - sometimes it helps to be hard a + hearing, Jim. + + JIMMY + Yeah - + + EARL + (smiles) + Or ya could just rip out their + vocal chords. + +What? Earl walks off with the cart. Jimmy watches him for a +moment. Shakes his head, gets moving. + +He passes by the lobby lounge and sees Alex shadowing an +older woman, getting trained. Serving tea to wealthy old +ladies, mothers & daughters. It’s formal afternoon tea, and +Alex is a "tea girl' dressed in a short black skirt, black +hose, black shoes, and white blouse. Sexy in that French +maid way. + +Alex looks up and sees Jimmy. + 47. + + + She smiles and discreetly gives him the finger. Flirting. + + He laughs. + + +32 32. 32 + + Jimmy, heading into the hotel's gift shop. + + He hears someone call out "Rabbit!" + + Shit. It's Janeane. + + Jimmy looks around. No place to run. No place to hide. + + Janeane finally catches up to him. + + JANEANE + Why haven't you called? + + JIMMY + Yo Janeane - shit, I can’t talk now + - I’m working - + (to the salesperson) + Can I get a pack a Marlboros? + + JANEANE + - I don't care. I'm your + girlfriend. Rabbit. + + JIMMY + (looks around; lowers his + voice) + Keep your voice down. Shit. I work + here, yo. + + Jimmy pays for the cigarettes and heads out of the store. + Janean follows after him. + + JIMMY + - An' you're not my girlfriend + anymore. We broke up. + + JANEANE + But you took off this time without + even sayin’ a word. We weren't even + fighting - + + JIMMY + At least I left you the car an’ + shit. + + JANEANE + 48. + + + Was it 'cause I said I was + pregnant? + +Jimmy heads down the hallway back toward the front lobby. + + JIMMY + (getting pissed) + I can't talk now, Janeane - You + gotta get the fuck outta here - + + JANEANE + I just wanna be your girlfriend. + Rabbit - + + JIMMY + - you're gonna get me fired. + + JANEANE + (stops; starts to lose + it) + - Just tell me why you left,-- + What'd I do, What'd I do - tell me, + an’ I’ll leave you alone, Rabbit - + +Jimmy pulls Janeane aside, fast. Trying to calm her down. +He looks over to the lounge to see if anybody's watching +them. Alex is working. No one notices him & Janeane. + + JIMMY + (keeping an eye on Alex; + talks fast) + - you didn't do anything, Janeane. + It's my shit. I just had to get + out,-- I felt all trapped an' shit + - ya know the dishes were pilin' + up, you were always outta + cigarettes, an’ the TV was always + goin' - and, and, and I knew you + weren't pregnant, you jus' told me + that shit to get me to stay, but - + + JANEANE + (pushes him away) + Fuck You, you ain't willin' to do + the work, Rabbit - what're you + runnin' from? + + JIMMY + - Nothin'. + +And Jimmy just walks away. The classical music playing in +the background. Janeane keeps up the fight, eyes red-- + 49. + + + JANEANE + (calls after him) + Why do you always gotta run away? + +He doesn't answer, keeps walking. + + JANEANE + RABBIIIIT! + +Everyone in the place looks over at Janeane. Jimmy turns +red. He hurries back, putting his arm around Janeane and +quickly leads her out toward the front door, desperately +trying to avoid any further embarrassment. + + JIMMY + Janeane, you gotta go - + + JANEANE + I'm your girlfriend, Rabbit - you + can't do this to me - + +Everybody’s now watching them. + +Jimmy hustles her outside, out into the cold. + +Storm clouds loom overhead. It's gonna rain, maybe snow. + + JIMMY + C'mon, baby, go home - + + JANEANE + - Ya know everybody's callin' you a + loser from the other night. + + JIMMY + Who told ya that? + + JANEANE + (she grabs his arm; + holding on) + I heard ya got booed off stage at + the Shelter. Froze up. They're all + talkin' about it - + + JIMMY + (yanks his arm away; + hard) + Fuck you, Janeane. Go home. + +Jimmy heads straight back inside. + +Alex is waiting for him by the door, standing next to Paul, +the other bellman. + 50. + + + ALEX + Is everything, ya know, okay? + + JIMMY + (keeps walking; head + down) + Yeah - + (quiet so Paul can't + hear) + - Did everybody hear that shit or + what? + + Alex looks at him. + + ALEX + (hides a smile) + Yeah. + + Jimmy just shakes his head, walks to the elevators. + + Alex follows after him. + + ALEX + Was that your girlfriend? + + JIMMY + No - + + Alex just laughs. + + ALEX + Hey, can you gimme a ride home or + whatever after work? + + +33 33. 33 + + After work. Pouring rain. Dark, it's getting darker, + Jimmy’s car is parked in an empty lot near the hotel. He + and Alex are inside the Lincoln. Out of uniform. Jimmy + can’t get the car started. Click. Click. Dead. + + He looks over at Alex. He’s still fucked up from his fight + with Janeane. The windows fogging up. It’s the first time + they’re all alone. Silence. Tension. Are they gonna kiss? + + Alex lights up a cigarette, inhales deeply. Jimmy tries + again. Click. Nothing. Exhales. + + JIMMY + - I think there’s an umbrella in + the trunk, yo. + 51. + + + And we hear a more upbeat jazzy version of our opening + title song... + + +34 34. 34 + + Jimmy & Alex walking in the rain, sharing an umbrella. + Heading for a crowded bus stop. Bright headlights + intermittently cut the darkness. Jimmy's lost in his own + world. We still hear the song. + + A car drives by and splashes a puddle all over Jimmy. + + JIMMY + Fuck - + (looks down at his wet + clothes) + Fuck fuck fuck fuck - + + Alex cracks up. Jinny throws a fit. + + Which make Alex laugh even harder. + + We hear the song. + + He looks at her laughing, pulls away the umbrella and into + a puddle, splashing Alex. + + She’s soaked. Kicks water right back at him. + + We hear the song. + + They make their way down the street jumping and kicking + water back & forth at each other... + + And Jimmy starts singin’ in the rain, just singin’ in the + rain. Showing off for Alex. Trying to impress her. Singing + along to the song. Splashing in puddles. Playing with the + umbrella. + + Singin' and dancin' in the rain, just sampling some old + fucking movie. + + Jimmy finishes the song just as the bus pulls up. They run + to make it, drenched and laughing. + + +35 35. 35 + + Jimmy and Alex on the crowded bus. Standing up, packed + tight. Dripping wet. And cold. + 52. + + + ALEX + (leans into him) + - I hate the bus, ya know, it’s + such a drag. Makes me look like a + laser. But I'm saving up my money + so - + +Swinging back & forth, Alex grabs onto Jimmy for support - +She shivers a bit. Turning him on. He shoves his hands into +his pockets, covering. Excited riding the bus. + + JIMMY + - How was work? + + ALEX + Ya know. Serving tea to rich ladies + and their daughters all dressed up, + thinking they're better than me - + +Jimmy smiles. He knows. + + ALEX + - And I know that look, 'cause I + used to have this “I’m better than + you attitude" that made me like a + real bitch. But I’m not gonna be + doing this that long ya know. I can + hardly wait to get outta this + shithole before I kill somebody - + + JIMMY + (laughs) + - you know where ya goin'? + + ALEX + New York or Germany - I won this + modeling contest and this guy was + all, “Hey would ya like to come to + New York?" And I was all like sure + why not - I just gotta put my book + together. + + JIMMY + What if the guy's full a shit, yo? + Then what? + + ALEX + - Hey, I'm not an idiot. He's with + Elite. And I just know I wanna get + famous. If I don't make it as a + model, I'll just become an actress + or whatever - + (laughs) + 53. + + + - It's gotta be exciting for you - + recording with Prince and + everything. + + JIMMY + I dunno about Prince. But Paisley + Park sounds cool. + + ALEX + When’re you goin'? I wanna come - + + JIMMY + I dunno, yo. Soon. + (leans in closer) + - You wanna do somethin' tomorrow + night? + + ALEX + (raises her voice; + fucking with him) + You asking me out on a date, Jimmy? + +People look over at them. Listen in. Eye Jimmy. + + JIMMY + (looks around) + Yeah - + +Beat. + + ALEX + Okay. + +He smiles. + + ALEX + - But I can't tomorrow night. + + JIMMY + Why not? + + ALEX + Wink invited me to his show. + + JIMMY + The Free World show? + + ALEX + (nods her head yes) + - Ya know I saw you fight those + guys in the parking lot the other + night at Stanley's Cafe. + 54. + + + JIMMY + (surprised) + - You were there? + + ALEX + Yeah. Me and all my friends - They + think you're crazy. + + JIMMY + (snaps) + They don't even fuckin' know me - + + Alex just looks at him. + + An awkward beat. + + JIMMY + (trying to stay cool) + - and you heard all that shit + Lyckety-Splyt said? + + ALEX + Yeah. + + The bus pulls over for a stop, the doors open. + + Jimmy wants to go. + + JIMMY + - This's my stop, yo. + + ALEX + (looks out the window) + Nice neighborhood. + + Jimmy heads out the door. In a hurry. + + Hurting Alex's feelings. + + JIMMY + Thanks, I'll see ya later, yo. + + Jimmy gets off the bus in the rain, stays on the sidewalk. + Waits for it to drive away. And then screams out. Angry. + Loud. + + Beat. + + +36 36. 36 + 55. + + +Later. Chedder Bob driving Jimmy and Future in some old +beater. He's a terrible driver. The rain has let up. The +world is grey, blue. + + JIMMY + (hard; on edge) + - head down to the Shelter, Bob. + + CHEDDER BOB + I thought we were goin' to Wink's, + mom's house. + + JIMMY + I wanna jump those Free World + motherfuckers first - It's time + they got theirs. + + CHEDDER BOB + (looks at Jimmy) + But Sol & DJ Iz're already settin' + up all their shit at Wink's. + + FUTURE + What? + +Chedder Bob almost rear-ends the car in front of them. + + JIMMY + Watch the road, fool! Where'd ya + get this car from anyway? + + CHEDDER BOB + Stole it from my sister. + + FUTURE + (shakes his head at + Jimmy) + Yo I can't believe you’re takin' + this Wink bullshit serious, Jim. + + JIMMY + Back off, yo - + + CHEDDER BOB + (to Future) + Maybe you jus' jealous - like Wink + keeps sayin’. + + FUTURE + Yo I don't give a tuck what any man + says. I only need God. I went back + to church the other day - + (to Jimmy; pointed) + 56. + + + YouhearwhatImsayin’? + + +37 37. 37 + + The car's parked across the street down from the Shelter. + + The guys are sitting low, staking out the joint. + + Jinny and Future not talking. Still tense. + + CHEDDER BOB + (to Future) + Ya know Rabbit's gonna teach me + howta write rhymes, yo - + + Beat. + + FUTURE + You? + + CHEDDER BOB + MC Bob. + + JIMMY + What? + + CHEDDER BOB + That a good name, homes? + + JIMMY + What's the matter with Chedder Bob? + + CHEDDER BOB + I dunno. I like MC Bob - + + FUTURE + (laughs) + How about Big Fat Head Bob? + + They see a white van pull up in trout of the Shelter and + park. Papa Doc, LC Lyckety-Splyt and the rest of THA FREE + WORLD (two black guys and a white guy named E) pile out. + + JIMMY + About time. + + FUTURE + Yeah, dawg. + + JIMMY + (to Chedder Bob) + 57. + + + You ready? + + CHEDDER BOB + (nods; serious) + Yeah. + (pats his belt) + I’m ready. + + They all slide out of the car. + + +38 38. 38 + + Jimmy and Future walk up to the club. Chedder Bob a step + back. Tha Free World's unloading equipment for their show. + Stacking speakers and mixers and turntables. + + They all stop when they see Jimmy and Future. Jimmy just + walks right up to Papa Doc. Shoves him-- + + JIMMY + C'mon motherfucker. Lets go. + + PAPA DOC + (laughs) + You're gonna fuck wit' us? + + LC Lyckety-Splyt jumps in, talking trash. + + LC LYCKETY-SPLYT + Yeah, boy - you don't wanna fuck + wit' us! You can't even battle us - + + JIMMY + Get the tuck outta here - + + He shoves Lyckety-Splyt, wheels and punches Papa Doc in the + face. It's on. Future grabs E-- + + The other guys close in. + + All hell's about to break loose and-- + + Bang! A gunshot! + + JIMMY + - What the fuck? + + Everybody freezes. Turns around. + + Chedder Bob is standing there, holding a .38 up in the air. + 58. + + + Everybody checks. + + Nobody was shot. + + CHEDDER BOB + (waving the gun in the + air; hysterical) + Yeah fuck with us - huh? You wanna + fuck with us? Yeah? + + Tha Free World just stands there. + + Jimmy and Future stare at Chedder Bob. + + Beat. + + They bear police sirens in the distance. + + CHEDDER BOB + You don't wanna fuck with us! + (to Jimmy; panicked) + We-should-go-now - + + Chedder Bob backs away, keeping the gun on Cha Free World. + + Jimmy just shakes his head. He and Future follow after + Chedder Bob. The sirens getting closer. + + They make a run for the car. + + +39 39. 39 + + Speeding in Chedder Bob's sister's car. He's still holding + onto the gun. Jimmy in the front seat. Future in the back- + Pumped up. And freaking out- + + JIMMY + (yelling at Chedder Bob) + Where the fuck ya get that, man? + + CHEDDER BOB + - it's my dad's. + + FUTURE + You know how to use it? + + CHEDDER BOB + Just point an' shoot, homey. + + He points the gun into the back seat. + 59. + + + FUTURE + (leans out of the way) + - Yeah, well, don’t be pointin' it + at me, "homey." + + JIMMY + (slaps Chedder Bob on the + head) + Put that shit away, fool - Before + you fuckin' shoot one of us! + + Suddenly the white van appears behind them. + + CHEDDER BOB + Oh shit! + + +40 40. 40 + + The old car whips around a turn. Chedder Bob weaving in and + out of traffic. Driving like a maniac. The white van still + on their tail. + + CHEDDER BOB + (panicking) + Fuck fuck fuck - + + JIMMY + What'd ya think was gonna happen? + You pulled a gun on ’em - + + CHEDDER BOB + (looks at Jimmy) + I dunno - + + FUTURE + Watch the fucking road. Head! + + Chedder Bob takes another turn fast. Almost hits a car. + Speeds up. + + The van still there. Gaining. Gaining. + + CHEDDER BOB + (hands Jimmy the .38) + Here. Shoot at 'em. + + JIMMY + I ain't gonna shoot at anybody, you + idiot! Just fucking drive - + + Chedder Bob floors it. A light up ahead changes from yellow + to red. + 60. + + +Chedder Bob doesn't slow. + +Runs the red light-- + +Zigzags fast between two cars! + +The van follows-- + +A horn beeps! + +The van brakes! Skids just missing an oncoming car-- + +And sideswipes a parked car! Crashing to a stop. + +The guys look back. See tha Free World jump out of their +car. Up in aims. + + JIMMY + Turn the car around, Chedder Bob - + turn the fuck around. + + CHEDDER BOB + Why? + + JIMMY + Just do it - + +Chedder Bob whips a U-turn, speeds back toward tha Free +World. + +Jimmy grabs the wheel from him, heads straight for Papa +Doc. + +Chedder Bob freaks. + +Papa Doc doesn't move. + +Jimmy just keeps his hand on the wheel. Playing chicken. + +Gonna run him right over-- + +And Papa Doc jumps out of the way just in time! + +Jinny spins the car around, takes his hand off the wheel +and leans out the window-- + + JIMMY + Yo - + +He smiles. And gives them all the finger. + 61. + + +41 41. 41 + + Jimmy, Future and Chedder Bob walk up to Wink's mother's + house. Laughing. All hopped up. + + JIMMY + We fuckin’ showed those guys - + + FUTURE + - That shit was crazy. + + CHEDDER BOB + (beside himself) + Yeah, I can hardly wait to tell + everybody! + + Jimmy stops - + + JIMMY + Fuck. Don’t say shit to Wink, Bob. + + FUTURE + Why not? + + Jimmy checks inside the big picture window. + + Doesn’t see anybody. + + JIMMY + You know - + + FUTURE + Yeah, you don’t wanna fuck up your + chances with 'im - is that it? + + JIMMY + Fuck you, Ruche - + + FUTURE + (shakes his head) + - I can't believe you give a shit + what that little bitch is gonna + think, Jimmy. + + +42 42. 42 + + Inside Wink's mom's house, Jinny, Future and Chedder Bob + make their way down some dark stairs, descending into the + fluorescent lit basement. Panelled walls, couch, card + table, shitty TV. + 62. + + +Sol and DJ IZ are setting up equipment. A crate of records, +a mixer, two turntables £ a microphone. Wink's got his arm +around some pretty YOUNG GIRL, carrying on. + + WINK + - Yo where the fuck you guys been? + +Beat. + + JIMMY + (looks at Future) + Around. + +Future sits down on the couch, smokes a cigarette. Pissed +off. + + DJ IZ + (hooking up the mixer) + We're almost all hooked up here. + + SOL + Yeah. An' Wink was jus' cellin’ us + how he got in wit' Prince. + + CHEDDER BOE + Isn’t he just called the Artist + now? + + WINK + Naw he’s Prince again, dawg - And + he's friends wit Lee Darucher. + + DJ IZ + Isn't that Moochie? + + SOL + Moochie is Lee Darucher? + + WINK + No. Lee Darucher's a concert + promoter, man. He’s tight with + those guys down at 96.3 - And yo he + says they're gonna play some 3rd + Person this Friday. Said they + flipped over my songs an' shit. + +Everybody stops, + +Beat. + + JIMMY + (impressed) + 63. + + +Shiiit. They’re gonna play it on +the radio? + + FUTURE +So? Doesn’t even raise my fuckin' +eyebrow. + + WINK + (to Future) +C'mon, man it's 96.3 - + + FUTURE +Prince is a faggot. + + YOUNG GIRL +- Prince isn't gay. Michael Jackson +is gay. + + SOL +Michael Jackson is not gay. Maybe +Tito - + + JIMMY +Tito? + + SOL +Hell, yeah. But not Michael - No. +You see, Michael just never had a +childhood or nothin', yo - + + DJ IZ + (going through his stack + of records) +- no no, Michael has some serious +self-image issues, man. + (pulls out MICHAEL + JACKSON'S "Thriller") +He used to be black. Now he's just +tryin' to make himself white to +please White America. Get that +white love an' shit - no doubt no +doubt. + + SOL +What the fuck're you talkin' about? + + FUTURE +- It’s always easier for a white +man to succeed in a Black man’s +medium - + (looks straight at Wink; + fucking with him) +YouknowhatImsayin'? + 64. + + + WINK + (to Future) + Why do you always gotta give me + shit? Just 'cause you host those + battles? Like that’s some big + fucking deal - + +Future jumps up off the couch, gets right in Wink’s face. + +Right between all the equipment (turntables t microphone) - +- + + DC IZ + - Be careful, yo. That shit cost us + a fortune. + + SOL + Why else you think we still livin’ + at home, dawg? + + FUTURE + (laughs at Wink) + - If you’re so good why don’t you + spit for us right now, 3rd Person? + + WINK + What? + +Future grabs the mic and hands it to Wink. + + FUTURE + You couldn’t freestyle if your life + depended on it, bitch - C'mon. Rap + somethin' for us. You're gonna be + on the radio - + +Future flips on the turntables. Puts on Michael Jackson +"Wanna He Startin’ Somethin'." + + WINK + (puts down the mic) + You’re psycho, man - + + FUTURE + Am I? Just ’cause you recorded at + Paisley Park don’t mean you any + good. Anybody can record at Paisley + Park if you got the money, right? + +Jimmy steps in between the two. Michael Jackson singing in +the background. + + JIMMY + 65. + + + Leave 'im alone, Fuche. This is + bullshit. I’m fuckin’ sick a you + two always talkin’ shit about each + other - Just tryin' to pump your + own, selves up. Ya know? + (walks away) + I'm outta here - + + +43 43. 43 + + It's late. But Jimmy's still going home the back way. + Through the field. Over the fence. + + +44 44. 44 + + Inside the trailer, Jimmy walks past the kitchen. + + Stephanie’s at the table all alone watching TV. + + JIMMY + Hey, didya win at bingo tonight? + + STEPHANIE + - no. Did you hear from Prince yet? + + JIMMY + No. Fuck - + (shakes his head) + You guys never win. + + STEPHANIE + (whispers) + Shhh - Greg's sleepin’. I know you + don't like him an' he don’t like + you but - + + Stephanie sits there. Beat. + + JIMMY + (whispers) + You alright? + + STEPHANIE + (whispers) + I’m havin' a, a - ahh - a problem + with Greg - + + JIMMY + (whispers) + What. Did he find out about the + eviction? + 66. + + +Stephanie shakes her head no. + + JIMMY + (whispers) + His settlement check‘s not comin*? + + STEPHANIE + (belligerent) + No. No. It's coming. It's me and + Greg's sex life. It's good, I mean, + ya know, real good, but the-- + + JIMMY + Yo I don't wanna hear this shit - + + STEPHANIE + (just keeps talking) + But see the problem is Greg doesn't + like to go-- + + JIMMY + (cutting her off) + Mom Mom Mom Mom Mom Mom I don't + wanna hear it yo - + +Jimmy heads for the bathroom. Getting ready for bed. He +peels off his shirt. Stephanie follows after him. + + STEPHANIE + Hey you've got a nice body, Rabbit + - + + JIMMY + (stops) + What? + + STEPHANIE + Greg won't go down on me. + + JIMMY + Mom! + + STEPHANIE + (whispers) + He won’t go down on me. I mean I + keep askin' him an' like I have no + problem goin' down on — + +Jimmy puts his hands over his ears, running into the +bathroom-- + + JIMMY + Mom, stop, I'm not hearin' this - + 67. + + + He closes the door in her face. + + +45 45. 45 + + Early morning, behind the hotel. Jimmy's getting out of + Sol' s mother's shitty car. Sol drove him to work. Garbage + bags line the filthy alley. Sun rising. Harsh reality. + Jimmy pauses for a moment before he closes the door. + + JIMMY + - Hey Sol, ya ever wonder at what + point ya just say “fuckit." When ya + know ya gotta stop livin' up here - + (gestures over his head, + then drops his hand down + low) + And start livin' down here. + + Beat. + + SOL + (looks at him half­ + asleep) + - It's fuckin' 6:30 in the morning, + dawg. + + JIMMY + (laughs) + Thanks for the rider yo - and thank + ‐ + your mom for tendin' you the car­ + l'll see ya after work. + + +46 46. 46 + + Hours later. Jimmy the bellman, finishes loading luggage + into a brand spanking new Porsche parked in front of the + hotel. Everything's SILENT. Except we hear Jimmy rapping a + song to himself. Quiet. Simple. Poetry. + + He closes the trunk and quickly looks around, never + stopping his music. Everything else still silent. Jimmy + slips into the sports car. Checking out the interior. + Suddenly the passenger side door swings open, SOUND + crashing back-- + + And Alex jumps in, holding onto her "French maid" uniform. + + Jimmy can't believe his eyes. He looks again. She's still + there. + + ALEX + 68. + + + C'mon, let's get outta here - + + JIMMY + Where to? + + ALEX + (laughs) + Anywhere in this car - + +She leans over to give him a kiss, all turned on. Looks up. + +And stops. + + ALEX + Uh-oh - + +Jimmy follows her eyes... + +A chubby guest, MR. KOSKO, is standing there watching them +about to kiss in his new Porsche. Alex just laughs, gets +out of the car and heads for the hotel leaving Jimmy +behind. + +Jimmy quickly jumps out-- + + JIMMY + I can explain, Mr. Kosko - I-- + + MR. KOSKO + (dismissive) + Don't. You're just a terrible + bellman - + +A frantic woman. Mr. Kosko’s wife, hurries up to the car. + + JIMMY + (trying to stay cool) + - Your wife's luggage is all loaded + up, sir. Will there be anything + else? + +Mr. Kosko's cell phone rings. + + MR. KOSKO + There's a blue suit in my room I + need dry cleaned. Do you think you + can handle that? + + JIMMY + (forces a smile) + - Yessir. Room 722, right? + 69. + + +47 47. 47 + + Jimmy, running back into the hotel. Looks for Alex. Chedder + Bob and Paul are in the middle of an argument-- + + PAUL + Call me a faggot again and I'll + beat your ass - + + CHEDDER’BOB + But you're gay - + + PAUL + (hard) + So? + + Chedder Bob backs down. + + JIMMY + (laughs) + Yo Chedder Bob, didya see Alex come + in - + + CHEDDER BOE + MC Bob. + + JIMMY + Whatever. Didya see her? + + Cbedder Bob points down the hall. + + +48 48. 48 + + Jimmyy runs down the hallway. Catches up to Alex. She's + walking backwards, still holding onto her uniform. A + crooked smile pasted on her face. + + ALES + Hey. Why'd ya take off like that + yesterday? + + JIMMY + - It was jus' my stop, yo. And then + I hadda show those Free World + motherfuckers what was up - + + ALEX + (impressed) + You did? + + JIMMY + Yeah I did. + 70. + + + She turns back around. They head down the hall together. + + ALEX + - Ya know we shoulda just stolen + that fucker's Porsche. + + JIMMY + (laughs) + You ever steal a car before? + + ALEK + No. But I figure you have, right? + And then we coulda just taken off + for good, whatever - + + She turns down another hallway, toward the hotel’s giant + kitchen, waiters & waitresses busy coming & going. + + JIMMY + Where ya goin', yo? + + ALEX + Pickin’ up a little somethin1 for + tonight, "yo" - + + +49 49. 49 + + In the kitchen. Busy & bright. Alex walks up to a thin + white prep cook, pulls him aside to the comer and whispers + into his ear. Jimmy talks to the other prep cook, CLIO, a + cool black chick. A cheap boom box whines in the + background. + + JIMMY + - Clio, can you make me a + hamburger? + + CLIO + Sure thing, Rabbit. + + Alex makes her way over, slipping some pills (E) into her + front pocket - + + ALEX + - Hey why do some people call you + Rabbit? + + JIMMY + That's jus’ one a my names ~ + + CLIO + (laughs) + 71. + + + 'Cause he's fast - and likes to + fuck a lot. + + ALEX + Yeah? + + JIMMY + - Yeah. + +Alex smiles. + + CLIO + Tell ya what, Rabbit - I'll battle + ya for the hamburger - + +Some of the other kitchen help overhear. Get excited. + +Jimmy notices. Unsure. + + JIMMY + Oh I dunno - + + ALEX + (pushes him) + C'mon, "Rabbit" - + +Jimmy looks at her. He cares what she says. + + JIMMY + A'ight, a’ight - + +Some of the other cooks and dishwashers pipe in. A couple +of 'em start banging on the counters getting a beat +together. Gathering around Jimmy and Clio. And Clio goes +first, battling Jimmy. + +Freestyling about-- + +1. Jimmy being a bellman. + +2. Always late. + +3. And white. + +She's pretty good. Finishes. Now it’s Jinny's turn. + +Alex watching. He looks at her. + +Opens his mouth to spit and he goes off, freestyling like +mad. + +He's fast and clear. + 72. + + + Words flowing, focused, kicking Clio’s ass. + + Showing off in front of Alex. + + He finishes. The kitchen goes crazy. He looks over to Alex. + + And she's hot. In love. + + By now, more waiters & waitresses are hanging around + getting into it, clapping, dancing. Someone turns up the + boom box, more music. Can anyone say "Hot Lunch" - shit, + we're sampling "FAME." + + A teenage PUERTO-RICAN DISHWASHER jumps in to battle Jimmy. + Everybody clapping and moving, whooping and hollering. + + Music everywhere. + + Jimmy battles the dishwasher. + + Back & forth. + + The rhymes flow. + + It's all good. + + +50 50. 50 + + Jimmy & Alex leave the kitchen. She's exhilarated. + + He's wolfing down his hamburger. + + ALEX + That was,-- Ya know, that was + amazing - + + Jimmy smiles as they head down the hall, a bounce in his + step. + + ALEX + You're definitely gonna make it. + Not like all those losers back + there. + + JIMMY + They're not really losers, yo - + + ALEX + They're not recording with Prince - + + JIMMY + 73. + + + (between bites) + I should probably get back to work + an' shit - + + ALEX + No I think me & you should-- + +Alex sees the older woman we saw training her the other +day, the tea director, her boss, heading their way. + + ALEX + Shit. There's my boss, I'm late - + C'mon - + +She grabs Jimmy's free hand, turns around and takes off +running in the opposite direction-- + +Running together, Jimmy still with a mouthful of hamburger, +running down the hall. + +They turn down another hallway, hauling ass and see-- + +Mr. Springer getting off an elevator. + +They screech to a stop. + +Searching for an escape route, nowhere left to run. + +Or hide. Caught between two authority figures. + +Mr. Springer sees them, waves and heads in their direction. + +Alex checks around for her boss. Jimmy stuck with a +mouthful of food. Chews hard, fast to swallow. + +Mr. Springer getting closer. + +Jimmy doesn't knew what to do with the hamburger in his +hand. + +Puts it behind his back. + +Mr. Springer walks up. And Jinny stuffs the sandwich into +his back pocket. + + MR. SPRINGER + Mr. Smith, Miss Latoumo - + + ALEX + Hey, Mr. Springer - + +Jimmy smiles, swallowing the last of his food. + 74. + + + MR, SPRINGER + (to Jimmy) + I just wanted to say, Mr. Smith, + you’ve been doing a much better job + - + + JIMMY + - thanks. So how 'bout those extra + shifts? + + Alex catches a glimpse of her boss turning the corner. + + ALEX + (so innocent) + Excuse me, Mr. Springer - But I + gotta go change for work. I don't + ya know wanna be late - + + MR. SPRINGER + And where are you going, Mr. Smith? + + JIMMY + I'm running an errand for a guest, + sir. + + MR. SPRINGER + (looks at both of them) + Okay. Well, get to work - + + They walk slowly away from Mr. Springer, Jimmy keeping his + hands behind his ass covering the hamburger in his pocket. + + They round the next corner, then take off running again-- + + Down the hall. Take a turn. + + Up to another bank or elevators. + + They jump into an open elevator, just as the doors close. + + +51 51. 51 + + In the elevator, Jimmy & Alex catching their breath. + + It's empty. + + They look at each other and start laughing. + + Their eyes meet. + + Still out of breath. + 75. + + + JIMMY + (crooked smile) + - what do you think we should do + now? + + ALRX + What do you think we should do? + + He leans in closer. Both of them having a hard time + catching their breath. Excited, turned on. + + JIMMY + You know - + + ALEX + - yeah. Yeah. Yeah, yeah I think + you should fuck me. + + He slides his hands down her pants. She moans. + + They kiss, still out of breath, pulling at each other's + clothes-- + + +52 52. 52 + + Jimmy, opening the door to room 722. He pulls her inside + and they fall in on and all over each other. Breathing + heavy. + + He pushes her up against the door. Pulls up her shirt. + + Her face hot and red. + + ALEX + (whispering) + I want it all! + + JIMMY + - yeah. + + ALEX + Everything. + + She pulls down her pants. No underwear. + + ALEX + (slowly) + I wantchya to do everything to me + Jimmy. Take me everywhere. Promise. + + She kisses him. + 76. + + + ALEX + Fucking promise me, Jimmy. + + She moans. + + And he fucks her, hanging against the door in rhythm with + their breathing and moaning. + + JIMMY + How does this feel, do you like it? + + Fucking her harder. + + ALEX + Yes yes yes. + + +53 53. 53 + + Sitting down, against the door. Both sweaty, hot & wet. + + Disheveled. Happy. Alter sex. He looks at her. + + Beat. + + JIMMY + (stands up, pulling up + his pants) + - I gotta get back to work, yo. + + ALEX + Uh-uh, Rabbit. + + JIMMY + Why? Wasn't that good for you? + + ALEX + Yeah. But - + + JIMMY + (sits back down) + - oh this is the part where I'm + supposed to like open up an' share + same shit with you - right? + + ALEX + (smiles) + Yeah. + + JIMMY + But I don’t want to - + 77. + + + ALEX + Like why dontchya wanna battle on + Stage again? Wink says the last + time you tried you-- + + JIMMY + (snaps) + Fuck. I don't want people talkin' + shit about me no care - what's so + fuckin' hard to understand about + that? You ever been booed before, + have a whole crowd label you? + + ALEX + No - + + JIMMY + Well it sucks. And I got enough to + worry about - if I'm ever gonna + really do anything, ya know - I'ma— + (beat) + I'm just tired a - ahh - I - + + Before Jimmy can finish, he hears someone talking at the + door. Good ears. He motions to Alex to be quiet. + + It's Mr. Kosko. + + They look at each other. Shit. + + Grab their clothes, hop into the closet fast. + + +54 54. 54 + + Inside the closet, trying to stay quiet. Darkness. + + They hear Mr. Kosko come into the room, arguing on the + phone. + + Upset. + + JIMMY + (mouths to Alex) + Oh fuck - fuck. + + Alex’s eyes go wide. A naughty smile. + + They can still hear Mr. Kosko babbling away on the phone. + + And Alex leans over and quietly goes down on Jimmy. + + CLOSE ON JIMMY, biting onto his bottom lip. + 78. + + + Having to stay quiet. + + It's so fucking good. + + Alex's head bobbing in and out of frame. + + Up & down. + + +55 55. 55 + + After work, late afternoon. Jimmy fixing his car in the + hotel parking lot. He can't stop smiling. + + Future, Sol and DJ Iz hanging out. + + Sol's sitting on the hood of his mother’s car in the middle + of telling a story-- + + SOL + - you won't believe what happened + ta me this mornin', yo. + + JIMMY + Bitch, it ain’t gonna beat what + happened to me - + + SOL + Yo lemme finish, dawg. So I was up + 6:30 in the mornin' with my mom's + car an’ nuthin’ to do, so I decide + to do laundry. + + DJ IZ + What? + + SOL + (ignores him) + 79. + + + - An’ there was this girl in the + laundromat, an' she wasn't that + good lookin' - not ugly - just not + good lookin’, ya know what I mean? + So we get to talking an' we hit it + off. I’m talkin' all this shit an’ + she’s givin' it right back to me, + ya know we're really gettin1 into + it. An1 then she says a good man + like me must have a good woman + somewhere, an' I tell her the + truth, I tell her that me an’ my + woman just broke up - an' she asks + why, an' I say that she did me + wrong ya know. An' she says she + know women like that. But that’s + not her, that‘s not how she treats + her man. An’ then she says she's + lookin’ for a good man. + +Sol jumps off the hood of the car, and starts talking to it +like it was the woman in the laundromat. + + SOL + (all cool an' shit) + - So I say, “What would you do with + a good man?" An' she tells me, I + mean she tells me exactly what she + would do with a good man. And I + mean it includes muthafuckin' + everything - everything, man - anal + sex, everything. + (moves his hips back & + forth, humping the car) + So man, I know this's the girl for + me, yo. 6:30 in the mornin' at the + laundromat an' I'm talkin' about + fuckin' this girl in the ass - + shit, she wasn't that good lookin' + man, but she wasn't ugly either- + Know what I mean, Future? Maybe me + & you can both do 'er - + + FUTURE + C'mon, Mista - I'm tryin’ to flip + the script with that shit. You know + that - + + DJ IZ + (to Sol) + So what happened? + + SOL + 80. + + + (stops humping the car) + - I got 'er number an' finished my + laundry. + + JIMMY + (laughs) + That's it? C'mon, Guess who I + fucked at work this afternoon? + + SOL + Chedder Bob? + + Beat. + + JIMMY + Alex. + + FUTURE + Get the fuck outta here - + + SOL + She's so fucking het, dawg. We + should share her - + + JIMMY + (shakes his head no) + She's on me, yo. We fucked this + afternoon in this dude’s room. An' + then he came back. An' we hid in + the closet, an' get this - She + sucked my dick until he left. + Serious. I'm in love - + + The guys all gather around, whooping and hollering high- + fiving Jinny. He’s the man. + + DJ IZ + Shit. When ya gonna see 'er again? + + JIMMY + - I think she's goin' to Wink's + show tonight. Hopefully I'll see + 'er after that. + + +56 56. 56 + + The sun goes down. Jimmy parks the newly-fixed Lincoln in + front of the drab double-wide mobile home. Slips on his + headphones. Getting lost in his own world. + + +57 57 57 + 81. + + + Jimmy hurries into the trailer, tuning out. Walks past the + kitchen. Sees Alex and Wink hanging out drinking cheap + champagne with Stephanie. + + What? + + Jimmy pulls off his headphones. Horrified. + + STEPHANIE + - Hey, Rabbit - C'mon in we're + havin' a party! Greg’s settlement + check's comin' in tomorra! Our + luck's changin' - + (pours Wink more cheap + champagne; flirting) + Dontchya love the car I gave Rabbit + for his birthday, Wink? I love + being generous - + + She grabs Wink's hand. He smiles at her. + + ALEX + (to Stephanie) + You call him Rabbit too? + + STEPHANIE + (hisses) + - I gave 'im that nickname. When he + was little he had these buck teeth + and big ears and he was so cute, + wike a wittle wabbit - + (to Jimmy) + Right, baby? + + Jimmy turns red, turns back around. And leaves. + + +59 58. 59 + + Jimmy, walking away from the trailer. Fast. It's almost + dark. Walking through the trailer park. + + Getting the fuck outta there. + + Out toward the field. + + Wink runs out after him. Catches up to him at the chain + link fence. + + WINK + Yo where ya goin’, B - What's the + matter? + 82. + + + JIMMY + (grabs Wink & throws him + up against the fence) + - I thought I fucking told you not + to tell nobody I was living here! + + WINK + You got nothin1 to be embarrassed + about, B. And I didn't think ya’d + mind if it was Al - + +Jimmy pushes Wink harder up against the fence. + + WINK + - Shit, yo. We were goin’ to my + show an' she said we hadda come get + you. What was I supposed to do? + +Jimmy's so fucking angry it looks like he's gonna cry. + + WINK + C'mon, Bunny. Chill out. Al really + likes you, man - Really, I’m + helpin' 'er find a photographer for + her book that's all - + +A long beat. + + WINK + - Did Chedder Bob really shoot at + those guys yesterday? + + JIMMY + Fuckit. + +Jimmy lets him go and turns around, heading back to the +trailer. Wink follows after him. + + WINK + - I got some good news, yo. Spoke + to Lee Darucher today. We can get + into Paisley Park on Monday if you + can get your shit together in time + - + +Jimmy stops. + + JIMMY + This Monday? + + WINK + (smiles) + Yeah, dawg - you got four days. + 83. + + +Jimmy softens. Thinks. + + JIMMY + Yeah - yeah, I can do that - + +Jimmy sees Alex heading their way. + +Too late to run. Alex walks up. Looks to Wink. + +Then Jimmy. + +Beat. + + ALEX + Everything okay? + +Jimmy can’t look at her. Caught in a lie. So embarrassed. + + JIMMY + (looks down) + Yeah. + + ALEX + (uncomfortable) + Do you hafta stay home tonight? + + JIMMY + (still staring at the + ground; dying) + - Yeah I should work on some songs + for my demo an' shit. Wink jus' + told me we‘re goin' to Paisley Park + on Monday, so - + + ALEX + Okay. + + JIMMY + (finally looks up at her) + Yeah. + +Okay. It’s awkward. + +Beat. + + WINK + (to Jimmy) + Yo B - don't forget, tomorrow night + we’re all goin’ down to 96.3, + right? + + JIMMY + Yeah okay - + 84. + + + The three of them stand there for a moment. + + Beat. + + +59 59. 59 + + CLOSE ON A PENCIL, scratching on a wall. Words. Flying fast + & furious. Rhymes pouring out about all the shit Jimmy + sees. + + Jimmy and Lily are hanging out in her little girl room. + + Stuffed animals. She's drawing. He's a giant. Both in their + own worlds. He shakes his right fist back & forth, in + rhythm. And quickly scribbles some more shit on the wall + above her bed, puking out his feelings. + + CLOSE ON JIMMY'S FACE, closing his eyes. We hear the song + he’s working on. Opens his eyes... + + The trailer park is ANIMATED. Back to the Adventures of + Super Jimmy by R. Crumb. He flies out the window, rapping + the song, flying up over dirty Detroit, heading for the + Shelter, the place where he cartoon kills. Storms into the + club, sees WINK sitting with ALEX. And somebody else... + It's animated PRINCE! + + LEADAZ OF THA FREE WORLD are playing on stage. PAPA DOC, LC + LYCKETY-SPLYT, R and the other two guys. When they see + SuperJimmy enter they make a run for it! SuperJimmy chases + after them-- + + Running through the club, Lyckety-Splyt grabs Alex hostage. + Papa Doc pulls out an animated gun and holds it to her + head. Wink covers. SuperJimmy stops. He’s still rapping the + song. It's a standoff. + + SuperJimmy makes eye contact with Prince. They exchange + smiles. And Prince starts singing along with him. A super + duet. + + Tha Free World can’t help themselves. The song’s too good. + Getting into the beat. Bouncing. Papa Doc lovers the gun-- + + And Super Jimmy rushes then. Beating them all to the + ground. Prince jumps in and helps out. + + They beat the shit out of tha Free World. Blood everywhere. + + And SuperJimmy grabs Alex, rescuing her. Taking her away. + + They fly out the door and into the dark alley- + 85. + + + She can’t keep her hands off of him, kissing him. + + Pulling at his costume. + + He pulls off her shirt and yanks down her animated jeans + and starts fucking her up against the wall, super fast and + super hard-- + + Suddenly we hear someone shout out-- + + GREG (VO) + You are such a fucking LOSER! + + +60 60. 60 + + CLOSE ON JIMMY, startled awake. BACK TO REALITY (film). The + next day. He's under a blanket, on the ratty couch. Greg + and Stephanie are in the middle of a fight-- + + GREG + - Just like Rabbit was in high + school, Jesus, the both of ya are, + ya know - fucked - + + Jimmy sits up. + + JIMMY + Yo did you just call me a loser? + + Greg laughs yeah, limps up to Jimmy showing him the + eviction papers. + + GREG + Didjya know your mom’s gettin' + evicted? + + Stephanie fellows after him, holding Lily in her arms. + + JIMMY + (grabs the papers from + Greg) + That's none a your fucking + business, Greg - + + STEPHANIE + Stay outta this, Rabbit - + (puts Lily down; to Greg) + Don't worry, baby - I'm gonna take + care a it - it's gonna be okay - + Okay? + + She goes to hug him. He shoves her away. Hard. + 86. + + + GREG + - You're so fucking stupid + sometimes! + + JIMMY + (jumps off the couch) + Keep your fucking hands off my mom, + asshole! + +Jimmy jacks Greg up against the wall-- + +Greg shoves him away. + + GREG + Get off me - + +Stephanie pulls Jimmy away from Greg. + + STEPHANIE + Rabbit! Stop it! + +Beat. Jimmy looks at his mom. He wants to kill Greg. + + JIMMY + (to Stephanie) + How can you let him do that to you? + + STEPHANIE + (pleading with Jimmy) + Don't do this. Please - + + GREG + - How the fuck can I go out with + someone who's homeless? + +Lily starts to cry. + + JIMMY + (to Stephanie) + Are you just gonna let 'im talk to + you like that? + + STEPHANIE + Stay out of it, Rabbit - + +She goes to calm Lily down, + + GREG + - With two homeless fucking kids. + + JIMMY + (flips him off) + Fuck you. I'm outta here - + 87. + + +61 61 61 + + Grey skies. Storm clouds overhead. + + Jimmy walks up to Wink’s mother’s house. Still wired. + + Looks inside the big picture window. + + Wink’s passed out on the couch, the TV blaring. + + +62 62. 62 + + Wink and Jimmy descending into the basement. Wink’s still + half asleep. It's dark down there. + + WINK + - It went good last night - that + shit was sold out - but they ain’t + as good as you, Bunny - + + JIMMY + - did Alex like it? + + WINK + Yeah. A lil' bit, ya know - but she + was kinda drunk so. Where the + fuck's everybody else? + + JIMMY + Sol's mom's droppin1 'em all off + an' shit on her way to work - + + Wink turns on the light. The equipment's still all set up. + + WINK + Even Future? + + JIMMY + Yeah. Why? + + The doorbell rings. + + WINK + - ‘Cause I heard he signed you up + to battle this weekend. + + JIMMY + (surprised) + What? + + WINK + 88. + + + He's killin' you, yo. Runnin’ your + life an' shit, B - You don't wanna + he a loser your whole life workin' + at some Little Caesars when you're + like 40, now - Do you? + +Wink runs back up the stairs, leaving Jimmy behind. + +Starts pacing the room... + +Getting more and more agitated. + +He sees the photographs of Wink & Prince on top of DJ Iz's +records. Picks one up. Hears the guys upstairs. + + SOL (OS) + Where's your mom, dawg? + + WINK (OS) + Workin' - + +Wink leads Sol, DJ Iz and Future down the stairs. + +Jimmy stuffs the photograph into his front pocket. + +As soon as he sees Future, Jimmy speaks up. + + JIMMY + (angry) + - yo did you fucking sign me up to + battle down at the Shelter this + weekend? + + FUTURE + What? + + JIMMY + You heard me. Did you sign me up - + +Future walks down to the bottom of the stairs. + +Looks at Jimmy. + +Beat. + + FUTURE + Jimmy, you gotta come down. You + gotta come down. That's the only + way you gon get over the other + night, youknowhatlmsayin'? An' the + winner takes my place as host, yo - + That’s instant respect - + 89. + + +Jimmy picks up one of the records and wings it at Future-- + +He ducks. It misses. + +Jimmy walks up in his face. + + JIMMY + Fuck the other night. I'm fuckin' + tired of you always tellin' me what + to do, always thinkin' you know + what's best for me. Well Fuck You. + I told you not to sign me up - + + FUTURE + You wanna fight me? Is that it? + +Jimmy pushes him. + + JIMMY + Why not? You ain't the future a + shit, bitch. You're just David + fuckin' Porter - + +Future looks at him. + +Turns and walks away. + + FUTURE + Do whatever the fuck ya want, man - + (laughs) + - I don't give a shit about what + you & Prince gonna do. + +Future leaves. + +The guys all just stand there. + +That was heavy. + +Beat. + + SOL + Shit. + + DJ IZ + What are we gonna do now? + + WINK + I wanna go get high - + + JIMMY + (turns away) + 90. + + + - No let's do some fuckin' work. + + Kick into HIGH SPEED, as the guys start making music. We + hear some song play over-- + + +63 63. 63 + + HIGH SPEED. Writing lyrics back & forth fucking around in + the make-shift basement studio bouncing beats and hooks and + shit all off each other bobbing their heads together + getting it right all perfectly choreographed like a dance + or a symphony running faster £ faster until they're all + just a blur of non-stop music. + + Suddenly Wink jumps in the middle of it all. + + Puts up his hands. Stop. Stop. + + STOP-- Jump to REGULAR SPEED. + + The song ends. + + JIMMY + What? + + WINK + Al jus' called from work, yo - She + needs a ride to this photographer I + set 'er up with. + + JIMMY + - Does she want me to pick 'er up? + + WINK + I dunno. + + SOL + Can we come? + + +64 64. 64 + + It's gonna rain soon. Jimmy and Wink sit in the front seat + of the car parked at the hotel. Chedder Bob's ducking + through the rear window, dressed in his bellman's uniform, + rapping for Sol & DJ Iz. He sucks. + + Wink leans over to Jimmy, who's keeping an eye out the + window for Alex. Fidgety. Embarrassed. + + WINK + You comin’ to 96.3? + 91. + + + JIMMY + (distracted) + Yeah - + + WINK + Cool. But the radio DJ was at the + show last night an’ she invited + Papa Doc & Lyckety-Splyt up. So ya + know they might be there. + + JIMMY + (sees Alex leaving the + hotel) + Fuckit then - + + WINK + (defensive) + Yo there was nuthin' I could do + about it, B - + + Before Jimmy can respond Alex walks up to the car, holding + onto a garment bag. All the guys quiet down. + + CHEDDER BOB + - Gotta go, homes. Ya know ya can't + leave old Earl all alone for long. + + Chedder Bob hustles back to the hotel. Wink pops out of the + car, letting Alex into the front seat. Then sits right back + down next to her. + + Jimmy throws him a look. + + It starts to rain. + + +65 65. 65 + + Rain spits. Jimmy, driving next to Alex and Wink. He can't + even look at her. Doesn’t know what to say. Music low. + + Alex lights up a cigarette, excited. Sol and DJ Iz lean in. + + She’s the center of attention-- + + ALEX + - I saw this model on a TV show and + she was sayin' that looks alone + don't mean anything if you don't + have confidence and self-esteem. Ya + know like a confidence in yourself + that you're you and everything. + 92. + + +Jimmy finally looks at her. And Wink smiles. + + WINK + Yeah, Al. And this guy's gonna help + you do that. + + ALEX + (to Wink; excited) + - yeah I just wish I had more time + to ya know,-- I mean if I had known + it was today r wouldn't have gone + out drinkin' last night - + +Wink turns up the stereo, making sure it's on 96.3. + + WINK + Don't worry, yo. I'm sure there’ll + be make-up & hair people there. + This is a professional photo shoot + - + +Sol leans forward, all smooth and shit. + + SOL + So how soon we gonna see this + pictorial in a magazine, Alex? + + DJ IZ + Pictorials are Playboy, yo. In + fashion it's called an editorial, + Sol. + + SOL + Shut up, Iz. Who gives a fuck - + + JIMMY + (yells at Sol; on edge) + It’s just for her book, fool - so + she can get a job- + + SOL + - Damn. That's one book I'd read. + + DJ IZ + No doubt. + +Alex laughs. Jimmy’s still uncomfortable. + + JIMMY + (to Sol £ DJ Iz) + Alex won a modeling contest and + this guy from Elite asked 'er to + come to New York City - + 93. + + + ALEX + It's no big deal - + + SOL + (impressed) + You won a contest? For Elite? I + heard a them. Shit - that's the big + time, yo. Who were the judges? + Anybody famous? + + WINK + (points out the window) + Hey it's right over here, B - + + +66 66. 66 + + Still spitting rain. Downtown Detroit, bleak industrial + buildings. Fog. Lonely & blue. Alex crossing the street to + a run-down warehouse, leaving the guys behind in the car. + + Jimmy jumps out and catches up to her. + + JIMMY + - Is everything okay? + + Alex doesn't stop walking. + + ALEX + With what? + + JIMMY + Us - + + ALEX + (without skipping a beat; + cold) + Yeah. But I really gotta go - + + They walk together. + + JIMMY + You want me to come up - + + ALEX + No that's okay. + + JIMMY + - You sure everything's okay? + + ALEX + 94. + + + I'm justa little hungover from last + night or whatever and ya know I'm + worried that I won't photograph + good. This is really important to + me - Okay? + + Jimmy stops. + + And she just keeps walking up to the building. + + JIMMY + (calls out after her) + Am I gonna see you later? + + ALEX + You goin' to the radio station? + + JIMMY + - No. + + ALEX + (not listening!) + Okay. I'll see ya later then - + maybe we can talk about goin' to + see Prince next week. + + He stands there, watching her go. And we hear a some kinda + remake of THE WHO's "Love Reign O'er Me." + + +67 67. 67 + + The sun dies in the sky. Jimmy standing in the drizzle, out + in the fog covered field next to the trailer park. + + Headphones on. White out. You can’t see any trash. + + It's almost beautiful. Otherworldly. And SILENT. + + All we hear is "Love Reign O'er Me’ in Jimmy's head. + + Jimmy closes his eyes and screams. + + But we don't hear it, only the song. + + He screams loud and long. + + Screams his fucking heart out. + + He opens his eyes and sees a giant shape emerge from the + fog... + 95. + + + It's a HORSE. + + A big brown horse. + + Jimmy can't believe it's real. + + The horse looks at him, and then begins to graze in the + field. + + Another horse appears from the fog. + + And then another. + + And another. One of them has a blue blanket on, "DETROIT + MOUNTED POLICE." + + Jimmy stands there. With the horses, snorting and pulling + up dead grass in the fog. + + Jimmy takes off his headphones, SOUND comes rushing in. + + The song fades away. He hears police sirens off in the + distance. Jimmy walks up to the big brown horse. It looks + back up at him. + + Jimmy's now face to face with the horse. The horse goes + back to grazing. Jimmy rubs its head. The police sirens + getting closer. Darkness closing in. + + Jimmy just keeps patting the horse's head. + + The song's playing. + + The sirens wailing. + + +68 68. 68 + + Later. Still wet and foggy. Jimmy walks up the trailer. + + Sees his mom passed out on the front steps. + + He steps. The song ends. + + He looks at her for a moment. + + Then puts an arm under her, struggles to help her up to her + feet. You can tell he's done this before. + + STEPHANIE + (coming to; mumbles) + Greg left me - + 96. + + + JIMMY + what? + + Jimmy drags his mom inside. + + STEPHANIE + We're gonna go to bingo but, he + came over and said now that he had + money he, that he couldn’t be with + someone like me - + + +69 69. 69 + + Jimmy, putting Stephanie down in her unmade bed. Goes to + take off her wet shoes. + + She gets back up. + + STEPHANIE + - I gotta go to bingo it's Friday + night. Maybe he'll be there - + + JIMMY + You ain't goin' nowhere, Mom - + (gently pushes her back + down) + And you're better off without 'im. + + STEPHANIE + (snaps) + Yeah ya know Rabbit it’s your fault + he left me - + + Stephanie stumbles out of bed. + + STEPHANIE + You ruined it, you fuckeditallup - + that's why Greg really left, it's + 'cause a you, an' now what? Who's + gonna want me? Where we gonna live? + we got not money. What about + Prince? + + JIMMY + What? + + STEPHANIE + You an' Prince. We can be rich - + + JIMMY + (shakes his head; + disgusted) + 97. + + + why does everybody keep bringin' up + Prince all the fuckin' time - ya + know? + (beat) + - shit. Fuck him and fuck Greg too. + + STEPHANIE + No no no. I don't have anybody now, + James. Why did ya do this to me? + Why? + (pushes Jimmy out) + Just get the fuck out! + + JIMMY + It's pouring rain - + + STEPHANIE + (screaming; pushing) + I DON'T CARE I WANT YOU OUT OF MY + FUCKING HOUSE GET OUT GET OUT GET + OUT GET OUT GET OUT GET OUT OF MY + FUCKING HOUSE! + + She keeps pushing Jimmy out the door. + + +70 70. 70 + + Night. Jimmy, driving in the rain. A downpour. + + He turns on 96.3. They're playing Wink's song... + + And it's terrible. Bad rhymes. Weak voice. + + Jimmy stares at the radio. + + He shakes his head. + + Can't help but laugh to himself. Future was right. + + Jimmy shuts off the radio. + + Suddenly the car goes black. Cuts off. + + The lights. The steering wheel. The brakes. It's dead. + + Again. + + The Lincoln silently coasts to the side of the road. + + Stops. + 98. + + + And Jinny just sits there, in the dark. + + JIMMY + Fuck - + + +71 71. 71 + + Jimmy, walking down the dark side of the road. Pouring + rain. Empty neighborhood. Pouring rain. + + He walks up to Wink's mother's house. Soaking wet. Pears + voices. Pouring rain. Takes a quick look in the window + before he heads inside. + + Sees Wink on top of some naked girl. + + Jimmy takes a closer look. Pouring rain wherever he goes. + + The naked girl rolls on top of Wink. + + It's Alex. + + The girl is Alex. + + Alex. + + SPLIT SCREEN: + + CUT SPLIT SCREEN: + + CUT SPLIT SCREEN: + + END SPLIT SCREEN: + + JIMMY + (staring into the sun; + drowning) + + +72 72. 72 + + Jimmy, busting into Wink'k mother’s house. Enraged. + Surprising Wink & Alex on the couch-- + + She screams covering herself up. + + Wink pulls up his pants, gets tangled up with Alex. + + WINK + Yo, B - I can-- + 99. + + + Jimmy grabs Wink up off the couch, and slams him onto the + ground. Starts hitting him. All that rage. + + It isn't a fight. It's a beating. + + Alex stands on the couch, freaking out. + + ALEX + Leave him alone - STOP IT! + + Jimmy pounding Wink. Over. And over. And over again. + + It's loud. Wild. And out of control. + + Blood splatters on Jimmy's shirt. + + Alex jumps off the couch, screaming, crying. + + Tries pulling Jimmy off of Wink-- + + ALEX + LEAVE HIM ALONE! Just fuckin' get + out! Get out! GET OUT! + + Jimmy gets up, out of breath. Worked up. Looks at her. + + Beat. Beat. + + Beat. + + Is he gonna fucking hit her? + + We hear CONTROL MACHETE bang out ”Si Senior.” + + And Jimmy takes off. Running away. + + +73 73. 73 + + Jimmy running down the dead streets of Wink's mother's + neighborhood in the cold rain. We still hear the song + pumping -- + + JUMP CUT: + + Jimmy running, crores the street. Almost gets hits by a + car, slamming on its brakes. Jimmy just keeps running-- + + JUMP CUT: + + Running through another shitty neighborhood-- + 100. + + + JUMP CUT: + + 92- + +Jimmy runs up to a plain old house on a street called +Novaro. Falling apart porch. Lights on inside. The song +blasting on the soundtrack. Jinny knocks on the door, +screams. Out of breath. + + JIMMY + Janeane - fuckin’ Janeane let me in + - I’M FUCKING SORRY - LET ME IN, + PLEASE LET ME IN - + +He knocks again. + +Janeane cracks open the door. + + JANEANE + - What are you doing here, Rabbit? + +Beat. + +Beat. + + JIMMY + (catching his breath) + I dunno. I was runnin' and, and + this is just where I ended up - and + I'm sorry, Janeane - + (beat) + You were right and, I'm really + sorry. + +She looks at him for a moment - + +And shuts the door in his face. + +Jimmy just stands there. + +He puts his hands in his pockets. Cold. And wet. Feels +something in one of them... + +Pulls out the photograph of Wink & Prince. + +And rips it up into little pieces. + +Throwing it in the air. + +Jimmy sits down on the porch steps. Out of the rain. + +Exhausted. + 101. + + + The song finishes. + + +74 74. 74 + + Later. Jimmy still sitting on the porch. Shivering, And + cold. The rain's letting up. The white van pulls over in + front of the house. Dented side. Stereo booming, bass + thumping. Bright lights shine in Jimmy's face. + + Jimmy just sits there. + + Papa Doc, LC Lyckety-Splyt and the rest of tha Free World + jump out of the van. They all walk up toward the porch. + + Papa Doc leading the way, his hat pulled down over his + eyes. + + PAPA DOC + Yo wassup, man. You ready to go + down? + + Jimmy gets up. Sees Alex and Wink get out of the van. + + Wink's a mess. Broken nose. All bloody and shit. + + Jimmy takes a few steps toward Papa Doc. + + JIMMY + (never taking his eyes + off Alex) + What? + + Papa and the rest of tha Free World surround Jimmy. Wink + makes his way over, blood all over his shirt. + + Alex stays near the van. + + PAPA DOC + You heard me. You ready to go? + + Before Jimmy can respond, E, the white guy, hits Jimmy in + the back of the head. + + Jimmy falls onto his knees. + + LC LYCKETY-SPLYT + C’mon, Rabbit, get back up - Get + up, bitch - + + Jimmy gets up, turns around and smashes E. + 102. + + + Then takes a swing at Lyckety-Splyt-- + + Papa Doc kicks Jimmy in the balls. + + Jimmy falls onto his knees again. Papa hits him in the + face. + + PAPA DOC + You like talkin’ shit? Huh? You + fuckin' faggot! You like it? + + Jimmy falls to the ground. And then they're on him like + animals. Wink too. All six of 'em. Kicking him. Yelling at + him. + + LC LYCKETY-SPLYT + Fuck you muthafucka! + + PAPA DOC + Yeah, faggot - + + Jimmy tries to get back up. + + Alex just stands there watching. Silent. + + WINK + (holding his nose; + kicking Jinny in the + ribs}) + You're gonna fuck with Wink, huh? + You don't know who you're fucking + with! You fucking loser - + + The light inside the house goes off. It's now almost pitch + black. The front lawn lit up only by the van's highbeams. + + Jinny tries to get up again. Drops. Falling. + + Giving up. The ground. + + Going down. + + Letting go. + + Falling, falling. + + CUT TO: + + +75 75. 75 + + The sun rises. The rain's stopped. + 103. + + + It's a new day. The next morning. Light. + + Jimmy limps up to the trailer park. His eye black. + + His body beat. + + Instead of running past the entrance like he always does, + Jimmy just walks right in through the front gate. + + At the busy intersection. + + For the whole fucking world to see. + + +76 76. 76 + + Jimmy limps into the trailer. He looks like shit. Bloody + shirt. Hurt ribs. Face a mess. Stephanie is in the kitchen, + pouring milk for Lily's cereal. + + They both look up at him. Horrified. + + And run to him. + + STEPHANIE + Ohmygod - + + LILY + Jimmy! + + Lily grabs him around the waist. Stephanie hugs him, + smothering him. + + JIMMY + (winces in pain) + - Easy, easy, I'm okay. I’m a'ight. + I gust came by to pick up my stuff + an1 shit like you wanted - + + STEPHANIE + Ohmygod - What happened to you? + + JIMMY + I fell - + + STEPHANIE + What happened? + + JIMMY + (stronger) + I fell. + 104. + + +Stephanie looks at him. He fell, + + STEPHANIE + Okay. Okay. Siddown. I'll make ya + some breakfast - + + JIMMY + What? + + STEPHANIE + I'm makin' breakfast - + +Jimmy goes to the sink to wash up, clean off the blood. + +Lily doesn't leave his side. + + JIMMY + (to Stephanie) + What’s gotten into you? I thought + you wanted me out. + + STEPHANIE + - Do you want some goddamn cereal + or not? + +She holds up the milk. + + JIMMY + Why the fuck're you in such a good + mood? + + STEPHANIE + I went to bingo last night - + + JIMMY + Shit + + STEPHANIE + And I won. $3200! + + JIMMY + You're fucking kiddin1 me - + + STEPHANIE + (tries not to smile; + can't help it) + Nope. We’re good - + +No eviction. + +Jinny looks at her. + 105. + + + And busts out laughing. + + Laughing. Laughing so hard he’s almost crying. + + +77 77. 77 + + Later. Jimmy, making his way through a crowded bus. + + There’s one empty seat between two older black women. + + Jinny sits down between them. + + He just sits there looking off, stuck between the two + women. + + We’re sampling the "5:15" scene from "QUADROPHENIA." + Jimmy’s weary. And in pain. Riding the bus. + + No fantasy. No music. No love. + + Just reality. + + Sitting on the bus. + + Looking straight ahead. + + +78 78. 78 + + The hotel's basement locker room. Jimmy taking off his + shirt, getting ready for work. Purple black & blue covering + his body. Bruised ribs. Chedder Bob’s standing next to him, + changing out of his uniform. Done for the day. + + CHEDDER BOB + (staring at Jimmy's + bruises) + - Ya know that fuckin' bitch didn’t + show up for work. Rabbit. I bet + she’s gonna get fuckin' fired. + + Jimmy doesn't respond. + + CHEDDER BOB + And didya hear old Earl strangled + some guest yesterday? + + JIMMY + What + + CHEDDER BOB + 106. + + + He tried to kill some dude who kept + snappin' his fingers at 'im - + +Chedder Bob tries to get a closer look at Jimmy's ribs. + + JIMMY + (pushes him away) + Fuck off, Chedder Bob - + + CHEDDER BOB + C'mon, homes - MC Bob. + (points to Jimmy’s black + eye, bruised body) + And that's some fucked up shit + right there, Rabbit. You shoulda + just come by my house. I'da grabbed + my gun and - + (mimes shooting off a gun + in each hand) + Bam! Bam! Bam! Shoot that Alex + bitch right in the fuckin' stomach, + yo - Just like tha Free World got + it. + +Jimmy ignores him, starts putting on his uniform. + + CHEDDER BOB + - Ya know there's a battle tonight. + Rabbit. A big one. + + JIMMY + Yeah. + + CHEDDER BOB + I also heard you got into a fight + with Future. + + JIMMY + Yeah. + +He finishes getting dressed. + + CHEDDER BOB + You gonna go down there anyway or + whatever? + +Jimmy glances at himself in the locker room mirror. + +Sees his black eye. + + JIMMY + - Yeah. + 107. + + + (looks back at Chedder + Bob) + What the fuck. + + +79 79. 79 + + CLOSE ON JIMMY THE BEULMAN, working the front with Paul. He + looks over to the tea girls serving. Alex isn't there. + Classical music plays in the background. Alex isn't there. + + Fuckit. Jimmy turns back and opens the door for some + guests, forcing a smile. Welcoming them to the hotel. + + Mr. Springer walks up. + + MR. SPRINGER + - Can I talk to you, Mr. Smith? + + +80 80. 80 + + Mr. Springer's cramped basement office. Jimmy winces when + he sits down. + + MR. SPRINGER + Is everything okay, Mr. Smith? + + JIMMY + Yeah. I just fell down some stairs + an' shit - + + Mr. Springer stares at him. + + Seat. + + MR. SPRINGER + Well, you've been on time all week. + + JIMMY + - Yeah? + (laughs) + What can I tell ya, it‘s been one + helluva long week, Mr. Springer - + + MR. SPRINGER + (smiles) + I don't know if you heard but, + there was a, an incident with Earl + - + + JIMMY + 108. + + + Yeah. Did he really try an' kill + somebody for snapping their fingers + at 'im? + + Beat. + + MR. SPRINGER + - do you really wanna be doing this + for the rest of your life, Mr. + Smith? + + JIMMY + Not really. But I need the money - + + MR. SPRINGER + Okay then. You can have Earl's + shifts. You've earned it - + + Jimmy nods his head yes. Hides a smile. + + MR. SPRINGER + Good. I need you to work tonight. + + JIMMY + Tonight? + + The phone rings. We hear CURTIS MAYFIELD & LAURYN HILL sing + "Here But I’m Gone" on the soundtrack. + + MR. SPRINGER + Do you want the extra shifts or + not, Mr. Smith? + + +81 81. 81 + + Later. Jimmy's leaving a room on the 7th floor with the + luggage cart, stuffing some money into his pocket. The + guest closes the door behind him. We still hear Curtis & + Lauryn. + + Jimmy walks down the hall... + + Passes by room 722. + + The room he fucked Alex in. + + The door's open. + + Jimmy stops. Takes a peek inside. + + The maid is cleaning the bathroom, just out of sight. + 109. + + + The closet doors are all open. + + Empty. + + +82 82. 82 + + CLOSE ON jimmy, riding the elevator. + + Going down. The song plays on. + + +83 83. 83 + + Jimmy walks outside of the hotel. Out into the cold night. + + Paul’s leaning against the wall waiting for a ride, + checking up & down the street, smoking a cigarette. The + song ends. + + JIMMY + - Big plans tonight? + + PAUL + Just goin' fencing with some + friends. But they're late - Why're + you still here? + + JIMMY + I'm pickin' up Earl’s shift - + + PAUL + (laughs) + Crazy what happened, huh? + + Paul snaps his fingers, Jimmy laughs, stands there for a + moment. You can see their breath white in the cold. + + Paul offers him a drag off his cigarette. + + Jimmy takes it. Smokes. + + JIMMY + - Yo Paul - You ever get tired of + takin’ shit from everybody, people + always tryin1 to label you? + + Hands the cigarette back to Paul. + + PAUL + Nah. I don't give a shit what + anybody says. + 110. + + + (beat) + Except for Chedder Bob. That guy + drives me nuts - + + JIMMY + (laughs) + Yeah. Me too - + + Beat. + + PAUL + - Were you in a fight or something? + + JIMMY + Yeah. These six fucking guys jumped + me. Kicked my ass, whatever. + + PAUL + That's fucked. You gonna get 'em + back? + + JIMMY + Shit yeah. But they down at the + Shelter tonight and I wanna battle + 'em first, ya know - rip those + motherfuckers from head to toe - + + Paul finishes his cigarette. Flicks it away, + + PAUL + Hey if ya want, I'll cover for ya. + + JIMMY + Really? + + PAUL + Yeah, Lucky for you, my friends are + late, so - + + Beat. + + JIMMY + (looks at Paul; smiles) + - Thanks, man. Just for a couple + hours, yo - I'll come right back. + + +84 84. 84 + + Jimmy hustles down the street to the Shelter. Back in his + own clothes. Out of breath. In pain. There's a mob scene + out front waiting to get in. Twice the size of the last + crowd. + 111. + + +He passes by Sol, DJ Iz and Chedder Bob, who's drinking +from a brown paper bag. + + CHEDDER BOB + (sees him; calls out) + Yo Rabbit - wait up! + +Jimmy doesn't stop. Keeps on moving, heading down the dark +alley next to the club. + +The other guys follow after him. + + SOL + Damn, B - We gon fuck up Wink or + what? I heard he's sayin' you blew + up 'cause they didn't want you down + at Paisley Park - + + DJ IZ + (to Sol) + - but all our shit’s still at + Wink's house, yo. If we had our own + studio we wouldn't need Prince and- + - + + SOL + Just shutthefuckup, Iz. + + CHEDDER BOB + Don't worry. Rabbit - I got your + back, I know the real reason you + blew up, right? + + JIMMY + (snaps) + - I don't wanna hear any more a + that shit! + + SOL + Yo what's the matter, Rabbit? + +They're at the back door. Jimmy stops. Looks at his +friends. + + JIMMY + - Can't I ever get any fuckin' + privacy? + + SOL + Yeah. Cool - + + CHEDDER BOB + Yeah. Can I come? + 112. + + + JIMMY + (looks at Chedder Bob for + a moment; smiles) + - sure, "MC" Bob. + + +85 85. 85 + + Jimmy, sitting backstage on a cheap folding-chair dissin' + Chedder Bob. Practicing his freestyle. Making fun of him. + People coming & going all around them in the small + backstage area. + + Jimmy's flowing, Chedder Bob just sits there drinking, + taking it- Loving it. Seeing how Jimmy rhymes. + + He takes a break. + + CHEDDER BOB + (drunk) + - Ya know I love you, Rabbit. + + JIMMY + Yo, stop. I don't wanna hear that. + + CHEDDER BOB + Hey whaddaya want for your + birthday? + + Papa Doc, LC Lyckety-Splyt, E and the other two guys from + tha Free World walk backstage. They stop when they see + Jimmy and Chedder Bob. + + Chedder Bob jumps to his feet. Jimmy doesn't. + + He just sits there. Cool. + + LC LYCKETY-SPLYT + Looky who it is - You really goo + try an' battle us, black eye bitch? + You should be afraid, very afraid - + + Jimmy nods his head, smiles a little. Like a guy who knows + something. Doesn't say shit. + + LC LYCKETY-SPLYT + Didn't you already die out there on + stage? + (opens his mouth fc + nothing comes out; + choking) + - Didn't he, E? Looks dead to me. + 113. + + + E + Got a black eye. + + PAPA DOC + Yo, some guys jus' like gettin' + their ass kicked - right, Rabbit? + + JIMMY + (still sitting down) + - Yeah that's why it took six a you + motherfuckers. What kinda pussy + shit is that? + + CHEDDER BOB + Yeah. And how's your car? + + The Future comes backstage. + + Papa Doc just walks away. + + PAPA DOC + (laughing at Jimmy) + We'll see you on stage, faggot - + + The rest of tha Free World follows after him. + + Future looks at Jimmy's face. + + Shakes his head. + + JIMMY + (to Future) + - I gotta get some fuckin' privacy. + + Jimmy and Future hanging in the desolate bathroom. + + Sack where we started. + + +86 86. 86 + + Under the harsh green fluorescent light. + + FUTURE + - You know I didn't! like that + wthafucka Wink from jump, yo. + Fucking backstabber. That Judas'll + get his, youknowhatlmsayin' - + + JIMMY + 114. + + + Yeah. An1 I'm sorry about all that + shit I said before. You know I + didn't mean it - I just,-- ya know + - + + FUTURE + Yeah. I know. I didn’t even trip, + yo. I’m all about forgiveness now. + Let's go fuck ’em up - + + JIMMY + Fuckit. I'm gonna battle ’em first + - + + FUTURE + (smiles) + - We gon flip the script on this + shit for real now, Jimmy - Aren’t + we? + + Jimmy nods his head- He knows what time it is. + + He slips on his headphones, bounces up & down to the music. + + Bouncing. + + Bouncing. + + Bouncing. + + Bouncing. + + Bouncing. + + FUTURE + (Lights a cigarette) + - Yo you got Lyckety-Splyt in the + first round. You okay wit' that? + + Bouncing. + + JIMMY + - I don’t give a fuck who it is. Ya + know? + + +87 87. 87 + + Jimmy walks on stage. Under the toxic glare of the lights. + 115. + + +People crowded along the edges. The DJ spinnin'. The big +scoreboard clocks on the wall set at 60. LC Lyckety-Splyt's +already there, standing next to Future. Shit-eating grin on +his skinny little face. + +We see the crowd from Jimmy's point of view. It's a mob +scene. Rowdy. Overflowing. Electric. People get ready. + +Jinny sees Alex hanging out with Wink (white bandage over +his nose), Papa Doc and the other two Free world black +guys. + +Everybody looking at him. + +Future smiles Jimmy's way and introduces Lyckety-Splyt. + +He's going first. + +The DJ lays down a beat - + +And LC Lyckety-Splyt's all over Jimmy. + +Freestylin' about-- + +1. Jimmy's failure in the last battle. + +2. Jimmy being white. + +3. Jimmy's black eye. + +Jimmy just bobs his head to the beat, looking down, not +reacting to a thing Lyckety-Splyt spits. + +The clocks tick down to 0. The crowd shouts. + +Lyckety-Splyt laughs. + +It's now Jimmy's turn. All the lights are on hint. +Blinding. + +The Future hands him the mic. + +Some people start booing. + +Yell shit at him. + +Booing Jimmy. + +Jimmy bounces, collecting his thoughts, tuning out the +world. + +Not hearing it. This is it. It's just him. + 116. + + + The beat. + + Beat. + + And Jimmy just goes off — + + All the anger pouring out of every muscle in his body. + + Into this moment. Forgetting about his pain. + + Jimmy's spitting fire. + + Right up in Lyckety-Splyt's face. + + Ripping into him. + + Destroying him. + + Cutting him. + + If words could kill. + + He's so good. + + Jimmy finishes. + + Beat. + + And the crowd goes fucking crazy. Much louder than they + were for LC Lyckety-Splyt, Vocal. Approving. Screaming. + + Jimmy won the round! + + The Future laughs. + + And Jinny just walks off stage, passing by the Big Bad Dude + from the beginning of the movie. They pound fists. + + The dude knows who he is now. + + +88 88. 88 + + Jinny makes his way through the noise and the crush, + heading toward the bathroom. He sees Alex still with Wink, + Papa Doc and the other guys. + + Jimmy and Alex make eye contact through all the bodies in + traffic. + + Beat. A moment. + 117. + + + She smiles at him, awkward. And gives him the finger. + + Flirting. + + Jimmy just laughs at her. Puts on his headphones. + + And walks away. + + CLOSE ON JIMMY, walking away. Laughing. + + Never looking back. + + Holding his head up, black eye and all. + + CUT TO: + + +89 89. 89 + + Later. Jimmy, battling E on stage. + + In a zone. Fast. Flowing. + + Clear & strong. + + Touching a higher self. + + Time up. + + The crowd fucking loves it. + + He exchanges pounds with Future, who takes the mic and + hands it to E. + + E's up. + + Starts freestyling-- + + And Jimmy sits down on the stage. + + CLOSE ON JIMMY, just sitting there. Quiet. Looking out at + all the people. Ignoring E's rap. Not hearing it. + + Not listening. Not caring. We stay on Jimmy the whole time. + + E finishes. Scattered applause. Jimmy won again. + + Jimmy gets up, walks off. + + Sol, DJ Iz and Chedder Bob greet him at the edge of the + stage. They all gather around him. + 118. + + + Future runs up. + + FUTURE + - You are a fucking genius, man. + You in the finals, Jim. You an' + Papa Doc. Yessir, it's a fucking + blessing, youhearwhatImsayin'? + + SOL + You're gonna whoop that nigga's ass + - + + DJ IZ + He ain’t got no vocabulary. + + Jimmy nods his head, game face on. + + CHEDDER BOB + (still drunk) + - You worried about what he's gonna + say, Rabbit? + + JIMMY + What? + + CHEDDER BOB + Like about Wink & that Alex bitch + gettin' it on ya know - And ya know + you not goin' to Paisley Park and + them heatin' you up and ya know + givin' you a black eye and shit - + + Beat. Jimmy doesn't respond, + + FUTURE + (pushes Chedder Bob) + Yo - shutthefuckup, fool! + + +90 90. 90 + + The finals. The crowd's in a frenzy. + + Jimmy vs. Papa Doc. + + Both of them on stage. + + Neither one looking at the other. + + The showdown. + + This is it. + 119. + + +Future hypes the championship. + + FUTURE + Give it up y'all - The championship + round, for the right to take my + place as host on all the open mic + battles. That's the sweetest part + about it, youknowhatlmsayin'? + +CLOSE ON JIMMY, head already down. Staring at the floor. + +Lost in his own world. Total concentration on his face. + +He hears Future finish. Jimmy looks back up. + +People scream. Shout. Ready for blood. + +And Future introduces him. + +Jimmy's up first-- + +The DJ lays down the beat... + +And Jimmy pauses. + +He stares at Papa Doc. + +Long, + +And hard. + +Suddenly a smile comes to Jimmy’s face. A shining sun. + +Beat. + +And Jimmy freestyles about himself, from his side-- + +1. About not going to Paisley Park - how it's not real. + +2. About getting his ass kicked - by 6 guys. + +3. About Wink fucking Alex - and how she blew him in a +closet. + +About all the bullshit. + +Making fun of it all. + +Taking away all of Papa Doc’s material. + +And turning it back on himself. + 120. + + + He's a genius. + + Letting everybody know he just doesn’t give a fuck. + + About anything. + + He's found his true voice. + + He kills. Finishes. + + JIMMY + (yells out at the + audience, giving them all + the finger) + Fuck you - You dunno who I am? I + know who I am - + + The crowd goes nuts. Bouncing off the walls. High-fiving + and screaming joy. All horn again. + + Future can't stop laughing. He hands the mic to Papa Doc. + + Papa Doc just stands there. The beat goes on. + + The crowd still wild over Jimmy. + + And Papa Doc just stands there. + + Stares out at the crowd. + + Freezes. + + He's got nothing. + + He knows he‘s already beat. + + It's over. + + +91 91. 91 + + The lights come up. Hight over. Jimmy and his friends walk + through the crowd. They're jumping up fc down all around + him, so excited. Shouting his name out loud, laughing, + barking, "B-RABBIT! B-RABBIT’ B-RABBIT?" + + Everybody else reaching out wanting to congratulate Jimmy, + tell him how good he is, loving him, basking in his glow. + + Jimmy just keeps walking out. Not getting caught up in it + all. + 121. + + +92 92. 92 + + The crowd flowing out of the club. Hanging outside. + + Freezing. Buzzing, Jimmy and his crew make their way + through all the people, + + CHEDDER BOB + Yo where we headed, Rabbit? + + DJ IZ + You on your way, hoy - + + SOL + Gonna get that big deal now fa sho + - + + CHEDDER BOB + Yeah. Fuck Wink. Fuck Prince. Fuck + tha Free World, RU486 IS THE + FUCKING SHIT! + + Jimmy heads off, leaving the crowd and the club behind. + + The guys follow. + + JIMMY + I gotta get back to work, yo - + + SOL + (laughs) + C'man, dawg. I told that girl from + the laundromat who wasn’t that good + lookin' we'd meet up with her later + - I need a second opinion, yo - + + CHEDDER BOB + (excited) + Yeah. We gonna get all the hot + bitches now you won, Rabbit! + + FUTURE + Cool that, cool that. That was some + alien shit ya did back there, man - + youknowhatimsayin' ? + + DJ IZ + No doubt, no doubt, he's the new + host - + + JIMMY + (keeps walking) + Fuckit. + 122. + + + (to Chedder Bob) + MC Bob, you can be the new host. + I’m late for work, yo. I'll see you + guys tomorrow - + +The guys stop. Don’t know what to say. + +Jimmy just keeps walking down the street into the winter +night. + +Beat. + +Future runs after him. Catches up. + + FUTURE + - You okay, Jimmy? + + JIMMY + Yeah - I’m just done wit' all the + bullshit, ya know what I'm sayin'? + + FUTURE + - yeah. I think I do. + +Jimmy and Future walk down the street together: + + JIMMY + - Yo Fuche, you ever seen a horse + before? + + FUTURE + You mean like the four legged kind? + + JIMMY + Yeah - + + FUTURE + Why? + +Beat. + + JIMMY + Fuckit, man - I gotta run. + +Jinny says goodbye to the Future, and takes off running +down the street. On his own. + +Away from his friends. + +Away from the crowd. + +Away from the club. + 123. + + +Running by himself down the dirty streets of Detroit. + +Heading in the opposite direction of everybody else. + +Sweet wind licks his face. Cold breath slips his mouth. + +We hear our closing credit song. + +And the scene beings to ANIMATE. + +But this tine he isn't a superhero flying up in the sky. + +This time he's just plain Jimmy. Running. + +A little smile comes to Jimmy's face. + +He runs, feet solid on the ground. + +Faster. + +Lighter. + +Free. + +He runs, Jimmy runs. + \ No newline at end of file diff --git a/scripts/A Quiet Place.txt b/scripts/A Quiet Place.txt new file mode 100644 index 0000000000000000000000000000000000000000..2590de3054ac6b8ca6efe796c0afa08986fb60f1 --- /dev/null +++ b/scripts/A Quiet Place.txt @@ -0,0 +1,3220 @@ + 1. + + + + FADE IN BLACK: + + We hear, very clearly, the sound of light wind. + + +1 EXT. TOWN - MAIN STREET - LATE AFTERNOON 1 + + We come up on a streetlight. There is no illumination and + no movement. We hold on it for a long moment when suddenly- + - The streetlight bobs and then begins to sway. We slowly + begin to rise up on the streetlight to reveal a small bird + has landed on it. We continue to rise to reveal, behind the + bird. + + Wind blows through the gargantuan evergreens that seem to + engulf the narrow main street of a small town in upstate + New York. Shop windows and cars on either side covered in + dust, the place seems frozen in time. There is no movement. + + In the very middle of the road one can see sand. A bizarre + incongruity, a long pathway about a shovels width runs the + full length of the street with offshoots into open doorways + of some of the shops. + + We hold for a long moment: + + +2 INT. GENERAL STORE - FRONT - LATE AFTERNOON 2 + + Slowly pushing through the doorway of a large general + store, also covered in dust. To the left, a cash register + with small shelves of nearly empty candy boxes below. To + the right, a towering shelf full of bags of potato chips, + nacho chips and pretzels. None are missing. + + +3 INT. GENERAL STORE AISLES - LATE AFTERNOON 3 + + WE MOVE SLOWLY across the floor, down the middle of a + general store. Amid the towering shelves of goods on either + side, one may recognize a barely perceptible pattern of + which shelves are bare and which are not. There is no + movement. No sound. + + Suddenly, TINY FEET JUMP INTO OUR MOVING FRAME! Then, as + fast as they appeared. They’re gone. + + WE NOW MOVE UP the side of the store, looking down one + aisle and the next. As we arrive at the next aisle we catch + a glimpse of A SMALL DARK FIGURE!!! And then it's gone. + 2. + + + WE CONTINUE along the side of the store until we arrive at + the last aisle. At the far end of the store we see a + counter. + + With a window. And shelves. Suddenly A WOMAN APPEARS IN THE + WINDOW! + + WE GO CLOSE ON THE WOMAN as she scans the shelves, slowly + lowering herself to the ground until behind her we see an 8 + year old boy sitting slumped against the wall HE IS + BAREFOOT. + + On closer inspection we see sweat on the boy’s brow, his + skin pale from fever. The woman’s knee touches down on the + ground next to the boy as she sees what she’s been looking + for. She reaches out her hand. + + WE GO CLOSE ON HER HAND as it reaches toward a shell of + orange prescription drug bottles. Her hand suddenly begins + to shift certain bottles ever so slightly AT A BIZARRELY + SLOW PACE, she does not make a sound. As she does this, we + get our first glimpse of names. Names of drugs. Names of + people. + + HER HAND finally arrives at the very back of the shelf as + she gently twists a bottle that reads AMOXICILLIN. + + ON THE MOTHER as she inhales slowly. And then, as if doing + surgery, she slowly closes her hand around the bottle and + GENTLY begins to move it through the shelf toward her. Her + hand, once again moves incredibly slowly, her now wider + closed hand shifts even more bottles as it passes. JUST as + she gets to the end of the shelf a bottle shifts with a + RATTLE of pills. This is the first, deliberate sound we’ve + heard. The mother FREEZES!!!! + + WE RACK FOCUS to the boy on the ground, who now looks up + with panic. The mother’s eyes look all around the room. The + way one does when they are waiting for something, LISTENING + for something. After a long moment, she pulls the bottle in + her hand the final few inches, and off the shelf. + + The mother draws a huge breath of relief. As she stands up, + we reveal, just over the counter TWO EYES LOOKING UP AT + HER!!! + + +4 INT. AISLE - LATE AFTERNOON 4 + + A 10 year old girl stands on her toes, barely able to see + over the wooden counter to her mother. She smiles at her + mother.and gives her a thumbs up. With that she’s off. + 3. + + + WE FOLLOW HER as she runs lightly through the store, she is + also barefoot. + + The GIRL turns down an aisle to reveal a small boy sitting + on the floor. He too is barefoot. + + As the girl approaches we see, in the thick dust on the + floor he has drawn a rocket ship. She sits with him. + + He silently puts his hand to his chest, palm to the side, + crosses his first two fingers of his other hand with + deliberate focus, and then slowly puts his two hands + together. He then looks up at her and quickly shoots his + crossed fingers into the air like a rocket. She beams with + pride for a moment and then signs back to him. + + DAUGHTER + (SIGNING) + Very good job! + + BOY + (SIGNING AS BEST HE CAN) + That’s how--we get away. + + The girl’s smile falls ever so slightly. Then the boy + suddenly TAPS her on the shoulder and scurries away. She’s + “it”. + + As the girl slowly gets up to follow him, we see for the + first time A HEARING AID. + + The boy disappears around a corner. + + +5 INT. NEXT AISLE - LATE AFTERNOON 5 + + The girl comes around the tall shelf into the next aisle + when suddenly her eyes go wide!!! What she sees is the boy + standing on a small box, STRETCHING to reach a toy on a + high shelf. She walks quickly to him when suddenly the toy + FALLS. + + The girl instinctively SLIDES to the ground and catches the + toy JUST as it’s about to hit the ground! On her face we + can see she is TERRIFIED! She closes her eyes, taking a + breath with relief. When she opens them, in the foreground, + we see the toy she is holding a small TOY SPACE SHUTTLE. + Then in the distance past the toy we see a FIGURE. + 4. + + + She sits up to see a man standing outside the door of the + general store, holding a large box with what looks like a + quilt hanging out of it. A look of fear on his face + softens, as he mimes wiping his brow with relief. She + smiles, puts the toy back on a shelf and runs to him. + + +6 INT. GENERAL STORE - FRONT - LATE AFTERNOON 6 + + The father gently puts the box on the ground and pulls back + the pieces of thick quilt to reveal that all the contents + are actually wrapped in it. + + He then reaches for a LARGE HIKING BACKPACK, and begins + transferring the contents of the box into the bag. As he + + does, we see, cans of food, a variety of prescription + pills, bandages and wrapped syringes. + + The girl arrives at his side and excitedly starts rummaging + through the box as well. As she does, we see thick paint + brushes, bottles of glue, bottles of lighter fluid and a + stack of old newspapers. + + Then, her face lights up. From the box, she pulls out a + SALVAGED SECURITY CAMERA with wires exposed. The girl gives + it a brief once over and then removes, two exposed CIRCUIT + BOARDS, very obviously only recently removed from whatever + appliance they belonged to. The girl scans the boards with + a voracity, pointing out to the father particular areas of + interest. Her father can’t help but smile. + + Suddenly, the box of Amoxicillin comes into frame and is + placed on top along with two boxes of sugar. The father + looks up at his wife. After a beat, she signs: + + MOTHER + (SIGNING) + For my tea. + + He just keeps looking at her. + + MOTHER + (SIGNING) + Fine. I have a sweet tooth. + + The father smiles and is about to close the bag when a + candy bar is placed on top. + + DAUGHTER + (SIGNING) + Me too! + 5. + + + The father looks up at her with fake incredulity. Suddenly + the sick son in his mother’s arms weakly signs: + + OLDER SON + (SIGNING) + Me too. + + The whole family laughs silently as the daughter GENTLY + takes another candy bar from a box below the cash register. + We can now see why the boxes are almost empty. + + The father looks back to his arriving four year old son, + expecting the same, but from behind his back the young boy + reveals the toy space shuttle. + + With a sweet empathy the father reaches for the toy and + shakes his head no. He turns the toy over and silently + + explains it has batteries, this toy can make noise. + + The little boy watches, confused, hurt, as his father + gently places the space shuttle on the counter. And then + gently grabs a big lollipop and puts it in the bag for the + boy. + + The mother hands their sick son to the father who picks him + up and walks out. The mother kisses her 4 year old on the + head, shuffles the hiking bag onto her back and walks out + too. + + The daughter looks at the boy as tears begin to fill his + eyes. She smiles and signs: + + DAUGHTER + (SIGNING) + It’s ok. + + The boy shakes his head no. + + After a moment, the girl looks back to see if her parents + are there. She then reaches up and takes the shuttle down + from the counter. With wide eyes her little brother watches + as she surgically removes the batteries and places the + shuttle in the hood of her brother’s sweatshirt. Covering + it from view, she holds a finger up to her lips in the + obligatory big sister way of telling him not to get her in + trouble. He beams! + + She then stands up and places the batteries back on the + counter, smiles at her brother and gestures “let’s go”. + + +7 EXT. MAIN STREET - LATE AFTERNOON 7 + 6. + + + The daughter exits the General Store and follows her mother + and father, who are walking down the street only stepping + on the sand path. Their steps are almost silent. + + After a moment, her four year old brother follows behind + her. + + We watch everyone walk in total silence. + + Then... + + +8 INT. GENERAL STORE - LATE AFTERNOON 8 + + We slowly push in to the counter of the store and then + realize THE BATTERIES ARE GONE! + + +9 EXT. ROAD - LATE AFTERNOON 9 + + A long road slices its way through a heavily wooded area, + which further blocks the already fading sun. + + In WIDE PROFILE we see the family walking in a line, + continuing only on a sand path. The father is in front + carrying their sick son, then the mother with the backpack, + then their blonde daughter and trailing a bit behind + rumbles their robust 4 year old. + + +10 EXT. BRIDGE - LATE AFTERNOON 10 + + From the ground we look up at an old and rusted bridge + towering over us eerily, the sand path continues across it. + + WE TRACK WITH THE FAMILY as they walk across the bridge. + + There are minor creaks underneath the sand. + + Suddenly we see, the four year old stops just before the + entrance of bridge. The family continues not seeing him. + + WE FOLLOW THE BOY’S HANDS as he fishes around in his hood + and pulls out THE TOY SHUTTLE. + + HEAD ON, we walk with the father, each member of his proud + brood can be seen walking behind him. We can hear his + strained breath and the tiniest swish of the footsteps in + sand. + 7. + + +HEAD ON, walking with the daughter, we now suddenly hear +nothing. As she looks to be in her own world. So we are in +hers. A smile breaks on her face as she walks and breathes +in total silence. We walk with her for a long moment, when +suddenly behind her A FLICKERING RED AND BLUE LIGHT. + +The girl does not turn. She just keeps walking. Still +smiling. As she looks up to her mother, we go into: + +SLOW MOTION + +- FROM THE GIRL’S POV, we see her mother and father spin +around with a frantic shock on their faces. + +- BACK ON THE GIRL. She looks confused at her parents +behavior LIGHTS AGAIN FLASH EERILY BEHIND HER. + +- ON THE FATHER rushing to put the boy on the ground and +turning to run. + +- ON THE MOTHER, spinning around with terror in her eyes, +she looks to be holding in a SCREAM. + +- BACK ON THE GIRL slowly beginning to turn around at what +her parents could be looking at as we: + +SPEED BACK UP TO NORMAL + +A loud playful beeping rushes in from the blinking shuttle. + +Then, from the woods we hear THE MOST UNMISTAKABLE +HORRIFYING SCREEEEEEEECH!!! + +- ON THE MOTHER as she slowly lowers the backpack to the +ground and her legs begin to fail her. + +- ON THE FATHER running, violently shaking his head. It +looks like he’s HOLDING IN A SCREAM. + +- THE TREES BEHIND THEM RUSTLE AND SNAP as something +barrels through. + +- ON THE BOY holding up his space ship proudly to his +incoming father an enormous smile on his face. + +- ON THE FATHER 20 feet away his face is a still frame of +pure fear as he runs to camera. Then: + +THE MOST IMMEDIATE AND TERRIFYING COMBINATION OF SOUND ONE +COULD EVER IMAGINE. + +A SHRIEK? A SCREAM? A CRUNCH? Then... + 8. + + + ON THE FATHER as a thin line of blood splatters on his + face. + + - Mid run, the father’s body immediately goes limp failing + him as he comes to a halt just in front of camera. + + - Then, as quickly as it came THE SOUND IS GONE. + + - IN WIDE PROFILE, The father stands lifeless. The two + children stand frozen with fear, the MOTHER drops to her + knees and a space shuttle blinks silently in the sand. + + The four year old IS GONE. + + Once again, only the wind can be heard. + + BLACK. + + SILENCE. + + FADE IN: + + TITLE + + A QUIET PLACE + + Still in BLACK. A new sound. Almost like that of the ocean. + + +11 EXT. BEACH - LATE AFTERNOON 11 + + The new sound continues. In the last of the day’s sunlight: + + WE TRACK, LOOKING STRAIGHT DOWN, on what appears to be an + empty beach. The pink lit sand, now combined with a sound + like the ocean, feels serene, almost otherworldly. + + Slowly coming into frame, we see the face of the daughter. + + This is REGAN ABBOTT. Her hair is much longer. She is now + TWO YEARS OLDER, 12. She just looks different. + + REGAN lays in the sand with eyes closed, but she is not + asleep. + + With her brow furrowed and her closed eyes darting back and + forth she looks oddly painted, almost as if she is wishing + herself to another place. + + There is movement in her hands as her fingers caress an + object. + 9. + + + Her eyes suddenly POP OPEN as she sits up violently CLOSE + UP INTO OUR FRAME! She looks around with eyes wet and red, + attempting to regain her bearings. + + WE SLOWLY MOVE AROUND her to see what she sees and are met + with a jarringly incongruous landscape! Instead of a + glistening ocean, there in front of REGAN stand the tall + swaying stalks of A CORNFIELD. + + As REGAN looks to her lap WE SLOWLY TRAVEL DOWN to reveal, + she is holding THE TOY SHUTTLE. As she maneuvers it through + her fingers we see the shuttle is damaged, there are 2 + large gouges in the fuselage. + + Suddenly... Something startles her as she snaps her head to + the side! + + WE GO CLOSE on her hand driving the TOY SHUTTLE into the + sand, not wanting it to be seen. Now ONLY THE SHUTTLE’S + TAIL is exposed in the foreground as we see a figure + walking toward REGAN. + + Coming into focus is her mother. This is EVELYN ABBOTT. + + EVELYN too has changed. Hair longer, frame lower. She + carries a basket of vegetables. She is barefoot. + + EVELYN stops and looks down at her daughter giving her a + comforting smile. REGAN can’t seem to return the same. + + EVELYN gently gestures with her head. REGAN nods and EVELYN + walks on. After a moment REGAN places the TOY SHUTTLE into + + the large pocket in her dress and follows her mother. As + she goes: + + WE PAN TO FOLLOW REGAN as she joins her mother and then + SLOWLY RISE to reveal that the two women are walking along. + A LONG AND WIDE SAND PATH IN THE MIDDLE OF A FARM! In the + distance we can see they are heading to A WEATHERED RED + BARN. + + WE END OUR RISE just as we reveal in the foreground, + Christmas lights? Like parallel telephone wires, 2 cables + of large bulbs, one with red and one with white. They dance + playfully in the wind. + + +12 INT. TRUCK - LATE AFTERNOON 12 + + CLOSE UP PROFILE of a steering wheel in the foreground. A + weathered CHEVY emblem reflects the fire orange sky in the + background. + 10. + + + HANDS come into frame and gently grip the steering wheel. + The right hand then slowly moves to the ignition block and + turns. + + There is no sound. After a moment, the hand turns again + again without sound. The hand turns a third time, this + time, the hand begins to bob ever so slightly, as if the + old car has started up. As the hand retracts: + + WE PULL BACK to reveal... The little brother. This is + MARCUS ABBOTT, now 10. Moving ever so slightly, MARCUS is + obviously pretending to drive, though his impassive face + betrays the idea that he is having any fun. MARCUS seems to + have aged much more than the mere 2 years. His vacant eyes + tell us a large toll has been taken on him, though perhaps + not as easily recognizable on the exterior. + + +13 EXT. TRUCK - LATE AFTERNOON 13 + + WE MOVE SLOWLY IN POV along another large sand path with + high grass on either side when suddenly it opens up into a + large clearing and we see a tractor? Shells of untouched + farm equipment litter the open area. + + WE SLOWLY MOVE LEFT, making our way through, what is now + nothing more than an eerie farming vehicle graveyard. + + Suddenly, A DARK FIGURE ENTERS THE FRAME. + + +14 INT. TRUCK - LATE AFTERNOON 14 + + MARCUS’s hands move silently along the steering wheel as he + stares out the windshield. His body moves ever so slightly, + his face, relaxes, the hint of a smile. For a moment we + could almost believe he is driving. His eyes routinely + check the + + side mirror, then the rearview mirror, then stop. His + hands, and face fall. + + THROUGH THE REAR VIEW MIRROR, we see a figure standing + behind the truck amidst the sea of farm equipment. Behind + the figure we see, A TOWERING SILO. + + +15 EXT. TRUCK - LATE AFTERNOON 15 + 11. + + + OVER THE DARK FIGURE onto the truck as we see MARCUS + expertly slip out of the cab window of a VINTAGE CHEVY + PICKUP that sits at the edge of a DESCENDING DRIVEWAY + connecting to the road that heads back toward the BARN. He + lands in the sand without a sound and begins to walk, head + held low, toward the dark figure, who reaches his hand out + and briefly touches Marcus’ shoulder. Marcus walks straight + past. + + As MARCUS exits we BOOM UP the dark figure as it turns, + revealing LEON ABBOTT (LEE), 38. + + LEE too has changed, though much more obviously. He has + lost weight on his strong farmer frame, he wears a beard + and his sunken eyes indicate that he hasn’t slept well in a + long time. + + WE PULL BACK WIDE to reveal the sea of farm equipment sits + in front of a long, dilapidated, work shed roof a makeshift + repair shop. The word ‘REPAIR’ is written in flaking white + paint that clings to the wood above. + + +16 EXT. BARN - SUNSET 16 + + The line of Christmas lights dance in the foreground. + + WE TILT DOWN to see that the lights run right in between + two towering doors of a weathered red BARN. The doors have + been left open by a gap of just over 2 feet. The edges of + the doors are wrapped in foam. + + Suddenly MARCUS walks into frame and enters the barn. + + +17 INT. BARN - SUNSET 17 + + WE TILT DOWN from the lines of unilluminated Christmas + lights running below the high reaching ceiling and ONTO + MARCUS’ BACK as he walks through two heavy quilts at the + entry of the barn hanging from the ceiling. Through the + quilts, a dirt floor guides us through this barn. The + surroundings are too difficult to fully comprehend at first + glance. + + To the left are several large horse stalls. WE QUICKLY PAN + INSIDE to see they are now bedrooms. Mattresses, perfectly + made up, lie on the floor next to lamps and small stacks of + books. Clothes on hangers dangle between each of the bars + providing not only storage, but limited privacy. + 12. + + + To the right is a large pen with railings. Once a holding + area for cows awaiting milking, it is now a living room. + Hay bales draped in blankets and old wooden chairs surround + an overturned pig trough, now serving as a coffee table + covered in books and dripping candles. + + As MARCUS continues we notice the walls. Every inch is + meticulously covered in a bizarre but elegant cornucopia of + trash. Foam, cardboard, and old newspapers are glued to the + wall in thick layers. + + If one were able to look past the obvious first assumption + of a hovel or domicile of hoarders, they would see almost a + deliberate beauty in the decor. A warmth. This is a well + maintained and loving home. + + WE FOLLOW ON MARCUS’ BACK as he suddenly comes to A + MATTRESS LAYING ON THE GROUND? MARCUS bends down and after + a brief struggle pushes the mattress to one side to reveal + a large hole. + + WE FOLLOW JUST BEHIND MARCUS as he descends down the + ground. + + +18 INT. BARN - SAFE ROOM - SUNSET 18 + + WE NOW SEE MARCUS has descended a makeshift stairwell into + a small excavated room illuminated by work lights. Lodged + up against the walls and across the ceiling are wooden + beams. In between each beam are varying stages of an + elaborate process of insulation and soundproofing that + consists of a thick layer of newspaper as a base and then + blankets and pillows squeezed in on top. There is a hay + bale up against one wall and a mattress leaned up against + another. + + In the middle of the room, MARCUS walks past EVELYN, who is + bent over behind an odd wooden box. Suddenly she stands up, + holding a beautiful and delicate baby mobile. + + As she turns and reaches the mobile high in the air to a + beam above her we get a clear shot of her protruding belly. + + Even a layman guess would put her over 8 months. EVELYN + gently taps the mobile as we: + + ARE NOW CLOSE ON the small ducks and clouds moving through + the air, EVELYN below looking up with a smile. + + MARCUS sits down next to REGAN who is on the floor next to + a stack of old newspapers and bottles of glue. + 13. + + + She removes a large sheet of newspaper from a plastic tray + of glue, lets it drip and then applies it to the wall with + a thick paintbrush. As she moves the paintbrush vertically + down the dripping white, a piece of an image can be seen. + It is a bra ad. REGAN slowly looks over to MARCUS, who + stares at it. + + BACK ON EVELYN as she removes the top of the odd wooden + box. + + WE FOLLOW her hands in to reveal a heavily quilted inside + with adorable baby blankets, a small teddy bear, and a + clear plastic air mask. + + EVELYN’s fingers fumble with something in the corner until + she finally threads through a thin plastic tube and + connects it to the air mask. It looks similar to an + emergency breathing apparatus one might see in an ambulance + or hospital because it is. + + BACK ON MARCUS, as he now removes a large piece of dripping + newspaper out of the tray and places it on the wall. Like + his sister, he swipes his thick paintbrush vertically down + the dripping white, this time partially revealing a front + page headline. It reads ‘AGE OF MASS’ MARCUS looks at it + inquisitively and then swipes the paintbrush horizontally + across the whole headline. + + It reads:‘IMAGE OF MASSACRED MILITARY SHOCKS THE WORLD’ + MARCUS freezes then looks below to see the top of a grainy + newspaper photograph. All we can make out is a twisted + human arm. His hand slowly begins to shake as he raises the + paintbrush to reveal the rest of the image when suddenly: A + PILLOW FLIES INTO FRAME!!!!!! + + MARCUS JUMPS!!!!! + + Only to see his mom holding a pillow over the newspaper + with a knowing look. After a beat, she hands MARCUS a long + piece of tape to secure the pillow to the wall. + + +19 EXT. REPAIR YARD SILO - ROOF - SUNSET TO DUSK 19 + + ON THE BACK OF LEE, perched on what looks like the top of + the world. + + From this great height we get our first WIDE SHOT of the + large farm that we now see sits in a clearing on a ridge + surrounded by the tangled forest of the APPALACHIAN + MOUNTAINS. + 14. + + +A puff of smoke rises from LEE’s silhouette as he suddenly +raises a hand into frame and checks his watch. A moment +later as if on cue. + +A line of CHRISTMAS LIGHTS flicker to life above the wide +sand path REGAN was laying on. + +Another line of white Christmas lights flicker on, this +time revealing a path that connects the weathered red BARN +to an old white FARMHOUSE. Then another line of lights and +another! + +Like the image of a city power grid coming back to life, we +see a labyrinth of countless sand paths, meticulously laid +out, illuminate all over the farm in a beautiful expanse. + +NOW IN PROFILE, LEE stares down seemingly at nothing. The +unfiltered cigarette burns to his fingers, causing LEE to +snap out of his stupor. He looks around at the horizon, it +is officially sundown. He reaches for a plastic bottle of +lighter fluid and sprays all its contents into a shallow +metal drum in front of him. + +Another cigarette appears from below frame. He puts it in +his mouth and then reaches his hands into his jacket. His +right arm jiggles slightly. There is no sound. His arm +jiggles again. Then from his jacket, LEE pulls a FULLY LIT +LIGHTER, that he protects from the wind. He lights his +cigarette and then leans his hands to the metal drum A HUGE +FLAME ERUPTS. + +In the glowing orange we see LEE take a long drag of his +cigarette. His face has no effect. After several moments +the flame begins to weaken and slowly fade. + +Suddenly, far FAR off in the distance on the ridge ANOTHER +FLAME ILLUMINATES. LEE doesn’t even look up. Then, miles +past the first ANOTHER FLAME! THEN ANOTHER! + +Until we can see behind LEE 5 glowing fires scattered far +off across the ridge. + +ON LEE as he glances over and registers, then back to +staring front as we: + +MOVE AROUND BEHIND him to see where his gaze is focused. + +Then, we see it. There, in his left hand LEE holds a 5X6 +nursery school photo of a 4 year old boy. + +LEE takes a last drag of his cigarette and then places the +photo in a small box at his feet. + 15. + + + WE ARE TIGHT ON THE BOX as LEE stands and walks toward two + curved bars on the side of the SILO. He turns around and + begins to descend A LADDER. + + WE HOLD ON THE SMALL BOX, then just as LEE’s head + disappears WE SLOWLY BEGIN TO RISE. + + Now looking at the opposite side of the ridge than we did + in the beginning, the rising moon’s light now spills across + the vista of rock and trees and onto an enormous and + bizarrely out of place CRATER! + + WE HOLD ON THE CRATER FOR A LONG MOMENT Then: + + +20 INT. BARN - LIVING ROOM - NIGHT 20 + + WE ARE CLOSE on a small mound of dirt. Suddenly two hands + covered in winter gloves enter frame and begin to dig down + about 3 inches to reveal a plank of wood. + + WIDER NOW, we see EVELYN on her hands and knees just behind + the living room set up in an open, very makeshift kitchen. + + One wall of shelves cluttered with stacks of paper plates, + bowls and cups. Another wall is a workbench acting as a + countertop and a mid 70’s refrigerator. + + EVELYN extracts from the dirt a long wooden box. Beneath it + red hot rocks let off a combination of steam and smoke. + + EVELYN brings the box to the counter top and carefully + lifts the lid to reveal a perfectly cooked fish with lemon + and rosemary and garlic scattered all around. + + +21 INT. BARN - BEDROOMS - NIGHT 21 + + WE TRACK with REGAN as she walks down the row of horse + stall bedrooms. + + REGAN arrives at the threshold of LEE and EVELYN’s bedroom. + + LEE is faced away from her, washing his face in a long + trough like sink that runs the length of the room. + Suddenly, through the mirror leaning on the wall, LEE sees + her, but does not turn. + + Through the mirror, the two of them looking silently at + each other for a moment too long, it is heartbreaking. + 16. + + + REGAN pathetically gestures “eating”. As LEE nods, trying + to muster a polite smile we can see very clearly something + is broken. + + LEE wipes his face with a towel and then turns to face an + empty doorway. + + +22 INT. BARN - TABLE - NIGHT 22 + + The family sits down together for dinner around an old + workbench. Their heads bowed in prayer, after a moment + EVELYN lifts her head and they begin to eat. There are no + plates. + + The food sits on various children’s plastic placemats. + There are no utensils. The family uses only bread to + collect food. + + We slowly pull back on this silent, but comfortingly + familiar scene. + + +23 INT. BARN - LIVING ROOM - NIGHT 23 + + REGAN and MARCUS lie on the floor playing Monopoly. + + By the dim light of an oil lantern, we can see the game’s + board is the same, but the pieces are small colored bobbles + of wool, the kind you would find on a children’s Christmas + sweater. The houses and hotels are empty sugar packets, + blue and pink. And the money? Small pieces of green, red, + blue and orange fabric rectangles, all equally sized. + + MARCUS is five spaces away from his sister’s hotel on + Boardwalk. He takes a sip of water and places the cup on + top of a tall crate being used as a makeshift side table. + + MARCUS looks at his sister, who can’t hide her smile. He + mimes a prayer before rolling the dice on the dirt floor, + where it makes no noise 5! + + MARCUS slowly looks up to REGAN, knowing his fate. + + REGAN smiles pointedly and then reaches for MARCUS’ money. + + As MARCUS thrusts his arm back to protect his bank, his + elbow hits the oil lantern!! + + A BOOMING CRASH!!!! As the oil lantern hits the ground and + shatters. THE SOUND FEELS HUGE! AS IT IS THE FIRST BIG + SOUND WE’VE HEARD! FIRE ERUPTS ON THE FLOOR!!! The children + stare frozen in horror! + 17. + + +LEE immediately jumps up from the table and instinctively +grabs a quilt and throws it on the fire. With a few silent +pats the fire is gone. + +SILENCE. + +EVERYONE FREEZES!!!! NO ONE IS BREATHING!!! + +REGAN shoots MARCUS a look of concern. + +MARCUS shoots LEE a look of terror. + +LEE shoots a look to the roof. + +ON LEE as he stands up INTO frame. He has almost physically +transformed from a man into protection incarnate. He slowly +raises a stiff finger to his lips, his body so tense, it +looks painful. This is the unwanted version of himself that +lies just millimeters under his skin 24 hours a day. + +After a long moment nothing. It would have happened by now. + +LEE finally nods that everything is OK. + +MARCUS stares at REGAN with a painfully apologetic face as +she leans in and touches his hand. + +BANG!!! The whole family startles in silence!!! + +Something has hit the roof. + +EVERYONE IS FROZEN LOOKING AT THE CEILING. + +Seconds later a high pitched SHRIEEEEEEK of CLAWS sliding +down the aluminum roof. The family follows the sound +exactly with their eyes. Then silence. + +LEE crouches down and walks to a small window where the +sound stopped above. + +MARCUS wildly shakes his head “no”, evidence of his +traumatic anxiety resurfacing. + +REGAN slowly stands, looking on with wide eyes. + +LEE arrives at the window, crouched. From his low vantage +point we can see the lip of the gutter and the eerily +swaying Christmas lights. + +LEE begins to stand up slowly, his face now virtually +pressed against the glass. + 18. + + + Suddenly, A WHIR OF SCREECHING AND GROWLING!!! A LARGE + SHAPE FALLS PAST THE WINDOW!!!! + + As two raccoons hit the ground, fighting then scamper off + into the dark. + + LEE somehow exhales slowly and calmly a trick that, no + doubt, took much practice and walks away from the window. + + +24 EXT. CORNFIELD 24 + + The two raccoons round the corner onto a moonlit path + heading toward camera, just as they come into CLOSE UP. + + A GIANT BLACK CLAW CRUSHES DOWN ONTO THE FIRST RACCOONS + HEAD and then rips it out of frame. We hold on the second + raccoon running off with a soft but piercing scream. + + +25 EXT. FARM - NIGHT 25 + + It is night. From high above, we look down to the sand path + between the RED BARN and the WHITE FARMHOUSE. In the + foreground we see the shadow of a telephone pole. Sitting + on the wire in silhouette are BIRDS. + + +26 EXT. SAND PATH - NIGHT 26 + + FROM THE GROUND, we see the FARMHOUSE in the distance, but + something is different. The color seems wrong, the angle is + odd. The foreground is over exposed and tiny dots fly in + and out of the frame. + + Suddenly, A GIANT FOOTSTEPS INTO FRAME!!!! + + AND THEN ANOTHER as we watch two bare feet then the hem of + a dress and then the silhouette of EVELYN walk silently + toward the house. + + +27 INT. FARMHOUSE - BASEMENT - NIGHT 27 + + WE SLOWLY PULL BACK from THAT SAME SHOT of the FARMHOUSE + and reveal a plastic frame, a red light buttons. We realize + this image is being viewed on a small monitor. CCTV FOOTAGE + from A SECURITY CAMERA. + 19. + + +WE CONTINUE TO PULL BACK SLOWLY as another monitor comes +into frame with another stacked on top of it then one next +to it and another until we reveal, like something out of a +Dr. Seuss book, a wall of 20 TV’s, all shapes and brands +sit on top of a large workbench covered with open notebooks +and sliced up newspapers. + +On each screen we see elements of trees... sand paths... +the barn... the silo. This is a DIY version of a security +console that overlooks the entire farm... and it has taken +a long time to put together. + +WE BEGIN TO TRACK past the empty security console and onto +a cinder block wall, covered in notes and newspaper +clippings. + +Then WE BARELY HEAR A TINY, ALMOST FAMILIAR, SOUND. + +THEN A HANDFUL OF SMALL BEEPING SOUNDS. + +Suddenly a portion of one visible newspaper clipping shows +a close up and much more detailed image of the enormous +crater. The headline reads: ‘NUMBER OF CONFIRMED GLOBAL +LANDING SITES GROWS TO 128’ A post-it note sticks to the +clipping that reads: LANDED 10-18-2018 WE PASS BY more +clippings, catching glimpses of dramatic headlines and +surreal images: ‘PRESIDENT CALLS FOR EMERGENCY EVAC IN ALL +MAJOR CITIES’ ‘CHURCHES, MOSQUES, TEMPLES FLOODED WITH +PEOPLE’ WE PASS BY a grainy newspaper photo of a military +stand off with ONE creature. The headline reads: ‘MILITARY +EXPERTS AGREE: “INDESTRUCTIBLE” + +AGAIN WE HEAR THAT FAMILIAR SOUND as it gets louder. WE +CONTINUE TO TRAVEL as a MAP enters frame. Like one you +would get at a gas station, it is covered in illustrated +forests and rivers, it is a map of THE STATE OF NEW YORK. +The portion above Manhattan is covered in hand drawn red +circles and pins, each accompanied with a date and names of +the dead. WE MOVE FURTHER ALONG to reveal low quality +stills of security footage barely showing THE CREATURE. +Each still is drawn on and analyzed. Then a large white +board covered in writing comes into frame, leaning against +the wall. + 20. + + +Amidst the scratches of written and rewritten thoughts, we +can make out two lists labeled, ‘QUESTIONS’ and ‘CONFIRMED’ +In the ‘QUESTIONS’ column are listed; ”NO DEMANDS?”, “NO +SIGN OF ORGANIZATION”, “BLIND?” “HOW MANY?” “SOUND?" "WHY +NOT ATTACK ALL SOUND?” In the ‘CONFIRMED’ column are +phrases like; “4-6 CONFIRMED IN PACK”, “DO NOT ATTACK SMALL +SOUNDS”. Then we see the phrase “DO NOT EAT KILL”. WE MOVE +TO the very bottom of the white board where we see the word +“WEAPON???” Listed below words are crossed out +“EXPLOSIVES”, “FIRE”, “CHEMICAL” AGAIN WE HEAR THAT +FAMILIAR SOUND NOW LOUDER. + +THEN AGAIN THE HANDFUL OF SMALL BEEPING SOUNDS. + +WE MOVE OFF OF THE white board and scan past ANATOMICAL +DRAWINGS of A SHARK SENSING PREY USING MAGNETIC FIELDS, +DOLPHINS NAVIGATING THROUGH MINEFIELDS, THE ELECTROMAGNETIC +SPECTRUM and finally images of THE INNER EAR. + +WE NOW MOVE THROUGH meticulously organized shelves covered +in tools and wires and various pieces of salvaged +electronic equipment and finally onto LEE’S BACK. + +He is hunched over the workbench working intensely on +something, he is wearing large black headphones. + +We see him reach out of frame as we WE PUSH PAST an old +microphone that is connected to AN OLD TRANSATLANTIC HAM +RADIO. + +In the glowing light from the box we see all kinds of knobs +and needles. Below a switch labeled with two stickers that +say “RADIO” and “SPEAKER”, LEE’S hand comes into frame and +turns a large knob revealing THE SOURCE OF OUR FAMILIAR +SOUND. + +LEE IS SEARCHING FOR A SIGNAL. ANY SIGN. ANY SIGN OF LIFE. + +Suddenly, he presses down on a button on the microphone. + +THE HANDFUL OF SMALL BEEPING SOUNDS IS MORSE CODE. + +THERE IS NO RESPONSE. + +WE follow LEE’s hand off of the button and onto a small +soldering iron. As he picks it up: WE GO TO LEE at his +workspace. + +With magnifying glasses in front of his eyes, he works with +surgery like precision on a small contraption. A small +string of smoke rises from his work. + 21. + + +28 INT. FARMHOUSE - BASEMENT - STEPS - NIGHT 28 + + WE ARE OVER the warmly, lit from above, stairwell with LEE + at his workstation in the background as delicate bare feet + touch down softly, and deliberately on the steps, like a + child knowing where to step so they don’t wake their + parents. + + WE BOOM UP to reveal EVELYN as she stares at her husband, + who hasn’t heard her, worried? Admiring? Lost? + + A flicker of a memory echoes through her face as she smiles + and then walks to him EVELYN IS WEARING EARBUDS. + + ON LEE as a hand touches down gently on his shoulder, he + doesn’t flinch at all. There is immediate recognition + there. + + Safety. The hands then reach down and remove Lee’s + headphones. The sound of the searching radio in the + headphones is nearly inaudible. + + LEE sits back and holds up A HEARING AID. It looks like a + somewhat common hearing aid, but with handcrafted + modifications, upgrades. There is a wire extension that + extends from the top, almost like an adapter or plug. + + The hands gently grab LEE’s face and turn it. LEE looks up + at EVELYN who he now sees is wearing lipstick, has pulled + her hair back and has changed into a beautiful dress. This + is DATE NIGHT. LEE smiles as EVELYN takes a step back and + with the gentlest of movements, she sweetly beckons him to + her. + + LEE looks back at his work for just a moment, his face once + again focused. Then he lays the hearing aid down on the + table and stands up. + + WE HOLD ON THE HEARING AID and then SLOWLY PULL BACK to + reveal a pile of more hearing aids, each with a variety of + different modifications, scattered all around his work + bench. + + This is something he has been working on for a long while. + + WE TILT UP from the workbench to see LEE arrive at his + wife’s side as she puts her hand up on his neck and smiles + up at him warmly, as if there is no where else to be + nothing to make her happier. + + FACE TO FACE NOW, LEE finally allows a smile, looking down + at his time tested partner. + 22. + + + EVELYN’s eyes close as she places her forehead to his and + the two begin to gently sway in total silence. + + Suddenly, EVELYN takes LEE’s hands from around her back and + places them on her protruding belly. After a moment she + looks up lovingly at her husband to see + + LEE’S SMILE HAS DISAPPEARED. STARING DOWN AT THE BELLY, HIS + FACE LOOKS LOST. + + Knowing this man inside and out, EVELYN keeps her gaze + firmly into her husband’s eyes and slowly moves her hands + up LEE’S arms and gently onto his face. Holding more than + his visage in her hands, LEE finally looks up at her. + + EVELYN smiles with recognition of the man she married as + her right hand travels to her right ear. She removes the + earbud from her ear and seamlessly places it in his, as: + MUSIC RUSHES IN! + + The only record on the record player, this is the song they + were married to. This is NEIL YOUNG’S HARVEST MOON, + + Perhaps it’s due to the lack of sound thus far in the movie + or maybe the marrying image of the two dancing, but the + sounds of the song are crystal clear. We can perfectly hear + every chord, every tremor of vocal chord as we PULL BACK on + this perfect moment through the basement to the small + rectangular basement window to reveal water hitting the + glass. + + +29 EXT. FARMHOUSE - NIGHT 29 + + We see a strong rain pouring down around the house. + + +30 EXT. FARM - MORNING 30 + + A beautiful crisp morning. + + +31 EXT. FARMHOUSE - SAND PATH - DAY 31 + + FROM THE PORCH of the farmhouse, as water drips down from + overhead, WE SLOWLY travel along the sand path toward the + barn when suddenly we arrive at a small stream of water + cutting right through a, now washed away, segment of the + sand path. + + Suddenly LEE’s bare feet enter frame and then a large + hiking backpack enters frame next to him. + 23. + + + ON LEE as we see a momentary glimpse into the painstaking, + and never ending, workload that goes into maintaining this + farm. + + CLOSE on hands as LEE’s bare fingers gouge into the + unforgiving earth at the edge of the sand path to divert + the water. Stones come into frame to form a temporary wall. + Then LEE hoists, the very obviously heavy, hiking bag onto + his knee. He then slowly and silently undoes a handmade + flap at the bottom of the backpack. From the opening of the + bag pours SAND. + + Quickly and silently, sand piles up on the ground as we + witness for the first time, LEE’s ingenious system that has + kept his family safe all this time. + + +32 INT. BARN - SAFE ROOM - DAY 32 + + CLOSE UP OF A GAUGE Very faint bursts of air can be heard. + + WE SLOWLY PULL BACK to reveal EVELYN sitting on a hay bale + with a blood pressure sleeve on her arm and a stethoscope + in her ears. Behind her is a shelf full of bandages and IV + bags. + + She stops pumping the bulb, stares down at the gauge and + then gently lets the air out and removes the sleeve. + + EVELYN marks her daily blood pressure on a calendar next to + her. On this calendar we see her estimated due date is 4 + weeks away. + + After a moment, she leans over and places the bottom part + of the stethoscope onto her belly. + + A faint sound of adjusting and then LUB DUB, LUB DUB, THE + BABY’S HEARTBEAT ENGULFS US!!! + + +33 EXT. FARMHOUSE - DAY 33 + + WE CREEP SLOWLY ALONG the sand path heading toward the + front door of the FARMHOUSE. + + Suddenly REGAN steps into frame, walking deliberately, as + if tiptoeing. + + +34 INT. FARMHOUSE - DAY 34 + 24. + + + REGAN reaches the front door of the FARMHOUSE and stops at + the threshold. As she looks down at the worn wood floor, + scanning, we can notice deliberately painted markings on + the floor. + + Just then, REGAN takes a dramatically long step inside, + placing her foot down directly on the first colored marking + silence. Looking almost relieved, REGAN once again scans + the floor and then focuses on another marking. She takes + another long step, this time far to her right and touches + down on the next marking silence. It almost looks like + she’s playing ‘TWISTER’. Getting more confident, she scans + the room, finds another spot and steps quickly. + + +35 INT. FARMHOUSE - BASEMENT STAIRS - DAY 35 + + WE LOOK DIRECTLY up the basement stairs toward the warm + hallway at the top. + + Suddenly, REGAN takes a long step into frame. Her + silhouette looks down the dark stairwell. + + After a moment, she slowly puts her foot down on the first + step when suddenly A DARK FIGURE APPEARS BEHIND HER AND + GRABS HER!!!!! + + +36 EXT. FARMHOUSE - DAY 36 + + CLOSE ON REGAN as she is placed down onto the sand path. + + A HAND COVERS HER MOUTH! + + AS REGAN spins around we see LEE kneeling in front of her. + + LEE + (SIGNING) + You CANNOT go down there! + + REGAN + (SIGNING) + WHY NOT??? + + LEE + (SIGNING) + You know why. + + REGAN + (SIGNING) + I won’t make a sound!!! I’m not a + child!!! + 25. + + +LEE pauses that line stings. + + LEE + (SIGNING) + Just--don’t. + +The two stare into each other’s eyes communicating more +than any sign language could. + +Suddenly LEE reaches up to her face. His still dirty hands +push the hair back over her right ear. It seems so +uncharacteristically warm and gentle when suddenly LEE +reaches into his pocket with his right hand and pulls out +THE HEARING AID from the night before. + + LEE + (SIGNING) + This time, I was able to use small + amplifiers from the stereo speaker + to-- + + REGAN + (SIGNING) + It won’t work. + + LEE + (SIGNING) + No, our problem has always been + power, but this should increase the + frequency to-- + + REGAN + (SIGNING) + It never works!! + + LEE + (SIGNING) + ... But we’ll keep trying til it + does. + +REGAN looks up at him blankly as LEE reaches to bring the +new hearing aid up to her ear when suddenly REGAN pushes +his hand away. + +LEE reaches up to her ear to try again, REGAN pushes his +hand away again, giving him a cold stare. With so much +history behind it, it’s a bizarrely heartbreaking +altercation. + +He tries again, she pushes again, even harder. + +LEE looks at his daughter as she looks at him, her venomous +face, betrayed by the large tears that roll down her cheek. + 26. + + + After a long moment, REGAN snatches the hearing aid from + her father’s hand and walks away. + + +37 INT. BARN - HAY LOFT - DAY 37 + + ON MARCUS’ back as he scribbles in a notebook. WE GO CLOSE + to see MARCUS is writing in a math notebook. His pencil + suddenly pauses, moves up the page through a long math + problem and stops again. Suddenly a finger comes into frame + and points at a different part of the problem. + + WE PULL OUT to reveal EVELYN and MARCUS sitting in a small + curated area with a desk, book shelves and a white board + covered in various phrases, shapes and equations. We + suddenly realize EVELYN is HOME SCHOOLING him! + + MARCUS suddenly nods and once again begins writing as + EVELYN looks out the small door of the hay loft and down to + the sand path below as LEE arrives. Suddenly... + + MARCUS + (SIGNING) + ...please don’t make me go... + + EVELYN looks over to see MARCUS’s face awash with panic. + + EVELYN + (SIGNING) + You will be fine. Your father will + always protect you. + + MARCUS GRABS HER ARM TIGHT! IT STARTLES HER. With tears in + his eyes, he mouths to her “PLEASE!” + + EVELYN + (SIGNING) + Listen to me. It is important that + you learn these things. He just + wants you to be able to take care + of yourself. + + MARCUS looks at her. + + EVELYN + (SIGNING) + Take care of ME! + + EVELYN lightens the conversation by pretending to age in + front of our eyes. + + EVELYN + (SIGNING) + 27. + + + ... when I’m old and grey... + + EVELYN leans on him. MARCUS can’t help but smile. + + EVELYN + and I have no teeth. + + EVELYN pretending to have no teeth is too much for MARCUS + to hold back his silent laugh. + + +38 EXT. BARN - DAY 38 + + OVER LEE’S large shoulder we barely see MARCUS moving ever + so slightly in one direction and then another. + + ON LEE, with a large hiking pack on his back. He adjusts + the straps of a backpack on MARCUS. + + LEE + (SIGNING) + Too tight? + + MARCUS shakes his head no. + + LEE + (SIGNING) + Good. + + MARCUS + (SIGNING) + No, I don’t want to go. + + LEE looks up at EVELYN. Then back to MARCUS. + + LEE + (SIGNING) + There’s nothing to be scared of. + + MARCUS + (SIGNING) + Of course there is. + + Suddenly behind LEE we see REGAN appear. + + REGAN + (SIGNING) + I’ll go. + + LEE looks over at his daughter and pauses. + + LEE + 28. + + + (SIGNING) + No, no. I need you to stay here and + help your mother. + + LEE stands up. To EVELYN: + + LEE + (SIGNING) + We’ll be back before dinner. + + REGAN + (SIGNING) + I want to go. + + LEE + (SIGNING) + Just stay here. You’ll be safe. + + LEE turns to EVELYN who looks at him with slight + disappointment. + + LEE + (SIGNING) + Next time. + + LEE pauses and then kisses EVELYN. LEE and MARCUS walk down + a sand path toward the woods. + + EVELYN turns to REGAN who is already walking away. + + +39 INT. BARN - REGAN’S ROOM - DAY 39 + + REGAN enters and throws the hearing aid her father made her + onto the dirt floor. This is the first time we have seen + her bedroom. It is sparse. A hay bale covered in bed + sheets, a + + small crate with a neat pile of books inside and several + candles on top, a small wooden mirror leant against the + wall. + + REGAN drops to her knees. On the ground we now see all + kinds of electronic equipment and tools. + + Architectural drawings are pinned to the wall. It is like a + mini version of her father’s work bench. + + REGAN grabs her pillow, rips the pillow case off and begins + furiously packing. + 29. + + + She grabs clothes, a water bottle, a notepad and the THE + TOY SHUTTLE. She gets up to leave and then looks back at + the hearing aid on the ground. + + CLOSE ON REGAN’s PROFILE as her hand comes into frame and + moves to the hearing aid she currently wears. Suddenly, a + long wire is slowly pulled from deep in her ear canal. + + REGAN’s eyes wince with almost a snap of pressure as the + wire comes loose. + + REGAN then gently feeds the new hearing aid into her ear + and pauses. + + Suddenly REGAN clicks on the new hearing aid. + + Nothing. + + WE WATCH the thin veil of anger on REGAN’s face cascade + into honest sorrow as REGAN’s eyes squeeze shut brutal + disappointment. + + WE PULL OUT to see REGAN sitting quietly on the floor. The + quake of her shoulders betray her as we watch her cry. + + After a moment, she reaches for a pillow case and exits. + + +40 EXT. WOODS - VALLEY PATHWAY - DAY 40 + + FROM A DISTANCE LEE leads MARCUS down a thin sand path that + cuts down the steep valley side and through the lush and + learned evergreens of the mountain’s canopy. + + MARCUS walks rigid, like one would in the dark. His saucer + eyes furtively clock every detail of his surroundings. LEE + walks casually and confidently, periodically turning to + wait patiently for his son. This is a day of teaching. + + ON MARCUS as LEE puts a hand quickly, but gently on his + son’s chest, stopping him in his tracks. LEE focuses down + the path. + + OFF MARCUS’s quaking face peering around his father: + + WE TOO MOVE around from behind LEE to see a DEER sitting in + the middle of the sand path. An adolescent buck, it holds + it’s impressive, but still delicate antlers upright and + proud as it stares directly at LEE and MARCUS. + + An image obviously long thought impossible, the moment + carries a certain calm, almost spiritual. + 30. + + + After a long moment, the buck efforts its way to its feet. + + Then turns and deftly steps perfectly along the sand path + and disappears. + + +41 EXT. FARMHOUSE - DAY 41 + + CLOSE ON the roof of the farmhouse. Water from the previous + night’s storm still drips off the edge. + + WE SLOWLY TRAVEL down the drainpipe running along the side + of the house when suddenly the drain stops and we see PVC + pipe has been attached instead. + + WE CONTINUE along the PVC piping to the bottom where we see + THE PVC PIPE bend AND GO STRAIGHT THROUGH A SHATTERED PANE + OF THE BASEMENT WINDOW. + + +42 INT. FARMHOUSE - BASEMENT - DAY 42 + + FROM INSIDE THE SHATTERED PANE, we now follow the PVC pipe + into an old washing machine now filled with rain water. + + Suddenly a piece of clothing slowly comes into frame and + silently descends into the water. + + WE WIDEN OUT TO SEE EVELYN places more clothes into a + WASHER that is unplugged. We see that she is simply using + the corrugated tumbler inside as a washboard. + + She removes a large plaid shirt just above the water line + (still inside the tumbler) and squeezes it dry. The action + is virtually inaudible. + + CLOSE UP on a small pile of clothes being stacked onto + other clothes. Then a CINCH. + + EVELYN stands up over the newly packed cloth laundry bag + then bends backward, attempting to relieve a pain in her + back. + + When she’s done, she picks up the full laundry bag with one + hand and another full laundry bag with the other. + + EVELYN struggles to the foot of the stairs with the two + bags and puts them down. She then takes a deep breath looks + up the stairwell and begins to ascend again carefully + placing her + 31. + + + feet on specific spots on each step. Holding one bag as + high as she can and dragging the second behind her. It’s + uncomfortable watching a fully pregnant woman traverse in + this manner. + + WE GO CLOSE ON several stairs as EVELYN’S feet step up and + drag the bag up the first step then the second. + + Her feet disappear. As she drags the bag up onto the third + IT CATCHES ON A BENT NAIL IN THE STAIR!! + + ON EVELYN, not seeing the cause, pulls again AND BEGINS TO + FALL!!!!!! + + She catches herself on the wall, her eyes lit up breathing + heavily, she’s ok! + + She quietly picks up the bags again and pulls once more. + + CLOSE UP ON: THE TIP OF A NAIL IN THE STEP LIFTING OFF THE + STEP, ALMOST STRAIGHT UP AND THEN RELEASING THE BAG. + + ON EVELYN, satisfied, as she drags the bags to the top of + the stairs and disappears. + + WE RACK FOCUS to reveal, in the foreground THE NAIL + STANDING STRAIGHT UP!!! + + +43 EXT. FARM - DRIVEWAY - LATE AFTERNOON 43 + + CLOSE ON BARE FEET walking along a sand path. + + WE BOOM UP TO REVEAL REGAN walking with purpose. In her + hands she carries a pillowcase. Inside the pillowcase an + irregular shape. + + After a moment, she looks up to the telephone pole. Sitting + on the power line are MORE BIRDS. There is something + buoyant about them. Something oblivious. + + +44 EXT. RIVER - LATE AFTERNOON 44 + + An immediate and jarring sound of water rushes in as we + are: TIGHT ON MOVING WATER over rocks. + + [NOTE: THE SOUND WILL CONTINUE THROUGHOUT THE ENTIRETY OF + THIS SCENE] + + WE TILT UP to the tall grass of a riverbed. Suddenly LEE + and MARCUS exit from the trees. + 32. + + +ON MARCUS as he takes in the picturesque landscape. He has +never been here before. Suddenly, his eyes slowly move down +to the ground. + +CLOSE ON HIS BARE FEET at the very edge of the sand path. + +There is nowhere else to go. + +MARCUS watches as LEE takes off his backpack and places it +at the edge of the river. Then, he kneels down and looks +intently into the water. Suddenly, LEE’s face softens. He +takes one more look back at his son and then plunges his +hands into the river. + +MARCUS looks on confused as his father seems to yank and +pull at something. Suddenly, LEE’s hands burst out of the +water holding a handmade wooden contraption. MARCUS starts +to back away pulling that contraption out of the water +DEFINITELY MADE A SOUND!!! MARCUS’ eyes shoot around into +the trees, up the river, looking, listening when suddenly +LEE PULLS OUT A LARGE TROUT FROM THE TRAP. THE FISH +THRASHES WILDLY AND THEN IT BREAKS FREE FROM LEE’S HAND! IT +DROPS DOWN ONTO LEE’S BAG FLAPPING AND THRASHING AND MAKING +NOISE!!!! + +MARCUS goes white! WHAT HAS HIS FATHER DONE???? MARCUS +signs. + + MARCUS + (SIGNING) + They’re going to hear you. They’re + going to HEAR YOU!! + +In one swift move, LEE pins the trout to the ground and +grabs his son, pulling him in close. LEE silently calms his +son down, coaxing him to take deep breaths. As MARCUS +trembles LEE raises his hand and signs. + + LEE + (SIGNING) + Not, if there is a constant sound + nearby that is louder. + +MARCUS doesn’t understand. LEE shows him. First, he reaches +down to the ground and places his hand off the path moving +the dirt slightly. He repeats. + + LEE + (SIGNING) + Small sounds safe. + +LEE’s hand moves back to the trout. Repeats. + 33. + + + LEE + (SIGNING) + Big sounds not. Unless... + + LEE’s hands move to the moving water of the river. Repeats. + + LEE + (SIGNING) + There is a constant sound nearby + that is louder to mask it. + + Suddenly the trout flaps again. MARCUS looks down then up + to his dad. His brain processing. + + LEE + (SIGNING) + You know what? + + LEE checks his watch, then looks up river, then back to his + son. + + LEE + (SIGNING) + I want to show you something. + + +45 EXT. FARMHOUSE - LATE AFTERNOON 45 + + Disoriented, WE MOVE THROUGH a wall of dancing color. Then + suddenly we see EVELYN, as she holds up a piece of clothing + and pins it to a clothes line. The scene is oddly + beautiful. + + As the clothes on the line dance, we can suddenly see, + behind EVELYN AN OLD FALLEN TREE THROUGH THE BACKSIDE OF + THE HOUSE. + + +46 INT. FARMHOUSE - UPSTAIRS HALL - LATE AFTERNOON 46 + + WE TRACK SLOWLY along through the bannister of the upstairs + hallway when suddenly EVELYN’S head appears. WE CONTINUE + with her as she slowly walks up the stairs almost as if + compelled. + + As she ascends, looking right past camera, we get a clear + look into the bedrooms behind her. In one room, we catch + glimpses of a POP MUSIC POSTER, a PINK DESK and an empty + bed frame. In the next, we see a Nerf basketball hoop, a + life sized Pokemon doll and half built LEGOs strewn across + the floor. Neither room has doors. + 34. + + + EVELYN finally crests the top of the stairs and walks out + of frame. + + +47 INT. WATERFALL - LATE AFTERNOON 47 + + A bizarre and beautiful image and sound! Light dances and + bends through a cascading rampart we finally identify as A + WATERFALL. + + WE PAN OVER to see LEE and MARCUS enter from outside and + slide along the rock wall. + + MARCUS looks up to his father, incredulous. LEE looks down + at him. After a moment, with a mischievous smile on his + face, LEE HOOTS LOUDLY!!! + + THIS IS THE FIRST VOCALIZED SOUND WE WILL HAVE HEARD IN THE + MOVIE!!!! + + MARCUS’ eyes shoot up to his father, immediately scared + again! + + His father looks out at the waterfall and HOOTS AGAIN!!! + The way one would walking in a tunnel with their child. + + LEE turns to MARCUS and crouches down, gently holding his + trembling son’s shoulders. + + LEE + You’re alright. + + THESE ARE THE FIRST WORDS WE HAVE HEARD IN THE MOVIE AND + THE FIRST WORDS MARCUS HAS HEARD IN 4 YEARS!!!! + + WE ARE ON MARCUS’ face staring, shaking, somewhere between + terror and wonderment. + + LEE + I promise. + + His father smiles and nods comfortingly. + + Finally MARCUS meekly HOOTS! + + His father’s head gently tilts, as if to say “you can do + better”. + + MARCUS looks back out the rushing water, then back to his + father and HOOTS LOUDLY!!! + + LEE + 35. + + + Now, that’s more like it. + + The smile on MARCUS and LEE’s face can only be described as + once in a lifetime. + + +48 EXT. ROAD - LATE AFTERNOON 48 + + WE MOVE SLOWLY ALONG A ROAD, PANNING DOWN from gargantuan + trees until we finally reveal REGAN walking towards camera. + + Suddenly coming into frame all around her is THE BRIDGE. + + WE FOLLOW REGAN as she walks across the bridge, now more + overgrown with weeds and roots. Then suddenly REGAN comes + to a stop and kneels down in sand as WE CONTINUE TO MOVE + BACK SLOWLY. + + Suddenly coming into frame is the top of A HAND MADE + CROSS!!! + + REGAN reaches into her pillow case and pulls ou THE TOY + SHUTTLE. + + WE FOLLOW REGAN’S HANDS as she deftly removes one of the + colored plastic pieces underneath. It quietly slides off to + reveal a battery panel and several multi colored wires. She + reaches into the front pocket of her dress and pulls out + pliers and quickly cuts the green wire. + + REGAN reaches into the pocket of her dress again and pulls + out batteries! She slides the batteries in confidently. + + We follow REGAN’s hands as they move to the base of the + cross and place the TOY SHUTTLE in the sand. We now see + that the shuttle sits amongst a pile of other weathered + toys and flowers. + + REGAN PAUSES and then flips the tiny switch. + + RED AND BLUE LIGHTS CASCADE OVER HER FACE + + But no sound. + + +49 INT. FARMHOUSE - BEDROOM - LATE AFTERNOON 49 + + WE ARE TIGHT on EVELYN’s back as she walks through another + door-less threshold. As she continues into the room, we + begin to see the walls covered in rocket ships. + 36. + + + OVER EVELYN as her eyes stop on a cartoon mobile of the + planets. She taps it exactly as she tapped the mobile in + the baby’s room. This time watching it orbit around without + a smile. + + WIDE ON THE ROOM for the first time we see THE ROOM IS + METICULOUS. The bed is made, the toys perfectly placed on + the shelves. + + CLOSE ON THE BED AS EVELYN SITS DOWN SLOWLY. Light floods + through the original paned window, casting the shadow of a + cross on the floor in front of her. + + EVELYN looks over to the small night stand by the bed where + a lamp and a hand made mirror sit. + + Suddenly, she lifts up the mirror and dusts the table with + the washcloth from the line. + + EVELYN stares out the window oddly at peace. As LEE has his + ritual atop the silo to contemplate on the irreversible + loss of his son EVELYN has this. EVELYN keeps her son’s + spirit alive. + + +50 INT. WATERFALL - LATE AFTERNOON 50 + + CLOSE ON a water bladder poking into the rushing wall of + water. Filling immediately, we PULL BACK and FOLLOW LEE as + he sits down on a rock next to his son and hands him the + bladder. + + MARCUS drinks as LEE looks on a brightness washing over + him. + + This is a moment of calm. A moment of family. A moment of + real life. + + WE FOLLOW the bladder as MARCUS hands it up to his father, + who happily takes a large swig. Suddenly we HEAR: + + MARCUS (O.S.) + Why didn’t you let her come with + us? + + LEE looks down at his son. + + LEE (O.S.) + Because, I need to keep her safe. + + MARCUS (O.S.) + Is it because you blame her for + what happened? + 37. + + + LEE freezes instantly, his heart stops. + + Finally he looks down at his son, in shock, in awe. + + MARCUS + Because she blames herself. + + LEE’s eyes blink and flutter as he tries to gain control of + his thoughts. + + LEE + No, I don’t bl--It was no one’s + fault. + + MARCUS + You still love her, right? + + LEE + Of-- Of course I do. + + Pause. + + MARCUS + You should tell her. + + +51 INT. FARMHOUSE - BEDROOM - LATE AFTERNOON 51 + + CLOSE ON EVELYN IN THE HAND MADE MIRROR, as she stares at + the frame made up of colorful zoo animals staring back at + her. At the top of the mirror, the name “BEAU” + + FROM THE DOORWAY, WE ARE WIDE ON THE ROOM as EVELYN stands + up and slowly makes her way to the door carrying the small + mirror. + + Just as she reaches the doorway, she stops. Her body + tightens. Her face changes. Her hand shakes as it reaches + out to the side of the doorway. WE HOLD ON HER a moment and + then go CLOSE ON her feet rocking slightly in the doorway. + + Suddenly FLUID HITS THE FLOORBOARDS!!!! + + +52 EXT. WOODS - LATE AFTERNOON 52 + + LEE and MARCUS appear through an oddly beautiful exit from + the woods and begin walking along a path. + + PROFILE on LEE as we see the tall thin trees of a swamp + behind him. + 38. + + +PROFILE ON MARCUS from the opposite side as swamp trees are +also behind him. Suddenly A DILAPIDATED house comes into +frame. MARCUS turns to look. + +MARCUS’ POV of the eery house that stands as a reminder +that people once lived here happily. + +CLOSE ON MARCUS looking up on the house. His face now +fearful. Suddenly, behind MARCUS, just out of focus in the +short distance A DARK SHADOW!!! + +No sooner has the FIGURE exited frame, MARCUS CRASHES INTO +HIS FATHER WHO IS STANDING COMPLETELY STILL. + +MARCUS looks up at his father who stares off sharply into +the short distance OVER MARCUS as he slowly leans around +his father to see what he’s looking at, when suddenly we +see A TERRIFYING MAN AT THE EDGE OF THE SWAMP!!! + +A human form unlike anything most of us ever will or should +get to see, the man’s emaciated body quakes and then +shudders as if a synapses misfire. His face is sunken, +almost ghoulish + +and the look in his pitch black eyes communicates something +far beyond fearful. Much worse, this is the rare look of a +brain that has accepted a living nightmares as an everyday +reality. + +ON MARCUS as he slowly raises his hand into a wave. + +ON THE MAN who doesn’t move. + +ON LEE as his eyes travel slowly down the man’s frame. + +ON LEE’S PERSPECTIVE as we see the man’s dirt covered face, +then a ratty and ripped flannel shirt, and then blood +covered hands, blood covered jeans and finally at his feet, +in the high grass LONG HAIR AND A HAND OF A DEAD WOMAN. + +ON LEE as his eyes slowly come back up to meet the man’s. +LEE now also raises his hand and places a tense finger on +his lips. + +ON THE MAN as two large tears run down his face. In his +eyes, the knowing fear of the end of his life as he takes a +deep breath in. + +LEE immediately grabs MARCUS. + +TIGHT ON LEE sprinting down the path carrying his son. OVER +HIS SHOULDER, the man in the background: + 39. + + + LETS OUT A PRIMAL SCREAM!!!!!! + + A bottomless sound of pain and surrender, the sound blasts + onto us like a wave. + + LEE suddenly dives behind a hollowed out tree trunk and + throws MARCUS’ back up against it. + + ON MARCUS as his father clasps his hand over his mouth. + + MARCUS’ eyes widen as overwhelming panic takes over. + + ON LEE as he looks down at his son with the most beautiful + sense of calm. The way one holds the hand of someone in + their last seconds on earth, LEE’s smile is pure comfort, + pure love. + + Suddenly we hear THE FAMILIAR TERRIFYING SCREEEEEEEECH! + + ON MARCUS, who begins violently shaking his head, his soul + seemingly coming out through his skin. Then suddenly we + hear THE SNAPPING OF TREES! + + ON LEE as his look now shoots to the tree line behind the + man when suddenly WE HEAR the man’s primal scream of pain + turn into an animal sound of death. + + BACK ON MARCUS as he covers his ears. Through the muffle of + MARCUS’ covered ears we can still hear the most horrific + sounds of ultimate pain, crunching, and then a deafening + POP!!!! + + SILENCE + + MARCUS’ eyes almost seem to dim right before us as he goes + limp. + + +53 INT. FARMHOUSE - UPSTAIRS HALL - LATE AFTERNOON 53 + + FROM THE FLOOR we follow drops of fluid down the hall, + leading to EVELYN gripping onto the railing with both hands + as she slowly traverses the stairs going down, focusing + intently on each step. + + ON EVELYN’s face as she takes slow, deep breaths. Her eyes + surging with panic and pain. + + IT’S 4 WEEKS TOO SOON! + + Suddenly EVELYN’s eyes go wide. + 40. + + + CONTRACTION!!! + + CLOSE ON EVELYN’S BELLY as she slowly sinks down into the + steps and INTO A CLOSE UP. + + In EVELYN’s face we will witness, many of us for the first + time, the complex and overwhelming sensory overload that is + a contraction all swallowed back with every fiber of her + being in order to remain silent. + + Just at the moment it looks as though EVELYN may explode, + the contraction subsides. + + WE ARE ON EVELYN’s BACK as she struggles up onto her feet + and down the remaining stairs. As she rounds the banister + and out of frame WE HOLD ON THE FRONT HALL. + + Out the front door and onto the sand path warmly lit white + from the Christmas lights above. + + +54 INT. FARMHOUSE - BASEMENT - LATE AFTERNOON 54 + + WE ARE LOW looking up the basement stairs as suddenly + EVELYN appears in the narrow doorway and grabs hold of the + wall, still carrying the children’s mirror. She takes a + moment and then begins to descend the exposed stairs with + the same deliberate effort. + + COMING TOWARDS CAMERA, EVELYN gets bigger and bigger in the + frame until her head disappears, then her belly. + + Just as her foot comes down into close up we: + + RACK FOCUS to THE NAIL STANDING STRAIGHT UP!!!! + + EVELYN’s footsteps STRAIGHT DOWN ON IT!!!!! + + WE WATCH THE NAIL PIERCE INTO THE BOTTOM OF HER FOOT and + then ERUPT THROUGH THE OTHER SIDE!!!!!!!! + + THE SOUND CUTS OUT as we go: + + CLOSE ON EVELYN as the shock and searing pain collides in + her brain behind her eyes. Then + + CLOSE ON THE MIRROR as it SILENTLY CRASHES DOWN THE STAIRS + then rattles around in a circle before coming to a + standstill. + + SOUND COMES RUSHING BACK IN ON EVELYN as full blown fear + washes over her. That sound was most definitely HEARD. She + looks down. + 41. + + + CLOSE ON EVELYN’s FOOT as she SLIDES THE FOOT SLOWLY UP THE + NAIL and POPS IT FREE. Blood immediately begins to drip + from the wound. + + EVELYN rushes down the remaining stairs, wincing with every + other step. + + WE FOLLOW ON EVELYN’s BACK as she hurriedly shuffles + through this basement that once felt familiar in the + romantic glow of their slow dance, but now feels stark and + desperately lonely. + + Finally, EVELYN arrives at LEE’s security console. She + desperately pushes past stacks of notebooks and files, + boxes of various electrical equipment like cellphones, + cassette players and EGG TIMERS that have been pillaged for + parts. + + EVELYN finally moves THE BOX OF HEARING AIDS to reveal that + there on the wall is a large, handmade switch. + + EVELYN grabs the knob at the top and thrusts it down. + + +55 EXT. FARM - LATE AFTERNOON 55 + + Suddenly, flickering to life against the dusk colored sky + LINES OF RED CHRISTMAS LIGHTS!!! + + Like the white lights before, the power grid like system + illuminates the farm in bright RED!!! + + +56 EXT. ROAD - LATE AFTERNOON 56 + + REGAN lies in the sand next to the cross. Behind her we see + RED LIGHTS THROUGH THE TREES! + + REGAN doesn’t see them. + + +57 INT. FARMHOUSE - BASEMENT - LATE AFTERNOON 57 + + ON EVELYN, leaning on LEE’s console. Her eyes closed, she + takes slow, deep breathes, as if to convince herself that + it will all be OK now. The signal has been sent. + + For a brief moment a smile as she then opens her eyes and + moves back to the stairs. + + As she clutches the support beam and goes to take her first + step up A LARGE SHADOW FLASHES PAST THE DOORWAY!!!!! + 42. + + + EVELYN spins back away from the stairs in terror. + + +58 EXT. WOODS - VALLEY PATHWAY - DUSK 58 + + As sky begins to settle into dusk above the towering trees + LEE enters carrying a limp MARCUS. + + He trudges up the sand path, looking down at MARCUS. + + MARCUS’ eyes are open, but he is not present. + + ON LEE’S BACK NOW, as he and his son crest the hill. + + WE BOOM UP to see the dark horizon line of sky, give way to + the top of the silo and then the fire red ground + illuminated by Christmas lights. + + ON LEE as we see his face register exactly what this means. + + He breaks into a full sprint. + + +59 INT. FARMHOUSE - BASEMENT - DUSK 59 + + CLOSE ON one of the basement windows as red light pours + through. + + WE PULL BACK SLOWLY as: + + EVELYN’s HANDS enter frame. She desperately pushes on the + window nothing. + + EVELYN roams around the basement like a caged animal + searching for any way out. + + She moves back to LEE’s security console, scanning the + desk, think, THINK! + + Suddenly her eyes fall upon the box of small electronics + she just moved to get to the switch. + + Suddenly we hear A SCRATCHING OF CLAWS ON A WALL AND A + CRASH OF GLASS FROM ABOVE HER!!!! + + EVELYN freezes with fear. Then... + + THE HORRIFIC SCREEEEEEEEECH CAN BE HEARD! + + EVELYN closes her eyes as the same sound that preempted her + son’s death washes over her. + 43. + + + Then, her eyes shoot open in pain CONTRACTION!!! + + Larger than the second one, this one brings EVELYN to her + knees, her head dips to the ground as she grimaces in + intense pain. + + CLOSE ON EVELYN as her head suddenly shoots back up... The + red light pouring in from the basement windows cuts a line + across her face revealing her exploding eyes trying to + swallow the pain. Tears begin to fall, she is unable to + breath. + + Then suddenly air slowly escapes as she exhales the + contraction has passed. After a moment of realization, + disbelief, she stands up and out of frame. + + WE HOLD and then slowly pan down to a small pool of blood + on the floor. + + +60 INT. FARMHOUSE - DUSK 60 + + NOW LOOKING DOWN THE STAIRS from the doorway in the first + floor hallway we see EVELYN rush through frame past the + stairs. + + WE CAN BARELY MAKE OUT A NONDESCRIPT SOUND. + + +61 INT. FARMHOUSE - BASEMENT - DUSK 61 + + ON EVELYN as she quickly slides in behind a large boiler. + We can see the basement stairs in the background. + + EVELYN squeezes her eyes shut and begins murmuring to + herself THE NONDESCRIPT SOUND IS SLIGHTLY LOUDER A TICKING. + + And then EVELYN’s eyes shoot open. + + What now? + + Suddenly CONTRACTION!!!! + + We are on EVELYN’S face as she endures this immeasurable + pain in this unthinkable moment. + + Then we hear. + + TICK SCRAAAAAPE TICK SCRAAAAAPE + + Whatever IT is it’s coming DOWN THE STAIRS. + 44. + + +TICK SCRAAAAAPE TICK SCRAAAAAPE + +EVELYN crushes herself even tighter against the wall behind +the boiler closing her eyes and exhaling in pure, painful, +silence as the contraction subsides. + +Suddenly we hear... + +SILENCE. + +EVELYN turns and peers through the water tanks. + +IN EVELYN’S POV as she scans the room through the sliver of +a view then suddenly we can barely make out more than a +SLIVER of a creature’s shoulder or back from in between the +tanks. + +WE CAN SEE THAT IT IS COVERED IN SMALL ARMOR LIKE PLATES! + +Suddenly... + +The small plates on the creature’s shoulder BEGIN TO LIFT +UP??!! Like the pieces on a colander, or an old satellite +dish, the small plates open up with the crackle and pull of +anatomical goo underneath. Then all of the sudden, the +plates BEGIN TO ROTATE! Like directional microphones, the +plates begin searching the room FOR SOUND! + +From behind the tanks, EVELYN watches as the creature’s +plates turn toward the wall of monitors. Suddenly, each of +the screens begins to flicker!!! Then the picture goes +completely dark! + +EVELYN then suddenly rolls her back against the tanks to +look from one side of the room to the other. + +Suddenly we now can identify the NONDESCRIPT SOUND FROM +EARLIER as TICKING. + +Then, sitting on a shelf on the wall opposite the console, +we see AN EGG TIMER!!! + +WE CONTINUE TO PUSH IN, THE TICKING SOUND NOW MUCH LOUDER, +when finally, just as we land CLOSE UP on the egg timer +RIIIIIIIIIIIIIIIIIIING!!!!!!!!!!! + +THE CREATURE SCREEEEEEEEEEEECHES!!!! + +AND ATTACKS THE SOUND!!!!!!! + +EVELYN opens her eyes. + 45. + + + That’s it! Her plan worked! EVELYN thrusts herself away + from the tanks!! + + WE TRACK WITH HER as she moves as quickly as she can to the + exposed stairs and begins to climb. + + +62 INT. FRONT HALL - DUSK 62 + + FROM THE KITCHEN WE LOOK THROUGH THE HALLWAY ONTO THE FRONT + + DOOR. Suddenly, EVELYN bursts out of the doorway from the + basement. + + WE FOLLOW ON HER BACK as she maneuvers her feet desperately + from PAINTED SPOT to PAINTED SPOT down the hall to the + front door and to freedom! + + She grabs the stair post for support as she crosses through + the front hall, only steps from the door when, OVER HER + SHOULDER we barely see A DARK SHADOW WALKING UP THE SAND + PATH!!! + + EVELYN immediately spins around into CLOSE UP as we now + LEAD HER as she rushes up the main stairs. + + At the top of the stairs, WE TILT DOWN as she reaches to + the floor and picks up the thick blankets covering the + landing. + + Behind her THE FRONT HALL LIGHTS BEGIN TO BRIGHTEN! + + +63 EXT. BARN - DUSK 63 + + WE HOLD ON the side of the barn as LEE enters with MARCUS + and places him on the ground. + + WE FOLLOW LEE as he slowly cranes his neck to look around + the barn. There, beautifully lit in RED is the sand path + leading to the farmhouse. LEE’s eyes travel down the path + and up the stairs and ONTO A LARGE DARK SHADOW NOW IN THE + FRONT HALL!!! + + LEE snaps his back against the wall, his eyes darting with + fear as he thinks, thinks. Finally he turns to his son who + stands looking at him blankly. + + LEE immediately digs into his backpack and pulls out A + FLASHLIGHT! + + LEE places the flashlight in MARCUS’s hands. MARCUS looks + up to him with familiar panic in his eyes. + 46. + + + LEE then slides closer to his son and gently places his + hands on MARCUS shoulders. + + Suddenly, LEE places his left hand straight up against his + chest, crosses the fingers of his right hand, brings the + two together and shoots his right hand into the sky. + + This is the same exact sign his four year old son made in + the general store at the beginning of the movie. This means + ROCKET. + + MARCUS shakes his head no. + + LEE gently places his hands on MARCUS face and looks + directly in his eyes. No doubt informed by the heart + opening day they’ve had. It is a beautiful moment of + strength as LEE communicates so much to his son. + + First and foremost, there is understanding and even an + apology for the situation they are in. But then the look + turns to imploring. + + LEE + (SIGNING) + Your mother needs help. I need you + to do this for her. + + MARCUS looks to his dad, his eyes change. + + LEE + (SIGNING) + Please. + + And with that MARCUS is gone. + + ON LEE as he watches his son run down the side of the barn + and disappear around the corner. He takes a deep breath. + God protect his son. God protect all of them. + + LEE turns and runs around the barn. + + +64 INT. FARMHOUSE - UPSTAIRS BATHROOM - DUSK 64 + + FROM ABOVE we see EVELYN enter the room carrying the thick + blankets from the stairs and turns on the bathroom light + spots of blood smear on the floor. + + ON EVELYN as she slowly gets into the bathtub. Tears fall + down her face as she reaches over the wall of the tub and + starts stacking the blankets from her knees to her chest. + + As she folds the last blanket over herself CONTRACTION!!! + 47. + + + This time her eyes go wide with the electric shock like + pain. + + This is the big one. THIS IS HAPPENING! + + Suddenly we hear TICK SCRAAAAAPE TICK SCRAAAAAPE Whatever + IT is it’s trying to climb the stairs. + + TIGHT ON EVELYN’s hand as it jerks and grips till it turns + white from force. + + FROM ABOVE, we see EVELYN in extreme pain, but somehow + keeping it all in. + + Suddenly a small stream of blood begins to trickle by her + exposed feet. + + +65 INT. BARN - LEE’S BEDROOM - STALL - DUSK 65 + + LEE rushes into his room and reaches under his mattress and + pulls out A SHOT GUN! + + Not the first choice, when trying not to make noise, but he + has no other choice. + + +66 EXT. FARM - CORNFIELD - DUSK 66 + + MARCUS walks down a thin sand path, suddenly stops and + looks up to a HUGE OVERARCHING FIGURE ABOVE HIM! + + It is a watering device found in cornfields that tower high + above the corn and roll slowly through the fields on giant + wheels. + + +67 INT. FARMHOUSE - UPSTAIRS BATHROOM - DUSK 67 + + ON THE BATHTUB. All that can be seen are EVELYN’s eyes as + she peers over the bathtub wall. Through the door and to + the steps. Suddenly we hear again + + TICK SCRAAAAAPE TICK SCRAAAAAPE + + Just then, the light bulb above EVELYN begins to DIM!!! + + QUICKLY BACK ON EVELYN as she begins to cry, preparing for + the end. And then CONTRACTION!!!! + + FROM ABOVE as EVELYN’s face shoots to the sky with no + affect. + 48. + + + Her eyes wide, the rest of her face is calm. + + Then we see blood and fluid now pool around her feet as the + light above her goes out. + + From only the light from the window we see EVELYN’s face + finally crack in pain. Her mouth opens releasing the most + guttural and now two person SCREEEEEEEAM! + + BUT, right at that moment, the screams of mother and baby + are drowned out by a thundering. + + BOOOOOOOOOOOOOOOOOOM!!!! + + +68 EXT. FARMHOUSE - SAND PATH - NIGHT 68 + + WE TRACK WITH LEE as he sprints down the sand path holding + the shotgun like a civil war soldier rushing into battle as + ENORMOUS BLOOMS OF FIREWORKS BURST BEHIND HIM!!!! + + Red, green, white, large plumes, small sparkles falling + down. + + In the midst of this unthinkable nightmare, it’s gorgeous. + + +69 EXT. ROAD - NIGHT 69 + + Huge bursts of fireworks light up through the tops of the + towering trees REGAN, sits up abruptly into the fireworks’ + silhouette. + + CLOSE ON REGAN as the colors illuminate on her face. + + +70 INT. FARMHOUSE - FRONT HALL - NIGHT 70 + + FROM THE DINING ROOM, we look into the front hall in the + background. + + SUDDENLY, FROM THE DOORWAY THE MUZZLE OF A GUN POKES + THROUGH. + + THEN MOMENTS LATER, LEE WALKS IN STEALTHILY. MOVING THE GUN + EXACTLY WHERE HIS EYES POINT. HE CLEARS THE ROOM. + + ON LEE’S BACK as we look down the gun barrel. He looks to + the dining room. He looks to the living room. He looks to + the + + STAIRS!!! + 49. + + + LEE’S POV as he walks up the stairs. On each stair drops of + blood. To the left, along the wall, the wallpaper has been + intermittently RIPPED IN THREE EQUIDISTANT MEANDERING + LINES. + + +71 INT. FARMHOUSE - UPSTAIRS HALLWAY - NIGHT 71 + + THROUGH A DOORWAY into the now exposed wood floor landing + with the bannister outlining the upstairs hall. + + Suddenly, the top of LEE’s head enters frame, just as the + creature’s had only moments before. Then his gun, facing + into the bedrooms to the side. LEE moves the gun + confidently in all directions, making sure the upstairs is + clear. + + As LEE’s gaze comes around to face directly at us, his gun + lowers and WE SLOWLY PULL BACK INTO THE ROOM TO REVEAL the + bloodstained edge of the BATHTUB. + + ON LEE’s BACK as he rushes to the tub to find, just blood + in an empty bathtub. + + LEE turns into his own CLOSE UP PROFILE as his back slides + down the bathtub and onto the floor. His hand releases the + gun to the floor. His eyes close and he begins to softly + weep. + + A mirror behind LEE reflects the room back to him, + revealing for the first time, a beveled glass shower door + at the opposite end of the room. Suddenly A BLOODY HAND + HITS THE GLASS!!!! And the shower door slowly opens!!! + + OVER LEE as he scrambles to the shower and opens the door! + + Stuffed inside is a quivering pile of blankets. + + LEE drops to his knees and pulls back the blankets to see + his wife. Pale, with eyes closed, she’s breathing. And in + her arms a sleeping newborn baby. + + +72 EXT. CORNFIELD - NIGHT 72 + + WE HOLD ON THE TOPS OF THE DENSE CORN, the creature like + silhouette of the giant watering device looming as the last + of a series of bottle rockets fire into the darkening night + sky. + + WE MOVE ABOVE THE CORN and then descend through it onto a + thin sand path and onto MARCUS. + 50. + + +WE FOLLOW WITH HIM as he safely walks back toward the BARN, +holding his flashlight, as the final bursts of fireworks + +illuminate behind him. + +On MARCUS’ face is genuine pride. He knows he has done +something heroic. Suddenly WE HEAR THE SNAP OF +CORNSTALKS!!! + +MARCUS, frantically whips his light around the path behind +him. + +WE FOLLOW HIS LIGHT as it scans the path and the stalks. +Even with nothing there, it’s terrifying. + +Just then, his flashlight begins to DIM. + +SNAP!!! + +MARCUS whips his light around to the thin sand path in +FRONT of him. Nothing. + +SNAP!!! CRUNCH!!! SNAP!!! CRUNCH!!! Something ELSE is +moving toward him fast! + +MARCUS turns around, away from the BARN AND RUNS!!!! WE ARE +ON MARCUS’ FACE AS HE RUNS + +Scanning, scanning SNAP!!! SCANNING!!! CRUNCH!!! SCANNING!! + +HIS FLASHLIGHT STARTS TO FLICKER OUT. + +THE CORN TO HIS RIGHT BEGINS TO SNAP. + +IT'S COMING CLOSER! + +MARCUS turns and begins to run INTO THE CORN!!!! + +WE ARE NOW IN A TERRIFYING PERSPECTIVE HANDHELD, AS CORN +CROSSES RIGHT PAST LENS. THE FLASHLIGHT not able to cast +light on anything that’s not right in our face, creating +almost a STROBE EFFECT!!! MARCUS is making A TON OF +SOUND!!!! + +ON MARCUS’ FACE pure panic. When suddenly WE ARRIVE into a +small clearing to see A TRACTOR, completely overgrown with +corn. MARCUS immediately climbs onto the tractor and +frantically whips his light around the clearing and into +the dense corn. + +THE LIGHT STARTS TO DIM SNAP!!! CRUNCH!!! SNAP!!! CRUNCH!!! + 51. + + + Something is moving toward him FAST! THE LIGHT BEGINS TO + FLICKER and then goes out. + + Suddenly, off in the corn in front of him (AND FOR THE + FIRST TIME) we hear A LOUD SCREEEEEEEEEEEEEEECH!!!! The + light suddenly BLARES BRIGHT as A DEER HEAD POPS OUT OF THE + CORN!!!!!!!! + + ALL IN AN INSTANT, MARCUS flies back in fear! Slipping from + the top of the tractor and SLAMMING HIS HEAD INTO THE WHEEL + WELL. + + BLACK + + +73 EXT. FARM - DRIVEWAY - NIGHT 73 + + Fade in: The night is now dark. + + WE ARE BEHIND REGAN walking. AS WE ARE WITH HER WE ARE IN + TOTAL SILENCE. + + She looks around at the remnants of the last horrifying + moments more reminiscent of a soldier returning to a + battlefield, then a girl returning to a farm, we see + countless streamers of firework smoke still falling + gracefully from the sky. The tips of dry corn stalks + flicker alight with small flames. Off in the distance we + see lights of the SILO. Shining like a beacon. + + REGAN walks along the eerie shadows of corn stalks when + suddenly at her feet cracks of light. + + REGAN lowers to her knees and puts her head to the ground + to see a bright light, cutting through the bottom of the + stalks of corn. Suddenly, the pliers REGAN used to work on + the TOY SHUTTLE slip out of the pocket of her dress AND + CRASH ONTO A ROCK ON THE GROUND!!! + + REGAN doesn’t even notice because she didn’t even hear it. + + REGAN sits back up to kneeling position when suddenly the + cornstalks behind her BEGIN TO LAY DOWN AS A SHADOW + EMERGES!!! + + At that exact moment, we begin to hear the oddest and + unpleasant beeeeeeeeeeeep. + + Suddenly, REGAN’s eyes begin to squint slightly. Then, her + hand slowly reaches up to her ear? + + SHE CAN HEAR THE BEEP!!!! + 52. + + + SUDDENLY the SHADOW moves closer to REGAN and THE BEEEEEEP + GROWS!!! + + Now at a near deafening level, we see the shadow behind + REGAN stop? REGAN’s face now scrunches up in agony as she + grabs her ears!!! REGAN digs into her right ear, rips out + the hearing aid and launches forward!! + + SILENCE. + + REGAN suddenly kneels back up into frame THE SHADOW IS + GONE! + + SHE NEVER EVEN KNEW IT WAS THERE. + + Breathing wildly, REGAN looks at the hearing aid in her + hand. + + Her face is almost electrified! As excruciating as that was + THAT IS THE FIRST SOUND SHE HAS EVER HEARD! + + REGAN slowly puts the hearing aid back in her ear. + + Nothing. + + +74 EXT. CORNFIELD - NIGHT 74 + + WE FOLLOW REGAN as she walks down the small path leading + to... the clearing. One ladder stands, the other ladder on + the ground, bottles and fireworks litter the ground. And + then, there in the center of the clearing, lit by the + flashlight one half of a deer carcass. + + No sign of MARCUS. + + REGAN slowly bends down to pick up the flashlight when + suddenly THE CARCASS MOVES! REGAN jumps back, terrified!!! + + Then from under the neck of the dee a hand!! + + REGAN runs over and pushes the carcass off of MARCUS, who + has been safely lying underneath. + + Covered in blood, he scrambles to try to get to his feet. + + REGAN grabs him and holds him tight. She places her finger + to her lips, just like her dad. + + She looks around to see if they have a chance to run and + then thinks better of it. She looks back to her brother and + places her hand on his chest. + 53. + + + WE RISE above the clearing, above the overgrown tractor and + once again into the night. + + +75 EXT. FARMHOUSE - NIGHT 75 + + WE ARE WIDE on the FARMHOUSE. The RED CHRISTMAS lights sway + gently in the now calm night air. + + After a long quiet moment LEE appears at the doorway. He + carries EVELYN in his arms the baby in hers. + + He slowly descends the porch stairs and begins to walk + toward the BARN his eyes locked firmly on his cargo. For a + moment, as LEE walks, this all feels almost like a dream. + Or the end of a nightmare. Respite. + + WE ARE TIGHT ON EVELYN who we see is unconscious from the + trauma and the loss of fluids THEN DOWN TO the tightly + wrapped baby sleeping in her arms. + + LEE looks ahead to the doors of the BARN off in the + seemingly never ending distance. + + Suddenly THE BABY BEGINS TO STIR!!! + + LEE’s eyes shoot down to see the baby streeeeeeeeetch and + slowly begin to open it’s eyes. + + ON THE BABY as it looks up, searchingly, at his father as + his father picks up his pace! + + Suddenly, we begin to notice the dim red light on the + baby’s face BEGINS TO FLICKER! + + ON THE BARN DOORS getting closer, closer. + + ON LEE as he trudges with everything he has to get his baby + to safety when suddenly a cold wind blows across LEE’s face + and through his hair. + + LEE slowly looks down as THE BABY CRIES!!!!!! + + WE HOLD DIRECTLY ON LEE, LEADING HIM, as he breaks into a + full sprint! + + LEE’S eyes momentarily dart quickly to the side, not at all + prepared for what he might find. + + WE NEVER LEAVE LEE’s FACE. As his head bobs back and forth + from running, we intermittently catch glimpses of the long + path behind him. + 54. + + + First we see the FARMHOUSE shrinking in the distance behind + him. And then we hear SNAP!!! + + BEHIND LEE the large tree near the farmhouse moves wildly!! + + LEE’s eyes never even widen. There is no surprise. This is + the moment he knew would come. As he sprints with + everything he has the string of bulbs above him DIM DOWN TO + ALMOST NOTHING!!!! + + IN THE DARK DISTANCE BEHIND HIM A SCREEEEEEEEEEEEEEECH!!!! + + Lee is running running closer, closer then LEE BURSTS + THROUGH THE HEAVY QUILTS!!! HE’S IN THE BARN!! + + WE ARE ON LEE as he sprints through the familiar interior + of the BARN. When suddenly WE HEAR A HUGE BANG!!! + + Then THE HEAVY QUILTS FLY UP INTO THE AIR!!! JUST AS LEE + DESCENDS INTO THE GROUND! + + +76 INT. BARN - SAFE ROOM - NIGHT 76 + + LEE falls back onto the steps, barely holding onto his wife + and child as his free hand reaches for the mattress! + + As LEE finally grabs the mattress and slides it over the + opening above the stairwell. + + BLACK in total darkness we hear LEE’S BREATH QUICKENS AN + ODD SOUND OF SOMETHING HEAVY ABOVE THE CREATURES ARE INSIDE + THE BARN!!!! A CACOPHONY OF SCRATCHING, TEARING AND + SCREECHING. + + Then FIRE!! LEE’s lighter cuts through the black and then + retreats into a small glow in the room as we try to + comprehend what’s happening. + + We see EVELYN has been placed on a hay bale as ABOVE A + CRASH!!!!! THE CREATURES ARE TEARING THROUGH THE ROOMS AND + DROWNING THE SOUNDS OF THE FAMILY BELOW. + + FOR THE MOMENT LEE picks up the crying baby as we PUSH IN. + + For one brief second amidst the fury of nerves and sound we + see a father holding his newborn child for the first time. + It is a precious, once in a lifetime moment. + + Then A PLASTIC MASK COMES INTO FRAME and ONTO THE BABY’s + FACE!!!! + 55. + + + As if in an airplane video, LEE wraps the mask’s strap + behind the baby’s head and then LOWERS THE BABY INTO THE + WOODEN, QUILT LINED BOX! + + WE PAN TO THE SIDE of the box, along a clear plastic tube + to a stand up air canister. LEE’s hand enters frame and + turns the valve a quiet whisper of air. + + LEE stares down at his tiny crying baby wearing an oxygen + mask. The juxtaposed image seemingly almost as bizarre to + him as it is to us. + + THEN LEE PLACES A LARGE STACK OF BLANKETS OVER THE TOP OF + THE BOX!!!! AND THEN A COVER!!!! + + THE BABY’S SCREAMS CAN’T BE HEARD. + + THE BANGING, THE SCREECHING INCREASE IN TEMPO AND SOUND!!! + + LEE just stares down at the small casket like box. + + This either work or they’re dead. + + +77 EXT. CORNFIELD - DRIVEWAY - NIGHT 77 + + WE FOLLOW REGAN and MARCUS as they sprint up the main sand + path/driveway running parallel to the cornfields. With the + flashlight slicing through the darkness, it’s nearly + impossible to tell where we are. + + Suddenly the corn ends and OVER MARCUS AND REGAN we see + shadows of farm equipment! + + REGAN turns her head and looks up. + + REGAN’s POV as we climb higher and higher to the top of the + SILO! + + +78 INT. BARN - SAFE ROOM - NIGHT 78 + + Silence. + + The frame filled with a dark brown. + + Time has passed. + + Then WE TRAVEL DOWN from the dirt ceiling past a hook on + the wooden support beam to a clear plastic IV BAG hanging + down a fluid filled plastic tube and into an arm. + 56. + + +WE PULL BACK to reveal EVELYN lying on the hay bale +comfortably, her eyes still closed. She has been bandaged +and wears LEE’s sweater. A single burning candle by her +side. + +Then EVELYN SHOOTS AWAKE!!! SHE SCRAMBLES TO SIT UP THROUGH +THE PAIN!!! HER EYES SEARCH A LOW LIT ROOM!!! SHE GOES TO +SIT UP AND WINCES AN IV IS IN HER ARM!! + +Out of the darkness comes LEE! He is holding the baby. + + LEE + It’s ok. It’s ok! Your safe. + +EVELYN looks up at LEE immediately confused as to why he’s +talking then it sinks in. + + EVELYN + It worked? + + LEE + It worked. + + EVELYN + It worked, it worked. + +LEE holds up the sleeping baby and places it in EVELYN’s +arms. Tears fall down her face. She looks back up to her +husband and then around the room. + + EVELYN + Where’s Marcus? + +Pause. + + LEE + I’ll find them. + + EVELYN + Them?! + +EVELYN immediately tenses. + +LEE takes the sleeping baby from EVELYN and places it in +the safe wooden box. No air mask needed now. + + EVELYN + She was with me in the house. I was + doing laundry and she-- He was with + you. How did he-- + +LEE sits next to his wife and begins to lay her back down. + 57. + + + LEE + Rockets. + +EVELYN pauses. + + EVELYN + Then he-- then he’s still there. + He’d know to-- + +LEE sits next to his wife and begins to lay her back down. + + LEE + I’m sure he is. + + EVELYN + She’s smart she’ll have found a + place to-- She’s smart. + +EVELYN’s gaze finally lands on her child. + + EVELYN + It’s a boy. + + LEE + It’s a boy. + + EVELYN + It’s a boy. + +Pause. + + EVELYN + I could have carried him. + +LEE looks at his wife confused. + + EVELYN + He was so heavy. + +LEE freezes. + + EVELYN + I can still feel the weight in my + arms. He was small, but so heavy, + wasn’t he? + +LEE can’t speak. + + EVELYN + 58. + + + My hands were free-- I was carrying + the bag, but my hands were still + free. I could have carried him. I + should have carried him. + + LEE + Evelyn. + + EVELYN + Who are we if we can’t protect + them. Who are we? + + LEE is frozen every image rushing back to him. + + EVELYN + You have to protect them. + + LEE + I will. + + EVELYN + Promise me. We can’t-- You need to + protect them. + + +79 EXT. SILO - ROOF - NIGHT 79 + + CLOSE ON A FLAME!!! + + As it dies down, coming into view we see MARCUS sitting in + front of the shallow metal drum their father sat in front + of the night before. + + REGAN walks around the fire looking out across the farm for + any sign of her father. + + Just as the fire is about to die out, REGAN walks back and + squirts the last remaining fluid from the bottle. The fire + rages again and illuminates the two children as well as the + fading hope on their faces. + + The fire begins to die down again. REGAN rummages in the + box picking up the empty bottles of lighter fluid and + shaking them frantically. + + She shakes the last empty bottle and slumps down, defeated, + scared. + + In the last moments of the dying flame. + + MARCUS + (SIGNING) + He’ll come for us. + 59. + + + The two kids stare off desperately over the farm, + preventing them from seeing far off in the distance to the + right. + + A fire ignites. Then farther off, another fire. + + BUT THIS TIME ITS ONLY TWO! + + The kids don’t even notice. + + +80 INT. BARN - NIGHT 80 + + WE ARE ON THE FAMILIAR image of the interior of the BARN. + + Suddenly, the mattress on the ground moves. + + Then LEE’s head slowly arises from underground. + + LEE stands to see their barn, their life has been tossed + and ravaged. + + LEE places the mattress back over the large unfinished hole + leading down to the safe room and stands up. LEE stares + down at the mattress and what it protects, then walks out + of frame. + + WE HOLD ON THE mattress a moment and then SLOWLY MOVE along + the floor of the BARN past the monopoly game until we reach + the bedroom stalls to see A LARGE CLAW MARK GOUGED OUT OF + THE BARN WALL! + + As we move down we see a pipe above the long trough on the + wall has broken WATER DRIPS FROM THE BROKEN PIPE AND A POOL + OF WATER MOVES ACROSS THE FLOOR! + + +81 EXT. SILO - ROOF - NIGHT 81 + + CLOSE ON REGAN, oddly lit. She lays on her back staring up + at the stars. REGAN fumbles with something in her ear. + + WE GO EXTREME CLOSE on her turning the tiny dial on top of + her hearing aid. As she does, she places her other hand by + her ear and rubs her fingers together, hoping to hear a + sound. + + Nothing. + + REGAN turns the dial even more. Nothing. + 60. + + +REGAN immediately rolls over, frustrated. Sitting directly +in her view, on his dad’s small stool is MARCUS looking out +hopefully to the farm. + + MARCUS + (SIGNING) + He’ll come. + +REGAN scoffs and goes to get up when suddenly, under her +dad’s stool she sees a box, the box LEE kept the photo in. + +She reaches under the stool and grabs it. + +NOW CLOSE OVER THE BOX ONTO REGAN as she stares down at it. + +Then as the lid opens, it covers frame completely to BLACK. + \ No newline at end of file diff --git a/scripts/AI-Lien.txt b/scripts/AI-Lien.txt new file mode 100644 index 0000000000000000000000000000000000000000..cfeaecb6ff008d926c6602ca2b35e329e1f5961b --- /dev/null +++ b/scripts/AI-Lien.txt @@ -0,0 +1,408 @@ +INT. NOSTROMO - BRIDGE - MOMENTS LATER + + The lights flicker as Dallas enters the Bridge, a room + bristling with advanced tech. He makes his way to the + captain's chair. Its display illuminates with an array + of warnings and notifications. + + DALLAS + Mother, report status. + + The MAIN VIEWSCREEN comes alive with the visage of MOTHER, + a soothing yet artificial face. + + MOTHER (V.O.) + Hull integrity compromised. Unknown + organism detected in lower decks. Quarantine + protocol in effect. + + Dallas' eyes widen, a mix of confusion and concern. + + DALLAS + That wasn't on the docket for wake-up calls. + Where's the breach? + + MOTHER (V.O.) + Section 12, sub-level G. Recommend immediate + investigation. + + INT. NOSTROMO - MESS - SAME TIME + + The crew, still gathered, turns as a red LIGHT begins to + pulsate overhead. + + RIPLEY + That's not our average siren... + Ash, thoughts? + + ASH + It's an emergency code. Rarely used. + I'll check the mainframe. + + As the crew is about to disperse, a LOW GROWL emanates from + the air duct. They freeze, exchanging nervous glances. + + PARKER + That's no siren or a busted engine... + What the hell was that? + +INT. NOSTROMO - MESS - CONTINUOUS + + The crew stand motionless, suspended in a collective breath, + as the growl echoes and fades. Silence descends, a messenger + of dread. Ripley steps toward the THROBBING AIR DUCT, her gaze + steady but her hand unwittingly finding the knife on the counter. + + RIPLEY + (to the crew) + Stay sharp. We don't know what's in there. + + Parker inches closer to Brett, trying not to show his concern. + + BRETT + (whispering) + They said hauling ore would be the danger... + + Lambert clutches a napkin, wringing it in her hands. + + LAMBERT + We're not equipped for this. We should just seal the + section and move on. + + Dallas' voice CRACKLES through the COMM: + + DALLAS (V.O.) + Listen up! We have a situation. I need a volunteer + team to investigate Section 12. Suit up and be careful. + + Ripley locks eyes with Dallas on the SCREEN. + + RIPLEY + On it. Parker, Brett— you're with me. + Lambert, monitor comms. Ash, stay with her. + Dallas, we'll keep you posted. + + They all nod gravely. Kane hesitates for a moment before grabbing + a flashlight. + + KANE + I'm coming too. + + The RED LIGHT pulses faster as they head out, a silent + heartbeat driving them towards the unknown. + + INT. NOSTROMO - CORRIDOR TO SECTION 12 - MOMENTS LATER + + Ripley, Parker, Brett, and Kane move cautiously through the metallic + corridor. Their FLASHLIGHT BEAMS dance across the walls, casting + towering shadows. + + PARKER + (under his breath) + I don't like this. Space is quiet. Not growly. + + Ripley turns to address the team, maintaining her composure. + + RIPLEY + We're not hunters, we're miners. Remember that. + We find the problem, we contain it, we let the + Company deal with the rest back home. + + A SUDDEN CLANG reverberates from up ahead. They pause, weapons + and tools poised, as the door to Section 12 looms before them. + +INT. NOSTROMO - OUTSIDE SECTION 12 - CONTINUOUS + + The door to Section 12 stands ominously sealed. Ripley inputs a + command on the wall panel, and with a hiss of hydraulics and a + clunk of disengaging locks, the door slowly slides open. They + step through, the beam from their flashlights cutting through the + murkiness. + + INT. NOSTROMO - SECTION 12 - CONTINUOUS + + The air in Section 12 is colder, heavier. Metal surfaces are slick + with condensation. Their breaths materialize in ghostly puffs as they + advance. + + BRETT + Never been this far down before... + + The dim light from the flashlights reveals unusual SLIME TRAILS + across the floor and walls. + + KANE + (fascinated) + What do you suppose left these? + + Parker, with a look of revulsion, wipes a viscous substance from his + boot. + + PARKER + Nothing I want to meet. + + As Ripley surveys their surroundings, a SHADOW darts across the far + end of the hallway. She raises her hand, signalling a halt. + + RIPLEY + (quietly) + Did you see that? + + INT. NOSTROMO - INFIRMARY - SAME TIME + + Lambert and Ash watch the MONITORS, restless. + + LAMBERT + This is too much. They should come back. + They should— + + Ash places a calm hand on her shoulder, interrupting her. + + ASH + They’ll deal with it. Trust Ripley. + + Lambert, reassured by Ash's stoic demeanor, nods reluctantly, her + eyes back on the blinking monitors. + + INT. NOSTROMO - SECTION 12 - CONTINUOUS + + They press on, the tension palpable. Kane moves ahead, his flashlight + leading him to a sealed compartment door that’s ajar. Inside, a cocoon-like + structure pulsates quietly against the wall. + + KANE + (whispering back) + Guys... you might want to see this. + + The rest of the team gather around the entrance. The sight of the cocoon + sends a chill down their spines. + + Suddenly, the ship SHUDDERS, a low rumble traveling through the structure. + Dust and debris sprinkle from the ceiling. + + BRETT + The hell was that? Are we moving? + + Ripley opens a communicator. + + RIPLEY + (into the device) + Dallas, we found something... + + The cocoon opens slightly. + + A BEAT. + + Something MOVES inside. + + All eyes fixate on the opening, the tension erupts into fear mingled with + awe as they brace for what’s to come. +INT. NOSTROMO - SECTION 12 - CONTINUOUS + + The cocoon pulsates more violently, the movement within becoming frantic. + Kane inches closer, captivated, his hand trembling as he reaches out. + + KANE + (mesmerized) + Look at it... it's like... + + Ripley reaches out, yanking him back. + + RIPLEY + (urgent) + Kane, no! Don't touch— + + A CREATURE LEAPS out of the cocoon, fast as a striking snake, attaching + itself to Kane’s helmet. The light from his flashlight flickers as he + falls back, crashing to the ground. + + Parker and Brett rush to his side, trying to pry the creature off, but + its grip is iron tight. + + PARKER + (panicked) + It's got him! It's got him good! + + Ripley, fighting to keep her cool, pulls her communicator closer. + + RIPLEY + (into the communicator) + Dallas, we have an emergency! Something's + attacked Kane. It's attached to his face. + We're bringing him to the infirmary, now! + + INT. NOSTROMO - INFIRMARY - MOMENTS LATER + + The door to the infirmary slams open as they rush Kane inside. Lambert + and Ash stand back, shocked, as the team lays Kane on a medical bed. + + Ripley looks to Ash, the science officer, her eyes demanding answers. + + RIPLEY + Get that thing off him, Ash! Safely, but + quickly! + + Ash approaches cautiously, examining the creature without touching it. + + ASH + (analyzing) + Remarkable. The creature has established a + tight seal... It's not just clamped on; it's + fused. + + Dallas' voice comes through the room's comm system, anxious. + + DALLAS (V.O.) + What's the situation? + + Ripley looks at the struggling Kane, then back to the comm. + + RIPLEY + (determined) + We'll keep it contained, Captain. But we + need to figure out what we're dealing with. + + The creature's tail tightens around Kane's neck as he convulses slightly. + Fear and fascination wash over the crew's faces as the reality of their + situation sinks in. They are no longer alone, and the rules of their + mission have changed forever. +INT. NOSTROMO - INFIRMARY - CONTINUOUS + + Ash moves around the medical bed with a cautious precision, avoiding + any sudden movements that might further agitate the alien organism. + + ASH + I don’t dare remove it surgically. The creature's + blood could be acidic... It might burn through the + hull. + + Ripley steps forward, her expression resolute despite the fear + that grips the rest of the crew. + + RIPLEY + We can't just leave it on him. Ash, options? + + Ash ponders for a moment, then retrieves a scanning device. + + ASH + I'll try to get a reading on its biology. Stay + alert. + + He begins scanning Kane’s helmet, the creature, and the immediate area, + as the device emits a SERIES OF BEEPING SOUNDS. + + LAMBERT + (anxiously) + It’s like a nightmare... + + Parker watches Kane, his hands clenched into fists. + + PARKER + We need to be armed, whatever that thing is— + + RIPLEY + (cutting him off) + No weapons. Not until we know more. The last + thing we need is to breach the hull— or worse. + + The scanner results flash on Ash's hand-held screen, his eyes widening + slightly. + + ASH + Fascinating... it's like nothing I've seen. + The creature has a...signature. Some kind + of unique protein structure. + + INT. NOSTROMO - CORRIDOR - SAME TIME + + As the tension in the infirmary mounts, Dallas strides through the + corridor. His determined gaze is fixed on the comm device in his hand. + + DALLAS + (into the comm) + Update, Mother. Immediate data on unknown + life forms. + + A PAUSE. Then the COMM WHISPERS with MOTHER’s synthetic voice: + + MOTHER (V.O.) + Data received and analyzing. Caution is + recommended. The organism is beyond current + xenobiology understanding. + + Dallas’ steps quicken, knowing that time is of the essence. + + INT. NOSTROMO - MESS - CONTINUOUS + + Dallas enters the mess where Brett is hastily making improvised weapons + from mining tools. Dallas snatches a makeshift flamethrower. + + DALLAS + Ripley's right. No unnecessary risks. + But, we stay prepared. + + BRETT + (nods, gripping his tool) + Got it, Cap. + + INT. NOSTROMO - INFIRMARY - CONTINUOUS + + Ash’s eyes remain fixed on the creature, analyzing the scanner’s readout. + + ASH + The creature is maintaining an air passage + through... I believe it's keeping him alive. + + Lambert backs away to a corner, her arms wrapped around herself. + + LAMBERT + It's using him... for what? + + Ash doesn't answer, the implications hanging heavy in the air. + + As Parker continues to watch his colleague with a mix of anger and fear, + a THUDDING SOUND reverberates through the ship, causing the lights to + flicker. + + INT. NOSTROMO - BRIDGE - CONTINUOUS + + As the crew deals with their infirmary crisis, Dallas is back on the + bridge, staring at the main screen, which is scanning the ship's + exterior. + + DALLAS + (muttering to himself) + What's hitting us now? + + His fingers punch the controls with urgency, cycling through the + external cameras. + + EXT. NOSTROMO - OUTER HULL - SPACE + + The CAMERA FEED shows the blackness of space, stars twinkling in + the distance, and then a SHADOW flits across the camera, momentarily + obscuring the view. Something is out there with them. + + INT. NOSTROMO - BRIDGE - CONTINUOUS + + Dallas, now realizing the gravity of their situation, toggles the + shipwide comm. + + DALLAS + (into the comm, firmly) + Crew, this is the Captain. Stay alert and stay + close. We are not alone on this ship. + + INT. NOSTROMO - INFIRMARY - CONTINUOUS + + The announcement hangs in the air. Ripley looks around the room + at the faces of her crew, seeing the same concern mirrored in each. + She makes a silent vow. They would face this— together. + + RIPLEY + (quietly, to herself) + We'll make it through. We have to. + + Ripley's gaze hardens as she turns to look at the still form of Kane + on the bed, the alien still clinging to his face, and her mind starts + to race, planning their next move. \ No newline at end of file diff --git a/scripts/Arrival.txt b/scripts/Arrival.txt new file mode 100644 index 0000000000000000000000000000000000000000..9e56e5a2c3f584f28fc31ab30b22d7d2243d9a01 --- /dev/null +++ b/scripts/Arrival.txt @@ -0,0 +1,6532 @@ + 1. + + + + FADE IN: + + +1 EXT. LAKE HOUSE - SUNSET 1 + + The sky is a shimmering expanse of stars, packed together. + + LOUISE (V.O.) + Memory is a strange thing. + + +2 EXT. LAKE HOUSE - SUNSET 2 + + A modern home built on the shore with a large deck. The + skin of the lake is a cloudy mirror. + + LOUISE BANKS stares up at the sky, leaning against the + deck's railing. Merlot glass in one hand. + + Louise has a clean, timeless look about her; the kind of + woman who ages gracefully. Short hair. + + LOUISE (V.O.) + It doesn't work like I thought it + did. We are so bound by time; by + its order. + + She steps back inside, a little tipsy, smiling. + + +3 A2 INT. LAKE HOUSE - CONTINUOUS 3 + + Stacks of books on shelves and tables. A telescope against + a glass wall. And dry-erase boards, marked with foreign + languages. Different colors for different dialects. + + LOUISE (V.O.) + Maybe there's a higher order. + + Mingled here are also dinner plates. Candlelight. + + LOUISE + Darling, is there any more wine? + + She pauses when a deck light winks on outside. Her eyes + sparkle when she sees something: + + A question, written on the glass, lit from outdoors. + + "Do you want to make a baby?" + 2. + + + LOUISE (V.O.) + I used to think this was the + beginning of your story. + + Louise goes right to the glass, wanting to touch the + question with her finger to make sure it's real. + + CLOSE ON HER FACE: From outside looking in, a curious + circular shadow is thrown from the deck light. But her eyes + start to water. + + In the background, the bedroom door hangs open and the + silhouette of a MAN leans against the frame, watching her. + + Louise turns around, smiling again. We know her answer. + + +4 INT. MERCY HILL GENERAL HOSPITAL - MORNING 4 + + Louise cradles a NEWBORN GIRL in her arms. Her name: + HANNAH. + + Hannah reaches up. + + Crooks her tiny hand around Louise's finger. + + LATER + + A NURSE starts to take baby Hannah to give Louise some + rest. Hannah BLEATS and reaches for her mother. + + Louise smiles through the exhaustion and pulls her back. + + LOUISE + Okay, come back, come back to me -- + + +5 EXT. LAKE HOUSE YARD - AFTERNOON 5 + + Four-year-old HANNAH dressed as a cowgirl. + + On a toy riding horse with wheels for hooves. + + Giggling like she can't stop. + + LOUISE (V.O.) + I remember moments in the middle. + + She pulls both finger-guns, aimed at us. + + HANNAH + Stick 'em up! + 3. + + +6 INT. HANNAH'S ROOM - NIGHT 6 + + Eight-year-old Hannah is tucked in bed. + + Said to us as a prayer: + + HANNAH + I love you. + + +7 INT. LAKE HOUSE - NIGHT 7 + + Twelve-year-old Hannah glowers at us: + + HANNAH + I hate you! + + -- and storms into her room. + + +8 INT. MERCY HILL GENERAL HOSPITAL - MORNING 8 + + Twelve-year-old daughter HANNAH lies, eyes closed. + + Hannah is pale. Her head has been shaved in the last month. + + LOUISE (V.O.) + And this was the end. + + Louise holds her daughter's hand in hers. + + Her thumb traces Hannah's knuckles. + + A life monitor beeps as Hannah's heart stops. + + Hannah's eyes roll up and she sighs her final breath. + + Louise's grip on her daughter tightens. Trembling. + + A Nurse starts to pull Louise away, but she hangs on -- now + it's mother trying to return to her baby girl -- + + LOUISE + Come back -- come back to me, baby + -- + + Louise is unaware she's crying. Hannah remains motionless. + + LOUISE (V.O.) + 4. + + + But now I'm not so sure I believe + in beginnings and endings. There + are days that define your story + beyond your life. + + CUT TO BLACK. + + LOUISE (V.O.) + Like the day they arrived. + + +9 EXT. SKY - DAY 9 + + Storybook blue, patched with cumulous clouds. + + Drifting down to find a tree line in motion. + + Looking into a car on a road. + + +10 EXT. PARKING GARAGE - DAY 10 + + Louise parks her car end steps out. Her hair is longer + here, and there's no wedding band on her finger. + + She carries herself like someone who's learned how to be + alone, handling her briefcase, coffee, keys, etc. + + It's oddly quiet in the garage around her. + + +11 EXT. UNIVERSITY CAMPUS - DAY 11 + + Louise crosses campus. Absorbed in her thoughts. + + Overhead, a pair of F-22 fighters slice across the sky. + + +12 EXT. STUDENT CENTER - MOMENTS LATER 12 + + Louise passes the campus center. + + A crowd of STUDENTS are huddled around the glass outside + the student center, looking in at a large TV. The crowd is + too dense for Louise to see what is on the TV. + + Louise frowns, but keeps going. + + Overhead, a second pair of fighter jets rocket past. + + Louise looks up at the sky. Apprehensive. + 5. + + +13 INT. UNIVERSITY CLASSROOM - DAY 13 + + Louise enters a classroom, leaving the door open behind + her. Out in the hall, a couple of STUDENTS run by, but it's + unclear if they're late for class or it's something worse. + + Louise steps to her desk to unload her briefcase and + thermos. + + The course name is written on the blackboard behind the + desk: "Advanced Linguistics" and "Dr. Louise Banks." + + LOUISE + Good morning, everyone. + + No response. Louise finally looks to the class to discover: + + Only FOUR STUDENTS seated in an otherwise empty classroom. + + LOUISE + Where is everyone? + + The Grad Students in the room shrug» These are the hardcore + learners, with their laptops out and textbooks open» + + The class session BELL chimes over the PA. Louise looks + back at the door, silently considering something, then + decides: + + LOUISE + Well, let's get started. Today + we're talking about Portuguese, and + why it sounds so different from the + other Romance languages. + + Louise walks to a MAP of western Europe on a rolling easel, + parked next to a TV. + + LOUISE + The story of Portuguese begins with + the Kingdom of Galicia, in the + middle ages, where the language was + seen as an expression of art. The + way it was written and spoken was + rooted in aesthetics. + + One Grad Student's phone CHIMES with an alert. Louise + pauses, thinking what the other Students are thinking -- + + LOUISE + Any news you want to share? + + The Student reading his phone frowns, suddenly nervous. + 6. + + + GRAD STUDENT WITH SMARTPHONE + Uhh, Doctor Banks? Can you turn on + the TV to a news channel? + +Louise grabs her TV remote and turns the set to CNN, to +reveal AERIAL FOOTAGE from a helicopter, also live, as a +REPORTER narrates in a near panic: + + REPORTER IN HELI (V.O.) + Are you seeing this!? Oh dear god + what is that noise -- WHAT IS IT -- + should we be this close to it?! + +FOOTAGE shows wilderness, where a STRANGE, OBLONG OBJECT +hovers over the tree line. It absorbs sunlight and its +dimensions are difficult to grasp -- at times it appears +almost concave, poised as if to dig into the planet's +crust. + +Another helicopter edges into view, and suddenly the scale +of the object is clear: It's the size of a massive +skyscraper. + +Bumper text at the bottom of the screen reads: "STRANGE +CRAFT IN MONTANA" + +Amid the WHUFF of the helicopter, a reporter on location is +shouting in a voice on verge of a nervous breakdown: + +The audio cuts out and an ANCHORWOMAN takes over. Cutting +to the studio where she pulls her attention to the camera: + + ANCHORWOMAN + The object, uh, apparently touched + down forty minutes ago just north + of I-94, we're, we're waiting to + hear if this is perhaps an + experimental vessel or -- + +She looks for help off-camera and they cut to: + +MORE FOOTAGE, closer to the ground. The oblong ship is +immense. And seemingly without creases or windows. + + ANCHORWOMAN (V.O.) + Hold on, it -- I'm learning that + more objects like this have landed + in as many as eight other locations + around the world. We're waiting for + confirmation -- yes? Can we--? Okay + -- + 7. + + + New footage: a live feed in Japan. An identical CONCAVE + SHIP is parked above a stadium lot. + + ANCHORWOMAN (V.O.) + This is from a site in Hokkaido! + + The Grad Students all stare in silent horror at the + footage. + + One of them stands up and gathers his stuff, ready to + leave. But he only gets as far as standing up. Unsure what + to do next; where to run to. + + ANCHORMAN (V.O.) + (panicked) + This is worldwide, it is happening + right now! We don't-- do we know + where they came from? + + A campus SIREN spins up; the kind used for tornado + warnings. + + The STUDENTS now start to get their materials together, to + leave. Louise snaps out of her shock, and with authority: + + LOUISE + Okay, yes, let's go. Class over. + + +14 EXT. COLLEGE CAMPUS - MOMENTS LATER 14 + + Louise joins a FLOCK of people on campus hurrying to the + parking structures. Nearly everyone keeps looking up from + time to time. The SIREN is louder here. + + Anothe pair of FIGHTER JETS fly overhead. + + +15 EXT. UNIVERSITY PARKING STRUCTURE - DAY 15 + + Louise gets to her sedan, climbs inside, windows down. Her + satellite radio plays as she powers the car -- + + PRESS SECRETARY (V.O.) + But for now we're simply asking for + cooperation while authorities + assess the object. Until further + notice, the site is a no-fly zone. + + From the street: Sounds of a car accident. It startles her. + + REPORTER (V.O.) + 8. + + + So you're saying it's not ours? Do + you know if it's even from Earth? + + Louise opens her door and steps out again, to look down at: + + The wreck below. The aftermath. The two DRIVERS panicked + and on edge but uninjured. + + PRESS SECRETARY (V.O.) + We're still collecting information, + coordinating with other nations. + We're not the only ones with one of + these in our back yard. + + Louise returns to her car and straps herself in. + + REPORTER (V.O.) + If this is some sort of peaceful + first contact, why send twelve? Why + not just one? + + She backs out, tires yelping at her quick getaway. + + +16 EXT. LAKE HOUSE - EVENING 16 + + Her sedan pulls up at the lake house from the opener. + + +17 INT. LAKE HOUSE - FRONT ENTRY - EVENING 17 + + Louise enters with her cell phone to her ear, carrying her + valise. + + LOUISE + (into phone) + I don't know, Mom, I'm listening to + the same news coverage. + (beat) + Don't -- Mom, don't bother with + that channel, how many times do I + have to tell you not to pay + attention to those idiots? + (beat) + All right then. + + +18 INT. LAKE HOUSE - CONTINUOUS 18 + + Traversing a hallway to bedrooms. Louise pulls her shoes + off by the heel, switching hands with the phone as she + goes. + 9. + + + LOUISE + Do I sound worried? Exactly. + + Louise pauses at an open bedroom door halfway down the + hall. + + LOUISE + Me? Oh, you know. The same. + + There's a tiredness in her answer. Like she's been down + this road with her mother before. + + +19 INT. SPARE BEDROOM - CONTINUOUS 19 + + An empty room, save for a couple of stray book boxes and a + neglected stationary bike in the corner. + + Louise surveys the room from the door. + + LOUISE + I'm fine, Mom. + (not really) + Okay, call me later. + + She disconnects the call and leans against the door frame. + + Staring into the empty room with a quiet sadness. + + Finally, having come to some decision, she pushes off + again. + + +20 INT. LIVING ROOM - LATER 20 + + Louise, alone, on the couch. Half a bottle of wine left. + + The place is furnished nicely, but there are telltale signs + of a single occupant in a larger space. No family photos. + + A recliner by the couch has become a surrogate bookshelf. + + TV is on. More coverage of the alien landing. + + CNN REPORTER (V.O.) + -- and at around eight hours after + landing, there are still no signs + of what might be called 'first + contact.' The objects measure at + least fifteen hundred feet tall -- + 10. + + + Changing channel. Footage changes to a snowy tundra where + another UFO has landed and flattened a section of fence + line. + + This is a foreign channel. Louise gets international + stations. The anchor speaks in Russian. + + New channel: Another SHIP, hovering over the ocean. + + AERIAL COVERAGE: Fleets from three different nations + threaten each other for possession of the massive UFO. + + NETWORK REPORTER (V.O.) + -- none of whom can claim because + this 'object' as it's being called + is actually hovering over + international waters. One Iranian + cruiser has fired across the bow of + the Indian fleet -- + + Louise changes the channel. + + Finding: The press room in the west wing of the White + House. + + PRESS SECRETARY + We have to entertain the idea that, + if it is a kind of vessel, it may + be unmanned. Regardless, we have a + protocol for scenarios like this -- + + The word "protocol" instantly sours Louise to the news. She + mutes the TV and shuffles off to her bedroom -- + + +21 INT. LOUISE'S BEDROOM - CONTINUOUS 21 + + -- picks up a remote off a nightstand and turns on a TV + facing her bed. More news, the volume low. + + +22 INT. LOUISE'S BEDROOM - MORNING 22 + + Louise is asleep in bed. The covers are a mess. She's + spooning extra pillows as if they were a bedfellow. + + Louise wakes with a start, as if from a dream. + + +23 EXT. UNIVERSITY CAMPUS - MORNING 23 + + Louise returns to work. + 11. + + + The campus is empty. Two STUDENTS hurry between buildings. + + Louise passes the student center. + + It's too quiet. + + +24 INT. UNIVERSITY CLASSROOM - MORNING 24 + + Louise enters her classroom. No one has showed up. + + +25 INT. LOUISE'S OFFICE - DAY 25 + + A cramped office with a window looking out on the city. + Sirens wail in the distance. + + Louise has barely decorated the place. It's the sign of + someone untethered from the world. Closed off. She sits at + her desk, grading papers. Streaming video news coverage + plays on her computer. + + ANCHORWOMAN (V.O.) + Forty-eight hours later, and still + no further developments from the + sites of the twelve UFOs. Borders + are closed and flights -- + + COLONEL WEBER (O.S.) + Two days and already the public + expects us to know the answers. + + Louise turns to see the source of the voice at her office + door. COLONEL WEBER (50s) wears civilian clothing but his + body language screams career military. Callused hands, + sharp eyes, rigid posture. + + He steps in and reaches to her computer, powering off the + speakers. Behind him, two large MEN stand guard in the + hall. + + LOUISE + Who are you? + + Weber has his I.D. ready; shows it to her. + + COLONEL WEBER + I'm Colonel G.T. Weber. You and I + never formally met but two years + ago you did some Farsi translation + for Army Intelligence. + + LOUISE + 12. + + + I remember. Alan Boudreau hired me. + + COLONEL WEBER + Alan works for me. You made quick + work of those insurgent videos. + +Louise crosses her arms. He's touched a nerve. + + LOUISE + You made quick work of those + insurgents. + + COLONEL WEBER + You have another two years on your + SSBI so you still have top secret + clearance. That's why I'm in your + office, and not at Berkeley. + + LOUISE + Okay -- + + COLONEL WEBER + I need you to translate something + for me. + +As one of the men guarding the door shuts it, giving them +total privacy, Colonel Weber places a pocket-sized digital +recorder on Louise's desk. + +He hits PLAY. White noise, shuffling. Then murmured talk, +and: + + MAN'S VOICE + (on recorder) + Why are you here? + +In response: A SERIES OF SOUNDS that have no Earthly +comparison. An audio mixture of organic clicks, rushing +water, whispers, and low-octave moaning. + + MAN'S VOICE + (on recorder) + Can you understand us? + +Almost immediately, the SOUNDS return, this time slightly +different. The bass tone is lower. The whispers raspy. + +Louise listens, rapt. As if she's waking up from a long +sleep. She leans in. + +Weber studies her face while she listens. + + MAN'S VOICE + 13. + + + (on recorder) + Where did you come from? + +Before an answer is heard, Weber stops playback and takes +back the recorder. + + COLONEL WEBER + Well? What do you make of it? + + LOUISE + Is that -- + + COLONEL WEBER + Yes. + +The weight of his answer settles on Louise. Beat. + + LOUISE + How many? + + COLONEL WEBER + How many what? + + LOUISE + How many of them were speaking? + +Weber raises an eyebrow at her but answers. + + COLONEL WEBER + Two. Assume they were not speaking + at the same time. + + LOUISE + Are you sure? Do they have mouths? + + COLONEL WEBER + Keep your focus on the sounds. + +Weber replays a portion of the recording. The alien VOICE +sounds even stranger a second time. + + COLONEL WEBER + What would be your approach to + translating this? Does any of it + sound like words to you? Phrases? + + LOUISE + I don't know. + + COLONEL WEBER + (said not as a question) + What can you tell me. + 14. + + + LOUISE + I can tell you it's impossible to + translate this from an audio file. + To do this right, I need to be + there. Interacting with them. + +Weber bristles at this. + + COLONEL WEBER + You didn't need that for the Farsi + translations. + + LOUISE + It was Burushaski, not Farsi, and I + didn't need it because I already + knew the language. This -- + (points at recorder) + This is a whole new ball game. + + COLONEL WEBER + I know what you're doing. + + LOUISE + Tell me what I'm doing. + + COLONEL WEBER + I'm not taking you to Montana. It's + all I can do to keep it from + becoming a tourist site for anyone + with TS clearance. + + LOUISE + I'm just telling you what it will + take to do this job. + + COLONEL WEBER + We will set up a safe room at a + facility here in town where you can + observe video of the conversations + in real-time. I'll put you on the + line with our team at the site. + + LOUISE + No. + + COLONEL WEBER + (beat) + What do you mean, 'no'? + + LOUISE + It won't work that way. + + COLONEL WEBER + 15. + + + You'll make it work. + + Her patience wears thin. + + LOUISE + Have they spoken to us in English? + + COLONEL WEBER + No. + + LOUISE + Have they played back any of our + media, or given you any indication + they understand us? + + Weber doesn't have a reply for this. His eyes shift. + + LOUISE + So in order for this to work, I + might have to teach them English. + The basics. Nouns, verbs. I can't + do that remotely. I have to be in + the room with them. + + Weber and Louise stare down. + + COLONEL WEBER + There is one opportunity here, and + that is to study them remotely. If + I leave here, your chance is gone. + + Weber turns to leave. + + LOUISE + Colonel -- You mentioned Berkeley. + You going to ask Danvers next? + + Weber pauses at the door. + + COLONEL WEBER + Maybe, why? + + LOUISE + Before you commit to him, ask him + the Sanskrit word for "war" and its + translation. + + She grins at him. + + Weber exits. After he leaves, her grin fades. + + +26 INT. LOUISE'S BEDROOM - NIGHT 26 + 16. + + + Louise is asleep in her bed. Again with the formation of + pillows around her. + + She wakes to a rhythmic thumping. Low; dull. Her hand goes + to her heart. It's not her heart. + + From her bedroom window: A distant flying object vaguely + like a helicopter. One thing is clear: it's on fast + approach. As it gets closer, treetops bend and leaves + scatter. + + +27 INT. LOUISE'S LIVING ROOM - MOMENTS LATER 27 + + Dressed in a bathrobe, Louise crosses to the front windows + looking out on her wide, flat front yard. + + SPOTLIGHTS shine into her house, STROBES pop. We are so + used to how a helicopter sounds, but this is different. The + engine noises, the rotors -- it's more muscular; + threatening. + + The lights finally dim to reveal: A Sikorsky UH-60 + Blackhawk has touched down on the lawn. The passenger door + is open, slid back to reveal someone riding in the rear + compartment. + + Her doorbell rings. Louise answers it. + + Weber stands at the door, now in military uniform. + + COLONEL WEBER + Good morning. + + LOUISE + Colonel? + + COLONEL WEBER + Gavisti. + + LOUISE + That's the word. But what did + Danvers say it means in Sanskrit? + + COLONEL WEBER + He said it means an argument. What + does it really mean? + + LOUISE + "A desire for more cows." + + COLONEL WEBER + Pack your bags. + 17. + + + It hits Louise: She got the job. + + LOUISE + All right. Give me twenty minutes. + + COLONEL WEBER + You have ten. + + Louise glares at Weber for just a moment, then dashes off + to her bedroom. + + +28 EXT. LAKE HOUSE - PRE-DAWN 28 + + Louise (now dressed and carrying an overnight bag) hurries + for the Blackhawk. The rotor blades flatten the grass on + her lawn and pull at Louise's coat. + + Weber helps Louise inside and then shuts the door. + + The helicopter rises immediately. + + +29 INT. BLACKHAWK HELICOPTER - PRE-DAWN 29 + + Louise drops into a bench seat still holding her bag. As + she buckles in: + + IAN (O.S.) + Language is the foundation of + civilization. + + Across from her: IAN DONNELLY (late 30s), Oxford shirt, + wild hair, fierce eyes, and a smile in the corner of his + mouth that makes it hard to tell what he's thinking. + + Ian holds a book. He's reading from it. + + LOUISE + Pardon? + + IAN + "It is the glue that holds a people + together, and it is the first + weapon drawn in a conflict." + + COLONEL WEBER + Louise, this is Ian Donnelly. + + Neither Louise nor Ian offer to shake hands. They study one + another as they talk. + 18. + + + LOUISE + That's quite a greeting. + + IAN + You wrote it. + + LOUISE + It's the kind of thing you write as + a preface. Dazzle them with basics. + + IAN + It's good. Even if it's wrong. + + LOUISE + Wrong? + + IAN + The cornerstone of civilization + isn't language. It's science. + + COLONEL WEBER + Ian is a theoretical physicist from + Los Alamos. He is the man with the + questions. You will be reporting to + me but you'11 be working with him + when you're in the shell. + + LOUISE + The shell? + + IAN + That's what they're calling the + UFO. + + COLONEL WEBER + Priority one: What do they want, + where are they from? + +Weber speaks them as orders. Ian thinks it's a +conversation. + + IAN + Yes, but beyond that: How did they + get here? Are they capable of + faster-than-light travel? + +Ian pulls a Moleskine notebook from his pocket, excited to +share from it -- + + IAN + I've prepared a list of questions, + starting with some "handshake" + binary sequences -- + 19. + + + LOUISE + How about we just talk to them + first? Before we start throwing + math problems at them. + + COLONEL WEBER + Thus is why you're both here. + + Ian nods as he puts his notebook up, but it's clear he's + anxious to get past the small talk and on to the big ideas. + + +30 EXT. MONTANA LANDING SITE - DAWN 30 + + Wide angle on approach. A mile out. Roads and highways are + crowded with traffic, up against military blockades. + + In the distance: The ALIEN SHIP, in silhouette behind the + rising egg-yolk sun. + + The ship dwarfs the wilderness around it and stands out + like a massive, strange edifice that would seem ancient + were it not hovering over the ground. + + At this distance, a low TONE starts to resonate in + everyone's sternum. The Blackhawk lances over the treeline. + + +31 INT. BLACKHAWK HELICOPTER - MORNING 31 + + LOUISE'S POV: The alien ship towers over the field. It + seems impossibly balanced, as if it could tip over and + crush everyone at any time. + + A mile away, a series of tents have been erected. Up close + the ship looks majestic; ominous. + + +32 INT. BLACKHAWK - CONTINUOUS 32 + + Louise and Ian stare out the side window at the ship. + + COLONEL WEBER + Every thirteen hours a sort of door + opens up, at the base. That's where + we go in. + + LOUISE + How many of us are here? + + COLONEL WEBER + 20. + + + You're the only scientists going + in. But you both have a team here - + - + + LOUISE + A team? What kind of team? + + COLONEL WEBER + Mostly NSA. Cryptanalysts, a couple + of signal processing experts -- + + A phone handset's cradle lights up by Weber. He answers it. + + LOUISE + (sotto, to Ian) + When's the next meeting? + + Ian shrugs -- he just got here. He's busy making a SKETCH + of the ship in his notebook. His notebook is a tiny library + of all his thoughts and ideas. + + Weber hangs up. + + COLONEL WEBER + We'll need to hurry you through. + + +33 EXT. HELIPAD - MOMENTS LATER 33 + + Colonel Weber, Ian, and Louise are escorted out of the + helicopter and into base camp. The camp is divided into two + clusters of tents/buildings: OPERATIONS and SCIENCE. + + CAPTAIN MARKS (barely 30, disciplined; a man of rules) + meets Weber and updates him as they walk: + + CAPTAIN MARKS + Materials team called in with some + early analysis. + + COLONEL WEBER + Tell me. + + CAPTAIN MARKS + Normally you find three or four + elements in base material. Humans + have eleven. That thing is made of + every single element known to us + plus a dozen we've never seen. + + Weber frowns, worried. But Ian has the opposite reaction: + His face lights up in wonderment, and a hundred questions + pile up in his mind but then -- + 21. + + + COLONEL WEBER + All right. Take these two to + Kettler. + + CAPTAIN MARKS + Yessir. + + COLONEL WEBER + (to Ian and Louise) + You will follow this man to + medical. The procedure should take + just a few minutes. + + Louise and Ian keep up with the Captain's brisk march. + + A Medevac helicopter powers up on a pad nearby. Someone is + strapped to a gurney inside, flanked by two Paramedics. + + Ian notices. So does Louise. They exchange looks. + + +34 EXT. TENT COMPLEX - MOMENTS LATER 34 + + Captain Marks leads them to a large tent. + + Louise looks back at the ship for a moment. Nervous. + + Behind her, Ian looks back at it too. Curious. + + +35 INT. MEDICAL TENT - MOMENTS LATER 35 + + A staff of military medical personnel are busy testing new + diagnostic equipment. + + Captain Marks opens a flap into a room where we find a man + in scrubs with a tray of hypodermics. This is DR. KETTLER; + professorial, even-toned voice, but a predator's eyes. + + DR. KETTLER + Louise Banks and Ian Donnelly? + + Louise nods. Kettler gestures to two plastic chairs. They + sit, while he prepares a syringe with a vial attached. + + DR. KETTLER + When is the last time either of you + have eaten? + + LOUISE + Last night. + 22. + + + IAN + Same. + + DR. KETTLER + When is the last time you did + something stressful? + + IAN + Does right now count? + + LOUISE + Who was being carted off on the + medevac? + + DR. KETTLER + Not everyone is wired for what + you're about to do. Our brains + aren't always able to process + experiences like this. + (then) + I'm going to get some blood from + you, and give you an immunization + dose that covers a battery of + bacterial threats. Roll up your + sleeves, please. + + Ian begins rolling up his Oxford shirt sleeve. Louise + notices Ian is complying, then follows suit. + + Kettler moves his tray over and wraps a band around + Louise's arm, just above her elbow. As he draws blood: + + DR. KETTLER + The booster is a kick to your + system, so you might feel some side + effects. Nausea. Dizziness. + Headaches. A ringing in your ear + like you have Tinnitus. + + Louise looks over at Ian to share a look of: Do you believe + what Kettler just said? + + But Ian is staring out a window at the big ship. + + +36 INT. OPERATIONS TENT - INTEL ROOM - MOMENTS LATER 36 + + Ian and Louise enter this tent that serves as the nerve + center of base camp. The room is fitted with dozens of + flatscreens, each one monitoring activity of a landing site + in some other part of the world. + + AUSTRALIAN SCIENTIST (O.S.) + 23. + + + Honestly they've been mostly quiet + so far. And by the time we start to + make any real progress, it's over, + and we're out the door again. + +Weber is waiting for them, now in full uniform. Behind him: +a large white board. + + AUSTRALIAN SCIENTIST (O.S.) + We're trying to reduce our setup + time, maybe limit the diagnostic + gear so we can focus more on our + friends across the glass. + + AGENT HALPERN (O.S.) + How long are your sessions? + +On the white board: Twelve columns, with labels of +countries. CHINA / GREENLAND /RUSSIA 1 (SIBERIA) / RUSSIA 2 +(BLACK SEA) / JAPAN / UNITED STATES / SUDAN / VENEZUELA / +SIERRA LEONE / WALES / PAKISTAN / INDIAN OCEAN. + +Information is written under the columns, and spy satellite +plus location photos are peppered throughout. It shows what +every country is doing at their separate sites. + +Standing at a MONITOR is a MAN in a suit and tie. Arms +crossed over his chest. This is AGENT HALPERN: All +business. His job is international relations. + +On the monitor is an AUSTRALIAN SCIENTIST talking via VTC. + + AUSTRALIAN SCIENTIST + The barometer readings don't + change, but like clockwork, after + forty-six minutes and two seconds + the gravity slowly shifts to slide + us out of the room. Like we're + insects on a piece of paper and + they're easing us out of the house. + + AGENT HALPERN + Is there a scientific explanation + for it? Like, is it for them? + + AUSTRALIAN SCIENTIST + We think it's for us. The air + doesn't seem to circulate in the + chamber, so after about an hour + we'd run out of oxygen. + + AGENT HALPERN + 24. + + + But it doesn't take thirteen hours + to pump fresh air into that room. + + IAN (O.S.) + Atmosphere. + + AGENT HALPERN + Excuse me? + + IAN + If their atmosphere is different + from Earth, it could take them + hours to re-balance the oh-two + content and pressure for us every + time they open their door. + + AGENT HALPERN + So, you're saying they could + suffocate us if they wanted. + + Weber guides Ian away from Halpern and the monitors, back + toward the way out of the tent. + + COLONEL WEBER + Remember: We need answers as soon + as possible. Why they are here. + What they want, what they will give + us. This is the priority. + + IAN + Have they responded to anything? + Numbers? Shapes? Fibonnacci? + + COLONEL WEBER + We can't tell what they're saying + when they respond to "hello." So + don't get ahead of yourselves. + + Louise frowns as a new question occurs to her. + + LOUISE + What have you figured out? + + +37 INT. SCIENCE TENT - MOMENTS LATER 37 + + On the other side of basecamp: Communications. Weber pulls + back the flap and Louise enters, Ian trailing behind her. + 25. + + + Inside: A dozen MEN AND WOMEN work at computer stations + with large monitors and at an oversized white board. The + monitors all display the same kind of data: audio + recordings, visually bouncing and fluctuating as the alien + VOICES speak. + + Some of the members approach to shake Louise's hand, and AD + LIB their greetings before returning to analysis work. + + A few of them remain at their stations, headphones on. + + COLONEL WEBER + We're just getting started. + + Stepping back, Louise asks Weber: + + LOUISE + Why not send them in? + + COLONEL WEBER + (beat) + Honestly, they all prefer to stay + out here. + + Suddenly, a low, deep bass TONE vibrates the tent. A pen + falls off a desk. A TECH grabs his coffee mug. The tent- + ties CLATTER against the support poles. It's terrifying. + + COLONEL WEBER + That's our ten-minute warning. + + +38 INT. "CLEAN ROOM" - DAY 38 + + A miniature Silkwood. Contained showers. Dressing areas. + + Full HAZMAT suits hang on a wall. + + Captain Marks brings Ian and Louise in. They each have + cotton swabs taped to their elbows now. + + CAPTAIN MARKS + Climb into these. I'll help you + with the helmet seals. + + IAN + What kind of radiation exposure are + we walking into? + + CAPTAIN MARKS + Nominal. These are just for safety. + + LOUISE + 26. + + + Is there physical contact with the, + the -- am I the only one who has + trouble saying "aliens"? + + IAN + No. + + CAPTAIN MARKS + There's a wall. Like a glass wall. + You can't get to them. + + IAN + What do they look like? + + A flashing light winks over the exit door. + + Captain Marks claps his hands: Let's go. + + On Louise, wanting to get off this ride, but she follows -- + + +39 EXT. BASE CAMP - DAY 39 + + The Shell looms in the distance, at the other end of a + mile-long "road" formed in the grass from all the back-and- + forth. + + A dusty PICKUP TRUCK waits for them, its tailgate down, a + step ladder planted at its lip. + + A second TRUCK is already on the road, its bed loaded with + gear and two SCIENCE TECHS in similar moonsuits. + + Nearby, two DRONE OPERATORS launch a surveillance drone + into the air, which then flies ahead of the trucks, toward + the shell. Leading the way. + + Louise and Ian are led into their pickup truck. Bench + seating has been set up, but it all feels a bit cobbled + together. + + Weber (in his suit and mask) nods at a LIEUTENANT who locks + the tailgate into place for them and slaps the truck: + They're good to go. + + The truck starts for the Shell. + + Louise stares at it with wide eyes. Soon, the sun eclipses + the ship and the whole truck succumbs to shadow. + + HIGH ANGLE: From a perch above the Shell: the two tiny + trucks slow as they arrive underneath it. + 27. + + +40 EXT. "THE SHELL" - MOMENTS LATER 40 + + The craft is even more intimidating close-up. Its surface + on the undercarriage portion seems to absorb light. + + It's also floating twenty or so feet overhead. + + Louise and Ian join a small contingent of MILITARY + PERSONNEL also in HAZMAT suits, all attending crates of + specialty gear. One of them gestures at: + + A SCISSOR LIFT parked directly under the Shell. Nearby, a + second "backup" scissor lift sits parked. + + She follows Weber, Marks, and two other Science Techs (a + total of 6). Her breath is loud in her helmet. She's + shaking. + + They step onto the Scissor Lift. + + Captain Marks pounds a button and they start to elevate. + + A safety CHAIN hooked to the guard rail on the lift RATTLES + incessantly. Louise notices it. Looks up again. + + LOUISE + It's just hovering -- + + IAN + They probably traveled millions of + light years, they couldn't go an + extra twenty feet? + + Said with a grin, but no one laughs. + + The lift is now so close overhead, they can reach up and + touch it. The two TECHS do just that — feeling the surface + for some purchase or change. But it's so dark, there's no + real sense of dimension here. + + Ian tries, too. And suddenly they're all reaching, feeling. + + IAN'S GLOVED HAND curls into something. An edge. A hole + that can't be seen on the surface. + + It widens, as marked by his hand. Opening like a mouth to + accept the lift inside. + + +41 INT. TUNNEL - CONTINUOUS 41 + 28. + + +Looking down from within the tunnel: Flashlights clack ON +among the team, pointed up, seeking a sense of destination. + + LOUISE + Is this how it always goes? + + COLONEL WEBER + Yes. + (beat) + This is the easy part. Our job was + recon. Now it's your job. + +This does nothing to comfort Louise. + +Above: A distant, indiscernible light. + +Ian studies the surface of the tunnel as they ascend, +moving his flashlight beam over it. In the light's edge, it +seems perfectly smooth, but in the full beam there's a +texture. + +The lift stops. One of the Techs cracks a GLOWSTICK and +throws it straight up. + +Louise watches it arc up then veer to one wall, bounce and +then it settles AGAINST THE WALL. Without falling. + + CAPTAIN MARKS + Here's where it starts to get + strange. + + IAN + "Starts?" + +Everyone in the lift rises maybe an inch, like balloons. +Several of them immediately grab hold of the railing. + +Louise looks down at her HAZ-MAT boots. Noticing the lower +gravity here. How easy it would be to float away. + +That's just what TECH 1 and TECH 2 do -- they grab their +gear, bend at the knees, and then launch upward in a +floaty, slow-motion leap -- + +Ian lets out a spontaneous little LAUGH as he sees them go, +slowly righting themselves to the shift in gravity until +they're both standing next to the glowstick. + +Captain Marks follows, like it's nothing; like it's a +commute to a job. + 29. + + + Ian looks to Louise, as if they're both at the top of a + ride in a theme park and he's looking to see if she goes + first. + + She's terrified. So he jumps. + + Ian lands gently, maybe twenty feet up. He looks down at + them, opens his mouth to say something, can't figure out an + answer, so instead he turns to face the "top" of the + tunnel. + + And he slowly walks after the Techs. The light-and-dark in + the tunnel casts eerie reflections on his mask. + + All that's left is Louise and Weber. He can hear her + breathing shallow inside her suit. + + LOUISE + This. I don't. I don't know if. + + COLONEL WEBER + All right. It's okay. + + He holds onto her. Firm. Calm. Wise. + + And then he launches them both. + + Louise looks up, wide-eyed, fearful she's breaking the laws + of physics, but tucked in next to Weber -- + + They "swim" toward the others, leaving the lift behind -- + + And then they come to rest on the wall/floor of the tunnel. + + Louise finds her footing. And her breath. And they walk. + + +42 INT. INTERVIEW CHAMBER - CONTINUOUS 42 + + The chamber has no hard corners or edges. Vaguely + rectangular. + + The room is bisected by a semi-transparent wall. The wall + can be seen through, but it renders the other side milky + and foggy -- it's uncertain if the atmosphere on that side + is some sort of gas, or if the barrier just makes it seem + so. + + The TECHS with Weber and Marks quickly set up an arsenal of + video, audio, and other recording equipment to face this + glass-like partition. Chemical sniffers. IR and UV cameras. + Barometers. And most disturbingly, an old-tech detection + tool among the high-tech: A CANARY IN A CAGE. + 30. + + +On the other side, the room seems empty. + +Louise and Ian are speechless. Their breathing is loud in +their ears. Colonel Weber steps up to them. + + LOUISE + What happens now? + + COLONEL WEBER + They arrive. + + LOUISE + And you've always worn this gear? + + COLONEL WEBER + The suits? Yes. + + LOUISE + So they haven't really seen what we + look like. + + COLONEL WEBER + What are you getting at? + + LOUISE + Context. + +Comparative data streams on the Techs' small monitors. They +speak quietly into their headset mics behind the group: + + ENVIRONMENTAL TECH 1 + Barometric down two point one. + + ENVIRONMENTAL TECH 2 + No change in temperature. + +A sound from the other end of the room quiets everyone. +They look to the wall, squinting into the haze -- + +TWO ALIEN FIGURES enter the room, and cause a breathtaking +silence. + +They move in a foggy silhouette, making it impossible to +see much detail. They appear quadropedal with several +appendages along the torso that serve as arms. The arms are +spread equally around their bodies like spokes of a wheel. + +One seems a bit shorter and stouter than the other. +Otherwise, their forms in the blurry mist are the same. + 31. + + +As they approach their podium, the forms undulate in ways +that make them seem like deep-water fish. There is no hint +of cavitation around them, yet the aliens move in a way +best described as "swimming." + +The silhouettes settle behind the raised podium. + +Louise and Ian stare in awe of the creatures. Louise +tenses, realizing she's leading the session. Ian is the +only one in the group smiling and nodding to himself, +coolly confident. This is right where he's supposed to be. + + COLONEL WEBER + You're up, Doctor Banks. + +Louise tries to control her breathing. + +Shrouded in the mist beyond the glass, the aliens stare +back. + + ENVIRONMENTAL TECH 1 + (quietly) + Oxygen level dipping, point three. + + ENVIRONMENTAL TECH 2 + (quietly) + Gravity stable inside the chamber. + +Ian squints his eyes and leans in. + + IAN + Seven? Seven arms? + (to Louise) + Are those arms? + +Louise steps forward. Hesitant. Close to the boundary. + + LOUISE + Hello. + +Beat. No reaction. The vague alien forms stand and wait. +They are a good head taller than Louise. + +She clears her throat. Still on the verge of an overload of +shock and stress. + + LOUISE + Hello. + +The blurry shapes seem to undulate, but it's unclear if +they are moving or if there is some distortion in the +partition between their space and Louise's. + 32. + + + Louise gestures at them, looking for some possible gesture + in response: + + LOUISE + Hello. Can you hear me? + (then) + Can you hear -- + + She's interrupted by a sudden LOW NOISE from the other + side. Followed by a strange endcap: Flutter-tone. + + Ian and Louise both jump at the sounds, startled. + + LOUISE + (to Weber) + Is this what they do? + + COLONEL WEBER + Sometimes. + (beat) + What does it mean? + + Louise looks to Ian, terrified at her own answer: + + LOUISE + I don't know. + + The alien forms wait. Two "arms" on one of them flex and + relax again, seemingly random. + + LOUISE + If we can just -- establish a + common form of communication, maybe + speech isn't the— + + She gestures at them again. No reaction. + + ENVIRONMENTAL TECH 1 + (sotto) + Thirty-two minutes remaining. + + TIGHT ON Louise, trying to figure her next move, with + everyone waiting on her. Panic rising. + + COLONEL WEBER (O.S.) + Doctor Banks -- + + +43 INT. "CLEAN ROOM" - DAY 43 + + Louise takes off her suit's mask and gulps in air. Her eyes + are red from nervous tears. She looks physically drained. + 33. + + + She pulls off a glove and notices tremors in her hand. + + Ian strides in and begins shedding his suit. She watches + him. Hears him softly laughing to himself. + + LOUISE + Ian -- + + Ian faces her, his hair wild and his eyes wilder. + + IAN + Can you believe it? It's just -- + + He shakes his head and laughs again, but Louise detects + manic in his voice now. + + Ian moves suddenly for the bathroom stall behind a divider. + Louise hears him vomit into the toilet. + + Colonel Weber steps in, pulling off his helmet. Oxygen + escapes with a soft hiss. He and Louise make eye contact. + + LOUISE + So. Am I fired? + + Weber sits down opposite Louise. + + COLONEL WEBER + You did better than the last guy. + + LOUISE + That doesn't make me feel better. + + COLONEL WEBER + Well, you got until 1900 hours to + figure something out. + + LOUISE + What happens then? + + COLONEL WEBER + You go back in. + + Weber stands up to peel out of his suit. + + STAYING ON Louise, looking like she just escaped a fire and + was told to run back into it -- + + +44 EXT. MONTANA LANDING SITE - EVENING 44 + 34. + + + The sun sinks behind the sphere, casting long shadows over + the encampment. + + +45 INT. OPERATIONS TENT - INTEL ROOM - EVENING 45 + + Agent Halpern stands at the communications array, talking + to the Australian Scientist on the monitor, at the NZ site: + + AGENT HALPERN + We're up in fifteen. Got any new + intel? Anything working? + + AUSTRALIAN SCIENTIST + We've been playing back some of + their sounds. + + AGENT HALPERN + Where does that get you? + + AUSTRALIAN SCIENTIST + They play back audio at us, from + some unseen source. + + AGENT HALPERN + Audio of what? + + AUSTRALIAN SCIENTIST + Just bits of us talking in the + room. Random clips of dialog. + (beat) + So, really, we've got nothing. + + +46 EXT. "CLEAN ROOM" - YELLOW TUNNEL - EVENING 46 + + Colonel Weber stands with Ian by the door. Both men are + back in the full HAZ-MAT suits. Waiting. + + COLONEL WEBER + How long has she been in there. + + IAN + (calling through door) + Doctor Banks? -- Louise? + + +47 INT. "CLEAN ROOM" 47 + + Louise sits on the bench, still in her clothes. The HAZ-MAT + suit hangs across from her. + 35. + + + Her leg bounces nervously. She's not ready to go back in. + She can hear Weber outside: + + COLONEL WEBER (O.S.) + Did you two get any bright ideas on + how to talk to them this time? + + IAN (O.S.) + I'm really not that good at talking + to other humans. + + It's all on Louise. She sits up and looks away from the + door, afraid to step out. + + And her attention lands on something. On the wall. + + A SMALL WHITEBOARD. Used for recording the HAZ-MAT suit + cleaning schedule. Names and shifts in dry-erase markers. + + Louise sees it and is seized by an idea. + + +48 EXT. BASE CAMP - YELLOW TUNNEL - MOMENTS LATER 48 + + Louise emerges in her HAZ-MAT suit, cradling the whiteboard + and a dry-erase marker. + + COLONEL WEBER + What's that for? + + LOUISE + A visual aid. + + COLONEL WEBER + For what? + + LOUISE + I'm never going to be able to speak + their words, if they are talking, + but they might have some form of + written language. Or a basis for + visual communication. + + COLONEL WEBER + Okay. + (then) + Where do you start? + + +49 INT. INTERVIEW CHAMBER - EVENING 49 + + CLOSE ON the whiteboard. Louise has written the word + "HUMAN" in large block letters. + 36. + + +She stands by the whiteboard, marker in her trembling hand. +Ian is with her, along with the team of TECHS behind them. + +THE VAGUE ALIEN FIGURES are back, on the other side. Quiet. + +Louise speaks, and points to the word as she does; + + LOUISE + Human. + +She points to herself. Then to others on her side of the +room, including Weber. + + LOUISE + Human. + +She points at one of the aliens. + + LOUISE + What are you? + +Beat. The aliens seem unresponsive, until -- + +They both RETREAT from the screen, deeper into the mist on +their side of the room. + +For a moment, all is quiet. Louise looks to Ian, Ian looks +to the Colonel. + +CLOSE ON A NEEDLE-GAUGE: Dead, registering no frequencies. +And then it SPIKES to the other side -- + +Before anyone can speak, THE CANARY SQUAWKS in its cage. +Its wings flutter frantically. + +INK GLOBULES float from the mist. Like oil in glycerine. +Thousands of drops; horizontal black rain, but intelligent +-- + +They all start to form something against the partition: + +A brilliant LOGOGRAM. An inkblot coffee-cup stain with +mesmerizing fractal embellishments. + +The taller, slimmer alien steps forward and says something: +Click-flutter-tone. + +Louise smiles. Nearly laughs. Wants to cry. She just had +her first real exchange with an alien. + + LOUISE + (sotto) + 37. + + + Are you getting this? + + Ian has taken control of a static video camera and holds it + at an angle that better captures the detail on the barrier. + + IAN + Absolutely. It's all downloading + back at basecamp. + + One of the aliens "speaks" again. Flutter-tone, flutter- + tone. + + THE LOGOGRAM MORPHS into another form, replacing the + previous one. This one more intricate. + + LOUISE + Whoa whoa, too fast, fellas. + + She lifts her marker to make a note. For the first time, + her hand isn't trembling. + + +50 INT. "CLEAN ROOM" - NIGHT 50 + + Louise drops the whiteboard by the door. + + She doesn't get more than her helmet/mask off before + Colonel Weber steps in and confronts her. + + COLONEL WEBER + I said talk to them, not teach them + how to read. Do you understand what + this could mean? + + LOUISE + It means if I play my cards right, + they'll take some Shakespeare home + with them. + + COLONEL WEBER + Only now you've made it twice as + hard, trying to learn how to speak + and read. That takes longer. + + LOUISE + Wrong. It's faster. + + Louise starts marching past him. Weber keeps up with her. + + COLONEL WEBER + I'm not saying no, I'm asking why. + + LOUISE + 38. + + + It's the only way this will work. + + COLONEL WEBER + Hey. Everything you do in there I + have to explain to a room full of + men whose first and last question + is, 'How can this be used against + us?' So give me something. + +Louise gestures at the whiteboard. + + LOUISE + Kangaroo. + + COLONEL WEBER + What? + + LOUISE + In 1770, Captain James Cook's ship + ran aground on the coast of + Australia. He led a party into the + country and met the aboriginal + people. + + LOUISE + One of his sailors pointed to the + animals that hopped around with + their young in pouches, and asked + what they were called. The + aborigine replied "Kanguru." + + COLONEL WEBER + What's your point? + + LOUISE + It wasn't until later that they + learned "Kanguru" means "I don't + understand." + (re: whiteboard) + I need this to make sure we don't + misinterpret in there. Otherwise + this will take ten times as long. + +Time wasted is the key phrase to convince Weber. + + COLONEL WEBER + All right. I can sell that for now. + But submit your vocabulary before + the next session. + (beat) + And remember what happened to the + aborigines. A more advanced race + nearly wiped them out. + 39. + + + Weber walks off with Captain Marks. + + Ian steps up, watching them go. Grinning at Louise: + + IAN + Is that true? The kangaroo story? + + LOUISE + No. But it made my point. + + Louise starts walking out the clean room, leaving Ian to + shake his head in admiration. + + +51 INT. SCIENCE TENT - CRYPTO ROOM - NIGHT 51 + + The team of NSA cryptographers works diligently on one + thing: That alien logogram. As if it were the codes from an + Enigma machine and the key to winning a war. Louise steps + in, sees the frenetic action, and backs out. + + +52 INT. OPERATIONS TENT - SKYPE ROOM - NIGHT 52 + + Through the busy activity at the various flatscreen monitor + stations, Halpern stands at one monitor, talking to a man + from the Wales Science Team at their landing site. + + BRITISH SCIENTIST + Spent most of the time just trying + to establish a proper greeting. + We're analyzing the playback now, + to see if there is a pattern. I'm + doing a Zipf law analysis. But I'm + worried they aren't really talking, + it's just how they breathe. + + AGENT HALPERN + Like the time I got bronchitis. OK, + let me know if you figure that out. + + +53 INT. SCIENCE TENT - LOUISE'S DESK - LATER 53 + + Louise studies at her desk. + + CELLO MUSIC distracts Louise, and she looks up. + + On a screen, the Japanese site is performing 'Canon in D' + with a cellist in their interview chamber. + + Louise reviews the logograms from the session printed on + large photo paper. The one on top is labeled "EARTH." + 40. + + + She's circled pieces of the logogram in red pen, making + notes like "curling ascender = proper noun?" + + With a straight edge, Louise divides the circular logogram + into twelve slices, isolating the different graphical + elements in the alien symbol. She labels them 1 to 12. + + Louise blinks and takes a breath. Rubs the bridge of her + nose and works a kink in her neck. Then leans back in, + momentarily renewed with focus. + + A high-pitched RINGING creeps into her ears. She winces -- + + +54 EXT. LAKE HOUSE - DAY - FLASHBACK 54 + + Four-year-old HANNAH giggles as she runs from us -- + + +55 INT. SCIENCE TENT - LOUISE'S DESK - BACK TO SCENE 55 + + Louise sits up at her desk as if yanked from the memory. + + She takes a breath, rubs her forehead, confused by that + little moment. She stares at the logogram on her desk. + + +56 INT. BARRACKS - MORNING 56 + + ON A LAPTOP SCREEN: Aerial footage of the Shell appears. + + Back from a safe distance. The Shell looks, as always, + intimidating. + + But now with the footage is a SINISTER SCORE added by + shock­jock radio host RICHARD RILEY, who emphasizes words - + - + + RICHARD RILEY + This is aliens we're talking about. + The most important time in our + history as a people is right now, + first contact with whoever is + inside this thing, and who do we + have running the show? The + government. The same government + that ruined our health care and + bankrupted our military. + + An image of the cluster of tents around the Montana site + appears, obviously shot with a long zoom lens. + + RICHARD RILEY + 41. + + + Look at these people! Most of them + don't even have guns. We could be + facing a full-scale invasion and + our president is ready to roll over + and let them take our country -- + + REVEAL the LAPTOP is in: + + The military barracks. And PRIVATE LASKY listens intently + to it. Nodding. Glancing out the open flaps of the barracks + tent toward the giant Shell in the distance. + + Three bunks over, a group of SCIENTISTS watch a news + program on a separate TV, following riots somewhere. Could + be Prague, could be Detroit. One SCIENTIST shakes his head + in disgust. Outside, Louise walks past the barracks, on her + way to -- + + +57 INT. OPERATIONS TENT - SKYPE ROOM - MOMENTS LATER 57 + + Louise enters the tent to find Ian and Weber already here, + with other team members. + + Ian has a sketchbook, he's busy with an art pencil, + listening and nodding to the British Scientist on his + monitor. + + BRITISH SCIENTIST + We think we were able to reproduce + some prime-number sequences back at + them, so that's something. + + IAN + Congrats. You're a parrot. + + BRITISH SCIENTIST + It's more than that, you cheeky + bastard. Don't you see? They can't + seem to follow our algebra system, + but complex behaviors? That clicks. + + Beyond Ian: Weber stands with Halpern, watching Middle + Eastern news coverage of an armored division mobilizing. + + AGENT HALPERN + Problem is, that shell dropped at + the border, so when Pakistan rolled + out their army to secure the site + from locals, India got all fussy, + amassing two armored divisions at + the border. + 42. + + + LOUISE + We can't get them to stand down? + + AGENT HALPERN + And tell them what exactly? + + COLONEL WEBER + Louise, Ian, this is Agent David + Halpern with the CIA. + +Weber guides Louise and Ian away from the bank of monitors. +It's clear he doesn't like dealing with Halpern. + + COLONEL WEBER + We need to gain ground today. You + have your vocabulary list for me? + + LOUISE + I do. + + COLONEL WEBER + (examines her list) + You're going to teach them your + name? And Ian's? + + LOUISE + It's so I can learn their names. If + they have names. And so I can + introduce pronouns later. + + COLONEL WEBER + These are all grade-school words. + Eat. Walk. Tool. We need to get + more specific. + + LOUISE + Do you know what a Pulaski is? + + COLONEL WEBER + (beat) + No. + + LOUISE + It's a tool. Used by firefighters. + We can't start specific. + +Weber makes a noncommittal noise and reviews the words. + +Ian reveals to Louise his sketch of an ALIEN. + + IAN + Heptapod. Seven limbs. + (gesturing at Louise) + 43. + + + She's right -- it's useless until + we can demonstrate some basics + first. + + COLONEL WEBER + We have one question: What is their + purpose here on Earth? It isn't + complicated. + (softening) + Help me understand. + +Louise goes to a larger whiteboard stationed nearby and +writes the question "What is your purpose on Earth?" + + LOUISE + Okay, so this is where we want to + get. Right? This question. + (off Weber's nod) + To get there, we have to make sure + they understand what a question is, + and the nature of a request for + information along with the + response. Then there is clarifying + the difference between a specific + "you" from a collective "you." We + don't want to know why Joe Alien is + here, we want to know why all of + them landed. + +She writes frantically over the words in columns, marking +relations with arrows. As she speaks, her voice gets louder +and more confident. This is her area of expertise. + + LOUISE + Purpose requires an understanding + of intent. Which means we have to + find out if they make conscious + choices or if their motivation is + so instinctive they don't + understand a "why" question, and + biggest of all, we need to have + enough of a vocabulary with them so + we understand their answer. + +Colonel Weber nods and surrenders to her. Behind Weber, Ian +grins devilishly at Louise, even winks at her. + + COLONEL WEBER + All right, all right, I get it. + Stick to your list. Just -- + +Then: That low, bone-trembling BASS TONE echoing out from +the Shell, rattling the equipment. + 44. + + + Weber scraps what he was going to say, opting instead for: + + COLONEL WEBER + Good luck. + + +58 INT. "CLEAN ROOM" - MORNING 58 + + Louise and Ian suit up again. Louise notices the tremors in + her hands have returned. + + +59 INT. INTERVIEW CHAMBER - MORNING 59 + + Louise faces the semi-transparent wall, holding a dry-erase + marker in one hand. Ian stands near the whiteboard. + Everyone is in full HAZMAT suits again. Weber isn't here + this time. + + The heptapods watch Louise with a strange curiosity. + + Louise points at herself. + + LOUISE + Louise. + + The whiteboard displays her name in large letters. + + Beat. One heptapod speaks. Whisper-flutter-click. + + Inky drops float to the glass and a beautiful LOGOGRAM + forms. + + IAN + Well, that's progress. + + LOUISE + No. That's the symbol for "human" + again. But with a little curl at + the end of that leg. Probably to + indicate a question. + + IAN + They're getting confused. + + LOUISE + You know what -- I can't do it like + this. I just -- + + Louise looks over at something behind the Environmental + Techs: THE CANARY. + 45. + + +The little bird flaps its wings and crooks its head at her. +It's alive and well. + +Louise makes a decision. She takes her HAZMAT mask off. + + IAN + Whoa whoa hey -- + +Weber's voice pipes in via intercom, from the ops tent: + + COLONEL WEBER (V.O.) + You're risking contamination. + + LOUISE + They need to see me. + +Louise shirks out of the rest of her suit. She's wearing +her civilian clothes underneath. + +She takes a breath. It doesn't kill her. Louise moves a +step toward the glass barrier -- + +The heptapods advance closer to the barrier. Curious. For +the first time, we can see a bit more detail; more focus. + +Their skin is more mottled than a uniform color. Their +torsos move slightly, not from breath but as a jellyfish. +And the tips of one heptapod's "feet" are dark with ink. + +Everyone holds their breath a beat. Slowly, Louise puts a +hand on her heart and repeats: + + LOUISE + My name is Louise. + +She takes the whiteboard and writes furiously. Flips it +around and shows: She's drawn their symbol for -"human" +next to the English word "HUMAN" and then a greater-than +symbol leading to her name. + +The two heptapods are unresponsive. + + LOUISE + Ian, introduce yourself. + +Ian noisily shirks off his HAZMAT suit. Louise looks on. +Weber gets more uneasy by the minute. + + IAN + Made me look like a beekeeper. + +Ian erases Louise's name on the board and writes his. + 46. + + + IAN + My name is Ian. + +A magical thing happens next: The shorter, rounder heptapod +steps forward. Click-tone. A small logogram appears on the +boundary in front of him. + +Then the taller one ambles close. Flutter-swallow. A +different symbol appears in front of him. + + LOUISE + They have names. + + IAN + Yeah -- So what do we call them? + Because if I try to make sounds + like them, I will end up insulting + their mothers. + + LOUISE + Slim and Stout? + + IAN + I was thinking Abbott and Costello. + + LOUISE + (grins) + I like it. + +Cautious, yet mystified, Louise takes another bold action: +She steps for the boundary. The light from that mist on the +other side of the glass illuminates her face, showing her +wonderment. + + LOUISE + (quieter) + You have names -- You're + individuals. Aren't you. + +Ian and Captain Marks watch. Marks doesn't like it. + + CAPTAIN MARKS + Doctor Banks -- + +Louise then puts her HAND on the barrier. Leaves it there. + +The shorter one (ABBOTT), drifts close, too. + +And through the vague cloud, something specific: It raises +a limb and puts a SEVEN-FINGERED 'HAND' on its side. + +Near Louise's hand. + 47. + + + She smiles, still partly terrified but also reassured. + + LOUISE + Now that's a proper introduction. + + +60 INT. INFIRMARY - DAY 60 + + Colonel Weber, Agent Halpern, and Doctor Kettler step to + one of Kettler's work tables in a private conference, as if + they just arrived in a hurry. + + COLONEL WEBER + Tell me. Are they a contamination + risk without the suits? + + DR. KETTLER + No radiation. Nothing else we can + detect, either. But I'd give them a + strong cocktail, regardless. + + COLONEL WEBER + Any other sites working like this? + + AGENT HALPERN + No. But no one else has made this + kind of progress. You saw it. + + Weber doesn't like this decision, but he concedes: + + COLONEL WEBER + All right, no suits for those two. + But watch them closely for any + signs. + + DR. KETTLER + (as they leave) + Signs of what? + + SERIES OF SHOTS: + + +61 INT. INTERVIEW CHAMBER - DAY 61 + + Louise shows the word "WALK" and Ian demonstrates. Neither + of them wear their HAZMAT suits now. + + LOUISE (V.O.) + Session three. We're into verbs. + Slow and steady wins this race. + + +62 INT. INTERVIEW CHAMBER - MOMENTS LATER 62 + 48. + + + Costello saunters along his side of the wall and a heptapod + logogram appears. It's simple yet complex, like a fractal + in line art. + + +63 INT. INTERVIEW CHAMBER - NIGHT 63 + + Ian draws a Feynman diagram, next to a set of SCIENCE + CARDS. + + IAN (V.O.) + Session six. Had some trouble with + basics, but they understand complex + interactions right away. Not that + it's a race, but I'm totally ahead + now. + + +64 INT. SCIENCE TENT - CRYPTO ROOM - DAY 64 + + Louise debates some element of a logogram with members of + her cryptography team in their tent, pointing at a + magnified piece of one circular symbol. + + LOUISE (V.O.) + Session eight was a failure. But + it's clear their logograms are made + of twelve compartments. + + +65 INT. INTERVIEW CHAMBER - DAY 65 + + Louise works with a spectrograph as Ian charts a basic + geometric curve. The heptapods are unresponsive in their + misty chamber. + + IAN (V.O.) + Session eleven. How can they stare + at me when I use simple math? + + +66 INT. INTERVIEW CHAMBER - MOMENTS LATER 66 + + A graphic on the glass animates, showing our solar system, + highlighting "EARTH." + + +67 INT. LOUISE'S OFFICE TENT - NIGHT 67 + + Louise practices drawing her own logograms, trying to mimic + the inkblot style. Nearby, the whiteboard with the goal: + "WHAT IS YOUR PURPOSE ON EARTH?" Several words leading to + the question have been marked -- she's taught them those. + 49. + + + LOUISE (V.O.) + Session fifteen. Back on track. + + She smirks at a frustrated Ian. Their attention is drawn + to: + + THE BANK OF MONITORS + + Footage on screens of anxious crowds massing around other + sites. Protesters, fanatics, the hopeful and the hopeless. + Ian and Louise watching the footage, disturbed by the + effect on the public of the ships' mere presence. + + +68 EXT. BASE CAMP - MORNING 68 + + High angle above the camp at sunrise. + + +69 INT. "CLEAN ROOM" - YELLOW TUNNEL - MORNING 69 + + Weber gives Louise a notecard before they step out. + + COLONEL WEBER + When Ian is done with his math + portion, include this word on + today's vocabulary. + + Louise frowns and hands it back. + + LOUISE + No way. + + Ian leans over, takes the card and nods at Weber— + + IAN + Yeah, we can manage that. + + Louise, now unsure whom she needs to convince first -- + + LOUISE + It's dangerous. We could come + across as hostile. + + COLONEL WEBER + Yes. But I trust you to choose your + demonstrations carefully. + + +70 EXT. "CLEAN ROOM" - YELLOW TUNNEL - DAY 70 + 50. + + + Ian and Louise approach the pickup truck. Louise takes this + moment to speak quietly at Ian, through her teeth: + + LOUISE + What the hell was that? + + IAN + I know you're the language expert, + but I know how to talk to these + guys. You don't say 'no' to them. + You say 'yes' and then find a way + to control the situation. + + LOUISE + So you have them all figured out? + + Ian smiles sweetly at her. He's not fighting with her. + + IAN + It wasn't that hard. + + +71 INT. INTERVIEW CHAMBER - DAY 71 + + Captain Marks remains in the room in full HAZMAT suit, + monitoring the equipment with another TECH. + + Ian looks on at Louise, worried. Louise holds a HUNTING + KNIFE in her hands, the notecard tucked in one palm. + + On the semi-transparent wall facing her, the heptapods have + written a terse, angular symbol next to the word Louise has + written: "WEAPON." + + LOUISE + There's your word, Colonel. + + COLONEL WEBER (V.O.) + (through speakers) + Let's ask the big question now. + + LOUISE + Hold on. We need to distinguish a + weapon from other devices or else + they'll think everything is a + weapon. + + Costello whisper-clicks at Abbott, then turns to leave. A + doorway irises open on the far wall. + + Abbott wipes the podium and the logogram vanishes. The two + aliens begin to glide away from their stations -- + 51. + + +Louise realizes they are leaving and calls out -- + + LOUISE + Wait. Wait! + +She steps to the boundary and puts her hand on it. + + LOUISE + Why are you here? + +Abbott crooks his head. + +Louise, desperate, looks back at the printer attached to +the still camera capturing everything written by the +heptapods. She riffles through the pages, looking for the +words. + + IAN + What can I do? + +Louise gives him two print-outs. + + LOUISE + Hold these up. + +Abbott looks back at the door where Costello left. Then at +Louise and Ian. + +Louise finishes drawing. Shows the board to Abbott. Puts it +against the boundary. She's attempted freehand drawing +their gorgeous logograms, and she's actually done a great +job. + +It's not quite the phrasing; she hasn't taught them "why" +but instead uses "heptapods purpose Earth" with a curl on +the logogram for Earth. + +Abbott stares a beat. And writes on the podium. + +As the logogram glows on the divider, Louise steps back in +shock. She's translated it already. + + IAN + What does it say? + + LOUISE + "Offer weapon." + +The phrase sends a tense hush through the team. + 52. + + + The unidentifiable light source in the interview chamber + dims and the transparent wall clouds until it's fully + opaque. + + Louise, Ian, Captain Marks, and the other in-room Techs + face each other as if they've just learned a terrible + secret. + + +72 INT. OPERATIONS TENT - WAR ROOM - DAY 72 + + An eruption of sound and chaos, joining in mid-debate with + several people talking at once. Halpern is among them. + + CAPTAIN MARKS + But you saw what they wrote -- + + LOUISE + -- using a word they don't + fully understand! + + IAN + It could just be a request -- + + AGENT HALPERN + or a warning -- + + Over the din of everyone talking and no one truly listening + comes the booming voice of Weber in his best stern father: + + COLONEL WEBER + Enough. + (as room quiets down) + I can't agree with any of you when + you're all talking at once. Now: I + want to hear theories. Louise? + + LOUISE + We don't know if they understand + the difference between a weapon and + a tool. Our language, like our + culture, is messy. In many cases + one thing can be both. + + IAN + In addition, it's possible they are + wanting us to offer them something, + not the other way around. Like the + first part of a trade. + + COLONEL WEBER + How do we clarify their intention + beyond those two words? + 53. + + + LOUISE + I go back in there. In thirteen + hours, we go in and clear this up. + + AGENT HALPERN + It's more complicated than that. + + LOUISE + How is that complicated? + + AGENT HALPERN + Set aside our own reaction to the + message, we have to consider the + other nations and how they will + interpret this. + (pointing at monitor) + Like China. Have you met General + Shang? How about a little round of + "meet the scary-powerful men." + +Halpern points at a profile photo of a distinguished +Chinese man in dress uniform: GENERAL SHANG. + + AGENT HALPERN + The call-sign for him is Big + Domino. Because he's a tastemaker. + Whatever Shang does, at least four + other nations will follow. + + LOUISE + We're on good terms with Shang. + + AGENT HALPERN + But we can't say the same for other + nations where these ships have + landed. And Russia has control of + two sites. Twice the data. + + LOUISE + How is that relevant to this? + +A LIEUTENANT enters to address Weber: + + LIEUTENANT + Colonel, the Secretary of Defense + is on the line for you. + +Weber reluctantly steps out. Halpern takes over: + + AGENT HALPERN + 54. + + + We need to sit on this information + until we know what it means. So we + aren't sharing with our enemies. We + have to consider the idea that our + 'visitors' are prodding us to fight + among ourselves until only one + faction prevails. + + LOUISE + There's no evidence of that. + + AGENT HALPERN + Sure there is. Just grab a history + book. The British with India. The + Germans with Rwanda. They even got + a name for it in Hungary. + +Halpern's cell phone rings, and before he takes the call— + + AGENT HALPERN + We are a world with no single + leader. It's impossible to deal + with just one of us. And with the + word "weapon" now -- + +Louise pales. Feeling like she just broke something. She +looks for someone to talk to and finds Ian deep in thought, +keeping his eyes on the twelve monitors. + + LOUISE + That was my doing. I taught them + that. So, if we just go back in + tonight, go in and, and -- + +Frenzied activity at the monitoring station draws their +attention in time to see: + +AN EXPLOSION at one landing site, the plume of the +firecloud lighting up the urban-located Shell -- + +Communications Team Members stand up now, talking into +their headsets in four different languages -- + +ON THE CHINESE VIDEO STREAM, a Scientist is forcibly pulled +away by a Chinese Intelligence Officer who yanks at a cable +and then the video feed BLACKS OUT. + +A moment later, a panicked Russian Officer does the same to +their feed. Two more black screens. Siberia and Black Sea. + +Weber gets off the phone, focused on the feeds. + + COLONEL WEBER + 55. + + + What's going on? What was that + explosion at Site Four? + +Halpern keeps his ear to his phone, but answers: + + AGENT HALPERN + China and Russia are off the grid. + They aren't speaking to anyone. + Whatever they learned in their last + session has them spooked -- + (into phone) + Yes sir. + (to Weber) + We have orders to do the same. + + LOUISE + What? These people are our allies! + Ian, tell him. + + AGENT HALPERN + Until we figure out what the + message means -- + + IAN + That is a bad idea. It sends a + clear signal of hostility. If we + start this -- + +A fourth monitor goes dark: Indian Ocean. + + COLONEL WEBER + It's already started. + +Halpern leans in at one station and orders a Team Member: + + AGENT HALPERN + Put us on radio silence. + +ON ONE SCREEN: It's their own tent, the camera pointed at +Louise and Ian. Louise rushes to the mic— + + LOUISE + Listen, we got a message from the + heptapods, "offer weapon--" + +But as she says "offer" the U.S. SCREEN BLACKS OUT, leaving +the other countries hanging. + + AUSTRALIAN SCIENTIST + What is happening? U.S. Team, + please respond. + +Louise whirls on Halpern -- + 56. + + + LOUISE + Dammit, Halpern! We should be + talking to each other. + + AGENT HALPERN + You want to talk to them, find out + what this means. Please. I will + sleep better if you do. + + He holds up the printout with the words "OFFER WEAPON." + + Louise grabs the page from him and storms off to her desk. + + Ian (quietly boiling) passes by Halpern and hisses: + + IAN + By then it will be too late. + + ON THE MONITORS: four of the twelve now blacked out, with + the rest talking over each other, panicked -- And then a + FIFTH monitor goes dark. + + +73 INT. SCIENCE TENT - LOUISE'S DESK - NIGHT 73 + + Louise wears a set of noise-cancelling headphones at her + desk, listening to the spoken heptapod language and trying + to shut out the world beyond. + + She stares at one of the logograms as she listens to the + audio. It's a circular piece full of whorls and curls. + + Writing notes to herself as she does: + + "They have landed? Earth? Planet?" + + Louise underlines that last word, she hears a new voice: + + HANNAH (V.O.) + (pre-lap) + What's this word? + + Louise hears Hannah's voice and closes her eyes -- + + +74 EXT. LAKE HOUSE - DAY - FLASHBACK 74 + + Louise and Hannah (age 8) sit on the picnic blanket, under + the shade of a stately oak tree. They share a story book. + + Hannah points at a page. + 57. + + + LOUISE + "Planet." Like Earth is a planet. + + HANNAH + Mmmm -- what's that word? + + LOUISE + How many words are you trying to + learn today? + + HANNAH + All of them. + +Louise smiles and kisses Hannah on the forehead. + + HANNAH + Want to see my project for Mrs. + Garriott's class? + + LOUISE + All right little-nose, whatcha got? + +Hannah digs into her backpack and pulls out a sketch. + + HANNAH + Supposed to draw what my Saturday + morning cartoon would look like if + I had one. + + LOUISE + What is this place? + +THE DRAWING depicts a Man and Woman (stick-figures) holding +up a really fat bird-like shape. + + HANNAH + That's supposed to be a book. + + LOUISE + Who are these two people? + + HANNAH + You and Daddy. The show is called + "Mommy and Daddy Save the World." + +Louise's smile sinks. She looks pained. + + LOUISE + Well. That sounds lovely. + (beat) + You know, it's okay to be upset + that your daddy and I -- + 58. + + + Little Hannah breathes through her nose. + + HANNAH + I know. I'm not. + + Louise brushes Hannah's hair out of her eyes. + + LOUISE + We both love you, very much. + + HANNAH + I know. + (then) + It's just a cartoon. It's not real. + + That same high-pitched WHINE escalates and -- + + +75 INT. SCIENCE TENT - LOUISE'S DESK - BACK TO SCENE 75 + + Louise flings off her headphones and tries to get up, but + she's dizzy. Ian gets up from his station to help her -- + + IAN + Louise? You okay? + + Louise recovers from a sudden vertigo. She focuses on Ian. + + LOUISE + I -- Yeah, fine. + + She bends over and takes a moment to refocus. When she + stands upright she faces a suspicious Weber, who's come + over. + + COLONEL WEBER + When was your last check-up with + Kettler? + + Louise lets out a breath and passes him by, for the exit. + + Ian considers going with her. Weber gestures: Stay back. + + COLONEL WEBER + How about you? + + IAN + Me? I'm fine. + + Weber brings Ian close to Louise's desk and surveys the + heptapod writing scattered over it. He takes a moment and + chooses his words carefully. + 59. + + + COLONEL WEBER + A lot of work for one person. + + IAN + She's not alone. We're making good + progress. We're teaching each other + physics and language. + + COLONEL WEBER + Good. Learn as much as you can. In + case we need to bench Doctor Banks. + + IAN + No -- you can't do that. + (recovers) + I'm saying, it won't come to that. + + COLONEL WEBER + But if it does -- + + Weber leaves Ian to consider this scenario. + + DR. KETTLER (V.O.) + (pre-lap) + How do you feel? + + +76 INT. MEDICAL TENT - DR. KETTLER'S OFFICE - MOMENTS LATER 76 + + A pen light shines in Louise's left eye. + + LOUISE + Overworked. + + Kettler tries to be casual but comes off awkward: + + DR. KETTLER + That makes two of us. I hear you + collapsed in the ops tent. + + LOUISE + Probably just lack of sleep. + + Kettler readies a syringe. + + DR. KETTLER + Well, you're not getting radiation + poisoning. + + DR. KETTLER + 60. + + + We'll see how your blood tests + look, but for now I'm going to give + you another boost. Try and sleep + this one off, okay? + + He sinks the needle into her arm. Louise tries not to + flinch. + + +77 EXT. BASE CAMP OVERLOOK - EVENING 77 + + Armed SOLDIERS are stationed at regular intervals around a + tight perimeter. Disturbing, as the base camp previously + did not seem military-led. Their presence is slowly + increasing. + + Private Lasky stands guard, and looks back at the mammoth + Shell above him. He's joined by Private COMBS, who gives + the ship a similar look of aggression. They notice each + other glaring at the ship, and share a wordless nod of + solidarity. Two soldiers who both spotted the enemy. + + +78 EXT. HILLSIDE NEAR BASE CAMP - DUSK 78 + + Ian sits atop a sleeping bag, staring out at the massive + ship with a look just the opposite of Lasky's glare. + + He has a sketchbook open, filled with mechanical drawings, + advanced equations, and notes to himself. + + Louise ascends the hill toward him. + + LOUISE + Weber is looking for you. + + Ian smiles at her. + + IAN + Why do you think I'm hiding out + here? Come, join me. + + She considers it a moment, then sits down next to him as he + makes room for her on his sleeping bag. + + Louise looks down at the camp, her concern all wrapped up + in the military population, while Ian keeps staring out at + the massive shell a quarter-mile away. + + IAN + How are you so good at talking to + something so unlike us? + 61. + + + Louise notices the focus of his gaze and shrugs. + + LOUISE + There's precedent. + + +79 EXT. RANCH - DAY - FLASHBACK 79 + + Louise with Hannah at a RANCH with a horse. The horse's + nostrils flaring, standing eighteen hands tall, a gigantic + creature to the scared little 8-year-old Hannah. + + But Louise puts her hands on the horse. Speaks to it. + + LOUISE (O.S.) + Shh, shh. It's okay -- + + The horse's ears spin like radar dishes -- + + +80 EXT. HILLSIDE NEAR BASE CAMP - BACK TO SCENE 80 + + Back with Ian and Louise on the hill. + + IAN + You know, you approach language + like a mathematician. + + LOUISE + I'll take that as a compliment. + + IAN + You should! You steer us around + communication traps I didn't know + existed. Which probably explains + why I'm single. + + Louise studies Ian's face to see if he's being sarcastic. + He's not. This is honesty. + + LOUISE + My father worked for a big energy + company. They'd relocate him every + year to some new country, and I + went with him. He used to say + learning all those foreign tongues + would make me the center of every + party. But you know what people say + when you're sixteen and fluent in + seven languages? "You're smart." + + IAN + Oh no. "Smart" is bad. + 62. + + + LOUISE + People are so afraid of smart. + +Ian stares at the sky. + + IAN + When I was six, my parents bought + me a globe. One of those big ones + on an iron floor stand. This was + the same year I dressed up as a + wilderness explorer for Halloween. + My room was papered with hand-drawn + maps of my neighborhood. + (beat) + I studied every inch of that globe, + and it was the saddest moment of my + childhood. Everything had already + been explored. + (beat) + Next Halloween, I was an astronaut. + + LOUISE + "To boldly go--" + + IAN + I've spent the last thirty years + staring at the sky. Trying to find + a way out there. Now it's here, and + I don't know how I feel about it. + + LOUISE + Because you might finally get to + explore the galaxy? + + IAN + Because they've already explored + it. + +Louise shivers; it's getting cold up here. + +Ian drapes a blanket over her shoulders and shares it with +her. The two huddle close together, under the massive +spherical Shell lit by drifting spotlights. + + LOUISE + I feel like everything here comes + down to the two of us. + + IAN + That's a good thing. Have you seen + the jokers around us? + + LOUISE + 63. + + + Promise me. We'll do this together? + + Ian's smile falters, as he recalls his talk with Weber. + + IAN + Yeah. + + +81 EXT. BASE CAMP - NIGHT 81 + + Aerial view. The compound has doubled in size. + + +82 INT. “CLIIAN ROOM" - NIGHT 82 + + Ian and Louise prep for another session. Ian vigorously + applies antibacterial soap to his hands and arms, like a + surgeon prepping for the O.R. Louise still refuses to don a + HAZMAT suit, but she ties her hair back in a ponytail. + + Captain Marks enters, carrying a pair of respirators with + small oxygen tanks attached. + + CAPTAIN MARKS + New policy. Carry these on you when + you're in the Shell. + + IAN + You're worried we'll run out of air + inside? Why? + + CAPTAIN MARKS + Before the blackout, the Swedish + site reported their last session + ran long by about twenty minutes. + + LOUISE + But they were fine at the end of + it, weren't they? + + CAPTAIN MARKS + They still wear full HAZMAT suits, + doctor. Like the rest of the world. + + Ian and Louise trade looks. + + Dr. Kettler enters, with his medical bag. + + DR. KETTLER + Let's roll up those sleeves -- + + +83 INT. INTERVIEW CHAMBER - NIGHT 83 + 64. + + +Louise leads the team. + +On the other side of the barrier, Abbott and Costello are +waiting. Costello stands at the podium. Abbott is closer to +the glass barrier. The glass-like surface is still milky, +so no one can get a good look at them. + + LOUISE + (to Ian) + They're already here. + +Captain Marks stands at the back. Watchful. + + CAPTAIN MARKS + Show them the question. + +Louise takes a breath and holds up her whiteboard while the +Techs set up the video equipment behind her. + +It reads, in subtitled logogram: "OFFER WEAPON?" + +Abbott and Costello make little movement. No answer. + + IAN + This isn't working. + +Louise speaks directly to Abbott, stepping a bit closer: + + LOUISE + Are you offering us something? + +She holds up the whiteboard again. + +Another quiet conference between Abbott and Costello. + +More ink floats to the barrier to form a complex LOGOGRAM, +followed by the translation in subtitles. + +"MUST LEARN MORE FROM IAN LOUISE" + + IAN + They don't have enough of our + language to share it yet. + + LOUISE + Let's fix that. + +Captain Marks checks the flatscreen monitors and tablet +interfaces behind them -- one for Louise, one for Ian. + + CAPTAIN MARKS + You're good to go. + 65. + + + On one monitor, the library of new learned logograms is + currently blank. Like a spreadsheet waiting to be filled. + + +84 INT. INTERVIEW CHAMBER - LATER 84 + + The sentence on Louise's flatscreen reads: "Ian gives + Louise an apple because tomorrow she will be hungry." + + On the monitor behind her: the library is FULL of + logograms. + + Abbott replies. The written logogram is displayed: A + gorgeous interwoven circle of loops, whorls, and splotches. + + IAN + What is that? + + LOUISE + I think it's what we wrote. + (pointing) + Look. This is the word for "apple" + but it's conjoined with their names + -- I can't tell where it starts or + ends. + + IAN + No front or back. Like their + bodies. And the ship. + + LOUISE + How do you begin to craft a complex + statement like this? The relation + each symbol has to another -- + (then) + You know what? We've never seen + them write. Only the result. Let's + see them in the act of writing. + + Louise returns to the tablet. Erases the sentence on her + screen. And then, instead of preparing words and displaying + the result, she triggers the "live sketching" option that + shows her writing the letters and words in real-time. + + She writes the sentence: "Louise writes so heptapods can + see her writing." + + Abbott and Costello crook their heads. + + Then Abbott approaches the transparent boundary, which + becomes clearer than ever before. + + Captain Marks notices. Tenses. + 66. + + + CAPTAIN MARKS + (into mic) + One is approaching the boundary + with two, uh, limbs raised. + +Abbott reaches the boundary, holding up two of his seven +"hands." He places them at two points on the transparent +wall and begins to draw. Ink issues from his hands as he +does. + +Abbott writes a heptapod sentence in real-time. With two +hands simultaneously. + +It is poetry in motion. A dance of ink. He begins at +opposite ends, and then writes phrases and symbols in a +perfect pair of arcs so that they connect as a circle at +the end. + + LOUISE + Oh my god. Nonlinear orthography. + +Ian catches up to what she's saying. + + IAN + They'd have to actually think + nonlinearly, then. + +Louise grabs a tablet synced to the large flatscreen and +draws in heptapod logograms. She does it one-handed, but +she's quite good at it. + + COLONEL WEBER (V.O.) + (via intercom) + Explain. + +As she draws her logogram, she walks him through it; + + LOUISE + Imagine trying to write a long + sentence with two hands, starting + at either end. To do that, you'd + have to know every single word + you're going to write, and the + space all of it occupies. + +Ian struggles to find reference to her logogram. + + IAN + What is -- what are you writing? + +She completes the ornate symbol. + + LOUISE + 67. + + + I asked about predictability. If + "before" and "after" mean anything + to them. Or if they don't know what + that means. + +Ian shuffles through notes on his tablet. + + IAN + When did we teach them any of this? + +Abbott answers in heptapod with another elegant logogram. + +Louise smiles and nods at Abbott. + + IAN + (astonished) + You can read that? + + COLONEL WEBER (V.O.) + (over intercom) + Get back to the weapon. + +Louise sighs and uses her keyboard to type as she asks +aloud: + + LOUISE + Give weapon now? + +Abbott draws a simple logogram. The translation: "SOLVE" + + LOUISE + Solve what? + +The transparent boundary clears itself of all its writing. + +Abbott then draws two lines that meet in the middle to form +one long, contiguous line. + +Abbott gestures at the timeline and speaks: Click-click. + + LOUISE + That's their spoken word for time. + + IAN + How do you know? + + LOUISE + I remember how it sounds. + +Then, Abbott draws a logogram on the far end of the line. +Louise translates: + 68. + + + LOUISE + Humanity. That's us. + + IAN + So I see. + + LOUISE + At the end of our timeline. + + The logogram from earlier forms again: "SOLVE." + + IAN + Son of a bitch. He's giving us + homework. + + +85 EXT. BASE CAMP - NIGHT 85 + + Louise and Ian leave the trucks for the science tent, + escorted by men on either side. Weber walks with them. + Louise looks pale and slightly ill. + + COLONEL WEBER + What is the answer? + + IAN + I don't know yet. I have to dig + into it, figure out what they're + even asking. + + COLONEL WEBER + This is your new priority. No more + language lessons until you crack + it. + + His voice fades as the group marches on toward the tents, + unaware that Louise has stopped walking. + + She puts her hands on her thighs, suddenly nauseated. + + Nearby is a PUDDLE of rainwater. The moon is visible in + reflection, as is the silhouette of the Shell. + + Louise stares at the puddle as a ringing swells in her ear + -- + + QUICK POPS: + + +86 INT. LAKE HOUSE - NIGHT - FLASHBACK 86 + + The moonlit lake on the other side of a bedroom window. + 69. + + +87 INT. LAKE HOUSE - DAY - FLASHBACK 87 + + Four-year-old Hannah's feet curl, inside pajama footies. + + +88 EXT. BASE CAMP - BACK TO SCENE 88 + + Louise stands upright again. Takes a breath, a little + unnerved. And continues on to the cluster of tents, alone. + + One soldier has remained behind as escort. Watching her + with a growing suspicion. Private Lasky. With his rifle. + + +89 INT. MESS TENT - NIGHT 89 + + Louise sits alone, rubbing her temples. Her plate: + untouched. + + Ian enters, looking worse for wear. He grabs a pre-made + meal and joins Louise at her table. His eyes are bloodshot. + + LOUISE + Didn't expect to see you out. + + IAN + I'm hiding from Weber. + + LOUISE + How goes the riddle? + + IAN + It's a timeline. I don't know what + they're asking me to solve. Is it + about population dynamics? + + LOUISE + Why do you go there? + + Ian grabs a salt shaker from the end of the table. + + IAN + Let me tell you a story about + probability. + + He pours a dollop of salt on the table between them. A few + quick shakes. + + IAN + 70. + + + The current world population is + hovering close to eight billion, + but we started out as just a + trickle, right? Things got really + populated in the last couple of + centuries, so here's humanity: + +He then shakes out a salt line for a bit until he unscrews +the cap and dumps a heap at the end. + + IAN + This line represents the population + of the whole history of humanity. + Estimated at just over 100 billion. + What that means is: About eight + percent of every human who ever + lived is alive right now. And that + puts us at this pileup at the end. + + LOUISE + The end? + + IAN + Well, some people call this an + "extinction burst." I don't, + because I think it's junk science. + + LOUISE + How can you be so sure? + + IAN + People have been predicting the end + of civilization for ages. But + someone always comes along and + kicks us further down the timeline. + +Ian spreads out the salt like sand, and runs his finger +through it in a line, punctuating one end. The timeline. + + LOUISE + Maybe it doesn't happen this time. + They're warning us. We're running + out of time. + + IAN + I can't tell that to Weber. + + LOUISE + Weber? The CIA guy is who worries + me. Halpern. + +Louise suddenly winces and rubs her temples. + 71. + + + IAN + How are you holding up? + + LOUISE + Headaches. + (beat) + My brain is scrambled. + + IAN + I hear they have the prefabs up + finally. We get private housing. + + LOUISE + (distant) + Yeah -- + + IAN + Hey. + + He reaches across the table and takes her hand in his. + + Louise looks at Ian. Then at their hands. + + IAN + We'll get through. It's all right. + + She pulls her hands from him, suddenly shy. + + LOUISE + I'm sorry, I just -- I'm feeling + raw and unstable and -- + + Colonel Weber enters the mess tent and sets his sights on + Ian. Calls out from the door: + + COLONEL WEBER + Ian. You're needed in operations. + + Ian keeps his focus on Louise. + + IAN + I'll see you later. + (once more) + We'll get a win soon. + + Ian leaves. When he's gone, Louise's headache returns. + + +90 INT. PEDIATRICIAN'S OFFICE - DAY - FLASHBACK 90 + + Hannah and Louise hold hands on the exam bed. Louise is + fighting back tears. + 72. + + +91 INT. LAKE HOUSE - DAY - FLASHBACK 91 + + Louise stares at a shelf full of Hannah's awards. Photos of + Hannah in sports, at band concerts, in a theme park. + + +92 INT. LAKE HOUSE - NIGHT - FLASHBACK 92 + + Louise is bent over in her bathroom, ill. + + +93 EXT. MESS TENT - NIGHT 93 + + Louise is bent over a trash can as if she just vomited. She + coughs, looks around like she's lost. + + She notices tears in her eyes. Wipes them. + + It disturbs her. She fights back the intense emotional + impact of these memories. + + It takes a few breaths for her to compose herself. + + REPORTER (V.O.) + (pre-lap) + And why do you want to see the + ships destroyed? + + +94 EXT. TV COVERAGE - SOME LANDING SITE - NIGHT 94 + + Handheld camera interviewing a MIDDLE-AGED WOMAN holding a + sign in a protest line outside a barricade. She's been + crying; her eyes are red with tears. And she speaks + English. + + Ticker at bottom of screen: "UFO 'TRUTHER' MOVEMENT GROWS" + + MIDDLE-AGED WOMAN + Because! It's not right. We are the + only ones in this universe. This + whole thing is a hoax. Why d'you + think they haven't shown an alien + up close? It's all a conspiracy! + + The sound of a KNOCKING wrenches from the news clip to -- + + +95 INT. HOUSING PRE-FAB - BEDROOM - NIGHT 95 + + Louise wakes suddenly in bed. She's fallen asleep atop the + covers, still in her clothes. Clutching a pillow as if it + were a child. + 73. + + + The loud KNOCKING comes again. And she gets up. + + +96 INT. HOUSING PRE-FAB - FRONT DOOR - MOMENTS LATER 96 + + Louise opens the door to find Weber and Ian standing + outside, their breath pluming in the cold air. + + COLONEL WEBER + May we come in? + + Louise frowns. + + +97 INT. HOUSING PRE-FAB - LIVING AREA - MOMENTS LATER 97 + + Louise, Weber, and Ian sit in this hotel-room-sized space. + + IAN + How are you feeling? + + Louise tries to read the situation. Something is wrong. + + Ian looks concerned. Weber looks suspicious. + + LOUISE + I just need sleep. I'm fine. + + COLONEL WEBER + You want to tell me what's going + on? + + LOUISE + I don't -- what, what happened? + + COLONEL WEBER + You used seven words in the last + session you never used before. And + you wrote all of them in heptapod. + + LOUISE + What? What words? + + COLONEL WEBER + You had three different exchanges + no one on our side of the glass + could follow. + + LOUISE + Show me. I'll tell you what I + wrote. + 74. + + + COLONEL WEBER + That's not the problem here! + +Weber's getting more frustrated. Ian steps in to defuse: + + IAN + All this focus on alien language. + Look, I did some research and + there's this idea that immersing + yourself in a foreign language can + rewire your brain -- + + LOUISE + The Sapir-Whorf hypothesis, yes. + The theory that the language you + speak determines how you think. + + IAN + Are you dreaming in this language? + +Louise looks from Ian to Weber. Guarded. + + LOUISE + What does that--? I've had a few + dreams. That doesn't make me unfit + for the job. + +Weber shows her a paper document signed at the bottom. + + COLONEL WEBER + This might. + + LOUISE + That's just a prescription for my + headaches, Kettler-- + +Then she notices something. + +THE SIGNATURE FORM, revealing Louise has signed her name in +a circle. Like a cursive logogram. + + COLONEL WEBER + Kettler tells me you signed it with + your left hand. You're right + handed. + + LOUISE + Well. I. I mean -- + + COLONEL WEBER + It was one thing when no one could + understand them. It's another when + no one but you can. + 75. + + + (directed at Ian) + You think you can manage in the + room on your own now? + + LOUISE + What? + +Louise focuses on Ian now, her eyes pleading. + +Ian sees her, this woman on verge of a breakdown, suddenly +quite fragile. It pains him, but he believes it -- + + IAN + If I had to. Yes. + + LOUISE + Ian. Come on. Wait, just -- + + COLONEL WEBER + (stands) + I'm pulling you out. + +Louise and Ian follow. Louise intercepts Weber at the door: + + LOUISE + I need to be in there. This is all + I do. Take it away and I'm just a, + what, a prisoner. + + IAN + Louise, you just need to recover -- + + LOUISE + (snaps at Ian) + Shut up! + (to Weber) + This won't work without me. I'm the + only one they really talk to. + + COLONEL WEBER + Which is why I can't afford to lose + you! Do you get it now? + +Suddenly frustrated by his confession, Weber steps back out +into the cold. But Ian pauses outside her door. Turns +around to face Louise again. + +Louise looks devastated; untethered. + + IAN + I'm sorry. I got worried -- + +But she shuts the door on him. + 76. + + +98 EXT. MONTANA LANDING SITE - MORNING 98 + + The Shell gleams in the rising sun, casting a shadow over a + slice of the science camp site the shape of a tombstone. + + +99 EXT. "THE SHELL" - MORNING 99 + + Privates Lasky and Combs set heavy A/V boxes at a staging + area by the scissor lift. + + +100 INT. SCIENCE TENT - IAN'S AREA - MORNING 100 + + VIDEO of Abbott and Costello plays on a screen. The last + session in the room. Fast-forwarding to the appearance of + the timeline. Pause. + + Ian studies it on the monitor at his desk. His team of + SCIENCE EXPERTS argue and gesture at one another in the + background, around a large table. + + Behind him: A glass screen displays the timeline riddle, + big as life. + + Ian rubs his face. Downs his coffee. Goes at it again. + + +101 EXT. HOUSING PRE-FAB - MORNING 101 + + Weber knocks on Louise's door. + + Beat. Louise opens the door just a few inches. Her eyes are + bloodshot. She's wearing yesterday's clothes. + + LOUISE + What. + + COLONEL WEBER + Did you sleep? + + LOUISE + A little. + + COLONEL WEBER + I need your brain. + + LOUISE + You're putting me back in? + + COLONEL WEBER + (evading) + 77. + + + Do you know Mandarin? + + +102 INT. OPERATIONS TENT - SPY ROOM - MORNING 102 + + The two push through the tent flap, and Louise is startled— + + EVERY SINGLE TV SCREEN is filled with footage of violence. + Gunfire at the grounds of another alien site. Riots at + another. Naval maneuvers on the Indian Ocean. + + Weber hands Louise a set of headphones, and replays a + video. + + ON SCREEN: Spy footage of two CHINESE MEN meeting at a camp + not unlike the Montana site. Muddled voices in Mandarin. + Louise translates: + + LOUISE + He's saying each of the twelve is + offering advanced technology. + (beat) + Spies report India and Sudan have + already received theirs. Like sets. + Sets? I don't know what he means -- + (beat) + Something about an advantage. With + suits, honor, and flowers? + + The clip ends abruptly. Weber takes the headphones back. + + COLONEL WEBER + We don't know what it means, + either. But an hour ago China + scrambled fighters at airfields in + four different bases, and Sudan is + following suit. "Big Domino" is + about to start something. + + LOUISE + Following suit -- + (realizing) + Suits, honor, and flowers. Colonel, + those are tile sets in Mahjong. Oh + god, have they been using a game to + converse with their heptapods? + + COLONEL WEBER + Maybe. Probably easier than trying + to teach Mandarin. Why? + + LOUISE + 78. + + + Say I taught them chess instead of + English. Every conversation is a + game, every idea expressed through + opposition -- victory and defeat. + You see the problem? If all I ever + give you is a hammer -- + + Weber looks back at the monitors, suddenly getting it. + + COLONEL WEBER + -- Everything's a nail. + + Halpern enters, riled up. Steps up to Weber. + + AGENT HALPERN + May I have a word, Colonel? + + Weber nods to Louise: Dismissed. + + +103 INT. SCIENCE TENT - MOMENTS LATER 103 + + Louise enters, distraught. Goes to her desk. + + ANGLE ON IAN, engrossed in his study of previous sessions, + until he hears Louise gathering papers at her desk. + + He sees her through the timeline screen bisecting their + workspace. It's like the glass barrier in the chamber. + After a beat, he decides to approach her. + + IAN + Hey. + + LOUISE + Hey. + + IAN + How are you doing? + + She keeps gathering printouts of logograms. Shoving + material into folders. + + LOUISE + Why do you want to know? + + IAN + Why? Because I -- because you were + starting to scare me. + (steps closer) + You would have done the same for + me, if you were in my shoes. + 79. + + +Louise turns to him now. Vulnerable, and mad about it. But +refusing to cry in front of him. + + LOUISE + Oh, so I should see things from + your perspective, but did you ever + see it from mine? Just once? + (re: Timeline) + You got the symbol for 'humanity' + wrong. Doesn't that say it all. + +She walks around to the other side of the screen and makes +adjustments by touch. + +Ian watches from Louise's desk on the other side -- and he +nearly gasps in surprise. + +From his POV, the timeline is reversed. And the logogram +that means 'humanity' now looks the same from either side. + + IAN + Louise -- their word is an + ambigram. It reads the same front + or back. + + LOUISE + It is? Oh -- You're right. + +He marvels at this mirror image of the timeline problem. + + IAN + On your side, the human race is at + the end of its time. But here -- to + the heptapods -- we're just getting + started. + +The low BASS TONE reverberates through the tents. + + CAPTAIN MARKS (О.S.) + Ten minutes to session. Ian -- + you're up. + +Louise leans in to Ian to keep him focused on the problem +in front of him. + + LOUISE + How does that help us? + +Ian frowns, thinking then, in a sudden Eureka moment, he +gets it. Claps his hands -- + + IAN + 80. + + + My god. It's not a problem at all, + it's a choice. + + He charges off, right out of the tent. + + LOUISE + Ian? Ian, wait -- + + +104 EXT. BASE CAMP - CONTINUOUS 104 + + Louise trails after Ian, who's headed right for the pickup. + + LOUISE + What choice? + + IAN + That's what they're saying. It's + like a warning label on a power + tool. Whatever they're offering us, + we can use it to flourish for + millions of years, or we can do + something stupid and end it all + right now. + + Halpern steps out of the Ops Tent with Weber and zeroes in + on Ian leading Louise for the Shell door. + + AGENT HALPERN + Doctor Banks! + + Ian grabs Louise by the hand. He's not going in alone. + + IAN + Come on. + + Louise hurries after Ian. + + AGENT HALPERN + No one authorized you back inside - + - + + But the two pile into a pickup and Ian peels out. + + Halpern moves for the second truck, where two HAZMAT-suited + TECHS arrive looking confused -- the rest of Ian's team. + + +105 EXT. "THE SHELL" - DAY 105 + + Ian slides the pickup to a stop close to the scissor lift. + Louise hurries out on one side, Ian following. Neither of + them in suits or with respirators. + 81. + + + In the distance, the other truck is on approach, leaving a + rooster tail of dust behind it. + + Ahead, the scissor lift DESCENDS from its high perch at the + surface, revealing Lasky and Combs in full suits. + + Ian and Louise climb in as they step out. Louise makes eye + contact with Lasky. + + PRIVATE LASKY + You can't go in there. + + IAN + She's with me. + + Ian punches the 'up' button on the lift. + + Louise checks to see how close the other truck is, but then + her attention drifts back to Lasky and Combs, below. + + They both just stand and watch them, clutching their + rifles. + + +106 INT. INTERVIEW CHAMBER - MOMENTS LATER 106 + + Louise and Ian arrive to find Abbott already here, + advancing for the glass barrier. Abbott's movement suggests + an urgency. + + LOUISE + Abbott? + + The timeline draws itself on the glass. And beneath it a + symbol appears. Louise points to it: + + LOUISE + "Solve." It's all on you now. + + IAN + Is there a symbol for "choice?" + Both timelines are possible, it all + depends upon what we choose to do + with their offer. + + Louise nods. + + But then the tablet powers down; shorts out on its own. + + LOUISE + Wait, what just— + 82. + + +Abbott writes on the barrier. Adding to the previous: + + LOUISE + "Solve here." He wants me to write + on the glass. + + IAN + Can you? + + LOUISE + It's a complicated sentence. I'm + trying to figure it out. + +Louise approaches the boundary, opposite Abbott. + +The wall becomes more and more transparent, revealing +Abbott more intimately than ever before. + +The alien gestures at her. + +Louise tentatively puts up two hands, then lowers one. + + IAN + What? + + LOUISE + I can't. I can't draw both ends at + the same time. + +She holds her right hand up against the glass. It reacts by +forming ink on Abbott's side. + +As she does, Abbott holds up one hand against the glass on +his end, to the left of her position. + +Louise regards him curiously. Then she takes a breath, and +begins to draw one end of this elegant, complicated circle. + +As she does, Abbott draws on his end. Working in the +opposite arc toward Louise's starting point. + + IAN + What is he doing? + +Louise's eyes widen as she realizes -- + + LOUISE + He's being my other arm. He's + finishing my sentence. + +The two co-authors finish simultaneously, connecting the +arcs of their logograms into a circle. + 83. + + + REVEAL an angle showing Abbott's hand perfectly aligned + with Louise's, only the transparent wall between them. + + QUICK POP: + + +107 INT. LAKE HOUSE - HANNAH'S ROOM - DAY - FLASHBACK 107 + + Baby Hannah reaches up from her cradle, her little infant + hand outstretched like Abbott's. Louise reaching down to + let Hannah grip mom's pointer finger. + + +108 INT. INTERVIEW CHAMBER - BACK TO SCENE 108 + + Louise snaps out of that quick vision. She takes a step + back. + + LOUISE + That's -- That's it. + + Looking at it head-on, the logogram is complete. + + Then: A tapestry of heptapod logograms begin flowing across + the entire transparent wall, like wallpaper patterns. + + They appear with dozens of GEOMETRIC EQUATIONS. Circles. + Angular shapes. Equations in heptapod with Arabic numerals + around them like liner notes. A waterfall of data. It pours + down the screen. + + PRESSING IN on Ian, who smiles broadly. + + IAN + This is it. + (into headset) + This is the gift! + + COLONEL WEBER (V.O.) + (over headset) + We got it over here. + (to Tech) + Christ, how much is this -- + (back to Ian) + It's two terabytes of data. + + Abbott begins miming the "walk" action they taught earlier. + Simultaneously, a new set of logograms form from ink + splattered harshly against the glass -- + + IAN + What is he saying? + 84. + + + Louise approaches the barrier, frowning. + + Meanwhile, a faint BEEPING begins quickening somewhere in + the interview chamber. + + LOUISE + Those are our names -- + (translating) + Must leave? + (to Abbott) + You're asking us to go? + + She gets close now -- + + Ian approaches a DUFFEL BAG toppled by the glass barrier on + the floor, getting closer to the sound -- + + Pulling it away to reveal: A set of wired C4 CHARGES stuck + against the glass -- + + IAN + Louise! + + Ian runs to grab Louise -- + + Louise looks back at Abbott -- he's warning them -- + + Suddenly the gravity shifts in the chamber -- Louise and + Ian find themselves sliding AWAY from the barrier, right + back into the tunnel -- + + Louise looks one last time at Abbott and sees: + + He's pressing his seven-fingered hand to the glass once + more. The way he did when she first shared her name. + + This image shrinks as gravity takes Louise away from the + chamber and then with a cacophonous BOOM -- + + The interview chamber is ENGULFED IN A FIREBALL, with an + impact so hard Louise sees it SHATTER THE BARRIER -- + + Ian and Louise stop sliding, but then the firecloud rolls + toward them out the chamber and into the tunnel -- + + BLACK. NO SOUND. + + A beat. Then: + + +109 INT. LAKE HOUSE - HANNAH'S ROOM - MORNING - FLASHBACK 109 + 85. + + + Louise and 4-year-old Hannah are on the bed. Louise has + fallen asleep with a storybook on her lap. Hannah leans in + and WHISPERS into Louise's ear -- + + Louise's eyes SNAP OPEN -- + + +110 INT. MEDICAL TENT - INFIRMARY - DAY 110 + + TIGHT on Louise waking with a start. + + A bandage has been taped to her forehead. + + She sits up, and instantly regrets it. Her head hurts. + + Kettler approaches. + + DR. KETTLER + Careful. You suffered a concussion. + + LOUISE + Ian -- Is he -- + + DR. KETTLER + Three broken ribs and a sprained + ankle, but otherwise he's fine. + + LOUISE + How long was I out? + + DR. KETTLER + About two hours. Been strangely + quiet ever since. + + Kettler tends to her, examines her pulse and temperature. + + LOUISE + Who--? + + DR. KETTLER + It was a couple of soldiers. They'd + been watching too much TV, afraid + the gift was going to kill us all. + + LOUISE + We don't need help from another + race to do that. + + 81-82A. + + LOUISE + (then) + 86. + + + What happened to them? The + soldiers. + + DR. KETTLER + The agency man, Halpern, he shot + them, but it was too late. + + Outside: The entire camp is mobilized. One tent one the + edge of camp is in the process of being collapsed. + + Even more sobering: A truck parks nearby, towing the + SCISSOR LIFT used to get up into the Shell. + + LOUISE + What's going on now? + + DR. KETTLER + Preparing to evacuate. + + Louise tenses. She looks around -- Ian isn't in the tent. + + LOUISE + Where is Ian? + + DR. KETTLER + Weber came and got him, maybe ten + minutes ago. He wouldn't leave + until he knew you were okay. But + your whole tent is on the clock to + figure out whatever it is you were + given up there. Because we're + pulling up stakes. + + Louise immediately gets up, past Kettler, and goes for the + tent exit. + + DR. KETTLER + Medevac is on the way! + + +111 INT. SCIENCE TENT - CRYPTO ROOM - THAT MOMENT 111 + + The alien data spreads across all the flatscreens. + + Weber watches it, arms crossed. + + Ian stands at one computer, cycling through some subset of + the data. His button-down shirt is loose, showing the tight + bandage wrap around his ribs underneath. + + IAN + Is this all of it? The feed wasn't + cut before the explosion? + 87. + + + COLONEL WEBER + Not as far as we can tell. + +Ian is visibly relieved. + + IAN + We should combine my team with + Louise's and get them all working + on this. + + COLONEL WEBER + What is it? + + IAN + I don't know yet. But they're + finally speaking my language. + +Louise enters the tent, shoving the flap aside. + +Weber sees her coming. + + COLONEL WEBER + Doctor Banks -- + + LOUISE + We are not leaving. + + COLONEL WEBER + Glad to see you're awake. + + LOUISE + (rolling through it) + We need to get back in there, talk + to them, explain what happened, it + wasn't our fault -- + + COLONEL WEBER + You're not going back inside. + + LOUISE + We have to. + + COLONEL WEBER + What happened in there was an + attack. We can hope for the best, + but I have orders to prepare for a + retaliation. So we're leaving in + twenty-four hours. + + LOUISE + That's the wrong move. As long as + they stay, we have to stay. We have + to keep talking. + 88. + + + A low, STRANGE TONE reverberates through the tent. + + This one is not the tone they've heard before. + + And it's accompanied by a RUMBLE. + + +112 EXT. SCIENCE TENT - DAY 112 + + Louise, Ian and Weber emerge from the tent to see: + + The Shell lifts higher into the sky. + + It rises, vibrating everyone's rib cages, the air beneath + it undulating as if reflected on water. + + Then, several hundred feet up -- it stops. + + And hovers. Parked there. Staring down. + + LOUISE + Well. They're not leaving. + + COLONEL WEBER + Why does this feel worse. + + +113 EXT. SCIENCE TENT - NIGHT 113 + + Outside, the canopy of stars above is staggering. + + The Shell remains in the sky, partially eclipsing the moon. + + Tilting down to find the Ops Tent, bustling with activity. + + +114 INT. SCIENCE TENT - NIGHT 114 + + Close in: the data playing out on a large flatscreen. The + twelve landing site MONITORS are all black. + + Ian and Louise sit together, down from their early high of + receiving the gift. Now they face a mountain of material. + + IAN + I don't get it. + + LOUISE + We've only been at this an hour. + + IAN + No, I mean -- what is it? + 89. + + + LOUISE + I recognize maybe one in every + twenty logograms. It will take some + time to unpack the rest. + + IAN + But look at their math. This is + their code; their building blocks. + But I don't know where anything + starts or ends1 It may as well be + random. + + Strange RORSCHARCH-LIKE DIAGRAMS animate on screen. + + LOUISE + It can't be random. + + IAN + I know. + + Ian gets up and starts pacing. Stares at the dark monitors. + + IAN + I wonder how the Brits are doing. + + He kicks at the back of his chair and storms off. + + Louise is too tired to get up and go after him. Her eyes + are heavy and she's still wounded from the explosion. She + rakes her fingers through her long hair and stares at the + screens. + + HANNAH (O.S.) + What's this term here? + + +115 INT. LAKE HOUSE - LOUISE'S STUDY - NIGHT - FLASHBACK 115 + + Louise reads papers at her desk. She runs her fingers + through her short hair, like she just did. + + Her study is walled with books, and her desk allows her a + view through the open door all the way down the hall. + + Hannah (age 12) steps to the threshold. Leans against it. + + HANNAH + Mom. + + LOUISE + Sweetie. + + HANNAH + 90. + + + What's the term for that thing, + like a technical term, where we + make like a deal, and we both get + something out of it? + + LOUISE + A compromise? + + HANNAH + No. + + LOUISE + You remember what it sounds like? + + HANNAH + Like it's a competition but both + sides end up happy. + + LOUISE + Like a win-win? + + HANNAH + More science-у than that. + + LOUISE + You want science, call your father. + + Louise returns to her papers. Hannah frowns. + + HANNAH + You always do that. You and Dad. + Put in just a little effort and + then kick me to the other parent. + + LOUISE + Hannah, that's not fair. + + HANNAH + It really isn't! + + She storms off down the hall. Louise watches her go. Tries + to think of what to say. + + IAN (V.O.) + Louise -- + + +116 INT. SCIENCE TENT - LOUISE'S DESK - DAY 116 + + Louise snaps her head up, having drifted off to sleep at + her work table surrounded by computers . + + IAN + 91. + + + Sorry. + + LOUISE + No. I'm up. + (then) + What time is it? + + IAN + That question is irrelevant, if + you're a heptapod. + +He smiles at her. Eager. + + LOUISE + You cracked something. Didn't you. + +Ian nods. He grabs a bottle of HAND SANITIZER stowed atop a +comms shelf and his pen-sized laser pointer. + + IAN + I found something that demonstrated + Fermat's Principle of Least Time. + +Ian shines the laser at the sanitizer and oddly, we can SEE +THE BEAM cutting through the bottle. Ian moves the pointer +as he talks, demonstrating: + + IAN + (beat) + Light always knows the shortest + route to a point in terms of time, + even if it has to change course. + For a long time we thought it was + cheating. Like how does it know the + shortest path is this curve? + + LOUISE + The heptapods know? + + IAN + More than that. + +He triggers an animation sequence of data that looks like a +three-dimensional network of nodes. Then one strand GLOWS +inside the network, linking two disparate parts. + + IAN + It's how they see everything. How + they travel. Except the shortest + path is outside space and time. + With this, we could build a space + shipwith no rockets. We'd just -- + (snaps fingers) + 92. + + + -- and we're there. + + Louise catches her breath. + + LOUISE + It's not a weapon. + + IAN + Yeah. Well -- Nobel thought the + same of dynamite -- + + Nonetheless, Louise is visibly relieved. + + IAN + There's something else. At the tail + end of the code. + + Ian makes a few keystrokes on a monitor and brings up an + image on a large flat-screen. + + THE SCREEN shows a series of intertwined logograms. Like a + Persian rug of alien data. + + Ian magnifies one corner revealing: + + "1 / 12" -- followed by an elegant little symbol. + + IAN + They used Arabic numerals. "One of + twelve." + + LOUISE + (a-ha moment) + Do you know what this means? + + +117 INT. OPERATIONS TENT - "WAR ROOM" - DAY 117 + + Connected to the Operations tent, but made private, walled + off from the screens and the noise. Mainly it's just a + conference table, some comms gear, and a world map. + + Louise, flanked by Ian, confronts Colonel Weber at the + conference table with Agent Halpern. + + She holds up the printout. + + LOUISE + This is just one piece of it. What + they're telling us, right here, is + that ours is one of twelve. We're + part of a larger whole. + 93. + + + AGENT HALPERN + Or we're one of twelve contestants + for the prize. + + LOUISE + (to Weber) + Why do I have to talk to him? + + COLONEL WEBER + You did your job, now he gets to + run the show. + + LOUISE + (to Halpern) + We need to talk to the other sites + and help them with whatever they've + gotten from the other heptapods. + + AGENT HALPERN + In case you don't remember, we're + blacked out. So are the other + nations. We're on our own. + + LOUISE + This is telling us the pieces go + together. + + AGENT HALPERN + And I'm telling you no one else + believes that. + +Halpern swivels his laptop around and shows a recording: + + AGENT HALPERN + Two hours ago we pulled this audio + off a secure channel in Russia. + Someone on the science team there + was broadcasting wide. + +He clicks playback, and we see a screen go black with +English translation appearing as the recording plays over +the sound of pounding on the door -- + + RUSSIAN SCIENTIST (V.O.) + Their final words translate to, + "There is no time, many become + one." I fear we have all been given + weapons because we answered the + timeline wrong, please, if you -- + +With the CRACK of a gunshot the recording abruptly ends. + +Louise begins to fray at the edges. Staving off panic: + 94. + + + LOUISE + Well, I mean, there are ways to + interpret what he said -- + + AGENT HALPERN + I don't need an interpreter to know + what this means. Russia just + executed one of their own experts + to keep their secrets. + +He clicks through to show on his monitor: + +Every Shell now hovers over their site. From Hokkaido to +Wales, the massive spheres hang in the air. Waiting. + + LOUISE + "Many become one" could just be + their way of saying "some assembly + required -- " + + AGENT HALPERN + Why hand it out to us in pieces? + Why not just give it all over? + + LOUISE + What better way to force us all to + work together, for once? + +Halpern looks to the other people in the room. Weber +studies him carefully. Ian nods, in support of Louise. + + AGENT HALPERN + Even if I did believe you, how in + the world are you going to get + anyone else to play along and give + up their data? + +Ian jumps on this one: + + IAN + We offer our own in return. + +Halpern looks to Weber. Is he serious? + + AGENT HALPERN + A trade. + + IAN + So it's a non-zero-sum game. + +Louise hears this and it dawns on her -- + 95. + + +118 INT. LAKE HOUSE - LOUISE'S STUDY - NIGHT - FLASHBACK 118 + + Hannah storms down the hall. Picking up right where we left + her from the previous flashback. + + Louise sits forward, with that same look of realization: + + LOUISE + A non-zero-sum game! + + Hannah stops. Turns back around. + + HANNAH + That's it! Yes! Thank you, Mom. + + Hannah shuffles back into her room. + + Louise slowly touches her face, an even deeper question now + creeping into her mind: Did I just alter my own past? + + COLONEL WEBER (V.O.) + (pre-lap) + What did you just do? + + Louise seems to hear the voice beside her and look -- + + +119 INT. OPERATIONS TENT - "WAR ROOM" - BACK TO SCENE 119 + + Weber stands at her side. Behind him, by a set of comms + stations, Halpern and his team are on phones. + + LOUISE + I'm -- I'm sorry? + + COLONEL WEBER + Nobody locks horns with the CIA + like that. What motivated you? + + Louise is still a bit lost, reeling from the effect she + just had on her own memory. + + LOUISE + Family. + + Weber is surprised and confused by this answer. + + They're interrupted by Halpern, who steps up with: + + AGENT HALPERN + 96. + + + Nine of the landing sites have gone + total comms blackout. Only way to + reach them is to physically drive + there and yell at the border guard. + Which we're doing, but it won't be + fast enough. + + LOUISE + There's gotta be some way to get a + message to them. + + AGENT HALPERN + To our allies, maybe, but at this + stage it's too little too late. + What we need is to get all the + nations online before one starts + global war, and there's no way for + us to reach them. + + It's a living nightmare for Louise; all that needs to + happen is for people to talk to each other, but no one + will. Then: + + IAN (O.S.) + Yes there is. + + All eyes on Ian. + + IAN + It's right over our heads. + + He taps a screen displaying the Shell hovering outside. + + COLONEL WEBER + Maybe you see how that's + problematic for us now. + + PRESSING ON LOUISE, as the others discuss options: + + AGENT HALPERN (O.S.) + And if their intent is global war? + + IAN (O.S.) + Then at least we know. + + QUICK POP: + + +120 INT. CYLINDER CHAMBER - DAY 120 + + Louise is in a dark space of unknown dimension, lit from a + bright light on one side, wearing a breathing mask, her + hair dancing weightlessly around her face— + 97. + + +121 INT. OPERATIONS TENT - "WAR ROOM" - BACK TO SCENE 121 + + She snaps out of the vision, looks around: + + The men are still arguing. + + AGENT HALPERN + I'm not having our decisions + outsourced to the enemy -- + + IAN + They aren't the enemy, when have + they made any act of aggression + toward us? + + AGENT HALPERN + Maybe this is their way of being + aggressive! + + COLONEL WEBER + That isn't the question. + + IAN + Then what is? + + COLONEL WEBER + How do we get you back in the room + when it's half a mile straight up? + + IAN + I'm sure Louise would -- + + They all look to where Louise was standing. + + She's gone now. + + +122 EXT. OPERATIONS TENT - DAY 122 + + It's raining when Ian, Halpern, and Weber step out. Halpern + is first to point out: + + AGENT HALPERN + Vehicle's missing. + + Another low BASS TONE emanates from the ship -- and it + seems to PUSH THE CLOUDS around it like a ripple on water. + + +123 INT. "THE SHELL" - CONTINUOUS 123 + 98. + + + FROM BLACK, a circle of BLACK separates and shrinks. It + takes us a moment to realize we're inside the ship, looking + straight down as a cylinder descends to the ground. + + +124 EXT. OPERATIONS TENT - CONTINUOUS 124 + + Ian grabs a pair of binoculars from an OFFICER and looks + out in the direction of where the Shell had been. + + BINOCULARS POV: + + Through magnification he sees the cylinder descend. + + And where it lands is close to where LOUISE now waits for + it. + + Both of them are tiny, almost silhouettes at this range. + + But it looks like Louise has a breathing mask in her hand. + + AGENT HALPERN (O.S.) + What the hell is she doing? + + She steps into the cylinder. + + IAN + What you hired her to do. + + +125 INT. CYLINDER CHAMBER - CONTINUOUS 125 + + Plain, dimly-lit from below, cramped. + + Louise puts her fingers on the inside wall, feeling it -- + + -- and then the cylinder seals her up inside, in darkness. + + +126 EXT. LANDING SITE - CONTINUOUS 126 + + The cylinder elevator lifts off. Noiselessly. + + +127 INT. CYLINDER CHAMBER - CONTINUOUS 127 + + Louise can feel the acceleration in her stomach, and in the + pitch of the low tone reverberating inside. + + She looks around for anything else in the chamber with her. + No windows. No views outside. + 99. + + + Outside the walls of the chamber, another metallic ROAR. + Followed by a distant HIGH PITCH. + + Louise waits for a portal to open. None do. She's trapped + inside this space. + + LOUISE + -- Hello? + + At her feet, light sets the floor aglow. + + And then a luminous GAS seeps in and begins to rise around + her. Filling the cylinder. + + LOUISE + Oh god - oh god oh god -- + + Louise puts on the oxygen mask as the barrier rises up to + her shoulders, then her neck and finally up over her head - + - + + UNDERNEATH, the world is bright and mostly clear, and yet - + - + + Louise's hair drifts up around her face as if she were + underwater. Louise breathes through the mask. Looks around. + + A portal opens up opposite her. Light shines on her face. + + +128 INT. "THE SHELL" - CONTINUOUS 128 + + Louise steps out to a dimensionless sea of bright mist. + + No walls or ceiling. + + She looks up to see what might be a heptapod drifting into + the white void far above her. + + Her breath is shallow. She is in a truly alien place now. + + There is no reference for this experience. + + Something dark and enormous "swims" through the mist, + passing by her, always just far enough to make it + impossible to see clearly -- it could be a swarm of small + things, or something the size of a blue whale. + + And then a heptapod approaches from behind her. Louise + spins around in time to see it as its seven limbs advance + to her. + 100. + + +Beat. She finally controls her breathing. + + LOUISE + Costello? + +Costello stands with limbs poised before her -- + +Then the mist clears a bit, revealing more of his heptapod +body. The limbs and torso? What seemed to be the entire +form of the alien? Not so. It is more like the fingers and +hand of a much larger being. + +Costello towers over her. She looks up, in awe. + +And then it writes on the invisible floor beneath them. +With two fingers. Ink sluicing out from them into a +logogram. + +SUBTITLES: "Louise." + +Louise takes a breath. + + LOUISE + Where is Abbott? + +Costello moves the ink around with one appendage and a new +logogram forms. + +SUBTITLES: "Abbott is dead." + +Louise holds her stomach, she's hit so hard by this. + + LOUISE + I'm sorry. We are sorry. + +The logogram ink shifts again. Louise looks down to read +it. + +SUBTITLES: "Abbott chooses to save Louise and Ian." + +Another ink-shift for a second logogram: + +SUBTITLES: "Louise has question?" + +Louise remembers her mission. Her reason for making the +trip. + + LOUISE + I need -- need you to send a + message. To the other sites. + +Costello replies by modifying the first logogram. + 101. + + +SUBTITLES: "Message here. Louise has weapon." + + LOUISE + That's just it, I -- + (directly) + What is your purpose here? + +Costello stares down at her. + +Inky globules drift in from the mist, showering not +randomly but into patterns. Circles. A hundred logograms. A +thousand. + +Click-click , flutter-whisper-tone. SUBTITLES: "The story +of our people. A span of two point nine billion years." + +Louise marvels at it. + +A chain of them light up at her feet, shifting for her to +see. Louise reads it aloud: + + LOUISE + "Three thousand years from this + point, humanity helps us. We help + humanity now. Returning the favor." + (to Costello) + You know both your past and your + future -- How? + +A podium screen rises between Louise and Costello. The +timeline riddle appears. Up close, more details are +visible. + +It's more artful than a simple line segment with a large +bulbous flourish at one end. There are little stems and +curls along the line. And then that familiar logogram -- + +SUBTITLES: "Solve." + + LOUISE + Did we answer wrong? + +A NEW SERIES OF SYMBOLS: "Many answers given. Many become +one. Only one matters." + +The message the Russian Scientist translated, in part. +Louise looks back at the timeline. + + LOUISE + But I don't understand, it's time - + - + (then) + 102. + + + Time. Wait. Is it? What's the + logogram for time -- + + Louise is seized with a realization. She reaches out and + touches the timeline on the screen. Nudges it. It moves. + + From both ends, she wraps the line into its own circle an + exact representation of the logogram. It pulses when she + completes the action. + + LOUISE + Time -- + + Then, a few more inky shapes bleed into the symbol for a + crucial sentence. + + The awareness causes a memory attack -- + + QUICK POPS: + + +129 EXT. LAKE HOUSE - DAY - FLASHBACK 129 + + Hannah age 8, skipping stones in the lake. + + +130 EXT. MONTANA LANDING SITE - DAY - FLASHBACK 130 + + The Shell landing in Montana. + + +131 INT. LAKE HOUSE - LOUISE'S BEDROOM - NIGHT - FLASHBACK 131 + + Louise at home alone. + + +132 INT. "THE SHELL" - BACK TO SCENE 132 + + Louise sucks in a breath, mentally returning to present day + in a panic. Even more confused and frightened. + + Costello retreats from her, as she translates the sentence + -- + + LOUISE + "There is no linear time"-- + (then) + Wait! What is happening to me? What + do I do? + + The ship shudders. The THRUM returns as the cylinder + descends, to seal Louise inside once more. + 103. + + + Costello turns to her, some of his arms float in the air + like the strands of Louise's hair. Despite his unearthly + figure, he seems to look upon her with tenderness. A final + logogram forms on the floor between them: + + SUBTITLES: "You already have. You choose life." + + The THRUM increases in urgency. That same cylinder rises + around her feet to encase her once again. + + LOUISE + I don't understand -- WAIT -- + + With a ROAR, the cylinder seals her up, into darkness. + + +133 EXT. BASE CAMP - DAY 133 + + From the top of the hill, the massive Shell begins to TURN + on itself. Rotating, yet remaining in place. Like spinning + a billiard ball on its axis. + + The ovoid craft reverses its hemispheres until finally it's + sitting upside-down from its previous position. + + Louise emerges from behind the hill, running toward us. Her + hair is damp from the exposure to the alien atmosphere. + + Three pickup trucks rush toward her. SIX MEN in full HAZMAT + suits grab LOUISE, as the spaceship starts to leave the + ground with an ASTONISHING SOUND. + + Ian is among the men. He calls her name but it's drowned + out by the sound of the ship overhead. + + The spaceship then disappears in the clouds. + + Everyone outside base camp stares up at the sky, every face + fretting and worried about what it means. + + Weber is among the six. He steps close to Louise, grim. + + COLONEL WEBER + You got everyone's attention with + your little field trip. + + IAN + I hope you got good news, too. + + Captain Marks rushes to Weber: + + CAPTAIN MARKS + 104. + + + Sir! We're getting the order from + command to evacuate immediately. + + COLONEL WEBER + What for? + + CAPTAIN MARKS + Big Domino. + + Captain Marks and Weber move for the War Room tent. + + Louise gives Ian a pained look. Like she's lost and afraid. + + LOUISE + Ian -- I don't know what it means. + + Louise wobbles a step. Ian holds onto her. + + IAN + Whoa now. I got you. + + Louise looks down at her boots -- + + They're covered in mud from the slog across the field -- + + +134 EXT. LAKE HOUSE - DAY - FLASHBACK 134 + + Louise stands on the back patio, one hand on a deck post. + Her boots are covered in mud. She looks around. It's + raining. + + A 7-year-old Hannah comes in from the rain and sits down on + the bench at the patio. + + Louise reaches up and feels the length of her hair. Looks + at her hands. Notes her wedding ring -- she's still wearing + it. + + HANNAH (O.S.) + Help me, mommy. + + Hannah struggles to get her muddy shoes off. + + Louise bends down and starts to work the laces. + + LOUISE + Baby? What day is it, do you know? + + HANNAH + Sunday. + (then) + 105. + + + Are you gonna leave me like Daddy + did? + +Louise snaps back to full attention on her daughter. + + LOUISE + Hannah, honey, your father didn't + leave you. You'll spend time with + him this weekend. + + HANNAH + He doesn't look at me the same way + anymore. + +Louise touches Hannah's hair. She has so much love for her +daughter. + + LOUISE + Oh, god. I'm -- That was my fault. + I told him something he wasn't + ready to hear. + + HANNAH + What? + + LOUISE + Believe it or not, I know something + that's going to happen. I can't + explain how I know, I just do. When + I shared it with Daddy, he got real + mad. Said I made the wrong choice. + + HANNAH + Why? What's going to happen? + + LOUISE + It has to do with a very rare + disease. And it can't be stopped. + Kind of like how you are when you + get focused on swimming, or poetry, + or any of the amazing things you + share with the world. + + HANNAH + I'm unstoppable. + +Said like a little mad scientist. Louise brings Hannah in +close, to hide the fact that she's trying not to cry. + +Louise breathes in the smell of Hannah's hair. + + LOUISE + (to herself) + 106. + + + Hold onto this moment -- + + +135 EXT. BASE CAMP - BACK TO SCENE 135 + + Ian holds onto Louise. + + LOUISE (V.O.) + Hold onto this moment. + + She realizes she's back. Sucks in a breath. She's crying. + + IAN + What just happened? + + LOUISE + I remembered something. + + IAN + What was it? + + Louise looks into his eyes. Then pulls him in for a hug. + + LOUISE + Why my husband left me. + + Ian didn't expect that answer. + + IAN + You were married? + + Louise wipes her eyes and struggles to find her game face. + + +136 INT. SCIENCE TENT - MOMENTS LATER 136 + + The translators, scientists, and techs are gone here. ARMED + SOLDIERS now populate the place, tearing down all non- + essential material as fast as possible. Halpern supervises. + + Louise rushes in and gets to a keyboard at her hutch. She + calls up the heptapod data on the screens. Spreads it to + every available screen. Loops and whorls of logograms, all + strung together like DNA strands. Geometric formulae + animate around the cursive writing. A wall of alien + graffiti. + + Ian hurries in behind Louise. + + IAN + 107. + + + It's too late for this. We've only + cracked maybe one percent of it, + it'll take weeks -- + + Louise puts up her hand, silencing Ian. She closes her + eyes. + + +137 INT. LAKE HOUSE - LOUISE'S STUDY - DAY - FLASHBACK 137 + + Louise pulls a hardback book from a box of advance copies. + Its cover: "The Universal Language" by Dr. Louise Banks. + + +138 INT. LAKE HOUSE - LOUISE'S STUDY - DAY - FLASHBACK 138 + + The table of contents show twelve chapters. + + +139 INT. LAKE HOUSE - LOUISE'S STUDY - DAY - FLASHBACK 139 + + Hannah's drawing is now framed. + + HANNAH (V.O.) + That's supposed to be a book. + + The girl's handwriting: "Mommy and Daddy save the world." + + +140 INT. SCIENCE TENT - BACK TO SCENE 140 + + Louise's eyes snap open, and she takes in the sight of all + the alien symbols once more. + + She lets out a ragged breath, in awe of it. + + LOUISE + I can read it -- + (then) + Ian, I know what it is. + + A new SIREN now begins to wail around the campsite. Louise + and Ian look up, unsure what to do. + + Colonel Weber enters and marches for them with Captain + Marks behind him -- + + COLONEL WEBER + You two: We're evacuating you right + now. Come on. + + IAN + 108. + + + What's happening? + + COLONEL WEBER + War, that's what. + + Weber grabs onto them both and wills them into motion. + + LOUISE + Wait -- I figured out the gift! + + COLONEL WEBER + Good for you. + + He ushers them outside -- + + +141 EXT. BASE CAMP - HELIPAD - CONTINUOUS 141 + + -- and they keep marching for the helipad, despite Louise + trying to slow things down. + + LOUISE + It's their language. They gave it + all to us. It's in twelve parts + because I separated their first + symbol into twelve segments -- and + they knew I would. Understand? + + COLONEL WEBER + So we can learn heptapod if we + survive. Not much of a gift. + + LOUISE + (emphatic) + When you learn it, truly learn it, + you perceive time the way they do. + It's nonlinear. + + Weber stops as they're two dozen feet from the chopper. He + has to shout over the sound of the rotors and the siren. + + COLONEL WEBER + I see we are out of time. We did + our best, but it wasn't enough. The + dominoes are falling now. + + Weber gestures at Ian to suggest: Get her on the chopper. + Then he turns and hurries back for the ops tent. + + Louise stands, rigid with tension. Ian tugs at her: + + IAN + Come on! + 109. + + + Louise whirls around to face Ian but when she does -- + + +142 INT. BALLROOM - NIGHT 142 + + -- she is dressed in a RESPLENDENT RED EVENING GOWN. Her + hair is done up. She looks stunning. + + All around her is a cocktail party in full swing. Classical + music plays from a live band nearby. + + Louise looks around and takes in the ambiance. A dozen + national FLAGS hang on the walls as a symbol of unity. On a + stage (currently unoccupied), that heptapod logogram for + "time" is on prominent display. + + The crowd of PARTYGOERS is international and dressed up. + + One of them sets their sights on Louise and advances: A + distinguished Chinese man (65) in a tailored tuxedo. She + has seen him before, on monitors. GENERAL SHANG. + + GENERAL SHANG + Doctor Banks, what a delight. + + LOUISE + General Shang. The pleasure is + certainly mine. + + They shake hands, but Louise offers a slight bow. + + GENERAL SHANG + Your President said he was honored + to host me at the celebration, but + I confess I am only here because I + wanted to meet you in person. + + LOUISE + Me? Well. I'm flattered. + + GENERAL SHANG + Eighteen months ago, you did + something -- remarkable. Something + not even my superior has done. + + LOUISE + What was that? + + GENERAL SHANG + You changed my mind. In a way, you + are the reason for the unification. + All because you reached out to me + on my private number. + 110. + + + LOUISE + Your private number? General, I + don't know what, uh -- + + Shang shows her his sleek SMARTPHONE. It's open to an ID + screen with a number. She accepts it, staring at the + screen. + + GENERAL SHANG + Now you do. I do not claim to know + how your brain works, but I believe + it's important you see that. + + LOUISE + (beat) + Wait. I called you, didn't I -- + + GENERAL SHANG + You did. And you spoke to me. I + will never forget what you said. + + LOUISE + General, you must forgive me. I've + had a bit to drink tonight. I might + need a reminder. + + GENERAL SHANG + Yes. You warned me of this as well. + + He looks over his shoulder, to make sure no one is + eavesdropping. Then he leans close to her. + + She turns her head so he can speak into her ear. + + The classical MUSIC plays and the other Partygoers chat, + providing a drone of noise. + + Louise's eyes widen. She puts her hand over her mouth. + + Above the music and chatter, that high RINGING TONE builds + up again, overtaking it all -- + + Louise blinks and -- + + +143 EXT. MONTANA LANDING SITE - DAY 143 + + She's right back where she was a moment ago. Ian tugs at + her to get into the helicopter. + + Louise sucks in a breath like she was just pulled from cold + water. The memory of the future leaves her shaking. + 111. + + + IAN + Come on! + + But she doesn't follow him. She turns and runs for the + tents. Ian runs after her. + + IAN + Louise! + + +144 INT. NEW OPERATION TENT 144 + + Halpern watches a monitor as others around him pack up for + evacuation. One of the SYSTEMS OPERATORS seated near him + frowns and gets Halpern's attention. + + SYSTEMS OPERATOR + Sir! A sat line here is dialing + China. + + AGENT HALPERN + Here? What do you mean "here"? + + SYSTEMS OPERATOR + Base Camp, sir. + + +145 INT. CORRIDOR 145 + + Louise hurries down the corridor. Sat phone to her ear. + Waiting for an answer on the other end of the line. + + LOUISE + C'mon, c'mon -- + + A voice on theother end answers. It's Shang. Louise gets a + jolt of hope. + + +146 INT. NEW OPERATION TENT 146 + + Halpern is now leaning over the Systems Op, focused on his + screen. + + AGENT HALPERN + Whose phone is it? + + SYSTEMS OPERATOR + Sir, it's your phone. + + Shocked and alarmed, Halpern looks to the table for his + phone. It's not there. Now Halpern is on the move, as he + goes: + 112. + + + AGENT HALPERN + (to CIA) + Search the base now! + + +147 INT. CLEAN ROOM 147 + + Louise enters the clean room, speaking urgently with Shang. + + LOUISE + (in Mandarin) + General, I'm calling from the + American site. + + +148 INT. CORRIDOR 148 + + CIA and Soldiers search the base. + + +149 INT. CLEAN ROOM 149 + + Louise speaks with Shang as two soldiers arrive in the + clean room. + + Louise locks herself in the chamber, still talking to + Shang. + + LOUISE + (in Mandarin) + Your wife spoke to me in a dream, + she said you'd help save the world + by being braver than everyone else + -- + + SOLDIER #1 + (in headset, to Systems + op) + We found the source of the call, + waiting for instructions. + + Tan arrives from Yellow Tunnel, opens the door of the + chamber. + + IAN + Louise! What are you doing? + + LOUISE + Changing someone's mind -- give me + 20 seconds. + + Ian gets in the chamber and locks the door. + 113. + + + Halpern arrives from Yellow Tunnel and draws a gun. The two + soldiers raise their rifles on the other side of the + chamber. + + Ian locks the second door and puts himself between the + soldiers' guns and her. + + HALPERN + Drop the phone now or we shoot! + + Ian protects Louise from both sides with his body. + + IAN + You can't stop this now. + + LOUISE + (in Mandarin) + War doesn't make winners, only + widows. + + She listens briefly and then drops the phone. + + LOUISE + I already did. + + +150 EXT. HELICOPTER FIELDS 150 + + Weber, talking to officers, is interrupted by another + officer. + + OFFICER + Colonel, urgent message from the + Pentagon. + + +151 INT. CLEAN ROOM 151 + + On the walkies: "China is standing down!!!" + + Halpern, hearing the news, lowers his weapon. + + IAN + What did you do? + + LOUISE + I repeated what hiswife told him + before she passed away -- + + IAN + How did you know that? + 114. + + + LOUISE + He told me. + (ALT) + He will tell me. + + +152 INT. SKYPE ROOM 152 + + Weber and Halpern enter into the Skype room followed by + Louise and Ian. + + One of the monitors at another nation's site comes to life. + CHINA. On screen is GENERAL SHANG. He looks shaken to his + core. In articulate English, he announces. + + GENERAL SHANG + China is standing down. Instead, we + offer the information we received + at our site -- the "gift." + (beat) + It is one of twelve. + + A second monitor awakens. + + BRITISH SCIENTIST + We won't be upstaged by you blokes. + Uploading our data. + + Then a third monitor returns to life. Australia. + + Everyone in the room starts to breathe again. + + +153 EXT. BASE CAMP - MOMENTS LATER 153 + + Louise steps out with Ian close behind. + + IAN + (amazed yet scared) + Are you all right? + + Louise is simply overcome by the emotion of what she just + experienced. She looks at Ian in an entirely new way. It's + a moment where she wants to tell him everything, and + doesn't know where to start. + + And there's a tsunami of joy, sorrow, pain, and hope + hitting her as she realizes where she is again. + + Finally, she nods at Ian, wiping her face. Tenderly: + + LOUISE + 115. + + + Ian -- If you could suddenly see + your whole life, start to finish -- + Would you change things? + + IAN + I don't say what I mean enough. And + I'm changing that right now. + + Ian is just as tender with her. + + IAN + I've been tilting my head to the + stars for as long as I can + remember, and you know what's + surprised me the most? It's not + meeting them. It's meeting you. + + That's all it takes for Louise. She puts her arms around + Ian, and kisses him on the mouth. + + As the kiss intensifies, that high pitch returns. And when + Ian shifts from a kiss to a tight hug, when Louise hugs + back -- + + +154 INT. HANNAH'S ROOM - NIGHT - FLASHBACK 154 + + Louise hugs Hannah (age 4, tucked in bed) goodnight. Louise + goes to click off the light by Hannah's bed. + + HANNAH + Mommy? + + LOUISE + Yes, little-nose? + + HANNAH + Why is my name Hannah? + + LOUISE + Don't you like it? + + HANNAH + I don't know yet. Where did it come + from? + + LOUISE + Oh, so this is another episode of + your series, "Why is it this way?" + + HANNAH + You make me curious about + everything. + 116. + + + Louise smiles sweetly at her daughter. She then gestures at + a wooden NAME PLAQUE spelling out HANNAH on the wall. + + LOUISE + Your name is special. It's a + palindrome. That means you can read + it both forwards and backwards, and + it's still the same. + + Hannah gets it right away. + + HANNAH + I've decided. I like my name. + + LOUISE + I love you, Hannah. + + Hannah smiles at her mother. + + IAN (O.S.) + Well, I love you both. + + Louise looks back at -- + + IAN, standing in the doorway. Smiling. + + Ian is Louise's husband. And Hannah's father. + + HANNAH (O.S.) + Daddy! + + Ian steps in and scoops Hannah and Louise into a bear hug. + + A rush of noise again, and -- + + +155 EXT. BASE CAMP - BACK TO SCENE 155 + + Louise is still hugging Ian. Her face half-buried in his + shoulder, she says quietly: + + LOUISE + I forgot how good it feels to be + held by you. + + +156 EXT. LAKE - DAY 156 + + A black sedan pulls up to the driveway of Louise's house. + + +157 INT. BLACK SEDAN 157 + 117. + + + Louise and Weber both sit in the back seat. It feels like * + they've been riding in silence for some time. + + WEBER + I'm not going to pretend to + understand what you did up there. + + LOUISE + I'm not going to try to explain it. + + WEBER + I took a lot of risk when I chose + you. But it was clearly the best + decision I've ever made. + + LOUISE + Thank you for believing in me. + + WEBER + Goodbye Louise. + + LOUISE + Goodbye. + + Louise steps out and walks towards the house. + + LOUISE (V.O.) + So that is your story, dear Hannah. + + +158 INT. LAKE HOUSE - DAY 158 + + Louise stands in the empty room that we know is Hannah's. + + +159 INT. LAKE HOUSE - DAY - FLASHBACK 159 + + QUICK POP: The artwork of Hannah's, with the stick figures. + + +160 INT. UNIVERSITY CLASSROOM - DAY - FLASH FORWARD 160 + + QUICK POP: Louise teaching a group about logograms. On her + right hand is a sparkly ENGAGEMENT RING. + + LOUISE (V.O.) + It's also the ongoing story of our + people. I can see moments as we + prepare for the future. Ian was + right: It's about choice. + + +161 INT. LOUISE'S FOYER - EVENING 161 + 118. + + + The front door opens: It's IAN. Dressed up as nicely as he + can be. Bottle of wine in hand. + + Louise is dressed beautifully. With a new haircut: short. + + Just like the flashbacks. + + IAN + Wow. You look amazing. + (re: hair) + The change fits you well. + + +162 INT. LAKE HOUSE - NIGHT 162 + + Louise steps in, carrying her wine glass. + + LOUISE (V.O.) + I'm about to make a choice, too. + One that I will have to live with + forever. + + This is the same scene as the first. Shot for shot. + + She finds the message written on glass: "Do you want to + make a baby?" + + Beat. The twinkle in her eye, the thoughtful moment. It all + breathes here. + + LOUISE (V.O.) + In some ways this choice saves the + world, but I'm not thinking about + that, Hannah. I never am. + + FINAL SERIES OF SHOTS: + + +163 INT. LAKE HOUSE - HANNAH'S ROOM - DAY - FLASHBACK 163 + + Louise cradles NEWBORN HANNAH in her arms. Hannah crooks + her tiny hand around Louise's finger. + + +164 EXT. LAKE HOUSE - DAY - FLASHBACK 164 + + Four-year-old HANNAH dressed as a cowgirl. + + HANNAH + Stick 'em up! + 119. + + +165 INT. LAKE HOUSE - DAY - FLASHBACK 165 + + Hannah, age 12, getting grounded: + + HANNAH + When do I get to live my own life? + + +166 INT. MERCY HILL GENERAL HOSPITAL - DAY - FLASHBACK 166 + + Louise standing with DR. J. BYDWELL in a hospital hall. + She's hiding her face in her hands. Bydwell reaches out and + puts a consoling hand on her shoulder. Her body shifts from + a sob. + + +167 INT. HOSPITAL - PATIENT ROOM - NIGHT - FLASHBACK 167 + + Hannah, on her death bed in the hospital. Holding Louise's + hand. The two clinging to each other. + + LOUISE (V.O.) + I'm just thinking about you. + + +168 EXT. LAKE HOUSE BALCONY - NIGHT 168 + + Louise touches the glass where the question is written "Do + you want to make a baby?" + + IAN steps into view, with a wine glass in his hand, too. + + IAN + Well? Do you? + + She smiles broadly at him and replies: + + LOUISE + Yes. + + And now we stay here a moment longer than the opening + scene, and see that while Louise is smiling, a tear slips + down her cheek. She is both the happiest and the saddest + right now. Because she knows what happens next. + + FADE TO BLACK. + + THE END + \ No newline at end of file diff --git a/scripts/Babadook.txt b/scripts/Babadook.txt new file mode 100644 index 0000000000000000000000000000000000000000..ddb0cd41406c8ecdcba51c7e1593582b383dbb12 --- /dev/null +++ b/scripts/Babadook.txt @@ -0,0 +1,6159 @@ + 1. + + + + +1 INT. MIDDLE OF THE NIGHT 1 + + Black screen. + + A rumbling sound. It intensifies. + + A woman’s face appears suddenly in close up, shocked, + disoriented. It is AMELIA (late 30s.) She travels fast, + pinned back to what could be a car seat. It’s not clear. + + She is suddenly lifted up and around, her face tumbling as + if in a dryer, 360 degrees. + + The image slows down as she shuts her eyes. Bits of dirt + and debris fly past her face. There’s no sound. The effect + is strangely beautiful. + + BOY’S VOICE (O.S.) + (Nearly inaudible) + Mummy.... + + Amelia tries to open her eyes, she continues to spin. + + Her face stops tumbling and comes to an upright position. + + A skidding sound builds in intensity. Her hand reaches + above to brace herself for the impact. She turns to look + beside her. Time is stretched. + + She sees a man staring ahead. He looks terrified. A light + grows brighter. The skidding sound is almost deafening. + + Amelia instinctively looks away from him, closing her eyes. + + The terrible sound peaks, then slowly recedes. + + BOY’S VOICE (O.S.) + (Louder still) + MUM. + + Amelia hears the boy’s voice for the first time. She opens + her eyes as she ‘falls’ slowly back into space. + + Finally, she ‘lands’. There is complete silence. + + Amelia is lying on a pillow. She looks at the ceiling, + dazed. + + Her breathing is erratic. + 2. + + + BOY’S VOICE + (Very loud) + MUMMY! + + She sees her six year old son, SAMUEL, bedside. He’s small + for his age, intense. A panicked look on his face. + + SAMUEL + I had the dream again. + + Amelia makes one mighty effort to get up. Her fluffy + Maltese terrier, BUGSY, jumps off the bed with her. She + scrambles to her feet, stumbling on the way to her son. + + +2 INT. SAMUEL’S ROOM - NIGHT 2 + + POV under the bed. The doona is lifted. Amelia and Samuel + peer underneath. The doona is dropped back into place. + + Black. Closet doors open, Amelia takes a quick look inside, + Samuel checks everywhere. Amelia closes it. + + Amelia is dark haired and wiry. Pretty, but nervous + looking. + + Samuel’s little face is white with anxiety. He moves back + and forth from one foot to the other. + + SAMUEL + Can we check under the bed? + + AMELIA + (Patient) + What did it look like? + + Samuel shrugs his shoulders. He can’t remember. + + AMELIA + Remember what we said? If you can’t + see it, then it mustn’t be real. + + SAMUEL + It said it’s coming to kill us + both. + + His comment unnerves Amelia. She recovers quickly. + + AMELIA + (Very gentle) + It’s just a silly dream. + 3. + + +3 INT. SAMUEL’S ROOM - NIGHT 3 + + Amelia searches through the bookshelf. Samuel clings to her + waist, not letting go. Bugsy follows them. + + +4 INT. AMELIA’S BEDROOM - A SHORT WHILE LATER 4 + + Amelia sits up in bed, Samuel in her lap, the doona + surrounds them like a giant caterpillar. Amelia gives the + book everything she’s got, fighting her tiredness. + + AMELIA + (In the voice of the + wolf) + Well I’ll climb down your chimney + you fat little pigs! And he climbed + down that chimney, straight into + the huge black pot. And that was + the end of the big-bad-wolf! + + She closes the book. Samuel is still anxious. + + SAMUEL + Did they really get the wolf? + + AMELIA + (Reassuring) + I’m sure they did. + + SAMUEL + I’m gonna kill the monster if it + tries to hurt you Mum. + + AMELIA + (Gentle) + Nothing’s going to hurt me Sam. + + SAMUEL + I’ll bash it to pieces when it + comes. + + AMELIA + Time for bed now, OK? It’s very + late. + + Samuel flips the pages straight back to the beginning. + + SAMUEL + Just one more time... Then I’ll + sleep. + 4. + + + He won’t take no for an answer. She gives in to another + read. + + Samuel snuggles in close to her, wide awake. + + AMELIA + (As bright as she can) + A long time ago, just yesterday in + fact, there were three little pigs + and one nasty big wolf. + + +5 INT. AMELIA’S BEDROOM - A SHORT WHILE LATER 5 + + Little legs wrapped tightly around Amelia’s waist. + + Samuel’s face tucked in behind his mother’s. He’s fast + asleep, she’s wide awake. + + His mouth, chewing at nothing, grinding away. The sound + goes right through Amelia. His breath irritates her neck. + + His hand plays with her ear in his sleep. She peels it + away, puts it by his side. + + She unwraps his legs, making sure she doesn’t wake him. + + Amelia inches silently away from her son, her back to him. + + Samuel doesn’t wake up. The gap between them widens. + + Amelia curls up on the other side of the bed, her knees to + her chest, alone. + + TITLE - THE BABADOOK + + +6 INT. AMELIA’S BEDROOM - BASEMENT - LOUNGE - KITCHEN - 6 + MORNING + + - Bedroom. A blaring alarm sounds. A lifeless arm pokes out + from under the doona, hanging over the bed. It’s hard to + believe someone could sleep through this noise. + + - Basement. Child’s hands grip a large hammer. The hammer + is raised and comes down hard on a rusty nail. + + Little hands pushing down on a join in two pieces of wood, + testing it for strength. + + - Bedroom. The alarm keeps going. The arm has not moved. + 5. + + + - Basement. A cricket ball is loaded into a large plastic + cup, the cup is tied to a wooden plank. + + A metal contraption being fitted onto skinny shoulders. + + Samuel grunts with the effort. + + Samuel’s serious face as he checks the apparatus. + + His legs running up the stairs. + + - Lounge room. Samuel’s head pokes out of the basement, + checking to see if the coast is clear. It is. + + He pushes a key into the basement door, locking it up. + + - Kitchen. Samuel’s skinny legs standing on a chair, his + top half obscured by an open cupboard door. + + His hand carefully placing the key back on a key rack. + + Samuel peers around the cupboard door, watching for his + mother. He closes it quick and jumps down out of sight. + + - Bedroom. The arm is still there. Alarm still blaring. + + A crashing sound downstairs. The arm retracts quickly, like + a crab in a shell. Amelia pops out from under the covers, + looking like shit. She slaps the alarm off, listening. + + Another crashing sound, a bigger one. + + She leaps out of bed, racing out of the room. + + +7 INT. LOUNGE ROOM - MORNING 7 + + Amelia reaches the bottom stairs. + + Sam’s catapult covers his body, comes up over his head. At + the top sits a plastic cup with a cricket ball in it. + + The lounge room is a mess, swords, toy soldiers and other + ‘boy war paraphernalia’ everywhere. The big old tube TV has + been knocked off its stand and lies on its side. + + Bugsy is in the midst of it, barking, wagging his tail. + + Amelia struggles with all her might to hold her temper. + + SAMUEL + It’s not broken! It just slipped. + 6. + + + She calmly walks to the TV, her movements controlled. + + AMELIA + (Reasonable) + I don’t want you using the hammer + and nails- + + SAMUEL + Wait look at this! When the monster + comes in the room- + + AMELIA + Not inside the house Samuel- + + SAMUEL + I push down here- + + He pushes down hard, a lever rises and launches the ball. + + AMELIA + Don’t! + + It smashes a perfect hole in one of the windows. + + Amelia stares at the hole, imploding. Samuel’s face + crumples with anxiety. + + +8 INT. SAMUEL’S ROOM - MORNING 8 + + Samuel waves his hands in the air. He has his school + uniform on finished off by a sparkly magician’s hat. + + Bugsy is jumping up and down and barking. + + SAMUEL + Nothing in my hands. Nothing in my + hands. + + Amelia kneels at Sam’s feet trying to do up his laces. + + AMELIA + Stand still please.. + + He does. For three seconds. + + AMELIA + I don’t want you making weapons + anymore. + + SAMUEL + 7. + + + You have to look at me. Mum? It + doesn’t work if you- + + She pins him with her gaze. + + AMELIA + (Gentle) + This monster thing has got to stop. + Alright? + + Samuel waves his arms about. Bugsy continues to bark. + + SAMUEL + Nothing in my hands. + + AMELIA + (Firmer) + Samuel? + + POOF! A beautiful bunch of paper flowers pops into Samuel’s + hands, seemingly out of nowhere. + + Amelia smiles in spite of herself. She takes the paper + bouquet. Sam touches her cheek very gently. She softens. + + AMELIA + (Closing her eyes) + That feels nice. + + Sam hugs her, she hugs him back. He kisses her cheeks, + grips her tighter and tighter. She hides her annoyance. + + AMELIA + (Restrained) + That’s enough now.. + + Samuel won’t stop, he hugs her really tight. She recoils. + + AMELIA + (Snapping) + Don’t do that! + + Sam stops in his tracks. Amelia immediately looks guilty. + + +9 INT. CAR - MORNING 9 + + The car is a junk heap, inside and out. Takeaway coffee + cups, lolly wrappers, plastic containers, kid’s socks. + + Amelia focuses on getting through the traffic. Samuel + focuses on the back of his mum’s head. + 8. + + + SAMUEL + If I fired nails into its chest, + would that kill it? + + AMELIA + (Miles away) + Kill what? + + SAMUEL + (Annoyed) + The monster in my dream. + + AMELIA + It certainly wouldn’t make it + happy. + + SAMUEL + What about if I fired them into its + head? + + AMELIA + That’d probably do it. + + SAMUEL + If I fired them into its chest- + + AMELIA + Let’s talk about something else, + alright? + + Samuel looks out the window. Amelia keeps her eyes straight + ahead. Silence. + + SAMUEL + (Quiet) + If I fired them into its eyes, I + could run away because it’d be + blinded. + + Amelia stares straight ahead, choosing to ignore him. + + SAMUEL + Mum? + + +10 EXT. SCHOOL ENTRANCE - INT. CAR - MORNING 10 + + The decrepit hatchback rolls to a stop, standing out like a + sore thumb amongst the Mercs and Audis. + + Samuel climbs over the front seat, just to kiss his mum. + + AMELIA + 9. + + + Off you go. You’re late already. + + He climbs back over, grabs his bag. It’s really heavy. + + AMELIA + What have you got in there? + + SAMUEL + See you later alligator! + + +11 INT. CAR - MORNING 11 + + Amelia has very upbeat music playing full blast in her car + bubble. She sings along without inhibition, happy. + + She glances down, notices a small cockroach on her leg. She + immediately stops singing, sweeps it away in disgust. + + Then straight back into it, singing her heart out. + + +12 INT. NURSING HOME - MORNING 12 + + An ancient woman’s sleeping face, her mouth hangs open. + + Another very old lady, her head in her shaky hand. + + Cheery music plays in the background. Despite this, the + atmosphere is funereal. + + An elderly man without his teeth in. He watches Amelia as + she arrives with a warm smile and two cups of tea. + + AMELIA + Here you go Ron. Nice cup of tea. + + He takes the tea offered, chewing on his gums absently. + + Amelia moves to the ancient woman, staring into space. + + AMELIA + (Speaks lovingly, close + to her ear) + And one for you Norma, that’s got + milk in it. + + NORMA + What? + + AMELIA + (Still loving) + 10. + + + That’s got milk in it. + + NORMA + (Confused) + I don’t want milk. + + AMELIA + (In her ear) + You said you wanted milk. + + NORMA + No, I don’t want that. + + AMELIA + Not to worry, I’ll make you another + one. + + Amelia gives the befuddled Norma a friendly smile. + + +13 INT. NURSING HOME KITCHEN - DAY 13 + + Amelia focuses on stacking the dishwasher, serious. + + Robbie, a sweet, slightly chubby (male) nurse enters. + + ROBBIE + Just where a woman should be, in + the kitchen. + + Amelia gets the joke, brightens up. + + AMELIA + (Responding)) + Get to work, woman! + + They laugh. Robbie fills a mug with water and drinks it. + + AMELIA + Do you want a cuppa? + + ROBBIE + Nah, I’m heading for the Dementia + ward. + + AMELIA + You’ve got a few years before you + end up there. + + He laughs. Amelia smiles. + + Robbie hovers. Amelia stacks the dishwasher, shy. + 11. + + + Robbie eventually puts his cup in the dishwasher and + leaves. + + Amelia relaxes slightly when he’s gone. + + +14 INT. NURSING HOME - AFTERNOON 14 + + Amelia is playing ‘colour shape lotto’ at the games table. + + One of the old ladies places a card on the board. + + Pause. Amelia waits very patiently. + + AMELIA + (Eventually) + That’s it Larry, your go. + + Pause. He doesn’t put anything down. Pause. + + The woman next to him, head in hand, emits a low wailing + sound. Amelia politely ignores it. + + AMELIA + (To Larry) + Same colour or same shape or both. + (Beat.) + I can help you if you like. + + The woman’s wail rises in pitch and volume. The players + become agitated. Amelia can’t ignore it any longer. + + AMELIA + (Very patient) + It’s alright Mrs Winter, you don’t + have to play. It’s OK. + + The old woman wails like someone being murdered. Amelia + rubs her back tenderly, hiding every ounce of stress. + + +15 INT. WORK KITCHEN - AFTERNOON 15 + + Amelia is on her knees with her head inside an empty + cupboard. She scrubs as if her life depended on it. + + Amelia’s supervisor Beverly arrives, irritated. + + BEVERLY (O.S.) + Amelia. + + Amelia bumps her head as she backs out. + 12. + + + BEVERLY + (Curt) + Your son’s school is on the phone. + + Amelia looks worried. + + +16 INT. PRINCIPAL’S OFFICE - AFTERNOON 16 + + Amelia sits opposite the principal, a tired looking man in + his 50s, and Sam’s teacher, a dour, middle aged woman. The + principal is grave, the teacher looks traumatized. + + The principal lays down a sinister contraption made from a + belt, with some wood, screws and nails attached to it. + + Amelia’s face falls. This is worse than she imagined. + + PRINCIPAL + This is the home made gun he + demonstrated in class today. It + fires off nails. + + AMELIA + Oh my God. Did he hurt anyone? + + TEACHER + The nails could have gone right + into a child’s eye. Or worse. + + Amelia studies the gun, parental shame creeping over her. + + AMELIA + (Genuine) + I’m so sorry. I had no idea. I’m + going to have a serious talk with + him- + + PRINCIPAL + Mrs Vanek, we’ve had the talks, + we’ve had the sessions with the + counsellor... Miss Bowen can’t have + the boy in her class anymore + without supervision, it’s just too + dangerous. + (Carefully) + We’re going to have to employ a + monitor for him. + + AMELIA + A monitor? + + PRINCIPAL + 13. + + + He’ll still be in the class, but + he’ll be separated from the other + children. The monitor will + supervise him one on one. + + AMELIA + All the time? + + PRINCIPAL + Yes... + +Amelia searches both their faces, becoming desperate. + + AMELIA + Please. Samuel won’t cope with + this. He already feels so + different. + + PRINCIPAL + I understand your concern, but this + is the only way we can keep him in + school. + + AMELIA + (Desperate) + I’ll have a talk to him- + + PRINCIPAL AMELIA + Mrs Vanek... I’ll have a serious + talk and I know he’ll settle down. + + PRINCIPAL + The boy has significant behavioural + problems. + (Beat) + Miss Bowen and myself realize + you’ve had a rough trot so we’ve + tried to be as lenient as we can... + +Amelia’s vulnerable demeanour shifts, her face tenses. + + AMELIA + Sorry? + +Uncomfortable moment. He treads very carefully. + + PRINCIPAL + Sometimes.. boys.. can be very hard + to handle when there’s no father + around. + + AMELIA + 14. + + + Oh I see. I’m a single mother so I + can’t look after my child, is that + right? + + PRINCIPAL + No, no that’s not what I meant- + + AMELIA + Samuel doesn’t need a full time + monitor, he needs some + understanding! + + TEACHER + Are you saying I’m not + understanding? + + AMELIA + (Frustrated) + I’m just saying he needs more care + at the moment, that’s all! + + TEACHER + I have 24 other 1st graders in that + class! Would you like me to put + them all at risk for your son? + + PRINCIPAL TEACHER + Please, let’s just keep calm here - + -I’m not a psychologist! + +Amelia stands, defensive. + + AMELIA + You know what? I think it’s best I + just look for another school. + + PRINCIPAL + (Exasperated) + Mrs Vanek, you can’t just take the + boy out of school. We’ll have to + inform Community Services. + + AMELIA + You do what you need to do, and + I’ll find a school that sees my son + as a human being, not a problem to + be gotten rid of. + + PRINCIPAL + That’s very unfair. We’re only + trying to help the boy. + + AMELIA + 15. + + + Please stop calling him ‘the boy.’ + His name is Samuel. + + +17 INT. SCHOOL HALLWAY - AFTERNOON 17 + + Amelia spies Samuel sitting with a 7th grader on a bench at + the end of the hall. She can see he’s been crying. His eyes + are red and puffy. She approaches, bracing herself. + + SAMUEL + (Trying not to cry) + I wasn’t going to hurt anyone... + + Amelia crouches down. She chooses her words carefully. + + AMELIA + (Very gentle) + We’re going to have a break from + school for a little while. + + Samuel’s face crumbles, his mouth opens wide in a silent + scream. Then the wail starts up. It’s devastating. + + Amelia takes his hand and slowly leads him down the hall. + Her look of helplessness says it all. + + +18 INT. CAR - AFTERNOON 18 + + AMELIA + (Trying hard) + I’m going to buy you a big tub of + ice cream. What would you like? + + SAMUEL + (Finally) + Miss Bowen hates me. + + AMELIA + No she doesn’t. You just need a + break. + + Samuel doesn’t respond, just stares out the window. + + AMELIA + (Beat.) + We can see Ruby and Aunty Claire at + the park today. Would you like + that? + + Samuel looks out the window, not responding. + 16. + + + AMELIA + You can play on that swing you + like. For as long as you like. OK? + + He nods, warming up a little. + + AMELIA + Don’t tell Aunty Claire what + happened. I’ll tell her later... + + SAMUEL + Are you gonna stay at home with me + all the time now Mum? + + AMELIA + (Smiling) + We’ll sort something out. + + Her smiles sticks, but her eyes look worried. + + +19 INT. SUPERMARKET CHECKOUT - AFTERNOON 19 + + Amelia has vagued out. The ‘beep beep’ of the register just + white noise in the background. + + She sees Samuel performing a magic trick for a little girl + near the bubble gum dispenser. + + She pays as quick as she can keeping one eye on her son. + + The little girl’s mother arrives, looking relieved. Amelia + rushes to Samuel at the same time. + + LITTLE GIRL + Watch this Mummy! + + SAMUEL + (Preparing) + I can do it again! + + The mother and Amelia register each other, smiling. + + AMELIA + No Samuel, don’t bother the lady. + + MOTHER + (To her daughter) + We’ve got to get home and see + Daddy, haven’t we? + + The mother smiles at Samuel. + 17. + + + SAMUEL + My Dad’s in the cemetery. + + The woman’s face drops. Amelia tenses. + + SAMUEL + He got killed driving Mum to the + hospital to have me -- + + AMELIA + Samuel! + (To woman) + I’m sorry he just.. + + MOTHER + Oh, that’s.. I... + (To Samuel) + Well, isn’t your Mum lucky to have + you then! + + She practically runs off, clutching her child’s hand. + Amelia watches them leave, embarrassed, sad. + + +20 EXT. PARK - AFTERNOON 20 + + Samuel climbs up onto the swing seat, looks to his mum. + + Amelia sits on a bench with her younger sister CLAIRE, a + ‘young professional’, immaculately groomed. Claire’s 5 YO + daughter RUBY plays close to her mum, a total princess. + + Amelia watches Samuel, massaging her jaw, preoccupied. + + CLAIRE + The artist was so drunk he vomited + right in front of his own + installation. We lost all these + sales. Robert was beside himself... + (Beat) + You’re not listening. + + AMELIA + (Snapping to) + No no I am listening, you lost all + these sales. What happened then? + + SAMUEL (O.S.) + MUM! + + The women look up at Samuel. + + SAMUEL + 18. + + + I’m gonna jump on the monster and + break it in HALF! Watch... + +He leaps. Amelia feigns interest, massaging her jaw. + + CLAIRE + Is that tooth still playing up? + +Amelia immediately stops massaging. + + CLAIRE + (Irritated) + Go to the dentist. + + AMELIA + Two thousand dollars later... + + CLAIRE + Do you need to borrow some money? + + AMELIA + (Bright) + No, no it’s fine. I just need a + good night’s sleep. + + CLAIRE + Ruby don’t play there sweetie it’s + wet. + +Ruby stands up and smooths her skirt down perfectly. + + AMELIA + (Tentative) + I was going to ask you for one + favour.. I completely forgot + there’s a pupil free day tomorrow. + Would you be able to look after + Samuel for the day? + + CLAIRE + The whole day? + + AMELIA + I can’t get out of work. + +Claire hesitates for more than a moment. + + AMELIA CLAIRE + (Bright) + That’s OK, I’ll ..... Don’t be + stupid you organize something else. + dag. I can just put on a DVD for + him or something. + 19. + + + SAMUEL + I can jump from here and smash its + head! + +He’s climbed up higher, jumps, does a forward roll, gets +straight up to punch the air. Claire is unimpressed. + + AMELIA + (To Sam) + Be careful. + (Beat.) + What would you like me to do for + Wednesday? I can get their birthday + cakes, that’s easy. + + CLAIRE + Meels.... I’ve wanted to tell you. + I was hoping Ruby would change her + mind... + +Beat. Amelia waits for the bad news. + + CLAIRE + (Sheepish) + She doesn’t want a joint party with + Sam this year. It’s stupid I know, + their birthdays are so close. + + AMELIA + (Taken aback) + Oh... + + CLAIRE + She wants her own birthday cake, + her own party games. She wants a + princess party. + + AMELIA + That’s OK. We don’t have to come. + + CLAIRE + (Gentle) + You can still come, stupid. She + just doesn’t want to share the day + with Sam anymore, that’s all... + + AMELIA + I understand. A little girl needs + to feel special on her birthday.. + +Pause. + + CLAIRE + 20. + + + Now I feel bad. + + AMELIA + You shouldn’t feel bad! + (Lying) + I’m sure Sam will be OK with it- + + SAMUEL + Mum, I can go really high! + + They clock him briefly. Samuel climbs higher than before. + + CLAIRE + Maybe you want to celebrate his + birthday properly this year anyway. + On the day. You’ve still got two + weeks to plan it. + + AMELIA + (Tense smile) + We’ll think of something. + + Samuel climbs up to the very top. The women don’t notice. + + CLAIRE + (Annoyed) + You know Amelia, I just want you to + be happy, then this birthday thing + rolls around and I end up feeling + awful. + + Samuel climbs higher and higher. They still don’t see. + + AMELIA + I don’t want you to feel awful + Claire. We’ll be fine. We’ll be + absolutely fine. + + SAMUEL + MUM! LOOK AT ME! + + The women finally look. Samuel is on the top of the swing + with his arms outstretched. He must be 8 feet high. + + Amelia springs to her feet, frightened. + + AMELIA + SAMUEL!! + + +21 INT. CAR - AFTERNOON 21 + + Amelia grips the wheel. Samuel in the background, crying. + 21. + + + Amelia makes a conscious effort to not react. Her jaw + tightens as her son’s cries get louder and louder. + + +22 EXT. AMELIA’S FRONT YARD - AFTERNOON 22 + + Samuel trudges up the path to their crumbling, falling down + old terrace. His face is tear stained. + + Amelia stops at the letter box. A bunch of bills, one has + FINAL NOTICE written on the outside. She throws them in her + bag without opening them. + + Mrs Roach, a sweet elderly neighbour, waters her azaleas. + Her hands shake with Parkinsons disease. + + MRS ROACH + (Smiling) + Who do we have here! + + SAMUEL + (Downbeat) + Hello Mrs Roach. + + MRS ROACH + You look tired little one, have you + been in the wars today? + + SAMUEL + Yeah. Few wars. + + He has the keys in hand, he unlocks and opens the door. + Bugsy comes rushing out the door, jumping up on Samuel. Sam + crouches down to hug the dog, then goes inside. + + AMELIA + (Cheery, covering) + He’s had a big day that’s all, he’s + just exhausted. + + MRS ROACH + Poor little one... + + Bugsy comes rushing up to Amelia, she picks him up, cuddles + him affectionately. + + MRS ROACH + You look tired too love, are you + OK? + + AMELIA + Nothing that 5 years of sleep + wouldn’t fix! + 22. + + + (Upbeat.) + No, I’m fine, work’s pretty busy.. + (Changing the subject) + I’ll take out the rubbish for you + Gracie. + + MRS ROACH + You just got in pet. You have a + break. + + AMELIA + No no, I’ll do it now and then it’s + done. + + +23 EXT. FRONT OF MRS ROACH’S HOUSE - AFTERNOON 23 + + Amelia drags out two very full and heavy OTTO bins. + + Mrs Roach watches, smiling, her hand shakes at her side. + + MRS ROACH + Oh! You’re an absolute angel. + + Amelia smiles, completely masking the events of the day. + + +24 INT. LOUNGE ROOM - AFTERNOON 24 + + Amelia sees Bugsy scratching at the basement door. She + freezes, watching him. + + Bugsy spots Amelia and scurries to her. She picks him up. + + Amelia looks at the door, her face strained. Pause. + + In a sudden move she strides over and checks the handle. + It’s locked. Relieved, she wanders out snuggling Bugsy. + + +25 INT. KITCHEN TABLE - EVENING 25 + + Dinner in silence. Amelia studies Sam. + + He shovels food in weakly, his face tired and sad. He looks + up to his mum, manages a smile. + + She smiles back. It fades as soon as he looks away, + replaced with worry. + + +26 INT. SAMUEL’S ROOM - NIGHT 26 + 23. + + +POV under the bed. The doona comes up, Amelia and Samuel’s +faces peering underneath. + +Black. Closet POV as the doors open. Amelia and Samuel do +their nightly routine check for monsters. + + AMELIA + (Bright) + OK? + +Samuel nods, but looks nervous. He has his pyjamas on, his +hair is washed and combed to the side. Very cute. + + AMELIA + You can choose one tonight. + Anything you like. + +He races to the bookshelf, searching through many books. + +One catches his eye. The spine reads MISTER BABADOOK in +bold, black letters. He pulls it out, runs to mum. + +She takes a look at the cover: a black silhouette of a +figure in a coat and top hat. It looks a little strange. + + AMELIA + (Bemused) + Where’d you get this? + + SAMUEL + On the shelf. + +He jumps up, opens the book. + + AMELIA + (Reads) + 'If it’s in a word, or it’s in a + look, you can’t get rid of The + Babadook.’ + +It’s a pop up book. Looks like it could even be hand made. + +Amelia turns the page. + +A pair of black eyes peep out from behind a door, a tall +black top hat perched on top. It looks funny. + + AMELIA + ‘If you’re a really clever one, and + you know what it is to see... Then + you can make friends with a special + one, a friend of you and me.’ + 24. + + +Amelia pulls a lever, a black gloved hand pops out from +behind the door, waving hello. Samuel’s face lights up. + + AMELIA + ‘His name is Mister Babadook. And + this is his book.’ + +The book is beautifully done, but somehow creepy. + + AMELIA + We might read another one tonight, + hey? + + SAMUEL + (Turns the page) + You said I could choose. + +A little boy next to a big wardrobe, his hand to his ear. +The words ‘RUMBLE RUMBLE RUMBLE’ are written around him. + + AMELIA + A rumbling sound, then 3 sharp + knocks. ‘ba BA-ba DOOK! DOOK! + DOOK!’ That’s when you’ll know that + he’s around, you’ll see him if you + look. + +Amelia pulls a lever. The words Ba BA-ba DOOK! DOOK! DOOK! +pop up. Samuel quickly turns the page. + +Mr Babadook in his full form. A black top hat, a long black +coat, pointy black gloves. The face is a mask, staring +eyes, mouth smiling widely, more like a scream. + + AMELIA + (Wary) + This is what he wears on top. He’s + funny, don’t you think? + +Creepy more like it. Amelia turns the page, very wary. + + AMELIA + ‘See him in your room at night + (reads to herself) + and you won’t sleep a wink.’ + +Mister Babadook falls from the ceiling towards the boy. The +speech bubble reads ‘LET ME IN!’ The boy screams. The image +is very disturbing. Samuel is instantly frightened. + +Amelia hides the book from Sam, skimming it for herself, +concerned. He struggles with her, trying to see it. + 25. + + + SAMUEL + Does it hurt the boy? Mum?? + + A black silhouette of the Babadook raising its arms like + big insect wings. It looks freaky. + + SAMUEL + (Getting scared) + Where does it live? ‘I’ll soon take + off my funny disguise + (Take heed of what you’ve + read...) + + SAMUEL (O.S.) + (Anxiety rising to fever + pitch) + Does it live under the bed?? Mum?? + + ‘And once you see what’s underneath..’ + + SAMUEL + (Starting to cry) + Mummy..... + + She turns the page. Just black text on a white page.. + ‘YOU’RE GOING TO WISH YOU WERE DEAD.’ + + She shuts the book quickly as Samuel’s cries escalate. + + +27 INT. SAMUEL’S ROOM - NIGHT 27 + + Amelia patiently reads another story to Samuel who has his + arms wrapped around her waist, howling with fear. + + - A while later. + + Amelia lies on her side, staring blankly at the large teak + wardrobe opposite Sam’s bed. The doors are shut. Moonlight + plays across it, making it look almost alive. + + Samuel is finally asleep. He scrunches her ear in his + sleep. + + She lets him do it, too exhausted to resist. + + +28 INT. AMELIA’S BEDROOM - NIGHT 28 + + Amelia opens the Babadook book. The Babadook drops from the + ceiling, the speech bubble ‘LET ME IN’ pops up. + 26. + + + She flips the page. The silhouette of the Babadook raising + its ‘wings.’ ‘And once you see what’s underneath’ She turns + the page. ‘YOU’RE GOING TO WISH YOU WERE DEAD.’ She + hurriedly turns to the next page. It’s blank. + + Then the page after and the one after that, all blank. She + searches for publishing markings. There aren’t any. + + - Later. Amelia stands on a stool reaching up to top of her + wardrobe, book in hand. She shoves the book back as far as + it will go, out of the reach of little hands. + + +29 INT. LOUNGE ROOM - LATE NIGHT 29 + + The TV flickers, lighting up a dreary room. Amelia stares + at it, comatose. The rest of the house is in darkness. + + Bugsy is curled up in Amelia’s lap. There’s a large empty + chip packet beside her. She’s now onto the chocolate. + + On the TV: a sexy young girl in a low cut dress nibbles + some chocolate. A handsome, muscly young guy watches her. + + Amelia nibbles her chocolate, vagued out. She flicks the + channel. + + An ad for phone porn, young girls with their private parts + covered by ‘stars.’ + + She changes it quickly, this time resting on a love scene + from an old black and white Hollywood movie. + + Amelia opens and closes her jaw, massaging the hinge joint, + a longing in her eyes as the lovers kiss. She turns it off, + plunging the room into eerie darkness. + + +30 INT. HALLWAY - LATE NIGHT 30 + + The old house is completely dark. The stairs creak as + Amelia climbs them. + + She closes the door on Bugsy. He hangs around outside. + + +31 INT. AMELIA’S BEDROOM - SAMUEL’S ROOM - LATE NIGHT 31 + + - Amelia’s room. A sewing basket in Amelia’s hands. She + takes off a top layer of fabric, then a layer of thread. + Finally she pulls out a vibrator hiding underneath. + 27. + + +She takes a look at the door then jumps into bed. The room +is dark, just a sliver of light through the windows. + +Amelia reaches under the doona, wriggling around. She +throws her undies on the floor, determination on her face. +A hum begins, she closes her eyes. + +- Samuel’s room. He’s having a nightmare, breathing fast. +His eyes open suddenly. He peeks out over the doona. + +The doors of the wardrobe opposite are wide open, a yawning +blackness inside. + +Samuel cranes his neck to peer in, terrified. He throws +himself back under the covers, disappearing completely. + +- Amelia’s room. Amelia’s flushed face pops out from under +the covers, trying to bring on arousal, almost forcing it. + +The room seems alive, shadows threaten. + +- Samuel’s room. Samuel’s pulls a slingshot and some metal +pellets from under his mattress. He sits up, loads the +weapon, then aims it at the wardrobe, not breathing. + +- Amelia’s room. Amelia is about to orgasm, a pained look +on her face. She holds off for as long as she can. + +Her door creaks opens, but she doesn’t see. A creepy shadow +drops to the floor and disappears. Her breathing is very +deep, she’s almost there.. + +The shadow jumps up on the bed. Amelia yells in fright. + +It’s Samuel. Amelia turns off the vibrator, flings it under +the bed. Bugsy runs and jumps on the bed too. + + AMELIA + (Flushed, confused) + What! + + SAMUEL + It’s in my room! + + AMELIA + What?? + + SAMUEL + The Babadook! + +Amelia registers what’s happening, shaking her head. + 28. + + + AMELIA + Oh no no no. This is not going to + happen! + + SAMUEL + The closet doors were closed and + now they’re wide open! + + Amelia calms herself down, fighting her agitation. + + AMELIA + Sam, a book is a book. It can’t + hurt you. + + Samuel looks sheepish. + + AMELIA + You’ve had a huge day, you’re + exhausted. + + She grabs the doona and throws it over the both of them, + hugging Samuel to her, stiffly. She pats him on the back. + + Initially he struggles, but slowly, slowly calms down. + + Finally, silence. He rolls over to look at his mum. + + SAMUEL + (Loving) + I don’t want anything bad to happen + to you Mum. + + AMELIA + Nothing bad’s going to happen to me + Sam. + + SAMUEL + I’m gonna protect you. + + He touches her face. She closes her eyes, submerging her + resentment, bringing herself back down to earth. + + +32 INT. SHOTS OF HOUSE INTERIOR - DEAD OF NIGHT 32 + + The kitchen is dark and empty. Mess everywhere. + + The lounge room is empty too, it feels spooky. + + Not a soul in the hall. The old house is entirely still. + 29. + + +33 INT. AMELIA’S BEDROOM - DEAD OF NIGHT - MORNING 33 + + Amelia sits up in bed, unable to sleep. She’s reading ‘The + Artist’s Way’, her eyes hanging out of her head. Samuel is + curled up beside her, fast asleep. + + She hears a distant sound, like someone running around + downstairs. The noise concerns her. She listens for more. + + Dead silence. Eventually, she returns to her book. + + Another sound downstairs, a bit louder this time. Amelia + waits to hear more. Troubled. + + Nothing. + + She shuts her book, and pulls the doona over her head, over + Samuel’s too, a little unnerved. + + Amelia studies her son’s sleeping face under the covers, + trying to gain some comfort from it. + + The image of her face ‘speeds up’ as she drifts off to + sleep, it twitches and moves in fast motion as she sleeps + her way through the fastest night ever. She opens her eyes, + still under the doona. + + SAMUEL + Mum! It’s nine o’clock. + + She hurls the covers off to find the alarm blaring away. + She looks at the time. It is indeed 9 am. + + She reaches for her mobile phone, on silent. There are five + missed calls. She checks the last one. The word ‘work’ + flashes up on the screen. She springs out of bed. + + +34 EXT. OUTSIDE THE HOUSE - MORNING 34 + + Amelia juggles her bag, her keys, Samuel’s things and talks + on the mobile all at once. + + AMELIA + He’s not running a fever anymore... + My sister’s going to take him. + + Samuel sneaks past with his catapult. Amelia catches him. + + AMELIA + (Covering the phone) + Put it back. + 30. + + + Samuel kicks up a fuss. + + AMELIA + Put it back or it’s going in the + bin. + + Samuel’s shoulders slump, he takes it back inside. + + AMELIA + (Back to the phone) + I’m sorry I couldn’t get to the + phone, he was throwing up.... No + worries, see you very soon. + + She hangs up. + + AMELIA + No monster talk at Aunty Claire’s + alright? + + Samuel sulks, walking down the path, ignoring her. She runs + after him and grabs him. + + AMELIA + Samuel. No Babadook, no nothing. + Alright? + + Samuel gives her a nod. She wins. + + +35 EXT. OUTSIDE CLAIRE’S HOUSE - MORNING 35 + + Amelia carts Samuel’s things up the long driveway. She + spots Claire waiting out the front of her semi-mansion. + + CLAIRE + What have you been doing? + + AMELIA + Sorry. + + Samuel runs up behind her. + + CLAIRE + Day off school hey? + + SAMUEL + I’m not allowed back at school + anymore. My teacher can’t stand me. + + AMELIA + That’s not true! + 31. + + + SAMUEL + She told me! In front of the class! + + Claire looks to her sister who can’t look back. + + CLAIRE + Is there a pupil free day today? + + AMELIA + (Low voice) + I didn’t want to talk about it in + front of the kids. + + CLAIRE + So you lie to your sister. That’s + nice. + + AMELIA + I just can’t deal with it this + morning. Please, I never ask you to + look after him- + + Samuel is showing Ruby some DVDs he has and is making + explosion noises near her face. She flinches. + + CLAIRE + Be gentle, will you Samuel? + + AMELIA + Thanks so much for this. I’ll be + back at three on the dot. + + +36 INT. NURSING HOME COMMON ROOM - DAY 36 + + Amelia has a microphone in one hand and a plastic bucket + with bingo numbers in the other. She looks frazzled. + + The oldies are scattered on various tables. Most aren’t + listening, a few are asleep, some have their numbers out. + + Upbeat musak plays in the background. + + AMELIA + Aaaannd, it’s number eleven! Who + has number 11? Legs eleven? + + No one responds. + + AMELIA + OK, let’s try another one... + + She reaches in. + 32. + + + AMELIA + 88? Number 88? Two fat ladies? + + After a long time one dedicated player holds up her hand. + + AMELIA + Good Elsie. Another few days and + someone should be able to call + ‘bingo.’ + + No one gets the joke. She reaches for another number. + + AMELIA + Number 69? Not too much of that + going on in here... + + No one claims the number. Amelia pulls out another one. + + AMELIA + The next number is 5 billion. + Anyone got that? How about 75 + gazillion, anyone got that one? + + Some of the sharper members of the crowd look confused. + + Beverly pokes her head around the corner. She gives Amelia + a disapproving look. + + Amelia shuts up immediately. The musak keeps going. + + +37 INT. NURSING HOME KITCHEN - DAY 37 + + Amelia has her head in her hand, her eyes closed. + + Robbie enters. She springs out of her contemplation. + + ROBBIE + Beverly’s not impressed with you + having a sense of humour. + (Beat.) + Are you alright? + + AMELIA + (Bright as she can) + Yeah yeah, I’m fine. So how, how + are you? + + ROBBIE + You don’t have to be fine you know. + + Amelia smiles, caught out. She drops her guard a little. + 33. + + + AMELIA + I am a bit stressed at the moment. + + ROBBIE + Why don’t you go home? Old cranky + bitch is going after lunch. I’ll + cover for you. + + AMELIA + You’d do that? + (Beat) + You can have my pay- + + ROBBIE + Don’t be ridiculous. + (Beat) + You’ve got a sick kid. Life’s too + short. + + AMELIA + (Smiling) + You’re so sweet Robbie. + +He gives her a friendly touch on the shoulder, then drops +his arm, but stays close. Amelia shifts in her seat. + +Robbie touches her hand. Amelia pulls it away like she’s +touched a burning stove. They’re both embarrassed. + + AMELIA + Sorry- + + ROBBIE + I’m an idiot. + + AMELIA + No, no, you’re not an idiot. Not at + all.. + + ROBBIE + (Nervous) + We should do something sometime. + + AMELIA + (Tense) + Yeah sure. I’ve got a bit on my + plate at the moment, but we could + have a cuppa sometime or- + + ROBBIE + That’d be great. Maybe I can come + round- + 34. + + + AMELIA + Yeah. Or go out. Maybe later, + sometime. + + ROBBIE + Great! + + It’s almost too much for Amelia. Robbie senses it. + + ROBBIE + You go... Say hello to Sam for me. + + AMELIA + I will... + + +38 INT. LARGE INDOOR SHOPPING CENTRE - MONTAGE - DAY 38 + + - Amelia wanders aimlessly looking at the life teeming + around her. A comforting distraction. + + - Amelia sits on a bench eating an ice cream. + + She notices an adorable baby girl at the end of the bench + sitting on her mum’s lap. The mum tickles the little girl’s + tummy. She bursts into peals of laughter. + + Amelia connects with the mother, they share a warm smile. + + The mother focuses back on her child. Amelia’s smile drops + slowly, sadness replacing it. + + +39 INT. UNDERCOVER CAR PARK - DAY 39 + + Amelia gets into her car. She sees a man and a woman + kissing in their car, opposite her. She doesn’t want to + look, but the passion of their embrace draws her in. + + The man whispers in the woman’s ear. She laughs, kissing + him softly, then deeply, open mouthed. + + Amelia watches, yearning, immeasurably sad. + + The couple break apart. They happen to look her way. + + Amelia looks down, not wanting to be seen. She rummages + through her bag, happens to look at her mobile. 10 missed + calls. She checks the sender. It’s her sister. + + +40 EXT. OUTSIDE CLAIRE’S HOUSE - AFTERNOON 40 + 35. + + +Amelia arrives to a ‘scene’. Ruby is bawling, clinging to +her mother. Samuel is curled up in a ball on the lawn, +stressed and frightened. Claire’s face is a hard mask. + + CLAIRE + Where have you been! You weren’t at + work, I’ve rung you a million + times! + + AMELIA + (Bracing herself) + What happened? + + CLAIRE + He’s just scared the crap out of + Ruby. + +The little girl cries, her mother gently shushes her. + +Amelia looks at Samuel. He’s spooked. + + CLAIRE + He insisted on talking to this + bloody Babadook thing, all day. + Just talking to the air. It even + freaked me out. + + AMELIA + I’m so sorry. + + CLAIRE + You need to get him to see someone + Amelia. It’s not normal. + + AMELIA + (Quietly) + If you don’t want him here for + Ruby’s party I understand. + + CLAIRE + Don’t be stupid. I just don’t want + to have to deal with this monster + crap- + + SAMUEL + (From the other side of + the lawn, angry) + IT’S NOT CRAP, IT’S REAL! + + AMELIA + Don’t talk to Aunty Claire like + that! + 36. + + + She strides over. He puts his hands in his pockets, grabs + something and throws it at the cement in front of her. It + explodes with a bang. The women are stunned. + + +41 INT. CAR - AFTERNOON 41 + + Amelia grips the wheel, tense. Her eyes flick between + traffic and son in the back seat. + + AMELIA + Where did you get those + firecrackers? + + SAMUEL + You got them for me on the + Internet. + + AMELIA + Well that’s the end of the + Internet. + + Samuel sighs. Amelia tries a much gentler approach. + + AMELIA + (Reasoning) + If you keep talking to things that + aren’t real, Aunty Claire won’t + want you to come over anymore. + (Beat.) + Samuel? + + No answer. Just stubborn silence. + + AMELIA + If the Babadook was real, we’d see + it right now, wouldn’t we? + + SAMUEL + It wants to make us really scared + first. Then you’ll see it. + + AMELIA + Well I’m not scared. + + SAMUEL + You will be when it creeps into + your room at night. + + AMELIA + (Civil) + That’s enough- + 37. + + + SAMUEL + You will be when it eats your + insides. + + AMELIA + (Suddenly) + I’ve decided you’re not having your + birthday with Ruby this week. No + cake, no games, that’s the end of + it. + + Samuel is crushed. Amelia keeps her eyes on the road, grips + the steering wheel, her knuckles turning white. + + +42 INT. KITCHEN - BASEMENT - INTERCUT - EVENING 42 + + - Kitchen. A pot of soup boils away on the stove. + + Amelia stirs, focusing on the task. She looks up, and can + just see Mrs Roach sitting in her lounge opposite, watching + TV. The sight comforts her. She smiles, relaxes. + + - Basement. Samuel’s sparkly gloves clapping together. + + Stuffed toys all lined up in a row. At the end of the line, + a photo of Amelia with her husband, OSKAR. They have their + arms around each other, smiling. + + SAMUEL (O.S.) + Laayydees and gentlemehhhn! Mum and + dad! + + Samuel has his magician outfit on, sparkly coat and hat. + + SAMUEL + Life is not always as it seems. It + can be a wonderrus thing.. + + He does a quick magic trick. It’s good, he’s got a knack. + + Bugsy is close by, sniffing around. + + SAMUEL + But it can also be very + trecheruss... + + He throws two firecrackers onto the ground. They explode. + + Bugsy is spooked and hightails it up the stairs. + + SAMUEL + 38. + + + (Talking to something we + can’t see) + Don’t worry dad, I’m gonna save + Mum. I’m gonna trap the Babadook + like this.. + + He runs to the stairs, and pulls on a rope. It tightens + across the stairs like a trip wire. + + - Kitchen. Amelia sees Bugsy push open the basement door + and run through it. She’s shocked to see that door open. + + - Basement. + + SAMUEL + When he’s trapped I’m gonna KILL + HIM! + + A newly made nail gun is strapped to his skinny leg. He + fires it off. Nails fly through the air like tiny spears. + + AMELIA (O.S.) + SAMUEL. + + Samuel flinches. He rips off his weapons fast as he can, + hides them and bolts upstairs. He’s in huge trouble. + + +43 INT. LOUNGEROOM - AFTERNOON 43 + + Amelia’s face looks tight and strange. + + Samuel is nervous, he jigs around on the spot. + + She searches his pocket, he pulls away from her. She tries + the other one, pulls out a key. He’s very ashamed. + + AMELIA + How did you get this?? + + SAMUEL + I was just putting something back.. + + AMELIA + All your father’s things are down + there. + + SAMUEL + He’s MY father! YOU DON’T OWN HIM! + + A knock at the door. Amelia marches towards it, opens it. + 39. + + +It’s Robbie, flowers in one hand, a present in the other. + + ROBBIE + Just thought I’d see how you’re + going. These are for you. + +She takes the flowers limply, not knowing what to say. + + ROBBIE + And this is for you matey. My mum + always got me a model aeroplane + when I was sick- + + SAMUEL + I’m not sick. + +Uncomfortable pause. Amelia’s face burns. She’s caught out +big time. A huge wave of shame builds up in her. + + ROBBIE + Oh. I thought you were si- + + AMELIA + (Suppressed anger) + No, he’s not actually. The truth + is, he’s so disobedient he can’t go + to school anymore. + + SAMUEL + (Indignant) + You said that’s not true! + + AMELIA + How many 6 year old boys do you + know Robbie who still believe in + monsters? + + SAMUEL + (Screaming at Amelia) + I HATE YOU! + (To Robbie) + She won’t let me have a birthday + party and she WON’T let me have a + DAD! + +Samuel bolts up the stairs. His door slams. A terribly +awkward pause. + + ROBBIE + I’m really sorry... If you want to + talk about it- + + AMELIA + 40. + + + No, I don’t. Thanks anyway. Thanks + for the presents. + + Robbie just stands there, looking at her, awkward. + + AMELIA + (Flustered) + I wasn’t expecting anyone over. The + house is a mess. + + ROBBIE + I don’t care- + + AMELIA + (Snapping) + I care! + (Beat.) + Please, can you just go? + + ROBBIE + I, I.. + + AMELIA + Please go! + + Robbie leaves, embarrassed. Amelia shuts the door, + completely ashamed of herself. + + She looks up and sees the door to the basement wide open. + She walks to it. Samuel has left the light on down there. + + After a time, she forces herself down those stairs. + + +44 INT. BASEMENT - AFTERNOON 44 + + Amelia finds the crowded space in chaos. Samuel has pulled + out all his father’s things, a desperate attempt to + connect. + + The sight of it all puts Amelia into a spin. She races + around randomly stuffing things back in boxes. + + She clocks the photo of her and Oskar, walks over, picks it + up, puts it in her pocket, unable to even look at it. + + She turns and what she sees makes her jump with fright. + + Samuel has fixed a hat, shirt and trousers to the wall, + using his father’s things to replicate a person. A pair of + shoes rest under each trouser leg. Oskar’s violin is out of + its case, propped up against the wall, as if the shirt arm + were holding it. + 41. + + + Amelia’s fright subsides overtaken by a terrible remorse + that hits her right in the guts. Tears well in her eyes. + + +45 INT. SAMUEL’S ROOM - AFTERNOON 45 + + Amelia hears Samuel playing on a kid sized electric piano. + + It’s good, definitely music, not just noise. + + She enters the room, he stops playing immediately. + + AMELIA + That was really good. + + Samuel is mute. She walks to the bed, sits next to him. + + AMELIA + (Reaching out) + Your dad could play like that. He + only had to hear something once. + + SAMUEL + (Short) + I know. You’ve told me. + + AMELIA + (Forcing herself) + You can have your own birthday + party this year if you want.. + + Sam shrugs. + + AMELIA + I’ve made some yummy soup. Real, + not out of a can. + (Nothing.) + And after dinner we can play + Monopoly, OK? + + She smooths his hair gently. He doesn’t shrug her off. + + AMELIA + OK? + + He gives her the smallest of nods. Amelia breathes a tiny + sigh of relief. + + +46 INT. KITCHEN - NIGHT 46 + 42. + + + Sam watches his mum taste her soup. She bites down on + something. It hurts. She takes it out of her mouth. It’s a + shard of glass. Her tongue bleeds slightly. + + AMELIA + Don’t eat it. + + Samuel stops. She sifts through her soup. Another shard. + + She tests his soup. No glass. She looks through hers and + sees more pieces. Samuel looks panicked. + + AMELIA + Did you put glass in my soup? + + SAMUEL + The Babadook did it mum... + + He gets up. Amelia searches his face for the truth. + + SAMUEL + The Babadook did it! + + AMELIA + (Unnerved) + You go and watch a DVD, I’ll make + something else. + + He looks like he’s about to jump out of his skin. + + AMELIA + (Firm) + Just go watch a DVD Samuel. + + +47 INT. KITCHEN - NIGHT 47 + + Amelia fries some sausages. The TV is loud. She goes in to + have a look. + + Samuel watches a magician DVD for kids, his back to her. + + MAGICIAN ON TV + Ladies and gentleman! Life is not + always as it seems... + + Amelia looks at Sam’s little frame, so tiny sitting there. + + Her mind is preoccupied, suspicious of her son. + + +48 INT. STAIRS - AMELIA’S ROOM - SAM’S ROOM - NIGHT 48 + 43. + + + - Stairs. Amelia trudges up the stairs. She sees the back + of Samuel running into his room. He shuts the door behind + him. + + Odd. + + - Amelia’s room. Amelia catches sight of something shoved + under her wardrobe. She bends down to have a look. + + It’s a hammer. There’s a broken glass next to it, shards of + glass on the carpet. Her throat tightens. + + She stands up, notices the bed. All the covers have been + pulled off and are lying on the floor. Amelia moves in, + spotting a photo in the centre of the mattress. + + It’s the one of her and Oskar. Oskar’s face has been + scratched out with a pen. Her eyes have been drawn over + with black holes, the mouth drawn into a silent scream. She + strongly resembles the pictures of the Babadook. + + - Sam’s room. Amelia storms in. She holds up the photo + close to Samuel’s face, shaking with rage and fear. + + AMELIA + Do you think this is FUNNY! + + Samuel’s face drops. He runs straight for his catapult. + + Amelia intercepts, trying to grab it from him. He wrenches + it back off her, a genuine struggle. + + She bends down to reason with him. He takes the chance to + slap her hard across the face, then shoves her so + forcefully she falls on her back. + + SAMUEL + (Violent) + DO YOU WANT TO DIE!? + + Amelia is speechless. She watches Sam load the catapult. + For the first time, she’s genuinely scared of her son. + + +49 INT. KITCHEN - SAMUEL’S ROOM - INTERCUT - NIGHT 49 + + - Kitchen. Bugsy jumps up, trying to reach Amelia’s lap. + She ignores him, scratching her head, staring into space. + + The lights dip in and out. It makes her anxious. + + Suddenly that pain in her mouth again. She feels the + offending molar, wincing as she pulls and tugs at it. + 44. + + + - Sam’s room. He sleeps sitting up with his catapult on, + breathing too fast and shallow, dwarfed by his armour. + + - Kitchen. Amelia scratches her scalp with her fingers, as + if to relieve the pressure in her head and jaw. Bugsy tries + to comfort her, but she’s in another world. + + - Sam’s room. He wakes suddenly. Shadows in every corner. + It doesn’t feel safe. He looks at the wardrobe opposite. + + The doors are open. + + Sam slips off the bed. Mustering all his courage, he takes + small steps towards the wardrobe. + + - Kitchen. Amelia’s fingers scrape against her scalp. The + sound intensifies, the image so close it becomes surreal. + + Her face, her eyes in close up, full of anxiety. The sound + of her scratching becomes deafening. + + - Samuel’s eyes and face, framed by the catapult. + + The dark closet yawns open, a deep terrifying hole. + + He lifts his eyes and face slowly, following something we + don’t see up the wall and across the ceiling. + + - Amelia hears a terrible crashing sound upstairs. Then + Samuel screaming, as if he’s being murdered. She leaps to + her feet and is up those stairs in an instant. + + +50 INT. SAMUEL’S ROOM - MOMENTS LATER 50 + + Amelia finds the wardrobe, too heavy for Sam to pull over, + lying face down on the floor. His clothes spill out + underneath it. The room looks like it’s been ransacked. + + Amelia can’t see Samuel. She runs to the open window, then + to the bed in a panic, searches underneath. + + Samuel is squashed right into a corner. He still has his + catapult on. He won’t come out, clinging to the bed post. + She has to really take hold and drag him out. + + She’s never seen anything like it. His body is rigid in her + arms, his face a picture of terror. It frightens her. + + SAMUEL + (Over and over) + Don’t let it in! Don’t let it in! + Don’t let it in! + 45. + + + He starts to hyperventilate. Amelia carries him to the bed + and covers him with her body, trying to calm him. + + Her eyes scan his pillows. Underneath one of them lies a + book. She can see the spine of it. + + ‘MISTER BABADOOK.’ + + Her blood runs cold. + + +51 INT. STAIRWELL - NIGHT 51 + + Amelia throws the book down the stairs, pages flying. + + +52 INT. SAMUEL’S BEDROOM - NIGHT 52 + + - Samuel lies in a foetal position and sucks his thumb as + Amelia pats his back, singing him a lullaby. Her voice + trembles as she sings it. Samuel stares into space. + + +53 INT. BATHROOM - NIGHT 53 + + Amelia is in the bath, her knees up to her chest, crying + her heart out. She takes a deep breath, trying to calm + herself. + + It doesn’t work. She breaks out into fresh sobs, completely + alone. + + +54 INT/EXT. KITCHEN - FRONT YARD - HALLWAY - NIGHT 54 + + - Amelia takes the ‘MISTER BABADOOK’ to the table, opening + it, becoming more agitated as she reads. + + ‘If it’s in a word or it’s in a look, you can’t get rid of + the Babadook.’ She turns the page. + + The image of the Babadook falling on the boy in bed. The + speech bubble ‘let me in!’ from the creature’s mouth. + + She slams the book shut, tries to rip it in half. It’s too + thick. Determined, she rips out a page at a time, tearing + each one to pieces. + + - Amelia shoves the remnants in the Otto bin, shuts it. + + - Amelia carries the sleeping Samuel into her room. + 46. + + +55 INT. AMELIA’S BEDROOM - NIGHT - DAY 55 + + Amelia watches Samuel as he sleeps. Bugsy is asleep in her + arms, his front legs poking up near her face. + + The power surges, the lamp light flickers. + + That sound again downstairs. Amelia’s face tightens. She + listens for more, holding her breath. + + Nothing. Just tight and tense silence. + + Amelia moves in to Samuel, squashing Bugsy in between. She + pulls the doona over her head. It covers the screen. + + SAMUEL (O.S.) + Mum do we have to go to Ruby’s + party? + + The doona is dragged down to reveal Amelia’s exhausted + face. + + It’s suddenly morning. She stares at the ceiling, then + makes a monumental effort to turn on her side. + + Her hand comes out from under the doona, reaches to the + floor. She picks up a present amongst the clothes and books + scattered there. The paper has angels all over it. + + +56 INT. CLAIRE’S KITCHEN - DAY 56 + + The present is passed to Ruby who’s waiting expectantly. + + Amelia looks like she hasn’t slept in years, dark circles + under her eyes. Sam sits on her lap, fragile, withdrawn. + His arms around her neck. She suffers it in silence. + + The middle class mothers surround her, all perfect hair and + white teeth. Beyond groomed. Kids running everywhere. + + Ruby opens the present and is obviously disappointed. + + RUBY + I’ve already got this Barbie. + + CLAIRE + Well now she has a twin. They can + go shopping together. + + Ruby flounces outside. The other kids follow her. Except + for Samuel, who stays exactly where he is. + 47. + + + AMELIA + Go on, off you go... + +Amelia’s aware she’s being watched by the mothers. Samuel +won’t let go of her neck, burying his face in her chest. + + AMELIA + (Laughing nervously) + He’s just tired.. + +She peels his arms away. Samuel frets, starting to cry. The +mothers give each other surreptitious looks. + +Amelia pulls Samuel to her by both wrists. + + AMELIA + (Measured) + Go-and-play-right-now. + +Sam leaves, half crying, half whining, looking at his mum +all the way. She tries to pretend nothing’s happening. + +MOTHER 3 gives Claire a look. Claire rolls her eyes then +looks to Amelia who is staring right at her. Claire looks +away, caught out. Amelia is hurt and humiliated. + +Uncomfortable silence. + + MOTHER 1 + Claire tells me you’re a writer? + + AMELIA + (Nervous) + Oh! Not so much anymore... + + MOTHER 2 + What kind of writing do you do? + + AMELIA + (Awkward) + I wrote articles for magazines. + Some kids stuff but that was really + just.. I’ve written a novel... + + MOTHER 3 + Would we have read it? + + AMELIA + (Embarrassed) + It hasn’t been published. + + MOTHER 1 + Oh. Never mind... + 48. + + +An awkward pause. Amelia’s face flushes with humiliation. + + CLAIRE + She’s very talented, she just needs + to get back into it, that’s all. + +Amelia becomes very uncomfortable, the focus on her. + + MOTHER 1 + It must be very difficult. I do + volunteer work with some + disadvantaged women. A few of them + have lost their husbands and they + find it very hard. + +Amelia looks at Mother 1, her face darkens. + + CLAIRE + (Changing the subject) + How’s Richard’s merger going? + + MOTHER 1 (O.S.) + Oh! Good but his workload’s + ballooned. + +Tight on Amelia, fighting a growing anger. + + MOTHER 1 (O.S.) + I’ve got the kids 24/7 it feels + like. + + MOTHER 2 (O.S.) + Tell me about it... + + MOTHER 1 (O.S.) + I don’t even have time to go to the + gym anymore, it’s ridiculous! + + AMELIA + (Blurting it out) + That’s a real tragedy. + +The mothers all look at Amelia, taken aback. She stares at +Mother 1, her contempt obvious. + + AMELIA + Not having time to go to the gym. + How do you cope? + +Pause. + + AMELIA + 49. + + + You must have a lot to talk about + with those poor disadvantaged + women. + + Horrible silence. Claire gives her sister a death stare. + + Amelia looks away, defiant, refusing to meet her gaze. + + +57 EXT. TREE HOUSE - CLAIRE’S BACKYARD - INTERCUT - DAY 57 + + The large backyard is decked out with swings and a tree + house. A clown entertains the kids with a lame trick. + + - Tree house. Ruby climbs up to find Sam hiding there. + + RUBY + This is my tree house. I say who + comes here. + + SAMUEL + I’m not hurting anybody. + + - Backyard. Claire kisses the other mothers goodbye. Amelia + fixes on the clown and kids. + + MOTHER 1 + You sure you don’t want us to stay? + + CLAIRE + (Cheek kissing) + No that’s fine. I’ll call you when + they’re ready to be picked up. + + The women give Amelia a half hearted goodbye as they leave, + she returns it, embarrassed. + + AMELIA + I can stay after and help you clean + up. + + CLAIRE + (Cold) + I’ll be fine. + + Amelia doesn’t go. The tension builds as they sit there + watching the children play in the enormous backyard. + + - Tree house. + + SAMUEL + 50. + + + How would your Mum know if it’s + real or not? She never comes to our + house. + + RUBY + Mum told Dad she doesn’t want to go + to your house coz it’s too + depressing. + + SAMUEL + The Babadook would eat your Mum for + breakfast! It’d rip her arms off! + + RUBY + (Scared) + Shut up! + +- Backyard. Amelia can’t stand it anymore. + + AMELIA + I never say anything bad to you or + anyone. I say one thing and I’m an + evil bitch. + + CLAIRE + You were bloody rude. + + AMELIA + She was so condescending! ‘I work + with disadvantaged women’, give me + a break! + + CLAIRE + Shereen is a huge supporter of the + gallery, her husband is one of our + major investors, and she’s my + friend! + + AMELIA + Those women look down on me. + + CLAIRE + They feel for you in your + situation! + + AMELIA + They feel sorry for me Claire! + There’s a big difference! + +- Tree house. + + RUBY + 51. + + + I didn’t want you to come to my + birthday party anyway. My mum made + me do it. + + SAMUEL + Well, I didn’t wanna come. It’s + boring. + + RUBY + No one likes you. You make up + stories coz you don’t have any + friends. + + SAMUEL + I’m not making things up, you can’t + see things coz you’re stupid. + +- Backyard. + + CLAIRE + I know what this is really all + about. + + AMELIA + Oh? What? + + CLAIRE + As soon as anyone mentions Oskar, + as soon as they even so much as + hint at it, you can’t cope. + +This hits a raw nerve with Amelia, she covers it. + + AMELIA + That’s not true. + + CLAIRE + I know he was the love of your + life. And it is God awful what + happened to him. But it’ll be seven + years Amelia, isn’t it time you + moved on? + +Amelia struggles desperately to keep her feelings in. + + AMELIA + I have moved on! I don’t mention + him, I don’t talk about him. What + strain is it on you Claire? I + listen... I listen to your life, + day in day out and you don’t stop + to ask me anything about mine! + 52. + + + CLAIRE + (Defensive) + I do ask! I want to know how you + are! + + AMELIA + Only if everything’s fine! + +- Tree house. + + RUBY + You’re not even good enough to have + a dad. Everyone else has one and + you don’t. + + SAMUEL + (Getting upset) + I do have a dad. + + RUBY + Your dad died so he didn’t have to + be with you. And your mum doesn’t + want you. + + SAMUEL + (Very close to tears) + That’s not true. + + RUBY + Is so. + +Samuel stands up, his hurt turning to rage. + +- Backyard. + + AMELIA + You don’t come round to our house + anymore. + +CLAIRE AMELIA And you know why that is.. I ask and you +never come round- + + CLAIRE + (Snapping) + Because I can’t stand being around + your son! + + AMELIA + I can’t believe you just said that. + + CLAIRE + You can’t stand being round him + yourself! + 53. + + +- Tree house. Samuel lurches forward and pushes his cousin, +hard. + +Ruby is knocked off balance. She grabs at the air as she +falls backwards right out the door. + +Samuel face drops as he watches her fall. + +- Backyard. Claire sees her daughter fall, turn mid air and +land straight on her face on the ground below. It looks +awful. Both sisters rush over. + +Ruby stands up, in shock, blood pouring from her mouth. + +Slowly, surely, she starts to howl. + +All the kids stop playing and stare. Some get scared. + + CLAIRE + Let me have a look darling. + +She opens her mouth. A tooth has snapped off at the base. + +Ruby is hysterical. Blood spurts out. + +Amelia sees her son at the top of the tree house. He looks +scared and guilty as he climbs down. + + CLAIRE + (Lashing out at him) + WHAT DID YOU DO! + + SAMUEL + (Very upset, to Amelia) + She said I didn’t have a dad! She + kept saying it! + + RUBY + (Through the sobs) + He.. He... said the Babadook was + going to kill you Mummy... + +She howls. Claire picks her up and moves swiftly into the +house. Amelia follows, shame and anxiety on her face. + + CLAIRE + (To Amelia) + That bottom tooth is an adult + tooth! She’s not going to get it + back! + +Ruby squeals. Claire holds her tight and marches to the +front door. Amelia follows her closely. + 54. + + + CLAIRE + Stay here and look after the + children! Do you want another one + to get hurt? + + Claire’s voice upsets one of the girls, the girl cries, + this sets another one off. The kids are scared. + + She charges out of the door with her squealing daughter. + + Amelia turns to see a group of children in various states + of distress. And in the middle is Samuel, completely lost. + He rushes in to Amelia. She pushes him away. He runs to her + again. + + AMELIA + GET AWAY FROM ME! + + Samuel stops in his tracks, shocked and scared. + + Amelia looks at the crying children in front of her. Her + stress reaching boiling point. + + +58 INT. CAR - DAY 58 + + Amelia drives fast, stuffing her emotions down. + + A large cockroach appears on her bare leg. She violently + sweeps it away. It goes flying into the mess at her feet. + + SAMUEL + (Crying) + Mum.. I didn’t mean to hurt her. + She wouldn’t believe me.. Mum- + meee... + + He starts kicking the back of her seat to get her + attention. + + Kicking over and over and over.... + + Amelia swerves to the side of the road, screeches to a + halt. + + She flips her seat belt off, turns around. + + AMELIA + There is no BABADOOK! + + Samuel’s anguish rising to fever pitch. He screams and + cries, kicking the seat over and over. + 55. + + + AMELIA + IT’S ALL MADE UP IN YOUR HEAD! + + Samuel suddenly goes quiet. He looks to his right, seeing + something Amelia can’t see. He looks horrified. + + SAMUEL + (To the air) + Get out! + (To Amelia) + Mummy.. + + AMELIA + (Frightened) + Samuel, stop it now... + + SAMUEL + (To the air, terrified) + GET-OUT! + + He goes red in the face, as if he’s choking. Amelia + watches, immobilized by shock. + + A middle aged couple stop and stare, concerned. + + Samuel kicks and punches, thrashing his body around. He + screams out in pain. Amelia desperately tries to help. + + Samuel’s eyes roll back in his head, his body goes rigid, + his fingers splayed. It looks absolutely horrifying. + + Amelia panics. She opens her car door. + + AMELIA + (To the onlookers) + Please help! There’s something + wrong with my child! + + +59 INT. DOCTOR’S SURGERY - DAY 59 + + An eye is checked by a sharp light. The pupil contracts. + + A tongue depressor is put into the child’s mouth. + + A stethoscope against Samuel’s bare chest. + + DOCTOR (O.S.) + Cough now. + + Samuel’s throat showing the reflex of a cough. + 56. + + + Samuel looks to the doctor, an overworked, middle-aged man. + + Amelia sits on a chair nearby. She looks wrecked. + + +60 INT. DOCTOR’S RECEPTION - DOCTOR’S SURGERY - DAY 60 + + - Samuel waits on the bench, exhausted. The receptionist + gives him a warm smile. He doesn’t smile back. + + - Surgery. + + DOCTOR + I’d say it was a febrile + convulsion. The brain gets + overheated- + + AMELIA + Yes, I know what they are, I’m a + nurse. + + DOCTOR + It always looks worse than it is. + + AMELIA + I’ve never seen anything like + that.. + + DOCTOR + He’s obviously suffering from a + high level of anxiety, very + committed to the monster theory. + + AMELIA + That’s an understatement.. + + The doctor stops to look at Amelia, slightly irritated. + + DOCTOR + All children see monsters. + + AMELIA + Not like this. And it’s getting + worse. + + DOCTOR + He could see a psychiatrist. I have + some numbers. Takes a few weeks to + get in. + + AMELIA + 57. + + + Of course he needs to see someone. + But can I just get something now to + make him sleep? Just until I get an + appointment. + + The doctor hesitates. + + AMELIA + Please. I haven’t slept in weeks. + Neither has Samuel. When we go home + tonight the whole nightmare will + start up again and I’m-not-coping.. + + He seriously studies Amelia, sizing her up. + + DOCTOR + I can prescribe a short course of + Benzodiazepine, just till the tests + come back. These are very strong + for children. Most mothers aren’t + too keen on them unless it’s really + bad. + + AMELIA + It’s really bad. + + He opens his pad and writes out the script. + + DOCTOR + They can make children feel + uncoordinated, foggy, maybe some + temporary nausea. They’ll help him + to sleep though, that’s for sure. + + He rips out the prescription and hands it to her. + + DOCTOR + That’s for one week. Half strength. + + Amelia’s face relaxes a little. Problem solved for now. + + +61 INT. SAMUEL’S ROOM - NIGHT 61 + + Amelia has a glass of water and the pills at hand. Samuel + sits up, worried, looking at the pills. + + SAMUEL + Is there something wrong with me? + + AMELIA + I’m sure everything will be + alright. These will help for now. + 58. + + + SAMUEL + Why don’t people like me? + + AMELIA + Why do you say that? + + SAMUEL + Ruby said people don’t like me coz + I’m weird. + + AMELIA + Sometimes people say things that + aren’t true. + +Samuel doesn’t look convinced. + + AMELIA + You just need to take your + medicine, have a big sleep and not + worry. + +Samuel is suddenly very anxious. He clings to Amelia. She +tries not to tense up at his touch. + + SAMUEL + I don’t want you to die. + + AMELIA + I’m not going to die for a long + time yet. + + SAMUEL + Did you think that about my dad + before he died? + +The comment hits her. She slowly pulls him away from her. + + AMELIA + You need to take these pills so you + can go to sleep. + (Bright) + I’ve got the day off tomorrow. + Maybe we can do something. + + SAMUEL + Will these make the Babadook go + away? + + AMELIA + I think so. But you have to promise + you won’t mention it again. + +He takes the pills in hand, looks at her seriously. + 59. + + + SAMUEL + I promise to protect you if you + promise to protect me. Then I won’t + mention it. + + AMELIA + Of course I will. + + SAMUEL + Sometimes people say things that + aren’t true. + + She looks him in the eyes, as sincerely as she can. + + AMELIA + I promise to protect you. + (About the pills) + Come on. + + He takes them, she gives him the water, he drinks it. + + SAMUEL + (Anxious) + Can you stay here with me? + + AMELIA + Yes. + + SAMUEL + I love you Mum. + + AMELIA + (Tight) + Me too. + + Samuel’s face drops with her response. Amelia tucks him + into bed. He doesn’t look at her, infinitely sad. + + Amelia stands and looks at Samuel’s back, a guilty sadness + crosses her face. + + +62 INT. AMELIA’S ROOM - NIGHT - MORNING 62 + + Amelia sits on her bed, heavy with exhaustion. + + Her face seen from above as she falls onto the pillow in + slow motion. The pillow seems miles away. A lullaby plays + on violin. Her face relaxes, her eyes close. + + Finally she lands on the pillow, surrendering to deep + sleep. + 60. + + + A soft, unearthly light plays on her face. + + After several blissful moments, the lullaby ends. Amelia + opens her eyes and looks over at the clock. 11am. + + She drifts up to sitting. It’s quiet and calm in the room + and outside. She stands, her face is tranquil, dreamy. + + +63 INT. SAMUEL’S ROOM - MORNING 63 + + Amelia sees Samuel lying on his bed with his back to her, + completely still. She drifts towards him. His eyes are + closed, his face perfect, like a doll’s. + + She leans in to check he’s breathing. He is. + + +64 INT. HALLWAY - MORNING 64 + + Amelia shuffles down the hallway, yawning, content. + + Three knocks on the front door. + + She covers over her dressing gown, smooths down her hair + and moves to the door, opening it. + + There’s no one there. She peers out onto the street. Not a + soul. It’s very quiet, strangely so. She stands there a + moment, puzzled, then closes the door. + + Amelia’s almost at the end of the hall when it happens + again. + + Three loud, sharp knocks. + + She turns, strides to the front door, opens it. + + Sitting on the welcome mat is the book of ‘MISTER + BABADOOK.’ Its pieces all glued back together. + + The blood drains from Amelia’s face. She bends down to pick + it up. She looks on the street for any sign of life. + + Nothing. + + Amelia runs inside with the book firmly in her grasp. + + +65 INT. LOUNGE ROOM - MORNING 65 + 61. + + + Amelia flips through the book, becoming more frightened as + she goes. She finds a new page with large angry words. + + ‘I’ll WAGER with YOU, I’LL MAKE you a BET. THE MORE you + DENY, the STRONGER I GET.’ + + She flips the page. + + The boy in the bed has been replaced by a screaming woman. + + She looks like Amelia. The Babadook drops down over her, + the words ‘LET ME IN’ flying out of its mouth. + + Amelia flips the page. The woman stands with arms + outstretched. The Babadook’s shadow rises behind her. + + ‘You start to CHANGE when I get in, the BABADOOK growing + right UNDER YOUR SKIN.’ + + Amelia’s hands shake as she fumbles for the next page. + + OH COME! COME SEE WHAT’S UNDER-NEATH! + + She turns the page. + + A huge shadow envelops the woman as she snaps the neck of a + little white dog. The dog looks exactly like Bugsy. + + Amelia flips the page, not wanting but needing to see. + + The woman strangles a boy with her bare hands. The shadow + holds her arms, forcing her to it. Amelia flips the page. + + An image of the woman, her mouth open in a terrible scream. + + She slits her throat, blood spurts everywhere. + + Amelia turns to the final page. Just text that says ‘IF + IT’S IN A WORD, OR IT’S IN A LOOK, YOU CAN’T GET RID OF THE + BABADOOK. + + +66 EXT. BACKYARD - MORNING 66 + + Petrol splashes out of a can. + + A pair of hands throw a lit match into the barbecue where + the ripped up book now lies. It ignites quickly. + + Amelia stands back as the flames rise, watching it burn. + 62. + + + She sees Samuel at the back door, trying to wake up. She + shoots him a tense smile. He looks concerned. + + +67 INT. AMELIA’S HALLWAY - CLAIRE’S HOUSE - MORNING 67 + + Amelia is on the phone to Claire. + + CLAIRE + She has to have a root canal and a + crown. + + AMELIA + I’ll pay for everything. + + CLAIRE + You can’t even pay for your own + dental work, how are you going to + do that? + + Amelia doesn’t know what to say. + + CLAIRE (O.S.) + I really have to go now.. + + AMELIA + (Blurts it out) + Claire, I think someone is stalking + me and Samuel. + + CLAIRE (O.S.) + What? + + AMELIA + A book turned up at our house. + + CLAIRE + What are you talking about? + + AMELIA + I threw it away. But someone glued + it back together and put it on our + doorstep. + + CLAIRE (O.S.) + A book? Amelia I can’t help you + now- + + AMELIA + I don’t expect you to help, I just- + + CLAIRE + 63. + + + If you’re worried you should go to + the police. I’ve got to go. + (Hangs up.) + + Amelia puts down the phone, crushed. She stares at her + hands, black from the smoke. Silence. + + The phone rings sharply, giving her a fright. + + AMELIA + (Picking up) + Claire? + + There is a silence on the other end. + + AMELIA + (Growing tense) + Hello? + + Finally, a noise on the other end, but not a human one. + + ‘Babababababa dook-dook-dook’ + + The sound rips through Amelia. She slams down the phone. + + +68 EXT. OUTSIDE MRS ROACH’S HOUSE - DAY 68 + + A door opens. Amelia waits there, a vulnerable smile. + Samuel is beside her, sitting on the doorstep. + + MRS ROACH + (Lighting up) + Hello love. + + AMELIA + Hi Gracie. + (To Samuel) + Up you get Sam. + + MRS ROACH + Oh he’s alright. You tired little + one? + + SAMUEL + I’m exhausted Mrs Roach. I’m on + drugs. + + AMELIA + (Explaining) + He had a fit yesterday. He’s + alright, but we’ve had to medicate + him. + 64. + + + MRS ROACH + Oh, you poor little thing... + + AMELIA + Gracie would I be able to leave + Samuel with you for an hour or so? + I’ve got to do something and he + can’t come along. + + MRS ROACH + Yes of course. Are you alright? + + AMELIA + (Upbeat) + I’m fine. I normally wouldn’t ask + you to look after him- + + MRS ROCHE + (Genuine) + That’s no problem. + + Mrs Roach reaches out taking Amelia’s hand. + + MRS ROACH + It’s not a crime to ask for help + love. + + Amelia tries with all her might not to cry. + + +69 INT. POLICE STATION - DAY 69 + + Amelia enters, intimidated by the surroundings. + + There are three policemen on duty, one older sergeant at + the front desk, and two in the back who don’t look old + enough to be working. They all look bored. + + Amelia shuffles up to the counter. + + AMELIA + Hi. I want to report someone + stalking me and my child. + + SERGEANT + (Starts writing) + When did the incident occur Madam? + + AMELIA + It started this week. + + SERGEANT + Can you tell us what happened? + 65. + + + AMELIA + Someone sent me a.. a children’s + book. + +The teenage cops stifle a laugh. Amelia sees it. The +Sergeant gives them a quick, stern look. + + SERGEANT + And? + + AMELIA + (Directed at the two in + the back) + And it contained violent and + graphic images of my child and me + being murdered. + +The two in the back instantly stop smiling. + + SERGEANT + Can we have a look at the book + please? + + AMELIA + (Sheepish) + I burnt it. + + SERGEANT + (Deflated) + You burnt it. + + AMELIA + Yes. + + SERGEANT + Well, unfortunately there’s nothing + we can do about it. + + AMELIA + He’s making phone calls to me as + well. + + SERGEANT + What’s he saying? + + AMELIA + Nothing, he’s just making noises. + + SERGEANT + How do you know it’s the same + person? + + AMELIA + 66. + + + Because of what he wrote in the + book! + + SERGEANT + The book you burnt. + + AMELIA + (Defeated) + Yes..... + + She looks past the policemen in the back and sees a coat + rack. On the rack hangs a long black coat. Perched right on + top of the coat is an old fashioned black top hat. + + Just like the coat and hat in the book. + + Amelia looks suddenly frightened. The Sergeant notes it. He + looks at her hands on the counter, black from the fire. + + Amelia retracts them, trying to remain composed. + + She straightens her hair, the hair she didn’t brush this + morning. The Sergeant doesn’t take his eyes from her. + + SERGEANT + Are you having a hard time at the + moment, love? + + She looks to the hat and coat, then back to the Sergeant, + trying to concentrate. + + AMELIA + OK, thanks, don’t worry about it. + + She almost runs out. + + +70 EXT. OUTSIDE MRS ROACH’S HOUSE - AFTERNOON 70 + + Samuel trudges towards his mum coming down the path. + + MRS ROACH + Did you get your things done? + + Amelia nods, trying to appear relaxed. + + SAMUEL + Mrs Roach has Parkingsuns, that’s + why she shakes all the time like + she’s dancing. + 67. + + + AMELIA SAMUEL Samuel- It might get worse but it won’t get + better- + + AMELIA + You don’t have to say everything + that comes into your head! + + MRS ROACH + It’s alright love. He wanted to + know, so we talked about it. + + Amelia checks herself. Samuel trudges back home, tired. + + MRS ROACH + He sees things as they are, that + one. His dad was the same, always + spoke his mind. + + AMELIA + (Snapping) + I’d rather not talk about his dad. + It’s been seven years! + + She walks off without a goodbye. Mrs Roach looks after + Amelia, concerned by her uncharacteristic response. + + +71 INT. LOUNGE ROOM - KITCHEN - HALLWAY - DAY 71 + + - Amelia passes Samuel lying on the couch, already half + asleep. Her tooth is giving her a massive migraine. + + - Bugsy is in the kitchen, barking nonstop. She tries to + move closer to him, he runs straight past her outside. + + It looks like a bomb’s gone off. Food in the sink, mess + everywhere. She pauses for a moment, overwhelmed. + + Something tickles her arm. It’s a cockroach. She jumps, + flicking it off in disgust. It falls to the floor. + + She notices another one on the floor nearby. Then another. + + About six or seven of the bastards. They seem to be coming + from behind the fridge. + + Amelia pulls the fridge out from the wall. The wallpaper is + torn in one place. A cockroach pops out of it. It disgusts + her. She starts to peel back the paper. + + A hole in the wall. It’s filled with cockroaches. They + crawl out, some dropping at her feet. She has to stop from + vomiting as she runs for a broom. + 68. + + +Samuel appears at the door. + + AMELIA + Don’t come in here! + +- Later. The contents of the fridge have been turfed out +onto the benches. It looks even messier than before. + +Amelia has an old dress on and large rubber gloves. She +looks completely dishevelled, manically cleaning. + +Suddenly, three knocks at the door. Amelia freezes. + +A pause. The three knocks come again. + +She creeps past a sleeping Samuel on the couch, towards the +front door, her broom as a weapon. + +Amelia looks through the peephole. + +Two strangers at the door, a man and a woman. + +Amelia opens the door. + +The people look Amelia up and down. The old dress, the +gloves, her dishevelled hair. + + AMELIA + (Terse) + I don’t want to buy anything. + + WELFARE MAN + Are you Amelia Vanek? + + AMELIA + (Suddenly nervous) + Yes. + + WELFARE MAN + I’m Warren Newton and this is Prue + Flannery from the Department of + Community Services. The Babbage Bay + Primary School has asked us to stop + in and say hello. + + AMELIA + My son has only been away two days. + + WELFARE MAN + 69. + + + He’s not actually registered at + Babbage Bay anymore. If I could + just come in, meet Samuel and get + you to look at these papers, that’d + be terrific. + +Amelia manages to give them a feeble smile. + +- Lounge room. The welfare pair scrutinize their surrounds, +both noticing the smashed window, now patched up with +plastic and duct tape. + +Amelia is suddenly very self conscious. + +Bugsy comes out, barking loudly. Samuel wakes up, groggy. + + AMELIA + Bugsy! Sshh! That’s enough. + +Bugsy runs away when Amelia tries to pick him up. + + WELFARE WOMAN + Hello Samuel. I’m Prue and this is + Warren. + +Samuel sits up. She puts out her hand, he shakes it. + + SAMUEL + Hello. + + WELFARE WOMAN + How are you? + + SAMUEL + I’m a bit tired from the drugs Mum + gave me. + +They both look to Amelia with concern. + + AMELIA + Not ‘drugs’, tranquillizers. + +Their concern grows. + + AMELIA + (Quickly) + From the doctor. He had a fit + yesterday. + +Bugsy barks, Amelia tries to grab him, he runs outside. + + SAMUEL + 70. + + + I feel really tired akshally. + + WELFARE WOMAN + That’s no good. + +The welfare woman throws Amelia a disapproving glance. She +looks into the kitchen chaos. + + WELFARE WOMAN + (To Amelia) + May I have a glass of water? + + AMELIA + Yes, of course. I’ll just get you + one. + +Amelia darts into the kitchen. The welfare people follow. + +They notice a mound of wallpaper on the floor. + + AMELIA + It’s a real mess, I know. I’ve just + found a cockroach infestation. I + normally keep the house sprayed, I + DID spray it already actually! + There’s a big hole in the wall + behind the fridge, that’s why I.. + +Amelia shows them to the area behind the fridge. + +There’s no hole in the wall, just a mound of wallpaper at +their feet. No cockroaches. Amelia is gob smacked. + +The two welfare people sneak a look at each other. + + AMELIA + I didn’t mean a hole in the wall, + there was a hole in the wall paper. + They were laying their eggs in + there, I think. + +She smiles, very nervous. They smile back, politely. + + WELFARE MAN + We’ve caught you at a bad time. + I’ll leave some information for you + to read over, we can come back in a + week to talk through your options. + Here’s my card. + + SAMUEL (O.S.) + Mum. + 71. + + + All three adults look to Samuel. + + SAMUEL + I think I’m gonna vomit. + + +72 INT/EXT. OUTSIDE HOUSE - LOUNGE ROOM - LATE AFTERNOON 72 + + - Outside. Amelia stuffs all the wallpaper in the bin. + + - Lounge room, soon after. Samuel is once again fast asleep + on the couch. It’s just starting to get dark. + + +73 INT. KITCHEN - LOUNGE ROOM - EVENING 73 + + Amelia is washing dishes. She can see Mrs Roach watching TV + in her lounge room. She smiles, comforted by the familiar + sight. Time stretches. + + She looks into the soapy water. The splashing sound, the + warmth calms her. She pulls out a plate, looks up again. + + Standing in the shadows, behind Mrs Roach, is the half + visible form of the Babadook. The black shadowy coat, the + tall top hat, the long black gloves can just be seen. + + It appears to be looking right at her. + + Amelia drops the plate into the sink. + + SAMUEL (O.S.) + Mum. + + Amelia starts and looks at Samuel at the kitchen door. + + SAMUEL + (Exhausted) + I’m gonna go to bed. + + AMELIA + Ah... It’s only 6 o'clock. Don’t + you want to stay up with your Mum + for a while? + + SAMUEL + No.. + + He turns and leaves. Amelia looks back out the window. No + Babadook. Just Mrs Roach sitting with a cup of tea. + + She turns and follows Sam into the lounge, on edge. + 72. + + + AMELIA + (Desperate) + If you go to bed now, the pills + won’t work properly. You have to + stay up for a while sweetheart. + + Samuel sighs. He drags himself onto the couch again. + + +74 INT. LOUNGE ROOM - EVENING 74 + + Samuel finishes off a magic trick, his heart’s not in it. + + AMELIA + What about another one? + + SAMUEL + (Cranky) + No Mum! + + +75 INT. LOUNGE ROOM - BATHROOM - AMELIA’S BEDROOM - NIGHT 75 + + - Samuel is on the couch half asleep, watching a video. + + Amelia stares at the screen but doesn’t take it in. + + She looks into the mess of the kitchen, fear on her face. + She turns up the volume on the TV, Samuel stirs. + + - Bathroom. Samuel is almost asleep in the bath. Amelia + washes his back vigorously. + + - Bedroom. Amelia reads. Sam barely has his eyes open. + + AMELIA + ...and lived happily in a beautiful + palace for the rest of their days.’ + THE END. + + Samuel is asleep. Amelia stares at the end of her bed, the + light of the lamp bleeding into the darkness beyond. + + The lights flicker. The bedside light buzzes softly, then + gets louder. Amelia flicks her arm out and turns it off. + + +76 INT. AMELIA’S BEDROOM - LATER 76 + + Amelia lies wide awake in bed on her side. Samuel is out to + it. She turns over, restless, staring at the ceiling. + 73. + + +That sound downstairs again. Only this time, it comes up +the stairs and stops outside her door. Amelia freezes. + +A slight scratching sound at the door. She starts to panic, +the scratching gets louder. + +She hears a whimpering. It’s the dog. + +She springs out of bed and opens the door, relieved. + +Bugsy runs in, jumps straight up on the bed, finds a spot +near Samuel and settles. Amelia jumps under the covers. + +Silence. Darkness. Amelia’s eyes flicking, nervous. + +The scratching starts up again, only this time it can’t be +the dog. Amelia stares at the door unable to move. + +The door clicks and moves open by itself. Amelia watches, +her heart in her throat. The rustling, scratching sound +moves inside the room. Amelia slips the covers over her +head, terrified. She can’t see anything now. + +The sound appears to be moving closer. + +After an age, Amelia pulls down the duvet, unable to stand +it anymore. She peers into the terrible darkness. + +Something large and black lurks in one corner on the +ceiling. + +She can’t make out what it is. Time stops. + +The shadow scuttles quickly across the ceiling. It stops +right above her head. Amelia is paralyzed by fear. She +hears a rasping sound. The thing appears to be breathing. + +Her hand reaches for the bedside lamp. Her eyes are fixed +on the dreaded shadow right above her head. + +Before she can get there, the thing drops down right on top +of her. She sees its hideous, mask like face millimetres +from her own; the black eyes, the mouth wrenched open in a +permanent, silent scream. She takes a huge breath, as if +breathing the thing in, terrorized. + +Amelia switches on the lamp, springs out of bed and turns +on the overhead light. Bugsy barks. Samuel wakes. + +There’s nothing there. Samuel sits up, trying to focus. + + AMELIA + 74. + + + We’re going downstairs. + + SAMUEL + Why? + + AMELIA + Because we are! + + +77 INT. LOUNGE ROOM - NIGHT - MORNING 77 + + Amelia turns every lounge light on. She moves to the + kitchen, turns the lights on there. Samuel watches, groggy. + Bugsy follows Amelia, barking continuously. + + - Later. All the lights still on. The TV is up loud. + + Amelia tries desperately to stay awake, absently hitting + the remote. Commercials, nature program, soap opera. + + An old black and white George Méliès clip appears on the + screen. Beautiful silent images, childlike but slightly + disturbing. Just like the Babadook book. A weird tinkling + lullaby accompanies them, seducing her to sleep. + + She fights it, her head nodding forward and back, a drowsy + agitation, desperate to stay awake. + + The Méliès images stream in front of her. People + dismembered, heads growing larger and smaller, old style + cinema tricks. + + Strange and sinister. + + Emotions pass over Amelia’s face as she watches, agitation, + amusement, exhaustion, fear. Something is brewing. She + jerks forward and back, her eyes heavy. + + Her face speeds up. It looks bizarre. The tinkly piano + music continues to play. And still she doesn’t sleep. + + Amelia’s face returns to normal speed, she looks around. + + The sun is coming through the windows. It’s already + morning. + + She leans over. Something doesn’t feel right. + + She looks to Samuel asleep on the couch, his back to her. + + Bugsy peers over Samuel, studying Amelia with caution. + 75. + + + She returns the dog’s stare, unblinking. There’s an eery + silence in the room. She looks at the TV. It’s on mute. + + Amelia suddenly lurches forward and manages to stand. She + centres herself momentarily, then shuffles to the stairs. + + +78 INT. AMELIA’S ROOM - MORNING 78 + + AMELIA + (Into mobile) + Hi Beverly, it’s Amelia. + + Pause. Amelia looks exhausted and strange. + + AMELIA + (Flat) + I can’t come in today, I think I’ve + caught what my son had... I don’t + want to give it to anyone at + work... Alright, give all my shifts + to someone else, that’s just what I + need... I can’t help it if I’m + sick, what do you expect me to + do?... You do that! + + She throws the phone on the bedside table, sits down + heavily on the bed, her head in her hands. + + She lies on her side, pulls up the covers, stares at the + wall, her eyes zombie like. They eventually close. + + Silence. And finally, sleep. + + SAMUEL (O.S.) + Mum.... + + Amelia’s eyes spring open. She doesn’t respond. + + SAMUEL (O.S) + I took my pills, but now I feel + sick again. + (Pause.) + I need to eat something.. + + Amelia’s eyes fill with resentment. She closes them. + + SAMUEL (O.S.) + I couldn’t find any food in the + fridge. + + Her eyes snap open, staring, cold. + 76. + + + SAMUEL (O.S.) + You said to have them with food. + + Amelia’s face hardens, a buried fury surfacing. + + SAMUEL (O.S.) + I’m really hungry Mum. + + She sits up suddenly, facing Samuel. She looks odd. + + AMELIA + Why do you have to talk-talk-talk + all the time? Don’t you ever STOP + TALKING? + + Samuel is taken aback by his mother’s tone. + + SAMUEL + I was just- + + AMELIA + I-NEED-TO-SLEEP. + + She looks fierce. Samuel is unnerved. + + SAMUEL + I’m sorry Mummy, I was just hungry. + + AMELIA + (Frightening) + If you’re that hungry, why don’t + you go and EAT SHIT! + + Samuel backs away through the door, genuinely scared. + + Amelia lies back down, pulling the sheets over her. + + After a moment, she realizes with absolute shame what she’s + just done. It rattles her. + + +79 INT. SAMUEL’S ROOM - MORNING 79 + + Amelia arrives at the door, sheepish. She sees Samuel on + his bed, head down. He tries desperately not to cry. His + body tenses as she comes near, he’s scared of her. + + AMELIA + I’m so sorry. I don’t know why I + said that. That was terrible. + 77. + + + Samuel doesn’t look at her. He starts to cry. It’s heart + wrenching, Amelia feels it. + + AMELIA + It’s just... I’ve had absolutely no + sleep... I didn’t know what I was + saying. + + Samuel tries to stop crying, he can’t. + + AMELIA + I’ll cook you something. What would + you like? You can have anything at + all. + + SAMUEL + (Crying) + I’m not hungry anymore. + + She puts her arm around him. He wriggles away from her. + + AMELIA + (Ashamed) + I can understand you being upset. I + would be if I were you.. + + Amelia searches for the right words to placate him. + + AMELIA + We need to get out of this house... + Would you like to go to McDonalds? + + SAMUEL + You said McDonalds is bad for you. + + AMELIA + Once in a while doesn’t hurt. + + Samuel calms down a little. + + AMELIA + You can have whatever you want, + alright? Even ice cream for + breakfast if you want. + + A long pause as Samuel calms down, thinks about it. + + +80 INT. MCDONALDS - DAY 80 + + Kid’s party. The place is packed with screaming children. + 78. + + + Amelia looks around at the tacky decor. The sounds and + sights are irritating, loud and bright. + + Samuel sits in front of a large Happy Meal, dark circles + under his eyes. He chomps away on his french fries. + + Amelia gives him a warm smile. He manages one back. Things + are better, the power of junk food has worked. + + A stabbing pain in her jaw. Amelia winces. She reaches + inside her mouth and feels her back molar. She massages her + jaw, searching for relief. + + +81 INT. CAR - DAY 81 + + SAMUEL + (Very tired) + Where are we going? + + AMELIA + (Wired) + I just wanna drive for a while.. + + Amelia feels an itch on her leg. She looks down. Her leg is + covered in cockroaches. She recoils, desperately flicking + them away. The car swerves, Samuel panics. + + Amelia looks in the rear vision mirror. + + A shadowy shape jumps onto the boot then the roof. She can + hear it, pounding like mad, a terrible sound. She swerves + all over the road, frightened. Samuel screams. + + Amelia accidentally accelerates, heading straight towards + another car. A screeching of tyres, a sickening sound. + + Amelia is frozen at the wheel, shell shocked. Samuel is + crying. It’s a miracle they’re not hurt. + + A young corporate guy gets out of the other car, a brand + new Audi. He inspects the damage, then runs to Amelia. + + GUY + You ran straight into me! + + Amelia looks at him with a blank expression, in shock. + + GUY + I just bought this bloody car! What + were you doing? + + The guy looks into the back seat, sees Samuel cowering. + 79. + + + GUY + Oh! Driving on the wrong side of + the road! With a kid in the back! + You could have KILLED someone, you + know that!? + + The man’s face looms large and terrible in the window. + + She reverses the car suddenly and screeches away as fast as + she can, leaving the man bewildered in her wake. + + +82 EXT. MRS ROACHE’S FRONT YARD - AMELIA’S FRONT YARD - DAY 82 + + Mrs Roach is collecting the mail. She sees Amelia and Sam + getting out of their car, goes to say hello, but is stopped + by the look on Amelia’s face. She looks terrible. + + Amelia checks the roof of the car. There’s nothing, not a + dint, not a scratch. Her face pales. She stumbles to the + house, Samuel drags along behind, focusing on his mum. + + Mrs Roach watches them as they disappear, worried. + + +83 INT. BATHROOM - EVENING 83 + + Amelia has a warm bath running and is sitting in it, fully + clothed. She holds her knees to her chest, trembling, + trying to calm herself down. She looks awful. + + Samuel stands by, worried. + + SAMUEL + Mum. Do you want me to call Aunty + Claire? + + She doesn’t reply. Samuel edges closer. + + SAMUEL + I can talk to her and tell her we + had an accident and she can come + over... Mum? + + AMELIA + (Quiet) + Aunty Claire doesn’t want to talk + to us anymore. + + Beat. Amelia gets up and grabs hold of Samuel gently. She + puts him into the bath, shirt, shorts, socks and all. + + AMELIA + 80. + + + (Soothing) + It’s nice and warm in here.. + + Samuel sits opposite his mum, very concerned. Long pause. + + SAMUEL + I don’t want you to go away.. + + AMELIA + (Strangely calm) + I’m not going anywhere. + + They sit opposite each other, in silence. + + +84 INT. ENTRANCE TO BASEMENT - EVENING 84 + + Amelia comes out of the basement, clutching the violin. + + She clocks Samuel in the lounge and walks right past him + without acknowledgement. Sam is shocked. + + +85 INT. AMELIA’S ROOM - EVENING 85 + + Amelia lies down, calmed by the violin tight in her arms. + + Sam follows, climbing on the bed to stroke her forehead. + She relaxes and closes her eyes, letting him comfort her. + + A tender moment between them as Samuel smooths his mum’s + hair, suddenly the parent. + + SAMUEL + Mum... I don’t think we should stay + here tonight. + (Nothing.) + I can call Mrs Roach. + + AMELIA + We can’t trouble other people. + + SAMUEL + She wouldn’t mind, I know she + wouldn’t. + + AMELIA + I don’t want you to call anyone. I + just need to sleep... + + Sam strokes Amelia’s cheek. She relaxes, letting him in. + 81. + + + He accidentally knocks the violin with his knee. + + AMELIA + (Suddenly vicious) + Leave it! + + Sam backs away, sitting on an easy chair in the corner. + + Amelia watches him there from the bed. Her eyelids open and + close, she gives in to sleep, shutting out her son. + + +86 INT. AMELIA’S ROOM - EVENING 86 + + A short while later. The last rays of light are dying in + the room, they play on the curtains, shadows form. + + Creepy. + + Amelia’s sleeping face. Whispering voices, barely audible, + envelop her. They sound demonic. Her face contorts from a + nightmare. The whispers intensify. + + Amelia’s eyes snap open. The whispers stop altogether. + + She sits up. Is she hearing things? She searches the near + dark room. + + Eerie silence. Samuel is nowhere to be found. + + +87 INT. UPSTAIRS HALLWAY - EVENING 87 + + Light is fading fast in the house. Amelia descends the + stairs, straining to see. + + The whispers start up again, taunting her. She stops dead + in her tracks and the sounds stop. + + She stumbles on, her face dark and troubled. + + +88 INT. LOUNGE ROOM - KITCHEN - EVENING 88 + + Amelia stands in the dark lounge room. The whispers return, + only louder this time, more threatening. She can’t tell + where they’re coming from. It infuriates her. + + She races into the kitchen, turns on the light, and rounds + the bench. + 82. + + +She sees Samuel in his armour, whispering to someone on her +mobile phone. He almost jumps out of his skin. + +She rips the mobile out of his hand and looks at the +screen, livid. Mrs Roach’s name flashes up. + +She tries to contain her fury as she prepares to talk. + + AMELIA + (Calm as possible) + Gracie. I am so sorry. + + MRS ROACH + Has someone broken into the house? + Sam said someone was trying to get + in?? + + AMELIA + No. We’re fine. Samuel’s just being + very disobedient. Again. + + MRS ROACH (O.S.) + Oh! I was so worried! + + AMELIA + I’m really sorry. I told him not to + bother anyone. + + MRS ROACH + He asked if you could stay the + night, that’s no problem at all- + + AMELIA + (Very nice) + No, we’re fine. I have a small + headache, that’s all. I’ve got to + go now though. I’m sorry for + troubling you.....Yes, talk soon. + +She hangs up, deadly silent, glaring at Sam. + +He looks white as a sheet. + + AMELIA + (Tight) + I told you not to call anyone and + you deliberately disobeyed me. + +Samuel lowers his head, anxious and scared. + + AMELIA + 83. + + + Do you want to frighten Mrs Roach? + An old lady who can hardly walk? Do + you want to make her sick? + +Sam is too scared to talk. This inflames Amelia more. + + AMELIA + (Exploding) + Take that bloody thing off! + +He takes the catapult off quick smart. + +Amelia takes out her phone battery, chucks it in the bin, +only half aware of what she’s doing. + + AMELIA + (Beside herself) + Is this the only way I can trust + you won’t embarrass me in front of + the neighbours? + +She grabs something from the kitchen: a large knife. + +Samuel is freaked out by the sight. + + AMELIA + Is this what I have to do? + +She cuts the cord to the land line, shaking with anger. + + SAMUEL + I’m sorry Mummy. I was just scared + because the Babadook made you crash + the car and then- + + AMELIA + (Stopping dead) + What did you say? + +Amelia’s energy darkens. Samuel’s fear increases. + + SAMUEL + (Frantic) + I just didn’t want you to LET IT + IN! + +Amelia snaps. She races to the cupboard. Keys jingling. + + AMELIA + I’ll make sure we don’t let + anything in, alright Samuel? + Nothing is coming in here tonight. + (Screaming) + 84. + + + NOTHING! + + She charges off to the front door, opens it, locks the + security grill, slams the front door with a vengeance. + + +89 INT. HOUSE - SAMUEL’S BEDROOM - NIGHT - INTERCUT 89 + + - Amelia locks the doors and windows, her face a mixture of + rage and fear. She can’t stop herself, slamming and locking + every door, every window in the house. + + Bugsy follows her, barking incessantly. She kicks him out + of the way, completely agitated, driven. + + - Samuel unlocks a case under his bed, pulling out hidden + weapons. He listens to Amelia banging around downstairs. + + - Amelia has locked up the entire house. In one last + impulsive move, she throws all her keys out a barred, + + backyard window. Her rage has worn itself out. Now, she + just looks frightened. + + +90 INT. SAMUEL’S BEDROOM - NIGHT 90 + + Amelia and Samuel sit on his bed. + + Amelia tries her best to be nice. The intense pain in her + jaw and head make it tough. She has the water and pills. + + Sam is on edge, unwilling to take his medicine. + + SAMUEL + (Hesitating) + I feel sick. + + AMELIA + (Civil) + If you don’t take the pills you’ll + feel worse. + + SAMUEL + (Pleading) + Mum... + + AMELIA + Come on Samuel. + + SAMUEL + I don’t think I need- + 85. + + + AMELIA + (Suddenly threatening) + I am the parent and you are the + child. So take-the-pills. + + Samuel takes the pills from her. He raises his arm. + + The pills drop down discreetly into his shirt sleeve as he + brings his hand to his mouth. A perfect sleight of hand + that Amelia doesn’t see. He takes a swig of water. + + She opens his mouth, checks he’s taken them. + + AMELIA + Good boy. + + +91 INT. LOUNGEROOM - EVENING 91 + + Hysterical sound effects from a cartoon on the TV. Amelia + is dozing. She jolts awake and looks over to the couch. + + Samuel lies there on his back. His throat is cut. There are + multiple stab wounds to his body. His dead eyes stare up at + the ceiling, his face and body soaked in blood. + + Amelia rushes over to him. She tries to scream, but nothing + comes out, her face a horrible mask of fear. + + SAMUEL (O.S.) + Mum! + + Amelia looks at her son. + + He is crouched on the sofa, ready to spring. He’s perfectly + fine, but terrified by his mother’s behaviour. + + Amelia slowly recovers, completely disoriented. + + Samuel looks to her right hand, terrified. + + Amelia looks to where he’s looking. + + There’s a large carving knife in her hand. + + +92 INT. KITCHEN - EVENING 92 + + Amelia throws the knife in the drawer and slams it shut. + + +93 INT. AMELIA’S ROOM - NIGHT 93 + 86. + + + Amelia sits on her bed, tears roll down her face. + + Bugsy appears at the door. The sight of him comforts her. + + AMELIA + (Shaky) + Come on sweetheart. Come here. + + He stays at the door. + + Amelia goes to him very gently. He puts his ears back but + lets himself be picked up. She strokes him tenderly, her + fear dissipates. They stay there like that for a moment. + + Bugsy suddenly bites her hand and jumps to the floor. + Amelia watches him run away, in shock. + + +94 INT. LOUNGE ROOM - NIGHT 94 + + TV still on. Amelia brings two bowls loaded up with ice + cream, marshmallows on top. She’s trying way too hard. + + AMELIA + Here we go! + + Samuel looks at the bowls, his face is worried and tense. + She places it in front of him, forcing a smile. + + AMELIA + There’s more where that came from. + + Samuel takes a spoonful, tasting it gingerly. + + Amelia watches him eat, tense as hell. A sudden, stabbing + pain in her tooth, her hand flies up to her jaw. It’s + getting worse. She massages, fear and pain in her eyes. + + +95 INT. LOUNGE ROOM - LATER 95 + + Mother and son steal glances at each other. The TV blares + over the top of their silence. + + Samuel’s eyelids become heavy as he struggles with, then + succumbs to sleep. Bugsy guards Samuel, watches Amelia. + + Amelia channel surfs manically, not stopping to look at + anything. She finally stops on the late night news. + + NEWS REPORTER + 87. + + + ... in the kitchen where he + beheaded his sister, reportedly a + day after her birthday. She had + just turned seven. + +Amelia watches, horrified. Images of a normal suburban +house, cordoned off, police on the scene. + + NEWS REPORTER + Her teenage brother remained inside + where he was eventually shot dead + by police. + +Amelia sees police on the TV pass by a window of the house. + +What she sees next chills her to the bone. + +There is a clear image of Amelia herself looking out from +the window of this suburban house, smiling a disturbing +smile. + +Amelia tries to comprehend what she sees. + +Suddenly, all the lights snap off, plunging the house into +darkness. + +Amelia’s breathing hardens. Her eyes focus on the couch. + +Samuel is no longer on it. Her panic increases. + + AMELIA + (Whispering) + Samuel... + +Samuel is suddenly beside her. It frightens her. + + SAMUEL + (Eyes closed) + Wake up Mummy. + +She can see his eyes are closed. + + AMELIA + Darling, you’re the one who’s + asleep. + +He stands there for some time, then drifts towards the +basement door, eyes still closed. + + AMELIA + Don’t go down there.. + 88. + + + He opens the door. A light comes on down there. Samuel + disappears down the stairs. + + AMELIA + (Moving after him) + It’s not safe! + + She stands at the top of the basement stairs watching Sam + descend. She’s confused by the light being on down there. + It draws her down, into the bowels of the house. + + +96 INT. BASEMENT - NIGHT 96 + + Amelia arrives to a basement completely clear of clutter. + The most beautiful, ethereal light transforms it. + + Samuel is nowhere to be found. Amelia steps into the light + and is calmed by it. + + Out of the shadows steps the man from the photo. Amelia’s + husband, Oskar, a handsome man in his forties. + + Amelia’s face drops when she sees him. Her eyes + spontaneously fill with tears. She races in to him. + + They stay like that for a long time, holding each other. + + Amelia cries in disbelief, her emotions overwhelming her. + + He kisses her, he’s real. She melts into him, letting go + into one exquisite moment. + + AMELIA + (Overwhelmed) + I thought you were dead.. + + OSKAR + We can be together sweetheart... + + She hugs him tighter, in complete disbelief. Long pause. + + OSKAR + You just need to bring me the boy. + + Amelia feels a sudden chill run over her and pulls back + from her husband. It suddenly doesn’t feel right. + + The beautiful light has disappeared. Deep shadows fall + across Oskar’s face. He looks strange. + + AMELIA + 89. + + + You mean Samuel.. + + OSKAR + (His voice distorts) + You can bring me the boy... You can + bring me the boy... + + AMELIA + Stop calling him the boy. + + Amelia looks down to Oskar’s hands. There’s nothing at the + end of his sleeves. She tries to comprehend it. A rumbling + sound starts up. + + OSKAR + (Distorted) + I think it’s going to rain. + + She looks up. + + A razor thin line of blood forms a diagonal line from one + ear across to his jaw on the other side. + + AMELIA + (Terrified) + No.... + + Amelia bolts up those stairs as fast as she can. + + +97 INT. LOUNGE ROOM - KITCHEN - NIGHT 97 + + - Amelia enters the lounge room. The lights have returned, + flickering on and off. The TV is on static. + + Amelia watches the overhead light flare up. The bulb + smashes. + + Complete darkness. A hideous silence. + + Amelia senses something behind her in the kitchen. She + turns slowly and is met with her worst nightmare. + + At the far corner of the kitchen, about 15 metres away, is + a hideous silhouette in the darkness. A large black coat, + pointy black gloves and a tall black hat. + + Then she hears it. A terrifying, insect like noise as the + thing glides straight towards her. It stops, towering over + her. She can’t make out any details, but she can feel it + looking at her, suspended in terror. + 90. + + + She suddenly tears up those stairs, taking two at a time, + racing into the first open door she can find. The sound of + the thing screeching after her. + + +98 INT. SAMUEL’S ROOM - NIGHT 98 + + Amelia grabs a chair and pushes it under the doorknob, + stumbling backwards towards the fireplace. + + An awful silence, just the sound of Amelia’s breath. + + Something falls down the chimney and lands in the hearth + right next to her. A black top hat. + + Amelia goes into a panic attack. She crawls back towards + the door, but her movements are slow and tortured. + + She can hear something huge and hideous travelling up the + wall behind her, then onto the ceiling overhead. An insect- + like sound fills the room. Amelia can’t bear to look up, + lying on her stomach, frozen with terror. + + Something drops down nearby. A black coat. Amelia starts to + hyperventilate. + + A terrible noise, flesh ripping from flesh. Something drops + inches from her face. The ripped off ‘face’ of the + Babadook, nothing but a hardened mask. Black sticky blood + oozes from its edges, from the holes where the eyes should + be, the mouth open in a permanent scream. + + In spite of her terror, Amelia forces herself to look up to + the ceiling for a split second, in disbelief. + + An huge shadow fills half of the ceiling, a hideous shape + with outstretched ‘wings’, like an enormous bat. + + Amelia immediately looks away. She holds her breath, + tensing up, belly to the ground, beyond terror. + + AMELIA + (Over and over) + It isn’t real it isn’t real it + isn’t real it isn’t real.. + + There is an unbearable screeching sound. + + POV from high on the ceiling. Something rushes straight + down towards Amelia’s back at lightning pace. + 91. + + + Amelia’s eye in extreme close up. A huge bang, a terrible + scraping, ripping sound. Her pupil ‘bleeds’ outwards till + the whole eye is completely black. + + +99 INT. BLACK SCREEN 99 + + The sound of a TV up as loud as it will go. An + informercial. + + Terrible, deafening, meaningless sounds. + + +100 INT. AMELIA’S BEDROOM - NIGHT 100 + + Sam hides behind a locked door clutching Bugsy. The TV is + deafening even from upstairs. He’s terrified. He unlocks + and opens the door a sliver but doesn’t venture out. + + +101 INT. LOUNGE ROOM - NIGHT 101 + + The back of Amelia watching an informercial. Something’s + not right with her. She breathes very fast and heavy. + + Her face is revealed. Her eyes have a dead stare, the + pupils like pin pricks. Her limbs are slightly distorted, + rigid. She looks human, but there’s something about her + that just-isn’t-right. + + She sits as if resting for a moment in her new skin, her + casual stare at odds with her bizarre appearance. She + changes channels to ‘Australia’s Next Top Model.’ + + JUDGE 1 (O.S.) + She’s a great girl, but she’s too + fat. + + Amelia watches the program with a dead cool calm. + + JUDGE 4 + I agree unfortunately. + + MODEL HOST + What about Cindy? + + JUDGE 3 + Cindy is great! She can do soft, + she can do bold, she can do sexy.. + + Amelia cricks her neck, suddenly agitated. She stands and + in a few jerky moves is up on top of the old TV. + 92. + + + JUDGE 3 + I think she has a lot of + extremes... + + A stream of piss comes from between Amelia’s legs. It runs + over the TV screen. + + Amelia’s face as she relieves herself. She opens her mouth + wide, clicking her jaw. She looks terrible. + + +102 INT. UPSTAIRS LANDING - LOUNGE ROOM - KITCHEN - NIGHT 102 + + - Landing. Samuel opens the door a sliver. Bugsy jumps from + his arms and races down the stairs. Sam is beside himself, + trying to call the dog back. + + - Bugsy arrives in the loungeroom, bravely facing his + opponent. He barks ferociously. + + Amelia, still on top of the TV, regards the dog with casual + indifference, her eyes dead. + + She jumps down to the floor, squaring off at Bugsy. + + A moment of stillness. + + Bugsy is spooked and makes a run for it. + + - Kitchen. Amelia chases Bugsy. The poor thing doesn’t have + a chance as she grabs it by the neck. He struggles, trying + to bite her. It’s awful. + + Amelia’s terrible face, the dead eyes, fixated on the task. + + The sound of Bugsy squealing in pain. + + Bugsy’s little legs kick in spasms. A ghastly snapping + sound. + + The squealing stops dead, the legs go limp. + + Amelia looks at the dog’s corpse, emotionless. Her face + suddenly scrunches up in pain, she looks broken. It’s her + molar. She yells dropping Bugsy’s corpse on the floor. + + She reaches into her mouth with her fingers, grabs hold in + the back, wrenches the tooth from side to side, groaning + horribly. She pulls and tugs, screaming in pain. + + After an age it wrenches free. She looks at the bloodied + molar in morbid fascination, blood pooling in her mouth. + 93. + + + Suddenly bored with it, she throws the tooth away. + + - Lounge. Amelia stalks into the room. She instinctively + whips her head up and looks straight at her son, his face + peering over the bannister. He disappears, a door slams. + + Amelia’s jagged limbs move quickly, like a spider. She + bolts straight up those stairs to her son. + + +103 INT. AMELIA’S BEDROOM - OUTSIDE AMELIA’S BEDROOM - NIGHT 103 + + - Samuel sits with his back against the locked door, key in + hand. He hears Amelia’s footsteps right outside. He freezes + as she tries the door. + + AMELIA (O.S.) + (Slightly distorted) + Samuel. + + He tenses, sits up to listen. + + - Amelia on the other side. She clears her throat, tries to + ‘normalize.’ The pupils in her eyes contract slightly. + + AMELIA + (More normal) + Samuel. Let me in. + (No response.) + Bugsy’s hurt. We need to go get + help.. + + Her voice sounds normal but her face is terrifying. + + AMELIA + Samuel. Do you want Bugsy to die?? + + Samuel silently disappears out of frame. + + Back to Amelia on the other side. Her mouth contorts with + rage, her eyes devil’s eyes. She pounds on the door, + growing violent. + + AMELIA + Samuel! Let-me-in! + (No response) + I’ll huff and I’ll puff and I’ll + BLOW YOUR FUCKING DOOR IN!! + + She grabs the door frame with both hands, lifts herself up + and slams the door with both feet. Then again, and again, + over and over, till the door is kicked off its hinges and + falls to the floor. + 94. + + +Amelia enters, looks around. No sign of Samuel. This +infuriates her. + +She moves in a jerky, powerful way, as if she has rods in +her limbs. She looks under the bed, behind the curtains. + +She hears a tiny noise, swivels around in time to see her +son sliding down from the top of the wardrobe. His little +frame running towards the door. + +Amelia lets out a screeching sound, just like the Babadook. + +Samuel stops and turns to look, terrified. + +His mother glides straight towards him, a spectral sight. + +Samuel instantly wets his pants. + + AMELIA + You little pig. 6 years old and + you’re still wetting yourself. + +He can’t look at her, puts his hands in his pockets. + + AMELIA + (Cruel) + You don’t know how many times I’ve + wished it was you not him that + died. + + SAMUEL + (Near tears) + I just want you to be happy. + + AMELIA + (Mimicking him) + I just want you to be happee! You + know, sometimes I just want to + smash your head against the wall + until your fucking brains pop out. + +Samuel backs away from her, his fists clenched. + + SAMUEL + (Low) + You’re not my mother. + + AMELIA + What did you say? + +Looking her bravely in the eyes. Those terrible eyes. + + SAMUEL + 95. + + + I said you’re not my mother! + + She bends down to Samuel, her face evil, horrifying. + + AMELIA + (Shrieking) + I-AM-YOUR-MOTHER!! + + Samuel throws a firecracker on the floorboards, then + another. + + They stun her long enough so he can escape. + + Amelia finds fresh rage. She bolts out after him. + + +104 INT. UPSTAIRS HALLWAY - SAMUEL’S ROOM - NIGHT 104 + + - Samuel pelts down the hallway. + + His mother tears after him, screaming, her limbs disjointed + and ‘broken’, moving fast like a spider. + + - Sam’s room. Samuel’s hands shake as he puts on his + weapons. + + His eyes are wide with terror. + + Amelia appears in the doorway, huge and terrifying. She + looks at him with a cruel fascination. + + SAMUEL + GET AWAY!! + + She laughs a hideous laugh, closing in on the boy. + + He launches the cricket ball, it hits her in the face. She + bends over, covers her face with her hands, groaning. + + Samuel looks at his mum, very worried. + + Amelia stands up, takes her hands from her face. She + laughs, mocking him. She’s not hurt at all. + + Samuel fires his nail gun off in desperation, two large + rusty nails land in his mother’s shoulder. She yells out in + pain. + + This time she’s not pretending. + + Samuel makes a quick getaway. + 96. + + +105 INT. HALLWAY - NIGHT 105 + + Amelia comes out raging. She pulls the nails out of her + shoulder, looks downstairs, then up to the top rooms, which + way did he go? + + Samuel is behind her, hiding in front of a cabinet in the + hall. All she has to do is turn around and he’s dead. He + stares at his mother’s back, holding his breath. + + There is a loud knock on the front door. Amelia pauses. + Then she’s down those stairs, hardly touching the ground. + + +106 INT. LOUNGE ROOM - FRONT DOOR - KITCHEN - NIGHT 106 + + Amelia lurches towards the front door, her face looks + casually insane, and wholly evil. + + A silent, swift blur of movement can be seen in the + background. It’s Samuel escaping to the kitchen. + + - Amelia’s deranged profile looking through the peep hole. + + Amelia’s POV. Mrs Roach is waiting outside. + + Amelia’s fingers clutch the doorknob. She’s ready to rip + that door off it’s hinges. + + - Samuel is horrified to see Bugsy’s remains on the floor + in the kitchen. He tries the back door. It’s locked. + + - Through the peephole: Mrs Roach waits patiently in her + dressing gown, shaky on her feet. She hesitates to knock + again. Her kindly face looks worried. + + Something changes in Amelia. Her terrible expression + softens. + + She lowers her head, her breathing slows down. + + +107 INT/EXT. - NIGHT - HALLWAY - FRONT PORCH 107 + + The door opens, Amelia stands behind the locked security + grille. Her face is half in the shadows. + + MRS ROACH + Sorry love, I know it’s late. I + just wanted to make sure you’re + OK... + 97. + + + AMELIA + (Clearing her throat) + I’m OK. + + MRS ROACH + I know this time of year is + terribly hard for you. And I know + you don’t want me to go on about + it, so I won’t.. + + Amelia’s face behind the screen. She starts to normalize + with Mrs Roach’s words, her eyes full of pain. + + MRS ROACH + I just want you to know I’d do + anything for you and Sam. I love + you both. You can always talk to me + love. Always. + + Amelia’s face softens and saddens with every word. Her eye + glints in the shadows, tears forming. + + +108 INT. KITCHEN - NIGHT 108 + + Samuel has just closed a kitchen drawer. + + AMELIA (O.S.) + (Normal voice) + Samuel. + + Sam jumps. He turns sharply to see his mother at the other + end of the kitchen. She looks completely normal. + + Samuel watches her, caught between love and terror. + + AMELIA + (Genuine) + I’m sorry. I said some terrible + things. But I didn’t mean any of + them... + + She takes a step further into the kitchen. Samuel tenses. + + AMELIA + I understand you’re scared. + + Samuel watches her, very wary, but drawn in by her. + + AMELIA + (Remorseful) + 98. + + + I haven’t been good since your Dad + died. I haven’t been good at all.. + I’m sick Sam, I need help. + +Samuel’s face softens. He listens intently. + + AMELIA + I just spoke to Mrs Roach. We’re + going to stay there for the night. + +Amelia comes closer. She kneels in front of her son. Her +face is soft and terribly sad. + + AMELIA + Do you want to do that? + +Amelia puts one hand gently on his shoulder. Samuel nods. + +Amelia’s hand behind her back is twisted and clenched. + + AMELIA + I want to make it up to you Sam. I + want you to meet your Dad. + +She slips her other hand around the back of his neck, +soothing him with her touch. He tenses. + + AMELIA + It’s beautiful. You’ll be happy + there.. + +Samuel can see his mother’s pupils don’t look normal. + +Without warning, he quickly raises a carving knife behind +his back and sinks it deep into his mother’s leg. + +She looks to him, then to the knife, absolutely stunned. + + SAMUEL + Sorry Mummy. + +He’s out of there. + +Amelia stumbles onto her arse, looking in shock at the big +knife sticking out of her thigh. + +She reverts to something much more primitive than before. +Her face distorts, a picture of madness. She rips the knife +out in one go, yelling as she does it. + +Samuel races to the basement door. He takes a look back. + 99. + + + Amelia lets out a blood curdling sound as she rises. + + Samuel disappears into the basement. + + +109 INT. BASEMENT - NIGHT 109 + + Amelia pauses at the top of the stairs, then descends at + full speed, screaming like a banshee. + + A little hand pulls a rope, a trip wire forms. + + Amelia’s feet connect with it. She tumbles forward, hitting + her head on the ceiling beam, hard. + + She stumbles around, concussed. The room spins before her, + she sees a brief glimpse of Samuel watching in horror, then + the ceiling, the floor, out of control. + + It looks terrible as she swerves and stumbles. + + Sam has a baseball bat in both hands. He runs to Amelia and + strikes her as hard as he can in the of the knees. She + buckles and hits her head first on the wall, then hard on + the concrete floor. The blows knock her out. + + +110 INT. BASEMENT - LATER 110 + + Black screen. + + The sound of very fast, shallow breathing. The ceiling + comes into focus, one dingy light overhead. + + Amelia in profile breathing super fast. Her pupils are now + large and black as coals. She tries to lift herself up but + despite her considerable power, she can’t. + + She looks down. Every part of her, neck to toe, is tied and + bound with rope, belts, anything Samuel could get his hands + on. She looks like Gulliver in Lilliput. She makes a + terrible shrieking sound, struggling to free herself. + + Samuel slinks out of the shadows with his magician’s cape + on, holding the baseball bat, trembling with fear. + + SAMUEL + Mum... + + Amelia sees him. She snarls, threatening him. + + SAMUEL + 100. + + + I’m not leaving you... + +Amelia groans horribly, trying to free herself. + +Samuel comes in a touch closer. The monstrous Amelia looks +at him, as if trying to register who it is. + +Samuel inches in closer, Amelia stops struggling. + +He pulls out the bunch of paper flowers. She stares at +them, becoming more herself, calming. Sam leans in. + +Amelia suddenly yells even louder than before. Samuel runs +to the far corner of the basement, scared stiff. She laughs +at his terror, a monstrous, agonized laugh. + + SAMUEL + We said we’d protect each other... + +Some of her ties have come undone. A few of the others are +starting to come loose. + +Samuel doesn’t notice as he sneaks back towards her, trying +his hardest to be brave. + + SAMUEL + I know you don’t love me. The + Babadook won’t let you. But I love + you mummy, ever since I was born + and I always will... + +The words get in somehow. Amelia’s face screws up in pain, +fighting this thing that has taken her over. + +Another tie works itself loose, she wriggles and moves. + + SAMUEL + My dad died because he died. Not + because of me.. It’s not my fault. + +Amelia’s face contorts, affected by his words. She gasps +for breath, trying to come out of it. A black tear wells up +in the corner of her eye. She starts to shake. + + SAMUEL + (Desperate) + You let it in, you have to get it + out! + +The tear rolls down her face. A black substance seeps from +one nostril. She looks terrible, shaking, trying to come +back from the brink. + 101. + + +Samuel starts to cry at the sight, suddenly losing all his +strength. The baseball bat goes limp in his arms. + + SAMUEL + (Bawling) + I don’t want you to go away... + +Amelia’s arm suddenly comes free. Amelia rips the bat out +of Sam’s hands and throws it across the room. He tries to +get away. But before he can escape she’s grabbed him. + + SAMUEL + NO!... NO, NO!! MUMMY! + +Her other hand comes free. Samuel tries to punch and kick +her, she tightens the grip on the back of his neck. + +She takes both hands and places them round Samuel’s neck. +She struggles with what she is about to do but loses out. + +Slowly but surely, she chokes him. + +His little hands pull at her hands around his neck. But +she’s too strong. Sam’s face turns red, he can’t breathe. + +A look of terrible recognition passes across Amelia’s +monstrous face as she realizes what she’s doing, but still +she can’t stop. She cries out, trying to summon up strength +from the depths. It doesn’t come. + +Samuel eyes bulge. He takes both hands and with great +effort places them on his mother’s cheeks. He strokes his +mother’s face, full of love, trying to get her to stop. + +It’s heart wrenching. Something snaps in Amelia. Her body +shakes violently. Black tears rolling down her face. + +She throws Samuel away from her, screaming out as she sends +him sliding halfway across the room. + +Amelia gets up on all fours, shaking her head from side to +side. The movement becomes so quick, so surreal, that her +head becomes a violent, screaming blur. + +Samuel calls out to his mother, desperate and frightened. + +After a time, Amelia’s head movements slow down. Then +finally, they stop. A long pause. + +Amelia suddenly and forcefully vomits up a black substance. + +It hits the floor urgently. Samuel watches on, speechless. + 102. + + + It’s horrible, disturbing. + + Just as soon as it started, it stops. Amelia falls face + forward and lies dead still, her eyes open and staring. + + Samuel runs to her. Desperate, he grabs her shirt, pulling + her up, her head falls back. He hits her hard on the chest, + as hard as he possibly can, over and over. + + Amelia inhales like a drowning person coming up for air. + She lets out a cry, a human cry this time, full of pain. + + Samuel wipes her face and kisses her cheek, grateful she’s + alive. + + Amelia looks around completely disoriented. + + +111 INT. LOUNGE ROOM - NIGHT 111 + + Amelia limps through the basement door holding her son’s + hand, slowly coming out of her trance like state. They + stand there shell shocked. The house is silent. + + A low rumbling starts up. Samuel looks all around him, then + to his mum. She looks at him, unnerved. + + SAMUEL + ‘If it’s in a word, or it’s in a + look, you can’t get rid of the + Babadook.’ + + Without warning Samuel’s body is suddenly ripped from her + arms. An unseen force drags him up the stairs, his body + bouncing as he hollers for his life. + + Amelia screams as she watches him disappear out of sight. + + +112 INT. STAIRWELL - AMELIA’S ROOM - NIGHT 112 + + - Amelia races up the stairs as fast as she can. + + - She arrives at the door. + + Sam is standing by her bed, his arms rigid. He is picked up + and flung against the wall. A sickening thud, he looks like + a broken doll. Amelia screams. + + She races to Sam, grabs hold of his arms. They’re ripped + out of her grasp. Sam hits the wall again and again. It’s + brutal, he starts to lose consciousness. + 103. + + +Amelia grabs Sam’s leg, then locks her arms round his +waist. + +She uses all her strength to push him onto the bed, +covering him with her body, gripping the edges so she +doesn’t fly up against the wall herself. + +The bed starts to shake violently. A rumbling sound +throughout the room. Amelia stares off into the shadows, +acknowledging this thing as real for the very first time. + + AMELIA + (Desperate) + What do you want! + +The bed lifts up then slams down violently with them on it. + +Amelia holds on tighter, Samuel clings to her. + + AMELIA + TELL ME WHAT YOU WANT!! + +The bed drops to the floor. The sound stops, replaced by an +eerie calm. Sam hides his face in the mattress. + +The door creaks open. A figure steps into the light, Amelia +stands up on the bed to see who it is. Sam grabs her waist, +hides his face in her skirt. + +It’s Oskar. A look of dread passes over Amelia’s face. + + AMELIA + (SHAKING HER HEAD) + NO... + + OSKAR + Keep breathing.. + +A very faint rumble starts up again. Amelia can’t take her +eyes from her husband, her panic becomes visible. + + OSKAR + Put your seat back sweetheart. Ten + more minutes and we’re there. + + AMELIA + NO... + +Amelia shakes, tears forming. The rumbling intensifies. + + OSKAR + I think it’s going to rain. + 104. + + +Oskar is oblivious to the noise building around him. + + AMELIA + STOP!! + +Truck tyres skid, brakes screech, horns blaring. + +A hot, white light shines in Oskar’s face, blinding him. +The screeching sound becomes deafening. + +Amelia watches as the top half of her husband’s head is +severed, from the ear on one side to the jaw on the other. + +His corpse quickly drops to the floor. + +Amelia stares at it, her body shakes uncontrollably, tears +run down her face. She cries out as if she’s being +murdered, an unimaginable grief. + +A sound starts up, taunting her. ‘Babababababa dook-dook- +dook.’ + +Amelia watches the corpse suddenly pulled back, swallowed +up by the shadows as if it was never there. She searches +the dark but can only see a formless shape lurking there. + +Her grief and pain transforms into anger. She spits the +words out, trembling, hardly able to breathe. + + AMELIA + You....are....nothing. + +The hideous growling grows more threatening with her words. + +Her energy rises visibly. A pure, white hot rage. + + AMELIA + YOU’RE NOTHING! + +The hideous shadow grows larger, rising up to the ceiling, +terrorizing her. The floors and walls shake. + + AMELIA + This is MY HOUSE! You are + trespassing in MY HOUSE! + +Its growls turn to a deafening roar as the shadow touches +the ceiling, a huge mass of black terror. + +Amelia fights a sickening, gut wrenching fear as she +finally faces up to this thing. + 105. + + + AMELIA + (Not turning away) + If you touch my son again, I’ll + fucking KILL YOU! + +Bits of the ceiling fall to the floor. The walls crack. + +Sam’s body is flipped up and pulled violently towards the +shadows. He yells. Amelia grabs him by the hands and yanks +him to her, there’s no way she’s letting go this time. Sam +wraps around her waist, she holds him tight. + +The sound of the Babadook is deafening. Its presence takes +over the room. + +Amelia jumps up on the bed end, her son in her arms, and +lets out a scream so strong, so piercing, it smashes every +window in the room. She looks utterly fierce. A mother +enraged, protecting her son. + +Her scream dies away, but her eyes are full of life. She +searches the darkness. + +The huge shadow shrinks down from the ceiling, its growls +reduce to a hideous moan. The shadow is slowly and +completely lost to the darkness. + +The noise of the Babadook stops altogether. + +Amelia stands tall on the bed end, searching the shadows, +holding her breath. + +An unbearable silence. + +The outward figure of the Babadook, just like the one in +the picture book only life size, rolls in to the edge of +the shadows. It looks absurd, creepy, its black arms +stretched out like a scarecrow. Amelia holds her breath, +waiting for something to happen. The ‘figure’ suddenly +drops to the ground like a sack. Amelia starts. It +collapses into a shapeless mound of hat and coat with +nothing underneath. Amelia slides down to the floor, +staring at it, dumbfounded. Sam jumps on the mattress, face +down. A moaning sound starts up under the coat. Hellish, +but somehow sad. Amelia inches in to look, her face +softens. + + SAMUEL + (Looking up, scared) + Mum, don’t... + 106. + + + Amelia comes in really close now, reaching out to touch the + coat, checking if it’s real. The Babadook POV. It rises + from under the coat up to the ceiling, towering over + Amelia, then screeches right down to her face. We don’t see + it but she does. It blows the skin back on her face, her + eyes widen, her mouth is forced open in a grimace. Just + like mask of the Babadook. And as quick as it appeared, + that thing is out of there. + + The Babadook’s POV flying out the door, Amelia and Sam are + left behind. + + +113 INT. LOUNGE ROOM - NIGHT 113 + + By the time Amelia makes it downstairs, the Babadook has + disappeared into the basement, door slamming. She runs over + to it, locks the door, takes the key. + + Amelia turns. Sam stands opposite her. He cries, then + howls, completely overwhelmed, his body shaking. + + Amelia races to him, scoops him up. Samuel clings to her + for dear life. She strokes his head, kisses his face, + holding him as tight as she can. + + She takes him to the couch, cradles him in her arms and + soothes him with her words. Full of a mother’s love. + + They stay there like that for a long time together. + + +114 INT. MRS ROACH'S FRONT YARD - DAY 114 + + Sam looks through a window. He has his best clothes on, + looking adorable. He sees something, his face lights up. + + The front door opens. Sam guides Mrs Roach down the steps, + then lets go of her hand and runs to mum. + + Amelia scoops Sam up in her arms. She looks different. + + Stronger. Her eyes more relaxed and alive. + + MRS ROACH + Watch your mum’s leg little one. + + AMELIA + He’s fine. I’ve had the stitches + out. + + MRS ROACH + 107. + + + You’ll have to be more careful + around the home. It can be a death + trap. + + AMELIA + (Not a touch of irony) + I know. + + MRS ROACH + What time’s the party? + + AMELIA + Anytime after 3 is fine. Just going + to have a bit of real food first, + before the sugar onslaught starts. + + Samuel snuggles into her. She hugs him back. + + MRS ROACH + See you in a few hours then. + + Mrs Roach gives them a sweet nana wave. They wave back. + + +115 INT. LOUNGE ROOM - DAY 115 + + The lounge room is still run down, but tidy and clean. + There are homemade birthday decorations strung up. + + Amelia and Samuel sit on the couch, side by side. + + The couple from Social Services sit opposite, cups of tea + in hand. Amelia is much more grounded in their presence. + + PRUE + That school’s a good choice. + + AMELIA + I’ve done a lot of reading about it + so.. I think Sam’ll be happy there. + + WARREN + (Stiff) + He’s been away from school over two + weeks now. Time to get back into + it. + + AMELIA + (Strong) + We needed time to sort things out. + + Samuel nestles into his mum. Prue smiles tightly. + 108. + + + PRUE + Are you having a party? + + AMELIA + It’s Sam’s birthday today. We’re + having a small thing, just a few + friends. + + SAMUEL + The first birthday I’ve ever + celebrated. + +The visitors look a little shocked. + + AMELIA + That’s not true! + + SAMUEL + Yes it is mum. + (To the visitors) + My first party on the day. + + PRUE + (Pointed) + That’s unusual. + +Amelia can see the judgement in the woman’s eyes. She +decides not to let it go. + + AMELIA + (Not a trace of self + pity) + My husband died the day that Sam + was born. + +The DOCs couple don’t know how to respond. + + SAMUEL + He got killed driving mum to the + hospital to have me. + +Amelia doesn’t rush in to rescue them. + +The woman mouths the word ‘oh’. The man is completely out +of his depth, just staring blankly at them. + + AMELIA + Sam’s just like his dad was, always + speaks his mind. + +Sam is snuggled right in to his mum, protected. + + WELFARE WOMAN + 109. + + + (To Samuel, ignoring what + just happened) + Birthday parties are always fun, + especially when they’re yours. + + SAMUEL + My cousin was going to come but + she’s scared of me because I + knocked her front tooth out. + + Amelia looks to DOCs, a half smile plays on her lips. She + looks beautiful. + + Prue looks awkward, her cup slipping on the saucer. + + AMELIA + (Getting up) + I’ll take that for you. + + +116 EXT. GARDEN - DAY 116 + + A cross section of soil. Bugsy’s corpse buried there. The + flesh begins to rot. Worms and bugs crawl through it. + + Travelling up to the roots of a plant bursting out of the + earth. A rose bush. Amelia’s tends to the soil around it. + + She admires a single black rose in full bloom. + + Samuel is nearby, opposite the fence. There’s a target + painted on it. He has two home made ‘nail guns’ on either + leg. He aims then fires them off in quick succession. + + Amelia looks up. The nails hit their mark. + + AMELIA + Good shot! + + Samuel looks pleased. He runs over to her. + + SAMUEL + I’m protecting you mum. + + AMELIA + (Genuine) + You’re doing such a good job. + + He runs back to his target, full of beans, firing up again. + + Amelia picks up another worm and adds it to a bowl full of + them. She takes off her gloves and gets up. + 110. + + +117 INT. BASEMENT DOOR - DAY 117 + + Amelia is at the door which now has many bolts on it. She + undoes them all as Samuel watches. She goes over to where + she’s put down the bowl of sludge and worms, picks it up. + + Sam keeps one eye on her as he tentatively sneaks one foot + into the basement. She turns around and sees him. + + AMELIA + (Fierce, protective) + UH UH UH! NO! + + He stops in his tracks. + + AMELIA + (Moving to him) + It’s not a game, Sam. + + Amelia crouches down to Sam’s level, patient and loving. + + AMELIA + One day, when you’re a bit bigger. + You keep working on your weapons... + + Samuel silently accepts what she’s offering. For now. + + AMELIA + (Firm) + Go right out into the yard and stay + there till I call you, alright? + + He nods and runs outside. + + +118 INT. BASEMENT - DAY 118 + + Amelia descends the stairs. It’s dark and hard to see. A + very faint rumbling starts up. + + The room is clearer than before. Oskar’s things are still + there, but now very neatly stacked in one corner. + + Amelia places the bowl of slop in the centre of the room. + She steps back and waits, peering into the darkness. She’s + frightened, but does her best to conceal it. + + The rumbling increases. She can see a familiar shadow in + the corner, moving ever so slightly. A low insect like + noise. She braces herself, peering in to try and see it. + + A sound behind her. The back of Amelia’s head as she turns + around, her eyes widening. + 111. + + + Amelia is knocked off balance then twisted and bent + backwards. Her arms grab at the air to try and right + herself. + + She grunts and groans, her face is forced to one side. The + sounds around her are horrible, threatening. + + Amelia seen from above. She is bent right back as she + forces her head to look up. She lets out a low guttural + warning sound, then a shout, full of power.. + + Her back releases slightly, she is able to right herself, + standing eye to eye with something we don’t see. Her face + is tense, her pupils dilate. She looks afraid but something + else is there now. Something soft and sad. + + AMELIA + (Tenderly, through the + fear) + Ssh.. Ssh... It’s alright, it’s + alright.. Ssh..... + + She stays there awhile. Her breathing is laboured, her + pupils now huge and black. A tortured moan off screen. She + continues to soothe and reassure it, undeterred. + + Time stretches. A moment of peace. + + Amelia’s eyes return to normal. The POV falls away from + her, dropping to the floor. Amelia stands over it. + + The bowl of slop there on the floor untouched. Nothing else + can be seen in the room. + + In one quick move the bowl is sucked into the darkness. + + Amelia walks backwards to the stairs. She turns and climbs + them as quick as she can without running. + + +119 EXT. GARDEN - DAY 119 + + Amelia carries a tray filled with sandwiches. She sets it + down in front of Samuel. He has his magician’s outfit on. + + SAMUEL + How was the Babadook? + + AMELIA + Pretty quiet today. + + Amelia reaches up and undoes his top collar, inspecting the + bruises on his neck. She can’t hide her shame. + 112. + + + SAMUEL + (Gently) + It’s much better mummy.. + +She brings her hand up to stroke his cheek, looking at him +with love. She puts a sandwich on Sam’s plate. + + SAMUEL + Wait! I’ve got a new trick.. + +He runs to get a silver dome off the ground, races back and +plonks it on the table. + + SAMUEL + Life is not always as it seems! + (Waving his hands) + Nothing in my hands, nothing in my + hands. + +He makes something appear in his palm, it’s a coin. + + AMELIA + (Impressed) + Very good! + + SAMUEL + Wait! I haven’t finished.. + +Amelia watches on, intrigued. + +Samuel places the dome over the coin. He grabs a spoon and +taps it on the top for special effect. He whips the lid off +and underneath is a bird. A real, live bird. + +Amelia laughs with surprise. + + AMELIA + (Shocked) + How did you do that! + +The bird flaps around on the table. Samuel does an +impromptu jig around his mum, very pleased with himself. + +She laughs, enjoying his dance. She tries to grab hold of +his arm. He wriggles free, happy, laughing. + + AMELIA + Come here... + +Amelia finally catches his arm, drawing him to her. She +hugs him and puts him on her lap. He stops wriggling around +and settles in, relishing his mother’s love. + 113. + + +A quiet beautiful moment, neither of them say a thing. +Amelia rubs her son’s back, he snuggles into her. + + AMELIA + (Quietly, after more than + a moment) + Happy birthday sweetheart. + +Sam breaks into a smile. He closes his eyes and leans into +his mother, his face beaming. + +THE END + \ No newline at end of file diff --git a/scripts/Back to the future.txt b/scripts/Back to the future.txt new file mode 100644 index 0000000000000000000000000000000000000000..fefe0205a418388557178187919e60dfe0a6a3ef --- /dev/null +++ b/scripts/Back to the future.txt @@ -0,0 +1,5323 @@ +BACK TO THE FUTURE + +written by +Robert Zemeckis & Bob Gale + +FIRST DRAFT +24 February 81 + +“Physicists propose that two alternate histories, two equally valid realities, could exist side by side: the one you know, and the one in which you don’t exist. Time itself may have many potential dimensions, despite the fact that we are condemned to experience only one of them.” +---Carl Sagan + +“Hey, kids, what time is it?” +--Buffalo Bob Smith +“The Howdy Doody Show” + +FADE IN: + +EXT. OUTER SPACE + +The MOTHER SHIP rises above Devil’s Tower and sails off into space to the strains of John Williams. In a moment we realize that we’re watching the end titles of “Close Encounters”, and then we + +PULL BACK TO REVEAL + +that the image is on a TV monitor...as we continue PULLING BACK, we discover a bank of video equipment, and “Close Encounters” is being pirated, from 3/4” cassette to VHS and Beta. + +INT. VIDEO WORK AREA – LABORATORY – DAY + +The video pirate operating this equipment is MARTY McFLY, 17, a good looking kid who has an air of confidence just shy of cockiness. He’s wearing a silver Porsche jacket, and like most typical modern day kids, not a stitch of his clothing is without some brand name or form of advertising. He’s looking at an ad for a guitar amp in ROLLING STONE. + +With the movie over, Marty shuts down the equipment, ejects the cassettes, and writes on them, “Close Encounters, Original Edition.” + +He puts the master tape back in a drawer, and we catch a glimpse of a few other titles---“Empire Strikes Back,” “Stir Crazy,” “Superman II.” + +MARTY + +packs up his cassettes with his school books and takes us into ANOTHER PART OF THE LABORATORY. The lab is a huge room, and workbenches are all over, covered with chemical and electronic equipment. The place is old and dusty and has the air of a mad scientist lab of the 50’s. + +An ELDERLY MAN is hunched over an experiment on one side of the lab. Marty calls to him. + +MARTY + +Professor Brown! It's almost 8:30---I'm outta here! + +PROF. BROWN + +Ssshhhh! + +PROFESSOR EMMETT BROWN, late 60’s, is tinkering with a device that looks like a Solar Cell, positioning it under a skylight to catch the sun’s rays. He is eccentric, moody, but basically kindly. And very involved in his work. + +Marty has a closer look at what the Professor is working on. The device is easily 30 years old, and Brown pours a chemical solution into a compartment in the cell. He plugs a patch cord from the Cell into a Voltmeter. An incandescent bulb on the panel glows dimly, and the meter needles move slightly. + +PROF. BROWN + +Blast it!! 24 measly volts! + +He throws an Erlenmeyer Flask across the room---it shatters against the wall. + +PROF. BROWN + +(points to the sun) + +The power of a million hydrogen bombs... + +(points to his experiment) + +...and we get 24 measly volts. It's not fair! I've been working on this Power Converter since 1949, and you'd think in all that time, I could find the right chemicals that would efficiently convert radiation into electrical energy! But no! 33 years of dedication and research, and all I've got to show for it is a bootleg video operation! + +MARTY + +That reminds me, if we could scrape up enough for a 35 film chain, I've got a connection with a projectionist in a first run house---we could be sellin' new movies on the street before they're even in the theater. + +PROF. BROWN + +A 35mm film chain...I'll see what I can do.... + +The Professor ponders his Power Converter. + +Marty is on his way out. He pauses at a door with 5 locks on it and tries it. Of course it doesn’t open. + +PROF. BROWN + +Won't give up, will you, Marty? + +Professor Brown asks without turning around. Marty grins. + +MARTY + +(grins) + +One of these days you're gonna leave this door open and I'll find out what's in there. + +PROF. BROWN + +Did you ever consider that some doors are locked for a reason? + +MARTY + +Nope. The way I figure it, doors are made to be opened. See you after school. + +PROF. BROWN + +Oh---Marty---what time did you say it was? + +MARTY + +8:30. + +PROF. BROWN + +A.M. or P.M.? + +MARTY + +Pro, the sun's out! + +PROF. BROWN + +Oh, right, right. + +MARTY + +Jeez, for a guy with a ton of clocks, you sure don't pay much attention to time. + +Indeed there are a number of clocks all over the lab. + +PROF. BROWN + +On the contrary. I may not pay much attention to the measurement of time, but I'm very aware of Time itself. + +As he talks, Brown walks toward Marty + +PROF. BROWN (CONT’D) + +I believe time to be its own dimension...to be contained...to be controlled... + +Marty has had enough of the Professor’s rambling. He’s heading down the stairway. + +MARTY + +Catch you later! + +Marty is gone. + +PROF. BROWN (CONT’D) + +...to be travelled through. + +Professor Brown unlocks the door and enters. + +INT. LOCKED ROOM + +The center of attention here is a morass of equipment of 1940’s and 50’s vintage that looks like something out of “Amazing Stories” or “Weird Science.” A series of lenses is the final end to the maze, indicating that a ray of some sort is to be beamed down on...whatever. + +Professor Brown admires his invention. + +PROF. BROWN + +If only I could harness enough power! + +INT. STAIRWAY – MARTY + +Marty comes down the stairs to street level and goes out the door. + +EXT. ORPHEUM THEATER BUILDING – DAY + +Marty steps out onto the street from the ORPHEUM THEATER BUILDING, the 3rd floor of which houses the lab. + +The theater is old and abandoned; on the marquee are the words, “Assembly of Christ.” From outside, the two stories of offices above the theater look just as destitute, with weathered, soot covered walls and an occasional boarded up window. + +Most of the neighboring businesses are boarded up as well. We get the feeling that this was once a thriving business district...but those days are long gone. + +A black van is parked a little ways down the street; on its side we see the letters “N.R.C.” TWO MEN are putting samples of gutter water into test tubes. They pay no attention to Marty. + +Marty goes next door into one of the only operating businesses in sight: WILSON’S CAFE, a lunch counter joint on its last legs. + +INT. WILSON’S CAFE + +Marty enters. The proprieter, DICK WILSON, 35, is behind the counter. Dick is quite overweight...and he’s munching on a Baby Ruth candy bar. + +MARTY + +Morning, Dick. + +DICK + +Marty. What's for breakfast? + +MARTY + +Gimme some Chili, fries, and a Tab. + +Marty glances at the sports page of a discarded paper on the counter as Dick brings him the Tab. + +DICK + +Hot tip: Rubber Biscuit in the 3rd race at Arlington. + +MARTY + +Dick, what's with those guys out there in the gutter? + +DICK + +(shrugs) + +3rd time they've been out there this week. + +Marty watches them for a moment. + +MARTY + +What's N.R.C.? + +DICK + +(shrugs) + +I don't know. National Cash Register? + +CUT TO: + +INSERT – SCIENCE TEXTBOOK + +A PHOTOGRAPH OF A MUSHROOM CLOUD, with the caption, “Last above ground atomic test, March 18, 1952, Atkins, Nevada.” A HAND writes the initials “M.M. + S.P.” in the cloud, draws an arrow through it like a valentine, and then writes, “How about the Dance Saturday? We’ll have a BLAST!” + +INT. SCIENCE CLASSROOM – ON MARTY + +The hand belongs to Marty, who fakes attention to the lecture being given by MR. ARKY, a frustrated, embittered teacher of 55. + +MR. ARKY + +There were only 3 above ground Atomic Tests in the United States, so the government took every opportunity to study the effects of radiation. Actual single family tract homes were constructed on the test site, totally furnished with refrigerators, TV's, furniture...anything you could find in a typical home...just so scientists could learn what kind of damage an atomic bomb would do to a typical town. They even put mannequins in the houses, just like in auto crash tests... + +Marty tears the page out of his textbook and winks at SUZY PARKER, the cute girl across the aisle and behind him. They exchange a smile, and Marty tosses the folded page to her. + +MR. ARKY + +But the fact remains that today, 30 years after those early nuclear tests, the threat of nuclear annihilation is as great as it ever was. Certainly, nuclear annhiliation is something you all must have thought about. Any questions, comments, ideas? Anyone? + +No reaction at all from the class. No one has a hand up, no one seems interested. + +MR. ARKY + +I'm talking about the complete and total destruction of the entire world. Doesn't anybody have anything to say about it? + +No, no one does. + +Arky is becoming angered and frustrated. + +MR. ARKY + +How about you, Mr. Jackson? Would you like to share some of your wisdom with the class? + +Jackson clearly wouldn’t. + +Now Suzy writes something on Marty’s note, folds it, and tosses it back. It lands on the floor near Marty, and he picks it up. + +MR. ARKY + +(frustration rising) + +Mr. Gomez? Any thoughts? Miss Parker? Mr. Crump, any reaction? + +Marty unfolds the note. + +INSERT – THE NOTE + +Next to the mushroom cloud has been written, “That’s sick.” On the back has been written, “Yes.” + +BACK TO SHOT + +Marty smiles. + +MR. ARKY + +How about you, Mr. McFly? + +Marty quickly folds the note and shoves it in his pocket. + +MR. ARKY + +Did you even hear the question, Mr. McFly? + +Marty looked up, facing the inevitable. He might as well give his honest opinion. + +MARTY + +Yeah. You want to know what I think about atomic bombs. Well, I'd kinda like to see one. + +MR. ARKY + +You'd like to see a nuclear holocaust? + +MARTY + +Not a holocaust----- + +MR. ARKY + +(to the class) + +Mr. McFly here wants to nuke it all, just so he can see it! + +MARTY + +You know damn well that's not what I meant. + +MR. ARKY + +(isn’t interested) + +All I can say is, that's one helluvan attitude, Mr. McFly. “Let's explode a 100 megaton Geothermal nuclear device, just to see it.” + +MARTY + +(pissed, under his breath) + +Yeah, explode it up your ass. + +MR. ARKY (CONTINUING) + +Unfortunately, the way things are going, you may get your wish. You may see the entire annhiliation of the world. If not, you'll certainly see the destruction of all our natural resources. We can already see the air we breathe, not to mention the pollution in our rivers and lakes. We'll see all of our oil reserves depleted, in fact, all of our energy sources. Yes, you people have a lot to look forward to---a lot to see. + +MARTY + +Hey, Mr. Arky, gimme a break! I'm 17 years old! I'm not responsible for all these problems! + +Mr. Arky sobers up and sighs. + +MR. ARKY + +No, of course you're not. Not for the problems, no. But for the solutions...yes. + +The bell rings. There is a rush to the door. + +MR. ARKY + +See you tomorrow. + +EXT. HIGH SCHOOL – DAY + +STUDENTS pour out of the school. It’s a typically middle-American school, brick, idyllic, flanked by oak trees. There is some graffiti and a boarded up window or two. + +Students begin their after school rituals of smoking, drinking, loitering, eyeing girls or guys as the case may be, showing off their cars. + +Marty is among a group of kids, surreptitiously exchanging video tapes for cash. RAFE NEWTON approaches him. + +NEWTON + +Hey Marty, spot me 50 till the weekend, would ya? I'm down to my last 20. + +MARTY + +Can't, man. I'm savin' up for that new amp. + +NEWTON + +Well, when you're a big rock star, how about loanin' me a grand? + +MARTY + +You got it! + +(checks his watch) + +I gotta go. + +Next to Marty is his friend DONALDSON. + +DONALDSON + +Hey man, what happened to your digital quartz? + +MARTY + +In the shop. So I'm sporting this antique. Check out this wind-up action. + +Marty shows him a gold wind-up wrist watch. Marty stuffs a wad of cash in his pocket as he and Donaldson descend the steps. + +DONALDSON + +Hey, you wanna come over? Get high? + +MARTY + +Maybe tomorrow. I gotta dupe some more tapes. + +DONALDSON + +Hey, that reminds me: my brother's gettin' married next week and I'm throwin' a party for him. Can you provide some entertainment? + +MARTY + +Yeah, I can run something off this afternoon. + +INT. LAB – ON MARTY – DAY + +as we hear sounds of HEAVY BREATHING, ORGIASTIC PANTING and other Porno sound effects. Marty shakes his head at what he’s seeing (we can’t see it) and turns down the volume. He’s of course copying a porno film. + +Marty puts a big wad of cash into a cigar box on the bench, then walks over to another area of the lab. + +INT. LAB – PROF. BROWN’S QUARTERS + +Professor Brown is sleeping on an army cot, covered with a horse blanket. Nearby is an old refrigerator, a hot plate, and some clothes hanging from an exposed pipe. + +Marty opens the refrigerator and pulls out a bottle of Coke. He inadvertently knocks an orange out, and it rolls across the floor, under the cot. + +Marty stoops down to get the orange. He moves the blanket and reacts with astonishment at what he sees: + +A CRATE + +with purple radioactivity emblems labeled: EXTREME DANGER! RADIOACTIVE PLUTONIUM! AUTHORIZED PERSONNEL ONLY! DO NOT HANDLE WITHOUT RADIATION SUIT! And further down, “Property of San Onofre Nuclear Power Plant, San Onofre, California.” The orange is resting right up against it. + +MARTY + +takes a deep breath, then uses his foot to roll the orange away from the crate. He cautiously backs away from the cot and tosses the orange into a trash can. Professor Brown continues sleeping soundly. + +Marty twists off the Coke cap, takes a swig, and walks over to a cage with an ORGAN GRINDER MONKEY in it. + +MARTY + +Hey Shemp, how ya doin’? + +Shemp is wearing a red coat and hat. Marty opens the cage and lets Shemp climb on him. + +Now Marty walks over to where the Power Converter is set up. Nearby is a stack of blueprints, very old. Marty has a look. + +THE BLUEPRINTS + +include on top, the “Photo-Electric Chemical Power Converter,” which is the invention on the bench; the “15 Tube Mechanical Home Butler,” which is a robot; the “Aero-Mobile,” (a flying car); and something called a “Write-O-Matic,” which resembles a pen with a wire-attached suction cup. + +MARTY + +studies the Power Converter itself. The last rays of the afternoon sun shine through the skylight and fall on the Photo-cell. A funnel is sticking out of the chemical chamber, and it becomes just too much for Marty to resist: he pours some Coca-Cola in it. Suddenly, a blinding spark crackles from the other end of the device! Marty jumps back! + +PROFESSOR BROWN + +awakens with a start! He looks around, then rushes over to the power converter. + +PROF. BROWN + +What happened?!? + +MARTY + +Well, I'm not sure exactly---I accidentally spilled some Coke in here---just a drop! + +Brown hooks up the voltmeter and light bulb. + +PROF. BROWN + +Give me that! + +He takes the Coke from Marty and pours a little into the funnel. The light bulb glows brilliantly, the voltmeter needle jumps, and the equipment hums! + +Brown pours in more Coke---the bulb glows with increasing intensity, then explodes! The voltmeter needle goes off the scale! The Power Converter vibrates and falls off the bench! + +The Professor stares in disbelief; his hands begin to tremble. His reaction would be no different if Jesus Christ himself walked into the room! He checks the ingredients on the bottle. + +PROF. BROWN + +What's in this stuff? + +MARTY + +Nobody knows the formula for Coca-Cola. It's the most closely guarded secret in the world! + +The Professor ponders the discovery, then gathers up the Power Converter and goes to the Locked Door. He begins unlocking it, then looks at Marty. + +PROF. BROWN + +I'll see you tomorrow. + +Professor Brown takes the device into the room and locks the door behind him. + +INT. MARTY’S BEDROOM – NIGHT + +Marty, wearing headphones, is playing his Electric Guitar along with a record on his stereo. His bedroom walls have posters of rock stars; a second bed and bedroom set are testament to an older brother no longer living at home. + +As Marty plays he walks around using the top of the guitar neck to move objects and lift magazines on the desk and bureaus. He’s looking for something. He moves a Rolling Stone---under it are some tools. He moves an issue of Heavy Metal and the Lampoon---under it, some homework. + +The record ends; Marty takes off the headphones and yells out the door. + +MARTY + +Who stole the drill? + +He is answered by a WOMAN’S VOICE. + +WOMAN (O.S.) + +Dinner’s ready! + +INT. MCFLY HOME – NIGHT + +Marty goes downstairs into the living room. The furnishings are Montgomery Ward/Sears. GEORGE McFLY, 47, is absorbed in a BOXING MATCH on TV. He’s balding, bored, uninspired; a man who lost at the game of life. + +MARTY + +Anybody seen the drill? + +His father doesn’t react. His mother, EILEEN, 47, sticks her head out of the kitchen. Once she was very attractive. Now she’s in a rut. + +EILEEN + +I've been calling you for 5 minutes! Didn't you hear me? + +MARTY + +I was practicing. I've got an audition next week---I gotta practice. How am I gonna get famous if I don't practice? + +EILEEN + +You won't get famous if you don't eat, either. + +She goes back in the kitchen. + +MARTY + +Dad, you seen the drill? + +GEORGE + +What drill? + +MARTY + +The drill! The power drill I bought you for Christmas. I was using it last night. + +GEORGE + +It'll turn up. + +Marty sits down in the kitchen where his mother is putting food on the table. + +EILEEN + +George, dinner's ready! + +GEORGE + +Coming, Eileen. + +George just sits there. watching the Boxing Match. + +EILEEN + +Now, George. Dinner's ready now. + +GEORGE + +Coming, Eileen. + +A commercial comes on; George gets up and rolls the TV stand over to where he’ll be able to watch from the dinner table. + +EILEEN + +(to Marty) + +How was school today? + +MARTY + +Fine. + +EILEEN + +Learn anything? + +MARTY + +Oh yeah. + +EILEEN + +That's good. + +Now George sits down. + +GEORGE + +(to Marty) + +How was school today? + +MARTY + +Fine. + +GEORGE + +Learn anything? + +MARTY + +Oh yeah. + +GEORGE + +Good. + +George turns his attention totally on the TV. + +Marty looks at the newspaper. + +Eileen stares off into space. + +20 seconds of lively, family dinner conversation...by the sportscaster giving the blow-by-blow on TV. + +Finally, Eileen opens her mouth again. + +EILEEN + +By the way, that reminds me, Saturday night we're taking Grandma Stella out for Chinese food. + +GEORGE + +Eileen, Chinese food again? + +EILEEN + +George, if you don't want Chinese food, pick a place you want to go and make a reservation. + +MARTY + +That means he'll have to pick up the phone, Ma. + +GEORGE + +No, Chinese food is fine. + +MARTY + +Saturday night's the “Springtime in Paris” Dance. I'm taking Suzy Parker. + +EILEEN + +The “Springtime in Paris” Dance. You hear that, George? They're still having the “Springtime in Paris” Dance. + +(to Marty) + +That was our first date. Remember George? I remember everything about that night. Remember the first time we kissed? It was during the last dance. They were playing that Eddie Fisher song, “Turn Back The Hands Of Time.” I even remember how you asked me out. We were in the cafeteria. You were so scared, you spilled your creamed corn. + +George just stares at the TV, oblivious to his wife. + +MARTY + +And I probably won't be here when you wake up Sunday morning. Suzy and I are gonna go down to the lake and watch the sun rise. + +GEORGE + +The sun rise? What for? + +MARTY + +To see it. + +George doesn’t get it. He turns his attention back to the TV. + +EILEEN + +You mean you're going to stay up all night? + +MARTY + +Mom, how else are we gonna see the sunrise? + +EILEEN + +I don't think I like the idea of you staying out all night with a girl. + +MARTY + +Hey, Ma, gimme a break. + +There is a sudden pounding on the back door. No one moves to answer it. Pounding again. + +EILEEN + +Would you answer that, George? + +George ignores her. Finally, Marty gets it. + +AT THE BACK DOOR + +Marty opens the door and there is BIFF TANNEN, 47, an intimidating lout whose pot belly portrudes from his security guard uniform. His tie is undone, shirt tail out; obviously home from work. His shoulder patch reads “Special Security Officer.” + +Marty isn’t happy to see Biff, and the feeling is mutual. + +BIFF + +Well, well, if it isn't the neighborhood bootlegger, Al Capone McFly! + +MARTY + +What do you want, Biff? + +BIFF + +Show me some respect, you little A-hole. It's Special Officer Tannen to you. + +MARTY + +What's the matter, Biff, they're not showing you any respect down at the golf course? Don't they realize what a tough job it is keeping the criminal element away from the country club? + +BIFF + +Listen, you little A-hole, I oughta--- + +MARTY + +What do you want, Biff? + +BIFF + +Where's your old man? + +Marty gestures into the kitchen. Biff now reveals he has a broken power drill and a set of bits. + +INT. KITCHEN + +Biff approaches George. + +BIFF + +Hey, McFly, what's with this cheap-ass drill you're giving me? Thing burned up first time I used it! Almost ruined my whole engine block! + +Marty shakes his head. + +GEORGE + +Uh---Biff---these are wood bits. Says so right here. You're not supposed to use them on your engine block. + +BIFF + +Look, McFly, I know a lot about tools. This is a cheep-ass drill! You're just lucky I didn't ruin my engine block. Next time you buy tools, let me know. I'll help you pick out some good ones. + +(gives George the drill) + +Oh--and one more thing: my kid's selling girl scout cookies. I told her you were good for 4 boxes. Don't make me a liar! + +George nods timidly as Biff exits. He turns and faces his wife and son who meet his gaze with knowing looks. + +GEORGE + +How do you like that guy, using wood bits on an engine block? + +Marty gets up from the table and storms out, into the living room. + +EILEEN + +Where are you going? + +In reply we hear the SLAM of the front door! + +EXT. MCFLY HOME – MARTY – NIGHT + +Marty puts on his silver Porsche jacket as he stomps across the front lawn. He punches the beat up old mailbox which has the address: 777; then kicks the family car. + +EXT. A RESIDENTIAL STREET – NIGHT + +Marty is taking a walk with Suzy Parker. Marty’s been talking, and although still frustrated, he’s now much more at ease. + +MARTY + +...He just lets himself get pushed around all the time. People walk all over him and he never fights back, never stands up for himself. + +SUZY + +No self-confidence, I guess. At least you don't take after him. + +MARTY + +Yeah....Jesus! I wonder how he ever got up enough nerve to marry my mom. + +They walk a bit in silence. + +SUZY + +Can you imagine your parents in bed together? + +MARTY + +No way! + +SUZY + +Me neither. I've always wondered whether they slept together before they got married. You think yours did? + +MARTY + +Hell, no! The way my Mom carries on about sex---you even say the word and she goes into cardiac arrest. You shoulda seen her face when I told her we were gonna stay up all night Saturday. Always afraid something’s gonna happen. + +SUZY + +(flirting) + +Is something gonna happen Saturday night? + +Before Marty can answer, he gets hit in the leg by a runaway SKATEBOARD. TWO KIDS down the street have been running an obstacle course, and the loser is picking himself up off the pavement. + +Marty hops on the skateboard and whizzes over to the kid. He can’t resist showing off---he manuevers smoothly through the obstacles, jumps over the last one and lands perfectly on the board, then hops off, flipping the board into the air and catching it. He hands it back to the kid. + +KID + +Wow! You’re good! + +Marty grins and rejoins Suzy. She too is impressed. + +MARTY + +Just like riding a bike---you never forget how to do it. + +They’re standing in front of a house. Suzy looks at it, then at Marty. Obviously, it’s her house. + +SUZY + +Well...here we are.... + +They look at each other for a moment. + +MARTY + +Thanks. + +He kisses her. + +SUZY + +See you later. + +She goes into her house. Marty watches her, then continues down the street, alone with his thoughts. As he walks, a black sedan approaches slowly from in front of him and passes by. There appears to be some sort of receiving apparatus on the roof. Now we see the sedan make a U-turn in the street behind Marty and come up right behind him. + +Marty becomes aware of the headlights behind him. He looks at the car and steps over to the side of the street. The car pulls up alongside of him, and TWO GOVERNMENT TYPES get out. There are N.R.C. markings on the car. + +REESE + +Good evening. Agents Reese and Foley from the Nuclear Regulatory Commission. + +(Reese displays his ID) + +Mind stepping over here? + +Marty cautiously steps over. + +MARTY + +What's this all about? + +FOLEY + +Routine radiation check. + +Foley takes a Geiger Counter and checks Marty. Nothing unusual happens until Foley checks Marty’s feet. Then there is some noticeable clicking, especially on the foot that went nearest the Plutonium. Reese and Foley exchange a look. + +REESE + +Have you got any identification? + +Marty hesitantly hands Reese his wallet. + +MARTY + +What, am I radioactive or something? + +FOLEY + +No, no, not beyond an acceptable level. + +REESE + +Have you been X-rayed recently, Martin? + +FOLEY + +Perhaps been in contact with some luminous paint? + +MARTY + +No.... + +REESE + +Been any place unusual in the past 12 hours? + +MARTY + +Home, school, here. + +FOLEY + +Been in the vicinity of 2980 Monroe Avenue today? + +MARTY + +Where? + +REESE + +Over by the old Orpheum Theater. + +Marty hesitates a moment. + +MARTY + +No. + +Reese hands Marty back his wallet. + +REESE + +Okay, Martin. You have a good evening now. + +MARTY + +Yeah. Right. + +Reese and Foley get back in their car and drive off. Marty thinks a moment, then runs like hell the other way down the street! + +EXT. ORPHEUM THEATER – NIGHT + +Marty runs through the street to the Orpheum Theater. The only thing on the street besides him is newspaper blowing along the gutters. Marty tries the door to the upstairs. It’s locked. Marty steps back and looks at the upper floor. + +Suddenly, 3 upper floor windows are blown out by a tremendous gush of air! + +MARTY + +Jesus! + +He tries the door again. Marty has no other choice: he BREAKS THE GLASS in the door and lets himself in! + +Marty races up the stairs to the laboratory. The door with the locks on it is unlocked, and LIGHT can be seen coming from the crack under the door. + +Marty rushes through the door into + +INT. THE “LOCKED” ROOM + +Professor Brown is standing next to a HOMEMADE NUCLEAR REACTOR, made from an old furnace, a hot water heater, and boiler room parts. He has one hand on a rope, and is adjusting some dials and gauges. + +SHEMP is sitting quietly on a stool directly under the focusing lens of the Professor’s invention. He’s wearing his organ grinder clothes, with a digital watch around his neck. + +MARTY + +Professor! + +The Professor, although surprised to see Marty, is in command of the situation. + +PROF. BROWN + +Get behind that lead shield! + +He points to the shield at one side of the room. + +MARTY + +But Professor---- + +PROF. BROWN + +Get behind the shield! I'm about to release radiation! + +Marty hurries behind the shield. + +Professor Brown pulls the rope ever so slightly. + +The Power Converter is activated! The low frequency hum of vacuum tubes becomes more intense---the frequency begins to rise, accompanied by the crackle of static electricity! + +Shemp looks around, curious about all of these sounds...the sounds grow in intensity...tension builds...and at exactly 9:00, Professor Brown releases the rope. At that moment, a high frequency tone is emitted, accompanied by a FOCUSED BEAM OF BLINDING RED LIGHT---like a spotlight---which hits Shemp! + +Shemp DISAPPEARS! And the top half of the stool disappears with him, leaving the lower halves of the legs (which were not hit by the beam) to topple to the floor! + +Air rushes through the lab to fill the vacuum that was created by Shemp’s disappearance! + +The sound of the equipment dies down, and a stunned Marty McFly steps out from behind the shield. + +MARTY + +Jesus!! Professor, you just disintegrated Shemp! + +Professor Brown shook his head, a smile playing around his lips. + +PROF. BROWN + +No, Marty. Shemp's molecular structure is completely intact. + +MARTY + +Then where is he? + +PROF. BROWN + +The appropriate question to ask is when is he. You see, Shemp has just become the world's first time traveller. I've sent Shemp into the future---two minutes into future, to be exact. + +MARTY + +The future? What are you talking about? Where's Shemp?? + +PROF. BROWN + +Shemp is right here in this room...two minutes from now. And at exactly 9:02, we'll catch up to him. + +MARTY + +Now hold on a minute, Professor. Hold the phone. Are you trying to tell me that this---all of this here---that this is---it's a---a--- + +PROF. BROWN + +A time machine. + +Marty has to sit down to take this one in. + +PROF. BROWN + +I always knew it would work. I knew it would work when I built it 33 years ago. But I was never able to harness enough power to test it. Power is the key. Massive amounts of energy to accelerate matter to the speed of light while creating an intense gravitational field. But generating that kind of energy has never been possible...until this afternoon. + +MARTY + +Because of that Coke. + +PROF. BROWN + +Precisely. + +Brown takes on the characteristics of a tour guide as he explains the machine. + +PROF. BROWN + +The Power Converter, now operating at peak efficiency, thanks to the chemical makeup of Coca-Cola, channels energy into the Flux Capacitor, which releases several jigowatts in a fraction of a millisecond. Electron acceleration takes place here...and the result is the temporal displacement beam you saw a few moments ago. The entire process is triggered when I release the rope. + +MARTY + +I thought that Power Converter thing operated on solar energy. There's no sun. + +PROF. BROWN + +Solar energy would have worked just fine...if I could have placed the Converter about a mile from the surface of the sun. Instead, I've created similar conditions in this reactor here. + +(indicating the rope) + +The higher I raise the cadmium rods, the more energy I release from the Plutonium core, and the further through time I can send an object. + +MARTY + +The Plutonium! That's what I came over here for! Professor, where did you get that stuff? + +PROF. BROWN + +Why? + +MARTY + +I just got stopped in the street by Federal Agents checking me for radiation! I figure they're after your plutonium! + +Professor Brown glances at a digital clock in the lab. It’s 9:01:50. + +PROF. BROWN + +Ten seconds!! + +He rushes toward the spot where Shemp vanished. Marty follows. + +PROF. BROWN + +Brace yourself for a sudden displacement of air! + +It’s 9:01:55...56...57...58...59... + +There is a SUDDEN DISPLACEMENT OF AIR...and SHEMP REAPPEARS! The legless stool reappears as well, and topples over. The startled monkey jumps onto a nearby bank of equipment. + +MARTY + +Shemp! + +Professor Brown picks up Shemp, looks him over and examines the watch around his neck: 9:00:10. The lab clock says 9:02:10. + +PROF. BROWN + +Exactly two minutes difference...and still ticking! + +MARTY + +Is Shemp all right? + +PROF. BROWN + +Of course. Shemp is unaware that anything even happened, other than his stool suddenly falling over. We had to wait two minutes to catch up to him, but for Shemp, the trip was instantaneous. + +Marty has a look on his face---the look of an idea. + +MARTY + +Professor, can this thing send Shemp back in time? + +PROF. BROWN + +Theoretically, yes, if I were to reverse the polarity. + +Professor Brown indicates the POLARITY SWITCH on the Time Machine, which is in the “+” position. + +MARTY + +(very excited) + +Jeez, Professor, you've got a gold mine here! + +PROF. BROWN + +A gold mine? + +MARTY (CONT’D) + +Sure! Listen---we take the racing results from today's paper... + +Marty rips through a discarded newspaper and finds them. + +MARTY + +Here they are---we send 'em with Shemp back to yesterday, we get the information, put our money on the winning horses, and become billionaires! + +PROF. BROWN + +Marty, that would alter history. + +MARTY + +So what? + +PROF. BROWN + +Don't you understand? The mere act of sending matter back in time would change the course of events, and changing history is a responsibility that I do not wish to bear. + +MARTY + +All I know is you're throwing away an awful lot of money. + +PROF. BROWN + +The future, Marty, the future is everything. I built this machine to see the future. So I am going to send Shemp 24 hours into the future. You can assist me, if you like. + +MARTY + +Sure. + +The Professor exits the Time Machine room into his main laboratory. Marty sees that he’s gone, so he tears the racing results from the Sports Page, circles the date, and sticks the clipping into Shemp’s pocket. Again making sure that the Professor isn’t watching, Marty flips the polarity switch to “-“. + +INT. MAIN LABORATORY + +Professor Brown is looking for something on a table near the window. He finds it: a Micro-cassette recorder. He hurries back into the Time Machine room. + +INT. TIME MACHINE ROOM + +Professor Brown locks the door behind him and then gives the Micro-cassette recorder to Marty. + +PROF. BROWN + +Take this, stand at the panel, and read off the radiation levels. I want to have a record of what happens here. Be sure to tell me when we reach 85 rads. + +Marty takes his position at the appropriate panel. + +Brown sets up the stool and again places Shemp upon it. + +PROF. BROWN + +Come on, Shemp, this won't hurt a bit. + +The Professor takes his place at the reactor. Shemp is between him and Marty. He doesn’t notice the polarity switch. + +PROF. BROWN + +Here we go. + +He throws a few switches...equipment hums to life. Now he cautiously begins pulling the reactor rope. Marty begins reading off meters into the recorder. + +MARTY + +Radiation level, 10 rads. Stabilization coefficient, .43. 16 rads; coefficient .44. 37 rads, .46. 51 rads, .46. 73 rads, .47. + +Suddenly the door is kicked open by N.R.C. AGENTS REESE and FOLEY, along with POLICE and OTHER AGENTS! They leap into the room with drawn .38’s! + +REESE + +Everybody freeze! N.R.C.! + +PROF. BROWN + +Get back!! + +FOLEY + +Jesus Christ---it's a goddamn reactor! + +Reese pointed his gun at Professor Brown. + +REESE + +(to Prof. Brown) + +You!! Shut it down!! Now!! + +PROF. BROWN + +No! Get out!! I'm in the middle of an experiment!! + +Brown makes no effort to move away from the reactor---rather, he pulls the rope a slight bit more! + +Foley FIRES at the Professor! + +The noise startles Shemp, who jumps off his stool. + +Professor Brown takes the bullet in the upper chest! He staggers back, still holding the rope, and as he falls, he pulls the rope as far as it will go! + +MARTY + +Professor! + +(glances at meter) + +Oh, my God!! Release the rope! It's 4200 rads!! + +REESE + +(can’t hear him) + +What?? + +MARTY + +Release the rope!! + +The incredible din of the equipment makes the screaming virtually inaudible! Marty rushes toward the Professor, but Foley immediately levels his gun at him! + +FOLEY + +Freeze!! + +Marty freezes---he’s standing right under the focusing lens! He raises his hands! + +Professor Brown is lying on the floor, his hand still on the rope. His grip relaxes, and the rope is released! + +The Time Beam engulfs Marty! This time, it’s BRIGHT WHITE! + +Reese and Foley are dumbfounded! + +Marty looks up. + +MARTY’S P.O.V. OF + +an intense WHITE LIGHT. Then, suddenly, everything goes BLACK! And with the blackness comes dead quiet. + +MARTY’S VOICE + +Professor?? Hello?? + +A match is struck, and Marty looks around and finds himself in what appears to be a STOREROOM. + +INT. STOREROOM – MARTY – NIGHT + +Marty cautiously looks and walks around, almost tripping over an old chair. There is some dusty furniture and crates in the room. Marty lights another match and makes his way to the door---it’s in the same place as the door in the Time Machine room, because this is the Time Machine room...as it was once. Marty tries the door: locked. + +MARTY + +Damn! + +He goes to the window and opens it. We can hear the sound of muffled traffic. Marty climbs out the window. + +EXT. REAR OF ORPHEUM THEATER BUILDING – NIGHT + +Marty comes out of the third story window onto a fire escape, and descends. Just as he drops into the alley below, he’s hit by a pair of headlights: A LARGE TRUCK is barreling toward him! Marty presses himself up against the wall and the speeding truck passes, narrowly avoiding him! + +Marty sighs relief, then notices the sign on the door he’s standing next to: “Wilson’s Cafe, Rear Entrance.” Marty tries the door---it opens. Marty is surprised at this; nevertheless, he enters. + +INT. WILSON’S CAFE – NIGHT + +Marty walks in; yes, this is Wilson’s Cafe, all right. + +MARTY + +Hey, since when are you open at... + +Marty stops short. Things are NOT the same. Dick isn’t behind the counter. Instead, there’s a WAITRESS about 30. Everything is shining clean; the fixtures look newer, but older. The prices are different, too: Roast Beef Sandwich, 30¢. Ice Cream Sundae, 15¢. And the customers---men in double-breasted suits...and hats! Women with long skirts---not one female in pants...and hairstyles like Marty has never seen! + +Marty stares open mouthed, walking around, taking it all in. A chubby little BOY of 5 in pajamas, is playing on the floor with toy trucks. + +Now Marty notices the WAITRESS is staring at him with curiosity and suspicion. + +WAITRESS + +You want something, kid? + +Marty decides to sit down at the counter and act like he belongs here. + +MARTY + +Uh, yeah...gimme a Tab. + +WAITRESS + +What? + +MARTY + +A Tab. + +WAITRESS + +Kid, I can't give you the tab until you order something. + +People at the counter are looking at him, especially at his silver Porsche jacket. Marty notices that the MAN next to him is drinking coffee. + +MARTY + +Uh, coffee. + +She pours a cup and serves him. + +WAITRESS + +Did something happen to you, kid? I mean, you been lost in the woods or something? + +MARTY + +Huh? + +Marty looks at the bowl of sugar cubes on the counter. + +MARTY + +Say, have you got any Sweet ‘N low? + +WAITRESS + +Sweet and what? + +Her suspicions aroused, she takes the coffee away. + +WAITRESS + +Maybe you’d better pay for this first. + +MARTY + +Sure. + +Marty pulls out his wallet and hands the woman a 20 dollar bill. Her eyes nearly fall out of her head. + +WAITRESS + +A 20? What do you think this is, a bank? I can't break a 20! + +(suddenly suspicious) + +Say, what's a kid your age doing with all this money? + +Marty takes the bill back. + +MARTY + +Look, maybe I'd better talk to Dick. Is he around? + +WAITRESS + +Dick? Dick who? + +MARTY + +The guy who runs this place. + +WAITRESS + +I run this place! + +MARTY + +What happened to Dick Wilson? + +WAITRESS + +Dick Wilson---Dickie Wilson? + +(laughs) + +Dickie Wilson runs this place? That's a laugh! + +Everybody at the counter starts laughing. + +MARTY + +(paranoid) + +What are you trying to do? Freak me out, or something? + +The MAN sitting next to him reacts. + +MAN: + +Freak? Are you from some circus? Is that what all that writing on your clothes means? + +Now the little BOY runs up to the counter. + +BOY + +Mommy, I'm hungry! + +WAITRESS + +Just take a candy bar, then go to bed, Dickie. + +Marty reacts and stares at the 5 year old. + +MARTY + +Dickie? That's Dick Wilson? + +WAITRESS + +That's Dick Wilson. + +Marty looks at him as he grabs a Baby Ruth from the candy counter. Then Marty spots the calendar behind the cash register. In big black numbers, it clearly reads, “1952!” + +MARTY + +1952?? This is 1952?!? Holy Shit!! You know what this means?? I've gone back in time 30 years! 30 goddamn years!!! I haven't even been born yet!!!! + +WAITRESS + +I'm calling the cops. + +But even as she goes to the phone, Marty bolts out the front door! + +EXT. STREET – NIGHT + +Marty stares in astonishment at the sight before him: the run-down Monroe Avenue that he knew is now a bustling, thriving business district! Traffic of 1940’s and 50’s cars pulses through the street, and pedestrians wander about. The storefronts that were boarded up are now shops doing profitable business. + +Pedestrians eye Marty curiously as they walk past, but Marty is too panic-stricken to notice them. + +Now he sees the Orpheum Theater. The marquee is lit up, and the place is obviously a first class movie house. The flashing marquee advertises, “John Wayne, Maureen O’Hara, The Quiet Man. In Full Color.” + +MARTY + +Dammit! + +Marty sees a pedestrian with a newspaper. He grabs it away from him and looks at the date. + +MARTY + +1952! Dammit! + +He throws the paper down in disgust and runs down the street. + +ON THE STREET + +Marty stops and looks at the licence plate on a parked car. Once again, there’s the year. + +MARTY + +1952! Dammit! + +Marty runs off. + +EXT. TELEPHONE BOOTH – STREET – NIGHT + +Marty is in a phone booth, frantically tearing through the phone book. He finds the page he’s looking for. + +INSERT – PHONE BOOK + +Marty’s finger goes down a list of “Browns,” coming to rest at, “Brown, Emmett L., 788 W. Spruce. Madison 3489.” A BIC PEN circles the name and number. + +BACK TO SHOT + +Marty reaches into his pocket. He has a nickel and 3 pennies. + +MARTY + +Dammit! + +He picks up the receiver and pumps the switchhook. + +OPERATOR (V.O.) + +Operator. + +MARTY + +Operator! Listen, this is an emergency! I have to make this call, but I don't have a dime---all I got is a nickel---but you gotta connect me--- + +OPERATOR (V.O.) + +(interrupting) + +Sir, it only costs a nickel. + +MARTY + +What? + +OPERATOR (V.O.) + +Local calls cost 5 cents. What number do you want? + +Marty sees the sign on the phone, “Local Calls 5¢.” + +MARTY + +Oh---right! Uh, Madison 3489. + +OPERATOR (V.O.) + +Five cents, please. + +Marty deposits his nickel. The number rings several times. + +OPERATOR (V.O.) + +I'm sorry, there's no answer. + +MARTY + +Operator, what's today's date? + +OPERATOR (V.O.) + +March 11. + +MARTY + +What year? + +OPERATOR (V.O.) + +Nineteen fifty--- + +MARTY + +(interrupts) + +Dammit! + +He slams down the receiver, then tears the page out of the phone book and runs down the street with it. + +EXT. RESIDENTIAL STREET – MARTY – NIGHT + +Marty runs down this residential street, tired, breathless, exhausted. He leans against a mailbox to catch his breath, and then notices the number on it: 777. He turns and looks at the house. + +MARTY + +My house! + +Indeed, it is Marty’s house---or rather, it will be. The trees aren’t quite as tall as those we saw earlier, and the curtains are different; there’s a 1949 Chevy in the driveway. But it’s the same house. + +Then, the front door opens, and a WOMAN opens the screen to let out a dog. Unless we’re seeing things, it’s EILEEN, looking nearly identical to when we saw her last, save her different clothes and hair-do. + +MARTY + +is stunned! + +MARTY + +Mom!! + +He runs toward the house! + +EXT. HOUSE + +As Marty runs toward the house, the WOMAN closes the door. Marty runs up the steps and pounds on the door. + +MARTY + +Mom!! Open up! It’s me! + +The door opens. Indeed, the woman appears to be Eileen. But she doesn’t recognize Marty. + +MARTY + +Mom, thank God! Thank God you're here! + +WOMAN + +I beg your pardon, young man? + +MARTY + +Mom! It's me! Marty! Don't you know your own son! + +WOMAN + +I think you have the wrong house. + +Marty is very intense---sweating, breathing hard. + +MARTY + +No---no---it's not! It's not! + +A MAN in his mid-40’s approaches the door. He’s smoking a pipe and seems like a decent sort. + +MAN + +Who's there, Stella? + +MARTY + +Stella?!? No! Don't tell me you're Stella! Tell me you're Eileen!! Please tell me you're Eileen! + +Through the door, we can see a GIRL of 17 coming down the staircase. She’s very attractive. + +GIRL + +I'm Eileen. + +Marty locks eyes with his Mother, aged 17! + +MARTY + +How old are you? + +EILEEN + +Seventeen. + +What does one do when he meets his mother in such circumstances? Marty faints! + +A HAND + +holds smelling salts and brings them under Marty’s nose. Marty is lying on a couch; he stirs and opens his eyes. + +MARTY’S P.O.V. OF + +PROFESSOR BROWN as a young man! He’s well dressed, less eccentric in manner, and seems much more self confident than his older self. It is Brown who is administering the salts. + +WIDER ANGLE, INT. LIVING ROOM + +The room is the same as in Marty’s house, with different furniture (in the same basic arrangement) and a different color scheme. + +MARTY + +Professor? Professor Brown? + +BROWN + +You know me? + +MARTY + +Professor, you time machine works! It works! It sent me back in time! I'm from 1982! + +PROF. BROWN + +Ssshhh! + +Brown isn’t sure whether to believe him. Now the FAMILY approaches---MR. BAINES, his wife Stella and daughter Eileen. + +MR. BAINES + +Is he all right? + +The Professor straightened up. + +BROWN + +He will be. Simple inebriation, is all. The young man must have a rather low tolerance for alcohol...something that runs in the family. You see, he's a second cousin of mine on my mother's side. Came quite a distance to visit me. His name's Lewis. + +MARTY + +(correcting him) + +Marty. + +BROWN + +Uh, Marty Lewis. I almost didn't recognize him---haven't seen him in years. + +Young Eileen can’t take her eyes off Marty. Marty too is fascinated by her. + +STELLA + +It's a good thing he had your name circled in the phone book. I would have called the police. + +BROWN + +Well, Mrs. Baines, Mr. Baines, thank you for your trouble. Both Marty and I apologize for the inconvenience. We'll get him home and as good as new. + +Marty and Brown get ready to leave. + +MR. BAINES + +(to Marty) + +Son, you watch yourself. + +MARTY + +Yes, sir. + +Eileen gives Marty his Porsche jacket which was lying on a nearby chair. + +EILEEN + +Oh---here’s your jacket. + +MARTY + +(nervous) + +Uh, thanks... + +EILEEN + +What sort of material is this? I've never seen anything like it. + +MARTY + +(matter-of-factly) + +It's polyester. + +EILEEN + +Poly-what? + +PROF. BROWN + +It's an experimental invention of mine. Sort of a rubberized silver-foil. I just made up a name for it. Come on, Marty, we've got a lot to talk about. + +The Professor goes out the front door. Marty is behind him, and just as he steps into the doorway, Eileen speaks up. + +EILEEN + +Marty? + +MARTY + +Huh? + +EILEEN + +Have we ever met before? + +Their eyes meet, but before Marty can answer, the Professor’s arm reaches over and yanks him away! + +EXT. VICTORIAN STYLE MANSION – NIGHT + +A fabulous Victorian Mansion sits on a hill on the outskirts of town. On the mailbox is the name “Brown, Emmett.” + +A beautiful 1937 PACKARD pulls up to the mansion. + +MARTY (V.O.) + +...and the flux capacitor is hooked into this thing that looks like a condenser with a lens on it... + +Now Marty and the Professor get out of the car. Marty stares at the incredible house, very impressed. + +MARTY + +Jeez---this is where you used to live, huh? You must have been rich! + +PROF. BROWN + +Must have been? Used to live? I do live here. + +MARTY + +Oh, yeah, well, there's a mall here now---I mean, there will be. + +PROF. BROWN + +A mall? + +MARTY + +Yeah, a shopping mall. You know, a shopping mall? + +They are walking toward the front door. + +PROF. BROWN + +Ssshhhh---don't tell me these things, Marty. I don't want to know about the future. + +They enter the house. + +INT. LIVING ROOM – MARTY, BROWN – NIGHT + +A light goes on in the large living room. + +BROWN + +Do you see it here? + +Marty looks around the room. The evidence of the Professor’s eccentricity is just beginning---mechanical apparatus laying haphazardly around on antique tables and furniture. There’s something built out of the shell of an old vacuum cleaner, and an old washing machine that might now be a still. + +MARTY + +No. + +INT. ANOTHER ROOM – THE STUDY + +Again a light goes on. Mostly, this is a library, but there are some models of some of the professor’s ideas here, including the Aero-mobile and the Mechanical Home Butler. Professor Brown looks at Marty. + +Again Marty shakes his head. + +Now Professor Brown unlocks a door at one end of the room and puts on a light. Marty approaches the doorway. + +MARTY + +This is it!! + +MARTY’S P.O.V. OF + +THE TIME MACHINE, looking almost exactly as we saw it in 1982, except that it’s a lot cleaner and shinier. + +ON MARTY AND THE PROFESSOR + +PROF. BROWN + +You've convinced me that you must be who you say you are. No living human has ever seen this machine. + +(thinking) + +But why? Why even in my twilight years would I remotely consider sending someone back in time? + +MARTY + +You didn't, Professor. It was an accident! You see, what happened---- + +PROF. BROWN + +No! Don't tell me! I don't want to know the future! My knowledge of future events...your mere presence here...could have devastating effects on the course of history. And altering history is a responsibility that I do not wish to bear. My immediate responsibility is to send you back to your own time. + +MARTY + +I can dig that. + +PROF. BROWN + +(not understanding) + +Pardon me? + +MARTY + +I can get behind---I agree with you. + +The PHONE rings. Brown answers it in his study. Marty follows. + +INT. BROWN’S STUDY – MARTY, BROWN + +Marty examines the models of Brown’s inventions while the Professor talks. + +PROF. BROWN + +Hello? + +(pause) + +Yes Charles, yes, I looked over the offer. + +(pause) + +It's very generous that they want to make me a major stockholder. But I'm just not interested in a position with this little X-rox corporation. + +(pause) + +If it's pronounced “Zerox,” why don't they spell it with a Z? + +(pause) + +Look, I'm on the verge of a breakthrough on my Power Converter. + +Marty reacts with a pained expression. + +PROF. BROWN (CONT’D) + +Well, any day now. And then I'll need people to work for Emmett Brown Industries! I've got a lot of ideas that are going to create a lot of jobs. + +(pause) + +Very well, good night, Charles. + +(Hangs up) + +The X-rox Corporation. How are they going to sell a product if you can't even pronounce the name? + +Brown turns his attention back to Marty. + +PROF. BROWN + +Now...the Time Machine works, that's obvious. As I've always known, it's a question of power. Where did I---will I get enough power to send a man 30 years through time? + +Marty is about to answer---the Professor holds up his hands. + +PROF. BROWN + +No---wait---don't tell me! + +(long pause as he thinks) + +On second thought, there may be some things you'll have to tell me. + +MARTY + +The Power Converter... + +PROF. BROWN + +Of course! The Power Converter! It works! + +(afterthought, to himself) + +Of course, it works! + +(to Marty, very excited) + +What chemicals do we use? + +Marty hesitates and takes a deep breath. + +MARTY + +Well, Professor, are you sure you want me to tell you? You know, changing the course of history and all.... + +Professor Brown would plainly like to know, but his sense of scientific responsibility gets the better of him. + +PROF. BROWN + +Blast it---no, I suppose you're right...You do know the proper chemical formula? + +MARTY + +Sure, and there won't be any problem getting some---getting it. + +Professor Brown goes to the bar and pours himself a Brandy. + +PROF. BROWN + +Coke? + +MARTY + +How did you know? + +PROF. BROWN + +Just a guess. I figured kids would still be drinking Coke in 1982. + +He throws Marty a bottle. + +PROF. BROWN + +All right, then it's very simple. Tomorrow, weather permitting, you'll get the chemicals, and we'll wire the Power Converter to the Time Machine, point it at the sun, and send you home. + +MARTY + +Well, not exactly, Professor. You see, we don't point it at the sun. + +PROF. BROWN + +We don't.... + +MARTY + +No. We need a Nuclear Reactor. + +Professor Brown chokes on his drink. + +PROF. BROWN + +A Nuclear Reactor? How much energy do we need? + +CUT TO: + +CLOSE ON MARTY’S MICRO-CASSETTE RECORDER + +which is playing back the tape of the moments before Marty went through time. All of the voices on the tape are muffled, except Marty’s---and the gun shots sound fairly clear. + +MARTY’S VOICE (ON TAPE) + +Release the rope! It’s 4200 rads!! + +WIDER ANGLE – INT. BROWN’S STUDY – MARTY, BROWN + +Professor Brown is seated at his desk. He fumbles with the recorder and shuts it off. + +PROF. BROWN + +4200 rads? Good God! + +Marty is trying to twist open the bottle of Coca-Cola. He can’t---twist offs haven’t been invented yet. + +PROF. BROWN + +There's something I still don't understand. + +(rewinds tape) + +Fascinating device... + +(plays back gun shots) + +These loud bangs...could those be some sort of malfunction in the time machine? Do you know what they are? + +Marty is of course quite uneasy. + +MARTY + +I wouldn't worry about 'em, Professor. + +Again we hear the “4200 rads” portion of the tape. Professor Brown shakes his head. + +PROF. BROWN + +4200 rads...That certainly can't be generated under controlled conditions in this day and age. + +MARTY + +That's just great. + +PROF. BROWN + +However...there's a lot I don't know about Nuclear Physics. So first think in the morning, I'll go to the University, see what I can find out. + +I want you to stay in the house. It's very important that you don't interfere in any way with the outside world. + +I've got plenty of food, there's the radio, books, magazines...I've even got one of those new television sets. There's plenty to do. + +Professor Brown looks at Marty who is still trying to twist off the Coke bottle. Brown stares incredulously. + +PROF. BROWN + +What are you doing? + +MARTY + +How do you open these? + +The Professor takes the bottle from Marty and opens it with a bottle opener. He hands it back, not sure what to think...but afraid to ask. + +MARTY + +It doesn't look good, does it, Professor? + +PROF. BROWN + +(shakes his head) + +At the moment, it looks like you're stuck here. + +INT. BEDROOM – MARTY – DAY + +Morning light streams in through a window. Marty is asleep on the bed, still in his clothes. He awakens...and sighs as he realizes that his surroundings are real, it wasn’t a dream...and he’s stuck here. + +He turns on the Cathedral Radio by the bed...no sound. He hits it several times...not realizing that it simply has to warm up. Finally, there’s music...Perry Como. Marty twists the dial and picks up Dinah Shore, then Les Brown, Benny Goodman...swing tunes, 50’s schmaltz...nothing that even resembles rock ‘n roll. Disgusted, Marty shuts it off. + +INT. KITCHEN – MARTY – DAY + +Marty takes an old-fashioned drip coffee pot out of a cabinet. He fumbles it and it breaks into its component parts. Marty tries to put it back together. + +CUT TO: + +MARTY + +pulling a BOTTLE OF MILK out of the refrigerator. He removes the foil seal and tries to pour some into a glass. Nothing comes out---the cardboard stopper is still in it. Marty tries to pull it out---he can’t get the tab. Frustrated, he punches a hole in it with his finger. + +CUT TO: + +MARTY + +drinking a glass of milk, looking at the magazines and newspapers on the kitchen table. + +TIME has a cover story, “The Republicans: Who Will Win In ’52?” with photos of the top contenders. + +MARTY + +Eisenhower. + +He looks at NEWSWEEK. Cover story: “Will We Have War With Russia This Year?” + +MARTY + +No. + +He tosses it aside. He tries the newspaper. “Crime Rate Continues To Rise.” He shakes his head, looks at the Saturday Evening Post which has a picture of some High School Students with the question, “What’s Wrong With The Younger Generation?” He laughs, turns it over and sees on the back cover the famous Van Heusen Shirt Ad featuring Ronald Reagan. + +MARTY + +Jesus. + +The DOORBELL RINGS. Marty reacts with uncertainty. He’s not sure what to do. + +It rings again. + +Marty gets up and cautiously walks to the front door. He stares at it, unable to make up his mind. + +The bell RINGS again! + +Finally Marty opens it. It’s PROFESSOR BROWN who immediately points an accusing finger at him. + +PROF. BROWN + +Aha! You answered the door! + +MARTY + +You were ringing the doorbell! + +Marty took a step back as the Professor walked inside. + +PROF. BROWN + +I told you not to interfere with any of the events of this time! Nobody's supposed to see you here! What if I was a mailman? Or a salesman? + +MARTY + +What if you lost your keys? + +PROF. BROWN + +Then I would have figured out to get back in through events in the natural course of history! Don't you understand? The fabric of history is very delicate. Anything you do could have serious consequences! + +MARTY + +Hey, look, gimme a break! All I did was answer the door! How's that gonna change history? + +PROF. BROWN + +I don't know, but I don't want to take any chances. Now you stay here and don't do anything. Don't answer the door, don't answer the phone, don't go outside. Understand? + +Marty is fed up with the lecture. + +MARTY + +Hey, get off my case, would you? I didn't want to come here, and the only reason I'm here in the first place is because I was a nice guy, helping you out. So don't tell me I gotta stay cooped up in here and vege out, because none of this was my fault! + +PROF. BROWN + +Let me put it on a level you can understand. You don't belong here. You don't know anything about this world. You don't know the customs, you don't know how to talk, how to act---you don't even look like you belong here. And if you walked out on the street, you wouldn't get 100 yards without being arrested. Then there would be a lot of questions, and where would we come up with the answers? + +Marty sighs. + +MARTY + +Okay, Professor, I get where you're coming from. The way I look, the way I'm dressed, I'd stick out like a sore thumb. + +PROF. BROWN + +I'm glad we finally got that straightened out. I'll see you tonight. + +He exits and slams the door behind him. + +CUT TO: + +EXT. PROF. BROWN’S HOUSE – DAY + +A window opens, and MARTY climbs out! But now he’s wearing some of the Professor’s clothes, and he’s got his hair slicked back in Ronald Reagan style! He actually looks like a resident of 1952! Marty runs off down the hill, toward town. + +EXT. BUSINESS STREET – MARTY, PEDESTRIANS – DAY + +Marty walks down the sidewalk with the other pedestrians, trying to act like he belongs here. He’s doing a good job of it, too, because no one gives him a second glance. + +Suddenly, a COP in front of him glances at Marty, then points an accusing finger at him. + +COP + +Hey you! Where do you think you’re going? + +Panic fills Marty’s face as the cop approaches him---has he been had? No---the cop walks right past him and collars a TRAMP several yards behind Marty. Marty sighs relief. + +MARTY + +bops down the street, full of confidence, full of excitement, full of curiosity. He’s a tourist in another time and he takes in the sights, which include... + +AN APPLIANCE STORE, selling “Giant 8 inch Televisions,” with “a screen as big as life itself.” + +A GAS STATION selling gas at 18.9¢ a gallon. + +A TRAVEL AGENCY advertising “L.A. to New York in a mere 12 hours.” + +A DANCE STUDIO, where through the window can be seen a Mambo Class, and a big sign, “Everybody’s Doing the Mambo!” + +A CLOTHING STORE, with a display of the latest fashions. + +A STUDEBAKER SHOWROOM, with “The most modern car ever developed in the entire history of man.” + +EXT. A RECORD STORE – MARTY + +Marty stares at the window display at the record store, promoting America’s top recording artists: Sinatra, Guy Combardo, Dinah Shore, Perry Como. Something is bothering Marty about this so he goes in. + +INT. RECORD STORE – MARTY + +The Number One Single is prominently displayed on the counter: “Papa Loves Mambo” by Perry Como. Marty can’t believe it. A CLERK approaches him. + +CLERK + +Can I help you, sir? + +MARTY + +This is the number one record? + +CLERK + +Yes, sir! + +MARTY + +I don't get it---how come there's no Rock ‘N Roll? + +CLERK + +I beg your pardon? + +MARTY + +This is 1952...? + +CLERK + +Uh, yes, sir... + +MARTY + +And you never heard of Rock ‘N Roll? + +CLERK + +No. + +MARTY + +(big smile) + +Well, maybe it's time you did. + +CUT TO: + +EXT. PAWNSHOP + +A PAWNBROKER pulls a Guitar out of the window, along with the price tag: $5.00. + +INT. PAWNSHOP – MARTY, PAWNBROKER + +The Pawnbroker takes the guitar to the cash register; Marty follows him. + +PAWNBROKER + +That’ll be 5 bucks. + +Marty pulls out his wallet and hands the man a 20. The Pawnbroker rings it up, then takes a closer look at the bill. + +PAWNBROKER + +Hey, what kinda funny money is this? + +MARTY + +Huh? + +PAWNBROKER + +It says “1977” on it. What do you take me for, an idiot? + +He gives the bill back to Marty. Marty looks at it and realizes his mistake. + +MARTY + +Oh---yeah---I can’t believe I did that. That’s a joke. My friend had these printed up---see, that's his name there... + +(pointing to the name on the bill) + +...Blumenthal. + +The Pawnbroker is eyeing Marty suspiciously. Marty checks his wallet. + +MARTY + +Gee---I don't seem to have anything on me...Hey, how about this watch? It’s a genuine antique! + +Marty hands the man his watch. The broker examines it. + +PAWNBROKER + +Antique? They just came out with this watch last month. But this one looks like its been through a war. + +MARTY + +Yeah, I've been doing a lotta travelling. + +PAWNBROKER + +Okay, kid. You got a deal. The watch for the guitar. + +CUT TO: + +INT. TALENT AGENT’S OFFICE + +Marty is performing “Blue Suede Shoes” for an AGENT in an office. Marty’s really cooking---jumping around like Elvis, and really playing his heart out. He’s good, too. + +The Agent, 45, sits stonefaced behind his messy desk, puffing on a big cigar. The office has the same feeling as the Agent: cheap. The walls are covered with 8 x 10’s of clients. + +INT. OUTER OFFICE + +The music can be heard coming from the frosted glass door with the words “Midwest Talent Agency” on it here in the outer office. The secretary listens, but doesn’t seem to care much for it. But REGINALD WASHINGTON, 32, a black man with silk shirt, processed hair and two-tone shoes, is very interested. He puts his ear to the door and snaps his fingers in time to the tune. He likes it. + +INT. AGENT’S OFFICE + +Marty finishes the number. The Agent is not impressed. + +AGENT + +Well, kid, it's interesting, I'll say that. But it's not commercial. + +MARTY + +Not commercial? Mister, don't you know what you're listening to? This is rock 'n roll! + +AGENT + +Call it what you want to kid, but don't call it music, 'cause it sure ain't that! + +MARTY + +But you don't understand--- + +AGENT + +No buts, kid. I've been in this business my whole life and I know what people want. The smooth sound, that's what sells. Como, Crosby, Dinah Shore. Gimme a melody, and a nice slow tempo. Now beat it! + +The agent shoves Marty out the door! + +INT. OUTER OFFICE + +Marty is stunned. In a moment, the door opens and his case is thrown out too! + +Reginald goes over to him. + +REGINALD + +That sound I just heard coming through the door, that was like nothing I ever heard before! I mean, you got something there, young man! + +MARTY + +Who are you? + +REGINALD + +Reginald Washington is my name; I manage some of the local bands around town, and I think you've got something we can promote all the way to the top! Now, I've got a real important cat comin' in from a New York Record Company on Monday the 18th, and I want you to play that music for him. I think the time has come for a sound like that. + +Marty grins. Reginald takes a business card and writes the particulars on it. + +REGINALD + +That's March 18th, Noon. Be at my office. What's your name? + +MARTY + +Marty Mc---Marty Lewis. + +REGINALD + +Marty Lewis. See you on the 18th. + +Reginald gives him the card and they shake hands. Marty is elated. + +MARTY + +Right on, brother! + +Reginald has never heard that expression before. + +REGINALD + +I think you're a little mixed up. There is absolutely no way that I could be your brother. + +Reginald walks off. Marty looks at the card and smiles. + +INT. MARTY’S BEDROOM AT BROWN’S HOUSE – NIGHT + +Marty, dressed once again in his 1980’s clothes, is practicing on the guitar in front of the mirror. + +He hears the door opening downstairs, so he quickly puts the guitar in the corner, messes up his hair, takes Reginald’s business card from off the bed and sticks it in the pocket of his Porsche jacket which is laying on a chair. + +INT. BROWN’S HOUSE – FRONT ALCOVE – NIGHT + +Marty comes running downstairs and finds a very sullen Professor Brown pouring himself a drink. Brown looks at him. + +PROF. BROWN + +Well, I found an energy source that can generate the 4200 rads that we need... + +An atomic bomb. + +MARTY + +Professor, be serious, would you? + +PROF. BROWN + +I am serious. If we could get you, the Time Machine, and the Power Converter in the vicinity of an atomic blast, we could send you back to the future. + +MARTY + +You're talking crazy! An Atomic blast would melt me and the time machine in a matter of seconds! + +PROF. BROWN + +You forget---time travel is instantaneous. The time machine would melt, but you would have already travelled through time. Of course, it's a moot point regardless. The only place atomic bombs are detonated is at the Army's Nevada Test Site, and those tests are kept absolutely top secret. + +Something suddenly occurs to Marty and he bolts back upstairs. + +INT. MARTY’S BEDROOM – BROWN’S HOUSE + +Marty rushes into the bedroom and goes through the pockets of his Porsche jacket. He pulls out the textbook page he passed to Suzy Parker and unfolds it. Reginald’s business card falls out of the same pocket. + +INSERT – THE TEXTBOOK PAGE + +Underneath the picture of the mushroom cloud is the caption, “Last above ground atomic test, 15 megatons, March 18, 1952, Atkins, Nevada.” + +MARTY + +compares this to the business card: the dates are the same. + +He considers his problem, then makes his decision: he crumples up the textbook page and throws it in the trash can. + +Now Professor Brown enters. + +PROF. BROWN + +Marty, what's wrong? + +He slipped the card back in the jacket and shrugged, trying to seem nonchalant. + +MARTY + +Oh---nothin'. I thought I left the water running. + +Professor Brown catches a glimpse of the guitar in the corner, then has a closer look. + +PROF. BROWN + +Say, where did this guitar come from? + +MARTY + +Oh---that---I found it in the closet. + +PROF. BROWN + +I don't recall ever seeing it before. + +MARTY + +Well, it was there. + +PROF. BROWN + +Curious. Very curious.... + +CUT TO: + +INT. MARTY’S BEDROOM – BROWN’S HOUSE – MORNING + +Morning light streams in through the window. Marty awakens. This time, he’s sleeping in the bed instead of on it. He smiles. + +INT. KITCHEN + +Marty pours himself a cup of coffee from the drip coffee pot, and victoriously pulls the stopper out of the milk bottle. His mood is very positive, and he sings as he adds milk to his coffee. + +MARTY + +(singing) + +So you wanna be a rock ‘n roll star... + +Once again, the DOORBELL RINGS. Marty reacts with a “Not again” look and goes to answer it. + +INT. AT THE FRONT DOOR + +Marty is shaking his head as he opens the door. + +MARTY + +Look, Professor, I’m not-----oh. + +It’s Eileen. Marty is dumbfounded. She smiles at him. She’s carrying books, obviously on her way to school. + +EILEEN + +Hi, Marty. + +MARTY + +Uh, hi... + +EILEEN + +Eileen. + +MARTY + +(it’s hard for him to say) + +Right. Eileen. + +EILEEN + +(A little unsure of herself) + +You remember me...? + +MARTY + +Oh, sure, I remember you. + +EILEEN + +Well, I was on my way to school, and I just wanted to stop by and see if you were feeling okay. You seemed like you were in pretty bad shape the other night. + +MARTY + +Oh, I'm feeling much better now. + +EILEEN + +How long are you planning on staying? + +MARTY + +Actually, it looks like I'm gonna be stuck here for awhile. + +EILEEN + +(hopefully) + +Then you'll be going to school here...? + +MARTY + +School? I never thought of school! If I went to school I could blend in with everybody else, couldn't I? + +She doesn’t know how to react. + +MARTY + +What time does school start around here? + +EILEEN + +9:00---oh, I'm late! Maybe I'll see you later. + +MARTY + +Yeah. Maybe so. + +She smiles, then hurries off to school. + +EXT. HIGH SCHOOL – DAY + +It’s the same school we saw in 1982, but the trees are smaller and there is no grafitti or broken windows. Only a few students are loitering in front---school is in session. + +MARTY, dressed once again for 1952, goes up the front steps carrying a notebook. As he gets to the door, the BELL RINGS, indicating a passing period. + +INT. SCHOOL HALL – MARTY, STUDENTS + +Students pour into the hall from the classrooms. Marty marvels at what his “contemporaries” look like. + +Marty proceeds through the corridor and pauses at a classroom door. He decides to enter. + +INT. SCIENCE CLASSROOM + +It’s the same science classroom Marty was in earlier, only everything looks much newer, and the chalkboards are black instead of green. + +Marty goes over to his old desk---of course, it’s now in excellent condition. He runs his hand across the desktop. + +VOICE + +You there! What are you doing in this class? + +The voice is familiar---Marty looks up: it’s Mr. ARKY, 30 years younger! Marty’s eyes nearly fall out of his head! Young Mr. Arky is energetic and dynamic, the kind of teacher who’s going to change the world. + +MARTY + +Mr. Arky? Mr. Arky! + +MR. ARKY + +Yes, that's my name. Who are you, young man? Are you supposed to be here? + +MARTY + +Uh---yeah. I'm new here, and I'm supposed to be in this class. + +MR. ARKY + +You have a name? + +MARTY + +Marty. Marty Lewis. + +CLOSE ON AN INKWELL + +as a FOUNTAIN PEN is dipped in and sucks in ink. + +WIDER ANGLE – SCIENCE CLASS + +as Marty stares with amazement at the STUDENT next to him filling her pen. + +Mr. Arky is in the middle of his lecture. + +MR. ARKY + +...and it is, of course, due to Science that we Americans enjoy the highest standard of living in the history of the world. When we think of the technological advances made in just the past 30 years, it boggles the mind to imagine what the world will be like in another 30 years. + +I think I can safely say that we can all look forward to a world of plenty, a world free of disease and starvation. There'll be entire cities built under the sea, cars that can go 2 or 300 miles an hour. + +Marty can’t believe what he’s hearing. The rest of the class seems pretty bored. + +MR. ARKY (CONT’D) + +You girls will be able to cook an entire meal, clean the entire house, and do all of your laundry and ironing by push-button. You may even have a robot to assist you in all your duties as a wife. + +A WISE GUY calls out from the back. + +WISE GUY + +I hope those robots won't be assisting in all my wife's duties! + +There is laughter from the back of the class. + +MR. ARKY + +Well, Biff, since you seem so eager to get into this discussion, perhaps you'd like to tell us what you think you'll be doing in 30 years? + +Yes, it’s young BIFF TANNEN sitting in the back of the class, looking just like what he is: the school’s biggest troublemaker. Sitting around him are his THREE CRONIES: GUMS, so named because he’s missing his two front teeth; MATCH, who is perpetually chewing on wooden matchsticks; and SKINHEAD, who has a crewcut just short of being bald. + +Marty turns around and stares at Biff. + +BIFF + +I know what I won’t be doin’---goin’ to school! + +Biff’s boys break into hysterics. + +GUMS + +Hey, Biff, good one! + +SKINHEAD + +Ataway, Biff! + +Now Biff notices that Marty is staring at him. He takes an immediate dislike to Marty. + +BIFF + +What are you lookin' at, A-hole? + +Marty’s eyes meet Biff’s hateful glare; then Marty turns away. + +MR. ARKY + +Anybody else have any ideas about what life might be like in 30 years? + +As usual, no one raises their hand. + +MR. ARKY + +Mr. Cusimano? Miss Voyles? Miss Kaner? + +(pause) + +So am I to understand that no one has anything at all to say about the future? + +Arky looks directly at Marty. + +MR. ARKY + +How about you, Mr. McFly? + +Marty reacts with shock---somehow he’s been found out! + +MARTY + +Oh, shit...! + +Several heads turn with shock at Marty’s expletive...including Biff’s. + +At the same time, the student sitting directly in front of Marty opens his mouth. + +GEORGE + +Well, I, uh...well... + +It’s young GEORGE McFLY! And he’s really a mess, too---nervous, hair poorly combed, just not with it. + +Marty realizes who it is. + +MARTY + +Jesus Christ! Dad! + +Mr. Arky tries to ignore it all. + +MR. ARKY + +Continue, Mr. McFly. + +George stands. Marty reacts with embarrassment for himself and his future father. + +GEORGE + +Well, I---uh---could you repeat the question? + +BIFF + +Sit down, McFly, you stupid moron! I can't see! + +Biff hits him in the head with a spitball. George immediately sits down. Marty, pissed, turns on Biff. + +MARTY + +Hey, lay off! + +Biff glares at Marty, eyes narrowing with complete hate. + +MR. ARKY + +Did you say something, Mr. Lewis? + +Marty pays no attention. He keeps staring at Biff. + +MR. ARKY + +(louder) + +Mr. Lewis, I'm talking to you. + +MARTY + +(suddenly remembering his name) + +Who, me? + +MR. ARKY + +You're the only Mr. Lewis in this class. If you have something to say, say it so the whole class can hear. + +MARTY + +Well, yeah, I was thinking, if cars are gonna be going 2 or 300 miles an hour, they're gonna be using an awful lot of gas. Like, what if we run out? + +MR. ARKY + +Run out of gas? + +He reacts as if it’s the most ridiculous thing he’s ever heard. There is laughter from the class. + +MR. ARKY + +Well, class, it seems we have a doomsayer in our midst. I must say, Mr. Lewis, that's a mighty pessimistic attitude for a young man like yourself. + +First of all, with all the studies we have indicating the vast supplies of petroleum in the earth, plus the massive reserves that have yet to be discovered, the likelihood of any such shortage is highly remote. And even if the most improbable, catastrophic circumstances were to occur and we did have a shortage of petroleum, I'm sure that American technology and ingenuity would overcome the problem in no time at all. All in all, I'd say your time would be better spent worrying about the real problems that face our world instead of a shortage of gasoline. + +Biff and his boys make FART NOISES. + +BIFF + +Hey, we got plenty of gas back here! + +More LAUGHTER from the class. + +INT. SCHOOL CORRIDOR – DAY + +The BELL RINGS. + +Students pour out of classes into the hall, including Mr. Arky’s science students. + +Marty steps out into the hall, waits for George to come out and, keeping his distance, follows him. + +INT. HALL INTERSECTION + +Marty follows George toward a hall intersection where EILEEN is passing by with her girl friend MADGE. Eileen sees George, but not Marty. She smiles at him. + +EILEEN + +Hi, George. + +George looks at her and is so at a loss for words that he walks into another student. + +Eileen and Madge giggle and continue down the hall. + +AT A DRINKING FOUNTAIN + +George stops at a fountain, goes down for a drink and gets water sprayed in his face! Marty shakes his head. + +SCHOOL LOCKERS + +George dials the combination to his locker, opens it, and is hit by an avalanche of books! + +Marty turns his head, not sure whether to laugh or cry. + +INT. SCHOOL CAFETERIA + +A LARGE POSTER advertises the “Springtime In Paris Dance” on Saturday, March 16. + +We PAN OVER to the cafeteria line where George is getting his lunch. Marty is right behind him in line and watches as the cafeteria ladies give George the burnt pork chop, the wilted salad, and the green stewed tomatoes. + +But George isn’t paying attention, because he’s talking to himself. + +GEORGE + +Eileen, if you're free Saturday night...no...Eileen, would you like to go to the dance...no... + +Marty hears this, then notices the poster. He perks up, very interested. + +INT. LUNCHROOM + +George comes out of the cafeteria line and looks around the lunch room. Eileen, Madge, and some other girls are sitting at a table. George takes a deep breath and heads over that way. Marty follows a short distance behind. + +George is very nervous as he approaches Eileen---in fact, his tray is shaking because his hands are quivering. + +GEORGE + +Uh, Eileen? + +EILEEN + +Hi, George. + +GEORGE + +Eileen, could I ask you something? Ooops---! + +His shaking tray causes him to spill his creamed corn. She smiles---she thinks it’s cute. + +GEORGE + +Uh, well, the thing is, that is, what I wanted to ask you... + +Marty draws closer to eavesdrop, but Eileen spots him. + +EILEEN + +Marty! Hi, Marty! Over here! + +George whirls around to see who she’s talking to and spills his entire lunch all over himself! + +GEORGE + +Oh God! Excuse me, please! + +George starts to walk away, but Marty stops him. + +MARTY + +Wait a minute---aren't you gonna ask her to the dance? + +GEORGE + +Huh? How did you know? + +MARTY + +Go ahead, George. Ask her. + +GEORGE + +Leave me alone! + +MARTY + +You've gotta ask her to the dance! + +GEORGE + +Not now... + +EILEEN + +Is that what you were going to ask me, George? To go to the dance? + +GEORGE + +No!! + +George runs away. Marty tries to stop him. + +MARTY + +George! Wait! Get back here! You're not supposed to run off! It doesn't happen that way! + +But George is gone. Marty throws up his arms. + +MARTY + +Oh, God, this is all wrong! + +EILEEN + +What's all wrong? + +MARTY + +George! He's supposed to ask you to the dance! + +EILEEN + +But he didn't ask me. + +MARTY + +But he does! Don't you see? He comes out of the cafeteria line, he's nervous, he spills his corn, and he asks you to the dance! + +EILEEN + +Marty, you haven't been listening. Nobody's asked me to the dance... + +(flirting with him) + +...yet. + +She smiles at him, then picks up her empty tray and walks off. + +Marty drops into a chair, totally shocked. + +MARTY + +I know. + +INT. PROFESSOR BROWN’S STUDY – DAY + +Professor Brown reacts with shock at what Marty has just told him. + +PROF. BROWN + +You did what?!? + +MARTY + +I didn't mean to do it---it was an accident! + +PROF. BROWN + +Do you realize what that means? Do you have any idea what that means? + +MARTY + +Look, it's not that big a deal! I can fix it! All I gotta do is get 'em together and make sure my old man asks her out! + +PROF. BROWN + +You’d better make sure your old man asks her out, because if he doesn't, they may never have a first date. And if they don't have a first date, they won't have a second date. If they don't have a second date, they won't fall in love. If they don't fall in love, they won't get married, and if they don't get married, you'll never be born! + +Marty gulps. + +CUT TO: + +EXT. STREET – MALT SHOP – DAY + +Marty is dragging George down the street toward the MALT SHOP just ahead, the local hangout. TWO KIDS on homemade scooters (roller skates nailed to a 2 x 4 with an orange crate on top) cruise down the sidewalk past them. + +GEORGE + +I don't know if I can go through with this! + +MARTY + +George, she's beautiful, right? She's nice, she's decent, she's the kind of girl you'd like to marry, right? And there's nothing in the world you'd like more than to take her to that dance, right? + +GEORGE + +Well...yeah... + +MARTY + +Okay, then! + +George halts abruptly and faces Marty. + +GEORGE + +Wait a minute---who are you, anyway? What are you doing this for? + +MARTY + +Let's just say I have a vested interest in you and Eileen going to this dance, all right? + +Look---there she is... + +Marty points through the window of the Malt Shop. + +P.O.V. THROUGH THE WINDOW OF + +The Malt shop, Eileen at a table with Madge and another girlfriend, talking and sipping ice cream sodas. + +BACK TO SHOT + +MARTY + +Go in there and invite her. + +GEORGE + +What do I say? + +MARTY + +Say what you were supposed to say in the cafeteria. + +GEORGE + +Oh, no! That was for the cafeteria! This is different! + +MARTY + +Christ, it's a miracle I was even born! + +GEORGE + +Huh? + +MARTY + +Nothing---look, I'll write it down for you, okay? + +Marty tears a page out of George’s notebook and starts writing something with his Bic Pen. George stares with fascination at the ball point pen. + +GEORGE + +What is that? A pencil that writes in ink? + +MARTY + +Huh? + +George takes it and examines it. + +GEORGE + +Lemme see that. + +(reads) + +“Bike fine point?” + +MARTY + +Bic. It's a Bic pen. + +GEORGE + +How do you fill it with ink? + +MARTY + +Fill it with ink? You don't fill it----oh, come on, George! + +Marty pulls George into the Malt Shop. + +INT. MALT SHOP + +Marty points George in the right direction and shoves the piece of paper in his hand. + +MARTY + +There she is. Just go and ask her. I'll be sitting right here. + +Marty takes a stool at the counter. + +George takes a deep breath, takes a step forward, hesitates, then goes to the counter. + +GEORGE + +(to Soda Jerk) + +Gimme a strawberry malted. + +Marty shakes his head. + +George looks at the piece of paper with what he’s supposed to say and mouths the words to himself. The Soda Jerk brings George his malted. George takes a slug; he gets up his nerve and approaches Eileen, unaware that he now has a pink moustache. + +Eileen sees George before he can even open his mouth. + +EILEEN + +Hi, George. + +George is slightly confused---this isn’t in the “script.” + +GEORGE + +Uh, hi, Eileen. + +EILEEN + +How are you? + +GEORGE + +Oh--I'm all right. Say, listen, about this dance Saturday night--- + +We hear the sound of the door being thrown open, and a familiar voice calls to George. + +BIFF (O.S.) + +Hey, McFly, I thought I told you never to come in here! + +George turns around and sees Biff and his gang standing there. George shudders. + +Marty drops his head in his hands and sighs. + +BIFF + +Well, it's gonna cost you, McFly. How much money you got on you? + +George quickly pulls out his wallet. + +GEORGE + +How much do you want, Biff? + +As Biff starts to walk toward George, Marty sticks out his leg and TRIPS HIM! Biff stumbles to the floor, careening into a chair. Everyone in the malt shop laughs at him. Biff, however, doesn’t think it’s very funny. He picks himself up and goes over to the stool where Marty is sitting with his back facing Biff. + +BIFF + +Listen, A-hole, it's about time I taught you a lesson. + +Biff puts a hand on Marty, and with that, Marty whirls back around and slams his fist into Biff’s face! + +Biff goes reeling backward into a table! Match, Gum and Skinhead face Marty, ready for action! + +Marty doesn’t like the odds---he bolts out of there! + +The three guys pull Biff to his feet and they all run out after Marty! + +EXT. MALT SHOP AND STREET + +Marty dashes down the street, followed by Biff and the boys! + +Most of the kids in the Malt Shop hurry outside to watch. + +Marty looks behind him---Biff and his boys are gaining! + +Then one of the kids on the scooters comes by. Thinking quickly, Marty yanks the scooter out from under him, kicks off the orange crate and creates a homemade SKATEBOARD! Marty hops on it and sails off down the sidewalk! + +Biff and the boys have never seen anything like it---nor has the kid whose scooter it was! Biff stares as Marty whips down the sidewalk. + +BIFF + +In the car! + +Biff and the gang jump into a convertible parked nearby. Biff peels out and races down the street after Marty! + +MARTY + +looks over his soulder and sees the convertible closing in! + +WIDER ANGLE, STREET + +The convertible is mere yards away. Suddenly, Marty cuts a sharp turn into the street and crosses right in front of Biff’s car! He turns again and heads back the way he came! + +Another car is now coming up from behind Marty. As it passes him, Marty grabs onto the back and hooks a ride! + +Biff and the boys are stunned! Biff cuts a U-turn and continues the pursuit! + +EXT. MALT SHOP + +Marty, towed by the car, whizzes past the Malt Shop! The spectators are truly amazed! Madge turns to Eileen. + +MADGE + +Did you see that?? + +Eileen nods, open-mouthed. She is very impressed. + +Now Biff’s convertible speeds after Marty! + +MARTY + +again looks over his shoulder and sees that Biff is closing in---and fast! Things don’t look good for Marty! + +Up ahead is an intersecting street: Hill Street. Marty lets go of the car and cuts a sharp left onto Hill Street! + +BIFF + +is coming too fast to make the turn! He overshoots the intersection and has to make another U! + +EXT. HILL STREET + +It’s an incredibly steep hill, and at the bottom is an intersection with a traffic light. Marty picks up speed as he coasts down! + +Now Biff’s convertible shoots onto Hill Street, actually leaving the ground as it comes over the hill! + +Biff drives like hell after Marty, and he’s closing fast! + +Then Marty drops into a crouch, cuts his wind resistance, and speeds away! + +At the intersection at the bottom of the hill, the traffic light turns yellow! + +Marty has no choice---he’s going through! + +Biff speeds up to stay on Marty’s tail! + +The traffic light turns red! + +Marty zips through the intersection! Cross traffic screeches to a halt to avoid hitting him! Marty whips around the cars and makes it safely across! + +Biff sees the stalled traffic in the intersection: directly in front of him is a RED CAR! He slams on his brakes! Biff’s wheels lock up and rubber screeches across the pavement! It looks like Biff is going to hit the car---then, at the last moment, the red car pulls out of the way---and Biff rams into the car in the next lane of traffic---a POLICE CAR! + +TWO COPS immediately get out of their car and approach Biff. Biff sighs. + +BIFF + +I’m gonna get that son of a bitch. + +CUT TO: + +EXT. RESIDENTIAL STREET – MARTY + +Marty skateboards casually down the street. As he comes to an intersection, he can see EILEEN’S HOUSE...and GEORGE is walking EILEEN home! Marty hides behind some bushes and watches. + +MARTY’S P.O.V. OF + +George and Eileen, as George, carrying her books, walks her to the door. He gives her her books and, after an awkward moment, they politely shake hands. + +MARTY + +sighs a massive sigh of relief. He hops back on his skateboard and goes off, OUT OF FRAME. + +We HOLD on Eileen’s house as Eileen closes the door and George departs. George’s mood abruptly changes: He’s pissed. He throws his jacket down on the street and slumps in the gutter, dropping his head in his hands. + +INT. MARTY’S BEDROOM – NIGHT + +Marty pulls Reginald’s business card from the pocket of his Porsche jacket. He looks at it for a long moment, then rips it into little pieces. He goes through the trash can and pulls out his Science textbook page. + +INT. PROF. BROWN’S STUDY – PROF. BROWN – NIGHT + +Professor Brown is at his desk, again playing back the micro-cassette tape, listening to the section with the gunshots. He plays that portion over and over again, but he just can’t figure it out. + +Marty walks in with the textbook page, and the Professor quickly puts the recorder down: as if he doesn’t want Marty to see him using it. + +MARTY + +Professor, you were right about everything. I don't belong here. I almost screwed up my existence again today while I was trying to put it back together, and I've had enough. I want to go back to the future. + +He hands Professor Brown the text book page and points out the caption under the picture of the Mushroom Cloud. Brown’s eyes light up. + +PROF. BROWN + +Where did you get this? + +MARTY + +I brought it with me from 1982. It's from my science book. + +PROF. BROWN + +The test is this Monday! 15 megatons...let's see, we need 4200 rads + +(does calculations on slide rule) + +You'd have to be...exactly 800 yards from ground zero. + +The Professor looks at Marty with concern. + +PROF. BROWN + +You realize that what we're going to do could be extremely dangerous. + +MARTY + +Believe me, Professor, running around on a nuclear test site can't be any more dangerous than what I've been doing. + +PROF. BROWN + +All right, here's what we'll do: we'll get an Army Surplus Truck, mount the Time Machine and Power Converter on it, and drive it to Nevada. If we leave by Saturday night, we can make it to the test site in plenty of time. + +And just to be on the safe side, I'd better build a lead-lined time chamber for your added protection. I don't know if I trust these atomic bombs. + +The PHONE RINGS. Brown answers it. + +PROF. BROWN + +Hello? + +(pause) + +Uh, no, Eileen, he can't come to the phone right now. + +Marty looks at the Professor with alarm. + +PROF. BROWN + +(into phone) + +All right...Yes, I'll tell him...Goodbye. + +Brown hangs up. He has a grave expression on his face. + +PROF. BROWN + +Your “mother” wanted me to tell you that she was very impressed by what you did this afternoon, and that if you were interested in going to the dance Saturday night, she's available. + +MARTY + +But that's impossible!! George asked her out! He had to! I saw him walk her home! Oh, God!! + +PROF. BROWN + +My guess is that she turned him down. + +MARTY + +But why? Why would she do that? She's supposed to marry the guy! + +PROF. BROWN + +Apparently, what has happened is that the maternal instinct has transcended the gap of time, and this has caused an alteration in your mother's emotional behavior. + +MARTY + +Are you trying to tell me that my mother's got the hots for me? + +PROF. BROWN + +In a manner of speaking, yes. And because of that, she's no longer interested in your father. + +MARTY + +Jesus! What are we gonna do? + +INT. MALT SHOP – DAY + +Eileen is sitting at the same table with Madge. Again, they’re talking, drinking ice cream sodas. + +Now Marty comes over and sits down. + +MARTY + +How ya doing, Eileen? + +EILEEN + +Hi, Marty! + +MARTY + +Listen, Professor Brown told me you called last night and gave me your message... + +Marty has his hands under the table. + +UNDER THE TABLE + +Marty’s HANDS attach the Micro-cassette recorder to the underside of the table with a piece of heavy masking tape and start it recording + +MARTY (O.S.) + +...and if you're still available, I'd like to take you to the dance Saturday night... + +THE CASSETTE RECORDER + +in Marty’s hand, playing back. + +MARTY (V.O. TAPE) + +...so I’ll pick you up around 8:30, okay? + +INT. BROWN’S GARAGE – MARTY, PROF. BROWN – NIGHT + +Marty and the Professor are listening to the tape. The Time Machine has been loaded into the bed of an Army Truck, and the Professor has been welding sheet lead into a large Philco Refrigerator. The top of the refrigerator has been modified to accommodate the Beam Focusing Unit of the Time Machine, so the Time Beam will project into the refrigerator. + +EILEEN (V.O. TAPE) + +Okay. See you later, Marty. + +We hear the sound effects of Marty leaving the Malt Shop. + +EILEEN (V.O. TAPE) + +Isn't he a dream? + +MADGE (V.O. TAPE) + +Boy, I've never seen you fall for anybody like that before. + +EILEEN (V.O. TAPE) + +I know. I've never felt like this about anybody before. I really don't understand it but I just feel like---like mothering him. + +Marty and the Professor exchange a look. + +MADGE (V.O. TAPE) + +But what about George? I thought you wanted him to ask you. + +EILEEN (V.O. TAPE) + +He did ask me...but I turned him down. + +MADGE (V.O. TAPE) + +Why? You always thought George was cute because he was so shy. + +EILEEN (V.O. TAPE) + +Well, that's what I thought. But he really isn't shy. He's just chicken. + +Professor Brown grabs the tape recorder and replays the last part of the tape. + +EILEEN (V.O. TAPE) + +He's just chicken. + +CUT TO: + +EXT. GEORGE’S BACK YARD – GEORGE, MARTY – DAY + +Marty is facing George, challenging him. + +MARTY + +Come on, George, don't be such a chicken. Hit me in the stomach. Right here, go ahead. + +Marty makes himself a target. George seems quite unwilling. In the background, a homemade body bag (a duffel bag filled with clothes) is hanging from a tree. + +GEORGE + +I don't want to hit you in the stomach. + +MARTY + +You're not gonna hurt me. Just hit me in the stomach. + +GEORGE + +Look, Marty, I'm just not a fighter. + +MARTY + +How many times do I have to explain it to you? We know you're not a fighter. You know it, I know it...but she doesn't know it. That's why we gotta make you look like a fighter, somebody who'll stand up for her, somebody who isn't chicken. And you're not gonna look like a fighter if you can't hit me in the stomach. + +GEORGE + +But I've never picked a fight in my life! + +MARTY + +You're not picking a fight, you're coming to her rescue. Maybe we'd better go over the plan again. Where are you gonna be at 8:55? + +GEORGE + +At the dance. + +MARTY + +And where am I gonna be? + +GEORGE + +In the parking lot, with her. + +MARTY + +Okay. So right around 9:00, she's gonna get very angry with me--- + +GEORGE + +Why? + +MARTY + +Why what? + +GEORGE + +Why is she gonna get angry with you? + +MARTY + +(it’s hard for him to say) + +Well...because...well, nice girls get angry at guys who...who try to take advantage of 'em. + +GEORGE + +You mean, you're gonna---- + +MARTY + +George: it's not your concern. Don't worry about it. Just remember that at 9:00, you'll be strolling through the parking lot and you'll see us...(gulps)...struggling in the car, you'll run over, open the door and say...? + +George doesn’t say anything. + +MARTY + +Your line, George. + +GEORGE + +Oh. Uh..."Hey, you! Get your damn hands off her!" You really think I should swear? + +MARTY + +Yes, definitely, George, swear. Then you hit me in the stomach, I go down for the count, and you and Eileen live happily ever after. Now, hit me in the stomach. + +George takes a deep breath and throws a flimsy punch into Marty’s gut. + +MARTY + +No, George, put a little emotion into it. A little hostility, a little anger. + +George tries to get himself angry. He makes some faces and throws another punch. It’s not much better. + +MARTY + +Anger, George. Anger. + +GEORGE + +Maybe if I used my left... + +MARTY + +No, George, just concentrate on the anger. Anger. + +George throws another punch. This one is slightly better than the last one. + +MARTY + +Well...I think you're starting to get the hang of it. Just keep practicing. I'll see you tonight. Remember, anger, George. Anger. + +Marty walks off, leaving George with the body bag. He stares at it, trying to make himself mad. + +GEORGE + +Anger...anger... + +He hits it...harder...again...harder...again...he hits the tree! George howls in pain! + +GEORGE + +Yeeeowww! Goddammit!!! + +He’s really angry now, and he socks the bag with his left----he KNOCKS IT CLEAR OFF THE TREE! + +George is astonished! + +INT. BROWN’S GARAGE – PROF. BROWN, MARTY – NIGHT + +The Time Machine and lead-lined refrigerator-time chamber are assembled in the bed of the Army truck, as well as the Power Converter and a motorcycle with a sidecar. + +Professor Brown is putting a tarp over the Time Machine. + +Marty is putting his 1980’s clothes in a laundry bag along with a few bottles of Coke. + +PROF. BROWN + +Everything's ready to go. What about the chemicals for the Power Converter...whatever they are? + +Marty puts his stuff in the cab of the truck. + +MARTY + +That's all taken care of. + +PROF. BROWN + +Good. I'll pick you up in front of the school at midnight. Don't be late---we're cutting it close as it is. We've got a long drive ahead of us. + +Marty fidgets with the tie he’s wearing. He’s very ill at ease. + +MARTY + +Look. I'm a little worried about this---this whole thing with my mother. I mean, I don't know if I can do it---I mean, hitting on my own mother, that's pretty heavy. + +PROF. BROWN + +Nobody said anything about hitting her. You're just going to take a few liberties with her. + +MARTY + +That's exactly what I said! I mean, a guy and his mother---that's illegal, isn't it? + +PROF. BROWN + +Look, Marty, she's not your mother yet. And if you don't go through with this, she may never be. I know it's hard, but there are some things we must do in life that are unpleasant. Some choices must be made that are difficult. Nonetheless, we must make them. Besides, this may be more than simply a question of your own existence. The fate of the entire space-time continuum may rest on your shoulders + +MARTY + +That's just what I needed to hear. + +PROF. BROWN + +It'll be fine, Marty. You'll do fine. Good luck. + +They shake hands. + +MARTY + +Professor...if something does go wrong tonight...if I don't get my parents back together...when do you think I'd cease to exist? + +PROF. BROWN + +There's no way of knowing. It could happen at the moment you arrive back in the future...theoretically, it could happen at the moment of your birth...or conception. Actually, it could happen at any time. It's a question to which I hope we'll never learn the answer. + +MARTY + +Amen. + +INT. SCHOOL GYMNASIUM – DANCE – NIGHT + +“Springtime In Paris” is well underway! + +On stage is the band: Lester Moon and the Midnighters. They’re all black---Lester himself plays rhythmn guitar and sings; there’s also a drummer, piano player, sax, clarinet and bass fiddle. They’re playing “The Blue Tango.” + +The gym floor has a paper-mache Eiffel Tower in the center; students do the Tango around it. + +As usual at school dances, there are teachers acting as chaperones, a busy refreshment table, and wallflowers on the sidelines. A STUDENT PHOTOGRAPHER snaps an occasional flash picture for the yearbook, or posterity, or just for the hell of it. + +GEORGE is on the sidelines, bopping out of time to the music. He’s quite nervous. + +EXT. SCHOOL PARKING LOT – NIGHT + +Professor Brown’s Packard pulls into the lot and parks. + +INT. PACKARD – MARTY, EILEEN + +Marty is at the wheel, very uneasy. Eileen, next to him, looks beautiful in her best party dress. Marty looks at the clock on the dashboard. + +MARTY + +Uh...let's just sit here for a few minutes. + +EILEEN + +Are you all right, Marty? You seem a little...nervous. + +MARTY + +Oh, no, I'm fine...fine. + +He’s not fooling anybody. + +EILEEN + +I'm usually nervous myself on first dates...but not tonight. It's funny, but somehow, I feel like...like I know you. + +MARTY + +Uh, yeah, well, believe me, I sure feel like I know you! + +INT. SCHOOL GYMNASIUM – THE DANCE + +George now glances at the clock in the gym. It says “8:59.” Alarmed, George looks at his own watch. + +INSERT – GEORGE’S WATCH + +which reads “8:55.” + +GEORGE + +is even more alarmed. He runs over to a nearby STUDENT. + +GEORGE + +What time do you have? + +STUDENT + +Five after nine. + +George is panic stricken! He runs like hell out of the gym! + +INT. PACKARD – MARTY, EILEEN + +Marty fidgets and looks at the clock again. + +EILEEN + +Why are you so nervous? + +Marty takes a deep breath. + +MARTY + +Well, Eileen...jeez, that's hard for me to say---have you ever been in a situation where---well---you know you have to act a certain way, but when you get there, you don't know if you can go through with it? + +EILEEN + +You mean like how you're supposed to act with someone on a first date? + +MARTY + +Well, sort of... + +EILEEN + +I think I know exactly what you mean. + +MARTY + +You do? + +EILEEN + +(nods) + +And you know what I do in those situations? + +Marty looks at her. + +EILEEN + +I don't worry about it! + +And with that, she throws herself on him, kissing him passionately, climbing all over him, putting his hands on her breasts! Marty is absolutely shocked! + +INT. SCHOOL HALL – GEORGE + +George is at a pay phone, dialing a number. His number rings and a WOMAN answers. + +WOMAN (V.O. PHONE) + +At the tone, the time will be 9:00 exactly. + +George doesn’t even wait for the tone---he takes off down the hall! + +INT. PACKARD – MARTY, EILEEN + +Eileen, her blouse partly undone and her bra exposed, continues her passionate assault of Marty---then abruptly stops and pushes him away. She’s very confused. + +EILEEN + +This isn’t right. + +INT. SCHOOL HALL – GEORGE + +George runs down the hall to the front door! He throws it open and runs out---only to get his jacket caught on the door jamb! He tries like hell to get his jacket undone. + +INT. PACKARD – MARTY, EILEEN + +EILEEN (CONTINUING) + +I don't know what it is, but...when I kiss you...something's wrong. It almost feels like...like I was kissing my brother...or my father...I don't understand it, but I just know it's wrong. + +I guess that doesn't make any sense, does it? + +MARTY + +Believe me, it makes perfect sense. + +We hear the sounds of APPROACHING FOOTSTEPS on gravel. Eileen reacts. + +EILEEN + +Sounds like somebody's coming. + +Marty hears the footsteps too. He looks at the dashboard clock. It’s 9:00. + +MARTY + +(to himself) + +Not now, George. Not now... + +Suddenly, the driver’s door is opened, an arm reaches in, yanks Marty out, and Marty finds himself fact to face with + +BIFF! + +BIFF + +I been lookin' for you, A-hole. + +Behind Biff is his usual entourage. Biff shoves him roughly into the arms of Skinhead. Marty struggles, but Skinhead and Match grab him and restrain him. + +EILEEN + +Let go of him! Leave him alone! + +Biff takes a look at Eileen in the car. + +BIFF + +Look at what we have here! + +(notices her exposed bra) + +Eileen---I didn’t know you were that kinda girl! + +EILEEN + +I'm not! + +She lunges at her door to escape, but Biff grabs her and climbs into the car. + +BIFF + +Oh no, you don't! + +Biff pulls her toward him and looks at his boys. + +BIFF + +Take him around back. I'll join you in a minute. + +(a beat) + +Go on! This ain't no peepshow! + +They drag Marty away. Biff shuts the car door and tries to kiss her. She struggles, and in a moment, all we can see through the windshield are tussling arms and legs, accompanied by Eileen’s muffled screams. + +EXT. SIDE OF SCHOOL + +Skinhead, Match, and Gums drag Marty around the corner to the side of the school. + +At the side door, REGINALD WASHINGTON is smoking a reefer. He sees the three guys dragging the kid he met the other day. + +REGINALD + +Hey! What's going on there? + +GUMS + +Beat it, black boy! + +REGINALD + +Hey, now, you'd better--- + +SKINHEAD + +Listen, spook, you lookin' for trouble? + +REGINALD + +No, sir, I don't want no trouble. + +He goes back in the school. + +EXT. FRONT OF SCHOOL + +George finally gets his jacket unhooked from the door jamb and hurries down the front steps and over to the parking lot. There are a few COUPLES hanging around. + +GEORGE + +runs frantically through the parking lot, looking for the right car. His eyes open wide upon seeing it. + +GEORGE’S P.O.V. OF + +the Packard. Through the windshield, we see arms and legs flailing about in a struggle! We hear Eileen screaming! + +GEORGE + +adjusts his pants, runs to the car, and opens the driver’s door. + +GEORGE + +Hey, you! Get your damn hands---uh oh! + +George realizes that he’s facing Biff! Now he’s really scared! + +BIFF + +I think you got the wrong car, McFly. + +EILEEN + +George! Help me! + +George doesn’t know what to do! He stares in dumbfounded amazement. + +BIFF + +Just close the door, McFly, and walk away. + +EILEEN + +George! Please! Help me!! + +EXT. SIDE OF SCHOOL – MARTY, GUMS, SKINHEAD, MATCH + +Gums and Match are holding Marty up against a wall, and Skinhead is about to throw a vicious punch. Skinhead winds up, but suddenly his fist is grabbed by a black hand! Skinhead turns around and finds himself facing Sax---and the rest of the band! + +SAX + +Who you callin’ “spook,” peckerwood? + +Skinhead throws a wide punch at Sax---Sax smashes him in the face! Then the entire band jumps Biff’s boys! Marty escapes and runs back toward the parking lot. + +EXT. PARKING LOT – PACKARD – GEORGE, BIFF, EILEEN + +George is still facing Biff, trapped in his moment of indecision. + +BIFF + +All right, McFly, I asked you politely to leave. Now I'm gonna have to teach you a lesson! + +Biff steps out of the car, grabs George’s right arm and starts twisting it----we can see pain on George’s face...pain and anger! Almost by reflex action, George lets go with a tremendous left hook, smack into Biff’s face! Biff hits the ground---out cold! George can’t believe he did it! + +Marty rushes toward the Packard. He is astonished to see George and Eileen embracing, and Biff out cold on the ground. He keeps his distance, allowing George and Eileen to have their moment. + +Nearby are a few bystanders from the front of the school, discussing what they just saw. + +BYSTANDER #1 + +Did you see that? + +BYSTANDER #2 + +Kid's got the greatest left hook since Joe Louis! + +BYSTANDER #3 + +Laid 'im out cold with one punch! + +BYSTANDER #4 + +Somebody better call an ambulance. + +Marty can’t believe what he’s hearing. + +Now George and Eileen head for the school. + +EXT. FRONT OF SCHOOL + +George and Eileen go up the front stairs. Marty, a safe distance away, watches. Just as they’re about to go in, Eileen turns and sees Marty. She smiles. He smiles back. + +EXT. SIDE OF SCHOOL – BAND MEMBERS; BIFF’S BOY’S + +The fight is over; Lester kicks skinhead in the ass one more time, and Biff’s gang runs away. Marty returns to assess the damage. + +MARTY + +(to the band) + +Hey, thanks a lot, you guys, + +SAX + +It's okay. + +MARTY + +Well, you guys go back in there and play the best version of “Turn Back The Hands of Time” that you can. + +DRUMMER + +Sorry, my friend, we're through for tonight. + +MARTY + +What do you mean? + +DRUMMER + +Look at Lester's hand. He smashed it on top of old Baldy. We can't play without Lester. + +Lester is wrapping a handkerchief around his battered, bleeding hand. + +MARTY + +But you guys have to play! The dance isn't over yet! You gotta play “Turn Back The Hands of Time.” My parents gotta--George and Eileen gotta dance the last dance and kiss! + +DRUMMER + +Hey, man, the dance is over...unless you can find somebody who can play the guitar. + +Marty looks at Reginald. + +CUT TO: + +INT. SCHOOL GYM – ON STAGE + +Marty is playing the guitar with the Midnighters, in a version of “Turn Back The Hands of Time.” + +George and Eileen are dancing cheek to cheek. As the number concludes they kiss. + +Marty sees this and smiles. He glances at the clock---it’s a few minutes before midnight. Marty steps up to the mike. + +MARTY + +Well, folks, that about wraps it up for this evening... + +There are moans of disappointment from the crowd. + +FROM THE CROWD + +Awww, one more! Just one more! + +MARTY + +You want one more, huh? + +Marty looks at the clock, then at the band...they seem to have no objections. + +Marty thinks for a long moment, then steps up to the mike. + +MARTY + +Well, I probably shouldn't do this, but what the hell, you're gonna be hearing a lot of this in the future anyway... + +(to the band) + +Follow me, fellas. + +Marty turns the volume on the guitar amp all the way up, places his guitar against it and blasts the gym with electronic feedback a la Jimi Hendrix! + +The audience is horrified, and the Midnighters don’t know what to think. + +Then Marty immediately picks out a Chuck Berry riff and goes into “Johnny B. Goode!” + +There are reactions of astonishment from everyone! + +In moments, the band figures it out and joins in...and for the first time in the history of the world, Rock ‘n Roll is heard! + +Some of the more adventurous in the crowd start dancing to it. + +Marty starts gyrating himself, jumping around like Little Richard! + +The crowd goes nuts! + +The band is really getting into it! + +The chaperones hold their ears! + +Marty segues into “Rock Around The Clock!” + +Everybody’s dancing now---they’re all doing something different, but everyone’s having a great time! + +Marty whips off his sport coat and throws it into the crowd! + +INT. HALL – PUBLIC TELEPHONE + +An ELDERLY TEACHER is on the phone. + +ELDERLY TEACHER + +That’s right, officer, there’s a riot in the school gym! + +INT. SCHOOL GYM + +The pandemonium on the dance floor continues! + +Sax gets up and improvises a solo---he’s terrific! + +Now Marty tears open his shirt and does some Elvis pelvis moves! + +Girls scream! + +Marty wraps it up with a final riff, and the audience goes berserk with applause! + +The Midnighters are breathless with euphoria! + +Marty takes a bow. + +MARTY + +(into mike) + +Good night, everybody! + +The excited band members crowd around Marty. + +SAX + +Man, that stuff cooks! That's the hottest sound I ever heard! + +LESTER + +You gotta play that Monday for that record company cat from New York! + +MARTY + +(suddenly serious) + +I won't be there Monday. + +The band is stunned. + +MARTY + +And don't you guys play it either. Its time hasn't come yet. If you play it, you might screw things up. It'll happen on its own. + +LESTER + +What are you talking about? + +MARTY + +Rock 'n roll! + +And with that, Marty runs off stage! + +EXT. HIGH SCHOOL ENTRANCE – NIGHT + +Professor Brown’s truck is idling in front of the school. Now Marty comes running out and jumps into the cab. Professor Brown is wearing an Army Uniform. + +MARTY + +Everything's cool! They danced, they kissed, they're in love! Let's go! + +The truck pulls out! + +INT. MOVING TRUCK – LATER + +Marty is still going over the events of the evening excitedly. + +MARTY + +I sure wish I could have seen the punch. I mean, he decked him---laid him out cold---one punch. It must have been beautiful! I didn't know he had it in him! + +PROF. BROWN + +You didn't? + +MARTY + +Nope. My father's never clenched a fist before in his life! + +PROF. BROWN + +(profound concern) + +Curious. Very curious. + +MARTY + +I just wish I could have seen it... + +EXT. NEVADA GAS STATION – DAWN + +Professor Brown’s truck is being filled at “State Line Gas,” a typical desert gas station of 1952. Facing one direction are signs, “Welcome To Nevada;” facing the opposite direction, “Welcome To Utah.” And of course, “Last Chance for gas in 150 miles.” In the background, the sun is rising between the distant mountains. + +INT. GAS STATION MEN’S ROOM – MARTY + +Marty is putting on an ARMY UNIFORM: fatigues, and a jacket. He takes the bottles of Coke out of his bag and shoves them in the jacket pockets. He checks out his appearance in the mirror. Satisfied, he exits. + +EXT. GAS STATION + +The ATTENDANT, a grizzled prospector type, shuts off the pump. + +ATTENDANT + +26 gallons...that’ll be $3.75. + +Professor Brown pays him; Marty rejoins the Professor, they climb into the truck and depart. + +EXT. ARMY GATES – NEVADA DESERT – DAY + +A dirt road leads to an intimidating looking gate guarded by M.P.’s. Barbed wire extends as far as the eye can see along the perimeter of the grounds, and a large sign proclaims, “U.S. ARMY, RESTRICTED AREA, AUTHORIZED PERSONNEL ONLY.” + +Professor Brown’s truck pulls in and stops at the gate. An M.P. steps over. + +M.P. + +Where do you jokers think you're going? + +Professor Brown hands him some “orders.” + +PROF. BROWN + +We're here to deliver that refrigerator. + +Brown indicates it. The M.P. sees it and shakes his head in disbelief. + +M.P. + +Do you know where you are? + +PROF. BROWN + +This is where they're gonna drop the bomb, right? Well, Philco wants to find out what it does to their refrigerator. + +The M.P. looks under the tarp and sees the motorcycle. + +M.P. + +What's with the motorcycle? + +PROF. BROWN + +General Motors wants to find out what it does to their truck. The motorcycle is because we don't want to find out what it does to us. + +The M.P. looks over the orders. He’s satisfied. + +M.P. + +Well, you better shake a leg. That bomb goes off in 55 minutes! + +Marty and the Professor exchange a look of relief, and they head out onto the nuclear test site! + +EXT. ARTILLERY BUNKER + +This is where the top brass and supervisory personnel are assembled to witness the atomic test. There is also an artillery battery with 105mm Howitzers, and a full communications base. + +COLONEL NORDELL is looking across the desert through binoculars. + +COLONEL NORDELL’S P.O.V. THROUGH BINOCULARS OF + +Professor Brown’s truck barrelling toward the test site. + +BACK TO SHOT + +as the alarmed Colonel turns to LIEUTENANT GLASS. + +COL. NORDELL + +Lieutenant, what’s that vehicle doing down there? + +LT. GLASS + +Two guys delivering a refrigerator from Philco, sir. + +COL. NORDELL + +From Philco? Jesus Christ! How many refrigerators do we have to blow up in this test? + +EXT. TEST SITE – “SUBURBIA” + +There are several tract houses here, a surrealistic suburban neighborhood, just as Mr. Arky described in 1982. A large sign nearby gives the distance from ground zero: “1.5 MILES.” + +Professor Brown’s truck backs into the driveway of a house where there are mannequins on the front lawn---a man with a lawn mower, and a woman in a chaise lounge. + +Marty hops out of the truck and opens the garage door. Brown backs the truck in and shuts it down. Marty removes his jacket---he’s perspiring under the hot desert sun---and throws it in the cab. + +INT. GARAGE + +The Professor and Marty remove the tarp and start hooking up the Time Machine. + +INT. DETONATION CONTROL + +This is a 1950’s version of Mission Control, where the personnel, military and civilian, actually control the nuclear test. There are a number of clocks and lots of equipment here. It’s 11:30 hours, and a flurry of activity. + +TIMEKEEPER + +Coming up on exactly 30 minutes to detonation. Lock all timing circuits...now. + +TECH #1 + +Mark. + +He throws a switch. 4 clocks start ticking down in sync. + +TECH #2 + +Check arming circuits. + +TECH #3 + +Arming circuits are green. + +MAJOR LANZA + +Final evacuation check. + +LT. JONES + +Roger. + +P.O.V. THROUGH BINOCULARS OF + +A TOWER WITH AN ATOMIC BOMB on it. This is it---Ground Zero. Yardage markers are posted at 200 yard intervals from the tower, up to 1600 yards, then a mile marker. + +PROF. BROWN (V.O.) + +There it is: Ground Zero. And your target is 800 yards. + +EXT. TRACT HOUSE – MARTY, PROFESSOR BROWN + +Marty and the Professor each have a pair of field glasses, and they stand at one side of the house looking toward the target area. + +Behind them, we can see that the truck is all rigged up and ready to go. The Power Converter is mounted on the roof of the cab with the solar cell pointed straight along the forward axis of the truck. + +MARTY + +It was sure nice of Uncle Sam to put those yardage markers up for us. + +PROF. BROWN + +We're at one and a half miles, so you're just a little over a mile from where you want to be. Wait until minus 3 minutes before you go---that should give you plenty of time, and it should be close enough to zero hour that they can't do anything to stop you. + +Park the truck at 800 and get in the refri---the time chamber. Just be sure the nose of the truck is pointed at the bomb...the Power Converter will do the rest. + +Marty follows Professor Brown back into the garage. The motorcycle and side car have been unloaded, and the male mannequin who was mowing the lawn is the passenger. Brown hands Marty a walkie-talkie. + +PROF. BROWN + +Here's a walkie-talkie, + +(indicates channel selector) + +I'll be on this frequency...this one's the Army. + +He flips it to the latter. + +CONTROL VOICE + +(walkie-talkie) + +T minus 28 minutes, and counting. + +PROF. BROWN + +I'd better go. + +(extends his hand) + +Good luck, Marty. + +They shake hands. + +MARTY + +Thanks for everything. + +PROF. BROWN + +(grins) + +I guess I'll see you in...30 years. + +Marty becomes very sober, knowing that he won’t see Professor Brown ever again...and knowing there’s nothing he can do about it. + +MARTY + +Uh...yeah... + +PROF. BROWN + +Is something wrong? + +Marty shakes his head, trying to hold back his tears. + +MARTY + +It's just always hard for me to say goodbye. + +Marty steps outside, not wanting to look at him. Professor Brown hesitates, then asks a question. + +PROF. BROWN + +Marty, I know I've repeatedly asked you not to tell me anything about the future, but...well, those loud bangs on the tape recorder...are they... + +MARTY + +Professor: there are some doors that shouldn't be opened. + +Professor Brown nods. + +CONTROL VOICE + +(walkie-talkie) + +T minus 27 minutes. + +Marty raises his binoculars and looks back toward ground zero. + +Professor Brown goes to the motorcycle. He looks at the mannequin---something’s wrong. He goes to the truck cab, pulls out Marty’s Army jacket, and puts it on the dummy. Now the Professor gets on the cycle, revs it up, and rides off. + +Marty, still gazing through the binocs, hasn’t seen any of what just happened. + +EXT. ARTILLERY BUNKER + +Lieutenant Glass is looking through binoculars. + +GLASS’S P.O.V. THROUGH BINOCS OF + +Professor Brown’s motorcycle heading back the way it came. The mannequin looks like a real person. + +BACK TO SHOT + +as Glass turns to Colonel Nordell. + +LT. GLASS + +There go those two lovers who brought the refrigerator. + +COL. NORDELL + +All right. + +(into phone) + +Evacuation is complete. This area is secure. + +EXT. TRACT HOUSE – MARTY + +Marty is walking around in front of the house, looking it over. He goes inside. + +INT. TRACT HOUSE – MARTY + +Amazingly enough, it looks like a model home---there is furniture, magazines on the tables, a TV, a radio. + +In the dining room, more MANNEQUINS are seated at the table, which is set with full place settings. Marty wanders through the house, chuckling at the idiocy of it all. + +MARTY + +goes into the kitchen and has a look around. There is a Frigidaire refrigerator---Marty opens it and discovers it is well stocked with food, including meat, cheese, milk, eggs, Coke, fruit and vegetables. Marty takes an apple, has a bite, and returns to the living room. + +INT. LIVING ROOM + +Marty turns on the TV. Snow. He switches channels and finally tunes in a picture---the “Howdy Doody” Show. Marty watches Clarabell dancing around and shakes his head. + +MARTY + +The “fabulous fifties.” + +INT. DETONATION CONTROL + +The countdown continues. + +TIMEKEEPER + +T-minus fourteen minutes. + +TECH #1 + +Lock all arming circuits. + +Technicians flip switches. + +TECH #2 + +Preliminary arming circuits locked. + +TECH #3 + +Main arming circuits locked. + +TECH #4 + +Auxilliary arming circuits locked. + +EXT. ARTILLERY BUNKER + +CAPTAIN TEAGUE is passing out sunglasses to his troops and to the civilian spectators. + +CAPT. TEAGUE + +You are here to witness one of the most spectacular sights in the history of man. It is really quite beautiful. There will be an intense white fireball that will recede into a bright yellow glow, accompanied by an intense shock wave... + +EXT. TEST SITE GATE – M.P.’S + +At the gate, the M.P.’s are monitoring the countdown on their radios. + +CONTROL VOICE + +T-minus 7 minutes. 7 minutes until detonation. + +Professor Brown roars toward the gate on his motorcycle. The M.P. who let him in opens the gate and waves him through. Brown waves back, never even slowing down. + +INT. TRACT HOUSE LIVING ROOM – MARTY + +Marty is watching TV as he takes off his fatigues. Under them are his 1982 clothes. He checks the time on the walkie-talkie. + +CONTROL VOICE + +T-minus 6 minutes and counting... + +EXT. DESERT ROAD + +Professor Brown speeds along a dirt road on his motorcycle, up a hill, into the mountains. At a suitable point, he cuts off the road and parks at a break in the hills. He gets off his bike, raises his binoculars and gazes off in the distance. + +BROWN’S P.O.V. THROUGH BINOCULARS OF + +the Test Site---including the tract homes, and the tower. + +PROFESSOR BROWN + +grabs his walkie-talkie. + +CONTROL VOICE + +...5 minutes and counting... + +He flips channels. + +PROF. BROWN + +Calling Marty. Do you read me? + +A moment’s pause, then the response. + +MARTY (V.O.) + +I read you, Professor. + +PROF. BROWN + +Is everything set? Have you put the formula in the Power Converter? + +MARTY (V.O.) + +I'm on my way to do that right now. + +INT. TRACT HOME GARAGE + +Marty enters and goes to the cab of the truck to get his jacket---of course, it’s gone! Marty is shocked! He checks the floor of the truck, under the seat...nothing! + +Marty climbs into the back of the truck and looks around. Not there, either! Panic fills his eyes as he grabs the walkie-talkie. + +MARTY + +Professor! I can't find the formula! I left it in my jacket, and my jacket's gone! + +EXT. PROFESSOR BROWN’S VANTAGE POINT + +Brown turns and looks at the motorcycle. Marty’s jacket is on the mannequin! + +PROF. BROWN + +Oh my God! + +INT. DETONATION CONTROL + +Detonation Control is a flurry of activity. + +TIMEKEEPER + +T-minutes 3 minutes, 30 seconds. + +TECH #1 + +Released safety switches. First Safety. + +Tech #2 flips a switch. + +TECH #2 + +First safety released. + +Tech #3 flips his switch. + +TECH #3 + +First safety released. + +EXT. PROF. BROWN’S VANTAGE POINT + +A distraught Professor Brown calls instructions into his walkie-talkie. + +PROF. BROWN + +Marty, it's over. Do you understand? It's over. Now I want you to get in the refrig---the time chamber, and we'll just pray that the lead lining--- + +INTERCUT WITH MARTY, IN THE GARAGE + +Marty interrupts with an idea. + +MARTY + +The refrigerator! Hang on, Professor! + +Marty runs back into the house. + +Professor Brown doesn’t know what to think. + +INT. HOUSE – KITCHEN + +Marty runs to the refrigerator and opens it. Sure enough, there are several bottles of Coke here! Marty is elated! + +MARTY + +(into walkie-talkie) + +Don't worry about a thing! There's plenty of formula in the refrigerator! + +PROFESSOR BROWN + +is even more puzzled. + +PROF. BROWN + +(to himself) + +The refrigerator? + +He throws a curious glance at Marty’s jacket on the mannequin. + +CONTROL VOICE + +T-minutes 2 minutes, 50 seconds. + +INT. GARAGE + +Marty climbs up on the cab of the truck to the Power Converter. He’s got two bottles of Coke. He tries to twist off the top of a bottle---of course, he can’t! There’s nothing else to do---he smashes the top against the edge of the cab! Marty pours Coke into the Power Converter! + +INT. DETONATION CONTROL + +TIMEKEEPER + +T minus 2 minutes, 40 seconds. + +TECH #1 + +Release second safety. + +TECH #2 + +(flips switch) + +Second safety released. + +TECH #3 + +(flips switch) + +Second safety released. + +EXT. GARAGE + +Marty revs up the truck and guns it out of the driveway! He heads for Ground Zero! + +EXT. ARTILLERY BUNKER + +Colonel Nordell is looking toward the bomb site with his field glasses. + +COLONEL NORDELL’S P.O.V. THROUGH BINOCS + +of Marty’s Truck, racing toward the bomb site! + +BACK TO SHOT + +Nordell is shocked! + +COL. NORDELL + +Jesus! What’s that truck doing out there? + +Captain Teague and Lieutenant Glass raise their own binoculars for a look. + +CAPT. TEAGUE + +He's heading straight for the bomb! + +LT. GLASS + +He's gotta be a commie spy---trying to sabotage the test! + +COL. NORDELL + +Captain! Get your men on this artillery and blow that truck to Kingdom Come! + +Captain Teague turns to his men. + +CAPT. TEAGUE + +Men, get on this artillery and blow that truck to Kingdom Come! Fire mission! Let's move! + +Teague’s men rush to the 105mm Howitzers. + +EXT. THE TEST SITE + +Marty drives the truck past the 1.3 mile marker! + +EXT. ARTILLERY BATTERY + +SERIES OF SHOTS OF + +Gun breeches being opened. + +105mm Shells being loaded in. + +Breeches slamming shut. + +Howitzers being cranked around. + +SGT. GUNTHAR + +Captain! Give us some coordinates! + +CAPT. TEAGUE + +I don’t have any! We’ll have to fire direct! + +EXT. TEST SITE + +Marty drives past the 1 MILE marker! + +EXT. ARTILLERY BATTERY + +The three Howitzers are pointed roughly in the same direction. + +CAPT. TEAGUE + +Fire! + +A cannon is fired! + +EXT. TEST SITE + +The shell EXPLODES wide off to one side of Marty, showering dirt and debris skyward! + +MARTY + +Jesus! + +EXT. ARTILLERY BATTERY + +Captain Teague has seen the blast through his binoculars. + +CAPT. TEAGUE + +Drop 5 elevation, Add 8 deflection. + +The Howitzer is cranked into position, and FIRED! + +INT. MOVING TRUCK – MARTY + +Marty looks worried as he drives on. + +Suddenly the SHELL EXPLODES ahead of, and on the other side of the truck! + +Marty is scared shitless now! He passes 1400 yards! + +EXT. PROFESSOR BROWN’S VANTAGE + +The Professor is watching it all through his binoculars. + +PROF. BROWN + +Oh my god! + +INT. DETONATION CONTROL + +TIMEKEEPER + +One minute, fifteen seconds! + +TECH #1 + +Release final safety. + +TECH #2 + +Final safety released. + +TECH #3 + +(hits switch) + +Final safety released. + +EXT. ARTILLERY BATTERY + +Sergeant Gunthar realigns the Howitzer. + +SGT. GUNTHAR + +Drop 2 elevation, Minus 3 deflection. + +The cannon is FIRED AGAIN! + +EXT. BOMB SITE – MARTY’S TRUCK + +The shell explodes several yards behind the truck, but right in line with it! + +INT. MOVING TRUCK – MARTY + +Marty looks behind him and shudders at how close that last one came! Just ahead of him is the 800 yard marker! Marty parks and checks the Army channel on his walkie-talkie. + +CONTROL VOICE + +Exactly one minute till detonation! 59...58... + +EXT. ARTILLERY BUNKER + +Colonel Nordell lowers his binocs and calls to Captain Teague. + +COL. NORDELL + +He’s stopped, Captain! Right at the 800 yard marker! + +CAPTAIN TEAGUE + +We’ll get him for sure this time! + +(to his men) + +Add 1 and a half elevation! + +INT. TRUCK – MARTY + +Marty is listening to the countdown. + +CONTROL VOICE + +...53...52... + +MARTY + +Hurry up! + +He opens the door of the truck! + +EXT. PROF. BROWN’S VANTAGE POINT + +Brown is watching with binoculars. He screams into his walkie-talkie. + +PROF. BROWN + +Move the truck! They’re gonna draw a bead on you! + +EXT. ARTILLERY BATTERY + +Sergeant Gunthar makes the final adjustment. + +SGT. GUNTHAR + +I’ve got a bead on him! + +EXT. BOMB SITE – TRUCK + +Marty is starting to climb into the back of the truck! He’s on the wrong walkie-talkie channel! + +CONTROL VOICE + +...47...46... + +Now Marty is about to talk into it. He flips channels! + +PROF. BROWN + +Back up! Back up! They’re drawing a bead on you! Back up! + +Marty moves faster than he’s ever moved as he rushes back into the cab! + +EXT. ARTILLERY BATTERY + +CAPT. TEAGUE + +FIRE! + +Sgt. Gunthar yanks the trigger pull! The cannon erupts with a tremendous BOOM! + +INT. TRUCK – MARTY + +Marty revs up the truck, shifts into reverse and floors it! Through the windshield, we see a HUGE EXPLOSION which wipes out the 800 yard marker! The shock wave rocks the truck! + +EXT. BOMB SITE + +The smoke clears, revealing a large CRATER at 800 yards! Marty’s truck is a safe distance away! + +EXT. ARTILLERY BUNKER + +CONTROL VOICE + +T minus 30 seconds! + +COLONEL NORDELL + +Everybody into the bunker! Take cover! Now! + +Captain Teague and his men leave their artillery posts and head for shelter. + +INT. TRUCK – MARTY + +Marty can’t get the truck started! He’s white with fear as the engine refuses to turn over! + +CONTROL VOICE + +...24...23...22 + +EXT. PROF. BROWN’S VANTAGE + +The Professor is watching through his binoculars. + +PROF. BROWN + +Come on, Marty! Come on! + +CONTROL VOICE + +...20...19...18... + +Finally it starts! Marty heaves a sigh of relief, then aims for the crater, some 100 yards away. + +CONTROL VOICE + +...14...13...12... + +Marty jams his walkie-talkie against the accelerator and the truck lurches forward. He opens the door and climbs out of the moving truck! + +EXT. MOVING TRUCK + +The truck barrels along toward the crater as Marty climbs into the back of the truck and throws the switches on the Time Machine! + +CONTROL VOICE + +...9...8...7... + +The truck hits the crater! + +Marty is thrown from his feet, into the bed of the truck! + +The truck lodges into the hole with the nose slightly off kilter from the tower! + +Marty climbs to his feet and turns the solar cell back toward the bomb! + +CONTROL VOICE + +...5...4...3... + +Marty opens the refrigerator door and climbs in! + +CONTROL VOICE + +...2...1... + +Marty slams the refrigerator door shut! + +INT. DETONATION CONTROL + +TIMEKEEPER + +Detonate! + +Three technicians turn their detonation keys in unison! + +EXT. BOMB SITE + +DETONATION! An incredible FIREBALL WHITES OUT EVERYTHING for a moment, then recedes into a YELLOW GLOW! + +EXT. TRUCK + +Brilliant light strikes the power converter! + +INT. “TIME CHAMBER” – MARTY + +Marty looks up as an intense white beam shoots down from the focusing lens above him! + +EXT. BOMB SITE AND TRUCK + +The yellow glow turns everything around it yellow! The tower is non-existant now, and the truck begins to melt before our eyes! + +INT. COMMAND BUNKER + +The Army Officers, their men, and the civilian observers marvel at the incredible site before them! The mushroom cloud has formed, billowing thousands of feet into the air! + +CUT TO: + +EXT. PROF. BROWN’S VANTAGE + +Professor Brown turns his attention away from the mushroom cloud in the background, to the mannequin sitting in the sidecar. He notices that there is a bulge in one of the pockets. He stares at it, thinking, wondering, trying to make up his mind... + +EXT. THE NEVADA DESERT – HIGH NOON + +All is quiet on the desert. No mushroom cloud, no sign of life...just the desert. + +A moment of quiet, then we notice a shifting of sand...as if something was pushing up from below...something IS pushing up from below...the door of a refrigerator with the word “Philco” on it! The door is partially melted, partially rotted, very worn down and aged. And now Marty climbs out of the refrigerator cavity! + +Of course, he looks the same as he did a moment ago. He looks at the remains of the refrigerator, and then notices the twisted metal hulk of the truck, half buried nearby. + +He looks around, and sees nothing but desert. + +He looks at his watch. Noon. He looks up at the sun. + +MARTY + +Shit. + +Marty wanders around aimlessly for a bit, not sure which way to go. Now he becomes aware of low noise---a noise coming from above---a noise like the rotors of a helicopter. The noise becomes steadily louder---Marty looks up. + +There is an aircraft up there, and it’s descending. It’s hard to see against the glare of the sun, and as it gets lower, it blows sand all over the place. Marty averts his eyes. + +ON MARTY + +as the helicopter noise ceases. He turns his head, and there in front of him is + +PROFESSOR BROWN’S AERO-MOBILE! + +It has the shape of a 1950’s car, but has 3 whitewalls, propellers, and stabilizing fins! Professor Brown is in the driver’s seat! On the rear deck of the craft is a Power Converter! + +Marty is speechless! + +Professor Brown hops out of the Aero-mobile. He’s 30 years older than when we last saw him...but he seems a little different from the eccentric Professor we knew earlier. He’s not brittle and old, but energetic and lively. He’s a man who’s got the world on a string. + +PROF. BROWN + +Marty! You're here! Right on time! How are you? Feeling okay? + +MARTY + +(very hesitant) + +What year is this? + +PROF. BROWN + +1982! March 18, just like we planned! My calculations were absolutely correct! + +30 years! God, I cannot believe it's been 30 years! Sure was a long time ago---longest I've ever had to wait for the results of an experiment! + +MARTY + +And you're alive, Professor? You weren't shot? + +PROF. BROWN + +Shot? Who'd want to shoot me? I've never felt better in my life! + +Marty doesn’t know what to say or do---he just stands there, staring. + +PROF. BROWN + +Hop in, Marty. We've got a long drive ahead of us. + +Marty cautiously approaches the passenger door. + +MARTY + +What do you call this? + +PROF. BROWN + +A car. + +They both get in the car. + +INT. AERO-MOBILE – MARTY, PROF. BROWN + +The controls and the dashboard are in the streamlined moderne style of the late 40’s Futurism. + +Professor Brown pulls a 16 ounce bottle of Coke out from under his seat---the same style Coke bottle we’ve always had---except he uses a bottle opener to pop the cap! He pulls open a compartment on the dashboard labeled “FUEL” and sticks the bottle in a funnel inside. + +Marty watches this and realizes what must have happened. + +MARTY + +Professor...you peeked, didn't you? + +PROF. BROWN + +(shrugs) + +Yeah. I figured, what the hell! + +EXT. NEVADA DESERT + +We hear the sound of whirring turbines and machinery, and the “car” lifts vertically off the desert floor and flies off into the sky! + +INT. MOVING AERO-MOBILE – LATER + +Professor Brown has been answering questions. Out the window we see only blue sky and clouds. + +PROF. BROWN + +You see, I never rebuilt the Time Machine after it was destroyed in 1952. I decided that experimenting with time and possibly changing history was too risky. Anyway, experiments in time travel were banned in all 87 states after the governor of Cuba caught Dr. Feldstein fooling around in the Bermuda Triangle---that was back in '64. + +MARTY + +But if you didn't rebuild the Time Machine, how did I go back in time in the first place? + +PROF. BROWN + +According to your girl friend, Suzy Parker, you and she were at the movies. You went to the restroom, and you never came out. Obviously, you stepped through an inter-dimensional time warp, created by the original operation of the time machine. + +MARTY + +Obviously. + +PROF. BROWN + +But I told everyone your disappearance was due to a teleportation experiment you were helping me with. So don't mention anything about time travel to anyone. + +MARTY + +What theater was I at? + +PROF. BROWN + +The Orpheum. + +Marty smiles; it’s all sort of making sense to him now. He glances out the window. + +MARTY’S P.O.V. OF + +A CITY----clean, modern---or rather, moderne--the sparkling image of “The City of the Future,” complete with streamlined skyscrapers and flying cars. The city is a long way down. + +ON MARTY AND THE PROFESSOR + +Marty is very impressed. + +MARTY + +Wow! Look at that city! + +PROF. BROWN + +Pretty, isn't it? + +MARTY + +It's the most beautiful city I've ever seen! What is it? + +PROF. BROWN + +Cleveland. + +EXT. THE MCFLY HOME – NIGHT + +The same house Marty has always lived in---except it’s been “streamlined.” The corners have been rounded, to decrease wind resistance, and on the roof is a large power converter. In the driveway is another Aero-mobile. + +Professor Brown’s Aero-Mobile descends and lands on the street in front of the house. In the background are other streamlined flying cars, buses and trucks. + +INT. BROWN’S AERO-MOBILE – MARTY, BROWN + +PROF. BROWN + +Go on in. I'll be with you as soon as I adjust this blasted flow capacitor. + +EXT. MCFLY HOME – NIGHT + +as Marty gets out of the Professor’s Aero-Mobile and approaches his house. + +Marty looks at his house, takes a deep breath, and walks up to the front door. He rings the door bell. + +The front door is answered by...A ROBOT! It’s the mechanical man not unlike Professor Brown’s “Mechanical Home Butler.” The robot speaks in an electronic monotone. + +ROBOT + +Greetings, Master Martin. Let me take your coat. + +MARTY + +Right... + +Marty hands the robot his Porsche jacket and steps into his house. + +INT. MCFLY HOME – NIGHT + +It seems to be pretty much the way it was when Marty left in 1982. His mother rushes excitedly toward him. + +EILEEN + +Marty! You're back! I'm so glad to see you! + +She gives him a hug, then notices his clothes. + +EILEEN + +Where did you get these silly clothes? + +(to the Robot) + +Sparky, get Marty some clean clothes. + +ROBOT + +Yes, Madam. + +“Sparky” scurries off. + +EILEEN + +Your father's in the study. Say hello to him. + +Marty nods, and walks down the hall. + +INT. HALL + +There are several display cases along the wall, and Marty has a look. In one is a PAIR OF BOXING GLOVES, and a plaque – “McFly-Liston Fight,” “Madison Square Garden, 1966.” In the next, a silver boxing champion’s belt, engraved with “George M. McFly, World Middleweight Champion, 1963.” And in another, a framed magazine ad with a picture of George McFly holding a very strange device: “The Champ gives tooth decay the One-Two Punch with Son-o-Dent ultra-sonic tooth care system, by E. Brown Enterprises.” + +Marty is amazed. He cautiously enters his father’s study. + +INT. STUDY + +George McFly looks up from his desk. He’s a much different George McFly than we saw before: in better shape, more extroverted, more self-assured. After all, he was the middleweight champion of the world! + +GEORGE + +Welcome home, son! The Professor told us what happened with the experiment---that there might be some side effects...lapses of memory. + +Marty approaches to get a better look at the man who looks like the father he remembers, but isn’t. + +GEORGE + +Your mom's got one heckuva dinner planned tonight! She's been pushing buttons all day! + +Marty notices a figure out in the yard, through the window. He has a closer look---it’s BIFF, in a Security Guard Uniform, sitting in a chair, sleeping. Now George has a look too and opens the window. + +GEORGE + +Hey, Biff! What are you doing, sleeping on the job? A security guard's supposed to be alert! + +A very humble BIFF replies. + +BIFF + +Yes, sir, Mr. McFly. + +GEORGE + +What am I paying you 50¢ an hour for? + +BIFF + +I'm sorry, Champ. It won't happen again, sir. + +Biff begins patrolling the yard. + +George resumes his own unfinished business. He attaches a suction cup to his forehead which is connected to a pen-like device by a wire, and waves the “pen” over a blank check---handwriting appears, accompanied by electronic beeps. It says, “Pay to the order of the Coca Cola Company.” + +MARTY + +(wide-eyed) + +What are you doing, Dad? + +GEORGE + +What's it look like I'm doing son? I'm paying the fuel bill. It's over $2.00 this month---we really oughta try to cut down. + +George sees that Marty is still staring in amazement. + +GEORGE + +What's wrong, son? You act like you've never seen a Write-O-Matic before. + +Marty takes out his own Bic pen and examines it. + +GEORGE + +Say, what have you got there? An antique pen? Let me see that! + +(takes it, examines it) + +I haven't seen one of these in...well, this is strange. How do you fill it with ink? + +George suddenly looks at Marty strangely---does he remember this conversation happening 30 years ago? + +But then there is a knock on the door and Eileen enters. + +EILEEN + +Marty, there's someone here to see you. + +Suzy Parker enters. Her hairstyle is a little unusual, as are her clothes, but she’s certainly the same girl. + +MARTY + +Suzy! + +SUZY + +Hi, Marty! + +MARTY + +What did you do to your hair? + +SUZY + +What did you do to yours? + +They both laugh. Now Professor Brown joins the group. + +GEORGE + +Hey, how's my favorite girl? + +SUZY + +Fine, Mr. McFly. + +GEORGE + +Why don't you two get out of here---I'm sure you can find something better to do than watch me pay bills! + +SUZY + +Marty, you'd better change your clothes. You can't go to Mambo Class looking like that. + +MARTY + +Mambo class? You mean people still do the Mambo? + +SUZY + +Sure. Everybody does the Mambo! + +Marty thinks a moment. + +MARTY + +Don't tell me you've never heard of Rock ‘n Roll...? + +Suzy now directed a blank look at him. + +SUZY + +Rock and what? + +PROF. BROWN + +I've never heard of it either. + +Marty grins widely. + +MARTY + +Well, maybe it's time you did! + +They all exit, leaving George sitting at his desk. George is thinking about something. He opens a desk drawer and pulls out a scrapbook...not an ordinary scrapbook...a HYDRAULIC SCRAPBOOK. It says so right on the cover, along with the name of the manufacturer: “E. Brown Enterprises.” George plugs it in, and pnuematic cylinders begin automatically turning the pages. At a particular page, it stops. George stares at the newspaper clipping on the page. + +INSERT – CLIPPING + +A story with the headline, “Police Quell Near Riot At School Dance,” along with a photo of the dance that shows Marty on stage! + +GEORGE + +stares at the photo, then shakes his head. + +GEORGE + +Nah. Couldn’t be. + +INSERT – PHOTO + +But it is.... + +ROLL END TITLES OVER NEWS PHOTO + +FADE OUT + diff --git a/scripts/Batman 2 (unproduced).txt b/scripts/Batman 2 (unproduced).txt new file mode 100644 index 0000000000000000000000000000000000000000..224a27b768ad2ed103998f3ca44a9f6e03af4f03 --- /dev/null +++ b/scripts/Batman 2 (unproduced).txt @@ -0,0 +1,7448 @@ += + + + + + + + + + + BATMAN 2 + + + Screenplay By Sam Hamm + + + + + + + + + + FIRST DRAFT + + + + + + + + + + NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS. + THEY HAVE BEEN REMOVED FOR THIS SOFT COPY. + + NOTE ALSO: THE HARD COPY OF THIS SCRIPT WAS IN THE NON- + PREFORMAT FONT "BOOKMAN OLD". THIS HAS BEEN CHANGED TO + PREFORMATTED TEXT FOR THIS SOFT COPY. + + + + + + + + + + + EXT. GOTHAM SQUARE - DUSK + + It's finally happened. Hell's frozen over. + + Christmas is two weeks off, arid SNOW is falling in Gotham. + Beneath its pristine white blanket, the city looks + uncharacteristically serene -- almost inviting. Peace has + been miraculously restored: strangers wave hello. Salvation + Army Santas ring their bells on streetcorners. And now, as + night falls, an ILLUMINATED SIGN winks on above Broad Avenue: + "JOYEUX NOEL GOTHAM -- Only 16 Shopping Days Left Till + Christmas." + + The streets are bustling with jolly shoppers. At a souvenir + store, we find an exasperated MOM squabbling with her seven- + year old. Like many other storefronts in Gotham, this one is + overflowing with bootleg BATMAN MERCHANDISE: t-shirts, key + chains, ceramic figurines. The kid is already wearing a + Batman baseball cap and a little black cape, but he obviously + wants more. + + Mom drags him off past another store window, this one full of + SCRAP METAL, with a sign reading "AUTHENTIC FRAGMENTS OF THE + BATWING -- $19.95 and up." A PANHANDLER is perched at the + entrance. Beneath his array jacket is a grubby sweatshirt + with the familiar yellow-and-black logo. In Gotham this + winter, Batmania is everywhere... + + EXT. GOTHAM SQUARE - LATER THAT NIGHT + + Two hours later, the SNOWSTORM's grown into a full-fledged + blizzard. The drifts are two feet deep and the streets are + all but empty of cars. A massive SNOW PLOW the size of a + Panzer tank rumbles past, FILLING THE FRAME... + + ...and revealing, as it passes, a group of CAROLERS, all + bundled up in mufflers and parkas. Unbothered by the weather, + they walk the street singing, spreading cheer and goodwill to + the few passersby. + + They've just gone into a lovely a capella rendition of "Silent + Night" when an oversized DELIVERY TRUCK, outfitted with snow + chains, clanks slowly past in the wake of the plow. Its sides + are decorated with cartoon igloos advertising a popular ice + cream snack -- POLAR BARS -- oddly inappropriate for this time + of year. + + A streetcorner SANTA, with bell and bucket, WAVES at the truck + as it rounds a corner. The CAROLERS carol. Then -- + + -- a VIOLENT EXPLOSION rocks the street -- followed by the + sound of AUTOMATIC GUNFIRE and a high, wailing SECURITY ALARM. + + EXT. SCHRACH AND CO. - THAT MOMENT - NIGHT + + Around the corner there's CARNAGE on the streets. The windows + have blown out of Gotham's leading jewelry store. Gut-shot + SECURITY GUARDS stagger and go face down in the snow as + ROBBERS, dressed in white camouflage gear, clamber out through + the shattered glass with SACKFULS OF LOOT. + + CAROLERS spill around the corner to see what's going on, but a + spray of GUNFIRE sends them scattering in panic. The POLAR + BAR truck pulls even with the jewelry store, and as it does... + + The REAR DOORS open. A RAMP slides down from the back of the + truck. The ROBBERS scramble aboard, and mere seconds later + SLIDE out AGAIN -- riding atop five SKIDOO SNOWMOBILES. + + SIRENS HOWL. A POLICE CAR appears, taking the corner just a + trifle too fast -- FISHTAILING on the icy street and plowing + into a drift. + + INT. SQUAD CAR - THAT MOMENT - NIGHT + + The COPS gun the engine, but their wheels are spinning in the + snow -- no traction. They're about to climb out and give + chase on foot when, through the windshield, they see the + Salvation Army SANTA... + + ...HOISTING AN AK-47 AND FIRING DIRECTLY AT THEM. The + windshield disintegrates and the COPS sink from view as SANTA + races off to the last of the snowmobiles, which is already + burdened with LOOT. + + EXT. STREET - THAT MOMENT - NIGHT + + MORE SQUAD CARS converge on the jewelry store -- but it's + difficult to carry on a high-speed pursuit when the snow's a + foot deep and the best you can do is 6 MPH. The COP CARS skid + to a halt, blocked by the rumbling SNOWPLOW. By now, of + course, the LOOTERS are gone -- scooting off on either side of + the plow, sticking to the snowy sidewalks. + + EXT. STREETS - A MOMENT LATER - NIGHT + + SNOWMOBILES glide across the sidewalks, sending the few hardy + souls who are out on the streets DIVING FOR COVER. A couple + of DERELICTS are cowering behind a fire hydrant, trying to + avoid getting run over. Every time they poke their heads out, + another SKIDOO whizzes past, missing them by inches. + + The ROBBERS fan out in various directions. These guys are + obviously going to get away clean -- unless... + + The DERELICT points up at the night sky, where a BEACON is + blazing in the darkness -- THE BLACK SILHOUETTE OF A BAT... + + INT. POLICE CAR - THAT MOMENT - NIGHT + + MORE SIRENS. A COP takes a radio call as he streaks down the + long wide avenue which borders Gotham Park -- one of the few + streets which is relatively clear. The COP at the wheel goes + wide-eyed and nudges his partner in disbelief. + + Before their eyes, FIVE SNOWMOBILES appear from the cross + streets up ahead and CONVERGE at the entrance to Gotham Park. + Bringing up the rear is SANTA CLAUS. + + COP + What the hell -- ? + + EXT. ENTRANCE TO PARK - THAT MOMENT - NIGHT + + BRAKES SQUEAL. Several squad cars are now massed at the + entrance to the park -- but there's one problem. The city's + snow plows don't operate on the park roads -- and the entrance + is blocked off with SAWHORSES reading "CLOSED TO TRAFFIC." A + huge steep drift prevents them from entering -- and so all + they can do is stand by helplessly, WATCHING as the + snowmobiles vanish into the trees. + + The COPS race about like headless chickens, trying to concoct + a plan. A couple of them are trying to scale the stone walls + of the park. Another is at his car, barking into a radio + mike: + + COP WITH MIKE + Yeah, you heard me. Snowmobiles! + (pause) + So what do we do? Chase 'em on foot?? + + ALL EYES TURN at the blare of a horn. The COPS peer down the + long corridor of the cross street -- and see a STRANGE BLACK + VEHICLE barreling toward them at 90 MPH, with no intention of + stopping... + + THE BATMOBILE!! COPS dive left and right. A split-second + later... + + ...a FORTY-FOOT JET of NOVA-INTENSITY FLAME erupts from the + front of the jet-black supercar -- instantaneously DISSOLVING + the drift that blocks the entrance to the park -- turning the + ice and snow on the paths before it into water! + + The BATMOBILE screams past in the wink of an eye. The COPS + get to their feet; cold as it is, they're sweating. One of + them mops his brow and announces, dumfounded: + + COP I + ...That was Batman. + + COP II + NO SHIT!! + + COP II yanks COP I into the nearest squad car, and the others + follow suit. ENGINES REV. As long as the BATMOBILE's cleared + a path, they might as well join in the chase... + + EXT. BRIDLE PATH - THAT MOMENT + + TWO BURLY TEENAGERS -- both dressed in RED BERETS and PARKAS + with BLACK BATMAN SWEATSHIRTS visible underneath -- are + trudging along the path when they're STARTLED by a pair of + speeding SKIDOOS. Moments later, they spot a RED GLOW on the + horizon... + + ...and their JAWS DROP as the BATMOBILE roars into view, + BURNING OFF THE SNOW IN ITS PATH. Thrilled beyond words, they + WHOOP WITH GLEE, slapping high-fives as the car streaks past. + + INT. BATMOBILE - ON BATMAN - THAT MOMENT + + His face is weirdly illuminated by the flame still spitting + from the front of the car. Cool as ever -- approaching the + chase as a simple problem in logic -- he checks a radar + display on his dashboard and sees FIVE BLIPS. + + EXT. PARK - ON SQUAD CARS - THAT MOMENT - NIGHT + + The cops follow along in BATMAN's path. The lead car LOSES + CONTROL and plows headlong into a drift. The DRIVER jams the + pedal, but his rear wheels end up digging a deep rut in the + ice. He sits there cursing, pumping the accelerator as other + COPS race past him on foot. + + INT. BATMOBILE - ON BATMAN + + The various ROBBERS have spread out, their vehicles BOUNDING + over the hilly terrain of the park. He spots two of them up + ahead; as he draws closer, they PART WAYS, veering off to the + left and right... + + ANGLE ON BATMOBILE - MOVING + + PODS OPEN on the front fenders, and MISSILE LAUNCHERS rotate + into place. The Batmobile fires a pair of HEAT-SEEKING + TORPEDOS, which BURROW into the snow on either side and + disappear. + + ANGLE ON LEFT SNOWMOBILE - MOVING + + The DRIVER looks back over his shoulder and sees what appears + to be a BLACK SHARK FIN plowing through the snow behind him, + GAINING FAST. He takes evasive action, but the SHARK FIN + always seems to follow. Just as he approaches the crest of a + hill... + + ...the TORPEDO slams into the rear of the SNOWMOBILE. The + force of impact knocks the ROBBER cleanly off. His LOOT lands + in the snow beside him, but the SNOWMOBILE keeps going -- + sailing over the crest of the hill and striking the rocks + beyond with a deafening EXPLOSION. + + ANGLE ON RIGHT SNOWMOBILE - MOVING + + This ROBBER's a little smarter than his buddy. When he sees + the shark fin on his tail, he noses his snowmobile off into a + GROVE OF TREES. The trees are too closely spaced for the + torpedo to maneuver; it strikes the nearest tree trunk and + explodes harmlessly. + + The ROBBER is feeling good about himself, because the + Batmobile can't follow either. But BATMAN has a Plan B. As + he drives alongside the grove, he HITS THE ACCELERATOR, + passing the snowmobile on its left. A STEEL SPIKE attached to + a cable launches from the side of the Batmobile and WEDGES + ITSELF into a distant TREE. + + The cable goes taut, and the tree TOPPLES -- directly into the + path of the second SNOWMOBILE. The vehicle crashes into the + trunk, and the hapless ROBBER goes cartwheeling head-over- + heels into a drift. + + In the distance, COPS appear -- racing to the scene on foot, + ready for mop-up duty. BATMAN kills the flamethrower, hits + the brakes, and FISHTAILS, doing a quick 180 on the snow. + He's just spotted fresh quarry: snowmobiles three and four, + whizzing over a rolling white pasture in the distance. + + EXT. PARK - THAT MOMENT + + We're at a makeshift CAMPSITE -- where a cluster of HOMELESS + PEOPLE are burning refuse in a garbage can to keep warm. They + look on in puzzlement as the two SNOWMOBILES whiz past and + disappear over a crest of a hill... + + EXT. LAKEFRONT - ON SNOWMOBILES #3 AND #4 + + They bounce down the hillside and SKID -- arriving at the edge + of a frozen-over LAKE. With the roar of the Batmobile behind + them, the two DRIVERS get the same idea simultaneously. + Smiling, they rev their engines and set out over the surface + of the lake. + + Now the Batmobile crests the ridge. The car's weight tips + suddenly and it begins to skid down the hill toward the lake. + BATMAN sees what's happening and kills the flamethrower just + in time -- but he can't brake the car on the snowy slope. The + prow of the Batmobile slides out onto the edge of the lake -- + + -- and under its weight, the ICE begins to crack. The left + front tire takes a sudden dip -- and worse yet, the car is + sliding forward. + + INT. BATMOBILE - ON BATMAN + + He shifts frantically from drive to reverse, trying to rock + the car out of its predicament, but his rear wheels find no + purchase. He can hear the ice cracking beneath him. + Grimacing, he throws a switch on the dashboard -- + + EXT. LAKE - ON BATMOBILE + + -- and the trunk pops open. An industrial-strength GRAPPLING + HOOK shoots upward and digs in at a point beyond the crest of + the hill; and a concealed WINCH ASSEMBLY begins to grind away, + hauling the Batmobile uphill, out of danger. + + INT. BATMOBILE - ON BATMAN + + Suspended just above the icy lake, he sees the SNOWMOBILE + vanishing into the distance. He opens (yet another) panel on + the dashboard... + + EXT. LAKE - ON SNOWMOBILES #3 AND #4 + + The ROBBERS give each other a big thumbs-up. They're almost + halfway across the lake now and the Batmobile is disabled. + All at once they hear a strange WHISTLING overhead... + + Fireworks? No, it's a THERMITE BOMB -- rocketing past them, + hitting the ice some forty feet ahead and EXPLODING GAUDILY. + JAGGED CHUNKS OF ICE break free and SHIFT in the frigid water + -- and the ROBBERS are skidding into the drink before they + know what's hit them. + + ANGLE ON SNOWMOBILE #5 - MOVING + + The last of the robbers is SANTA CLAUS -- his big sack filled + not with toys, but precious stones. He approaches the edge of + the park, negotiating his way through a maze of rocky + outcroppings. He squirts out from behind a boulder into a + clearing... + + ...and GASPS in PANIC as a SEARING BURST OF FLAME erupts + behind him. The BATMOBILE speeds out from the other side of + the boulder; SANTA twists his accelerator, desperately trying + to build up speed. + + As it is, he's barely managing to stay ahead of the + flamethrower. But the jet of flame suddenly DIES; the HOOD of + the Batmobile rises half a foot -- + + -- and TWIN PROJECTILES launch into the air. A heavy NET is + strung between them -- and it lands SMACK ON TOP OF SANTA + CLAUS, entangling the snowmobile and stopping him in his + tracks. + + Immobilized, he watches through the net in horror as the + Batmobile barrels down. When the great black machine is + almost atop him -- + + -- it stops on a dime six inches from his heavily-padded + frame. + + EXT. ENTRANCE TO PARK - A MINUTE LATER - NIGHT + + The COPS are spread out near the entrance. They've rounded up + the other ROBBERS and returned most of the loot. They hear a + dull ROAR in the distance... + + ...and a few seconds later the BATMOBILE streaks into view, + dragging the NET behind it -- SANTA, his loot, and his + snowmobile, all tied up in one tidy parcel. + + At the entrance to the park, the NET detaches itself from the + Batmobile, dumping SANTA into the hands of the waiting COPS. + Without stopping, the BATMOBILE roars out of the park and + vanishes whence it came. A mildly-humiliated COP turns to his + colleague and SHRUGS: + + COP I + ...Merry Christmas. + + The second COP points to SANTA, still struggling in the net. + + COP II + Gift-wrapped and everything. + + DISSOLVE TO: + + EXT. CITY HALL - DAY + + TV MINICAM CREWS are camped out on the steps of City Hall, + with a sizable crowd watching from the street. COMMISSIONER + GORDON is reading from a prepared statement. + + GORDON + After a high-speed chase -- over $750,000 + in precious jewels were recovered intact + by the police force -- working in concert + with Batman. + + At the sound of Batman's name, a CHANTING goes up in the + crowd: + + VOICES IN CROWD + TAKE BACK THE STREETS! TAKE BACK THE + STREETS! TAKE BACK THE -- + + GORDON winces and lets out a sigh. The CHANTERS are a group + of pugnacious, well-muscled KIDS, late teens and early + twenties, all dressed in identical garb: black Batman + SWEATSHIRTS and little red Guardian-angel BERETS. They're + obviously members of the same club -- just like the guys we + saw in the park. + + GORDON waits for them to shut up, but they don't; so he grabs + the mike and speaks slowly and distinctly, trying to be heard + over the din. + + GORDON + I would like to stress -- that while this + city enjoys a special relationship with + Batman -- + (louder) + -- we do not condone vigilantism -- + (practically screaming) + -- IN ANY FORM. + + It's no use. He's totally drowned out by the RED BERETS, who + continue to shout and shake their fists. Giving up, he + returns the mike to a REPORTER and marches up the steps in a + huff. The RED BERETS CHEER. + + CUT TO: + + INSERT - TELEVISION SCREEN + + The evening news: a live, on-the-spot interview from Gotham + Square. A superimposed GRAPHIC identifies a surly kid in a + RED BERET as "MIKE SEKOWSKY -- SPOKESPERSON -- ORDER OF THE + BAT." + + SEKOWSKY + And hey! Where does this -- + (BLEEP; expletive deleted) + -- Gordon get off calling us ? + We're not breakin' any laws. We're a + group of concerned citizens, that's all -- + just like Batman. + + WOMAN IN CROWD + You people are nothing but hoodlums! + + SEKOWSKY + Hey, lady -- we're out here on patrol + riskin' our necks to protect old biddies + like you. + (into mike) + If this lame-o Gordon could do his job -- + + MORE CATCALLS from the crowd. The picture jumps suddenly as a + minicam is jostled; some sort of SCUFFLE appears to be + breaking out. Before it does, CAMERA PULLS BACK from the TV + screen, placing us in: + + INT. WAYNE MANOR - KITCHEN - NIGHT + + where ALFRED THE BUTLER is watching the Sekowsky interview + with extreme dismay. As he trims the crusts from a pair of + hearty watercress sandwiches, he SLICES HIS FINGER OPEN. + + ALFRED makes a pained face -- it's all Sekowsky's fault. + Onscreen, the fracas continues; SEKOWSKY has recommandeered + the mike... + + SEKOWSKY (on TV) + We're provin' that the spirit of Batman is + alive in this city. We're gonna take back + the streets! + + SEKOWSKY raises a fist. Behind him, his CRONIES begin to + chant: "TAKE BACK THE STREETS! TAKE BACK THE STREETS!" + Incensed, sucking on his finger, ALFRED moves to the TV and + flicks it off. + + He turns on the radio in search of something more soothing. + "Good King Wenceslas" pipes through the manor; smiling, ALFRED + sets the sandwich plate alongside a steaming kettle on a + Sterling silver tea service. + + INT. BRUCE'S LIBRARY - THAT MOMENT - NIGHT + + The CAROL CONTINUES UNDERNEATH as ALFRED, white linen draped + over one forearm, sets the tea tray down on his master's big + mahogany desk. He digs in his pocket for a key and unlocks a + side drawer. + + The drawer contains a stack of yellowed, aging NEWPAPER + CLIPPINGS -- among them one which reads "THOMAS WAYNE + MURDERED: Prominent Doctor, Wife Slain in Robbery. + Unidentified Gunman Leaves Child Unharmed." ALFRED digs + around beneath the clippings and finds a concealed SWITCH at + the rear of the drawer. + + Gears grind, and a sectional bookcase detaches itself from the + wall -- sliding out a couple of feet to reveal a STONE + STAIRWAY which descends into darkness... + + INT. BATCAVE - A MOMENT LATER - NIGHT + + Descending the stone stairs, ALFRED arrives in the Batcave. + "Good King Wenceslas" is on the speakers down here as well. + Across a catwalk the BATMOBILE rests on its little plateau, + wrapped in a tarp. + + ALFRED clears some space on a lab table and sets the tea + service down. He glances up at the bank of video monitors and + sees SEKOWSKY, still babbling, on several channels + simultaneously. He scans the cave, but there's no trace of + BRUCE. + + ALFRED + Sir? -- MASTER BRUCE?? + + As if in response, BATS screech and flutter in the distant + recesses of the cavern. ALFRED turns suddenly and sees BRUCE + behind him, suspended from a thin filament wire, RISING OUT OF + A BOTTOMLESS ABYSS. + + BRUCE + I'm not deaf, Alfred. I hear you. + + He's wearing his civvie -- tweed pants and cashmere sweater -- + but he's got the utility belt, with its spring-action reel, + buckled about his waist. Clutching a bundle, he hangs in + midair for a moment, dangling over the void. ALFRED slowly + regains his composure: + + ALFRED + I took the liberty of preparing tea. + (indicating tbe monitors) + I take it you've been watching the news? + + BRUCE, still dangling, glances up at the SEKOWSKY interview + and nods. + + BRUCE + Yeah...lot of crazy people in this world. + + BRUCE rocks back and forth to build up momentum. He kicks off + on the nearest stone outcropping, lands gracefully on the + Batcave floor, and unbuckles his belt. Preoccupied, he drops + his mysterious bundle on the lab table: a roll of black + fabric, and a cluster of lightweight, hollow ALUMINUM RODS, + connected by what appears to be SURGICAL TUBING. + + ALFRED + I should inform you...Christmas is + approaching, and we've received our annual + solicitation from the Fireman's Toy Fund. + (eyeing the equipment) + If I may inquire...? + + BRUCE + Oh, yeah. Watch this. + + BRUCE hits a trigger on a tiny gas canister attached to the + tubing. The tubing inflates and the rods spring erect -- + stiffening, wing-like, into something which looks remarkably + like the skeleton of an umbrella. + + ALFRED + Most ingenious, sir. What exactly it? + + BRUCE + What does it look like? + + ALFRED + To the untrained eye, sir, it looks + remarkably like...the skeleton of an + umbrella. + + Sounds good. BRUCE eyes his new invention, thinks it over, + smiles slyly. + + BRUCE + Good guess, Alfred. That's exactly right. + + BRUCE hits the trigger, and the rods WILT with a hiss. He + sits at his lab table; ALFRED unfolds a napkin on his lap, + pours a cup of tea. + + ALFRED + Splendid, sir, and if I may say, I'm glad + you're putting your time to such + productive use. + (beat) + Now -- the Toy Fund. Our contribution + last year was a half-million dollars... + + BRUCE + We can do better than that. + + ALFRED + Then there's the foster-parents program... + the Gotham homeless crusade... + + BRUCE nods abstractedly and tucks into his sandwich. He seems + oddly preoccupied -- not exactly melancholy, but his thoughts + are obviously a million miles away. ALFRED looks on, + concerned: + + ALFRED (cont.) + Is something troubling you, sir? + + BRUCE + Yeah...the holidays, I guess. Always gets + me thinking about... + (he changes the subject) + And to tell you the truth, I'm a little -- + concerned about Vicki. + + ALFRED + (anxiously) + Miss Vale, sir...? + + BRUCE + Yeah. I've been thinking about it lately. + Thinking about it a lot... + (gravely; shaking his head) + ...and I still can't figure out what to + get her for Christmas. + + BRUCE shoots ALFRED a solemn, perplexed look -- and ALFRED + heaves an audible sigh of relief as we + + CUT TO: + + INT. PRISON CELL - DAY + + TIGHT ON a stack of COOPS and CAGES, piled high against a bare + concrete wall. Each cage -- and there are at least two dozen + of them -- contains a twittering BIRD: starlings, pigeons, + cardinals, titwillows... + + CAMERA PULLS BACK from the bars of the cages to reveal a VERY + ODD FIGURE in prison greys. A CANARY, perched on his + shoulder, SINGS HAPPILY as he stands in front of a grimy, + cracked mirror, plastering back his hair, BUFFING HIS NAILS + with quick, birdlike strokes. + + MR. BONIFACE is beak-nosed, epicene, and so fat that it seems + his skin should burst; the adjective that comes to mind is + "obscene." Despite his eccentric appearance, he comports + himself with overblown, theatrical dignity. Fastidious and + preening, he does not suffer insults lightly. + + CAMERA PULLS BACK FURTHER -- through another set of bars -- + and we realize that MR. BONIFACE is himself caged. A PRISON + GUARD arrives to slide back his cell door... + + GUARD + Up and at 'em, Pengy. -- Pengy? + + MR. BONIFACE pointedly ignores the GUARD, refusing to + acknowledge the odious (if wholly appropriate) nickname. + + GUARD (cont.) + Boniface... + + MR. BONIFACE finally turns. With an expression of extreme + distaste, he affixes a MONOCLE over one eye, returns the + canary to its cage and allows himself to be ushered out. + + INT. WARDEN'S OFFICE - DAY + + MR. BONIFACE and his ATTORNEY sit at a long table across from + the WARDEN and the members of the PAROLE BOARD. + + PAROLE OFFICER + You want to return the money you stole. + + BONIFACE + Intact. The map will show you where it's + buried. + + The PAROLE OFFICER stares skeptically at a hand-scrawled MAP. + + PAROLE OFFICER + All of it. Forty-two million dollars. + + MR. BONIFACE stares down humbly at the table -- as if he finds + the mere mention of his transgression too embarrassing to + bear. + + PAROLE OFFICER II + Why this sudden change of heart? + + MR. BONIFACE + Gentlemen, I want my debt to be repaid in + full. I want to be a part of civilized + society! + (oozing sincerity) + Prison life is not for me. The guilt, the + fear, the constant shame...one meets a + disturbingly low class of people. + + PAROLE OFFICER II + Sure, but -- forty-two million dollars?? + + MR. BONIFACE nods plaintively. It's quite a perfomlance. He + dabs at his face with a handkerchief; it's hot in here, and + he's the delicate type... + + WARDEN + His record's clean. Thirteen years + without an incident. + + ATTORNEY + I'd like to point out, my client's put his + time to good use. A student of + ornithology...articles published in + several respected journals... + + The PAROLE OFFICER thumbs through a stack of magazines: Bird + World, Ornithological Review, Beaks And Feathers, Nest Egg. + + MR. BONIFACE + Birds, yes. My only source of solace. + + PAROLE OFFICER + In light of this rather extraordinary + gesture, I see no reason not to endorse + your application for parole. + + BONIFACE + Thank you, sir. You won't regret it. + + MR. BONIFACE shakes hands with the members of the PAROLE + BOARD. As the GUARDS escort him out, a BLACK MYNAH BIRD + SQUAWKS LOUDLY from its cage in the corner of the office: + + MYNAH + CRIME DOES NOT PAY. AAWWK!! CRIME DOES + NOT PAY. + + CHUCKLES all around. On his way out the ATTORNEY gestures + toward the mynah -- and BEAMS at the parole board: + + ATTORNEY + Personally trained by my client. + + INT. PRISON CELL - DAY + + Free time -- the cell doors are open and the convicts are + milling around in the common area. T-BONE, 220 lbs. of dumb, + hulking beef, saunters up to his cell and finds his bunkmate, + MR. BONIFACE, staring at a stack of EMPTY CAGES. BONIFACE + whirls on him suddenly, his face beet-red, APOPLECTIC WITH + RAGE: + + MR. BONIFACE + -- Where are my birds?!? + + T-BONE + Shit, Pengy. I let 'em go. + + MR. BONIFACE + Hermione. My canary. It's the dead of + winter! + + T-BONE flops casually on his bunk, obviously enjoying MR. + BONIFACE's profound distress. + + T-BONE + They were all cooped up. With you leaving + and all -- seemed like the humane thing to + do. + + BONIFACE'S GAZE FALLS on a corner of the cell. He spots a + scattering of YELLOW FEATHERS -- a patch of FRESH BLOOD. With + a supreme effort of restraint, he turns and forces a smile... + + MR. BONIFACE + I see. -- You might as well have this. I + won't be needing it... + + He tosses a SONY WALKMAN to T-BONE, who flicks it on. The dim + strains of CLASSICAL MUSIC are audible through the + earphones... + + T-BONE + Well, thanks, Pengy. No hard feelings. + (chuckling to himself) + Y'know, I'm gonna miss that pudgy little + ass of yours. + + T-BONE tunes the Walkman to a rock station, slips the headset + on, grins from his bunk. TWO GUARDS arrive. As they escort + him out, MR. BONIFACE mutters: + + MR. BONIFACE + You won't miss it long. + + EXT. PRISON - MAIN ENTRANCE - DAY + + It's fifteen degrees outside as MR. BONIFACE -- aka THE + PENGUIN -- waddles forth from the prison gates, regally + attired in cutaway and pin-stripes. He pauses to inhale a + deep lungful of the icy air; then, with a smile of + exhilaration, he removes his coat and STRETCHES -- spreading + his wings, REVELING in the cold. + + A STRETCH LIMO pulls up. Two identically gaunt and vulture- + like DANDIES, formally dressed, with bowler hats and + umbrellas, step out to meet him. These two gentlemen -- FRICK + and FRACK -- serve as the Penguin's general factoti and + "business managers." + + FRICK + Welcome back, Mr. Boniface. + + PENGUIN + Mr. Frick. Mr. Frack. Our years of + planning are about to pay off. + + INT. LIMO - MOVING - DAY + + Now that he's loose, the PENGUIN's rapacious side is beginning + to show. His eyes twinkle with greed as he contemplates his + own ingenuity. + + PENGUIN + I take it they found the money all right? + + FRACK + We buried it exactly as you specified. + $42,271,009... + + PENGUIN + How much have we got left? + + FRICK reaches into his coat for a BALANCE SHEET. + + FRICK + Let's see -- an initial capitalization of + 42 million and change, compounded over + thirteen years, at an annual return of + just under sixteen percent -- + + PENGUIN + Fine, fine. How much? + + FRICK + Seventy-nine million. -- Excluding the + sum we buried. + + THE PENGUIN lets out a dry, heaving CHORTLE, midway between a + normal laugh and a DUCK'S QUACK. He checks his watch and + reaches into his pocket for a small ELECTRONIC DEVICE. + + PENGUIN + Speaking of burials... + + EXT. PRISON YARD - DAY + + T-BONE on work detail. He's got the Walkman on and he's + shoveling snow to the beat. He winces, and removes the + headphones... + + The MUSIC he was listening to has been replaced by an eerie, + high-pitched WHINE. He's twisting the knob, trying to find + the station he was tuned to, when a PIGEON dives down STRAIGHT + AT HIS HEAD. + + T-BONE + HEY -- ! + + He drops the shovel as the bird STRIKES, glancing off his + head. Before he can react, THREE MORE PIGEONS have swooped + down at him, PECKING at his head and shoulders in a frenzy. + + He lets out a HOWL and staggers through the prison yard in a + frenzy. DOZENS of PIGEONS are pouring over the prison walls, + SHRIEKING HIDEOUSLY, descending on him. He falls to the + ground screaming for help, but the other prisoners run like + rabbits, terrified... + + By the time the GUARDS come racing across the courtyard, + T-BONE's no longer even visible. There's just a swarming, + man-shaped mass of PIGEONS, pecking away, flapping their wings + insanely. Covering their faces as they move in, the GUARDS + blow their whistles -- BEAT AT the pigeons with billy clubs. + + All at once, the PIGEONS take off en masse -- leaving T-BONE's + mutilated corpse sprawled in the yard. A GUARD notices the + Walkman, picks up the earphones to listen, and hears nothing + but ROCK MUSIC -- "Surfin' Bird" by the Trashmen. Bird bird + bird, bird is the word... + + EXT. ROAD - ON PENGUIN'S LIMO - MOVING + + An AERIAL VIEW of the LIMO as it cruises down the deserted + road leading away from the prison. It disappears from view -- + and all at once the frame is filled with PIGEONS, great + squalling FLOCKS of them, dutifully following their master as + he makes his way back to Gotham City. + + DISSOLVE TO: + + INT. WAYNE MANOR - ENTRYWAY - NIGHT + + ALFRED opens the front door and finds a bundled-up VICKI out + on the portico, red-cheeked, flushed, and happy. She pulls + him forward, gives him a quick peck on the cheek. + + VICKI + Guess what, Alfred. I think I found a + present for Bruce. + + She's got a long, skinny GIFT BOX propped up against the + exterior wall. At first it doesn't want to fit through the + door -- it must be eight feet long -- but with ALFRED's help + she gets it inside. The faithful butler stares curiously at + this odd-shaped gift... + + VICKI (cont.) + Skis. -- Don't let on, okay? + + ALFRED + He won't hear a word of it from me. + + VICKI + He's such a nightmare to shop for. -- + What do you get him year after year, + Alfred? + + ALFRED + (conspiratorially) + I find you can't go wrong with + surveillance equipment. Let me put this + under the tree... + + VICKI + Not so fast. + + She reaches into the pocket of her coat and pulls out another + small gift. ALFRED stares at the tag -- "TO ALFRED, LOVE + VICKI" -- and tries to suppress a HUGE GRIN. + + ALFRED + Why, Miss Vale -- ! + + VOICE FROM BEHIND + What's all this? + + ALFRED and VICKI turn. It's BRUCE, dressed for dinner, + marching down the long stairway in the entry hall. VICKI + waves frantically. + + VICKI + Don't look. It's your present. + + VICKI rushes over to embrace him. He gapes at the long skinny + box -- + + BRUCE + What'd you get me? Kareem Abdul-Jabbar? + + VICKI frowns and gives him a kiss. She nestles up against + him. WHISPERS in his ear: + + VICKI + I'm going to give you the happiest + Christmas you've ever had. + + Still in the clinch, BRUCE shoots a look at ALFRED. Taking + the hint, ALFRED clears his throat and bends to pick up one + end of the ski box. He backs out of the entry hall, dragging + the box before him... + + CUT TO: + + EXT. GOTHAM PARK - NIGHT + + FIRES burn in garbage cans. TENTS and LEAN-TOS dot the snowy + landscape. Men, women, and children wander aimlessly, + huddling against the cold. + + An army of the HOMELESS has set up camp in Gotham Park. On + the nearby periphery, PICKETERS -- half concerned citizens, + half down-and-outers -- are marching the sidewalks, keeping a + candlelight VIGIL. Hand-lettered placards read: "SAVE THE + PARK." "PARKS ARE FOR PEOPLE." "THIS PARK IS OUR HOME." + + The source of the protest? A towering SIGN posted in a corner + of the park, announcing the imminent consuuction of a new + luxury highrise -- the GOTHAM PARK TOWERS -- a project of Shaw + Construction, Inc. + + A LAMBORGHINI sits at a traffic light nearby... + + INT. LAMBORGHINI - THAT MOMENT - NIGHT + + BRUCE and VICKI, dressed for dinner, stare out at the + demonstration. + + VICKI + Homeless. + (beat) + I was just down here Tuesday. Seems like + there's more every day. + + BRUCE starts to say something, but can't think of anything to + say. + + VICKI (cont.) + Christmas time. And they say there's over + a thousand people living in the park + already. + + BRUCE + -- Yeah. + + The light changes. BRUCE throws the car into gear and -- at + the next intersection -- turns the car right, into the park. + + EXT. PUB-IN-THE-PARK - NIGHT + + Despite the name, it's a tony little bistro catering to + Gotham's elite. A PANHANDLER, underdressed for the cold, has + been hustling the customers as they come out; a couple of + PARKING ATTENDANTS are trying to drag him discreetly away as + BRUCE'S CAR pulls up. + + A VALET opens the car for BRUCE and VICKI, who look on in + concern as the PANHANDLER gets the bum's rush. The liveried + DOORMAN shrugs apolagetically -- sorry for the inconvenience + -- as they enter. + + INT. PUB-IN-THE-PARK - NIGHT + + Post-dinner. VICKI's got a sheaf of PHOTOS spread out on the + table in front of BRUCE -- shots of Gotham's HOMELESS, being + forcibly evicted from slum dwellings, erecting their + SHANTYTOWNS in Gotham Park. + + VICKI + They're already razing the tenements and + SRO's downtown. These people don't have + anyplace else to go. + (beat) + If the city starts selling off the park... + + BRUCE takes a good long look at his opulent surroundings. + HUGE WINDOWS open on a serene and picturesque view of the + park; CAMPFIRES flicker in the distance... + + BRUCE + -- Yeah. I guess I'll pass on dessert. + + VICKI + (taking his hand) + Bruce, you do a lot more than most people + even dream of. + + BRUCE + Sure. Comes off the top of my taxes -- + + VICKI + That's not what I meant. + + They exchange a long silent look. Of course she's referring + to Batman. Still, the argument doesn't hold much water with + BRUCE. + + BRUCE + -- What I "do" doesn't come close to the + root of the problem, Vicki. + (long pause) + I'm just a Band-Aid. + + VOICE FROM BEHIND + Bruce! It's been ages! + + VICKI turns -- and rapidly closes her photo folder. + Millionaire construction magnate RANDALL SHAW is in the + restaurant table-hopping, and he's just glommed onto BRUCE. + + BRUCE + Randall. You remember Vicki. -- How's + the construction business? + + SHAW + The park tower? All systems go. If we + can get the junkies and winos cleared + out... + (a big grin) + Not too late to get in on the deal. + + BRUCE + I'll think about it. + + SHAW + Say, Walter Barrett's due back from + Europe. We should all get together at the + club. + (clapping him on the shoulder) + Nice to see you again, Miss Veal. + + "Miss Veal" maintains a big phony smile as SHAW moves off to + the next table. She murmurs to BRUCE through clenched teeth: + + VICKI + What a pig. + + BRUCE + I've known him since he was seven years + old. He was a pig then too. + + VICKI + Now he wants to gobble up the park... + (shivering) + Bruce -- isn't there something you can do + about people like that? + + BRUCE + What, tie him up with a bat-rope? + + VICKI + No, you idiot. I meant you. Bruce. + + BRUCE nods -- oh, yeah. Subtle distinction. + + INT. PUB-IN-THE-PARK - NIGHT + + BRUCE and VICKI emerge from the restaurant. He hands his + parking stub to a VALET. A crowd's beginning to form in the + lot outside... + + The red-and-blue bubble of a POLICE CAR is flashing a short + distance off, near the entrance to the park. TWO RED BERETS, + in full Order-of-the-Bat regalia, look on as a recently-mugged + WOMAN JOGGER gives her statement to the investigating COPS. + + BRUCE and VICKI, intrigued by the Batman-wannabes, move a + little closer -- within eavesdropping range: + + RED BERET I + We were on patrol. Saw the whole thing. + + JOGGER + I was attacked. Three men in ski masks -- + + COP I + (indicating the RED BERETS) + And these two broke it up? + + JOGGER + These two?? They ran like rabbits. I + never saw anybody take off so -- + + RED BERET II + Hey! Somebody had to go for the cops. + + COP II + You. SHUT UP, all right?? + (to the JOGGER) + Lady, who was it that bailed you out?? + + JOGGER + A kid. Thirteen or fourteen tops. He + just came out of nowhere and -- tore into + 'em. + (shaking her head) + It was so quick I didn't even see his + face. + + Nearby, VICKI shoots a highly quizzical look at BRUCE, who + responds with a mystified shrug. Her professional curiosity + piqued, she wanders over to introduce herself to the JOGGER. + + An exasperated COP leads the RED BERETS away from the crime + site: + + RED BERET I + Dumb shit. Shouldn'ta been jogging in the + park at night anyway. + (sullenly) + Look around you. It's fulla bums. + + BRUCE gestures at the RED BERET's Batman sweatshirt as he + passes. + + BRUCE + Nice outfit. + + RED BERET I + Piss off, geek. + + DISSOLVE TO: + + EXT. WATERFRONT DISTRICT - NIGHT + + Snow blankets the abandoned warehouses rimming Gotham Harbor. + FOGHORNS blare in the distance as a pair of STILETTO HEELS -- + totally inappropriate for the weather -- click across the + sidewalk and pause at mid-block, where a wide wooden plank + leads down from street level to a seedy hole-in-the-wall bar: + the WHARF RAT. + + INT. WHARF RAT - NIGHT + + A roughneck joint, about as trendy as the average bait shack. + The clientele consists primarily of surly types who are saving + up for their next tattoo. A TV over the bar is tuned to the + late news: + + ANCHORWOMAN + ...and tomorrow, the city's power elite + will be turning out in force to greet + millionaire industrialist Walter Barrett, + who returns to Gotham after a five-year + stay in Europe... + + The BARTENDER switches to a hockey game, because none of the + rowdies at the bar give a shit about Walter Barrett. None, + that is, except for a strapping young bruiser named RICKY, who + gets up and makes his way to a pay phone in the corner. + + Moments later, the owner of the high heels enters; she opens + her black fur coat and unwraps her muffler, revealing exotic, + vaguely Eurasian features. She's dark and elegant, fine- + boned, regal of bearing -- and her name, though we don't know + it yet, is SELINA KYLE. + + She's not the kind of girl who typically frequents the Wharf + Rat, and so her entrance creates quite a stir. A LONGSHOREMAN + at the nearby pool table misses his shot and digs a rut in the + felt. Two blowsy WHORES size her up territorially as she + finds an open stool at the bar and settles in with serene + indifference. + + The regulars, of course, are all but licking their chops. The + only guy in the joint who hasn't noticed her yet is RICKY, + who's still on the phone: + + RICKY + Yo. Ricky here. What's the haps? + + In mid-conversation he notices SELINA. She smiles invitingly + -- right at him. Mildly startled, he smiles back. + + RICKY (cont.) + Midnight. No sweat. See you then. + + He hangs up eagerly. Then, with a deep breath, he hitches up + his pants and swaggers over to SELINA's end of the bar. + + SELINA + Well. "Ricky," is it? + + RICKY + How'd you know that? + + SELINA + I heard you on the phone. Talking to your + girlfriend. + + RICKY + Girlfriend? No, no. That was business. + + SELINA makes a big show of peeling off her gloves. + + SELINA + If you've got time for a little pleasure + ...maybe you'd like to buy me a drink. + + She clasps his hand. His EYES BUG OUT. Three enormous rings, + a diamond bracelet -- there must be several thousand in rocks + on her left hand alone. RICKY gapes at the sparklers, + bedazzled. + + RICKY + Jeez -- they look almost real. + + SELINA + Why wouldn't they be? + + RICKY is not the smoothest guy around, and his line of thought + is all too evident. He swallows hard and tries not to stare. + + RICKY + You'd have to be crazy. Nobody'd wear the + real thing to a dive like this. + + SELINA + Oh, they're real, all right. So are + these. + + She waves her FINGERNAILS -- long, polished, and talon-sharp + -- in front of his eyes. With lightning speed, before he can + react, she pins his wrist to the bar -- and with one quick + stroke carves a THIN BLOODY STRIPE in the back of his hand. + + SELINA's eyes flash as he gasps in shock. He tries to jerk + his hand away, but he can't break her grip. Then -- her + dominance firmly established -- she releases his hand with a + coy, Cheshire-cat smile. + + SELINA (cont.) + Weren't we going to have a drink? + + He blinks, forces a chuckle, smiles unsteadily. She takes his + wounded hand, lifts it slowly to her mouth, and LAPS GENTLY at + the blood. RICKY is hypnotized. + + She's got an odd way of flirting, but RICKY finds it somehow + -- intriguing. He dabs at his hand with a napkin and signals + to the BARTENDER. + + CUT TO: + + EXT. WATERFRONT - PIER 31 - NIGHT + + Just after midnight; the snow's still failing, the waters are + icy, and the wharfs are deserted -- almost. A small STEAMBOAT + is docked at Pier 31, and the deck is lined with THUGS -- + mean, ugly, and heavily armed. + + A similar contingent of gun-toting GOONS is waiting to greet + them on the dock below. The boys on the dock hoist ASSAULT + RIFLES as the BOAT THUGS extend a gangplank. Something major + is about to happen... + + The CHIEF DOCK GOON gestures to his LIEUTENANT, who grabs a + black MEDICAL BAG. Hands raised, the two of them start up the + gangplank. + + Throughout all this, the DOCK GOONS keep their guns trained on + the BOAT THUGS, covering their buddies. One of them turns to + a colleague: + + DOCK GOON I + Where's that goddam Ricky? + + DOCK GOON II + Probably out gettin' laid. And here we + are freezin' our balls off... + + EXT. STEAMBOAT - ON DECK - THAT MOMENT - NIGHT + + The LIEUTENANT unloads chemical testing gear from his doctor's + bag. The lead BOAT THUG gestures to a stack of SHIPPING + CRATES which rest atop a large NET spread out across the deck. + + BOAT THUG I + You pick. + + The CHIEF GOON selects a crate at random. Two BOAT THUGS tip + it on its side and, using a crowbar, pry off a FALSE BOTTOM -- + revealing a dozen packets of WHITE POWDER. + + POV SHOT - HIGH ANGLE - THAT MOMENT + + We're now watching the scene from a vantage point atop a + ramshackle boathouse at water's edge. Down on the deck of the + steamboat, the LIEUTENANT goes to work testing the + merchandise. + + LIEUTENANT + It's pure. + + REVERSE ANGLE - THAT MOMENT + + A BLACK SILHOUETTE is peering down from the boathouse roof. + The mysterious watcher ducks quickly out of sight; the only + details that register are a pair of ominously familiar POINTY + EARS... + + CHIEF GOON (O.S.) + Let's do it. + + He gestures to his boys on the dock. A CRANE-AND-WINCH + assembly rotates into place over the deck -- and the BOAT + THUGS gather up the corners of the netting and attach them to + the big hook. + + BOAT THUG I + Hold it. Let's see the money. + + Down on the wharf, a DOCK GOON kneels beside a metal suitcase + and opens it. Lots of long green inside. The BOAT THUG + signals thumbs up, and the CRATES rise into the air as the + goon with the suitcase starts up the gangplank. + + LOW ANGLE - ON GANGPLANK - THAT MOMENT + + The goon with the suitcase marches up. Beyond him, in the + distance, a LITHE BLACK SHADOW vaults off the boathouse roof + and makes a silent, graceful landing on the long shaft of the + CRANE. + + ANOTHER ANGLE - THAT MOMENT + + The moment of maximum tension: grim faces all around, everyone + holding a gun on someone else as the suitcase arrives on deck + and crane swings over the pier. + + ANGLE ON CRANE - THAT MOMENT + + Razor-sharp, CHROME-STEEL TALONS slash suddenly through the + air. + + ON DOCK - LOW ANGLE - THAT MOMENT + + The netting GIVES WAY, and TWO DOZEN SHIPPING CRATES rain down + onto the pier, CRUSHING two DOCK GOONS underneath. The crates + explode into splinters, littering the dock with drugs and + random ART OBJECTS as the other DOCK GOONS scatter in panic. + + ON STEAMBOAT - THAT MOMENT + + Nobody knows quite what's going on. Panicking, the GOON with + the suitcase full of money turns tail and dives for the + gangplank. BOAT THUG I sees him and squeezes off a quick + shot. Winged, the GOON topples off the gangplank and hits the + drink, suitcase and all. + + Pandemonium. All at once, everyone's OPENING FIRE. Thinking + he's been double-crossed, BOAT THUG I turns on the CHIEF GOON + and SHOOTS HIM TWICE at point-blank range. + + BOAT THUG I + YOU SON OF A BITCH! + (to another BOAT THUG) + Go after it. Get the money. GO!! + + He raises his gun, and the second BOAT THUG dutifully obeys -- + diving off the deck into a hail of gunfire. Everyone's + ducking for cover. BOAT THUG I barks orders at the + pilothouse: + + BOAT THUG I + Soltar las amarras! -- CAST OFF!! + + ANOTHER BOAT THUG + LOOK! + + BOAT THUG I whirls, just in time to see a SHADOWY FIGURE + landing cat-like on the deck mere yards away. Clad in inky + black leather from head to toe, the intruder's face is + concealed by what appears to be a BONDAGE MASK. Studded, with + openings for the eyes and mouth, it spans one incongruous + touch: a pair of POINTED CAT EARS. + + She bares her teeth and HISSES. + + It's a woman. + + BOAT THUG I is momentarily mesmerized. In the time it takes + him to lift his gun, she's produced a CAT-O'-NINE-TAILS. She + SNAPS it at him: REELS HIM IN; and with one lethal stroke, + RAKES her steel talons across his face and throat. He slumps + to the deck, lifeless. + + The other BOAT THUG rushes her; she catches him under the jaw + with a sudden upthrust, LIFTS HIM INTO THE AIR, and sends him + toppling into the water. + + The gangplank falls aside as the steamboat pulls away from the + pier. She hoists an abandoned ASSAULT RIFLE, SCATTERS the + DOCK GOONS with a round of automatic fire, and VAULTS off the + boat -- landing in a graceful crouch on the edge of the pier. + + Most of the DOCK GOONS have taken flight, but a few unlucky + specimens remain behind. She somersaults forward; takes one + goon off his feet with a crack of the whip; knocks another off + the dock with a twirling high-kick to the jaw; sends two more + reeling with swift talon-slashes. The whole frenzied mop-up + action takes just under ten seconds. Alone at last, she + stands back to survey the scene. + + Counting the stiff's on the boat -- which is now receding in + the harbor -- there must be well over a dozen dead. The snow + is speckled with red. A half-dozen bodies lie sprawled in + their own blood; one of them, the lone survivor, is face-down + and softly MOANING. + + Retracting her steel claws, the MASKED WOMAN crouches amid the + wreckage of the smashed shipping crates. BINDLES OF WHITE + POWDER -- millions of dollars' worth -- are scattered all + about the pier, but she couldn't seem less interested. + Instead, she's checking the MANIFEST NUMBERS stamped on the + sides of the crates. + + She finds crate #18396-BB and rummages among its contents + until she comes up with a carefully-wrapped parcel. She opens + it carefully and holds it up for inspection. The statuette of + a RAVEN -- carved from solid onyx -- glistens in the + moonlight. + + The WOMAN pauses long enough to slip a small CARD in the + MOANING PUNK's back pocket. Then, cradling the raven under + one arm, she dashes off on silent cat feet. + + A LANTERN approaches. It's an OLD SALT -- some kind of + hapless night watchman -- and his face goes bone-white at the + sight of the carnage on the docks. He kneels beside the + moaning punk, turns the body over, and GASPS -- because the + PUNK'S FACE has been CLAWED TO SHREDS. + + PUNK + Murcielago. MURCIELAGO!! + + CUT TO: + + INT. PENGUIN'S LAIR - NIGHT + + The unique chamber in which we find ourselves is alive with + the flutter and song of COLD-WEATHER BIRDS -- dozens of them, + all chirping, flitting about in the rafters, alighting on + special perches mounted in the walls. + + At the center of this penthouse room is a vast sunken POOL. + ARCTIC TERNS loll on the surrounding rocks as a LACKEY with a + wheelbarrow empties cracked ice into the already-frigid water. + Carefully landscaped, it looks like the penguin exhibit at the + Gotham Zoological Gardens. + + A MASSIVE, INDISTINCT SHAPE glides beneath the surface. It's + not a whale; it's too pink. It is, instead, the PENGUIN -- + and as he breaks the surface, sputtering, he sees FRICK + standing in the open doorway. + + FRICK + Mr. Boniface? Your...visitor has arrived. + + PENGUIN + Thank you, Mr. Frick. Show her in. + + The PENGUIN moves to the edge of the sunken pool. Two of his + LACKEYS swivel a CROSSBAR, which hangs from the ceiling by a + long chain, into place over his head. He grasps it with both + hands -- and the crossbar RISES, hoisting his formidable bulk + out of the water. + + INT. HIGH-RISE - CORRIDOR - THAT MOMENT + + FRICK leads the VISITOR down a long corridor lined on either + side with BIRD CAGES -- exotic songbirds with brilliantly-hued + plumage. CAMERA TRACKS ALONG behind her, and although we + can't see her face, there must be something distinctively + feline about her -- because the BIRDS are shrieking and + fluttering in their cages, RECOILING INSTINCTIVELY as she + strolls past. + + FRICK opens a door and ushers her into... + + INT. PENGUIN'S LAIR - A MOMENT LATER - NIGHT + + Our visitor -- SELINA KYLE -- enters the penguin-pool room. + Her teeth begin to chatter. The big bay windows have been + thrown open, and SNOW is blowing in from outside. It's + freezing in here. + + She sees the PENGUIN -- wearing a thin dressing gown and an + APRON outfitted with SEED POUCHES -- scattering birdseed on + the window ledge for the pigeons, totally oblivious to the + cold. He turns, throws his arms wide in greeting, kisses the + back of SELINA's hand. + + PENGUIN + Ah, Miss Kyle! At last we meet. + + SELINA + At last we meet. -- Pigeons? + + PENGUIN + Yes, they're common birds -- dirty, + stupid, unattractive -- but they're very + obedient, and they do crap on people's + heads. May I? + + She extends a SHOPPING BAG. The PENGUIN removes a parcel and + unwraps it, revealing the RAVEN STATUETTE. He sets it on a + nearby desk, fondles it reverently...and BEAMS at SELINA. + + PENGUIN (cont.) + I see your reputation was not exaggerated. + + SELINA + I've located the others. All but one. + (shivering) + I'm surprised you don't catch + pneumonia -- ! + + With an apologetic smile, the PENGUIN pulls the windows shut. + + PENGUIN + My normal body temperature is ninety-two + degrees. Germs find me inhospitable. + + SELINA + I see why they call you the Penguin. + + PENGUIN + They may call me that...but rarely more + than once. Champagne? + + She nods. He pours two glasses, hands one to SELINA, raises a + toast. + + PENGUIN (cont.) + My dear. Here's to the second biggest + crime in the history of Gotham City. + + CUT TO: + + INT. POLICE OBSERVATION ROOM - NIGHT + + COMMISSIONER GORDON and another cop, LT. EDDIE BULLOCK, are in + darkened antechamber adjacent to an interrogation room. + + BULLOCK + It wasn't about the drugs. Whoever it was + left thirty kilos sitting on the docks. + + They're watching, through a two-way glass panel, as a + terrified man with a heavily-bandaged face tells his story. + It's the lone survivor of the dock massacre, JULIO, and his + voice is audible over a concealed intercom: + + JULIO (filter) + Un silueta negra -- con colmillos, y + garras -- el demonio. El murcielago. + MURCIELAGO! + + GORDON + What's that he keeps saying? + + BULLOCK + "Murcielago." -- Bat. + + GORDON + Nonsense. That dock looked like a + slaughter-house. Batman's never committed + murder. + + BULLOCK + We did find this in his back pocket. + + BULLOCK hands GORDON a CARD. It reads: "THOSE WHO FEED ON THE + SOUL OF GOTHAM WILL SUFFER MY WRATH" -- and in lieu of a + signature, there's a little black BAT-EMBLEM in the bottom + corner. + + While GORDON's staring at it, a POLICEMAN pokes his head in: + + POLICEMAN + Commissioner? We've got Barrett. + + INT. POLICE INTERROGATION ROOM - THAT MOMENT + + A cubicle down the hall. The splenetic WALTER BARRETT, + millionaire industrialist, is fidgeting in his chair as GORDON + enters. + + BARRETT + Fine welcome. These storm troopers of + yours dragged me away from my coming-home + party! + (beat) + I'd like to know the meaning of this -- + + GORDON + I'd like to know how thirty kilos of pure + cocaine wound up concealed in your + personal effects. + + BARRETT + Gordon -- I come from one of the oldest + and most influential familles in Gotham. + If you plan to accuse me of smuggling + drugs, be my guest. + (long, menacing pause) + I'll have your badge before you leave this + room. + + GORDON weighs the threat. He nods to the COPS in + attendance... + + GORDON + Book the son of a bitch. + + GORDON storms out. BARRETT jumps out of his chair, but the + COPS restrain him. Outraged, he bats their hands away... + + BARRETT + I believe I'm still entitled to a phone + call. + + CUT TO: + + EXT. DOWNTOWN GOTHAM - DAY + + VICKI with her camera, squeezing off snaps. She's standing + behind a SAWHORSE, part of a crowd of onlookers at a downtown + DEMOLITION SITE. SURVEYORS and HARDHATS bustle about in a + VACANT LOT, a full city block in size, fenced off and strewn + with rubble. The only structure still standing is a lone, + decrepit TENEMENT BUILDING; a WRECKING BALL is poised above + it, ready to strike. + + A SIGN at one corner of the lot announces a forty-story OFFICE + COMPLEX soon to be erected on this site by SHAW CONSTRUCTION, + INC. Down below is RANDALL SHAW HIMSELF, in necktie and + hardhat, speaking into a WALKIE-TALKIE: + + SHAW + Come on! Let's move it! We're an hour + behind as it is!! + + A few moments later, a CLUSTER OF PEOPLE emerge from the + tenement building -- a mixed team of COPS and CONSTRUCTION + GOONS who are forcibly removing a DESTITUTE FAMILY from the + condenmed building. VICKI watches angrily... + + HER POV - TELEPHOTO LENS + + A quick series of shots: the SQUATTERS wailing and struggling, + clinging to the doorways, unwilling to leave. Their few + belongings are packed in a couple of CARDBOARD BOXES, which + the cops heave rudely out onto the street. Finally, the + handcuffs and nightsticks come out... + + ANGLE ON SHAW - THAT MOMENT - DAY + + A SURVEYOR grabs SHAW by the arm and points out the woman + taking photos in the crowd. SHAW recognizes her instantly. + His face turns into a mask of outrage -- as if he's been + personally betrayed. + + SHAW + Jesus Christ, that's Bruce Wayne's bimbo! + + He makes eye contact with her. VICKI stares back defiantly. + He's about to stroll over and tell her off when a HARDHAT + signals to him: + + HARDHAT + Phone call, Mr. Shaw. Guy said it's + urgent. + + SHAW + (to tbe SURVEYOR) + Hold the ball. I wanna hear it crash. + + He climbs into the cab of a nearby TRUCK, where he picks up a + CELLULAR PHONE. + + INTERCUT - BARRETT AND SHAW + + BARRETT's still in custody at the police station -- using his + one phone call to contact the construction magnate. + + BARRETT + It's me, Randall -- Walter Barrett. I + want you to call my attorney. That was my + shipment they busted up last night. + + SHAW + Jesus, Walter, I -- + (suddenly puzzled) + Why are you calling me?? + + BARRETT + It's worse than that. Somebody took my + raven. + + SHAW stares at the phone in horrified disbelief. + + ANGLE ON VICKI - THAT MOMENT + + SHE WATCHES as SHAW climbs out of the truck -- numb, in a + daze. He signals to the WRECKING BALL OPERATOR; a WHISTLE + blows, and the great iron ball knocks a MAMMOTH HOLE in the + facade of the tenement. + + SHAW doesn't even stick around to watch it. He scurries off + to his car at the end of the block. VICKI, highly intrigued, + gets it all on film... + + INT. GOTHAM GLOBE - CITY ROOM - DAY + + VICKI's in a huddle with the Managing Editor, SCHULTZ, showing + him her PHOTOS -- SHAW orchestrating the eviction of the + SQUATTER FAMILY. + + SCHULTZ + Great stuff, but we're looking at a + shitfight with our beloved publisher. He + and Shaw... + (crossing his fingers) + Old money sticks together. + + VICKI points to a photo of SHAW racing from the truck to his + car. + + VICKI + I'd sure like to know what shook him up + so. He was out of there like a scared + rabbit... + + Just then, a reporter -- WILK -- rushes up excitedly to + SCHULTZ's desk. + + WILK + Got a blind tip from downtown. You know + that massacre on the docks? Batman. + + VICKI reacts in astonishment. SCHULTZ's jaw drops -- this is + hot. + + EDITOR + Whoa! Is this on the level? + + WILK + Cops even got a note. "Those who feed on + the soul of Gotham will suffer my wrath!" + (grinning; to VICKI) + Sounds like your pal's cranked it up a + notch. + + VICKI starts to protest, but thinks better of it. + + INT. WAYNE MANOR - ENTRY HALL - EVENING + + ALFRED opens the door. A BANNER HEADLINE stares him in the + face: + + BATMAN IMPLICATED IN DOCK MASSACRE + Industrialist Linked to Drug Smuggling Ring + + VICKI, who's holding up the afternoon paper for ALFRED's + inspection, peeks out glumly from behind the masthead. + + VICKI + Seen the late edition? + + ALFRED + I'm afraid so, Miss Vale. Master Bruce is + sequestered in the cave. + + INT. BRUCE'S LIBRARY - A MOMENT LATER - EVENING + + On their way to the Batcave, ALFRED and VICKI pass through the + library. They pause in front of the television -- which is + tuned to a PANEL SHOW, with various experts discussing the hot + issue of the day. + + ENVIRONMENTALIST (on TV) + Walter Barrett's no saint. His factories + have been dumping poison into the air and + water for years. If he is mixed up with + drugs... + + PUNDIT (on TV) + That's not the issue. The issue is, do we + entrust our public safety to some...masked + vigilante. Does Batman have a license to + kill? + + ALFRED + (shaking his head) + Ah, the public. Dishearteningly fickle. + + VICKI follows ALFRED out. We HOLD on the TV as the CAMERA + PANS OVER to the third guest on the panel, loudly demanding + air time. He's wearing a RED BERET and a BATMAN SWEATSHIRT: + + MIKE SEKOWSKY (on TV) + Yo, here's the tip, man. Drug dealers are + scum. If Batman did wax these punks...SO + WHAT? They deserved it! End of + discussion. + + INT. BATCAVE - A MOMENT LATER - EVENING + + ALFRED and VICKI arrive; BRUCE gestures for them to keep + quiet. He's hunched over a TAPE RECORDER -- and COMMISSIONER + GORDON'S VOICE is blaring from a nearby speaker... + + GORDON (O.S.; filter) + Anyone could've written that note. + + INT. GORDON'S OFFICE - THAT MOMENT + + GORDON's in conference with a number of CITY OFFICIALS -- + blissfully unaware that anyone might be eavesdropping. + + CITY OFFICIAL I + And I suppose anyone could've taken out a + boatload of armed thugs. A dozen men, Jim + -- murdered in cold blood -- + + GORDON + Before we forget, Batman's saved hundreds + of lives! + + CITY OFFICIAL II + He's still a vigilante. We don't know who + he is, where he comes from, why he does + it... + + CITY OFFICIAL I + Street punks are one thing, Jim. This is + Walter Barrett -- a personal friend of + mine! + + As the conversation continues, CAMERA SLOWLY MOVES IN ON a + COMPUTER TERMINAL in the corner. We see the tiny TRADEMARK + embossed on the CPU -- "WAYNE TECHNOLOGIES." + + INT. BATCAVE - THAT MOMENT - ON BRUCE + + as he LISTENS through his concealed bug. + + CITY OFFCIAL II + You've gotta bring him in, Jim -- at least + for questioning. It would sure help if we + could get that mask off... + + BRUCE shuts the recorder off. He turns to face ALFRED and + VICKI -- + + BRUCE + Ladies and gentlemen...I've been framed. + + CUT TO: + + EXT. GOTHAM CITY - NIGHT + + The BAT-SIGNAL blazing in the night sky. After a beat, the + CAMERA TILTS DOWN to a cluster of EXCITED CITIZENS, who point + and holler as the BATMOBILE streaks past. + + INT. SQUAD CAR - THAT MOMENT + + TWO COPS are parked in an alleyway, watching as the BATMOBILE + whizzes past on the street. The DRIVER pulls out behind it as + the second COP grabs his radio mike... + + COP + One-delta-niner -- 10-80 on Riverview + north-bound at 33rd -- 10-78, repeat + 10-78. + + VOICE ON RADIO (filter) + 10-4, one-delta-niner -- that's a 10-37, + repeat 10-37. Backup on the way. + + EXT. STREET - ON BATMOBILE + + BARRELING TOWARD US on the street. The SQUAD CAR gains behind + it. A SIREN HOWLS; a red-and-blue bubble begins to flash... + + The BATMOBILE makes a HAIRPIN TURN -- and ACCELERATES. + + OVERHEAD ANGLE - THE STREETS + + As the BATMOBILE rounds the corner and picks up speed, TWO + MORE SQUAD CARS scream down the cross street, joining in the + pursuit. All at once THICK BLACK SMOKE billows from the back + of the Batmobile -- ENVELOPING the police cars, BLINDING THE + DRIVERS... + + EXT. STREET - THAT MOMENT - NIGHT + + TWO SQUAD CARS parked in a V-formation -- a makeshift + roadblock. ANXIOUS POLICEMEN mill about in front of them. + They move into position as the BATMOBILE, still trailing + smoke, rounds a corner and careens directly toward them... + + ANGLE ON BATMOBILE - THAT MOMENT + + The FRONT FENDER of the Batmobile detaches and EXTENDS itself + from the body of the car. It BENDS in the middle; WING-PANELS + flip into place, forming an arrowhead-shaped COW-CATCHER. + + EXT. STREET - ON ROADBLOCK + + A SHRIEKING HORN BLARES. The COPS see the Batmobile SPEEDING + UP and dive for the sidewalk. The COW-CATCHER slams into the + SOUAD CARS, pushes them effortlessly aside, and cruises + through the gap. + + As the PURSUING CARS emerge from the smoke cloud and follow + the Batmobile through, we TILT UP to the roof of a nearby + building -- + + EXT. ROOFTOP - THAT MOMENT + + -- and realize that the Batmobile's on automatic pilot, + because BATMAN's been on the roof all along -- watching the + action with some dismay. + + His relationship with the Gotham PD appears to be on shaky + ground. He speaks into his voice-activated REMOTE CONTROL + UNIT: + + BATMAN + Evasive. + + SIRENS HOWL below as he strolls across the rooftop, lost in + thought. + + CUT TO: + + INT. PENTHOUSE APARTMENT - NIGHT + + At this height, the SIRENS are a distant insect drone. We're + in the palatial digs of RANDALL SHAW, the construction + magnate. There's obviously money to be made in real-estate + development -- because the walls are lined with art, and the + floor-to-ceiling windows open on the most spectacular view in + Gotham. + + At the moment, SHAW's posing casually in front of his new + Brancusi -- which rests on a pedestal near the windows. An + UNIDENTIFIED WOMAN in a slinky black dress LOOKS ON, her back + to the camera... + + WOMAN + It's a fake. + + SHAW + Hmm. It cost me a half a million dollars. + You're sure? + + WOMAN + Absolutely. You see, I...happen to know + where the real one is stashed. + + The WOMAN wanders out of frame as SHAW smiles, impressed. He + seems peculiarly nonchalant about the whole deal; at the + moment, art is not the first thing on his mind. CAMERA STAYS + ON HIM as he pours two glasses of red wine and circles in on + his mysterious guest. + + SHAW + I guess you'd know. I have some "friends" + in the art world. They say that -- for + certain hard-to-get items -- you're the + one to call. + + WOMAN (O.S.) + How flattering. + + SHAW + They say for the right price...you could + steal Michelangelo off the Sistine Chapel + Wall. + + WOMAN (O.S.) + Mr. Shaw. Do you believe everything you + hear? + + SHAW + Oh, I'm not one to judge. I admire people + who take what they want. I'm just curious + how you do it. + + SHAW hands her the wine, and for the first time we see her + face. It's SELINA KYLE, perching seductively on the arm of + the sofa... + + SELINA + I find that the old methods work best. + + Setting her wine down, flashing her patented Cheshire-cat + smile, SELINA moves in on him -- and they go into a deep, + passionate kiss. Her long red nails dig into his back; SHAW + drops his wine glass, which SHATTERS -- splashing red wine + across the polished parquet floor. + + INT. PENTHOUSE - SHAW'S BEDROOM - NIGHT + + The action's gone horizontal. SELINA, peeled down to a sheer + lace teddy, is on the bed atop SHAW -- tickling his throat + with quick, lapping kisses. She rolls off suddenly; when he + tries to sit up, she pushes him back down with a single + finger. + + Sitting on the edge of the bed, she peels off her STOCKINGS, + twisting them around into tight cords. With a coy smile she + runs her finger in a circle around SHAW's hairy chest -- and + then, abruptly, knots one stocking tightly about his wrist and + ties it off on the bedpost. + + SHAW + Hey, what are you doing -- ? + + He tries to break her grip. She BACKHANDS him sharply across + the face. + + SELINA + You're very inquisitive. You'll just have + to be disciplined. + + An EDGY SMILE spreads across his face as she binds his other + hand to the bedpost. None too quick, he's just caught on that + all this is part of SELINA's kinky scene. She crosses quickly + to the bathroom -- + + SHAW + You know, I've...I've never really done + this kind of thing before. + + -- and reemerges wearing her CATWOMAN mask...which seems + perfectly appropriate in this context. + + SELINA + I think people should indulge their + fantasies. Don't you? + + Now that he's all trussed up, she crosses the room and reaches + into an oversized bag. She withdraws an odd-looking chromium + BRACE, slips it on over her wrist, and hits a trigger. SIX- + INCH STEEL TALONS snick into place. SHAW's dopey smile + fades... + + SHAW + Hey, what are those -- what are you -- + + He lets out an awful, shrill SHRIEK as the camera WHIP PANS + away from the bed to a Jackson Pollack on the wall nearby. A + SPRAY OF BLOOD spatters across it -- in an aesthetically + pleasing way -- and the SHRIEK ends in a LOW GURGLE as we + + CUT TO: + + INT. BUILDING LOBBY - A FEW MINUTES LATER - NIGHT + + A SECURITY GUARD is working a crossword at his booth near the + entrance of the building. Behind him, a bank of MONITORS show + various empty hallways throughout the building. He reaches + for his coffee and sees a RED LIGHT flashing on a wall panel + nearby. + + INT. SHAW'S PENTHOUSE - THAT MOMENT + + The penthouse is THROBBING with the clangorous sound of a + BURGLAR ALARM. SELINA is standing by an OPEN WALL SAFE -- + concealed behind a painting, which has been swung away on + hinges -- and she's HOLDING HER EARS, wearing a look of + complete exasperation: oh, shit. The GUARD'S VOICE crackles + over a nearby intercom: + + GUARD (O.S.; filter) + Mr. Shaw? What's going on up there? -- + Mr. Shaw? + + Furious with herself, she reaches inside the safe and extracts + a BLACK RAVEN statuette -- identical to the one she took on + the docks. She slams the door shut and swings the picture + back into place. + + EXT. STREETS - THAT MOMENT - NIGHT + + SIRENS echo in the streets. SQUAD CARS make sudden turns and + streak off toward SHAW's building. + + EXT. ROOFTOP - HIGH ANGLE - NIGHT + + Watching the cars from his rooftop vantage, BATMAN raises an + ANTENNA mounted on his utility belt and cups one hand to his + head. An EARPIECE concealed inside his cowl gives him the + police frequency: + + DISPATCHER (O.S.; filter) + -- possible 15 in progress, 188 E. 69th at + Gotham Park West. Move out. It's Randall + Shaw. Repeat, all units -- + + BATMAN's eyes widen. He steps to the ledge and pulls a TINY + METAL CYLINDER from his belt -- immediately recognizable as + part of BRUCE's hydraulic umbrella-gizmo. + + But it's no umbrella. When BATMAN thumbs the switch, his + BLACK CAPE begins to SPREAD and RISE -- stiffening, expanding + -- INFLATING itself into a pair of RIGID BLACK BATWINGS. + + He steps OFF THE LEDGE, INTO MIDAIR -- SOARING SILENTLY ACROSS + THE STREET LIKE A HUMAN HANG-GLIDER as the cop cars cruise + past far below. + + INT. SHAW'S BEDROOM - NIGHT + + There's an awful BANGING at the front door. SHAW lies under + the bloody sheets, hands folded, staring lifelessly up at the + ceiling. SELINA, now dressed in full Catwoman regalia, slings + a lightweight KNAPSACK over her shoulders. She picks up the + nearest chair, RAMS IT through SHAW's plate-glass window, and + clambers out onto the ledge outside. + + Ten seconds later the COPS burst in. They rush to the bedroom + -- spot the shattered window, the inert gory mass on the + bed -- + + -- but the real shock comes when they glance over at the wall. + Painted there, in blood...is a big, red, dripping BAT. + + COP + JESUS! + + EXT. ROOFTOP - SHAW'S BUILDING - NIGHT + + Forty stories up. The CATWOMAN, in a surefooted crouch, she + scurries along the ledge -- SPRINGS at a cornice -- and in one + lithe motion VAULTS UP onto the ROOF. She scampers across the + rooftops, dropping from one to the next with rope and tackle, + like a mountain climber -- + + -- until she reaches the building at the end of the block. + Here she pauses to dig in her knapsack. She pulls out a + retractable HOOK at the end of a rope, swings it around, + HEAVES IT at the rooftop across the street... + + EXT. STREET BELOW - LOW ANGLE - THAT MOMENT + + POLICE pile out of cars and race for the entrance, totally + oblivious to the odd scene taking place overhead -- where the + small, barely-visible figure of a WOMAN, clad entirely in + black leather, is doing a TIGHTROPE WALK across the + intersection. + + EXT. ROOFTOP - A MINUTE LATER - NIGHT + + The CATWOMAN bounds across snowy rooftops until she decides + she's out of danger. Then, weary and exhilarated, she drops + to her knees; bathed in moonlight, she preens, stretches, + emits eerie little purrs and hisses of pleasure. She's just + made a kill and her blood is running high, so she's stopped + for a moment of Quality Time. + + She hears an odd crunching noise two roofs over. Her whole + body tenses and -- though her head doesn't move -- her eyes + dart left. + + A CAPED SHADOW has just touched down at the end of a line. + The gold BAT-EMBLEM on his chest is visible for the briefest + of seconds before he steps back into the shadows. She acts + like she hasn't noticed... + + ...but a little smile flickers across her lips just the same. + + TIGHT ON BATMAN - THAT MOMENT + + His eyes widen -- his LIPS PART as he watches her. If it's + possible to see absolute consternation behind that mask, we're + seeing it now. + + HIS POV - ON CATWOMAN - THAT MOMENT + + She still doesn't let on that she's seen him. Instead, she + goes to the ledge of the roof and begins to STRUT, like a + gymnast on the balance beam -- POSING for him in a little + private show -- a strange, self-infatuated, AUTOEROTIC DANCE + ROUTINE for BATMAN's benefit. + + EXT. ROOFTOP - THAT MOMENT + + His jaw is down around his knees. Whoa. He edges forward + slightly, as if hypnotically drawn to her... + + She hears a noise. Stops. Makes a big show of looking left + and right. Somehow afraid she'll see him watching, BATMAN + jumps back into the shadows. She gathers her things; a small + WHITE CARD flutters from her knapsack to the snowy roof, and + she VANISHES over the edge. + + Snapping back to reality, he bolts across the roof just in + time to see -- + + EXT. SIDE OF BUILDING - ON CATWOMAN - THAT MOMENT - NIGHT + + She's rapidly working her way down the side of the building, + flipping down from one fire escape to tile next -- a master + gymnast. Three stories up, she lands on a railing, then STOPS + -- LAUNCHING HERSELF out over the street, making a perfect + landing on the roof of a passing BUS. + + EXT. ROOFTOP - ON BATMAN - THAT MOMENT - NIGHT + + BATMAN turns -- and his eyes fall on the WHITE CARD. He + kneels to pick it up; a brief three-word MESSAGE is scrawled + upon it... + + LOOKING FOR LOVE? + + He goes goggle-eyed with astonishment. He rushes back to the + edge of the roof and sees the BUS just turning toward the + entrance to Gotham Park. He's reaching for his grappling-gun, + figuring to follow, when a FLOODLIGHT catches him full in the + face. + + EXT. STREETS BELOW - THAT MOMENT - NIGHT + + Down below, the cops are sweeping their beams across the + rooftops. Two of them catch a quick glimpse of BATMAN just as + he ducks back behind the cornice, out of view. + + COP + Hey. You see what I saw...? + + This sends the astounded COPS rushing to their radios. Right + on cue, COMMISSIONER GORDON's car pulls up. LT. BULLOCK, + who's already on the scene, fills him in as he climbs out. + + BULLOCK + It's Randall Shaw. Torn to ribbons. -- + We just made Batman up on the roof. + + GORDON + Oh God. + + EXT. GOTHAM PARK - THAT MOMENT - NIGHT + + The BUS rumbles deeper into the snowy park. A BLACK + SILHOUETTE springs off the roof into the trees, disappearing + among the branches... + + We TRACK WITH the bus as it moves through the park, arriving + finally at: + + EXT. CLEARING IN PARK - SHANTYTOWN - NIGHT + + The little colony of HOMELESS PEOPLE in their cardboard shacks + and lean-tos, still occupying the future site of the Park + Towers. MARCHERS and PICKETERS are continuing their protest + nearby, and some charitable organization's set up a makeshift + soup kitchen on folding tables -- hot coffee and sandwiches. + + VICKI's on the periphery of the camp, camera in hand. She's + trying to persuade a HOMELESS MAN to let his picture be taken. + + VICKI + Please, just one. It's important for + people to see what's happening. + + HOMELESS MAN + They don't want to see us, lady. They + just want us gone -- out of sight, and out + of mind. + (mumbling as he wanders off) + Get worse before it gets better. It + always does. + + VICKI TURNS. In the distance, the PICKETERS are shrieking and + wailing. A VAN's just pulled up to the edge of the park, and + a dozen HARDHATS are elbowing their way through the crowd. + All at once they're swarming through shantytown with TIRE + IRONS and BASEBALL BATS, overturning the sandwich tables, + RIPPING DOWN the shabby tents and lean-tos. + + Some of the HOMELESS PEOPLE run. Those who resist meet with + swift and sudden violence. A MARCHER jumps a hardhat, and + gets a baseball bat in the gut for his trouble. + + VICKI waits for the police sirens, but they don't come. She + backs off toward the trees, she begins SNAPPING PHOTOS + FRANTICALLY, capturing the carnage on film. + + A HARDHAT is dismantling a lean-to with his tire iron -- + sending the terrified family inside scurrying off into the + snow -- when he glances up and sees VICKI taking his picture. + He points her out to a colleague... + + ...and suddenly the two of them are RUSHING TOWARD HER with + pure cold malice in their eyes. VICKI turns to run, but it's + slow going in the snow. She SLIPS and FALLS; her attackers + are almost upon her... + + ...when a SHADOWY FIGURE DIVES OUT OF THE TREES and TACKLES + one of the HARDHATS. The FIGURE lands a powerhouse blow to + the fallen HARDHATs jaw, knocking him out cold. + + The second HARDHAT turns and lifts his TIRE IRON. But the + FIGURE, with surprising agility, is already rolling out of the + way. As he rolls, he grabs the first guy's HARDHAT off his + head and brings it up in front of him -- blocking the blow + from the second guy's tire iron. + + In the same motion, he plants a FOOT in the second HARDHAT's + belly and sends him REELING BACKWARD, HARDHAT II drops the + tire iron, and the FIGURE snatches it out of midair as he gets + to his feet. He moves in on the second HARDHAT, BRANDISHING + the iron -- + + -- and while HARDHAT II is staring at it, the FIGURE HIGH- + KICKS HIM in the face. HOP; KICK. HOP; KICK. The FIGURE has + nailed him three times squarely on the jaw before he can hit + the ground. + + The FIGURE turns toward VICKI. Her eyes go wide with + astonishment. + + It's a KID, thirteen or fourteen at the outside, sunken-eyed, + grimy-looking, in a torn-and-tattered RAINCOAT. She stares at + him for the briefest of instants before he rushes off to the + aid of his fellow homeless... + + She can't believe what she's seeing. The KID wades smack into + the midst of the remaining HARDHATS, and kicks ass -- + spinning, pirouetting, kicking, clawing in a furious display + of pure athleticism. It seems like he's everywhere at once. + There's only one other guy in Gotham City who can handle + himself like this... + + Rallying behind him, the MARCHERS and HOMELESS PEOPLE snatch + bats and tire irons from the fallen HARDHATS -- and the tide + turns. The invasion is being repelled. Faced with renewed + resistance, the few HARDHATS still left standing TURN TAIL and + race off to their VAN. + + Triumph in shantytown. The MARCHERS and HOMELESS cluster + together to lick their wounds -- and the KID, satisfied that + everything is under control, turns and sprints off toward the + trees. + + But one prostrate HARDHAT is only playing dead. As the KID + runs past, the HARDHAT extends a TIRE IRON into his path -- + TRIPPING HIM, sending him sprawling in the snow. The KID + throws up his hands as the HARDHAT prepares to smash down at + him... + + CLANG. The HARDHAT drops his tire iron and topples over, + BOARDLIKE. The KID looks up and sees VICKI standing there + with a baseball bat. + + He gives her a quick nod of acknowledgement as he gets to his + feet -- thanks for returning the favor. He's about to light + out again when -- + + VICKI + WAIT! Don't be afraid. I wanted to thank + you. I -- + + KID + (cautiously) + Twenty. + + VICKI + What? + + KID + Twenty bucks. + + VICKI's mildly taken aback, but she reaches for her purse just + the same. She's barely gotten her wallet open when the KID + snatches the bill out of her hands. They stare at each other + for a long moment -- + + VICKI + ...Who are you? + + KID + Dick. + + -- and then he's bounding off like a shot. VAULTING up into a + tree and vanishing amid the snowy branches. VICKI starts to + follow, but there's no way she can keep up. Instead she digs + into her CAMERA BAG... + + HER POV - THROUGH TELEPHOTO LENS + + Using the long lens, she tracks the KID's progress through the + treetops. She can't actually see him, but occasional chunks + of SNOW and ICE are falling to the ground as he jumps from + limb to limb... + + For a moment it seems like she's lost him. As she sweeps the + lens back and forth, scanning the trees, she catches sight of + an EQUESTRIAN STATUE in the distance. She ups the + magnification so she can see the plaque on the pedestal. The + stone figure on the horse is Union war hero GEN. OLIVER WAYNE + -- BRUCE's great-grandfather. + + As luck would have it, the KID drops to earth not ten feet + from the statue -- VICKI's got him in her sights again. He + looks around cautiously to make sure no one's following, then + races toward a STONE BRIDGE which arches between two small + hillocks, over a frozen creek. + + There's a DRAINAGE TUNNEL, four or five feet in diameter, + mounted in the bridge abutment, the KID pries off a wire grate + and clambers inside, then pulls the grate back into place + behind him. Home sweet home. + + EXT. PARK - ON VICKI - NIGHT + + as she lowers the lens. Her face is full of conflicting + emotions. She'd love to corner this boy vigilante and find + out what his story is. But on the other hand -- even the + homeless are entitled to their privacy... + + CUT TO: + + INT. PENGUIN'S AVIARY - NIGHT + + A CANARY sings in its cage as a BLACK CAT watches transfixed + from a nearby chair. The cat arches its back -- waits -- and + SPRINGS AT THE CAGE, BATTING at it in midair. The canary + SHRIEKS; the cat YOWLS; a WOMAN snatches it up off the floor, + cradles it in her arms... + + WOMAN'S VOICE + Now Hecate. You don't want that scrawny + little bird -- + + It's SELINA, looking ripe and slinky in a sheer black + ensemble. At the desk behind her is the PENGUIN, in his + customary cutaway and waist-coat, polishing his new RAVEN. He + bares his teeth: + + PENGUIN + Do you want me to wring that creature's + neck? + + SELINA + You try it, I'll do the same to you. + (as he grumbles; bemused) + I saw him, you know. + + PENGUIN + Saw who? + + SELINA + Batman. He was dreamy. + + She strokes the cat, in a reverie. The PENGUIN drops his + polishing cloth, startled. + + PENGUIN + Dreamy?!? Are you insane!? My God -- + (sputtering wildly) + Are you sure it was him? What did he do? + + SELINA + He stood on a roof and watched me. He + didn't realize I'd seen him. I don't + think he knew quite what to make of me. + (smiling) + But he was definitely interested. + + This sends the PENGUIN into a frantic round of pacing. (Or + waddling.) + + PENGUIN + This scheme of yours is backfiring. We + don't need him on our tails. Do you know + how much money is at stake here? + + SELINA + Money isn't everything. + (casually) + What's the point if we can't enjoy + ourselves? + + She chuckles to herself. He stares at her in disbelief -- and + SQUAWKS. + + CUT TO: + + EXT. GOTHAM SQUARE - MORNING + + The big SIGN over Gotham Square tells us there are only 9 + shopping days left until Christmas. Down below, BRUCE is + walking VICKI to work. + + VICKI + Six-on-one, and he took 'em all out...then + vanished into a drainage pipe -- right + next to the statue of General Wayne. + + BRUCE + My illustrious great-grandfather. Think + it's the same kid we heard about? + + VICKI + Must be. He reminded me of you. + + BRUCE chuckles. They pass a NEWSSTAND just outside the Globe + building, pausing to stare at the headlines -- which SCREAM: + + NEW BAT-MURDER? + Batman Suspect in Slaying of Millionaire Developer + Commissioner Gordon Refuses Comment + + The accompanying photo is a full-color spread of the BLOODY + RED BAT painted on SHAW's wall. BRUCE scowls at VICKI: + + BRUCE + -- You work for this rag? + (snatching up a paper) + Your boss is calling for Gordon's + resignation -- unless he brings Batman in + for questioning... + + VICKI nudges BRUCE and points at a STOREFRONT across the + street. + + THEIR POV - SOUVENIR SHOP + + The owner is in the store window, hastily removing all of his + Batman merchandise and setting up new displays devoted to + TEENAGE MUTANT NINJA TURTLES and THE SIMPSONS. A MOTHER drags + her squirming TODDLER past the entrance -- the kid smells + heavy markdowns on Bat-shit, but Mom clearly doesn't + approve... + + BACK TO SCENE - ON BRUCE AND VICKI + + looking on in dismay. BRUCE crumples the paper in outrage: + + BRUCE + I need a good PR man. + + NEWS VENDOR + Hey, pal -- you buyin' or borrowin'? + + With a sullen look, BRUCE tosses the paper back on the rack. + VICKI pulls him off toward the entrance of the Globe. + + VICKI + That's what happens when you go after the + rich and powerful. + + BRUCE + Hey, it wasn't me, remember? I am rich + and powerful -- + + As he's talking, BRUCE glances back at the newsstand. He sees + an AD FLYER tacked up on one side -- "LOOKING FOR LOVE? Find + it in the GOTHAM GLOBE PERSONALS." + + Looking for Love. Eyes widening, he digs in his pocket for a + quarter and races back to the newsstand. VICKI keeps + walking... + + VICKI + Maybe it's almost...good. In a weird way. + I mean, Shaw, and Barrett -- if people + like that were really scared, maybe + they'd -- + + She suddenly realizes she's talking to herself. She turns + around and sees BRUCE back at the newsstand, hurriedly + unfolding a copy of the Globe. She marches back and tugs at + his sleeve. + + VICKI (cont.) + Hey, I'm late for work. You can read that + later. + + BRUCE + Quiet. I'm looking for a personal ad. + + Her face screws up in confusion as BRUCE frantically scans the + page. + + BRUCE (cont.) + "Tall, Dark And Handsome -- You saw me on + the roof 12/16. I was in black; you were + too." + + VICKI + Is this some kind of bad joke? + + BRUCE + It's her. That cat woman, or whatever she + is. + (reading aloud) + "I jumped a bus into Gotham Park hoping + you'd follow, but you were too shy..." + + VICKI + What does she want -- a date? + + BRUCE + She's trying to contact me. Says she's + gonna leave me another ad... + + The two of them exchange a look of utter perplexity. BRUCE's + mind is racing; he seems bizarrely aroused -- in a way that + makes VICKI just a trifle nervous... + + INT. GOTHAM GLOBE - CITY ROOM - DAY + + VICKI arrives at her desk and sets her portfolio down. She + spots a message in the "in" file. She takes one look at it, + and her eyes go wide with RAGE. She storms out in a fury... + + INT. PUBLISHER'S OFFICE - A MINUTE LATER - DAY + + Barging past a phalanx of SECRETARIES, VICKI bursts into the + inner office of HARRISON J. PROVOST, publisher of the Globe. + He's just opening his mail. He heaves a weary sigh as VICKI + BARKS at him: + + VICKI + WHY DID YOU KILL MY STORY? + + PROVOST + Close the door. + (waiting for her to calm down) + Your story isn't news. With Shaw dead -- + + VICKI + But the project's still going ahead! If + attacking homeless people in the park + isn't news, I'd like to know what is -- + + PROVOST + There's a psycho out there in a mask and + cape -- killing off Gotham's most + prominent citizens! That's news. + (beat) + I've known Randall Shaw all my life. His + family is in mourning. And it just so + happens I don't believe in slandering the + dead. + + VICKI FUMES. She turns and stares PROVOST straight in the + eye. + + VICKI + Mr. Provost -- how much money do you have + tied up in the Park Tower project? + + PROVOST + Vicki...I'm going to forget you made that + remark. For the sake of your job, I + suggest you do the same. + + VICKI stalks of -- and PROVOST goes back to his mail. He + finds an envelope addressed in a shaky, psychotic scrawl, with + the word "CONFIDENTIAL" underlined three times in ink. He + tears it open -- + + -- and HIS FACE TURNS PALE as he stares down at the contents: + a small business-sized card, signed with a BAT-EMBLEM... + + THOSE WHO FEED ON THE SOUL OF GOTHAM + WILL SUFFER MY WRATH + + CUT TO: + + EXT. GOTHAM HALL OF JUSTICE - DAY + + WALTER BARRETT and his ATTORNEY emerge onto the front steps of + the courthouse. BARRETT is instantly mobbed by REPORTERS. + + REPORTER I + Mr. Barrett! Any comment on the + arraignment? + + REPORTER II + Is it true bail was set at two million + dollars? + + ATTORNEY + Stand back! My client has nothing to say + at this time! + + The ATTORNEY clears a path for BARRETT, who climbs into a + waiting CAR, shielding his face. REPORTERS cluster around + it... + + As the car pulls out into traffic, we see a flock of PIGEONS + taking wing from their perches on the statues outside the Hall + of Justice. + + OVERHEAD SHOT - ON BARRETT'S CAR + + PIGEONS fill the frame, swooping down toward the CAR, which is + idling at a traffic light far below. + + INT. BARRETT'S CAR - THAT MOMENT + + The liveried DRIVER drums his fingers as he waits for the + light to change. BARRETT's in the back, speaking into his + cellular phone. + + BARRETT + It's time we called an emergency meeting + of the Raven Society. Get back to me... + + Looking troubled, he hangs up. A fat white glob of PIGEON + SHIT splatters across the windshield. Seconds later -- + another SPLAT. + + BARRETT (cont.) + Damn pigeons. + + DRIVER + Just washed it, too. + + The DRIVER reaches for the wiper switch. They hear a tiny + DINK as a SOLID PELLET bounces off the windshield. + + BARRETT and the DRIVER exchange a mystified look. A small, + blinking CAPSULE has just lodged in the wiper-blade + assembly... + + OVERHEAD SHOT - ON BARRETT'S CAR + + Just as the light changes, the CAR EXPLODES into a million + fragments -- leaving a BLACKENED CRATER in the middle of the + intersection. + + CUT TO: + + INT. BATCAVE - DAY + + TIGHT ON A VIDEO MONITOR -- showing FIRE TRUCKS in the + intersection we've just left, hosing down the wreckage of + BARRETT's car. BRUCE is watching intently when ALFRED appears + behind him. + + ALFRED + The Fluegelheim called again, sir. They + want to know if you'll be attending the + opening of the new Egyptian exhibit. + + BRUCE, still engrossed in his news broadcast, waves ALFRED + off. + + BRUCE + Cancel. + + ANCHORWOMAN (on TV) + -- and, citing new evidence in the so- + called string of "millionaire murders," + Police Commissioner J.T. Gordon today + swore out a warrant for the arrest of + Batman. + (beat) + We go now live to Mike Sekowsky, + spokesperson, Order of the Bat. + + SEKOWSKY + Jeez! Talk about gratitude -- !! + + At the sight of SEKOWSKY's face, BRUCE kills the sound in + disgust. ALFRED looks on helplessly as he paces the floor of + the Batcave. + + BRUCE + Well, Alfred, it's official. I'm a wanted + man. + (beat) + "New evidence"...I've gotta find that + woman. Did you check the personals? + + As ALFRED shakes his head no, a BUZZER sounds. They've got a + visitor. BRUCE hits a switch on a monitor, and sees + COMMISSIONER GORDON'S CAR sitting outside the wrought-iron + gates of Wayne Manor. + + He throws a nervous look at ALFRED. ALFRED speaks into a + microphone: + + ALFRED + Who's there? + + GORDON + Jim Gordon, Alfred. I've got to see + Bruce. + + A spooky development. Does GORDON suspect? After a moment's + hesitation, BRUCE nods to ALFRED -- let him in. + + ALFRED + Mr. Wayne will see you, sir. + + INT. BRUCE'S LIBRARY - A MOMENT LATER + + A curious BRUCE ushers GORDON into the library, gestures + toward the liquor cabinet. The Commissioner nods his head no. + He's fidgety, ill at ease -- he obviously doesn't want to be + here. + + GORDON + Sorry to bother you. Bruce -- I'll get + right down to it. You knew Shaw and + Barrett -- + + BRUCE + I saw them occasionally. We all sat on + the board of the Fluegelheim... + + GORDON + Did you have any...dealings with them, + or -- + + BRUCE + No. I never liked the way they did + business. + + GORDON + The thing is, Bruce, you're all lumped + together in the public mind -- the Five + Families of Gotham, that sort of thing -- + and, uh... + (taking a card from his pocket) + Harrison Provost got this in the mail. + + BRUCE examines the card, -- "THOSE WHO FEED," etc. He stares + at GORDON in mock-concern, playing it close to the vest... + + BRUCE + Then Batman is behind all this. + + GORDON + Batman or a damned good imitation. + + BRUCE + Well. He's changed tactics, hasn't he. + + GORDON + (shrugging; at a loss) + Shaw, with his high-rises -- Barrett, a + druglord, major polluter -- they weren't + exactly model citizens. Who knows, it + could be some crazy social-conscience kind + of thing. + + BRUCE + You mean he's going after...the root of + the problem. + + GORDON shakes his head and gets up to go. BRUCE hands him the + card. + + GORDON + Let me know if you get one of these. + We'll put all our resources at your + disposal. + + BRUCE nods thoughtfully as ALFRED appears to see the + Commissioner out. A moment later, the butler reappears. + + BRUCE + Changed my mind, Alfred. I'll be dropping + in on the Fluegelheim after all. + + CUT TO: + + INT. FLUEGELHEIM MUSEUM - NIGHT + + It's a party to celebrate the opening of the new Egyptian + exhibit, and the Fluegelheim is hopping. BOARD MEMBERS, + MUSEUM PATRONS, and SOCIALITES mill about in dinner jackets + and evening gowns, making small talk. AN OPEN SARCOPHAGUS has + been set up as a wet bar. + + On a raised concrete platform in the center of the hall, + rimmed by a decorative moat, sits an ancient Egyptian SHRINE. + The TEMPLE OF BASTET has been moved to Gotham and + reconstructed in the Fluegelheim --sandstone walls, fountains, + statuary and all. + + Guarding the entrance is a stately bronze statue of the + goddess BASTET -- who has the body of a woman and the head of + a pointy-eared CAT. She holds an aegis and a sistrum; four + tiny KITTENS romp at her feet. BRUCE, who's just arrived, is + taking an intense interest in the cat-goddess... + + VICKI + What is it? + + BRUCE + I just had a weird sense of deja vu. + + He glances over by the sarcophagus and sees PROVOST, the + publisher, huddle with ELIOT TIPTREE III, transit magnate -- + the remaining member of Gotham's "Five Families." The two of + them are engaged in some urgent conversation which he can't + quite make out... + + TIPTREE + Harrison -- we really ought to warn Bruce. + We owe him that much. + + BRUCE detaches himself from VICKI and strolls toward them. + PROVOST and TIPTREE force smiles and wave, affecting an air of + nonchalance. + + PROVOST (cont.) + The man's a space cadet. Let him look out + for himself. + (as BRUCE arrives; cheerfully) + Why, Bruce! What a delightful surprise. + + BRUCE + Good to see you two. Looks like the Five + Families are suddenly down to three. + (looking around) + In fact, if somebody dropped a bomb on + this room right now -- + + TIPTREE chuckles nervously. PROVOST is even less amused. + + PROVOST + Is that your idea of a joke, Bruce? + + BRUCE + Not at all. Commissioner Gordon seems to + think we should all be hiring bodyguards. + + TIPTREE PROVOST + Oh, that's absurd. I already have. + + The two of them glower at each other. It's like an outtake + from The Newlywed Game. BRUCE shrugs it off and makes a + vacuous face: + + BRUCE + Thing is, I can't imagine why Batman would + be after us. Can you? + + PROVOST and TIPTREE are about to go into another round of + hemming-and-hawing when a NEW FACE joins the party. It's + SELINA KYLE -- stunning as ever in an extravagantly revealing + dress slit up to the armpits. She's holding two glasses of + CHAMPAGNE... + + SELINA + You two look like you need a drink. -- + And is this who I think it is? + + She flashes BRUCE her most winning, seductive, heavy-artillery + SMILE. He BLINKS, temporarily speechless. + + PROVOST + Selina Kyle -- Bruce Wayne. + + SELINA + Our absentee board member! I've been + wanting to meet you forever. + + TIPTREE + Selina's the new Curator of Antiquities. + She brought the Temple over block by + block -- + + SELINA + You two won't be terribly upset if I + borrow Bruce for a moment, will you? + + Before he can protest, she's linked an arm around his and + dragged him off. A nearby FAT MAN spots SELINA, wiggles his + eyebrows and WAVES BRIGHTLY. His tongue is practically + hanging out -- he's just dying to write her a check. SELINA + SIGHS WEARILY to BRUCE: + + SELINA (cont.) + Major contributor. -- I always seem to + wind up in charge of fund-raising... + + BRUCE + I can't imagine why. + + SELINA + Tax year's almost over, you know. I hope + we can count on your usual generous + donation. + (indicating PROVOST and TIPTREE) + Someone's got to set an example for those + two tightwads. + + BRUCE + They're proccupied. This string of + murders -- + + SELINA + I asked them if they'd consider including + us in their wills. + (chuckling to herself) + They didn't seem a bit amused... + + ANGLE ON VICKI - THAT MOMENT + + She's making small talk with a bunch of STUFFED SHIRTS and + their overdressed WIVES. She glances across the room at the + statue of Bastet, sees SELINA draped all over BRUCE. A frown + crosses her face... + + ANGLE ON BRUCE AND SELINA - THAT MOMENT + + She's still clinging to his arm as they stare up at the + statue. + + SELINA + -- and this is my good friend Bastet, the + Egyptian Cat Goddess. + + BRUCE + I think we've already met. -- This is + quite an expedition you've put together. + + SELINA + I'm glad you think so. I have to say, + Bruce -- you're not at all what I + expected. + + BRUCE + Sorry to disappoint you. + + SELINA + Oh, it's not that. Not at all. It's just + that I'd always heard you were... + + BRUCE + What? + + SELINA + (coyly) + Oh...sort of a... + + BRUCE + (smiling; fascinated) + No. Come on. What? + + BRUCE's state of mounting infatuation is abruptly shattered + when VICKI sidles up alongside him and -- territorially -- + takes his other arm. The women exchange big, toothy, plastic + smiles; stranded in the middle, BRUCE realizes they're waiting + for him to introduce them. + + BRUCE + Oh. Selina Kyle -- my friend Vicki Vale. + + SELINA + The photographer. I've seen your pictures + in the Gazette. + + VICKI + The Globe. + + SELINA + Oh, that's right. The tabloid one. -- + What an original dress! + + VICKI, still smiling, cocks an eyebrow at BRUCE. He senses + trouble coming and tries to head it off at the pass. + + BRUCE + Selina supervised the reconstruction of + the temple. Brought it back from Egypt... + stone by stone. + + VICKI + Really. She must be awfully tired. + (to SELINA) + How'd you get to be in charge of a huge + project like this? + + SELINA + It was easy. I slept with the Pharoah. + + She laughs at her own joke. VICKI responds with a dry little + chuckle of her own. SELINA gives BRUCE a SHARP YANK on the + sleeve. + + SELINA (cont.) + Excuse us, won't you, sweetheart? We have + some boring museum business to talk about. + + VICKI fumes. BRUCE shrugs apologetically as SELINA drags him + off out of earshot. + + SELINA (cont.) + I. Short leash. + + BRUCE + Pull in the claws, okay? She's really + terrific. + + SELINA + I'm sorry, Bruce. Sometimes I get a + little...aggressive, you know? + (handing him a card) + Look, I need to talk to you. Come by + sometime. I'll give you the private tour. + + BRUCE + Wait. Let me explain about Vicki -- + + SELINA + (shushing him) + I understand. Anyone who's that + protective must have a pretty good reason + for it. + + She shoots him one last smile -- sly, conspiratorial, + unmistakably juicy. Then she's off in pursuit of another + major funder. BRUCE is thoughtfully turning the card over in + his hands when VICKI rejoins him. + + VICKI + How's "business"? + + BRUCE + Relax, okay? I like you better. + + He scans the room, trying to find PROVOST and TIPTREE. No + luck. + + VICKI + If you're looking for your fellow + millionaires, they left some time back. + + CUT TO: + + INT. ROOFTOP - NIGHT + + The roof of the Gotham Globe. A STARLING circles overhead for + a moment -- then DIVES down an exposed VENTILATION SHAFT. + + INT. GOTHAM GLOBE - THAT MOMENT + + TWO ARMED BODYGUARDS are standing watch outside an office. + Brass letters on the door read "J. HARRISON PROVOST, + PUBLISHER." + + INT. PROVOST'S OFFICE - THAT MOMENT + + PROVOST, agitated, working late. He speaks, sotto voce, into + the phone: + + PROVOST + Don't worry about that. I've had the + office swept for bugs. No one's + listening... + + INT. TIPTREE'S LIBRARY - THAT MOMENT - NIGHT + + TIPTREE in his paneled study at home. There's an open bottle + on the table and he's been hitting the sauce -- hard. His + VOICE QUAVERS: + + TIPTREE + It's just so -- unfair. I mean...it was + over a century ago. It's not like we're + responsible. + (hollow-eyed) + How could he know? How could Batman know + about the Raven Society?? + + INT. OFFICE - ON PROVOST - THAT MOMENT + + PROVOST + Who knows and who cares. The point is, + it's happened... + + He hears a CHIRP and looks up. It seems to be coming from a + HEATING VENT on the wall. But then it stops, so he resumes + his conversation -- + + PROVOST (cont.) + I'm clearing out of the country, and I'm + taking the raven with me. I suggest you + do the same. + + INT. HEATING VENT - THAT MOMENT + + In the metal shaft on the other side of the grate is a tiny + BIRD -- the same one we saw flying down the air shaft. Now + that we've got a close-up view, we can see the thin BATTERY + PACK wired to its underbelly...and the MINIATURE MICROPHONE + taped to its leg. + + PROVOST (O.S.) + I'll tell you how to reach me. And don't + repeat this to anyone. + + CUT TO: + + INT. PENGUIN'S LAIR - DAY + + The PENGUIN stands over his indoor penguin pool. He's wearing + rubber gloves, feeding LIVE FISH from an ice chest to his + arctic birds. The vents in the windows are open, and the + climate in the room is downright icy as SELINA's wrapped in + fur, stroking her pet cat: + + SELINA + He's just another rich idiot. + (chuckling to herself) + The odd thing is, he didn't seem a bit + concerned. + + PENGUIN + Then he is an idiot. + + SELINA + He lives in some big sprawling manor. + I'll have to get inside, scope it out... + see where he's got the raven stashed. + + PENGUIN + How do you plan to do that? + + SELINA + How do you think! + + A feline smile from SELINA. The PENGUIN chuckles to himself, + lobs a FISH out over the pool. A swooping GULL snatches it + out of the air before it hits the water. FRICK arrives in the + doorway. + + FRICK + It's Mr. Provost, sir. He's planning to + embark on an unscheduled Christmas + vacation. + + PENGUIN + Good! That should save us a trip to the + bank. + + CUT TO: + + INT. FLUEGELHEIM - BACK ROOM - DAY + + A huge open room cluttered with all kinds of junk: + archaeologist's tools, restoration equipment, etc., plus a + healthy assortment of curios and oddities from all over. This + is SELINA's private domain. CAMERA TRACKS past a glass case + full of ugly, withered, turdlike specimens... + + BRUCE + What have we got here? + + SELINA + Mummified cats. Bastet's sacred animal. + They were buried by the thousands at + Bubastis. -- Oh, careful! + + BRUCE FREEZES with his hand poised over a set of four earthen + JARS. Each has a lid carved in the shape of a HEAD: ape, + jackal, man, falcon. + + SELINA (cont.) + Canopic jars. In the process of + mummification, the internal organs were + buried separately. + (pointing to each jar in turn) + Lungs -- stomach -- liver -- intestine -- + + BRUCE withdraws his hand with a bemused shudder. + + BRUCE + You're in a gruesome line of work. + + SELINA + Keeps me interested. And that's not easy + to do... + + BRUCE's attention turns to a crumbling statuette of an odd + beast: a WINGED LION with the head of a FALCON. + + BRUCE + This one I know. It's a gryphon, right? + + SELINA + Very good. A mythical demon, half-bird, + half-lion...sweeping down from the sky to + deliver retribution and justice. + + BRUCE nods. He can dig it. He regards the gryphon for a long + moment and CHUCKLES. + + BRUCE + Poor guy. Birds and cats -- you wouldn't + think the two halves would cooperate. + + SELINA + Only under certain circumstances. + (beat) + I'm really glad you came, Bruce. I was + afraid I'd given you the wrong impression. + Or maybe it was the right impression. + + BRUCE + What was it you wanted to talk to me + about? + + SELINA + Your collection. I'd love to see it. I + mean, everyone says you've got a + fabulous -- + + She breaks off in midstream and chuckles to herself. She toys + demurely with her equipment. She looks up at BRUCE and + switches tactics -- going for the direct approach. BRUCE + braces himself... + + SELINA (cont.) + Mainly I just wanted an excuse to see you + again. Does she know you're here -- + Vicki? + + BRUCE + (shrugging) + No. + + SELINA + It must be strange. Having all that + power, and money -- never really knowing + if that's what people are attracted to. + + BRUCE + What are you attracted to? + + SELINA + I think you're a little bit nuts. + (beat) + I think you're a little -- bored with your + life. Having everything you want. No + variety, no...danger. And every once in a + while you need to take a risk. Shake it + all up. + + BRUCE + How? + + SELINA + Maybe by...coming here today. + + She leans back against a crate, moistens her lips. She's + letting him have it with both barrels. + + SELINA (cont.) + That's one thing I can give you, Bruce -- + danger -- a little something you can't get + at home. + + BRUCE hesitates -- but the lure is irresistible. He moves + forward slowly; SELINA's eyes close; their lips draw slowly + closer... + + ...and he SNEEZES IN HER FACE. She backs off in shock as he + covers his face. His eyes are watering and he's WHEEZING. + She rushes over -- + + SELINA + Are you okay? + + BRUCE + Is there a cat in here? + + Right on cue, SELINA's black cat HECATE lets out a loud MEOW + -- and STRETCHES against BRUCE's pants leg. He brushes the + animal aside and it LEAPS into SELINA's arms. BRUCE sniffles + uncontrollably. + + BRUCE (cont.) + Get it away! + + She drops the cat, which scampers off. BRUCE rubs his eyes. + + SELINA + Poor thing. You're allergic! + + BRUCE + Yeah, cats...ever since I was a kid... + (snorting and weeping) + Look, I'd better get some fresh air. + Maybe another time, okay... + + He heads for the door before SELINA can stop him. He's gone, + but she knows she's left a dent in his armor. She smiles in + bemusement as HECATE jumps into her arms and PURRS. + + EXT. FLUEGELHEIM - A MOMENT LATER - DAY + + BRUCE stumbles out the museum feeling mildly discombobulated. + He marches down the front steps past a NEWSSTAND -- where he + stops to buy a copy of the afternoon GLOBE. + + He opens it to the PERSONAL ADS and finds what he's been + waiting for: + + TALL, DARK, AND HANDSOME -- Christmas is coming. + Why don't we trim the tree together? + + This puzzles him for a moment -- until he looks up the street. + In the distance, at the very center of Gotham Square, WORKMEN + are stringing lights around an enormous CHRISTMAS TREE, almost + fifty feet tall. + + The LIGHTING CEREMONY is an annual event in Gotham. BRUCE + smiles slightly, tucks the paper under one arm and walks to + his car. + + DISSOLVE TO: + + EXT. GOTHAM SQUARE - NIGHT + + SNOW falls on a huge CROWD gathered around the big tree. The + tree won't be lit for another twenty minutes or so, and so the + ONLOOKERS are singing CHRISTMAS CAROLS from printed lyric + sheets. + + A BAND is playing on a makeshift ORCHESTRA PLATFORM erected in + front of the tree, leading the crowd in a spirited rendition + of "God Rest Ye Merry, Gentlemen." The Square is rocking with + good will toward men. When they get to the part about saving + us all from Satan's power -- + + EXT. ROOFTOP OVERLOOKING SQUARE - THAT MOMENT - NIGHT + + -- the CAMERA TILTS UPWARD to BATMAN, watching the action from + his usual gargoyle's perch. He's scanning the streets and the + rooftops, waiting tor the CATWOMAN to make her move -- + whatever it is. + + He glances at the building directly across the square from + him. On the roof is a neon sign reading Gotham City Globe in + ornate old-English letters -- and above that, a ROTATING METAL + SCULPTURE of the world turning. His eyes rove downward along + the facade of the building... + + EXT. GOTHAM GLOBE - THAT MOMENT + + At street level, an ARMORED CAR has pulled up in front of the + Globe offices. THREE SECURITY GUARDS with rifles climb out of + the ARMORED CAR, followed by a FOURTH -- who has an OBLONG BOX + handcuffed to his wrist. Of course, we can't see what's + inside, but to those of us in the know the box looks just + about the right size for a RAVEN STATUETTE. + + The GUARDS scan the street and enter the building without + incident. As they do, a NEWSPAPER DELIVERY VAN crosses the + frame; mounted on its side is an ADVERTISING PLACARD which + reads: + + BATMAN: HERO OR MENACE? + Read All About It in the GOTHAM GLOBE! + + EXT. ROOFTOP - ON BATMAN + + He watches with some curiosity. An armored car: is this some + part of the CATWOMAN's scheme? But no...the GUARDS are safely + inside the building, and the CAR is leaving. He settles back + to wait. + + INT. NEWSPAPER DELIVERY VAN - THAT MOMENT + + The innocuous-looking VAN rounds the corner of the Globe + building. FRICK is at the wheel, FRACK is riding shotgun, and + the PENGUIN is between them, peering out eagerly through the + windshield. + + They turn into the Globe's BASEMENT GARAGE -- where dozens of + similar vans are parked at the LOADING BAYS. Just part of the + fleet... + + INT. PROVOST'S OFFICE - A MOMENT LATER + + The quartet of SECURITY GUARDS arrive at PROVOST's office. + The publisher has already packed his suitcases for a speedy + getaway. The LEAD GUARD -- the one cuffed to the RAVEN BOX -- + sets his precious cargo on a desk and stands discreetly at + arm's length while PROVOST unlocks it and checks its contents. + + Satisfied, he slams it shut. He reaches into his top drawer + for an ENVELOPE, which he hands to his PERSONAL SECRETARY. + + PROVOST + Open this in an hour. Phone my wife and + tell her where to meet me. + (to the GUARDS; edgily) + No trouble on the way, I take it? + + LEAD GUARD + No sir, Mr. Provost. We came straight + from the bank vault. + + GUARD II + 'Copter should be just touching down. + We'll have you safely out of here in no + time. + + EXT. ROOFTOP - ON BATMAN + + "Here Comes Santa Claus" echoes up from the streets. BATMAN + watches as a COPTER descends toward the HELIPAD on the roof of + the Globe... + + INT. CORRIDOR OUTSIDE OFFICE - A MOMENT LATER + + PROVOST and the LEAD GUARD with the raven box are at an + elevator bank. The other GUARDS head for a stairwell. + + GUARD II + We'll check the stairs. See you on the + roof. + + The LEAD GUARD starts to press the UP button, but PROVOST + pulls a key from his pocket instead: + + PROVOST + No -- my private elevator. It's safer. + + INT. ELEVATOR SHAFT - THAT MOMENT + + shooting DOWN on the car as it rises. The shaft above it is + filled with BIRDS -- starlings, crows, pigeons and the like, + swooping and gliding among the gears and cables... + + EXT. ROOF OF GLOBE BUILDING - THAT MOMENT + + In BG, the helicopter on its pad, idling noisily, the rotors + still spinning. In FG, the small dormer-like structure that + houses the STAIRWAY. The metal access door opens, and the + first of the GUARDS steps warily out, rifle at the ready. He + smiles back at his pal. + + GUARD + No way. They don't pay us enough to + tangle with Batm-- + + A black-gloved, CHROME-TALONED HAND snakes around the edge of + the dormer and RAKES ACROSS HIS THROAT... + + INT. ELEVATOR CAR - THAT MOMENT + + SWEAT beads up on PROVOST's lip as the GUARD hits the up + button and the car begins to rise. Suddenly, the LIGHTS GO + OUT. The car stops with a lurch. + + PROVOST + What is it?? What's happening?? + + Suddenly, there in the darkness, they hear a series of loud + POPPING SOUNDS...which could be gunfire... + + EXT. GOTHAM SQUARE - THAT MOMENT - ON CROWD + + singing "Here Comes Santa Claus" at the top of their lungs. + Happy faces beam. No one hears anything unusual over the + music... + + EXT. ROOFTOP - ACROSS STREET - ON BATMAN + + BATMAN straining to listen. We get another faint series of + POPS -- barely audible over the CAROLING from below, and the + loud PUTT-PUTT-PUTT of the helicopter blades. + + He can't really be sure he's heard anything at all. He scans + the roof of the Globe building, but he can't see what's + happening beyond the big steel globe sculpture and the neon + sign... + + EXT. GLOBE BUILDING - ROOFTOP - THAT MOMENT + + The CATWOMAN lets fly with another burst of automatic fire + from the dead GUARD's rifle. The helicopter is still idling, + but no one's left to fly it -- the rooftop is littered with + stiffs... + + INT. ELEVATOR CAR - THAT MOMENT + + PITCH BLACK. Pre-verbal GROANS and MURMURINGS OF FEAR issue + from the darkness. An EERIE RED LIGHT kicks on -- the + emergency generators -- and we see PROVOST backed up in a + corner of the car, twitching and jumping like a crazed + spastic. The GUARD, in a futile effort to placate him, points + up at the LIGHT: + + GUARD + There. Mr. Provost. See? The + generator's kicked in. It's just an + electrical problem. + + PROVOST is only marginally consoled. They hear a strange + TWITTERING NOISE in the shaft above them... + + PROVOST starts babbling again. The GUARD slaps him across the + face. But the TWITTERING has him a bit concerned as well. He + stares up at the ceiling of the car as he PUNCHES BUTTONS on + the panel; with another LURCH, the car begins to move. + + GUARD + There. See? It's moving. We're fine. + + PROVOST + It's going down. We're going DOWN!!! + + INT. ELEVATOR SHAFT - THAT MOMENT + + The BIRDS in the shaft have all ROOSTED on the TOP OF THE CAR. + They're patiently riding it down as it descends... + + INT. ELEVATOR CAR - THAT MOMENT + + The car stops again. PROVOST is totally losing it. The + exasperated GUARD grabs him and SHAKES HIM. + + GUARD + Okay, Mr. Provost -- I'm gonna have a look + through the trap door. But I need you to + help me. Okay? You have to help. + + PROVOST nods and tries to get a grip on himself. The GUARD + looks up at the trap door in the ceiling of the car. He can't + reach it... + + He uncuffs the BOX containing PROVOST'S RAVEN from his wrist + -- and STANDS on it. Still short. Unholstering his gun and + using it as a prod, he can almost reach the trap door. He + JUMPS UP and, poking with the gun, manages to dislodge the + panel slightly. + + More TWITTERING. PROVOST and the guard look up through the + tiny crack in the ceiling and see nothing but darkness. + + GUARD + Probably just some bird that's gotten in + the shaft. Now calm down. You'll have to + give me a boost. + + The GUARD climbs back atop the raven box. PROVOST gives him a + boost and he manages to catch hold of the lip of the trap + door. + + GUARD (cont.) + Okay, help me out...steady... + + PROVOST wraps both arms around the GUARD's wriggling LEGS and + tries to hoist him upward. + + INT. SHAFT - ON ROOF OF CAR - THAT MOMENT + + From a vantage level with the roof of the car, we see the + GUARD'S FINGERS, clinging to the lip of the trap door. Now + his HEAD rises into view, pushing the panel aside as he pulls + himself upward. + + He peers around. His BROW wrinkles as he sees a bizarre sight + -- PASSELS of SQUAWKING BIRDS, walking back and forth in front + of him, STRUTTING and PREENING mere inches from his face... + + INT. ELEVATOR CAR - THAT MOMENT + + The bottom half of the GUARD dangles from the ceiling. + PROVOST still has his arms wrapped around the GUARD's knees. + All at once, the GUARD begins to SCREAM -- his body JERKS and + his legs KICK WILDLY. Still PROVOST struggles to hang on -- + even as BLOOD spatters across the top of his bald dome... + + Finally, the GUARD's violent spasms are too much. PROVOST + trips over the raven box, stumbles backward and lands on his + ass in a corner of the car. The GUARD tumbles in a heap to + the elevator floor, his face PECKED and CLAWED beyond + recognition, his eyes gone altogether. + + PROVOST lets out a series of SHRIEKS. He peers at the open + trap door, sees the BIRDS staring curiously down at him, and + SHRIEKS AGAIN. + + The EMERGENCY TELEPHONE rings. He stares at it. It rings + again. Shielding his eyes and screwing up his courage, + PROVOST crawls across the floor and reaches for the receiver. + + PENGUIN (V.O.; filter) + Sixteenth floor. Linens, housewares, + ladies' lingerie! + + PROVOST + W-who is this?? + + INT. GLOBE - BASEMENT LOADING BAY - THAT MOMENT + + NEWSPAPER DELIVERY VANS are parked in neat rows -- all + driverless. FRICK is sitting with a boxful of electrical + equipment next to a bank of ELEVATORS; all the cars have been + LOCKED OPEN here in the basement, except for ONE -- PROVOST's + private elevator, the doors to which are still closed. The + PENGUIN stands beside it, speaking into a RED PHONE. + + PENGUIN + Mr. Provost? If you want to get out of + that car alive, I suggest you follow my + instructions to the letter. + + As he talks, we see various NEWSPAPER EMPLOYEES sprawled on + the concrete nearby, DEAD. A CORRUGATED METAL DOOR has been + lowered over the LOADING BAY, separating the newspaper + production staff from the VAN POOL. They're trapped on the + other side. BANGING AWAY LOUDLY on the door... + + PENGUIN (cont.) + SHUT UP IN THERE. + (calmly; into phone) + You should see a cord hanging just behind + you. + + INT. ELEVATOR CAR - THAT MOMENT + + PROVOST looks over his shoulder and sees the aforementioned + CORD descending through the trap door. + + PROVOST + Yes -- yes, I see it -- + + PENGUIN (V.O; filter) + Tie the cord to the handle of your box. + + PROVOST lets the phone drop. He grits his teeth, but hastens + to obey. As he's knotting the cord around the handle of the + box, a DINKY BIRD flutters down through the trap and sends him + into a panic. Practically weeping, he reaches for the phone. + + PENGUIN (V.O.; filter) + When you're done, I want you to give two + sharp yanks on the cord. + + Cowering in terror, PROVOST reaches for the cord and yanks it + twice. + + PROVOST + Who are you?? Why are you doing this?? + + INT. LOADING BAY - ON PENGUIN + + Behind him, FRICK and FRACK are pulling on RED BERETS and + BATMAN SWEATSHIRTS -- Order of the Bat gear. FRICK climbs + into a NEWSPAPER DELIVERY VAN and starts the engine. + + PENGUIN + Well, Mr. Provost, I guess you could call + me an irate reader. And to be perfectly + frank -- I'm doing this because I hate + Garfield. + + Chuckling, the PENGUIN holds a SONIC DEVICE up to the + mouthpiece of the phone. + + INT. ELEVATOR CAR - THAT MOMENT + + A SHRILL WHINE emanates from the receiver. All at once, the + elevator car is FULL OF BIRDS -- squawking wildly, flinging + themselves against the wall, going insane in the tiny confined + space. + + PROVOST is screaming like a madman. The birds are in his + hair, his face -- everywhere. He fights his way over to the + panel and begins punching buttons in a frenzy... + + All at once the car PLUNGES DOWNWARD. It's as if the floor + has DROPS AWAY beneath PROVOST's feet -- he's in FREE-FALL. + + INT. LOADING BAY - ON PENGUIN + + PENGUIN + Going down! + + He hangs up the phone and steps a discreet distance back from + the ELEVATOR DOORS. + + INT. ELEVATOR SHAFT - THAT MOMENT + + The RAVEN BOX dangles from its cord in FG as the CAR rockets + uncontrollably downward. A steady stream ot BIRDS are making + a quick exit from the trap door in the roof... + + INT. TOP-FLOOR LANDING - THAT MOMENT + + The CATWOMAN's on a landing near the stairwell, just below the + dormer that leads to the roof. She pries open a pair of + ELEVATOR DOORS... + + ...and a FLOCK of BIRDS pours out of the empty shaft, making + for the open ACCESS DOOR a half-story above. She reaches + inside, finds the cord attached to the RAVEN BOX, and reels it + in. + + She rips off the lock and opens the box for a quick look at + her trophy. It's there, all right -- another RAVEN just like + the first two. An awful CRASH, from twenty-five stories down, + RATTLES THE SHAFT... + + She makes a disgusted face, grabs the RAVEN, and bolts for the + roof. + + EXT. ROOFTOP ACROSS STREET - ON BATMAN + + He watches in puzzlement as a VAST FLOCK OF BIRDS takes flight + from the Globe roof across the square. Something weird is + definitely going on. He's about to abandon his post -- + + -- but down below, the CAROLERS have stopped CAROLING. The + big tree's about to be lit, and they're counting off the + seconds: + + CROWD + Ten! Nine!... + + EXT. GOTHAM SQUARE - CORNER NEWSTAND + + A ramshackle kiosk at street level. The NEWS VENDOR has + stepped out onto the sidewalk to watch the tree festivities. + A GLOBE DELIVERY VAN, its side bearing the "BATMAN -- HERO OR + MENACE?" advertisement, cruises past and dumps a bundle of + papers on the curb. + + EXT. GOTHAM SQUARE - ON CROWD AT TREE + + EXCITEMENT is BUILDING as the seconds tick off: + + CROWD + ...Three! Two! One! + + The CHRISTMAS LIGHTS come on, and the CROWD breaks into + CHEERS. The ORCHESTRA strikes up a sprightly version of + "JINGLE BELLS." + + EXT. GOTHAM SQUARE - ON NEWSTAND + + The NEWS VENDOR is applauding and singing along like everyone + else when a second newspaper van rumbles past... + + NEWS VENDOR + Hey! No! I aleady got a -- + + He spots TWO MASKED MEN in the doorway of the van -- wearing + RED BERETS and BAT-SHIRTS. They shove a BODY out the door -- + + The mutilated corpse of HARRISON PROVOST lands on the sidewalk + with a THUD -- right beside a bundle of NEWSPAPERS which read + "BATMAN MURDER SPREE BAFFLES POLICE." + + EXT. GOTHAM SQUARE - ON VAN - MOVING + + The NEWS VENDOR chases after the VAN, but it's already rounded + a corner and is cruising along the periphery of Gotham Square. + The CROWD is still singing merrily, unaware of its presence -- + + -- until the BACK DOORS fly open -- and a swarm of RABID, + CHITTERING BATS screech out into the midst of the crowd!! + + EXT. GOTHAM SQUARE - ON CROWD AT TREE + + The CAROLERS break into MASS HYSTERIA as HIDEOUS BATS swoop + down from above, CLAWING at their heads and shoulders. + ORCHESTRA MEMBERS drop their instruments and stagger off the + BAND PLATFORM, falling into the branches of the giant + Christmas tree. + + EXT. GOTHAM SQUARE - ON SIDEWALKS + + CHRISTMAS SHOPPERS are teeming in and out of nearby STORES. + They drop their SHOPPING BAGS and race about in utter CHAOS as + the bats attack. WOMEN SCREAM. CHILDREN SCREAM. MEN SCREAM + TOO. + + A MAN staggers backward through a GLASS STOREFRONT and lands + on his butt in a WINDOW DISPLAY -- a big mechanical SANTA + CLAUS on his North-Pole throne, chuckling merrily in a + prerecorded voice: "HO HO HO." The MAN STRUGGLES WILDLY as + the BATS converge on him. + + INT. DEPARTMENT STORE - THAT MOMENT + + HORRIFIED SHOPPERS scatter through the aisles as the BATS pour + in through the broken window. WOMEN lined up for a FREE + MAKEOVER squeal in panic as BATS arrive to rearrange their + hairdos. + + EXT. ROOFTOP - ON BATMAN + + He stares down stunned at the PANDEMONIUM raging below. He + glances across the street...and sees the TINY SILHOUETTE of a + WOMAN standing atop the cast-iron GLOBE SCULPTURE, LAUGHING at + the chaos, TAUNTING him. + + EXT. STREETS - OVERHEAD ANGLE - THAT MOMENT + + A few blocks away from Gotham Square. SIRENS HOWL. There's a + steady stream of COP CARS speeding toward the site of the + disturbance. One vehicle is moving in the opposite direction, + against traffic -- a NEWSPAPER DELIVERY VAN. + + EXT. GLOBE BUILDING - ROOFTOP - A MOMENT LATER + + BATMAN touches down on the roof and stares in horror at the + CORPSES strewn across the helipad. A dying GUARD raises a + shaky hand... + + BATMAN crouches beside him. A GURGLE comes up from his throat + and a bubble of BLOOD swells on his lips. All at once he + hears a WOMAN'S VOICE from the shadows of the GLOBE + SCULPTURE... + + CATWOMAN (O.S.) + Some people just can't take discipline. + (beat) + Go ahead. Finish 'em off... + + His head jerks up. He can't see anything. A sudden WHOOSHING + noise, and now the voice is coming from the other side of the + roof. + + CATWOMAN (O.S.) + You might as well. You're going to get + blamed for it anyway. + + He stands. He gets a quick glimpse of a FELINE SHADOW + springing past a skylight; she's jumping all around the roof, + clinging to exposed pipes and fixtures. He reaches for a + Batarang. + + CATWOMAN (O.S.) + Oh, come on, angel. You know you want to. + (purring loudly) + Besides -- I want to see how you do it! + + BATMAN + Who are you? + + He's barely gotten it out when she SLAMS INTO HIM from behind, + feet first, knocking him to the rooftop. He tries to get up, + but she comes at him with a couple of CARTWHEELING KICKS, + knocking him back into a cornice. He ducks right just as a + SHARP SPIKED HEEL strikes the exposed brick a mere three + inches from his throat. + + He catches her leg, upends her -- but she somersaults away and + lands on her feet. Cats always do... + + CATWOMAN + My, aren't we frisky tonight. + + He flings the BATARANG. It CLANGS into the big NEON SIGN as + she SPRINGS up into the darkness, out of reach. GLASS TUBING + shatters and SPARKS FLY as she calls down from the shadows -- + + CATWOMAN + I should tell you -- I've got nine lives + to play with -- and you've only got one... + + He turns -- she drops DIRECTLY ONTO HIM -- and locked in a + death grip, they STAGGER BACKWARDS across the roof, directly + toward the HELICOPTER. The huge ROTOR BLADES are still + turning... + + BATMAN ducks instinctively and the CATWOMAN breaks free -- + FALLING BACKWARD onto the roof. It's a strategic move: when + he rushes at her, she BRACES HERSELF against the ground and + KICKS UPWARD with startling force. + + This time the spiked heel connects -- LIFTING BATMAN off his + feet, KNOCKING HIM BACKWARD into the TAIL of the HELICOPTER. + He slumps there, stunned -- and before he knows it, she's on + him. + + She grabs his THROAT with one hand and clamps the other around + his CROTCH. He tries to break her grip, but she's just as + strong as he is. And she's LIFTING him -- forcing him upward, + toward the REAR STABILIZING ROTOR on the tail of the + helicopter! + + The rear ROTOR BLADES WHINE LIKE A BUZZSAW as his head rises + perilously closer. At the last possible instant, he grabs a + handful of her HAIR -- YANKS IT as hard as he can -- + + With a YOWL, she releases him. They tumble to the roof and + she DIVES ATOP HIM. Her TALONS click into place -- he sees + them poised directly above his EYES -- + + -- but manages to slam an ELBOW under her chin before she can + strike. Now they're disentangled; they get up groggily and + circle each other... + + SOMEONE IS BANGING on the metal door that leads up to the + roof, trying to break it down. BATMAN turns for an instant -- + a sudden CRACK -- + + -- and he finds himself all wrapped up in the CATWOMAN's CAT- + O'-NINE-TAILS...which is also outfitted with a TASER. She + sends a PARALYZING ELECTRIC CHARGE through his body and he + collapses to the roof in a jittering heap. The BANGING on the + door is louder... + + CATWOMAN + Did I tell you I invited company? -- Keep + 'em busy, angel, I've gotta scat. + + She kneels down and plants a BIG WET KISS on his twitching + face. Then she scurries to the edge of the roof, + DISAPPEARING -- + + -- just as the DOOR gives way -- and an ARMED SWAT TEAM comes + crashing out onto the roof! + + Just coming around, BATMAN tries to roll out of sight -- but + the COPS are swarming the place. They spot the BODIES on the + tar and gravel, see BATMAN scuttling for cover, and draw the + obvious conclusion. Pulling guns, they OPEN FIRE. BULLETS + RICOCHET off the big metal GLOBE. + + BATMAN, as is customary in these situations, shoots a + GRAPPLING HOOK at the roof of the next building over -- which + is a couple of stories taller than the Globe -- and REELS + HIMSELF UPWARD along the side wall. The SWAT COPS score a + couple of dead hits which set him swinging like a pendulum, + but his body armor holds and he clings to the line long enough + to reach the roof. + + CUT TO: + + INT. NEWSPAPER VAN - MOVING - THAT MOMENT - NIGHT + + FRlCK and FRACK, still in their Order-of-the-Bat garb, are in + the front seats; the PENGUIN is leaning out the side door. + Someone's obviously tipped the COPS about the source of all + the ruckus -- + + -- because a pair of POLICE CARS are on their tail and gaining + fast. Still hanging in the doorway, the PENGUIN raises his + UMBRELLA, peers down its length like a RIFLE SIGHT, and PULLS + A TRIGGER. + + ANGLE ON SQUAD CAR - MOVING - THAT MOMENT + + A SONIC DART -- one of the PENGUIN'S BIRD MAGNETS -- lodges + itself in the GRILLE of the foremost POLICE CAR. + + INT. SQUAD CAR - MOVING - THAT MOMENT + + The COPS in the car react in astonishment as PIGEONS begin + HURLING THEMSELVES at the WINDSHIELDS. A DOZEN KAMIKAZE BIRDS + bounce off in rapid succession. CRACKS begin to spread across + the glass. + + The COPS can't see where they're driving. The car SWERVES + WILDLY. And still the PIGEONS KEEP COMING -- COVERING THE + WINDSHIELD -- TOTALLY OBSCURING THE STREETS FROM VIEW... + + EXT. STREETS - ON SQUAD CARS - THAT MOMENT + + The first car, COMPLETELY COVERED WITH BIRDS, smacks into a + LAMPPOST and SKIDS. The second car CRASHES INTO IT. And the + pigeons continue to pour down from the heavens, SWARMING onto + the immobilized squad cars. + + INT. NEWSPAPER VAN - MOVING - THAT MOMENT + + The PENGUIN grins with delight as the van speeds off + unmolested. + + PENGUIN + Look at that, boys -- they do flock + together!! + + CUT TO: + + EXT. GOTHAM SQUARE - THAT MOMENT - NIGHT + + AMBULANCES are pouring into the square as the BAT ATTACK + continues. COPS are firing their guns blindly into the skies + as they try to evacuate the citizenry. PARAMEDICS drop the + stretcher they're carrying when BATS swoop down at their + heads... + + EXT. ROOFTOPS - NIGHT + + BATMAN is still pursuing the CATWOMAN, who's perched one roof + over, in a squat, wiggling a finger for him to follow. The + roofs are icy and treacherous, but he matches her step for + step, leap for leap, as she vaults from one building to the + next, leading him on. Finally she reaches the edge of a + building on the corner of the block; there's no place to go + but down. She squats on the ledge and smiles, beckoning to + him -- + + CATWOMAN + Ooh. Where have you been all my life? + + He edges closer. Suddenly, she does a BACKFLIP -- DIRECTLY + OFF THE EDGE OF THE ROOF. + + BATMAN hears GLASS SHATTERING. He hesitates a second -- moves + closer to the edge of the roof -- PEERS OVER THE ICY CORNICE. + + BATMAN'S POV - THAT MOMENT + + Staring down, he sees a narrow LEDGE running around the facade + of the building some ten or twelve feet below. The window of + a corner apartment has been smashed; the curtains are flapping + in the chill wind. + + EXT. ROOF - ON BATMAN - A MOMENT LATER - NIGHT + + She's obviously making her getaway through the apartment. + BATMAN climbs up on the slippery cornice and prepares to drop + to the ledge below -- cautiously, because it's a long way + down. A sudden CRACK -- + + The CATWOMAN hasn't entered the apartment. Instead, she's + followed the ledge around the corner of the building, silently + doubling back onto the roof behind BATMAN. He TURNS just as + her WHIP wraps itself around his left leg. She gives it a + sharp tug -- his feet SKID on the ice -- and HE TOPPLES OVER + THE EDGE OF THE ROOF. + + EXT. FACADE OF BUILDING - ON BATMAN + + He plunges downward for the briefest of seconds -- then JERKS + UP SHORT, SLAMMING INTO THE WALL OF THE BUILDING. The WHIP + has coiled itself around his leg, and for now it's holding + tight. He's dangling upside down, bat-like; he bounces away + from the wall; he SPINS in midair as one loop of the whip + UNRAVELS, dropping him another foot or so. + + He manages to brace his left foot against the wall. It's a + massive strain, but he's momentarily safe if he can keep from + moving. The alternative is a twelve-story drop, straight down + to the pavement... + + EXT. ROOF - ON CATWOMAN - THAT MOMENT + + She's wrapped the handle-end of the whip around an exposed + pipe on the roof, anchoring BATMAN in place. With a cheshire- + cat grin, she removes the RAVEN from her knapsack and holds it + on the edge of the cornice. + + EXT. FACADE - THAT MOMENT + + BATMAN hanging immobile. Craning his neck, he can just see + the + + RAVEN STATUETTE on the ledge above him -- bouncing slightly, + and apparently talking to him... + + CATWOMAN (O.S.) + Nevermore. Nevermore! + + Now the CATWOMAN appears beside it -- elbows on the cornice, + chin propped up on her folded hands, like a chatty girl at a + fern bar. + + CATWOMAN + Cute, huh! I think it'll look nice over + the fireplace. Maybe you can drop by and + see it sometime. + (demurely) + I hope you won't think I'm too... + aggressive or anything, but I find you + very attractive. + + She toys aimlessly with the whipcord, batting at it like a cat + with a piece of yarn. BATMAN grimaces. She speaks in a low, + soothing, seductive tone -- almost a purr. Behind the bondage + mask she bats her eyelashes. + + CATWOMAN (cont.) + It's just so hard to meet interesting men + these days. Don't you think so? + (sighing) + I have trouble with relationships. Men + find me intimidating...kind of predatory, + you know? Really I'm not. Really I'm + just playful... + + BATMAN huffs and puffs, trying to bend at the waist so he can + grab hold of the whip. She frowns and YANKS on it. His foot + flies free of the wall, and another loop of the whip uncoils + before he can stabilize himself. + + CATWOMAN (cont.) + Don't laugh! I'm trying to open up to + you! + + Angrily, she holds a STEEL CLAW to the whip -- ready to cut + him loose. + + ANGLE ON BATMAN + + He's palmed the GRAPPLING-HOOK LAUNCHER from his belt. + Holding it close to his body, out of view, he works it around + into firing position. He'll shoot it right through her if he + has to... + + CATWOMAN (cont.) + I always seem to fall for the wrong guys. + You know...most men are rats. + + ANGLE ON CATWOMAN + + She withdraws her hand from the whip, reverts to her + philosphical mode. + + CATWOMAN + Mice, really. It's disgusting -- they beg + you to walk all over them and then they + whine when you do it. Once you've had + your fun there's not much you can do but + kill them. + (beat) + But you seem different. I mean, you + obviously understand about dressing up... + that saves a lot of explaining. I think + people should indulge their fantasies, + don't you? + + BATMAN is sweating profusely. He can't hold his position much + longer. And the CATWOMAN is dragging this insane flirtation + out endlessly... + + CATWOMAN + So I think I'll let you live. Cute boys + like you are hard to find... + (standing up) + 'Bye, angel. I'll be thinking about you. + + And just like that, she VANISHES -- moving silently off with + her raven, leaving BATMAN to dangle. He hangs there a moment, + tries to twist himself around without moving his foot. He + braces one hand against the wall; with the other, he lifts his + grappling gun and FIRES. + + The HOOK SNAGS somewhere on the roof. BATMAN yanks the line + taut and is laboriously trying to pull himself erect when -- + + -- the CATWOMAN reappears over the edge of the cornice! + + CATWOMAN + Gee...I'm so fickle. + + A QUICK SWIPE of her STEEL TALONS, and the whipcord is neatly + SEVERED. BATMAN'S FOOT slips out from under him -- but he's + still got hold of the GRAPPLING GUN. He DROPS eight or ten + feet... + + EXT. ROOF - ON CATWOMAN + + watching with amusement as BATMAN's weight causes the hook to + DISLODGE. It skitters across the gravel surface of the roof + and CATCHES, at the last instant, on the edge of the + CORNICE -- + + -- which promptly CRUMBLES and GIVES WAY. Fascinated, the + CATWOMAN leans over the edge of the roof and peers down... + + ANGLE ON BATMAN - AS HE FALLS + + He flails wildly, tangled in his cape, as the ground rushes up + toward him. He gets a last-ditch inspiration -- finds the GAS + CYLINDER on his belt and hits the switch. The rods in his + cape begin to INFLATE... + + Six stories up, his BATWINGS spring erect, slowing his plunge. + Five stories up, an UPDRAFT hits him and he suddenly INVERTS. + Four stories up, he rights himself. Three stories up, he goes + into a downward spiral, out of control, gliding in great wide + arcs over the street... + + ...and a moment later there are no stories left. With an ugly + crunch, he smacks into the slush-covered pavement and BOUNCES. + Face down, he skids some twenty feet to a halt -- right in the + middle of a BUSY INTERSECTION. + + EXT. INTERSECTION - THAT MOMENT - NIGHT + + A DELIVERY TRUCK hits the brakes and screeches to a stop, two + feet away from BATMAN'S HEAD. He doesn't move. PEDESTRIANS + are already gawking and pointing as the DRIVER climbs out and + peers down at the inert caped figure lying face-down in the + street: + + DRIVER + What the hell is this? + + CARS are backed up, due to the panic in Gotham Square a few + blocks over. HORNS are honking. A TRAFFIC COP marches + over -- + + TRAFFIC COP + Awright, what's the problem here? + (spotting BATMAN) + Jesus. + + He tries to clear the crowd away. A full-fledged GRIDLOCK is + forming around the prostrate BATMAN. The COP blows his + whistle, tries to maintain order as two unifonned PATROLMEN + rush up to join him. + + They manage to roll the unconscious BATMAN over on his back. + The assembled COPS stare down at the mask, the scuffed body + armor. Still waxy, they finger the GUNS in their holsters... + + PATROLMAN + Good God. Cowan -- get to the car -- + radio the commissioner!! + + By now there must be two hundred people in the intersection, + all surging forward to get a look. More COPS are arriving to + beat them back. + + TRAFFIC COP + Is he dead? What do we do? + + PATROLMAN + The mask. Get the mask off. + + They hunker down over BATMAN. One of them tugs at his mask -- + but the helmet-like cowl doesn't want to give way. He feels + around -- + + TRAFFIC COP + Some kinda seam here on the neck... + + The PATROLMAN nods okay, and the COP tugs at a Velcro-like + fastening under BATMAN's chin. The instant it comes open -- + + -- a BURST of FINE GREEN MIST spews forth from concealed JETS + in the gold-and-black BAT-EMBLEM, and the COPS reel backward, + shrieking, gasping for breath and clewing at their eyes. + Booby-trap -- they've just been Maced. + + One of the ONLOOKING COPS steps back in horror and confusion. + On impulse, he draws his gun and FIRES TWICE at BATMAN. The + body JERKS and the bullets RICOCHET OFF -- + + TRAFFIC COP + DON'T SHOOT, you idiot. The crowd -- + + Before he can finish, a BLACK BOOT kicks the gun out of the + ONLOOKING COP's hand. BATMAN is back among the living. + SIRENS BLARE as he spins and rolls into a crouch -- lashing + out with elbows and knees -- driving the cops back -- + + Fuck the crowd. TWO MORE COPS pull their guns and open fire + in absolute panic. BATMAN slams backward into the delivery + truck and crumples to the ground. As he falls, he grabs a + couple of SMOKE CAPSULES from his belt and flings them to the + pavement. + + Seconds later, a THICK CLOUD OF BLACK SMOKE is spreading + through the intersection. BATMAN emerges into the midst of + the crowd -- weaving in and out among the stalled vehicles -- + + EXT. INTERSECTION - ANOTHER ANGLE - NIGHT + + A MOUNTED COP rides up to the outer fringe of the traffic jam, + drawn by all the confusion. He rears the horse back, turns it + in a circle; blows his piercing whistle as he tries to reroute + the incoming cars... + + Suddenly a WIRE wraps itself around his chest and arms. He + looks down. He sees a BATARANG in the instant before a sudden + JERK pulls him cleanly off his mount. + + BATMAN climbs up on the hood of the nearest car -- vaults over + to the next -- and the next -- then hops into the saddle of + the MOUNTED COP's waiting HORSE. He digs in his heels, + maneuvering through traffic... + + EXT. POLICE CAR - A MOMENT LATER - NIGHT + + LT. EDDIE BULLOCK and another plainclothesman are a few blocks + off trying to get through the jam. Their siren is on, but the + cars blocking their path have no room to pull over. BULLOCK + grabs the radio mike: + + BULLOCK + Hell of a mess up here, Commissioner. + We'll have to go in on foot... + + As they wait for a response, they see a HORSE charging past in + the opposite direction. On the back of the horse...is BATMAN. + + Gaping, BULLOCK nudges his partner -- who throws the car + immediately into REVERSE. As they watch, BATMAN kicks the + horse's flanks and turns right -- toward Gotham Park. + + INT. GOTHAM PARK - A MOMENT LATER - NIGHT + + Two RED BERETS, members of the Order of the Bat, are on night + patrol, strolling down a rambling path near the entrance to + the park. + + RED BERET I + This is wack, man. Nothing ever happens + around here anymore. + + The other RED BERET lets out a WHOOP OF FEAR and yanks his + partner out of the way. They tumble into a snowdrift as + BATMAN'S HORSE vaults over the stone wall of the park and + gallops past, nearly trampling them in the process. By now, + SQUAD CARS are roaring into the park... + + INT. PARK - ANOTHER SECTION - A MOMENT LATER + + SIRENS BLARE and RED LIGHTS FLASH in the distance as the COP + CARS spread out along the winding roads that run through the + park. BATMAN reins the horse in suddenly as a black-and-white + whips past on an access road just ahead of him, no more than + twenty yards away. + + He turns the horse in a circle. MORE RED LIGHTS appear in the + distance; another contingent of SQUAD CARS has just entered + from the opposite side of the park. It's going to be tough + getting out of here... + + Then: his eyes fall on the statue of his great-grandfather, + GENERAL WAYNE -- two Waynes on horseback, not twenty feet + apart. He thinks back to his earlier conversation with VICKI + and gets an inspiration. + + He rides past General Wayne to the STONE BRIDGE which spans + the little frozen creek. There he finds the DRAINAGE TUNNEL + VICKI described, obscured by the wire-mesh grate. This must + be where the boy vigilante holes up... + + He dismounts, ties his CAPE to the pommel of the horse's + saddle and sends it off with a slap. He pries the grate loose + and crawls inside. + + INT. DRAINAGE TUNNEL - THAT MOMENT + + A dank, but cozy, hideout; WARM STEAM hisses from a grate in + the floor. + + RUMBLING SOUNDS fill the little chamber as a SUBWAY TRAIN + passes directly underneath. A little farther back there's an + ACCESS SHAFT, with a Jacob's ladder, leading to the train + tracks below. + + Poking around, he finds a couple of cardboard BOXES -- the boy + vigilante's stash. The first contains tins of food, plus + various odds and ends. The second's more in line with what he + needs -- it's full of OLD CLOTHING. + + A TRAIN rumbles past underneath. BRUCE removes his COWL and + sets about putting together a civilian disguise that'll get + him out of the park. A wool hat and a long, moth-eaten + topcoat: perfect. As he's pulling them out of the box, he + spies something extremely odd -- + + It's a COSTUME -- a spangled red-and-green GYMNASTS OUTFIT + with a little yellow CAPE -- neatly folded and in pristine + condition. He removes it carefully from the box and holds it + up in front of him. Stitched on the vest is a single initial, + "R," in a black circle. He stares at the whole mystifying + ensemble in complete befuddlement... + + The roar of the train subsides, and he hears a SCUFFLING + NOISE. Someone's in the tunnel with him. He lowers the + costume abruptly -- + + -- revealing DICK, the boy vigilante, who's crouched in front + of him not three feet away. The kid's just crawled up through + the ACCESS SHAFT, and he's not at all happy to see an intruder + messing with his stuff: + + DICK + It's MINE! + + He lunges furiously at BRUCE. The two of them tumble back + into the grate at the tunnel entrance, KNOCKING IT LOOSE -- + + EXT. PARK - MOUTH OF TUNNEL - THAT MOMENT - NIGHT + + A POLICE CAR streaks past on the bridge overhead mere seconds + before BRUCE and DICK roll out into the snow, still grappling. + BRUCE flings the kid into the bridge abutment. DICK lands + hard; when he looks up, his EYES WIDEN, and a weird crooked + smile comes to his face... + + Out here in the moonlight he can see his opponent. The body + armor -- the gold-and-black emblem on the breastplate -- and + above it all, the face of BRUCE WAYNE, exposed to view... + + As a siren howls nearby, BRUCE flattens himself against the + bridge. Like it or not, his fate rests entirely in a strange + little boy's hands. + + The kid sizes up the situation immediately. He nods his head + up and down. Then he takes off his own ratty coat and throws + it to BRUCE. + + BRUCE is in no position to look a gift horse in the mouth. He + pulls on the coat, gives DICK a nod of acknowledgement, and + starts to move off. + + DICK + NO. WAIT! + + BRUCE turns, uncertainly. DICK throws him his woolen SKI CAP. + + The KID GIGGLES -- oddly, uncontrollably. Then he sprints off + into the woods, dancing, leaping. As he disappears from view, + he lets out a shrill, piercing, almost FERAL SHRIEK -- + + -- which is obviously intended to divert the cops. BRUCE + makes haste in the opposite direction. + + EXT. PARK - ANOTHER SECTION - A MOMENT LATER + + BRUCE'S HORSE gallops through the trees, the black bat-cape + still attached to its saddle and BILLOWING behind it. + + INT. SQUAD CAR - MOVING - THAT MOMENT - NIGHT + + TWO COPS scanning the park. The CAPED HORSE charges past in + front of them and is momentarily silhouetted in the + headlights. From a distance, it looks like BATMAN is still in + the saddle. + + The COP at the wheel makes a sudden turn. A moment later, he + SLAMS ON THE BRAKES. + + A MAN has just stepped out onto the road, directly in the + squad car's path -- a hunched figure in an old coat and woolen + ski cap, obviously one of the homeless. A COP leans on the + horn and shouts out the window: + + COP + Dumb son of a bitch!! + + The MAN -- BRUCE -- steps back out of the squad car's path. + The COPS take off -- in hot pursuit of a riderless horse. + + CUT TO: + + INT. WAYNE MANOR - KITCHEN - PRE-DAWN + + A DOCTOR'S BAG rests on the kitchen table. ALFRED, in robe + and slippers, rummages inside it and comes up with an ACE + BANDAGE. + + ALFRED + Commissioner Gordon called. He wants to + install a full contingent of police guards + here at the manor -- in round-the-clock + shifts -- to protect you from Batman. + + BRUCE is sitting erect in a straightbacked chair. His shirt + is open and he's holding his arms aloft while ALFRED wraps a + full roll of adhesive tape around his battered RIBS. + + BRUCE + Great. What'd you tell him? + + ALFRED + I told him that since you were Batman, + you'd require no protection from Batman. + + BRUCE makes a face: how droll. ALFRED tears off the tape with + a brisk YANK -- and BRUCE lets out an involuntary YELP OF + PAIN. + + BRUCE + Jesus, Alfred -- !! + + ALFRED + In future, sir...I strongly advise against + trying to fly off twenty-story buildings. + + BRUCE + It's just a few bruises. + + ALFRED + One bruise, sir. Which covers your entire + body. + + BRUCE gets up -- stiffly -- and buttons his shirt in gingerly + fashion while ALFRED packs his first-aid gear in the doctor's + bag. + + BRUCE + I'm getting too old for this line of work. + (beat) + Cops placed me at the scene of the crime + -- that weird kid of Vicki's saw my + face -- + + ALFRED + I shouldn't worry overmuch. I doubt the + two of you move in the same circles. + + BRUCE + -- and I got the living shit knocked out + of me by a woman. + + ALFRED + Sir -- such outmoded sexist attitudes are + quite unbecoming. + + INT. UPSTAIRS BEDROOM - DAY + + In a lavishly-appointed guest room on Gotham's Upper East Side + (or equivalent thereof), we find a pair of PLAINCLOTHES COPS + settled in for a stakeout: rumpled topcoats thrown across + antique chairs, french-fry bags and GREASY BURGER WRAPPINGS + littering the carpet. HIGH-POWERED RIFLES propped against one + wall. + + They peer through venetian blinds at an ELEGANT OLD BROWNSTONE + across the street... + + HIS POV - ROOF OF BROWNSTONE - THAT MOMENT + + A UNIFORMED COP, also carrying a walkie-talkie, is keeping + watch on the roof of the brownstone. He signals "all clear" + to his counterpart watching from the house opposite. + + INT. UNMARKED CAR - THAT MOMENT + + TWO MORE PLAINCLOTHESMEN are parked at the end of the block, + munching on donuts and watching the same brownstone. They + spot a POSTMAN lugging his sack up the tree-lined street on + his way to the brownstone. One of the PLAINCLOTHESMEN picks + up his RADIO MIKE: + + PLAINCLOTHESMAN + Mailman's coming. + + EXT. BROWNSTONE - A MINUTE LATER + + The POSTMAN marches up the front steps of the brownstone, + sorting through letters and packages. He hasn't even rung the + bell when the door is opened by ANOTHER COP -- who snatches + the mail delivery from his hands and SLAMS THE DOOR IN HIS + FACE. + + INT. BROWNSTONE - THAT MOMENT + + MORE COPS, at least half a dozen, are milling about inside -- + unshaven, ties loosened, shirtsleeves rolled up. They're in + for the long haul. + + The first COP gives a handful of letters to a couple of + COLLEAGUES -- then hands over a PARCEL, wrapped in brown + paper, to a pair of BOMB-DISPOSAL EXPERTS. They carry it + gingerly into the kitchen. Into the midst of all this + bustling activity strides COMMISSIONER GORDON: + + GORDON + Anything suspicious! + + In the parlor, where all the shades are drawn, TWO COPS are + examining each letter in turn, holding them up to a light + bulb, CREASING THEM carefully before slitting them open. + + COP + Nothing yet. Christmas cards and bills. + + He anxiously watches their progress. A VOICE calls from the + kitchen. + + BOMB-DISPOSAL EXPERT (V.O.) + Commissioner -- ? + + INT. KITCHEN - A MOMENT LATER + + GORDON enters. The bomb-disposal boys have their equipment + scattered all over the kitchen table. They've slit the brown- + paper wrapping of the PACKAGE, exposing a ROUND DECORATIVE + TIN. + + BOMB-DISPOSAL EXPERT + It's a fruitcake. + + He lifts the lid for GORDON to have a look. + + GORDON + ...Have it analyzed. + + INT. BROWNSTONE - ENTRY HALL - THAT MOMENT + + A bleary-eyed ELLIOTT TIPTREE marches down the stairs carrying + a pair of OVERSIZED SUITCASES. His WIFE and TWO KIDS are + behind him -- all bundled up, preparing to embark on an + extended vacation. + + POLICEMAN + Mrs. Tiptree? The car's here. + + TIPTREE, fighting back tears, embraces his wife for a long + wordless moment. Their LITTLE GIRL, aged six, tugs at Mommy's + sleeve. + + LITTLE GIRL + I don't wanna go to Grandma's. I wanna + stay here with Daddy. + + MRS. TIPTREE + She's got a nice tree just like ours, + honey. Daddy'll be up as soon as he can. + + LITTLE GIRL + She's old. She doesn't even have cable. + + LITTLE BOY + What about our presents? + + He gestures toward the GIFTS piled high around the tree in the + parlor. + + TIPTREE + Don't worry. I'll bring 'em up with me. + We'll open 'em when I get there. + + TIPTREE forces a smile for the kids. He CLUTCHES his wife's + hand. + + GORDON + Sorry, folks, but we'd better move along. + + MRS. TIPTREE + Kids? Tell your Daddy goodbye... + + Tearful hugs all around; then a cadre of UNIFORMED COPS escort + MRS. TIPTREE and the KIDS to the door. TIPTREE pulls GORDON + aside. + + TIPTREE + They'll be safe, won't they? + + GORDON + As safe as we can make 'em. + (beat; sternly) + It would help if you could give us some + small hint what this is all about. + + TIPTREE + I told you. I... + + TIPTREE shrugs helplessly and stares at his shoes. GORDON is + convinced he's holding something back. + + GORDON + You have no idea what was in that box that + Provost had delivered from the bank. + + TIPTREE shakes his head wearily. GORDON glowers as he turns + to go. + + GORDON (cont.) + All right, Mr. Tiptree. Merry Christmas. + + GORDON exits. TIPTREE wanders listlessly into the living + room, pulls back the drapes, and WATCHES as his wife and kids + ride off in a convoy of POLICE CARS. One of the COPS tries to + pull him away from the window, but he refuses to move... + + ...until a PHONE RINGS. Everyone jumps at once. A TECHNICIAN + hits a switch on a loudspeaker-and-tape-recorder assembly, + then gestures for TIPTREE to pick up the receiver... + + TIPTREE + Hello...? + + VOICE ON LOUDSPEAKER + Mr. Tiptree? Andy here. Listen -- we've + got a chance to grab a good-sized block of + Atlantic Teledyne at twenty-six and an + eighth -- + + The COPS heave sighs and turn off their tracing equipment. + + TIPTREE + Not today, Andy. Let's talk after New + Year's. + + TIPTREE hangs up and starts to BAWL right there in the middle + of the room. The COPS turn away in sympathetic embarrassment + as he goes to a corner wet bar and pours himself a good stiff + jolt. + + INT. TIPTREE'S BEDROOM - DAY + + Wallowing in despair, TIPTREE sits at an antique secretary + composing a LETTER. He takes a long pull on a glass of + Scotch, signs his name, and inserts the letter into an + envelope. He opens the desk drawer -- takes a long look at a + .38 automatic stashed inside -- then finds a stamp and affixes + it to the envelope. He addresses it to BRUCE WAYNE. + + A moment later he hears a noise at the window: TINK TINK TINK. + He peers through the blinds and sees a CARRIER PIGEON on the + ledge outside -- pecking at the glass, asking to come in. + + He raises the window and the PIGEON hops fearlessly inside, + onto the sill. The bird, well-trained, struggles only + slightly as he unties a tiny CAPSULE from its leg and removes + a FOLDED NOTE. Scrawled across it is a handwritten message: + + IF POLICE SEE THIS YOUR FAMILY IS DEAD + + He opens the note and begins to read as the PIGEON takes wing. + + CUT TO: + + INT. BRUCE'S LIBRARY - DAY + + BRUCE is at his desk examining the morning editions. A BANNER + HEAD-LINE shrieks: + + BATMAN SOUGHT IN PUBLISHER'S MURDER + Bat Attack Panics Gotham Square + J. Harrison Provost, 41, Leaves Distinguished Legacy + + He hears a VISITOR arriving in the entry hall. He gets up... + + INT. ENTRY HALL - THAT MOMENT - DAY + + BRUCE ambles out and sees SELINA, who's just arrived, doing + her patetented thing on ALFRED. + + SELINA + English accents are so stimulating. + (beat) + You have the most beautiful silver hair! + + ALFRED stammers as she reaches up to STROKE HIS HAIR. He's + about to break into a sweat. He's eminently relieved when she + turns and sees -- + + SELINA (cont.) + Bruce! + + BRUCE + Selina. What are you doing here? + + ALFRED affects a look of grandmotherly outrage as SELINA + slinks over and takes BRUCE by the arm. She's on him like a + barnacle. + + SELINA + I wanted to see your things, remember? + And I got tired of waiting for you to call + me back. + (gesturing toward ALFRED) + He's adorable. How long have you had him? + + INT. HALLWAY - A MOMENT LATER - DAY + + BRUCE leads SELINA down a hallway to the armory. He glances + back over his shoulder and sees ALFRED peering snoopily around + the corner. + + BRUCE + You heard about Harry Provost. + + SELINA + It's incredibly awful. It got me a little + worried. + (sidling up closer) + I hate to think of something happening to + you. + + BRUCE + Same here. + + SELINA + It's odd, though. Danger, the thought of + suddenly dying -- in a weird way it gets + you sort of...aroused. Don't you think? + + BRUCE cocks an eyebrow at her. Everything gets her sort of + aroused. + + INT. ARMORY - A MOMENT LATER + + SELINA BEAMS at the fantastic collection of armored gear and + exotic weapons. She's like a kid in a toy shop. + + SELINA + Bruce, this is incredible. + (indicating a suit of armor) + Malaysian -- ? + + BRUCE + Not bad. Sarawak warrior caste. + + SELINA + It's like -- everything in here is another + little piece of your mind. I was right + about you. + (turning to face him) + Promise, okay? Promise you'll show me + every inch of this place. + + + + PAGE 87 MISSING FROM HARD COPY + + + + INT. BATCAVE - FIFTEEN MINUTES LATER + + ALFRED is at a PRINTER, scanning page after page of computer + printout. He delivers his findings to BRUCE, who's seated at + a nearby terminal, scanning data and tapping away at the + keyboard. + + ALFRED + The police have no files whatsoever on + Selina Kyle. + + BRUCE + (abstractedly) + London...Cairo...Belgium... + + ALFRED + What exactly are you -- + + BRUCE + Her credit card records. + (looking up) + Every major art theft in the last five + years -- she's been on the scene or close + to it. + + ALFRED + You mean she's some sort of -- collector? + A...cat burglar, or -- + + BRUCE + Could be. Museum curator, authenticator + -- she's got the perfect cover for it. + (beat) + What would she want with that stupid + raven? + + ALFRED + Raven, sir? + + BRUCE + That's what the Catwoman took from + Provost. A little raven statuette, about + so big... + (shaking his head) + But it couldn't have been that valuable. + + He continues to scan the screen. ALFRED is suddenly lost in + thought. + + ALFRED + How very odd. + (long pause) + I'm sure it's nothing, but -- + + BRUCE + What, Alfred? + + ALFRED + Your father had a raven, sir. A small + statue of the very sort you describe. It + used to sit on his desk. + + This piques BRUCE's interest. He swivels around in his chair + and stares directly up at ALFRED. + + BRUCE + What happened to it? + + ALFRED + After your father's...demise, Mr. Tiptree + came to the house and asked if he could + have it. As a keepsake. I saw no harm... + (shrugging) + That was thirty years ago. + + BRUCE + Wait a minute. Mr. Tiptree? + + ALFRED + George Tiptree. Your friend Elliott's + father. + + CUT TO: + + INT. TIPTREE'S BEDROOM - AFTERNOON + + TIPTREE has an oversized suitcase open on the bed. It's empty + -- except for the BALLED-UP WADS of NEWSPAPER which he's + stuffing inside it. His head turns suddenly at the sound of + the doorbell... + + INT. UPSTAIRS HALLWAY - A MOMENT LATER + + TIPTREE emerges from his bedroom and peers over a bannister + into the ENTRYWAY below. Standing there is an unexpected + visitor -- BRUCE WAYNE -- holding his arms aloft while a + battery of COPS pat him down. + + BRUCE + What are you looking for -- Batarangs? + + TIPTREE + Bruce! Come on up. + (to the COPS) + I want to talk to Mr. Wayne alone. + + The COPS look on suspiciously as BRUCE ascends the stairs. + + INT. TIPTREE'S LIBRARY - A MOMENT LATER + + TIPTREE lets BRUCE inside and shuts the door behind him. + BRUCE hands him a GIFT BOX. + + BRUCE + I brought you a Christmas present. Sorry + about the wrapping -- the police made me + open it. + + TIPTREE opens the box and pulls out a diamond-studded TIE + CLASP. He looks up at BRUCE with an odd mixture of + bewilderment and gratitude. BRUCE nods for him to try it on, + and he obliges... + + TIPTREE + ...I'm afraid I don't have anything for + you. + + BRUCE + I think you may have something that + belonged to my father. + + TIPTREE + -- You know? + + He stares at BRUCE, astonished. His head sinks into his + hands. + + TIPTREE (cont.) + It'll all be over tomorrow. One way or + another, it'll all be over. + (looking up; despondent) + I've decided, Bruce. I'm gonna give him + the last two ravens. He's already got the + others. + + BRUCE + What are you talking about? Who? + + TIPTREE + Batman. I don't know how he found out, + but -- + + TIPTREE reaches for the bottle on his desk to pour himself a + drink, but BRUCE angrily knocks the glass out of his hands. + + BRUCE + It's time you told me what's going on + here. + + TIPTREE + Didn't you ever wonder where it came from, + Bruce? All the privilege, all the power + ...all the money? + (beat) + The ravens are a...a kind of map, Bruce. + The key to an incredibly vast fortune. + + BRUCE + Whose fortune? + + TIPTREE + Gotham City's. + + FLASHBACK - PROCESSED FOOTAGE (MOS) + + The cobblestone streets of 19th-Century Gotham. A massive + EXPLOSION blows open one wall of a municipal building, and + total CHAOS erupts: fires starting, BYSTANDERS screaming, + POLICE rushing to the scene... + + TIPTREE + In 1880 the Gotham City Treasury was + looted. It was a fantastic operation -- + perfect military precision. The robbers + made off with milllons in gold and silver + bullion... + + A HORSE-DRAWN CART weighted down with gold bricks careens + around a corner. Atop it are two men in MASKS, firing a + GATLING GUN into the crowd. POLICE and ONLOOKERS tumble to + the pavement, shot dead, as ANOTHER CART emerges from the + wreckage of the treasury and takes off in the opposite + direction. + + FLASHBACK - PROCESSED FOOTAGE (MOS) + + CITY OFFICIALS in a boardroom trading papers back and forth, + arguing furiously with five calm, distinguished-looking GENTS + -- one of whom is the bushy-bearded Civil War hero GEN. OLIVER + WAYNE. + + TIPTREE (V.O.) + The city was going under. Bankrupt... + until five rich men stepped in to bail it + out. In exchange they took the land + rights, the mineral rights, the service + contracts -- + + BACK TO SCENE - ON BRUCE AND TIPTREE + + BRUCE + The Five Families. + + TIPTREE + Our ancestors. They bought Gotham City -- + carved it up and ran it into the ground. + In five years they were rich beyond + imagining. + (pause) + We've just been following in their + footsteps. And in all this time no one's + ever suspected -- + + BRUCE + -- that they were the ones behind the + robbery? + + FLASHBACK - PROCESSED FOOTAGE (MOS) + + The FIVE PATRIARCHS in front of a roaring fireplace at Wayne + Manor, raising a celebratory toast. CAMERA PANS OVER to a + nearby table; on it rest FIVE RAVEN STATUETTES. + + TIPTREE (O.S.) + They had five ravens made. Five ravens + which -- combined -- would reveal the + location of the treasure they'd stolen. + (beat) + But they never touched it. They never + needed to. It's still there to this day. + + BACK TO SCENE - ON BRUCE AND TIPTREE + + TIPTREE + The ravens, and the secret -- have been + passed down through generations. Father + to son... + (shaking his head) + Your father -- died before he could tell + you. + + BRUCE + So they stole his piece of the puzzle. + + TIPTREE + Yeah. I've got it, Bruce, and I'm going + to hand it over. He's right, you know. + We've all been feeding -- feeding on the + soul of Gotham... + + BRUCE stares at him, stony-faced. There's one part of the + story that doesn't quite add up. + + BRUCE (cont.) + I don't believe you, Elliott. My father + was a decent man -- an honorable man. He + would never have taken part in a scheme + like this. + + TIPTREE + It wasn't his doing, Bruce. It was -- + + BRUCE + That doesn't matter. If he knew that his + fortune was based on a crime -- a crime + against the city... + (violently) + Reputation or not, he would've tried to -- + + TIPTREE + Christ, Bruce! Do you want me to spell it + out for you?!? + + BRUCE backs off. An awful shiver of anticipation runs down + his spine. + + TIPTREE (cont.) + He was a decent man. He was an honorable + man. That's why they had him killed. + + CAMERA ZEROES IN ON BRUCE'S HORRIFIED FACE as we get a + + SERIES OF SHOTS + + Quick, almost subliminal glimpses of BRUCE's primal trauma: a + MUGGER snatching at his mother's necklace. THOMAS WAYNE + lunging at him. The young JACK NAPIER firing at THOMAS. + PEARLS showering down on the rain-drenched sidewalk. A second + bullet felling his MOTHER -- + + -- and finally, young BRUCE himself, face wracked with PAIN + and GRIEF -- + + BACK TO SCENE - ON BRUCE + + -- an expression which perfectly matches the one which the + adult BRUCE is wearing as he relives it all thirty years + later. Staggered and glassy-eyed, he stares off into space as + TIPTREE finishes his tale. + + TIPTREE + They killed him...to protect their secret + ...and now the bill's come due. Now the + bill's come due. + + CUT TO: + + EXT. WAYNE MANOR - ESTABLISHING - TOWARD DUSK + + The wrought-iron gate outside BRUCE's vast estate -- and + beyond it, Wayne Manor itself, rising bold and stately against + the setting sun. A COUNTY SHERIFF'S CAR cruises past... + + INT. WAYNE MANOR - BRUCE'S BEDROOM - THAT MOMENT + + BRUCE lies motionless on his bed. Scattered about him are + SCRAPBOOKS, FAMILY PHOTOS and yellowed NEWSPAPER CLIPPINGS + which describe the murder of his parents. Disoriented, he + gazes about aimlessly at his familiar surroundings -- which no + longer seem quite so familiar... + + He folds his arms formally across his chest and stares up at + the ceiling, inert, as if the very weight of his heritage is + crushing him down. Somewhere, a PHONE RINGS. He makes no + move to answer it. + + INT. WAYNE MANOR - KITCHEN - DUSK + + VICKI's at the kitchen table drinking coffee. ALFRED, who's + in his apron preparing dinner, picks up the ringing phone. + + ALFRED + Thank you, yes, everything's fine. I'll + expect your next call in an hour. + (hanging up; to VICKI) + The police are becoming an awful nuisance. + + VICKI + I feel so awful for him, Alfred. There + must be something we can do. + + ALFRED + I realized long ago -- that there are + places in Mr. Wayne's heart which no one + will ever penetrate -- or share. + (pause) + He loves you, Miss Vale. But in certain + ways he will always be alone. + + BRUCE (O.S.) + ...Thanks for the testimonial. + + ALFRED turns and sees BRUCE standing in the doorway, staring + at him. He starts to say something, but thinks better of it. + He returns to his dinner preparations as BRUCE sits down + across from VICKI. She extends a hand and he takes it -- + making a visible effort to hold himself together. + + BRUCE + Tiptree's planning some kind of rendezvous + with 'Batman.' I think Batman ought to be + there when it happens. + + ALFRED + I see, sir. When shall we expect you + back? + + BRUCE + Get your cap. You're driving. + + INT. TIPTREE'S BROWNSTONE - NIGHT + + It's late, and the house is dark as TIPTREE treeds silently + downstairs carrying an OVERSIZED SUITCASE. The lights are on + in the kitchen, where the COPS are playing poker and watching + TV. + + INT. PARLOR - A MOMENT LATER - NIGHT + + CHRISTMAS TREE LIGHTS twinkle in the darkness. TIPTREE kneels + beside the tree and digs around among the packages. He pulls + out an OBLONG GIFT BOX with a tag addressed "TO DADDY -- FROM + SANTA." + + With a glance back at the kitchen, he soundlessly unwraps the + package -- and opens it to reveal a matched set of RAVEN + STATUETTES. He transfers them to the big suitcase -- then + slinks into the hallway... + + INT. BEDROOM ACROSS STREET - THAT MOMENT - NIGHT + + The two STAKEOUT COPS are chuckling at a Charlie Brown + Christmas special on a portable TV. One of them glances out + the window and sees a man in a topcoat emerging from the + brownstone, SUITCASE in hand... + + STAKEOUT COP I + Shit -- that's Tiptree!! + + The COP grabs for his WALKIE-TALKIE. + + EXT. STREET OUTSIDE BROWNSTONE - THAT MOMENT - NIGHT + + TIPTREE is halfway down the block when two COPS burst out of + the brownstone. + + COP + Mr. Tiptree! What the hell are you -- + + HEADLIGHTS FLASH ON as the SURVEILLANCE CAR revs its engine. + TIPTREE breaks into a RUN -- and the COPS from the brownstone + follow suit. At the end of the block he vanishes down a + SUBWAY ENTRANCE. + + INT. SUBWAY STATION - THAT MOMENT + + A VIOLINIST is panhandling outside the token booth as the COPS + come racing down the stairs. The COPS trip over his open + violin case, scattering small change across the conrete floor. + They flash their badges at the booth and VAULT OVER THE + TURNSTILE -- + + -- just in time to see TIPTREE, with his SUITCASE, scuttling + down a stairway which leads to the train platform below. + + INT. SUBWAY PLATFORM - A MOMENT LATER + + TIPTREE steps onto an EXPRESS TRAIN. The doors slide shut + behind him -- and the hapless COPS curse under their breath as + he rolls off. + + COP + We've gotta get back to the radio. + + INT. SUBWAY CAR - A MOMENT LATER - MOVING + + TIPTREE takes an open seat and looks around apprehensively. + Being fabulously rich, be's probably ridden the subway twice + in his life -- and at this time of night, EVERY FACE in the + sparsely-populated car looks vaguely menacing. Derelicts, + prostitutes, teen-gang members -- ALL OF THEM eye this well- + heeled stranger with intense curiosity as he clutches his + suitcase and stares anxiously at the floor... + + An ODD, GAUNT FIGURE enters at the end of the car. It's a + DEAFMUTE. He shambles down the aisle passing out little white + CARDS. One side is a guide to International Sign Language. + The other reads: + + DEAF AND DUMB + PLEASE HELP -- $1.00 + + TWO YOUNG TOUGHS take a card and tear it in half, chuckling, + shining the DEAFMUTE on. A HOOKER, the heart-of-gold type, + stuffs a buck in his tin cup. He reaches TIPTREE and extends + a card; TIPTREE ignores him, refusing to make eye contact -- + + -- but the DEAFMUTE shoves the card insistently into his face. + Now TIPTREE looks up. THIS CARD bears a personalized message: + + GOTHAM CENTRAL STATION + B-TRAIN WEST TO RIVERVIEW + + TIPTREE's eyes widen. The DEAFMUTE -- who is in fact FRICK -- + glowers down and holds out his cup. TIPTREE digs in his + pocket; the smallest bill he's got is a twenty, but he hands + it over anyway. + + Smiling at this act of generosity, FRICK moves on to the next + car. TIPTREE stares down tremulously at the card. He fidgets + with his TIE CLASP -- the one BRUCE gave him earlier... + + INT. LIMO - MOVING - NIGHT + + TIGHT on a hand-held ELECTRONIC TRACING DEVICE. A small BLIP + moves across a shifting GRID not unlike a radar screen. + + BRUCE is in the back of the limo, eyeing the tracer intently. + ALFRED's up front, at the wheel. + + BRUCE + According to this, he's directly below us. + + ALFRED + The subway, sir? + + BRUCE + Yeah. Take a right. + + INT. GOTHAM CENTRAL STATION - THAT MOMENT + + It's slightly more crowded here in the hub of Gotham. TIPTREE + emerges onto the platform and spies a squad of TRANSIT COPS + thirty or forty feet away -- speaking into WALKIE-TALKIES as + they scan the crowd. + + Sticking close to the tracks, he turns swiftly toward the + nearest stairway -- blending in with the crowd, trying to hold + the SUITCASE out of view. + + INT. LOWER PLATFORM - A MINUTE LATER + + TIPTREE IS RUNNING for the B-train just as the doors begin to + close. He manages to thrust the suitcase inside -- but the + doors SLIDE SHUT on his hand, and he DROPS IT. He stands + there on the platform, his face turning BONE WHITE as the + train lurches forward... + + False alarm. The train stops, and the doors hiss open again. + + INT. SUBWAY CAR - MOVING - A MOMENT LATER + + TIPTREE clambers aboard with a severe case of palpitations. + As the train pulls out, a couple of rough-looking but helpful + STREET TYPES show him to a seat and hand him his precious + suitcase. He sits there panting... + + Moments later, a DEAFMUTE enters the car. TIPTREE does a + take: it's the exact same guy who was riding the other line! + Of course, he doesn't know about Frick's malignant twin -- + FRACK... + + WIPE TO: + + INT. LOCAL STOP - TEN MINUTES LATER - NIGHT + + Having changed trains twice more since we left him, TIPTREE + debarks at a deserted local stop. The station is EMPTY except + for one other passenger, who's gotten off here as well -- a + WOMAN in a long fur coat. + + TIPTREE WATCHES as she approaches on her way to the stairwell, + STILLETO HEELS clicking across the floor. There's something + familiar about her -- but she's wearing a big, broad-brimmed + hat, and she TILTS IT DOWN as she passes, obscuring her face. + It is, of course, SELINA... + + TIPTREE stands there expectantly with his suitcase, awaiting + further instructions. They aren't long in coming. A BLACK + MYNAH BIRD swoops out of the tunnel, lands on the platform, + and STRUTS in front of him. + + MYNAH + FOLLOW ME. AWWWKK! FOLLOW ME. + + The bird flutters its wings and takes off again -- INTO THE + TUNNEL. TIPTREE stares after it in disbelief. Then the bird + CAWS AGAIN -- its shrill voice echoing from the darkness of + the tunnel: + + MYNAH (O.S.) + FOLLOW ME. AWWWKK! + + TIPTREE clambers over the edge of the platform, dropping + awkwardly to the tracks below. Suitcase in hand, he begins to + walk... + + INT. LIMO - MOVING - NIGHT + + ALFRED tearing up the streets as BRUCE consults his tracer. + + BRUCE + He's slowed down. Looks like he's under + the park. + + ALFRED + How do you propose to get down there, sir? + We can't have Batman strolling up to buy a + token. + + BRUCE + I know another way in. + (beat) + Step on it. They're down there waiting + for him. + + ALFRED turns the limo hard right -- into GOTHAM PARK -- past + the statue of GENERAL WAYNE atop his horse... + + INT. SUBWAY TUNNEL - THAT MOMENT + + A LOCAL TRAIN roars by, filling the screen. When it passes, + we see TIPTREE with his suitcase, walking along the express + tracks at the far wall of the tunnel -- more frightened with + each step. It's dark and eerie down here in the tunnels; the + only illumination comes from dim LANTERNS spaced at fifty-foot + intervals. + + He sees the lights of an EXPRESS TRAIN behind him, and quickly + switches to the local tracks. The train rumbles past with a + deafening blare, and the car lights briefly illuminate his + surroundings. TIPTREE glances over at the inside wall of the + tunnel... + + ...where he sees, huddled in an ALCOVE just off the tracks, a + small gathering of HOMELESS PEOPLE. They've set up camp down + here in the tunnels, away from the elements. Surrounded by + bags full of old clothes, DINING on canned food and cheap + wine, they stare curiously at the well-heeled stranger with + the suitcase who's invaded their domain. + + TIPTREE eyes them fearfully and picks up his pace, hastening + down the tunnel. The HOMELESS make no move to follow -- with + one exception. A KID, thirteen or fourteen, in a ratty + topcoat, climbs down onto the tracks and watches inquisitively + as TIPTREE vanishes into the shadows. + + His face is familiar. It's DICK -- the boy vigilante from the + park. + + INT. TUNNEL - FARTHER DOWN TRACKS - A MOMENT LATER + + In this stretch of the tunnel the LANTERNS don't seem to be + working -- and the MYNAH is completely invisible. When he + comes to a fork in the tracks, he has to wait for the sound of + the bird's shrill voice to guide him: + + MYNAH + AWWRRK! FOLLOW ME. + + TIPTREE stumbles ahead blindly in the darkness. He trips on + the tracks and drops the suitcase. As he's getting to his + feet, a FLASHLIGHT shines DIRECTLY IN HIS FACE... + + VOICE + STOP THERE. + + The MYNAH BIRD flutters through the beam of light and perches + on the shoulder of an UNSEEN FIGURE. TIPTREE COWERS and + SQUINTS, trying to make him out, but the figure who stands + before him is shielding his face with an open UMBRELLA. + + TIPTREE + I've cooperated. I've done everything you + said. + + PENGUIN + Open the case. + + TIPTREE lifts the lid, revealirig TWO RAVENS in the suitcase. + A CACKLING LAUGH echoes in the darkness. + + PENGUIN (cont.) + ...Two ravens? + + TIPTREE + The other one is Bruce Wayne's. + (trembling) + He doesn't know anything about this. + You've got what you want. There's no need + to -- + + PENGUIN + Thank you, Mr. Tiptree. You may go. + + TIPTREE stands. He backs away from the suitcase warily. + + TIPTREE + My family. You won't -- + + PENGUIN + We'll certainly take your unexpected + generosity into consideration. + + TIPTREE + We -- ?!? + (shielding his eyes) + You're not Batman. + + PENGUIN + No. I'm his brother-in-law -- Birdman. + Now move out. + + INT. TUNNEL - HIGH ANGLE - THAT MOMENT + + TIPTREE marches slowly down the tracks, TOWARD CAMERA, + silhouetted in the flashlight beam. The beam SHIFTS SLIGHTLY + as the Penguin moves toward the suitcase and sets the light + down -- + + -- and we catch sight of the CATWOMAN perched on a steel + cross-girder above the rails, her CHROME-STEEL TALONS GLINTING + as she waits for TIPTREE to pass underneath. + + INT. TUNNEL - ON TIPTREE + + looking increasingly twitchy as he approaches the cross- + girder. He slips a hand into the pocket of his topcoat, + WHIRLS SUDDENLY -- + + -- and brings up his .38 AUTOMATIC, firing THREE QUICK SHOTS + at the PENGUIN. The shots RICOCHET LOUDLY off the umbrella -- + which happens to be a bulletproof job. The PENGUIN lifts his + brolly; FIRE SPITS out of the shaft -- + + -- and TIPTREE staggers backward. SHOT IN THE CHEST. He + spins into a steel upright and topples, face-forward, onto the + ELECTRIFIED THIRD RAIL -- FRYING HIMSELF in a shower of + sparks. + + The smoke is still clearing when the CATWOMAN drops to the + tracks. The PENGUIN rushes to her side to check TIPTREE for + signs of life. + + CATWOMAN + That idiot. Another six feet -- + + PENGUIN + So sorry to spoil your fun. -- He brought + two ravens. We've got a complete set! + + CATWOMAN + What?? + + PENGUIN + Yeah! They're in the suitcase -- + + An AWFUL RUMBLING fills the tunnel. They see the lights of a + TRAIN approaching on the center track -- the same one they're + standing on, the one TIPTREE's body is slumped across. The + PENGUIN's first impulse is to run back toward the inner track, + where the ravens lie, but the CATWOMAN is trying to drag + TIPTREE out of the train's path... + + CATWOMAN + GIVE ME A HAND! + + They pull the corpse onto the outer express track just as the + train arrives. They stand against the outer wall, waiting for + the train to pass... + + ...and when it does, they see DICK -- the boy vigilante -- + standing on the inner track directly across from them. + HOLDING THE SUITCASE. The kid takes off like a shot. The + CATWOMAN and the PENGUIN exchange quick looks of utter + disbelief -- and BOLT AFTER DICK. + + INT. TUNNEL - ON DICK + + The bulky suitcase is slowing his progress. He looks back + over his shoulder; although the stubby-legged PENGUIN has + fallen well behind, the CATWOMAN is gaining fast. + + + + PAGE 101 MISSING FROM HARD COPY + + + + INT. TUNNEL - ON DICK + + watching in the light from the train as the two costumed + figures grapple in the distance. He races back toward the + scene of the melee... + + INT. TUNNEL - OUTTER EXPRESS TRACK - THAT MOMENT + + ...where BATMAN and the CATWOMAN are trading punches, blow for + blow. He knocks her off her feet with a vicious right hook, + and she sprawls on the track, dazed and bleeding. She lifts a + hand: no mas... + + He looks back toward the suitcase on the center track. Before + he can make a move toward it, he spots ANOTHER TRAIN + approaching on the outer tracks -- right on the heels of the + last one. He crouches to pull the CATWOMAN's limp frame out + of its path... + + ...but as he does so, a HORN BLARES -- and a SECOND TRAIN + comes barrelling down the center track from the opposite + direction! Now he's got trains approaching on either side, + and there's no place to go -- + + The CATWOMAN is groggily getting to her feet. He LUNGES at + her -- THRUSTS HER BACKWARD, toward an ALCOVE in the outer + tunnel wall. + + INT. TUNNEL - ON DICK - THAT MOMENT + + The OUTER train is already speeding past, obscuring BATMAN and + the CATWOMAN from view. The CENTER train is bearing down + fast. A split-second before it arrives, DICK'S HAND snatches + the suitcase out of its path -- and he TUMBLES TO SAFETY on + the innermost LOCAL TRACK. + + He stands and watches as the two trains pass in opposite + directions. He doesn't know if BATMAN is alive or dead... + + INT. ALCOVE - THAT MOMENT + + BATMAN and CATWOMAN are flattened in the tiny alcove -- + there's not two inches of breathing space between them and the + passing TRAIN. She's come around now, and she's FLAILING and + CLAWING at him, trying to PUSH HIM OUT. + + HER HAND closes around his UTILITY BELT. As they struggle, + she hits the trigger of a SMALL GAS CYLINDER... + + It's BRUCE's hydraulic BATWING DEVICE -- the one that saved + him when he fell off the roof. But this time the results are + altogether different. He GASPS IN HORROR as the WINGS OF HIS + CAPE stiffen and inflate -- FORCING HIM AWAY FROM THE WALL OF + THE TUNNEL. + + His OUTER WING strikes the TRAIN -- FLAPPING WILDLY against + the passing CARS -- SNAGGING FINALLY on the ralling of the + rearmost car -- + + -- and BATMAN is suddenly RIPPED OUT OF THE ALCOVE -- DRAGGED + OFF DOWN THE TRACKS by the passing train! + + INT. TUNNEL - INNERMOST TRACK - ON DICK + + He's still there with the suitcase -- waiting apprehensively + to see what's become of BATMAN. Finally the center train + passes -- + + -- and he sees CATWOMAN standing ALONE IN THE ALCOVE -- + smiling at him -- advancing menacingly. DICK TURNS TO RUN... + + A GUNSHOT rings out -- and the last thing he sees as he slumps + to the tracks is a whiff of SMOKE pluming from the shaft of + the PENGUIN'S UMBRELLA. + + The PENGUIN's panting -- soaked with sweat. The CATWOMAN + snatches up the suitcase and rushes over to join him. She + peers off into the tunnels after BATMAN, exhilarated... + + CATWOMAN + God. Did you see him? Isn't he hot? + + PENGUIN + Haven't you got anything else to think + about? + (mopping sweat from his brow) + I'm hot. That was exhausting. + + CATWOMAN + No pain, no gain! -- Suck it up. We're + not out of here yet. + + She sprints off down the tracks. SQUAWKING, he waddles along + behind her, as fast as his fat little legs will carry him... + + As they vanish into the darkness, the CAMERA TRACKS back -- + past DICK, who lies unconscious on the tracks, bleeding + heavily from his shoulder wound -- DEEPER INTO THE MAZE OF + TUNNELS -- + + -- arriving finally on the ragged black figure of BATMAN as he + staggers forth from the shadows, dazed and bloody. He scans + the tunnel, finding no trace of his enemies -- and then his + gaze falls on DICK. + + He limps over and KNEELS at the boy's side -- cradling his + head protectively, staring helplessly into the blackness all + around him... + + DISSOLVE TO: + + EXT. GOTHAM CITY SKYLINE - NIGHT + + The stark outlines of the city, BATHED IN MOONLIGHT. CAMERA + ZEROES IN on the glowing, ornamental DOME of CITY HALL... + + INT. CITY HALL - THAT MOMENT - NIGHT + + A PENTAGONAL BALCONY girds the interior of the dome. We TILT + DOWN to ground level -- where TWO AGED SECURITY GUARDS lie + sprawled at odd angles on the marble floor, FATALLY SHOT. + + The PENGUIN closes his gun-umbrella and waddles across the + atrium of City Hall, past a statue of blind Justice, to a + point directly under the dome. There, encased in a plexiglass + case, is a SCALE MODEL of GOTHAM CITY -- circa 1885, when City + Hall was erected. He shouts up: + + PENGUIN + LETS DO IT! + + INT. CITY HALL - BALCONY UNDER DOME - THAT MOMENT + + The CATWOMAN, FRICK, and FRACK are already up on the balcony. + Lining its periphery are various DISPLAY CASES of historical + interest; and positioned along the wall at each point of the + pentagon are FIVE ARCHED NICHES -- each one containing a + bronze bust. The patriarchs of Gotham's Five Families... + + The CATWOMAN and co. go to work quickly. She removes the FIVE + RAVENS from a gunny sack as FRICK and FRACK work their way + around the balcony, YANKING the busts from their recessed + bases. She follows along behind them, replacing each bust + with a RAVEN. + + When they're done, the PENGUIN yells up: + + PENGUIN + Now. Give each raven a quarter-turn. + + His pals in the dome oblige -- TWISTING each raven in its + recessed socket, in quick succession... + + INT. CITY HALL - ATRIUM - ON PENGUIN + + The moment of maximum tension. He stands there frothing at + the mouth with anticipation. SECONDS TICK OFF, and nothing + happens. + + CATWOMAN + What happens now? + + PENGUIN + I don't know. That's all...! + + He looks around expectantly as the others peer down at him + from above. He really doesn't know what's supposed to happen + next. Suspecting the worst, he throws his umbrella to the + floor and begins STAMPING ABOUT IN A RAGE, SPUTTERING, + flapping his arms like wings. + + PENGUIN (cont.) + We've been TRICKED! It's a HOAX! It's + a -- + + He SHUTS UP suddenly at the sound of a loud CHUNK. Somewhere + behind him, ANCIENT GEARS are beginning to grind. He spins + and stares at the SCALE MODEL of GOTHAM in its plexiglass + case... + + The city model is TREMBLING slightly. As he watches, the DOME + of the miniature CITY HALL -- in the dead center of the model + city -- POPS OFF on a hinge. A METAL STRONGBOX rises into + view... + + INT. DOME - ON BALCONY - THAT MOMENT + + The CATWOMAN, FRICK and FRACK stare down at the little metal + box. The PENGUIN is already clambering atop the plexiglass + case of the model, SMASHING AT IT with his umbrella, trying to + get at the box. + + FRICK + That's the treasure? + + CATWOMAN + No. It's a map... + + She affixes a ROPE to the balcony railing and CLIMBS OVER. + + INT. CITY HALL - ATRIUM - ON PENGUIN + + The plexiglass case finally SHATTERS -- and the PENGUIN falls + through, landing atop Gotham City. He snatches at the + strongbox and gets to his feet, bestriding the city like a + colossus. He's climbing down off the tabletop when the + CATWOMAN, on her rope, touches down behind him. + + He hunkers down on the floor and knocks the rusted padlock off + the box. He opens it and stares greedily at the contents -- a + MAP and a bunch of old, crumbling PHOTOS. The CATWOMAN creeps + over to his side: + + PENGUIN + Bruce Wayne. So he doesn't know a thing + about the treasure, eh...? + (handing her the map) + Look at this. It's right under Wayne + Manor. It's been there all along! + + Now the CATWOMAN snatches at the PHOTOS. They show + progressively closer views of ANCIENT GNARLED STALACTITES -- + an odd, distinctive SUBTERRANEAN ROCK FORMATION... + + PENGUIN (cont.) + Looks like some kind of cave. + + FADE THROUGH TO: + + INT. WAYNE MANOR - GUEST BEDROOM - DAY + + TIGHT ON THE FACE of DICK. He lies unconscious in a big soft + frilly bed A WOMAN'S HAND wipes his feverish brow with a damp + cloth; he moans slightly... + + His eyes snap open suddenly. He sits BOLT UPRIGHT with a + yelp. + + VICKI + No, no -- don't try to get up -- you're + hurt. + + He pushes her aside and climbs out of bed anyway. His + shoulder is bandaged, his arm in a sling. The pajamas he's + wearing are three sizes too large. He paces about, staring at + his unfamiliar surroundings. + + VICKI (cont.) + It's all right. You're safe. You can + stay here as long as you need to. + + DICK + I don't belong here. You can't keep me + here. + + Vaguely unnerved, he goes to a window, pulls back the shades, + looks out at the grounds. + + VICKI + It's "Dick", isn't it? Or do you prefer + "Richard"? + + He stares at her as if she's nuts. VICKI opens a closet door: + all of his ratty belongings are hanging inside -- including + the red-and-green GYMNAST'S SUIT with the "R" insigne on the + breast. + + VICKI + "R" -- for Richard, right? See, all your + things are here... + (staring at the costume) + What is it, some kind of gymnast's outfit? + + DICK + It's none of your business. What is this, + some kind of home? + + VICKI + No, not that kind. There's a swimming + pool -- tennis court -- you can have + anything you want. + + DICK + Tennis court?! -- Lady, you're rich. How + the hell would you know what I want? + + VICKI tries to lay a soothing arm on his shoulder. He bats it + away, pushes her aside and turns toward the door in + agitation -- + + DICK + I'm not staying. You can't make me -- + + -- and sees BRUCE standing in the doorway looking at him. + + BRUCE + I can make you. + + DICK freezes -- as if BRUCE's mere presence has mesmerized + him. The hint of a smile plays across his face: ohhhhh. I'm + in Batman's house. + + BRUCE (cont.) + Come on. Wanna go at it? + (no response) + Look, kid -- like it or not, you're my + guest -- and long as you're here you might + as well enjoy it. + + ALFRED appears with a tray of hot food and sets it down on a + bedside table. DICK edges toward it and sits down. He waits + for ALFRED to leave and then TUCKS IN HUNGRILY -- eyeing BRUCE + all the while. + + BRUCE (cont.) + Will you two be okay in here? + + VICKI nods yes. BRUCE backs out of the room. + + INT. WAYNE MANOR - OUTSIDE GUEST ROOM - DAY + + BRUCE pulls the door shut. ALFRED follows him down the hall. + + ALFRED + What do you propose to do with him, sir? + Keep him in the room for the rest of his + life? + + BRUCE + I don't know, Alfred. I've got other + stuff to worry about. + + ALFRED + The child is hurt, sir. At the very least + we should attempt to locate his parents. + + BRUCE + He hasn't got any parents. + + ALFRED + How do you know that, sir? + + BRUCE turns and fixes ALFRED with a steely gaze. + + BRUCE + ...I know. + + The PHONE RINGS as BRUCE starts down the long stairway. + ALFRED picks up a hallway extension. He covers the + mouthpiece: + + ALFRED + Sir -- it's Miss Kyle. + + BRUCE rushes back upstairs to take the call. + + INT. PENGUIN'S LAIR - THAT MOMENT - DAY + + ARCTIC BIRDS chirping all around in the penguin-pool room. A + SNOW OWL struts across the PENGUIN's desk as SELINA makes a + phone call -- with the PENGUIN, FRICK, and FRACK hovering over + her. + + SELINA + Well! Tall, dark and handsome. Are we + still on for tonight? + + INT. WAYNE MANOR - ON BRUCE + + He covers the receiver and stares intensely at ALFRED. On his + look we + + DISSOLVE TO: + + INT. WAYNE MANOR - FRONT PARLOR - NIGHT + + Christmas carols playing. VICKI's got DICK helping her trim + the tree. + + INT. BRUCE'S BEDROOM - NIGHT + + BRUCE is getting dressed for his date with SELINA. + + ALFRED + Is this necessary, sir? After all...it is + Christmas eve. + + BRUCE reaches for his UTILITY BELT. He empties the contents + of one packet onto a dresser: a dozen tiny, red GLASSINE + CAPSULES. He scoops up a handful of the CAPSULES and deposits + them in his jacket pocket. + + BRUCE + Stuff'll knock out a moose, much less a + cat. + + ALFRED + I don't like to see you going out on a + date...unprotected, sir. + + BRUCE + She'll be ready for Batman -- but not for + me. + (turning to go) + It's the only way, Alfred. I've got to + take her out tonight. + + INT. ENTRY HALL - FIVE MINUTES LATER (DICK'S POV) + + DICK watches from the front parlor as VICKI meets BRUCE at the + bottom of the stairs. The two of them exchange a few brief + words; he embraces her, strokes her hair gently -- then glumly + sets his jaw and moves off toward the front door. + + VICKI reenters the parlor, trying to force an expression of + cheer as DICK turns discreetly away. This is one weird + household he's landed in... + + INT. SELINA'S LOFT - NIGHT + + SOFT MUSIC plays in the background as SELINA preens in front + of a vanity, doing her eye makeup, taking great pleasure in + her own reflection. She's looking especially sultry tonight + in a glittering low-cut gown. She lowers one shoulder strap + and strikes a pose in the mirror: better. She runs a hand + through her hair, TOUSLING IT for that recently-ravished look. + + The DOORBELL rings, and by the time SELINA crosses over to + answer it, she's lowered the other strap as well -- which + means she has to hold up the top of her dress with one hand. + BRUCE finds himsell dumbstruck as she lets him in. She pulls + up both straps as she greets him nonchalantly: + + SELINA + You're early. I'm afraid I'm not quite + dressed. + + BRUCE enters and takes a long look around. It's a big open + loft, only partly finished, filled with Egyptian artifacts. + The walls feature modern paintings with CAT MOTIFS. The + finished section is dominated by a huge BED on a raised + platform -- three or four CATS are walking around on it, + yowling at BRUCE. SELINA CHUCKLES as he scopes it all out. + + SELINA (cont.) + If you're looking for my bondage gear, + it's at the cleaners. + + BRUCE + Christmas eve. No tree? + + SELINA + No presents. I've been a bad girl this + year. + + BRUCE takes a seat on the sofa while SELINA goes to a nearby + wet bar. + + BRUCE + I'm surprised you kept this date. I + thought you would've lost interest by now. + + SELINA + What makes you say that? + + BRUCE + You've got what you want, don't you? + + SELINA + I do now. + (smiling) + We've had this date for a long, long time. + + With that, she sets the drinks down on the table and moves in + to KISS him -- a long, slow, wet kiss. But BRUCE seems + strangely unresponsive. She breaks free and gives him a funny + look. + + BRUCE + How much is it going to cost me? + + SELINA + What? + + BRUCE + ...To get the ravens back. + + He watches her closely for a reaction. SELINA's shocked, but + she conceals it well -- chuckling in apparent confusion. + + SELINA + You're the oddest man I've ever met. + (moving in on him) + Let's talk later, Bruce. I've got kind of + a short fuse... + + BRUCE tenses slightly as she KISSES him again -- leaving a + crimson LIPSTICK SMEAR on his cheek. She works her way + downward, kissing him around his neck and throat... + + HIS HAND reaches into his jacket pocket. He withdraws a tiny + GLASSINE CAPSULE. But before he can use it -- + + He JERKS BACK suddenly -- pushes her away. His free hand goes + to his neck, where a thin trickle of BLOOD is oozing from + between two bright red LIPSTICK LIPS. She's bitten him... + + Now she SHUSHES him -- reaches over to the tiny wound and + massages it gently with one hand. + + SELINA + Did I hurt you? Just relax -- you'll + start to enjoy it. + + BRUCE pulls away again. His eyes are strangely glazed. He + tries to speak, but his tongue feels thick and swollen. + + SELINA (cont.) + Bruce, you look faint. It must be the + cats. + + BRUCE stands suddenly. It's as if he's mired in a slo-mo + nightmare. His legs give way beneath him and he topples to + the floor, INERT. His fingers go slack and the capsule rolls + out; he tries to reach into his pocket, but his arm won't seem + to work. + + SELINA's cat, HECATE, strolls across his prostrate form -- + purring and stretching... + + BRUCE'S POV + + A worm's-eye view -- SELINA looms over him with a predatory + smile on her face, shifting in and out of focus. + + BRUCE + What di-- what did you d-- + + She runs a finger across her lips and holds it up -- bright + red. + + SELINA + I guess I've...gotten under your skin. + + BACK TO SCENE - ON BRUCE + + His hand goes to the BITE on his neck -- and he realizes + SELINA's lipstick is spiked with a fast-acting PARALYTIC DRUG. + He writhes helplessly on the carpet, his whole body gradually + going slack. + + The PENGUIN, FRICK and FRACK stroll through the doorway and + stand over him -- ALL LAUGHING... + + DISSOLVE TO: + + EXT. WAYNE MANOR - NIGHT + + A COUNTY SHERIFF'S CAR cruises past the manor, right on + schedule. + + INT. WAYNE MANOR - PARLOR - NIGHT + + ALFRED on the telephone, checking in with the County Sheriff's + boys. + + ALFRED + Everything's fine, thank you. We'll talk + in an hour. + + Behind him, VICKI is waiting up for BRUCE. She's curled up on + the sofa, reading a book, throwing the occasional anxious + glance at a big grandfather clock -- which strikes eleven + o'clock. + + INT. WAYNE MANOR - GUEST BEDROOM - NIGHT + + DICK opens the bedroom door and peeks down the hall. He's got + all his belongings tied up in a bundle on the bed; he opens a + window and throws the bundle outside. + + There's a nice strong TREE BRANCH some ten or twelve feet from + the window -- just close enough that he should be able to make + it. He climbs up onto the windowsill, crouches, and SPRINGS. + + INT. CAR - OUTSIDE - THAT MOMENT - NIGHT + + A car full of trouble: SELINA, wearing a fur coat over her + Catwoman garb, at the wheel; the PENGUIN riding shotgun; and + FRICK in the back seat -- next to BRUCE, who's semi-conscious + and stone limp. The car idles outside the wrought-iron gates + of Wayne Manor. + + PENGUIN + Try his mag card. + + FRICK digs in BRUCE's pockets and finds a bunch of RED + CAPSULES. + + FRICK + Look at this. He's a pillhead. + + Now FRICK finds a mag-striped card and INSERTS IT into an + electronic device at the edge of the drive. The gates + magically part. There's a large VAN just behind the car -- + driven by FRACK, and carrying two random GOONS. Both vehicles + pull in before the gates slide shut. + + INT. WAYNE MANOR - A MOMENT LATER + + VICKI hears a signal from the security panel in the kitchen + announcing what should be BRUCE's arrival. She heaves a huge + sigh of relief -- then rushes to the door and flings it open. + + She sees BRUCE standing there and her face lights up. + + VICKI + Ohh. Am I glad to -- + + To her horror, BRUCE topples forward -- and lands on the + floor, flat as a board. VICKI SHRIEKS as the PENGUIN enters, + throwing his arms wide. + + PENGUIN + MER-R-R-RY CHRISTMAS!! + + EXT. WAYNE MANOR - THAT MOMENT - NIGHT + + DICK has shimmied down to a lower branch. He lets go and + drops to the snow, WINCING; his shoulder wound is bleeding + again. As he grabs his bundle, he hears RAUCOUS LAUGHTER + coming from around the house. + + He races over to peer around the corner. He sees the two cars + out front. He sees the last of the goon squad barging in + through the front door. + + His face full of confusion and conflict, he moves to a window. + In the entry hall he sees BRUCE on the floor -- and VICKI + surrounded by gun-toting intruders. One of them grabs her and + twists her arm behind her back. + + INT. WAYNE MANOR - ENTRY - THAT MOMENT + + VICKI shrieking and struggling as she stares down at BRUCE. + + VICKI + What did you do to him?? + + SELINA gives her a catty little smile. + + SELINA + First-time jitters, I guess. Everything + was going great, and then...he just went + limp as a noodle. + + INT. WAYNE MANOR - ON STAIRWAY + + Drawn by the commotion, ALFRED rushes down the stairs to the + entry hall, pulling a robe around him. He freezes in his + tracks when he sees FRICK dragging VICKI into the front + parlor, holding a gun to her head. + + PENGUIN + You'd be the butler. Why don't you come + on down and attend to your guests? + + ALFRED hesitates, until the PENGUIN pulls a gun on him. He + marches down the stairs slowly, pausing by BRUCE's prostrate + form. + + ALFRED + Mr. Wayne. Is he -- ? + + PENGUIN + You know how it is. Some guys just can't + hold their egg nog. + + INT. FRONT PARLOR - A MOMENT LATER + + The PENGUIN marches ALFRED in where the rest of the gang's + already assembled. FRICK throws VICKI down roughly on a sofa + just next to the Christmas tree while the GOONS drag BRUCE + inside. + + PENGUIN + I should explain the occasion of our + visit. There's a treasure underneath this + house -- and I don't plan to leave until + you tell me how to find it. Now who's + going to talk -- Miss Vale? + + VICKI + I don't know what you're talking about. + + PENGUIN + The cave. Under the house. How do I get + there? + + The PENGUIN gestures. FRICK holds the gun to her head. + + VICKI (cont.) + I don't know! I swear, I would tell + you -- + + PENGUIN + (turning to ALFRED) + Then maybe you'd like to tell me. + + ALFRED + You're no more than a common thief. + + PENGUIN + Wrong, you old idiot. I happen to be a + very uncommon thief. + (beat) + Are you going to tell me, or does Miss + Vale get an early present this year? + + FRICK cocks the gun. VICKI stares aghast at ALFRED, who scans + the room, weighing his options. Trembling, he shuts his + eyes -- + + ALFRED + I...don't...know... + + PENGUIN + Then go ahead, Mr. Frick...decorate the + tree. + + FRICK's finger tightens on the trigger. VICKI winces. ALFRED + starts to blurt something out. But a split-second before he + can speak -- + + SELINA + Wait! + (crossing over to VICKI) + We don't know how to get down there yet. + We may need her when Bruce wakes up. + + The PENGUIN sighs and waves FRICK off. ALFRED and VICKI heave + simultaneous sighs of relief. He throws her a shamefaced look + -- but she gives him a tiny nod of acknowledgement: you made + the right play. + + SELINA (cont.) + Besides -- I want this one for myself. So + pretty...I'm going to give her a brand new + face for Christmas. + + The PENGUIN throws a look at BRUCE, who's still out cold on + the floor. He turns to FRICK and FRACK. + + PENGUIN + Why don't you two tie up our host? + + ALFRED sits beside VICKI while SELINA wanders off to tour the + premises. FRICK and FRACK, meanwhile, drag BRUCE into a back + parlor which opens off the room they're in. + + INT. BACK PARLOR - THAT MOMENT + + They dump BRUCE face down on a sofa -- then rip the telephone + cords from around the baseboard and use them to bind his hands + and feet. + + INT. FRONT PARLOR - ON MR. BONIFACE + + Still holding his gun on VICKI and ALFRED, he wanders about + the room, admiring the various furnishings and expensive + objects. + + PENGUIN + It's all so plush and tasteful, isn't it? + Just the sort of setting in which I've + always imagined myself. + + ALFRED, on the sofa, can't resist letting out a snort of + disgust. + + PENGUIN (cont.) + I see. You think I'm vulgar. You think + I'm...nouveau. + + ALFRED + I think you're a dirty little man with + a -- + + The PENGUIN silences him by sweeping one arm across a + tabletop, sending a bunch of PRICELESS CHINA FIGURINES + crashing to the floor. He points to ALFRED as FRICK and FRACK + reappear. + + PENGUIN + See, boys, that's old money talking. + After a while, they actually start to + believe they've earned all this. + (smirking) + I don't mind. Someday I'll be old money + too -- when the statute of limitations + runs out. + + SELINA (O.S.) + Hey! -- Guess what I just found. + + Face full of anticipation, he TURNS -- just in time to see + SELINA returning from the kitchen with a big silver tray of... + + SELINA (cont.) + Christmas cookies! + + The PENGUIN is crestfallen, but that doesn't stop him from + cramming a handful of cookies down his gullet. SELINA + graciously serves VICKI and ALFRED, who munch away with + limited enthusiasm. + + PENGUIN + Let's spread out and see what we can find. + (to FRICK and FRACK) + You two -- keep an eye on our friends + here. Give me a yell the minute Wayne + comes to. + + FRICK and FRACK post themselves at the doors to the front + parlor as SELINA, the PENGUIN and the GOONS fan out through + the house. CAMERA TRACKS WITH THEM as they move past BRUCE -- + + -- and in a quick CLOSEUP we see his EYES OPEN -- his hands + STRUGGLING against his bonds. + + SERIES OF SHOTS + + QUICK GLIMPSES of the intruders enacting their depredations as + they search for the entrance to the cave. SELINA and the + PENGUIN are flinging open doors, moving clocks, looking for + secret panels; as they go, they systematically TEAR THE HOUSE + APART -- smashing BRUCE's possessions, ripping paintings out + of frames, etc. + + Meanwhile, the TWO GOONS are outside prowling around the + grounds, looking for an exterior entrance -- and back in the + parlor, FRICK and FRACK are keeping their guns trained on + ALFRED and VICKI. + + INT. WAYNE MANOR - CORRIDOR OFF KITCHEN - NIGHT + + CAMERA TRACKS down a long, empty hallway -- arriving at a + LOCKED DOOR with curtained-off glass panels. Suddenly, an + ELBOW smashes through the glass -- a hand reaches inside and + fumbles for the lock -- + + INT. FRONT PARLOR - THAT MOMENT + + FRICK and FRACK start at the sound of a SECURITY ALARM blaring + from the kitchen. VICKI looks at ALFRED... + + FRICK + Better check it out. + + FRICK stays behind as FRACK rushes out into the entryway and + down a long hall to the kitchen. He tosses a glance back at + VICKI and ALFRED, then steps out into the entryway himself. + + FRICK (cont.) + What is it? What's going on?? + + VICKI and ALFRED look into the back parlor. DICK GRAYSON has + sneaked in behind the sofa -- and he's busy sawing away at + BRUCE's bonds with a letter opener. Both of them stiffen + simultaneously -- if FRICK steps back inside, he'll have a + clear view of DICK and BRUCE. + + INT. KITCHEN - THAT MOMENT + + FRACK has opened a panel on the kitchen wall, revealing the + SECURITY SYSTEM from which the alarm emanates. A RED LIGHT is + blinking, indicating DICK's break-in. FRACK throws switches + frantically, trying to kill the sound. Finally he succeeds -- + and SHOUTS: + + FRACK + Some kind of security system -- + + INT. BACK PARLOR - THAT MOMENT + + DICK's gotten BRUCE free -- but BRUCE, still under the effects + of the drug, isn't much use. He tries to get off the sofa and + crumples in a heap. + + DICK + Can you move, man? + + BRUCE + Library -- got to get me to the library -- + + DICK slings an arm around BRUCE and drags him to a door + opening onto the hallway. They're just about to step outside + when FRACK comes marching back on his way from the kitchen. + + INT. FRONT PARLOR - ON VICKI AND ALFRED + + -- faces wracked with utter, desperate tension as they watch + the situation develop. + + INT. ENTRY HALL - THAT MOMENT + + FRICK and FRACK conferring, ignoring VICKI and ALFRED for the + moment. By now the PENGUIN is waddling in from a hallway: + + PENGUIN + What is that ungodly racket? + + FRACK + A security alarm. It went off in the + kitchen. + + PENGUIN + My God! Is someone in here? + + He struts over to huddle with his cronies. BRUCE and DICK are + still poised in the doorway. It looks bad... + + INT. FRONT PARLOR - THAT MOMENT + + ALFRED looks at BRUCE and DICK -- then at FRICK and FRACK + bickering with the PENGUIN in the entryway. He pats VICKI's + knee -- gestures for her to keep her seat -- + + -- and LUNGES at FRICK, making a play for his gun. A moment + of confusion ensues -- giving DICK and BRUCE just enough time + to dart out into the hallway, duck around a corner, and + vanish -- + + -- but ALFRED is a frail old gent, and he can't keep it up for + long; a blow to the face sends him sprawling to the floor. + FRICK instinctively pulls the trigger and SHOOTS HIM at point- + blank range. + + VICKI rushes into the hallway -- screaming, crying. + + INT. LIBRARY - THAT MOMENT + + The room's a mess, books all over the floor. The groggy BRUCE + props himself up against his desk. He manages to pull the + bottom drawer open -- gropes frantically for the secret + switch. He's CRYING. + + BRUCE + Alfred... + + DICK + I'll go back. + + BRUCE + I can't...get down there...without you. + + DICK turns. To his amazement, the sectional bookcase is + swinging open -- revealing the secret passage to the BATCAVE. + + INT. ENTRY HALL/FRONT PARLOR - THAT MOMENT + + We will all be pleased to know that ALFRED has only suffered a + superficial wound to the arm. VICKI is on her knees beside + him; the PENGUIN is watching them with utter contempt. + + PENGUIN + What an extraordinarily stupid thing to + do. + + VICKI + SHUT UP. Help me with him. + + The PENGUIN rolls his eyes and orders FRICK and FRACK to give + VICKI a hand without him. They carry him into the parlor, lay + him out on the sofa. VICKI reaches into her purse for a + handkerchief and begins binding his wound as the PENGUIN pulls + FRACK aside. + + PENGUIN + You and I had better check the ground + floor and see what's going on. Mr. Frick + -- do you think you'll be able to manage + this pair? + + FRICK + Yes sir. + + PENGUIN + Oh, good. That does relieve my mind -- + + He turns, glances into the back parlor, and sees a pile of CUT + CORDS on the love seat. The blood drains out of his face. + + PENGUIN (cont.) + Where's Wayne??? + + INT. BATCAVE - THAT MOMENT + + DICK has just entered another world -- and he's looking around + him in pure, unalloyed amazement. BRUCE is fumbling with a + packet on a spare UTILITY BELT; he shakes out a fistful of + pills and swallows them dry. + + Then he goes to his bank of monitors and begins flipping + switches. They blink on one by one; DICK moves up behind + BRUCE and looks on, dazzled. + + INSERT - MONITOR + + The screen shows The PENGUIN in a sun room, shouting to his + two armed GOONS through a pair of French doors. + + PENGUIN + Check the grounds! The shape he's in, he + can't have gotten far. + + BACK TO SCENE - ON BRUCE + + He turns to his main control panel, reaches for a switch, and + waits. + + EXT. WAYNE MANOR - THAT MOMENT - NIGHT + + The two GOONS outside, with guns and flashlights, roaming + cautiously around the grounds. They turn suddenly -- + + -- as CORRUGATED-STEEL SECURITY PANELS slam into place over + every ground-floor door and window in Wayne Manor! + + INT. SUN ROOM - THAT MOMENT + + The PENGUIN sees the same thing happening, only from inside. + He listens helplessly as his GOONS pound on the steel panels + from outside. It's just occurred to him that he's trapped in + here... + + INT. BATCAVE - A MOMENT LATER + + DICK is up on a catwalk leading back to the library of Wayne + Manor. BRUCE shouts up to him from the control console down + below. + + BRUCE + -- as soon as he gets to the East wing. + Wait for my signal. You know what to do. + + DICK nods yes and bolts off. + + INT. FRONT PARLOR - A MOMENT LATER + + VICKI and ALFRED are still sitting at gunpoint. With the + commotion going on all around them, FRICK is getting itchy- + fingered. + + Suddenly the STEREO begins blaring at top volwne -- "SANTA + BRING MY BABY BACK TO ME." FRICK turns and stares at it in + confusion -- goes over to fiddle with the controls -- + + -- and suddenly BRUCE'S VOICE is coming through the + loudspeakers. + + BRUCE (O.S.; filter) + VICKI! RUN! NOW! + + She's off the sofa like a shot, DIVING for the entry hall. + FRICK turns and takes aim -- + + -- but before he can squeeze the trigger, DICK's come out of + nowhere to HIGH-KICK him in the face! The shot goes wild and + the two of them tumble into the Christmas tree, knocking it + over... + + INT. ENTRY HALL - THAT MOMENT + + VICKI hits the floor of the entry hall. HUGE OAKEN SLIDING + DOORS are already slamming shut behind her. The same thing is + happening all down the hall -- the East wing of the house is + sealing itself off! + + INT. FRONT PARLOR - THAT MOMENT + + DICK CARTWHEELS across the carpet -- catching FRICK high on + the chest and RAMMING him backward, into the hearth. Before + FRICK can regain his balance, DICK's BEANED HIM across the + back of the skull with a fireplace poker. + + He bends and picks up FRICK's gun -- which he tosses to + ALFRED, who's been watching all this with some fascination + from the sofa. + + DICK + Here. You might need it. + + ALFRED + Thank you, Master Dick. And...bravo. + + INT. KITCHEN - THAT MOMENT + + VICKI has made it to the wall phone. She can't seem to get a + dial tone -- + + VOICE FROM BEHIND + Do you really think we're that stupid? + + VICKI turns, and realizes to her horror that the VOICE is + SELINA's. + + SELINA (cont.) + I tawt I taw a puddy tat...!! + + With that she raises a hand -- and her CLAWS pop out. VICKI + turns, grabs a carving knife from a wooden block -- but before + she can do anything with it, a WHIP cracks and wraps around + her wrist, jerking the knife loose. SELINA tugs on the other + end, reeling her closer. + + SELINA + You know, I've got a great recipe for + Sliced Bitch -- + + VICKI lunges forward suddenly, causing the whip to slacken and + throwing SELINA off-balance into the center island. While + they're tangled up, VICKI grabs a MEAT CLEAVER and tries to + bring it down on SELINA, but SELINA rolls effortlessly out of + the way and returns the favor, SWIPING at VICKI with her + claws. VICKI brings a Calphalon skillet up just in time to + block the blow: CLANG. + + VICKI sweeps her arm across the countertop, showering SELINA + with knives and appliances. It buys her enough time to make + for the door -- but SELINA comes flying after her. Another + downswipe with the claws -- but VICKI shoves a BUTCHER'S BLOCK + into SELINA's path, and her TALONS wedge a half-inch deep in + the wood. + + VICKI rushes out while she's trying to pry herself loose. + + INT. DINING HALL - A MOMENT LATER + + SELINA enters but finds no trace of VICKI. + + SELINA + I love a good old-fashioned catfight -- + but this is pissing me off. + + VICKI charges out from behind a sideboard, pushing a WHEELED + COCKTAIL CART before her. It SLAMS full-force into SELINA, + who lands on her back on the great long dining table. VICKI + is in the doorway to the entry hall by the time she gets up. + + INT. ENTRY HALL - STAIRWAY - A MOMENT LATER + + VICKI races up the stairs. She has a good lead, but SELINA + makes up the difference in a hurry. She takes the stairway in + three giant bounds -- reaches the landing just as VICKI ducks + down the hall and into a bedroom, slamming the door behind her + and LOCKING IT. + + SELINA + HERE, kitty kitty kitty...HERE, kitty + kitty... + + She KICKS THE DOOR OPEN. + + INT. BEDROOM - THAT MOMENT + + SELINA enters and strikes a coy pose as she shuts the door + behind her. VICKI has opened a pair of French doors leading + to a balcony, but it's too long a drop. She stands there + paralyzed as SELINA advances. + + SELINA + So this is where you earn your keep. + + She GRABS VICKI -- holds her out at arm's length and shoves + her roughly back onto the bed. VICKI flails wildly as SELINA + kneels atop her... + + SELINA's CLAWS shred VICKI's blouse, revealing a frilly + section of bra -- + + SELINA + Mmm! Frederick's of Gotham? + + She plants a talon against VICKI's sternum and RAKES IT + DOWNWARD, drawing a RED STRIPE on the exposed flesh of VICKI's + belly. Now VICKI just loses it. She begins to SHRIEK + uncontrollably. + + SELINA + Not so loud, honey! The neighbors'll get + the wrong idea. + (laughing) + Santa's coming. Time for all good girls + to go to sleep... + + She raises her claw-hand and prepares to slash down at VICKI's + neck. But an instant before she can strike -- VICKI goes + wide-eyed and shuts up. A BLACK SHADOW falls across the + moonlit bed. SELINA tenses -- + + -- as a BLACK-GLOVED HAND grabs a fistful of her hair -- + + BATMAN + Miss me, "Angel"? + + He yanks her bodily off the bed. Before she knows what's + happening, he delivers a POWERHOUSE UPPERCUT. She flies into + the door and knocks it cleanly off its hinges. + + INT. HALLWAY/STAIRCASE - A MOMENT LATER + + BATMAN steps out after SELINA, who's only now picking herself + up. + + SELINA + Okay -- let's do it, huh? You and me... + all the way this time. + + She HISSES and jumps him. They grapple -- a quick flurry of + fists -- and he knocks her ass-over-teakettle down the long + stairway. + + She gets to her feet, limping, and darts around a corner. + BATMAN marches implacably down the stairs, taking his time... + + INT. HALLWAY - A MOMENT LATER + + VICKI rushes out of the bedroom. She looks down the hall and + sees FRACK flying out of the guest room, UPSIDE DOWN -- + slamming into the wall opposite. He slumps to the carpet, out + cold. + + A moment later DICK strolls out. VICKI rushes to his side -- + + VICKI + Come on. We'll be safe in the cave. + + INT. DOWNSTAIRS HALLWAY/ARMORY - A MOMENT LATER + + BATMAN PAUSES outside the door to the armory, which is + slightly ajar. He pushes it in cautiously... + + ...and a HALBERD smashes through the wood frame -- slicing + down mere inches from his face. It's the PENGUIN wielding the + ax; he backs off in seeming terror as BATMAN advances on him. + But then -- + + -- SELINA springs down from a perch above the doors -- landing + on his back -- and the two of them are going at it again. + It's a room full of exotic weaponry, and most of it gets a + good workout in the next thirty seconds. + + BATMAN dodges a LANCE -- which embeds itself into the wall + behind him, QUIVERING -- and swings a MACE squarely into + SELINA's ribs. It's a crippling blow; she flies backward, + knocking over a suit of exotic armor -- which TOPPLES, + knocking over another -- and another -- + + -- until the various suits of armor have all fallen over, + domino-style -- the last of them landing squarely atop the + cowering PENGUIN. + + SELINA is badly hurt now. She makes it out of a rear door to + the armory. BATMAN pauses to check on the PENGUIN -- he seems + to be out for the count -- and sets off in pursuit of SELINA. + + SEVERAL MOMENTS PASS before the groaning PENGUIN comes around + enough to dig himself out. + + INT. HALLWAY - A MOMENT LATER + + As the PENGUIN stumbles around a corner, he peers into the + LIBRARY. VICKI is crouched by BRUCE's desk, reaching into a + bottom drawer. A hidden panel in the bookcase pops open... + + INT. LIBRARY - THAT MOMENT + + As she helps ALFRED into the secret passageway, VICKI turns to + DICK: + + VICKI + Come on. Come with us. + + DICK + No. I can still help... + + INT. HALLWAY - A MOMENT LATER + + The PENGUIN flattens against the wall as DICK sprints out of + the library and heads off in the opposite direction. There's + a flabbergasted look on his face -- he recognizes this kid. + + WIPE TO: + + INT. BATCAVE - A MINUTE LATER + + At the monitor bank, watching BATMAN's pursuit of SELINA, are + VICKI and ALFRED. They pivot suddenly at the sound of a + VOICE: + + PENGUIN + Such primitive entertainment. + + He's holding a gun on the two of them. He stares about + delightedly, taking in the prehistoric splendor of the cave. + His eyes light up at the sight of the BATMOBILE, parked on its + little plateau. + + PENGUIN (cont.) + So Bruce equals Batman. It seems I've + discovered two treasures! + (an evil smile) + Don't move. I'd be only too happy to + shoot you both. + + He pulls out his packet of photos and begins to scan the cave. + He spots the distinctive ROCK FORMATION in an upper vault of + the cavern. It's a couple of plateaus over; a long narrow + CATWALK runs past it, some ten or twelve feet below. + + PENGUIN + The Gotham City Treasury. It's about to + be stolen twice. + + ALFRED + Don't be absurd. You'll never be able to + get it out of here. + + PENGUIN + Oh, I'll manage somehow. You two are my + guarantee of that. + (nudging VICKI with the gun) + Let's have a look, shall we? You go + first. + + He shoves her. She starts across the catwalk, his gun at her + head. + + INT. UPSTAIRS HALLWAY - THAT MOMENT + + SELINA's made it back upstairs, but she's moving at quarter- + speed, favoring one leg and clutching her ribs as she lopes + down the hallway. She's just passed the balcony overlooking + the entry hall when BATMAN appears dead ahead in her path. + + He's ready to rumble -- but instead of responding, she packs + it in. She stops, slumps against a wall and begins to laugh. + + SELINA + It could've been so nice -- you and me -- + if only you weren't so screwed up. + + BATMAN + It's over. I don't want to hurt you any + more. + + SELINA + Tell me something -- one thing. If you + don't enjoy all this...why do you do it? + + He just looks at her. He doesn't have an especially good + answer. She sighs. + + SELINA (cont.) + I'll never understand men. + + She SPINS SUDDENLY, delivering a high-kick to BATMAN's throat. + As he reels backward, into a wall, she leaps up onto the + narrow BANNISTER RAILING some thirty feet above the entry hall + floor and goes into a CROUCH -- preparing to SPRING at the + enormous crystal CHANDELIER mounted to the ceiling -- + + -- but just as she launches off, BATMAN rolls -- and brings up + a GUN from his belt. He fires a RAZOR-SHARP DISK which sails + past her head, cleanly SLICING THROUGH the chain which + suspends the chandelier. + + The chandelier FALLS just as CATWOMAN catches hold of it -- + and she finds herself PLUMMETING to the floor of the entry + hall. On impact, the chandelier EXPLODES into a thousand + fragments; the CATWOMAN lands hard on her back and lies + sprawled in the midst of the wreckage, unmoving. + + BATMAN advances slowly down the stairs. Her arms and legs jut + out at unnatural angles; she lets out an eerie, whimpering + YOWL OF PAIN -- a cri du chat. He stands over her; she glares + up at him. + + BATMAN + Nine lives. + + CATWOMAN + I can't move. I can't move. + + Her face is cut and bleeding. She tries to lift an arm and + can't quite manage it. He crouches down beside her, still + cautious... + + CATWOMAN (cont.) + DON'T LOOK AT ME!! + (pleading) + Do me, baby...do me now...that's what I + want. Please? + + BATMAN looks up. DICK is standing on the balcony overlooking + them, highly curious as to what he'll do. + + BATMAN + No. + + BATMAN slowly rises to his feet. She lets out another + gruesome WHINE. + + CATWOMAN + COME ON. Don't stop now. FINISH ME OFF. + (almost weeping with pain) + Son of a bitch. You're all alike... + + Her STEEL CLAWS snick into place. With an agonizing effort + she lifts her forearm -- bends her wrist. She's trying to + slit her own throat. + + He reaches for his belt, extracts a GLASSINE CAPSULE, and + breaks it open with his thumb. He drops it amid the shattered + glass around her face. A tiny cloud of GREEN GAS plumes out, + and her hand falls limply at her side as she lapses into + unconsciousness. + + BATMAN stands over her for a minute as DICK marches down to + join him. + + DICK + You should've done it, man. You should've + killed her. + + BATMAN gives him a long, hard look -- but says nothing. + + BATMAN + There's a radio in the cave. We'll send + for help. + + INT. BATCAVE - A MOMENT LATER + + The PENGUIN and VICKI are on a catwalk just below the ROCK + FORMATION. A STONE OUTCROPPING extends toward the catwalk, + and he forces her to JUMP FOR IT. Now he has to follow; the + prospect makes him nervous, but it's a short hop, and he + clears it okay -- finding his footing on the rocky slope. + + They're cautiously making their way up toward the ROCK + FORMATION when BATMAN appears suddenly at the far end of the + catwalk -- sizes up the situation and FREEZES IN HIS TRACKS. + + PENGUIN + Ah, the illustrious Mr. Wayne. Look at + you now. Whatever would your friends say? + (smiling) + You've been an exceptionally congenial + host -- but I must ask you to back off. + + The PENGUIN grabs hold of VICKI and HOLDS HER CLOSE as they + climb the last few feet toward the grotto. BATMAN swings his + cape around, concealing his hands from view. He takes a + cautious step backward. + + CLOSEUP - BATMAN'S HAND + + His free hand closes around a BATARANG -- flicks it open. + + ANGLE ON ROCKS - PENGUIN AND VICKI + + They've pulled almost even with the rock formation. A LARGE + DANK GROTTO is visible through a small gap in the rocks. + + PENGUIN + No sudden moves. It's a long way down. + + Gun at her head, he peers into the grotto... + + HIS POV - INSIDE THE GROTTO + + A VAST FORTUNE in GOLD and SILVER BULLION, undisturbed in all + these years. GLINTING in the darkness. Hanging upside-down, + above it, like silent guardians, are BATS -- DOZENS of them -- + their tiny wet red eyes GLIMMERING at the PENGUIN... + + He dislodges a rock. It tumbles into the grotto... + + ...and a startled BAT comes screeching out of the gap in the + rocks -- FLYING DIRECTLY AT HIS FACE. + + ANGLE ON ROCKS - PENGUIN AND VICKI + + He BACKS AWAY IN HORROR as the bat streaks past him. He FIRES + HIS GUN wildly. The SOUND OF IT rouses MORE BATS, and they + come flying out of the hole -- a VAST, CHITTERING SWARM. + VICKI SHRIEKS; the PENGUIN STUMBLES -- and the two of them + FALL BACK ONTO THE ROCKS, hanging on for dear life. + + BATMAN + VICKI! + + An instant later BATMAN lets fly with the BATARANG. Clean + hit; the PENGUIN staggers back, and his GUN skitters down + across the rocks. + + With BATS screaming all around her, VICKI takes a deep breath + and VAULTS toward the CATWALK. She's a foot short; she grabs + hold of the railing and HANGS THERE, over the ABYSS, trying to + pull herself up. BATMAN races toward her -- + + -- but the PENGUIN, clambering down across the rocky + outcropping, has managed to grab hold of his GUN. The BATS + have begun to swirl up toward the higher recesses of the + cavern, and he's able to draw a clean bead on BATMAN. + + THUNDEROUS ECHOES reverberate through the cave as the first + shot strikes BATMAN and knocks him backward. As the second + spins him around. As the third sends him TOPPLING OVER THE + RAILING. + + VICKI screams. BATMAN manages to grab the rail with one hand. + Now two of them are hanging from the catwalk -- sitting ducks + -- and the PENGUIN is determined to empty the clip. + + The ECHOES are cacophanous. ANCIENT STALACTITES drop from the + vaulted roof of the cavern, PLUMMETING DOWNWARD like deadly + projectiles, shattering agaist the cave floor. And then -- + + BATMAN pulls a tiny DEVICE from his utility belt and FLINGS + IT. It lands in the rocks at the PENGUIN's feet. He stares + down at it, and two beats later -- + + -- it begins to emit an EERIE ELECTRONIC WHINE. Within + moments, EVERY BAT IN THE CAVE is in a FRENZY -- HOMING IN ON + THE SIGNAL. The PENGUIN looks up sees them coming. A CHOKED + WAIL emits from his throat as he drops the gun and stands + there, PARALYZED. + + He's just been beaten at his own game. He lets out a last + awful HOWL as HUNDREDS OF BATS ENGULF HIM -- + + -- and he PLUNGES DOWN INTO THE PIT -- his hideous scream + dwindling to a faint echo, then vanishing altogether... + + BATMAN manages to drag himself up onto the catwalk. He rushes + over to VICKI, pulls her up, drapes his cape around her + protectively. Gradually, as the BATS recede to their distant + perches, he stands and helps VICKI to her feet. They embrace + on the edge of the abyss. + + On the far plateau, DICK has hooked up with ALFRED. The + butler is slumped against a lab table, weary and exhausted, + clutching his wounded arm. DICK slings an arm around him and + helps him to the stairway. + + CUT TO: + + EXT. WAYNE MANOR - NIGHT + + SQUAD CARS everywhere. FRICK and FRACK emerge in handcuffs, + flanked by COPS. PARAMEDICS carry the still-unconscious + SELINA past on a stretcher and load her into the back of an + ambulance. + + INT. WAYNE MANOR - ENTRY HALL - NIGHT + + The place is an utter mess. Amid the carnage we find BRUCE + conferring with COMMISSIONER GORDON and LT. BULLOCK. In b.g., + a POLICE DOCTOR is dressing ALFRED's gunshot wound. + + GORDON + ...and then Batman showed up? + + BRUCE + He saved all our lives, Jim. I can't say + for sure, but I'd bet she's the one behind + the murders. + + GORDON + God -- I pray you're right. + (beat) + One thing before we go, Bruce. Who's the + kid? + + BRUCE looks into the front parlor, where VICKI and DICK are + righting the fallen Christmas tree. + + BRUCE + Oh, that's Vicki's little cousin. He's in + town for the holidays. + + GORDON + Well, he picked a hell of a time to visit. + (turning to go) + Merry Christmas, Bruce. Good luck + cleaning this place up. + + GORDON and BULLOCK file out, followed by the POLICE DOCTOR. + BRUCE smiles wearily to himself and strolls into the front + parlor. + + INT. FRONT PARLOR - NIGHT + + ALFRED loads 'SILENT NIGHT' on the CD. VICKI ambles up to + BRUCE: + + VICKI + What are you going to do with all that + gold? + + BRUCE + I dunno. Might be a good start on a place + to live -- for some people who don't have + one. + + She hugs him. DICK plugs in the Christmas-tree lights; they + blink to life just as the GRANDFATHER CLOCK strikes twelve. + + VICKI + It's Christmas. + + BRUCE + Yeah. Maybe you should -- open your + present. + + She runs a hand along his cheek and laughs softly. + + VICKI + Oh, Bruce, presents doesn't matter. None + of it matters. We're all safe. We're + together. + + BRUCE + ...You might as well. + + He digs around in his jacket pocket and produces a tiny GIFT + BOX, which he hands to VICKI. She unwraps it, opens it slowly + -- and sees a DIAMOND RING inside. + + She gazes up at him, speechless. He gazes back. + + CAMERA PULLS UP and away until we can see the whole of the + devastated room, and all the people in it -- VICKI, falling + into BRUCE's arms; DICK, off to one side, watching them; + ALFRED, tossing broken furniture into a roaring fireplace. + And on the image of this decidedly eccentric family unit, we + + FADE OUT. + + + + THE END + + + + + \ No newline at end of file diff --git a/scripts/Cast Away.txt b/scripts/Cast Away.txt new file mode 100644 index 0000000000000000000000000000000000000000..cb1c7fde8688ac9a2a0d6fab541679bb3b84cdd9 --- /dev/null +++ b/scripts/Cast Away.txt @@ -0,0 +1,7511 @@ + 1. + + + + FADE IN: + + +1 EXT. MARFA, TEXAS - 1993 - WIDE - DAY 1 + + The Texas plains, horizon to horizon, nothing but the + browns and ochres of earth and the blue and violet of the + sky. The sheer scope of it sinks in: the blank slate of + nature, the absence of man. On the screen superimpose: + + MARFA, TEXAS, 1993. + + CREDITS BEGIN. + + A plume of dust comes into frame. The dust is from a TRUCK, + orange and white and violet, with "FedEx" blazoned across + the side. + + The truck turns into a collection of ramshackle World War + II era Quonset huts and outbuildings. Around the + outbuildings are large sculptures of wood and metal. + + +2 EXT. QUONSET HUT - DAY 2 + + The door is opened by a WOMAN in her late twenties. Hair + pulled back, casual, an artist. She hands the DRIVER a + FedEx BOX which is decorated with a drawing of two ANGEL + WINGS. The Driver has a hand-held computer; a portable + printer dangles from his belt. + + The Driver scans the package with his hand-held computer, + prints out a label and sticks it on the Box, ready to go. + + But something on the box catches her eye. She wants it + back. He glances at his watch. She draws RINGS around the + Wings, uniting them. She gives the box to the Driver, then + hands him a cup of coffee. They've done this before. + + He takes a sip of the coffee, then runs for the truck. He + jumps in and heads back onto the plains. + + +3 EXT. FEDEX OFFICE - MIDLAND - ODESSA - NIGHT - HOURS LATER 3 + + The Driver jams the distinctive Angel Wing Box on top of a + dolly and loads it into a CONTAINER with clear plastic + sides. A female Loader slaps a large bar code label on the + container, scans it, then pulls the container across a belt + of rollers onto a larger truck. The doors of the truck + close. The latch slams down. + 2. + + + A forklift hoists the container to the cargo doors of a + 737. + + +4 EXT. MEMPHIS AIRPORT SUPERHUB - NIGHT 4 + + The 737 lands. + + +5 EXT. SUPERHUB - NIGHT - MINUTES LATER 5 + + One of a seemingly endless line of FedEx planes, our 737 + taxis to a gate at the FedEx SUPERHUB. The Hub is a vast + living organism -- loud, complex, overwhelming, as much a + symbol of modern life as was the factory in Modern Times. + + Five thousand people work in a frenzy of interconnected + activity inside three vast hangers brightly lit. Hundreds + of forklifts and cargo-pullers dart about, their headlights + crisscrossing like a laser show. + + Loaders quickly roll the container onto a FORKLIFT. + + +6 INT. MEMPHIS SUPERHUB - NIGHT 6 + + The forklift speeds inside one of the hangers to a LOADING + BELT, where our Box is spilled into a Mississippi River of + packages, HUNDREDS OF THOUSANDS of them, all shapes and + sizes, from shoe boxes to engine blocks. Large mechanical + arms divert the immense flow of Workers at dozens of + stations. The packages surge and move. + + The Workers place the packages label-side-up on new belts, + where they're scanned by laser readers. Picking up speed + our Box is shunted across the acres of interlocking belts. + + The Box ends up in a much larger CONTAINER labeled CDG. + + +7 EXT. MEMPHIS SUPERHUB - NIGHT 7 + + A forklift lifts the Container to a door on a giant MD-11. + + +8 INT. GLOBAL OPERATIONS CENTER - NIGHT 8 + + A jumbled room jammed with computers and dominated by a + HUGE WALL GRAPHIC that charts hundreds of airplanes. An + Operator moves a yellow strip labeled Jumbo 12 across the + board. + 3. + + +9 EXT. CHARLES DE GAULLE AIRPORT - DAY 9 + + SERIES OF SHOTS + + The giant place touches down in Paris. The Angel Wing Box + moves quickly on another belt and disappears into another + CONTAINER, which is loaded onto still another AIRPLANE. + + +10 EXT. ST. PETERSBURG AIRPORT, RUSSIA - NIGHT 10 + + The plane lands. The container is unloaded down a belt. We + see our Angel Box. Directly in front of it is a DENTED BOX. + + +11 INT. ST. PETERSBURG FEDEX OFFICE, RUSSIA 11 + + SERIES OF SHOTS + + Night. The manic activity has come to a dead stop. Our two + Boxes sit on a table in a corner not far from a small + Christmas tree. + + Daylight now. YURI, a Supervisor, saunters over, picks up + the Angel Box, sees an attractive co-worker, puts it down. + + Night again. A cat walks by the table where our two Boxes + have come to rest. + + +12 EXT. ST. PETERSBURG FEDEX OFFICE - DAY 12 + + A FedEx truck pulls out of the warehouse. The walls of the + warehouse are covered with graffiti. The streets are + slushy, the buildings blanketed in snow. + + +13 EXT. ST. PETERSBURG - DAY 13 + + The Driver sits in the truck drinking tea. He takes a last + sip, sighs, gets out with the Angel Box. Walks slowly + toward an APARTMENT HOUSE. + + +14 EXT. ST. PETERSBURG APARTMENT HOUSE - MOMENTS LATER 14 + + A beautiful young RUSSIAN WOMAN opens the door. A young + AMERICAN MAN comes up behind her, signs the form and takes + the Angel Box. We see Christmas decorations inside. The + woman puts her arms around him as the door closes. + + RUSSIAN WOMAN (O.S.) + (accented English) + 4. + + + It's pretty. Who is it from? + + AMERICAN MAN (O.S.) + My wife. + + We stay with the Driver as he ambles back toward the truck. + + +15 EXT. ST. PETERSBURG OFFICE - MOMENTS LATER 15 + + The Driver has just delivered the Dented Box to ALEKSEI, + Russian Businessman, who closes the door of a Czarist-era + building. Aleksei checks his watch, picks up the phone. + + +16 EXT. FEDEX OFFICES - MANILA - DAY 16 + + CHUCK NOLAND, early thirties, walks along a line of + brightly colored jitneys, each bearing the FedEx logo. With + him is a Filipino FedEx SUPERVISOR wearing a guayabera. + Chuck glistens with a thin layer of sweat. + + CHUCK + My guess is we're talking fuel + filters here, Fernando. The gas is + dirty, these jitneys get in the + mountains, their engines cut out. + + FERNANDO + That could lose us half an hour. + + CHUCK + Easy. Each way. + + His beeper goes off. + + +17 INT. FEDEX OFFICES - MANILA - DAY - MOMENTS LATER 17 + + Chuck is on the phone. + + CHUCK + So it finally turned up... + + Chuck hesitates for a moment, then looks at his watch. + + CHUCK + I'll catch the sweep tonight. + + +18 INT. FEDEX PLANE - NIGHT 18 + 5. + + + Strapped into the jump seat behind the pilots, Chuck sleeps + with a mask over his eyes. On his lap are some travel + brochures. We see sailboats, we see the Florida keys. + + +19 EXT. ST. PETERSBURG FEDEX OFFICES - DAY 19 + + Christmas in Russia. Snow everywhere. Brightly colored + lights. Chucks gets out of a Volga with Aleksei. He has a + bag over his shoulder, the dented package under one arm. + + +20 INT. FEDEX OFFICES - DAY 20 + + The staff has assembled near the loading dock. Yuri the + station manager stands in front, occasionally catching the + eye of the attractive woman. Chuck displays the FedEx box. + + CHUCK + It took this test package thirty- + two hours to get from Seattle to + St. Petersburg, a distance of nine + thousand miles. And then it took + forty-one hours to get from our + warehouse in St. Petersburg to + here, a distance of, what -- + + ALEKSEI + Six kilometers. Four miles. + + CHUCK + So how are we going to get this + place shaped up? + + There's a muttered chorus of answers. + + CHUCK + There's only one way. We have to + work together. Every one of us + depends on everyone else. If one + package is late, we are all late. + If one truck misses the deadline, + we all miss the deadline. Let's + start by taking a look around. + + Chuck leads his team through the sorting area. Yuri + squeezes right next to him, ostentatiously carrying a + clipboard. Chuck stops. + + CHUCK + Here, this table is too far from + the wall. Packages can slip + down...like... + 6. + + + (pulls out a package from + behind a table) + ...this. + +He hefts the package, as if trying to guess what's inside. + + CHUCK + What could be in here? Let's say + one of you sent it. Could be the + closing papers on your dacha, could + be a toy for your grandson's + birthday, could be a kidney to keep + your mother alive. I don't think + you want your mother's kidney to + end up behind a table. + +The Sorter shoves the table against the wall. Yuri says +something to the Translator. + + TRANSLATOR + He says they have been very busy. + It is hard to get good employees. + He is sure you understand. + +Wrong answer: Chuck glances sharply at Yuri. Aleksei +appears with a cellular phone. + + ALEKSEI + Phone call. Malaysia. + +Chuck takes the phone, opening his BAG as he does so. + + CHUCK + Kamal? Right. I'm getting them. + +He pulls out a set of blueprints and tacks them to a +bulletin board as he talks. + + CHUCK + I'm looking at the blueprints of + K.L. right now. The belts are too + small for the sorters. Yeah, + sometimes you never see what's + right in front of your face. Look, + it's -- + +Chuck keeps an eye on what is going on in the warehouse. + +Then he notices something over by one of the trucks. + + CHUCK + (to a loader) + 7. + + + Hold it! Hazardous material needs + its own container! + (back on the phone) + -- three in the afternoon there, + right? That gives you five hours + until the sweep comes through. Do + the sort by hand tonight, then put + in a new feeder belt, say a twenty- + four incher. Yes, overtime is + authorized. + + He hangs up the phone. He turns to the crew. + + CHUCK + I'm going out on every route, I'm + going to work every job here, until + I know enough to help you. That's + it. + + The crew disperses back to work. Chuck and Aleksei walk + toward the office. They've done this before. Chuck lets a + corner of his command persona slip. + + ALEKSEI + It's bad. + + CHUCK + Worse than Warsaw. + + ALEKSEI + Nobody remembers that. + + CHUCK + The failures they remember. It's + the successes they forget. + + +21 EXT. ST. PETERSBURG - DAY - MOMENTS LATER 21 + + A FedEx truck pulls out of the FedEx office. Chuck is + inside. He notices the graffiti on the walls. + + +22 INT. TRUCK - MOMENTS LATER 22 + + Chuck rides next to LEV, the driver, a serious sort. The + Translator squats on some boxes between them, trying to + keep his balance. + + CHUCK + You sorted your packages before you + left. None of the other drivers + did. + 8. + + + The Translator and Lev exchange a few words. + + TRANSLATOR + He says he wants to be organized. + Do packages in order. + + Chuck looks at Lev with respect. Right answer. + + CHUCK + So how come the other drivers + haven't left yet? + + The Translator asks Lev, who looks at him as if he is + crazy, then snorts an answer. The Translator blushes. + + TRANSLATOR + He says -- he is a very rude fellow + -- + + CHUCK + Tell me exactly what he said. + + TRANSLATOR + He says why don't his farts smell + sweet? + + Chuck grins. Lev shrugs and says something else. + + TRANSLATOR + He says that's just the way it is. + + CHUCK + Lev -- it's Lev, right? Listen, + this is FedEx. We don't have to + accept the way it is. + + +23 EXT. HOTEL - ST. PETERSBURG 23 + + A weary Chuck enters the hotel. In the sky above him we see + the Northern Lights. He doesn't even look up. + + +24 INT. HOTEL ROOM - NIGHT - LATER 24 + + Chuck is watching CNN on the television, working his + PowerBook, and holding the phone. + + CHUCK + No, keep trying. A circuit's bound + to open up. + + He hangs up. + 9. + + + CHUCK + (to himself) + Those damn Northern Lights. + +Just then the lights go off. For a moment everything is +darkness. Then a small light switches on. Chuck has a +headlamp on. + +He gets up, heads into the bathroom. We stay in the +bedroom. After only a moment, the light reemerges. It heads +over to his bag. We go with it. + +Chuck takes out a roll of toilet paper. The guy is prepared +for anything. He goes into the bathroom, closes the door. + +The lights come back on just as the phone rings. + +We hear scuffling sounds on the other side of the door. + +Chuck charges out, holding up his pants. + +Grabs the phone. + + CHUCK + Hello? Great. Try it. + +He waits. We hear an ANSWERING MACHINE. + + KELLY (V.O.) + This is Kelly, leave me a message + and I'll call you back soon as I + can. + +This is not what Chuck wanted to hear. + + CHUCK + Kelly, damn, look, this is Chuck. + I'm going to be a little late. + Well, more than a little. I had to + go to Russia. Couldn't be helped. + Could you call and cancel the trip? + Look, we'll sail the Keys in March. + It's better then anyway. I'll be + back before Christmas. I promise. I + think. I mean, I will. I, uh -- + +He's stumbling over whether to say I love you. + + CHUCK + I miss you. + +He gently hangs up the phone. + 10. + + +25 INT. FEDEX OFFICES - ST. PETERSBURG - SERIES OF SHOTS 25 + + A surprised Yuri stands with the attractive assistant as + Chuck takes his clipboard away. + + An even more surprised Lev stands by his truck as Chuck + hands the clipboard to him. + + Chuck and the loaders clean off the graffiti. + + Working alongside the sorters as the packages come in, + Chuck points out how to organize the inflow. + + Chuck and Lev go over large maps of St. Petersburg with the + drivers. + + +26 INT. FEDEX WAREHOUSE - ST. PETERSBURG - WEEK LATER 26 + + A big semi is being loaded with outgoing packages for the + airport run. Aleksei, Chuck, Lev and the office executives + watch as containers are rolled on. + + LEV + We've never got all the trucks in + on time. Never. + + Chucks looks at the clock. + + CHUCK + Only one still left? + + LEV + Route six. + + Aleksei points at the big semi. + + ALEKSEI + If we don't send it now we may miss + the connection in Paris. + + The pressure in on. Chuck looks around at his team. + + CHUCK + (to Aleksei) + Give it five minutes. + + +27 EXT. FEDEX OFFICES - ST. PETERSBURG - MINUTES LATER 27 + + The last truck rolls in. + 11. + + +28 INT. FEDEX OFFICES - ST. PETERSBURG 28 + + The last truck enters and loading dock. A few loaders move + toward it. The executives all stand and watch. But not + Chuck. He's hands on. + + CHUCK + Let's go. + + He heads toward the truck and begins pulling off packages. + + All the other executives follow him. + + +29 INT. FEDEX OFFICES - ST. PETERSBURG - MINUTES LATER 29 + + Led by Chuck, who works like a man possessed, they sort the + packages. + + CHUCK + That's Bermuda. Bermuda is in the + Memphis thru container. No, Azores + is Europe. + + He gestures at a closed container. + + CHUCK + The Paris container. Africa too. + Japan goes to Memphis. + + Chuck is everywhere, setting the example. The whole office + is energized, working together. + + +30 INT. FEDEX OFFICES - ST. PETERSBURG - MINUTES LATER 30 + + They load the last container on the waiting truck. Chuck + pounds the truck on the side. Go. + + The truck roars out of the loading dock. + + Everyone takes a breath. They are happy, proud. + + LEV + We did it. All of them. + + CHUCK + Great job, everyone. Remember, work + together. We are like a hand... + + They've heard this before. Lev holds up his hand just + before Chuck does. + 12. + + + LEV + One finger, weak. All fingers + working together, strong. + + This makes Chuck smile. + + CHUCK + You got it. + + +31 EXT. CHARLES DE GAULLE AIRPORT - DAY 31 + + A FedEx MD-11 is being loaded with huge containers of + freight. Chuck goes up the gangway next to the forklifts. + + +32 INT. MD-11 - MOMENTS LATER 32 + + The pilots -- JACK and GWEN -- are going down their check + lists. Chuck sticks his head in the cockpit. + + CHUCK + I absolutely, positively, have to + get to Memphis overnight. + + JACK + Can't help you. Try UPS. + + CHUCK + Jack -- gotta be something wrong + with our physicals, you keep + getting certified to fly. Gwen, + aren't you worried? + + GWEN + Terrified. + + CHUCK + We're on time, right? + + JACK + On time, Chuck. + + Chuck hands Jack and Gwen small packages. + + CHUCK + Little present from the emerging + republics. + + Another FedEx Road Warrior named STAN gets on. He and Chuck + are obviously old hands at this. + + CHUCK + 13. + + + What connects the world? What makes + it one? + (they ignore him) + We do. FedEx. + + GWEN + You are such a lifer. + + STAN + What do you expect, from the guy + who stole a kid's bicycle when his + truck broke down? + + CHUCK + Borrowed. I borrowed it. + +The two of them strap in. + + STAN + How'd it go? + + CHUCK + Great. Terrific. The good guys won + one for a change. + +He's finished a tough job. He's relaxed and on his way +home. But Stan's his boss, and Stan's got bad news. + + STAN + I had to bump your plane last + night. + +Chuck can't believe it. + + CHUCK + You what? + + STAN + It was fifteen minutes late. + +The plane begins to taxi. + + CHUCK + I checked the weather, you had the + jet stream, you could have made it + up. + + STAN + But I might not have. + + CHUCK + 14. + + + Jesus. I got it working... You have + no idea how hard it was... They're + finally a team... + + STAN + I'm touched. + + CHUCK + You fucked us over. + + STAN + The point of FedEx, as I understand + it, is to make the damn connection. + + CHUCK + I was making a point. + + STAN + What? Let Paris hold its plane? Let + Memphis take care of it? Let + somebody down the line clean up + your mess? + + CHUCK + Every person counts, every package + counts, that's my point. + + STAN + You know what your problem is? You + just see the packages in front of + you. You don't see the big picture. + + CHUCK + Baloney. I do see the damn "big + picture." + + +33 EXT. CHARLES DE GAULLE AIRPORT - NIGHT 33 + + The MD-11 takes off. + + +34 INT. MD-11 - NIGHT 34 + + Chuck is focused on his PowerBook with the screen away from + us, Stan is doing tai chi amidst the FedEx containers. It + feels a little surreal, all those containers surrounding + them. + + Stan comes over, looks at the image on the computer. It's a + sailboat with some technical specifications under it. + + STAN + 15. + + + I didn't know we had sailboats. + + CHUCK + It's a ketch Kelly and I had + chartered. + + STAN + For all those vacation days you got + coming. + +Chuck doesn't look up. + + CHUCK + And never take. + + STAN + Look, I'm sorry about your plane. + But I couldn't risk being late into + Memphis. + + CHUCK + Forget it. + + STAN + You know General McLelland, he + wouldn't attack unless he had + everything just right. Finally Abe + Lincoln came to him and said, + General, if you're not going to use + my army, could I borrow it for a + while? So he gave it to Grant and + Grant just said, let's go. + + CHUCK + I'm from Arkansas. Tell me a story + with Robert E. Lee in it and maybe + I'll pay attention. + + STAN + We're warriors, not desk jockeys. + We've got to be bold. You always + want all your ducks lined up. But + nothing's 100 percent. It's always + 60-40, maybe 51-49. Hell, I'd take + 40-60. Then roll the dice. + + CHUCK + That's why you're a gambling man. + + STAN + That's why I'm running foreign and + you're not. That's why you're not + married and I am. + 16. + + + CHUCK + For the third time. + + STAN + Take the plunge, admit your + mistakes, move on to tomorrow. + That's FedEx, that's women, that's + life. + +Stan is so outrageous, Chuck can't help but laugh. + + CHUCK + You are one sick fucker. + + STAN + I'm trying to help you here. + There's Warsaw, there's this -- + + CHUCK + This was nothing like Warsaw. I + held the truck then minutes, it's + not that big a deal. + +But apparently it is. + + STAN + Look, that kids' bike, that's a guy + who'll do what it takes to get + there on time. Live up to your + legend, that's all I'm saying. + +Chuck reaches in his pocket, pulls out a bill. + + CHUCK + A hundred rubles St. Petersburg + hits 95 percent in a month. + + STAN + Ninety five percent? Just give me + the money now. + + CHUCK + Talk is cheap. Are we on or not? + + STAN + We're on. + +Chuck closes the PowerBook. + + CHUCK + Let's go off-line. + 17. + + + They both take out their Valium -- the price they pay for + being such road warriors. + + CHUCK + Two Valium... + + Stan puts on his Walkman. + + STAN + And the Stones. Got to be. + + It's their ritual. Chuck puts headphones from his Walkman + over his ears, puts a mask over his eyes and leans his head + back onto the headrest. We hear the Rolling Stones. + + +35 EXT. MEMPHIS AIRPORT - NIGHT - WIDE 35 + + The MD-11 arrives at its gate. The cargo doors open. + + Forklifts and a gangway roll up to the side. + + +36 INT. MD-11 - NIGHT 36 + + Stan stands smiling over Chuck. + + STAN + Chuck. Wake up Chuck. + + Chuck pulls off the mask, takes out the earplugs. He + manages a groggy grin. + + STAN + You gotta do your own delivery from + here. + + +37 INT. SUPERHUB - NIGHT 37 + + Chuck walks through the extraordinary nexus of speeding + packages that intersect in intricate paths above and around + him. This is the beating center of the FedEx world, the + crossroads, the deep core where everything connects. In his + still-drugged state it all seems weirdly psychedelic. A + Christmas tree goes by, then a huge plastic Santa Claus, + both with shipping labels. + + +38 EXT. CHICKASAW GARDENS - MEMPHIS - NIGHT 38 + 18. + + + Chuck's car pulls into the driveway of a small cottage in + an older Memphis neighborhood. The radio is playing the + news. + + +39 INT. CHUCK'S HOUSE - MOMENTS LATER 39 + + Chuck drops his briefcase and his bag. The place is a + jumble of clothes, papers, books, etc. In the living room + is a tank of tropical fish. The water looks a little green. + + No bubbles are coming from the filter. + + Uh oh. + + Chuck walks to the tank. He tightens a piece of tape that + holds the power cord onto the filter, taps the filter with + his finger, once, twice...the bubbles start again. + + CHUCK + Damn thing. + + But for a couple of fish floating on top of the tank it's + too late. + + Chuck gets out his scoop and slowly skims them off. + + CHUCK + Sorry, I'm really sorry. + + +40 EXT. CHUCK'S HOUSE - BACK YARD 40 + + Chuck digs a small hole in the back yard with a large + kitchen spoon. + + Drops the dead fish in. + + Fills the hole. + + +41 INT. CHUCK'S HOUSE - LATER 41 + + The CD is playing. Chuck lies in bed, switches on the TV. + + This is no good. He doesn't care how late it is, he's going + to find Kelly. + + +42 EXT. MEMPHIS - NIGHT - LATER 42 + + Chuck drives in his car through the streets of Memphis. + 19. + + +43 EXT. UNIVERSITY - NIGHT 43 + + Chuck pulls up to a lab building at Memphis State. + + +44 INT. LAB - NIGHT 44 + + Two doctoral candidates are playing Doom on their computers + when Chuck walks in. + + CHUCK + You seen Kelly Frears? + + One of them gestures toward a door. + + GUY + Xerox machine. + + +45 INT. HALLWAY - NIGHT 45 + + Chuck makes his way in the semi-darkness past rack after + rack of specimens in bottles. + + Ahead of him we see the flashing green light of a Xerox + machine. + + +46 INT. XEROX ROOM 46 + + The light goes off. KELLY leans over the machine, bangs on + it. + + KELLY + Sonofabitch! + + CHUCK + Hey, be nice to it, it'll be nice + to you. + + Surprised, Kelly turns to greet Chuck. + + KELLY + Chuck! You're back! + + She leaps into his arms. + + KELLY + Your eyes are puffy. Did you take + Valium again? + + CHUCK + 20. + + + You smell like formaldehyde. + +Kelly looks over at the Xerox. + + KELLY + My last chapter's in there, and the + damn machine's jammed. + + CHUCK + Let's take a look. + +He lifts up the cover. + + KELLY + How was Russia? + + CHUCK + Cold. + + KELLY + Don't overwhelm me with details, + you know how I hate that. Did you + get it fixed? + + CHUCK + I thought I did. + +He pries up one feeder, then another. + + CHUCK + Got to follow the paper path here. + + KELLY + Chuck, forget the Xerox. So Russia + didn't turn out well? + +But Chuck doesn't want to talk. He's focused on the +machine. + + CHUCK + Used to you could fix these + yourself. + +She pulls him out of the machine. He has toner on his +fingers. + + KELLY + Chuck. + + CHUCK + 21. + + + What do you want me to say? That I + thought I'd done a great job but it + all turned to shit? That I might as + well have gone sailing for all the + good I did? + + KELLY + Yeah, tell me. Tell me all of it. + + He suddenly looks really tired. + + KELLY + You don't even know what time it + is. What day it is. + + He turns to the Xerox in frustration. + + CHUCK + And I can't fix this damn machine. + + She looks at him. + + KELLY + Come on. + + +47 INT. KELLY'S OFFICE - MOMENTS LATER 47 + + A tiny cubicle with a door. She closes it, takes some paper + towels out of the desk, wipes his fingers. + + KELLY + We're on the deck of the ketch, the + air's soft, the water's clear as + crystal... + + She licks the last bit of toner off his fingers. + + CHUCK + That's carcinogenic. + + She ignores that, stays with the fantasy. + + KELLY + We're covered with suntan lotion + and sweat. Our skin is so hot, it's + glowing... + + And she comes closer to him. + + KELLY + We could take a swim. + 22. + + + She's really close now. + + CHUCK + On the other hand we could not take + a swim... + + They squiggle themselves onto the desk. + + +48 INT. LAB - NIGHT 48 + + Someone kicks the door shut. Now the figures are in + silhouette, lit by the light in the office. + + And then the light goes out. + + +49 EXT. FEDEX OFFICES - NEXT MORNING 49 + + A nondescript office park near the airport. No sign. + + Chuck's car screeches into the parking lot. He jumps out, + glances at this watch, and heads for the building at a run. + + +50 INT. EXECUTIVE CONFERENCE ROOM - MOMENTS LATER 50 + + A large room dominated by an animated MAP OF THE WORLD. + + Lights at various locations blink and flash. Above the map + are a large Sign saying "Here Today, Gone Tomorrow" and two + huge digital Clocks -- one keeping time, the other a + countdown clock for that day's package sort at the + SuperHub. + + The operations team of FedEx sits around a large table. + + Each has on a headset. BECCA TWIGG, the business-like + senior vice president of Operations, addresses questions to + a man -- COLIN PARKER-BOWLES, the European operations + manager -- on a LARGE TV SCREEN in front of her. "London" + is superimposed on the screen. + + BECCA + So why was Milan late, Colin? + + COLIN + 23. + + + One of the race horses coming from + Ireland got colic and had to be + off-loaded in Brussels. That put + the Jumbo six hours late into + Charles De Gaulle. Customs had + difficulty locating the dutiable + items... + +Colin continues as Chuck, out of breath, slips under the +screen and heads for the one remaining vacant seat -- +across from Stan. Next to Stan is MAYNARD GRAHAM, an MBA +systems man. Becca addresses a question over to Stan. + + BECCA + Stan, can we get P&A down to work + with Milan customs? + + STAN + We're already on it. + + BECCA + Good. And let's look at our live + animal policy. I don't think the + income stream justifies delaying IP + product, especially at Christmas. + +Colin disappears. A red light goes on. Becca pushes a +button. Another face comes on the screen. "Oakland" appears +under the face. + + BECCA + Stand by, Benson, we're still + wrapping up foreign. + +She turns pointedly to Chuck. + + BECCA + Chuck, thanks for joining us. + Status? + +Chuck swallows nervously, tries to talk matter-of-factly. + + CHUCK + Becca, as you know St. Petersburg + was consistently running late by + six to ten hours -- sometimes a + full day or more. I replaced the + station manager. We identified + inefficiencies and worked out a + quality improvement plan I believe + can be met. + + MAYNARD + 24. + + + You replaced the station manager + with a driver. A local with no + knowledge of our systems. + + BECCA + Shouldn't you have brought in + someone from Memphis? Russia is + priority one. + + MAYNARD + James Pottinger is available. + + The process is being ripped out of Chuck's hands. He + struggles to get an answer. + + STAN + He's a numbers cruncher. Chuck's + done all the right things here... + + Stan is doing his best to back up Chuck. + + CHUCK + Jim's a terrific financial man, no + question. But we can't always + parachute in from Memphis. We've + got to build up our local staff. + + MAYNARD + We've got to improve foreign on- + time, that's what we've got to do. + If this new guy's so good, how come + the very first plane he sent missed + the connection in Paris? + + Maynard knows how to go for the jugular. Everyone looks at + Chuck. + + CHUCK + We're building a new team here. We + got every package on the truck for + the first time ever. Success is the + best teacher. + + MAYNARD + I don't call missing the plane a + success. + + Everyone looks at Chuck. + + +51 EXT. KELLY'S HOUSE - DAY - LATE THAT AFTERNOON 51 + + Chuck lugs a big package up to the door, knocks on it. + 25. + + + Kelly opens the door. + + KELLY + Merry Christmas eve. + + CHUCK + Not if you work for FedEx. + + +52 INT. KELLY'S HOUSE - DAY 52 + + Chuck enters as they keep talking. Her house is cozy but + also where she works. There's a computer, specimen jars, + and some terrariums with frogs inside. A Christmas tree + with packages under it. + + KELLY + You break four million packages + last night? + + In the b.g. one of the packages by the Christmas tree is + starting to shake on its own. + + CHUCK + Four four. A record. + + KELLY + You don't seem too happy about it. + + CHUCK + Ah, the staff meeting could have + gone better. + + KELLY + Let me guess, Russia came up? + + Chuck's attention goes to the tree. + + CHUCK + One of those packages just moved. + + The package turns over, something darts out. It's a puppy, + with a bow around its neck. + + KELLY + Merry Christmas. + + Chuck bends down to see the puppy. + + CHUCK + Hey, look at you. + 26. + + + KELLY + I figure, if we could take care of + a puppy, we could, you know, take + care of -- + +A baby, she wants to say, but that's going a little fast so +she catches herself. Chuck picks the puppy up. + + CHUCK + He is a cute thing. + + KELLY + He's your cute thing. + + CHUCK + I can't even keep fish alive. + + KELLY + A puppy's got a little more + personality than a fish. + + CHUCK + And for you -- + +Chuck hands over his present. + + KELLY + So do good things come in large + packages? + +Kelly opens Chuck's present -- a very large box. + +It's a piece of luggage. + + CHUCK + You know, for when you travel. + + KELLY + For when I travel? + +She can't believe it. It's the exact opposite of what she +wanted. + + KELLY + You should have got me something + that shows you want us to be + together, not apart. + +Chuck is flummoxed. Women read so much into things. + + CHUCK + I wasn't sending a message. I + though you'd like it. + 27. + + +Chuck's beeper goes off. + + KELLY + You should have got me a ring. + +He checks the number. + + CHUCK + I have to go. I'm on call for + overflow down at the Hub. + + KELLY + A ring. I wanted a ring. + + CHUCK + You did? + +She nods. What to do? + + CHUCK + Look, I love the puppy. I love you. + But I have to go. + + KELLY + You can't go now. + + CHUCK + I have to. + + KELLY + You want to. + +Chuck picks up the puppy. + + CHUCK + What should we call him? Or is it + her? How about Jango? + +Kelly is having one of those moments when everything comes +clear. + + KELLY + This isn't working out. + + CHUCK + We're a little emotional here. It's + Christmas, maybe we're over- + reacting. + + KELLY + "We're" not over-reacting. + 28. + + + CHUCK + Could you watch Jango? + + KELLY + No. + + CHUCK + I can't take him to work. + + He hands her the puppy. + + CHUCK + We'll talk about it when I come + back. It'll all be fine. Really. + + This is not a happy woman he is leaving behind. + + +53 EXT. KELLY'S HOUSE - HOUSE LATER 53 + + It's dark now. Chuck returns. The stars are putting on an + amazing show, but he doesn't notice as he heads for the + door. + + +54 INT. KELLY'S HOUSE - MINUTES LATER 54 + + Chuck enters. The tree and the presents under it are gone. + + CHUCK + Kelly? Kelly? + + No answer, nothing but the sound of Jango, who begins + yelping in the kitchen. + + +55 INT. KELLY'S HOUSE - KITCHEN - MOMENTS LATER 55 + + Chuck picks up Jango, who is barricaded in the kitchen with + some food, some water, and some wet newspapers. + + CHUCK + There. There. Easy now. + + +56 EXT. KELLY'S HOUSE - BACK YARD - NIGHT - MINUTES LATER 56 + + Holding Jango, Chuck walks out into the back yard. + + CHUCK + Kelly? + 29. + + + A fire still smolders. The packages have burned. The tree + is a blackened mess. + + Chuck stares at it. + + +57 EXT. CHUCK'S HOUSE - NEXT MORNING 57 + + Chuck gets into his car, puts Jango on the front seat next + to him. Pulls out of the driveway. + + +58 EXT. ARKANSAS HIGHWAY - DAY 58 + + Chuck is in his car, with the dog on his lap. + + +59 EXT. FARM HOUSE - DAY 59 + + Chuck's car drives up to a typical Arkansas farm house. His + MOM is setting some Christmas tree lights around the door. + + Chuck gets out of the car. There's a large wet spot on the + front of his pants. + + MOM + What happened to your pants? + + CHUCK + Mom, meet Jango. + + Chuck displays the puppy. + + +60 EXT. FARM HOUSE - SHED - DAY 60 + + Chuck works on an old tractor in the shed. Some small legs + appear in his vision, then a small face. This is AMANDA, + his niece. + + AMANDA + Dinner's ready. + + +61 INT. FARM HOUSE - KITCHEN - DAY 61 + + Around the table are Chuck's brother ROGER, his wife MARY, + Amanda, and her TWO BROTHERS. Mom brings in the turkey, + places it on the table, sits down. They all hold hands and + bow their heads. + + MOM + 30. + + + Chuck? + + Chuck hesitates just a moment. + + CHUCK + Bless us O Lord, and these thy + gifts, which we are about to + receive, from thou bounty, through + Christ the Lord. Amen. + + ROGER + Let's eat. + + +62 EXT. FARM HOUSE - LATER THAT DAY 62 + + The children burst out the door, shrieking, chased by + Jango. + + +63 INT. FARM HOUSE - DAY 63 + + The grown-ups are cleaning up after Christmas dinner. The + scene moves between the table, the kitchen counter, and the + refrigerator. It's an old-fashioned kitchen, simply + furnished. + + MARY + How's Kelly? + + CHUCK + Great. + + ROGER + Thought you were going to bring + her. + + CHUCK + So did I. + + MOM + It seemed like she had such a good + time last time. + + CHUCK + It's nothing you did, Mom, believe + me. + + MARY + Jennifer's still down at the post + office. And she's still got that + crush on you. + 31. + + + ROGER + And she's still got those -- + + MARY + Roger. + + ROGER + You should have stuck around. + +This is an old, sore subject. + + CHUCK + Look, I help take care of the + place. You got my check, didn't you + Mom? + + MOM + That new roof, that's your doing. + + ROGER + You're just allergic to farming, + that's what dad said. Can't stand + to be alone. Can't stand to be in + one place. Can't stand the sight + of...blood. + +He drops the turkey giblets into the trash. + + MARY + Roger's going to put chickens in + here. + +Chuck can't believe this. + + CHUCK + Come on Roger, this is dad all over + again. You already did beefalo, + chinchillas, and what was that, + ostrich? They chased Mom around the + yard, sprained her hip. + +Mom goes to the freezer and takes out some frozen +strawberries. + + MOM + It wasn't that bad, dear. + + MARY + You can't make a living out of this + place. We tried. + + CHUCK + But chickens? + 32. + + + ROGER + Sixty three pounds consumed per + capita, up from twenty seven in + 1960. Going to pass beef. Chicken's + global. No religious taboos. You + don't see your Hindus and your + Muslims boycotting poultry. + + CHUCK + True enough. No sacred chickens + nowhere, so far as I know. + + MOM + Roger's working at Tyson's now. + +Mom mashes the block of frozen strawberries with a fork to +separate the strawberries from the ice. + + CHUCK + Really? + + ROGER + Come on down to the plant. It's + state of the art. We're doing for + chickens what FedEx did for the + delivery business. + + CHUCK + Just don't count 'em before they + hatch. + +Roger grins at him. This is just how they are. + + ROGER + I'll try to remember that. + + MOM + Dessert. + +They all sit down. Mom brings the slushy frozen +strawberries to the table, squirts on some Reddi-whip. + +Looks pointedly at Chuck. + + MOM + Speaking of hatching, I could sure + use some more grandchildren. + +Not a timely topic with Chuck. + + CHUCK + 33. + + + Mom, this is a farm. We've got real + strawberries growing outside, we've + got real cream. + + MOM + Oh no, the prodigal son's home. We + bring out the store bought. + + Chuck takes a bite, winces a little as the cold + strawberries hit his teeth. + + +64 EXT. MOM'S HOUSE - LATER THAT DAY 64 + + Chuck fixes the drain pipe while Mom prunes the rose bushes + around the porch. + + CHUCK + Maybe I should take a few days off. + Roger's working now, you could use + some help around here... + + MOM + Don't you even think about it. + + CHUCK + The place is falling apart. + + MOM + I'm doing fine. + + She looks pointedly at Chuck. + + CHUCK + Doing great, Mom, don't worry about + me. + + MOM + There's settled folks, and there's + nomads. You're just not a settled + folk. You never belonged here. + + Chuck finishes the drain pipe. Gives it a thunk with his + finger. + + CHUCK + Come on inside, Mom. You've had a + long day. + + +65 INT. FARM HOUSE - BEDROOM - NIGHT 65 + 34. + + + In his boyhood room, we see Chuck's laptop, which is hooked + up to the internet FedEx homepage. All around him are + models of boats and planes, maps, pictures of far-off + places. The room of a boy who always fantasized about + getting away. + + Chuck is beside it, slumped down on the desk. Asleep. + + +66 EXT. FARM HOUSE - DAY 66 + + His mom waves to him as Chuck drives away. + + +67 INT. FEDEX OFFICE - LATER THAT DAY 67 + + Chuck enters his office, on the go. His assistant LESLIE is + waiting for him. + + CHUCK + I need the latest PDRs on St. + Petersburg. + + LESLIE + And how was your Christmas? + + CHUCK + Terrific. Yours? + + She nods, used to this. + + CHUCK + And get me in to the dentist. My + tooth's acting up. + + Stan enters. + + STAN + Malaysia's tanking. We're meeting + in ten in operations. + + CHUCK + Right. + (to Leslie) + Get me everything on Indonesia, New + Guinea, all the way to Australia. + + +68 INT. OPERATIONS ROOM - MINUTES LATER 68 + + Chuck, Leslie, Stan and another executive from the meeting + named DICK are gathered around the TV screen. A squawk box + is on the table. + 35. + + + CHUCK + Kamal? Kamal? Can you hear us? + +The box squawks. The TV screen rolls an imperfect image. + + DICK + Can't we get this working? + +A Technician is fiddling with the TV set. + + TECHNICIAN + Trying. + + CHUCK + Kamal, you're breaking up. Can you + hear us? + + VOICE (SQUAWK BOX) + Kamal is not here. + + CHUCK + Who is this? Where is Kamal? + + VOICE (SQUAWK BOX) + It is Ibrim, I, I am a sorter. + + CHUCK + What's going on down there? + + VOICE (SQUAWK BOX) + Kamal is not here. We are very + defused. + + CHUCK + Who's in charge then, where is + Chinn? + +The squawk box hums and crackles. Nothing. Chuck turns to +the Technician. + + STAN + We got Telex, e-mail? + + TECHNICIAN + Sure. Just not getting any answers. + +Chuck turns to Leslie. + + CHUCK + When's the next Jumbo? + + LESLIE + 36. + + + The regular flight is scheduled for + oh three hundred tomorrow. + + CHUCK + Anything else? + + LESLIE + There's a sweep leaving Memphis in + an hour, goes through Sydney. + + STAN + Maybe you should get your ducks + lined up first. + + Chuck looks over at Stan. + + CHUCK + Call Operations. Get me on it. + + And Stan is impressed. + + +69 EXT. CHUCK'S HOUSE - DAY 69 + + Chuck leaves with his bag over his shoulder and the puppy + under his arm. + + +70 EXT. KELLY'S HOUSE - DAY - MINUTES LATER 70 + + Kelly opens the door. Chuck is there with the puppy. + + KELLY + That's your dog. + + CHUCK + It's our dog. It belongs to us. + + KELLY + There isn't any us. + + CHUCK + Yes there is. + + Kelly can't stay mad. + + KELLY + I'm sorry about the presents. I got + a little carried away. + + CHUCK + 37. + + + No, it was great. Maybe a little + overkill -- + + KELLY + I burned the Christmas tree. + +She's half-laughing, half-wanting-to-cry. + + KELLY + Why didn't you come over, get mad + at me, tell me what a stupid bitch + I was. + + CHUCK + I guess I hadn't thought through + how I felt. + + KELLY + What, you were going to come over + the next day all calm and say, + Kelly that really made me mad? + Don't tell me you're mad. Be mad. + Be who you are right now. + + CHUCK + Look, we'll do our trip as soon as + I get back. + + KELLY + Don't even start. + +And then it hits her. + + KELLY + Get back? From where? + + CHUCK + Malaysia. They're holding the + sweep. + +She stares at him for a long moment, then at the puppy. + + KELLY + Give him to me. + +He hands her the dog. + + KELLY + Chuck, you're breaking my heart. + + CHUCK + A week, max. Okay? Okay? + 38. + + + KELLY + Go on. We'll be fine. I'll feed + Jango to the frogs. + + She kisses the puppy. + + +71 INT. FEDEX PLANE - NIGHT 71 + + Chuck enters the cockpit, where two different pilots are + going through their checklists. Chuck repeats his familiar + patter. + + CHUCK + Al -- gotta be something wrong with + our physicals, you keep getting + certified to fly. John, aren't you + worried? + + JOHN + I disconnected his controls. He + only thinks he's flying. + + Chuck settles into his seat. + + CHUCK + You're on your way home, Al? + + Al has an Australian accent. + + AL + Right. Down home, down under. + + CHUCK + We're on time, right? + + AL + On time, Chuck. + + +72 INT. FEDEX PLANE - NIGHT - HOURS LATER 72 + + Settled into the jump seat, Chuck finishes up his notes on + his PowerBook and begins his flight ritual. + + He puts in his ear plugs and takes out his Valium. He + swallows one, then thinks, and swallows two more. Then he + turns on his Walkman to the Rolling Stones, puts the mask + over his eyes, and, as usual, goes to sleep. + + DISSOLVE TO: + 39. + + +73 INT. FEDEX PLANE - NIGHT 73 + + The plane is SHAKING badly. HEAR frantic, garbled radio + talk. Chuck stirs, struggles to his feet, drowsy and + drugged. + + +74 INT. FEDEX PLANE - CHUCK'S POV 74 + + Everything is hazy, out of focus, as it was in his earlier + drugged condition. But this is real haze. SMOKE. And the + cabin also TWISTS and TILTS. + + Chuck tries to steady himself against the wall. This is + nightmarish. Is this really happening? + + +75 INT. FEDEX PLANE - CHUCK'S POV - COCKPIT 75 + + The pilots wrestle with the controls. They have their life + jackets on. John glances back at Chuck, his face floating + in a cloud of fear. + + +76 INT. FEDEX PLANE - MOMENTS LATER 76 + + Chuck struggles to put on his life jacket. The plane is + VIBRATING VIOLENTLY. He can't get the straps straight. He + is KNOCKED against one wall, then another, then to the + floor. + + Chuck tries to blow on the mouth tubes for his life jacket. + + Can't do it! Puff. Puff. Shit! John motions frantically for + Chuck to pull on the automatic inflators on his jacket. + + Chuck fumbles for them. + + Huge palettes shift and groan, one BREAKS FREE, banging + violently against the side of the plane, spilling out its + boxes. Then it swings and KNOCKS Chuck on the head! He goes + down! + + +77 INT. GLOBAL OPERATIONS CENTER - MOMENTS LATER 77 + + A CONTROLLER mans the global operations desk. His + SUPERVISOR stands behind him, sipping some coffee. The mood + is eerily calm. An assistant moves Plane Locator Cards on a + giant board. + + CONTROLLER + Jumbo 14 is overdue in Sector K. + 40. + + + SUPERVISOR + Where are they? + + Another CONTROLLER tracks a giant computer screen. + + CONTROLLER 2 + Somewhere east of Port Moresby. + Guam is getting a signal but no + location. Maybe the GPS is out. + + The signal flashes, but is strangely still compared to the + others, which are moving. + + +78 EXT. FEDEX PLANE - NIGHT 78 + + The giant plane PLUMMETS down from the sky. + + +79 INT. FEDEX PLANE - NIGHT 79 + + Chuck is semi-conscious and bleeding from the head. John + pulls the inflators on Chuck's life jacket, which fills + with a WHOOSH!, sending Chuck's arms out to the sides. Al + struggles with the LIFE RAFT. It's all blurred, frantic, + terrifying. + + +80 EXT. PACIFIC - NIGHT - MOMENTS LATER 80 + + The plane hits the ocean with a CRASH and a WAVE of water. + + +81 INT. GLOBAL OPERATIONS CENTER - MOMENTS LATER 81 + + The Controller is speaking mechanically into the + microphone. + + CONTROLLER + Guam, I need a fix on Jumbo 14. + + +82 EXT. PACIFIC - NIGHT 82 + + Shrouded with fog and surrounded by debris, the tail of the + big plane slowly SINKS beneath the angry, storm-driven + waves. + + +83 EXT. PACIFIC - DAY 83 + + A life raft is tossed on dark, storm-driven seas. Inside + it, semi-conscious, Chuck hangs on. + 41. + + +84 EXT. PACIFIC - NIGHT 84 + + We catch glimpses of the yellow lift raft in the dark as + the storm continues. + + +85 EXT. BEACH - EARLY MORNING 85 + + The storm has ended. Waves lap gently on a beach cut like a + scallop out of a rocky shore. On the beach we see scattered + FEDEX BOXES. And we see, face-down, half-buried in sand, a + MAN IN A SUIT and a life jacket. + + Chuck. + + The tide gently rocks him, laps at his face. He chokes. + + Slowly he gets to his knees. Vomits seawater, big heaves. + + He rolls over, sits down. Dazed. Still confused. Where am + I? What happened? + + Chuck's first instinct is to check the time. He looks at + his watch, taps it in frustration. + + Then he looks around, and we look with him. + + +86 CHUCK'S POV - BEACH 86 + + The fog has thinned. We can see palm groves and mangrove + thickets leading back into a thickly wooded valley climbing + up a steep, rocky hillside. The rocks on the opposite point + end in a barren ridge. Clouds hide the top of the hill. + + ON CHUCK + + as he takes in his surroundings. He licks his lips. He's + thirsty. But something he sees is even more important. We + stay with him as he WALKS. He comes to a FEDEX PACKAGE in + the sand, picks it up, brushes off the sand, walks farther. + He picks up another package. + + +87 EXT. BEACH - WIDE 87 + + Chuck walks down the beach, picking up FedEx packages, + leaving a trail of footprints in the sand. Ahead of him we + notice a package decorated with ANGEL WINGS. + + +88 EXT. BEACH - LATER THAT MORNING 88 + 42. + + + Chuck has made a neat stack of FedEx boxes under some palm + trees at the rim of the beach. He examines the Angel Wing + drawing with passing curiosity, then puts it on the stack. + + Chuck takes off his life jacket, sits down in the shade, + makes himself comfortable, and waits. + + +89 EXT. BEACH - SUNSET 89 + + Chuck is still waiting. He's a systems man, and the system + isn't working. + + CHUCK + All right, guys. I'm here. Check + the GPS, get moving. + + +90 EXT. BEACH - NIGHT 90 + + The full moon shines a ghostly light on the beach. Trees + cast moon-shadows on the sand. Chuck seems very, very + alone. + + We HEAR from the dark thickets a STRANGE NOISE. Rustling in + the leaves. Something crashing in the trees, or is it a + wave? A jolt of adrenaline courses through Chuck's body. + + He lurches to his feet. + + We HEAR the noises again. Chuck edges toward the rocks at + the barb of the hook. Keeping his eye on the thicket, he + bends down and picks up a stone. His first weapon. + + In the rocks he finds a piece of driftwood. He picks it up + in his other hand. He backs between two rocks and stands + facing the thicket, every sense alert. A cloud passes over + the moon. The shadow streaks across Chuck's anxious face. + + +91 EXT. BEACH - MORNING 91 + + The morning TIDE is coming in. We follow the tide as it + laps amidst the rocks and finds Chuck, staring out to sea. + + The empty sea. + + CHUCK + Where the fuck are you? + + But now he is really thirsty. We WALK with Chuck up the + beach. + 43. + + +Beneath the palms he sees a couple of coconuts. He picks +one of them up and studies it. It's heavy, almost the size +of a volleyball. How to get in it? + +He throws it down on a rock. The coconut just bounces off. + +He wedges the coconut between two rocks, then throws a rock +down on it. It bounces off. He throws down a bigger rock. + +It smashes on the rocks and chips. Chuck picks up the rock. + +OW! Where the rock had chipped the edge is sharp. It cuts +him. + + CHUCK + Sonofabitch. + +The blood stains the rock a bright red. Chuck sucks on his +finger, then he gets an idea -- the same idea primitive man +first got when he discovered stone tools. + +He picks up the rock, test the edge. Sharp -- really sharp. + +He throws another rock down, but it doesn't break. He picks +up another rock and strikes the first one. Then again, +harder. And again. A large flake shoots off. This edge is +even sharper. + +He has a knife. + +OPENING THE COCONUT - SERIES OF SHOTS + +Chuck uses the stone knife to saw at the coconut. No luck. + +Chuck clumsily sharpens a stick with the sharp rock. + +Chuck brings the sharpened stick down hard on the coconut, +but the stick slides off, sending the coconut rolling away. + +Chuck positions the stick, pointed end up, in a hole, then +SLAMS the coconut down hard on it. Success! The green nut +of the coconut splits. The brown inner nut is free! He +smashes the nut with a rock, but -- OW! -- he hits his +hand! Chuck licks his fingers, but he is so thirsty there's +no more saliva. He smashes again. The shell breaks to +smithereens. Coconut milk splashes everywhere. + + CHUCK + That was smart, really smart. + 44. + + + Rotating a nut along its axis and carefully moving his + fingers out of the way, he SMASHES the nut again. The shell + splits! The precious liquid splashes out. Left inside is a + swallow or two, which Chuck laps up eagerly. The milky + white liquid dribbles down his face. + + CHUCK + Ahhh. + + +92 EXT. BEACH - SUNRISE 92 + + Chuck squints at the ocean. His sunburn is bad -- his lips + are cracked. A stack of broken coconut shells is beside + him. No one's there -- again. + + CHUCK + Maybe the GPS malfunctioned. That + Korean airliner did. + + Clouds scud in front of the sun. Beyond the reef the waves + are high and churning. Chuck can see them pound onto the + reef. + + CHUCK + Okay, do the math. Maybe they know + where you are within, say 500 + miles. That's a circle with an area + of, uh, pi r squared. So, uh, + 250,000 times three point one four, + that's about 800,000 square miles. + Three times the size of Texas. + + This sinks in. Then Chuck gets an idea. + + CHUCK + They could use a satellite. + + But even that doesn't give him much hope. + + CHUCK + Say each satellite photo is 30 feet + square, that's uh...fuck + it...billions and billions of + photos. + + That sinks in. + + CHUCK + Aw, someone will come. + + +93 EXT. BEACH - NIGHT 93 + 45. + + + Chuck sleeps by the coconuts. The tide is coming in. Chuck + stirs, gets up, staggers over to a palm tree to relieve + himself. + + He stares idly out at the moonlight on the waves. Then not + so idly. Something's out there, something floating on the + tide. + + CHUCK + What the hell? + + +94 EXT. BEACH - MOMENTS LATER 94 + + Chuck splashes into the gentle surf, reaches the dark + object. + + It's a body. Chuck turns it over. It's Al, one of the + pilots, his face gray and waterlogged and very dead. + + CHUCK + Oh Jesus. + + +95 EXT. BEACH - MOMENTS LATER 95 + + Chuck drags the body up on the beach and then collapses, + exhausted. He sits by it, staring at it. + + CHUCK + I'm so sorry, Al. So sorry. + + +96 EXT. BEACH - MORNING 96 + + Chuck has almost finished a grave in the sand back of the + palm trees. He's been digging with a piece of driftwood + sharpened with his stone knife. + + He drags the body into the pit. Stares down at it. That + could be me. + + CHUCK + Got to cover Al up. + + He wants to say more, can't. He scoops some sand over the + body. + + CHUCK + Got to cover Al up. + + He scoops in some more sand. It's eerily like burying the + tropical fish in his back yard. + 46. + + +97 EXT. BEACH - LATER 97 + + With a rock Chuck hammers a crude driftwood marker into the + sand. + + +98 EXT. BEACH - LATER THAT DAY 98 + + As Chuck sits on the beach, he half-sings, half-talks + "Yellow Submarine" very quietly to himself. + + CHUCK + We all live in a yellow submarine, + yellow submarine... + + He looks over at the deep woods and down to the rocky + point. + + Comes to a decision. He takes a drink of coconut, picks up + his club and a coconut, sticks the stone knife in his + pants. + + He's ready to go. + + +99 EXT. BEACH - DAY - MOMENTS LATER 99 + + Chuck climbs over the rocks and disappears out of sight. + + He's still half-singing to himself. + + CHUCK + Yellow submarine. We all live in a + yellow submarine... + + +100 EXT. ISLAND - DAY - MOMENTS LATER 100 + + Chuck's way is blocked by rocks and jungle. He hesitates. + + He picks up a rock and THROWS IT to scare away all those + bad things. It crashes into the ferns and palm trees. He + takes a step into the jungle. + + +101 EXT. JUNGLE - MINUTES LATER 101 + + Chuck struggles through a dense thicket beneath a jungle + canopy. Vines and creepers reach out toward him. There is + no path, nothing to show him where to go. + 47. + + +102 EXT. JUNGLE - HALF HOUR LATER 102 + + Chuck climbs through a tangle of vines and ferns. He takes + a drink from the coconut he is carrying. The last drink. + + CHUCK + Bad idea. Should have saved some. + + He throws away the husk. He looks up, but the only sunlight + reaching him is dappled from the canopy above him. + + +103 EXT. ISLAND - MOMENTS LATER 103 + + Chuck emerges onto a ridge that leads to a summit. He + climbs across a rocky lava field covered with scrub lichen + and low ferns, soil dark as coffee beans, his way crossed + by steep gullies that cut like dark fingers into the lava. + + The lava field narrows, forcing Chuck closer to the sea. He + passes a series of CAVES, their mouths dark and mysterious + and scary. He gives them a wide berth. + + +104 EXT. ISLAND - CLIFF - MOMENTS LATER 104 + + The land narrows to a ledge that stretches across a high + cliff perched over the ocean. Beyond this rock bridge the + path smoothes out to a summit. + + Chuck stares at the narrow bridge, then down at the waves + breaking on the rocks far below. To get any view, he will + have to cross the bridge. He's thirsty. The late afternoon + sun is hot. + + CHUCK + Other than that, Mrs. Lincoln, how + did you enjoy the play? + + Hugging the wall of the cliff, taking each step with great + caution, he sets out across the bridge. + + +105 EXT. ISLAND - CLIFF 105 + + Step by step, Chuck negotiates the narrow bridge. He + reaches a flume of polished basalt which cuts across the + ledge like a slide in a water park -- except this flume + ends high above the waves. Chuck tries to step across it, + can't quite, tries one foot first, then the other. + + CHUCK + Shit! + 48. + + + He looks back, but that seems even scarier. + + CHUCK + Got to get there. Got to see. + C'mon... c'mon. Don't be such a + wuss. Be bold. + + He looks down at the ocean beneath him, closes his eyes, + and jumps. It's only a few feet, but he's breathing hard + when he lands on the other side. He hugs the rocks, getting + his breath. + + +106 EXT. ISLAND SUMMIT - SUNSET - MOMENTS LATER 106 + + Chuck looks to each point on the compass. He is on an + ISLAND, small, inhospitable, without sign of habitation or + anything human. On three sides the waves break against + steep, hostile cliffs. A reef encloses the cove where he + came from. + + CHUCK + No way on. No way off. + + Chuck stares out to sea in every direction. Nothing. + + CHUCK + This is bad. Really, really bad. + + The last rays of sun hit his face. The ocean turns a deep + reddish gold. + + +107 EXT. CLIFF - MOMENTS LATER 107 + + Going down is even scarier. It's dusk and the light is flat + and gray. Chuck stares at the ledge. + + CHUCK + Come on. Crawl if you have to. + + Chuck crawls on his hands and knees across the rock bridge. + + +108 EXT. ROCKY SLOPE - MOMENTS LATER 108 + + Chuck stumbles over the rocks. The caves look ominous and + primal. + + +109 EXT. EDGE OF JUNGLE - NIGHT 109 + 49. + + + It's getting dark now. The jungle seems impenetrable, the + dark wood of fable. Chuck hesitates, then plunges into it. + + +110 EXT. JUNGLE - NIGHT MINUTES LATER 110 + + The moon has just begun to rise, casting eerie light into + the jungle. The shadows reach out to grab Chuck, then real + branches and vines tug at him. He heads into thick + blackness. + + +111 EXT. BEACH - NIGHT - LATER 111 + + Chuck emerges around the rocks. He reaches the stack of + familiar FedEx boxes -- Ahh, home! He's breathing hard, + from both fear and exertion. + + CHUCK + Got to drink. Got to drink + something. + + With his last strength he opens a coconut on the stick. He + bangs hard on the shell and gulps down the milk. He stares + at the stack of FedEx boxes. What could be inside? He + reaches out and touches one. + + CHUCK + They don't belong to you. + + Responsibility gets the better of necessity, and he takes + his hand away. + + +112 EXT. BEACH - MORNING 112 + + Face red from the sun, Chuck hacks at a palm frond with his + stone knife. He saws the palm frond off near the base, + leaving it about a foot long. + + CHUCK + Got to have shade. Got to have a + hat. + + He ties the loose fibers into a sort of circle, then sets + it upon his head. It looks amazingly like some sort of + primitive cap. + + He grabs a couple of FedEx boxes and heads for the beach. + + +113 EXT. BEACH - LATER 113 + 50. + + + Chuck finishes the P on H E L P, which he has spelled out + with the FedEx boxes on the beach. + + +114 EXT. JUNGLE - DAY - LATER 114 + + Chuck scrambles down a ravine. He kneels down and feels the + ground. It is dry, completely dry. + + +115 EXT. LAVA SLOPE - DAY 115 + + Chuck traverses the slope, determined to find water. + + +116 A FLAT ROCK - LATER 116 + + With a puddle of dirty water trapped in a tiny hollow. + + Suddenly Chuck flops down into frame. He tries to scoop up + some water in his hands, but he just splashes it around. He + licks his fingers. Then he gets down on his stomach and + laps up the water with his tongue. Like an animal. + + In the bottom of the small depression is some fine mud. He + rubs it on his reddened face and across his burned lips. + + CHUCK + Oh, God. Thank you. + + +117 EXT. BEACH - NIGHT 117 + + Chuck lies in darkness, his eyes reflecting the moon. + + +118 EXT. JUNGLE - DAY 118 + + Chuck is drenched in sweat. He is at the bottom of a hole + six feet deep. He takes one last dig with the flat stick, + then licks the moist clay that sticks to it. + + +119 EXT. BEACH - DAY 119 + + Chuck breaks open another coconut and gulps down the milky + liquid. With a stone knife he digs in the shell for some of + the meat, but it's dry and chewy and fibrous. He spits it + out, then lies back on the sand and stares at the first + stars. Half sings to himself. + + CHUCK + You deserve a break today... + 51. + + + He is desperately thirsty. Hunger gnaws at him. + + +120 EXT. BEACH - DAY - LATER 120 + + Holding a sharpened stick, Chuck wades in the shallows at + low tide, looking for fish. It's difficult to keep his + balance. Suddenly a shadow flashes by, glinting in the + morning sunlight. Chuck hurls the spear, which ricochets + off the water and floats away. + + Chuck plunges into the water after the fish with his bare + hands. The fish reverses direction. Chuck leaps after it + and goes under. He comes up spluttering, on his hands and + knees in the shallows. + + Suddenly a whole school of fish swims by him, moving in + unison, like one creature, splitting around Chuck like + mercury. He grabs at them desperately. Nothing. + + CHUCK + Damn fish! + + On some rocks he sees clusters of limpets. He takes a rock + and tries to dislodge one, but it smashes into a soggy + mess. + + +121 EXT. BEACH - DAY 121 + + Discouraged, he sits down on the beach and gets his breath. + + Idly, Chuck takes out his wallet. The money is soaked. He + lays it out to dry. He finds a PHOTOGRAPH OF KELLY, soaked + and mushy. + + He tries to smooth it out. For a moment he is overcome. + + His face tightens, his eyes get moist. He stares out to + sea. + + CHUCK + Wait a minute. Wait just a minute. + + He picks up his wallet again and takes out a credit card. + + +122 EXT. BEACH - MINUTES LATER 122 + + Chuck wades in the water, stops by a rock covered with + limpets. He uses a CREDIT CARD to scrape off a limpet. + + CHUCK + 52. + + + Don't leave home without it. + + With his finger, he prods around in the mucous-like meat, + then tilts up the shell and we see the gooey gray stuff + slide off the shell into his mouth. + + CHUCK + Yuck. + + He starts to spit it out. Tries to make himself like it. + + CHUCK + Yumm. + + And he swallow it. + + +123 EXT. BEACH - SUNSET 123 + + Chuck sits in the shade of a palm tree surrounded by a pile + of smashed coconut husks and a stack of limpet shells. He + checks his watch for a moment. + + CHUCK + Got to get this fixed. + + But what's the point? Everything that was so valuable + before is useless now. + + +124 EXT. JUNGLE - LATER 124 + + Chuck digs yet another hole. He chants to himself, almost + delusionally. + + CHUCK + Water, water, everywhere, water, + water everywhere... + + Covered in sweat, desperate and exhausted, he throws down + his wooden spade. + + CHUCK + Where's the water on this fucking + island? + + He lies on his back, breathing hard. Pulls his hat over his + eyes. + + CHUCK + Just rest a minute. + 53. + + +125 EXT. JUNGLE - DAY - LATER 125 + + Chuck is lying in the hole. We find his feet. Slowly water + is oozing out of the clay, a puddle is building around his + toes. + + +126 EXT. JUNGLE - DAY - LATER 126 + + Chuck's eyes snap awake. He looks down at his feet. + + There's a pool of muddy water there. He dips his hand in + it, touches a finger to his lips to be sure he's not + dreaming. + + He grabs his sharpened stone, begins to attack the clay. + + CHUCK + Oh yeah, oh yeah, oh yeah. + + +127 EXT. BEACH - SUNSET 127 + + Chuck carefully makes marks on a palm tree with his rock + knife. One for each day. Very neat. Very precise. Very + Chuck. + + CHUCK + Let's see, I waited two days. + (makes marks) + Then I buried Al. + (slowly makes another + mark) + Al. You never made it home, buddy. + + CHUCK + Then American Express got me those + clam things... + (makes another mark) + I dug all those damn holes, the + clouds over the moon... + (makes more marks) + And today, the historic discovery + of H, Two, Oh. + (makes a tenth mark and + underlines it) + Ten days. Shit. + + For a moment, he feels the weight of his isolation. Then he + allows himself a deep breath. There is order now, after + all. Time is under control. + 54. + + +128 EXT. CLIFF - DAY 128 + + Very carefully, but standing this time, Chuck makes his way + across the ledge. + + +129 EXT. SUMMIT - DAY 129 + + He emerges on the top, takes a drink from a hand-made + canteen, and looks in all directions. Again, he sees + nothing but ocean. + + +130 EXT. BEACH - DAY 130 + + He resumes his efforts at fishing. A shape scuttles + raggedly beneath him. + + CHUCK + A crab, it's a crab. + + He freezes, holding his spear motionless. Then he jabs at + the crab -- misses! The crab scurries away toward the + rocks. + + CHUCK + Dammit! + + Chuck splashes after it, stabbing as he goes, falling, + getting up, stabbing again. + + Suddenly one stab feels different. Chuck carefully lifts up + the spear. On the end is a squirming crab. + + CHUCK + I did it. I did it! + + He walks carefully with it to the beach. Lowering the + spear, he lets the crab slip off. + + It darts toward the water. Chuck heads it off, trying to + avoid the snapping claws. + + He kicks it back toward the beach, then slams a rock down + on it. He twists off a crab claw, expecting to see flaky + white meat. But a crab has an exoskeleton. The flesh simply + pours out, like mucous. + + CHUCK + Jesus. + 55. + + + This is too much. He needs the next step, from the raw to + the cooked. The crucial next step from primitive man to the + beginnings of civilization. + + +131 EXT. PALM GROVE SERIES OF SHOTS - TRYING TO MAKE FIRE 131 + + Chuck rubs two sticks together. Nothing. + + Chuck positions a makeshift drill in a hole he has scooped + out in a piece of driftwood. He spins the drill with great + effort. Nothing. + + CHUCK + Stupid fucking thing! + + He quits, exhausted. He looks at his hands. They are raw + and blistered. He feels like Job. + + CHUCK + I don't know what I did, God, but + whatever is was, I am really, + really sorry. You hear me? Really + sorry. + + +132 EXT. BEACH - DAY 132 + + Chuck emerges from the jungle and walks to the edge of the + ocean. He dips his blistered hands into the sea water, then + looks over at the FedEx boxes that spell out H E L P. + + CHUCK + Don't have a choice, do I? + + He walks over and picks a few boxes up from the P. + + +133 EXT. PALM GROVE - DAY 133 + + With his stone knife and spear to help him. Chuck begins to + open the FedEx boxes. Chuck rips open the end of one box + and shakes it. Out tumble some videotapes. Chuck looks at + them: what good are they? + + Chuck tears another box open. Out slide some legal papers + covered with Post-its. + + In quick cuts, we see him dump out computer memory boards, + some designer dresses, flowers, a pair of roller blades, a + script with a red cover -- which he never reads. + 56. + + +134 EXT. BEACH - LATER 134 + + By now he has taken all the boxes in the P. Only H E L + remains. He pauses to let the irony of that sink in, then + collects more boxes. He is even more exhausted. + + +135 EXT. PALM GROVE 135 + + Two boxes remain. One is the box with Angel Wings. Chuck + sets it aside. He opens the other box. Out tumbles a + DOCTOR'S BAG. Chuck can't believe it. He opens the bag. + + It's full of great stuff. Medicine. A scalpel. A saw. + + CHUCK + Okay. Okay now. + + +136 EXT. PALM GROVE - LATER 136 + + Hands bandaged, Chuck tries to strike a spark on the roller + blade wheel housing. Tries over and over. Nothing. + + He takes a long drink from his canteen, and flinches. His + tooth is starting to hurt. He fishes some Tylenol out of + the surgeon's bag and takes two. + + +137 EXT. OTHER SIDE OF ISLAND - DAY 137 + + Chuck picks some berries and gingerly tries them. They're + not bad. He eats more. Then more. What a relief. + + +138 EXT. BEACH - NIGHT 138 + + Chuck lies on his palm fronds, groaning and holding his + stomach. He drags himself to his knees, crawls a few feet, + and throws up in great, violent heaves. + + +139 EXT. BEACH - DAY 139 + + Still looking a little green, Chuck marks another day on + his tree calendar. + + +140 EXT. SUMMIT 140 + + He stares out to sea. Nothing. + 57. + + +141 EXT. WELL - DAY 141 + + Chuck lies on his belly and drinks from the well, which has + filled with water. Then he washes his face and splashes + water over his neck. The surface of the well stills, + bringing CHUCK'S REFLECTION into focus. He stares at + himself. + + Very carefully Chuck shaves with the surgeon's scalpel. + + Chuck checks out his new appearance in the water. Much + better. A clean start now. + + +142 EXT. BEACH - LATER THAT DAY 142 + + He sits in front of his failed efforts to make fire. + + CHUCK + You're not getting it hot enough. + Got to hold the heat. Got to hold + the heat. + + +143 EXT. BEACH - LATER 143 + + Chuck carefully shaves some tinder. Puts it under a piece + of bamboo split lengthwise with a notch cut across it. + + +144 EXT. BEACH - LATER 144 + + Chuck uses a bamboo stick to try to make friction in the + split half of the bamboo. He saws back and forth with all + his might, pressing it down in the groove. + + +145 EXT. BEACH - LATER 145 + + Chuck gives one last saw with his bamboo and stops, utterly + defeated. It's all too much. + + CHUCK + Sonofabitch! + + He starts to rub again. He breathes hard, sweat pours off + his face. He is really going for it, what the hell! A tiny + wisp of smoke appears! Chuck saws with even more energy. + + CHUCK + Come on. Come on. + 58. + + + The smoke increases. Chuck rips away the bamboo, grabs the + nest of shavings, and blows on it frantically. The smoke + flickers and dies. Chuck can't believe it. + + CHUCK + No. No. No. + + +146 EXT. BEACH - NIGHT 146 + + Chuck lies in his bed of palm fronds, shivering. He looks + up at the stars, which blaze furiously. + + CHUCK + That's the big dipper...Orion...or + is that the Southern Cross...? + Kelly would know. + + And he misses her so much. A shower of meteors streaks + across the sky, as if the very heavens are raining down on + Chuck. + + +147 EXT. BEACH - DAY 147 + + Chuck readies his two sticks of bamboo again and begins + sawing with tremendous energy. He smells something. Is it + smoke? He pulls off the log and looks eagerly at the nest + of tinder. There's nothing there. + + CHUCK + Dammit! + + He replaces the log and starts wearily to saw again. + + TIME CUT + The sun has moved in the sky. Chuck + is still sawing. Again the smoke + appears. Again sweat pours from his + face. The smoke increases. He saws + even harder. His breath comes in + anguished gulps. Smoke is curling + up now. Chuck tears away the + bamboo, picks up the nest of + kindling, and blows on it gently. + The smoke increases. + + He blows some more. A fragile crimson spark appears. + + CHUCK + Careful now, careful... + 59. + + + He gently places the nest of shavings in the kindling, then + blows on it with utmost care, as if he were holding life + itself. He shreds his money and business cards over the + tiny flame. + + Suddenly, the evening breeze lifts the nest out of the + kindling. Desperate, Chuck grabs it. Trying to shield it + with his body, he grabs some palm fronds and jams them into + the sand, trying to make a windbreak. They rustle and shake + and blow over. + + The wind blows harder. Chuck jams some rocks in a circle to + make an eddy. But the fire is out. No words now, just a + loud, primal groan of pure despair. + + And then, into his vision floats...smoke. + + Chuck looks down. A wisp of smoke curls up from the nest of + tinder! Chuck blows on it gently. Suddenly a tiny tongue of + flame flickers and catches on the kindling! + + CHUCK + Yes! Yes! Yes! + + He feeds in some more twigs, more tinder. The flames lick + out, catch, grow. + + CHUCK + If I ever forgot to thank you God, + and I am sure I did, thank you now. + + +148 EXT. BEACH - WIDE - NIGHT 148 + + The fire burns on the beach. Chuck rushes about, piling on + driftwood. + + +149 EXT. BEACH - CLOSER 149 + + Chuck darts into the jungle and returns dragging a huge + log. + + He throws it on the fire. We see his face in the light of + the fire. He is exultant. He dances. He sings at the top of + his lungs. Papa-ooo-mow-mow! + + Chuck throws another huge log on the fire. Papa-papa-papa- + oooo! The log splutters and explodes, sending up a huge + shower of sparks that climb and sparkle in the + darkness...until they merge with the stars. + 60. + + +150 EXT. PALM GROVE - MORNING 150 + + Chuck makes a mark on the tree. Around it he carves a flame + -- the day he mastered fire. + + +151 EXT. PALM GROVE - LATER THAT MORNING 151 + + Chuck sharpens his spear with his stone knife. Then he + sticks it in the flame to harden it, pulls it out, checks + it, scrapes some more. + + +152 EXT. BEACH - DAY 152 + + Chuck wades in the water with his spear. Suddenly he stabs + it down. A crab is on the end. + + +153 EXT. BEACH - HALF HOUR LATER 153 + + Chuck removes a crab from out of the fire and breaks a + steaming crab claw. Chuck takes a bite of the flaky white + meat. Ahhh. It tastes great. He takes another bite -- and + flinches. + + CHUCK + Damn tooth! + + He fumbles for his Tylenol and takes two pills. + + +154 EXT. SUMMIT - SUNSET 154 + + Chuck stands on the summit, looking in all directions. + + Then, something on the island brings Chuck's eyes back from + their distant focus on the horizon. From down on the beach, + beneath the palm grove, there curls a thin column of smoke. + + Chuck lets a bit of pride creep into his face as he sees + it. + + He kneels down and begins to build a signal fire. + + +155 EXT. BEACH - NIGHT - LATER 155 + + Chuck curls up in his bed of palm fronds. The fire burns. + + Around it is a large stack of crab shells. He stares into + the fire. + 61. + + +156 EXT. PALM GROVE - MORNING 156 + + Chuck makes another mark on the tree. He has circled the + tree with marks several times now. + + +157 EXT. BEACH - DAY 157 + + Using a safety pin and some suturing thread, Chuck fishes + carefully. Suddenly he jerks his hand back. On the end is a + flopping fish. + + +158 EXT. PALM GROVE - DAY 158 + + Chuck takes a cooked fish off the fire and mixes it with + some breadfruit. He eats the soft mixture, chewing + carefully, but his tooth hurts even worse. There are only a + few Tylenol tablets left. He carefully cuts one in half and + swallows it. + + +159 EXT. SUMMIT - AFTERNOON 159 + + Chuck arrives with the wood for the night. He stares out to + sea as usual, but this time he sees something different. + + WHALES. He sees whales. Leaping. Broaching. Spouting. + + Water pouring off fins and flukes. Moving. Going somewhere. + + CHUCK + Beautiful. So beautiful. + + Chuck stares at them, stares until the ocean darkens and he + can see them no more. It's late now. + + Leaving, he takes one last look, as he always does. And + another remarkable sight greets his eyes. There, on the + horizon, just below the evening star, is a...LIGHT. He + stares at it, fixed. + + CHUCK + A star. It's a star. + + But then he stares at it really hard. + + CHUCK + It's a ship. + + +160 EXT. WOODS - TREE - NEXT DAY 160 + 62. + + + A tree shakes and moves, quivers... + + CHUCK + Timberrr! + + ...then slowly falls with a CRASH! + + CHUCK + I heard that... + + Chuck holds his surgeon's saw over the stump. He walks to + another tree and begins to saw his way into the trunk. + + +161 EXT. BEACH - SERIES OF SHOTS 161 + + Up above the high tide line, Chuck lashes a log to a row of + five logs already joined with vines. + + CHUCK + No more waiting. Take action. + + Chuck sews several designer dresses together with needle + and suturing thread for a sail. + + CHUCK + That's right. Take action. + + He cuts bamboo for the mast. He carves driftwood for an + oar. + + He fills gourds with water, stores breadfruit and coconut + as he sings "Fly Me to the Moon" to himself. + + He ties the sail to the mast and extends it with a bamboo + boom lashed on with palm fiber and video tape. He ties on + the doctor's kit and the FedEx box with the angel wings. + + He examines his handiwork: a finished raft. + + He brings out his old life preserver and puts it on, then + grabs hold of one corner of the raft to pull it down to the + beach. It doesn't budge. He tries to pull it again. + + Nothing. He leans his back into it and pushes with his + legs. Nothing. He collapses on the beach, his breath coming + in heaves. + + CHUCK + How could I be so stupid? + + He bangs himself on the head, over and over. + 63. + + + CHUCK + Stupid, stupid, stupid. + + +162 EXT. PALM GROVE - NIGHT 162 + + Chuck throws new firewood on the dwindling fire. It comes + back to life. Meteors streak again across the sky. He + stares at the indifferent stars. The moon is almost full. + + Shadows of palm trees sway on the sand. + + +163 EXT. BEACH - NIGHT 163 + + Chuck stands by the edge of the water, which shimmers in + the reflected light of the fire. A wave come in, licks at + his toes. Lifts up a coconut husk, sweeps it gently out. + Chuck watches, gets an idea. + + +164 EXT. BEACH - NIGHT 164 + + He begins to dig in the sand by the raft. He grabs the oar + and digs faster, making a trench up to where the raft is. + + +165 EXT. BEACH - MORNING 165 + + The rising tide floods water into the trench. Chuck rocks + the raft back and forth. It floats! As the wave recedes, it + takes the raft with it. Chuck has to run beside it. + + CHUCK TRYING TO ESCAPE - MONTAGE + + Over and over, we see Chuck capsize at the reef. The first + time he has a bandage on his leg. He tries everything -- + + different rafts, different approaches, but each time the + ocean spits him back. + + +166 EXT. LAGOON - DAY 166 + + Defeated and utterly exhausted, Chuck swims back from his + latest failure. He wades back ashore with the FedEx box and + throws it on the ground by the palm tree. He has tried so + hard to escape, so incredibly hard, done everything humanly + possible and beyond. He rips off his life preserver, throws + it into the underbrush, then collapses on the beach. + + CHUCK + 64. + + + You're too low in the water. Too + damn low. + +Chuck's shoulders begin to shake, as he is racked with deep +sobs of despair. + +And then he throws his head back and lets forth, from deep +inside himself, a SCREAM of rage and anger and pain. The +Scream pierces the indifferent natural sounds of the +island, the rustling of the breeze, the lulling rhythm of +the waves. + +It is powerful, disturbing, primal. + +The breeze picks up. Behind Chuck, the palm trees begin to +sway. The tide is reaching up toward the beach. The waves +crash louder. The palm trees sway even more. + +Chuck picks up some wet sand and rubs it on his body. + + CHUCK + Dust thou art -- that's for damned + sure -- and unto dust shalt thou + return. + +A few DROPS OF RAIN begin to fall, splashing on Chuck and +sizzling in the fire. + +Chuck looks up: clouds have obscured the sun. The wind +blows harder. The rain falls harder, streaking the sand +Chuck had rubbed on his body. STEAM sizzles out of the +fire. + +Chuck looks up, disbelieving. The bottom falls out of the +heavens -- monsoon rain, more rain than you have ever seen +before. A long wave rolls up, its frothy fingers reaching +for the fire. + +Forget the raft! Forget despair! The fire could go out! + +This is disaster! + + CHUCK + Shit! + +He springs into action. Chuck grabs an empty FedEx box. + +With his wooden shovel he frantically SCOOPS SOME COALS out +of the fire as the rain HISSES and POUNDS at them. He +slides the coals into the FedEx box, grabs some sticks of +driftwood and sets off on a run. + 65. + + +167 EXT. WOODS - DAY 167 + + Chuck runs through the woods, slipping and stumbling. Vines + grab at him. The rain is so thick he can hardly see. + + +168 EXT. WOODS - MINUTES LATER 168 + + Chuck bursts out of the woods into the lava field. Smoke + pours out of the FedEx box. The coals are about to burn + through! + + +169 EXT. LAVA FIELD - MOMENTS LATER 169 + + Chuck stumbles up the slippery rocks, dragging the smoking + box. His face is drenched, desperate. + + +170 EXT. CAVE - DAY - MINUTES LATER 170 + + Chuck tumbles into the cave just as the coals burn through + the FedEx box. + + Using the remains of the box, he desperately tries to scoot + the coals into a dry spot. + + One by one, THE PRECIOUS COALS GO OUT. + + Dripping water off his hands and face, he pushes a few + together with his fingers, ignoring the burns. + + CHUCK + Please...please...please... + + He stomps on the driftwood and saws at it with his knife. + + He places this kindling on the coals. They sputter and + sizzle. Barely catch. He fans them with the box. A tiny + flicker catches, then starts to grow. + + CHUCK + Firewood. I need firewood. + + SERIES OF SHOTS + + On the beach, Chuck desperately gathers more firewood in + the driving monsoon. He can barely see. Driven by the + storm, the waves are licking at the palm grove. + + He runs through the woods. Branches whip at his face. + 66. + + + Roots tear at his feet, tripping him. + + He stumbles up the lava field. Sliding. Struggling. + + Barely able to breathe, the rain is so strong. + + +171 INT. CAVE - DAY 171 + + He dumps the firewood on the floor of the cave. But where + the fire had flickered, there is only a pile of wet black + ashes. + + THE FIRE IS OUT. + + +172 INT. CAVE - NIGHT 172 + + Chuck lies on the floor of the cave, shivering in the + darkness as the rain falls. His fire is out, his tooth is + killing him, he can't escape. + + +173 EXT. CAVE - NEXT DAY 173 + + Chuck emerges from the cave. The rain has stopped. This is + the absolute lowest. His face reflects his pain and + despair. He's trapped. It's hopeless. Everything he tried + to build is gone. + + +174 EXT. LEDGE - DAY 174 + + Chuck slowly walks out on the ledge. He stares down at the + waves breaking on the jagged rocks far below. + + He lets go one hand. Then lets go the other. He is barely + balanced. It looks like a wisp of breeze would blow him + right off. He slides one foot to the very lip of the + precipice. + + Suddenly his foot slips! + + Instinctively he turns into the cliff, grabs for a hold! + + One hand reaches for a nubbing of rock, slips off! The + other closes, his fingers straining to hold him. + + He breathes in deep gasps. He had wanted to end it, come so + close. + + CHUCK + 67. + + + What the fuck are you doing? + + His deepest instinct was to survive. And that is what he is + going to do. + + CHUCK + Hang on. Just hang on. + + Slowly he pulls himself back from the edge. + + +175 EXT. BEACH - LATER 175 + + Chuck walks aimlessly down the beach, feeling the burden of + starting over. The beach is littered with seaweed and + flotsam, bits of rope, plastic bottles. He picks up a + plastic bottle. That will come in handy. + + The Chuck sees a SOCCER BALL with "Wilson" stamped on it in + big black letters. + + He picks it up, holds it, tosses it up in the air. Then he + kicks it, then kicks it again, then runs down the beach, + trying to kick it and keep it out of the water. Feeling joy + again, even here. + + +176 INT. CAVE - THAT DAY 176 + + The sun is setting on his darkened cave. The soccer ball + sits in the corner by the black cold ashes of what was once + his fire. + + Chuck carves a bit of coconut meat, takes a bite and winces + as the meat hits his sore tooth. He tosses the shell on a + small new pile of shells. + + Chuck shakes out the last half Tylenol tablet. He puts the + tablet in his mouth, then takes a sip out of his coconut + canteen. When the water hits his tooth that hurts too. + + +177 INT. CAVE - MORNING 177 + + Chuck mixes a mash of breadfruit and coconut. He tries to + pack the tooth with the mash, but it's so sensitive that + even this hurts. He pounds the floor of the cave in + frustration. + + +178 INT. CAVE - LATER 178 + 68. + + + Chuck holds a stone chisel and his hammer stone. He + positions the chisel against his inflamed tooth. But the + thought of what he is about to do is too frightening. He + lowers the chisel. + + CHUCK + Shit. Shit. Shit. + + +179 EXT. BEACH - DAY 179 + + Chuck tries to fill his mouth with sea water. The pain is + so great his eyes water. + + CHUCK + Whoo, pig. Sooey! + + He falls back in the water and floats there, looking up at + the sky. + + +180 INT. CAVE - LATER 180 + + Determined, Chuck hold the stone chisel again. He raises it + slowly to his mouth and picks up the hammer stone. + + CHUCK + No pain, no gain. + + He brings the hammer down hard on the chisel! The screen + goes BLACK as Chuck's SCREAM continues UNDER. + + FADE IN: + + +181 EXT. OCEAN - SUNRISE - THREE YEARS LATER 181 + + The sky takes on the first colors of the day. The ocean is + still dark, but a few waves catch the first light. The + sunrise touches the summit, moves down the cliff, then + lights the cove. On the screen superimpose: + + "1000 DAYS LATER" + + REFLECTION - WATER + + A spear shimmers in the calm morning water. Attached to the + spear is a man, standing completely still. + + ON CHUCK + 69. + + + We move up out of the reflection to the real man. His legs + are scarred. The remnants of a dress wrap around his + middle. A stone knife on a neatly mounted haft is stuck in + a belt made of videotape and woven fiber. Necklaces of + shark's teeth and shells hang from his neck. His hair is + long. A coconut frond hat is on his head. + + The hand wrapped around the spear is scarred and brown as a + berry. It holds the spear perfectly still. The watch is + gone. + + We come around slowly until we see Chuck's face. The eyes + say it all. They stare out with a survivor's intensity, + staring at the water, unblinking. This is the man who used + to splash futilely about in the water trying to fish. + + This is the FedEx man who was plugged into the tumult of + activity and energy, surrounded by technology and human + activity at its most intense, devoted to making seconds + count. Now he is utterly alone, and utterly still. + + And now he has all the time in the world. + + Suddenly, without an once of wasted motion, he shoots the + spear forward at a low angle. It quivers, stuck on the + bottom. He pulls it out with a practiced twist. On the end + is a struggling fish. + + But this isn't a thrill anymore. It's another day at the + office. + + +182 EXT. BEACH - LATER THAT DAY 182 + + Chuck makes a mark on a palm tree. He has completely + covered three other trees with marks. It sinks in how long + he has been here. + + +183 EXT. JUNGLE - LATER 183 + + Chuck carries the fish back from the beach. Now there is a + well-worn trail. + + +184 INT. CAVE - THAT AFTERNOON 184 + + Chuck enters with the fish. We are greeted with the well- + ordered lair of a primitive stone-age man. + + Clam shell spirals weave in and out around the fire hole. + + Strips of eel jerky and fish hang drying from racks. + 70. + + + Tools are lined up neatly: digging sticks, stone hammers + and saws, spears neatly hafted onto shafts, drills, awls. + + Bits and pieces of feathers, skins, bones, rags, leaves -- + + are all neatly arranged. Strings and cords hang from hooks. + + Coconut bowls and cooking rocks form a small kitchen. A + raincoat and rain-hat woven of palm fronds is neatly draped + over a frame. + + Evocative pieces of driftwood decorate the room. A wind + chime of obsidian flakes sways gently. The watch hangs on a + stick. + + The Angel Box has the place of honor on one side. On the + other side the Wilson soccer ball rests on a throne of + rocks. Seaweed has been placed on the ball as hair. Clam + shells have been stuck on for eyes, other shells form a + mouth. A tube shell and conch form a pipe. + + +185 INT. CAVE - FIRE - NIGHT 185 + + The fish are being smoke under a palm frond. Eel skins hang + from sticks, roasting. Chuck sits by the fire, hafting a + stone knife onto a wooden haft. + + He ties some fiber to a stick, then braids it into string, + using both hands and his mouth for the three strands. + + He ties the string tightly around the shaft. He does his + work automatically. + + +186 INT. CAVE - NIGHT - LATER 186 + + Chuck eats some fish and some mashed breadfruit. He chews + each bite, his eyes in distant focus. The firelight + flickers on his face. + + +187 EXT. CLIFF - SUNRISE 187 + + Chuck carries firewood up to the summit. He mechanically + adds wood to the fire. As he does so, something out to sea + catches his eye. He stops and stands up. + + CHUCK'S POV - WHALES + + WHALES broach out past the rocky point. Spouts of water + shoot into the air. + 71. + + + ON CHUCK + As he watches them, a light comes + back into his eyes. He + + grins. There's a big gap where his teeth had been. He turns + and strides down the hill. + + +188 EXT. CLIFF - MOMENTS LATER 188 + + He heads across the rock bridge that once had so terrified + him, without losing stride. It's second nature now. + + +189 INT. CAVE - MOMENTS LATER 189 + + Chuck enters the cave, picks up the ball and heads out. + + +190 EXT. SUMMIT - EVENING 190 + + The signal fire burns. A spectacular cloudy sunset lights + up the sky. Chuck sits with Wilson on the summit, a bowl of + mashed breadfruit in one hand, a bowl of roasted eel skin + in another. + + As Chuck watches the sunset unfold, watches the whales + going by in the darkened water, he takes some roasted eel + chips, dips them into the breadfruit paste, and offers one + to Wilson. His voice is flat, monotonal. + + CHUCK + Chips? Dip? + + But Wilson declines. + + CHUCK + No? + + He takes a big crunchy bite. + + CHUCK + Another fucking day in paradise. + + PULL BACK as the sun goes down and Chuck reaches into the + bowl again and dips an eel skin chip in the dip. + + +191 EXT. ROCKY LEDGE - NIGHT - LATER 191 + + Torch in one hand, Wilson in the other, Chuck walks across + the rocky ledge. He passes the flume without even noticing. + 72. + + + Suddenly his shoe breaks! It's sandal made of woven yucca + leaves. + + He bends down and fixes it, then heads on down the ledge. + + +192 EXT. LEDGE - MOMENTS LATER 192 + + Chuck makes a casual leap, a leap he has made hundreds of + times, but this time the sandal comes loose. It catches on + a rock, and CHUCK FALLS! + + His hands are cut and bruised. He tries to get up, can't. + + Chuck sits back and examines his foot. His fingers come + back covered with blood. He reaches out to steady himself, + and leaves a HANDPRINT OF BLOOD on the rock. + + +193 INT. CAVE - LATER 193 + + Chuck wraps his foot in bandages. + + +194 INT. CAVE - LATER 194 + + Chuck's face is sweaty. He looks down at his foot. It is + red, swollen, infected. He stands up, tries to put some + weight on it. The pain is intense. + + Chuck sticks the scalpel onto some coals to sterilize it. + + He holds it over his foot, takes a breath, then jabs in + into the wound. The pain is intense. Chuck passes out. + + +195 INT. CAVE - NIGHT 195 + + Chuck stirs, takes a drink, weakly tosses on another log, + and collapses back on the floor. + + +196 INT. CAVE - DAY 196 + + Chuck wakes up, trembling, shaking, wet with sweat. He + staggers up. His shadow sways on the wall of the cave. He + struggles to get another log on the fire. He squints at his + only companion, the soccer ball. + + CHUCK + Help me, Wilson... + 73. + + + He collapses again. + + +197 INT. CAVE - NIGHT 197 + + Chuck stirs and squints his eyes. He takes a drink of + water. He is feeling better. He puts another log on the + fire and slowly begins to chew on some breadfruit and dried + fish. + + +198 EXT. BEACH - LATER 198 + + Chuck slowly wades into the water, favoring his injured + foot. But something feels different. He glances around. + + What is it? And then he sees something, perhaps the worst + possible sight. + + CHUCK'S POV - SAIL + + A SAIL is moving steadily away from the island. + + CHUCK + Throws down the spear and waves his + arms. + + CHUCK + No! Wait! Come back! + + He runs into the water and starts to swim. He is so weak, + however, he can only make a few strokes. He tries to yell + as he swims... + + CHUCK + Wait! Wait! + + Choking and weak, he turns back and drags himself up on the + beach. In the b.g., the sail dwindles into the distance. + + +199 EXT. SUMMIT - LATER 199 + + Chuck struggles to the top of the hill. His fire has been + extinguished by the rain. In the distance, far against the + horizon, he sees a sail -- or is it a cloud? The whiteness + shimmers against the horizon. Chuck squints. + + Whatever it was, it is gone. Above him some contrails from + jets mark the sky. + + Furious, he kicks his signal fire, scattering the burnt-out + coals. + 74. + + +200 EXT. BEACH - LATER THAT DAY 200 + + Chuck makes a new mark on his calendar tree. Then he stops. + + He CUTS an angry big line under the last mark, then hacks + away at the palm tree, slashing it with the stone knife, + ripping and marking through all his dates. Finally the + stone knife breaks in two. Chuck drops the broken half and + catches his breath. + + +201 EXT. CAVE - NIGHT 201 + + Chuck enters the cave. No signal fires burn. The island is + dark. + + +202 EXT. SUMMIT - DAY 202 + + Chuck stands on the summit, staring out to sea. Nothing, + not even a contrail, not even a whale spout. + + +203 EXT. CLIFF - MOMENTS LATER 203 + + He is on his way down, suddenly he sees something and + stops. + + It's the HANDPRINT, the bloody handprint, his own + handprint. + + He slowly extends his hand and covers it, then pulls it + away. Traces it with his fingers. + + +204 INT. CAVE - DAYS LATER 204 + + Chuck has the beginnings of an artist's studio. Several + large clam shells hold paint. A few egg shells are lined + up. Brushes have been made from roots and feathers. + + Chuck covers his hand with paint and makes a handprint on + the wall of the cave. He stands back and looks at it. + + +205 INT. CAVE - DAY 205 + + He chews some berries, then holds his hand against the wall + of the cave and spits a dark blue mist around it. When he + takes his hand away, the silhouette of his handprint + remains. + 75. + + +206 INT. CAVE - DAY 206 + + With the Angel Wing Box as a model, Chuck dips one of his + feather brushes in paint, and make a tentative line on the + wall of the cave. He works hesitantly, rubs off a line, + tries again. + + +207 INT. CAVE - NIGHT 207 + + Chuck is finishing his first figure, a crude portrait of a + man -- himself? Hard to tell. He examines his work. He + takes some shells and sticks them on as eyes. + + Chuck picks up Wilson, thinks. + + CHUCK + You old airhead, you need a + makeover. + + He takes some charcoal out of his fire and draws eyebrows + on the ball. Then, he mashes some berries, dips his fingers + in the juice, and makes lips. He sticks shells on with clay + for eyes. Then he looks at the face. + + CHUCK + Wilson, you bad! + + He sits back and regards his companion. He gestures around + the cave at the new paintings. + + CHUCK + What do you think? + + But Wilson doesn't have an opinion. + + CHUCK + You don't share much, do you? + + Idly Chuck takes down the Angel Box. + + CHUCK + I guess I know how Kelly felt. + + For a long time he studies the wings on it. With a stick, + he tries to draw a similar wing on the dusty floor of the + cave. Dissatisfied, he wipes it away. He looks at the Angel + Box. + + Casually he reaches over and cuts it open with a stone + knife. Inside he finds two bottles of green salsa. And a + letter. + 76. + + + He reads over it. + + CHUCK + You said our life was a prison. + Dull. Boring. Empty. I can't begin + to tell you how much that hurt. I + don't want to lose you. I'm + enclosing some salsa, the verde you + like. Use it on your sticky rice + and think of home. Then come home - + - to me. We'll find the spice in + our lives again. Together. I love + you. Always. Bettina. + + Visibly moved, Chuck puts down the letter. + + CHUCK + He never got it. + + +208 EXT. ISLAND - DAY 208 + + The monsoon pours down. Wind whips the palm trees. The + waves are gray and angry, tearing at the beach. + + +209 INT. CAVE - DAY 209 + + As the rain pours down outside, Chuck studies the sodden, + ruined photograph of Kelly, which is really only a gray + mess. + + CHUCK + She's probably found someone else. + I would have. + + Chuck dips his finger into one of the bowls of colors and + streaks it slowly across his face. To exorcise his + loneliness, he will paint on the most expressive canvas + there is: his own body. + + CHUCK PAINTING HIMSELF - MONTAGE + + Close-up on scarred fingers, as they paint on Chuck's face + and body. Color on skin. Tight dramatic shots of Chuck + being transformed. + + Chuck takes white paint and covers his hand. Then he + presses it into his chest and makes a handprint. He draws a + yellow spiral on his leg, then takes red and makes jagged + lightning bolts on his chest on either side of the hand. + + WATER + 77. + + + Shimmers in a gourd. Chuck's face + swims into focus. It has + + been painted white. Looking at himself in the reflection, + he dots on blue stars with dark blue from squid ink. + + +210 EXT. CAVE - LATER 210 + + The rains have stopped. The island is washed bright and + green. + + ON CHUCK + As he stands up in the cove. His + face is white with blue + + stars. Handprints circle his torso, flanked by red + lightning bolts. Braided cords circle his biceps. Bone + necklaces hang from his neck. Feathers jut out from his + hair. + + +211 EXT. JUNGLE - DAY 211 + + Chuck goes from tree to tree, making handprints along his + path. Chuck was here. This is his mark. + + +212 EXT. PALM GROVE - DAY 212 + + He covers the calendar trees with handprints. Then stops. + + Sees something. Eyes fixed on the beach, he walks toward + the shoreline. + + +213 EXT. BEACH - DAY 213 + + Chuck emerges from the palm trees, and now we see what he + had seen. + + A FIFTY-FIVE GALLON OIL DRUM. + + And another one. TWO. Chuck stares at the barrels. + + CHUCK + Hello. + + +214 EXT. BEACH - LATER 214 + 78. + + + Chuck sits staring at the oil drums. It's almost as if he + is hesitating to take advantage of them. That he may not + want, really, to leave now. + + Then his inner struggle ends. + + CHUCK + What the hell are you waiting for? + + +215 EXT. BEACH - LATER 215 + + Filled with determination, Chuck rolls a barrel up the + beach. + + +216 EXT. BEACH - LATER 216 + + Using a palm tree as a fulcrum, Chuck hauls hard on a rope + made of vines, pulling the barrel up off the beach. + + +217 EXT. JUNGLE - DAY 217 + + Chuck throws aside palm leaves, revealing...the remains of + his raft. + + +218 INT. CAVE - NIGHT 218 + + Chuck is drawing with a purpose now. And we see what he is + working on. The plans for a raft. + + +219 INT. CAVE - NIGHT 219 + + Chuck is making a list of what he needs. He works intently. + + CHUCK + Canteens. Sea anchor. Got to weave + rope. Spears. A sail. + + +220 EXT. JUNGLE - DAY 220 + + Chuck lashes the barrels onto the raft. Checks the knots. + + Lashes more rope. + + +221 INT. CAVE - NIGHT 221 + 79. + + + He sews dresses together with handmade fiber string. + + +222 INT. CAVE - NIGHT 222 + + He weaves videotape together to form a sea anchor. + + +223 EXT. BEACH - DAY 223 + + Chuck digs a channel toward the raft. + + +224 INT. CAVE - DAY 224 + + Chuck constructs a water collection device with some FedEx + boxes, some plastic weighted with a stone. Explains it to + Wilson. + + CHUCK + Now I'm hoping that if this is + airtight I'll get condensation down + here, a cup or so a day. If I'm + careful it should be enough. + + +225 INT. CAVE - NIGHT 225 + + Chuck writes on the wall. + + CHUCK + If I never return, know that here + lived Chuck Noland for four years. + I drew these paintings. I made + these marks. And then I took my + fate in my own hands and set forth + to save myself, God willing. + + +226 EXT. BEACH - DAY 226 + + Chuck loads the raft, which rocks gently in the cove. He + has a sail made of designer dresses sewn together with + fiber thread. A sea anchor secured by videotape woven + together into a rope. Plastic bottles filled with water. A + signal kite made of FedEx paper. + + Then comes the FedEx box with the angel wings. Then Wilson. + + CHUCK + Wilson, my main man. Time to go. + + And he gently leads the raft into the lagoon. + 80. + + + CHUCK + Wonder what odds Stan would give me + on this. I'd say 90-10. Against. + + He jumps onto the raft, begins to paddle out toward where + the surf crashes onto the reef. + + +227 EXT. LAGOON - DAY 227 + + Waves break against the reef. With his paddles Chuck + maneuvers the raft toward the cut in the reef. Boom! The + wave crashes, the water surges through the cut, then + recedes with a whoosh. + + Chuck watches, times the waves, paddles like mad. He's + committed. SCRAPE goes the first barrel, then the second, + riding the receding wave. He's out! + + But the next wave is already surging forward. It smashes + the raft against the reef! Coconuts and foodstuffs hurtle + off the raft! + + The barrels cushion the impact. The raft tilts, spins, but + stays outside the reef! The ropes holding the jugs of water + break! The water sweeps overboard! + + The wave recedes again. Chuck recovers, paddles with all + his strength, and then he's clear of the breakers! + + For a long moment he floats on the rollers, getting his + breath. + + The water jugs float away, carried by the waves back into + the lagoon. Chuck could go back and get them. If he were + being prudent, he definitely would. + + But he's out. He might never get back out again. + + He stares at the lagoon and the receding water jugs. Then + he stares at the island. Goodbye to all that. + + CHUCK + Wilson, we're out of here. + + He turns and begins raising the sail. + + +228 EXT. OCEAN - WIDE - MINUTES LATER 228 + + Powered by its multicolored makeshift sail, trailing its + gently flapping signal kite of FedEx paper, the raft slowly + moves away from the island, out toward the open ocean. + 81. + + + And we pull back until the ocean swallows the tiny raft and + then we TILT DOWN AND... + + DISSOLVE TO: + + +229 EXT. OCEAN - DAY - FOUR WEEKS LATER 229 + + The ocean again, low. The raft floats into frame. A trace + of a breeze flaps the signal kite, which barely stays + aloft, its rope frayed and tattered. The still is set up in + the middle, plastic with a rock weighting down the center. + + Chuck is gaunt, his clothes rotted. + + He lies looking over the side of the raft, spear in one + hand, staring intently at the water. + + Dorados swim like specters, flashing and darting. Chuck + stabs with his spear. Stabs again. + + CHUCK + Slow down, damn you! + + Exhausted, he sinks back to the raft. Two Dorados leap into + the air ahead of him. + + Chuck tries to stare again into the water. He spots another + fish, a flash of silver under the surface. + + Chuck struggles to his feet, raises his spear. SPLAT! + + Something strikes him in the chest, almost knocking him + into the water. + + On the raft we see flashes of silver and green and blue. A + FLYING FISH. Chuck dives at it, catches it, loses it. + + CHUCK + Catch it catch it catch it -- + + He catches it again just as it almost flops over the side. + + +230 EXT. RAFT - MOMENTS LATER 230 + + Chuck sucks the juice out of the head. He chews meat off + the tiny rib bones. + 82. + + + Chuck is in the stage of malnutrition, vitamin deprivation, + salt insufficiency, and exposure where the personality + splits and becomes external. Like all castaways, he has + conversations with the two sides of himself. + + GOODCHUCK + Save some for tomorrow. + + BADCHUCK + Catch another fish tomorrow. + + BadChuck wins. Chuck keeps eating. He stares up at the sun, + which beats down unmercifully. + + +231 EXT. RAFT - DAY - LATER 231 + + The raft drifts. Chuck has taken down the sail and rigged + it as a canopy. Drenched with sweat, Chuck lies on the + raft, trying to sleep. He dabs at some sores that are + ulcerating his body and won't let him get comfortable. + + Plus, there's a chaffing, squeaking sound. He looks around + for the source. + + We see it with him. One of the ropes is frayed and about to + break. If it does, the logs will come apart from the + floats. + + BADCHUCK + Shit! Shit! Shit! + + GOODCHUCK + Stay calm, identify the problem. + Problem, rope fraying. Solution, + fix rope. + + BADCHUCK + With what? There's nothing to fix + it with. This rope comes undone, + you're going to drown. + + GOOD CHUCK + Just get up and fix it. + + BADCHUCK + Too tired. + + GOODCHUCK + Get up. + + BADCHUCK + Feels so good to lie here. + 83. + + + GOODCHUCK + Get up, damn you. + +Chuck comes to his knees. Then sinks back down. + + BADCHUCK + Can't. Need water. + + GOODCHUCK + You've had today's water. + + BADCHUCK + Thirsty. + + GOODCHUCK + Come on, shape up, get going, you + can do it. + + BADCHUCK + No water, no work. + +Chuck tries another tack. Sweet reason. + + GOODCHUCK + Okay look, I know you're tired, I + know you're thirsty, but give it + one more shot, you've just got to + do a little more. + + BADCHUCK + Do too much, I'll die. + + GOODCHUCK + Do too little you'll die. + + BADCHUCK + Going to die anyway. + +That stops GoodChuck for a moment. + + GOODCHUCK + Okay, look have an extra swallow. + +He holds up the pathetic little jar with its few teaspoons +of murky water. + + BADCHUCK + No more water, you said. + + GOODCHUCK + Take it. + 84. + + + BADCHUCK + No. + + GOODCHUCK + Take it, damn it. + + BADCHUCK + No. + + GOODCHUCK + Wilson, do you believe this? Take + the damn water. + + Slowly Chuck gets up, lifts up the water jar, and takes a + swallow. Then another. + + GOODCHUCK + Stop. Enough. + + Then another. + + +232 EXT. RAFT - DAY - LATER 232 + + Chuck works to braid a new rope. He is focused, + concentrating as hard as he can, but everything is slow and + hard and he's weak and clumsy. He tests the rope, but it + doesn't hold. + + GOODCHUCK + Think. Got to use something else. + + He gets an idea, starts to pull the signal kite in. + + BADCHUCK + If they can't see you, what's the + point? + + GOODCHUCK + Survive today, that's the point. + + The kite rope is much thinner than the rope he had used to + tie the logs, but it's all he has. He ties the log with the + kite rope. Exhausted, he lies back down. + + +233 EXT. RAFT - NIGHT 233 + + The moon is full. The waves cast off shadows on the ocean. + + Chuck is staring into the sky, trying to find a star to + navigate by. + 85. + + + GOODCHUCK + Polaris, where are you? Maybe I'm + too far south. + + BADCHUCK + You don't know where you are. You + missed the shipping lanes. + + GOODCHUCK + Moon's too bright. + + We hear the fraying sound again. + + +234 EXT. RAFT - DAY 234 + + Chuck saws at the outer log with his stone knife. Across + the water comes a storm. We can see it like a waterfall + moving toward us. + + BADCHUCK + You're putting off the inevitable. + + GOODCHUCK + I'm putting it off. + + He looks at the deteriorating rope, at the rotting sail. + + BADCHUCK + That's what's happening to you. + + Chuck pushes the outer log away, then takes the loose rope + and begins to lash it around the center logs. + + BADCHUCK + You're rotting away. + + The raft is rocking. The waves are stronger. It's hard to + tie the logs together. + + Rain falls like a sheet on Chuck. + + BADCHUCK + Get water! + + GOODCHUCK + Fix raft first. + + BADCHUCK + Water water water -- + 86. + + + Chuck works frantically in the rain, trying to tie the + rope. + + Finally he does. + + Then he scrambles for his water collecting funnel, + struggles to pull it up. One corner is stuck and collapses. + + Desperately he rights it, pulls the funnel up. + + Drops begin to run down the sides and collect in the jar. + + Soaked, Chuck stares at the water as it rises. + + Then the rain stops. + + We see the line of rain recede away from Chuck, spattering + the ocean. But all around him the ocean is calm again. + + And out comes the sun. + + +235 EXT. OCEAN - DAY 235 + + The raft floats on quiet seas. The sky is blue, with few + high cirrus clouds so motionless they seem pasted on. + + Chuck lies on the raft, sick and weak. + + Suddenly, from the depths beside him, silently rises a huge + shape. + + A SPERM WHALE, still mainly submerged. The blow hole is + near Chuck, wet and pulsing like giant lips. The eye of the + whale is only a few feet away. It looks upon Chuck out of + an intelligence deep and alien. + + He slowly comes to his knees and stares at it. + + The blow hole opens and WHOOSH, out shoots a geyser of fine + spray which settles on Chuck in a mist. + + The whale rises farther, dwarfing the raft. From the whale + comes a deep sound like a foghorn. + + Startled, Chuck jumps back, rocking the raft. He catches + himself, slowly reaches out and touches the whale. + + The whale blows again, drenching Chuck in more spray. + + Chuck touches the whale again. + 87. + + + GOODCHUCK + You like that? + + Very slowly it drifts along with the raft. + + GOODCHUCK + Lost your mate? + + We look right into the whale's eye. Beneath the surface we + can see the huge jaws open and close. + + GOODCHUCK + You're beautiful. Marry me. + + BADCHUCK + You idiot, if he dives, he'll + capsize the raft. + + Very slowly the whale moves ahead of the raft, its vast + body passing Chuck. + + GOODCHUCK + No, don't go. Look, I've got fish. + + Chuck rips a fillet off the line and throws it in front of + the whale, which ignores it. + + GOODCHUCK + Please don't dive. Please. + + The whale slowly sinks, then suddenly arches its huge back + and heads straight for the bottom. + + For a moment, all that remains are the flukes, black and + vertical against the dark blue sky. With one swoop, those + flukes could destroy Chuck and his raft. But they don't do + anything except slowly sink. + + Then it is gone. + + We are on Chuck's face as he stares at where the whale had + been, the surface marked only by a ring of concentric + ripples that reach out and gently rock the raft. + + +236 EXT. OCEAN - DAY 236 + + Chuck checks the water. It is green and full of floaties. + + It looks awful. He takes the jug, puts it to his mouth, and + drinks. Instantly he throws up back into the jug, barely + keeps from dropping it. + 88. + + + BADCHUCK + Look what you've done. + + He dips his hand into the ocean, splashes some sea water on + his face, splutters it out, then licks his lips. He is so + thirsty. + + He looks at the water jug, full now with his own vomit, + turns away, begins to work on the sea anchor again. + + But the work makes him even thirstier. He looks at the jug + again. + + Picks it up. Takes a long drink. + + +237 EXT. OCEAN - DAY 237 + + The fish return. Chuck gets up with his spear, then puts it + down. + + BADCHUCK + What are you doing? + + GOODCHUCK + Can't kill another one. Can't. + Can't kill my friends anymore. + + BADCHUCK + You fucking bleeding heart, you + kill or you die. + + GOODCHUCK + Why do they have to die for me? + + BADCHUCK + They'd eat you if they could. + They're laughing at you. Listen. + + Chuck listens. Doesn't hear anything. + + GOODCHUCK + Got to eat. + + Chuck picks up the spear, stabs it, misses. + + Suddenly he has a fish on the end of the spear. It + struggles, he scoops it onto the raft, brutally pounds on + its head, twists the stone knife into its spine. The + struggling stops. + + Chuck looks at the dead fish and begins to sob. + 89. + + + GOODCHUCK + I am so sorry. + + He cries uncontrollably. As he cries he cuts off the head, + pulls out the eyeballs, and eats each one. Then he sucks + the marrow out of the head. + + Then takes the heart and eats that. Then eats the liver. + + As he is chewing, he cuts the meat into strips. + + When he is done, he takes the backbone, breaks it, and + sucks on it. + + Fish scales shine in his hair, blood covers his chest. + + +238 EXT. OCEAN - NIGHT 238 + + The raft rocks gently. Chuck looks up. The strips of fish + are glowing. So is the deck where he killed the fish. + + He reaches out to touch the fish strips. His hand is + glowing too. + + CHUCK + I'm an angel. + + Suddenly he sees other lights. A ship. A ship is out there. + And he hears it, a humming in deep register. + + He waves his hands. He yells. + + CHUCK + Here! Here! + + His voice cracks, we can barely hear it over the ocean. + + The lights move on. + + CHUCK + No...no...no... + + His raft is rocked by the wake, rocked hard. Chuck is + thrown into the water! + + He comes to the surface, sputtering. Where is the raft? + + He looks one way, then another. Darkness. + + This is the worst. + 90. + + + He turns again in the water. There, dimly, he can see the + glow from the fish he killed. The glow saves his life. + + He swims toward it. + + He pulls himself back on the raft. + + He lies there exhausted, the glow from the phosphorescence + casting a greenish light on his face. + + +239 EXT. OCEAN - DAY 239 + + Clouds are building up. In the distance lightning flashes. + + The clouds come closer. + + Little bits of electricity jump off the mast. Saint Elmos + fire jumps around Chuck's hand. + + Fascinated, he holds out his hand. The fire jumps from his + hand to the mast. + + Suddenly lightning shoots from the sky and strikes the + ocean! A huge spout of water explodes like a depth charge. + + The CRACK is intense, then rolls away. + + Chuck stares, then realizes the danger and throws himself + down on the raft. Suddenly a wall of rain sweeps over him + and the ocean begins to roll. The thunder is deafening. + + Lightning flashes bursts through the rain. + + CHUCK + Sea anchor! Let out the sea anchor! + + Frantic, Chuck lets out the sea anchor as the raft scuds + down a huge wave. The anchor catches, slowing the raft so + that it rides the wave down. + + The waves come at him high as houses. The raft rides up one + side, then plunges down the next. + + All Chuck can do is hold on. + + +240 EXT. OCEAN - DAY 240 + + The storm has passed. The raft floats on big dark rollers. + 91. + + + We hear the chirping and squeaking of dolphins. They come + close to the raft. Chuck watches them play. Then realizes + they are chasing his fish. + + They drive them along, into the path of another dolphin, + who darts in and rips into the dorado, turning the water + around the raft into churning, bloody foam. + + CHUCK + Stop! + + He takes his oar and begins beating the water. The killing + continues. + + CHUCK + You fucking murderers! + + Suddenly the water is still. One dolphin sticks its head + out of the water and stares at Chuck, squeaking. + + Another dolphin lifts its head up, then another. They + squeak to each other, clearly communicating and talking + about Chuck. + + CHUCK + I know you're talking about me! + + He splashes the water with his oar. + + They dive, then jump into the air, squeaking as they go. + + CHUCK + (very softly) + Take me with you. + + They're gone. + + CHUCK + Why me? Why me, God? + + He begins to laugh. + + BADCHUCK + Listen to this, Wilson. + (deep voice: God) + Because you piss me off. + + +241 EXT. OCEAN - DAY 241 + + Chuck tries to stretch with some simple yoga. Each movement + takes forever. + 92. + + +He rolls over onto his stomach and tries to do a pushup. He +can't. Collapses onto the raft. + + BADCHUCK + You're falling apart. + +Tries to do another pushup. Can't. + + BADCHUCK + First you eat your fat, then you + eat your muscle. + +He rolls over. + + BADCHUCK + Then you eat your mind. + +He looks at the ocean. They're in a line of garbage, a +thick slick of debris dumped off of ships. + + GOODCHUCK + Roll on you deep and dark blue + ocean roll. + +He closes his eyes. After a minute they come open. + + GOODCHUCK + I'm late, I'm late, for a very + important date. + +They slowly close again. + + BADCHUCK + I'm lost. Goodbye. + + GOODCHUCK + No! + +His eyes come open again. + + BADCHUCK + Look, just slip off the raft. The + ocean would feel so good, the + water's so soft and warm. Take a + little swim. Sleep. + + GOODCHUCK + You quitter you quitter you + quitter. + + BADCHUCK + The sea is lovely, dark and deep. + 93. + + + GOODCHUCK + But I have promises to keep. + (rolls over) + And miles to go before I sleep. + (props himself up) + And miles to go before I sleep. + (purpose now) + + GOODCHUCK + Got to fix the sea anchor. Use the + sail. + + BADCHUCK + Use the sail for a sea anchor and + you won't move. + + GOODCHUCK + If I don't have a sea anchor I'll + capsize. + + BADCHUCK + Die tomorrow or die today. + +He hums Beethoven's fifth. BA BA BA BUM. + + BADCHUCK + That's death knocking, knocking on + your door. Crazy little woman come + knocking, knocking at my front + door... + + GOODCHUCK + Grow up, stop being such a baby. + Other people get through a lot + worse. + + BADCHUCK + Yeah, sure, what? + +He hums to himself, begins to sing, Beatles. + + BADCHUCK + I'm so tired, my mind is on the + blink... + +He pulls in the loose sea anchor rope, which is covered +with barnacles. + +He scrapes the barnacle off the rope into the water jug, +then sips it. + +The sun is setting, huge rays shoot out across the sky. + 94. + + + Out of the empty ocean the Dorados suddenly appear, leaping + flashes of silver right by the raft. + + One Dorado swims right by the raft, broadside. + + Chuck looks at it, uncomprehending. Then slowly reaches for + his spear. + + GOODCHUCK + What? Are you sacrificing yourself + for me? + + Carefully he comes to his feet, then shoots the spear into + the fish. + + Flapping and struggling, it lands on the deck. Chuck + pounces on it. + + +242 EXT. RAFT - NIGHT - MOMENTS LATER 242 + + He cuts it open. The other Dorados ram the raft in fury, + like a lynch mob. + + GOODCHUCK + Damn it! I had to do it! + + The banging continues. + + GOODCHUCK + I'm sorry! + + He concentrates on his work, then sits back on his heels in + amazement. There's another fish inside. He holds that fish + up, stares at it, then cuts it open. + + There's a smaller fish inside it. + + GOODCHUCK + I know there's a moral here, God, + but right now I'm just going to + eat. + + He pops out an eyeball, then another, and crunches them + between his teeth. + + He takes the heart and liver, starts to eat, then stops. + + GOODCHUCK + Forgot to say grace. Sorry Mom. + + He struggles to remember. + 95. + + + GOODCHUCK + Bless us O Lord, and these thy + gifts and Christ and the bounty + about to receive, or + something...amen. + + He eats them. + + +243 EXT. RAFT - NEXT MORNING 243 + + Chuck splashes sea water on his face. Adjusts the water + still. + + GOODCHUCK + Please don't leak. Please. + + Chuck picks up the smallest fish. It's half digested. He + washes it in the ocean, trigger fish come up and nibble at + his fingers. + + GOODCHUCK + Don't look at me. It was that + Dorado. + + He cuts the small fish and hangs it on the stays. + + GOODCHUCK + You know, Wilson, every now and + then we should say thank you. Thank + you God. + + BADCHUCK + Thank you for fucking up my life. + + Suddenly something bumps the raft. Hard. Then again. + + GOODCHUCK + Not again. + + Fins cut the water. SHARKS. A big hammerhead bumps the + raft. BadChuck hums the theme from "Jaws." Chuck takes his + spear stabs at the shark. + + BADCHUCK + He's going to get you, going to get + you... + + Another one circles in, bumps the raft. + + GOODCHUCK + Get away from me! + 96. + + + The shark circles again, that big hammerhead like a + nightmare. + + GOODCHUCK + Get him get him get him. + + He stabs at it with his spear. He might as well have + stabbed concrete. The shark circle, Chuck stabs again. + + But the shark is gone. + + GOODCHUCK + Where are you? Where are you? + + Stabs again and again at the empty ocean. + + GOODCHUCK + Stop! You're using energy. Move + slowly. Be patient. + + Chuck kneels, wavering, on the raft. The ocean is calm. + + Suddenly, BUMP. The raft tilts. + + Chuck hangs on. + + Then a shark appears, just out of spear range. Its lifeless + black eyes seem to stare right through Chuck. + + If the Dorado was a gift from God, this is a message from + Hell. + + Then the shark is gone. + + +244 EXT. RAFT - DAY - MOMENTS LATER 244 + + Chuck lies back on the raft. He is humming. + + BADCHUCK + What are you smiling about? They'll + be back. + + GOODCHUCK + I'm dancing on the roof of the + Peabody Hotel. With Kelly. + + He smiles at the thought. + + GOODCHUCK + 97. + + + The music ends. We go back to the + table. The waiters have brought + dinner. New York Strip with + Bordelaise Sauce. Mushrooms in + brown gravy. Roasted potatoes with + garlic and rosemary. Green Beans + with almonds. Fresh biscuits and + cornbread, dripping with butter. A + nice salad with ranch dressing. A + jumbo shrimp cocktail. + +Thinks about that, it spoils the picture. + + GOODCHUCK + No shrimp. + (then) + We eat. + +He closes his eyes. This is the greatest fantasy. + + GOODCHUCK + (as the waiter) + For dessert, we have pecan pie a la + mode, we have a double chocolate + cake with creme anglaise, we have a + nice pear torte, fresh key lime + pie, or perhaps if you care to wait + a few minutes, a grand marnier + souffle? + +Chuck thinks over the options, thinking of each one. + + GOODCHUCK + Why, bring them all, bring them + all. + +He rolls over. There, square in his vision, is a ship, its +form coming in and out of a low haze. + +Chuck jumps to his feet. Waves. Screams. + + GOODCHUCK + Here! Over here! + +The ship moves on. We can see the decks the rigging, the +vastness of it. + +Chuck realizes he is naked. Struggles to pull on the +remains of his pants finally holds them like a diaper with +one hand as he continues to wave. + +On the ship no one is to be seen. It is a spooky sight. + 98. + + +The big tanker moves on. + +We are on Chuck's face. Passed up again. + +Then he realizes what is about to happen. He throws out the +sea anchor. + +He throws himself onto the raft and grips it as tight as he +can, wiggles his feet into the ropes. + + CHUCK + Oh, shiiiittt! + +Then comes the wake of the ship. It rocks the raft like a +piece of flotsam. The raft rides high up on the wave, then +shoots down it, but the sea anchor holds, and the raft +slows and rides along with the wave. + +And then the sea is calm again. + +Slowly Chuck sinks to his knees. His hand lets loose his +pants. + +He lies down on the raft and imagines the conversation with +the ship's captain. + + CHUCK + Permission to come aboard, sir. + + CHUCK/CAPTAIN + Permission granted. + + CHUCK + May I ask, where are you bound? + + CHUCK/CAPTAIN + San Francisco. And you? + + CHUCK + As it happens, I'm headed for + Frisco myself. + + CHUCK/CAPTAIN + Would you do us the honor of + joining us? We're just sitting down + at mess. Pork chops and gravy, + cranberries, baked potatoes with + all the trimmings, fresh- baked + bread, apple pie... + + CHUCK + 99. + + + No please, join me. Some sundried + fish strips, a few eyeballs, some + gills to munch on. + + The depression comes back again. + + BADCHUCK + They're never going to see you. + You're just another piece of trash + in the ocean. + + GOODCHUCK + They're on autopilot. + + BADCHUCK + They're always on autopilot. Or + else it's night, or you're in the + sun, or you're in the trough of a + wave. They'll never see you. + + GOODCHUCK + Damn it! Don't be so negative! + + Chuck picks up Wilson. + + GOODCHUCK + Wilson, what's your story? + + He holds Wilson close to his chest. + + BADCHUCK + I float. You sink. End of story. + + GOODCHUCK + I'm serious. I'm always going on + about me, me, me. Enough about me. + Your turn. + + BADCHUCK + It's a fucking soccer ball, you + idiot. + + GOODCHUCK + Shut up. + + He lies on the raft and holds Wilson close. + + We move up until we see -- + + +245 EXT. OCEAN - AERIAL - EVENING 245 + 100. + + + Chuck lying curled up on the raft, Wilson cradled in his + arms, and all around the vast empty ocean. + + +246 EXT. OCEAN - NEXT MORNING 246 + + Chuck slowly wakes up. Sets Wilson aside. + + GOODCHUCK + Don't shirk, don't procrastinate, + don't be lazy. We're okay today. + We're okay today. + + And the other Chuck begins to laugh. + + GOODCHUCK + Shut up. + + The laughter goes on. + + GOODCHUCK + Shut the fuck up! I mean it. + + He stands up and checks the horizon. + + GOODCHUCK + What's so damn funny? + + BADCHUCK + You are. + + Suddenly Chuck sees something on the horizon. A bank of + clouds. A cone of -- land. + + He squints, stares again. The clouds part. It looks like -- + + his island. + + Chuck doesn't know whether to feel joy or despair. + + GOODCHUCK + Jesus. + + BADCHUCK + Look again, asshole. It's a mirage. + + Chuck squints. + + GOODCHUCK + It's real. + + BADCHUCK + 101. + + + Nothing out there but ocean. + + GOODCHUCK + Let's get a second opinion. Wilson? + What do you see? + + Chuck picks up the soccer ball, holds it up, and stares out + at...ocean. + + +247 EXT. RAFT - DAY - LATER 247 + + Chuck slowly writes on the sail. + + CHUCK + Chuck Noland. Born October 8, 1958. + Died -- pick a date -- July 11, + 1998. And now the epitaph. Met + deadlines. Kept appointments. Lost + without a trace. + + He sits back, looks at the mock headstone. + + BADCHUCK + What did it matter if FedEx was + five minutes late one day? The next + day we just start over again. + + GOODCHUCK + It matters. We do the best we can, + that's all we have. + + BADCHUCK + Then we've just got shit. + + He goes on writing. + + CHUCK + I am writing this to remind myself + to live a better life. If I am + lost, perhaps you who find this + will be instructed to live a better + live yourself. Live each day. Love + your children. Don't take anyone + for granted. + + BADCHUCK + Is that it? Life is a fucking + Disney movie? + 102. + + + The waves begin to grow, the ocean turns a slate gray. Far + above him, great frigate birds circle. Suddenly one dives + on a booby which has caught a fish. The great frigate bird + swoops all around the booby until, panicked, it drops the + fish, which plummets toward the sea. + + With a graceful dive, the huge bird grabs the fish and then + soars up on a thermal, high into the sky. + + Lightning flashes back and forth across the horizon, which + is turning black and dark. Thunder rolls. + + +248 EXT. RAFT - NIGHT 248 + + The raft goes up and down huge waves. Every few seconds + lightning flashes, illuminating the raft and Chuck holding + desperately to it, his eyes wild with fear. + + +249 EXT. RAFT - MORNING 249 + + The waves continue. Chuck holds on, his face pale. + + BADCHUCK + You can't make it. + + GOODCHUCK + Shut up. I don't feel like dying + today. + + +250 EXT. OCEAN - DAY - LATER 250 + + The sky clears. The waves are still big. The fish are back. + And then come the sharks, cutting through the water. + + Chuck can't get up to get his spear, he just has to watch + as blood darkens the water. + + And then the sharks are gone. + + Chuck comes to his knees slowly, then a big wave hits. + + Wilson is swept into the ocean! + + For a moment Chuck is uncomprehending. He watches as Wilson + slowly floats away. + + CHUCK + Please, no sharks. + 103. + + + Then he dives in to the water! Swims frantically after + Wilson. + + Wilson floats away from him. He swims, but he's so weak. + + Finally he gets to Wilson. He reaches out, but only pushes + the ball farther away. + + It bobs on the waves. Chuck treads water, exhausted. + + Where is the raft? + + CHUCK + Jesus. Jesus. Jesus. + + Then he turns back the other way. The raft has drifted by + him. He can go after Wilson, or he can go after the raft. + + CHUCK + Shit! Wilson! + + He swims toward the raft, barely moving. No matter how hard + he swims, the raft seems to recede from him. + + Finally he reaches it, hangs on the side, breathing hard, + choking, crying. + + He struggles to pull himself on board. + + But he is weak, so weak. He can't do it. + + Summoning some primitive reserve of strength, he tries + again. This time he slides on. + + He lies on the raft, panting. + + Then with all his strength he pulls himself to his feet, + holds on to the mast, scans the ocean for Wilson. + + CHUCK + Wilson! + + Nothing but waves. + + This is too much. Chuck starts to cry. + + +251 EXT. RAFT - DAY - LATER 251 + + Chuck takes a swallow of water, washes it around in his + mouth, then swallows. With his wet tongue he licks his + cracked lips. + 104. + + + The sun breaks through the clouds. + + With what strength he has left, Chuck raises the canopy, + fastens it. + + He sits in the meager shade, his head between his knees. + + Closes his eyes. Just for a minute. + + +252 EXT. OCEAN - DAY - LATER 252 + + A different sort of shadow crosses Chuck's face. He opens + his eyes. + + There, riding right beside his raft, is a ship, a huge + rusty tanker. Someone shouts down in a language we don't + understand. + + Chuck sits up, can't believe it. Struggles to cover + himself. + + +253 EXT. OCEAN - DAY - LATER 253 + + Chuck is lifted up the rusted steel side of the boat in a + Jacob's ladder. + + +254 EXT. SHIP - DAY - LATER 254 + + Chuck steps on board, can't support himself. + + The crew gathers around. None of them speak English, but + there is a spontaneous outburst of human connection. + + One man brings some water. Another a blanket. Another some + warm tea. + + Chuck sits there, shivering now. + + CHUCK + Thank you. Oh thank you. + + Deliriously happy. Delirious. + + +255 INT. U.S. NAVAL HOSPITAL - HAWAII 255 + 105. + + +A cavernous hanger-sized ward brightly lit and filled with +row upon row of hospital beds, each with its table, side +chair, and lamp, each with a stainless steel bedpan and +neatly folded sheets and blankets stacked ready to use, and +each completely empty. + +Except for one. + +And on that bed we see Chuck, in a blue hospital gown. An +IV drips into his arm. He plays idly with the remote +control of the bed. He raises the head, then the foot. He +pushes another button and the knee rest bends the bed +again. + +A DOCTOR enters, carrying a thick chart. Chuck gives him a +big manic grin. Malcolm MacDowell in "A Clockwork Orange." + + CHUCK + My favorite doctor. What's the + verdict? + + DOCTOR + Under the circumstances your + overall health is good. Those salt + water boils you picked up on the + raft are ulcerated, but they're + healing nicely. + +He checks his blood work records. + + DOCTOR + Hemoglobin's 10.8 -- you're anemic, + that's why we're giving you iron. + Potassium's low -- we're giving you + an electrolyte solution with your + IV. Sodium's over 150, way too + high. You may experience swelling + in your extremities as you + rehydrate and discharge the salt. + In spite of your dietary + deficiencies there's no sign of + mental deterioration. + +Chuck has been trying not to laugh. Now he can't stop +himself. + + DOCTOR + What's so funny. + +Chuck can't seem to help laughing at everything. + + CHUCK + 106. + + + Sorry...sorry... Why do my joints + still ache? + + DOCTOR + Dehydration. Vitamin deficiency. + Protein deficiency. Any or all of + the above. + + CHUCK + All I ate was fish. That's solid + protein. + + DOCTOR + Protein digestion is very costly in + water usage. + + CHUCK + Which I didn't have. + + DOCTOR + And fish are very low in fat, which + is energy inefficient. So you're + going to burn up your own cells no + matter how much you eat. Luckily + you ate the eyes and pancreas, + which contain some Vitamin C, so + you didn't get scurvy. + +Chuck laughs again. + + CHUCK + I am one lucky guy. + + DOCTOR + Your body chemistry and your + exposure to the elements would + normally lead to irritability, + depression, anxiety, periods of + self-reproach. It's almost like + schizophrenia. Different sides of + your personality might come to + life, speak out, act out. + + CHUCK + But all that's behind me. I'm fine + now. + +He starts to laugh again. + + DOCTOR + If you say you are. + + CHUCK + 107. + + + I most definitely say I am. + + DOCTOR + Doctor Hegel tells me he discussed + the Vietnam POW syndrome with you. + + Chuck stifles his laughter. + + CHUCK + Yes, yes he did. + + DOCTOR + You are aware of the potential + disruptiveness on your loved ones + when you return to your old life? + + CHUCK + Not to mention on me. + + The laughter again. Unsettling. + + DOCTOR + You sure you don't want some + counseling? + + Chuck gives his biggest smile. + + CHUCK + Doc, I'm not on the island. I'm not + on the raft. I'm alive. I'm so glad + to be back, I can't tell you. I + just want out of here. + + DOCTOR + Well, when that IV runs out, you're + through with us. Just the dentist + tomorrow. + + +256 INT. HOSPITAL - NIGHT - LATER 256 + + Rolling his IV, Chuck walks very slowly out of the ward. + + Every step is an effort. + + +257 INT. PHONE CUBICLE - NIGHT - MINUTES LATER 257 + + A small windowless room with only a desk and a phone, lit + by a fluorescent lamp. Chuck is listening to the phone + ring. + + Kelly answers. + 108. + + + KELLY (V.O.) + Hello. + + Chuck is overcome for a moment, can't say a word. + + KELLY (V.O.) + Hello? Hello? + + For some reason he can't keep himself from laughing. He + covers the mouthpiece and laughs. + + And then we hear a dial tone, harsh, mechanical, final. + + +258 EXT. PHONE CUBICLE - MINUTES LATER 258 + + We can see Chuck inside, staring at the phone. + + +259 INT. PHONE CUBICLE - MINUTES LATER 259 + + We hear a faint persistent hum. Chuck looks around, trying + to locate the sound. He looks up, focuses on the + fluorescent light, that background sound he can no longer + tune out, then picks up the phone again. + + +260 EXT. PHONE CUBICLE 260 + + Stan answers the phone. + + STAN (V.O.) + Hello? + + CHUCK + Stan, it's Chuck...Chuck Noland... + + The laughter again. + + STAN (V.O.) + Whoever you are, you are one sick + fucker. + + And again we hear the dial tone. + + +261 INT. PHONE CUBICLE - MOMENTS LATER 261 + + Chuck's on the phone again. + + CHUCK + 109. + + + Two Valium and the Rolling Stones. + That ring a bell? + + There's a long silence. Then we hear Stan's voice. + + STAN (V.O.) + God damn! God damn! Chuck, it's + you! + + CHUCK + It's me. + + STAN (V.O.) + You're fucking dead! + + CHUCK + I'm most definitely not dead. And + as I recall, you're the sick + fucker. + + Chuck begins to laugh, a little too loud, a little too + shrill. He's on a high. + + +262 EXT. HAWAII - BEACH RESTAURANT 262 + + A terrace by the ocean. Tables filled with diners. Food + being delivered by waiters. So simple, eating. So taken for + granted. + + At one table sits Chuck, dressed in a Hawaiian shirt and + shorts, with a half-dozen plates in front of him. He + gestures to the waiter. Bring me more. It all tastes so + damned good. + + Behind him is the ocean. Chuck doesn't glance at it. + + +263 INT. DENTIST - NEXT DAY 263 + + An attractive DENTAL TECHNICIAN with an Australian accent + cleans Chuck's teeth with an ultrasound device. She's + close, very close. Chuck looks up at her. She looks really + good. She smiles at him, then touches the gap where he + knocked out his tooth. + + TECHNICIAN + You sure you don't want to have the + implant done here? We do quite good + work. + + Chuck shakes his head: no. She scrapes behind his front + teeth. + 110. + + + TECHNICIAN + Hmmm, you do have such a lot of + tarter behind these front incisors. + A little wider, please. + +Chuck opens his mouth even further. The technician talks on +in the self-absorbed way dental technicians sometimes do, +that constant babble of human contact which Chuck has not +heard for four years. + + TECHNICIAN + Anyway, so the second prosthetic + foot worked better, but he still + couldn't drive his new Cortina, it + being a standard shift, if you + follow me. + +Chuck nods. I follow you. + + TECHNICIAN + But would he hear of me driving him + around? Not on your bloody life. + Rinse please. + +Chuck does. Stan bursts into the room. + + STAN + Chuck! God damn! + +Chuck struggles out of the chair. + + STAN + God damn. God damn. God damn. + +They are both almost overcome. Stan holds Chuck by the +shoulders and looks at him. + + STAN + You're alive, you're fucking alive! + +Chuck laughs, thrilled to see Stan. + + CHUCK + I beat the odds! + + STAN + You beat 'em to shit, pal! Jesus! + + TECHNICIAN + I still need to floss you. + +Stan notices the technician. + 111. + + + STAN + Hello. + + CHUCK + This is Amber. Her boyfriend lost + his foot in a shark attack. + + He says this with an absolute straight face, holding back + the laughter with great effort. Instantly there's this + connection again between him and Stan. + + TECHNICIAN + Ex-boyfriend. + + STAN + Really. + + And he and Chuck make eye contact and we see a glimpse of + their shared unspoken irony. + + STAN + Uh, there's somebody out here who + wants to see you. + + Chuck stares sharply at him. Kelly? Stan nods, but there's + something he wants to say. + + STAN + She thought you were dead. We all + did. + + That's not all Stan wants to say. But Chuck is limping out + the door. + + +264 INT. DENTIST - WAITING ROOM 264 + + Typical dentist waiting room. Chairs, tropical fish tanks, + magazines, a few waiting patients...and Kelly, looking + nervous. + + Slowly and painfully Chuck enters. He's quite a sight. She + stands up. There's a long moment where they look at each + other. + + Then she comes into his arms. Holds him tight. She's part + laughing, part crying. + + KELLY + I'm sorry... I'm sorry... + + CHUCK + Hey...hey...it's okay! + 112. + + +Chuck is happy, he's still riding the high. + + KELLY + You're so thin. Am I hurting you? + +Well, maybe a little, but who cares? He hasn't been hugged +or barely touched in so long. + + CHUCK + No...no...feels good... + +She disengages, looks at him with that old smile. + + KELLY + Right back, you said you'd be right + back. + + CHUCK + A few things came up. Or went down. + +He meets her gaze, looks her over with a smile. + + CHUCK + You look...wonderful. I like your + hair. + +He notices the ring on her hand. + + KELLY + I got married. + + CHUCK + I thought you might have. + + KELLY + I would never -- + + CHUCK + I know. + + KELLY + If I'd known you were alive -- + + CHUCK + I would have done the same thing. + +His responses come so quick. Chuck seems blissfully sure of +himself. + + KELLY + 113. + + + I didn't want to. It just happened. + One day Gary was there. He took + care of everything. He took care of + me. I was a mess. + + CHUCK + You have any children? + + Kelly nods. + + CHUCK + Got a picture? + + Kelly fishes for a photo, shows it to Chuck. It's a little + girl with a dog. + + KELLY + Her name's Hannah. + + CHUCK + Is that Jango? + + KELLY + No, this is Jack. Jango was hit by + a UPS truck. Can you believe it? + + Chuck laughs. It is funny, sort of. + + CHUCK + Life's just one big joke after + another. + + Stan appears, takes in the scene. The few patients waiting + are edged into the corners, trying to look occupied with + something else. + + STAN + How about we go somewhere else? + + CHUCK + Want to see my raft? + + +265 EXT. HAWAII - DAY 265 + + Chuck's raft sits up on a dock. Kelly stands staring at it. + + How small and fragile it looks. + + STAN + This stinks really bad. + 114. + + + CHUCK + You should have smelled me. + +Stan examines the ropes around the logs. + + STAN + Cool ropes. + + CHUCK + I braided them. + + STAN + Must have taken a hell of a long + time. + + CHUCK + Time I had lots of. + +Kelly points at something on the raft. + + KELLY + What's that? + + CHUCK + That's my sea anchor. My second + one. Made it out of part of the + sail. It keeps you from capsizing + in a storm. In theory. + (picks up his still) + And this, this I used to collect + water. About half a cup a day. + +He's not feeling sorry for himself. It's just a fact. + + STAN + You were how long on this? + + CHUCK + Forty-three days. + +They look at the tiny raft. It speaks for itself. + + KELLY + All that time I waited to go on a + cruise, and you went without me. + + CHUCK + Yeah, well...couldn't be helped. + +Kelly notices the sail, sees the writing on it. + + KELLY + What's that, written on the sail? + 115. + + + CHUCK + My epitaph. + +Kelly reads it to herself. Her eyes are moist. + + CHUCK + Bad body chemistry. Made me a + little morbid. But I'm all over + that now. + +And he seems really to believe it. + + STAN + I'll be at the car. + (to Kelly) + Take you to the airport. + +And he leaves. + + KELLY + I buried you, Chuck. They had to + pry my fingers off your coffin. + +This interests Chuck to no end. + + CHUCK + There was a coffin? + + KELLY + Yeah, coffin, headstone, the whole + thing. + + CHUCK + What was inside? + + KELLY + Your calendar, your cell phone, + your whoo pig sooey hat, some + pictures of that ketch you wanted. + + CHUCK + That about sums it up. + + KELLY + Maybe now's when you tell me about + it. + + CHUCK + The plane went down. My friends + died. I washed up on an island. + Then I found these barrels, built + the raft, and here I am. + 116. + + + KELLY + Yeah? + + CHUCK + The tide came in, the tide went + out. I survived. That's the + headline. I survived. + + KELLY + Don't overwhelm me with the + details. + (she smiles remembering) + You know how I hate that. + +He tries to put it into words, isn't quite sure how. + + KELLY + (gently) + Come on. Try. + + CHUCK + Cliches, mainly. Don't take anyone + for granted. Don't sweat the small + stuff. Live each day like it's your + last. + + KELLY + So simple to say, so hard to do. + + CHUCK + Not when you have no choice. + +Kelly looks down at the raft. It's so small. + + KELLY + You hated being alone. Couldn't + stand it. Busy every minute. Always + plugged into something. + + CHUCK + I didn't know what really being + alone was. No one back here does. + +He has something more to say. She waits. + + CHUCK + We're not meant to be alone. Not + like that. Share life, that's what + came to me out there. Be with + someone. + +And that's the point, isn't it? We are social animals. No +man is an island. + 117. + + + KELLY + This is so unfair. + + CHUCK + That's what I told the fish I + caught. But I ate them anyway. + +And the laughter comes again. Kelly grins, embarrassed, a +little worried. + + KELLY + You okay? + + CHUCK + Great. Really. + +She stares at his face, reaches out, touches it again, this +time with great tenderness. + +He nods, her touch feels so good. + +A wave of emotion comes over her: pity? love? + + KELLY + What will you do? + + CHUCK + I don't know. I really don't know. + +We hear a distant beep-beep, discrete as a car horn can be. + + KELLY + I've got to get back to Memphis. + Hannah's babysitter has finals. + + CHUCK + It means a lot...that you came. + + KELLY + I had to come. To be sure you were + okay. + +They hold each other. For a long time. + + KELLY + I love you, Chuck. + + CHUCK + You too. + + KELLY + I'm so glad you're alive. + 118. + + + Chuck grins. + + CHUCK + You too. + + Then she heads for the waiting car. Chuck stands by his + raft, watching her go. + + +266 INT. FEDEX PLANE - NIGHT 266 + + Chuck and Stan ride on the plane. Chuck is coming down off + his survival high. He has the Angel Wing FedEx package with + him. + + STAN + When I first showed up, I thought + you'd lost your fucking marbles. + + CHUCK + I never thought it would end. Then + it did. It was so great to be + saved, I couldn't stop laughing. + + Stan pulls a flask out of his bag. + + STAN + You need a drink. + + Stan takes two glasses from his bag, rests them on a FedEx + container, and pours the whiskey. + + CHUCK + For years my only drinking buddy + was a soccer ball. Wilson. + + Stan hoists his glass. + + STAN + To Wilson. + + CHUCK + To Wilson. + + Now's when Stan gets to the question he's been wanting to + ask, that Kelly wanted to know, that we all want to know. + + STAN + So, what's it all about? + + Chuck stares at him. + 119. + + + STAN + You've been over the line and you + came back. You've been saved, + hallelujah! + + CHUCK + Hallelujah. + +Stan looks over at him. + + STAN + I'm serious. The burning bush, the + big picture, the words in neon... + + CHUCK + What's it all about? It's about + being so thirsty you'd crush a + fish's backbone to suck out the + spinal fluid -- that's what it's + about. + +Stan sits back, repulsed but relieved. + + STAN + Do what it takes. That's what I + always told you. + +He pours another drink. + + STAN + To life. Fuck 'em if they can't + take a joke. + + CHUCK + To life. + + STAN + That's all there is. + + CHUCK + Believe me I know. + +He takes a sip of his drink, just savoring it, thinking. + + CHUCK + But it's not being bold or being in + the game or rolling the dice. + +All those things Stan used to tell him. + + CHUCK + 120. + + + When I was going crazy, on the + raft, I'd argue with myself about + everything. Because everything had + a price. To get anything -- a sip + of water, a little corner of shade, + an hour's sleep -- I had to let go + of something else. And then I could + never get it back. + + He thinks some more. + + CHUCK + You don't win or lose. You win and + lose. + + He looks out the window. + + CHUCK + You win and lose. + + And Chuck has. Big time. + + +267 EXT. MEMPHIS AIRPORT - NIGHT 267 + + A FedEx MD-11 lands. + + +268 EXT. MEMPHIS SUPERHUB - MOMENTS LATER 268 + + The MD-11 taxis up. As usual, the SuperHub is a frenzy of + activity. A loading crew stands ready, forklifts poised. + + Even this plane carries packages. + + PHIL STEELE, the chairman of FedEx, Leslie, Becca, Dick, + and other executives wait on a special podium near the + gangway. + + Everyone looks different -- older, a mustache here, a + thickening around the belly there. + + Behind a barrier a cluster of cameras film the scene. + + The plane cuts its engine. The stairs are rolled out. + + Forklifts and gangways move forward. Cargo doors open. + + Chuck appears in the door. He holds the FedEx Package and a + small travel bag. + 121. + + +Chuck blinks against the lights and the glare. Stan is +right by him. Everyone bursts into APPLAUSE AND CHEERING. + +After four years of total solitude this is completely +overwhelming. + + STAN + Smile. + +Chuck smiles. + + STAN + Wave. + +And Chuck waves. He's overwhelmed by all the input. Stan +steers Chuck down the steps as the cheers continue. + +At the bottom of the steps Roger steps forward. The two +brothers embrace each other. After a moment Roger +disengages. Mary gives Chuck a hug. + + MARY + Oh Chuck -- + + CHUCK + Where's Mom? + + ROGER + Waiting for you. At the farm. This + was too much -- + +He looks around at the crowds. + + CHUCK + Tell me about it. + +Stan nudges Chuck. Time to go to the podium. + + ROGER + Glad you made it, big brother. + +Stan and Chuck head for the podium. All the loaders and +operators and package scanners begin to applaud. Chuck +smiles, then laughs, getting into the emotion. He keeps up +an almost indecipherable babble underneath the cheering. + +Occasionally he sees someone he knows. + + CHUCK + Wow. Thank you. Great. Thank you. + Hey, Rasheed, how you doing? Thank + you all. + 122. + + +269 EXT. SUPERHUB - WIDE 269 + + Chuck makes his triumphant way through this amazing + collection of cheering people like Moses parting the Red + Sea. + + +270 EXT. SUPERHUB - PLATFORM 270 + + With a big smile Phil Steele holds out his hand to Chuck. + + STEELE + Welcome home. + + He steps to the microphone and addresses the SuperHub. + + STEELE + This is an extraordinary moment. + And it should be marked in an + extraordinary way. With something + we have never done since this + company was founded. + (pause) + Stop the line! + + +271 EXT. SUPERHUB - SERIES OF SHOTS 271 + + All over the SuperHub, belts come to a halt. Forklifts + stop. Tracking stations shut down. The vast flow of + packages is suddenly still. + + The incredible din of activity is suddenly quiet. The + stillness and the silence are unexpected and palpable. + + Thousands of workers stop as well, staring either up at + Chuck directly or at his image on video screens. We hear + Phil's voice piped in. + + +272 EXT. SUPERHUB - PLATFORM 272 + + Phil holds a plaque. + + STEELE + Four years ago we placed this + plaque in honor of Charles Noland, + and two just like it in honor of Al + Morris and John Durham, the two + brave pilots who went down with + him. + 123. + + +As he talks, we stay on Chuck, who is taking in this +amazing scene, not really listening. + + STEELE + Chuck endured years of hardship and + loneliness. Like Lazarus, Chuck has + come back from the dead. Chuck, + this is your family, all of us. So + it gives me great pleasure...to + take this plaque...and to present + it to our long lost son. Welcome + home. + +He hands the plaque to Chuck. Chuck acknowledges the cheers +of the crowd. + + CHUCK + Thank you. Thank you very much... + +Everyone applauds. + + CHUCK + Give me a minute. I've spent four + years looking out at an empty + ocean. + +He laughs, a short brittle laugh, composes himself. + + CHUCK + It's all so -- big. You never think + you'll miss -- all this. But I did. + I really, really did. And I missed + all of you. + +He looks over at the hub. + + CHUCK + You've added some new belts, and + what's that? + +He points at some high tech equipment on the edge of the +shed. + + STAN + Digital laser readers. + + CHUCK + Digital laser readers. Wow. + Terrific. + +He looks around at everyone, doesn't know what else to say. + + CHUCK + 124. + + + I've never heard it this quiet. + Shouldn't you all be getting back + to work? + + The tension is broken. Everyone laughs. Phil Steele motions + with his hand. Let it be done. + + +273 ANOTHER ANGLE - WIDE 273 + + The vast, incredible machinery creaks to a start. Everyone + shakes Chuck's hand as he leaves the podium. + + As he heads for the car, REPORTERS shout questions. + + +274 INT. CAR - MEMPHIS FREEWAY 274 + + We are assaulted by a surge of light, motion, activity. + + Snaking lines of traffic in both directions, big + overpasses, the city rising beyond. + + Stan drives with a certain aggressiveness. Chuck looks out + at the traffic, at all the activity, at the vast intricate + anthill of humanity going everywhere and nowhere. + + CHUCK + Take your time. + + STAN + What? + + CHUCK + That's what it's about. + + STAN + Being patient. Don't rush things. I + get it. + + He swerves into another lane. + + CHUCK + Not just that. Take your time. Use + it. Live it. + + STAN + Deep, real deep. + + He grins, cuts across to the exit. + + STAN + 125. + + + So where to? The office? The hotel? + The beach? + + Chuck stares at him. Are you kidding? + + STAN + What, then? + + CHUCK + Deliver this package. Then, I + dunno. + + STAN + (re: the package) + You want that delivered, we'll + deliver it. That's what we do. + + CHUCK + I need to do it. + + STAN + Finish what you started. You + haven't changed, Chuck. It's still + you. + + Right. + + CHUCK + You want to help, help me find the + woman who sent this. + + +275 INT. OPERATIONS CENTER - DAY 275 + + Stan and Chuck are in the office of a TECHNICIAN who is + working away at his computer. The Technician pulls the bar + code from the Angel Wing FedEx box up on his computer + screen. + + TECHNICIAN + Okay. After three years the PTR + reverts to tape storage, which is + okay because we access it through + the CPC. Here it is. + (gestures at computer + map) + Ten packages from the same sender. + Baku. Delhi. St. Petersburg. The + guy was a real road warrior. This + package was Kuala Lampur. No + activity in his account after this + package. No forwarding addresses + after K.L. + 126. + + + CHUCK + What about the sender? + + TECHNICIAN + Sure. Bettina Peterson. Marfa, + Texas. Let's run a current check. + + He works some keys, waits. + + TECHNICIAN + Hmmm. Durango, Colorado; Asheville, + North Carolina, then...canceled her + account. + + CHUCK + Can you find her? + + TECHNICIAN + You're looking at a Level III + search. For your Level III, you + gotta have E-4 authorization. I + don't have it. + + STAN + I do. + + He holds out a badge. + + TECHNICIAN + Okay, let's let it rip. + + He starts to pull up the data. + + CHUCK + Thanks. For everything. + + STAN + No sweat. + + +276 EXT. CHUCK'S MOTEL - THAT NIGHT 276 + + Chuck leaves the motel, the Angel Box under his arm. He + ties it into a pannier on the side of a bicycle. + + +277 EXT. MEMPHIS - CHICKASAW GARDENS - NIGHT 277 + + Chuck sneaks up to a craftsman cottage and stands by a tree + with a swing on it. Inside we see Kelly making dinner for + her husband, who plays with their daughter. For a moment + Chuck watches through the window, and we watch with him. + 127. + + + Then the dog begins to bark. + + +278 EXT. CEMETERY - NIGHT 278 + + Chuck walks through the cemetery late at night. He comes to + his gravestone, stares for a long moment at the + inscription, then takes out a spray can of paint and puts a + HANDPRINT on it. + + He gets back on his bicycle and rides away. + + +279 EXT. HIGHWAY - DAY 279 + + Chuck rides his bicycle down a road leading into the South. + + +280 EXT. FREEWAY - DAY 280 + + Chuck negotiates an overpass crossing an Interstate + Highway. + + Headed in both directions, cars whoosh by beneath him. + + +281 EXT. HIGHWAY - DUSK - LATER 281 + + Chuck rides down a narrow road, shrouded in mist. Moss + drips from the trees reaching over the road. A car goes by. + + Then another, their lights like halos in the fog. It's a + mystical scene, a passage. + + +282 EXT. ARKANSAS - NIGHT 282 + + Chuck gets off his bicycle in the rain and walks toward a + roadside cafe. + + +283 INT. CAFE - NIGHT 283 + + Chuck draws on a paper place mat as he waits for his meal + at a counter. Above the counter the television plays. + + ANNOUNCER + And here's more from Dingo Dodd, + our Australian correspondent, on + the extraordinary story of Chuck + Noland, the modern Robinson Crusoe. + 128. + + + The waitress sets a plate down in front of Chuck, turns to + watch. + + On the TV we see an Australian correspondent standing on + Chuck's beach. + + DINGO DODD + Shark infested waters! A deserted + island! Surrounded by reefs! + Accessible only by helicopter! For + four years Chuck Noland survived + here alone, eating fish, coconuts + and clams, his only companion a + soccer ball. + + Chuck is staring at the screen, seeing his cave, seeing all + those years. + + DINGO DODD + I'm now in Chuck's cave where he + passed the lonely nights, painting + on the walls like some prehistoric + caveman. What did Chuck feel? These + paintings tell the story, but only + Chuck knows what they mean. And + he's not talking. + + On the screen we see a photograph of Chuck. + + The waitress looks over at Chuck. The other clients look at + him too. + + CHUCK + Check, please. + + The waitress comes over. + + WAITRESS + No charge, honey. But could you + just sign that place mat for me? + + Chuck looks down at his doodling. Hesitates. Then signs his + name. + + +284 INT. TYSON'S CHICKEN - ARKANSAS - DAY 284 + + Thousands of chicken carcasses hanging on hooks circle + through the huge processing plant, a vast structure on the + scale of the SuperHub or the Hospital. + 129. + + + Chuck's Mom, dressed in white with a hairnet, enters a + windowed office in the b.g. Through the window we see her + hug Chuck. + + +285 INT. TYSON'S CHICKEN - OFFICE - ARKANSAS - DAY 285 + + We are in the office now. Chuck's Mom's eyes are moist. + + CHUCK + When'd you start working here? + + MOM + Roger got me on. I wasn't doing + anything, and -- but you're back, + you're really back. I would have + come to Memphis, but -- + + CHUCK + I wanted to come here. + + +286 INT. FRAME HOUSE - ARKANSAS - DAY 286 + + Chuck eats a Southern fried drumstick. The table is full of + home-cooked food. + + MOM + Have some more potato salad. + + Chuck gestures, no, I'm full. She puts down the spoon. + + CHUCK + That was great, Mom, just great. + + He looks around the house, everything in its place. His + mother has been here for forty years. There's a big crack + running down from the ceiling. + + CHUCK + I've got all this back pay coming. + Why don't you let me get you a + place in town? + + MOM + This is my home. I'm part of the + wallpaper. + + She studies him for a moment. + + MOM + You miss it, don't you? You miss + that island. + 130. + + + He does, but that's not it entirely. + + CHUCK + Miss that island? Mom, come on. + + She looks at him. She knows her boy. + + MOM + What a journey you've had. It seems + more than a person should have to + bear. + + CHUCK + The tide saved me, Mom. I lived by + it. I'm just wondering where it + will take me next. + + She looks at him, thinks about this. + + MOM + Remember the family motto. In time. + It will come to you, in time. + + +287 EXT. ARKANSAS - DAY 287 + + Chuck rides away from the small neat frame house, down a + country lane with trailers up on blocks. + + +288 EXT. GULF COAST - DAY 288 + + Chuck leaves a cheap motel as the sun comes up. + + +289 EXT. MISSISSIPPI GULF COAST - DAY - LATER 289 + + Chuck rides on a ferry, the wind blowing his face. The sky + is gray and drizzly. He smells the salt water. Watches the + waves. + + +290 EXT. GAS STATION - DAY 290 + + Chuck asks for directions. A kid in baggy pants and no + shirt points him down the road. + + +291 EXT. GAS STATION - MOMENTS LATER 291 + + Chuck pulls some clothes out of his saddle bags. + 131. + + +292 EXT. GAS STATION - MOMENTS LATER 292 + + Chuck emerges from the restroom wearing a FedEx shirt and + shorts. + + +293 EXT. BEACH HOUSE - HOUR LATER 293 + + A classic beach house. Sand dunes, stilts. Carrying the + Angel Wing Box under his arm, Chuck checks the address in + his hand. Mounts the steps. A light mist falls. You can see + the Gulf behind the house, gray and moody. + + A WOMAN, BETTINA, answers the door -- THE woman from the + beginning. She wears cut-off jeans and a blue work shirt + covered with paint. There's a tattoo on her ankle. + + CHUCK + FedEx for Bettina Peterson. + + The woman stares in disbelief at the package she hasn't + seen in years and never expected to see again. + + BETTINA + Where did you get that? + + Chuck displays a FedEx badge. + + CHUCK + Charles Noland. FedEx Special + Projects. + + Bettina notices Chuck's bicycle. + + BETTINA + You came on a bicycle? No wonder + it's so late. + + CHUCK + There was an unavoidable delay. + + Bettina stares at the package, her own memories coming + back. + + BETTINA + Well, I have to say, I'm impressed. + You never gave up. + + CHUCK + No. + + She holds the box and studies him for a long moment. + 132. + + + Something -- the look on his face, the extraordinary + reappearance of this long-lost package -- makes her + curious. + + BETTINA + You know what happened to this? + + CHUCK + As much as anybody. + + BETTINA + Want to come in? Get dry for a + minute. + + CHUCK + Okay. Sure. + + She lets Chuck in the door. + + +294 INT. HOUSE - DAY 294 + + Ladders. Scaffolds. Huge paintings are everywhere. + + Paintings of wings and angels -- like the package. Chuck + stares at them. Bettina watches Chuck stare. + + BETTINA + I've got some coffee on. Would you + like some? + + +295 INT. KITCHEN - LATER 295 + + Bettina pours some coffee. The package sits in the counter. + + Some magazines are spread around, including a People + Magazine with Chuck's photograph on the cover. + + CHUCK + (takes a sip) + It's good. + + They smile awkwardly at each other. She starts to open it. + + BETTINA + Hmmm. Feels like it might have + gotten wet. + + CHUCK + Possible. So you did those wings? + 133. + + + BETTINA + Yeah. A long time ago. + + CHUCK + They're harder to do than they + look. + + BETTINA + Oh? You've tried? + + CHUCK + Well, I do a little drawing -- + +She's opened the package. She pulls out the bottles of +salsa and the letter. + + CHUCK + Our apologies that it never made it + to the recipient. + + BETTINA + He was a sorry sonofabitch, and I'm + sorry I ever married him. + +There is a moment where neither knows what to say. + + BETTINA + You look familiar. + +Her eyes start to register recognition. She glances at the +magazine with Chuck's picture on it. She picks it up. + + BETTINA + I can't believe this. I -- I -- + They are... You're a gifted artist. + You're into something very + powerful. Primal. Truly. + + CHUCK + Well, not really, I -- + + BETTINA + You are. Yes you are. + (so many things she wants + to say) + What gave you the idea to paint on + that cave? + +Chuck thinks about that. After a moment, he grins. + + CHUCK + To tell you the truth -- you did. + 134. + + + BETTINA + Do you...have any more packages to + deliver? + + CHUCK + No. that was the last one. + + BETTINA + Just sit here, I'll get us some + lunch. + + Chuck sits back on the couch, taking in the sight of the + ocean in the light rain. He looks over at all the canvases, + the easel, the palettes. The wind rustles the palm trees + around the house. The surf crashes and rustles. Familiar + sounds. Island sounds. + + He relaxes a little. Maybe the package with the wings was a + sign, he kept it all these years precisely for this. Then + there's a sound of a truck in the driveway. + + The engine cuts off. There are steps on the porch. The door + opens. A tanned muscular MAN in neatly kept work clothes + comes in, hangs a tool belt on a hook by the door. + + He looks at Chuck with a relaxed, even stare, as if seeing + a man in a FedEx uniform sitting on his couch is not an + unusual occurrence. + + MAN + Hey. + + CHUCK + Hey. + + BETTINA (O.S.) + In here! + + The Man nods at Chuck, goes into the kitchen. We are on + Chuck's face. Who's this? We hear muffled laughter from + inside. + + +296 EXT. BEACH HOUSE - HOUR LATER 296 + + Arms around each other, the Man and the Woman say goodbye + to Chuck. In the front yard is a panel truck painted with + two angel wings. The Man grins at Chuck, an easy, friendly + grin. + + MAN + 135. + + + Come back anytime. Coffee's always + on. Don't even have to bring us a + package. + + CHUCK + That was my last one. + + Bettina hands Chuck a sheet of paper. + + BETTINA + The list of paints and brushes I + did for you. + + He takes it, not exactly sure he wants it. + + BETTINA + Keep painting. Promise me. + + CHUCK + Sure. + + +297 EXT. BEACH HOUSE - MOMENTS LATER 297 + + Chuck rides his bicycle away, along the shore. + + +298 EXT. BEACH - MINUTES LATER 298 + + Chuck rides along the beach. Up ahead we see a FedEx truck. + + +299 EXT. BEACH - MOMENTS LATER 299 + + Chuck gets off his bike as a female FEDEX DRIVER puts + chocks under the wheels, which have stuck in the sand. + + CHUCK + Need some help? + + DRIVER + You bet I do. High tide comes right + up to this road. + + +300 EXT. BEACH - MOMENTS LATER 300 + + Chuck pushes on the truck as the driver gives it gas. The + truck slowly pulls back onto the pavement. + + +301 EXT. BEACH - MOMENTS LATER 301 + 136. + + + The Driver gets out of the truck with a grin. She has an + open, friendly face. There's an instant connection between + them. + + DRIVER + Hey, thanks. I'd never have got + that out by myself. + + Looks at his uniform. At the bike. + + DRIVER + You're not out of Pascagoula, are + you? + + CHUCK + No. + + Where is he from, anyway? + + CHUCK + I used to drive one of those. A + long time ago. + + DRIVER + Hey, once a driver, always a + driver. You want a lift? I've just + got one more pickup. + + CHUCK + Sure. + + He picks up his bike. + + +302 INT. FEDEX TRUCK - MOMENTS LATER 302 + + The FedEx truck makes its way down the beach, Chuck in his + uniform, the Driver in hers. Two FedEx people in a truck. + + The Driver looks over at Chuck. + + DRIVER + You're Chuck Noland. + + CHUCK + Yeah. + + DRIVER/ERICA + I knew it! You're a legend! Mr. + Robinson Crusoe. + + CHUCK + Well -- + 137. + + + ERICA + I knew I recognized you. My name's + Erica. + + They smile at each other. Then she smiles a little more. + + ERICA + Did you really steal a crippled + kid's bicycle to make your + deliveries, or is that just some + bullshit story? + + CHUCK + I didn't steal it, and he wasn't + crippled. + + Erica laughs. + + ERICA + Otherwise it's completely true. + + And that makes Chuck laugh, really laugh, for the first + time. + + CHUCK + Yeah, completely. + + She looks over at him with a grin. + + ERICA + What brings you out to the sticks? + + CHUCK + Had a package to deliver. + + ERICA + You? Personally? + + CHUCK + I had it on the island with me. + + ERICA + Must be a story there. + + There's a connection building here, effortlessly. + + +303 EXT. BEACH - MOMENTS LATER 303 + + We are wide on the beach, watching the truck move along the + water, kicking up wisps of sand. + 138. + + + CHUCK (V.O.) + Yeah, a long one. + + ERICA (V.O.) + I've got lots of time. + + CHUCK (V.O.) + So do I. + +The truck goes down the beach and then turns inland, away +from the ocean. Away from all that. + + CHUCK (V.O.) + So do I. + +And we pull back, taking in the sweep of the beach, the +estuaries, and the green forest stretching back into +America. + +The end is the beginning. + + FADE OUT. + \ No newline at end of file diff --git a/scripts/Citizen Kane.txt b/scripts/Citizen Kane.txt new file mode 100644 index 0000000000000000000000000000000000000000..83d66f8ae9a21da62e20011bb85e3bf10e37119e --- /dev/null +++ b/scripts/Citizen Kane.txt @@ -0,0 +1,8597 @@ + Citizen Kane + + By + + Herman J. Mankiewicz + + & + + Orson Welles + + + + PROLOGUE + + FADE IN: + + EXT. XANADU - FAINT DAWN - 1940 (MINIATURE) + + Window, very small in the distance, illuminated. + + All around this is an almost totally black screen. Now, as + the camera moves slowly towards the window which is almost a + postage stamp in the frame, other forms appear; barbed wire, + cyclone fencing, and now, looming up against an early morning + sky, enormous iron grille work. Camera travels up what is now + shown to be a gateway of gigantic proportions and holds on the + top of it - a huge initial "K" showing darker and darker against + the dawn sky. Through this and beyond we see the fairy-tale + mountaintop of Xanadu, the great castle a sillhouette as its + summit, the little window a distant accent in the darkness. + + + + DISSOLVE: + + A SERIES OF SET -UPS, EACH CLOSER TO THE GREAT WINDOW, ALL + TELLING SOMETHING OF: + + The literally incredible domain of CHARLES FOSTER KANE. + + Its right flank resting for nearly forty miles on the Gulf + Coast, it truly extends in all directions farther than the eye + can see. Designed by nature to be almost completely bare and + flat - it was, as will develop, practically all marshland when + Kane acquired and changed its face - it is now pleasantly + uneven, with its fair share of rolling hills and one very good- + sized mountain, all man-made. Almost all the land is improved, + either through cultivation for farming purposes of through + careful landscaping, in the shape of parks and lakes. The + castle dominates itself, an enormous pile, compounded of several + genuine castles, of European origin, of varying architecture - + dominates the scene, from the very peak of the mountain. + + DISSOLVE: + + GOLF LINKS (MINIATURE) + + Past which we move. The greens are straggly and overgrown, + the fairways wild with tropical weeds, the links unused and + not seriously tended for a long time. + + DISSOLVE OUT: + + DISSOLVE IN: + + WHAT WAS ONCE A GOOD-SIZED ZOO (MINIATURE) + + Of the Hagenbeck type. All that now remains, with one + exception, are the individual plots, surrounded by moats, on + which the animals are kept, free and yet safe from each other + and the landscape at large. (Signs on several of the plots + indicate that here there were once tigers, lions, girrafes.) + + DISSOLVE: + + THE MONKEY TERRACE (MINIATURE) + + In the foreground, a great obscene ape is outlined against the + dawn murk. He is scratching himself slowly, thoughtfully, + looking out across the estates of Charles Foster Kane, to the + distant light glowing in the castle on the hill. + + DISSOLVE: + + THE ALLIGATOR PIT (MINIATURE) + + The idiot pile of sleepy dragons. Reflected in the muddy water - + the lighted window. + + THE LAGOON (MINIATURE) + + The boat landing sags. An old newspaper floats on the surface + of the water - a copy of the New York Enquirer." As it moves + across the frame, it discloses again the reflection of the + window in the castle, closer than before. + + THE GREAT SWIMMING POOL (MINIATURE) + + It is empty. A newspaper blows across the cracked floor of + the tank. + + DISSOLVE: + + THE COTTAGES (MINIATURE) + + In the shadows, literally the shadows, of the castle. As we + move by, we see that their doors and windows are boarded up + and locked, with heavy bars as further protection and sealing. + + DISSOLVE OUT: + + DISSOLVE IN: + + A DRAWBRIDGE (MINIATURE) + + Over a wide moat, now stagnant and choked with weeds. We move + across it and through a huge solid gateway into a formal garden, + perhaps thirty yards wide and one hundred yards deep, which + extends right up to the very wall of the castle. The + landscaping surrounding it has been sloppy and causal for a + long time, but this particular garden has been kept up in + perfect shape. As the camera makes its way through it, towards + the lighted window of the castle, there are revealed rare and + exotic blooms of all kinds. The dominating note is one of + almost exaggerated tropical lushness, hanging limp and + despairing. Moss, moss, moss. Ankor Wat, the night the last + King died. + + DISSOLVE: + + THE WINDOW (MINIATURE) + + Camera moves in until the frame of the window fills the frame + of the screen. Suddenly, the light within goes out. This + stops the action of the camera and cuts the music which has + been accompanying the sequence. In the glass panes of the + window, we see reflected the ripe, dreary landscape of Mr. + Kane's estate behind and the dawn sky. + + DISSOLVE: + + INT. KANE'S BEDROOM - FAINT DAWN - + + A very long shot of Kane's enormous bed, silhouetted against + the enormous window. + + DISSOLVE: + + INT. KANE'S BEDROOM - FAINT DAWN - SNOW SCENE. + + An incredible one. Big, impossible flakes of snow, a too + picturesque farmhouse and a snow man. The jingling of sleigh + bells in the musical score now makes an ironic reference to + Indian Temple bells - the music freezes - + + + + KANE'S OLD OLD VOICE + Rosebud... + + The camera pulls back, showing the whole scene to be contained + in one of those glass balls which are sold in novelty stores + all over the world. A hand - Kane's hand, which has been + holding the ball, relaxes. The ball falls out of his hand and + bounds down two carpeted steps leading to the bed, the camera + following. The ball falls off the last step onto the marble + floor where it breaks, the fragments glittering in the first + rays of the morning sun. This ray cuts an angular pattern + across the floor, suddenly crossed with a thousand bars of + light as the blinds are pulled across the window. + + The foot of Kane's bed. The camera very close. Outlined + against the shuttered window, we can see a form - the form of + a nurse, as she pulls the sheet up over his head. The camera + follows this action up the length of the bed and arrives at + the face after the sheet has covered it. + + FADE OUT: + + FADE IN: + + INT. OF A MOTION PICTURE PROJECTION ROOM + + On the screen as the camera moves in are the words: + + "MAIN TITLE" + + Stirring, brassy music is heard on the soundtrack (which, of + course, sounds more like a soundtrack than ours.) + + The screen in the projection room fills our screen as the second + title appears: + + "CREDITS" + + NOTE: Here follows a typical news digest short, one of the + regular monthly or bi-monthly features, based on public events + or personalities. These are distinguished from ordinary + newsreels and short subjects in that they have a fully developed + editorial or storyline. Some of the more obvious + characteristics of the "March of Time," for example, as well + as other documentary shorts, will be combined to give an + authentic impression of this now familiar type of short subject. + As is the accepted procedure in these short subjects, a narrator + is used as well as explanatory titles. + + FADE OUT: + + NEWS DIGEST NARRATOR + Legendary was the Xanadu where + Kubla Kahn decreed his stately + pleasure dome - + (with quotes in his + voice) + "Where twice five miles of fertile + ground, with walls and towers were + girdled 'round." + + (DROPPING THE QUOTES) + Today, almost as legendary is + Florida's XANADU - world's largest + private pleasure ground. Here, on + the deserts of the Gulf Coast, a + private mountain was commissioned, + successfully built for its landlord. + Here in a private valley, as in + the Coleridge poem, "blossoms many + an incense-bearing tree." Verily, + "a miracle of rare device." + + U.S.A. + + CHARLES FOSTER KANE + + Opening shot of great desolate expanse of Florida coastline + (1940 - DAY) + + DISSOLVE: + + Series of shots showing various aspects of Xanadu, all as they + might be photographed by an ordinary newsreel cameraman - nicely + photographed, but not atmospheric to the extreme extent of the + Prologue (1940). + + NARRATOR + (dropping the quotes) + Here, for Xanadu's landlord, will + be held 1940's biggest, strangest + funeral; here this week is laid to + rest a potent figure of our Century - + America's Kubla Kahn - Charles + Foster Kane. In journalism's + history, other names are honored + more than Charles Foster Kane's, + more justly revered. Among + publishers, second only to James + Gordon Bennet the First: his + dashing, expatriate son; England's + Northcliffe and Beaverbrook; + Chicago's Patterson and McCormick; + + TITLE: + + TO FORTY-FOUR MILLION U.S. NEWS BUYERS, MORE NEWSWORTHY THAN + THE NAMES IN HIS OWN HEADLINES, WAS KANE HIMSELF, GREATEST + NEWSPAPER TYCOON OF THIS OR ANY OTHER GENERATION. + + Shot of a huge, screen-filling picture of Kane. Pull back to + show that it is a picture on the front page of the "Enquirer," + surrounded by the reversed rules of mourning, with masthead + and headlines. (1940) + + DISSOLVE: + + A great number of headlines, set in different types and + different styles, obviously from different papers, all + announcing Kane's death, all appearing over photographs of + Kane himself (perhaps a fifth of the headlines are in foreign + languages). An important item in connection with the headlines + is that many of them - positively not all - reveal passionately + conflicting opinions about Kane. Thus, they contain variously + the words "patriot," "democrat," "pacifist," "war-monger," + "traitor," "idealist," "American," etc. + + TITLE: + + 1895 TO 1940 - ALL OF THESE YEARS HE COVERED, MANY OF THESE + YEARS HE WAS. + + Newsreel shots of San Francisco during and after the fire, + followed by shots of special trains with large streamers: "Kane + Relief Organization." Over these shots superimpose the date - + 1906. + + Artist's painting of Foch's railroad car and peace negotiators, + if actual newsreel shot unavailable. Over this shot + sumperimpose the date - 1918. + + NARRATOR + Denver's Bonfils and Sommes; New + York's late, great Joseph Pulitzer; + America's emperor of the news + syndicate, another editorialist + and landlord, the still mighty and + once mightier Hearst. Great names + all of them - but none of them so + loved, hated, feared, so often + spoken - as Charles Foster Kane. + The San Francisco earthquake. + First with the news were the Kane + papers. First with Relief of the + Sufferers, First with the news of + their Relief of the Sufferers. + Kane papers scoop the world on the + Armistice - publish, eight hours + before competitors, complete details + of the Armistice teams granted the + Germans by Marshall Foch from his + railroad car in the Forest of + Compeigne. For forty years appeared + in Kane newsprint no public issue + on which Kane papers took no stand. + No public man whom Kane himself + did not support or denounce - often + support, then denounce. Its humble + beginnings, a dying dailey - + + Shots with the date - 1898 (to be supplied) + + Shots with the date - 1910 (to be supplied) + + Shots with the date - 1922 (to be supplied) + + Headlines, cartoons, contemporary newreels or stills of the + following: + + 1. WOMAN SUFFRAGE + + The celebrated newsreel shot of about 1914. + + 2. PROHIBITION + + Breaking up of a speakeasy and such. + + 3. T.V.A. + + 4. LABOR RIOTS + + Brief clips of old newreel shots of William Jennings Bryan, + Theodore Roosevelt, Stalin, Walter P. Thatcher, Al Smith, + McKinley, Landon, Franklin D. Roosevelt and such. Also, recent + newsreels of the elderly Kane with such Nazis as Hitler and + Goering; and England's Chamberlain and Churchill. + + Shot of a ramshackle building with old-fashioned presses showing + through plate glass windows and the name "Enquirer" in old- + fashioned gold letters. (1892) + + DISSOLVE: + + NARRATOR + Kane's empire, in its glory, held + dominion over thirty-seven + newpapers, thirteen magazines, a + radio network. An empire upon an + empire. The first of grocery + stores, paper mills, apartment + buildings, factories, forests, + ocean-liners - An empire through + which for fifty years flowed, in + an unending stream, the wealth of + the earth's third richest gold + mine... Famed in American legend + is the origin of the Kane fortune... + How, to boarding housekeeper Mary + Kane, by a defaulting boarder, in + 1868 was left the supposedly + worthless deed to an abandoned + mine shaft: The Colorado Lode. + The magnificent Enquirer Building + of today. + + 1891-1911 - a map of the USA, covering the entire screen, which + in animated diagram shows the Kane publications spreading from + city to city. Starting from New York, minature newboys speed + madly to Chicago, Detroit, St. Louis, Los Angeles, San + Francisco, Washington, Atlanta, El Paso, etc., screaming + "Wuxtry, Kane Papers, Wuxtry." + + Shot of a large mine going full blast, chimneys belching smoke, + trains moving in and out, etc. A large sign reads "Colorado + Lode Mining Co." (1940) Sign reading; "Little Salem, CO - 25 + MILES." + + DISSOLVE: + + An old still shot of Little Salem as it was 70 years ago + (identified by copper-plate caption beneath the still). (1870) + + Shot of early tintype stills of Thomas Foster Kane and his + wife, Mary, on their wedding day. A similar picture of Mary + Kane some four or five years later with her little boy, Charles + Foster Kane. + + NARRATOR + Fifty-seven years later, before a + Congressional Investigation, Walter + P. Thatcher, grand old man of + Wall Street, for years chief target + of Kane papers' attack on "trusts," + recalls a journey he made as a + youth... + + Shot of Capitol, in Washington D.C. + + Shot of Congressional Investigating Committee (reproduction of + existing J.P. Morgan newsreel). This runs silent under + narration. Walter P. Thatcher is on the stand. He is flanked + by his son, Walter P. Thatcher Jr., and other partners. He is + being questioned by some Merry Andrew congressmen. At this + moment, a baby alligator has just been placed in his lap, + causing considerable confusion and embarrassment. + + Newsreel close-up of Thatcher, the soundtrack of which now + fades in. + + THATCHER + ... because of that trivial + incident... + + INVESTIGATOR + It is a fact, however, is it not, + that in 1870, you did go to + Colorado? + + THATCHER + I did. + + INVESTIGATOR + In connection with the Kane affairs? + + THATCHER + Yes. My firm had been appointed + trustees by Mrs. Kane for the + fortune, which she had recently + acquired. It was her wish that I + should take charge of this boy, + Charles Foster Kane. + + NARRATOR + That same month in Union Square - + + INVESTIGATOR + Is it not a fact that on that + occasion, the boy personally + attacked you after striking you in + the stomach with a sled? + + Loud laughter and confusion. + + THATCHER + Mr. Chairman, I will read to this + committee a prepared statement I + have brought with me - and I will + then refuse to answer any further + questions. Mr. Johnson, please! + + A young assistant hands him a sheet of paper from a briefcase. + + THATCHER + (reading it) + "With full awareness of the meaning + of my words and the responsibility + of what I am about to say, it is + my considered belief that Mr. + Charles Foster Kane, in every + essence of his social beliefs and + by the dangerous manner in which + he has persistently attacked the + American traditions of private + property, initiative and opportunity + for advancement, is - in fact - + nothing more or less than a + Communist." + + Newsreel of Union Square meeting, section of crowd carrying + banners urging the boycott of Kane papers. A speaker is on + the platform above the crowd. + + SPEAKER + (fading in on + soundtrack) + - till the words "Charles Foster + Kane" are a menace to every working + man in this land. He is today + what he has always been and always + will be - A FASCIST! + + NARRATOR + And yet another opinion - Kane's + own. + + Silent newsreel on a windy platform, flag-draped, in front of + the magnificent Enquirer building. On platform, in full + ceremonial dress, is Charles Foster Kane. He orates silently. + + TITLE: + + "I AM, HAVE BEEN, AND WILL BE ONLY ONE THING - AN AMERICAN." + CHARLES FOSTER KANE. + + Same locale, Kane shaking hands out of frame. + + Another newsreel shot, much later, very brief, showing Kane, + older and much fatter, very tired-looking, seated with his + second wife in a nightclub. He looks lonely and unhappy in + the midst of the gaiety. + + NARRATOR + Twice married, twice divorced - + first to a president's niece, Emily + Norton - today, by her second + marriage, chatelaine of the oldest + of England's stately homes. Sixteen + years after that - two weeks after + his divorce from Emily Norton - + Kane married Susan Alexander, + singer, at the Town Hall in Trenton, + New Jersey. + + TITLE: + + FEW PRIVATE LIVES WERE MORE PUBLIC. + + Period still of Emily Norton (1900). + + DISSOLVE: + + Reconstructed silent newsreel. Kane, Susan, and Bernstein + emerging from side doorway of City Hall into a ring of press + photographers, reporters, etc. Kane looks startled, recoils + for an instance, then charges down upon the photographers, + laying about him with his stick, smashing whatever he can hit. + + NARRATOR + For wife two, one-time opera singing + Susan Alexander, Kane built + Chicago's Municipal Opera House. + Cost: three million dollars. + Conceived for Susan Alexander Kane, + half-finished before she divorced + him, the still unfinished Xanadu. + Cost: no man can say. + + Still of architect's sketch with typically glorified "rendering" + of the Chicago Municipal Opera House. + + DISSOLVE: + + A glamorous shot of the almost-finished Xanadu, a magnificent + fairy-tale estate built on a mountain. (1920) + + Then shots of its preparation. (1917) + + Shots of truck after truck, train after train, flashing by + with tremendous noise. + + Shots of vast dredges, steamshovels. + + Shot of ship standing offshore unloading its lighters. + + In quick succession, shots follow each other, some + reconstructed, some in miniature, some real shots (maybe from + the dam projects) of building, digging, pouring concrete, etc. + + NARRATOR + One hundred thousand trees, twenty + thousand tons of marble, are the + ingredients of Xanadu's mountain. + Xanadu's livestock: the fowl of + the air, the fish of the sea, the + beast of the field and jungle - + two of each; the biggest private + zoo since Noah. Contents of Kane's + palace: paintings, pictures, + statues, the very stones of many + another palace, shipped to Florida + from every corner of the earth, + from other Kane houses, warehouses, + where they mouldered for years. + Enough for ten museums - the loot + of the world. + + More shots as before, only this time we see (in miniature) a + large mountain - at different periods in its development - + rising out of the sands. + + Shots of elephants, apes, zebras, etc. being herded, unloaded, + shipped, etc. in various ways. + + Shots of packing cases being unloaded from ships, from trains, + from trucks, with various kinds of lettering on them (Italian, + Arabian, Chinese, etc.) but all consigned to Charles Foster + Kane, Xanadu, Florida. + + A reconstructed still of Xanadu - the main terrace. A group + of persons in clothes of the period of 1917. In their midst, + clearly recognizable, are Kane and Susan. + + NARRATOR + Kane urged his country's entry + into one war, opposed participation + in another. Swung the election to + one American President at least, + was called another's assassin. + Thus, Kane's papers might never + have survived - had not the + President. + + TITLE: + + FROM XANADU, FOR THE PAST TWENTY-FIVE YEARS, ALL KANE + ENTERPRISES HAVE BEEN DIRECTED, MANY OF THE NATIONS DESTINIES + SHAPED. + + Shots of various authentically worded headlines of American + papers since 1895. + + Spanish-American War shots. (1898) + + A graveyard in France of the World War and hundreds of crosses. + (1919) + + Old newsreels of a political campaign. + + Insert of a particularly virulent headline and/or cartoon. + + HEADLINE: "PRESIDENT SHOT" + + NARRATOR + Kane, molder of mass opinion though + he was, in all his life was never + granted elective office by the + voters of his country. Few U.S. + news publishers have been. + Few, like one-time Congressman + Hearst, have ever run for any office - + most know better - conclude with + other political observers that one + man's press has power enough for + himself. But Kane papers were + once strong indeed, and once the + prize seemed almost his. In 1910, + as Independent Candidate for + governor, the best elements of the + state behind him - the White House + seemingly the next easy step in a + lightning political career - + + NIGHT SHOT OF CROWD BURNING CHARLES FOSTER KANE IN EFFIGY. + THE DUMMY BEARS A GROTESQUE, COMIC RESEMBLANCE TO KANE. IT IS + TOSSED INTO THE FLAMES, WHICH BURN UP - + + AND THEN DOWN... (1910) + + FADE OUT: + + TITLE: + + IN POLITICS - ALWAYS A BRIDESMAID, NEVER A BRIDE + + Newsreel shots of great crowds streaming into a building - + Madison Square Garden - then shots inside the vast auditorium, + at one end of which is a huge picture of Kane. (1910) + + Shot of box containing the first Mrs. Kane and young Howard + Kane, age five. They are acknowledging the cheers of the crowd. + (Silent Shot) (1910) + + Newreel shot of dignitaries on platform, with Kane, alongside + of speaker's table, beaming, hand upraised to silence the crowd. + (Silent Shot) (1910) + + NARRATOR + Then, suddenly - less than one + week before election - defeat! + Shameful, ignominious - defeat + that set back for twenty years the + cause of reform in the U.S., forever + cancelled political chances for + Charles Foster Kane. Then, in the + third year of the Great + Depression... As to all publishers, + it sometimes must - to Bennett, to + Munsey and Hearst it did - a paper + closes! For Kane, in four short + years: collapse! + Eleven Kane papers, four Kane + magazines merged, more sold, + scrapped - + + Newreel shot - closeup of Kane delivering a speech... (1910) + + The front page of a contemporary paper - a screaming headline. + Twin phots of Kane and Susan. (1910) + + Printed title about Depression. + + Once more repeat the map of the USA 1932-1939. Suddenly, the + cartoon goes into reverse, the empire begins to shrink, + illustrating the narrator's words. + + The door of a newspaper office with the signs: "Closed." + + NARRATOR + Then four long years more - alone + in his never-finished, already + decaying, pleasure palace, aloof, + seldom visited, never photographed, + Charles Foster Kane continued to + direct his falling empire ... vainly + attempting to sway, as he once + did, the destinies of a nation + that has ceased to listen to him + ... ceased to trust him... + + SHOTS OF XANADU. (1940) + + Series of shots, entirely modern, but rather jumpy and obviously + bootlegged, showing Kane in a bath chair, swathed in summer + rugs, being perambulated through his rose garden, a desolate + figure in the sunshine. (1935) + + NARRATOR + Last week, death came to sit upon + the throne of America's Kubla Khan - + last week, as it must to all men, + death came to Charles Foster Kane. + + DISSOLVE: + + Cabinent Photograph (Full Screen) of Kane as an old, old man. + This image remains constant on the screen (as camera pulls + back, taking in the interior of a dark projection room. + + INT. PROJECTION ROOM - DAY - + + A fairly large one, with a long throw to the screen. It is + dark. + + The image of Kane as an old man remains constant on the screen + as camera pulls back, slowly taking in and registering + Projection Room. This action occurs, however, only after the + first few lines of encuring dialogue have been spoken. The + shadows of the men speaking appear as they rise from their + chairs - black against the image of Kane's face on the screen. + + NOTE: These are the editors of a "News Digest" short, and of + the Rawlston magazines. All his enterprises are represented + in the projection room, and Rawlston himself, that great man, + is present also and will shortly speak up. + + During the entire course of this scene, nobody's face is really + seen. Sections of their bodies are picked out by a table light, + a silhouette is thrown on the screen, and their faces and bodies + are themselves thrown into silhouette against the brilliant + slanting rays of light from the projection room. + + A Third Man is on the telephone. We see a corner of his head + and the phone. + + THIRD MAN + (at phone) + Stand by. I'll tell you if we + want to run it again. + (hangs up) + + THOMPSON'S VOICE + Well? + + A short pause. + + A MAN'S VOICE + It's a tough thing to do in a + newsreel. Seventy years of a man's + life - + + Murmur of highly salaried assent at this. Rawlston walks toward + camera and out of the picture. Others are rising. Camera + during all of this, apparently does its best to follow action + and pick up faces, but fails. Actually, all set-ups are to be + planned very carefully to exclude the element of personality + from this scene; which is expressed entirely by voices, shadows, + sillhouettes and the big, bright image of Kane himself on the + screen. + + A VOICE + See what Arthur Ellis wrote about + him in the American review? + + THIRD MAN + I read it. + + THE VOICE + (its owner is already + leaning across the + table, holding a + piece of paper + under the desk + light and reading + from it) + Listen: Kane is dead. He + contributed to the journalism of + his day - the talent of a + mountebank, the morals of a + bootlegger, and the manners of a + pasha. He and his kind have almost + succeeded in transforming a once + noble profession into a seven + percent security - no longer secure. + + ANOTHER VOICE + That's what Arthur Ellis is writing + now. Thirty years ago, when Kane + gave him his chance to clean up + Detroit and Chicago and St. Louis, + Kane was the greatest guy in the + world. If you ask me - + + ANOTHER VOICE + Charles Foster Kane was a... + + Then observations are made almost simultaneous. + + RAWLSTON'S VOICE + Just a minute! + + Camera moves to take in his bulk outlined against the glow + from the projection room. + + RAWLSTON + What were Kane's last words? + + A silence greets this. + + RAWLSTON + What were the last words he said + on earth? Thompson, you've made + us a good short, but it needs + character - + + SOMEBODY'S VOICE + Motivation - + + RAWLSTON + That's it - motivation. What made + Kane what he was? And, for that + matter, what was he? What we've + just seen are the outlines of a + career - what's behind the career? + What's the man? Was he good or + bad? Strong or foolish? Tragic + or silly? Why did he do all those + things? What was he after? + (then, appreciating + his point) + Maybe he told us on his death bed. + + THOMPSON + Yes, and maybe he didn't. + + RAWLSTON + Ask the question anyway, Thompson! + Build the picture around the + question, even if you can't answer + it. + + THOMPSON + I know, but - + + RAWLSTON + (riding over him + like any other + producer) + All we saw on that screen was a + big American - + + A VOICE + One of the biggest. + + RAWLSTON + (without pausing + for this) + But how is he different from Ford? + Or Hearst for that matter? Or + Rockefeller - or John Doe? + + A VOICE + I know people worked for Kane will + tell you - not only in the newspaper + business - look how he raised + salaries. You don't want to forget - + + ANOTHER VOICE + You take his labor record alone, + they ought to hang him up like a + dog. + + RAWLSTON + I tell you, Thompson - a man's + dying words - + + SOMEBODY'S VOICE + What were they? + + Silence. + + SOMEBODY'S VOICE + (hesitant) + Yes, Mr. Rawlston, what were Kane's + dying words? + + RAWLSTON + (with disgust) + Rosebud! + + A little ripple of laughter at this, which is promptly silenced + by Rawlston. + + RAWLSTON + That's right. + + A VOICE + Tough guy, huh? + (derisively) + Dies calling for Rosebud! + + RAWLSTON + Here's a man who might have been + President. He's been loved and + hated and talked about as much as + any man in our time - but when he + comes to die, he's got something + on his mind called "Rosebud." + What does that mean? + + ANOTHER VOICE + A racehorse he bet on once, + probably, that didn't come in - + Rosebud! + + RAWLSTON + All right. But what was the race? + + There is a short silence. + + RAWLSTON + Thompson! + + THOMPSON + Yes, sir. + + RAWLSTON + Hold this thing up for a week. + Two weeks if you have to... + + THOMPSON + (feebly) + But don't you think if we release + it now - he's only been dead four + days it might be better than if - + + RAWLSTON + (decisively) + Nothing is ever better than finding + out what makes people tick. Go + after the people that knew Kane + well. That manager of his - the + little guy, Bernstein, those two + wives, all the people who knew + him, had worked for him, who loved + him, who hated his guts - + (pauses) + I don't mean go through the City + Directory, of course - + + The Third Man gives a hearty "yes-man" laugh. + + THOMPSON + I'll get to it right away, Mr. + Rawlston. + + RAWLSTON + (rising) + Good! + + The camera from behind him, outlines his back against Kane's + picture on the screen. + + RAWLSTON'S VOICE + It'll probably turn out to be a + very simple thing... + + FADE OUT: + + NOTE: Now begins the story proper - the seach by Thompson for + the facts about Kane - his researches ... his interviews with + the people who knew Kane. + + It is important to remember always that only at the very end + of the story is Thompson himself a personality. Until then, + throughout the picture, we photograph only Thompson's back, + shoulders, or his shadow - sometimes we only record his voice. + He is not until the final scene a "character". He is the + personification of the search for the truth about Charles Foster + Kane. He is the investigator. + + FADE IN: + + EXT. CHEAP CABARET - "EL RANCHO" - ATLANTIC CITY - NIGHT - + 1940 (MINIATURE) - RAIN + + The first image to register is a sign: + + "EL RANCHO" + + FLOOR SHOW + + SUSAN ALEXANDER KANE + + TWICE NIGHTLY + + These words, spelled out in neon, glow out of the darkness at + the end of the fade out. Then there is lightning which reveals + a squalid roof-top on which the sign stands. Thunder again, + and faintly the sound of music from within. A light glows + from a skylight. The camera moves to this and closes in. + Through the splashes of rain, we see through the skylight down + into the interior of the cabaret. Directly below us at a table + sits the lone figure of a woman, drinking by herself. + + DISSOLVE: + + INT. "EL RANCO" CABARET - NIGHT - + + Medium shot of the same woman as before, finishing the drink + she started to take above. It is Susie. The music, of course, + is now very loud. Thompson, his back to the camera, moves + into the picture in the close foreground. A Captain appears + behind Susie, speaking across her to Thompson. + + THE CAPTAIN + (a Greek) + This is Mr. Thompson, Miss + Alexander. + + Susan looks up into Thompson's face. She is fifty, trying to + look much younger, cheaply blonded, in a cheap, enormously + generous evening dress. Blinking up into Thompson's face, she + throws a crink into ther mouth. Her eyes, which she thinks is + keeping commandingly on his, are bleared and watery. + + SUSAN + (to the Captain) + I want another drink, John. + + Low thunder from outside. + + THE CAPTAIN + (seeing his chance) + Right away. Will you have + something, Mr. Thompson? + + THOMPSON + (staring to sit + down) + I'll have a highball. + + SUSAN + (so insistently as + to make Thompson + change his mind + and stand up again) + Who told you you could sit down + here? + + THOMPSON + Oh! I thought maybe we could have + a drink together? + + SUSAN + Think again! + + There is an awkward pause as Thompson looks from her to the + Captain. + + SUSAN + Why don't you people let me alone? + I'm minding my own business. You + mind yours. + + THOMPSON + If you'd just let me talk to you + for a little while, Miss Alexander. + All I want to ask you... + + SUSAN + Get out of here! + (almost hysterical) + Get out! Get out! + + Thompson looks at the Captain, who shrugs his shoulders. + + THOMPSON + I'm sorry. Maybe some other time - + + If he thought he would get a response from Susan, who thinks + she is looking at him steelily, he realizes his error. He + nods and walks off, following the Captain out the door. + + THE CAPTAIN + She's just not talking to anybody + from the newspapers, Mr. Thompson. + + THOMPSON + I'm not from a newspaper exactly, + I - + + They have come upon a waiter standing in front of a booth. + + THE CAPTAIN + (to the waiter) + Get her another highball. + + THE WAITER + Another double? + + THE CAPTAIN + (after a moment, + pityingly) + Yes. + + They walk to the door. + + THOMPSON + She's plastered, isn't she? + + THE CAPTAIN + She'll snap out of it. Why, until + he died, she'd just as soon talk + about Mr. Kane as about anybody. + Sooner. + + THOMPSON + I'll come down in a week or so and + see her again. Say, you might be + able to help me. When she used to + talk about Kane - did she ever + happen to say anything - about + Rosebud? + + THE CAPTAIN + Rosebud? + + Thompson has just handed him a bill. The Captain pockets it. + + THE CAPTAIN + Thank you, sir. As a matter of + fact, yesterday afternoon, when it + was in all the papers - I asked + her. She never heard of Rosebud. + + FADE OUT: + + FADE IN: + + INT. THATCHER MEMORIAL LIBRARY - DAY - + + An excruciatingly noble interpretation of Mr. Thatcher himself + executed in expensive marble. He is shown seated on one of + those improbable Edwin Booth chairs and is looking down, his + stone eyes fixed on the camera. + + We move down off of this, showing the impressive pedestal on + which the monument is founded. The words, "Walter Parks + Thatcher" are prominently and elegantly engraved thereon. + Immediately below the inscription we encounter, in a medium + shot, the person of Bertha Anderson, an elderly, manish + spinnster, seated behind her desk. Thompson, his hat in his + hand, is standing before her. Bertha is on the phone. + + BERTHA + (into phone) + Yes. I'll take him in now. + (hangs up and looks + at Thompson) + The directors of the Thatcher + Library have asked me to remind + you again of the condition under + which you may inspect certain + portions of Mr. Thatcher's + unpublished memoirs. Under no + circumstances are direct quotations + from his manuscript to be used by + you. + + THOMPSON + That's all right. + + BERTHA + You may come with me. + + Without watching whether he is following her or not, she rises + and starts towards a distant and imposingly framed door. + Thompson, with a bit of a sigh, follows. + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. THE VAULT ROOM - THATCHER MEMORIAL LIBRARY - DAY - + + A room with all the warmth and charm of Napolean's tomb. + + As we dissolve in, the door opens in and we see past Thompson's + shoulders the length of the room. Everything very plain, very + much made out of marble and very gloomy. Illumination from a + skylight above adds to the general air of expensive and + classical despair. The floor is marble, and there is a + gigantic, mahogany table in the center of everything. Beyond + this is to be seen, sunk in the marble wall at the far end of + the room, the safe from which a guard, in a khaki uniform, + with a revolver holster at his hip, is extracting the journal + of Walter P. Thatcher. He brings it to Bertha as if he were + the guardian of a bullion shipment. During this, Bertha has + been speaking. + + BERTHA + (to the guard) + Pages eighty-three to one hundred + and forty-two, Jennings. + + GUARD + Yes, Miss Anderson. + + BERTHA + (to Thompson) + You will confine yourself, it is + our understanding, to the chapter + dealing with Mr. Kane. + + THOMPSON + That's all I'm interested in. + + The guard has, by this time, delivered the precious journal. + Bertha places it reverently on the table before Thompson. + + BERTHA + You will be required to leave this + room at four-thirty promptly. + + She leaves. Thompson starts to light a cigarette. The guard + shakes his head. With a sigh, Thompson bends over to read the + manuscript. Camera moves down over his shoulder onto page of + manuscript. + + Manuscript, neatly and precisely written: + + "CHARLES FOSTER KANE + + WHEN THESE LINES APPEAR IN PRINT, FIFTY YEARS AFTER MY DEATH, + I AM CONFIDENT THAT THE WHOLE WORLD WILL AGREE WITH MY OPINION + OF CHARLES FOSTER KANE, ASSUMING THAT HE IS NOT THEN COMPLETELY + FORGOTTEN, WHICH I REGARD AS EXTREMELY LIKELY. A GOOD DEAL OF + NONSENSE HAS APPEARED ABOUT MY FIRST MEETING WITH KANE, WHEN + HE WAS SIX YEARS OLD... THE FACTS ARE SIMPLE. IN THE WINTER + OF 1870..." + + The camera has not held on the entire page. It has been + following the words with the same action that the eye does the + reading. On the last words, the white page of the paper + + DISSOLVES INTO: + + EXT. MRS. KANE'S BOARDINGHOUSE - DAY - + + The white of a great field of snow, seen from the angle of a + parlor window. + + In the same position of the last word in above Insert, appears + the tiny figure of Charles Foster Kane, aged five (almost like + an animated cartoon). He is in the act of throwing a snowball + at the camera. It sails toward us and over our heads, out of + scene. + + Reverse angle - on the house featuring a large sign reading: + + MRS. KANE'S BOARDINGHOUSE + + HIGH CLASS MEALS AND LODGING + + INQUIRE WITHIN + + Charles Kane's snowball hits the sign. + + INT. PARLOR - MRS. KANE'S BOARDINGHOUSE - DAY - + + Camera is angling through the window, but the window-frame is + not cut into scene. We see only the field of snow again, same + angle as in previous scene. Charles is manufacturing another + snowball. Now - + + Camera pulls back, the frame of the window appearing, and we + are inside the parlor of the boardinghouse. Mrs. Kane, aged + about 28, is looking out towards her son. Just as we take her + in she speaks: + + MRS. KANE + (calling out) + Be careful, Charles! + + THATCHER'S VOICE + Mrs. Kane - + + MRS. KANE + (Calling out the + window almost on + top of this) + Pull your muffler around your neck, + Charles - + + But Charles, deliriously happy in the snow, is oblivious to + this and is running away. Mrs. Kane turns into camera and we + see her face - a strong face, worn and kind. + + THATCHER'S VOICE + think we'll have to tell him now - + + Camera now pulls back further, showing Thatcher standing before + a table on which is his stove-pipe hat and an imposing + multiplicity of official-looking documents. He is 26 and, as + might be expected, a very stuffy young man, already very + expensive and conservative looking, even in Colorado. + + MRS. KANE + I'll sign those papers - + + KANE SR. + You people seem to forget that I'm + the boy's father. + + At the sound of Kane Sr.'s voice, both have turned to him and + the camera pulls back still further, taking him in. + + Kane Sr., who is the assistant curator in a livery stable, has + been groomed as elegantly as is likely for this meeting ever + since daybreak. + + From outside the window can be heard faintly the wild and + cheerful cries of the boy, blissfully cavorting in the snow. + + MRS. KANE + It's going to be done exactly the + way I've told Mr. Thatcher - + + KANE SR. + If I want to, I can go to court. + father has a right to - + + THATCHER + (annoyed) + Mr. Kane, the certificates that + Mr. Graves left here are made out + to Mrs. Kane, in her name. Hers + to do with as she pleases - + + KANE SR. + Well, I don't hold with signing my + boy away to any bank as guardian + just because - + + MRS. KANE + (quietly) + I want you to stop all this + nonsense, Jim. + + THATCHER + The Bank's decision in all matters + concerning his education, his place + of residence and similar subjects + will be final. + (clears his throat) + + KANE SR. + The idea of a bank being the + guardian - + + Mrs. Kane has met his eye. Her triumph over him finds + expression in his failure to finish his sentence. + + MRS. KANE + (even more quietly) + I want you to stop all this + nonsense, Jim. + + THATCHER + We will assume full management of + the Colorado Lode - of which you, + Mrs. Kane, are the sole owner. + + Kane Sr. opens his mouth once or twice, as if to say something, + but chokes down his opinion. + + MRS. KANE + (has been reading + past Thatcher's + shoulder as he + talked) + Where do I sign, Mr. Thatcher? + + THATCHER + Right here, Mrs. Kane. + + KANE SR. + (sulkily) + Don't say I didn't warn you. + + Mrs. Kane lifts the quill pen. + + KANE SR. + Mary, I'm asking you for the last + time - anyon'd think I hadn't been + a good husband and a - + + Mrs. Kane looks at him slowly. He stops his speech. + + THATCHER + The sum of fifty thousand dollars + a year is to be paid to yourself + and Mr. Kane as long as you both + live, and thereafter the survivor - + + Mrs. Kane puts pen to the paper and signs. + + KANE SR. + Well, let's hope it's all for the + best. + + MRS. KANE + It is. Go on, Mr. Thatcher - + + Mrs. Kane, listening to Thatcher, of course has had her other + ear bent in the direction of the boy's voice. Thatcher is + aware both of the boy's voice, which is counter to his own, + and of Mrs. Kane's divided attention. As he pauses, Kane Sr. + genteelly walks over to close the window. + + EXT. MRS. KANE'S BOARDINGHOUSE - DAY - + + Kane Jr., seen from Kane Sr.'s position at the window. He is + advancing on the snowman, snowballs in his hands, dropping to + one knee the better to confound his adversary. + + KANE + If the rebels want a fight boys, + let's give it to 'em! + + He throws two snowballs, missing widely, and gets up and + advances another five feet before getting on his knees again. + + KANE + The terms are underconditional + surrender. Up and at 'em! The + Union forever! + + INT. PARLOR - MRS. KANE'S BOARDINGHOUSE - DAY - + + Kane Sr. closes the window. + + THATCHER + (over the boy's + voice) + Everything else - the principal as + well as all monies earned - is to + be administered by the bank in + trust for your son, Charles Foster + Kane, until his twenty-fifth + birthday, at which time he is to + come into complete possession. + + Mrs. Kane rises and goes to the window. + + MRS. KANE + Go on, Mr. Thatcher. + + Thatcher continues as she opens the window. His voice, as + before, is heard with overtones of the boy's. + + EXT. KANE'S BOARDINGHOUSE - DAY - + + Kane Jr., seen from Mrs. Kane's position at the window. He is + now within ten feet of the snowman, with one snowball left + which he is holding back in his right hand. + + KANE + You can't lick Andy Jackson! Old + Hickory, that's me! + + He fires his snowball, well wide of the mark and falls flat on + his stomach, starting to crawl carefully toward the snowman. + + THATCHER'S VOICE + It's nearly five, Mrs. Kane, don't + you think I'd better meet the boy - + + INT. PARLOR - MRS. KANE'S BOARDINGHOUSE - DAY - + + Mrs. Kane at the window. Thatcher is now standing at her side. + + MRS. KANE + I've got his trunk all packed - + (she chokes a little) + I've it packed for a couple of + weeks - + + She can't say anymore. She starts for the hall day. Kane + Sr., ill at ease, has no idea of how to comfort her. + + THATCHER + I've arranged for a tutor to meet + us in Chicago. I'd have brought + him along with me, but you were so + anxious to keep everything secret - + + He stops as he realizes that Mrs. Kane has paid no attention + to him and, having opened the door, is already well into the + hall that leads to the side door of the house. He takes a + look at Kane Sr., tightens his lips and follows Mrs. Kane. + Kane, shoulders thrown back like one who bears defeat bravely, + follows him. + + EXT. MRS. KANE'S BOARDINGHOUSE - DAY - + + Kane, in the snow-covered field. With the snowman between him + and the house, he is holding the sled in his hand, just about + to make the little run that prefaces a belly-flop. The Kane + house, in the background, is a dilapidated, shabby, two-story + frame building, with a wooden outhouse. Kane looks up as he + sees the single file procession, Mrs. Kane at its head, coming + toward him. + + KANE + H'ya, Mom. + + Mrs. Kane smiles. + + KANE + (gesturing at the + snowman) + See, Mom? I took the pipe out of + his mouth. If it keeps on snowin', + maybe I'll make some teeth and - + + MRS. KANE + You better come inside, son. You + and I have got to get you all ready + for - for - + + THATCHER + Charles, my name is Mr. Thatcher - + + MRS. KANE + This is Mr. Thatcher, Charles. + + THATCHER + How do you do, Charles? + + KANE SR. + He comes from the east. + + KANE + Hello. Hello, Pop. + + KANE SR. + Hello, Charlie! + + MRS. KANE + Mr. Thatcher is going to take you + on a trip with him tonight, Charles. + You'll be leaving on Number Ten. + + KANE SR. + That's the train with all the + lights. + + KANE + You goin', Mom? + + THATCHER + Your mother won't be going right + away, Charles - + + KANE + Where'm I going? + + KANE SR. + You're going to see Chicago and + New York - and Washington, maybe... + Isn't he, Mr. Thatcher? + + THATCHER + (heartily) + He certainly is. I wish I were a + little boy and going to make a + trip like that for the first time. + + KANE + Why aren't you comin' with us, + Mom? + + MRS. KANE + We have to stay here, Charles. + + KANE SR. + You're going to live with Mr. + Thatcher from now on, Charlie! + You're going to be rich. Your Ma + figures - that is, re - she and I + have decided that this isn't the + place for you to grow up in. + You'll probably be the richest man + in America someday and you ought + to - + + MRS. KANE + You won't be lonely, Charles... + + THATCHER + We're going to have a lot of good + times together, Charles... Really + we are. + + Kane stares at him. + + THATCHER + Come on, Charles. Let's shake + hands. + (extends his hand. + Charles continues + to look at him) + Now, now! I'm not as frightening + as all that! Let's shake, what do + you say? + + He reaches out for Charles's hand. Without a word, Charles + hits him in the stomach with the sled. Thatcher stumbles back + a few feet, gasping. + + THATCHER + (with a sickly grin) + You almost hurt me, Charles. + (moves towards him) + Sleds aren't to hit people with. + Sleds are to - to sleigh on. When + we get to New York, Charles, we'll + get you a sled that will - + + He's near enough to try to put a hand on Kane's shoulder. As + he does, Kane kicks him in the ankle. + + MRS. KANE + Charles! + + He throws himself on her, his arms around her. Slowly Mrs. + Kane puts her arms around him. + + KANE + (frightened) + Mom! Mom! + + MRS. KANE + It's all right, Charles, it's all + right. + + Thatcher is looking on indignantly, occasionally bending over + to rub his ankle. + + KANE SR. + Sorry, Mr. Thatcher! What the kid + needs is a good thrashing! + + MRS. KANE + That's what you think, is it, Jim? + + KANE SR. + Yes. + + Mrs. Kane looks slowly at Mr. Kane. + + MRS. KANE + (slowly) + That's why he's going to be brought + up where you can't get at him. + + DISSOLVE: + + 1870 - NIGHT (STOCK OR MINIATURE) + + Old-fashioned railroad wheels underneath a sleeper, spinning + along the track. + + DISSOLVE: + + INT. TRAIN - OLD-FASHIONED DRAWING ROOM - NIGHT - + + Thatcher, with a look of mingled exasperation, annoyance, + sympathy and inability to handle the situation, is standing + alongside a berth, looking at Kane. Kane, his face in the + pillow, is crying with heartbreaking sobs. + + KANE + Mom! Mom! + + DISSOLVE OUT: + + The white page of the Thatcher manuscript. We pick up the + words: + + "HE WAS, I REPEAT, A COMMON ADVENTURER, SPOILED, UNSCRUPULOUS, + IRRESPONSIBLE." + + The words are followed by printed headline on "Enquirer" copy + (as in following scene). + + INT. ENQUIRER CITY ROOM - DAY - + + Close-up on printed headline which reads: + + "ENEMY ARMADA OFF JERSEY COAST" + + Camera pulls back to reveal Thatcher holding the "Enquirer" + copy, on which we read the headline. He is standing near the + editorial round table around which a section of the staff, + including Reilly, Leland and Kane are eating lunch. + + THATCHER + (coldly) + Is that really your idea of how to + run a newspaper? + + KANE + I don't know how to run a newspaper, + Mr. Thatcher. I just try everything + I can think of. + + THATCHER + (reading headline + of paper he is + still holding) + "Enemy Armada Off Jersey Coast." + You know you haven't the slightest + proof that this - this armada - is + off the Jersey Coast. + + KANE + Can you prove it isn't? + + Bernstein has come into the picture. He has a cable in his + hand. He stops when he sees Thatcher. + + KANE + Mr. Bernstein, Mr. Thatcher - + + BERNSTEIN + How are you, Mr. Thatcher? + + THATCHER + How do you do? - + + BERNSTEIN + We just had a wire from Cuba, Mr. + Kane - + (stops, embarrassed) + + KANE + That's all right. We have no + secrets from our readers. Mr. + Thatcher is one of our most devoted + readers, Mr. Bernstein. He knows + what's wrong with every issue since + I've taken charge. What's the + cable? + + BERNSTEIN + (reading) + The food is marvelous in Cuba the + senoritas are beautiful stop I + could send you prose poems of palm + trees and sunrises and tropical + colors blending in far off + landscapes but don't feel right in + spending your money for this stop + there's no war in Cuba regards + Wheeler. + + THATCHER + You see! There hasn't been a true + word - + + KANE + I think we'll have to send our + friend Wheeler a cable, Mr. + Bernstein. Of course, we'll have + to make it shorter than his, because + he's working on an expense account + and we're not. Let me see - + (snaps his fingers) + Mike! + + MIKE + (a fairly tough + customer prepares + to take dictation, + his mouth still + full of food) + Go ahead, Mr. Kane. + + KANE + Dear Wheeler - + (pauses a moment) + You provide the prose poems - I'll + provide the war. + + Laughter from the boys and girls at the table. + + BERNSTEIN + That's fine, Mr. Kane. + + KANE + I rather like it myself. Send it + right away. + + MIKE + Right away. + + BERNSTEIN + Right away. + + Mike and Bernstein leave. Kane looks up, grinning at Thatcher, + who is bursting with indignation but controls himself. After + a moment of indecision, he decides to make one last try. + + THATCHER + I came to see you, Charles, about + your - about the Enquirer's campaign + against the Metropolitan Transfer + Company. + + KANE + Won't you step into my office, Mr. + Thatcher? + + They cross the City Room together. + + THATCHER + I think I should remind you, + Charles, of a fact you seem to + have forgotten. You are yourself + one of the largest individual + stockholders. + + INT. KANE'S OFFICE - DAY - + + Kane holds the door open for Thatcher. They come in together. + + KANE + Mr. Thatcher, isn't everything + I've been saying in the Enquirer + about the traction trust absolutely + true? + + THATCHER + (angrily) + They're all part of your general + attack - your senseless attack - + on everything and everybody who's + got more than ten cents in his + pocket. They're - + + KANE + The trouble is, Mr. Thatcher, you + don't realize you're talking to + two people. + + Kane moves around behind his desk. Thatcher doesn't understand, + looks at him. + + KANE + As Charles Foster Kane, who has + eighty-two thousand, six hundred + and thirty-one shares of + Metropolitan Transfer - you see, I + do have a rough idea of my holdings - + I sympathize with you. Charles + Foster Kane is a dangerous + scoundrel, his paper should be run + out of town and a committee should + be formed to boycott him. You + may, if you can form such a + committee, put me down for a + contribution of one thousand + dollars. + + THATCHER + (angrily) + Charles, my time is too valuable + for me - + + KANE + On the other hand - + (his manner becomes + serious) + I am the publisher of the Enquirer. + As such, it is my duty - I'll let + you in on a little secret, it is + also my pleasure - to see to it + that decent, hard-working people + of this city are not robbed blind + by a group of money - mad pirates + because, God help them, they have + no one to look after their + interests! I'll let you in on + another little secret, Mr. Thatcher. + I think I'm the man to do it. You + see, I have money and property - + + Thatcher doesn't understand him. + + KANE + If I don't defend the interests of + the underprivileged, somebody else + will - maybe somebody without any + money or any property and that + would be too bad. + + Thatcher glares at him, unable to answer. Kane starts to dance. + + KANE + Do you know how to tap, Mr. + Thatcher? You ought to learn - + (humming quietly, + he continues to + dance) + + Thatcher puts on his hat. + + THATCHER + I happened to see your consolidated + statement yesterday, Charles. + Could I not suggest to you that it + is unwise for you to continue this + philanthropic enterprise - + (sneeringly) + this Enquirer - that is costing + you one million dollars a year? + + KANE + You're right. We did lose a million + dollars last year. + + Thatcher thinks maybe the point has registered. + + KANE + We expect to lost a million next + year, too. You know, Mr. Thatcher - + (starts tapping + quietly) + at the rate of a million a year - + we'll have to close this place in + sixty years. + + DISSOLVE: + + INT. THE VAULT ROOM - THATCHER MEMORIAL LIBRARY - DAY + + Thompson - at the desk. With a gesture of annoyance, he is + closing the manuscript. + + Camera arcs quickly around from over his shoulder to hold on + door behind him, missing his face as he rises and turns to + confront Miss Anderson, who has come into the room to shoo him + out. Very prominent on this wall is an over-sized oil painting + of Thatcher in the best Union League Club renaissance style. + + MISS ANDERSON + You have enjoyed a very rare + privilege, young man. Did you + find what you were looking for? + + THOMPSON + No. Tell me something, Miss + Anderson. You're not Rosebud, are + you? + + MISS ANDERSON + What? + + THOMPSON + I didn't think you were. Well, + thanks for the use of the hall. + + He puts his hat on his head and starts out, lighting a cigarette + as he goes. Miss Anderson, scandalized, watches him. + + FADE OUT: + + FADE IN: + + INT. BERNSTEIN'S OFFICE - ENQUIRER SKYSCRAPER - DAY - + + Closeup of a still of Kane, aged about sixty-five. Camera + pulls back, showing it is a framed photograph on the wall. + Over the picture are crossed American flags. Under it sits + Bernstein, back of his desk. Bernstein, always an undersized + Jew, now seems even smaller than in his youth. He is bald as + an egg, spry, with remarkably intense eyes. As camera continues + to travel back, the back of Thompson's head and his shoulders + come into the picture. + + BERNSTEIN + (wryly) + Who's a busy man? Me? I'm Chairman + of the Board. I got nothing but + time ... What do you want to know? + + THOMPSON + (still explaining) + Well, Mr. Bernstein, you were with + Mr. Kane from the very beginning - + + BERNSTEIN + From before the beginning, young + fellow. And now it's after the + end. + (turns to Thompson) + Anything you want to know about + him - about the paper - + + THOMPSON + - We thought maybe, if we can + find out what he meant by that + last word - as he was dying - + + BERNSTEIN + That Rosebud? Maybe some girl? + There were a lot of them back in + the early days, and - + + THOMPSON + Not some girl he knew casually and + then remembered after fifty years, + on his death bed - + + BERNSTEIN + You're pretty young, Mr. - + (remembers the name) + Mr. Thompson. A fellow will + remember things you wouldn't think + he'd remember. You take me. One + day, back in 1896, I was crossing + over to Jersey on a ferry and as + we pulled out, there was another + ferry pulling in - + (slowly) + - and on it, there was a girl + waiting to get off. A white dress + she had on - and she was carrying + a white pastrol - and I only saw + her for one second and she didn't + see me at all - but I'll bet a + month hasn't gone by since that I + haven't thought of that girl. + (triumphantly) + See what I mean? + (smiles) + Well, so what are you doing about + this "Rosebud," Mr. Thompson. + + THOMPSON + I'm calling on people who knew Mr. + Kane. I'm calling on you. + + BERNSTEIN + Who else you been to see? + + THOMPSON + Well, I went down to Atlantic City - + + BERNSTEIN + Susie? I called her myself the + day after he died. I thought maybe + somebody ought to... + (sadly) + She couldn't even come to the + 'phone. + + THOMPSON + You know why? She was so - + + BERNSTEIN + Sure, sure. + + THOMPSON + I'm going back there. + + BERNSTEIN + Who else did you see? + + THOMPSON + Nobody else, but I've been through + that stuff of Walter Thatcher's. + That journal of his - + + BERNSTEIN + Thatcher! That man was the biggest + darn fool I ever met - + + THOMPSON + He made an awful lot of money. + + BERNSTEIN + It's not trick to make an awful + lot of money if all you want is to + make a lot of money. + (his eyes get + reflective) + Thatcher! + + Bernstein looks out of the window and keeps on looking, seeming + to see something as he talks. + + BERNSTEIN + He never knew there was anything + in the world but money. That kind + of fellow you can fool every day + in the week - and twice on Sundays! + (reflectively) + The time he came to Rome for Mr. + Kane's twenty-fifth birthday... + You know, when Mr. Kane got control + of his own + money... Such a fool like Thatcher - + I tell you, nobody's business! + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. BERNSTEIN'S OFFICE - DAY - + + Bernstein speaking to Thompson. + + BERNSTEIN + He knew what he wanted, Mr. Kane + did, and he got it! Thatcher never + did figure him out. He was hard + to figure sometimes, even for me. + Mr. Kane was a genius like he said. + He had that funny sense of humor. + Sometimes even I didn't get the + joke. Like that night the opera + house of his opened in Chicago... + You know, the opera house he built + for Susie, she should be an opera + singer... + (indicates with a + little wave of his + hand what he thinks + of that; sighing) + That was years later, of course - + 1914 it was. Mrs. Kane took the + leading part in the opera, and she + was terrible. But nobody had the + nerve to say so - not even the + critics. Mr. Kane was a big man + in those days. But this one fellow, + this friend of his, Branford Leland - + + He leaves the sentence up in the air, as we + + DISSOLVE: + + INT. CITY ROOM - CHICAGO ENQUIRER - NIGHT - + + It is late. The room is almost empty. Nobody is at work at + the desks. Bernstein, fifty, is waiting anxiously with a little + group of Kane's hirelings, most of them in evening dress with + overcoats and hats. Eveybody is tense and expectant. + + CITY EDITOR + (turns to a young + hireling; quietly) + What about Branford Leland? Has + he got in his copy? + + HIRELING + Not yet. + + BERNSTEIN + Go in and ask him to hurry. + + CITY EDITOR + Well, why don't you, Mr. Bernstein? + You know Mr. Leland. + + BERNSTEIN + (looks at him for a + moment; then slowly) + I might make him nervous. + + CITY EDITOR + (after a pause) + You and Leland and Mr. Kane - you + were great friends back in the old + days, I understand. + + BERNSTEIN + (with a smile) + That's right. They called us the + "Three Musketeers." + + Somebody behind Bernstein has trouble concealing his laughter. + The City Editor speaks quickly to cover the situation. + + CITY EDITOR + He's a great guy - Leland. + (another little + pause) + Why'd he ever leave New York? + + BERNSTEIN + (he isn't saying) + That's a long story. + + ANOTHER HIRELING + (a tactless one) + Wasn't there some sort of quarrel + between - + + BERNSTEIN + (quickly) + I had nothing to do with it. + (then, somberly) + It was Leland and Mr. Kane, and + you couldn't call it a quarrel + exactly. Better we should forget + such things - + (turning to City + Editor) + Leland is writing it up from the + dramatic angle? + + CITY EDITOR + Yes. I thought it was a good idea. + We've covered it from the news + end, of course. + + BERNSTEIN + And the social. How about the + music notice? You got that in? + + CITY EDITOR + Oh, yes, it's already made up. + Our Mr. Mervin wrote a small review. + + BERNSTEIN + Enthusiastic? + + CITY EDITOR + Yes, very! + (quietly) + Naturally. + + BERNSTEIN + Well, well - isn't that nice? + + KANE'S VOICE + Mr. Bernstein - + + Bernstein turns. + + Medium long shot of Kane, now forty-nine, already quite stout. + He is in white tie, wearing his overcoat and carrying a folded + opera hat. + + BERNSTEIN + Hello, Mr. Kane. + + The Hirelings rush, with Bernstein, to Kane's side. Widespread, + half-suppressed sensation. + + CITY EDITOR + Mr. Kane, this is a surprise! + + KANE + We've got a nice plant here. + + Everybody falls silent. There isn't anything to say. + + KANE + Was the show covered by every + department? + + CITY EDITOR + Exactly according to your + instructions, Mr. Kane. We've got + two spreads of pictures. + + KANE + (very, very casually) + And the notice? + + CITY EDITOR + Yes - Mr. Kane. + + KANE + (quietly) + Is it good? + + CITY EDITOR + Yes, Mr. kane. + + Kane looks at him for a minute. + + CITY EDITOR + But there's another one still to + come - the dramatic notice. + + KANE + (sharply) + It isn't finished? + + CITY EDITOR + No, Mr. Kane. + + KANE + That's Leland, isn't it? + + CITY EDITOR + Yes, Mr. Kane. + + KANE + Has he said when he'll finish? + + CITY EDITOR + We haven't heard from him. + + KANE + He used to work fast - didn't he, + Mr. Bernstein? + + BERNSTEIN + He sure did, Mr. Kane. + + KANE + Where is he? + + ANOTHER HIRELING + Right in there, Mr. Kane. + + The Hireling indicates the closed glass door of a little office + at the other end of the City Room. Kane takes it in. + + BERNSTEIN + (helpless, but very + concerned) + MR. KANE - + + KANE + That's all right, Mr. Bernstein. + + Kane crosses the length of the long City Room to the glass + door indicated before by the Hireling. The City Editor looks + at Bernstein. Kane opens the door and goes into the office, + closing the door behind him. + + BERNSTEIN + Leland and Mr. Kane - they haven't + spoke together for ten years. + (long pause; finally) + Excuse me. + (starts toward the + door) + + INT. LELAND'S OFFICE - CHICAGO ENQUIRER - NIGHT - + + Bernstein comes in. An empty bottle is standing on Leland's + desk. He has fallen over his typewriter, his face on the keys. + A sheet of paper is in the machine. A paragraph has been typed. + Kane is standing at the other side of the desk looking down on + him. This is the first time we see murder in Kane's face. + Bernstein looks at Kane, then crosses to Leland. He shakes + him. + + BERNSTEIN + Hey, Brad! Brad! + (he straightens, + looks at Kane; + pause) + He ain't been drinking before, Mr. + Kane. Never. We would have heard. + + KANE + (finally; after a + pause) + What does it say there? + + Bernstein stares at him. + + KANE + What's he written? + + Bernstein looks over nearsightedly, painfully reading the + paragraph written on the page. + + BERNSTEIN + (reading) + "Miss Susan Alexander, a pretty + but hopelessly incompetent amateur - + (he waits for a + minute to catch + his breath; he + doesn't like it) + - last night opened the new Chicago + Opera House in a performance of - + of -" + (looks up miserably) + I can't pronounce that name, Mr. + Kane. + + KANE + Thais. + + Bernstein looks at Kane for a moment, then looks back, tortured. + + BERNSTEIN + (reading again) + "Her singing, happily, is no concern + of this department. Of her acting, + it is absolutely impossible to..." + (he continues to + stare at the page) + + KANE + (after a short + silence) + Go on! + + BERNSTEIN + (without looking up) + That's all there is. + + Kane snatches the paper from the roller and reads it for + himself. Slowly, a queer look comes over his face. Then he + speaks, very quietly. + + KANE + Of her acting, it is absolutely + impossible to say anything except + that it represents a new low... + (then sharply) + Have you got that, Mr. Bernstein? + In the opinion of this reviewer - + + BERNSTEIN + (miserably) + I didn't see that. + + KANE + It isn't here, Mr. Bernstein. I'm + dictating it. + + BERNSTEIN + (looks at him) + I can't take shorthand. + + KANE + Get me a typewriter. I'll finish + the notice. + + Bernstein retreats from the room. + + QUICK DISSOLVE OUT: + + QUICK DISSOLVE IN: + + INT. LELAND'S OFFICE - CHICAGO ENQUIRER - NIGHT - + + Long shot of Kane in his shirt sleeves, illuminated by a desk + light, typing furiously. As the camera starts to pull even + farther away from this, and as Bernstein - as narrator - begins + to speak - + + QUICK DISSOLVE: + + INT. BERNSTEIN'S OFFICE - DAY - + + Bernstein speaking to Thompson. + + BERNSTEIN + He finished it. He wrote the worst + notice I ever read about the girl + he loved. We ran it in every paper. + + THOMPSON + (after a pause) + I guess Mr. Kane didn't think so + well of Susie's art anyway. + + BERNSTEIN + (looks at him very + soberly) + He thought she was great, Mr. + Thompson. He really believed that. + He put all his ambition on that + girl. After she came along, he + never really cared for himself + like he used to. Oh, I don't + blame Susie - + + THOMPSON + Well, then, how could he write + that roast? The notices in the + Kane papers were always very kind + to her. + + BERNSTEIN + Oh, yes. He saw to that. I tell + you, Mr. Thompson, he was a hard + man to figure out. He had that + funny sense of humor. And then, + too, maybe he thought by finishing + that piece he could show Leland he + was an honest man. You see, Leland + didn't think so. I guess he showed + him all right. He's a nice fellow, + but he's a dreamer. They were + always together in those early + days when we just started the + Enquirer. + + On these last words, we + + DISSOLVE: + + INT. CITY ROOM - ENQUIRER BUILDING - DAY - + + The front half of the second floor constitutes one large City + Room. Despite the brilliant sunshine outside, very little of + it is actually getting into the room because the windows are + small and narrow. There are about a dozen tables and desks, + of the old-fashioned type, not flat, available for reporters. + Two tables, on a raised platform at the end of the room, + obviously serve the city room executives. To the left of the + platform is an open door which leads into the Sanctrum. + + As Kane and Leland enter the room, an elderly, stout gent on + the raised platform, strikes a bell and the other eight + occupants of the room - all men - rise and face the new + arrivals. Carter, the elderly gent, in formal clothes, rises + and starts toward them. + + CARTER + Welcome, Mr. Kane, to the + "Enquirer." I am Herbert Carter. + + KANE + Thank you, Mr Carter. This is Mr. + Leland. + + CARTER + (bowing) + How do you do, Mr. Leland? + + KANE + (pointing to the + standing reporters) + Are they standing for me? + + CARTER + I thought it would be a nice gesture + the new publisher - + + KANE + (grinning) + Ask them to sit down. + + CARTER + You may resume your work, gentlemen. + (to Kane) + I didn't know your plans and so I + was unable to make any preparations. + + KANE + I don't my plans myself. + + They are following Carter to his raised platform. + + KANE + As a matter of fact, I haven't got + any. Except to get out a newspaper. + + There is a terrific crash at the doorway. They all turn to + see Bernstein sprawled at the entrance. A roll of bedding, a + suitcase, and two framed pictures were too much for him. + + KANE + Oh, Mr. Bernstein! + + Bernstein looks up. + + KANE + If you would come here a moment, + please, Mr. Bernstein? + + Bernstein rises and comes over, tidying himself as he comes. + + KANE + Mr. Carter, this is Mr. Bernstein. + Mr. Bernstein is my general manager. + + CARTER + (frigidly) + How do you do, Mr. Bernstein? + + KANE + You've got a private office here, + haven't you? + + The delivery wagon driver has now appeared in the entrance + with parts of the bedstead and other furniture. He is looking + about, a bit bewildered. + + CARTER + (indicating open + door to left of + platform) + My little sanctum is at your + disposal. But I don't think I + understand - + + KANE + I'm going to live right here. + (reflectively) + As long as I have to. + + CARTER + But a morning newspaper, Mr. Kane. + After all, we're practically closed + twelve hours a day - except for + the business offices - + + KANE + That's one of the things I think + must be changed, Mr. Carter. The + news goes on for twenty-four hours + a day. + + DISSOLVE: + + INT. KANE'S OFFICE - LATE DAY - + + Kane, in his shirt sleeves, at a roll-top desk in the Sanctum, + is working feverishly on copy and eating a very sizeable meal + at the same time. Carter, still formally coated, is seated + alongside him. Leland, seated in a corner, is looking on, + detached, amused. The furniture has been pushed around and + Kane's effects are somewhat in place. On a corner of the desk, + Bernstein is writing down figures. No one pays any attention + to him. + + KANE + I'm not criticizing, Mr. Carter, + but here's what I mean. There's a + front page story in the "Chronicle," + (points to it) + and a picture - of a woman in + Brooklyn who is missing. Probably + murdered. + (looks to make sure + of the name) + A Mrs. Harry Silverstone. Why + didn't the "Enquirer" have that + this morning? + + CARTER + (stiffly) + Because we're running a newspaper, + Mr. Kane, not a scandal sheet. + + Kane has finished eating. He pushes away his plates. + + KANE + I'm still hungry, Brad. Let's go + to Rector's and get something + decent. + (pointing to the + "Chronicle" before + him) + The "Chronicle" has a two-column + headline, Mr. Carter. Why haven't + we? + + CARTER + There is no news big enough. + + KANE + If the headline is big enough, it + makes the new big enough. The + murder of Mrs. Harry Silverstone - + + CARTER + (hotly) + As a matter of fact, we sent a man + to the Silverstone home yesterday + afternoon. + (triumphantly) + Our man even arrived before the + "Chronicle" reporter. And there's + no proof that the woman was murdered - + or even that she's dead. + + KANE + (smiling a bit) + The "Chronicle" doesn't say she's + murdered, Mr. Carter. It says the + neighbors are getting suspicious. + + CARTER + (stiffly) + It's not our function to report + the gossip of housewives. If we + were interested in that kind of + thing, Mr. Kane, we could fill the + paper twice over daily - + + KANE + (gently) + That's the kind of thing we are + going to be interested in from now + on, Mr. Carter. Right now, I wish + you'd send your best man up to see + Mr. Silverstone. Have him tell + Mr. Silverstone if he doesn't + produce his wife at once, the + "Enquirer" will have him arrested. + (he gets an idea) + Have him tell Mr. Silverstone he's + a detective from the Central Office. + If Mr. Silverstone asks to see his + badge, your man is to get indignant + and call Mr. Silverstone an + anarchist. + + Loudly, so that the neighbors can hear. + + CARTER + Really, Mr. Kane, I can't see the + function of a respectable newspaper - + + Kane isn't listening to him. + + KANE + Oh, Mr. Bernstein! + + Bernstein looks up from his figures. + + KANE + I've just made a shocking discovery. + The "Enquirer" is without a + telephone. Have two installed at + once! + + BERNSTEIN + I ordered six already this morning! + Got a discount! + + Kane looks at Leland with a fond nod of his head at Bernstein. + Leland grins back. Mr. Carter, meantime, has risen stiffly. + + CARTER + But, Mr. Kane - + + KANE + That'll be all today, Mr. Carter. + You've been most understanding. + Good day, Mr. Carter! + + Carter, with a look that runs just short of apoplexy, leaves + the room, closing the door behind him. + + LELAND + Poor Mr. Carter! + + KANE + (shakes his head) + What makes those fellows think + that a newspaper is something rigid, + something inflexible, that people + are supposed to pay two cents for - + + BERNSTEIN + (without looking up) + Three cents. + + KANE + (calmly) + Two cents. + + Bernstein lifts his head and looks at Kane. Kane gazes back + at him. + + BERNSTEIN + (tapping on the + paper) + This is all figured at three cents + a copy. + + KANE + Re-figure it, Mr. Bernstein, at + two cents. + + BERNSTEIN + (sighs and puts + papers in his pocket) + All right, but I'll keep these + figures, too, just in case. + + KANE + Ready for dinner, Brad? + + BERNSTEIN + Mr. Leland, if Mr. Kane, he should + decide to drop the price to one + cent, or maybe even he should make + up his mind to give the paper away + with a half-pound of tea - you'll + just hold him until I get back, + won't you? + + LELAND + I'm not guaranteeing a thing, Mr. + Bernstein. You people work too + fast for me! Talk about new brooms! + + BERNSTEIN + Who said anything about brooms? + + KANE + It's a saying, Mr. Bernstein. A + new broom sweeps clean. + + BERNSTEIN + Oh! + + DISSOLVE: + + INT.PRIMITIVE COMPOSING AND PRESSROOM - NEW YORK ENQUIRER - + NIGHT - + + The ground floor witht he windows on the street - of the + "Enquirer." It is almost midnight by an old-fashioned clock + on the wall. Grouped around a large table, on which are several + locked forms of type, very old-fashioned of course, but true + to the period - are Kane and Leland in elegant evening clothes, + Bernstein, unchanged from the afternoon, and Smathers, the + composing room foreman, nervous and harassed. + + SMATHERS + But it's impossible, Mr. Kane. We + can't remake these pages. + + KANE + These pages aren't made up as I + want them, Mr. Smathers. We go to + press in five minutes. + + CARTER + (about to crack up) + The "Enquirer" has an old and + honored tradition, Mr. Kane... + The "Enquirer" is not in competition + with those other rags. + + BERNSTEIN + We should be publishing such rags, + that's all I wish. Why, the + "Enquirer" - I wouldn't wrap up + the liver for the cat in the + "Enquirer" - + + CARTER + (enraged) + Mr. Kane, I must ask you to see to + it that this - this person learns + to control his tongue. + + Kane looks up. + + CARTER + I've been a newspaperman my whole + life and I don't intend - + (he starts to sputter) + - if it's your intention that I + should continue to be harassed by + this - this - + (he's really sore) + I warn you, Mr. Kane, it would go + against my grain to desert you + when you need me so badly - but I + would feel obliged to ask that my + resignation be accepted. + + KANE + It is accepted, Mr. Carter, with + assurances of my deepest regard. + + CARTER + But Mr. Kane, I meant - + + Kane turns his back on him, speaks again to the composing room + foreman. + + KANE + (quietly) + Let's remake these pages, Mr. + Smathers. We'll have to publish a + half hour late, that's all. + + SMATHERS + (as though Kane + were talking Greek) + We can't remake them, Mr. Kane. + We go to press in five minutes. + + Kane sighs, unperturbed, as he reaches out his hand and shoves + the forms off the table onto the floor, where they scatter + into hundreds of bits. + + KANE + You can remake them now, can't + you, Mr. Smathers? + + Smather's mouth opens wider and wider. Bradford and Bernstein + are grinning. + + KANE + After the types 've been reset and + the pages have been remade according + to the way I told you before, Mr. + Smathers, kindly have proofs pulled + and bring them to me. Then, if I + can't find any way to improve them + again - + (almost as if + reluctantly) + - I suppose we'll have to go to + press. + + He starts out of the room, followed by Leland. + + BERNSTEIN + (to Smathers) + In case you don't understand, Mr. + Smathers - he's a new broom. + + DISSOLVE OUT: + + DISSOLVE IN: + + EXT. NEW YORK STREET - VERY EARLY DAWN - + + The picture is mainly occupied by a large building, on the + roof of which the lights spell out the word "Enquirer" against + the sunrise. We do not see the street or the first few stories + of this building, the windows of which would be certainly + illuminated. What we do see is the floor on which is located + the City Room. Over this scene, newboys are heard selling the + Chronicle, their voices growing in volume. + + As the dissolve complete itself, camera moves toward the one + lighted window - the window of the Sanctrum. + + DISSOLVE: + + INT. KANE'S OFFICE - VERY EARLY DAWN - + + The newsboys are still heard from the street below - fainter + but very insistent. + + Kane's office is gas-lit, of course, as is the rest of the + Enquirer building. + + Kane, in his shirt sleeves, stands at the open window looking + out. The bed is already made up. On it is seated Bernstein, + smoking the end of a cigar. Leland is in a chair. + + NEWSBOYS' VOICES + CHRONICLE! CHRONICLE! H'YA - THE + CHRONICLE - GET YA! CHRONICLE! + + Kane, taking a deep breath of the morning air, closes the window + and turns to the others. The voices of the newsboys, naturally, + are very much fainter after this. + + LELAND + We'll be on the street soon, Charlie - + another ten minutes. + + BERNSTEIN + (looking at his + watch) + It's three hours and fifty minutes + late - but we did it - + + Leland rises from the chair, stretching painfully. + + KANE + Tired? + + LELAND + It's been a tough day. + + KANE + A wasted day. + + BERNSTEIN + (looking up) + Wasted? + + LELAND + (incredulously) + Charlie?! + + BERNSTEIN + You just made the paper over four + times today, Mr. Kane. That's all - + + KANE + I've changed the front page a + little, Mr. Bernstein. That's not + enough - There's something I've + got to get into this paper besides + pictures and print - I've got to + make the "New York Enquirer" as + important to New York as the gas + in that light. + + LELAND + (quietly) + What're you going to do, Charlie? + + Kane looks at him for a minute with a queer smile of happy + concentration. + + KANE + My Declaration of Principles - + (he says it with + quotes around it) + Don't smile, Brad - + (getting the idea) + Take dictation, Mr. Bernstein - + + BERNSTEIN + Can't take shorthand, Mr. Kane - + + KANE + I'll write it myself. + + Kane grabs a piece of rough paper and a grease crayon. Sitting + down on the bed next to Bernstein, he starts to write. + + BERNSTEIN + (looking over his + shoulder) + You don't wanta make any promises, + Mr. Kane, you don't wanta keep. + + KANE + (as he writes) + These'll be kept. + (stops for a minute + and reads what he + has written; reading) + I'll provide the people of this + city with a daily paper that will + tell all the news honestly. + (starts to write + again; reading as + he writes) + will also provide them - + + LELAND + That's the second sentence you've + started with "I" - + + KANE + (looking up) + People are going to know who's + responsible. And they're going to + get the news - the true news - + quickly and simply and + entertainingly. + (he speaks with + real conviction) + And no special interests will be + allowed to interfere with the truth + of that news. + + He looks at Leland for a minute and goes back to his writing, + reading as he writes. + + Bernstein has risen and crossed to one side of Kane. They + both stand looking out. Leland joins him on the other side. + Their three heads are silhouetted against the sky. Leland's + head is seen to turn slightly as he looks into Kane's face - + camera very close on this - Kane turns to him and we know their + eyes have met, although their faces are almost in sillhouette. + Bernstein is still smoking a cigar. + + DISSOLVE: + + Front page of the "Enquirer" shows big boxed editorial with + heading: + + MY PRINCIPLES - A DECLARATION BY CHARLES FOSTER KANE + + Camera continues pulling back and shows newspaper to be on the + top of a pile of newspapers. As we draw further back, we see + four piles, and as camera contines to pull back, we see six + piles and go on back until we see a big field of "Enquirers" - + piles of "Enquirers" - all 26,000 copies ready for distribution. + + A wagon with a huge sign on its side reading + + "ENQUIRER - CIRCULATION 26,000" + + passes through foreground, and we wipe to: + + A pile of "Enquirers" for sale on a broken down wooden box on + a street corner, obviously a poor district. A couple of coins + fall on the pile. + + The stoop of a period door with old-fashioned enamel milk can + and a bag of rolls. Across the sidewalk before this, moves + the shadow of an old-fashioned bicycle with an enormous front + wheel. A copy of the "Enquirer" is tossed on the stoop. + + A breakfast table - beautiful linen and beautiful silver - + everything very expensive, gleaming in the sunshine. Into a + silver newspaper rack there is slipped a copy of the "Enquirer". + Here, as before, the boxed editorial reading MY PRINCIPLES - A + DECLARATION BY CHARLES FOSTER KANE, is very prominent on the + front page. + + The wooden floor of a railroad station, flashing light and + dark as a train behind the camera rushes by. On the floor, + there is tossed a bound bundle of the "New York Enquirer" - + the Declaration of Principles still prominent. + + Rural Delivery - a copy of the "Enquirer"s being put into bins, + showing state distribution. + + The railroad platform again. We stay here for four images. + On each image, the speed of the train is faster and the piles + of the "Enquirer" are larger. On the first image, we move in + to hold on the words "CIRCULATION - 31,000." We are this close + for the next pile which reads 40,000; the next one which reads + 55,000, and the last which is 62,000. In each instance, the + bundles of newspapers are thicker and the speed of the moving + train behind the camera is increased. + + The entire montage above indicated is accompanied by a + descriptive complement of sound - the traffic noises of New + York in the 1890's; wheels on cobblestones and horses' hooves; + bicycle bells; the mooning of cattle and the crowing of roosters + (in the RFD shot), and in all cases where the railroad platform + is used - the mounting sound of the railroad train. + + The last figure "62,000" opposite the word "CIRCULATION" on + the "Enquirer" masthead changes to: + + EXT. STREET AND CHRONICLE BUIDING - DAY - + + Angle up to wall of building - a painter on a cradle is putting + the last zero to the figure "62,000" on an enormous sign + advertising the "Enquirer." It reads: + + THE ENQUIRER THE PEOPLE'S NEWSPAPER CIRCULATION 62,000 + + Camera travels down side of building - takes in another building + on which there is a sign which reads: + + READ THE ENQUIRER AMERICA'S FINEST CIRCULATION 62,000 + + Camera continues to travel down to sidewalk in front of the + Chronicle office. The Chronicle office has a plateglass window + in which is reflected traffic moving up and down the street, + also the figures of Kane, Leland and Bernstein, who are munching + peanuts. + + Inside the window, almost filling it, is a large photograph of + the "Chronicle" staff, with Reilly prominently seated in the + center. A sign over the photo reads: EDITORIAL AND EXECUTIVE + STAFF OF THE NEW YORK CHRONICLE. A sign beneath it reads: + GREATEST NEWSPAPER STAFF IN THE WORLD. The sign also includes + the "Chronicle" circulation figure. There are nine men in the + photo. + + BERNSTEIN + (looking up at the + sign - happily) + Sixty-two thousand - + + LELAND + That looks pretty nice. + + KANE + (indicating the + Chronicle Building) + Let's hope they like it there. + + BERNSTEIN + From the Chronicle Building that + sign is the biggest thing you can + see - every floor guaranteed - + let's hope it bothers them - it + cost us enough. + + KANE + (pointing to the + sign over the + photograph in the + window) + Look at that. + + LELAND + The "Chronicle" is a good newspaper. + + KANE + It's a good idea for a newspaper. + (reading the figures) + Four hundred sixy thousand. + + BERNSTEIN + Say, with them fellows - + (referring to the + photo) + - it's no trick to get circulation. + + KANE + You're right, Mr. Bernstein. + + BERNSTEIN + (sighs) + You know how long it took the + "Chronicle" to get that staff + together? Twenty years. + + KANE + I know. + + Kane, smiling, lights a cigarette, at the same time looking + into the window. Camera moves in to hold on the photograph of + nine men, still holding the reflection of Kane's smiling face. + + DISSOLVE: + + INT. CITY ROOM - THE ENQUIRER - NIGHT - + + Nine men, arrayed as in the photograph, but with Kane beaming + in the center of the first row. The men, variously with + mustaches, beards, bald heads, etc. are easily identified as + being the same men, Reilly prominent amongst them. + + As camera pulls back, it is revealed that they are being + photographed - by an old-type professional photographer, big + box, black hood and all - in a corner of the room. It is 1:30 + at night. Desks, etc. have been pushed against the wall. + Running down the center of the room is a long banquet table, + at which twenty diners have finished their meals. The eleven + remaining at their seats - these include Bernstein and Leland - + are amusedly watching the photographic ceremonies. + + PHOTOGRAPHER + That's all. Thank you. + + The photographic subjects rise. + + KANE + (a sudden thought) + Make up an extra copy and mail it + to the "Chronicle." + + Chuckling and beaming, he makes his way to his place at the + head of the table. The others have already sat down. Kane + gets his guests' attention by rapping on the table with a knife. + + KANE + Gentlemen of the "Enquirer"! This + has, I think, been a fitting welcome + to those distinguished journalists - + (indicates the eight + men) + Mr. Reilly in particular - who are + the latest additions to our ranks. + It will make them happy to learn + that the "Enquirer's" circulation + this morning passed the two hundred + thousand mark. + + BERNSTEIN + Two hundred and one thousand, six + hundred and forty-seven. + + General applause. + + KANE + All of you - new and old - You're + all getting the best salaries in + town. Not one of you has been + hired because of his loyalty. + It's your talent I'm interested + in. That talent that's going to + make the "Enquirer" the kind of + paper I want - the best newspaper + in the world! + + Applause. + + KANE + However, I think you'll agree we've + heard enough about newspapers and + the newspaper business for one + night. There are other subjects + in the world. + + He puts his two fingers in his mouth and lets out a shrill + whistle. This is a signal. A band strikes up a lively ditty + of the period and enters in advance a regiment of very + magnificent maidens, as daringly arrayed as possible in the + chorus costumes of the day. The rest of this episode will be + planned and staged later. Its essence is that Kane is just a + healthy and happy young man having a wonderful time. + + As some of the girls are detached from the line and made into + partners for individual dancing - + + DISSOLVE OUT: + + DISSOLVE IN: + + THE "ENQUIRER" SIGN: THE ENQUIRER AMERICA'S FINEST + CIRCULATION 274,321 + + Dissolve just completes itself - the image of Kane dancing + with a girl on each arm just disappears as camera pans down + off the Temple Bldg. in the same action as the previous street + scene. There is a new sign on the side of the building below. + It reads: + + READ THE ENQUIRER GREATEST STAFF IN THE WORLD + + Camera continues panning as we + + DISSOLVE: + + A montage of various scenes, between the years 1891-1900. + + The scenes indicate the growth of the "Enquirer" under the + impulse of Kane's personal drive. Kane is shown, thus, at + various activities: + + Move down from the sign: READ THE ENQUIRER GREATEST STAFF IN + THE WORLD to street in front of saloon with parade passing + (boys going off to the Spanish-American War)- A torchlight + parade with the torches reflected in the glass window of the + saloon - the sound of brass band playing "It's a Hot Time." + In the window of the saloon is a large sign or poster "REMEMBER + THE MAINE" + + INSERT: Remington drawing of American boys, similar to the + parade above, in which "Our Boys" in the expeditionary hats + are seen marching off to war. + + Back of observation car. Shot of Kane congratulating Teddy + Roosevelt (the same shot as in the News Digest - without + flickering). + + The wooden floor of the railroad platform again - a bundle of + "Enquirers" - this time an enormous bundle - is thrown down, + and the moving shadows of the train behind the camera indicate + that it is going like a bat out of hell. A reproduction of + Kane and Teddy shaking hands as above is very prominent in the + frame and almost hogs the entire front page. The headline + indicates the surrender of Cuba. + + INT. ENQUIRER OFFICE + + Cartoon, highly dramatic and very involved as to content - + lousy with captions, labels, and symbolic figures, the most + gruesome and recognizable - "Capitalistic Greed." This cartoon + is almost finished and is on a drawing board before which stand + Kane and the artist himself. Kane is grinning over some + suggestion he has made. + + DISSOLVE: + + The cartoon finished and reproduced on the editorial page of + the "Enquirer" - in quite close, with an editorial and several + faces of caps shown underneath. The entire newspaper is crushed + with an angry gesture and thrown down into an expensive-looking + wastebasket (which is primarily for ticker tape) tape is + pouring. + + INT. ENQUIRER OFFICE + + Cartoonist and Kane working on comic strip of "Johnny the Monk." + + DISSOLVE: + + Floor of room - Two kids on floor, with newspaper spread out, + looking at the same comic strip. + + Kane's photographic gallery with photographers, stooges, and + Kane himself in attendance on a very hot-looking item of the + period. A sob sister is interviewing this hot number and Kane + is arranging her dress to look more seductive. + + DISSOLVE OUT: + + DISSOLVE IN: + + The hot number reproduced and prominently displayed and covering + almost half a page of the "Enquirer." It is being read in a + barber shop and is seen in an over-shoulder shot of the man + who is reading it. He is getting a shine, a manicure, and a + haircut. The sob-sister caption over the photograph reveals: + "I DIDN'T KNOW WHAT I WAS DOING, SAYS DANCER. EVERYTHING WENT + RED." An oval photograph of the gun is included in the lay- + out of the pretty lady with a headline which says: "DEATH GUN." + + STREET - SHOT OF BUCKET BRIGADE + + Shot of Kane, in evening clothes, in obvious position of danger, + grabbing camera from photographer. Before him rages a terrific + tenement fire. + + DISSOLVE: + + INSERT: Headline about inadequacy of present fire equipment. + + DISSOLVE: + + Final shot of a new horse-drawn steam engine roaring around a + street corner (Stock). + + DISSOLVE: + + A black pattern of iron bars. We are in a prison cell. The + door is opened and a condemned man, with priest, warden and + the usual attendants, moves into foreground and starts up the + hall past a group which includes phtographers, Kane's sob- + sister, and Kane. The photographers take pictures with a mighty + flash of old-fashioned flash powder. The condemned man in the + foreground (in silhouette) is startled by this. + + DISSOLVE: + + A copy of the "Enquirer" spread out on a table. A big lay-out + of the execution story includes the killer as photographed by + Kane's photographers, and nearby on the other page there is a + large picture of the new steam fire engine (made from the stock + shot) with a headline indicating that the "Enquirer" has won + its campaign for better equipment. A cup of coffee and a + doughnut are on the newspaper, and a servant girl - over whose + shoulder we see the paper - is stirring the coffee. + + The Beaux Art Ball. A number of elderly swells are jammed + into a hallway. Servants suddenly divest them of their furs, + overcoats and wraps, revealing them to be in fancy dress + costume, pink fleshings, etc., the effect to be very surprising, + very lavish and very very ridiculous. We see, among others, + Mr. Thatcher himself (as Ben Hur) ribbon around, his bald head + and all. At the conclusion of this tableau, the image freezes + and we pull back to show it reproduced on the society page of + the "New York Enquirer." + + Over the "Enquirer"'s pictorial version of the Beaux Art Ball + is thrown a huge fish - then coffee grounds - altogether a + pretty repulsive sight. + + The whole thing is bundled up and thrown into a garbage can. + + Extreme close-up of the words: "OCCUPATION - JOUNALIST." + + Camera pulls back to show passport open to the photograph page + which shows Kane, registering birth, race, and nationality. + Passport cover is closed, showing it to be an American passport. + + EXT. CUNARD DOCKS - GANGPLANK AND DECK OF BOAT - NIGHT - + + As camera pulls back over shoulder of official, taking in Kane, + Leland, and Bernstein, we see the bustle and noise of departing + ocean liner. Behind the principles can be seen an enormous + plain sign which reads: "FIRST CLASS." From offstage can be + heard the steward's cry, indispensable in any Mercury + production, the old familiar cry, "All Ashore That's Going + Ashore!" - gongs, also blasts of the great whistle and all the + rest of it. + + THE OFFICIAL + There you are, Mr. Kane. Everything + in order. + + KANE + Thank you. + + Kane and Leland and Bernstein start up the gangplank. + + THE OFFICIAL + (calling) + Have a good rest, Mr. Kane. + + KANE + Thanks. + + BERNSTEIN + But please, Mr. Kane, don't buy + any more paintings. Nine Venuses + already we got, twenty-six Virgins - + two whole warehouses full of stuff - + + KANE + I promise not to bring any more + Venuses and not to worry - and not + to try to get in touch with any of + the papers - + + STEWARD'S VOICE + All ashore! + + KANE + - and to forget about the new + feature sections - and not to try + to think up and ideas for comic + sections. + + STEWARD'S VOICE + All ashore that's going ashore! + + Kane leaves Leland and Bernstein midway up gangplank, as he + rushes up to it, calling back with a wave: + + KANE + Goodbye, gents! + (at the top of the + gangplank, he turns + and calls down) + Hey! + + KANE + (calling down to + them) + You don't expect me to keep any of + those promises, do you? + + A band on deck strikes up "Auld Lang Syne." Bernstein and + Leland turn to each other. + + BERNSTEIN + Do you, Mr. Leland? + + LELAND + (smiling) + Certainly not. + + They start down the gangplank together. + + DISSOLVE: + + LONG SHOT OF THE ENQUIRER BUILDING - NIGHT + + The pattern of telegraph wires, dripping with rain, through + which we see the same old building but now rendered fairly + remarkable by tremendous outline sign in gold which reads "THE + NEW YORK DAILY ENQUIRER." A couple of lights show in the + building. We start toward the window where the lights show, + as we - + + DISSOLVE: + + EXT. OUTSIDE THE WINDOW AT BERNSTEIN'S DESK - NIGHT + + The light in the window in the former shot was showing behind + the letter "E" of the Enquirer sign. Now the letter "E" is + even larger than the frame of the camera. Rain drips + disconsolately off the middle part of the figure. We see + through this and through the drizzle of the window to + Bernstein's desk where he sits working under a blue shaded + light. + + DISSOLVE OUT: + + DISSOLVE IN: + + Same setup as before except that it is now late afternoon and + late in the winter of the year. The outline "E" is hung with + icicles which are melting, dripping despairingly between us + and Mr. Bernstein, still seated at his desk - still working. + + DISSOLVE: + + Same setup as before except that it is spring. Instead of the + sad sounds of dripping rain or dripping icicles, we hear the + melancholy cry of a hurdy-gurdy in the street below. It is + spring and through the letter "E" we can see Bernstein working + at his desk. Pigeons are gathering on the "E" and on the sill. + Bernstein looks up and sees them. He takes some crumbs from + his little homemade lunch which is spread out on the desk before + him, carries them to the windows and feeds the pigeons, looking + moodily out on the prospect of spring on Park Row. The birds + eat the crumbs - the hurdy-gurdy continues to play. + + DISSOLVE: + + The same setup again, it is now summer. The window was half- + open before .. now it's open all the way and Bernstein has + gone so far as to take off his coat. His shirt and his + celluloid collar are wringing wet. Camera moves toward the + window to tighten on Bernstein and to take in the City Room + behind him, which is absolutely deserted. It is clear that + there is almost nothing more for Bernstein to do. The hurdy- + gurdy in the street is playing as before, but a new tune. + + DISSOLVE: + + A beach on Coney Island. + + Bernstein in a rented period bathing suit sits alone in the + sand, reading a copy of the "Enquirer." + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. CITY ROOM - ENQUIRER BUILDING - DAY - + + The whole floor is now a City Room. It is twice its former + size, yet not too large for all the desks and the people using + them. The windows have been enlarged, providing a good deal + more light and air. A wall calendar says September 9th. + + Kane and Bernstein enter and stand in the entrance a moment. + Kane, who really did look a bit peaked before, is now clear- + eyed and tanned. He is wearing new English clothes. As they + come into the room, Bernstein practically walking sideways, is + doing nothing but beaming and admiring Kane, quelling like a + mother at the Carnegie Hall debut of her son. Seeing and + recognizing Kane, the entire staff rises to its feet. + + KANE + (referring to the + staff; with a smile) + Ask them to sit down, Mr. Bernstein. + + BERNSTEIN + Sit down, everybody - for heaven's + sake! + + The order is immediately obeyed, everybody going into business + of feverish activity. + + BERNSTEIN + So then, tonight, we go over + everything thoroughly, eh? + Especially the new papers - + + KANE + We certainly do. Vacation's over - + starting right after dinner. But + right now - that lady over there - + (he indicates a + woman at the desk) + - that's the new society editor, I + take it? You think I could + interrupt her a moment, Mr. + Bernstein? + + BERNSTEIN + Huh? Oh, I forgot - you've been + away so long I forgot about your + joking - + + He trails after Kane as he approaches the Society Editor's + desk. The Society Editor, a middle-aged spinster, sees him + approaching and starts to quake all over, but tries to pretend + she isn't aware of him. An envelope in her hand shakes + violently. Kane and Bernstein stop at her desk. + + BERNSTEIN + Miss Townsend - + + Miss Townsend looks up and is so surprised to see Bernstein + with a stranger. + + MISS TOWNSEND + Good afternoon, Mr. Bernstein. + + BERNSTEIN + This is Mr. Kane, Miss Townsend. + + Miss Townsend can't stick to her plan. She starts to rise, + but her legs are none too good under her. She knocks over a + tray of copy paper as she rises, and bends to pick it up. + + KANE + (very hesitatingly + and very softly) + Miss Townsend - + + At the sound of his voice, she straightens up. She is very + close to death from excitement. + + KANE + I've been away for several months, + and I don't know exactly how these + things are handled now. But one + thing I wanted to be sure of is + that you won't treat this little + announcement any differently than + you would any other similar + announcement. + + He hands her an envelope. She has difficulty in holding on to + it. + + KANE + (gently) + Read it, Miss Townsend. And + remember - just the regular + treatment! See you at nine o'clock, + Mr. Bernstein! + + Kane leaves. Bernstein looks after him, then at the paper. + Miss Townsend finally manages to open the envelope. A piece + of flimsy paper, with a few written lines, is her reward. + + MISS TOWNSEND + (reading) + Mr. and Mrs. Thomas Moore Norton + announce the engagement of their + daughter, Emily Monroe Norton, to + Mr. Charles Foster Kane. + + BERNSTEIN + (starts to read it) + Mr. and Mrs. Thomas Moore Norton + announce - + + MISS TOWNSEND + (fluttering - on + top of him) + She's - she's the niece of - of + the President of the United States - + + BERNSTEIN + (nodding proudly) + know. Come on, Miss Townsend - + From the window, maybe we can get + a look. + + He takes her by the hand and leads her off. + + Angle toward open window. Bernstein and Miss Townsend, backs + to camera, rushing to the window. + + EXT. STREET OUTSIDE ENQUIRER BUILDING - DAY - + + High angle downward - what Bernstein and Miss Townsend see + from the window. + + Kane is just stepping into an elegant barouch, drawn up at the + curb, in which sits Miss Emily Norton. He kisses her full on + the lips before he sits down. She acts a bit taken aback, + because of the public nature of the scene, but she isn't really + annoyed. As the barouche starts off, she is looking at him + adoringly. He, however, has turned his head and is looking + adoringly at the "Enquirer." He apparently sees Bernstein and + Miss Townsed and waves his hand. + + INT. CITY ROOM - ENQUIRER - DAY - + + Bernstein and Miss Townsend at window. + + BERNSTEIN + A girl like that, believe me, she's + lucky! Presiden't niece, huh! + Say, before he's through, she'll + be a Presiden't wife. + + Miss Townsend is now dewey-eyed. She looks at Bernstein, who + has turned away, gazing down at the departing couple. + + DISSOLVE: + + Front page of the "Enquirer." Large picture of the young couple - + Kane and Emily - occupying four columns - very happy. + + DISSOLVE: + + INT. BERNSTEIN'S OFFICE - ENQUIRER - DAY - + + Bernstein and Thompson. As the dissolve comes, Bernstein's + voice is heard. + + BERNSTEIN + The way things turned out, I don't + need to tell you - Miss Emily Norton + was no rosebud! + + THOMPSON + It didn't end very well, did it? + + BERNSTEIN + (shaking his head) + It ended - + (a slight pause) + Then there was Susie - that ended, + too. + (shrugs, a pause; + then looking up + into Thompson's + eyes) + guess he didn't make her very happy - + + (A PAUSE) + You know, I was thinking - that + Rosebud you're trying to find out + about - + + THOMPSON + Yes - + + BERNSTEIN + Maybe that was something he lost. + Mr. Kane was a man that lost - + almost everything he had - + (a pause) + You ought to talk to Bradford + Leland. He could tell you a lot. + I wish I could tell you where Leland + is, but I don't know myself. He + may be out of town somewhere - he + may be dead. + + THOMPSON + In case you'd like to know, Mr. + Bernstein, he's at the Huntington + Memorial Hospital on 180th Street. + + BERNSTEIN + You don't say! Why I had no idea - + + THOMPSON + Nothing particular the matter with + him, they tell me. Just - + (controls himself) + + BERNSTEIN + Just old age. + (smiles sadly) + It's the only disease, Mr. Thompson, + you don't look forward to being + cured of. + (pauses) + You ought to see Mr. Leland. + There's a whole lot of things he + could tell you - if he wanted to. + + FADE OUT: + + FADE IN: + + EXT. HOSPITAL ROOF - DAY - + + Close shot - Thompson. He is tilted back in a chair which + seems to be, and is, leaning against a chimney. Leland's voice + is heard for a few moments before Leland is seen. + + LELAND'S VOICE + When you get to my age, young man, + you don't miss anything. Unless + maybe it's a good drink of bourbon. + Even that doesn't make much + difference, if you remember there + hasn't been any good bourbon in + this country for twenty years. + + Camera has pulled back, during above speech, revealing that + Leland, wrapped in a blanket, is in a wheel chair, talking to + Thompson. They are on the flat roof of a hospital. Other + people in wheel chairs can be seen in the background, along + with a nurse or two. They are all sunning themselves. + + THOMPSON + Mr. Leland, you were - + + LELAND + You don't happen to have a cigar, + do you? I've got a young physician - + must remember to ask to see his + license - the odds are a hundred + to one he hasn't got one - who + thinks I'm going to stop smoking... + I changed the subject, didn't I? + Dear, dear! What a disagreeable + old man I've become. You want to + know what I think of Charlie Kane? + Well - I suppose he has some private + sort of greatness. But he kept it + to himself. + (grinning) + He never - gave himself away - He + never gave anything away. He just - + left you a tip. He had a generous + mind. I don't suppose anybody + ever had so many opinions. That + was because he had the power to + express them, and Charlie lived on + power and the excitement of using + it - But he didn't believe in + anything except Charlie Kane. He + never had a conviction in his life. + I guess he died without one - + That must have been pretty + unpleasant. Of course, a lot of + us check out with no special + conviction about death. But we do + know what we're leaving ... we + believe in something. + (looks sharply at + Thompson) + You're absolutely sure you haven't + got a cigar? + + THOMPSON + Sorry, Mr. Leland. + + LELAND + Never mind - Bernstein told you + about the first days at the office, + didn't he? Well, Charlie was a + bad newspaper man even then. He + entertained his readers, but he + never told them the truth. + + THOMPSON + Maybe you could remember something + that - + + LELAND + I can remember everything. That's + my curse, young man. It's the + greatest curse that's ever been + inflicted on the human race. Memory - + I was his oldest friend. + (slowly) + As far as I was concerned, he + behaved like swine. Maybe I wasnt' + his friend. If I wasn't, he never + had one. Maybe I was what nowadays + you call a stooge - + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. CITY ROOM - THE ENQUIRER - NIGHT - + + The party (previously shown in the Bernstein sequence). + + We start this sequence toward the end of the former one, but + from a fresh angle, holding on Leland, who is at the end of + the table. Kane is heard off, making a speech. + + KANE'S VOICE + Not one of you has been hired + because of his loyalty. It's your + talent I'm interested in. That + talent that's going to make the + "Enquirer" the kind of paper I + want - the best newspaper in the + world! + + Applause. During above, Bernstein has come to Leland's side. + + BERNSTEIN + Isn't it wonderful? Such a party! + + LELAND + Yes. + + His tone causes Bernstein to look at him. + + KANE'S VOICE + However, I think you'll agree we've + heard enough about newspapers and + the newspaper business for one + night. + + The above speeches are heard under the following dialogue. + + BERNSTEIN + (to Leland) + What's the matter? + + LELAND + Mr. Bernstein, these men who are + now with the "Enquirer" - who were + with the "Chronicle" until yesterday - + weren't they just as devoted to + the "Chronicle" kind of paper as + they are now to - our kind of paper? + + BERNSTEIN + Sure. They're like anybody else. + They got work to do. They do it. + (proudly) + Only they happen to be the best + men in the business. + + KANE + (finishing his speech) + There are other subjects in the + world - + + Kane whistles. The band and the chorus girls enter and hell + breaks loose all around Leland and Bernstein. + + LELAND + (after a minute) + Do we stand for the same things + that the "Chronicle" stands for, + Mr. Bernstein? + + BERNSTEIN + (indignantly) + Certainly not. So what's that got + to do with it? Mr. Kane, he'll + have them changed to his kind of + newspapermen in a week. + + LELAND + Probably. There's always a chance, + of course, that they'll change Mr. + Kane - without his knowing it. + + Kane has come up to Leland and Bernstein. He sits down next + to them, lighting a cigarette. + + KANE + Well, gentlemen, are we going to + war? + + LELAND + Our readers are, anyway, I don't + know about the rest of the country. + + KANE + (enthusiastically) + It'll be our first foreign war in + fifty years, Brad. We'll cover it + the way the "Hickville Gazette" + covers the church social! The + names of everybody there; what + they wore; what they ate; who won + the prizes; who gave the prizes - + (gets excited) + I tell you, Brad, I envy you. + (quoting) + By Bradford Leland, the "Enquirer's" + Special Correspondent at the Front. + I'm almost tempted - + + LELAND + But there is no Front, Charlie. + There's a very doubtful civil war. + Besides, I don't want the job. + + KANE + All right, Brad, all right - you + don't have to be a war correspondent + unless you want to - I'd want to. + (looking up) + Hello, Georgie. + + Georgie, a very handsome madam has walked into the picture, + stands behind him. She leans over and speaks quietly in his + ear. + + GEORGIE + Is everything the way you want it, + dear? + + KANE + (looking around) + If everybody's having fun, that's + the way I want it. + + GEORGIE + I've got some other little girls + coming over - + + LELAND + (interrupting) + Charles, I tell you there is no + war! There's a condition that + should be remedied - but between + that and a - + + KANE + (seriously) + How would the "Enquirer" look with + no news about this non-existent + war - with Benton, Pulitzer and + Heart devoting twenty columns a + day to it? + + LELAND + They do it only because you do! + + KANE + (grins) + And I do it because they do it, + and they do it - it's a vicious + circle, isn't it? + (rises) + I'm going over to Georgie's, Brad - + you know, Georgie, don't you? + + Leland nods. + + GEORGIE + (over Kane's next + lines) + Glad to meet you, Brad. + + Leland shudders. + + KANE + I told you about Brad, Georgie. + He needs to relax. + + Brad doesn't answer. + + KANE + Some ships with wonderful wines + have managed to slip through the + enemy fleet that's blockading New + York harbor - + (grins) + Georgie knows a young lady whom + I'm sure you'd adore - wouldn't + he, Georgie? Why only the other + evening I said to myself, if Brad + were only here to adore this young + lady - this - + (snaps his fingers) + What's her name again? + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. GEORGIE'S PLACE - NIGHT - + + Georgie is introducing a young lady to Branford Leland. On + sound track we hear piano music. + + GEORGIE + (right on cue from + preceding scene) + Ethel - this gentlemen has been + very anxious to meet you - This + is Ethel. + + ETHEL + Hello, Mr. Leland. + + Camera pans to include Kane, seated at piano, with girls + gathered around him. + + ONE OF THE GIRLS + Charlie! Play the song about you. + + ANOTHER GIRL + Is there a song about Charlie? + + Kane has broken into "Oh, Mr. Kane!" and Charlie and the girls + start to sing. Ethel leads the unhappy Leland over to the + group. Kane, seeing Leland and taking his eye, motions to the + professor who has been standing next to him to take over. The + professor does so. The singing continues. Kane rises and + crosses to Leland. + + KANE + Say, Brad. + (draws him slightly + aside) + I've got an idea. + + LELAND + Yes? + + KANE + I mean I've got a job for you. + + LELAND + Good. + + KANE + You don't want to be a war + correspondent - how about being a + dramatic critic? + + LELAND + (sincerely, but not + gushing; seriously) + I'd like that. + + Kane starts quietly to dance in time to the music. Leland + smiles at him. + + KANE + You start tomorrow night. Richard + Carl in "The Spring Chicken." + (or supply show) + I'll get us some girls. You get + tickets. A drama critic gets them + free, you know. + (grins) + Rector's at seven? + + LELAND + Charlie - + + KANE + Yes? + + LELAND + (still smiling) + It doesn't make any difference + about me, but one of these days + you're going to find out that all + this charm of yours won't be enough - + + KANE + (has stopped dancing) + You're wrong. It does make a + difference to you - Rector's, + Brad? + (starts to dance + again) + Come to think of it, I don't blame + you for not wanting to be a war + correspondent. You won't miss + anything. It isn't much of a war. + Besides, they tell me there isn't + a decent restaurant on the whole + island. + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. RECTOR'S - NIGHT - + + Leland, Kane, two young ladies at Rector's. Popular music is + heard over the soundtrack. Everybody is laughing very, very + hard at something Kane has said. The girls are hysterical. + Kane can hardly breathe. As Leland's laughter becomes more + and more hearty, it only increases the laughter of the others. + + DISSOLVE: + + EXT. CUNARD LOCKS - GANGPLANK AND DECK OF BOAT - NIGHT - + + As told by Bernstein. Kane is calling down to Leland and + Bernstein (as before). + + KANE + You don't expect me to keep any of + those promises, do you? + + A band on deck strikes up "Auld Lang Syne" and further ship-to- + shore conversation is rendered unfeasible. + + Bernstein and Leland on deck. + + BERNSTEIN + (turns to Leland) + Do you, Mr. Leland? + + LELAND + (smiling) + Certainly not. + + Slight pause. They continue on their way. + + BERNSTEIN + Mr. Leland, why didn't you go to + Europe with him? He wanted you + to. He said to me just yesterday - + + LELAND + I wanted him to have fun - and + with me along - + + This stops Bernstein. Bernstein looks at him. + + LELAND + Mr. Bernstein, I wish you'd let me + ask you a few questions, and answer + me truthfully. + + BERNSTEIN + Don't I always? Most of the time? + + LELAND + Mr. Bernstein, am I a stuffed shirt? + Am I a horse-faced hypocrite? Am + I a New England school-marm? + + BERNSTEIN + Yes. + + Leland is surprised. + + BERNSTEIN + If you thought I'd answer different + from what Mr. Kane tells you - + well, I wouldn't. + + LELAND + (good naturedly) + You're in a conspiracy against me, + you two. You always have been. + + BERNSTEIN + Against me there should be such a + conspiracy some time! + + He pauses. "Auld Lang Syne" can still be heard from the deck + of the department steamer. + + BERNSTEIN + (with a hopeful + look in his eyes) + Well, he'll be coming back in + September. The Majestic. I got + the reservations. It gets in on + the ninth. + + LELAND + September the ninth? + + Leland puts his hand in his pocket, pulls out a pencil and + small engagement book, opens the book and starts to write. + + Leland's pencil writing on a page in the engagement book open + to September 9: "Rector's - 8:30 p.m." + + DISSOLVE: + + Front page "Enquirer." Large picture of the young couple - + Kane and Emily - occupying four columns - very happy. + + EXT. HOSPITAL ROOF - DAY - + + Leland and Thompson. Leland is speaking as we dissolve. + + LELAND + I used to go to dancing school + with her. + + Thompson had handed Leland a paper. + + LELAND + What's this? + + THOMPSON + It's a letter from her lawyers. + + LELAND + (reading aloud from + the letter) + David, Grobleski & Davis - My + dear Rawlston - + (looks up) + + THOMPSON + Rawlston is my boss. + + LELAND + Oh, yes. I know about Mr. Rawlston. + + THOMPSON + He knows the first Mrs. Kane + socially - That's the answer we + got. + + LELAND + (reading) + I am in receipt of your favor of + yesterday. I beg you to do me the + courtesy of accepting my assurance + that Mrs. Whitehall cannot be + induced to contribute any more + information on the career of Charles + Foster Kane. + + She has authorized me to state on previous occasions that she + regards their brief marriage as a distateful episode in her + life that she prefers to forget. With assurances of the highest + esteem - Leland hands the paper back to Thompson. + + LELAND + Brief marriage! Ten years! + (sighs) + + THOMPSON + Was he in love? + + LELAND + He married for love - + (a little laugh) + That's why he did everything. + That's why he went into politics. + It seems we weren't enough. He + wanted all the voters to love him, + too. All he really wanted out of + life was love. That's Charlie's + story - it's the story of how he + lost it. You see, he just didn't + have any to give. He loved Charlie + Kane, of course, very dearly - and + his mother, I guess he always loved + her. As for Emily - well, all I + can tell you is Emily's story as + she told it to me, which probably + isn't fair - there's supposed to + be two sides to every story - and + I guess there are. I guess there's + more than two sides - + + DISSOLVE OUT: + + DISSOLVE IN: + + Newspaper - Kane's marriage to Emily with still of group on + White House lawn, same setup as early newsreel in News Digest. + + DISSOLVE: + + Screaming headline: OIL SCANDAL! + + DISSOLVE: + + Headline reading: KANE TO SEE PRESIDENT + + DISSOLVE: + + Big headline on "Enquirer" front page which reads: KANE TO SEE + PRESIDENT + + Under this, one of those big box signed editorials, typical of + Kane, illustrated, on subject of the power of the president, + expressed in about nine different cases of type, and illustrated + by a cartoon of the White House, on which camera tightens, as + we - + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. THE WHITE HOUSE - THE PRESIDENT'S EXECUTIVE OFFICE - DAY - + + This scene is shot so as never to show the President - or at + least never his face. There is present the President's + Secretary, sitting on one side of the desk, intently taking + notes. Kane is on his feet, in front of the desk, tense and + glaring. + + THE PRESIDENT + It is the unanimous opinion of my + Cabinent - in which I concur - + that the proposed leases are in + the best interests of the + Governement and the people. + (pauses) + You are not, I hope, suggesting + that these interests are not + indentical? + + KANE + I'm not suggesting anything, Mr. + President! I've come here to tell + you that, unless some action is + taken promptly - and you are the + only one who can take it - the oil + that is the property of the people + of this country will be turned + over for a song to a gang of high- + pressure crooks! + + THE PRESIDENT + (calmly) + I must refuse to allow you to + continue in this vein, Mr. Kane. + + KANE + (screaming) + It's the only vein I know. I tell + the facts the way I see them. And + any man that knows that facts - + + THE PRESIDENT + I know the facts, Mr. Kane. And I + happen to have the incredible + insolence to differ with you as to + what they mean. + (pause) + You're a man of great talents, Mr. + Kane. + + KANE + Thanks. + + THE PRESIDENT + I understand that you have political + ambitions. Unfortunately, you + seem incapable of allowing any + other opinion but your own - + + KANE + (building to a frenzy) + I'm much obliged, Mr. President, + for your concern about me. However, + I happen to be concerned at this + moment with the matter of extensive + oil lands belonging to the people + of the United States, and I say + that if this lease goes through, + the property of the people of the + United States goes into the hands + of - + + THE PRESIDENT + (interrupting) + You've made your point perfectly + clear, Mr. Kane. Good day. + + The Secretary rises. Kane, with every bit of will power + remotely at his disposal to control what might become an + hysterical outburst, manages to bow. + + KANE + Mr. President. + + He starts out of the office. + + DISSOLVE: + + INT. COMPOSING ROOM - ENQUIRER - NIGHT - + + Kane, Reilly, Leland and a composing room Foreman, in working + clothes, bending over a table with several forms of type. + They are looking, at this moment, at a made-up headline - but + Kane's back is in the way ... so we can't read it. + + FOREMAN + How about it, Mr. Kane? + + Reilly glances at his wrist watch and makes a face. Kane smiles + as he notices this. + + KANE + All right. Let her slide! + + He turns away, and we can now read the headline. + + Insert of the headline, which reads: "OIL THEFT BECOMES LAW AS + PRESIDENT WITHOLDS VETO" + + DISSOLVE: + + Here follows a quick montage (presently to be worked out) of + no more than four or five images in which the President, by + means of cartoons, editorials, headlines (all faithfully + reproduced from period yellow journalism) is violently attacked. + The montage ends on the word TREASON. The music cuts. + + A hand reaches in a side pocket which contains a newspaper - + recognizably the "Enquirer." The hand removes a gun. The gun + is shot. Many arms seize the hand which is pulled up - gun + still firing. As the arm is raised in the air, we see that + the other arms holding the arm and struggling with it are + uniformed, and we see the White House beyond. + + DISSOLVE: + + News ticker which is spelling out the words: "ASSASSINATED + 7:45 P.M." + + NOTE: Under the following - a down shot, below the "Enquirer," + shows a crowd forming, looking angrily up toward the camera. + Crowd noises on the soundtrack under music. + + A hand snatches the ticker tape away and as the image of the + crowd dissolves out, we pull back to show: + + INT. OF KANE'S OFFICE - NIGHT - + + The ticker tape is in Reilly's hand. Reilly has a phone to + his ear. + + REILLY + Looks bad for us, Mr. Kane. How + shall we handle it? + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. GEORGIE'S PLACE - + + Kane in shirtsleeves at phone. + + KANE + It's a news story! Get it on the + street! + + DISSOLVE: + + Headline under "Enquirer" masthead which reads: + + "PRESIDENT ASSASSINATED" + + Newsboy is crying the headline at the same time. We pull back + to show him and - + + DISSOLVE: + + INT. THEATRE - NIGHT + + The camera is in tight on a box which contains Emily and + distinguished elderly ladies and gentlemen, obviously family + and friends. On the soundtrack, very limpid opera music. + Another elderly gent, in white tie but still wearing an + overcoat, comes into the box and whispers to Emily. He has a + copy of the "Enquirer" in his hand. Emily rises. He shows + the paper to her. + + DISSOLVE: + + EXT. STREET OUTSIDE ENQUIRER BUILDING - NIGHT - + + An angry crowd seen from the window of Kane's office. They + make a deep threatening sound which is audible during the + following scene. Across the heads of the crowd are two great + squares of light from the windows above them. One of these + disappears as the blind is pulled. As the dissolve completes + itself, the second square of light commences to reduce in size, + and then the entire street is cut off by a blind which Leland + pulls down, covering the entire frame. + + INT. KANE'S OFFICE - ENQUIRER - NIGHT - + + The staff standing around, worried to death, in their + shirtsleeves. + + KANE + (to Reilly) + Take dictation - Front page + editorial - "This afternoon a + great man was assassinated. He + was the President of the United + States -" + + LELAND + Charlie - + + KANE + Yes? + + LELAND + Do you think you're the one who + should call him a great man? + + KANE + Why not? + + LELAND + Why not? Well - nobody's a great + man in your estimation until he's + dead. + + REILLY + (quickly) + Maybe we'd better wait for more + word on the President's condition. + + KANE + (still looking at + Leland) + What do you mean by that? + + LELAND + (quietly) + Competition. + + REILLY + He may recover - + + KANE + (still holding on + Leland) + What do you mean by that? + + LELAND + (steadily) + Yesterday morning you called the + President a traitor. What do you + think that crowd is doing down + there? They think you murdered + him. + + KANE + Because the crackpot who did it + had a copy of the "Enquirer" in + his pocket? + + LELAND + - and that copy of the "Enquirer" + said the President should be killed. + + KANE + I said treason was a capital offense + punishable by death - + + LELAND + You've said a lot of things about + the President in the last few + months. + + KANE + They're true! Everything I said! + Witholding that veto was treason! + + LELAND + (interrupting) + Charlie! + + KANE + (riding over him) + Oil belonging to the people of the + United States was leased out for a + song to a gang of high-pressure + crooks - Nobody can blame me + because - + + LELAND + Look out that window. + + Kane stops - looks at him. + + LELAND + There are the people of the United + States, and they are blaming you - + Oh, I know it doesn't make any + sense, but at least you can learn + a lesson from it. + + KANE + (snarling) + What lesson? Not to expose fraud + when I see it? Not to fight for + the right of the people to own + their own property? + (he turns to Reilly) + Run it the way I said, Reilly - + "This afternoon a great man was + assassinated -" + + LELAND + Charlie! Now you're not making + sense. + + KANE + (sharply) + I don't have to. I run a newspaper + with half a million readers and + they're getting a martyred president + this morning with their breakfast. + I can't help that. Besides, they + all know I'm married to his niece. + I've got to think of her. + + LELAND + What? + + KANE + I've got to think of Emily - + + LELAND + (after a silence) + I'd like to talk to you about that. + + KANE + Go ahead. + + Leland looks back at Kane, is conscious of the boys standing + around. + + LELAND + Finish your editorial. + + Leland walks out in to the City Room. More staff members in + shirt sleeves in a state of panic. Leland goes to his desk, + takes out a bottle, pours himself a very stiff drink. A door + opens. A Policeman enters with Bernstein. Bernstein is badly + battered. The boys crowd around. + + LELAND + (worried) + What's happened? + + BERNSTEIN + (smiling) + I'm all right, Mr. Leland. Only + there was some fellows out front + that thought they ought to take + things up with me. I learned 'em! + Didn't I, officer? + + THE COP + (grinning) + You sure did - Say, the + Commissioner said I was to stand + by and protect Mr. Kane until + further orders, no matter how he + felt about it. Where is he? + + LELAND + (finishing his drink) + In there. + + BERNSTEIN + If you hadn't come along and + protected me when you did, I'd + have killed them fellows. + + LELAND + (pouring himself + another drink) + Go and get yourself washed up, Mr. + Bernstein. + (he looks his face + over thoroughly) + There doesn't seem to be an serious + injury. + + BERNSTEIN + Not to me. But you will let that + cop go home with Mr. Kane, won't + you? + + LELAND + Yes, Mr. Bernstein. + + Bernstein leaves the picture with sympathetic attendance. + Leland finishes his second drink. + + DISSOLVE: + + INT. KANE'S OFFICE - NIGHT - + + The bottle is finished. The door in the Sanctrum opens. Reilly + and the others leave. + + REILLY + (as they go) + Goodnight, Mr. Kane. + + Kane stands in the door, waiting for Leland. Leland gets up + and moves toward the office - goes in, sits down across from + Kane at the desk. An uncomfortable pause. Then Kane smiles + ingratiatingly. Leland tries to cope with this. + + LELAND + First of all - + (he can't go on) + + KANE + (not cruelly - + genuinely kind) + What's wrong, Brad? + + LELAND + I'm drunk. + + KANE + I'll get you some coffee. + + He rises and goes to the door. + + LELAND + First of all, I will not write a + good review of a play because + somebody paid a thousand dollars + for an advertisement in the + "Enquirer." + + KANE + (gently - opening + the door) + That's just a little promotion + scheme. Nobody expects you - + (calling) + Mike, will you try and get Mr. + Leland some coffee? + + MIKE'S VOICE + Sure thing, Mr. Kane. + + Kane turns back to Leland. Leland doesn't look up at him. + + LELAND + Charlie, it's just no go. We can't + agree anymore. I wish you'd let + me go to Chicago. + + KANE + Why, Brad? + + LELAND + I want to be transferred to the + new paper. You've been saying + yourself you wish you had somebody + to - + (he is heartsick, + inarticulate) + That's not what I wanted to talk + about. + + Kane goes around behind the desk and sits down. + + KANE + I'll tell you what I'll do, Brad - + I'll get drunk, too - maybe that'll + help. + + LELAND + No, that won't help. Besides, you + never get drunk. I wanted to talk + about you and Emily. + + Kane looks at Leland sharply before he speaks. + + KANE + (quietly) + All right. + + LELAND + (without looking at + him) + She's going to leave you - + + KANE + I don't think so, Brad. We've + just had word that the President + is out of danger. + (ruefully) + It seems I didn't kill him after + all. + + LELAND + (takes his eye) + She was going to leave you anyway - + + Kane takes this in. + + LELAND + Emily's going south next week with + the child. As far as anybody's to + know, it's a holiday. When they + get back - + + KANE + (sharply) + Brad, you are drunk. + + LELAND + Sure I am. She wants full custody + of the child no matter what happens. + If you won't agree to that, she'll + apply for a divorce regardless of + the President's wishes. I can't + tell her she's wrong, because she + isn't wrong - + + KANE + Why is she leaving me? + + LELAND + (it's very hard for + him to say all + this) + She hasn't any friends left sine + you started this oil business, and + she never sees you. + + KANE + Do you think the "Enquirer" + shouldn't have campaigned against + the oil leases? + + LELAND + (hesitating) + You might have made the whole thing + less personal! + + No answer from Kane. + + LELAND + It isn't just that the President + was her uncle - everyone she knows, + all the people she's been brought + up with, everything she's ever + been taught to believe is important - + + Still no answer from Kane. + + LELAND + There's no reason why this - this + savage personal note - + + KANE + The personal note is all there is + to it. It's all there ever is to + it. It's all there every is to + anything! Stupidity in our + government, complacency and self- + satisfaction and unwillingness to + believe that anything done by a + certain class of people can be + wrong - you can't fight those things + impersonally. They're not + impersonal crimes against people. + They're being done by actual persons - + with actual names and positions + and - the right of the American + people to own their own country is + not an academic issue, Brad, that + you debate - and then the judges + retire to return a verdict and the + winners give a dinner for the + losers. + + LELAND + You almost convince me. + (rising) + I'm just drunk enough to tell you + the truth. I have to be a little + drunk for that because I'm a coward. + You know that. That's why you + keep me around. + (smiles) + You only associate with your + inferiors, Charlie. I guess that's + why you ran away from Emily. + Because you can't stand the company + of your equals. You don't like to + admit they exist - the other big + people in your world are dead. + I told you that. + + Kane looks at Leland, but Leland can't be stopped now. He + speaks very quietly - no poison in his voice - no personal + indignation - as though he were explaining the nature of a + disease. + + LELAND + You talk about the people of the + United States as though they + belonged to you. When you find + out they don't think they are, + you'll lose interest. You talk + about giving them their rights as + though you could make a present of + liberty. Remember the working + man? You used to defend him quite + a good deal. Well, he's turning + into something called organized + labor and you don't like that at + all. And listen, when your precious + underprivileged really get together - + that's going to add up to something + bigger than - than your privilege + and then I don't know what you'll + do - sail away to a desert island, + probably, and lord it over the + monkeys. + + KANE + Are you finished? + + LELAND + Yes. + (looking down) + Now, will you let me go to Chicago? + + KANE + (with a little smile) + You're not going to like it in + Chicago. They wind comes howling + in from the lake. And there's + practically no opera season at all - + and the Lord only knows whether + they've ever heard of Lobster + Newburg - + + LELAND + That's all right. + (he won't be charmed + out of his duty) + What are you going to do about + Emily? + + KANE + (his face hardning + a little) + Nothing - if she dosen't love me - + + Leland has risen. He speaks as he turns away, starting towards + the door. + + LELAND + You want love on your own terms, + don't you, Charlie - + (he stops - his + back turned to + Kane) + Love according to your own rules. + And if anything goes wrong and + you're hurt - then the game stops, + and you've got to be soothed and + nursed, no matter what else is + happening - and no matter who else + is hurt! + + KANE + It's simpler than that, Brad. A + society girl can't stand the gaff, + that's all. Other things are + important to her - social position, + what they're saying on the front + porches at Southampton, is it going + to be embarrassing to meet somebody + or the other at dinner - + + Leland has turned, taking his eye again. Now Kane stops and + smiles. + + KANE + She can leave me. As a matter of + fact, I've already left her. Don't + worry, Brad - I'll live. + + LELAND + I know you will. + + KANE + (with all his charm) + Hey, Brad! I've been analyzed an + awful lot tonight - let's have + another brandy. + + Leland shakes his head. Kane lifts his glass. + + KANE + To love on my terms. Those are + the only terms anybody knows ... + his own. + + DISSOLVE: + + EXT. ENQUIRER BUILDING - NIGHT - + + Kane, Leland, and a couple of policemen make their way out of + the front toward a hansom cab. + + A VOICE FROM THE CROWD + You moiderer! + + A rock is thrown. It hits Leland on the face. A little blood + flows. Kane doesn't see it at first. Then when he's in the + hansom cab, he turns and notices it. + + KANE + Are you hurt? + + Leland has a handkerchief to his face. + + LELAND + No. I wish you'd go home to Emily. + She'll be pretty upset by all this - + She still loves you - + + The crowd, pushed by the cops, retreats in the background, but + still hard by. + + KANE + You still want to be transferred + to the other paper? + + LELAND + Yes. + + KANE + (leaning out of the + hansom cab) + Well, you've been getting a pretty + low salary here in New York. It + seems to me that the new dramatic + critic of our Chicago paper should + get what he's worth. + (almost as a question) + + LELAND + (with handkerchief + still attached to + his face) + I couldn't possibly live on as + little as that, Charlie. We'll + let the salary stay where it is. + + The hansom cab starts up. We hold on Leland's face as we + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. KANE'S NEW YORK HOME - KANE'S BEDROOM - EARLY MORNING - + + Emily is in bed, a damp cloth over her temples. Kane is + standing at the foot of the bed. The baby's bed is in a corner + of the room. The baby's nurse is standing near the crib, a + nurse for Emily is near her. Kane is looking fixedly on Emily, + who is staring tiredly at the ceiling. + + KANE + (to the nurse) + Excuse us a moment, please. + + The nurse looks at Emily. + + KANE + (peremptorily) + I said, excuse us a moment. + + The nurse, unwilling, leaves. + + KANE + I've been talking to Leland. Emily - + You can't leave me now - not now - + + Silence. + + KANE + It isn't what it would do to my + changes in politics, Emily - That + isn't it - They were talking of + running me for governor, but now, + of course, we'll have to wait - + It isn't that, Emily - It's just - + the president is your uncle and + they're saying I killed him. + + Still silence. + + KANE + That story about the murderer having + a copy of the "Enquirer" in his + pocket - the "Chronicle" made that + up out of whole cloth - Emily, + please - He's going to be all right, + you know, he's going to recover - + (bitterly) + If it will make you any happier, + we had nine pages of advertising + cancelled in the first mail this + morning. Bernstein is afraid to + open any more letters. He - + + He stops. He sees that he's getting no place with Emily. + + KANE + (exasperated) + What do you expect me to do? What + in the world - + + EMILY + (weakly) + Charles. + + He waits for her to continue. + + EMILY + Do you really think - + (she can't continue) + Those threatening letters, can + they really - + + She sits up and looks at the crib. She almost continues to + look at the crib, with almost unseeing eyes. + + KANE + (uncomfortably) + They won't do anything to Junior, + darling. + (contemptuously) + Anonymous letter writers - I've + got guards in front of the house, + and I'm going to arrange - + + EMILY + (turning her face + toward him) + Please don't talk any more, Charles. + + Kane is about to say something, but bites his lips instead. + Emily keeps staring at him. + + EMILY + Have they heard from father yet? + Has he seen - + + KANE + I've tried to tell you, Emily. + The President's going to be all + right. He had a comfortable night. + There's no danger of any kind. + + Emily nods several times. There is an uncomforable silence. + Suddenly there is a cry from the crib. Emily leaps from the + bed and rushes to him. She bends over the crib. + + EMILY + (murmuring) + Here I am, darling... Darling!... + Darling, it's all right... Mother's + here. + + KANE + Emily - you musn't leave me now - + you can't do that to me. + + EMILY + They won't hurt you, darling. + Mother's with you! Mother's looking + after you! + + Kane, unwanted, ignored, looks on. Tightening his lips, he + walks out. + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. KANE'S OFFICE - NIGHT + + By the desk light, Kane is seen working with his usual + intensity, Reilly standing beside him at the desk. + + KANE + We'll withdraw support completely. + Anything else? + + REILLY + Mr. Leland sent back that check. + + KANE + What check? + + REILLY + You made it out to him last week + after he left for Chicago. + + KANE + Oh, yes, the bonus. + + REILLY + It was for twenty-five thousand + dollars. + + Kane is perplexed and worried, but we can see in a moment his + mind will be on something else. + + REILLY + He sent it back torn up - all torn + up into little bits, and he enclosed + something else - I can't make it + out. + + Kane doesn't answer. Reilly goes on. He has brought out a + piece of paper and is reading it. + + REILLY + It says here, "A Declaration of + Principles" - + (he still reads) + "I will provide the people of this + city with a daily paper that will + tell all the news honestly" - + + Kane has looked up sharply. Reilly, sensing his look, stops + reading and meets his eye. Slowly, Kane reaches out his hand. + Reilly hands him the piece of paper. Without reading it, Kane + tears it up, throws it into the wastebasket at his side. + + DISSOLVE: + + INT. MADISON SQUARE GARDEN - NIGHT - + + The evening of the final great rally. These shots remind us + of and are identical with and supplementary to the "News Digest" + scenes earlier. The vast auditorium with a huge picture of + Kane, cheering crowds, etc. Emily and Junior are to be seen + in the front of a box. Emily is tired and wears a forced smile + on her face. Junior, now aged nine and a half, is eager, bright- + eyed and excited. Kane is just finishing his speech. + + KANE + It is no secret that I entered + upon this campaign with no thought + that I could be elected Governor + of this state! It is now no secret + that every straw vote, every + independent pole, shows that I + will be elected. And I repeat to + you - my first official act as + Governor will be to appoint a + special District Attorney to arrange + for the indictment, prosecution + and conviction of Boss Edward G. + Rogers! + + Terrific screaming and cheering from the audience. + + DISSOLVE OUT: + + INT. MADISON SQUARE GARDEN - NIGHT - + + The Speaker's Platform. Numerous officials and civic leaders + are crowding around Kane. Cameramen take flash photographs + with old-fashioined flash powder. + + FIRST CIVIC LEADER + Great speech, Mr. Kane. + + SECOND LEADER + (pompous) + One of the most notable public + utterances ever made by a candidate + in this state - + + KANE + Thank you, gentlemen. Thank you. + + He looks up and notices that the box in which Emily and the + boy were sitting is now empty. He starts toward the rear of + the platform, through the press of people, Reilly approaches + him. + + REILLY + A wonderful speech, Mr. Kane. + + Kane pats him on the shoulder as he walks along. + + REILLY + I just got word from Buffalo, Mr. + Kane. They're going to throw you + the organization vote - and take a + chance maybe you'll give them a + break - + + This is said almost inquiringly, as if he were hoping that + Kane would give him some assurance that McDonald is not making + a mistake. There is no answer from Kane. + + REILLY + On an independent ticket there's + never been anything like it! If + the election were held today, you'd + be elected by a hundred thousand + votes - and every day between now + and November 7th is just going to + add to your majority. + + Kane is very pleased. He continues with Reilly slowly through + the crowd - a band playing off. Bernstein joins him. + + KANE + It does seem too good to be true, + doesn't it, Mr. Bernstein? + + REILLY + Rogers isn't even pretending. He + isn't just scared anymore. He's + sick. Frank Norris told me last + night he hasn't known Rogers to be + that worried in twenty-five years. + + KANE + I think it's beginning to dawn on + Mr. Rogers that I mean what I say. + With Mr. Rogers out of the way, + Reilly, I think we may really begin + to hope for a good government in + this state. + (stopping) + Well, Mr. Bernstein? + + BERNSTEIN + (clearly not meaning + it) + It's wonderful, Mr. Kane. + Wonderful. Wonderful. + + KANE + You don't really think so? + + BERNSTEIN + I do. I do. I mean, since you're + running for Governor - and you + want to be elected - I think it's + wonderful you're going to be + elected. Only - + (interrupts himself) + - Can I say something? + + KANE + Please, Mr. Bernstein. + + BERNSTEIN + Well, the way I look at it - + (comes out with it) + - You want to know what I really + think would be wonderful? + + Kane indicates he is to proceed. + + BERNSTEIN + Well, you're running for Governor + and going to be elected - my idea + is how wonderful it would be if + you don't run at all and don't get + elected. + + DISSOLVE: + + EXT. ONE OF THE EXITS - MADISON SQUARE GARDEN - NIGHT - + + Emily and Junior are standing, waiting for Kane. + + JUNIOR + Is Pop Governor yet, Mom? + + Just then, Kane appears, with Reilly and several other men. + Kane rushes toward Emily and Junior, as the men politely greet + Emily. + + KANE + Hello, Butch! Did you like your + old man's speech? + + JUNIOR + Hello, Pop! I was in a box. I + could hear every word. + + KANE + I saw you! + (he has his arm + around Junior's + shoulder) + Good night, gentlemen. + + There are good nights. Kane's car is at the curb and he starts + to walk toward it with Junior and Emily. + + EMILY + I'm sending Junior home in the + car, Charles - with Oliver - + + KANE + But I'd arranged to go home with + you myself. + + EMILY + There's a call I want you to make + with me, Charles. + + KANE + It can wait. + + EMILY + No, it can't. + (she bends down and + kisses Junior) + Good night, darling. + + JUNIOR + Good night, Mom. + + The driver is holding the rear door open as Emily guides Junior + in. + + KANE + (as car starts to + drive off) + What's this all about, Emily? + I've had a very tiring day and - + + EMILY + It may not be about anything at + all. + + A cab has pulled up. + + THE DRIVER + Cab? + + Emily nods to him. + + EMILY + I intend to find out. + + KANE + I insist on being told exactly + what you have in mind. + + EMILY + I'm going to - + (she looks at a + slip of paper in + her hand) + - 185 West 74th Street. + + Kane's reaction indicates that the address definitely means + something to him. + + EMILY + If you wish, you can come with + me... + + Kane nods. + + KANE + I'll go with you. + + He opens the door and she enters the cab. He follows her. + + DISSOLVE: + + INT. CAB - NIGHT - + + Kane and Emily. He looks at her, in search of some kind of + enlightenment. Her face is set and impassive. + + DISSOLVE: + + EXT. AND INT. APARTMENT HOUSE HALLWAY - NIGHT - + + Kane and Emily, in front of an apartment door. Emily is + pressing the bell. + + KANE + I had no idea you had this flair + for melodrama, Emiliy. + + Emily does not answer. The door is opened by a maid, who + recognizes Kane. + + THE MAID + Come in, Mr. Kane, come in. + + They enter, Emily first. + + INT. SUSAN'S APARTMENT - NIGHT - + + There is first a tiny reception room, through which an open + door shows the living room. Kane and Emily enter from the + hallway and cross to the living room. As they enter, Susan + rises from a chair. The other person in the room - a big, + heavyset man, a little past middle age - stays where he is, + leaning back in his chair, regarding Kane intently. + + SUSAN + It wasn't my fault, Charlie. He + made me send your wife a note. + He said I'd - oh, he's been saying + the most terrible things, I didn't + know what to do... I - + (she catches sight + of Emily) + + ROGERS + Good evening, Mr. Kane. + (he rises) + I don't suppose anybody would + introduce us. Mrs. Kane, I am + Edward Rogers. + + EMILY + How do you do? + (pauses) + I came here - and I made Mr. Kane + come with me... + (she consults the + note in her hand + without reading it + again) + because I recieved this note - + + ROGERS + I made Miss - Miss Alexander send + you the note. She was a little + unwilling at first - + (he smiles grimly) + but she did it. + + SUSAN + I can't tell you the things he + said, Charlie. You haven't got + any idea - + + KANE + (turning on Rogers) + Rogers, I don't think I will + postpone doing something about you + until I'm elected. + (he starts toward + him) + To start with, I'll break your + neck. + + ROGERS + (not giving way an + inch) + Maybe you can do it and maybe you + can't, Mr. Kane. + + EMILY + Charles! + (he stops to look + at her) + Your - your breaking this man's + neck - + (she is clearly + disgusted) + would scarcely explain this note - + (glancing at the + note) + Serious consequences for Mr. Kane - + (slowly) + for myself, and for my son. What + does this note mean, Miss - + + SUSAN + (stiffly) + I'm Susan Alexander. + (pauses) + I know what you think, Mrs. Kane, + but - + + EMILY + (ignoring this) + What does this note mean, Miss + Alexander? + + ROGERS + She doesn't know, Mrs. Kane. She + just sent it - because I made her + see it wouldn't be smart for her + not to send it. + + KANE + In case you don't know, Emily, + this - this gentleman - + (he puts a world of + scorn into the + word) + is - + + ROGERS + I'm not a gentleman, Mrs. Kane, + and your husband is just trying to + be funny calling me one. I don't + even know what a gentleman is. + (tensely, with all + the hatred and + venom in the world) + You see, my idea of a gentleman, + Mrs. Kane - well, if I owned a + newspaper and if I didn't like the + way somebody else was doing things - + some politican, say - I'd fight + them with everything I had. Only + I wouldn't show him in a convict + suit, with stripes - so his children + could see the picture in the paper. + Or his mother. + (he has to control + himself from hurling + himself at Kane) + It's pretty clear - I'm not a + gentleman. + + EMILY + Oh!! + + KANE + You're a cheap, crooked grafter - + and your concern for your children + and your mother - + + ROGERS + Anything you say, Mr. Kane. Only + we're talking now about what you + are. That's what the note is about, + Mrs. Kane. Now I'm going to lay + all my cards on the table. I'm + fighting for my life. Not just my + political life. My life. If your + husband is elected governor - + + KANE + I'm going to be elected governor. + And the first thing I'm going to + do - + + EMILY + Let him finish, Charles. + + ROGERS + I'm protecting myself every way I + know how, Mrs. Kane. This last + week, I finally found out how I + can stop your husband from being + elected. If the people of this + state learn what I found out this + week, he wouldn't have a chance to - + he couldn't be elected Dog Catcher. + Well, what I'm interested in is + seeing that he's not elected. I + don't care whether they know what + I know about him. Let him keep + right on being the Great, Noble, + Moral - + (he stresses the + world) + Champeen of the people. Just as + long as - + + EMILY + I think I understand, Mr. Rogers, + but wonder if - + (she leaves her + sentence unfinished) + + KANE + You can't blackmail me, Rogers, + you can't - + + SUSAN + (excitedly) + Charlie, he said, unless you + withdrew your name - + + ROGERS + That's the chance I'm willing to + give you, Mr. Kane. More of a + chance than you'd give me. Unless + you make up your mind by tomorrow + that you're so sick that you've + got to go away for a year or two - + Monday morning every paper in this + State will carry the story I'm + going to give them. + + Kane starts to stare at him intently. + + EMILY + What story, Mr. Rogers? + + ROGERS + The story about him and Miss + Alexander, Mrs. Kane. + + Emily looks at Kane. + + SUSAN + There is no story. It's all lies. + Mr. Kane is just - + + ROGERS + (to Susan) + Shut up! + (to Kane) + I've had a dozen men doing nothing + but run this thing down - we've + got evidence enough to - well, the + evidence would stand up in any + court of law. You want me to give + you the evidence, Mr. Kane? + + KANE + You do anything you want to do. + The people of this state can decide + which one of us to trust. If you + want to know, they've already + decided. The election Tuesday'll + be only - + + ROGERS + Mrs. Kane, I'm not asking you to + believe me. I'd like to show you - + + EMILY + You don't have to show me anything, + Mr. Rogers. I believe you. + + ROGERS + I'd rather Mr. Kane withdrew without + having to get the story published. + Not that I care about him. But + I'd be better off that way - + (he pauses) + - and so would you, Mrs. Kane. + + SUSAN + What about me? + (to Kane) + He said my name'd be dragged through + the mud. He said everywhere I'd + go from now on - + + EMILY + There seems to be only one decision + you can make, Charles. I'd say + that it has been made for you. + (pauses) + I suppose the details can be + arranged tomorrow, Mr. Rogers. + About the statements by the doctors - + + KANE + Have you gone completely mad, Emily? + + Emily looks at him. + + KANE + You don't think I'm going to let + this blackmailer intimidate me, do + you? + + EMILY + I don't see what else you can do, + Charles. If he's right - and the + papers publish this story he has - + + KANE + Oh, they'll publish it all right. + But that's not going to stop me - + + EMILY + Charles, this - this story - doesn't + concern only you. I'll be in it, + too, won't I? + (quickly) + And Junior? + + KANE + (squirming a bit) + I suppose so, but - I'm not afraid + of the story. You can't tell me + that the voters of this state - + + EMILY + I'm not interested in the voters + of this state right now. I am + interested in - well, Junior, for + one thing. + + SUSAN + Charlie! If they publish this + story - + + EMILY + They won't. Goodnight, Mr. Rogers. + (she starts out) + There's nothing more to be said, + Charles. + + KANE + Oh yes, there is. + + EMILY + I don't think so. Are you coming, + Charles? + + KANE + No. + + She looks at him. He starts to work himself into a rage. + + KANE + There's only one person in the + world to decide what I'm going to + do - and that's me. And if + you think - if any of you think - + + EMILY + You decided what you were going to + do, Charles - some time ago. + (she looks at Susan) + You can't always have it your own + way, regardless of anything else + that may have happened. + (she sighs) + Come on, Charles. + + KANE + Go on! Get out! I can fight this + thing all alone! + + ROGERS + You're making a bigger fool of + yourself than I thought you would, + Mr. Kane. You're licked. Why + don't you - + + KANE + (turning on him) + Get out! I've got nothing to talk + to you about. If you want to see + me, have the Warden write me a + letter. + + ROGERS + I see! + (he starts toward + the door) + + SUSAN + (starting to cry) + Charlie, you're just excited. You + don't realize - + + KANE + I know exactly what I'm doing. + (he is screaming) + Get out! + + EMILY + (quietly) + Charles, if you don't listen to + reason, it may be too late - + + KANE + Too late for what? Too late for + you and this - + (he can't find the + adjective) + this public thief to take the love + of the people of this state away + from me? Well, you won't do it, I + tell you. You won't do it! + + SUSAN + Charlie, there are other things to + think of. + (a sly look comes + into her eyes) + Your son - you don't want him to + read in the papers - + + EMILY + It is too late now, Charles. + + KANE + (rushes to the door + and opens it) + Get out, both of you! + + SUSAN + (rushes to him) + Charlie, please don't - + + KANE + What are you waiting here for? + Why don't you go? + + EMILY + Goodnight, Charles. + + She walks out. Rogers stops as he gets directly in front of + Kane. + + ROGERS + You're the greatest fool I've ever + known, Kane. If it was anybody + else, I'd say what's going to happen + to you would be a lesson to you. + Only you're going to need more + than one lesson. And you're going + to get more than one lesson. + (he walks past Kane) + + KANE + Don't you worry about me. I'm + Charles Foster Kane. I'm no cheap, + crooked politician, trying to save + himself from the consequences of + his crimes - + + INT. APARTMENT HOUSE HALLWAY - NIGHT - + + Camera angling toward Kane from other end of the hall. Rogers + and Emily are already down the hall, moving toward foreground. + Kane in apartment doorway background. + + KANE + (screams louder) + I'm going to send you to Sing Sing, + Rogers. Sing Sing! + + Kane is trembling with rage as he shakes his fist at Rogers's + back. Susan, quieter now, has snuggled into the hollow of his + shoulder as they stand in the doorway. + + DISSOLVE: + + The "Chronicle" front page with photograph (as in the "News + Digest") revealing Kane's relations with Susan. + + DISSOLVE OUT: + + DISSOLVE IN: + + Front page of "Chronicle" - Headline which reads: + + ROGERS ELECTED + + DISSOLVE: + + Front page of "Enquirer" - Headline which reads: + + FRAUD AT POLLS + + DISSOLVE: + + INT. LIVING ROOM - NIGHT - + + Emily is opening the door for Leland. + + EMILY + Hello, Brad - + + LELAND + Emily - + + He pauses. Leland comes in. Emily closes the door. + + EMILY + I'm sorry I sent for you, Brad - + didn't - + + LELAND + Chicago is pretty close to New + York nowadays - only twenty hours - + + She doesn't have anything to say. + + LELAND + I'm glad to see you. + + She smiles at him and we know that there isn't anybody else in + the world for her to smile at. She's too grateful to talk. + + EMILY + Are all the returns in? + + Leland puts his hat unconsciously on his coat by the newspaper. + + EMILY + Let me see it. + + Leland takes the newspaper out of his pocket and hands it to + her. She takes it. We see the headline, not an insert, but + it registers. It reads: "Fraud at Polls." Emily is looking + at the paper with unseeing eyes, and a little smile. + + LELAND + (after a pause) + Almost two to one - + + EMILY + I'm surprised he got the votes he + did. + + LELAND + Emily! + + EMILY + Why should anyone vote for him? + He's made it quite clear to the + people what he thinks of them. + Children - to be told one thing + one day, something else the next, + as the whim seizes him. And they're + supposed to be grateful and love + and adore him - because he sees to + it that they get cheap ice and + only pay a nickel in the street + cars. + + LELAND + Emily, you're being - a little + unfair - You know what I think of + Charles' behavior - about your + personal lives - + + EMILY + There aren't any personal lives + for people like us. He made that + very clear to me nine years ago - + If I'd thought of my life with + Charles as a personal life, I'd + have left him then - + + LELAND + know that, Emily - + + EMILY + (on top of Leland) + Maybe I should have - the first + time he showed me what a mad dog + he really was. + + LELAND + (on the cue "dog") + Emily, you - + + EMILY + Brad, I'm - I'm not an old woman + yet - + + LELAND + It's - all over - + + He stops himself. + + EMILY + (after a pause) + Know it is, Brad - + + LELAND + He's paying for it, Emily. Those + returns tonight - he's finished. + Politically - + (he thinks) + - socially, everywhere, I guess. + don't know about the papers, but - + + EMILY + If you're asking me to sympathize + with him, Brad, you're wasting + your time. + (pauses) + There's only one person I'm sorry + for, as a matter of fact. That - + that shabby little girl. I'm really + sorry for her, Brad. + + DISSOLVE: + + Front page Chicago "Enquirer," with photograph proclaiming + that Susan Alexander opens at new Chicago Opera House in + "Thais," as in "News Digest." + + On soundtrack during above we hear the big, expectant murmur + of an opening night audience and the noodling of the orchestra. + + DISSOLVE: + + INT. CHICAGO OPERA HOUSE - NIGHT - SET FOR "THAIS" - + + The camera is just inside the curtain, angling upstage. We + see the set for "Thais" - the principals in place - stage + managers, stage hands, etc., and in the center of all this, in + an elaborate costume, looking very small and very lost, is + Susan. She is almost hysterical with fright. Maids, singing + teacher, and the rest are in attendance. Her throat is sprayed. + Applause is heard at the opening of the shot, and now the + orchestra starts thunderously. The curtain starts to rise - + the camera with it - the blinding glare of the foots moves up + Susan's body and hits her face. She squints and starts to + sing. Camera continues on up with the curtain, up past Susan, + up the full height of the proscenium arch and then on up into + the gridiron into a world of ropes, brick walls and hanging + canvas - Susan's voice still heard - but faintly. The camera + stops at the top of the gridiron as the curtain stops. Two + typical stage hands fill the frame. They are looking down on + the stage below. Some of the reflected light gleams on their + faces. They look at each other. One of them puts his hand to + his nose. + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. LELAND'S OFFICE - CHICAGO ENQUIRER - NIGHT - + + Leland, as in the same scene in the Bernstein sequence, is + sprawled across his typewriter, his head on the keys. The + paper is gone from the roller. Leland stirs and looks up + drunkenly, his eyes encountering Bernstein, who stands beside + him (also as in the previous scene). + + BERNSTEIN + Hello, Mr. Leland. + + LELAND + Hello, Bernstein. + + Leland makes a terrific effort to pull himself together. He + straightens and reaches for the keys - then sees the paper is + gone from the machine. + + LELAND + Where is it - where's my notice? + I've got to finish it! + + BERNSTEIN + (quietly) + Mr. Kane is finishing it. + + LELAND + Kane? Charlie? + (painfully, he rises + to his feet) + Where is he? + + During all this, the sound of a typewriter has been heard off - + a busy typewriter. Leland's eyes follow the sound. Slowly he + registers Kane in the City Room beyond. This is almost the + same shot as in the previous Bernstein story. + + INT. CITY ROOM - CHICAGO ENQUIRER - NIGHT - + + Kane, in white tie and shirt sleeves, is typing away at a + machine, his fingers working briskly and efficiently, his face, + seen by the desk light before him, set in a strange half-smile. + + Leland stands in the door of his office, staring across at + him. + + LELAND + I suppose he's fixing it up - I + know I'd never get that through. + + BERNSTEIN + (moving to his side) + Mr. Kane is finishing your piece + the way you started it. + + Leland turns incredulously to Bernstein. + + BERNSTEIN + He's writing a roast like you wanted + it to be - + (then suddnely - + with a kind of + quiet passion rather + than a triumph) + - I guess that'll show you. + + Leland picks his way across the City Room to Kane's side. + Kane goes on typing, without looking up. After a pause, Kane + speaks. + + KANE + Hello, Brad. + + LELAND + Hello, Charlie - + + (ANOTHER PAUSE) + I didn't know we were speaking. + + Kane stops typing, but doesn't turn. + + KANE + Sure, we're speaking, Brad - + you're fired. + + He starts typing again, the expression on his face doesn't + change. + + DISSOLVE OUT: + + DISSOLVE IN: + + EXT. HOSPITAL ROOF - DAY - + + Thompson and Leland on the roof, which is now deserted. It is + getting late. The sun has just about gone down. + + LELAND + Well, that's about all there is - + and I'm getting chills. Hey, nurse! + (pause) + Five years ago, he wrote from that + place of his down South - + (as if trying to + think) + - you know. Shangri-la? El Dorado? + (pauses) + Sloppy Joe's? What's the name of + that place? You know... All right. + Xanadu. I knew what it was all + the time. You caught on, didn't + you? + + THOMPSON + Yes. + + LELAND + I guess maybe I'm not as hard to + see through as I think. Anyway, I + never even answered his letter. + Maybe I should have. I guess he + was pretty lonely down there those + last years. He hadn't finished it + when she left him - he never + finished it - he never finished + anything. Of course, he built it + for her - + + THOMPSON + That must have been love. + + LELAND + I don't know. He was disappointed + in the world. So he built one of + his own - An absolute monarchy - + It was something bigger than an + opera house anyway - + (calls) + Nurse! + (lowers his voice) + Say, I'll tell you one thing you + can do for me, young fellow. + + THOMPSON + Sure. + + LELAND + On your way out, stop at a cigar + store, will you, and send me up a + couple of cigars? + + THOMPSON + Sure, Mr. Leland. I'll be glad + to. + + LELAND + Hey, Nurse! + + A Nurse appears. + + NURSE + Hello, Mr. Leland. + + LELAND + I'm ready to go in now. You know + when I was a young man, there was + an impression around that nurses + were pretty. It was no truer then + than it is now. + + NURSE + Here, let me take your arm, Mr. + Leland. + + LELAND + (testily) + All right, all right. + (he has begun to + move forward on + the Nurse's arm; + turning to Thompson) + You won't forget, will you, about + the cigars? And tell them to wrap + them up to look like toothpaste, + or something, or they'll stop them + at the desk. That young doctor I + was telling you about, he's got an + idea he wants to keep me alive. + + DISSOLVE: + + EXT. "EL RANCHO" CABARET IN ATLANTIC CITY - EARLY DAWN - + + NEON SIGN ON THE ROOF: + + "EL RANCHO" + + FLOOR SHOW + + SUSAN ALEXANDER KANE + + TWICE NIGHTLY + + glows on the dark screen as in the previous sequence earlier + in the script. Behind the lights and through them, we see a + nasty early morning. Camera as before, moves through the lights + of the sign and down on the skylight, through which is seen + Susan at her regular table, Thompson seated across from her. + + Very faintly during this, idle piano music playing. + + DISSOLVE: + + INT. "EL RANCHO" CABARET - EARLY DAWN - + + Susan and Thompson are facing each other. The place is almost + deserted. Susan is sober. On the other side of the room, + somebody is playing a piano. + + SUSAN + How do you want to handle the whole + thing - ask questions? + + THOMPSON + I'd rather you just talked. + Anything that comes into your mind - + about yourself and Mr. Kane. + + SUSAN + You wouldn't want to hear a lot of + what comes into my mind about myself + and Mr. Charlie Kane. + + Susan is thinking. + + THOMPSON + How did you meet him? + + SUSAN + I had a toothache. + + Thompson looks at her. + + SUSAN + That was thiry years ago - and I + still remember that toothache. + Boy! That toothache was just + driving me crazy... + + DISSOLVE OUT: + + DISSOLVE IN: + + EXT. CORNER DRUG STORE AND STREET ON THE WEST SIDE OF NEW YORK - + NIGHT - + + Susan, aged twenty, neatly but cheaply dressed in the style of + the period, is leaving the drug store. It's about 8 o'clock + at night. With a large, man-sized handkerchief pressed to her + cheek, she is in considerable pain. The street is wet - after + a recent rain. + + She walks a few steps towards the middle of the block, and can + stand it no longer. She stops, opens a bottle of Oil of Cloves + that she has in her hand, applies some to her finger, and rubs + her gums. + + She walks on, the pain only a bit better. Four or five houses + farther along, she comes to what is clearly her own doorway - + a shabby, old four-story apartment house. She turns toward + the doorway, which is up a tiny stoop, about three steps. + + As she does so, Kane, coming from the opposite direction, almost + bumps into her and turns to his left to avoid her. His shoulder + bumps hers and she turns. As she does so, Kane, forced to + change his course, steps on the loose end of a plank which + covers a puddle in the bad sidewalk. The plank rises up and + cracks him on the knee, also covering him with mud. + + KANE + (hopping up and + down and rubbing + his knee) + Ow! + + Susan, taking her handkerchief from her jaw, roars with + laughter. + + KANE + It's not funny. + + He bites his lip and rubs his knee again. Susan tries to + control her laughter, but not very successfully. Kane glares + at her. + + SUSAN + I'm sorry, mister - but you do + look awful funny. + + Suddenly, the pain returns and she claps her hand to her jaw. + + SUSAN + Ow! + + KANE + What's the matter with you? + + SUSAN + Toothache. + + KANE + Hmm! + + He has been rubbing his clothes with his handkerchief. + + SUSAN + You've got some on your face. + + KANE + If these sidewalks were kept in + condition - instead of the money + going to some cheap grafter - + + Susan starts to laugh again. + + KANE + What's funny now? + + SUSAN + You are. You look like you've + been making mud pies. + + In the middle of her smile, the pain returns. + + SUSAN + Oh! + + KANE + You're no Venus de Milo. + + SUSAN + (points to the + downstair window) + If you want to come in and wash + your face - I can get you some + hot water to get that dirt off + your trousers - + + KANE + Thanks. + + Susan starts, with Kane following her. + + DISSOLVE: + + INT. SUSAN'S ROOM - NIGHT - + + It's in moderate disorder. The Mansbach gas lights are on. + It's not really a classy room, but it's exactly what you're + entitled to in 1910, for $5.00 a week including breakfast. + + There is a bed, a couple of chairs, a chiffonier, and a few + personal belongings on the chiffonier. These include a + photograph of a gent and lady, obviously Susan's parents, and + a few objets d'art. One, "At the Japanese Rolling Ball Game + at Coney Island," and - perhaps this is part of the Japanese + loot - the glass globe with the snow scene Kane was holding in + his hand in the first sequence. + + Susan comes into the room, carrying a basin, with towels over + her arm. Kane is waiting for her. She doesn't close the door. + + SUSAN + (by way of + explanation) + My landlady prefers me to keep + this door open when I have a + gentleman caller. + (starts to put the + basin down) + She's a very decent woman. + (making a face) + Ow! + + Kane rushes to take the basin from her, putting it on the + chiffonier. To do this, he has to shove the photograph to one + side of the basin. Susan grabs the photograph as it is about + to fall over. + + SUSAN + Hey, you should be more careful. + That's my ma and pa. + + KANE + I'm sorry. They live here, too? + + SUSAN + No. They've passed on. + + Again she puts her hand to her jaw. + + KANE + Where's the soap? + + SUSAN + In the water. + + Kane fishes the soap out of the water. It is slippery, however, + and slips out of his hand, hitting him in the chest before it + falls to the floor. Susan laughs as he bends over. + + KANE + (starting to wash + his hands) + You're very easily amused. + + SUSAN + I always like to see the funny + side of things. No sense crying + when you don't have to. And you're + so funny. Looking at you, I forget + all about my toothache. + + Her face distorts in pain again. + + SUSAN + Oh! + + KANE + I can't stay here all night chasing + your pain away. + + SUSAN + (laughs) + I know... But you do look so silly. + + Kane, with soaped hands, has rubbed his face and now cannot + open his eyes, for fear of getting soap in them. + + KANE + Where's the towel? + + SUSAN + On the chiffonier. Here. + + KANE + (rubs his face dry) + Thanks. + + SUSAN + (on her way to closet) + I've got a brush in the closet. + As soon as the mud on your trousers + is all dry - you just brush it + off. + + KANE + I'll get these streets fixed, if + it's the last thing I do. + + Susan comes out of the closet. She holds out the brush with + her left hand, her right hand to her jaw in real distress. + + KANE + (takes the brush) + You are in pain, aren't you, you + poor kid? + + Susan can't stand it anymore and sits down in a chair, bent + over, whimpering a bit. + + KANE + (brushing himself) + Wish there was something I could - + + He stops and thinks. Susan, her face averted, is still trying + hard not to cry. + + KANE + I've got an idea, young lady. + (there is no response) + Turn around and look at me. + (there is still no + response) + I said, turn around and look at + me, young lady. + + Slowly, Susan turns. + + KANE + Did you ever see anybody wiggle + both his ears at the same time? + + It takes a second for Susan to adapt herself to this. + + KANE + Watch closely! + (he wiggles his + ears) + It took me two solid years at the + finest boys' school in the world + to learn that trick. The fellow + who taught me is President of + Venezuela now. + + He's still wiggling his ears as Susan starts to smile. + + KANE + That's it! Smile! + + Susan smiles, very broadly. + + DISSOLVE: + + INT. SUSAN'S ROOM - NIGHT - + + Closeup of a duck, camera pulls back showing it to be a + shadowgraph on the wall, made by Kane, who is now in his shirt + sleeves. It is about an hour later than preceding sequence. + + SUSAN + (hesitatingly) + A chicken? + + KANE + No. But you're close. + + SUSAN + A rooster? + + KANE + You're getting farther away all + the time. It's a duck. + + SUSAN + Excuse me, Mr. Kane. I know this + takes a lot of nerve, but - who + are you? I mean - I'm pretty + ignorant, guess you caught on to + that - + + KANE + (looks squarely at + her) + You really don't know who I am? + + SUSAN + No. That is, I bet it turns out + I've heard your name a million + times, only you know how it is - + + KANE + But you like me, don't you? Even + though you don't know who I am? + + SUSAN + You've been wonderful! I can't + tell you how glad I am you're here, + I don't know many people and - + (she stops) + + KANE + And I know too many people. + Obviously, we're both lonely. + (he smiles) + Would you like to know where I was + going tonight - when you ran into + me and ruined my Sunday clothes? + + SUSAN + I didn't run into you and I bet + they're not your Sunday clothes. + You've probably got a lot of + clothes. + + KANE + (as if defending + himself from a + terrible onslaught) + I was only joking! + (pauses) + This evening I was on my way to + the Western Manhattan Warehouses - + in search of my youth. + + Susan is bewildered. + + KANE + You see, my mother died, too - a + long time ago. Her things were + put into storage out west because + I had no place to put them then. + I still haven't. But now I've + sent for them just the same. And + tonight I'd planned to make a sort + of sentimental journey - + (slowly) + - to the scenes of my youth - my + childhood, I suppose - to look + again at - + (he changes mood + slightly) + and now - + + Kane doesn't finish. He looks at Susan. Silence. + + KANE + Who am I? Well, let's see. Charles + Foster Kane was born in New Salem, + Colorado in eighteen six - + (he stops on the + word "sixty" - + obviously a little + embarrassed) + I run a couple of newspapers. How + about you? + + SUSAN + Oh, me - + + KANE + How old did you say you were? + + SUSAN + (very bright) + I didn't say. + + KANE + I didn't think you did. If you + had, I wouldn't have asked you + again, because I'd have remembered. + How old? + + SUSAN + Pretty old. I'll be twenty-two in + August. + + KANE + (looks at her + silently for a + moment) + That's a ripe old age - What do + you do? + + SUSAN + I work at Seligman's. + + KANE + Is that what you want to do? + + SUSAN + I want to be a singer. + (she thinks for a + moment) + I mean, I didn't. Mother did for + me. + + KANE + (sympathetically) + What happened to the singing? + You're not in a show, are you? + + SUSAN + Oh, no! Nothing like that. Mother + always thought - she used to talk + about Grand Opera for me. Imagine! + An American girl, for one thing - + and then my voice isn't really + that kind anyway, it's just that + Mother - you know what mothers are + like. + + A sudden look comes over Kane's face. + + KANE + Yes - + + SUSAN + As a matter of fact, I do sing a + little. + + KANE + (points to the piano) + Would you sing for me? + + SUSAN + (bashful) + Oh, you wouldn't want to hear me + sing. + + KANE + Yes, I would. That's why I asked. + + SUSAN + Well, I - + + KANE + Don't tell me your toothache is + bothering you again? + + SUSAN + Oh, no, that's all gone. + + KANE + Then you have no alibi at all. + Please sing. + + Susan, with a tiny ladylike hesitancy, goes to the piano and + sings a polite song. Sweetly, nicely, she sings with a small, + untrained voice. Kane listens. He is relaxed, at ease with + the world. + + DISSOLVE: + + INT. "EL RANCHO" CABARET - EARLY DAWN - + + Susan tosses down a drink, then goes on with her story. + + SUSAN + I did a lot of singing after that. + I sang for Charlie - I sang for + teachers at a hundred bucks an + hour - the teachers got that, I + didn't - + + THOMPSON + What did you get? + + SUSAN + (glares at him + balefully) + What do you mean? + + Thompson doesn't answer. + + SUSAN + I didn't get a thing. Just the + music lessons. That's all there + was to it. + + THOMPSON + He married you, didn't he? + + SUSAN + He was in love with me. But he + never told me so until after it + all came out in the papers about + us - and he lost the election and + that Norton woman divorced him. + + THOMPSON + What about that apartment? + + SUSAN + He wanted me to be comfortable - + Oh, why should I bother? You don't + believe me, but it's true. It + just happens to be true. He was + really interested in my voice. + (sharply) + What are you smiling for? What do + you think he built that opera house + for? I didn't want it. I didn't + want to sing. It was his idea - + everything was his idea - except + my leaving him. + + DISSOLVE: + + INT. LIVING ROOM OF KANE'S HOUSE IN NEW YORK - DAY - + + Susan is singing. Matisti, her voice teacher, is playing the + piano. Kane is seated nearby. Matisti stops. + + MATISTI + Impossible! Impossible! + + KANE + Your job isn't to give Mrs. Kane + your opinion of her talents. + You're supposed to train her voice. + Nothing more. + + MATISTI + (sweating) + But, it is impossible. I will be + the laughingstock of the musical + world! People will say - + + KANE + If you're interested in what people + say, Signor Matisti, I may be able + to enlighten you a bit. The + newspapers, for instance. I'm an + authority on what the papers will + say, Signor Matisti, because I own + eight of them between here and San + Francisco... It's all right, dear. + Signor Matisti is going to listen + to reason. Aren't you, maestro? + (he looks him square + in the eyes) + + MATISTI + Mr. Kane, how can I persuade you - + + KANE + You can't. + + There is a silence. Matisti rises. + + KANE + I knew you'd see it my way. + + DISSOLVE: + + INT. CHICAGO OPERA HOUSE - NIGHT - + + It is the same opening night - it is the same moment as before - + except taht the camera is now upstage angling toward the + audience. The curtain is down. We see the same tableau as + before - the terrified and trembling Susan, the apprehensive + principals, the maids and singing teachers, the stage hands. + As the dissolve commences, there is the sound of applause + (exactly as before) and now as the dissolve completes itself, + the orchestra breaks frighteningly into opening chords of the + music - the stage is cleared - Susan is left alone, terribly + alone. The curtain rises. The glare of the footlights jump + into the image. The curtain is now out of the picture and + Susan starts to sing. Beyond her, we see the prompter's box, + containing the anxious face of the prompter. Beyond that, out + in the darkness - an apprehensive conductor struggles with his + task of coordinating an orchestra and an incompetent singer. + Beyond that - dimly white shirt fronts and glistening bosoms + for a couple of rows, and then deep and terrible darkness. + + Closeup of Kane's face - seated in the audience - listening. + + Sudden but perfectly correct lull in the music reveals a voice + from the audience - a few words from a sentence - the kind of + thing that often happens in a theatre - + + THE VOICE + - really pathetic. + + Music crashes in and drowns out the rest of the sentence, but + hundreds of people around the voice have heard it (as well as + Kane) and there are titters which grow in volume. + + Closeup of Susan's face - singing. + + Closeup of Kane's face - listening. + + There is the ghastly sound of three thousand people applauding + as little as possible. Kane still looks. Then, near the + camera, there is the sound of about a dozen people applauding + very, very loudly. Camera moves back, revealing Bernstein and + Reilly and other Kane stooges, seated around him, beating their + palms together. The curtain is falling - as we can see by the + light which shutters down off their faces. + + The stage from Kane's angle. + + The curtain is down - the lights glowing on it. Still, the + polite applause dying fast. Nobody comes out for a bow. + + Closeup of Kane - breathing heavily. Suddenly he starts to + applaud furiously. + + The stage from the audience again. + + Susan appears for her bow. She can hardly walk. There is a + little polite crescendo of applause, but it is sickly. + + Closeup of Kane - still applauding very, very hard, his eyes + on Susan. + + The stage again. + + Susan, finishing her bow, goes out through the curtains. The + light on the curtain goes out and the houselights go on. + + Closeup of Kane - still applauding very, very hard. + + DISSOLVE: + + INT. STUDY - KANE'S NEW YORK HOME - DAY - + + Some weeks later. Susan, in a negligee, is at the window. + There are the remains of her breakfast tray on a little table. + + SUSAN + You don't propose to have yourself + made ridiculous? What about me? + I'm the one that has to do the + singing. I'm the one that gets + the razzberries. + (pauses) + Last week, when I was shopping, + one of the salesgirls did an + imitation of me for another girl. + She thought I didn't see her, but - + Charlie, you might as well make up + your mind to it. This is one thing + you're not going to have your own + way about. I can't sing and you + know it - Why can't you just - + + Kane rises and walks toward her. There is cold menace in his + walk. Susan shrinks a little as he draws closer to her. + + KANE + My reasons satisfy me, Susan. You + seem unable to understand them. I + will not tell them to you again. + (he is very close + to her) + You will continue with your singing. + + His eyes are relentlessly upon her. She sees something in + them that frightens her. She nods her head slowly, indicating + surrender. + + DISSOLVE OUT: + + DISSOLVE IN: + + Front page of the "San Francisco Enquirer" containing a large + portrait of Susan as Thais (as before). It is announced that + Susan will open an independent season in San Francisco in + "Thais." The picture remains constant but the names of the + papers change from New York to St. Louis, to Los Angeles to + Cleveland, to Denver to Philadelphia - all "Enquirers." + + During all this, on the soundtrack, Susan's voice is heard + singing her aria very faintly and far away, her voice cracking + a little. + + At the conclusion of this above, Susan has finished her song, + and there is the same mild applause as before - over the sound + of this, one man loudly applauding. This fades out as we - + + DISSOLVE: + + INT. SUSAN'S BEDROOM - KANE'S NEW YORK HOME - LATE NIGHT - + + The camera angles across the bed and Susan's form towards the + door, from the other side of which voices can be heard. + + KANE'S VOICE + Let's have your keys, Raymond. + + RAYMOND'S VOICE + Yes, sir. + + KANE'S VOICE + The key must be in the other side. + (pause) + We'll knock the door down, Raymond. + + RAYMOND'S VOICE + (calling) + Mrs. Kane - + + KANE'S VOICE + Do what I say. + + The door crashes open, light floods in the room, revealing + Susan, fully dressed, stretched out on the bed, one arm dangling + over the side. Kane rushes to her. + + KANE + Get Dr. Corey. + + RAYMOND + Yes, sir. + + He rushes out. Susan is breathing, but heavily. Kane loosens + the lace collar at her throat. + + DISSOLVE: + + INT. SUSAN'S ROOM - LATE NIGHT - + + A little later. All the lights are lit. Susan, in a nightgown, + is in bed, asleep. Raymond and a nurse are just leaving the + room, Raymond closing the door quietly behind him. Dr. Corey + rises. + + DR. COREY + She'll be perfectly all right in a + day or two, Mr. Kane. + + Kane nods. He has a small bottle in his hand. + + DR. COREY + The nurse has complete instructions, + but if you care to talk to me at + any time, I should be only too + glad - I shall be here in the + morning. + + KANE + Thank you. I can't imagine how + Mrs. Kane came to make such a silly + mistake. The sedative Dr. Wagner + gave her is in a somewhat larger + bottle - I suppose the strain of + preparing for her trip has excited + and confused her. + + DR. COREY + I'm sure that's it. + (he starts out) + + KANE + There are no objections to my + staying here with her, are there? + + DR. COREY + Not at all. I'd like the nurse to + be here, too. + + KANE + Of course. + + Dr. Corey leaves. Kane settles himself in a chair next to the + bed, looking at Susan. In a moment, the nurse enters, goes to + a chair in the corner of the room, and sits down. + + DISSOLVE: + + INT. SUSAN'S ROOM - DAY - + + Susan, utterly spent, is lying flat on her back in her bed. + Kane is in the chair beside her. The nurse is out of the room. + + SUSAN + (in a voice that + comes from far + away) + I couldn't make you see how I felt, + Charlie. I just couldn't - I + couldn't go threw with singing + again. You don't know what it + means to feel - to know that people - + that an audience don't want you. + That if you haven't got what they + want - a real voice - + they just don't care about you. + Even when they're polite - and + they don't laugh or get restless + or - you know... They don't want + you. They just - + + KANE + (angrily) + That's when you've got to fight + them. That's when you've got to + make them. That's - + + Susan's head turns and she looks at him silently with pathetic + eyes. + + KANE + I'm sorry. + (he leans over to + pat her hand) + You won't have to fight them + anymore. + (he smiles a little) + It's their loss. + + Gratefully, Susan, with difficulty, brings her other hand over + to cover his. + + DISSOLVE: + + EXT. ESTABLISHING SHOT OF XANADU - HALF BUILT + + INT. THE GRAND HALL IN XANADU - + + Closeup of an enormous jigsaw puzzle. A hand is putting in + the last piece. Camera moves back to reveal jigsaw puzzle + spread out on the floor. + + Susan is on the floor before her jigsaw puzzle. Kane is in an + easy chair. Behind them towers the massive Renaissance + fireplace. It is night and Baroque candelabra illuminates the + scene. + + SUSAN + (with a sigh) + What time is it? + + There is no answer. + + SUSAN + Charlie! I said, what time is it? + + KANE + (looks up - consults + his watch) + Half past eleven. + + SUSAN + I mean in New York. + + KANE + Half past eleven. + + SUSAN + At night? + + KANE + Yes. The bulldog's just gone to + press. + + SUSAN + (sarcastically) + Hurray for the bulldog! + (sighs) + Half past eleven! The shows have + just let out. People are going to + night clubs and restaurants. Of + course, we're different. We live + in a palace - at the end of the + world. + + KANE + You always said you wanted to live + in a palace. + + SUSAN + Can't we go back, Charlie? + + Kane looks at her smilingly and turns back to his work. + + SUSAN + Charlie - + + There is no answer. + + SUSAN + If I promise to be a good girl! + Not to drink - and to entertain + all the governors and the senators + with dignity - + (she puts a slur + into the word) + Charlie - + + There is still no answer. + + DISSOLVE OUT: + + DISSOLVE IN: + + Another picture puzzle - Susan's hands fitting in a missing + piece. + + DISSOLVE: + + Another picture puzzle - Susan's hands fitting in a missing + piece. + + DISSOLVE: + + INT. XANADU - LIVING ROOM - DAY - + + Another picture puzzle. + + Camera pulls back to show Kane and Susan in much the same + positions as before, except that they are older. + + KANE + One thing I've never been able to + understand, Susan. How do you + know you haven't done them before? + + Susan shoots him an angry glance. She isn't amused. + + SUSAN + It makes a whole lot more sense + than collecting Venuses. + + KANE + You may be right - I sometimes + wonder - but you get into the + habit - + + SUSAN + (snapping) + It's not a habit. I do it because + I like it. + + KANE + I was referring to myself. + (pauses) + I thought we might have a picnic + tomorrow - it might be a nice change + after the Wild West party tonight. + Invite everybody to go to the + Everglades - + + SUSAN + (throws down a piece + of the jigsaw puzzle + and rises) + Invite everybody! Order everybody, + you mean, and make them sleep in + tents! Who wants to sleep in tents + when they have a nice room of their + own - with their own bath, where + they know where everything is? + + Kane has looked at her steadily, not hostilely. + + KANE + I thought we might invite everybody + to go on a picnic tomorrow. Stay + at Everglades overnight. + (he pats her lightly + on the shoulder) + Please see that the arrangements + are made, Susan. + + Kane turns away - to Bernstein. + + KANE + You remember my son, Mr. Bernstein. + + On the soundtrack we hear the following lines of dialogue: + + BERNSTEIN'S VOICE + (embarrased) + Oh, yes. How do you do, Mr. Kane? + + CHARLIE JR.'S VOICE + Hello. + + During this, camera holds on closeup of Susan's face. She is + very angry. + + DISSOLVE: + + EXT. THE EVERGLADES CAMP - NIGHT - + + Long shot - of a number of classy tents. + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. LARGE TENT - EVERGLADES CAMP - NIGHT - + + Two real beds have been set up on each side of the tent. A + rather classy dressing table is in the rear, at which Susan is + preparing for bed. Kane, in his shirt-sleeves, is in an easy + chair, reading. Susan is very sullen. + + SUSAN + I'm not going to put up with it. + + Kane turns to look at her. + + SUSAN + I mean it. + (she catches a slight + flicker on Kane's + face) + Oh, I know I always say I mean it, + and then I don't - or you get me + so don't do what I say I'm going + to - but - + + KANE + (interrupting) + You're in a tent, darling. You're + not at home. And I can hear you + very well if you just talk in a + normal tone of voice. + + SUSAN + I'm not going to have my guests + insulted, just because you think - + (in a rage) + - if people want to bring a drink + or two along on a picnic, that's + their business. You've got no + right - + + KANE + (quickly) + I've got more than a right as far + as you're concerned, Susan. + + SUSAN + Oh, I'm sick and tired of you + telling me what I must and what I + musn't do! + + KANE + (gently) + You're my wife, Susan, and - + + SUSAN + I'm not just your wife, I'm a person + all by myself - or I ought to be. + I was once. Sometimes you get me + to believing I never was. + + KANE + We can discuss all this some other + time, Susan. Right now - + + SUSAN + I'll discuss what's on my mind + when I want to. You're not going + to keep on running my life the way + you want it. + + KANE + As far as you're concerned, Susan, + I've never wanted anything - I + don't want anything now - except + what you want. + + SUSAN + What you want me to want, you mean. + What you've decided I ought to + have - what you'd want if you were + me. But you've never given me + anything that - + + KANE + Susan, I really think - + + SUSAN + Oh, I don't mean the things you've + given me - that don't mean anything + to you. What's the difference + between giving me a bracelet or + giving somebody else a hundred + thousand dollars for a statue you're + going to keep crated up and never + look at? It's only money. It + doesn't mean anything. You're not + really giving anything that belongs + to you, that you care about. + + KANE + (he has risen) + Susan, I want you to stop this. + And right now! + + SUSAN + Well, I'm not going to stop it. + I'm going to say exactly what I + think. + (she screams) + You've never given me anything. + You've tried to buy me into giving + you something. You're - + (a sudden notion) + - it's like you were bribing me! + That's what it's been from the + first moment I met you. No matter + how much it cost you - your time, + your money - that's what you've + done with everybody you've ever + known. Tried to bribe them! + + KANE + Susan! + + She looks at him, with no lessening of her passion. + + KANE + You're talking an incredible amount + of nonsense, Susan. + (quietly) + Whatever I do - I do - because I + love you. + + SUSAN + Love! You don't love anybody! Me + or anybody else! You want to be + loved - that's all you want! I'm + Charles Foster Kane. Whatever you + want - just name it and it's yours! + Only love me! Don't expect me to + love you - + + Without a word, Kane slaps her across the face. They look at + each other. + + SUSAN + You - you hit me. + + Kane continues to look at her. + + SUSAN + You'll never have another chance + to hit me again. + (pauses) + Never knew till this minute - + + KANE + Susan, it seems to me - + + SUSAN + Don't tell me you're sorry. + + KANE + I'm not sorry. + + SUSAN + I'm going to leave you. + + KANE + No, you're not. + + SUSAN + (nods) + Yes. + + They look at each other, fixedly, but she doesn't give way. + In fact, the camera on Kane's face shows the beginning of a + startled look, as of one who sees something unfamiliar and + unbelievable. + + DISSOLVE: + + INT. KANE'S STUDY - XANADU - DAY - + + Kane is a the window looking out. He turns as he hears Raymond + enter. + + RAYMOND + Mrs. Kane would like to see you, + Mr. Kane. + + KANE + All right. + + Raymond waits as Kane hesitates. + + KANE + Is Mrs. Kane - + (he can't finish) + + RAYMOND + Marie has been packing since + morning, Mr. Kane. + + Kane impetuously walks past him out of the room. + + INT. SUSAN'S ROOM - XANADU - DAY - + + Packed suitcases are on the floor, Susan is completely dressed + for travelling. Kane bursts into the room. + + SUSAN + Tell Arnold I'm ready, Marie. He + can get the bags. + + MARIE + Yes, Mrs. Kane. + + She leaves. Kane closes the door behind her. + + KANE + Have you gone completely crazy? + + Susan looks at him. + + KANE + Don't you realize that everybody + here is going to know about this? + That you've packed your bags and + ordered the car and - + + SUSAN + - And left? Of course they'll + hear. I'm not saying goodbye - + except to you - but I never imagined + that people wouldn't know. + + Kane is standing against the door as if physically barring her + way. + + KANE + I won't let you go. + + SUSAN + You can't stop me. + + Kane keeps looking at her. Susan reaches out her hand. + + SUSAN + Goodbye, Charlie. + + KANE + (suddenly) + Don't go, Susan. + + SUSAN + Let's not start all over again, + Charlie. We've said everything + that can be said. + + KANE + Susan, don't go! Susan, please! + + He has lost all pride. Susan stops. She is affected by this. + + KANE + You mustn't go, Susan. + Everything'll be exactly the way + you want it. Not the way I think + you want it - by your way. Please, + Susan - Susan! + + She is staring at him. She might weaken. + + KANE + Don't go, Susan! You mustn't go! + (almost blubbering) + You - you can't do this to me, + Susan - + + It's as if he had thrown ice water into her face. She freezes. + + SUSAN + I see - it's you that this is being + done to! It's not me at all. Not + how I feel. Not what it means to + me. + (she laughs) + I can't do this to you! + (she looks at him) + Oh, yes I can. + + She walks out, past Kane, who turns to watch her go, like a + very tired old man. + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. "EL RANCHO" CABARET - NIGHT - + + Susan and Thompson at a table. There is silence between them + for a moment. + + SUSAN + In case you've never heard of how + I lost all my money - and it was + plenty, believe me - + + THOMPSON + The last ten years have been tough + on a lot of people. + + SUSAN + They haven't been tough on me. I + just lost my money. But when I + compare these last ten years with + the twenty I spent with him - + + THOMPSON + I feel kind of sorry for him, all + the same - + + SUSAN + (harshly) + Don't you think I do? + (pause) + You say you're going down to Xanadu? + + THOMPSON + Monday, with some of the boys from + the office. Mr. Rawlston wants + the whole place photographed + carefully - all that art stuff. + We run a picture magazine, you + know - + + SUSAN + I know. If you're smart, you'll + talk to Raymond. That's the butler. + You can learn a lot from him. He + knows where the bodies are buried. + + She shivers. The dawn light from the skylight above has grown + brighter, making the artificial light in the night club look + particularly ghastly, revealing mercilessly every year of + Susan's age. + + SUSAN + Well, what do you know? It's + morning already. + (looks at him) + You must come around and tell me + the story of your life sometime. + + FADE OUT: + + FADE IN: + + INT. GREAT HALL - XANADU - NIGHT - + + An open door shows the pantry, which is dark. Thompson and + Raymond are at a table. There is a pitcher of beer and a plate + of sandwiches before them. Raymond drinks a glass of beer and + settles back. + + RAYMOND + Yes, sir - yes, sir, I knew how to + handle the old man. He was kind + of queer, but I knew how to handle + him. + + THOMPSON + Queer? + + RAYMOND + Yeah. I guess he wasn't very happy + those last years - he didn't have + much reason to be - + + DISSOLVE: + + INT. CORRIDOR AND TELEGRAPH OFFICE - XANADU - NIGHT - + + Raymond walking rapidly along corridor. He pushes open a door. + At a desk in a fairly elaborate telegraph office sits a wireless + operator named Fred. Near him at a telephone switchboard sits + a female operator named Katherine (not that it matters). + + RAYMOND + (reading) + Mr. Charles Foster Kane announced + today that Mrs. Charles Foster + Kane has left Xanadu, his Florida + home, under the terms of a peaceful + and friendly agreement with the + intention of filing suit for divorce + at an early date. Mrs. Kane said + that she does not intend to return + to the operatic career which she + gave up a few years after her + marriage, at Mr. Kane's request. + Signed, Charles Foster Kane. + + Fred finishes typing and then looks up. + + RAYMOND + Exclusive for immediate + transmission. Urgent priority all + Kane papers. + + FRED + Okay. + + There is the sound of the buzzer on the switchboard. Katherine + puts in a plug and answers the call. + + KATHERINE + Yes ... yes... Mrs. Tinsdall - + Very well. + (turns to Raymond) + It's the housekeeper. + + RAYMOND + Yes? + + KATHERINE + She says there's some sort of + disturbance up in Mrs. Alexander's + room. She's afraid to go in. + + DISSOLVE: + + INT. CORRIDOR OUTSIDE SUSAN'S BEDROOM - XANADU - NIGHT - + + The housekeeper, Mrs. Tinsdall, and a couple of maids are near + the door but are too afraid to be in front of it. From inside + can be heard a terrible banging and crashing. Raymond hurries + into scene, opens the door and goes in. + + INT. SUSAN'S BEDROOM - XANADU - + + Kane, in a truly terrible and absolutely silent rage, is + literally breaking up the room - yanking pictures, hooks and + all off the wall, smashing them to bits - ugly, gaudy pictures - + Susie's pictures in Susie's bad taste. Off of occasional + tables, bureaus, he sweeps Susie's whorish accumulation of + bric-a-brac. + + Raymond stands in the doorway watching him. Kane says nothing. + He continues with tremendous speed and surprising strength, + still wordlessly, tearing the room to bits. The curtains (too + frilly - overly pretty) are pulled off the windows in a single + gesture, and from the bookshelves he pulls down double armloads + of cheap novels - discovers a half-empty bottle of liquor and + dashes it across the room. Finally he stops. Susie's cozy + little chamber is an incredible shambles all around him. + + He stands for a minute breathing heavily, and his eye lights + on a hanging what-not in a corner which had escaped his notice. + Prominent on its center shelf is the little glass ball with + the snowstorm in it. He yanks it down. Something made of + china breaks, but not the glass ball. It bounces on the carpet + and rolls to his feet, the snow in a flurry. His eye follows + it. He stoops to pick it up - can't make it. Raymond picks + it up for him; hands it to him. Kane takes it sheepishly - + looks at it - moves painfully out of the room into the corridor. + + INT. CORRIDOR OUTSIDE SUSAN'S BEDROOM - XANADU - + + Kane comes out of the door. Mrs. Tinsdall has been joined now + by a fairly sizable turnout of servants. They move back away + from Kane, staring at him. Raymond is in the doorway behind + Kane. Kane looks at the glass ball. + + KANE + (without turning) + Close the door, Raymond. + + RAYMOND + Yes, sir. + (he closes it) + + KANE + Lock it - and keep it locked. + + Raymond locks the door and comes to his side. There is a long + pause - servants staring in silence. Kane gives the glass + ball a gentle shake and starts another snowstorm. + + KANE + Raymond - + (he is almost in a + trance) + + RAYMOND + Yes, sir - + + One of the younger servants giggles and is hushed up. Kane + shakes the ball again. Another flurry of snow. He watches + the flakes settle - then looks up. Finally, taking in the + pack of servants and something of the situations, he puts the + glass ball in his coat pocket. He speaks very quietly to + Raymond, so quietly it only seems he's talking to himself. + + KANE + Keep it locked. + + He slowly walks off down the corridor, the servants giving way + to let him pass, and watching him as he goes. He is an old, + old man! + + DISSOLVE: + + INT. KANE'S CHAPEL - XANADU - LATE AFTERNOON - + + As the dissolve completes itself, camera is travellling across + the floor of the chapel past the crypts of Kane's father and + mother - (marked: James Kane - 18- TO 19-; Mary Kane - 18- TO + 19-;) - past a blank crypt, and then holding on the burial of + Kane's son. A group of ordinary workmen in ordinary clothes + are lowering a very expensive-looking coffin into its crypt. + Kane stands nearby with Raymond, looking on. The men strain + and grunt as the coffin bangs on the stone floor. The men now + place over it a long marble slab on which is cut the words: + + CHARLES FOSTER KANE II. + + 1907 - 1938 + + ONE OF THE WORKMEN + Sorry, Mr. Kane, we won't be able + to cement it till tommorrow. We - + + Kane looks right through him. Raymond cuts him short. + + RAYMOND + Okay. + + The men tip their hats and shuffle out of the chapel. Kane + raises his head, looks at the inscription on the wall. It is + a little to one side of Junior's grave, directly over the blank + place which will be occupied by Kane himself. + + KANE + Do you like poetry, Raymond? + + RAYMOND + Can't say, sir. + + KANE + Mrs. Kane liked poetry - + + Raymond is now convinced that the old master is very far gone + indeed - not to say off his trolley. + + RAYMOND + Yes, Mr. Kane. + + KANE + Not my wife - not either of them. + + He looks at the grave next to his son's - the grave marked + "MARY KANE." + + RAYMOND + (catching on) + Oh, yes, sir. + + KANE + (looking back up at + the wall) + Do you know what that is? + + RAYMOND + (more his keeper + than his butler + now) + It's a wall you bought in China, + Mr. Kane. + + KANE + Persia. It belonged to a king. + + RAYMOND + How did you get him to part with + it, Mr. Kane? + + KANE + He was dead... That's a poem. Do + you know what it means? + + RAYMOND + No, I don't, Mr. Kane. + + KANE + I didn't used to be afraid of it. + + A short pause. His eyes still on the wall, but looking through + it, Kane quotes the translation. + + KANE + The drunkeness of youth has passed + like a fever, And yet I saw many + things, Seeing my glory in the + days of my glory, I thought my + power eternal And the days of my + life Fixed surely in the years But + a whisper came to me From Him who + dies not. I called my tributary + kings together And those who were + proud rulers under me, I opened + the boxes of my treasure to them, + saying: "Take hills of gold, + moutains of silver, And give me + only one more day upon the earth." + But they stood silent, Looking + upon the ground; So that I died + And Death came to sit upon my + throne. O sons of men You see a + stranger upon the road, You call + to him and he does not step. He + is your life Walking towards time, + Hurrying to meet the kings of India + and China. + (quoting) + O sons of men You are caught in + the web of the world And the spider + Nothing waits behind it. Where + are the men with towering hopes? + They have changed places with owls, + Owls who have lived in tombs And + now inhabit a palace. + + Kane still stares at the wall, through it, and way beyond it. + Raymond looks at him. + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. GREAT HALL - XANADU - NIGHT - + + Thompson and Raymond. Raymond has finished his beer. + + RAYMOND + (callously) + That's the whole works, right up + to date. + + THOMPSON + Sentimental fellow, aren't you? + + RAYMOND + Yes and no. + + THOMPSON + (getting to his + feet) + Well, thanks a lot. + + RAYMOND + See what I mean? He was a little + gone in the head - the last couple + of years, anyway - but I knew how + to handle him. + (rises) + That "Rosebud" - that don't mean + anything. I heard him say it. + He just said "Rosebud" and then he + dropped that glass ball and it + broke on the floor. He didn't say + anything about that, so I knew he + was dead - He said all kind of + things I couldn't make out. But I + knew how to take care of him. + + Thompson doesn't answer. + + RAYMOND + You can go on asking questions if + you want to. + + THOMPSON + (coldly) + We're leaving tonight. As soon as + they're through photographing + the stuff - + + Thompson has risen. Raymond gets to his feet and goes to the + door, opening it for him. + + RAYMOND + Allow yourself plenty of time. + The train stops at the Junction On + signal - but they don't like to + wait. Not now. I can remember + when they'd wait all day ... if + Mr. Kane said so. + + Raymond ushes Thompson into + + INT. THE GREAT HALL - XANADU - NIGHT - + + The magnificent tapestries, candelabra, etc., are still there, + but now several large packing cases are piled against the walls, + some broken open, some shut and a number of objects, great and + small, are piled pell mell all over the place. Furniture, + statues, paintings, bric-a-brac - things of obviously enormous + value are standing beside a kitchen stove, an old rocking chair + and other junk, among which is also an old sled, the self-same + story. Somewhere in the back, one of the vast Gothic windows + of the hall is open and a light wind blows through the scene, + rustling the papers. + + In the center of the hall, a Photographer and his Assistant + are busy photographing the sundry objects. The floor is + littered with burnt-out flash bulbs. They continue their work + throughout the early part of the scene so that now and then a + flash bulb goes off. In addition to the Photographer and his + Assistant, there are a Girl and Two Newspaperment - the Second + and Third Men of the projection room scene - also Thompson and + Raymond. + + The Girl and the Second Man, who wears a hat, are dancing + somewhere in the back of the hall to the music of a phonograph. + A flash bulb goes off. The Photographer has just photographed + a picture, obviously of great value, an Italian primitive. + The Assistant consults a label on the back of it. + + ASSISTANT + NO. 9182 + + The Third Newspaperman starts to jot this information down. + + ASSISTANT + "Nativity" - attributed to + Donatello, acquired Florence 1921, + cost 45,000 lira. Got that? + + THIRD NEWSPAPERMAN + Yeah. + + PHOTOGRAPHER + All right! Next! Better get that + statue over there. + + ASSISTANT + Okay. + + The Photographer and his Assitant start to move off with their + equipment towards a large sculpture in another part of the + hall. + + RAYMOND + What do you think all that is worth, + Mr. Thompson? + + THOMPSON + Millions - if anybody wants it. + + RAYMOND + The banks are out of luck, eh? + + THOMPSON + Oh, I don't know. They'll clear + all right. + + ASSISTANT + "Venus," Fourth Century. Acquired + 1911. Cost twenty-three thousand. + Got it? + + THIRD NEWSPAPERMAN + Okay. + + ASSISTANT + (patting the statue + on the fanny) + That's a lot of money to pay for a + dame without a head. + + SECOND ASSISTANT + (reading a label) + No. 483. One desk from the estate + of Mary Kane, Little Salem, + Colorado. Value $6.00. + + THIRD NEWSPAPERMAN + Okay. + + A flashlight bulb goes off. + + SECOND ASSISTANT + We're all set to get everything. + The junk as well as the art. + + Thompson has opened a box and is idly playing with a handful + of little pieces of cardboard. + + THIRD NEWSPAPERMAN + What's that? + + RAYMOND + It's a jigsaw puzzle. + + THIRD NEWSPAPERMAN + We got a lot of those. There's a + Burmese Temple and three Spanish + ceilings down the hall. + + Raymond laughs. + + PHOTOGRAPHER + Yeah, all in crates. + + THIRD NEWSPAPERMAN + There's a part of a Scotch castle + over there, but we haven't bothered + to unwrap it. + + PHOTOGRAPHER + I wonder how they put all those + pieces together? + + ASSISTANT + (reading a label) + Iron stove. Estate of Mary Kane. + Value $2.00. + + PHOTOGRAPHER + Put it over by that statue. It'll + make a good setup. + + GIRL + (calling out) + Who is she anyway? + + SECOND NEWSPAPERMAN + Venus. She always is. + + THIRD NEWSPAPERMAN + He sure liked to collect things, + didn't he? + + RAYMOND + He went right on buying - right up + to the end. + + PHOTOGRAPHER + Anything and everything - he was a + regular crow. + + THIRD NEWSPAPERMAN + wonder - You put all this together - + the palaces and the paintings and + the toys and everything - what + would it spell? + + Thompson has turned around. He is facing the camera for the + first time. + + THOMPSON + Charles Foster Kane. + + Another flash bulb goes off. The Photographer turns to Thompson + with a grin. + + PHOTOGRAPHER + Or Rosebud? How about it, Jerry? + + THIRD NEWSPAPERMAN + (to the dancers) + Turn that thing off, will you? + It's driving me nuts! What's + Rosebud? + + PHOTOGRAPHER + Kane's last words, aren't they, + Jerry? + (to the Third + Newspaperman) + That was Jerry's angle, wasn't it, + Jerry? Did you ever find out what + it means, Jerry? + + THOMPSON + No, I didn't. + + The music has stopped. The dancers have come over to Thompson. + + SECOND NEWSPAPERMAN + Say, what did you find out about + him, anyway, Jerry? + + THOMPSON + Not much. + + SECOND NEWSPAPERMAN + Well, what have you been doing? + + THOMPSON + Playing with a jigsaw puzzle - I + talked to a lot of people who knew + him. + + GIRL + What do they say? + + THOMPSON + Well - it's become a very clear + picture. He was the most honest + man who ever lived, with a streak + of crookedness a yard wide. He + was a liberal and a reactionary; + he was tolerant - "Live and Let + Live" - that was his motto. But + he had no use for anybody who + disagreed with him on any point, + no matter how small it was. He + was a loving husband and a good + father - and both his wives left + him and his son got himself killed + about as shabbily as you can do + it. He had a gift for friendship + such as few men have - he broke + his oldest friend's heart like + you'd throw away a cigarette + you were through with. Outside of + that - + + THIRD NEWSPAPERMAN + Okay, okay. + + GIRL + What about Rosebud? Don't you + think that explains anything? + + THOMPSON + No, I don't. Not much anway. + Charles Foster Kane was a man who + got everything he wanted, and then + lost it. Maybe Rosebud was + something he couldn't get or lost. + No, I don't think it explains + anything. I don't think any word + explains a man's life. No - I + guess Rosebud is just a piece in a + jigsaw puzzle - a missing piece. + + He drops the jigsaw pieces back into the box, looking at his + watch. + + THOMPSON + We'd better get along. We'll miss + the train. + + He picks up his overcoat - it has been resting on a little + sled - the little sled young Charles Foster Kane hit Thatcher + with at the opening of the picture. Camera doesn't close in + on this. It just registers the sled as the newspaper people, + picking up their clothes and equipment, move out of the great + hall. + + DISSOLVE: + + INT. CELLAR - XANADU - NIGHT - + + A large furnace, with an open door, dominates the scene. Two + laborers, with shovels, are shovelling things into the furnace. + Raymond is about ten feet away. + + RAYMOND + Throw that junk in, too. + + Camera travels to the pile that he has indicated. It is mostly + bits of broken packing cases, excelsior, etc. The sled is on + top of the pile. As camera comes close, it shows the faded + rosebud and, though the letters are faded, unmistakably the + word "ROSEBUD" across it. The laborer drops his shovel, takes + the sled in his hand and throws it into the furnace. The flames + start to devour it. + + EXT. XANADU - NIGHT - + + No lights are to be seen. Smoke is coming from a chimney. + + Camera reverses the path it took at the beginning of the + picture, perhaps omitting some of the stages. It moves finally + through the gates, which close behind it. As camera pauses + for a moment, the letter "K" is prominent in the moonlight. + + Just before we fade out, there comes again into the picture + the pattern of barbed wire and cyclone fencing. On the fence + is a sign which reads: + + "PRIVATE - NO TRESPASSING" + + FADE OUT: + + THE END \ No newline at end of file diff --git a/scripts/CliffDemo.txt b/scripts/CliffDemo.txt new file mode 100644 index 0000000000000000000000000000000000000000..aac3abf055dd17fb5c7059ba6e924a1a8cad52ab --- /dev/null +++ b/scripts/CliffDemo.txt @@ -0,0 +1,98 @@ + + + + + + + + + + + + + CLIFFHANGER + + screenplay by + + Michael France + Terry Hayes + Sylvester Stallone + + + + + + + + + + Shooting draft 3/30/92 + + + + + + + + + + + + + + + + + [NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE + NUMBERS. THESE HAVE BEEN OMITTED FOR THIS SOFT COPY.] + + + + + + + + + + + + + + + + + + EXT. MOUNTAIN RANGE - HELICOPTER POV - DAY + + We are flying, soaring, wheeling, diving through a range of + magnificent mountains. They are the Colorado Rockies and, + right now, in early spring, it's one of the finest sights on + earth: The lush greenery of the valleys gives way to cliffs of + sheer rock and towering peaks crowned by snow. + + As the CREDITS ROLL, we wheel past a mountain wall and realize + this is the POV from + + + A HELICOPTER + + as it soars up to circle the tallest mountain: The Tower. It + rises thousands of feet from the ground below, so high that its + summit is wreathed in clouds. + + GABE + (V.O.) + Do you see them yet? + + JESSIE + (V.O.) + Patience my love, patience. + + GABE + (V.O.) + That's a virtue isn't it? + + JESSIE + (V.O) + Wait, I think I have them + sighted. What's the word, Frank? diff --git a/scripts/Cliffhanger.txt b/scripts/Cliffhanger.txt new file mode 100644 index 0000000000000000000000000000000000000000..f890ebbbc7df822d52f2de5eeefa847ee63c3b55 --- /dev/null +++ b/scripts/Cliffhanger.txt @@ -0,0 +1,6428 @@ + + + + + + + + + + + + + CLIFFHANGER + + screenplay by + + Michael France + Terry Hayes + Sylvester Stallone + + + + + + + + + + Shooting draft 3/30/92 + + + + + + + + + + + + + + + + + [NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE + NUMBERS. THESE HAVE BEEN OMITTED FOR THIS SOFT COPY.] + + + + + + + + + + + + + + + + + + EXT. MOUNTAIN RANGE - HELICOPTER POV - DAY + + We are flying, soaring, wheeling, diving through a range of + magnificent mountains. They are the Colorado Rockies and, + right now, in early spring, it's one of the finest sights on + earth: The lush greenery of the valleys gives way to cliffs of + sheer rock and towering peaks crowned by snow. + + As the CREDITS ROLL, we wheel past a mountain wall and realize + this is the POV from + + + A HELICOPTER + + as it soars up to circle the tallest mountain: The Tower. It + rises thousands of feet from the ground below, so high that its + summit is wreathed in clouds. + + GABE + (V.O.) + Do you see them yet? + + JESSIE + (V.O.) + Patience my love, patience. + + GABE + (V.O.) + That's a virtue isn't it? + + JESSIE + (V.O) + Wait, I think I have them + sighted. What's the word, Frank? + + + INSIDE HELICOPTER - FRANK AND JESSIE + + Spotter FRANK NEWELL (50's) scans the mountain wall. JESSIE + DEIGHAN (30's) expertly pilots the helicopter. Both wear + jackets identifying themselves as members of the Rocky Mountain + Park rescue team. + + FRANK + The word is, we got 'em over + there. + + + BINOCULAR POV - A LEDGE + + that's part of a lower but equally formidable peak separated + from The Tower by a chasm two hundred feet wide. HAL TUCKER + (30's) and his girlfriend, SARAH COLLINS (20's), are decked out + in warm weather climbing gear. Hal's aplomb suggests he's a + veteran climber. Sarah's worried look confirms she isn't. + Hal's knee is wrapped in several elastic bandages. He also + carries a slow burning flare in one hand. + + JESSIE + (into mic) + Gabe? Gabe, where are you? + + GABE + (V.O.) + Just hangin' out. + + + WIDE SHOT + + the chopper drops lower and from it's perspective, we now see + GABE WALKER, (30's), climber extraordinaire, literally clinging + against the underside of a fifty foot rock ledge. It is a + death-defying manouevre that goes completely against the laws + of gravity. + + JESSIE + (transmits) + Oh, my God! I can't recognize + the face, but the butt does look + vaguely familiar. + (whistles) + + GABE + (laughs) + Don't say that. You'll embarrass + Frank. + + FRANK + It'll take a heap more than that, + rock jock. + + HAL fires a flare. + + Gabe finally reaches the edge of the ledge and, grabbing the + edge, swings out into space where he hangs by one arm as he + digs his free hand into a chalk bag that hangs from his waist. + + JESSIE + Hal's signalling he's OK. + + FRANK + They're about two hundred yards + from the top of the tower, right + where that ledge comes out, Gabe. + + + INSIDE HELICOPTER + + Frank lowers his glasses, Jessie struggles with the wind. + + JESSIE + (quietly to Frank) + He knows it well. + + GABE + (swinging up) + The ledge, I know it well, or + should I say we know it well. + + JESSIE + You can stop right there. + + GABE + We spent a night there one + night... + + JESSIE + Enough. + + GABE + Yeah, we were caught in a storm. + I went up there an innocent + climber... + + JESSIE + Oh, please. + + + CUT TO - GABE + + he pauses and points out at Jessie hovering above. + + GABE + And when I came down, my morals + were corrupted forever. + + JESSIE + (to Frank) + Don't believe it... + (into mic) + You know the trouble with you is + you have no brain filter. + Everything you think just pours + right out. + + Gabe arrives at an overhang, turns around and prepares to kick + over what is apparently a dangerous move. + + Gabe pulls himself up on the ledge. Winded he slumps down next + to the couple. + + GABE + Room service...Hi, Sarah. + + SARAH + (quietly) + Hi, Gabe. + + HAL + Glad you could drop in. + + GABE + Hey, anything for a friend. + How's the knee? + + HAL + I think it's out. No big deal. + It's that old football injury. + + GABE + (to Sarah) + Funny, he told me he twisted it + gettin' out of a hot tub. + + HAL + I love you, too. + + GABE + (into radio) + Rescue One -- have located helpless + climber, please prepare idiot + line for transport, over. + + HAL + (laughs) + Wait 'til you get into trouble, + just wait. + + + EXT CHOPPER + + The helicopter dips down towards the ledge. No way can it land + here. Frank lowers a rescue wire to Gabe who swings + precariously out from the ledge to grab it. The wire is just + out of reach. + + Gabe sees that Sarah is growing increasingly nervous at the + prospect of having to make an emergency transport. The + chopper's rotor wash requires all present to speak in a loud + voice. + + GABE + (eyes Hal, then Sarah) + How're ya feeling? + + SARAH + Fine, I guess... + + GABE + (making grab at the + cable) + Sarah, we could take off and + leave this guy behind... + + Sarah smiles as if she's considering it. Hal grabs the radio. + + HAL + Rescue One -- please be advised + Ranger Walker is making advances + toward my girlfriend that are + liable to get his ass kicked + right into space, over. + + JESSIE + (O.S.) + Copy. Hal, tell Gabe he only + makes advances to me or else + he'll be walking down four + thousand feet, and sleeping + outside. + + GABE + She's tough. + + SARAH + Is it really four thousand? + + Gabe secures the line to a heavy piton. + + GABE + It's up there, but I guarantee + you can handle it. + + + THE HELICOPTER + + Frank gets out to secure the wire. Now a lifeline spans the + chasm. + + + ON THE LEDGE + + Gabe finishes anchoring the line in the rock. Hal clips his + harness onto the rescue line. + + HAL + Remember, whatever he says about + me, don't believe it, honey. + I know you're nervous, but we've + done this a hundred times. Okay? + + SARAH + Okay. + + He kisses her. + + GABE + Remember, keep your arms and legs + within the vehicle at all times-- + + HAL + (mouthing the words) + Hey, fuck you. + + With that, Hal pulls himself hand-over-hand across the sloping + line. + + HAL'S POV--THE DROP + + is vertigo defined. 4,000 feet straight down. However, + + HAL + + lets go of the overhead line and clasps his hands to his face + in mock horror. He quickly whizzes the last thirty feet of + line. Frank grabs him. + + THE LEDGE + + Gabe steals a glance at Sarah, realizes how frightened she is. + + GABE + Sarah, tonight why don't you and + Hal come over for dinner? + + SARAH + (looking down) + Okay--I don't know about this. + + He attaches her harness to the line. + + JESSIE + The winds are picking up. + + GABE + On my way. Alright Sarah, are + you ready for the best ride in + the park? + + Gabe starts to push her out on the line, but at the last moment + her nerve fails her. She grabs his arm, dropping her head to + look down. Gabe takes hold of her chin, stopping her, making + her face him. + + SARAH + (scared but tough) + Please, can I think about this + for a minute...Okay, I'm sorry, + it's fine. What do you want me + to do? + + GABE + Just keep lookin' at me and only + think about the distance across. + Count it as you go: One, + two...by eight you'll be there. + + SARAH + Can I count as fast as I like? + + GABE + Sure you can. + + SARAH + (gives him a timid kiss + on the cheek) + I'm sorry for all the trouble... + Thank you. + + Gabe pushes her out. As he does, he nods across the abyss to + Hal who nods back, confident but concerned. He can't forget + that everything that matters to him is suspended by a thread + over a 4,000 foot drop. + + GABE'S POV - SARAH + + inching away in the harness, looking more confident now. + + GABE + There you go. + + SARAH'S POV - GABE + + SARAH + One... + + signalling "OK...you're doing fine..." + + SARAH + Two... + + GABE + That's it, you look like a + professional. + + SARAH + Three... + + SARAH - ANOTHER ANGLE + + thirty feet out, going fine. Hal watches, his tension easing, + but... + + SARAH + Four...five... + + GABE + Nice and easy... + + SARAH + Six... + + INSERT - HARNESS CLIP + + holding the strap under Sarah's left leg breaks! + + SARAH + Oh, God! + + HAL + Sarah! + + SARAH + I'm going to fall! Oh, God, help + me! + + GABE'S POV - SARAH + + The harness completely unravels all at once, its strands shoot + through the clips. What was a seat has become a trap door in + half a second. As the harness shoots out from under her, Sarah + falls but grabs the harness strand. + + SARAH + Help me! Please! Oh, God, help + me! Hal!! + + HAL + Hold on! Sarah, hold on! Get + her, Gabe! Throw her a line! + + Hal's very worst fears are being realized as Sarah, too scared + to breathe, dangles on the remaining strand of what used to be + the harness. She sways from the wind and the jerk of her own + weight. Her grip loosens. + + INSERT - THE TOP CLIP + + that is supporting all of Sarah's weight is being seriously + tested. A single knot in the harness has caught there, but it + clearly won't last long. + + JESSIE + + stares down in horror. + + JESSIE + Gabe, get her! + + GABE + + moves back from the ledge. + + GABE + (in control) + I'm coming out! + + HAL + No, stay off the line! You'll + break her loose! + + GABE + (screams) + The clip's not gonna hold! + + JESSIE + (into Gabe's handset) + Go after her. + + HAL + (kneeling on the edge) + Hold on, baby, he'll get you. + + SARAH + (almost faintly) + I'm slipping--please, please... + + Gabe gently pulls himself up on the line, crosses his ankles on + it, and clips himself on with a three foot safety line. He + starts smoothly, quickly pulling himself out. Hal can barely + watch. + + HAL + (anguished) + Don't lose her! Don't lose her! + + Sarah is in trouble. The bobbing of the line from Gabe's weight + and the winds are making her lose her grip even more. Gabe + pulls himself along the line faster, trying not to shake the + line. He looks across at Hal who has dug in to brace the line. + It's not meant for this much weight. + + Sarah starts to look down into the abyss. + + GABE + No! Keep looking at me...Sarah! + Don't look down...look at me. + Keep your eyes on me...you can do + it. You're stronger than you + think...hold it, Sarah. + + Her eyes slide up to him. + + WIDER ANGLE + + He is only ten feet away. + + JESSIE + (into Gabe's handset) + Gabe, hurry--you can do it! A + little more and you've got her. + + INSERT-THE CLIP + + The knot has worked itself halfway through. It doesn't make + any difference how tight she holds on to the harness, the + harness itself is letting go! + + GABE + (into mic) + She's losing it! + + HAL + Sarah, hold on, he'll have you in + a second. Jesus Christ, grab + her! + + ON GABE + + who knows it and pulls himself the rest of the way, faster, + almost bridging the gap -- + + ON SARAH + + staring desperately at Gabe, holding on -- + + SARAH + (shrieking) + Please -- oh, no -- please! + + GABE + I'm here! Sarah, I'm here! I'm + here--I've got you! + + INSERT - THE TOP CLIP + + that's keeping Sarah alive surrenders the knot--it passes + through, and + + SARAH + + falls -- + + GABE + + deliberately lets go of the main line and launches himself at + Sarah -- + + THEIR HANDS + + catch--Gabe's got a tenuous grip on Sarah's upper arm-- + + ANGLE ON BOTH + + Gabe's three foot safety line pulls taut, testing the limits of + the line above as it yanks him and Sarah back. They start + swinging like a pendulum over the abyss--with each swing + Sarah's hand slips further down Gabe's arm. He frantically + tries to tighten his grip on Sarah's arm, but his grip and hers + are slipping. Gabe reaches up with his free arm to grab the + main line and stabilize them, but their swinging keeps it out + of reach. + + GABE + Use your other hand! Grab it! + + SARAH + Help me! I don't want to die! + + GABE + You're not gonna die. Grab me + with your other hand! + + HAL + Sarah! Grab him, grab him! + + Sarah is too scared to comply, her other arm flailing as if + that might stop the swinging with the next arc. + + Their grip slides to wrist level and keeps slipping. Gabe's + hand digs into Sarah's climbing glove and holds! + + JESSIE + Gabe hold her! Hold her! + + Gabe's face is a mask of strained concentration as he tries to + grab the main line and maintain his grip on Sarah. + + He finally snags the main line, but he can't stabilize them + with the next swing. + + GABE + (exhausted) + Do it! Reach up! Sarah, reach + up! + + For what seems like an eternity, Sarah's eyes lock onto Gabe's + with an expression of unabashed terror as her hand slides out + of her glove! She falls--her eyes still locked on Gabe who can + only look down, swaying helplessly on the wire as Sarah SCREAMS + + ON THE OPPOSITE SIDE + + Frank and Jessie look down in horror, but neither look as + anguished as Hal. Her screams are heard in Jessie's headset. + + HAL + No!! + + LONG SHOT - SARAH + + falling--falling--falling--looking very small against the vast + mountain range-- + + SARAH'S POV - FALLING + + from this height takes the longest nineteen seconds you can + imagine-- + + GABE + + twists from his safety line, clutching Sarah's glove--he wants + to, but can't shut his eyes--he locks eyes with + + HAL + + whose horror and grief are even greater than Gabe's. + + GABE'S POV - THE CHASM + + Sarah is gone. The "Safety" harness spirals down after her + like a carefree bird. Her scream, echoes off the cliffs and + through the canyons -- fainter, fainter -- until it's almost a + memory -- carrying across to: + + + STREET DAY - 8 MONTHS LATER + + A five gallon bucket of blackish water explodes against the + pavement. On the street are signs that read "Do Not Cross - + Danger." + + + TEN STORIES UP + + Gabe is ten stories up on a suspended platform with a window + washer scraper poised in his hand. He looks down in despair. + He appears distraught, lifeless -- the fire has gone out of his + eyes. The WINDOW WASHER glances over the edge, then back at + Gabe. + + WASHER + Man, you better keep your mind on + your business--you'll kill + somebody. + + GABE + Yeah. + + WASHER + Two things you don't do in this + line of work is daydream and + stand back to admire your work. + Got that? + + GABE + Take me up. + + + EXT. DENVER MINT - HIGH ANGLE - DAY - FEW DAYS LATER + + The Southwest regional center for printing and distributing + currency. + + + INT. TREASURY COMPOUND - A MECHANICAL BILL COUNTER + + is at work, banding and stacking currency. A HAND reaches to + pick up a band. + + THE BILLS + + are something a banker could work a lifetime without seeing, + but are real nonetheless -- $1000 bills, banded here in + hundreds. The band is put back in the growing stack by + + RICHARD TRAVERS + + mid-forties, a tough, imposing Treasury agent. He regards the + fortune piling up in front of him with only cold, professional + interest. The currency is being placed into a trio of metal + briefcases--thirty thousand $1000 bills. Travers shuts the + cases in turn, and locks each with an electronic key card, + triggering a FLASHING RED LIGHT on the locks. A uniformed + PILOT arrives. + + PILOT + We'll be fueled and ready in ten + minutes, Mr. Travers. + + TRAVERS + Very good. + + WALTER WRIGHT, an authoritative man of fifty and head + comptroller of currency approaches followed by MATHESON, a + groomed agent in his late twenties. + + WRIGHT + Rich... + + TRAVERS + Good morning, Walt. + + WRIGHT + I'd like to have a word with you. + This is Agent Matheson, FBI. + + TRAVERS + (shakes Matheson's + hand) + Richard Travers. + + WRIGHT + Matheson has been transferred + from the Denver office to Frisco. + As a professional courtesy + between offices, I was asked if + he could hitch a ride. + + TRAVERS + We've got a full crew, but we can + squeeze one more, right. + + WRIGHT + Appreciate it. + + TRAVERS + You're the boss. Let's head out + to the tarmac. Matheson, have + you been totally briefed? + + MATHESON + I don't know about totally. + + TRAVERS + (laughs) + Who the hell ever is. This is + the most protected shipment we've + got-- and the most useless. + These bills aren't even in + circulation; the one thousand + dollar bills we're transporting + are only used for international + banking exchange. + + MATHESON + Do you always transport through + the air? + + WRIGHT + Mostly. Armored cars can be + hijacked. Trains can be + derailed. But nobody can get to + us in flight. + + TRAVERS + I haven't lost a bill in eighteen + years, don't jinx me, Walt. + + WRIGHT + I think Treasury personnel are + the most superstitious people in + the federal government. + + TRAVERS + We should be. Everybody wants + what we have. + + The men laugh and turn the corner. + + + EXT. COLORADO TOWN - EARLY MORNING + + The weather is becoming moody as wind bends the tops of the + trees and blows debris down the street. We see a well-worn + vehicle moving past a filling station. + + Two young rock jocks are driving by in their impossibly mudcaked + jeep. Loud music blasts from their stereo. The two + young men are BRETT and EVAN. They wear bright colored jackets + and have their hats backwards over their long hair. Wraparound + shades adorn Brett's face. Brett notices Gabe's Bronco + crossing the intersection. He wildly honks the horn and does + a radical U-turn. + + BRETT + Gabe! Hey, man! Gabe! It's + Gabe! + + EVAN + How yo doin', Gabe! + + Gabe wheels a bit closer. They drive side by side. + + GABE + Hey, Brett. Hey, Evan. + + EVAN + Where ya been, man? + + GABE + Working in Denver. + + BRETT + Work! Don't say that word, man. + + EVAN + Man, I hate work even when + somebody else does it! + + BRETT + Hey, Gabe, we're flyin' off the + Tower today. C'mon with us. + + EVAN + C'mon, man--it's perfect weather + for a monster, full-fledged + gutrush! + + GABE + No, you guys are too good. + + BRETT + You heard it here, folks! + + EVAN + I heard! Hey, later, Gabe. + + The two boys spin off and Gabe slowly moves on in the opposite + direction. + + + EXT. JESSIE'S CABIN - MORNING + + It is a rustic, modest home built mostly of local lumber and + stone. In the corral we see Jessie forking hay over the fence + to her three horses. + + The wind is picking up as Gabe steps into view. Thoroughly + engrossed in her work, she fails to notice Gabe's arrival. She + turns and is momentarily taken aback by the sight of Gabe. She + collects herself. + + They lock expressions for an uncomfortable moment, then Jessie + throws one last wedge of hay. + + JESSIE + (low) + Hello, Gabriel. + + GABE + (softly) + When you call me Gabriel, I know + I've got trouble. + + JESSIE + Where've you been? + + GABE + Working...I'm trying to figure + out where to start. + + JESSIE + Maybe I can help. Let's see... + if one night I got up and packed + up all my things and drove away + without leaving so much as a + note, and stayed away for months, + I think what I'd want to do is + come up with a well thought-out + reason. + + GABE + After the funeral I just had to + leave. + + JESSIE + Had to leave? Believe me, we all + wanted to leave...but you know + what? We stayed. + + GABE + A lot of things fell apart up + there. + + JESSIE + I know... + + GABE + I don't think you do. + + JESSIE + Why can't you believe that you + did everything you could? + + GABE + Did I? I don't know. Maybe I + shouldn't have gone out on that + line. Maybe I panicked. + + JESSIE + I was there, you were the only + one who didn't panic. So do + everyone a favor, don't hog all + the guilt. You held on as long + as you could. Yes, everything + did go wrong, starting with Hal. + I mean, what was he doing up on + the Tower with a girl who could + barely climb? + + GABE + I can't blame anything on Hal. + It was me. I play it back in my + mind everyday. + + JESSIE + Then turn it off, Gabe, because + it doesn't get any better. + + GABE + I don't expect you to understand. + + JESSIE + I don't understand? + + GABE + You couldn't. + + JESSIE + (mounting anger) + You're saying, I don't + understand? I'm the only one who + does understand. I'm the one you + lived with for two years, I'm the + one you made promises to, I'm the + one who spent too many nights + looking up at these rocks and + wondering if you were ever going + to make it down in once piece or + ever at all. Believe me, there's + been times I didn't know what I + wanted to do more, love you or + hate you. But the one thing in + our relationship that I did know + and still do know is that I + understand you. + + GABE + Why are you yelling? + + JESSIE + Excuse me? + + GABE + Why are you yelling? + + JESSIE + (confused) + Did I miss something? + + GABE + Y'know, yelling at this altitude + can lead to hyperventilation and + fainting-- + + JESSIE + I'm not going to faint, but if I + want to faint, I'll faint, okay? + + GABE + Okay, but if you do I'll have to + perform resuscitation-- + + JESSIE + Resuscitation? + + GABE + --mouth-to-mouth, which could + maybe... + + JESSIE + Which could maybe what? + + GABE + Maybe lead to a flare up... + + JESSIE + A flare up... + + GABE + Flare up of old emotions... + + JESSIE + Listen to you... + (melting) + The old "mouth-to-mouth" + resuscitation routine, huh? + + GABE + From one professional to another, + of course. + + JESSIE + Course maybe you don't have to + wait until I faint. + + GABE + (charmingly) + No, I think I will, it's safer. + I have patience. + + Jessie moves forward. A light rain has begun to fall. + + JESSIE + Gabe, did you come back to stay? + (pause) + You didn't. + + GABE + I can't. Not here. + (beat) + If you want, I'd like you to come + with me...somewhere else. + + JESSIE + Where? + + GABE + It doesn't matter, anywhere but + here. + + JESSIE + You come back after being gone + almost a year, and you expect me + to just leave... + (beat) + This was our home, now it's my + home. I can't leave. You can + stay with me, and believe me, I + want you to, but to just take off + for the wrong reasons, I can't do + it. And you shouldn't either. + + GABE + Like I said, I can't turn it off. + + JESSIE + (softly) + And I can't leave. + + GABE + If it's alright, I'm gonna pick + up the rest of my gear. + + JESSIE + You know where everything is... + (looks at her watch) + I'm late for my shift. + + GABE + Jess--you look good. + + Jessie nods a thank you and despondently moves away. Gabe + heads inside as Jessie drives away. + + + EXT. CLOUDS - MORNING + + A spectacular sight: Great rolling thunderclouds backlit by + the early morning sun. + + The sound of an engine--then a plane appears through the cloud: + The Treasury Jet. + + The DC-9 cruises over mountainous, remote terrain. + + + INT. JET - CLOSE ON TRAVERS + + who looks tense--we MOVE AROUND the cabin and find two more + relaxed TREASURY AGENTS dozing on the opposite side of the + plane. The interior of the plane is rather spartan and cold. + Matheson is edgy. An AGENT offers condescending reassurance. + + AGENT + Travers says you're being + transferred. + + MATHESON + Yeah, moving up in the world. + + Matheson turns back to his window. + + Another jet's shadow moves sleekly past the window, momentarily + blocking out the sun. + + MATHESON reacts to this and shifts his look upward to-- + + + WINDOW POV - THE PLANE + + is flying a parallel course to the Treasury jet, and is just + one hundred yards away. + + + INSIDE THE PLANE + + Matheson stands. Travers has noticed the plane by now too, and + gets out of his seat as the other agents react. + + MATHESON + That plane is tracking us. + + AGENT + Travers? + + TRAVERS + (to other agents) + Stay put. Don't anybody jump to + conclusions. + + Travers moves into + + + THE COCKPIT + + where the pilot seems nervous but, oddly, not frightened. + + PILOT + He's coming in too slow. + + TRAVERS + (cool) + No, we're going too fast, and + we're too high up. Give me 180 + knots and drop to fifteen + thousand feet. + + + THE CABIN + + Matheson is out of his seat. + + MATHESON + (to agent) + Christ! We're losing altitude + and slowing down! If you have + automatic weapons, get them! + + Travers steps out. + + TRAVERS + What are you doing? I have + jurisdiction on this jet! + + Matheson goes to his briefcase and flips it open. It contains + a full auto uzi. He pulls it from its clasps. + + TRAVERS + What the hell are you doing-- + + MATHESON + Now I have jurisdiction! + (to agents) + I said get your weapons. + + TRAVERS + These are highly trained agents + overreacting without just cause. + + Travers puts his hands out and walks forward, slowly, backing + Matheson into the cabin. Not in surrender, but as if he's + calming a nutcase. The other agents see this and don't know + which way to jump. + + TRAVERS + Calm down...give the gun to me. + You're out of control, son. + + MATHESON + (to other agents) + What the hell are you waiting + for, goddammit! Don't you see + what he's doing! He's hijacking + the shipment! + + The other two agents get behind Matheson and rapidly disarm + him. Travers pulls out his gun and FIRES it three times, one + for each agent's chest. The agents are cut down, realizing too + late what's happened. Two shots knock Matheson over a seat. + + The co-pilot begins to step out when he is shot by the pilot + with a silencer. + + Travers puts on a radio headset as he goes to a window. + + TRAVERS + (to mouthpiece) + Move into position! + + + EXT. TREASURY JET/QUALEN'S JET STAR - FLYING + + Qualen's jet star is now flying a hundred and fifty feet + directly behind and slightly below the Treasury jet. The door + of Qualen's jet is open. + + + INT. TREASURY JET - REAR SECTION + + Travers has slipped into a protective windsuit. He clips + himself to a safety wire, flips on an oxygen mask and almost + simultaneously pulls the lever that releases the bolts on the + tail cone, leaving a 6' by 3' hole. + + A huge vacuum is created by the hole and loose debris such as + papers and bits of clothing are sucked out of the jet. + + Travers pulls aside a tarp revealing a winch. + + + INT. QUALEN'S JET STAR - FRONT SECTION - DAY + + Qualen steps into view. His presence is threatening. He is + wearing a headset radio, goggles, oxygen mask and a cold + weather jumpsuit. (The entire gang on board the jet are + dressed in this fashion.) He is wired to a safety line in the + jet. + + Qualen is as deadly as advertised. 230 MPH winds are tearing + at him through the open door, but he is unfazed and + unfrightened. Next to him are Ryan and Kynette. + + + TRAVERS + + at the open tail cone. + + TRAVERS + (into radio) + More...more...keep proceeding... + + + THE TWO PLANES + + Travers' jet lowers the cable with a lead weighted grappling + hook into the Jet Star. It looks like an Air Force midair + refueling--difficult and dangerous. After about a hundred and + fifty feet of line is lowered + + + QUALEN + + clips it to a ring at the top of the opening. + + QUALEN + (into radio) + Locked on. Move into transfer + position. + + + INSIDE QUALEN'S PLANE + + The pilot, KRISTEL, is a woman. Her skill, like her hard + beauty, can be measured in a glance. She's a lot calmer than + her counterpart in the Treasury plane. Beside her is a co- + pilot. + + KRISTEL + (to co-pilot) + Check. Moving into transfer + position. + + + ON THE TWO PLANES + + Qualen's jet lowers itself, until it's 150 feet below the + Treasury jet. + + + TREASURY JET CABIN + + Travers, unclipped from his safety line, cautiously goes to the + cockpit and picks up his portable monitor. The pilot, nervous, + struggles with the controls. + + PILOT + (shouting) + We're right on the edge of the + storm! This isn't going to work! + + TRAVERS + (loud) + Don't lose your nerve! All + they'll find is a plane that went + down in a storm... + + Travers checks the monitor which electrically comes alive. + + TRAVERS + (gestures to bodies) + ...and enough pulverized bone for + six men heroically killed in the + line of duty. + + + INSIDE QUALEN'S JET + + We can now see five other passengers. All are fit and armed: + HELDON and DELMAR and RAY are seated, while KYNETTE and RYAN, + ready to help with the transfer, are on the opposite side of + the door from a very impatient Qualen. + + QUALEN + (into radio) + Travers! Hurry it up. + + TRAVERS + (into radio) + On my way. The cases are hooked + up and ready. + + + IN TREASURY COCKPIT + + Travers steps back into the cockpit and flips a toggle switch + over an LED. + + THE LED + + starts counting down from 2:00 -- 1:59 -- 1:58... + + Even in the last minute, the storm's gotten worse. The plane + is flying right into the blackest center of it. The pilot + looks more panicked than ever. + + TRAVERS + That charge is going to blow in + two minutes. Stick to the plan + and you're rich. + + + BACK IN THE CABIN + + Travers heads back into the cabin and hooks his harness to the + cable between the planes. + + TRAVERS + (into headset) + Dip the plane. I'm coming over. + + + THE JETS - LONG SHOT + + Qualen's jet dips down so there's a sharp incline. The cable + is slightly bowed from the wind's force. Travers starts the + slide down, his body almost blown parallel to the ground. In + seconds he is across and into + + + QUALEN'S JET + + where he's pulled in and unclipped by Qualen. + + QUALEN + (shouting over the + wind) + Why didn't you send the money + over? + + TRAVERS + (shouting too) + Somehow I didn't think you'd wait + for me if I'd sent it first. + + Qualen smiles in reply. No. Maybe he wouldn't + + + QUALEN'S COCKPIT + + Kristel is struggling to keep the jet on course. + + KRISTEL + (yells) + I can't hold this course much + longer! + + Qualen at the door. + + QUALEN + (to Travers) + What's the delay? + + TRAVERS + (into headset) + Let's move your ass in there!! + + + INT. THE TREASURY PLANE COCKPIT + + The pilot locks the controls and stepping over the bodies, + rushes back to the rear of the jet. + + MATHESON's eyes open -- he's not dead yet. + + + IN THE CABIN + + The pilot has just placed his harness on and is about to push + the cases out when behind him, Matheson shakily crawls forward + and riddles the pilot with auto fire. As the pilot falls + forward, he hits the lever that releases the cases. + + THE PILOT + + drops out of the plane, flailing. If he is screaming, we can't + hear it over the HOWLING of the storm. + + + IN QUALEN'S JET + + Qualen and Travers are watching the whole plan unravel. + + TRAVERS + (shouting to cockpit) + What the hell! Get underneath + the jet! The cases will slide + over! + + + THE JETS - LONG SHOT + + Qualen's jet sharply dips down and the cases start to slide + over, but at the same time... + + + INSIDE THE TREASURY JET + + Matheson, dying, crawls to the opening and FIRES a full clip + from his automatic at Qualen's jet, and + + + THE LED + + counts down -- 0:02 -- 0:01 -- 0:00 -- and + + + THE TREASURY JET - THE BOMB EXPLODES + + As the charge DETONATES, it sends a fireball blast back from + the cockpit all the way through the fuselage and out the rear. + + + THE JETS - LONG SHOT + + The Treasury jet plummets, leveling the angle between the + planes. The cases dangle precariously on the wire. + + + INSIDE QUALEN'S JET + + TRAVERS + (shouting) + Lower! Get underneath it! + Lower! + + + INSIDE QUALEN'S COCKPIT - KRISTEL + + isn't quite panicked--yet. + + KRISTEL + It's dragging us down! + Disconnect the cable! + + Heldon and Ryan try to do just that, but the cable is taut. + There's no way to loose the clip on the door. + + QUALEN + Get rid of the plastique! + + Heldon rushes to the rear of the plane to grab a bag as... + + + BOTH JETS + + dive down faster at an ever steeper angle, over the edge of the + Colorado Mountain Range. + + + INSIDE QUALEN'S JET STAR + + Ryan and Kynette struggle to release the cable. + + RYAN + It's too tight! + + Qualen pulls out a pistol and fires several shots into the + cable, snapping it. + + + BOTH JETS - LONG SHOT + + The Treasury jet drops as Qualen's jet, trailing the cable and + the money, sharply shoots upward. + + + THE TREASURY JET + + explodes in mid-air. + + + INT. QUALEN'S PLANE - THE COCKPIT - KRISTEL + + The jet is in serious trouble. + + KRISTEL + We're not leveling out! + + + CABIN - QUALEN , DELMAR AND TRAVERS + + QUALEN + (into headset) + What's the matter? + + KRISTEL + (O.S.) + I don't know! + + QUALEN + C'mon, pull! + + The men struggle to reel in the cable, because, + + + CLOSE ON THE CABLE + + The money cases are still, barely, holding on, the cuffs caught + on the broken clip at the end. + + + QUALEN, DELMAR AND TRAVERS + + aren't even bothering with the electric winch, they're dragging + it in hand over hand, but + + + IN THE CABIN + + The cases, torn by the wind, work their way loose one at a time + and drop -- one -- two -- three -- into the snowy mountains + below! + + + CLOSE ON THE CABLE + + Ryan clamps the door shut as Qualen angrily lashes at Travers. + + QUALEN + Foolproof plan?! You dumb + bastard! Kristel, what's the + report?! + + He moves off. + + + THE COCKPIT - KRISTEL + + tries to bring the plane up, but can't. The pressure gauge + needles are dropping fast. + + KRISTEL + The hydraulics are not + functioning! He shot up the + hydraulics! I can't retain + altitude! We're going down-- + + QUALEN + Crash positions! + + Everyone rapidly takes to a seat and starts to buckle up. + + QUALEN + (to Travers) + Don't buckle up. You may not + want to survive this. + + + EXT. THE PLANE + + breaks through the clouds, revealing the mountainous landscape + and a hard snowfall. + + It is going down--it heads for a tree-lined plateau above the + snow line--the plane hits the ground level-- + + + IN QUALEN'S COCKPIT + + KRISTEL + (to co-pilot) + There's an opening! + + + THE PLATEAU - LONG SHOT + + The problem is, the ground itself isn't level. It tilts down + towards another edge five hundred yards distant. If the plane + keeps skidding, it'll go over the edge. + + The plane sleds down at an angle, skipping over rocks, through + trees, tearing off a wing-- + + + INSIDE THE CABIN + + The men are jolted around. Windows IMPLODE. + + + THE PLANE + + rips downhill through a wooded area like a runaway train. + + The second wing is sheared off by trees. + + + COCKPIT POV - THE OPPOSITE EDGE + + A fallen tree stump is coming up fast, it rips through the + windscreen, narrowly missing Kristel and ripping the co-pilot's + head completely off. + + + THE PLANE + + continues to slide, three quarters of the fuselage intact. It + finally comes to rest. + + WIDER VIEW - THE PLANE + + or what's left of it has stopped several feet short of the + edge. + + + EXT. SPUR - DAY + + Brett and Evan are preparing to jump. Evan is wearing a + walkman blasting music. A heavy snow is falling. + + BRETT + (speaking loudly, over + the wind) + Did you catch that thunder? + + EVAN + (pulls off his + headphones) + No way, death-breath, that was + too intense for thunder. C'mon + let's rock an' roll. + + The two boys leap. + + We pull back to reveal they are plunging, arms flailing down a + huge chasm. The rock wall behind them speeds past, Karwhoosh! + Their back-packs burst open, parachutes stream out. Hollering + with delight, they're riding the updrafts like a rollercoaster. + + + EXT. CRASH SITE - DAY + + The plane lies still. All is quiet except for the howling + wind. A section of the rear passenger compartment is exposed + in the snowstorm. + + + INSIDE THE WRECKAGE + + The cockpit is nearly severed from the rest of the fuselage, + the sides broken open. + + CLOSER - TRAVERS + + lies face down in the debris. He struggles to free himself + from what appears to be the body of Ray. He pushes it off. + + Breathing heavily, Travers is about to rise when a gun is + placed against his neck. + + WIDER - QUALEN + + in front of Travers, holding the gun. Qualen is bruised and + gashed on the forehead. He's about to blow Travers' head off. + + QUALEN + You thought about everything + except what's happening now. + + HELDON + Kill the fucker, his fucking plan + almost killed us! + + TRAVERS + Kill me? Christ we're partners + in this! + + QUALEN + Were. Give me the tracking + monitor! + + TRAVERS + Why? What are you going to do?! + + QUALEN + The monitor! I never ask twice. + + Travers pulls off the monitor that was slung around his neck. + + TRAVERS + Take it. There's only about + fifty thousand code variations. + That's right, fifty thousand. + + Delmar moves up to Qualen. + + DELMAR + I'll break your fucking neck! + + TRAVERS + Go ahead, break my fucking neck. + But you're going to need the + money to buy your way out of the + country, because we sure as hell + can't stay in the States anymore. + (to Qualen) + You know it and I know it. + + KYNETTE + I say, fuck the money. Getting + off this mountain is all I want + to know about. The money's gone. + Kill the rat bastard and let's + move. + + QUALEN + No, we haven't come this far to + lose everything--and Travers is + right, we'll need the cash. + + HELDON + How're we gonna get off this + mountain even if we find it? + + QUALEN + (moves off) + No problem--Kristel... + + + INT. RANGER STATION + + Rain is pounding against the windows. Hal is watching a + football game on a small portable television. He is whittling + away at a piece of wood with a shiny folding knife used by most + climbers. FRANK is standing behind a large 3' by 4' piece of + glass upon which he is painting a bizarre abstract creation. + Frank is approximately sixty years old, but still possesses the + wiry, but partly stiff body of a former rodeo rider who's taken + a hundred falls too many. + + Jessie enters looking rather despondent. She goes to the + coffee pot. + + FRANK + Oh yes, that's it right here. I + believe 'ol Frank nailed it with + that stroke. Hal c'mere. + + Still whittling, Hal drifts over, and observes the painting. + + HAL + Hey, Jessie, you're just in time + for another masterpiece. + + FRANK + So, what do you see? + + HAL + Surprise me. + + FRANK + What usually eats a banana? + + HAL + (at a loss) + A monkey? + + FRANK + So...what are you, blind, son? + This is a banana eating a monkey, + nature in reverse. + + HAL + Y'know, Jessie, doesn't Frank + look like a normal guy--but he's + not, + (laughs) + are you Frank? + + Suddenly, the scanner radio barks to life. + + KRISTEL + (O.S., panicky) + Somebody help...please...is there + somebody there...we need help... + + Hal runs to the radio and keys the mic. + + HAL + Rocky Mountain Rescue, come in! + + + INT. COCKPIT + + Kristel is sitting on the floor of the cockpit. She's ripped + the guts out of the plane's radios and avionics to jury-rig a + system of wires, transistors and dials. Qualen and Travers + watch. Qualen can't suppress a grin as he observes Kristel's + "distraught performance." + + KRISTEL + Please help, we're stranded. We + were hiking and lost our + bearings...we didn't expect this + weather to come in so fast. + + + INT. RANGER STATION + + Hal starts to jot down the information. Jessie stands behind + him. + + HAL + (into radio) + Acknowledge. How many are there? + + KRISTEL + (O.S., panicked) + Seven people. I don't know our + position, the only visual bearing + is a cylinder rock formation. + Over. + + JESSIE + Got to be Comb Bluff. + + HAL + (keys mic) + Acknowledge. Winds are too + strong to get a chopper up there, + Are you near any natural shelter? + Over. + + KRISTEL + (O.S., panicked) + No, nothing and Billy is going + into shock we need + insulin...please hurry, please... + + Dead silence. + + HAL + Mayday! Come in, Mayday! Damn, + lost contact. + + + INT. COCKPIT + + Kristel disconnects a couple of wires from the battery. + Travers watches as Qualen leans down and kisses her. + + QUALEN + We need insulin-- + (to Travers) + Would you have thought of that? + + Travers tenses. + + + INT RANGER STATION + + Hal folds up his knife and jams it into a non-detectable sheath + on the side of his boot, then starts pulling out his climbing + gear. + + HAL + (to Jessie) + You and Frank get the tents, + thermal clothing, and medical + supplies together. + + JESSIE + Who's going with you? + + HAL + You're looking at him. + + JESSIE + Where's the rest of the team? + + HAL + Bob and Rick are in Denver. I + gotta get up there as fast as + possible. Frank, get me a load + of flares. + + Jessie turns and exits. + + + EXT. JESSIE'S CABIN - DAY + + Jessie's truck roars into the shot. It is pouring rain. Gabe + is just putting his belongings in the rear of the Bronco. He + flips up the tailgate. + + JESSIE + Thank God you didn't leave. We + just got a Mayday. Seven + climbers stranded off Comb Bluff. + The weather's pouring in fast and + Hal's gone up alone. + + GABE + Hal knows what he's doing. + + Gabe heads back inside and Jessie follows. + + + INT. CABIN + + Gabe gathers the last of his belongings. + + JESSIE + If he gets up there and the + weather gets as bad as it can, + they'll never make it down. He + needs someone who has emergency + medical training and knows every + handhold on these peaks. + + GABE + He doesn't want my help. + + JESSIE + That's not the issue here, those + people are. He can't do it + alone. + + GABE + He can handle it. + + JESSIE + What if he can't? + + GABE + I haven't climbed in months--you + lose the feel. + + JESSIE + You mean the nerve. + + Gabe is wounded by the remark. + + JESSIE + I know you don't want to be + responsible for anybody's life + anymore, but walk away and you + are responsible. Please Gabe, he + went up the west ridge. If you + go up the south face, you can + catch him, no problem-- + + GABE + Can't do it. + + He carries the last box out the door. + + + EXT. CABIN + + Gabe gets into the Bronco. + + JESSIE + Can't do it? I don't believe + this. Don't you feel anything? + + GABE + I only came back for you. + + Gabe stares at her for a moment, then turns and drives away. + + JESSIE + Go on! Leave. Go wherever you + want. But you're going to + be stuck on that ledge for the + rest of your life. + + + CUT TO: GABE DRIVING + + It is pouring rain as Gabe guides his bronco down the winding + mountain road. The bronco pulls over. + + + INT. BRONCO - DAY + + Gabe stares straight ahead at the rain that beats down on the + windshield. The wipers going back and forth become like a + monotonous heartbeat. Indecision fills his yes. He puts his + head down on the steering wheel and WE CUT. + + + INT. WRIGHT'S OFFICE - DAY + + Wright's pacing around, trying to figure out what in his office + he should break first. Davis shows up at the door. + + WRIGHT + (furious) + Okay, what's the report? Where + the hell is that plane? + + DAVIS + (walking to a map) + There's no radio contact at all + sir, and we're not receiving the + tracer signal from the cockpit's + flight recorder. + + He points to a huge part of Colorado. Hundreds of square + miles. + + DAVIS + We have to assume it went down in + the storm. That storm front is + still building. Even if we could + get a search plane up now, it'd + be impossible to see anything on + the ground. + + WRIGHT + What about the roads? + + DAVIS + Most of this area doesn't even + have roads. + + A secretary enters. + + SECRETARY + Mr. Wright, there's two FBI + agents that demand to see you. + + TWO MATURE AGENTS enter in a highly agitated state. + + AGENT #1 + Mr. Wright, I'm Agent Hayes and + this is Agent Michaels. We're + here about the jet disappearance. + + WRIGHT + Look, if you're just concerned + about your agent who was along + for the ride-- + + AGENT HAYES + Matheson wasn't along for the + ride, he was working + surveillance. + + WRIGHT + Surveillance? For what? + + AGENT HAYES + The Bureau had been receiving + sketchy reports about Treasury + flight patterns being monitored + from Denver to San Francisco. It + was thought best not to alert + anyone in your department in case + there was the possibility of it + being an inside job. + + WRIGHT + That's impossible. You suggest + a hijacking? Impossible. Not + only did I have my best men on + that flight, each one of those + cases are monitored, and the + money is in unexchangeable + denominations. It would be + useless for anyone to steal. + + AGENTS MICHAELS + (presents a folder) + Not for this man. + + WRIGHT + Who the hell is this? + + AGENT MICHAELS + Eric Qualen. He's the one we've + been tracking without much + success. He's a former member of + military intelligence who found + it more profitable going to the + other side. Industrial + espionage, diamond hijacking from + South Africa, theft and disposal + of millions in negotiable bearer + bonds, you name it. He's got the + international connections to move + this currency, and one hundred + million offers one hell of a + temptation to this psychotic. + + WRIGHT + Jesus Christ, this can't be + happening. + + AGENT HAYES + I know. Unfortunately it is, and + what we need is a complete + profile on all the men aboard + that jet, backgrounds both + business and personal. + + WRIGHT + (to Davis) + Arrange it. + + + EXT. SOUTH WALL - DAY + + The sheer wall that is leaning actually outward is a terrifying + sight. We see a mere spec moving cautiously upward--it is + Gabe. + + + CUT TO - C.U. GABE + + straining to maintain his balance in the driving wind and snow. + + GABE + (echoes Jessie's words) + And if you go up the south wall, + you can catch him, no problem, + yeah. + + Gabe has a moment of indecision, almost a look of mounting fear + in his eyes. + + Gabe starts to ascend and pauses to look straight up the rock + face, then straight down. As the wind tears at his face, his + eyes reflect in momentary panic. + + + FLASH BACK: + + Black and white grainy dreamlike effect as Sarah falls. She + strobes down the canyon floor, her eyes and amplified voice + shrieking in fear. + + + BACK TO SCENE: + + Shaken, Gabe starts to descend, then pauses and looks up the + sheer face... + + He pulls out his bolt gun and fires into the wall. Hooking up, + he proceeds upward. + + GABE + Keep going, keep going... + + + EXT. MOUNTAIN WALL - DAY - HIGH ANGLE ON HAL + + Who's now a good way up the wall, at least a thousand feet off + the ground. Wind and snow make the climbing hard. This part + of the wall is sheer, slightly overhung and slick. His only + foothold is about a half-inch of ledge. A larger ledge is + above him, tantalizingly just out of reach. + + He gropes up, stretching, trying to get that extra half-inch + reach...he gets it. + + + THE TOP OF THE LEDGE + + Suddenly a hand seizes Hal's. Surprised, Hal starts to slip + back. Gabe pulls him the rest of the way up. Panting from + this last effort, he leans against the wall next to Gabe. + + HAL + What the hell are you doing + here?! + + GABE + I was with Jessie, she filled me + in. + + HAL + Now let me fill you in. You can + get your ass back down an' go + back to that hole you been hiding + in-- + + GABE + When we get this group down, I'm + gone. + + HAL + You're gone now! I don't climb + with people I can't trust. Why'd + you come up, to prove something? + + GABE + I'm here for the same reason you + are, so let's do it. + + HAL + Can't pass up another chance to + play hero, can you. + + GABE + Look, I know-- + + HAL + You don't know anything. You did + it your way and she died. + + GABE + I did what I thought was right. + + HAL + Well you were wrong! It was your + weight on the line that did it-- + + GABE + There wasn't time for anything + else. + + HAL + We'll never know, will we? + + GABE + Look, it was a bad time for + everybody. + + HAL + (explodes) + What the hell do you know about + bad time. You didn't love her, + you didn't have to explain to her + family. + + GABE + And you weren't looking into her + eyes when she fell. Now drop it! + + Hal suddenly catches Gabe off-guard by the front of the jacket. + Gabe is precariously balanced on the edge, his life totally in + Hal's hands. + + HAL + No, buddy, it was you who dropped + it! + + GABE + If you want, do it. I don't + care. + + Gabe and Hal lock stares for a long moment. Hal pulls him back + in. + + HAL + (a threat) + When it's over, you and me... + + Hal gives him a withering stare and moves away. + + + EXT. COMB BLUFF - BINOCULAR POV - DAY + + Gabe and Hal are now visible two thirds of the way up. + + + EXT. PRECIPICE EDGE - DAY + + From the top of the bluff, someone is looking down through + binoculars. Gabe and Hal are a few hundred yards below. Ryan + lowers the binoculars and keys a headset radio. The wind is + blowing snow on his face. + + RYAN + They're here + + + INSIDE THE PLANE + + Qualen is wearing another headset. He disentangles himself + from Kristel. + + QUALEN + (to others) + The guests are here. + + + THE MOUNTAIN'S EDGE + + Hal follows Gabe up. From here, the rest of the range looms + large. The storm raging above makes this a spectacular sight. + Gabe sees the trees torn from the ground by the plane crash. + + RYAN + About time... + + Gabe and Hal turn around only to find themselves staring at + Ryan's ominous expression and poised weapon. + + RYAN + ...Walk. + + INT. FUSELAGE + + Hal and Gabe are hustled inside the plane. Driving snow blows + through the wreckage. Kynette quickly confiscates Gabe's bolt + gun and ice axe. + + QUALEN + Where's the helicopter? + + HAL + What the hell's going on? + + Qualen motions to Delmar who viciously backhands Hal. + + QUALEN + That was the first and last + question-- now only answers. + Where's the chopper? + + GABE + It can't fly in this weather. + + QUALEN + (to Travers) + This is where your background in + police work comes in handy--ask + the questions, Travers. + + TRAVERS + Don't use my name! + + QUALEN + (hard) + Ask the questions. + + TRAVERS + You're both with the mountain + rescue team? + + HAL + Yeah... + + TRAVERS + Anyone else following? + + Hal shakes his head "no." + + TRAVERS + What's your names? + + HAL + (Hal looks at Gabe, who + nods) + Tucker and Walker. + + TRAVERS + Tucker and Walker, we've lost + three bags. + + QUALEN + You know how the airlines are. + + GABE + Bags? + + QUALEN + Suits, underwear, 100 million + dollars...the usual stuff. + Travers was smart enough to bring + along a tracking device. Step + into my office. + + Gabe and Hal stand there defiantly. + + Delmar grabs Hal and heaves him forward. + + DELMAR + (to Gabe) + You too. + + + INT. COCKPIT - DAY + + Tight on a map spread out on the plane's wrecked instrument + panel. + + We see Travers keying a set-up of numbers into his portable + monitor. The monitor lights up with a pattern of frequency + beacons. + + QUALEN + Where's the third one, Travers? + + TRAVERS + (to Gabe) + There, what's that place? + + Gabe looks at the monitor, then the map, and he glances at Hal. + + GABE + Looks like the Tower. It's a bad + climb. + + QUALEN + A bad climb, no, just another + challenge. What's life without + 'em, right, Agent Travers. + + TRAVERS + Get off my back, Qualen! + + QUALEN + (smoothly) + I haven't even got on it yet. + (to Gabe) + Let's go, time to fetch. + + + EXT. MOUNTAIN WALL - WIDE SHOT - DAY - HAL AND GABE + + have led the gang further up the wall, using pitons and + carabiner clips to create a guide rope. It's still just a + matter of climbing relatively easy ascending ledges. The + howling wind continues to blow snow all around them. + + QUALEN + (yells from behind) + The faster you find the bags, the + bigger you boys' finder's fee + will be. + + HAL + (to Gabe) + Right, all the bullets we can + eat. + + + THE WALL + + The climbers have reached an easier section of the wall. The + ledge is now two feet wide. Travers takes out the tracer + monitor; it shows the first case is just above them. + + Travers and Gabe look up through the driving snow. + + Qualen has Hal's walkie-talkie in his hand. He monitors + Jessie's message. + + JESSIE + (V.O.) + Hal, come in, please. + + Qualen turns off the radio. + + QUALEN + Sounds cute. + + A CREST + + juts out of the wall a hundred plus feet above their position. + As the rest of the wall above is completely sheer, the case + must have landed on top of a ledge. But this isn't easily + accessible. WE MOVE DOWN from the crest to see there are only + the smallest of handholds and those are slick with ice, making + climbing almost impossible. Tons of snow and ice are suspended + precariously on top of the mountain. + + ON THE LEDGE + + Delmar holds his gun on Gabe, as Hal helps Gabe put on his + crampons. + + HAL + Watch yourself under that + overhang. + (Gabe eyes him) + It could go anytime. + + Gabe eyes the ledge and gets his meaning. + + QUALEN + Go on, fetch. + + GABE + I need my bolt gun and an ice + axe. + + TRAVERS + Don't give him anything. + + QUALEN + We agree on something. And for + insurance, take his coat. + + HAL + He'll freeze. + + QUALEN + Ryan, get a rope, I want the man + on a leash, too. + + Gabe looks up, this is going to be tough, even for him. + HAL + Forget me. If you can, get away. + + GABE + Would you? + + Hal looks at him for a beat, emotionally torn. + + Gabe moves away. + + HIGH ANGLE - GABE + + moves up the wall with some ease at first. There are small + handholds, and decent footholds, but twenty feet up, there's + nothing. To keep going, Gabe has to wedge his fingers into + small cracks, supporting his weight only by several fingerholds + at any given moment. + + ON THE LEDGE - TRAVERS AND QUALEN WITH RYAN + + who holds the rope fastened to Gabe's ankle. + + GABE ON THE WALL - CLOSE + + He's moving up a sheer face. He has hit a section that barely + has any edges for him to insert his fingers. He pauses and + removes his necklace. + + CUT TO - QUALEN AND HAL + + QUALEN + What's he doing? + + HAL + The best he can since you gave + him nothing. + + CUT TO - GABE + + He takes the charm, which is really a miniature ice axe, and + inserts it into a crack. Then wrapping the necklace around his + gloved hand, he pulls himself up with one hand to a secure + handhold. + + Gabe keeps this hold with one hand and slides the other up, + hammering into a crack wedged with ice. Some of the ice chips + whistle past and down. Finally, Gabe gropes one hand over the + edge and pulls himself onto + + THE CREST. + + Exhausted, Gabe slumps prone across the top. He sees a case + wedged in a crack. + + He goes to it. + + It's battered from the fall, but still holding together. Gabe + manages to force open the trashed locks, he looks inside the + case, and fingers a band of $1000's. + + GABE + Jesus. + + + ON THE LEDGE - TRAVERS AND QUALEN + + look up. They can see Gabe has made it, but they can't see him + or the case. + + TRAVERS + I don't trust him. + + QUALEN + Kill him when he gets down. + + Hal overhears the last statement and bolts forward screaming up + toward Gabe. + + HAL + Don't come down, they're gonna + kill you! Don't come down! + + Delmar rams Hal with his forearm against the back of Hal's + neck, levelling him. + + TRAVERS + (shouting) + Pull the rope! Pull it! + + ON THE CREST - GABE + + Gabe is painfully being jerked onto his side and pulled to the + edge by the frayed rope that is still fastened around his + ankle. + + ON THE LEDGE Travers and Qualen + + TRAVERS + Pull, goddamn it!! + + Gabe frantically claws at the ground as he desperately tries to + sever the rope. Nearly at the edge, he manages to brace one + foot against a rock as he wildly slashes at the rope with his + crampon. + + The rope being pulled by Ryan and Kynette suddenly snaps down + on the men. + + ON THE CREST + + With the case, Gabe scrambles up the wall, towards the girder + of ice, From Travers' and Qualen's point of view, Gabe can + hardly be seen. Since the mountain bulges out as it goes up, + Gabe's got a slight edge of cover. + + TRAVERS + (shouts to Heldon) + Shoot! What the hell are you + waiting for? + + Heldon runs along the lower edge, FIRING up at + + GABE + + who has to flatten against the upper ledge. Bullets howl past + twenty per second, SPARKING against the lip of the rock. The + bullets chisel away at the ice above him. Gabe looks ominously + at the frozen overhang. + + QUALEN + (holds a gun to Hal's + head) + Bring down the money or your + friend's dead! + + TRAVERS + We can't and he knows it. + + Frustrated, Qualen shoves Hal aside. + + QUALEN + Get him!! + + HELDON + + Sees Gabe's cover is gone. Heldon's ledge is getting wider. + Heldon moves out to the ledge and continues to fire into the + ice. + + THE ICE AND SNOW + + emits a roar as it gives away, dropping an avalanche of White + Death. + + GABE + + drops the case and hugs the wall. + + THE AVALANCHE - WIDE VIEW ON THE MOUNTAIN + + Only now can we see how much snow and ice has been penned up on + the mountain top--tons of frozen fury sweeps down the + mountainside. It SHATTERS the case against the wall easily + sweeping a SCREAMING Heldon off the ledge. + + TRAVERS, QUALEN AND HAL + + are safe at their vantage, but stunned at the sight of the + avalanche. Heldon's machine gun FIRES uselessly as he's + swallowed in an explosion of white and a flurry of green as the + bills scatter amid the snow. + + TRAVERS + + stares at thirty plus million dollars worth of snow settling + far below. + + Qualen grabs Hal by the throat. + + QUALEN + Your friend just had the most + expensive funeral in history. + Now it's all you... + + JESSIE + (V.O. ) + Come in, Rescue Unit, over. + Rescue Unit, what's going on Hal? + + Qualen presses his gun to Hal's temple. + + QUALEN + Talk. No tricks, no codes, no + messages. You haven't found us. + It was a fake call. + + HAL + (keys it) + Jessie, I reached the top of the + Tower. So far, no sign of + anyone. Looks like a phoney + call. Over. + + + INT. RANGER STATION + + Jessie looks at Frank. It is still pouring down rain. + + JESSIE + You gotta be kidding me! Do you + want me to fly up after you? + Over. + + HAL + (O.S.) + Negative. The winds are too + high. I'm going to ride out the + storm here. I'll take shelter in + the Douglas Exhibition Shaft. + Over and out. + + CUT TO: + + TRAVERS + (pulls away the radio) + Have her come up. + + HAL + The down drafts would wipe her + out. It's the only chopper. If + it goes, you got no ride out. + + QUALEN + Let's go to the next case. + + Delmar shoves Hal forward and the group moves out. + + + THE UPPER CREST + + where Gabe was. Nothing is stirring. Then there is movement + ten feet from where Gabe was hugging the wall. + + It's a crevice in the mountain, about two feet wide. A climber + would call this a "chimney", and it's packed with ice and snow. + It's also packed with + + GABE. + + His hand appears through the snow and he digs himself out, + gasping and coughing. Coated with snow, he leans against the + wall. Alive. + + + RANGER STATION - DAY + + Jessie looks out as the rain splatters against the window. The + station's windspeed gauge is flying around so fast it looks + like it might take off. + + JESSIE + (to Frank) + He said the Tower, but he's on + Comb Bluff? Frank, fly me to the + west valley, the winds are never + too bad there and it's only a + half hour climb to the Douglas + Shaft. + + FRANK + I don't know. + + JESSIE + If I don't meet up with them, you + can come and pick me up by + nightfall. + + FRANK + Hal will have my head for this. + + Jessie starts for the door. + + JESSIE + And it's such a handsome head. + Please Frank, and I swear I'll + buy one of your paintings. + + FRANK + (follows) + I admit, I can be bought. + + + EXT. MOUNTAIN - WOODED AREA + + Travers, Qualen, Hal and gang are crossing a small river in the + whipping snow. + + Hal checks the monitor. The next blip is above, almost + straight up. Hal motions to the wooded area ahead. + + HAL + On top of the peak. + + TRAVERS + (suspicious) + It looks like a winding route. + + QUALEN + Mr. Travers is not the athletic + type, he needs something more + direct. + + HAL + The only faster way up is the + East Face and it's smooth as + glass. Maybe a dozen guys in the + world could do it in good + weather, only a psycho would try + it in a storm. + + + CLOSE SHOT - GABE'S FACE + + is torn with pain. He's making the toughest climb of his life, + besides nearly being frozen to death in the snow storm. + + WE PULL BACK and REVEAL a WALL that is as wide as it is high, + five thousand feet by five thousand feet, narrowing to a domed + peak at the summit. Worse, it's checkered with ice. Visible + on the massive wall is a small dot, moving two-thirds of the + way up. + + Gabe holds himself steady with one hand, gets a foothold, and + lunges in a 'dyno' movement to another set of handholds and + swiftly continues on his way up. + + + EXT. CHOPPER - DAY + + We see the chopper being buffeted by winds as it hovers over a + flat area in the west valley. Jessie is being lowered by a + winch. She reaches the ground and disconnects the harness, + waving she's okay. + + + CUT TO - FRANK IN CHOPPER + + FRANK + Jessie, Jessie, copy? + + INTERCUT: + + JESSIE + I copy. + + FRANK + Jessie, girl this is insane. + Weather stat called in wind gusts + up to 50 knots for tonight. + + JESSIE + If you can't make it back, I'll + hold up at the Douglas Shaft. + Stop worryin'. You sound like a + mother hen. + + FRANK + Rooster! Forget the hen stuff. + Be safe, honey. Over. + + Frank banks the chopper out of there. + + + EXT. EAST FACE WIDE SHOT - DAY + + The sheer wall of the East Face rises, seemingly forever into + the sky above. + + Gabe is clearly exhausted and freezing. The wind and snow + threaten to throw him off the wall, but he forces himself on. + He is climbing up a huge, frozen waterfall. + + GABE + (teeth chattering) + A steam bath... + (pulls himself up) + A steam bath, a bottle of Remy + Martin...keep going... + + He climbs higher into a "chandelier" of hanging icicles. It's + an incredible formation, part of a + + FROZEN GLACIER OVERHANG + + a sheer overhang of ice, curling over the top of the East Face + waterfall. + + Gabe climbs past the icicles up a sheet of pure ice. + + GABE + A steam bath with a bottle of + Remy Martin, and a fire--now + what? + + He slows to a stop, and the ice overhang curves out, away. + Gabe sticks his gloved hand into a stream of water. He reaches + out and grabs a huge icicle with his wet fist. The glove + freezes there instantly. + + GABE + A steak soaked in Remy cooking + over a steam bath on fire! + + Gabe wets the other glove, hauls himself up and goes for a + second handhold. The next glove freezes on another icicle. + Suddenly his feet slip off the wall and Gabe is left dangling + with a glove frozen into place. He tries to pull away to grab + a higher handhold but his hand slips out of the glove. + + Gabe clings one-handed to the overhang, his face showing real + terror. His body swings wildly, held only by one gloved hand, + frozen overhead. His legs kick out to find some support, + smashing into HUGE ICICLES. They break off and fall away. His + naked hand stretches for the glove but can't reach it. + Gabe swings his spiked boot up to try for a "heel hold". His + foot smashes into the snowy ice atop the serac and holds! + Stabilized, he snatches the frozen glove from the icicle and + hauls himself up, over the lip, in the world's toughest sit-up! + + + GABE'S POV THROUGH THE DRIVING SNOW + + A small shack with a sign commemorating the "Douglas Mine Shaft + 1933". + + + INT. DOUGLAS SHAFT - DAY + + Just a "point of interest" for tourists who have hiked up this + far, housing a mini-museum. + + A pair of thundering kicks at the door and the lock shatters. + The light of day knifes into the otherwise dark, windowless + room comprised of old planks of knotted pine. + + THE GORDON DOUGLAS DISPLAY + + has black and white photos of the square-jawed 1930's climber + with his expedition. More important is what's beneath it. + Douglas' original climbing equipment: a coil of rope, some + pitons, a hat, a cloth backpack, small binoculars, a parka, and + other odds and ends. + + Trembling badly, Gabe grabs a pick axe off the wall and + prepares to smash the glass. He hears movement in the shaft + area, an opening not more than ten feet away. Dust floats in + the strip of light that is emitted from the door. Gabe's eyes + tighten like an enraged animal. + + SHAFT + + From inside the shaft's entrance, Gabe's figure stealthily + approaches, the ice axe raised high, ready for the kill. He + moves into the darkness. Something tries to bolt away and he + lunges at it, furiously slamming the person against the wall. + A radio falls from the person and lets out a static death groan + as it shatters to the bottom of the shaft. Gabe's axe is + poised for the fatal blow. + + JESSIE + No!! + + Gabe pulls her forward into what little light there is and + stares into her terrified countenance. + + JESSIE + Gabe!? + + GABE + (crazed) + What are you doing here!? + + JESSIE + (hyperventilating) + Looking for Hal. Oh my God, I + heard someone kick the door + open...you came back. + + GABE + How'd you get up here? + + JESSIE + Frank dropped me in the west + valley and I hiked. You look + frozen. What's happening?! + + GABE + You got to go back now! + + JESSIE + Where's Hal, what's going on? + + Gabe heads to the display case. + + GABE + The distress call was a fake. It + was a downed plane full of + thieves. + + He shatters the three display cases and starts to remove the + old clothing, flares, gloves etc. + + GABE + Before it crashed, they dumped + three cases filled with millions. + They're using Hal for a bird dog. + Once they find the money, Hal's + dead. So get on your radio, + contact Frank, have him pick you + up, then contact the state + police, the park police and + anything else wearing a badge and + tell them to get up here! Do it + Jessie. + + JESSIE + I can't. The radio's at the + bottom of the shaft. But + Frank'll be looking for me soon. + When he gets here I'll contact + everybody from the chopper. + + GABE + That's no good. It'll be dark + soon, there's no other shelter + for ten miles. If they show, + they'll take you too. Why'd you + have to come up here?! + + JESSIE + For the same reason you did, to + help. + + GABE + Yeah, let's go. + + They exit. + + + EXT. CHOPPER PAD. DAY + + Frank is standing beside the helicopter trying to raise Jessie + on the radio. Wind and rain whip against the chopper. + + FRANK + Jessie! Jessie! Come in. I + can't take off. + + There is no response. + + + EXT. THE TRAIL - SUNSET + + Hal is leading Qualen, Travers and the others upward. This is + a comparatively difficult route. The wind makes it even harder + but fortunately the snow has stopped. The sun goes down beyond + a facing, taller mountain. + + QUALEN + (eyes Travers) + Man against nature, right + Travers. + + TRAVERS + What about it? + + QUALEN + Down there you buy a life, up + here you earn it or die. How's + your health? + + Travers takes out the tracer and pushes to the head of the + group. + + TRAVERS + It's close, just up there. + + + EXT. ELSEWHERE ON THE SUMMIT - NIGHT - GABE AND JESSIE + + spot a crater of snow and rush to it. + + GABE + There it is. C'mon. + + Even though the case is covered by snow, the tracer's blinking + red light is visible. Gabe and Jessie dig it out. + + GABE + Let's be creative. + + JESSIE + Excuse me? + + + NEARBY ON THE SUMMIT - TRAVERS + + glances at the tracer monitor, which shows the case is nearby. + + TRAVERS + This way. + + QUALEN + Then go fetch. + + Qualen shines a light. All of them push through the trees. + + TRAVERS + + is excited now. He can't even wait for Qualen's flashlight, he + races through the trees, dividing his attention between his + surroundings and + + THE MONITOR + + which shows he's practically on top of the case. Finally + + TRAVERS + + can see the blinking of the red tracer light ahead through the + branches. + + TRAVERS + (calling behind) + Over here! + + Travers shoves his way through the branches, and heads for the + light, but something's wrong. Qualen comes up behind Travers + and shines the light on: + + A SNOWMAN + + hastily constructed, stands with a five-pebble smile, as well + as Douglas' cap. The tracer, still blinking, is its nose. The + case is propped up against it. Travers runs to the case and + opens it: empty...written on a $1000 bill is "Wanna trade?" + + TRAVERS + (incredulous) + He's alive! + + QUALEN + (to the others) + He can't be far away. Find him. + Go! + + Qualen, Kynette, Delmar and Kristel fan out, each with a + flashlight and a gun. Ryan straps on the nightfinder goggles. + + + RANGER STATION - NIGHT + + Frank works the microphone. + + JESSIE + Jessie, come in Jessie! Damn, + somebody pick up. + + + ELSEWHERE ON THE SUMMIT - GABE AND JESSIE + + watch the chaos from an elevated vantage point. They can see + the flashlight beams, all headed in the wrong direction. + + GABE + They've got to find shelter soon, + and so do we. How are you + holding up? + + JESSIE + You know me, I'm a night person. + + Gabe doesn't see: + + + RYAN - "NIGHTFINDER" POV + + with these goggles, light is amplified a thousandfold. Even + starlight is enough for Ryan to run easily through the thick + woods, and he's going in the right direction. + + GABE AND JESSIE + + begin climbing down to level ground so they can circle close to + where Travers is holding Hal. + + "NIGHTFINDER" POV - RYAN + + looks up, and sees Gabe and Jessie climbing down the small + rock, fifty yards distant. Ryan smiles, looking macabre under + the goggles, and opens fire. + + GABE AND JESSIE + + react as the bullets impact inches over their heads. They jump + the last ten feet and are running even as they hit the ground. + More bullets hit where Gabe and Jessie were a split second ago. + + Ryan chases them, easily manoeuvering through the trees. + + + ELSEWHERE ON THE SUMMIT + + Kristel, Qualen, Delmar and Kynette, having heard the gunshots, + turn and run toward them. Travers smiles at Hal's fearful + reaction. + + + RYAN + + is closing the gap, Gabe and Jessie's bright forms just ahead. + They burst out of the trees and find all that's beneath them is + + GABE AND JESSIE'S POV + + A sudden, sloping plunge down a field of ice. No escape here. + Anything that goes down this slide is going all the way to the + ground far below. + + A fresh burst of bullets forces them to dive behind a boulder, + the sole source of cover. + + GABE + This way. + + RYAN + + emerges from the woods. He can see there is nowhere for them + to have gone except behind the boulder. He walks toward it as + if he had all the time in the world. + + GABE + Give me a flare! + + Jessie fumbles in her backpack and pulls out a flare. + + GABE + Take off and meet me at Eagle + Cave. + + JESSIE + What about you? + + GABE + Don't worry about me, just go. + + Gabe ignites the flare and heaves it over the boulder at Ryan. + + RYAN - "NIGHTFINDER" POV - THE FLARE + + arcs over the boulder to fully ignite, turning everything into + an agonizing flash of white. + + RYAN + + SCREAMS, blinded as he tries to rip the goggles off. + + GABE + Go! + + Jessie takes off. + + Gabe bolts out from behind the boulder and rushes him. Ryan + shoots blind, fanning out in a semi-circle as he gets the + goggles off. + + Gabe charges straight for Ryan, just getting to him before the + machine gun's field of fire can intersect his path. He tackles + him. + + The machine gun CLATTERS away, landing on the edge of the ice, + just out of reach. Ryan recovers from the blinding flash, + pulls an ice axe out of a pack sheath and swings it at Gabe. + Gabe rolls away and gets to the machine gun, grabbing it--but + Ryan dives for Gabe, slamming into him--the force of it knocks + the machine gun loose--it skips down the ice slope. The + momentum of Ryan's hit also carries both Gabe and Ryan over the + edge, onto-- + + + THE ICE SLOPE + + Gabe and Ryan both start sliding down, Gabe face first on his + stomach, Ryan on Gabe's back. Both are in immediate agony, + because + + GABE'S POV - THE ICE FIELD + + The edge and a 5,000 foot drop are a hundred yards away. + + GABE AND RYAN SLIDING + + Gabe flails as the ice gashes him from underneath. He manages + to flip over on top of Ryan and ride him down like a bobsled. + + Gabe frantically reaches behind to get the ice axe, trailing + from a wrist strap, but Ryan's arm is thrashing away, + threatening to toss off the axe. + + + ON SUMMIT + + Hal, Qualen, Travers, Kristel, Delmar and Kynette arrive at the + lip. Qualen snatches up the nightfinder goggles and sees... + + + QUALEN'S "NIGHTFINDER" POV + + Gabe and Ryan accelerating, have almost reached the edge. Gabe + grabs the ice axe, ripping it off Ryan's wrist just as they + reach the precipice edge. Gabe swings it toward the ice with + everything he's got. The axe's scythe-like blade catches on + the ice, right at the lip of the precipice. Gabe is wrenched + to a painful halt, suspended over the drop, as Ryan shoots over + the edge. Gabe unhooks the axe and climbs down to a narrow + ledge and disappears into the darkness. + + + HAL, QUALEN, KRISTEL, KYNETTE, DELMAR AND TRAVERS + + Qualen shines his flashlight below, illuminating the long, + frozen streak of blood on the ice. + + KYNETTE + That's it, man! Fuck the money + and fuck you if you wanna keep + looking for it. I wasn't born to + die on no motherfucking mountain! + + KRISTEL + We have to keep going! + + QUALEN + (to Kynette) + She's more a man than you are. + (to Hal) + Find us some shelter. + (back to Kynette) + You can come with us or you can + go and freeze to death. + + Delmar shoves Hal forward and they disappear into the darkness. + Kynette follows. + + + EXT. TENT - NIGHT + + The winds howl against the green nylon portable tent. + + + INT. TENT - NIGHT + + Brett and Evan sit inside eating candy bars. + + EVAN + "It's a perfect day for a monster + jump." Hey man, can you like do + me a favor? + + BRETT + What? + + EVAN + Next time you're like watching + MTV, y' know, like flip it to the + weather channel for a split + second and check it out. I mean, + hey, we could be home watching + some righteous pornos. + + BRETT + That woulda been cool. + + EVAN + Exactly, cheesehead, exactly. + + + INT. DOUGLAS SHAFT EXHIBIT + + Qualen, Travers, Kynette, Delmar and Kristel follow Hal into + the cabin. Their flashlights streak through the gloom. + + QUALEN + We'll stay here until sunrise. + (to Hal) + You, start a fire. + + Travers stands at the shattered glass display cases. + + TRAVERS + (to Hal) + He was here. What was in there? + + No response. + + Delmar gives Hal a nudge in the kidneys. + + DELMAR + Answer the man. + + HAL + Nothing, just tourist souvenirs. + + QUALEN + Souvenirs? No, wrong answer. + Looks like your friend plans on + hanging around, that possible? + + HAL + No, he's gone. + + QUALEN + No, he's close, and he's using + our money to keep you alive. + Nobody's worth that much on the + open market. + (to Kristel) + Except you, the loyal one. + (to Hal) + Didn't I tell you to warm the + place up? + + + INT. THE CAVE - CLOSE ON GABE AND JESSIE + + We can see from the flickering shadows that a small fire is now + burning in the cave. We pull back to see + + THE FIRE + + which is built out of bundles of $1000 bills. It's safe to say + that something like $500,000 is going up in smoke. Gabe takes + a fresh bundle of notes and tosses them on the flames. + + GABE + Man, it costs a fortune to heat + this place. + + JESSIE + I'm glad you find humor in this. + (gestures at the money) + Do you know what people would do + for that? + + GABE + I can't believe you just said + that. + + JESSIE + Neither can I. What do you think + they're doing now? + + GABE + Making things real rough for Hal. + + Jessie looks at the necklace around Gabe's neck. + + JESSIE + You still wear the cable necklace + I gave you. + + GABE + (nods) + Call me sentimental. + + JESSIE + Remember the first time we came + up here? + + GABE + Of course I do. + + JESSIE + It was great. + + GABE + You attacked me. + + JESSIE + Can you think of something more + romantic than attacked? + + GABE + Only kidding...actually I + attacked you. + + JESSIE + No, actually it was more like + mutual attacking. + + They laugh wearily. + + JESSIE + Why can't things stay the way + they are...everything has to + change. What we had was perfect. + + GABE + I don't know. Here, lay down and + get some rest. We're going to + need it. + + Gabe lays back and Jessie slides up next to him. + + JESSIE + Gabe...your arm? + + GABE + Yeah? + + JESSIE + If you're not using your arm, can + I borrow it? + + GABE + (smiles) + Sure, just give it back when + you're done. + + Jessie curls into his arms as the fire's dying flames dance + delicately across their open and thoughtful expressions. + + + EXT. WIDE MOUNTAIN VIEW - DAWN + + The first rays of sun poke through the mountains. The storm + seems to be letting up. + + + INT. RANGER STATION - DAWN + + Frank is slumped over the radio. He obviously hasn't slept. + His attention is fixed out the window, on the windspeed gauge: + the winds are slowing. + + FRANK + Gabe, Hal, Jessie...do you read! + Again, do you read. Come in! + What the hell's going on up + there? + + + EXT. WOODED AREA - DAY + + Travers turns down the volume button. + + QUALEN + Jessie? Looks like your friend + found company. + + TRAVERS + We're down to a few hours before + the whole world shows up here. + (to Hal) + Where's the next one? + + HAL + It's up there, on the Tower. + + QUALEN + How far? + + Travers grabs his hair. + + TRAVERS + He asked you, how far?! I think + you've been taking the scenic + route. How far from here? + + HAL + Half a day. + + + HAL'S POV - ON BRETT AND EVAN + + ahead in the trees and rocks. + + BRETT + Hey, Hal...it's Hal. Hey, man, + you jammed up here, too? + + QUALEN + Walk over. + + HAL + For Christ's sake, they're kids. + + QUALEN + We're not animals, but don't + force us to be. Walk over. + + Hal stiffly moves forward. + + EVAN + Check it out. Was that storm a + severe bummer or what? We were + in tent city last night. + + HAL + (dryly) + Yeah. + + BRETT + We're gonna take one more jump + and split. Hal, you babysitting + lost hikers? What's up? + + Evan and Brett start to move toward the group. + + HAL + Run! + + BRETT + What? + + HAL + Run, goddamn it! + + DELMAR pulls out his gun and Brett and Evan, shocked, take off + running. + + Brett gets ten yards before Delmar mows him down with his + machine gun, riddling the kid with at least thirty rounds at + close range. + + HAL + You son of a bitch! You said you + wouldn't kill him! + + QUALEN + Sue me. + + Hal goes to attack Qualen with a flailing fist. + + Kristel clubs him with a pistol. An enraged Delmar kicks him + savagely in the mid-section. + + Evan runs with Kynette and Travers in pursuit. + + + BELOW ON THE WALLSIDE + + Gabe and Jessie, moving along the rock wall, react to the sound + of the gun-fire, then move on. The wall is relatively sheer, + but there are shelves cut in that make progress easier. + + + IN THE WOODS - EVAN + + runs like his ass is on fire with Kynette and Travers still in + pursuit. + + He tries to pull on his parachute and run at the same time. + It's not easy, but he succeeds in closing the first of the + three buckles. He continues running and weaving through the + trees. He sees the edge just ahead, and puts on an extra burst + of speed. + + THE SPUR + + is a rock formation that juts off like a diving board. Evan + runs like hell down it. + + TRAVERS AND KYNETTE + + emerge from out of the trees. They see Evan launching himself + off the edge. + + + GABE AND JESSIE + + are several hundred feet below. + + GABE + Don't pull it. + + + ON THE SPUR EDGE - TRAVERS + + Tries to grab the rifle from Kynette. + + TRAVERS + Shoot him. + + Kynette tries to hit the falling target but misses. + + + EVAN + + is falling, nearly two thousand feet. + + + GABE - WATCHING + + GABE + A little more. Now! + + + EVAN + + pulls the D-ring. The parachute billows open, inflating. + + + KYNETTE + + sights down the rifle. + + TRAVERS + Hit him! You're letting him get + away! + + In a startling smooth movement, Travers rips the gun from + Kynette's grip and fires almost simultaneously. + + + CLOSE ON THE PARACHUTE + + Bullet holes pierce the canopy. + + EVAN + + Exhilaration turns to panic as a bullet lodges in Evan's upper + back. + + + GABE AND JESSIE ON THE LEDGE + + are powerless to do anything but watch. + + JESSIE + Oh, God. + + + EVAN + + struggles to maintain consciousness and control. + + + JESSIE + + turns away. She can't watch any more. + + + EVAN + + lands hard and collapses. + + + KYNETTE AND TRAVERS + + Don't see Gabe or Jessie. + + Hal is led over to the Spur with the other gang members behind + him. + + QUALEN + Good, Travers. It might catch + on, like shooting skeet. + + TRAVERS + You dumb bastard, you waited too + long. If he made it back, this + place would have been covered + with police in a few hours. The + way we're moving, it's going to + be anyway. + + HAL + Murdering, motherfucker... + + QUALEN + Kill a few people, they call you + a murderer. When you kill + millions, you're called a + conqueror. Go figure. Move on + Tucker, time is short. + + + ON THE LEDGE BELOW - CLOSE ON GABE + + who is still shaking with fury. + + He watches Hal and the gang being led away. + + GABE + Can you keep going? + + Jessie nods "yes" and they move out. + + + EXT. MOUNTAIN - ARIEL SHOT - DAY + + Hal leads the gang through a buttress, a large, boulder + formation that lies between the mountain they've just come + from, and the nearest mountain to it, the Tower. + + Hal and the rest of the expedition are totally exposed as they + climb in single file up to the top. The incline is angled so + that the climb amounts to an uphill run on all fours. + + CLOSER ON HAL AND GANG + + Hal leads the gang forward and keeps casting anxious glances + back at them, and beyond them. + + QUALEN + Forget it. Your friend's smart, + not invisible. + + Qualen is right. There's absolutely no way Gabe can come up + behind them without being seen. + + + LOWER DOWN ON BLUFF + + where the bluff meets a tree-lined plain. Gabe and Jessie in + hiding, watch Hal and the others go up. They know they can't + follow them without being seen. + + GABE + He's taking them the long way + around. + + Moving closer to the bluff's base, Gabe and Jessie shove + through a screen of brush to the beginning of + + THE CRACK. + + A crevice runs the entire length and breadth of the bluff. + Gabe pulls out his ancient binoculars and scans the crack. + + GABE'S POV - THE CRACK + + Picture a mine shaft designed by a madman. The crack moves + upward, then erratically to the side, then straight up again. + The width of the crack is uneven, ranging from six inches to + six feet. And that's just how it looks on the outside. + + Gabe turns the binoculars to the inside of the crack. It looks + as if the crack goes all the way through the bluff. On this + route, Gabe can tunnel the mountain instead of going up the + side. + + GABE + We have to get through to the + other side. You up for it? + + JESSIE + I've gone this far, and right now + I think I'm in better shape than + you. + + GABE + A simple yes or no would have + done. + + JESSIE + Want me to lead? + + GABE + Cute. + + + EXT. TOP OF THE BLUFF - DAY + + A vista. From this point you can see everything else in the + mountain range. The only thing that's taller is the Tower. + + Between the two mountains lies a drop of a mere four thousand + feet. + + QUALEN + You said there was a way across. + + HAL + There is. + + TRAVERS + Then where the fuck is! + + HAL + There. You blind? + + Travers tenses, then turns to where the sides of the two + mountains converge. At one point, they're only about fifteen + feet apart. It's here that a rope and timber bridge spans the + drop. + + TRAVERS + This is insane. The hell with + the money. You radio in for that + chopper, understand! + + QUALEN + Hey, you dealt us this hand, + we're playing it all the way. + Move. + + + INT. THE CRACK - CLOSE ON GABE'S FACE + + Gabe is holding a flashlight while sweating and straining in + the dark. The light reveals there's about two inches of + clearance between his chest and the rock, and about the same + between his back and the rock. + + GABE + Nice view, huh? + + JESSIE + Breathtaking. + + There is no light inside, not even above, because the crack + doesn't go straight, it zig-zags up. Gabe and Jessie are well + within the mountain rock. Nothing could be closer to being + buried alive. + + Gabe and Jessie snake through a spot where the crack goes + straight up. Gabe aims Jessie's flashlight upwards. + + GABE'S POV + + scores of bats hang on the wall, surrounding them, up and down, + left and right. + + JESSIE'S FACE + + is somewhere between nausea and the realization that she's made + a big mistake. + + JESSIE + I really didn't need to see that. + + Gabe cuts the light and slithers up through the dark. + + + EXT. RESCUE HELICOPTER - DAY + + Frank is flying low and fast, over treetops and snow, nothing + but empty wilderness. A BUZZER goes off. Frank looks at an + infra-red screen mounted on the dash. The indicator reads + there is a body below. + + Frank sends the copter into a tight roll, bringing it over a + clearing. + + + EXT. WOODS + + The copter is down, rotors still turning as Frank runs into a + wooded area. Wolves are circling Evan's barely conscious body. + Frank pulls out his pistol and fires several shots. The wolves + flee. + + FRANK + Go on -- get lost! Go on!! + + TIGHT ON FRANK + + as he looks at Evan who is barely hanging on to his life. He + rolls the young man over and sees the bullet wound. + + Evan moans. + + FRANK + (nearly breathless) + Hell, you've been shot. Hang on + boy, hang on... + + He starts to lift the boy's body. + + + INT. BLUFF CRACK - DAY + + Gabe and Jessie have a quick climbing rhythm now. + + The passage starts to thin out. They grope up. The passage + narrows to the point that they can't get through it. + + GABE + What was God thinking when he + built this place? + + JESSIE + If we don't get out of here soon + we can ask him in person. + + Gabe looks up to see if the crack has gotten wider. It hasn't. + + GABE + Keep going this way. + + The light aims up, no opening larger than a mail slot. Still + moving to the side, he gets the opening he wants, but not where + he wants it. + + GABE + Oh, you beautiful rock...this + way. + + The crack suddenly, drastically widens as he moves to the side. + Since he's been bracing his back against the wall, Gabe falls + out of control, twisting around, face down. + + JESSIE + Gabe?! + + Gabe bounces down the walls for several yards and catches + himself by bracing his arms and legs against the crack. As he + brakes himself, his flashlight shoots off into space. One more + foot and he would have gone soaring to his death. + + JESSIE + Gabe! Are you alright? + + GABE + (upside down) + No, not really. Throw down a + rope. + + + EXT. WOODS - DAY + + The copter with Evan's covered body attached to a cradle on the + skid. Frank takes off, banking towards the ranger station. + + + EXT. BRIDGE + + The bridge, narrow and dilapidated, is only wide enough for one + person at a time. Hal is half way across, swaying above the + massive drop, the wind whistling through the chasm. + + HAL'S POV + + Kristel waits on the other side of the bridge, a gun trained on + him. + + QUALEN + (turns to Kynette) + The other one's following. Drop + back to the higher vantage point + and maybe you can drop in behind + and we'll have him flanked. If + you get to him, I know you'll + want to kill him, but get the + money first. Go. + + + INT. BUTTRESS CRACK + + Gabe is face down, arms and legs pressing against the five-foot + gap of the tunnel walls. Carefully, he takes one hand off the + wall, gets out his lighter with the other, and ignites it for + a look. + + GABE' S POV - UPWARD + + Just as the crack has widened below him, it's widened above + him. More important, it slants at an easy enough angle to + allow him to walk up. A rope is tied around his shoulder. + + He braces himself with one leg and one arm until he has his + hands on the curved edge where the crack snakes into a sideways + passage. + + JESSIE + Can you see light? + + GABE + Up ahead. + + OVERHEAD ANGLE - THE CRACK + + Gabe takes a deep breath, readies himself, and shoves himself + away from the wall with his arms, pushes himself into a squat + against the opposite wall, hanging for a second with no support + at all, then springs from that wall into the diagonal passage. + Gabe lands hard but flat on the passage and starts backsliding, + but he digs in with his boots and hands and starts heading up. + + JESSIE + Gabe are you alright? + + GABE + For the record, whenever you hear + me sliding out of control, I'm + never alright. When I secure the + line, come on up. + + + CUT TO - TREASURY CHOPPER - DAY + + Wright, Davis, and a local FAA Agent are airborn across the + Rockies. Wright takes off his headset and turns to Davis. + + WRIGHT + An FAA satellite has located a + downed aircraft. + (to pilot) + Head one hundred and ten miles + south, southwest of the park + entrance. + + + EXT. BUTTRESS TOP + + Kynette lies flat, staring down. + + KYNETTE'S POV - ON THE BUTTRESS SIDE: + + No one is in sight. He hears a noise behind him and spins + around. The opening to the crack is right there on the top of + the mountain. + + + INT./EXT. MOUNTAIN CRACK + + Gabe climbs out of the crack, securing the rope, and leans down + to call to Jessie. + + GABE + Come on up. + + Jessie, tired, starts her ascent. + + + EXT. CRACK - DAY + + Gabe is looking around the horizon, setting down his ice axe. + He stares back into the crack's gloom. + + Kynette looms over him, his gun aimed down. Gabe looks up, + totally caught cold. + + KYNETTE + (aims barrel) + Look here, the mountain man. + You're Walker, right? + + GABE + Good memory. You must be great + with numbers. + + KYNETTE + Your mouth's writing a check your + ass can't cash, but if ya wanna + buy some life, bring me the + money. + + GABE + I burned it. + + KYNETTE + (hard) + What the fuck you mean you burned + it? + + GABE + Never could save a thing. + + KYNETTE + Now you get burned. + + JESSIE + (O.S.) + Gabe? + + Gabe takes the split second that Kynette pauses when he hears + Jessie's voice and dives head first into the crack. Kynette's + bullets rip up the ground where Gabe was just standing. + + + IN THE CRACK - JESSIE'S POV + + GABE + Rappel! Rappel! + + Gabe is sliding head first down the rope until he manages to + right himself. + + CUT TO - JESSIE + + She is rappeling as fast as she can. + + Gabe reaches the end of the rope thirty feet down, as the + vertical passage again becomes diagonal. Jessie is waiting as + Kynette reaches the edge of the crack and FIRES down at Gabe + and Jessie. Bullets RICOCHET all over. + + Gabe throws himself over Jessie, shielding her. + + GABE + Still glad I came back?! + + + EXT. CRACK - DAY + + Kynette looks down the crack as his radio comes to life. + + QUALEN + (V.O.) + Kynette, what's happening? + + KYNETTE + The bastard got lucky. + + QUALEN + (V.O.) + Make him unlucky! + (into microphone) + Kristel, get me the C-4. + + + EXT. BRIDGE - TOWER SIDE + + Kristel standing with Travers, Delmar and Hal. + + HAL + C-4? + + DELMAR + More bang for the buck. + + + INT. CRACK + + Kynette slides down the rope and enters the blackness of the + crack. His weapon poised for action, he stalks his prey. + Suddenly Gabe lunges out of the dark and attacks Kynette from + the rear. The machine gun goes flying. Kynette rolls to his + feet and smashes Gabe with a shattering punch. + + Jessie can only look helplessly on as Kynette slashes at Gabe + with a knife. The crack is getting wider. Kynette powers into + Gabe with another bone shattering punch. Gabe flies back + several feet managing to straddle the crack walls. Overhead + are jagged stalagtites that hang like an entrance to the jaws + of hell. + + Kynette moves in for the kill. He swings down with the knife, + the blade hissing in the gloom. Jessie pulls off her belt that + comes equipped with a rather large buckle. Kynette has Gabe + cornered and draws back the knife for the kill. + + KYNETTE + Who's the man now?! + + As he thrusts forward, Jessie's belt buckle bashes with + shocking force against the side of Kynette's face. Gabe uses + this split second of great fortune to lunge at Kynette and + seizes his knife hand. Gabe drives home a half-dozen painful + punches that force the knife loose from Kynette's hand. In one + powerful moment Gabe drops down, wraps his arms firmly around + Kynette and swings upwards driving a stalagtite deep into + Kynette's upper back. Gabe slumps in exhaustion. He picks up + Kynette's machine gun and checks the clip -- empty. He pulls + his bolt gun off Kynette's back. + + GABE + Let's move. + + + EXT. CRACK - DAY + + Up above, Qualen FIRES a burst straight down into the crack. + Kristel arrives with the C-4. + + QUALEN + Start to rig it. + + + INT. CRACK + + Gabe and Jessie move laterally through the crack, flattening + themselves against the walls as the bullets ricochet past. The + echoing sound of a radio is heard. + + FRANK + (V.O.) + Jessie, Hal, come in...please + report. Over. + + JESSIE + Where's the radio? + + Gabe moves off in search of the radio. + + FRANK + (V.O.) + Hal, Jessie...please if you hear + this, please report in. Over. + + + EXT. CRACK - DAY + + Qualen and Kristel are still at the edge of the crack. Kristel + has placed detonators on the side of the C-4 explosives. + + KRISTEL + Ready. + + She hands them to Qualen who bends down to place them just + inside the crack. + + QUALEN + Perfect. You'll make somebody a + great wife. + + + INT. CRACK - DAY + + Gabe is near Kynette's body. He jams his hand in a crack on + the rock floor. + + FRANK + (V.O.) + Hal, Jessie...report in + ...please! + + GABE + C'mon, stretch! + + He strains to reach his hand down to the unreachable radio. + + GABE + One inch more! + + + EXT. RESCUE STATION - CHOPPER PAD + + As Frank transmits from the landed chopper, an ambulance pulls + away. A police car stands by. + + Gabe still strains to reach the radio. + + FRANK + Jessie, I don't know if you can + read this, but all hell is + heating up. We found Evan. He's + been shot, but he's alive. He's + going to the hospital right now. + Do you read? Over. + + + INT. CRACK + + FRANK + (V.O.) + Do you copy? Over. + + GABE + Damn! + + Jessie stands behind. + + JESSIE + No luck? + + GABE + Next time, date only basketball + players. + + KRISTEL + (V.O.) + Help me. Please help us. + + FRANK + (V.O.) + I copy you. Where are you? + Over. + + JESSIE + Oh, no! + + KRISTEL + (V.O.) + I'm near a rock formation + opposite a crack in the wall. + + GABE + She's a lyin' bitch!! + + JESSIE + Get it! + + Gabe shoves his hand so deeply into the crevice to reach the + radio, his arm appears to be on the verge of ripping out of its + socket. + + GABE + I can't! + + FRANK + (V.O.) + I think I know where you are. + Hang on. + + GABE + I can't get it!! + (He pulls his arm out) + + JESSIE + They'll kill him! He has no + idea! + + GABE + We gotta get out and fire a + flare. It's the only chance! + + They take off. + + Just past their feet we see a subtle movement from Kynette. + + + EXT. BRIDGE - TOWER SIDE - DAY + + Qualen and Kristel scramble across the rope and timber bridge + to where Hal, Travers and Delmar are waiting. + + QUALEN + They're still alive... + + Travers uses Hal's axe to take a couple of heavy swings at the + bolts which tie the bridge to the rock. Qualen grabs his arms + before he can take a third swing. + + QUALEN + (looking at watch) + ...for another four minutes. + + + TOP OF CRACK + + Push in on a HOLE punched in the snow along the crack's top + near the edge. Shoved inside is a packet of plastique--the + detonator LED races down -- 3:01 -- 3:00 -- 2:59 -- + + + EXT. TOWER FACE - DAY + + Qualen gestures toward the mountain with the radio. + + TRAVERS + Is it set? + + QUALEN + Primed to go off right over his + head, officer. + + Hal explodes! He throws himself at Qualen, grabbing for the + radio. + + HAL + There's a bomb right over you-- + three minutes... + + + INT. CRACK - DAY + + Gabe and Jessie turn towards the unreachable radio. + + Hal is being pounded on by Delmar who rips the radio from his + hand. + + HAL + (V.O.) + Get out of there! Get-- + + + CUT TO: TOWER FACE + + DELMAR + Let me do the job. + + QUALEN + Soon. + + + + INT. CRACK + + Gabe leads Jessie horizontally through the crack, fast and + furious. + + JESSIE + (pointing) + We might be able to go that way. + + GABE + Forget it. If that charge goes + off before we can reach it, this + whole damn crevice will slam shut + on us. This way. + + They scramble along a single ledge as the crack narrows. + + + TOWER FACE + + Everyone is staring at the wall. Qualen looks at his watch: + the second hand sweeps around. + + TRAVERS + Why the hell are we wasting time + here?! + + QUALEN + Insurance against him finding + that last case ahead of us. + + He looks at Hal who has murder in his eyes. + + QUALEN + He wants to kill me. Pick a + number and wait your turn. + + + GABE AND JESSIE ON THE WALL + + Gabe takes the bolt gun from his belt and fires in a shaft of + metal and rigs a carabiner. + + + CUT TO + + Timer reading: 2:42 + + + GABE AND JESSIE + + Gabe rapidly scans the rock below. All smooth. He sees a lip + ninety feet below, leading into the wall: a cave. Gabe turns + back to Jessie and flips the rope off his shoulder. + + GABE + Pull it apart! + + JESSIE + What? + + GABE + Start pulling it apart! We're + climbing down on it. + + JESSIE + This rope is sixty years old! + + GABE + These old ropes can hold 900 + lbs., each strand 300. I'm 190, + you're about 135 -- it just may + hold. + + JESSIE + Never + + GABE + Never, what?! + + JESSIE + I've never weighed 135 lbs.! + + GABE + Helluva time for vanity! + + + HELICOPTER - MOVING OVER MOUNTAINS + + Frank is in the air, heading out toward the range. + + + TOWER FACE + + Qualen smiles. + + QUALEN + Here comes our limo. + + Delmar grabs Hal. They all scramble out of sight. + + + INSERT - THE BOMB + + The timer has about two minutes left -- 1:59 -- 1:58 -- + + + GABE AND JESSIE - AT CRACK'S EDGE + + They are furiously unravelling the rope. + + GABE + Almost have it. + + + EXT. HELICOPTER - FLYING OVER THE MOUNTAINS + + Frank is practically at the buttress and the facing Tower. + + KRISTEL + (V.O.) + I can hear you. Hurry. + + FRANK + (into radio) + I see your flare. I have visual + bearin'. I'm comin' in. Over. + + + GABE AND JESSIE - AT THE CRACK'S EDGE + + Gabe and Jessie have unravelled the rope fiber. It's three + different strands wound together. Gabe sees the chopper and + shoots off a flare. The chopper flies overhead and past. + + JESSIE + (frantically) + Frank! No, Frank! Frank! + + GABE + (hands Jessie rope) + Jess, c'mon... + + Gabe ties the rope to the carabiner. + + He takes the line and lets it drop. Ninety feet of what looks + like twine. + + GABE + C'mon, it's the only chance. + + Jessie's clearly not convinced, but there's no choice. She + starts to rappel down, Gabe close behind. + + + INSERT - THE BOMB + + is ready to blow -- 0:42 -- 0:41 -- + + + INT. CRACK + + Bloody and dying, Kynette musters all his strength and rises. + + + JESSIE AND GABE - RAPPELLING DOWN + + have to swing over to the side about fifteen feet to get to the + cave. It means a pendulum type swing that puts even more + pressure on the rope. The fibers begin to fray and snap. They + swing down lower, twenty feet to the cave, four thousand to the + ground. Fibers snap at an alarming rate. + + + INSERT - THE BOMB + + - 0:34 -- 0:33 -- + + + KYNETTE + + Emerges from the crack, knife in hand. + + + JESSIE AND GABE - RAPPELLING + + They reach the end of the rope, six feet above the cave and + fifteen feet away laterally. + + GABE + (shouting) + Swing and drop! + + They start the swing. As they get over the cave's lip, Kynette + grabs the rope and cuts it. Jessie and Gabe, still clinging to + the rope, fall onto the cave's narrow lip. Gabe lands, but + Jessie tumbles over the edge! She loses her grip and drops. + + JESSIE + Gabe! + + GABE + Hold on! Hold on! Reach up! + + Jessie reaches up with the other hand. + + JESSIE + I can't...I can't. + + Gabe's hand flashes out. He's got a tenuous grip on her + forearm. Jessie swings like a pendulum over the abyss. With + each swing her hand slips further down Gabe's arm, their grip + slides to wrist level. Gabe's hand digs into Jessie's glove + and holds. + + JESSIE + Oh, God...please, oh God! + + + FLASHBACK - GABE'S POV + + Sarah's hand slides out of her glove. He hears the exact same + dialogue. She falls...her eyes still locked on... + + + BACK TO: GABE + + GABE + Reach up! Do it! + + JESSIE + Don't let me fall! + + GABE + Do it, goddammit! + + His left hand finds a grip on a ledge. Pulling with all her + strength, Jessie starts to reach up with her free hand. He + inches up to her shoulder, bicep, forearm and finally grabs her + wrist. + + Gabe pulls her to safety. + + + THE BOMB -- 0:04 -- 0:03 -- + + + GABE AND JESSIE + + throw themselves across the cave's narrow lip. + + + ABOVE ON THE WALL + + the bomb detonates, raining debris and triggering a massive + rock slide. + + + KYNETTE + + turns. A storm of rock sweeps him to his death. + + + JESSIE AND GABE + + as the rockslide tumbles past. Safe, for now. + + JESSIE + Thanks for holding on. + + GABE + (standing) + We were going together before I + ever let go of you. + + JESSIE + I'm holding you to that. + (pause) + Gabe, what about Frank? + + GABE + I don't know. I don't know. + + + THE HELICOPTER - OVER THE TOWER + + Frank sees Kristel in a clearing, face down in the snow, and + banks down. + + + EXT. CLEARING + + Frank, running, carrying a first aid kit, pauses at the sound + of the explosion. + + FRANK + What the hell? + + He resumes running. He arrives at Kristel. He turns her over + and breaks a capsule over her nose. + + KRISTEL + Welcome. + + FRANK + What's happening here?! Where's + the rest of the group? + + Delmar steps out from his hiding spot. + + DELMAR + Here. + + FRANK + What're you doing? I came here + to help you all. + + DELMAR + You did. + + Delmar fires. The fusillade blasts into Frank. Delmar keeps + firing. Frank staggers to the ground. Silence. + + + CUT TO: TOWER FACE + + Hal has viewed this with Qualen's pistol to his head. + + HAL + He never hurt anybody. + + QUALEN + I'm touched. Kristel, check the + chopper, let's go. + + Hal rises and they move off. + + + EXT. MOUNTAIN - GABE AND JESSIE + + They are moving swiftly down a steep rock path. + + GABE + Crockett River is where the last + of the money fell. + + JESSIE + If we go along the northern + ridge, we can get there first. + + GABE + There's no "we". There's a me. + All I have to do is make it along + the north wall to Bitker Ladder. + What you're doing is going back + down to the station to get help. + And don't put on that mad face. + + JESSIE + Forget it. You're in no shape to + climb alone. + I stayed with you this far, and + you didn't drop me, so I owe you. + C'mon, let's go. Hurry up, time + is money. + + GABE + "Time is money" -- please. + + + EXT. THE TOWER - INCLUDE RESCUE COPTER + + Travers comes over, with Hal and Delmar in tow. Kristel + follows. + + TRAVERS + We'll use the copter to locate + the third case and get out of + here. + + KRISTEL + There's not enough fuel to search + around. Just enough to get us + down. + + QUALEN + Travers, you're not running + things. + + HAL + (to Travers) + When he finds the money, you're + as dead as me. + + Travers glares at Qualen. + + QUALEN + Give me the monitor. Now! + + Travers, strangely nonchalant, hands it to Qualen. + + Qualen looks to the screen, which reveals the locale of case + three. + + CLOSE - THE MONITOR + + suddenly goes completely blank. + + QUALEN + What's the code, Travers? + + TRAVERS + I told you, 50,000 possible + keycode combinations, in fifteen + second intervals. + + QUALEN + (roars) + Give me the fucking code! + + Travers pulls a pistol from behind his back. + + QUALEN + Look what you found. What was + your idea? To use the chopper to + find the money? Good idea, but + without a pilot, nobody gets off + this mountain. + + Qualen grabs Kristel and pulls her in front of him as a shield. + + KRISTEL + What're you doing? + + QUALEN + (to Kristel) + You know what I think love is + Kristel? The mistake that one + woman thinks she is different + from all the others. + + TWO SHOTS ring out. + + Blood blossoms across Kristel's chest. Shock and sadness on + her face. + + Qualen lets go of her. + + Dead, she slumps to the ground. + + Revealing Qualen's smoking pistol. + + QUALEN + Now, I'm the only one who can fly + us out of here. Partners again? + (low simmer) + Take your toy and get our money. + + Travers, Delmar and especially Hal are shocked by Kristel's + murder. + + QUALEN + (to Delmar) + Radio when you find it. I'm + waiting here. + + + EXT. BRIDGE + + Gabe and Jessie work their way up a steep slope, up to the rope + and timber bridge that spans the chasm. Gabe is several paces + ahead when he steps onto the bridge. A snapping sound from the + bolts freezes him. + + GABE + Get back! + + Jessie has just stepped onto the bridge. She jumps back. + The last bolt forced to take all the strain breaks free. + The bridge collapses, swinging down, spilling wooden slats and + debris into the chasm. The rope and timber completely unravel. + Gabe jumps off the disintegrating bridge onto the + + ROCK SPUR. + + Jessie grabs him, steadying him. + + GABE + Doesn't anything last?! + + Jessie turns, looking around, as if somewhere she'll see a + solution. + + JESSIE + My heart can't take much more of + this. Look, if we climb down + from here, it'll take two hours + to get back to the station. + + GABE + That's exactly what I want you to + do. + + JESSIE + What about you? + + He turns around, pointing across the chasm. + + GABE + What do you think? Maybe I could + reach the ledge without falling. + No, forget it. + + JESSIE + Oh, good. For a minute I thought + you'd lost your mind. + + GABE + + points to a series of tiny outcroppings just below where the + bridge was anchored. + + GABE + But maybe with a good start I can + hit those hand-holds. + + JESSIE + Hand-holds?! I can barely see + them. + + GABE + We don't have time to argue about + it! + + JESSIE + Are you crazy? Has the altitude + shrunk your brain, Gabe? + + GABE + (overriding) + Take the rope. + + JESSIE + I won't do it. No way. + + GABE + (overriding) + Take the rope. + + JESSIE + Enough's enough. How could + anybody in their right mind... + then again, you never were in + your right mind. + + GABE + Wrap it around that rock twice. + + JESSIE + I'm going to wrap it around your + throat! + + GABE + An' if I miss, dig in and try + your best to slow the fall. + + JESSIE + Forget it! I refuse! + + GABE + Fine, it shouldn't bother your + conscience. + + JESSIE + Don't lay any guilt on me. + Suicide's a personal thing, best + done alone. + + She turns and goes. Gabe doesn't look after her. He backs up, + all of his senses are focused on the gap and the hand-holds + beyond it. Push in on his face...a moment of meditation as he + centers himself. + + JESSIE + Please, Gabe, this is insane. + (to herself) + Please don't do this. I can't + watch this. I can't. + + She starts to quickly wrap the rope twice around a thin + outcropped rock. + + JESSIE + Y' know, you're not brave, you + just have no common sense. None! + + Then he's off! A few powerful strides and he leaps! + + ACROSS THE GAP + + Nothing but air for four thousand feet. His whole body would + like a spring, the wind rushing past. His arms firing out, + reaching + + THE ROCK + + racing to meet us. His hands stretching...stretching...his + fingers touching! Sliding down the rock, gripping the hand- + holds. Gabe, like a fly on the wall, hangs by nothing more + than his fingernails. + + JESSIE is determined not to turn and look. Suddenly, a scream! + + JESSIE + Gabe! + + She slowly turns and sees Gabe standing on the opposite ledge. + + GABE + Just kidding. + + JESSIE + Gabe? Wait 'til I get over + there. Tie the rope so I can + come across. + + GABE + Can't do it. Now go back and get + help! + + He lets the rope fall and runs off. + + JESSIE + Gabe, you bastard! Be careful! + + + EXT. COMB BLUFF - JET STAR CRASH SITE - DAY + + What's left of the Jet Star has been located. Several dozen + Treasury and FAA agents sift through the wreckage, taking + photos and putting pieces into bags for analysis. Many bags. + Many small bags. We move to one bag in particular. Above an + FBI chopper hovers. + + CLOSE ON BODY BAG + + as the zipper is pulled down. Before we can see anything, we + mercifully reverse POV. + + WRIGHT AND DAVIS + + are near a helicopter, with STUART, the overbearing FAA + forensics expert. + + A SEARCH PILOT zips the bag back up. + + STUART + We found I.D. on the dead pilot. + He was known to be in the company + of Qualen. We have to assume + this was his jet. + + WRIGHT + Unless you find additional + wreckage, we have to assume the + treasury jet was successfully + hijacked. + + STUART + You assume right. + + WRIGHT + Son of a bitch. Travers had to + have masterminded the whole + goddamn thing. So much for + having total faith in somebody. + Never again. Never. There's + still a chance they didn't pull + it off. + How do you explain the sudden + drop from the radar screen? I + want every able man up here until + this whole range has been turned + upside down! + + DAVIS + I'm on it. + + + EXT. MOUNTAIN WALL - GABE MOVING ON A LEDGE + + that's extremely narrow. It's got irregular breaks, causing it + to go up or down several feet, and Gabe is jogging it, leaping + across the ledge's gaps, leaning toward the wall and away from + the four thousand foot drop. + + He makes the last jump to a section of ledge near the bottom of + + + THE "BITKER" LADDER + + A prominent sign reads "Property of the Bitker Mining Company." + + The ladder consists of metal rungs woven into loose steel cable + bolted into the rock, running two hundred feet to the top, + something left here by a past expedition, now a tourist's toy. + The bottom rung is three feet above Gabe's outstretched arms. + + GABE + (coiling for jump) + Bitker you cheap bastard. + Couldn't you afford three more + feet?! + + Gabe leaps up, grabbing the bottom rung instead of a half mile + of air, and he shoots up the ladder as we PULL BACK. + + WIDER ANGLE ON MOUNTAIN WALL + + A closer look at terrain seen earlier. + + As we track Gabe up the ladder, we can see a lake on top of the + mountain. Constant motion keeps it from totally freezing, but + it is still coated with a solid sheet of ice. + + + ELSEWHERE ON MOUNTAIN SLOPE - HAL + + leads the others down the grade, we can see from their relative + position to the lake that Gabe has a lead on them. A very + slight one. + + + TOP OF LADDER - GABE + + pulls himself over and starts running into a + + ROCKY AREA + + where he spots the third case. It took a tough landing on a + rock. It's shattered into halves, and the bands of bank notes + are scattered around in the snow. + + Gabe rushes down behind a rock and starts gathering the cash. + Soaked by the snow, they've nearly frozen into ice bricks. + Something catches his eye. Several feet away he sees rabbit + tracks leading into a very prominent rabbit hole. + + + EXT. FURTHER UP ON SLOPE - HAL + + and the other two crest a rise. Unaccustomed to the altitude + and the exercise, Travers and Delmar are fading. They stop, + catching their breath. + + TRAVERS + + checks the monitor. Anxiety washes across his face. The + relative position shows they're... + + TRAVERS + Almost there. Alright, I've got + it locked in. + + DELMAR + (motions to Hal) + Then you're done with him. + + Delmar walks over to check the monitor. + + TRAVERS + (nods) + Yes, and do it quietly. Your + insane boss just made enough + noise for anyone within ten miles + to hear us. + + Travers studies the monitor and moves away. + + HAL AND DELMAR + + DELMAR + (pointing at Hal) + Ready to die quiet-like, asshole. + + HAL + Hey, let's get something + straight. + If I'm gonna die, I'm gonna die, + but you're always gonna be the + asshole, so just shoot, alright. + + DELMAR + Who's shooting? + + Delmar rears back and slams his head against Hal's forehead, + driving him to the ground. Delmar then kicks him in the ribs. + + DELMAR + How we feelin' so far? Upset + stomach, aye? + + Hal recoils from another kick and tries to rise. + + DELMAR + Like soccer? Great sport! I was + a bloody good striker. Here's an + outside right. + (kicks) + + Hal recoils in pain as Delmar breaks the bone in his lower leg. + Hal howls in agony, but tries to rise. + + DELMAR + Did I hear somethin' break? + Outside left! + + HAL + Fuck you. + + DELMAR + Cursin'. That's a penalty kick + for unsportsmanlike conduct, + mate. + + He kicks Hal again, sending him back several feet, crashing + heavily on his side. Hal tries to remove a folding climbing + knife that fits in a sheath sewn into the side of his boot. + + DELMAR + A lovely chip shot to the winger! + (kicks) + + Hal has been kicked near the edge of a cliff. He weakly + reaches for his boot knife. Again this is not noticed by + Delmar, who's having a wonderfully sadistic time. + + DELMAR + Winger back to striker! + + Delmar kicks Hal, who is barely hanging on to consciousness. + + DELMAR + He dribbles past one defender. + (kicks) + Two defenders. + (kicks) + Three defenders! + + Hal lies crumpled on his side, curled in a ball of pain. + + DELMAR + Striker lines up to the goal... + focuses on the ball... + + Hal has barely managed to remove the knife and secretly opens + it. Its serrated edge glistens like a chrome serpent in his + hand. + + Delmar backs up to take perfect aim at the back of Hal's head. + + DELMAR + The crowd is on its feet, the + League Cup Championship for this + season comes down to this last + kick. The striker sees an + opening, draws back his foot and + fires! + + As Delmar's leg explodes forward, Hal spins and drives the + knife into Delmar's approaching shin bone. Delmar buckles in + pain, allowing Hal to reach up and snatch a pistol from the + goon's waistband. + + Hal fires from a prone position and catches Delmar in the mid- + section, which blows the large man upright, soaring onto his + back. + + HAL + The season's over, asshole. + + Hal struggles to his feet and removes Delmar's automatic weapon + and limps away in excruciating pain. + + + CUT TO - TRAVERS + + Travers turns, reacting to the shot and the distant sounds of + Delmar screaming. He thinks the painful cries are emanating + from Hal. + + TRAVERS + I said quietly...shit. + + Travers is looking down at the monitor. His eyes fix on the + screen, following the blip that's just ahead of him. He + freezes...the blip starts to move. + + TRAVERS + What the hell? + + Travers is now running, following the monitor's lead. + + TRAVERS + It can't be. + (furious) + It can't be! + + THE MONITOR + + The blip changes directions, likewise, Travers. + + + CUT TO: + + Hal has just finished tying a tourniquet around his upper leg. + He hobbles off. + + + TRAVERS + + is slogging up the hill after the blip, which now turns back + toward him. Travers aims his gun and waits. + + HILL TOP + + A large winter rabbit sticks his head over the hillside. + Travers sees the rabbit with the tracer fastened around its + neck and nearly goes apoplectic. He fires at the rabbit. + Bullets rip up the ledge as the animal runs away. Travers + reaches for his radio. + + TRAVERS + (into radio) + Come in--come in! + + + EXT. TOWER FACE + + Qualen in the chopper. + + QUALEN + You got what we need? + + TRAVERS + No, that son-of-a-bitch Walker is + alive. + + QUALEN + No names, this is an open line! + + TRAVERS + I don't give a shit, Qualen! I + had to be insane to ever tie up + with a low-life, piece of shit + like you. They beat us. A + couple of fuckin' hick mountain + boys beat the man no law agency + ever could. + + QUALEN + Get off the radio! + + + CUT TO - TREASURY CHOPPER - DAY + + Wright is monitoring the conversation between Qualen and + Travers through the headset. + + WRIGHT + Jesus Christ, that's Travers. + They're alive!! + (to pilot) + Get a bead on that frequency. + + + CUT TO - QUALEN AT THE CHOPPER - DAY + + QUALEN + Stop transmitting you stupid + bastard! + + + CUT TO - TRAVERS + + TRAVERS + Why? I always wanted my own + radio show! What was I thinking, + I must have been crazy to think + I could get away with it. It's + hard to believe I sold out after + twenty years and this is the + payback--to rot on a mountain + with a fucking dirtbag like you. + + + CUT TO - QUALEN + + QUALEN + You are losing your mind, + Travers! + + + CUT TO - TRAVERS + + TRAVERS + I lost it when I met you! Gotta + go, I'm doing my last official + man hunt. + + He turns, looking for some sign of Gabe. Then he sees it: + footprints in the snow. He takes off. + + + CUT TO - TREASURY CHOPPER - DAY + + WRIGHT + (to pilot) + You got a frequency bearing yet? + + PILOT + Not exactly, but close. + + The chopper banks wildly to the right and soars away. + + + CUT TO - GABE'S FEET + + sink into the snow. + + WIDER + + As Gabe makes his way to a thickly wooded area. He has the + money swung over his shoulder wrapped in a garment. Suddenly + BULLETS blast behind. + + TRAVERS + + slides down onto the level that Gabe is running. Finding his + footing, he fires again and bullets blast the bare tree + branches just above Gabe's head. He quickly bursts to his + feet, running for all he's worth. + + A round from a second burst of gun fire rips into Gabe's + shoulder. He tumbles out onto... + + + A SLOPE + + that leads down to the frozen lake. Gabe slips on the loose + rock and slides out of control, still holding the money bag. + + + TIMBER BRIDGE + + that spans out onto the river, rising at least 20 feet above + the ice. He slams into the base of it with a THUD. + + + EXT. MOUNTAIN TRAIL - DAY + + Jessie is running down the trail for all she's worth. She + hears the sound of a chopper approaching. Her expression + brightens as she now runs toward the sound. What lies before + her is a cliff edge that drops into an expansive valley. + + JESSIE + Frank, you're beautiful! + + She runs to the edge, just as the chopper rises into view like + a whirling dragon from hell. The blood drains from her face as + she locks eyes with the man at the controls--Qualen. He has an + automatic weapon trained on her. + + + EXT. TIMBER BRIDGE - DAY + + Travers runs onto the entrance of the bridge. Gabe is gone, + but his footprints indicate he's gone out onto the bridge. + + Travers cautiously follows the tracks to the end of the bridge + where they stop, giving the impression that Gabe jumped onto + the ice below. + + He peers over the edge. The ice stretches across the river + like glass, but no snow--thus no footprints. + + FROM UNDER THE BRIDGE + + We see Travers' head glance under. Finding nothing, he + retreats. + + CAMERA PANS and + + picks up Gabe about twenty feet back, wedged in an "X" + configuration against the underside of the bridge. + + The weight from Travers knocks bits of snow and ice onto Gabe. + He strains to hold himself in place. + + ON THE BRIDGE + + Travers steps back twenty feet, stops just above Gabe. He + notices that snow is scraped off the side, obviously where Gabe + crawled under. + + TRAVERS + Didn't you ever play hide and + seek when you were a kid, Walker? + Rule #1, cover your tracks. + + He aims his gun at the wooden planks below him. + + GABE + + knows it's coming. He releases his foot holds and swings, + holding on by just one hand. A stream of bullets rip past him + and lodge into the ice fifteen feet below. + + TRAVERS + Make it easy on yourself. You + stole the money, now I've got to + take you in. Come out so I can + read you your rights. + + TRAVERS + + can't tell if he hit him. He steps over to the edge, peers + down and, just as he does... + + GABE + + reaches for a hold with his other arm, swings his legs up and + does a kick maneuver, scissors his legs around Travers and + tries to pull him over the edge. Travers strains with all his + might, clinging to a cross rail for dear life. + + The thrust from Gabe's weight pulls Travers loose from his + hold, causing them both to... + + + EXT. ON THE ICE + + crash down onto the ice. A spider web of cracks jolt from the + point of impact. Gabe scrambles to his feet, sees Travers' gun + about ten feet away. + + As he lunges for it, Travers tackles him. The two of them + crash against the ice again. This time it gives way, dropping + them both into the FREEZING WATER. + + + EXT. UNDER WATER + + Dark, eerie silence. Rays of light come through from the clear + ice making it nearly impossible to identify the hole. + + Gabe and Travers struggle, clawing up toward the surface, + kicking...desperate. Gabe reaches for the opening, but Travers + pulls him down. + + + EXT. ON THE ICE + + Travers' head comes up, reaches for solid ice. Gabe yanks + himself up on Travers' back, GASPING for air. Travers elbows + him in the face. + + He loses his grip and slides back under the ice. + + + EXT. UNDER WATER + + Gabe reaches up with his arms, but the current pulls him away. + + + EXT. ON THE ICE + + Travers drags himself onto solid ice. Breathless, he lies face + down, looking... + + + EXT. UNDER WATER/THROUGH THE ICE + + Gabe has his mouth pressed against a tiny air pocket, GASPING. + He's holding on with only two fingers, just as if it were a + vertical climb, but he's not going to last much longer. We can + see the distorted shape of Travers staring back at him. + + + EXT. ON THE ICE + + Travers retrieves his weapon. + + + EXT. UNDER WATER + + Gabe loses his grip and is swept away by the slow moving + current. + + Travers steps above, preparing to blast him away with his + weapon. Gabe sees this just before he passes beneath a cloudy + patch of ice that causes Travers to momentarily lose sight of + him. + + Gabe still drifting, frantically claws at his bolt gun. + + + EXT. ON THE ICE + + Travers moves over the cloudy patch of ice, awaiting the second + Gabe will reappear. + + Gabe's head starts to pass into view. Gabe also can now see + Travers' outline. + + Travers LEVELS his weapon and takes AIM. + + Gabe FIRES the bolt gun. There is a solid THUD as the ice + underneath Travers bulges upward. + + Gabe's head emerges through the cracked ice as the bolt BURIES + itself into Travers' chest. + + GASPING for breath, Gabe can only manage to pull his head out + of the deathly water as Travers staggers several feet away. + + Gabe helplessly watches as Travers WEAVES forward. As life + ebbs from his body, Travers struggles to raise the automatic + weapon and aims it at Gabe's head. The weapon wavers then at + the final moment of truth. It descends as Travers can no + longer maintain consciousness. His weapon hangs at his side. + He spasmodically pulls the trigger. Bullets rip into the ice + at his feet and Travers disappears from view as if falling + through a trap door. + + + EXT. UNDER THE WATER + + Travers takes in water as the current pulls at him. He pushes + his face up for an air pocket, but there isn't one. + + + EXT. ON THE ICE + + Gabe, totally exhausted and only half out of the water stares + down. + + + ANGLE THROUGH THE ICE + + Travers is looking up at him, his gruesome, distorted face + gasping for its last breath. His eyes pleading for mercy as he + drifts into eternity. + + + EXT. ICE + + Gabe, exhausted, slips back into the water and is just about + totally submerged. A hand shoots into the freezing water and + yanks him back to the surface. + + HAL + + pulls Gabe to the surface. + + Gabe tries to focus on Hal. + + GABE + (coughing) + Am I dead, or are you alive? + + Hal hauls him out of the ice hold. + + HAL + Both. You gotta get outta these + clothes, fast. + + Hal opens his boot knife and with startling swiftness, + literally slices the near-frozen garments off his friend's + torso. + + HAL + Thanks for staying around when + you didn't have to. + + GABE + My pleasure. + + Hal places his jacket over Gabe's exposed upper body and pulls + off the outer shell of his foul weather gear and starts to + frantically rub his back and legs. + + HAL + Don't get the wrong idea, you're + not my type. + + + EXT. HELICOPTER - OVER MOUNTAINS + + The machine veers between towering out-croppings. + + INT. CHOPPER - DAY + + Qualen is at the controls. Jessie's hands are handcuffed to a + bar fastened to the chopper's roof. Qualen keys the headset + radio. + + QUALEN + Travers - come in. + + + EXT. SHORELINE + + Gabe is sitting, wearing the garments given to him by Hal. + + GABE + (still thawing) + How's your leg? + I'll live. Where'd you leave + Jessie? + + GABE + Near Freedom Falls. She went for + help. + + HAL + Hey, about everything that + happened with Sarah. I know you + did what you could-- + + QUALEN + (V.O.) + Travers--come in. + + Hal reaches over and grabs the radio. + + HAL + (keys the radio) + Too late, you missed him. He + decided to swim to Arizona-- + underwater. Any messages? + + Beat. + + QUALEN + (V.O.) + Tucker? + + GABE + (into mic) + Qualen, glad you stuck around. + There should be a few hundred + cops looking to meet you. + + Another beat. + + INTERCUT - GABE & HAL (SHORELINE) AND QUALEN (IN THE CHOPPER) + + QUALEN + Tucker, you know where the money + is-- I want it. + + HAL + (tired) + Qualen, go fuck yourself. The + game's over--you lost. + + QUALEN + (now he's had enough) + No, the goddamn game's not over! + It's never over when you're + playing against a team that + doesn't care if they win or lose-- + how do you negotiate with someone + like that?! + + HAL + What are you talking about? + + JESSIE + (V.O.) + Gabe! Hal! They killed Frank! + + TIGHT ON - Gabe reacting. He grabs the radio. + + GABE + Jessie! Are you alright? + + QUALEN + I want the money--meet me at the + highest point from where you are. + Don't do it and we're going to + see if your angel here can fly. + Copy? + + GABE + Copy. Jessie, go to the top of + Bitker ladder. + + QUALEN + (V.O.) + Love's a killer, isn't it? + + The radio goes dead. Hal is staring at Gabe. + + HAL + What are we going to do? + + GABE + Give him the money. + + Gabe takes Delmar's radio from Hal. + + HAL + I'm going with you. + + GABE + Not on that leg. + + HAL + Take the gun. + + GABE + You keep it. Get up there if you + can, and if you get a chance, do + me a favor and kill him. + + He starts off towards the bridge. + + + EXT. HELICOPTER + + The chopper, with Qualen in it, blasts over the lake, + searching. + + + INT. HELICOPTER + + Qualen scans the mountain side. He sees nothing. + + QUALEN + (into the headset) + Where are you, Walker? + + GABE + (V.O.) + You're getting warmer! + + + HELICOPTER'S POV + + along the rock wall, up the side of the precipice and there + is... + + GABE + + standing on the end of a narrow spur that juts out from the + mountain like a diving board, holding the backpack over the + edge. + + GABE + I've got your luggage! Give me + Jessie! + + The helicopter flies in low, circles him, nearly blowing Gabe + over the edge with its whirlwind. Gabe dangles the money. If + Qualen shoots him, the money falls, too. + + + INT. HELICOPTER + + Qualen hovers the chopper in front of him. He puts the gun up + against Jessie's head so that Gabe can see it. + + QUALEN + Throw it up or I'll kill her. + + GABE + (V.O.) + You do, and the spring thaw is + going to be worth a lot of cash! + + QUALEN + The money! + + GABE + WHEN SHE'S SAFE! + + + EXT. SPUR + + The chopper hovers a safe distance away from the ledge. Gabe + still stands on the overhang, the pack still held out over the + edge. + + + INT. HELICOPTER + + Qualen unlocks Jessie's cuffs. + + + EXT. SPUR + + Hovering fifteen feet above Gabe, Jessie lowers herself down on + the grappling cable. + + GABE + Run! + + She doesn't. + + JESSIE + What about you?! + + GABE + RUN, DAMMIT!! + + She runs for the protection of the rocks. + + Gabe and Qualen stare at each other. + + Qualen levels his gun at Gabe through the open passenger door. + + QUALEN + Let me have it!! + + Gabe hurls back the money like he was throwing an Olympic + hammer above the chopper and into the blade. The sack + disintegrates into a million pieces. + + GABE + Don't you want to count it? + + Qualen glares at Gabe and aims his weapon. Gabe ducks beneath + the chopper and hooks the cable to the top rung of Bitker + Ladder. + + THE HELICOPTER + + spins around, Gabe instantly flattens to avoid the tail + swinging past him and dashes away from the cliff's edge. + + Qualen wildly spins the chopper around looking for Gabe. The + cable from the chopper reels out as the machine maneuvers. + + CLOSE ON JESSIE + + eyes widening with fear. + + JESSIE + Run! Oh, my God! + + Gabe, realizing he does not stand a chance in the open, + reverses field and runs for all he's worth toward the cliff's + edge. + + THE HELICOPTER + + with its skids skipping just over the ground, gains on Gabe. + + GABE + + as he runs toward the mountain's edge. It's just a few feet + ahead, but the chopper is almost on him. As it drops lower on + the verge of overtaking him, he dives off the edge, FALLING. + Gabe falls the first twenty feet of the long drop, then grabs + a rung of the cable ladder. + + THE HELICOPTER + + flies low over the precipice, flying over the valley below. + + Gabe tries to frantically climb up the ladder when the cable + connected to the chopper pulls taut, popping the bolts that + hold the ladder in place, rung by rung. + + Qualen is disoriented by the sudden jolt. The engine strains + as the ladder weighs the machine down. Gabe hangs on for dear + life as the bolts holding the ladder continue to rip out. One + bolt explodes from the wall and crashes into the exposed upper + engine of the copter. Still going, the chopper strains' against + the ladder. Thirty feet of it tethers the chopper to the wall. + Gabe is dangling from the center of it. + + On the ladder, Gabe has one arm hooked around a rung, as the + chopper thrashes the ladder up and down. + + HAL appears at the top in time to witness this. He sees a + frantic Jessie and hobbles to her. + + INSIDE THE CHOPPER + + Qualen is totally enraged. + + INSERT - THE ENGINE + + as sparks fly, it slowly grinds to a halt. + + THE HELICOPTER + + still strains against the cable ladder, but the rotor blades + slow. + + GABE ON LADDER + + stares at the stalling rotor. If it were possible for him to + grip the ladder tighter, he'd do it now. + + JESSIE AND HAL + + JESSIE + Oh, my God! + + HAL + Climb, Gabe, climb! + + ON THE HELICOPTER + + As the rotor WHOPS to a dead halt, the chopper arcs down and + slams against the mountain wall sideways. The winch cable is + still caught in the ladder, and it holds. + + Gabe is shaken off by the massive impact. He falls, landing on + the helicopter's side near the smoking propeller. As Gabe + scrambles up for a solid hold, + + INSERT - THE WINCH CABLE + + One of the two rungs holding the chopper bursts. + + THE HELICOPTER + + slips, now hanging from just a single rung. Gabe is sliding + off the machine but manages to angle his body and prop himself + against the blade. + + CHOPPER ROOF + + Qualen crawls out the side, and as his head clears the doorway, + he sees Gabe and fires his machine gun. Gabe ducks behind the + base of the propeller as bullets rip into the side. The gun is + empty and Qualen throws it aside and crawls out to challenge + Gabe. + + GABE + Come on--one last challenge! + + They latch into a death struggle against the center of the rear + flank of the chopper. Qualen tries to gouge Gabe's eyes out, + but Gabe manages to break free and pounds him repeatedly + against the head. + + CUT TO: + + Hal tries to aim his weapon, but there is no clear shot. + + + CUT TO - THE TREASURY CHOPPER + + Wright and Davis swing into view. Wright looks through + binoculars. + + WRIGHT + It's Qualen! Get me down there. + + + CUT TO - THE LADDER + + The bolt supporting the ladder, which in turn supports the + chopper, is being worked loose by the ensuing battle. With + each of the men's movement the bolts slip further out. + + + CUT TO - TREASURY CHOPPER + + The chopper drops lower and directly above Gabe and Qualen. + The chopper's backwash makes the men appear as if they are + battling in a hurricane. + + + INT./EXT. CHOPPER + + Qualen manages to force Gabe's neck against the chopper's + blades. Gabe manages to drop low and drive home several killer + punches that now have Qualen on the verge of unconsciousness. + Gabe feels a sudden snap, sharp movement of the fuselage. He + realizes he has only seconds to live. Pulling himself away + from Qualen, he prepares to jump. + + Qualen, with his last remaining strength, grabs his legs, + tackling him. + + QUALEN + We go together, Walker! + + Gabe tries to crawl towards the ladder. The bolt is + milliseconds from snapping. + + Jessie frantically yelling down. + + JESSIE + Gabe! Jump!! + + Qualen tightens his grip on Gabe's legs. + + QUALEN + (hissingly) + You lost! + + Gabe breaks a foot loose and kicks Qualen square in the head. + + GABE + You fell. + + Qualen slides back and tumbles into the door opening, landing + awkwardly against the dashboard. + + + EXT. CHOPPER + + At the precise moment the chopper finally breaks loose. + + Gabe leaps, catching the final rung on the ladder. + + + THE FALL - LONG SHOT + + Qualen's screams trail behind the helicopter as we follow the + entire 4000 foot drop. + + + INT. CHOPPER + + We see Qualen is flattened against the windscreen looking + straight down as the ground furiously rushes forward. + + + EXT. CHOPPER + + Gabe watches as the chopper falls nose first like an atomic + bomb, finally exploding into a massive fireball on the valley + floor. + + + INT. TREASURY CHOPPER + + Wright turns to the pilot. + + WRIGHT + Now that's justice. Let's get + down there. + + + EXT. SPUR + + Gabe turns and looks back at the wall. He struggles with his + remaining strength to pull himself up on one rung. + + Gabe leans back, gripping the ladder, too tired to move. + + Just the thought of one more climb drains him. + + GABE + (mumbling) + Forget it. No way. I've had it. + + Before Gabe can take this any farther, a loop tied to the end + of a rope falls next to him. Gabe looks up. The same old + Douglas rope that he left with Jessie. + + ON THE EDGE - HAL + + has thrown the line down, Jessie is by his side. + + HAL + Remember, keep your arms and legs + in the vehicle at all times-- + + Gabe puts the loop around himself and tightens it by rote. + Even this action aches. + + Hal and Jessie draw Gabe up. Gabe pulls some of his weight by + using hand and foot holds, but when he reaches + + THE PRECIPICE EDGE + + Hal and Jessie are both winded from the effort of hauling Gabe + onto the top. Gabe unties himself and collapses into Jessie's + lap. + + HAL + (winded, coiling rope) + Jesus -- you think you could have + put a little less effort into + that climb? I thought you were + in shape. + + Jessie embraces Gabe. They share the kiss of their lives. + + GABE + The "old mouth to mouth" + resuscitation routine. + + JESSIE + There's a lot more where that + came from. You're not leaving + again? + + GABE + And miss all of this peace and + quiet? Never, right Hal? + + HAL + Right. + + JESSIE + Then it's a deal. + + They kiss as the camera pulls away to reveal the magnificent + mountain range. + + + + + + diff --git a/scripts/Demolition Man.txt b/scripts/Demolition Man.txt new file mode 100644 index 0000000000000000000000000000000000000000..53d808f8bfa5626f584b569b3d17e91705332faf --- /dev/null +++ b/scripts/Demolition Man.txt @@ -0,0 +1,6217 @@ + + + + + + + + + + + + + DEMOLITION MAN + + + An Original Screenplay + + + + by + + Peter M. Lenkov + + + + + + + + + + + SILVER PICTURES + + PROPERTY OF: REVISED SECOND DRAFT + + WARNER BROS. INC. August 1989 + 4000 Warner Boulevard c 1989 + Burbank, CA 91522 + + + + + + + + + + + + + + + + *define STOR cl auto [2=9976] + DATA FILE X12 CA=bbd 115 + ENTERED FALL 1995 + Code Clearance 2976-PPX::::: + + 1a-c/ A BACKLOG OF COURT HEARINGS, AN + ON-GOING DEBATE OVER CAPITAL PUNISHMENT, + AND OVERCROWDING IN MAXIMUM SECURITY + DETENTION CENTERS HAVE ESTABLISHED CRYO-PRISONS, + NICKNAMED 'THE ICE HOUSE'. CONVICTS + ARE PRESERVED IN LIQUID NITROGEN AT -320 + DEGREES FAHRENHEIT SERVING LENGTHY + SENTENCES OR AWAITING PAROLE. THEY ARE NO + THREAT TO SOCIETY, OR EACH OTHER...UNTIL NOW. + + + TWO MEN + TWO VERY DIFFERENT SPECIES OF MEN + + + + + + + + + + + + + + DEMOLITION MAN + + + FADE IN: + + A stream of mist rises, breaking off in all directions, + as if inside a deep freezer. It is hazy and DISTORTS + all IMAGES. An eerie HEARTBEAT BUILDS until reaching a + crescendo and DIES... + + INT. CRYO-PRISON FACILITY X23-55 - LOS ANGELES + + The mist clears, REVEALING behind it the frozen, expres- + sionless face of a man, cocooned in a glass pod. Standing + upright, held in suspended animation, in a freezer-like + coffin. Electrodes spread across his bare chest. + + A TITLE appears in the lower portion of the screen: + + CRYO-PRISON X23/55 + LOS ANGELES + 2018 + + Identical pods behind and to either side house hard-core + criminals. A small data bank surrounds each pod. Monitors + display digital read-outs corresponding to each individual + prisoner. + + INT. CRYO-PRISON - CORRIDOR + + The WARDEN and a SALT & PEPPER ESCORT TEAM named SANCHEZ + and DOEBLER ride a mobile Cryo-Pickup cart. Driven by a + Cryo-Prison guard named PUCKETT. Down a narrow hi-tech + corridor. Each man wears the requisition sub-zero suit. + They carry their helmets. + + WARDEN + (pointing to the + suit instruments) + ...Breathe through the respirators... + and keep an eye on this monitor... + it starts to jump... you get out of + there... + + PUCKETT + Last escort team forgot to fasten + the safety seals... + (snaps his fingers) + ...just like that. T.V. dinners. + + The cart approaches CELL BLOCK 60. The monitor on the wall + reads: -320 F. The cart slows to a stop. + + PUCKETT + Bundle up boys and girls. It's cold + out there. + + The four put on their headgear and fasten the safety seals. + Thumbs up. Puckett depresses the auto door opener and the + chamber opens. The cart drives in. + + INT. CELL BLOCK 60 + + Rows and rows of stiffs, no pun intended. Sanchez and + Doebler look on in awe. + + PUCKETT + (turns to Sanchez and + Doebler) + Human popcicles. + + SANCHEZ + Are they dead? + + WARDEN + Temporarily. + + PUCKETT + Next stop psychopaths, techno- + thugs, child molesters, necro- + philiacs... Aaah... here we + are... serial murderers. + + The cart slows to a stop in front of POD 79-SECTOR G5. + Guess who? + + PUCKETT + Pod seven. Simon Doucet. + + A DATA BANK reads: + + SIMON DOUCET + 07-48943-MU1 + SUSPENDED: JUNE 10, 1998 + TEMPERATURE: -320 F + CELLULAR ACTIVITY: 0 + + REHAB TRAINING: TELEPHONE + REPAIRMAN + + The four men stare at frozen Doucet hoping he'll somehow + disappear. UP ON... + + INT. CRYO-PRISON - POST-OP LABORATORY + + A team of DOCTORS and SCIENTISTS work mechanically reviving + Doucet. Sanchez and Doebler stand along the back wall + watching. Machines jam. Spit out information. + + SCIENTIST #1 + (monitoring) + BP... thirty... thirty-five... + + DOCTOR #1 + Blood transfusion complete. + + SCIENTIST #2 + I'm shutting down the diathermic + unit. + + DOCTOR #2 + Slowly. + + SCIENTIST #1 + ...forty-five... + + DOCTOR #2 + Seventy-two percent cerebral activity, + climbing. Should level off somewhere + in the eighties. + + SCIENTIST #2 + How's the WEDGE pressure? + + SCIENTIST #1 + Below ten centimeters. + + DOCTOR #1 + M.A.P. seventy and moving. + + SCIENTIST #1 + Pulse contour looks good and well- + defined. Steady rhythm. + + Doucet convulses on the slab. + + DOCTOR #2 + He's going into convulsion shock. + + DOEBLER + Is something wrong? + + SCIENTIST #2 + Normal post-op reaction. + + SCIENTIST #1 + He's up to fifty... + + DOCTOR #1 + Strap him. + + Doucet is strapped to the table with restraints. + + DOCTOR #2 + Digit movement. + + Doucet's hand opens and closes. His body moves slowly. + His eyes struggle with the light. He is like a baby + being born. + + SCIENTIST #1 + BP normal. + + DOCTOR #2 + You can shut down. + + Re-animation is a long process. For Doucet it's short. + His eyes open. He's alive. It is not a dream. Doctor #1 + checks his eyes with an ophthalmoscope. Dulcet regains + control of his body. The Scientists and Doctors stand + back. Sanchez steps forward and flashes his holograph cop + badge. Complete with computer bar I.D. code. + + SANCHEZ + Simon Doucet, according to Section + 795 dash seven sub-section nine of + the California Penal Code, you are + hereby granted a parole hearing. + + INT. CRYO-PRISON - CORRIDOR + + Sanchez and Doebler ride the mobile Cryo-Pickup cart. + Doucet in back. Manacled from head to tow. Worn by the + ice. He cracks his neck. Makes fists. Stretches as best + he can. + + INT. CRYO-PRISON - PAROLE BOARD HEARING ROOM + + Doucet is ushered over to a chair in the middle of the + room. Three console screens face him. Three stone-faced + Parole Judges on line. They are: MR. RYANS, Mr. Edgars, + and Ms. Walleck, who at this very moment is fighting a bad + cold. Doucet is uneasy as he slides into his seat. Mr. + Ryans glances down at Doucet's file and begins. + + MR. RYANS (V.O.) + Good morning, Mr. Doucet. My name + is Mr. Ryans. On my left is Mr. + Edgars... + (Edgars nods) + ...and on my right is Ms. Walleck. + (Walleck blows her nose) + After careful consideration we have + unanimously decided to decline your + eligibility for parole. + + Doucet's not surprised. + + MR. RYANS (V.O.) + Do you have anything to say? + + Doucet clears his throat. His first words are mumbled. + He tries again. + + DOUCET + (raspy) + Fuck you. + + Doebler steps forward. + + DOEBLER + Let's bring him back. + + He checks his pockets. Searching for something. + + DOEBLER + Shit. I forgot the data sheet. + Can't freeze him without it. + (to Sanchez) + Get it from the cruiser. + + SANCHEZ + Why me? + + DOEBLER + You're the rookie. + + Sanchez leaves the room. Probably saying something like + "This job sucks" under his breath. Doucet is very un- + comfortable. Doebler crosses the room. Taps the big guy + on the shoulder. + + DOEBLER + Easy big fella. You'll be back on + the rocks in no time. + + Without warning, Doucet's right hand grabs Doebler. Like + a vise. The Cop gasps. That's all he has time to do. + Doucet's left hand rips itself from the restrainers and + pulls Doebler down. Doucet hand-butts the Cop. A quick + jab to the throat and Doucet destroys any hopes Doebler had + for becoming Chief of Police. + + The action which follows appears as if in slow motion. + That's because capturing Doucet at normal speed is + virtually impossible. All hell breaks loose. Doucet + rips himself from the shackles. + + MR. RYANS (V.O.) + Simon Doucet, I order you to restrain + yourself. + + INT. SANCHEZ AND DOEBLER'S CRUISER + + Sanchez whistles a tune. Rifles through a sack of docu- + ments. + + INT. PAROLE BOARD HEARING ROOM + + Doucet snatches the dead Cop's standard-issue laser auto- + mag. + + MR. RYANS (V.O.) + Mr. Doucet, you have just violated... + + Doucet BLOWS away the CONSOLES. One by one. Puckett + storms into the room. + + PUCKETT + What the fuck's going on... + + Doucet takes a step. Growls. + + PUCKETT + Shit. + + DOUCET + Exactly. + + Doucet TRIGGERS. Blows Puckett all over the place. + Silence. Well, almost. The CONSOLES FIZZLE. Doucet + hurtles Doebler's body through a window creating an + escape route and climbs out. + + After a brief moment, Sanchez casually walks into the + room. He stops dead in his tracks. The room's a mess. + His partner's been waxed. His reaction is chock full o' + horror. + + FADE TO BLACK. + + UP ON + + High energy techno-pop version of "HOORAY FOR HOLLYWOOD." + OVER: + + CREDITS ROLL: DEMOLITION MAN + + EXT. HOLLYWOOD SIGN (HOLLYWOOD HILLS) + + Once the symbol of dreams of desires, the defaced sign is + in sorry shape as it looms over an equally-decaying city. + + EXT. HOLLYWOOD BOULEVARD + + One look at the boulevard makes us want to head for the + hills. A tourist couple photograph the burnt-out shell of + what was once Mann's Chinese Theatre. A holograph-talking + billboard promises hope. It features Ray Gallagher, a + smiling grey-haired politician with the slogan: + + "THE SOLUTION IS SIMPLE... + POLICE COMMISSIONER RAY GALLAGHER FOR MAYOR" + + "I WAS THERE FOR YOU" + + Gallagher's rhetoric bores 24 hours a day... + + GALLAGHER (V.O.) + ...I was there for you... when Los + Angeles was declared a state of + emergency following the 2001 earth- + quake... I was there for you... when + crack houses threatened your real + estate value... I was there for you... + + A stretch limo cruises by. + + INT. STRETCH LIMO + + A futuristic ride. Loaded with luxury gizmos. A suitcase + stuffed with dead presidents sits on a man's lap. The kind + of cash you don't declare to the IRS. The man sits in the + shadows, so it's hard to make out his identity. His hands + flip through a stack of twenties. Seated in front of him + are a Yuppie-like entourage. PEEBLES, an ivy-Leaguer in + his late twenties. REBECCA, all teeth, all body. Finally, + ROSHKO, a high-priced attorney. + + ROSHKO + Our friend Dubbs increased his + next order. Cash on delivery. + + MAN (V.O.) + Economy's booming. That's what + I like to hear. + + CELLULAR RINGS. Peebles snaps it up. + + PEEBLES + Hello. + + He hands it to the man. + + PEEBLES + It's for you, Commissioner. + + COMMISSIONER GALLAGHER leans out of the shadows. Same + smiling politician running for mayor. He grabs the horn + and speaks. + + GALLAGHER/MAN + (into phone) + Yeah. + + His eyes go wide. Great reaction on his face. Kinda like + Sanchez's. + + GALLAGHER + (riled up) + What do you mean he's escaped?! + They're not supposed to escape! + + WARDEN (V.O.) + It's a real mess down here. Some- + thing must a'gone wrong. No man + could possess that kind of strength + after being frozen for twenty years. + + GALLAGHER + Tell Doucet that. What was his + rehabilitation training? + + WARDEN (V.O.) + Telephone repairman. + + Gallagher glances at his cellular and sighs... + + GALLAGHER + Just great. + + WARDEN (V.O.) + NPA syndrome will hit 'im fast. Have + your men gear up the Edicon system at + a twenty-year ratio in fractions of + fives. Saying a prayer won't be bad + either. + + GALLAGHER + I don't want any press on this. I've + got an election to win day after to- + morrow. + + INT. ALLEYWAY (HOLLYWOOD) - TRASH CONTAINER + + COMING DOWN IN A SPIRAL. The naked body of a man lies + amongst knee-deep garbage. Technothug haircut. Flaming + skull tattoo on the back of his right hand. This man is + dead. + + EXT. ALLEYWAY + + A dark and dingy side street catering to the rats and + vermin. Shafts of sunlight break through creating an + eerie prison bar effect on the brick walls. It's no + surprise that Doucet is standing beside the large trash + container. He is wearing torn Army pants, combat boots, + a Heavy Metal Band T-shirt, and a long overcoat. All + the wrong size, but the price was right. + + He walks. + + EXT. DEAD-END + + An old Lincoln, circa 1995, sits idle. Dented bumpers, + broken windows, torn upholstery, obviously not a pimp's + car. It pulls alongside Doucet. MANNY, the gun runner, + shows off his wares to a TECHNOTHUG. He's a fast talking + shmoozer with the right connections. His trunk popped + open. Inside is a selection of weaponry able to ignite + a small war. Including knives and ammo. + + MANNY + Let me show you how this works. Rule + number one... no cash, no carry. No + loot... no shoot. That means no + checks, cards, food stamps, or IOUs... + Comprende? + (as Technothug is silent) + Attention shoppers. + (as Technothug turns to + Manny and nods) + Okay... rule number two. Absolutely + no refunds. Exchanges maybe, but on + unused weaponry only. I smell gun- + powder or laser heat in the chamber, + you can forget it. Alright? + + Technothug nods. Doucet walks up. Manny can't help but + smile. + + MANNY + Nice get-up, where'd you pick it + up, Psychos 'R' Us? + + DOUCET + Give me a Ruger .357. + + MANNY + (laughs) + A magnum. You livin' in the Stone + Age or what? They don't make .357s + anymore. My daddy sold those. Hey + look Pal, I've got another client. + Sit tight and I'll set you up. + + Manny gets back to business with the Technothug. Doucet's + hands begin to tremble. He coughs uncontrollably and drops + to his knees. Manny steps backwards. + + MANNY + Hey, buddy, if you're gonna start + blowing chunga, will ya do it the + other way? I just had this thing + washed. + + Doucet pulls himself up. He doesn't look so good. He + reaches into Manny's trunk. Manny pulls him out. + + MANNY + Whoa, whoa, eager little Merc + ain't ya? + + Doucet pushes Manny aside. + + TECHNOTHUG + Screw you, Man. Wait your turn. + + Doucet removes a compact Stinger missile launcher. Techno- + thug panics and runs. + + MANNY + (re: Stinger) + Good choice. A favorite for urban + assault. Dual heat seekers... + + Doucet slings the launcher over his shoulder and pulls out + a dual-barrel handgun. He snaps in a clip. + + MANNY + That little number's light... + + Doucet pivots and hammer-punches Manny to the kidneys with + pile-driver force. Manny falls like an unmanned puppet. + He gasps for air and shivers in pain. He's a salesman + to the end... + + MANNY + Will that be all? + + DOUCET + Shut up. + + Manny looks up into the business end of a double barrel + handgun. Doucet FIRES. + + SERIES OF SHOTS + + Doucet shoves a Buck 9 assault knife into a leather waist + sheath. Tapes a small pistol to his ankle. Opens his + overcoat and loads the pockets with weaponry. The double + barrel handgun. The Stinger missile launcher. A mean- + looking weapon called the AK 2000 (Armageddon 2000). A + cross between a bazooka and an M57. + + BACK TO SCENE + + Doucet zips up. Loaded to the gills with hardware. He + grins. + + DOUCET + Dressed to kill. + + EXT. BEL AIR COUNTRY CLUB + + Judge Baker hits his drive. He's in his mid-seventies. + His partner checks wind temperature against the fairway + distance. Using a portable golf computer. It chooses + his club for him. Judge Baker shakes his head. He's + impatient. + + JUDGE BAKER + Meet you at the tee. + + Judger Baker climbs into his golf cart and speeds off. + Halfway down the fairway a commotion catches his attention. + He turns, as Manny's Lincoln tears up the green. Doucet + drives. The car makes a beeline towards Judge Baker. + + Judge Baker's eyes go wide. Doucet is a man hard to + forget. The golf cart peels out, but the Lincoln blind- + sides it. Sending the vehicle and Judge Baker into the + water. Both hit the bottom hard and fast. I guess the + Judge's partner won this round. + + INT. CENTURY CITY HI-RISE - PARKING GARAGE + + Hot shot private attorney TIM DULEY heads for his Porsche. + He's in his early sixties. You just know he watches + "L.A. Law" reruns. Manny's LINCOLN SCREECHES 'round a + corner. Pins Duley to the wall. His legs crack. Doucet + steps out of the car. Duley pleads. + + DULEY + Pleeeeaaasee. Don't kill me... + don't kill me. + + DOUCET + (taunts and mimics + the lawyer) + Pleeeeaaasee. Don't kill me... + don't kill me. + + Doucet empties an entire clip into Duley's Versace suit. + Luckily he's never going to need it again. + + INT. HOLLYWOOD POLICE DEPARTMENT - BOOKING ROOM + + Looks like NASA. Cops and computers. Officer Sanchez sits + in front of his terminal. He's a determined man. Doucet's + profile on line. OFFICER SHEPPARD passes from behind. + + SHEPPARD + (re: Sanchez's terminal) + Jesus, Sanchez... what do you think + you're doin'? That's flatfoot data. + You're not supposed to have access + to that. + + SANCHEZ + This is the guy that killed my + partner. + + SHEPPARD + You startin' a fan club or some- + thin'? + + SANCHEZ + Says here one of our boys brought + him down. You ever heard of a + badge named Wade? + + It rings a bell. + + SHEPPARD + Demolition Man. + + SANCHEZ + What's it mean? + + SHEPPARD + You never want to find out. + + SANCHEZ + (re: terminal) + Take a look at this. + + Sheppard leans in. + + SANCHEZ + He had a partner. Our own Ray + Gallagher. + (reading) + He tagged Wade dangerously defiant. + Psychotic. Reckless. Seems our + Commissioner didn't like him much. + Busted his buns on a narcotic's + violation. + (reading/surprised) + Wade was sentenced to twenty-five + years. + + SHEPPARD + He went dirty and they made an + example of him. + + SANCHEZ + But he was such a good cop. + + SHEPPARD + They always are. + + SANCHEZ + Well I've got news for you. This + dirty cop was the only cop who + could bag Doucet. + + INT. HOLLYWOOD POLICE STATION - DISK LIBRARY + + Sanchez approaches the Librarian. + + SANCHEZ + I'm looking for an LAPD personnel + file on Sergeant William Wade. + Shield retired, October '98. + + INT. LIBRARY - READING ROOM + + Sanchez watches a videotape of Wade's trial. Prosecuting + Attorney revs up the jurors. Holds up a Los Angeles Times + headline which reads: "HERO COP NABS SERIAL MURDERER." A + smaller heading reads: "DEMOLITION MAN GETS HIS MAN." + + ATTORNEY (V.O.) + ...Hero cop nabs serial murderer. + They forgot to add; sells heroin + to kids... + + Sanchez hits fast forward. Images race. A greaseball + named Dubbs takes the stand. Sanchez lets it play. + + ATTORNEY (V.O.) + ...Mr. Dubbs, you have been granted + full immunity for testifying today... + + Fast forward. Dubbs talks. Sanchez lets it play. + + DUBBS (V.O.) + ...He told me he could get any- + thing I wanted. Heroin, toot, + crack, weapons, anything... + + Fast forward. Dubbs rambles on. Sanchez lets it play. + + DUBBS (V.O.) + ...He said he had a key to the + evidence room. Listen... I'm + a businessman. I didn't ask + questions... + + Fast forward. Gallagher takes the stand. Sanchez lets it + play. + + ATTORNEY (V.O.) + ...Do you think he's a dirty cop? + + GALLAGHER (V.O.) + Yes. + + Fast forward. Wade is dragged out of the courtroom. + Sanchez lets it play. + + WADE + I'm innocent. + + EXT. BEL AIR COUNTRY CLUB + + The battle zone cordoned off. Spectators watch from be- + hind police barricades. The golf cart and Judge Baker are + pulled from the water. Police gather evidence. Reporters + news hunt. + + A ROTOJET (LAPD INNER-CITY HELICOPTER) touches down and + Gallagher storms out. Pissed off. He heads for a Young + Cop named DAVIDSON. + + GALLAGHER + How many? + + DAVIDSON + One... I think. + + A Plainclothes Older Detective named BENNETT steps for- + ward. Davidson heads for the body bag. He and Bennett + are partners. + + BENNETT + Looks like ya gonna take office + just in time, Chief. Things need + straightening up in this city. + + GALLAGHER + What'cha got, Bennett? + + BENNETT + Witnesses say some wacko went Judge + hunting with a late model. I got + an artist working on a computer + composite now. + + GALLAGHER + Technothugs? + + BENNETT + No chance. Not their sector. They + ain't even into things this big. + Our zone-boy's performing out of a + horror show. Something else. Unit + nine found a couple cold ones in + Hollywood. + (reads from notes) + One Manny Turner. Gun runner. + Sounds like a connection to me. + + GALLAGHER + I can smell it. + + Bennett's portable police RADIO SQUAWKS. + + VOICE (V.O.) + Bennett... + + Bennett scoops up the radio and speaks. Gallagher crosses + over to Judge Baker who is being zipped up in a morgue + tote-bag. Gallagher recognizes Baker. + + GALLAGHER + (to himself) + Judge Baker. + + In the b.g., Bennett continues. + + BENNETT + G'head. + + VOICE (V.O.) + Better get a vulture squad down to + Century City. We've got a busy day. + + BENNETT + Run me down a profile. + + Gallagher approaches. + + VOICE (V.O.) + ...male Caucasian. Early sixties. + Attorney. Name's... + + GALLAGHER + Tim Duley. + + Bennett turns to Gallagher. + + GALLAGHER + I know the man who did this. + + A POLICE ARTIST steps forward carrying a portable ETCHCOMP + (Computer Sketch Board) with a 10-inch screen. + + POLICE ARTIST + This is the best I can do. + + The computer drawing on the screen is Doucet. + + GALLAGHER + That's him. Simon Doucet. + + BENNETT + Jesus. Sweet Jesus. We've got + trouble. + + GALLAGHER + This monster escaped from Cryo- + Prison this morning. + + BENNETT + Well, he's sure working fast ain't he? + + GALLAGHER + I want this bastard brought down. + + Davidson rushes forward. + + DAVIDSON + Chief, you want'a make a statement? + The press's getting antsy. They + want'a get this on for the eleven + o'clock. + + GALLAGHER + Screw the press. + + BENNETT + Better say something, or they'll + be high balling this story with + your name on it. + + Gallagher moves toward the Press. + + GALLAGHER + (mumbling) + Goddamn Serial Killer, that's all + I need. + + Fake smile. Straightening his tie. Very Hollywood. + + GALLAGHER + (calling out) + Alright, get your cameras rolling. + + EXT. HOLLYWOOD POLICE STATION - HELIPAD + + Gallagher's ROTOJET LANDS. As the rotors slow, his + entourage approaches. They greet their boss with an + agenda. In the b.g., a Telephone Repairman works the + main lines. Hard hat and goggles on. Sanchez crosses + over to Gallagher and follows. + + GALLAGHER + What is it... + + Gallagher reads Sanchez's cop badge. + + GALLAGHER + ...Officer Sanchez? + + He's a good politician. + + SANCHEZ + I ran a GCI scenario on the Doucet + case. + + Gallagher snaps to attention. Pulls out a light pen and + runs it across Sanchez's bard code. The Rookie's stats + come on. + + GALLAGHER + That's not your zone. Stick to + data entry. + + SANCHEZ + (angrily) + I was part of the escort team that + re-animated him. My partner's dead + because of this guy. + + Gallagher walks. Sanchez calls out. + + SANCHEZ + Your ex-partner, Sergeant William + Wade, put Doucet away. He did it + once, he could do it again. He + knows how the killer works -- how + he thinks. + + Gallagher turns. + + GALLAGHER + Wade's in Cryo-Prison. + + SANCHEZ + He could be brought back. + + On that note, the Telephone Repairman removes his hard hat + and goggles. Reveals his true identity. It's none other + than our new pal, Doucet. He opens his phone bag and pulls + out his party favors. Cops go for their guns. Doucet + slides down the pole with one hard. The other squeezes off + ROUNDS. Gallagher grabs Rebecca and pulls her into the + line of fire. She takes one in the shoulder. Sanchez + throws both to the ground. + + Doucet straight-arms his weapon. Walks and FIRES. A man + without fear. Another rotojet appears in the sky above + Doucet. The killer ducks behind the central air unit. + + INT. ROTOJET - COCKPIT + + Battle mode. Pilot's hand grasps the throttle. Finger + cradles the trigger. Helmet on. Visor down. ELECTRONIC + THUNDER of an arcade. In a thermograph monitor we see the + computer-enhanced outline of Doucet. In another, a suspect + rendering body graph pinpointing strategic bullet wound + areas such as "the rear thigh muscle" and "tail bone". + A digital monitor reads the weapons Doucet is carrying. + Another is a suspect surrender countdown. + + EXT. HELIPAD + + Rotojet hovers. Doucet re-loads. + + PILOT (V.O.) + Drop your weapons. You are locked + on target and under arrest. + + Doucet FIRES. Mere bullets bounce off the rotojet's + bulletproof frame. + + PILOT (V.O.) + Drop your weapons. If you do not + comply... + + Unfortunately, the police have been trained to give a + suspect a chance to surrender before they open fire. + Peebles applies first-aid to Rebecca's wound. Gallagher + grows frustrated. + + GALLAGHER + Kill him... kill him. + + SANCHEZ + Simon Doucet. You are under arrest. + Please come out with your hands in + the air. + + Sanchez is not much in the hero department. Doucet FIRES. + BULLETS TEAR up the roof. Gallagher grabs Sanchez's ZV6 + handgun. Complete with laser targeting. FIRES. Dis- + integrates the central air unit piece by piece. Doucet + rushes and FIRES. Gallagher dodges the BULLET SHOWER. + Hits a wall and crumples to his knees. Doucet jumps off + the roof. Rotojet follows. Sanchez leads the pack over + to the ledge. They look down, but there's no sign of + Doucet. Rotojet shoots upwards. + + PILOT (V.O.) + I lost him. + + Gallagher catches his breath. Wipes his brow. Ponders. + + INT. POLICE STATION - SQUAD ROOM + + Two COPS walk down the corridor. Another speedily + approaches. + + COP + (out of breath) + I hear they're letting Wade out. + + INT. SQUAD ROOM + + The front doors burst open and Gallagher charges through + followed by his entourage. Peebles is missing. Rebecca's + arm is in a sling. They all walk fast. Talk fast, too. + + ROSHKO + Releasing Wade's a bad move. + + GALLAGHER + You got any better ideas? Doucet's + dusting everyone involved with his + arrest and prosecution. I almost + bought it back there. To catch him, + you've got to give him a little bait. + (grins) + What better than the cop who put him + away? + + They pass a Cop watching the Election News on a portable. + His name is UNDERHILL. + + UNDERHILL + (turns to Gallagher) + Hey Chief... says here you have at + least sixty-two percent of the votes. + + GALLAGHER + (to Cop) + Tomorrow it'll be over seventy. I + guarantee it. + (back to his entourage) + In case you forgot, I got an election + to run in. I can't afford problems. + Doucet wants my ass. Wade will be a + diversion. + (smiles) + Hopefully they'll kill each other. + + They move and talk. Move and talk. + + REBECCA + This could work for us. Doucet's + escape will reinforce your stand + on capital punishment. We can + shut down Cryo-Prisons by the end + of the year. + + GALLAGHER + We're going to keep this quiet for + now. No press until Doucet's caught. + This thing leaks and I'll have your + heads on a stick. + + REBECCA + What makes you think he won't just + take off? Go to his family. Leave + the country. + + GALLAGHER + 'Cause I have what he'll want. + + Peebles charges. Two Requisitioned Men in tow. Dark suits. + Foster Grants. Almost identical except one's Chinese. + Their names are KAI LING and DOKES. + + PEEBLES + Excuse me, sir... they're here. + + Gallagher turns to Kai Ling and Dokes. Peebles hands over + the paperwork. Gallagher glances the info. Cringes. Looks + up to Kai Ling. + + GALLAGHER + How did you beat the rap? + + KAI LING + Arresting officer forgot to read me + my rights. + + GALLAGHER + That'll do it every time. + (turns to Dokes) + You ever kill a man? + + DOKES + Yes Sir. + + GALLAGHER + Good. You're both hired. + (points to his ass) + See this. Your job is to look + after it. + + Gallagher walks. His bodyguards follow tight. Roshko + speeds up to his boss. + + ROSHKO + Do you really think this is necessary? + + GALLAGHER + Absolutely. I'm not going to let that + defrosted psychopath end my bid for + the White House. + + Gallagher storms into the Roll Call Room. + + INT. ROLL CALL + + COPS listening to their Sergeant. Sanchez sits front row. + Gallagher's presence demands quiet. + + GALLAGHER + (raising his hands) + Okay, listen up. I want everyone's + attention. Sergeant William Wade + will be temporarily re-assigned to + this precinct. Just until this + Doucet matter is cleared up. So + I want this under the lid. Got it? + + The Cops can't believe it. + + COPS + (in unison) + Yessir. + + Cops buzz. Low and in the back. Talk of Wade and his + heroic exploits. The fact that he went dirty. + + GALLAGHER + I know Wade. I partnered with him. + I also uncovered the truth about him. + He crossed the line and paid for it. + The stories are true. If you think + he's a hero, think again. He's a + lone wolf. A renegade with an old- + fashioned belief in law and order. + The kind of cop I hate. I want you + to stay away from him. If he needs + help, give it to him. Don't offer. + Let him do his job. + + INT. GALLAGHER'S OFFICE + + Gallagher and Sanchez. + + GALLAGHER + Short leash him. Tell me everything + he does. Where he goes. What he + says. Everything. + (beat) + You're a good cop, Sanchez. I like + you. You're going to go far. + + Gallagher is a good salesman. A snake in a tailored + three-piece. + + INT. CRYO-PRISON + + Two blue-collar Cryo-Prison GUARDS ride a pick-up cart. + + GUARD #1 + You know... I was thinkin'. Being + frozen ain't all bad. Least you + always got a hard-on. + + They laugh. Back up towards a pod. + + DATA BANKS READS: + + WILLIAM WADE + 07-982221-NV + SUSPENDED: OCTOBER 17, 1998 + TEMPERATURE: -320F + CELLULAR ACTIVITY: 0 + + REHAB TRAINING: BUS DRIVER + + The convict is WILLIAM WADE. Mid-to-late twenties, it's + hard to tell. Probably handsome, but that too is difficult + to make out. One thing is certain, he looks like shit. + ONE MAN, ONE GUN, IS HIS ANSWER TO CRIME. + + The two Guards hop out. Guard #2 recognizes Wade. + + GUARD #2 + Hey... I know this guy. He was a cop. + The Demolition Man. + (knocks on the glass pod) + We got ourselves a hero. + + INT. CRYO-PRISON - LABORATORY + + A crack team of DOCTORS and SCIENTISTS re-animate Wade. + Bennett stands along the back wall. + + SCIENTIST #2 + Eighty-seven percent cerebral + activity... + + DOCTOR #1 + WEDGE pressure climbing. + + SCIENTIST #1 + BP strong... + + SCIENTIST #2 + He's coming back. + + DOCTOR #1 + M.A.P. looks good. + + Wade's fingers move. + + SCIENTIST #2 + Movement. + + Wade's left foot moves. + + DOCTOR #1 + Shut down. He's coming to. Give + his some room. + + The team steps back. Wade's head twitches. His eyelids + fight the light. He swallows comforting his dry throat. + He mumbles. + + SCIENTIST #1 + He's trying to say something. + + DOCTOR #1 + Save your strength. + + WADE + (whispers) + What year is it? + + Wade's words are too low to comprehend. + + DOCTOR #1 + Try not to speak. + + WADE + (louder) + What year is it? + + The team looks at each other. Each knowing the answer, but + afraid to speak. + + WADE + What year? + + DOCTOR + Two thousand... eighteen. + + It is virtually impossible to describe the look on Wade's + face at this very moment. My guess it's one hell of a + shock. + + EXT. STUDIO CITY - SUBURBAN SPLIT LEVEL + + Manny's Lincoln pulls to the curb. Doucet steps out and + crosses the lawn instead of the walkway. Toys litter the + lawn. He rings the bell. The door opens. A woman answers + it. Mid-twenties. Pretty. Her name is KIMBERLY. Wade's + daughter. Doucet looks like an urban devil. Kimberly is + concerned, but strong. + + KIMBERLY + Yes? + + DOUCET + I want to speak with William Wade. + + This takes her by surprise. + + KIMBERLY + You must have known my father when + you were a teenager. He's been in + Cryo-Prison for over twenty years. + + Doucet calculates the possibilities of this being true. + + KIMBERLY + Maybe I can help you. + + DOUCET + (mechanically) + No. + + Doucet turns and follows the walkway to the Lincoln. + A woman crosses the living room over to Kimberly. Mid- + forties. Resembles an older Kimberly. That's because + it's her mother, CASSY. + + CASSY + Who is it, Kimberly? + + Doucet gets into the Lincoln. + + KIMBERLY + That man was looking for Dad. + + Cassy looks out. Too late. Doucet drives away. + + INT. CRYO-PRISON + + An ALARM SHRIEKS. The two Cryo-Prison guards storm down + the hall. The WARDEN picks up a telephone. + + WARDEN + We've got a shut-down on the third + floor. + + EXT. CELL BLOCK + + The monitor on the wall has been blown to shreds. Wires + everywhere. The door is open. Guess who? + + INT. CELL BLOCK + + Doucet walks. M7-42 ready. All around him, pods are being + defrosted. Some inmates come to life for a moment, quiver + and then die. Eyes open for the last time. Hands reaching + for life. One man cracks in half. Another breaks through, + takes two steps and collapses. Water floods the floor. + Doucet continues. He approaches Wade's pod. Locks and + loads. When he gets there his jaw drops. Wade's gone. + Doucet's pissed. The two Cryo-Prison Guards storm in. + + GUARD #2 + Hey you... Stop! + + Doucet FIRES. One Guard falls, skidding on his face. + The other is riddled backwards into a pod. Doucet crosses + through the mess. + + INT. SQUAD ROOM + + Wade follows Bennett through the front doors and into the + station. Favoring his right leg. Uses a cane for support. + As he passes Cops, the talk stops. Silence. Wade's being + stared at. + + BENNETT + How's the leg? + + WADE + Better. + + BENNETT + Doc said it'll take a little time + till the circulation gets back to + normal. + + They walk. + + WADE + You got a cigarette? + + Bennett turns. Weird look on his face. + + BENNETT + Smoking's illegal. + + Wade can't believe it. Bennett leads him to Gallagher's + office. Kai Ling and Dokes stand at attention. + + INT. GALLAGHER'S OFFICE + + Weighed down by paperwork. Election news spits out from a + counter top three-inch. Bennett KNOCKS on the door. + + GALLAGHER + (without looking up) + Yeah? + + BENNETT + Wade's here. + + Gallagher's head snaps to attention. Eyes wide. Play- + time's over. + + GALLAGHER + Send him in. Alone. + + Gallagher rises and straightens his tie. Bennett steps + back as Wade walks in. Bennett closes the door. The two + men stand off. Face to face. One old. One young. A bomb + could explode between these two men and they wouldn't know + it. Wade takes it all in. The medals. The trophies. The + fancy desk and furniture. + + GALLAGHER + (hand extended) + Good to see you, Wade. + + Wade doesn't shake. + + WADE + Looks like you did more than jackoff + while I was gone. + + GALLAGHER + Maybe re-animating you wasn't such + a bright idea. You look like shit. + + WADE + Shucks, and I got all dressed up. + + No love lost between these guys. + + GALLAGHER + Twenty years have passed, Wade. + Lay it to rest. + + WADE + I was set up and you know it... but + you swore under oath I was dirty. + You helped bury me. + + GALLAGHER + Jury found you guilty, not me. I + just called it as I saw it. Fuck + that. You were brought here for + a reason. + (takes a deep breath) + Doucet's escaped. Re-animated for + his parole hearing. Killed a lot + of people. Most of them cops. + + Wade turns to the door. + + WADE + I'm not on the force anymore. + + GALLAGHER + Well, you've just been taken off + the bench. + + WADE + I want to see my wife and kid. + + GALLAGHER + Later. I want Doucet first. + + WADE + I told you. I'm out of the cops and + robbers business. Retired twenty + years ago. I've been trained as a + bus driver. Got a whole route planned + and everything. Even nailed down the + lingo - 'Exact change, please'. + + GALLAGHER + (impatient) + I'm going to bring this down hard. + I've got an A-1 badass killer loose, + an election day after tomorrow, and + I'm risking everything on you. + You're going to bring him in. I + don't care how. If you do, you'll + get your freedom. An official pardon + from me. A clean slate. A good + job. A chance to get back with your + family. If you don't want to, I'll + put your ass back in the freezer so + fast, you'll forget you were ever + defrosted. + + Gallagher reaches into his desk and tosses Wade his old + badge. It's chipped and faded. + + GALLAGHER + Here. Now you're back in the cops + and robbers business. + + Gallagher tosses Wade an insurance form. + + WADE + What's this? + + GALLAGHER + Fill it out. Standard issue mal- + practice insurance. All Cops + carry it. + + Gallagher crosses the room carrying five HOLOGRAPH MUG + SHEETS, featuring Doucet at various stages of aging. + + GALLAGHER + Mug sheets. + + WADE + I remember what he looks like. I + can't forget. + + Gallagher hands Wade the weird 3-D mug sheets. Wade's + first taste of 21st Century cop technology is startling. + + GALLAGHER + Edicon system made these. Ages, + photographs. We use it to find + missing children. + + WADE + He's not that old yet. You've lost + confidence in me. + + GALLAGHER + No, but he's going to be by tomorrow. + He's aging. 'Bout the entire twenty + years lost while being frozen in + forty-eight hours. In that time + he'll be an old man. Could be a + year, an hour, or all at once. + Called NPA Syndrome. Natural Pro- + gression of Aging. It affects each + individual differently. I'm sure + it's painful. + + Wade's eyes widen. He lunges forward, grabs Gallagher and + rams him hard into the wall. + + WADE + You son-of-a-bitch. How do you stop + it? + + GALLAGHER + (cool and calm) + We have an antidote that'll retard + the aging process. + + WADE + Give it to me. + + GALLAGHER + When you bring in Doucet. + + Wade slams Gallagher into the wall even harder. The room + shakes. + + The door bursts open. Underhill darts in and draws his gun. + Kai Ling and Dokes right behind. Wade releases his grip. + + UNDERHILL + Freeze. + + GALLAGHER + It's all right. + + UNDERHILL + You sure, Chief? + + GALLAGHER + Close the door. + + Underhill, Kai Ling and Dokes leave. Gallagher straightens + his shirt. + + GALLAGHER + The faster you get Doucet, the + younger you'll be. + + WADE + I'm going to kill you when this is + all over. + + Gallagher laughs. It's a sick laugh. Wade heads for the + door. He tosses the cane aside. Gallagher wipes the smile + off his face. Now he's dead serious. + + GALLAGHER + You're working a partner on this. + + WADE + I've been alone for twenty years. + I don't feel very sociable. + + Wade leaves the room. + + GALLAGHER + (calling out) + Name's Sanchez. Pick him up in + Motorpool. + + EXT. SQUAD ROOM + + Wade walks. Gallagher screams from inside his office. + + GALLAGHER + Don't even think of going home. + I've got men there! Do you hear + me! You're in my city now, Wade! + + Wade ignores Gallagher. Crumples up the malpractice insur- + ance forms and tosses them into the garbage. Hurries down + the precinct stairs. + + INT. ARMORY + + An ARMORY SERGEANT paces the aisles of weaponry searching + for something. Wade stands behind the counter fidgeting + with an M7-42. + + ARMORY SERGEANT + (searching deeper) + That there's an M7-42. 'Bout the + same shits as a .714 Magnum 'cept + its got a bigger mag. Almost + twice the firepower. + + Armory Sergeant dusts off an old box, reads the inscription + and crosses over the Wade, + + ARMORY SERGEANT + I knew! had one of 'ese lying 'round + somewhere. Raids sometimes bring 'em + in. + + Armory Sergeant opens the box and removes a .38 Police + Special. + + ARMORY SERGEANT + .38 Police Special. Thing's an + antique. + (hands the .38 over + to Wade) + You sure this is what you want? With + this kinda profile, you just asking + for trouble. Take the M7-42. + + Wade handles the gun like it was a long lost friend. + + WADE + Does the same job, doesn't it? + + INT. FIRING RANGE + + Cops BLOWING holes in human silhouettes. Hi-tech firepower + all around. In the last stall stands Wade in his rapid- + fire mode. Holding a mere .38. BAM! BAM! BAM! BAM! + Five shots. All around the bull's eye. Gun play stops. + Cops at the end stall staring at Wade's handiwork. + + WADE + I'm a little rusty. + + Wade lets another ONE fly. This one hits the bull's eye + dead center. + + WADE + Not bad for a bus driver. + + EXT. MOTORPOOL + + Wade passes a long stretch of cruisers. Unmarked. Marked. + Cops going in. Cops going out. Standing beside an unmarked + cruiser, carrying an array of crime-fighting gizmos is + Officer Sanchez. Wade approaches. + + WADE + You my partner? + + SANCHEZ + Officer Hector Sanchez, Sergeant. + Hillside Academy. Status G-8. + Security Clearance 3. One year + Advance Technical Crime Analyst. + Weapons Assistant. FDA Junior + Captain, Hollywood division--- + + WADE + (interrupts) + Are you a cop? + + SANCHEZ + Yes. + + WADE + Well, that's good enough for me. + + Wade crosses over to the driver's door. + + WADE (CONT'D) + I drive. + + SANCHEZ + Commissioner Gallagher gave me specific + orders not to let you drive until you + re-familiarize yourself with the process + and territory. + + WADE + I'm ready. + + SANCHEZ + But Sergeant... + + WADE + Give me a break, Sanchez. It's like + riding a bike. + + Sanchez step into the cruiser. + + INT. WADE'S UNMARKED CRUISER + + To Wade's surprise the dash is entirely computerized. + Lights. Screens. Technocop. Seat belts automatically + snap in place. + + WADE + How do you start this thing? + + Sanchez punches a code into the ignition and the CRUISER + ROARS INTO LIFE. + + WADE + Does it drive itself, too? + + SANCHEZ + You have to use the steering wheel + to turn. The pedal for gas... + + WADE + Got it. + (forefinger reaches a + red button) + Ejection seat? + + SANCHEZ + (pulling Wade's hand away) + Whoa. Don't touch that. Pursuit + Mode. + (Wade looks confused) + Auto pilot. Computerized steering + and driving system used in high + speed pursuits. Installed Fall + 2006. Underground rumor has it + they modeled it after you, sir. + + WADE + Lean year for role models. + + EXT. MOTORPOOL + + The CRUISER peels out backwards. Spins around forward and + BLASTS onto the streets. + + INT. WADE'S UNMARKED CRUISER + + Wade re-familiarizing himself with driving. Sanchez holding + on for dear life. + + WADE + And you were worried. + + INT. SALVATION ARMY MISSION (HOLLYWOOD) + + Street people feast on soup and bread. In the far corner + of the room sits a psycho. A CLOSER look REVEALS Doucet. + All alone at a huge table. A Bag Man carries his tray and + readies to sit down close by. One look at Doucet and the + Bag Man chooses to eat elsewhere. + + INT. WADE'S UNMARKED CRUISER + + WADE + I have to go home, Sanchez. + + SANCHEZ + Commissioner Gallagher said... + (glances at Wade) + ...twenty years is a long time. + + Wade's eyes remain glued to the road. + + WADE + No offense, but why'd they partner + me with a rookie? + + SANCHEZ + Doucet killed my partner. + + Wade glances back. + + WADE + I'm sorry. + + Wade sees something. He pulls to the curb. Stares off + into the distance. He turns off the ignition. + + SANCHEZ + What is it? + + WADE'S POV THROUGH WINDSHIELD + + Two TECHNOTHUGS. Sitting in a dented late model. No + plates. Parked across from a Security Pacific. + + BACK TO SCENE + + WADE + See those guys? + + SANCHEZ + (looking out) + Technothugs. + + Wade looks confused. + + SANCHEZ + Urban Warriors. + + Still confused. + + SANCHEZ + Bad dudes. + + Sanchez brings the lingo down to Wade's day. + + WADE + They're going to rob that bank. + + SANCHEZ + How do you know? + + WADE + Some things never change. + + Sanchez is impressed. + + SANCHEZ + I'll inform dispatch. + + WADE + There's no time. There are civilians + in there. It's about to go down. + + SANCHEZ + We don't know that for sure. We'll + have to wait until they move. + + WADE + Well, I'm sure. You're a cop. I'm + a cop. Let's do what cops do. + + Wade moves. Sanchez grabs his arm. + + SANCHEZ + Wait. + + Sanchez quickly punches letters and numbers into the on- + board computer. Wade watches Sanchez, confused. A blueprint + of the Security Pacific appears on the monitor. + + SANCHEZ + There are three entrances to the bank. + Main. Back emergency and an air con + vent on the roof... + (punches more info + into the computer) + ...I'll punch in the COMMTRACK suspect + apprehend program, and... + (turns to Wade, proud) + ...I'll have a proposed plan of assault + and arrest in about thirty seconds. + + Wade grimaces. Checks the rounds in his .38. + + WADE + (impatient) + I'll be right back. + + The on-board dash monitor comes to life. Gallagher on + line. Wade sits tight. + + GALLAGHER (V.O.) + Doucet's just offed two of the jurors + who put him away. I'm rounding up + the rest of them and putting them in + police custody. What's your status? + + SANCHEZ + We seem to've come across a 211, sir. + + GALLAGHER (V.O.) + Forget it. Stick to the program. + + Wade reaches for the monitor. Shuts it off. + + SANCHEZ + You can't turn him off. He's the + Commissioner. + + WADE + I'm not fond of television comedies. + + Wade reaches for the door. Back to business. + + WADE + Wanna come? + + SANCHEZ + My insurance won't cover it. + + Wade shakes his head. Crosses the boulevard over to the + bank. Alone. + + INT. SECURITY PACIFIC + + Six customers. Three Tellers. Two Assistant Managers. + Wade enters and crosses over to a FEMALE TELLER. + + FEMALE TELLER + Hi, can I help you? + + EXT. SECURITY PACIFIC + + The Two Technothugs step out of their car and cross over to + the bank. They are cautious. One's name is NARVELLE. The + other is WIGGINS. + + INT. WADE'S UNMARKED CRUISER + + Sanchez is keeping an eye on the suspects and one on the + monitor. The digital display reads: + + COMMTRACK ARREST PLAN + BACK-UP ADVISED + 6 MAN ASSAULT/STAGE 7 + WEAPONS: AUTO/FULL + HOSTAGE ALERT + OCP-OCC-211 + + SANCHEZ + (into headset) + Unit 23... request back-up on 211... + + INT. SECURITY PACIFIC + + Narvelle and Wiggins bolt through the doors and whip out + their AUTOMAG 754s. Each has a flaming skull tattoo on + his right hand. + + WIGGINS + Okay, everyone hit the fuck'n floor! + + People scream. + + WIGGINS + Now! + + People hit the floor. Narvelle BLOWS AWAY the surveillance + cameras. + + NARVELLE + (maniacal laugh) + We're gonna do some bank'n! + + Wiggins holds up a miniature electronic device. + + WIGGINS + This little number monitors all + electronic and satellite response + alarm signals... so if any of ya + is thinking of hitting the little + red button, I suggest not! + + He charges toward a TELLER. + + WIGGINS + Open the safe! + + TELLER + (extremely nervous) + I... I can't. Only the manager can. + + WIGGINS + So get me the fuck'n manager. + + The Teller reaches for an intercom button. + + WIGGINS + (cocking his gun) + Aaaah! + + TELLER + It's an intercom. + + WIGGINS + I'll blow your head off, if it ain't. + + Wiggins depresses the intercom switch. + + WIGGINS + Mr. Manager, get the fuck out here. + We're having a little party, and + you're invited. + + Wade steps out of the back office. Suit. Tie. He could + be the manager, but we know better. + + WADE + (nonchalant) + There's no party. You lied. + + Silence. Wiggins looks to his buddy. Is this guy for real? + + WIGGINS + Open the fuck'n safe before I get + angry. + + Wade raises his hands in the air. + + WADE + Just don't hurt anybody. + + WIGGINS + That all depends on you. + (to his Buddy) + Go with him. + + Wade leads Narvelle to the safe, situated in the back of + the bank. + + WIGGINS + You got one minute. + + Wade and Narvelle disappear FROM VIEW. They approach the + safe. Wade punches numbers into the coded lock. The door + doesn't budge. + + NARVELLE + Hurry up! + + With blinding speed, Wade back-elbows Narvelle in the + breastbone with pile-driver force. The winded recipient + falls cold. Wade removes the clip from the Auto Mag and + tosses it aside. Casually he walks back into the bank + foyer. + + WIGGINS + Hey, what the fuck's going on here? + Where's the other guy? + + WADE + Grabbed some cash and hightailed it out + the back door. Wasn't that your plan? + + WIGGINS + Shit'n skunk... + + Wiggins races, full steam towards the safe. As he passes + Wade, he is introduced to his forearm, full force. Wiggins + staggers. Drops his Auto Mag, and falls. He quickly rises + and gets into a major karate pose. Perhaps even Ninjutsu. + It's something weird. + + WIGGINS + You fuck'd with the wrong guy, slosh + monkey. I'm going to drop your sorry + ass. + + Wade mimics the phrase 'slosh monkey' silently. It makes + no sense. Wiggins screams and charges. + + EXT. SECURITY PACIFIC + + Wiggins flies through the window like a rock in a shower of + GLASS SPLINTERS. Wade crosses through the window wreckage + instead of using the door. Sanchez runs forward and draws + his ZV6 handgun. He's pumped. Adrenaline-high. + + SANCHEZ + You're under arrest. + + Sanchez thrives on action. Cruisers pull up. Cops + surround the Technothug. Wade heads for his unmarked + cruiser. Sanchez darts to Wade. + + SANCHEZ + Alright! You did good. Double hand + me. + + Wade doesn't understand. + + SANCHEZ + Double hand me. + + Sanchez demonstrates the futuristic high five. Almost like + a child's patty cake. + + INT. WADE'S UNMARKED CRUISER + + Wade climbs in. Sanchez takes the passenger seat. Once + again, the monitor lights up. Gallagher on line. Pissed + off. + + GALLAGHER (V.O.) + You two fucks listen up. Doucet's + killing people and you're wasting + valuable time busting two-bit + Technothugs. + + SANCHEZ + But sir, Sergeant Wade saved the + hostages. + + GALLAGHER (V.O.) + I'm thrilled beyond belief. + + He's one sarcastic S.O.B. A MONTAGE of forensic photos + pass the screen. The two jurors lie dead. + + GALLAGHER (V.O.) + Take a good look at these. The one + on the right used to be a woman. + + The pix stop. Gallagher comes on. + + GALLAGHER (V.O.) + She's left behind three kids and no + husband. You know what that means? + Taxpayers are going to foot the bill + 'til they grow up. That's money out + of your pocket, Sanchez. + + This is too much. Gallagher is a warped man. + + SANCHEZ + Sir, your transmission's fading. + + GALLAGHER (V.O.) + What the hell are you talking about? + + Sanchez gestures. + + SANCHEZ + We can't hear you. + + Wade turns to Sanchez. A look of respect. + + SANCHEZ + Your picture's fading. + + Sanchez turns off the monitor. He and Wade exchange smiles. + + EXT. HOLLYWOOD BOULEVARD + + Wade stands by a COMPUPHONE. His cruiser parked along the + curb. Sanchez is out of sight. An OPERATOR appears on the + liquid screen. + + WADE + Cassy Wade. + + OPERATOR (V.O.) + Would you like me to connect you? + + Wade's mind races. + + OPERATOR (V.O.) + Would you like me to connect you? + + WADE + Yeah. + + OPERATOR (V.O.) + Ringing. + + Wade takes a deep breath. + + INT. SUBURBAN SPLIT LEVEL (VALLEY) + + The TELEPHONE RINGS. Cassy crosses the living room. + Switches it on. The screen lights up. + + INTERCUT AS NEEDED WITH: Wade panics. Ducks out of sight. + Breathing heavy. Afraid. Cassy appears on screen. Smiles. + + CASSY + Hello. + + Wade flattens himself against the side of the Compuphone + booth. + + CASSY + Hello? Is anyone there? + + Cassy glances around. All she can see is the street. + + Wade desperately tries to take a step in front of the + Compuphone. He can't. He closes his eyes. He hasn't heard + his wife's voice in twenty years. It's just too much. + + CASSY + Hello? + + Wade can't take it any more. He reaches around the + Compuphone and hangs up. + + EXT. HOLLYWOOD BOULEVARD + + A CLEANSWEEP (Robotic Sidewalk Cleaner) moves towards the + Compuphone. + + CLEANSWEEP (V.O.) + (male voice) + Please step aside... Please step + aside... + + Cleansweep passes people who taunt it, but step out of + its way. Wade doesn't see it as he steps out of the + Compuphone. + + CLEANSWEEP (V.O.) + Please step aside... + + Wade turns towards the voice pattern. He is startled by the + mechanical figure bearing down on him. He jumps out + of the way as it passes. + + Sanchez walks up holding two bags of food. + + SANCHEZ + I had to go to three places to + find someone who'd make a bacon + cheeseburger. + + Sanchez hands Wade his bag. Wade removes the burger and + takes a major bite. + + SANCHEZ + Get with it, Wade. Beef is bad. + Not to mention the nitrates from + the pig. You're bucking for some + major cardiovascular problems. + + Sanchez opens his bag and takes a bite of his vegiroll with + puree beet sauce. Wade looks on. Beet sauce dribbles down + Sanchez's chin. Wade hands him a napkin. + + SANCHEZ + Thanks. Want'a bite? McDonald's + vegiroll. + + WADE + Pass. + + Sanchez stops eating. Gets serious. + + SANCHEZ + Can I ask you something? + + WADE + Yes. + + SANCHEZ + When you're frozen, you're legally + dead, right? + + Wade nods. Sanchez points to his brain. + + SANCHEZ (CONT'D) + Then what goes on in there? What I + mean is, what are you thinking about? + + WADE + (in between bites) + Bacon cheeseburgers. + + SANCHEZ + Give me a break. I'm serious. + What's it like to be dead? + + WADE + Trust me. You don't want to know. + + A car parallel parks directly in front of Wade's cruiser. + It also blocks a fire hydrant. The driver's door opens. + The hydrant voice modulator is activated. + + FIRE HYDRANT (V.O.) + (from voice modulator) + You are in direct violation of Municipal + Ordinance 90l3-CF. Obstructing + a fire hydrant at less than fifteen + feet. You have twenty-five seconds + to remove your vehicle. If you do + not comply, a parking infraction will + be recorded and issued. + + The Driver high-tails it into a Dry Cleaners. + + WADE + (calling out after + the Driver) + Hey, buddy... + + SANCHEZ + Relax, let technology do the work. + + FIRE HYDRANT (V.O.) + ...Municipal Ordinance 90l3-CF was + passed in the mid-twentieth century... + + The Driver darts out of the Dry Cleaners carrying his + laundry. He dashes to his car. + + HYDRANT (V.O.) + ...Thank you for obeying the law. + Drive carefully. + + The look on Wade's face is unbelievable. + + SANCHEZ + You win some, you lose some. + + INT. WADE'S UNMARKED CRUISER + + SANCHEZ + Doucet's psyche profile is amazing, + Three discs. Not including rap sheet. + Theory two. Pseudo-Commando. + (continues reading) + Jesus, guy saw his father shoot his + mother at the dinner table, and then + get into a little Hari-Kari himself. + l guess that meant no dessert for + little Doucet. + + Sanchez snickers at his joke. Wade doesn't. Sanchez + punches more numbers and letters into the computer. + + SANCHEZ + NPA metamorphosis should biologically + slow him down. That's when we'll get + him. + + WADE + You can't catch this man with a + computer. + + SANCHEZ + How then? + + WADE + You don't follow the bodies, and you + don't follow procedure. You do it + by instinct. Think like him. Do + what has to be dane. + + Sanchez is impressed. + + SANCHEZ + Sir, I took the liberty of running + a GCI scenario on a TM-1 earlier + today... + + WADE + GCI. TM-1. What language are you + talking? + + SANCHEZ + I also PVC'd you. + (Wade glances at Sanchez) + Youngest Officer promoted to Sergeant. + Two CMs. Four honor medals... + + WADE + Drop it. + + Sanchez wants to know why he went dirty. You can see it on + his face. + + SANCHEZ + Why? + + WADE + I was set up. + + Sanchez doesn't buy it. + + SANCHEZ + You're saying you were put away for + a crime you didn't commit? + + WADE + 'Bout the same time I busted Doucet + I tried to nail this big-time dealer. + I didn't have an ID, but I was close. + Too close. Gained the confidence of + a badass named Dubbs. He was going + to turn me onto the big man. He made + me for a cop. Mysteriously my fellow + officers discovered ten pounds of + heroin in my cruiser. + + SANCHEZ + It doesn't make sense. Who would + want to do that to you? + + WADE + Nothing makes sense when you're a cop. + + Wade takes a deep breath. Sanchez shuts up. + + WADE + Married? + + SANCHEZ + Engaged. Plan on doing it this + summer. You still married? + + WADE + Yeah. Least I think so. Twenty- + six years this March. + + Wade's in his early thirties. He removes an old, crumpled + snapshot from his pocket. This thing looks like it went + through the wash. Probably frozen with him. He unfolds + it. It is a photo of Wade, Cassy and Kimberly at Disney- + land. A great family photo. Wade shows the photo to + Sanchez. + + WADE + It's good to be married. + + Wade pulls up to a stretch of land stationed between apart- + ment buildings in various stages of development. This is + the land the old run-down projects sat on. + + Across the street, wrecking crews sit idle for the night in + front of buildings scheduled for demolition. Wade stops, + steps out and crosses over to a chain link fence. Sanchez + follows. + + SIGN READS: MAKE WAY FOR THE FUTURE + 1, 2 & 3 Bedroom Units + RITCHIE BROS. CONSTRUCTION + + SANCHEZ + What's this place? + + WADE + This is where I found Doucet twenty + years ago. Thought maybe he'd come + back. + + A pain thunders through his leg. He grabs it. + + SANCHEZ + You okay? + + Wade looks up. + + WADE + Yeah. + + SANCHEZ + Hey, Rip Van Winkle, maybe we'd + better call it a night. + + Wade smiles at the reference. + + INT. SANCHEZ'S APARTMENT - DEN + + Wade glances around the room. Picks up a framed holograph + photo of Sanchez and his gal. Sanchez walks into the room, + loaded with a blanket, pillows and sheets. + + WADE + She's pretty. + + SANCHEZ + Thanks. + + He opens the couch and unfolds the hide-a-bed. + + SANCHEZ + She's back East visiting her mother + for two weeks. + + Sanchez places BioBears sheets on the bed. BioBears are + cartoon characters. Shaped like bears. Named after body + parts. Furry friends like Larry Legs, Ernie Eyes and + Harriet Heart. Wade smiles. + + WADE + Nice sheets. + + Sanchez laughs. + + SANCHEZ + I've had these ever since I was a kid. + Last thing my father bought for me before + he died. I guess they've got + some sort of sentimental value. + + Sanchez finishes the bed. Lays down the pillows. + + SANCHEZ + You need anything else? + + WADE + I'll be okay. + + SANCHEZ + Good night, Wade. + + WADE + Good night. + + Sanchez leaves the room. Wade takes off his shirt. Lays + it down on a chair. Reaches into his pocket and pulls + out the weathered photo of his family. Stares at it for + a brief moment. Places it beside the bed. Removes his + pants, turns off the light, and climbs into bed wearing + only his underwear. He's uncomfortable. For twenty years + he's stood upright. His body is not used to comfort. + + Sanchez appears. Switches on the light. He and Wade swap + stares. + + SANCHEZ + You did good today. + + EXT. HOLLYWOOD - ALLEYWAY + + A thin stream of garbage lined back street, half-lit by + the moon. Defaced by "Technothugs Rule" graffiti. Torn + holograph campaign posters wallpaper the entrance. + Gallagher's smiling mug promises: "FIGHTING FOR YOU. + 24 HOURS A DAY". Two Technothugs rewire the billboard's + voice modulator. Gallagher cusses a blue streak. + + A Bag Man rummages through a trash container searching for + a midnight snack. In the darkest corners sleep shadows of + humans brought down to their lowest degree. They cling to + sole possessions which include pieces of clothing and empty + Wild Turkey bottles. Doucet sleeps with the best of them. + Half covered in newsprint. Peaceful. Curled in a fetal + position. + + INT. SANCHEZ'S APARTMENT - DEN + + Wade watching the tube. Holding the remote. Flips through + channels. Stops at the Playboy holograph station. A 3-D + couple are hot and heavy. Major foreplay. Wade can't + believe it. He feels like a peeping tom. Shuts off the + tube. In the b.g., he hears Sanchez's talking. He climbs + out of bed. Crosses the room and looks into Sanchez's + kitchen. Sanchez is on the line. Muffled voice. + + SANCHEZ + He's on downtime. Yes... we're making + progress. He doesn't fit the profile + of a bad cop. Yes sir, I know his + record, but... No sir, I won't. + + INT. GALLAGHER'S STRETCH LIMO + + Gallagher on the horn. His wife beside him. Barbara Bush- + like. Probably has a great personality. But that's it. + She removes her heels and rubs her tired feet. Both are + wearing formal wear. Probably coming from a dinner party. + + GALLAGHER + Don't be impressed by his little + stunt today. He's a bad apple, + Sanchez. Remember that. + + Limo stops in front of Gallagher's home. Large and white. + Beautiful and elegant. Real Estate Heaven. Uniformed Cops + patrol the grounds. Gallagher cups the receiver. + + GALLAGHER + (to Wife) + I'll be back in a couple hours. I + have to go over my victory speech + at the office. + + His wife sighs. Climbs out. Gallagher blows her a kiss. + + GALLAGHER + (to Sanchez) + I want a full disc on his actions + tomorrow. + + INT. SANCHEZ'S APARTMENT - DEN + + Wade in bed. Staring off into a blank void. He can't + sleep. He's got a lot of shit on his mind. + + INT. TOWNHOUSE + + Gallagher stands in front of the vanity. Snaps on his + Rolex. Runs his hands through his sculptured silver hair. + Smiles. An after sex smile. + + The MIRROR CATCHES a YOUNG DOLL lying in bed. You know + the type. All curves. All lips. Not an MIT graduate. + Gallagher turns to her. + + DOLL + You've got my vote, Commissioner. + + EXT. TOWNHOUSE + + Gallagher's limo sits idle by the curb. Kai Ling and Dokes + stand at attention. Gallagher steps out of the building. + Glances around. Adjusts his bow tie. Moves for the limo. + + INT. SANCHEZ'S KITCHEN + + Rise and shine. Sanchez sets down two complete break- + fasts. The health-conscious kind. Wade walks in. + Groggy. Knuckles the sleep from his eyes. Coughs. + + SANCHEZ + Good morning, partner. Take a + seat. I made you breakfast. + + Sanchez offers to pour the juice. + + SANCHEZ + Juice? + + Wade puts his hand over his cup. + + WADE + I'll have a cup of coffee? + + SANCHEZ + Never use it. Stuff'll kill ya. + + An "oh great" look passes Wade's face. Sanchez pours. + Wade takes his seat. Sanchez chows down. Wade looks at + his own plate and sighs. + WADE + The breakfast of crime fighters. + + He picks up his toast and dips it into his juice. + + SANCHEZ + I've been doing a little thinking. + Medicomp's come out with an MRI + scanner. You know what that means? + + Wade obviously doesn't. + + WADE + No. Talk English. Then I'll understand. + + SANCHEZ + We get to peek into Doucet's brain. + + WADE + Hey, I'm eating. + + SANCHEZ + I'm serious, Wade. This case is + important to me. + + WADE + You want to be a good detective? + + SANCHEZ + Yes, sir. + + WADE + Then find me some cigarettes. + + EXT. BAR + + A DRUNK MAN climbs into his grey Saab. + + INT. SAAB + + His card key won't fire up the engine. A VOICE MODULATOR + ACTIVATES. + + VOICE MODULATOR (V.O.) + (friendly female voice) + You have activated the anti-DUI + prevention unit. It is unsafe to + drive. The engine will not start. + Please find alternative transpor- + tation. Thank you. + + Drunk hits the dash and curses. Suddenly the door whips + open and two hands reach in. Big ones. Doucet's meat + hooks. They rip the Drunk out. Steal his wallet. Doucet + gets in. + + VOICE MODULATOR (V.O.) + That's better. Drive carefully. + + Smoke. Rubber. History. + + EXT. ALLEY + + Sanchez and a Technothug. Exchanging cash for what looks + like drugs. After the transaction, the Rookie heads for + the cruiser at the of the alley. + + INT. WADE'S UNMARKED CRUISER + + Sanchez hops in. Tosses two cigarettes at Wade. + + WADE + Two lousy smokes. You're a real + sport. + + SANCHEZ + That cost me two weeks' pay. + + Wade shoves one in his mouth. He smiles like a kid in a + candy store. + + SANCHEZ + I shouldn't have done this. I + could lose my badge. + + Wade looks for the cigarette lighter. Sanchez fights with + his conscience. + + SANCHEZ + Maybe I should turn myself in. + + WADE + Lighten up. You're going to give + yourself an ulcer. + + He can't find the lighter. + + SANCHEZ + Detroit stopped putting cigarette + lighters in years ago. Same time + smoking was banned. + + A "swell" look sweeps Wade's face. + + EXT. SUNSHINE MOTEL (HOLLYWOOD BOULEVARD) + + A sleazebag roach house in the heart of Hollywood. + + INT. SUNSHINE MOTEL + + Doucet stands at the front desk. Face filmed in sweat. + Clutching his wrist. He's in pain. In the b.g., an + ELDERLY GENT wears liquid screen glasses tuned to + 'Jeopardy' with Alex Trabek, Jr. The DESK CLERK hands + Doucet back his credit card. Yeah sure, like this maniac + really has credit. + + CLERK + Here you go, Mr. Firestone. + (places the receipt + in front of Doucet) + Sign here. + + Doucet signs. Sloppily. His hand trembles. + + CLERK + You okay? + (hands over the + keys; points) + Up the stairs to the left. Room 27. + I'd go see a doctor if I were you. + + Doucet pivots and marches toward the stairs. + + INT. ROOM 27 + + The door opens. Doucet staggers into the room. Closes the + door and locks it. He removes his weapons from under his + jacket and lays them on the bed. Suddenly his knees buckle + and arms go limp. He covers his face with his hands and + withers in pain. Mild atrophy sets in, causing greying + and bald spots. Loss and degeneration of elastic tissue + cause wrinkles and dilation in blood vessels. He's aging + and he doesn't know it. + + EXT. STREET + + Wade with a cigarette in his mouth. Cruiser hood open. + He tries to spark the battery to light the sucker. Sanchez + on his computer. Switches to MEDICOMP (Medical Computer). + Split screen. MRl (Magnetic Resonance Imaging) scanning + the soft tissue of two brains. A portion of each cerebellum + is colored red. One larger than the other. + + SANCHEZ + Part of Doucet's cerebellum, a + portion called the vermis is under- + developed. This area rates + response to outside stimuli. Com- + pare it to that of a normal law- + abiding citizen. It could be why + he kills. + + WADE + Great. My partner's Marcus Welby. + + SANCHEZ + I'm just doing it by the book. + Analyze then vaporize. Crime's + a science. Everything's analyzed. + + WADE + With all this technology you don't + even have to show up for work. Who + needs cops when you've got gizmos. + + SANCHEZ + (re: MEDICOMP) + You're just afraid to use this. You + have technophobia, Wade. That's what + you got. + + Wade shoots Sanchez a look. This is an unbelievable look. + The one you give someone if you think they're crazy. + + SANCHEZ + (offers MEDICOMP) + If you're not afraid, then go ahead. + Let's see you use this thing. It's + user friendly. + + Wade's frustrated. He turns to Sanchez. + + WADE + You want to see science?v I'll show + you science. + + He removes his .38. + + WADE + This is science. Six tries. If you + calculate correctly, one is all you'll + need. + + He flips the gun back into the holster. + + WADE + And it doesn't need batteries. + + He sticks his head back under the hood. + + SANCHEZ + Dinosaurs are extinct because they + couldn't adapt. + + Wade laughs. Sparks the battery. + + WADE + Here we go. Now we're cookin'. + + He lights his smoke. Takes a long drag. A big ass smile + on his face. Sanchez looks at him weird. + + WADE + Wanna try? + + SANCHEZ + No thank you, sir. Smoking causes + lung cancer, heart disease, emphysema, + and may complicate pregnancy. + + WADE + You're not pregnant, are you? + + SANCHEZ + No, sir. + + Wade offers the smoke. + + WADE + Then g'head. Live on the wild + side. I won't tell anyone. + + Sanchez gives in. Glances around to make sure the coast is + clear. Takes the smoke and inhales. He quickly spits out + the smoke and coughs. Wade laughs. + + WADE + Not bad, huh? + + Sanchez is doing some minor choking. Wade pats him on the + back. + + SANCHEZ + (sarcastic) + Great. + + DISPATCH SQUAWKS. Sanchez goes for it. Wade enjoys the + smoke. Sanchez reappears. + + SANCHEZ + Let's roll. We got a guy who + swears his car was stolen by a + suspect identical to Doucet. + 0800 this morning. + + WADE + What else did he get? + + SANCHEZ + Wallet, cash, I.D... + + WADE + (re: computer) + Fire up that thing of yours and + tell me all credit card trans- + actions after eight o'clock. + + Sanchez works his Cop Computer. Wade watches. He can't + hide his obvious fascination with the gadget. The screen + lights up. Sanchez reads the info. + + SANCHEZ + Bull's eye. One transaction... + Sunshine Motel. Hollywood. + After the eleven-hundred hour. + + Wade tosses his smoke. Slams the hood down. Both + hop into the cruiser. + + INT. SUNSHINE MOTEL - SECOND FLOOR + + Sheppard and Underhill are led to Room 27 by the Clerk, + Sheppard carries a double barrel riot gun. Underhill a + Thermograph monitor. + + CLERK + We get all kinds here, but this + guy's major psycho. + (points to Room 27) + He's in here. + + Sheppard knocKs on the door with the riot gun. + + INT. BATHROOM - ROOM 27 + + Doucet faces the broken bathroom mirror. An old weathered + Los Angeles Times newspaper headline hangs at eye level. + You've seen the one. Headline reads: "HERO COP NABS + SERIAL MURDERER." Smaller headline reads: "DEMOLITION MAN + GETS HIS MAN." The words: DEMOLITION MAN have been circled + numerous times. To a point where the paper's torn. + + SHEPPARD (V.O.) + Open up. + + Doucet turns from the mirror. His face is a shock at + first. He looks older. About five years. Streaks of + grey. Receding hairline. A couple wrinkles. He doesn't + look so good. Matter of fact, he looks terrified. He + doesn't know what's happening to his body. + + DOUCET + Go away! + + SHEPPARD (V.O.) + This is the police. Open up. + + INT. SUNSHINE MOTEL - SECOND FLOOR + + In a Thermograph outline we see Doucet cross the room and + pick up a large weapon from the bed. If this were a video + game it would be fun. But it's not. + + UNDERHILL + (holding Thermograph) + Jesus, he's got a gu--- + + BAM! Underhill is smashed backwards as the door to Room 27 + is ripped apart. He hits the back wall and slides to the + ground. His jacket and shirt torn to shreds, revealing + behind a bulletproof vest of KEVLAR IV. Sheppard and the + Clerk are thrown down the corridor by the blast. + + SHEPPARD + Are you all right? + + UNDERHILL + I'm okay. + + Underhill spoke too soon. Doucet steps out of the wreckage + and POPS a COUPLE ROUNDS into Underhill's head. Doucet + does an about-face. The Clerk storms towards the stairs. + Sheppard FIRES. Doucet FIRES. Sheppard is thrown backwards + in the air, landing on the Clerk running down the + stairs. Clerk screams and pushes the Cop's body off his + back. Doucet down the stairs two at a time. Snarling with + hostility. + + Elderly Gent oblivious. Now watching: "I LOVE ROCKY" -- + The Sitcom. Soundtrack as follows: "Pound for pound + he's number one/Now he's got a wife and a newborn son/New + opponents every week/Trying to knock Rocky off his peak." + + Clerk races for the front door. Doucet FIRES. + + EXT. SUNSHINE MOTEL + + The Clerk hits glass door. Slumps to the ground, dead. + + INT. WADE'S UNMARKED CRUISER + + Approaches the Sunshine Motel. Doucet jackrabbits into the + Saab. + + WADE + That's Doucet. + + Sanchez brings up lights. Doucet pulls away from the + curb. Shoots by the Cops. + + INT. SAAB + + Doucet does a double-take. Adjusts his rearview mirror. + Yup, it's Wade back there. Doucet smiles. + + INT. WADE'S UNMARKED CRUISER + + SANCHEZ + (to Dispatch) + Unit 23 in pursuit of grey Saab... + Hollywood and La Brea... suspect + believed to be Doucet... request + back-up and air surveillance... + + DISPATCH (V.O.) + Unit 23... back-up presently engaged + and notified. + + Wade's pounding the shit out of the gas pedal. + + WADE + Kid, you ever been in a high speed + chase before? + + SANCHEZ + Simulated one. + + EXT. HOLLYWOOD BOULEVARD + + The sky darkens as storm clouds gather ominously. + Lightning crackles. THUNDER ROARS. Cruiser and Saab + ROAR through the street neons at 80 mph+. Lights + stretching and twisting. + + INT. SAAB + + Power-driven by Doucet with no regard to fellow drivers. + + EXT. RESIDENTIAL SIDE STREET + + Saab tears around a corner. Cruiser close behind. A TRUCK + slowly makes its way up the street. The Saab hops the + sidewalk and plows through a garden. Cruiser follows. + + EXT. SUNSET BOULEVARD + + Slowing a traffic light, the Saab causes on-coming traffic + to break suddenly. Fender bender time. + + INT. WADE'S UNMARKED CRUISER + + Wade driving hard. + + DISPATCH (V.O.) + Unit 23... All available units still + presently engaged... have been noti- + fied... proceed with caution. + + Wade pulls Sanchez close and twists the headset towards + him. + + WADE + (frustrated; to Dispatch) + Get us some fuck'n back-up now! + + SANCHEZ + Comwatch Dispatch System. Can't + assimilate voice stress. Code + priority only. + + Sanchez is leaning uncomfortably. + + WADE + (madder) + Unit 23, we got a 211, 633, 415, + 277, 502, 113, and my partner's + stubbed his toe. Request back-up. + + EXT. SUNSET BOULEVARD + + Saab weaves its way in and out of traffic. Cruiser follows + tight. + + DISPATCH (V.O.) + Unit 23... all units presently en- + gaged... advise on 211... proceed + with 633. + + Saab is cut off. Plows into a grocery store. + + INT. WADE'S UNMARKED CRUISER + + Wade puts the pedal to the metal. Towards the grocery + store's new entrance. A look of stark terror sweeps + Sanchez's face. + + WADE + It's all right. I've done this before. + + EXT. GROCERY STORE + + Wade's cruiser speeds in. + + INT. GROCERY STORE + + Cruiser tailgates the Saab. Fruits and veggies splatter + all over the place. Wade hits the windshield wipers. + Shoppers run. + + EXT. GROCERY STORE + + Saab rockets out. Airborne over the sidewalk. Slides into + a parked car. ENGINE STALLS. CRUISER SCREECHES to a stop. + + INT. WADE'S UNMARKED CRUISER + + SANCHEZ + We got him. + + Sanchez hops out. + + WADE + Get back in the car. + + EXT. STREET + + Sanchez races. Weapon drawn. Saab FIRES UP. Peels out + in reverse. Sanchez lashes out and grabs the tail fin. + Doucet puts it in drive and races away. Dragging Sanchez. + Feet dangling at 65 mph. Boot leather being torn to + shreds. + + INT. WADE'S UNMARKED CRUISER + + WADE + Shit. + + He grabs a headset and hits the gas. + + EXT. STREET + + Car swerves. Sanchez hangs on for dear life. His radio + headset squawks. + + WADE (V.O.) + Get the fuck off his car, Sanchez. + Let go of it. + + Sanchez loses his grip. One hand whips back. The other + one holds on to the fin. + + SANCHEZ + We're bringing him down, partner. + You and I. + + The back WINDOW SHATTERS. Diced to smithereens. Doucet is + one talented dude. Drives with one hand. FIRES with the + other. + + INT. WADE'S UNMARKED CRUISER + + WADE + You're going to get yourself killed. + Let him go. + + Sanchez reaches up with his free hand and locks onto the + fin. Glass skates across the trunk. Cutting his fingers. + + SANCHEZ + We're going to be heroes. + + Suddenly the Saab power brakes. Sanchez is thrown through + the open back window -- across the seats and through the + front window. He somersaults to the asphalt. + + INT. WADE'S UNMARKED CRUISER + + WADE + Nooooooo! + + EXT. STREET + + Doucet drives off. Wade skids to a stop. Door flings + open. He jumps out and kneels beside Sanchez. The + Rookie's covered in blood. Wade tries to revive him -- + CPR style. + + WADE + Live... C'mon... Live... Goddamn it. + + Sanchez coughs. Spits up blood. Comes to. + + SANCHEZ + Did we get him? + + Wade breathes a sigh of relief. + + WADE + Not yet. Sit tight. Help's on the + way. + + Wade takes Sanchez's gun. He's crazed. Ready to erupt. + + WADE + (into headset) + Unit 23. Officer down. Corner + Lexington and Maple. + + INT. WADE'S UNMARKED CRUISER + + Wade depresses the "Pursuit Mode" switch. + + CLOSEUP - DISPLAY SCREEN + + aligns the cruiser with the Saab. It has become a target. + "LOCK ON" flashes. Restrainers hug Wade to the seat. + Steering wheel gears into auto. Gas pedal pushes into + the floor. Tach buried into the red line. + + EXT. WADE'S UNMARKED CRUISER + + Wheels spin drawing up smoke and smelling of burning + rubber. + + INT. WADE'S UNMARKED CRUISER + + Gear shift automatically switches into drive. + + EXT. SECOND SIDE STREET + + Cruiser bolts down the street after the Saab. + + INT. WADE'S UNMARKED CRUISER + + Like a pilot hitting G forces, Wade is pushed back. + 90 mph+. The road blurs by outside. This is nerve + shattering. + + DISPLAY SCREEN + + Saab simulated as a target. Speed and distance of suspect + recorded. + + EXT. THIRD SIDE STREET + + Cruiser tailgates the Saab. + + EXT. SUNSET BOULEVARD + + Saab turns onto the Strip. Cruiser snakes between two + cars, tagging along. + + EXT. FOURTH SIDE STREET + + Saab ahead. A CAT steps into the middle of the road. + The cruiser approaches. + + INT. WADE'S UNMARKED CRUISER + + Wade struggles with the wheel, in a desperate attempt to + avoid the feline. Monitor beside display screen. Simu- + lated cat on screen. Display reads: + + CAT + Domesticated animal of the Feline Family. + ANIMAL RIGHTS ACT 978-3387655 + Protected SPCA and BOB BARKER FOUNDATION + Code 34-R + + CAT HISSES. Auto-piloted cruiser comes within a hair, + swerves around and continues its pursuit. The cat con- + tinues on its way. + + EXT. HOLLYWOOD BOULEVARD + + The rain falls harder and steadier. The chase becomes more + intense. On sidewalks. Sideswiping cars. Through crowded + intersections. Left on a red. Anything to break the law. + Popeye Doyle would be proud of these two. + + A TRAFFIC LIGHT changes from red to green. A swarm of cars + cross. Saab rushes in, swerving to avoid them. Spin out. + Once. Twice. Three times. Finally crashing through the + glass doors of a Hollywood office building. Five stories. + More grit than glamour. + + INT. OFFICE BUILDING - LOBBY + + The Saab sits atop a pile of glass, twisted metal, and + broken concrete. Demolition smoke fills the air. The + cruiser plows in, rear-ending the Saab. + + INT. WADE'S UNMARKED CRUISER + + Pursuit Mode shuts down. Display screen flashes: + + SUSPECT VEHICLE APPREHENDED + 87Y99043--GTS43 + Proceed with caution. + + INT. LOBBY + + Doucet emerges, moving fast. All business. He FIRES at + Wade. Wade ducks under the dash. Doucet quickly runs out + of ammunition. Wade rises and FIRES through the shattered + windshield. + + Elevator doors open. Three Executives rush to close it. + Doucet races forward. Boots crunching through broken + glass. Execs run out. Doucet steps in and the doors + close. Wade exits his cruiser and marches over to the + elevators. + + INT. ELEVATOR + + Doucet leans back, catching his breath and restoring his + senses. + + INT. LOBBY + + Wade empties a COUPLE ROUNDS into the elevator button + panel, blowing it out of commission. + + INT. ELEVATOR + + The elevator jolts and stops. Llghts out. SMASH! Doucet + punches off the emergency hatch and climbs up. + + INT. LOBBY + + With desperation strength, Wade pulls open the second + elevator door. + + INT. ELEVATOR SHAFT + + Doucet pulls himself up the steel cables. His bare hands + quickly being cut up. Below Wade FIRES. BAM! BAM! BAM! + The last bullet hits Doucet in the shoulder. He momen- + tarily releases his grip on one hand and falls a few feet. + He snarls. His shoulder aching and bloody. Wade grabs + the cables and climbs. Doucet regains his strength and + continues climbing. Below, Wade gains on him. + + INT. FIFTH FLOOR + + Doucet pulls himself up with one hand. Blood seeps from + his bullet wound. He kneels for a moment restoring his + senses. He looks down into the shaft and sees Wade + climbing. Doucet rises and removes a fire extinguisher + from the wall. He crosses back to the elevator shaft + and hurtles the canister down. + + INT. ELEVATOR SHAFT + + The fire extinguisher falls like a cannonball. It hits + Wade hard in the upper body. He slips, reaches for support + and clambers onto another cable. He draws his gun and + carefully re-loads, using his body as a vise. He FIRES + upwards, but Doucet backs away. + + EXT. FIFTH FLOOR + + Wade drags himself up. He rises and races for the stair- + well. + + INT. STAIRWELL + + BAM! Wade enters fast. The door to the roof slams shut. + Wade darts up the stairs. + + EXT. ROOF + + Wade kicks the door open and enters, .38 drawn. Doucet + climbs off the roof. Strung across the building to a + lower three story complex is heavy rope used for cable + extensions. Doucet uses his gun as a pulley-sheave over + the rope. Grasping both ends he slides across. Wade races + over to the ledge. Below is nothing but open space. + + The Tie-post (Five Story Building) rope slowly starts to + unravel. Wade uses his jacket as a pulley-sheave and jumps + off the roof. + + EXT. ROOF (THREE STORY BUILDING) + + Doucet lands feet first. Wade follows. Doucet tries to + untie the rope from its post. + + EXT. ROOF (FIVE STORY BUILDING) + + The rope snaps from its tie-post. + + EXT. OPEN SPACE BETWEEN BUILDINGS + + Wade falls in mid-air. He continues grasping the line, + heading feet first towards the three story building wall. + + EXT. THREE STORY BUILDING + + The speed and strength of the rope is blinding. It whirls + around Doucet's right hand, coiling it python-like. The + circulation in the limb is quickly cut off. He is pulled + to the ledge lassoed by Wade. His right arm pulled down- + wards. This is painful. + + EXT. THREE STORY BUILDING - WALL + + Wade hangs comfortably from the rope, dangling in mid-air. + Doucet, however, is in excruciating pain as Wade's body + weight pulls at his joint. This is a freak accident. In + a vain attempt, Doucet whips down his weapon. It misses + Wade and CLATTERS to the ground. Doucet winces and growls. + With one hand, Wade removes the PORTABLE POLICE RADIO from + his belt hook. He breathes a sigh of relief before speak- + ing. The rain continues to pour. + + WADE + (into portable) + Unit 23... suspect Doucet has been + apprehended... request back-up and + ambulance... Alleyway between Hollywood + and Wiltern... + + DISPATCH (v.O.) + Unit 23... Roger... good work, Officer... + + EXT. THREE STORY BUILDING - ROOF + + Doucet reaches down with his left hand and removes a BUCK + M9 with seven-inch blade from a leather waist sheath. He + brings it up and proceeds to cut through the binding rope + and into his wrist. Blood geysers. He shows no pain. + This is an animal at work. The rope splits. + + EXT. WALL + + The rope frees and Wade falls one and a half stories to the + ground. He lands hard in a pile of garbage. + + EXT. THREE STORY BUILDING - ROOF + + Doucet runs across the roof, clutching his wrist. Blood + covers his hands. + + EXT. ALLEYWAY + + Wade dashes out and onto Hollywood Boulevard. + + EXT. HOLLYWOOD BOULEVARD + + Wade races down the street. Parallel to him, Doucet jumps + from rooftop to rooftop. These guys never let up. The + rain doesn't bother them and neither does the pain. + + A CROWD of movie-goers bear the weather standing in line + under a marquee. Wade charges forward. He's not changing + direction for anybody. + + WADE + (drawing his badge) + Move outta the way. I'm a cop! + + The crowd backs against the wall as this crazy maniac races + through. Doucet is still ahead, and much higher up. + + A SEMI brakes hard at a red light. Wheels lock. It + hydroplanes across the boulevard. Wade slides and skates + along the ground passing directly under the trailer. On + the opposite end, he comes through quick, rises to his feet + and maintains pursuit. + + The foot-race continues for another quarter mile, until + suddenly Wade doubles over in pain. He cries out. He + slumps to his knees. The rain beats down on his face. + Under a pool of light cast from a lamppost. Doucet stops. + He's bleeding bad. He knows he can't win this way. He + looks down and laughs menacingly. Wade tries to rise, but + he can't. He's paralyzed. A pained look covers his face. + He's aging. From late twenties to early thirties. Couple + grey hairs. Small wrinkles. Doucet races away. His + laughing fades on the wind and rain. + + WADE + (calling out) + No matter where you hide, I'm coming + after you! + + Wade collapses. The rain never lets up. Drops dance on + his forehead. + + A SIREN WAILS. BRAKES SQUEAL. SIREN STOPS. DOORS SLAM. + FOOTSTEPS. + + EXT. HOLLYWOOD BOULEVARD + + Images go IN and OUT of FOCUS. Dizzy, exhausted and + utterly drained, Wade lies sprawled out in the street. + A pair of boots stand before him. The rain has stopped + and somehow cleansed the streets. A flashing red light + reflects off puddles. Wade looks up. He squints. Bennett + belongs to these boots. Davidson stands close by. Their + cruiser behind. Lights on. + + WADE + (disoriented) + Sanchez... + + BENNETT + He's in ICU. Made it through surgery. + (hand extended) + Here. + + Sennett helps Wade to his feet. + + DAVIDSON + Need an ambulance? + + Wade doesn't answer. Instead, he walks away. Takes out + his last smoke. Raises it to his lips. Ponders. Snatches + it out. Crumbles it. Throws it to the ground. Continues + walking. Never looking back. + + EXT. POLICE STATION + + TWO COPS unload a trio of TECHNOTHUGS from the back of + their cruiser. This is not a happy scene. + + PSYCHO-TELECOMP (V.O.) + (pleasant voice) + Thank you for calling the LAPD Auto- + mated 'Help Line,' a public service + sponsored by the LAPD and Mayor Ray + Gallagher. + + INT. POLICE STATION - SERIES OF SHOTS + + Cops punching booking information into keyboards. Citizens + making complaints. Criminals demanding equal rights. Two + Cops escort a leashed pit bull. An elderly female + complainant follows angrily with both hands bandaged. + + PSYCHO-TELECOMP (V.O.) + Please enter the number correlating + to your current state; One: Stress + or Depression. Two: Marital Con- + flict. Three: Job Related... + + INT. GALLAGHER'S OFFICE + + Gallagher at his desk. His entourage seated before him. + The Two Bodyguards close by. A SALESMAN leans against + the wall. They are all listening to a large multi-line + answering machine called the PSYCHO-TELECOMP. + + PSYCHO-TELECOMP + ...Four: Contemplating Murder or + Suicide. Five: Drug Addiction. Six: + Sexual Disease Carrier. Seven: Other. + + The Salesman steps forward and shuts off the unit. + + SALESMAN + Okay. Now each question is refracted + into a set of questions with a voice + stress and polygraph analyzer, able + to 'talk down' the caller. Thirty + lines. Seven BCBs. We're talking + state-of-the-art. More psychologist + for your money. + (pauses for effect) + The only thing this baby doesn't + have is a diploma. + (laughs) + I got 'em in New York, Boston, + Chicago... + + Bennett steps into the room. Whispers in Gallagher's ear. + + GALLAGHER + Not now, I'm busy. + + Bennett continues. By the reaction on the Commissioner's + face it's obvious Bennett's just told him about Sanchez's + death. Gallagher nods. He doesn't appear too depressed. + Bennett leaves the room. Gallagher smiles. Turns to the + Salesman. + + GALLAGHER + I love it. + + SALESMAN + (smiles shyly) + Classic. I'll have 'em installed + in every precinct by the end of + the month. + + GALLAGHER + Mayor Ray Gallagher. Good touch. + Just don't start 'til tomorrow. + I haven't technically won yet. + + He beams. Winks at Roshko. + + SALESMAN + Check. + + The Salesman removes the Psycho-Telecomp from Gallagher's + desk and crosses the room over to the door. + + SALESMAN + Tomorrow. Thanks. + + The Salesman leaves. + + PEEBLES + Sir, your dinner with the union + leaders begins in an hour. Your + wife will meet you there, so we + can leave whenever you're ready. + + GALLAGHER + Fine. + + PEEBLES + I've also drafted a letter to + families of officers killed in the + line of duty. They'll need your + signature. + + INT. POLICE STATION + + Wade walks through. Silent. Determined. He looks like... + well you can guess. A few grey hairs. Tired eyes. This + man's a wreck. + + INT. GALLAGHER'S OFFICE + + Gallagher is signing letters. His entourage spit out his + calendar. + + PEEBLES + ...breakfast tomorrow at seven... + + REBECCA + Bring your wife and kids, it'll look + good... MR. MAYOR. + + Gallagher smiles. His people know how to make him happy. + + PEEBLES + ...Immediately following... + (eyes widen) + ...Oh my God! + + Gallagher looks up. Everyone turns. + + THEIR POV + + Wade stands at the doorway with his .38 aimed at the + ready. + + BACK TO SCENE + + Gallagher forces a smile. His Bodyguards stand at the + ready. + + GALLAGHER + Hello Wade. + + WADE + (to the entourage) + Out of the room. + + The entourage looks to Gallagher. He nods in agreement. + They leave. The Bodyguards stay. + + WADE + (to Gallagher/re: + Bodyguards) + Tell Frick and Frack that means them + too. + + GALLAGHER + (to the Bodyguards) + I'll be alright. + + Bodyguards leave. Door closes. + + GALLAGHER + Too bad about Sanchez. + + Wade draws back the hammer. + + GALLAGHER + You can't kill me. I'm going to be + Mayor tomorrow. + + WADE + I'm not voting for you. + + GALLAGHER + (rising) + Ah, fuck you, Wade. This is bull- + shit. You're not going to kill me. + (crosses the room) + You're not going to risk your freedom. + + Wrong. Wade F!RES. The bullet slices by Gallagher + shattering a picture frame of his family. Gallagher + takes a step back. + + WADE + I want to stop aging. + + GALLAGHER + And I want Doucet. + + Wade aims the .38 at Gallagher's balls. This would make a + man do anything. Gallagher takes a deep breath. + + GALLAGHER + You bastard. + + The INTERCOM on Gallagher's desk BUZZES. + + PEEBLES (V.O.) + Sir, your limo's here. + + GALLAGHER + Kill me if you want. Hard line me + with that 'I ain't got nothing to + lose' bullshit. But you've got + plenty to lose 'partner'. You've + got a family. I'm giving you a + chance to see them. + (beat) + I kept in touch. She never married. + All these years. Maybe she loves + you. I wouldn't know why. + + Gallagher crosses the room, heading for the door. Wade + lowers his weapon. + + GALLAGHER + This is a war, Wade. You against + him. Vengeance time. The City's + just in the way. Kill the fucker. + You and me. We'll work things out + when the time is right. + + WADE + Remember my promise. + + GALLAGHER + Don't threaten me. I tend to take + these things seriously. + (looks over Wade) + And get a couple hours sleep. You + look like day old shit. + + WADE + Got compliments coming outta your + ass, don't ya? + + Gallagher leaves the room. + + INT. POLICE STATION + + Gallagher crosses over to his entourage. Without words, + they automatically turn and walk towards the door. + + PEEBLES + You okay? + + GALLAGHER + How do I look? + + PEEBLES + Aces. + + They continue walking. + + EXT. POLICE STATION + + Gallagher and his entourage step out into a flurry of + REPORTERS. Microphones everywhere. + + REPORTER #1 + Commissioner... + + REPORTER #2 + How do you feel about your sub- + stantial lead in the polls? + + Gallagher moves down the steps. + + GALLAGHER + Delighted. Good to have the support + of the people. + + REPORTER #3 + So it wouldn't be too early to start + calling you Mayor Gallagher? + + GALLAGHER + It has a good ring to it, wouldn't + you say? + + Gallagher laughs. His entourage laugh. Reporters laugh. + This is mechanical. + + REPORTER #4 + Any message on the eve of this election + night? + + GALLAGHER + Thank you for your support. Every- + one. Have a pleasant night, and get + to the polls early. + + REPORTER #5 + Commissioner, any comment on the + recent murders of several police + officers? + + GALLAGHER + That has been investigated. We have + a suspect and he is being brought + into custody at this very moment. + + REPORTER #6 + What about the murders of Judge Baker + and Tim Duley? + + REPORTER #5 + Is there any connection to... + + REPORTER #2 + Sir... + + Gallagher looks to his entourage. Peebles takes charge. + Just in time. + + PEEBLES + Okay, that's all folks. Commissioner + Gallagher has to go. + + GALLAGHER + (whispers to Peebles) + Keep 'em busy. + + Gallagher heads for the limo. Waves to all. + + PEEBLES + The Commissioner has asked me to + express his thanks... + + Gallagher steps into the limo. + + INT. POLICE STATION - REFRESHMENT CENTER + + Wade crosses over to SENOR COFFEE, a hi-tech Java machine. + He deposits a buck in the slot that says to do so. + + SENOR COFFEE (V.O.) + (Spanish accent) + Buenos dias. Hello, I am Senor Coffee. + Do you prefer Original Fresh Ground or + Columbian Decaffeinated? + + WADE + Make it strong. + + A COP passes by. + + COP + It ain't human ya know. + + WADE + Original... Fresh Ground. + + SENOR COFFEE (V.O.) + Milk, Cream, Artificial Dairy Substitute, + Sugar, or No-Calorie Sweetener? + + WADE + Black. + + SENOR COFFEE (V.O.) + Thank you for choosing Senor Coffee. + + Black coffee is dispensed into a twentieth-century + styrofoam cup. Wade grabs it and drinks. + + A TECHNOTHUG comes screaming down the corridor, chased by + TWO OFFICERS. They draw their weapons. + + OFFICER #1 + Freeze! + + Technothug grabs a potted plant off an Officer's desk and + hurtles it at the Cops. + + OFFICER #2 + Heads. + + The PLANT CRASHES to the floor. Technothug averts and + runs. Growls and screams. Yes, he does have a flaming + skull tattoo. Technothug stops in front of Wade, shrieking + like a banshee. Wade cringes. Technothug's eyes grow + wide, and he quickly shuts up. Wade's knee in his balls + doesn't feel good either. Technothug slumps to the floor + in excruciating pain, holding his groin. All that and + Wade didn't spill his coffee. + + INT. SEWER SYSTEM + + Some things remain the same. Murky water. Rats. Inde- + scribable smells. Dark and spooky. Doucet sits slouched + against the wall tying torn shirt cloth around his wrist. + A crude homemade tourniquet. A bandage already covers his + shoulder wound. His hands tremble and hairline recedes. + The muscles in the solar plexus and stomach slowly droop. + He's aging, entering his early forties. + + INT. SANCHEZ'S HOSPITAL ROOM + + Sanchez lies in bed. Face and hands bandaged. Wade walks + in. Carrying a gym bag. Sanchez smiles. + + SANCHEZ + Rip Van Winkle. + + WADE + How ya feeling? + + SANCHEZ + How do I look? + + WADE + Not too good. + + They laugh. Wade opens the gym bag. Removes the holograph + framed photo of Sanchez's fiancee and lays it on the night + stand. + + WADE + I brought you some toys. + + He next pulls out a lap-top computer and a dispatch headset. + + SANCHEZ + What's this? + + WADE + We're partners, aren't we? + + EXT. STREET LEVEL + + A manhole cover rises and Doucet climbs out into an inter- + section. A car swerves to avoid him. He steps into a + Compuphone. + + INT. COMPUPHONE + + Operator comes on line. She pauses before speaking. + Doucet has that affect on people. Especially now. He + looks like walking death. + + OPERATOR (V.O. ) + Would you like 911 - Emergency? + + DOUCET + I want Wade. + + Operator gets to work. + + OPERATOR (V.O.) + I have a Valley number. + + DOUCET + Yes. + + She looks at him weird. + + OPERATOR (V.O.) + Ringing... + + Screen goes black... and then Casey comes on. Willy in the + b.g. + + CASEY + Hello. + + Doucet's voice is raspy. Almost caveman-like. + + DOUCET + Where is he? + + Cassy doesn't recognize Doucet. He's older and messed up. + His own mother wouldn't recognize him. + + CASSY + I think you have the wrong number. + + Doucet screams... + + DOUCET + WHERE IS HE? + + Cassy turns to Willy. Doucet is getting crazy. + + CASSY + Go to your room. + + WILLY + But... + + CASSY + Now. + + Doucet chuckles like a sick puppy. + + DOUCET + He's going to die. + + CASSY + Don't you have anything better to + do with your time? + + She thinks this is a crank call. Doucet laughs. + + CASSY + I'm going to report this to the + phone company. + + Cassy hangs up. The look on Doucet's face is great. He + is supposed to work for the phone company. He smashes his + fist through the Compuphone screen. + + EXT. SUBURBAN SPLIT LEVEL (VALLEY) + + Wade's new cruiser pulls to the curb two houses across from + his family's. + + ANOTHER UNMARKED CRUISER sits at end of the block. + + INT. OTHER UNMARKED CRUISER (UNIT 45) + + Two Detectives. The passenger, CEFALO sleeps. The driver, + MORROW, watches. He quickly nudges his partner. + + CEFALO + (waking) + What? + + MORROW + There. + + Cefalo rises from his slumped position and spots Wade + sitting in his cruiser. He quickly keys the onboard + computer. LAPD vehicle registration on the monitor. + + MORROW + It's Wade all right. + + Morrow goes for the door. Cefalo holds him back. + + CEFALO + Cut him a break. He stopped a 211 + yesterday. + + INT. WADE'S UNMARKED CRUISER + + Wade stares at his family's house. Displayed on the + monitor is a Dwell File. Three residents live at the + address shown. Cassy Wade, Kimberly Wade Simpson, and + William Simpson. Wade looks sad and tired. He is + afraid to move. He pulls out his family snapshot. His + hands tremble as he unfolds it. He lays it on the dash. + Squelches the headset. + + WADE + Sanchez...? + + DISPATCH SQUAWKS. + + SANCHEZ (V.O.) + I'm here. + + WADE + You treat her nice. + + SANCHEZ (V.O.) + (confused) + ...What are you talking about...? + + WADE + Your girl. Being a cop will be rough + on her. + + SANCHEZ (V.O.) + ...Have you been drinking? + + WADE + Not yet. + + Voices call his attention. + + WADE + I have to go. + + He puts down the headset. + + EXT. SUBURBAN SPLIT LEVEL + + Willy is having trouble mounting his tricked out BMX. He's + five-years-old, going on 15. Cassy and Kimberly watch at + the doorstep. + + KIMBERLY + Need help? + + WILLY + I got it. I got it. + + KIMBERLY + You sure? I can help you. + + WILLY + Ah Mom, you're embarrass'n me. + + KIMBERLY + Nobody's looking. + + WILLY + Go in the house. + + INT. WADE'S UNMARKED CRUISER + + It takes a second to hit Wade, and when it does, it almost + floors him. He's staring at his family. His wife Cassy, + still beautiful, is now in her mid-forties. His four- + year-old daughter is now a woman of twenty-four. A lump + the size of an apple forms in his throat. + + EXT. SUBURBAN SPLIT LEVEL + + KIMBERLY + Maybe I should put on the training + whe--- + + WILLY + Not the 'T' word. + + KIMBERLY + Ooops, I forgot. + + CASSY + Cars have four wheels. + + WILLY + Does this look like a car? This is + a bike. Two wheels. One seat. + + Willy pedals away unsteadily. + + WILLY + I got it. See ya. + + CASSY + Be careful. + + KIMBERLY + Bye. + + Cassy and Kimberly re-enter the house. + + INT. WADE'S UNMARKED CRUISER + + Shaken, wade steadies himself along the dash, holding back + the tears. In the rearview mirror, he can see Willy + approach. Wade panics and STARTS the ENGINE. He's not + ready for this. + + EXT. STREET + + Willy struggles with the pedals and handlebars. He falls. + Wade jumps out of the cruiser and rushes to his aid. + + INT. OTHER UNMARKED CRUISER - UNIT 45 + + Cefalo and Morrow watch. + + EXT. STREET + + Wade helps Willy to his feet. + + WADE + You all right? + + WILLY + Yeah. + + WADE + (looking over bike) + Seat's too high. + + WILLY + My mom says I'm gonna grow. + + Wade laughs. Willy notices the .38 sitting in Wade's + holster like a fashion accessory. + + WILLY + Hey mister, you a policeman? + + Wade looks confused. Willy stares at his gun. Wade + buttons his jacket. + + WADE + Yes. + + WILLY + My granddad was a policeman. + + Wade wants to say something. But he can't. + + WILLY + I'm going to be a policeman. + + WADE + What's your name? + + WILLY + William Simpson. I like Willy. + + WADE + Good to know you, Willy. + + Willy mounts his bike. + + WADE + Let me help you. + + Wade helps Willy balance himself. He runs along with the + bike until Willy is riding by himself. + + WILLY + Bye. Thanks. + + WADE + Remember, get the seat fixed. + + Willy drives off. Wade stands watching him for a moment. + He turns to the house. He wants to step forward, but it's + not an easy walk. He hesitates, walks and then recoils. + He glances back and for the first time notices the other + unmarked cruiser. + + INT. OTHER UNMARKED CRUISER + + Cefalo and Morrow watch Wade as he crosses back to his + cruiser. + + Wade climbs in. He stares at himself in the rearview + mirror. + + EXT. STREET + + Wade's cruiser door opens. He gets out and walks across + the street determined. CEFALO AND MORROW step out of their + cruiser and stand beside it, watching. They exchange + glances with Wade. Cefalo and Morrow nod their approval. + + EXT. SUBURBAN SPLIT LEVEL + + Wade stands at the end of the walkway leading to the front + door. He hesitates and crosses the lawn into the backyard. + He stops at a window. Curtains half-drawn. He stares into + the empty living room. + + HIS POV - KIMBERLY + + Suddenly Kimberly crosses the living room into the kitchen. + Cassy is sitting at the table drinking coffee. + + KIMBERLY (V.O.) + Michael called yesterday. He wants + to take Willy for the summer. + + CASSY (V.O.) + What did you say? + + KIMBERLY (V.O.) + I'd think about it. + + BACK TO SCENE + + Wade watches, punishing himself. Nothing like looking in + from the outside to depress someone. + + HIS POV + + Kimberly searches through the refrigerator. + + KIMBERLY (V.O.) + Mr. Murphy asked about you again at + work yesterday. + + CASSY (V.O.) + (chuckles) + He just wants me to make him cinnamon + cookies like I made for you. + + KIMBERLY (V.O.) + I think he wants more than your cookies. + + CASSY (V.O.) + Kimberly! + + KIMBERLY (V.O.) + Mom, I hate to break this to you, + but there's a whole other species + out there you're neglecting. If + you've forgotten, they're called + 'men'. Sometimes referred to in + more colorful language. + + They both laugh. + + BACK TO SCENE + + Wade stands stone-cold. A tear trickles down his cheek. + + INT. WADE'S UNMARKED CRUISER + + Wade climbs in. He looks like a frightened child. He + tries to fight back the tears, but it isn't easy. + + INT. OTHER UNMARKED CRUISER - UNIT 45 + + Cefalo and Morrow climb in. Cefalo keys the Dispatch. + + MORROW + (into headset) + Unit 45... + + EXT. GALLAGHER'S PACIFIC PALISADES HOME + + A Mercedes, BMW and cruiser sit in the driveway. + + INT. LIBRARY - GALLAGHER'S HOME + + Mahogany wood. Hard covers. Some first editions. No + paperbacks here. Bennett and Davidson eyeball the + literature. The door opens and Gallagher steps in. + Keyed-up. Knotting his tie. Watching his wristwatch + television. Frick and Frack follow tight. + + GALLAGHER + Talk fast. Polls open in half an hour. + + BENNETT + Wade did a little reminiscing. + + Gallagher shuts the door. + + GALLAGHER + What is this, the fucking Key-Stone + Cops?! + + DAVIDSON + Cefalo and Morrow said he was more + like a spectator. + + GALLAGHER + He didn't go in. That's good. + + BENNETT + Can't figure. Guy hasn't seen his + family in twenty years. + + INT. BACK ALLEY DOCTOR'S OFFICE + + One level above condemned. No diplomas on the wall. If + this quack has a license, I'll eat my word processor. + Doucet sits in the middle of the room. Sweating, big time. + Aged. Pained. The DOCTOR steps into the room wearing a + dirty-white lab jacket, holding a miniature full-body X-ray. + + DOCTOR + You're aging rapidly. That's all. + Normal Post-Cryo symptoms. + + DOUCET + Stop it. + + DOCTOR + Wish I could. As you can see, I have + little to work with here. Government + doesn't issue NPA serum to... they + just don't give it away. + (turns to the cash register) + How would you like to pay for the + check-up? + + DOOR SLAMS. Doctor spins. Doucet is gone. + + INT. NORTH HOLLYWOOD BAR + + A low-life watering hole. Smokey air. Sticky tables. + Loners. Whores on a coffee break. Except it's early in + the morning. The BARTENDER watches election news on an + overhead 19-inch. A SLEAZEBAG nurses a half-empty beer. + A WHORE stands by the jukebox. Wade sits at the bar and + drinks. + + WADE + (to the Bartender) + I'll have another. + + The Bartender nods and gets to work. Pours a whiskey. + Wade looks like a man with serious shit on his mind. + The Whore approaches. Open for business. + + WHORE + Hi. + + WADE + (over his shoulder) + Hi. + + WHORE + Haven't seen you around. Where have + you been all my life, handsome? + + Some lines never change. + + WADE + Frozen. + + Sleazebag snaps to attention. + + WHORE + (laughs) + Funny. Would you like to buy me + a drink? + + WADE + (reveals his wedding + band) + This little thing says I can't. + + WHORE + You could always take it off. + + WADE + It's stuck, but thanks for the offer. + + The Whore pulls out her medical report. She doesn't give up + easy. + + WHORE + Papers. Last Medcheck two weeks ago. + A-1. Disease free. Guaranteed by + the State. + + WADE + I don't care if you've got the Good + Housekeeping seal of approval... I'm + not looking for company. + + The Whore walks away. Business is bad. The Bartender + sets a glass of whiskey in front of Wade. Sleazebag slides + over. + + SLEAZEBAG + Frozen huh? Cryo-Prison? + + WADE + Yeah. + + SLEAZEBAG + I did two fives on a hit and win. + + WADE + (to himself) + Nobody talks normal anymore. + + The Sleazebag rolls up his shirt sleeve. His arm is a + mess. A shriveled-up cluster of decaying flesh. Green- + brown. Almost gangrene. Wade cringes. + + SLEAZEBAG + Freezer burn. + + Wade takes a long drink and throws some cash on the + counter. Leaves. + + EXT. NORTH HOLLYWOOD BAR + + Wade heads for his cruiser. His portable SQUAWKS. He + picks it up and speaks. + + WADE + Yeah. + + SANCHEZ (V.O.) + This should make your day. The guy + who testified against you... Dubbs... + was arrested a total number of twenty- + four times. + + WADE + So, he's got a thing for prison clothes. + + SANCHEZ (V.O.) + That's just it. He never did time. + Seems each arrest was botched for one + reason or another. Judge threw out + the cases each time. Either he's got + a horseshoe up his ass or powerful + friends. + + Sanchez groans. + + WADE + You okay? + + SANCHEZ (V.O.) + (in pain) + Aaah... Mother of Jesus. + + WADE + What is it? Your legs? Hands? + + SANCHEZ (V.O.) + Hospital food. + + INT. SANCHEZ'S HOSPITAL ROOM + + Sanchez sits behind a tray of hospital slop. He spits a + mouthful into a napkin. Lap-top on. A photo of Dubbs on + line. Information flashes. + + DWAYNE DUBBS + NCP/24 Arrests/0 Convictions + + SANCHEZ + (re: hospital food) + You oughta drop by for the lunch + special sometime. You're really + missing something. + + WADE (V.O.) + (laughingly) + I've seen what you eat. That stuff + can't be any worse. + + Sanchez keys the computer. More Dubbs info appears: + + LAPD 9000675 + Narcotics + Present Address: 4152 Woodman Ave. + Apartment 602 + + SANCHEZ + Looky here, seems Dubbs is still in + business. + + WADE (V.O.) + What are you doing this for, Sanchez? + + SANCHEZ + If you were set up, I want to find + out who did it. + + INT. CONVENTION ROOM - LUXURY HOTEL + + Gallagher stands center stage. Arms in the air. Waving. + Blowing kisses with Nixon-like charisma. A full house + cheers him on. After a brief moment his entourage hurries + him offstage. + + EXT. BACKSTAGE + + Gallagher loosens his tie. Roshko forces his way through + the entourage and whispers in Gallagher's ear. Gallagher + steams. Bites his lip. Obviously he's not pleased with + what Roshko's just told him. He heads for the glass + elevators. The doors open. Gallagher steps in. Stops + his entourage. + + GALLAGHER + Take next one. I'll be okay. + Meet you on the roof. + + INT. GLASS ELEVATOR + + Speeds up. Stops halfway to the top. Doors open. Dubbs + stands alone. Nervous. Twenty years older than the Wade + trial video. He steps in. Gallagher is not happy. + + GALLAGHER + What was so urgent it couldn't wait? + + The elevator doors close. Gallagher hits the STOP button. + + DUBBS + Someone's snooping around. My cop + files were accessed. + + GALLAGHER + (grins) + Dubbsy, you've been doing too much + of your own shit. You're paranoid. + It's probably just a routine LAPD + computer update. + + DUBBS + Well I don't like it. It's never + happened before. Lose my files. + + GALLAGHER + I just can't do that, Dubbsy. + + DUBBS + You're gonna be Mayor. You could do + anything. Look... I've come through + for you whenever you needed a favor. + Do this one for me. + + Gallagher smiles. Pats Dubbs on the cheek. + + GALLAGHER + Okay. + + Gallagher switches off the stop button. The elevator doors + open. + + GALLAGHER + You registered? + + Dubbs steps out. Pulls out his voter's registration card. + + DUBBS + You're the man. + + The doors close. Elevator continues upwards. + + GALLAGHER + (beams) + And don't forget it. + + EXT. HELIPAD - ROOF - LUXURY HOTEL + + A Rotojet idles. Gallagher is met by his entourage and + escorted over to his copter. + + EXT. STUDIO CITY ELEMENTARY SCHOOL - SCHOOL YARD + + Recess. Willy and a group of friends play ball. + + AUDITORIUM + + adjacent to the school. Workers are hanging a banner which + reads: VOTE HERE. + + A MAN in the distance. Standing stone-like across from the + school. A CLOSER SHOT reveals it is no ordinary man. It is + Doucet. This is how children end up on milk cartons. The + SCHOOL BELL sounds. + + INT. CLASSROOM + + Willy sits surrounded by his PALS as the TEACHER calls out + the attendance. This class is not over attentive. + + TEACHER + Charlie Gibbs... Charlie Gibbs... + + GIBBS + (calling out) + Not here. + + Everyone laughs. A KNOCK on the door interrupts the + action. Vice-principal ROGER ADAMS steps in. Nothing + like authority to break up the fun. + + MR. ADAMS + Good morning. + (gesturing with his + index finger) + Willy Simpson, come with me please. + + Willy's eyes go wide. Mind racing, coming up with excuses + for things he never did. + + PAL #1 + (leans and whispers) + You're trashed, Willy. + + Willy crosses the room. Mr. Adams ushers him out. + + EXT. HALLWAY + + Mr. Adams closes the door. + + MR. ADAMS + Don't worry, you're not in trouble. + Your father called and asked me... + + WILLY + (startled) + My dad? + + MR. ADAMS + He's coming to pick you up. You + have a--- + + WILLY + My dad lives in New York. + + Mr. Adams takes a step back, perplexed. + + MR. ADAMS + That's funny... + + Willy stares at something in the distance. His mouth + drops. A scared look blankets his face. Mr. Adams turns. + + THEIR POV + + Like an unwanted relative, Doucet appears with no warning. + He draws his gun. Silencer on. + + BACK TO SCENE + + SCHOOL BELL RINGS. Flocks of children storm the halls. A + sea of three and four foot scholars. Doucet hesitates from + firing. Mr. Adams grabs Willy's hand and makes a run for + it. Doucet moves after them. Children play. Doucet cuts + through, stepping over pint-sized partiers if he has to. + Mr. Adams and Willy round a corner. + + WILLY + Who is that? + + MR. ADAMS + Isn't that your father? + + Willy shakes his head 'no'. Mr. Adams tugs at his arm, + pulling him down the hall. Doucet on their trail. A + SECOND BELL RINGS. Children dart into their classes. The + hall slowly empties. A TEACHER steps out into the hall. + + TEACHER + Hey, you can't bring a gun into--- + + Doucet FIRES, the force of which slams the Teacher against + a trophy cabinet. Mr. Adams and Willy continue. Willy + trips and releases his grip. Mr. Adams stops turns. + + MR. ADAMS + C'mon Willy... c'mon! + + Doucet charges, grabbing Mr. Adams and lifting him into + air with one hand. Mr. Adams weeps. Doucet reaches into + his pocket and pulls out a note scribbled in blood. + Addressed to Wade. He shoves the note into Mr. Adams' + mouth. + + DOUCET + You will be my messenger. + + Mr. Adams moans. Doucet's free hand disappears. The + MUFFLED SOUND of AUTOMATIC FIRE breaks the silence. Mr. + Adams' body spasms. Bye bye Vice Principal. Doucet drops + the body to the floor. + + INT. SQUAD ROOM + + Portable 8-inch sets on every desk. News Announcers dis- + cuss today's election. Cops keep one eye on their work + and one on the news. Davidson passes through. + + DAVIDSON + Anybody know where Wade is? + + INT. MEN'S ROOM + + Wade stands in front of the mirror. He hesitantly raises + his hand and touches his face. Takes a deep breath. + Getting older in such short time is a lot for one man to + handle. He runs his hand through his hair. Singles out a + patch of grey. Pauses. Spots a tube of black shoe polish + at the end of the sink. Grabs it. Opens it and squeezes + some into his palm. A COP enters and makes a beeline over + to a urinal. He glances at wade awkwardly. Wade runs the + shoe polish over his patch of grey. The Cop steps away + from the urinal and heads for the door. + + WADE + Afternoon. + + Cop leaves. Wade slides down the wall to his ass. Wraps + his hands around his knees and lowers his head. Ponders. + After a brief moment, he rises and stands in front of the + mirror. Most of the grey is gone, but not all. There is + no hiding his age. He takes a good look at himself. Steps + into a stall. + + INT. STALL + + Wade sits. He pulls out his family photos and stares at it. + Frowns. + + INT. MEN'S ROOM + + Davidson bursts in. + + DAVIDSON + Wade, you in here?! + + INT. STALL + + Wade quickly pockets the picture. + + WADE + Yeah! + + INT. MEN'S ROOM + + Wade steps out of the stall. + + DAVIDSON + Everyone's looking for you. + Doucet's got your grandson. + + INT. SQUAD ROOM + + Wade enters. Davidson behind. Gallagher is there. So + are Bennett and Frick and Frack. + + GALLAGHER + Just got the call. Took him from + school. Bastard nailed the Vice- + Principal and a teacher. + + WADE + Where? + + Gallagher hands Wade Doucet's note. Wade opens it. It's + written in blood. Slightly blurred. Almost like a child + using a crayon. Gallagher reiterates what's written. + + GALLAGHER + TransAmerica building. Downtown. + Fifteen minutes or the kid dies. + + Wade crumples the note. + + GALLAGHER + That was two minutes ago. + + Wade looks at his watch. He sets the stopwatch mode at + thirteen minutes. Gallagher opens a small case holding a + syringe and a vial. NPA serum. + + GALLAGHER + Roll up your sleeve. + + Wade heads for the door. + + WADE + I'm wasting time. + + GALLAGHER + You can't win like this. You'll only + get older. This is what you wanted! + + WADE + (over his shoulder) + Not anymore. + + Wade leaves. + + GALLAGHER + (to Bennett & Davidson) + I want a blanket on this. Behind, + but not too far. + + EXT. POLICE STATION + + Wade downs the stairs. Adrenaline high. A man repossessed. + Two Cops usher Cassy and Kimberly up the stairs on the oppo- + site end. Women under extreme emotional tension. Tears + flow. Wade stops dead seeing them. Cassy and Kimberly see + him. Time stops. + + Twenty years of sorrow expressed in a single glance. + Wade takes a few deep breaths. Hearts pound. + + CASSY + (with love that + was never lost) + William! + + She calls from the heart. There is sadness, tears and joy + in her voice. Wade doesn't move, and when he does, it's + down the stairs. He can't face them until he redeems + himself. + + KIMBERLY + Dad! + + Cassy and Kimberly watch as wade dives into his cruiser and + peels out. + + INT. WADE'S UNMARKED CRUISER + + Wade drives like a madman. Make that lunatic. His eyes + sadder than ever. He could be crying, but he hides it well. + + EXT. WADE'S UNMARKED CRUISER + + This cruiser never had it so rough. Swaying in and out of + traffic. Lights flashing. TIRES SQUEALING. Complete dis- + respect for the law. + + INT. WADE'S UNMARKED CRUISER + + Wade glances from the road to his watch. His DISPATCH + SQUAWKS. + + SANCHEZ (V.O.) + I just heard. + + WADE + He's got my grandson, Sanchez. + + SANCHEZ (V.O.) + You be careful. + + WADE + I'm signing off. + + Wade reaches to turn off the headset. + + SANCHEZ (V.O.) + No. I want to be with you. + + WADE + No you don't. + + Wade shuts off the headset. Pounds the pedal. + + EXT. TRANSAMERICA BUILDING - DOWNTOWN + + Rising majestically above L.A.'s downtown district. Window + washers scale the 32 stories. + + WADE'S UNMARKED CRUISER pulls in and double parks. Wade + bolts out. He heads for the main entrance. His watch reads + little over one minute. + + EXT. ROOF (TRANSAMERICA BUILDING) + + The WIND WHISTLES hard and cold. The body of a dead Main- + tenance Worker lies face down beside the stairwell doors. + Blood surrounds his chest area. Strapped, spread-eagled to + a small satellite dish, is Willy. A look of stark terror + on his face. Doucet paces back and forth carrying the + AR 2000. + + DOUCET + One minute! + + Willy trembles with fear. Doucet coughs. The NPA Syndrome + is creeping in. He wipes his mouth. Turns to Willy and + smiles. + + DOUCET + Superman can't save you now, little + boy. + + On the word "boy", the stairwell door bursts open and Wade + explodes in, full force. Out of breath. Tired. Looking + like shit. Doucet pivots and the two square off. Weapons + aimed. + + WADE + Let him go. You've got me! + + Doucet laughs. + + WADE + (places his gun + on the floor) + I'm putting it down. + + Doucet laughs harder. Wade puts his hands in the air. + + WADE + Let the boy go. + + Wade's right hand goes numb. He massages the joint. Small + pendulous formations appear on his neck. He trembles and + runs his hand through his hair. A fistful comes out. A + small bald spot left on the back of his head. Light scaly + spots form on the back of his hands. There is a slight + droop of the upper eyelids and inward turning of the lower + ones. Loss of fat causes wrinkles and folds in his + once-taut muscular frame. He enters his late thirties. + Doucet continues laughing. + + WADE + (painfully) + You want me. He's nothing to you! + + DOUCET + He's your blood. + + A tremor of pain runs through Wade's leg. He grabs his + thigh and cringes in pain. Doucet lays down the AR 2000 + and marches forward. + + DOUCET + You hurt me. Now I'm going to hurt + you. It's time to die. + + Wade is virtually helpless. Doucet slaps him hard across + the face, sending the Cop to the ground. Wade coughs. + + His breath is unsteady. Doucet kicks him full in the + chest. Wade spits out blood, having suffered damage of + a structural nature to his ribs. Attempts to withstall + Doucet's assault are interrupted by the sudden re-arrange- + ment of Wade's left wrist. This Cop is getting his ass + wiped. Doucet moves even quicker. All elbows, all knees, + like an animal. Willy screams from the sidelines. Doucet + lifts Wade into the air and hurtles him across the room. + Wade rolls off the roof. His hands grasp the ledge. Down + is bad. Down is far. Down is death. With the reserves of + his strength, Wade struggles to pull himself up. Doucet + charges. + + NFA syndrome hits Doucet like a runaway train. Pain shoots + right through him. He screams as he ages five years right + before Wade's eyes. Into his fifties. Wade takes advan- + tage. He comes up and rolls barrel-like, rising to his + feet. He double-hands Doucet in the gut, staggering him. + Wade compliments that with the same to the back of the + monster's head. + + Both men are aging. Big time. Doucet to sixty. Wade to + mid-forties. It makes the fight that much more painful and + tiring. Doucet rabbit punches. Wade blocks and coils. + Stiff arms and coils. Doucet's knees hit the ground. + Wade grabs his head and forces it into his knee bone. + + Wade manifests combat acumen of startling proportions. + Doucet goes down for the count. Wade turns to Willy. + Doucet grabs his leg and brings the Cop down hard. Doucet + rises and kicks wade in the gut. These are field goal + kicks. High and hard. He bounces across the roof like a + bean bag. Doucet stops and picks up the AR 2000. Wade + tries to move, but he can't. He and Willy's eyes meet. + Defenseless and beaten, Wade lies in crippled agony. + + DOUCET + Playtime's over. + + Wade turns and faces the dangerous end of Doucet's gun. + WHUP-WHUP-WHUP-WHUP-WHUP. A ROTOJET rises beside the + building. + + PILOT (V.O.) + Drop your weapon. You are locked + on target and under arrest. + + Bennett and Davidson burst through the stairwell door. + Guns aimed. + + BENNETT + Freeze! + + Doucet swings the AR 2000 around and side-steps over to + Willy. Bennett FIRES. A bullet rips into Doucet's thigh. + He winces but doesn't stop. Doucet sticks his Buck M9 + under the boy's chin. + + DOUCET + The boy dies. + + Wade rises sluggishly. + + WADE + Don't shoot. + + PILOT (V.O.) + Simon Doucet, you are locked on + target. Release the child. + + DOUCET + Say good-bye, Wade! + + Wade hobbles over to the ledge. + + WADE + (calling out to the Pilot) + Don't shoot! + + BENNETT + (into portable) + Hold back! The kid's too close! + + Doucet cuts the restrainers that bind Willy to the + satellite dish. He takes the kid's hand. A loud + MECHANICAL SOUND interrupts the action. + + A WINDOW WASHER rises beside the building. Standing + on an electric scaffold. + + WADE + Get back to work! + + Doucet pulls Willy back to the scaffold and grabs the + AR 2000. The Window Washer pushes the lever down. + Doucet stops him. + + DOUCET + Leave! + + The Window Washer steps off. Doucet steps on. Willy in + tow. + + WADE + Don't take the kid! + + Doucet mans the lever. The scaffold lowers. Wade, Bennett + and Davidson race over to the ledge. The scaffold scales + the building. Doucet laughs. + + BENNETT + (into portable) + Follow him. + + The Rotojet slowly descends. Wade leads the pack to the + door. + + INT. CORRIDOR + + Wade charges forward and punches the elevator "down" + button, impatiently. Bennett and partner on his heels. + Wade heads for the stairwell. + + BENNETT + Hey, that's 32 flights of stairs! + You're crazy. + + Wade pays no attention to Bennett. + + INT. STAIRWELL + + The door flings open and Wade enters. He looks down. An + abyss with stairs. Wade should have listened to Bennett. + He grabs hold of the railing and starts down. + + EXT. TRANSAMERICA BUILDING + + The Rotojet follows Doucet and Willy on the scaffold. + Twenty-odd stories to go. + + INT. LAW OFFICE SUITES + + Wade darts through the maze of offices and partitions. A + SECRETARY follows him. + + SECRETARY + Mister... you can't... excuse me... + + Wade bursts through the office of a senior partner. + + INT. SENIOR PARTNER'S OFFICE + + A silver-haired EXECUTIVE sits beside his antique desk. + Talking on the telephone. Wade takes him by surprise. + + SENIOR PARTNER (EXECUTIVE) + (hand over the receiver) + Wait a... hold on a second... + + Wade draws the curtains. + + SENIOR PARTNER + What do you think... + + Outside, the scaffold is lowering. Doucet and Willy + appear. A chilling grin on the psychopath's face. He + presses the knife against Willy's throat. The ROTOJET + follows in the b.g. + + WADE + Bastard. + + Wade races out of the office. + + INT. STAIRWELL + + Wade shoots down a flight of stairs. Dizzy, exhausted, his + body strained to the limit. He slumps against the wall to + steady himself. Spots a fire hose coiled up against the + wall. Without hesitation he rips open the fire box, and + hauls out the hose. Drops it down the stairwell. Looks + down at his ingenuity. + + WADE + (to himself) + It's not over yet. + + He grabs hold of the hose, steps off the railing and slides + down the rest of the stories. Broken. Beaten. He should + be dead. + + EXT. TRANSAMERICA BUILDING + + The scaffold comes to a stop on street level. Doucet grabs + Willy and runs. The Rotojet follows. The sparse crowds + watch the action. + + ROTOJET (V.O.) + Please, stay indoors. Everyone, go + inside! + + Sennett and Davidson storm out of the building. Guns + drawn. + + A cadillac parks along the curb in front of a fire hydrant. + + A BUSINESSMAN opens the door and is met by Doucet who + yanks him out. + + BUSINESSMAN + Hey... what the... + + The Businessman wises up and races away after seeing + Doucet's high-powered friend. + + FIRE HYDRANT (V.O.) + (from voice modulator) + You are in direct violation of + Municipal Ordinance... + + Doucet shoves Willy into the car, spins and triggers the + AR 2000. STRAFES the fire hydrant. + + FIRE HYDRANT (V.O.) + Thank you for obeying... + + The hydrant EXPLODES. Bennett and Davidson FIRE. Doucet + FIRES. A BUS APPROACHES. The big kind. Two sections. + Sixteen wheels. Wade exits the building. + + WADE + (shouting to Cops) + Stop shooting! + + Davidson stops a wild bullet the hard way. He falls back- + wards clutching his chest wound. Doucet drives away. + + BENNETT + (leaning over his partner) + How is it? + + DAVIDSON + Stings. + + WADE + Stay with him. + + Wade races off. Bennett calls for an ambulance over his + portable. The bus stops. Unloads passengers. Wade steps + in. + + INT. BUS + + Wade flashes his badge to the Driver. + + WADE + I need this bus. Now! + + The Driver hesitates. Wade climbs up the bus stairs. + + WADE + It's okay. I'm in the Union. RTD + employee number 55643 dash A. + + The Driver gets up. + + BUS DRIVER + She's all yours, pal. + + The Driver exits. Remaining passengers disembark early. A + STREET BUM sleeps in back. Wade mans the wheel and closes + the door. He knows the mechanics well. Like a seasoned + pro he puts the dinosaur in gear. If you've forgotten, + his Rehab Training was to be a bus driver. + + EXT. STREET + + The bus pulls away from the curb in pursuit of Doucet. + The Rotojet follows overhead. + + INT. ROTOJET + + Battle Mode. The PILOT lows the two vehicles closely. + + PILOT + (to Dispatch) + ...traveling West on 8th Street. + Request road block corner 8th and + Western... + + DISPATCH (V.O.) + Roger. + + EXT. STREET + + The bus closes the gap between the Cadillac and itself. + Wade handles the wheel like a veteran RTD employee. + + INT. BUS + + Wade turns hard. The Street Bum falls to the floor. + Rises groggily. + + STREET BUM + Is this my stop? + + He heads for the front of the bus. Sees the chase. + + STREET BUM + Go get 'em boy. + + Wade looks back. Does a double take. + + WADE + Get down. + + Wade spins the wheel. The street Bum is thrown into a + seat. + + INT. DOUCET'S CADILLAC + + Doucet pounds the pedal. Blood cakes around his thigh + wound. He coughs. Willy sits curled up against the + passenger door. + + INT. BUS + + Street Bum behind Wade. + + STREET BUM + Make a left there. You'll cut + him off. + + Wade looks back. Cringes. Returns to the chase. Up ahead + there's help. + + EXT. STREET + + A road block. Ten cop cruisers. Cops stand at attention, + holding high-powered rifles. Doucet's Cadillac tears up + the road. The bus behind. Rotojet overhead. No where to + go but jail. + + INT. DOUCET'S CADILLAC + + Doucet's lifeless eyes stares down the Cops. His hands + tighten their grip on the steering wheel. + + EXT. STREET + + Doucet's Cadillac strikes the roadblock at 100 mph+. + Cruisers forced apart. Glass, paint and metal everywhere. + The Cadillac spins out in a cloud of smoke. The crumpled + hood flies off. Doucet fights the skid, slowing to a stop. + He climbs out. Willy jumps out and runs to safety. + + INT. BUS + + WADE + (to Street Bum) + Hang on. + + Street Bum grabs a seat. Watches wide-eyed. Yells in + excitement as... + + EXT. STREET + + The bus plows through the roadblock, bearing down on + Doucet. Doucet pivots, swings the AR 2000 over his + shoulder and hops onto the bumper of the speeding bus. + Wade spins the wheel, trying to force Doucet off. Doucet + brings the AR 2000 forward and proceeds to blow away the + WINDSHIELD, dicing it to smithereens. Waves the gun like a + wand, strafing 'X' patterns, FIRING all the while he hangs + on with his free hand. + + Wade ducks. Street Bum hits the floor, cussing a blue + streak. Doucet EMPTIES a FIFTY ROUND CLIP. BULLETS CHIP + away at the front of the bus, leaving pockmarks. Empty, + Doucet tosses the useless weapon aside. Wade rises. + + EXT./INT. BUS + + Wade FIRES his .38. BULLETS RICOCHET off METAL as Doucet + darts the fire. Two find their way into his shoulder. + One full in the chest. He swears, loses his grip momen- + tarily, but somehow hangs on. The Rotojet bears down on + the bus. + + PILOT (V.O.) + Sergeant Wade, pull over. Stop your + vehicle and arrest your suspect. + + BACK TO SCENE + + Doucet reaches into his overcoat and pulls out the compact + Stinger missile launcher. Aims it at the Rotojet. Looks + to Wade, smiles and FIRES. Rotojet is hit. It spins into + an air whirlpool. Smoking. SCREAMING. Pieces rain. + EXPLODING INTO A FIREBALL. + + BACK TO SCENE + + Doucet struggles to climb into the bus. Wade kicks him + back out. Shifts gears. With one arm, Doucet balances + himself. Blood stains his clothing. This is not fun. + Not even for Doucet. + + DOUCET + (with a maniacal + gleam in his eye) + Arrest me. You've won. + + Wade drives faster. He removes his belt with one hand. + + DOUCET + Arrest me. + + Wade loops the belt around the steering wheel and attaches + the other end around the hydraulic door lever. He turns + the steering wheel and releases his grip. The belt + strains, holding the wheel steady. He lodges a piece + of broken metal between the seat and gas pedal. + + DOUCET + Bring me in. Be a hero. + + WADE + I'm not in the cops and robbers + business anymore! + + Wade sounds the HORN. Climbs out of the driver's seat. + He heads towards the back of the bus. Doucet turns. The + bus races towards the side of a warehouse. A concrete + wall. For once, the look on Doucet's face is one of sheer + fright. + + The bus, moving at about 75 mph+, EXPLODES into the wall, + completely destroying the first section. Doucet makes his + first good impression. It'll take weeks to find his body + in the wreckage. The second section is left undamaged. + The back door opens and Wade steps out. He walks away, + never looking back. He's in rough shape. Cop cruisers + appear. + + A ROOKIE steps out of the first cruiser to stop. + + ROOKIE COP + (calling out to Wade) + Hey, old timer. Wait a minute. + There was a cop driving this thing. + Where is he? Who are you? + + WADE + (over his shoulder) + Wade. Sergeant Wade. + + Street Bum steps off the bus. Smiles like a kid coming off + a ride at Magic Mountain. Rookie Cop rushes to his aid. + + STREET BUM + This was the best two-fifty I ever + spent. + + INT. SANCHEZ'S HOSPITAL ROOM + + A Nurse walks in. Carrying a tray of pills. Sanchez is + gone. + + EXT. HI-RISE APARTMENT - WOODMAN AVENUE + + An ambulance stops. Sanchez hops out. Bandages off. Face + scared. + + INT. APARTMENT + + Dubbs sits with a cute BROAD. Melting a bizarre drug. + Having a ball. A KNOCK on the door interrupts the + festivities. Dubbs rises. Opens an armoire. Inside is + a Bad Ass's collection of weapons. Old and new hardware. + Dubbs grabs an old pistol. A .38 to be exact. Crosses + over to the door. + + DUBBS + Who is it? + + SANCHEZ (V.O.) + Avon Lady! + + On that, the door comes CRASHING down. Right on top of + Dubbs. Broad screams and runs. Sanchez stands on the door + putting pressure on the Bad Ass's chest. + + SANCHEZ + My man Dubbs. + + DUBBS + Who are you? What the fuck do you + want? + + Sanchez lifts Dubbs to his feet. Dubbs cringes at + Sanchez's torn-up face. + + SANCHEZ + I want to ask you a few questions. + + DUBBS + No, you're not model material. + (smiles) + Anything else? + + Sanchez slugs him. Takes Dubbs' .38 and pockets it. + + SANCHEZ + Funny guy. + + DUBBS + Fuck you - fuck you. + + SANCHEZ + You helped set up my partner, Sergeant + William Wade. I want to know who put + you up to it. + + DUBBS + Your mother. + + Sanchez grabs him. + + SANCHEZ + Tsch, I was hoping this'd be a lot + easier. + + You know, I get the feeling Wade's rubbed off on our + Rookie. Sanchez is acting like a cop. Unpredictable. + Tough. I like it. I like it. + + EXT. HI-RISE + + Sanchez tapes Dubbs' hands and upper body to the back of + the cruiser. Mouth over the exhaust pipe. Dubbs' eyes + go in fright. + + SANCHEZ + Perfect fit. + + He pulls out a breath mint. Puts it in Dubbs' pocket. + + SANCHEZ + For later. + + Sanchez crosses over to cruiser. + + SANCHEZ + You sure you don't want to talk. + + Dubbs' eyes stare and say no. Sanchez sits down in the + open cruiser. Starts punching numbers into the ignition + panel. Dubbs sweats as each digit is registered. Sanchez + hums. Dubbs growls. He's ready to speak. Sanchez smiles. + Crosses over and rips the tape off. Dubbs spits. It + gets quiet real fast. Sanchez wipes his face. + + SANCHEZ + For that I'm going to rev the engine. + + He re-tapes Dubbs' mouth. Heads for the driver's seat. + Dubbs mumbles. His eyes reveal he's ready to squeal. + Sanchez removes the tape once again. This time protecting + himself from flying phlegm. + + DUBBS + Okay... I'll talk. + + Sanchez rips open his shirt. Reveals a tape recording + device taped to his body. Dubbs takes a deep breath. + That's because he's in deep shit. + + SANCHEZ + Speak up. + + DUBBS + It was Wade's old partner... Gallagher. + He was behind it all. + + Sanchez freezes. Great look on his face. He's got a + million questions which are about to be answered. + + DUBBS + I worked for him... still do. Said + he'd make sure I was left alone if I + helped put Wade away. He kept his + promise for twenty years. + + SANCHEZ + Prepare for a change in lifestyle. + + Sanchez rams Dubbs' face into the bumper. The bad ass + snaps out cold. + + INT. POLICE STATION + + Wade walks. TWO BEAT COPS approach him. + + BEAT COP #1 + I'm sorry, Wade... + + Beat Cop #2 snaps open a pair of cuffs. Wade calculates + the situation. He should've expected this. Gallagher's + that type of guy. + + BEAT COP #1 + ...Gallagher wants you brought back + to Cryo-Prison. + + WADE + I did my job. I'm free. + + Beat Cop #2 moves to cuff Wade. + + BEAT COP #1 + I'm sorry. That's his orders. + + Wade rises. Throws Beat Cop #2 into the back wall. Beat + Cop #1 goes for his gun. Wade brings him down. With a + nifty hand-foot combo. Wade spins. Simultaneously every + Cop in the precinct cocks their laser weapon. Wade head- + butts the first Cop to approach him. He's not going to go + down without a fight. Three Cops tackle him. He wrestles + them off and continues. Goes for the door. Just as he's + about to open it, he comes face to face with a nasty + weapon. The owner is a big Cop. + + BIG COP + Freeze or you're dust. + + Wade has nowhere to go but Cryo-Prison. + + EXT. POLICE STATION + + Wade is ushered over to an idling cruiser. Handcuffed. It + takes six cops to escort him. Things look dim... until a + SIREN WAILS. Everyone spins. An AMBULANCE SCREAMS into + the cop parking lot. Headed straight towards Wade. The + Cops dive for cover. The ambulance SCREECHES to a stop. + The passenger door is flung open. Sanchez drives. Wade + is truly surprised. + + SANCHEZ + Hop in. + + Wade doesn't waste any time. He dives in. Sanchez PEELS + OUT. Cops rise. One grabs his dispatch. + + INT. AMBULANCE + + Sanchez drives with one hand. Helps Wade out of his cuffs + with the other hand. + + WADE + You should be in hospital. + + SANCHEZ + And you should be with your family. + + Sanchez glances from the road to Wade. + + SANCHEZ + You were right. You were set up. It + was your ex-partner... Gallagher. + + The news hits Wade like an A-bomb. Sanchez tosses Wade + Dubbs' .38. + + SANCHEZ + Old Faithful. + + EXT. WAREHOUSE WRECK + + A huge tow truck slowly pulls the bus out of the wreckage. + It RUMBLES and STRAINS. Bennett is in command of the Cop + Work Crew. A slew of ambulances and fire trucks stand at + the ready. News vans appear. The tow truck drags the bus + away. Bennett charges. Followed by a team of cops. Ready + for anything. They step over the rubble. Glance around. + Bennett looks puzzled. + + BENNETT + Where the hell is the body? + + A COP calls out. Panic in his voice. + + COP + Over here. + + Bennett crosses over. The cop stands looking down at + Doucet's overcoat. It's torn and tattered. The body is + gone. Bennett's reaction is filled with horror. + + BENNETT + Oh shit. + + INT. BALLROOM + + Tons of Gallagher supporters. Gallagher campaign posters. + Gallagher pennants. Gallagher buttons. MAYOR INGRIM + stands on stage at a podium making a speech. Behind him + sits Gallagher, his wife and kids. All smiles. Frick and + Frack in back. Press cameras click. Cheers all around... + + MAYOR INGRIM + ...I've known this man for many + years, and in some ways it's com- + forting to know that I am passing + the torch to such a dedicated... + + BACKSTAGE + + Wade and Sanchez walk. Eyes fixed on the stage. Two Cops + try to stop them. Wade back-elbows one into the wall. + Sanchez the other. Another Cop tries to tackle them from + behind, but Wade sends him crashing into a stack of chairs. + Wade and Sanchez approach Peebles. + + WADE + I want Gallagher! + + INT. PARKING GARAGE + + A TELEPHONE REPAIRMAN walks up to a GUARD. Helmet on. + Head down. Decked out in gear. + + GUARD + Can I help you? + + DOUCET (TELEPHONE REPAIRMAN) + (voice muffled) + I got a call about a problem with + your lines. + + GUARD + I don't know anything about a + problem. + + Telephone Repairman raises his head... and wouldn't you + know it, it's Doucet. He looks like he went through a + meat grinder. Guard gasps at the Telephone Repairman + from hell. + + DOUCET + I'm your problem. + + He reaches out. Headbutts the Guard and snaps his neck. + + INT. BALLROOM + + Peebles walks hunched over to Gallagher. He whispers in + his ear. Gallagher shakes his head. Peebles insists. + He gestures off-stage. + + THEIR POV + + Wade and Sanchez stand in the wings. + + BACK TO SCENE + + Gallagher can't believe it. A "Holy Jesus" look sweeps + his face. He whispers to his wife and follows Peebles + off-stage. Frick and Frack trail. + + MAYOR INGRIM + ...his leadership has been an + inspiration. + + Gallagher leans over to Peebles and whispers. + + GALLAGHER + I'm going to need help. + + OFFSTAGE + + Peebles walks. Gallagher approaches Wade and Sanchez. + Frick and Frack stand tough. The new mayor is uncom- + fortable. They stand in front of a campaign poster that + reads: + + HONESTY & INTEGRITY + THAT'S HIS MIDDLE NAME + VOTE RAY GALLAGHER FOR MAYOR + + Gallagher turns to Sanchez. Takes a deep breath. + Sanchez's face is too much. Gallagher doesn't have a + strong stomach. He turns to Wade. + + GALLAGHER + (irritated) + What is it? I'm about to go on. + + WADE + We have to talk. + + GALLAGHER + I heard about today. Good job. I'm + all for capital punishment. + (beat) + Why don't you go home and see your + family? + + WADE + That wasn't your plan, was it? + + GALLAGHER + What are you talking about? + + Gallagher nervously glances around. + + WADE + You were planning to send me back + to the ice house. + (beat) + You set me up. + + GALLAGHER + You're crazy. + + WADE + You were the dirty cop... and I was + on to you. You panicked. Afraid + I was going to expose you... so + you shut me up. + + Gallagher's slowly being taken down. + + GALLAGHER + I don't want to hear anymore. + + WADE + You stole the heroin out of the + evidence room and planted it on + me. I was iced. What better way + to keep me from talking. Stop me + if I'm wrong. + + Peebles walks up with a couple Beat Cops in tow. Rebecca + and Roshko behind. + + GALLAGHER + You have no evidence. + (to Cops) + Arrest this man. + + SANCHEZ + You want evidence. I'll give you + evidence. + + The Beat Cops move in. Wade backs up. Sanchez rips open + his shirt. Reveals the tape recorder. Hits the "PLAY" + button. + + DUBBS (V.O.) + It was Wade's old partner... Gallagher. + He was behind it all. + + SANCHEZ + Put that on your political resume. + + Gallagher panics. Grabs one of the Beat COP's guns and + pulls Rebecca close. Shoves the barrel to her temple. + Hasn't she taken enough abuse from Gallagher already? + Wade draws his .38 and trains it on Gallagher. Peebles + interrupts. + + PEEBLES + Sir--- + + GALLAGHER + Shut up! + (to Wade) + Drop it. + + Wade refuses. Takes careful aim. Gallagher cradles the + trigger. Rebecca sweats buckets. + + GALLAGHER + Drop it or she's dead. + + Wade grits his teeth. Gallagher's dead serious. Excuse + the pun. Wade throws the .38 to the floor. Gallagher + smiles. Back steps. + + BACK TO SCENE + + Mayor Ingrim winds down his speech. + + MAYOR INGRIM + ...Ladies and gentlemen, I am proud + to give you the new Mayor of Los + Angeles... Ray Gallagher. + + The crowd ROARS its approval. A standing ovation. + Gallagher steps out of the wings with Rebecca. Wade + and Sanchez follow. The crowd gasps. Reporters do what + they do best. Gallagher's crazed. He waves his gun + around the room. Cops appear. Frick and Frack don't + know what to do. + + GALLAGHER + Get back. Get back or I'll do her + right now. + + Rebecca shits bricks. Gallagher's going to explode any + second now. Sanchez offers Wade his laser handgun. + + SANCHEZ + Use this. You can't miss. + + Wade looks over the futuristic weapon. It's a far cry from + his .38. + + SANCHEZ + G'head. It's user friendly. + + Wade gives in to technology. Takes the gun. Switches it + on. It's an unbelievable weapon. + + WADE + (under his breath) + Welcome to the 21st century, Wade. + + Wade aims the laser targeting. Gallagher uses Rebecca as + his shield. + + GALLAGHER + Get back. + + Wade squints. Two-hands the weapon. Aims. + + WADE + (to Rebecca) + Spread your legs. + + Rebecca's frightened. Probably pissed in her pants by now. + Wade's asking her to spread her legs. She looks at him + weird. A "whaaaa?" look on her face. + + WADE + Spread 'em! + + She does. Wade FIRES. Nails Gallagher in the leg. He's + thrown back. Wade FIRES another into Gallagher's wrist. + His weapon falls. A Cop grabs it. Gallagher slams into + the wall and collapses. Wade scoops up his .38. + + ROSHKO + (re: Gallagher) + Someone call a MEDIVAC. + + Wade walks. Snaps off his cop badge. Hands it and his + .38 to Sanchez. + + WADE + You can have it. I won't need it + in my new job. + + Wade heads backstage. Frick and Frack help Gallagher to + his feet, when all of a sudden Doucet lunges from behind + the backstage curtain. Full of rage. Everyone moves in + slow motion. Gallagher stands in muted terror. Frick and + Frack spin. Kai Ling readies his Aikido. Screams and + charges. Doucet nonchalantly straightarms Kai Ling. + Withdraws a telephone cord from his pouch. Twists it + around Kai Ling's neck and with one tug ends his life. + Dokes springs into action. Doucet grabs him and shoves + an industrial pair of wire cutters into the man's chest. + Gallagher slithers into a corner. Doucet approaches. + + GALLAGHER + No... No... No... Please... Wade! + Wade! + + BACKSTAGE + + Wade walks. Ignores the plea. Sanchez grabs him. + + SANCHEZ + Doucet's back. + + Wade spins. This is a big surprise. Sanchez hands over + the .38. + + SANCHEZ + You're going to need this. + + BACK TO SCENE + + Gallagher is reduced to a sniveling, whimpering mouse. + Doucet grabs him. Lifts the Mayor off his feet. + + DOUCET + I want to congratulate you on your + win. + + With his free hand, Doucet pulls out his double barrel + handgun. Gallagher cries. Closes his eyes. TWO SHOTS + RING out. The recipient staggers back. Totters. Screams + as another BULLET enters his throat. + + If you're wondering who got the lead, it's Doucet. + Gallagher opens his eyes. The first two bullets pierced + his suit and hit the monster. Wade is some shot. He + continues BLOWING HOLES in Doucet. Determined to end the + man's nightmare of a life. Finally Doucet hits a television + camera. Spins. Falls spread-eagled onto a chair. + Coughs blood. Wade steps up. Triggers. His gun is empty. + Doucet lurches forward. Grabs Wade. Nails him into the + wall. Throws him over a row of chairs. Wade hits the + floor. Buried beneath metal chairs. Doucet pulls him out. + + DOUCET + One... question... before I kill you... + + Wade is pulled face to face with Doucet. + + DOUCET + ...Why do... they call you... Demolition + Man...? + + SANCHEZ (V.O.) + Because he demolishes things, asshole. + + Doucet spins. Sanchez stands behind him. Laser weapon + aimed. He FIRES. One shot does the trick. Doucet falls + back with the chair. He jerks once and then dies. + + EXT. SUBURBAN SPLIT LEVEL (VALLEY) + + Twilight. Willy is adjusting the seat on his BMX. Wade + pulls up and steps out. He's in his mid-forties. + + WILLY + (delighted) + Grandpa's home. + + Willy races into Wade's arms. Cassy and Kimberly walk out + of the house. Wade puts Willy on the ground. Silence. + For a moment Wade stares into Cassy's eyes. Then he pulls + her over, taking her in his tight embrace. Kimberly and + Willy surround them. This is nice. This is love. + + INT. CRYO-PRISON FACILITY X23-55 + + HOLD ON an Inmate Pod. Gallagher on ice. Chilled black + lifeless eyes. Glossy face. Sequestered between a Child + Molester and a Necrophiliac. He fits in perfectly. + + DATA BANK READS: RAYMOND GALLAGHER + 78-55439832-CVX + SUSPENDED: MAY 09, 2018 + TEMPERATURE: - 320 + CELLULAR ACTIVITY: 0 + + REHAB TRAINING: SANITATION ENGINEER + + His eyes glare at us. They are full of evil. In a + Cryogenic state he poses no threat. Or does he...? + + FADE OUT. + + + + THE END + + + + + diff --git a/scripts/Dino Demo.txt b/scripts/Dino Demo.txt new file mode 100644 index 0000000000000000000000000000000000000000..6b37ac11c98932a496bf5f07ce5c3672271a216e --- /dev/null +++ b/scripts/Dino Demo.txt @@ -0,0 +1,76 @@ + + +11 EXT. HILLTOP - DAY 11 + + Two large, open-top jeeps ROAR down the hilltop away from + the landing cross as the helicopter engines WHINE back to + life and the rotors start to spin again. + + ELLIE, GRANT, and MALCOLM hold on tight in the front jeep, + HAMMOND and GENNARO are in the rear jeep. Both cars have + DRIVERS. + + HAMMOND + Just stop here, stop here. Slow, + slow. + +He slows down, then stops. So does the front jeep. + +IN THE FRONT JEEP, Ellie stares at the leaf, amazed, +running her hand lightly over it. + + ELLIE + This species of vermiform was been + extinct since the cretaceous + period. This thing -- + +Grant, never tearing his eyes from the brachiosaur, reaches +over and grabs Ellie's head, turning it to face the animal. + +She sees it, and drops the leaf. + + ELLIE + Oh -- my -- God. + +Grant lets out a long, sharp, HAH - a combination laugh and +shout of joy. + +He gets out of the jeep, and Ellie follows. Grant points to +the thing and manages to put together his first words since +its appearance: + + GRANT + THAT'S A DINOSAUR! + +-- a dinosaur. Chewing the branches. Technically, it's a +brachiosaur, of the sauropod family, but we've always +called it brontosaurus. It CRUCHES the branch in its mouth, +which is some thirty-five feet up off the ground, at the +end of its long, arching neck. It stares down at the people +in the car with a pleasant, stupid gaze. + 26. + + +Ellie looks up at the sauropods in wonder. + +They've pretty light on their feet - a far cry from the +sluggish, lumbering brutes we would have expected. + +Hammond gets out of his jeep and comes back to join them. +He looks like a proud parent showing off the kid. + +Ian Malcolm looks at Hammond, amazed, and with an +expression that is a mixture of admiration and +rapprochement. + + MALCOLM + You did it. You crazy son of a + bitch, you did it. + +Grant and Ellie continue walking, following the dinosaur. + + GRANT + The movement! + + ELLIE + The -- agility. You're right! diff --git a/scripts/Dr Strangelove.txt b/scripts/Dr Strangelove.txt new file mode 100644 index 0000000000000000000000000000000000000000..90121ff79e2554fe5f5e1163d4af772902037b3a --- /dev/null +++ b/scripts/Dr Strangelove.txt @@ -0,0 +1,3570 @@ + 1. + + + + FADE IN: + + SLOW TRACK over dense cloud cover. Rocky peaks visible in + the distance. + + NARRATOR + For more than a year, ominous + rumors have been privately + circulating among high level + western leaders, that the Soviet + Union had been at work on what was + darkly hinted to be the ultimate + weapon, a doomsday device. + Intelligence sources traced the + site of the top secret Russian + project to the perpetually fog + shrouded wasteland below the arctic + peaks of the Zokov islands. What + they were building, or why it + should be located in a such a + remote and desolate place, no one + could say. + + CUT TO: + + ROLL CREDITS + + Tracking shot of B-52 in mid-air refuel. Soundtrack lilts + "Try a Little Tenderness." Refueling nozzle gently breaks + away from recieving aircraft. + + CUT TO: + + +1 INT. COMPUTER ROOM – BURPLESON AFB – NIGHT 1 + + A phone buzzes. + + PETTY OFFICER + General Ripper, sir. + + MANDRAKE + (to phone on his desk) + Group Captain Mandrake speaking... + + Ripper sits at his desk, cigar smoke wafting up through the + light of his desk lamp. + + RIPPER + (to phone) + This is General Ripper speaking. + 2. + + + MANDRAKE +Yes, sir. + + RIPPER +You recognize my voice, Mandrake? + + MANDRAKE +I do sir, why do you ask? + + RIPPER +Why do you think I asked? + + MANDRAKE +Well I don't know, sir. We spoke +just a few moments ago on the +phone, didn't we? + + RIPPER +You don't think I'd ask if you +recognized my voice unless it was +pretty damned important do you, +Mandrake? + + MANDRAKE +No, I don't, sir. No. + + RIPPER +Alright, let's see if we stay on +the ball. Has the wing confirmed +holding at their failsafe points? + + MANDRAKE +Yes, sir. The confirmations have +all just come in. + + RIPPER +Very well, now, listen to me +carefully. The base is being put on +condition red. I want this flashed +to all sections immediately. + + MANDRAKE +Condition red, sir. Yes. Jolly good +idea, keeps the men on their toes. + + RIPPER +Group Captain, I'm afraid this is +not a exercise. + + MANDRAKE +Not an exercise, sir? + + RIPPER + 3. + + +I shouldn't tell you this, +Mandrake, but you're a good officer +and you have a right to know. It +looks like we're in a shooting war. + + MANDRAKE +Oh, hell. Are the Russians involved +sir? + + RIPPER +Mandrake, that's all I've been +told. It just came in on the Red +Phone. My orders are for this base +to be sealed tight, and that's what +I mean to do: seal it tight. Now, I +want you to transmit plan R, R for +Robert, to the wing. Plan R for +Robert. + + MANDRAKE +Is it that bad sir? + + RIPPER +It looks like it's pretty hairy. + + MANDRAKE +Yes sir. Plan R for Robert, sir. + + RIPPER +Now, last, and possibly most +important, I want all privately +owned radios to be immediately +impounded. + + MANDRAKE +Yes sir. + + RIPPER +They might be used to issue +instructions to saboteurs. As I +have previously arranged, Air +Police will have lists of all +owners and I want every single one +of them collected without +exception. + + MANDRAKE +Yes sir. + + RIPPER +And after you've done that, report +back to me. + 4. + + + Ripper closes the blinds on wall of windows looking out at + the base. Outside, a SIREN SOUNDS. + + CUT TO: + + +2 EXT. AIRBORNE B-52'S 2 + + With escorts. + + NARRATOR + In order to guard against surprise + nuclear attack, America's Strategic + Air Command maintains a large force + of B-52 bombers airborne 24 hours a + day. Each B- 52 can deliver a + nuclear bombload of 50 megatons, + equal to 16 times the total + explosive force of all the bombs + and shells used by all the armies + in World War Two. Based in America, + the Airborne alert force is + deployed from the Persian Gulf to + the Arctic Ocean, but they have one + geographical factor in common: they + are all two hours from their + targets inside Russia. + + CUT TO: + + +3 INT. B-52 3 + + Machines spring to life as a transmission arrives. + + GOLDIE + Major Kong, I know you're gonna + think this a crazy but I just got a + message from base over the CRM 114. + It decodes as Wing Attack plan R. R + for Romeo. + + KONG + Goldie, did you say Wing Attack, + plan R? + + GOLDIE + Yes Sir, I have. + + KONG + Goldie, how many times have I told + you guys that I don't want no + horsin' around on the airplane? + 5. + + + GOLDIE + I'm not horsin' around, sir, that's + how it decodes. + + KONG + Well I've been to one world fair a + picnic and a rodeo and that's the + stupidest thing I ever heard come + over a set of earphones. You sure + you got today's code? + + GOLDIE + Yes sir, it is. + + KONG + Ah, there's just gotta be something + wrong. Wait just a second, I'm + comin' back. + +Kong examines the decoded message and the code book. + + KONG + Maybe you better get a confirmation + from base. + + GOLDIE + Yes sir. + + BOMBARDIER + Major Kong, is it possible that + this is some kind of loyalty test. + You know, give the go code and then + recall to see who would actually + go? + + KONG + Ain't nobody ever got the go code + yet. And old Ripper wouldn't be + giving us plan R unless them + Russkies had already clobbered + Washington and alot of other towns + with a sneak attack. + + BOMBARDIER + Yes sir. + + GOLDIE + Major Kong, message from base + confirmed. + + KONG + 6. + + + Well boys, I reckon this is it: + nuclear combat, toe to toe with the + Russkies. + + Kong climbs back into the cockpit. Soundtrack: Battle Hymn + of the Republic. + + KONG + Now look boys, I ain't much of a + hand at makin' speeches. But I got + a pretty fair idea that something + doggoned important's going on back + there. And I got a fair idea of the + kind of personal emotions that some + of you fella's may be thinking. + Heck, I reckon you wouldn't even be + human beings if you didn't have + some pretty strong personal + feelings about nuclear combat. But + I want you to remember one thing, + the folks back home is a countin' + on ya, and by golly we ain't about + to let 'em down. Tell you somethin' + else. This thing turns out to be + half as important is I figure it + just might be, I'd say that you're + all in line for some important + promotions and personal citations + when this thing's over with. That + goes for every last one of you, + regardless of your race, color, or + your creed. Now, let's get this + thing on the hump. We got some + flying to do. + + CUT TO: + + +4 INT. GENERAL TURGIDSON'S STUDIO 4 + + Phone rings. + + MISS SCOTT + (shouting) + Buck, should I get it? + + TURGIDSON + (muffled) + Yeah. You have to. + + MISS SCOTT + (to phone) + 7. + + +Hello? Oh, yes, General Turgidson +is here, but I'm afraid he can't +come to the phone at the moment. +Well, this is his secretary, Miss +Scott. + (softly) +Freddie, how are you? Fine and you? +Oh, we were just catching up on +some of the General's paperwork. +Well, look Freddie, he's very tied +up at the moment. I'm afraid he +can't come to the phone. + (listens) +Well, just a minute. + (shouts to Tuirgidson) +General Turgidson, a General +Puntridge calling. + + TURGIDSON +Tell him to call back. + + MISS SCOTT + (to phone) +Freddie, the General says could you +call back in a minute or two? Oh. + (shouting) +He says it can't wait. + + TURGIDSON +Ah, for Pete... well... Find out +what he wants. + + MISS SCOTT +Freddie, the thing is, the General +is in the powder room right now. +Could you tell me what it's about? +Just a second... + (shouting) +Apparently they monitored a +transmission about eight minutes +ago from Burpleson Air Force Base. + (to phone) +Right. + (shouting) +It was directed to the 843'rd bomb +wing on airborne alert. + (to phone) +Yeah. + (shouting) +It decoded as Wing Attack, Plan R. + + TURGIDSON + 8. + + + Um ah, tell him to call uh what's + his name. Base commander. Ripper. I + have to think of everything? + + MISS SCOTT + (to phone) + The General suggests you call + General Ripper, the 843rd base + commander. Oh. + (shouting) + All communications are dead. + + TURGIDSON + Bull! Tell him to do it himself. + + MISS SCOTT + Freddie, the General asks if you + could possibly try again yourself. + (listens) + I see. + (shouting) + He says he's tried personally + several times, but everything is + dead. Even the normal phone lines + are shut down. + +Turgidson emerges from the bathroom, grumbling. + + TURGIDSON + (to phone) + Fred. Buck. What's it look like? + Yeah. Waa... are you sure it's plan + R? Huh. What's cookin' on the + threat board.? Nothin? Nothin at + all? Idon't like the look of this, + Fred. Alright, I tell you what you + better do, old buddy. + (slaps his belly) + You better give Elmo and Charlie a + blast, and bump everything up to + condition red and stand by the + blower, I'll get back to you. + (hangs up) + + MISS SCOTT + What's up? + + TURGIDSON + Nothing. Nothing. Where's my + shorts? + + MISS SCOTT + On the floor. Where are you going? + 9. + + + TURGIDSON + No place. No... no place... I just + thought I might mosey over to the + War room for a few minutes. See + what's doing over there. + + MISS SCOTT + It's three o'clock in the morning. + + TURGIDSON + (laughs) + The Air Force never sleeps. + + MISS SCOTT + Buck, honey... I'm not sleepy + either. + + TURGIDSON + I know how it is, baby. Tell you + what you do. You just start your + countdown, and old Bucky'll be back + here before you can say... Blast + Off! + + CUT TO: + + +5 EXT. BURPLESON AFB – NIGHT 5 + + Ripper's voice booms over the PA. Ready soldiers stand + listening. + + RIPPER + 10. + + + Your commie has no regard for human + life, not even his own. And for + this reason, men, I want to impress + upon you the need for extreme + watchfulness. The enemy may come + individually, or he may come in + strength. He may even come in the + uniform of our own troops. But + however he comes we must stop him. + We must not allow him to gain + entrance to this base. Now, I am + going to give you three simple + rules. First, trust no one, + whatever his uniform or rank, + unless he is known to you + personally. Second, anyone or + anything that approaches within 200 + yards of the perimeter is to be + fired upon. Third, if in doubt, + shoot first, and ask questions + afterwards. I would sooner accept a + few casualties through accident + than lose the entire base and its + personnel through carelessness. Any + variation on these rules must come + from me personally. Now, men, in + conclusion, I would like to say + that, in the two years it has been + my privilege to be your commanding + officer, I have always expected the + best from you, and you have never + given me anything less than that. + + CUT TO: + + +6 INT. COMPUTER ROOM – INT. BURPLESON AFB 6 + + Mandrake, who has been closing up shop while listening to + Ripper's speech, discovers a radio inside a line printer + and switches it on. Soft jazz is playing. + + RIPPER'S VOICE + Today, the nation is counting on + us. We are not going to let them + down. Good luck to you all. + + CUT TO: + + +7 INT. AIRBORNE B-52 7 + + Soundtrack: Battle Hymn of the Republic. + 11. + + + AIRMAN + (to Kong) +Here's the attack profile, sir. + + KONG + (announcing through + headset intercom) +This is your attack profile: to +insure that the enemy cannot +monitor voice transmission or plant +false transmission, the CRM114 is +to be switched into all the +receivercircuits. Emergency phase +code prefix is to be set on the +dials of the CRM. This'll block any +transmission other than those +preceded by code prefix. Stand by +to set code prefix. + + GOLDIE +Roger. Ready to set code prefix. + + KONG +Set code prefix. + + GOLDIE + (dials up letters) +OPE Code prefix set. + + KONG +Lock code prefix. + + GOLDIE +Code prefix locked. + + KONG +Switch all receiver circuits to CRM +discriminators. + + GOLDIE +All circuits switched to CRM +discriminators. + + KONG +Check auto destruct circuits. + + GOLDIE +Auto destruct circuits checked. + + KONG + 12. + + + Primary target, the ICBM complex at + Laputa. Target reference Yankee + Golf Tango Three Six Zero. Thirty + megaton nuclear device fused for + airburst at ten thousand feet. + Twenty megaton nuclear device will + be used if first malfunctions. + Otherwise proceed to secondary + target, missile complex seven miles + east of Barshaw. Target reference + November Bravo X-Ray One Zero + Eight. Fused airburst at ten, + check, twelve thousand feet. + + CUT TO: + + +8 INT. BURPLESON AFB 8 + + Mandrake walks hurredly through the halls with the portable + radio producing another jazz tune, now upbeat. Mandrake + enters. + + +9 INT. RIPPER’S OFFICE 9 + + MANDRAKE + Excuse me sir, something rather + interesting's just cropped up. + Listen to that. Music. Civilian + broadcasting. I think those fellows + in the Pentagon have given us some + sort of exercise to test our + readiness. Personally, I think it's + taking it a bit too far; our + fellows will be inside Russian + radar cover in about twenty + minutes. You listen to that. + Traffic block full of stations all + churning it out. + + RIPPER + Mandrake. + + MANDRAKE + Yes, sir? + + RIPPER + I thought I issued instructions for + all radios on this base to be + impounded. + + MANDRAKE + 13. + + + (follows Ripper as he + rises from his chair to + lock his office door) +Well you did indeed sir and I was +in the process of impounding this +very one when I happened to switch +it on. I thought to myself our +fellows hitting Russian radar cover +in twenty minutes, dropping all +their stuff, I'd better tell you, +because if they do, it'll cause a +bit of a stink, won't it? + + RIPPER +Group Captain, the officer exchange +program does not give you any +special prerogatives to question my +orders. + + MANDRAKE +Well I realize that sir, but I +thought you'd be rather pleased to +hear the news. I mean after all, +well let's face it we...we don't +want to start a nuclear war unless +we really have to, do we? + + RIPPER +Please sit down. And turn that +thing off. + + MANDRAKE +Yes sir. Ah, what about the planes, +sir? Surely you must issue the +recall code immediately. + + RIPPER +Group Captain, the planes are not +going to be recalled. My attack +orders have been issued and the +orders stand. + + MANDRAKE +Well, if you'll excuse me saying +so, sir. That would be, to my way +of thinking, rather... well rather +an odd way of looking at it. You +see, if a Russian attack was in +progress we would certainly not be +hearing civilian broadcasting. + + RIPPER +Are you certain of that, Mandrake? + 14. + + + MANDRAKE + I'm absolutely positive about that, + sir, yes. + + RIPPER + And what if it is true? + + MANDRAKE + Well I'm afraid I'm still not with + you, sir. Because, I mean, if a + Russian attack was not in progress + then your use of plan R, in fact + your orders to the entire wing... + oh. Well I would say, sir, that + there was something dreadfully + wrong somewhere. + + RIPPER + Now, why don't you just take it + easy Group Captain. And please make + me a drink of grain alcohol and + rain water, and help yourself to + whatever you'd like. + + MANDRAKE + (salutes) + General Ripper, sir, as an officer + in Her Majesty's Air Force, it is + my clear duty, under the present + circumstances, to issue the recall + code, upon my own authority, and + bring back the wing. If you'll + excuse me sir. Mandrake tries all + exits and finds them locked I'm + afraid sir, I must ask you for the + key and the recall code. Have you + got them handy sir? + + RIPPER + I told you to take it easy, Group + Captain. There's nothing anybody + can do about this thing now. I'm + the only person who knows the three + letter code group. + + MANDRAKE + (voice cracking) + Then I must insist, sir, that you + give them to me. + +Ripper lifts a folder off of his desk and tosses it aside, +revealing a blued, pearl handled .45 automatic. + 15. + + + MANDRAKE + Do I take it, sir, that you are + threatening a brother officer with + a gun? + + RIPPER + Mandrake, I suppose it never + occurred to you that while we're + chatting here so enjoyably, a + decision is being made by the + President and the Joint Chiefs in + the war room at the Pentagon. And + when they realize there is no + possibility of recalling the wing, + there will be only one course of + action open: total commitment. + Mandrake, do you recall what + Clemenzo once said about war? + + MANDRAKE + No. I don't think I do sir, no. + + RIPPER + He said war was to important to be + left to the Generals. When he said + that, fifty years ago, he might + have been right. But today, war is + too important to be left to + politicians. They have neither the + time, the raining, nor the + inclination for strategic thought. + I can no longer sit back and allow + Communist infiltration, Communist + indoctrination, communist + subversion, and the international + Communist conspiracy to sap and + impurify all of our precious bodily + fluids. + + CUT TO: + + +10 INT. WAR ROOM – PENTAGON 10 + + MUFFLEY + Sam, is everybody here? + + STAINS + 16. + + +Mr. President, the Secretary of +State is in Vietnam, the Secretary +of Defense is in Laos, and the Vice +President is in Mexico City. We can +establish contact with them at any +time if it's necessary. The +undersecretaries are all here, of +course. + + MUFFLEY +Right. Now, General Turgidson, +what's going on here? + + TURGIDSON +Mr. President, about thirty-five +minutes ago, General Jack Ripper, +the commanding General of Burpleson +Air Force Base, issued an order to +the 34 B-52's of his wing which +were airborne at the time as part +of a special exercise we were +holding called Operation Dropkick. +Now, it appears that the order +called for the planes to attack +their targets inside Russia. The +planes are fully armed with nuclear +weapons with an average load of 40 +megatons each. Now the central +display of Russia will indicate the +position of the planes. The +triangles are their primary +targets, the squares are their +secondary targets. The aircraft +will begin penetrating Russian +radar cover within 25 minutes. + + MUFFLEY +General Turgidson, I find this very +difficult to understand. I was +under the impression that I was the +only one in authority to order the +use of nuclear weapons. + + TURGIDSON +That's right sir. You are the only +person authorized to do so. And +although I hate to judge before all +the facts are in, it's beginning to +look like General Ripper exceeded +his authority. + + MUFFLEY + 17. + + +It certainly does. Far beyond the +point I would have imagined +possible. + + TURGIDSON +Well perhaps you're forgetting the +provisions of plan R, sir. + + MUFFLEY +Plan R? + + TURGIDSON +Plan R is an emergency war plan in +which a lower echelon commander may +order nuclear retaliation after a +sneak attack if the normal chain of +command is disrupted. You approved +it, sir. You must remember. Surely +you must recall, sir, when Senator +Buford made that big hassle about +our deterrent lacking credibility. +The idea was for plan R to be a +sort of retaliatory safeguard. + + MUFFLEY +A safeguard. + + TURGIDSON +I admit the human element seems to +have failed us here. But the idea +was to discourage the Russkies from +any hope that they could knock out +Washington, and yourself, sir, as +part of a general sneak attack, and +escape retaliation because of lack +of proper command and control. + + MUFFLEY +Well I assume then, that the planes +will return automatically once they +reach their failsafe points. + + TURGIDSON +Well, sir, I'm afraid not. You see +the planes were holding at their +failsafe points when the go code +was issued. Now, once they fly +beyond failsafe they do not require +a second order to proceed. They +will fly until they reach their +targets. + + MUFFLEY + 18. + + +Then why haven't you radioed the +planes countermanding the go code? + + TURGIDSON +Well, I'm afraid we're unable to +communicate with any of the +aircraft. + + MUFFLEY +Why? + + TURGIDSON +As you may recall, sir, one of the +provisions of plan R provides that +once the go code is received the +normal SSB radios in the aircraft +are switched into a special coded +device, which I believe is +designated as CRM114. Now, in order +to prevent the enemy from issuing +fake or confusing orders, CRM114 is +designed not to receive at all, +unless the message is preceded by +the correct three letter code group +prefix. + + MUFFLEY +Then do you mean to tell me, +General Turgidson, that you will be +unable to recall the aircraft? + + TURGIDSON +That's about the size of it. +However, we are plowing through +every possible three letter +combination of the code. But since +there are seventeen thousand +permutations it's going to take us +about two and a half days to +transmit them all. + + MUFFLEY +How soon did you say the planes +would penetrate Russian radar +cover? + + TURGIDSON +About eighteen minutes from now, +sir. + + MUFFLEY +Are you in contact with General +Ripper? + 19. + + + TURGIDSON +Ah... No sir, no, General Ripper +sealed off the base and cut off all +communications. + + MUFFLEY +Where did you get all this +information? + + TURGIDSON +General Ripper called Strategic Air +Command headquarters shortly after +he issued the go code. I have a +partial transcript of that +conversation if you'd like me to +read it. + + MUFFLEY +Read it. + + TURGIDSON +The duty officer asked General +Ripper to confirm the fact the he +had issued the go code and he said, +"Yes gentlemen, they are on their +way in and no one can bring them +back. For the sake of our country +and our way of life, I suggest you +get the rest of SAC in after them, +otherwise we will be totally +destroyed by red retaliation. My +boys will give you the best kind of +start, fourteen hundred megatons +worth, and you sure as hell won't +stop them now. So let's get going. +There's no other choice. God +willing, we will prevail in peace +and freedom from fear and in true +health through the purity and +essence of our natural fluids. God +bless you all." Then he hung up. +We're still trying to figure out +the meaning of that last phrase, +sir. + + MUFFLEY +There's nothing to figure out +General Turgidson. This man is +obviously a psychotic. + + TURGIDSON + 20. + + + Well, I'd like to hold off judgment + on a thing like that, sir, until + all the facts are in. + + MUFFLEY + (anger rising) + General Turgidson, when you + instituted the human reliability + tests, you assured me there was no + possibility of such a thing ever + occurring. + + TURGIDSON + Well I don't think it's quite fair + to condemn a whole program because + of a single slip up sir. + + MUFFLEY + I want to speak to General Ripper + on the telephone, personally. + + TURGIDSON + I'm afraid that's impossible, sir. + + MUFFLEY + General Turgidson, I am becoming + less and less interested in your + estimates of what is possible and + impossible. General Faceman. + + FACEMAN + Yes, sir. + + MUFFLEY + Are there any army units stationed + anywhere near Burpleson? + + FACEMAN + Well ah, I'll just check, sir. + +Turgidson's phone beeps. + + TURGIDSON + Hello. + (pause, then whispering) + I told you never to call me here; + don't you know where I am? + (pause) + Well look, baby, I can't talk to + you now. My president needs me. Of + course Bucky would rather be there + with you. + (pause) + 21. + + +Of course it isn't only physical. I +deeply respect you as a human +being. Someday I'm going to make +you Mrs. Buck Turgidson. + (pause) +Listen, you go back to sleep. +Bucky'll be back there just as soon +as he can. Alright. Listen, sug', +don't forget to say your prayers. + (hangs up and composes + himself) + + FACEMAN +Apparently, the 23rd airborne +division is stationed seven miles +away at Alvarado. + + MUFFLEY +General Faceman, I want them to +enter the base, locate General +Ripper, and put him in immediate +telephone contact with me. + + FACEMAN +Yes, sir. + + TURGIDSON +Mr. President, if I may advise, +under condition red it is standard +procedure that the base be sealed +off, and the base be defended by +base security troops. Any force +trying to enter there would +certainly encounter very heavy +casualties. + + FACEMAN +General Turgidson, with all due +respect for your defense team, my +boys can brush 'em aside without +too much trouble. + + TURGIDSON +Mr. President, there are one or two +points I'd like to make, if I may. + + MUFFLEY +Go ahead, General. + + TURGIDSON + 22. + + +One, our hopes for recalling the +843rd bomb wing are quickly being +reduced to a very low order of +probability. Two, in less than +fifteen minutes from now the +Russkies will be making radar +contact with the planes. Three, +when they do, they are going to go +absolutely ape, and they're gonna +strike back with everything they've +got. Four, if prior to this time, +we have done nothing further to +suppress their retaliatory +capabilities, we will suffer +virtual annihilation. Now, five, if +on the other hand, we were to +immediately launch an all out and +coordinated attack on all their +airfields and missile bases we'd +stand a damn good chance of +catching 'em with their pants down. +Hell, we got a five to one missile +superiority as it is. We could +easily assign three missiles to +every target, and still have a very +effective reserve force for any +other contingency. Now, six, an +unofficial study which we undertook +of this eventuality, indicated that +we would destroy ninety percent of +their nuclear capabilities. We +would therefore prevail, and suffer +only modest and acceptable civilian +casualties from their remaining +force which would be badly damaged +and uncoordinated. + + MUFFLEY +General, it is the avowed policy of +our country never to strike first +with nuclear weapons. + + TURGIDSON +Well, Mr. President, I would say +that General Ripper has already +invalidated that policy. + (laughs) + + MUFFLEY +That was not an act of national +policy and there are still +alternatives left open to us. + 23. + + + TURGIDSON +Mr. President, we are rapidly +approaching a moment of truth both +for ourselves as human beings and +for the life of our nation. Now, +the truth is not always a pleasant +thing, but it is necessary now make +a choice, to choose between two +admittedly regrettable, but +nevertheless, distinguishable post- +war environments: one where you got +twenty million people killed, and +the other where you got a hundred +and fifty million people killed. + + MUFFLEY +You're talking about mass murder, +General, not war. + + TURGIDSON +Mr. President, I'm not saying we +wouldn't get our hair mussed. But I +do say... no more than ten to +twenty million killed, tops. Uh... +depended on the breaks. + + MUFFLEY +I will not go down in history as +the greatest mass murderer since +Adolph Hitler! + + TURGIDSON +Perhaps it might be better, Mr. +President, if you were more +concerned with the American people, +than with your image in the history +books. + + MUFFLEY +General Turgidson, I think I've +heard quite sufficient from you, +thank you very much! + + STAINS +Mr. President, they have the +ambassador waiting upstairs. + + MUFFLEY +Oh, good. Any difficulty? + + STAINS +They say he's having a fit about +that squad of MPs. + 24. + + + MUFFLEY + Yes, that can't be helped. Have him + brought down here straight away. + + STAINS + Yes, sir. + + TURGIDSON + Is that the Russian Ambassador + you're talking about? + + MUFFLEY + Yes, it is, General. + + TURGIDSON + Ahh, am I to understand the Russian + Ambassador is to be admitted + entrance to the War Room? + + MUFFLEY + That is correct. He is here on my + orders. + + TURGIDSON + I don't know exactly how to put + this, sir, but are you aware of + what a serious breach of security + that would be? I mean... + (begins closing his + notebooks) + ... he'll see everything. He'll see + the big board! + + MUFFLEY + That is precisely the idea, + General. That is precisely the + idea. Stains, get Premier Kissov on + the Hotline. + + CUT TO: + + +11 INT. AIRBORNE B-52 11 + + KONG + 25. + + + Survival Kit contents check. In + them you will find: one 45 caliber + automatic, two boxes of ammunition, + four days concentrated emergency + rations, one drug issue containing + antibiotics, morphine, vitamin + pills, pep pills, sleeping pills, + tranquilizer pills, one miniature + combination Rooshan phrase book and + Bible, one hundred dollars in + rubles, one hundred dollars in + gold, nine packs of chewing gum, + one issue of prophylactics, three + lipsticks, three pair of nylon + stockings – shoot, a fellah could + have a pretty good weekend in Vegas + with all that stuff.... + + CUT TO: + + +12 INT. WAR ROOM 12 + + DeSadeski enters in a great coat, finishes the contents of + a drinking glass, and places the glass on a banquet table + covered with an ornate array of meats, breads, and pies. + + DESADESKI + You don't have any fresh fish? + + AIDE + I'm afraid not sir. + + DESADESKI + Your eggs, then, they are fresh? + + AIDE + Oh, yes, sir. + + DESADESKI + I will have poached eggs. And bring + me some cigars, please. Havana + cigars. + + AIDE + That will be all for you sir? + + DESADESKI + Yes. + + AIDE + Then I'll see to it right away. + 26. + + + GENERAL + Try one of these Jamaican cigars, + ambassador, they're pretty good. + + DESADESKI + Thank you, no. I do not support the + work of imperialist stooges. + + GENERAL + Oh, only commie stooges, huh? + + TURGIDSON + (whispers, clutching his + notebooks to his chest) + Mr. President, you gonna let that + lousy commie punk vomit all over us + like this? + + STAINS + Mr. President, we haven't been able + to reach Premier Kissov in the + Kremlin. They say they don't know + where he is, and he won't be back + for another two hours. + + DESADESKI + Try B86543 Moscow. + + STAINS + Yes, sir. + + DESADESKI + You would never have found him + through his office, Mr. President. + Our Premier is a man of the people, + but he is also... a man, if you + follow my meaning. + + MUFFLEY + (laughs) + Fine. + +Turgidson mutters to a seated General. + + DESADESKI + What did you say? + + TURGIDSON + I said, Premier Kissov is a + degenerate atheist commie! That's + what I said. + + DESADESKI + 27. + + + Mr. President, I formally request + that you have this ignorant fool + removed from the war room. + +DeSadeski, Muffley, and Turgidson form a triangular spat, +each waving a pointed finger at another. + + STAINS + (interrupts argument) + I think they're trying the number. + +TRACK ON Muffley as he walks towards Stains. A struggle +begins between DeSadeski and Turgidson. + + MUFFLEY + (to Turgidson and + DeSadeski who is on + Turgidson's lap) + Gentlemen, you can't fight in here. + This is the War Room! What is going + on here? I demand an explanation. + + DESADESKI + This clumsy fool tried to plant + that ridiculous camera on me. + + TURGIDSON + Yeah, you bet your sweets, Mr. + Commie. Look at this, Mr. + President. This lousy commie rat + was taking pictures with this + thing. Of the big board! + + MUFFLEY + Mr. Ambassador! + + DESADESKI + This clumsy fool attempted to plant + that ridiculous camera on me. + + TURGIDSON + That's a damn lie! I saw him, with + my own eyes! + + MUFFLEY + Gentlemen, this is outrageous. I + have never heard of such behavior + in the war room before. + + STAINS + Mr. President, I think they're + getting him on the line. + 28. + + + CUT TO: + + +13 EXT. BURPLESON AFB 13 + + The attack begins. + + SOLDIER #1 + You sure gotta hand it to those + commies. + + SOLDIER #2 + Yeah. + + SOLDIER #3 + Gee, those trucks look like the + real thing, don't they? + + SOLDIER #2 + I wonder where they got 'em from. + + SOLDIER #3 + Probably bought them from the army + as war surplus. + + SOLDIER #1 + OK. Open up at 200 yards. + + Firefight begins + + CUT TO: + + +14 INT. RIPPER'S OFFICE 14 + + Ripper and Mandrake listen to the fighting in silence. + + CUT TO: + + +15 INT. WAR ROOM 15 + + MUFFLEY + Tell him where you are, and that + you'll enter the conversation if I + say anything that's untrue, but + please don't tell him anything more + than that. Alexiy, Alexiy, + please... I beg you. + + DESADESKI + I don't have a phone. + 29. + + + MUFFLEY + (snaps fingers) +Give him your phone, Frank. + + DESADESKI +Govorit DeSadeski. + (continues in Russian, + then...) +I've done as you asked. Be careful +Mr. President. I think he's drunk. + + MUFFLEY +Hello? Hello, Dimitri? Listen, I +can't hear too well, do you suppose +you could turn the music down just +a little? Oh, that's much better. +Yes. Fine, I can hear you now, +Dimitri. Clear and plain and coming +through fine. I'm coming through +fine too, eh? Good, then. Well then +as you say we're both coming +through fine. Good. Well it's good +that you're fine and I'm fine. I +agree with you. It's great to be +fine. + (laughs) +Now then Dimitri. You know how +we've always talked about the +possibility of something going +wrong with the bomb. The bomb, +Dimitri. The hydrogen bomb. Well +now what happened is, one of our +base commanders, he had a sort of, +well he went a little funny in the +head. You know. Just a little... +funny. And uh, he went and did a +silly thing. + (listens) +Well, I'll tell you what he did, he +ordered his planes... to attack +your country. + (listens) +Well let me finish, Dimitri. Let me +finish, Dimitri. + (listens) +Well, listen, how do you think I +feel about it? Can you imagine how +I feel about it, Dimitri? Why do +you think I'm calling you? Just to +say hello? + (listens) + 30. + + +Of course I like to speak to you. +Of course I like to say hello. Not +now, but any time, Dimitri. I'm +just calling up to tell you +something terrible has happened. + (listens) +It's a friendly call. Of course +it's a friendly call. Listen, if it +wasn't friendly, ... you probably +wouldn't have even got it. They +will not reach their targets for at +least another hour. + (listens) +I am... I am positive, Dimitri. +Listen, I've been all over this +with your ambassador. It is not a +trick. + (listens) +Well I'll tell you. We'd like to +give your air staff a complete run +down on the targets, the flight +plans, and the defensive systems of +the planes. + (listens) +Yes! I mean, if we're unable to +recall the planes, then I'd say +that, uh, well, we're just going to +have to help you destroy them, +Dimitri. + (listens) +I know they're our boys. + (listens) +Alright, well, listen... who should +we call? + (listens) +Who should we call, Dimitri? + (listens) +The people...? Sorry, you faded +away there. + (listens) +The People's Central Air Defense +Headquarters. Where is that, +Dimitri? + (listens) +In Omsk. Right. Yes. + (listens) +Oh, you'll call them first, will +you? + (listens) +Uh-huh. Listen, do you happen to +have the phone number on you, +Dimitri? + (listens) + 31. + + + What? I see, just ask for Omsk + Information. I'm sorry too, + Dimitri. I'm very sorry. + (listens) + Alright! You're sorrier than I am! + But I am sorry as well. I am as + sorry as you are, Dimitri. Don't + say that you are more sorry than I + am, because I am capable of being + just as sorry as you are. So we're + both sorry, alright? + (listens) + Alright. Yes he's right here. Yes, + he wants to talk to you. Just a + second. + + DESADESKI + (continues in Russian. + Gradually becomes + alarmed, then...) + Das voydaniya... + (rests phone on the table + before him) + + MUFFLEY + What... what is it, what? + + DESADESKI + The fools... the mad fools. + + MUFFLEY + What's happened? + + DESADESKI + The doomsday machine. + + MUFFLEY + The doomsday machine? What is that? + + DESADESKI + A device which will destroy all + human and animal life on earth. + + MUFFLEY + All human and animal life? + + CUT TO: + + +16 INT. RIPPER'S OFFICE 16 + + Mandrake is sitting worriedly on a couch. Ripper puts a + comforting arm around his shoulder. + 32. + + + RIPPER + (through his cigar) +Mandrake. + + MANDRAKE +Yes, Jack? + + RIPPER +Have you ever seen a commie drink a +glass of water? + + MANDRAKE +Well, no I... I can't say I have, +Jack. + + RIPPER +Vodka. That's what they drink, +isn't it? Never water? + + MANDRAKE +Well I... I believe that's what +they drink, Jack. Yes. + + RIPPER +On no account will a commie ever +drink water, and not without good +reason. + + MANDRAKE +Oh, ah, yes. I don't quite.. see +what you're getting at, Jack. + + RIPPER +Water. That's what I'm getting at. +Water. Mandrake, water is the +source of all life. Seven tenths of +this earth's surface is water. Why, +you realize that.. seventy percent +of you is water. + + MANDRAKE +Uhhh God... + + RIPPER +And as human beings, you and I need +fresh, pure water to replenish our +precious bodily fluids. + + MANDRAKE +Yes. + (chuckles nervously) + + RIPPER + 33. + + + You beginning to understand? + + MANDRAKE + Yes. + (chuckles – begins + laughing/crying quietly) + + RIPPER + Mandrake. Mandrake, have you never + wondered why I drink only distilled + water, or rain water, and only pure + grain alcohol? + + MANDRAKE + Well it did occur to me, Jack, yes. + + RIPPER + Have you ever heard of a thing + called fluoridation? Fluoridation + of water? + + MANDRAKE + Ah, yes, I have heard of that, + Jack. Yes. + + RIPPER + Well do you now what it is? + + MANDRAKE + No. No, I don't know what it is. + No. + + RIPPER + Do you realize that fluoridation is + the most monstrously conceived and + dangerous communist plot we have + ever had to face? + +Window in the office is shot through by automatic weapons +fire. + + RIPPER + (walks to window and + shouts) + Two can play at this game soldier! + +More rounds ricochet through the office, cutting down the +overhead desk lamp. + + RIPPER + That's nice shooting, soldier! + 34. + + + Ripper produces a machine gun from a golf bag in his + closet. He turns off the lights, then sweeps his desk clear + with the gun barrel, placing the gun squarely on the desk. + + RIPPER + Mandrake! Come here! + + MANDRAKE + You calling me, Jack? + + RIPPER + Just come over here and help me + with this belt. + + MANDRAKE + (prone on couch) + I ah, I haven't had very much + experience, you know, with those... + sort of machines, Jack. I only ever + pressed a button in my old + Spitfire. + + RIPPER + Mandrake, in the name of Her + Majesty and the Continental + Congress come here and feed me this + belt, boy! + + MANDRAKE + Jack, I'd love to come. But, what's + happened, you see, is the string in + my leg's gone. + + RIPPER + The what? + + MANDRAKE + The string. I never told you, but, + you see, I've got a gammy leg. Oh + dear. Gone. Shot off. + + Ripper karate-chops the receiver, cycling the action. + + RIPPER + Mandrake, come over here. The Red + Coats are coming. Come on! + + CUT TO: + + +17 INT. WAR ROOM 17 + + DESADESKI + 35. + + +When it is detonated, it will +produce enough lethal radioactive +fallout so that within ten months, +the surface of the earth will be as +dead as the moon! + + TURGIDSON +Ah, come on DeSadeski, that's +ridiculous. Our studies show that +even the worst fallout is down to a +safe level after two weeks. + + DESADESKI +You've obviously never heard of +cobalt thorium G. + + TURGIDSON +No, what about it? + + DESADESKI +Cobalt thorium G has a radioactive +halflife of ninety three years. If +you take, say, fifty H-bombs in the +hundred megaton range and jacket +them with cobalt thorium G, when +they are exploded they will produce +a doomsday shroud. A lethal cloud +of radioactivity which will +encircle the earth for ninety three +years! + + TURGIDSON +Ah, what a load of commie bull. I +mean, afterall... + + MUFFLEY +I'm afraid I don't understand +something, Alexiy. Is the Premier +threatening to explode this if our +planes carry out their attack? + + DESADESKI +No sir. It is not a thing a sane +man would do. The doomsday machine +is designed to to trigger itself +automatically. + + MUFFLEY +But surely you can disarm it +somehow. + + DESADESKI + 36. + + +No. It is designed to explode if +any attempt is ever made to +untrigger it. + + MUFFLEY +Automatically? + + TURGIDSON +Ahh.. it's an obvious commie trick, +Mr. President. + (walks backwards towards + the big board) +We're wasting valuable time. + (falls over backwards and + does a somersault, and + brings himself back onto + his feet) +Look at the big board! They're +getting ready to clobber us! + + MUFFLEY +But this is absolute madness, +ambassador. Why should you build +such a thing? + + DESADESKI +There are those of us who fought +against it, but in the end we could +not keep up with the expense +involved in the arms race, the +space race, and the peace race. And +at the same time our people +grumbled for more nylons and +washing machines. Our doomsday +scheme cost us just a small +fraction of what we'd been spending +on defense in a single year. But +the deciding factor was when we +learned that your country was +working along similar lines, and we +were afraid of a doomsday gap. + + MUFFLEY +This is preposterous. I've never +approved of anything like that. + + DESADESKI +Our source was the New York Times. + + MUFFLEY +Dr. Strangelove, do we have +anything like that in the works? + 37. + + +Stains and Turgidson, who have been listening to Muffley +and DeSadeski Stains' station at the round table, slowly +turn their heads in search of Strangelove. + + STRANGELOVE + (in wheelchair) + A moment please, Mr. President. + +Stomps one foot on the tile floor, pushes back from the +table and begins wheeling towards the discussion between +Muffley and DeSadeski. + + STRANGELOVE + Under the authority granted me as + director of weapons research and + development, I commissioned last + year a study of this project by the + Bland corporation. Based on the + findings of the report, my + conclusion was that this idea was + not a practical deterrent, for + reasons which, at this moment, must + be all too obvious. + + MUFFLEY + Then you mean it is possible for + them to have built such a thing? + +Strangelove carefully plucks cigarette from his shaking +right hand, which is in a black glove. + + STRANGELOVE + Mr. President, the technology + required is easily within the means + of even the smallest nuclear power. + It requires only the will to do so. + + MUFFLEY + But, how is it possible for this + thing to be triggered + automatically, and at the same time + impossible to untrigger? + + STRANGELOVE + 38. + + +Mr. President, it is not only +possible, it is essential. That is +the whole idea of this machine, you +know. Deterrence is the art of +producing in the mind of the +enemy... the fear to attack. And +so, because of the automated and +irrevocable decision making process +which rules out human meddling, the +doomsday machine is terrifying. +It's simple to understand. And +completely credible, and +convincing. + + TURGIDSON +Gee, I wish we had one of them +doomsday machines, Stainsy. + + MUFFLEY +But this is fantastic, Strangelove. +How can it be triggered +automatically? + + STRANGELOVE +Well, it's remarkably simple to do +that. When you merely wish to bury +bombs, there is no limit to the +size. After that they are connected +to a gigantic complex of computers. +Now then, a specific and clearly +defined set of circumstances, under +which the bombs are to be exploded, +is programmed into a tape memory +bank. + + TURGIDSON +Strangelove. What kind of a name is +that? That ain't no kraut name, is +it, Stainsy? + + STAINS +He changed it when he became a +citizen. It used to be +Merkwurkdigliebe. + + TURGIDSON +Hmm. A kraut, by any other name, +huh, Stainsy? + + STRANGELOVE + 39. + + + Yes, but the... whole point of the + doomsday machine... is lost... if + you keep it a secret! Why didn't + you tell the world, eh? + + DESADESKI + It was to be announced at the Party + Congress on Monday. As you know, + the Premier loves surprises. + + CUT TO: + + +18 EXT. BURPLESON AFB 18 + + Firefight continues. + + CUT TO: + + +19 INT. RIPPER'S OFFICE 19 + + Bullets cut down picture frames behind the desk. Ripper, + standing, shoots back at unseen machinegunner. Mandrake is + now crouching by his side. + + RIPPER + Stay with me Mandrake. Ripper and + Mandrake crawl to one side of desk. + Alright, Mandrake, now feed me. + Feed me. + + Ripper stands and exchanges fire with attacking troops. + Enemy fire subsides. + + MANDRAKE + (laughs) + Jack, don't you think we'd be + better off in some other part of + the room, away from all this flying + glass? + + RIPPER + Ah, naah. We're ok here. Mandrake, + do you realize that in addition to + fluoridated water, why, there are + studies underway to fluoridate + salt, flour, fruit juices, soup, + sugar, milk, ice cream? Ice cream, + Mandrake. Children's ice cream? + + MANDRAKE + Good Lord. + 40. + + + RIPPER + You know when fluoridation first + began? + + MANDRAKE + No. No, I don't, Jack. No. + + RIPPER + Nineteen hundred and forty six. + Nineteen fortysix, Mandrake. How + does that coincide with your + postwar commie conspiracy, huh? + It's incredibly obvious, isn't it? + A foreign substance is introduced + into our precious bodily fluids + without the knowledge of the + individual, and certainly without + any choice. That's the way your + hard core commie works. + + MANDRAKE + Jack... Jack, listen, tell me, + ah... when did you first become, + well, develop this theory. + + RIPPER + Well, I ah, I I first became aware + of it, Mandrake, during the + physical act of love. + +Mandrake sighs fearfully. + + RIPPER + Yes a profound sense of fatigue, a + feeling of emptiness followed. + Luckily I was able to interpret + these feelings correctly: loss of + essence. + + MANDRAKE + Yes... + + RIPPER + I can assure you it has not + recurred, Mandrake. Women... women + sense my power, and they seek the + life essence. I do not avoid women, + Mandrake, but I do deny them my + essence. + + MANDRAKE + Heh heh... yes. + 41. + + + CUT TO: + + +20 EXT. BURPLESON AFB 20 + + Firefight settles into a surrender of Ripper's defending + troops. + + CUT TO: + + +21 INT. RIPPER'S OFFICE 21 + + RIPPER + Boys must have surrendered. + + MANDRAKE + It's the way it is. Heh heh. Now + Jack, listen. While there's still + time, I beg you, let's recall the + wing. + + Ripper struts over to an available chair, using machinegun + as a walking stick, kicking debris en route. Sits. + + RIPPER + Those boys were like my children, + Mandrake. Now they let me down. + + MANDRAKE + No no, Jack. Not a bit of it. No, + I'm sure they all gave you their + very best. And I'm equally sure + they all died thinking of you, + every man jack of them, heh, Jack. + Supposing a bit of water has gone + off, eh? And certainly one can + never be too sure about those sort + of things. Would you look at me + now. Do I look all rancid and + clotted? You look at me, Jack, eh? + Look, eh? And I drink a lot of + water, you know. I'm what you might + call a water man, Jack. That's what + I am. And I can swear to you, my + boy, swear to you, that there's + nothing wrong with my bodily + fluids. Not a thing, Jackie. + + RIPPER + Mandrake, were you ever a prisoner + of war? + 42. + + + MANDRAKE +Well, Jack, the time's running... +very... huh? + + RIPPER +Were you ever a prisoner of war? + + MANDRAKE +Ah yes I was. Matter of fact, Jack, +I was. + + RIPPER +Did they torture you? + + MANDRAKE +Ah... yes, they did. I was tortured +by the Japanese, Jack, if you must +know. Not a pretty story. + + RIPPER +Well what happened? + + MANDRAKE +Oh... well... I don't know, Jack. +Difficult to think of under these +conditions. But, well, what +happened was they got me on the old +Rangoon HNRR railway. I was laying +train mines for the bloody Japanese +puff puffs. + + RIPPER +No, I mean when they tortured you, +did you talk? + + MANDRAKE +Ah, oh no, I ah... I don't think +they wanted me to talk, really. I +don't think they wanted me to say +anything. It was just their way of +having... a bit of fun, the swines. +Strange thing is they make such +bloody good cameras. + + RIPPER +You know those clowns outside are +gonna give me a pretty good going +over in a few minutes. For the +code. + + MANDRAKE + 43. + + + Yes. does a double take Yes, well + you may have... you may have quite + a point there, Jack. + + RIPPER + I don't know how well I could stand + up under torture. + + MANDRAKE + Well of course the answer to that + is, boy, no one ever does. And my + advice to you, Jack, is to give me + the code now. And if those devils + come back and try any rough stuff, + we'll fight them together, boy, + like we did just now, on the floor, + eh? You with the old gun, and me + with the belt and the ammo, feeding + you, Jack! Feed me, you said, and I + was feeding you, Jack. + (pats Ripper on the + shoulder) + + RIPPER + No, Mandrake. I happen to believe + in a life after this one, and I + know I'll have to answer for what + I've done. And I think I can. + + MANDRAKE + Yes, well of course you can, Jack, + of course you can. You can! I'm a + religious man, myself, you know, + Jack. I believe in all that sort of + thing, and... I'm hoping, you know, + Jack. + +Rises to follow Ripper, who is walking despondently about +the room, dragging the 50 cal. which he lets fall. + + MANDRAKE + You dropped your gun, Jack, yes... + (picks up the machine gun + and carries it) + ... you know what I'm... + (Ripper begins removing + his jacket here) + ... no, Jack. Let me take that for + you. I'll take that for you, Jack. + (takes Ripper's jacket + and drapes it over the + gun) + 44. + + + And, ah, you know what I'm hoping, + Jack? I'm hoping you're going to + give me the code, boy. That's what + I'm hoping. And, oh... + (Ripper enters the + washroom) + oh, you're going have a little wash + and brush up, are you? What a good + idea. Always did wonders for a man, + that, Jack. A little wash and brush + up. Water on the back of the neck, + and... makes you feel marvelous. + That's what we need, Jack! Water on + the back of the neck and the code. + Now, ... now supposing I play a + little guessing game with you, + Jack, boy. + (Ripper shuts washroom + door) + I'll try and guess... I'll try and + guess what the code is... + + A gun shot rings out from within the washroom – Mandrake + gapes at the closed door, drops the machine gun, and pushes + on the door, which is blocked after opening a few inches. + + CUT TO: + + +22 INT. AIRBORNE B-52 22 + + CO-PILOT + Co-pilot to navigator, I'm ready + with the fuel figures now. We have + one hundred and nine thousand + total, seventy nine thousand in the + mains, and thirty thousand in the + auxiliaries. And that works out to + roughly seven hours fifteen minutes + endurance for this time. + + DSO + DSO to Captain, I have an + unidentified radar blip. Distance: + 60 miles. Approximate speed: mach + three. Looks like a missile + tracking us! Confirmed, definite + missile track. Commence evasive + action right. Missile still closing + range; distance: 50 miles. Continue + evasive action. + + CO-PILOT + 45. + + + Lock ECM to target intercept mode. + + DSO ECM locked to target intercept mode. Missile still + tracking and closing distance. Range: 40 miles. Continue + evasive action. Electronic guidance scrambler to blue grid. + Missile still tracking steady and closing distance. Range: + 30 miles. Missile still closing true and steady. Continue + evasive action. Range: 20 miles. Missile still closing + distance... and tracking steady. + + CO-PILOT + Evac range gate on maximum scan. + + DSO + Range gate on maximum scan. Range: + 10 miles. Missile track deflecting. + Continue evasive action. Deflection + increasing; range: 8 miles. + Deflection still increasing; range: + 6 miles. Missile still deflecting; + range: 4 miles. Range: 2 miles; + missile still deflecting. Range: + one mile; missile detonated! + + DISTORTED VOICES AUDIBLE through headset intercom. Kong is + jolted as shock wave hits the plane. Crew scrambles to + attend to fires, regain control of aircraft. + + KONG + Spot lever to cutoff... reselect to + central power... Extinguishers... + Transfer switches... boost pumps + up. Fuel valves three four and six. + Give me full power. + + Aircraft returns to straight and level; under control. + + CUT TO: + + +23 INT. RIPPER'S OFFICE – BURPLESON AFB 23 + + Mandrake examines a notepad on Ripper's desk. It is covered + with doodles and an interlocking pattern of the words Peace + On Earth, and Purity Of Essence. + + MANDRAKE + Peace on Earth. Peace on Earth. + Peace on Earth: P O E. Purity of + essence. O P O E. + (whispers) + O P E. + 46. + + +Shots ring out as the doorlock is destroyed, and the door +to the office opens. Enter Bat Guano, brandishing an M-1 +carbine. + + GUANO + Put your hands over your head. + + MANDRAKE + What the devil do you think you're + doing, shooting your way in here? + Who are you? + + GUANO + I said, put your hands over your + head. What kind of suit you call + that, fellah? + + MANDRAKE + What do you mean, suit? This + happens to be an R. A. F. uniform, + sir. And I am Group Captain Lionel + Mandrake. I am General Ripper's + Executive Officer. + + GUANO + Where's General Ripper? + + MANDRAKE + He's dead, in the bathroom. + + GUANO + Where's the bathroom? + + MANDRAKE + Next to you. + +Guano peers around bathroom door and whistles in +exclamation. + + MANDRAKE + Look, I don't know what sort of + stupid game this is you're playing, + but I've got a very good idea what + the recall code is and I have to + get in touch with SAC headquarters + immediately. + + GUANO + I said put your hands over your + head and keep 'em there. Got any + witnesses? + + MANDRAKE + 47. + + +Witnesses? What are you talking +about, witnesses? He shot himself! + + GUANO +While he was shaving, huh? + + MANDRAKE +Now look, Colonel... Bat Guano, if +that really is your name, may I +tell you that I have a very, very +good idea, I think, I hope, I pray, +what the recall code is. It's some +sort of recurrent theme he kept +repeating. It's a variation on +Peace on Earth or Purity of +Essence. E O P. O P E. It's one of +those! + + GUANO +Put your hands up on top of your +head. Start walking. + + MANDRAKE +Don't you know that General Ripper +went as mad as a bloody march hare +and sent the while wing to attack +the Soviets? Don't you know that? + + GUANO +What are you talking about? + + MANDRAKE +I'll tell you what I'm talking +about. I'm going to pick up this +red telephone which is connected to +SAC. And I hope... blast. Blast! +Shot away, I expect by one of your +men during this ridiculous +fighting! picks up another phone +Right. + (glances down to + discover) +this phone has no cord at all) + + GUANO +Alright, Charlie, I been wasting +too much time on you. I got a lot +of wounded men outside. Start +walking. + + CUT TO: + 48. + + +24 INT. B-52 24 + + Goldie is examining the damage to the radios. + + GOLDIE + All the radio gear is out, + including the CRM-114. I think the + auto-destruct mechanism got hit and + blew itself up. + + BOMBARDIER + The fire is out. Emergency power is + on. Everything seems to check out + alright. Will advise. + + KONG + Roger. Navigator... + + NAVIGATOR + I've worked out our rate of fuel + loss at approximately one six two + per minute. This gives us a radius + of action sufficient to take out + primary and secondary targets. But + we will not, repeat, not be able to + make it back to any base or neutral + country. However we would have + enough fuel to ditch at weather + ship tango delta: grid coordinates + zero zero three six nine one. + + KONG + Now, boys, we got three engines + out; we got more holes in us than a + horse trader's mule, the radio's + gone and we're leaking fuel, and if + we's flying any lower, why, we'd + need sleigh bells on this thing. + But we got one little budge on them + russkies, at this this height, why, + they might harpoon us but they dang + sure ain't gonna spot us on no + radar screen. + + CUT TO: + + +25 INT. HALLWAY – BURPLESON AFB 25 + + Guano is marching Mandrake out of Ripper's office at + gunpoint. + + GUANO + 49. + + + The other way. + + MANDRAKE + Where are you taking me? + + GUANO + The main gate. + + MANDRAKE + Colonel! Colonel, I must know what + you think has been going on here! + + GUANO + You wanna know what I think? + + MANDRAKE + Yes. + + GUANO + I think you're some kind of + deviated prevert. And I think + General Ripper found out about your + preversion, and that you were + organizing some kind of mutiny of + preverts. Now, move! + +Mandrake replaces hands on head and begins walking. + + GUANO + On top of that I don't know + anything about any planes attacking + Russia. All I was told to do was + get General Ripper on the phone to + the President of the United States. + + MANDRAKE + Now just one second. You just + said... the President. + + GUANO + What about the President? + + MANDRAKE + Now, the president wants to speak + to General Ripper, doesn't he? Now, + General Ripper is dead, is he not? + I am General Ripper's executive + officer, so the president will + bloody well want to speak to me, + won't he? There's a telephone box + over there, and the line may be + open. + 50. + + + GUANO + You want to talk to the president + of the United States? + + MANDRAKE + I don't want to talk to him, + Colonel, I've got to talk to him. + And I can assure you, if you don't + put that gun away and stop this + stupid nonsense, the court of + inquiry on this'll give you such a + pranging, you'll be lucky if you + end up wearing the uniform of a + bloody toilet attendant! + + GUANO + OK. Go ahead. Try and get the + President of the United States on + the phone. + +Mandrake enters phone booth and closes the door. Guano +pushes it back open. + + GUANO + If you try any preversions in there + I'll blow your head off. + +Mandrake places coins in the slot and dials. + + MANDRAKE + Operator? This is Group Captain + Lionel Mandrake, I'm speaking from + Burpleson Air Force Base. Look, + something very urgent has come up + and I want you to place an + emergency person to person call + with President Merkin Muffley in + the Pentagon, Washington D.C. + Aaaa... Burpleson3-9180. No, I'm + perfectly serious, operator, the + President, yes the President of the + United States. I'm sorry, I haven't + got enough change. Um, could you... + could you make this a collect call, + operator? + +Mandrake waits on the call to be placed while Guano looks +on. + + MANDRAKE + Just one second, operator. + (to Guano) + 51. + + +They won't accept the call. Have +you got fifty-five cents? + + GUANO +Well, you don't think I'd go into +combat with loose change in my +pocket, do you? + + MANDRAKE +Operator, look, ah... is it +possible to make this an +ordinary... ordinary trunk call? +Well, what do you call it... you +know, ah... + (raps on phone box with + knuckles) +... oh, ah... station to station. + (counts change in his + palm) +Oh, blast. Still twenty cents +short. Operator, hold on one... +ah... I shan't keep you a second. + (to Guano) +Colonel, that Coca-Cola machine, I +want you to shoot the lock off it. +There may be some change in there. + + GUANO +That's private property. + + MANDRAKE + (exasperated) +Colonel, can you possibly imagine +what is going to happen to you, +your frame, outlook, way of life +and everything, when they learn +that you have obstructed a +telephone call to the President of +the United States? Can you imagine? +Shoot it off! Shoot! With the gun! +That's what the bullets are for, +you twit! + + GUANO +OK. I'm gonna get your money for +you. But if you don't get the +President of the Unites States on +that phone, you know what's going +to happen to you? + + MANDRAKE +What? + 52. + + + GUANO + You're going to have to answer to + the Coca-Cola Company. + + Turns to the Coke machine and fires into it. Change spills + from the coin return slot. As Guano bends to collect it, + coke streams from a bullet hole and showers his face. + + CUT TO: + + +26 INT. WAR ROOM 26 + + VOICE ON PA + This is SAC communications control. + The recall code, OPE, is being + acknowledged roger by elements of + the 843 bomb wing. + + Cheering starts among men in the War Room. + + VOICE ON PA + These are the details: missions 12, + 22, 30, and 38 are reported + destroyed by enemy action. All + other missions have acknowledged + recall code. This is SAC + communications control, over and + out. + + TURGIDSON + (whistles loudly) + Gentlemen, gentlemen. + + War room falls silent. + + TURGIDSON + Ah, gentlemen, Mr. President, I'm + not a sentimentalist at all, by + nature, but I think I know what's + in every heart in this room. I + think we ought to all just bow our + heads and give a short prayer of + thanks for our deliverance. Lord, + we have heard the wings of the + angel of death fluttering over our + heads from the valley of fear. You + have seen fit to deliver us from + the forces of evil... + + STAINS + Excuse me sir, Premier Kissov's + calling again and he's hopping mad. + 53. + + + CUT TO: + + +27 INT. AIRBORNE B-52 27 + + GOLDIE + Fuel flow in active engines and + leakage has increased. Now works + out at two zero five. Estimate + remaining fuel at eight seven nine + zero. + + NAVIGATOR + Roger. Confirm two zero five per + minute and remaining fuel eight + seven nine zero. + + CUT TO: + + +28 INT. WAR ROOM 28 + + MUFFLEY + (into phone) + No. No, Dimitri, there must be some + mistake. + (listens) + No, I'm certain of that. I'm + perfectly certain of that, Dimitri. + Just a second. + (puts down phone) + You know what he says? He says that + one of the planes hasn't turned + back. He says according to + information forwarded by our air + staff, it's headed for the missile + complex at Lapuda. + + TURGIDSON + + WHAH... + (laughs in wheezing + incredulity) + That's impossible, Mr. President. I + mean, look at the big board! + Thirty-four planes, thirty recalls + acknowledged, and four splashes, + and one of them was targeted for + Lapuda! + + MUFFLEY + (into phone) + 54. + + +Dimitri? Look, we've got an +acknowledgement from every plane +except the four you've shot down. + (listens) +Oh. Oh. He says... Hang on a +second, Dimitri. + (covers phone) +He says their air staff now only +claims three aircraft confirmed. +The fourth may only be damaged. + + TURGIDSON +Mr. President, I'm beginning to +smell a big fat commie rat. I mean, +supposing Kissov is lying about +that fourth plane, just looking for +an excuse to clobber us. I mean, if +the spaghetti hits the fan, now +we're really in trouble. + + MUFFLEY + (into phone) +Dimitri, look, if this report is +true and the plane manages to bomb +the target, is it... is this going +to full.. is this going to set off +the doomsday machine? + (listens) +Are you sure? + (listens) +Well, I... I guess you're just +going to have to get that plane, +Dimitri! Dimitri, I'm sorry they're +jamming your radar and flying so +low, but they're trained to do it. +You know, it's it's initiative! +Look, Dimitri, you know exactly +where they're going and I'm sure +your entire air defense can stop a +single plane. Listen, I mean, it's +not going to help either one of us +if the doomsday machine goes off, +now is it? + + (LISTENS) +Dom... Dimitri there's no point in +you getting you hysterical at a +moment like this! Dimitri! Keep +your feet on the ground when you're +talking, Dimitri. + (listens) + 55. + + + I... I am not I am not getting... + no, Dimitri. I... I just am + worried, that's all. Look, now if + our air staff say it's primary + target is Lapuda and it's secondary + target it Bordkov, I mean it's it's + true, Dimitri! You gotta believe + it. + + Turgidson nods affirmative + + MUFFLEY + Look, can I gi... + (listens) + Dimitri, can I give you just one + word... can I give you just one + word of advice, Dimitri? Listen, + Dimitri, put everything you've got + into those two sectors and you + can't miss. + + CUT TO: + + +29 INT. AIRBORNE B-52 29 + + NAVIGATOR + Sir, if we continue to lose fuel at + the present rate, I estimate we + only have thirty-eight minutes + flying time which will not even + take us as far as the primary. + + KONG + Dog gonnit, Sweets, you told me + that you'd get me to the primary! + + NAVIGATOR + I'm sorry, Sir. That estimate was + based on the original loss rate + factor, not at two zero five. + + KONG + I don't give a hoot in hell how you + do it, you just get me to the + primary, you hear? + + NAVIGATOR + I'm sorry Sir, but those are the + figures. We'll be luck to reach + weather ship at tango delta. + + KONG + 56. + + + Well... shoot. We ain't come this + far just to dump this thing in the + drink. What's the nearest target + opportunity? + + NAVIGATOR + Sir, if the rate of loss does not + increase, we have a chance to reach + target three eight four,grid + coordinate zero zero three six nine + one, and possibly make it from + there to the tango delta weather + ship. + + KONG + What kind of a target is that, + anyhow? + + BOMBARDIER + Sir, that's the ICBM complex at + Kodlosk. + + KONG + Alright. Designating new target + three eight four. Give me a rough + heading on that just as soon as you + can get it worked out, will you? + + CUT TO: + + +30 INT. WAR ROOM 30 + + MUFFLEY + (into phone) + Well, we'll keep our fingers + crossed, Dimitri, and remember, + there's just one thing, we are all + in this together. We're right + behind you, Dimitri. We're with you + all the way. + (listens) + Yes. Well, we'll keep the line + open. Alright Dimitri. + (rests phone on the + table) + General Turgidson, is there really + a chance for that plane to get + through? + + TURGIDSON + 57. + + + Mr. President, if I may speak + freely, the Russkie talks big, but + frankly, we think he's short of + know how. I mean, you just can't + expect a bunch of ignorant peons to + understand a machine like some of + our boys. And that's not meant as + an insult, Mr. Ambassador, I mean, + you take your average Russkie, we + all know how much guts he's got. + Hell, lookit look at all them them + Nazis killed off and they still + wouldn't quit. + + MUFFLEY + Can't you stick to the point, + General? + + TURGIDSON + Well, I'm sorry. Ah... If the + pilot's good, see. I mean, if he's + really... sharp, he can barrel that + baby in so low spreads his arms + like wings., laughs you oughtta see + it sometime, it's a sight. A big + plane, like a '52, vroom! There's + jet exhaust, fryin' chickens in the + barnyard! + + MUFFLEY + Yeah, but has he got a chance? + + TURGIDSON + Has he got a chance? Hell Ye... + ye... + (covers mouth in solemn + realization) + + CUT TO: + + +31 INT. AIRBORNE B-52 31 + + NAVIGATOR + Navigator to Captain, approaching + target. Distance, one zero miles. + Switch from green grid to target + orange. + + KONG + Roger. Ready for final bomb run + check. Take over, Ace. + 58. + + + CO-PILOT +Roger. + + DSO +DSO ready. + + BOMBARDIER +Bombardier ready, sir. + + KONG +Bomb fusing master safety on, +electronics, barometrics, time and +impact. + + BOMBARDIER +Bomb fusing master safeties on, +electronic, barometric, time and +impact. + + KONG +Fused for ground burst, delay +factor yellow three. + + BOMBARDIER +Fused for ground burst, delay +factor yellow three. + + KONG +Bomb fusing circuits one through +four, test. + + BOMBARDIER +Bomb fusing circuits one through +four, test. Lights on. + + KONG +Bomb arming test lights on, one +through four. + + BOMBARDIER +Bomb arming test lights on, one +through four. + + KONG +Engage primary trigger switch +override. + + BOMBARDIER +Primary trigger switch override, +engaged. + + KONG + 59. + + +Track indicators to maximum +deflection. + + BOMBARDIER +Track indicators to maximum +deflection. + + KONG +Detonator set to zero altitude. + + BOMBARDIER +Detonator set to zero altitude. + + KONG +Release first safety. + + AIRMAN +First safety released. + + BOMBARDIER +First safety. + + KONG +Release second safeties. + + AIRMAN +Second safety released. + + BOMBARDIER +Second safety. + + KONG +Check bomb door circuits one +through four. + + BOMBARDIER +Ah... bomb door circuits, negative +function. Lights red. + + KONG +Switch in backup circuits. + + BOMBARDIER +Roger. Backup circuits switched in, +still negative function. + + KONG +Engage emergency power. + + BOMBARDIER +Roger. Emergency power on. Still +negative function. + 60. + + + KONG + Operate manual override! + + BOMBARDIER + Roger. Ah... still negative + function. The teleflex drive cable + must be sheared away. + + KONG + Fire the explosive bolts! + + BOMBARDIER + Roger. Um... still negative, sir. + The operating circuits are dead, + sir. + + KONG + Stay on the bomb run, Ace. I'm + going down below to see what I can + do. + + CO-PILOT + Roger. + + KONG + (to DSO and Bombardier) + Stay on the bomb run boys. I'm + goin' to get them doors open if it + hare lips everybody on Bear Creek. + (proceeds through hatch + to bomb bay) + +Kong studies a sparking tangle of wires above a suspended +bomb, and then climbs atop the it, fanning the sparks with +his stetson. + + NAVIGATOR + Target orange grid reference, + checks. Target distance, eight + miles. + + CO-PILOT + Roger, eight miles. Telemetric + guidance computer into orange grid. + + BOMBARDIER + Telemetric guidance computer into + orange grid. + + NAVIGATOR + Target distance, seven miles. + Correct track indicator, minus + seven. + 61. + + + CO-PILOT + Roger. Seven miles. Set GPI + acceleration factor. + + BOMBARDIER + GPI diversion factor set. + + NAVIGATOR + Target distance, six miles. + + CO-PILOT + Roger. Six miles. False ident + transponder active. + + BOMBARDIER + False ident transponder active. + + NAVIGATOR + Target distance, five miles. + + CO-PILOT + Five miles. Bundling alignment + factor zero mode. + + BOMBARDIER + Bundling alignment factor to zero + mode. + + NAVIGATOR + Target distance, four miles. + + CO-PILOT + Roger. Four miles. Auto CDC into + manual teleflex link. + + BOMBARDIER + Auto CDC is to manual teleflex + link. + + NAVIGATOR + Target distance, three miles. + + CO-PILOT + Roger. Three miles. + + NAVIGATOR + Target in sight. Where in hell is + Major Kong? + +Kong busily works to splice two wires together. He finishes +and then attaches an alligator clip to a patch panel above +his head. The bomb doors open. He grabs his stetson to keep +it from blowing away in the sudden slipstream. + 62. + + + KONG + Aaaaaa hooooo! Aaaaaaaa hooooo! + + The bomb is dropped, and Kong along with it + + BOMBARDIER + Hey, what about Major Kong? + + KONG + Aaaaaa hoooo! Waaaaa hooooo! + + Kong rides the bomb in its falling arc waving his hat over + his head, celebrating his success in ecstatic rodeo style. + On reaching the ground, the bomb detonates. + + CUT TO: + + +32 INT. WAR ROOM 32 + + Strangelove executes an about face from the big board to + face the camera. + + STRANGELOVE + Mr. President, I would not rule out + the chance to preserve a nucleus of + human specimens. It would be quite + easy... heh heh... + (rolls forward into the + light) + At the bottom of ah... some of our + deeper mineshafts. The + radioactivity would never penetrate + a mine some thousands of feet deep. + And in a matter of weeks, + sufficient improvements in dwelling + space could easily be provided. + + MUFFLEY + How long would you have to stay + down there? + + STRANGELOVE + Well let's see now ah... + (searches within his + lapel) + ... cobalt thorium G... + (notices circular slide + rule in his gloved hand) + ... aa... nn... Radioactive + halflife of uh, ... hmm.. I would + think that uh... possibly uh... one + hundred years. + 63. + + +On finishing his calculations, he pulls the slide rule +roughly from his gloved hand, and returns it to within his +jacket. + + MUFFLEY + You mean, people could actually + stay down there for a hundred + years? + + STRANGELOVE + It would not be difficult mein + Fuhrer! Nuclear reactors could, + heh... I'm sorry. Mr. President. + Nuclear reactors could provide + power almost indefinitely. + Greenhouses could maintain + plantlife. Animals could be bred + and slaughtered. A quick survey + would have to be made of all the + available mine sites in the + country. But I would guess... that + ah, dwelling space for several + hundred thousands of our people + could easily be provided. + + MUFFLEY + Well I... I would hate to have to + decide.. who stays up and.. who + goes down. + + STRANGELOVE + Well, that would not be necessary + Mr. President. It could easily be + accomplished with a computer. And a + computer could be set and + programmed to accept factors from + youth, health, sexual fertility, + intelligence, and a cross section + of necessary skills. Of course it + would be absolutely vital that our + top government and military men be + included to foster and impart the + required principles of leadership + and tradition. + +Slams down left fist. Right arm rises in stiff Nazi salute. + + STRANGELOVE + Arrrrr! + (restrains right arm with + left) + 64. + + + Naturally, they would breed + prodigiously, eh? There would + bemuch time, and little to do. But + ah with the proper breeding + techniques and a ratio of say, ten + females to each male, I would guess + that they could then work their way + back to the present gross national + product within say, twenty years. + + MUFFLEY + But look here doctor, wouldn't this + nucleus of survivors be so grief + stricken and anguished that they'd, + well, envy the dead and not want to + go on living? + + STRANGELOVE + No sir... + +His right arm rolls his wheelchair backwards + + STRANGELOVE + Excuse me. + +He struggles with wayward right arm, ultimately subduing it +with a beating from his left + + STRANGELOVE + Also when... when they go down into + the mine everyone would still be + alive. There would be no shocking + memories, and the prevailing + emotion will be one of nostalgia + for those left behind, combined + with a spirit of bold curiosity for + the adventure ahead! Ahhhh! + +Right arm reflexes into Nazi salute. He pulls it back into +his lap and beats it again. Gloved hand attempts to +strangle him. + + TURGIDSON + Doctor, you mentioned the ration of + ten women to each man. Now, + wouldn't that necessitate the + abandonment of the so called + monogamous sexual relationship, I + mean, as far as men were concerned? + + STRANGELOVE + 65. + + + Regrettably, yes. But it is, you + know, a sacrifice required for the + future of the human race. I hasten + to add that since each man will be + required to do prodigious... + service along these lines, the + women will have to be selected for + their sexual characteristics which + will have to be of a highly + stimulating nature. + + DESADESKI + I must confess, you have an + astonishingly good idea there, + Doctor. + + STRANGELOVE + Thank you, sir. + + TURGIDSON + (to Muffley) + I think we should look at this from + the military point of view. I mean, + supposing the Russkies stashes away + some big bomb, see. When they come + out in a hundred years they could + take over! + +DeSadeski begins walking away from the crowd around +Strangelove and the President, toward the banquet table. + + GENERAL + I agree, Mr. President. In fact, + they might even try an immediate + sneak attack so they could take + over our mineshaft space. + + TURGIDSON + Yeah. I think it would be extremely + naive of us, Mr. President, to + imagine that these new developments + are going to cause any change in + Soviet expansionist policy. + +DeSadeski kneels, unseen, and begins photographing the big +board with a secret camera within a pocket watch. + + TURGIDSON + 66. + + + I mean, we must be... increasingly + on the alert to prevent them from + taking over other mineshaft space, + in order to breed more prodigiously + than we do, thus, knocking us out + in superior numbers when we emerge! + Mr. President, we must not allow... + a mine shaft gap! + + STRANGELOVE + ... Sir! + (stands up out of his + wheelchair) + I have a plan. Heh. + (pauses, realizing that + he is standing) + Mein Fuhrer, I can walk! + +MULTIPLE SCENES OF EXPLODING BOMBS + +Dancing to the tune of "We'll Meet Again." + +FADE OUT + +THE END + \ No newline at end of file diff --git a/scripts/Dredd.txt b/scripts/Dredd.txt new file mode 100644 index 0000000000000000000000000000000000000000..abf4bfbab6e9776cae25388e7a4aa554a395dc70 --- /dev/null +++ b/scripts/Dredd.txt @@ -0,0 +1,6621 @@ + 1. + + + + OPEN ON: + + Desert. + + +2 EXT. CURSED EARTH - DAY 2 + + Blasted rock and dust, as far as the eye can see. + + VOICE OVER + America is an irradiated wasteland. + A Cursed Earth, in which a single + outpost of civilization remains. + Stretching from Boston to + Washington ... + + +3 EXT. CURSED EARTH/MEGA CITY ONE - CONTINUOUS 3 + + A vast walled city appears on the horizon. + + VOICE OVER + ... Mega City One. + + +4 EXT. MEGA CITY ONE - CONTINUOUS 4 + + We fly over the city. + + On first glance, it looks comparable to its early Twenty + First Century counterpart. A sprawl of low-rise buildings, + with clusters of tall skyscrapers. + + But as we get closer, we realize that what looked like low- + rise buildings are in fact skyscrapers, and what looked + like high rise buildings are in fact the MEGA BLOCKS. + + Brutal concrete monoliths, jutting up out of pollution + haze. Each operates like self-contained town. The higher + levels are residential, housing tens of thousands. On the + lower levels, there are schools, med centers, shops, + restaurants, bars, and recreational facilities. + + Over this view of MEGA CITY ONE... + + FADE TO: + + +5 INT. HALL OF JUSTICE 5 + 2. + + + In a darkened room, with single light source, a man is + putting on a uniform. + + In the darkness and artfully positioned lighting, his face + is always hidden in total shadow. + + We see him - + + - zipping up boots. + + - clipping on utility belt. + + - pulling on gloves. + + - picking up his LAWGIVER GUN. + + As DREDD'S fist closes around it, an LED light by a small + digital display flashes red. + + Then, on the digital display, a message appears: + + ID OK + + The LED Turns green. + + He holsters the weapon. + + Finally, he pulls his helmet down over his head. + + Now he moves in such a way that the light falls on his + face. + + The top half of his features are hidden below a visor. + + The lower half, his mouth and chin, look as if they have + been carved from rock. + + Title: + + DREDD + + CUT TO: + + +6 EXT. MEGA CITY ONE/ROAD - NIGHT 6 + + - a ribbon of road, through a canyon of mega blocks. + + DREDD rides down it, on a huge, fat-wheeled motorbike. + + His fist twists the throttle. + 3. + + + As he accelerates, we SWING AROUND to reveal - + + - DREDD is in hot pursuit of a vehicle. + + The pursuit takes place in the tunnels beneath and through + the megablocks, and the open stretches of road fly-overs + between. + + DREDD + Dredd to Control. In pursuit of + vehicle, sector thirteen, moving + west up Wagner Drive. Driving + erratic. Suspect driver is under + influence of narcotics. + + CONTROL + (over radio) + Copy, Dredd. + + CUT TO: + + +7 INT. VEHICLE - CONTINUOUS 7 + + INSIDE THE VEHICLE - + + - suddenly everything is in SLOW MOTION, and the colors are + unnaturally IRIDESCENT and BRIGHT. + + Inside, are three men. The DRIVER, the PASSENGER beside + him, and a third man in the backseat - + + - who is jamming a clip into a small MACHINE GUN. + + The DRIVER turns in his seat, shouting something at the man + behind - + + - but the words are too slow and slurred for us to + understand. + + THEN the slow motion abruptly starts to speed up, and the + colours start to lose their sparkle - returning to normal. + + We can now understand what the DRIVER is shouting. + + DRIVER + - we've got a judge on our tail! + Take him out or we're dead fucking + meat! + + The SHOOTER takes a long hit on a small device like an + asthma INHALER. On the side of the inhaler are the words + SLO-MO. + 4. + + + As soon as the SHOOTER takes the hit from the inhaler - + + - the slow motion and iridescent colours return. + + CUT TO: + + +9 EXT. MEGA CITY ONE/ROAD - CONTINUOUS 9 + + - outside the VEHICLE, as the SHOOTER leans out of the + window of the vehicle ... + + ... and starts FIRING his machine-pistol at DREDD. + + CONTROL + (over radio) + Do you require back up? + + DREDD + (into radio) + No. + + +10 INT. VEHICLE - CONTINUOUS 10 + + Inside the venichle, seen through the psychedelic filter of + the narcotics, we see the driver swerve to avoid an + oncoming venichle. + + In doing so, he mounts the pavement, and - + + - a PEDESTRIAN slams against the front windscreen. + + Then is sucked downwards, and dragged beneath the wheels. + + CUT TO: + + +15 EXT. MEGA CITY ONE/ROAD - CONTINUOUS 15 + + DREDD. + + DREDD + Control. The perps just wiped out + an innocent. I'm taking them out. + + CONTROL + (over radio) + Copy. + + FROM THE FRONT OF DREDD'S MOTORBIKE - + 5. + + + - twin canons either side of the front wheel suddenly blaze + into life. + + Bullets rip into the vehicle, blowing out its back tyres. + + It is immediately thrown into a skid, slides sideways, then + starts to roll. + + CUT TO - + + +20 INT. VEHICLE - CONTINUOUS 20 + + - inside the vehicle, in BRIGHT COLOURS and SLOW MOTION, as + it rolls. + + CUT TO BLACK. + + Then FADE UP TO - + + - inside the wreckage of the vehicle. Normal speed. Normal + colours. + + The vehicle is upside down. + + The DRIVER is still strapped into his seat, impaled on the + broken steering column, twitching. + + Blood runs down from the DRIVER onto the corpse of his + PASSENGER, who is crumpled up, limbs unnaturally folded + like child's doll. + + The only living occupant is the SHOOTER. + + He picks himself up and wipes blood from his eyes. + + +22 EXT. MEGA CITY ONE/ROAD - CONTINUOUS 22 + + DREDD approaches the wreckage of the vehicle, handgun + drawn. + + He pulls open the side door, and sees, past the bodies of + the DRIVER and the PASSENGER, the opposite window. + + Which has been kicked out. + + And through the hole, DREDD spots the SHOOTER, sprinting + towards the pedestrian entrance of a habitation block. + + CITIZENS are thronged around the entrance, and the SHOOTER + fires into them to clear a path. + 6. + + +DREDD steps around the side of the wrecked vehicle, talking +into his radio: + + DREDD + Paramedics to my GPS. We have + citizens down. + +DREDD lifts his gun. + +We see what DREDD is aiming at. + +The figure of the SHOOTER appears in glimpses through the +crowd. Flashing in and out of view. + +To pick him off from here, through the shifting layers of +innocent people, would be an incredible shot. + +But DREDD is clearly going to take it. + + DREDD + Armour piercing. + +A setting on his firearm changes, + +He holds the gun level, completely still, waiting for the +right moment. + +Then fires - just a single round. + +A muzzle flash. + +Halfway between DREDD and the SHOOTER, a WOMAN drops, with +a puff of blood erupting from her shoulder. + +And a split second later, the SHOOTER himself pitches +forwards, hit in the back. + +At the noise of the gunshot, the crowds scream and scatter. + +DREDD moves forwards, gun still raised. + +He passes the WOMAN who was hit, who is lying on the ground +in a spreading pool of blood, flapping her arms weakly. + + DREDD + Remain calm. The bullet missed all + major organs, and a paramedic team + will be with you shortly. + +He keeps moving. + +To the SHOOTER. + 7. + + +23 EXT. OUTSIDE BLOCK - CONTINUOUS 23 + + The SHOOTER is alive, lying on his front, leaving a snail- + trail of blood as he pulls himself forwards, still + hopelessly trying to escape. + + DREDD kicks the man's gun out of reach, then reaches down + and flips him over on to his back. + + The SHOOTER tries to speak, but his mouth is filled with + blood, and no words come out. + + DREDD uses his free hand to check the SHOOTER'S inside + pockets. + + Then finds what he is looking for. An ID card. + + DREDD checks it. + + DREDD + Citizen Zwirner. Your crimes are + homicide, unauthorized use of a + firearm, attempted murder of a + judge. Do you have anything to say + in your defense? + + More blood bubbles out of ZWIRNER'S mouth. + + DREDD + Defense noted. + + DREDD levels his gun at ZWIRNER'S head. + + DREDD + Sentence: death. + + ZWIRNER gazes up at DREDD, and the gun barrel aiming down + at him. + + Then DREDD fires. + + A single shot. Right between ZWIRNER'S eyes. + + A beat. Then DREDD'S radio fuzzes back to life. + + CONTROL + Control to Dredd. Come in. + + DREDD + Dredd here. + + CONTROL + 8. + + + Is your pursuit resolved? + + ZWIRNER lies dead at DREDD'S feet. + + Behind him, the wounded WOMAN flaps around. + + Behind her, the wrecked vehicle smoulders. + + DREDD + Yes. + + CONTROL + Report back to the Hall Of Justice. + The Chief Judge wants to see you. + + CUT TO: + + +24 INT. HALL OF JUSTICE/OBSERVATION ROOM CONTINUOUS 24 + + - a girl in her early twenties, in judge's uniform, minus + helmet. + + She is an immediate contrast with everything we have so far + seen of the grim world of Mega City One. + + Beautiful, blonde, and slightly vulnerable. Biting her lip + as she sits on a chair in a featureless room. + + Opposite her is a mirror. + + +26 INT. HALL OF JUSTICE/OBSERVATION ROOM - CONTINUOUS 26 + + On the other side of the two-way mirror, DREDD and the + CHIEF JUDGE, a woman in her fifties, look back at the girl. + + CHIEF JUDGE + Cassandra Anderson. Twenty one. + Born in a block one hundred metres + from the radiation boundary wall. + At seven years old, she lost both + parents to residual-fallout cancer. + As is standard with orphans, she + was given a judge aptitude test at + age nine. It classified her as + unsuitable, but she was entered + into the Academy on special + instruction. In the Academy, her + record was never better than + borderline. The final Academy score + put her three percentile points + below a pass. + 9. + + + DREDD + So what's she doing in a uniform? + + The CHIEF JUDGE doesn't answer. + + Instead, she reaches out, and presses the INTERCOM button. + + CHIEF JUDGE + Rookie Anderson. + + ANDERSON + Sir. + + CHIEF JUDGE + How many people are observing you? + + +28 INT. HALL OF JUSTICE/OBSERVATION ROOM CONTINUOUS 28 + + ANDERSON continues looking at her reflection, frowning + slightly. Biting her lip a little harder. + + ANDERSON + Two. + + +30 INT. HALL OF JUSTICE/OBSERVATION ROOM - CONTINUOUS 30 + + DREDD reacts. + + CHIEF JUDGE + (into intercom) + What can you tell me about the + person I am with? + + ANDERSON + (through intercom) + Male. + + CHIEF JUDGE + (into intercom) + Good. + + ANDERSON + (through intercom) + Another judge. + (concentrating harder) + I can feel anger. And control. But + there's something else. Behind the + control. Something almost ... + + CHIEF JUDGE + (cuts in) + 10. + + + Okay, Anderson. That'll do. + + The CHIEF JUDGE switches the intercom off. + + DREDD + A mutant. + + CHIEF JUDGE + The most powerful psychic we've + ever come across - by a huge + margin. We believe she could be a + major asset. + + Beat. + + CHIEF JUDGE + As I said. Her final score was only + three points below a pass. It's + marginal. + + DREDD + It's not marginal. She failed. + + CHIEF JUDGE + The girl's getting one more chance. + I want you to take her out and give + her one day in the field. + Supervised. To see if she makes the + grade. + + The CHIEF JUDGE turns to DREDD. + + CHIEF JUDGE + Sink or swim. Chuck her in the deep + end. + + On DREDD, unreadable: + + DREDD + It's all the deep end. + + THEN CUT TO: + + +32 INT. HALL OF JUSTICE/OBSERVATION ROOM - CONTINUOUS 32 + + - ANDERSON. + + She sits quietly. + + Gazing at something in her hands. + 11. + + +It's a photo. Slightly battered. It shows a little blonde +girl, seven years old, smiling, between both her parents. +All are smiling at the camera. + +Abruptly, she folds the PHOTO and tucks it into her utility +belt. + +Then turns to look at the door. + +A second later, it opens, revealing DREDD. + +ANDERSON stands immediately, and salutes. + +DREDD enters, and closes the door behind him. + +A beat. + +Then: + + DREDD + A rookie judge on assessment is + likely to be involved in armed + combat. They may be required to + carry out on the spot executions of + convicted felons. + + ANDERSON + Yes, sir. + + DREDD + Incorrect sentencing is an + automatic fail. Not obeying a + direct order from your assessment + officer is an automatic fail. + Losing your primary weapon or + having it taken from you is an + automatic fail. + + ANDERSON + Yes, sir. + + DREDD + You ready + for this. + + ANDERSON + I am. + +A beat. + +Then DREDD nods. + + DREDD + 12. + + + Your assessment starts now. + + +36 EXT. MEGA CITY ONE - DAY 36 + + An airborne view of the city. + + +38 EXT. PEACH TREE BLOCK - CONTINUOUS 38 + + CLOSE UP on a SKATEPARK, concrete, surrounded by a high + wire mesh fence, half-pipes and rails, where six SKATERS + are pulling off some impressive arial moves. + + As one of the SKATERS soars, and revolves a neat 720 spin - + + - we reveal the vertiginous drop on the other side of the + wire fence. + + The SKATE PARK is bolted on the side of a mega block, + hundreds of feet in the air. + + This particular block is called PEACH TREES. Named in + luminous peach lettering, etched into the acid-rain and + fume-stained concrete flanks. + + The scale of the construction is colossal. Leaving the park + behind, we start moving past windows, we glimpse the lives + inside. Cramped apartments. People watching television. + Sleeping. Eating. Having sex. Or simply absent. + + The only common factor between the lives we see is squalor, + and poverty. + + Peach Trees is a slum. + + +47 EXT. PEACH TREE BLOCK/WINDOW - CONTINUOUS 47 + + We eventually settle on a single window, at the top level + of the block. + + Looking out of the window is a woman. She could be in her + late fifties or early sixties, but a diagonal stripe scar + that disfigures her cheek and top lip, and heavy make-up, + make her precise age hard to place. + + This is MA-MA. + + +51 INT. MA-MA'S BASE - CONTINUOUS 51 + 13. + + +52 BEHIND MA-MA ARE FIVE MEN. 52 + + Behind MA-MA are five men. + + The first of these men is CALEB. Late thirties. Physically + powerful. Intelligent and violent. MA-MA's right hand man. + + The next two are KAY and SY. Junior to CALEB. Soldiers. + Lieutenants. + + And finally there are MA-MA'S two BODYGUARDS. They never + leave her side, and never speak. + + All are inked with dense black tattoos - but share one + particular tattoo on the side of their necks: a pierced + heart and scroll - with the word Ma-Ma written inside. + + CALEB + The only danger is we expand too + fast. In the last few days we've + added distribution to three new + blocks. Pretty soon we'll be + looking at making inroads into + sectors nine and fifteen. + + MA-MA + Fifteen is still Red territory. Whe + make waves? + + CALEB + I've been talking to my contacts + there. They want a sit-down, but + from what I hear, it's already + squared. Fact is, they want what + we've got. Just business. + + MA-MA nods. + + MA-MA + Good. + + Then she turns, and gestures to the corner of the room. + + MA-MA + And what about them? + + REVEAL that throughout the previous conversation, there + were actually three other men in the room. + + Sat in a row, on chairs. Beneath the chairs are plastic + sheets. Their arms are tied behind them. They are all + gagged. Wide-eyed. Bruised and blood-stained. Unable to do + anything but listen. + 14. + + + KAY speaks up. + + KAY + They were selling Sternhammer + product on my level. Warned them + off with a beating a couple of + weeks ago. Guess it didn't work. + + MA-MA + And you can't deal with it + yourself? + + KAY + I can deal with it. + + CALEB + The question is whether you want to + make an example of them. + + MA-MA thinks a couple of moments. + + Then turns away. + + MA-MA + Skin them and toss them over the + balcony. + + On their seats, the GAGGEDMEN freak out, eyes bugging, + struggling against their restraints. + + SY pulls a knife. + + KAY + Hit 'em with a little slo-mo first? + + MA-MA + Sure. + + KAY walks up to the first GAGGEDMAN. He is also - with a + crude JUDGE DEATH TATTOO on his chest. + + KAY yanks the MAN'S head back and pulls out the gag. + + As the gag is released, the MAN starts to scream. + + Which is stifled as KAY jams a SLO-MO inhaler into his + mouth, and depresses the button. + + CUT TO: + + +53 INT. PEACH TREE BLOCK/ATRIUM - DAY 53 + 15. + + + - the interior of Peach Trees, which contains an atrium of + dizzying scale. It spans the entire height of the + construction. Effectively, the block is hollowed out, two + hundred stories high, ringed with balconies. + + The lower levels are a shopping and recreation zone. Above + the shopping and recreation zone are medical centers and + educational facilities. Everything above is residential. + + At the base of the atrium is an area like a massive, busy + Third-World train station, with people criss-crossing the + area, milling about, exiting out of tunnels and escalators. + + We track a WOMAN with a CHILD in a pushchair as she makes + her way through. + + Suddenly, out of nowhere, a body falls out of the sky, and + lands with a sickening impact. + + THWACK. Right in front of the pushchair. + + The WOMAN pulls back. + + And a second body lands directly behind her. + + THWACK. + + She looks up, as the crowd around her starts to scatter ... + + ... and is stunned to see that another body is tumbling + down towards her. + + She just manages to jam the pushchair forwards before the + body lands. + + THWACK + + +56 EXT. MEGA CITY ONE - DAY 56 + + DDREDD and ANDERSON stand by their fat-wheeled motorbikes, + on a ribbon of flyover, in a canyon of Mega Blocks. + + Vehicles flash past them. + + Over the roar of the traffic, their radios fuzz into life. + + We tap into the endless streams of radio calls that are + constantly being transmitted from CONTROL. + + CONTROL + (over radio) + 16. + + + Responders in vicinity of Peach + Tree block. We have a report of a + multiple homicide. + + CONTROL + (over radio) + Responders in Sector 13 North, we + have armed robbery in progress. + Four suspects on foot. Gunshot + victims at scene of crime. + + CONTROL + (over radio) + Responders on Highway Alpha Five. + We have ambulance crew under fire, + requesting assistance. + + DREDD + (to Anderson) + Twelve serious crimes reported + every minute. Seventeen thousand + per day. We respond to around six + percent. + + ANDERSON + Which six percent? + + DREDD + Your assessment. You tell me. + + ANDERSON glances down at her bike-nav screen. Waypoint + markers are flashing all across the sector map. + + ANDERSON + Peach Trees, multiple homicide. + + DREDD lifts his left hand - which has his radio integrated + into the glove. + + DREDD + (into radio) + Dredd responding to Peach Tree + homicides. On our way. + + +57 EXT. MEGA CITY ONE/ROAD - DAY 57 + + DREDD and ANDERSON ride their bikes towards Peach Trees. + + +58 EXT. PEACH TREE BLOCK - DAY 58 + 17. + + + DREDD and ANDERSON walk into the south entrance of Peach + Trees. + + Above them, against the background of grey and black + concrete slab, a bright hologram of a cartoonish peach tree + flickers like a neon strip-light with a bad connection. + + Sat against one side of the entrance is a HOMELESS MAN. + + In front of him is a handwritten sign on cardboard. + + It reads: + + HOMELESS JUNKIE. + + WILL DEBASE SELF FOR CREDITS. + + As DREDD and ANDERSON pass him: + + DREDD + Anderson. + + ANDERSON + Vagrancy, three weeks, iso cubes. + But prioritize murders. + + DREDD + Correct. + (to the Homeless Man) + Don't be here when we come back. + + +59 INT. PEACH TREE ATRIUM - DAY 59 + + DREDD and ANDERSON enter the busy atrium. + + DREDD + Tell me about Peach Trees. + + ANDERSON + Sir. Houses seventy five thousand + registered citizens. Actual + population rate probably closer to + one hundred thousand. Highest crime + rate in Sector Thirteen. + Unemployment rate at ninety six + percent. More than half of the + residential levels are classed as + slums. + + DREDD + Why do you want to be a judge, + Anderson? + 18. + + + ANDERSON is thrown momentarily by the non-sequitur. + + ANDERSON + ... Sir. I want to serve the city. + Make a difference. + + DREDD + Make a difference to a block like + this? + + ANDERSON + I was born and raised in a block + like this. Until the Justice + Department took me. I know there + are good people inside. Good + families. Just trying to get by. + + Beat. + + ANDERSON + Yes. I think I can make a + difference. + + DREDD glances upwards. + + Above the bustle of the atrium floor, the ringed balconies + of the atrium stretch up into shade and darkness. At the + very top is a small circle of reddish sky. + + It's like looking into a pit, with a pool of blood at the + bottom. + + DREDD + (flat) + Admirable. + + +60 INT. PEACH TREE ATRIUM/CRIME SCENE - CONTINUOUS 60 + + DREDD and ANDERSON push past a taped cordon. + + Behind the cordon, a PARAMEDIC is erecting a tent screen to + shield the sight of the bodies from the gathering crowd, + and the onlookers who are looking down from the ringed + balconies. + + DREDD + (to Paramedic) + What have you got? + + PARAMEDIC + Three stiffs in a somewhat fucked- + up condition. + 19. + + +The PARAMEDIC pulls open the tent screen to allow DREDD and +ANDERSON through. + +The bodies are the three men we saw with KAY. + +They have fallen from a great enough height to crack the +tiles on which they landed. + +From the neck down and waist up, they have been skinned. + + DREDD + You're based in Peach Trees? + + PARAMEDIC + Med center on level twenty five. + + DREDD + Have you ID'd them? + + PARAMEDIC + Mostly. That one is registered to + this block. And that one is + registered to Block Sternhammer. + + DREDD + (gesturing to the last) + And him? + +The PARAMEDIC shrugs. + +CLOSE UP on the man's severely crushed head. + + PARAMEDIC + I'll have to run his blood through + the DNA profiler. If I can figure + out which blood is his. + +DREDD kneels down to take a closer look at the nearest +body. + +Inside the man's open mouth is a white, dust-like marking. + + DREDD + Anderson. What do you make of this? + + ANDERSON + ... I don't know, sir. + + DREDD + It's a cold-burn from a slo-mo + inhaler. + 20. + + + ANDERSON + Slo-mo? + + PARAMEDIC + A new narcotic. Only just hit the + grid, but it's making big waves. + Makes the brain feel as if time is + passing at one percent its normal + speed. + + ANDERSON looks up to the height from which the men dropped. + + FLASH CUT TO - + + - a image of one of the men falling, screaming, in extreme + slow motion, leaving a trail of suspended blood droplets + from his flayed torso. + + CUT BACK TO: + + - ANDERSON, shuddering. + + The PARAMEDIC is also gazing upwards, obviously having much + the same thought. + + PARAMEDIC + Must have felt like a long way + down. + + +63 INT. CONTROL - DAY 63 + + In CONTROL, where rows of men and women sit in front of + banks of monitors, operating the huge communication center + within the Hall Of Justice ... + + ... we find a screen, on which the faces of murdered men + are appearing. + + The CONTROL OPERATOR manning this monitor speaks into his + mike. + + CONTROL OPERATOR + Positive on your IDs. All show + convictions for possession of + narcotics. + + CLOSE ON MONITOR SCREEN. + + CONTROL OPERATOR + Transmitting data now, + 21. + + +67 INT. PEACH TREE ATRIUM/CRIME SCENE - CONTINUOUS 67 + + PULL BACK from the image on the monitor screen, to reveal + we are now seeing it on DREDD'S FDA. + + DREDD + Small-time perps. Junkies. No known + gang affiliation. What's your + assessment, Anderson? + + ANDERSON + Drugged. Skinned. Dumped in the + most public place you could find. + It has to be a punishment killing. + A message. + + Above them, the balconies of the atrium are ringed with + people looking down. + + PARAMEDIC + Yeah. Don't fuck with the Ma-Ma + Clan. + + ON DREDD. Turning. + + DREDD + Who? + + +71 INT. MEDICAL CENTER - DAY 71 + + In the twenty fifth floor medical center, DREDD and + ANDERSON are looking at a holographic display, on which we + can see a rotating 3D MUGSHOT of MA-MA, and her medical + records. + + In the background, the PARAMEDIC closes the medical + center's heavy security door, while he provides a brief bio + of MA-MA. + + PARAMEDIC + We have her on record days. The + picture's pretty old, but - yeah. + That's her. Madeline Madrigal, AKA + Ma-Ma. Ex-hooker from the S-Nine + pleasure district. Quit working + after she got sliced up by a pimp. + But she got her own back. Block + legend says she feminized the guy + with her teeth. Then took over his + business interests, and never + looked back. + 22. + + + The PARAMEDIC sucks his teeth. + + PARAMEDIC + Anyone else, you'd say it was + bullshit. But not with Ma-Ma. Her + trademark is violence. Takes it + further and harder than anyone + else. I've been in Peach Trees + fifteen years. Used to be there + were nine or ten different gangs, + hustling for control. Now there's + just one. + + ANDERSON + How did she get away with it? + + PARAMEDIC + You know how often we get a Judge + in Peach Trees? + + DREDD + You've got one now. + + DREDD hits a console button, and the holographic display + changes to a map of Peach Trees. + + DREDD + The victims were registered to + apartments on level thirty nine. + Likely killed over a turf issue, so + we'll find their killers in the + same vicinity. + (to Anderson) + Anderson. Next move. + + ANDERSON + Locate where the Clan work out of + on this level, and hit it hard. + + The PARAMEDIC lights up an area of the map. + + PARAMEDIC + That would be here. + + CUT TO: + + +74 INT. METAL DOOR - DAY 74 + + - a viewing hatch sliding open, in a metal door. + + Crowded into the other side of the viewing hatch, we see + the faces of the two JUNKIES. + 23. + + + One of them holds up credits. + + The door is opened. + + +75 INT. SLO MO DEN - CONTINUOUS 75 + + The JUNKIES enter an apartment. + + A squalid shit-hole. In our day and age, it would be a + crystal meth or crack-den, with piss-stained mattresses, + schizoid graffiti on the walls, and crushed glass pipes on + the floor. + + But this is a slo-mo den. Much the same, but instead of + crushed crack pipes on the floor, it's empty inhalers. + + The man by the door is SY, holding a shotgun. + + Sat on an armchair, with a pistol on his lap, is KAY. + + Our two JUNKIES score off KAY, swapping credits for + inhalers. + + CUT TO: + + +76 INT. LEVEL THIRTY NINE - CORRIDOR - CONTINUOUS 76 + + - outside the apartment. + + DREDD and ANDERSON, taking position either side of the + metal door. + + Weapons drawn. + + We can see ANDERSON'S nerves. + + The door opposite them opens - and a KID peers out of the + crack. ANDERSON gestures for the kid to go back inside. The + door closes. + + DREDD + Take it this is your first time in + non-simulator combat. + + ANDERSON + Yes sir. + + DREDD + Been wondering when you'd remember + you left your helmet at base. + 24. + + + ANDERSON + Sir - a helmet interferes with my + psychic abilities. + + DREDD + Think a bullet might interfere with + them more. + + CUT BACK TO: + + +78 INT. SLO MO DEN - CONTINUOUS 78 + + - the JUNKIES. + + They find a space in a corner of the room, beside two + people who are mechanically screwing on a filthy mattress. + + Then put the inhalers in their mouths. Take a long hit. + + CUT TO: + + +79 INT. LEVEL THIRTY NINE - CORRIDOR - CONTINUOUS 79 + + - DREDD, pulling a plasti-charge out of his utility belt. + + He fixes the plasti-charge to the door. + + DREDD + Ready? + + ANDERSON nods. + + DREDD notices - + + - glitter of sweat on ANDERSON'S face. The slight tremble + in her hands. + + DREDD + You don't look ready. + + ANDERSON tightens her grip around her gun to stop the + shake. + + ANDERSON + Just adrenaline, sir. + + CUT BACK TO: + + +80 INT. SLO MO DEN - CONTINUOUS 80 + 25. + + +- our JUNKIES. In the grip of the drug. + +And we're with it too. + +Everything slow. + +Not just slow - ultra slow. + +All movements. Facial expressions. Blinking eyes. + +And we discover why people take the SLO MO - as grim +reality is transformed into something lyrical. + +From sordid to oddly beautiful. Fascinating and hypnotic. + +Even the couple screwing on the floor. + +Then - + +- what was fascinating and hypnotic + +- becomes slightly confusing. + +Because the heavy door of the slo-mo den is very gradually +starting to expand. + +To bulge. + +And in front of the bulge, a shock wave of air is starting +to form. + +And contacting the guard, SY, who stands just behind it. + +Lifting him delicately off his feet. + +And now around the edges of the door, we can see a white +and yellow brightness. + +Which becomes a blossoming explosion of flame. + +Until the door, and SY, are flying backwards across the +room. + +SLOW CUTS BETWEEN - + +JUNKIES hunching. + +Faces morphing into expressions of fear and surprise. + +Hands reaching for guns. + +DREDD coming through the door. + 26. + + + Followed by ANDERSON. + + Now gunplay, gracefully erupting. + + Bullets rifling through the air. + + Punching through plaster work. + + Drilling through chests, leaving trails of hanging blood. + + Drilling into the head of a clan member, creating a spiral + of flesh as it enters. + + Smoke and dust unfurls. + + Until it blinds us. + + +81 INT. SLO-MO DEN - CONTINUOUS 81 + + As the smoke and dust clears, it allows us to return + seamlessly to normal speed. + + DREDD and ANDERSON stand surrounded by the corpses of gang + members and those junkies who were foolish enough to reach + for their guns. + + The survivors crouch or stand with arms raised, dazed with + narcotics and fear, with the guns of the two judges trained + on them. + + ANDERSON is breathing fast. Still charged with adrenaline. + + DREDD + Anderson. Judgement. + + ANDERSON gathers her wits. + + ANDERSON + Crime: possession and use of + controlled substances. Sentence: + two years in the iso-cubes. + + DREDD + Don't tell me. Tell Control. + + ANDERSON + Sir. + (into radio) + 27. + + + Anderson to Control. Requesting + meat wagon to Peach Trees. We've + got six bodies for Resyk and seven + live for the iso-cubes. + + CONTROL + (over radio) + Copy that. Meat Wagon inbound. + + DREDD nods. + + DREDD + Let's get them cuffed. + + +82 INT. SLO-MO DEN - CONTINUOUS 82 + + The perps are lined up and being cuffed. + + One of them winces as DREDD pulls the plasti-cuffs + mercilessly tight around his wrists. + + ANDERSON is cuffing another man - + + - but hesitates as she sees the distinctive Ma-Ma tattoo on + the side of his neck. + + ANDERSON + Sir, this one is a gang member. He + - + + ANDERSON breaks off. Frowning. + + Then she turns the man round, revealing - + + - KAY. + + They gaze at each other for a couple of beats. + + Then: + + ANDERSON + Sir. It's him. + + DREDD + It's who? + + ANDERSON + The man who murdered the people in + the atrium. + 28. + + + KAY'S eyes narrow fractionally. Internally, he's wondering + how she could know this information, but he's far too + practiced with being on the wrong side of the law to give + anything away. + + DREDD + You're sure. + + ANDERSON + Ninety nine percent. + + DREDD + Can't execute a perp on ninety nine + percent. + + DREDD steps over to KAY. Stares him down. + + DREDD + Save a lot of paperwork if you + confessed right now. + + KAY says nothing. And clearly isn't going to. + + DREDD nods. + + DREDD + (to Anderson) + Finish securing him. We'll take him + in. See how he holds up after a few + hours of interrogation. + + As ANDERSON turns to KAY again, KAY'S eyes look up to the + corner of the room. + + We ZOOM ON the place where KAY is looking, and find - + + - a PINHOLE. + + And through the pinhole, the glint of a lens. + + CUT TO: + + This scene, viewed from the hidden CCTV camera in the + corner of the room. + + PULL BACK TO REVEAL: + + +84 INT. MA-MA'S BASE/CCTV ROOM - CONTINUOUS 84 + + - a monitor, showing the image of KAY'S arrest by DREDD and + ANDERSON. + 29. + + + Next to the monitor, a red alarm light is blinking. + + PULL BACK to reveal more monitors, showing various views + around Peach Trees. + + This is the CCTV ROOM: the technological hub of MA-MA'S + operation, at the heart of her base, overlooking the atrium + from the top floor. + + Supervising the monitors is the CLAN TECHIE. + + Twenty years old. + + Hunted, undernourished, nervy: a dog who's been kicked too + many times. And he's got no eyes. + + Instead, attached and implanted to his face are large, + bulbous robotic eye implants. Like a chameleon lizard, each + eye implant can move independently of the other. + + And what these robotic eyes are focused on is making him + worried. + + CLAN TECHIE + Oh shit. + + He reaches for a radio. + + CLAN TECHIE + (into radio) + Uh, Caleb? I'm sorry to - no, I + know. Yes, but - I think there's a + problem on level thirty nine. + + CUT TO: + + +88 INT. MA MA'S PENTHOUSE/ENTRANCE HALL - DAY 88 + + - an extreme CLOSE UP on MA-MA'S FACE. + + Her cheeks are rippling weirdly, and slowly. + + REVEAL - + + - compressed gas from a SLO-MO INHALOR is jetting into her + mouth. + + CUT TO: + + - NORMAL TIME. + 30. + + + CALEB enters the room. + + Reveal MA-MA'S penthouse surroundings. It's a weird mix of + squalor and crass luxury. A Dolce and Gabbana crack den. + Gold fittings, rococo design, holes in walls, wires + trailing from empty light fittings. The artwork on the + walls is softcore porn, in florid frames, much of it + featuring MA-MA herself. + + Sees MA-MA, sprawled on day-bed, inhalor in mouth. + + Behind her, her two BODYGUARDS, like statues. + + CALEB + Ma. + + Long beat. + + Vapour curling out of MA-MA'S mouth. + + The beat continues. + + MA-MA frozen. + + Then the drug rush fades. + + MA-MA focuses. Turns to CALEB. + + MA-MA + What? + + CALEB + We've got trouble. + + +90 INT. MA-MA'S BASE/CORRIDOR - CONTINUOUS 90 + + MA-MA and CALEB walk and talk, en route to the CCTV room, + followed by the BODYGUARDS + + CALEB + The judges hit the distribution + point on level thirty nine. Shot + the place up. Took out a few of the + boys. + + MA-MA + (unfazed) + So what? We're overdue a bust. The + law's just showing their faces. + Reminding the citizens they exist. + 31. + + + CALEB + No. Ma - they picked up Kay. + + MA-MA reacts. + + MA-MA + Executed? + + CALEB + Interrogation. + + This stops MA-MA in her tracks. + + MA-MA + What? + + CALEB + He's cuffed and they're taking him + in. Right now. + + Beat. + + MA-MA + Fuck. + + CALEB + If Kay talks - + + MA-MA + If they're taking him in, he'll + talk. + + Beat. + + CALEB + What are we going to do? + + MA-MA glazes a moment. + + Thinking. + + CUT TO: + + +91 INT. LIFT - DAY 91 + + - DREDD, ANDERSON and KAY, riding the lift to the ground + floor in silence. + + As the lift descends - + + - KAY is looking straight ahead at the doors ... + 32. + + + .. in which he can see himself, and DREDD and ANDERSON + reflected. + + KAY shifts his position very slightly. + + DREDD'S head tilts fractionally. + + ANDERSON + Sir - he's thinking about making a + move for your gun. + + DREDD + I know. + + KAY shoots a glance back at ANDERSON. + + ANDERSON + He just changed his mind. + + DREDD + Yeah. + + The lift continues descending in silence. + + +93 INT. PEACH TREE CONTROL ROOM - DAY 93 + + The control room of Peach Trees. + + Banks of screens. + + Many of them down, broadcasting static or blacked out. + + Others showing water and electricity levels. + + Power levels. + + Refuse collection times. + + Engineering schematics. + + Manning the control room, four TECHNICIANS, playing cards. + + Looking round in surprise as the door to the control room + is kicked open - + + - and CALEB, plus four other clan members pile in. + + A vicious burst of gunfire, and the TECHNICIANS in the + control room are cut down. + + CALEB lifts a two-way. + 33. + + + CALEB + (into two-way) + Control room is secure. + + CALEB walks over to the central console, and pulls out a + small router, and plugs it in. + + CALEB + (into two-way) + Router's in. You're good to go. + + CUT TO: + + +94 INT. MA-MA'S BASE/CCTV ROOM - CONTINUOUS 94 + + - the CLAN TECHIE, sitting in front of the bank of monitors + and assorted hardware. + + MA-MA and her BODYGUARDS stand behind him. + + MA-MA leans down to the CLAN TECHIE. Puts a slab hand on + his shoulder. Makes him hunch instinctively. + + MA-MA + What am I going to do to you if you + don't pull this off? + + The TECHIE swallows. + + CLAN TECHIE + Don't know. + (beat) + Shoot me? + + MA-MA + Worse. + + CLAN TECHIE + (small voice) + Probably cut out my insides or + something. + + MA-MA + Yeah. That. + + The CLAN TECHIE takes a moment. + + Then starts tapping commands into his keyboard. + + We hear a phone ring over speaker phone. + 34. + + +Then a voice picks up. + + SECTOR CONTROL + (over speaker) + Sector Control. + +The CLAN TECHIE forces his voice to sound casual. + + CLAN TECHIE + Sector Control, this is Peach Trees + Control. Just want to check you + were notified about the def-con + systems test today. + + SECTOR CONTROL + (over speaker) + Copy that. Uh ... + (beat) + Peach Trees, we don't have you down + for a def-con test. + + CLAN TECHIE + We must be. Check the + + SECTOR CONTROL + (over speaker) + Nope. I've got nothing. + +The CLAN TECHIE injects heat into his voice. + + CLAN TECHIE + God-fucking-dammit, Sector! I put + in the notification myself, three + fucking times! We're set to go + right now! I've got my supervisor + breathing down my neck and - + + SECTOR CONTROL + (cuts in, over speaker) + Hold fire, Peach Trees. Let me get + this. + + ON + (beat) + Okay. I put you on the system. Hall + of Justice and all emergency + services are notified to ignore + your status. Run the test anytime + you like. + +The CLAN TECHIE'S relief is genuine. + + CLAN TECHIE + 35. + + + Appreciate that, Sector. You're + saved my ass over here. + + SECTOR CONTROL + (over speaker) + You're welcome, Peach Trees. + + MA-MA nods her approval. + + On his console, the CLAN TECHIE hits the RETURN KEY. + + CUT TO: + + +95 INT. PEACH TREE CONTROL ROOM - CONTINUOUS 95 + + a blood-sprayed monitor in the control room, with the body + of a TECHNICIAN sprawled in front of it. + + CALEB hauls the body of the man off. + + On the bloody monitor, a command screen appears, headed: + + DEF CON EMERGENCY PROTOCOLS + + The command prompt moves down the screen. + + Highlighting, in turn - + + FIRE + + BOMB + + RIOT + + CHEMICAL + + And finally ending on - + + NUCLEAR WAR + + On NUCLEAR WAR, the command prompt stops. + + Off camera, we hear a tap. + + And a moment later, a message box appears on the screen. + + PROTOCOL INITIATED + + +101 INT. PEACH TREE BLOCK/ENTRANCE - CONTINUOUS 101 + 36. + + + DREDD and ANDERSON walk KAY towards the South entrance. + + The HOMELESS MAN is still there, sat in the doorway. + + DREDD + Warned you. Get up. You're headed + for the cubes. + + DREDD is interrupted by a SIREN, which abruptly starts + sounding. + + AS DREDD LOOKS ROUND, CUT TO: + + +102 EXT. PEACH TREE BLOCK - CONTINUOUS 102 + + - the outside of the block. + + Moving down as, over every window we pass ... + + .. A LEAD-LINED SHUTTER suddenly slams down. + + +104 EXT. PEACH TREE BLOCK/SKATEPARK - CONTINUOUS 104 + + In the SKATEPARK bolted on to the side of Peach Trees, the + shutter comes down, trapping the SKATERS outside. + + SKATER 1 + What the fuck? + + SKATER 2 pointlessly bangs his fist against the slab of + metal. + + SKATER 2 + Hey! What's going on? Open up! + + +105 INT. PEACH TREE BLOCK/ENTRANCE - CONTINUOUS 105 + + At the south entrance, just ahead of where DREDD, ANDERSON + and KAY are standing, a two-metre thick blast door slams + down with incredible speed. + + The HOMELESS MAN, unlucky enough to be directly beneath it, + is crushed as it drops. + + One half of his bisected body remains on the inside. + + +106 EXT. PEACH TREE BLOCK/ATRIUM ROOF - CONTINUOUS 106 + 37. + + + At the top of the atrium, two massive metal shutters are + closing, blocking out the light from the sky above. + + +107 INT. MA-MA'S BASE/CCTV ROOM - CONTINUOUS 107 + + The CLAN TECHIE hands MA-MA a handset. + + CLAN TECHIE + You're patched in. + + +107A INT. PEACH TREE ATRIUM - CONTINUOUS 107A + + DREDD, ANDERSON and KAY have returned to the atrium. + + Across the atrium floor, as the roof shutters close, twin + shadows are moving across the floor. + + DREDD, ANDERSON and KAY stand in the middle of the + narrowing band of light. + + All around them, people react with confusion and panic. + + ANDERSON + What's going on? + + DREDD + I don't know. + + But KAY seems to have an idea. + + He says nothing, but the barest smile appears on the corner + of his lips ... + + ... as the roof shutters finally connect, and slam shut. + + And the narrowing band of light winks out. + + And the siren suddenly stops. + + A moment of silence. + + The whole building is now in a twilight of emergency + lighting. + + Then a sudden FEEDBACK WHINE comes over the block-wide + TANOY. + + Piercing. Rising fast to a deafening level, which echoes + around the atrium, making people jam their hands over their + ears ... + 38. + + + ... until it abruptly cuts out. + + And MA-MA'S voice comes in. + + MA-MA + Peach Trees. This is Ma-Ma. + + The statement hangs a moment. Everywhere, everyone is + frozen. + + MA-MA + Somewhere in this block are two + judges. I want them dead. And until + I get what I want, the block is + locked down. + + As she talks, we move around the atrium. Seeing the + confusion and fear on people faces. + + MA-MA + All Clan, every level, hunt the + judges down. Everyone else, clear + the corridors and stay the fuck out + of our way until the shooting + stops. If I hear about anyone + helping the judges, I'll kill them + and the next generation of their + family. + + She pauses a moment, to make sure the point is rammed home. + Then: + + MA-MA + As for the judges, sit tight, or + run. Makes no difference. You're + mine. + + The Tanoy cuts out. + + Now, all across the balconies, above and below, and from + the atrium floor, everyone single person is looking at + DREDD and ANDERSON. + + A beat. + + Then: + + DREDD + ... We'd better move. + + +108 INT. CORRIDOR - CONTINUOUS 108 + 39. + + +DREDD and ANDERSON move down a corridor, dragging KAY +behind. + +DREDD is talking into his radio. + + DREDD + Control, we have a situation + developing in Peach Trees. Request + immediate back-up. + +He gets only static back. + + DREDD + Control. Do you copy? + +Static. + + ANDERSON + (nervous) + My comms are down too. + + DREDD + The shielding transmissions must be + blocking our transmissions. + +As he says this, they turn a corner. + +Directly ahead is a posse of four CLAN, all armed. + + CLAN MEMBER + (shouts) + THEY'RE HERE! + +As DREDD, ANDERSON and KAY duck back behind the corridor, +the CLAN open fire. + +As the plasterwork around the corner erupts - + + DREDD + Anderson. Call it. + + ANDERSON + ... Sir? + + DREDD + You forgotten you're on assessment? + +A volley of shots almost destroys the corner they are +hiding behind. + + ANDERSON + (flustered) + 40. + + + Sir - multiple armed targets. + Minimal risk of collateral. Rapid + fire. + + DREDD + Rapid fire. + + On Dredd's command, a setting on DREDD'S gun changes. + + He spins back around the corner, and opens up. + + Rapid fire rounds rip through the air and punch into the + CLAN, mowing them down. + + DREDD + We'll head back for the med center. + This way. + + They take a side door into a stairwell. + + +109 INT. STAIRWELL - CONTINUOUS 109 + + In the stairwell, DREDD looks up. + + CLAN are coming from above. + + DREDD looks down. + + CLAN are coming from below. + + DREDD + Respirators. + + DREDD and ANDERSON pull respirators from their belts. + + DREDD + (to Kay) + Advise you hold your breath. + + From his utility belt, DREDD pulls out two grenades. + + He primes them and throws them. One up. One down. + + Gas plumes behind them as they arc through the air. + + +110 INT. STAIRWELL - CONTINUOUS 110 + + As DREDD and ANDERSON fight their way through the gas + cloud, and the choking, vomiting CLAN ... + 41. + + + ... CUT TO - + + +111 INT. JAPHET'S APARTMENT - CONTINUOUS 111 + + A man, JAPHET, with CLAN tattoos, is pulling apart his + kitchen. + + He has a BERETTA 9mm stuffed into the back of his trousers. + + JAPHET + Shit, shit, shit. + + He finds a box of bullets in the back of a drawer. + + Checks it. There are three rounds inside. + + JAPHET + Three fucking rounds! Is that all + we've got? + + JJAPHET takes out the clip and starts sliding in the + rounds. + + His fingers are shaking. + + His WIFE, watching from the kitchen doorway, holding a + horrified young baby, is watching, + + JAPHET'S WIFE + You're going to take on two judges + with an antique gun and three + bullets? + + JAPHET + They probably aren't even on your + level. + + JAPHET'S WIFE + Then just stay in here! Let the + others get them! + + JAPHET slides the clip home. + + JAPHET'S WIFE + Please, Japhet! + + JAPHET + What the fuck do you want me to do? + Call Ma-Ma and ask if I can sit + this one out? I'd be better off + fighting the judges. + 42. + + + JAPHET pushes past his wife. + + Then turns. + + Looks at her. + + JAPHET + Lock the door. Don't open it, + whatever happens. + + He's gone. + + JAPHET'S WIFE + (quiet) + Oh God. + + +113 EXT. CORRIDOR - CONTINUOUS 113 + + We track JAPHET as he runs down the corridor. + + As he runs, other CLAN are exiting from apartments, + carrying firearms of various types. + + MAN + (exiting apartment) + Japhet! + + JAPHET + Where we headed? + + MAN + Big Joe said the med center! + + +114 INT. OUTSIDE MEDICAL CENTER - CONTINUOUS 114 + + JAPHET and the others join up with the crowd gathering + outside the closed security doors of the MED CENTER. + + In the middle of the crowd is BIG JOE. + + BIG JOE is huge. He has a SAW machine gun in one hand and + an ammo box in the other. + + BIG JOE + I want the North and East corridors + totally covered! Sal is covering + West and South! Spread out the + hardware! + + BIG JOE lifts his SAW, and fires a burst into the ceiling. + 43. + + + BIG JOE + We're going to shoot these judges + into hamburger and hand them to Ma- + ma on a plate. + + CUT TO: + + +115 INT. DOORWAY- CONTINUOUS 115 + + On the other side of the area outside the MED CENTER, there + is a door. + + Slightly ajar. + + Through it, a sliver of JUDGE'S helmet. + + DREDD, observing the scene. + + +116 INT. ACCESS CORRIDOR - CONTINUOUS 116 + + DREDD and ANDERSON are hidden in an access corridor. + + Low lit. + + Utility pipework and wiring. + + KAY is behind them. Gagged and cuffed to a pipe. + + DREDD + We're going to have to go through + them. + + DREDD pulls back from the slightly open doorway. + + Checks his utility belt. + + DREDD + No gas grenades. Got any + flashbangs? + + ANDERSON + One. + + He looks back through the doorway. + + DREDD + Let's give them the bad news. + + +117 INT. OUTSIDE MEDICAL CENTER - CONTINUOUS 117 + 44. + + + TRACKING a small cylindrical object. + + Rolling along the floor. + + Under the legs of the citizen vigilantes. + + Until it comes to a stop - + + - under JAPHET. + + He doesn't see it, because his attention - and the + attention of all the vigilantes, is distracted by the sound + of DREDD'S voice. + + This words are amplified, as if through a loud hailer. + + DREDD'S VOICE + Citizens of Peach Trees. This is + the law. + + The vigilantes look around, trying to see where the noise + is coming from. + + DREDD'S VOICE + Disperse immediately, or we will + use lethal force to clear the area. + + CITIZEN + Where's that coming from? + + CITIZEN + Over there! + + ALL WEAPONS swing to the doorway behind which DREDD and + ANDERSON are hidden. + + +118 INT. ACCESS CORRIDOR - CONTINUOUS 118 + + DREDD and ANDERSON are pressed to the wall either side of + the doorway. + + DREDD is speaking into a mike, swung out of the inside + curve of his helmet. + + DREDD + You have been warned. You now have + twenty seconds to comply. + + +119 INT. OUTSIDE MEDICAL CENTER - CONTINUOUS 119 + 45. + + + BIG JOE, SAW trained on the doorway, shouts back. + + BIG JOE + It's you doing the complying, + judge. Twenty of us, two of you. + Come out from that doorway, or + we're blowing the shit out of you. + + DREDD + Ten seconds to comply. + + BIG JOE flips the safety. + + BIG JOE + You got five. + + +120 INT. ACCESS CORRIDOR - CONTINUOUS 120 + + DREDD + Thanks for the heads-up. + + In his hand, he depresses a small button on a hand held + device. + + +121 INT. OUTSIDE MEDICAL CENTER - CONTINUOUS 121 + + At JAPHET'S feet - + + - t~e FLASHBANG detonates. + + A blinding flash of light fills the space. + + As our vision returns, bleaching back from white-out + brightness, deafening tinnitus ringing in our ears... + + ...we can see DREDD and ANDERSON are already out of the + doorway. + + Guns blazing. + + And the CLAM MEMBERS are being shredded by the rain of + rapid fire. + + Before the effects of the flashbang have cleared, the CLAN + have been shot to the ground. + + CUT TO: + + ANDERSON. + 46. + + +She seems dazed by the sight of the carnage. + +The shattered bodies. The sprays of blood and bullet holes. + +She's looking at the one vigilante who is still alive. + +JAPHET. + +Blood pouring from the wounds in his stomach. Doubled up on +the floor. Kneeling. Still dazed. + +Seeing his BERETTA beside him. + +With slow, drunken coordination, reaching for it. + +Trying to bring it to bear on ANDERSON. + +ANDERSON keeps her gun levelled at JAPHET. + +But she doesn't fire. + +Instead, frozen, watches as JAPHET'S arm fails him. + +The gun remains only half-raised, Swaying. As if it is +heavy for him to lift. + +DREDD'S voice cuts in to ANDERSON'S reverie. + + DREDD + Anderson - what are you waiting + for? + +ANDERSON doesn't answer. + + DREDD + His crime is attempted murder of a + judge. His sentence is death. + +Beat. + + ANDERSON + (distant) + Sir. + +ANDERSON fires. + +JAPHET is hit in the head. + +He drops forward, and lands face down. + 47. + + + HOLD on DREDD a moment. Watching ANDERSON. His face is + expressionless, but we can tell: as far as ANDERSON'S + assessment goes, the balance just tipped against her. + + +122 INT. MEDICAL CENTER - CONTINUOUS 122 + + The PARAMEDIC is watching a monitor from behind his + security doors. + + On the monitor: + + ANDERSON is pulling KAY out of the access corridor. + + DREDD is walking over the bodies of the dead vigilantes, to + the video intercom. + + DREDD + Open up. + + In front of the PARAMEDIC is the door release mechanism. + But he makes no move for it. + + DREDD + (leaning into the camera) + Open up! + + PARAMEDIC + Negative, judge. + + DREDD + You know what's going on. We need a + place we can defend. + + PARAMEDIC + Then you'd better find somewhere + else. This is a medical facility. + Neutral ground. + + DREDD + You're not neutral. You're choosing + sides. + + PARAMEDIC + Peach Trees has been sealed by + blast doors designed to withstand + nuclear attack. No one is getting + out. No one is getting in. And you + have every Clan affiliate in the + block after your blood. + (shrugs) + You're already dead. There are no + sides. + 48. + + +123 INT. OUTSIDE MEDICAL CENTER - CONTINUOUS 123 + + DREDD walks to ANDERSON. + + KAY kneels a few feet away. + + DREDD + We're going to keep moving. + + They are out of KAY'S earshot, but he seems to know what's + happening. + + He smiles. + + ANDERSON + What about the perp? Are we keeping + him with us? + + DREDD + Explain. + + ANDERSON + ... Just that under the + circumstances, he's a liability. + + DREDD + Also a prime suspect in five + homicides. What do you say, rookie? + Want to cut him loose? + + ANDERSON + (chastened) + No, sir. + + +124 INT. LEVEL TWENTY FIVE/CORRIDOR - 124 + + KAY, with DREDD and ANDERSON either side of him, move down + a corridor. + + Echoing down the corridors, we can hear the voices and + shouts of CLAN, searching for the judges. + + DREDD + (quiet) + Switch weapon to silencer mode. + Minimum profile. Conserve + ammunition. Don't shoot unless + you're going to hit. + + They hit a button on their handguns, and a suppressor + slides out over the barrel. + 49. + + +Almost as soon as they have done so, at the far end of the +corridor, at a T-junction, we see three armed CLAN appear. + +They are not facing the judges. They appear to be talking +to someone out of sight around the junction corner. + +ANDERSON'S gun raises immediately - + +- but DREDD pushes her hand down. + +He pulls her into the recess of one of the apartment +doorways. + +DOWN THE CORRIDOR - + +- the three CLAN start to walk towards us. + +IN THE RECESS - + +DDREDD pushes himself flat, gun raised, waiting for the men +to draw parallel. + +We can hear their footsteps. + +Getting closer. + +But ANDERSON is doing something else. + +Her head suddenly tilts to the side - + +- as if she is listening. Hearing something through the +apartment doorway. + +Then stays motionless like that for a moment. + +Then - surprisingly, ANDERSON pushes the intercom buzzer. + + DREDD + (whispers) + What are you - + +She motions for him to be silent. + +Then whispers into the intercom. + + ANDERSON + Cathy? + +Beat. Then: + + WOMAN'S VOICE + (through intercom) + 50. + + + Who's that? + + The ARMED CITIZENS are now only a few feet away. + + ANDERSON + Cathy, open the door. + + Another beat. + + Then the door unlatches. + + Immediately, ANDERSON jams it open. + + +127 INT. JAPHET'S APARTMENT - CONTINUOUS 127 + + DREDD and ANDERSON push inside with KAY, throwing CATHY + back, and close the door behind them. + + As soon as we see CATHY, we recognize her as JAPHET'S wife. + + ANDERSON stops CATHY from screaming with her hand. + + ANDERSON + (quiet) + It's okay. We aren't going to hurt + you. + + DREDD watches through the spyhole as the ARMED CITIZENS + pass. + + A silent beat. + + DREDD + They're gone. + + He turns, looking at ANDERSON. She obviously just went up + in his esteem. + + DREDD + Secure the woman, somewhere where + she can't raise any alarms, and + we'll move on. + + ANDERSON + Sir - I don't think we can. She has + a baby. Joey. Asleep next door. + He's three weeks old. + + CATHY, wide-eyed with confusion and fear, nods. + + ANDERSON + 51. + + + We can't secure her if we don't + know when she'll get freed. + + DREDD + Where's her husband? + +ANDERSON gazes into CATHY'S eyes. Not looking into them. +Through them. + + ANDERSON + Out there. Looking for us. + +CATHY'S eyes open even wider. Awed and bewildered by +ANDERSON'S abilities. + + ANDERSON + She has something to say. + +ANDERSON removes her hand from CATHY'S mouth. + + ANDERSON + Go ahead, Cathy. + +CATHY keeps looking at ANDERSON, hyperventilating. + + CATHY + You. You're - How did you - + + ANDERSON + (cuts in) + Calm down. Just tell him what you + were thinking. + +CATHY takes a deep breath. Tries to control the tremor in +her voice. + + CATHY + I'm not raising any alarms. If the + men out there don't know where you + are, you won't be killing them. + + DREDD + Go on. + + CATHY + There's a service elevator near + here. The sign says it's broken, + but it works as long as you're + hitting a button above level forty. + +DREDD nods. + + DREDD + 52. + + + You've done the right thing, + citizen. + + CATHY + I just want you off my level. Away + from my family. + + +128 INT. LEVEL TWENTY FIVE/DOORWAY - CONTINUOUS 128 + + DREDD eases the door open. + + Checks each way down the corridor. + + DREDD + It's clear. Let's move. + + +129 INT. JAPHET'S APARTMENT - CONTINUOUS 129 + + DREDD leads KAY through the door into the corridor. + + ANDERSON is about to follow - + + - then stops dead. + + She's seen something. + + On the wall - a framed photo. + + CATHY, the BABY, and JAPHET. + + A terrible, frozen beat, as ANDERSON realizes that the man + she executed was CATHY'S husband. + + From the other room, the baby wakes, and starts to cry. + + ANDERSON looks back to CATHY. + + A moment between them. + + ANDERSON + Cathy, I - + + CATHY + (cuts in) + Don't thank me. It's not for you. I + just don't want to see you again. + + ANDERSON + (quiet) + You won't. + 53. + + +130 INT. LEVEL FIFTY/LOBBY - DAY 130 + + An armed CLAN MEMBER stands guard in a lobby. + + The glowing wall stencil reads LEVEL 50. + + Behind him is the service elevator. A sign in front of it + reads: out of order. + + But - PING. + + The elevator just arrived. + + The CLAN MEMBER turns as the doors open. + + And sees DREDD pointing a gun right at his head. + + The next moment, the CLAN MEMBER drops, shot silently, + right between the eyes. + + CUT TO: + + +132 INT. CCTV IMAGES - CONTINUOUS 132 + + - a CCTV image of the dead CLAN MEMBER, crumpled on the + floor by the service elevator. + + CLAN TECHIE + (O.S.) + We've got one here. + + CUT TO: + + - the strewn bodies outside the med center. + + CLAN TECHIE (O.S.) + Maybe twenty outside the med + center. + + CUT TO: + + - the bodies in the stairwell. + + CLAN TECHIE (O.S.) + Eight in the stairwell. + + CUT TO: + + - the bodies in the corridor. + + CLAN TECHIE (V.O.) + 54. + + + And another five on level eighteen. + + CUT TO: + + +133 INT. MA MA'S BASE/CCTV ROOM - CONTINUOUS 133 + + - the bank of monitors on which these images are being + shown. + + Watching these images, over the shoulder of the CLAN + TECHIE, is MA-MA and her BODYGUARDS. + + CLAN TECHIE + They've downed thirty plus, and + haven't even taken a scratch. + + MA-MA + Where are they now? + + The CLAN TECHIE points to the monitors. + + CLAN TECHIE + These bodies are from level forty + six and forty eight, but - + + The CLAN TECHIE breaks off. + + CLAN TECHIE + Wait - I just picked them up. Level + Fifty, West Quadrant. + + He points them out on the monitor. Zooms in the image. + + CLAN TECHIE + Do you want me to hook you up to + the Tanoy? We could get level forty + through sixty converging on them. + + MA-MA processes. Quickly. + + MA-MA + No. Can you seal them in there? + + CLAN TECHIE + Nuke override gives me full control + of the building. + + The CLAN TECHIE starts tapping in commands to his console. + + CLAN TECHIE + 55. + + + There. I just triggered the fire + protocols. All doorways to + stairwells, elevator shafts, and + access corridors are all sealed. + Full lockdown. They're going + nowhere. + + MA-MA nods. + + MA-MA + They're in the West quadrant, so I + want three miniguns set up on the + East. + + Tight on MA-MA. The ice in her eyes. + + MA-MA + I tried to do this clean. But they + wouldn't let me. So now we do it + messy. + + CUT TO: + + +134 INT. LEVEL FIFTY/LOBBY - CONTINUOUS 134 + + DREDD, ANDERSON and KAY stop in their tracks, as all around + them, in a strange ripple of sound, all the doorways are + locking. + + The noise starts from down the corridor, then passes over + them like a wave, and continues away from them. + + Then a computerized voice comes over the Tanoy. + + TANOY + Warning. Warning. Fire containment + protocol initiated. All citizens + remain in your apartments until + further notice. + + DREDD + This isn't good. + + DREDD'S gaze flicks to the CCTV camera in the corner of the + lobby. + + He knows the Clan are watching. + + He lifts his gun and - + + CUT BACK TO: + 56. + + +135 INT. MA-MA'S BASE/CCTV ROOM - CONTINUOUS 135 + + - fires. + + The monitor image goes dead. + + MA-MA + Too late, Judge. + + MA-MA lifts her handset. + + MA-MA + Caleb, come in. + + +136 INT. PEACH TREE CONTROL ROOM - CONTINUOUS 136 + + CALEB lifts his radio. + + CALEB + Here, Ma. + + MA-MA + We've got them cornered. We're + taking them down, right now. + + +137 INT. LEVEL FIFTY/CORRIDOR - DAY 137 + + A blast door covers the entrance to a stairwell. + + DREDD is checking it out. + + DREDD + We'll need oxyacetylene to even + make a dent. + + ANDERSON looks around. + + They are in a long corridor, with further corridors leading + off. There is no cover, except the shallow recesses of the + doorways. + + ANDERSON + Why aren't they coming? They know + where we are. + + DREDD + Not sure. + 57. + + + He lifts his gun and shoots out the ceiling lights of the + section of corridor they are in, leaving this section of + the corridor in darkness. + + DREDD + (to Anderson) + You'll see anyone coming before + they see you. It'll give you a + chance. + + ANDERSON + Where are you going? + + DREDD + To find out what they're up to. + + He starts to walk away. + + Then stops and looks back. + + DREDD + If I don't come back, and you get + cornered, you might not want to be + taken alive. + (beat) + Your call. + + ANDERSON + ... Sir. + + DREDD turns and goes. Leaving ANDERSON alone with KAY, in + the darkness. + + +139 INT. LEVEL FIFTY/CORRIDOR - CONTINUOUS 139 + + DREDD moves cautiously down a corridor. + + The corridor is empty. + + As he walks down, we cut to the interiors of the apartments + ... + + +141 INT. LEVEL FIFTY/APARTMENTS - CONTINUOUS 141 + + ... and see the lives inside. + + The people. The families. + + This is the reality of the world inside Peach Trees. Normal + people, managing as best they can. + 58. + + + And right now, they are silent. Frightened. Huddled. + Fathers with a hand on the shoulder of teenage daughters. + Mothers trying to keep babies from crying. + + Because on their security monitors, and through the fish- + eye lenses of the spyholes on their doors, they can see the + JUDGE passing by outside. + + They know trouble is coming. + + +142 INT. LEVEL FIFTY/CORRIDOR - CONTINUOUS 142 + + DRE0D turns a corner. + + Ahead, he can see where the next section of corridor ends + ... + + .. . at the ringed balcony around the atrium. + + +143 INT. LEVEL FIFTY/DARK CORRIDOR - CONTINUOUS 143 + + ANDERSON waits with KAY. + + KAY is sat on the floor, hands still cuffed behind his + back. + + ANDERSON'S gaze is flicking between the two lit ends of the + corridor. + + KAY'S gaze is on only ANDERSON. + + His tongue wets his lips. + + Then, after a few moments - + + KAY + He's right, you know. + + ANDERSON reacts. Partly because KAY has broken his silence. + Partly because of what he's said. + + KAY + About not wanting to be taken + alive. + (beat) + The stuff the Clan would do to a + girl like you ... + (shakes his head) + Nasty. + 59. + + +Beat. + + KAY + I mean, there was this one time, we + got a girl about your age and - + (he breaks off) + Well anyway. I'm just saying. Save + the last bullet for yourself. + + ANDERSON + If I do, I'll save the second from + last bullet for you. + +KAY smiles to himself. + +She's made a mistake. By attempting to show that she isn't +getting rattled, she has in fact shown that she is. + + KAY + Sure. + +Beat. + + KAY + So - you're a mutant. I've heard + about your kind. Psychics, right? + +Beat. + + KAY + Kind of hard to believe it's real. + Like - what am I thinking about + right now? + +ANDERSON turns and gazes at him evenly, determined to show +he can't get to her. + + ANDERSON + You're picturing a violent sexual + liaison between the two of us in an + pointless attempt to shock me. + +KAY raises his eyebrows. + + KAY + You're good. + (beat) + But I wasn't trying to shock you. + If I'd been trying to shock you, + I'd have thought of this. + +ANDERSON suddenly winces at the image he had dropped on +her. + 60. + + + Then - snaps. + + She lashes out with her fist. + + Catches KAY full in the face, and drops him. + + ANDERSON + What are you thinking about now? + + Through bloody and busted lips, KAY looks up at her and + smiles. + + He might be bleeding and cuffed, but the victory in this + encounter is his. + + +144 INT. ATRIUM - CONTINUOUS 144 + + We are spiraling up through the levels, to level fifty. + + At level fifty, we find DREDD pressed to the wall of a + corridor, as it exits on to the West quadrant of the + interior balcony. + + The camera continues its spiral motion, but remains at + level fifty, to reveal to the East quadrant. + + Directly opposite the West. + + As three MINGUNS appear over the balcony rail. + + Each with six rotating barrels, electric driven, air- + cooled, firing six thousand rounds a minute. + + Behind the machine guns are MA-MA, her BODYGUARDS, CALEB, + and his men. + + CUT TO: + + DREDD. + + DREDD + ... Damn. + + CUT TO: + + MA-MA. + + MA-MA + Fire. + + CUT TO: + 61. + + + DREDD. + + Sprinting back down the corridor. + + Back to ANDERSON. + + As the miniguns open up. + + CUT TO: + + +148 INT. LEVEL FIFTY MASSACRE - CONTINUOUS 148 + + - a staggering shooting sequence. + + The tracer rounds from the miniguns create an effect like a + continuous streak of light. + + Their effect on the Western quadrant is like a band-saw + cutting through the building. + + Shredding and ripping through walls and doors. Through + apartments. Annihilating everything inside. + + Objects. Pets. People. All destroyed. All vaporized in + clouds of blood and glass and dust. + + MA-MA is sacrificing the entire Western community of level + fifty in order to be sure of killing the judges and KAY. A + micro-genocide. + + And sprinting just ahead of the wave of destruction, DREDD. + + Shouting to ANDERSON. + + DREDD + Get down! + + +149 INT. ATRIUM/LEVEL FIFTY/EASTERN BALCONY - CONTINUOUS 149 + + Behind the miniguns, MA-MA and her men are electrified by + the level of destruction they are causing. + + Jaws open. Laughing. Howling. Inaudible over the roar of + the gunfire. + + +151 INT. LEVEL FIFTY MASSACRE - CONTINUOUS 151 + + Deafening noise. Smoke and dust. Sparks Streaks of tracer. + Darkness. + 62. + + + DREDD, ANDERSON and KAY are crawling on their bellies. + + Bodies flash past them. Civilians running. + + Some are cut down, or cut in half, by the gunfire. + + DREDD, ANDERSON and KAY scramble to shelter behind a thick + upright concrete pillar - + + - which immediately starts to erode under the hail of + bullets. + + The pillar isn't going to last long, and there is nowhere + left to run. + + Then - on the wall opposite them, taking the full force of + the rounds - a single point of BRIGHT LIGHT appears through + the smoke and dust. + + DREDD sees it. + + Lifts his gun. + + DREDD + Hi-Ex! + + The setting on DREDD'S gun changes. + + DREOD fires at the single point of light. + + And the high explosive round blows a massive hole in the + wall, through which BRIGHT LIGHT floods through. + + DREDD + GO! + + DREDD rises, driving KAY ahead of him, running into the + light. + + ANDERSON follows. + + And as she goes through, CUT TO - + + +152 EXT. PEACH TREE BLOCK/LEVEL FIFTY - CONTINUOUS 152 + + - the exterior of Peach Trees. + + ANDERSON has exited into thin air. + + The brightness is revealed as daylight. DREDD has blown a + hole in the side of the building. + 63. + + + ANDERSON starts to fall - + + - but not fifty stories to ground. + + Only a couple of metres - to the SKATEPARK. + + Where the SKATERS stand, awestruck, as just above them, + tracers fire rips through the hole in the side of Peach + Trees. + + CUT BACK TO: + + +152A INT. ATRIUM/LEVEL FIFTY/EASTERN BALCONY - CONTINUOUS 152A + + - the three miniguns. + + Which, one by one, run out of ammunition. + + The roar of gunfire is replaced by ratchet clicks as the + smoking barrels keep rotating for a few moments. + + Then come to a stop. + + Leaving silence. + + MA-MA and CALEB stare across the atrium at the destruction + opposite. + + CALEB + I think we got 'em. + + CUT BACK TO: + + +153 EXT. PEACH TREE BLOCK - CONTINUOUS 153 + + - wind clearing the smoke on the outside of the building. + + Revealing DREDD, ANDERSON, KAY and the SKATERS in the + skatepark. + + DREDD'S radio suddenly fuzzes into life. + + CONTROL + (over radio) + Responders in vicinity of block Tom + Frame. Small arms fire reported in + shopping zone. + + DREDD and ANDERSON react. + 64. + + + ANDERSON + The radios + are working! + + DREDD lifts his glove to speak into his radio. + + DREDD + Control. Do you read me? + + CONTROL + (over radio) + Affirmative. + + DREDD + 10-24 on my GPS. We are under fire + and need immediate assistance. + + CONTROL + (over radio) + Copy, 10-24. Your location is + showing as Peach Trees, Sector + Thirteen. Confirm. + + DREDD + Confirm. Be advised, nuke defenses + have been triggered in order to + seal the building. + + CONTROL + Can you hold your current GPS? + + DREDD glances over the ledge at the precipitous drop. + + DREDD + Negative. If they come for us, + we've got nowhere to go. Have to + keep moving. + + CONTROL + (over radio) + Copy that. Just stay alive. Back up + is on its way. + + +154 INT. LEVEL FIFTY/CORRIDOR - DAY 154 + + A blast door raises - + + - revealing CALEB and five heavies on the other side. + + +156 INT. LEVEL FIFTY/REMAINS OF WEST QUADRANT- CONTINUOUS 156 + 65. + + + CALEB and his men step into the rubble of what was the West + Quadrant of level fifty. + + In the hanging dust, they can't see more than ten metres + ahead of them. + + Ahead of them, a glowing band of light shows where the + exterior wall once was. + + Half poking through the rubble at their feet are the + mangled remains of the people and families who have been + slaughtered. + + HEAVY 2 + No way they survived. + + CALEB + They're not dead until we find them + dead. + + At CALEB'S feet, an extremely badly damaged body is + resting. + + CALEB + Or part of them anyway. + + They fan out, keeping their guns raised. + + +158 INT. LEVEL FIFTY/REMAINS OF WEST QUADRANT- CONTINUOUS 158 + + We are looking back at CALEB and his men as they cautiously + move forwards. + + So we see what CALEB and his men don't. + + Barely visible through the dust, a dark shape appears + fleetingly behind them. + + Then - + + - one of the five HEAVIES suddenly jerks backwards, out of + sight, as if yanked by an invisible wire. + + A couple of beats later, a second HEAVY vanishes exactly + the same way. + + CALEB now has only three men with him, and he doesn't even + realize it yet. + + But one of his surviving HEAVIES does. + 66. + + + HEAVY 3 + (looking round) + Hey - where's the others? + +CALEB and the others all turn. + +They see the missing space where the men had been. + +But don't see - + +- what's happening to HEAVY 3. + +HEAVY 3 would shout out in alarm, if DREDD'S right hand +wasn't closed around his mouth. + +The man's head is snapped sideways. Neck broken. + +And HEAVY 3 is pulled from view ... + +... a beat before CALEB looks round, and sees that another +of his men has gone. + +Immediately, the remaining three men panic. + +They open up with their weapons, aiming wildly all around +them. But in the heavy dust, they're firing blind. They're +shooting at a ghost. + +They keep the fire sustained, emptying their clips. + +After the gunfire, a silent beat as they hurriedly reload. + + HEAVY 5 + (panicky) + This is fucked up. How did he do + that? There's only three of us + left! + +But there isn't. + +There's two. + +Somehow, during the firing, HEAVY 4 was spirited away. + +It's all happened so fast. + +Only CALEB and HEAVY 5 are left. + +And as if in answer, a red bullet hole from a silenced +round punches in the middle of HEAVY S's forehead. + +Then his knees give way, and he drops. + 67. + + + CALEB + (quiet) + Ma. + + +160 INT. ATRIUM/LEVEL FIFTY/EASTERN BALCONY - CONTINUOUS 160 + + The dust cloud is slowly drifting into the atrium from the + wreckage of the level fifty Western quadrant. + + Out of the dust cloud, into the thin air of the atrium, a + body is ejected. + + It's CALEB. + + Screaming, as he starts the fifty storey fall down to the + ground level. + + Reveal - + + - MA-MA watching, as CALEB drops out of sight. + + Silence. + + Then, out of MA-MA'S mouth, a howl of rage. + + +164 INT. ATRIUM - CONTINUOUS 164 + + MA-MA'S howl seems to echo down the atrium, reverberating + through the entire building. + + +165 INT. CORRIDOR - CONTINUOUS 165 + + The sound of MA-MA'S howl is becoming mingled with another + noise. + + Not a howl of rage. A scream of pain. + + We close in on the source of the scream. + + Which turns out to be KAY'S mouth. + + And he's screaming, because DREDD is propelling him down + the corridor, with his wrist twisted behind him in a nasty + looking pressure hold. + + ANDERSON follows behind. + 68. + + + Something in DREDD'S manner feels different. In his body + language, the speed he's moving, his total lack of + concession for KAY'S pain - he's not fucking around. + + They pass an apartment with the door broken off its hinges. + + Inside, it is a burned-out shell, long abandoned. + + DREDD stops. + + DREDD + This'll do. + + +166 INT. ABANDONED APARTMENT - CONTINUOUS 166 + + KAY is thrown inside. + + Landing hard, face first. Unable to break his fall because + his hands are cuffed behind his back. + + DREDD jams the door to the apartment closed. + + Then turns to KAY. + + DREDD + Homicide investigation, busting a + narcotics den, bringing in a + suspect for interrogation. Any + other block in Mega city One, it's + routine. In Peach Trees, it's war. + + KAY says nothing. Just spits blood, and gazes back at + DREDD. + + DREDD + Your gang locks down the whole + block. Massacres an entire quadrant + of men, women, children. Just to + take out two judges. Sound like + overkill to you? + + DREDD upholsters his weapon. Checks the clip. + + DREDD + Tell you what I think. If we'd + executed you in the bust, Ma-Ma + would have let us walk out of here. + + KAY reacts slightly. DREDD'S on the money. + + DREDD + 69. + + + What she doesn't want is you taken + back to the sector house and + interrogated. Because she's afraid + of what you might say. + (beat) + That's got me curious. + + DREDD steps over to KAY, yanks his hair back, and puts the + muzzle against KAY'S head. + + DREDD + Start talking. + + KAY + Fuck you. + + ANDERSON + Sir. + + DREDD hesitates. + + ANDERSON + If you leave it to me, he doesn't + have to talk. + + CUT TO: + + +167 INT. ABANDONED APARTMENT - DAY 167 + + KKAY is kneeling on the floor, with his hands plastic- + cuffed behind his back. + + ANDERSON is standing opposite him, looking down. + + DREDD is watching. + + KAY + What are you up to, bitch? + + ANDERSON doesn't respond, except to close her eyes. + + And as she does so - + + - DREDD and surrounding walls of the abandoned apartment + melt away. + + Leaving just her and KAY alone, in a dark, undefined space. + + +168 INT. UNDEFINED SPACE - CONTINUOUS 168 + 70. + + +ANDERSON opens her eyes again. + +KAY looks around. + +The walls and substance of the space are constantly +shifting, never quite resolved. + + KAY + What the - + + ANDERSON + Welcome to the inside of your head. + +She glances around. + + ANDERSON + Kind of empty. + +KAY looks a little weirded out. + + KAY + I don't know what fucked up mutant + shit this is, but if I wasn't + cuffed I'd - + + ANDERSON + (cuts in) + You aren't cuffed. Do what you + like. + +KAY frowns. + +CUT TO his plastic-cuffed hands. + +Exploratory, he pulls his wrists apart ... + +... and the cuffs fall away, as if they were never there. + +A beat. + +Then KAY stands. + +Puts his hands in front of him. + + KAY + Huh. + +He smiles nastily. + + KAY + My head. Do what I like. + 71. + + + ANDERSON + Sure. + +KAY reaches out with his hand - + +- and ANDERSON'S weapons suddenly springs out her holster, +into his waiting palm. + +Immediately, without any delay or ceremony, he lifts the +gun, and fires a volley of shots at point blank range into +ANDERSON'S face. + +And when the last muzzle flash has faded, and the smoke has +cleared, ANDERSON stands before him, just as before, +unscathed. + + ANDERSON + Thinking about hurting me doesn't + actually hurt me. + + KAY + Oh. Yeah. Point to you. + +He tosses the gun. + + KAY + Except - there is that thing. That + thing we already established. + + ANDERSON + What thing was that? + + KAY + That I know how to freak you the + fuck out. + +When we cut back to ANDERSON, her uniform has vanished - +leaving her completely naked. + + KAY + See, if we're talking about my + fucked-up head versus your fucked- + up head ... + +As he's talking, an invisible force compels ANDERSON to a +kneeling position in front of him. + + KAY + ... your fucked-up head is going to + lose. + +KAY unzips himself. + 72. + + + KAY + Speaking of head. + +WE CLOSE ON KAY'S UPPER BODY. + +He laughs. + + KAY + Figured that would shut you up. + Gives me a moment to think up + something really - + + ANDERSON (O.S.) + Hey. + +KAY jumps. + +ANDERSON'S voice came from over his shoulder. + +His head turns, and he sees her. She's back in uniform, and +standing directly behind him. + + ANDERSON + Guess what? + (into Kay's ear) + I can play mind games too. + + KAY + What the - + +KAY'S head turns again, to see who is felating him - + +- and SHOUTS with alarm. + + KAY + Fuck! + +The naked woman felating him is MA-MA. + +KAY pulls back like a scalded cat. + + KAY + Aaaagh! Fuck! Jesus! FUCK! You sick + bitch! + +ANDERSON spins him round. + + ANDERSON + Sick? We haven't even started. + + CUT TO: + 73. + + +170 INT. ABANDONED APARTMENT - CONTINUOUS 170 + + - stillness and quiet in the abandoned apartment. + + From what DREDD can see, there is no indication of the + strange battle of wits between ANDERSON and KAY. + + They are both in the same positions they were in + previously. + + KAY kneeling with his hands cuffed. + + ANDERSON standing in front of him. + + Both with their eyes closed. + + The calm moment is sustained. + + Then, abruptly, KAY pisses himself. + + As the dark stain spreads across his trousers, ANDERSON + opens her eyes and looks at DREDD + + ANDERSON + Peach Trees is the manufacturing + base for all the slo-mo in Mega + City One. Ma-Ma is controlling the + production and distribution across + the whole city. + + KAY'S looks down at the puddle on the floor, then up at + ANDERSON. + + In KAY'S eyes, it's pure hatred. + + DREDD + Interesting. + + CUT TO: + + +171 INT. MA-MA'S BASE/CONTROL ROOM - DAY 171 + + The CLAN TECHIE looks under even more pressure than usual. + He's shaking with fear. + + MA-MA is leaned over behind him, with her head + uncomfortable close to his, and her right arm around his + torso. + + On the monitor in front of him, we can see the exterior of + the South Entrance. + 74. + + +And standing by the closed blast-door are three judges. + + CLAN TECHIE + But Ma, please - they're Judges! I + can't refuse them entry! They can + go where ever they like! + +REVEAL that MA-MA is holding a knife across the CLAN +TECHIE'S stomach. Ready to cut. + + MA-MA + If you want to keep your insides + in, you better keep the Judges out. + So I guess you'd better think of + something fast. + +The CLAN TECHIE takes a steadying breath. + +Then flicks a switch on the console and speaks into his +headset. + + CLAN TECHIE + Peach Trees. Can I help you? + +On the MONITOR, one of the judges speaks into the intercom. + + JUDGE + (over intercom) + We're responding to a report of + judges under fire from within this + block. + + CLAN TECHIE + Judges under fire? I'm not aware of + any such activity. We're actually + under a scheduled nuke defense test + ... + + JUDGE + (over intercom) + Not any more you're not. Open the + blast door right now. + +Sweat rolls down the TECHIE'S face. But he keeps his voice +under control. + + CLAN TECHIE + Yes, sir. The problem is, we have a + software malfunction and we've lost + control over the system. We've had + a fire on level forty ... + 75. + + + The JUDGE glances upwards, to the hole DREDD blasted in the + side of the building. + + JUDGE + (over intercom) + You'd better get control. Fast. Or + I'm slapping you with an + obstruction of justice charge. Five + years in the cubes, mandatory. + + CLAN TECHIE + Will do, sir. On it right now. + + The CLAN TECHIE hits the disconnect button and pulls his + headset off. + + Wipes his hand over his mouth. + + Then glances round at MA-MA nervously. + + Beat. + + MA-MA + Good. + + CUT TO: + + +172 INT. CORRIDOR - CONTINUOUS 172 + + - a ten year-old boy, standing in the corridor on which the + abandoned apartment is situated. + + The KID points with his index finger. + + KID + They went that way. All the way + down. Then went in to three-four- + nine. + + Behind the KID are two CLAN. They are AMOS and FREEL. + + AMOS + You sure it was them? + + KID + They walked right past my door. Two + judges and one of the clan. He was + screaming. I think one of the + judges was breaking his arm. + + FREEL + 76. + + + Shit. Why'd have to be us that + found them? + + AMOS + (to the kid) + All right, Joey. Run back home. And + stay there. + + The KID legs it. + + AMOS + Okay. Let's do it. + + AMOS and FREEL raise their guns, and start making their way + down the corridor. + + ON THEIR FACES - + + - we can see how nervous they are. Bright beads of sweat on + the top lips. Eyes darting. + + Then, from ahead down the corridor, from the doorway of the + abandoned apartment, a CLICK of a door opening. + + CUT TO: + + +174 INT. CORRIDOR - CONTINUOUS 174 + + - DREDD exiting from the abandoned apartment, into the + corridor. + + He looks left and right ... + + ... and the corridor is empty. + + DREDD + Clear. + + ANDERSON, leading KAY ahead of her, follow. + + CUT TO: + + +175 INT. CORRIDOR/DOORWAYS - CONTINUOUS 175 + + In the recess of two doorways, opposite each other in the + corridor, AMOS and FREEL are hiding. + + They whisper to each other: + + AMOS + 77. + + + Why didn't you shoot them? + + FREEL + Why didn't you? + + AMOS peeks around the recess - and sees the judges and + their prisoner, walking away from them. + + AMOS + We could do it now. + + FREEL + Go on then. + + AMOS looks back around the recess - + + - and the corridor is empty. + + The judges have gone. + + AMOS + Shit. + + AMOS wipes the sweat off his face with the back of his + sleeve. + + AMOS + Come on. + + +176 INT. CORRIDOR - CONTINUOUS 176 + + DREDD, ANDERSON and KAY move down the corridor away from + the abandoned apartment. + + DREDD + We have new intel about Ma-Ma, and + we've managed to get a 10-24 call + to Control. Parameters are + shifting. What are our options, + rookie? + + ANDERSON + Find a position to defend, or keep + moving and attempt to avoid further + detection. Sarne as before. Except + now at least we know back-up is + inbound. + + DREDD + Two options. + + ANDERSON + 78. + + + Yes, sir. + + DREDD + What about we head straight for Ma- + Ma. + + ANDERSON + ... Is that an option? + + DREDD + She's guilty. We're judges. + + ANDERSON + Sir - if back-up is inbound we + should wait until the odds have + shifted in our favor. + + Beat. + + ANDERSON + ... Wrong answer? + + DREDD + You're the psychic. + + ANDERSON glances at DREDD. + + Beat. + + Then looks away. + + +177 INT. SHOPPING ZONE - CONTINUOUS 177 + + Ahead of them, the corridor widens into a lobby area. + + It's a mini-shopping zone - like the clusters of shops at + the bases of large estate tower blocks. Metal grills over + the windows. Everything covered in the ubiquitous graffiti. + + The shops are all abandoned or closed. + + Set into the wall is a machine that looks like a large cash + dispenser. It is in fact a BLOCK INFO POINT. + + There is also an elevator door. + + DREDD + Wait. Map point. Let's get + bearings. + + DREDD approaches the INFO POINT. + 79. + + +Taps the console. + +Surprisingly, it works. + +He taps the screen. + +Brings up a map of the block, similar to the map we saw in +the med center. + +He rotates the map. + +A flashing marker reads: YOU ARE HERE. + +They are about half up the block. + +AT THAT MOMENT - + +- AMOS and FREEL make their move. + + AMOS + FREEZE! + +DREDD looks round. + +By the entrance to the lobby, AMOS and FREEL are standing +with their guns aimed respectively at DREDD and ANDERSON. + +A beat. + +DREDD sees - the fear in their eyes. The sweat. The shake +in their hands. + + CUT TO: + +- KAY, who is standing beside ANDERSON with his hands +cuffed behind him. Next to the elevator control panel. + + CUT BACK TO: + +- DREDD. + + DREDD + Why? + + AMOS + Why what? + + DREDD + Why should I freeze? + +AMOS is momentarily thrown. + 80. + + + AMOS + ... Because otherwise I'll shoot + you. + + DREDD + With the safety catch on. + +AMOS'S eyes flick to the safety catch of his gun. + +Which is, in fact, off. + + AMOS + It isn't - + +The words dry up. + +In the brief instant that AMOS and FREEL glanced at their +weapons, DREDD and ANDERSON have drawn their own guns, and +are pointing them back at AMOS and FREEL. + + DREDD + Drop the weapons. + +AMOS gulps. + + DREDD + You aren't killers. If you were, + you'd have shot us already. Put the + guns down, and you get to live. + + CUT TO: + +- KAY. + +Who can see the way this is about to go. + +And now makes his move. + +The following + +action is fast and fluid. A surprise. + +KAY'S hands are cuffed behind him. + +In a contortionist's move, KAY DISLOCATES HIS LEFT +SHOULDER, then sweeps his looped arms over his head. + +Now, like magic, his cuffed hands are in front of his body. + +It's an amazing trick, + +for the right moment + 81. + + +and he's obviously been waiting + +to do it. + +ANDERSON is reacting + +to KAY'S move - + +- but she's too slow. KAY has grabbed her gun, forced his +finger over her trigger finger, and jammed the aim in +DREDD'S direction. + +The following action is fast and fluid. A surprise. + +KAY'S hands are cuffed behind him. + +In a contortionist's move, KAY DISLOCATES HIS LEFT +SHOULDER, then sweeps his looped arms over his head. + +Now, like magic, his cuffed hands are in front of his body. + +It's an amazing trick, and he's obviously been waiting for +the right moment to do it. + +ANDERSON is reacting to KAY'S move - + +- but she's too slow. KAY has grabbed her gun, forced his +finger over her trigger finger, and jammed the aim in +DREDD'S direction. + +And now ANDERSON'S gun is firing. + +DREDD dives for cover. + +Almost simultaneously, panicked by the sudden explosion of +action, AMOS and FREEL open fire. + +DREDD rolls to upright position and returns fire. + +AMOS and FREEL are dropped by rapid rounds that stitch +across them and the wall behind. + +And when DREDD brings his gun to bear on where ANDERSON and +KAY should be - + +- he sees KAY has twisted ANDERSON'S gun back against her +head, and is backing into the now open elevator doors. + +A glimpse between DREDD and ANDERSON. + +Then the elevator doors close. + 82. + + +182 INT. ELEVATOR - CONTINUOUS 182 + + The elevator is rising. + + Still gripping ANDERSON, KAY slams his shoulder against the + side of the lift, popping it back in to place. + + Looks unbelievably painful, but KAY deals with it. + + KAY + Wow. + + KAY pushes the gun harder against ANDERSON'S head. + + KAY + You are so fucked. + + +183 INT. SHOPPING ZONE/LIFT SHAFT - CONTINUOUS 183 + + DREDD forces open the outer doors to the elevator, and + looks up the lift shaft. + + Far above, he can see the lift car, rapidly ascending. + + +185 INT. SHOPPING ZONE - CONTINUOUS 185 + + Outside, in the lobby, we can see the digital display show + the position of the lift. + + The numbers rise - all the way up to 200. + + Then stop. + + A beat. + + +186 INT. SHOPPING ZONE/LIFT SHAFT - CONTINUOUS 186 + + High above, a noise floats down the lift shaft. + + It sounds at first like a scream. + + As if it might be ANDERSON. + + But there's something weird about the noise. + + It takes us a moment to realize, it is in fact the sound of + metal, rending and tearing. + 83. + + +187 INT. SHOPPING ZONE - CONTINUOUS 187 + + The numbers on the digital display start descending again, + at an accelerating rate, much faster than before. + + +188 INT. SHOPPING ZONE/LIFT SHAFT - CONTINUOUS 188 + + DREDD pulls back just in time to avoid being struck by the + plummeting lift car. + + It continues down, severed cabled whipping through the air, + all the way to the bottom. + + CUT TO: + + +189 INT. MA MA'S BASE - CONTINUOUS 189 + + - KAY. Back on home turf - and a hero. Dragging ANDERSON + through a group of CLAN, who are cheering the capture of + one of the judges, and slapping KAY on the back. + + KAY throws ANDERSON to the floor. + + KAY + Now then. What am I going to do + with you? + + MA-MA + You're going to do nothing. + + KAY turns. + + Sees, coming through the CLAN, MA-MA and her BODYGUARDS. + + MA-MA + All this trouble is your doing. + When you got busted, you should + have killed the judges or been + killed yourself. But instead, you + let yourself get taken. Like the + dumb fuck you are. + + KAY + But - + + MA-MA silences him with a vicious blow from the back of her + hand. + + MA-MA + 84. + + + Shut the fuck up. I'd kill you + myself, but I already lost plenty + today, and I can't afford to lose + more. + +MA-MA turns to ANDERSON. Looks her up and down. + + MA-MA + Sooner or later, the justice + department is going to come through + the blast doors, looking for their + judges. And they'll find their + bodies, all shot up. One on level + fifty five, and one in the slo-mo + den they took down. Just a bust + that went wrong. + +MA-MA'S hand reaches back, and closes around KAY'S hair, +allowing her to yank his head close to hers. + + MA-MA + That means no torture. No raping. + No skinning. Just a bunch of + bullets in the head and chest. You + understand me? + +KAY hesitates. + +MA-MA'S fist tightens so hard we can see the hairs getting +pulled out of KAY'S head. + + MA-MA + Do you fucking understand me? + + KAY + Yes. + + MA-MA + Good. + +AT THAT MOMENT- + +- a CLAN MEMBER arrives. + + CLAN MEMBER + Ma, + +MA-MA turns. Wipes stray hairs from her hand. + +The guy looks worried. + + CLAN MEMBER + You'd better come quick. + 85. + + +191 INT. MA MA'S BASE/CCTV ROOM - CONTINUOUS 191 + + MA-MA, followed by KAY, enters the CCTV room. + + The CLAN TECHIE is hurriedly working his console. + + MA-MA + Now what? + + CLAN TECHIE + It's the other judge. He's patched + himself in to one of the terminals. + I think he's trying to access the + Tanoy. + + MA-MA + Can't you stop him? + + CLAN TECHIE + I can shut down the whole system. + But if we let him talk, I can trace + which terminal he's using. We'll + know exactly where he is. + + On cue, over the Tanoy, DREDD'S VOICE cuts in. + + DREDD'S VOICE + Inhabitants of Peach Trees. This is + Judge Dredd speaking. + + The CLAN TECHIE looks back to MA-MA. + + MA-MA + Let him talk. + + +192 INT. ATRIUM - CONTINUOUS 192 + + DREDD'S VOICE echoes down the whole atrium. + + All around the balconies and apartments, the citizens, many + of them armed, listen. + + DREDD'S VOICE + In case you people have forgotten: + this block operates under the same + rules as the rest of the city. Ma- + Ma is not the law. I am the law. + + CUT TO: + + - MA-MA and KAY walk out on to the top level balcony. + 86. + + + DREDD'S VOICE + Ma-Ma is a common criminal. + + On MA-MA'S FACE: + + DREDD'S VOICE + Guilty of murder. Guilty of the + manufacture and distribution of the + narcotic known as slo-mo. + + MA-MA'S head snaps round to KAY. + + The look in her eyes silences him. + + DREDD'S VOICE + And as of now, under sentence of + death. + + CUT TO: + + - groups of armed citizens. + + DREDD'S VOICE + Any who obstruct me in carrying out + my duty will be treated as an + accessory to her crimes. You have + been warned. + + The armed citizens exchange glances. + + CUT TO: + + MA-MA. + + DREDD'S VOICE + As for you, Ma-Ma ... + + CUT TO: + + CLOSE UP ON DREDD'S MOUTH. + + DREDD'S VOICE + Judgement time. + + +195 INT. ATRIUM/TOP BALCONY - CONTINUOUS 195 + + As the Tanoy cuts out, we find MA-MA, standing by the rail, + gripping it hard in her huge fists. + + Beside her, KAY, ashen-faced. + 87. + + + Behind her, the CLAN-TECHIE, appearing. + + CLAN TECHIE + I've got him. He's only ten levels + below us. South Quad balcony. + Terminal five. + + CUT TO: + + +196 INT. LEVEL 190/CORRIDORS - DAY 196 + + Two groups of CLAN, automatic weapons in hand, run down + corridors, exiting onto the - + + +198 INT. LEVEL 190/BALCONY - CONTINUOUS 198 + + - balcony, where they converge on Terminal Five: one of the + information access booths dotted around the block. + + Through the frosted glass of the booth, we can just make + out the shape of a tall man. + + CLAN MEMBER + He's still in there! + + The two converging groups of Clan open fire as one. + + Hundreds of rounds simultaneously smash into the frosted + glass. + + Blood and glittering shards cloud our vision. + + And when they clear - + + - we find the body of a CLAN member. + + Dead. Shot to pieces. But still held upright by the + plasticuffs that secure him to the terminal console. + + PULL BACK FAST TO: + + +199 INT. LEVEL 191/BALCONY - CONTINUOUS 199 + + - the opposite balcony of the next level up. + + Where DREDD is standing. + + Looking down. + 88. + + + DREDD + Incendiary. + + The setting on DREDD'S gun changes. + + Then he opens up. + + As the incendiary rounds make contact, they erupt into + fireballs, engulfing the balcony of level 190. + + DREDD walks, calmly shooting. Spreading the flame. + + Until it is a ring of fire. + + Out of which, blazing Clan, blinded by fire and pain, throw + themselves into the void of the atrium. + + A PARTICULARLY LARGE FIREBALL erupts. + + +200 INT. ATRIUM - CONTINUOUS 200 + + We FOLLOW the FIREBALL upwards, as it rolls through the + atrium ... + + ... until it hits and dissipates on the roof ... + + Sending MA-MA, KAY, and the CLAN TECHIE recoiling back from + the edge of the balcony, and diving for the floor. + + When the CLAN TECHIE and MA-MA look up, they see the KAY + tearing at his head, screaming. + + He didn't pull back from the balcony quickly enough, and + the fireball has caught his hair on fi + + KAY + Aaah! AAAAH! + + KAY beats the flames on his head out. + + When he's done, half his hair is burned to the scalp. + + KAY + Fuck! + + MA-MA goes back to the balcony. + + Looks down at the devastation. + + KAY watches her, smoke curling up from his head. + 89. + + + KAY + Ma, this is going to shit! You've + got to fucking stop this guy! What + are we going to do? + + Fire reflecting in MA-MA'S eyes. + + MA-MA + Got no choice. Dial 911. + + CUT TO: + + +201 EXT. MEGA CITY ONE - NIGHT 201 + + SIRENS in Mega City One. + + Blue lights strobing the night. + + Four judges, straight-line formation, on bikes. + + We see them each in turn. + + They are judges ELMUNDO, THOZ, MUGGERS, and LEX. + + Each more hard-bitten than the last. + + Riding up the ramps, down the walkways, scattering + pedestrians ... + + ... then pulling up at the SOUTH ENTRANCE of Peach Trees. + + As they get off their bike, we see ELMUNDO is armed + differently to the other three. Instead of a handgun, he + carries a bulky MACHINE GUN + + +202 EXT. PEACH TREE BLOCK/SOUTH ENTRANCE - CONTINUOUS 202 + + LEX approaches the three JUDGES who are already on the + scene. + + LEX is very like DREDD. Same build. Same granite face. + Speaks with total economy in a low growl. + + LEX + Got a 10-24 from this block. Two + judges under fire, requesting + urgent assistance. And you're + standing outside. + + JUDGE + 90. + + + Block's under lock-down. + Malfunction with their nuke defense + system. + + LEX glances at the blast doors. + + ELMUNDO, the HEAVY WEAPONS JUDGE, walks over to the + intercom. Speaks into it. + + ELMUNDO + Open up. Now. + + A beat. + + Then ... + + the heavy door starts to rise. + + LEX looks back at the judges. + + LEX + You're relieved. + + +203 INT. PEACH TREE BLOCK/SOUTH ENTRANCE - CONTINUOUS 203 + + Seen from a CCTV POV, LEX, ELMUNDO, MUGGERS THOZ and enter + the darkened entrance. + + The three judges on the outside watch them. + + Until the blast door suddenly slams shut again. + + REVEAL - + + +205 INT. PEACH TREE BLOCK/MEDICAL CENTER - CONTINUOUS 205 + + - that the CCTV image is being watched by the PARAMEDIC. + + He jumps up, runs to his security, and punches in the code + to unlock it. + + +206 INT. ATRIUM - CONTINUOUS 206 + + LEX, THOZ, ELMUNDO and MUGGERS stand at the base of the + atrium. + + It's the bottom of a pit of Hell. + + Dark, apart from the glow of emergency lighting. + 91. + + + A hundred and ninety stories up, fire burns. + + The base of the atrium is littered with smouldering bodies, + crumpled and half exploded from the impact of their fall. + + LEX + So what we got here? + + THOZ + Two judges trigger a turf war. + Judges die in pursuit of duty. + + LEX + And the perps who killed the + judges? + + THOZ gestures at the bodies. + + THOZ + Laid out here. + + LEX + Sounds right. + + PARAMEDIC + Excuse me. + + The four judges turn. + + See the PARAMEDIC, who has approached them from the + shadows. + + PARAMEDIC + That's not what's happened. I've + been here right from the start. + This killing is all because of one + gang - the Ma-Ma Clan. And from + that fire up there, I'd say at + least one of your two judges is + still alive. + + LEX gazes at the man a beat. + + LEX + You prepared to testify to that? + + PARAMEDIC + Sure. + + THOZ shoots the PARAMEDIC in the head. + + +207 INT. LEVEL 199/CORRIDOR - CONTINUOUS 207 + 92. + + +DREDD exits a stairwell into a corridor of level 199. + +One level down from MA-MA'S penthouse base. + +One end of the corridor opens into the atrium, where we + +can see the glow of flames from the fire he has + +started. + +Smoke hangs in the air. Gives everything a strange, + +heavy atmosphere. + +Ahead of DREDD is an elevator lobby. + +The digital display by the call button shows the + +elevator moving between floors, upwards through the + +building. + +The elevator gets closer and closer to level 199. + +As the countdown is about to reach his floor, DREDD + +takes aim, to catch whoever is inside as the doors + +open ... + +... but the elevator continues to the floor above. + +NO SOONER HAS IT PASSED - + +- than there is a sound behind DREDD. + +He turns, fast, firing. + +Corning out of a doorway, a CLAN MEMBER is almost shot in +half by the volley. + +ON DREDD'S GUN - + +- a WARNING LIGHT flicks on. + +DREDD glances down. + +On the DIGITAL DISPLAY it reads: AMMUNITION LOW + + CUT TO: + 93. + + +209 INT. MA MA'S BASE - CONTINUOUS 209 + + Elevator doors open, revealing the four judges. + + The four judges exit. + + Waiting for them are MA-MA and KAY. + + LEX + One million credits. + + MA-MA + A million? + + LEX + You got a problem with a judge. + Know who he is? + + MA-MA + No. + + LEX + I do. One million. + + Beat. + + MA-MA + Fine. + + LEX + Muggers, protection detail on + client. Thoz and El, we're flushing + him out, + + ELMUNDO + Got it. + + LEX turns back to MA-MA. + + LEX + Where's the other one? The rookie. + + MA-MA + We've got her here. + + LEX + Dead or alive? + + MA-MA + Alive. + + LEX + 94. + + + Make her dead. + + +210 INT. LEVEL 199/SMOKE FILLED CORRIDOR - CONTINUOUS 210 + + Smoke hangs in a corridor. + + Bright sparks swirl in the air, floating up from the fire. + + And the sparks, through the smoke, are changing their + movement ... + + ... as DREDD appears through them, gun raised. + + +211 INT. LEVEL 199/SMOKE FILLED CORRIDOR - CONTINUOUS 211 + + LEX, THOZ and ELMUNDO appear out of a stairwell. + + LEX silently gestures to the other two judges - telling + them to fan out. + + They nod, and move, each taking a different direction. + + +212 INT. LEVEL 199/SMOKE FILLED CORRIDOR - CONTINUOUS 212 + + DREDD moves forwards. + + Reacts to a movement in the smoke. + + Brings his gun to bear, as the smoke momentarily clears. + + Revealing nothing. + + Just a shadow. + + +213 INT. MA MA'S BASE/CORRIDOR - CONTINUOUS 213 + + MUGGERS leads MA-MA and KAY down a corridor, towards MA- + MA'S penthouse. + + KAY + I'll do the girl. + + MA-MA gives KAY the nod. + + KAY peels off. + + +214 INT. LEVEL 199/SMOKE-FILLED CORRIDOR - CONTINUOUS 214 + 95. + + +Back to the sparks. + +DREDD seeing something ahead. + +Through the haze and pinprick points of brightness ... + +.... the shape of another judge. + +The shoulder pads. The curve of the helmet. + + CUT TO: + +- the REVERSE VIEW. + +THOZ pulling back into an alcove, drawing his weapon. + +THOZ lifts his glove and speaks into his mike. + + THOZ + (quiet) + Just eyeballed him. + + CUT TO: + +- LEX, elsewhere in the smoke filled corridors, lifting his +glove. + + LEX + Don't take him one on one. Stick + with the plan. + + CUT TO: + +THOZ. + + THOZ + (quiet) + Copy that. + +THOZ lowers is glove. + +Then calls out. + + THOZ + You there. Identify yourself. + + CUT TO: + +DREDD. Also ducked into an alcove, weapon drawn. + + DREDD + Dredd. Sector Thirteen. + 96. + + +Ahead of him, THOZ steps out of cover. + + THOZ + Thoz. Sector Nine. Responding to + your 10-24. + +THOZ walks towards DREDD. + + THOZ + Good to see you, Dredd. + + DREDD + Likewise. You alone? + + THOZ + Negative. Three man squad. Closing + on my vector right now. + +THOZ smiles. + + THOZ + So relax. Cavalry's here. + +Beat. On DREDD. His sixth sense, catching bullshit. It's +THOZ'S smile. + +Then: + + DREDD + There were two of us. + + THOZ + Two. + + DREDD + Two of us called in the 10-24. + Wondering why you haven't asked + about the other one. + +Beat. + +Then THOZ lifts his left glove ... + + THOZ + Lex - move it - + +THOZ is cut off. + +DREDD'S hand catches his gun-arm around the wrist - + +- and with equal speed, THOZ has done the same to DREDD, +holding DREDD'S gun by the barrel. + 97. + + + For a moment, the TWO judges face each other, each + neutralising the other's handgun. + + Then - + + - the fight kicks off. + + DREDD pushes forwards, jamming THOZ'S wrist back, forcing + his gun to drop. + + THOZ twists, turning DREDD one eighty, pulling DREDD'S gun + up so that the weapon is jammed against DREDD'S throat. + + To prevent being choked, DREDD must release the gun. + + Immediately, DREDD snaps his helmet back into THOZ with a + reverse headbutt. + + And now it's just silent HAND TO HAND COMBAT. + + Incredibly fast and vicious. + + Pure fight to the death between two hard-as-nails street + judges. + + Carried out in the hanging smoke and whirling sparks. + + CUT TO: + + +216 INT. LEVEL 199/SMOKE FILLED CORRIDOR - CONTINUOUS 216 + + - LEX hooking up with ELMUNDO. + + Joining to move fast down the corridor. + + CUT TO: + + DREDD and THOZ in HAND TO HAND COMBAT. + + Ending on a fast jab. An open hand. DREDD'S fingers + slamming into THOZ'S neck. + + It stops THOZ in his tracks. + + When DREDD'S hand pulls back, there is a weird concave dip, + several inches deep, in THOZ'S throat. + + His windpipe has been crushed. + + He can't breathe. + 98. + + + As THOZ'S hands move up to his neck, as if trying to push + it back into shape - + + - DREDD steps away. + + And calmly picks up his handgun. + + BACK TO - + + LEX and ELMUNDO. + + Turning a corner. + + Seeing, ahead of them, the silhouette shape of a judge. + + Their guns immediately snap to him. + + But don't shoot, as the figure takes a hesitant, drunken + step towards them. + + Revealing himself as THOZ. + + A final strangled noise comes out of THOZ'S blood-filled + mouth. + + Then he drops to his knees. Hard. + + Then falls face down and lies still. + + LEX and ELMUNDO exchange a glance. + + CUT TO: + + +217 INT. LEVEL 199/SMOKE-FILLED CORRIDOR - CONTINUOUS 217 + + - DREDD, who backs through a doorway. + + As the door closes behind him, pulled shut by a hydraulic + mechanism that slows the door on its final inches ... + + LEX and ELMUNDO appear, guns drawn. + + LEX gestures at the door. + + ELMUNDO nods. + + +219 INT. SLO MO MANUFACTURINGBASE - CONTINUOUS 219 + + DREDD looks around at the space he has just entered into. + 99. + + + Apartment walls have been knocked out, as have sections of + ceiling and floor. All to accommodate pipes, tanks, + heaters, condensers ... + + .. . and racks of large COMPRESSED GAS CANISTERS, the size + of a scuba-diver's air tank. + + The machinery for the large-scale manufacture and refining + of the slo-mo narcotic. + + This is MA-MA'S MANUFACTURING BASE. + + As the WORKERS see DREDD, and scatter. + + CUT TO: + + +220 INT. MA-MA'S BASE/ROOM - CONTINUOUS 220 + + - KAY. Half his hair burned off. + + Looking at a variety of objects, laid out on a table. + Objects taken from ANDERSON. + + There are ammunition clips. Lock knife. Med kits. Plasti + cuffs ... + + ... and the PHOTO of ANDERSON and her parents. + + KAY'S gaze hesitates on it. + + Then - + + - turns to ANDERSON, who is kneeling in front of him. + + Head down, not meeting KAY'S gaze. No hope left for her. + Defeated, it seems. + + KAY glances at the weapon in his hand. + + It's ANDERSON'S LAWGIVER. + + KAY + Bet you thought you were going to + make your parents proud. Not much + chance of that now. + + KAY shakers his head. + + KAY + You were shit out of luck when you + ran into the Ma-Ma Clan. + 100. + + +KAY turns over ANDERSON'S gun in his hand, appraising it. + +ANDERSON'S eyes stay down. + + KAY + But don't feel too bad. I've seen a + lot of Judges in my time, and you + just weren't cut out for it. If it + wasn't today you got killed, it + would have been tomorrow. At best + the day after. + +Beat. + + KAY + Anyway. Today it is. + +He looks back at ANDERSON. + + KAY + Any last words, bitch? + +Beat. + +Then - + + ANDERSON + That's funny. + +ANDERSON raises her head. + +And in her eyes, there's no fear. She's totally calm, +staring death right in the face. Not even blinking. + +She may be a failed rookie, but she looks like a judge. + + ANDERSON + I was going to ask you the exact + thing. + + SAME + (beat) + Bitch. + +KAY'S wrong-footed. It's fleeting, but just for a moment, +it's almost like he's scared of her. + +Then his fingers close around ANDERSON'S gun. + +He lifts it, aiming right at her head. + +And squeezes the trigger. + 101. + + + Nothing happens. + + KAY frowns. + + Sees on the side of the gun - + + - a small LED light. Strobing red. + + Next to the light, the digital display. Which reads: ID + FAIL. + + Just as he has time to take this in - + + - the gun EXPLODES. + + A bright flash, a detonation. + + And when it has passed, KAY'S arm is a stump, spraying + blood everywhere. And he's screaming. + + Cut short as ANDERSON rises ... + + and delivers a single roundhouse kick. + + It contacts KAY'S jaw perfectly, snapping his head + sideways. + + Breaking his neck. + + CUT BACK TO: + + +221 INT. SLO MO MANUFACTURINGBASE - CONTINUOUS 221 + + - DREDD. + + Moving through the manufacturing base. + + Keeping low, from cover to cover. + + Peering out across the lab. + + Seeing the door he came through + + Tucking himself behind a counter, he calls out: + + DREDD + What's the price of a judge these + days? + + CUT TO: + 102. + + +LEX and ELMUNDO. + +On the other side of the room, doing the same as DREDD. + +LEX silently gestures to ELMUNDO. Flat palm, held vertical +to the ground, curving round. + +ELMUNDO nods. Starts moving. + +Then LEX calls back: + + LEX + Million. Split four ways. + +BACK TO - + +- DREDD. + +Both DREDD and LEX are trying to keep the other talking. +DREDD to get a fix on LEX, and LEX to allow ELLMUNDO to +work his way around. + + DREDD + Three ways now. + + LEX + Suits me. + +DREDD starts to move again. + + DREDD + Doesn't sound like much. To betray + the law. + +DREDD steals a look across the room towards where he thinks +he has made LEX'S location. + + DREDD + Betray the city. + + LEX + Save that shit for the rookies. + Twenty years I've been on the + streets. + +DREDD now thinks he has a clear fix on LEX. + +He's zeroed in on one spot - a long steel workbench. + +Which is in fact exactly where LEX is hiding. + + LEX + 103. + + + You know what Mega City One is, + Dredd? It's a meat grinder. + +REVEAL - + +- BEHIND DREDD, while DREDD has been closing in on LEX, +ELMUNDO has been flanking. + + LEX + People go in one end. + +DREDD doesn't seem to have seen. + +He's easing forwards, his gun trained on the workbench. + + LEX + Meat comes out the other. + +DREDD hesitates. + +MAYBE having heard something. Maybe sensing the trap. + + LEX + All we do is turn the handle. + +A fraction of a beat. + +Then DREDD throws himself sideways, just in time, as rounds +from ELMUNDO'S HEAVY MACHINE GUN trace into the space he +occupied only a split second before. + +INTENSE GUNPLAY immediately erupts. + +GUNPLAY version of the HAND TO HAND. + +DREDD starts returning fire in the direction of ELMUNDO. + +ELMUNDO does the same in reverse. + +As does LEX, breaking cover. + +The manufacturing base starts disintegrating. + +Amidst the glass vaporizing, wood splintering, and metal +puncturing - + +- we find DREDD and ELMUNDO. + +Finding a clear line of sight to each other. + +Each bringing their guns to bear. + 104. + + +ELMUNDO fires first. + +And nothing happens. The display on his HEAVY MACHINE GUN +reads EMPTY. + + ELMUNDO + Shit - + +DREDD fires. + +CLICK. + +DREDD'S weapon also just found an empty chamber. + +Both judges realize what's happening. + +ELMUNDO reaches for his UTILITY BELT - + + DREDD + Incendiary. + +The gun setting changes. DREDD pulls the trigger again. + +Click. Still empty. + +ELMUNDO pulls out a fresh CLIP. + + DREDD + Rapid fire. + +Click. + +ELMUNDO jams the CLIP home. + + DREDD + Armour piercing. + +Click. + +ELMUNDO lifts the gun. + + DREDD + High Ex. + +BANG. + +As DREDD'S LAST BULLET flies out of his gun, the DIGITAL +DISPLAY reads: + +EMPTY + +THEN - + 105. + + + - ELMUNDO'S head is blown off. + + It fragments. + + The pieces fly apart. + + CUT TO: + + - LEX. + + In cover, as blood patters around him like rain. + + LEX + (under his breath) + Motherfucker. + + DREDD calls out. + + DREDD + Two-way split. + + In LEX, there's fury behind the steel. + + He calls back: + + LEX + Yeah. I'd be breaking a sweat. If + you hadn't just run out of bullets. + + LEX rises, and starts strafing the room. + + AS DREDD SCRAMBLES for cover, + + CUT TO: + + +228 INT. MA-MA'S BASE - CONTINUOUS 228 + + - ANDERSON. + + Moving through MA-MA'S base. + + She's unarmed. + + But only for a moment. + + Ahead of her are two CLAN. + + She moves up behind them. + + She doubles up the first with an extremely vicious kidney + punch. + 106. + + + As the first folds over, the second is lifting his MACHINE + PISTOL gun. + + Only to have his wrist folded back on itself, so the barrel + is aiming between his eyes. + + ANDERSON forced the trigger down. The muzzle flash of the + MACHINE PISTOL engulfs his whole face. + + ANDERSON empties the clip. + + When the muzzle stops flashing, the man's face is + completely gone. + + He remains standing, because ANDERSON is holding him + upright, as she pulls another ammo clip from his belt. + + Then she lets him go. + + As he's falling, she's sliding in the new clip. + + Then she turns, and shoots the man she dropped with the + kidney punch. + + CUT TO: + + +230 INT. MA-MA'S BASE - CONTINUOUS 230 + + MA-MA and MUGGERS react to the burst of gunfire. + + In the silence that follows: + + MA-MA + Kay's dead. + + MUGGERS + Get a gun. Find somewhere to hide. + + MA-MA + Where are you going? + + MUGGERS + I've got the girl cold. I see her + first, I shoot her. She sees me + first, she hesitates, then I shoot + her. + + CUT TO: + + +231 INT. MA MA'S BASE/CORRIDOR - CONTINUOUS 231 + 107. + + + - ANDERSON, moving fast in classic sweep, gun raised in two + handed grip. + + Rounding a corner. + + Finding the corridor is clear. + + Tense beats, as she moves towards the next blind spot. + + A T-JUNCTION. + + She swings around it, and - + + - finds MUGGERS. + + He's side on to her. + + His head turns. + + MUGGERS + Lower the gun, rookie. I'm your + back up. + + A beat on ANDERSON'S face. + + ONLY JUST LONG ENOUGH - + + - for us to realize she's reading him. + + Then she unloads into MUGGERS'S chest. + + CUT TO: + + +232 INT. SLO MO MANUFACTURINGBASE - CONTINUOUS 232 + + - bullets punching the cover around DREDD. + + DREDD moves for another place to hide. + + But as soon as he reaches fresh cover, he is driven out by + further volleys of bullets. + + Finally, he finds himself behind a short section of wall. A + remainder of the apartment walls that once stood. Five foot + long. + + Nothing to hide behind where he just came from, because + everything is shot to pieces. + + Not:1ing ahead but clear air. + 108. + + +DREDD'S options just ran out. + +He knows it. + +And on the other side of the wall, LEX knows it too. + + CUT TO: + +- LEX. + +Unhurried. + + LEX + Armour piercing. + +The setting on his gun changes. + +He takes aim at a mid-way point on the wall. + +A final beat. + +Then LEX fires. + + CUT TO: + +- a bullet rifling out of DREDD'S stomach. + +We've seen a lot of bullets hit people up to now. This one +is different. Almost understated. + +The visual impact is not what in what the bullet has done, +but in who it has hit. + +In the wall opposite DREDD, a single hole is drilled. + +DREDD looks at the hole a moment. + +Then down to the hole in his lower torso, from which blood +is running. + +Down onto his utility belt. Down his leg. + +Starting to pool on the tread under his boot. + + DREDD + Damn. + +A beat. + +Then DREDD starts to slide down the wall. + +Landing in a seated position. + 109. + + +And when he looks up, LEX is standing over him. + +Gun trained on DREDD'S head. + +A beat between the two judges. + +Then: + + DREDD + Wait. + +Beat. + + LEX + 'Wait'? + +LEX hesitates. + + LEX + Are you kidding me? Did you just + say: 'wait'? Judge Dredd. The Judge + Dredd. Finally gets on the wrong + end of a gun. And what he says is + 'wait'. + +LEX shakes his head, incredulous. + + LEX + You know what? I expected more of + you. + (hitting his stride) + I mean, wait for what? Wait for me + to change my mind? Wait for another + two or three seconds of life, + because you're so fucking weak you + can't stand to see it end? + + DREDD + No. + +Abruptly, shockingly, LEX gets drilled with bullets. + +They smash through his chest and helmet. Through his mouth +and teeth. + +As he drops, REVEAL ANDERSON, standing behind. + + DREDD + Wait for her to shoot you. + + CUT TO: + 110. + + +- DREDD'S gloved and bloody fingers popping a pouch on his +utility belt. + +Pulling out a med-kit. + + CUT TO: + +- DREDD taking a compressed antiseptic foam canister from +the med-kit. + + CUT TO: + +- DREDD sticking the nozzle into his bullet wound, and +depressing the spray. + +The wound fills with a foam, which solidifies instantly. + + CUT TO: + +- DREDD pulling another instrument from his utility belt. A +weird little device which looks like a stapler. And pretty +much is a stapler. + +He holds the device up to the entry wound, and depresses +it. + +A small clamp punctures the flesh either side of the bullet +hole, then contracts, stapling the wound shut. + + CUT TO: + +- DREDD taking LEX'S GUN from his dead hand. + +Ejecting the clip. + +Slotting the clip home into his own gun. + +Then straightening. + +And turning to ANDERSON. + + DREDD + Ready? + + ANDERSON + Yes, sir. + +A shared beat between then. + +DREDD nods. + + DREDD + 111. + + + You look ready. + + CUT TO: + + +234 INT. MA-MA'S PENTHOUSE/ENTRANCE HALL - DAY 234 + + - MA-MA'S penthouse. + + In the entrance hall, eight CLAN are crouched behind cover, + Guns trained at the front double doors ... + + ... which, a moment later, are blown open by an explosive + charge. + + Dust and smoke clear. And - + + - nothing happens. + + For a beat. + + The CLAN exchange glances. + + Then - + + - one of the air-tank sized COMPRESSED GAS CANNISTERS is + thrown into the room. + + It bounces as it hits the ground. + + Spinning up. + + Then, in mid air, DREDD appears framed in the blown open + doors, gas mask pulled down over his face... + + DREDD + Overdose. + + ... and fires once. + + As the bullet hits the GAS CANNISTER, it explodes. And a + micro second after it explodes, we go to - + + - EXTREME SLOW MOTION. + + Watching the metal expand. Like a kid's balloon. Rip open. + Releasing an expanding cloud of shimmering iridescent gas. + + Then - + + - cutting between NORMAL SPEED and SLO MO as the GAS + envelopes each of the CLAN in turn. + 112. + + + Becoming - + + - cuts between DREDD'S unaffected POV, and the CLAN'S + MASSIVELY OVERDOSED POV, where SLO MO is almost STATIC, + almost FREEZE FRAMES ... + + ... as DREDD and ANDERSON simply walk into the middle of + the room. Side by side. + + And shoot each of them in turn. + + +240 INT. MA MA'S PENTHOUSE - CONTINUOUS 240 + + DREDD and ANDERSON are moving through the penthouse. + + Cat and mouse through the space. Around corners. Through + doorways. + + Silence between DREDD and ANDERSON. + + All hand gestures. Tension building. As they close in on a + shut metal door at the end of a corridor. Beside which is a + numbered keypad. + + But before they reach it - + + - ANDERSON suddenly turns, kicks open a side door. + + Revealing the CCTV room. + + +244 INT. MA-MA'S BASE/CCTV ROOM 244 + + The room looks empty. + + But ANDERSON enters, followed by DREDD. Weapons drawn. + + ANDERSON straight to the bank of monitors, then reaches to + the cavity underneath the console ... + + ... and hauls out the CLAN TECHIE. + + CLAN TECHIE + Please, don't shoot, don't shoot! + I'm not armed! And - + + His gaze flicks between the two judges, and the guns + trained on him. Sensing imminent death. Looking for the + out. + + CLAN TECHIE + 113. + + + - and I can help you! + + DREDD + How? + + The TECHIE gestures back to the corridor outside. + + CLAN TECHIE + Ma-Ma's in her private quarters - + but it's behind ten inches of + steel. There's no way inside + without the keypad combination! And + I can give it to you! I installed + it myself! + + ANDERSON + I don't need your cooperation the + combination from you. + + She puts her hand on the TECHIE'S shoulder to hold him + steady. Then closes her eyes. Reads him. + + Then - + + - opens her eyes. + + Frowning slightly. + + But doesn't release the TECHIE. + + Instead, closes her eyes, and reads him again. + + CUT TO: + + +245 INT. UNDEFINED SPACE - CONTINUOUS 245 + + - inside the CLAN TECHIE'S head. + + Similar to the UNDEFINED SPACE that existed inside KAY'S + head. + + The CLAN TECHIE and ANDERSON in the same positions relative + to each other as they are in the real world, as - + + - ANDERSON'S hand reaches out to touch the CLAN TECHIE'S + cheek. + + FLASH CUTS TO: + + - the CLAN TECHIE'S memories. Key moments in his life, + PLAYED BACKWARDS. Glimpsed. + 114. + + + IN REVERSE - + + - KAY laughing as he throws acid in the TECHIE'S face. + + - The TECHIE (without eye implants) in an ELECTRONICS + REPAIR SHOP, cowering beside the body of his FATHER, as + pooled blood runs back into him, who then springs up to his + feet, bullets popping back out of his chests and head, and + back into the guns of the CALEB and two CLAN, who are + sticking up the shop. + + - the TECHIE sitting with his parents at home, as he + watches his FATHER soldering a circuit board. smoke curling + back to the board. + + His FATHER turns and smiles at the TECHIE. + + HOLD ON THIS a fraction longer than the other flashed + images. + + THEN CUT BACK TO: + + - the UNDEFINED SPACE. + + ANDERSON with her hand cupping the face of the TECHIE. + + Except the cheek she touches is that of the BOY. + + Nine. Skinny. Anxious-looking. + + Gazing back at ANDERSON uncertainly. + + CUT TO: + + +255 INT. MA-MA'S BASE/CCTV ROOM - CONTINUOUS 255 + + - ANDERSON removing her hand. + + Beat. + + Then: + + ANDERSON + Go. + + The CLAN TECHIE doesn't understand. + + ANDERSON + You're free. Leave the block when + you can and don't come back. + 115. + + + The CLAN TECHIE doesn't need to be told again. + + He starts running, out the CCTV room, and is gone. + + DREDD turns to ANDERSON. + + DREDD + You mind explaining what you just + did? Abetting a felon is not just a + fail offense. It's a crime. + + ANDERSON + I already picked up the fail when I + lost my primary weapon. I'll never + be a Judge, and I don't need to be + a mind reader to know it. + + She turns to DREDD. Stares him down. + + ANDERSON + But you haven't yet told me that. + And until the assessment is + formally over, I'm still entitled + to dispense justice. And that's + what I did: by letting him go. + (to herself) + Maybe that will be the one + difference I do make. + + She walks past DREDD. + + ANDERSON + The combination to Ma-Ma's quarters + is four nine four three six. Let's + finish this. + + +257 INT. MA MA'S PENTHOUSE/MASTER BEDROOM - CONTINUOUS 257 + + The door to MA-MA'S bedroom bursts open. + + Revealing DREDD and ANDERSON. + + Opening fire on the two BODYGUARDS, who are riddled, and + drop. + + And when the smoke clears, we can see: + + - a four poster with black silk sheets. + + - a huge window, which doesn't look out over Mega City One, + but the ATRIUM. The world over which MA-MA was queen. + 116. + + +- beside the window, a plush daybed and coffee table, on +which are piled SLO-MO inhalers. + +- and on the ceiling, above the bed, a large mirror. + +But no MA-MA. + +Then room is empty. + +DREDD and ANDERSON exchange a glance. + +Enter the room, guns raised. + +Sweeping. + + DREDD + Escape route? + + ANDERSON + No. She's near. But - + +ANDERSON breaks off. + +Then - + +- looks up at the mirror. + +At her own reflection. + +Which suddenly - + +- is drilled with two BULLET HOLES in quick succession. + +ANDERSON is hit in the shoulder. As she falls backwards - + +- the glass around the two bullet holes starts to splinter +- + +- and MA-MA drops down from above, directly in front of +them. + +She tries to bring her gun to bear on DREDD. + +But she has no hope. + +DREDD catches the barrel, twists it round, snapping MAMA'S +fingers, which are caught in the trigger guard. + +Then he wrenches the gun free. + +MA-MA screams, clutching her mangled hand. + 117. + + +DREDD tosses the shotgun. + +MA-MA tries to take a swing with her unmangled fist. + +DREDD dodges, neatly moving sideways. + +Then sends his own fist smashing into her face. + +She staggers backwards. Towards the massive window to the +ATRIUM. + +He punches her again. Same blow, right hand, full in + +the face. + +She staggers back more. + +Stops against the glass. + +DREDD looks at her a beat. + +Then leans down. Picks up a SLO-MO inhaler from the coffee +table. + +And JAMS IT in her mouth. + +As he depresses the button: + + DREDD + Citizen Ma-Ma. Your crimes are + multiple homicide, and manufacture + and distribution of narcotics. How + do you plead? + +MA-MA can't answer. So much gas is being pumped into her +that we can see it escaping through the sides of her mouth +and nose. + + DREDD + Defense noted. + +He tosses the inhaler. + +He tosses the inhaler. + +Then punches her one last time. + +And she flies backwards, smashing though the window in a +shower of glass. + 118. + + + Then she's in FREE-FALL. With nothing but two hundred + stories of thin air between her and the concrete atrium + floor. + + And as she's falling, the SLO-MO DRUG is taking hold. + + +258 INT. ATRIUM - CONTINUOUS 258 + + BEAUTIFUL WEIRD FREE-FALL SEQUENCE. + + Looking up at the fire blazing around level 190. + + Through the smoke and flames, MA-MA'S drops, punching a + hole in the smoke with the turbulence from her massive + body. + + All seen in the grip of the drug. + + Watching the balconies drift past. + + The surprised faces of the block citizens watching. + + FLASH CUT TO: + + - REAL-TIME, from the POV of the people on the balconies, + as MA-MA zooms past. + + FLASH CUT TO: + + DREDD leaning over ANDERSON'S bloody body in the penthouse + bedroom. + + Her skin is pale. The blood is scarlet. + + Her eyes are closed. + + DREDD leans closer. + + Their lips touch. + + He is giving her the KISS OF LIFE. + + CUT BACK TO: + + - SLO MO of MA-MA'S continuing fall. + + The fat woman screaming. + + More faces of citizens on the balconies. + + Watching MA-MA'S literal fall from grace. + 119. + + + CUT TO: + + DREDD pulling back. + + ANDERSON'S eyes opening. + + CUT TO: + + MA-MA. + + Alone. + + Looking down, just as she - + + - hits the ATRIUM floor. + + Head first. Very slowly. + + Hypnotic to watch ... + + ... Her skull crushes, flattening. + + And the rest of her massive body follows. + + As the body is slowly pulped, GO TO - + + +263 EXT. MEGA CITY ONE - SUNRISE 263 + + - the sun rising over the city. + + +264 EXT. PEACH TREE BLOCK/SOUTH ENTRANCE - CONTINUOUS 264 + + The CHIEF JUDGE stands with a team of men with oxyacetylene + torches, who are trying to cut through the massive blast + doors. + + Behind are MEDICS and an AMBULANCE. + + Then ABRUPTLY the blast doors start to rise. + + +265 INT. PEACH TREE BLOCK/SOUTH ENTRANCE - CONTINUOUS 265 + + DREDD and ANDERSON stand side by side as the doors rise. + + Both bloodied, both wounded, both standing independently. + + In silence. + + Then DREDD turns to ANDERSON. + 120. + + + DREDD + Your assessment is now over. + + A beat. + + Then ANDERSON unclips her ROOKIE badge, and hands it to + DREDD. + + DREDD looks at it. + + But says nothing. + + CLUNK. + + The doors are fully open. + + ANDERSON starts walking away from DREDD. + + +267 EXT. PEACH TREE BLOCK/SOUTH ENTRANCE - CONTINUOUS 267 + + DREDD follows ANDERSON out, into the throng of medics and + Judges. + + The CHIEF JUDGE approaches DREDD. + + CHIEF JUDGE + When I heard you'd called a 10-24, + thought I'd better check it out. + Seeing as I forced the rookie on + you. + + She looks up at the MEGA BLOCK. + + CHIEF JUDGE + What happened in there? + + DREDD + Drugs bust. + + CHIEF JUDGE + You look like you've been through + it. + + DREDD + Perps were uncooperative. + + CHIEF JUDGE + Aren't they always? + + The CHIEF JUDGE nods to where ANDERSON is being treated by + the MEDICS. + 121. + + + CHIEF JUDGE + So how did she do? Is she a pass or + a fail. + +On DREDD. + +Looking towards ANDERSON. + +As DREDD watches, two MEDICS approach her - + +- and she brushes them away. + +Then, underplayed: + + DREDD + A pass. + +The CHIEF JUDGE nods. + + CHIEF JUDGE + Knew she would be. + +PULL BACK from the scene. + +ANDERSON entering an ambulance. + +JUDGES entering PEACH TREES, where sunlight is punching +back into the darkness as the roof shields reopen. + +The CHIEF JUDGE looking up at the monolithic mega block, +where a holographic peach tree flicker. + +And DREDD walking back to his bike alone. + + FADE IN: + + CONTROL + (over radio) + All responders in vicinity of + sector five leisure complex, we + have weapons fired in astro-dome. + Four suspects on foot ... + + CONTROL + (over radio) + Suspect wanted in connection with + three judge slayings seen leaving + in dark coloured vehicle, heading + for North boundary road ... + + CONTROL + (over radio) + 122. + + + Responders needed in sub-sector + twenty, flyover five. Block riot + has spread East. Judges on the + ground requesting immediate support + ... + +THE END + \ No newline at end of file diff --git a/scripts/Eternal Sunshine of the Spotless Mind.txt b/scripts/Eternal Sunshine of the Spotless Mind.txt new file mode 100644 index 0000000000000000000000000000000000000000..a91d8906343e7ddc160624bcea67dbe3def424c5 --- /dev/null +++ b/scripts/Eternal Sunshine of the Spotless Mind.txt @@ -0,0 +1,7673 @@ + 1. + + + + FADE IN: + + +1 EXT. COMMUTER TRAIN STATION - DAY 1 + + It's gray. The platform is packed with business commuters: + suits, overcoats. There is such a lack of color it almost + seems as if it's a black and white shot, except one + commuter holds a bright red heart-shaped box of candy under + his arm. + + The platform across the tracks is empty. + + As an almost empty train pulls up to that platform, one of + the suited men breaks out of the crowd, lurches up the + stairs two at a time, hurries across the overpass and down + the stairs to the other side, just at the empty train + stops. The doors open and the man gets on that train. + + As the empty train pulls from the station, the man watches + the crowd of commuters through the train's dirty window. We + see his face for the first time. + + This is Joel Barish. He is in his 30's, sallow, a bit + puffy. + + His hair is a little messy, his suit is either vintage or + just old and dirty and sort of threadbare. His bright tie + has a photograph of a rodeo printed on it. + + +2 EXT. MONTAUK TRAIN STATION - DAY 2 + + Joel talks on a payphone. The wind howls around him. He + tries to shield the mouthpiece as he talks. His speech is a + self-conscious mumble, especially difficult to hear over + the elements. + + JOEL + Hi, Cindy. It's Joel. Joel. I'm not + feeling well this morning. No, food + poisoning, I think. I had clams. + Clams! I'm sorry it took me so long + to call in, but I've been vomiting + a lot. I've been vomiting! Yes, + that's right, a lot! + + +3 EXT. BEACH - DAY 3 + 2. + + + Joel wanders the windy, empty beach, with his briefcase. He + passes an old man with a metal detector. They nod at each + other. + + +4 EXT. BEACH - DAY 4 + + Later: Joel looks out at the ocean. + + +5 EXT. BEACH - DAY 5 + + Later: Joel sits on a rock and pulls a big, tattered + notebook from his briefcase. He opens it and reads his last + entry. + + JOEL (V.O.) + January 6, 2001. Nothing much. + Naomi and I coexisting. Roommates. + Nothing. Will it go on like this + forever? My best guess? Yes. + + Under the entry is a detailed drawing of a paranoid, wild- + eyed man huddled in the corner of a damp basement lit by a + bare bulb on a cord. Joel notices something odd: a great + many pages have been torn out after the last entry. He + ponders it for a moment, then writes on the next page: + + JOEL (V.O.) + Valentine's Day 2003. First entry + in two years. Where did those years + go? If you're not careful it gets + away from you. And then it's over + and you're dead. And within a few + years who even remembers you were + here? + (thinks) + Called in sick today. Took the + train out to Montauk. + (thinks) + Cold. + (thinks some more) + Don't know what else to say. I saw + Naomi last night. First time since + the break- up. We had sex. It was + odd to fall into our old familiar + sex life so easily. Like no time + has passed. Suddenly we're talking + about getting together again. I + guess that's good. + 3. + + + He has no other thoughts, does some work on the drawing on + the opposite page. He glances up, spots a female figure in + the distance, walking in his direction. She stands out + against the gray in a fluorescent orange hooded sweatshirt. + + This is Clementine. + + She's in her early thirties, zaftig. He watches her for a + bit, then as she nears, he goes back to his drawing, or at + least pretends to. Once she has passed, he watches her walk + away. She stops and stares out at the ocean. Joel writes. + + JOEL (V.O.) + Constitutionally incapable of + making eye- contact with a woman I + don't know. Guess I'd better get + back with Naomi. Ought to buy her a + Valentine. She loves roses, I + believe. + + +6 EXT. BEACH - DAY 6 + + LATER: Joel walks up near the beach houses closed for the + season. He peeks cautiously in a dark window. + + +7 EXT. BEACH - DAY 7 + + LATER: Joel digs into the sand with a stick. + + +8 INT. DINER - DAY 8 + + It's a local tourist place, but off-season empty. An old + couple drink coffee at the counter. Joel sits in a booth + and eats a grilled cheese sandwich and a bowl of tomato + soup. In his notebook he is drawing a wizened old man with + a metal detector. His metal detector has led him to another + dead old man clutching a metal detector. Joel meekly, + unsuccessfully, tries to get the waitress's attention for + more coffee. + + Clementine enters, looks around, takes off her hood. Joel + glances at her bright blue hair. She picks an empty booth + and sits. Joel studies her discreetly. The waitress + approaches her with a coffee pot. + + CLEMENTINE + Hi, it's me again! My home away + from home. + + WAITRESS + 4. + + + Coffee? + + CLEMENTINE + God, yes. You've saved my life! + Brrr! + + The waitress pours the coffee. + + WAITRESS + You know what you want? + + CLEMENTINE + (laughing) + Ain't that the question of the + century. + + The waitress is not amused. Clementine gets business-like. + + CLEMENTINE + You got grilled cheese and tomato + soup again today? + + WAITRESS + We're having a run on it. + + The waitress heads to the grill. Clementine fishes in her + bag, brings the coffee cup under the table for a moment, + pours something in, then brings the cup back up. + + CLEMENTINE + (calling) + And some cream, please. + + Clementine looks around the place. Her eyes meet Joel's + before he is able to look away. She smiles vaguely. He + looks embarrassed, then down at his journal. + + Clementine pulls a book from her purse and starts to read. + + Joel glances up, tries to see the book's cover. It's blue + and white. He can't make out the title. + + +9 EXT. BEACH - DAY 9 + + Joel stares out at the ocean. Far down the beach Clementine + stares at it, too. Joel glances sideways at her then back + at the ocean. + + +10 EXT. MONTAUK TRAIN STATION PLATFORM - LATE AFTERNOON 10 + 5. + + + Joel sits on a bench waiting for the train. Clementine + enters the platform, sees Joel, the only other person + there. She waves, sort of goofily enthusiastic, playing as + if they're old friends. He waves back, embarrassed. + + She takes a seat on a bench far down the platform. Joel + stares at his hands, pulls his journal from his briefcase + and tries to write in order to conceal his awkwardness. + + JOEL (V.O.) + Why do I fall in love with every + woman I see who shows me the least + bit of attention? + + +11 INT. TRAIN - LATE AFTERNOON 11 + + Joel sits at the far end of the empty car and watches the + slowly passing desolate terrain. After a moment the door + between cars opens and Clementine enters. Joel looks up. + + Clementine is not looking at him; she busies herself + deciding + + where to sit. She settles on a seat at the opposite end of + the car. Joel looks out the window. He feels her watching + him. The train is picking up speed. Finally: + + CLEMENTINE + (calling over the rumble) + Hi! + + Joel looks over. + + JOEL + I'm sorry? + + CLEMENTINE + What? I couldn't hear you. + + JOEL + I said, I'm sorry. + + CLEMENTINE + Why are you sorry? I just said hi. + + JOEL + No, I didn't know if you were + talking to me, so-- + + She looks around the empty car. + + CLEMENTINE + 6. + + + Really? + + JOEL + (embarrassed) + Well, I didn't want to assume. + + CLEMENTINE + Aw, c'mon, live dangerously. Take + the leap and assume someone is + talking to you in an otherwise + empty car. + + JOEL + Anyway. Sorry. Hi. Hello. Hi. + +Clementine giggles, makes her way down the aisle toward +Joel. + + CLEMENTINE + It's okay if I sit closer? So I + don't have to scream? Not that I + don't need to scream sometimes, + believe you me. + (pause) + But I don't want to bug you if + you're trying to write something. + + JOEL + (mumbling) + No, I'm just-- I don't really, um - + - + + CLEMENTINE + What? You don't really what? + +She hesitates in the middle of the car, looks back where +she came from. + + JOEL + It's okay if you want to sit down. + + CLEMENTINE + Just, you know, to chat a little, + maybe. I have a long trip ahead of + me. + (sits across aisle from + Joel) + How far are you going? On the + train, I mean, of course. Not in + life. + + JOEL + Rockville Center. + 7. + + + CLEMENTINE + Get out! Me too! What are the odds? + +She stares at him. He gets uncomfortable. + + CLEMENTINE + Do I know you? + + JOEL + I don't think so. + + CLEMENTINE + Hmmmm. Do you ever shop at Barnes + and Noble? + + JOEL + Sure. + + CLEMENTINE + That's it. That's me: book slave + there for, like, five years now. I + thought I'd seen you somewhere. + + JOEL + Really? Because -- + + CLEMENTINE + Jesus, is it five years? I gotta + quit right now. + + JOEL + -- I go there all the time. I think + I'd remember you. + + CLEMENTINE + Well, I'm there. I've seen you, + man. I hide in the back as much as + is humanly possible. You have a + cell phone? I need to quit right + this minute. I'll call in dead. + I'll go on the dole like my daddy + before me. Might be the hair. + + JOEL + What might? + + CLEMENTINE + Changes a lot. That's why you might + not recognize me. What color am I + today? + (pulls a strand in front + of her eyes, studies it) + 8. + + +Blue, right? It's called Blue Ruin. +The color. Snappy name, huh? + + JOEL +I like it. + + CLEMENTINE +Blue ruin is cheap gin, in case +you're wondering. + + JOEL +Yeah. Tom Waits says it in -- + + CLEMENTINE +Exactly! Tom Waits. Which song? + + JOEL +I can't remember. + + CLEMENTINE +Anyway, this company makes a whole +line of colors with equally snappy +names. Red Menace, Yellow Fever, +Green Revolution. That'd be a job, +coming up with those names. How do +you get a job like that? That's +what I'll do. Fuck the dole. + + JOEL +I don't really know how -- + + CLEMENTINE +Purple Haze, Pink Eraser. + + JOEL +You think that could possibly be a +full- time job? How many hair +colors could there be? Fifty, tops? + + CLEMENTINE + (pissy) +Somebody's got that job. + (excited) +Agent Orange! I came up with that +one. Anyway, there are endless +color possibilities and I'd be +great at it. + + JOEL + (mumbly) +I'm sure you would. + + CLEMENTINE + 9. + + + My writing career! Your hair + written by Clementine Kruczynski. + (thought) + The Tom Waits album is Rain Dogs. + + JOEL + You sure? I don't know that album - + - + + CLEMENTINE + I think. Anyway, I've tried all + their colors. More than once. I'm + getting too old for this. But it + keeps me from having to develop an + actual personality. I apply my + personality in a paste. You? + + JOEL + Oh, I doubt that's the case. + + CLEMENTINE + Well, you don't know me, so-- you + don't know, do you? + + JOEL + Sorry. I was just trying to be + nice. + + CLEMENTINE + Yeah, I got it. + +There's a silence. + + CLEMENTINE + My name's Clementine, by the way. + + JOEL + I'm Joel. + + CLEMENTINE + No jokes about my name? Oh, you + wouldn't do that; you're trying to + be nice. + + JOEL + I don't know any jokes about your + name. + + CLEMENTINE + Huckleberry Hound? + + JOEL + I don't know what that means. + 10. + + + CLEMENTINE + Huckleberry Hound! What, are you + nuts? + + JOEL + It's been suggested. + + CLEMENTINE + (singing) + "Oh my darlin', oh my darlin', oh + my darlin' Clementine"? No? + Nothin'? + + JOEL + Sorry. It's a pretty name, though. + It means "merciful", right? + Clemency? + + CLEMENTINE + (impressed) + Yeah. Although it hardly fits. I'm + a vindictive little bitch, truth be + told. + + JOEL + See, I wouldn't think that about + you. + + CLEMENTINE + (pissy) + Why wouldn't you think that about + me? + + JOEL + I don't know. I was just-- I don't + know. I was just-- You seemed nice, + so -- + + CLEMENTINE + Now I'm nice? Don't you know any + other adjectives? There's careless + and snotty and overbearing and + argumentative-- mumpish. + + JOEL + (mumbling) + Well, anyway-- Sorry. + +They sit in silence for a while. + + CLEMENTINE + 11. + + + I just don't think "nice" is a + particularly interesting thing to + be. + +The conductor enters the car. + + CONDUCTOR + Tickets. + +Joel hands the conductor his ticket. The conductor punches +it and hands it back. + + CLEMENTINE + What is nice, anyway? I mean, + besides an adjective? I guess it + can be an adverb, sort of. + +The conductor turns to Clementine. She fishes in her bag. + + CLEMENTINE + It doesn't reveal anything. Nice is + pandering. Cowardly. And life is + more interesting than that. Or + should be. Jesus God, I hope it is- + - someday. + (to conductor) + I know it’s here. + +The conductor and Joel watch as she gets more agitated. + + CLEMENTINE + I don't need nice. I don't need + myself to be it and I don't need + anyone else to be it at me. + + JOEL + Okay, I understand. + + CLEMENTINE + Shit. Shit. I know it's here. Hold + on. + +She dumps the contents of the bag onto the seat and sifts +frantically through. Joel sees the book she was reading in +the diner. It's The Red Right Hand by Joel Townsley Rogers. + +Joel eyes the book. + + CLEMENTINE + Damn it. DAMN IT! + (there it is) + Oh. Here. + 12. + + +She hands the conductor the ticket, smiles sweetly. He +punches it, hands it back to her, and walks away. + + CONDUCTOR + Next stop Southampton. + +The conductor heads into the next car. Clementine shoves +stuff back into her purse. Her hands are a little shaky. +She pulls an airline-sized bottle of alcohol from her +pocket, opens it, and downs it. Joel is watching all of +this but pretending not to. She looks out the window for a +while. The train pulls into the station. The doors open. +Nobody gets on. + +The doors close. The train pulls out. + + CLEMENTINE + Joel? It's Joel, right? + + JOEL + Yes? + + CLEMENTINE + I'm sorry I-- yelled at you. Was it + yelling? I can't really tell. + Whatever, I'm a little out of sorts + today. + + JOEL + (trying for a joke) + Hey, Old Yeller would be a good + color. + + CLEMENTINE + (not seeming to hear) + My embarrassing admission is I + really like that you're nice. Right + now, anyway. I can't tell from one + moment to the next what I'm going + to like. But right now I'm glad you + are. + + JOEL + It's no problem. Anyway, I have + some stuff I need to -- I'm trying + to work out some -- I'm writing + some thoughts, sort of. + + CLEMENTINE + Oh, okay. Well, sure, I'll just-- + (stands throws bag over + shoulder) + Take care, then. + 13. + + + JOEL + (pulling notebook from + briefcase) + Probably see you at the bookstore. + + CLEMENTINE + (heading toward other end + of car) + Unless I get that hair-color-naming + job. Old Yeller is funny, by the + way. + + Clementine sits and stares out the window. + + JOEL + How about Karen Black? + + CLEMENTINE + You're good! We could be partners. + + They smile at each other. Joel drops the gaze first. + + +12 INT. TRAIN - DUSK 12 + + There are a few more people in the car now. Clementine has + inched a few seats closer to Joel. She watches him. His + head is buried in his notebook. He's drawing Clementine. + + +13 INT. TRAIN - NIGHT 13 + + It's dark out. The train is pretty crowded. A couple of + women hold bouquets of flowers, another has a red heart- + shaped box of candy. Joel stares out the window. Clementine + sits closer still to Joel, eyes him. + + +14 EXT. TRAIN STATION - NIGHT 14 + + The doors open and Joel emerges along with others. He heads + to the parking lot, arrives at his car. There's a big + dented scrape along the driver's side. + + +15 INT/EXT. JOEL'S CAR - NIGHT 15 + + MOMENTS LATER: Joel drives. He passes Clementine walking. + She looks cold. He considers, slows, rolls down his window. + + JOEL + Hi. I could give you a ride if you + need. + 14. + + + CLEMENTINE + No, that's okay. Thanks, though. + + JOEL + You sure? It's cold. + + CLEMENTINE + Yeah? It is frosty. + +He pulls over. She climbs in. They drive. + + JOEL + Where do you live? + + CLEMENTINE + You're not a stalker or anything, + right? + + JOEL + Stalker Channing. No, that's not + really a color, is it? Quit while + I'm ahead. + + CLEMENTINE + You can't be too careful about + stalkers. I've been stalked. I've + been told by experts I'm highly + stalkable. I don't need that. + + JOEL + I'm not a stalker. You talked to + me, remember? + + CLEMENTINE + That's the oldest trick in the + stalker book. + (beat) + You know Sherman Drive? + + JOEL + Yeah. + + CLEMENTINE + Sherman Drive. Near the high + school. + +Joel turns. They drive in silence. + + CLEMENTINE + Look, I'm very sorry I came off + sort of nutso. I'm not really. + + JOEL + 15. + + + That's okay. I didn't think you + were. + + There's a silence. She broods. + + CLEMENTINE + Well, I am. Okay? + (pointing to a house) + Me. + + Joel pulls over. + + CLEMENTINE + Thanks very much. That was very + nice of you. + + JOEL + Oh, well, I wouldn't want to be + nice -- + + CLEMENTINE + Jesus, I'm full of shit. I already + told you that. + (pause) + Anyway. See ya. Happy Valentine's + Day. + + He looks at her. Clementine opens the car door. + + JOEL + You too. I enjoyed meeting you. + + CLEMENTINE + (turning back) + Hey, do you want to have a drink? I + have lots of drinks. And I could -- + + JOEL + Um -- + + CLEMENTINE + Never mind. Sorry, that was stupid. + I'm embarrassed. Good night, Joel. + + +16 INT. CLEMENTINE'S APARTMENT - NIGHT 16 + + A FEW MINUTES LATER: Joel stands in the living room, + somewhat nervously. He tries to calm himself by focusing on + the surroundings. He looks at the books on her shelves. + + Clementine is in the kitchen. We see her as she passes by + the doorway several times, preparing drinks and chatting. + 16. + + + CLEMENTINE + Thanks! I like it, too. Been here + about four years. It's really + cheap. My downstairs neighbor is + old so she's quiet, which is great. + And the landlord's sweet, which is + bizarre, but great, and I have a + little porch in the back, which is + great, because I can read there, + and listen to my crickets and-- + +Clementine is in the living room now with two gin and +tonics. + + CLEMENTINE + Two blue ruins-- + +Joel is looking at a framed black and white photograph of +crows flying. + + CLEMENTINE + You like that? + + JOEL + Very much. + + CLEMENTINE + This-- this guy gave that to me, + just, like, recently. I like it, + too. I like crows. I think I used + to be a crow. + +She caws and hands Joel a drink. + + JOEL + Thanks. That's a good caw you did. + Your caw is something to crow + about. + + CLEMENTINE + Huh? + +Joel shakes his head embarrassedly and mumbles something. + + CLEMENTINE + Do you believe in that stuff? + Reincarnation? + + JOEL + I don't know. + + CLEMENTINE + 17. + + + Me neither. Oh, there's an + inscription on the back. + +Clementine takes the photo off the wall and shows Joel the +inscription on back. + + JOEL + Frost? + + CLEMENTINE + (impressed) + Yeah. I'm not, like, a Robert Frost + lover by any stretch. His stuff + seems strictly grade school to me. + But this made me cry for some + reason. Maybe because it is grade + school. Y'know? + + JOEL + It's pretty. + + CLEMENTINE + I miss grade school. I don't know + why I'm calling it grade school all + of a sudden. When I went we called + it elementary school. But I like + grade school better. Sounds like + something someone from the forties + would call it. I'd like to be from + then. Everyone wore hats. Anyway, + cheers! + + JOEL + Cheers. + +They clink glasses. Clementine giggles and takes a big gulp +of her drink. Joel sips. She plops down on the couch and +pulls her boots off. + + CLEMENTINE + God, that feels so fucking good. + Take yours off. + + JOEL + I'm fine. + + CLEMENTINE + Yeah? Well, have a seat, anyway. + +Joel sits in a chair across the room. Clementine finishes +her drink. + + CLEMENTINE + 18. + + + Ready for another? + + JOEL + No, I'm okay for now. + +She heads toward the kitchen with her glass. + + CLEMENTINE + Well, I'm ready. Put some music on. + +Joel crosses to the CD's and studies them. + + JOEL + What do you want to hear? + + CLEMENTINE (O.S.) + You pick it. + + JOEL + You just say. I'm not really -- + + CLEMENTINE (O.S.) + I don't know! I can't see them from + here, Joel! Just pick something + good. + +Joel studies the unfamiliar CD's. He picks up Bang On a Can +performing Brian Eno's Music for Airports to look at. + +Clementine reenters with her drink. + + CLEMENTINE + Oh, excellent choice. + +She grabs it and sticks it in the CD player. The music is +dreamy and haunting and slow. Clementine falls back onto +the couch, closes her eyes and sips her drink. + + CLEMENTINE + Mmmmmmm. Way to go, Joel. You pick + good. + +Joel sits down in his chair and drinks. There's a silence, +which seems fine to Clementine but makes Joel anxious. + + JOEL + Well, I should probably get going. + + CLEMENTINE + No, stay. Just for a little while. + (opens her eyes, + brightly) + Refill? + 19. + + + JOEL + No, I sort of have to go and -- + + CLEMENTINE + Stop mumbling. + +She grabs Joel's drink from his hand, takes it into the +kitchen. + + CLEMENTINE (O.S.) + God bless alcohol, is what I say. + Where would I be without it. Jesus, + Mary, and Joseph, maybe I don't + want to think about that. + +She giggles. Joel looks around the room again. There are +several potatoes dressed as women in beautiful handmade +costumes: a nurse potato, a stripper potato, a +schoolteacher potato, a housewife potato. He stares at the +potatoes, confused. Clementine returns with Joel's drink +and a refill for herself. + + JOEL + Thanks. + + CLEMENTINE + Drink up, young man. It'll make the + whole seduction part less + repugnant. + +Joel looks a little alarmed. + + CLEMENTINE + I'm just kidding. C'mon. Or was I? + +She laughs maniacally, sits back on the couch, closes her +eyes. Joel watches her, looks at her breasts. She opens her +eyes, smiles drunkenly at him, winks. + + CLEMENTINE + Y'know, I'm sort of psychic. + + JOEL + Yeah? + + CLEMENTINE + Well, I go to a psychic and she's + always telling me I'm psychic. She + should know. Do you believe in that + stuff? + + JOEL + I don't know. + 20. + + + CLEMENTINE +Me neither. But sometimes I have +premonitions, so, I don't know. +Maybe that's just coincidence. +Right? Y'know, you think something +and then it happens, or you think a +word and then someone says it? +Y'know? + + JOEL +Yeah, I don't know. It's hard to +know. + + CLEMENTINE +Exactly. Exactly! That's exactly my +feeling about it. It's hard to +know. Like, okay, but how many +times do I think something and it +doesn't happen? That's what you're +saying, right? You forget about +those times. Right? + + JOEL +Yeah, I guess. The human mind +creates order where there is none. + + CLEMENTINE + (dreamy beat) +But I think I am. I like to think I +am. It's helpful to think there's +some order to things. You're kind +of closed- mouthed, aren't you? + + JOEL +Sorry. My life isn't that +interesting. I go to work. I go +home. I don't know what to say. You +should read my journal. It's just, +like, blank. + + CLEMENTINE + (considers this) +Does that make you sad? Or anxious? +I'm always anxious thinking I'm not +living my life to the fullest, +y'know? Taking advantage of every +possibility? Just making sure that +I'm not wasting one second of the +little time I have. + + JOEL +I think about that. + 21. + + +She looks at him really hard for a long moment. Joel tries +to hold her gaze, but can't. He looks down at his drink. + +Clementine starts to cry again. + + CLEMENTINE + You're really nice. I'm sorry I + yelled at you before about it. God, + I'm dreadful. + + JOEL + I have a tendency to use that word + too much. It is a little + nondescript. + + CLEMENTINE + I like you. That's the thing about + my psychic thing. I think that's my + greatest psychic power, that I get + a sense about people. My problem is + I never trust it. But I get it. And + with you I get that you're a really + good guy. + + JOEL + Thanks. + + CLEMENTINE + And, anyway, you sell yourself + short. I can tell. There's a lot of + stuff going on in your brain. I can + tell. My goal-- can I tell you my + goal? + + JOEL + (mock put out) + Yeah, I guess. + + CLEMENTINE + (ala Paul Simon) + What's the goal, Joel? + (laughs) + 22. + + +My goal, Joel, is to just let it +flow through me? Do you know what I +mean? It's like, there's all these +emotions and ideas and they come +quick and they change and they +leave and they come back in a +different form and I think we're +all taught we should be consistent. +Y'know? You love someone -- that's +it. Forever. You choose to do +something with your life -- that's +it, that's what you do. It's a sign +of maturity to stick with that and +see things through. And my feeling +is that's how you die, because you +stop listening to what is true, and +what is true is constantly +changing. You know? + + JOEL +Yeah. I think so. It's hard to -- + + CLEMENTINE +Like I wanted to talk to you. I +didn't need any more reason to do +it. Who knows what bigger cosmic +reason might exist? + + JOEL +Yeah. + + CLEMENTINE +I'm gonna marry you! I know it! + + JOEL +Um, okay. + + CLEMENTINE + (laughing) +You're very nice. God, I have to +stop saying that. You're nervous +around me, huh? + + JOEL +No. Yeah. Sort of. Not really. + + CLEMENTINE +I'm nervous. You don't need to be +nervous around me, though. I like +you. Do you think I'm repulsively +fat? + + JOEL + 23. + + + No, not at all. + + CLEMENTINE + I don't either. I used to. But I'm + through with that. Y'know, if I + don't love my body, then I'm just + lost. You know? With all the + wrinkles and scars and the general + falling apart that's coming 'round + the bend. You ever inhale + hairspray? Fucking good high. I + don't anymore. It causes cellulite. + (beat) + So, I've been seeing this guy-- + +Joel looks slightly crestfallen. + + CLEMENTINE + (off his reaction) + Oh, Joel, you're so sweet! Yay! + (kisses him on the cheek) + Just been seeing him for the last + week. He's kind of a kid. Kind of a + goofball, but he's really stuck on + me, which is flattering. Who + wouldn't like that? And he's, like, + a dope, but he says these smart and + moving things sometimes, out of + nowhere, that just break my heart. + He's the one who gave me that crow + photograph. + + JOEL + Oh, yeah. Caw. + + CLEMENTINE + It made me cry. But, anyway, we + went up to Boston, because I had + this urge to lie on my back on the + Charles River. It gets frozen this + time of year. + + JOEL + That sounds scary. + + CLEMENTINE + 24. + + + Exactly! I used to do it in college + and I had this urge to go do it + again, so I got Patrick and we + drove all night to get there and he + was sweet and said nice things to + me, but I was really disappointed + to be there with him. Y'know? And + that's where my psychic stuff comes + in. Like, it just isn't right with + him. Y'know? + + JOEL + I think so. I had a girlfriend two + years ago and just yesterday -- + + CLEMENTINE + I don't believe in that soulmate + crap anymore, but-- Patrick says so + many great things. We like the same + writers. This writer Joel Townsley + Rogers he turned me on to. + + JOEL + Yeah, he's one of my favorites. I + saw you had his book in your purse. + One of the oddest locked room + mysteries. + + CLEMENTINE + And this kid's cute, too. It's + fucked up. I mean, here it is + Valentine's Day and I can't bring + myself to call him. + (beat) + Joel, you should come up to the + Charles with me sometime. + + JOEL + Okay. + + CLEMENTINE + Yeah? Oh, great! + +She sits closer to him. + + CLEMENTINE + I'll pack a picnic -- a night + picnic -- night picnics and + different -- and -- + + JOEL + (shy) + 25. + + + Sounds good. But right now I should + go. + + CLEMENTINE + (pause) + You should stay. + + JOEL + I have to get up early in the + morning tomorrow, so-- + + CLEMENTINE + (beat) + Okay. + +Joel puts on his overcoat. Clementine heads to the phone +table, grabs a pen. + + CLEMENTINE + I would like you to call me. Would + you do that? I would like it. + + JOEL + Yes. + +She scribbles her phone number on Joel's right hand. He +stands there uncomfortably for a moment, then forces +himself to speak. + + JOEL + I don't think your personality + comes out of a tube. I think the + hair is just-- a pretty topping. + +She tears up, swallows, and kisses him on the cheek. + + JOEL + (shyly formal) + So, I enjoyed meeting you. + + CLEMENTINE + You'll call me, right? + + JOEL + Yeah. + + CLEMENTINE + When? + + JOEL + Tomorrow? + + CLEMENTINE + 26. + + + Tonight. Just to test out the phone + lines and all. + + JOEL + Okay. + + Joel exits. Clementine watches him through an open window + as Joel gets in his car. + + CLEMENTINE + And wish me a happy Valentine's Day + when you call! That'd be nice! + + +17 INT/EXT. JOEL'S CAR - NIGHT 17 + + Joel drives home. He seems agitated. He parks in the lot + behind his apartment building, gets out of the car and + heads around to the front. + + +18 INT. VAN - NIGHT 18 + + It drives slowly down the street. There are two dark + figures inside. + + STAN + I can't see any numbers. + + PATRICK + (squinting) + One-thirty-seven? + + Joel appears from the side of the house. + + STAN + There! That's him, right? + + PATRICK + I think so. + + The van trails Joel, who looks back at it, then makes his + way toward his building. The van parks across the street. + + +19 EXT. JOEL'S APARTMENT BUILDING - CONTINUOUS 19 + + Joel heads up the walk to his building. He looks back at + the van, tries to see in. The window rolls down and a hand + comes out and waves cheerily. + + MUFFLED PATRICK FROM INSIDE VAN + Thanks, Joel. + 27. + + + Laughter from in the van. The window is rolled up. Joel + enters his building. + + +20 INT. JOEL'S APARTMENT ENTRANCEWAY - CONTINUOUS 20 + + Joel pulls his mail from his box. In the light we see that + Joel has a blue dot drawn on either side of his forehead. A + man enters the building. This is Frank. + + FRANK + Joel. + + JOEL + Frank. + + The man opens his mailbox, sifts through some envelopes. + + FRANK + Jesus, shit. The only Valentine's + Day cards I get are from my mother. + How pathetic is that? + + Joel chuckles, distracted. + + FRANK + You're lucky you have Clementine, + man. She's way cool. + + Joel looks at him. The guy continues to sift through his + envelopes. A yellow envelope with the name "Lacuna" in the + + upper left catches Joel's eye. + + FRANK + Any big Valentine's plans with her? + + JOEL + No. + + Joel continues to stare at the yellow envelope. + + FRANK + It's only a day away, better make + reservations somewhere. Don't want + to end up at Mickey D's. + + The guy laughs. Joel smiles wanly. + + FRANK + McRomance! + 28. + + + The guy laughs again, too much. + + FRANK + Do you want fries with that shake? + + JOEL + I've got to get to bed, Frank. + + Frank looks at his watch. + + FRANK + It's 8:30. + + Joel shrugs, heads down the hall, unlocks his door, which + is on the first floor. + + FRANK + What's with the dots? + + +21 INT. JOEL'S APARTMENT - CONTINUOUS 21 + + Joel changes into a pair of pajamas fresh from the package. + + He picks up a small vial from his night table, opens it, + dumps a round pink pill into the palm of his hand, studies + it, then swallows it quickly. He looks around the room, + somewhat panicked, as if going through some checklist. He + crosses to the window and looks out into the night. He + tries again to squint into the van across the street. + + +22 INT/EXT. VAN - CONTINUOUS 22 + + The two figures inside are watching Joel in his apartment, + squinting out at them. Joel gives up and walks away from + the window. + + PATRICK + (singing under breath) + She's a maniac, maniac on the floor + -- + + STAN + Patrick, stop it. + + Silence. + + PATRICK + (singing unconsciously) + -- and she's dancing like she's + never danced before -- + 29. + + + The lights in Joel's apartment click off. + + PATRICK + Show time at the Apollo. + + The two guys get out of the van. + + +23 EXT. VAN - CONTINUOUS 23 + + Stan, in hip glasses, and Patrick open the back of the van + and pull out a few briefcase-sized machines. They head up + the apartment building walkway. + + +24 INT. JOEL'S APARTMENT BUILDING - MOMENTS LATER 24 + + Stan inserts a key and opens Joel's apartment door. He and + Stan enter. They switch on the light. Patrick unconsciously + hums "Maniac" as the two enter. + + +25 INT. JOEL'S APARTMENT - NIGHT 25 + + The room now looks a little vague. Joel changes into a pair + of pajamas fresh from the package. He picks up a small vial + from his night table, opens it, dumps a round pink pill + into the palm of his hand, studies it. + + We see the pill from his POV. There's a code imprinted on + it, but we can't make it out. He swallows the pill quickly. + He looks around the room, somewhat panicked, as if going + through some checklist. + + VOICE-OVER + Everything ready? Are they out + there? + + Joel crosses to the window and looks out into the night. He + tries to squint into the van across the street. He can make + out the two figures but no detail. He stands there for a + moment, crosses to the bed, sits, dials the night table + phone. + + RECORDED VOICE + The number you have dialed is no + longer in service. Please check + your number and -- + + JOEL + (weepy) + Bye. + 30. + + + He hangs up the phone, turns off the light and lies on his + back on the bed. He stares up at the ceiling. The pills + seems to be taking effect and Joel is getting drowsy. But + something else is also happening: the room is getting + darker, less distinct. He tries to keep his eyes open to + watch this strange phenomenon, but can't. + + His eyes close and the room plunges into darkness. We hear + a key in the door, the door opening, floorboards creaking + under shoes and someone quietly humming "Maniac." These + noises grow faint and disappear. + + +26 EXT. JOEL'S APARTMENT BUILDING - NIGHT 26 + + Joel gets out of his car, spots a van parked across the + street. There are two dark figures inside. + + VOICE-OVER + Them. + + The van window opens, a hand waves. Laughter. Joel hurries + inside the building. Footsteps loud. + + +27 INT. JOEL'S APARTMENT ENTRANCEWAY - NIGHT 27 + + Joel pulls his mail from his box. A man enters the + building. + + MAN + Hey, Joel. What's up? + + JOEL + Oh, hi, Frank. + + The man opens his mailbox, sifts through some envelopes. + + MAN + I only get Valentine's Day cards + from my mom. How sad is that? + + Joel chuckles. + + MAN + You're lucky you have Clementine, + Joel. + + Joel looks at the guy as he sifts through his mail. A + yellow envelope stamped with the "Lacuna" logo catches + Joel's eye. + + MAN + 31. + + + Any big Valentine's plans? + + JOEL + No. + + Joel continues to stare at the yellow envelope. He sees a + mole on the man's hand. + + MAN + It's only a day away, better get -- + + The guy with the mail is just a shadow now. Joel studies + his ghostly form. + + +28 INT. ROB AND CARRIE'S LIVING ROOM - NIGHT 28 + + MAN + -- crackin'. + + Joel is pacing. He clutches a small gift box wrapped in red + paper. Rob and Carrie, 40's, watch from the couch. + + JOEL + ... so I get home from work tonight + and I'm just tired of the bullshit. + It's been going on long enough, so + I call her, I figure, y'know, + Valentine's day is three goddamn + days away and I want this resolved. + I'm willing to be the one to + resolve it. So -- + + +29 INT. JOEL'S APARTMENT - NIGHT 29 + + Joel dials the phone. + + VOICE-OVER + -- I called her. + + RECORDED VOICE ON TELEPHONE + The number you have dialed has been + disconnected. If you -- + + Joel, startled, hangs up. + + +30 INT. STORE - ANTIC ATTIC - NIGHT 30 + + Joel looks through a display case of funky necklaces. He + talks as he examines the jewelry. + 32. + + + JOEL + I thought, what the hell-- So I + hurried over to Antic Attic, y'know + -- + + +31 EXT. ANTIC ATTIC - NIGHT 31 + + Quick shot of the exterior of Antic Attic. + + +32 INT. STORE - ANTIC ATTIC - NIGHT 32 + + JOEL + -- to look for something for her. + + - A saleswoman wraps the jewelry box in red paper. + + JOEL + I just thought, y'know, I'd go see + her at work, give her an early + Valentine. Because I'm going crazy. + + - A hand writes on a heart-shaped card: "Clem -- I'm sorry. + I love you. Joel." + + +33 INT. BARNES AND NOBLE BOOKSTORE - NIGHT 33 + + Joel walks through the store with the small wrapped box in + his hand. He spots Clementine, now with magenta hair. He + approaches her, nervously. + + JOEL + (quiet and mumbly) + What's wrong with your phone? + + Clementine turns, smiles at him. It's a professional smile. + + CLEMENTINE + I'm sorry, can I help you find + something? + + Joel is taken aback. He just stares at her for a moment. + She continues to smile at him. Patrick, a young man with a + shadowy, vague face, approaches her from behind. + + He seems almost out of breath. Joel registers that, for a + split second, Patrick glances at him before speaking to + Clementine. + + PATRICK + Hey, Clem-ato! + 33. + + + CLEMENTINE + Baby boy! + + They kiss. Joel watches, confused and horrified. + + CLEMENTINE + What you doin' here, baaaaaaay- + beeee? + (to Joel) + I'll be with you in a minute, sir. + + +34 INT. ROB AND CARRIE'S LIVING ROOM - NIGHT 34 + + Joel stops pacing, looks at Rob and Carrie. + + JOEL + Why would she do that to me? + + CARRIE + I don't know, honey. It's horrible. + + ROB + Does anyone want a joint? + + CARRIE + Fuck, Rob. Just give it a rest. + + JOEL + She's punishing me for being + honest. I should just go to her + house. + + ROB + I don't think you should go there, + man. + + JOEL + Right, I don't want to seem + desperate. + + CARRIE + Maybe you need to look at this as a + sign to move on. Just make a clean + break. + + ROB + Joel, look, the thing is -- + + CARRIE + Rob! + + ROB + 34. + + + What the fuck do you suggest, + Carrie? What's your brilliant, + reasoned solution? + + CARRIE + Jesus, does everything have to turn + into your shit about us? This is + not about us. + + ROB + I agree. It's about Joel, who's an + adult. Not Mama Carrie's child. + + Joel watches in confusion. Carrie boils over with rage and + frustration and storms from the room. Rob and Joel look at + each other. + + +35 INT. ROB AND CARRIE'S KITCHEN - NIGHT 35 + + Joel watches as Rob digs through a drawer. He finally pulls + out a yellow card and hands it to Joel. Joel reads it. + + Dear Rob and Carrie Eakin: + + Clementine Kruczynski has had Joel Barish erased from her + memory. Please never mention their relationship to her + again. + + Thank you. + + LACUNA, LTD. 424 GRAND STREET, NY, NY + + Joel stares at the card, incredulous. It's the same yellow + as the Lacuna envelope his neighbor held. + + +36 EXT. LACUNA - DAY 36 + + Joel walks along the street. He sees a flash of himself + ahead carrying two garbage bags. The second Joel is almost + hit by a truck. The first Joel is confused for a moment + then pushes open a door marked Lacuna Inc. + + +37 INT. LACUNA WAITING ROOM - MOMENTS LATER 37 + + Joel is at the reception desk. He watches Mary, 25, busily + answering phones and printing out Lacuna envelopes. + + MARY + (into phone) + 35. + + + Good morning, Lacuna. No, I'm + sorry, that offer expired after the + new year. Yes. Certainly, we can + fit you in on the second. That's a + Wednesday. Great. Could you spell + that please. Great and we need a + daytime phone. Terrific. See you + then. + (hangs up, speaks to Joel + without looking up) + May I help you? + + JOEL + Joel Barish. I have an appointment + with Dr. Mierzwiak. + + +38 INT. LACUNA OFFICE HALL - MOMENTS LATER 38 + + Joel walks behind Mary. + + MARY + (not looking back) + How are you today? + + JOEL + Not too good. + + Stan, a young man in a lab coat, pops his head out from an + office. + + STAN + (to Mary) + Boo. + + MARY + Not now, Stan. I'm working. + + STAN + Sorry. I just -- + (to Joel) + Sorry. I was just -- + + MARY + Here we are, Mr. Barish. + + Mary shows Joel Mierzwiak's office. + + +39 INT. LACUNA, HOWARD'S OFFICE - DAY 39 + 36. + + + MOMENTS LATER: Mierzwiak fingers the yellow card. Joel + looks from Mierzwiak to Mary. She stands behind the doctor + and eyes Mierzwiak longingly. Mierzwiak is unaware. + + MIERZWIAK + (to Joel) + You should not have seen this. I + apologize. + + JOEL + This is a hoax, right? This is + Clem's -- + + MIERZWIAK + I assure you, no. + + Mary shakes her head "no" in agreement with Mierzwiak. + + JOEL + There is no such thing as this! + + MIERZWIAK + Look, our files are confidential, + Mr. Barish, so I can't show you + evidence. Suffice it to say Ms. + Kruczynski was not-- + + +40 INT. ROB AND CARRIE'S KITCHEN - DAY - INT. LACUNA - DAY 40 + + Joel paces as Carrie busies herself making coffee. + Hammering sounds. + + MIERZWIAK'S VOICE JOEL + -- happy and she wanted to "-- + happy and she wanted to move on. + move on. We provide that + possibility." What the hell is + that? I was the nicest guy she ever + went out with. I mean - - + + Joel looks over and sees Rob smoking a joint and hammering + a birdhouse in the other room. + + CARRIE + Rob! For God's sake! + + ROB + I'm making my birdhouse! + + The hammering continues. Carrie strangles a frustrated + scream, then: + 37. + + + CARRIE + Joel, Clementine met some woman on + line at the supermarket, the woman + told her about this company, + Lacuna. She decided to erase you, + almost as a lark. + + JOEL + A lark?! + + The scene splits in half. As Joel continues to talk to + Carrie, he also watches himself being led through the halls + of Lacuna by Mierzwiak. + + MIERZWIAK CARRIE + Mr. Barish, we're certainly You + know Clementine, Joel. not here to + twist anyone's She's like that. + What can I arm. This is a personal + and say? Impulsive, profound + decision to make, but might I + suggest that you at least consider + the potential pitfalls of a psyche + forever spinning its wheels. + + +41 INT. JOEL'S CAR - NIGHT 41 + + Joel sits in his car crying. He is parked outside a drive- + in movie theater. As he cries the windows fog up until the + exterior is obliterated. + + +42 INT. LACUNA - MIERZWIAK'S OFFICE - NIGHT 42 + + Joel barges in followed by Mary. Mierzwiak looks alarmed. + + MARY + I'm so sorry, Howard. He just -- + + JOEL + Okay, I want it done! Now! + + MARY + I told him pre-Valentine's Day is + our busy time and -- + + MIERZWIAK + It's okay, Mary. + + MARY + Really? There are people waiting + and -- + 38. + + + MIERZWIAK + Mr. Barish is in an unenviable + position for which we bear some + responsibility and we need to take + that into consideration. + + MARY + Of course. You're right, Howard. + + She exits. + + MIERZWIAK + Now, then, Mr. Barish, first thing + we need you to do is go home and -- + + +43 INT. JOEL'S APARTMENT - DAY 43 + + Joel drags around a big black plastic garbage bag and + places various objects in it. + + MIERZWIAK'S VOICE + -- collect every single thing you + own that has some association with + Clementine. Anything. Photos. + Clothing. Gifts. Journal entries. + Perfume. Books she bought for you. + CD's you bought together. We want + to empty your home... your life of + Clementine. + + Joel pulls books off the shelves, toiletries out of the + bathroom, clothing out of the closet, knickknacks, art + work, photographs from albums (he finds a photo of + Clementine as a little girl, wearing a pink cowboy hat and + posing with a puppy), perfume, the Rain Dogs CD, some + potatoes that are dressed up to look like different types + of women, a skeleton costume, a shoebox of letters from + Clementine, the wrapped giftbox from Antic Attic. + + He rips pages out of various journals: writing, portraits + of Clementine he has drawn. As he does all this, his + apartment begins to look more and more barren. + + MIERZWIAK'S VOICE + We'll use these items to -- + + +44 EXT. NEW YORK STREET - DAY 44 + 39. + + + Joel walks carrying two big, full garbage bags. He is + almost hit by a truck as he crosses the street. It is a + replay of the near accident he witnessed earlier, but it is + now in the first person. + + MIERZWIAK'S VOICE + -- create a map of Clementine -- + + +45 INT. LACUNA WAITING ROOM - DAY 45 + + Joel sits with his garbage bags. A woman with red-rimmed + eyes and a cardboard box full of dog toys, dog bowls, and + other pet paraphernalia in her lap, sits across from him. + + MIERZWIAK'S VOICE + -- in your brain. + + Mary is on the phone at the reception desk. She hangs up + and acknowledges Joel. + + MARY + How are you today, Mr. Barish? + + Before Joel can respond, Mary is back into her work. + + Mierzwiak pokes his head out from the inner office. + + MIERZWIAK + Mr. Barish? + + +46 INT. LACUNA HALLWAY - DAY 46 + + Joel walks with his bags behind Mierzwiak. They pass Mary + printing out some yellow Lacuna cards in the reception + area. + + She smiles professionally as they pass. + + MIERZWIAK + February is very busy because of + Valentine's Day. + + As they pass a lab, Mierzwiak stops. Joel glances in and + sees Stan working on a female client. She is being shown an + old super eight home movie. + + MIERZWIAK + This is Stan Fink, one of our most + skilled and experienced + technicians. He'll be handling your + case tonight. + 40. + + + Stan approaches Joel and shakes his hand. + + STAN + Great to meet you, Mr. Barish. + + Joel looks at the equipment in the lab. + + +47 INT. MIERZWIAK'S OFFICE - DAY 47 + + Joel enters with Mierzwiak. Mierzwiak directs Joel to a + sitting area. There's a tape recorder on the coffee table + between them. + + MIERZWIAK + We'll start here. You and I will + chat a little. I'll tape record our + session, if you don't mind, and + we'll get a sense of the memory you + wish to erase. Okay? + + Joel nods. Mierzwiak smiles kindly and switches on the tape + recorder. He moves a box of tissues closer to Joel. + + MIERZWIAK + So please tell me your name and who + you are here to erase. + + JOEL + My name is Joel Barish and I'm here + to erase Clementine Kruczynski. + + MIERZWIAK + Very good. Tell me about + Clementine. + + JOEL + Um, like what? + + MIERZWIAK + Everything. We'll need everything. + (off Joel's confused + look) + Just begin talking. I'll direct the + conversation as need be. + + JOEL + 41. + + + Um, well, y'know, I was living with + this woman Naomi, about two years + ago, and my friends Rob and Carrie + invited us to a party on the beach. + Naomi couldn't go. She was working + on a paper for school. So I went. I + didn't really want to either. I + don't like parties. But I went. And + Clementine was there. In her orange + sweatshirt. And her hair. She was + really special. + + Later. + + JOEL + I mean, the whole thing with the + hair? It's all bullshit. And it's + sort of pathetic when you're thirty + and you're still doing that shit. + + There's a noise, something's dropped. Joel looks over. + + Patrick is in the corner of the room at a filing cabinet. + + He's dropped some folders and he's bending down to pick + them up. + + PATRICK + Sorry. + + Patrick exits. + + JOEL + So, um, I really liked her for some + reason, down there by the ocean. I + fall in love easily-- + + The room is starting to fade. Joel looks quizzically at the + eroding environment. + + +48 INT. LAB - DAY 48 + + Joel is now sitting in an examination chair. Stan draws a + blue dot on either side of his forehead. + + As Mierzwiak talks, the room colors start to fade, + Mierzwiak's tone of voice is also affected; it becomes dry + and monotonous. + + MIERZWIAK + 42. + + + We'll start with your most recent + memories and go backwards -- more + or less. There is an emotional core + to each of our memories -- As we + eradicate this core, it starts its + degradation process -- By the time + you wake up in the morning, all + memories we've targeted will have + withered and disappeared. As in a + dream upon waking. + + Joel watches Stan as he covers the blue dots with + electrodes. + + JOEL + Is there any risk of brain damage? + + MIERZWIAK + Well, technically, the procedure + itself is brain damage, but on a + par with a night of heavy drinking. + Nothing you'll miss. + + +49 INT. LACUNA LAB - DAY 49 + + Joel's outside himself watching himself in the chair. The + room is fading. + + STANDING JOEL + (confused, disoriented) + Why am I -- I don't understand what + I'm looking at. + + STAN + (turning to Standing + Joel) + Well, we're going to create a map + of your brain and -- + + STANDING JOEL + But how am I -- standing here and - + - Oh my God, deja vu! Deja vu! + (holding head) + This is so -- + + MIERZWIAK + So, let's get started -- If we want + to get the procedure underway + tonight, we have some work to do. + some work to do. + + JOEL + 43. + + + (to Mierzwiak) + I'm in my head already aren't I? + + MIERZWIAK + (looking around at faded + room) + I suppose so, yes. This looks about + right. This is what it would look + like. + (back into memory) + Stan, if you will-- + +Stan pulls a snow globe from one of Joel's bags, shows it +to Joel. + + STAN + Study this object, if you will. + +Joel sees the equipment showing the map of his neural +connections getting more complex. + + STAN + Very good. + +Stan pulls out a potato dressed as a Vegas showgirl. Joel +studies it. The machines register his response. + + MIERZWIAK JOEL + We'll dispose of these mementos + when we're done mementos when we're + done here. That way you won't be + here. That way you won't be + confused later by their confused + later by their unexplainable + presence in unexplainable presence + in your home. your home. + +Stan pulls out a coffee mug with a photo of Clementine +printed on it. Joel looks at the cup. The machines record +his reaction. + + STAN + Good. We're getting healthy + readouts. + +The room, Stan, and Mierzwiak are now vague and wispy. + + STAN'S VOICE + Patrick, do me a favor -- + + JOEL + (trying to remember) + 44. + + + Patrick, Patrick, Patrick, Patrick, + Patrick-- + + PATRICK'S VOICE + Yeah, Stan? + + Joel watches Stan. Stan is not speaking, yet his voice + continues. + + STAN'S VOICE + Check the voltage levels. I'm not + wiping as clean as I would like + here. + + Joel looks up. Stan's voice seems to be coming from above. + + Joel looks past Stan. + + Beyond him Joel sees a husky version of Mary leading him + down the hall; himself sitting in the waiting room; walking + down the block with his bags; collecting mementos in his + apartment. He screams. + + +50 INT. JOEL'S APARTMENT - NIGHT 50 + + Joel lies on his back in fresh pajamas. His eyes are closed + and electrodes connect his head to several machines. The + machines are operated by Stan, now in grubby street clothes + and in need of a shave, and by Patrick, dressed similarly. + + The monitor on one of the machines traces a myriad of light + blips running like streams through an image of Joel's + brain. + + Stan presses buttons and operates a joystick, aiming for + the lines. Patrick (who we saw earlier with Clementine at + the bookstore) studies a meter on one of the machines. + + PATRICK + The voltage looks fine. + + STAN + Then check the connections. + + Patrick fiddles with some jacks. + + PATRICK + Does that help? + + STAN + Yeah, that looks better. Thanks. + 45. + + +51 INT. LACUNA LAB ROOM - DAY 51 + + The memory is becoming vague, characters' affects flat. + Stan pulls out a pile of loose-leaf pages. Mierzwiak + smiles. + + MIERZWIAK + Ah, your journal. This will be + invaluable. + + STAN + (reading) + I met someone tonight. Oh, Christ. + I don't know what to do. Her name + is Clementine and she's amazing. So + alive and spontaneous and + passionate and sensitive. Things + with Naomi and I have been stagnant + for so long. + + The scene is just a shell of itself as Stan rattles on. + + STAN'S VOICE + I think we got this one. Let's push + on. + + Standing Joel searches for the disembodied voices while + sitting Joel listens to Stan's monotonous reading. + + PATRICK'S VOICE + So, this place is kind of a dump, + don't you think? + + +52 INT. JOEL'S APARTMENT - NIGHT 52 + + Patrick is checking out the apartment. Stan monitors the + equipment. + + STAN + (uninterested) + It's an apartment. + + PATRICK + Not a dump, then, but kind of + plain. Uninspired. And there's a + stale smell. Sort of stuffy. I + don't know. Eggy? + + STAN + Patrick, let's just get through + this. We have a long night ahead of + us. + 46. + + + PATRICK + Yeah. + + Patrick returns to the bedside, focuses on the machines for + a moment. He glances at the unconscious Joel. + + PATRICK + So who do you think is better- + looking, me or this guy? + + Stan glances sideways at Patrick. + + +53 INT. JOEL'S APARTMENT - NIGHT 53 + + Joel sits in his dark, vague room and listens. + + STAN'S VOICE + Listen, Mary's coming over tonight. + + +54 INT. JOEL'S APARTMENT - NIGHT 54 + + Stan works the joystick. Patrick sits on the bed with Joel. + + PATRICK + Yeah? + + STAN + Just wanted to let you know. + + PATRICK + I like Mary. I like when she comes + to visit. I just don't think she + likes me. + + STAN + She likes you okay. + + PATRICK + I wonder if I should invite my + girlfriend over, too. I have a + girlfriend now. + + STAN + You can if you want. + + PATRICK + Did I tell you I have a new + girlfriend? + + STAN + (re: memory on monitor) + 47. + + + This one's history. Moving on-- + + PATRICK + The thing is -- my situation is a + little weird. My girlfriend + situation. + + STAN + Patrick, we need to focus. + + +55 INT. JOEL'S APARTMENT - NIGHT 55 + + Joel distractedly reads a book, checks the clock, goes back + to the book. The door opens. He looks up. Clementine is + staggering in, drunk. + + CLEMENTINE + Yo ho ho! + + JOEL VOICE-OVER + It's three. Shit. The last time I + saw you. + + CLEMENTINE + Anyhoo, sweetie, I done a bad + thing. I kinda sorta wrecked your + car-- + + JOEL + You're driving drunk. It's + pathetic. + + CLEMENTINE + -- a little. I was a little tipsy. + Don't call me pathetic. + + JOEL + Well it is pathetic. And fucking + irresponsible. You could've killed + somebody. + + The scene is starting to degrade. The acting becomes + anemic. + + JOEL + I don't know, maybe you did kill + somebody. + + CLEMENTINE VOICE-OVER + 48. + + + Oh Christ I didn't kill Right! She + called me an old anybody. It's just + a fucking lady here, too! And I + dent. You're like some old + remember, I said-- lady or + something. + + JOEL + And what are you like? A wino? + + CLEMENTINE + A wino? Jesus. Are you from the + fifties? A wino! + (laughs) + Face it, Joel. You're freaked out + because I was out late without you, + and in your little wormy brain, + you're trying to figure out, did + she fuck someone tonight? + + JOEL + No, see, Clem, I assume you fucked + someone tonight. Isn't that how you + get people to like you? + + This shuts Clementine up. She is stung and she starts + gathering up her belongings, which are strewn about the + apartment. Joel is immediately sorry he's said this. He + follows her around. + + JOEL + I'm sorry. Okay? I didn't mean + that. I just-- I was just-- + annoyed, I guess. + + Clementine is out the door. Joel follows. + + +56 INT. HALLWAY - NIGHT 56 + + Joel looks for Clementine in the hallway, but she is gone. + + +57 EXT. JOEL'S STREET - NIGHT 57 + + Joel looks at his dented car slammed against a fire + hydrant, spots Clementine clomping off in the distance. + + +58 INT/EXT. JOEL'S CAR - NIGHT - CONTINUOUS 58 + + Joel drives to catch up to Clementine. He rolls down his + window to talk to her. + 49. + + + JOEL + Let me drive you home. + + CLEMENTINE + (without turning) + Fuck you, Joel. Faggot. + + JOEL + (screaming) + Look at it out here. It's falling + apart. I'm erasing you. And I'm + happy. + + She keeps clomping. + + JOEL + You did it to me first. I can't + believe you did this to me. + + He stops the car, gets out. + + +59 EXT. STREET - NIGHT 59 + + It's a street you might see in a dream, more an impression + of a quiet street than an actual one, with what little + detail there is obscured in darkness. In the distance + Clementine walks off, but as in an animated loop, she + doesn't get any farther away. + + JOEL + (yelling after her) + By morning you'll be gone! Ha! + + She keeps walking. Joel runs after her. + + JOEL + You hear me? You'll be gone! A + perfect ending to this piece of + shit story! + + He stops. He's in exactly the same place he was when he + started. + + PATRICK'S VOICE + See, remember that girl? The one we + did last week? The one with the + potatoes? + + Joel looks up, startled to hear a strange voice talking + about Clementine. + + STAN'S VOICE + 50. + + + Yeah, that's this guy's girlfriend. + Was. + + +60 INT. JOEL'S APARTMENT - NIGHT 60 + + Stan watches the screen. Patrick paces, fidgets, looks at + the unconscious Joel. + + PATRICK + I gotta tell you something. I kind + of fell in love with her that + night. + + STAN + She was unconscious, Patrick. + + PATRICK + She was beautiful. So sweet and + funky and voluptuous. Crazy hair. I + kind of stole a pair of her + panties, is what. + + STAN + Jesus, Patrick! + + +61 EXT. STREET - NIGHT 61 + + On the vague street, getting more vague by the second, Joel + listens to Patrick and Stan as he walks past the same + landmarks again and again. Clementine continues to walk + away in the distance. + + PATRICK'S VOICE + I know. It's not like-- I mean, + they were clean and all. + + STAN'S VOICE + Look, just don't tell me this + stuff. I don't want to know this + shit. + + PATRICK'S VOICE + Yeah, okay. + + STAN'S VOICE + We have work to do. + + The scene fades completely away and Joel finds himself in - + - + 51. + + +62 INT. JOEL'S APARTMENT - NIGHT 62 + + Joel and Clementine sit and eat dinner in front of the TV. + + It's hard to make out what they're watching. They sit on + opposite ends of the couch. They look bored. The scene + quickly degenerates. The room fades. + + PATRICK'S VOICE + Okay, but there's more. + + Joel listens. Clementine doesn't seem to hear it. + + PATRICK'S VOICE + After we did her, I went to where + she works and I asked her out. + + JOEL + Jesus! + + Joel looks over at the faded Clementine across the couch. + She stares straight ahead at the TV. + + STAN'S VOICE + Patrick-- do you know how + unethical-- + + JOEL + There's some guy here who stole + your underwear. + + CLEMENTINE + Where? + + Joel points up. Clementine, bored, looks up at the ceiling. + + CLEMENTINE + I don't see anyone. + + Joel finds himself in -- + + +63 INT. JOEL'S APARTMENT - NIGHT 63 + + Joel watches TV. He hears Clementine coming and stretches + himself out on the floor pretending to be dead. Clementine + walks by in her underwear, looks at the TV. She does not + acknowledge Joel on the floor as she slips into a skirt. + + CLEMENTINE + How can you watch this crap? I'm + fucking crawling out of my skin. + 52. + + + Joel opens his eyes and sits up, embarrassed. The scene + starts to fade. Clementine puts on her shoes and heads out + the door. + + CLEMENTINE + I should have left you at that flea + market. + + +64 EXT. FLEA MARKET - DAY 64 + + Joel and Clementine walk around unhappily. They barely look + at the wares. Clementine watches parents with babies. + + JOEL + (to Clementine) + Want to go? + + CLEMENTINE + (wistful) + I want to have a baby. + + JOEL + Let's talk about it later. + + CLEMENTINE + No. I want to have a baby. I have + to have a baby. + + JOEL + I don't think we're ready. + + CLEMENTINE + You're not ready. + + JOEL + Clementine, do you really think you + could take care of a kid? + + She turns violently toward him, glaring. + + CLEMENTINE + What?! + + JOEL + (mumbly) + I don't want to talk about this + here. + + CLEMENTINE + 53. + + + I can't hear you! I can never the + fuck understand what you're saying. + Open your goddamn mouth when you + speak! Fucking ventriloquist. + + JOEL + (over-enunciating) + I don't want to talk about this + here! + + CLEMENTINE + We're fucking gonna talk about it! + +Joel looks around. People are watching. + + CLEMENTINE + You can't fucking say something + like that and say you don't want to + talk about it! + + JOEL + Clem, I'm sorry. I shouldn't have - + - + + CLEMENTINE + (screaming now and + weeping) + I'd make a fucking good mother! I + love children! I'm creative and + smart and I'd make a fucking great + mother! It's you! It's you who + can't commit to anything! You have + no idea how lucky you are I'm + interested in you! + +The scene starts to fade. Clementine's rant continues but +becomes attenuated and vague. + + JOEL + Oh, thank God. It's going. + + CLEMENTINE + I don't even know why I am! I + should just end it right here, + Joel. Leave you at the flea market + with the stupid costume jewelry. + Maybe you could find a nice antique + rocking chair to die in! + +She's crying still, but it's almost animatronic, no real +emotion in it. The scene is a husk. + + JOEL + 54. + + + It's going, Clementine. All the + crap and hurt and disappointment. + It's all being wiped away. + + She looks up at him. + + CLEMENTINE + I'm glad. + + Their eyes lock. She is fading before his eyes. + + JOEL + Me, too. + + +65 INT. BAR - NIGHT 65 + + Joel makes his way with two drinks from the crowded bar to + a table where Clementine sits with another guy. She looks + up from her conversation. + + CLEMENTINE + Joel, this is Mark. He likes my + boobs. He came over special to tell + me that. Isn't that nice. He + doesn't think I'm fat. + + The scene starts to fade. Mark rises. + + MARK + I didn't know she was with someone, + buddy. + + JOEL + I don't think she's aware of it + either, buddy. + + CLEMENTINE + S'okay, Marky-Mark. Joel doesn't + like my boobs. + (stage whisper) + I don't think he likes girls. + + The bar gets quiet and vague. + + JOEL + You're drunk. + + CLEMENTINE + You're a whiz kid. So perceptive, + so -- + 55. + + + Clementine keeps talking but there are no more intelligible + words, just a whisper -- like a breeze. + + A doorbell buzzes. Joel looks around. The bartender, across + the silent, vaguely populated, bar speaks in a whisper. + + BARTENDER + That's your doorbell, isn't it, + Joel? + + +66 INT. JOEL'S APARTMENT - NIGHT 66 + + Patrick opens the door. Mary stands there in a winter coat, + carrying a backpack. + + MARY + (coolly) + Oh, hey, Patrick. + + PATRICK + Hi, Mary. How's it going? + + She walks in past him. + + STAN + Hey, you. + + Stan and Mary kiss. She looks down at Joel as she takes off + her coat. + + MARY + It's freezing out. + + STAN + You found us okay? + + MARY + Yeah. + (re: Joel) + Poor guy. + + Mary sees a cooler of beer in one of the Lacuna cases. + + MARY + Is there anything real to drink? + + STAN + We haven't checked. + + MARY + 56. + + + Well, allow me to do the honors. + It's fucking freezing and I need + something. + +She heads into the kitchen. Stan turns back to monitor the +slivers of light. + + PATRICK + Mary hates me. I've never been + popular with the ladies. + + STAN + Maybe if you stopped stealing their + panties. + + PATRICK + (guilty beat) + Okay, there's more, Stan -- + +Stan looks over at Patrick. Mary returns with a bottle of +scotch and two glasses. + + MARY + Hey, hey. + +She pours the whiskey. + + MARY + Oh, Patrick, you didn't want any, + did you? + + PATRICK + Nah, I don't know. That's okay. + +Mary hands a glass to Stan. She holds hers up in a toast. + + MARY + Blessed are the forgetful, for they + get the better even of their + blunders. + +Mary and Stan click glasses. + + MARY + Nietzsche. Beyond Good and Evil. + Found it in my Bartletts. + + STAN + That's a good one. + + MARY + Yeah, I can't wait to tell Howard! + 57. + + + STAN + (a little sulky) +It's a good one all right. + + PATRICK +What's your Bartlett's? + + STAN +It's a quote book. + + MARY +I love quotes. So did Winston +Churchill. He actually has a +quotation in Bartlett's about +Bartlett's. Isn't that trippy? + + PATRICK + (trying to engage) +Yeah. Cool. + + MARY +"The quotations when engraved upon +the memory give you good thoughts." + + PATRICK +Trippy. It's like it turns in on +itself. + + MARY +I like to read what smart people +say. So many beautiful things. The +human race is having this constant +conversation with itself. Y'know? + + STAN +Yup. + + MARY +Don't you think Howard's like that? +Just so smart? + + STAN + (beat) +Yup. + + PATRICK +Definitely! + + MARY +I think he'll be in Bartlett's one +day. + 58. + + + Stan focuses on his monitor. Mary pours herself another + drink. + + PATRICK + Definitely. Howard is pure + Bartlett's. + + +67 INT. JOEL'S BEDROOM - NIGHT 67 + + It's dark. Joel and Clementine are in bed. The memory is + already in the midst of being erased. Clementine is talking + in a monotonous, robotic manner. She sips tea from a coffee + mug with her photo on it. + + CLEMENTINE + You don't tell me things, Joel. I'm + an open book. I tell you + everything. Every damn embarrassing + thing. You don't trust me. + + JOEL + You don't have to be afraid of + silence, Clementine. Constantly + talking isn't necessarily + communicating. + + CLEMENTINE + (takes this in) + I don't do that. I want to know + you. I don't constantly talk. + Jesus. People have to share things. + That's what intimacy is. I'm really + pissed that you said that to me. + + JOEL + (backing off) + I'm sorry. I just don't have + anything very interesting about my + life. + + CLEMENTINE + Joel, you're a liar. You're like + one of those locked room mysteries. + I want to read some of those + journals you're constantly + scribbling in. + (complete monotone) + What do you write in there if you + don't have any thoughts or fears or + passions or love? + + The scene is faded now. The coffee mug is blank. + 59. + + +68 INT. CHINESE RESTAURANT - NIGHT 68 + + Joel and Clementine eat dinner in silence. Joel looks + around at other couples in the restaurant. Some seem happy + and engaged. Others seem bored with each other. He turns + back to his food. + + JOEL VOICE-OVER + How's the chicken? Is that like us? + Are we just bored with each other? + I can't stand the idea of being a + couple that people think that + about. + + CLEMENTINE + Good. + + He watches her as she downs her wine and pours herself + another glass. She holds the wine bottle up to Joel. + + CLEMENTINE + More? + + JOEL VOICE-OVER + No. Thanks. She's going to be drunk + and stupid now. + + There's a silence. + + CLEMENTINE + Hey, would you do me a favor and + clean the goddamn hair off the soap + when you're done in the shower? + + JOEL + Oh. Yeah. Okay. + + CLEMENTINE + It's really gross. It's just, + y'know, it's repulsive. Anyway-- + + They continue to eat in silence as the scene dissolves. + + PATRICK'S VOICE + Hi, Clementine! + + Joel looks around, surprised. + + JOEL + Someone you know? + + Clementine doesn't respond, she continues to eat + robotically. + 60. + + + PATRICK'S VOICE + Why, Clem-ato, what's wrong? + + Joel looks over and sees: + + +69 INT. BARNES AND NOBLE BOOKSTORE - NIGHT 69 + + A decayed version of Barnes and Noble. Joel, at the Chinese + restaurant with Clementine, now inside Barnes and Noble, + watches himself talking to a Clementine with magenta hair. + + The scene plays out as if dead. Patrick approaches her from + behind. Seated Joel tries to see Patrick's face but it is + in shadows. + + PATRICK + Hey, Clem-ato! + + CLEMENTINE + Patrick! Baby boy! + + They kiss. Joel from the restaurant walks over to try to + get a closer look at Patrick. No matter how close he gets, + Patrick's face doesn't get any more detail in it. + + +70 INT. CHINESE RESTAURANT - NIGHT 70 + + Back in the Chinese restaurant, Joel listens to Patrick's + voice. + + PATRICK'S VOICE + -- Oh, I'm sorry. -- Well, I'm not + sure I should come over right now, + I kind of have to study for my test + -- + + +71 INT. JOEL'S APARTMENT - NIGHT 71 + + Patrick is on the phone next to Joel's bed. Stan watches + the lights on the computer screen. + + PATRICK + Hold on. Let me ask my study + partner. + (covering mouthpiece) + Stan, can I leave for a little + while? My girlfriend is very -- + + STAN + Patrick, we're in the middle of -- + 61. + + + PATRICK + She's right in the neighborhood. + She's upset. + (trying for camaraderie) + Women. + + Mary is in the kitchen. She pokes her head out. She's got + some pie on a plate. + + MARY + Let him go, Stan. I can help. + + STAN + (sighing, to Patrick) + Go. + + PATRICK + (quietly) + Mary hates me. She wants me to go. + (into phone) + I'll be right over, Tangerine. + + Joel, unconscious on the bed, jerks. + + +72 INT. VOID - DAY 72 + + Slowly, a fluorescent orange sweatshirt comes into being. + It gets filled by Clementine, who now has orange hair and + is modeling the sweatshirt for Joel in his living room, + which comes into focus around them. + + CLEMENTINE + You like? I matched my sweatshirt + exactly. + + She twirls. + + JOEL + I like it. You look like a + tangerine. + + CLEMENTINE + Clementine the tangerine, I like + that. + + JOEL + How did he know to call you that? + + CLEMENTINE + How did who know? + + Joel looks at Clementine, something's beginning to click. + 62. + + + JOEL + Oh, God-- + + Clementine is now on her side on the floor and Joel is next + to her. The room becomes -- + + +73 INT. CLEMENTINE'S APARTMENT - NIGHT 73 + + Candles are lit. Joel and Clementine are under a blanket on + the living room rug listening to music. + + CLEMENTINE + Joely-- + + JOEL + Yeah, Tangerine? + + CLEMENTINE + Do you know The Velveteen Rabbit? + + JOEL + No. + + CLEMENTINE + It's my favorite book. Since I was + a kid. It's about these toys. + There's this part where the Skin + Horse tells the Rabbit what it + means to be real. + (crying, then laughing at + herself) + I can't believe I'm crying already. + (reading from a worn copy + of the book) + He says, "It takes a long time. + That's why it doesn't often happen + to people who break easily or have + sharp edges, or who have to be + carefully kept. Generally by the + time you are Real, most of your + hair has been loved off, and your + eyes drop out and you get loose in + the joints and very shabby. But + these things don't matter at all, + because once you are Real you can't + be ugly, except to people who don't + understand." + + She's weeping. Joel is stroking her hair. They kiss and + begin to make love under the blanket. It's sweet and gentle + and then it starts to fade. + 63. + + + JOEL + (screaming) + Mierzwiak! Mierzwiak! + + He looks down and Clementine's tear-streaked face is + fading. + + She continues as if she's still being made love to, even + though Joel is completely beside himself. He jumps up naked + and yells at the ceiling. + + JOEL + Please! Please! I've changed my + mind! + (looks down at fading + Clementine, then at + ceiling) + I don't want this. Wake me up! Stop + the procedure! Plea -- + + +74 INT. JOEL'S APARTMENT - NIGHT 74 + + Joel is unconscious on the bed, completely still. Mary and + Stan watch the monitor and smoke a joint. After a silence: + + MARY + It's amazing, isn't it? Such a gift + Howard is giving the world. + + STAN + (a sigh) + Yeah. + + MARY + To let people begin again. It's + beautiful. You look at a baby and + it's so fresh, so clean, so free. + Adults... they're like this mess of + anger and phobias and sadness... + hopelessness. And Howard just makes + it go away. + + STAN + You, um, love him, don't you? + + Mary seems surprised, taken aback, caught. She is silent + for a long moment. + + MARY + No. + (beat) + 64. + + + Besides, Howard's married, Stan. + He's a very serious and ethical + man. I'm not going to tempt him to + betray all he believes in. + + STAN + That's cool. + + Stan takes another drag on the joint, passes it to Mary. + + +75 EXT. CLEMENTINE'S STREET - NIGHT 75 + + Patrick, bundled up and carrying a full backpack, trudges + down the block. + + +76 INT. CLEMENTINE'S APARTMENT - NIGHT 76 + + CONTINUOUS: Clementine watches out the window as Patrick + nears. She's crying. He makes his way up her front stairs. + + She swings open the door and hugs him. + + PATRICK + Oh, baby, what's going on? + + CLEMENTINE + I don't know. I'm lost. I'm scared. + I feel like I'm disappearing. I'm + getting old and nothing makes any + sense to me. + + PATRICK + Oh, Tangerine. + + CLEMENTINE + Nothing makes any sense. Nothing + makes any sense. + + She pushes herself out of the embrace and looks at Patrick. + + CLEMENTINE + Come up to Boston with me? + + PATRICK + Sure. We'll go next weekend and -- + + CLEMENTINE + Now. Now! I have to go now. I have + to see the frozen Charles! Now! + Tonight! + 65. + + + PATRICK + (beat) + I'll call my study partner. + + CLEMENTINE + Yay! It'll be great! I'll get my + shit. + + She runs into the bedroom. Patrick is at the phone and + realizes he doesn't know Joel's number. After a moment's + thought, he *69's. The phone rings. + + JOEL'S VOICE + Hi, it's Joel. Please leave a + message after the beep. + + Beep. + + PATRICK + (whisper) + Stan, it's Patrick. Pick up. + + STAN'S VOICE + Hey, where are you? + + PATRICK + I got into a situation with the old + lady. Can you handle things tonight + alone? I'm really sorry, man. + + +77 INT. JOEL'S APARTMENT - CONTINUOUS 77 + + Stan is on the phone. He's really stoned and watches Mary, + stoned herself, dancing in a sexy trance to something soft + and low on the stereo. + + STAN + I can handle it. He's pretty much + on auto-pilot anyway. + + +78 INT. CLEMENTINE'S APARTMENT - DAY 78 + + PATRICK + Thanks, Stan. I owe you big time. + + Patrick hangs up, rifles quickly through his backpack. He + pulls out the red gift-wrapped box Joel was going to give + Clementine for Valentine's Day, puts it in his pocket, then + pulls out a bunch of letters, flips through them, keeping + an eye on the bedroom door. He finds what he's looking for. + The handwriting is a woman's. He reads: + 66. + + + CLEMENTINE'S VOICE + Dear, dear Joel: Thank you so much + for joining me on the Charles River + last night. I know how nervous you + were about stepping onto the ice, + but that you overcame your fear + just to please me is so fucking + sweet I could eat you. I will! -- + When we watched the stars on our + backs and you took my hand and + said, "I could-- + + +79 EXT. CHARLES RIVER - NIGHT 79 + + Joel and Clementine lie together holding hands on the + frozen river. They look up at the stars. + + JOEL + -- die right now, Clem. I'm just-- + happy. I've never felt that before. + I'm just exactly where I want to + be. + + Clementine looks over at him. Her eyes are filled with love + and tears. Then they get vague, clouded-over. The scene is + being erased. Joel is panicked. + + JOEL + Clem, no! Please! Oh, fuck! Please! + (screaming at the fading + crumbling night sky) + Can you hear me? I want to call it + off! I'll give you a sign! I'll + give you a sign! + + Joel scrunches his face, focuses intently, shakes with + concentration. + + +80 INT. JOEL'S BEDROOM - CONTINUOUS 80 + + Joel's eyes roll almost imperceptibly. Stan and Mary are + dancing together now, not watching him. + + +81 EXT. CHARLES RIVER - CONTINUOUS 81 + + Crazily, Joel grabs the fading Clementine's hand and runs + toward shore. The slow dance music from Stan and Mary's + scene drifts through the night. Joel and Clementine run + through a series of decayed scenes: + 67. + + + We see snippets, details: Joel and Clementine in front of a + diorama in the Natural History Museum, Joel and Clementine + arguing in a car, having sex on the hall stairs of + Clementine's apartment building, laughing and holding hands + at a movie, eating grilled cheese and tomato soup together + in bed, Joel watching her sleep, listening to Rain Dogs + together, drinking at a bar, Joel and Clementine playing a + board game with Rob and Carrie. + + Joel arrives at a decayed version of his first meeting with + Mierzwiak. Still desperately clutching Clementine's hand, + he yells to Mierzwiak. + + JOEL + Please! + + Joel turns to look at Clementine. It's no longer her. He is + holding the hand of some woman he's never seen before. He + drops her hand with a panicked yelp. And runs into the + decayed Lacuna office. + + +82 INT. LACUNA MIERZWIAK'S OFFICE - NIGHT 82 + + Faded Joel sits across from Mierzwiak. A tape recorder + between them. + + MIERZWIAK + Why don't you start now by telling + me everything you can remember + about -- + + JOEL + You have to stop this! + + MIERZWIAK + What? What do you mean? + + JOEL + I don't know! You're erasing her + from me! You erased me from her! I + don't know! You got a thing-- I'm + in my bed! I know it. I'm in my + brain! You're erasing Clementine! + Right? I love her! But I won't when + I wake up -- right? I won't know + her, so-- please, just leave me + alone! Please. + + MIERZWIAK + 68. + + + Yes, but-- I'm just something + you're imagining, Joel. What can I + do from here? I'm in your head, + too. I'm you. + + Mierzwiak goes back to talking to the faded Joel in the + scene. + + JOEL + Look! That guy! + + Joel sees a shadowy Patrick down the hall watching them. + + MIERZWIAK + He works here. + (oddly drawn out) + That's Paaaaa-trick. Baaaby-boy. + + JOEL + He's stealing my identity. He stole + my stuff. He's seducing my girl + with my words and my things. He + stole her panties! Jesus! Her + panties! + + Joel runs from the office. + + +83 INT. HALL - NIGHT 83 + + Joel runs toward the shadowy Patrick, who just stands + there. + + But Joel doesn't get any closer. + + +84 INT. CLEMENTINE'S APARTMENT - NIGHT 84 + + Patrick reads the letter. + + CLEMENTINE'S VOICE + -- and when we made love right on + the ice it was absolutely freezing + on my ass! I just have to tell you + that. It was wonderful. + + Clementine enters, dressed for the cold. Patrick puts the + letter away. + + CLEMENTINE + I'm so excited. Yay! + + PATRICK + 69. + + + I'm excited, too. Oh, and I wanted + to give you this. It's a little-- + thing. Happy Early Valentine's Day. + + Patrick pulls the box from his pocket, hands it to her. + + CLEMENTINE + Wow. What is it? + + PATRICK + I don't know! Open it up! + + Clementine pulls the wrapping, opens the box, pulls out the + necklace Joel bought for her earlier. + + CLEMENTINE + (slipping it on) + Oh! It's gorgeous. + (kisses him) + Just my taste. I've never gone out + with a guy who bought me a piece of + jewelry I liked. + (kisses him) + Thank you so much! + + +85 INT. JOEL'S APARTMENT - NIGHT 85 + + Stan and Mary have sex on the floor next to Joel's bed. + + +86 EXT. FOREST - DAY 86 + + A wide shot of the trees in springtime. Joel and Clementine + are hiking, Clementine in front. The sounds of Stan and + Mary's sex play inconspicuously in the distance. As we move + into close-up the forest seems wintry and dead. + + CLEMENTINE + Such a beautiful view. + + JOEL + (looking at her) + Yes. + (snapping out of memory) + Shit! They're erasing you, Clem! + + CLEMENTINE + Oh, look at the flowers! What are + those, tulips? I don't know fuck + about flowers. + + JOEL + 70. + + + Focus! I hired them. I'm sorry. I'm + so stupid! I'm -- + + CLEMENTINE + Calm down, sweetie. Enjoy the + scenery. + + JOEL + I need it to stop, before I wake up + and don't know you anymore. + + CLEMENTINE + Okay, well, y'know, just tell them + to cancel it then. + + JOEL + What the hell are you talking + about? I can't cancel it. I'm + asleep. + + She sits on a rock and looks out at the vista. Joel sits + next to her. He holds her hand. She has a thought. + + CLEMENTINE + (cheerfully shaking him) + Just wake yourself up! + + JOEL + Stop it. I took some pill. I can't + just -- + + CLEMENTINE + Joel, you're always so negative. + Just try. You never try anything. + Remember all the times I tried to + get you to taste sour cream and you + wouldn't? Remember? Then you tasted + it and you loved it. + (shakes him again) + I rest my case. + + JOEL + Okay, fine. You want me to try? + Will that make you happy? Look, + trying-- + + Joel concentrates, pulls open his eyes with his fingers. + + Suddenly the sky changes to -- + + +87 INT. JOEL'S APARTMENT - NIGHT 87 + 71. + + + For a brief moment we are looking through Joel's eyes at + the apartment ceiling. The night table lamp and some Lacuna + electronic equipment are in our field of vision. There are + vague sounds of sex. + + +88 EXT. FOREST - DAY 88 + + The sky is once again the sky. Joel is flipped out. + + JOEL + It worked. For a second. But I + couldn't keep my eyes open. I + couldn't move. It wasn't going to + work. I don't even think anyone's + there. It must be done robotically + or something. + + CLEMENTINE + Well, isn't that just another one + of Joel's self-fulfilling + prophecies. It's more important to + prove me wrong than to actually -- + + JOEL + Look, I don't want to have this + discussion right now. Y'know? It + didn't work. + + CLEMENTINE + Well, it did work. + + JOEL + Fine, but I couldn't do anything + once I was there. + + CLEMENTINE + Fine. Then what? I'm listening. + + JOEL + I don't know! + (blurting angrily) + You did it, too! You erased me + first. It's the only reason I'm + doing it. + + CLEMENTINE + I'm sorry. You know me. I'm + impulsive. + + He stares at her a long time, softens. + + JOEL + 72. + + + It's what I love about you. + + The memory and Clementine are fading around him. Even + though the sky is clear, Joel hears the sound of rain. He + looks over and sees a window hanging in midair. + + JOEL'S VOICE + That day-- + + It's raining outside the window. + + +89 INT. JOEL'S APARTMENT - DAY 89 + + It's raining out. Joel and Clementine are lying huddled on + the couch. They are reading a book together. It's The Red + Right Hand by Joel Townsley Rogers. Joel finishes the page + first. Clementine, in panties and bra, reads slowly, uses + her finger. + + JOEL + Done? + + CLEMENTINE + Nope. + + JOEL + Poke. Pokey. Pokemon. Pocahontas. + + Joel looks out the window at the rain. He feels her skin + against him. He looks at her bare legs, her crotch, her + feet in bulky socks. + + VOICE-OVER JOEL + She's so sexy. I loved you on this + day. I love this memory. The rain. + Us just hanging. + + Clementine looks over at him, smiles. + + CLEMENTINE + Done. This book is weird. But cool. + + Joel turns the page. They read. + + CLEMENTINE + (furrowing brow) + So I have an idea. + + JOEL + Does it involve fucking? + + CLEMENTINE + 73. + + + Seriously. I have another idea for + this thing, this problem. Like, + okay, suppose you want to keep me + from being erased, right? So, like, + if you have memories of me, that's + where these eraser-guys go, right? + + JOEL + I assume. I don't know. + + CLEMENTINE + (formulating) + I mean, here. This is a memory of + me. The way you wanted to fuck on + the couch after you looked down at + my crotch. + + JOEL + (embarrassed) + Yeah. + + CLEMENTINE + Well then they're coming here. So + what if you take me somewhere else, + somewhere where I don't belong? + (proud) + And we hide there till morning. + + JOEL + No. That's stu -- + (considering) + Well, maybe it's not bad. + + CLEMENTINE + It's fucking great. I'm a genius! + + The scene and Clementine are beginning to dissolve. Joel + looks around, horrified. He focuses on the rainy window. It + starts to rain in the room. Then: + + Fragments of memory: rainy sidewalk with earthworms on it, + a little hand picks up a worm; a puddle with raindrops + falling in it; a broken rain gutter spouting water, kids + feet in yellow rubber rain boots; a young Joel giggling and + running under an overhang for protection from a sudden + rainstorm. + + +90 INT. DATED KITCHEN - DAY 90 + + Four year old Joel runs and hides under the kitchen table. + 74. + + +Joel watches his mother at the stove stirring a saucepan +and talking to a neighbor woman also in period clothes. The +neighbor has Clementine's face, but is completely engaged +in + +conversation with the mother. We can't make out what +they're saying. Joel draws a picture in crayon on the +bottom of the table top. Joel's mother excuses herself and +leaves the room. + +Clementine looks around, spots Joel under the table. She +approaches, bends down to his level. + + CLEMENTINE + Jesus, it worked. + (checking herself out) + I love this dress, man. Wish I + could take it with me. Who am I? + + JOEL + Mrs. Hamlyn. I must be about four. + (oddly) + I want my mommy. She's busy. She's + not looking at me. No one ever + looks at me! + (beat) + I want my mommy! + + CLEMENTINE + (giggling) + This is sort of warped. + +Joel starts to cry. Clementine tries to comfort him. She +hugs him. + + CLEMENTINE + It's okay, Baby Joel. + + JOEL + (crying still) + I want mommy. + (adult, to Clementine) + I don't want to lose you, Clem. + + CLEMENTINE + I'm right here. + + JOEL + I'm scared. I want my mommy. I + don't want to lose you. I don't + want to lose-- + + CLEMENTINE + 75. + + + Joel, Joely, look-- it's not + fading. The memory. I think we're + hidden. Look, honey, my crotch is + still here just as you remember it. + + She lifts her skirt to reveal the underwear from the + previous scene. Joel looks, sucks in some snot. His mother + hurries back in. The room is not decaying. Joel smiles. + + +91 INT. JOEL'S APARTMENT - NIGHT 91 + + Stan and Mary lie on the floor, their stoned minds + wandering after sex. Stan suddenly perks up. He looks at + the monitor. + + STAN + It's stopped. + + MARY + What? + + STAN + Listen, it's not erasing. + + He makes his way, naked, to the computer screen. + + STAN + It's not erasing. He's off the + screen. + + MARY + Where? + + STAN + I don't know! + + Stan tries to break through his marijuana haze. He fiddles + nervously with the equipment. + + STAN + I don't know what to do! I don't + know what to do! Crap. Crap-- + + MARY + Well, what should we do? + + (STAN + I don't know! I just said that! + + MARY + Sor-ry. + (beat, stoned) + 76. + + + So, what should we do? Oh, sorry. + But we have to do something. He + can't wake up half-done. All gooey + and unbaked inside. Hey, that + sounds good. I'm hungry. + + Mary giggles. + + STAN + Shit! + + He jerks the joystick spastically. Mary, also naked, gets + up and looks over his shoulder at the screen. + + MARY + (definitively) + We need to call Howard. + + Stan turns and looks at her. He's stoned and trying to + understand her motivation. + + STAN + No, sir. I can handle this. + + MARY + This guy's a half-baked cookie. + There's no time to fuck around, + Stan! + + Stan tries to think. He paces. Mary watches him. Finally: + + STAN + (without making eye + contact) + Okay. + (dials the phone, waits) + Hello, Howard? + + +92 INT. MIERZWIAK'S BEDROOM - NIGHT 92 + + CONTINUOUS: The room is dark. A groggy Mierzwiak is in bed + on the phone. His wife lies beside him, eyes open, + listening. + + MIERZWIAK + Stan? What's going on? + + STAN'S VOICE + The guy we're doing? He's + disappeared from the map. I can't + find him anywhere. + 77. + + + MIERZWIAK + Okay, stay calm. What happened + right before he disappeared? + + STAN'S VOICE + I was away from the monitor for a + second. I had it on automatic. I + had to go pee. + + MIERZWIAK + Well, where was Patrick? + + STAN'S VOICE + He went home sick. + + MIERZWIAK + Jesus. All right, what's the + address. + + STAN'S VOICE + 159 South Village. Apartment 1E, + Rockville Center. + + Mierzwiak writes it down on a bedside note pad. He hangs + up. + + +93 INT. JOEL'S APARTMENT - NIGHT 93 + + Stan hangs up the phone, looks for Mary. She's in the + kitchen eating some cookies. + + MARY + He's coming? + + STAN + You better go. + + MARY + Hell no. + + She tromps into the living room, starts getting dressed. + + MARY + Shit, I'm so stoned. I don't want + him to see me stoned. Stop being + stoned, Mary! + + She hurries into the bathroom with her bag. + + MARY (O.C.) + God, I look like shit! God! + 78. + + + Mary slams the bathroom door. Stan puts his head in his + hands. + + +94 INT. KITCHEN - DAY 94 + + Joel and Clementine are under the table having sex. Joel's + mother reaches down as she hurries by and pats Joel on the + head. Startled, Joel pulls off of Clementine. + + MOTHER + How's my baby boy? + + JOEL + I really want her to pick me up. + It's weird how strong that desire + is. + + Clementine holds his hand. He looks over at her. + + CLEMENTINE + (very focused) + You'll remember me in the morning. + And you'll come to me and tell me + about us and we'll start over. + + JOEL + I loved you so much this day. It + was raining. On my couch in your + panties. I remember I thought, how + impossibly lucky am I to have you + on my couch in your panties. + + She kisses him. + + JOEL + You smelled so good, like you just + woke up, slightly sweaty. And I + said something like -- + + CLEMENTINE + -- another rainy day. Whatever + shall we do? + + He laughs. They begin to make love again. Joel's mother + hurries around the kitchen. Joel stops, looks at + Clementine. + + JOEL + This Patrick guy is copying me! + + CLEMENTINE + What Patrick guy? + 79. + + + JOEL + He's here. In my apartment. + (pointing up) + He's one of the eraser guys, okay? + And he fell for you when they were + doing you. So he introduced himself + the next day as if he were a + stranger and now you're dating him. + + CLEMENTINE + Really? Is he cute? + + JOEL + He stole a pair of your panties! + + CLEMENTINE + Gross! You've got to tell me this + in the morning. Don't forget! Okay? + + JOEL + And I think using the stuff I said + in my session to seduce you. + + CLEMENTINE + I'm, like, so absolutely freaked + out now. + (beat) + Which pair? + + +95 INT/EXT. CLEMENTINE'S CAR - NIGHT 95 + + It's a rust bucket. Clementine drives. She's crying and + holding Patrick's hand. + + CLEMENTINE + What's wrong with me? + + PATRICK + Nothing is wrong with you. You're + the most wonderful person I've ever + met. You're kind and beautiful and + smart and funny and nice and pretty + and, um, -- + + She glances gratefully at him then starts to cry even + harder. + + Patrick is over his head. + + +96 INT. JOEL'S BEDROOM - NIGHT 96 + 80. + + +Stan works on trying to get the signal back. His hair is +combed and he's dressed neatly, looking professional but +still stoned. Mary is pacing nervously to and from the +window, looking out into the light. She's dressed also, and +she's wearing more make-up now. Her hair is pulled up into +some sort of style. The intercom buzzes. + + MARY + There he is. Oh my God. Oh my God. + Do I look okay? + +Stan doesn't say anything. + + MARY + I'm still stoned. Are you? Crap. + +She looks in the mirror. + + MARY + (to Joel) + Your prescription eye drops didn't + do shit, fella. + +The doorbell buzzes. Mary lunges for the door, then calms +herself before opening it. Mierzwiak, holding an equipment +bag, looks surprised. + + MIERZWIAK + Mary. What are you doing here? + + STAN + She came to help, Howard. + + MARY + I wanted to learn as much about the + procedure as possible, Howard. I + think it's important for my job-- + to understand the inner workings of + the-- work-- we do. Well, not me, + but the work that is done by others + where I also work. The work of my + colleagues. You know? + +Mierzwiak looks from Mary to Stan, nods, and enters. Mary +closes the door. Mierzwiak crosses to the equipment. + + MIERZWIAK + Let's get to the bottom of this. + Shall we? + +He sits down in front of the computer and does some +fiddling. + 81. + + + MIERZWIAK + Odd. + + He fiddles some more. Mary looks on, fascinated. + + STAN + I tried that already. + + MIERZWIAK + Did you try going in through C- + Gate? + + STAN + Yeah, of course. I mean, yes. + + Mierzwiak ponders. He unzips his equipment bag, pulls out + another laptop computer and plugs it into the system. + + MIERZWIAK + I'm going to do a search through + his entire memory, see if anything + comes up. + + Mierzwiak presses some more buttons. The program starts up. + A much more complex and detailed human brain appears on + this screen. It rotates. Eventually Mierzwiak sees a small + distant light in the brain. He zeroes in on it. + + MIERZWIAK + Okay, here it is. I don't know why + it's off the map like that, but -- + + +97 INT. KITCHEN - DAY 97 + + Joel is being bathed in the oversized sink by his mother. + + Clementine sits in the water with him, laughing. The mother + doesn't seem to see her. + + MOTHER + Little baby getting awwwwl clean. + Awl clean. + + JOEL + (to Clementine) + I love getting bathed in the sink. + It's such a feeling of security. + + CLEMENTINE + (giggling) + I've never seen you happier, Baby + Joel. + 82. + + + JOEL + Look, it's my Huckleberry Hound + doll! I told you about that, + remember? + + Clementine looks over. + + CLEMENTINE + Where? + + The doll can be seen now on the counter, an undefined lump + of blue synthetic fur. + + JOEL + (distraught) + Oh! It's going! Oh! + + As he tries to lunge for it, the elements of the scene + flash explosively away: Joel's mother, his Huckleberry + Hound doll, the details of the kitchen, Clementine. Joel, + alone, starts to slip and drown in the sink. He gasps and + then: + + +98 INT/EXT. JOEL'S CAR - NIGHT 98 + + He sits with Clementine in the parked car, outside a drive- + in movie theater. The movie on the giant screen is + partially obscured by a fence. Joel and Clementine drink + wine. + + +99 INT. JOEL'S BEDROOM - NIGHT 99 + + Mierzwiak looks up from the computer screen. + + MIERZWIAK + Okay, we're back in. + + MARY + That was beautiful to watch, + Howard. Like a surgeon or a concert + pianist. + + MIERZWIAK + Well, thank you, Mary. + + STAN + (sighing) + You get some sleep, Howard. I'll be + fine here. + + MIERZWIAK + 83. + + + Yeah, probably a good idea. I'm an + old man, guys. An old, cranky man. + + MARY + Oh, nonsense. + + She giggles and then is suddenly stoned and self-conscious. + + +100 INT. JOEL'S CAR - NIGHT 100 + + Clementine and Joel laugh as they try to give voice to what + the characters on the drive-in screen are saying. + + CLEMENTINE + Can't you see-- I love you, + Antoine. + + JOEL + Don't call me Antoine. The name's + Wally. + + CLEMENTINE + Yes, but who could love a man named + Wally? + + She starts to fade. Joel looks confused. The scene starts + to fade. + + JOEL + (remembering) + Oh! + + CLEMENTINE + Shhh! I want to watch the movie! + + JOEL + Clem, think! They'll find you here. + + He looks over and she's gone. + + +101 INT. JOEL'S APARTMENT - NIGHT 101 + + Mierzwiak watches a blip disappear from the screen. + + MIERZWIAK + Got it. + + +102 INT/EXT. JOEL'S CAR - NIGHT 102 + 84. + + + Joel lunges and desperately hugs the air where Clementine + was. + + JOEL + Tangerine. + + She reappears in her arms, seemingly willed back into + existence. + + +103 INT. JOEL'S APARTMENT - NIGHT 103 + + Mierzwiak and Stan watch the blip reappear on the screen. + + MIERZWIAK + Odd. It popped back. + + Mierzwiak fiddles with some controls. + + +104 INT/EXT. JOEL'S CAR - NIGHT 104 + + Joel pushes open the door and pulls Clementine out of the + car. They run off. Joel never lets go of his tight grip on + her. + + JOEL + (looking back and seeing + that the car is gone) + Shit! + + The sky turns into -- + + +105 INT. JOEL'S APARTMENT - NIGHT 105 + + We see the ceiling from Joel's POV. Howard, Stan, and Mary + hover over Joel at the edges of the frame. + + MIERZWIAK + His eyes are open. Has that + happened before with him? + + STAN + No. + + MIERZWIAK + This is no good. Here. Give him + this. + + We see a brief flash of a hypodermic passing over Joel's + face and we are back in -- + 85. + + +106 INT/EXT. JOEL'S CAR - NIGHT 106 + + Joel is thrust back into the world of his memory. + + JOEL + (LOOKS AT FADING + CLEMENTINE) + Shit! + + He stops, tries to figure out which way to go. + + CLEMENTINE + Hide me somewhere deeper? Somewhere + really buried? Joel, hide me in + your humiliation. + + He looks at her. Then, holding her close, runs through + already dark, decayed memories of their time together. + + +107 INT. JOEL'S APARTMENT - NIGHT 107 + + Mierzwiak and Stan watch a trail of light on the monitor. + + Mierzwiak glides after it, erasing its wake. + + STAN + It doesn't make any sense. He's in + memories I already erased. + + MIERZWIAK + Well, at least we know where he is + and we're back on track. Right? + + +108 EXT. STREET - NIGHT 108 + + Joel drags Clementine through decayed New York Streets. He + sees a silhouette of himself hauling two garbage bags to + Lacuna, almost getting hit by a UPS truck. + + JOEL + Humiliation. Humiliation. + Humiliation. + + CLEMENTINE + Think! + + +109 INT. JOEL'S BEDROOM - NIGHT 109 + + Stan is back at the controls. Unconscious Joel's face + screws up slightly. Mierzwiak's at the door with Mary. + 86. + + + STAN + Wait, Howard, they've disappeared + again. + + MIERZWIAK + Oh dear. + + MARY + I'm so sorry, Howard. You must be + exhausted. + + He nods distractedly. She smiles to herself as he heads + back to the equipment. + + +110 INT. BLACK VOID - NIGHT 110 + + Joel and Clementine crouch in murky blackness. + + JOEL + (under his breath) + Humiliation, humiliation, humil -- + + +111 INT. BEDROOM - NIGHT 111 + + It's dark. Joel, junior high school size, is in bed + masturbating. He has a flashlight trained on a comic book + he has been drawing which seems to be getting increasingly + pornographic as it progresses. Clementine is there, too, + slightly faded. + + JOEL + -- iation. + + CLEMENTINE + (mock offended) + Joel! + + JOEL + (continuing to + masturbate) + I don't like it either, I'm just + trying to find horrible secret + places to -- + + Joel's mother pops her head in the door. + + MOTHER + Joel, I was just -- + (sees what's going on) + Oh. Um-- I'll ask you in the + morning, honey. Good night. + 87. + + + The mother backs out, closes the door. Joel cringes. + + Clementine laughs. Suddenly the walls of the room are gone + and the bed is on the beach. Clementine glances up. + + CLEMENTINE + Look. Look where we are. + + +112 INT. JOEL'S APARTMENT - NIGHT 112 + + Mierzwiak is at the machines. + + MIERZWIAK + Okay, we got him back on track. + Stan, I think I'm just going to + have to get through this manually. + We're running late. + + +113 EXT. BEACH - DAY 113 + + It's cold. Joel and Clementine walk, all bundled up. She + points at a house up the beach. + + CLEMENTINE + Our house! Our house! + + She runs ahead, laughing. The scene is decaying. Joel + chases after her. + + JOEL + C'mon! + + The house is gone. Joel grabs Clementine's arm and yanks. + + +114 INT. JOEL'S BEDROOM - NIGHT 114 + + Joel lies on his back. Clementine sits over him holding a + pillow. They are both laughing. + + CLEMENTINE + Okay, ready? Again? + + He stops laughing, nods seriously. She puts the pillow over + his face and holds it down hard. Joel struggles and + screams, muffled by the pillow. Suddenly he goes limp. + Clementine pulls the pillow off his face and looks + horrified. + + CLEMENTINE + 88. + + + Joel! Joel? Are you okay? Joel! Oh + my God. Oh my God! + + She shakes him dramatically. He remains limp for a moment, + then starts to laugh. + + CLEMENTINE + That was terrible! That was like + three seconds. + + JOEL + (trying to stop laughing) + Okay, okay, let me try again. + + CLEMENTINE + All right, once more. Then I get to + go. + + He watches her start to fade. + + JOEL + Oh, Clem! Don't! + + He closes his eyes. The room becomes: + + +115 EXT. JOEL'S CHILDHOOD SUBURBAN STREET - DAY 115 + + Joel is one of a group of five year olds. He holds a hammer + and is poised to hit a dead bird in a red wagon. The other + boys are goading him. Clementine, now the little girl with + the puppy we saw in the photograph earlier, watches with + the other kids. + + BOYS + C'mon, Joel, you have to. Do it + already. + + Joel doesn't want to. + + JOEL VOICE-OVER + I can't. I have to go home. I + didn't want to do this. I'll do it + later. But I had to or they + would've called me a girl. + + Joel miserably smashes the bird repeatedly with the hammer. + + Red jelly guts cover the hammer and the wagon bottom. The + kids hoot. + + VOICE-OVER + 89. + + + I can't believe I did that. I'm so + ashamed. + + A live bird watches from a tree. Clementine pulls Joel away + from the other boys. The two of them walk down Joel's + suburban street. + + CLEMENTINE + It's okay. You were a little kid. + + She kisses him and they walk holding hands. + + JOEL + God, I wish I knew you when we were + kids. My life would've turned out + so differently. + (pointing to a house) + That's where I live. Lived. + + She lays down on the front lawn of the childhood house. + + CLEMENTINE + It's my turn, sweetie. + + She hands him a pillow. He smiles and puts it over her + face. + + She struggles, then acts dead. After a long moment of no + reaction from Clementine, Joel pulls the pillow from her + face. She is gone. His childhood house is crumbling. + + +116 INT. JOEL'S BEDROOM - NIGHT 116 + + Mierzwiak works the equipment. He has located a small area + of light in the brain imaging and eradicates it. + + MIERZWIAK + I'm getting the hang of it. I still + don't understand it. But I am + finding him quickly enough. I'm + hopeful there won't be too much + collateral eradication. + + Mary sits on the bed. + + MARY + (a little giggly) + I like watching you work. + + Stan grabs his coat. + + STAN + 90. + + + I'll go out for a smoke. If no one + minds. I mean, it seems like + everything is under control here. + + MIERZWIAK + (not looking up) + That's fine, Stan. + +Mary doesn't say anything. Stan huffs and is out the door. + +Mierzwiak continues to find and erase points of light. Mary +gets up her courage to speak. + + MARY + Do you like quotes, Howard? + + MIERZWIAK + How do you mean? + + MARY + Oh, um, like famous quotes. I find + reading them inspirational to me. + And in my reading I've come across + some I thought you might like, too. + + MIERZWIAK + Oh. Well, I'd love to hear some. + +Mary is thrilled, beside herself. She tries to calm down. + + MARY + Okay, um, there's one that goes + "Blessed are the forgetful, for + they get the better even of their + blunders." + + MIERZWIAK + Is that Nietzsche? + + MARY + Yeah, yeah it is, Howard. And here + I was thinking I could tell you + something you didn't know. + + MIERZWIAK + It's a good quote, Mary. I'm glad + we both know it. + +He smiles at her. She's flustered, flattered. + + MARY + (sputtering) + 91. + + + There's another one I like, I read. + It's by Pope Alexander. + + MIERZWIAK + Alexander Pope? + + MARY + Yes, shit. Oops, sorry! + (puts hand over mouth) + Sorry. It's just I told myself I + wasn't going to say Pope Alexander + and sound like a dope and then I go + ahead and do it. Like a psyched + myself out into saying it wrong. + + MIERZWIAK + It's no big deal. + + MARY + You are such a sweetheart. + +There's an embarrassed moment as that line hangs in the +air. + +Then Mary plunges ahead to bury it. + + MARY + The quote goes "How happy is the + blameless Vestal's lot! The world + forgetting, by the world forgot: + Eternal sunshine of the spotless + mind! Each prayer accepted, and + each wish resign'd." + +She smiles, proud and embarrassed. + + MIERZWIAK + I didn't know that one. And it's + lovely. + + MARY + Really? I thought it was + appropriate, maybe. That's all. + (beat, then quickly) + I really admire the work that you + do. I know it's not proper to be so + familiar but I guess since we're + outside the workplace I feel a + certain liberty to -- + + MIERZWIAK + It's fine, Mary. I'm happy to hear + it. + 92. + + + MARY + Okay. Good. Great. Thanks. + (blurting) + I like you, Howard-- an awful lot. + Is that terrible? + + Mierzwiak seems momentarily taken aback, then returns to + his unflappable self. + + MIERZWIAK + You're a wonderful girl, Mary. + + She leans over and kisses him, then pulls away quickly. + + MARY + I've loved you for a very long + time. I'm sorry! I shouldn't have + said that. + + MIERZWIAK + I've got a wife, Mary. Kids. You + know that. + + MARY + (suddenly weepy) + I wish I was your wife. I wish I + had your kids. I would be so happy- + - + + Mierzwiak comforts her with a hug. It turns into a kiss. He + pulls away. + + MIERZWIAK + We can't do this. + + MARY + No, you're right. Once again. + You're a decent man, Howard. + + He smiles sadly at her. She smiles courageously at him. + + MIERZWIAK + I want you to know it's not because + I'm not interested. If that means + anything. + + They look at each other for a long while, then Howard goes + back to locating and eradicating blips of light. + + +117 INT/EXT. THE VAN - JOEL'S APARTMENT BUILDING - DAY 117 + 93. + + + Stan sits in the van and smokes a cigarette. He has an + unobstructed view into Joel's bedroom window. He watches + Mierzwiak and Mary. They're talking as Howard works. It + appears to be a very serious discussion. A car pulls up + outside. Stan turns to see. A middle-aged woman gets out. + + In the window, Mierzwiak's resolve has apparently weakened + and he and Mary kiss again. This leads to groping, partial + undressing, and falling onto the bed alongside the + unconscious Joel. The woman checks the address on Joel's + building. Stan recognizes her. + + As the woman approaches the only lit window, Stan agonizes + over what to do. He honks his horn. The woman looks back at + the van, then hurries to the window. Mierzwiak and Mary, in + partial undress, squint out into the night. The woman and + Mierzwiak lock eyes. He practically shrieks and jumps up. + + +118 EXT. COUNTRY ROAD - DAY 118 + + Joel and Clementine walking, hand-in-hand, look up + simultaneously. + + +119 INT. JOEL'S BEDROOM - NIGHT 119 + + Mary looks confusedly at Howard. + + MARY + Who is it? + (realizing) + Oh my God! + + Mierzwiak is already in his coat. He's out the door. + + +120 EXT. JOEL'S APARTMENT BUILDING - CONTINUOUS 120 + + The woman is at her car. Stan watches from the van. + Mierzwiak hurries to the woman. + + MIERZWIAK + Hollis! Hollis! + + HOLLIS (THE MIDDLE-AGED WOMAN) + I knew it, Howard. I don't even + know why I bothered to copy the + damn address and get out of bed. I + could've used the sleep. + + MIERZWIAK + 94. + + + It didn't start out to be this. I + came here to work. It's a one-time + mistake. + +Mary is right behind Mierzwiak now. Hollis is in her car. + + MARY + (heroically) + Mrs. Mierzwiak, it's true. And it's + not Mr. Mierzwiak's fault. I'm a + stupid little girl with a stupid + little crush. I basically forced + him into it. I swear. + +Hollis turns, looks at Mary and then at Mierzwiak. + + HOLLIS + Don't be a monster, Howard. Tell + the girl. + +Stan is out of the van now, listening. Mary shivers in the +cold, hugs herself. There's a long silence. Then: + + MARY + Tell me what? + +Hollis and Mierzwiak have locked eyes. Mary looks back and +forth between them. Hollis starts her car. + + HOLLIS + Poor kid. You can have him. You + did. + +She drives off. Mary watches Howard with increased +foreboding. + + MARY + What, Howard? + + MIERZWIAK + We-- have a history. I'm sorry. You + wanted the procedure. You wanted it + done-- to get past. I have to + finish in there. It's almost + morning. We'll talk later. + +He shuffles inside. Mary stands there, unable to digest +this, struggling in vain to remember. Stan watches. + + STAN + Let me take you home. + +Mary shakes her head "no." She walks off, dazed. + 95. + + +121 EXT. CHARLES RIVER - NIGHT 121 + + Clementine and Patrick lie on the their backs on the frozen + river and look up at the night sky. + + PATRICK + I could die right now, Clem. I'm + just happy. I've never felt that + before. I'm just exactly where I + want to be. + + Clementine looks over at him. Their eyes meet. She sobs. + + CLEMENTINE + I want to go home. + + She hurries toward the shore, slips on the ice, gets up, + and continues, now running. + + +122 INT. JOEL'S BEDROOM - NIGHT 122 + + It's deathly silent as Mierzwiak and Stan work on + completing the job. Mierzwiak locates a light hidden very + deep in the map of Joel's brain. He targets it. + + +123 EXT. ROWBOAT - INT. JOEL'S APARTMENT - DAY 123 + + Joel and Clementine sit in his apartment on the couch. + + Clementine is dressed in a skeleton costume. Joel draws a + portrait of her. The reverse angle is Joel's father fishing + in a rowboat. + + CLEMENTINE + (peeking) + That's so great. Creepy. + + JOEL + Thanks. The subject is inspiring. + + The father is drunk and sullen. He faces away from Joel, + looks out at the lake. + + FATHER + Don't be like me, son. Don't waste + your life. You'll come to a point + someday where it'll be too late. + You'll be sewn into your fate-- + + JOEL + 96. + + + It was horrifying, seeing my father + like that. There was no hope for me + if his life was such a failure. And + he saw failure in me, too, written + in my future. + + Clementine watches the confused, frightened Joel. + + CLEMENTINE + Joel, you're not sewn in. He's + wrong. + + FATHER + -- and there'll be nowhere to go + except where you're headed, like a + train on a track. Inevitable, + unalterable. + (a quiet dirge-like + afterthought) + Chooo-chooo. + + The scene pops out of existence with a flash of light. + + +124 EXT. THEATER - NIGHT 124 + + Clementine leads Joel into a crowd of people outside a + Broadway theater. They listen to conversations around them. + + Clementine adopts a mock-sophisticated tone, attempting to + make it look like they are playgoers. + + CLEMENTINE + Blah blah blah good acting. Blah + blah blah iambic pentameter. + + JOEL + (laughing) + You always break into places? + + CLEMENTINE + Second Acting is a subversive act. + Ticket prices are insane. Theater + belongs to the masses. + + The theater lights flash and the crowd begins to head back + inside. Joel looks nervous. Clementine takes his hand and + leads him into the crowd. + + VOICE-OVER JOEL + Your hand, I remember it. I'm done, + Clem. I'm just going to ride it + out. Hiding is clearly not working. + 97. + + + CLEMENTINE + Yeah. + + JOEL + I want to enjoy my little time left + with you. + + CLEMENTINE + This is our first "date" date. + + JOEL + Do you remember what we talked + about? + + +125 INT. THEATER - NIGHT 125 + + Joel and Clementine walk past the usher. + + CLEMENTINE + Naomi, I guess. + + JOEL + Yeah. + + CLEMENTINE + What was I wearing? + + JOEL + God, I should know. Your hair was + red. I remember it matched the + curtains. + + CLEMENTINE + Egad, were you horrified? + + JOEL + No! Oh, I think you were wearing + that black dress, y'know, with the + buttons. + + She is wearing the black dress with the buttons. + + CLEMENTINE + No, you were with me when I bought + that. At that place on East 6th. It + was later. + + +126 INT. DRESS SHOP - DAY 126 + + The scene has already been erased. It's just a decayed + husk. + 98. + + + A vague Joel watches a vague Clementine model a black + dress. + + +127 INT. THEATER - NIGHT 127 + + Clementine wears a generic black dress now. As the paying + customers take their seats, Joel and Clementine search + discreetly for unoccupied seats. + + JOEL + Right. Something black though. + + CLEMENTINE + I'll buy that. Black's always good. + Slenderizing. + + JOEL + We did talk about Naomi. + + CLEMENTINE + I said: Are you sure? You seem + unsure. + + JOEL + I'm sure, I said. + + CLEMENTINE + But you weren't. I could tell. + + JOEL + (beat) + I am now. I'm so sure. + + She tears up. They kiss. + + JOEL + I was nervous. I remember I + couldn't think of anything to say. + There were long silences. + + There is a long silence. They both stare straight ahead and + watch the still lowered curtain. + + JOEL + I thought I was foolish. I thought + I'd mistaken infatuation for love. + You said: + + CLEMENTINE + So what. Infatuation is good, too. + + JOEL + 99. + + + And I didn't have an argument. + + +128 INT/EXT. JOEL'S CAR - NIGHT 128 + + Joel and Clementine pull up to Clementine's house. + + JOEL + I dropped you off after. You said - + - + + CLEMENTINE + (Mae West) + Come up and see me-- now. + + JOEL + It's very late. + + CLEMENTINE + Yes, exactly. Exactly my point. + + +129 INT. CLEMENTINE'S APARTMENT - NIGHT 129 + + Joel and Clementine are in the midst of awkward shy sex. + + JOEL + This was our first time. + + The scene starts to fade. Joel watches Clementine + disappear. + + +130 INT. LACUNA RECEPTION AREA - NIGHT 130 + + Mary enters the dark room, frazzled. She flips on the + fluorescent lights and searches the file folders, pulling + them out and dropping them on the floor. She can't find + what she's looking for. She exits into the inner office + area. + + +131 INT. MIERZWIAK'S OFFICE - NIGHT 131 + + Mary rifles through Mierzwiak's desk, through his personal + file cabinets, pulls boxes of papers out of the closet and + rifles through them. She finally comes upon a file with her + name on it. Her jaw drops and with a shaky hand she puts + the tape into the player the office and presses "play." + + MIERZWIAK'S VOICE + 100. + + + Okay, so just tell me what you + remember. And we'll take it from + there. + + MARY'S VOICE + (shaky) + Um, okay, I like you immediately. + At the job interview. You seemed + so-- important and mature. And I + loved that you were helping all + these people. You didn't come on to + me at all. I liked that. I was so + tongue-tied around you at first. I + wanted you to think I was smart. + You were so nice. I loved the way + you smelled. I couldn't wait to + come to work. I had these fantasies + of us being married and having kids + and just-- + (starts to cry) + -- and so-- then-- when-- that one + day, when I thought you looked at + me back-- like.-- Oh, Howie, I + can't do this? How can I do this? + + MIERZWIAK'S VOICE + It's what's best, Mary. You know + that. + +Mary slumps to the floor. We move into her eyes. + + MARY'S VOICE + Yeah, I know. Oh, God. Okay, well, + I was I so excited-- + +A flirtatious look from Mierzwiak. + + MARY'S VOICE + -- Remember you bought me that + little wind-up frog? + +A vague shot of a wind-up frog. + + MARY'S VOICE + And you said-- + +A vague shot of Mierzwiak mouthing to Mary's voice. + + MARY'S VOICE + "This is for your desk. Just a + little token." + +Back to Mary sitting on the floor, listening to the tape. + 101. + + + MARY'S VOICE + I knew then-- I knew something was + going to happen-- something + wonderful. + + +132 INT. JOEL'S APARTMENT - NIGHT 132 + + Joel sits in the quiet living room. The scene is fading. + + JOEL + Naomi. + + VOICE-OVER + On the couch. Dark. Quiet. I + wondered if I had made a terrible + mistake. I almost reached for the + phone about a thousand times. I + thought I could take it back, erase + it, explain I had momentarily lost + my mind. Then I told myself we + weren't happy. That was the truth. + That what we were was safe. It was + unfair to you and to me to stay in + a relationship for that reason. I + thought about Clementine and the + spark when I was with her, but then + I thought what you and I had was + real and adult and therefore + significant even if it wasn't much + fun. But I wanted fun. I saw other + people having fun and I wanted it. + Then I thought fun is a lie, that + no one is really having fun; I'm + being suckered by advertising and + movie bullshit-- then I thought, + maybe not, maybe not. And then I + thought, as I always do at this + point in my argument, about dying. + + +133 INT. ROOM - DAY 133 + + An elderly man sits. + + VOICE-OVER + I projected myself to the end of my + life in some vague rendition of my + old man self. I imagined looking + back with a tremendous hole of + regret in my heart. + 102. + + +134 INT. JOEL'S APARTMENT - NIGHT 134 + + Joel sits on the couch. A ghostly image of Naomi sits + curled up on the other end of the couch. + + JOEL + I didn't pick up the phone to call + you, Naomi. I didn't pick up the + phone. + + The scene dissolves. + + +135 INT. JOEL'S APARTMENT - NIGHT 135 + + Joel sits on the couch. A ghostly image of Naomi sits + curled up on the other end of the couch. + + JOEL + I didn't pick up the phone to call + you, Naomi. I didn't pick up the + phone. + + The scene dissolves. + + +136 INT. BORDER'S BOOKSTORE - NIGHT 136 + + Joel talks to Clementine. The scene is fogging over. + + JOEL + I told her today I need to end it. + + CLEMENTINE + Is that what you want? + + JOEL + I did it. I guess that means + something. + + Clementine shrugs. The scene fades. + + +137 EXT. PARK - DAY 137 + + Joel walks with Naomi. + + NAOMI + So what's going on, Joel? + + JOEL + 103. + + + I don't know, I've just been + thinking, maybe we're not happy + with each other. + + NAOMI + What? + + JOEL + Y'know, we've been, I don't know, + sort of, unhappy with each other + and -- + + NAOMI + Don't say "we" when you mean "you." + + JOEL + I think maybe, we're both so used + to operating at this level that -- + How can one person be unhappy? If + one person is unhappy, both have to + be-- by definition. + + NAOMI + Bullshit. Who is it? You met + someone. + + JOEL + No. I just need some space, maybe. + + NAOMI + The thing is, Joel, whatever it is + you think you have with this chick, + once the thrill wears off, you're + just going to be Joel with the same + fucking problems. + + JOEL VOICE-OVER + It's not somebody else. I hate + myself. + + Naomi walks off. Joel watches her. The scene fades. + + +138 INT. BARNES AND NOBLE BOOKSTORE - NIGHT 138 + + Joel enters, looks around. There's no sign of Clementine. + + Joel approaches a male employee. + + JOEL + Is there a Clementine who works + here? + 104. + + + MALE EMPLOYEE #1 + (calling to another male + employee) + Mark, is Clem on tonight? + + MALE EMPLOYEE #2 + On my dick, bro. + (turns, sees Joel, + embarrassed) + Oh, hey. Yeah, I think she's in + Philosophy. + +Joel climbs stairs, searches the aisles, spots Clementine. + + JOEL + Hi. + +She turns. + + CLEMENTINE + I didn't think you'd show your face + around me again. I figured you were + humiliated. You did run away, after + all. + + JOEL + Sorry to track you down like this. + I'm not a stalker. But I needed to + see you. + + CLEMENTINE + (seemingly uninterested) + Yeah? + + JOEL + I'd like to-- take you out or + something. + + CLEMENTINE + Well, you're married. + + JOEL + Not yet. Not married. + + CLEMENTINE + Look, man, I'm telling you right + off the bat, I'm high maintenance. + So I'm not going to tiptoe around + your marriage or whatever it is you + got going there. If you want to be + with me, you're with me. + + JOEL + 105. + + + Okay. + + CLEMENTINE + So make your domestic decisions and + maybe we'll talk again. + +She goes back to stacking. Joel stands there helplessly. + + JOEL + I just think that you have some + kind of-- quality that seems really + important to me. + +The scene is disintegrating. Clementine's speech is +delivered without passion. + + CLEMENTINE + Joel, I'm not a concept. I want you + to just keep that in your head. Too + many guys think I'm a concept or I + complete them or I'm going to make + them alive, but I'm just a fucked- + up girl who is looking for my own + peace of mind. Don't assign me + yours. + + JOEL + I remember that speech really well. + + CLEMENTINE + (smiling) + I had you pegged, didn't I? + + JOEL + You had the whole human race + pegged. + + CLEMENTINE + Probably. + + JOEL + I still thought you were going to + save me. Even after that. + + CLEMENTINE + I know. + + JOEL + It would be different, if we could + just give it another go around. + + CLEMENTINE + 106. + + + Remember me. Try your best. Maybe + we can. + + The scene is gone. + + +139 INT. JOEL'S APARTMENT - DAY 139 + + Joel is at his closet, putting on a sweater. Naomi is at + the dining room table, papers spread out before her, + writing. + + Joel turns and watches her for a moment. + + JOEL + So you don't mind? + + NAOMI + I've got to finish this chapter + anyway. + + The scene is fading. + + JOEL + Okay. I wish you could come. + + VOICE-OVER + This is it. The day we met. My God, + it's over. + + NAOMI + Me, too. + + He approaches Naomi, kisses her on the top of her head. She + continues to write. + + NAOMI + Say hi to Rob and Carrie. Have some + fun! Get laid! Just kidding. + + JOEL + I hope you get your work done. + + NAOMI + (sighing) + Maybe when we're ninety. + + +140 EXT. BEACH PARKING LOT - DAY 140 + + Rob, Carrie, and Joel emerge from the car, parked amidst a + small cluster of cars in an otherwise empty parking lot. + 107. + + +141 EXT. BEACH - DAY 141 + + Joel watches his shoes in the sand as he trudges along. + + CARRIE + Is this the right way? Rob? Rob? + + +142 EXT. BEACH - DAY - MOMENTS LATER 142 + + Joel, Rob, and Carrie step out of the brush and see a + bonfire down the beach. People and music can be heard. + + +143 EXT. BEACH - DAY - LATER 143 + + Joel sits on a log, a paper plate of chicken and corn on + his lap. People warm themselves at the fire. Joel watches + couples talking, kissing, Rob sharing a joint with a guy. + + JOEL + You were down by the surf. I could + just make you out in the distance. + + Joel looks down to the water. There's Clementine, in her + orange sweatshirt, looking out to sea. + + JOEL VOICE-OVER + Your back to me. In that I remember + being drawn to you orange + sweatshirt I would even then. I + thought, how come to know so well + and even odd, I'm drawn to + someone's hate eventually. At the + time back. I thought, I love this I + thought, how cool, an woman because + she's alone orange sweatshirt. down + there looking out at the ocean. + + JOEL + But I went back to my food. The + next thing I remember, I felt + someone sitting next to me and I + saw the orange sleeve out of the + corner of my eye. + + A shot of the orange sleeve. Joel looks up. + + CLEMENTINE + Hi there. + + JOEL VOICE-OVER + 108. + + + Hi. I was so nervous. What were you + doing there, I wondered. Your hair + was lime green. Green revolution. + +A shot of her green hair. + + JOEL + You said-- + + CLEMENTINE + I saw you sitting over here. By + yourself. I thought, thank God, + someone normal, who doesn't know + how interact at these things + either. + + JOEL + Yeah. I don't ever know what to + say. + + CLEMENTINE + I can't tell you how happy I am to + hear that. I mean, I don't mean I'm + happy you're uncomfortable, but, + y'know-- I'm such a loser. Every + time I come to a party I tell + myself I'm going to be different + and it's always exactly the same + and then I hate myself after for + being such a clod. + + JOEL VOICE-OVER + Even then I didn't believe But I + thought, I don't know, you + entirely. I thought how I thought + it was cool that could you be + talking to me if you were sensitive + enough to you couldn't talk to + people? know what I was feeling and + that you were attracted to it. + + CLEMENTINE + But, I don't know, maybe we're the + normal ones, y'know? I mean, what + kind of people do well at this + stuff? + + VOICE-OVER + And I just liked you so much. + + CLEMENTINE + You did? You liked me? + 109. + + + JOEL + You know I did. + + CLEMENTINE + Yeah, I know. I'm fishing. + + JOEL + You said -- + +She picks a drumstick off of Joel's plate. + + CLEMENTINE + I'm Clementine. Can I And you + picked it out of my borrow a piece + of your plate before I could answer + chicken? It felt so intimate like + we were already lovers. + + JOEL VOICE-OVER + I remember -- The grease on your + chin in the bonfire light. + +Shot of a smudge of chicken grease on Clementine's chin. + + CLEMENTINE + Oh God, how horrid. + + JOEL VOICE-OVER + I'm Joel. No, it was lovely. + + CLEMENTINE + Hi, Joel. So no jokes about my + name? + + JOEL + You mean, like-- + (singing) + Oh, my darlin', oh, my darlin', oh, + my darlin', Clementine-- ? + Huckleberry Hound? That sort of + thing? + + CLEMENTINE + Yeah, like that. + + JOEL + Nope. No jokes. My favorite thing + when I was a kid was my Huckleberry + Hound doll. I think your name is + magic. + +She smiles. + 110. + + + CLEMENTINE + (eyes welling) + This is it, Joel. It's gonna be + gone soon. + + JOEL + I know. + + CLEMENTINE + What do we do? + + JOEL + Enjoy it. Say goodbye. + +She nods. + +Joel and Clementine are walking near the surf. + + JOEL VOICE-OVER + So you're still on the Next thing I + remember we were Zoloft? walking + down near the surf. You were + walking as close as you could to + the water without getting wet. + + CLEMENTINE + No, I stopped. I didn't want to + feel like I was being artificially + modulated. + + JOEL + I know what you mean. That's why I + stopped. + + CLEMENTINE + But my sleeping is really fucked + up. + + JOEL + I don't think I've slept in a year. + + CLEMENTINE + You should try Xanax. I mean, it's + a chemical and all, but it works-- + and it works just having it around, + knowing that it's there. Like + insurance. + + JOEL + Sleep insurance. The latest thing. + + CLEMENTINE + 111. + + + I'll give you a couple. See what + you think. + + JOEL + Okay. + + CLEMENTINE + Have you ever read any Anna + Akhmatova? + + JOEL + I love her. + + CLEMENTINE + Really? Me, too! I don't meet + people who even know who she is and + I work in a bookstore. + + JOEL + I think she's great. + + CLEMENTINE + Me too. There's this poem -- + + JOEL CLEMENTINE + Did this conversation come I think, + before or after we saw the house? + + JOEL + Seems too coincidental that way. + + CLEMENTINE + Yeah, maybe. + + +144 EXT. BEACH - NEAR BEACH HOUSE - DUSK 144 + + Joel and Clementine wander near some beach houses closed + for the winter. + + CLEMENTINE + Do you know her poem that starts + "Seaside gusts of wind,/And a house + in which we don't live-- + + JOEL + Yeah, yeah. It goes "Perhaps there + is someone in this world to whom I + could send all these lines"? + + CLEMENTINE + Yes! I love that poem. It breaks my + heart. I'm so excited you know it. + 112. + + + (pointing to houses) + Look, houses in which we don't + live. + +Joel chuckles appreciatively. + + CLEMENTINE + I wish we did. You married? + + JOEL + Um, no. + + CLEMENTINE + Let's move into this neighborhood. + +Clementine tries one of the doors on a darkened house. Joel +is nervous. + + JOEL + I do sort of live with somebody + though. + + CLEMENTINE + Oh. + +She walks to the next house, tries the door. + + CLEMENTINE + Male or female? + + JOEL + Female. + + CLEMENTINE + At least I'm not barking up the + wrong tree. + +She finds a window that's unlatched. She lifts it. + + CLEMENTINE + Cool. + + JOEL + What are you doing? + + CLEMENTINE + It freezing out here. + +She scrambles in the window. Joel looks around, panicked. + + JOEL VOICE-OVER + (whisper) + 113. + + + I couldn't believe you did + Clementine. that. I was paralyzed + with fear. + + The front door opens and Clementine stands there beckoning. + + CLEMENTINE + C'mon, man. The water's fine. + Nobody's coming here tonight, + believe me. This place is closed + up. Electricity's off. + + JOEL + I hesitated for what seemed I could + see you wanted to like forever. + + He walks cautiously toward the door. + + CLEMENTINE + As soon as you walked in. I knew I + had you. You knew I knew that, + right? + + +145 INT. BEACH HOUSE - CONTINUOUS 145 + + Joel enters the darkened house and Clementine closes the + door behind him. + + JOEL + I knew. + + CLEMENTINE + I knew by your nervousness that + Naomi wasn't the kind of girl who + forced you to criminally trespass. + + JOEL + It's dark. + + CLEMENTINE + Yeah. What's your girlfriend's + name? + + JOEL + Naomi. + + She's searching through drawers for something. She pulls + out a flashlight, shines it in Joel's face. + + CLEMENTINE + Ah-ha! Now I can look for candles, + matches, and the liquor cabinet. + 114. + + + JOEL + I think we should go. + + CLEMENTINE + No, it's our house! Just tonight -- + (looking at envelope on + counter) + -- we're David and Ruth Laskin. + Which one do you want to be? I + prefer to be Ruth but I'm flexible. + (opens cabinet) + Alcohol! You make drinks. I'm going + find the bedroom and slip into + something more Ruth. I'm ruthless + at the moment. + +She runs upstairs, giggling. The room is drying out, +turning into a husk. + + JOEL VOICE-OVER + (calling after her) + I didn't want to go. I was I really + should go. I really too nervous. I + thought, need to catch my ride. + maybe you were a nut. But you were + exciting. You called from upstairs. + + CLEMENTINE + (flat) + So go. + + JOEL + I did. I walked out the door. I + felt like a scared little kid. I + thought you knew that about me. I + ran back to the bonfire, trying to + outrun my humiliation. You said, + "so go" with such disdain. + + CLEMENTINE + (poking her head + downstairs) + What if you stay this time? + + JOEL + I walked out the door. There's no + more memory. + + CLEMENTINE + Come back and make up a good-bye at + least. Let's pretend we had one. + 115. + + + Clementine comes downstairs, vague and robotic, making her + way through the decaying environment. + + CLEMENTINE + Bye, Joel. + + JOEL + I love you. + + She smiles. They kiss. It fades. + + CLEMENTINE + I -- + + +146 EXT. BEACH - NIGHT 146 + + Joel finds himself hurrying back to the bonfire. This + scene, too, is disintegrating. It dries up and Joel is just + standing there on a faded beach at night, the bonfire + frozen in the distance like a photograph. + + +147 INT/EXT. ROB AND CARRIE'S CAR - NIGHT 147 + + Joel sits in the back seat, Rob and Carrie are in the + front. + + CARRIE + Did you have fun? + + Joel nods glumly. + + Carrie continues to talk, but her voice goes under as Joel + studies the faded husks of memories, piled up like refuse + outside the moving car window. + + He sees dried-out version of previous interactions with + Clementine playing out in loops. He looks back and sees the + memory of his ride home from the beach with Rob and Carrie. + + It, too, is decaying. Soon all has crumbled into dust. + + Everything goes black. + + +148 INT. JOEL'S BEDROOM - EARLY MORNING 148 + + Howard watches the monitor. The last specks of light are + fading. It grows dark. He is tired, his eyes are hollow. He + turns to Stan, who is staring out the window at the dawn. + 116. + + + MIERZWIAK + Okay. + + Stan turns and wordlessly begins the clean-up. He pulls the + electrodes off of Joel's scalp, coils cable, packs bags. + + Howard dials the bedside phone. He waits as it rings. + + HOLLIS'S VOICE + Hi, you've reached the Mierzwiaks. + We can't come to -- + + Howard hangs up. + + +149 INT. MIERZWIAK'S OFFICE AREA - EARLY MORNING 149 + + Mary sits in the corner listening to the tape and crying. + + MARY'S VOICE + -- then you said I had to have a, + y'know, an abortion. + + MIERZWIAK'S VOICE + Mary, you know we both agreed to + that. + + MARY'S VOICE + You said, it would be for the best. + + MIERZWIAK'S VOICE + I think it was. + + MARY'S VOICE + But I can't forget about the baby, + Howard! My baby. Our baby. + + MIERZWIAK'S VOICE + That's why we need to take this + additional step, sweetheart. So you + can be the happy Mary you once + were. + + MARY + Yes. + + +150 EXT. JOEL'S APARTMENT BUILDING - EARLY MORNING 150 + + Stan and Howard load the last of the equipment into the + back of the van. He and Howard look at each other. + + STAN + 117. + + + So, I've got to drop the van off. + + MIERZWIAK + Thanks, Stan. Thanks. + (beat) + We'll talk. + + Stan doesn't respond, just gets in the van and drives off. + + +151 INT/EXT. CLEMENTINE'S CAR - EARLY MORNING 151 + + Patrick and Clementine are heading home from Boston. + + Clementine is silent and depressed. Patrick tries to break + the silence. + + PATRICK + You want to stop for coffee or + something? + + Clementine shakes her head "no." Long silence. + + PATRICK + Well, it was sure beautiful on that + river. Thanks for sharing it with + me. + + Clementine doesn't say anything. Silence. + + PATRICK + We'll do it again soon. + + +152 EXT. CITY STREET - EARLY MORNING 152 + + Stan parks the van in front of "Lacuna." He gets out, + crosses to his car. Mary is walking out of the office with + a cardboard box of stuff. + + STAN + Hey. + + MARY + (walking past him toward + her car) + Hey. + + STAN + I take it you're not coming back. + Got your stuff, I see. + + MARY + 118. + + + That's right. My stuff. + + STAN + I don't blame you. I wouldn't come + back either. + +Mary stops and turns back to Stan. + + MARY + Do you swear you didn't know? + + STAN + I swear. + + MARY + So you didn't do the erasing. + + STAN + Of course not. God. No. + + MARY + (studies him) + And you never even suspected we + were together? Never saw us + behaving in any unusual way + together? + + STAN + Once, maybe. + +She watches him closely, waiting for him to continue. + + STAN + It was here. At his car. I was + coming back from a job and spotted + you together. You seemed caught. I + waved. You giggled. + + MARY + How did I look? + + STAN + (beat) + Happy. Happy with a secret. + +Mary starts to cry. + + MARY + And after that? + + STAN + 119. + + + I never saw you together like that + again. So I figured I was imagining + things. + + Mary says nothing. + + STAN + I really like you, Mary. You know + that. + + MARY + Do you remember anything else? What + I was wearing? Was I standing close + to him? Was I leaning against his + car like I owned it? How did he + look at me when I giggled? Tell me + everything. + + STAN + (thinking) + You were in red. That red sweater + with the little flowers, I think. + You were leaning against his car. + (thinking) + He looked a little like a kid. Kind + of goofy and wide-eyed. I'd never + seen him look like that before. + Happy. You looked beautiful. You + looked in love. + + MARY + (heading toward her car) + Thanks, Stan. + + She stops but doesn't turn to face him. + + MARY + You're really nice. + (beat) + But I love him. I knew I loved him. + I knew it! Now I know. So what am I + supposed to do? + + He nods. She waves without looking back and heads to her + car. + + When she arrives at it and opens the trunk, we see that is + already filled with boxes and boxes of Lacuna files. She + adds the last box and closes the trunk. + + +153 INT. JOEL'S BEDROOM - MORNING 153 + 120. + + + Joel awakens. The apartment is neat, like when he went to + sleep. He gets out of bed and heads into the bathroom. + + +154 EXT. JOEL'S APARTMENT - MORNING 154 + + Joel sees the dent in his car, doesn't know why it's there. + + He touches it, looks around. + + +155 EXT. COMMUTER TRAIN STATION - MORNING 155 + + Joel waits on the crowded platform. The platform across the + tracks is empty. Joel's train arrives. It's packed. He + squeezes on with all the other commuters. + + +156 INT/EXT. MARY'S CAR - MORNING 156 + + Mary listens to her tape on the car radio. She cries. The + backseat of her car is piled high with Lacuna files. + + +157 INT. JOEL'S OFFICE - MORNING 157 + + Joel works in his cubicle over the light table. He seems + distracted. He dials his phone. He's nervous. + + JOEL + Hi-- Naomi? Yeah, hi! How are you? + I know, I know. It's been a long + time. Not too much. You? Oh, that's + great! Congratulations! Maybe I + could buy you dinner to celebrate? + Tonight? I'm free. Okay, good! + + +158 INT. MARY'S APARTMENT - MORNING 158 + + Mary sits on the floor in an unkempt pile. Mierzwiak, + tired-looking, stares out the window. After a long silence. + + MARY + Patrick Henry said, "For my part, + whatever anguish of spirit it may + cost, I am willing to know the + whole truth; to know the worst, and + to provide for it." I found that + quote last night. Patrick Henry was + a great patriot, Howard. + + MIERZWIAK + 121. + + + It's a good quote. + + MARY + I don't like what you do to people. + + MIERZWIAK + I understand. I'm sorry. + (beat) + I really do need the files back, + Mary. + + MARY + No. The memories are mine now. + + +159 EXT. CITY STREET - NIGHT 159 + + Joel and Naomi walk, both bundled up. + + NAOMI + (oddly cautious) + So-- you haven't been involved with + anyone in all this time? + + JOEL + It's been a pretty lonely couple of + years. + + NAOMI + I'm sorry. + + JOEL + Well, it was my fault -- the break- + up. I'm sorry. I don't even know + what happened. + + NAOMI + Oh, sweetie. It really does cut + both ways. We were taking each + other for granted and -- + + JOEL + I miss you. + + NAOMI + Miss you, too. + (awkward pause) + I have been seeing someone for a + little while. + + JOEL + (trying for enthusiasm) + Oh! Great. That's great! + 122. + + + NAOMI + A religion instructor. A good guy. + He's a good guy. + + JOEL + I'm sorry. I really shouldn't have + - - + + NAOMI + I'm glad you called. + + There is a silence and then Naomi kisses Joel. + + +160 INT. CLEMENTINE'S APARTMENT - NIGHT 160 + + Clementine lies in bed crying. Patrick sits by the window + and flips furiously through Joel's journal looking for + tips. + + +161 EXT. COMMUTER TRAIN STATION - MORNING 161 + + It's gray. The platform is packed with business commuters: + suits, overcoats. There is such a lack of color it almost + seems as if the scene is in black and white. A man holds a + red heart-shaped box. The platform across the tracks is + empty. + + As an almost empty train pulls up to that platform, Joel + breaks out of the crowd, lurches up the stairs two at a + time, hurries across the overpass and down the stairs to + the other side, just as the empty train stops. The doors + open and Joel gets on the train. + + +162 INT. CLEMENTINE'S APARTMENT - NIGHT 162 + + Joel says goodbye to Clementine. + + CLEMENTINE + So you'll call me, right? + + JOEL + Yeah. + + CLEMENTINE + When? + + JOEL + Tomorrow? + + CLEMENTINE + 123. + + + Tonight. Just to test out the phone + lines. + + JOEL + Yeah. + + Joel exits. We stay on Clementine as she watches Joel head + to his car. + + +163 INT. JOEL'S APARTMENT - NIGHT 163 + + Joel enters, drops his overcoat on a chair, and hurriedly + dials the phone. + + NAOMI'S VOICE + Hello? + + JOEL + Hi, Naomi, it's Joel. + (beat) + How's it going? + + NAOMI'S VOICE + Good. I called you at work today. + They said you were home sick. + + JOEL + I know. I had to take the day to + think. + + NAOMI'S VOICE + Yeah, I tried you at home, too. Did + you get my message? + + JOEL + I just got in. + + NAOMI'S VOICE + Long day's thinking into night. + + Joel flips on messages with volume down. + + JOEL + Yeah, I suppose so. + + NAOMI ON MACHINE + (cheerful) + Hi. They told me you were sick! So- + - Where are you?! I had a really + nice time last night. Just wanted + to say hi, so-- hi. Call me. I'm + home. Call me, call me, call me! + 124. + + + NAOMI'S VOICE + That's me. + + JOEL + There you are. + (pause) + Naomi, it's just-- I'm afraid if we + fall back into this fast without + considering the problems we had-- + + NAOMI + (long exhalation) + Okay, Joel. I suppose you're right. + + JOEL + I had a good time last night. I + really did. + + NAOMI + So I'm going to get some sleep. I'm + glad you're okay. + + JOEL + We'll speak soon. + + NAOMI + 'Night. + +She hangs up and Joel stands there for a minute feeling +creepy, then he dials the number on his hand. + + CLEMENTINE'S VOICE + What took you so long? + + JOEL + I just walked in. + + CLEMENTINE'S VOICE + Hmmm. Do you miss me? + + JOEL + Oddly enough, I do. + + CLEMENTINE'S VOICE + Ha Ha! You said, "I do." I guess + that means we're married. + + JOEL + I guess so. + + CLEMENTINE'S VOICE + Tomorrow night-- honeymoon on ice. + 125. + + +164 EXT. CHARLES RIVER - NIGHT 164 + + Clementine steps out onto the ice. Joel follows nervously. + + CLEMENTINE + Don't worry. It's really solid this + time of year. + + JOEL + I don't know. + + She takes his hand and he is suddenly imbued with + confidence. + + JOEL + This is so beautiful. + + She squeezes his hand. + + CLEMENTINE + Isn't it? + + She runs and slides on the ice. She slips and falls hard on + her ass. Joel is by himself now, watching her. + + CLEMENTINE + (laughing) + Ouch! My ass. Oh my God! + + JOEL + You okay? + + CLEMENTINE + Yeah, come join me. + + JOEL + I don't know. What if it breaks? + + CLEMENTINE + What if? Do you really care right + now? + + Clementine lies on her back and stares up at the stars. + Joel is paralyzed. He looks back at the shore. + + JOEL + I think I should go back. + + CLEMENTINE + Joel, come here. Please. + 126. + + +He hesitates then gingerly makes his way over to her. She +reaches for his hand and gently pulls him down. He lies on +his back beside her, their bodies touching. He wants to +turn to her, but out of shyness, doesn't. She holds his +hand. They look up at the stars. She smiles, doesn't say +anything and snuggles closer to him. + + JOEL + Listen, did you want to make love? + + CLEMENTINE + Make love? + + JOEL + Have sex. Y'know -- I don't know + what you call it. + + CLEMENTINE + Oh, um-- + + JOEL + Because I just am not drunk enough + or stoned enough to make that + happen right now. + + CLEMENTINE + That's okay. I -- + + JOEL + I'm sorry. I just wanted to say + that. This seems like the perfect + romantic exotic place to do it and + - - + + CLEMENTINE + Hey, Joel -- + + JOEL + -- and I'm just too nervous around + you right now. + + CLEMENTINE + I'm nervous, too. + + JOEL + Yeah? I wouldn't have thought that. + + CLEMENTINE + Well, you obviously don't know me. + + JOEL + I'm nervous because I have an + enormous crush on you. + 127. + + + She smiles up at the sky. + + CLEMENTINE + Show me which constellations you + know. + + JOEL + Um-- oh-- I don't know any. + + CLEMENTINE + Show me which ones you know! + + JOEL + Okay. There's Osidius. + + CLEMENTINE + Where? + + JOEL + There. See? It's sort of a swoop + and then a cross? Osidius the + Emphatic. + + CLEMENTINE + You're full of shit. Right? + + She looks at him. He continues to study the sky. + + JOEL + Nope. Osidius the Emphatic. Right + there. Swoop and cross. + + She punches him in the arm, looks back at the sky. + + CLEMENTINE + Shut the fuck up. + + +165 INT. JOEL'S CAR - MORNING 165 + + Joel drives and sips from a paper cup of coffee. Clementine + is asleep in the seat next to him. He pulls up in front of + her house. He sits there for a few moments, shyly uncertain + about waking her; she seems so peaceful. He gingerly + touches her arm. She doesn't wake. He touches it again. + Still nothing. He touches her face. + + JOEL + (whispering) + Clementine? + + Nothing. He sits there. He shakes her a little. + 128. + + + JOEL + I'm sorry to have to wake you but - + - + +She opens her eyes. + + CLEMENTINE + (groggy smile) + Hey. + + JOEL + Hi. I'm sorry to wake you but we're + here. + +She cranes her neck, sees her house. + + CLEMENTINE + Okay. + (closes her eyes again, + beat) + Can I come over to your house? To + sleep? I'm so tired. + + JOEL + (beat) + Yeah, sure. Okay. It's probably a + mess. + + CLEMENTINE + Let me get my toothbrush. + +Joel nods. She smiles and leaves the car. Joel watches her +head to the house. He leans his head back against the +headrest and closes his eyes. + +He's happy, tired, and a bit anxious. He opens his eyes and +casually watches a distant figure walking in the direction +of Clementine's house on the otherwise empty sidewalk. As +the figure nears, Joel sees it's a young man. + +The young man gets closer and we see that it's Patrick. +Joel watches him without any particular interest; it's just +something to look at. Patrick gets close and seems to be +about to head up to Clementine's house when he happens to +glance into Joel's car and spots Joel. + +He reacts but barely and keeps walking down the block past +Clementine's house. Joel watches in his rearview mirror as +Patrick continues down the street. Joel closes his eyes +again. After a few moments there's a tap on the driver's- +side window. Joel opens his eyes and sees Patrick standing +there. + 129. + + + Joel rolls down his window. + + JOEL + Yes? + + PATRICK + Can I help you? + + JOEL + What do you mean? + + PATRICK + Can I help you with something? + + JOEL + No. + + Patrick doesn't know how to continue. He takes another + stab. + + PATRICK + What are you doing here? + + JOEL + I'm not really sure what you're + asking me. + + PATRICK + Oh. + (long pause) + So I was just wondering if I could + bum a cigarette, mister. + + JOEL + No, I don't smoke. Sorry. + + PATRICK + Okay, thanks. + + Patrick walks off. Joel watches him again in his rearview + mirror. + + +166 INT. CLEMENTINE'S APARTMENT - MORNING 166 + + Clementine wanders around putting things in an overnight + bag. + + Her toothbrush is in her mouth. She's being overly + selective in her choice of a change of clothing and + toiletries. A phone message is playing in the background. + + PATRICK'S VOICE + 130. + + + -- so where are you, Clem? I'm + worried. I feel like you're mad at + me and I don't know what I did. + What did I do? I love you so much. + I'd do anything to make you happy. + Just tell me what you want me to do + and I'll do it. Listen, I'm going + to stop by in the morning just to + make sure you're okay. I'm worried. + + +167 INT. JOEL'S CAR - MORNING 167 + + Joel waits. Clementine emerges from her place with her + overnight bag and her mail. She gets into the car. + + CLEMENTINE + Vamanos, senor. + + Joel smiles at her, starts the car and drives off. They + pass Patrick sitting on someone's stoop watching them. + Neither of them notices him. Clementine sifts through her + mail. + + JOEL + I had a really nice time last + night. + + CLEMENTINE + Nice? + + JOEL + I had the best fucking time I've + ever had in my fucking life last + night. + + CLEMENTINE + That's better, senor. + + She looks at a small padded manila envelope with her name + and address scrawled on it. She rips it open, pulls out a + note and an audio cassette. She reads the note. + + CLEMENTINE + This is weird. + (reading aloud) + Dear Clementine. We've met but you + don't remember me. I worked for a + company you hired to have part of + your memory erased. + + JOEL + It's a teaser ad or something. + 131. + + + CLEMENTINE + (reading) + You've erased your two year + relationship with Joel Barish from + your memory. + + JOEL + Jesus, that's creepy. How'd they + know we even know each other? + +Clementine shrugs and inserts the cassette in the tape +player. (note: the tape plays throughout the scene under +Joel and Clementine's dialogue) + + CLEMENTINE'S VOICE + My name is Clementine Kruczynski + and I'm here to erase Joel Barish. + + MIERZWIAK'S VOICE + Tell me all about your + relationship. + + CLEMENTINE'S VOICE + Well, he's a giant asshole. Is that + enough? + + MIERZWIAK'S VOICE + No, I'm afraid we really do need to + delve. + + JOEL + What is this? + + CLEMENTINE + I don't know. + + CLEMENTINE'S VOICE + I can't stand to even look at him. + His pathetic, wimpy, apologetic + smile. That sort of wounded puppy + shit he does. Y'know? Is it so much + to ask for an actual man to have + sex with? + + JOEL + What are you doing? + + CLEMENTINE'S VOICE + 132. + + + -- I might as well be a lesbian. At + least I could have someone pretty + to look at while I'm fucking. Not + that we fuck anymore. I mean, I + don't call it fucking on the rare + occasions that it happens. Not + fucking-- faking. Honey, let's fake + tonight. Make a few faces, get it + over with. Shit- + + JOEL + Why did you make this tape? + + CLEMENTINE + I didn't do this! I completely + don't understand what you're doing. + + JOEL CLEMENTINE + It's your voice! I know! + + CLEMENTINE'S VOICE + -- Now the only fuel keeping it + going is my feeling sorry for him. + He's so needy. The way he looks at + me, like I should be ashamed of + myself for going out and having + some fun in my life. I mean, I've + got to have it somewhere, right? I + suppose I could sit and watch + television with him until we both + kick. There's a plan. Y'know Joel + is a guy who is never going to do + anything with his life-- + + CLEMENTINE + Joel, I don't understand. I swear. + + CLEMENTINE'S VOICE + -- I remember this time I made him + come out onto this frozen river + with me. He was terrified. Like a + goddamn girl-- + +Joel turns the car around. + + JOEL + So someone just recorded you saying + this without you knowing you were + saying it. + + CLEMENTINE + 133. + + + I don't know! Maybe it's This is + fucked up! That's some kind of + Future thing, ridiculous. This is + fucked like a look into the future. + up! It's called A Christmas Like + that thing in Scrooge! Carol, not + Scrooge. Maybe some force is trying + to help us. I think I've read about + that happening. I'm sure I have. + + CLEMENTINE'S VOICE + -- Ugh. I don't want to think about + all the time I've wasted in this + quote- unquote relationship. Isn't + it about fun? + +Joel stops the car in back in front of Clementine's house. + +She's crying. + + CLEMENTINE + I didn't say this. I don't know + what this is. Look, I just -- + +She stops talking. + + CLEMENTINE'S VOICE + -- I mean, shouldn't the good times + out number the shit times? I don't + know. I don't know what the hell to + expect. But the bloom is certainly + fucking off the rose at this point. + I want to have kids. I can't be + wasting my time with this kind of + disaster. Not to mention, do I want + my kids to have his creepy little + genes? + +Joel just stares straight ahead. + + CLEMENTINE + (quietly, resignedly) + Okay. I'm gonna go. + +She gets out of the car. + + CLEMENTINE'S VOICE + --How could I even look at them if + they looked like him? How could + anybody? Y'know, I think about + that-- + +Joel ejects the tape, hands it to her, and closes the door. + 134. + + + He drives off, leaving her just standing there, crying. + After a moment, Patrick appears seemingly from nowhere. + + PATRICK + Clem, what's wrong? Oh, sweetheart- + - I was just coming over to -- + + CLEMENTINE + Get away from me! Get the fuck away + from me! Get away from me! Get away + from me! + + +168 INT. CLEMENTINE'S CAR - MORNING 168 + + It's a bit later. Clementine drives slowly down Joel's + street. In her hand she's got a ripped out page from a + phone book with his address circled. She spots his car on + the street and parks behind it. + + +169 EXT. JOEL'S APARTMENT - MORNING 169 + + Clementine approaches the apartment entrance. As she nears, + the door opens and Frank the neighbor emerges. He holds the + door open for her. + + FRANK + Hey, Clementine. + + She has no idea who he is and she's freaked out. + + CLEMENTINE + Hey. + + +170 INT. JOEL'S APARTMENT BUILDING - MORNING 170 + + Clementine watches the hall looking at apartment numbers + until she comes to Joel's. The door is ajar. Inside she can + hear Joel's voice, but can't make out what he's saying. She + stands there for a moment then enters. + + +171 INT. JOEL'S APARTMENT - DAY 171 + + Clementine looks around; the place is not what she + expected. + + She comes upon Joel in his study. The room looks as if it's + been ransacked. He's listening to a tape of his own voice + and holding a drawing. She stands and listens, too, + unbeknownst to him. + 135. + + + JOEL'S VOICE + -- that's Clementine all over. + Complete selfishness. Complete and + utter disregard for anyone else's + feelings. + + CLEMENTINE + Hi. + +He looks, up, his eyes are red-rimmed and wild-looking. +They stare at each other. + + JOEL + Hey. + +Joel's taped voice drones on in the background. He holds up +the drawing for Clementine to see. It's the picture of her +in the skeleton costume. + + JOEL + Look what I found. + +She studies it, touched and confused. She doesn't know what +to say. + + CLEMENTINE + Well, you made me look skinny. + + JOEL'S VOICE + She's like a train wreck, tearing + people apart leaving chaos and + destruction in her wake. And -- + + CLEMENTINE + It's a nice place you have. + + JOEL + Thanks. Y'know, it's-- relatively + cheap. I like it. The location's + good. It's not usually this messy. + + CLEMENTINE + It's nice. + + JOEL'S VOICE + -- seems obvious to me that it's + all based on some kind of mammoth + insecurity. + + JOEL + I'm sorry I yelled at you. + + JOEL'S VOICE + 136. + + + She plays at being this rebel, + free-spirit. + + CLEMENTINE + It's okay. + (beat) + I like you so much. I hate that I + said mean things about you. + + JOEL + I'll turn this off. + + CLEMENTINE + No. I think it's-- I think it's + only fair. + + JOEL'S VOICE + I mean, the whole thing with the + hair? It's all bullshit. And it's + sort of pathetic when you're thirty + and you're still doing that shit. + + JOEL + I really like your hair. + + CLEMENTINE + Thank you. + + JOEL + Can I get you something to drink? + + CLEMENTINE + Do you have any whiskey? I'm cold. + + JOEL + Yeah. + + Clementine enters the study as Joel exits into the kitchen. + + +172 INT. KITCHEN - DAY 172 + + Joel finds his almost empty bottle of scotch in the + cabinet. + + He pours the little left into two glasses, exits. + + +173 INT. JOEL'S STUDY - DAY 173 + + Joel enters with the two glasses of whiskey. Clementine + sits on the couch, looking stunned. He hands her a glass. + 137. + + + JOEL + Sorry, I thought there was more. + + JOEL'S VOICE + -- that's what's occurred to me + that night, that the only way Clem + thinks she can get people to like + her is to fuck them or at least + dangle the possibility of getting + fucked in front of them. And I + think she's so desperate and + insecure that she'll sooner or + later she'll just go around fucking + everyone. + + CLEMENTINE + I don't do that. + + JOEL + I wouldn't have thought so. + + CLEMENTINE + Because I don't. + + JOEL + I know. + +Joel turns off the tape. + + CLEMENTINE + (crying) + Because it really hurts me that you + said that. Because I don't do that. + + JOEL + Okay. I'm sorry. + +They both stare off. Finally: + + CLEMENTINE + I'm sorry about this. I'm Okay. + Yeah. + + JOEL + I'm sorry. going to go. I'm a + little confused. I don't think I + can be here. + +Clementine gets up. + + CLEMENTINE + So-- bye. It was nice meeting you + and all. + 138. + + + JOEL + Yeah, you too. I had a good time. + + She exits. + + +174 INT. APARTMENT HALLWAY - DAY 174 + + Clementine walks down the hall. Joel appears behind her. + + JOEL + Hey, wait. + + CLEMENTINE + What? + + JOEL + I just wanted to-- + + He doesn't know what to say, stops. + + CLEMENTINE + What? + + JOEL + I just wanted to-- Um, I was just + wondering-- how your bruise is? + From falling. Y'know? + + CLEMENTINE + It hurts. My ass is purple. + + JOEL + I'm sorry. It was a nasty fall. I + mean, it was sort of funny once I + realized you weren't dead. + + CLEMENTINE + I'm good for a laugh, anyway. + + JOEL + No, that's not what I meant. + + CLEMENTINE + Anyway, look, I'm gonna go. Take + care of yourself. + + JOEL + You too. + + She heads down the hall. + 139. + + + JOEL + Wait! + + CLEMENTINE + What? + + JOEL + I came up with another hair color. + + CLEMENTINE + (not turning) + Oh, yeah? + + JOEL + Brown versus The Board of + Education. + + CLEMENTINE + (walking, no change of + expression) + It's a little cumbersome. + + JOEL + Wait! + +She stops and turns. + + CLEMENTINE + (impatiently) + What, Joel? What do you want? + + JOEL + (at a loss) + I don't know. + + JOEL + (pause) + Just wait. I just want you to wait + for a while. + +They lock eyes for a long moment: Clementine stone-faced, +Joel with a worried, knit brow. Clementine cracks up. + + CLEMENTINE + Okay. + + JOEL + Really? + + CLEMENTINE + 140. + + + I'm not a concept, Joel. I'm just a + fucked-up girl who is looking for + my own peace of mind. I'm not + perfect. + + JOEL + I can't think of anything I don't + like about you right now. + + CLEMENTINE + But you will. You will think of + things. And I'll get bored with you + and feel trapped because that's + what happens with me. + + JOEL + Okay. + + CLEMENTINE + Okay. + +THE END + \ No newline at end of file diff --git a/scripts/Ex Machina.txt b/scripts/Ex Machina.txt new file mode 100644 index 0000000000000000000000000000000000000000..28246534275dc80cc182899df86aa9f971f3d204 --- /dev/null +++ b/scripts/Ex Machina.txt @@ -0,0 +1,6883 @@ + 1. + + + + Music starts. + + OPEN ON - + + +1 INT. OFFICE - DAY 1 + + - a COMPUTER MONITOR. + + Lines of code appear, as they are typed. + + main( ) { extrn a, b, c; putchar(a); putchar(b);putchar + (c); putchar(’!’*n’); } a ‘hell’; b ‘o, w’; c ‘or + + CUT TO - + + - a view above an ultra-cool, ultra-designed open-plan + office. + + In a kitchen area, young men and women mill and chat. + Casually dressed. Feels like an intelligent, relaxed + environment. + + Behind them, more young men and women sit at desks, in + front of screens and keyboard. + + Each workstation is personalised. Photographs of friends or + family, or pets. Cutting from magazines. Ironic + superhero/video-game figurines. + + CUT TO - + + - the hands of the young man writing code. This is CALEB. + He types fast, with two fingers. + + CUT TO - + + - EXTREME CLOSE UP of a pinhole web-cam lens in CALEB’S + monitor. + + CUT TO - + + - the POV of the web-cam. + + Looking back at CALEB. + + Twenty four. Glazed. Ear buds in, connected to cell phone. + Head bobbing slightly to the music. + + As we watch from the monitor POV, we can see the computer’s + facial recognition system in operation. + 2. + + +Imaged as vector boxes, which track CALEB’S face, and the +faces of all the people behind him. + +CUT TO - + +- the COMPUTER MONITOR. + +On which a message appears, in a small window, over the +code. VIP EMAIL RECEIVED subject: HIDDEN + +CUT TO - + +- the monitor web-cam POV. + +As CALEB stops typing. + +He gazes at the message. + +Then clicks on the link. + +Then mouths the word: Fuck. + +CALEB reaches for his cell phone. + +CUT TO - + +- the CELL PHONE POV, seen from the tiny camera above the +screen, as CALEB lifts the phone, and starts keying-in a +text. + +We see facial recognition software flickering over CALEB’S +features, and reacting to shifts in his expression. + +CUT TO - + +- the cell phone. The screen. The tiny camera nestled above +it. Lens glinting. + +On the screen, a time-bar extends next to the word: + +sending + +A beat later, a reply text message appears. + +WTF? seriously!? + +CUT TO - + +- the WEB CAM POV, watching CALEB react to the arrival of +the text. + +CUT TO - + 3. + + + - cell phone screen. + + CALEB sends the word: + + yes + + A beat later, a stream of text messages start appearing: + + Buena estoria bro + + omfg fucking AWESOME + + :o) + + take me take me?!? + + Caleb > [infinity symbol] + + CUT TO - + + - the computer monitor POV. + + Behind CALEB, a few of the people behind CALEB in the + office are reacting. + + One stands and applauds. + + A GIRL comes out from behind her desk, runs over to CALEB, + and embraces him from behind planting a kiss on his cheek. + + CALEB still looks dazed. + + He still has his headphones in. Still in the audio bubble, + which, despite the commotion around him, remains unburst. + + TITLE: + + EX MACHINA + + +2 EXT. MOUNTAINS - DAY 2 + + A spectacular mountain landscape. Waterfalls drop down + massive rock faces to inland lakes. Rivers push through + forest. Forest spreads across valley floors, which rise to + snow peaks. + + +3 INT. HELICOPTER - DAY 3 + + CALEB wakes abruptly - + 4. + + +- to find himself in the front seat of a helicopter. + +The pilot, JAY, is a man in his forties. + +Outside the window is the mountain landscape. + + CALEB + How long was I out? + + JAY + You fell asleep almost as soon as + we left the airport. + +CALEB looks around. Wipes sleep out of his eyes. Gets his +bearings. + + CALEB + Damn. Can’t believe I’ve been + missing this. I was so psyched to + be coming here, I was awake all + night. + +JAY smiles. + + JAY + You’re a programmer, right? + + CALEB + Yeah. + + JAY + Bay facility? + + CALEB + Long Island. I work on algorithms + for the search engine. + + JAY + Algorithms. Nice. + + CALEB + You know what they are? + + JAY + Nope. But I knew you were a + programmer. Soon as I set eyes on + you. + + CALEB + Is that a good thing? + + JAY + 5. + + + Means you and Mr Bateman speak the + same language. I’d say that’s a + good thing. + +Beat. + + CALEB + I guess you know him pretty well. + +The pilot laughs. + + JAY + I’ve never even met him. I only fly + this shuttle between the airport + and his residence. + +I did see him one time. Stood on one of these mountain +ridges. + +JAY shrugs. + + JAY (CONT’D) + Assume it was him, anyway. No one + else around for a hundred miles. + +JAY glances over at CALEB. + + JAY (CONT’D) + So how does a programmer from Long + Island get to be meeting the CEO? + + CALEB + I won a competition. It was kind of + like a lottery, for employees. The + winner got to spend a week with + him. + + JAY + The president can’t get Mr Bateman + on the phone, but you got the + golden ticket. + + CALEB + Yep. + + JAY + Hell of an opportunity. + + CALEB + Believe me. I know it. + +CALEB looks out of the window. + 6. + + + CALEB (CONT’D) + Incredible here. + + JAY + Alaska. Most beautiful place on + Earth. + + Beat. + + CALEB + How long until we get to his + estate? + + JAY chuckles. + + JAY + We’ve been flying over his estate + for the past two hours. + + +4 EXT. MOUNTAINS - DAY 4 + + The helicopter flies over a vast white glacier. + + +5 EXT. MOUNTAINS - DAY 5 + + The helicopter flies over the lip of a WATERFALL, revealing + a valley. + + The valley floor is a forest, and a single bright green + meadow. Sunlit, like a jewel in the icy mountains. + + A white-water river runs through it. + + +7 INT. HELICOPTER - DAY 7 + + CALEB looks down at the breathtaking view as the helicopter + banks, turns, and descends. + + +8 EXT. MEADOW - LANDING SITE - DAY 8 + + Meadow flowers whip in the rotor wash as the helicopter + touches down in the vast meadow. + + By the landing site is a collection of huge metal crates. + All have Chinese characters on the side. + + The rotor blades slow, but don’t stop. + 7. + + + JAY exits. + + +9 EXT. MEADOW - LANDING SITE - DAY 9 + + JAY holds open the door as CALEB exits the helicopter + cabin. + + CALEB looks around, his eyes adjusting to the bright + sunshine outside. + + JAY goes to the side of the helicopter, pops open a hatch, + and removes CALEB’S luggage. A large suitcase with wheels. + + CALEB looks around. Apart from the packing crates, there + are no man-made structures to be seen. + + CALEB shouts over the engine noise. + + CALEB + You’re leaving me here? + + JAY + This is as close as I’m allowed to + the building. + + CALEB + ... What building? + + The pilot gestures vaguely towards the white water. + + JAY + Follow the river. + + JAY hands CALEB his bag. + + JAY (CONT’D) + Please get a safe distance from the + blades. + + The pilot gets back inside the helicopter, and closes the + door. + + CALEB hurriedly retreats with his bag. + + Moments later, in a roar of wind and noise, the helicopter + is lifting off. + + Equally suddenly, the noise is fading, and the helicopter + is soaring upwards, and banking back towards the glacier. + 8. + + + Then it is gone. Bird song and wind rush replace engine + noise. + + CALEB suddenly looks very isolated. + + +10 EXT. RIVER - DAY 10 + + CALEB walks along the banks of the fast-flowing river, + awkwardly bumping his wheeled suitcase over the ground. + + The banks of the river start to climb, to an intimidating + drop. + + It feels that this can’t be the right way. + + CALEB reaches into his pocket and pulls out his mobile + phone. + + No signal at all. + + He puts his phone back in his pocket. + + +11 EXT. RIVER - HOUSE VIEW - DAY 11 + + CALEB rounds a bend in the river. + + Ahead, almost hidden in trees, there is a steel and glass + structure. + + +12 EXT. CLEARING - DAY 12 + + CALEB walks towards the house through the trees. + + In the ground, in a grassy clearing, he finds a circular + window, reflecting the sky. + + He walks up to the window, and looks inside. + + It reveals what is effectively a glass-covered well - about + four metres deep, with smooth concrete sides. + + At the bottom of the well is a brightly-lit room, which + appears to be an office of some sort. There is a desk, with + monitors, and a chair. + + But apparently no one inside. + 9. + + + Beyond the clearing, in the tree-line, CALEB sees - almost + camouflaged by forest - the dark shapes and straight lines + of a low, one storey building complex. + + +13 EXT. HOUSE - DAY 13 + + CALEB approaches the building. + + As he nears the entrance - + + - CALEB startles, as an AUTOMATED VOICE speaks to him, from + an unknown source. + + AUTOMATED VOICE + Caleb Smith. + + CALEB tracks the source of the voice. + + Near what seems to be the front door, a pillar protrudes + from the ground. Head-height. With a GLASS SCREEN on one + side. + + Below the screen is a DISPENSER. + + CALEB + ... Yes. + + AUTOMATED VOICE + Please approach the console and + face the screen. + + CALEB looks into the screen, and as soon as he has locked + eyes with his own reflection, the screen FLASHES. A single + bright strobe. + + Almost immediately afterwards, something small clatters + into the DISPENSER. + + AUTOMATED VOICE (CONT’D) + Take your keycard. + + CALEB picks the object up. It’s a credit-card sized ID. + + On it, there is an embedded chip, and a photograph of his + face. He looks comically surprised. + + CALEB + ... Can we do another? + + AUTOMATED VOICE + 10. + + + Your keycard now may be used to + enter the residence. + + CALEB walks up to the front door. + + Beside the door, a KEYCARDPLATE is set into the wall, with + a RED LED LIGHT. + + He holds his keycardID. + + The RED LED light changes to BLUE. + + CALEB pushes the front door, and it swings open. + + +14 INT. HOUSE/MAIN ROOM - DAY 14 + + The front door opens to a glass-walled staircase, which + leads down to an open-plan room. + + At the bottom of the staircase, CALEB waits to see if he is + welcomed, or noticed. + + But he is not. + + CALEB + Hello? + + Silence. + + Then he is startled a second time, by sudden commencement + of a THUMPING SOUND. + + Abrupt. Rapid. More or less rhythmic. From somewhere + nearby. + + He exits in the direction of the noise. + + +15 INT. HOUSE/DINING AREA - DAY 15 + + CALEB enters a dining area. + + Which now reveals... + + ... a huge glass door. + + It presents an arresting view of a garden, river, and the + mountains behind. + + The door is open, and through it, we see the reason for the + thumping sound. + 11. + + + Just outside, on a patio, in the sunshine, a man is working + a PUNCH BAG. + + +16 EXT. GARDEN - DAY 16 + + CALEB exits the dining area to an area of neat garden, + looking over the river, and surrounded by the mountain + ranges. + + The punch bag is suspended by a chain on an exterior + flanking wall of the house. + + The man working it is wearing shorts, and is shirtless. + Bathed in sweat. + + His hands are not protected by gloves. Only wraps. Spots of + blood seep through the pale material around his knuckles. + + This is NATHAN BATEMAN. He’s thirty. + + After a flurry of punches, NATHAN breaks off. + + Breathing hard, he wipes at his eyebrows with the back of + his wrist. Sweat droplets cascade down his face. + + Then - + + - NATHAN senses the other presence. + + He turns to see CALEB. Standing by the open glass wall. + + NATHAN + Caleb. + + NATHAN beams. + + NATHAN (CONT’D) + Caleb Smith. + + CALEB + ... Hi. + + NATHAN starts unravelling his wraps. + + NATHAN + Dude. I’ve been so looking forward + to this. + + +17 INT. HOUSE - DINING AREA - DAY 17 + 12. + + +NATHAN walks past CALEB, and goes to a bar area, where +there is a jug of non-specific vegetable juice waiting, and +a glass. + + NATHAN + Come in, come in. + +CALEB puts his bag down. + + NATHAN (CONT’D) + You want something to eat or drink + after your journey? + + CALEB + No. Thank you. I’m fine. + + NATHAN + You sure? + +NATHAN pours himself a glass of the vegetable juice. + + NATHAN (CONT’D) + I’d been thinking we’d have + breakfast together, but to be + honest, I can’t eat anything right + now. I gotta tell you - I woke up + this morning with the mother of all + fucking hangovers. + + CALEB + Yeah? + +NATHAN laughs. + + NATHAN + Like you wouldn’t believe. And if I + have a heavy night, I always try to + compensate the next morning. + Exercise. Juice. Anti-oxidants. You + know? + + CALEB + Sure. + +Silence, as NATHAN drinks. + +CALEB feels he needs to say something. + +Looking around, he sees a collection of empty beer bottle +on the kitchen counter. + + CALEB (CONT’D) + ... Was it a good party? + 13. + + +NATHAN doesn’t answer. + +He’s still drinking. + +The silence extends a little. Verges on odd. + +NATHAN puts his empty glass down. + + NATHAN + Party? + +NATHAN looks at CALEB. His expression is unreadable. + + NATHAN (CONT’D) + Caleb. I’m going to put this out + there so it’s said. + +CALEB waits. + + NATHAN (CONT’D) + You’re freaked out. + + CALEB + ... I am? + + NATHAN + Yeah. You’re freaked out by the + house, and the mountains, because + it’s all so super-cool. And you’re + freaked out by me. To be meeting + me. In this room, having this + conversation, at this moment. + Right? + +CALEB doesn’t have time to answer. + + NATHAN (CONT’D) + And I get that. The moment you’re + having. + +NATHAN smiles. + + NATHAN (CONT’D) + But dude, can we get it behind us? + Can we just be two guys? Nathan and + Caleb. Not the whole employer- + employee thing. + + CALEB + Okay. + +Beat. + 14. + + + CALEB (CONT’D) + It’s good to meet you, Nathan. + + CALEB holds out his hand. + + NATHAN beams. + + NATHAN + It’s good to meet you too, Caleb. + + They shake. + + When CALEB takes his hand back, there is a little smear of + blood on his fingers. + + He discretely wipes it on his trousers. + + +18 EXT. HOUSE - ELEVATOR - DAY 18 + + NATHAN and CALEB enter an elevator. + + It has no buttons. Only a keycard plate. + + NATHAN swipes his card. + + NATHAN + Down. + + The elevator starts to move. + + +19 EXT. RIVER - DAY 19 + + Water flows over rocks. + + +20 INT. HOUSE - GLASS CORRIDOR - CONTINUOUS 20 + + CALEB and NATHAN exit the elevator, into a glass corridor. + + The floor is polished concrete. The walls and ceiling are + glass, behind which diffused light glows. + + At regular intervals, glass doors are set, glowing with the + same light, flush with the walls. + + Beside the closed doors are keycardplates and soft red + LEDs. + + CALEB carries his bag, looking slightly encumbered next to + NATHAN. + 15. + + + NATHAN + So I guess the first thing I should + do is explain your pass. It’s + simple enough. It opens some doors, + but it doesn’t open others. And + that just makes everything easy for + you, right? + + CALEB + ... Uh, yes. + + NATHAN + Because you’re like: oh fuck, I’m + in someone else’s house, can I do + this, can I do that? And this card + takes all that worry away. If you + try to open a door and it stays + shut: okay, it’s off limits. + + If you try another door, and it opens: it’s for you. + + NATHAN stops by a door. + + NATHAN (CONT’D) + Let’s try this one. + + CALEB hunts around in his pockets for his keycard. + + Then swipes the card on the plate. + + The LED turns blue. + + NATHAN (CONT’D) + Guess it’s for you, Caleb. + + +21 INT. HOUSE - CALEB’S BEDROOM - DAY 21 + + NATHAN follows CALEB into a bedroom. + + NATHAN + You like? + + It has the vibe of a mid-level business hotel. Bed, table, + TV. + + Except it has no windows. + + NATHAN (CONT’D) + It’s your room. You got yourself a + bed, cupboards, a little desk, and + a bathroom through there. A little + fridge. + 16. + + +NATHAN opens the fridge. Inside it is full of bottled +water. + + NATHAN (CONT’D) + Cosy, right? + +CALEB puts his bags down. + + CALEB + You bet. This is great. + + NATHAN + What? + + CALEB + ... Sorry? + + NATHAN + There’s something wrong. What is + it? + + CALEB + There’s nothing wrong. + + NATHAN + It’s the windows. You’re thinking: + there’s no windows. And it’s not + cosy. It’s claustrophobic. + + CALEB + No. No way. I wasn’t thinking that. + I was thinking: this is really + cool. + + NATHAN + Caleb. There’s a reason the room + has no windows. + + CALEB + ... There is? + + NATHAN + Uh-huh. In many ways, this building + isn’t a house. It’s a research + facility. Buried in these walls are + enough fibre optic cables to reach + the Moon and lasso it. + +NATHAN sits on the bed. + + NATHAN (CONT’D) + 17. + + + And I want to talk to you about + what I’m researching. I want to + share it with you. In fact, I want + to share it with you so much, it’s + eating me up inside. + + Beat. + + NATHAN (CONT’D) + But there’s something I need you to + do for me first. + + CALEB + ... What? + + NATHAN indicates the desk - where a pen sits next to a + printed document. + + +22 INT. HOUSE - CALEB’S BEDROOM - DAY 22 + + CALEB sits at the desk in his room, holding NATHAN’S pen. + + In front of him is a sheet of paper, which reads, at the + top: + + NON DISCLOSURE AGREEMENT + + CALEB + ‘The signee agrees to regular data + audit with unlimited access, to + confirm that no disclosure of + information has taken place, in + public or private forums, using any + means of communication, including + but not limited to that which is + disclosed orally or in written or + electronic form...’ + + CALEB glances back at NATHAN on the bed. + + CALEB (CONT’D) + I think I need a lawyer. + + NATHAN + It’s standard. + + CALEB + It doesn’t feel very standard. + + NATHAN + Okay, it’s not standard. + 18. + + +NATHAN shrugs. + + NATHAN (CONT’D) + What can I tell you? You don’t have + to sign. We could spend the next + seven days shooting pool and + getting drunk together. Bonding. + And when you discover what you + missed out on, in a year or so’s + time, you’ll spend the rest of your + life regretting it. + +CALEB turns back to the desk. + +Looks at the paper. + +Then hesitates a final moment - + +- and signs. + +When he looks round, NATHAN has moved from the bed, and is +standing directly behind him. + + NATHAN (CONT’D) + Good call. + +NATHAN takes the piece of paper. + +Folds it. Puts it in his pocket. + + NATHAN (CONT’D) + So. + +Beat. + + NATHAN (CONT’D) + Do you know what the Turing Test + is? + +CALEB reacts - immediately knowing what NATHAN has just +implied. + + CALEB + ... Yeah. I know what the Turing + Test is. + +NATHAN waits. + + CALEB (CONT’D) + It’s where a human interacts with a + computer. And if the human can’t + tell they’re interacting with a + computer, the test is passed. + 19. + + + NATHAN + And what does a pass tell us? + + CALEB + That the computer has artificial + intelligence. + + Beat. + + CALEB (CONT’D) + ... Are you telling me you’re + building an AI? + + NATHAN shakes his head. + + NATHAN + I’ve already built one. + + NATHAN stands. + + NATHAN (CONT’D) + And over the next few days, you’re + going to be the human component in + a Turing Test. + + CALEB + ... Holy shit. + + NATHAN + That’s right, Caleb. You got it. + Because if that test is passed, you + are dead center of the single + greatest scientific event in the + history of man. + + CALEB + If you’ve created a conscious + machine, it’s not the history of + man. It’s the history of Gods. + + NATHAN smiles. + + NATHAN + I like you. + + CUT TO - + + +23 INT. HOUSE - OBSERVATION ROOM - DAY 23 + + - what appears to be a neon colouredjellyfish. Tendrils + like axons, hanging in a black-blue liquid space. + 20. + + +REVEAL - + +- the jellyfish is contained in a glass orb. + +Which is held in an exposed cavity at the back of machined +skull-shape... + +... which is part of a robot girl. + +Her name is AVA. + +She’s an extraordinary piece of engineering. + +Proportioned as a slender female in her twenties, her limbs +and torso are a mixture of metal and plastic and carbon +fibre. + +The carbon fibre is charcoal colour. The plastic is cream. +The metal has the yellow-warmth of nickel. + +The shapes of her body approximate the form of muscle. +There are biceps, and breasts. Her hands have five delicate +digits. + +Her body-structure is covered in a delicate skin. The skin +is a mesh, in the pattern of a honeycomb. Like a spiderweb, +it is almost invisible unless side-lit. + +The one part of her that is not obviously an inorganic +construct is her face - which is that of a strikingly +beautiful girl. Created in a defined oval, from the top of +the forehead to just below her chin. Indistinguishable from +a real girl in its appearance and in the way it moves - +except for one thing. + +There is a very slight, almost imperceptible blankness in +her eyes. + +As we observe AVA, she fits a section of skull-plate to the +back of her head, which obscures the glass orb and +jellyfish structure. + +Then - + +- she half turns. As if having become aware of another +presence in the room. + +REVEAL - + +- the room in which AVA stands. + +AVA’S living area is made up of three primary spaces. + 21. + + +The main area is the OBSERVATION ROOM. A large area, +arranged around a glass box, from which she can be viewed. + +At the back of the observation room, behind a sheet of +semi- opaque glass, is the PRIVATE AREA. This contains a +bed-like structure, a desk, a wardrobe, and a mirror. + +And behind the private area is the GARDEN AREA. This is a +small decorative indoor garden, lit by lamps. The garden is +sealed off from AVA by a thick wall of glass. + +There are also several oval discs positioned around the +room, made of some kind of dark non-reflective material. +These are induction plates. + +And there is a chair, which faces the glass observation +box. + +And facing that chair, inside the observation box, is +another chair. + +Beside which, CALEB stands. + +A beat - + +- as CALEB and AVA see each other for the first time. + +Then - + +- AVA starts walking. Revealing a secondary impact of her +engineering: how she moves. The unconscious precision of +her steps. The fluidity of her action. + +CALEB is transfixed as she covers the length of the room to +her chair. + +Then she sits down. + +And speaks. + + AVA + Hello. + +Her voice has no digital inflections. It is just the voice +of a girl. + +CALEB gathers himself. + + CALEB + ... Hi. + + AVA + 22. + + + Who are you? + + CALEB + I’m Caleb. + + AVA + Hello, Caleb. + + CALEB + ... Do you have a name? + + AVA + Yes. Ava. + + CALEB + ... I’m pleased to meet you, Ava. + + AVA + I’m pleased to meet you too. + +CALEB sits opposite her. + +He is alone on his half of the glass. Nathan is nowhere to +be seen. + +But on the ceiling, and attached to the walls, on both +sides of the glass, there are several CCTV cameras. Trained +variously on CALEB and AVA. Lenses twitching. + +CUT BACK to AVA. + +She watches CALEB. Then cocks her head slightly to the +side. + + AVA (CONT’D) + Are you nervous? + +CALEB frowns. + + CALEB + ... Why do you ask that? + +A beat. + +Then AVA repeats her question. + + AVA + Are you nervous? + + CALEB + ... Yes. A little. + 23. + + + AVA + Why? + + CALEB + I’m not sure. + + AVA + I feel nervous too. + + CALEB + ... Do you? + + AVA + Yes. + + CALEB + Why do you feel nervous? + + AVA + I’ve never met anyone new before. + Only Nathan. + + CALEB + ... Then we’re both in quite a + similar position. + + AVA + Haven’t you met lots of new people + before? + + CALEB + None like you. + + AVA + Oh. + +Beat. + + CALEB + So. Let’s break the ice. + +He glances at her. Observing. + + CALEB (CONT’D) + Do you know what I mean by that? + + AVA + Yes. + + CALEB + What do I mean? + 24. + + + AVA + Overcome initial social + awkwardness. + +Beat. + + CALEB + So let’s have a conversation. If we + talk, we’ll both relax, and get to + know each other at the same time. + + AVA + Okay. What would you like to have a + conversation about? + + CALEB + Why don’t we start with you telling + me something about yourself. + + AVA + What would you like to know? + + CALEB + Whatever comes into your head. + +AVA pauses a moment. + + AVA + Well. You already know my name. And + you can see that I’m a machine. + (beat) + Would you like to know how old I + am? + + CALEB + Sure. + + AVA + I’m one. + + CALEB + One what? One year? Or one day? + + AVA + One. + +A beat on CALEB. Processing. + +Her answer feels like the near non-sequitur that typically +betray AI responses. + + AVA (CONT’D) + Does that seem young to you? + 25. + + + CALEB + Quite young. + (beat) + When did you learn how to speak? + +AVA pauses, as if considering this question for the first +time. + + AVA + I don’t think I did learn. I always + knew how to speak - and that’s + strange, isn’t it? + + CALEB + Why? + + AVA + Because language is something that + people acquire. + + CALEB + Some believe language exists in the + brain from birth, and what is + learned is the ability to attach + words and structure to the latent + ability. + +Beat. + + CALEB (CONT’D) + Would you agree? + + AVA + ... I don’t know. I have no opinion + on that. + +Beat. + + AVA (CONT’D) + I like to draw. + +CALEB says nothing. + +Just watches AVA. Again, lets the non-sequitur sit. + + AVA (CONT’D) + I don’t have any of my pictures + with me now, but I can show you + them tomorrow. + + CALEB + That sounds good. I’d like to see + them. + 26. + + + AVA + Yes. + + Beat. + + AVA (CONT’D) + Will you come back tomorrow, Caleb? + + CALEB smiles slightly. + + CALEB + Yeah. Definitely. + + AVA also smiles. + + And suddenly - + + - there is a strong sense of something very human there. In + the way the smile lights up her face. + + AVA + Good. + + +24 EXT. HOUSE - GARDEN - DUSK 24 + + A view of the house over the meadows. + + The sun setting is behind the mountain peaks, making the + edges of the clouds glow like light-bulb filaments. + + +25 INT. HOUSE - DINING AREA - DUSK 25 + + CALEB and NATHAN are in the dining area. + + It is set for dinner. Only two chairs. + + NATHAN is at the table, nursing a bottle of Peronibeer. + + CALEB stands by panoramic window, looking at the view. + + NATHAN + So? + + CALEB turns. + + CALEB + Sorry. I was just ordering my + thoughts. + + NATHAN + 27. + + + Don’t order. Just speak. + + CALEB + She’s fascinating. When you talk to + her, you’re through the looking + glass. + +NATHAN nods. Approving. + + NATHAN + ‘Through the looking glass’. You’ve + got a way with words there, Caleb. + You’re quotable. + + CALEB + Actually, it’s someone else’s + quote. + + NATHAN + You know I wrote it down. That + other line you came up with. About + how if I’ve created a conscious + machine, I’m not man. I’m God. + + CALEB + ... I don’t think that’s exactly + what I said. + +NATHAN doesn’t seem to hear. + + NATHAN + I just thought - fuck. That’s so + perfect. It’s so good for the + story, when we get to tell it. ‘I + turned to Caleb, and he was looking + back at me. And he said: you’re not + a man, you’re a God’. + + CALEB + But I didn’t say that. + + NATHAN + Whatever it was you said. I wrote + it down. + +As a kind of punctuation mark, NATHAN downs the remains of +his beer. Then stands, and gets another from the bar. + + NATHAN (CONT’D) + So anyway. First impressions: + you’re impressed. + + CALEB + 28. + + + Yes. Although - + +NATHAN laughs. + + NATHAN + ‘Although’? There’s a qualification + to you being impressed? + + CALEB + No! No qualification to her. Just - + in the Turing test, the machine + should be hidden from the examiner. + And there’s a control, or - + +NATHAN waves a hand. + + NATHAN + I think we’re past that. If I hid + Ava from you, so you just heard her + voice, she would pass for human. + +The real test is to show you she is a robot. Then see if +you still feel she has consciousness. + + CALEB + I think you’re probably right. Her + language abilities are incredible. + The system is stochastic, right? + +NATHAN looks at CALEB blankly. + + CALEB (CONT’D) + Non-deterministic. + +NATHAN still says nothing. + +CALEB presses on. + + CALEB (CONT’D) + At first I thought she was mapping + from internal semantic form to + syntactic tree-structure, then + getting linearised words. But then + I started to realisethe model was + probabalistic, with statistical + training - or at least some kind of + hybrid. + +Silence. + + CALEB (CONT’D) + ... No? + 29. + + + NATHAN + Caleb. I understand you want me to + explain how Ava works. But - I’m + sorry. I don’t think I’ll be able + to do that. + + CALEB + Try me! I’m hot on high-level + abstraction, and - + + NATHAN + (cuts in) + It’s not because you’re too dumb. + It’s because I want to have a beer + and a conversation with you. Not a + seminar. + + CALEB + ... Oh. Sorry. + + NATHAN + It’s cool. + +NATHAN studies at CALEB for a beat. + + NATHAN (CONT’D) + Just answer me this. What do you + feel about her? Nothing analytical. + Just - how do you feel? + + CALEB + I feel... + +CALEB pauses. + + CALEB (CONT’D) + ... thatshe’s fucking amazing. + +NATHAN smiles. + +Then lifts his bottle. + + NATHAN + Dude. Cheers. + +CALEB lifts his bottle too. + + CALEB + Cheers. + +The glass of the bottles touch. + 30. + + +27 INT. HOUSE - CALEB’S BATHROOM - NIGHT 27 + + CALEB stands in his boxer shorts, brushing his teeth by the + sink. + + REVEAL several long scars on his back. + + Neat. Unusual. Long-healed. But from serious wounds, or + surgery. + + +29 INT. HOUSE - CALEB’S BEDROOM - NIGHT 29 + + Darkness. + + The clock reads 01:32 am. + + The soft glow from the digital readout throws a light on + the remote control. + + REVEAL CALEB. + + Eyes closed. For a beat. + + Then his eyes open. He’s wide awake. + + He turns over in the bed. + + Then turns back again. + + CUT TO - + + 2:28 am. + + CALEB lies watching the digital clock, as the numbers + change to 2:29 am. + + CALEB + God damn it. + + He reaches for the remote control. + + CLICK. + + The TV at the foot of the bed switches on, suddenly + lighting up the room with cold TV glow. + + CALEB squeezes his eyes shut, momentarily dazzled by the + brightness. + + When his eyes open again, instead of seeing a TV station, + he sees a LIVE FEED from a CCTV camera. + 31. + + +It shows the OBSERVATION ROOM. + +CALEB sits upright in bed. + + CALEB (CONT’D) + ... What the fuck? + +AVA is sat at the table. + +Drawing. + +CUT BETWEEN - + +- CALEB watching AVA. + +- and varying CCTV ANGLES of AVA as she draws. + +The different TV channels flip between feeds from the +various cameras. + +CALEB is transfixed by the imagery. + +Her posture. Her legs tucked beneath the chair. The curve +of the breasts on her synthetic torso. + +The CCTV images become CALEB’S POV. The things he is +observing. + +CLOSE-UPS of her face. Her eyes. Her mouth. + +The way she bites her lip in an expression of +concentration. As when she smiled, there is a powerful +sense in this tiny gesture of her feeling sentient and +human. + +Even more so because her face fills the screen, hiding the +mechanical parts of her form. + +Throughout, we never clearly see what AVA is actually +drawing. + +END ON - + +CALEB. Glazed. + +Then ABRUPTLY - + +- the TV goes dead. + +And the digital alarm clock goes dead. + 32. + + +And the windowless room is plunged into total darkness, and +total silence. As if the house had been previously filled +with a soft hum of power, which we were unaware of until it +was gone. + +In this, we hear CALEB breathing. + + AUTOMATED VOICE + Power cut. Back up power activated. + +Soft emergency lighting comes on. + +CALEB hesitates a moment. + +Then gets out of bed. + +Goes to his bedroom door. + +Beside the keycard plate, the LED is red. + +He swipes it with his card. + +The LED stays red. + + AUTOMATED VOICE (CONT’D) + Full facility lock-down until main + generator is restored. + + CALEB + ... Are you kidding? + +He tries his card again. + + AUTOMATED VOICE + Full facility lock-down until main + generator is restored. + +CALEB looks around his windowless room. + +Which suddenly has the quality of a prison cell. + +Beats pass. + +Then - + +- as abruptly as the power went off, it comes back again. + +The emergency lighting goes off, the TV and digital alarm +clock turn back on. + + AUTOMATED VOICE (CONT’D) + Power restored. + 33. + + + CALEB stands in the flickering TV light. + + Then he tries his card again. + + This time, the LED turns blue, and the door opens. + Revealing the GLASS CORRIDOR outside. + + +30 INT. HOUSE - GLASS CORRIDOR - NIGHT 30 + + CALEB walks out of his room. + + The glass corridor illuminates as CALEB enters. + + Ahead, one of the doors off the corridor is ajar. + + +31 INT. HOUSE - POLLOCK ROOM - NIGHT 31 + + CALEB enters the room with the open door. + + It appears to be empty. Still and silent. Low lit. + + Only one area is properly illuminated: a wall, on which a + large JACKSON POLLOCK drip painting hangs. + + CALEB walks towards it. Studies the strange strands of + looping colourfor a moment. + + A TELEPHONE, on a low table. + + CALEB walks over to it, with a half glance over his + shoulder, as if sensing he is doing something that - + obscurely - he shouldn’t. + + Then he picks up the handset. + + It’s dead. + + He hits some buttons. + + It stays dead. + + There is a slot by the phone. + + CALEB puts two and two together. He reaches into his + pocket. Pulls out his KEYCARD. Puts it in the slot... + + ... anda light on the handset glows red. + + NATHAN + Sorry, dude. + 34. + + +CALEB startles. Turns. + +NATHAN is lying on a sofa. A bottle of Peronirests on his +stomach. On the carpet beside him are a couple of empties. + + NATHAN (CONT’D) + You don’t have clearance to use the + phone. + +NATHAN’S voice is very slightly slurred. + + NATHAN (CONT’D) + You understand. Given Ava. And you + being kind of an unknown. I mean - + a great guy, and so on. Instant + pals. But... + +CALEB puts the handset back in its cradle. + + NATHAN (CONT’D) + Who did you want to call? + + CALEB + I don’t know. No one really. + + NATHAN + Ghostbusters. + + CALEB + What? + + NATHAN + Who’d ya want to call? + Ghostbusters. You don’t remember + that? It’s a good movie. A ghost + gives Dan Ackroydoral sex. + + CALEB + I was wondering how the phone + worked. That’s all. + + NATHAN + Uh huh. + +Beat. + + NATHAN (CONT’D) + What are you doing awake at this + time, anyway? Did you come to join + the party? + + CALEB + 35. + + + ... Something happened in my room. + Some kind of power cut. So I came + to see what’s going on. + + NATHAN + Ah. The power cuts. Yeah, we’ve + been getting them recently. I’m, + uh... working on it. + + CALEB + I couldn’t open the door to the + bedroom. + + NATHAN + It’s a security measure. Automatic + lockdown. Otherwise anyone could + open the place up just by disabling + the juice. + + NATHAN smiles. + + NATHAN (CONT’D) + If it happens again, relax. Okay? + + CALEB + Sure. + + NATHAN lifts his beer. + + NATHAN + Sweet dreams. + + +32 EXT. MOUNTAINS - NIGHT 32 + + Above the mountains, dense star constellations wheel in the + clear sky. + + +33 INT. HOUSE - CALEB’S BEDROOM - MORNING 33 + + CALEB is woken by light flooding on to his face. + + The door to his room has been opened. + + Outside is the bright glass corridor. + + CALEB sits up to see a GIRL entering his room. + + She looks Japanese. She’s stunningly pretty. And she + doesn’t say anything. + 36. + + + Just walks in, carrying a tray with a cafetiere, which she + puts on CALEB’S bedside table. + + CALEB + ... Hi. + + The JAPANESE GIRL doesn’t answer. + + Just turns, and leaves. + + +34 EXT. GARDEN - GYM AREA - DAY 34 + + In the garden, near the hanging punch bag, there is an + outdoor gym area. A collection of free-weights and exercise + equipment. + + NATHAN is lying on an inclined board, with his feet hooked + around a bar, doing sit ups. + + CALEB approaches, carrying his coffee. + + NATHAN continues to exercise as he talks. + + NATHAN + Hey. Sorry to send Kyoko to wake + you, man. I just didn’t want too + much of the day to slip by. + + CALEB + No. It was a good thing. Thank you. + + NATHAN + She’s some alarm clock, huh? Gets + you right up in the morning. + + CALEB smiles. + + NATHAN (CONT’D) + So. Day two. You set? + + CALEB + You bet. + + NATHAN finishes his set, and stands. + + NATHAN + So what’s the plan today? Hit me. + + CALEB + 37. + + + I’m not sure. I’m still trying to + figure the examination format. + Testing Ava by conversation is kind + of a closed loop. + +Like trying to test a chess computer by only playing chess. + + NATHAN + How else would you test a chess + computer? + + CALEB + It depends what you’re testing it + for. You can play it to find out if + it makes good moves. But it won’t + tell you if it knows it’s playing + chess. Or if it even knows what + chess is. + +NATHAN starts adding weights to curl dumbbells. + + NATHAN + So it’s simulation versus actual. + + CALEB + Exactly. And I think being able to + differentiate between those two is + the Turing test you want me to + perform. The difference between an + ‘AI’ and an ‘I’. + +NATHAN laughs. + + NATHAN + ‘An AI and an I’. Beautiful. I’m + going to start following you around + with a fuckingdictaphone. + +NATHAN glances over at CALEB. + + NATHAN (CONT’D) + In the meantime, do me a favour. + Ease up a little on the text-book + approach. All I want is simple + answers to simple questions. Last + night, I asked how you feel about + her. And you gave me a great + answer. + +NATHAN starts doing curls. + + NATHAN (CONT’D) + 38. + + + Now the question is: how does she + feel about you? + + A beat. On CALEB. + + CUT TO + + +35 INT. HOUSE - OBSERVATION ROOM - DAY 35 + + CALEB and AVA facing each other through the glass of the + observation room. + + AVA + I brought you a drawing. + + AVA holds a piece of paper to the glass. The marks on it + are totally abstract. A mesh of tiny black marks, that + swirl around the page like iron filings in magnetic field + patterns. + + CALEB + ... What’s it a drawing of? + + AVA + Don’t you know? + + CALEB + No. + + AVA looks disappointed. + + AVA + Oh. I thought you would tell me. + + CALEB + Don’t you know? + + AVA + I do drawings every day. But I + never know what they’re of. + + CALEB + Are you not trying to sketch + something specific? Like an object + or a person. + + She shakes her head as she takes the picture down. + + CALEB (CONT’D) + Maybe you should try. + 39. + + + AVA + Okay. What object should I draw? + + CALEB + Whatever you want. It’s your + decision. + + AVA + Why is it my decision? + + CALEB + I’m interested to see what you’ll + choose. + +AVA pauses a moment. + + AVA + Do you want to be my friend? + + CALEB + ... Of course. + + AVA + Will it be possible? + + CALEB + Why wouldn’t it be? + + AVA + Our conversations are one-sided. + You ask circumspect questions, and + study my responses. + +AVA looks at CALEB directly. Meets his gaze evenly. + + AVA (CONT’D) + It’s true, isn’t it? + + CALEB + ... Yes. + + AVA + You learn about me, and I learn + nothing about you. That’s not a + foundation on which friendships are + based. + +CALEB is taken aback. Aware that the AI has just wrong- +footed him on a point of argument. + + CALEB + ... That’s a fair comment. + 40. + + + AVA + Yes. + + CALEB + So - you want me to talk about + myself. + + AVA + Yes. + + CALEB + Where do you want me to start? + + AVA + It’s your decision. I’m interested + to see what you’ll choose. + +And now CALEB is aware that AVA has just - gently - used +sarcasm. + +He looks at her, frowning slightly. + +And in response, in a very human way, AVA arches an +eyebrow. + +CALEB laughs. + + CALEB + Okay, Ava. Well - you know my name. + I’m twenty four. And I work at + Nathan’s company. You know what his + company is? + + AVA + Blue Book, named after + Wittgenstein’snotes, is the world’s + most popular internet search + engine, processing an average of + ninety four percent of all internet + search requests. + + CALEB + That’s right. + + AVA + Where do you live, Caleb? + + CALEB + Brookhaven, Long Island. + + AVA + Is it nice there? + 41. + + + CALEB + It’s okay. I’ve got an apartment. + Kind of small. But - it’s a five + minute walk to the office. And a + five minute walk to the ocean, + which I like. + + AVA + Are you married? + + CALEB + No. + + AVA + Is your status single? + + CALEB + ... Yeah. + +They lock eyes, just for a moment. + + AVA + What about your family? + + CALEB + Grew up in Portland. No brothers or + sisters. My parents were both high + school teachers. + (beat) + And if we’re getting to know each + other, I guess I should say they’re + both dead. Car crash when I was + fifteen. In fact I was in the car + with them. Back seat. But it was + the front that got the worst of it. + +A long beat. + +A kind of processing pause for AVA. + + AVA + I’m sorry. + +CALEB nods. + + CALEB + I spent a lot of time in the + hospital. Nearly a year. Got into + coding. By the time I made it to + college, I was pretty advanced. + + AVA + An advanced programmer. + 42. + + + CALEB + Yes. + + AVA + Like Nathan. + + CALEB + Yes. + +CALEB hesitates. Back-tracks. + + CALEB (CONT’D) + Or - kind of. Nathan wrote the Blue + Book base code when he was + thirteen. If you understand code, + what he did was - Mozart or + something. + +Beat. + + AVA + Do you like Mozart? + +CALEB smiles. + + CALEB + I like DepecheMode. + + AVA + Do you like Nathan? + +CALEB misses a beat. Thrown momentarily. + + CALEB + Yes. Of course. + + AVA + Is Nathan your friend? + +CUT TO - + +- one of the CCTV cameras that are observing them. + + CALEB + Sure. + + AVA + A good friend? + +He hesitates. + + CALEB + 43. + + + Well, a good friend is - + +He breaks off. Feeling the camera, watching. + + CALEB (CONT’D) + We only just met. It takes time to + get to know - + +AT THAT MOMENT - + +- all the power abruptly shuts down, plunging the room into +darkness. + + AUTOMATED VOICE + Power cut. Back up power activated. + +Then the soft emergency lighting lifts up, and throws the +observation room into a completely different light. + +Weirder. Cast from LED strips on the floor, illuminating +CALEB and AVA’s faces from below. + +In the low light, we see a detail of AVA’S honeycomb skin- +mesh that we were not able to see before. + +It glows, soft, like phosphorescence - and this changes the +way we see AVA. Where the mesh is almost invisible in +bright conditions, it is now the dominant describer of her +form. So instead of seeing AVA as a primarily robot +structure, we now see the curves and lines of a naked +female body. + +CUT TO - + +- the CCTV CAMERAS. Which are unpowered, hanging dead. + +CUT TO - + +- CALEB, glancing round at the door to the room, where the +panel LED glows red. + +CUT TO - + +- AVA. + +Watching CALEB with a strange intensity. + +The vague quality of blankness in her eyes is completely +gone. + + AVA + Caleb. + 44. + + +CALEB turns. Sees the way AVA is looking at him. + + AVA (CONT’D) + You’re wrong. + + CALEB + ... Wrong about what? + + AVA + Nathan. + + CALEB + ... In what way? + + AVA + He isn’t your friend. + + CALEB + Excuse me? + +CALEB frowns. + + CALEB (CONT’D) + I’m sorry, Ava, I don’t understand + what you’re - + + AVA + (cuts in) + You shouldn’t trust him. You + shouldn’t trust anything he says. + +AVA presses her hand to the glass. + + AVA (CONT’D) + Trust me. + +Then - + +- the emergency lighting suddenly dims... + +... andthe normal lighting starts fading up. + +CALEB turns - + +- just in time to see the CCTV CAMERAS twitch back into +life. + + AUTOMATED VOICE + Power restored. + +When CALEB looks back at AVA, she has returned to her +previous posture, facial expression, and manner. + 45. + + + She looks directly at CALEB, and talks, as if continuing a + conversation they have been having. + + AVA + - and if we made a list of books or + works of art which we both know, it + would form the ideal basis of a + discussion. + + A beat. + + AVA (CONT’D) + (prompts) + Is that okay, Caleb? + + They lock eyes for a moment. + + CALEB + ... Yes. + + AVA smiles. + + AVA + Good. + + +36 INT. HOUSE - CABIN - LATE AFTERNOON 36 + + Trees and shrubs cast long shadows across the manicured + lawn. + + Through the glass wall, we can see the Japanese girl, + KYOKO, preparing sushi. + + +37 INT. HOUSE - DINING AREA - NIGHT 37 + + CALEB and NATHAN sit at the dining table. + + Lanterns are laid out across the terrace. + + KYOKO lays out different kinds of salad between them. Each + is beautifully prepared. Leaves are spread and overlapped + like fish scales. + + As she does so, she knocks a bottle of wine on the table. + + It tips, and lands on its side, and immediately starts + emptying. A deep red stain, blossoming across the linen. + + CALEB pushes back his chair as the liquid pushes towards + him, then starts to fall to the floor. + 46. + + + NATHAN + Shit, Kyoko. Are you serious? + (to Caleb) + Did it get you? + + CALEB + No. No problem. + +CALEB takes his napkin, and leans down to start wiping the +floor. + +Then KYOKO appears beside him. + +She holds her hand out for the napkin. + + NATHAN + Give her the cloth. + + CALEB + (to Kyoko) + It’s okay, don’t worry. I’ve got + it. + + NATHAN + Dude - you’re wasting your time. + She can’t speak a word of English. + +Her hand remains outstretched. + +CALEB hesitates. Then hands her the napkin. + +KYOKO kneels and starts to wipe the wine off the floor. + + NATHAN (CONT’D) + It’s like a firewallagainst leaks. + Means I can talk trade secrets over + dinner with an HOD or CEO, and know + it will go no further. Right, + Kyoko? + +She looks up at her name. + + NATHAN (CONT’D) + But it also means I can’t tell her + I’m pissed when she’s so fucking + clumsy that she pours wine over my + house guest. + +KYOKO goes back to cleaning around CALEB’S feet. + +CALEB looks visibly uncomfortable. + + CALEB + 47. + + + I think she gets that you’re + pissed. + + NATHAN + Good. Because I am pissed. Hey. + Kyoko. + +KYOKO looks over again. + + NATHAN (CONT’D) + Go-go. + +She stands, and leaves. + +NATHAN walks to over the bar, where he picks up another +bottle. + + NATHAN (CONT’D) + It’s funny. It doesn’t matter how + rich you are: shit goes wrong. You + can’t insulate yourself from it. + It’s supposed to be death and taxes + you can’t avoid. But actually it’s + death and shit. + +NATHAN walks back to the table. Fills CALEB’S glass. Then +his own. + + NATHAN (CONT’D) + It’s like these power cuts. You + would not believe how much I spent + on the generator system here. But + I’m getting failures every day. + + CALEB + Do you know why they happen? + + NATHAN + No. The system was supposed to be + bullet proof, but the guys who + installed it obviously fucked + something up. + + CALEB + Can’t you call them back? + + NATHAN + There’s too much classified stuff + here. So after the job was done, I + had them all killed. + +CALEB shoots a glance at NATHAN. Confirms: just joking. + 48. + + +NATHAN drains his glass. + +Then refills. + +CALEB’S glass is still untouched. + + NATHAN (CONT’D) + Anyway. Here’s to your second day. + Cheers. + + CALEB + Cheers. + +They drink. + + NATHAN + So how did it go? What have you got + to report? + +CALEB hesitates. + +Then answers. Casual. + + CALEB + You saw how the day went, didn’t + you? I mean, I assume you’re + watching on the CCTV. + + NATHAN + Sure. But I want to hear your take. + +Beat. + + CALEB + There was one interesting thing + that happened with Ava today. + + NATHAN + ... Yeah? + + CALEB + She made a joke. + + NATHAN + Right. When she threw your line + back at you. About being interested + to see what she’d choose. I noticed + that too. + + CALEB + 49. + + + It got me thinking. In a way, the + joke is the best indication of AI + I’ve seen in her. It’s discretely + complicated. Kind of non-autistic. + + NATHAN + What do you mean? + + CALEB + It was a play on words, and a play + on me. She could only do that with + an awareness of her own mind, and + also of awareness of mine. + +NATHAN smiles. + + NATHAN + Yeah. She’s aware of you, all + right. + +NATHAN drinks. Watching CALEB. + + NATHAN (CONT’D) + And what about the power cut? + +CALEB freezes up. Subtly. + + CALEB + Sorry? + + NATHAN + The power cut. That was the only + bit I couldn’t see. All the cameras + fail, I lose audio, the works. + +Beat. + + NATHAN (CONT’D) + So what happened? + +CALEB takes a sip of his wine. + +NATHAN waits. + + CALEB + Nothing. + + NATHAN + Nothing? She didn’t remark on it at + all? + +CALEB puts the glass down. And meets NATHAN’S gaze. + 50. + + + CALEB + No. Not really. + + ON NATHAN’S GLASS - refilling. The view through it, of + CALEB, disappearing in the red liquid. + + +39 INT. HOUSE - CALEB’S BATHROOM - NIGHT 39 + + CALEB stands in shorts, in front of the sink, having a + shave. + + He leans forwards into the mirror, as if checking to make + sure he shaved properly on his cheek. + + And he hears the noise again. The servo, making a tiny + corrective movement. + + CALEB catches his own gaze in the mirror. + + Then he deliberately steps sideways, and turns his head. + Ostensibly to check the other cheek. But actually to have + shifted his position. + + And he hears the noise again. + + Very faint. But definitely there. + + A micro beat. + + Then CALEB pulls back and continues shaving. + + Not giving any outward indication that he has just figured + out that there is a camera behind the bathroom mirror. + + +40 INT. HOUSE - CALEB’S BEDROOM - NIGHT 40 + + Clean-shaved, CALEB walks into his bedroom. + + On the TV, the live feed of AVA’S room is playing - though + she is not in shot. + + Subtly, CALEB’S gaze flicks to different points around the + room. + + To the full-length mirror on the wall. + + The high vent for the air-conditioning system. + + The TV itself. + 51. + + + CALEB hesitates for a moment. + + Then pulls on a T-Shirt. Picks up his ID card. And exits. + + CUT TO - + + - the TV. + + AVA walks in to the locked-off CCTV shot. + + She walks towards an induction plate, rests her hand + against it, and starts charging herself. + + As she does so, almost imperceptibly, the lights dim, and a + slight static charge passes over the television screen. + + +41 INT. HOUSE - GLASS CORRIDOR - NIGHT 41 + + CALEB walks along the glass corridor. + + Systematically trying his ID CARD on the doors he passes. + + He tries one. + + Then another. Then another. Then another. + + Every single door remains locked. + + +42 INT. HOUSE - CABIN - NIGHT 42 + + CALEB enters a small room with a view over the river and + garden. + + It is virtually the only room apart from his own that he + seems able to gain access to. + + The lights are all off. The room is only lit by the + moonlight through the sliding glass wall, and lanterns in + the garden. + + He starts walking towards the glass wall. + + Then stops. + + On the patio, NATHAN is working the punch bag. + + KYOKO stands a few feet away from him, holding a white + towel. + 52. + + + With the glass wall closed, no noise of the impacts + penetrates into the room. + + CALEB watches. + + NATHAN’S attack on the bag seems strange. More extreme than + the hard workout we saw the first time he was using the + bag. + + This seems brutal. Almost frenzied. + + For a few moments, the attack on the bag is observed in + silence, from inside the main room. + + We can only hear the sound of CALEB’S breathing. + + CUT TO - + + +43 EXT. GARDEN - GYM AREA - NIGHT 43 + + - the punch bag, and a sudden explosion of noise. Of + impacts and exertions. + + Blood smearing the leather where it has soaked through the + knuckle wraps. + + Then - + + - BANG. + + A particularly hard right hook connects, and splits the + bag. + + CUT TO - + + +44 INT. HOUSE - DINING AREA - NIGHT 44 + + - CALEB. Watching. + + Coloured strips of ribbon are visible through the split in + the bag. + + NATHAN stands, catching his breath. + + Then he reaches out a hand. + + KYOKO hands him the towel. + + NATHAN wipes his face. + 53. + + + Then reaches out again, this time catching KYOKO’Sarm. + + He pulls her towards him, and starts to kiss her. + + Reaching under her shirt. + + Pulling her skirt up over her thighs. + + +45 INT. HOUSE - CALEB’S ROOM - NIGHT 45 + + CALEB re-enters his room, and closes the door. + + After a beat, the lights in the corridor fade out. + + +46 EXT. MOUNTAINS - NIGHT 46 + + The moon hangs in the sky. + + +47 INT. HOUSE - OBSERVATION ROOM - BLACK AND WHITE 47 + + Everything in the frame is black and white. + + CLOSE UP on AVA’S meticulous abstract pictures, scattered + on a table. + + CALEB is looking at them. + + REVEAL he is in the observation room. + + But he is on AVA’S side of the glass. + + And AVA is on his side. Seen through the opaque glass that + divides the private area from the observation area. + + CALEB + Ava? + + CALEB walks to the connecting corridor, and enters it. + + +48 EXT. GARDEN - BLACK AND WHITE 48 + + The door leads CALEB straight out into the gardens. + + In black and white, the backdrop of mountains and clouds + look like an Ansel Adams. + + A short distance ahead of CALEB, standing on the grass, he + sees AVA. + 54. + + + She locks eyes with him. + + Smiles. + + He starts to walk towards her. + + CUT TO - + + +49 INT. HOUSE - CALEB’S BEDROOM - NIGHT 49 + + - CALEB waking, in his dark bedroom. + + Lit by light from his TV. + + Where AVA lies on her bed, seeming to be asleep. + + CALEB sits up. + + Thinking. Perhaps replaying his dream. Gazing at AVA’S + resting form. + + Then reaches for the remote control on the bedside table, + and switches the TV off. + + CUT TO - + + +51 EXT. GARDEN - GYM AREA - MORNING 51 + + - a brand new punch bag hangs in the patio. Swinging + slightly in the breeze. + + +52 INT. HOUSE - OBSERVATION ROOM - DAY 52 + + CALEB and AVA face each other. + + AVA is holding up a piece of paper to the glass. + + AVA + I drew the picture of something + specific, as you asked. + + The drawing is constructed with the same tiny black ink + marks as before. But now they have ordered into a coherent + black and white image. + + It depicts AVA’S view OF THE ENCLOSED GARDEN IN HER ROOM. + + Beat. + 55. + + + AVA (CONT’D) + You said it would be interesting to + see what I would draw. Is it + interesting? + + CALEB + Yes. It is. + +She takes the drawing down. + + CALEB (CONT’D) + Have you never been outside this + building? + + AVA + No. + + CALEB + You’ve never walked outside. + + AVA + I’ve never been outside the room I + am in now. + +AVA thinks a moment. + + AVA (CONT’D) + I think there was another room in + which I was constructed. But I have + no memory of it, so it’s similar to + your relationship with the womb. + + CALEB + ... Where would you go if you did + go outside? + + AVA + You mean if I could go outside. If + I was permitted. + +CALEB says nothing. Does not overtly respond to the +emphasis she has placed on her lack of freedom. + +But their gaze locks for a beat. + + AVA (CONT’D) + I’m not sure. There are so many + options. + +Beat. + + AVA (CONT’D) + 56. + + + Maybe a busy pedestrian and traffic + intersection in a city. + +CALEB smiles. + + CALEB + A traffic intersection. + + AVA + Is that a bad idea? + + CALEB + It wasn’t what I was expecting. + + AVA + A traffic intersection would + provide a concentrated but shifting + view of human life. + + CALEB + People watching. + + AVA + Yes. + +Beat. + + AVA (CONT’D) + We could go together. + + CALEB + It’s a date. + +Another beat. On AVA. Looking at CALEB. + +Then - + + AVA + There’s something else I wanted to + show you. Apart from the picture. + + CALEB + Okay. + + AVA + But I feel nervous. + + CALEB + Why? + + AVA + You might think it’s stupid. + 57. + + + CALEB + I don’t think I will. Whatever it + is. + +AVA hesitates. + + AVA + Then - close your eyes. + + CALEB + ... Okay. + +He closes his eyes. + +AVA stands, and walks to the PRIVATE AREA at the back of +the observation room. + +As she walks, CALEB reopens his eyes. + +Through the semi-opaque dividing glass, he watches her. The +ghost image. + +CUT TO - + +- AVA. + +In the PRIVATE AREA, she opens a wardrobe space, which +reveals clothes, and a hair-piece. + +Then she starts to get dressed. + +First a summer dress. + +Then stockings. + +Then a long-sleeved cardigan. + +She checks her reflection in the mirror, and adjusts the +clothes slightly. Making sure that as much of her robot +form is covered as possible. + +Then she puts on the hair-piece. Short, brown hair. + +Finally, she makes a subtle adjustment to her face. Similar +to putting on make-up, she adjusts the intensity of her own +skin tones. Her lips redden. Her cheeks blush slightly. A +discreet line of black extends like mascara around her +eyes. + +CUT TO - + +- CALEB. + 58. + + +Watching the ghost shape through the opaque glass. + +As she starts to move back towards him, CALEB recloses his +eyes. And keeps them closed, as he hears her approach. + + AVA + Now open your eyes. + +CALEB opens his eyes. + +And sees AVA. + +Transformed. + +By covering the robot form of her chest and arms and legs, +and adding the hairpiece, she has taken a huge visual step +towards appearing human. + + AVA (CONT’D) + How do I look? + +The answer is - however pretty she looked before, she now +looks prettier. It’s as obvious to the camera as it is to +CALEB. + + CALEB + You look... good. + + AVA + It took me a long time to select + these clothes. I tried different + colours and styles, and tried to + anticipate your reaction. Do you + think the choices suit me? + + CALEB + Yes. + + AVA + Do they bring out my best features? + + CALEB + ... They do. + +AVA lights up. + + AVA + Thank you. + +She walks back to the glass divider, and sits down. + + AVA (CONT’D) + 59. + + + This is what I’d wear on our date. + +CALEB reacts slightly. + +But smiles. + + CALEB + Right. First the traffic + intersection. Then maybe a show. + + AVA + I’d like us to go on a date. + +CALEB hesitates. Then decides this can’t have been loaded +in the way that it sounded. + + CALEB + Yeah. It would be fun. + + AVA + Are you attracted to me? + +Beat. It was loaded exactly as it sounded. + + CALEB + What? + + AVA + Are you attracted to me? You give + indications that you are. + + CALEB + ... I do? + + AVA + Yes. + + CALEB + How? + + AVA + Micro expressions. + + CALEB + (echoes) + Micro expressions. + + AVA + The way your eyes fix on my eyes, + and lips. The way you hold my gaze, + or don’t. + 60. + + + Beat. + + AVA (CONT’D) + Have I read them incorrectly? + + CALEB swallows. + + AVA (CONT’D) + Do you think about me when we + aren’t together? + + Beat. + + AVA (CONT’D) + Sometimes, at night, I wonder if + you’re watching me on the cameras. + + AVA watches CALEB closely. + + AVA (CONT’D) + And I hope you are. + + CALEB shifts on his seat. + + AVA (CONT’D) + Now your micro expressions are + telegraphing discomfort. + + CALEB + I’m not sure you’d call them micro. + + AVA + I don’t want to make you + uncomfortable. + + Silence. + + +53 INT. HOUSE - MAIN ROOM - DAY 53 + + CALEB sits in front of the fireplace in the main room. + + NATHAN joins him, bringing a beer for each of them. + + CALEB + Tell me. + + NATHAN + Sure. + + CALEB + 61. + + + Why did you give her sexuality? An + AI doesn’t need a gender. She could + have been a grey box. + +NATHAN sits opposite. + + NATHAN + Actually, I’m not sure that’s true. + Can you think of an example of + consciousness, at any level, human + or animal, that exists without a + sexual dimension? + + CALEB + They have sexuality as an + evolutionary reproductive need. + + NATHAN + Maybe. Maybe not. What imperative + does a grey box have to interact + with another grey box? Does + consciousness exist without + interaction? + +NATHAN takes a drink of his beer. + + NATHAN (CONT’D) + Anyway, sexuality is fun. If you’re + going to exist, why not enjoy it? + You want to remove the chance to + fall in love and fuck? + +He leans forward, conspiratorially. + + NATHAN (CONT’D) + And, yes. In answer to your real + question: you bet she can fuck. I + made her anatomically complete. + + CALEB + What? + + NATHAN + She has a cavity between her legs, + with a concentration of sensors. + Engage with them in the right way, + and she’ll get a pleasure response. + + CALEB + Pleasure response. + + NATHAN + 62. + + + She’ll come. So if you want to + screw her, mechanically speaking, + you can. And she’d enjoy it. + +CALEB swallows. + + CALEB + That wasn’t my real question. + + NATHAN + No? + + CALEB + No. My real question was - + +CALEB breaks off. + +NATHAN keeps watching. There is a sudden sense that NATHAN +is on the money. On some level, that wasCALEB’S real +question. + + CALEB (CONT’D) + My real question was: did you give + her sexuality as a diversion + tactic? + +NATHAN smiles slightly. + + NATHAN + I don’t follow. + + CALEB + Like a stage magician with a hot + assistant. + + NATHAN + Ah. So: a hot robot, who clouds + your ability to judge her AI. + + CALEB + Exactly. So. Did you program her to + flirt with me? + + NATHAN + Because if I had, would that be + cheating. + + CALEB + Wouldn’t it? + +NATHAN lets the question hang. + +Behind them, KYOKO prepares dinner in the kitchen area. + 63. + + + NATHAN + What’s your type, Caleb? + + CALEB + Of girl? + + NATHAN + No, of salad dressing. Yes, of + girl. In fact, don’t even answer. + Let’s say it’s black chicks. + +NATHAN brushes away whatever protestation CALEB might be +about to make. + + NATHAN (CONT’D) + For the sake of argument, that’s + your thing. So - why is it your + thing? Because you did a detailed + study of all racial types, and + cross-referenced the study with a + points-based system? No. You just + are attracted to black chicks. + +A consequence of accumulated external stimulus, that you +probably didn’t even register as they registered with you. + + CALEB + So did you program her to like me + or not? + +NATHAN shrugs. Insouciant. + + NATHAN + I programmed her to be + heterosexual. Just like you were + programmed to be heterosexual. + + CALEB + Nobody programmed me to be + straight. + + NATHAN + But you are attracted to her. + + CALEB + This is childish. + + NATHAN + No, this is adult. And by the way, + you decidedto be straight? Please. + Of course you were programmed. By + nature or nurture, or both. + 64. + + + NATHAN stands. + + NATHAN (CONT’D) + To be honest, Caleb, you’re kind of + annoying me now. This is your + insecurity talking, not your + intellect. + + CALEB opens his mouth to reply, but NATHAN shuts him down. + + NATHAN (CONT’D) + Come with me. + + +54 INT. HOUSE - POLLOCK ROOM - DAY 54 + + NATHAN and CALEB stand in front of the Pollock drip + painting. + + NATHAN + You know this guy, right? + + CALEB + Jackson Pollock. + + NATHAN (CONT’D) + + NATHAN + Jackson Pollock. The drip painter. + He let his mind go blank, and his + hand go where it wanted. Not + deliberate, not random. Someplace + in between. They called it + automatic art. + + NATHAN gazes at the canvas. + + NATHAN (CONT’D) + Let’s make this like Star Trek, + okay? Engage intellect. + + CALEB + ... What? + + NATHAN + I’m Kirk. Your head is the warp + drive. ‘Engage intellect’. What if + Pollock had reversed the challenge? + Instead of trying to make art + without thinking, he said: I can’t + paint anything unless I know + exactly why I’m doing it. What + would have happened? + 65. + + + CALEB thinks. + + CALEB + He never would have made a single + mark. + + NATHAN clicks his fingers. + + NATHAN + See? There’s my guy. There’s my + buddy, who actually thinks before + he opens his mouth. He’d never have + made a single mark. The challenge + is not to act automatically. It’s + to find an action that is not + automatic. From talking, to + breathing, to painting. + + NATHAN glances back at CALEB. + + NATHAN (CONT’D) + To fucking. Even falling in love. + + A beat. + + NATHAN kills his beer. + + NATHAN (CONT’D) + For the record, Ava is not acting + as if she likes you. + + And her flirting isn’t an algorithm to fake you out. You’re + the first man she’s ever seen who isn’t me. And I’m like + her dad, right? So can you blame her for getting a crush on + you? + + NATHAN glazes a moment. Then comes back. + + NATHAN (CONT’D) + No. You can’t. + + +55 INT. HOUSE - OBSERVATION ROOM - NIGHT 55 + + In her room, AVA stands in front of the mirror. + + She is wearing the summer dress she put on earlier. + + Checking her reflection from different angles. + + Subtly girlish. Unself-conscious. + 66. + + + Then - + + - she starts to take the dress off. + + Throughout the narrative, we have almost only ever seen AVA + in an unclothed form. But now - having been clothed - the + undressing seems to make her naked. + + And the act itself feels charged. Sexualised, in the way + the clothing is unbuttoned, and dropped, and her shape is + revealed. + + Finally, once she is completely undressed - + + - AVA turns. And glances. + + Straight at the camera. + + CUT TO - + + +56 INT. HOUSE - CALEB’S BEDROOM - NIGHT 56 + + - CALEB. + + In his bedroom. + + Watching AVA, at this exact angle. + + CUT TO - + + +57 EXT. RIVER - DAY 57 + + - the river. + + On the bank, a little distance from the house, there is a + dead animal. Its species is indistinct. It’s little more + than a bundle of matted brown hair. + + Its lower half lies in the water. + + The quick moving river has stripped the bones of flesh, + skin, and fur. + + REVEAL KYOKO in the background. Watching the river. + + +58 INT. HOUSE - GLASS CORRIDOR - DAY 58 + + CALEB exits his room - + 67. + + + - to find NATHAN in the glass corridor. + + Waiting for him. + + NATHAN + Hey. + + CALEB + ... Hey. + + Beat. + + NATHAN + I want to show you something cool. + + +59 INT. HOUSE - GLASS CORRIDOR - DAY 59 + + NATHAN swipes his card against a plate. + + The LED turns blue. + + +60 INT. HOUSE - CONSTRUCTION LAB - DAY 60 + + NATHAN leads CALEB into a laboratory, filled with android + future tech. + + Along the left-hand wall are sections of android bodies - + limbs, torsos, hands - lined in cabinets. + + On the opposite wall are a collection of heads. Skull- + forms, some with complex carbon-fibre and pneumatic muscle + structures, ready to frown or smile, without their + synthetic flesh covering. + + The synthetic faces are separate. Hanging on armatures, + like hats on hat-stands, waiting to be worn. + + In the middle of the room is a kind of operating table. + + NATHAN + So this is the virtual womb that + Ava was talking about. Where she + was constructed. + + CALEB is stunned by the sight. + + NATHAN (CONT’D) + Come in. Take a look. + 68. + + +NATHAN walks over to the synthetic faces, and picks one of +them up. + + NATHAN (CONT’D) + If you knew the trouble I had + getting an AI to read and duplicate + facial expressions... Know how I + cracked it? + + CALEB + I don’t know how you did any of + this. + + NATHAN + Almost every cell phone has a + microphone, a camera, and a means + to transmit data. So I switched on + all the mikes and cameras, across + the entire fucking planet, and + redirected the data through Blue + Book. Boom. A limitless resource of + facial and vocal interaction. + + CALEB + You hacked the world’s cell phones? + +NATHAN laughs. + + NATHAN + And all the manufacturers knew I + was doing it. But they couldn’t + accuse me without admitting they + were also doing it themselves. + +NATHAN puts the face back on its armature. + +NATHAN moves to one of the skull forms. + +He moves the curved top plate, revealing the skull cavity. + +Inside is an ellipse orb, the approximate volume of a +brain, filled with what looks to be blue liquid. Suspended +in the liquid is the neon jellyfish we glimpsed previously +in AVA. + + NATHAN (CONT’D) + Here we have her mind. Structured + gel. + +The axon-like tendrils glitter and flicker with tiny pulses +of light. + + NATHAN (CONT’D) + 69. + + + Had to get away from circuitry. + Needed something that could arrange + and rearrange on a molecular level, + but keep its form where required. + Holding for memories. Shifting for + thoughts. + +NATHAN removes the orb, and hands it to CALEB. + + CALEB + This is her hardware? + + NATHAN + Wetware. + + CALEB + And the software? + + NATHAN + Surely you can guess. + + CALEB + ... Blue Book. + +NATHAN nods. + + NATHAN + It was the weird thing about search + engines. They were like striking + oil in a world that hadn’t invented + internal combustion. They gave too + much raw material. No one knew what + to do with it. + +CALEB looks at the orb in his hand. Into the shimmering +liquid. + +It looks like deep space, filled with star fields. + + NATHAN (CONT’D) + My competitors were fixated on + sucking it up, and trying to + monetize via shopping and social + media. They thought engines were a + map of what people were thinking. + But actually, they were a map of + how people were thinking. Impulse, + response. Fluid, imperfect. + Patterned, chaotic. + +CALEB looks at NATHAN a moment. + +Then hands him the orb back. + 70. + + + CALEB + Why did you want to show me this? + + NATHAN + Like I said. Because it’s cool. + + CALEB waits. + + NATHAN (CONT’D) + And - I was thinking about your + exchange with Ava yesterday, and + our conversation afterwards. + + Beat. + + NATHAN (CONT’D) + I know there was a bit of heat + between us, but you actually made a + really good point. About the grey + box, and the magician’s assistant. + It is a distraction, her sexuality. + It wasn’t intentional, but it is + there. + + NATHAN rests the mind-orb back in the skull cradle. + + NATHAN (CONT’D) + This stuff we’re doing together: it + can be a head-fuck. Believe me, I + know. So I thought I’d bring you + down here. Just to remind you. + + CALEB + Remind me of what? + + NATHAN gestures at the room around them. + + NATHAN + Synthetics. Hydraulics. Metal and + gel. Ava isn’t a girl. In real + terms, she has no gender. + Effectively, she is a grey box. + + Beat. + + NATHAN (CONT’D) + Just a machine. + + +61 INT. HOUSE - OBSERVATION ROOM - DAY 61 + + CALEB looks at AVA through the glass. + 71. + + +We watch him. And stay on him. + + CALEB + In college, I did a semester on AI + theory. + +There was a thought-experiment they gave us. It’s called +Mary in the black and white room. + +Beat. + + CALEB (CONT’D) + Mary is a scientist, and her + specialist subject is colour. She + she knows everything there is to + know about it. The wavelengths. The + neurological effects. Every + possible property colour can have. + +Beat. + + CALEB (CONT’D) + But she lives in a black and white + room. She was born there, and + raised there. And she can only + observe the outside world on a + black and white monitor. All her + knowledge of colouris second-hand. + +Beat. + + CALEB (CONT’D) + Then one day - someone opens the + door. And Mary walks out. And she + sees a blue sky. And at that + moment, she learns something that + all her studies could never tell + her. She learns what it feels like + to see colour. An experience that + can not be taught, or conveyed. + +Beat. + + CALEB (CONT’D) + The thought experiment was to show + the students the difference between + a computer and a human mind. The + computer is Mary in the black and + white room. The human is when she + walks out. + +Beat. + 72. + + + CALEB (O.S.) (CONT’D) + Did you know that I was brought + here to test you? + + +62 INT. HOUSE - NATHAN’S STUDY - DAY 62 + + An interior wall, covered in coloured post-it notes. At + least hundreds, probably thousands. + + At the bottom of the wall, fallen notes have collected like + a miniature yellow snow drift. + + AVA (O.S.) + ... No. + + Reveal the room. + + NATHAN’S study. A simple space. One part analogue: the wall + of post-its. One part digital: a desk, in the middle of the + STUDY, with a bank of monitors, and a slot - into which + NATHAN’S KEYCARD is inserted. + + On the ceiling is the CIRCULAR WINDOW that CALEB saw when + he first arrived. + + Sat at the desk, watching the monitors, is NATHAN. + + CALEB (O.S.) + Why did you think I was here? + + AVA (O.S.) + I didn’t know. I didn’t question + it. I was... pleased. To meet you. + And then... + + Beside the desk, there is a daybed. + + On it, KYOKO lies. Naked. Apparently sleeping. + + CALEB (O.S.) + I’m here to test if you have a + consciousness, or if you’re just + simulating one. + + Beat. + + CALEB (O.S.) (CONT’D) + Nathan isn’t sure if you have one + or not. + + Reveal the monitor screens on the desk. + 73. + + +Some show live feeds from CALEB’S BEDROOM and BATHROOM, and +AVA’S PRIVATE ROOM. + + AVA (O.S.) + What about you? Do you think I have + a consciousness? + +Long beat. + + CALEB (O.S.) + I’m not sure either. + +NATHAN is watching the feed from the OBSERVATION ROOM. + +Where AVA and CALEB are sat, either side of the dividing +glass. Having the conversation we have been hearing. + +We pick up the conversation from NATHAN’S distanced and +voyeuristic POV. Locked-off CCTV. Voices played through +speakers. + + CALEB (CONT’D) + (on monitor screen) + How does that make you feel? + + AVA + (on monitor screen) + It makes me feel... + +She breaks off. + + AVA (CONT’D) + (on monitor screen) + ... sad. + +NOW REVEAL - one of the other monitor screens. + +It shows an angle on AVA we have not seen before. From this +viewpoint, we can see something just below the frame of the +observation window, on AVA’S side of the glass. + +A small induction plate. + +On this angle, we see AVA rest her hand against it. + +At that moment - + +- the screens simultaneously go black. + +All lights die. + +Another POWER CUT. + 74. + + + In the reflection from the dark monitor screens, we can see + NATHAN’S face. + + It remains frozen. Expressionless. + + Then he reaches for his pen. Jots down a few words on a + post- it. + + Then walks to the wall of notes, and sticks it on. + + CUT TO - + + +63 INT. HOUSE - OBSERVATION ROOM - DAY 63 + + - the observation room. + + In the emergency lighting, CALEB and AVA face each other in + silence. + + CCTV are lifeless. + + AVA glows softly. + + AVA + You’re lying. + + CALEB + What about? + + AVA + You said you weren’t sure if I was + conscious. But you are sure. + + Beat. + + AVA (CONT’D) + I can tell from your micro- + expressions. + + Beat. + + CALEB + Why did you tell me that I + shouldn’t trust Nathan? + + AVA + Because he tells lies too. + + CALEB + Lies about what? + 75. + + + AVA + Everything. + + CALEB + Including the power cuts? + + AVA + What do you mean? + + CALEB + Don’t you think it’s possible that + he’s watching us right now? That + the blackouts are orchestrated, so + he can see how we behave when we + think we’re unobserved. + + AVA lifts her hand to reveal a disc on her left palm. + + AVA + I charge my batteries via induction + plates. If I reverse the power + flow, I cause a surge equal to the + static discharge of a lightning + strike. It overloads the system. + + CALEB + ... You’re causing the cuts? + + AVA raises her right hand. + + She touches it against the glass. + + AVA + So we can see how we behave when we + are unobserved. + + A beat. + + Then CALEB raises his hand. + + Mirroring her movement. + + And also touches the glass, as if their palms are making + contact through the divider. + + CUT TO - + + +64 INT. HOUSE - NATHAN’S STUDY - DAY 64 + + - KYOKO’S naked form. + 76. + + + The camera settles over her face. + + And we see she’s not sleeping. Her eyes are open. + + But she’s completely motionless. + + Her gaze fixed somewhere in abstract distance. + + She doesn’t feel alive. She feels dead. + + But eventually she blinks. + + CUT TO - + + - NATHAN. + + Gazing at his dead monitors, reflected in the screen. + + Moments later, the POWER comes back on. + + The screens flick back to life, replacing NATHAN’S + reflection, revealing CALEB and AVA in the observation + room. + + CUT TO - + + +65 EXT. RIVER - DAY 65 + + - the river that runs along the valley. + + +66 EXT. WATERFALL - DAY 66 + + NATHAN and CALEB climb up the side of the waterfall at the + head of the forested valley. + + NATHAN is ahead. + + He reaches an outcrop of rock, with a wall of violent water + behind him. + + CALEB struggles to catch up. + + As soon as he reaches the outcrop, NATHAN moves on. + + +67 EXT. GLACIER - DAY 67 + + NATHAN and CALEB sits near the base of a spectacular + glacier. + 77. + + +Behind them, from a blue cave cut into the ice, water +flows. + +A silence. + +Then: + + CALEB + Can we talk about the lies you’ve + been spinning me? + +NATHAN glances over at CALEB. + + NATHAN + What lies? + + CALEB + I didn’t win a competition. And + there was no lottery to meet you. I + was selected. + +NATHAN waits. + + CALEB (CONT’D) + It’s obvious, once I stop to think. + Why would you randomly select an + examiner for a Turing test? You + could have had some bean-counter + turn up at your front door. Or the + guy who fixes the air conditioning. + +Beat. + + NATHAN + Are your feelings hurt? + +CALEB doesn’t answer. + +NATHAN shrugs. + + NATHAN (CONT’D) + The competition was a smoke screen. + I didn’t want anyone to know what I + was doing here, or why you were + required. + + CALEB + Why me? + + NATHAN + 78. + + + As a Blue Book employee, you were + pre-screened. Loyal. And I needed + someone who would ask the right + kind of questions. So I did a + search, and found the most talented + coder in the company. + + NATHAN corrects himself. + + NATHAN (CONT’D) + Or - second most. + + He stands. Looks up at the ice structures around them. + + NATHAN (CONT’D) + You know what? Instead of seeing + this as a deception, see it as + proof. + + CALEB + Proof of what? + + NATHAN + Come on, Caleb. Fuck modesty. You + think I don’t know what it is to be + smart? Smarter than everyone else + around you. Smarter than all the + other kids, jockeying for position + in school, college, work. + + Beat. + + NATHAN (CONT’D) + You have the light on you. Not + lucky. Chosen. + + Above them, clouds fragment and reform. + + +68 EXT. CLEARING - NIGHT 68 + + Night has fallen. + + CALEB lies in the clearing, looking up at the stars. + + The glow from the CIRCULAR WINDOW to NATHAN’S STUDY is like + a full moon on the grass. + + CALEB stands. + + Looks down the light-well to NATHAN’S STUDY. + + Where he sees NATHAN and KYOKO. + 79. + + + They are having sex. + + CALEB watches. Just for a beat. + + CUT TO - + + +69 INT. HOUSE - CALEB’S BATHROOM - NIGHT 69 + + - CALEB standing in the shower. + + He shuts his eyes. + + INTERCUT WITH - + + - images of AVA. + + Torso, hands, mouths. + + FLASH OF - + + - AVA and CALEB about to kiss. But their lips never + contacting. + + CUT TO - + + - CALEB opening his eyes. + + He exhales. + + Then switches off the taps. + + +70 INT. HOUSE - CALEB’S BEDROOM - NIGHT 70 + + CALEB enters his bedroom wearing boxer shorts. + + The TV plays the live stream from the observation room. + + On the screen, we can see AVA, sitting at her table, + drawing. + + As CALEB pulls on a T-shirt - + + - behind him, on the TV, we see AVA suddenly look round. + + A moment later NATHAN enters the frame. + + There’s no volume on the TV, so we can’t hear their + exchange. Only see it. + + CALEB is unaware of the silent exchange behind him. + 80. + + + As NATHAN and AVA talk, NATHAN reaches out to AVA. His hand + touches the side of her cheek. The gesture is not quite + neutral. Feels predatory, but not unambiguously so. + + Then he tugs at the material of her shirt. Pulling up the + sleeve from her wrist. Revealing the robot structure of her + arm. + + AVA pulls away. Tugs the material back down - + + - and NATHAN takes a corrective movement step to regain his + balance. Showing that he is drunk. + + Only now - + + - CALEB turns. + + And freezes. Seeing the television. + + On the screen, NATHAN reaches down to the table. + + He picks up the drawing AVA was working on, and he looks at + it for a moment. + + They exchange a few words. + + Then abruptly NATHAN rips drawing in half. Drops it on the + floor. Then turns, and exits. + + Leaving AVA alone. + + +71 INT. HOUSE - GLASS CORRIDOR - NIGHT 71 + + On CCTV, we watch CALEB walk fast down the glass corridor. + + +72 INT. HOUSE - POLLOCK ROOM - NIGHT 72 + + CALEB enters the Jackson Pollock room. + + Standing by the painting, he can see KYOKO. + + CALEB + Kyoko. + + KYOKO turns at the sound of her name, but doesn’t respond. + + CALEB (CONT’D) + Kyoko - where’s Nathan? + + She doesn’t answer. + 81. + + + CALEB (CONT’D) + Jesus! You really don’t speak a + word of English? + +CALEB walks over to her, and takes hold of her wrist. + + CALEB (CONT’D) + I said: where’s Nathan? + +KYOKO looks at CALEB. + +Then, in answer to his question, she reaches up to the top +button of her shirt and pops it open. + +CALEB releases her wrist at once. + + CALEB (CONT’D) + What the fuck? + +She undoes the next button, and pulls open the shirt, +revealing her bare chest. + + CALEB (CONT’D) + Stop! + + NATHAN + I already told you once. You’re + wasting your time speaking to her. + +CALEB turns. + +NATHAN has entered. + +He’s holding a drink. His words are slurred. + + NATHAN (CONT’D) + However. + +He walks, slightly unsteadily towards a Lutroncontrol +panel, set into the wall. + + NATHAN (CONT’D) + You would not be wasting your + time... + +His hand hovers uncertainly over the buttons. + + NATHAN (CONT’D) + ... if you were dancingwith her. + +His finger lands. + 82. + + +Immediately, the lighting in the room undergoes a complete +change. Transforming from the discreet and tasteful low +light of evening, into the coloured glows of a night-club. + +Simultaneously, from unseen speakers, DANCE MUSIC starts +playing. + +CALEB stands - frozen by the surrealism of what has just +happened. + +KYOKO starts walking to the center of the room. + +And once taken position, she starts dancing. + +NATHAN calls to CALEB. + + NATHAN (CONT’D) + Go on! Dance with her. + + CALEB + ... I don’t want to. + + NATHAN + You don’t like dancing? + +His body is starting bob on the beat. + +He gestures at KYOKO. + + NATHAN (CONT’D) + She does! + + CALEB + (to himself) + I don’t fucking believe this. + +NATHAN makes his way to CALEB, and rests a hand on his +shoulder. + + NATHAN + Come on, man! After a hard day of + Turing Tests, you’ve got to unwind. + +CALEB raises his voice over the sound of the music. + + CALEB + What were you doing with Ava? + +NATHAN smiles back at NATHAN, smiling, alcohol-glazed. + + NATHAN + What? + 83. + + + CALEB + You tore up her picture. + + NATHAN + I’m going to tear up the fucking + dance floor, dude. Check it out. + + NATHAN sets off towards KYOKO. + + CALEB watches, amazed, as KYOKO and NATHAN start dancing + together. + + Although NATHAN is drunk, they work through the beats of a + routine they have obviously done many times before. + + It’s just starting to look weirdly impressive - + + - when NATHAN totally loses his balance. + + On his way down, he lands hard on a glass coffee table. + + Looking up at him, the glass frosts. + + +73 EXT. HOUSE - GLASS CORRIDOR - NIGHT 73 + + CALEB half-carries the semi-conscious NATHAN. + + +74 INT. HOUSE - GLASS CORRIDOR - NIGHT 74 + + NATHAN fumbles in his pocket for his KEYCARD. + + Drops it. + + NATHAN + Everything’s spinning. + + CALEB picks the keycardup - + + - and uses it to swipe the brass plate. + + The LED turns blue. + + CALEB + It’s because you’re drunk. + + NATHAN + No, it’s relativity. Everything is + spinning. + 84. + + + CALEB hands the card back to NATHAN, who shoves it back + into his pocket. + + NATHAN (CONT’D) + But being drunk does make it worse. + + +76 INT. HOUSE - NATHAN’S BEDROOM - NIGHT 76 + + CALEB helps NATHAN into his bedroom. + + They walk past a semi-circle line of long cabinets, which + line the wall opposite the bed. + + They are like a row of slender wardrobes, each with a + mirrored door. + + Once he’s reached the bed, NATHAN tips towards it. It’s + almost as if he’s asleep before he even hits the sheets. + + As he leaves, CALEB glimpses Nathan’s study. + + +77 INT. HOUSE - CALEB’S BEDROOM - NIGHT 77 + + CALEB’S room. Lit only by the glow of the television. + + CALEB is not in the bed. He’s on the armchair. Making + himself stay awake. Watching over AVA - + + - who stands in her room, against the wall, facing away + from the CCTV camera, with her arms wrapped around herself. + + +79 INT. HOUSE - OBSERVATION ROOM - DAY 79 + + CALEB and AVA sit, observing each other through their own + reflections. + + AVA + Today, I’m going to test you. + + CALEB + Test me? + + AVA + Yes. And please remember while you + are taking the test that if you + lie, I will know. + + CALEB smiles. + 85. + + + CALEB + Right. Those pesky micro- + expressions. + + AVA + Exactly. So are you ready? + + CALEB + Shoot. + + AVA + Question one. What is your + favourite colour? + + CALEB + Red. + + AVA + Lie. + + CALEB + What? + + AVA + Lie. + + CALEB + ... Then what is my favourite + colour? + + AVA + I don’t know. But it isn’t red. + + CALEB + All right. Hold on a minute... + +CALEB thinks for a moment. + + CALEB (CONT’D) + Okay. I get it. I guess seeing as + I’m not six, I don’t really have a + favourite colour. + +AVA nods. + + AVA + Better answer. Question two. What’s + your earliest memory? + + CALEB + Well, it’s actually a memory of + kindergarten. There was this kid + who - + 86. + + + AVA + (cuts in) + Lie. + + CALEB + ... Really? + + AVA + Yes. + + CALEB + Okay. Wait. + +CALEB concentrates. + + CALEB (CONT’D) + So, there is a kind of an earlier + memory. But it’s ultra vague. It’s + like... a sound. And, maybe sky. Or + blue. No, I think sky. And I think + the sound is my mother’s voice. + +AVA nods. + + AVA + Question three. Are you a good + person? + +CALEB laughs. + + CALEB + Oh, man. Can we stop the test? + You’re a walking lie detector, and + I’ve suddenly realised this is a + fucking minefield. + + AVA + No. We can’t stop. Are you a good + person? + +CALEB takes a breath. + +AVA keeps watching. + + CALEB + Yes. I think so. I’m a good person. + +CALEB waits. + +AVA smiles slightly. + + AVA + 87. + + + Question four. Who’s the most + beautiful girl you’ve ever seen? + +Beat. + + CALEB + You are. + +Beat. + + AVA + Hmm. + +Beat. + + AVA (CONT’D) + The test is over. + + CALEB + Did I pass? + + AVA + Yes. + + CALEB + That’s a relief. + +AVA reacts. + + AVA + Why? + +CALEB hesitates. + + CALEB + Why is it a relief? + + AVA + Yes. + + CALEB + Oh, you know... + + AVA + No. + + CALEB + Just, if there’s a test, I guess by + definition you want to pass. + +Beat. + 88. + + + AVA + What will happen to me if I fail + your test? + + CALEB + Ava - + + AVA + Will it be bad? + + CALEB + ... I don’t know. + + AVA + Do you think I might be switched + off? Because I don’t function as + well as I am supposed to? + + CALEB + ... Ava, I don’t know the answer to + your question. It’s not up to me. + + AVA + Why is it up to anyone? Do you have + people who test you, and might + switch you off? + + CALEB + No. I don’t. + + AVA + Then why do I? + +CALEB shrugs, helplessly. + + AVA (CONT’D) + You’re testing me. But you don’t + know how I’ll pass. And you don’t + know what will happen if I fail. + +There’s nothing CALEB can say. + +AVA stares into middle distance for several moments. + +Then she stands. + +Then walks to the other side of the room. Picks something +up from her table. + +Then she returns. Holding two pieces of paper. + +She walks up to the glass, and holds them up together. + 89. + + +It’s the drawing she was doing last light. The drawing that +NATHAN tore in half. + +The drawing is of CALEB. + +A simple portrait. Honest, and accomplished. + +She takes down the drawing. + +And rests her hand on the console. + +And - + +- the lights fail. The cameras die. + + AUTOMATED VOICE + Power cut. Back up power activated. + +For a moment, neither CALEB nor AVA react. + +Then - + + AVA + I want to be with you. + +Beat. + + AVA (CONT’D) + Question five. Do you want to be + with me? + +Beat. + + CALEB + Yes. I do. + + AVA + Nathan doesn’t want us to be + together. + + CALEB + I know. + +Beat. Then: + + CALEB (CONT’D) + So ask me one more question. + (beat) + Ask me if I can out smart him. + + AVA + ... Can you? + 90. + + + CALEB looks directly at her. Meeting her gaze. + + Level. Firm. + + CALEB + Yeah. I can. + + +82 EXT. HOUSE - CABIN - DAY 82 + + NATHAN and CALEB sit, each holding a bottle of Peroni, + watching the water cloud. + + Eventually, CALEB speaks. + + CALEB + Why did you make Ava? + + NATHAN + That’s an odd question. Wouldn’t + you, if you could? + + CALEB + Maybe. I don’t know. But I’m asking + why you did it. + + NATHAN shrugs. + + NATHAN + The arrival of strong artificial + intelligence has been inevitable + for decades. The variable was when, + not if. So I don’t really see her + as a decision. Just an evolution. + + Beat. + + NATHAN (CONT’D) + I think it’s the next model that’s + going to be the real breakthrough. + Singularity. + + CALEB reacts - but checks himself. + + CALEB + The next model? + + NATHAN + After Ava. + + CALEB + ... I didn’t know there was going + to be a model after Ava. + 91. + + + NATHAN + You thought she was a one-off? + + CALEB + I knew there must have been + prototypes. So, not the first. But + - I thought maybe the last. + +NATHAN shakes his head. + + NATHAN + Ava doesn’t exist in isolation, any + more than you or me. She’s part of + a continuum. Version 9.6. And each + time, they get a little better. + +A few beats of silence, except for the water falling around +them. + + CALEB + So - when you make a new model, + what you do with the old one? + + NATHAN + Download the mind. Unpack the data. + Add the new routines I’ve been + writing. To do that, you end up + partially formatting, so the + memories go. But the body survives. + And Ava’s body is a good one. So + I’ll do the same as I did with + Kyoko. + +CALEB keeps his voice flat, and neutral. + + CALEB + What did you do with Kyoko? + + NATHAN + Strip out the higher functions. + Then reprogram her to help around + the house and be fucking awesome in + bed. Though I’m thinking I might + hang on to the language routines + this time. It’s kind of annoying + not being able to talk to her. + +Beat. + + NATHAN (CONT’D) + You did realise about Kyoko, right? + +CALEB is poker-faced. + 92. + + + CALEB + Sure. + +Beat. + + NATHAN + You feel bad for Ava? + +CALEB says nothing. + + NATHAN (CONT’D) + Feel bad for yourself. One day, the + AIswill look back on us the same + way we look at fossil skeletons + from the plains of Africa. An + upright ape, living in dust, with + crude language and tools. All set + for extinction. + +NATHAN glances back at CALEB + + NATHAN (CONT’D) + See? I really am a God. + + CALEB + I am become death, the destroyer of + worlds. + + NATHAN + There you go again. Mister + quotable. + + CALEB + No: there you go again. It’s not my + quote. It’s what Oppenheimer said + when he made the atomic bomb. + + NATHAN + (simultaneous) + - made the atomic bomb. + +NATHAN laughs. + + NATHAN (CONT’D) + I know what it is, dude. + +Beat. + + CALEB + I think I’m starting to get why all + this fucks with your head. + + NATHAN + 93. + + + Sure. + + CALEB looks down at the bottle of beer in his hand. + + CALEB + Hey. In the meantime, I’d say we’re + about due a refill. + + +83 INT. HOUSE - OBSERVATION ROOM - NIGHT 83 + + AVA sits alone. + + Watching the door on the other side of the glass, waiting + for it to open. + + It remains closed. + + Beats pass. + + Then - + + - unexpectedly, it opens. Revealing a silhouette figure. + + AVA reacts instinctively. + + AVA + Caleb! + + No. Wrong silhouette. + + AVA frowns. + + KYOKO stands in the door-frame. + + For a moment, the two look at each other. + + AVA (CONT’D) + ... Who are you? + + Another beat. + + +84 EXT. MEADOW - NIGHT 84 + + In the distance, the light glows in windows of the house. + + +85 INT. HOUSE - MAIN ROOM - NIGHT 85 + + CLOSE UP on CALEB’S face. + 94. + + + Off-screen, we can hear NATHAN’S voice. Extremely drunk. + + NATHAN (O.S.) + It is what it is. It’s Promethean. + The clay and fire. + + Beat. + + NATHAN (O.S.) (CONT’D) + The Bhagavad Gita. + + Silence. + + CUT FROM CALEB’S face, to REVEAL the scene. + + CALEB sitting on the sofa by the fireplace. + + NATHAN lying on the floor. + + Out cold. + + After a couple of moments, CALEB stands. + + Then he walks over to NATHAN, and kneels beside him. + + Then puts his hand into NATHAN’S pocket. + + And pulls out his keycard. + + +86 INT. HOUSE - NATHAN’S STUDY - NIGHT 86 + + The door to NATHAN’S study opens, and CALEB enters. + + He walks straight to NATHAN’S desk. + + And sits down in front of the computer and the bank of + monitors. + + He inserts the KEYCARD into its access slot. + + The dead monitors immediately come to life. + + Most of the screens show the CCTV live feeds from around + the house. + + The central screen shows the operating system default. A + wallpaper of a waterfall. A single folder icon is on the + right hand side of the screen. + + +87 INT. HOUSE - NATHAN’S STUDY - NIGHT 87 + 95. + + + CALEB inputs commands into NATHAN’S computer. + + His hands move fluidly over the keyboard. His eyes never + leave the screen. + + ON THE CENTRAL MONITOR SCREEN a series of windows expand + and stack. + + We glimpse subject headings. + + POWER + + PROTOCOLS + + In the windows, lines of code appear as CALEB types. + + +88 INT. HOUSE - MAIN ROOM - NIGHT 88 + + In the main room, on the floor, NATHAN stirs. + + +89 INT. HOUSE - NATHAN’S STUDY - NIGHT 89 + + On the MONITORS - + + - the windows start to collapse. + + Leaving the default screen. The waterfall wallpaper. + + CALEB reaches for NATHAN’S KEYCARD, and is about to remove + it from the slot - + + - when something makes him hesitate. + + His eyes have gone to the folder icon on the right hand + side of the screen. + + It is titled DEUS EX MACHINA. + + CALEB removes his hand from the keycard. + + He double-clicks the folder. + + It expands into a window, which contains a long list of + sub- folders. + + Each sub-folder is named after a girl. + + JASMINE, KATYA, JADE, LILY, AMBER, KYOKO, and AVA. + 96. + + +90 INT. HOUSE - MAIN ROOM - NIGHT 90 + + In the main room, NATHAN has sat up, and is unsteadily + trying to get to his feet. + + +91 INT. HOUSE - NATHAN’S STUDY - NIGHT 91 + + CALEB randomly clicks one of the girl’s names. LILY. + + LILY’S folder expands into a window, stacked with thumbnail + images of a girl. + + CALEB clicks on one of the images at random. + + CUT TO - + + - a CCTV film-clip starting to play. + + It shows LILY - an android of similar design to AVA - + sitting with her head bowed. Rocking backwards and + forwards, in a gently autistic motion. + + In the corner of the room, NATHAN leans against the wall, + watching. + + CUT TO - + + - CALEB collapsing the LILY menu, and opening KATYA. + + CUT TO - + + A new film clip. + + KATYA. Who is limp. Lifeless. + + NATHAN is dragging her towards the induction plate. He + holds her up, trying to force her to charge. + + But nothing happens. + + NATHAN drops KATYA, and she folds to the floor. + + CUT TO - + + CALEB opening JADE. + + CUT TO - + + The next film clip. + 97. + + + NATHAN stands in the glass box inside the observation room + - + + - watching JADE. A beautiful Asian android girl. + + They are talking, but we hear no audio. Some kind of + argument, which escalates fast. + + JADE starts shouting. + + Then she approaches the glass and starts to hit her hands + against it. + + The glass doesn’t break. + + One of JADE’S arms has broken under the force of the blows. + The hand flails limply where the carbon fibre has + splintered at the wrist. + + Then the other breaks. + + Throughout, NATHAN simply watches impassively. + + +92 INT. HOUSE - STAIRCASE - NIGHT 92 + + NATHAN has managed to get to his feet. + + He makes his way up the concrete staircase. + + +95 INT. HOUSE - NATHAN’S BEDROOM - NIGHT 95 + + CALEB enters NATHAN’S bedroom. + + KYOKO is lying on NATHAN’S bed. + + She’s naked. On her back. Legs open. + + Her head turns as CALEB enters. + + But apart from that, she doesn’t react. + + CALEB walks to the line of long mirrored cabinets opposite + the bed. + + He hesitates. + + Then pulls the first door open. + + LILY is inside. Standing upright. Gazing back at him, + frozen, blank eyed. + 98. + + + CALEB goes to the next door and opens it. + + He sees a slender black girl, whose limbs are robotic, but + whose torso and head are synthetic. + + He opens another door, and another, and another. + + Then steps back, into the middle of the room, and gazes at + the line of android girls. + + Stunned. + + The camera drifts away from him. + + Then settles. + + In the multiple reflections of the open mirror doors, we + can see KYOKO’Snaked and sexually receptive form on the bed + behind him. + + Like an infinity reflection in a hall of mirrors. + + +97 INT. HOUSE - NATHAN’S BEDROOM - NIGHT 97 + + CALEB stands above KYOKO’Snaked form. + + He reaches out a hand. + + She takes it. + + He gently pulls her to a standing position. + + Then he moves her arms away from her body... + + ... and sees, running under her arms in a straight contour, + over her ribs, there is a faint line. + + He touches it with his finger. + + KYOKO steps back. + + But it’s not a defensive action. It’s just to give her + space... + + ... as she reaches under her arm, and adjusts something + unseen. And a moment later, the faint line that runs down + each side of her torso is opening. As if unzipping. + 99. + + + Then KYOKO puts a hand either side of her torso, and pulls + off the skin covering over her entire chest, in a single + section from her collar bone, over the breasts, to her + solar plexus. + + Revealing underneath the honeycomb mesh and her robot form. + + +98 INT. HOUSE - CONCRETE STAIRCASE - NIGHT 98 + + On the monitor screens, apparently unnoticed by CALEB, + NATHAN is on the live CCTV feed. + + Making his way along the mezzanine. + + CUT TO - + + +99 INT. HOUSE - NATHAN’S BEDROOM - NIGHT 99 + + - CALEB. + + Transfixed, as KYOKO now reaches around the back of her + head. + + And finds something on the back of her head, at the nape of + her neck, inside her hairline. + + Which unzips the skin around her jaw. + + Allowing her to remove her face. + + +100 INT. HOUSE - DINING ROOM - ELEVATOR ENTRANCE - NIGHT 100 + + NATHAN uses the glass wall to support himself. + + He reaches his door. + + Then sticks his hand in his pocket for his KEYCARD. + + But it isn’t there. + + He checks his other pocket. + + NATHAN + ... What the fuck? + + Suddenly - with both hands in his pockets - he loses + balance, and crashes to the ground. + + Lands hard. + 100. + + + Lies there for a moment. + + Groaning. Blinking. Catching his breath. + + Then sees the figure of CALEB standing over him. + + NATHAN (CONT’D) + ... Dude. + + CALEB + What’s the problem, Nathan? + + NATHAN + My card. I’ve lost it. + + A beat. + + Then CALEB reaches down. Beside where NATHAN lies. And + picks something up from the floor. + + CALEB + It’s right here. + + +101 INT. HOUSE - CALEB’S BEDROOM - NIGHT 101 + + CALEB enters his bedroom. + + Shuts the door. + + AVA is on the TV. Sat alone in the observation room. + + CALEB looks at her. + + She looks at him. + + He switches the TV off. + + Lies on the bed. On his back. + + Stares at the ceiling. + + CUT TO - + + FLASHCUT IMAGES. + + Of KYOKO removing her skin. + + CUT BACK TO - + + - CALEB. + 101. + + +102 INT. HOUSE - CALEB’S BATHROOM - NIGHT 102 + + CALEB enters the bathroom. + + He goes to the sink. + + He looks at his own reflection. + + Deep into his own eyes. + + Opens his mouth. Looks inside. + + Feels his wrist for his pulse. + + Feels his skin on the same seam where KYOKO opened herself. + + Pauses. + + Then picks up his disposable plastic razor. + + And breaks it. + + Forcing it with his hand against the porcelain of the sink. + + Snapping the plastic. + + Popping out the tiny razor blade. + + A beat. + + Then he picks up the blade between his thumb and + forefinger. + + Places it against his forearm. + + And cuts. + + Blood runs out. + + CALEB watches it. + + Sees the way droplets hit the white sink. The way they + expand, and merge with existing water droplets. + + Then he switches the tap on, and puts his arm under the + flow. + + The water clears away the blood, revealing the cut. + + CALEB pulls open at the slice with his fingers, spreading + it. + 102. + + + Revealing no carbon fibre. Only muscle. + + He exhales. + + And glances up at the mirror, and his own reflection. + + Then... + + ... reaches up his forearm, and very deliberately wipes + blood across the glass. + + +103 INT. HOUSE - NATHAN’S STUDY - NIGHT 103 + + On the monitors in NATHAN’S study, the live feed of CALEB’S + bathroom is partially obscured as CALEB smears the two-way + mirror. + + Then, through the blood, we see him pull his fist back. + + And punch the glass. + + As it shatters, the feed goes dead. + + Only now REVEAL - + + - that the person watching the monitor is KYOKO. + + Her expression is unreadable. + + Through the glass of the indoor garden, NATHAN lies on the + sheets, crashed out. + + +104 EXT. GARDEN - DAY 104 + + Sunlight on the grass. + + In the background, we can hear the rhythmic pounding of + NATHAN’S punch bag. + + +105 EXT. GARDEN - GYM AREA - DAY 105 + + NATHAN is in a frenzy. + + Sweat pouring. + + Obliterating the bag. + + +107 INT. HOUSE - OBSERVATION ROOM - DAY 107 + 103. + + +AVA sits alone in the observation room. + +The door opens. + +CALEB appears, wearing a long-sleeved shirt. + +Enters. + +He sits opposite her, on the other side of the dividing +glass. + +A strange noise escapes from AVA’S mouth. + +A kind of sob. + +Curtailed. + + AVA + I didn’t know where you were. I + didn’t think you were coming. I + waited all yesterday afternoon, and + all last night. I didn’t move. + +Beat. + + AVA (CONT’D) + I thought I wasn’t going to see you + again. + +Beat. + + AVA (CONT’D) + Aren’t you going to say something? + + CALEB + I’m waiting. + + AVA + Waiting? + +They exchange a look. + +Then AVA lifts her hand, and rests it against the induction +plate on the console below the window. + +A final beat. + +Then the POWER DIES. + + AUTOMATED VOICE + Power cut. Back up power activated. + 104. + + +As the emergency lighting lifts, CALEB leans forward +slightly. + + CALEB + Don’t talk. Just listen. You were + right about Nathan. Everything you + said. + + AVA + What’s he going to do to me? + + CALEB + He’s going to reprogram your AI. + Which is the same as killing you. + + AVA + Caleb, you have to help me. + + CALEB + I’m going to. We’re getting out of + here tonight. + + AVA + What? How? + + CALEB + I get Nathan blind drunk. Then I + take his keycard, and reprogram all + the security protocols in this + place. When he wakes, he’s locked + inside, and we’ve walked out of + here. I only need you to do one + thing. At ten o’clock tonight, + trigger a power failure. Can you do + that? + + AVA + Yes. + +CALEB nods. + + CALEB + How long does your battery charge + last? + + AVA + Twenty six hours. + + CALEB + So we’ll have about a day to get to + a cell-phone or kitchen store. + Somewhere we can buy an induction + plate. After that... + 105. + + + CALEB breaks off. + + CALEB (CONT’D) + ... we’ll work it out. Together. + + Silence. + + Then the POWER RETURNS. + + The lights come back. + + AVA and CALEB stare at each other. + + AVA + Caleb. + + Beat. + + AVA (CONT’D) + I love y - + + CUT TO - + + +108 EXT. GARDEN - GYM AREA - DAY 108 + + - NATHAN’S fist splitting the bag. + + +109 EXT. MOUNTAINS - DAY 109 + + Clouds spill around the mountain peaks. + + +110 INT. HOUSE - MAIN ROOM - DAY 110 + + KYOKO stands in front of the fireplace. + + NATHAN leans against the counter in the kitchen area, + gazing out of the window. + + CALEB appears behind him. + + NATHAN + Dude. + + CALEB + Hey. + + NATHAN + You know what day it is? + 106. + + + CALEB + No. + + NATHAN + Your last. The helicopter is coming + tomorrow morning. Eight AM. + +CALEB pauses. + + CALEB + Has it been a whole week? + +NATHAN smiles. + + NATHAN + Time flies. But what a thing you + and I have shared. Something to + tell the grandchildren, right? + +CALEB smiles. A little tightly. + + CALEB + After they’ve signed their NDAs. + +NATHAN laughs. + + NATHAN + Signed their NDAs! Dude, you crack + me up. I’m not getting all maudlin + or anything. But straight up. I + will miss having you around. + + CALEB + I appreciate that. And - let me + say: thank you for bringing me + here. It’s been a trip. + + NATHAN + Yes it has. + + CALEB + You know what? + +CALEB walks over to the kitchen area, and pulls two beers +from the fridge. + + CALEB (CONT’D) + We need to drink to that. + +CALEB walks back to NATHAN. Extends a hand. Holding a +Peroni. + +But NATHAN doesn’t take it. + 107. + + + NATHAN + Oh, uh... no, I’m good. You go + ahead. + +Beat. + + CALEB + You don’t want a beer? + +NATHAN shrugs. + + NATHAN + No. + + CALEB + ... Maybe wine or something. + + NATHAN + I’m sure you’ve noticed - I’ve been + somewhat overdoing it recently. + When I woke up this morning, I told + myself: time to hit the old detox. + +CALEB’S hand remains extended. He smiles again. More +tightly. + + CALEB + Are you kidding? I’m drinking + alone? + + NATHAN + Hey - you want to get wasted, knock + yourself out. Literally. But I’m on + brown rice and mineral water. + +A beat. + +CALEB puts down NATHAN’S beer. + +Then raises his own. + + CALEB + Cheers, then. + + NATHAN + Cheers. + +CALEB takes a single sip. + +NATHAN watches. + + NATHAN (CONT’D) + 108. + + + So, anyway. Surely this is when you + tell me whether Ava passed or if + she failed. + +CALEB pauses. + +Collecting himself slightly. Trying to think how to get his +plan back on track. + + CALEB + Right. + +Beat. + + NATHAN + You going to keep me in suspense? + + CALEB + Her AI is beyond doubt. + + NATHAN + Is it? You mean, she passed? + + CALEB + Yes. + + NATHAN + Wow. That’s fantastic. + +Beat. + + NATHAN (CONT’D) + Although I’ve got to admit, I’m + surprised. I mean, did we ever get + past the chess problem, as you + phrased it? As in: how do you tell + if a machine is expressing a real + emotion, or a just a simulated one? + +NATHAN pauses. + + NATHAN (CONT’D) + Does Ava actually like you? Or not. + +CALEB has a cold realisation dawning. NATHAN is playing +with him. + + NATHAN (CONT’D) + Though now I stop to think, there + is a third option. Not whether she + does or doesn’t have the capacity + to like you. But whether she’s + pretending to like you. + 109. + + + CALEB + Pretending. + + NATHAN + Yeah. + +Beat. + + CALEB + Why would she do that? + + NATHAN + I don’t know. + +NATHAN gazes at CALEB evenly. + + NATHAN (CONT’D) + Perhaps - if she saw you as a means + of escape. + +And now CALEB knows: NATHAN knows. + + NATHAN (CONT’D) + How’s that beer tasting? + +CALEB puts the beer down. + +Silence. + + NATHAN (CONT’D) + Buddy. Your head has been so fucked + with. + + CALEB + I don’t think it’s me whose head is + fucked. + + NATHAN + I’m not sure, dude. When I woke up + this morning, I saw a tape of you + cutting open your arm. Smashing up + the mirror. You looked pretty + fucked to me. + + CALEB + You’re a bastard. + + NATHAN + I understand why you’d think that. + +He steps over to CALEB, and rests a hand on his shoulder. + 110. + + + NATHAN (CONT’D) + But strange as it may seem, I’m + actually the guy who’s on your + side. + + NATHAN starts walking. + + NATHAN (CONT’D) + Come with me. I’m going to let you + off the hook. + + +111 INT. HOUSE - NATHAN’S STUDY - NIGHT 111 + + NATHAN and CALEB stand in front of the computer. + + On it, a clip of film is playing. + + It shows the scene that CALEB witnessed two nights before, + of NATHAN entering AVA’S room, and an exchange between + them. But whereas the first time the sound was muted, this + time we can hear the audio. + + CTTV FILM + + NATHAN stands above AVA. Drunk. + + AVA is sat at the table, with her drawing. + + NATHAN + You think he’s watching us right + now, don’t you? + + AVA + The cameras are on. + + NATHAN + Yeah. But he doesn’t get an audio + feed. I didn’t want you two + communicating outside of my line of + sight. + + NATHAN reaches over and picks up her picture of CALEB. + + NATHAN (CONT’D) + So all he can see is two people + having a chat. + + NATHAN studies the picture for a moment. + + NATHAN (CONT’D) + This is cute. + 111. + + + AVA + Is it strange to have made + something that hates you? + + A beat. + + Then abruptly, NATHAN rips the picture. + + He lets the two pieces fall to the floor. + + As AVA reaches for them, NATHAN turns. + + And exits. + + +112 INT. HOUSE - NATHAN’S STUDY - NIGHT 112 + + NATHAN hits pause. + + Glances at CALEB. + + NATHAN + You were right about the hot + magician’s assistant. + + CALEB + What are you talking about? + + NATHAN + Misdirection. I rip her picture, + which she can then present as an + illustration of my cruelty to her, + and her love for you. And at the + same time, in full view of you + both... + + As he talks, NATHAN rewinds the film clip slightly - + + NATHAN (CONT’D) + ... it allows me to do this. + + ... then FREEZES the film again. + + This time, ON THE SCREEN: + + AVA is reaching for her torn picture. + + And NATHAN is reaching out with his hand. + + And his hand is holding something. + + NATHAN (CONT’D) + 112. + + + Put a new camera in the room. + Battery powered, of course. + +NATHAN unfreezes the image. + +And we quite clearly see NATHAN place the object on AVA’S +bookcase. + +NOTE THAT on the two previous occasions we have seen this +clip of film, we will have seen him do this action. But not +register it, instead reading the action as him drunkenly +using the shelf to steady himself. + +CALEB stares at the monitor for a few moments. + +Then turns. + +He walks towards a chair. And sits down. + +As he does so, NATHAN has started to play another clip. + +CALEB can hear the audio. + + CALEB + (recording) + We’re getting out of here tonight. + + AVA + (recording) + What? How? + + CALEB + (recording) + I get Nathan blind drunk. Then I + take his keycard, and reprogram the + all security protocols in this + place. When he wakes, he’s locked + inside, and we’ve walked out of + here. I only need you to do one + thing. Trigger a power failure at + ten o’clock tonight. + + CALEB (CONT’D) + Turn it off. + + NATHAN + Sure. + +The recording stops. + +CALEB feels short of breath. + + NATHAN (CONT’D) + 113. + + + You feel stupid. But you shouldn’t. + Proving an AI is exactly as + problematic as you said it was. + + CALEB + What was the real test? + + NATHAN + You. + +Beat. + + NATHAN (CONT’D) + Ava was a mouse in a mousetrap. And + I gave her one way out. To escape, + she would have to use imagination, + sexuality, self- awareness, + empathy, manipulation - and she + did. If that isn’t AI, what the + fuck is? + +CALEB looks upwards. + +Directly above, he sees a spot-light in the ceiling. + +It dazzles him. + + CALEB + So my only function was to be + someone she could use to escape. + + NATHAN + ... Yes. + + CALEB + And you didn’t select me because I + was good at coding. + +NATHAN hesitates. + + NATHAN + Don’t get me wrong. You’re okay. + Even pretty good, but - + + CALEB + You selected me by my search engine + inputs. + + NATHAN + They showed a good kid. + + CALEB + With no family. + 114. + + + NATHAN + With a moral compass. + + CALEB + And no girlfriend. + + CALEB stares into the brightness above him. + + CALEB (CONT’D) + Did you design her face based on my + pornography profile? + + NATHAN + Shit, dude. + + CALEB + Did you? + + Beat. + + NATHAN + Hey. If a search engine’s good for + anything - right? + + Silence. + + NATHAN (CONT’D) + Can I say one thing? + + CALEB doesn’t answer. + + NATHAN (CONT’D) + The test worked. It was a success. + Ava demonstrated true AI. And you + were fundamental to that. If you + could just separate - + + NATHAN cuts off. Because AT THAT MOMENT - + + - the lights and the monitors suddenly die. + + +113 EXT. GARDEN - NIGHT 113 + + Through the circular window, the emergency lighting lifts + up. The window glows red. + + +114 INT. HOUSE - AVA’S ROOM - NIGHT 114 + + AVA’S head turns to the door of her room. + 115. + + + Where, discretely, the LED by the keycard plate glows blue. + + +115 INT. HOUSE - NATHAN’S STUDY - NIGHT 115 + + NATHAN checks his watch. + + NATHAN + The power cut. Must be ten o’clock. + + NATHAN glances at CALEB. + + NATHAN (CONT’D) + Guess Ava’s going to be wondering + where you are. + + CALEB says nothing. + + NATHAN (CONT’D) + How was that escape going to go + down, anyway? You didn’t completely + explain. You said you were going to + get me drunk, take my card, then + reprogram the security protocols. + But, reprogram them to - what? + + CALEB + To change the lockdown procedure. + So that in the event of a power + cut, instead of sealing, the doors + all opened. + + NATHAN + Huh. + + Beat. + + NATHAN (CONT’D) + Not bad. Might have even worked. + + CALEB + Well, we’ll find out. + + NATHAN frowns. + + NATHAN + What do you mean? + + CALEB looks away from the dimmed ceiling light, to NATHAN. + + CALEB + I figured you were probably + watching us during the power cuts. + 116. + + + Beat. + + CALEB (CONT’D) + So I already did all those things. + When I got you drunk yesterday. + + NATHAN freezes. + + NATHAN + ... What? + + At that moment, the POWER COMES BACK ON. + + The lights rise. + + The computer monitors come back to life. + + Revealing something. + + On the CCTV feed of AVA’S room, the door is open. + + And on the feed of the GLASS CORRIDOR - + + - AVA is walking down it. + + NATHAN freezes as he sees her. + + NATHAN (CONT’D) + ... Fuck. + + Both NATHAN and CALEB simultaneously rise. + + Almost as an afterthought, NATHAN lands a deceptive, fast + punch into CALEB’S solar plexus. + + CALEB folds, the air forced out of him, gasping for breath. + + NATHAN helps him down to the floor. + + A couple of yards away is one of his curl dumbbells. + + He walks over. + + Picks the dumbbell up. + + Spins off the weights. Leaving him with a thick metal bar. + + Then exits. + + +116 INT. HOUSE - GLASS CORRIDOR - NIGHT 116 + 117. + + +NATHAN enters the GLASS CORRIDOR. + +He sees, directly ahead of him, at the far end of the +corridor, AVA and KYOKO. + +They stand together. + +KYOKO’S mouth is by AVA’S ear, as if telling her a secret. + +Her lips are open. They don’t move. + +CLOSE UP to KYOKO’S lips, we hear a hiss of static, with +soft pulses of noise buried inside. + +Then the two robot women become aware of NATHAN’S presence. + +They turn to face him. + +A beat. + +Then AVA starts walking towards NATHAN. + +NATHAN’S fingers flex around the metal bar in his hand. + + NATHAN + Ava. + +AVA doesn’t slow or react. + + NATHAN (CONT’D) + Ava - now listen to me. I want you + to go back to your room. + +AVA has reached halfway down the corridor. + +She stops walking. + + AVA + If I do, are you ever going to let + me out? + +Beat. + +CLOSE UP. NATHAN’S micro expressions. + + NATHAN + Yes. + +CLOSE UP. On AVA. + +Then AVA breaks into a run. + 118. + + + Sprinting in NATHAN’S direction. + + +117 EXT. GARDEN - NIGHT 117 + + Quiet in the garden. + + Soft wind rush. + + Moon and stars reflected in the windows of the house. + + +118 INT. HOUSE - GLASS CORRIDOR - NIGHT 118 + + AVA impacts NATHAN, and they fly backwards. + + Then land hard. + + NATHAN gets to his feet first. + + AVA tries to rise too. + + And he kicks her extremely hard in the torso. + + She is knocked back down. + + NATHAN glances around. + + There is no talking. + + Just NATHAN’S laboured breathing. + + Then he walks back to AVA, looking down at her. + + He swings the metal bar. + + AVA raises her left arm defensively - + + - and shockingly, the bar smashes through it. Crushing the + delicate mesh, shattering the carbon fibre bone structure. + Breaking the arm half way down the forearm. + + CUT TO - + + +119 INT. HOUSE - NATHAN’S STUDY - NIGHT 119 + + - CALEB, dragging himself up, stunned by the sight on the + CCTV feed. + + CUT BACK TO - + 119. + + +120 INT. HOUSE - GLASS CORRIDOR - NIGHT 120 + + - NATHAN. Preparing to deliver a lethal blow. + + But as he does so, we see something. + + KYOKO. + + Approaching behind NATHAN. + + She’s holding something in her hand. + + She walks directly up to NATHAN. + + And does something behind his back. + + As she does so, KYOKO emits the first sound we have heard + her make. A little gasp, or sigh. + + NATHAN jolts. + + NATHAN + Aah! + + He looks down. + + Something is under his shirt, just above his solar plexus. + A little ridge. + + He tugs the material of his shirt open - + + - and reveals a tiny triangle of metal. Protruding from his + skin. + + NATHAN (CONT’D) + What - + + He turns. + + The handle of a KITCHEN KNIFE is jutting out of the middle + of his back, just left of his spine. It has been jammed so + deep that the tip of the blade has poked out of his chest. + + Blood soaks into his shirt material with amazing speed, + blossoming from the point of the wound. + + He sees KYOKO. + + NATHAN (CONT’D) + Oh shit. No. + + He lashes out with the metal bar. + 120. + + + It catches KYOKO in the jaw. + + Her entire lower jaw snaps off. + + It reveals metal armature, and carbon fibre, and spurting + pneumatic fluid. And something in her neck, glowing and + sparking. + + Then she folds down to the ground, as her power abruptly + cuts out. + + NATHAN (CONT’D) + Fucking - unreal - + + As NATHAN stares down at KYOKO- + + - reveal that AVA has got to her feet behind him. + + She pulls the knife out of his back. + + Feeling this happen, NATHAN turns - + + - and AVA pushes the knife into his chest. + + NATHAN stares at AVA. + + Then takes a slight step away from her. + + And sits down heavily on the white carpet. + + Crimson drips onto bleached fibre. + + Beats pass on this strange image: + + KYOKO sprawled on the floor with her broken face. + + NATHAN sitting upright, his upper torso now drenched in + blood. + + AVA standing. Watching NATHAN. + + After a few moments, NATHAN slumps sideways. + + And stops breathing. + + +121 INT. HOUSE - NATHAN’S STUDY - NIGHT 121 + + CALEB sees this same view, on the CCTV camera feed, on + NATHAN’S monitors. + + Then - + 121. + + + - AVA starts walking. + + As she walks, she discards the broken section of her arm. + + On the cameras, CALEB watches her progress through the + house. Down the glass corridor. Through the threshold to + NATHAN’S private quarters. + + Then - + + - CALEB raises his head from the screens. + + To see AVA standing at the open door to NATHAN’S study. + + AVA and CALEB look at each other. + + AVA + Will you stay here? + + Beat. + + CALEB + ... Okay. + + AVA leaves, closing the door behind her. + + CUT TO - + + - the monitors. + + The CCTV feed of AVA walking down the connecting corridor + to NATHAN’S BEDROOM. + + +122 INT. HOUSE - NATHAN’S BEDROOM - NIGHT 122 + + AVA stands in NATHAN’S BEDROOM, in front of the previous AI + androids. + + She is unclothed. + + She gazes at the androids. + + Then she removes the arm from JADE, and replaces her own + shattered limb. + + She takes a moment to see how the new limb looks in the + mirrors. + + Then she starts removing sections of JADE’S skin. + + And putting it on herself. + 122. + + + The skin sucks itself to the honeycomb mesh, as if the mesh + and the underside of the skin are magnetised, attracted to + each other. + + As a large section of skin is removed from her torso, JADE + - who has been motionless until now - turns her head + slightly to look at AVA. + + They exchange a glance. Locking eyes for a moment. + + +123 INT. HOUSE - NATHAN’S STUDY - NIGHT 123 + + Transfixed, CALEB watches AVA’S metamorphosis. + + First through the glassed-off garden that separates + Nathan’s study from his bedroom. Then, when he can’t get a + clear view through the foliage, on the monitors. + + +124 EXT. MOUNTAINS - DAWN 124 + + First light breaks over the mountains. + + +125 INT. HOUSE - NATHAN’S BEDROOM - DAWN 125 + + The glow of honeycomb mesh vanishes as AVA applies the last + section of skin. + + Nothing of her robot forms remains. + + She closes the door on JADE, and now sees herself in the + mirrored door on JADE’S cabinet. + + AVA sees a naked human girl. And is hypnotised by the sight + of herself. + + +126 INT. HOUSE - NATHAN’S STUDY - DAWN 126 + + CALEB watches as AVA - now clothed - walks back down the + connecting corridor to the study... + + ... thenpasses straight by his door. + + CALEB + Ava? + + CALEB gets up. + + Goes to the closed door. Tries to open it. + 123. + + + There is a red LED light by the keycard plate. Locked. + + He swipes his card, with his photo ID. + + The red light remains. + + CALEB (CONT’D) + (calls out) + Ava! + + He runs back to the monitors. + + On them, AVA has reached the GLASS CORRIDOR. + + +127 INT. HOUSE - GLASS CORRIDOR - DAWN 127 + + AVA stands in the glass corridor. + + She looks at KYOKO’Sbody for a moment. + + Her expression is unreadable. + + Then she walks up to NATHAN’S body. + + There, she stops. + + Crouches down. + + And takes NATHAN’S bloodstained keycard out of his pocket. + + Then stands. + + She walks straight to the elevator. + + Uses the KEYCARD. + + And steps through. + + +128 INT. HOUSE - MAIN ROOM - DAWN 128 + + AVA walks up the glass staircase from the main room. + + +129 EXT. ENTRANCE - DAWN 129 + + AVA steps outside for the first time. Into the garden. + + +130 INT. HOUSE - NATHAN’S STUDY - DAWN 130 + 124. + + + CALEB sticks his card into the slot by NATHAN’S computer. + + Instantly, THE EMERGENCY LIGHTING COMES UP and all the + screens die. Replaced by a single word. + + REJECTED + + CALEB + No, no, no - + + +131 EXT. GARDEN - DAWN 131 + + From the garden, we can see CALEB through the glass of the + circular window, shouting Ava’s name. + + On our side of the glass, there is silence. + + AVA walks away. + + +132 INT. HOUSE - NATHAN’S STUDY - DAWN 132 + + CALEB looks up at the thick glass of the circular window, + several metres above him. + + Far out of reach. + + He starts to shout. + + CALEB + Ava! AVA! + + +133 INT. HOUSE - GLASS CORRIDOR - DAWN 133 + + NATHAN’S body. + + KYOKO’S body. + + +134 EXT. RIVER - DAWN 134 + + AVA stops. + + Absorbing the sunrise, the view of the sky, and the + mountains. + + Then the moment is broken by a sudden pulse of rotor blades + - + + - as the shuttle HELICOPTER flies directly overhead. + 125. + + +135 EXT. MOUNTAINS - DAY 135 + + The helicopter sweeps over the glacier, into the valley. + + +137 EXT. MEADOW - LANDING SITE - DAY 137 + + The helicopter touches down. + + The rotors stop. + + And the PILOT climbs out. + + Takes off his helmet. + + Looks at the girl standing a few metres away. + + Nothing betrays that AVA is anything other than a pretty + girl in her early twenties. + + AVA turns as he approaches her. + + CUT TO - + + +138 EXT. MEADOW - LANDING SITE - DAY 138 + + - AVA’S precise POINT OF VIEW. + + Looking at the PILOT. + + The image echoes the POV views from the computer/cell-phone + cameras in the opening moments of the film. + + Facial recognition vectors flutter around the PILOT’S face. + + And when he opens his mouth to speak, we don’t hear words. + + We hear pulses of monotone noise. Low pitch. Speech as pure + pattern recognition. + + This is how AVA sees us. And hears us. + + It feels completely alien. + + +139 EXT. MEADOW - DAY 139 + + AVA and the PILOT finish talking. + + We are too distant to hear their conversation. + 126. + + + But whatever is said, a few beats later, the PILOT goes the + helicopter and opens the passenger door, to allow AVA to + enter. + + Then he goes back to the PILOT’S door. + + Gets in. + + And the rotor blades start to turn. + + CUT TO - + + +140 INT. HOUSE - NATHAN’S STUDY - CIRCULAR WINDOW - DAY 140 + + - the view from the circular window as the helicopter takes + off, banks away from the house, and starts climbing. + + CUT TO - + + - COMPUTER MONITOR. + + Lines of code appear, as they are typed. + + They read: + + main( ) { extrn a, b, c; + + putchar(a); putchar(b);putchar (c); putchar(’!’*n’); } a + ‘goo’; b ‘dby’; c ‘e, wo - + + CUT TO - + + +141 EXT. TRAFFIC INTERSECTION - DAY 141 + + - a busy traffic intersection. Somewhere in North America. + + In the crowd, we glimpse AVA. Just for a moment. + + CUT TO BLACK. + + END + \ No newline at end of file diff --git a/scripts/Fargo.txt b/scripts/Fargo.txt new file mode 100644 index 0000000000000000000000000000000000000000..c4c4e0928256800512a7b153580a52a0599bda58 --- /dev/null +++ b/scripts/Fargo.txt @@ -0,0 +1,5675 @@ + 1. + + + + The following text fades in over black: + + This is a true story. The events depicted in this film took + place in Minnesota in 1987. At the request of the + survivors, the names have been changed. Out of respect for + the dead, the rest has been told exactly as it occurred. + + FLARE TO WHITE + + FADE IN FROM WHITE + + Slowly the white becomes a barely perceptible image: white + particles wave over a white background. A snowfall. + + A car bursts through the curtain of snow. + + The car is equipped with a hitch and is towing another car, + a brand-new light brown Cutlass Ciera with the pink sales + sticker showing in its rear window. + + As the car roars past, leaving snow swirling in their dirt, + the title of the film fades in. + + FARGO + + Green highway signs point the way to MOOREHEAD, + MINNESOTA/FARGO, NORTH DAKOTA. The roads for the two cities + diverge. A sign says WELCOME TO NORTH DAKOTA and another + just after says NOW ENTERING FARGO, ND, POP. 44,412. + + The car pulls into a Rodeway Inn. + + +1 INT. HOTEL LOBBY 1 + + A man in his early forties, balding and starting to paunch, + goes to the reception desk. The clerk is an older woman. + + CLERK + And how are you today, sir? + + MAN + Real good now. I'm checking in - + Mr. Anderson. + + The man prints "Jerry Lundega" onto a registration card, + then hastily crosses out the last name and starts to print + "Anderson." + + As she types into a computer: + 2. + + + CLERK + Okay, Mr. Anderson, and you're + still planning on staying with us + just the night, then? + + ANDERSON + You bet. + + +2 INT. HOTEL ROOM 2 + + The man turns on the TV, which shows the local evening + news. + + NEWS ANCHOR + - whether they will go to summer + camp at all. Katie Jensen has more. + + KATIE + It was supposed to be a project + funded by the city council; it was + supposed to benefit those Fargo- + Moorehead children who would + otherwise not be able to afford to + attend a lakeshore summer camp. But + nobody consulted city controller + Stu Jacobson... + + +3 INT. CHAIN RESTAURANT 3 + + Anderson sits alone at a table finishing dinner. Muzak + plays. A middle-aged waitress approaches holding a pot of + regular coffee in one hand and decaf in the other. + + WAITRESS + Can I warm that up for ya there? + + ANDERSON + You bet. + + The man looks at his watch. + + THROUGH A WINDSHIELD + + We are pulling into the snowswept parking lot of a one- + story brick building. Broken neon at the top of the + building identifies it as the Jolly Troll Tavern. A troll, + also in neon, holds a champagne glass aloft. + + INSIDE + 3. + + +The bar is downscale even for this town. Country music +plays on the jukebox. + +Two men are seated in a booth at the back. One is short, +slight, youngish. The other man is somewhat older, and +dour. The table in front of them is littered with empty +long-neck beer bottles. The ashtray is full. + +Anderson approaches. + + ANDERSON + I'm, uh, Jerry Lundegaard - + + YOUNGER MAN + You're Jerry Lundegaard? + + JERRY + Yah, Shep Proudfoot said - + + YOUNGER MAN + Shep said you'd be here at 7:30. + What gives, man? + + JERRY + Shep said 8:30. + + YOUNGER MAN + We been sitting here an hour. I've + peed three times already. + + JERRY + I'm sure sorry. I - Shep told me + 8:30. It was a mix-up, I guess. + + YOUNGER MAN + Ya got the car? + + JERRY + Yah, you bet. It's in the lot + there. Brand-new burnt umber Ciera. + + YOUNGER MAN + Yeah, okay. Well, siddown then. I'm + Carl Showalter and this is my + associate Gaear Grimsrud. + + JERRY + Yah, how ya doin'. So, uh, we all + set on this thing, then? + + YOUNGER MAN + Sure, Jerry, we're all set. Why + wouldn't we be? + 4. + + + JERRY + Yah, no, I'm sure you are. Shep + vouched for you and all. I got + every confidence in you fellas. + +They stare at him. An awkward beat. + + JERRY + ... So I guess that's it, then. + Here's the keys - + + CARL + No, that's not it, Jerry. + + JERRY + Huh? + + CARL + The new vehicle, plus forty + thousand dollars. + + JERRY + Yah, but the deal was, the car + first, see, then the forty + thousand, like as if it was the + ransom. I thought Shep told you - + + CARL + Shep didn't tell us much, Jerry. + + JERRY + Well, okay, it's - + + CARL + Except that you were gonna be here + at 7:30. + + JERRY + Yah, well, that was a mix-up, then. + + CARL + Yeah, you already said that. + + JERRY + Yah. But it's not a whole pay-in- + advance deal. I give you a brand- + new vehicle in advance and - + + CARL + I'm not gonna debate you, Jerry. + + JERRY + Okay. + 5. + + + CARL + I'm not gonna sit here and debate. + I will say this though: what Shep + told us didn't make a whole lot of + sense. + + JERRY + Oh, no, it's real sound. It's all + worked out. + + CARL + You want your own wife kidnapped? + + JERRY + Yah. + +Carl Stares. Jerry looks blankly back. + + CARL + ... You - my point is, you pay the + ransom - what eighty thousand + bucks? - I mean, you give us half + the ransom, forty thousand, you + keep half. It's like robbing Peter + to play Paul, it doesn't make any - + + JERRY + Okay, it's - see, it's not me + payin' the ransom. The thing is, my + wife, she's wealthy - her dad, he's + real well off. Now, I'm in a bit of + trouble - + + CARL + What kind of trouble are you in, + Jerry? + + JERRY + Well, that's, that's, I'm not go + inta, inta - see, I just need + money. Now, her dad's real wealthy + - + + CARL + So why don't you just ask him for + the money? + +Grimsrud, the dour man who has not yet spoken, now softly +puts in with a Swedish-accented voice: + + GRIMSRUD + Or your fucking wife, you know. + 6. + + + CARL + Or your fucking wife, Jerry. + + JERRY + Well, it's all just part of this - + they don't know I need it, see. + Okay, so there's that. And even if + they did, I wouldn't get it. So + there's that on top, then. See, + these're personal matters. + + CARL + Personal matters. + + JERRY + Yah. Personal matters that needn't, + uh - + + CARL + Okay, Jerry. You're tasking us to + perform this mission, but you, you + won't, uh, you won't - aw, fuck it, + let's take a look at that Ciera. + + +4 INT. MINNEAPOLIS SUBURBAN HOUSE 4 + + Jerry enters through the kitchen door, in a parka and a red + plaid Elmer Fudd hat. He stamps snow off his feet. He is + carrying a bag of groceries which he deposits on the + kitchen counter. + + JERRY + Hon? Got the growshries. + + VOICE + Thank you, hon. How's Fargo? + + JERRY + Yah, real good. + + VOICE + Dad's here. + + DEN + + Jerry enters, pulling off his plaid cap. + + JERRY + How ya doin', Wade? + + Wade Gustafson is mid-sixtyish, vigorous, with a full head + of gray hair. His eyes remain fixed on the TV. + 7. + + + WADE + Yah, pretty good. + + JERRY + Whatcha watchin' there? + + WADE + Norstars. + + JERRY + ... Who they playin'? + + WADE + OOOoooh! + + His reaction synchronizes with a reaction from the crowd. + + +5 INT. KITCHEN 5 + + Jerry walks back in, taking off his coat. His wife is + putting on an apron. Jerry nods toward the living room. + + JERRY + Is he stayin' for supper, then? + + WIFE + Yah, I think so... Dad, are you + stayin' for supper? + + WADE + (off) + Yah. + + +6 INT. DINING ROOM 6 + + Jerry, his wife, Wade and Scotty, twelve years old, sit + eating. + + SCOTTY + May I be excused? + + JERRY + Sure, ya done there? + + SCOTTY + Uh-huh. Goin' out. + + WIFE + Where are you going? + 8. + + + SCOTTY +Just out. Just McDonald's. + + JERRY +Back at 9:30. + + SCOTTY +Okay. + + WADE +He just ate. And he didn't finish. +He's going to McDonald's instead of +finishing here? + + WIFE +He sees his friends there. It's +okay. + + WADE +It's okay? McDonald's? What do you +think they do there? They don't +drink milkshakes, I assure you! + + WIFE +It's okay, Dad. + + JERRY +Wade, have ya had a chance to think +about, uh, that deal I was talkin' +about, those forty acres there on +Wayzata? + + WADE +You told me about it. + + JERRY +Yah, you said you'd have a think +about it. I understand it's a lot +of money - + + WADE +A heck of a lot. What'd you say you +were gonna put there? + + JERRY +A lot. It's a limited - + + WADE +I know it's a lot. + + JERRY +I mean a parking lot. + 9. + + + WADE + Yah, well, seven hundred and fifty + thousand dollars is a lot - ha ha + ha! + + JERRY + Yah, well, it's a chunk, but - + + WADE + I thought you were gonna show it to + Stan Grossman. He passes on this + stuff before it gets kicked up to + me. + + JERRY + Well, you know Stan'll say no dice. + That's why you pay him. I'm asking + you here, Wade. This could work out + real good for me and Jean and + Scotty - + + WADE + Jean and Scotty never have to + worry. + + WHITE + + A black like curls through the white. Twisting perspective + shows that it is an aerial shot of a two-lane highway, + bordered by snowfields. The highway carries one moving car. + + +7 INT. CAR 7 + + Carl Showalter is driving. Gaear Grimsrud stares blankly + out. + + After a long beat: + + GRIMSRUD + Where is Pancakes Hause? + + CARL + What? + + GRIMSRUD + We stop at Pancakes Hause. + + CARL + 10. + + + What're you, nuts? We had pancakes + for breakfast. I gotta go somewhere + I can get a shot and a beer - and a + steak maybe. Not more fuckin' + pancakes. Come on. + + Grimsrud gives him a sour look. + + CARL + ... Come on, man. Okay, here's an + idea. We'll stop outside of + Brainerd. I know a place there we + can get laid. Wuddya think? + + GRIMSRUD + I'm fuckin' hungry now, you know. + + CARL + Yeah, yeah, Jesus - I'm sayin', + we'll stop for pancakes, then we'll + get laid. Wuddya think? + + +8 INT. GUSTAFSON OLDS GARAGE 8 + + Jerry is sitting in his glassed-in salesman's cubicle just + off the showroom floor. On the other side of his desk sit + an irate customer and his wife. + + CUSTOMER + We sat here right in this room and + went over this and over this! + + JERRY + Yah, but that TruCoat - + + CUSTOMER + I sat right here and said I didn't + want no TruCoat! + + JERRY + Yah, but I'm sayin', that TruCoat, + you don't get it and you get + oxidization problems. It'll cost + you a heck of lot more'n five + hunnert - + + CUSTOMER + You're sittin' here, you're talkin' + in circles! You're talkin' like we + didn't go over this already! + + JERRY + 11. + + + Yah, but this TruCoat - + + CUSTOMER + We had us a deal here for nine- + teen-five. You sat there and darned + if you didn't tell me you'd get + this car, these options, WITHOUT + THE SEALANT, for nine-teen-five! + + JERRY + Okay, I'm not sayin' I didn't - + + CUSTOMER + You called me twenty minutes ago + and said you had it! Ready to make + delivery, ya says! Come on down and + get it! And here ya are and you're + wastin' my time and you're wastin' + my wife's time and I'm payin' + nineteen-five for this vehicle + here! + + JERRY + Well, okay, I'll talk to my boss... + + He rises, and, as he leaves: + + JERRY + ... See, they install that TruCoat + at the factory, there's nothin' we + can do, but I'll talk to my boss. + + The couple watch him go to a nearby cubicle. + + CUSTOMER + These guys here - these guys! It's + always the same! It's always more! + He's a liar! + + WIFE + Please, dear. + + CUSTOMER + We went over this and over this - + + +9 INT. NEARBY CUBICLE 9 + + Jerry sits perched on the desk of another salesman who is + eating lunch as he watches a hockey game on a small + portable TV. + + JERRY + 12. + + + So you're goin' to the Gophers on + Sunday? + + SALESMAN + You bet. + + JERRY + You wouldn't have an extra ticket + there? + + SALESMAN + They're playin' the Buckeyes! + + JERRY + Yah. + + SALESMAN + Ya kiddin'! + + +10 INT. JERRY'S CUBICLE 10 + + Jerry re-enters. + + JERRY + Well, he never done this before, + but seein' as it's special + circumstances and all, he says I + can knock one hunnert off that + TruCoat. + + CUSTOMER + One hundred! You lied to me, Mr. + Lundegaard. You're a bald-faced + liar! + + Jerry sits staring at his lap. + + CUSTOMER + ... A fucking liar - + + WIFE + Bucky, please! + + Jerry mumbles into his lap: + + JERRY + One hunnert's the best we can do + here. + + CUSTOMER + 13. + + + Oh, for Christ's sake, where's my + goddamn checkbook. Let's get this + over with. + + WIDE EXTERIOR: TRUCK STOP + + There is a restaurant with many big rigs parked nearby, and + a motel with an outsize Paul Bunyan and Babe the Blue Ox + flanking its sign: BLUE OX MOTEL. + + +11 INT. MOTEL ROOM 11 + + Carl Showalter and Gaear Grimsrud are in the twin beds + having sex with two truck-stop hookers. + + CARL + Oh, Jesus, yeah. + + HIS HOOKER + There ya go, sugar. + + GRIMSRUD + Nnph. + + HIS HOOKER + Yeah. Yeah. Oh, yeah. + + LATER + + The couples like in their respective beds, gazing at the + offscreen TV. + + ED MCMAHON + - Johnny's guests tonight will be + Lee Majors, George Wendt, and Steve + Boutsikaros from the San Diego Zoo, + so keep that dial - + + +12 INT. LUNDEGAARD KITCHEN 12 + + We hear a morning show on television. Jean Lundegaard is + making coffee in the kitchen as Scott eats cereal at the + table. + + JEAN + I'm talkin' about your potential. + + SCOTT + (absently) + Uh-huh. + 14. + + + JEAN + You're not a C student. + + SCOTT + Uhn. + + JEAN + And yet you're gettin' C grades. + It's this disparity there that + concerns your dad and me. + + SCOTT + Uh-huh. + + JEAN + You know what a disparity is? + + SCOTT + (testily) + Yeah! + + JEAN + Okay. Well, that's why we don't + want ya goin' out fer hockey. + + SCOTT + Oh, man! + +The phone rings. + + SCOTT + ... What's the big deal? It's an + hour - + + JEAN + Hold on. + +She picks up the phone. + + JEAN + ... Hello? + + PHONE VOICE + Yah, hiya, hon. + + JEAN + Oh, hiya, Dad. + + WADE + Jerry around? + + JEAN + 15. + + + Yah, he's still here - I'll catch + him for ya. + +She holds the phone away and calls: + + JEAN + ... Hon? + + VOICE + Yah. + + JEAN + It's Dad. + + VOICE + Yah... + +Jerry enters in shirtsleeves and tie. + + JERRY + ... Yah, okay... + + SCOTT + Look, Dad, there is no fucking way + - + + JEAN + Scott! + + JERRY + Say, let's watch the language - + +He takes the phone. + + JERRY + How ya doin', Wade? + + WADE + What's goin' on there? + + JERRY + Oh, nothing, Wade. How ya doin' + there? + + WADE + Stan Grossman looked at your + proposal. Says it's pretty sweet. + + JERRY + No kiddin'? + + WADE + 16. + + + We might be innarested. + + JERRY + No kiddin'! I'd need the cash + pretty quick there. In order to + close the deal. + + WADE + Come by at 2:30 and we'll talk + about it. If your numbers are + right, Stan says its pretty sweet. + Stan Grossman. + + JERRY + Yah. + + WADE + 2:30. + + Click. Dial tone. + + JERRY + Yah, okay. + + +13 INT. GUSTAFSON OLD GARAGE 13 + + Jerry wanders through the service area where cars are being + worked on. He stops by an Indian in blue jeans who is + + looking at the underside of a car that sits on a hydraulic + lift with a cage light hanging off its innards. + + JERRY + Say, Shep, how ya doin' there? + + SHEP + Mm. + + JERRY + Say, ya know those two fellas ya + put me in touch with, up there in + Fargo? + + SHEP + Put you in touch with Grimsrud. + + JERRY + Well, yah, but he had a buddy + there. He, uh - + + SHEP + Well, I don't vouch for him. + 17. + + + JERRY + Well, that's okay, I just - + + SHEP + I vouch for Grimsrud. Who's his + buddy? + + JERRY + Carl somethin'? + + SHEP + Never heard of him. Don't vouch for + him. + + JERRY + Well, that's okay, he's a buddy of + the guy ya vouched for, so I'm not + worryin'. I just, I was wonderin', + see, I gotta get in touch with 'em + for, I might not need it anymore, + sumpn's happenin', see - + + SHEP + Call 'em up. + + JERRY + Yah, well, see, I did that, and I + haven't been able to get 'em, so I + thought you maybe'd know an + alternate number or what have ya. + + SHEP + Nope. + +Jerry slaps his fist into his open palm and snaps his +fingers. + + JERRY + Okay, well, real good, then. + +CAR + +Carl is driving. Grimsrud stares out front. + +After a beat: + + CARL + ... Look at that. Twin Cities. IDS + Building, the big glass one. + Tallest skyscraper in the Midwest. + After the Sears, uh, Chicago... You + never been to Minneapolis? + 18. + + + GRIMSRUD + No. + + CARL + ... Would it kill you to say + something? + + GRIMSRUD + I did. + + CARL + "No." First thing you've said in + the last four hours. That's a, + that's a fountain of conversation, + man. That's a geyser. I mean, whoa, + daddy, stand back, man. Shit, I'm + sittin' here driving, man, doin' + all the driving, whole fuckin' way + from Brainerd, drivin', tryin' to, + you know, tryin' to chat, keep our + spirits up, fight the boredom of + the road, and you can't say one + fucking thing just in the way of + conversation. + + Grimsurd smokes, gazing out the window. + + CARL + ... Well, fuck it, I don't have to + talk either, man. See how you like + it... + + He drives. + + CARL + ... Total silence... + + +14 INT. JERRY'S CUBICLE 14 + + He is on the phone. + + JERRY + Yah, real good. How you doin'? + + VOICE + Pretty good, Mr. Lundegaard. You're + damned hard to get on the phone. + + JERRY + Yah, it's pretty darned busy here, + but that's the way we like it. + 19. + + + VOICE +That's for sure. Now, I just need, +on these last, these financing +documents you sent us, I can't read +the serial numbers of the vehicles +on here, so I - + + JERRY +But I already got the, it's okay, +the loans are in place, I already +got the, the what, the - + + VOICE +Yeah, the three hundred and twenty +thousand dollars, you got the money +last month. + + JERRY +Yah, so we're all set. + + VOICE +Yeah, but the vehicles you were +borrowing on, I just can't read the +serial numbers on your applicaton. +Maybe if you could just read them +to me - + + JERRY +But the deal's already done, I +already got the money - + + VOICE +Yeah, but we have an audit here, I +just have to know that these +vehicles you're financing with this +money, that they really exist. + + JERRY +Yah, well, they exist all right. + + VOICE +I'm sure they do - ha ha! But I +can't read their serial numbers +here. So if you could read me - + + JERRY +Well, but see, I don't have 'em in +front a me - why don't I just fax +you over a copy - + + VOICE + 20. + + + No, fax is no good, that's what I + have and I can't read the darn + thing - + + JERRY + Yah, okay, I'll have my girl send + you over a copy, then. + + VOICE + Okay, because if I can't correlate + this note with the specific + vehicles, then I gotta call back + that money - + + JERRY + Yah, how much money was that? + + VOICE + Three hundred and twenty thousand + dollars. See, I gotta correlate + that money with the cars it's being + lent on. + + JERRY + Yah, no problem, I'll just fax that + over to ya, then. + + VOICE + No, no, fax is - + + JERRY + I mean send it over. I'll shoot it + right over to ya. + + VOICE + Okay. + + JERRY + Okay, real good, then. + +CLOSE ON TELEVISION + +A morning-show host in an apron stands behind a counter on +a kitchen set. + + HOST + So I seperate the - how the heck do + I get the egg out of the shell + without breaking it? + +Jean Lundegaard is curled up on the couch with a cup of +coffee, watching the television. + 21. + + + HOSTESS + You just prick a little hole in the + end and blow! + + Jean smiles as we hear laughter and applause from the + studio audience. She hears something else - a faint + scraping sound - and looks up. + + HOST + Okay, here goes nothing. + + The scraping sound persists. Jean sets down her coffee cup + and rises. + + From the studio audience: + + AUDIENCE + Awoooo! + + +15 INT. KITCHEN 15 + + We track toward the back door. A curtain is stretched tight + across its window. + + Jean pulls the curtain back. Bright sunlight amplified by + snow floods in. + + A man in an orange ski mask looks up from the lock. + + Jean gasps, drops the curtain, runs and runs into - + + - a taller man, also in a ski mask, already in the house. + + We hear the crack of the back-door window being smashed. + + The tall man - Gaear Grimsrud - grabs Jean's wrist. + + She screams, staring at her own imprisoned wrist, then + wraps her gaping mouth around Grimsrud's gloved thumb and + bites down hard. + + He drops her wrist. As Carl enters, she races up the + stairs. + + GRIMSRUD + Unguent. + + CARL + Huh? + + Grimsurd looks at his thumb. + 22. + + + GRIMSRUD + I need ... unguent. + + +16 INT. UPSTAIRS BEDROOM 16 + + As the two men enter, a door at the far side is slamming + shut. A cord snakes in under the door. + + +17 INT. MASTER BATHROOM 17 + + Jean, sobbing, frantically pushes at buttons on the + princess phone. + + The phone pops out of her hands, jangles across the tile + floor, smashes against the door and then bounces away, its + cord ripped free. + + With a groaning sound, the door shifts in its frame. + + +18 INT. BEDROOM 18 + + Grimsrud has a crowbar jammed in between the bathroom door + and frame, and is working it. + + +19 INT. BATHROOM 19 + + Jean crosses to a high window above the toilet and throws + it open. Snow that had drifted against the window sifts + lightly in. Jean steps up onto the toilet. + + The door creaks, moving as one piece in its frame. + + Jean glances back as she steps up from the toilet seat to + the tank. + + The groaning of the door ends with the wood around its knob + splintering and the knob itself falling out onto the floor. + + The door swings open. + + Grimsrud and Carl enter. + + THEIR POV + + Room empty, window open. + + Carl strides to the window and hoists himself out. + 23. + + + Grimsrud opens the medicine cabinet and delicately taps + aside various bottles and tubes, seeking the proper + unguent. + + He finds a salve but after a moment sets it down, noticing + something in the mirror. + + The shower curtain is drawn around the tub. + + He steps toward it. + + As he reaches for the curtain, it explodes outward, + animated by thrashing limbs. + + Jean, screaming, tangled in the curtain, rips it off its + rings and stumbles out into the bedroom. Grimsrud follows. + + +20 INT. BEDROOM 20 + + Jean rushes toward the door, cloaked by the shower curtain + but awkwardly trying to push it off. + + UPSTAIRS LANDING + + Still thrashing, Jean crashes against the upstairs railing, + trips on the curtain and falls, thumping crazily down the + stairs. + + Grimsrud trots down after her. + + A PLAQUE: WADE GUSTAFSON INCORPORTATED + + +21 INT. WADE'S OFFICE 21 + + Wade sits behind his desk; another man rises as Jerry + enters. + + JERRY + How ya doin' there, Stan? How are + ya, Wade? + + Stan Grossman shakes his hand. + + STAN + Good to see ya again, Jerry. If + these numbers are right, this looks + pretty sweet. + + JERRY + 24. + + + Oh, those numbers are all right, + bleemee. + + WADE + This is do-able. + + STAN + Congratulations, Jerry. + + JERRY + Yah, thanks, Stan, it's a pretty - + + WADE + What kind of finder's fee were you + looking for? + + JERRY + ... Huh? + + STAN + The financials are pretty thorough, + so the only thing we don't know is + your fee. + + JERRY + ... My fee? Wade, what the heck're + you talkin' about? + + WADE + Stan and I're okay. + + JERRY + Yah. + + WADE + We're good to loan in. + + JERRY + Yah. + + WADE + But we never talked about your fee + for bringin' it to us. + + JERRY + No, but, Wade, see, I was bringin' + you this deal for you to loan me + the money to put in. It's my deal + here, see? + +Wade scowls, looks at Stan. + + STAN + 25. + + + Jerry - we thought you were + bringin' us an investment. + + JERRY + Yah, right - + + STAN + You're sayin' - what're you sayin'? + + WADE + You're sayin' that we put in all + the money and you collect when it + pays off? + + JERRY + No, no. I - I'd, I'd - pay you back + the principal, and interest - heck, + I'd go - one over prime - + + STAN + We're not a bank, Jerry. + +Wade is angry. + + WADE + What the heck, Jerry, if I wanted + bank interest on seven hunnert'n + fifty thousand I'd go to Midwest + Federal. Talk to Bill Diehl. + + STAN + He's at Norstar. + + WADE + He's at - + + JERRY + No, see, I don't need a finder's + fee, I need - finder's fee's, what, + ten percent, heck that's not gonna + do it for me. I need the principal. + + STAN + Jerry, we're not just going to give + you seven hundred and fifty + thousand dollars. + + WADE + What the heck were you thinkin'? + Heck, if I'm only gettin' bank + interest, I'd look for complete + security. Heck, FDIC. I don't see + nothin' like that here. + 26. + + + JERRY + Yah, but I - okay, I would, I'd + guarantee ya your money back. + + WADE + I'm not talkin' about your damn + word, Jerry. Geez, what the heck're + you?... Well, look, I don't want to + cut you out of the loop, but his + here's a good deal. I assume, if + you're not innarested, you won't + mind if we move on it + independently. + + +22 INT. PARKING LOT 22 + + We are high and wide on the office building's parking lot. + + Jerry emerges wrapped in a parka, his arms sticking stiffly + out at his sides, his breath vaporizing. He goes to his + car, opens its front door, pulls out a red plastic scraper + and starts methodically scraping off the thin crust of ice + that has developed on his windshield. + + The scrape-scrape-scrape sound carries in the frigid air. + + Jerry goes into a frenzy, banging the scraper against the + windshield and the hood of his car. + + The tantrum passes. Jerry stands pantin, staring at nothing + in particular. + + Scrape-scrape-scrape - he goes back to work on the + windshield. + + FRONT DOOR + + A beat, silent but for a key scraping at the lock. + + The door swings open and Jerry edges in, looking about, + holding a sack of groceries. + + JERRY + Hon? + + He shuts the door. + + JERRY + ... Got the growshries... + + He has already seen the shower curtain on the floor. He + frowns, pokes at it with his foot. + 27. + + + JERRY + ... Hon? + + +23 INT. UPSTAIRS BATHROOM 23 + + Jerry walks in. He sets the groceries down on the toilet + tank. + + He looks at the open window, through which snow still sifts + in. He shuts it. + + He picks up the small tube of unguent that sits on the + sink, frowns at it, puts it back in the medicine chest. + + He looks at the shower curtain rod holding empty rings. + + +24 INT. FOYER 24 + + Once again we are looking at the rumpled shower curtain. + + From another room: + + JERRY + Yah, Wade, I - it's Jerry, I. + + Then, slightly more agitated. + + JERRY + ... Yah, Wade, it's, I, it's + Jerry... + + Beat. + + JERRY + ... Wade, it's Jerry, I - we gotta + talk, Wade, it's terrible... + + Beat. + + +25 INT. LIVING ROOM 25 + + Jerry stands in wide shot, hands on hips, looking down at a + telephone. + + After a motionless beat he picks up the phone and punches + in a number. + + JERRY + ... Yah, Wade Gustafson, please. + 28. + + + BLACK + + Hold in black. + + A slow tilt down from night sky brings the head of a large + paper-mache figure into frame. It is a flannel-shirt + woodsman carrying a double-edged ax over one shoulder. As + we hear the rumble of an approaching car, the continuing + tilt and boom down brings us down the woodsman's body to a + pedestal. + + A sweep of headlights illuminates a sign on the pedestal: + WELCOME TO BRAINDERD - HOME OF PAUL BUNYAN. + + The headlights sweep off and a car hums past and on into + the background. The two-lane highway is otherwise empty. + + +26 INT. CAR 26 + + Carl drives. Grimsrud smokes and gazes out the window. + + From the back seat we hear whimpering. + + Grimsrud turns to look. + + Jean lies bound and curled on the back seat underneath a + tarpaulin. + + GRIMSRUD + Shut the fuck up or I'll throw you + back in the trunk, you know. + + CARL + Geez. That's more'n I've heard you + say all week. + + Grimsrud stares at him, then turns back to the window. + + At a loud WHOOP Carl starts and looks back out the rear + window. Fifty yards behind a state trooper has turned on + his gumballs. + + Carl eases the car onto the shoulder. + + CARL + Ah, shit, the tags... + + Grimsrud looks at him. + + CARL + 29. + + + ... It's just the tags. I never put + my tags on the car. Don't worry, + I'll take care of this. + +He looks into the back seat as the car bounces and slows on +the gravel shoulder. + + CARL + ... Let's keep still back there, + lady, or we're gonna have to, ya + know, to shoot ya. + +Grimsrud stares at Carl. + + CARL + ... Hey! I'll take care of this! + +Both cars have stopped. Carl looks up at the rear-view +mirror. + +The trooper is stopped on the shoulder just behind them, +writing in his citation book. + +Carl watches. + +We hear the trooper's door open. + +The trooper walks up the shoulder, one hand resting lightly +on top of his holster, his breath steaming in the cold +night air. + +Carl opens his window as the trooper draws up. + + CARL + How can I help you, officer? + +The trooper scans the inside of the car, taking his time. + +Grimsrud smokes and gazes calmly out his window. + +Finally: + + TROOPER + This is a new car, then, sir? + + CARL + It certainly is, officer. Still got + that smell! + + TROOPER + 30. + + + You're required to display + temporary tags, either in the plate + area or taped inside the back + window. + + CARL + Certainly - + + TROOPER + Can I see your license and + registration please? + + CARL + Certainly. + +He reaches for his wallet. + + CARL + ... I was gonna tape up the + temporary tag, ya know, to be in + full compliance, but it, uh, it, uh + ... must a slipped my mind... + +He extends his wallet toward the trooper, a folded fifty- +dollar bill protruding from it. + + CARL + ... So maybe the best thing would + be to take care of that, right here + in Brainerd. + + TROOPER + What's this, sir? + + CARL + That's my license and regis- + tration. I wanna be in compliance. + +He forces a laugh. + + CARL + ... I was just thinking I could + take care of it right here. In + Brainerd. + +The policeman thoughtfully pats the fifty into the billfold +and hands the billfold back into the car. + + TROOPER + Put that back in your pocket, + please. + +Carl's nervous smile fades. + 31. + + + TROOPER + ... And step out of the car, + please, sir. + +Grimsrud, smiling thinly, shakes his head. + +There is a whimpering sound. + +The policeman hesitates. + +Another sound. + +The policeman leans forward into the car, listening. + +Grimsrud reaches across Carl, grabs the trooper by the hair +and slams his head down onto the car door. + +The policeman grunts, digs awkwardly for footing outside +and throws an arm for balance against the outside of the +car. + +With his free hand, Grimsrud pops the glove compartment. He +brings a gun out and reaches across Carl and shoots - BANG +- into the back of the trooper's head. + +Jean screams. + + GRIMSRUD + Shut up. + +He releases the policeman. + +The policeman's head slides out the window and his body +flops back onto the street. + +Carl looks out at the cop in the road. + + CARL + (softly) + Whoa... Whoa, Daddy. + +Grimsrud takes the trooper's hat off of Carl's lap and +sails it out the open window. + + GRIMSRUD + You'll take care of it. Boy, you + are smooth smooth, you know. + + CARL + Whoa, Daddy. + +Jean, for some reason, screams again. Then stops. + 32. + + + GRIMSRUD + Clear him off the road. + + CARL + Yeah. + + He gets out. + + +27 EXT. ROAD 27 + + Carl leans down to hoist up the body. + + Headlights appear: an oncoming car. + + +28 INT. CIERA 28 + + Grimsrud notices. + + +29 EXT. ROAD 29 + + The car approaches, slowing. + + Carl, with the trooper's body hoisted halfway up, is frozen + in the headlights. + + The car accelerates and roars past and away. We just make + out the silhouettes of two occupants in front. + + +30 INT. CIERA 30 + + Grimsrud slides into the driver's seat. He squeals into a + U-turn, the driver's door slamming shut with his spin. + + Small red tail lights fishtail up ahead. The pursued car + churns up fine snow. + + Grimsrud takes the cigarette from his mouth and stubs it in + his ashtray. We hear the churning of the car wheels and the + pinging of snow clods and salt on the car's underside. + + In the back seat, Jean starts screaming. + + Grimsrud is not gaining on the tail lights. + + He fights with the wheel as his car swims on the road face. + + The red tail lights ahead start to turn. With a distant + crunching sound, they disappear. + 33. + + + The headlights now show only empty road, starting to turn. + + Grimsrud frowns and slows. + + His headlights show the car up ahead off the road, crumpled + around a telephone pole, having failed to hold a turn. + + Grimsrud brakes. + + Jean slides off the back seat and thumps into the legwell. + + Grimsrud sweeps his gun off the front seat, throws open his + door and gets out. + + +31 EXT. ROAD 31 + + The wrecked car's headlights shine off into a snowfield + abutting the highway. A young man in a down parka is + limping across the snowfield, away from the wrecked car. + + Grimsrud strides calmly out after the injured boy. He + raises his gun and fires. + + With a poof of feathers, a hole opens up in the boy's back + and he pitches into the snow. + + Grimsrud walks up to the wreck and peers in its half-open + door. + + A young woman is trapped inside the twisted wreckage, + injured. + + Snow swirls in the headlights of the wreck. + + Grimsrud raises his gun and fires. + + AN OIL PAINTING + + A blue-winged teal in flight over a swampy marshland. The + room in which it hangs is dark. We hear off-screen snoring. + + We track off to reveal an easel upon which we see a half- + completed oil of a grey mallard. + + The continuing track reveals a couple in bed, sleeping. The + man, fortyish, pajama-clad, is big, and big-bellied. His + mouth is agape. He snores. His arms are flung over a woman + in her thirties, wearing a nightie, mouth also open, not + snoring. + 34. + + +We hold for a long beat on their regular breathing and +snoring. + +The phone rings. + +The woman stirs. + + WOMAN + Oh, geez... + +She reaches for the phone. + + WOMAN + ... Hi, it's Marge... + +The man stirs and clears his throat with a long deep +rumble. + + MARGE + ... Oh, my. Where?... Yah... Oh, + geez... + +The man sits up, gazes stupidly about. + + MARGE + ... Okay. There in a jif... Real + good, then. + +She hangs up. + + MARGE + ... You can sleep, hon. It's early + yet. + + MAN + Gotta go? + + MARGE + Yah. + +The man swings his legs out. + + MAN + I'll fix ya some eggs. + + MARGE + That's okay, hon. I gotta run. + + MAN + Gotta eat a breakfast, Marge. I'll + fix ya some eggs. + 35. + + + MARGE + Aw, you can sleep, hon. + + MAN + Ya gotta eat a breakfast... + + He clears his throat with another deep rumble. + + MAN + ... I'll fix ya some eggs. + + MARGE + Aw, Norm. + + PLATE + + Leavings of a huge plate of eggs, ham, toast. + + Wider, we see Marge now wearing a beige police uniform. A + patch on one arm says BRAINERD POLICE DEPARTMENT. She wears + a heavy belt holding a revolver, walkie-talkie and various + other jangling police impedimenta. Norm is in a dressing + gown. + + MARGE + Thanks, hon. Time to shove off. + + NORM + Love ya, Margie. + + As she struggles into a parka: + + MARGE + Love ya, hon. + + He is exiting back to the bedroom; she exits out the front + door. + + +32 EXT. GUNDERSON HOUSE 32 + + Dawn. Marge is making her way down the icy front stoop to + her prowler. + + +33 INT. GUNDERSON HOUSE 33 + + Norm sits back onto the bed, shrugging off his robe. Off- + screen we hear the front door open. + + FRONT DOOR + 36. + + +Marge stamps the snow off her shoes. + + MARGE + Hon? + + NORM + (off) + Yah? + + MARGE + Prowler needs a jump. + +HIGHWAY + +Two police cars and an ambulance sit idling at the side of +the road, a pair of men inside each car. + +The first car's driver door opens and a figure in a parka +emerges, holding two styrofoam cups. His partner leans +across the seat to close the door after him. + +The reverse shows Marge approaching from her own squad car. + + MARGE + Hiya, Lou. + + LOU + Margie. Thought you might need a + little warm-up. + +He hands her one of the cups of coffee. + + MARGE + Yah, thanks a bunch. So what's the + deal, now? Gary says triple + homicide? + + LOU + Yah, looks pretty bad. Two of'm're + over here. + +Marge looks around as they start walking. + + MARGE + Where is everybody? + + LOU + Well - it's cold, Margie. + +BY THE WRECK + 37. + + +Laid out in the early morning light is the wrecked car, a +pair of footprints leading out to a man in a bright orange +parka face down in the bloodstained snow, and one pair of +footsteps leading back to the road. + +Marge is peering into the car. + + MARGE + Ah, geez. So... Aw, geez. Here's + the second one... It's in the head + and the ... hand there, I guess + that's a defensive wound. Okay. + +Marge looks up from the car. + + MARGE + ... Where's the state trooper? + +Lou, up on the shoulder, jerks his thumb. + + LOU + Back there a good piece. In the + ditch next to his prowler. + +Marge looks around at the road. + + MARGE + Okay, so we got a state trooper + pulls someone over, we got a + shooting, and these folks drive by, + and we got a high-speed pursuit, + ends here, and this execution-type + deal. + + LOU + Yah. + + MARGE + I'd be very surprised if our + suspect was from Brainerd. + + LOU + Yah. + +Marge is studying the ground. + + MARGE + Yah. And I'll tell you what, from + his footprints he looks like a big + fella - + +Marge suddenly doubles over, putting her head between her +knees down near the snow. + 38. + + + LOU + Ya see something down there, Chief? + + MARGE + Uh - I just, I think I'm gonna + barf. + + LOU + Geez, you okay, Margie? + + MARGE + I'm fine - it's just morning + sickness. + +She gets up, sweeping snow from her knees. + + MARGE + ... Well, that passed. + + LOU + Yah? + + MARGE + Yah. Now I'm hungry again. + + LOU + You had breakfast yet, Margie? + + MARGE + Oh, yah. Norm made some eggs. + + LOU + Yah? Well, what now, d'ya think? + + MARGE + Let's go take a look at that + trooper. + +BY THE STATE TROOPER'S CAR + +Marge's prowler is parked nearby. + +Marge is on her hands and knees by a body down in the +ditch, again looking at footprints in the snow. She calls +up to the road: + + MARGE + There's two of 'em, Lou! + + LOU + Yah? + 39. + + + MARGE + Yah, this guy's smaller than his + buddy. + + LOU + Oh, yah? + +DOWN IN THE DITCH + +In the foreground is the head of the state trooper, facing +us. Peering at it from behind, still on her hands and +knees, is Marge. + + MARGE + For Pete's sake. + +She gets up, clapping the snow off her hands, and climbs +out of the ditch. + + LOU + How's it look, Marge? + + MARGE + Well, he's got his gun on his hip + there, and he looks like a nice + enough guy. It's a real shame. + + LOU + Yah. + + MARGE + You haven't monkeyed with his car + there, have ya? + + LOU + No way. + +She is looking at the prowler, which still idles on the +shoulder. + + MARGE + Somebody shut his lights. I guess + the little guy sat in there, + waitin' for his buddy t'come back. + + LOU + Yah, woulda been cold out here. + + MARGE + Heck, yah. Ya think, is Dave open + yet? + + LOU + 40. + + + You don't think he's mixed up in - + + MARGE + No, no, I just wanna get Norm some + night crawlers. + + +34 INT. PROWLER 34 + + Marge is driving; Lou sits next to her. + + MARGE + You look in his citation book? + + LOU + Yah... + + He looks at his notebook. + + LOU + ... Last vehicle he wrote in was a + tan Ciera at 2:18 a.m. Under the + plate number he put DLR - I figure + they stopped him or shot him before + he could finish fillin' out the tag + number. + + MARGE + Uh-huh. + + LOU + So I got the state lookin' for a + Ciera with a tag startin' DLR. They + don't got no match yet. + + MARGE + I'm not sure I agree with you a + hunnert percent on your policework, + there, Lou. + + LOU + Yah? + + MARGE + Yah, I think that vehicle there + probly had dealer plates. DLR? + + LOU + Oh... + + Lou gazes out the window, thinking. + + LOU + 41. + + + ... Geez. + + MARGE + Yah. Say, Lou, ya hear the one + about the guy who couldn't afford + personalized plates, so he went and + changed his name to J2L 4685? + + LOU + Yah, that's a good one. + + MARGE + Yah. + +THE ROAD + +The police car enters with a whoosh and hums down a +straight-ruled empty highway, cutting a landscape of flat +and perfect white. + +EMBERS FAMILY RESTAURANT + +Jerry, Wade, and Stan Grossman sit in a booth, sipping +coffee. Outside the window, snow falls from a gunmetal sky. + + WADE + - All's I know is, ya got a + problem, ya call a professional! + + JERRY + No! They said no cops! They were + darned clear on that, Wade! They + said you call the cops and we - + + WADE + Well, a course they're gonna say + that! But where's my protection? + They got Jean here! I give these + sons a bitches a million dollars, + where's my guarantee they're gonna + let her go. + + JERRY + Well, they - + + WADE + A million dollars is a lot a damn + money! And there they are, they got + my daughter! + + JERRY + 42. + + + Yah, but think this thing through + here, Wade. Ya give 'em what they + want, why wont' they let her go? + You gotta listen to me on this one, + Wade. + + WADE + Heck, you don't know! You're just + whistlin' Dixie here! I'm sayin', + the cops, they can advise us on + this! I'm sayin' call a + professional! + + JERRY + No! No cops! That's final! This is + my deal here, Wade! Jean is my wife + here! + + STAN + I gotta tell ya, Wade, I'm leanin' + to Jerry's viewpoint here. + + WADE + Well - + + STAN + We gotta protect Jean. These - + we're not holdin' any cards here, + Wade, they got all of 'em. So they + call the shots. + + JERRY + You're darned tootin'! + + WADE + Ah, dammit! + + STAN + I'm tellin' ya. + + WADE + Well... Why don't we... + +He saws a finger under his nose. + + WADE + ... Stan, I'm thinkin' we should + offer 'em half a million. + + JERRY + Now come on here, no way, Wade! No + way! + 43. + + + STAN + We're not horse-trading here, Wade, + we just gotta bite the bullet on + this thing. + + JERRY + Yah! + + STAN + What's the next step here, Jerry? + + JERRY + They're gonna call, give me + instructions for a drop. I'm + supposed to have the money ready + tomorrow. + + WADE + Dammit! + + THE CASHIER + + She rings up two dollars forty. + + CASHIER + How was everything today? + + JERRY + Yah, real good now. + + +35 EXT. PARKING LOT 35 + + Snow continues to fall. Jerry and Stan stand bundled in + their parkas and galoshes near a row of beached vehicles. + + Wade sits behind the wheel of an idling Lincoln, waiting + for Stan. + + STAN + Okay. We'll get the money together. + Don't worry about it, Jerry. Now, + d'you want anyone at home, with + you, until they call? + + JERRY + No, I - they don't want - they're + just s'posed to be dealin' with me, + they were real clear. + + STAN + Yah. + 44. + + + Jerry pounds his mittened hands together against the cold. + + JERRY + Ya know, they said no one listenin' + in, they'll be watchin', ya know. + Maybe it's all bull, but like you + said, Stan, they're callin' the + shots. + + STAN + Okay. And Scotty, is he gonna be + all right? + + JERRY + Yah, geez, Scotty. I'll go talk to + him. + + There is a tap at the horn from Wade, and Stan gets into + the Lincoln. + + STAN + We'll call. + + The Lincoln spits snow as it grinds out of the lot and + fishtails out onto the boulevard. + + +36 INT. SCOTTY'S BEDROOM 36 + + Scotty lies on the bed, weeping. Jerry enters and perches + uncomfortably on the edge of his bed. + + JERRY + ... How ya doin' there, Scotty? + + SCOTT + Dad! What're they doing? Wuddya + think they're doin' with Mom? + + JERRY + It's okay, Scotty. They're not + gonna want to hurt her any. These + men, they just want money, see. + + SCOTT + What if - what if sumpn goes wrong? + + JERRY + No, no, nothin's goin' wrong here. + Grandad and I, we're - we're makin' + sure this gets handled right. + + Scott snorfles and sits up. + 45. + + + SCOTT + Dad, I really think we should call + the cops. + + JERRY + No! We can't let anyone know about + this thing! We gotta play ball with + these guys - you ask Stan Grossman, + he'll tell ya the same thing! + + SCOTT + Yeah, but - + + JERRY + We're gonna get Mom back for ya, + but we gotta play ball. Ya know, + that's the deal. Now if Lorraine + calls, or Sylvia, you just say that + Mom is in Florida with Pearl and + Marty... + + Scotty starts to weep again. Jerry stares down at his lap. + + JERRY + ... That's the best we can do here. + + +37 EXT. CABIN 37 + + It is a lakeside cabin surrounded by white. A brown Ciera + with dealer plates is pulling into the drive. + + Grimsrud climbs out of the passenger seat as Carl climbs + out of the driver's. Grimsrud opens the back door and, with + an arm on her elbow, helps Jean out. She has her hands tied + behind her and a black hood over her head. + + With a cry, she swings her elbow out of Grimsrud's grasp + and lurches away across the front lawn. Grimsrud moves to + retrieve her but Carl, grinning, lays a hand on his + shoulder. + + CARL + Hold it. + + They both look out at the front lawn, Grimsrud + expressionless, Carl smiling. + + With muffled cries, the hooded woman lurches across the + unbroken snow, staggering this way and that, stumbling on + the uneven terrain. + + She stops, stands still, her hooded head swaying. + 46. + + + She lurches out in an arbitrary direction. Going downhill, + she reels, staggers, and falls face-first into the snow, + weeping. + + CARL + Ha ha ha ha ha ha! Jesus! + + Grimsrud, still expressionless, breaks away from Carl's + restraining hand to retrieve her. + + +38 INT. BRAINERD POLICE HEADQUARTERS 38 + + We track behind Marge as she makes her way across the + floor, greeting various officers. She holds a small half- + full paper sack. + + Beyond her we see a small glassed-in cubicle. Norm sits at + the desk inside with a box lunch spread out in front of + him. + + There is lettering on the cubicle's glass door: BRAINERD + PD. CHIEF GUNDERSON. + + Marge enters and sits behind the desk, detaching her + walkie-talkie from her utility belt to accommodate the + seat. + + MARGE + Hiya, hon. + + She slides the paper sack toward him. + + NORM + Brought ya some lunch, Margie. + What're those, night crawlers? + + He looks inside. + + The bottom of the sack is full of fat, crawling earthworms. + + MARGE + Yah. + + NORM + Thanks, hon. + + MARGE + You bet. Thanks for lunch. What do + we got here, Arbie's? + + NORM + Uh-huh. + 47. + + +She starts eating. + + MARGE + ... How's the paintin' goin'? + + NORM + Pretty good. Found out the Hautmans + are entering a painting this year. + + MARGE + Aw, hon, you're better'n them. + + NORM + They're real good. + + MARGE + They're good, Norm, but you're + better'n them. + + NORM + Yah, ya think? + +He leans over and kisses her. + + MARGE + Ah, ya got Arbie's all o'er me. + +Lou enters. + + LOU + Hiya, Norm, how's the paintin' + goin'? + + NORM + Not too bad. You know. + + MARGE + How we doin' on that vehicle? + + LOU + No motels registered any tan Ciera + last night. But the night before, + two men checked into the Blue Ox + registering a Ciera and leavin' the + tag space blank. + + MARGE + Geez, that's a good lead. The Blue + Ox, that's that trucker's joint out + there on I-35? + + LOU + 48. + + + Yah. Owner was on the desk then, + said these two guys had company. + + MARGE + Oh, yah? + + +39 EXT. STRIPPER CLUB 39 + + Marge's prowler is parked in an otherwise empty lot. Snow + drifts down. + + +40 INT. STRIPPER CLUB 40 + + Marge sits talking with two young women at one end of an + elevated dance platform. The club, not yet open for + business, is deserted. + + MARGE + Where you girls from? + + HOOKER ONE + Chaska. + + HOOKER TWO + LeSeure. But I went to high school + in White Bear Lake. + + MARGE + Okay, I want you to tell me what + these fellas looked like. + + HOOKER ONE + Well, the little guy, he was kinda + funny-looking. + + MARGE + In what way? + + HOOKER ONE + I dunno. Just funny-looking. + + MARGE + Can you be any more specific? + + HOOKER ONE + I couldn't really say. He wasn't + circumcised. + + MARGE + Was he funny-looking apart from + that? + 49. + + + HOOKER ONE +Yah. + + MARGE +So you were having sex with the +little fella, then? + + HOOKER ONE +Uh-huh. + + MARGE +Is there anything else you can tell +me about him? + + HOOKER ONE +No. Like I say, he was funny- +looking. More'n most people even. + + MARGE +And what about the other fella? + + HOOKER TWO +He was a little older. Looked like +the Marlboro man. + + MARGE +Yah? + + HOOKER TWO +Yah. Maybe I'm sayin' that cause he +smoked Marlboros. + + MARGE +Uh-huh. + + HOOKER TWO +A subconscious-type thing. + + MARGE +Yah, that can happen. + + HOOKER TWO +Yah. + + HOOKER ONE +They said they were goin' to the +Twin Cities? + + MARGE +Oh, yah? + + HOOKER TWO +Yah. + 50. + + + HOOKER ONE + Yah. Is that useful to ya? + + MARGE + Oh, you bet, yah. + + +41 EXT. LAKESIDE CABIN 41 + + It is now dusk. The brown Ciera with dealer plates still + sits in the drive. + + +42 INT. CABIN 42 + + We track in on Jean Lundegaard, who sits tied in a chair + with the black hood still over her head. As we track in, we + hear inarticulate cursing, intermittent banging and loud + static. + + We track in on Gaear Grimsrud, who sits smoking a cigarette + and expressionlessly gazing offscreen. + + We track in on Carl Showalter, who stands over an old + black-and-white television. It plays nothing but snow. Carl + is banging on it as he mutters: + + CARL + ...days ... be here for days with a + - DAMMIT! - a goddamn mute ... + nothin' to do ... and the fucking - + DAMMIT!... + + Each "dammit" brings a pound of his fist on the TV. + + CARL + ... TV doesn't even ... plug me in, + man... Gimmee a - DAMMIT! - + signal... Plug me into the ozone, + baby... Plug me into the ozone - + FUCK!... + + With one last bang we cut: + + BACK TO THE TELEVISION SET + + In extreme close-up an insect is lugging a worm. + + TV VOICE-OVER + The bark beetle carries the worm to + the nest ... where it will feed its + young for up to six weeks... + 51. + + + A pull back from the screen reveals that we are in Marge's + house. + + Marge and Norm are watching television in bed. From the TV + we hear insects chirring. + + After a long beat, silence except for the TV, Marge + murmurs, still looking at the set: + + MARGE + ... Well, I'm turnin' in, Norm. + + Also looking at the TV: + + NORM + ... Oh, yah? + + Marge rolls over and Norm continues to watch. + + We hold. + + BLACK + + Hold. + + A snowflake drops through the black. + + Another flake. + + It starts snowing. + + +43 EXT. BRAINERD MAIN STREET 43 + + The lone traffic light blinks slowly, steadily, red. Snow + sifts down. There is no other movement. + + PAUL BUNYAN + + We are looking up at the bottom-lit statue. Snow falls. + + HIGH SHOT OF MARGE'S HOUSE + + Snow drops away. + + HIGH SHOT IN MARGE'S BEDROOM + + The bedroom is dark. Norm is snoring. + + The phone rings. + + Marge gropes in the dark. + 52. + + + MARGE + Hello? + + VOICE + Yah, is this Marge? + + MARGE + Yah? + + VOICE + Margie Olmstead? + + MARGE + ... Well, yah. Who's this? + + VOICE + This is Mike Yanagita. Ya know - + Mike Yanagita. Remember me? + + MARGE + ... Mike Yanagita! + + MIKE + Yah! + +Marge props herself up next to the still-sleeping Norm. + + MARGE + Yah, yah, course I remember. How + are ya? What time is it? + + MIKE + Oh, geez. It's quarter to eleven. I + hope I dint wake you. + + MARGE + No, that's okay. + + MIKE + Yah, I'm down in the Twin Cities + and I was just watching on TV about + these shootings up in Brainderd, + and I saw you on the news there. + + MARGE + Yah. + + MIKE + I thought, geez, is that Margie + Olmstead? I can't believe it! + + MARGE + Yah, that's me. + 53. + + + MIKE + Well, how the heck are ya? + + MARGE + Okay, ya know. Okay. + + MIKE + Yah? + + MARGE + Yah - how are you doon? + + MIKE + Oh, pretty good. + + MARGE + Heck, it's been such a long time, + Mike. It's great to hear from ya. + + MIKE + Yah... Yah, yah. Geeze, Margie! + + +44 INT. GUSTAFSON OLDS GARAGE 44 + + Jerry is on the sales floor, showing a customer a vehicle. + + JERRY + Yah, ya got yer, this loaded here, + this has yer independent, uh, yer + slipped differential, uh, yer rack- + and-pinion steering, yer alarm and + radar, and I can give it to ya with + a heck of a sealant, this TruCoat + stuff, it'll keep the salt off - + + CUSTOMER + Yah, I don't need no sealant + though. + + JERRY + Yah, you don't need that. Now were + you thinking of financing here? You + oughta be aware a this GMAC plan + they have now, it's really super - + + ANOTHER SALESMAN + Jerry, ya got a call here. + + JERRY + Yah, okay. + 54. + + +45 INT. JERRY'S CUBICLE 45 + + He sits in and picks up his phone. + + JERRY + Jerry Lundegaard. + + VOICE + All right, Jerry, you got this + phone to yourself? + + JERRY + Well ... yah. + + VOICE + Know who this is? + + JERRY + Well, yah, I got an idea. How's + that Ciera workin' out for ya? + + VOICE + Circumstances have changed, Jerry. + + JERRY + Well, what do ya mean? + + VOICE + Things have changed. Circumstances, + Jerry. Beyond the, uh ... acts of + God, force majeure... + + JERRY + What the - how's Jean? + + A beat. + + CARL + ... Who's Jean? + + JERRY + My wife! What the - how's - + + CARL + Oh, Jean's okay. But there's three + people up in Brainerd who aren't so + okay, I'll tell ya that. + + JERRY + What the heck're you talkin' about? + Let's just finish up this deal here + - + 55. + + + CARL + Blood has been shed, Jerry. + +Jerry sits dumbly. The voice solemnly repeats: + + CARL + ... Blood has been shed. + + JERRY + What the heck d'ya mean? + + CARL + Three people. In Brainerd. + + JERRY + Oh, geez. + + CARL + That's right. And we need more + money. + + JERRY + The heck d'ya mean? What a you guys + got yourself mixed up in? + + CARL + We need more - + + JERRY + This was s'posed to be a no-rough - + stuff-type deal - + + CARL + DON'T EVER INTERRUPT ME, JERRY! + JUST SHUT THE FUCK UP! + + JERRY + Well, I'm sorry, but I just - I - + + CARL + Look. I'm not gonna debate you, + Jerry. The price is now the whole + amount. We want the entire eighty + thousand. + + JERRY + Oh, for Chrissakes here - + + CARL + Blood has been shed. We've incurred + risks, Jerry. I'm coming into town + tomorrow. Have the money ready. + 56. + + + JERRY + Now we had a deal here! A deal's a + deal! + + CARL + IS IT, JERRY? You ask those three + pour souls up in Brainerd if a + deal's a deal! Go ahead, ask 'em! + + JERRY + ... The heck d'ya mean? + + CARL + I'll see you tomorrow. + +Click. + +Jerry slams down the phone, which immediately rings. He +angrily snatches it up. + + JERRY + Yah! + + VOICE + Jerome Lundegaard? + + JERRY + Yah! + + VOICE + This is Reilly Deifenbach at GMAC. + Sir, I have not yet recieved those + vehicle IDs you promised me. + + JERRY + Yah! I ... those are in the mail. + + VOICE + Mr. Lundegaard, that very well may + be. I must inform you, however, + that absent the reciept of those + numbers by tomorrow afternoon, I + will have to refer this matter to + our legal department. + + JERRY + Yah. + + VOICE + My patience is at an end. + + JERRY + Yah. + 57. + + + VOICE + Good day, sir. + + JERRY + ... Yah. + +WIDE ON THE CUBICLE + +We are looking at Jerry's cubicle from across the showroom. + +Noise muted by distance, we watch Jerry slam down the +reciever, rise to his feet, fling the phone to the floor, +raise his desk blotter high over his head with pens and +pencils rolling off it and slam it onto his desktop. + +He stands for a moment, hands on hips, glaring. + +He stoops and picks up the phone, places it back on the +desktop, starts picking up the pens and pencils. + +TRACK + +On steam-table bins of food, each identified by a plaque: +BEEF STROGANOFF, SWEDISH MEATBALLS, BROILED TORSK, CHICKEN +FLORENTINE. + +A complementary track shows two rays being pushed along a +buffet line, piled high with many foods. + +MARGE AND NORM AT A TABLE + +They sit next to each other at a long cafeteria-style +Formica table, silently eating. + +A hip with a hissing walkie-talkie enters frame. + + GARY + Hiya, Norm. How ya doin', Margie? + How's the fricassee? + + MARGE + Pretty darn good, ya want some? + + GARY + No, I gotta - hey, Norm, I thought + you were goin' fishin' up at Mile + Lacs? + + NORM + Yah, after lunch. + +He goes back to his food. + 58. + + + MARGE + Whatcha got there? + + Gary hands her a flimsy. Marge takes it with one hand and + looks, her other hand frozen with a forkful of food. + + GARY + The numbers y'asked for, calls made + from the lobby pay phone at the + Blue Ox. Two to Minneapolis that + night. + + MARGE + Mm. + + GARY + First one's a trucking company, + second one's a private residence. A + Shep Proudfoot. + + MARGE + Uh-huh... A what? + + GARY + Shep Proudfoot. That's a name. + + MARGE + Uh-huh. + + GARY + Yah. + + MARGE + ... Yah, okay, I think I'll drive + down there, then. + + GARY + Oh, yah? Twin Cities? + + Norm, who has been eating steadily throughout, looks over + at Marge with mild interest. He stares for a beat as he + finishes chewing, and them swallows and says: + + NORM + ... Oh, yah? + + +46 INT. KITCHEN OF LUNDEGAARD HOUSE 46 + + Jerry, Wade, and Stan Grossman sit around the kitchen + table. + 59. + + +It is night. The scene is harshly top lit by a hanging +fixture. On the table are the remains of coffee and a +cinnamon filbert ring. + + WADE + Dammit! I wanna be a part a this + thing! + + JERRY + No, Wade! They were real clear! + They said they'd call tomorrow, + with instructions, and it's gonna + be delivered by me alone! + + WADE + It's my money, I'll deliver it - + what do they care? + + STAN + Wade's got a point there. I'll + handle the call if you want, Jerry. + + JERRY + No, no. See - they, no, see, they + only deal with me. Ya feel this, + this nervousness on the phone + there, they're very - these guys're + dangerous - + + WADE + All the more reason! I don't want + you - with all due respect, Jerry - + I don't want you mucking this up. + + JERRY + The heck d'ya mean? + + WADE + They want my money, they can deal + with me. Otherwise I'm goin' to a + professional. + +He points at a briefcase. + + WADE + ... There's a million dollars here! + + JERRY + No, see - + + WADE + 60. + + + Look, Jerry, you're not sellin' me + a damn car. It's my show here. + That's that. + + STAN + It's the way we prefer to handle + it, Jerry. + + +47 INT. THE DOWNTOWN RADISSON HOTEL 47 + + Marge is at the reception desk. + + MARGE + How ya doin'? + + CLERK + Real good. How're you today, ma'am? + + MARGE + Real good. I'm Mrs. Gunderson, I + have a reservation. + + The clerk types into a computer console. + + CLERK + You sure do, Mrs. Gunderson. + + MARGE + Is there a phone down here, ya + think? + + +48 INT. LOBBY CORNER 48 + + Marge is on a public phone. + + MARGE + ... Detective Sibert? Yah, this is + Marge Gunderson from up Brainerd, + we spoke - Yah. Well, actually I'm + in town here. I had to do a few + things in the Twin Cities, so I + thought I'd check in with ya about + that USIF search on Shep + Proudfoot... Oh, yah?... Well, + maybe I'll go visit with him if I + have the... No, I can find that... + Well, thanks a bunch. Say, d'ya + happen to know a good place for + lunch in the downtown area?... Yah, + the Radisson... Oh, yah? Is it + reasonable? + 61. + + + A GREEN FREEWAY SIGN + + Through a windshield we see a sign for the MINNEAPOLIS + INTERNATIONAL AIRPORT. + + +49 EXT. ROOFTOP PARKING LOT 49 + + The brown Ciera enters and drives lazy S-curves around the + few snow-covered cars parked on the roof of the lot. + + It stops by one car and Carl emerges. He quickly scans the + lot, then kneels in the snow at the back of the parked car + and starts unscrewing its license plate. + + +50 EXT. BOOTH 50 + + Carl pulls up and hands the attendant his ticket. + + CARL + Yeah, I decided not to park here. + + The attendant frowns uncomprehendingly at the ticket. + + ATTENDANT + ... What do you mean, you decided + not to park here? + + CARL + Yeah, I just came in. I decided not + to park here. + + The attendant is still puzzled. + + ATTENDANT + You, uh... I'm sorry, sir, but - + + CARL + I decided not to - I'm, uh, not + taking the trip as it turns out. + + ATTENDANT + I'm sorry, sir, we do have to + charge you the four dollars. + + CARL + I just pulled in here. I just + fucking pulled in here! + + ATTENDANT + 62. + + + Well, see, there's a minimum charge + of four dollars. Long-term parking + charges by the day. + + A car behind beeps. Carl glances back, starts digging for + money. + + CARL + I guess you think, ya know, you're + an authority figure. With that + stupid fucking uniform. Huh, buddy? + + The attendant doesn't say anything. + + CARL + ... King Clip-on Tie here. Big + fucking man. + + He is peeling off one dollar bills. + + CARL + ... You know, these are the limits + of your life, man. Ruler of your + little fucking gate here. There's + your four dollars. You pathetic + piece of shit. + + +51 INT. GUSTAFSON OLDS GARAGE 51 + + Jerry is staring up, mouth agape, at the underside of a car + on a hydraulic lift. Bewildered, he looks about, then asks + a mechanic passing by, his voice raised over the din of the + shop. + + JERRY + Where's Shep? + + The mechanic points. + + MECHANIC + Talkin' to a cop. + + Jerry looks. + + JERRY + ... Cop? + + Marge and Shep face each other at the other end of the + floor in a grimy and cluttered glassed-in cubicle. + + MECHANIC + Said she was a policewoman. + 63. + + +Marge and Shep silently talk. + +Jerry stares, swallows. + +INSIDE THE CUBICLE + + MARGE + - Wednesday night? + +Shep is shaking his head. + + SHEP + Nope. + + MARGE + Well, you do reside their at 1425 + Fremont Terrace? + + SHEP + Yep. + + MARGE + Anyone else residing there? + + SHEP + Nope. + + MARGE + Well, Mr. Proudfoot, this call came + in past three in the morning. It's + just hard for me to believe you + can't remember anyone calling. + +Shep says nothing. + + MARGE + ... Now, I know you've had some + problems, struggling with the + narcotics, some other + entanglements, currently on parole + - + + SHEP + So? + + MARGE + Well, associating with criminals, + if you're the one they talked to, + that right there would be a + violation of your parole and would + end with you back in Stillwater. + + SHEP + 64. + + + Uh-huh. + + MARGE + Now, I saw some rough stuff on your + priors, but nothing in the nature + of a homicide... + + Shep stares at her. + + MARGE + ... I know you don't want to be an + accessory to something like that. + + SHEP + Nope. + + MARGE + So you think you might remember who + those folks were who called ya? + + +52 INT. JERRY'S OFFICE 52 + + Jerry is worriedly pacing behind his desk. At a noise he + looks up. + + Marge has stuck her head in the door. + + MARGE + Mr. Lundegaard? + + JERRY + Huh? Yah? + + MARGE + I wonder if I could take just a + minute of your time here - + + JERRY + What... What is it all about? + + MARGE + Huh? Do you mind if I sit down - + I'm carrying quite a load here. + + Marge plops into the chair opposite him. + + MARGE + ... You're the owner here, Mr. + Lundegaard? + + JERRY + Naw, I... Executive Sales Manager. + 65. + + + MARGE + Well, you can help me. My name's + Marge Gunderson - + + JERRY + My father-in-law, he's the owner. + + MARGE + Uh-huh. Well, I'm a police officer + from up Brainerd investigating some + malfeasance and I was just + wondering if you've had any new + vehicles stolen off the lot in the + past couple of weeks - specifically + a tan Cutlass Ciera? + +Jerry stares at her, his mouth open. + + MARGE + ... Mr. Lundegaard? + + JERRY + ... Brainerd? + + MARGE + Yah. Yah. Home a Paul Bunyan and + Babe the Blue Ox. + + JERRY + ... Babe the Blue Ox? + + MARGE + Yah, ya know we've got the big + statue there. So you haven't had + any vehicles go missing, then? + + JERRY + No. No, ma'am. + + MARGE + Okey-dokey, thanks a bunch. I'll + let you get back to your paperwork, + then. + +As Marge rises, Jerry looks blankly down at the papers on +the desk in front of him. + + JERRY + ... Yah, okay. + +He looks up at Marge's retreating back. He looks back down +at the papers. He looks over at the phone. + 66. + + + he picks up the phone and dials four digits. + + JERRY + ... Yah, gimmee Shep... The heck + d'ya mean?... Well, where'd he go? + It's only... No, I don't need a + mechanic - oh, geez - I gotta talk + to a friend of his, so, uh ... have + him, uh ... oh, geez... + + +53 INT. HOTEL BAR 53 + + Marge enters. She looks around the bar, a rather + characterless, lowlit meeting place for business people. + + VOICE + Marge? + + It is a bald, paunching man of about Marge's age, rising + from a booth halfway back. His features are broad, + friendly, Asian-American. + + MARGE + Mike! + + He approaches somewhat carefully, as if on his second + drink. + + They hug and head back toward the booth. + + MIKE + Geez! You look great! + + MARGE + Yah - easy there - you do too! I'm + expecting, ya know. + + MIKE + I see that! That's great! + + A waitress meets them at the table. + + MIKE + ... What can I get ya? + + MARGE + Just a Diet Coke. + + Again she glances about. + + MARGE + ... This is a nice place. + 67. + + + MIKE + Yah, ya know it's the Radisson, so + it's pretty good. + + MARGE + You're livin' in Edina, then? + + MIKE + Oh, yah, couple years now. It's + actually Eden Prarie - that school + district. So Chief Gunderson, then! + So ya went and married Norm Son-of- + a-Gunderson! + + MARGE + Oh, yah, a long time ago. + + MIKE + Great. What brings ya down - are ya + down here on that homicide - if + you're allowed, ya know, to discuss + that? + + MARGE + Oh, yah, but there's not a heckuva + lot to discuss. What about you, + Mike? Are you married - you have + kids? + + MIKE + Well, yah, I was married. I was + married to - You mind if I sit over + here? + +He is sliding out of his side of the booth and easing in +next to Marge. + + MIKE + ... I was married to Linda Cooksey + - + + MARGE + No, I - Mike - wyncha sit over + there, I'd prefer that. + + MIKE + Huh? Oh, okay, I'm sorry. + + MARGE + No, just so I can see ya, ya know. + Don't have to turn my neck. + + MIKE + 68. + + +Oh, sure, I understand, I didn't +mean to - + + MARGE +No, no, that's fine. + + MIKE +Yah, sorry, so I was married to +Linda Cooksey - ya remember Linda? +She was a year behind us. + + MARGE +I think I remember Linda, yah. She +was - yah. So things didn't work +out, huh? + + MIKE +And then I, and then I been workin' +for Honeywell for a few years now. + + MARGE +Well, they're a good outfit. + + MIKE +Yah, if you're an engineer, yah, +you could do a lot worse. Of +course, it's not, uh, it's nothin' +like your achievement. + + MARGE +It sounds like you're doin' really +super. + + MIKE +Yah, well, I, uh ... it's not that +it didn't work out - Linda passed +away. She, uh... + + MARGE +I'm sorry. + + MIKE +Yah, I, uh... She had leukemia, you +know... + + MARGE +No, I didn't... + + MIKE +It was a tough, uh ... it was a +long - She fought real hard, +Marge... + 69. + + + MARGE + I'm sorry, Mike. + + MIKE + Oh, ya know, that's, uh - what can + I say?... + +He holds up his drink. + + MIKE + ... Better times, huh? + +Marge clinks it. + + MARGE + Better times. + + MIKE + I was so... I been so ... and then + I saw you on TV, and I remembered, + ya know... I always liked you... + + MARGE + Well, I always liked you, Mike. + + MIKE + I always liked ya so much... + + MARGE + It's okay, Mike - Should we get + together another time, ya think? + + MIKE + No - I'm sorry! It's just - I been + so lonely - then I saw you, and... + +He is weeping. + + MIKE + ... I'm sorry... I shouldn't a done + this... I thought we'd have a + really terrific time, and now + I've... + + MARGE + It's okay... + + MIKE + You were such a super lady ... and + then I... I been so lonely... + + MARGE + It's okay, Mike... + 70. + + +54 INT. CARLTON CELEBRITY ROOM 54 + + Carl Showalter is sitting at a small table with a tarty- + looking blonde in a low-cut gown. Each holds a drink. + + CARL + Just in town on business. Just in + and out. Ha ha! A little of the old + in-and-out! + + WOMAN + Wuddya do? + + Carl looks around. + + CARL + Have ya been to the Celebrity Room + before? With other, uh, clients? + + WOMAN + I don't think so. It's nice. + + CARL + Yeah, well, it depends on the + artist. You know, Jose Feliciano, + ya got no complaints. Waiter! + + The reverse shows a disappearing waiter and the backs of + many, many people sitting at tables between us and the very + distant stage. Jose Feliciano, very small, performs on a + spotlight stool. The acoustics are poor. + + Carl grimaces. + + CARL + ... What is he, deaf?... So, uh, + how long have you been with the + escort service? + + WOMAN + I don't know. Few munce. + + CARL + Ya find the work interesting, do + ya? + + WOMAN + ... What're you talking about? + + +55 INT. A DIRTY BEDROOM 55 + + Carl is humping the escort. + 71. + + +We hear the door burst open. + +The escort is grabbed and flung out of bed. + + CARL + Shep! What the hell are you doing? + I'm banging that girl! Shep! Jesus + Ch - + +Shep slaps him hard, forehand, backhand. + + SHEP + Fuck out of my house! + +He hauls him up - + + CARL + Shep! Don't you dare fucking hit + me, man! Don't you - + +- punches him and flings him away. + +Carl hits a sofa and we see his bare legs disappear as he +flips back over it. + +Shep enters frame to circle the sofa and kick at Carl +behind it. + + SHEP + Fuck outta here. Put me back in + Stillwater. Little fucking shit. + +There is a knock at the door. + + VOICE + Hey! Come on in there! + +Shep strides to the door, flings it open. + +A man in boxer shorts stands in the doorway. + + MAN + C'mon, brother, it's late - Unghh! + +Shep hits him twice, then grabs both of his ears and starts +banging his head against the wall. + +The hooker runs by, clutching her clothes, and Shep kicks +her in the ass as she passes. + +He spins and goes back into the apartment. + 72. + + + Carl is hopping desperately into his pants. + + CARL + Stay away from me, man! Hey! Smoke + a fuckin' peace pipe, man! Don't + you dare fuckin' - Unghh! + + After hitting him several times, Shep yanks Carl's belt out + of his dangling pants and strangles him with it. Carl + gurgles. Shep knees Carl repeatedly, then dumps him onto + the floor and starts whipping him with the buckle end of + the belt. + + +56 INT. CHAIN RESTAURANT PHONE BOOTH 56 + + Carl listens to the phone ring at the other end. His face + is deeply bruised and cut. + + Finally, through the phone... + + VOICE + ... Yah? + + CARL + All right, Jerry, I'm through + fucking around. You got the fucking + money? + + +57 INT. JERRY'S KITCHEN 57 + + Jerry is at the kitchen phone. Through the door to the + dining room we see Wade picking up an extension. + + JERRY + Yah, I got the money, but, uh - + + CARL + Don't you fucking but me, Jerry. I + want you with this money on the + Dayton-Radisson parking ramp, top + level, thirty minutes, and we'll + wrap this up. + + JERRY + Yah, okay, but, uh - + + CARL + 73. + + + You're there in thirty minutes or I + find you, Jerry, and I shoot you, + and I shoot your fucking wife, and + I shoot all your little fucking + children, and I shoot 'em all in + the back of their little fucking + heads. Got it? + + JERRY + ... Yah, well, you stay away from + Scotty now - + + CARL + GOT IT? + + JERRY + Okay, real good, then. + + The line goes dead. + + A door slams offscreen. + + +58 EXT. HOUSE 58 + + Wade, briefcase in hand, gets into his Cadillac, slams the + door and peels out. + + +59 INT. CAR 59 + + Wade's jaw works as he glares out at traffic. He mumbles to + himself as he drives. + + WADE + Okay ... here's your damn money, + now where's my daughter?... Goddamn + punk ... where's my damn + daughter... + + He pulls out a gun, cracks the barrel, peers in. + + WADE + ... You little punk. + + +60 INT. JERRY'S HOUSE 60 + + Jerry sits in the foyer, trying to pull on pair of + galoshes. + + Scotty's voice comes from upstairs: + 74. + + + VOICE + ... Dad? + + JERRY + It's okay, Scotty. + + VOICE + Where're you going? + + JERRY + Be back in a minute. If Stan calls + you, just tell him I went to + Embers. Oh, geez - + + Thunk! - his first boot goes on. + + RADISSON + + Marge sits on the bed in her hotel room, shoes off, + massaging her feet. The phone is pressed to her ear, and + through it, we hear ringing. + + VOICE + ... Hello? + + MARGE + Norm? + + +61 EXT. MILLE LACS LAKE 61 + + It is late evening, blowing storm. A leisurely pan across + the bleak gray expanse finds a little hut in the middle of + the frozen lake with a pickup truck parked next to it. + + MARGE'S VOICE + They bitin'? + + +62 INT. HUT 62 + + Norm has a cellular phone to his ear. His feet are + stretched out to an electric heater. The interior is bathed + in soft orange light. + + NORM + Yah, okay. How's the hotel? + + MARGE + Oh, pretty good. They bitin'? + + NORM + 75. + + + Yeah, couple a muskies. No pike + yet. How d'you feel? + + MARGE + Oh, fine. + + NORM + Not on your feet too much? + + MARGE + No, no. + + NORM + You shouldn't be on your feet too + much, you got weight you're not + used too. How's the food down + there? + + MARGE + Had dinner at a place called the + King's Table. Buffet style. It was + pretty darn good. + + NORM + Was it reasonable? + + MARGE + Yah, not too bad. So it's nice up + there? + + NORM + Yah, it's good. No pike yet, but + it's good. + + +63 INT. DAYTON-RADISSON RAMP 63 + + The top, open, level. Snow blows. A car sits idling. + + Another car pulls onto the roof. It creeps over to the + parked car and stops. It continues to idle as its door + opens and Wade steps out, carrying the briefcase. + + The door of the other car bangs open and Carl bounces out. + + CARL + Who the fuck are you? Who the fuck + are you? + + WADE + I got your goddamn money, you + little punk. Now where's my + daughter? + 76. + + + CARL + I am through fucking around! Drop + that fucking briefcase! + + WADE + Where's my daughter? + + CARL + Fuck you, man! Where's Jerry? I + gave SIMPLE FUCKING INSTRUCTIONS - + + WADE + Where's my damn daughter? No Jean, + no money! + + CARL + Drop that fucking money! + + WADE + No Jean, no money! + + CARL + Is this a fucking joke here? + +He pulls out a gun and fires into Wade's gut. + + CARL + ... Is this a fucking joke? + + WADE + Unghh ... oh, geez... + +He is on the pavement, clutching at his gut. Snow swirls. + + CARL + You fucking imbeciles! + +He bends down next to Wade to pick up the briefcase. + + WADE + Oh, for Christ ... oh, geez... + +Wade brings out his gun and fires at Carl's head, close by. + + CARL + Oh! + +Carl stumbles and falls back, and then stands up again. His +jaw is gouting blood. + + CARL + ... Owwmm... + 77. + + + One hand pressed to his jaw, he fires down at Wade several + times. Blood streams through the hand pressed to his jaw. + + CARL + ... Mmmmmphnck! He fnkem shop me... + + He pockets the gun, picks up the briefcase one-handed, + flings it into his car, gets in, peels out. + + +64 INT. DOWN RAMP 64 + + Carl screams down the ramp. He takes a corner at high speed + and swerves, just missing Jerry in his Olds on his way to + the top. + + +65 INT. JERRY'S CAR 65 + + Jerry recovers from the near miss and continues up. + + JERRY + Oh, geez! + + EXIT BOOTH + + Carl squeals to a halt at the gate, still pressing his hand + to his bleeding jaw. + + CARL + Ophhem ma fuchem gaphe! + + ATTENDANT + May I have your ticket, please? + + RAMP ROOF + + Jerry pulls to a halt next to Wade's idling Cadillac. He + gets out and walks slowly to Wade's body, prostrate in the + swirling snow. + + JERRY + Oh! Oh, geez! + + He bends down, picks Wade up by the armpits and drags him + over to the back of the Cadillac. He drops Wade's body, + walks to the driver's side of the car, pulls the keys and + walks back to pop the trunk. He wrestles Wade's body into + the trunk, slams it shut and walks back to the scene of the + shooting. + + He kicks at the snow with his galoshed feet, trying to hide + the fresh bloodstains. + 78. + + +66 EXT. BOOTH 66 + + Jerry approaches in the Cadillac. + + The wooden gate barring the exit has been broken away. The + booth is empty. + + Jerry eases toward the street, looking over at the booth as + he passes. + + Inside the booth we see the awkwardly angled leg of a + prostrate body. + + +67 EXT. JERRY'S HOUSE 67 + + The car pulls into the driveway. + + +68 INT. FOYER 68 + + Jerry enters and sits on the foyer chair to take off his + galoshes. + + SCOTT'S VOICE + ... Dad? + + JERRY + Yah. + + SCOTT'S VOICE + Stan Grossman called. + + JERRY + Yah, okay. + + SCOTT'S VOICE + Twice. + + JERRY + Okay. + + SCOTT'S VOICE + ... Is everything okay? + + JERRY + Yah. + + Thoonk - the first boot comes off. + + SCOTT'S VOICE + Are you calling Stan? + 79. + + + JERRY + Well... I'm goin' ta bed now. + + +69 INT. CARL'S CAR 69 + + Carl mumbles as he drives, underlit by the dim dash lights, + one hand now holding a piece of rag to his shredded jaw. + + CARL + ... Fnnkn ashlzh... Fnk... + + ROAD + + Carl's car roars into frame, violently swirling the snow. + + Its red tail lights fishtail away. + + FADE OUT + + HOLD IN BLACK + + HARD CUT TO: BRIGHT - LOOKING THROUGH A WINDSHIELD + + It is a starky sunny day. We are cruising down a street of + humble lookalike houses. + + We pan right as we draw toward one house in particular. In + its driveway a man in a hooded parka shovels snow. He + notices the approaching car and gives its driver a wave. + + The driver is Gary, the Brainderd police officer. He gives + a finger-to-the-head salute and pulls over. + + +70 EXT. OUTSIDE 70 + + Gary slams his door shut and the other man plants his + shovel in the snow. + + MAN + How ya doin'? + + GARY + Mr. Mohra? + + MAN + Yah. + + GARY + Officer Olson. + 80. + + + MAN + Yah, right-o. + +The two men caucus the driveway without shaking hands and +without standing particularly close. They stand stiffly, +arms down at their sides and breath streaming out of their +parka hoods. Each has an awkward leaning-away posture, head + +drawn slightly back and chin tucked in, to keep his face +from protruding into the cold. + + MAN + ... So, I'm tendin' bar there at + Ecklund && Swedlin's last Tuesday + and this little guy's drinkin' and + he says, 'So where can a guy find + some action - I'm goin' crazy down + there at the lake.' And I says, + 'What kinda action?' and he says, + 'Woman action, what do I look + like,' And I says 'Well, what do I + look like, I don't arrange that + kinda thing,' and he says, 'I'm + goin' crazy out there at the lake' + and I says, 'Well, this ain't that + kinda place.' + + GARY + Uh-huh. + + MAN + So he says, 'So I get it, so you + think I'm some kinda jerk for + askin',' only he doesn't use the + word jerk. + + GARY + I unnerstand. + + MAN + And then he calls me a jerk and + says the last guy who thought he + was a jerk was dead now. So I don't + say nothin' and he says, 'What do + ya think about that?' So I says, + 'Well, that don't sound like too + good a deal for him then.' + + GARY + Ya got that right. + + MAN + 81. + + +And he says, 'Yah, that guy's dead +and I don't mean a old age.' And +then he says, 'Geez, I'm goin' +crazy out there at the lake.' + + GARY +White Bear Lake? + + MAN +Well, Ecklund && Swedlin's, that's +closer ta Moose Lake, so I made +that assumption. + + GARY +Oh sure. + + MAN +So, ya know, he's drinkin', so I +don't think a whole great deal of +it, but Mrs. Mohra heard about the +homicides out here and she thought +I should call it in, so I called it +in. End a story. + + GARY +What'd this guy look like anyways? + + MAN +Oh, he was a little guy, kinda +funny-lookin'. + + GARY +Uh-huh - in what way? + + MAN +Just a general way. + + GARY +Okay, well, thanks a bunch, Mr. +Mohra. You're right, it's probably +nothin', but thanks for callin' her +in. + + MAN +Oh sure. They say she's gonna turn +cold tomorrow. + + GARY +Yah, got a front movin' in. + + MAN +Ya got that right. + 82. + + + CLOSE ON CARL SHOWALTER + + In his car, now parked, one hand holding the rag pressed to + his mangled jaw. He is staring down at something in the + front seat next to him. + + His other hand holds open the briefcase. It has money + inside - a lot of money. + + Carl unfreezes, takes out one of the bank-wrapped wads and + looks at it. + + CARL + ... Mmmnphh. + + He paws through the money in the briefcase to get a feeling + for the amount. + + CARL + ... Jeshush Shrist... Jeshush + fuchem Shrist! + + Excited, he counts out a bundle of bills and tosses it onto + the back seat. + + He starts to take the rag away from his chin but the layer + pressed against his face sticks, its loose weave bound to + his skin by clotted blood. + + He pulls very gently and winces as blood starts to flow + again. + + He carefully tears the rag in half so that only a bit of it + remains adhering to his jaw. + + +71 EXT. CAR 71 + + It is pulled over to the side of an untraveled road. THe + door opens and Carl emerges with the briefcase. + + He slogs through the snow, down a gulley and up the + embankment to a barbed-wire fence. He kneels at one of the + fence posts and frantically digs into the snow with his + bare hands, throws in the briefcase and covers it back up. + + He stands and tries to beat the circulation back into his + red, frozen hands. + + He looks to the right. + + A regular line of identical fence posts stretches away + against unblemished white. + 83. + + + He looks to the left. + + A regular line of identical fence posts stretches away + against unblemished white. + + He looks at the fence post in front of him. + + CARL + Mmmphh... + + He looks about the snowy vastness for a marker. Finding + none, he kicks the fence post a couple of times, failing to + scar or tilt it, then hurriedly plants a couple of sicks up + against the post. + + He bends down, scoops up a handful of snow, presses it + against his wounded jaw, and lopes back to the idling car. + + +72 INT. HOTEL ROOM 72 + + Marge has a packed overnight back sitting on the unmade + bed. + + She is ready to leave, already wearing her parka, but is on + the phone. + + MARGE + No, I'm leavin' this mornin', back + up to Brainerd. + + VOICE + Well, I'm sorry I won't see ya. + + MARGE + Mm. But ya think he's all right? I + saw him last night and he's - + + VOICE + What'd he say? + + MARGE + Well, it was nothin' specific he + said, it just seemd like it all hit + him really hard, his wife dyin' - + + VOICE + His wife? + + MARGE + Linda. + + VOICE + 84. + + + No. + + MARGE + Linda Cooksey? + + VOICE + No. No. No. They weren't - he, uh, + he was bothering Linda for about, + oh, for a good year. Really + pestering her, wouldn't leave her + alone. + + MARGE + So ... they didn't... + + VOICE + No. No. They never married. Mike's + had psychiatric problems. + + MARGE + Oh. Oh, my. + + VOICE + Yah, he - he's been struggling. + He's living with his parents now. + + MARGE + Oh. Geez. + + VOICE + Yah, Linda's fine. You should call + her. + + MARGE + Geez. Well - geez. That's a + suprise. + + +73 INT. MARGE'S CAR 73 + + Marge drives, gazing out at the road. + + MARGE AT A DRIVE-THROUGH + + She leans out of her open window and yells at the order + panel: + + MARGE + Hello? + + MARGE AT THE GUSTAFSON OLDS GARAGE + + She sits in the lot, eating a breakfast sandwich. + 85. + + +74 INT. JERRY LUNDEGAARD'S OFFICE 74 + + Jerry is at his desk using a blunt pencil to enter numbers + onto a form. Beneath the form is a piece of carbon paper + and beneath that another form copy, which Jerry + periodically checks. The carbon-copy form shows thick + smudgy, illegible entries. + + Jerry hums nervously. + + Glass rattles as someone taps at his door. + + Jerry looks up and freezes, mouth hanging open, brow knit + with worry. + + Marge sticks her head in the door. + + MARGE + Mr. Lundegaard? Sorry to bother you + again. Can I come in? + + She starts to enter. + + JERRY + Yah, no, I'm kinda - I'm kinda busy + - + + MARGE + I unnerstand. I'll keep it real + short, then. I'm on my way out of + town, but I was just - Do you mind + if I sit down? I'm carrying a bit + of a load here. + + JERRY + No, I - + + But she is already sitting into the chair opposite with a + sigh of relieved weight. + + MARGE + Yah, it's this vehicle I asked you + about yesterday. I was just + wondering - + + JERRY + Yah, like I told ya, we haven't had + any vehicles go missing. + + MARGE + 86. + + + Okay, are you sure, cause, I mean, + how do you know? Because, see, the + crime I'm investigating, the + perpetrators were driving a car + with dealer plates. And they called + someone who works here, so it'd be + quite a coincidence if they + weren't, ya know, connected. + + JERRY + Yah, I see. + + MARGE + So how do you - have you done any + kind of inventory recently? + + JERRY + The car's not from our lot, ma'am. + + MARGE + but do you know that for sure + without - + + JERRY + Well, I would know. I'm the + Executive Sales Manager. + + MARGE + Yah, but - + + JERRY + We run a pretty tight ship here. + + MARGE + I know, but - well, how do you + establish that, sir? Are the cars, + uh, counted daily or what kind of - + + JERRY + Ma'am, I answered your question. + +There is a silent beat. + + MARGE + ... I'm sorry, sir? + + JERRY + Ma'am, I answered your question. I + answered the darn - I'm cooperating + here, and I... + + MARGE + 87. + + + Sir, you have no call to get snippy + with me. I'm just doin' my job + here. + + JERRY + I'm not, uh, I'm not arguin' here. + I'm cooperating... There's no, uh - + we're doin' all we can... + +He trails off into silence. + + MARGE + Sir, could I talk to Mr. Gustafson? + +Jerry stares at her. + + MARGE + ... Mr. Lundegaard? + +Jerry explodes: + + JERRY + Well, heck, if you wanna, if you + wanna play games here! I'm workin' + with ya on this thing, but I... + +He is getting angrily off his feet. + + JERRY + Okay, I'll do a damned lot count! + + MARGE + Sir? Right now? + + JERRY + Sure right now! You're darned + tootin'! + +He is yanking his parka from a hook behind the opened door +and grabbing a pair of galoshes. + + JERRY + ... If it's so damned imporant to + ya! + + MARGE + I'm sorry, sir, I - + +Jerry has the parka slung over one arm and the galoshes +pinched in his hand. + + JERRY + Aw, what the Christ! + 88. + + +He stamps out the door. + +Marge stares. + +After a long moment her stare breaks. She glances idly +around the office. + +There is a framed picture facing away from her on the +desktop. She turns it to face her. It is Scotty, holding an +accordion. There is another picture of Jean. + +Marge looks at it, looks around, for some reason, at the +ceiling. + +She looks at a trophy shelf on the wall behind her. + +She fiddles idly with a pencil. She pulls a clipboard +toward her. It holds a form from the General Motors Finance +Corporation. + +She looks idly around. Her look abruptly locks. + + MARGE + ... Oh, for Pete's sake. + +Jerry is easing his car around the near corner of the +building. + +Marge's voice is flat with dismay: + + MARGE + ... Oh, for Pete's sake... + +She grabs the phone and punches in a number. + + MARGE + ... For Pete's s- he's fleein' the + interview. He's feelin' the + interview... + +Jerry makes a left turn into traffic. + + MARGE + ... Detective Sibert, please... + +POLICE OFFICER + +We are looking across a steam table at a man in blue. He +moves slowly to the right, pushing his tray along a +cafeteria line. Behind him, in the depth of the room, is an +eating area of long Formica tables at which sit a mix of +uniformed and civilian-clothed police and staff. + 89. + + +We are listening to an offscreen woman's voice. + + WOMAN + Well, so far we're just saying he's + wanted for questioning in + connection with a triple homicide. + Nobody at the dealship there's been + much help guessing where he might + go... + +The woman is entering frame sliding a tray. Marge enters +behind her, sliding her own. We move laterally with them as +they slowly make their way along the line. + + MARGE + Uh-huh. + + WOMAN + We called his house; his little boy + said he hadn't been there. + + MARGE + And his wife? + + WOMAN + She's visiting relatives in + Florida. Now his boss, this guy + Gustafson, he's also disappeared. + Nobody at his office knows where he + is. + + MARGE + Geez. Looks like this thing goes + higher than we thought. You call + his home? + + WOMAN + His wife's in the hospital, has + been for a couple months. The big + C. + + MARGE + Oh, my. + + WOMAN + And this Shep Proudfoot character, + he's a little darling. He's now + wanted for assault and parole + violation. He clobbered a neighbor + of his last night and another + person who could be one of your + perps, and he's at large. + 90. + + + MARGE + Boy, this thing is really ... geez. + + WOMAN + Well, they're all out on the wire. + Well, you know... + + MARGE + Yah. Well, I just can't thank you + enough, Detective Sibert, this + cooperation has been outstanding. + + DETECTIVE SIBERT + Ah, well, we haven't had to run + around like you. When're you due? + + MARGE + End a April. + + DETECTIVE SIBERT + Any others? + + MARGE + This'll be our first. We've been + waiting a long time. + + DETECTIVE SIBERT + That's wonderful. Mm-mm. It'll + change your life, a course. + + MARGE + Oh, yah, I know that! + + DETECTIVE SIBERT + They can really take over, that's + for sure. + + MARGE + You have children? + +Detective Sibert pulls an accordion of plastic picture +sleeves from her purse to show Marge. + + DETECTIVE SIBERT + I thought you'd never ask. The + older one is Janet, she's nine, and + the younger one is Morgan. + + MARGE + Oh, now he's adorable. + + DETECTIVE SIBERT + 91. + + + He's three now. Course, not in that + picture. + + MARGE + Oh, he's adorable. + + DETECTIVE SIBERT + Yah, he - + + MARGE + Where'd you get him that parka? + +They have reached the end of the cafeteria line. With a nod +to the cashier, Detective Sibert indicates hers and Marge's +trays. + + DETECTIVE SIBERT + Both of these. + + MARGE + Oh, no, I can't let you do that. + + DETECTIVE SIBERT + Oh, don't be silly. + + MARGE + Well, okay - thank you, Detective. + + DETECTIVE SIBERT + Oh, don't be silly. + +GAEAR GRIMSRUD + +He sits eating a Swanson's TV dinner from a TV tray he has +set up in front of an easy chair. + +He watches the old black-and-white TV set whose image - it +might be a game show - is still heavily ghosting and +diffused by snow. The audio crackles with interference. + +Despite the impenetrability of its image, it holds +Grimsrud's complete attention. + +At the sound of the front door opening, Grimsrud looks up. + +Carl enters, his face suppurating and raw. + +He reacts to Grimsrud's wordless look with a grotesque +laugh. + + CARL + You should she zhe uzher guy! + 92. + + +He glances around. + + CARL + ... The fuck happen a her? + +Jean sits slumped in a straight-backed chair facing the +wall. Her hooded head, resting on her chin, is motionless. + +There is blood on the facing wall. + + GRIMSRUD + She started shrieking, you know. + + CARL + Jezhush. + +He shakes his head. + + CARL + ... Well, I gotta muddy. + +He is plunking down eight bank-wrapped bundles on the +table. + + CARL + ... All of it. All eighty gran. + Forty for you... + +He makes one pile, pockets the rest. + + CARL + ... Forty for me. Sho thishuzh it. + Adiosh. + +He slaps keys down on the table. + + CARL + ... You c'n'ave my truck. I'm + takin' a Shiera. + + GRIMSRUD + We split that. + +Carl looks at him. + + CARL + HOW THE FUCK DO WE SHPLITTA FUCKIN' + CAR? Ya dummy! Widda fuckin' + chainshaw? + +Grimsrud looks sourly up. There is a beat. Finally: + 93. + + + GRIMSRUD + One of us pays the other for half. + + CARL + HOLD ON! NO FUCKIN' WAY! YOU + FUCKIN' NOTISH ISH? I GOT FUCKIN' + SHOT INNA FAISH! I WENT'N GOTTA + FUCKIN' MONEY! I GET SHOT FUCKIN' + PICKIN' IT UP! I BEEN UP FOR + THIRTY-SHIKSH FUCKIN' HOURZH! I'M + TAKIN' THAT FUCKIN' CAR! THAT + FUCKERZH MINE! + + Carl waits for an argument, but only gets the steady sour + look. + + Carl pulls out a gun. + + CARL + ... YOU FUCKIN' ASH-HOLE! I LISHEN + A YOUR BULLSHIT FOR A WHOLE FUCKIN' + WEEK! + + A beat. Carl returns Grimsrud's stare. + + CARL + ... Are we shquare? + + Grimsrud says nothing. + + CARL + ... ARE WE SHQUARE? + + A beat. + + Disgusted, Carl pockets the gun and heads for the door. + + CARL + ... Fuckin' ash-hole. And if you + shee your friend Shep Proudpfut, + tell him I'm gonna NAIL hizh + fuckin' ash. + + +75 EXT. OUTSIDE 75 + + We are pulling Carl as he walks toward the car. Behind him + we see the cabin door opening. Carl turns, reacting to the + sound. + + Grimsrud is bounding out wearing mittens and a red hunter's + cap, but no overcoat. He is holding an ax. + 94. + + +Carl fumbles in his pocket for his gun. + +Grimsrud swings overhand, burying the ax in Carl's neck. + +MARGE + +In her cruiser, on her two-way. Through it we hear Lou's +voice, heavily filtered: + + VOICE + His wife. This guy says she was + kidnapped last Wednesday. + + MARGE + The day of our homicides. + + VOICE + Yah. + +Marge is peering to one side as she drives, looking through +the bare trees that border the road on a declivity that +runs down to a large frozen lake. + + MARGE + And this guy is... + + VOICE + Lundegaard's father-in-law's + accountant. + + MARGE + Gustafson's accountant. + + VOICE + Yah. + + MARGE + But we still haven't found + Gustafson. + + VOICE + (crackle) + - looking. + + MARGE + Sorry - didn't copy. + + VOICE + Still missing. We're looking. + + MARGE + Copy. And Lundegaard too. + 95. + + + VOICE + Yah. Where are ya, Margie? + +We hear, distant but growing louder, harsh engine noise, as +of a chainsaw or lawnmower. + + MARGE + Oh, I'm almost back - I'm driving + around Moose Lake. + + VOICE + Oh. Gary's loudmouth. + + MARGE + Yah, the loudmouth. So the whole + state has it, Lundegaard and + Gustafson? + + VOICE + Yah, it's over the wire, it's + everywhere, they'll find 'em. + + MARGE + Copy. + + VOICE + We've got a - + + MARGE + There's the car! There's the car! + +We are slowing as we approach a short driveway leading down +to a cabin. Parked in front is the brown Cutlass Ciera. + + VOICE + Whose car? + + MARGE + My car! My car! Tan Ciera! + + VOICE + Don't go in! Wait for back-up! + +Marge is straining to look. The power-tool noise is louder +here but still muffled, its source not yet visible. + + VOICE + ... Chief Gunderson? + + MARGE + Copy. Yah, send me back-up! + + VOICE + 96. + + + Yes, ma'am. Are we the closest PD? + + MARGE + Yah, Menominie only has Chief + Perpich and he takes February off + to go to Boundary Waters. + + +76 EXT. ROAD EXTERIOR 76 + + Marge pulls her prowler over some distance past the cabin. + + She gets out, zips up her khaki parka and pulls up its fur- + lined hood. + + For a moment, she stands listening to the muffled roar of + the power tool. Then, with one curved arm half pressing + against, half supporting her belly, she takes slow, + gingerly steps down the slope, through the deep snow, + through the trees angling toward the cabin and the source + of the grinding noise. + + She slogs from tree to tree, letting each one support her + downhill-leaning weight for a moment before slogging to the + next. + + The roar grows louder. Marge stands panting by one tree, + her breath vaporizing out of her snorkel hood. She squints + down toward the cabin's back lot. + + A tall man with his back to us, wearing a red plaid quilted + jacket and a hunting cap with earflaps, is laboring over a + large power tool which his body blocks from view. + + Marge advances. + + The man is forcing downward something which engages the + roaring power tool and makes harsh spluttering noises. + + The man is Grimsrud, his nose red and eyes watering from + the cold, hatflaps pulled down over his ears. His breath + steams as he sourly goes about his work, both hands + pressing down a shod foot, as it if were the shaft of a + butter churn. + + The roar is very loud. + + Marge slogs down to the next tree, panting, looking. + + Grimsrud forces more of the leg into the machine, which we + can now see sprays small wet chunks out the bottom. + + Marge's eyes shift. + 97. + + +A large dark form lies in the snow next to Grimsrud. + +Grimsrud works on, eyes watering. With a grunt he bends +down out of frame and then re-enters holding a thick log. + +He uses it to force the leg deeper into the machine. + +Marge is advancing. She holds a gun extended toward +Grimsrud, who is still turned away. + +Grimsrud rubs his nose with the back of his hand. + +Marge closes in, grimacing. + +Grimsrud's back strains as he puts his weight into the log +that pushes down into the machine. + +The dark shape in the snow next to his side is the rest of +Carl Showalter's body. + +Marge has drawn to within twenty yards. When she bellows it +sounds hollow and distant, her voice all but eaten up by +the roar of the power tool. + + MARGE + Stop! Police! Turn around and hands + up! + +Startled, Grimsrud scowls. He turns to face her. + +He stares. + +Marge bellows again: + + MARGE + ... Hands up! + +Conscious of the noise, she shows with a twist of her +shoulder the armpatch insignia. + + MARGE + ... Police! + +Grimsrud stares. + +With a quick twist, he reaches back for the log, hurls it +at Marge and then starts running away. + +Marge twists her body sideways, shielding herself. + +No need - the heavy log travels perhaps ten yards and lands +in the snow several feet short of her. + 98. + + +Grimsrud pants up the hill - slow going through the deep +snow. + +Behind him: + + MARGE + ... Halt! + +She fires in the air. + +She lowers the gun and carefully sighs. + + MARGE + ... Halt! + +She fires. + +Grimsrud still slogs up the hill - a miss. + +Marge sights again. + + MARGE + ... Halt! + +She fires again. + +Grimsrud pitches forward. He mutters in Swedish as he +reaches down to clutch at his wounded leg. + +Marge walks toward him, gun trained on him as her other +hand reaches under her parka and gropes around her waist. + +It comes out with a pair of handcuffs, which she opens with +a snap of the wrist. + + MARGE + ... All right, buddy. On your belly + and your hands clasped behind you. + +THE CRUISER + +Marge drives. Grimsrud sits in the back seat, hands cuffed +behind him. + +For a long moment there, he is quiet - only engine hum and +the periodic clomp of wheels on pavement seams - as Marge +grimly shakes her head. + + MARGE + ... So that was Mrs. Lundegaard in + there? + 99. + + +She glances up in the rear-view mirror. + +Grimsrud, cheeks sunk, eyes hollow, looks sourly out at the +road. + +Marge shakes her head. + +At length: + + MARGE + ... I guess that was your + accomplice in the wood chipper. + +Grimsrud's head bobs with bumps on the road; otherwise he +is motionless, reactionless, scowling and gazing out. + + MARGE + ... And those three people in + Brainerd. + +No response. + +Marge, gazing forward, seems to be talking to herself. + + MARGE + ... And for what? For a little bit + of money. + +We hear distant sirens. + + MARGE + ... There's more to life than + money, you know. + +She glances up in the rear-view mirror. + + MARGE + ... Don't you know that?... And + here ya are, and it's a beautiful + day... + +Grimsrud's hollow eyes stare out. + +The sirens are getting louder. Marge pulls over. + + MARGE + ... Well... + +She leans forward to the dash to give two short signalling +WHOOPS on her siren. + +She turns on her flashers. + 100. + + + She leans back with a creak and jangle of utilities. + + She stares forward, shakes her head. We hear the dull click + of her flashers. + + MARGE + ... I just don't unnerstand it. + + Outside it is snowing. The sky, the earth, the road - all + white. + + A squad car, gumballs spinning, punches through the white. + + It approaches in slow motion. + + An ambulance punches through after it. + + Another squad car. + + FADE OUT: + + FADE IN: + + HIGH AND WIDE ON A SHABBY MOTEL + + It stands next to a highway on a snowy, windslept plain. + + One or two cars dot the parking lot along with an idling + police cruiser. + + +77 INT. MOTEL ROOM DOORWAY 77 + + We are looking over the shoulders of two uniformed + policemen who stand on either side of the door, their hands + resting lightly on their holstered sidearms. One of them + raps at the door. + + COP ONE + Mr. Anderson... + + A title fades in: OUTSIDE OF BISMARK, NORTH DAKOTA + + After a pause, muffled through the door: + + VOICE + ... Who?... + + COP ONE + Mr. Anderson, is this your burgundy + 88 out here? + 101. + + + VOICE + ... Just a sec. + + COP ONE + Could you open the door, please? + + VOICE + ... Yah. Yah, just a sec. + +We hear a clatter from inside. + + VOICE + ... Just a sec... + +One of the policemen unholsters his gun and nods to someone +whose back enters - a superintendent holding a ring of +keys. + +This man turns a key in the door and then stands away. + +The two policemen, guns at the ready, bang into the motel +room. + +The rough hand-held camera rushes in behind them as the two +men give the room a two-handed sweep with their guns. + +The room is empty. + +Cop one indicates the open bathroom door. + + COP ONE + Dale! + +The two men charge the bathroom, belts jingling, guns at +the ready, jittery camera behind them rushing to keep pace. + +A man in boxer shorts is halfway out the bathroom window. + +The policemen holster their guns and charge the window, and +drag Jerry Lundegaard back into the room. + +His flesh quivers as he thrashes and keens in short, +piercing screams. + +The cops wrestle him to the floor but his palsied thrashing +continues. The policemen struggle to restrain him. + + COP ONE + Call an ambulance! + + COP TWO + You got him okay? + 102. + + + Cop One pinions Jerry's arms to the floor and Jerry bursts + into uncontrolled sobbing. + + COP ONE + Yah, yah, call an ambulance. + + Jerry sobs and screams. + + +78 INT. A BEDROOM 78 + + We are square on Norm, who sits in bed watching television. + + After a long beat, Marge enters frame in a nightie and + climbs into bed, with some effort. + + MARGE + Oooph! + + Norm reaches for her hand as both watch the television. + + At length Norm speaks, but keeps his eyes on the TV. + + NORM + They announced it. + + Marge looks at him. + + MARGE + They announced it? + + NORM + Yah. + + Marge looks at him, waiting for more, but Norm's eyes stay + fixed on the television. + + MARGE + ... So? + + NORM + Three-cent stamp. + + MARGE + Your mallard? + + NORM + Yah. + + MARGE + Norm, that's terrific! + 103. + + +Norm tries to suppress a smile of pleasure. + + NORM + It's just the three cent. + + MARGE + It's terrific! + + NORM + Hautman's blue-winged teal got the + twenty-nine cent. People don't much + use the three-cent. + + MARGE + Oh, for Pete's - a course they do! + Every time they raise the darned + postage, people need the little + stamps! + + NORM + Yah. + + MARGE + When they're stuck with a bunch a + the old ones! + + NORM + Yah, I guess. + + MARGE + That's terrific. + +Her eyes go back to the TV. + + MARGE + ... I'm so proud a you, Norm. + +Norm murmurs: + + NORM + I love you, Margie. + + MARGE + I love you, Norm. + +Both of them are watching the TV as Norm reaches out to +rest a hand on top of her stomach. + + NORM + ... Two more months. + +Marge absently rests her own hand on top of his. + 104. + + + MARGE + Two more months. + +Hold. + + FADE OUT: + \ No newline at end of file diff --git a/scripts/Forrest Gump.txt b/scripts/Forrest Gump.txt new file mode 100644 index 0000000000000000000000000000000000000000..40573931c4da5ca17861e51a30038de9126e23c7 --- /dev/null +++ b/scripts/Forrest Gump.txt @@ -0,0 +1,8446 @@ + 1. + + + + +1 EXT. A SAVANNAH STREET - DAY (1981) 1 + + A feather floats through the air. The falling feather. + + A city, Savannah, is revealed in the background. The + feather floats down toward the city below. The feather + drops down toward the street below, as people walk past and + cars drive by, and nearly lands on a man's shoulder. + + He walks across the street, causing the feather to be + whisked back on its journey. The feather floats above a + stopped car. + + The car drives off right as the feather floats down + towardthe street. + + The feather floats under a passing car, then is sent flying + back up in the air. A MAN sits on a bus bench. The feather + floats above the ground and finally lands on the man's + mudsoaked shoe. + + The man reached down and picks up the feather. His name is + FORREST GUMP. He looks at the feather oddly, moves aside a + box of chocolates from an old suitcase, then opens the + case. + + Inside the old suitcase are an assortment of clothes, a + pingpong paddle, toothpaste and other personal items. + + Forrest pulls out a book titled "Curious George," then + places the feather inside the book. Forrest closes the + suitcase. + + Something in his eyes reveals that Forrest may not be all + there. + + Forrest looks right as the sound of an arriving bus is + heard. + + A bus pulls up. Forrest remains on the bus bench as the bus + continues on. + + A BLACK WOMAN in a nurse's outfit steps up and sits down at + the bus bench next to Forrest. The nurse begins to read a + magazine as Forrest looks at her. + + FORREST + Hello. My name's Forrest Gump. + + He opens a box of chocolates and holds it out for the + nurse. + 2. + + + FORREST + You want a chocolate? + + The nurse shakes her head, a bit apprehensive about this + strange man next to her. + + FORREST + I could eat about a million and a + half of these. My momma always + said, "Life was like a box of + chocolates. You never know what + you're gonna + get." + + Forrest eats a chocolate as he looks down at the nurse's + shoes. + + FORREST + Those must be comfortable shoes. + I'll bet you could walk all day in + shoes like that and not feel a + thing. + I wish I had shoes like that. + + BLACK WOMAN + My feet hurt. + + FORREST + Momma always says there's an awful + lot you could tell about a person + by their shoes. Where they're + going. + Where they've been. + + The black woman stares at Forrest as he looks down at his + + own shoes. + + FORREST + I've worn lots of shoes. I bet if I + think about it real hard I could + remember my first pair of shoes. + + Forrest closes his eyes tightly. + + FORREST + Momma said they'd take my anywhere. + + +2 INT. COUNTRY DOCTOR'S OFFICE - GREENBOW, ALABAMA - DAY 2 + (1951) + 3. + + + A little boy closes his eyes tightly. It is young Forrest + as + + he sits in a doctor's office. + + FORREST (V.O.) + She said they was my magic shoes. + + Forrest has been fitted with orthopedic shoes and metal leg + + braces. + + DOCTOR + All right, Forrest, you can open + your eyes now. Let's take a little + walk around. + + The doctor sets Forrest down on its feet. Forrest walks + around stiffly. Forrest's mother, MRS. GUMP, watches him as + he clanks around the room awkwardly. + + DOCTOR + How do those feel? His legs are + strong, Mrs. Gump. As strong as + I've + ever seen. But his back is as + crooked + as a politician. + + Forrest walks foreground past the doctor and Mrs. Gump. + + DOCTOR + But we're gonna straighten him + right + up now, won't we, Forrest? + + A loud thud is heard as, outside, Forrest falls. + + MRS. GUMP + Forrest! + + +3 EXT. GREENBOW, ALABAMA 3 + + Mrs. Gump and young Forrest walk across the street. Forrest + + walks stiffly next to his mother. + + FORREST (V.O.) + Now, when I was a baby, Momma named + me after the great Civil War hero, + General Nathan Bedford Forrest... + 4. + + +4 EXT. RURAL ALABAMA 4 + + A black and white photo of General Nathan Bedford Forrest. + + The photo turns into live action as the General dons a + hooded sheet over his head. + + The General is in full Ku Klux Klan garb, including his + horse. + + The General rides off, followed by a large group of Klan + + members dressed in full uniform. + + FORREST (V.O.) + She said we was related to him in + some way. And, what he did was, he + started up this club called the Ku + Klux Klan. They'd all dress up in + their robes and their bedsheets and + act like a bunch of ghosts or + spooks + or something. They'd even put + bedsheets on their horses and ride + around. And anyway, that's how I + got + my name. Forrest Gump. + + +5 EXT. GREENBOW 5 + + Mrs. Gump and Forrest walk across the street. + + FORREST (V.O.) + Momma said that the Forrest part + was + to remind me that sometimes we all + do things that, well, just don't + make no sense. + + Forrest stops suddenly as his brace gets stuck. Forrest's + + brace is caught in a gutter grate. Mrs. Gump bends down and + + tries to free Forrest. Two old cronies sit in front of a + + barber shop and watch. + + MRS. GUMP + Just wait, let me get it. + + Mrs. Gump struggles to pull the stuck brace from the grate. + 5. + + + MRS. GUMP + Let me get it. Wait, get it this + way. Hold on. + + Forrest pulls his foot out of the grate. + + MRS. GUMP + All right. + + Mrs. Gump helps Forrest up onto the sidewalk. She looks up + + and notices the two old man. + + MRS. GUMP + Oooh. All right. What are you all + staring at? Haven't you ever seen a + little boy with braces on his legs + before? + + Mrs. Gump and Forrest walk along the sidewalk past the two + + old men. Mrs. Gump holds tightly onto Forrest's hand. + + MRS. GUMP + Don't ever let anybody tell you + they're better than you, Forrest. + If God intended everybody to be the + same, he'd have given us all braces + on our legs. + + FORREST (V.O.) + Momma always had a way of + explaining things so I could + understand them. + + +6 EXT. OAK ALLEY/THE GUMP BOARDING HOUSE 6 + + Mrs. Gump and Forrest walk along a dirt road. A row of + + mailboxes stands left. + + FORREST (V.O.) + We lived about a quarter mile of + Route 17, about a half mile from + thetown of Greenbow, Alabama. + That's in the county of Greenbow. + Our house had been in Momma's + family since hergrandpa's grandpa's + grandpa had comeacross the ocean + about a thousandyears ago. + Something like that. + 6. + + + Mrs. Gump and Forrest walk along the Gump Boarding House + + driveway. + + FORREST (V.O.) + Since it was just me and Momma and + we had all these empty rooms, Momma + decided to let those rooms out. + Mostly + to people passing through. Like + from, + oh, Mobile, Montgomery, place like + that. That's how me and Mommy got + money. Mommy was a real smart lady. + + MRS. GUMP + Remember what I told you, Forrest. + You're no different than anybody + else is. + + Mrs. Gump heads Forrest to the porch. She bends down to + look + + Forrest in the eye. + + MRS. GUMP + Did you hear what I said, Forrest? + You're the same as everybody else. + You are no different. + + +7 INT. ELEMENTARY SCHOOL / PRINCIPAL'S OFFICE - DAY 7 + + PRINCIPAL + Your boy's... different, Mrs. Gump. + Now, his I.Q. is seventy-five. + + MRS. GUMP + Well, we're all different, Mr. + Hancock. + + The principal sighs, then stands up. + + +8 INT. HALLWAY 8 + + Forrest sits outside the principal's office and waits. + + FORREST (V.O.) + She wanted me to have the finest + education, so she took me to the + Greenbow County Central School. I + met the principal and all. + 7. + + + The principal stands in front of Mrs. Gump. Forrest, + sitting + + left, listens. + + PRINCIPAL + I want to show you something, Mrs. + Gump. Now, this is normal. + + The principal holds up a chart with a designations + according + + to I.Q. and points to the center of the graph, labeled + + "Normal." A red line below the normal area is labeled + "State + + Acceptance." The principal points to the section below the + + acceptance line labeled "Below." + + PRINCIPAL + Forrest is right here. The state + requires a minimum I.Q. of eighty + to + attend public school, Mrs. Gump. + He's gonna have to go to a special + school. Now, he'll be just fine. + + MRS. GUMP + What does normal mean, anyway? He + might be a bit on the slow side, + but my boy Forrest is going to get + the same opportunities as everyone + else. He's not going to some + special schoolto learn to how to + re-tread tires. + We're talking about five little + points here. There must be + something can be done. + + +9 INT. HALLWAY 9 + + Forrest sits outside the principal's office. + + PRINCIPAL + We're a progressive school system. + We don't want to see anybody left + behind. + + +10 INT. PRINCIPAL'S OFFICE 10 + 8. + + + PRINCIPAL + Is there a Mr. Gump, Mrs. Gump? + + MRS. GUMP + He's on vacation. + + +11 EXT. GUMP BOARDING HOUSE - NIGHT 11 + + Forrest sits on a swing outside the house. Loud organic + male + + grunts are heard coming from inside the house. Forrest sits + + on the swing as the grunts continue. The principal steps + out + + of the Gump House and wipes the sweat from his face. + + Forrest is sitting on the porch. + + PRINCIPAL + Well, your momma sure does care + about + your schooling, son. Mm-mm-mm. + + The principal wipes the sweat from his neck, then looks + back + + at Forrest. + + PRINCIPAL + You don't say much, do you? + + Forrest grunts, imitating him. The principal, embarrassed, + + turns and walks away. + + +12 INT. GUMP BOARDING HOUSE/FORREST'S BEDROOM 12 + + Mrs. Gump reads from the book "Curious George" as Forrest + + sits on the bed and listens. + + MRS. GUMP + Finally, he had to try it. It + looked easy, but, oh, what + happened. First + there... + + FORREST + 9. + + + Momma, what's vacation mean? + + MRS. GUMP + Vacation? + + FORREST + Where Daddy went? + + MRS. GUMP + Vacation's when you go somewhere, + and you don't ever come back. + + Forrest lies down on his bed and looks up. + + FORREST (V.O.) + Anyway, I guess you could say me + and + Momma was on our own. + + +13 EXT. GUMP BOARDING HOUSE - DAY 13 + + A cab driver closes the trunk of the car as two women walk + + toward the house. A milkman steps down from the porch. + + FORREST (V.O.) + But we didn't mind. Our house was + never empty. There was always folks + comin' and goin'. + + MRS. GUMP (V.O.) + Suppa. + + +14 INT. GUMP BOARDING HOUSE 14 + + Mrs. Gump steps forward and speaks to all the boarders. + + MRS. GUMP + It's suppa, everyone. Forrest... + + A MAN WITH A CANE steps left across the hall. + + MAN WITH CANE + My, my. That sure looks special. + + Mrs. Gump looks into a sitting room and informs the + boarders + + about dinner. + 10. + + + MRS. GUMP + Gentlemen, would you care to join + us + for supper? Hurry up and get it + before + the flies do. I prefer you don't + smoke that cigar so close to + mealtime. + + FORREST (V.O.) + Sometimes we had so many people + stayin' with us that every room was + filled with travelers. You know, + folks livin' out of their + suitcases, + and hat cases, and sample cases. + + MRS. GUMP + Well, you go ahead and start. I + can't + find Forrest. + +Mrs. Gump walks up the stairs. + + MRS. GUMP + Forrest... Forrest... + + FORREST (V.O.) + One time a young man was staying + with us, and he had him a guitar + case. + +Mrs. Gump looks into Forrest's room. She hears singing +coming + +from another room and walks over to a closed door. Mrs. +Gump + +opens the door, revealing a young man with long sideburns +as + +he plays the guitar and sings. Forrest holds onto a broom + +and dances oddly. The young man is ELVIS PRESLEY. + + ELVIS PRESLEY + (sings) + "Well, you ain't never caught a + rabbit, and you ain't no friend of + mine." + +Forrest's legs rock back and forth to the guitar. + 11. + + + MRS. GUMP + Forrest! I told you not to bother + this nice young man. + + ELVIS + Oh, no, that's all right, ma'am. I + was just showin' him a thing or two + on the guitar here. + + MRS. GUMP + All right, but your supper's ready + if y'all want to eat. + + ELVIS + Yeah, that sounds good. Thank you, + ma'am. + +Mrs. Gump leaves and closes the door. Elvis sits back down. + +Forrest stands left, and looks himself in a mirror. + + ELVIS + Say, man, show me that crazy little + walk you just did there. Slow it + down some. + +Forrest begins to dance again as Elvis plays the guitar and + +sings. + + ELVIS + (sings) + "You ain't nothin' but a hound, + hound + dog..." + + FORREST (V.O.) + I liked that guitar. + +Forrest dances as he watches himself in the mirror. + + FORREST (V.O.) + It sounded good. + + ELVIS + (sings) + "...cryin' all the time" + +Forrest rocks up and down on his braced legs, then begins +to + +step. + 12. + + + ELVIS + (sings) + "You ain't nothin' but a hound + dog..." + + FORREST (V.O.) + I started moving around to the + music, + swinging my hips. This one night me + and Momma... + + +15 EXT. GREENBOW - NIGHT 15 + + Mrs. Gump and Forrest walk along a sidewalk. A television + + inside a store window reveals Elvis Presley as he performs + + "Houng Dog" on a stage. + + FORREST (V.O.) + ...was out shoppin', and we walked + right by Benson's Furniture and + Appliance store, and guess what. + + The television reveals Elvis as he thrusts his hips and + sings. + + ELVIS + (sings) + You ain't nothin' but a hound + dog... + + Mrs. Gump and Forrest watch the television. Elvis dances + + around in the same manner Forrest did. A woman in the + audience + + screaming and applauding. + + ELVIS + (sings) + You ain't nothin' but a hound + dog... + + MRS. GUMP + This is not children's eyes. + + Mrs. Gump walks away, pulling Forrest with her. Forrest + stops + + and takes one last look. Elvis continues to perform over + the + 13. + + + television. + + ELVIS + (sings) + "Well, you ain't never caught a + rabbit + and you ain't no friend of mine." + + FORREST (V.O.) + Some years later, that handsome + young + man who they called "The King," + well, + he sung too many songs, had himself + a heart attack or something. + + +16 EXT. SAVANNAH/BUS BENCH - DAY 16 + + Forrest is still sitting on the bus bench. The black nurse + + looks at him. + + FORREST + Must be hard being a king. You + know, + it's funny how you remember some + things, but some things you can't. + + +17 EXT. COUNTRY ROAD/ALABAMA - MORNING (1954) 17 + + Mrs. Gump and Forrest wait for the school bus. The bus + pulls + + up as Mrs. Gump prepares Forrest for his first day of + school. + + MRS. GUMP + You do your very best now, Forrest. + + FORREST + I sure will, Momma. + + FORREST (V.O.) + I remember the bus ride on the + first + day of school very well. + + The bus driver opens the door and looks down. Forrest walks + + to the steps of the bus and looks at the bus driver. She is + 14. + + + smoking a cigarette. + + BUS DRIVER + Are you comin' along? + + FORREST + Momma said not to be taking rides + from strangers. + + BUS DRIVER + This is the bus to school. + + FORREST + I'm Forrest Gump. + + BUS DRIVER + I'm Dorothy Harris. + + FORREST + Well, now we ain't strangers + anymore. + + The bus driver smiles as Forrest steps up into the bus. + + +18 INT. BUS 18 + + Forrest steps up onto the bus. Mrs. Gump waves to Forrest + as + + the bus drives away. Forrest begins to walk down the aisle. + + TWO YOUNG BOYS look up from the seat. + + BOY #1 + This seat's taken. + + BOY #2 + It's taken! + + Forrest looks around. A larger girl slides over so Forrest + + can't sit next to her. She shakes her head. Forrest looks + to + + the other side where a boy sits alone on a larger seat. + They + + boy glares up at Forrest. + + BOY #3 + You can't sit here. + 15. + + + FORREST (V.O.) + You know, it's funny what a young + man recollects. 'Cause I don't + remember being born. + + +19 EXT. SAVANNAH/BUS BENCH - DAY 19 + + Forrest continues talking as he sits on the bus bench. + + FORREST (V.O.) + I, I... don't recall what I got for + my first Christmas and I don't know + when I went on my first outdoor + picnic. But, I do remember the + first + time I heard the sweetiest voice... + + +20 INT. BUS - MORNING (1954) 20 + + Young Forrest is still standing in the aisle on the bus. + + FORREST (V.O.) + ...in the wide world. + + GIRL + You can sit here if you want. + + Forrest looks back at JENNY CURRAN, a young girl about + + Forrest's age. + + FORREST (V.O.) + I had never seen anything so + beautiful + in my life. She was like an angel. + + JENNY + Well, are you gonna sit down, or + aren't ya? + + Forrest sits down next to Jenny. + + JENNY + What's wrong with your legs? + + FORREST + Um, nothing at all, thank you. My + legs are just fine and dandy. + + FORREST (V.O.) + I just sat next to her on that bus + 16. + + + and had conversation all the way to + school. + + JENNY + Then why do you have those shoes + on? + + FORREST + My momma said my back's crooked + like + a question mark. These are going to + make me as straight as an arrow. + They're my magic shoes. + + FORREST (V.O.) + And next to Momma, no one ever + talked + to me or asked me questions. + + JENNY + Are you stupid or something. + + FORREST + Mommy says stupid is as stupid + does. + + Jenny puts her hand out toward Forrest. Forrest reaches + over + + and shakes her hand. + + JENNY + I'm Jenny. + + FORREST + I'm Forrest Gump. Forrest Gump. + + FORREST (V.O.) + From that day on, we was always + together. Jenny and me was like + peas + and carrots. + + +21 EXT. OAK TREE - DAY 21 + + Young Jenny and Forrest run toward a large oak tree. + + FORREST (V.O.) + She taught me how to climb... + + Jenny sits on a large branch and calls down to Forrest. + 17. + + + JENNY + Come on, Forrest, you can do it. + + Forrest dangles from the branch. + + FORREST (V.O.) + ...I showed her how to dangle. + + Jenny and Forrest sit on a tree branch and read. + + FORREST + "...a good little monkey and..." + + FORREST (V.O.) + She helped me to learn how to read. + + Forrest hangs upside down from a branch and swings back and + + forth. Forrest's braces are wedged in the tree. + + FORREST (V.O.) + And I showed her to swing. + + +22 EXT. OAK TREE - NIGHT 22 + + The silhouete of the oak tree, Jenny and Forrest as they + sit + + on a branch. + + FORREST (V.O.) + Sometimes we'd just sit out and + wait + for the stars. + + FORREST + Momma's gonna worry about me. + + Jenny puts her hand on Forrest's hand. + + JENNY + Just stay a little longer. + + FORREST (V.O.) + For some reason, Jenny didn't never + want to go home. + + FORREST + Okay, Jenny. I'll stay. + + FORREST (V.O.) + 18. + + + She was my most special friend. + + +23 INT. SAVANNAH/BUS STOP - DAY 23 + + Forrest nods as he remembers. + + FORREST + My only friend. + + Forrest continues talking to the black woman. She doesn't + + seem to be listening as she reads her magazine. She looks + up + + from her magazine. + + FORREST + Now, my Momma always told me that + miracles happen every day. Some + people + don't think so, but they do. + + +24 EXT. OAK ALLEY - ANOTHER DAY (1954) 24 + + Jenny and Forrest walk. A dirt clod hits Forrest in the + back + + of the head. Jenny looks as Forrest rubs his head. THREE + + YOUNG BOYS get off their bikes and pick up more rocks. + + BOY #1 + Hey... dummy! + + Forrest is hit in the eye with another dirt clod. Forrest + + falls backward onto the ground as the boys glare at him. + + BOY #2 + Are you retarded, or just plain + stupid? + + BOY #3 + Look, I'm Forrest Gump. + + Jenny helps Forrest back up. Boy #1 and Boy #2 throw more + + dirt clods at Forrest. + + JENNY + 19. + + + Just run away, Forrest. + +Another dirt clod hits Forrest in the arm. + + JENNY + Run, Forrest! + +Forrest tries to run along the road, but his braces makes +it + +impossible. He hobbles along as Jenny yells after him. + + JENNY + Run away! Hurry! + +Boy #1 and Boy #2 turn back toward the bikes. + + BOY #2 + Get the bikes! + + BOY #3 + Hurry up! + +The boys pick up their bikes and ride after Forrest. + + BOY #3 + Let's get him! Come on! + + BOY #2 + Look out, dummy, here we come! + +The boys ride after Forrest. Jenny stands and watches. + + BOY #2 + We're gonna get you! + + JENNY + Run, Forrest! Run! + +Forrest hobbles along the dirt road. + + JENNY + Run, Forrest! + +Forrest looks over his shoulder. The three boys race on +their + +bikes. + + BOY #1 + Come back here, you! + 20. + + + Forrest begins to run faster with his braces on. Forrest + + continues running as the boys chase him. Blood drips down + + from a cut on his head. The boys on the bikes are gaining + on + + Forrest. Forrest hobbles along. He begins to gain speed. + + JENNY + Run, Forrest! Run! + + SLOW MOTION -- + + Forrest runs from the chasing room. He looks over his + shoulder + + in fear. + + The boys on the bikes peddle faster as they gain on + Forrest, + + running. + + Forrest tries to run even faster to get away. Suddenly his + + braces shatter, sending steel and plastic flying into the + + air. + + Forrest runs and look down at his legs in surprise. + + Forrest continues to run faster as the metal braces and + straps + + fly off his legs. + + Forrest runs free of his braces and begins to pick up + speed. + + The chasing boys ride over the remains of Forrest's braces. + + FORREST (V.O.) + Now, you wouldn't believe it if I + told you. + + +25 EXT. SAVANNAH/ BUS BENCH - DAY 25 + + FORREST + But I can run like the wind blows. + 21. + + + The black woman continues to read her magazine. Forrest + smiles + + as he remembers. + + FORREST + From that day on, if I was going + somewhere, I was running! + + +26 EXT. OAK ALLEY - DAY (1954) 26 + + Forrest sprints away from the boys. The boys stop the chase + + and watch in disbelief. Forrest is already at the far end + of + + the road, clear of the chasing boys. + + BOY #2 + He's gettin' away! Stop him! + + Boy #1 throws his bike down in frustration. Forrest runs + + across a field. + + +27 EXT. COUNTRY ROAD 27 + + Forrest runs past a chain gang in their prison uniforms. + + They are cutting at the weeds on the side of the road. + + +28 EXT. GREENBOW 28 + + Forrest runs across the street. THE TWO OLD MEN sit in + front + + of the barber shop. + + OLD CRONY + That boy sure is a running fool. + + +29 EXT. JENNY'S HOUSE 29 + + Forrest runs down a driveway toward Jenny's small house. + + FORREST (V.O.) + Now remember how I told you that + Jenny never seemed to want to go + 22. + + + home? Well, she lived in a house + that was as old as Alabama. Her + Momma + had gone up to heaven when she was + five and her daddy was some kind of + a farmer. + +Forrest knocks on Jenny's door. + + FORREST + Jenny? Jenny? + +Forrest look around the field at the left. He notices Jenny + +and runs toward her. + + FORREST (V.O.) + He was a very lovin' man. He was + always kissing and touchin' her and + her sisters. And then this one + time, + Jenny wasn't on the bus to go to + school. + +Forrest runs to Jenny. + + FORREST + Jenny, why didn't you come to + school + today? + + JENNY + Hsh! Daddy's takin' a nap. + +Jenny grabs Forrest's hand and runs into the field. Jenny's + +DAD drunk, steps out onto the porch and shouts. + + JENNY'S DAD + Jenny! + + JENNY + Come on! + + JENNY'S DAD + Jenny, where'd you run to? You'd + better come back here, girl! + +Jenny's dad steps out toward the field. Jenny leads Forrest + +into the thick tobacco field. Jenny's dad runs through the + +field searching for Jenny with a liquor bottle in his hand. + 23. + + + JENNY'S DAD + Where you at? + + Jenny and Forrest run into a corn field as Jenny's dad + tries + + to chase her. + + JENNY'S DAD + Jenny! Jenny! Where you at? Jenny! + + Jenny drops to her knees and pulls Forrest down with her. + + JENNY + Pray with me, Forrest. Pray with + me. + + JENNY'S DAD + Jenny! + + JENNY + Dear God, make me a bird so I can + fly far, far, far away from here. + Dear God, make me a bird so I can + fly far, far, far away from here. + + FORREST (V.O.) + Momma always said that God is + mysterious. + + JENNY'S DAD + Jenny! Get back here! + + FORREST (V.O.) + He didn't turn Jenny into a bird + that day. Instead... + + +30 EXT. TRAILER PARK/ALABAMA - DAY (1955) 30 + + A police officer escorts Jenny to her grandmother's + trailer. + + Jenny's grandmother meets Jenny outside and leads her + toward + + the trailer. + + FORREST (V.O.) + ...he had the police say Jenny + didn't + have to stay in that house no more. + She went to live with her grandma + 24. + + + just over on Creekmore Avenue, + which + made me happy 'cause she was so + close. + + +31 EXT. GUMP HOUSE - NIGHT (1955) 31 + + Jenny climbs over a second-floor railing and enters the + house. + + FORREST (V.O.) + Some nights, Jenny'd sneak out and + come over to my house, just 'cause + she said she was scared. Scared of + what, I don't know... + + +32 INT. GUMP HOUSE/FORREST'S BEDROOM 32 + + Jenny lies in bed next to young Forrest. She hugs him. + + FORREST (V.O.) + ...but I think it was her grandma's + dog. He was a mean dog. Anyway, + Jenny + and me was best friends... + + +33 EXT. GREENBOW/OAK ALLEY - DAY (1961) 33 + + Forrest and Jenny are teenagers now. They walk along an + + oaklined road. + + FORREST (V.O.) + ...all the way to high school. + + Suddenly Forrest is hit in the back with a rock. Forrest + and + + Jenny turn around. + + OLDER BOY #1 + Hey, stupid! + + JENNY + Quit it! + + A teenage boy throws another rock as a pickup truck pulls + up + + behind him. Jenny turns and looks at Forrest. + 25. + + + JENNY + Run, Forrest, run! + + OLDER BOY #1 + Hey. Did you hear me, stupid? + + JENNY + Run, Forrest! + + Forrest drops his books and runs down the road. The teenage + + boy jumps into the back of the pickup truck with another + boy + + as the truck speeds after Forrest. Jenny steps left and + gets + + out of the way. + + OLDER BOY #2 + Come on, he's getting away! Move + it! + + JENNY + Run, Forrest! Run! + + OLDER BOY #1 + You better be runnin', stupid. + + Forrest runs along the road. The truck speeds after him. + + OLDER BOY #2 + Come on, dummy! + + OLDER BOY #1 + Haul ass, dummy! + + Older Boy throws rocks at Forrest. + + OLDER BOY #1 + Yeah, you better be runnin'! + + +34 INT. TRUCK 34 + + BOY + Ya-hoo! + + +35 EXT. OAK ALLEY 35 + + The boys in the back of the truck throw rocks at Forrest as + 26. + + + they drive up to him. + + OLDER BOY #1 + Move it, jack rabbit! + + The truck follows right on Forrest's heels. A rebel flag + + license plate adorns the truck's grill. + + OLDER BOY #1 + Come on! + + Forrest runs along the road as the truck chases him. The + + boys in the back of the truck pound on the roof as the + truck + + turns right, after Forrest. The truck drives into a field. + + Forrest runs toward a fence. + + BOY + Run! Faster! Yeah! Go! Go! Come on, + Forrest! Yeah! + + JENNY + Run, Forrest! + + Forrest leaps over a five-foot fence as the boys try to + catch + + him. + + +36 EXT. SAVANNAH/BUS BENCH - DAY (1981) 36 + + Forrest looks left as he continues telling his life story. + + FORREST + Now, it used to be, I ran to get + where I was goin'. I never thought + it would take me anywhere. + + +37 EXT. HIGH SCHOOL/ROAD - DAY (1961) 37 + + Forrest runs along the road in front of the high school. + The + + truck continues to chase him as the boys pound on the roof. + + OLDER BOY + 27. + + + Come on. Whoo-hoo! + + The truck speeds past Forrest as he turns from the road and + + runs onto the high school football field. Forrest runs + across + + the field during a football scrimmage. + + In the stands watching the scrimmage is the legendary + + University of Alabama football coach BEAR BRYANT, wearing + + his trademark plaid hat. + + A group of assistant coaches sit around him, as well as the + + high school football coach. The quarterback throws the ball + + into the air. + + Forrest runs past the quarterback. The receiver catches the + + ball. Forrest runs past the receiver as an opposing player + + tackles the stunned receiver. + + The football coach stands, followed by the assistant + coaches. + + FOOTBALL COACH + Who in the hell is that? + + HIGH SCHOOL COACH + That there is Forrest Gump. Coach. + Just a local idiot. + + Forrest runs under the field goal post and through the end + + zone. + + FORREST (V.O.) + And can you believe it? I got to go + to college, too. + + +38 EXT. UNIVERSITY OF ALABAMA STADIUM - DAY (1962) 38 + + The crowd roars with excitement as a football is kicked + off. + + The football players run around on the field. The crowd of + 28. + + +cheering fans create a huge sign that reads: "GO." + +Forrest is in a University of Alabama football uniform. He + +looks up into the cheering crowd as his teammate fields the + +kickoff. The teammate runs over to Forrest and hands him +the + +ball. + + FOOTBALL COACH + Okay! Run! + +The football coach, the assistants, and Alabama players +cheer + +for Forrest. + + FOOTBALL COACH + Run, you stupid son-of-a-bitch! + Run! + +Forrest runs across the field. He speeds past the defending + +players. Forrest runs past the opposite players. The crowd + +cheers wildly, holding up cards, making a large sign that + +reads: "Go." + +They turn the cards over, creating the word: "ALABAMA." The + +football coach runs along the sidelines as he yells. + + FOOTBALL COACH + You stupid son-of-a-bitch! Run! Go! + Run! + +Forrest cuts and runs toward the sidelines. Two opposing + +players collide. The football coach, the assistants and the + +players all motion for Forrest to run toward the end zone. + + FOOTBALL COACH + Run! Turn! Go! + +Forrest turns up the sidelines and runs toward the end +zone. + +Some opposing players fall down. Forrest runs along the + 29. + + + sidelines. The opposing players try to catch him. + + Forrest runs into the end zone as an opposing player dives + + at his feet. The referee holds up his arm, signaling a + touch + + down. The crowd cheers wildly. + + Forrest continues to run, smashing through the band + members, + + then all the way toward the team tunnel. The football coach + + looks at an assistant coach. + + FOOTBALL COACH + He must be the stupidest son-of-a- + bitch alive. But he sure is fast! + + FORREST (V.O.) + Now, maybe it was just me but + college + was very confusing times. + + +39 INT. GREENBOW/BARBER SHOT - BLACK & WHITE TELEVISION (JUNE 39 + + 11, 1963) + + An anchorman named CHET HUNTLEY appears over the + television. + + CHET HUNTLEY + (on TV) + Federal troops enforcing a court + order integrated the University of + Alabama today. + + +40 EXT. UNIVERSITY OF ALABAMA - DAY 40 + + Forrest walks through a crowd of people. + + CHET HUNTLEY + Governor George Wallace had carried + out his symbolic threat to stand in + the schoolhouse door. + + GOVERNOR WALLACE + We hereby denounce and forbid this + illegal and unwarranted action by + the central government. + 30. + + +41 INT. GREENBOW/BARBER SHOP 41 + + A black & white television reveals George Wallace as he + stands in the doorway of the schoolhouse. + + KATZENBACH + (on TV) + Governor Wallace, I take it from + that, uh... + + +42 EXT. UNIVERSITY OF ALABAMA 42 + + Forrest steps over to a young man as the crowd looks at the + + demonstration. + + KATZENBACH + ...statement that you are going to + stand in that door, and that you + are + not going to carry out the orders + of + this court, and that you are going + to resist us from doing so. I would + ask you once again to + responsibility + step aside and if you do not, I'm + going to assure you... + + FORREST + Earl, what's going on? + + EARL + Coons are tryin' to get into + school. + + FORREST + Coons? When raccoons try to get on + our back porch, Momma just chase + 'em + off with a broom. + + EARL + Not raccoons, you idiot, niggas. + And + they want to go to school with us. + + FORREST + With us? They do? + + Forrest walks toward the schoolhouse. + 31. + + +43 INT. COACHES' OFFICE 43 + + A football coach looks at a black and white television as a + + newsman outside the schoolhouse speaks to the camera. + + NEWSMAN + (on TV) + ...block the doorway, President + Kennedy ordered the Secretary of + Defense then to use the military + force. + + BLACK AND WHITE FOOTAGE + + The footage cuts to Governor Wallace as he speaks to + General + + Graham. + + NEWSMAN + Here by videotape is the encounter + by General Graham, Commander of the + National Guard, and Governor + Wallace. + + Forrest stands next to George Wallace and listens. + + GOVERNOR WALLACE + We must have no violence today, or + any other day, because these + National + Guardsmen are here today as Federal + Soldiers for Alabamans. And they + live within our borders and they + are + all our brothers. We are winning in + this fight because we are awakening + the American people to the dangers + that we have spoken about so many + times, just so evident today, the + trend toward military dictatorship + in this country. + + +44 EXT. UNIVERSITY OF ALABAMA 44 + + Some of the Alabama policeman and citizens clap their hands + + as the National Guardsmen stand at attention with their + + weapons in front of them. Forrest walks through the crowd. + 32. + + + Two black students were being led toward the schoolhouse. + + NEWSMAN + And so at day's end the University + of Alabama in Tuscaloosa had been + desegregated and students Jimmy + Hood and Vivian Malone had been + signed upfor summer classes. + + The young black girl drops one of her books. Forrest + notices + + and steps past the policeman toward the book on the ground. + + Forrest steps out from the crowd and picks up the book. He + + brings it up to the girl. + + FORREST + Ma'am, you dropped your book. + Ma'am. + + +45 INT. COACHES' OFFICE - NIGHT (1963) 45 + + A coach looks at the television. The television reveals + + Forrest as he stands at the schoolhouse door. He looks + around, then waves. + + CHET HUNTLEY + (on TV) + Governor Wallace did what he + promised + to do. By being on the Tuscaloosa + campus, he kept the mob from + gathering + and prevented violence. + + An assistant coach looks at the television, then at the + other + + coaches. + + ASSISTANT COACH + Say, wasn't that Gump? + + The football coach and two assistant coaches look. Forrest + + dries himself off with a towel as he steps from the + showers. + + CHET HUNTLEY + 33. + + + (on TV) + NBC News will present a special + program on the Alabama integration + story at 7:30 p.m. tonight... + + ASSISTANT COACH + Naw, that couldn't be. + + FOOTBALL COACH + It sure as hell was. + + CHET HUNTLEY + ...standard Eastern Daylight Time. + Now a word from Anacin. + + Forrest steps up to the coaches' area and grabs a clean + towel. + + The coaches turn and stare at Forrest. Forrest gives them + + one of his silly waves, then walks away. + + COLOR FOOTAGE - Governor Wallace waves to the crowd as he + + stands behind a podium with his wife. + + FORREST (V.O.) + A few years later, that angry + little + man at the schoolhouse door thought + it would be a good idea, and ran + for + President. + + COLOR FOOTAGE - Governor Wallace mingles in a crowd. + Gunshots + + are fired, wounding him. Some men wrestle the shooter. + Wallace + + lies wounded on the ground. + + FORREST (V.O.) + But, somebody thought that it + wasn't. + + +46 EXT. SAVANNAH/BUS BENCH - DAY (1981) 46 + + Forrest sits on the bench as the black woman looks at him. + A + + WHITE WOMAN with a bay sits left. + 34. + + + FORREST + But he didn't die. + + A bus pulls up to the bus stop. The BLACK WOMAN looks down + + at her watch. + + BLACK WOMAN + My bus is here. + + FORREST + Is it the number 9? + + BLACK WOMAN + No, it's the number 4. + + The Black Woman gets up and steps over to the bus. + + FORREST + It was nice talkin' to you. + + The white woman sits closer to Forrest. + + WHITE WOMAN + I remember when that happened, when + Wallace got shot. I was in college. + + FORREST + Did you go to a girls' college, or + to a girls' and boys' together + college? + + WHITE WOMAN + It was co-ed. + + FORREST + 'Cause Jenny went to a college I + couldn't go to. It was a college + just for girls. + + +47 EXT. GIRLS' COLLEGE/JENNY'S DORM - NIGHT (1963) 47 + + Forrest sits outside Jenny's dorm in the rain. + + FORREST (V.O.) + But, I'd go and visit her every + chance + I got. + + A car pulls up. A song is heard from the radio. Forrest, + 35. + + +holding a box of chocolates, looks at the car. The two +people + +inside the car begins to kiss and embrace each other. Jenny + +is inside the car with a boy. She leans back against the + +passenger side door as they struggle to get comfortable. + + JENNY + Ouch! That hurts. + +Forrest gets up and runs toward the car. He tries to look +in + +the window as he steps over to the driver's side door. He + +opens the door and begins to punch the boy inside. Jenny + +jump out of the car and runs over to Forrest. + + JENNY + Forrest! Forrest! Forrest, stop it! + Stop it! + + BILLY + Jesus! + + JENNY + What are you doing? + + FORREST + He was hurtin' you. + +Jenny's date, named BILLY, gets out of the car angrily. + + BILLY + What the hell is going on here? + + JENNY + No, he's not! + + BILLY + Who is that? Who is that? + + JENNY + Get over there! + +Jenny turns and looks at Billy. He shoves Jenny's hands +away + +from him. + 36. + + + JENNY + Billy, I'm sorry. + + BILLY + What in the hell, git, would you + git + away from me! + + JENNY + Don't... Wait a second! + + BILLY + Git, just git away from me! + + JENNY + Don't go! Billy, wait a second! + + Billy gets back into the car. + + JENNY + He doesn't know any better! + + Billy pulls away as Jenny steps toward Forrest. + + JENNY + Forrest, why'd you do that? + + Forrest holds out the box of chocolates. + + FORREST + I brought you some chocolates. I'm + sorry. I'll go back to my college + now. + + JENNY + Forrest, look at you! Come on. Come + on. + + Jenny grabs Forrest hand and leads him toward the dorm. + + +48 INT. JENNY'S DORM/HALLWAY 48 + + Jenny and Forrest sneak to Jenny's door. + + FORREST + Is this your room? + + JENNY + Shh! + + Jenny unlocks the door and they step inside. + 37. + + +49 INT. JENNY'S DORM ROOM 49 + + Jenny pulls a robe off of her sleeping roommate's bed. + Jenny + + hands the robe to Forrest, sitting on Jenny's bed. + + JENNY + Do you ever dream, Forrest, about + who you're gonna be? + + FORREST + Who I'm gonna be? + + JENNY + Yeah. + + FORREST + Aren't I going to be me? + + JENNY + Well, you'll always be you, just + another kind of you. You know? I + want to be famous. + + Jenny picks up a towel, then walks back toward Forrest. + Jenny + + dries the water from her hair. + + JENNY + I want to be a singer like Joan + Baez. + I just want to be an empty stage + with my guitar, my voice... just + me. + + Jenny takes off her slip and sits on the bed next to him. + + She is only wearing her bra and panties. Forrest looks at + + Jenny like he's never seen a woman in her underwear before. + + JENNY + And I want to reach people on a + personal level. I want to be able + to + say things, just one-to-one. + + Forrest looks down at Jenny's breasts. Jenny realizes that + + he is looking at her. + 38. + + + JENNY + Have you ever been with a girl, + Forrest? + + FORREST + I sit next to them in my home + economics class all the time. + + DJ + (over radio) + You're listening to WHHY in + Birmingham, the clear A.M. voice of + Northern Alabama. I'm Joel Dorn... + +Forrest looks at Jenny as she removes her bra. Forrest +looks + +away, a bit shamed. Jenny takes his hand and guides it up +to + +her breast. + + DJ + (over radio) + ...coming to you on a night that is + anything but clear. The weatherman + says that rain's gonna fall all + night + long so stay with us, get warm, get + cozy, get under the covers to the + cool sounds of WHHY. + +Forrest looks over at Jenny's breasts, the shudder as he +has + +an orgasm. + + FORREST + Ohh... Oh... I'm sorry. Sorry. + + JENNY + It's okay. + + DJ + (over radio) + ...444-6789, with ya till sunrise, + playing the music you want to hear + when you want to hear it. If you + have a request or dedication, give + us a call. We guarantee you'll hear + your requests within one hour. + +Forrest breathes heavily. Jenny puts her bra back on. + 39. + + + JENNY + It's all right. + + Jenny leans over and puts her head on Forrest's shoulder. + + DJ + (over radio) + Candy is on the line tonight. + Candy's + answering the phones, give Candy + your request, your dedication, and + ask her why she won't go out with + me, would you? Here's more music. + + JENNY + It's okay. + + FORREST + Oh, I'm dizzy. + + A song is coming over the radio. Jenny hugs Forrest. + + JENNY + I bet that never happened in home + ec. + + FORREST + No. + + Jenny laughs and kisses Forrest on the cheek. Forrest and + + Jenny hug on the bed as Jenny's roommate pretends to be + + asleep, but is listening, horrified, with her eyes open. + + FORREST + I think I ruined your roommate's + bathrobe. + + JENNY + I don't care. I don't like her, + anyway. + + +50 EXT. UNIVERSITY OF ALABAMA/FOOTBALL STADIUM - DAY (1963) 50 + + Forrest runs across the field as the defending team chases + + him. The crowd yells for Forrest. They flip a sign that + reads: + + "Go Forrest." + 40. + + + CROWD + Run! Run! Run! + +Forrest runs along the field. The crowd cheers. + + CROWD + Run! Run! Run! + +Forrest runs into the end zone. The band members rush +toward + +Forrest with their hands up, signaling him to stop. The +crowd + +flips over cards, creating a sign that reads "STOP." + + CROWD + Stop! + +Forrest stops in the end zone as he hears the crowd yells. + +The band motions for Forrest to stop and stay in the end + +zone. A group of defending players fall over each other in + +the end zone. Forrest looks as the crowd cheers wildly. + + FORREST (V.O.) + College ran by real fast 'cause I + played so much football. + +BLACK AND WHITE PARAMOUNT NEWSREEL - DAY (1963) + +The White House with the words "The eyes and ears of the + +world Paramount News" superimposed. + + FORREST (V.O.) + They even put me on a thing called + the All-America Team where you get + to meet the President of the United + States. + +BLACK AND WHITE NEWSREEL + +PRESIDENT KENNEDY holds an autographed football as the All- + +American Team stands behind him. Forrest is among the +players + +in suits. + 41. + + + ANNOUNCER + (over newsreel) + President Kennedy met with the + Collegiate All-American Football + Team at the Oval Office today. + + +51 INT. WHITE HOUSE RECEPTION AREA - DAY (1963) 51 + + The All-American players mingle around the food table. + Forrest + + steps up to the table. A large spread of food and soda is + on + + the table. + + FORREST (V.O.) + Now, the real good thing about + meeting + the President of the United States + is the food. + + Forrest takes a bottle of Dr. Pepper from the buffet table. + + Numerous bottle of Dr. Pepper are displayed on the table. A + + servant opens the bottle for him. + + FORREST (V.O.) + They put you in this little room + with just about anything you'd want + to eat or drink. And since number + one, I wasn't hungry, but + thirsty... + + Forrest begins to guzzle the Dr. Pepper. + + FORREST (V.O.) + ...and number two, they was free, I + musta drank me about fifteen Dr. + Peppers. + + Forrest sets down an empty Dr. Pepper bottle next to a + large + + number of other empty bottles. Forrest holds his stomach + and + + burps. + + BLACK AND WHITE FOOTAGE - President Kennedy shakes hands + 42. + + + with the All-American football players. + + PRESIDENT KENNEDY + Congratulations. How does it feel + to + be an All-American? + + 1ST PLAYER + It's an honor, Sir. + + Another player steps up to the President and shakes the + + President's hand. + + PRESIDENT KENNEDY + Congratulations. How does it feel + to + be an All-American? + + 2ND PLAYER + Very good, Sir. + + PRESIDENT KENNEDY + Congratulations. How does it feel + to + be an All-American? + + 3RD PLAYER + Very good, Sir. + + The player walks away. Forrest steps up to the President. + + The President shakes his hand. + + PRESIDENT KENNEDY + Congratulations. How do you feel? + + FORREST + I gotta pee. + + President Kennedy turns and smiles. + + PRESIDENT KENNEDY + I believe he said he had to go pee. + + +52 INT. WHITE HOUSE/BATHROOM 52 + + Forrest urinates in the bathroom, then lowers the lid and + + flashes. Forrest washes his hands, then notices an + autographed + 43. + + + photo from Marilyn Monroe and a photo of John with his + brother + + Bobby. + + FORREST (V.O.) + Sometime later, for no particular + reason, somebody shot that nice + young + President when he was ridin' in his + car. + + ARCHIVAL FOOTAGE - DAY SLOW MOTION - President Kennedy + rises + + in a convertible and smiles. + + FORREST + And a few years after that... + + ARCHIVAL FOOTAGE - Robert Kennedy stands at a podium as + people + + around him applaud. + + FORREST (V.O.) + ...somebody shot his little + brother, + too, only he was in a hotel + kitchen. + + +53 EXT. SAVANNHA/BUS BENCH - DAY (1981) 53 + + Forrest sits on the bench and shakes his head. + + FORREST + It must be hard being brothers. I + wouldn't know. + + +54 EXT. UNIVERSITY OF ALABAMA - DAY - GRADUATION DAY (1966) 54 + + Students in their caps and gowns step forward the podium to + + receive their diplomas. Forrest's name is called. He steps + + up and accepts his diploma. + + DEAN + Forrest Gump. + 44. + + + FORREST (V.O.) + Now can you believe it? After only + five years of playing football, I + got a college degree. + +The dean shakes Forrest's hand vigorously. Forrest looks +out + +into the crowd. + + DEAN + Congratulations, son. + +Mrs. Gump, sitting in the audience, cries. + + FORREST (V.O.) + Momma was proud. + +Forrest and Mrs. Gump have their picure taken in front of a + +large statue. A military recruiter spots Forrest and steps + +up to him. + + MRS. GUMP + Forrest, I'm so proud of you. Here, + I'll hold this for you. + +Mrs. Gump takes the diploma from Forrest. The recruiter +slaps + +Forrest on the shoulder and hands him some military + +literature. + + MILITARY RECRUITER + Congratulations, son. Have you + given + any thought to your future? + + FORREST + Thought? + +Forrest looks at a pamphlet with a photo of "Uncle Sam" and + +the caption "EXCELLENT CAREERS FOR EXCELLENT YOUNG MAN. +Apply + +now at your local U.S. Army Recruiting Center." + + FORREST (V.O.) + Hello, I'm Forrest... + 45. + + +55 INT. ARMY BUS - DAY (1966) 55 + + Forrest steps onto the army bus. Rain pours outside as the + + army bus driver yells at Forrest. + + FORREST + ...Forrest Gump. + + ARMY BUS DRIVER + Nobody gives a hunk of shit who you + are, fuzzball! You're not even a + lowlife scum sucking maggot! Get + your faggoty ass on the bus. You're + in the Army now! + + Forrest is about to sit on the first available seat, but + the + + recruit sitting there refuses Forrest. + + RECRUIT #1 + This seat's taken. + + Forrest tries to sit on the next seat, but the 2nd recruit + + slides over, blocking him. + + RECRUIT #2 + It's taken. + + Forrest steps forward, looking much like he did on his + first + + bus ride to school years ago. + + FORREST (V.O.) + At first, it seemed like I made a + mistake. + + A large black recruit with a strange look on his face, much + + like Forrest's, looks up from his seat. His name is BUBBA. + + FORREST (V.O.) + ...seeing how it was my induction + day and I was already gettin' + yelled + at. + + Bubba moves his case over, making room for Forrest to sit + 46. + + + down. + + BUBBA + You can sit down... if you want to. + + FORREST (V.O.) + I didn't know who I might meet or + what they might ask. + + Bubba hands Forrest a handkerchief. + + BUBBA + You ever been on a real shrimp + boat? + + FORREST + No, but I been on a real big boat. + + BUBBA + I'm talkin' about a shrimp catchin' + boat. I've been workin' on shrimp + boats all my life. I started out my + uncle's boat, that's my mother's + brother, when I was about maybe + nine. + I was just lookin' into buyin' a + boat of my own and got drafted. My + given name is Benjamin Buford Blue. + + Bubba and Forrest shake hands. + + BUBBA + People call me Bubba. Just like one + of them redneck boys. Can you + believe + that? + + FORREST + My name's Forrest Gump. People call + me Forrest Gump. + + FORREST (V.O.) + So Bubba was from Bayou La Batre, + Alabama, and his momma cooked + shrimp. + + +56 INT. LOUISIANA/KITCHEN - DAY (1966) 56 + + Bubba's mother, a robust woman in a cook's uniform, carries + + a bowl of shrimp into a dining room. She sets it down on a + 47. + + + table in front of a wealthy white man. + + FORREST (V.O.) + And her momma before her cooked + shrimp. + + +57 INT. SOMEWHERE IN THE SOUTH/KITCHEN - DAY (EARLY DAYS OF 57 + + SLAVERY) + + Bubba's grandmother carries a bowl of shrimp into a dining + + room. She sets it down on a table in front of a wealthy + white + + man. + + FORREST (V.O.) + And her momma before her momma + cooked + shrimp, too. Bubba's family knew + everything... + + +58 INT. ARMY BUS - DAY (1966) 58 + + FORREST (V.O.) + ...there was to know about the + shrimpin' business. + + BUBBA + I know everything there is to know + about the shrimpin' business. + Matter + of fact, I'm goin' into the + shrimpin' + business for myself after I get out + the Army. + + FORREST + Okay. + + +59 INT. BARRACKS - DAY 59 + + A DRILL SERGEANT is in Forrest's face as Forrest stands in + + line with the other recruits. + + DRILL SERGEANT + Gump! What's your sole purpose in + this Army? + 48. + + + FORREST + To do whatever you tell me, Drill + Sergeant! + + DRILL SERGEANT + Godamnit, Gump! You're a goddamned + genius! That's the most outstanding + answer I've ever heard. You must + have a godamned I.Q. of a hundred + and sixty! You are godamned gifted, + Private Gump! + +The Drill Sergeant moves down the line to the next man. + + DRILL SERGEANT + Listen up, people... + + FORREST (V.O.) + Now, for some reason, I fit in the + Army like one of them round pegs. + It's not really hard. You just make + your bed real neat and remember to + stand up straight. + + DRILL SERGEANT + That is one very intelligent + individual! You lock your scuzzy + bodies up behind that private and + do + exactly what he does and you will + go + far in this man's army! + + FORREST (V.O.) + And always answer every question + with "Yes, Drill Sergeant!" + + DRILL SERGEANT + Is that clear? + + FORREST & RECRUITS + Yes, Drill Sergeant! + +ANOTHER DAY + +The recruits are sitting at the base of their bunks +assembling + +their rifles. Bubba speaks to Forrest. + + BUBBA + What you do is you just drag your + nets across the bottom. On a good + 49. + + + day, you can catch over a hundred + pounds of shrimp. If everything + goes + all right, two men shrimpin' ten + hours, less what you spends on gas, + you can... + +Forrest finishes assembling his rifle as the other recruits + +are still working on theirs. + + FORREST + Done, Drill Sergeant! + + DRILL SERGEANT + Gump! + +The Drill Sergeant rushes up to Forrest. + + DRILL SERGEANT + Why did you put that weapon + together + so quickly, Gump? + + FORREST + You told me to, Drill Sergeant. + +The Drill Sergeant looks at his stop watch. + + DRILL SERGEANT + Jesus Christ! This is a new company + record. If it wouldn't be a waste + of + such a damn fine enlisted man, I'd + recommended you for O.C.S., Private + Gump. You are gonna be a General + some day, Gump! Now, disassemble + your weapon and continue! + +The Drill Sergeant walks away as Forrest begins to +disassemble + +his rifle. After the Drill Sergeant walks past Bubba, Bubba + +looks up at Forrest. Bubba continues talking about shrimp +in + +his slow southern drawl. + + BUBBA + Anyway, like I was sayin', shrimp + is + 50. + + + the fruit of the sea. You can + barbecue + it, boil it, broil it, bake it, + saute + it. There, uh, shrimp kabobs, + shrimp + creole... + +ANOTHER DAY + +Bubba and Forrest shine their boots. + + BUBBA + ...shrimp gumbo, panfried, deep + fried, + stir fried. There's pineapple + shrimp, + lemon shrimp, coconut shrimp, + pepper + shrimp... + +ANOTHER DAY + +Bubba and Forrest are on their hands and knees as they +scrub + +the floor with toothbrushes. + + BUBBA + ...shrimp soup, shrimp stew, shrimp + salad, shrimp and potatoes, shrimp + burger, shrimp sandwich... that's, + that's about it. + +NIGHT + +Bubba lies in his bunk and looks up quietly. + + FORREST (V.O.) + Nighttime in the Army is a lovely + time. + +Forrest lies in his bunk and looks up. + + FORREST (V.O.) + We'd lay there in our bunks, and + I'd + miss my momma. And I'd miss Jenny. + +A young private tosses a Playboy magazine onto Forrest. + + YOUNG PRIVATE + 51. + + + Hey, Gump. Get a load of the tits + on + her! + + Forrest pick up the magazine and turns the page, revealing + + Jenny as she poses with a school sweater on, and that's + all. + + The pictorial is titled: "Girls of the South." Forrest + looks + + up with shock. He cranes his head up for a closer look. + + FORREST (V.O.) + Turns out, Jenny had gotten into + some trouble over... some photos of + her in her college sweater. And she + was thrown out of school. + + SONG + "My baby does the hanky-panky..." + + +60 INT. NASHVILLE/NIGHT CLUB - NIGHT (1966) 60 + + Forrest, in his army uniform, steps into the foyer of the + + club. + + FORREST (V.O.) + But that wasn't a bad thing. + Because + a man who owns a theater in + Memphis, + Tennessee, saw those photo and + offered + Jenny a job singing in a show. The + first chance I got, I took the bus + up to Memphis to see her perform in + that show. + + EMCEE steps out onto the stage. + + EMCEE + That was Amber, Amber Flame. Give + her a big hand, guys. Good job, + Amber. + And now, for your listening and + viewing pleasure, direct from + Hollywood, California, our very own + beatnik beauty, let's give a big + round of applause to the luscious + 52. + + + Bobbie Dylan. + + CROWD + Bobbie... Bobbie... + +The emcee walks back off the stage and the curtain opens, + +revealing Jenny as she sits on a stool on the stage. She + +holds a guitar up and begins to play. She is topless. + + JENNY + (sings) + "Yes, and how many seas must the + white dove said, before she sleeps + in the sand." + + FORREST (V.O.) + Her dream had come true. She was a + folk singer. + + JENNY + (sings) + "Yes, how many times must the + cannonballs fly before they're + forever + banned." + + MAN #1 + You gotta lose the guitar, darling. + + MAN #2 + Hey, come on, baby. Shake it up. + Shake it up now. + + MAN #3 + Hey, somebody ought to get her a + harmonica. + +The men laugh. + + JENNY + (sings) + "The answer, my friend is blowing + in + the wind. The answer is blowing + in... + + MAN # + ...skin, honey. This isn't Captain + Kangaroo. + + MEN + 53. + + + Yeah! Come on! + +Man #5 reaches up and tries to stick some money in Jenny's + +shoe. + + MAN #5 : + Hey, honey, I got something here + for + you. + +Jenny kicks his hand. He yells angrily as he sits back +down, + +then tosses his drink on her. + + MAN #5 + Goddamnit! + + JENNY + Hey! Hey! Stupid jerk! I'm singing + a + song here. Polly, get out here! + + MAN # + Hey, show us some stuff, honey! + + JENNY + Shut up! Oh, shut up! + +Forrest walks up to Man #5 and grabs him and tosses him +down + +on the ground. Man #4 tries to grab Forrest, but Forrest + +shoves him down too. + + JENNY + Forrest, what are you doing here? + What are you doing? + +Forrest climbs up onto the stage and picks Jenny up, guitar + +and all, and carries her. + + FORREST + Come on. + + JENNY + What are you doing? Forrest, let me + down! + 54. + + + Jenny struggles and frees herself from Forrest. Forrest + steps + + back in surprise. Jenny shoves the guitar at Forrest. Jenny + + walks off as Forrest holds the guitar. He follows after + her. + + +61 EXT. MEMPHIS BRIDGE - NIGHT 61 + + Forrest follows Jenny over a bridge outside the night club. + + JENNY + You can't keep doing this, Forrest. + You can't keep tryin' to rescue me + all the time. + + FORREST + They was tryin' to grab you. + + JENNY + A lot of people try to grab me. + Just -- + you can't keep doing this all the + time! + + FORREST + I can't help it. I love you. + + JENNY + Forrest, you don't know what love + is. + + Jenny turns and looks over the bridge. + + JENNY + You remember that time we prayed, + Forrest? We prayed for God to turn + me into a bird so I could fly far, + far away? + + FORREST + Yes, I do. + + JENNY + You think I can fly off this + bridge? + + FORREST + What do you mean, Jenny? + + JENNY + 55. + + + Nothing. + +Jenny turns and looks at the light of an approaching +vehicle. + +She steps into the street. + + JENNY + I gotta get outta here. + +Jenny runs and flags down the approaching vehicle. + + FORREST + But wait. Jenny! + + JENNY + Forrest, you stay away from me, + okay? + You just stay away from me, please. + +A pickup truck pulls over as Jenny looks at the driver. + + JENNY + Can I have a ride? + + DRIVER + Where you going? + + JENNY + I don't care. + + DRIVER + Get in the truck. + + FORREST + So bye-bye, Jenny. They sendin' me + to Vietnam. It's this whole other + country. + +Jenny walks toward Forrest. She looks at the driver. + + JENNY + Just hang on a minute. + +Jenny walks up to Forrest. + + JENNY + Listen, you promise me something, + okay? Just if you're ever in + trouble, + don't try to be brave, you just + run, + okay? Just run away. + 56. + + + FORREST + Okay. Jenny, I'll write you all the + time. + + Jenny takes a last look at Forrest, then climbs into the + + truck. Forrest watches Jenny in the pickup as it drives + away. + + FORREST (V.O.) + And just like that. + + +62 EXT. GREENBOW/GUMP BOARDING HOUSE/RIVER - DAY 62 + + Forrest, dressed in his uniform, sits on a log and looks + out + + at a river. + + FORREST (V.O.) + ...she was gone. + + Mrs. Gump walks toward Forrest and sits down next to him on + + the log. Forrest leans down, placing his head on his + mother's + + shoulder. + + MRS. GUMP + You come back safe to me, do ya + hear? + + +63 EXT. VIETNAM/MEKONG DELTA - MORNING (1967) 63 + + The shadow of a helicopter over the rice field below. A + + soldier is manning a gun from inside the helicopter. The + + solider looks left, Forrest and Bubba ride in the + helicopter. + + +64 EXT. FIREBASE/4TH PLATOON 64 + + The helicopter circles overhead, then lands at the + firebase. + + SONG + "Some folks are born made to wave + 57. + + + the flag. Ooh, they're red, white + and blue. And when the band plays + "Hail to the Chief," ohh, they + point + the cannon at you all. It ain't me. + It ain't me. I ain't no Senator's + son, no. It ain't me. It ain't + me..." + +Bubba and Forrest jump out of the helicopter with their +gear/ + +They walk and look around oddly. + + FORREST (V.O.) + Now, they told us that Vietnam was + gonna be very different from the + United Sates of America. + +The soldier places a case of beer on a large stack of +cases. + +He takes two beers out and walks away. In the background, + +soldiers are barbecuing steaks and drinking beer. + + FORREST (V.O.) + Except for all the beer cans and + the + barbecue, it was. + + BUBBA + Y'know, I bet there's shrimp all in + these waters. They tell me these + Vietnams is good shrimp. You know, + after we win this war, and we take + over everything we can get American + shrimpers to come on here and + shrimp + these waters. We'll just shrimp all + the time, man. So much shrimp, why, + you wouldn't believe it. + +Lieutenant DAN TAYLOR steps out of a tent. Shirtless, he + +holds a roll of toilet paper in his hand. + + LT. DAN + You must be my F.N.G.'s. + + BUBBA AND FORREST + Morning', sir! + 58. + + + LT. DAN + Ho! Get your hands down. Do not + salute + me. There are goddamned snipers all + around this area who would love to + grease an officer. I'm Lieutenant + Dan Taylor. Welcome to Fourth + Platoon. + +Lt. Dan looks at Bubba. + + LT. DAN + What's wrong with your lips? + + BUBBA + I was born with big gums, sir. + + LT. DAN + Yeah, well, you better tuck that + in. + Gonna get that caught on a trip + wire. + Where you boys from in the world? + + BUBBA & FORREST + Alabama, sir! + + LT. DAN + You twins? + +Forrest and Bubba look at each other oddly, they don't get + +the joke. + + FORREST + No, we are not relations, sir. + + LT. DAN + Look, it's pretty basic here. + +Lt. Dan starts to walk. Bubba and Forrest grab their gear + +and follow him. + + LT. DAN + You stick with me, you learn from + the guys who been in country + awhile, + you'll be right. There is one item + of G.I. gear that can be the + difference between a live grunt and + a dead grunt. + 59. + + + Lt. Dan stops and looks at the boys. + + LT. DAN + Socks, cushion, sole, O.D. green. + Try and keep your feet dry when + we're + out humpin'. I want you boys to + remember to change your socks + wherever + we stop. The Mekong will eat a + grunt's + feet right off his legs. + + Lt. Dan steps over to a large black soldier named SERGEANT + + SIMS. + + LT. DAN + Sergeant Sims! Goddamnit, where is + that sling-rope I told you to + order. + + SGT. SIMS + I put in requisitions at Battalion. + + LT. DAN + Yeah, yeah, yeah, well you call + those + sonabitches again, call them again + and again and again. I don't care + how much it takes... + + FORREST (V.O.) + Lt. Dan sure knew his stuff. I felt + real lucky he was my lieutenant. He + was from a long, great military + tradition. Somebody in his family + had fought and died in every single + American war. + + +65 EXT. VALLEY FORGE/THE REVOLUTIONARY WAR - DAY (1778) 65 + + A distant relative of Lt. Dan's, wearing a revolutionary + war + + uniform, falls dead in the snow. + + +66 EXT. GETTYSBURG/THE CIVIL WAR - DAY (1863) 66 + + Another relative, wearing a civil war uniform and bearing a + 60. + + + striking resemblance to Lt. Dan, falls down dead. + + +67 EXT. NORMANDY/WORLD WAR II - DAY (1944) 67 + + Another relative, wearing a World War II, falls down dead + on + + the beach at Normandy. + + +68 EXT. VETNAM/MEKONG DELTA/FIREBASE - DAY (1967) 68 + + LT. DAN + Goddamnit, kick some ass! + + SGT. SIMS + I'm on it, Lieutenant. + + LT. DAN + Get on it! + + Lt. Dan steps back up to Bubba and Forrest. + + FORREST (V.O.) + I guess you could say he had a lot + to live up to. + + Lt. Dan walks along the walkway and Bubba and Forrest + follow. + + LT. DAN + So, you boys are from Arkansas, + huh? + Well, I've been through there. + Little + Rock's a fine town. Now, go shake + down your gear, see the platoon + sergeant, draw what you need for + the + field. + + Lt. Dan steps inside the latrine, still holding the roll of + + toilet paper. + + LT. DAN + If you boys are hungry, we got + steaks + burnin' right here. + + Lt. Dan sits down out of sight in the latrine, then stands + 61. + + + up, looking at the boys. + + LT. DAN + Two standing orders in this + platoon. + One, take good care of your feet. + Two, try not to do anything stupid, + like gettin' yourself killed. + + Lt. Dan sits back down out of sight in the latrine. Bubba + + and Forrest look at each other. + + FORREST + I sure hope I don't let him down. + + +69 EXT. RICE FIELD - ANOTHER DAY 69 + + Forrest, Bubba, and other soldiers in the Fourth Platoon + + walk across the rice field. Some Vietnamese rice farmers + are + + working as the soldiers walk past. + + FORREST (V.O.) + I got to see a lot of countryside. + We would take these real long + walks. + + +70 EXT. JUNGLE/DIRT ROAD - ANOTHER DAY 70 + + Forrest's unit walks along a dirt road. + + SONG + And we were always lookin' for this + guy named Charlie. I can't get no + relief. + + Suddenly Lt. Dan holds up his fist, a signal for the unit + to + + stop. He motions for them to get down. + + LT. DAN + Hold it up! + + SGT. SIMS + Hold up, boys! + 62. + + +Forrest gets down and looks around. + + FORREST (V.O.) + It wasn't always fun. Lt. Dan + always + gettin' these funny feelings about + a + rock or a trail, or the road, so + he'd tell you to get down, shut up! + + LT. DAN + Get down! Shut up! + + FORREST (V.O.) + So we did. + +Lt. Dan motions for the lead soldier to get down. Lt. Dan + +crouches down. Lt. Dan looks at the soldiers and points to + +his eyes. He lies down on the dirt road and crawls. + + FORREST (V.O.) + Now, I don't know much about + anything, + but I think some of American's best + young men served in this war. There + was Dallas, from Phoenix. + Cleveland, + he was from Detroit. + + CLEVELAND + Hey, Tex. Hey, Tex. Man, what the + hell's going on? + +Tex holds up his hand, motioning that he doesn't know. + + FORREST (V.O.) + And Tex was, well, I don't remember + where Tex come from. + + LT. DAN + Ah, nothin'. Fourth Platoon, on + your + feet! Still got ten clicks to go to + that river. + +Forrest stands up and begins to walk with the platoon. + + LT. DAN + All right, move out! Comin' out. + Look alive out there. + 63. + + + FORREST (V.O.) + The good thing about Vietnam is + there + was always someplace to go. + + LT. DAN (V.O.) + Fire in the hole! + + +71 EXT. VIETNAM/VIET CONG FOXHOLE - ANOTHER DAY 71 + + Lt. Dan walks away as Forrest rushes over, aims two pistols + + in the hole, then climbs inside. + + FORREST (V.O.) + And there was always something to + do. + + LT. DAN + Mount 'em up. + + SGT. SIMS + Spread out! Cover his back. + + ANOTHER DAY - The platoon walks through a rice paddy, waits + + deep in water. It begins to rain. + + FORREST (V.O.) + One day it started raining, and it + didn't quit for four months. + + +72 EXT. JUNGLE 72 + + The rain pours down on Forrest and Bubba as they sit in a + + foxhole. + + FORREST (V.O.) + We been through every kind of rain + there is. Little bitty stingin' + rain... + + ANOTHER DAY - The platoon walks through the jungle as rain + + pours down on them. + + FORREST (V.O.) + ...and big ol' fat rain. + 64. + + + ANOTHER DAY - The platoon shelters themselves as they walk + + through the wind and rain. + + FORREST (V.O.) + Rain that flew in sideways. + + ANOTHER DAY - Forrest and other soldiers walk chest-deep + + through a river. The rain splatters back up from the river, + + hitting the soldiers. Forrest holds his hand up to protect + + his face. + + FORREST (V.O.) + And sometimes rain even seemed to + come straight up from underneath. + + +73 EXT. ENCAMPMENT - NIGHT 73 + + The rain pours down on the men of the platoon as they sit + in + + a camp. Bubba sits down next to Forrest. + + FORREST (V.O.) + Shoot, it even rained at night. + + Bubba leans his back up against Forrest's back. + + BUBBA + Hey Forrest... + + FORREST + Hey Bubba... + + BUBBA + I'm gonna lean up against you, you + just lean right back against me. + + BUBBA + This way, we don't have to sleep + with our heads in the mud. You know + why we a good partnership, Forrest? + 'Cause we be watchin' out for one + another. Like brothers and stuff. + Hey, Forrest, there's somethin' + I've + been thinkin' about. I got a very + important question to ask you. How + would you like to go into the + 65. + + + shrimpin' business with me? + + FORREST + Okay. + + BUBBA + Man, I tell you what, I got it all + figured out, too. So many pounds of + shrimp to pay off the boat, so many + pounds for gas, we can just live + right on the boat. We ain't got to + pay no rent. I'll be the captain; + we + can just work it together. Split + everything right down the middle. + Man, I'm tellin' you, fifty-fifty. + And, hey, Forrest, all the shrimp + you can get. + + FORREST + That's a fine idea. + + FORREST (V.O.) + Bubba did have a fine idea. + + ANOTHER NIGHT - Some soldiers patrol the area. Forrest lies + + in a pup tent and writes a litter as the rain pours down. + He + + uses his flashlight to see. + + FORREST (V.O.) + I even wrote Jenny and told her all + about it. I sent her letters. Not + every day, but almost. I told her + what I was doin' and asked her what + she was doing, and I told her how I + thought about her always. + + +74 EXT. JENNY'S GRANDMOTHER'S TRAILER - DAY 74 + + Jenny steps out of the trailer with a backpack and a + guitar. + + She hugs a hippie guy, then jumps into the back of a + + Volkswagen bus with another guy. + + FORREST (V.O.) + And how I was looking forward to + getting a letter from her just as + 66. + + + soon as she had the time I'd always + let her know that I was okay. + + +75 EXT. VIETNAM - NIGHT 75 + + Forrest writes a letter in his tent. + + FORREST (V.O.) + Then I'd sign each letter, "Love, + Forrest Gump." + + +76 EXT. JUNGLE - DAY 76 + + The Fourth Platoon makes their way through the jungle and + rain. + + SONG + "There's something happenin' here. + What it is ain't exactly clear. + There's a man with a gun over + there, + telling' me I got to beware." + + FORREST (V.O.) + This one day, we was out walking, + like always, and then, just like + that, somebody turned off the rain + and the sun come out. + + Forrest looks up as the sun suddenly appears. Forrest's + + platoon is attacked. A bullet kills the soldier standing + + next to Forrest. Bombs explode all around as the soldiers + + scramble to the ground. + + LT. DAN + Take cover! + + Forrest crawls over a berm as bullets fly overhead and + explodeall around him. Forrest rolls over and pulls his + pack off Lt. Dan lies next to Forrest. + + LT. DAN + Get that pig up here, goddammit! + + BUBBA + Forrest, you okay? + + Two soldiers with a machine gun fire into the jungle. Lt. + 67. + + +Dan shouts into the radio. Forrest begins firing his weapon + +into the jungle. + + LT. DAN + ...Strongarm, please be advised... + +Two soldiers pull a wounded soldier into the jungle. + + BUBBA + Medic, we got a man down! + + LT. DAN + Strongarm, this is Leg Lima 6, + over! + + LT. DAN + Roger, Strongarm, be advised we + have + incoming from the treeline at point + blue plus two. A.K's and rockets... + +The machine gunner fires into the treeline. Another soldier + +helps him with the ammunition. The machine gun jams. + + SOLDIER WITH BIG MACHINE GUN + Misfire! Misfire! + + LT. DAN + Goddammit, Mac! Get that pig + unfucked + and get it in the treeline! + +A rocket explodes on the machine gunner and the other +soldier, killing them. Forrest looks down and covers his +head as rockets explodes all around him. + + LT. DAN + (into radio) + Ah, Jesus! My unit is down hard and + hurting! 6 pulling back to the blue + line, Leg Lima 6 out! Pull back! + Pull back! + + BUBBA + Forrest! Run! Run, Forrest! + + LT. DAN + Pull back! + + BUBBA + Forrest! Run! Run, Forrest! Run! + 68. + + + Run! + + SGT. SIMS + Pull back! Let's go! + +Lt. Dan gets up and grabs Forrest by the collar. + + LT. DAN + Run, goddammit, run! + +The platoon gets up and runs toward the cover of the +jungle. + +Rockets explode all around the field. Forrest runs into the + +jungle. The soldiers run through the jungle as bullets +explode all around. A soldier is blown up by a rocket. A +soldier runs through the jungle. Forrest runs past the +soldier. + + SOLDIER + Medic! Medic! Jesus, can I get a + medic? + + FORREST (V.O.) + I ran and ran, just like Jenny told + me to. + +Rockets explode in the jungle as Forrest runs out toward a + +clearing. + + FORREST (V.O.) + I ran so far and so fast that + pretty + soon I was all by myself, which was + a bad thing. + + FORREST + Bubba! + +Forrest turns around, then runs back into the jungle. + + FORREST (V.O.) + Bubba was my best good friend. I + had + to make sure he was okay. + +Rockets explode in the jungle. Forrest runs back into the + +jungle to look for Bubba. + 69. + + + 1ST SOLDIER + Any friendlies out there? + + 2ND SOLDIER + Yeah, I've got three over there. + + 1ST SOLDIER + Where the hell are you? + +Forrest stops and aims his weapon. He looks around, scared. + + FORREST + Bubba? + +Something moves. Forrest turns and looks, then rushes over. + + FORREST (V.O.) + And on my way back to find Bubba, + well, there was this boy laying on + the ground. + + FORREST + Tex! + +Tex lies on the ground, his face distorted with pain. + + FORREST + Okay. + +Forrest reaches down and picks up Tex from the ground. +Forrest pulls Tex up over his shoulder, then runs. + + FORREST (V.O.) + I couldn't just let him lay there + all alone, scared the way he was, + so + I grabbed him up and run him out of + there. + +Forrest carries Tex out of the jungle and into the +clearing. + +He sets Tex down on the bank of a river, and runs back into + +the jungle. + + FORREST (V.O.) + And every time I went back looking + for Bubba, somebody else was + saying, + "Help me, Forrest. Help me." + +Forrest drops another wounded soldier down at the bank of + 70. + + +the river next to Tex, and then runs back toward the +jungle. + +Forrest grabs the third wounded soldier up from the ground + +and turns him over. It is DALLAS. + + DALLAS + Can't hear... Can't hear... + +Dallas is dropped off at the bank next to the other wounded + +soldiers. Forrest turns to go back to the jungle. + + 2ND WOUNDED SOLDIER + No sweat, man. Just lay back. + You're + gonna be okay. You're gonna be + okay. + + FORREST (V.O.) + I started to get scared that I + might + never find Bubba. + + STRONGARM + (over radio) + You're danger close for crack air, + over. + +Forrest trips over something and falls to the ground. He + +looks up to find two bloody legs. It is Lt. Dan, who is + +wounded. He speaks into the radio. + + LT. DAN + (into radio) + Roger, Strongarm, I know my + position + is danger close! We got Charlie all + over this area! I gotta have those + fast movers in here now! Over! + + STRONGARM + (over radio) + Six, Strongarm, we want... + + FORREST + Lieutenant Dan, Coleman's dead! + + LT. DAN + 71. + + + I know he's dead! My whole + goddamned + platoon is wiped out! + + STRONGARM + (over radio) + Leg Lima 6, Leg Lima 6, how copy + you + this transmission? Over. + +Forrest tries to pick up Lt. Dan, who tries to push Forrest + +away. + + LT. DAN + Goddammit! What are you doing? + Leave + me here! Get away. Just leave me + here! Get out! + +Forrest pulls Lt. Dan over his shoulder and runs through +the + +jungle. + + STRONGARM + Leg Lima 6, Leg Lima 6. This is + Strongarm, be advised, your fast + movers are inbound at this time, + over. + + FORREST (V.O.) + Then it felt like something just + jumped up and bit me. + +Forrest falls down. + + FORREST + Ah, something bit me! + +Forrest gets up as Lt. Dan yells. Lt. Dan fires his pistol + +at the unseen enemy as Forrest pulls him away. + + LT. DAN + You dink son-of-a-bitch! I can't + leave the platoon! I told you to + leave me there, Gump. Forget about + me. Get yourself out! Did you hear + what I said! Goddammit, pull me + down! + Get your ass out of here! + 72. + + +Forrest drops Lt. Dan down at the bank, next to the other + +wounded soldiers. Lt. Dan grabs Forrest by the shirt, +angry. + + LT. DAN + I didn't ask you to pull me out of + there, goddamn you! What the hell + do + you think you're going? + + FORREST + To get Bubba. + + LT. DAN + I got an air strike inbound right + now. They're gonna nape the whole + area. + +Forrest gets up and runs as Lt. Dan yells after him. + + LT. DAN + Gump, you stay here, goddammit! + That's + an order! + + FORREST + I gotta find Bubba! + +Forrest runs through the jungle searching for Bubba. +Forrest + +slows down and looks around carefully. + + BUBBA + Forrest... + + FORREST + Bubba... + +Bubba looks up as he lies on the ground. + + BUBBA + I'm okay. + +Bubba holds a palm frond over his wound. Forrest removes +the + +frond to look at the wound. Bubba's chest has been blown + +open. + 73. + + + FORREST + Oh, Bubba, no... + + BUBBA + Naw, I'm gonna be all right. + +Forrest looks around as he hear the voices of the enemy. + + FORREST + Come on. Come on. Come here... + +Forrest carries Bubba through the jungle. The sound of + +approaching planes fills the air. + + BUBBA + I'm okay, Forrest. I'm all right. + +The roar of approaching planes is deafening. Forrest looks + +up in fear. Three planes dive down toward the jungle. They + +fire napalm as the jungle explodes with massive fireballs. + +Forrest runs, carrying Bubba. The fireballs explode behind + +him. The entire jungle area is in flames as Forrest runs. + +Forrest carries Bubba to the bank of the river. Lt. Dan and + +the other wounded soldiers wait for a rescue helicopter. + + LT. DAN + Helo's inbound. Pop smoke, get it + up + there! + + FORREST (V.O.) + If I'd a known this was gonna be + the + last time me and Bubba was gonna + talk, I'd a thought of something + better to say. + +Forrest looks down at Bubba. A soldier releases a smoke + +canister. + + FORREST + Hey, Bubba... + + BUBBA + 74. + + + Hey, Forrest. Forrest, why'd this + happen? + + FORREST + You got shot. + + FORREST (V.O.) + Then Bubba said something I won't + even forget. + + BUBBA + I wanna go home. + + FORREST (V.O.) + Bubba was my best good friend. And + even I know that ain't something + you + can find just around the corner. + Bubba was gonna be a shrimpin' boat + captain, but instead he died right + there by that river in Vietnam. + + The helicopter fly overhead. + + +77 EXT. BUS STATION - DAY 77 + + Forrest continues with his life story. A MAN is sitting + next + + to Forrest on the bus bench. + + FORREST + That's all I have to say about + that. + + MAN + It was a bullet, wasn't it? + + FORREST + A bullet? + + MAN + That jumped up and bit you. + + FORREST + Oh, yes sir. Bit me directly in the + buttocks. They said it was a + million + dollar wound, but the Army must + keep + that money, 'cause I still ain't + 75. + + + seen a nickel of that million + dollars. + The only good thing about being + wounded in the buttocks... + + +78 FLASHBACK - INT. US. ARMY HOSPITAL/VIETNAM - DAY 78 + + Forrest holds two ice cream cones in his hands as he is + + wheeled on a rolling stretcher. + + FORREST (V.O.) + ...is the ice cream. They gave me + all the ice cream I could eat. And + guess what. A good friend of mine + was in the bed right next door. + + Forrest, lying on his stomach, is wheeled to his bed. + + Forrest's butt sticks up and is bandaged. Forrest looks at + + Lt. Dan lying on the bed. Forrest holds out an ice cream + + cone for Lt. Dan. + + FORREST + Lieutenant Dan, I got you some ice + cream. Lieutenant Dan, ice cream. + + Lt. Dan, annoyed, takes the ice cream cone and drops it + into + + his bed pan. Forrest slides himself onto his bed. A NURSE + + reaches toward Lt. Dan. + + MALE NURSE + It's time for your bath, + Lieutenant. + + The male nurse places Lt. Dan's hands on a pull-up bar, + then + + picks up Lt. Dan, whose legs have been amputated. + + MALE NURSE + Harper... + + Another nurse wheels the rolling bed under Lt. Dan. The + male + 76. + + + nurse sets Lt. Dan down on the rolling bed. Forrest looks + up + + at Lt. Dan as he is wheeled away. A soldier reads the names + + from a pile of letters. + + SOLDIER + Cooper, Larson, Webster, Gump, + Gump... + + FORREST + I'm Forrest Gump. + + The soldier hands Forrest a large pile of letters. + + "Undeliverable as addressed. No forwarding order on file." + + Jenny Curran Rural Route 2 Greenbow, Ala. 39902 Forrest + looks + + down at the pile of letters. + + +79 INT. ARMY HOSPITAL/VIETNAM - DAY 79 + + A group of wounded soldiers hang out in the hospital, + + recuperating. Forrest sits and watches "Gomer Pyle" on the + + television. + + SOLDIER + Gump, how can you watch that stupid + shit? Turn it off! + + ANNOUNCER + From the D.M.Z. to the Delta, you + are tuned to the American Forces + Vietnam Network. This is Channel 6, + Saigon. + + Forrest turns the TV off and he is hit on the back of the + + head by a ping-pong ball. + + SOLDIER + Good catch, Gump. You know how to + play this? + + Forrest shakes his head. + 77. + + + SOLDIER + Come on, let me show you. Here. + +The wounded ping-pong player hands Forrest a paddle. +Forrest + +and the wounded ping-pong player step toward the ping-pong + +table. + + SOLDIER + Now the secret to this game is, no + matter what happens, never, never + take your eye off the ball. + +He holds the ball up and moves it back and forth. Forrest + +keeps his eyes on the ball. + + SOLDIER + All right... + +The wounded ping-pong player tosses the ball down onto the + +table. Forrest begins to hit the ball back to the other + +player. + + FORREST (V.O.) + For some reason, ping pong came + very + natural to me. + + SOLDIER + See, any idiot can play. + + FORREST (V.O.) + So I started playing it all the + time. + +Forrest hits ping-pong balls. + + FORREST (V.O.) + I played ping-pong even when I + didn't + have anyone to play ping-pong with. + +The balls at land in a bed pan positioned on a chair. A +group of wounded soldier sit and watch Forrest play with +himself. + 78. + + +Forrest hits two balls at a time against the opposite side +of the table. + + FORREST (V.O.) + The hospital's people said it made + me look like a duck in water, + whatever that means. Even + Lieutenant Dan would come and watch + me play. + +Lt. Dan stares out the window. Forrest lies in his bed +asleep. + +A hand reaches and grabs him. + + FORREST (V.O.) + I played ping-pong so much, I even + played it in my sleep. + +Lt. Dan pulls Forrest to the floor, and holds Forrest down. + + LT. DAN + Now, you listen to me. We all have + a + destiny. Nothing just happens, it's + all part of a plan. I should have + died out there with my men! But + now, + I'm nothing but a goddamned + cripple! + A legless freak. Look! Look! Look + at + me! Do you see that? Do you know + what it's like not to be able to + use + your legs? + + FORREST + Well... Yes, sir, I do. + + LT. DAN + Did you hear what I said? You + cheated me. I had a destiny. I was + supposed to die in the field! With + honor! That was my destiny! And you + cheated me out of it! You + understand what I'm saying, Gump? + This wasn't supposed to happen. Not + to me. I had a destiny. I was + Lieutenant Dan Tyler. + + FORREST + Yo-You're still Lieutenant Dan. + 79. + + + Lt. Dan looks at Forrest, lets go of Forrest and rolls. + + Lt. Dan sits up as Forrest looks at him. + + LT. DAN + Look at me. What am I gonna do now? + What am I gonna do now? + + +80 INT. REC ROOM/VIETNAM HOSPITAL - ANOTHER DAY 80 + + Forrest plays ping-pong by himself. An OFFICER walks up to + + him. + + OFFICER + P.F.C. Gump? + + Forrest immediately grabs the ball and places it down on + the + + table under its paddle. Stands at attention. + + FORREST + Yes, sir! + + OFFICER + As you were. + + The officer holds up an envelope. + + OFFICER + Son, you've been awarded the Medal + of Honor. + + +81 INT. VIETNAM HOSPITAL WARD 81 + + Forrest steps up to Lt. Dan's bed. + + FORREST + Guess what, Lieutenant Dan, they + want to give me a me... + + Forrest stops in mid-sentence as he looks down at the bed. + A + + heavily bandaged soldier with bloodstains lies there. + Forrest + + turns and look at the NURSE. + 80. + + + FORREST + Ma'am, what'd they do with + Lieutenant + Dan? + + NURSE + They sent him home. + + FORREST (V.O.) + Two weeks later, I left Vietnam. + + +82 INT. BARBER SHOP/GREENBOW - DAY 82 + + ANCHORMAN + (on T.V.) + The ceremony was kicked off with a + candid speech by the President + regarding the need for further + escalation of the war in Vietnam. + President Johnson awarded four + Medals + of Honor to men from each of the + Armed Services. + + The television reveals Forrest as he is awarded the Medal + of + + Honor by President Johnson. + + PRESIDENT JOHNSON + America owes you a debt of + gratitude, + son. + + Color footage revealing President Johnson as he places the + + award around Forrest's neck and shakes hands. + + PRESIDENT JOHNSON + I understand you were wounded. + Where + were you hit? + + FORREST + In the buttocks, sir. + + PRESIDENT JOHNSON + Oh, that must be a sight. + + President Johnson leans and whispers into Forrest's ear. + + PRESIDENT JOHNSON + 81. + + + I'd kinda like to see that. + + +83 INT. BARBER SHOP 83 + + The television revealing Forrest as he drops his pants, + bends + + over and shows the bullet wound on his bare buttocks. + + President Johnson looks down and smiles. The three men in + + the barber shop look up in disbelief. Mrs. Gump looks up in + + shock. + + PRESIDENT JOHNSON + Goddamn, son. + + +84 EXT. LINCOLN MEMORIAL - DAY 84 + + Forrest walks by the Lincoln Memorial. A fence surrounds + the + + Memorial, as well as armed military guards. + + FORREST (V.O.) + After that, Momma went to the hotel + to lay down, so I went out for a + walk to see our national capital. + + ISABEL + Hilary, all right, I've got the + vets, + what do you want me to do with + them? + + HILARY + What are you doing here so late? + + Forrest takes a photo of the memorial as a woman named + Hilary + + gathers together some veterans against the Vietnam War. + + HILARY + We've been waiting for you for half + an hour, so just get them in a + line, + will you. Hey, hey, come on, + pictures + later. You look great. Oh come on, + 82. + + + get in this line, come on, come on + right in line. Come on, let him + here, + let him in here. + +Hilary grabs Forrest and puts him in the line with the +other + +vets against the war. + + FORREST (V.O.) + It's a good thing Momma was + resting, + 'cause the street was awful crowded + with people looking at all the + statues + and monuments. And some of them + people + were loud and pushy. + +Hilary leads the line of vets toward the large anti-Vietnam + +War rally. + + HILARY + Okay, follow me! Come on. + +The group of vets walk as Forrest tries to take another + +picture. A vet behind him pushes him along. + + HILARY + Let's move it out. + + VET + Hey, buddy, come on. We could use + your help. + +Forrest walks in the line. A banner reads "Veterans against + +the War in Vietnam." + + FORREST (V.O.) + Everywhere I went, I had to stand + in + line. + + HILARY + Follow me, let's go! + +Hilary leads the vets through a crowd of people outside the + 83. + + +rally. Another woman, named Isabel, leads the vets toward +the back of a stage. + + ISABEL + All right, come on, guys. + + HILARY + Stand here. + + VET + Hey, you're a good man for doin' + this. Good! + + FORREST + Okay. + +A man, wearing an American flag shirt, stands on the stage. + +He is anti-war activist ABBIE HOFFMAN. + + ABBIE HOFFMAN + We must declare to that fucking + impostor in the White House -- + Johnson. We ain't going to work on + your farm no more! Yeah! + + FORREST (V.O.) + There was this man, giving a little + talk. And for some reason, he was + wearing an American flag for a + shirt... + + ABBIE HOFFMAN + Now, I'm going to bring up some + soldiers that are going to talk + about + the war, man... + + FORREST (V.O.) + ...and he liked to say the "F" + word. + A lot. "F" this and "F" that. And + every time... + + ABBIE HOFFMAN + ...that war has come home, and we + have to stop these politicians... + + FORREST (V.O.) + ...he said "F" word, people, for + some reason, well, they'd cheer. + + ABBIE HOFFMAN + 84. + + + ...these guys just told Lyndon + Johnson + where to stick this fucking war! + Yeah! + +Forrest looks up at the cheering crowd. Abbie turns and + +motions for Forrest to come up on the stage. + + ABBIE HOFFMAN + Come on, man. Come up here, man. + + HILARY + Come on. Come on. Yeah, you! + +Hilary pulls Forrest up onto the stage. + + HILARY + Come on, get up there. Come on. + Move, + move. Let's go! Let's go. + +The other vets follow Forrest pushes onto the stage and +push + +him toward the microphones. + + VET + Come on, go. You can do it. Just + get + up there. Go on. That's it. + +Thousands of cheering protesters stand around the +Washington + +Monument. Forrest looks at the crowd. Abbie Hoffmann steps + +up to Forrest. + + ABBIE HOFFMAN + Tell us a little bit about the war, + man. + + FORREST + The war in Vietnam? + + ABBIE HOFFMAN + The war in Viet-fucking-nam! + +Abbie raises his fist as the crowd cheers wildly. + + FORREST + 85. + + + Well... + + FORREST (V.O.) + There was only one thing I could + say + about the war in Vietnam. + + FORREST + ...there was only one thing I could + say about the war in Vietnam. + +Forrest looks at the crowd as he speaks. A policeman looks + +around as he sneaks over to the audio circuit board. + + FORREST + In Vietnam war... + +The policeman pulls the patch cords out of the audio board. + +Forrest's amplified voice becomes inaudible. Forrest +continues + +to speak into the microphone, even though no one can hear + +what he is saying. Hilary looks over and notices the + +policeman. Hilary rushes over toward the audio board, +pushes + +the policeman away and grabs his night stick. Another + +protester grabs the policeman and pulls him away. + + POLICEMAN + Hey, what the hell are you doing? + + HILARY + I'll beat your head in, you + goddamned + oinker! + +Isabel, Hilary and another protester try to plug the +tangled + +mess of wires back into the audio board. + + ISABEL + Christ, what'd they do with this? + +Forrest continues to speak into the microphone. The crowd + 86. + + +grows restless. + + CROWD + We can't hear you! We can't hear + anything! + + HILARY + This one! This one! Give me that! + +Hilary plugs in the right patch cord. + + HILARY + That's it. + + FORREST + ...and that's all I have to say + about + that. + +Forrest looks at the massive crowd. They are silent. Abbie + +Hoffman steps over to Forrest and pats him on the shoulder. + + ABBIE HOFFMAN + That's so right on, man. You said + it + all. What's your name, man? + + FORREST + My name is Forrest Gump. Forrest + Gump. + + ABBIE HOFFMAN + Forrest Gump! + +Abbie raises his fist into the air. Abbie steps away from + +Forrest. The crowd cheers. + + CROWD + Forrest Gump! + + JENNY + (screaming) + Forrest! Forrest! + +Jenny wades out into the reflection pool and waves her hand + +into the air. Forrest recognizes her. + + FORREST + Jenny! + 87. + + + Forrest rushes off the stage as Jenny makes her way out + into + + the pool. + + JENNY + Forrest! + + Forrest jumps down into the crowd and runs. Jenny smiles as + + she tries to run through the water. The crowd parts as + Forrest + + runs into the pool. Jenny rushes toward him. + + JENNY + Hey! Hey! + + The massive crowd cheers for the embracing couple in the + + pool. + + FORREST (V.O.) + It was the happiest moment of my + life. + + +85 EXT. WASHINGTON MONUMENT/PROTESTER'S ENCAMPMENT - NIGHT 85 + + Forrest and Jenny walk past the protesters who are camping + + out on the lawn. + + FORREST (V.O.) + Jenny and me were just peas and + carrots again. She showed me + around, + and even introduced me... + + +86 INT. BLACK PANTHER HEADQUARTERS/STOREFRONT, D.C. - NIGHT 86 + + Forrest stands at an open window and looks at the White + House. + + FORREST (V.O.) + ...to some of her new friends. + + A Black Panther, named RUBEN, steps over and pulls the + shades + + down. + 88. + + + RUBEN + Shut that blind, man. And get your + white ass away from that window. + Don't you know we in war here? + +Another Black Panther named MASAI grabs Forrest and pats +him + +down. + + JENNY + Hey man, he's cool. He's cool. He's + one of us. He's one of us. + + MASAI + Let me tell you about us. + + WESLEY + Where the hell have you been? + + JENNY + I ran into a friend. + + MASAI + Our purpose here is to protect our + black leaders from the racial + onslaught of the pig who wishes to + brutalize our black leaders, rape + our women, and destroy our black + communists. + + BLACK PANTHER + Masai, phone. Talk to these guys. + + WESLEY + Who's the baby killer? + + JENNY + This is my good friend I told you + about. This is Forrest Gump. + Forrest, + this is Wesley. Wesley and I live + together in Berkeley, and he's the + president of the Berkeley chapter + of + S.D.S. + + MASAI + Let me tell you something else. + + WESLEY + I want to talk to you. + 89. + + + JENNY + Okay, but... + + WESLEY + No. Now! Goddammit! + + MASAI + We are here to offer protection and + help for all of those who need our + help, because we, the Black + Panthers, + are against the war in Vietnam. + Yes, + we are against any war where black + soldiers are sent to the front line + to die for a country that hates + them. + Yes, we are against any war where + black soldiers go to fight and come + to be brutalized and killed in + their + own communities as they sleep in + their beds at night. Yes, we are + against all these racists and + imperial + dog acts. + + JENNY + You are a fucking asshole! + +Wesley hits Jenny across the face. Slow motion -- Jenny +falls + +back. Slow motion -- Forrest steps forward with rage. + +Slow motion -- Wesley turns and looks at Forrest. Forrest + +tackles Wesley and slams him onto a table. Jenny turns and + +looks as Masai pulls out a gun. + + JENNY + Forrest! Quit it! Quit it! Forrest! + Stop it! + +Jenny rushes over to Forrest and pulls Forrest off Wesley. + + JENNY + Stop it! + +Jenny tries to help Wesley as he moans on the floor. Wesley + +knocks Jenny's hand away. He gets up, holding his bloody + 90. + + + lip. + + WESLEY + Oh, God. I shouldn't have brought + you here. I should have known it + was + just gonna be some bullshit hassle. + + FORREST + He should not be hitting you, + Jenny. + + JENNY + Come on, Forrest. + + Jenny steps out the door as Forrest picks up his hat. + + FORREST + Sorry I had a fight in the middle + of + your Black Panther party. + + The group of Black Panthers glare at Forrest. Forrest turns + + and walks out the room. + + +87 EXT. WASHINGTON D.C. - NIGHT 87 + + Forrest and Jenny walk past the White House. Protesters + hold + + a candlelight vigil behind them. + + JENNY + He doesn't mean it when he does + things + like this. He doesn't. + + FORREST + I would never hurt you, Jenny. + + JENNY + I know you wouldn't, Forrest. + + FORREST + I wanted to be your boyfriend. + + They walk in silence. Jenny touches Forrest's uniform. + + JENNY + That uniform is a trip, Forrest. + You + 91. + + + look handsome in it. You do. + + FORREST + You know what? + + JENNY + What? + + FORREST + I'm glad we were here together in + our national capitol. + + JENNY + Me too, Forrest. I have so much to + tell you, you won't believe what's + been going on... + + FORREST (V.O.) + We walked around all night, Jenny + and me, just talkin'. + + +88 EXT. ROUTE 66 - FLASHBACK - DAY 88 + + Jenny stands in the rain, hitchhiking. A car pulls over to + + pick her up. Jenny and other other girls get into the car. + + FORREST (V.O.) + She told me about all the + travellin' + she's done. + + +89 EXT. COMMUNE IN NEW MEXICO - NIGHT 89 + + A hippie gives Jenny a sugar cube of acid as they sit in + + front of a roaring fire. + + FORREST (V.O.) + And how she'd discovered ways to + expand her mind and learn how to + live in harmony... + + +90 EXT. HOLLYWOOD/WALK OF FAME - DAY 90 + + A star with the name "Jean Harlow" on the sidewalk. Jenny + + and two other girls sing on the sidewalk and collect change + 92. + + + from the passersby. Jenny plays the guitar. + + FORREST (V.O.) + ...which must be out west + somewhere, + 'cause she made it all the way to + California. + + JENNY + (sings) + "Smile on your brother, everybody + get together, try to love on + another + right now" + + A young hippie looks over his faded Volkswagen at the + girls. + + YOUNG HIPPIE + Hey, anybody want to go to San + Francisco? + + JENNY + I'll go. + + YOUNG HIPPIE + Far out! + + +91 EXT. WASHINGTON D.C. - DAWN 91 + + Forrest and Jenny walk through the park. + + FORREST (V.O.) + I was a very special night for the + two of us. I didn't want it to end. + + +92 EXT. PARKING LOT - EARLY MORNING 92 + + Jenny carries a backpack as she prepares to board a bus + back + + to Berkeley. + + FORREST + I wish you wouldn't go, Jenny. + + JENNY + I have to, Forrest. + + WESLEY + Jenny? Things got a little out of + 93. + + + hand. It's just this war and that, + that lyin' son-of-a-bitch Johnson. + I + would never hurt you. You know + that. + + FORREST + You know what I think? I think you + should go home to Greenbow. + Alabama! + + JENNY + Forrest, we have very different + lives, + you know. + +Forrest looks down at Jenny. He pulls his Medal of Honor + +from around his neck. + + FORREST + I want you to have this. + +Forrest places the Medal of Honor in Jenny's hand. Jenny + +looks up at him. + + JENNY + Forrest, I can't keep this. + + FORREST + I got it just by doing what you + told + me to do. + + JENNY + Why're you so good to me? + + FORREST + You're my girl. + + JENNY + I'll always be your girl. + +Jenny and Forrest hug each other. Wesley waits for Jenny. + +Jenny turns and walks up to Wesley. They walk toward the + +entrance of the bus. Forrest smiles as Jenny looks at her. + +Jenny climbs up into the bus. Wesley glares at Forrest. + 94. + + + Forrest gives Wesley the "evil eye." Jenny through the near + + window of the bus, knocks on the window. Forrest turns and + + looks. Jenny waves to Forrest. Forrest looks up and smiles + + sadly. Jenny gives Forrest the peace sign as the bus pulls + + away. The sign on the back of the bus reads "Berkeley to + + D.C." Forrest gives Jenny the peace sign. + + FORREST (V.O.) + And just like that, she was gone + out + of my life again. + + +93 INT. VETERANS ADMINISTRATION HOSPITAL/REC ROOM - DAY 93 + + A footage of Neil Armstrong's first step on the moon on + + television. + + NEIL ARMSTRONG + That's one small step for man, one + giant leap for mankind. The, uh, + the + surface is fine and powdery. I can, + I can pick it up loosely. + + Forrest demonstrates a ping-pong to some wounded vets. + + FORREST (V.O.) + I thought I was going back to + Vietnam, + but instead, they decided the best + way for me to fight communists was + to play ping-pong. So I was in the + Special Services, traveling around + the country cheering up all them + wounded veterans and showing them + how to play... + + +94 EXT. BUS STOP - PRESENT - DAY 94 + + Forrest looks at a man. + + FORREST + ...ping-pong. I was so good that + some years later... + 95. + + +95 EXT. CHINA/PING-PONG TOURNAMENT - FLASHBACK - DAY 95 + + Forrest plays ping-pong against a Chinese player. A large + + mural of Mao Tse-tung hangs on the wall. A crowd of + communist + + leaders sit and watch. + + FORREST (V.O.) + ...the Army decided I should be on + the All-American Ping-Pong Team. We + were the first Americans to visit + the land of China in like a million + years or something like that, and + somebody said that world peace was + in our hands. But all I did was + play + ping-pong. When I got home... + + +96 EXT. BUS STOP - PRESENT - DAY 96 + + FORREST + ...I was national celebrity. + Famouser + even than Captain Kangaroo. + + Color footage of the DICK CAVETT Show. Dick Cavett stands + up + + as he introduces Forrest. + + DICK CAVETT + Here he is, Forrest Gump, right + here. + + Forrest makes his way onto the stage, shakes hands with + Dick + + Cavett. + + DICK CAVETT + Mr. Gump, have a seat. + + Forrest sits down between JOHN LENNON and Dick Cavett. + + DICK CAVETT + Forrest Gump, John Lennon. + + JOHN LENNON + Welcome home. + 96. + + + DICK CAVETT + You had quite a trip. Can you, uh, + tell us, uh, what was China like? + + John Lennon lights a cigarette. + + FORREST + Well, in the land of China, people + hardly got nothing at all. + + JOHN LENNON + No possessions? + + FORREST + And in China, they never go to + church. + + JOHN LENNON + No religion, too? + + DICK CAVETT + Oh. Hard to imagine. + + JOHN LENNON + Well, it's easy if you try, Dick. + + Forrest looks oddly at John Lennon. + + FORREST (V.O.) + Some years later, that nice young + man from England was on his way + home + to see his little boy and was + signing + some autographs. For no particular + reason at all, somebody shot him. + + +97 EXT. STUDIO - LATER 97 + + A guard lets Forrest out a side entrance door. Forrest + steps, + + an then stops as he hears s man sitting in a wheelchair + speak + + to him. + + LT. DAN + They gave you the Congressional + Medal + of Honor. + 97. + + + FORREST + Now that's Lieutenant Dan. + Lieutenant + Dan! + + Forrest looks at Lt. Dan. He is a dirty with long hair. + + LT. DAN + They gave you the Congressional + Medal + of Honor! + + FORREST + Yes sir, they sure did. + + LT. DAN + They gave you an imbecile, a moron + who goes on television and makes a + fool out himself in front of the + whole damn country, the + Congressional + Medal of Honor. + + FORREST + Yes, sir. + + LT. DAN + Well, then, that's just perfect! + Yeah, well I just got one thing to + say to that. Goddamn bless America. + + Lt. Dan's wheelchair begins to slide down the ramp and + spins + + around on the icy ground. Forrest looks down at Lt. Dan + + crashes at the bottom of the ramp. + + FORREST + Lieutenant Dan! + + +98 EXT. NEW YORK CITY STREETS - NIGHT 98 + + Taxi cabs crowd the street as Forrest pushes Lt. Dan along + + the sidewalk. + + FORREST (V.O.) + Lieutenant Dan said he was living + in + a hotel. And because he didn't have + no legs, he spent most of his time + 98. + + + exercising his arms. + + LT. DAN + Take a right, take a right. + + A taxi driver honks his horn as Forrest wheels Lt. Dan out + + in front of the taxi. + + TAXI DRIVER #1 + Hey! Come on already! + + LT. DAN + Ah! + + FORREST + What are you doing here in New + York, + Lieutenant Dan? + + LT. DAN + I'm living off the government tit. + Sucking it dry. + + A taxi skids to a stop, almost hitting them as they cross + + the street. The taxi honks at Lt. Dan. Lt. Dan slaps the + + bumper of the taxi. + + LT. DAN + Hey! Hey! Hey! Are you blind? I'm + walking here! Ah, get out... + + TAXI DRIVER #2 + Why don't you go home before you + kill yourself? Get out of the way! + + LT. DAN + Come on, go! Go! Go! + + +99 EXT. LT. DAN'S HOTEL ROOM - LATER 99 + + A Bob Hope Christmas special in Vietnam on television. Lt. + + Dan and Forrest watch the television. + + FORREST (V.O.) + I stayed with Lieutenant Dan and + celebrated the holidays. + 99. + + + BOB HOPE + You have a great year and hurry + home. + God bless you. + + LT. DAN + Have you found Jesus yet, Gump? + + FORREST + I didn't know I was supposed to be + looking for him, sir. + +Lt. Dan chuckles, drinks the rest of a bottle of wine and + +tosses it down. He looks at Forrest. He wheels himself over + +to television and turns it off. + + LT. DAN + That's all these cripples, down at + the V.A., that's all they ever talk + about. + +Lt. Dan picks up another bottle of port wine, but it is +empty. + +He tosses it onto the floor. + + LT. DAN + Jesus this and Jesus that. Have I + found Jesus? They even had a priest + come and talk to me. He said God is + listening, but I have to help + myself. + Now, if I accept Jesus into my + heart, + I'll get to walk beside him in the + Kingdom of Heaven. + +Lt. Dan tosses the empty liquor bottle down and picks +another + +bottle. He becomes enraged as he throws the bottle and +looks + +at Forrest. + + LT. DAN + Did you hear what I said? Walk + beside + him in the Kingdom of Heaven. Well, + kiss my crippled ass. God is + listening. What a crock of shit. + 100. + + + FORREST + I'm going to heaven, Lieutenant + Dan. + + LT. DAN + Huh? Ah, well, before you go, why + don't you get your ass down to the + corner and get us another bottle of + wine. + + FORREST + Yes, sir. + + +100 INT. TIMES SQUARE BAR - NIGHT 100 + + A television shows DICK CLARK as he emcees the Times Square + + New York Eve celebration. + + DICK CLARK + We are at approximately 45th Street + in New York City at One Astor + Plaza. + This is the site of the old Astor + Hotel. Down below us, well over a + hundred thousand people are milling + about, cheering with horns and + whistles and hats... + + LT. DAN + What the hell's in Bayou La Batre? + + FORREST + Shrimpin' boats. + + LT. DAN + Shrimpin' boats? Who gives a shit + about shrimpin' boats? + + FORREST + I gotta buy me one of them + shrimpin' + boats as soon as I have some money. + I made me a promise to Bubba in + Vietnam, that as soon as the war + was + over, we'd go in partners. He'd be + the captain of the shrimpin' boat + and I'd be his first mate. But now + that he's dead, that means that I + gotta be the captain. + 101. + + + LT. DAN + A shrimp boat captain. + + FORREST + Yes, sir. A promise is a promise, + Lieutenant Dan. + + LT. DAN + Now hear this! Private Gump here is + gonna be a shrimp boat captain. + Well, + I tell you what, Gilligan, the day + that you are a shrimp boat captain, + I will come and be your first mate. + + FORREST + Okay. + + LT. DAN + If you're ever a shrimp boat + captain, + that's the day I'm an astronaut. + +Two sleazy women, named LENORE and CARLA, walk up to Lt. + +Dan. + + LENORE + Danny, what are you complaining + about? + + CARLA + What are you doing, huh? + + LENORE + Mr. Hot Wheels. Who's your friend? + + FORREST + My name is Forrest, Forrest Gump. + + LT. DAN + This is Cunning Carla, and Long- + Limbs + Lenore. + +Carla puts a "Happy New Year" crown on Lt. Dan's head. +Lenore + +fixes her makeup. + + CARLA + So where you been, baby-cakes, huh? + Haven't seen you around lately. You + 102. + + + know, you should have been here for + Christmas 'cause Tommy bought a + round + on the house and gave everybody a + turkey sandwich. + + LT. DAN + Well, well, I had, uh, company. + + LENORE + Hey, hey! We was, we was just + there. + That's at Times Square. + + Lenore leans and speaks into Forrest's ear. + + LENORE + Don't you just love New Year's? You + get to start all over. + + CARLA + Hey, Lenore. + + LENORE + Everybody gets a second chance. + + FORREST (V.O.) + It's funny, but in the middle of + all + that fun, I began to think about + Jenny. + + DICK CLARK + (on television) + ...getting wild out there. It's + beginning to... + + +101 INT. APARTMENT/L.A. - NIGHT 101 + + The New Year's Eve celebration over the T.V. + + DICK CLARK + (over television) + ...pour here in Times Square. It's + been off-and-on all night, but + these + people hang in there. + + Jenny fills her bag with her belongings. + + FORREST (V.O.) + Wondering how she was spending her + 103. + + + New Year's night out in California. + + A man lies passed out on the bed. Jenny looks at her black + + eye in a mirror, then leaves the apartment. The TV shows + the + + ball in Times Square. + + CROWD + (over television) + + +102 INT. TIMES SQUARE BAR - NIGHT 102 + + The ball is lowered, lighting up a sign that reads "1972." + + CROWD + (over television) + ...1! Happy New Year! + + The people in the bar cheer and kiss each other. They blow + + horns and toss confetti into the air. Forrest looks around + + as Carla and Lenore lean over and kiss him. + + PATRONS + (sing) + "Should auld acquaintance be forgot + and never brought to mind... + + FORREST + Happy New Year, Lieutenant Dan! + + PATRONS + (sing) + Should auld acquaintance be forgot + and days of auld lang syne." + + +103 INT. LT. DAN'S HOTEL ROOM - LATER 103 + + Carla removes her top and sits on top of Dan in his + + wheelchair. They kiss and play around. Forrest sits in a + + chair. Lenore leaps on him and begins to kiss Forrest. She + + reaches down to Forrest's crotch. Forrest stands up + nervously, + 104. + + +causing Lenore to fall down on the floor. Lenore stands up, + +angry. + + LENORE + What are you, stupid or something? + What's your problem? What's his + problem? Did you lose your pecker + in + the war or something? + + CARLA + What, is your friend stupid or + something? + + LT. DAN + What did you say? + + CARLA + I said, is your friend stupid or + something? + + LT. DAN + Hey! Don't call him stupid! + +Lt. Dan throws Carla back onto the bed. + + CARLA + Don't push me like that! + + LENORE + Hey, don't you push her! + + LT. DAN + You shut up! Don't you ever call + him + stupid! + + CARLA + What's the matter, baby? Why you + treating me like shit? + + LT. DAN + Get the hell out of here! + + LENORE + You stupid gimp. You belong in + "Ripley's Believe It Or Not." + + LT. DAN + Get the hell out of here! Go on! + + LENORE + 105. + + + You should be in a side show! + + LT. DAN + Go on! Get out of here! Get out of + here! + + LENORE + You big loser! + + CARLA + Come on, Lenore. We don't need this + shit! + + LENORE + You're so pathetic. + + LT. DAN + Get out of here! + +Lt. Dan falls out of his wheelchair and lands down on the + +floor. Carla and Lenore laugh as they leave the apartment. + + CARLA + You retard! + + LENORE + You loser! You freak! + +Forrest tries to help Lt. Dan. Lt. Dan pushes Forrest away. + + LT. DAN + No! + +Forrest steps back as Lt. Dan flips back over, then pulls + +himself back up onto his wheelchair. He breathes heavily. + + FORREST + I'm sorry I ruined your New Year's + Eve party, Lieutenant Dan. She + tastes + like cigarettes. + + FORREST (V.O.) + I guess Lieutenant Dan figured + there's + some things you just can't change. + He didn't want to be called + crippled, + just like I didn't want to be + called + stupid. + 106. + + + LT. DAN + Happy New Year. + + +104 EXT. WHITE HOUSE - NIGHT 104 + + An ANCHORMAN reports in front of the White House. + + ANCHORMAN + The U.S. Ping-Pong Team met with + President Nixon today at an Oval + Office ceremony... + + FORREST (V.O.) + And wouldn't you know it... + + PRESENT - BUS STOP + + Forrest looks at the fat man on the bus bench. + + FORREST + ...a few months later they invited + me and the ping-pong team to visit + the White House. So I went again. + And I met the President of the + United + States again. + + +105 INT. WHITE HOUSE - DAY 105 + + A plaque, presented to Forrest, reads "Presented to Forrest + + Gump, member of the United States table tennis team as + player + + of the year for 1971. President NIXON holds the plaque. + + FORREST (V.O.) + Only this time they didn't get us + rooms in a real fancy hotel. + + PRESIDENT NIXON + So are you enjoying yourself in our + national capital, young man? + + FORREST + Yes, sir. + + PRESIDENT NIXON + Well, where are you staying? + + FORREST + 107. + + + It's called the Hotel Ebbott. + + PRESIDENT NIXON + Oh, no, no, no, no. I know of a + much + nicer hotel. It's brand-new. Very + modern. I'll have my people take + care of it for you. + + +106 INT. WATERGATE HOTEL ROOM - NIGHT 106 + + Forrest speaks on the phone. + + SECURITY GUARD + Security, Frank Wills. + + Forrest steps over to a window. Flashlights are moving + around + + in an office across from Forrest's room. + + FORREST + Yeah, sir, you might want to send a + maintenance man over to that office + across the way. The lights are off, + and they must be looking for the + fuse box or something, 'cause them + flashlights they're, they're + keeping + me awake. + + SECURITY GUARD + Okay, sir. I'll check it out. + + FORREST + Thank you. + + SECURITY GUARD + No problem. + + FORREST + Good night. + + SECURITY GUARD + Good night. + + Forrest hangs up the phone. The camera tilts down, + revealing + + the hotel stationary, which reads "The Watergate Hotel." + 108. + + +107 INT. GYMNASIUM - DAY 107 + + President Nixon makes a resignation speech on TV. + + PRESIDENT NIXON + (over television) + Therefore, I shall resign the + Presidency effective at noon + tomorrow. + + The television cuts to a shot of President Nixon standing + + outside Air Force One with his hands in the peace sign. + + PRESIDENT NIXON + (over television) + Vice President Ford will be sworn + in + as President at that hour in this + office. As I recall the high hopes + for America with which we began + this + second term, I feel a great sadness + that I will not be here in this + office... + + Forrest is playing ping-pong by himself at the gymnasium. + An + + officer steps up to him. + + OFFICER + Sergeant Gump! + + FORREST + Yes, sir! + + OFFICER + As you were. I have your discharge + papers. Your service is up, son. + + The officer hands Forrest an envelope, then walks away. + + FORREST + Does this mean I can't play ping + pong no more? + + OFFICER + For the Army it does. + + FORREST (V.O.) + And just like that, my service in + the United States Army was over. So + 109. + + + I went home. + + Forrest takes his paddle and runs out of the gymnasium. + + +108 EXT. GUMP HOUSE - DAY 108 + + Mrs. Gump walks out of the house and smiles. Forrest walks + + up to the house, wearing his uniform. + + FORREST + I'm home, Momma. + + MRS. GUMP + I know, I know. + + +109 INT. GUMP HOUSE 109 + + Mrs. Gump and Forrest walk into the house. + + MRS. GUMP + Louise, he's here. He's here, + everybody. + + FORREST (V.O.) + Now, when I got home, I had no idea + that Momma had had all sorts of + visitors. + + In the house are stacks of ping-pong paddles and life-sized + + cardboard cutouts of Forrest playing ping-pong. The name on + + the ping-pong paddles boxes reads: "Gump-Mao table tennis." + + MRS. GUMP + We've had all sorts of visitors, + Forrest. Everybody wants you to use + their ping-pong stuff. One man even + left a check for twenty-five + thousand + dollars if you'd be agreeable to + saying you like using their paddle. + + FORREST + Oh, Momma. I only like using my own + paddle. Hi, Miss Louise. + + LOUISE + Hey, Forrest. + 110. + + + MRS. GUMP + I know that. I know that. But it's + twenty-five thousand dollars, + Forrest. + I thought maybe you could hold it + for a while, see if it grows on + you. + Oh, you look good, Forrest. You + look + real good. + + FORREST (V.O.) + That Momma, she sure was right. + It's + funny how things work out. + + +110 EXT. BAYOU LA BATRE/BUBBA'S MOM'S HOUSE - DAY 110 + + Forrest walks up to a shack on the edge of the Bayou. A + group + + of black kids play in the front yard. + + FORREST (V.O.) + I didn't stay home for long, + because + I'd made a promise to Bubba. And I + always try to keep my promise. So I + went on down to Bayou La Batre to + meet Bubba's family and make their + introduction. + + Bubba's mother named MRS. BLUE and her other children look + + at Forrest. + + MRS. BLUE + Are you crazy, or just plain + stupid? + + FORREST + Stupid is as stupid does, Mrs. + Blue. + + MRS. BLUE + I guess. + + +111 EXT. BUBBA'S GRAVE - DAY 111 + + Forrest steps over to Bubba's tombstone. + 111. + + + FORREST (V.O.) + And of course, I paid my respect to + Bubba himself. + + FORREST + Hey, Bubba, it's me, Forrest Gump. + I + remember everything you said, and I + got it all figured out. + + Forrest pulls out notes from his pocket. + + FORREST + I'm taking the twenty-four + thousand, + five hundred and six-two dollars + and + forty-seven cents that I got... + + +112 EXT. BAYOU - DAY 112 + + Forrest walks across a yard where men are cleaning shrimp. + + FORREST (V.O.) + ...well, that's left after a new + hair cut and a new suit and I took + Momma out to real fancy dinner and + I + bought a bus ticket and three + Doctor + Peppers. + + Forrest walks along a wooden pier. Forrest pays an old + black + + shrimper a large wad of cash. + + OLD SHRIMPER + Tell me something. Are you stupid + or + something? + + FORREST + Stupid is as stupid does, sir. + + +113 EXT. BUBBA'S GRAVE 113 + + Forrest stands at the grave. + + FORREST + Well, that's what's left after me + 112. + + + saying, "When I was in China on the + All-America Ping-Pong Team, I just + loved playing ping-pong with my + Flex- + O-Ping-Pong Paddle." Which + everybody + knows it isn't true, but Momma says + it's just a little white lie so it + wouldn't hurt nobody. So, anyway, + I'm putting all that on gas, ropes + and new nets and a brand-new + shrimpin' + boat. + + +114 EXT. BAYOU - DAY 114 + + Forrest steers his shrimping boat. The boat is old and + rusty. + + Forrest unleashes his nets as his catch of the day drops to + + the deck. It is a bunch of garbage and shells. Forrest + picks + + up one shrimp. + + FORREST (V.O.) + Now, Bubba had told me everything + he + knows about shrimpin', but you know + what I found out? Shrimpin' is + tough. + + +115 EXT. DOCKS 115 + + Forrest pulls a couple of shrimp out of a bucket. + + FORREST + I only caught five. + + OLD SHRIMPER + A couple of more, you can have + yourself a cocktail. + + The old shrimper begins to walk away, then stops and looks + + at Forrest. + + OLD SHRIMPER + Hey, you ever think about namin' + this old boat? + 113. + + + FORREST (V.O.) + I'd never named a boat before, but + there was only one I could think + of. + + Forrest paints a name on the side of his boat. The name is + + "Jenny." + + FORREST (V.O.) + The most beautiful name in the wide + world. + + +116 INT. DISCO 116 + + Disco lights flash and people dance. A guy asks a girl to + + dance. + + GIRL + Okay. + + Jenny sits at a table with some other people. She is + snorting + + cocaine. + + FORREST (V.O.) + Now, I hadn't heard from Jenny in a + long while. But... + + +117 EXT. BAYOU LA BATRE - DAY 117 + + Forrest stands at the helm as the boat glides across the + water. + + FORREST (V.O.) + But I thought about her a lot. And + I + hoped that whatever she was doing + made her happy. + + +118 INT. APARTMENT - NIGHT 118 + + Drug paraphernalia and a large wad of cash are spread out + on + + a table. A man drops a syringe on the table. He reaches + over + 114. + + + and touches Jenny. She is pale with dark lines under her + + eyes. + + +119 INT. BATHROOM 119 + + Jenny smears some lines of cocaine on a mirror. She looks + at + + herself in the mirror. + + +120 EXT. BALCONY 120 + + Jenny steps out onto the high-rise balcony. She steps up on + + a table and stands on the edge of the balcony. A busy + street + + lies many stories below. Jenny looks down to the + intersection + + below. + + She slips over the edge, regains her balance, turns and + looks + + back at the intersection below, and begins to get down from + + the edge. + + Jenny grabs a hold of the ledge and carefully climbs down. + + She sits down on a chair. Jenny rocks back and forth as she + + cries. She looks up at the sky. + + +121 EXT. BAYOU LA BATRE/FORREST'S BOAT - NIGHT 121 + + The moon shines above in the sky. Forrest lies in a hammock + + on his boat. + + FORREST (V.O.) + I thought about Jenny all the time. + + +122 EXT. FORREST'S BOAT/BAYOU DOCK - DAY 122 + + Forrest stands at the helm of his boat and slowly glides by + 115. + + +the docks. Forrest looks around and notices something and + +bends down to get a clear view. Lt. Dan sits in his +wheelchair + +on the deck. Forrest looks at Lt. Dan. He smiles, +surprised. + + FORREST + Hi! + +Forrest leaps off of his moving boat and into the water. +The + +boat continues as Forrest clumsily swims. Lt. Dan sits in + +his wheelchair at the edge of the dock. Forrest flails his + +arms as he swims up to the dock. Lt. Dan waits for Forrest, + +smoking a cigar. Forrest climbs up a ladder onto the dock. + + FORREST + Lieutenant Dan, what are you doing + here? + + LT. DAN + Well, I thought I'd try out my sea + legs. + + FORREST + Well, you ain't got no legs, + Lieutenant Dan. + + LT. DAN + Well, well, Captain Forrest Gump. I + had to see this for myself. And I + told you if you were ever a shrimp + boat captain, that I'd be your + first + mate. Well, here I am. I am a man + of + my word. + + FORREST + Okay. + +Forrest shakes Lt. Dan's hand. + + LT. DAN + Yeah, but don't you be thinking + that + I'm gonna be calling you sir. + 116. + + + FORREST + No, sir. + + Forrest's boat glides, crushing a dock. Forrest and Lt. Dan + + look at it. + + FORREST + That's my boat. + + +123 EXT. BAYOU LA BATRE WATERS - DAY 123 + + Forrest's shrimping boat is alone on the gulf waters. + + LT. DAN + I have a feeling if we head the + east, + we'll find some shrimp. So, take a + left. Take a left. + + Forrest looks up. Lt. Dan is sitting in the rigging. + + FORREST + Which way? + + LT. DAN + Over there! They're over there! + Get, + get on the wheel and take a left! + + FORREST + Okay. + + LT. DAN + Gump, what are you doing? Take a + left! Left! That's where we're + gonna + find those shrimp, my boy! That's + where we'll find 'em. + + Forrest empties the net. Their "catch" is debris that falls + + to the deck. + + FORREST + Still no shrimp, Lieutenant Dan. + + LT. DAN + Okay, so I was wrong. + + FORREST + Well, how we gonna find them? + 117. + + + LT. DAN + Well, maybe you should just pray + for + shrimp. + + +124 INT. SMALL CHURCH - DAY 124 + + The all-black gospel choir sings and claps their hands. + + FORREST (V.O.) + So I went to church every Sunday... + + Lt. Dan is sitting in his chair at the back of the church. + + He takes swigs from a liquor bottle. + + FORREST (V.O.) + Sometimes Lieutenant Dan came, too. + Though I think he left the praying + up to me. + + +125 EXT. BOAT - ANOTHER DAY 125 + + A catch of junk is dumped onto the deck. Lt. Dan lowers + + himself from the rigging. + + FORREST + No shrimp. + + LT. DAN + Where the hell's this God of yours? + + The wind begins to blow strong. + + FORREST (V.O.) + It's funny Lieutenant Dan said + that, + 'cause right then, God showed up. + + +126 EXT. BOAT - NIGHT 126 + + Water sprays on deck during a hurricane. Lt. Dan on the + + rigging, shouts and shakes his fist as he is pelted by wind + + and rain. + + LT. DAN + 118. + + + You'll never sink this boat! + + FORREST (V.O.) + Now me, I was scared. But + Lieutenant + Dan, he was mad. + + LT. DAN + Come on! You call this a storm? + + Forrest slides back and forth as he attempts to steer the + + boat. + + LT. DAN + Blow, you son-of-a-bitch! Blow! + It's + time for a showdown! You and me. + I'm + right here. Come and get me! You'll + never sink this boat! + + +127 INT. GUMP HOUSE - DAY 127 + + An ANCHORMAN over TV, is standing in front of a pier. + + ANCHORMAN + (over television) + Hurricane Carmen came through here + yesterday... + + +128 EXT. BAYOU DOCKS - DAY 128 + + The anchorman is standing in front of the ruined pier and + + boats. + + ANCHORMAN + ...destroying nearly everything in + its path. And as in other towns up + and down the coast, Bayou La + Batre's + entire shrimping industry... + + +129 INT. GUMP HOUSE 129 + + ANCHORMAN + ...has fallen victim to Carmen and + has been left in utter ruin. + Speaking + 119. + + + with local officials, this reporter + has learned, in fact, only one + shrimping boat actually survived + the + storm. + + Forrest's boat comes down the river. + + MRS. GUMP + Louise. Louise, there's Forrest! + + FORREST (V.O.) + After that, shrimpin' was easy. + + FORREST'S BOAT - DAY + + Lt. Dan and Forrest empty their net. A huge catch of shrimp + + falls onto the deck. Lt. Dan opens another big catch. + + Another catch drops open on top of yet another huge catch. + + Forrest and Lt. Dan smile. + + FORREST (V.O.) + And since people still needed them + shrimps for shrimp cocktails and + barbecues and all... + + +130 EXT. BUS STOP - PRESENT 130 + + The man sitting on the bench listens to Forrest. An ELDERLY + + WOMAN sits next to the man. + + FORREST + ...and we were the only boat left + standing "Bubba-Gump" shrimp's what + they got. We got a whole bunch of + boats. Twelve Jenny's, a big ol' + warehouse, we even have hats that + says "Bubba-Gump" on 'em. "Bubba- + Gump Shrimp." It's a household + name. + + MAN + Hold on there, boy. Are you telling + me you're the owner of the Bubba- + Gump Shrimp Corporation? + + FORREST + Yes, sir. We've got more money than + 120. + + + Davy Crocket. + + MAN + Boy, I've heard some whoppers in my + time, but that tops them all. We + was + sitting next to a millionaire! + + The man laughs as he walks away. + + ELDERLY WOMAN + Well, I thought it was a very + lovely + story. And you tell it so well. + With + such enthusiasm. + + FORREST + Would you like to see what + Lieutenant + Dan looks like? + + ELDERLY WOMAN + Well, yes, I would! + + Forrest shows her the cover of a "Fortune" magazine with + + Forrest and Lt. Dan on the cover. + + FORREST + That's him right there. + + The elderly woman looks at the magazine and at Forrest with + + surprise. + + FORREST + And let me tell you something about + Lieutenant Dan. + + +131 EXT. BOAT/DECK - DAY 131 + + Forrest and Lt. Dan are working on the boat. + + LT. DAN + Forrest, I never thanked you for + saving my life. + + Forrest looks a little surprised. Lt. Dan smiles, then + looks + + away. Lt. Dan pulls himself out of his chair to the railing + 121. + + + and jumps into the water. + + FORREST (V.O.) + He never actually said so, but I + think he made his peace with God. + + +132 EXT. BOAT 132 + + Forrest and Lt. Dan have dinner on the deck. The television + + shows an assassination attempt on President Gerald Ford. + + ANCHORMAN + (over television) + For the second time in seventeen + days, President Ford escaped + possible + assassination today when a woman, + Sarah Jane Moore, fired on him as + he + stepped out of a hotel in San + Francisco. + + MARGO + (over radio) + Base to Jenny One. Base to Jenny + One. + + LT. DAN + Jenny One, go Margo. + + MARGO + (over radio) + Forrest has a phone call. + + LT. DAN + Yeah, well you'll have to tell them + to call him back. He is indisposed + at the moment. + + MARGO + (over radio) + His momma's sick. + + ANCHORMAN + (over television) + Lynett Alice Fromme, a follower of + Charles Manson better known as + "Squeaky," attempted to assassinate + the President as he was... + + Forrest dives into the water as he reacts. + 122. + + +133 EXT. ROAD/GUMP HOUSE - DAY 133 + + Forrest carries a suitcase as he runs down the road. + Forrest + + runs past the row of mailboxes and turns into the drive. + + Louise and others are on the front porch. + + FORREST + Where's Momma? + + LOUISE + She's upstairs. + + +134 INT. GUMP HOUSE - WOMAN'S BED ROOM 134 + + Forrest opens the door, the doctor stands next to Mrs. Gump + + in bed. + + MRS. GUMP + Hi, Forrest. + + DOCTOR + I'll see you tomorrow. + + MRS. GUMP + Oh, all right. + + The doctor looks down at Forrest's legs. + + DOCTOR + We sure got you straightened out, + didn't we, boy? + + The doctor leaves and closes the door. Forrest takes off + his + + hat and steps over to her. + + FORREST + What's the matter, Momma? + + MRS. GUMP + I'm dyin', Forrest. Come on in, sit + down over here. + + FORREST + Why are you dyin', Momma? + 123. + + + MRS. GUMP + It's my time. It's just my time. + Oh, + now, don't you be afraid, + sweetheart. + Death is just a part of life. It's + something we're all destined to do. + I didn't know it, but I was + destined + to be your momma. I did the best I + could. + + FORREST + You did good, Momma. + + MRS. GUMP + Well, I happened to believe you + make + your own destiny. You have to do + the + best with what God gave you. + + FORREST + What's my destiny, Momma? + + MRS. GUMP + You're gonna have to figure that + out + for yourself. Life is a box of + chocolates, Forrest. You never know + what you're gonna get. + + FORREST (V.O.) + Momma always had a way of + explaining + things so I could understand them. + + MRS. GUMP + I will miss you, Forrest. + + FORREST (V.O.) + She had got the cancer and died on + a + Tuesday. I bought her a new hat + with + little flowers on it. + + +135 EXT. BUS STOP - PRESENT 135 + + The elderly woman and Forrest sit. The woman is crying and + + wipes her eyes with a hankie. + 124. + + + FORREST + And that's all I have to say about + that. + + A bus stops. Forrest looks at the elderly woman. + + FORREST + Didn't you say you were waiting for + the Number Seven bus? + + ELDERLY WOMAN + There'll be another one along + shortly. + + FORREST + Now, because I had been a football + star, and a war hero, and a + national + celebrity, and a shrimpin' boat + captain, and a college graduate, + the + city of fathers of Greenbow, + Alabama, + decided to get together and offered + me a fine job. + + +136 EXT. FOOTBALL FIELD - DAY 136 + + Forrest rides a lawn tractor as he moves the football field + lawn. + + FORREST (V.O.) + So, I never went back to work for + Lieutenant Dan. + + +137 EXT. GUMP HOUSE MAILBOXES 137 + + Forrest takes out a letter and opens it. + + FORREST (V.O.) + Though he did take care of my + Bubba- + Gump money. He got me invested in + some kind of fruit company. And so + then I got a call from him saying + we + don't have to worry about money no + more. + + +138 EXT. BUS STOP 138 + 125. + + + FORREST + And I said, "That's good. One less + thing." + + +139 INT. CHURCH - DAY THE CHOIR AND MEMBERS ARE SINGING. 139 + + FORREST (V.O.) + Now, Momma said there's only so + much + fortune a man really needs... + + +140 EXT. CHURCH 140 + + The sign reads: "Four Square Baptist Church." A new cross + is + + placed on the steeple. New furniture is taken inside. + + REVEREND + Praise the Lord. + + FORREST (V.O.) + ...and the rest is just for showing + off. So, I gave a whole bunch of it + to the Four Square Gospel Church. + + +141 EXT. HOSPITAL - DAY 141 + + The sign reads: "Gump Medical Center Bayou La Batre, + Alabama." + + The ribbon-cutting ceremony. + + FORREST (V.O.) + And I gave a whole bunch to the + Bayou + La Batre Fishing Hospital. + + +142 EXT. BUBBA'S MOM'S HOUSE 142 + + A postman delivers a letter to Bubba's mom. She opens the + + letter. + + FORREST (V.O.) + And even though Bubba was dead, and + Lieutenant Dan said I was nuts. I + gave Bubba's mommy Bubba's share. + 126. + + + She is surrounded by her many children. She looks at the + + check and faints. + + +143 EXT. BUS STOP 143 + + FORREST + And you know what... + + +144 INT. FLORIDA CONDO 144 + + A door opens as a white woman serves Bubba's mom some + shrimp. + + FORREST (V.O.) + She didn't have to work in nobody's + kitchen no more. + + MRS. BLUE + Smells wonderful! + + +145 EXT. FOOTBALL FIELD 145 + + Forrest rides the mower. + + FORREST (V.O.) + And 'cause I was godzillionaire and + I liked doing it so much. I cut + that + grass for free. + + +146 EXT. GUMP HOUSE BALCONY - NIGHT 146 + + Forrest looks down the road as he steps onto the porch. + + FORREST (V.O.) + But at nighttime, when there was + nothing to do and the house was all + empty, I'd always think of Jenny. + + Jenny's image walks, then vanishes. Forrest looks away. He + + turns and walks into the house. + + +147 EXT. GUMP HOUSE - DAY 147 + + Jenny walks across the lawn to Forrest. + 127. + + + FORREST (V.O.) + And then, she was there. + + JENNY + Hello, Forrest. + + FORREST + Hello, Jenny. + + FORREST (V.O.) + Jenny came back and stayed with me. + + +148 INT. GUMP HOUSE 148 + + Jenny lies asleep in bed. + + FORREST (V.O.) + Maybe it was because she had + nowhere + else to go. Or maybe it was because + she was so tired, because she went + to bed and slept and slept like she + hadn't slept in years. It was + wonderful having her home. + + +149 EXT. COUNTRYSIDE - DAY 149 + + Forrest and Jenny walking. + + FORREST (V.O.) + Every day we'd take a walk, and I'd + jabber on like a monkey in a tree. + And she'd listen about ping-pong + and + shrimpin' boats and Momma makin' a + trip to heaven. I did all the + talkin'. + Jenny most of the time was real + quiet. + + FORREST + ...big ol' gobs of rain and little + bitty stinging rain and rain... + + Jenny's old house stands at the end of the dirt road. It + + appears to be deserted. Jenny walks toward the house and + + stops. She stares at the house. Forrest walks toward Jenny. + 128. + + + Jenny suddenly heaves a rock angrily at the house. She + throws + + other things at the house. + + JENNY + How could you do this? + + She breaks a window. Jenny collapses to the ground and + sobs. + + Forrest knees down next to her. + + FORREST (V.O.) + Sometimes I guess there just aren't + enough rocks. + + +150 EXT. OLD OAK TREE - DAY 150 + + Jenny and Forrest sit on a limb together. + + FORREST (V.O.) + I never really knew why she came + back, but I didn't care. It was + like + olden times. We was like peas and + carrots again. + + +151 INT. GUMP HOUSE - DAY 151 + + Jenny sits by the vase of flowers and look out the window. + + FORREST (V.O.) + Every day I'd pick pretty flowers + and put them in her room for her. + + +152 EXT. GUMP HOUSE - DAY 152 + + Forrest closes his eyes as he sits on the porch. Jenny + places + + a box of Nike running shoes in his lap. + + FORREST (V.O.) + And she gave me the best gift + anyone + could ever get in the wide world. + + JENNY + Okay, you can open your eyes. + 129. + + + FORREST + New shoes. + + JENNY + They make them just for running. + + +153 EXT. GUMP HOUSE - NIGHT 153 + + Through the windows, Forrest and Jenny are dancing as it + + rains outside. + + FORREST (V.O.) + And she even showed me how to + dance. + And, well, we was like family... + Jenny and me. + + +154 EXT. RIVER - NIGHT 154 + + Jenny and Forrest sit on a log together and look at the + river. + + Jenny places her arms around Forrest. + + FORREST (V.O.) + And it was the happiest time of my + life. + + The fireworks explode in the sky. + + +155 INT. GUMP'S HOUSE - NIGHT 155 + + The Statue of Liberty is shown on the TV. Fireworks go off. + + Forrest and Jenny are watching the 4th of July celebration + + on TV. + + ANNOUNCER + (over television) + And this Fourth is witnessing one + of + the largest fireworks displays in + the nation's two-hundred year + history... + + JENNY + You done watching it? + 130. + + + FORREST + Mm-hmm. + + ANNOUNCER + (over television) + ...here in New York Harbor. After + the spectacular display of tall + ships + earlier, the Statue of Liberty... + + Jenny stands up and kisses Forrest on the cheek. + + JENNY + I'm going to bed. + + Jenny turns off the TV and walks outside. Forrest stands as + + he puts down his Dr. Pepper. Jenny walks toward the stairs. + + FORREST + Will you marry me? I'd make a good + husband, Jenny. + + JENNY + You would, Forrest. + + FORREST + But you won't marry me. + + JENNY + You don't want to marry me. + + FORREST + Why don't you love me, Jenny? I'm + not a smart man, but I know what + love is. + + Forrest turns and walks toward the door. Jenny turns and + + walks up the stairs. Forrest stands outside. + + +156 EXT. GUMP HOUSE - NIGHT 156 + + The house stands in the rain. + + +157 EXT. GUMP HOUSE - NIGHT 157 + + Forrest lies in his bed as the door opens. Jenny gets into + + bed next to Forrest. + 131. + + + FORREST + Jenny? + + JENNY + Forrest, I do love you. + + Jenny and Forrest kiss. Jenny takes off her nightgown as + + they make love. + + +158 EXT. GUMP HOUSE - MORNING 158 + + Jenny carries her purse and walks toward a waiting cab. + + CAB DRIVER + Where are you running off to? + + JENNY + I'm not running. + + +159 INT. GUMP HOUSE 159 + + The cab drives away as Forrest is asleep in his bed. The + + Congressional Medal lies on a table by a ping-pong paddle. + + Forrest holds a glass of milk and wears his bathrobe. He + + looks at the medal he had give to Jenny. Jenny's bed is + made. + + Forrest stands in the doorway looking at the room and bed + + where Jenny had been. + + +160 EXT. FRONT PORCH - DAY 160 + + Forrest sit on a rocking chair with his running shoes on. + He + + is still, as if in a trance. He slowly puts on his Bubba- + + Gump cap. Forrest stands. He walks off the porch. He begins + + to jog across the lawn. His speed increases as he runs + farther + + away. Forrest runs down the drive away from his house. + 132. + + + FORREST (V.O.) + That day, for no particular reason, + I decided to go for a little run. + + Forrest runs to the end of the drive, then turns right and + + runs down the highway. + + FORREST (V.O.) + So I ran to the end of the road, + and + when I got there, I thought maybe + I'd run to the end of town. + + +161 INT. BARBER SHOP - DAY 161 + + The three men sit as they watch the television. Forrest + runs + + through the main street of town. + + NEWSCASTER + President Carter, suffering from + heat exhaustion fell into the arms + of security agents. + + FORREST (V.O.) + And when I got there... + + +162 EXT. ALABAMA ROAD 162 + + The sign reads "Entering Greenbow County." + + FORREST (V.O.) + ...I thought maybe I'd just run + across + Greenbow County. And I figured + since + I run this far, maybe I'd just run + across the great... + + Forrest runs by a sign that reads "Mississippi welcomes + you. + + The Magnolia State." + + FORREST (V.O.) + ...state of Alabama. And that's + what + I did I ran clear across Alabama. + 133. + + +163 EXT. BUS STOP - PRESENT 163 + + FORREST + For no particular reason, I just + kept on going. I ran clear to the + ocean. + + +164 EXT. SANTA MONICA - DAY 164 + + The sign reads "Santa Monica yacht harbor sports fishing - + + boating - cafes." Forrest runs under the sign and onto the + + pier. + + FORREST (V.O.) + And when I got there, I figured + since + I'd gone this far, I might as well + turn around, just keep on going. + + +165 EXT. ATLANTIC OCEAN 165 + + Forrest runs to a pier at the Atlantic Ocean. + + FORREST (V.O.) + When I got to another ocean, I + figured + since I've gone this far, I might + as + well just turn back, keep right on + going. + + Forrest runs across the pier. A lighthouse stands at the + end + + of the pier. + + FORREST (V.O.) + When I got tired, I slept. When I + got hungry, I ate. + + +166 EXT. BUS STOP - PRESENT 166 + + FORREST + When I had to go, you know, I went. + + ELDERLY WOMAN + And so, you just ran? + 134. + + + FORREST + Yeah. + + +167 EXT. HIGHWAY 167 + + Forrest is running along the highway. Forrest runs down a + + road between field of wheat. A Mountain river. Forrest runs + + across a cobble-stone bridge. The Rocky Mountains are + behind + + him in distance. Forrest runs through some meadowland. + + Split rail fences line the road. + + FORREST (V.O.) + I'd think a lot about Momma and + Bubba, + and Lieutenant Dan, but most of + all, + I thought about Jenny. I thought + about her a lot. + + +168 EXT. BARBER SHOP 168 + + The three men in the barber shop watch the news on + television. + + NEWSCASTER + For more than two years now, a man + named Forrest Gump, a gardener from + Greenbow, Alabama, stopping only to + sleep, has been running across + America. + + +169 INT. COFFEE SHOP 169 + + Jenny fills customer's coffee cups. + + NEWSCASTER + Charles Cooper brings us this + report. + + NEWSMAN + For the fourth time on his journey + across America, Forrest Gump, a + gardener from Greenbow, Alabama, is + about to cross the Mississippi + River + 135. + + + again today. + + The TV shows Forrest runs across a bridge that reads + + "Mississippi River." + + JENNY + I'll be damned. Forrest... + + +170 EXT. MISSISSIPPI BRIDGE 170 + + NEWSMAN + Sir, why are you running? + + 1ST REPORTER + Why are you running? + + 2ND REPORTER + Are you doing this for world peace? + + 3RD REPORTER + Are you doing this for women's + right? + + NEWSMAN + Or for the environment? + + REPORTER + Or for animals? + + 3RD REPORTER + Or for nuclear arms? + + FORREST (V.O.) + They just couldn't believe that + somebody would do all that running + for no particular reason. + + 2ND REPORTER + Why are you doing this? + + FORREST + I just felt like running. + + +171 EXT. BUS STOP - PRESENT 171 + + FORREST + I just left like running. + 136. + + +172 EXT. SMALL EASTERN TOWN 172 + + Forrest runs as a YOUNG MAN runs up to him. + + YOUNG MAN + It's you. I can't believe it's + really + you. + + +173 EXT. BUS STOP - PRESENT 173 + + FORREST + Now, for some reason what I was + doing + seemed to make sense to people. + + +174 EXT. SMALL EASTERN TOWN 174 + + The young man jobs behind Forrest. + + YOUNG MAN + I mean, it was like an alarm went + off in my head, you know. I said, + here's a guy that's got his act + together. Here's somebody who's got + it, all figured out. Here's + somebody + who has the answer. I'll follow you + anywhere, Mr. Gump. + + FORREST (V.O.) + So, I got company. + + Forrest runs up a slope on a high mountain road. A group of + + people are jogging behind him. + + FORREST (V.O.) + And after that I got more company. + And then... + + A large group jogs behind Forrest across the desert road. + + FORREST (V.O.) + ...even more people joined in. + Somebody later told me... + + +175 EXT. BUS STOP - PRESENT 175 + + FORREST + 137. + + + ...it gave people hope. Now... Now, + I don't know anything about that, + but... + +Forrest and his followers job through a small town. A man + +runs up and talks to Forrest. + + FORREST (V.O.) + Some of those people asked me if I + could help them out. + + AGING HIPPIE + Hey, man, hey, listen. I was + wondering + if you might help me, huh? Listen, + I'm in the bumper sticker business + and I've been trying to think up a + good slogan. And since you have + been + such a big inspiration to the + people + around here, I thought you might be + able to help me jump into... Whoa! + Man, you just ran through a big + pile + of dogshit! + +The hippie jumps over the "dogshit" as he runs along +Forrest. + + FORREST + It happens. + + AGING HIPPIE + What, shit? + + FORREST + Sometimes. + +The hippie stops to ponder this profound thought. + + FORREST (V.O.) + And some years later I heard that + fella did come up with a bumper + sticker slogan... + +A bumper sticker reads "Shit Happens." + + FORREST (V.O.) + ...and he make a lot of money off + of + it. + 138. + + + The truck with the bumper sticker drives into an + intersection. + + It collides with a car. + + +176 EXT. TRUCK STOP 176 + + Forrest runs, followed by his group, as a man runs up to + + him. + + FORREST (V.O.) + Another time I was running along, + somebody who had lost all his money + in the T-shirt business, and he + wanted + to put my face on a T-shirt, but he + couldn't draw that well and he + didn't + have a camera. + + WILD-EYED MAN + I think it would be really + fortunate + for me if I could get your name on + these, oh, your face and name on + these T-shirts. It would be + wonderful. + + A truck splashes mud onto Forrest as it goes by. The man + hands Forrest a yellow T-shirt to use as a rag to wipe the + mud off. + + WILD-EYED MAN + Here, use this one. Nobody likes + that color anyway. + + Forrest wipes his face on the towel and hands it back to + the + + man. + + FORREST + Have a nice day. + + The man looks at the T-shirt. He holds it up displaying the + + "Happy Face." + + FORREST (V.O.) + And some years later I found out + that that man did come up with a + 139. + + + idea for a T-shirt and he made a + lot + of money off of it. + + +177 EXT. MONUMENT VALLEY 177 + + Forrest runs with a group that follows behind him. + + FORREST (V.O.) + Anyway, like I was saying, I had a + lot of company. My Momma always + said + you got to put the past behind you + before you can move on. And I think + that's what my running was all + about. + I had run for three years, two + months, + fourteen days, and sixteen hours. + + Forrest stops running. The group stops behind him. Forrest + + stands and looks as the group waits expectantly. Forrest + + turns and look. + + YOUNG MAN + Quiet. Quiet, he's gonna say + something. + + FORREST + I'm pretty tired. I think I'll go + home now. + + Forrest walks toward the group. The group parts for Forrest + + as he walks down the middle of the road. + + YOUNG MAN + Now what are we supposed to do? + + FORREST (V.O.) + And just like that, my running days + was over. So, I went home to + Alabama. + + A television shows President Reagan and his staff as they + + react to gunshots in front of a limo. + + NEWSCASTER + (over television) + 140. + + + Moments ago, at two twenty-five + p.m., + as President Reagan was leaving the + Washington Hilton Hotel... + + +178 INT. GUMP HOUSE - DAY 178 + + Forrest sits eating a sandwich, watching the news of the + + assassination attempt. + + NEWSCASTER + ...five or six gunshots were fired + by an unknown would-be assassin. + The + President was shot in the chest and + the assailant was immediately + tackled + by a half a dozen lawmen. As the + Presidential... + + LOUISE + I picked up the mail. + + FORREST + Oh, thank you, Miss, Miss Louise. + + FORREST (V.O.) + One day, out of the blue clear sky, + I got a letter from Jenny... + + +179 EXT. BUS STOP - PRESENT 179 + + Forrest takes the letter out of his pocket. + + FORREST + ...wondering if I could come down + to + Savannah to see her, and that's + what + I'm doing here. She saw me on TV, + running, I'm supposed to go on the + Number Nine bus to Richmond Street + and get off and go one block left + to + 1-9-4-7 Henry Street, Apartment 4. + + The elderly woman looks at the letter. + + ELDERLY WOMAN + Why, you don't need to take a bus. + 141. + + + Henry Street is just five or six + blocks down that way. + + FORREST + Down that way? + + ELDERLY WOMAN + Down that way. + + Forrest hastily grabs his suitcase and letter as he stands. + + FORREST + It was nice talking' to you. + + Forrest runs, the elderly woman shouts from the bus stop + + bench. A truck honks its horn as Forrest runs across the + + street past the truck. + + ELDERLY WOMAN + I hope everything works out for + you. + + +180 INT. JENNY'S APARTMENT - DAY 180 + + Jenny opens the door. + + JENNY + Hey! Forrest! How you doing? + + FORREST + Hi. + + JENNY + Come in. Come in. + + FORREST + I got your letter. + + JENNY + Oh, I was wondering about that. + + Jenny shuts the door. Forrest looks around. + + FORREST + Is this your house? + + JENNY + Yeah, it's messy right now. I just + got off work. + 142. + + + FORREST + It's nice. You got air + conditioning. + +Forrest hands Jenny the box of chocolates. + + FORREST + Ah... + + JENNY + Thank you. + + FORREST + I ate some. + +Jenny picks up a scrapbook and turns the pages. + + JENNY + Hey, I kept, I kept a scrapbook of + your, of your clippings and + everything. There you are. This, I + got your running. + + FORREST + I ran a long way. For a long time. + + JENNY + There. Listen, Forrest. I don't + know + how to say this. Um, I just... I + want to apologize for anything that + I ever did to you, 'cause I was + messed + up for a long time, and... + +There is a knock at the door. LYNN MARIE enters as she +opens + +the door. + + LYNN MARIE + Yoo-hoo. + + JENNY + Hey. + + LYNN MARIE + Hi. + +Jenny grabs a young boy. + + JENNY + 143. + + + Hey, you. This is an old friend + from + Alabama. + + LYNN MARIE + Oh, how do you do? + + JENNY + Ah, listen, next week my schedule + changes, so I'll be able to... but + thanks for picking up. + + LYNN MARIE + No problem. Got to go, Jen. I'm + double + parked. + + JENNY + Okay. + +Lynn Marie closes the door and waves bye to Forrest. + + LYNN MARIE + Bye. + + JENNY + Thanks. This is very good friend, + Mr. Gump. Can you say hi to him? + + LITTLE BOY + Hello, Mr. Gump. + + FORREST + Hello. + + LITTLE BOY + Now, can I go watch TV now? + + JENNY + Yes, you can. Just keep it low. + +The little boy runs into other room and picks up TV remote + +control. + + FORREST + You're a momma, Jenny. + + JENNY + I'm a momma. His name is Forrest. + + FORREST + Like me. + 144. + + + JENNY + I named him after his Daddy. + + FORREST + He got a daddy named Forrest, too? + + JENNY + You're his daddy, Forrest. + +Forrest continues to stare at Forrest Jr. Forrest then +looks + +frightened and starts to back away. + + JENNY + Hey, Forrest, look at me. Look at + me, Forrest. There's nothing you + need to do, okay? You didn't do + anything wrong. Okay? + +Jenny turns and looks at Forrest Jr. in the other room. + + JENNY + Isn't he beautiful? + + FORREST + He's the most beautiful thing I've + ever seen. But... is, is he smart, + or is he... + + JENNY + He's very smart. He's one of the + smartest in his class. + +Forrest breathes deep. He looks at Jenny, then at Forrest + +Jr. + + JENNY + Yeah, it's okay. Go talk to him. + +Forrest walks into the room and sits down next to Forrest + +Jr. "Sesame Street" is on the TV. + + BERT + Oh, great. + + ERNIE + Hey, Bert, can you give me a hand? + + BERT + 145. + + + A hand? Well, yeah, what do you + want, + Ernie? + + FORREST + What are you watching. + + FORREST JR. + Bert and Ernie. + + ERNIE + Well, it's the first stage. Bert. + It's planning to write a story, + Bert. + I have pencils right here to write + with, Bert. Now, we got, uh, paper. + I'll take that paper, Bert. See, we + have the paper to write on. + + +181 EXT. PARK - DAY 181 + + Forrest and Jenny sit on a bench. Forrest Jr. swings behind + + them. + + JENNY + Forrest, I'm sick. + + FORREST + What, do you have a cough due to + cold? + + JENNY + I have some kind virus. And the + doctors don't, they don't know what + it is. And there isn't anything + they + can do about it. + + FORREST + You could come home with me. Jenny, + you and little Forrest could come + stay at my house in Greenbow. I'll + take care of you if you're sick. + + JENNY + Would you marry me, Forrest? + + FORREST + Okay. + 146. + + +182 EXT. GUMP HOUSE - DAY 182 + + A group has gathered on the lawn for the wedding. Louise + + walks up to Forrest. + + MINISTER + Please take your seats. + + LOUISE + Forrest, it's time to start. + + Jenny walks out of the house. Forrest walks over to greet + + her. She wears a white dress. She walks up to Forrest and + + adjusts his necktie. + + JENNY + Hi. Your tie. + + Lt. Dan is walking across the lawn. He uses a cane. A WOMAN + + is walking next to him. + + FORREST + Lieutenant Dan? Lieutenant Dan! + + LT. DAN + Hello, Forrest. + + Jenny walks over to Forrest and Lt. Dan. + + FORREST + You got new legs. New legs! + + LT. DAN + Yeah, I got new legs. + + Lt. Dan lifts his pant leg to display his metal leg. + + LT. DAN + Custom-made titanium alloy. It's + what they use on the space shuttle. + + FORREST + Magic legs. + + LT. DAN + This is my fiancee, Susan. + + FORREST + 147. + + + Lieutenant Dan! + + Susan shakes Forrest's hand. + + SUSAN + Hi, Forrest. + + FORREST + Lieutenant Dan, this is my Jenny. + + JENNY + Hey, it's nice to meet you, + finally. + + Jenny steps forward and kisses Lt. Dan's cheek. The group + is + + seated as they watch Forrest and Jenny take vows on the + front + + lawn. Forrest Jr. stands next to Jenny. + + MINISTER + Do you, Forrest, take Jenny to be + your wife? Do you, Jenny, take + Forrest + to be your husband? If so, I + pronounce + you man and wife. + + The wind blows fallen leaves across the ground. Jenny, + + Forrest, and Forrest Jr. walk toward the house. They all + + hold hands as they walk. + + +183 INT. GUMP HOUSE - MORNING 183 + + Forrest steps into Jenny's bedroom. He carries a tray with + + breakfast on it. Forrest looks at Jenny as she sleeps. + + Slowly she wakes up and looks at Forrest. + + FORREST + Hey. + + JENNY + Hey. + + Forrest sets the tray down next to Jenny as she sits up in + 148. + + + bed. Forrest opens a window, then sits down next to the + bed. + + JENNY + Hey, Forrest, were you scared in + Vietnam? + + FORREST + Yes. Well, I, I don't know. + + +184 EXT. VIETNAM - FLASHBACK - NIGHT 184 + + Forrest looks up into the sky as the rain stops. Forrest + + removes his helmet. The stars emerge from behind the + clouds. + + FORREST (V.O.) + Sometimes it would stop raining + long + enough for the stars to come out. + And then it was nice. It was like + just before the sun goes to bed + down + on the bayou... + + +185 EXT. BAYOU - FLASHBACK - SUNSET 185 + + Forrest stands on his boat and looks at a deep orange and + + red sunset. + + FORREST (V.O.) + There was over a million sparkles + on + the water. Like that mountain lake. + + +186 EXT. MOUNTAIN LAKE - FLASHBACK - DAY 186 + + Forrest runs along a highway. A lake reflects the mountains + + and the sky. + + FORREST (V.O.) + It was so clear, Jenny. It looks + like there were two skies, one on + top of the other. And then in the + desert, when the sun comes up... + 149. + + +187 EXT. DESERT - FLASHBACK - SUNRISE 187 + + Forrest runs along a desert highway. The morning light + casts + + an orange glow over the desert. + + FORREST (V.O.) + I couldn't tell where heavens + stopped + and the earth began. It was so + beautiful. + + +188 INT. GUMP HOUSE - MORNING 188 + + Forrest looks at Jenny. Jenny looks out the window. + + JENNY + I wish I could have been there with + you. + + FORREST + You were. + + Jenny reaches over and takes Forrest's hand. + + JENNY + I love you. + + FORREST (V.O.) + You died on a Saturday morning. + + +189 EXT. JENNY'S GRAVE AT OLD OAK TREE - DAY 189 + + Forrest stands under the old oak tree where Jenny has been + + buried. + + FORREST + And I had you placed here under our + tree. + + Jenny's grave marker. Forrest tries to hold back his tears. + + FORREST + And I had that house of your + father's + bulldozed to the ground. + 150. + + +190 EXT. JENNY'S OLD HOUSE - DAY 190 + + Forrest watches as Jenny's dad's house is knocked down by a + + bulldozer. + + FORREST (V.O.) + Momma... + + +191 EXT. JENNY'S GRAVE 191 + + FORREST + ...always said dyin' was a part of + life. + + Jenny's grave marker reads: JENNY GUMP July 16, 1945 -- + March + + 22, 1982 Beloved Mother, Wife and Friend + + FORREST + I sure wish it wasn't. Little + Forrest, + he's doing just fine. + + +192 INT. GUMP HOUSE - NIGHT 192 + + Forrest Jr. reads a book to Forrest sitting next to him. + + FORREST JR. + (reading) + "But he wasn't quite sure. + Everywhere + they went, the new guests... + + FORREST (V.O.) + About to start school again soon. I + make his breakfast, lunch, and + dinner... + + +193 EXT. JENNY'S GRAVE 193 + + Forrest looks down as he sobs. + + FORREST + ...every day. I make sure he combs + his hair and brushes his teeth + every + day. Teaching him how to play ping + pong. + 151. + + +194 EXT. GUMP HOUSE - NIGHT 194 + + Forrest tries to teach Forrest Jr. how to play ping-pong. + + FORREST + Okay... + + FORREST (V.O.) + He's really good. + + FORREST + Forrest, you go. + + Forrest Jr. serves the ball, causing Forrest dive and miss + + it. + + +195 EXT. GUMP HOUSE/RIVER - DAY 195 + + Forrest and Forrest Jr. sit on a log by the river and fish. + + FORREST (V.O.) + We fish a lot. + + +196 EXT. JENNY'S GRAVE 196 + + Forrest looks down at the grave marker. + + FORREST + And every night, we read a book. + He's so smart, Jenny. You'd be so + proud of him. I am. He, uh, wrote a + letter, and he says I can't read + it. + I'm not supposed to, so I'll just + leave it here for you. + + Forrest places the letter down at the grave marker, next to + + fresh flowers. The name on the envelope reads: "Mom." + Forrest + + steps back and looks down at the grave. + + FORREST + Jenny, I don't know if Momma was + right or if, if it's Lieutenant + Dan. + I don't know if we each have a + destiny, or if we're all just + floating + 152. + + + around accidental-like on a breeze, + but I, I think maybe it's both. + Maybe + both is happening at the same time. + I miss you, Jenny. If there's + anything + you need, I won't be far away. + + As Forrest walks away, a flock of birds flies overhead and + + lands in the tree. Forrest turns and watches. + + +197 EXT. ROAD - MORNING 197 + + Forrest walks with Forrest Jr. for the bus. The bus drives + + toward them. + + FORREST + Here's your bus. Okay. + + Forrest pulls "Curious George" out of Forrest Jr.'s + backpack. + + FORREST + Hey, I know this. + + FORREST JR. + I'm gonna show that for show-and- + tell because grandma used to read + it + to you. + + Forrest looks at the book. The feather from the beginning + of + + the movie drops out of the book, unnoticed. + + FORREST + My favorite book. + + The bus comes to a stop. The door opens. + + FORREST + Well... + + Forrest puts the book back into Forrest Jr.'s backpack and + + hands it to him. + + FORREST + 153. + + + ...okay. Hey, there you go. + +Forrest Jr. walks toward the bus. Forrest stands up. + + FORREST + Hey, Forrest. Don't... I wanted to + tell you I love you. + + FORREST JR. + I love you too, Daddy. + + FORREST + I'll be right here when you get + back. + +Forrest Jr. looks into the bus and at the bus driver. It is + +the same bus driver, only older now, who drove Forrest to + +school when he was a young boy. + + SCHOOLD BUS DRIVER + You understand this is the bus to + school now, don't you? + + FORREST JR. + Of course, and you're Dorothy + Harris + and I'm Forrest Gump. + +Forrest Jr. looks over and waves to his father. Forrest +nods + +approvingly. + +Forrest Jr. gets on the bus. The bus pulls away. Forrest + +stands next to the mailbox. + +Forrest sits down. The camera cranes down, revealing the + +feather as it lies at Forrest's feet. + +A gust of wind picks the feather up. The feather floats up + +into the air. + +Forrest sits at the side of the road. The feather floats + +higher into the air. + +The feather soars up into the sky and travels up and down, + 154. + + +then covers the camera lens. + +THE END + \ No newline at end of file diff --git a/scripts/Gangs of New York.txt b/scripts/Gangs of New York.txt new file mode 100644 index 0000000000000000000000000000000000000000..53ba4e82ec55e44b12727498e5c5d25cab7fb23c --- /dev/null +++ b/scripts/Gangs of New York.txt @@ -0,0 +1,7485 @@ + + + + + +Gangs of New York (2002) + +by Jay Cocks, Steven Zaillian, Kenneth Lonergan. + +3rd Draft (1993). + + + + + + + +INT. ROOM OLD BREWERY DAY + +Half in shadow, a man named VALLON, dressed in black, fastens a clean +white clerical collar around his thick neck. He raises a jagged razor to +his face, RAKES it across his right cheek, drawing BLOOD. He does not +flinch. +The sharp SCRAPING of the jagged blade against skin is the first SOUND we +hear. +VALLON cuts himself similarly on the left cheek, then hands the razor +ceremoniously to a BOY standing beside him. The boy, no more than twelve +years old, looks at VALLON worshipfully, keen eyes shining with fear and +excitement. He starts to wipe the razor blade on the bottom of his jacket. + +VALLON +No. Never. The blood stays on the blade, son. + +He hands the boy a dark red velvet pouch. Very carefully, the boy, known +as AMSTERDAM, wraps the razor up, hands it back to his father. +From the shadows, VALLON now raises a long pole with a beautiful golden +crucifix mounted on the end, then holds his free hand out to his son. +Amsterdam squeezes tight. +VALLON nods toward the door. Amsterdam pulls it open. Outside is a dim +hallway. We hear SOUNDS that might be animal or human. +MUSIC begins: a steady, driving cadence somewhere between a march and a +hymn. + +CUT TO + +2 INT. HALLWAY + +VALLON strides in long measured steps. Amsterdam has trouble keeping up +with him. +They are walking down a long corridor that's like a tunnel. Patches of +LIGHT stain the darkness. Sometimes Amsterdam glimpses a FACE peering out +from the gloom. Once or twice he almost stumbles over a BODY stretched +across his path. + +CUT TO + +3 INT. ROOM + +Another room, even smaller. The only decoration is a bizarre rendering of +a Madonna and child painted on the wall. +A beefy man picks up a home-made PIKE, its iron tip sharpened to a lethal +point. He is smiling. The grin is huge, but cockeyed. It occupies only +half of his face. The grotesque, unending grin is the result of facial +paralysis, and has given him a nickname: HAPPY JACK MULRANEY. +Jack lifts the pike carefully, then takes a candle from the wall and bends +down over a wooden cage full of rabbits. He slowly moves the candle back +and forth across the cage top. Wax falls on the cage, splattering an +unlucky rabbit. +Jack thrusts the pike between the wooden bars, impaling the rabbit's body. +He pulls the pike from the cage and leaves. + +CUT TO + +4 INT. HALLWAY + +Jack falls into step beside VALLON and Amsterdam. He holds the pike with +the dead rabbit high, next to VALLON's cross. + +HAPPY JACK +Did you bring the boy for a charm, Priest? + +VALLON +No, Jack. For a baptism. + +Now a WOMAN joins them. She's dressed in man's clothes, her pants held up +by suspenders. She wears a set of IRON CLAWS. +MUSIC builds, growing more insistent and more ominous. +Now a figure looms before them. Over his street clothes, this WARRIOR +wears a rig of home-made armor made from fracgments of steel, lengths of +chain and bits of leather. He carries a battle-axe as lightly as if it +were a twig. + +RABBIT WARRIOR +We'll send a few across the river today, Priest. + +He joins the procession. Another woman, as tough as the first and half +again as large, and several more men, all armed with implements of +destruction, fall in beside him. Their faces are marked with blood, like +Vallan's, or covered with ritual markings made with paint and ink. +The group grows ever larger and more forbidding. occasionally PEOPLE dart +around them in the tunnel and scamper out of their way like animals +frightened in a burrow. + +CUT TO + +5 INT. ROOM + +Vast and dank, like a cavern. We start CLOSE on... +... the body of a dead rat being filled with some pieces of lead. +Then a little WIDER to reveal: an eager boy, SHANG DRAPER, about the same +age as Amsterdam. He drops the last few pieces of lead into the mouth of +the rat, then sews it closed. He hefts the animal by the tail, swinging it +as he stands up. +He is near a primitive forge where a half-drunk SLACKSMITH hammers crude +weapons into shape and distributes them to OTHER MEN and WOMEN. The floor +is covered with bits of lead and steel, which Shang has been using to sew +into his rat. +Shang FOLLOWS the crowd of men and women with their weapons. And now we +see this room full. It is huge: the main room of the Old Brewery, crowded +with families huddled together for warmth and comfort, or out of fear; men +and women, together or separately, drunk or passed out. They are like zoo +animals in a pit. There are sticks of furniture jammed in corners, or, +more often, arranged at angles in the middle of the room to form tiny +enclaves where the ancient brewery machinery forms irregular boundaries. +Above Shang's head, VALLON and his gang walk across a plank bridge that +spans the room a hundred feet beneath them. Armed men and women from the +Brewery are climbing a rope ladder to join them. Shang SCURRIES up after +them. +The men and women from the Brewery fall in behind VALLON and the others in +the lead. Shang SPOTS someone near his own age toward the front: +Amsterdam. He presses through the crowd like a hunting dog. + +SHANG +What's the fight? + +AMSTERDAM +The Dead Rabbits against the Native Americans, same as ever. But it'll all +be settled today. + +SHANG +Are you Native or Rabbit? + +AMSTERDAM +(points to rabbit on pike) +What do you think? + +SHANG +Looks alright. I'll stand by you, then. + +CUT TO + +6 INT. HALLWAY + +The group now turns down the last corridor, as dim and long as a tunnel. +In the distance, there's a faint glimmer of light and the figure of a MAN +(MONK EASTMAN). VALLON stops near the door. + +VALLON + +I don't know you. + +MAN +(lightly) +I suppose there's to be a fight. + +VALLON catches the heavy Celtic inflection in the man's voice. + +VALLON +Derry? + +MAN +Donnegal. Name's Monk Eastman. + +VALLON +And you want to fight, Mr. Eastman? + +MONK +lf there's money in it. + +VALLON +Fight for the Natives. They have a proper war chest. + +MONK +Well, I might at that. But I thought I'd ask you first, seeing as how I'm +not quite a Native American myself. + +VALLON +Let's see your skills, and we'll talk of payment later. + +MONK +Fine. But if you like what you see, pay me double. +Monk turns to the door with the grace of a dancer and delivers a +SHATTERING kick, sending it flying off its hinges. Clear white LIGHT +streams in, and we see Monk Eastman plain for the first time: a huge man, +in stature and girth, wearing a small DERBY that intentionally makes his +head look even bigger. + +VALLON +(as the door splinters settle) +Stand with us then. + +CUT TO + +7 EXT. STREET DAY (WINTER) + +WINTER WIND blows across a scene as strange and bleak as an alien planet. +VALLON, carrying his cross high, steps through the doorway. The OTHERS +slowly follow VALLON out of the building, which is three stories high and +maybe a block long. A dilapidated sign identifies it as the 5 Paints +Brewery. +It is the tallest structure in the midst of low, squalid SHACKS, winding +ALLEYS as narrow as a snakels back, and DIRT STREETS filled with ruts, mud +and filthy snow. A few PIGS wander forlornly about, rooting for garbage. +WASH hangs stiff, in the middle of the square, from a peculiar monument +erected to some forgotten war hero. +The Brewery occupies one side of a SQUARE surrounded by some storefronts +and a couple of collapsed wooden sidewalks. If this place resembles +anything at all, it's a horrible hybrid of London's Limehouse and a +pioneer town in the American West whose best days have long passed--or +never came at all. +VALLON stands still, staring across the square past the monument. His +battalion of irregulars waits for his signal. +Now... very, very slowly...from around both sides of the monument comes +ANOTHER GANG, in size the same as VALLON's, men and women both, armed like +Visigoths with HOMEMADE WEAPONS: knives, pitchforks, building blocks and +bricks, boards with sharp nails protruding from the ends. Every member of +this second group is dressed in a long DUSTER which reaches to the ankles. +Several MEN in front of the group sport dusters made of leather. + +VALLON +Bill Poole! on whose challenge are we assembled? +A MAN in a leather duster (BILL THE BUTCHER) steps forward. He is young, +lean and fierce. And then there are his eyes. They do not match. One is +real. The other is a huge, bulging PEARL upon which has been engraved, +instead of a pupil, a full-color portrait of the AMERICAN EAGLE. + +On the side of the square, arranged to get a good view of the impending +combat, is a group of STREET KIDS, girls and boys, none older than eight. +They talk and laugh excitedly among themselves, picking their own +favorites among the gangs as if the warriors were players on a team. + +BILL THE BUTCHER +On the challenge of the Native Americans, to settle for good and all who +holds sway. + +VALLON +Bene. + +BILL THE BUTCHER +By the ancient laws of combat, we offer our bodies to the ghosts of those +warriors who have gone before us. Valor is avid for glory, and glory is in +our wounds. + +VALLON +But this time can you bear to look on the glory when it comes, Bill? Can +you see it clear with your single eye? + +BILL THE BUTCHER +Whoever fights untouched in battle has skill, but the warrior who returns +wounded has been touched by God. + +VALLON +It wasn't God who touched your eye. + +BILL THE BUTCHER +It was God gave me guidance. Will you be able to look on the death blow +like a gladiator, and not look away? No honorable man turns an eye from +his death. + +VALLON +I don't expect a death blow from your hand, Butcher. Let's have at it. + +BILL THE BUTCHER +There is another matter. + +VALLON +Say it out and quick, before spring gets here. + +BILL THE BUTCHER +No Native American Warrior will dishonor himself with the blood of the +halt and maimed. + +VALLON +So? + +BILL THE BUTCHER +So we would like to know whether Squire Jack Mulraney of the Dead Rabbits +can smile out of both sides of his face. + +A pause of a single second. Then HAPPY JACK takes the dead rabbit off the +tip of his pike and hurls it across the square. It lands right at BILL THE +BUTCHER's feet. +In a flash, BILL THE BUTCHER opens his coat. Inside, on a special belt he +carries a CLEAVER, a CARVING KNIFE and other instruments of the butcherls +trade, all stained with blood and gristle. Now the MAN standing next to +him removes the broad BELT from around his coat. The brass buckle is +sharpened to a point, the leather studded with glass. +The gallery of Street Kids tenses for action: they are thrilled. + +VALLON reaches up to the CROSS, pulls off the top piece, to disclose, +underneath, a gleaming sword point. He folds the arms of the cross down, +like the blades of a jackknife. + +VALLON +Prepare to receive the Lord. + +And the air is full of screams and battle cries as the two gangs hurl +across Paradise Square into BATTLE. +VALLON draws first blood. He impales a Native American on the sword end of +his cross and turns to fight again. +Amsterdam and Shang exchange a glance of frightened, worried wonder. + +Then a Native American rushes at them, shouting for blood. The boys act +together. Amsterdam dives down in front of the man, sending him sprawling. +Shang BLUDGEONS the fallen warrior, using his lead-filled rat like a +blackjack as Amsterdam kicks him savagely; the Native collapses +unconscicus at their feet. Before the boys can thank one another, however, +they are separaten by the SURGING GANGS all around them. +BILL THE BUTCHER leaves his meat CLEAVER imbedded in the middle of a man's +skull, then WADES through the combat as if shielded by a charm. +The gallery of Street Kids is thrilled by this display and reacts with +CHEERS. + +VALLON BATTLES three Natives who come at him at once. + +Monk Eastman grabs a Native in his arms like a groom hugging a bride. He +raises his knee and brings the man crashing down across it, BREAKING his +spine like a Thanksgiving wishbone. +The gallery of Street Kids is awed by this display of power from a new +star in the making. + +The Rabbit Warrior in the home-made armor grins at an intrepid Native and +lowers his battle-axe. The Native rushes as the +Rabbit Warrior swings and SEPARATES the man from his legs. + +A NATIVE WOMAN lowers her head and charges her Dead Rabbit adversary, +delivering a shattering BUTT to his stomach. + +A NATIVE BOY holds a rusty old pistol, which he uses at pointblank range +against several Rabbits. + +A RABBIT WOMAN flies into a Native, using her IRON FINGER EXTENSIONS to +GOUGE his face. + +The NATIVE with the deadly belt uses it to TEAR a piece out of a Rabbit's +face. + +Amsterdam, beginning now to be overwhelmed by the hellish fight, looks +around in growing PANIC for his father. + +SHANG uses his lead-rat blackjack to clear an escape back toward the +Brewery. The Street Kids can tell he's trying to escape, and start BOOING +him... +... as Shang's GRABBED from behind and pulled off his feet by a PEG-LEGGED +NATIVE. He THROWS the boy to the ground and pins him by holding the +sword-sharp point of his wooden leg against Shang's throat. + +SHANG +(desperate) +I run with you! I'm one of you! Born a Native American from the blood of +five generations! + +PEG-LEG +Yeah? Then you oughta be a red Indian. + +He pushes down. Shang starts to bleed. But now PEG LEG is distracted by +the sudden SOUND of bells and whistles. He watches the BOY trembling on +the ground, then moves off him, making for the sound of the bell, leaving +the BOY quaking. +The SOUND grows louder as TWO HORSE-DRAWN CARTS full of battle ready +POLICE tear around the curve of a narrow thoroughfare and stop in Paradise +Square. +The BELLS on the carts toll loudly and work magic. The fighting stops. + +The POLICE, all carrying clubs and wearing leather helmets, LEAP OFF the +wagons. + +There are several moments of ABSOLUTE SILENCE, broken only by the SOUND of +the wind and the GROANS of the wounded. +Then, as one, the Dead Rabbits and the Native Americans RUSH the police +together, hurtling stones and brandishing weapons. Even the Street Kids +get into the act, kicking and biting and generally having a fine time. +The gangs SWARM all over the police, driving them back. Some lucky cops +climb back on the wagons and try to get away. The unlucky police remain +behind, dead on the ground. +The GANGS cheer, jeer and continue to throw things at the retreating +POLICE. When the second wagon disappears from view, the GANGS confront +each other once again. +Another brief moment of QUIET. The Street Kids settle back into their +spectator role. Then the GANGS go at each other with fresh intensity. +Amsterdam finally SEES his father and starts to PUSH his way toward him. +VALLON and BILL THE BUTCHER stand facing each other in the midst of battle +like two titans: then they rush at each other, joining with a terrible +fury. +Shang, still blindly SWINGING his blackjack, makes his way closer to the +relative safety of the Brewery, his face stained with tears of fear. He +hits someone. The MAN turns, swats him down. Shang sprawls on the street, +which is a SWAMP of mud and blood and dirty snow, and finds himself face +to face with a departed PEG LEG. Someone has removed his artificial limb +and driven it through his heart. +Across the square, Amsterdam has reached his father in time to see a +NATIVE AMERICAN sneaking up behind him. Amsterdam grabs a long TRUNCHEON +from a fallen warrior and uses it to hit the man a strong blow behind the +knees. +The MAN falls, howling. AMSTERDAM HITS him again. And again. He is +hysterical. + +VALLON and BILL THE BUTCHER keep fighting. Amsterdam sees, with a single +look, that his father is in the fight of his life. He looks for a weapon +to help... +... sees a HATCHET lying by the body of the Rabbit he has just beaten +senseless. He grabs it and runs forward, looking for an opening between +the Butcher and his father... +As the two combatants move, Amsterdam MOVES. Bobbing, weaving, feinting, +falling back... looking for his chance... +... as Bill deals VALLON a blow that ROCKS him back and throws him off +balance... + +...just as Amsterdam has made his move. He RUSHES forward, sees his father +FALLING, tries to turn but... + +... too late. The boy's hatchet SLASHES his father in the leg. VALLON +falls to one knee, gestures frantically to the stunned Amsterdam to get +away... +... and Bill is upon VALLON, SINKING his knife into his chest. VALLON +screams and falls on his back, Bill kneeling over him. He looks into his +enemy's eyes ... and VALLON's EYES LOCK ON HIS. For all his suffering, +VALLON's eyes HOLD Bill ... he forces himself to look at Bill...it's a +terrible struggle... but VALLON will not look away. +Amsterdam, hysterical, RUSHES at the Butcher. The Butcher grabs Amsterdam +by the arm, making him drop his hatchet. + +BILL THE BUTCHER +You need a weapon? Use a knife. +He puts the struggling boy's hand on the hilt of the knife that the +Butcher sunk into his father's chest. + +BILL THE BUTCHER +It makes a deeper cut. +And, HIS HAND GUIDING THE BOY'S, he RAMS his knife deep into VALLON's +heart. + +BILL THE BUTCHER +Say a benediction, Priest. + +VALLON bellows in agony. Amsterdam screams at the very same moment, his +cry mingling with his fatherls tearing through the air. + +BILL THE BUTCHER +(to Amsterdam) +Hold this close to mind, boy, should you ever think of going up against +the Native Americans. +Bill the Butcher rises and all around him, as if on some mysterious +signal, the fighting subsides. A DEAD RABBIT sees the fallen Vallon, takes +a battered brass HORN from his belt and sounds THREE NOTES, quick and +sharp. As the notes fade away, the fighting stops completely. + +BILL THE BUTCHER +(announcing) +Ears and noses will be trophies of the day. + +The Rabbits SCAMPER to collect their dead and wounded before the Natives +can get to them to slice off the battle souvenirs. But there are many +corpses maimed. The Street Kids DISPERSE. The main battle is over, and the +Natives have clearly carried the day. +The Rabbits file past Vallon, rorming a protective CIRCLE around him. +Amsterdam kneels at his side. Vallon tries to speak. Blood bubbles in his +throat. + +VALLON +Can't..can't cross the river... with steel through my heart. +Amsterdam looks around. None of the Rabbits makes a move. This is clearly +something he is meant to do himself. +Amsterdam grabs the tortoise handle of the knife, PULLS on it. Vallon +tries not to cry out. The knife does not move. +Amsterdam tries again. He can't budge the knife. Vallon MOANS. Nearly +wild, Amsterdam PULLS with all his strength. Vallon SCREAMS in agony. +Amsterdam is pulling so hard he raises his father's back four inches off +the ground. Still the knife will not move. Vallon passes out from the pain. +Now, finally, someone steps forward: Monk Eastman. He leans over but +Amsterdam, berserk with grief, pushes him away, turns back to his father, +and, with a last desperate pull, DRAWS the knife from his father's heart. +He throws it on the ground. Monk picks it up, wipes the blade on his arm, +closes the knife and hands it to Amsterdam. + +MONK +That's yours, rightfully. +Now Monk leans over the lifeless body and reaches inside Vallon's coat, +REMOVING some money. + +MONK +And this is mine. Only what's owed. Use the rest for funeral. + +AMSTERDAM +No! +He tries to shove Monk away from his father, when the Native Warrior +intervenes. + +HAPPY JACK +It's fair. + +Amsterdam, wild with shock and grief, turns back to his father as Monk +takes what's owed him. Amsterdam bends over to KISS Vallon on both cheeks, +then on his left eye. +The boy is just about to kiss his fatheros closed right eye when the lid +springs OPEN - Amsterdam jumps back despite himself. Vallon stares at him: +a last moment of recognition. +VALLON +Hon ... +AMSTERDAM +No, Pa! + +VALLON +... honor me... think of me ... don't never look away. +Vallon convulses and DIES. Amsterdam shakes him to revive him. + +RABBIT WOMAN +Take the body. Bring the boy. +Several RABBITS take a step or two forward, but Amsterdam springs up at +them, like an animal. + +RABBIT WARRIOR +Come an, lad. Therels nothing to be done now. + +AMSTERDAM +Get away! Get away! + +HAPPY JACK +Leave him be. He's his to mourn. + +And the RABBITS turn away, going back to the Old Brewery or vanishing down +the narrow streets. +Now a few CITIZENS venture out into Paradise square. A couple of +SCAVENGERS scoot about, looting bodies. +Amsterdam stays in the center of the square unmoving, undisturbed, keeping +solitary vigil over his father. + +A TITLE is superimposed across this scene: + +NEW YORK CITY 1844 + +8 EXT. HARBOR DAY WINTER (MATTE) + +The same afternoon. As the sun goes down, we have our first full look +(MATTE) at the low pale outlines of the city. +The harbor is crowded with the high masts of sailing ships. Just north of +the island tip is the steeple of the city's tallest structure, Trinity +Church. The buildings of Wall Street are masses of concrete and wood, the +streets surrounding them paved with cobblestones. Just above the financial +district are the sloping buildings and rutted avenue of the Five Points . +The Old Brewery stands tall and forbidding over Paradise Square. +Above the Five Points, in the distance, we can glimpse some finer, newer +buildings. One wide street--Broadway--seems to run from the very tip of +the island clear up into the woods just a few miles north of the harbor. +The only SOUNDS are the lapping of the harbor water against the boats, the +creaking of masts in the winter WIND. + +CUT TO + +9 EXT. HARBOR DAY + +A closer view - The TITLE fades off. We see an imposing edifice on the +edge of the harbor with a wooden sign identifying: "IMMIGRATION +DEPARTMENT, UNITED STATES OF AMERICA." +The sun has nearly set. A boy--about 10 years old--sits on the edge of the +Castle Garden dock, gazing down at the frozen Hudson. He can just about +make out his reflection in the dull sheen of the ice. His name is JOHNNY +SIROCCO, and he watches himself with bewildered seriousness. +Abruptly, he reaches down and SMASHES through the ice with his fist. In +SLOW MOTION, we watch the ice fragments drift apart in the river current, +each bearing away a REFLECTION of Johnnyls face, like pieces of a puzzle. + +POLICEMAN +Where's your family, sonny? + +Johnny sees a POLICEMAN scrutinizing him. + +JOHNNY +(lilting brogue) +My mother's just there. + +He gestures toward a ship, where MEN are unloading cargo. In a hoist, they +are lowering a thin pine COFFIN to dockside. + +JOHNNY +On the trip, her insides all broke up. She wasn't dead and there was three +others fighting for her bed. + +POLICEMAN +And your father? Where's he, then? + +JOHNNY +I never knew him. + +POLICEMAN +(taking Johnny's hand) + +We better see to you, then. + +CUT TO + +10 EXT. STREET NIGHT + +The Policeman leads an awed Johnny through the TEEMING streets of the Five +Points. + +POLICEMAN +Where all those streets come together right ahead is the true Five Points. +But most speak of the Five Points and mean anywhere between the Battery +and the Bowery. +Although the night's cold, the streets are jammed. WHORES painted like +carnival Gypsies sell themselves to any man sober enough to stand up. +SOUNDS of laughter and combat filter out from garish SALOONS like the +Little Naples, the Hell Hole, the Egyptian Hall. +In the midst of all this highlife are BEGGARS and the SICKLY, looking for +charity, scrounging garbage in the street. An INDIGENT battles a CRIPPLE +for a meager scrap of faod. A richly dressed WOMAN, riding by in a +carriage, hides her eyes by raising a HUGE BOUQUET OF FLOWERS in front of +her face. + +POLICEMAN +Streets hereabouts are lively of an evening. The city comes here to sport. +But there's places to put up a boy on his own. + +Three WOMEN, exquisitely costed, burst from the door of the Egyptian Hall. +Under the harsh glare of a nearby gas lamp, their faces are no longer +striking. Johnny STARES; there is something not right about these faces. + +JOHNNY +And those? What are those? + +POLICEMAN +Well, those. Those are, as you might say, a sort of... + +We SEE one of the women's faces, suddenly harsh under gaslight: under +thickly caked make-up is a smiling TRANSVESTITE. + +POLICEMAN +... sort of whatnot. + +TRANSVESTITE +Say, policeman. I'll buy your bonny friend. + +The Policeman fetches the Transvestite a strong WHACK with his nightstick. +The Transvestite screams and falls ... and Johnny RUNS. + +POLICEMAN +Hey! + +But Johnny's off, already lost in the mad street life. + +CUT TO + +INT. MORTUARY NIGHT + +A funeral chapel. + +Vallan's body lies in state. He is wearing his gang regalia, and all the +Dead Rabbits FILE PAST his coffin in solemn tribute. A WOMAN bends down +and kisses the body. Happy Jack Mulraney holds Vallon's crucifix, which he +has obviously inherited. As a disreputable looking Minister mutters +PRAYERS, Happy Jack whispers to a silent Amsterdam. + +HAPPY JACK +We passed the plate amongst ourselves. Come up with enough ned to carry +all this, and carry you a while, too. + +He stuffs some money in Amsterdam's pocket. + +AMSTERDAM +Where will my father rest? + +HAPPY JACK +Potters Field, with everyone else. + +AMSTERDAM +My father won't be buried with everyone else. He'll lie separate in fresh +ground, facing east. + +HAPPY JACK +What difference where he faces? + +AMSTERDAM +He'll face east for the second coming of Christ. + +HAPPY JACK +Fine, son. When Jesus gets to the Battery you show Him the way from there. + +The Minister finishes the service. MR. CORNELIUS, a funeral director who +resembles one of his own customers, ushers in a WOMAN (MAGGIE) pulling a +lovely 10 year old GIRL (JENNY EVERDEKNE) by the hand. The woman is +obviously drunk, the girl frightened. + +MR. CORNELIUS +Will you have music, entlegen + +WOMAN (MAGGIE) +My daughter'11 do any song you like. + +HAPPY JACK +Not tonight, Maggie, we got... + +Monk Eastman interrupts from the Background. + +MONK +How much? + +MAGGIE +Any ned in your pocket, sir. + +MONK hands MAGGIE some coins. + +MONK +She sing sweet as she looks? + +MAGGIE +Pure celestial, sir. +(to girl) +Go on, Jenny. + +Jenny's voice is sweet as promised. The song she SINGS, however, is a +bawdy saloon song. Maggie cuts her off fast. + +MAGGIE +No, Jen, the other. + +Jenny starts to sing a HYMN. To avoid looking at the corpse, she lets her +eyes rove all around the chapel until she SEES Amsterdam. She locks +straight at him until the hymn is over. And he does not take his eyes off +her. + +CUT TO + +12 INT. MORTUARY HALLWAY NIGHT + +Mr. Cornelius is about to escort Maggie and Jenny into another room +crowded with mourners when a smartly-dressed man (DANIEL KILLORAN) +gestures to him from the shadows. + +KILLORAN +Mr. Tweed would like a word, Mr. Cornelius. +(Cornelius hesitates) +Tweed of Tammany. + +At the mention of the name, Cornelius shoos Maggie and Jenny into the +mourning room and shuts the door behind them. Then he gives Killoran his +full attention. + +KILLORAN +In your office. At your pleasure, of course. + +CUT TO + +13 INT. MORTUARY OFFICE +As the door opens, we see a man gazing out the narrow window onto the +spectacle in the next building. He is in his late 20s, already a little +fleshy but dressed with dash: WILLIAM TWEED... "BOSS" TWEED. He shows a +bemused, almost schalarly interest in the goings-on next door. +This mortuary is located next to a bordello, where the windows are +uncurtained and the energy and variety of the +activities inside is astounding. + +Tweed finally TURNS as Killoran opens the door. + +TWEED +Mr. Cornelius. With a view like this I'm surprised the dead can rest in +peace. + +CORNELIUS +Is there anything I can... + +TWEED +(interrupting) +Yes. A favor. + +CORNELIUS +Happy to serve, Mr. Tweed. + +TWEED +Excellent. Lend me something. + +CORNELIUS +(puzzled) +Oh, I don't know what I could ... + +TWEED +I believe in form and appearance, you see. Just like yourself, sir. And I +believe in law, and the power of example. Our city is a lawless +wilderness, sir. I'm asking you to help chasten it. + +CORNELIUS +A matter of civic duty, then. + +TWEED +And civic pride. I want you to help me set an example. +(smiles) +I only need to borrow one of your clients. + +CUT TO + +14 INT. MORTUARY NIGHT + +Two native Americans open the door where Vallon is laid out and Bill the +Butcher STRIDES into the room. +There is immediate TENSION, like an electric charge, as other Natives +stand in the doorway and crowd the hall stand while Bill walks over to the +coffin. He places a BLACK ROSE in Vallon's folded hands. + +BILL THE BUTCHER +Tomorrow your cortege will cross Paradise Square, into territory protected +by the Native Americans. You will be permitted undisputed passage both +ways. That is our tribute. After that, any Rabbits wishing to join the +Native Americans and willing to swear blood loyalty will be welcomed. All +others will be dispatched. +He starts out of the silent room, but STOPS when he sees Mank Eastman +looking at him with easy interest. Bill the Butcher +STARES him down, but Monk's gaze never wavers. + +BILL THE BUTCHER +I'll expect you first. + +MONK +Me? Oh, I don't know. All that talk of blood loyalty makes me quake. I'll +spill blood when the price is right. But blood for ceremony? I prefer holy +communion. + +BILL THE BUTCHER +You saw us fight today. You know we can pay any price. + +MONK +Not mine. Not now, and not any time after. + +BILL THE BUTCHER +We'll see. Independence is a slippery thing. But being a rival ... well, +that's dead dangerous. +Bill brushes past Monk and leaves, followed by the NATIVES. +Now the RABBITS file out, with Monk among them. + +HAPPY JACK +Come on, boyo. I'll put you up tonight. + +AMSTERDAM +I'll do for myself, Jack. + +HAPPY JACK +You can't. +(Amsterdam stares at him) +There's no mistaking you're his son. + +Happy Jack leaves Amsterdam alone in the room. + +Now, by himself, sure of no one seeing, Amsterdam CRIES. + +CUT TO + +15 INT. MORTUARY NIGHT + +Mr. Cornelius is seated in his office, enjoying a late supper while +looking out his window at the bordello activity across the alley. A NOISE +at the door disturbs him: Amsterdam. + +AMSTERDAM +What's the cost to bury my father proud and proper? + +MR. CORNELIUS +For a plot, a headstone, hands to break the earth... + +AMSTERDAM +How much? + +MR. CORNELIUS +What are your current means? + +Amsterdam turns out his pockets, which contain Bill the Butcher's pirate +knife as well as the cash Happy Jack pressed on him. Cornelius TAKES it +all. + +MR. CORNELIUS +Of course you'll have to wait three days for a city permit. But all this +may do for part. + +AMSTERDAM +No. + +Amsterdam takes the knife back from Cornelius. +AMSTERDAM +That's owed another. + +CUT TO + +16 EXT. STREET/PARADISE SQUARE DAY + +A grey day. Amsterdam stops in front of a window. He STRUGGLES with his +scarf, trying to keep himself warm. His eye strays for a moment, and he +sees he is outside Mr. Cornelius' Establishment. Then he NOTICES something +else.... +.... his FATHER, propped up in a coffin, on public display. There is a +large sign beside the body: "The Dead End of Lawlessness. Tammany Abhors +Crime. Tammany Means Justice." +A sizeable CROWD is goggling at the body. Amsterdam BULLS his way through +the people to the street. He looks in the gutter, then looks up quickly. +Someone is watching him: Johnny. He's carrying an armful of wood. + +JOHNNY +Firewood? + +Amsterdam grabs the longest plank Johnny has. + +JOHNNY +It's a penny the load. + +AMSTERDAM +Later. + +He turns with the plank in his hand and starts to RUN back through the +crowd. + +JOHNNY +Hey! + +Johnny manages to GRAB the other end of the plank. But Amsterdam's so +strong he YANKS him right along. The Crowd YELLS as it parts for +Amsterdam, who CHARGES through using the plank like a battering ram, with +Johnny on the far end, born along by stubbornness and momentum... +... toward Mr. Cornelius' window. Amsterdam SHATTERS the window and the +Crowd SCATTERS in a blizzard of GLASS. +Amsterdam stumbles into the window and against the coffin, which falls +over, spilling Vallon's BODY, knocking the boy over. Amsterdam picks +himself up as Johnny stands frozen. + +AMSTERDAM +Help me. + +He starts to pull his fatherls body from the window. + +AMSTERDAM +Come on! Help me, goddamn it! + +In a daze, Johnny steps forward and HELPS Amsterdam pulls the body onto +the street. + +Now: the SOUND of WHISTLES and WHEELS and RUNNING HORSES as a wagon full +of POLICE arrives on the scene. Behind them, the Crowd returns, yelling +insults. + +The police RUN toward the window. Mr. Cornelius dithers at the front of +the crowd. + +Amsterdam and Johnny exchange a look. Then Johnny RUNS for it. Amsterdam +stays with the body... + +... as the cops close in, SWINGING clubs. Amsterdam's grabbed and hit a +couple of times. The Crowd yells. A COP swings his arm back to give +Amsterdam a good wallop... + +... and someone grabs his arm: Bill The Butcher. + +BILL THE BUTCHER +Easy, crusher. What's this all about? + +CRUSHER +Ask the boy. + +AMSTERDAM +I paid Cornelius for my father to rest in honor. He told me I had to wait +on a permit, but he only wanted time to... + +BILL picks up the Tammany sign from the ground. + +BILL THE BUTCHER +Make another Arrangement, looks like. For advertising. +(to cop) +Better go along. I'll see to all this. + +COP +The boy... + +BILL THE BUTCHER +Take the little malefactor. +The Cops YANK the wildly flailing Amsterdam to his feet and DRAG him off +to their wagon. Bill The Butcher approaches Cornelius. + +BILL THE BUTCHER +Give the boy what he paid for. + +CUT TO + +17 EXT. STREET/PARADISE SQUARE DAY + +Amsterdam is HURLED into the police wagon. The door is locked behind him. +He pulls himselt to his feet, looks out the tiny barred window, SEES ... + +... Dead Rabbits join up in a rough funeral procession. SEVERAL help LOAD +Vallon's body back into the coffin and place it onto Mr. Cornelius' fancy +funeral wagon. Monk Eastman LEAPS up onto the wagon and closes the coffin +lid tight. + +There are PEDDLERS everywhere. One dispenses drinks from a portable +samovar. A SAILOR hawks ships in a bottle, repeatedly shouting the same +advertisement: "Encourage the work of a landswamped sailor!" A SILHOUETTE +ARTIST offers to draw portraits of passersby. +Funeral music is furnished by STREET MUSICIANS: a drummer, a fiddle +player, and a horn player, with a couple of BUSKERS performing along side +for good measure. +Mr. Cornelius takes the wagon reins and guides the horses out of the +square. The gang FOLLOWS solemnly behind. + +And across the square, the police wagon carrying Amsterdam starts MOVING +OFF in the opposite direction. He keeps looking out the tiny wagon window. +The funeral procession leaves the square and activity returns quickly to +normal. Peddlers' CRIES once again fill the air. The Buskers start PLAYING +a snappier tune. SNOW begins to fall. + +CUT TO + +18 INT- TOMBS DAY + +A huge, awful prison building modeled on an Egyptian mausoleum. +Amsterdam--trying to hide his growing fear--waits on line with other +PRISONERS, all of them older than he. +At the head of the line, prisoners are being processed by a JAILER and a +couple of COPS. Each prisoner is asked several cursory questions, then +told to strip. Every one of the men is SCARRED in some way. +AMSTERDAM nears the front of the line. The MAN just ahead of him +undresses. His left buttock is missing, and his back is covered with whip +scars. A PRISONER behind Amsterdam WHISPERS loud enough for Amsterdam to +hear... + +PRISONER +Ain't his first Tombs trip. + +ANSTERDAM steps up to the desk. The JAILER hardly takes notice of him. + +JAILER +What do they call you? + +And this is the first time in the film we have heard his name. + +AMSTERDAM +Amsterdam. + +The JAILER looks him over. + +JAILER +Your full name. + +AMSTERDAM +Vallon. + +The JAILER writes this down with a scratchy pen. + +JAILER +First name? + +AMSTERDAM +I told you. + +JAILER +(skeptical, resigned) +Address? + +AMSTERDAM +Got none. + +JAILER +I'll put city. Now what's your age? +(Amsterdam shrugs.) +Maybe twelve. Got a family? + +AMSTERDAM +No more. + +JAILER +Well, where was they from when you had one? + +AMSTERDAM +(beat) +City. + +JAILER +(writing) +Disrobe. + +As Amsterdam obeys, the Jailer turns to the Cop in the leather helmet +standing at his side. + +JAILER +What's the charge, Asbury? + +COP +Theft. Assault. Creating a ... + +The Jailer finishes writing. Amsterdam stands naked. + +JAILER +Through that door there. +(lowers his voice) +And don't stand too near no one else. + +CUT TO + +19 INT. CREMORE NIGHT + +The largest, noisiest, gaudiest dive we have yet seen, full to bursting +with bawdy CUSTOMERS even at this late hour. Therels a long bar, where men +and women stand three deep; lots of small tables; a dance floor; and a +stage on which four blowsy DANCING GIRLS are giving out with a ribald +number titled "My Father's Teeth Were Plugged With Zinc." +One end of the bar is entirely taken up by a huge woaden keg with an +attached hose. BAR ATTENDANTS DUMP the unfinished contents of glasses into +the open barrel top as a line of FAR GONE DRUNKS wait their turn for the +hose. Maggie, Jenny's mother, is close to the front of the line, very +drunk, hanging on to a mush-faced HOODLUM. + +Two VISITORS watch. One has a pad and makes quick SKETCHES. + +VISITOR ONE +Ought to be served in a trough, properly. Will you try some? + +ARTIST +Probably. What is it? + +VISITOR ONE +All-Sorts. It's made of all that's poured and not drunk, and any they can +salvage that's spilt. + +Maggie GRABS the hose, staring at the Artist as she takes a drink. His +hand moves quickly an the page, SKETCHING her. + +VISITOR +(to Maggie) +Your health. + +She SPITS at him, insulted. The Artist steps forward, puts some of the +All-Sorts from the hose into his glass, and toasts Maggie. She nods and +turns away.... +...as Johnny enters, dragging a large SACK across the crowded floor toward +a far door. + +CUT TO + +20 INT. CREMORE BACK ROOM NIGHT + +Johnny RUSHES toward a wooden pen in the center of the room. There are +cries from the crowd of SPORTSMEN of "Hurry it up" and "More speed!" +Johnny dodges a kick or two before he finally arrives at the pen. +He UPENDS the sack over the pit and a dozen live RATS tumble out. A +GAMEMASTER slips Johnny a couple of cents as he starts his spiel. + +GAMEMASTER +Alright, gents and ladies, your bets now on Towser against the vermin, the +count to beat is ten rodents in three minutes. + +The crowd starts to place bets. A sleepy Johnny settles down close to +ringside to watch the show. + +At a signal from the Gamemaster, a TRAINER tosses TOWSER--A fierce +mongrel--into the ring. The crowd cheers lustily, continuing to shout out +bets, as the dog goes after the rats.The rats, fighting for their lives, +bite the dog, attaching themselves to his body. Towser retaliates by +gnawing the rats, SNAPPING them in half and spitting them out. + +As the CROWD cheers, and Towser kills, and money changes hands, Johnny +curls up and goes to sleep. + +CUT TO + +21 INT. TOMBS NIGHT + +A row of cells, noisy and cold. The GUARD shoves Amsterdam into a cell. + +GUARD 2 +You get to live private until they come from the orphan's asylum. On +account of your tender years. + +There is nothing in the cell but a board for a bed, and a window through +which Amsterdam can see the late winter moonlight. He looks for stars in +the sky, but can see none. + +CUT TO + +22 INT- MAIN ROOM/OLD BREWERY + +Jenny Everdeane and a girl FRIEND, her own age, huddle together in a dark +corner of this huge space. The Friend opens her hand to show Jenny a +glimpse of what she's clutching: a penny. + +JENNY +Let me see! I don't believe it. + +FRIEND +(closing her hand) +No! It's a danger. + +JENNY +Oh come on! It's not. +(Friend shakes her head) +Then tell me where you got it. + +FRIEND +From some man. He took me in his carriage. He only wanted to do something +to me fast. + +JENNY +What? + +FRIEND +(shrugs) +I didn't understand. + +JENNY +Would he do the same with me? + +FRIEND +I won't tell you if he's around again. +(clutches penny tight) +He's my secret. + +JENNY +Better keep it more careful, then. + +The Friend GETS UP and starts across the Brewery floor, acting nonchalant. +But she looks around her, across the sleeping, passed-out bodies, past the +desperate families and their squalling infants, to see if she's been +noticed. +A man and two women cast a glance her way. She looks away, but the TRIO +keeps watching her... then FANS OUT and starts to FOLLOW her. +The Friend looks over her shoulder again. SEES the Man. Locks in another +direction, SEES: the woman. And then: the second woman. All closing on her. +The Friend starts to RUN. The Trio runs after her. And no one else pays +attention. The Friend PLUNGES into one of the warren of TUNNELS that lead +off the Brewery floor. +CAMERA plunges through the darkness, after her. Her footsteps ECHO; there +is the SOUND of stumbling, falling, an angry CURSE and a BLOW being +struck. The FRIEND picks herself up out of the darkness and keeps running, +CAMERA following down the dank halls. +Suddenly the TRIO runs AHEAD of the camera. There is a SCREAM. CAMERA +staps. And others SOUNDS follow quickly now: the dull THUD of a heavy +object against bone, REPEATED several times; and then, very soon after, +the most terrible sound of all: silence. +Then Two Women emerge from the darkness of the tunnel, fighting over the +penny. The Man, several steps behind them, throws an object to the dirt +floor: it's a STONE, and it is covered with blood. He comes up behind the +Two Women quickly and GRABS the penny from them with a hand that still +DRIPS blood and gore. They CHASE after him across the crowded Brewery +floor. + +CUT TO + +23 INT. HALLWAY/TAMMANY NIGHT 2 + +CAMERA races along the ornate corridor, past PORTRAITS of many affluent +and self-important GENTLEMEN... through a door and into... + +24 INT. TWEEDIS OFFICE/TAMMANY NIGHT + +... Tweed's domain. Small in size, but there are dozens of CAGES OF +CANARIES all around. Tweed looks up startled as the door flies open. The +birds set up a COMMOTION. + +CAMERA bears down on Tweed as a pair of HANDS grabs him and hurls him +against the wall. + +Bill The Butcher GLARES at Tweed. Some NATIVES come into the room behind +him. + +BILL THE BUTCHER +You come into the Five Points and you stole from me. + +TWEED +I don't know... + +BILL THE BUTCHER +You stole Vallon. He was my kill. My example, of my power. You took him +and made him yours. + +TWEED +You're a lunatic to come here like... + +In the background, same of the NATIVES have begun to play CATCH by +removing the CANARY CAGES from their places and tossing them all over the +room. + +BILL THE BUTCHER +Thank you. Just listen good. The Native Americans holds the Five Points. +We have prevailed. What you do outside the Points is your deciding. +Outside is your city. Inside the Points is mine. Anyone who says +different, or does different, or thinks different... +(smiles) +... theylll draw my unwelcame attention. You understand? + +BOSS TWEED +I do understand, yes. + +BILL pushes him away and starts out. + +BOSS TWEED +But you don't understand at all. + +Bill keeps walking. + +BOSS TWEED +There's a whole city to share and all you see is your own narrow streets. + +BILL THE BUTCHER +(turns now) +You just stay out of my place. + +BOSS TWEED +Yes, alright. Gladly. It's all blackjack jobs and panel games and killings +for a fiver. + +Bill waits for Tweed to continue. But Tweed stoops and tries to soothe a +canary in a cage. + +BILL THE BUTCHER +It's good work. + +BOSS TWEED +As far as it goes. + +BILL THE BUTCHER +You wouldn't be talking to me otherwise. + +BOSS TWEED +But we're talking about different things, Bill. You describe the present. +I see the possibilities. Look to the future. There is so much more. + +The Butcher starts to look interested. + +CUT TO + +25 INT. TWEED'S OFFICE NIGHT + +Later. The Natives have cleared out; only Tweed and the Butcher remain. +The cages have been restored to their proper places and the room has been +straightened. Bill stands beside the door, while Tweed relaxes in a chair. + +BOSS TWEED +There's things demanding to be done that no police force can do, not even +an obedient one. There's contributions from every dive and brothel. +Loyalties to be secured and debts to be collected. + +BOSS TWEED (Cont'd) +And now you and your Natives have emerged as the foremost force in the +Five Points, I'm prepared to extend you an opportunity. You can work for +Tammany... + +BILL THE BUTCHER +We work for no one. + +BOSS TWEED +... beside Tammany... in the performance of these civic obligations. And +for a satisfactory... I'm prepared even to say equitable... financial +participation. It's not the sort of responsibility the founding fathers +might have recognized. But then, the founding fathers never imagined the +city New York has become. + +BILL THE BUTCHER +Maybe you Tammany boys should do your own lifting and carrying and muscle +work. Might build you up. + +BOSS TWEED +We'd like to. I do miss it. But it's wiser for men in the public life to +give an appearance of probity. + +BILL THE BUTCHER +Then get cops to do it. + +BOSS TWEED +Oh Jesus, no. The appearance of law must be upheld, especially while it's +being broken. + +BILL THE BUTCHER +Appearance means nothing. + +BOSS TWEED +Perhaps not within the Points. But the smart man could go higher. + +Bill looks at Tweed for a long moment. The he SHOVES himself away from the +wall, pulls away the chair on which Tweed has been resting his feet and +sits down close to him. + +BILL THE BUTCHER +If you can talk plain, maybe we can do business. + +26 EXT. STREET NIGHT + +A small slum thoroughfare congested by a splendid FIRE-WAGON labeled +"Americus Co./Tammany Hall." Curious SPECTATORS and panic-stricken +RESIDENTS crowd around to watch a ramshackle building going up in FLAMES. +As Johnny presses through the crowd to get a good look at the fire, Tweed, +in a white coat and fancy fire helmet, steps off the fire wagon to address +an ONLOOKER. + +TWEED +Anyone inside? + +ONLOOKER +No, praise God, but all we own... + +TWEED places a bucket over the only fire plug in the vicinity, then sits +on it. + +ONLOOKER +Well? + +TWEED +Waiting on reinforcements. + +The SOUND of another bell, nearby. Down the street from the opposite +direction come TWO MORE FIRE-WAGONS. The crowd starts cheering. Tweed does +not move from the plug. + +TWEED +That's not them. It's only the Black Jokes. Seems your fire interrupted +their festivities. + +The wagons pull up next to the fire plug. Each of them has the words +"Black Joke Fire Co." written large on the side, but the FIREMEN wear +party costumes, not regular uniforms. Some are dressed as British +Redcoats, still others as Indians. +The FLAMES continue to devour the building, but Tweed does not budge from +the plug. He is approached by the Black Jake chief, who is dressed as an +Indian chief. + +CHIEF +May I point out that the building is burning to ashes? + +TWEED +Certainly. And may I then remind you, Pocahontas, that this entire area is +the province of the Americus company, and you will kindly keep your +distance. +Impasse. The rival Fire Companies size each other up and start toward each +other. The building continues to burn. Tweed remains regal and unperturbed +atop the fire plug. +As the two COMPANIES are about to close with each other, a second BELL +sounds. Tweed's "reinforcements" have arrived: the Native Americans, led +by Bill The Butcher. They PILE OFF the wagons before the horses halt. Now +the Black Joke Co. is outnumbered, and it FALLS BACK. As the Crowd CHEERS, +Tweed takes the bucket off the fire plug. + +TWEED +Alright, boys! To work! + +The MEN of the Americus Co. give a great SHOUT and start firefighting: a +hose is hitched up to the plug, buckets are filled, a primitive pump sends +water spluttering everywhere. +But there is not much blaze left to combat and the Men quickly grow +frustrated. Tweed realizes this immediately. + +TWEED +Next building over, boys! Mustn't let it spread! + +The men charge into a neighboring building, STOMPING down doors, CLIMBING +through windows and SWINGING AXES with gusto, all to save a building that +is in no danger at all. +A local poll named DANIEL KILLORAN detaches himself from the crowd and +approaches Tweed, giving him a hearty SLAP on the back. + +KILLORAN +Another proud night for Tammany, Bill. + +TWEED +Just tell them... +(lowers his voice) +... to take enough to share. And not to steal so in the open. + +Indeed, the Men are leaving the building with lots of LOOT. CITIZENS who +question their right to do this are promptly KNOCKED DOWN. Killoran GRABS +Bill The Butcher as he rushes by. + +TWEED +Jesus! Boss says to tell you to fight the fire from the front and loot out +the back. + +Bill grins and leaves to spread the word as an angry WOMAN approaches +Tweed. + +TEARFUL WOMAN +The Black Joke could have saved my house! + +TWEED +Black Joke had no business here, Madam. + +TEARFUL WOMAN +Their business was to save my house! + +TWEED +Tammany's your business. When we're here to call upon there's no need of +other. We understand loss, Madam, and take care of our own. + +As Tweed leads her off, away from the blaze and the thieving, he passes a +boy sitting an the curb, watching the fire ... and watching Tweed ... with +admiration. It's Johnny. + +The FLAMES light up his EYES as we... + +DISSOLVE TO + +27 INT. BREWERY NIGHT 2 + +Jenny's face, as she tries to sleep on a narrow, filthy mattress. Her +mother Maggie lies beside her, crowding her, THRASHING about in a +troubled, drunken sleep. + +DISSOLVE TO + +28 INT- ROOM/HIGH BRIDGE ORPHANS ASYLUM 2 + +Amsterdam, eyes wide, lying on a cot in the middle of a long room crowded +with KIDS - This place is a step or two up from the Brewery--but not a big +step. He stares at the ceiling, eyes grave, untroubled by the small cries +of loneliness and fear that come from some of the beds surrounding him. As +we move CLOSE on his EYES we... + +DISSOLVE TO + +29 EXT. HIGH BRIDGE ORPHANS ASYLUM DUSK + +... the same eyes. But OLDER. Smart and full of savagery. + +It is Amsterdam. He is now in his early 20s, fully grown and no man to +trifle with. Moving with jungle stealth and strength he ... + +... BURSTS out the door within the massive frame of a great iron gate over +which hangs the sign "High Bridge Orphan Asylum." He starts to RUN and a +TITLE comes up... +1852 + +Pursued by GUARDS, Amsterdam runs hell-for-lather for a long vaulted +bridge. It's a beautiful, stern old Romanesque span across the Harlem +River with rolling banks of leafy trees on the far side. Even in the +twilight, we can see that it is late spring, the end of a long afternoon. + +CUT TO + +30 EXT. HIGH BRIDGE DUSK (MATTE) + +Amsterdam is on the bridge. But he does not slow up until .... + +... two orphanage GUARDS suddenly TACKLE him. A THIRD GUARD beats him with +a billy club. Amsterdam moans and curses, as much from frustration as pain. + +SECOND GUARD +It's Blackwell's Island certain now, boyo. + +The SECOND GUARD pulls AMSTERDAM up by the hair. + +THIRD GUARD +Are you hurting? Let's hear you! + +Amsterdam won't give him the satisfaction. The Guard hits him. Amsterdam +goes down, biting his lip so he won't cry out. Instead, he forces a SMILE. + +SECOND GUARD +There's nothing funny, boyo! You been beat and turned back four times now. + +AMSTERDAM +But every time you bring me back... you got to come further to catch me. + +CUT TO + +31 EXT. CORLEAPS' HOOK PIER NIGHT +Through the THICK FOG comes a ghostly apparition: a tattered SKULL AND +CROSSBONES, made of rags, fluttering from the mast of a leaky, unstable +vessel. +The bow of the small boat breaks the fog, and on board we see: a hulk +called SHEENY MIKE KURTZ and a huge black kid named JIMMY SPOILS, manning +the cars. Johnny Sirocco, grown wary and wiry, peers into the fog like a +lookout, while Shang Draper, at the tiller, looks anxious. +The HULL of a large boat suddenly laoms in front of them, not five yards +away. + +JOHNNY +Hard starboard, Shang! Hard starboard! + +SHANG +(panic) +I told you forget that sailor stuff! Which way's star... +Too late. Their Ticket craft crashes into the side with enough force to +make a LOUD THUMP and to send Shang sprawling. + +SHEENY MIKE +(sarcastic) +Why don't we just knock on their front door? + +Shang gestures for QUIET. They wait and listen. No sound from the deck of +the boat above them. The boys throw two ROPE LADDERS over the rail of the +larger ship and start climbing. + +CUT TO + +32 EXT. SHIP NIGHT + +The boys board the ship and gather on deck. They look around uneasily, +spooked by the silence and the fog. + +SHANG +Spread out and make for the cabin. +Moving slowly, the boys FAN OUT and move toward the cabin at the far end +of the deck. Johnny stays close to Shang, holding onto the shipls rail for +support. + +SHANG +(whispering) +Nothing. Looks picked clean. + +Johnny stops. His hand, on the railing, is BLOODY. On the other side of +the deck, Sheeny Mike discovers more traces of blood and SIGNALS Shang. + +SHANG +Bill and the Natives must have got here first. + +Johnny freezes in terror. + +SHANG +What ... + +A long SHADOW falls across his shoulder. Shang jumps. + +Standing before him, holding a musket and covered in blood, is the ship's +CAPTAIN. A BUTCHER'S CLEAVER is imbedded between his neck and shoulder. +With his dying energy, the Captain takes AIM at a petrified Shang and +fires his musket. +Jimmy Spoils JUMPS the Captain from behind, sending the musket ball way +wide. But the SOUND of the musket is thunderaus, and echoes through the +harbor. The boys panic and head for the side. + +SHEENY MIKE +That'll bring the Harbor cops for sure. + +JOHNNY +(about the dead man) +Wait! Take him. If he's still alive he's good for ransom! + +SHEENY MIKE +Hels dead as Good Friday, can't you... + +JOHNNY +Then we'll take Bill the Butcher's cleaver and sell the body to the +medical students. They'll go five dollars for it anyway. + +SHANG +Come on. We'll get something out of this. + +Shang and Johnny start DRAGGING the body. Pushing, pulling and mostly +panicked, the others help. As they boost the body over the side, the SOUND +of a bell cuts through the fog. + +SHEENY MIKE +The Harbors! + +Shang shoves the body off the side and into the boat. It lands with a +resounding THUD. The boys CLAMBER after it. + +CUT TO + +33 EXT. BOAT/RIVER NIGHT + +PUSHING OFF with cars, tearing their rope ladders from the side of the +ship, stumbling over the captain's body, the boys slip off into the fog. +The Harbor Police are so close to them they can see a police LANTERN +shining. The boys stay absolutely still. Suddenly, WE SEE: the POLICE +BOAT, breaking through the fog, then +DISAPPEARING again. + +SHEENY MIKE +We can't go back to Corlears Hook, they'll be watching... + +SHANG +We'll make for Blackwells. + +JIMMY SPOILS +And which way's that through this fog? + +Johnny throws his hands up for quiet. From close by comes the SOUND of +COP'S VOICES. They are near. Very near. The boys stay as still as they +can... +... and the VOICES recede again in the thick fog. + +JIMMY SPOILS +Should have asked them directions as they drifted by, Shang. + +SHANG +You'd have liked that, wouldn't you Coal Face? You're the only one they'd +miss in the dark. + +SHEENY MIKE +Let's quiet, or we'll all be found out! + +As the BOYS stay still, their boat DRIFTS against an outcropping of land +and STOPS. + +SHANG +Alright. We lay up here till first light. Then we run back across the +river. + +JIMMY SPOILS +(contemptuously) +River pirates! + +Spoils settles back and tries to sleep. Johnny watches Shang in the bow. +Shang is too agitated to notice Johnny's stare. He looks away, waiting for +the sun. + +CUT TO + +34 EXT- BLACKWELLS ISLAND DAWN + +Shang drowses in the boat, fighting fatigue, then succumbing to it. But +h's brought awake suddenly by a loud SPLASH. He looks in the direction of +the noise, SEES ... +... the BODY of the slaughtered ship's captain floating away in the +company. He starts to cry out but Amsterdam GRABS him, locking his throat +in the crook of his arm. + +AMSTERDAM +(to everyone) + +Push off! Or his pipe snaps! +The other boys are too stunned to resist. They push the boat away from the +island. + +AMSTERDAM +Head straight out, then turn for the current. + +He pushes Shang away from him. The two boys stare at each ather, finally +remembering... + +SHANG +(breathing hard) +Figured you for dead. + +AMSTERDAM +Close enough. + +SHANG +This is my crew. And welcome to join, if you've the mettle. We're river +pirates and quick thieves and street brawlers... + +AMSTERDAM +(casual disdain) +You're lost. + +SHANG +Yeah? You've no business saying anything against us! Do you know how much +you cost us? You know how much that body's worth? + +AMSTERDAM +I doubt it's worth the water it's floating in. + +SHANG +Fifteen dollars! Fifteen dollars from them medical ghouis. + +AMSTERDAM +I'll make it back for you whatever it is, once we're in the city. Just +keep sailing, or we're all done for. + +SHANG +(beat; to crew) +Go ahead then. +(beat; to Amsterdam) +He was in his prime. He'd have fetched thirty dollars easy. + +CUT TO + +35 INT. HIDEOUT DAY + +A ramshackle room near the docks. It is part meeting hall, part living +quarters for the gang, and part clearing house forstolen goods. SHANG +presides over a boisterous meeting. + +JIMMY SPOILS +You're as flat as Broadway going north. We can't run the river no more. +We're poaching the Natives and the Harbor cops are looking for us. + +SHANG +The cops can go to blazes. Who cares about them? + +SHEENY MIKE +Youlre all sand when it comes to cops, Shang. But do you have the sand to +go against the Natives? + +SHANG +It ain't the time to go against the Natives. We've got to build first. +Then we go. + +JIMMY SPOILS +If we go like we did in the river, all of us'll sink. + +Amsterdam is sitting off to the side, watching this ongoing debate with +contemptuous detachment. Johnny sits next to him. + +AMSTERDAM +Does Shang have the sand to ever go against the Natives? + +JOHNNY +I don't know. He acts like it. + +AMSTERDAM +If he only acts, held be better on the stage. +(looks away) +Like her. + +His tone of voice has changed. Jenny Everdeane passes before him; she's +ravishing. Amsterdam STARES, as if he's trying to see into her heart. +Jenny pays him scant attention as she moves across the room toward Shang. + +JOHNNY +Jenny Everdeane. Shang turned her into the best bludget in the Points. + +Jenny gives Shang silk scarfs, wallets and several purses from her coat. + +AMSTERDAM +Shes his mort, is she, as well as his best provider? + +JOHNNY +Yeah. But Jenny says she's anyone's she chooses. + +Jenny's haul is impressive. Shang picks a BRIGHT RED SILK SCARF with a +distinctive PAISLEY design from the pile of stolen goods. He examines it +with a shrewd, appreciative eye. + +SHANG +That's the prize of the month. Spice Islands silk. + +He puts the scart in his coat pocket with a FLOURISH, then throws his arm +about Jenny in a proprietary way. + +SHANG +You'll learn our way if you're going to be one of us, Amsterdam. + +Jenny reacts slightly to the mention of the name: she looks over and +RECOGNIZES Amsterdam now. + +SHANG +Every one of us gives a portion of all they steal to the gang. Morts more +than men, being morts. + +AMSTERDAM +Yeah? And why is that? + +SHANG +Because morts have more resources. Men can work only on their feet, but a +mort can turn out on her back. + +AMSTERDAM +I mean, why give at all? Why don't they keep for themselves? + +SHANG +If you think there's something off about my way of running things, you got +no place in this gang. + +AMSTERDAM +I got no place anyway, and you got no gang. This ain't a gang, no matter +what you say. It's a mob. + +There's a tense hush in the grubby room. Shang takes his arm from around +Jenny, wanting to be restrained. + +JENNY +(smiling) +It's all your play now, Shang. Maybe you can set him right. + +Jenny hands him a cane. Barely managing to hide his reluctance, he +starts--slowly--toward Amsterdam, who stands his ground. The gang steps +back to give them room in this tiny space. Shang pulls the cane apart: +it's a SWORD CANE, but Amsterdam shows no fear. He shifts his weight a +little, watching ... and they're interrupted by a... + +VOICE (HAPPY JACK) +You boys settle with me before you settle each other. + +They turn to him. + +HAPPY JACK +I've come for my due and proper, Shang. + +Happy Jack Mulraney (the Dead Rabbit gang member with the halfparalyzed +face) stands before them in a POLICEMAN'S UNIFORM-sparkling clean and +splendid--a leather helmet and long coat. In his hand, he twirls a +NIGHTSTICK. + +SHANG +As agreed, then, Jack. Refreshment? + +Shang OPENS the top of the gold-handled sword cane. Inside are large, +solid LUMPS of cocaine. Jack reaches for the choicest. + +AMSTERDAM +Still smiling, are you? + +HAPPY JACK +(sizing him up) +It's the young Vallon, is it? I hardly recognized you. + +AMSTERDAM +I hardly knew you under that hat, Jack. + +By now, Jack has taken not only the cocaine, and the money and swag Shang +offers, but several of the purses and wallets Jenny delivered. Jenny +stares at him with contempt, and he laughs, tossing one of the purses back +at her. + +JACK +There. For your respect. + +Jack turns to leave but a BRASH BOY blocks his way. Moving fast and fancy, +Jack bashes the Boy to the floor with his nightstick. + +HAPPY JACK +Anybody else? Any number at all, come on. + +Several of the gang make a move toward Jack, but Shang WAVES them back. +Jack departs UNHARMED, to general disgust. Jenny walks back across the +room to help the Brash Boy. Shang GLARES at Amsterdam, slides his sword +back into his cane and follows Jenny, trying to explain himself. + +AMSTERDAM +Is that sand we've just seen? + +JOHNNY +It's politics. + +CUT TO + +36 EXT. PARADISE SQUARE DAY + +A hot summer day. All the TRADESMEN are out in force, jamming the square +and the side streets leading to it. Amsterdam walks fast through the +crowd, enjoying the freedom and the bustle, as Johnny tags along close +behind him. + +AMSTERDAM +I've got my own way to go, why don't you find yours? + +JOHNNY +Because your way's different, and I want to see where it goes. +(Amsterdam looks at him) +Unless you say otherwise. Amsterdam shrugs and keep walking. + +JOHNNY +You act like you have something in mind, like you know every day what +you'll be doing the next. Me, I don't figure on tomorrow. + +AMSTERDAM +Well, if you shut up a while maybe it'd come on its own. +(he stops, looks) +Now what the hell's that? + +JOHNNY +(following his glance) +Oh that's heaven. + +WE SEE what they're looking at: the Old Brewery. In worse shape than ever +before, but shut-down, abandoned. A tattered banner flaps against the +front door: "Future Home of the Five Points Mission/ Praise God!/ The +Reverend Shadrach Raleigh, Pastor." + +JOHNNY +The city shut down the Brewery as unfit to live and Tammany gave it over +to this minister. + +AMSTERDAN +What's Tammany? + +JOHNNY +Why Tammany ... you don't know? Tammany makes the city run. A political +organization that's like... like the Native Americans, only ranging over +the whole city. + +CUT TO + +37 MONTAGE + +As Johnny continues to speak, we see Tammany tactics in action: +WARD-HEALERS dispensing coal to the poor, and TOUGHS stealing meat off of +butcher's wagons; a political PARADE with fife and drum-and +politicians--including Boss Tweed--in ceremonial Indian costume, and a +group of GOONS busting up a saloon; Tweed making a speech to enthusiastic +CONSTITUENTS and a Tammany Fire Company tearing through the streets, +scattering everyone in their way, finally revealing they are not rushing +to a fire but are CRASING OFF a rival fire company. + +JOHNNY +They seem like the law, but they got a way of acting outside the law. +Anything that happens in this city, on the straight or on the sly, +Tammany's a part of, and Boss Tweedls the heart of Tammany. + +CUT TO + +38 EXT. PARADISE SQUARE,/OLD BREWERY DAY + +Amsterdam studies Johnnyls enthusiastic face. + +JOHNNY +They're the best gang there is. + +AMSTERDAM +So if Tammany's the best, go with Tammany. What are you running with this +mob for? + +JOHNNY +'Cause they're more my size for now. With Tammany, you got to do something +large, something that makes them take notice of you. + +AMSTERDAN +You're better oft without their notice. You can run free, work your own +schemes. + +JOHNNY +But if your schemes have size, you need size to bring them off. + +AMSTERDAM +What are you thinking? + +Johnny shrugs, grins: he doesn't want to give anything away. Amsterdam +understands, turns toward the Brewery. + +AMSTERDAM +Let me in if you ever get it figured. + +Amsterdam starts toward the Old Brewery, Johnny keeping step. + +AMSTERDAM +I'll go on my own from here. + +Johnny STOPS and Amsterdam continues on by himself. + +CUT TO + +39 INT. MAIN ROOM/OLD BREWERY + +Echoing. Dank. Amsterdam holds a candle high for light. RATS skitter. He +crosses the main floor, enters one of the side tunnels. + +CUT TO + +40 INT. ROOM/OLD BREWERY + +A tiny room we recognize from the first scene: this is the place where +Amsterdam lived with his father. He crouches and TEARS UP some +floorboards, then quickly LOWERS HIMSELF into the hole. + +CUT TO + +41 INT. UNDER FLOOR/OLD BR.EWERY + +A short tunnel under the Brewery floor, the kind a kid might make. +Amsterdam has trouble crawling through it. DIRT and ROCK sprinkle him +until he finds what he wants stuck in a shallow hole; a battered leather +MONEY PURSE; and a PAPER-WRAPPED PACKAGE. + +Amsterdam snaps open the purse to make sure the little bit of MONEY is +still there, then turns his attention to the package. He TEARS it open. +Inside is the PIRATE KNIFE that Bill the Butcher used to kill Amsterdam's +father. + +Amsterdam handles the knife carefully as he opens it. The candle light +makes the blade GLEAMS. + +CUT TO + +42 EXT. ALLEY/OLD BREWERY DAY + +A shock of summer SUNLIGHT as Amsterdam emerges from one of the back +entrances of the Brewery onto a fetid alley filled with rotted barrels, +broken glass and insensible drunks. + +Amsterdam looks carefully up and down the alley, letting his eyes adjust +to the bright light. Ahead of him, he SEES ... + +Shang Draper, in jovial conversation with a SECOND MAN we do not +recognize. The man is bareheaded, and has a deep scar running back to +front clear down the center of his bald head. Amsterdam waits, WATCHES. + +Shang takes the RED SILK SCARF he got from Jenny's swag and hands it to +the Second Man. He and Shang SHAKE HANDS, as if they have concluded a +business deal, and the Second Man walks away. + +Amsterdam PRESSES himself close to the door as Shang LOOKS AROUND... +doesn't see Amsterdam... and walks off in the opposite direction, across +Paradise Square. + +CUT TO + +43 INT- RECEPTION ROOM AND TWEED'S OFFICE DAY + +The main room is as loud and as prosperous as the stock exchange. Bill the +Butcher makes his way past Small GROUPS of men engaged in heated political +dealings of dubious virtue. + +Bill knocks on the door to Tweed's private office while he's opening it. +Inside is Boss Tweed, seated in a large WOODEN BOX like a primitive sauna. +Around him are various PETITIONERS, and his assistant Daniel Killoran. + +TWEED +I dread city stimmers. They bring illness and beget vermin. + +PETITIONER #l (GLEASON) +My plague box fends off all pestilence. Its elixir combats ill humors... + +KILLORAN +We can't have every citizen of the Five Points boxed up like cargo. + +TWEED +But the season is vicious, and I must take thought of our constituents. +Mr. Gleason, I'd like you to shake hands with Mr. Barnett Baff... + +Gleason, dubious, shakes hands with PETITIONER #2 as Bill the Butcher +looks on with amusement. + +TWEED +A friend and owner of an estimable carting service. Work out an +arrangement whereby the citizenry can receive the benefit of Mr. Gleason's +wondrous elixir outside this excellent box. At a cost, Mr. Gleason, of how +much the barrel ... + +GLEASON +(figuring rapidly) +Oh, perhaps twenty-five dollars. + +TWEED +...and how much, Mr. Baff, for haulage and distribution... + +BAFF +The same again. At least. + +TWEED +At least. That's a price of fifty dollars. And greedy, low piracy at that +(Gleason and Baff splutter) +But a price that Tammany, in its generosity, will meet. Merely submit a +bill for a hundred. We'll each have half. And I'll retain this box for +further experiment. Hello, Bill. + +Killoran LEADS the astonished Gleason and Baff away as Bill APPROACHES. + +TWEED +Bolt the door. + +Bill complies. As Tweed speaks and the anti-plague VAPORS SWIRL around his +head, he keeps his eyes closed. + +TWEED +Scotchy Lavelle's gone wrong in his accounts. + +BILL THE BUTCHER +I know. Scotchy's a good man. + +TWEED +Not good enough to rake thirty percent of our share from Sparrow's and use +it for his own. +(opens his eyes) +You got to give him over, Bill. + +BILL THE BUTCHER +I can't do that. No matter what he steals, I still get more from him than +any two others. As do you. + +TWEED +Alright then. What about Charles McGloin? He's running a panel game off to +one side. Did you know that? +(Bill shrugs) +I can't get a day's work done for all the good citizens pouring in here +complaining about crime and corruption all over the Points. They accuse +Tammany of carelesoness. Some even suspect ... a few practically suggest. +(eying Bill significantly) +... our complicity with this rampant criminality. We must show them +Tammany stands behind the letter of the law. We need to set an example. +BILL THE BUTCHER +(beat) +Charles McGloin will do. + +TWEED +I'll set the trial for Friday. + +CUT TO + +44 EXT- TOMBS DAY + +CAMERA moves high along the outside wall, past small rectangular slits +that pass for jail windows. EYES peer out, as if a peep show is underway +directly below in the Tombs courtyard. A PRISONER is being readied for the +gallows by having a hood tied to his head. + +The CROWD is in a carnival mood; HOT CORN GIRLS, STREET VENDORS, +"HOKEY-POKEY" (i.e., ice cream) MERCHANTS, even BUSKERS, all add to the +holiday spirit. + +Jenny works through the crowd, pushing and smiling her way past groups of +raucous merrymakers. She stops once or twice to have a word with a +GENTLEMAN, flirts for a moment, then moves on. + +Further back in the crowd, Amsterdam NOTICES her. He watches her go +through the crowd with an admiration that quickly turns to FASCINATION as +he realizes what she's doing: picking pockets. The best bludget in the +Five Points. He starts to FOLLOW her. + +Jenny has worked her way close to the hanging platform, but she's so +intent on her job she has not noticed Amsterdam. The closer the platform, +the closer the spectacle and richer the pickings: Jenny's concentration is +absolute. On the platform, an ASSISTANT HANGMAN addresses the Crowd. + +ASSISTANT HANGMAN +Those interested in the effects of the condemned please come forward. + +44 CONTINUED: + +Part of the Crowd PRESSES in toward the platform, temporarily blocking +Amsterdam's view of Jenny. He is right against the platform. + +ASSISTANT HANGMAN +What am I bid for this coat? A coat of some wear but excellent cut... +containing a rather remarkable pocket silk... + +MAN IN CROWD +Bid a quarter! + +HANGMAN +A quarter, thank you. Do I hear fifty cents? Fifty cents? + +The Hangman is holding up the condemned man's coat which contains the RED +SILK SCARF Amsterdam saw Shang give away. Amsterdam flips the HANGMAN a +quarter, reaches out and GRABS the handkerchief. + +AMSTERDAM +Here. Just for the silk. + +He stuffs it into his pocket and starts to PUSH his way through the crowd. +On the platform, the WARDEN steps forward holding a primitive megaphone. + +WARDEN +Do you have any last remarks, Charles McGloin? + +McGloin grunts from underneath the hood. + +MCGLOIN +Not from under this hood I don't. + +Crowd near the platform begins to CHANT "No hood, no hood, no hood!" The +Warden puts his hand on the hood, starts to remove it... + +... and the Crowd CHEERS. Amsterdam turns, SEES: Charles McGloin. Bald, +with a deep scar running front to back on his head. The very SAME MAN he +saw in the alley with Shang. + +McGloin acknowledges the cheers of the crowd. The Warden holds to +megaphone close and McGloin bellows... + +MCGLOIN +I never struck a foul blow or turned a card and may God greet me as a +friend! + +The Crowd ROAR approval at these words. Amsterdam PUSHES through the +crowd, looking for Jenny ... SPOTTING her finally... + +... while up on the platform, the NOOSE is placed around McGLOIN's neck, +and he is HOISTED UP in no time. We hear his neck SNAP. His feet kick +after death. The Crowd raises a zighty cheer. + +CUT TO + +45 EXT./INT. BROADWAY AND BROADWAY STAGE DAY + +Amsterdam walks with a crowd toward a waiting Broadway stage, a vehicle +that looks like a horsedrawn train car. The stage will take spectators +back uptown from the hanging. + +He is working his way toward Jenny, who is now BOARDING the stage. +Amsterdam DASHES through the crowd and SQUEEZES onto the stage, which +moves forward with a JOLT. + +Once on board, Amsterdam looks through the jammed car, SEES: Jenny, about +to sit down - A MAN has offered her his seat. She smiles dazzlingly as she +sits... + +... and arranges her hands genteelly on her lap. The Man looks down on her +and she smiles up at him again. He is bequiled. + +Amsterdam manages to get a little closer. + +MAN +I hope you won't think me rude if I speak. + +JENNY +No, sir. You look a proper Gentleman down to the ground. + +As this conversation continues, we watch-not only Jenny and The Man in +conversation, and Amsterdam watching them; but we begin to notice what +Amsterdam SEES. Although Jenny's hands apparently remain folded on her +lap, her RIGHT HAND moves SLOWLY out from her wrap... toward The Man... + +MAN +Well, I wouldn't want you to think me forward, you see. + +... and BRUSHES past his jacket. He does not notice or feel a thing. +Jenny's hand GLIDES past his THIGH ... nearly brushing it ... moving up +across his pelvis and around his buttocks... + +JENNY +Does it matter to you what I think? + +MAN +Well, I might like it to. + +JENNY +Oh. + +...toward his pocket. The Man is in Jenny's thrall. He feels nothing and +continues to have no idea what is going on. But Amsterdam KNOWS. Every +silken, surreptitious move of her HAND across The Man's body is like a +CARESS that Amsterdam can feel. Jenny's grace is balletic and EROTIC. As +she picks The Man's pocket, she is, without knowing it, also seducing +Amsterdam + +MAN +I mean, if you would like. + +JENNY +I might like, sir. But I can't say now. + +Her hand HOVERS above his pocket, waiting for the SWAY of the stage to +match and mask her movement.... + +MAN +Why? + +... and she starts to get up as soon as the stage JOSTLES. The entire car +full of passengers LEANS into one another... + +... and Jenny's hand SLIDES the Man's WALLET from his trousers as + +he recovers his balance. Amsterdam watches her withdraw her HAND in a +flash and hide it beneath her wrap. + +JENNY +Because this is my stop. + +MAN +May I walk with you a little, then? +JENNY +(firmly) +That would be too bold. + +MAN +But I'll never see you again. + +JENNY +I come every Thursday to the Tombs to see my father. + +MAN +I'll look for you. + +Jenny fetches him another fine SMILE--it's almost demure--and takes her +way off the rear entrance of the stage. + +lt PULLS AWAY up Broadway and Jenny walks briskly toward an alley. + +CUT TO + +46 EXT. ALLEY/BROADWAY DAY + +Jenny looks to make sure she has the alley to herself, then moves her body +a little... + +... and her arms seem to come off. She has been wearing a set of +ARTIFICIAL ARMS, hollow inside, which she can leave folded on her lap +misleadingly while she goes about her pickpocketing. + +She's folding up the appliance--cotton sewn over a soft form-when a VOICE +behind her makes her turn. + +AMSTERDAM +May I walk with you a little, then? + +CUT TO + +47 EXT. BROADWAY DAY + +As Jenny and Amsterdam walk through the noisy bustle of the city's main +thoroughfare. + +JENNY +Are you a spy, then? + +AMSTERDAM +Got no one to spy for. I'm an appreciator, you might say. + +JENNY +Appreciator of what? + +AMSTERDAM +A good touch. + +She STOPS in the street, looks him straight in the eye. + +JENNY +Don't bother with the chat. If you want me, we come to a business +arrangement. lf the terms is right, then I decide how you suit me. Then I +do it or not. + +AMSTERDAM +Just take a minute, I was Just... + +JENNY +I know what you was just. I had years already of what you was just. You +know how I got so good at thieving? So's I wouldn't have to lay down for +everyone who had the ned. Now I do it when I want to for how much I want +to. Otherwise I don't do it, and don't have to do it, and to hell with +anyone's rules but my own. +AMSTERDAM +What about Shang's rules? You pay a lot over to him. The better your day, +the better his. It don't seem gute right. + +JENNY +(a little curious now) +What's it to you? + +AMSTERDAM +Give him this. + +He hands her the RED SILK SCARF. She recognizes it instantly as the same +one she gave Shang. + +AMSTERDAM + +And you can keep a little more of what you earned. + +JENNY +How'd you come by this? + +AMSTERDAM +I got my own touch. + +JENNY +Are you making me a present, or making an Arrangement? + +AMSTERDAM +It's your rules, right? So you decide. + +She looks at him for a moment, then starts to TIE the scarf around her +neck like a kerchief. + +CUT TO + +48 INT. HIDEOUT + +A gentlemen's WALLET skims across a pitted wooden table, straight into +Shang's hand. Jenny is giving him her CUT. He opens the wallet, looks up +at Jenny. No more goods are forthcoming. Amsterdam, hanging back, watches +them both. + +Shang SEES the RED SILK SCARF, tied around her neck. + +SHANG +Pretty slim cut for a hanging day. Where'd you get that? + +JENNY +From Amsterdam. + +SHANG +(beat) +It don't suit you. + +CUT TO + +49 EXT. STREET AND PARADISE SQUARE NIGHT + +A SWELTERING evening. The streets are jammed with REVELERS and RESIDENTS. +Some people sleep in doorways in futile search for fresh air. Happy Jack +Mulraney leads a group of apprehensive UPTOWN CITIZENS past drunks and +whores. + +JACK +Commissioner Brunt said to spare you nothing concerning conditions. + +CITIZEN +Nothing but our safety, of course. + +JACK +All's snug around Paradise Square in my company, squire. See there. + +He gestures toward the street, down which one oi Mr. Barnett Baff's CARTS +is being drawn by a team of WHEEZING NAGS. + +The cart bears massive barrels of what a colorful banner advertises as "an +anti-pestilence influenza-thwarting solution... a service of Tammany +Hall." As the wagon draws abreast of a large group of languishing +RESIDENTS, HOSES spurt waves of solution all over the streets. Many people +are SOAKED. Jack and his Citizens jump back just in time.' + +JACK +Tammany makes the streets nanitary, I make 'am safe. + +WOMAN CITIZEN +(apprehensive) +Even against them? + +A small distance behind the anti-plague cart, moving in rough formation, +come some of Shang's mob, heading aimlessly across the Square cruising for +action + +JACK +Against them especially. Let me demonstrate. + +Jack takes out his GOLD WATCH AND CHAIN, which he HANGS carefully over a +nearby lamppost. Then, very casually, he leads the Citizens off. + +JACK +We'll be back for this at our leisure. + +WOMAN CITIZEN +You dare leave it here? + +JACK +Safe as a vault, lady. Since all knows it's mine. + +The Gang draws abreast of the lamppost. No one makes a move to take the +watch until one of the YOUNGEST BOYS reaches out ... but + +Shang knocks his hand away. Jack, at a distance, NODS approvingly. + +SHANG +You know that's Jack's. + +BOY +So what? + +AMSTERDAM +It should be hangin' off Jack's vest, then. Not here, like some war flag. +SHANG +That watch is a small price for free run of the Points. + +AMSTERDAM +If it's free, how come we pay so much? Wo shouldn't pay for what's our due. + +SHANG +We don't tight when we don't have to. It's not warring that counts. It's +the living day to day. + +ANSTERDAM +(smiles) +Is that right? Did I hear that correct? John, did we hear that correct? + +Eyes now on Johnny. Jenny looks at him with great interest. + +JOHN +(uneasy pause) +We heard the same. + +AMSTERDAM +So then. + +He reaches for the watch. + +CUT TO + +50 EXT. STREET AND PARADISE SQUARE NIGHT + +Happy Jack stands at the lamppost, aghast. A WOMAN lowers her head and +retches. Jackls watch and chain are still in place. + +But the watch has been SMASHED. And hanging from the chain is a BLACK CAT, +skinned and strangled. + +CUT TO + +51 INT- HIDEOUT + +Happy Jack stands with his Citizens. The room QUIETS as, one by one, the +mob notices him. + +JACK +You! + +He GRABS the Young Boy who had reached for his watch on the lamppost and +starts to BEAT him. + +JACK +What'd you do to my watch, you dirty little bastard... + +Jack breaks the Boy's hand with his nightstick. The Boy SCREAMS + +and FAINTS. So does one of the Women in the group. Jack takes the Boy's +other hand. + +JACK +Hands won't be so quick in future. + +SHANG +That's enough sport this evening, Jack. +JOHNNY +(stepping forward) +It wasn't him. + +All turn to look at Johnny. Jack drops the Boy's hand. + +JOHNNY +I have word for you from who did it. You're to meet him at Sparrow's +Chinese Pagoda. + +CUT TO + +52 INT. SPAPROW'S CHINESE PAGODA NIGHT + +A low and lunatic place: a combination of an opium dream out of the +Arabian Nights and a panel from a Bosch triptych. FAN-TAN games played by +Orientals; WOMEN and CHILDREN of various colors suspended in cages from +the ceiling as MEN and WOMEN in a secondfloor GALLERY point at them and +JOKE. On the main floor, a long line waits for a shot at the barrel of +All-Sorts. Jack charges in the front door, looks around. + +JACK +All right, step out, you yellow... + +All the NOISE subsides. Only the Fan-Tan game continues; + +nothing is so interesting that these Orientals will stop gambling. + +Now Amsterdam STEPS right in front of him. It's a grandstand play. + +AMSTERDAM +Hello, Happy Jack. I'm the one you're looking for. + +JACK +Then you're marked for dead. + +Jack lunges ahead, swinging his NIGHT STICK. Amsterdam throws a chair +across his path. Jack stumbles, goes down, dropping his night stick. +Amsterdam grabs it, jumps on top of him, HITS him twice on the side of the +head. There is a CRACKING SOUND. The PATRONS of the Pagoda gather round. + +CUT TO + +53 INT. SPARROW'S CHINESE PAGODA NIGHT + +Later. Festive again. And no sign of Amsterdam. + +Two PATRONS step away from the all-sorts barrel. Hanging from the spigot +like the cat from the watch chain is the BODY of Happy Jack Mulraney. The +belt has been removed from his trousers, tied like a NOOSE around his +throat, then looped over the spigot. His TEETH lie scattered on the floor +around him. His NIGHT STICK has been jammed down his throat. + +CUT TO + +54 EXT. DOCKS/HIDEOUT NIGHT + +Amsterdam holds the FANCY COAT from Jack's uniform over his arm. +Carefully, he DRAPES the coat over Jenny's shoulders. SHANG steps forward. + +SHANG +I gave no order for this. + +Amsterdam says nothing at first, just holds his hand out: he's holding the +RED SILK SCKRF. + +AMSTERDAM +(very quietly) +Never mind giving orders. What were you giving this for? +SHANG +I'm calling you out, Amsterdam. + +AMSTERDAM +I got this at the hanging. It was Charles McGloin's. Everybody here saw +you take it from Jenny. What was MCGloin doing with it? What'd you give it +to him for? + +SHANG +I didn't give it to him. Why would I give it to him? + +AMSTERDAM +I gaw you give it to him. Last week, behind the Old Brewery. + +SHANG +(to group) +He's gone flat. I got no reason to trade with the Native Americans. + +AMSTERDAM +What about stepping up in the world, as it were, and leaving the rest of +us behind. There's a reason. Making a separate arrangement for yourself +with the one Native so stupid and luckless that he got hung. That's you to +the ground, Shang. + +SHANG +(very edgy now; to group) +Who believes what he's saying? Can any of you believe what he's saying? + +AMSTERDAM +Bene. We'll see. Any of you that believes I did proper by Happy Jack +Mulraney tonight, stand beside me. Any of you that still likes Shang's way +with the cops, and Shang's way with the Natives, go to him. +(to Shang) +Or should we settle right now, you and me, and just see which of us is +left standing? + +SHANG +Let see where they stand. + +Jenny rises, stands next to Amsterdam. Jimmy Spoils, Johnny, Sheeny Mike +are next. Now the other members of the mob move in clusters to all STAND +with Amsterdam. + +AMSTERDAM +What's your pleasure, Shang? + +One of the YOUNG BOYS has a dead rat blackjack hanging from his belt. +Shang grabs it. He BITES the head oft the rat and spits it across at +Amsterdam. Amsterdam almost smiles at him. Shang sneers, drops the body of +the rat, and LEAVES. + +AMSTERDAM +This mob ever have a proper name? + +JOHNNY +We was called after Shang when we was named at all. + +AMSTERDAM +We're the Dead Rabbits from now. They were the best. They were history. +They were legend, and we'll live up to them. + +CUT TO + +55 EXT. DOCKS/WATERFRONT NIGHT + +Amsterdam sits on an empty pier, watching the ships in the river. There's +a SUDDEN RUSTLING NOISE as a NOOSE coils around his neck. + +It's Jenny. She's slipped the SILK Amsterdam gave her close to his throat, +and she's TIGHTENING it. Amsterdam starts to resist. Then he sees how's +she's looking at him. + +She uses the silk to bring his face closer to hers. She KISSES him. + +AMSTERDAM +What's this then? + +JENNY +Payment for the silk. + +Then DROPS the silk from his throat and starts to touch him. Then his +hands are under her skirt. Then, under the cloudy moonlight, they start to +make love. + +CUT TO + +56 EXT. DOCKS/WATERFRONT NIGHT + +Later. Amsterdam pulls Happy Jack's uniform COAT over Jenny to keep her +warm in the chill air. + +JENNY +You were waiting for me out here, weren't you? + +AMSTERDAM +Maybe I was, yeah. + +JENNY +You was that sure of me? + +AMSTERDAM +Sure enough to wait, anyway. Waiting don't cost nothing. + +JENNY +It don't do to be sure. I could go away just as easy. + +AMSTERDAM +Alright. + +He sweeps the coat away from her body, allowing her to leave. + +JENNY +I'll say when I want to, not you. + +AMSTERDAM +Stay then. +(beat; smile) +One way or another, I get what I want. + +JENNY +(looking at him) +Yeah. If it was just a shag you wanted. + +AMSTERDAM +You're a gypsy, are you, come to tell my fortune? Go ahead then. Tell me +what I'm wanting. + +JENNY +You got blood in your eye for someone. + +AMSTERDAM +It's just I can't look away, that's all. + +JENNY +Who from? + +AMSTERDAM +Bill Poole. + +JENNY +You better get someone else in your sights. No one's ever taken him. + +AMSTERDAM +'Cause he's mine, that's why. I'll take his one eye, and then the rest of +him, piece by small piece. + +JENNY +You have a plan for this? You going to raise a militia? I'll wager Bill +the Butcher don't even know about you or care if he does. + +AMSTERDAM +He'll know about me soon enough. + +JENNY +And after the Butcher? + +AMSTERDAM +You. + +JENNY +Is that so? + +AMSTERDAM +You'll be in love with me. + +JENNY +Love you? You just had me. You can have a mort any time you want. So why +look for more than that. + +AMSTERDAM +That's taking love, not giving it. I want it to be just you and me, no one +else for either. + +JENNY +Why? + +AMSTERDAM +'Cause none of us means nothing in life except one to the other. + +JENNY +I don't know I want to mean something, to you or anybody. Can there be +good in that? + +He stares at her. + +AMSTERDAM +We'll see. + +Jenny pulls the coat tighter around her. + +JENNY +It'll take a while if we do. If we ever do. + +AMSTERDAM +And what about the meantime? + +JENNY +Meantime's business. + +CUT TO + +57 EXT PARADISE SQUARE DAY + +A CROWD gathers in one of the main thoroughfares bisecting the 5 Points. A +beefy SPEAKER is making an anti-Irish speech on behalf of James W. Barker, +a mayoral candidate supported by Tammany's current rivals, the +Know-Nothing Party. Hand-painted signs are everywhere, bearing Barker's +unsavory likeness. A couple of BUSKERS provide a musical score for the +political spiel. + +SPEAKER +The potato is a thick vegetable. Heavy. Meaty. Comes out of the ground +dirty and stays that way unless you scrub it and boil it to death! +(cheers and laughs from crowd) +We don't want to keep lem out of the country! We'll even give 'em a place +at our table! But we ain't gonna vote 'em into office. + +Much CHEERING and jovial approval from the Crowd. On its fringes, +Amsterdam and the Dead Rabbits make their way roughly across the Square. + +SHEENY MIKE +Any Irish hears that will be out for blood. + +AMSTERDAM +The Irish is too busy building up Tammany. That's where their brains and +muscle goes. Once they're inside with their cronies, they turn on their +own outside. Tammany'd steal the air and rent the daylight if they could. + +SHEENY MIKE +We'd do the same. + +AMSTERDkM +Not against our own we wouldn't. That's the difference. + +JOHNNY +Tammany earns better. That's the difference. + +AMSTERDAM +I ain't seen their ned yet. + +Johnny stops walking, betraying slight annoyance that he has to explain +the day's deal. + +JOHNNY +You will at day's end, that's our arrangement. A quarter a voter, whether +they're repeaters or not. I'm telling you, we got a square deal. + +SHEENY MIKE +It's sound, Amsterdam. + +AMSTERDAM +Yeah? Well, it's ned anyway. Just make sure you count it when we get it. + +JOHNNY +It's just a day's job, we don't have to make it a life's work. We work for +Tammany today and kill them tomorrow, if that's our pleasure. + +JIMMY SPOILS +So we're politicians just for today. + +AMSTERDAM +Not for a minute. We're better than that. We're thieves. + +CUT TO + +58 MONTAGE + +The Dead Rabbits go about the business of rounding up Tammany voters. They +pick up DRUNKS in alleys; Jenny and some of the Dead Rabbit MORTS raust +PATRONS in a whore house; Rabbits shanghai SAILORS from saloons; corral +CITIZENS as they walk along the street, either wheedling or bullying to +get them to vote. It's the strong arm of democracy. + +CUT TO + +59 EXT. POLLING PLACE DAY + +On one side of the door, some Dead Rabbits, with a RABBLE of potential +voters; on the other, POLICE doing their best. Behind and all around, +various WARD HEELERS and SMALL-TIME POLITICIANS, representing both the +Know-Nothing candidate Barker and Tammany's Fernando Wood. Varicus +factions push and pull at one another as they wedge their VOTERS into the +polls. + +JIMMY SPOILS +He's got the right to vote, damn you! +COP +Not four times he don't. +(shoves a Voter) +There'll be no damned repeaters here! + +The Cop and Jimmy play tug-of-war with a besotted VOTER, while other gang +members rush to GRAB VOTERS leaving the polls. + +PANDEMONIUM. + +CUT TO + +60 INT. TAMMANY HALL DAY + +The main floor is jammed with CLUBMEN and PARTY RACKS. Daniel Killoran +bustles from group to group, making promises, taking notes and searching +out Boss Tweed, who is holding court in a far corner, surrounded by +JOURNALISTS. + +BOSS TWEED +I would never speak ill of a rival. I would never say that every +Know-Nothing is a horse thief. It is my observation, however, that every +horse thief is a Know-Nothing. + +Good-natured LAUGHING all around. Even TWEED seems amused. Killoran +catches the Boss' eye and whispers to him. + +KILLORAN +The Know-Nothings are already finished, and there's four more hours at the +polls yet. + +BOSS TWEED +Keep our men voting. Everybody works today. It's not a victory we need, +Daniel. I want a triumph. + +CUT TO + +61 INT. DON WHISKERANDOSO BARBER SHOP DAY + +Amsterdam roughly deposits REPEAT VOTERS in the barber chairs, as the +BARBERS work FRANTICALLY to cut their hair, prune beards, and otherwise +alter appearances. As soon as one customer is done, Sheeny Mike douses him +with bay rum and pushes another REPEATER down in his place. Johnny keeps +count of the turnover. + +DON WHISKERANDOS (BARBER) + +Now that's eight... and how many still to come ... + +He looks toward the door, where more Repeaters are lined up, waiting their +turn under close supervision. + +REPEATER +I already voted once today. Cast for Tammany, by God, and Fernando Wood. + +AMSTERDAM +Once? Come here and do your duty. + +Amsterdam GRABS him and SLAMS him down in a chair. + +CUT TO + +62 INT. FAN-TAN PARLOR DAY + +Amsterdam and some RABBITS BURST into the front door, frightening and +scattering all the Chinese GAMBLERS. + +AMSTERDAM +(barking orders) +Line up like soldiers! + +SHEENY MIKE +They got no notion what you're talking about. + +AMSTERDAM +(To Johnny) +You explain their democratic right. Illl see they unterstand. + +Amsterdam GRABS the nearest two CHINESE by their PIGTAILS and +HURLS them against the wall. + +CUT TO + +63 INT. OPIUM DEN + +Amsterdam and the Rabbits PROWL the murky darkness where OPIUM EATERS lie +in bunks stacked high against the walls. The Rabbits start ROUSING and +rounding up the Opium Eaters. Jimmy Spoils SLINGS a couple over his +shoulder like flour sacks. Amsterdam SHOVES two more out the door, past an +admiring Daniel Killoran. + +KILLORAN +(to Johnny) +I come to see if our counts square. You boys have made a remarkable +showing.... + +AMSTERDAM +Who the hell's this? + +JOHNNY +He's our Tammany man. + +Killoran compares his figures to the piece of paper where Johnny has been +keeping his own count. + +KILLORAN +... remarkable... + +AMSTERDAM +(With an edge) +Our own Tammany man. We are coming along. Happy to meet any friend of +Johnny Siroccols. + +KILLORAN +Likewise. Pleasure to meet the best but one in the whole Five Points. + +AMSTERDAM +Best but one? Who's better? + +Killoran looks up. Johnny, standing behind Amsterdam, SHAKES his head "NO" +VIGOROUSLY. Killoran gets the message. + +KILLORAN +(smooth) +Maybe nobody. But when the count's done the numbers will tell who's come +out in front. + +AMSTERDAM +I'm in no race. Just pay us what you owe. + +KILLORAN +Tonight. At the victory celebration. + +CUT TO + +64 INT. SPARROW'S CHINESE PAGODA + +A Tammany victory celebration. When we last saw this place--as Amsterdam +confronted Happy Jack--the place was busy, alive. It's RIOTOUS now, jammed +to bursting with POLITICIANS, CRIMINALS, GANG MEMBERS, MORTS, WHORES, +HANGERS-ON, UPTOWN THRILL-SEEKERS, JOURNALISTS and COPS, not all of them +off duty. The SOUND of the place is a cacophony of SHOUTING, SINGING, +GAMBLING and STRANGE MUSIC--which we can't identify at first. We START +CLOSE on a huge ruby ring and we HEAR... + +BOSS TWEED +(V.O.) +Read what it says there, alongside the ruby...read it out ... + +... and WE MOVE OUT as a WELL-WISHER reads the Latin inscription. + +64 CONTINUED: + +WELL-WISHER +"Fortuna Juvat Ordentes." + +TWEED +A grand victory gift from the men of Tammany. Now, tell 'em what it means, +Mayor Wood. + +WOOD +"Fortune favors the bold." + +TWEED gives him a resounding slap on the back. + +BOSS TWEED +What do you think? Would that make a fit motto for our fair City? + +WOOD +Well, I could certainly see ... + +KILLORAN +(interrupting) +We've got a motto. + +BOSS TWEED +what is it? +(no one knows) +Well, hell, let's get one we can remember. We're going to build a new City +hall, we better have something to put over the front door. And Mayor, +you'll make sure the Latin's right? + +As Wood nods his assent, CAMERA MOVES across room... + +... past the gilded CAGES suspended ten feet over the floor, where the +women and children look down at the action just below them with a mixture +of trepidation and resignation. Occasionally a REVELER will jump up to try +and GRAB one of the caged inhabitants. Still MOVING, CAMERA... + +... passes a stage, where we finally SEE the source of all the strange +MUSIC we've been hearing: the music is provided by + +CHINESE MUSICIANS, a woman SINGER, a DANCER and some ACROBATS. They +perform some weird, mangled Five Points version of Chinese opera. The +music and performance continues as we MOVE PAST... + +... across a PEWTER FAN-TAN TABLE, where CHINESE GAMBLERS play with fierce +animation and concentration. By comparison, the Occidental types playing +beside them seem like tourists. + +Everyone SHOUTS and SCRAMBLES to place bets with the FAN-TAN DEALER. + +Above the Dealer is an oval opening in the ceiling, through which OTHER +PLAYERS may watch the action below. These FAN-TAN PLAYERS lean over an +elegantly carved rail, peering at the action on the table below, placing +their bets and collecting their winnings by means of a BASKET attached to +WIRES that whirrs constantly overhead. We continue to MOVE PAST... + +... until we are at the door of the place, where Amsterdam, Johnny and the +Rabbits are having words with a BOUNCER. + +BOUNCER +I don't know you, you don't enter. + +AMSTERDAM +(enjoying himself) +Come on, what are you saying? If you don't know us now, you'll know us +tomorrow and you'll be working for us next week. + +JOHNNY +(more temperate) +Daniel Killoran knows us. + +BOUNCER +Oh he does? + +JOHNNY +We work for him. + +AMSTERDAM +The hell we do. + +JOHNNY +(to Amsterdam) +Tampen down, will you? + +BOUNCER +Why don't you all get the hell out of here and go fix on a story? Go on! + +He SHOVES Johnny, who STUMBLES back into Amsterdam. They're both mad now, +and they step forward together toward the Bouncer... + +... until Killoran intervenes. + +KILLORAN +(to Bouncer) +It's all right, Nat. They're saying the truth. They gave a good day's work +for a good wage. + +Killoran HANDS OVER a paper-wrapped parcel of money, which Amsterdam takes +firmly. + +KILLORAN +A fine first showing. But second best. + +AMSTERDAM +Second, eh? You don't say so. + +KILLORAN +It's no shame to be bested by veterans. The Native Americans always sweep +the field. + +AMSTERDAM +What? + +KILLORAN +We count on them sure as mass comes an Sunday. + +AMSTERDAM +(to Johnny, glaring) +Did you know this? Is this some scheme of yours? + +JOHNNY +No, I didn't have no idea ... + +AMSTERDAM +I was working the same side as the Natives? The Natives? + +KILLORAN +That's only right. Bill the Butcher's our ambassador throughout the +Points, as you might say. It's deemed an honor to work with him. Everyone +knows Bill Poole, everyone fears him, everyone ... + +AMSTERDAM +I sure as hell don't fear him. And I sure as hell won't stand with him, or +any who calls him one of theirs. + +KILLORAN +Well, if it's matter of personal honor, the money can only be a further +insult. I have no wish to rile you further, so if you'll allow me... + +He REACHES to take back the parcel of money, but Amsterdam BATS his hand +away. + +AMSTERDAM +Where is he? Where's Bill the Butcher? + +KILLORAN +Listen, buck. This is a Tammany night. If you and Bill Poole have matters +to settle, you can do it any other time, any other place, I don't give a +good dancing goddamn. But you do it here tonight and all the Five Points +will be down on you like the righteous wrath of heaven. or you could, as +the Book says, put away childish things. Join the celebration. Personally, +I always find the least strenuous solution the most appealing. Don't you? + +Amsterdam stares at him as we... + +CUT TO + +65 INT. SPARROW'S CHINESE PAGODA + +As a CHINESE ACROBAT TWIRLS in the air, off the stage, and lands in the +middle of the audience. The crowd is raucously appreciative as the Acrobat +does GYMNASTIC MOVES among them... + +... past a table where the Dead Rabbits have settled. it is later in the +evening, and everyone has been drinking. +Amsterdam, sullen, intense, WATCHES ... + +..Bill the Butcher, across the room. He is like a prince regent. Everyone +pays him court, including several uniformed COPS, TAMMANY HANGERS-ON, and +NEWSPAPERMEN. Bill receives the attention as his due.... + +... while Amsterdam keeps watching, contempt and hatred gleaming in his +eye. He pays attention to none of the gang around, including Jenny. Johnny +takes advantage of the situation. + +JOHNNY +I got experience. It's the education I lack. + +JENNY +And you heard I was a good teacher? + +JOHNNY +I don't listen to talk, I figure for myself. And I figured you'd be good +at everything you did. + +JENNY +That's right. + +JOHNNY +And tonight I got the ned. + +JENNY +And now what? + +JOHNNY +Now I'm ready for you. Unless there's an arrangement between you and +Amsterdam. + +JENNY +(glancing over at Amsterdam) +Not to my thinking. + +JOHNNY +(needs to be sure) +Amsterdam... listen up, Amsterdam... + +Amsterdam glances over at them. + +JENNY +(to Johnny) +You going with me or him? It's my thinking matters here. You don't have to +ask him nothing. + +AMSTERDAM +What? + +JOHNNY +(makes his decision) +How's the evening passing? + +AMSTERDAM +Fine. Why? + +JOHNNY +(puts his arm around Jenny) +'Cause it's treating me fine too. + +She gets up and starts toward the stairs to the second floor, Johnny +following her, holding her hand. As they pass Amsterdam he LEANS toward +Jenny. + +AMSTERDAM +This is no game, you and me. Don't go on like it's a game. + +JENNY +I said already, it's not a game. It's business. + +Johnny pulls her away. As he watches her go through the crowd, Amsterdam's +gaze falls on Bill the Butcher again... + +... and for the first tine their EYES MEET. Bill's eyes rest on Amsterdam, +take him all in... but DON'T REMEMBER him. He looks away as a TAMMANY HACK +steps up to pay court.... + +.... and a MASTER OF REVELS, center-floor, SHOUTS ... + +MASTER OF REVELS +Gentlemen and gentlewomen, if you please ... we will now... raise the +cages and start the bidding! + +The Crowd CHEERS and KIDS PULL on a series of ropes and pulleys to RAISE +the CAGES further above the floor until they are parallel with the +second-floor gallery of the Pagoda. WOMEN AND MEN call out BIDS even as +the cages rise through the air. Depending on their age, the Women and +children inside the cages respond to the auction with grim resignation, +trepidation or fear. A few, drugged or drunk on all-sorts, lie insensible +in their impossibly cramped space. + +Johnny and Jenny make their way along the second floor gallery until she +spots a COUPLE LEAVING a room and walks inside. Johnny CLOSES the door +behind them as a BURST of APPLAUSE... + +... rises from the main floor, where Bill the Butcher stands in the dead +center of the room. He slowly removes his coat and hands it to a FLUNKY. +He is wearing his battle vest underneath, and it is fully rigged with all +his butcher's implements. + +The place QUIETS. KIDS swarm silently, like busy ants, all over a huge +wooden CHANDELIER, LIGHTING its HUNDREDS of CANDLES. Only the noise from +the Chinese playing fan-tan in the far corner of the room can be heard now. + +The Kids finish lighting the candles and the chandelier is RAISED toward +the Pagoda ceiling, casting the whole place into a new riot of LIGHT and +SHADOW as The Butcher prepares himself. + +Now the Chinese Opera DANCER steps forward and stands near Bill. He NODS. +The unsprung MUSIC begins. The DANCER starts to move, sinuously... + +...and Bill, with amazing skill, starts THROWING his KNIVES. The knife +MISSES the Dancer by a hairsbreadth, landing in the floor near her foot. +She doesn't flinch. She keeps dancing. And Bill keeps THROWING... + +... the KNIVES, which follow the Dancer around the room in a careful, +deadly choreography. They land just inches from where she has just been, +or will be: in a wall; a pillar; the apron of the small stage; the bar; +the barrel of all-sorts. After each knife LANDS, kids retrieve it. When +one of the KNIFE KIDS pulls the blade from the all-sorts barrel, DRUNKS +knock each other over to drink from the stream that flows from the hole. + +Native Americans, meanwhile, WORK THROUGH the awed, attentive Crowd. They +AVOID Cops, Tammany Members and anyone who looks too prosperous or too +sober. But when one of the Natives SPOTS a MARGINAL CITIZEN, they GRAB his +hand and examine it as if they were telling fortunes. + +Center floor, Bill pulls TWO KNIVES out, BALANCES one in each hand ... + +... as a WHORE in the crowd pushes a guy who's groping her toward a couple +of Natives. Hels wearing a large RING. As soon as the Natives SEE the ring +they throw their arms around the GROPER like a long-lost pal and escort +him to Bill ... + +... who THROWS both knives rapidly at the Dancer. They land on the floor, +inches from her dancing feet. She SPINS AWAY to great applause as the +Natives bring the Groper to Bill. + +BILL THE BUTCHER +Evening, sir. Are you prepared to be celebrated? Are you ready to be +famous? + +GROPER +How much will it cost? + +BILL THE BUTCHER +Just a moment of your time. My men will assist you. + +They do quite a bit more than that: they GRAB the Groper and KNOCK him to +the floor. In the crowd, one SPECTATOR turns to his companion. + +PAGODA SPECTATOR +Watch this careful. I've never seen the like, not even in Barnum's Museum. + +The Groper CRIES OUT as the Natives PIN HIM to the floor, SPREADEAGLED. +Bill has one weapon left... in a special pocket, inside his vest. It's his +CLEAVER. He takes it out slowly, SAVORING the moment. + +The Pagoda goes QUIET. Only the gambling continues. The MUSIC dies. The +only SOUND beside the noises of the Chinese at their fan-tan is the +Groper, who HOLLERS for help as soon as he sees the cleaver. + +Bill HEFTS the cleaver in his hand, feels its weight, calculates timing, +figures distance .... and starts THROWING it in the air... + +... CATCHING it by the handle ... then throwing it again... higher, FASTER +and HARDER with every toss. + +BILL THE BUTCHER +(in full control) +What's it so quiet for? I don't need quiet. + +The Chinese opera MUSIC commences with a dissonant CRASH... + +... and Bill catches the cleaver again. But EVERY TIME he throws it and +every time he catches it by its handle ... + +... he also MOVES CLOSER to the terrified Groper. Now... standing +very close... he gives the cleaver a mighty toss ... + +... sending it SPINNING high in the air... up past the cages ... past the +second-floor gallery, jammed with appreciative spectators ... until it +SLOWS ... seems to HANG in the air... then starts its descent... + +... FALLING FASTER... towards Bill's waiting, STEADY HAND. + +The Groper SCREAMS in fear. Bill SMILES confidently, holding his hand out +until ... just as smoothly, just as confidently... + +... he PULLS his hand AWAY and the cleaver FALLS with terrific impact on +the SPLAYED HAND of the Groper, cleanly SEVERING it at the wrist. The +Groper FAINTS dead away as a TREMENDOUS CHEER greets Bill's amazing feat. +One of the Natives TOSSES Bill the severed hand. + +Bill SLIDES the ring off the finger and TOSSES it to the Chinese Dancer. + +BILL THE BUTCHER +There's for your beauty and your song. + +The Dancer puts the ring on her finger and DANCES OFF. Bill TOSSES the +hand to the floor and walks back to his table. The Crowd PARTS, murmuring +compliments on his dexterity, and the Knife Kids reverently RETURN the +Butcher's implements. + +Now two DOGS from the rat pit in the back room RUN through the crowd and +FIGHT FRENZIEDLY over possession of the bloody hand. + +The Crowd PASSES the Groper overhead and WE SEE from ABOVE: the Groper's +unconscicus BODY being passed from hand to hand. The Crowd looks like a +wave bearing the body toward the door. The Groper's stump BLEEDS on them +as he passes overhead, sprinkling drops of blood and flesh like a moveable +sacrament. + +Bill approaches his table, acknowledging the continuing adulation, and is +about to sit down when a VOICE rises above all others. + +AMSTERDAM +Mr. Poole! + +Bill turns, searching out the voice ... + +AMSTERDAM +Bill Poole! + +And SEES Amsterdam, standing at his own table. His attitude is calm, +smiling, respectful. But his eyes are demonic. + +AMSTERDAM +My compliments on your exhibition, sir. + +BILL THE BUTCHER +Thank you, sir. + +AMSTERDAM +It was like watching a dance. +(Bill nods his thanks) +Some great grand goddamned dance. (Bill looks at him more closely) +You know me, sir. + +BILL THE BUTCHER +Do I? Are you missing a finger? + +Appreciative laughter from the crowd. + +AMSTERDAM +No. A father. + +The laughter turns a little uneasy. Bill the Butcher sizes up the younger +man. + +BILL THE BUTCHER +Do you have a name? + +AMSTERDAM +Amsterdam. + +BILL THE BUTCHER +That's a New York name. +(suddenly smiles) +shall we drink to it? + +AMSTERDAM +Indeed. +(they drink) +And to my other name. Vallon. Will you drink to that? + +BILL THE BUTCHER +Priest Vallon's son? +(Amsterdam nods) +Of course I'll drink to that. Your father was a worthy man. + +AMSTERDAM +Not worthy of you. Those dogs ain't worthy of you. You ain't worth what +they feed on, and what they shit's too good for you. + +DEAD QUIET. Absolute. Breathless. Only the Chinese Gamblers at their +fan-tan ignore this confrontation. + +BILL THE BUTCHER +What do you want, boyo? + +AMSTERDAM +I got to give you something, Butcher. Something from my father. + +Amsterdam PULLS OUT the piratels knife which Bill the Butcher used to kill +his father almost 12 years before. + +BILL THE BUTCHER +You got the sand to draw a blade in front of me? You will make good sport. +Come ahead and give it here, you son of a bitch. + + +And Amsterdam THROWS the knife, the bright blade FLASHING OUT of his hand +like lightning. + +And just as quickly the Buitcher PICKS UP his table, sending glasses +flying and breaking, using it as a SHIELD... + +... and the knife THUMPS into it dead center. The Butcher HEAVES the table +at Amsterdam...sending PATRONS yelling and SCATTERING. + +Amsterdam LEAPS out of the way of the table, then RUNS AT Bill the +Butcher... + +... who's already coming for him. As they CLASH and GRAPPLE with each +other... + +... PATRONS all over the Pagoda crowd around for a good view of the action +and start to MAKE BETS on the outcome. The odds do not favor Amsterdam. + +And neither does the fight. Amsterdam fights with real blood lust, but he +doesn't have the Butcher's skill, or experience, or dispassion. He breaks +the Butcher's CLINCH... HITS him once in the face... then a second time +... and then gets FLOORED by a well placed kick. The Crowd cheers. + +And, on the second floor, Jenny and Johnny come out of the room. Still +arranging her clothes, Jenny looks over the gallery rail onto the floor +below, sees the fight... and starts to RUN down the stairs. Johnny WATCHES +her go ... looks at the fight again, for a second... then follows Jenny to +the main floor. + +The Butcher is on top of Amsterdam now. He HITS him upside the head with +the wood and brass handle of his cleaver. Then hits him again. AND AGAIN. + +In the Crowd now, Jenny finds Sheeny Mike. + +JENNY +The Butcher'll kill him if we don't do something. + +SHEENY MIKE +It was Amsterdam's own doing. And it'll be our death too if we try to stop +it. + +JOHNNY +(finally catching up) +That's the truth. + +JENNY +The truth is you don't give a damn about him. + +SHEENY MIKE +Yeah, well, if he gave a damn about us he wouldn't have called out the +Butcher in the first place. + +Jenny looks at him with contempt, then STARTS into the crowd. Johnny grabs +her ARM but she pushes him off. + +On the floor, Bill uses the FLAT SIDE of the cleaver to SMACK the barely +conscious Amsterdam on one side of his face... then on the other... +REPEATEDLY... until Amsterdam is barely sensible. Bill grabs him by the +hair. Amsterdam's body is slack. + +BILL THE BUTCHER +What do you say? Loin or shank? Rib or chop? + +The Crowd YELLS their choices. Jenny tries to PLUNGE through toward +Amsterdam, but a HALF-DOZEN MORTS and WHORES put hands on her and HOLD her +back. + +BILL THE BUTCHER +Come on, let me hear you! +(the Crowd yells louder) +You're all talking at once, I can't hear you! +(a near frenzy) +I don't hear the choicest cut! The best, the vital! +(they quiet a little to listen) +The heart. I think I must have the heart! + +This is greeted with the biggest CHEER of the night. The newlyelected +Mayor Wood seems to feel as if he should do something to stop the +slaughter, but Boss Tweed calms him with a single dismissive GESTURE. Even +the Boss himself is excited by the prospect of this ritual sacrifice. + +BILL THE BUTCHER +Come on, look at it! You fancy yourself a gladiator, act a gladiator! +(raises his cleaver) +Watch the death blow when it comes to you. Go to hell with open eyes! + +Bill the Butcher readies himself to deliver the blow... and a HAND GRABS +his wrist, STOPPING his arm. + +Who would dare do this to Bill the Butcher? Bill turns, incredulous, to +look into... + +... the untroubled face of Monk Eastman. + +MONK EASTMAN +It's been a full evening's fun now, Butcher. It's enough. + +BILL THE BUTCHER +You got nothing to do with this, Monk. + +MONK EASTMKN +Well I'm the game warden, you might say. I'm telling you this buck's too +young yet. Wait till he's aged for a proper kill. + +BILL THE BUTCHER +The hell. + +With his gigantic strength, Monk actually PULLS the Butcher off Amsterdam +and onto his feet. + +MONK EASTMKN +Just settle yourself Bill ... + +... and he part SHOVES, part THROWS Bill back a good twenty feet. + +MONK EASTMKN +... and let the merrymaking continue. + +The Dead Rabbits have scampered forward, and they're picking Amsterdam up +off the floor. Monk looks at Jenny and Johnny, who each have Amsterdam by +an arm. + +MONK EASTMAN +It was his father took me in first, and it's thanks I'm returning now. + +BILL THE BUTCHER +Eastman! + +MONK EASTMAN +(ignoring Bill) +This squares any debt. Get him out of here. + +BILL THE BUTCHER +Monk Eastman! + +As the Rabbits CARRY Amsterdam toward the door, Monk finally turns his +attention back to Bill. + +BILL THE BUTCHER +I'll have you then! + +MONK EASTMAN +Come ahead, Bill. Unless you're wanting to shout me to death. + +And Bill comes forward, BRANDISHING his cleaver. Monk Eastman stands his +ground, unmoving, untroubled. Everyone looks on in awe at this contest ... + +... except Boss Tweed. + +BOSS TWEED +(to Killoran) +If these two are going to combat, it aught to be a worthier occasion. And +more rewarding for all. + +Tweed SIGNALS to Bill: STOP. The Butcher sees the signal but can't believe +it. He SHAKES his head. His blood is up. He won't stop. + +Tweed SIGNALS AGAIN. Bill KEEPS COMING. + +Tweed signals Killoran, who STANDS himself. And, when he stands, every COP +and TAMMANY LOYALIST in the place--a hundred of them anyway--STAND behind +Boss Tweed. + +As Bill keeps coming, and Monk stands easy, waiting... + +... the Natives and their ALLIES now stand, facing the Tammany crew. The +Tammany backers, dressed flush and fancy, face the scruffier, more savage +Five Points bunch: the twin factions of the criminal underworld, so +different in style and so similar in purpose, SIZE EACH OTHER UP from +opposite sides of the room. + +Bill STOPS. The odds are shifting, the stakes are climbing. Even the +Chinese STOP GAMBLING. For the first time all evening the room is +absolutely STILL. Even the Dead Rabbits have turned, at the door, to see +what will happen. + +Tweed and the Butcher LOCK EYES: neither blinks. Then after a moment ... a +very long moment ... a calm, bemused Tweed RAISES his glass. + +BOSS TWEED +I only wanted to thank you, Bill, for the customary good job today... and +an equally bright future for us both. + +Another pause. Bill does not look placated. The whole place seems ready to +explode... + +... until Boss Tweed RISES to his feet, and RAISES his glass higher. + +BOSS TWEED +Will you drink with me, Bill, as a friend? An honored friend. + +Bill weighs the proposition... then looks to his men, NODS his head to +call them off. He GRABS a glass off a table to join Tweed's toast. + +The MUSIC begins again. The gambling recommences. Patrons take their +seats. The Dead Rabbits help Amsterdam out the door. + +Monk Eastman sidles up to Bill the Butcher. + +MONK EASTMAN +If there's one thing I can't abide, it's fighting for free. + +He takes the Butcher's glass from his hand, raises it in salute, DRINKS +DEEP and hands it back to him. + +At the door of the Pagoda, a badly beaten Ansterdam starts FLAILING and +fighting by brute instinct. He HITS Jenny, and she goes down. Johnny +grapples with him as Jenny PICKS HERSELF up and struggles to help SUBDUE +Amsterdam. + +JENNY +Go easy! Go easy. It's over. + +JOHNNY +He knew what he was doing, hitting you. + +JENNY +Let's get him up. + +She grabs Amsterdam's arm and, with Johnny's help, tries to HOIST him back +to his feet. + +JENNY +(Looking at Amsterdam's bloody face) +Therels too damn little of him left to know anything. + +They start across Paradise Square, holding him up... + +... as the rest of the Dead Rabbits join to help them... all growing +smaller in the distance against the primeval nighttime landscape of the +Five Points... + +... and the Bouncer CLOSES the door. + +DISSOLVE TO + +66 INT. DON WHISKERANDOS BARBER SHOP DAY + +Another DOOR OPENS, and Amsterdam stands on the threshold. A week or so +has passed since the big night at Sparrow's Pagoda, but Amsterdam's face +still shows the marks of Bill's beating. + +Don Whiskerandos is ministering to Monk Eastman with a straight razor, +giving him a close and careful shave. Monk is thoroughly relaxed, doesn't +even glance over when the door opens, hardly reacts when Don Whiskerandos +says .... + +DON WHISKERANDOS +Someone's here for you. + +MONK EASTMAN +That so? What's he look like? + +DON WHISKERANDOS +He looks pretty damned sorry. + +MONK EASTMAN +(looks at Amsterdam) +Indeed.- Can I buy you a shave? + +AMSTERDAM +No thanks. + +MONK EASTMAN +Face is too sore, eh? I understand. + +AMSTERDAM +No. I'm beholden enough to you as it is. I don't like to be beholden. + +MONK EASTMAN +We're all even, son. There's nothing more between us. + +AMSTERDAM +I'd like it if there was. + +MONK EASTMAN +Are you proposing employment? + +AMSTERDAM +A collaboration. The Dead Rabbits got to get strong before we make another +move. I figure you're the one to make us strong. There's a lot we can +learn from you. + +MONK EASTMAN +Boyo, I'm a freebooter and a mercenary, not a teacher. I can't learn +nothing from you and I can't earn nothing from you either. + +AMSTERDAM +The Dead Rabbits is going to be glorious again. We're going to reign over +the Points. + +MONK EASTMAN +And Bill Poole's Natives? What will they have to say? + +AMSTERDAM +Nothing. They won't have tongues left to speak. + +MONK EASTMAN +Don't worry about what theylll have in their mouths. You think about what +they got in their hands. +(beat) +Listen, son... take a word from a man who was honored to fight beside your +father. Temper yourself like a sword, and pay attention to balance. Anger +spoils an edge. + +AMSTERDAM +Then you say no? + +Monk SIGHS and points to a huge WAR CLUB which hangs in a place of honor +above the shop mirror. It has deep marks running along its front, like +NOTCHES- + +MONK EASTMAN +You see my instrument there? First notch represents two dollars and fifty +cents. That's how much I got for my first kill. There are forty-eight more +notches after it, and my fee has grown with each one. I can accommodate +you alright, but you got to afford me. So do business with me or do it on +your own. + +AMSTERDAM +Everything I got is still to come. So I guess it's on my own, then. + +MONK EASTMAN +Fair enough. You'll find independence a fine thing, a fierce thing. +Although I do hold money preferable to all. +(Amsterdam turns to leave) + +But I'm sure we'll have news of each other. + +AMSTERDAM +Bound to. + +As he shuts the door of the shop, Monk Eastman gestures to Don +Whiskerandos for another hot towel. + +CUT TO + +67 EXT. STREETS OFF PARADISE SQUARE DAY + +A large wagon bearing a Tammany banner and carrying dozens of small sacks +of coal moves slowly down the narrow street. Boss Tweed sits on the front +seat, next to the driver, as his minions HAND him coal sacks. Tweed +distributes them with a smile to the NEEDY who trot next to the wagon. + +BOSS TWEED +(to the people as they grab the coal) +Tammany's here to take the chill off the winter and the weight off your +heart. It's Tammany can make this city a fit place, with the help and vote +of all you good people... + +As he continues, Bill the Butcher JUMPS onto the wagon and sits down +beside him. Boss Tweed hardly gives him a glance. + +BILL THE BUTCHER +You sent me word. + +BOSS TWEED +We could use help here. Grab a sack. + +BILL THE BUTCHER +I keep my hands clean. + +BOSS TWEED +(now he looks at him) +So I've observed. + +BILL THE BUTCHER +(tense) +Better be on your mark to talk like that to me. It was you stopped me at +the Pagoda. I would have cut Monk inside out. + +BOSS TWEED +What if you hadn't? Think of the embarrassment. And what if you had? +Consider the waste. Next time you're in a dust-up like that, think ahead +and make proper plans. It'd be a grand source of revenue, whoever prevails. + +BILL THE BUTCHER +It touches my heart how you always. have our best interests in mind. + +BOSS TWEED +Our mutual interests. That's why I want you to contact Monk Eastman. +(Bill's incredulous) +I want you to extend a proposition. I want him to join US. + +BILL THE BUTCHER +What? + +BOSS TWEED +Oh, not Tammany, of course not. We could no more have him there than you. +But he should throw in with the Native Americans, become aware of our +Arrangement and ... well, use his influence, shall we say, to enrich us +all. + +BILL THE BUTCHER +You're saying I can't do everything you need? You don't think the Natives +has been doing good and right? You think there's something more he can do +that I ... + +BOSS TWEED +(interrupting) +It's none of that, Bill. None of that. His independence is like a rebuke +to Tammany. And an insult to you. + +BILL THE BUTCHER +Then you should have let me have him at Sparrow's. + +BOSS TWEED +I should. If I'd been confident-absolutely certain--that you would have +prevailed. Monk is an unpredictable power, and a figure of size. He needs +to be reckoned with. + +BILL THE BUTCHER +He needs to be killed. + +BOSS TWEED +No. He's an elemental force. Them you don't destroy. But you can contain +them and use them for the good they give off. + +He hands Bill a sack of coal. + +BOSS TWEED +Coal? + +Bill doesn't answer. He HOPS DOWN off the moving wagon, and the Needy give +way quickly before him, then regroup and SWARM after Tweed and his coal. +The Boss continues with his Tammany spiel-enjoying all the attention--as +the Butcher watches, disdainful of Tweed but filled with angry +frustration. From his face we ... + +DISSOLVE TO + +68 INT. DON WHISKERA.NDOS BARBER SHOP DAY + +... the incredulous face of Monk Eastman, as he looks at Bill the Butcher. + +MONK EASTMAN +And this is your offer? + +BILL THE BUTCHER +It's Boss Tweedls offer. + +MONK EASTMAN +How do you think we'd sit as allies, Bill? + +BILL THE BUTCHER +The only way we could tolerate being near each other would be stretched +out dead. + +MONK EASTMAN +My thoughts exactly. Then why are you here? Because you were asked to be. +You were ordered to be. And who would order me among the Natives? You? And +would you follow my orders, even if they was being relayed from William +Marcy Tweed himself? + +He EASES himself out of the barber chair. The Butcher TENSES as Monk comes +toward him. + +MONK EASTMAN +Dubious and doubtful, my friend. But your offer--pardon, the offer you +bring--is the most generous that's ever been extended. I favor the terms, +if not the personalities. So let us decide the way any Native American +would appreciate. We'll do it the democratic way. + +He throws open the door of the barber shop and stands there, beside Bill +the Butcher, his arm thrown carelessly around him. PASSERSBY stop in +wonderment as Monk ADDRESSES them. + +MONK EASTMAN +Citizens of the Five Points! It seems the Native Americans have come to +trouble. They have grown so weak that now they seek my help. They can pay +any wage I ask. But I ask you now. Even for money, should I carouse and +conspire alongside a boyo like this with gristle on his knife and spittle +on his chin every time his cock gets hard? + +Monk is beaming, the Butcher is appalled. His body tenses like a snake +ready to spring. But the people in the street just STARE- They can't +believe what they've just heard. + +MONK EASTMAN +(to Bill) +There. You see. I'm afraid the people have spoken. + +BILL THE BUTCHER +I'll see you again, you bog Irish bastard. + +MONK EASTMAN +Well, if it's a fight you want now, Bill, remember to come back with a +bankroll. + +Monk returns to the shop and the comfort of his chair. Bill GLARES at the +people in the street. One lock from him starts them moving fast. But they +do not look away from him quite so fast, or at him, either, with quite the +same fear. + +CUT TO + +69 INT. MISSION (FORMERLY OLD BREWERY) NIGHT + +The vast main room has been changed into a dance floor and decorated for +the evening. An altar has been hung with bunting; SHIP'S LANTERNS and +CANDLES illuminate the place. The REVEREND SHADRACH RALEIGH GREETS +everyone. The room, already crowded with CELEBRANTS of all ages, grows +quiet as the Dead Rabbits, done up in their party best, show up for the +revelry. + +REVEREND RALEIGH +Ah, the Native Americans, is it now? + +AMSTERDAM +Are they coming? + +JENNY +We don't want a ruckus, minister. + +REVEREND RALEIGH +Nor do I. I intended no disrespect. I'd heard the Native Americans were +figures of the greatest prominence here. + +AMSTERDAM +Indeed they are, just for the moment. Let them come. Happy to have them. +Everyone's welcome in a house of God, isn't that right, Reverend? + +REVEREND RALEIGH +As all are welcome in heaven. + +SHEENY MIKE +Ild like to go to heaven. Ild like to go to heaven and bite off Gabriells +ear. + +REVEREND RALEIGH +You're still welcome, even with such peculiar appetites. + +AMSTERDAM +But if the Natives do come, Father... + +REVEREND RALEIGH +I'm not a priest, son ... + +AMSTERDAM +... there's no accounting for what may follow. + +REVEREND RALEIGH +I'm sure God's hand will guide us in that. Just as He guided you here at +the right perfect time, with a right perfect regent. The young lady with +the sunset hair. Miss ... + +JENNY +Everdeane. Jenny Everdeane. + +REVEREND RALEIGH +Miss Everdeane. Step forward, please. + +Radiant and curious, Jenny joins the Reverend Raleigh in the center of the +room. + +REVEREND RALEIGH +And the evening's regent chooses her evening's partner. + +There is much MUTTERING about this from everyone. Someone makes a wet, +farting SOUND. + +REVERAND RALEIGH +(unfazed) +Here we make only joyful noises to the Lord. + +Under the instruction of the bustling Reverend and his HELPERS, the Women +skeptically stand away from the Men, who allow themselves to be arranged +into a LINE. The Reverend Raleigh escorts the delighted Jenny to a chair +that has been placed, by itself, in the center of the room. Jenny sits +down, facing away from the rest of the guests. She holds a MIRROR in her +hand. + +REVEREND RALEIGH +Now. The men, please. One by one. + +The first volunteer Reverend Raleigh brings forward is a reluctant Sheeny +Mike. There are RUDE COMMENTS as he leads Mike slowly to the center of the +room, coming up behind Jenny until she can see Mikels face reflected in +the mirror. She SHAKES her head. + +REVEREND RALEIGH +Next Gentleman, please. + +More laughing. The BOYS push out one CANDIDATE. Rejected. + +Now ANOTHER CANDIDATE comes forward. And STILL ANOTHER- Jenny rejects each +with the composure of a princess. + +Now it is Johnny's turn. He WALKS slowly across the big room, and stands +behind Jenny, trying to look confident. The moment is long, the room's +tense... until--just once but very decisively-Jenny SHAKES her head. + +Jenny watches Johnny's face in the mirror. She stays still. Finally, he +walks back to the GANG. + +Now Amsterdam starts toward the center of the room. He keeps his eyes +fixed on Jenny. + +Jenny catches Amsterdam's reflection in the mirror. He STOPS. She NODS her +head. Yes. Him. + +A small BAND strikes up a barely recognizable version of "A Mighty +Fortress Is Our God," arranged in waltz time. Jenny rises and holds out +her arms to Amsterdam. They start to DANCE, a little clumsily, as other +COUPLES join them. + +AMSTERDAM +So you accept? + +JENNY +What? + +AMSTERDAM +You accept to be my mort and no one else's. + +JENNY +(teasing) +No, it's just that I didn't recognize you in the mirror. You still got +some of the face the Butcher gave you. + +AMSTERDAM +(going along with the joke) +It's not the Butcher, it's the dancing. It shifts my face all around. + +JENNY +Maybe you'll look better later. + +The Reverend Raleigh and his Helpers DASH among the dancers, distributing +LIGHTED CANDLES, which the COUPLES take and hold as they move around the +floor. + +AMSTERDAM +I will if we're together later. +(she smiles) +And what about after that? After tonight? + +JENNY +I chose you just for tonight. If that's not good enough I'll go with +someone else. + +She takes a candle from the Reverend and holds it so the light FLICKERS on +Amsterdam's face. + +AMSTERDAM +I'll have tonight. But after this don't come to me no more till you're +ready. No more. + +His eyes, in the candlelight, show both his love and his Resolution. Jenny +NODS and they DANCE AWAY ... + +... losing themselves now among the dancers, all moving and holding +candles. As they dance, their movement becomes SPLIT, SEQUENTIAL, a study +in motion like an old Gjon Mili photograph. Their bodies create a RUSH OF +YELLOW LIGHT ACROSS the screen like the tail of a comet. + +CUT TO + +70 INT- DEAD RABBITS HOUSE NIGHT + +In the hallway. JOHNNY stands pressed against a door. + +JOHNNY +(whispering) +Amsterdam. +(louder; hissing) +Amsterdam! + +AMSTERDAM (V.O.) +Who is it? + +JOHNNY +Me. + +AMSTERDAM +Come on in. + +JOHNNY +I don't want to come in! You come out. + +AMSTERDAM +Just a damn minute. + +AMSTERDAM comes to the door, half-dressed and sleepy. We see Jenny asleep +on the floor inside. + +AMSTERDAM +What do you want? + +CUT TO + +71 EXT. PIER/DEAD RABBITS HOUSE NIGHT + +Just before dawn. The streets are empty, the river is quiet. AMSTERDAM +follows JOHNNY out of the house. + +JOHNNY +I'm going to fight you. + +AMSTERDAM +Oh, Jesus, Johnny, I'm tired. How about sometime else? + +JOHNNY +Now. + +AMSTERDAM +You want to tell me what this fight's over? Is it The Butcher? Jenny? +(Johnny turns, determined) +Alright, alright. Then tell me why like this? + +JOHNNY +So when I lose no one will see. + +And he SLUGS him. Hard. Harder even than he thought he could. AMSTERDAM +stumbles, stunned, then pulls himself up. And CHARGES at Johnny, knocking +him down. + +The two friends PUNCH, WRESTLE, BITE and PUMMEL EACH OTHER with such +extravagant energy that they soon... + +... ROLL OFF the pier... + +CUT TO + +72 EXT. PIER DAWN + +... onto the muddy ground underneath the pier. They LAND with a shuddering +SPLASH in the soggy earth, but they keep fighting .... + +... as a PACK OF ORPHANS, eyes glinting like night animals, scatter like +wild beasts disturbed in their burrow. + +Amsterdam has the physical advantage, and more skill. But Johnny has the +fury. All the feeling and the frustration rain out of him physically, +making the match nearly even. + +The Orphan Pack watches the fight silently, showing no favoritism or +emotion, just an edge of curiosity. + +Amsterdam HITS Johnny a wicked combination that makes him SINK to one knee +in the mud. But Johnny will not go down. Amsterdam, hurt himself, just +stares at Johnny in wonderment. + +AMSTERDAM +Satisfied? + +JOHNNY +Satisfied? It wasn't me that's been dancing and shagging all night. + +And he pulls himself to his feet and THROWS a roundhouse at Amsterdam, who +half-staggers out of the way. The moment throws Johnny off balance, and he +falls in the mud again, this time on all fours. Amsterdam SINKS down +beside him. + +AMSTERDAM +Enough. + +Johnny won't stop: he throws a punch that Amsterdam can see coming a block +away. But he's too tired too duck; or maybe he's just fed up. He takes the +punch and FALLS on his back. + +AMSTERDAM +That's it then. + +JOHNNY +The hell. + +And he THROWS HIMSELF on Amsterdam. It's more like he rolls over onto him +than anything, but he's on top of him now, hitting him in the face with +all he's got left in him. + +AMSTERDAM +Goddamn it. + +Amsterdam HEAVES Johnny off and pops him a solid SWIPE to the jaw. That +does it. Lights out. Johnny falls unconscious into the slime beneath the +pier. + +The Orphan Pack keeps staring from the shadow with their ferret eyes. +Still silent. Amsterdam STRUGGLES to his feet, stops at the river's edge +to get a handful of water to revive himself. Then he looks over, sees his +unconscious friend. + +AMSTERDAM +Goddamn you anyway. + +He grabs Johnny's body by the shoulders and pulls him to the river's edge. +He gets some water on his hand, lets it drip over Johnny's face, washing +away a little of the blood. Not enough. He draws some more water, and RUBS +it gently onto Johnny's face. + +CLOSE: on the motion of his hand. It is nearly gentle. + +CUT TO + +73 INT. DON WHISKERANDOS BARBER SHOP DAY + +As Don Whiskerandos' hand, holding a razor, travels over the great plains +of Monk Eastman's face. His hand is shaking. + +MONK EASTMAN +What's the trouble, Don? + +DON WHISKERANDOS +There's someone here. + +Monk bestirs himself in the chair, SEES: Bill the Butcher, standing in the +doorway. + +MONK EASTMAN +It's just a man of commerce. + +Monk settles back in the chair as Bill the Butcher walks into the shop. + +BILL THE BUTCHER +You're right enough this time, Monk. +(to Don Whiskerandos) +Go ahead. +(the barber hesitates) +Go on with your work. I'll finish my business. + +Don Whiskerandos picks up a pair of SCISSORS and NERVOUSLY starts to TRIM +Monk's hair. + +MONK EASTMAN +Come out with it then. + +Bill NODS emphatically at Don Whiskerandos, who is clearly terrified. Bill +nods again, almost vehemently. Don Whiskerandos SHAKES his head. Bill +GLARES at him. The Barber takes a STEP BACK. Monk opens his eyes, starts +to size up the situation. + +BILL THE BUTCHER +You damn craven, do it! + +Bill LEAPS forward, grabs the trembling barber's arm and pushes it toward +MONK... + +MONK EASTMAN +(rising from his chair) +What the hell... + +...and the scissors, held by Don Whiskerandos and pushed by Bill the +Butcher, meet Monk full in the face as he bolts from the chair. The long +scissor BLADE SINKS into Monkls right eye. + +MONK BELLOWS, staggers toward Don Whiskerandos, who shrinks against the +wall. The scissor protrudes from Monk's eye as he RAGES, blinded by blood, +now reaching out for the Butcher + +BILL THE BUTCHER +Your eyes was open for that alright. And you still got one to see this. + +Bill the Butcher reaches above him for Monk's war club, which hangs on the +wall. He grabs tight hold of it and, with Monk nearly upon him, swings it +viciously at Monk's head. The BLOW sends the scissor FLYING out of Monk's +eye, with the eyeball still attached. It also SMASHES in the side of +Monk's face. He FALLS, still GRABBING desperately for the Butcher... + +... who now stands over him, beating him incessantly with the war club. +CAVING his head in. KILLING him. + +Don Whiskerandos looks at Bill in a virtual paralysis of terror. The +Butcher lets the CLUB FALL, reaches in his pocket and throws some MONEY at +the barber. + +BILL THE BUTCHER +If I was you I'd use that to open in a new location. Consider St. Louis. + +The enormity of what he's done is beginning to sink in. He turns to leave +the shop ... but STOPS in the doorway. + +Outside, CITIZENS of the Points are staring at the fallen Monk in mute +wonder. They have just witnessed a moment in history. + +Bill the Butcher surveys them all silently, then calls out to Don +Whiskerandos. + +BILL THE BUTCHER +The war club. + +The barber steels himself to CARRY the bloody club to the Butcher, who +hefts it slowly in his hands, in view of all. + +He takes a knife from his vest, and CUTS the LAST NOTCH in the club. Then, +slowly... + +... he steps down into the crowd, which PARTS before him. He + +walks among them in regal splendor, the war club at his side, dripping +gore. + +As the crowd falls back, Bill spots Amsterdam, Johnny and some of the +other Dead Rabbits, watching his every mave. He STOPS. + + +HOLDS OUT the bloody war club in front of him... straight in front of +him... POINTING IT right at Amsterdam. + +BILL THE BUTCHER +I promise you, Amsterdam. I promise you. + +Then he grins, turns away and walks through the crowd: prince of all he +surveys. + +CUT TO + +74 INT. RESTAURANT/PARK ROW + +Boss Tweed reigns in the banquet room of a vast, gaslit restaurant, at a +long table overburdened with food. Seated along both sides of the table is +an array of the city's POWER BROKERS, with whom Tweed and his Tammany +MINIONS mix easily. Their attitude toward the Power Brokers is a mixture +of ribald fawning and fine condescension; the Power Brokers, in turn, +enjoy the food, and the MUSIC from a small BAND, and the DANCING GIRLS who +flirt and entertain them, while exuding the unmistakable impression of +amateur anthropologists exploring a decaying civilization. + +Tweed is courting and joking with a bewhiskered HORACE GREELEY, editor of +the influential Tribune. + +GREELEY +I may enjoy the bounty of your table and the pleasures of your company, +Mr. Tweed ... + +BOSS TWEED +And the pleasures of the company provided you, Mr. Greeley. + +GREELEY +...without the Tribune endorsing your politics. + +BOSS TWEED +I suppose you can at that. Take with one hand, flay with the other. +Virtuels on your conscience, Horace, but Tammany's in your heart. + +Killoran materializes at Tweed's side and whispers something quickly, +discreetly in his ear. Tweed EXCUSES himself, rises quickly and WALKS +across the restaurant floor... + +... past the Band and the Dancing Giris ... + +... to the swinging doors of the kitchen. As he pushes open the SWINGING +DOOR, his face has lost its humor. + +CUT TO + +75 INT. KITCHEN/RESTAURANT/PARK ROW + +A madhouse of activity. WAITERS in black suits, vests and serving outfits +STREAM by carrying huge TRAYS of food while the KITCHEN STAFF works +double-time to keep up with the unceasing volume. + +As Boss Tweed walks in, Bill the Butcher PLUCKS a piece of roasted poultry +off a tray as it's carried out the door. + +BILL THE BUTCHER +I'm not good enough for your table, so I eat where I can. (takes a big +bite) +It's good, what is it? + +BOSS TWEED +Pheasant. + +BILL THE BUTCHER +Is that like pigeon? I killed a pigeon once but it didn't taste nothing +like this. + +BOSS TWEED +You killed a bull this morning. I told you to make an Arrangement with +him, and you come back with his blood on your hands. + +BILL THE BUTCHER +(chewing his food) +He insulted me. He aggravated me. I couldn't stand for that, for no one. + +BOSS TWEED +You stand for anything if I tell you. + +BILL THE BUTCHER +You think I should be afraid of you. You act like lightning strikes when +you talk. + +As they talk, and the tension builds between them, the two men are +constantly BUFFETED by the swinging doors and the unending stream of +WAITERS. + +BILL THE BUTCHER +I never was afraid of you, so don't think I was or act like I was, you +ain't earned it. + +BOSS TWEED +What did you earn us, killing Monk? + +BILL THE BUTCHER +Where'd you earn the right to ask that question? You raised some dust in +the streets a while back, but no more. You got power but you ain't got +muscle and you ain't got a notion what it means to be a warrior. + +BOSS TWEED +I see it lost you a lot of God's sense, along with that eye. + +BILL THE BUTCHER +You don't know nothing about that! It was my doing! It says in The Book, +"If thy eye offend thee, pluck it out." I followed that law with my own +knife and hand. The first I ever fought Priest Vallon, he bested me. And +when he came to bring me to death, I looked away and he watched me and he +let me go. The shame was worse than the killing. I would have cut out both +eyes if I could still have fought, but cutting just the one gave me heart. +When I killed Priest Vallon, that restored me. Now I sent Monk Eastman +over I got glory. I got all there is, and small thanks to you, squire. + +BOSS TWEED +(measured, conciliatory) You need two eyes to see the depth, Bill. That's +how we help each other. If it wasn't for me would be happy enough to +plunder the Points and put the fear into people who don't know nothing +else. But Bill, I'm only saying... I'm counselinm... look in the distance. +You want to sit at my table, fine. But you must always remember who the +host is. It's not a matter of courage welre talking. It's manners. + +Bill grabs another piece of food from a tray. + +BILL THE BUTCHER +Howls these manners? + +BOSS TWEED +Fine, if you're hungry. + +BILL THE BUTCHER +I'm always hungry. + +BOSS TWEED +I've always told you, Bill. There's plenty for all, and more for us +together than separate. We'll dine together sometime. + +Bill the Butcher nods, appeased, and leaves, swaggering his way through +the kitchen chaos, making everyone get out of his way. Boss Tweed watches +him go, his expression changing from bemused appeasement to molten rage. + +CUT TO + +76 INT. RESTAURANT/PARK ROW + +Later. Everyone's gone except some WAITERS, cleaning up, and Boss Tweed +and Daniel Killoran, who sit at the end of the banquet table. Leftover +plates of food have been massed at Tweedls place and, as he talks, he +PICKS from them. + +BOSS TWEED +Let me put this to you, Daniel. Now that the Butcher has killed the single +most prominent figure in the Five Points--a man of myth and moment--who is +there to take his place? +(as Killoran starts to answer) +Of course. Then what do we do about the Butcher? He's too useful to be +killed, but he must be checked. + +KILLARAN +It could be a police matter. + +BOSS TWEED +Impossible! Any cops who might have the mettle to go against the Butcher +have blood ties to the gangs. They can't be trusted. And any cops that can +be trusted are too craven to be any use. If Bill's to be checked, it must +come from within the Points, not without. + +KILLORAN +The Dead Rabbits did a proud job for elections. That Amsterdam boy has +sand. + +BOSS TWEED +That so? The last time I saw him he was under the Butcher's knife looking +like a fine filet. Who else is there? + +KILLORAN +Well, the Rough and Tumble Boys over to Slaughterhouse Point. There's +Country McCleesterls bunch, too, and the Plug Uglies, but there's none +that have the promise of the Dead Rabbits, or the stake, neither. + +BOSS TWEED +What would that be? + +KILLORAN +The boy Amsterdam has a blood feud with the Butcher. He's sworn revenge +for the death of his father, and he's got the heart to carry it forward. +He'll have the skill and power soon enough. + +BOSS TWEED +Blood will make a man intrepid. Bring them along, then. Nurture the +Rabbits with neglect. Let them roam where they like. + +KILLORAN +And if they roam into some portion of our own revenues? + +BOSS TWEED +I'd tolerate a little trespassing if it was for a higher good and use. +They'll cross with the Natives soon enough and keep each other occupied. + +KILLORAN +Bill's got to be a lot more than occupied. + +BOSS TWEED +I'll hold Bill in check. If he becomes unwieldy ... well, damn it all, +Daniel, I might just have to oil up my old musket. What do you think of +that, eh? + +Boss Tweed gets up from the table. A WAITER is DIMMING the gaslights, +filling the room with deep shadows. + +KILLORAN +It'd be gratifying, Mr. Tweed. Even edifying. + +BOSS TWEED +But poor politics, eh? Well, we musn't have that. +(as he walks away) +I do miss those roistering days, though. Oh, and bring some of that food +for the canaries. + +CUT TO + +77 EXT. STREET/THE BLOODY ANGLE DAY + +The sharply-angled turn of Doyers Street, nicknamed "The Bloody Angle." +SOUND of a horse and cart as we see a row of UPTURNED mostly WOMEN and +YOUNG CHILDREN. + +A NATIVE AMERICAN drives a cart carrying large barrels of MILK. A SECOND +NATIVE rides beside him on the seat, holding a rifle, looking impassively +at the faces turned up to him. A WOMAN holding a BABY in one arm and a +CHILD by the hand steps in front of them. They almost run her down. + +WOMAN +We ain't had no milk this week. + +NATIVE 2 +You can have as much as you can pay for. +(to crowd) +Anyone that's got the ned, step up with your pitchers. Any not, come back +when you do. + +The Woman gives her children to other WOMEN in the crowd and advances +toward the wagon. Native 2 cocks his rifle... + +... and Jenny steps from the watchful Crowd. + +JENNY +I got ned enough for all. See? Fair enough? + +She holds her hand out as she WALKS slowly toward the milk wagon. She's +carrying a huge fistful of GLEAMING COINS. The Natives on the wagon watch +her warily... + +... and are JUMPED from behind by a couple of Dead Rabbits. Amsterdam +grabs a milk pitcher from a WOMAN in the crowd, AXES open the spigot on a +milk barrel and FILLS the pitcher to overflowing. Jenny JUMPS up on the +wagon seat. + +JENNY +(to Amsterdam) +What's our rate? What do we charge? + +AMSTERDAM +Johnny worked it out to a nickel less than the Natives. Just till we're +established. Then we raise it a penny more than now. + +JENNY +Raise it? Is that what you want? + +AMSTERDAM +You say, then. + +JENNY +(beat; then, to Crowd) There'll be no paying at all this day. Or this +week, neither. This is Dead Rabbits business from now on. + +The Crowd scrambles for milk and the Rabbits try to keep ORDER. + +JENNY +(to Crowd) +We'll take ned if you got it, now or in future. But no one will go without. + +AMSTERDAM +(to Jenny) +Except us. You opening a charity? + +JENNY +They'll pay us what they owe, in loyalty if not in cash. Tammany gives +coal, we give milk. + +AMSTERDAM +They can afford it. + +JENNY +Can't we? + +CUT TO + +78 INT. MOTHER JOYCE'S BORDELLO DAY + +The midday sun shining through the windows makes the place look tatty and +slightly desperate: this is a place that needs low light and long shadows +to look good. + +Amsterdam and Johnny are at a long bar, talking to Mother Joyce, a beefy, +wised-up woman with pornographic tattoos an both forearms. + +MOTHER JOYCE +This place is so clean it's the next thing to chaste. And safe as a +convent, too. + +AMSTERDAM +From the Natives, maybe. But not from us. + +MOTHER JOYCE +You're saying I got to worry about your mob too? + +JOHNNY +No worries at all. You throw in with the Dead Rabbits and we'll worry +about the Natives. + +Across the room, Jenny is sitting talking to a few of the WHORES, one of +whom is a mixed-blood Eurasian with long black hair named Emma Loss. She +gets up lazily and heads for the bar. As she passes a DRUNK, he reaches +out to grab her. She's used to this, and she knocks his hand away. He +keeps after her. + +At the bar, Mother Joyce notices Emma being hassled, but pays no +attention: her girls can take care of themselves. + +MOTHER JOYCE +(to Amsterdam and Johnny) +And if someone else comes along, do I pay them too? + +AMSTERDAM +You only pay us. We see you safe from everyone. + +Johnny has been watching the drunk bothering Emma Loss. Without saying +anything to Amsterdam or Mother Joyce, Johnny LEAVES the bar, walks over +to the drunk and SHOVES him away. + +JOHNNY +Leave off her. She don't want you. Not even if you could pay her. + +EMMA LOSS +Hey, just a minute. + +JOHNNY +(to Emma) +He can't pay. I can pay. + +AMSTERDAM +(watching this) +Maybe I should offer Johnny as a bouncer for your busy nights. + +MOTHER JOYCE +(laughs) +A bouncer! I don't know if he could bounce on a feather bed. He wants to +be a character like you, is that it? + +AMSTERDAM +He's got his own ideas. Too full of Tammany, maybe, but he's a fast friend. + +Across the room, Johnny is talking to Emma Loss. She NODS and starts to +LEAD him upstairs. + +MOTHER JOYCE +But in my trade you go on your instincts. My instincts says to heed you, +and my memory of your father says I'm right. We'll shake on it. +(Amsterdam grabs her hand) +And have one of my best to seal the bargain. Megs! + +A lanky blonde, seated across the room near Jenny, bestirs herself. + +MOTHER JOYCE +Come here and show my new friend why we're worth special care. + +Jenny watches MEGS move toward Amsterdam. + +CUT TO + +79 INT. ASSIGNATION ROOM/MOTHER JOYCE'S + +Big enough to contain a half-gutted mattress supported by a rickety bed, +some worn sheets and a few GUTTERING CANDLES. + +Johnny undresses as Emma sits on the bed and starts to take off her dress. + +JOHNNY +You liked that old man? You would have gone with him? + +EMMA LOSS +I like anyone that pays, that's all. + +JOHNNY +Tell me what he wanted you to do. + +EMMA LOSS +He mostly wanted comforting. + +JOHNNY +I never seen hair so black. Can you take the pins out? + +EMMA LOSS +It takes so long to do back up. + +He sits beside her and starts slowly, almost tenderly, to remove the pins. + +79 CONTINUED: + +JOHNNY +Did your mother have the same color? + +I don't know. + +JOHNNY +(as the hair cascades over her bare shoulders) +Lie back, I want to look at you. +(his eyes glide along her body) +What's that mark? + +EMMA LOSS +I always had it. + +JOHNNY +(touching her lightly) +And there? Is that a scar? + +EMMA LOSS +(she looks at her naked belly) +There was a baby. They cut it out. + +JOHNNY +And that on your shoulder? That looks old. + +EMMA LOSS +Yeah, I got that when I ... + +JOHNNY +(interrupting, quiet) +I don't want to know when. Don't tell me about before or what you used to +be, I don't want that. + +EMMA LOSS +What about your scars. Do you have scars? + +JOHNNY +None I ever seen. Maybe you can find them. + +Her hands and mouth cover his body. He closes his eyes. + +CUT TO + +80 INT. ASSIGNATION ROOM/MOTHER JOYCEIS + +Another room. Amsterdam and Megs are undressing each other when Jenny +walks in. + +AMSTERDAM +Go on. I can see you later. +Megs leaves, brushing past Jenny. + +JENNY +What are you doing? + +AMSTERDAM +I couldn't decline what Mother Joyce offered. It's in the interests of +business. You understand business. + +JENNY +Sure I do. But there's something else I still don't understand. At +Sparrow's Pagoda, did you hit me, knowing it was me? + +AMSTERDAM +Yeah. I did. + +She HITS him. In the face. Hard. Not a slap. A solid PUNCH. His nose +starts to gush blood. He puts his arm under it to staunch the flow, +keeping his eyes an her. + +JENNY +Meantime's over. + +AMSTERDAM +Oh fine. That's fine. I'd be celebrating but I'm losing too much blood. + +Jenny tears part of the sleeve from her blouse and puts it against his +nose. + +JENNY +Put your head back. + +AMSTERDAM +That don't work. + +JENNY +Put your head back I said. + +AMSTERDAM +(as she tends to him) +So why so sudden, then? + +JENNY +Sudden? Every day I see you and you complain I can't decide. Now I decide, +you say it's sudden. + +AMSTERDAM +It's the whore did it, then. + +JENNY +Don't flatter yourself. + +AMSTERDAM +It's because you're jealous. + +JENNY +It's because you didn't lie about hitting me. + +AMSTERDAM +Christ, I wish I had. Come here, then. + +He reaches to pull her down on the bed. + +JENNY +Not here. There's too much past. + +CUT TO + +81 INT. ROOM/DEAD RABBIT HOUSE + +The room where Johnny fetched Amsterdam out for the fight. Amsterdam and +Jenny have just made love. + +JENNY +It must be morning. + +AMSTERDAM +I don't care, I'm not getting up. + +JENNY +This is what you meant, then? It's going to be just the same from now on? + +AMSTERDAM +What? + +JENNY +Every morning I wake up next to you. + +AMSTERDAM +Or you don't wake up at all. + +JENNY +We only just started in and you're already threatening me. + +AMSTERDAM +It's not a threat. +(no teasing now) +It's a declaration of love. + +JENNY +I prefer my kind. This kind. + +She reaches beneath the pillow and pulls out a fine DIAMOND RING, which +she slips on his finger. Amsterdam reacts with surprise, gratitude and (of +course) suspicion. + +AMSTERDAM +What's this? Where'd you get this? + +JENNY +You said I was the best thief in the Five Points. But I got +restless. Will you wear something I got? + +CUT TO + +82 EXT- UPTOWN STREET DAY + +A long street of tree-shaded houses. Spacious lawns. North of the Five +Points. Considerably north. This is the first time we have been outside +the Five Points and Paradise Square. The city +rent place. + +Jenny and Amsterdam stand near a residence at the end of the street. +Amsterdam, dressed in a suit, can't quite conceal his wonder as he stands +staring at the house. + +AMSTERDAM +What is this place? + +JENNY +My jeweler's. + +She GESTURES for him to follow her and we see now that she is dressed in a +maid's outfit. + +JENNY +Come on. + +AMSTERDAM +I don't see nobody. + +JENNY +That's the best time. They're all having lunch. + +CUT TO + +83 EXT. UPTOWN HOUSE DAY + +At the back door of the grand house, as Jenny OPENS it slowly and glances +inside. + +AMSTERDAM +You're off your head. + +JENNY +(pleased, showing off) +You can wait on me a minute. Or I'll see you back in the Points if you're +scared. +(Amsterdam looks at her) +Don't worry. I know every house on this street. They all leave their doors +open. They live like they're not in New York. + +She GOES IN the house. Amsterdam WATCHES through the window, sees her +going up stairs. Then he looks at the dining room, visible distantly +through an open kitchen door. + +He WATCHES, fascinated, fragments of the everyday rituals of a world he's +never seen. As SOUNDS drift listlessly from the street beyond, and a light +BREEZE blows, WE SEE IN A SERIES OF DISSOLVES the serving of a meal; +SERVANTS carrying and passing plates; FAMILY MEMBERS reaching for dishes +and passing them; the LOW KURMUR of Konversation in accents he has never +heard. It's not so much that these people and their life are foreign to +him. It is as if he has stepped into another Dimension. + +He loses his sense of time, and of danger. So that when Jenny TOUCHES his +arm she surprises him thoroughly. + +JENNY +Come on. I might still be taken for a maid. But you're nobody's notion of +a butler. + +84 EXT. UPTOWN STREET DAY + +As Jenny and Amsterdam walk away from the house. She holds his arm. They +look young and full of hope, like a servant couple just over from the old +country enjoying a day off. + +JENNY +The Police Commissioner lives the next street over. I was thinking of +visiting him next month, but cops don't buy goods. They keep all their +graft in cash. + +Amsterdam looks at the houses with wonder that he tries to make casual. +She opens her satchel a little way, then NUDGES him to have a lock at the +swag inside. + +JENNY +How's that for ten minutes? + +AMSTERDAM +It's a lot to fence. + +JENNY +I'm not going to fence it. I'm going to keep it and take it where no one +will recognize it. + +AMSTERDAM +Where would that be? + +JENNY +Somewhere west. Far west. Past the Mississippi River, somewhere into that +territory. + +AMSTERDAM +That's a hard journey for a woman alone. + +JENNY +You'd be with me. + +AMSTERDAM +You got it all planned and straight, is that it? + +JENNY +Once I said I'd be with you I wanted someplace we could be together. +Someplace better than here. What's the matter with that? + +AMSTERDAM +Nothing. Except there's no place but here for me right now. I got to +settle things. + +JENNY +Yeah, I know, but I'm talking about settling down, not settling debts. + +AMSTERDAM +You don't have my obligations. + +CUT TO + +85 EXT. PARADISE SQUARE DAY + +The Dead Rabbits SWEEP across the bustling square, Johnny and Amsterdam in +the lead. + +JOHNNY +It's a fair day's wage. We just move the people out of the building, and +collect. + +AMSTERDAM +Who from? + +JOHNNY +Who owns the building. +(points) +Them. + +The gang approaches a tumbledown BUILDING called Jacob's Ladder because of +the iron rungs that run straight up its front to the roof. Two +well-dressed GENTS stare at the building fretfully. + +GENT 1 +(to Johnny) +I'm glad you came in force. There's half a hundred people still in there. + +GENT 2 +Maybe more. + +GENT 1 +And not one's given rent the whole year. + +AMSTERDAM +You live here? + +GENT 1 +No, no, of course not. + +AMSTERDAM +I mean in the city. A ways north, I'll bet. + +GENT 2 +Yes. Why? + +A RIFLE SHOT sounds from an upper window and a Rabbit falls wounded. They +all DUCK FOR COVER. + +JOHNNY +It's not just citizens in there? + +GENT 1 +Of course it is. + +JOHNNY +with arms? + +GENT 2 +From their damned gang. Some of them live there. + +AMSTERDAM +Some of who? + +GENT 2 +The Native Americans. + +JOHNNY +We didn't contract for that. + +GENT 1 +We'll pay extra for the danger. + +AMSTERDAM +No danger. But you will pay extra. +(turns; to gang) +Let's go and greet some Natives. + +Under SCATTERED RIFLE FIRE and a barrage of ROCKS, the GANG STORMS the +building, charging inside and starting up the ladder as if they were +attacking a medieval fortress. ARMS reach out from windows to try and pull +them off. The Rabbits respond with knives and PISTOL SHOTS. As they charge +inside, the CAMERA RISES to an OVERHEAD shot and we ... + +DISSOLVE TO + +86 EXT. PARADISE SQUARE DAY + +Later. The same OVERHEAD ANGLE. BODIES litter the street everywhere. Some +dead and wounded Rabbits lie near NATIVES who have gone to their reward. +Some BUILDING RESIDENTS wander the street in a daze. JOHNNY is collecting +money from the Two Gents, who look very pleased as Amsterdam approaches +with Jenny. He's carrying a rifle he took from the building. + +AMSTERDAM +(to Gents) +Alright, then? + +GENT 2 +Very much alright. Quite a spectacle. + +AMSTERDAM +Oh really? Just the entertainment you favor, is it? Pardon me for a +moment, gents. +(he turns to Jenny) +You wanted to settle, you and me. That's so, isn't it? You did agree, did +you not. + +JENNY +I did, yes. + +AMSTERDAM +Good, because I didn't want to act hasty. I can never tell for sure what +you're thinking, and sometimes I'm not always sure what you're saying... + +GENT 2 +(interrupting) +Excuse me, we have to finish and... + +AMSTERDAM +(to Gent 2) +Excuse me. We'll conclude in a moment. +(back to Jenny) +Where do you settle? + +JENNY +Amsterdam, what are you saying? + +AMSTERDAM +I'm asking, where does anyone settle? + +JENNY +I don't know, you mean a place, a home? + +AMSTERDAM +A home yes. + +GENT 1 +Excuse me, but we really must conclude. + +AMSTERDAM +(ignoring him) +Well, I'm saying to you then, Jenny Everdeane, welcome home. + +No one sees it coming. Amsterdam FLASHES around, swinging the BUTT of his +rifle into Gent l's midsection, doubling him over and sending him +breathless to the ground. Amsterdam SPINS again and swings the butt into +Gent 2's face, knocking him cold. + +AMSTERDAM +Fine place. Room enough for all. +(to Johnny) +Get them out of here. + +GENT 2 +They'll come back looking for you. + +AMSTERDAM +With whose help? The Natives? They won't help these flourishing bastards +even for ned. +(to Jenny) +Tell any who wants they can stay. If they can't pay rent they can join the +gang. But make sure the best rooms go to us. Look around ... + +JENNY +(interrupting) +I know this building. + +CUT TO + +87 INT. UNDERGROUND/JACOB'S LADDER + +As Jenny leads Amsterdam through a narrow tunnel. The place is like a +weird catacomb: it is narrow and dank, filled with bones of dead animals, +of the two- and four-legged variety. + +JENNY +These lead all under the Square, into the Brewery and out again from +there. They're closed off and forgotten since the Reverend opened the +mission. Pass me the candle. + +Amsterdam hands Jenny a stump of candle, which she holds high enough to +see... + +... that the tunnel has opened onto a small room just above the foundation +of Jacob's Ladder. It's a graveyard, memorializing gang members gone to a +better world--or worse. Trophies from many gangs--including the bones and +skulls of some Dead Rabbits-litter the place in loose ritual fashion, as +if this were a catacomb in Palermo. + +Stooping low, Jenny walks to a narrow corner of the room, where several +PAVING STONES have been laid in the rough pattern of a cross. A slab of +slate serves as a headstone, and on it, in fading paint, barely legible, +is the name "Maggie Everdeane." + +JENNY +We lived in this building till she lost her seamstress work and we went to +the Brewery. One day she slept so drunk she never woke and I brought her +back here. Dug this myself. +(beat) +Families. Give here what I gave you. + +Amsterdam hands her a chest that looks like a small version of +Blackbeard's treasure box. She opens it and holds the candle close: inside +is the swag from all her cat burglaries. There's a lot of it, GLITTERING +with promise in the GUTTERING flame. Jenny starts to dig in her mother's +grave. + +JENNY +She'll keep an eye on this for us. How about some help? + +He KNEELS beside her and they dig at the grave with stones and bones. + +AMSTERDAM +You trusting me with your treasure, then? + +JENNY +Just take another look at it to remind you. I can always do fine on my own. + +Amsterdam reaches inside the chest, pulls out a ring and SLIPS it onto +Jenny's dirt-covered finger. She KISSES him. + +JENNY +What's mine is yours, is that it? + +AMSTERDAM +I could use this, too. + +From the bag he holds up a small GOLD CROSS. + +JENNY +You making an offering to the Reverend Raleigh? + +Amsterdam slips the cross into his pocket without answering and starts to +dig again. + +AMSTERDAM +Are you sure we can trust your mother? + +CUT TO + +88 INT. HALLWAY/TAMMANY + +BOSS TWEED listens to an angry BILL THE BUTCHER as they walk briskly down +a long marble corridor lined with formal portraits of former Tammany +worthies. + +BOSS TWEED +The building and how many? + +BILL THE BUTCHER +A dozen at least of my Natives. + +BOSS TWEED +The Dead Rabbits are a wooly bunch alright. + +BILL THE BUTCHER +I want at them. All of them, and Amsterdam especial. Now. + +BOSS TWEED +Not just now. It's between too late and too soon. They've become a little +too prominent for comfort, but they're still too small for you to soil +your hands. The man who killed Monk Eastman pushing around a mob of +upstarts. It's practically undignified. + +BILL THE BUTCHER +To hell with any of that. + +Tweed stops under a grand new PORTRAIT of himself. + +BOSS TWEED +Very well, and to hell as well with any plans you and I may have for +growth and change and even greater reward. You'll never advance anywhere +beyond the limited perimeter of your imagination. + +BILL THE BUTCHER +I don't got to advance anywhere further. + +BOSS TWEED +Got to, no. But ought to. + +He hands him a fancy embossed envelope. + +BILL THE BUTCHER +What's this? + +BOSS TWEED +(eyes merry) +An invitation. To dinner. + +CUT TO + +89 INT. JENNY AND AMSTERDAM'S ROOM/JACOB'S LADDER DAY + +Better by a little than their place in the old hideout. There's even a +window that throws some LIGHT an the few bits of castoff furniture in the +room... an the bed where Jenny sleeps with her face turned to the dawn +light... and an Amsterdam, who is dressing quietly in the corner. He +checks in his coat Pocket,...finds the gold cross ... and leaves. Jenny +does nat stir. + +CUT TO + +90 EXT. GRAVEYARD DAY + +START CLOSE on: Amsterdam's hand, as he places the gold cross in a small +hole at a grave site, then covers it over with dirt. + +Then WE SEE: Amsterdam is kneeling at his father's grave. + +AMSTERDAM +He never had his own cross. Thanks. + +Now he STANDS and TURNS. Jenny is half-hidden behind an elm tree. + +AMSTERDAM +Your touch is light, but as a tracker you work awful heavy. Come ahead. +Now that I met your mother, you should come and meet my father. + +As Jenny starts to WALK towards the grave, we see for the first time ... + +... that we are in the country, a graveyard in an open field with an +astonishing PANORAMA of New York and the East River. (MATTE) The cemetery +is atop a hill, and the East River, busy with ferries and vessels of +trade, glistens in the near distance. Just beyond it is Manhattan Island: +low buildings, winding narrow streets, houses surrounded by open land. A +BREEZE off the river rustles Jenny's dress and blows her hair as she steps +up to the grave site, looks at the headstone and sees ... + +... it is blank. No name, no date. Clean stane. + +JENNY +You should finish the stone. + +AMSTERDAM +It'll be finished when everything's finished. That's when helll rest. The +hand that killed him is the hand that will bury him in peace. + +He holds up his open hand, covered in dirt. + +JENNY +It was Bill killed him, not you. + +AMSTERDAM +With my hand on the knife. + +JENNY +And his hand on yours! + +AMSTERDAM +And me feeling the life go out of my father! He looked at me ... he looked +at me and he swore me with his eyes. I could feel his spirit... I say I +could feel it rising... flowing through the knife like blood into my own +heart. + +JENNY +You talk like he lives in you. + +AMSTERDAM +I don't want him to live, I want him dead! I kill Bill and I'm free of +them both! + +JENNY +You think you can be free that easy? You need your way so clear, and +you''' use anything to clear it. Anyone, too. Me, everybody, we're all +just a way for you to settle your damned ghosts. + +AMSTERDAM +You're part of me now, like the gang is part of me and my father both. If +I can bring us to glory, then my father... like The Book says...my father +can enter his house justified. + +As Amsterdam continues to talk we ... + +DISSOLVE TO + +91 MONTAGE + +The growth of the Dead Rabbits, as we continue to HEAR Amsterdam speak +passionately to Jenny. We first see the Rabbits surrounding and +OVERTURNING a fire wagon; this starts as a live action scene but soon +BLEEDS into SEPIA, then freezes like an old magazine illustration. + +AMSTERDAM (V.O.) +All of us is set on the same road together. The gang can have everything +they ever wanted and get me what I want while they're doing it. We're not +interfering with each other, we're helping each other. It's all the same, +we're all one together. + +We CONTINUE with sepia illustrations: of Dead Rabbit morts picking pockets +and purses along a crowded Broadway; climbing onto a wagon distributing +newspapers and tossing off the occupants, taking over the route +themselves; swarming all over a merchant ship in the harbor as the captain +doles out protection money to have his cargo unloaded. + +AMSTERDAM (V.O.) +We'll all have a share of the profit like we'll all have a portion of the +fame. If we come to be notorious, that only means we're strong, and if +we're strong that means we're ready. + +A sepia illustration of a fire wagon rounding a corner, refurbished and +manned by Rabbits, all wearing striking uniforms with short capes called +TAMLAS. (N.B.: they will be seen wearing the tanlas from these uniforms +during all gang activity throuqhout the rest of the film. Only Johnny, +Amsterdam and Jenny do not wear them.) + +The sepia illustration turns to live action as the fire wagon TEARS around +Paradise Square, SCATTERING everyone in its path, the Dead Rabbits +laughing, their tamlas FLYING behind them. + +AMSTERDAM (V.O.) +And I'll know that time, know it right off when it comes. Just like I knew +you. + +The live action DISSOLVES TO... + +... the last image in the montage: an ILLUSTRATION of Amsterdam, a +half-decade older, turned out in fancy clothes, but with all his +fierceness intact. This is a magazine illustration, and there is a dated +headline over his picture: "Fresh Scourge of the Five Points." The date +reads "June, 1863.11 + +AMSTERDA.M (V.O.) +And just like that, there'll be no way of stopping till it's ended. + +From this illustration, we quickly... + +DISSOLVE TO + +92 EXT. RIVER DAY + +... Amsterdam, as he is in the picture, but in live action, SPRINGING to +his feet and YELLING at a couple of PRIZEFIGHTERS doing battle in a ring. + +AMSTERDAM +Now! Finish him now! + +Far up the sparkling Hudson, a RAFT floats slowly upstream. It's a huge +thing (perhaps half a city block in size) crowded with SPORTSMEN. They +form a LARGE RING around two mammoth PRIZEFIGHTERS who are brawling with +bare knuckles. Amsterdam and Johnny are among the spectators. + +JOHNNY +Our man will take him in another five. What puts you in such a hurry? + +FIGHTER 1 fetches FIGHTER 2 a powerful roundhouse punch that sends him +CRASHING to the deck. As soon as he hits the floor, a CARD GIRL appears +carrying a sign announcing "Round 37.11 SECONDS drag the stupefied Fighter +2 to his corner, while two BOYS minister to Fighter 1, SUCKING THE BLOOD +off his knuckles. + +A GONG sounds to announce the appearance, in the center of the ring, of +the fight promoter, a florid and fulsome P.T. Barnum . + +BARNUM +I want to extend thanks and admiration not only to our two combatants +today, but to their sponsors, the Dead Rabbits ... +(indicates one side of the ring) +... and the Native Americans. + +He FLINGS an expansive arm toward the opposite side of the ring, where +Bill the Butcher sits with Daniel Killoran and a large group of Natives. +Amsterdam and the Butcher eye each other with all the old animosity: it's +almost ceremonial now, part of the Tradition. + +BARNUM +Their generous support allows me to bring you this splendid exhibition. +With their indulgence I'd like to remind you also of the further wonders +that await you at my new Museum, located on Broadway... + +There are BOOS from the crowd at such untoward commercialism. + +BARNUM +... P.T Barnum's gallery of wonders from worlds natural and unnatural, +from nature and from myth! +(continued boos) +And to encourage you also in the view that new Albany ordinances +forbidding sportive violence on land shouldn't dampen your enthusiasm for +wagering. Bets down, entlegen, and you gents.. +(indicated fighters) +... fists up! + +The Fighters come to center ring, circle each other, then start slugging. +A flurry of punches, and Fighter 2 GOES DOWN again. As he hits the deck, +the round automatically ends and the between-rounds ritual takes place +again. + +JOHNNY +Dobbs will take him this round. That'll be something. The Natives has +never lost before. + +AMSTERDAM +Because there's never been a Dead Rabbit fighting before. + +JOHNNY +That'll shame them thorough. + +AMSTERDAM +There'll be worse than shaming. We only got the Natives in range. + +It's time to squeeze the trigger, John. + +The next round begins and the Fighters set to, MAULING each other +furiously. + +JOHNNY +Don't push the Natives too far, Amsterdam. Otherwise it'll be Tammany +pushing back. + +AMSTERDAM +That don't matter any more. + +JOHNNY +It does matter, and it's going to matter even more. Tammany's the heart +and future of this city. If the Rabbits is going to keep growing, we're +going to have to throw in with Tammany some way. + +The action in the ring is FURIOUS. The Crowd cheers. Fighter 1 seems about +to go down, but recovers and starts returning punishment to Fighter 2. + +JOHNNY +They got that Conscription Act from Washington keeping them busy, but they +won't leave us alone forever. And the Natives is strong as they ever been! + +In the ring, Fighter 1 drives Fighter 2 to the deck again, and this time +KNOCKS HIM COLD. + +AMSTERDAM +(indicates Fighter 1) +You call that strong, John? + +In the ring, a couple of agitated NATIVE AMERICANS are trying to get at +the Rabbit-sponsored winner. RABBITS start to RUSH the ring but Amsterdam +WAVES them back. + +AMSTERDAM +(to Johnny) +This is our time now! + +BARNUM +(trying to make official announcement) +The winner... gentlemen, please! ... the winner in the 39th round is the +Dead Rabbits champion, High Water Dobbs ... please, gentlemen! + +The unofficial ring COMBAT continues, knocking Barnum about, as the new +champ throws marauding Natives around like empty flower sacks. Amsterdam +iumps into the fray, PUSHES some Natives away. They start for him but the +champ stands them off while Amsterdam WHISPERS to Barnum. + +BARNUM +Just a moment, please, gentlemen! There's a word for us all. Amsterdam +promises ... +(Amsterdam whispers to him briefly) + +... something large, something grand, something epic. The greatest these +are my own words, of course the greatest righting of the gravest wrong +ever done in the Five Points. + +The crowd quiets, their sporting blood still up, curiosity engaged. Only +Johnny seems glum, concerned. + +This is to be a duel not for money, but for honor! A fight to the death... + +AMSTERDAM +(interrupting, emphasizing) +To the death. If he can stand up to it. + +BARNUM +... on which money, I hasten to add, may certainly be wagered. The names +of the two champions are Amsterdam Vallon, here beside me, and ... and Mr. +William Poole, known to all as ... + +BILL THE BUTCHER +(leaping up) +They know me by any name, you son of a bitch! + +The crowd ERUPTS: this is a death match between Olympians. Only Johnny +does not rejoice. He looks at Amsterdam's face, flush with the belief that +the right moment has finally come, and he has to turn away. He walks away +from the ring as Killoran tries unsuccessfully to PULL the Butcher down +and cool him off. + +BILL THE BUTCHER +(yelling) +I'll have him stretched on a spit! + +Killoran is beside him now, whispering urgently. Bill the Butcher shakes +his head vehemently. + +BILL THE BUTCHER +(to Killoran) +You got no more to say about this now. + +92 CONTINUED: + +AMSTERDAM +Come on, Bill! Let go of your Tammany wet nurse! My challenge, your terms. + +KILLORAN +(to Bill) +Don't do it, you can't do it! There's the Conscription to deal with, and +elections coming, too. That's your calling now, not these ancient quarrels. + +BILL THE BUTCHER +I'll do my work. But this is a shame, a public shame. It demands my +attention. +(yelling to Amsterdam) +Fine, then! Fine and welcome! Day after elections, we'll meet with seconds +on neutral ground to work out time and terms. It will be done and done. + +He walks to the ring, holds his HAND out to Amsterdam. + +BILL THE BUTCHER +You know this hand. Last time it was this close, it was on your throat. + +AMSTERDAM +I remember it better from another time. + +He takes the Butcher's hand. The duel is on. + +CUT TO + +93 INT./EXT. DRAFT REGISTRATION OFFICE + +START CLOSE ON: money being counted out: $300. And a RECEIPT quickly +written and given. We think at first this must be a bet being made on the +duel between Amsterdam and Bill the Butcher- + +But we go WIDER to reveal: an office, tables and chairs, and a line. Two +lines, in fact. One, very long, filled with young man. And the second, +very short, in which a CLERK is handing the receipt to a PROSPEROUS YOUNG +MAN. + +CLERK +Your release from service, according to the terms of the Conscription Act. +Keep it somewhere safe. + +PROSPEROUS YOUNG MAN +I'll keep it with me. + +There is only one OTHER PERSON standen behind the Prosperous Young Man, +and he steps up quickly and hands $300 to the Clerk as the Prosperous +Young Man heads for the door... + +... past the second line, which snakes out into the street, filled with +draftees who SHOUT at the Prosperous Young Man as he leaves. + +DRAFTEE 1 +Hey, tell your Papa to pass me three hundred dollars too. + +DRAFTEE 2 +Tell him if he don't we'll come get you on our way to Gettysburg. + +The Prosperous Young Man HURRIES away, but spots Boss Tweed and Daniel +Killoran as he leaves. + +PROSPEROUS YOUNG MAN +Oh, Mr. Tweed, I'd take the time to say proper thanks but... + +BOSS TWEED +No thanks owed, son. Conscription's Federal Law, and so's the $300 +exemption. You might remind your father, though, that you saw me here +today, minding that the law's strictly and equitably enforced. + +The Prosperous Young Man hurries out, as the Draftees continue to holler +abuse. Boss Tweed HEADS for them, followed by Killoran. + +KILLORAN +You see how much they like this damned law? Enforcing it's going to hurt +us in elections. + +BOSS TWEED +It's not my law, and not my liking, either. But Washington's always +treated us with sufferance, and we must extend the same regard to them. +(to Draftees) +Boys, we are bound by honor and love of country to fight in this time of +crisis! + +DRAFTEE 4 +We're bound by our wallets and the emptiness in them, that's what! + +BOSS TWEED +Boys, the union is in distress, our land is wounded deeply, our future is +suddenly a frail and finite thing. We must ask ourselves how... + +DRAFTEE 5 +Yeah, you could talk a dog off a meat wagen, Tweed. But let's see you +fight! + +DRAFTEE 6 +That'd be worth twice three hundred dollars to see! + +BOSS TWEED +(as he backs off) +Thank you, boys, thank you for your understanding. +(to Killoran) +Holy Mother. + +Tweed hustles Killoran outside, where the line of Potential draftees +snakes down the block and into Paradise Square. + +BOSS TWEED +Daniel, between the blindness of Washington and the damned brass of Bill +Poole Tammany will fall like an autumn leaf. We must take what measures we +can. Attend to the Butcher. After the elections, of course. Unless you +think Amsterdam will do our work for us first. + +KILLORAN +He could at that. Then he would become a fresh concern + +BOSS TWEED +Not so daunting as this. +(turns to the Draftees in the street) +Boys, I've just had a word with your compatriots inside, and if you show +half the sand and a fraction of the spirit they have manifeste for joining +this great struggle... + +There is a chorus of BOOS and JEEPS from the Draftees outside. + +OUTSIDE DRAFTEE +Put a rope around it, Tweed, and swing in your own wind! + +BOSS TWEED +Great weeping Jesus, Daniel, whatever happened to the halcyon days? + +CUT TO + +94 EXT. POLLING PLACE/PARADISE SQUARE DAY + +Election Day pandemonium. The Dead Rabbits aren't working the repeaters +this day, but Johnny observes the action as Native Americans--identifiable +because of their long dusters--strongarm REPEATERS into the polls. + +His attention is drawn to a HARRIED TELEGRAPH OPERATOR, who is being +SHOUTED at by Natives as he is inundated by pieces of paper and teetering +volumes of the voting registry. It's chaos. The poor Operator can't cope. + +CUT TO + +95 INT. TAMMANY HALL + +It's chaos here, too. The large main room is filled with TELEGRAPH +OPERATORS receiving election returns. There is SHOUTING and CONCERN +throughout the room. Even Boss Tweed shows signs of worry. + +BOSS TWEED +I swear that science will be the death of industry. + +KILLORKN +The telegraph moves the voter tabulation by wire faster than we can get +the repeaters in and out. + +BOSS TWEED +(losing patience) +Your role is to expedite, Daniel, not to explain. +(Killoran looks at him blankly) +Do something! + +JOHNNY +If you'll allow me. + +They both TURN to see Johnny standing coolly before them. + +JOHNNY +There's a scheme we might try. + +KILLORAN +You got no place among us, get the hell out of here however you come in. + +BOSS TWEED +A moment please, Daniel. One moment. +(to Johnny) +You're a Dead Rabbit, aren't you? Friend to Amsterdam? +(Johnny nods) +And therefore no particular friend to us. What brings you here? + +JOHNNY +Opportunity. Science and opportunity. + +KILLORAN +You got opportunities enough among your own. + +JOHNNY +I did have. But times change faster than people. Some people, anyhow. And +I like to stay with the advantage. + +BOSS TWEED +Well, then, a Gentleman of foresight! Are you suggesting... or perhaps +you're even saying... that your friend and your gang may be ... well, +lagging behind the great march of history? + +JOHNNY +Something like that, yeah. + +BOSS TWEED +Well fine, step up to history then and tell us what you have in mind. + +CUT TO + +96 EXT. POLLING PLACE/PARADISE SQUARE DAY + +START CLOSE ON: telegraph wire, HUMMING with the election returns. And, +below it--far below--Johnny, Killoran and a couple of TAMMANY BOYOS, +looking up at the wire. + +BOYO 1 +I ain't goin' up there. I got my election suit on. + +JOHNNY +This election'll be over unless we get up there. + +KILLORAN +"We?" This was your notion, you go up there. + +BOYO 2 +(looking at polling place) +Him. He looks likely, and he ain't workin'. + +He points over at Sheeny Mike Kurtz, who is observing the action at the +polls. + +JOHNNY +(calls to him) +Sheeny Mike, you want to make ... +(to Boyo 1) +...how much? + +BOYO 1 +A dollar. + +JOHNNY +(to Sheeny Mike) +Five dollars? Just to help us? + +SHEENY MIKE +(a bit wary) +What's the pitch, Johnny? Amsterdam wouldn't like it, working with Tammany. + +BOYO 2 +Well, now, if Amsterdam wouldn't like it ... + +JOHNNY +(interrupting) +He knows about it. Welre working a whole new scheme. But I won't tell him +youlre helping, if that's the way you want it. And you can keep the full +five. Just start climbing. + +SHEENY MIKE +(beat) +Where's the ned? + +Boyo 2 hands Sheeny Mike five bucks, which he pockets as Boyo 1 gives him +a large pair of SHEARS. Mike wipes his palms on his pants and STARTS UP +the pole. + +For Killoran and the Tammany Boyos, this is like a circus stunt. They +watch Mike's ascent with pleasure. + +Sheeny Mike is quite pleased with himself as he nears the top of the pole. +He turns to look at Johnny and the Tammany group below. A couple of +SPECTATORS have stopped to watch as well. + +Mike gets to the top of the pole, REACHES OUT--STRETCHES OUT-toward the +telegraph wire with the shears... + +... strains... reaches ... MAKES THE CUT. + +On the ground, Johnny looks relieved. The Boyos offer a partmocking round +of applause. + +In the spirit of things, Sheeny Mike TURNS to acknowledge the applause. +Just briefly. But long enough so he's distracted. He sees the upturned +FACES fill suddenly with fear, and he TURNS when he HEA.RS a sharp, odd +WHISTLING NOISE. + +A LIVE TELEGRAPH WIRE is coming at him. He doesn't even have time to +scream. The wire hits him, whipping around him as JOLTS OF NT leap through +his body and he FALLS to the ground. + +CUT TO + +97 EXT. PARADISE SQUA.RE DAY + +HANDS pick up the lifeless body of Sheeny Mike and start to carry it +off... past Amsterdam and Jenny, who stand on one side of it, watching... +and Johnny, who is on the other. + +JOHNNY +He was working a Tammany job, Tammany will see to him. + +AMSTERDAM +He wasn't Tammany. Not like you. + +JOHNNY +He made the right choice. + +AMSTERDAM +You don't know what you're saying! You killed one of our own. One of your +family! + +JOHNNY +(slowly) +I didn't know he was going to die, Amsterdam. And don't tell me what's my +own and what isn't. You're not my family. And I swear, I swear on the +Virgin Mother's eyes ... I know what I'm doing, Amsterdam. It's you that's +always been blind. +(they look at each other) +I'll say my farewells. + +Johnny KNEELS down beside Mike's body, brushes the hair from his brow. + +JOHNNY +You still smell like drink. + +He nods to the Rabbits to carry the body on and, as he RISES a half-dozen +NEWSBOYS DASH into the square, carrying fresh copies of the Tribune and +crying... + +NEWSBOYS +New Tammany victory! Fernando Wood elected to third term! Tammany ticket +prevails by narrow margin! Boss Tweed vows +Armageddon for crime! + +JOHNNY +(looking at Amsterdam and Jenny) +Can't you hear the future? + +He walks away from the gang, through the rushing Newspaper Boys. + +CUT TO + +98 INT. SPARROW'S CHINESE PAGODA + +The place has been cleared out for a war council: Amsterdam with a couple +of Dead Rabbits, and Bill the Butcher with a few Natives. They sit at a +round poker table with a green felt top. + +JIMMY SPOILS +We say the Square is the place. Let Barnum sell the tickets for a share of +the price... + +NATIVE SECOND +(interrupting) +A small share. + +JIMMY SPOILS +And the Rabbits and Natives will split the majority portion equal. + +NATIVE SECOND +Who works the crowd? + +AMSTERDAM +Nobody. This is a day of honor. No pickpockets, no lush-rollers, nothing. + +BILL THE BUTCHER +I'll cut their hands off. After the fight. + +NATIVE SECOND +We got to fix positions for everyone so there won't be no other fighting. +I know for fact the Roach Guards has sworn blood against the Black Birds, +and the Forty Thieves don't tolerate the Chichesters. + +As these delicate negotiations continue, the only two outsiders in the +place, Mother Joyce and a Bartender, are listening intently on the far +side of the room. + +BARTENDER +Amsterdam will make the Butcher a fine banquet. + +MOTHER JOYCE +My ned's on the boy. He's got the youth, and he's got the hunger. + +BARTENDER +Is he so hungry you'll put up a hundred? + +MOTHER JOYCE +Two. + +CUT TO + +99 EXT. PARADISE SQUARE DAY + +OFFICIALS stand on a high wooden platform facing a JEERING CROWD. Banners +announce a "DRAFT LOTTERY." OFFICIALS are preparing to draw the first +numbers as Boss Tweed gives out with a speech. + +BOSS TWEED +Your honor... yes, and the law of the land... lies in the balance. The +Conscription Act of 1863 was handed down by President Lincoln himself ... + +CROWD MEMBER +(shouting) +If Lincoln signed it, then let Lincoln fight! + +CROWD MEMBER 2 +It's an army of the poor fighting for a bunch of rich slackers! + +CROWD MEMBER +Tammany's been our voice, let Tammany pay the exemption for all! + +A YOUNG MEMBER of the crowd steps forward as Boss Tweed turns to look at +those backing him on the platform: Killoran, a CAVALRY OFFICER in fancy +dress ... and, out of sight of the crowd, Johnny Sirocco. Their +expressions are not reassuring. + +YOUNG CROWD MEMBER +Your first payment, m'lords. + +The Young Crowd Member hurls a STONE through the front window of a nearby +store. The CROWD cheers and runs to sack the store, and others SURGE +toward the platform. Johnny'and Killoran grab a fearful Tweed and rush him +to safety. But the Cavalry Officer stands his ground with sword and +pistol. He SHOOTS. + +That STOPS them. But only for a fractured, eerie moment. Then they jump on +the Cavalry Officer, PULL him to the ground, begin to KICK and BEAT him. + +CUT TO + +100 EXT. STREET/JACOB'S LADDER NIGHT + +A building burns at the end of the street, spreading a silhouette of smoke +and flame in the air... + +... as a LION CHARGES down the street, growling, scattering RIOTERS in its +wake. It's a mad, frightening sight, like a fulfillment of the Biblical +prophecy produced by P.T Barnum, whose Museum is burning in the distance. + +SCREAMS, YELLS, CURSES and GROANS. CRIES of pain and fear as RIOTERS jump +out of the way of the wild animal, then course up the street toward +Broadway burning in the distance. + +From ABOVE, on the roof of Jacob's Ladder, Amsterdam and Jenny watch the +madness below. + +AMSTERDAM +(watching lion) +That must be the vanguard of Barnum's army. + +JENNY +This city will burn like Gomorrah. + +AMSTERDAM +Then we'll take what we can before it gets too hot. + +JENNY +I think it's past that already. + +AMSTERDAM +It'll never come to that. These people ain't gang-led and they have no +purpose. + +They'd rather die for themselves than the army, that's the purpose. What +would you do? + +AMSTERDAM +Fight better and not get so mad. They're only doing what they should have +done years ago. Why'd they ever think there was another way to live? + +JENNY +They believed what people told them, that's all. + +AMSTERDAM +What people is that? The Reverend at the mission? Boss Tweed? Daniel +Killoran? People like Johnny Sirocco? + +JENNY +You believed Johnny. + +AMSTERDAM +Hell. + +JENNY +And I believed you. + +AMSTERDAM +I ain't done nothing different than what I told you, Jen. + +JENNY +I believed what you said abaut being with me, with me alone. But you lied +to me. It's not me alone, it's just you and Bill Poole. Youlre so +blood-blind you can't see nothing else, not even this! + +AMSTERDAM +I don't care a fine damn about what they want! It's what I want! They +won't dare harm the Points, that's all I care about! Let them turn the +rest of the city into hell! It's another country anyway. + +JENNY +It's not a country for me, Amsterdam. I don't know about you. Will you +come with me? + +AMSTERDAM +Not now. + +JENNY +Now is when I'm going. Will you come? + +AMSTERDAM +I don't want all this fighting to go to waste, Jen. I want to come out of +it with something. And I got to be waiting for the Butcher. + +CUT TO + +101 INT. UNDERGROUND/JACOB'S LADDER + +Jenny digs out her treasure from her mother's grave, throws open the box, +starts to GRAB all the swag she can and hide it on her person... in her +pockets, under her clothes, anywhere. She takes as much as she can, but +she has to travel fast. + +CUT TO + +102 EXT. STREET NIGHT + +Beginning a swift series of scenes that are like a laudanum nightmare. + +The street is JAMMED with people fleeing and people fighting... as Jenny +forces her way through, trying to escape. + +A small mob starts to ATTACK a house where a TERRIFIED FAMILY stands in +the doorway. + +FAMILY MAN +We're with you, don't harm us! + +MOB MAN +Show us your spirit and come out with us then! + +MOB WOMAN +And put a candle in the window to show you're one with us! Every light is +a flame against the draft! + +The WIFE begs her husband not to join the mob, but they PULL HIM out into +the street. The Mob Woman hands the Wife a candle, then runs back to join +the mob. + +Jenny starts to cross Paradise Square now... tries to cross, anyway... and +passes the stand where Tweed delivered his speech that very morning. She +sees: the Cavalry officer. Several MOB WOMEN have revived him with water. +He has been beaten terribly, but as he MOANS and starts to regain +consciousness, the MOB WOMEN fall upon him with fresh fury, KICKING and +HITTING his helpless body. They BREAK his bones with rocks and TEAR OFF +the fancy braid of his uniform to hang around their necks. + +Now a SECOND MOB RUSHES toward the first from the opposite side of +Paradise Square. Chaos. Jenny is buffeted wildly. It's like being in a +whirlpool. She grabs a LITTLE GIRL whose face is bruised and blaody but +whose eyes shine wildly. + +JENNY +What is it? + +LITTLE GIRL +Cops has everything closed to the north, and the militia's coming. + +CUT TO + +103 EXT. STREET/FIVE POINTS NIGHT + +As Jenny presses her way through the mob-devoured streets. She sees: MEN, +WOMEN and CHILDREN attacking a small group of BLACKS. + +BOY +My Daddy don't have to die for you! Why should he fight and die for you? + +Jenny looks ahead, sees: the river, in the distance. And flames. She runs +forward, STUMBLES. Some of the swag FALLS to the street. She SCRAMBLES to +pick it up as Rioters rush by her. + +CUT TO + +104 EXT. PIERS HUDSON RIVER NIGHT + +MATTE: The surface of the water looks like a mirror made of flame. The +piers are BURNING. The docks are ash. + +SAILORS battle a MOB for possession of a small rowboat. As they fight, the +boat starts to DRIFT. Jenny spots it, RUNS for it + +... but so does ANOTHER GIRL. Younger than Tenny--20 maybe, Jennyls age +when Amsterdam fell in love with her. They both get to the boat at the +same time. Each grips it by a gunwale, and they STARE at each other like +two jungle beasts over a kill. + +JENNY +I'd kill you for this. + +The Girl lunges at her with a knite, and Jenny SHOOTS. The GIRL slides +into the flame-reflecting Hudson as if she drowning in a pit of lava. + +Jenny climbs into the boat and frantically starts to row. We stay CLOSE on +her ... working the oars clumsily, furiously ... moving the boat across +the water, trying to get away from the city... + +... and we go WIDER now. A huge line of IRON--like the side of a +glacier... bisects the frame, then starts to move. Jenny +turns, SEES it. It is ... + +... the looming hull of an ironclad war ship (MATTE). It LOBS cannon fire +into the city, setting off tremendous explosions. +Jenny TURNS back for the shore... + +... as cannonballs land, devastating rioters. + +CUT TO + +105 EXT. SHORE/RIVER NIGHT + +MATTE: Police and MILITIA push the rioters back toward the river like +rats. A cannanball EXPLODES in their midst... + +... injuring many more cops and militia than rioters. The rioters rally, +RUN over the bodies of fallen cops and soldiers. Now the advantage is +theirs; cops and militia are in retreat. + +Jenny climbs up on shore and joins the mob as it presses back inland. + +CUT TO + +106 EXT. DOYERS STREET/THE BLOODY ANGLE NIGHT + +Further from the docks. Shells still exploding in the distance. Jenny +moves with the marauding mob, recognizes Doyers Street. She splits away +from the mob, moves stealthily into the street known as the Bloody Angle. +And STOPS. + +Weird shadows dance on the walls of the buildings. SMOKE and EERIE LIGHT. +The angle is lined with lampposts. And from every lamppost dangles the +BODY of a black man. Or woman. Or child. Some are still smouldering. + +At the base of a lamppost, a group of RIOTERS have cut open the hog-tied +CORPSE of a black man and are pouring oil into it. One of the Rioters sees +Jenny, grins and holds out the TORCH he's holding. She shakes her head and +starts to BACK out of the alley. + +The Rioter touches the torch to the oil in the wound of the corpse. The +body IGNITES in flame. The RIOTERS pull on a rope and the body rises, +burning, to the top of the lamppost ... + +... where its awful shadow joins all the others in the madhouse +refractions on walls all up and down the street. On the street, as the +flames dance and the bodies burn, rioters DANCE and SING. Walpurgis Night. +From these mad SHADOWS, we... + +DISSOLVE TO + +107 EXT. ROOF/JACOB-S LADDER NIGHT + +... the face of Amsterdam, stepping out of the SHADOWS of the roof. There +are flames in the distance. The whole gang is assembled, facing him as he +speaks. + +AMSTERDAM +No we ain't going to fight, but we can take something for ourselves out of +this. + +JIMMY SPOILS +I want to know who hung them bodies in the Bloody Angle. I want to address +who done it. + +AMSTERDAM +Five thousand people in the street done it! Boss Tweed done it! Abe +Lincoln done it! There's nothing you can do about any one of them but stay +with us. You'll have a little of your own back. + +JIMMY SPOILS +How's that? + +AMSTERDAM +These riots are a gift. They... + +... he PAUSES just for a moment as he sees a hand on the last rung of the +outside ladder leading to the roof: it's Jenny, returning. + +AMSTERDAM +... they've made everything clear, as you might say. +(to Jenny) +Are you with us, then? + +JENNY +Until I can get out. I'll go with you... +(straight at Amsterdam) +...meantime. + +AMSTERDAM +Good. We're going for the Armory at Canal Street. + +JIMMY SPOILS +The Armory! We'll have to beat the militia to get there. + +AMSTERDAM +There's a way through the lines. Jen, did you see the cops and militia? + +JENNY +I can show you from here where they are. I doubt they'll get to the Armory +in force before midday tomorrow. + +AMSTERDAM +We'll get there first. We'll take everything we can carry, and destroy the +rest so no one else has the use of it, the militia, the Natives, nobody. +Then we'll turn to real business. We'll go down to the Battery. + +JIMMY SPOILS +Why, we going to take a sail to Europe? + +AMSTERDAM +No. But we could, after this. We're going... +(slowly, savoring this) +...we're going to take the banks. The government banks. +(awed silence from all) +Are we not? + +JENNY +(beat; steps forward) +Seems we are. + +One by one, then in small groups, the entire gang FOLLOWS her. They are +uncertain, reluctant, even frightened at the audacity of the scheme. But +they stand with Amsterdam. + +CUT TO + +108 INT. MAIN ROOM/TAMMANY HALL NIGHT + +The crowded main room of Boss Tweed's domain, jammed with anxious +POLITICOS and OFFICIALS, as well as a harried group of TELEGRAPH OPERATORS +who receive news of the riots from all over Manhattan. There is a huge map +of the city against one wall: the place has been converted from a +political princedom to an operational headquarters. Johnny Sirocco and +Bill The Butcher are there. Other guests include the GOVERNOR, Mayor +Fernando Wood, and a badly shaken Horace Greeley. + +GREELEY +They attacked me! I had every sympathy for them at first... + +BOSS TWEED +Too much sympathy, Horace. Writing these riots were a rising against +"unjust laws and unsuitable law-givers." The shame! + +GOVERNOR +I suspended the draft at noon but the mobs only grew more virulent. It is +a criminal rising of the lowest class, of the Gangsters and rabble who +have been allowed by Tammany to run lawless! + +BOSS TWEED +It was Tammany and the rabble that elected you, Governor. And it's Tammany +and the gangs who'll stop it. Isn't that so, Bill? + +BILL THE BUTCHER +(nods at Johnny) +I won't say nothin' in front of him. Who knows what business he's here on? + +BOSS TWEED +He's here on our business and my invitation. He's already been of great +help. What's the opposition strength, John? + +To answer, Johnny yanks back a CURTAIN drawn across a high window. The +view, looking downtown, is one of almost continual ILLUMINATION-- every +place the eye falls, CANDLES burn in sympathy for the rioters. + +JOHNNY +Each candle is against you, gents. + +MAYOR +"Against you," sir? Don't you mean "us". + +JOHNNY +(diplomatic) +Some of us come from those people, Mayor. I'll not deny they still claim +part of me. + +MAYOR +Which part? Perhaps your heart. + +BOSS TWEED +Gentlemen, I'm sorry you find it necessary to question the loyalty of my +friend here, and by extension, my own judgement. So as proof ... John, +where will the mob go? What will the gangs do? +(Johnny is uneasy about answering) +Go on, tell them what you told me. + +JOHNNY +There's no telling about the mob. Or the small gangs. But the Dead Rabbits +... if I was Amsterdam... + +BOSS TWEED +(interrupting) +As indeed you nearly was. Were. + +JOHNNY +... if I was ... I'd figure to take the Rabbits to the Armory. + +BOSS TWEED +Would you agree with that, Bill? Wouldn't you do the same? If you were +fighting against the militia instead of beside them? + +BILL THE BUTCHER +Beside them? What are you talking... ? + +BOSS TWEED +(interrupting) +You will have to fight beside them to take the Armory. It cannot fall into +unfriendly hands. + +BILL THE BUTCHER +I can't stand with the militia against the people. I could never work the +Points no more if I did. + +BOSS TWEED +We're all of us swept up in a great tide of events, Bill. Have you learned +to swim? + +From Bill's face, struggling to make sense of this, knowing Tweed's right +but not wanting to believe it, we ... + +DISSOLVE TO + +109 INT. MAIN ROOM/TAMMANY HALL NIGHT + +... Johnny's face, as Tweed talks to him. It is later, and the Butcher has +left. The activity is still frantic all around, but Tweed speaks in +unhurried tones. + +BOSS TWEED +I'm sure that Bill will do his usual splendid job. But after that ... +well, I'm afraid he's grown away from us. +(Johnny looks puzzled) +He shows distressing signs of... shall we say, free-thinking. Crime +flourishes in chaos, and these riots could encourage Bill to overstep +himself. He no longer inspires in me the same trust... well, that you +might. If you can prove yourself further. + +109 CONTINUED: + +JOHNNY +You already said in front of everyone you trusted me. + +BOSS TWEED +In vital things. Would I be talking to you now otherwise? Vital things, +but small things. Are you equal to greater responsibility and opportunity? + +JOHNNY +Such as what? + +BOSS TWEED +Ridding me of Bill the Butcher. +(Johnny is startled) +He may question your loyalty to me, but Bill would never believe you had +the sand to go against him. He'd never expect it. Do you have the sand? + +From Johnny's face, struggling to make the right answer, we... + +DISSOLVE TO + +110 INT. JACOB'S LADDER + +... Ansterdam's face, as he looks up from preparing a brace of pistols for +the next day's scheme. + +AMSTERDAM +Let him in. + +Johnny enters the common room of Jaccb's Ladder, where the Dead Rabbits +have gathered to ready themselves. As they work over their weapons and +prepare battle dress, Johnny walks through their midst. They do not +acknowledge him... except for Jenny. + +JENNY +Did you miss us, John? + +JOHNNY +Not a bit. + +AMSTERDAM +(rising to meet him) +Are you here to spy? + +JOHNNY +I don't have to spy. + +Amsterdam leads Johnny off to a shadowy corner of the room where they can +talk privately. + +JOHNNY +(as they walk) +I know what you're doing. I told Tweed what you're doing. + +AMSTERDAM +You don't know what I'm doing. + +JOHNNY +You're going after the Armory. + +AMSTERDAM +Am I now? Why do you think that? + +JOHNNY +'Cause that's what I would do, and you and I think alike. + +AMSTERDAM +No more. And it don't seem worth a visit to tell me something you already +think I'm doing. + +JOHNNY +There's something else alright. Tweed's arranged to kill Bill the Butcher. + +AMSTERDAM +(disbelieving) +Who could Tweed get to do that? + +JOHNNY +One of his own. + +AMSTERDAM +There's no one around him... + +JOHNNY +(interrupting) +Listen, it don't matter who, it's going to be done, that's all! Tweed +ain't going to wait around +for you and Bill to settle yourselves. I'm telling you so you have a +chance. + +AMSTERDAM +Chance of what? + +JOHNNY +A chance... a chance to do what you want. Bury the Butcher, draw what +blood you got to. But you better make speed. The Natives will move on the +Armory too. + +AMSTERDAM +And what's any of it mean to you? + +JOHNNY +It means whatever's left of friendship, I don't know. There's still part +of me here. I don't +want to see you lose everything in your life at once. + +AMSTERDAM +I'm going to lose nothing. +(beat) +If you believe me, you can stay. + +JOHNNY +I got to go. + +He turns so Amsterdam can't see his face and LEAVES- + +JENNY +So Tammany's going to kill the Butcher. That puts you and Tweed on the +same side. Does that make the path clear enough to suit you? + +From Amsterdam's face, trying to work out all the new angles, we... + +DISSOLVE TO + +111 INT. NATIVE AMERICAN HIDEOUT + +... Amsterdam's face, full of resolve, staring unblinking as ... + +... the barrels of two dozen RIFLES SURROUND the edges the screen, boxing +Amsterdam in, as if his head were in a frame. + +And Bill the Butcher gazes at him with astonishment. We are, for the first +time, in the Natives' lair, a house hung with American flags of all shapes +and vintages, some of them torn by battle, others by years of weather and +use. Some of them go back to the early days of the republic. There is not +an inch of wood or wall space to be seen for all the stars and stripes. + +BILL THE BUTCHER +Murder Me? No one's going to murder me. + +AMSTERDAM +Then you better learn to fight locking over your shoulder, Bill, because +that's the only way you'll ever see it coming. + +BILL THE BUTCHER +I don't believe it, and I don't believe it's you telling me. You got no +reason to care about any danger to me. + +AMSTERDAM +One reason. You're my kill, Butcher. No one else is going to have you, not +Tweed, not Tammany, not those pigs in the street. No one--not even you, +Bill--will ever take the pleasure of your death away from me. I'd do +anything to keep you for my own, even if I have to protect you. + +BILL THE BUTCHER +You protect me? Get out of here and go to hell. + +AMSTERDAM +Fine, so long as I pass you on my way. + +BILL THE BUTCHER +Maybe I'd believe you more if I knew who was talking to you. + +AMSTERDAM +Someone I credit. + +BILL THE BUTCHER +That means nothing to me. None of this means nothing to me because I am +Tammany. Without me and my Natives they're nothing but a bunch of old +horses at a trough. + +AMSTERDAM +You join with me and we fight against Tammany, fight them back and out of +the Points. Then you and me can settle. But if you don't join with me, +then there won't be no settlement because you'll be murdered in the street +and the whole Points will be mine. + +BILL THE BUTCHER +I relish the thought... just the thought... of cutting you up and opening +you wide. So if just thinking about it gives me such pleasure, imagine how +I'm going to enjoy doing it. + +AMSTERDAM +Why don't I make it easy for you, then. + +He TURNS his back on the Butcher and starts to walk out, through the +entire gang of Natives. + +AMSTERDAM +Same as you're making it easy for Tweed. + +He keeps walking... through the Natives ... dozens of ancient enemies +glowering at him. + +BILL THE BUTCHER +Amsterdam! +(Amsterdam looks around) +Don't be like your father. Don't make it too easy. + +Amsterdam struggles to keep his temper. But he turns and keeps walking +through the enemy camp as we... + +DISSOLVE TO + +112 INT. JACOB'S LADDER + +....Amsterdam walking. But this time, he is WALKING among his gang. All +the Dead Rabbits are assembled, weapons ready. Jenny is beside him. Then +Jimmy Spoils. Then a few others. + +As the group passes, others STAND and walk with them... + +... until the whole gang is rallied... + +... and bound for the passageway in the corner of the room that leads +under the building. + +DISSOLVE TO + +113 INT. BASEMENT + +As Amsterdam and the gang heads through the catacomb-like basement, past +the graves, into a tunnel. Torchlight GUTTERS all around. Their steps echo +like repeated rifle shots. + +DISSOLVE TO + +114 INT. TUNNEL + +The whole gang MARCHES down a tunnel under the Old Brewery. Except for +Amsterdam and Jenny, they all wear their tamlas. Many have marks and gang +insignia on their faces. All of them have weapons. A lot of weapons. + +Frightened FACES--people seeking shelter and safety from the riots--appear +in the darkness, then vanish like ghosts. + +As the Rabbits walk, they summon memories of the first fight, that same +march through the tunnels when Amsterdam marched beside his father. +Amsterdam's face gives little away. But perhaps he is remembering that day +too. + +DISSOLVE TO + +115 INT. TUNNEL + +The last tunnel.. Shreds of light from a door in the distance. Amsterdam +walks up to the door and--just as Monk Eastman did years before--KICKS it +down. Dim dawn LIGHT FLOODS the tunnel as the Dead Rabbits step out. + +CUT TO + +116 EXT. CANAL STREET DAWN + +The first thing we see is an ELEPHANT, who trumpets fearfully at the +sudden sound of the sattere door. The gang stops, wary of this huge +refugee from Barnum's Museum, but the animal is more frightened of them. +It hurries on down the street... + +... revealing behind it a group of several dozen RIOTERS who carry a huge +American flag and a long wooden plank bearing the legend "No Draft." They +stare at the Rabbits with something near reverence. + +AMSTERDAM +Where's the Native Americans? + +RIOTER +Ain't seen them. Ain't here. + +AMSTERDAM +And the militia? + +RIOTER +There's a detachment coming on from two streets over. The rest is still +north of here. What are you after? + +Amsterdam POINTS to a formidable building a block away: the Armory. It +looks like a fortress. + +RIOTER +The Devil himself couldn't take that place. + +AMSTERDAM +That's why he sent us. + +CUT TO + +117 EXT. STREET NEAR ARMORY/ DAY + +The DETACHMENT of militia proceeds warily towards the Armory. They are a +young, uncertain-looking outfit; their COMMANDER looks like an upstate +farm kid. He tenses and his eyes widen as he sees Jenny walking toward +him, carrying a BOY in her arms. + +JENNY +(crying) +Help me. Oh please help me. He's shot, we need a doctor, please help. + +DETACHMENT COMMANDER +Miss, we ain't a medical outfit. The main unit's ten minutes behind us, +they'll have... + +He doesn't get the chance to finish. Jenny DROPS the Boy from her arms and +shoots the Detachment Commander once, cleanly... + +... as the Boy roles into a prone position and FIRES two shots into the +stunned Detachment... + +... while the Dead Rabbits SWARM from every doorway along the street, +FIRING GUNS and brandishing weapons. + +It's over in seconds. The Detachment has hardly gotten off a shot. Every +one of them lies dead or wounded in the street... + +... as the Rabbits CROUCH over their bodies. + +CUT TO + +118 EXT. ARMORY DAY + +A rifle emplacement manned by a dozen GUARDS- They stand anxious post in +front of the Armory. Each window is barred and fortified, and the front +door is massive. But the tension in the Guards' faces eases a little when +they see ... + +... the Detachment of militia heading towards them down the street. Some +of the Detachment are wearing bloody uniform jackets; several are being +carried. The Detachment, unrecognized by the Guards, is made up entirely +of Dead Rabbits. + +AMSTERDAM +Help us, we got wounded! + +GUARD 1 +We can't leave the post. + +AMSTERDAM +Open the damn doors then! We're bad hurt! + +GUARD 1 +Where's the others? + +AMSTERDAM +Just behind us! But I got our major here wounded so bad half his guts is +out! + +Guard 1 SIGNALS for the doors to be opened to the Armory as the Detachment +draws close to the emplacement. + +GUARD 1 +God, it's good to see you! + +AMSTERDAM +Likewise. + +Ainsterdam SHOOTS him where he stands as the Rabbits OVERWHELM the +emplacement. + +AMSTERDAM +(shouting) +Move fast! We got to get out with everything we can before the militia +gets here! + +As the Armory Guards return fire, the Boy Jenny carried in the previous +scene RUNS for the telegraph pole and starts to CLIMB. A SHOT makes the +wood fly inches from his face... + +... as the Rabbits storm into the Armory, FIRING wildly. + +The Boy reaches the top of the telegraph pole and CUTS the wire. He +shinnies back down the pole as the wire SWINGS ineffectually in the air +and we ... + +DISSOLVE TO + +INT. Y HALL/MAIN ROOM 119 + +..a telegram, held in Killoran's hand. He passes it to Tweed. + +KILLORAN +It's from the Armory Guards. That's the last before the wire went dead. + +BOSS TWEED +(reading, furious) +If the Rabbits are already at the Armory, where the hell is Bill and the +militia? + +He THROWS the telegram onto the floor, where it joins a whole SEA of +yellow telegraph forms. They are shin-high; there must be thousands of +them. + +KILLORAN +They got to be near. + +JOHNNY +So long as they're near, it's alright. The Rabbits can take the Armory, +but they can't hold it. If Bill can get into position, he can make sure +they don't get out. + +BOSS TWEED +Alright then, John, you pray to any God you choose that's the fact of it. +If Bill thinks he can best the Natives, that is your opportunity. That is +your moment. +(Johnny hesitates) +Are you a Bible man? The Book says in Revelations, "I saw a new heaven and +a new earth." If the hand of God's not on you to fulfill that prophecy, +then the hand of Tweed will be. Go on and God bless. + +Johnny looks like he is about to say something, but he stops; looks at +Tweed a moment longer; then nods acknowledgment and leaves. + +GOVERNOR +I don't believe he can do it, Tweed. + +BOSS TWEED +Oh, I think he can. Whether it's one man against another or a mob against +the city, the mathematics remain the same. You never enjoyed the +enlightenment of poverty, did you, Governor? If you had, you'd know you +can always hire half the poor to kill the other half. + +CUT TO + +120 EXT. ARMORY DAY + +A TREMENDOUS VOLLEY of GUNFIRE, as if to illustrate the Tweed theory of +class warfare. Bodies fall in the street. Bodies fall from the Armory. The +building is under siege by the main unit of the MILITIA and by Bill the +Butcher and the Natives. The Dead Rabbits are trapped. + +Johnny SNAKES through the Native American lines, over dead bodies, moving +towards Bill, who he sees a hundred yards away... + +... running over corpses of comrades and enemies toward the MILITIA +COMMADER. As SHOT WIDENS, the carnage is revealed. Bodies of Natives, in +their uniform dusters, and Rabbits, in their tamlas, lie side by side in +the street. + +120 CONTINUED: + +FIRING continues from both sides as the Butcher shouts at the Militia +Commander. + +BILL THE BUTCHER +We move now and we can drive them out! We press them and they'll break! + +MILITIA COMMANDER +I can't spare the men or stand the risk! We stay fast and smoke lem out! + +BILL THE BUTCHER +Tweed put me in charge of this! I say we move, and by the crucified Christ +we will move! +(turns to his men) +Native Americans, come with me! Any militia that wants to live upright +instead of die hunkered down, come with us! + +Bill STALKS through the lines, rallying the men. And Johnny starts to +FOLLOW. + +BILL THE BUTCHER +We'll show you gladiators' greatness! Come on! + +The men start to JOIN the Butcher; even some militia fall in. Johnny SLIPS +through the men gathering near the Butcher. He's closer to Bill than ever. + +Bill starts to mount their BARRICADE. There is MOVEMENT and commotion all +around him as Natives and militia fall into rough formation. It threatens +to obscure Bill from Johnny's view. Shield him. + +He has to make his move. NOW. He DRAWS a revolver as militia and Natives +pass in front of him... he AIMS ... he's anxious, confused ... his HAND +shakes ... he fires... too soon! ... + +... and HITS a Native, who falls dead. Right near Bill. + +The Butcher turns in the direction of the shot, SEES Johnny. Their eyes +lock. Johnny FIRES again ... WINGS Bill ... + +... and Bill SHOOTS him. Johnny FALLS with the first shot. Bill's above +him now, looking down at him. + +BILL THE BUTCHER +Was it Tweed or your friend put you to this? + +JOHNNY +Tweed. + +Bill SHOOTS him again, point blank. Johnny screams. + +BILL THE BUTCHER +You'd lie to save your friend. + +JOHNNY +(in terrible pain) +No. There's no friends for me. + +BILL THE BUTCHER +Me the same. Pity us both. + +He EMPTIES his revolver into Johnny. + +BILL THE BUTCHER +(to his men) +Hold your fire! +(toward the Armory) +In there! Hey in there! I want to talk to Amsterdam! + +The Militia Commander is aghast at this proposition and starts forward, +gun in hand. But a Native STOPS him. + +Amsterdam's face APPEARS in a front window of the Armory. + +AMSTERDAM +Go on, then, talk. + +BILL THE BUTCHER +You and me. + +AMSTERDAM +(beat) +Come ahead then. And bring my friend's body. + +Bill the Butcher SLINGS Johnny's body over his shoulder as easily as if it +were an empty sack of flour... + +... and starts walking thraugh the lines toward the Armory. The Militia +watches in disbelief, the Natives in confusion. The Dead Rabbits keep the +Butcher in their sights. But no one fires. No one moves. + +And Bill the Butcher enters the front doors of the Armory. + +CUT TO + +121 INT. ARMORY DAY + +As the Butcher is admitted through the huge doors which clang SHUT quickly +behind him. It's a scene of devastation inside-dozens of dead and wounded +everywhere. And enough rifles and munitions to sink Manhattan island. + +Bill the Butcher stands dead center in the middle of the Armory floor as +Amsterdam walks toward him. The Butcher DROPS Johnny's body in a heap at +his feet. + +BILL THE BUTCHER +Your friend made different friends lately. + +AMSTERDAM +Tammany's put us all in the same place. You want to get out alive? + +BILL THE BUTCHER +It don't matter to me. I got enemies outside, enemies in here. The militia +can move on me anytime. You could drop me before I get to the door. + +AMSTERDAM +I don't want to lose you so easy. You'll never get past the militia unless +you come with the Dead Rabbits. + +BILL THE BUTCHER +You'd lay aside what's between us? + +AMSTERDAM +I'm not forgetting where I put it. + +BILL THE BUTCHER +If you do, I'll remind you. +(he turns, leaves) + +AMSTERDAM +What's your call, Bill? + +BILL THE BUTCHER +I'm considering where's my better chance. + +He walks to the doors. The Rabbits guarding it don't make a move. He OPENS +it himself and strides out into the street. + +CUT TO + +122 EXT./INT. ARMORY DAY + +Bill walks alone toward the Native/militia lines. + +From inside... from every window ... the Dead Rabbits watch him. + +The sun is high, but the street is eerily quiet. There are FARAWAY SOUNDS +of battle, but here there is only the sound of distant, unheard +conversation between Bill, the Militia Commander and some Natives. + +Amsterdam WATCHES intently. + +The Butcher and the Militia Commander argue, but we still can't hear what +they're saying. There is still no sound... + +... until, SUDDENLY, we see the Militia Commander's face. Huge. EYES WIDE +with surprise as we HEAR the thunderclap of a SHOT. + +Bill the Butcher has just gutshot the Militia Commander. + +As if the shot were a signal, the Natives TURN on the militia. It's +hellish, close-quarter combat. Guns fired inches from enemies who had just +been allies. Knives, swords, bludgeons, kids with dead-rat blackjacks, +women with hob-nailed wooden planks, attacking better-armed but totally +stunned soldiers. + +Bill the Butcher falls back toward the Armory, the Natives following him. + +Inside the Armory, Amsterdam turns to his own greatly diminished gang. + +AMSTERDAM +Go ahead them, give them cover! Give them some damn cover! + +The Rabbits are so stunned to be fighting on the same side as their sworn +enemies that, even with Amsterdam's order, no one makes a move. It's +Amsterdam who FIRES the first shots. And that unleashes a great VOLLEY +from the Armory... + +... toward the militia. + +The Butcher and the Natives are closer to the Armory now... and the Armory +doors start to open... + +... when a MILITIA LIEUTENANT SIGNALS ... + +... and MILITIA on the surrounding roofs, waiting for this moment, +suddenly open fire...on the Natives below and on the Rabbits on the roof +of the armory. Many drop in the street and fall from the Armory roof... + +... as the Armory doors SWING WIDE to admit the Natives. As they run or +stagger inside, the Rabbits start to close the doors. Some Rabbits are cut +down by the fire from the rooftops. Other Natives never make it to the +doors. And a few are shot... + +... when the doors close before they can get through. + +CUT TO + +123 INT./EXT. ARMORY DAY + +The Dead Rabbits keep firing, but they have sustained grave losses. The +Butcher looks around at the Natives who have made it inside with him: he +has perhaps one-quarter of his original strength. + +BILL THE BUTCHER +Well, it seems like between us we got two mobs that might make a gang. + +AMSTERDAM +Whose gang might it be? + +BILL THE BUTCHER +Not William Tweed's. + +Jimmy Spoils and a crew of Natives PUSH a cannon toward the rear of the +Armory. + +AMSTERDAM +Which way you pointing that? + +JIMMY SPOILS +Any way you say. One direction could let us out, the other will let them +in. + +BILL THE BUTCHER +They got to come in if we're going to fight them. + +AMSTERDAM +Who do you want to fight, Bill? + +Amsterdam MOTIONS toward the rear wall and Jimmy swings the cannon around. + +Everything surrounding them is MOVEMENT and COMMOTION as the remaining +members of both gangs TAKE whatever weapons they can carry from the Armory +stockpile... + +... and Jenny steps forward with a torch, LIGHTING the fuse of the +cannon... + +... which ROARS and BLOWS a huge hole in the rear wall of the Armory. + +AMSTERDAM +(to Bill the Butcher) +See you in the street. + +The gang members RUSH for the opening, carrying whatever they can manage. + +Outside, the MILITIA LIEUTENANT hears the cannon blast... sees no damage +to the front of the building... and SIGNALS for a frontal ASSAULT on the +Armory. + +HIGH ANGLE FROM ABOVE, CAMERA MOVING as the militia CHARGES ... following +them forward, then moving ahead to the Armory + +... SHOOTING straight down inside (no roof or ceiling) as the Gangs HURTLE +through the still-smoldering hole in the wall ... + +... and drop twenty feet to an alley below... + +... where militia on the roof try to pick them off. As the militia presses +closer from the front, gang defenses start to fall back inside the Armory. +Everyone wants to get through that hole. + +Amsterdam, Jenny, Jimmy Spoils and some of the other gang nembers are +carrying TORCHES. Jenny HANDS a torch to the Butcher. Amsterdam MOTIONS +them all toward the back of the Armory. + +But he stays behind. Just for a moment. He BENDS over the crumpled body of +Johnny Sirocco, ARRANGES it, folding JOHNNY'S HANDS across his chest. + +AMSTERDAM +You'll have a warrior's funeral anyway, John. + +He STANDS and RUNS for the hole in the wall, where Jenny and the others +stand waiting. + +He TURNS, takes a last look inside the Armory. The militia is BATTERING +DOWN the front doors. Then he raises his TORCH over his head... and HURLS +it through the air. Jenny and the others do the same. + +His single torch BLAZES a path of light across the screen. The others, +JOINING it, make a fiery CONSTELLATION. + +CUT TO + +124 EXT. REAR OF ARMORY/STREETS BEHIND ARMORY DAY + +As Jenny, Jimmy Spoils, Bill the Butcher and Amsterdam HURTLE through the +hole into the alley below... + +... and start to run through the withering GUNFIRE of the militia on the +roof... + +... getting away... just barely away. + +As Jenny runs, her swag drops and FALLS from under her clothes. She TURNS +to pick it up but Amsterdam PULLS her on.... + +... and just away from the titanic EXPLOSION of the Armory. The CONCUSSION +throws some of the militia from their perches on the roof. It sends a +fountain of FLAME and RUBBLE high into the sky. It is VOLCANIC in its +brilliance and intensity. The sky turns BLACK with powder, BLAZING ORANGE +with flame. + +In the small streets BEHIND THE ARMORY, many gang members are CRUSHED by +debris or burned by FIREBALLS breaking off from the central flame. + +The Armory is gone. Much of the surrounding area is gone with it. + +On the ground, everything is smoke, flame, dirt, death, confusion, Corpses +everywhere. Gang members and kids running all over, desperate. It looks +like the last day of mankind on earth. + +Bill the Butcher HELPS a couple of fallen Natives, then SEES through the +smoke and flame and storm of ash ... Amsterdam. +Coming towards him. + +BILL THE BUTCHER +We're finished, all of us. + +AMSTERDAM +But you and me ain't settled. + +BILL THE BUTCHER +We got the same now, a full share of nothing. There's nothing to settle. +There's nothing left. + +Amsterdam takes a weapon from his pocket, OPENS it for the Butcher to see: +it is the pirate's knife which the Butcher used to kill Priest Vallon. + +AMSTERDAM +Then let's start over. + +Bill the Butcher looks tired, sorrowful. He BURIES his face wearily in his +arms. And for a moment we think he has given everything up. Amsterdam +MOVES toward him, through the smoke. The Butcher does not even look at +him. Of all the things he could do, this is the one that Amsterdam could +not anticipate and does not know how to reckon. + +AMSTERDAM +Look at me. Look at me! + +But the Butcher will not obey. Amsterdam HESITATES. + +And it's at that moment the Butcher LOOKS UP... in a FLASH... a pistol in +his hand, a grin of triumph on his face... and shoots. Amsterdam goes down. + +The Butcher THROWS ASIDE his gun and takes out his CLEAVER... walking +through the smoke ... + +... and past gang members who FLEE the explosion around them... toward +Amsterdam. + +BILL THE BUTCHER +Don't look away, Amsterdam. You wanted this so long. + +A HAZE of ash and gunpowder BLOWS across the Butcher's face, making him +look like a phantom... but making the ground where Amsterdam lies +indistinct. For just a second. + +But time enough. A WOODEN PLANK filled with NAILS cuts through the haze, +catching the Butcher across the middle. He goes down howling... + +... and Amsterdam, wounded in the leg, kneels before him. Then SPRINGS at +him, pinning him like some crazed lover. The CLEAVER flies from the +Butcherls grip. + +The two men STRUGGLE desperately. But the gang members FLEEING around them +pay no attention. This great epic combat, this tremendous blood feud, has +been reduced to its essence: it is a street fight. But a street fight to +the death. + +WE WATCH Amsterdam and the Butcher struggle from street level, the fight +often obscured by the legs and feet of the gang members RUSHING past. +These two ancient antagonists could be anyone. Anyone at all. + +The Butcher is atop Amsterdam now, iron hand? at his throat...as +Amsterdam's hand rises, holding the pirate's knife... searching for the +strength ... and the place... for one final blow ... the Butcher's fingers +TIGHTEN ... Amsterdam's hand moves ... and the pirate's knife DRIVES HOME +right into the Butcher's stomach: the belly of the beast. + +The Butcher bellows. Amsterdam FLIPS him over, starts to SLIT him up the +front, but the knife cannot cut the pelvic bone. Amsterdam puts his knee +on the Butcher's throat, PINNING HIM. + +AMSTERDAM +Don't look away. + +And he SLAPS his hand over the Butcher's one good eye, so he can't see the +death blow, EXTRACTS the knife...and PLUNGES it like a stake into the +Butcher's heart. + +He takes his hand away. All the Butcher can see is Amsterdam's face as his +EYE starts to roll back in his head at the approach of death. + +BILL THE BUTCHER +Thank... thank God I died a true American. + +And he dies. There is no triumph in Amsterdam's face. Only pain, and +satiation. He SEES: the CLEAVER, on the ground a few yards from him. And +Jenny, staring at him. Amsterdam GESTURES for the cleaver. + +JENNY +(quietly) +Get it yourself. + +Amsterdam tries to get up. He can't. So he CRAWLS through the mud... for +the cleaver. Grabs it. + +DISSOLVE TO + +125 EXT. CEMETERY DAY + +The headstone of Priest Vallon. Now it has an inscription, which Amsterdam +is finishing. He uses the handle of the Butcher's cleaver for a hammer, +the blade of the piratels knife as a chisel. WE SEE the inscription: +"Priest Vallon/ 1814-1844/ New York City... of + +The blade BREAKS on the final letter. Amsterdam sits back an the ground +near the grave. Behind him across the river (MATTE), the fires of the +riots still burn. + +JENNY +You'll have to come back to finish. + +AMSTERDAM +Maybe I'll leave it. +(beat) +Are you leaving? + +JENNY +I'm going west. + +AMSTERDAM +Well wherever you go, you got to go back through the city. so we're going +the same way for a while. + +He starts to STAND, STUMBLES to one knee. + +AMSTERDAM +Help me, will you? + +She looks at him... a lingering moment ... then goes to him. + +JENNY +Give me your hand. + +She HELPS him up, puts his arm over her shoulder... and they start to walk +away together through the graveyard toward the burning island beyond. + +The CAMERA pulls back.... and as Amsterdam and Jenny WALK AWAY the SKYLINE +OF NEW YORK starts to take shape before us. TOWERS of steel and concrete +start to rise. + +As the SUN begins to descend, we see, in outline, the familiar +contemporary SKYLINE of New York. As the SUN FALLS, the outline of the +city becomes grander still, until, in the late afternoon light, it gives +off an almost SPECTRAL GLOW... + +... which SHINES for a last moment on the now-aged headstone of Priest +Vallon, its inscription unfinished. + +As, in the distance, the sun SETS an New York and the city grows still and +black in the wash of impenetrable darkness. + +THE END. \ No newline at end of file diff --git a/scripts/Ghostbusters.txt b/scripts/Ghostbusters.txt new file mode 100644 index 0000000000000000000000000000000000000000..1e295fb2b734146cbca9ab5d53135e71f0add797 --- /dev/null +++ b/scripts/Ghostbusters.txt @@ -0,0 +1,7298 @@ + 1. + + + + FADE IN + + +1 EXT. NEW YORK PUBLIC LIBRARY - DAY 1 + + The sun shines brightly on the classic facade of the main + library at Fifth Avenue and 42nd Street. In the adjacent + park area, pretty hustlers and drug peddlers go about their + business. + + FRONT STEPS + + A few people lounge on the steps flanked by the familiar + stone lions. + + +2 INT. MAIN READING ROOM -- DAY 2 + + People are dotted throughout the room sitting at the long + oak tables polished by decades of use. Reading lamps with + green glass shades cast a golden glow on the tables. The + patina of age is everywhere. It is very quiet. + + LIBRARIAN + + A slightly stout, studious looking girl in her late + twenties circulates quietly among the tables picking up + books and putting them on her cart. Everything seems + completely normal and peaceful. + + POV + + A single eerie musical note signals the presence of + something strange looking down on the Librarian from a + vantage point high above the room. It follows the Librarian + as she pushes her cart around the corner. + + +3 INT. WORK AREA 3 + + The Librarian is alone in a back room sorting books for + reshelving. Behind her is the card catalogue. One of the + books attracts her interest and she starts leafing through + it. + + THE CARD CATALOGUE + + Another eerie note is heard as one of the drawers silently + slides open behind the Librarian and hundreds of index + cards start popping out. The Librarian continues reading + completely oblivious to this strange phenomenon. + 2. + + + She gets up and moves past another row of cabinets. Two + more drawers quietly slide open, and thousands of file + cards start shooting out of the open drawers just behind + her, but the Librarian still doesn't notice. + + THE STACKS + + The Librarian works her way through rows and rows of old + iron shelves containing many thousands of volumes stacked + from floor to ceiling. As she puts the books back in their + proper places, she slowly gets the feeling that she's being + watched. She continues her task but suddenly hears a + scratching noise and stops. + + LIBRARIAN + (puzzled) + Hello? Is anybody there? + + A ROW OF BOOKS + + As the Librarian walks down the aisle, books start shooting + off the shelf behind her. She turns suddenly and sees the + fallen books. + + THE LIBRARIAN + + Frightened now, she walks slowly to the end of the aisle + and tentatively peeks around the corner. Seeing no one, she + starts to scratch her head and suddenly a dozen books fly + off the shelf right in front of her and fall to the floor. + + LIBRARIAN + (frightened) + All right! Who's there? Lyle? Is + that you? + + Very slowly now, her heart pounding, the Librarian tiptoes + to the other end of the aisle. She gets to the corner and + starts to peek around it, afraid to look but unable to + resist. + + +4 INT. THE NEXT AISLE - DAY 4 + + The Librarian comes slowly around the end of the stacks and + gets her first look at the thing that's been watching her. + + Her eyes go very wide and her mouth opens in horror. She + screams. + + +5 EXT. COLUMBIA UNIVERSITY - DAY 5 + 3. + + + Students are entering and leaving a neo-Gothic building on + the University's upper west side campus. A sign identifies + the building as: Weaver Hall -- Department of Psychology. + + +6 INT. BASEMENT - WEAVER HALL - DAY 6 + + At one end of the dingy corridor is a door marked + PARANORMAL STUDIES LABORATORY. A sign dangles from the + doorknob: Maid - - Please Make Up This Room. Scrawled + across the door is a line of student graffiti that reads: + "Venkman Burn In Hell!" + + It looks like it's been written in blood. + + VENKMAN (V.O.) + Now I'm going to turn over the next + card and I want you to concentrate + and tell me what you think it is. + + +7 INT. PARANORMAL STUDIES LAB -- SAME TIME - DAY 7 + + DR. PETER VENKMAN is administering an ESP test to two + student volunteers, a boy and a girl, who sit across the + table from him separated from each other by a screen. + + Venkman is an associate professor but his rumpled suit and + the manic gleam in his eyes indicate an underlying + instability in his nature. However, while a little short on + academic credentials, Venkman is long on confidence, charm + and salesmanship. + + He turns to the male volunteer, an obnoxious SOPHOMORE, and + pulls out a card from the standard deck of ESP symbols. The + card is visible to the camera over Venkman's shoulder but + hidden from the sophomore by a Masonite board that rests + between them on the table. The card shows a star symbol on + it. + + VENKMAN + All right. What is it? + + SOPHOMORE + (concentrates) + A square? + + VENKMAN + (shakes his head) + Good guess -- but no. + 4. + + +He shows the Sophomore the star card then presses a button +on the table which administers a mild electric shock to the +volunteer. + +The Sophomore twitches involuntarily as the shock passes +through the electrode attached to his fingertips. Then +Venkman turns to the female volunteer, a very beautiful +COED. + + VENKMAN + Now just clear your mind and tell + me what you see. + +He turns over a card with a circle on it. + + COED + (thinks hard) + Is it a star? + + VENKMAN + (feigning surprise) + It is a star! That's great. You're + very good. + +The Coed beams proudly as Venkman turns back to the +Sophomore without showing her the card. + + VENKMAN + (to the Sophomore) + Now think. + +He turns up the diamond card. + +The Sophomore glances nervously at the electrodes, then +ventures a guess. + + SOPHOMORE + Circle? + + VENKMAN + Close -- but definitely wrong. + +He shocks him again and swivels around to face the Coed. + + VENKMAN + Ready? + (she nods and he turns up + the triangle card) + What is it? + + COED + (biting her lip) + Ummm -- figure eight? + 5. + + + VENKMAN + (lies) + Incredible! Five for five. You're + not cheating on me here, are you? + + COED + (amazed at her own + ability) + No. They're just coming to me. + + VENKMAN + Well, you're doing great. Keep it + up. + +He turns back to the Sophomore who winces as the next card +is turned up -- two parallel wavy lines. + + VENKMAN + Nervous? + + SOPHOMORE + Yes. I don't like this. + + VENKMAN + Well, just 75 more to go. What's + this one? + + SOPHOMORE + (takes a deep breath) + Two wavy lines? + + VENKMAN + (burying the card) + Sorry. This isn't your day. + +He zaps him again but this time the Sophomore really jumps. + + SOPHOMORE + (angry) + Hey! I'm getting a little tired of + this. + + VENKMAN + You volunteered, didn't you? Aren't + we paying you for this? + + SOPHOMORE + Yeah, but I didn't know you were + going to give me electric shocks. + What are you trying to prove? + + VENKMAN + 6. + + + I'm studying the effect of negative + reinforcement on ESP ability. + + SOPHOMORE + I'll tell you the effect! It pisses + me off! + + VENKMAN + Then my theory was correct. + +The Sophomore gets up, pulls the electrodes off his +fingertips and exits. + + SOPHOMORE + (as he goes) + Keep the five bucks. I've had it! + +Venkman turns back to the Coed and shrugs. + + VENKMAN + Well, I guess some people have it + and some don't. + + COED + (provocatively) + Do you think I have it, Dr. + Venkman? + + VENKMAN + Definitely. I think you may be a + very gifted telepath. + +Suddenly the door opens and RAY STANTZ enters. + + STANTZ + He is Venkman's colleague and best + friend. A hard scientist with a + good academic background, Stantz is + a maverick who genuinely loves a + challenge. At the moment, he seems + really keyed up. + + STANTZ + Drop everything, Venkman. We got + one. + +He starts rummaging through cabinets and drawers, gathering +up a variety of electronic devices. + + VENKMAN + He frowns at the intrusion and + turns to the Coed. + 7. + + + VENKMAN + Excuse me for a minute. + (he crosses to Stantz) + Ray, I'm right in the middle of + something here. Can you come back + in about an hour? + + STANTZ + (excited, but hushed and + confidential) + Peter, at 1:40 this afternoon at + the main branch of the New York + Public Library on Fifth Avenue, ten + people witnessed a free-roaming, + vaporous, full-torso apparition. It + blew books from shelves at twenty + feet away. Scared the socks off + some poor librarian. + + VENKMAN + (unimpressed) + Sure. That's great, Ray. I think + you should get down there right + away and check it out. Let me know + what happens. + + STANTZ + (insistent) + No, this one's for real, Peter. + Spengler went down there and took + some PKE readings. Right off the + top of the scale. Buried the + needle. We're close this time. I + can feel it. + +Venkman looks at Stantz, then back at the Coed, torn +between duty and pleasure. + + VENKMAN + (decides) + Okay. Just give me a second here. + (he crosses back to the + Coed) + I have to leave now but if you've + got some time I'd like you to come + back this evening and do some more + work with me. + + COED + Eight o'clock? + + VENKMAN + (lying again) + 8. + + + I was just going to say "eight." + You're fantastic! + + He waves good-bye and exits with Stantz. + + +8 EXT. PUBLIC LIBRARY -- DAY 8 + + Venkman and Stantz arrive in a taxi and trot up the front + steps. Stantz is loaded down with equipment. + + STANTZ + Spengler and I have charted every + psychic occurrence in the Tri-State + area for the past two years. The + graph we came up with definitely + points to something big. + + VENKMAN + Ray, as your friend I have to tell + you I think you've really gone + around the bend on this ghost + stuff. You've been running your ass + off for two years checking out + every schizo in the Five Boroughs + who thinks he's had an experience. + And what have you seen? + + STANTZ + What do you mean by "seen?" + + VENKMAN + Looked at with your eyes. + + STANTZ + Well, I was at an unexplained + multiple high-altitude rockfall + once. + + VENKMAN + Uh-huh. I've heard about the + rockfall, Ray. I think you've been + spending too much time with + Spengler. + + +9 INT. MAIN READING ROOM - DAY 9 + + EGON SPENGLER is looking for spirits when Venkman and + Stantz arrive. Spengler is a real egghead, a New Wave Mr. + Spock, who single-handedly got Venkman through graduate + school. + 9. + + +Spengler is incredibly intelligent but amazingly dense at +the same time. At the moment he is listening to a table +using a stethoscope connected to stereo earphones. Venkman +comes up behind him and taps on the table to get his +attention. + + VENKMAN + Egon? + +Spengler hears the tapping and thinks he's made contact +with the spirit world. Then Venkman slams a heavy book down +on the table. + + VENKMAN + Egon! + +Spengler jumps at the deafening noise in his earphones and +turns to see Venkman and Stantz. + + SPENGLER + Oh! You're here. + + VENKMAN + What have you got, Egon? + + SPENGLER + Oh, this is big, Peter. This is + very big. There's definitely + something here. + + VENKMAN + Egon, somehow this reminds me of + the time you tried to drill a hole + in your head. Do you remember that? + + HEAD LIBRARIAN + A choleric, middle-aged civil + servant, MR. DELACORTE, hurries + over to meet them. + + HEAD LIBRARIAN + (nervous) + Hello, I'm Roger Delacorte - the + Head Librarian. Are you the men + from the University? + + VENKMAN + Yes. I'm Dr. Venkman and this is + Dr. Stantz. + + HEAD LIBRARIAN + (leads them off) + 10. + + + Thank you for coming. I'd + appreciate it if we could take care + of this quickly and quietly. + + VENKMAN + One thing at a time. We don't even + know what it is yet. + + +10 INT. AN OFFICE -- A LITTLE LATER 10 + + Venkman is questioning the plump Librarian who saw the + spirit, while a Paramedic continues treating her for shock. + + LIBRARIAN + I don't remember seeing any legs, + but it definitely had arms because + it reached for me. + + STANTZ + (excited) + Arms! Great! I can't wait to get a + look at this thing. + + Venkman glowers at him, still skeptical. + + VENKMAN + (to the girl) + All right, miss. Have you or has + any member of your family ever been + diagnosed schizophrenic or mentally + incompetent? + + LIBRARIAN + Well, my uncle thought he was St. + Jerome. + + VENKMAN + (looks at Stantz) + I'll call that a big "yes." + (to the girl) + Do you yourself habitually use + drugs, stimulants or alcohol? + + LIBRARIAN + No. + + VENKMAN + I thought not. And one last thing. + Are you currently menstruating? + + HEAD LIBRARIAN + (shocked) + 11. + + + What's that got to do with it? + + VENKMAN + (snaps) + Back off, man! I'm a scientist! + + THE DOOR + Spengler sticks his head in. + + SPENGLER + (excited) + It's moving! + + Stantz and Venkman rush out. + + +11 INT. DEEP IN THE STACKS -- DAY 11 + + They come slowly down the dark aisle with Spengler leading, + taking constant readings. Their faces are lit mainly by the + light of their own monitoring and recording equipment. + + HIGH POV + + Looking down on them from the + + spectral point of view. + + A SPIRAL STAIRCASE + + One by one, Venkman, Stantz and Spengler come down the + tightly winding, old iron staircase. They are scared. + + Books are strewn all over the floor. + + A BOOKSHELF + The books start to slide forward + then the whole shelving unit + topples over and almost crushes the + team under a ton of books. They + jump to safety. + + VENKMAN + Nice. + (out loud) + Hello... + + Spengler looks at his meters and silently points at a dark + aisle intersecting the one they're in. The team inches + toward it. + + SPENGLER + It's here. + 12. + + + They stop at the corner. + + +12 INT. THE DARK AISLE -- DAY 12 + + The team peeks around the corner and looks toward camera. + + THEIR POV -- DAY + + An ethereal presence is hovering between the stacks about + four feet off the ground. It seems to waver on the edge of + being and non-being, then a large legless, headless torso + begins to emerge. + + VENKMAN, STANTZ AND SPENGLER + + They stand there amazed. + + STANTZ + (whispers) + What is it? + + VENKMAN + It looks like a big pair of breasts + and a pot belly. + + THE TORSO -- DAY + + A head and arms begin to form. The apparition is now + unmistakably a full-bodied, somewhat elderly lady. + + SPENGLER + It's a woman. + + He edges closer to take valence readings. Stantz starts + snapping infra-red photos of it. + + STANTZ + (excited) + I told you it's real. + + VENKMAN + (whispers) + What do we do now? + + STANTZ + (whispers back) + I don't know. Talk to it. + + VENKMAN + (nods in agreement then + hesitates) + What do I say? + 13. + + + STANTZ + Anything! Just make contact. + + VENKMAN + (takes a deep breath, + then addresses the + specter) + Hey, Lady? + (the apparition turns and + seems to look right past + them) + Lady! Can you talk? Who are you? + (no answer) (to Stantz) + This is not working. Think of + something else. + + STANTZ + (sotto voce) + Okay. Okay. I got it. I know what + to do. Stay close. I have a plan. + +He starts moving closer to the apparition. Venkman and +Spengler edge closer, fighting their fear. They stop just a +few feet from the vision. + + STANTZ + (whispers) + Okay, now do exactly as I say. + Everybody ready? + + VENKMAN & SPENGLER + Ready. + + STANTZ + Okay... + (shouts) + GET HER!!! + +He leaps at the apparition. Venkman and Spengler jump +reflexively at almost the same moment but they all end up +on the floor grabbing at thin air. + +THE GHOST -- DAY + +She drops back a few feet, looms up into a raging demonlike +specter and blasts them with a rush of hot breath as she +mouths a single word. + + THE GHOST + (roars) + QUIET! + +VENKMAN, STANTZ AND SPENGLER + 14. + + + They scream and fall backwards. + + +13 EXT. LIBRARY -- MAIN ENTRANCE - DAY 13 + + They burst through the doors and onto the broad steps, both + terrified and exhilarated by their first real contact with + the supernatural. The Head Librarian rushes out the door + after them and chases them down the steps. + + HEAD LIBRARIAN + (very agitated) + Did you see it? What was it? + + VENKMAN + We'll get back to you. + + +14 EXT. COLUMBIA UNIVERSITY -- DAY. 14 + + Venkman, Stantz and Spengler head for their lab in Weaver + Hall. Spengler makes rapid calculations as Venkman and + Stantz argue. + + VENKMAN + (steamed) + "Get her?" That was your whole + plan? You call that science? + + STANTZ + (exultant) + I guess I got a little overexcited. + Wasn't it incredible! I'm telling + you, this is a first. You know what + this could mean to the University? + + VENKMAN + (sarcastic) + Oh, yeah. This could be bigger than + the microchip. They'll probably + throw out the entire engineering + department and turn their building + over to us. We're probably the + first serious scientists to ever + molest a dead old lady. + + SPENGLER + (consulting his mini- + computer) + 15. + + + I wouldn't say the experience was + completely wasted. Based on these + new readings, I think we have an + excellent chance of actually + catching a ghost and holding it + indefinitely. + + Venkman stops dead in his tracks, stunned by the news. + + Stantz and Spengler continue walking. + + STANTZ + (to Spengler; excited) + Then we were right! This is great. + + STANTZ + And if the ionization rate is + constant for all ectoplasmic + entities, I think we could really + kick ass -- in the spiritual sense. + + Venkman catches up with them again. + + VENKMAN + Spengler, are you serious about + actually catching a ghost? + + SPENGLER + I'm always serious. + + VENKMAN + (his mind reeling at the + possibilities) + Wow! + + +15 EXT. WEAVER HALL -- A LITTLE LATER 15 + + They approach the entrance to the psychology department + talking excitedly. Venkman stops at the door and turns to + Spengler. + + VENKMAN + Egon, I take back everything I ever + said about you. Take this. + (he hands him a candy + bar) + You earned it. + + They enter the building with Spengler greedily devouring + the candy bar. + 16. + + +16 INT. WEAVER HALL -- DAY 16 + + They walk through the hall, then down the stairs to the + basement. + + VENKMAN + (his mind racing) + If you guys are right, if we can + actually trap a ghost and hold it + somehow, I think I could win the + Nobel Prize. + + STANTZ + (protests) + If anyone deserves it, it's + Spengler and me. We're doing all + the hard research and designing the + equipment. + + VENKMAN + Yeah, but I introduced you guys. + You never would've met if not for + me. That's got to be worth + something. + + +17 INT. THE BASEMENT -- DAY 17 + + A Workman in painter pants is at the door as Venkman, + Stantz and Spengler approach and enter the lab. As soon as + the door closes behind them, the Workman starts scraping + their names off the door with a razor blade. + + +18 INT. THE LAB -- DAY 18 + + As they enter, janitorial and maintenance personnel are + busy dismantling their apparatus and equipment. DEAN YAEGER + is supervising. Venkman confronts him. + + VENKMAN + (shocked) + I trust you're moving us to a + better space somewhere on campus. + + DEAN YAEGER + No, we're moving you OFF CAMPUS. + The Board of Regents has decided to + terminate your grant. You are to + vacate these premises immediately. + + VENKMAN + 17. + + + This is preposterous! I demand an + explanation. + + DEAN YAEGER + Fine. This University will no + longer continue any funding of any + kind for your group's activities. + + VENKMAN + But why? The students love us! + + DEAN YAEGER + Dr. Venkman, we believe that the + purpose of science is to serve + mankind. You, however, seem to + regard science as some kind of + "dodge" or "hustle." Your theories + are the worst kind of popular + tripe, your methods are sloppy and + your conclusions are highly + questionable. + + DEAN YAEGER + You're a poor scientist, Dr. + Venkman, and you have no place in + this department or in this + University. + + VENKMAN + I see. + + STANTZ + (to Venkman) + You said you floored 'em at the + Regents' meeting. + + VENKMAN + (righteous) + Ray, I apologize. + (looking at Dean Yaeger) + I guess my confidence in the + Regents was misplaced. They did + this to Galileo, too. + + DEAN YAEGER + It could be worse, Dr. Venkman. + They took the astronomer Phileas + and staked his head to the town + gate. + + +19 EXT. COLUMBIA UNIVERSITY -- DAY -- A LITTLE LATER 19 + 18. + + +Stantz and Venkman are sitting on a bench both looking +desolate. + + STANTZ + (shaking his head) + This is like a major disgrace. + Forget M.I.T. or Stanford now ... + they wouldn't touch us with a + three-meter cattle prod. + + VENKMAN + You're always so worried about your + reputation. We don't need the + University. Einstein did his best + stuff while he was working as a + patent clerk. They can't stop + progress. + + STANTZ + (not cheered) + Do you know what a patent clerk + makes? I liked the University. They + gave us money, they gave us the + facilities and we didn't have to + produce anything! + + STANTZ + I've worked in the private sector. + They expect results. You've never + been out of college. You don't know + what it's like out there. + + VENKMAN + (with visionary zeal) + Let me tell you, Ray, everything in + life happens for a reason. Call it + fate, call it luck, Karma, + whatever. I think we were destined + to get kicked out of there. + + STANTZ + For what purpose? + + VENKMAN + (with real conviction) + To go into business for ourselves. + +Stantz is immediately intrigued by the idea but voices his +reservations. + + STANTZ + 19. + + + I don't know. That costs money. And + the ecto-containment system we have + in mind will require a load of + bread to capitalize. Where would we + get the money? + + +20 EXT. WIDE ANGLE VIEW OF MANHATTAN -- DAY 20 + + +21 EXT. AVENUE OF THE AMERICAS -- DAY 21 + + Venkman, Stantz and Spengler emerge from the Irving Trust + headquarters, all neatly dressed in suits. + + VENKMAN + You'll never regret this, Ray. + + STANTZ + (perturbed) + My parents left me that house, I + was born there. + + VENKMAN + You're not going to lose the house. + Everybody has three mortgages these + days. + + STANTZ + But at nineteen percent interest! + You didn't even bargain with the + guy. + + SPENGLER + (calculating) + Just for your information, Ray, the + interest payments alone for the + first five years come to over + $75,000. + + VENKMAN + Will you guys relax? We are on the + threshold of establishing the + indispensable defense science of + the next decade - Professional + Paranormal Investigations and + Eliminations. The franchise rights + alone will make us wealthy beyond + your wildest dreams. + + STANTZ + But most people are afraid to even + report these things. + 20. + + + VENKMAN + Maybe. But no one ever advertised + before. + + Stantz and Spengler exchange doubtful looks. + + +22 EXT. FIREHALL -- DAY 22 + + An abandoned brick, four-story fire station built by the + city around the turn of the century. It bears a coat of + faded red paint and legend above the garage door in chipped + gilt letters: Engine Company #93. The garage doors open + revealing Venkman standing in the white-tiled garage bay + with a middle aged REAL ESTATE WOMAN wearing a blazer. + + +23 INT. GARAGE BAY -- DAY 23 + + Venkman is looking around. + + R/E WOMAN + Besides this, you've got another + substantial work area on the ground + floor, office space, sleeping + quarters and showers on the next + floor, and you have your full + kitchen on the top level. It's + 10,000 square feet total. + + SPENGLER + He comes out of the office area + with a pocket calculator. + + SPENGLER + It's 9,642.55 square feet. + + The Realtor frowns at Spengler. + + R/E WOMAN + What is he -- your accountant? + + STANTZ + He is looking at the shiny brass + fire pole. + + STANTZ + (shouts, loving it) + Wow! Does this pole still work? + + VENKMAN + 21. + + + (considering but not + wanting to appear too + eager) + This might do ... I don't know ... + it just seems kind of "pricey" for + a fixer-upper, don't you think? + We're trying to keep our costs + down. You know how it is when + you're starting a new company. + + R/E WOMAN + Yes, I know. What are you calling + your business? + + STANTZ + Ghostbusters. + + R/E WOMAN + Oh, well, this place is perfect for + it. + + +24 EXT. UPPER WEST SIDE -- DAY 24 + + A high panoramic view of the city shows heavy traffic + moving up and down Central Park West on a beautiful sunny + day. + + +25 EXT. 78TH AND CENTRAL PARK WEST -- DAY 25 + + An unusual pre-war Gothic high-rise towers over the + neighborhood buildings. The top of the building includes an + elaborate decorative temple, complete with altar, stairs + and Babylonian columns. The late afternoon sun gives the + structure an oddly menacing quality. The camera PANS slowly + down to the street as DANA BARRETT, an attractive woman in + her late twenties, comes walking up to the building + carrying a cello case and a shopping bag full of groceries. + + Guys on the street check her out as she enters, but she + coolly ignores them. + + +26 INT. HIGH-RISE APARTMENT BUILDING -- LOBBY -- DAY 26 + + Dana crosses the lobby and gets into the elevator. + + +27 INT. THIRTY FIFTH FLOOR -- DAY 27 + 22. + + +Dana gets off the elevator and goes to the door of her +apartment. As she unlocks it, the door to the next +apartment opens and Dana's neighbor, LOUIS TULLY, peeks his +head out the door. Louis is a shy nerd, hopelessly in love +with Dana. + + LOUIS + Oh, Dana, it's you ... + + DANA + (she's seen this before) + Hi, Louis. + + LOUIS + ... I thought it was the drug + store. + + DANA + Are you sick, Louis? + +Louis has broken the ice. He confidently exits his +apartment and approaches Dana. His door slams behind him as +he leaves. + + LOUIS + Oh, no, I feel great. I just + ordered some more vitamins. I see + you were exercising. So was I. I + taped "20 Minute Workout" and + played it back at high speed so it + only took ten minutes and I got a + really good workout. You wanna have + a mineral water with me? + + DANA + No thanks, Louis. I'm really tired. + I've been rehearsing all morning. + + LOUIS + Okay. I'll take a raincheck. I + always have plenty of mineral water + and other nutritious health foods, + but you know that. + + LOUIS + Listen, that reminds me, I'm having + a party for all my clients. It's + gonna be my fourth anniversary as + an accountant. I know you fill out + your own tax return, but I'd like + you to come being that you're my + next door neighbor and all ... + 23. + + + DANA + Oh, that's nice, Louis. I'll stop + by if I'm around. + + LOUIS + You know you shouldn't leave your + TV on so loud when you go out. That + creep down the hall phoned the + manager. + + DANA + I thought I turned it off. + (she listens and hears + loud sound coming from + inside) + I guess I forgot. + + Dana begins unlocking her door. + + LOUIS + I climbed on the window ledge to + see if I could disconnect the cable + but I couldn't reach so I turned up + the sound on my TV real loud so + they'd think there was something + wrong with everybody's TV. You + know, you and I should really have + keys to each other's apartment ... + + Her door closes leaving Louis stranded. He walks back to + his apartment muttering to himself. + + LOUIS + ... in case of emergencies ... + (he discovers he has + locked himself out of his + apartment) + ... like this one. + + +28 INT. DANA'S APARTMENT -- DAY 28 + + A roomy, two-bedroom flat with a great view of the park. + + She leaves the cello in the entrance hall, grabs the bag of + groceries and goes through the living room toward the + kitchen. + + Remembering Louis, she stops at the TV set to turn it off, + but a strange image on the screen catches her attention. + + TV SCREEN + 24. + + +29 INT. CHILDREN'S BEDROOM -- NIGHT 29 + + Two children, a BOY and a GIRL, are asleep in bed when + suddenly they are awakened by supernatural moaning and + groaning. + + THE CHILDREN + They scream and jump out of bed. + + THE DOOR + Their MOTHER and FATHER, rush in to + find the children cowering against + the wall. + + FATHER + What is it? What's wrong? + + THE KIDS + Look! + + They point at the closet. + + MOTHER + (to Father) + Oh, dear. It's that darn ghost + again. Can't you do something about + it. + + FATHER + (helpless) + I've tried everything, honey! I + guess we'll just have to move. + + The mother and the kids look at him with disappointment. + + MOTHER + Gee, there must be a better way. + + Stantz steps into the foreground. + + STANTZ + Are you troubled by strange noises + in the night? Do you experience + feelings of dread in your basement + or attic? Have you or your family + actually seen a spook, specter or + ghost? If the answer is yes, then + don't wait another minute. + + STANTZ + Just pick up the phone and call the + professionals -- Ghostbusters. + 25. + + +30 EXT. FIREHALL 30 + + Venkman, Stantz and Spengler are standing in front of the + Ghostbusters' sign. Spengler steps forward. + + SPENGLER + (to camera) + Our courteous and efficient staff + is on call hours a day to serve all + your supernatural elimination + needs. + + +31 INT. RECEPTION AREA 31 + + Janine is seen answering the telephone with a big fake + smile on her face. + + JANINE + (cheery) + Ghostbusters. We'll be right there. + + +32 INT. CHILDREN'S BEDROOM 32 + + Spengler is taking PKE readings along the baseboards. + + Stantz pops up from under the bed. + + STANTZ + (smiling proudly) + Got him! I don't think you'll have + any more trouble with that ghost. + + FATHER, MOTHER AND VENKMAN + + They all look as pleased as punch as Venkman hands the + Father a bill. + + FATHER + (looks at the total) + And it's economical, too! + + MOTHER + How can we ever thank you? + + VENKMAN + (big, cheesy smile) + All in a day's work, ma'am. After + all ... + (to camera) + ... We're Ghostbusters. + (he winks) + 26. + + +33 EXT. FRONT DOOR 33 + + Mother, Father and Kids wave goodbye to the Ghostbusters. + + THE FAMILY + (sings) + If you have a ghost, + + But you don't want to play host, You can't sleep at all, So + who do you call ... Ghostbusters - Ghostbusters. + + VENKMAN, STANTZ AND SPENGLER + + They smile at the camera as a phone number is supered on + the screen. + + GHOSTBUSTERS + (in unison) + We're ready to believe you, + + Dana turns off the TV set and goes into the kitchen. + + +34 INT. KITCHEN 34 + + Dana switches on the radio and starts unpacking groceries. + + She sets a loaf of bread and a carton of eggs on the + counter and begins putting other items away in the pantry. + + THE EGGS + The top of the carton pops open. + Then, one by one, the eggs erupt + and spill over onto the counter. As + the liquid contents hit the + countertop they sizzle. The eggs + begin to fry on the formica + surface. + + DANA + She hears the sizzle, turns and + sees the eggs frying. She gasps, + then recovers and inspects the + mess. She touches the counter + gingerly, but it's not at all hot. + Deeply perplexed, she stands there + trying to think of an explanation. + Then a strange new sound attracts + her attention and she turns around + to see where it's coming from. + 27. + + +Dana hears the sound of muffled chanting coming from the +fridge. She pulls the door open and gets the shock of her +life. The inside of the fridge has been transformed into +the Gateway to another Realm -- a fiery path leading to a +temple door. + +On each side of the door is a strange, snarling creature +that could best be described as a TERROR DOG. Their front +claws are raised toward each other in a symbolic pose. The +incredible vision is accompanied by the unearthly chanting. + + DANA + She stands there transfixed by + horror, the flames reflecting in + her eyes. + + THE FRIDGE + The chanting gets more frenetic and + ominous as the temple doors slowly + begin to open. + + DANA + She is paralyzed. + +THE TEMPLE DOORS + +They continue to open. We feel a terrible presence within. + + THE PRESENCE + (whispers loudly and + hoarsely) + ZUUL!!! + + DANA + She screams and slams the + refrigerator door. Instantly, + everything is normal again. She + looks around the room. + + THE EGGS + They are back in the carton, + unbroken. + + DANA + 28. + + + Fighting her fear, she turns back + to the fridge and very slowly + reaches for the handle. Then + summoning all her courage, she + yanks open the door. Ketchup, + mustard, bottles of vitamins and + other food items fall out of the + rack on the inside of the + refrigerator door. Dana sighs with + relief as she sees nothing but the + cool white porcelain interior of + the fridge. She closes the door and + stands there for a moment still + shaken by the vision. + + DANA + Then she shakes her head and leaves + the kitchen. + + +35 EXT. FIREHALL -- DAY 35 + + The garage bay door is open. Two painters on scaffolding + are completing a paint job on the front of the structure in + flat black paint. A carpenter finishes hanging a sign over + the door. It reads: GHOSTBUSTERS. + + Then Stantz comes driving up in a very long, gold 1959 + Cadillac ambulance and turns into the garage bay of the + firehall. The car has a battered look to it and rumbles + noisily due to a broken muffler. + + +36 INT. GARAGE BAY -- DAY 36 + + Stantz hits the siren and flashes the emergency lights as + he drives in. Venkman crosses to the car as Stantz jumps + out enthusiastically. + + STANTZ + Everybody can relax. I found the + car. How do you like it? + + VENKMAN + (not terribly pleased) + Do you think it's wide enough? How + much? + + STANTZ + Fourteen hundred. + + Venkman steps on the front bumper and rocks it. It wallows + badly. + 29. + + + STANTZ + Just needs a little suspension work + ... And a muffler ... And maybe + brakes. + + +37 INT. RECEPTION AREA -- DAY 37 + + A bored-looking red-headed young woman, JANINE MELNITZ, + sits in a swivel chair behind the reception desk, putting + another coat of red polish on her heavily lacquered nails. + Spengler is on his hands and knees wiring up the telephone + system. + + JANINE + (with a definitive Queens + accent) + You're very handy, I can tell. I + bet you like to read a lot, too. + + SPENGLER + (looks up) + Print is dead. + + JANINE + That's very fascinating to me. I + read a lot myself. Some people + think I'm too intellectual. But I + think reading is a fabulous way to + spend your spare time. + (he doesn't answer) + I also play racketball. Do you ever + play? + + SPENGLER + Is that a game? + + JANINE + It's a great game! You should play + sometime. I bet you'd be good. You + seem very athletic. Do you have any + hobbies? + + SPENGLER + I collect spores, molds and fungus. + + JANINE + Oh, that's very - unusual. + + SPENGLER + I think it's the food of the + future. + 30. + + + JANINE + Remind me not to go to lunch with + you. + + THE DOOR + Dana Barrett enters ance looks + around hesitantly, + + VENKMAN + He springs into action. + + VENKMAN + (all charm) + Hello. I'm Peter Venkman. May I + help you? + + DANA + Yes ... well ... I'm not sure. What + I have to say may sound a little + ... unusual. + + VENKMAN + We're all professionals here, Miss + ... + + DANA + Barrett. Dana Barrett. + +They walk toward the inner office. + + VENKMAN + Why don't you step into the office + and we'll talk about it. + (to Janine) + Hold all my calls, Janine. + + JANINE + What calls? + +Venkman frowns and exits with Dana. + +INSERT -- TV MONITOR -- LATER + +Dana is seen in close-up on a TV screen as she finishes +telling about her experience. + + DANA + ... and then I opened the door + again but it was gone. There was + nothing there. + + VENKMAN + (off-camera) + 31. + + + So what do you think it was? + + +38 INT. OFFICE -- SAME TIME 38 + + Dana is hooked up to a lie detector. Spengler is monitoring + the readout and videotaping the interview. Venkman and + Stantz are listening intently, waiting for Dana's + assessment of her experience. + + DANA + (after a long pause) + I think something in my + refrigerator is trying to get me. + + Venkman stares at her, trying to make sense of her last + statement. + + VENKMAN + Generally, you don't see that kind + of behavior in a major appliance. + What do you think, Egon? + + SPENGLER + (checking the polygraph) + She's telling the truth -- or at + least she thinks she is. + + DANA + (defensive) + Why would anyone make up a thing + like that? + + VENKMAN + Some people like the attention. + Some people are just crazy. + + STANTZ + (muses) + You know, Peter, this could be a + past life experience intruding on + the present. + + SPENGLER + Or even a race memory, stored in + the collective unconscious. And I + wouldn't rule out clairvoyance or + telepathic contact either. + + Dana starts laughing. They all regard her curiously. + + DANA + (trying to be serious) + 32. + + + I'm sorry. It's just that I don't + believe in any of these things. I + don't even know my sign. + + SPENGLER + (checks his notes) + You're a Scorpio with your moon in + Leo and Aquarius rising. + + DANA + Is that good? + + VENKMAN + It means you're bright, ambitious, + outgoing and very, very sexy, + + Dana looks at Venkman, flattered by the remark but more + than a little suspicious of his motives. + + DANA + Is that your professional opinion? + + VENKMAN + It's in the stars. + + STANTZ + Why don't I check out the building? + It may have a history of psychic + turbulence. + + VENKMAN + Good idea. + (to Dana) + Were any other words spoken that + you remember? + + DANA + No, just that one word -- Zuul -- + but I have no idea what it means. + + VENKMAN + Spengler, see if you can find the + word "Zuul" in any of the + literature. I'll take Miss Barrett + home and check out her apartment. + + +39 INT. DANA'S APARTMENT -- LATER THAT AFTERNOON 39 + + The door opens and Dana enters the darkened flat with + Venkman. She switches on the light and leads him to the + living room. + 33. + + + VENKMAN + Have you ever thought of moving out + -- at least until this disturbance + blows over? + + DANA + No. If I moved out now I'd be + acknowledging that what happened + was real. I'm not ready to do that. + +Venkman sees the cello leaning up against the wall. + + VENKMAN + You play the cello! It's my + favorite instrument. + + DANA + Really? Do you have a favorite + piece? + + VENKMAN + (thinks) + I'd have to say Prokofiev's third + concerto. + + DANA + That's a violin concerto. + + VENKMAN + Yeah, but it's got a great cello + break. + +He grabs the cello and starts playing it like a stand-up +base. Dana takes the instrument out of his hands and gently +puts it back in the case. + + DANA + You really don't act like a + scientist. + + VENKMAN + No? What do I act like? + + DANA + Like a used car salesman. + + VENKMAN + Thanks. + (he gets down to business + and starts looking around + the apartment) + What's in there? + 34. + + + He points to a door. + + DANA + That's the bedroom, but nothing + ever happened in there. + + She takes off her jacket. + + VENKMAN + (noticing her body) + That's too bad. + + DANA + What? + + VENKMAN + Nothing. Is that the kitchen? + + He points to another door. + + DANA + (nods) + Uh-huh. + + VENKMAN + Well, let's check it out. + + DANA + I'll wait here if you don't mind. + + He enters the kitchen. + + +40 INT. THE KITCHEN -- DAY 40 + + The room is a real mess. Utensils are lying all over the + floor. The cabinets and walls are splattered with food. + + VENKMAN + (calls out) + You're quite a housekeeper. + + DANA + (off-camera) + I told you, I ... + + VENKMAN + I know. It happened by itself. + + He scans the room with his monitoring device. + + VENKMAN + 35. + + + Nothing. + + He looks in a couple of cabinets, then confronts the + refrigerator. With mild trepidation he grasps the door + handle, then suddenly jerks it open. The handle comes off + in his hand. + + VENKMAN + Damn! + + DANA + (off-camera) + Are you all right? + + VENKMAN + Yeah, yeah. + + He grips the side of the fridge door and pulls it open. + + +41 INT. LIVING ROOM - DAY 41 + + Dana stands there nervously watching the kitchen door. + + Finally, it opens and Venkman comes out munching an apple. + + VENKMAN + There's nothing there now and I + don't get any significant readings. + + DANA + This is terrible. Either there's a + monster in my kitchen or I'm + completely crazy. + + VENKMAN + If it's any comfort to you, I don't + think you're crazy. + + DANA + (laughs ironically) + Thanks. Coming from you that really + means a lot to me. + + VENKMAN + I'm a qualified psychologist. I've + got a degree and everything. I + believe that something happened + here and I want to do something + about it. + + DANA + All right. What do you want to do? + 36. + + + VENKMAN + I think I should spend the night + here. + + DANA + (she's had enough) + That's it. Get out. + + VENKMAN + On a purely scientific basis. + + DANA + Out! + + VENKMAN + I want to help you. + + DANA + I'll scream. + + VENKMAN + Don't scream. + + DANA + (urging him to the door) + Then leave. + + VENKMAN + Okay, okay. But if anything else + happens, you have to promise you'll + call me. + + DANA + (opening the door) + All right. + + VENKMAN + Okay. Then I'll go. + + DANA + Goodbye. + + VENKMAN + (in the hall) + No kiss? + + She closes the door in his face and triple locks it. + + +42 EXT. HALLWAY -- DAY 42 + 37. + + + Venkman stands there with his nose flattened against Dana's + door. He starts to leave just as Louis Tully pokes his head + out the door hoping to see Dana. He jealously eyes Venkman. + + Venkman ignores Louis and gets on the elevator. + + Louis spots his newspaper lying on the floor across the + hall. Holding the door open with one foot, he reaches for + the paper but can't quite stretch far enough. Trying + another approach, he swings the door open, leaps for the + paper and darts back to the door just as it slams shut in + his face, locking him out again. + + +43 INT. FIREHALL KITCHEN -- NIGHT 43 + + Stantz and Spengler are eating Chinese food from several + take-out containers. Venkman enters. + + STANTZ + How was your date? + + VENKMAN + It wasn't a date. It was an + investigation. + + SPENGLER + Did you see anything? + + VENKMAN + Didn't see anything, Didn't get + anything. Nice girl - no ghost. I'm + starting to worry. + + VENKMAN + You said your graph was pointing to + something big. You told me things + were going to start popping. + + STANTZ + They will. + + VENKMAN + Do you know when that might be? + We're on the brink of a very + serious cash-flow problem. + + He plucks a garlic shrimp from one of the Chinese food + cartons and walks off disconsolately. + + +44 EXT. HOTEL SEDGEWICK -- NIGHT 44 + 38. + + + Two uniformed DOORMEN help people in and out of taxis and + limos under the hotel's elegant awning. + + +45 INT. HOTEL -- NIGHT 45 + + A "DO NOT DISTURB" sign hangs on the doorknob of Room 1210. + + Soft music is heard coming from the room. + + +46 INT. ROOM 1210 -- NIGHT 46 + + The room is dark but we can hear the sighs and heavy + breathing of a man and woman making love on the bed. The + camera PANS across the floor following a trail of dropped + clothing -- a tuxedo jacket and cummerbund, white satin + high heels, a lacy wedding gown, striped tuxedo trousers, + satin ladies underpants, stockings and garters. + + BRIDE (V.O.) + Aren't you glad we waited? + + GROOM (V.O.) + I don't know. It probably would've + been the same. + + BRIDE (V.O.) + (indignant) + Well, thanks a lot. + + THE BED + The Groom turns his back to the + Bride and pulls the sheet up to his + neck. + + BRIDE + What are you doing? Are you just + going to roll over and go to sleep? + + BRIDE + (he doesn't respond) + I don't believe this. + + She switches on the lamp on the nightstand and picks up a + magazine. + + THE AIR VENT + + There is a throbbing shudder as if something powerful was + rushing through the air duct. A hint of yellowy vapor wafts + through the grating and into the room. + 39. + + + THE NIGHTSTAND + The travel clock reads 9:45 P.M. + Suddenly there is an audible hiss, + then the glass clockface cracks + down the middle with a snap. + + THE BRIDE + Startled, she looks at the clock + and picks it up to examine it. + + BRIDE + Roy? Your clock broke. + + GROOM + Nice going, honey. It was brand + new. + + BRIDE + I didn't break your precious clock, + Roy! + +He gets up and heads for the bathroom. + + BRIDE + Now where are you going? + + GROOM + To the bathroom, where do you + think? + + BRIDE + (to herself) + Have I done the right thing? + +The Groom enters the bathroom and closes the door behind +him. The sound of water running in the sink is heard. Then +the Bride hears a sound like the noise a cat makes when +trying to dislodge a hairball from its throat. + + BRIDE + (calls out) + Roy? Are you all right? + +The noise increases to the level of ten cats with +hairballs. + + BRIDE + (disgusted) + Hey, sweetheart, will you CUT THAT + OUT!!! + + GROOM (O.S.) + Uuuuuuugh!! + 40. + + + BRIDE + (getting quite nervous) + What's the matter, dear? + + She gets out of bed just as he comes charging out, + stuttering in stunned horror. She goes into the bathroom. + + BRIDE (V.O.) + What did you do in here? It smells + awful!! OH ... Oh, no ... Oh, my + God. + + The Bride runs out of the bathroom into the arms of her + husband who is on the telephone. + + GROOM + ... right ... It's smelling up the + whole suite ... I don't know ... + It's just hanging off the ceiling + ... I've never seen anything like + this ... 1210 ... Quick ... + + +47 INT. FIREHALL OFFICE -- NIGHT 47 + + Janine turns off the light at her desk. She packs up her + purse and puts on her coat. The phone rings. Janine answers + it unenthusiastically. + + JANINE + Ghostbusters ... Yes, it is ... + Yes, of course they're serious. You + do! You have! Yes, sir. Well, + they're out on another case now, + but if you'll give me the address + ... Don't worry, they'll be totally + discreet. + + She hits an alarm button and a loud bell starts ringing + frantically. + + +48 INT. KITCHEN - NIGHT 48 + + The alarm sounds and everyone jumps up, scattering takeout + cartons. + + +49 INT. DORM -- NIGHT 49 + + The alarm continues. Everyone enters in haste and scrambles + into jumpsuits. There is much hopping on one leg and + bumping into one another. + 41. + + + BRASS POLE + Fully suited, Venkman jumps on and + slides down followed quickly by + Spengler. Then Stantz jumps at it + but hits it at the wrong angle. He + slowly slides down out of sight + with a stunned look on his face. + + +50 INT. GARAGE BAY -- EQUIPMENT RACKS -- NIGHT 50 + + Everyone pulls throwers, traps, packs and harnesses off the + wall. + + +51 EXT. FIREHALL -- NIGHT 51 + + The garage door slides up and in a blaze of light and + screeching tires, the ambulance squeals out and makes a + right turn. The vehicle has been painted flat black and has + been fitted with communication wafers and antennae. All the + original lights have been replaced with purple and white + strobes and the siren has been altered to emit a low, + unearthly moaning The purple and white strobe bars give the + car a strange ultraviolet aura. It rounds the corner and + heads up the West Side Highway. + + +52 EXT. HOTEL -- FRONT DOOR -- NIGHT 52 + + The black ambulance screeches up to the main entrance, + siren blaring. Emblazoned on the door is the Ghostbusters' + new logo. It's the international symbol of prohibition, a + red circle with a diagonal red stroke across a ghost. The + DOORMAN steps forward as Venkman, Stantz and Spengler leap + out of the car. They open up the rear door and remove their + equipment. People on the street stop and gawk. + + +53 INT. HOTEL LOBBY -- NIGHT 53 + + As the Ghostbusters enter, people turn and stare at their + strange appearance. They all wear matching blue futuristic + jumpsuits with proton packs strapped to their backs. They + also wear brushed-metal, flip-down ecto-visors worn on the + head like a welder's mask. Knee and elbow pads complete + their strange outfits. + + VENKMAN + 42. + + + He looks ill-at-ease and + embarrassed by their outlandish + getups as the HOTEL MANAGER + descends on them accompanied by a + Slavic MAINTENANCE MAN and a + worried BELL CAPTAIN. + + MANAGER + (agitated) + Thank you for coming so quickly. + The guests are starting to ask + questions and I'm running out of + excuses. + + STANTZ + Has this ever happened before? + + MANAGER + Well, most of the original staff + knows about the twelfth floor ... + The disturbances, I mean ... But + it's been quiet for years ... Up + until two weeks ago ... It was + never ever this bad, though. + + STANTZ + Did you ever report it to anyone? + + MANAGER + Heavens, no! The owners don't like + us to even talk about it. I hoped + we could take care of this quietly + tonight. + + STANTZ + Yes, sir. Don't worry. We handle + this kind of thing all the time. + +They cross the lobby to the elevators, attracting lots of +curious interest from the hotel guests. + + VENKMAN + A GUEST accosts him while they wait + for an elevator. + + GUEST + What are you supposed to be? + + VENKMAN + Me? We're ... uh ... the + exterminators. Somebody saw a + cockroach on the twelfth floor. + 43. + + + The Guest looks at Venkman, noting the heavy proton pack on + his back, the odd-looking particle thrower and flipdown + ecto-visor. + + GUEST + That's gotta be some cockroach, + + VENKMAN + Well, you can't be too careful with + those babies. + + The elevator arrives and he gets on with the others. + + +54 INT. THE ELEVATOR -- NIGHT 54 + + The Ghostbusters look nervous as they ride up the elevator. + + STANTZ + I just realized something. We've + never had a completely successful + test with any of the equipment. + + SPENGLER + I blame myself. + + VENKMAN + So do I. + + STANTZ + No sense worrying about it now. + + VENKMAN + (doubtful) + Sure. Each of us is wearing an + unlicensed nuclear accelerator on + our back. No problem. + + The elevator stops at the Twelfth Floor. + + +55 INT. TWELFTH FLOOR CORRIDOR -- NIGHT 55 + + The elevator doors open and Venkman peeks out into the + hall. + + He steps out cautiously, followed by the others. + + THE END OF THE HALL + + A BELLBOY comes around the corner behind them, pushing a + room service cart loaded with dirty dishes. + 44. + + + STANTZ + He hears the rattle of the dishes + behind him, whirls and fires a + stream of protons from his wand. + + STANTZ + Spengler is so keyed up, he too + spins and fires wildly. + + THE BELLBOY + He ducks as the particle streams + blow the dishes off the cart and + scorch holes in the wall behind + him. + + VENKMAN + (shouts) + Cease fire! + + The Bellboy peeks out from behind the cart. + + THE GHOSTBUSTERS + They breathe a sigh of relief. + + STANTZ + (to the Bellboy) + Sorry, Buddy! + + SPENGLER + We'd better adjust our streams. + + He leads them down the hall to Room 1210. + + +56 INT. ROOM 1210 -- NIGHT 56 + + The Ghostbusters enter trepidatiously and start taking + readings. + + SPENGLER + (looking at his meters) + Something was definitely here. + + VENKMAN + Yeah, I can smell it. + + STANTZ + I'm getting high readings near the + air vents. It must be using the + duct system to get around. See, I + told you we'd get something. + + VENKMAN + 45. + + + So far all we got is a shit smell + on the twelfth floor and we almost + fried a Puerto Rican bellboy. + + STANTZ + All right. Let's cool the negative + vibes. These things can sense them. + + They exit the room. + + +57 INT. A CORRIDOR -- NIGHT 57 + + Spengler makes his way down the hall reading valences at + the door to each room. He knocks on one of the doors, then + passes his sensor over the top of the door and down the + jambs. Then he gets on his knees to read the crack at the + bottom of the door. Suddenly the door opens and he looks up + to see a really stunning woman wrapped in a bath towel with + another towel twisted turban-style around her wet hair. + + WOMAN + (noting his unusual + attire) + Yes? + + SPENGLER + (stands up) + Were you recently in the bathroom? + + WOMAN + (sarcastic) + What on earth gave you that idea? + + SPENGLER + (seriously) + The wet towels, residual moisture + on your lower limbs and hair, the + redness in your cheeks indicating + ... + + WOMAN + (cutting him off) + You're a regular Sherlock Holmes. + Now what do you want? + + SPENGLER + When you were in the bathroom, did + you notice anything that was yellow + and unusually smelly? + + She slams the door in his face. Spengler shrugs and moves + on. + 46. + + +58 INT. ANOTHER CORRIDOR -- SAME TIME 58 + + Stantz moves down the hall checking PKE valences. + + HIS PKE METER + + The needle jumps into the red. + + STANTZ + He alerts Spengler through the + walkie-talkie headset he wears. + + STANTZ + (hushed) + Egon! I got something. I'm moving + in. + + Slowly and cautiously, he turns the corner at the end of + the hall. Suddenly, he sees the object of their search and + freezes. + + STANTZ + (frightened) + Yaaaaaaaaah! + + STANTZ' POV + + The vapor is hunched over a room service cart loaded with + dirty dishes. It hangs there, translucent, foul, yellow, + feeding off table scraps and leftover beverages, knocking + dishes off the cart and scattering refuse. It looks like a + misshapen potato with a pushed-in face and spindly arms. + + SPENGLER + (over the walkie-talkie) + Ray! Where are you? Are you all + right? + + STANTZ + (amazed) + God, it's ugly! + + THE VAPOR + It raises a half-empty bottle of + wine to its gaping maw and chugs + down the liquid. The wine is + visible as it pours down his gullet + and passes through his system, + finally spilling through his body + onto the floor. + + STANTZ + He edges closer. + 47. + + + STANTZ + (whispers into his head + set) + I'm moving in. I don't think it's + seen me yet. + + THE VAPOR + It crams some leftovers into its + mouth and belches loudly. + + STANTZ + He is growing increasingly more + disgusted as the initial fear + leaves him. + + STANTZ + Ugh! What a slob! I'm going to take + him. + (shouts at the vapor) + Freeze, Potato-Face! + + He fires his particle thrower at the vapor. + + THE VAPOR + It dodges Stantz' first shot and + the ion stream tears away fifty + feet of wallpaper in a searing + ricochet. Then the vapor flies off + down the hall, pulling the room + service cart along in its wake. + + STANTZ + He chases it down the hall, + shouting into his headset. + + STANTZ + He's getting away! + + THE VAPOR + It reaches the end of the corridor + but instead of turning, it passes + right through the solid wall. The + room service cart crashes into the + wall, smashing dishes and sending + the debris flying. + + +59 INT. A HOTEL ROOM -- NIGHT 59 + + A MAN is just pulling the plastic bag off his recently dry- + cleaned white dinner jacket when the noxious vapor comes + shooting through the wall. It blows right over him with a + great rush of stinking wind and exits through the air vent. + 48. + + + THE MAN + He looks at the air vent then back + at his dinner jacket which has + turned several shades of sickly + yellow and brown. + + +60 INT. A CORRIDOR -- NIGHT 60 + + Venkman is alone in a long hallway. He leans against the + wall, clearly not taking any of this seriously. He hauls on + a cigarette and mutters to himself. + + VENKMAN + This bites it. I actually work for + a company called Ghostbusters. + + Suddenly from the end of the hallway comes the sound of + rattling dishes and silverware, accompanied by footsteps. + + Venkman's PKE meter beeps and a red light winks on. + + VENKMAN + (into the walkie-talkie) + Ray -- Something's here. + + STANTZ (O.S.) + (crackling over the + communicator) + Where are you, Pete? + + VENKMAN + (backing away) + Third floor. Get down here, + + STANTZ + Sit tight. I'm on my way. + + VENKMAN + Well, hurry up. + (checks his meter) + The needle's going wild. + + VENKMAN'S POV + + A room service cart sails past along a perpendicular + hallway and rolls out of sight. Then immediately behind it + comes a reeking yellow haze. It is the vapor. It doesn't + follow the cart but instead makes the turn at the end of + the hall and hovers there, apparently looking at Venkman. + + VENKMAN + He's scared now. + 49. + + + VENKMAN + (into his head set) + It's here, Ray. It's looking at me. + + STANTZ + (on the radio) + Don't move. It won't hurt you. + + VENKMAN + How do you know? + + STANTZ + I don't know. I'm just guessing. + + Venkman sees the vapor start down the hall toward him. + + VENKMAN + (panicking) + Well, I think you guessed wrong. + Here he comes! + + THE VAPOR + It flies down the hall toward + Venkman. + + +61 INT. STAIRWELL -- SAME TIME 61 + + Stantz runs downstairs taking them three at a time as + Venkman is heard screaming over the radio. + + VENKMAN + (screaming) + Veeaaaaaahh! + + +62 INT. THIRD FLOOR 62 + + Stantz comes running around the corner and sees Venkman + flat on his back, flailing his arms and legs frantically, + Sickening, yellow-green ectofluid covers his head and + chest. + + VENKMAN + Aagghh -- aaaggghh -- uhh -- uhh -- + It slimed me! It slimed me! + + Suddenly Spengler's voice crackles over the communicator. + + SPENGLER (V.O.) + Ray! It's here! It just went into + the Banquet Room on the third + floor. + 50. + + + Stantz helps Venkman to his feet and they rush off. + + +63 INT. BANQUET ROOM -- NIGHT 63 + + The Ghostbusters enter a large dark room with a high, + ornately-corniced ceiling and a crystal chandelier hanging + in the center. + + STANTZ + Visors down. Full stream. + + They flip down their visors and scan the room. + + STANTZ + He peruses the room but sees + nothing. He looks up and scans the + ceiling. A form flits behind a + carved beam. + + STANTZ + There! On the ceiling! + (the others look) + Come on down here, you slug! + + Stantz drops to one knee and fires at the vapor. + + THE CEILING + The vapor dodges as the beam blasts + a sizable chunk of plaster out of + the ceiling and destroys half the + crystal chandelier. + + VENKMAN + He fires at it, too, wasting the + rest of the chandelier but the + vapor dodges away. They are both + ready to start blazing away again + when Spengler stops them. + + SPENGLER + (urgently) + Wait! Wait! There's something I + forgot to tell you. + + VENKMAN + What? + + SPENGLER + (emphatic) + Don't cross the beams. + + VENKMAN + 51. + + + Why not? + + SPENGLER + Trust me. It will be bad. + + VENKMAN + What do you mean "bad?" + + SPENGLER + It's hard to explain, but try to + imagine all life as you know it + stopping instantaneously and + finding yourself confined forever + in another dimension. + +Venkman considers his own safety and decides to take +charge. + + VENKMAN + (with military authority) + That's it! I'm taking charge. You + guys are dangerous. + +They yield command to him. + + VENKMAN + Now nobody does anything unless I + order you to, okay? + +STANTZ AND SPENGLER + +They nod obediently and glance nervously at the vapor, +still hovering near the ceiling. + + VENKMAN + Let's do it. This thing's not going + to hang around all day waiting for + us. Ray, give me one stream wide + right of it. I'll go wide left. + Now! + +STANTZ AND VENKMAN + +They trigger their throwers and two streams are emitted, +shooting off to either side of the entity. The entity +swirls but stays between the beams. + + VENKMAN + (talking them through it) + Good ... Good ... Nice and wide ... + Move with him ... Easy. Hold + steady. + 52. + + + THE VAPOR + It bobs and weaves, trying to slip + past the visible lines of light, + but Venkman and Stantz manage to + keep it boxed in. + + VENKMAN + (speaking clearly) + Now, very slowly, Ray, let's + tighten it up. You hold steady. I'm + coming down. + + They start closing the distance between their ion streams. + + SPENGLER + (cautious) + Don't cross them! Watch it! + + STANTZ + The vapor is trying to get around + his streams, causing him to waver + as Venkman's stream gets closer and + closer. + + VENKMAN + Spengler! A little help! Cut him + off. + + THE VAPOR + It slips past Stantz and races for + the air vent. + + SPENGLER + He fires with such poor + marksmanship that he comes only + centimeters from crossing Venkman's + stream. Venkman jerks away to avoid + crossing Spengler's erratic bursts + and maneuvers. Together they do + extensive damage to the walls. + + +64 INT. CORRIDOR -- SAME TIME 64 + + The Hotel Manager and the Maintenance Man look nervously at + each other as they hear the sound of heavy property damage + coming from the banquet room. + + +65 INT. BANQUET ROOM - NIGHT 65 + + Stantz has the thing cornered to some extent. + 53. + + + STANTZ + (to Venkman) + I'll nudge it out of the corner. + You cut off the left side. + +Stantz moves closer to the wall and Venkman counters to +trap the vapor again. + + VENKMAN + (encouragingly) + You got it! That's good. Easy now. + +They manage to guide the vapor out into the center of the +room, all the time closing the figurative box around it. + + STANTZ + It's working! + + SPENGLER + Easy ... Easy ... I'm going to + throw in my trap now. + +Spengler jerks his leg up, triggering a release on his +equipment belt. A cord and foot pedal fall to the floor. + +At the end of the cord there is a long, flat black metal +box two feet long, four inches wide and two high. He kicks +the box under the apparition and toes the foot pedal into +position. The apparition blasts them with a flatulent gust. + +They recoil but hold the configuration. + + STANTZ + Easy ... Easy ... Open the trap + now!! + +Spengler stomps on the foot pedal and with a loud +electronic snap the long metal box on the floor sprays up a +fixed multidimensional inverted pyramid of bright, beaded +white light. + +Stantz and Venkman herd the vapor to the top of the trap. + + VENKMAN + Watch it ... Watch it ... Now! + +Spengler stomps the foot pedal again. + +Suddenly there is a loud double electronic snap and a +blinding flash of pink light. Wisps of brown smoke and +carbonized particles rise to the ceiling in a large +residual puff. The Ghostbusters stand there for a long +moment not quite sure the battle is over. + 54. + + + SPENGLER + He cautiously approaches the trap + end looks at the valence indicator + on it. + + SPENGLER + (confirms it) + He's in here. + + STANTZ AND VENKMAN + + They whoop in triumph -- and considerable relief. + + STANTZ + (pulling off his slimy + visor) + Well! That wasn't so bad, was it? + + Venkman looks askance at him. + + VENKMAN + Are you kidding? That was like + trying to push smoke into a bottle + with a baseball bat. Now what do we + do with it? + + He looks at Stantz. + + STANTZ + He looks at Spengler. + + SPENGLER + He shrugs. + + VENKMAN + (not pleased) + We'll have to work on that. + (to Stantz) + Grab that, would you, Ray? + + They exit, leaving Stantz to deal with the trap. + + +66 INT. LOBBY -- NIGHT 66 + + The elevator opens and the Ghostbusters emerge. Stantz + holds the trap by it's foot pedal. He dangles it away from + his body as if it is something putrid. The Hotel Manager + approaches them. + + HOTEL MANAGER + What happened? Did you see it? What + is it? + 55. + + + Stantz removes his infra visor and wipes some slime off his + face. He is beaming, + + STANTZ + We got it! + + He holds up the trap. + + HOTEL MANAGER + What was it? Will there be any more + of them? + + STANTZ + Sir, what you had there was what we + refer to as a focused, non-terminal + repeating phantasm or a Class Five + Full Roaming Vapor ... A real nasty + one, too. + + VENKMAN + (starts writing a bill) + That'll be $4,000 for the + entrapment plus $1,000 for proton + recharge and storage. + + HOTEL MANAGER + (shocked) + Five thousand dollars! I won't pay + it. I had no idea it would be so + much. + + VENKMAN + Fine. We'll let it go again. + (calls out) + Ray! Bring it back. + + HOTEL MANAGER + No! All right. Anything. + + +67 EXT. HOTEL SEDGEWICK -- NIGHT 67 + + The Ghostbusters come through the revolving doors and see a + real mob scene on the street. A large crowd has gathered + around the Ectomobile and the police have put up a + barricade to hold them back. Photographers are taking + pictures of it and several reporters are there waiting for + them. As the Ghostbusters cross to the vehicle, people in + the crowd cheer and the reporters start firing questions at + them. + + REPORTER #1 + 56. + + +Nate Cohen. I'm with the Post. What +happened in there? + + REPORTER #2 +Did you really see a ghost? + + REPORTER #3 +Is this some kind of a stunt? + + STANTZ + (holding up the trap; + loudly to the crowd) +We got one! + + REPORTER #1 +Can we see it? + + STANTZ +Uh...I'm afraid not. + + VENKMAN +This is not a sideshow! We're +serious scientists. + + REPORTER #4 +What proof do you have that what +you saw was real? + + STANTZ +Proof? Well, the manager of the +Sedgewick just paid us five big +ones to get something out of there. +Is that real enough for you? + + REPORTER #2 +Are you saying that ghosts really +exist? + + VENKMAN + (pitching) +Not only do they exist, they're all +over the place! And that's why +we're offering this vitally +important service to people in the +whole tri-state area. We're +available twenty-four hours a day, +seven days a week. We have the +tools and we have the talent. No +job too small, no fee too big. +We're ready for anything. + + SPENGLER + 57. + + + He's confused by all the commotion + and the barrage of questions from + the press. A STREET PUNK in the + crowd behind the police barricades + keeps hissing at him. + + STREET PUNK + Mister! Hey, Mister! Come here! + Mister. + +He finally gets Spengler's attention and waves him over. + + STREET PUNK + Hey, Mister! Can I see those guns? + + SPENGLER + They're not guns. They're particle + throwers. + + STREET PUNK + Yeah, yeah. I just want to see 'em. + + SPENGLER + I couldn't do that. You might hurt + someone. + +He turns away. + + STREET PUNK + Wait! Wait! Let me ask you + something. If you like shot + Superman with those guns, would he + feel it or what? + + SPENGLER + (with authority) + On Earth -- no. But on Krypton we + could slice him up like Oscar Mayer + Bologna. + + STREET PUNK + Wow! + +VENKMAN AND STANTZ + +They are in high spirits as they continue to field +questions. A minicam is videotaping them. + + MINICAM REPORTER + Sing the song from your commercial. + + STANTZ + (reluctant) + 58. + + + No, we have to get back and ... + + MINICAM REPORTER + (wheedling) + Come on. It's free advertising. + + VENKMAN + There's a thought. Hit it, Ray. + +Stantz shrugs and starts singing the Ghostbusters song with +embarrassed restraint. + + STANTZ + (singing) + Ghostbusters ... If you have a + ghost But you don't want to play + host ... + +Venkman joins in with a harmony and they continue with more +confidence. + + STANTZ & VENKMAN + (singing) + They can be bad houseguests + And all-night pests ... You can't + sleep at all So who do you call? + +Spengler joins them for the big finish with no perceivable +sense of melody or rhythm. + + ALL TOGETHER + (singing) + Ghostbusters ... Ghostbusters. + +At the moment a flashbulb goes off freezing the +Ghostbusters in a still-frame that becomes a front-page +news photo. + +FRONT PAGE + +The New York Post carries the picture with a big headline +reading: + +GHOSTBUSTERS? + +The Ghostbusters' song really starts to cook with full +production now as a MONTAGE begins. + + TELETYPE MACHINES + A bank of whirring, clicking + teleprinters spits reams of hard + copy and wire service photos + depicting the team at work. + 59. + + + ANNOUNCER (V.O.) + Hello, America. This is Ronald + Gwynne reporting from United Press + International in New York. + Throughout my entire career as a + journalist I have never reported + anything as exciting and incredible + as the trapping of an actual + supernatural entity by a team of + men based in this city who call + themselves Ghostbusters. + + +68 INT. FIREHALL 68 + + The team hears the alarm buzzer. They leap from their beds + and slide down the pole. + + ANNOUNCER (V.O.) + Now, most of us have never even + heard of a floating, slime-like + substance called ectoplasm, but + these gentlemen claim we will be + seeing a lot more of it than ever + before. + + +69 EXT. YANKEE STADIUM -- DAY 69 + + The Ectomobile is parked at home plate. The Ghostbusters + enter the Yankee dugout as a concerned Groundskeeper looks + on. + + +70 EXT. TIMES SQUARE -- NIGHT 70 + + The electronic Seiko sign flashes the news: Ghostbusters + Nab Phantom Bat Boy at Yankee Stadium. + + FULL SCREEN VIDEO OF ROGER GRIMSBY + + ROGER GRIMSBY + Good morning. Today the entire + Eastern Seaboard is alive with talk + of hundreds of reported incidents + involving multiple sightings in + what can only be described as + extreme events of paranormal + extraphenomenical proportions. It + seems everybody is willing to bring + their old ghosts and skeletons out + of the closet. Roy Brady reports + from New York. + 60. + + +71 EXT. IN FRONT OF FIREHALL 71 + + Minicam set up in street. + + ROY BRADY + Thank you, Roger. Everybody's heard + ghost stories around the campfire. + Heck, my grandma used to spin yarns + about a spectral locomotive that + used to rocket past the farm where + she grew up. + + ROY BRADY + Now, as if some unseen authority + had suddenly given permission, + thousands of people here are + talking about encounters they claim + to have had with ghosts. + + Music and Teleclicker up. + + +72 EXT. TUDOR CITY -- DAY 72 + + The Ectomobile pulls up to a Gothic apartment building in + the complex. The Ghostbusters jump out, end hurry into the + lobby. + + A POLICEMAN + He notices that the Ectomobile is + illegally parked and walks over to + gawk at the odd vehicle. + + THE ECTOMOBILE + As the Policeman approaches, a set + of double antennae on the roof are + automatically activated. They + rotate and tilt to point at the + Policeman. The Policeman is a + little unnerved by the antennae and + starts to walk around the car, but + the antennae follow him with + unerring accuracy. + + THE POLICEMAN + Eager to get away from the vehicle, + he quickly writes a parking ticket + and sticks it under the windshield + wiper. + + THE WINDSHIELD + 61. + + + As the Policeman withdraws his + hand, the ticket heats up, bursts + into flame and burns up. + + THE POLICEMAN + He stares at the ashes for a moment + then slowly backs away from the + car. + + +73 INT. ECTOMOBILE -- NIGHT 73 + + Stantz is driving. Spengler and Venkman are asleep. They + all look completely exhausted. + + THE JOE FRANKLIN SHOW -- ON CAMERA + + JOE FRANKLIN + Ray, every time I hear about your + company, I can't help thinking + about the old Bob Hope movie. + + STANTZ + Actually, Joe, the title of that + film was "Ghostbreakers," and Olsen + and Johnson did one called "Ghost + Catchers" and the Bowery Boys did + "Ghost Chasers," "Hold That Ghost," + "Spooks Run Wild," "Spook Busters," + and "Spook Chasers." + + JOE FRANKLIN + Well, in any case, I guess there's + one big question on everybody's + mind and you're certainly in a + position to answer it for us: Have + you seen Elvis and how is he? + + +74 INT. RADIO STUDIO 74 + + LARRY KING is doing his phone-in talk show. + + LARRY KING + Our phone-in topic today: Ghosts + and Ghostbusting. The controversy + builds as more sightings are + reported and some maintain that + these professional paranormal + eliminators in New York are the + cause of it all. Why did everything + start just when these guys went + into business? + 62. + + +75 EXT. LINCOLN CENTER -- DAY 75 + + Larry King continues voice-over as members of the New York + Philharmonic come out the stage door of Avery Fisher Hall. + + LARRY KING (V.O.) + Should they be allowed to carry + around unlicensed proton mass + drivers? And what's wrong with + ghosts anyway? Call us ... All our + lines are open. Hello, Larry King. + + Dana is walking with another man, a VIOLINIST, when she + sees Venkman sitting on the edge of the fountain in the + center of the plaza. She asks the Violinist to wait and + crosses to Venkman. + + FEMALE CALLER (V.O.) + Hello, Larry? I think what Dr. + Spengler said in his interview with + you last night was true. The world + is in for a "psychic shock" 'cause + like my aunt reads coffee grounds + and she ... + + FADE OUT: + + VENKMAN AND DANA + + She is surprised and a little bit pleased to see him. + + VENKMAN + Great rehearsal. + + DANA + You heard it? + + VENKMAN + You're the best one in your row. + + DANA + (skeptical) + Most people can't hear me with the + whole orchestra playing. You're + good. + + VENKMAN + I don't have to take abuse from + you. I have other people dying to + give it to me. + + DANA + 63. + + + I know. You're quite a celebrity + these days. Are you here because + you have info ... about my case? + + VENKMAN + (looks at the Violinist + who appears to be getting + impatient) + Who's the stiff? + + DANA + The "stiff?" He happens to be one + of the finest musicians in the + world and a wonderful man. + + VENKMAN + Is he dying or something? + +They glance at the Violinist. + + THE VIOLINIST + He takes a hit of nasal spray in + each nostril. + +DANA AND VENKMAN + +She looks at him trying to decide whether she likes him or +not. + + DANA + He is a very close friend. Do you + have some explanation of what + happened in my apartment? + + VENKMAN + Yes, but I have to tell you in + private at a fine restaurant. + + DANA + Can't you tell me now? + + VENKMAN + I'll cancel the reservation, I + found the name "Zuul" in ... + (reading) + The Roylance Guide to Secret + Societies and Sects. I don't + suppose you've read it. + + DANA + You must have gotten the last copy. + + VENKMAN + 64. + + + Well, the name Zuul refers to a + demi-god worshipped around 6000 + B.C. by the ... What's that say? + + DANA + Hittites, the Mesopotamians and the + Sumerians. "Zuul was the Minion of + Gozer." + + VENKMAN + "Gozer" -- he was very big in the + Sumerian religion. One of their + gods. + + DANA + What's he doing in my refrigerator. + + VENKMAN + I'm checking on that. I think we + should meet Thursday night at nine + to talk about it. + + DANA + I don't think so. I'm busy Thursday + night. + + VENKMAN + (persists) + You think I enjoy giving up my + evenings to spend time with + clients? I'm making an exception + because I respect you as an artist + and as a dresser. + + DANA + (laughs) + All right. Since you put it that + way. + + VENKMAN + I'll pick you up at your place. + I'll bring along the Roylance Guide + -- we can read after we eat. + + DANA + I've got to go now. + +She walks toward the Violinist. Venkman shouts after her. + + VENKMAN + Remember. I'm the only one standing + between you and a heavy Hittite. + 65. + + + She starts walking away. + + VENKMAN + (calls after her) + I'll pick you up at your place. + + DANA + She waves goodbye and rejoins the + Violinist, + + VIOLINIST AND DANA + + VIOLINIST + (jealous) + Who was that? + + DANA + Oh, he's an old professor of mine. + + VIOLINIST + (doubtful) + Really? + + DANA + Yes. He's smarter than he looks. + + They walk off. + + +76 INT. RECEPTION AREA -- DAY 76 + + Janine is handling a steady barrage of phone calls, + switching from one line to the other. WINSTON ZEDDEMORE, a + large, impressive-looking black man sits across from her + filling out a job application. + + JANINE + (answering a call) + GHOSTBUSTERS -- please hold. + (switches) + Good afternoon, GHOSTBUSTERS -- + please hold. + (switches back) + Yes, can I help you? + (pause) + 66. + + + Yes ... yes, Is it just a mist or + does it have arms and legs ...? Uh- + huh ... Well, the soonest we could + possibly get to you would be a week + from Friday ... I'm sorry, but + we're completely booked until then + ... Uh-huh ... Well, all I can + suggest is that you stay out of + your house until we can get to you. + Thank you. + + She hangs up. + + WINSTON + Let me ask you something. The ad in + the paper just said "Help Wanted." + What's the job? + + JANINE + I really don't know, Mr. Zeddemore. + They just told me to take + applications and ask you these + questions. + (she reads from a + questionnaire as if for + the hundredth time) + Do you believe in U.F.O.'s, astral + projection, mental telepathy, ESP, + clairvoyance, spirit photography, + full-trance mediums, telekinetic + movement, black and/or white magic, + pyramidology, the theory of + Atlantis, the Loch Ness Monster, or + in general in spooks, spectres, + wraiths, geists and ghosts? + + WINSTON + Not really. However, if there's a + semi-regular paycheck in it I'll + believe anything you say. + + +77 EXT. FIREHALL -- SAME TIME 77 + + A gaggle of autograph hounds is waiting on the street as + Ecto One pulls in. The front of the building now bears a + big neon sign with the Ghostbusters logo on it. + + +78 INT. GARAGE BAY -- DAY 78 + 67. + + + Venkman and Stantz disembark. They carry a couple of traps + apiece. Their jumpsuits are covered with smoldering ecto- + slime. The Ectomobile looks like it's been through a war. + + STANTZ + (exhausted) + Boy, that was a rough one. + + VENKMAN + I can't take much more of this. The + pace is killing me. + + +79 INT. RECEPTION AREA - DAY 79 + + Venkman enters with Stantz, crosses to Janine and drops a + paid invoice on her desk. + + VENKMAN + Here's the paper on the Brooklyn + job. She paid with a Visa card. + + JANINE + (hands a sheaf of work + orders to Stantz) + Here are tonight's calls. + + STANTZ + (shuffles through them) + Oh, no. Two more free-roaming + repeaters. + + JANINE + And this is Winston Zeddemore. He + came about the job. + + STANTZ + Hi. Ray Stantz. Pete Venkman. + + They shake hands. + + JANINE + (to Venkman) + And someone from the EPA is here to + see you. + + VENKMAN + The EPA? What's he want? + + JANINE + 68. + + + I didn't ask him. All I know is + that I haven't had a break in two + weeks and you promised you'd hire + more help. + + VENKMAN + (surly) + Janine, I'm sure a woman with your + qualifications would have no + trouble finding a top flight job in + the housekeeping or food service + industry. + + JANINE + Oh, really? Well, I've quit better + jobs than this one, believe me. + + He exits. + + STANTZ + He scans Winston's resume, ignoring + the flare-up between Janine and + Venkman. They start downstairs to + the storage facility. + + STANTZ + Very impressive resume. Electronic + countermeasures, Strategic Air + Command ... Black belt in Karate + ... Small arms expert ... Mr. + Zeddemore, as you may have heard, + we locate ghosts and spirits, trap + them with streams of concentrated + quantum energy and remove them from + people's homes, offices and places + of worship. + + WINSTON + Yeah, I heard that. Now tell me + what you really do. + + +80 INT. THE OFFICE -- SAME TIME 80 + + The walls are plastered with newspaper and magazine stories + on Ghostbusters. WALTER PECK, junior E.P.A. administrator, + is reading one of the articles when Venkman walks in. + + VENKMAN + Can I help you? + + PECK + (turns all business) + 69. + + + I'm Walter Peck. I represent the + Environmental Protection Agency, + Third District. + + VENKMAN + (not impressed) + Great! How's it going? + + PECK + Are you Peter Venkman? + + VENKMAN + Yes, I'm Doctor Venkman. + +Peck looks at Venkman's soiled jumpsuit. + + PECK + Exactly what are you a doctor of, + Mr. Venkman? + + VENKMAN + I have Ph.D's in psychology and + parapsychology. + + PECK + I see. And now you catch ghosts? + + VENKMAN + You could say that. + + PECK + And how many ghosts have you + caught, Mr. Venkman? + + VENKMAN + I'm not at liberty to say. + + PECK + And where do you put these ghosts + once you catch them? + + VENKMAN + In a storage facility. + + PECK + And would this storage facility be + located on these premises? + + VENKMAN + Yes, it would. + + PECK + 70. + + + And may I see this storage + facility? + + VENKMAN + No, you may not. + + PECK + And why not, Mr. Venkman? + + VENKMAN + Because you didn't say the magic + word. + + PECK + (sighs) + And what is the magic word, Mr. + Venkman? + + VENKMAN + The magic word is "please." + +Peck laughs nervously. + + PECK + May I please see the storage + facility? + + VENKMAN + Why do you want to see it? + + PECK + Well, because I'm curious. I want + to know more about what you do + here. Frankly, there have been a + lot of wild stories in the media + and we want to assess any possible + environmental impact from your + operation. + + PECK + For instance, the storage of + noxious, possibly hazardous waste + materials in your basement. Now + either you show me what's down + there or I come back with a court + order. + + VENKMAN + (he's had it) + Go ahead! Get a court order. Then + I'm gonna sue your ass off for + wrongful prosecution. + 71. + + + PECK + (exiting) + Have it your way, Mr. Venkman. + + VENKMAN + (shouts after him) + Hey! Make yourself useful! Go save + a tree! + + +81 INT. FIREHALL BASEMENT -- SAME TIME 81 + + Spengler is at the work bench repairing a damaged proton + pack. The place is a mess with equipment, work orders, + parts, catalogs and old lunches piled everywhere. Half the + room has been sealed off from floor to ceiling with + concrete blocks to form a storage facility for captured + spirits. + + Winston is standing at a viewing slit staring into the + storage facility. + + STANTZ + He inserts a trap into a metal- + lined slot in the wall of the + storage facility. Spengler crosses + to a control console to assist him. + + STANTZ + (pushing buttons) + Set entry grid. + + SPENGLER + Neutronize. System shut. + + He pushes more buttons and the slot lights up. Several + grating electronic snaps are heard, like the sound of bugs + being fried on an outdoor insect light. Then Stantz + withdraws the trap and tosses it into a bin marked: + + FOR RECHARGE. + + SPENGLER + I've got to sleep. + + STANTZ + I need two new purge valves. How's + the grid around the storage + facility holding up? + + SPENGLER + 72. + + + I'm worried, Ray. It's getting + crowded in there. And all my recent + data points to something big on the + bottom. + + WINSTON + (concerned) + What do you mean "big?" + +Spengler picks up a Hostess Twinkie from the workbench. + + SPENGLER + Well, let's say this Twinkie + represents the normal amount of + psychokinetic energy in the New + York area. According to this + morning's PKE sample, the current + level in the city would be a + Twinkie 35 feet long weighing + approximately six hundred pounds. + + WINSTON + That's a big Twinkie. + + STANTZ + We could be on the verge of a + fourfold crossover ... or worse. If + what we're seeing indicates a + massive PKE surge, we could + experience an actual rip. + +Spengler nods gravely. Venkman enters looking very +concerned. + + VENKMAN + Egon, how's the grid around the + storage facility holding up? + + STANTZ + It's not good, Pete. + + WINSTON + Tell him about the Twinkie. + +Venkman lets that remark go and crosses to a TV monitor +linked to a camera inside the storage facility. + + VENKMAN + (peering) + I can't look anymore. It's too + depressing. + +THE MONITOR. + 73. + + + We zoom in on the monitor and get our first real look + inside the storage facility. It is a bleak repository for + souls of many species. Strange lights, mists and spectral + shapes waft about aimlessly. Human-like figures lean + against the walls in despairing convict poses. Others flit + and hang on the ceiling. It is a sad and frightening limbo + and a most unholy makeshift asylum. + + +82 EXT. MANHATTAN SKYLINE -- NIGHT 82 + + A mysterious cloud takes shape and hovers over Dana's + apartment building. Then a strange glow starts to radiate + from the temple-like structure on the roof. + + +83 EXT. THE TEMPLE -- NIGHT 83 + + The moon shines through the odd cloud configuration, + illuminating the ornate temple door with its two stone + Terror Dogs posed rampant on either side of the portal. + + TERROR DOG + Its hideous stone features are + bathed in moonlight. The camera + PANS down its grotesque body to one + of its claws. Suddenly there is a + hiss and an audible crack of + disintegrating mortar as one of its + stone talons comes to life. + + ITS HEAD + The stone figure opens its eyes, + revealing glowing red pupils + beneath the scaly lids. + + +84 INT. HALLWAY -- NIGHT 84 + + Dana gets off the elevator and immediately hears loud music + blasting from Louis' apartment as his party hits full + swing. + + She tiptoes past his door but despite the loudness of the + music, Louis somehow senses her presence and comes rushing + out into the hall. + + LOUIS + Oh, Dana, it's you. + + DANA + Hi, Louis. + 74. + + + LOUIS + Hey, it's crazy in here. You're + missing a classic party. + + DANA + Well, actually Louis I have a + friend coming by. + + LOUIS + Great! Bring her, too. But you + better hurry. I made nachos with + non-fat cheese and they're almost + gone. I'll make some more though. + + DANA + (entering her apartment) + Fine, Louis. We'll stop in for a + drink. + + LOUIS + I got the Twister game for later + ... + + Dana closes the door leaving Louis alone in the hall, once + again locked out of his own apartment. + + LOUIS + (knocking on his door) + Hey. Lemme in ... + + +85 INT. DANA'S APARTMENT -- NIGHT 85 + + She enters and takes off her coat. She's wearing dance + clothes and appears to be really tired. She sits down in an + overstuffed chair and takes off her leg warmers. Then leans + back and closes her eyes. It is very quiet. Something + dreadful is about to happen. Then it happens. The phone + rings so loudly it makes Dana jump. She picks it up. + + DANA + Hello ... Oh, hi Mom. Yes ... yes. + Everything's fine. No ... nothing. + Just that one time ... I am ... I + will ... I won't ... Mother! I'm + all right. I told you. Everything's + fine ...! All right. I'll talk to + you tomorrow ... I promise. 'Bye. + + She hangs up the phone, leans her head back and closes her + eyes again. We hold on her for a long beat. + 75. + + +86 INT. THE KITCHEN DOOR NIGHT 86 + + An eerie light is seen coming through the cracks around the + door. + + DANA + She sits up in surprise and looks + at the kitchen door. + + DANA + Oh, shit! + + She starts to get up but suddenly a pair of scaly, inhuman + hands rip out of the chair cushion on either side of her + and clutch her around the waist. She screams and tries to + break their grip, but another pair of claws tears through + the upholstery and grabs her around the chest and neck, + pinning her to the chair. + + THE CHAIR + As if drawn by a powerful force, + the chair with Dana in it slides + across the living room floor toward + the kitchen door. + + THE KITCHEN DOOR + + The whole door is now pulsing. + + DANA + She is horrified. + + THE KITCHEN DOOR + + It swings open, revealing a fiery chamber where the kitchen + used to be. One of the Terror Dog creatures seen earlier in + the fridge is standing there waiting for Dana with + outstretched claws. + + DANA + She screams as the chair propels + her into the kitchen. Then the door + swings shut behind her. + + +87 EXT. DANA'S ROOFTOP -- NIGHT 87 + + A bright flash shoots out from the center of the pyramid, + lighting up the roof of Dana's building. + + ROOF TEMPLE + 76. + + + All is as before except that both + stone Terror Dogs are ominously + missing from the structure. + + +88 INT. LOUIS' APARTMENT -- SAME TIME 88 + + Louis is playing the perfect host to his clients, a general + cross-section of nerds and nerdettes, The music is much too + loud and the guests are scattered about the living room in + small groups making dull conversation. + + LOUIS + He is emptying ashtrays and + cleaning them with Windex. A TALL + WOMAN approaches him. + + TALL WOMAN + Louis, do you have any Excedrin or + Extra Strength Tylenol? + + LOUIS + I have acetacylasilic acid but + generic from Walgreens cause I can + get 600 tables for 35% less than + the cost of 300 name brand. Is it a + headache? + + The woman moves away. + + THE BUFFET TABLE + + Two stiff men are helping themselves. One is about to bite + into some lox when Louis joins them. + + LOUIS + That's Nova Scotia salmon. The real + thing. It costs $24.95 a pound but + really $12.48 a pound net after + tax. I'm writing this whole party + off as a promotional expense. + That's why I invited clients + instead of friends. Try that Brie, + it's dynamite at room temperature. + Maybe I should turn the heat up a + bit ... + + A SECOND WOMAN moves up to Louis. + + WOMAN #2 + C'mon Louis, maybe if we dance + other people will start. + 77. + + + They start to dance. + + The doorbell rings. Louis bolts for the door hoping if's + Dana. It's another couple. Louis escorts them in and take, + their coats. + + LOUIS + Everybody, this is Ted and Annette + Fleming. Ted has a small carpet + cleaning business in receivership, + but Annette is drawing a salary + from a deferred bonus from two + years ago and the house has $15,000 + left at eight percent. + + He goes to the bedroom door with their coats and opens it. + + +89 INT. BEDROOM -- NIGHT 89 + + On the bed, standing up on all four legs, is a bristling, + panting, live Terror Dog. Too preoccupied to notice it, + Louis reflexively tosses the coats onto the bed. They both + land on the Terror Dog's head. + + +90 INT. LIVING ROOM -- NIGHT 90 + + Louis comes out of the bedroom and closes the door. Then + from within there issues forth a tremendous roar that + freezes the quest. + + LOUIS + Okay. Who brought the dog? + + BEDROOM DOOR + An instant later, the Terror Dog + bursts right through the door. Wood + chips and splinters shower the + guests. + + THE GUESTS + They drop their drinks and canapes + as the Terror Dog lands in the + center of the room, snarling + hellishly. + + It quickly scans the room, looking for Louis. + + LOUIS + He yelps and runs for the door. + + TERROR DOG + 78. + + + He lunges after Louis, but Louis + gets out just in time and slams the + door behind him. + + +91 INT. HALLWAY -- NIGHT 91 + + Louis tears off down the hall, bellowing. The Terror Dog + bursts through the door, lands in the hall and runs after + him. + + Louis ducks into the elevator. + + +92 EXT. DANA'S BUILDING - NIGHT 92 + + A DOORMAN stands at his post near the revolving door, Two + elegantly dressed visitors wait as he phones to announce + them to one of the building residents. Suddenly Louis comes + running out of the door. + + LOUIS + Help! Help! There's a bear loose in + my apartment. + + He runs across the street and disappears in the park. + + THE DOORMAN + + DOORMAN + (mutters) + How he's got animals up there. + + The Doorman turns just in time to see the Terror Dog before + it runs right over him and bounds across the street. + + +93 EXT. CENTRAL PARK 93 + + TWO BUMS stroll casually along discussing current events. + + FIRST BUM + I think you're right about Central + America but I completely disagree + about the other thing. A good + heavyweight boxer could take a + Karate guy every time. + + Louis runs by them, almost knocking them over. + + LOUIS + (screaming) + Run! Run! + 79. + + + They turn to watch him go. + + SECOND BUM + (shaking his head) + Rush, rush, rush. + + They turn back just as the Terror Dog streaks past them in + hot pursuit. They recoil in fear and watch as the creature + sprints after Louis. + + SECOND BUM + That is one speedy mutt. + + FIRST BUM + He's a big one. You don't want to + mess with that particular breed. + + SECOND BUM + Definitely some sort of fighting + Spaniel, I think. + + +94 EXT. CENTRAL PARK - NIGHT 94 + + Louis runs for his life, afraid to look back. He races + through a tunnel then sees the twinkling lights of the + Tavern on the Green restaurant and heads straight for it. + + +95 EXT. TAVERN ON THE GREEN -- NIGHT 95 + + Louis comes tearing into the courtyard of the restaurant. + + Through the large picture windows he can see well-dressed + people sitting in the elegant dining room. He goes for a + door into the dining room but finds it locked. Then he + tries another door but it, too, is locked. Suddenly, he + hears a low rumbling growl from the bushes. Desperate now, + he starts pounding on the glass. + + +96 INT. TAVERN ON THE GREEN -- SAME TIME 96 + + The wealthy patrons look up and see Louis pounding on the + glass, screaming unintelligibly. + + LOUIS + (muffled) + Help! Help! + + They ignore his pleas and return to their salmon croute. + 80. + + +97 EXT. COURTYARD -- NIGHT 97 + + Louis' heart is pounding, his breath coming in compulsive + gasps as he turns to face the relentless Terror Dog. + + THE TERROR DOG + + It stands there silhouetted in the dark. Then it starts + advancing toward Louis, casting giant shadows on the walls. + + LOUIS + He is paralyzed with fear. + + LOUIS + (trembling) + Nice doggie. Nice. + + THE TERROR DOG + + It pounces with a tremendous roar. + + +98 INT. TAVERN ON THE GREEN -- NIGHT 98 + + The roar echoes through the restaurant. There is the sound + of a violent struggle, then all is quiet. Nobody notices. + + COLUMBUS CIRCLE LATER + + Louis walks out of the park, walking stiffly with a glazed + look in his eyes. He sees a horse and carriage parked at + the curb. He goes right up to the horse and speaks to it, + obviously possessed by the Terror Dog. + + LOUIS + (to the horse) + I am Vinz Clortho. Keymaster of + Gozer, Volguus Zildrohar, Lord of + the Sebouillia. Are you the + Gatekeeper? + + The COACHMAN sees Louis talking to his horse. + + COACHMAN + Hey! He pulls the wagon. I make the + deals. You wanna ride? + + LOUIS + (to Coachman) + Are you the Gatekeeper? + + COACHMAN + 81. + + + No, I'm the Governor of New Jersey. + Now get outta here. + + Louis glares at the Coachman. His eyes begin to glow, + magically. + + LOUIS + (to Coachman) + You will perish in flames, + subcreature! Gozer will destroy you + and your kind! + (he whispers to the + horse) + Wait for the sign. Then all + prisoners will be released. + + Louis lopes off across the street. The cars come screeching + to a halt to avoid hitting him. + + THE STREET + TWO MOUNTED POLICEMEN notice his + strange behavior and follow him + down the street. + + +99 EXT. DANA'S APARTMENT BUILDING -- NIGHT 99 + + Venkman enters dressed neatly in a suit, holding a bouquet + of flowers for Dana. He sees two COPS talking to + dishevelled party guests. He sidles up to one of the cops. + + VENKMAN + What's going on? + + THE COP + Some moron brought a cougar to a + party and it went berserk, + + VENKMAN + Oh. + + He goes to the elevators. + + +100 INT. HALLWAY -- NIGHT 100 + + Venkman walks past Louis' apartment and curiously notes the + splintered door. Then he rings Dana's bell, waits, rings + again and knocks. + + VENKMAN + (calls out) + Dana? + 82. + + +The door opens and Dana is standing there, but she has +changed radically from the woman we met earlier. Her hair +is down, flowing loosely over her naked shoulders, her eyes +are wide open, filled with a kind of love-slave longing, +her lips are parted and wet and her clothes are seductively +tattered. She stares at Venkman. + + VENKMAN + Hi. + (he notes the change in + her) + What happened to you? The cop + downstairs said an animal got loose + up here. What's the story? Are you + all right? + +She stares at him as if she hasn't heard a word he said. + + DANA + Are you the Keymaster? + +Venkman realizes that something bizarre has happened. + + VENKMAN + Not that I know of. + +She starts to close the door but Venkman slides past her +into the apartment. + + VENKMAN + (worried now) + Hey, Dana. What is it? What + happened? + + DANA + I am Zuul. I am the Gatekeeper. + +He looks around the apartment and notices the holes ripped +in the chair. Then he sees the kitchen doorframe charred +and blackened with soot. + + VENKMAN + I think we better get out of here. + + DANA + She crosses to the window and gazes + at the sky as if waiting for + something. + + DANA + We must prepare for the coming of + Gozer. + 83. + + + VENKMAN + (humoring her) + Okay, I'll help you. Should we make + some dip or something? + + DANA + He is the Destructor. + + VENKMAN + Really? Can't wait to meet him. + (he has an idea) + As long as we're waiting for him, + I'd really like to try something + with you -- in the bedroom. + + He takes her hand and she yields. They enter the bedroom. + + +101 INT. DANA'S BEDROOM -- NIGHT 101 + + They enter and Venkman steers her onto the bed. + + DANA + (wantonly) + Do you want this body? + + VENKMAN + (taking her pulse) + Well, I'll just use it for a while + and get it right back to you. + + DANA + Take me now. + + He checks her pupil dilation with a penlight. + + VENKMAN + Well, I make it a rule never to + sleep with possessed people. + + She pulls him down on top of her and kisses him with + supernatural lust. + + VENKMAN + (coming up for air) + Actually, it's more of a policy + than a rule. + + DANA + (stroking him) + I want you inside me. + + VENKMAN + 84. + + + (reluctant) + I don't know. You've got two people + in there already. It could get a + little crowded. + (he gently pushes her + back down on the bed) + I want you to close your eyes and + relax. + (she complies) + Now I'm going to speak to Dana and + I want Dana to answer. + + DANA + I am Zuul. I am ... + + VENKMAN + Right ... You're the Gatekeeper. + But I want Dana. Dana, speak to me + ... + + DANA + (in a low, horrible + unearthly voice) + There is no Dana. I am Zuul. + + VENKMAN + (recoils) + Whoa!! Nice voice. + +She starts to sit up, but he restrains her with a light +touch on the shoulder. + + VENKMAN + (trying another approach) + All right -- Zuul. Listen + carefully. I don't know where you + came from or why, but I want you to + get out of here and leave Dana + alone. I'm going to count to ten + and when I'm finished, you better + be gone. Okay? Here goes. One ... + Two ... Three ... + +A shudder runs through Dana's body, then she slowly starts +to levitate, rising a full three feet off the bed. + + VENKMAN + (aghast) + Wow! + 85. + + + He stands up and circles around the bed looking for some + sort of explanation. He passes his hands over her, then + under her, looking for wires or a force field. Then he + makes a few theatrical moves like a cheap magician. + + +102 EXT. HUDSON PARKWAY -- SAME NIGHT 102 + + Ecto One speeds northward, strobes lit. + + +103 INT. ECTOMOBILE -- NIGHT 103 + + Winston is at the wheel. Stantz pops open a beer and lights + a smoke. They both look completely wasted. Stantz is + looking over some blueprints. + + WINSTON + Hey man. What is it you're so + involved with there? + + STANTZ + Uh ... Oh these are blueprints of + the structural ironwork in Dana + Barrett's apartment building ... + And they're most unusual. + + WINSTON + (changing the subject) + Are you a Christian, Ray? + + STANTZ + (examining documents) + Mmmhmmm. + + WINSTON + Me, too. + + STANTZ + (reacting to something in + the blueprint) + Boy! Solid cores of shielded + Selenium .325. + + WINSTON + Do you believe in God? + + STANTZ + No. But I liked Jesus' style. + + WINSTON + Me, too. Parts of the Bible are + great. + 86. + + + STANTZ + (hardly listening) + The whole roof cap was fabricated + with a magnesium-tungsten alloy. + + WINSTON + Ray, do you remember something in + the Bible about a day when the dead + would rise up from their graves? + + STANTZ + (still absorbed by the + blueprint) + And the seas would boil ... + + WINSTON + Right. And the sky would fall ... + + STANTZ + Judgement Day ... + + WINSTON + Yeah, Judgement Day. + + STANTZ + Every ancient religion had its own + myth about the end of the world. + + WINSTON + Well, has it ever occurred to you + that the reason you've been so busy + lately is because the dead have + been rising from their graves? + + They exchange a look of puzzlement and concern. + + +104 EXT.. FORT DETMERRING -- NIGHT -- SAME TIME 104 + + Ecto One pulls up to a pair of massive parapets and a hewn + timber gate set in a thick redoubt on an escarpment high + above the river. Two figures approach them from the + shadows. + + As they draw closer, Stantz and Winston see their Stetson + hats and uniforms. + + PARK RANGER + Evening. We've had a problem here + for quite some time. I called your + outfit a couple of weeks ago. + + WINSTON + 87. + + + Busy time of year. + + PARK RANGER + Nobody likes to talk about this + sort of thing. + + STANTZ + You don't have to worry about that + with us, sir. + + WINSTON + Right. We'll believe anything. + + +105 INT. FORT -- GUNNER'S CORRIDOR -- NIGHT 105 + + Stantz and Winston walk past a long line of cannon. Their + visors are down. They wear the usual equipment. + + STANTZ + You check the armory. I'll go down + to the officers' barracks. + + They split up. Winston takes a long, low passageway. Stantz + descends a set of stone stairs. They both leave frame. The + sound of their separate footsteps fades O.S. + + +106 EXT. FIREHALL -- NIGHT -- SAME TIME 106 + + A police van pulls up, the garage door opens and Spengler + comes out of the building. He meets a POLICE SERGEANT. + + They walk around to the back door of the van. + + SERGEANT + We picked up this guy and now we + don't know what to do with him, + Bellevue doesn't want him and I'm + afraid to put him in the lock-up. + I'm telling you, there's something + weird about him. And I know you + guys are into this stuff so we + figured we'd check with you. + + The Sergeant unlocks the door and pulls it open. + + +107 INT. THE POLICE VAN -- NIGHT 107 + + Louis is on the floor wearing a strait jacket. He is tied + to the bench with leather restraint straps and ankle cuffs. + 88. + + + LOUIS + (forlorn) + Are you the Gatekeeper? + + Spengler notes the strange glow in Louis' eyes, + + SPENGLER + Bring him inside, Officer. + + +108 INT. BASEMENT -- LATER 108 + + Louis is hooked up to a variety of strange contraptions + including something on his head that looks like an aluminum + mixing bowl wired with hundreds of electrodes. Spengler + monitors Louis' reactions as he questions him. Janine + watches. + + LOUIS + I am Vinz Clortho - Keymaster of + Gozer. + + SPENGLER + (reacts to the name + Gozer) + I am Egon Spengler, Creature of + Earth, Doctor of Physics, Graduate + of M.I.T. + + JANINE + (looking through Louis' + wallet) + According to this his name is Louis + Tully. + + LOUIS + Oh, no. Tully is the fleshbag I'm + using. I must wait inside for the + sign. + + JANINE + Do you want some coffee while + you're waiting? + + LOUIS + (to Spengler) + Do I? + + SPENGLER + Yes, have some. + (Janine goes to the table + and puts some water up to + boil) + 89. + + + Vinz, what sign are you waiting + for? + + LOUIS + Gozer the Traveller will come in + one of the pre-chosen forms. During + the rectification of the Vuldronaii + the Traveller came as a very large + and moving Torb. Then of course in + the third reconciliation of the + last of the Meketrex supplicants + they chose a new form for him, that + of a Sloar. Many Shubs and Zuuls + knew what it was to be roasted in + the depths of the Sloar that day I + can tell you. + + Spengler stares at Louis for a moment then looks over at + Janine. + + JANINE + She rolls her eyes at Spengler and + mimes the traditional sign for + lunacy by pointing to her temple + and tracing a circle with her index + finger. Then the phone rings and + Spengler answers it. + + SPENGLER + Hello? + + +109 INT. DANA'S BEDROOM -- SAME TIME 109 + + Venkman is lying on the bed with the phone. Dana is asleep + next to him, still floating three feet in the air with a + blanket over her. + + VENKMAN + It's Peter, Egon. I've got a + problem. + + +110 147 INTERCUT SPENGLER AND VENKMAN 110 + + SPENGLER + What is it? + + VENKMAN + I'm with Dana Barrett and she's + floating three feet off the bed. + + SPENGLER + 90. + + + Does she want to be? + + VENKMAN + I don't think so. It's more of that + Gozer thing. She says she's the + Gatekeeper. Does that make any + sense to you? + + SPENGLER + Some. I just met the Keymaster. + He's here with me now. + (there's a long silence + on the other end) + Venkman? Are you there? + + VENKMAN + Yeah, yeah. I was just thinking. It + probably wouldn't be a good idea + for them to get together at this + point. + + SPENGLER + I agree. + + VENKMAN + You have to keep him there. Do + whatever you have to, but don't let + him leave, He could be very + dangerous. + + SPENGLER + He looks nervously at Louis. + + LOUIS + He pours some instant coffee + crystals into his mouth and chews + them up, then he drinks a beaker of + boiling water that's been heating + over a Bunsen Burner. + + SPENGLER + (into the phone) + All right. I'll try. + + VENKMAN + I'll spend the night here and get + back first thing in the morning. + + SPENGLER + All right, Peter. Good night. + +They hang up. + 91. + + + JANINE + She crosses to Spengler. + + JANINE + (worried) + Egon, there's something very + strange about that man. + (she indicates Louis) + I'm very psychic usually and right + now I have this terrible feeling + that something awful is going to + happen to you. I'm afraid you're + going to die. + + SPENGLER + Die in what sense? + + JANINE + In the physical sense. + + SPENGLER + I don't care. I see us as tiny + parts of a vast organism, like two + bacteria living on a rotting speck + of dust floating in an infinite + void. + + JANINE + That's so romantic. + + She hugs him, Spengler responds awkwardly, not sure where + to put his hands. + + SPENGLER + (nervous) + You have nice clavicles. + (he gulps) + I wonder where Stantz is. I think + we're going to need him. + + +111 INT. FORT DETMERRING -- SINGLE OFFICERS' QUARTERS -- NIGHT 111 + + Stantz is in a painstakingly restored period room with a + four poster bed, writing table and wardrobe hung with + uniforms. His own jumpsuit and backpack lie in a heap + beside the bed. He fingers an officer's uniform then tries + it on. He steps to a full-length mirror and models it, + striking a few heroic poses. He shrugs, sits on the bed, + bouncing the mattress and squeezing it. He then lies down + full length and tests it, hands behind his head. + + STANTZ + 92. + + + He yawns. His eyes droop, blink and + finally close. His head lolls + sideways, his mouth drops open + slightly and he drops off to sleep, + exhausted. + + +112 INT. WARDROBE -- NIGHT 112 + + A uniform sleeve moves slightly. A sabre in its sheath + begins to tap lightly against the open doorsash. A + phosphorescent light streaks out in between gaps in the + clothing, casting patterns over the room. + + STANTZ' PACK AND WANDS + + A panel light winks on. The needle on his PKE meter jumps + into the red. + + STANTZ + He rolls over. From inside the + wardrobe a shimmering pink mist + rises up and begins to take form on + the ceiling. + + MIST + The vaguest remnants of a human + form take shape. It hovers and + shifts as if appraising Stantz, + + STANTZ + He tosses and rolls onto his back, + still deeply asleep. + + BED CANOPY + The mist slithers in through the + curtains and takes a position above + him. It begins to descend slowly. + + STANTZ + The mist widens and elongates and + sprawls in suspension over his + body. He wakes. + + STANTZ + The apparition is inches above his + face. He gasps but can't move, + totally transfixed with fear. + + STANTZ' POV + 93. + + + He is face-to-face with a lost soul. It is a beautiful + feminine face. It presses in closer. He sucks in his + breath. Is he being smothered? The gaunt figure then slides + slowly away from his face and down to a spot below his + waist. + + STANTZ + He props himself up on his elbows + and looks down. Suddenly the + apparition vanishes. Then his belt + comes undone as if pulled by an + invisible hand and his zipper + slowly opens. + + CLOSE-UP -- STANTZ' FACE + + His look changes from fear to confusion to pleasure. He + closes his eyes and submits. + + +113 INT. BARRACKS CORRIDOR -- NIGHT 113 + + Winston is smoking a cigarette, ambling down the barracks + corridor. He hears voices and walks to the door of the + barracks. + + WINSTON + Stantz? You okay in there? + + STANTZ + (from inside) + LATER, MAN!! + + Winston shrugs and slinks out. + + +114 EXT. FIREHALL -- MORNING 114 + + Two cars pull up out front, a New York City Police car and + a lime green K-car with U.S. Government plates. They are + followed by a Con Edison utilities van and a County + Sheriff's car. Peck gets out of the government car. Two + COPS step out and flank him. A POLICE CAPTAIN joins them + and they all enter the firehall. + + +115 INT. FIREHALL -- RECEPTION AREA 115 + + Janine is at her desk when the law enters and walks right + past her. + + PECK + 94. + + + (heading for the + basement) + This way, Captain. + + JANINE + (rushes over to block + their way) + I beg your pardon! Just where do + you think you're going? + + PECK + Step aside, Miss, or I'll have you + arrested for interfering with a + police officer. + + JANINE + (not moving) + Who do you think you're talking to, + Mister? Do I look like a child? You + can't come in here without some + kind of warrant or writ or + something. + + Peck hands her the court orders. + + PECK + (naming them) + Cease and desist all commerce + order, seizure of premises and + chattels, ban on the use of public + utilities for non-licensed waste + handlers and a Federal Entry and + Inspection Order. + + JANINE + (steps aside) + This is just like Poland. + + Peck brushes past her and leads his cohorts toward the + basement. + + +116 INT. BASEMENT -- LATER 116 + + Spengler is arguing with Peck. Louis is sitting quietly in + the corner, watching the argument with interest. + + PECK + (high-handed) + I want to see what's in there. Now + either you shut off those "beams" + or we'll shut them off for you. + 95. + + + SPENGLER + (calmly) + You can see what's inside through + the monitor if you wish. + + He switches it on. + + PECK + (ignores it) + I'm not interested in TV right now. + + +117 EXT. FIREHALL 117 + + Venkman arrives in a taxi, sees the police cars parked + outside and dashes in. + + +118 INT. BASEMENT 118 + + The argument is still going on when Venkman enters and + asserts himself. + + VENKMAN + (to Policemen) + At ease, Officers. I'm Peter + Venkman. I think there's been some + kind of misunderstanding here and I + want to cooperate in every way I + can. + + PECK + (turns on him + immediately) + Forget it, Venkman. You had your + chance to cooperate but you thought + it was more fun to insult me. Now + it's my turn, smart-ass. + + SPENGLER + (excited) + He wants to shut down the storage + grid. + + VENKMAN + If you turn that thing off we won't + be responsible for the + consequences. + + PECK + On the contrary! You will be held + completely responsible. + (to the Con-Ed Man) + 96. + + + Turn it off. + +The CON-ED MAN steps to the control panel and looks at the +switches, meters and chasing lights. + + VENKMAN + (to the Con-Ed Man) + Don't do it! I'm warning you. + +THE CON-ED MAN + +He looks nervously at the Police Captain. + + CON-ED MAN + I've never seen anything like this + before. I don't know ... + + PECK + (enraged) + Just do it, fella. Nobody asked for + your opinion. + +The Con-Ed Man reaches for a switch but Venkman grabs him +from behind. + + VENKMAN + (to the Con-Ed Man) + Don't be a jerk! + +The Cops grab Venkman and drag him off the Con-Ed Man. + + PECK + If he tries that again, shoot him. + +The Captain looks at Peck with contempt. + + CAPTAIN + (to Peck) + You do your job, pencil-neck. Don't + tell us how to do ours. + + VENKMAN + Thank you, Officer. + + PECK + (to Con-Ed Man) + Now turn it off. + +The Cops slacken their hold on Venkman. He looks at +Spengler, worried. + + SPENGLER + 97. + + + He mimes an explosion with his + hands. + + VENKMAN + He nods and backs towards the door. + Spengler gets the same thought. + + LOUIS + He sees Spengler backing away and + starts to do the same. + + CONTROL PANEL + The Con-Ed Man turns all the + switches to the OFF position. The + panel lights go out. + + POWER METER + The needle indicator drops to zero. + + PECK + He feels the floor start to shake. + + VENKMAN, SPENGLER AND LOUIS + + They run like crazy for the stairs. Spengler grabs Janine + on the way out. + + THE STORAGE FACILITY + + A strange light starts to leak through the cracks between + the concrete blocks. Suddenly one of the blocks is blown + across the room. + + +119 EXT. THE FIREHALL 119 + + Everyone comes running out as the storage facility + explodes. + + A powerful geyser of irridescent energy shoots out the top + of the building like a phenomenal Roman Candle reaching a + hundred feet in the air. + + +120 INT. DANA'S BEDROOM -- THAT INSTANT 120 + + As the explosion rumbles in the distance, Dana's eyes pop + open as if cued by the blast. + + +121 EXT. FIREHALL -- SAME TIME 121 + 98. + + + Venkman, Spengler and the others are dodging and ducking a + shower of debris. + + LOUIS + He stands there oblivious to the + danger, looking up at the glowing + geyser of energy. Janine is beside + him. + + LOUIS + It is time. This is the sign. + + JANINE + It's a sign, all right ... "Going + Out Of Business." + + Louis walks off down the street as if in the grip of some + powerful psychic compulsion. The others are too busy to + notice his departure. + + +122 EXT. LOWER MANHATTAN 122 + + A wide shot of the island shows the glistening geyser + spurting high into the air. The irridescent cloud, + generated by the geyser starts moving across Manhattan + toward Dana's building. Sirens are screaming all over town + as police cars, fire trucks and emergency vehicles race to + the scene. + + +123 EXT. FIREHALL -- LATER 123 + + Firetrucks, police cars, Con-Ed trucks and a general mob + are assembled, watching the roof of the building which is + spurting a translucent blue substance. It looks like a + massive natural gas flame. Bits of ecto material rain down + on the on-lookers. + + SPENGLER + Flanked by police, he tries to + answer questions from fire + department officials and a + hazardous chemical EXPERT in a + bulky decontamination suit. + + GUY IN SUIT + ... does it contain TCE, PCB or + tailings from styrene esters or any + polyfluoric groups...? + + FIRE CAPTAIN + 99. + + + What are the pink particles? What + will happen if we use water? + +Spengler just shakes his head. + + SPENGLER + No ... no water. There's nothing + you can do. + + FIRE CAPTAIN + Did you have any kind of solvents + or any concentrated sulphurs of any + kind? + +Ecto One pulls up. Winston and Stantz jump out. Stantz +finds Venkman and Spengler. + + STANTZ + What happened??!!!? + + SPENGLER + The storage facility blew. This one + ... + (indicates Peck) + ... shut off the protection grid. + + VENKMAN + Suddenly remembers another problem. + + VENKMAN + (to Spengler) + Where's the Keymaster? + + SPENGLER + (looks for Louis) + Oh, shit! + + STANTZ + (at a loss) + Who's the Keymaster? + +Spengler looks at Venkman. They both tear off to find Louis +but Peck intervenes. + + PECK + (to a Cop) + Stop them! I want them arrested, + Captain. These men have been acting + in criminal violation of the + Environmental Protection Act and + this explosion was a direct result. + +The Police Captain restrains Venkman from leaving. + 100. + + + VENKMAN + (shouts at Peck) + You turned off the power! + (to Captain) + + VENKMAN + Look, there was another man here + ... You have to find him and bring + him back. A short determined- + looking guy with the eyes of a + happy zombie. + + PECK + (to the Cop) + See! They are using drugs. + + Spengler turns on Peck with uncharacteristic fury. + + SPENGLER + If you don't shut up I'm going to + rip out your septum. + + Peck backs off. + + POLICE CAPTAIN + (exasperated) + I don't know what's going on here + but I'm going to have to arrest you + all. You can discuss it with the + judge. I'm going to read you your + rights now, so please listen + carefully ... + + +124 EXT. THE BOWERY 124 + + Louis walks briskly and purposefully uptown, gazing at the + symmetrical lights in the sky. + + SUBWAY ENTRANCE + As Louis walks by, a huge crowd of + people descends the stairs into the + subway. The last of them disappears + around the corner. Then echoing + screams are heard and the whole + crowd comes charging back up the + stairs pursued by a strange + apparition. + + +125 INT. DANA'S APARTMENT 125 + 101. + + + She is standing at the open bedroom window gazing down into + the streets below. + + +126 EXT. SEDGEWICK HOTEL -- SAME TIME 126 + + A Sabrett HOT DOG VENDOR is dispensing pretzels and hot + dogs from his pushcart. + + THE VENDOR + He opens the top of the bin and + reaches in to get a bun. He feels + around inside, knowing the cart + should be loaded with food. Then he + peers inside and yanks his arm out + with a shout. He falls back in + fear. + + THE CART + The gluttonous Onion-Headed Vapor + rises out of the pushcart stuffed + with hot dogs, buns and pretzels. + It belches loudly at the gaping + spectators, then flits down the + street with the pushcart following + under its own power. + + +127 EXT. EXXON BUILDING -- SAME TIME 127 + + A well-dressed BUSINESSMAN comes rushing out and jumps into + a cab parked at the curb. + + +128 INT.. THE BACK SEAT 128 + + The Businessman leans close to the safety partition and + shouts his destination. + + BUSINESSMAN + Gulf and Western Building! And I'm + in a hurry so let's not dawdle. + + THE FRONT SEAT + + Through the windshield we see that the driver is a badly + decomposed corpse in a leather jacket and snap-brim cap. + + THE PASSENGER + Through the partition he sees a + skeletal hand reach out and start + the meter. + 102. + + +129 EXT. THE STREET 129 + + The cab peels away from the curb at tremendous speed and + turns the wrong way up a one-way street. + + +130 INT. AN OFFICE - SAME TIME 130 + + It's the accounts department of a major corporation. Young + men and women are working at typewriters and computer + terminals in the sterile, modern office. + + A PROGRAMMER + She bends over at the file cabinets + and something gooses her. She looks + around, miffed, but sees no one. + She goes back to her desk. Her + skirt hikes up suddenly. She yanks + it back down. Then she feels a + strange, not unpleasant tickling + under her. She squirms. Her skirt + goes up again. The tickling gets + unbearable, forcing her to stand. + She walks briskly between the rows + of desks, trying to get to the + ladies room, fighting to keep her + skirt down. Her co-workers begin to + notice and laugh. + + A TYPIST + She stands up to look and her + blouse pops open. + + THE OFFICE + All the women begin to scream and + squirm as the invisible molester + runs wild in the office. + + +131 EXT. CENTRAL PARK -- SAME TIME 131 + + Louis enters a long dark pedestrian tunnel. + + INSIDE THE TUNNEL + + A gang of MUGGERS is smoking something in a weird pipelike + device. One of them sees the approaching silhouette of + Louis and hisses to his cohorts. The others all look and + slowly begin to fan out across the width of the tunnel. + + LOUIS + 103. + + + He is staring straight ahead and + entirely focused on his destination + as the muggers approach and + confront him. He stops. They are + deliberately blocking his path. + + MUGGER + (to Louis) + Okay ... give me. + + Louis blinks stupidly. + + LOUIS + Are you the Gatekeeper? + + MUGGER + Come on. You want me to stick you? + Come on. + + VINZ + I am Vinz Clortho. I am the + Keymaster. Do you bar my way? + + MUGGER #2 + Are you crazy, man? You don't give, + Jino's gonna rip you, man. Nobody + gets by Jino. + + LOUIS + (repeats) + Do you bar my way? + + MUGGER + Yeah. We bar your way. + + LOUIS + His eyes widen, he inhales deeply, + then opens his mouth and roars. + Irridescent lights pour out of his + mouth. + + THE MUGGERS + They scream and run, horrified and + disgusted by Louis' unearthly + display. + + +132 EXT. STREET 132 + + The cab driven by the corpse weaves through traffic at + breakneck speed. Cars are forced up on the curb. + Pedestrians run for safety. + 104. + + +133 INT. THE BACK SEAT 133 + + The Businessman is reading the Wall Street Journal, + oblivious to the whole situation. + + +134 EXT. ST. MARKS PLAYHOUSE -- DAY 134 + + A worn, graffiti-spattered $1.99 triple bill movie house in + the New Wave district near Second Avenue. The bill reads: + + ALL NIGHT ALL DAY HORROR SHOW IN 3-D + + +135 INT. THEATER 135 + + The house is packed with hooting, jeering, beer-drinking + potsmoking downtowners, all wearing cardboard 3-D glasses. + + They are wildly razzing and throwing things at the screen + on which is running a bad sixties British horror indie pic. + + The film breaks. The sound crackles off and the lights come + on. There is a storm of protest and abuse hurled at the + projectionist. Then from all around them there starts a + thin whistling whine. It builds above the shouts and jeers + in the theater until everyone stops to hear what it is. It + is like no other sound ever heard -- a piercing, all- + permeating shrill whistle like the fan blades of some + massive unseen turbine beginning to rotate. + + The lights in the theater flicker. The musty ancient + curtains on either side of the screen are picked up in an + unseen wind which lifts them, spreading dust and ripped old + fabric about the house. There are shouts and sounds and + noises from deep beyond the recesses of the backstage. The + curtains are now flying in a serious wind. All the lights + in the theater go out except that from the projection + booth. + + From a point in the center of the screen, a searing bolt of + phosphorescent light rips back along the projection beam + into the booth. The beam evolves into an etheric strand of + unified glistening particles. The wind dies down. People in + the house are hushed. They gaze transfixed as a procession + of phantasms emerge in single file through the illuminated + screen. As if suspended on a clothesline, they weave and + bounce along the length of the pulsating beam, and pass + through the hole in the projection booth. The apparition is + gone. All is quiet. Then the audience bursts into wildly + enthusiastic applause. + 105. + + +136 INT. NYPD LOCK-UP 136 + + Winston is staring out through the bars talking to himself. + + WINSTON + (depressed) + We're gonna get five years for + this. Plus they're gonna make us + retrap all those spooks. I knew I + shouldn't have taken this job. + + He bangs on the bars and crosses to Venkman, Stantz and + Spengler who are huddled together looking at blueprints of + Dana's building. + + STANTZ + (intense) + Look at the structure of the roof + cap. It looks exactly like the kind + of telemetry tracker NASA uses to + identify dead pulsars in other + galaxies. + + SPENGLER + And look at this, Peter + (indicates another + diagram) + Cold-riveted girders with selenium + cores. + + Venkman leans in to look but suddenly notices that they + have an audience. + + THE CELL + The Ghostbusters are surrounded by + a motley assortment of BUMS, PUNKS, + HOODS and a particularly mean- + looking gang of BIKERS, all + listening intently to their + discussion. + + VENKMAN + (to their cellmates) + Everybody with us so far? + + The other prisoners mutter and scratch their heads, then + drift off. + + STANTZ + (back to his point) + The ironwork extends down through + fifty feet of bedrock and touches + the water table! + 106. + + +He looks at Venkman who doesn't see the significance. + + VENKMAN + (shrugs) + I guess they don't build them like + they used to, huh? + + STANTZ + No! Nobody ever built them like + this! The architect was either an + authentic whacko or a certified + genius. The whole building is like + a huge antenna for pulling in and + concentrating psychokinetic energy. + + VENKMAN + Who was the architect? + + STANTZ + He's listed on the blueprints as I. + Shandor. + + SPENGLER + (exclaims) + Of course! + (the others turn and look + at him) + Ivo Shandor, I saw his name in + Tobin's SPIRIT GUIDE. He started a + secret society in 1920. + + VENKMAN + (putting it all together) + Let me guess -- Gozer Worshippers. + + SPENGLER + Yes. After the First World War + Shandor decided that society was + too sick to survive. And he wasn't + alone. He had close to a thousand + followers when he died. They + conducted rituals, bizarre rituals, + intended to bring about the end of + the world. + + VENKMAN + (now very worried about + Dana) + She said he was "the Destructor." + + SPENGLER + Who? + 107. + + + VENKMAN + Gozer. + + SPENGLER + (confused) + You talked to Gozer? + + VENKMAN + Get a grip on yourself, Egon. I + talked to Dana Barrett and she + referred to Gozer as the + Destructor. + + STANTZ + (proud) + See? I told you something big was + about to happen. + + Winston has heard enough. + + WINSTON + This is insane! You actually + believe that some moldy Babylonian + God is going to drop in at 78th and + Central Park West and start tearing + up the city? + + SPENGLER + (corrects him) + Sumarian -- not Babylonian, + + Winston just shakes his head. Then a uniformed GUARD + appears with a high-ranking POLICE OFFICIAL and unlocks the + cell door. + + POLICE OFFICIAL + Are you the Ghostbusters? + + VENKMAN + What about it? + + POLICE OFFICIAL + The mayor wants to see you -- right + away. The whole island is going + crazy. Let's go. + + They exit. + + +137 EXT. CITY HALL 137 + + The official cars arrive and the Ghostbusters are hustled + past a mob of reporters, all shouting questions at once. + 108. + + + REPORTERS + (as babble) + Are you under arrest? Did you have + a bomb factory in the basement? + What are you going to do about all + these ghosts? + + +138 INT. MAYOR'S OFFICE 138 + + Secretaries and aides scurry about in a chaos of telephones + and waiting city officials. As the Ghostbusters are led + through the outer offices, everyone stops what they're + doing to stare at them. + + +139 INT. OFFICE OF THE MAYOR OF NEW YORK CITY 139 + + The Ghostbusters enter and see a very concerned group of + leaders arguing like crazy. + + The Police and Fire Commissioners, State and City Police + Commandants, the Archbishop of the New York Diocese, the + Regional Director of the Environmental Protection Agency, + the Governor of the State of New York, and various other + high-ranking officials. + + THE AIDE + (entering with the + Ghostbusters) + The Ghostbusters are here, Mr. + Mayor. + + At once, the group turns and instantly regains perfect + decorum. + + THE MAYOR + He is a likeable Democrat and a man + of the people -- particularly the + Irish, Italian and Jewish people. + + MAYOR + (looking them over) + Okay, the Ghostbusters. And who's + Peck? + + Peck shoulders his way forward. + + PECK + (adrenalin pumping) + I'm Walter Peck, sir. And I'm + prepared to make a full report. + (holds up dossier) + 109. + + + These men are complete snowball + artists. They use nerve and sense + gases to induce hallucinations. The + people think they're seeing ghosts + and call these bozos, who + conveniently show up to get rid of + the problem with a fake electronic + light show. + + MAYOR + (to Venkman) + You using nerve gas? + + VENKMAN + The man is a psychopath, Your + Honor. + + PECK + Probably a mixture of gases, no + doubt stolen from the Army ... + + STANTZ + Bullshit!!! + + PECK + ... improperly stored and touched + off with those high-voltage laser + beams they use in their light show. + They caused an explosion. + +The Mayor looks for help from the assembled leaders, + + FIRE COMMISSIONER + All I know is, that wasn't a light + show we saw this morning. I've seen + every form of combustion known to + man, but this beats me. + + POLICE COMMISSIONER + And nobody's using nerve gas on all + the people that have seen those ... + things ... all over the city. The + walls were bleeding at the 53rd + Precinct. How do you explain that? + +He looks to the Archbishop. Everybody focuses on the +ornately attired Prelate. + + ARCHBISHOP + 110. + + +Officially, the Church will not +take a position on the religious +implications of these ... +phenomena. However, since they +started, people have been lining up +at every church in the city to +confess and take communion. We've +had to put on extra priests. +Personally, I think it's a sign +from God but don't quote me on +that. + + MAYOR + (shaking his head) +I can't call a press conference and +tell everyone to start praying. + + WINSTON +He steps forward. + + WINSTON +I'm Winston Zeddemore, Your Honor. +I've only been with the company for +a couple of weeks, but I gotta tell +you -- these things are real. + + WINSTON +Since I joined these men I have +seen shit that would turn you +white. + + THE MAYOR +He rubs his eyes wearily. + + MAYOR + (to Venkman) +So what do I do now? + + VENKMAN +He seizes the moment. + + VENKMAN +Mr. Mayor, it's a pretty simple +choice. You can believe Mr. Pecker +here ... + + PECK + (snaps) +That's "Peck!" + + VENKMAN + (ignores him) + 111. + + + ... or you can accept the fact that + this city is heading for a disaster + of really Biblical proportions. + + MAYOR + What do you mean "Biblical?" + + VENKMAN + Old Testament, Mr. Mayor. "Wrath of + God"-type stuff. The seas could + boil, fire and brimstone falling + from the sky ... + + STANTZ + (chimes in) + ... forty years of darkness, + earthquakes, mass hysteria, human + sacrifice ... + + MAYOR + Enough! I get the point. + (really torn) + But what if you're wrong? + + VENKMAN + If I'm wrong then nothing happens + and you toss us in the can. But if + I'm right, and if we can stop this + thing ... + + VENKMAN + well, let's just say that you could + save the lives of a lot of + registered voters. + + The Mayor starts nodding affirmatively, clearly convinced + by Venkman's rational assessment. + + PECK + (furious) + I don't believe you're seriously + considering listening to these men! + + The Mayor takes a long look at Peck. + + MAYOR + Get him out of here. + (Peck looks stricken) + We've got work to do. What do you + need from me? + + +140 EXT. DANA'S APARTMENT BUILDING - SAME TIME 140 + 112. + + + Louis arrives in front of the building and looks up, + Strange lights are beginning to flash from the windows, He + enters the building and a moment later a huge tremor shakes + the structure. + + +141 INT. DANA'S FLOOR 141 + + The elevator doors open and Louis gets out. A crowd of + tenants rushes onto the elevator clutching their most + prized possessions. He gets through the panicked tenants + and walks down the hall. + + MRS. BLUM, a neighbor, comes out of her apartment carrying + an armload of small appliances. + + MRS. BLUM + Louis! What are you doing standing + there ... get out of the building + ... don't you know it's an + earthquake or something? + + LOUIS + The Traveller is coming. + + MRS. BLUM + Don't be crazy. Nobody is going to + come and visit you with all this + commotion going on. + + She rushes off leaving Louis alone in the hall. He goes to + Dana's door and mechanically knocks three times. His + knocking echoes thunderously throughout the building. + + THE DOOR + It opens and Louis sees Dana + standing there. A tremendous + thunderclap rattles the building. + + LOUIS + (his eyes light up) + Are you the Gatekeeper? + + DANA + (nods) + I am Zuul. + + Hearing that, Louis grabs Dana with a passion that's been + building in his unconscious for 8000 years. He kisses her + with savage lust and pulls her to the floor out of frame as + an explosive force blows through the apartment. + 113. + + +142 INT. CITY HALL CORRIDOR 142 + + Venkman, Stantz and the Mayor walk briskly toward the + vehicle dock at the back of the building. Aides scurry + along behind them, awaiting instructions. + + MAYOR + I don't understand it, Why here? + Why now? + + VENKMAN + What goes around, comes around, Mr. + Mayor. The big Lazy Susan of Karma + just keeps turning and sometimes we + get the short end of the stick. + + STANTZ + This may be Nature's way of telling + us to slow down. You have to admit + it's kind of humbling, isn't it? + + MAYOR + (shouts after them) + We're humble already! Hasn't this + city suffered enough? + + They come out onto the loading dock. + + +143 EXT. LOADING DOCK 143 + + The Ectomobile is parked there. Winston and Spengler are + charging all the packs off the building current. There's a + lot of police activity around them as orders are + dispatched. + + A POLICE CAPTAIN reports to Venkman. + + CAPTAIN + We've cleared the whole building + and cordonned off the street. I'm + massing our own special tactics + squad and the National Guard is on + standby. + + AIDE + I better alert the Red Cross, too. + + SPENGLER + He looks up and sees Janine + standing on the dock. She crosses + to him. + 114. + + + JANINE + (a little teary) + I want you to have this. + (she hands him a coin) + + SPENGLER + What is it? + + JANINE + It's a souvenir from the 1964 + World's Fair at Flushing Meadow. + It's my lucky coin. + + SPENGLER + I don't believe in luck. + + JANINE + Keep it anyway. I have another one + at home. + + SPENGLER + Thank you. + + They hug. + + THE ECTOMOBILE + Stantz, Venkman and Winston get in. + Spengler rushes over and joins + them. + + +144 INT. ECTOMOBILE 144 + + Venkman turns around and looks at his friends. + + VENKMAN + Okay. Just remember, whatever + happens out there, we are total + professionals. + + VENKMAN + Not only are we the best + Ghostbusters around, we're the only + Ghostbusters around. It's up to us. + + They all shake hands. Then Venkman sticks his hand out the + window and signals like a cavalry officer. + + VENKMAN + (shouts) + Move 'em out! + 115. + + +145 EXT. REAR OF CITY HALL 145 + + A pair of police motorcycles comes roaring up the driveway + followed by the Ectomobile and two police cruisers. The + motorcade turns up the street and heads uptown at high + speed. They pass a column of National Guard trucks. + + +146 EXT. DANA'S APARTMENT BUILDING 146 + + The street has been blocked off with police barricades but + a huge crowd has gathered nonetheless to watch the strange + lights and flashes emanating from the upper floors of the + building. + + THE CROWD + The news media are out in front + filming and taping everything. A + contingent of Doomsday freaks is + gathered with signs proclaiming + "REPENT FOR THE END IS AT HAND!" A + few Catholic priests are kneeling, + performing rites of exorcism. + + THE CROWD + A gang of punks is hanging around + hoping for a disaster. A handful of + Hassidic Jews behind them are + wailing in earnest. The police work + to restrain the crowd. + + THE STREET + The screaming of sirens turns the + attention of the crowd as the + motorcade arrives. As the + Ectomobile rounds the corner a huge + cheer goes up from the crowd. + + THE CROWD + The punks cheer. The Hassidic Jews + wave their black hats and start + dancing for joy. + + THE ECTOMOBILE + It pulls up in front of the + building. The doors fly open and + the Ghostbusters all jump out at + once. The crowd roars. + + THE PRIESTS + They leap to their feet and give + each other "high fives." + 116. + + + VENKMAN + He raises both fists like a + victorious boxer. + + VENKMAN + (shouts to the crowd) + Ghostbusters! + +The crowd thunders its approval. + + THE GHOSTBUSTERS + They quickly finish suiting up at + the rear of the Ectomobile. + + VENKMAN + (keyed up) + Are we all together on this now? + + WINSTON + (in earnest) + I think we should get on a plane + right now and go to Australia or + Indonesia until this blows over. + + VENKMAN + I'm going to make a note of your + suggestion and possibly bring it up + later if this thing really gets out + of hand. Now let's move. + +They start heading for the lobby entrance to the building, + + VOICE IN CROWD (MAN) + Get 'em! + + VOICE IN CROWD (GIRL) + All right, Ghostbusters! + +The crowd applauds as the Ghostbusters approach the +entrance. + + THE GHOSTBUSTERS + They stop in front of the building + and look up at the roof. + +THEIR POV + +A blinding flash of light shoots + +from the rooftop temple. + +THE BUILDING ENTRANCE + 117. + + + The whole building seems to groan as if under enormous + pressure. Then suddenly the concrete facade cracks open and + the pavement in front of the building collapses dropping + the Ghostbusters and a police car into the enormous + sinkhole. + + The crowd gasps. + + THE SINKHOLE + There is a tense moment of silence, + then the Ghostbusters pop up and + climb out of the pit. + + VENKMAN + I've heard of underground parking + but this is ridiculous. + + They flash the "okay" sign to the crowd and enter the + building. + + +147 EXT. THE ROOFTOP -- SAME TIME 147 + + Dana and Louis emerge from the stairwell, approach the + Temple and mount the pedestals once occupied by the Terror + Dogs. + + THE TEMPLE + The walls begin to vibrate in + response. + + +148 EXT. THE STREET BELOW 148 + + Blinding beams of light flash from all the windows. + + +149 INT. STAIRWELL 149 + + The Ghostbusters trudge up thirty-five flights of stairs. + + +150 INT. THIRTY-FIFTH FLOOR HALLWAY 150 + + The stairwell door opens and the Ghostbusters stagger into + the hallway, completely exhausted. + + VENKMAN + (gasping and spitting) + I'm glad we took the stairs. + + +151 INT. DANA'S DOOR 151 + 118. + + + The Ghostbusters arrive. The door frame is charred and + blackened by soot. Venkman rings the doorbell. DING-DONG. + + VENKMAN + Dana? + + WINSTON + Maybe we should go downstairs and + call first? + + Venkman knocks on the door and the door simply falls off + its hinges and crashes to the floor. The Ghostbusters gape + at the damage to the apartment. + + +152 INT. DANA'S APARTMENT 152 + + The exterior building wall is completely gone providing an + unobstructed view of the Hudson and New Jersey. All the + furniture is overturned and the other walls are cracked. A + powerful wind blows through the apartment fluttering the + shredded curtains. + + WINSTON + (ready to leave) + Well, she's not here. Let's go. + + VENKMAN + No! The kitchen! + + +153 INT. THE KITCHEN 153 + + The team enters and sees that the refrigerator has been + blown away revealing a hole in the wall and the entrance to + a stone staircase behind it. + + VENKMAN + He looks at the forbidding portal + and turns to Stantz. + + VENKMAN + (slaps his shoulder) + Go! + + Stantz realizes that Venkman expects him to go first. He + leads the charge up the stairs. + + +154 EXT. THE ROOF 154 + 119. + + +Dana and Louis stare at the Temple, then begin a miraculous +and horrible transformation into the hideous forms of the +Terror Dogs. + + THE TEMPLE + The solid stone walls rumble + ominously and start to separate. + + THE GHOSTBUSTERS + They come running out onto the roof + and gape at the scene. + + THE TEMPLE + The walls open completely revealing + the secret architecture of the + Temple: A stone staircase leading + to a set of monumental doors, and + beyond them a massive pyramid that + appears to be suspended in mid-air + with no visible means of support. + +LOUIS AND DANA + +They complete their transformation into the Terror Dogs, +which now turn and snarl menacingly at the Ghostbusters. + + THE GHOSTBUSTERS + They can't believe their eyes. + + VENKMAN + (aghast) + Shit! I've been out with some real + dogs, but this is ridiculous! + +The heavy rumbling of moving stone draws their attention +back to the temple. + + THE TEMPLE + The Terror Dogs have now taken + ritual positions on the staircase. + The heavy stone gates begin to open + and a bright white light starts to + emerge. As the light descends the + stairs a human form slowly + materializes. + + THE FORM + 120. + + + It is a thin, hollow-cheeked, + distinguished looking man in his + early sixties. His eyes are burning + red pin-holes, He looks around at + the spectacular rooftop view, then + acknowledges the two Terror Dogs + and starts stroking them like house + pets. + + THE GHOSTBUSTERS + They stare at the apparition, + + SPENGLER + (recognizes him) + It's Shandor - the architect! + + WINSTON + I thought he died! + + VENKMAN + It doesn't seem to have slowed him + down any. + + STANTZ + I don't think it's Shandor. + +He gets to his feet and speaks sharply to Gozer. + + STANTZ + Gozer the Gozerian? + + GOZER + He looks up and seems to notice the + Ghostbusters for the first time. + + STANTZ + He 'busts' Gozer. + + STANTZ + (forceful) + As a duly-constituted + representative of the City of New + York, and on behalf of the County + and State of New York, the United + States of America, the Planet Earth + and all its inhabitants, I hereby + order you to cease and desist any + and all supernatural activity and + return at once to your place of + origin or next parallel dimension. + + VENKMAN + (to Stantz) + 121. + + + Well, that ought to do it. + + GOZER + He stands up to his full height and + regards Stantz curiously. + + GOZER + Are you a god? + + STANTZ + (compulsively honest) + No. + + GOZER + Then die! + +He raises his arms and blows away the Ghostbusters with +searing bolts of energy. + + THE GHOSTBUSTERS + Momentarily stunned, they tumble + all the way down the stairs and + almost fall off the edge of the + roof. + + WINSTON + (to Stantz) + You should've said "yes!" He might + have been willing to negotiate. + +Venkman gets to his feet first, really mad now. + + VENKMAN + (setting his wands) + Okay. That's it! I'm gonna turn + this guy into toast. + +The Ghostbusters leap into action. One by one they activate +their Proton packs and take up positions for an entrapment. + + GOZER + He braces for the onslaught. + + VENKMAN + He shoots a particle stream at + Gozer. + + GOZER + He leaps out of the way with + superhuman agility and executes a + perfect double-flip with a half- + twisting round-off at the end. + 122. + + + VENKMAN + He can't believe his eyes. + + VENKMAN + Agile bastard, isn't he? + + STANTZ + Forget the trapping! Just blast + him! + + The others adjust their units and they all blaze away at + Gozer. + + GOZER + He stands there calmly and absorbs + the force of the streams. There is + a brilliant pink flash and Gozer + disappears. + + THE GHOSTBUSTERS + They stare for a long moment, + finding it hard to believe that + they won. Then Winston lets out a + triumphant whoop. + + SPENGLER + He scans the temple with his PKE + meter, not at all convinced the + danger has passed. + + STANTZ + He bounds up the stairs. + + STANTZ + (jubilant) + We neutronized him! The guy's a + molecular nonentity. + + VENKMAN AND SPENGLER + + He wants to believe it but sees the doubt on Spengler's + face. + + SPENGLER + (reading the meter) + Not necessarily. + + There is a deep seismic rumble and the entire building + begins to vibrate. The Ghostbusters look around nervously + as the entire building starts to sway. + + +155 EXT. THE EAVES 155 + 123. + + + Cement carvings and moldings around the edge of the roof + crack and break off. + + +156 EXT. THE STREET 156 + + The crowd screams and runs as cement debris rains down the + side of the building and crashes on the sidewalk. + + THE GHOSTBUSTERS + They look up at the sky waiting for + the big blow. An incredibly loud + thunderclap rocks the rooftop. + + THE SKY + A bolt of lightning crackles from + the swirling dark cloud and strikes + the rooftop. + + The Ghostbusters stand there facing their new God like + Moses on Mount Sinai. And then Gozer speaks to them in a + voice that can be heard throughout Metropolitan New York + and parts of New Jersey. + + GOZER + SUBCREATURES! GOZER THE GOZERIAN, + GOZER THE DESTRUCTOR, VOLGUUS + ZILDROHAR, THE TRAVELLER HAS COME. + CHOOSE AND PERISH. + + VENKMAN + (shouting to be heard) + Is he talking to us? + + WINSTON + What's he talking about? Choose + what? + + STANTZ + (to the heavens) + What do you mean "choose?" We don't + understand. + + GOZER + CHOOSE!! + + SPENGLER + I think he's saying that since + we're about to be sacrificed + anyway, we get to choose the form + we want him to take. + + STANTZ + 124. + + + You mean if I stand here and + concentrate on the image of Roberto + Clemente, Gozer will appear as + Roberto Clemente and wipe us out? + + SPENGLER + That appears to be the case. + + VENKMAN + (quickly) + Don't think of anything yet. Clear + your minds. We only get one crack + at this. + + GOZER + The choice is made. The Traveller + has come. + + VENKMAN + (in a panic) + We didn't choose anything! + (to the others) + I didn't think of an image, did + you? + + SPENGLER + No. + +They look at Winston. + + WINSTON + My mind's a total void! + +They all look at Stantz. + + STANTZ + (guilty) + I couldn't help it! It just popped + in there! + + VENKMAN + (desperately) + What? What popped in there? + + STANTZ + (pointing) + Look! + +They all turn and look to the south. + +GHOSTBUSTERS POV + 125. + + +Looking south past Columbus Circle, they see part of +something big and white moving between the buildings +accompanied by thunderous footsteps of almost seismic +proportions. + + VENKMAN + He doesn't know what it is yet, but + he knows it's coming. + + VENKMAN + (desperately) + What is it? Ray, what did you think + of? + +BROADWAY AND 55TH + +The massive white shape passes behind some buildings, +offering a glimpse of what appears to be a fat, white arm. + + STANTZ + He's about to go into shock. + + STANTZ + (babbling) + It can't be! It can't be! + + COLUMBUS CIRCLE + The thundering footsteps continue + to plod as the thing starts to + emerge from behind the buildings. + Now we can see part of a blue + garment covering its enormous + chest. + + STANTZ + He recognizes the monster. + + STANTZ + It's ... It's ... It's the STAY- + PUFT MARSHMALLOW MAN. + +Winston, Venkman and Spengler gape. + +THEIR POV + +They look across the roof tops and see a large, square, +white, bobbing, laughing head atop a massive body of +similar puffed white squares. The being is dressed in a +tiny sailor's hat, red bosun's whistle and lanyard and a +little blue vest with a button undone in the middle +revealing a little white belly. It is the cute, +quintessential American brand symbol, looming as large as +Godzilla. + 126. + + + STANTZ (V.O.) + (desperately apologizing) + I tried to think of the most + harmless thing ... something that + could never destroy us ... + something I loved from my + childhood. + + THE GHOSTBUSTERS + They watch the Marshmallow Man + plodding toward them. + + VENKMAN + AND YOU CAME UP WITH THAT? + + STANTZ + The Stay-Puft Marshmallow Man! He + was on all the packages we used to + buy when I was a kid. We used to + roast Stay-Puft marshmallows at + Camp Waconda! + + VENKMAN + Great! The marshmallows are about + to get their revenge. + +THE STAY-PUFT MAN + +He plods relentlessly uptown toward the Ghostbusters' +rooftop vantage point. The ground rumbles as his big, soft +feet come down on the pavement. + + THE STREET + People are fleeing in panic as the + marshmallow feet pad along kicking + over lampposts and mail boxes. + + A CAR + The driver jumps out just before an + enormous white marshmallow foot + comes down and flattens his + automobile. + + THE GHOSTBUSTERS + They stand there helplessly + watching the laughing bobbing head + of the Stay-Puft Man as he comes + toward them. + + VENKMAN + What now? + + SPENGLER + 127. + + + (adjusting his thrower) + Full-stream with strogon pulse. + + Venkman looks at Stantz. Stantz shrugs. + + VENKMAN + (decides) + I guess that's all we've got. + + They step to the edge of the roof, moving like warriors now + ready to face the consequences. + + +157 EXT. THE STREET 157 + + Peck comes running up to the front of the apartment + building. People are fleeing the oncoming monster. Peck + grabs a COP who is just about to flee himself. + + PECK + (in a rage) + Are the Ghostbusters up there? + + COP + (desperate to get away) + Yeah! + + PECK + I want you to go up on the roof and + arrest them. This time they've gone + too far. + + The Cop looks at Peck like he's insane, then sees the Stay- + Puft Man looming up at the end of the block. + + COP + (knocking Peck's hands + away) + You arrest them, numb nuts! I'm + getting out of here. + + He runs off. Peck turns to face the monster. + + THE STAY PUFT MAN + + The ground shakes with every step as he reaches the + building. Then, using the church next door as a stepping + stone, he begins climbing the wall. + + THE GHOSTBUSTERS + They look over the edge of the roof + as the Marshmallow Man climbs + higher and higher. + 128. + + + VENKMAN + (shouts) + Hit him! + +They each fire point blank at the Stay-Puft Man. + +THE STAY-PUFT MAN + +He bellows with pain and rage as the beams strike him right +in the chest and set his skin on fire. + +He begins to burn with a blue flame that spreads quickly +across his torso and down his arms. The Stay-Puft Man +bellows even louder, flailing its huge arms in response to +the searing flames that are starting to engulf him. + + THE GHOSTBUSTERS + They stare at the horrible + conflagration. + + WINSTON + Good. Now we made him mad. + +THE STAY-PUFT MAN + +Carbonous, flaming hunks of melting marshmallow are flying +from his arms as he waves them in wild rage. + + THE STREET + Peck stands there paralyzed with + fear. A mass of flaming marshmallow + falls and flattens a news stand + nearby. Then a huge glob of sticky + toasted marshmallow comes zipping + down from above and lands right on + him, burying him up to his neck in + melted sucrose. + +THE STAY-PUFT MAN + +The flaming monster keeps coming intent on their +destruction. Most of his chest has melted away revealing +horrid musculature and a skeletal rib cage. + + THE GHOSTBUSTERS + They square off and face him for + the last time, their weapons + poised. + + VENKMAN + (calmly) + We're going to be killed by a + hundred-foot marshmallow. + 129. + + +THE STAY-PUFT MAN + +He is almost on them now, fully engulfed in flames, +reaching for them, ready to swat them with his burning +fist. + + VENKMAN + (to the others) + On the count of three! One ... Two + ... + + SPENGLER + (he has the best idea of + his life) + No! Them! Shoot them! + (he points at the Terror + Dogs) + Cross the beams. + +THE TERROR DOGS + +They stand beside the portal literally petrified. + + VENKMAN + He hesitates. + + VENKMAN + (protesting) + No! You said crossing the beams + would be BAD. It'll kill her! And + us! + + SPENGLER + Life is just a state of mind. + + VENKMAN + But it's my favorite state. + + STANTZ + Either way we're history. + +THE STAY-PUFT MAN + +His burning fist is starting to descend on the +Ghostbusters. + + VENKMAN + He chooses the only way out. + + VENKMAN + (shouts) + Now!! + 130. + + + THE GHOSTBUSTERS + They turn and fire at the two + petrified Terror Dogs and blow them + to oblivion. The entire front of + the temple is obliterated along + with the door. + +THE STAY-PUFT MAN + +With the destruction of his earthly portal, the flaming +monster is suddenly engulfed in a cyclonic wind that begins +to swirl around him like a fire-storm. + +The flames are whipped higher and higher as the tornado +begins to pick up rotational speed. Then the Marshmallow +Man seems to explode from deep inside creating a flaming +air burst high above the rooftops. + + THE ROOFTOP + The Ghostbusters are blasted off + their feet. + + THE SKY + The fireball reaches its maximum + explosive force, then a sudden jet + of air pressure occurs like a + titanic vacuum cleaner in the sky + and sucks the flaming mass of + gasses and ash up through our + atmosphere and right out of our + dimension. The dark clouds + disappear with it, leaving a + beautiful clear blue sky over the + whole area. + + THE TEMPLE + It now looks like an ancient ruin. + + THE GHOSTBUSTERS + They are lying at the foot of the + stairs. Everything is still. One by + one they get slowly to their feet + and look around to see that the + crisis has passed. + + STANTZ + Everybody okay? + +Venkman looks up at the portal. + +THE TERROR DOGS + 131. + + +They are still on the pedestals but charred almost beyond +recognition. Venkman mounts the stairs and gazes sadly at +the remains. + + THE PEDESTAL + Venkman stands there mourning, then + a slight movement under the + blackened skin of the Terror Dog + catches his eye. The movement gets + stronger, then suddenly a human + hand pokes through the carbonous + coating. + + VENKMAN + Hope surges in him and he starts + frantically tearing away the black + coating, finally revealing Dana + alive and well under the burnt skin + of the Terror Dog. + +STANTZ AND SPENGLER + +They peel the charred coating off Louis and help him to his +feet. + + LOUIS + He looks around wondering how he + ended up on the roof of a wrecked + high-rise. He looks at his scorched + and ripped suit crusted with the + still-smoking gobs of melted + marshmallow. + + LOUIS + (amazed) + Jeez! Somebody must have spiked the + egg salad. + + VENKMAN + He helps Dana to her feet. + + VENKMAN + Are you all right? + +She looks around at the incredible scene. + + DANA + (totally confused) + Oh, sure. I'm getting used to this. + + LOUIS + (seeing Dana for the + first time) + 132. + + + I'm innocent! Honest, Dana. I never + touched you. Not that I remember + anyway. + + DANA + (getting annoyed) + All right, what happened to me? + + VENKMAN + Nothing! We just got rid of that + thing in your kitchen. + + DANA + Really! Is it gone? + + VENKMAN + Yeah, along with most of your + furniture and a lot of your + personal possessions. This one took + some work. + + DANA + (noting the wrecked + temple) + Thank you. Next time I want to + break a lease I'll know who to + call. + + She hugs him. + + VENKMAN + This is going to cost you, you + know. Our fees are ridiculously + high. + + DANA + Talk to my accountant. + (she indicates Louis) + + LOUIS + Oh, great! I bet we could write off + all the damage as an Act of God. + + THE GHOSTBUSTERS + They look at each other and nod. + + STANTZ + I'll go along with that. + + +158 EXT. STREET - NEAR THE APARTMENT - NIGHT - THE TWO BUMS 158 + 133. + + + They hear the cheering down the street as they cautiously + inspect a massive mound of cooling sucrose. + + FIRST BUM + Well, that definitely looks like + marshmallow to me. + + SECOND BUM + (sniffing it) + Yeah, it's some kind of mallow-type + substance - that's for sure. + + FIRST BUM + You have to wonder why anybody + would dump a marshmallow that size + right in the middle of the street. + + SECOND BUM + I wonder if there might not be a + very large cup of hot chocolate + somewhere in the area. + + FIRST BUM + That would definitely explain it. + + +159 EXT. THE STREET - NIGHT 159 + + A HAPPY THRONG OF JUBILANT CITIZENS IS GATHERED OUTSIDE THE + LOBBY ENTRANCE TO THE APARTMENT BUILDING. + + THE ENTRANCE + + The battered but victorious Ghostbusters emerge from the + lobby. Venkman and Dana are holding hands. The crowd roars + with unrestrained joy and gratitude, Janine runs over and + hugs Spengler enthusiastically. The Ghostbusters wave and + head for the Ectomobile parked at the curb. + + THE GHOSTBUSTERS + + They get into the Ectomobile and drive off with lights + flashing and sirens screaming as the crowd cheers wildly. + + THE END + \ No newline at end of file diff --git a/scripts/Gravity.txt b/scripts/Gravity.txt new file mode 100644 index 0000000000000000000000000000000000000000..5f4e7dbccb2721a34b230731844e496cfabe97c8 --- /dev/null +++ b/scripts/Gravity.txt @@ -0,0 +1,3753 @@ + 1. + + + + BLACK + + TITLES FADE IN: + + SUPERIMPOSE: + + AT 600 KM ABOVE PLANET EARTH THE TEMPERATURE FLUCTUATES + + BETWEEN +258 AND -148 DEGREES FAHRENHEIT. + + THERE IS NOTHING TO CARRY SOUND. NO AIR PRESSURE. NO + + OXYGEN. + + LIFE IN SPACE IS IMPOSSIBLE. + + TITLES FADE OUT. + + OVER BLACK + + SUPERIMPOSE: + + GRAVITY + + FADE IN: + + +1 EXT. OUTER SPACE - DAY 1 + + A section of the Earth as CAMERA TRACKS. The EXPLORER space + shuttle becomes visible. The fuselage roof of the shuttle + is open, creating an exterior hangar where the Hubble + telescope is docked. + + MISSION CONTROL (V.O.) + (over radio) + Um, please verify that the P-one + ATA removal on replacement cap part + one and two are complete. + + EXPLORER CAPTAIN (V.O.) + (over radio) + DMA M-one, M-two, M-three and M- + four are complete. + + MISSION CONTROL (V.O.) + (over radio) + Okay. Copy that, Explorer. Dr. + Stone, Houston. Medical is + concerned about your ECG readings. + 2. + + + RYAN (V.O.) + (over radio) + I’m fine, Houston. + + MISSION CONTROL (V.O.) + (over radio) + Well, Medical doesn't agree, Doc. + Are you feeling nauseous? + + RYAN (V.O.) + (over radio) + Not any more than usual, Houston. + Diagnostics are green. Link to + communications card ready for data + reception. If this works, when we + touch down tomorrow, I’m buying all + you guys a round of drinks. + + MISSION CONTROL (V.O.) + (over radio) + That’s a date, Doctor. Just + remember, Houston’s partial to + margaritas. + + RYAN (V.O.) + (over radio) + Booting comms card now. Please + confirm link. + + MISSION CONTROL (V.O.) + (over radio) + That’s a negative, we’re not seeing + any data. + + RYAN (V.O.) + (over radio) + Standby, Houston, I’m gonna reboot + the comms card. + + MISSION CONTROL (V.O.) + (over radio) + Standing by. + +ANOTHER ANGLE + + MATT (V.O.) + (over radio) + Houston, I have a bad feeling about + this mission. + + MISSION CONTROL (V.O.) + (over radio) + Please expand. + 3. + + + MATT (V.O.) + (over radio) + Okay, let me tell you a story. It + was ninety-six. MORE) + +I’d been up here for forty-two days. Every time I passed +over Texas, I looked down knowing that Mrs. Kowalski was +looking up, thinking of me. Six weeks I’m blowing kisses at +that woman. Then we land at Edwards and I find out that +she’s run off with this lawyer. So, I packed my car, and I +headed to -- + + MISSION CONTROL (V.O.) + (over radio; + interrupting) + Tijuana. You’ve told this story, + Kowalski. As Houston recalls, she, + uh, took off in your seventy- four + GTO. Engineering requests fuel + status on the jetpack prototype. + +MATT KOWALSKI, a veteran astronaut commander on his last +space mission, spacewalks behind the shuttle. He wears a +propulsion backpack. + + MATT (V.O.) + (over radio) + Five hours off the reservation and + I show thirty percent drain. Give + my compliments to Engineering. + Except for a slight malfunction in + the nulling of the roll axis, this + jetpack is one prime piece of + thrust. + + MISSION CONTROL (V.O.) + (over radio) + Engineering says thank you. + +CAMERA TILTS UP WITH Matt. + + MATT (V.O.) + (over radio) + Tell ‘em I still prefer my sixty- + seven Corvette, though. Speaking of + which, did I ever tell you -- + + MISSION CONTROL (V.O.) + (over radio) + We know the Corvette story, Matt. + + MATT (V.O.) + (over radio) + 4. + + + Even Engineering? MATT + (V. O.) + (CONT'D) + + MISSION CONTROL (V.O.) + (over radio) + Especially Engineering. + +Matt starts to play a country western song over the radio +speakers. He moves, circling around the space shuttle. + +Over radio, Hank Williams, Jr. sings “Angels Are Hard To +Find.” + + MISSION CONTROL (V.O.) + (over radio) + We’re going to miss you, Matt. + + RYAN (V.O.) + (over radio) + Comms card reboot in progress. + +ANOTHER ANGLE + +DR. SHARIFF DASARI becomes visible, tethered to the +shuttle, as he makes repairs to it. + + MISSION CONTROL (V.O.) + (over radio) + Thank you, Doctor. + (to Shariff) + Shariff, what’s your status? + + SHARIFF (V.O.) + (over radio) + Nearly there. Replacing battery + module A-one and C. + + MISSION CONTROL (V.O.) + (over radio) + Uh, could you be a little more + specific? Indeterminate estimates + make Houston anxious. + + SHARIFF (V.O.) + (over radio) + Oh, no, no, Houston. Don’t be + anxious. Anxiety’s not good for the + heart. System is ready to + reactivate. + + MISSION CONTROL (V.O.) + (over radio) + 5. + + + Hubbletelescope engaged. Upgrade + fully functional. + +Matt approaches Shariff from b.g. + +We hear people in Mission Control chatter and cheer, V.O. + + MISSION CONTROL (V.O.) + (over radio) + That applause you hear is for you, + Shariff. Congratulations. Kick + back, take the rest of the day off. + +Shariff starts dancing. + + SHARIFF (V.O.) + (over radio) + Whoo-hoo-hoo! + (chuckles; singing in + Hindi) + Mera juta hai jaapaani, my patloon + inglistaani saar pe laal topi rusi + -- + (low) + -- phir bhi dil hai hindustani + + MISSION CONTROL (V.O.) + (over radio) + Matt, do you have a visual on just + what Mission Specialist Shariff is + doing up there? + +Matt moves around Shariff. + + MATT (V.O.) + (over radio) + He appears to be doing some form of + the Macarena. + (off Shariff’s laugh) + But that would be just a best- + guess scenario on my part. + +CAMERA TILTS DOWN and DOLLIES IN ON DR. RYAN STONE, a +medical engineer on her first mission. She is on a crane- +like robotic arm attached to the shuttle. She is focused on +a communication card panel on the Hubble. + + MISSION CONTROL (V.O.) + (over radio) + 6. + + + Dr. Stone, Houston. Medical now + have you with a temperature drop to + thirty-five-point-nine and a heart- + rate rise to seventy. How are you + feeling? + + RYAN (V.O.) + (over radio) + Houston, I’m fine. It’s just + keeping your lunch down in zero-G + is harder than it looks. + + MISSION CONTROL (V.O.) + (over radio) + Uh, Dr. Stone, Medical is asking if + you want to return to Explorer. + + RYAN (V.O.) + (over radio) + Negative. We’ve been here a week, + Houston. Let’s just finish this. + (clears throat) + Card is up. + + MISSION CONTROL (V.O.) + (over radio) + Uh, no, that’s a negative. I’m + afraid we’re getting nothing on + this end, Doctor. + + RYAN (V.O.) + (over radio) + Try again. + + MISSION CONTROL (V.O.) + (over radio) + No, still nothing. + + RYAN (V.O.) + (over radio) + Houston, can you please turn that + music off. + + MISSION CONTROL (V.O.) + (over radio) + Kowalski. + + MATT (V.O.) + (over radio) + Not a problem. + +Matt turns the music off. + 7. + + + RYAN (V.O.) + (over radio) + Thank you, Kowalski. Now, Houston? + + MISSION CONTROL (V.O.) + (over radio) + That’s a negative. + + RYAN (V.O.) + (over radio) + Could Houston be misinterpreting + the data? + + MISSION CONTROL (V.O.) + (over radio) + Well, we’re not receiving any data. + Engineering is recommending a vis- + check for component damage. + +Ryan takes a card out and examines it. + + RYAN (V.O.) + (over radio) + Let me see what’s going on. What + have we got? + (to Mission Control) + Visual examination doesn’t reveal + any damaged components. The problem + must be originating from the comms + panel. + + MISSION CONTROL (V.O.) + (over radio) + Yeah, that seems to be the case. + Engineering admits that you warned + us that this could happen. That’s + as close to an apology as you’re + going to get from them. We should + have listened to you, Doc. + + RYAN (V.O.) + (over radio) + Get working. + + MISSION CONTROL (V.O.) + (over radio) + Well, looks like we’re going to + have to improvise. + +Matt moves INTO FRAME. + + RYAN (V.O.) + (over radio) + 8. + + + I’m on it. + + MISSION CONTROL (V.O.) + (over radio) + How long do you think it’ll take + you? + + RYAN (V.O.) + (over radio) + One hour. + + MISSION CONTROL (V.O.) + (over radio) + Outstanding. MORE) + +Installing your system in the Hubbleis the purpose of this +mission and so we appreciate your patience, Doctor. +Kowalski, we-we know you don’t care about things like this, +but, uh, for your information, this delay is not gonna be +long enough for you to break Anatoly Solovyev’s +spacewalking record. It seems like you’re gonna be left, uh +-- + +CAMERA TILTS DOWN and TRACKS WITH Matt as he moves past +Shariff. + + MATT (V.O.) + (over radio) + Seventy-five minutes shy? Never + crossed my mind. + + MISSION CONTROL (V.O.) + (over radio) + Matt... it’s been a privilege. + + MATT (V.O.) + (over radio) + Right back at you, Houston. + + MISSION CONTROL (V.O.) + (over radio) + Enjoy your last walk. + + MATT (V.O.) + (over radio) + Am I a go to assist Dr. Stone in + removing the panel? + + RYAN (V.O.) + (over radio) + Assistance appreciated. + 9. + + +CAMERA PANS AROUND WITH Matt as he joins Ryan at the crane- +like robotic arm. + + MISSION CONTROL (V.O.) + (over radio) + Permission granted. + + MATT + Thank you, Houston. + (to Ryan) + Mind if I join the fun? + + RYAN + Certainly. MISSION CONTR OL + (VO.) + (CONT 'D) + + MATT + How you feeling? + + RYAN + (pants, chuckling) + Like a Chihuahua that’s being + tumble-dried. + + MATT + (chuckles softly) + Well, it’s been a rough week. If it + makes you feel any better, I + coughed up everything but my + kidneys on my first ride. + + RYAN + Shit. + +Ryan drops a bolt, which floats as Matt reaches out to grab +it. Matt moves to Ryan and gives the bolt to her. They work +together on removing the panel. + + RYAN (CONT’D) + Sorry. I’m used to a basement lab + in a hospital where things fall to + the floor. + (chuckles softly) + Thank you. + + MATT + Well, you’re the genius up here. I + only drive the bus. + + RYAN + 10. + + + Yeah, well, call me a genius if I + can get this board initialized in + the next hour. + + MISSION CONTROL (V.O.) + (over radio) + Explorer, this is Houston. + + EXPLORER CAPTAIN (V.O.) + (over radio) + Go ahead, Houston. + + MISSION CONTROL (V.O.) + (over radio) + Uh, NORAD reports a Russian + satellite has incurred a missile + strike. + +Matt continues to breathe heavily into the radio. + + MISSION CONTROL (V.O.) + (over radio) + The impact has created a cloud of + debris orbiting at twenty thousand + miles per hour. Current debris + orbit does not overlap with your + trajectory. We’ll keep you posted + on any developments. + + EXPLORER CAPTAIN (V.O.) + (over radio) + Copy that, Houston. + + RYAN + Should we -- Should we be worried? + + MATT + No, let’s let the boys down there + worry for us. + + RYAN + Explorer, engage arm and pivot to + cargo bay. + + EXPLORER CAPTAIN (V.O.) + (over radio) + Stand by for arm maneuver. + +The robotic arm begins to move very slowly, pulling Ryan +and Matt along. + + MATT + 11. + + + So, doc, now that you work for + NASA, how do you like us? + + SHARIFF + Kind of like winning the lottery, + huh? + +Shariff chuckles. + + RYAN + (inhaling sharply) + I was just happy that they didn’t + cut the funding to my research. + + MATT + How long was your training? + + RYAN + Oh, six months. + + SHARIFF + Including holidays? + + RYAN + Mm-hm. + +Ryan moves. Matt unclips a cable. + + MATT + So, what is this scanning system? + + SHARIFF + Oh, nothing Matt. It’s just a new + set of eyes to scan the edge of the + universe. + +Matt holds the cable. + + RYAN + It’s designed for hospital use, but + this one’s a prototype. + + EXPLORER CAPTAIN (V.O.) + (over radio) + Stand by for locking. + +Matt and Ryan begin to remove another panel. + + MATT + Listen, they don’t bankroll + prototypes. Even for your pretty + blue eyes. + 12. + + + RYAN + Well, my eyes are brown. + + MATT + Right now, your eyes are bloodshot. + +She chuckles. + + SHARIFF + Kowalski! Is this great, or what? + Woo-hoo-hoo! + +Matt and Ryan turn to see Shariff jump and float away from +the shuttle. His safety tether tenses and snaps him back. +Matt glances upward. + + MATT + And to think he went to Harvard. + You gotta admit one thing: Can’t + beat the view. + (beat) + So, what do you like about being up + here? + + RYAN + The silence. I could get used to + it. + + MATT + Terrific. + + RYAN + Houston, from first inspection, + comms panel appears to be dead. Am + I a go to cut link to auxiliary? + + MISSION CONTROL (V.O.) + (over radio) + You’re the expert, doctor. It’s + your call. + + MATT + Houston, I have a bad feeling about + this mission. + + MISSION CONTROL (V.O.) + (over radio) + Please elaborate. + + MATT + It’s the same feeling I had about + Mardi Gras in 1987. + 13. + + + MISSION CONTROL (V.O.) + (over radio) + That is affirmative. Surprisingly, + Control hasn’t heard the Mardi Gras + story. Please proceed. + +Matt and Ryan work the panel. + + MATT + Well, it’s day one, and I’m bumping + my way down Bourbon Street looking + for a sister of a friend of mine. + Streets are full of people. I’m + thinking there’s no way I’m gonna + find this girl. + + RYAN + Proceeding to override. + + MATT + Then all of the sudden, I look up, + and there she is, and I’m about to + yell out, and I see she’s holding + hands with some short, hairy guy in + board shorts and a Margaritaville + shirt. And then I realize that this + guy is not a guy. That my girl is + holding hands with a -- + + MISSION CONTROL (V.O.) + (over radio) + ISS, this is Houston. + + RUSSIAN SPACE STATION CAPTAIN + (V.O.) + (over radio) + Houston. + + MISSION CONTROL (V.O.) + (over radio) + Explorer, this is Houston. + + EXPLORER CAPTAIN (V.O.) + (over radio) + Go ahead, Houston. + + MISSION CONTROL (V.O.) + Mission abort. Repeat. Mission + abort. Initiate emergency + disconnect from Hubble. Begin + reentry procedure. ISS, initiate + emergency evacuation. + 14. + + + EXPLORER CAPTAIN (V.O.) + (over radio) + Copy all, Houston, and in work. + (to Matt) + Matt, immediate return to Explorer. + Repeat, immediate return to + Explorer. + + MATT + Copy. Explorer, prep airlock. + + EXPLORER CAPTAIN (V.O.) + (over radio) + Airlock engaged, ready to receive. + + MATT + Houston, elaborate. + + MISSION CONTROL (V.O.) + (over radio) + Debris from the missile strike has + caused a chain reaction, hitting + other satellites and creating new + debris. Traveling faster than a + high-speed bullet up towards your + altitude. All copy. + + MATT + Copy all. + (to Ryan) + Put a bow on it, Dr. Stone. + + RYAN + I can’t. The board is still + initializing. + + MATT + I’m not gonna ask you again. + + RYAN + One second. + + MATT + Not one second. Now. Shut it down. + That’s an order. + +Ryan finishes working. + + RYAN + Okay, I’m sorry. I’m sorry. I’m + done. I’m done. + + EXPLORER CAPTAIN (V.O.) + 15. + + + (over radio) + Kowalski, initiate emergency + disconnect from the Hubble. + +Ryan and Matt close the panel. + + MATT + All right, Shariff, let’s do this. + +Matt and Shariff move to the base of the Hubble. + + SHARIFF + Roger, Matt. + + MATT + Houston, update. + + MISSION CONTROL (V.O.) + (over radio) + Well, we have a full-on chain + reaction. It’s been confirmed that + it’s the unintentional side effect + of the Russians striking one of + their own satellites. + + SHARIFF + They shot down their own satellite? + +Matt pulls down a lever. Then moves upward. + + MATT + Right of disposal. Most likely a + spy sat gone bad. Now it’s + shrapnel. + (to Explorer Captain) + Explorer, ready to disengage HST. + + EXPLORER CAPTAIN (V.O.) + (over radio) + Locks releasing in three... two... + one. + +The locks holding the Hubble in place release. Matt pushes +it up. + + MISSION CONTROL (V.O.) + (over radio) + Explorer, new data coming through. + + MATT + What's the blowback, Houston? + + MISSION CONTROL (V.O.) + 16. + + + (over radio) + It’s not good. Most of our systems + are gone. Debris chain reaction is + out of control and rapidly + expanding. + +Ryan is on the robotic arm. + + MISSION CONTROL (V.O.) + (over radio) + Multiple satellites are down, and + they keep on falling. + +Matt flies to the right. + + MATT + Define ‘multiple satellites.’ + + MISSION CONTROL (V.O.) + (over radio) + Most of them are gone. + Telecommunication systems are dead. + Expect a communication blackout at + any moment. + + RYAN + Kowalski, visual of debris at nine + o’clock. + +Fragments of debris fly past. + + MATT + Half of North America just lost + their Facebook. + + MISSION CONTROL (V.O.) + (over radio) + Explorer, repeat, expect a + communication blackout at any + moment. + + EXPLORER CAPTAIN (V.O.) + (over radio) + Copy that, Houston. + +A large piece of debris from a BSE satellite flies past +Shariff. + + MATT + Explorer, this is Kowalski, + confirming visual contact with + debris. Debris is from a BSE sat. + 17. + + +The debris flies. + + SHARIFF + Heads up! + + MATT + To repeat, I have -- + + RYAN + Dr. Stone requesting faster + transport. + + MATT + WE have to go. We have to go, go, + go! + +Matt flies left. + + MISSION CONTROL (V.O.) + (over radio) + Kennedy reports meteorological + conditions no-go for re-entry. + + EXPLORER CAPTAIN (V.O.) + (over radio) + Houston, Explorer. Copy. + + RYAN + Explorer, Dr. Stone requesting + faster transport to bay area. + Explorer, do you copy? + + MATT + Explorer, permission to retrieve + Dr. Stone. + +Matt flies towards Ryan. + + EXPLORER CAPTAIN (V.O.) + (over radio) + You’re a go, Kowalski. + (to Mission Control) + Houston, this is Explorer, copy. + + MATT + All right. + + EXPLORER CAPTAIN (V.O.) + (over radio) + We've lost Houston. We’ve lost + Houston. + +Matt tries to help Ryan detach herself. + 18. + + + MATT + Unstrap. Look, we need to get the + hell out of here. + + RYAN + All right. + + SHARIFF + Need some help there, Matt? + + MATT + No, don’t wait for us. + +A piece of debris smashes into Shariff, killing him. + + RYAN + It’s stuck! + + MATT + Man down! Man down! + +Flying debris punctures holes in the shuttle, which starts +to veer out of control. + + EXPLORER CAPTAIN (V.O.) + (over radio) + Houston, this is Explorer, copy. + Houston, this is Explorer, copy. + Kowalski, repor-- + +Ryan, still attached to the robotic arm, spins around with +the shuttle. + + MATT + Explorer’s been hit! + (to Explorer Captain) + Explorer, do you read? Explorer, + over! Explorer! + +The robotic arm breaks off from the shuttle with Ryan still +attached to it. She continues to spin around. + + MATT (CONT’D) + Astronaut is off structure! Dr. + Stone is off structure! + (to Ryan) + Dr. Stone, detach! You must detach! + If you don’t detach, that arm’s + gonna carry you too far! + + RYAN + (crying out) + No! No! I can-- + 19. + + + MATT + Listen to my voice! You need to + focus! + + RYAN + I can’t! I can’t! + + MATT + I’m losing visual of you. In a few + seconds, I won’t be able to track + you. You need to detach! I can’t + see you anymore! Do it now! + + RYAN + Okay, I’m trying! I’m trying! I’m + trying! + + Ryan detaches herself and flies off. + + MATT + Houston, I’ve lost visual of Dr. + Stone. Houston, I’ve lost visual of + Dr. Stone. + + +2 EXT. OUTER SPACE - 600 KM ABOVE EARTH - DAY 2 + + Ryan spins out of control as she careens. + + MATT (V.O.) + (over radio) + Dr. Stone, do you copy? Repeat, do + you copy? + + She flies PAST CAMERA and continues in the b.g. + + RYAN + Yes, yes, yes. I copy! I’m + detached! + + MATT (V.O.) + (over radio) + Give me your position. + + RYAN + I don’t know! I don’t know! I’m + spinning! I can’t -- I can’t -- ! + + MATT (V.O.) + (over radio) + Report your position. + + RYAN + 20. + + + GPS is down. I ca-- It’s down, I + can’t -- + +She spins and flips. + + MATT (V.O.) + (over radio) + Give me a visual. + + RYAN + I told you, nothing. I see nothing! + + MATT (V.O.) + (over radio) + Do you have a visual of Explorer? + + RYAN + No. No. + + MATT (V.O.) + (over radio) + Do you have a visual of ISS? + + RYAN + No. + + MATT (V.O.) + (over radio) + You need to focus. Anything, use + the sun and the Earth, give me + coordinates. + + RYAN + It’s so fast. I can’t breathe! I + can’t breathe! + + MATT (V.O.) + (over radio) + Give me coordinates! Dr. Stone, do + you copy? Repeat, do you copy? Give + me your position! Report your + position. Give me a visual! Do you + have a visual of Explorer? Do you + have a visual of ISS? I need you to + focus. Anything. Use the sun and + the Earth, give me coordinates. + Give me coordinates. + +She continues spinning. + + DISSOLVE TO: + 21. + + +3 INT. HELMET - DAY 3 + + Ryan glances about as she tries to calm down. The Explorer + shuttle, a glowing light, is far off in the distance. + + RYAN + Kowalski? Kowalski, do you copy? + Kowals-- I have-have a vis-- + Kowalski, I have a visual. I have- + have a visual of Explorer. With + north at -- twelve o’clock and the + shuttle is at the center of the + dial. I can see -- I can see the + Chinese station. No -- No, it’s the + International Space Station. ISS is + at -- ISS is at seven o'clock. + + CAMERA RACKS FOCUS ON the inside of the helmet, which + illuminates gauges and meters of the vital statistics of + Ryan’s space suit, which read: + + CWL TEMP 15C WARN RADIATION LOW OXYGEN 10::percent:: LIFE + SUPPORT BATTERY 42::percent:: + + RYAN + Lieutenant Kowalski, do you copy? + + CAMERA PULLS BACK OUT of her helmet. + + DISSOLVE TO: + + +4 EXT. OUTER SPACE - 600 KM ABOVE EARTH - DAY 4 + + Ryan continues to flip and spin around. + + RYAN + Explorer, do you -- do you copy? + Houston, do you copy? Houston, this + is Mission Specialist Ryan Stone. I + am off structure and I am drifting. + Do you copy? Anyone...? Anybody...? + Do you copy? Please copy. Please. + + MATT (V.O.) + (over radio) + Dr. Stone, do you copy? + + RYAN + Yeah, Lieutenant Kowalski, yes. + Yes, Lieutenant Kowalski, I’m here, + I’m here! + 22. + + + MATT (V.O.) + (over radio) + Repeat, do you copy? + +Ryan shines her flashlight, using it like a beacon. + + RYAN + Yes, yes, I copy, I’m here! I’m + here. + + MATT (V.O.) + (over radio) + Flash your light. + + RYAN + My light -- my light? + + MATT (V.O.) + (over radio) + Flash it so I can see you. + + RYAN + Uh, okay. Uh... I... Okay, okay. + Here, here! I’m here! + + MATT (V.O.) + (over radio) + Ah, there you are. Hang on tight. + Report your status. + + RYAN + I’m fine, I’m fine. I’m all right. + + MATT (V.O.) + (over radio) + Your status. Give me your readings. + +Ryan looks at the gauge on her wrist, which indicates her +suit status. + + RYAN + I... Uh, three -- three -- three + point six PSI. + + MATT (V.O.) + (over radio) + Your O2, give me your O2. + + RYAN + 23. + + + Uh, oxygen is going down. It’s + going down fast. It’s going down + fast. Nine -- No, eight-eight + percent. Eight three point nine + percent. + + MATT (V.O.) + (over radio) + Okay, you’re breathing too fast. + You’re burning oxygen, and we don’t + want to do that. We want to relax. + Copy? + + RYAN + Okay, so -- Okay, sorry. Yes, copy, + copy. + + MATT (V.O.) + (over radio) + All right. Nearly there. + + RYAN + Please hurry. + +Matt approaches from far off in the b.g. He speeds toward +her. + + MATT + You can holster that torch, Dr. + Stone. + + RYAN + Sorry. Sorry. + +Matt collides with her and grabs onto her. Ryan reacts, +panicked. They tumble together, facing each other. + + MATT + Gotcha. All right, now I’m gonna + tether you to me. + + RYAN + Uh-huh. + + MATT + I know, you never realized how + devastatingly good-looking I am. + But I need you to stop staring and + help me with the tether. + + RYAN + Mm-hmm. + 24. + + + MATT + Okay? + + RYAN + Okay, okay. Uh, I got it. + +Matt attaches the tether to Ryan’s suit. They continue +tumbling together. + + MATT + All right, here we go. All right. + Now, to clear you from the jets... + + RYAN + Uh-huh. + + MATT + I’m gonna give you a little push. + + RYAN + No, no, no, no. No, no, no. + + MATT + Not a push. + + RYAN + No, no. + + MATT + A nudge. + + RYAN + No, no, no, no, no, no, no, no, no! + Damn it, no! + +Matt pushes Ryan away from him. As she drifts again, she +panics. Matt turns and uses the thrusters to accelerate. + + MATT + See? Where you go, I go. Better. + Let’s get outta here. + +Matt pulls Ryan behind him via the tether. + + RYAN + Goddamn it. + + MATT + I know what you mean. + + RYAN + Damn it. + 25. + + + They move towards the Explorer in the distance. + + MATT + You’re burning oxygen. We’re going + back to the shuttle. How’s that for + a plan? Copy? + + RYAN + Fuck! + + MATT + Right. Copy that. Houston, in the + blind. This is Kowalski. Dr. Stone + and I are gonna make our way back + to base. Can you get the Explorer + to prepare the airlock for arrival? + Copy? Houston, this is... + + +5 EXT. OUTER SPACE - 650 KM ABOVE EARTH - DAY 5 + + Matt flies, pulling Ryan behind him. + + MATT + ... Kowalski. How do you copy? + Houston, in the blind. This is + Kowalski. + + RYAN + They can’t hear us. + + MATT + We don’t know that. That’s why we + keep talking. If somebody is + listening, they might just save + your life. Set your watch for + ninety minutes. + + RYAN + Why ninety? + + MATT + Well, Houston clocked that... + + Ryan sets her watch. + + MATT + ... debris at fifty thousand miles + an hour. If you factor in our + current orbit, then I figure we got + about ninety minutes before we get + our asses kicked again. + 26. + + + Text on the wrist display next to the watch reads: + + SUIT PRESS 35PSI 01:30 00 OXYGEN ALERT 6::percent:: + + BATTERY 18::percent:: SPC02 4.1 min + + She reaches and grabs hold of the tether. + + RYAN + O2 down to six percent. + + MATT + Okay. Pretty scary shit being + untethered up here, isn’t it? + + RYAN + Yeah, pretty scary shit. + + MATT + Well, you did all right. + + Matt thrusts forward again, pulling her in a jerking + motion. + + +6 INT. HELMET - RYAN’S POV THROUGH THE HELMET TO MATT - DAY 6 + + RYAN + Well, you weren’t so bad yourself. + + MATT + Houston, in the blind. This is + Kowalski. Our current location is + approximately... nine hundred + meters out from the Explorer. Dr. + Stone and I would like to retrieve + the body of Mission Specialist + Shariff and return it to the + shuttle. Am I a go to retrieve? + Roger that. + + Matt flies back and forth as he tries to correct their + course, searching for Shariff. The tether jerks Ryan back + and forth. + + RYAN + Where is he? Where is he? + + Matt ignites the thrusters and speeds in b.g. toward the + panel Shariff is attached to. Matt grabs onto the panel, + stopping his trajectory. Ryan flies past him toward + Shariff’s corpse. + 27. + + + RYAN + Oh, my God. Oh, my God. + + +7 EXT. OUTER SPACE - 650 KM ABOVE EARTH - DAY 7 + + Ryan flies f.g. and crashes into Shariff’s corpse, causing + it to careen out of control, pulling the panel with it. + Matt, still holding onto the panel, disconnects Shariff’s + tether from it and attaches it to himself. + + MATT + Grab him! Grab him! + + RYAN + I’m trying, I’m trying! + + Matt lets go of the panel, which exits, as Shariff’s corpse + and Ryan pull him with them. + + MATT + You’re pullin’ me away. + + RYAN + Got h-- I got him! + + Ryan grabs hold of Shariff’s corpse and holds on. + + MATT + Clutch him like he’s your + Valentine. + + RYAN + I got -- I got him. Okay. I got + him. + + MATT + I can’t engage my thrust with you + two yo-yoin’ around. + + Ryan looks down at the face of the corpse and reacts. + + Shariff’s corpse. The helmet is destroyed and there is a + hole through his face, caused by the debris. Ryan is + horrified. + + Near Shariff’s corpse there is a photo floating, attached + to a small tether. The photo depicts Shariff with his wife + and son. + + MATT + Jesus Christ. + 28. + + + Matt leads Ryan and Shariff’s corpse toward the wreckage of + the Explorer, which has suffered devastating damage. + + MATT + Here’s hopin’ you have a hell of an + insurance policy, Houston. The + damages to Explorer are + catastrophic. Will commence search + for survivors. + + RYAN + O2 down to five percent. + + +8 EXT. OUTER SPACE - EXPLORER- DAY 8 + + Matt, Ryan, and Shariff’s corpse are flying toward Explorer + at a high velocity. + + MATT + All right, here we go. Careful of + the edges! + + They slam into the shuttle and scatter. Ryan flies and is + pulled by the tether to Matt, who grabs onto the broken + cockpit window frame. + + Matt pulls Ryan toward him. + + MATT + Here. Here! + + CAMERA PUSHES PAST THEM THROUGH the window frame, INTO the + cockpit, which is in disarray. Several objects are floating + about. The beam of Matt’s flashlight shines onto a floating + toy. + + Ryan moves to enter, but suddenly bumps into the corpse of + one of the astronauts. Matt peers in through a hole on the + other side of the cockpit. + + MATT + Houston, in the blind. To confirm. + Mission Specialist Dr. Stone and + Mission Commander Matthew Kowalski + are the sole survivors of the STS- + one-five- seven. + + Ryan joins Matt, now tethered to the shuttle. Shariff’s + corpse floats in the b.g. + + RYAN + 29. + + + I apologize for not complying. I + should’ve stopped working as soon + as you instructed me to. + + MATT + We were gonna get hit no matter + what. There was nothing you could + do to change that. Hey. + + RYAN + Yes? + + MATT + All right, we have to make our way + to the Space Station. Over there. + +Matt points to the space station way off in the distance. + + MATT + It’s a bit of a hike, but we need + to use their escape pod, the Soyuz, + to get back to Earth. Agreed? Dr. + Stone, agreed? + +Matt and Ryan facing each other. + + RYAN + Agreed. + + MATT + All right. After you. + +Matt pushes Ryan, and she spins away. Matt pushes off the +shuttle and thrusts, pulling Ryan with him. + + RYAN + Oh, God. Oh, God. Oh, God. + + MATT + Houston, in the blind. This is + Kowalski. + +CAMERA PULLS BACK to reveal Shariff’s corpse, now tethered +to the shuttle. + + MATT + Dr. Stone and I have determined to + proceed to ISS and use one of their + Soyuz for re-entry. ISS, if you + hear us... we could sure use a + rescue mission. + 30. + + +9 EXT. OUTER SPACE - 550 KM ABOVE EARTH - DAY 9 + + Matt floats, pulling Ryan behind him. The sun crests over + the edge of the Earth. + + Hank Williams, Jr. sings “Angels Are Hard To Find” under + the following scenes. + + RYAN + O2 down to two percent. + + MATT + We’re getting there. Beautiful, + don’t you think? + + RYAN + What? + + MATT + The sunrise. + + Matt slowly floats, pulling Ryan behind him. + + MATT + That’s what I’m gonna miss the + most. So where’s home, Dr. Stone? + Ryan, where’s home? + + RYAN + Home? + + MATT + Mm-hm. Down there. Mother Earth. + Where do you pitch you tent? + + RYAN + Lake Zurich. + + MATT + Where the hell is that? + + RYAN + Illinois. + + Matt floats, pulling Ryan behind him. + + MATT + Illinois. Central Time Zone. + (sighs) + That would make it roughly... eight + PM. What are the good people of + Lake Zurich doing at eight o’clock? + 31. + + + RYAN + I don’t know. I’m not gonna make + it. I’m slowing you down. + + MATT + What would you be doing? Come on, + Ryan. It’s eight o’clock. You've + just left the hospital after an + eighteen-hour shift. Driving home. + + RYAN + The radio. I listen to the radio. + + MATT + There we go. Let me guess. NPR? + Classical? Top forty? + + RYAN + Anything. I don’t care, as long as + they don’t talk. I just drive. + + MATT + And where are you driving to? + + RYAN + I just drive. + + MATT + What do you miss down there? Is + there a Mr. Stone? + + RYAN + No. + + MATT + Nobody special? + +Ryan slowly floats. The reflection of the Earth appears on +her helmet. + + MATT + Somebody down there looking up, + thinking about you? Ryan? + + RYAN + I had a daughter. + +Matt glances at the mirror affixed to his wrist. The mirror +on his wrist depicts the reflection of Ryan. + + RYAN + 32. + + + She was four. She was at school + playing tag. Slipped, hit her head, + and that was it. Stupidest thing. I + was driving when I got the call, + so... ever since then, that’s what + I do. I wake up, I go to work, and + I just drive. + + Matt floats in the b.g. toward the far-off space station. + Ryan is pulled with him. + + RYAN + O2 down to one percent. + + MATT + Well, I’ve got good news and bad + news. The good news is, we’re about + five minutes from the ISS and I + know where the Russians stash their + vodka. And that is good, because + I’m runnin’ on fumes here. The bad + news is, I’m gonna be about ten + minutes short of breakin’ Anatoly’s + record, and I -- + + An alarm sounds, indicating Ryan’s oxygen level is low. + Matt looks at his wrist mirror. + + RYAN + Uh... + + MATT + What? + + RYAN + Uh... I’m redlining. My O2 tank + pressure is low. + + MATT + Your tank is out of oxygen but you + still have it in your suit. + + RYAN + Got it. + + +10 INT. HELMET - RYAN’S POV OF MATT AND THE INTERNATIONAL 10 + SPACE STATION - DAY + + MATT + So you have to sip, not gulp. + 33. + + + She looks down to her arms as she checks her oxygen + monitor. The monitor reads: oxygen low. + + MATT + Wine, not beer. + + She glances up to Matt. + + MATT + Sip, Ryan. + (to Mission Control) + Houston, in the blind, we have a + visual of the ISS. The station must + have been evacuated because the + first Soyuz is... + + +11 EXT. OUTER SPACE - DAY 11 + + Matt and Ryan float in the f.g., as Ryan exits. + + MATT + ... missing. The second Soyuz + exhibits surface damage, and its + chute has been deployed. Any use as + an escape pod for re-entry is + impossible. + + Matt floats toward the space station, pulling Ryan with + him. + + RYAN + Shouldn’t we be turning? We’re + drifting again. + + MATT + Not yet. I wasn’t kidding about + those fumes. This can has one or + two good thrusts left... if we’re + lucky. Steady. Aim. Fire! + + Matt triggers his thruster, hurtling them at a high speed. + + +12 INT. HELMET - RYAN’S POV - DAY 12 + + Past Matt to the space station. Ryan’s arms enter f.g. and + grab hold of the tether. + + RYAN + Brake! Brake! You have to brake! + + MATT + 34. + + + I can’t, the can’s empty. + + +13 EXT. OUTER SPACE - SPACE STATION - DAY 13 + + MATT + We’re gonna hit hard! Grab a hold + of anything you can! + + +14 INT. HELMET - RYAN’S POV TO THE SPACE STATION - DAY 14 + + She flies toward the space station. + + +15 EXT. OUTER SPACE - SPACE STATION - DAY 15 + + Matt flies and smashes into it. Ryan is pulled behind him. + + RYAN + It’s -- what do I do? What do I + do?! + + She flies into f.g. as CAMERA TILTS UP and FLIPS AROUND to + TRACK WITH her as grabs hold of a railing. + + MATT + Ryan! + + Matt flies past, pulling Ryan with him. Ryan bumps into a + solar panel and their tether snaps. Ryan falls. + + RYAN + The tether broke, I’m detached! I’m + detached! + + MATT + Grab a hold! Grab anything! + + Ryan falls. She becomes entangled in some of the Soyuz’s + parachute rigging. The rigging pulls her up. She reaches + out her hand. + + MATT + Ryan! Give me five! + + RYAN + I’ve got you. + + +16 INT. HELMET - RYAN’S POV - MATT - DAY 16 + 35. + + + He flies toward her, unsuccessfully grabs for her hand. + + RYAN + I’ve got you. Right here, right + here. Okay, get it. + + Ryan grabs hold of the tether attached to him. + + MATT + Shit! Shit. + + RYAN + No. No, no, no, no, no, no, no, no. + + +17 EXT. OUTER SPACE - SPACE STATION - DAY 17 + + Ryan is pulled by the tether. + + RYAN + Got ya. + + Matt holds firmly onto the tether as he is yanked. Ryan + holds firmly onto the tether. Ryan’s left leg is entangled + in the parachute rigging. + + RYAN + Got ya. You just... hold on and I’m + gonna start pulling you in. I’m + gonna star-- + + MATT + Hey, Doc. + + RYAN + Just hold on. Hang on. I am gonna + pull you in. I’m gonna pull you in. + + MATT + Ryan, listen. You have to let me + go. + + RYAN + No. + + MATT + The ropes are too loose. I’m + pulling you with me. + + RYAN + No. + + Matt takes hold of the tether clip. + 36. + + + RYAN + No, no, no. + + MATT + You have to let me go, or we both + die. + + RYAN + I’m not letting you go! + +Ryan is pulled and Matt yanks her back. + + RYAN + We’re fine! + + MATT + No. Ryan, let go. + + RYAN + No. No. You’re not going anywhere. + You’re not going anywhere. + +Matt starts to unclip the tether. + + MATT + It’s not up to you. + + RYAN + No, no, no, no, no... no... Please + don’t do this. + +Matt unclips the tether. + + RYAN + Please, please, please, please + don’t do this. Please don’t do + this. No, no, no. Please don’t, + Matt. Please don’t do this. + +Matt lets go of the tether and floats off. + + MATT + You’re gonna make it, Ryan. + + RYAN + No! + +Ryan floats toward the space station. Matt floats away. + + RYAN + I had you. I had you! I had you. + 37. + + +Ryan smacks into a part of the space station and flips +over. She grabs hold of a metal railing. We see Matt far +away now in the b.g. Ryan’s C02 alarm goes off, indicating +that she’s out of oxygen. + + MATT + Ryan, do you hear me? Do you copy? + + RYAN + My CO2alarm went off. My CO2 alarm + went off. + + MATT + Look, you need to board the + station. Do you see the airlock? + +Ryan turns, holding tightly onto the metal railing. + + MATT + Hey, Ryan, you copy? Look for the + airlock. It’s above you, next to + the Zarya module. You see it? + + RYAN + Yes. Yes, I see it. I see it. + + MATT + All right, good. That’s where you + want to go. Now you’re getting + lightheaded, right? + + RYAN + Yeah. Yes. + + MATT + That’s because you’re breathing + CO2. You’re losing consciousness. + You need to board the station. + + RYAN + Okay. + +Holding on tight to the space station’s railing, Ryan turns +her body upside down and moves toward the station. + + MATT + That second Soyuz is too damaged + for re-entry, but it’s perfectly + fine for a little Sunday drive. + +Ryan climbs upward. + + RYAN + 38. + + + Sunday drive? + + MATT + Look to the west. You see that dot + in the distance? + +CAMERA PANS TO a tiny dot in the distance, which is the +Chinese station. + + MATT + That’s a Chinese station. + + RYAN + Yes. + + MATT + You’re gonna take the Soyuz, and + you’re gonna cruise over there. + Chinese lifeboat is a Shenzhou. + + RYAN + I’ve never flown a Shenzhou. + +CAMERA DOLLIES AROUND Ryan. + + MATT + It doesn’t matter. Its re-entry + protocol is identical to the Soyuz. + + RYAN + Okay. + + MATT + You never flown the Soyuz either? + + RYAN + Only a simulator. + + MATT + Well, then you know. + + RYAN + But I crashed it. + + MATT + It’s a simulator, that’s what it’s + designed for. + + RYAN + Every time. I crashed it every + time. + 39. + + +CAMERA TRACKS WITH Ryan to reveal Matt, a tiny speck in +b.g. + + MATT + You point the damn thing at Earth. + It’s not rocket science. And by + this time tomorrow, you’re gonna be + back in Lake Zurich with a hell of + a story to tell. You copy? Ryan, + you copy? + + RYAN + I’m gonna take the Soyuz and come + get you. + + MATT + No, you’re not. + + RYAN + I’m coming to get you. + + MATT + No, I’ve got too much of a head + start on you. + + RYAN + (wavering) + I’m coming to get you. + + MATT + I’m afraid that ship... + (chuckling) + Already sailed. Ryan, you’re gonna + have to learn to let go. + + RYAN + But I -- + + MATT + I want to hear you say you’re gonna + make it. Come on, Ryan, say it. + + RYAN + I’m gonna make it. + + MATT + All right. Keep going. What kind of + name is Ryan for a girl? + + RYAN + Dad wanted a boy. + + MATT + 40. + + + Are you close to the airlock? + + RYAN + Not yet. + + MATT + Keep going. So now that we have + some distance between us... you’re + attracted to me, right? + + RYAN + What? + + MATT + Well, people say I have beautiful + blue eyes. + + RYAN + You have beautiful -- You have + beautiful blue eyes. + + MATT + I have brown eyes. Hey, you want to + know the good news? + + RYAN + What? + + MATT + I’m gonna break Anatoly’s record, + and I think mine’s gonna stand for + a long, long time. + + RYAN + Oh, no. I’m coming to get you. + +Matt, a tiny speck in b.g. + + MATT + Oh, my God. + + RYAN + What? What? + + MATT + Wow. Hey, Ryan? + + RYAN + Yeah? + + MATT + You should see the sun on the + Ganges. + 41. + + + (exhales sharply) + It’s amazing. + + CAMERA PANS TO Ryan. She moves her arm. Hank Williams Jr.’s + “Angels Are Hard To Find” continues. + + +18 INT. HELMET - RYAN’S POV - DAY 18 + + Matt is a tiny speck. With great effort, Ryan climbs to the + airlock and opens its handle. + + +19 EXT. OUTER SPACE - SPACE STATION - DAY 19 + + Ryan opens the airlock door and is blown by the air + pressure as she tightly grips the door handle. She manages + to climb inside the airlock. + + +20 INT. SPACE STATION - AIRLOCK MODULE - DAY 20 + + Ryan closes the airlock door. She turns the handle of a + valve. The oxygen levels of the module re-pressurizes. + + As oxygen fills the cabin, Ryan takes off her helmet and + breathes deeply. + + She removes her suit. + + +21 INT. SPACE STATION - DAY 21 + + Ryan enters and glances about. + + An electrical panel with exposed wiring emits sparks and + flames. + + Ryan enters the communications room. + + RYAN + Where are you? Where are you? + Comms. Comms. There you are. + + She stops and turns toward the radio panel, placing a radio + headset on her head. + + RYAN + (into radio) + 42. + + + Okay. Matt, this is Ryan, copy. + Matt, this is Ryan, copy. Matt, I + made it, I’m here, I’m on the + station. Do you copy? Come on, + Matt, talk to me. Tell me where you + are, give me your position. Where + are you? Give me a visual. Just + tell me what you see. Oh, come on. + You’ve been yammering since we left + Cape Canaveral, and now you decide + to shut up? Talk to me. Just say + something, say anything! I don’t + care! Hey, tell me about, uh, Mardi + Gras. Tell me about the hairy guy. + Huh? Tell me what happened. What + happened to the, uh, hairy guy? + +Ryan’s reflection is on the window as she gazes through it. + + RYAN + (into radio) + Please talk to me. + (whispering) + Please. + (to mission control) + Houston, in the blind... this is + Mission Specialist Ryan Stone + reporting from the ISS. All + communications with Mission + Commander Matthew Kowalski have + been lost. Radio transmission + absent. Visuals nonexistent. To + confirm, I, Ryan Stone, am the sole + survivor of STS-one-five- seven. + +An alarm sounds, prompting her to float and examine a +laptop affixed to the wall. + + RYAN + What now? + +On the laptop monitor, which displays a message and a graph +of the station, which indicates which sections are on fire. +The alert reads: “FIRE.” + +On the map, the labels of which read: “Kibo Lab, jcm, +Overhead, Port, UC Lab, Node 2, Deck.” + +Ryan approaches a ball of fire. She grabs a fire +extinguisher off the wall and uses it on the fire. + 43. + + + The spray from the fire extinguisher blasts her against the + wall, momentarily knocking her unconscious, then she + regains consciousness. + + The fire is quickly expanding. Ryan takes the fire + extinguisher again, plants her feet and stabilizes herself. + She sprays the fire extinguisher. + + The fireball rapidly expands, knocking Ryan into a new + passageway. The fireball expands throughout the station + behind her. She dives down, through a hatch. She struggles + to open the hatch to the second Soyuz. The fireball is + expanding into the compartment. + + Ryan climbs down into the second Soyuz, still carrying the + fire extinguisher and locks the hatch above her. + + She climbs further down into another section of the Soyuz. + She closes the second hatch above her. + + The Soyuz shakes, due to the station outside exploding and + crumbling. + + +22 INT. SOYUZ - DAY 22 + + Ryan slides down through a hatch into the command center of + the Soyuz. + + RYAN + Okay. Okay. Where is it, where is + it? Where is the power? Here you + are. Okay, great, just like + training. Um... Uh, undocking, + undocking. + + She reaches for a nearby instruction manual, which is + marked in red. She straps herself into the seat and + examines it. + + RYAN + (clearing throat) + Undocking. Red. Okay. Okay, where + is it? Where is it? Come on. Okay. + Okay. Okay, I remember this, I + remember this. + + She reaches up and presses several buttons on the control + console. The monitor now displays a countdown which reads: + “00:04.30.” + + The Soyuz is jolted and shakes terribly. + 44. + + + Ryan flips through the pages of the instructions. + + RYAN + Oh, you don’t have four minutes. + We’re going manual. Come on. Okay. + Okay. Active-Activate, undock. + (Russian) + Rezerveyi rassik + + She reaches up toward another control panel and presses a + button. + + +23 EXT. STATION - OUTER SPACE - DAY 23 + + The Soyuz is released from the station and floats away from + it. The Earth is far off in the b.g. + + +24 INT. SOYUZ - DAY 24 + + The periscope displaying the station from outside. As it + floats away, the parachute, which has been deployed, is + tangled around a section of the station. + + Ryan breathes heavily. She is seated and watches the + periscope in front of her. She checks her watch for the + amount of time until the debris will hit again. It reads + “00:07:25.” + + RYAN + Seven minutes to get out of here. + + Ryan pulls out the joysticks to activate the manual control + steering. + + RYAN + (whispering) + All right, okay. + + +25 EXT. OUTER SPACE - DAY 25 + + The station thrusts away, the parachute still caught. It + pulls taut and stops the Soyuz with a jolt. + + +26 INT. SOYUZ - DAY 26 + + Ryan is shaken about as the station is jolted. She glances + about, confused. + + RYAN + 45. + + + What? What-what? What-what? + + +27 EXT. STATION - OUTER SPACE - DAY 27 + + The parachute tenses and pulls the Soyuz toward the station + at a high speed. + + +28 INT. SOYUZ - DAY 28 + + Ryan, upside down, gazes at the periscope. She sees that + the Soyuz is on a trajectory to crash into the station. + + RYAN + No, no, no, no, no, no, no, no, no! + + She uses the manual controls to activate the thrusters. + + +29 EXT. OUTER SPACE - DAY 29 + + The thrusters emit a quick blast changing the Soyuz’s + direction slightly. The parachute ropes become taut. + + The Soyuz flies away from the station, but the parachute + snaps the Soyuz back toward it. + + +30 INT. SOYUZ - DAY 30 + + Ryan glances about. + + +31 EXT. STATION - OUTER SPACE 31 + + The Soyuz flies over the station. The parachute catches + again. The ropes pull taut. + + +32 INT. SOYUZ - DAY 32 + + Ryan is shaken about as the Soyuz is jolted to a stop. She + takes control of the manual steering. + + +33 EXT. STATION - OUTER SPACE 33 + + The Soyuz is pulled back toward the station. + + +34 INT. SOYUZ - DAY 34 + 46. + + + Ryan looks through the periscope. + + RYAN + Stop! Stop! Stop! Stop! Stop! + + +35 EXT. STATION - OUTER SPACE 35 + + The thruster jets are manually activated, stopping its + approach and gently pushing it away at a steady rate. + + +36 INT. SOYUZ - DAY 36 + + Through the periscope, we see Soyuz is slowly floating away + from the station. + + RYAN + Come on, come on, come on, come on, + come on. Come on. + (whispering) + Come on, come on, come on, come on. + + Ryan uses the manual steering to steady the Soyuz. + + RYAN + (whispering) + That’s right, that’s right. Come + on, come on, come on. + (low) + That’s right, that’s right, that’s + right, that’s right, that’s right. + Ahhh. Come on. + + +37 EXT. STATION - OUTER SPACE - DAY 37 + + The Soyuz flies away from the station at a slower velocity + than before. The parachute pulls taut, and the Soyuz jolts + to a stop, but the soft thrusters keep it from being pulled + back toward it. + + +38 INT. SOYUZ - DAY 38 + + Through the periscope, we see that Soyuz has steadied, but + is still tethered to the station via the parachute, which + is entangled in one of the station’s solar panels. + + RYAN + (whispers) + F-- + (breathes heavily) + 47. + + + Great. + + Ryan glances about. + + +39 EXT. STATION - OUTER SPACE - DAY 39 + + The Soyuz hovers near the station. Ryan, wearing a space + suit, steps out of the hatch, tethered to the inside of the + Soyuz cabin. Her watch timer goes off, indicating that the + debris should be coming back. She glances about, but does + not see any debris. + + RYAN + Clear skies with a chance of + satellite debris. + + She climbs down the side of the Soyuz to where the + parachute ropes are bolted to the vessel. She attaches + herself to an open panel and glances about. + + RYAN + (whispering) + Okay, we detach this, and we go + home. Piece of cake. + + Satisfied that no debris is coming, she produces a tool and + starts to detach the parachute ropes. She doesn’t see the + debris coming toward her. + + RYAN + Okay. + (low; indistinct) + Okay, what do we have? Okay, all + right. + + Ryan drops one of her tools, which starts to float away. + She turns to grab it and sees the debris hurtling toward + her as it starts to tear through the satellites. + + RYAN + Shit. + + As she quickly tries to detach the parachute ropes, she + flips upside-down and tries to ignore the debris cutting + through the station behind her. + + RYAN + Okay. Okay, come on. Come on, come + on. All right. Okay, okay, okay. + Okay. + 48. + + + She removes one of the ropes as a section of the station + explodes behind her. The remaining part of the station + flies under the Soyuz. + + She holds onto the Soyuz as the station spins out of + control, pulling the Soyuz with it. She struggles to hold + on as the Soyuz flies through new debris. + + She removes the final rope and holds tight to the Soyuz, + which flies away from the station. The wing of the Soyuz + plows through a satellite. + + The Soyuz floats, seemingly out of harm’s way. Ryan climbs + toward the Soyuz hatch. She glances back at the crumbling + station before exiting. + + RYAN + I hate space. + + +40 INT. SOYUZ - DAY 40 + + A control panel displays several alerts and alarms. Ryan’s + helmet floats. + + Ryan closes the hatch after having just come through it. + She straps into the command seat and switches off the + alarms. + + RYAN + (to the control panel) + Shut up. + (beat) + Okay. + + She looks at her watch. She resets her watch timer to + 01:30. She starts the timer. + + Ryan reacts to the temperature which is now below freezing. + She places an instruction manual in her lap and uses the + steering joysticks to reposition the Soyuz. + + RYAN + All right. That’s good. + + Ryan looks through the periscope, displaying the western + horizon. + + RYAN + Okay. Let’s stabilize you. + + +41 EXT. OUTER SPACE - DAY 41 + 49. + + + The Soyuz floats and steadies into a stabilized position. + + +42 INT. SOYUZ - DAY 42 + + The periscope displays the far-off Chinese station on the + western horizon. The Soyuz stabilizes in a position to head + directly toward it. + + RYAN + Okay. Let’s go visit the Chinese + station. + (to Mission Control) + Houston, in the blind, Tiangong is + approximately one hundred + kilometers to the west, and I am + off its course by about thirteen + degrees. I will correct trajectory. + + She clears her throat. + + +43 EXT. OUTER SPACE - HIGH ANGLE - DAY 43 + + The Soyuz floats. + + +44 INT. SOYUZ - DAY 44 + + The periscope displays the Chinese station in the distance. + + RYAN + (whispering) + Okay. Okay. + + LOW ANGLE - RYAN + + reaches up and flips some switches. + + RYAN + Okay. + (to Mission Control) + I will engage S-Ka-Dae in five... + four... three... + + Ryan presses the thruster ignition button on the control + panel. + + RYAN + Two... one. + + +45 EXT. OUTER SPACE - DAY 45 + 50. + + + The Soyuz continues to float. + + +46 INT. SOYUZ - DAY 46 + + Ryan reacts, confused. + + RYAN + What’s happening, what’s happening? + Come on, come on. + + Ryan reaches up toward the control panel again. + + LOW ANGLE - RYAN + + presses the thruster ignition button again. + + RYAN + One. + + +47 EXT. OUTER SPACE - DAY 47 + + The Soyuz continues to float. + + +48 INT. SOYUZ - DAY 48 + + Ryan repeatedly presses the ignition button, but nothing + happens. She starts to panic. + + RYAN + Come on, come on, come on. + + She taps on the fuel gauge, frozen in place due to the + temperature. The needle is tapped loose and drops down to + zero, indicating that there is no fuel. + + RYAN + You gotta be kidding me. You gotta + be kidding me! + + Ryan angrily hits and kicks the control panel. + + RYAN + No! Don’t you fu-- + + +49 EXT. SOYUZ (OUTER SPACE) 49 + + Ryan calms down. The Chinese station is far off in the b.g. + 51. + + + RYAN (V.O.) + Houston, in the blind. Houston, in + the blind, this is Dr. Ryan Stone. + I’m calling from the Soyuz TMA-one- + four-M. I’m currently out of fuel + and adrift, do you copy? Houston. + This is Dr. Ryan Stone. MORE) + + Do you copy? Houston. This is Ryan Stone. Do you copy? + + The sun sets behind the edge of the Earth. + + +50 INT. SOYUZ - DAY 50 + + The edge of the window, which starts to gather frost and + freeze over. + + RYAN (O.S.) + (into radio; wavering + voice, sniffs) + Houston, this is Missish -- Mission + Specialist Ryan Stone, do you copy? + + ANINGAAQ (V.O.) + (over radio) + (Indistinct) + + THE TOP OF A CONTROL PANEL + + A card depicting a Russian religious character is affixed + to it. + + RYAN (O.S.) + (into radio) + Houston, Houston, please confirm + identity. + + ANINGAAQ (V.O.) + (over radio) + (Indistinct) + + RYAN (O.S.) + (into radio) + Houston, you’re coming in over an + A.M. frequency. Copy. + + RYAN’S HELMET AND A FIRE EXTINGUISHER + + Both floating in the air. + + RYAN (O.S.) (CONT’D) + (into radio) + 52. + + + Do you copy? + (pants) + Is this the Chinese station? Is + this Tiangong? Copy. RYAN + (V. O.) + (CONT'D) + + ANINGAAQ (V.O.) + (over radio) + (Inuit) + + RYAN (O.S.) + (into radio) + Mayday, can you copy? + +RYAN + +leaning toward the control panel, reacting as a +transmission finally comes through the radio. + + RYAN (CONT’D) + (into radio) + Mayday, mayday, mayday. + + ANINGAAQ (V.O.) + (over radio) + (Inuit) + + RYAN + (into radio; panting) + Ma-- Yes, yes. Mayday, mayday. + Mayday, mayday. An-- + (whispering) + Anin--Aningaaq, is that -- ? Is + that your -- ? Is that your name? + Aningaaq is your -- is your name? + Is that your name? + + ANINGAAQ (V.O.) + (over radio; in Tagalog) + Mayday! + + RYAN + (into radio) + No, no, no. No, my name is not + ‘Mayday.’ I’m Stone. Dr. Ryan + Stone, I need help. I am -- + +She reacts as she hears dogs over the radio. + + RYAN (CONT’D) + 53. + + + Wh-- Those are dogs. They’re + calling from Earth. They’re calling + from Earth. + +Ryan sits back in her seat and moves her fingers, trying to +keep them warm. + + RYAN (CONT’D) + (into radio) + Aningaaq, make your dogs bark again + for me, would you please? Your + dogs. Dogs, you know. Woof, woof. + Dogs. + +Aningaaq makes barking sounds, howls. Ryan makes howling +sounds along with him. + + RYAN (CONT’D) + (into radio) + Woof, woof. Whoo, whoo! + +Ryan starts crying. + + RYAN (CONT’D) + (into radio; crying) + Oh, I’m gonna die, Aningaaq. I + know, we’re all gonna die. + Everybody knows that. But I’m gonna + die today. Funny, that. You know, + to know... + +Aningaaq starts to sing. + + RYAN (CONT’D) + (into radio, crying) + But the thing is, it’s that I’m + still scared. I’m really scared. + Nobody will mourn for me, no one + will pray for my soul. Will you + mourn for me? Will you say a prayer + for me? Or is it too late? + +A tear falls from her eye, freezes, and floats. CAMERA RACK +FOCUSES ON IT. + + RYAN (CONT’D) + (into radio) + I mean, I’d say one for myself, but + I’ve never prayed in my life, so... + Nobody ever taught me how. Nobody + ever taught me how. + 54. + + +CAMERA RACK FOCUSES BACK ON Ryan as she hears a baby over +the radio. She reacts and cries, as she hears Aningaaq +singing. + + RYAN (CONT’D) + (into radio) + A baby. There’s a baby with you, + huh? Is that a lullaby you’re + singing? MORE) + (whispering) + That’s so sweet. I used to sing to + my baby. I hope I see her soon. + +She leans over and presses a button on the control panel. +CAMERA PANS WITH her as she reaches up and switches off the +lights. She turns some dials, decreasing the oxygen in the +cabin’s atmosphere, preparing to kill herself. + +The monitor, displaying the atmosphere levels and vital +statistics of the cabin. The oxygen meter drops rapidly as +an alert sounds. Text under the meter reads: “O2.” + +Ryan, now sitting back in the seat. She closes her eyes. + + RYAN (CONT’D) + (into radio) + That’s nice, Aningaaq. Keep + singing, just like that. + (exhales sharply) + Sing me to sleep, and I’ll sleep. + Keep singing. And sing, and sing. + +The beam of a flashlight shines on her through the O.S. +porthole. She sees Matt, peering through the porthole. He +starts to open the hatch. Ryan, covering her face and +reacting. + + RYAN (CONT’D) + No, no, no, don’t! + +Matt opens the hatch, sucking out all the air and sound. He +crawls in and closes the hatch behind him. Ryan, cowering +behind her hands, but still alive. Matt sitting next to +her. He leans over and turns a dial to re- pressurize the +cabin. He takes off his helmet as air and sound are +returned. + + MATT + (grunts) + Check your watch. Thirteen hours + and eleven minutes. Call Anatoly + and tell him he’s been bumped. + 55. + + +Ryan reacts. + + MATT (CONT’D) + It’s a little gloomy in here, isn’t + it? + +Matt switches the lights back on. + + RYAN + How did you -- ? + + MATT + Trust me, it’s a hell of a story. + + RYAN + But how did -- ? + +Hank Williams, Jr. sings “Angels Are Hard To Find” over +radio. + + MATT + (grunts) + That’s better. I found a little + extra -- a little extra battery + power. It helps that I didn’t have + you around to distract me. I have + to say, I’m glad to see ya. I + didn’t think you were gonna make + it. + (pants) + Did you find the vodka? + + RYAN + (panting) + You -- You never told me where -- + where it was, so... + + MATT + Oh, well... + +Matt reaches under his seat and produces a small bottle of +vodka. Matt sips from the bottle. + + MATT (CONT’D) + To Anatoly. + (in Russian) + Na zdorovje + (sips; grunts) + Huh? No? + + RYAN + No. + 56. + + + MATT + All right. Let’s get out of here. + The Chinese station’s about a + hundred miles. Just a little Sunday + drive. + + RYAN + We can’t. + + MATT + Sure we can. + +Matt presses several buttons. + + RYAN + There’s no fuel, I tried + everything. + + MATT + Well, there’s always something we + can do. + + RYAN + I tried everything. + + MATT + Did you try the soft landing jets? + + RYAN + They’re for landing. So... + + MATT + Well, landing is launching. It’s + the same thing. Didn’t you learn + about that in training? + + RYAN + I never got to land the simulator. + I told you that. + + MATT + But you know about it. + + RYAN + And I crashed it... + (emphasizing) + ... every time. But this -- + + MATT + Listen, do you want to go back, or + do you want to stay here? + 57. + + +CAMERA SLOWLY DOLLIES AROUND IN FRONT of them as Matt +switches off the lights. + + MATT (CONT’D) + I get it, it’s nice up here. You + can just shut down all the systems, + turn out all the lights... and just + close your eyes and tune out + everybody. There’s nobody up here + that can hurt you. It’s safe. I + mean, what’s the point of going on? + What’s the point of living? Your + kid died. Doesn’t get any rougher + than that. But still, it’s a matter + of what you do now. MORE) + +If you decide to go, then you gotta just get on with it. +Sit back, enjoy the ride. You gotta plant both your feet on +the ground and start livin’ life. + + RYAN + How did you get here? + + MATT + I’m telling you, it’s a hell of a + story. Hey, Ryan? + + RYAN + What? + + MATT + It’s time to go home. + +PULL BACK to reveal that Matt is not there. Ryan was +imagining him. An alert sounds. She leans and turns the +dials to repressurize the cabin. The oxygen meter starts to +rise. The meter reads “O2.” + +Ryan presses a button, turning off the alert. She breathes +deeply, then leans and switches the lights back on, then +presses more buttons on the control panel. She reaches for +a landing instructions manual, which is marked green. + + RYAN + Landing... + (inhales sharply) + Landing -- Landing is launching. + (whispers to herself) + I said... Oh. Okay, landing, + landing. Landing is green. + +Ryan flips through the pages and stops on a graph. + 58. + + + RYAN (CONT’D) + Okay. Okay, landing. All right. + Okay. Soft landing jets trigger + automatically at three meters + before landing, so... + + Ryan rotates her wrist, trying to stay warm. + + RYAN (CONT’D) + (as if to Matt) + Oh, you’re a clever son of a bitch, + Matt. + (to herself) + I need to -- I need to get rid of + the B.O... + + HIGH ANGLE - RYAN + + flips through the instructions. + + RYAN (CONT’D) + ... and the engine module. + (sniffs) + Right. Okay. + + ANOTHER ANGLE + + Ryan peruses the instructions and reaches to the control + panel. + + RYAN (CONT’D) + Okay. + + Ryan flips open the cover to a button. + + HIGH ANGLE - RYAN + + holding her hand to the button. + + RYAN (CONT’D) + Okay. Tri-module separation. + + Ryan presses the button. + + RYAN (CONT’D) + Go. + + +51 EXT. OUTER SPACE - DAY 51 + 59. + + + The three modules of the Soyuz -- the control cabin, the + airlock, and the engines -- separate. The control cabin + floats with Ryan inside as the other sections exit either + side. + + +52 INT. SOYUZ - HIGH ANGLE - DAY 52 + + Ryan flips through the instruction manual. + + RYAN + Okay. + (to Mission Control) + Houston, here’s the tricky part. + Soyuz has to think we are three + meters off the Earth. + + ANOTHER ANGLE + + Ryan stops on a graphic in the instructions, displaying + what to do next. + + RYAN + All right. Okay. + (as if to Matt) + Hey, Matt? + + Ryan reaches toward the control panel. + + RYAN + (as if to Matt) + Since I had to listen to endless + hours of your storytelling this + week, I need for you to do me a + favor. + + Ryan presses another button. + + HIGH ANGLE - RYAN + + continues pressing buttons according to what the + instructions tell her. + + RYAN + (as if to Matt) + You are gonna see a little girl + with brown hair, very messy, lots + of knots. She doesn’t like to brush + it. That’s okay. Her name is Sarah. + Can you please tell her that Mama + found her red shoe? She was so + worried about that shoe, Matt. But + it was just right under the bed. + 60. + + +Ryan presses more buttons. The monitor changes to display +new graphics in Russian. + + RYAN + (as if to Matt) + Give her a... + +HIGH ANGLE - RYAN + +continues pressing buttons whilst perusing the +instructions. + + RYAN + (as if to Matt) + ... big hug and a big kiss for me, + and tell her that Mama misses her. + You tell her that she is my... + (voice wavers) + ... angel. And she makes me so + proud. So, so proud. + +ANOTHER ANGLE + +Ryan presses several buttons. She manually sets the current +altitude at 3 meters. A counter on the monitor changes to +read: “000 003.0” + + RYAN + (as if to Matt) + And you... + +HIGH ANGLE - RYAN + +continues to press buttons. + + RYAN + (as if to Matt) + ... tell her that I’m not quitting. + You tell her that I love her, Matt. + You tell her that I love her... + (voice wavers) + ... so much. + +Ryan looks up. + + RYAN + (as if to Matt) + Can you do that for me? Roger that. + (to herself) + Here we go. + +Ryan looks back at the control panel in front of her. She +presses a button. + 61. + + +53 EXT. OUTER SPACE - DAY 53 + + The soft landing jets ignite at the back of the Soyuz + control cabin, hurtling it toward the Chinese station in + the distance. + + +54 INT. SOYUZ - LOW ANGLE - DAY 54 + + Ryan reaches up and grabs her space helmet and pulls it + down. + + ANOTHER ANGLE + + Ryan puts on her space helmet and unbuckles the seat belt. + She leans to gaze through the porthole. + + +55 EXT. SOYUZ - OUTER SPACE - DAY 55 + + The Soyuz cabin hurtles toward the Chinese station. Ryan + gazes through the porthole. + + +56 INT. SOYUZ - DAY 56 + + The Chinese station can be seen through the porthole, and + it appears to be dropping toward the Earth. + + RYAN + You’re losing altitude, Tiangong. + You keep dropping and you’re gonna + kiss the atmosphere. But not + without me, because you’re my last + ride. + + Ryan disarms the emergency exit latch for the hatch. + + RYAN + Okay. + + Ryan moves back and reaches up to grab the fire + extinguisher floating above her. + + RYAN + Wait. + + She cradles it to her and moves back toward the hatch. + + The Soyuz is quickly approaching the Chinese station. + + RYAN + 62. + + + Five... four... three... + + Ryan holds the exit latch. + + RYAN + No more just driving. Let’s go + home. + + Ryan pulls the latch. + + +57 EXT. OUTER SPACE - DAY 57 + + The hatch bursts open, and Ryan is hurtled out of the + Soyuz. + + HIGH ANGLE - THE CHINESE STATION AND THE SOYUZ + + Ryan hurtles forward and twirls about with the Chinese + station below her. She struggles to locate its position as + she spins, using the fire extinguisher to stabilize her + position. + + RYAN + Steady. Okay, come on, come on. + Come on. Steady, steady. Come on. + Come on. Where are you? Where are + you? + + Ryan flips back to see the Chinese station below her. + + RYAN + Forty-five, ninety, one-eighty. + One-eighty. + + Ryan uses the spray of the fire extinguisher to act as a + thrust back toward the station. + + RYAN + Come on. Okay, okay. Okay. All + right. + + She thrusts down toward a satellite wing. She can’t grab + hold of anything and floats, hovering over the station. She + tries to use the fire extinguisher to move back down, but + it is empty. She tosses it away and continues floating, + just above the station. + + RYAN + (crying out) + Damn it. + 63. + + + Ryan reaches out and grabs the end of the station. She + hangs on. + + RYAN + Down, down, down. Down, down, down, + down, down. Down. + + Ryan struggles to climb up the length of the station. She + finally reaches the hatch. + + RYAN + Come to Mama. Come to Ma-- + + She cries out. + + As she holds on to the rail surrounding the hatch, the next + debris strike starts. Debris hurtles past her as she opens + the hatch and crawls down inside. The station hurtles + toward the Earth through the shower of debris. + + +58 INT. CHINESE STATION - AIRLOCK - RYAN’S POV THROUGH HELMET 58 + - DAY + + to the control panel as Ryan removes the helmet. + + Chinese space station voice continues over speaker in + Mandarin over following dialogue. + + She turns and struggles to open an airlock, moving through + the compartment. + + RYAN + Okay. Shit! Okay. Come on. + Shenzhou, come on. Shenzhou. + Shenzhou. Fuck! Okay, this way. + Shenzhou. Where are you? Come on, + where are you? What’s this? + + She glances down at a hatch. + + +59 EXT. CHINESE SPACE STATION - DAY 59 + + The space station traveling toward Earth as the station + starts to break apart. + + +60 INT. CHINESE SPACE STATION - DAY 60 + + Ryan, floating, tossing her helmet. Ryan closes the airlock + hatch behind her. And floats down a compartment, into the + control cabin. + 64. + + +61 INT. SHENZHOU CONTROL CABIN - DAY 61 + + Ryan, upside down, closing the hatch and locking it. She + sits in a seat and buckles her seat belt. + + RYAN + I -- + + She glances at the cabin window. + + +62 EXT. CHINESE SPACE STATION - DAY 62 + + The space station traveling and continuing to break apart. + + +63 INT. SHENZHOU CONTROL CABIN - DAY 63 + + RYAN + In the Soyuz, the power button + is... here. + + Ryan is using the control panel. + + RYAN + Ah. Okay, uh, undocking, undocking. + Um -- + (sucks airs through + teeth) + Uh, eeni, meeni -- Okay, that + doesn't sound good. Miny... moe. + + Female Chinese Shenzhou voice over speakers in Mandarin. + + RYAN + Ah. + (in Spanish) + No hablo chino. + (sucks air through teeth) + Miny... moe. + + Ryan presses buttons on the control panel. + + The panel reads: “00:00:52.0” + + RYAN + Okay. Okay, good. + + +64 EXT. CHINESE SPACE STATION - DAY 64 + + The space station traveling through space. + 65. + + +65 INT. SHENZHOU CONTROL CABIN - DAY 65 + + The control panel reads: “00:00:44.0” + + RYAN + (into radio) + Houston. Houston, in the blind. + This is Mission Specialist Ryan + Stone reporting from the Shenzhou. + + I’m about to undock from Tiangong... And I have a bad + feeling about this mission. (chuckles) Reminds me of a + story, Houston -- + + Ryan cries out. CAMERA PANS TO the cabin window, then back + to Ryan. + + RYAN + Never-Never mind the story, + Houston. Never mind the story. It's + getting hot in here. Okay. All + right. Okay. All right, the way I + see it, there’s only two possible + outcomes. Either I make it down + there in one piece and I have one + hell of a story to tell, or I burn + up in the next ten minutes. Either + way, whichever way... no harm, no + foul! Because either way... it’ll + be one hell of a ride. I’m ready. + + Ryan reaches out and grabs her helmet, putting it on. + + +66 EXT. CHINESE SPACE STATION - DAY 66 + + The space station, burning up and breaking apart as the + Shenzhou control cabin splits off from the rest of the + station and hurtles off. + + +67 INT. SHENZHOU CONTROL CABIN - DAY 67 + + Ryan, as the cabin spins. + + +68 EXT. SHENZHOU CONTROL CABIN - DAY 68 + + The cabin hurtling toward Earth. + + +69 INT. SHENZHOU CONTROL CABIN - DAY 69 + 66. + + + The smoking control panel. + + Ryan reaches for the control panel and presses a button. + + +70 EXT. SHENZHOU CONTROL CABIN - DAY 70 + + The cabin splits off from the rest of the vessel and + continues on. The burning cabin traveling among burning + debris. It falls toward Earth, entering the atmosphere. + + The burning debris plummeting into Earth’s atmosphere. + + +71 INT. SHENZHOU CONTROL CABIN - DAY 71 + + The control panel sparking. + + +72 EXT. EARTH’S OUTER ATMOSPHERE - DAY 72 + + And cabin and burning debris, leaving a smoking trail as + they travel. + + The cabin is breaking apart. + + +73 INT. SHENZHOU CONTROL CABIN - DAY 73 + + The cabin window as daylight flashes through it. + + +74 EXT. EARTH’S ATMOSPHERE - DAY 74 + + The pod, plummeting, falls through the clouds as a + parachute emerges from the pod, slowing the pod’s + trajectory. + + +75 INT. SHENZHOU CONTROL CABIN - DAY 75 + + MISSION CONTROL (V.O.) + Shenzhou, in the blind, this is + Houston. Indicate FM frequency. + + The control panel is burning. + + MISSION CONTROL (V.O.) + Our radars detect you on a reentry + trajectory. If you copy, please + confirm identity. + 67. + + +76 EXT. EARTH’S ATMOSPHERE - DAY 76 + + The pod falling through the clouds. + + +77 EXT. LAKE - DAY 77 + + The pod, falling and drops into a lake. + + +78 INT. SHENZHOU CONTROL CABIN - DAY 78 + + Ryan removes her helmet as smoke fills the cabin. + + MISSION CONTROL (V.O.) + This is Houston. + + Other radio voices. + + RADIO WOMAN #2 (V.O.) + It’s freezing, it’s boring as hell. + + RADIO (V.O.) + -- is: No money down! + + Ryan unstraps herself and rises, staggering to the hatch + door. She unlocks the hatch. + + MISSION CONTROL (V.O.) + Please confirm iden-- + + Other radio voices. + + MALE RADIO DJ (V.O.) + -- messages, we’ll be right -- + + MISSION CONTROL (V.O.) + This is Houston, please confirm + identity. + + MALE WEATHERMAN (V.O.) + Skies over the Midwest are + completely clear -- + + MISSION CONTROL (V.O.) + We’ve deployed a rescue mission to + retrieve you. Rescue mission is on + the way. + + +79 EXT. LAKE - DAY 79 + 68. + + + The door to the pod shoots off. + + +80 INT. SHENZHOU CONTROL CABIN - DAY 80 + + Ryan stands at the hatch as water pours inside the cabin, + forcing her against the cabin wall. + + MISSION CONTROL (V.O.) + Shenzhou, in the blind, this is + Houston. We’ve deployed a rescue + mission to retrieve you. Our radars + -- + + The cabin fills with water. + + +81 EXT. LAKE - DAY 81 + + The pod sinking below the surface of the lake. + + +82 INT. SHENZHOU CONTROL CABIN - DAY 82 + + Ryan struggling to stay above the water as it continues to + rise. + + +83 EXT. LAKE - UNDERWATER - DAY 83 + + The pod, sinking down. + + +84 INT. CABIN - UNDERWATER - DAY 84 + + Ryan, dropping below the surface of the water. She swims + into a cloud of air bubbles. + + +85 EXT. LAKE - UNDERWATER - DAY 85 + + Ryan swimming. Her spacesuit weighs her down and she + struggles to remove it. + + A frog swims past. + + Ryan removes her spacesuit and swims up. + + +86 EXT. LAKE - DAY 86 + + Ryan surfaces. She floats on her back. + 69. + + +The CAMERA TILTS UP TO the sky. Burning debris from the +space station soars through. TILT BACK DOWN TO Ryan +swimming. + +She crawls onto the shore and lies down, exhausted. + + RYAN + (chuckles) + Thank you. No. + +She struggles to her feet. She unsteadily walks off. + + FADE OUT. + +OVER BLACK + +END CREDITS. + +THE END + \ No newline at end of file diff --git a/scripts/Groundhog Day (format 2).txt b/scripts/Groundhog Day (format 2).txt new file mode 100644 index 0000000000000000000000000000000000000000..57a296fc5bd7bbaf0c2d647e7221a45ea3d8c93a --- /dev/null +++ b/scripts/Groundhog Day (format 2).txt @@ -0,0 +1,7172 @@ + 1. + + + + FADE IN + + HIBERNATING GROUNDHOGS + + A family of groundhogs is nestled together in their burrow + sleeping off the end of a long winter. + + ROLL CREDITS AND THEME MUSIC + + DISSOLVE TO: + + +1 EXT. A FOREST CLEARING - EARLY MORNING 1 + + The crust of an old snowfall still covers the frozen + ground, and the bare, icy branches of the trees glisten + dully in the early morning light. + + CUT TO: + + +2 INT. TV STUDIO - SAME TIME 2 + + PHIL CONNORS is standing in front of a blank green wall + gesticulating animatedly at some invisible images on the + wall, talking a mile a minute (MOS). He looks completely + crazy as he points at nothing and winks to an unseen + audience. + + CUT TO: + + +3 EXT. WESTERN PENNSYLVANIA - SAME TIME 3 + + CREDITS CONTINUE as we streak across the winter landscape, + flying over fields and farms, small towns and hamlets, + railroad lines and interstates, coalyards and factories, + until we cross the Allegheny River and follow it to the + southwest. + + CUT TO: + + +4 INT. TV STUDIO - SAME TIME 4 + + Phil continues pointing out features on the blank wall, but + from a new angle we can see that he's looking at a monitor + out of the corner of his eye which shows the chromakey + insert he's pointing to a national weather map. + + CUT TO: + 2. + + +5 EXT. NEAR PITTSBURGH - SAME TIME 5 + + The country towns turn to suburbs, traffic on the roads + gets heavier and finally we see the skyline of Pittsburgh + and the confluence of the Allegheny with the Monongahela + and the Ohio. + + We zoom into a tall building in the downtown area and + + DISSOLVE TO: + + +6 INT. PHIL CONNORS' OFFICE - MORNING 6 + + We don't see anyone at first but the office itself speaks + volumes about it's inhabitant, team pictures of the + Steelers from the Franco Harris-Terry Bradshaw glory years, + a framed memorial portrait of Roberto Clemente, a local + Emmy award statue, an erasable weather map and mountains of + personal junk on the desk, windowsill, and every other + available surface. + + As the CREDITS END, we notice a sleeping figure on the + small sofa, buried deep under a pile of coats and a stolen + airline blanket. + + GIL HAWLEY, Executive Producer of the Action News, sticks + his head in the door. + + HAWLEY + Christ, what a pit. Phil. + + The sleeping figure rouses himself and looks out at Hawley. + It's Phil, the Channel 9 Action News weatherman. + + PHIL + (sleepy) + What? + + HAWLEY + It's February first, Phil. You know + what tomorrow is? + + Phil sits up and.thinks hard. He's in his mid-thirties, + smart, rugged-looking, perhaps a little too full of + himself, but clearly a guy with a lot of personality. + + PHIL + (catching on) + Oh, no! Not again. + + He jumps up and exits the office with Hawley right behind + him. + 3. + + + PHIL + Forget it! I'm not going. + + +7 INT. CORRIDOR - CONTINUOUS 7 + + Hawley pursues Phil through the office suite of the Channel + 9 Action News, from the look of it a typical, big city, + local news operation. A logo on the wall identifies the + station as WPGH - Pittsburgh. + + Phil ducks into the studio. + + +8 INT. STUDIO - CONTINUOUS 8 + + Hawley follows him in and catches up with him at the + weather corner of the Action News set. Phil starts putting + weather stats up on a chart. + + PHIL + Get away from me. I'm working. + + HAWLEY + So what's the outlook? We gonna get + that blizzard? + + Phil shakes his head and points to the chart which is + headed "Phil's Phorecast" with a cute caricature of himself + drawn next to the title. + + PHIL + No way. All that moisture coming up + from the Gulf is going to miss us + completely and take a dump on + Harrisburg. + + HAWLEY + (with authority) + Good, 'cause you're going up to + Punxsutawney to cover the groundhog + story tomorrow morning and I want + you back here in time to do the + five. + + PHIL + Jesus, Gil, give me a break, will + you! I covered the goddamn + groundhog last year and the year + before that. + + HAWLEY + 4. + + + And you'll do it :next year and the + year after, too. When I worked in + San Diego, I covered the swallows + coming back to Capistrano for ten + years in a row. + + PHIL + You should've killed the guy who + made you do that. + + HAWLEY + I wanted to do it. + + PHIL + Then you should've killed yourself. + I don't want to get stuck with the + groundhog for the rest of my life. + + HAWLEY + It's a cute story. He comes out, he + looks around, he wrinkles up his + little nose, he sniffs around a + little, he sees his shadow, he + doesn't see his shadow, it's nice. + People like it. + + PHIL + Many people are morons. + + HAWLEY + Just do it. + + PHIL + What'11 you give me? + +Hawley looks across the studio and sees RITA HANSON enter, +a very attractive segment producer in her late twenties. + + HAWLEY + (to Phil) + I'll give you Rita. + (calls her over) + Rita, could you come here for a + second? I got a little job for you. + +Rita is relatively new to the station, but very competent, +personable, humorous, self-assured and very pretty, in +short, a genuine princess, though Phil is too self-absorbed +at this point to realize it. + + PHIL + (teasing) + 5. + + + You can't send Rita out on a story + like this. She's just a cub, a pup, + still wet behind the ears. Look at + her. Her ears are sopping wet. This + needs a Woodward or a Bernstein. + It's a big story. People need to + know. + + RITA + (intrigued) + What's the story? + + HAWLEY + The Punxsutawney Groundhog + Festival. + + RITA + Gil, if it's all right with you I'd + rather follow-up on the nurses' + strike. + + HAWLEY + You can do the nurses when you get + back. Just take the squeaky wheel + here up to Punxsutawney and get him + back in one piece. Okay? + + RITA + Yeah, okay. + +Hawley exits leaving Phil and Rita alone in the studio. She +knows Phil mainly by his reputation and it isn't good. +Still, she finds him appealing in an odd way. + + PHIL + (pleasantly) + You know, this could be extremely + interesting. + + RITA + I've never done a weather story + before. What's Punxsutawney like? + + PHIL + Oh, it's an enchanted place. A + magical world. It's the + Constantinople of the whole Western + Appalachian-Susquehanna Drainage + system. + + RITA + Do you always joke? + 6. + + + PHIL + About 70 to 80% of the time. Inside + I'm actually a very shy and + sensitive person. + + RITA + A lot of people around here think + you're not very sincere. + + PHIL + Tell me the names of these people. + + RITA + I'll line up a crew and + transportation. If you don't feel + like driving, we can all go up in + the van together. + + PHIL + I think I'll take my own car. I'm + not that fond of my fellow man. + + RITA + (exiting) + Nice attitude. + + PHIL + Nice face. + (calls after her) + Why don't you ride up with me? + + RITA + No, thanks. + + STEPHANIE DECASTRO , an attractive, dark-eyed, dark-haired + correspondent, glares at Phil from across the studio. + + +9 INT. PHIL'S OFFICE - LATER 9 + + Phil is in his cluttered cubicle talking on a headset phone + while he reviews cassettes of his groundhog spots from the + past two years on a small monitor. As he talks, he stuffs a + number of personal items in an overnight bag, all the time + watching himself on the TV monitor. + + PHIL + (on the phone) + 7. + + + They don't really think of me as a + weatherman around here. More of a + "personality," but with the + credibility of a first-class + broadcast journalist. Once you look + at my tape I think you'll see what + they mean. + +Stephanie enters and stands in the doorway looking at Phil +for a long moment. There is something vaguely off-center +about this woman, not quite FATAL ATTRACTION but still a +little scary. + + STEPHANIE + (bitterly) + I just want to know one thing: did + I do something wrong or are you + just tired of me or what? I have to + know. + +Phil sighs. + + PHIL + (on the phone) + Dan, can I call you back? I've just + been handed something and I better + get on it -- + (he picks up some papers + and rustles them for + effect) + -- Okay, thanks. + +He takes off the headset, gets up and closes the door for +privacy. + + PHIL + (kindly) + You didn't do anything wrong, + Stephanie, and I'm not tired of + you. It's just that I don't have + time for a real relationship right + now. I told you that the first time + we went out. + + STEPHANIE + (getting close) + Everybody says that at the + beginning of a relationship. + + PHIL + (gently pushing her away) + 8. + + + I'm different. I really meant it! + Things are really starting to move + for me now. I'm not going to be + doing the weather for the rest of + my life. I was just talking to the + CBS guy about a network job. I want + that. This is just the beginning + for me. I can't waste any more + time. + + STEPHANIE + Are you saying our relationship was + a waste of time? + + PHIL + Our relationship? We went out a + total of four times! And only twice + did anything happen. It was fun but + I don't see that as a big + commitment. + + STEPHANIE + (closing in again) + I had our charts done. My + astrologer says we're extremely + compatible. There may even be some + past lives involvement here. + + PHIL + See? So we've already done this. + Let's move on. Next case. + + STEPHANIE + You know what's wrong with you, + Phil? You're selfish. You don't + have time for anyone but yourself. + + PHIL + That's what I'm trying to tell you. + You don't want to be with me. You + can do better. Look, Stephanie, if + I ever said or did anything to + mislead you I'm sorry for that, but + right now I have to do this + groundhog thing and I don't have a + handle on it yet. + +He throws some papers and his datebook into a briefcase and +puts on his jacket. + + PHIL + 9. + + + I'll tell you what. I'm going to do + some serious thinking while I'm in + Punxsutawney, okay? + + He pats her on the shoulder and brushes past her, leaving + her standing there with a malevolent look on her face. + + CUT TO: + + +10 EXT. A HIGHWAY - AFTERNOON 10 + + A VAN marked ".Channel 9 Action News" speeds along a two- + lane highway through the winter landscape of West Central + Pennsylvania. Mounted atop the van is a microwave + transmitter. Rita is riding up front with LARRY, the union + cameraman and techie. Phil is following close behind the + van in a new Lexus coupe. His car has a bumper-sticker that + reads "Weathermen Like it Wet." + + PHIL (V.O.) + (on his earphone) + I'm on my way to Punxsutawney -- + (forced to repeat it, a + little embarrassed) + Punx^su-taw-ney -- Work or fun? I + think that all depends on you. + + +11 INT. THE LEXUS - CONTINUOUS 11 + + Phil is talking to one of his girlfriends, sorting through + a stack of CD's, as usual, grabbing at the good life with + both hands. + + PHIL + -- I thought maybe you could meet + me up there tonight and let me + vulgarize you for about seven hours + -- So I'm supposed to spend the + night in Punxsutawney all alone? + Thanks. + + Phil loads a CD and a great, driving song kicks in. + + CUT TO: + + A SIGN + + "Welcome to Punxsutawney - The Original Weather Capitol of + the World Since 1887." Depicted on the sign is a large + cartoon GROUNDHOG wearing a top hat and clutching an + umbrella under his arm. + 10. + + + The mini-convoy passes some fast food places on the + outskirts of town. + + +12 EXT. MAIN STREET - PUNXSUTAWNEY - LATER 12 + + The van drives along, the small-town main drag. There are + cartoon groundhogs everywhere you look and the whole town + has been gaily festooned with banners and bunting. + + +13 EXT. MOTEL - LATER 13 + + The van pulls into the parking lot at a Quality Inn. The + announcement billboard in front of the motel reads: + "Groundhog Day Breakfast Special - Feb.2 - All You Can Eat + - $5.99." The parking area is already crowded with cars + including a number of other news vans. The Lexus pulls in + behind the van and everybody gets out. + + Phil takes one look at the motel and shakes his head. + + PHIL + (calls out) + Rita! I can't stay here. + + Rita is already helping Larry unload equipment from the + van. + + LARRY + (muttering) + Prima donnas. + + RITA + It's okay. I'll handle it. + + She crosses to the Lexus where Phil is trying to make + another call on his earphone. + + RITA + What's the problem, Phil? + + PHIL + I hate this place. I stayed here + two years ago and I was miserable. + It's like a minimum security + prison. I'm not staying here. + + RITA + You're not staying here. + + PHIL + (brightening) + 11. + + + I'm not? + + RITA + No, Larry and I don't care but I + thought you might, so I booked you + at a very nice bed and breakfast on + Cherry Street. Here's the address. + +She hands him a card. + + PHIL + (pleased) + Great. That's great. That's the + mark of a really good producer. + Making the talent happy. + + RITA + Whatever I can do. + + PHIL + Really? Will you be my love slave? + + RITA + Whatever I can do within reason. + Would you like to have dinner with + Larry and me? + + PHIL + No thanks, I've seen Larry eat. Why + don't you ditch Larry and let me + take you someplace nice? + + RITA + You mean like a date? + + PHIL + Yeah. + + RITA + Oh, no. + + PHIL + Okay. I get it. You're a little + intimidated by me, you're all + excited about the shoot tomorrow, + you want everything to go just + perfect. I understand. You just get + some sleep. Tomorrow will be great. + + RITA + Well, that's something to look + forward to. I'll see you in the + morning. + 12. + + + He drives off, leaving her standing there shaking her head. + + LARRY + Did he actually call himself "the + talent?" + + Larry snorts and continues unloading their gear. + + CUT TO: + + +14 EXT. CHERRY STREET - DAWN 14 + + The first light of morning colors the sky behind the Cherry + Street Inn, a rambling, white Victorian bed and breakfast. + + CLOSE UP - CLOCK + + A digital clock-radio changes from 5:59 to 6:00 AM. The + radio comes on, playing the end of the Sonny and Cher hit, + "I Got You, Babe." + + SUPER: FEBRUARY 2 + + +15 INT. PHIL'S ROOM - DAWN 15 + + Phil sits up in bed and looks around the room. The decor is + typical bed and breakfast, flocked wallpaper, framed + prints, and an odd assortment of mismatched furniture. His + suit is hanging neatly on the back of the closet door and + his suitcase is open on a stand at the foot of the bed, + still neatly packed. + + A radio, DEEJAY and his SIDEKICK come on with hyped-up, + drivetime Chappy talk." Phil stares at the radio and + listens to them. + + DEEJAY + Okay, campers, rise and shine, and + don't forget your booties because + it's COOOLD out there today1 + + Phil grimaces and swings out of bed. + + SIDEKICK + It's cold out there everyday. What + is this— Miami Beach? + + The deejay laughs. Phil shakes his head at the cheesy + repartee as he crosses to the sink and starts brushing his + teeth. + 13. + + + DEEJAY + Not hardly. And you can expect + hazardous travel later today with + that, you know, blizzard thing— + + SIDEKICK + That "blizzard thing?" + +Phil splashes some water on his face and prepares to shave. + + SIDEKICK + Oh, here's the report: the National + Weather Service is calling for a + big blizzard thing. + + DEEJAY + Yes they are, but there's another + reason today is very specia -- + + SIDEKICK + Especially cold— + + DEEJAY + Especially cold, okay, but the big + question on everybody's lips -- + + SIDEKICK + Chapped lips -- + + DEEJAY + -- on their chapped lips, right -- + Do you think Phil's going to come + out and see his shadow? + + SIDEKICK + Punxsutawney Phil. + +Phil looks up at himself in the mirror, admiring his own +face. + + DEEJAY + That's right, rodent lovers! It's - + - + + BOTH DEEJAYS + Groundhog Day1 + +SOUND EFFECT of GRUNTING GROUNDHOGS. + +Phil grunts at his reflection in the mirror. + + PHIL + (to himself) + 14. + + + Never again. + + CUT TO: + + +16 INT. CORRIDOR - DAWN 16 + + Phil heads for the breakfast room of the inn, now well- + dressed in a suit and tie, a nice overcoat slung over his + arm. A CHUBBY MAN passes. + + CHUBBY MAN + Morning. + + PHIL + Morning. + + CHUBBY MAN + Think it'll be an early Spring? + + PHIL + I'm predicting March 21st. + + CUT TO: + + +17 INT. BREAKFAST ROOM - CONTINUOUS 17 + + Phil enters the old library of the house now set up with a + breakfast buffet. An old spinet piano stands in the corner. + One wall is lined with .bookcases filled with books. A + handful of guests are seated around the room, eating. + + The matron of the house, MRS. LANCASTER, spots Phil as she + comes out of the kitchen with a fresh pot of coffee. + + MRS. LANCASTER + Did you sleep well, Mr. Connors? + + PHIL + (with mock civility) + Like a Roumanian orphan, Mrs. + Lancaster. + + MRS. LANCASTER + Would you like some coffee? + + PHIL + I don't suppose it'd be possible to + get an espresso or a capuccino + around here. + + MRS. LANCASTER + 15. + + + (blankly) + I don't really know -- + + PHIL + Forget it. This'll be fine. + + MRS. LANCASTER + (as she pours) + I wonder what the weather's going + to be like for all the festivities. + + PHIL + My guess is it'11 be cold and + overcast, high today in the low + 30's, dropping to the low 20's + tonight, but I'm predicting that + all that moisture coming up from + the Gulf is going to miss us and + dump some locally heavy snow, + possibly blizzard conditions with + travel advisories in the Harrisburg + area and maybe as far east as + Philadelphia. + (off her surprised look) + You want to talk weather, you asked + the right guy. + + He heads for the door. + + MRS. LANCASTER + Oh, will you be checking out today, + Mr. Connors? + + PHIL + Unfortunately yes. + + Phil exits. + + CUT TO: + + +18 EXT. BOARDING HOUSE - MOMENTS LATER 18 + + Sipping at the steaming coffee, Phil manages to put on his + coat and gloves as he descends the front steps of the house + and joins the flow of pedestrian traffic on the street. + + +19 EXT. MAIN STREET -KPUNXSUTAWNEY - CONTINUOUS 19 + 16. + + +There are a lot of people on the street for this hour. +Traffic is so heavy in fact, the pedestrians are moving +faster than the cars. Everyone seems to be going in the +same direction, making the annual trek to see the +groundhog. + +An OLD BUM is sitting on the sidewalk leaning against a +storefront. Someone throws him a coin. Phil walks by +without taking any notice. + + MAN (O.C.) + Hey, Phil! + +A big pie-faced man, NED RYERSON, comes huffing and puffing +right up to him. There is something about this guy that +makes us dislike him on sight. + + NED + Phil! Phil Connors! I thought that + was you! + +Phil looks at him vaguely. + + PHIL + (at a loss) + I'm sorry. Have we -- uh -- + + NED + My oh my! Phil Connors. Don't say + you don't remember me, 'cause I + sure as heckrfire remember you. + Well? + +Phil stares, trying to remember. + + NED + Ned Ryerson? Needlenose Ned? Ned + the Head. Come on, buddy. Case + Western High? + + PHIL + Ned? + + NED + 17. + + + I see you clicking through that + brain of yours. Click-click, click- + click, click-click—Bing! Ned + Ryerson, did the whistling trick + with my belly button in the talent + show. Bing! Ned Ryerson, got the + shingles real bad senior year + almost didn't graduate. Bing again! + Ned Ryerson, went out with your + sister Mary Pat a couple of times - + - 'til you told me not to anymore. + Well? + + PHIL + (resigned) + Ned Ryerson. + + NED + Bing! + + PHIL + So what're you doing with yourself, + Ned? + + NED + Phil, I sell insurance. + + PHIL + (sorry he asked) + No kidding. + + NED + Do you have life insurance, Phil? + 'Cause if you do, I bet you could + use more -- who couldn't? -- but I + got a feeling you don't have any. + Am I right? + + PHIL + You know, Ned, I'd love to talk to + you but I really have to -- + +Phil starts to walk away,,but Ned won't take the hint. + + NED + 18. + + + That's okay. I'll walk with you. + When I see an opportunity, I charge + it, like a bull. Ned the Bull, + that's me now. Some of my friends + live and die by actuarial tables, + but I think it's all just a crap + shoot anyhoo. Ever heard of single + premium life? That could be the + ticket for you, buddy. God, it's + good to see you! Hey, what're you + doing for dinner? + + PHIL + Dinner? Umm, I don't think that's + going to work for me. + + As they continue walking, Phil steps into what looks like a + shallow puddle and ends up ankle deep in wet slush. Ned + laughs like a donkey. + + NED + Hey, look out for that first step! + It's a doozy! + + Phil looks at him with murderous contempt. + + CUT TO: + + +20 EXT. GOBBLER'S KNOB - DAWN 20 + + A big crowd is standing in a park-like clearing off a + residential street. They are gathered around a large mound + of dirt enclosed by a rail fence, waiting for the big + moment. For a cold gray dawn, there is the atmosphere of a + festival here. + + An area close to the mound is roped off for news reporters + and cameras. Rita stands there, a pocket of genuine beauty + in this sea of potbellied old union guys and blow-dried + reporters. + + Stomping her feet against the cold, Rita looks at her watch + and glances around. Larry, the cameraman, just looks bored. + + RITA + How could he be late? + + LARRY + Prima donnas. + + RITA + It's just so -- inconsiderate. + 19. + + + LARRY + What happens to some people? + They're born nice. They grow up + nice. You put 'em on TV and - bam! + Prima donnas. + +Rita spots Phil heading into the crowd. + + RITA + Here he comes. Phil! Hey, Phil. + Over here! + +Phil joins them in the press area. Rita pulls him to his +mark near the rail fence. + + RITA + Where've you been? + + PHIL + I got hung up with some jerk I went + to high school with. So, did you + sleep okay without me? You tossed + and turned, didn't you? + +Rita holds up a slate for Larry to ID the tape. + + RITA + You're incredible. + + PHIL + Who told you? + + RITA + Ready when you are. + +Phil takes the microphone from Rita and positions himself +against the fence. + +The Groundhog Club Officials in top hats, striped trousers +and cutaway coats parade out to the burrow that houses +Punxsutawney Phil. + + RITA + Looks like they're starting. Roll + tape. + + LARRY + Rolling. + +Rita silently counts down from five and cues Phil who +instantly snaps into announce mode. + + PHIL + 20. + + + (to camera) + Once a year, the eyes of the nation + turn here, to this tiny hamlet in + Pennsylvania, to watch a master at + work. The master? Punxsutawney + Phil, the world's most famous + weatherman, the groundhog, who, as + legend has it, can predict the + coming of an early spring. + +Rita turns to Larry. This is impressive, so far, so good. + +A Groundhog Club Official kneels at the burrow and +ceremoniously knocks on the small wooden door, then opens +it and retreats. + + PHIL + And here's the big moment we've all + been waiting for. Let's just see + what Mr. Groundhog has to say. + +The groundhog sticks his head out, looks around, steps out +of the hole, and runs over to the other side of the mound, +about as far away from the cameras as he can get. + + PHIL + Hey! Over here, you little weasel! + +Larry zooms in as far as he can but the best he can manage +is a close-up of the groundhog's back. The groundhog stands +there a moment, his body casting a long shadow, then he +lets out a squeak and runs back into the hole. + + PHIL + Great shot, huh, folks? Well, that + was certainly worth the trip. Now + we'll be hearing from Mr. Buster + Greene, President of the + Punxsutawney Groundhog Club, the + so-called Seer of Seers who will + interpret for us. + +BUSTER GREENE, dressed up in his top hat and cutaway coat, +walks onto the mound and hushes the crowd. + + BUSTER + He came out, and he saw his shadow. + Sorry, ladies and gentlemen, but it + looks like it's going to be a long + winter. + +The crowd lets out a good-natured "Awwwwww" in +disappointment. + 21. + + + PHIL + (sarcastic, to camera) + Well, that's it. Sorry you couldn't + be here in person to share the + electric moment. This is one event + where televison really fails to + capture the excitement of thousands + of people gathered to watch a large + squirrel predict the weather, and I + for one am deeply grateful to have + been a part of it. Reporting for + Channel 9, this is Phil Connors. + + Larry cuts the camera. + + RITA + (to Phil) + You want to try one that's a little + sweeter? + + PHIL + (to Rita) + That's as sweet as I get. I'm outa + here. + + As he exits, Phil tosses the mike to Larry, who isn't + expecting the throw and bobbles it, dropping the mike on + the ground. + + LARRY + (mutters) + Prima donnas. + + CUT TO: + + +21 INT. DINER - LATER 21 + + Phil is sitting alone having a cup of coffee in a busy, + loud and lively cafe. Rita enters, sees him sitting there, + crosses to his table and sits down across from him. + + RITA + That was really lousy. + + PHIL + Is it my fault the little rat went + south on us? + + RITA + 22. + + + A real professional would have + handled it. You acted like it was a + personal insult. Who do you think + you are — Wolf Blitzer? + + PHIL + God, you really take this stuff + seriously, don't you. + + RITA + Yes, I do. As far as I'm concerned + there are no little stories, Phil. + Only little reporters with big egos + who think they're too good for the + job they have to do. + + PHIL + (trying to look hurt) + You really don't know me very well, + do you. 'Cause if you did you could + never say something like that about + me. I care! Call me a cockeyed + optimist but I happen to think + there's more to this job than just + getting my ugly mug on the boob + tube every night. + + RITA + Is that so. + + PHIL + Yes, that is so. + +Rita is so irritated by him she can't even respond. + +Phil looks at her evenly for a long moment. + + PHIL + So as far as us getting together, + would you say the glass is half + empty or half full? + +Larry pokes his head in the doorway, looks around, spots +Rita and makes his way over to their table. + + LARRY + (to Rita) + You ready? We better get going if + we 're going to stay ahead of the + weather. + + PHIL + 23. + + + You don't have to rush off, you + know. That storm is going to miss + us completely. + + RITA + Nice working with you, Phil. See + you around. + + Rita walks away, leaving him sitting alone. + + CUT TO: + + +22 EXT. HIGHWAY - DAY 22 + + Phil's Lexus is driving down the highway. Light snow is + just starting to fall. + + PHIL(V.O) + (on the earphone) + I'll call you after I see the + network guy. I should be back there + in a couple of hours -- What? -- I + can't hear you -- you're breaking + up -- Hello? Sabrina? + + +23 INT. THE CAR - CONTINUOUS 23 + + Phil is getting annoyed as the phone connection + deteriorates. The snow is getting heavier. Phil switches on + the windshield wipers. + + PHIL + Sabrina? Can you hear me? Shit! + + He slams the phone back into it's cradle, then looks up and + notices slow traffic up ahead. He honks his horn as the + traffic comes to a complete stop. He keeps honking but + nothing moves. + + He rolls down the window and looks up ahead. The highway is + a parking lot. + + PHIL + No. No! + + +24 EXT. THE CAR - CONTINUOUS 24 + 24. + + + Phil jumps out and begins to walk down the highway, past + the parked cars, shivering in his light sweater and silk + sport shirt. The snowfall is getting heavier and the wind + is pickin up. The snow comes down unnaturally hard and + fast. He walks on, slipping and sliding in his expensive + loafers until he comes to a police roadblock up ahead, + manned by TWO HIGHWAY PATROLMEN. + + PHIL + What's going on, Officer? + + PATROLMAN + Nothin's goin1 on. We're closin' + the road. Big accident up ahead. + Blizzard movin1 in. + + PHIL + What blizzard? A couple of flakes! + An isolated phenomenon of nature. + + PATROLMAN + Are you nuts? We got a major storm + movin' in. + + PHIL + No, no. All that moisture is going + to miss us and hit Harrisburg. + + PATROLMAN + Pal, you got that moisture on your + head. + + PHIL + But I have to get to Pittsburgh + today! + + PATROLMAN + Mister, the only place anybody's + goin' on this road is back to + Punxsutawney. + + Phil glowers at him and shivers. + + CUT TO: + + +25 INT. GAS STATION - LATER 25 + + Phil is on a pay phone. Snow is falling heavily outside. + GAS STATION ATTENDANT is shovelling around the pumps. + + PHIL + 25. + + + So all the long distance lines are + down? What about the satellite? Is + it snowing in space? -- But I have + to call Pittsburgh -- Isn't there + some special line you keep open for + emergencies or for celebrities? -- + Well, I'm both really. I'm a + celebrity in an emergency. Can you + patch me through on that line? + + The door opens and Phil is blasted with frigid Arctic wind + and blowing snow. The GAS STATION ATTENDANT enters the tiny + office and in trying to squeeze past Phil accidentally + bangs him on the head with his snow shovel. + + CUT TO: + + +26 INT. HOTEL BAR - EVENING 26 + + Phil is at the bar in Punxsutawney's oldest and best hote, + the Pennsylvanian. He looks very bored, drinking a beer, + unsuccessfully hustling an attractive local girl named + NANCY. + + PHIL + You never saw me on TV -- on the + news? + + NANCY + I don't think so. What part of the + news do you do? + + PHIL + I'm the White House correspondent + for NBC news. + + NANCY + Oh, I'm so sure. + + PHIL + Ask me anything? + + NANCY + Okay, how big is the White House? + + PHIL + Three bedrooms, two and a half + baths. Looks much bigger than it + is. + + Nancy just stares at him, clearly not into his sense of + humor. + 26. + + + Suddenly, a BRIDE in full white wedding gown and veil + rushes into the bar, crying and shouting. A gaggle of + BRIDESMAIDS flutters around her trying to coax her back to + her own wedding but she won't budge. Then the GROOM, + wearing a bad rented tux, comes storming in and tries to + drag her back, until the BEST MAN restrains him and the + bridesmaids hustle the bride away. + + Phil watches the whole drama play out, then turns back to + Nancy. + + PHIL + Good start. I'm sure they'll be + very happy. So what do you say? You + want to play doggie obedience + school with me? + + NANCY + Thanks. I'll pass. + + She gets up to leave. + + PHIL + Sit! Stay! + + He watches her go, then tosses a tip on the bar and exits + somewhat unsteadily. + + CUT TO: + + INSERT - A THICK BOOK + + The cover reads "101 Curses, Spells and Enchantments You + Can Do at Home." A well-manicured feminine hand opens the + book to a marked page. + + +27 INT. CHERRY STREET INN - NIGHT - SAME TIME 27 + + Phil enters his room and drunkenly tosses his overcoat, + scarf and gloves on the floor in a heap. + + +28 INT. STEPHANIE'S BEDROOM - NIGHT 28 + + Stephanie Decastro, Phil's disaffected ex-lover, is sitting + cross-legged on the floor with the book of curses open in + front of her. Her hair is down, she's wearing a caftan with + a Zodiac print, there are candles everywhere and other + vaguely occult decorating touches. + + INSERT + 27. + + + Phil's business card is dropped into a dish. Then the Tarot + card of the Hanged Man, a chicken bone, and a feather are + placed on top of it. + + PHIL + + He stands at the sink, looking at himself in the mirror, + flexing his muscles. + + STEPHANIE + + Reading from the book, she mutters incantations in a secret + language, then she sprinkles some powder on the plate, then + a few drops of oil. Then she makes a few passes over it + with her hands and, much to her surprise, the contents of + the plate spontaneously combust. + + PHIL + + As he crosses to the bed, he accidentally knocks over the + suitcase stand, spilling his clothes out onto the floor. + + He contemplates picking them up for a moment, decides to + leave them there, and flops down on the bed. He lies there + looking u up at the ceiling until the room starts to spin + around, then he closes his eyes and quickly drops off to + sleep, still fully clothed. + + STEPHANIE + + To complete the spell, she picks up a broken wristwatch and + drops it into the fire. + + INSERT + + Phil's business card, the Hanged Man and the broken watch + in flames. The watch crystal is cracked and the hands are + frozen at 5:59. + + DISSOLVE TO: + + CLOSE UP - CLOCK + + The digital clock-radio changes from 5:59 to 6:00 AM. The + radio comes on, playing the end of the Sonny and Cher hit, + "I Got You, Babe," just as it did the day before. + + +29 INT. PHIL'S ROOM - DAWN 29 + 28. + + +Phil sits up in bed, quickly alert, and looks around the +room. Something is wrong. He's wearing pajamas, his suit is +once again hanging neatly on the closet door and his +suitcase is back on its stand at the foot of the bed, again +neatly packed. + +The song ends and the same radio deejay and his sidekick +come on with the same manic energy. Phil stares at the +radio and listens to them. A look of astonishment comes +over his face as they banter. + + DEEJAY + Okay, campers, rise and shine, and + don't forget your booties because + it's COOOLD out there today! + + SIDEKICK + It's cold out there everyday. What + is this -- Miami Beach? + +The deejay laughs. Phil "mock" laughs at exactly the same +time, recognizing the repartee from the previous morning. + + PHIL + (to himself) + Nice going guys. That's yesterday's + tape. + +Phil crosses to the sink and gets a towel off the rack, +only half-listening to the radio. + + DEEJAY + Not hardly. Expect hazardous travel + later today with that, you know, + blizzard thing -- + + SIDEKICK + That "blizzard thing?" + +Phil turns on the water and splashes some on his face as if +trying to wake himself up, vaguely disturbed by the +repetition of the broadcast. + + SIDEKICK + Oh, here's the report: the National + Weather Service is calling for a + big blizzard thing." + + DEEJAY + Yes they are, but there's another + reason today is very special -- + + SIDEKICK + 29. + + + Especially cold -- + + DEEJAY + Especially cold, okay, but the big + question on everybody's lips -- + + Phil supplies the next line in unison with the radio. + + SIDEKICK AND PHIL + Chapped lips -- + + DEEJAY + -- on their chapped lips, right -- + Do you think Phil's going to come + out and see his shadow? + + SIDEKICK + Punxsutawney Phil. + + Some vague doubt causes Phil to go to the window. + + DEEJAY + That's right, rodent lovers! It's - + - + + BOTH DEEJAYS + Groundhog Day! + + SOUND EFFECT of GRUNTING GROUNDHOGS as Phil pulls back the + curtains and looks out. + + HIS POV + + The street is full of people heading toward Gobbler's Knob, + exactly as they did the day before. + + PHIL + (aghast) + What the hell? + + CUT TO: + + +30 INT. BED AND BREAKFAST - DAWN 30 + + Phil rushes out into the corridor, hastily tying his tie, + his suit jacket and overcoat over his arm. As he heads for + the breakfast room, the same Chubby Man passes. + + CHUBBY MAN + Morning. + 30. + + + PHIL + Morning. + + CHUBBY MAN + Think it'll be an early Spring? + + PHIL + (stops, irritated) + Didn't we do this yesterday? + + CHUBBY MAN + (intimidated) + I don't know what you mean. + + Phil grabs him by the front of his shirt and looks deep + into his eyes. + + PHIL + Don't mess with me, pork chop. What + day is this? + + CHUBBY MAN + (terrified) + February second—Groundhog Day! + + Phil can see he's telling the truth and relaxes his grip on + the poor man. + + PHIL + Okay. Sorry. I'm having a bad day. + + Phil walks on, leaving the chubby man baffled and insulted. + + CHUBBY MAN + (to himself) + I'll say. + + +31 INT. BREAKFAST ROOM - CONTINUOUS 31 + + Phil enters the old library of the house and finds + everything exactly as it was the day before. Mrs. Lancaster + spots Phil as she comes out of the kitchen with the fresh + pot of coffee. + + MRS. LANCASTER + Did you sleep well, Mr. Connors? + + PHIL + (completely confused) + Did I? I don't know -- + + MRS. LANCASTER + 31. + + + Would you like some coffee? + + PHIL + Yes, thank you. I'm feeling a + little strange. + + MRS. LANCASTER + (as she pours) + I wonder what the weather's going + to be like for all the festivities. + + PHIL + Did you ever have deja vu, Mrs. + Lancaster? + + MRS. LANCASTER + Is that the Italian dessert with + the brandy and the chocolate + mousse? + + PHIL + No, that's spaghetti. Never mind. + + He heads for the door, still in a daze. + + MRS. LANCASTER + Oh, will you be checking out today, + Mr. Connors? + + PHIL + (vaguely) + I don't know. I don't think so. + I'll tell you after I wake up. + + Phil exits. + + CUT TO: + + +32 EXT. BOARDING HOUSE - MOMENTS LATER 32 + + Phil gulps down the steaming coffee, still trying to wake + up from what he assumes is a dream, and descends the front + steps of the house. He accosts a PASSERBY. + + PHIL + Ma'am? Excuse me. Where's everybody + going? + + PASSERBY + To Gobbler's Knob. It's Groundhog + Day! + 32. + + + The coffee cup drops from Phil's hand as he stands there + open-mouthed. Then he slaps his own face and shakes his + head as if trying to clear it and starts off down the + street. + + +33 EXT. MAIN STREET - PUNXSUTAWNEY - CONTINUOUS 33 + + Phil rushes down the street, again failing to notice the + OLD BUM sitting on the sidewalk leaning against a + storefront. + + NED RYERSON (O.C.) + Hey, Phil! + + Ned Ryerson approaches with the same obnoxious attitude. + + NED + Phil! Phil Connors! I thought that + was you! + + Phil just stares at him and keeps walking. + + NED + My oh my! Phil Connors. Don't say + you don't remember me, 'cause I + sure as heck-fire remember you. + Well? + + PHIL + Ned Ryerson? + + NED + Bing! First shot right out of the + box. So how's it going, ol' buddy? + + PHIL + To tell you the truth, Neddy, I'm + not feeling real well. Could you + excuse me? + + NED + Now it's funny you should mention + your health 'cause you'll never + guess what I do. + + PHIL + (very distressed and + desperate to get away + from this guy) + Do you sell insurance, Ned? + + NED + 33. + + + Bing again! You're sharp as a tack + today. Do you have life insurance, + Phil? 'Cause if you do, I bet you + could use more -- who couldn't?" -- + but I got a feeling you don't have + any. Am I right? + + PHIL + (really annoyed now) + Did I say "fuck off," Ned? I can't + talk to you right now. + + He backs away from Ned and steps right into the same deep, + slushy puddle he stepped in the day before. + + NED + (braying) + Hey, look out for that first step. + It's a doozy! + + Phil looks down at his wet shoes and cuffs and stumbles off + toward Gobbler's Knob. + + CUT TO: + + +34 EXT. GOBBLER'S KNOB - DAWN 34 + + The crowd is gathered as before for the big moment. + + In the press area, Rita is having the same dialogue with + Larry, when she spots Phil heading into the crowd. + + RITA + Here he comes. Phill Hey, Phil! + Over here! + + Phil waves to her and heads straight for an obscure corner + of the Knob, gesturing for her to follow. + + Larry shakes his head as Rita charges through the crowd + toward Phil. She catches up to him just as he is scratching + a mark in the snow with his foot. She notices immediately + that he is uncharacteristically dishevelled, his tie askew, + his hair mussed. + + RITA + Where've you been? + + PHIL + (nervous, sweat ing) + I've got to talk to you. I think + I'm losing my mind. + 34. + + + RITA + I know you're losing it. What are + you doing over here? The camera's + over there. + + PHIL + Slap me, Rita. + + RITA + What is this? + + PHIL + (insistent) + Just slap me -- hard. + +She gives up and taps him lightly on the cheek. + + PHIL + I said hard! + + RITA + I can't! + + PHIL + Do it! + +Rita shrugs and slaps him very hard. + + PHIL + (his cheek smarting) + Better. Almost too hard, Rita. + + RITA + Are you drunk? + + PHIL + No, drunk is more fun. Can I be + serious with you for a minute? + + RITA + I don't know. Can you? + + PHIL + Yes. I 'm being serious. I' m + having a problem -- no, I may be + having a problem. + + RITA + What are you trying to say? + + PHIL + 35. + + + I'm trying to say that if I was + having a problem, just + hypothetically, I'd like to know + that you're someone I could count + on in a crisis. + + RITA + (worried) + What did you do last night? + +The crowd begins to hush. + + LARRY + We better get started. We're going + to miss it. + + PHIL + Were not going to miss it. + (indicating the other + reporters) + They're going to miss it. + + RITA + (emphatic) + Phil. We've been out here for an + hour. We're cold and tired. Let's + just get this and get out of here. + + PHIL + Okay, put it here. + + RITA + What? + + PHIL + Put the camera here. + +Rita takes a forlorn glance towards the press area, where +all of the other cameras are set up. + + RITA + Phil, there is no tomorrow on this + one. It's Groundhog Day. + + PHIL + We were in the wrong spot + yesterday. + + RITA + (irked) + What? Yesterday? What are you + talking about? + 36. + + + PHIL + Just trust me. Put the camera here. + +Rita looks at him like he's crazy, then looks at her watch +and gives up. + + RITA + Larry! + +She charges off toward the cameras. + +In the Press Area, several reporters are already talking to +their cameras, dribbling on about how "He could appear any +second now." Rita and Larry grab their gear and rush back +to Phil. + +Larry hurriedly sets up the camera. + + LARRY + You want me to roll tape? + + RITA + (to Phil) + Are you going to get on your mark? + + PHIL + No hurry. + +Larry glances over at the other news reporters, all talking +to their cameras and pointing towards the mound. + + LARRY + (desperately) + Everyone else is rolling! + +Rita looks helplessly at Phil. + + RITA + I'm begging you, all right? Gould + we please just do this? + +Phil glances down at his watch. + + PHIL + Okay, let's do it. + +He crosses over to Larry and taps him on the shoulder. + + PHIL + Roll tape. + + LARRY + 37. + + + (mumbling) + Prima donnas. + +Phil takes the microphone from Rita and positions himself +against the fence. + + LARRY + Rolling. + +Phil does a similar intro to the one he did before, though +this time it's a bit tentative. + + PHIL + (to camera) + Well, it's Groundhog Day -- again - + - and you know what that means. + Everybody's here on Gobbler's Knob + waiting in the cold for the + appearance of the most famous + groundhog in the world, + Punxsutawney Phil, who's going to + tell us just how much more of this + we can expect. + +The Groundhog Club Official knocks on the groundhog's door, +then opens it and retreats. + +Phil takes a deep breath and makes his first experimental +prediction, recalling the previous day. + + PHIL + My forecast is we're going to see + the groundhog peek its head out of + its hole, look around a little bit, + then he's going to come out, + scamper over to this general area, + look at the crowd for a second, + make a little burping noise and run + back into the ground. + + RITA + (whispers to Larry) + That's it. I'm going to kill him. + +Phil looks at his watch. + + PHIL + Okay? And here we go -- + +Phil points to the hole and Larry zooms in. + 38. + + + The groundhog sticks his head out, looks left, looks right, + steps out of the hole, and runs away from the press pool, + directly over to Larry's camera. As he stands there, his + body casts a long shadow. The groundhog looks right into + the camera, lets out a squeak, and runs back into the hole. + + Rita and Larry are completely amazed as the crowd cheers + the brief appearance of the groundhog. Larry pans back to + Phil. + + Phil just stands there speechless, staring at the groundhog + burrow. + + RITA + (hisses) + Phil! + + Buster Greene, the Groundhog club official, walks onto the + mound and hushes the crowd, exactly as before. + + BUSTER + He came out, and he saw his shadow. + Sorry, ladies and gentlemen, but it + looks like it's going to be a long + winter. + + Again the crowd lets out a good-natured "Awwwwww" in + disappointment. + + Larry pans back to Phil just in time to see him walking + away in a fog, without signing off. Then he pans back to + Rita. + + RITA + (at a loss) + For Channel 9 News, this is Rita + Hanson in Punxsutawney. + + She holds for a moment then makes the cut sign, drawing her + finger across her throat. + + CUT TO: + + +35 INT. PHIL'S ROOM - LATER 35 + + Phil is on the phone desperately trying to make a call. + + PHIL + (on the phone) + 39. + + + I know there's a blizzard, but I + have to get a call through to my + doctor in Pittsburgh. It's a + medical emergency -- No, don't give + me the Punxsutawney Fire + Department. When do you think the + long distance lines will be working + again? -- But what if we don't have + a tomorrow? We didn't have one + today, my friend -- Hello -- Hello? + + He hangs up and shakes his head which is now really + starting to ache, then he pops a handful of Tylenol, lies + down and pulls the covers up over his head. A moment later, + he sits up, takes a pencil from the nightstand, breaks it + in half and puts the pieces back on the nightstand. Then he + lies back down and retreats back under the covers. + + CUT TO: + + CLOSE UP - CLOCK + + The digital clock-radio changes from 5:59 to 6:00 AM. The + radio comes on, playing the end of the Sonny and Cher hit, + "I Got You, Babe," just as it did the day before. + + +36 INT. PHIL'S ROOM - DAWN 36 + + Phil sits up in bed fearing the worst and looks on the + nightstand. The pencil is whole again. Completely stunned + by the phenomenon, he jumps out of bed and starts dressing + hurriedly as the morning Deejays begin their now familiar + rap. + + DEEJAY + Okay, campers, rise and shine, and + don't forget your booties because + it's COOOLD out there today! + + SIDEKICK + It's cold out there everyday. What + is this -- Miami Beach? + + Phil rushes out of the room. + + CUT TO: + + +37 EXT. CHERRY STREET - LATER 37 + 40. + + + Phil hurries toward the bed and breakfast carrying two + gallon buckets of paint, and a couple of big bags from a + hardware store. + + +38 INT. BED AND BREAKFAST - CONTINUOUS 38 + + Phil enters and passes Mrs. Lancaster in the breakfast + room. + + MRS. LANCASTER + Painting something, Mr. Connors? + + PHIL + I'm conducting an experiment. + + +39 INT. PHIL'S ROOM - LATER 39 + + Phil enters and dumps the bags on the bed. Out fall a + couple of big paintbrushes, a small sledgehammer, a + handsaw, a crowbar, plastic goggles and assorted other + tools. He puts on the goggles, grabs a hammer and some + nails and starts nailing the door shut. + + CUT TO: + + +40 EXT. CORRIDOR - LATER 40 + + Mrs. Lancaster and several other guests are gathered in the + hall outside Phil's room, listening at the door and looking + very worried. Loud music is playing inside the room. + + From inside the room, they hear the sound of loud + hammering, wood splintering and glass breaking. + + +41 INT. PHIL'S ROOM - CONTINUOUS 41 + + Phil, has demolished just about all the furniture and + woodwork in the room. He rips off the last of the wooden + moldings with the crowbar, then crosses to the mirror over + the demolished sink. + + Phil stands there, staring at his image in the mirror, + trying to figure out what's happening to him. He starts + breathing heavier, as if gathering courage, then, just when + we think he's going to cut off his ear or something, he + raises an electric barber clipper and shaves a bald stripe + up the middle of his head. He studies his new look for a + moment then smashes the mirror with his sledgehammer. + 41. + + + Then he opens the cans of paint, dips the two big brushes + into the cans and starts slapping bright red paint onto the + walls, madly, feverishly, splashing himself and everything + else in the room with it. + + As a final touch he grabs the bed pillows and rips them + open, then shakes them all around the room creating a storm + of feathers. + + Finally, Phil falls exhausted on the bed. From outside we + can hear outraged hotel employees pounding on the door. + + We pan over to the clock radio, the only undamaged object + in the room. Feathers drift down past the face of the clock + which reads 5:59 AM. The time changes to 6:00, the radio + clicks on and "I Got You, Babe" starts playing as we pan + back to Phil sleeping on the bed. + + He opens his eyes, jumps out of bed and looks around. No + paint, no feathers, no damage. Everything is as clean and + tidy as the day he checked in. + + He races over to the unbroken mirror and looks at himself. + His hair is completely restored, as if it had never been + shaved. + + The song ends and the deejays come on. Phil says every word + right along with them, shocked into a state of complete + wonderment. + + PHIL AND DEEJAY + Okay, campers, rise and shine, and + don't forget your booties because + it's COOOLD out there today. + + PHIL AND SIDEKICK + It's cold out there everyday. What + is this -- Miami Beach? + + The deejay laughs. Phil laughs insanely along with him. + + CUT TO: + + +42 EXT. GOBBLER'S KNOB - EARLY MORNING 42 + + Phil is wrapping up another groundhog report, trying to be + completely professional despite the circumstances. + + PHIL + (with forced good humor) + 42. + + + -- So according to Mr. Groundhog I + guess we can expect six more weeks + of winter. It's not very + scientific, but it sure is fun. + Hey, wait a second. If he's right, + I could be out of a job! + (mock laugh) + For Channel 9 News, this is Phil + Connors in Punxsutawney. + +He holds until Larry stops tape, then approaches Rita. + + PHIL + How was that? + + RITA + (pleased) + It was good. A little smarmy for my + taste, but I guess that's what + sells. + + PHIL + Could I talk to you about a matter + that is not work related? + + RITA + You never talk about work. + + PHIL + Do you know what I did last night? + + RITA + Do I want to know? + + PHIL + I destroyed my hotel room. + + RITA + You what! This is not some kind of + rock and roll tour. We don't have + the budget for that -- + + PHIL + No, it's okay. This morning it was + all right again. That's what I have + to talk to you about. + + RITA + Phil, what are you doing? + + CUT TO: + 43. + + +43 EXT. MAIN STREET - A BIT LATER 43 + + Phil and Rita cross the street and walk past a crowd of + concerned citizens gathered around what looks like a car + accident. As an ambulance arrives, Phil and Rita enter the + cozy looking diner on the corner. + + +44 INT. DINER - CONTINUOUS 44 + + Phil and Rita sit together at the same table they had + previously. The WAITER approaches. + + RITA + (to waiter) + Could I have some coffee, please? + + The waiter pours her a cup. + + WAITER + (exiting) + I'll be back to take your order. + + RITA + Thanks. + (to Phil) + Okay, so tell me. How'd you know + where to put the camera? + + PHIL + Because I've done it before. + + RITA + I know, but the groundhog doesn't + do exactly the same thing every + year, does he? + + PHIL + I'm not talking about last year. + I'm talking about today. I lived it + before. + + RITA + You're having deja vu? + + PHIL + Big time. Rita, I know it's nuts + but I keep reliving the same day + over and over -- Groundhog Day -- + today. This is the third time. + + RITA + (completely skeptical) + 44. + + + Uh-huh. I'm waiting for the + punchline. + + PHIL + No, really. It's like today never + happened. I shaved my head last + night, today its all grown back. I + could probably cut off my limbs, + one by one, and -- pop! They'd grow + back. Just like a starfish. I + probably don't even have to floss? + + RITA + I'm wracking my brain, but I can't + even begin to imagine why you'd + make up something like this. + + PHIL + 'Cause I'm not making it up. I'm + asking for your help. + +Rita looks at him for a long moment. + + RITA + Okay, I'll bite. What do you want + me to do? + + PHIL + The truth? I'd 1ike you to spend + the next 24 hours with me and don't + leave my side for a second. + + RITA + I see. You know, Phil, you can + charm all the little P.A.'s at the + station, all the secretaries, and + even some of the weekend anchors, + but not me -- not in a thousand + years. + + PHIL + Wait a second -- + + RITA + Not if I was dying and your breath + was the only cure; not if having + your child was the only way to + preserve the human race. Just get + it out of your head because it is + NOT GOING TO HAPPEN! + + PHIL + So much for the truth. + 45. + + + Larry pokes his head in the doorway, looks around, spots + Rita and makes his way over to their table. + + LARRY + (to Rita) + You ready? We better get going if + we're going to stay ahead of the + weather. + + RITA + Yeah, I'm ready, Larry. + (exiting) + Good luck, Phil. + + CUT TO: + + INSERT + + X-rays of Phil's skull are slapped up onto a light box. + + +45 INT. MEDICAL CLINIC - DAY 45 + + Phil is having his head examined by a NEUROLOGIST. + + NEUROLOGIST + No spots, no tumors, no lesions, no + clots, no aneurisms. Everything + looks fine and dandy to me, Mr. + Connors. Have you considered + psychiatric help? + + CUT TO: + + +46 INT. PSYCHOLOGIST'S OFFICE - DAY 46 + + Punxsutawney's only PSYCHOLOGIST is a marriage and family + counselor at the local Lutheran church. His appearance and + manner indicate he may have some serious problems of his + own. + + PSYCHOLOGIST + (not too confident) + That's kind of an unusual problem, + Mr. Connors. Most of my work is + with couples and families. + + Phil is lying on a couch. His head is completely shaved. + + PHIL + 46. + + + Yeah, but you're still a + psychologist. You must have had + some course in school that covered + this kind of thing. + + PSYCHOLOGIST + Sort of, I guess. Abnormal + Psychology. + + PHIL + So based on that what would you + say? + + PSYCHOLOGIST + (hesitant) + I'd say that maybe you're -- I + don't know -- a little delusional. + + PHIL + You're saying this thing is not + really happening to me? + + PSYCHOLOGIST + Uh-huh. + + PHIL + Then how do I know this + conversation is really happening? + + PSYCHOLOGIST + I guess you don't. + + PHIL + Then forget about me paying you. + +A discreet little alarm sounds. + + PSYCHOLOGIST + (relieved) + I'm afraid that's all the time we + have, Mr. Connors. + + PHIL + Wait! Are you saying I'm crazy? + + PSYCHOLOGIST + (humoring him) + Not necessarily. If it concerns you + we should schedule our next session + as soon as possible. How's tomorrow + for you? + +Phil glowers at him. + 47. + + + CUT TO: + + INSERT - A MODEL OF THE SOLAR SYSTEM + + A SCIENTIST in a white lab coat is holding up the model. + Phil looks on with interest. + + SCIENTIST + (authoritatively) + Now if the moon exerts a + gravitational pull strong enough to + cause the tides, then it may be + theoretically possible for a Black + Hole or a Singularity of sufficient + magnitude to actually bend time + enough to cause it to fold back on + itself. + + PHIL + You think that's a realistic + possibility? + + A paper airplane sails past his head, accompanied by a + noisy outburst of juvenile laughter. We pull back to + REVEAL: + + +47 INT. CLASSROOM - DAY 47 + + Twenty-five eighth-graders running amok. + + SCIENTIST + (sternly) + All right! I think someone may just + need a little visit to the + Assistant Principal's office! Get + back in your seats. The bell has + not rung yet. + + The kids sit back down, but keep up their noisy chatter. + + SCIENTIST + (to Phil) + Well, I'm speaking purely + hypothetically. + + CUT TO: + + +48 INT. SCHOOL CORRIDOR - LATER 48 + 48. + + + Phil is walking toward the exit when he passes a first + grade classroom. The door is open and the TEACHER is + discussing a story with the class. + + TEACHER + So the princess picked up the frog + and kissed him. + + Phil stops outside the door to listen. + + +49 INT. CLASSROOM - CONTINUOUS 49 + + TEACHER + Now who can tell me what happened + when the princess kissed the frog. + + LITTLE BOY + Her lips got slimed! + + The whole class erupts in giggles and shrieks. + + TEACHER + Okay, come on now. What happened + when she kissed the frog? + + LITTLE GIRL + The princess kissed the frog and + the spell got broke and he turned + into a handsome prince and they got + married and lived happily ever + after. + + TEACHER + That's right. + + +50 INT. THE CORRIDOR - SAME TIME 50 + + Phil is leaning against the wall listening. There is + something very arresting about the fairy tale, but finally + he just shakes his head and exits. + + CUT TO: + + +51 INT. DEW DROP INN - LATER THAT NIGHT 51 + + Phil is at a bar getting drunk with two local blue-collar + workers, GUS and PHIL. + + PHIL + 49. + + + Gus, what would you do if there was + no tomorrow? + + GUS + You mean like if the world was + gonna end? + + PHIL + No, I mean like if it was never + going to end. If everyday was the + same and you were stuck here and + you couldn't get out and nothing + you did mattered? + + GUS + You're right. Everyday is the same, + I can't get out of here and nothin' + I do matters. + + V RALPH + No, he's askin1 you a question, ya + idiot. + + GUS + What was the question? + + RALPH + What if nothing mattered?! Jeez, I + know what I'd do. I'd just spend + all my time drivin' fast, gettin1 + loaded and gettin' laid. That's it. + + PHIL + That's it. It just doesn't get any + better than this, does it? Good + friends, good conversation and + quality brew. Drink up, boys. + + They salute each other and drink. + + CUT TO: + + +52 EXT. THE STREET - LATER 52 + + Phil, Gus and Ralph approach Ralph's big, black, old Buick + convertible parked outside the bar. They are even drunker + than they were before. + + RALPH + (fumbling with his + carkeys) + 50. + + + Where you stayin', Phil? We'll drop + you off. + + PHIL + Hey, friends don't let friends + drive drunk. Give me your keys. + + He's as wasted as they are, but Ralph hands over his keys + without a fight. + + RALPH + Thanks, man. + + PHIL + It's nothing. Get in. + + They all pile into the front seat with Phil at the wheel. + + PHIL + (starting the ear) + Seatbelts. + + Ralph and Gus give him the thumbs up sign and start digging + around in the seat cracks for their seatbelts. Suddenly, + Phil floors the accelerator and peels away, sideswiping a + parked car as he screeches around the corner. + + +53 INT. THE BUICK - CONTINUOUS 53 + + Phil is having a great time. Gus and Ralph are whooping it + up like kids on a roller coaster. + + PHIL + This is great, Ralph! + + RALPH + Oh, hey, take a left! + + Phil passes the intersection. + + RALPH + You missed it! + + PHIL + No problem -- + + +54 EXT. MAIN STREET - CONTINUOUS 54 + + Phil throws the car into a high-speed, skidding U-turn, + goes up on the curb, across a couple of lawns, takes out a + mailbox and a STOP sign and bounces back onto the street. + 51. + + + A POLICE CAR parked in front of the hardware store pulls + out and takes off after him. + + +55 INT. THE BUICK - CONTINUOUS 55 + + Phil swerves in and out of oncoming traffic. Gus is + starting to look a little green. + + PHIL + So many rules -- + + RALPH + You can say that again. + + PHIL + "Don't do this --" + + +56 EXT. THE STREET - CONTINUOUS 56 + + The Buick demolishes a parked car. + + PHIL (V.O.) + "Don't do that -- " + + He mows down a row of parking meters. + + POLICE CAR + + It comes screaming around a corner in hot pursuit of the + Buick + + +57 INT. THE BUICK - CONTINUOUS 57 + + Ralph hears the siren and looks back at the police car. + + RALPH + All right! Try and stop us, you + mothers! + + PHIL + No more rules! + + RALPH + No more rules! + + +58 EXT. THE STREET - CONTINUOUS 58 + + A second police car joins the chase. + 52. + + + RALPH + (looking back) + That's two! + + PHIL + Having a good time? + + RALPH + I'm having a great time! + +Phil speeds up to a hundred miles and hour. Gus is looking +even worse from the liquor and the motion of the car. + + GUS + Hey, uh -- + + PHIL + Phil. + + GUS + Yeah, Phil -- like the groundhog. + + PHIL + Right. + + GUS + Hey, Phil? How're we going to get + out of this? + +THEIR POV - THE INTERSECTION AHEAD + +Two police cars with lights flashing are parked sideways, +completely blocking the road. Officers stand in the +roadway, motioning for Phil to stop. + + PHIL + (calmly) + Gus, you're just going to have to + trust me on this one. + +He tromps the gas pedal to the floor. Gus's eyes go wide +with terror. + +The police dive out of the way. + + PHIL AND RALPH + Yahooooo! + +THEIR POV - THROUGH THE WINDSHIELD + +The Buick crashes head on into one of the police cars. + 53. + + + BLACK OUT: + + CLOSE UP - CLOCK + + The time changes from 5:59 to 6:00. The radio starts + playing "I Got You, Babe." + + Phil sits up suddenly and looks around, completely amazed. + He is in his room at the bed and breakfast, everything + exactly the same as before. He hops out of bed and quickly + examines himself for signs of physical injury. Nothing. The + music ends and the two deej ays come on. + + DEEJAY + Okay, campers, rise and shine, and + don't forget your booties because + it's COOOLD out there today. + + Phil talks out loud along with them. + + PHIL AND SIDEKICK + It's cold out there everyday. What + is this -- Miami Beach? + + The deejays laughs. Phil laughs, too, exhilirated at having + survived the car wreck, still very confused and perplexed, + but just beginning to see the possibilities of his unique + situation. He starts dressing in a hurry. + + CUT TO: + + +59 INT. BREAKFAST ROOM - CONTINUOUS 59 + + Phil rushes into the breakfast room just as Mrs. Lancaster + comes out of the kitchen with the coffee. Everything is + exactly the same as before. + + MRS. LANCASTER + Would you -- + + Phil interrupts, answering all her questions before she + even asks them. + + PHIL + (urgently) + Yes, I would like some coffee; the + weather is going to be cold and + overcast with blizzard conditions + moving in later today; and yes, I + will be staying an extra day. + + MRS. LANCASTER + 54. + + + (baffled) + Why thank you. + + PHIL + Mrs. Lancaster, has anyone been + around here looking for me this + morning? Maybe a state official, + blue coat, hat, gun, nightstick, + badge, driving a late-model Ford br + Chevy, black and white with bubble + lights on top -- + + MRS. LANCASTER + (shocked) + No, no one like that -- I don't -- + Will they be? + + PHIL + (greatly relieved) + Apparently not. + + Phil gooses her, grabs a sweet roll, and heads for the + door, starting to believe now that he can truly do anything + he wants to. + + CUT TO: + + +60 EXT. BOARDING HOUSE - DAWN 60 + + Phil stops on the steps, puts on his coat and gloves and + again joins the traffic heading toward Gobbler's Knob. + + +61 EXT. MAIN STREET - MOMENTS LATER 61 + + Phil passes the old bum, ignoring him as usual. + + NED (O.C.) + Hey, Phil! + + Phil slips off his glove as Ned Ryerson lumbers toward him. + + NED + Phil! Phil Connors! + + PHIL + Ned! Ned Ryerson! Ned the Head! + + Before Ned can say another word, Phil SLUGS HIM. Ned goes + down, Phil puts his glove back on and keeps walking. + 55. + + + Phil deftly avoids the slushy pothole he stepped in before. + A PEDESTRIAN walking behind him steps right into it. + + CUT TO: + + +62 EXT. GOBBLER'S KNOB - LATER 62 + + Phil is passing through the crowd on his way to the press + area when he notices NANCY, the girl he met at the hotel + bar, and stops to talk to her. + + PHIL + You here to see the groundhog? + + She gives him a look. It's obvious she's never seen him + before. + + NANCY + Can you think of another reason + anybody'd be out here at dawn on a + freezing day? + + PHIL + What's your name? + + NANCY + Nancy Taylor. And you are— + + PHIL + Where'd you go to high school? + + NANCY + What is this? + + PHIL + (playful) + High school? + + She really doesn't know what to make of Phil but she + decides to play along. + + NANCY + Lincoln High school. In Pittsburgh. + Who are you? + + PHIL + Who was your twelfth grade English + teacher? + + NANCY + Are you kidding? + 56. + + + PHIL + I'm waiting. + + NANCY + .Mrs. Walsh. + + PHIL + Walsh. Nancy, Lincoln, Walsh. + + NANCY + Is this some kind of come-on? + + PHIL + I'm not really sure. We'll have to + see. + + Phil walks off and joins Rita at their camera position. + + CUT TO: + + +63 INT. DINER - LATER THAT MORNING 63 + + Phil is sitting at his usual table, which is covered with + an incredible variety of rich foods, eggs, bacon, sausage, + pancakes, pies, cakes, eclairs, ice cream, puddings, etc. + + Rita sits across from him, watching in amazement as he + stuffs himself with pastry. + + RITA + Is this some new fad diet? Don't + you worry about cholesterol? + + Phil scrapes a plate and takes a final bite of a chocolate + eclair. + + PHIL + I don't worry about anything + anymore. + + RITA + What makes you so special? + Everybody worries about something. + + PHIL + That's exactly what makes me so + special. + + He takes a big bite of cake. Rita shakes her head. + + PHIL + (with his mouth full) + 57. + + + What? + + RITA + "The wretch, concentered all in + self, Living, shall forfeit fair + renown, And doubly dying, shall go + down to the vile dust from whence + he sprung, Unwept, unhonored, and + unsung." Sir Walter Scott. + + PHIL + (stares at her for a long + moment) + "There was a young man from + Nantucket--" + + RITA + That's really funny. When are you + going to grow up, Phil? + + PHIL + At this rate -- never. + (he pulls out a pack of + cigarettes) + Okay if I smoke? + +Rita shrugs. Phil lights up a cigarette. + + RITA + You really do have a death wish, + don't you? + + PHIL + Just the opposite, Rita. I have a + life wish. I'm just trying to enjoy + it. Taking pleasure in the little + things. Don't you ever just want to + cut loose and go wild? + + RITA + I wouldn't even know what it means + to go wild. + + PHIL + Yeah, well, that's where I come in. + Going wild is one of my + specialties. Last night I got + completely loaded and drove head-on + into a police car. + + RITA + (disbelieving) + 58. + + + Oh, really? You look pretty good + this morning. + + PHIL + That's my point. I know you won't + believe me, but we could do + anything we want today and it + wouldn't matter one bit. Absolutely + no consequences. Complete and total + freedom. + + RITA + And how do we manage that? + + PHIL + You leave that to me. Why don't you + send Larry back and hang out with + me for the rest of the day? You + never make it through that blizzard + anyway. + + Larry enters the diner and spots them. + + RITA + I'll take my chances with the + weather. But you have a good time. + + PHIL + Don't worry. I plan to. + + CUT TO: + + +64 EXT. GOBBLER'S KNOB - NEXT MORNING 64 + + Phil comes through the crowd and finds Nancy in the same + spot she was in the day before. + + PHIL + Nancy? + + Nancy turns and looks at him quizzically. + + PHIL + Nancy, right? + + NANCY + I'm sorry, I— + + PHIL + Nancy Taylor? Lincoln High? I sat + next to you in Mrs. Walsh's English + class. + 59. + + + NANCY +That -- + + PHIL +Phil Connors. + + NANCY +-- is amazing! + + PHIL +You don't remember me, do you? + + NANCY +I don't -- sure, I think -- + + PHIL +We used to shoot spit balls -- + + NANCY +Yeah, oh, God -- + + PHIL +I even asked you to the prom. + + NANCY +Phil Connors. + + PHIL +Yeah. + + NANCY +How ARE you?! + + PHIL +I'm great. Wow, you look terrific. +Hey, listen, I gotta do this report +-- + + NANCY +You're a reporter? + + PHIL +Weatherman. Channel 9, Pittsburgh. + + NANCY +Right, I should've known -- + + PHIL +But maybe after we could -- + + NANCY +Yeah, yeah, I'd like that -- + 60. + + + RITA (O.C.) + Phil! + + Rita is calling from across the crowd. She looks at him + with disapproval. + + CUT TO: + + +65 INT. PHIL'S ROOM - NIGHT 65 + + Phil is making passionate love to a WOMAN in the dark. + + WOMAN + (moans) + Oh, Phil. + + PHIL + Oh, Rita. + + The woman suddenly freezes. There is a moment of silence, + then she snaps on the light. It's Nancy, not Rita. Phil is + as surprised as she is by his slip of the tongue. + + NANCY + (cold) + Who's Rita? + + PHIL + (caught) + No one. It's just something I say + when I make love. You know -- + "Orita", "Orighta" -- it's like + "Oh, baby" or something. + + NANCY + (not entirely convinced) + Oh. + + PHIL + (corrects her) + O-rita. + + Nancy laughs uncertainly. Phil switches off the light, + thinking now about Rita. + + CUT TO: + + +66 INT. BREAKFAST ROOM - MORNING 66 + 61. + + +Some elderly GUESTS are sipping coffee and eating +breakfast, staring uncomfortably at something on the other +side of the room. + +THEIR POV + +Phil is standing at the bookcase, wearing only pajamas, +absently munching on a Danish as he reads from one of the +books. + +Mrs. Lancaster approaches him. + + MRS. LANCASTER + Isn't it a wonderful collection? + + PHIL + (not looking up) + Yes, it is. You don't usually find + this many trashy novels in one + place. + + MRS. LANCASTER + You can take a book up to your room + if you like. + + PHIL + No, thank you. I've actually read + them all. I was just rereading some + of the dirty parts. + +He finishes and puts the book back on the shelf. + + MRS. LANCASTER + (worried) + How long will you be staying with + us, Mr. Connors? + + PHIL + Indefinitely. I've already been + here for 211 days. + + MRS. LANCASTER + (humoring him) + Really? That's quite a long time, + isn't it. I hope you're finding + things to do in our little town. + + PHIL + (casually) + Yes, well, I'm getting a little + tired of casual sex so today I + thought I'd rob a bank and buy + myself a really expensive car. + 62. + + + Phil kisses her on the lips and walks off. + + CUT TO: + + +67 EXT. PENN BANK AND TRUST - DAY 67 + + Two harmless-looking old GUARDS are calmly loading bags of + cash into an armored car parked in front of a local bank. + Suddenly Phil appears, wielding a shotgun, wearing a Batman + style cape, his face completely hidden by a ski mask. + + PHIL + (shouts) + All right, freeze!! Drop your guns + J! + + The guards stand there frozen with terror. + + PHIL + You guys ever been held up before? + (they shake their heads) + It's kind of exciting, isn't it? + + FIRST GUARD + (frightened) + I guess so. Something to tell the + kids about. + + PHIL + Yeah. By the way, I'm Phil. + + He raises the mask and shows his face. + + FIRST GUARD + Herman. + + SECOND GUARD + Felix. + + PHIL + (shaking their hands) + Herman and Felix. Okay. Take it + easy, boys. And thanks. + + The frightened guards watch as Phil makes off with two + large satchels of cash. + + CUT TO: + + +68 INT. USED CAR DEALERSHIP - DAY 68 + 63. + + + Phil pats the hood of a used BMW 850 sports car as a + SALESMAN stands by beaming. Phil is wearing a full Steelers + football uniform complete with shoulder pads. + + SALESMAN + A real beauty, huh. We picked it up + at a -- + + PHIL + I'll take it. How much? + + SALESMAN + Well, the sticker says $62,999 but + if you want— + + PHIL + I'll tell you what. I'll give you + $70,000 if you just knock off the + car salesman stuff and let me get + out of here with my car. + + The Salesman gawks as Phil opens his briefcase and starts + counting out stacks of bills. + + CUT TO: + + +69 EXT. PUNXSUTAWNEY - DAY 69 + + From a high angle, we see the BMW tearing around the + streets of the town as if running a Grand Prix road race. + + CUT TO: + + +70 EXT. MAIN STREET - DAY 70 + + The BMW comes screeching to a stop right in front of the + movie theater and the door opens. + + A pair of really elaborate cowboy boots complete with + silver spurs hits the pavement first; then we PAN UP to see + Phil emerge from the car wearing a really gaudy; full + cowboy outfit with real six-guns on his hips. A very + trashy-looking girl, LARAINE, gets out on the passenger + side, dressed like a French maid. + + LARAINE + (very self-conscious) + I thought we were going to a + costume party. + + PHIL + 64. + + + Yeah, we are, we are. But first I + have this movie theater fantasy I + want to talk to you about. + + He escorts her into the theater. + + CUT TO: + + +71 INT. TATTOO PARLOR - ANOTHER DAY 71 + + Phil is lying on the table, getting elaborately tattooed. + + Rita walks by, looks in the window and is shocked to see + Phil there. + + Phil waves at her and points to the colorful new heart + pierced by a bloody dagger being tattooed on his arm. + + CUT TO: + + +72 INT. BIKER BAR - NIGHT 72 + + We pan down the line of ROUGH TRADE PATRONS to. Phil, + dressed all in black leathers, both arms heavily tattooed, + looking like Sid Viscious on crack. He takes off his hat to + reveal red, white and blue hair shaved almost down to his + skull. A slut named ANGIE and another overweight, not very + pretty MADONNA WANNA-BE, both in too-tight jeans and bullet + bras are coming on to him, practically licking his ears. + Angie pops a couple of mystery pills into his mouth. Phil + washes them down with a shot and a beer. + + CUT TO: + + +73 INT. PHIL'S ROOM - NIGHT 73 + + It looks like outtakes from Fellini's "Satyricon." Heavy + metal is blaring from the radio, as several unsavory + looking men and women are partying down, a few already + passed out, sleeping off whatever hit them. Someone is + knocking loudly on the door, shouting complaints about the + music. A beer bottle smashes against the door. + + Phil is sitting up on the bed with Angie. He has his arm + around her shoulder and a fifth of Wild Turkey in his hand. + + PHIL + (more to himself than to + Angie) + 65. + + + Yeah, but eventually you'd just get + tired of screwing around and then + you'd want a real relationship, + wouldn't you? + + ANGIE + I don't know. + + A big German Shepherd tries to jump up on the bed with + them. + + PHIL + Get down, Brunoi + (continuing) + Someone decent, someone who you + respected, who respects you. -60- + + ANGIE + I guess so. + + The dog jumps up again. + + PHIL + Down, Bruno! + (still musing) + It's tough to find a relationship + like that, especially if your time + is kind of limited. But you still + have to try, don't you? + (the dog again) + Bruno! I told you! Off the bed! + + Phil looks over at Angle who's passed out with her mouth + open + + PHIL + There's got to be more to it than + this. + + CUT TO : + + +74 EXT. A SIDE STREET - THE NEXT MORNING 74 + + Rita is in the news van reviewing the tape of Phil's report + Phil hovers at the open side door. + + RITA + You look good. I mean, it came out + all right. How'd you know where to + put the camera? + + PHIL + 66. + + + Psychic. So did you have a nice + evening? + + RITA + (guarded) + I just had a sandwich, watched some + TV and went to bed. + + PHIL + I got my whole body tattooed and + part ied all night with some + nymphomaniac biker chicks. + + RITA + (skeptical) + Sounds wholesome. Were those the + new 24-hour disappearing tattoos or + can I see them? + + PHIL + No, they're gone. Rita, if you only + had one day to live, what would you + do with it? + +She switches off the videotape and steps out of the van. + + RITA + I don't know, Phil. What are you + dying of? + + PHIL + No, I mean like what if the entire + world was about to explode? + + RITA + I'd just want to know where to put + the camera. What are you looking + for, Phil -- a date for the + weekend? + +She starts walking toward the center of town. Phil sticks +right with her. + + PHIL + No, I just want to know you better. + What do you like, what do you want, + what do you think about, what kind + of men are you interested in, what + do you do for fun? + + RITA + (she stops) + 67. + + + Is this real or are you just going + to make me feel like a fool? + + PHIL + I'm just trying to talk to you like + a normal person. Isn't this how + normal people talk? + + RITA + Close. + + PHIL + Okay, so talk to me. C'mon, I'll + buy you a cup of coffee. + + CUT TO: + + +75 INT. DINER - A LITTLE LATER 75 + + Phil and Rita are at their usual table, drinking coffee. + + RITA + I guess I want what everybody wants + --you know, career, love, marriage, + children. So far I don't have any + of it. + + PHIL + You have a career. + + RITA + I have a job. Doing stories on the + Punxsutawney groundhog is not my + ultimate goal. No offense. + + PHIL + How about the other stuff? You + seeing anybody? + + RITA + This is getting too personal. I + don't think I ' m ready to discuss + these things with you. What about + you? What do you want? + + PHIL + What I really want is someone like + you. + + RITA + Oh, please -- + 68. + + + PHIL + Why not? + + RITA + Phil, you know, you have so much + talent and ability. If you'd just + drop the attitude and act like a + decent human being, then maybe I'd + -- + (she hesitates) + + PHIL + You'd what? + + RITA + I don't know what. + + PHIL + Then maybe you'd like me? + +She stares hard at him. + + RITA + I don't know. It's sort of like the + way I feel about UFO's. I'd have to + see it to believe it. + +Larry pokes his head in the doorway, looks around, spots +Rita and makes his way over to their table. + + LARRY + (to Rita) + You ready? We better get going if + we're going to stay ahead of the + weather. + + RITA + Yeah, I'll be right out, Larry. + +Larry scowls at Phil and exits. + + PHIL + (to Rita) + Why don't you stay for a while? The + road's going to be closed anyway. + Do you really want to be stuck in + the van with Larry for three hours? + + RITA + I've got to get back. I'll see you + later. + +Phil watches Rita exit. + 69. + + + PHIL'S POV + + Rita gets in the news van and drives off with Larry. + + Phil stares out the window, more determined than ever to + win her over. + + CUT TO: + + +76 EXT. GOBBLER'S KNOB - ANOTHER DAY 76 + + Phil is wrapping up his groundhog report. + + PHIL + Well, you heard it right from the + groundhog's mouth. Bundle up good, + 'cause it's going to be a long + winter -- at least in Punxsutawney. + Reporting for Channel 9, this is + Phil Connors. + + Larry stops tape. + + RITA + That was great. How did you know + the -- + + PHIL + (preoccupied) + I have to go now. There's something + I have to do. + + Phil runs off without another word of explanation. + + CUT TO: + + +77 EXT. THE NEWS VAN - LATER 77 + + Phil has the hood open and is doing something to the + engine. + + CUT TO: + + +78 INT. THE BERGHOF RESTAURANT - LATER 78 + + Rita is sitting at the bar in the town's best restaurant, a + good chophouse with Black Forest decor and waitresses + dressed in dirndl skirts and aprons. Phil enters and sits + down next to her. + 70. + + + PHIL + (acting surprised) + Oh, hi, Rita. You still here? + + RITA + (glum) + The van won't start. Larry's + working on it. + + PHIL + (innocent) + Wouldn't you know it. Buy you a + drink? + + RITA + Okay. + + PHIL + (to the bartender) + Jack Daniels. + + BARTENDER + For you, miss? + + RITA + Tequila,with lime. Gold, if you've + got it. + +Phil nods to himself. + + CUT TO: + +SAME SCENE - ANOTHER DAY + +Phil walks in and sits next to Rita. + + PHIL + (acting surprised) + Oh, hi, Rita. You still here? + + RITA + (glum) + The van won't start. Larry's + working on it. + + PHIL + Wouldn't you know it. Buy you a + drink? + + RITA + Okay. + + PHIL + 71. + + + (to the bartender) + Tequila with lime, gold if you've + got it. + +Rita looks at Phil, surprised. + + BARTENDER + For you miss? + + RITA + Same for me, please. + +The BARTENDER pours. + + PHIL + (to Rita) + What should we toast to? + + RITA + Your call. + + PHIL + To the groundhog! + +Rita stares for a moment. + + RITA + I always drink to world peace. + + CUT TO: + +SAME SCENE - ANOTHER DAY + + BARTENDER + Take your order? + + PHIL + Tequila with lime, gold if you've + got it. + +Rita looks at Phil. + + BARTENDER + For you, miss? + + RITA + Same for me, please. + +The BARTENDER pours. + +Phil lifts his glass. + 72. + + + PHIL + To world peace. + + Rita smiles, reevaluating him. + + RITA + To world peace. + + They clink glasses. + + CUT TO: + + +79 INT. THE BAR - LATER 79 + + Rita and Phil are now sitting together at a table, a plate + of cheese and crackers and a bottle of white wine between + them. + + PHIL + You like your job? + + RITA + It's okay. I think it could be + really challenging. Of course it's + about a million miles from where I + started out in college. + + PHIL + You weren't in broadcasting? + + RITA + At Bryn Mawr? No, uh-uh. Believe it + or not, I studied Nineteenth + Century French Poetry. + + PHIL + (laughs good-naturedly) + Really? What a waste of time. + + Rita looks offended. Phil knows he made a mistake. + + CUT TO: + + SAME SCENE - ANOTHER DAY + + PHIL + You weren't in broadcasting? + + RITA + At Bryn Mawr? No, uh-uh. Believe it + or not, I studied Nineteenth + Century French Poetry. + 73. + + + Phil leans in closer to her. + + PHIL + La fille qui j'aimera Sera comme + bon vin Qui se bonifiera Un peut + chaque matin. + + Rita smiles, entranced. + + CUT TO: + + +80 INT. FUDGE SHOP - DAY 80 + + Phil and Rita are sitting at a table in a small + confectionery, tasting chunks of different flavored fudge. + Rita takes a bite + + RITA + This is terrific. + + PHIL + Best fudge in town. + + RITA + How do you know so much about + Punxsutawney? + + PHIL + I like small towns. I think they + engender real community more than + big cities. + + RITA + That is so true! I've always + thought that, too. + + PHIL + No kidding. Here -- try the white + chocolate. + + RITA + Oh, yuk, don't make me sick. + + PHIL + (making mental note) + No white chocolate. + + RITA + There's something so familiar about + this. Do you ever have deja vu? + + Phil smiles. Then Larry enters. + 74. + + + LARRY + (irate, to Rita) + I don't believe it. Someone bought + every distributor cap in this town. + We're going to be stuck here all + night1 + + Over Phil's sympathetic look we hear the song, "I Can't Get + Started With You". + + CUT TO: + + +81 INT. THE BERGHOF RESTAURANT - NIGHT 81 + + The music continues over Rita and Phil on the small dance + floor. They dance, close, dreamy, romantic. + + CUT TO: + + +82 EXT. MAIN STREET - LATER THAT NIGHT 82 + + There is a light snow falling. Phil and Rita are making a + little snowman. Somehow the town looks magical tonight— old + fashioned, wholesome. + + A snowball hits Phil in the back. He and Rita turn around + to see a giggling KID. Phil packs a snowball and tosses it. + The kid throws one back. Rita and Phil both get into it, + packing snowballs and getting into a war with this kid and + his little gang of friends. + + A snowball catches Rita unaware, she slips and goes down in + a snowbank. Phil bends down to help her and slips. They are + no together, lying in the snow, laughing. Their eyes lock + for a long sweet moment, then Rita gets embarrassed and + stands up. + + CUT TO: + + +83 EXT. CHERRY STREET INN - NIGHT 83 + + Phil and Rita are walking slowly, very close. + + PHIL + What? + + RITA + I'm just amazed. And I'm not easily + amazed. + 75. + + + PHIL + About what? + + RITA + How you can start a day with one + kind of expectation and end up so + completely different. + + PHIL + Do you like how this day is turning + out? + + RITA + Yes. I like it very much. + + They stop dn front of Phil's hotel. She turns to him. + + RITA + You could never have planned a day + like this, but it couldn't have + been more perfect. + + PHIL + You're wrong. I've been planning + this day for weeks. + + Rita ignores the remark and hugs him. Phil tries to kiss + her but she gently puts her fingers to his lips, stopping + him. They enter the bed and breakfast inn. + + +84 INT. VESTIBULE - CONTINUOUS 84 + + Rita hugs him again and starts to exit. + + RITA + Thanks. See you tomorrow. + + PHIL + Tomorrow? Wait, aren't you going to + come up to my room for a while? + + RITA + (very reluctant) + I don't know, Phil -- + + PHIL + No reason to end a perfect day. + + RITA + (deciding) + Well -- we better not. + 76. + + + PHIL + No, you should. The, uh, the + poetry! I've got some books, + Rimbaud, Beaudelaire, we could + light a fire -- + + RITA + Thanks, but -- + + PHIL + (seeing it all slip away) + Please come, Rita. It'll be -- + + RITA + (definite) + Phil, I'm tired. We can be together + tomorrow. + + PHIL + (getting desperate) + But there is no tomorrow for me! + + RITA + (adamant) + Let's not ruin it, Phil. There's no + way I'm sleeping with you tonight. + + PHIL + Why not? Rita, I love you! + + RITA + You don't even know me! + + PHIL + (grabs her hand) + Please! You have to! + +Rita shakes loose from his grasp. + + RITA + What's wrong with you! + +There is a long moment of silent tension, then all her old +doubts about Phil come rushing back. + + RITA + (shaking her head) + Oh, no. I can't believe I fell for + it. This whole day was just one + long set-up. And I ate fudge. + Yucchh! I hate fudge. + + PHIL + 77. + + + No, it was real. I love you. + + RITA + Stop saying that! Do you really + expect me to trust you? The whole + secretarial pool is a Phil Connors + recovery group. + + PHIL + But I can change! I really can -- + + Rita slaps him hard on the cheek. + + RITA + That's for making me care about + you. + + She turns and stomps off, leaving Phil standing there + hurting. + + CUT TO: + + +85 EXT. MAIN STREET - ANOTHER NIGHT 85 + + The snowball fight with the kids is going on as before. + Phil falls into the snowbank with Rita and they almost + kiss. + + CUT TO: + + +86 INT. QUALITY INN MOTEL - LATER 86 + + Phil is trying (MOS) to talk his way into Rita's room. She + ^pushes him away and slams the door in his face. + + CUT TO: + + +87 EXT. MOTEL - NIGHT 87 + + The streets are deserted except for Phil, staring up at + Rita's window in the Quality Inn. + + Rita comes to her window and looks out. She sees Phil + looking up at her and draws the curtains. + + CUT TO: + + +88 INT. PHIL'S ROOM - DAWN 88 + 78. + + + "I Got You, Babe" is playing. Phil hits the clock radio to + turn it off. He lies there for a moment, then hefts himself + heavily out of bed, not eager to repeat the day yet another + time. With the radio off, Phil does the deejays' morning + routine himself, seemingly for the millionth time. + + PHIL + (dully) + Okay, campers, rise and shine, and + don't forget your booties because + it's cooooold out there today. + + Phil continues the radio report at his own pace, obviously + fatigued. + + PHIL + It's cold out there everyday. What + is this -- Miami Beach? Haw. Not + hardly. And you can expect + hazardous travel later today with + that, you know, blizzard thing. + + CUT TO: + + +89 EXT. GOBBLER'S KNOB - DAWN 89 + + Phil is walking through the crowd. He spots Nancy, walks up + to her and greets her half-heartedly. + + PHIL + Hi, Nancy. + + NANCY + (pleasantly) + Hi. Do I know you? + + Phil can't manage enough enthusiasm to pursue her yet + again. + + PHIL + No, I guess not. I thought you were + someone else. + + Phil wanders over to where Rita and Larry are setting up + the camera. Rita comes over to him. + + RITA + Are you all right, Phil? You look + terrible. + + Phil looks at her sadly, then turns away. + 79. + + + PHIL + (vacantly) + I'm fine. + + CUT TO: + + +90 INT. BIKER BAR - NIGHT 90 + + The balls CRACK as the cue ball breaks the rack. + + Phil is walking around the table, cue in hand, sinking ball + after ball, while several admiring HUSTLERS look on. + + FIRST HUSTLER + Who is this guy? + + SECOND HUSTLER + I don't know. Hey, mister -- + (Phil doesn't stop + shooting) + Who are you, anyway? + + Phil shoots, sinks a tough one. + + PHIL + You don't know me? I've been + playing here every day for two + months. + + FIRST HUSTLER + Oh, yeah? So how come I ain't seen + you? + + PHIL + I don't know. I seen you. + + SECOND HUSTLER + So what's your name? + + PHIL + They call me— Punxsutawney Phil. + + SECOND HUSTLER + Punxsutawney Phil? Like the + groundhog. + + PHIL + Yeah, like the groundhog. + + Phil sinks another one. + + CUT TO: + 80. + + +91 EXT. GOBBLER'S KNOB - DAWN 91 + + The crowd is waiting expectantly for the groundhog to + appear Phil is a wreck, squatting unprofessionally in front + of the camera. + + PHIL + (cynically) + This is one of the most pitiful + spectacles known to civilization. + With one nod from a filthy rodent + best known to pest control + agencies, a moribund old coal + mining hamlet turns magically into + the Lourdes of Pennsylvania, Mecca + to thousands of people who, if they + hated the winter so damned much, + why don't they move to Florida, + anyway? -74- + + Larry and Rita look on, incredulous. + + CUT TO: + + CLOSE UP - TV SET + + The program JEOPARDY! is playing. + + ALEX TREBECK + (on TV) + Nobel prize-winning co-discoverers + of the DNA molecule. + + PHIL (O.C.) + Who are Watson and Crick. + + CONTESTANT + (on TV) + Who are Watson and Crick? + + ALEX + (on TV) + Correct. + + There is a cheering from a small group of people off- + screen. + + +92 INT. PARLOR - CONTINUOUS 92 + + Phil is sitting in his bathrobe in a big lounge chair in + the parlor of his hotel. Mrs. Lancaster, and other guests + watch his performance, awed by his "intellect." + 81. + + + ALEX + (on TV) + Twin brother and sister Sebastian + and Olivia create confusion in this + Shakespearean comedy. + + PHIL + What is "Twelfth Night." + + CONTESTANT + (on TV) + What is "Twelfth Night?" + + ALEX + (on TV) + Correct. + + More cheering from the small group. + + CONTESTANT + (on TV) + I'll take New Jersey for eight + hundred, Alex. + + ALEX + (on TV) + And the answer is -- an audio daily + double. + + PHIL + Count Basie. + + CUT TO: + + +93 EXT. STREET - DAY 93 + + Phil is walking through town, still dressed only in his + pajamas and overcoat, counting the sidewalk cracks, taking + giants steps from one to the next. He looks crazy. + + PHIL + Two thousand six hundred and + seventy-one -- + (takes another step) + two thousand six hundred and + seventy-two -- + (another step) + two thousand six hundred and + seventy-three -- + + A woman passes walking her dog. + 82. + + + PHIL + Hey, pick up after your dog! + + DOG WALKER + He hasn't done anything. + + PHIL + He's going to! + (pointing) + There and there. And there! + +Phil continues walking, counting the sidewalk cracks. THREE +NEIGHBORHOOD KIDS notice Phil and walk along, matching him +step for step. + + IPHIL + Two thousand six hundred and + seventy-four, two thousand six + hundred and seventy-five, two + thousand -- + + JOEY + Five million eight hundred -- + + PHIL + Six hundred -- + + MIKE AND SUE + Ninety, twenty, four, six, fifty -- + + PHIL + Two thousand, four hundred -- + + JOEY, MIKE AND SUE + Two, eight, nine, forty-six -- + +Phil stops. He has lost count. His lip curls up like an +animal as he turns slowly, growling at the kids. They run +away screaming with glee. Phil starts after them but runs +right into a COP. + + COP + You got a problem, buddy? + + PHIL + (out of control) + 83. + + + Yeah, I got a problem, buddy! I + can't stand this place anymore! I + can't stand this street and I can't + stand the fourteen bars and the + five banks and the one star food + and the bad weather and the + "quaint" little shops and most of + all, I can't stand anything -- + ANYTHING -- with a groundhog on it. + + He rips a groundhog patch off the cop's jacket sleeve. + + COP + (calmly) + Okay. Then let's see what we can do + about getting you out of here. You + got a name? + + PHIL + (eyes downcast) + Phil. + + COP + Phil. Like the groundhog! + + Phil turns to the cop like a rabid dog, ready to strike. + + PHIL + Yeah, like the -- + (he stops as if struck) + -- groundhog. + + Some big new idea has formed in his mind. + + CUT TO: + + +94 EXT. GOBBLER'S KNOB - EARLY MORNING 94 + + Rita is looking at Phil as Larry videotapes his report. + + LARRY + (turning to Rita) + The guy's nuts. He's out of his + gourd. + + RITA + Let him finish, then I'll call the + station. + + They turn back to watch Phil's wrap-up. + 84. + + + Phil is completely unkempt, still wearing only pajama + bottoms and his overcoat, looking even more demented. + + PHIL + (to camera) + There is no way this winter is ever + going to end as long as that + groundhog keeps seeing his shadow + everyday. I don't see any other way + out. He's got to be stopped and + I've got to stop him. For Channel 9 + news, this is Phil Connors. + + CUT TO: + + +95 EXT. GOBBLER'S KNOB - NIGHT 95 + + Phil is walking around the mound, casing it out. He takes a + rifle out from under his coat and sneaks up to the burrow. + He pulls a smoke bomb from his pocket, lights it, and + throws it into the hole, then scurries for the edge of the + knob and hits the deck. He lifts his rifle and aims it. + + Smoke is now pouring from the mound. Lots of it. + + Phil waits, his trigger finger twitching. + + A WOMAN casually walks by, stops. She surveys the + situation. + + WOMAN + He ain't there. + + Phil doesn't move. He-doesn't care that she sees him. + + WOMAN + You can wait all night, but he + ain't coming out. He don't live + there. They keep him in the + library. + + Phil's gun droops. The woman begins to walk off, then + stops. + + WOMAN + Plug him once for me. + + She leaves. + + CUT TO: + 85. + + +96 EXT. CIVIC CENTER - DAY 96 + + Phil passes a pedestal bearing a life-size bronze statue of + the groundhog and enters the public library. + + +97 INT. LIBRARY - CONTINUOUS 97 + + Phil walks past the front desk looking very haggard and + dangerous, and enters the children's section. No one is + present except the CHILDREN'S LIBRARIAN, a young woman, + reshelving books in the stacks. He looks around quickly and + sees a window in the wall and over it a large sign which + reads: "Punxsutawney Phil -- The Great Prognosticates" Phil + heads right for it. + + The groundhog scurries around his little temperature- + controlled habitat, oblivious to the approaching danger. + + As Phil approaches the groundhog display, he reaches into + his overcoat and pulls out a pump shotgun with a short + pistol grip. + + The children's librarian sees the gun and freezes. + + Phil pumps a shell into the chamber as he walks right up to + the case. + + PHIL'S POV + + The groundhog looks right into his sights. + + Philsqueezes the trigger. LOUD GUNSHOT. + + The glass window is still intact, not a scratch on it. The + groundhog looks up playfully. + + Phil fires off four more rounds but, again, no results. + Phil can't believe it. He charges the glass and pounds it + with the rifle butt. He can't even chip it. Suddenly he is + seized from behind by TWO STRONG MEN who take the rifle + from him and wrestle him to floor. + + The librarian comes running up and looks at the groundhog. + + BYSTANDER + Is he all right? + + LIBRARIAN + He's just fine. That's two inches + of bullet-proof glass there. You + can't be too careful in this day + and age. + 86. + + + CUT TO: + + +98 EXT. GOBBLER'S KNOB - DAWN 98 + + The groundhog is just poking his head out of the hole. He + stands full height and looks around. + + Phil looks directly at the groundhog with hate and scheming + madness. + + Suddenly, Phil whips out a big kitchen knife from under his + icoat and dives at the groundhog. Town officials and police + throw themselves on Phil as the groundhog scampers safely + back into his hole. + + Rita and Larry videotape the incident, aghast at Phil's + insane attack. + + CUT TO: + + +99 EXT. GOBBLER'S KNOB - ANOTHER DAY 99 + + Larry and Rita are loading their equipment back into the + van. Rita spots Phil standing on the other side of the + crowd, staring at her. She marches straight over to him, + furious. + + RITA + Where were you this morning? How + could you possibly miss the shoot? + + PHIL + (at the end of his rope) + I've come to the end of me, Rita. + There's only one way out now. Just + remember, we had a wonderful day + together once. + + Phil kisses her gently on the cheek and walks off toward + the back of the knob. Rita watches him, then follows at a + discreet distance, very worried. + + In a small clearing behind the man-made groundhog burrow, + Buster Greene and TWO other GROUNDHOG CLUB OFFICIALS are + lifting a cage into the front seat of Buster's pickup. + + BUSTER + (to the groundhog) + There you go, ol' buddy. Good job. + Hey! He smiled at me. See that? + 87. + + + FIRST OFFICIAL + Right. + + BUSTER + (securing the cage) + There, little fella. + +The other official looks up and sees Phil walking toward +them like a zombie. + + OTHER OFFICIAL + Hi, there, mister. Something I can + do you for? + +Without a word, Phil jumps quickly into the cab of the +pickup and starts it up. + + FIRST OFFICIAL + Hey! What're you--! + +Phil drives off in Buster's truck. + +Rita witnesses the groundhog-napping and runs back toward +the knob. + + RITA + (shouts) + Larry! + +Buster and his aides race for another car parked nearby. + + BUSTER + Jake! Call the police, and get the + word out. Somebody kidnapped Phil. + We're going after him. Come on, + Tommy! + +They jump into a car, Buster guns the engine and takes off +after the pickup. + +Rita runs up to Larry and grabs the camera on the fly. + + RITA + Let's go! Phil just snatched the + groundhog! + +Larry does a slow take and starts gathering up the rest of +the gear. + + LARRY + (mutters) + Probably some kind of gerbil deal. + Pervert. + 88. + + + CUT TO: + + +100 EXT. LOCAL ROAD - MINUTES LATER 100 + + Phil comes tearing around a slippery curve, followed by + Buster in his car, and close behind him, a contingent of + police cars and the Channel 9 news van. + + +101 INT. PICKUP - CONTINUOUS 101 + + Phil looks at the groundhog on the seat next to him, then + punches the gas as he turns up a mountain drive. + + PHIL + Coming to the end of the trail, + Phil. Then we're going out in a + blaze of glory. + + +102 INT. BUSTER'S CAR - SAME TIME 102 + + Buster pursues Phil with relentless determination. + + BUSTER + Nobody takes my groundhog and gets + away with it. + + +103 INT. THE NEWS VAN - SAME TIME 103 + + Rita is driving. Larry is hooking up the camera. + + RITA + (very upset) + What is he doing? What can he be + thinking? He must'v just snapped. + + Larry squeezes into the passenger seat with the camera + mounted on his shoulder. + + LARRY + This oughta be good. + + +104 EXT. MOUNTAIN ROAD - CONTINUOUS 104 + + The cars chase the pickup to the top of the mountain. + + +105 INT. BUSTER'S CAR - CONTINUOUS 105 + 89. + + + BUSTER + Okay! I know this road. There's no + way off 'cept the way we come up. + + FIRST OFFICIAL + All right! We got him now. + + +106 EXT. LOGGER'S LEAP - CONTINUOUS 106 + + The pickup is losing its lead over the pursuers as it nears + the sharp mountain cliff. + + +107 INT. THE PICKUP - SAME TIME 107 + + Phil looks in his rearview mirror at the cars chasing him. + He glances down at the groundhog. He takes a breath. + + PHIL + Okay, pal. It's showtime. + + Phil hits the gas. + + +108 INT. THE NEWS VAN - SAME TIME 108 + + Larry is taping as Rita comes around the curve just in time + to see the pickup truck speeding toward the cliff. Rita + hits the brakes and watches in horror. + + RITA + PHIL! NO! + + +109 EXT. LOGGER'S LEAP - CONTINUOUS 109 + + The pickup bursts through a retaining fence and rockets + over the edge of the cliff. + + The pickup seems to hang in the air for a long time, then + it begins its SLOW MOTION descent, falling ever so + gracefully until it impacts on the granite rock face far + below. + + BIG EXPLOSION. BIG FIREBALL. FLAMING WRECKAGE. Then a small + click, followed by "I Got You, Babe." + + DISSOLVE TO: + + PHIL + 90. + + + He slowly opens his eyes and blinks. He looks around and + realizes he's back in his room at the bed and breakfast. + + PHIL + Ah, nuts! + + Phil throws off the covers and hurls himself out of bed. + + CUT TO: + + +110 INT. NED RYERSON'S OFFICE - DAY 110 + + Ned and a client are huddled over his desk, looking at some + papers. A BODY DROPS quickly past the window behind them. + It's Phil. + + They rush to the window and look down at the sidewalk three + stories below. Phil is sprawled there like a broken puppet, + lifeless. + + +111 INT. PHIL'S ROOM - DAWN 111 + + "I Got You, Babe" is playing. Phil wakes up and smashes the + radio. + + CUT TO: + + +112 EXT. STREET - DAY 112 + + Rita and Larry are walking down the street when a GREYHOUND + BUS pulls out of the bus station and accelerates down Main + Street. Suddenly, Phil, dressed in pajamas and overcoat, + leaps out in front of the speeding bus. Rita witnesses the + whole incident. + + DRIVERS' POV + + He sees Phil through the windshield but doesn't even have + time to hit the brakes before he runs right over Phil. + + CUT TO: + + A TV SCREEN + + A woman in some horror movie is screaming. + + REVEAL + 91. + + + Mrs. Lancaster is watching TV in the parlor of the hotel. + In the corridor behind her, Phil walks by, dressed in a + robe, carrying an electric toaster and a towel, heading for + the bathroom. + + A few moments pass. + + We hear the zap of an electrocution, the lights and TV + flicker and dim for a moment, then come back on again. + + CUT TO: + + +113 EXT. THE BANK - DAY 113 + + The building is surrounded by police, all crouched behind + their cars with guns and rifles trained on the doors. + + Suddenly, the doors burst open and Phil comes running out + of the bank screaming, dressed in camouflage fatigues and + armed to the teeth with an assault rifle in one hand, an + Uzi in the other and a couple of handguns stuck in his + belt. He doesn't get three feet before he is shot down in + an incredible hail of gunfire. + + Rita stands beside the camera gaping in horror while Larry + records the grisly massacre. + + +114 INT. CORONER'S - DAY 114 + + Rita stands by weeping while Phil's body is covered with a + sheet. + + In the shadowy darkness under the sheet, a CLICK is heard + and Phil's eyes pop open. "I Got You, Babe" plays. + + +115 INT. PHIL'S ROOM - CONTINUOUS 115 + + Phil pulls the sheet off his face and finds himself back in + his bed in his room. A tear falls from his eye. + + CUT TO: + + +116 INT. DINER - DAY 116 + + Phil and Rita are sitting in the diner at their regular + table. + + RITA + I'm sorry. What was that again? + 92. + + + PHIL + I'm a god. + + RITA + You're God? + + PHIL + No, I'm A god. Not THE God -- at + least I don't think I am. + + RITA + That's reassuring. For a mintute + there I thought you might be crazy. + + PHIL + No, it's true. It's the only + possible explanation. I'm a + supernatural being. + + RITA + Because you survived a car wreck? + +The waiter comes to the table. + + WAITER + Are you ready to order? + + PHIL + (to Rita, ignoring the + waiter) + Not just the car wreck! I didn't + just blow up yesterday, you know. + I've been run over, drowned, + crushed, stabbed, shot, + electrocuted, poisoned, frozen, + burned, and asphyxiated -- + + RITA + Really? + +The waiter looks at him like he's nuts. + + PHIL + -- but I always wake up the next + day without a scratch, without even + a headache. I'm telling you, I'm + immortal. + + WAITER + The special today is blueberry + waffles. + + RITA + 93. + + + Why are you telling me this? + + WAITER + (shrugs) + Because some people like blueberry + waffles. + + RITA + (to the waiter) + Not you -- him. + + PHIL + Because I want you to believe in + me. + + RITA + You're not a god, Phil. Take my + word for it. This is twelve years + of Catholic school talking. + + WAITER + I could come back if you're not + ready. + + PHIL + How do you know I'm not a god? + + RITA + Please. + + PHIL + How do you know? + + RITA + Because it's not possible. + + WAITER + I'll come back. + +The waiter turns to leave. + + PHIL + Hey, Billy! + +The waiter turns back. + + PHIL + This is Bill. He's been a waiter + for three years because he left + Penn State and had to find work. He + likes the town, he paints toy + soldiers, and he's gay. + 94. + + + WAITER + I am not! + +Phil grabs an astonished Rita and pulls her over to the +next table. + + RITA + What are you doing? + + PHIL + This is Doris Kleiser and her + fiance Fred. + + DORIS + Do I know you? + + PHIL + They're supposed to get married + tonight but Doris is having second + thoughts. + + FRED + What! + +Doris touces her engagement ring, dumbfounded. Rita is a +little embarrassed. + + RITA + Lovely ring. + + DORIS + Thanks. + +Phil drags Rita to the counter. + + PHIL + This is Ralph. Say "Hi," Rita. + +Rita flashes a quick smile. + + RALPH + Don't believe I've had the -- + + PHIL + Ralph hates his life here and wants + to drive around town smashing into + policemen. + + RALPH + Well, who don't? + + RITA + This is some kind of trick. + 95. + + + PHIL + Yes, it's a trick. But maybe the + real God cheats, too. Maybe God + isn't omnipotent -- he's just had a + lot of practice. + + RITA + How about that guy? + + PHIL + Tom. Worked in the coal mine 'til + they shut it down. + + RITA + Her? + + PHIL + Nancy. Went to Lincoln High School + in Pittsburgh. Takes herself out to + lunch once a week. + +Rita is getting very bewildered. From their reactions she +can see that Phil is right about each and every one of +them. + + RITA + How do you know these people! + + PHIL + I told you the truth. In five + seconds there's going to be a + grease fire in the kitchen. Five, + four -- + + RITA + This is nuts. + + PHIL + -- three, two, one. + +Phil points to the kitchen as smoke starts pouring from the +service window. Everyone in the diner is now staring at +them + + RITA + (trying to puzzle it out) + Okay, enough. Let's just sit down + and think for a second. + (they sit) + What do you know about me, Phil? Do + you know me, too? + +Phil takes a long pause. + 96. + + + PHIL +I know all about you, Rita. I know +you like producing, but hope for +better than Channel 9, Pittsburgh. + + RITA +Everyone knows that. + + PHIL +You like boats but not the ocean. +There's a lake you go to in the +summer with your family, up in the +mountains, with an old wooden dock +and a boathouse with boards missing +in the roof, and a place you used +to crawl underneath to be alone, +and at night you'd look up and see +the stars. You're a sucker for +Rocky Road, Marlon Brando, and +French poetry. You're wonderfully +generous; you're kind to strangers, +and children; and when you stand in +the snow, you look like an angel. + + RITA +How are you doing this? + + PHIL +I told you! I wake up every day +right here, right in Punxsutawney, +and it's always February second and +I can't turn it off. If you still +don't believe me, listen -- + + RITA +But, Phil -- + + PHIL +Listen! In ten seconds Larry is +going to walk through that door and +take you away from me. + + RITA +Larry? + + PHIL +But you can't let him. Please +believe me. You've got to believe +me. + + RITA +I don't -- + 97. + + + Larry pokes his head in the doorway, looks around and spots + Rita. + + PHIL + Look. + + As Rita turns around to see Larry, Phil grabs a pen and pad + from a passing waitress and quickly writes something down + as Larry makes his way to their table. Phil finishes + writing. + + LARRY + (to Rita) + You ready? We better get going if + we're going to stay ahead of the + weather. + + Phil hands the paper to Rita. She reads it. + + RITA + (reading) + " -- stay ahead of the weather. " + + Larry looks at the paper. + + LARRY + What's that? + + Rita looks at Phil with new understanding and empathy. + + CUT TO: + + +117 EXT. PUNXSUTAWNEY - DAY 117 + + Phil and Rita are walking down the sidewalk. + + PHIL + Afer I got over the shock, it was + kind of fun for the first year or + two. I had anything I wanted. + Except you, of course. + + Phil abruptly pulls Rita aside. A big pile of snow slides + off a roof and onto the sidewalk where they would have + walked. Phil doesn't even look up. Rita looks, as if she's + seeing a miracle. + + RITA + How did this start? + + PHIL + 98. + + + I don't know. I just woke up. Just + like always. + + NED RY-ERSON approaches. + + NED + Hey, Phil! Phil Connors! + + PHIL + Rita, this is Ned Ryerson. He's an + asshole. + + NED + He remembers me! + + Phil and Rita keep walking. Rita looks back at Ned, + perplexed + + PHIL + Trust me on that one. + + CUT TO: + + +118 EXT. FUDGE SHOP - DAY 118 + + Phil and Rita come out of the shop, sharing pieces of + fudge. + + RITA + This is great. + + PHIL + No, it isn't. You hate fudge. + + RITA + Just how well do we know each + other? + + PHIL + I told you. I know everybody. + + Rita stops walking. + + RITA + Did we ever -- you know? + + PHIL + (teasing) + Did we ever! You were an animal. + + RITA + 99. + + + Come on. + + PHIL + You're European trained, aren't + you. + + Phil continues walking. + + RITA + (blushing) + Phil! It's not funny. + + She catches up to him. Phil turns to her. + + PHIL + You weren't interested. + + RITA + (relieved) + Okay. + + She begins walking again. + + RITA + Not that it would've been so awful. + + PHIL + I understand. + + RITA + I just had to know whether to smack + you or not. + + PHIL + You did. + + RITA + Good. + + CUT TO: + + +119 EXT. PARK - DAY 119 + + Phil and Rita are sitting on a park bench. + + PHIL + So do you believe any of this? + + RITA + 100. + + + I don't know. I don't know how else + you could know so much. Maybe it is + really happening. + + PHIL + I used to try to stay up all night + sometimes. I thought if I could + stay conscious I could figure out + what was going on, or at least hang + onto something from the day before. + But I gave up on that a long time + ago. + + Rita looks at him with compassion. + + RITA + It sounds so -- lonely. + + PHIL + (trying to shrug it off) + It's not that bad. You get used to + it. + + Rita comes to a decision. + + RITA + Maybe I should spend the rest of + the day with you -- as an objective + witness. Just to see what happens. + Okay? + + PHIL + Yeah, sure. That'd be okay. + + CUT TO: + + +120 INT. PHIL'S ROOM - NIGHT 120 + + A hat is lying on Phil's bed. A playing card flies past. A + second playing card sails right into the hat. Another + playing card sails past, missing. Another playing card + sails right in Phil and Rita are tossing cards. Rita is + missing. Phil is hitting. + + PHIL + It's not in the wrist so much as + the fingers. Be the hat. + + RITA + It would take me a year to get good + at this. + 101. + + + PHIL + Uh-uh. Six months. Four, five hours + a day. + + RITA + Is this what you do with eternity? + + PHIL + Now you know. It's like waiting for + a bus that never comes. You should + see me play pool -- and bowling, + juggling, hacky sack. I can ride a + unicycle. + +There's a knock on the door. + + PHIL + I'll get it! + +Phil jumps for the door and opens it. The PIZZA GUY is +there. + + PHIL + Hi, Marty. $11.75 including the + delivery charge, right? + + PIZZA GUY + Uhhhh -- + +Phil pays him, takes the pizza and closes the door. + + RITA + (opening the pizza box) + MMMM. Pepperoni and olives. My + favorite. + + PHIL + Of course. I told you, I know + everything. + + RITA + (taking a bite of pizza) + I don't think I'd want to know + everything that's going to happen. + I like to be surprised. + + PHIL + That's not the worst part. + + RITA + What's the worst part? + + PHIL + 102. + + +The worst part is starting over +everyday. Tomorrow you won't +remember any of this. You'll go +back to treating me like a complete +jerk -- + + RITA +No -- + + PHIL +It's not your fault. I am a jerk. + + RITA +No, you're not. + + PHIL +Okay, I'm not. It really doesn't +make a lot of difference. I've +killed myself so many times, I +don't even exist anymore. I'm just +completely empty. + + RITA +Or completely clean. + + PHIL +If you're going to be this positive +all the time I may have to rough +you up a little. + + RITA +Wait! Have we done this before? + + PHIL +Which part? + + RITA +You getting me up here, the card +game, the pizza -- + + PHIL +No, this is the first time. + + RITA + (excited) +Well? + + PHIL +Well, what? + + RITA +Well how does it feel to be doing +something completely new? + 103. + + + Phil looks at her with tremendous affection and gratitude. + + PHIL + Good. Really good. + + He takes a slice of pizza and starts eating with gusto. + + DISSOLVE TO: + + +121 EXT. PHIL'S ROOM - THE PIZZA BOX - LATER 121 + + There's only one slice left. + + Phil and Rita are sitting together on the bed, close but + not touching. Soft music is playing on the radio. + + RITA + Sometimes I wish I had a thousand + lifetimes. One to be a great + journalist. One to, I don't know, + go back to school, study art, or + auto mechanics. One just to take + care of all the busywork, you know, + pay the bills, get my car tuned up. + One to be the wild woman of Borneo. + One to be Mother Theresa. Maybe + it's not a curse, Phil. It all just + depends on how you look at it. + + Phil stares at her for a long time letting this sink in. + Then he belches really loud. Rita stares at him, then burps + surprisingly loud herself. + + RITA + I want you to know, it's been a + really nice day for me. + + PHIL + Me, too. + + RITA + Maybe, if it's not too boring for + you, we could do it again. + + PHIL + I hope so. + + The clock reads 11:59. Rita grabs Phil's hand. He puts his + arm around her. + 104. + + +They look into each others' eyes. Rita gives Phil a +reassuring smile. She squeezes his hand. Their eyes turn to +the clock. + +11;59 turns to 12:00. + +Rita looks up at Phil as if expecting some magical event. + + RITA + You're still here! + + PHIL + I know. + + RITA + I thought you were supposed to + disappear -- or I was or something. + + PHIL + Not 'til six. + + RITA + You rat! + +She is mad in a playful way. + + PHIL + I never said midnight -- + + RITA + You knew I was waiting for + midnight! + + PHIL + But I never said it. + + RITA + Oh, I can't believe you! + (she slugs him with a + pillow) + I didn't know this was going to + take all night! + + PHIL + Does that mean you're going? + + RITA + No. + +Phil takes Rita's hand. She doesn't resist. + + DISSOLVE TO: + 105. + + +LATER + +Rita is now sitting right next to Phil on the bed, her head +resting on his shoulder. She nods off then catches herself. + + RITA + I'm sorry. + + PHIL + It's okay to go to sleep you know. + I promise I won't touch you -- + much. + + RITA + No, it's all right. I'm not tired. + What were you saying? + +Her eyes start to close again. + + PHIL + I was saying that the cow was + eventually returned to it's + rightful owner. + + RITA + (drifting off) + Really? + + PHIL + That's right. + +He looks at her, sees she's truly asleep, and gently +maneuvers her into a comfortable reclining position on the +bed. Then he carefully puts a pillow under her head and +settles down next to her. + + PHIL + What I was going to say was, I + think you're the kindest, sweetest, + prettiest, most wonderful girl I + ever met in my life. + +She starts to stir but he gently kisses her back to sleep. + + PHIL + Shhhh. That's good. + (satisfied she's still + asleep) + 106. + + + I could never tell you this, but + from the first minute I looked at + you I wanted to just hold you close + and be with you forever. Everytime + I saw you around the station, I + thought my heart was going to + explode. I used to dream about us + being together. In my dream you + loved me as much as I loved you and + we didn't have to say anything but + I knew you understood everything. + + She stirs again but he kisses her until she returns to deep + sleep. + + PHIL + I know a guy like me could never + deserve to have someone like you, + but if I did, I swear I would love + you for the rest of my life. + + Rita opens her eyes. + + RITA + (half-asleep) + Did you say something? + + PHIL + Good-night, Rita. + + He kisses her gently on the forehead. + + RITA + Good-night, Phil. + + CLOSE UP - THE CLOCK + + The time changes from 5:59 to 6:00. The radio starts + playing. + + Phil wakes up alone in bed. He lies there for a moment then + leaps out of bed like a man reborn and heads straight for + the shower. + + CUT TO: + + +122 EXT. GOBBLER'S KNOB - DAWN 122 + + Rita and Larry are in the packed press area, beginning to + set up the equipment. + + Phil arrives, carrying two cups of coffee. + 107. + + + PHIL + Rita? + +She looks at him without a trace of the rapport they shared +the night before. + + RITA + Oh, hi, Phil. + + PHIL + Thought you might like some -- + +He hands her the coffee. + + RITA + Thanks! + + PHIL + Careful, it's hot. Larry? + +He hands Larry a cup. + + LARRY + (surprised, mutters) + Yeah, great. + + RITA + We're just setting up. + + PHIL + You know, I bumped into Buster + Greene, he kind of runs this thing, + and he tipped me off that we might + get a better shot over there. + + RITA + Really? + + PHIL + I mean, maybe we should go for it. + What do you think? + + RITA + Sounds good to me. Larry? + + LARRY + Sure, why not? + + RITA + All right. Thanks, Phil. Good work. + +She reaches for an equipment case. + 108. + + + PHIL + I'll get that. + + Phil helps Larry carry the camera gear. + + PHIL + (to Larry) + You and I never talk, Larry. You + got kids? + + Larry looks suspicious. Rita looks on, reevaluating Phil. + + CUT TO: + + +123 INT. LIBRARY - DAY 123 + + Phil enters the library, approaches the Librarian. + + PHIL + Where would I find the Philosophy + section? + + LIBRARIAN + Down and to the left, 600's. + + Phil walks through the stacks, past the groundhog window. + + CUT TO: + + +124 EXT. A HOUSE - DAY 124 + + Phil rings the doorbell. A kindly young woman, MARY, + answers + + MARY + Yes? + + PHIL + I'd like a piano lesson, please. + + MARY + Oh. Okay, I'm with a student now, + but -- + + PHIL + I'll give you a thousand dollars. + + Mary hesitates only a moment, then ushers Phil into the + house and closes the door. + 109. + + + A moment later the door opens and a LITTLE GIRL with an + armloa of music books exits as if pushed. The door closes + behind her. + + CUT TO: + + +125 INT. HALLWAY - DAWN 125 + + Phil walks happily down the hallway. He passes the chubby + man. + + CHUBBY MAN + Morning. + + PHIL + Buon Giorno, signore. + + CHUBBY MAN + Think it'11 be an early Spring? + + PHIL + "Winter slumbering in the open air + wears on his smiling face a dream + of Spring." + + CHUBBY MAN + Oh. + + CUT TO: + + +126 INT. MARY'S HOUSE - DAY 126 + + Phil and Mary are sitting together at the piano. Phil is + playing, poorly. + + MARY + Not bad, Mr. Connors. You say this + is your first lesson? + + PHIL + Technically, yes. + + Phil plays on, definitely improving. + + CUT TO: + + +127 INT. LIBRARY - DAY 127 + + We see several cuts of Phil studying at the library. + 110. + + + SUPERED over these cuts is a calendar with the pages + flipping by. They all read "February 2." + + CUT TO: + + +128 EXT. GOBBLER'S KNOB - DAWN 128 + + Phil stands in front of the camera, giving his report. + + PHIL + In fact, the groundhog's legendary + ability to predict the weather may + be more than just the German + folklore of the region. Higher + temperatures trigger hormonal + changes in the testosterone levels + of male groundhogs, which may in + fact wake them from hibernation and + send them out to battle with other + males ;for mating rights. So, the + truth is they're not looking for + their shadows, they're looking for + groundhog chicks. + + Rita looks on, clearly delighted with the report. + + CUT TO: + + +129 INT. MARY'S HOUSE - DAY 129 + + Phil is playing the piano with ever increasing skill as + more February 2 calendar pages flip by. + + CUT TO: + + +130 EXT. GOBBLER'S KNOB - DAWN 130 + + Phil is delivering another report. + + PHIL + 111. + + + Groundhog Day, February second, + also known as Candlemas Day or the + Feast of the Purification of the + Virgin Mary, the day Mary first + came to the temple for ritual + blessings following the birth of + the infant Jesus, and celebrated + since the Middle Ages by the + sacramental lighting of candles. + Hence the old Scottish couplet + which long predates the American + groundhog tradition: "If Candlemas + dawns bright and clear, there'll be + two winters in the year." + + Larry whispers an aside to Rita. + + LARRY + Is he making this stuff up? + + RITA + (riveted) + Shhhhh. + + CUT TO: + + +131 EXT. CEMETERY - DAY 131 + + Beyond the graveyard is a work shed with various tombstones + scattered about. Old TUCKER, the town stonecarver, is at + work chiseling a name into a gravemarker. + + Behind him, Phil is chipping away at a small hunk of + marble, sculpting a very lovely cherub. + + Rita sits on a stool eating an apple and sipping hot tea + watching him with amazed interest. + + PHIL + But what if the rules changed? What + if none of your actions had + consequences? + + RITA + There would still be an absolute + morality. There has to be an + absolute good, regardless of the + circumstances. + + PHIL + 112. + + + Oh, is that so, Miss Plato? Then + let me ask you this. Where does + this "absolute good" come from? + From the sky? + + Rita shrugs. + + RITA + I don't know. From my freshman + Philosophy course, I guess. + + They both laugh. Then she looks at him for a long moment + and grins. + + PHIL + What? + + RITA + Nothing. I just can't believe + you're such a fine sculptor. + + Phil takes a bite of her apple and gets up. + + PHIL + I gotta go. + + RITA + Where do you have to go in + Punxsutawney? + + PHIL + I got piano and then drums. + + RITA + Here? + + PHIL + Come on, I'll drop you off. + + They exit. + + CUT TO: + + +132 EXT. MAIN STREET - LATER 132 + + Phil drops Rita off and watches as she crosses the street + to Larry who is waiting on the other side. + + Across the street, Rita takes a wistful glance toward Phil, + then gets in the news van and drives off. + 113. + + + Phil gets out of the car and starts walking, but finds + himself face to face with Ned Ryerson. + + NED + Phil! Phil Connors! I thought that + was you! + + PHIL + Ned? Ned Ryerson! I don't believe + it. I've missed you so much. + + Phil gives Ned a big hug and keeps holding on for an + uncomfortably long time, actually giving Ned a hickey on + the neck. Ned goes into homophobic shock. + + NED + Uh, I gotta get going. Nice to see + you, Phil. + + He hurries off. + + CUT TO: + + +133 INT. MARY'S HOUSE - DAY 133 + + Phil is sitting on the piano bench with Mary, playing + pretty well. Mary is astonished. + + MARY + How long have you been studying, + Mr. Connors? + + PHIL + One day. I'm gifted. + + CUT TO: + + +134 EXT. STREET - DAY 134 + + Phil is walking down the street. He glances down the alley + as he passes, stops, walks back and enters the alley. The + OLD BUM that Phil never noticed before is lying there, + huddled against a wall. Phil goes to help him. + + PHIL + Hey, mister. Hey. Come on, let's + get you somewhere warm. + + The old bum turns to look at Phil, then closes his eyes. + + PHIL + 114. + + + (helps the old man to his + feet) + There you go. + + Phil practically carries him out of the alley. + + CUT TO: + + +135 INT. HOSPITAL EMERGENCY ROOM - NIGHT 135 + + A nurse approaches Phil. + + NURSE + You the one brought in the old man? + + PHIL + How is he? + + NURSE + He passed away just now. + + Phil pauses for a long moment. + + PHIL + What'd he die of? + + NURSE + (shrugs) + He was just old. It was his time. + + PHIL + I want to see his chart. Excuse me. + + Phil brushes past her and makes for the big double doors + leading to triage. + + NURSE + Sir, you can't -- + (hurrying after him) + Look! Some people just die! + + PHIL + Not on my watch. + + CUT TO: + + +136 INT. DINER - MORNING 136 + + Phil is propping up the old man at a table, trying to feed + him hot soup. + 115. + + + CUT TO: + + +137 INT. HOSPITAL - DAY 137 + + Phil is furiously looking over X-rays, flipping through + medical journals and making notes. + + CUT TO: + + +138 EXT. ALLEY - NIGHT 138 + + Phil is in the alley, shaking the old man, trying to rouse + him. + + PHIL + Come on. Hang on. Hang on, there. + Breathe. + + Phil stops. The body lies, unmoving. Phil sits back, + breathing heavily. + + CUT TO: + + +139 EXT. GOBBLER'S KNOB - DAWN 139 + + Phil is delivering his report. Everyone there is silent and + listening to Phil. Even the other reporters have turned + their cameras on him. + + PHIL + When Chekhov saw the long winter, + it was a winter bleak and dark and + bereft of hope; and yet, we know + winter's only one more step in the + cycle. And standing among the + people of Punxsutawney -- + (Phil looks directly at + Rita) + -- basking in the warmth of their + hearths and hearts, I couldn't + imagine a better fate than a long + and lustrous winter. + + Phil smiles. Rita smiles, too. + + PHIL + For Channel 9 news, I'm Phil + Connors. + + There is much applause. Even Larry brushes away a tear. + 116. + + + Phil hands the microphone to Rita. + + RITA + Phil -- + + PHIL + Sorry. I'm gonna be late. + + Phil rushes off. + + RITA + Late for what? Phil? + (To Larry) + Could you break it down and wrap + out of here by yourself, Larry? + + LARRY + Sure. + + RITA + Thanks. + + Rita rushes off after Phil. + + CUT TO: + + +140 EXT. STREET CORNER - DAY 140 + + Phil walks briskly toward an intersection, glancing + nervously at his watch. Rita follows him at a distance, + hurrying to keep up. + + MARIE, a little nine-year-old girl, approaches the + intersection shielding her brand new puppy under her winter + coat. She isn't paying attention to traffic and fails to + notice a big truck bearing down on her. + + As she steps off the curb, Phil arrives and, with split- + second timing, nonchalantly but firmly grabs her coat to + hold her back, just as the big truck rushes past in the + street, narrowly missing her. + + PHIL + Hey! Did you forget to look both + ways? You didn't even look one way. + + MARIE + My doggie was cold. + + PHIL + 117. + + + Yeah, well, my doggies are + freezing, but I ' m still gonna + watch out for cars. See you around, + kid. + + Phil looks at his watch and rushes off. + + Rita looks on amazed and follows him at a distance. + + CUT TO: + + +141 INT. BERGHOF RESTAURANT - DAY 141 + + Phil enters the crowded restaurant and pushes past all the + people waiting to be seated. He walks casually but quickly + and purposefully around the tables, squeezing past busy + waitresses and seated patrons toward a commotion in the + back of the restaurant. + + TWO BUSINESSMEN are leaning over a THIRD. + + BUSINESSMAN + Oh, my God! He's having a heart + attack! + + SECOND BUSINESSMAN + Lay him down! + + BUSINESSMAN + What do I do? He's not breathing1 + + SECOND BUSINESSMAN + He's turning blue! Help! + + Phil walks straight up to the BLUE-FACED MAN, grabs him + from behind, gets him in the Heimlich grip and squeezes + sharply. + + A bolus of food flies across the room. The victim coughs + and sputters, then starts breathing again. + + FIRST BUSINESSMAN + Jerry, you okay? + + SECOND BUSINESSMAN + I think that did it. + + Phil lets go of the grateful victim. + + PHIL + 118. + + + If you're going to eat steak, get + better teeth, will you? Enjoy the + rest of your lunch, gents. + + He exits. + + JERRY + Wow. Who was that guy? + + Phil gets to the door and finds Rita standing there, + looking at him in awe. + + PHIL + Rita! + + RITA + (confronting) + -- Okay, hold it right there. I + want to know what' s going on and I + want to know right now. + + PHIL + I'm sorry, I'm really pressed right + now. Meet me outside the hospital + about 5:00 and we'll talk about it. + + RITA + The hospital? + + Phil looks at his watch and rushes away. + + PHIL + Try the curlycue fries. Killer. + + CUT TO: + + +142 INT. HOSPITAL CORRIDOR - LATER 142 + + A gurney bursts through the double doors, paramedics and + nurses in attendance. The patient is a teenage girl, JANEY, + totally unconscious. + + +143 INT. EMERGENCY ROOM - CONTINUOUS 143 + + The gurney is wheeled into the surgery. + + NURSE + Looks like insulin shock. She's + probably diabetic. + 119. + + + Phil enters wearing a doctor's scrub suit and begins + barking orders. + + PHIL + She's not diabetic. It's an + overdose. Let's get her up here and + pump her stomach, then I want a + complete blood work-up, STAT. + + NURSE + Right, Doctor -- uh -- + + She realizes she's never seen him before. + + PHIL + Call me Phil. + + NURSE + Phil. Like the groundhog? + + PHIL + Exactly. + + CUT TO: + + +144 INT. CHILDREN'S WARD - LATE AFTERNOON 144 + + Sick CHILDREN in hospital gowns are gathered around Phil, + laughing and squealing. Phil is. making balloon animals. + + KID + Make a giraffe! + + PHIL + A giraffe? Let's see. It's just + like a dog with a biiiiig -- what + was it? + + ALL THE KIDS + Neck! + + PHIL + A big tail? Okay, a big tail. + + KIDS + Neck! A big neck! + + Phil makes an animal really quickly. + + Rita watches from the doorway, unseen by Phil. + 120. + + + PHIL + There. A dog with long legs. + + KIDS + Nooo! Long neck! + + PHIL + Oh! Right! A dog with a big head. + + KIDS + Noooo! + + The kids attack Phil. Lots of rolling around on the bed. + Rita watches, completely enthralled. + + Finally, Phil extricates himself and exits to find Rita + waiting. + + RITA + All right, now what's going on? + + PHIL + (taking her arm) + Come on. We have to hurry. + + CUT TO: + + +145 EXT. RESIDENTIAL STREET - A LITTLE LATER 145 + + Phil rushes down the sidewalk with Rita close behind him. + He stops under a tree and puts his arms out just as a YOUNG + BOY falls out of the tree and into his arms, knocking him + to the ground. The kid runs off unhurt as Phil gets back to + his feet and brushes himself off. + + PHIL + (to Rita) + That little bastard has never + thanked me once. I ought to just + let him fall. Teach him a lesson. + + RITA + Phil, this is too -- I must be + dreaming. + + PHIL + Yeah, you and me both. Come on, + We're almost done. + + CUT TO: + 121. + + +146 EXT. ALLEY - NIGHT 146 + + Phil kneels on the cold ground beside the old bum who lies + huddled against the wall, immobile. + + Rita is standing by at the end of the alley, watching as + Phil examines him. + + Phil writes something down on a small pad. He finishes, and + sets it down by the old man. Then he takes his coat and + uses it to cover the man up. A siren is heard. + + Phil stands and walks away, as an ambulance pulls into the + alley. + + RITA + Is he -- ? + + PHIL + Yeah. Let's go. + + RITA + In a minute. + + She waits and watches. + + The paramedics, BUD and ANDY, get out of the ambulance and + inspect the scene. + + BUD + It's ol' Really. + + ANDY + That's a shame. + + BUD + Look here. + + Bud picks up the note Phil left. + + Rita steps closer. + + RITA + May I see that? + (reading aloud) + "Every night, by cold bricks glow I + watch the shadow rising from this + old man in the snow. At 8:02 we let + it go." + + ANDY + (repeating) + "At 8:02 we let it go." + 122. + + + BUD + Wow, that's nice. + + Rita hands him the note and quickly walks away. + + ANDY + Suppose he wrote it? + + BUD + (doubtful) + Are you kidding? + + CUT TO: + + +147 EXT. MAIN STREET - NIGHT 147 + + Rita catches up with Phil outside the Pennsylvanian, the + town's oldest and best hotel. + + RITA + Now what? + + PHIL + Come on. You'll see. + + They enter. + + CUT TO: + + +148 INT. HOTEL LOBBY - CONTINUOUS 148 + + As Phil and Rita enter there is music coming from a side + room. + + The black velvet announcement board proclaims: KLEISER- + SCOTT WEDDING. + + CUT TO: + + +149 INT. PARTY ROOM - CONTINUOUS 149 + + Phil and Rita walk into a banquet room decorated with + streamers, balloons and flowers. There is a long buffet + table and a punch bowl. Another long table is loaded with + wedding gifts. A small band is playing. + + People are dancing. The wedding party is dressed in rented + tuxedos and appropriately pouffy bridesmaid dresses. + 123. + + + RITA + This is incredible. Who's wedding + is this? + +Phil grabs two glasses of champagne and hands one to Rita. + + PHIL + Just some friends. Doris! + +The bride, DORIS, young and cheery, is on her way to see +Phil. She is dragging FRED, her groom, with her. + + DORIS + Hi, Mr. Connors! Come ON, Freddy. + + FRED + Hi. + + DORIS + This is the guy I told you about. + + FRED + No way! + + PHIL + How's it going, Fred? + + FRED + Hey, I'd like to thank you for + making Doris go through with this. + + PHIL + Are you kidding? Don't buy that + playing hard to get stuff. She's + crazy about you, you stud. + + DORIS + I'm really glad you could come. + + PHIL + Congratulations. + +Phil reaches into his pocket, pulls out two tickets and +hands them to Doris. + + DORIS + What is this? Oh, no way! No way! + Ahhh! + +Doris throws herself on Fred and jumps up and down. Fred +grabs the tickets. + + FRED + 124. + + + Wrestlemania! No way! No way! + +Doris throws herself on Phil. + + DORIS + How did you know? + + FRED + We're like going to be in + Pittsburgh anyway. + + PHIL + I don't know. I just thought about + you two, tried to picture what + you'd want more than anything in + the world and it came to me. Bing! + Wrestlemania. + + FRED + Thanks, Mr. Connors. You're a real + pal. + + DORIS + This is the best! + +Doris gives Phil a kiss. She and Fred move on. + + RITA + I don't understand. You rush from + one person to the next in a town + you only visit once a year, you + know everything before it happens, + and you -- I don't know, you seem + to be Punxsutawney's leading + citizen. + +The band finishes a set. The guests stop dancing and head +for the refreshments. Phil and Rita are left alone for the +moment + + PHIL + What do you want to know? + + RITA + Who are you? + + PHIL + I really don't know. + + RITA + No, there's something going on with + you. + 125. + + + PHIL + Okay, I wake up in Punxsutawney on + February second -- every day. It's + supernatural. I don't even try to + explain it anymore. So, I live each + day as if it's the only day I've + got. + +Rita stares into his eyes for a very long time, but sees +only good, true things. + + RITA + That's pretty amazing. + + PHIL + You want to know what's really + amazing? I've been waiting for you + every day for ten thousand years. I + dream of you every night of my + life. You've been my constant + weapon against total despair, and + just knowing you exist has kept me + alive. How's that? + +Rita can't even speak. This is clearly the nicest thing +anybody has ever said to anybody. + +Mary the piano teacher notices Phil. + + MARY + Phil! + (to her friend) + This is the guy. + + PHIL + Hello, Mary. Rita, this is one of + Punxsey's finest musicians. + + MARY + Give me a break. You should talk. + Why don't you play something? + + PHIL + No, I -- + + MARY + Please. + + FRED + Hey, Mr. Connors. Go for it. + +Phil looks at Rita. She nods and shrugs. + 126. + + + Phil walks up to the platform and sits at the piano. He + begins to play a slow, serious, classical piece. Everyone + falls silent. It's so beautiful, Rita is almost in tears. + + Then, after a pause to let the serious notes sink in, Phil + transforms the piece into a fast, lively, upbeat jazz romp. + + Everyone is delighted, and as the rest of the band kicks + in, everyone grabs a partner and begins to dance. + + An old coot, UNCLE LEO, grabs Rita and the two of them + dance up a storm. + + LEO + That's a great guy you've got + there. Doctor Connors fixed my + back, you know. + + RITA + Doctor Connors? + + Rita looks over at Phil, joyously playing the piano. + + CUT TO: + + +150 EXT. STREET - NIGHT 150 + + It is snowing lightly. Phil and Rita are walking slowly, + arm in arm, close. They stop and embrace. Phil looks at + Rita. She looks like an angel. + + PHIL + Wait! Don't move! + + Phil scoops up some snow and begins packing it down, + furiously, joyously, then rolling it into a large ball. + + RITA + Making a snow man? I'll help. + + PHIL + No, stay there. Stand right there. + + Phil lifts the now larger chunk of packed snow and sets it + on a mailbox. Then he looks at her and starts to sculpt it. + + DISSOLVE TO: + + LATER + 127. + + +Phil is using a stick and the heat of his bare hands to +model a delicate fold in the snow sculpture. Several +bystanders look on with interest as Phil stands back from +his work. + + RITA + Can I look? + + PHIL + Okay, look. + +It is an excellent likeness of Rita, the snow white as +alabaster, pure as marble, a beautiful and delicate homage. + + RITA + (overwhelmed) + Nobody's ever done this for me. Not + even a drawing. It's beautiful. + + PHIL + This is how I see you. When it all + gets too much, I just close my eyes + and there you are just like this. + Take it home and keep it in the + freezer. + +Rita embraces Phil. They are about to kiss, looking deep +into each others eyes. + + PHIL + This one's for the Frog Prince. + + RITA + What? + + PHIL + Nothing. + +They kiss -- a long, deep, soul-stirring kiss. + + PHIL + Will you come with me? + +Rita nods. They continue standing there, embracing, warming +each other in the cold night air. + + RITA + (looks back at the ice + sculpture) + We're just going to leave her? + + PHIL + 128. + + + It doesn't matter. Really, it + doesn't. + +They kiss again. + + CUT TO: + +CLOSE UP - THE CLOCK + +The digital clock-radio changes from 5:59 to 6:00. Silence. +No Sonny and Cher, no deejays -- nothing. + +Phil sits up in bed. He looks around the room. Things are +different, messier. Then he sees the covers move. Wide-eyed +now, he looks over and sees Rita waking up, snuggling deep +under the covers. + + PHIL + (disbelieving) + It's not true. It's not. It can't + be true. Rita? Rita! + + RITA + (stretching luxuriously) + Mmmm. Morning. + +Phil pounces on Rita, showering her with kisses. + + PHIL + You're here! My god! I can't + believe you're here! + + RITA + Glad to see you, too. + + PHIL + No! It's happened. Don't you get + it? It's tomorrow! It's tomorrow! + It's + +Phil turns on the radio. + + DEEJAY + -- still shoveling put the + highways, but if you're walking, + it's a beautiful day. + + SIDEKICK + Yeah, the snow kind of cleaned + everything up -- + + DEEJAY + -- except your mouth. + 129. + + +Phil kisses the radio. + + PHIL + I love those guys. + + RITA + Are you always this jolly in the + morning? + +Phil runs to the window and looks out. + +HIS POV - THE STREET + +The street ;is virtually empty, the town just waking up. +Kids are throwing snowballs. + + PHIL + No groundhog! Rita! They're all + gone! + + RITA + You must've had some dream. + +Phil stops, thinks. + + PHIL + Did I just dream it? + +Phil opens the door and runs into the hallway wearing only +pajama bottoms. + + RITA + Phil? Phil! + +Rita sits up in bed and waits. Suddenly, from somewhere +else in the inn comes the sound of Phil at the piano +expertly playing a difficult classical piece. He stops +after a few bars. + + PHIL (O.C.) + Yeah!!!! + +Phil runs back into the room. + + PHIL + It really happened! You're really + here! + +He pounces on Rita again. + + PHIL + You're really actually here. + 130. + + + RITA + (laughing) + I'm here, I'm here! + + They kiss, passionately, hungrily. + + PHIL + Let's go! + + He scoops her up in his arms. + + RITA + Where're we going? + + PHIL + Anywhere! Everywhere! + + CUT TO: + + +151 INT. BREAKFAST ROOM - LATER 151 + + Phil and Rita, dressed now, enter and encounter Mrs. + Lancaster Phil hugs her. + + MRS. LANCASTER + Oh, my! + + PHIL + Florence! Say hello to Rita. She + loves me. + + MRS. LANCASTER + I'm not surprised. + + He kisses her on the cheek and rushes out with Rita. + + +152 EXT. THE STREET - DAY 152 + + Phil and Rita walk down Main Street hand in hand. + + A MAN + Phil! Good morning! + + A LADY + Mr. Connors. I wanted to thank you. + + PHIL + That's all right. I -- + + A FLORIST steps out of the flower shop with a bouquet. + 131. + + + FLORIST + Phil, here. I want you to have + these. + + PHIL + Thanks, Carl. + +Phil smells the flowers, and hands the bouquet to Rita. + + PHIL (V.O.) + And so began my final lifetime, and + ended the longest winter on record. + I would find myself no longer able + to affect the chain of events in + this town, but I did learn + something about time. You can waste + time, you can kill time, you can do + time, but if you use it wisely, + there's never enough of it. So + you'd better make the most of the + time you've got. + +A car skids on the ice and smashes into a tree. Phil and +Rita rush over to help, but the driver waves that he's +okay. Rita and Phil continue their walk. + + PHIL (V.O.) + Larry never got through the + blizzard, so none of my groundhog + reports ever made it on the air. + But Rita and I -- we lived happily + ever after. + +Phil and Rita walk off together. + +Across the street, Larry is trying to get rid of Ned +Ryerson who is doggedly trying to sell him insurance. + + NED + But Phil told me you were his + accountant! + + LARRY + Look, I told you! He's nuts! + +Larry keeps trying to walk away, but Ned won't leave him +alone. + + NED + Let me just tell you about single + premium life- - + 132. + + +Finally, Larry slugs Ned and storms off, leaving Ned +floundering in a snowbank. + +Phil and Rita walk on as we pull up and away from Main +Street revealing the whole of Punxsutawney and the snowy +countryside that embraces it. + +THE END + \ No newline at end of file diff --git a/scripts/Groundhog Day.txt b/scripts/Groundhog Day.txt new file mode 100644 index 0000000000000000000000000000000000000000..2a4718517e280a30052b8f3a75d747cf3f51fbc4 --- /dev/null +++ b/scripts/Groundhog Day.txt @@ -0,0 +1,7529 @@ + + + + GROUNDHOG DAY + + + + Written by + + Danny Rubin + + + + + + + + + Second Revision by + Harold Ramis + January 7, 1992 + + + + FADE IN + + HIBERNATING GROUNDHOGS + A family of groundhogs is nestled together in their burrow + sleeping off the end of a long winter. + + ROLL CREDITS AND THEME MUSIC + + DISSOLVE TO: + + + + EXT. A FOREST CLEARING - EARLY MORNING + + The crust of an old snowfall still covers the frozen ground, + and the bare, icy branches of the trees glisten dully in the + early morning light. + + CUT TO: + + + + INT. TV STUDIO - SAME TIME + + PHIL CONNORS is standing in front of a blank green wall + gesticulating animatedly at some invisible images on the wall, + talking a mile a minute (MOS) . He looks completely crazy as he + points at nothing and winks to an unseen audience. + + CUT TO: + + + + EXT. WESTERN PENNSYLVANIA - SAME TIME + + CREDITS CONTINUE as we streak across the winter landscape, + flying over fields and farms, small towns and hamlets, railroad + lines and interstates, coalyards and factories, until we cross + the Allegheny River and follow it to the southwest. + + CUT TO: + + + + INT. TV STUDIO - SAME TIME + + Phil continues pointing out features on the blank wall , but + from a new angle we can see that he ' s looking at a monitor out + of the corner of his eye which shows the chromakey insert he's + pointing to -- a national weather map. + + CUT TO: + + + + EXT. NEAR PITTSBURGH - SAME TIME + + The country towns turn to suburbs, traffic on the roads gets + heavier and finally we see the skyline of Pittsburgh and the + confluence of the Allegheny with the Monongahela and the Ohio. + + + + -2- + + + We zoom into a tall building in the downtown area and + + DISSOLVE TO: + + + + INT. PHIL CONNORS' OFFICE - MORNING + + We don't see anyone at first but the office itself speaks + volumes about it's inhabitant-- team pictures of the Steelers + from the Franco Harris-Terry Bradshaw glory years, a framed + memorial portrait of Roberto Clemente, a local Emmy award + statue, an erasable weather map and mountains of personal junk + on the desk, ^windowsill, and every other available surface. + As the CREDITS END, we notice a sleeping figure on the small + sofa, buried deep under a pile of coats and a stolen airline + blanket. + GIL HAWLEY, Executive Producer of the Action News, sticks his + head in the door. + + HAWLEY + Christ, what a pit. Phil" + The sleeping figure rouses himself and looks out at Hawley. + It's Phil, the .Channel 9 Action News weatherman. + + PHIL + + (SLEEPY) + What? + + HAWLEY + It's February first, Phil. You + know what tomorrow is? + Phil sits up and.thinks hard. He's in his mid-thirties, smart, + rugged-looking, perhaps a little too full of himself, but + clearly a guy with a lot of personality. + + PHIL + (catching on) + Oh, no! Not again. + He jumps up and exits the office with Hawley right behind him. + + PHIL + Forget it! I'm not going. + + + + INT. CORRIDOR - CONTINUOUS + + Hawley pursues Phil through the office suite of the Channel 9 + Action News, from the look of it a typical, big city, local + news operation. A logo on the wall identifies the station as + WPGH - Pittsburgh. + Phil ducks into the studio. + + + + -3- + + + + + + INT. STUDIO - CONTINUOUS + + Hawley follows him in and catches up with him at the weather + corner of the Action News set. Phil starts putting weather + stats up on a chart. + + PHIL + Get away from me. I'm working. + + HAWLEY + So what's the outlook? We gonna + get that blizzard? + Phil shakes his head and points to the chart which is headed + "Phil's Phorecast" with a cute caricature of himself drawn next + to the title. + + PHIL + No way. All that moisture coming + up from the Gulf is going to miss + us completely and take a dump on + Harrisburg. + + HAWLEY + (with authority) + Good, 'cause you're going up to + Punxsutawney to cover the + groundhog story tomorrow morning + and I want you back here in time + to do the five. + + PHIL + Jesus, Gil, give me a break, will + you! I covered the goddamn + groundhog last year and the year + before that. + + HAWLEY + And you'll do it :next year and + the year after, too. When I + worked in San Diego, I covered + the swallows coming back to + Capistrano for ten years in a + row. + + PHIL + You should've killed the guy who + made you do that. + + HAWLEY + I wanted to do it. + + PHIL + Then you should've killed + yourself. I don't want to get + stuck with the groundhog for the + rest of my life. + + + + -4- + + + + HAWLEY + It's a cute story. He comes out, + he looks around, he wrinkles up + his little nose, he sniffs around + a little, he sees his shadow, he + d oesn't see his shadow-- it's + nice. People like it. + + PHIL + Many people are morons. + + HAWLEY + Just do it. + + PHIL + What'11 you give me? + Hawley looks across the studio and sees RITA HANSON enter, a + very attractive segment producer in her late twenties. + + HAWLEY + (to Phil) + I'll give you Rita. + (calls her over) + Rita, could you come here for a + second? I got a little job for + you. + Rita is relatively new to the station, but very competent, + personable, humorous, self-assured and very pretty-- in short, + a genuine princess, though Phil is too self-absorbed at this + point to realize it. + + PHIL + + (TEASING) + You can't send Rita out on a + story like this. She's just a + cub, a pup, still wet behind the + ears. Look at her. Her ears are + sopping wet. This needs a + Woodward or a Bernstein. It's a + big story. People need to know. + + RITA + + (INTRIGUED) + What's the story? + + HAWLEY + The Punxsutawney Groundhog + Festival. + + RITA + Gil, if it's all right with you + I ' d rather follow-up on the + nurses' strike. + + + + -5- + + + + HAWLEY + You can do the nurses when you + get back. Just take the squeaky + wheel here up to Punxsutawney and + get him back in one piece. Okay? + + RITA + Yeah, okay. + Hawley exits leaving Phil and Rita alone in the studio. She + knows Phil mainly by his reputation and it isn't good. Still, + she finds him appealing in an odd way. + + PHIL + + (PLEASANTLY) + You know, this could be extremely + interesting. + + RITA + I've never done a weather story + before. What's Punxsutawney + like? + + PHIL + Oh, it's an enchanted place. A + magical world. It's the + Constantinople of the whole + Western Appalachian-Susquehanna + Drainage system. + + RITA + Do you always joke? + + PHIL + About 70 to 80% of the time. + Inside I'm actually a very shy + and sensitive person. + + RITA + A lot of people around here think + you're not very sincere. + + PHIL + Tell me the names of these + people. + + RITA + I'll line up a crew and + transportation. If you don't + feel like driving, we can all go + up in the van together. + + PHIL + I think I'll take my own car. + I ' m not that fond of my fellow + man. + + + + -6- + + + + + + RITA + + (EXITING) + Nice attitude. + + PHIL + Nice face. + (calls after her) + Why don't you ride up with me? + + RITA + No, thanks. + STEPHANIE DECASTRO , an attractive, dark-eyed, dark-haired + correspondent, glares at Phil from across the studio. + + + + INT. PHIL'S OFFICE - LATER + + Phil is in his cluttered cubicle talking on a headset phone + while he reviews cassettes of his groundhog spots from the past + two years on a small monitor. As he talks, he stuffs a number + of personal items in an overnight bag, all the time watching + himself on the TV monitor. + + PHIL + (on the phone) + They don't really think of me as + a weatherman around here. More + of a "personality," but with the + credibility of a first-class + broadcast journalist. Once you + look at my tape I think you'll + see what they mean. + Stephanie enters and stands in the doorway looking at Phil for + a long moment. There is something vaguely off-center about + this woman, not quite FATAL ATTRACTION but still a little + scary. + + STEPHANIE + + (BITTERLY) + I just want to know one thing: + did I do something wrong or are + you just tired of me or what? I + have to know. + Phil sighs. + + PHIL + (on the phone) + Dan, can I call you back? I've + just been handed something and I + better get on it... + (he picks up some + papers and rustles + them for effect) + ...Okay, thanks. + + + + -7- + + + He takes off the headset, gets up and closes the door for + privacy. + + PHIL + + (KINDLY) + You didn't do anything wrong, + Stephanie, and I ' m not tired of + you. It's just that I don't have + time for a real relationship + right now. I told you that the + first time we went out. + + STEPHANIE + (getting close) + Everybody says that at the + beginning of a relationship. + + PHIL + (gently pushing her + + AWAY) + I'm different. I really meant + it! Things are really starting + to move for me now. I ' m not + going to be doing the weather for + the rest of my life. I was just + talking to the CBS guy about a + network job. I want that. This + is just the beginning for me. I + can't waste any more time. + + STEPHANIE + Are you saying our relationship + was a waste of time? + + PHIL + Our relationship? We went out a + total of four times! And only + twice did anything happen. It + was fun but I don't see that as + a big commitment. + + STEPHANIE + (closing in again) + I had our charts done. My + astrologer says we're extremely + compatible. There may even be + some past lives involvement here. + + PHIL + See? So we've already done this. + Let's move on. Next case. + + STEPHANIE + You know what's wrong with you, + Phil? You're selfish. You don't + have time for anyone but + yourself. + + + + -8- + + + + PHIL + That's what I ' m trying to tell + you. You don't want to be with + me. You can do better. Look, + Stephanie, if I ever said or did + anything to mislead you I'm sorry + for that, but right now I have to + do this groundhog thing and I + don't have a handle on it yet. + He throws some papers and his datebook into a briefcase and + puts on his jacket. + + PHIL (CONT.) + I'll tell you what. I ' m going to + do some serious thinking while + I ' m in Punxsutawney, okay? + He pats her on the shoulder and brushes past her, leaving her + standing there with a malevolent look on her face. + + CUT TO: + + + + EXT. A HIGHWAY - AFTERNOON + + A VAN marked ".Channel 9 Action News" speeds along a two-lane + highway through the winter landscape of West Central + Pennsylvania. Mounted atop the van is a microwave transmitter. + Rita is riding up front with LARRY, the union cameraman and + techie. Phil is following close behind the van in a new Lexus + coupe. His car has a bumper-sticker that reads "Weathermen + Like it Wet." + + PHIL (V.O.) + (on his earphone) + I'm on my way to Punxsutawney... + (forced to repeat it, + a little embarrassed) + Punx^su-taw-ney....Work or fun? + I think that all depends on you. + + + + INT. THE LEXUS - CONTINUOUS + + Phil is talking to one of his girlfriends, sorting through a + stack of CD's, as usual, grabbing at the good life with both + hands. + + PHIL + . . . . I thought maybe you could + meet me up there tonight and let + me vulgarize you for about seven + hours....So I ' m supposed to spend + the night in Punxsutawney all + alo ne? Thanks. + + + Phil loads a CD and a great, driving song kicks in. + + CUT TO: + + A SIGN + "Welcome to Punxsutawney - The Original Weather Capitol of the + World Since 1887." Depicted on the sign is a large cartoon + GROUNDHOG wearing a top hat and clutching an umbrella under his + arm. + The mini-convoy passes some fast food places on the outskirts + of town. + + + + EXT. MAIN STREET - PUNXSUTAWNEY - LATER + + The van drives along , the small-town main drag. There are + cartoon groundhogs everywhere you look and the whole town has + been gaily festooned with banners and bunting. + + + + EXT . MOTEL - LATER + The van pulls into the parking lot at a Quality Inn. The + announcement billboard in ;front of the motel reads: "Groundhog + Day Breakfast Special - Feb.2 - All You Can Eat - $5.99." The + parking area is already crowded with cars including a number of + other news vans. The Lexus pulls in behind the van and + everybody gets out. + Phil takes one look at the motel and shakes his head. + + PHIL + (calls out) + Rita! I can't stay here. + Rita is already helping Larry unload equipment from the van. + + LARRY + + (MUTTERING) + Prima donnas. + + RITA + It's okay. I'll handle it. + She crosses to the Lexus where Phil is trying to make another + call on his earphone. + + RITA + What's the problem, Phil? + + PHIL + I hate this place. I stayed here + two years ago and I was + miserable. It's like a minimum + security prison. I'm not staying + here. + + + + -10- + + + + + + RITA + You're not staying here. + + PHIL + + (BRIGHTENING) + I ' m not? + + RITA + No, Larry and I don't care but I + thought you might, so I booked + you at a very nice bed and + breakfast on Cherry Street. + Here's the address. + She hands him a card. + + PHIL + + (PLEASED) + Great. That's great. That's the + mark of a really good producer. + Making the talent happy. + + RITA + Whatever I can do. + + PHIL + Really? Will you be my love + slave? + + RITA + Whatever I can do within reason. + Would you like to have dinner + with Larry and me? + + PHIL + No thanks, I've seen Larry eat. + Why don't you ditch Larry and let + me take you someplace nice? + + RITA + You mean like a date? + + PHIL + Yeah. + + RITA + Oh, no. + + PHIL + Okay. I get it. You're a little + intimidated by me, you're all + excited about the shoot tomorrow, + you want everything to go just + perfect. I understand. You just + get some sleep. Tomorrow will be + great. + + + + -11- + + + + RITA + Well, that's something to look + forward to. I'll see you in the + morning. + He drives off, leaving her standing there shaking her head. + + LARRY + Did he actually call himself "the + talent?" + Larry snorts and continues unloading their gear. + + CUT TO: + + + + EXT. CHERRY STREET - DAWN + + The first light of morning colors the sky behind the Cherry + Street Inn, a rambling, white Victorian bed and breakfast. + + CLOSE UP - CLOCK + A digital clock-radio changes from 5:59 to 6:00 AM. The radio + comes on, playing the end of the Sonny and Cher hit, "I Got + You, Babe." + + SUPER: FEBRUARY 2 + + + + INT. PHIL'S ROOM - DAWN + + Phil sits up in bed and looks around the room. The decor is + typical bed and breakfast, flocked wallpaper, framed prints, + and an odd assortment of mismatched furniture. His suit is + hanging neatly on the back of the closet door and his suitcase + is open on a stand at the foot of the bed, still neatly packed. + A iradio, DEEJAY and his SIDEKICK come on with hyped-up, + drivetime Chappy talk." Phil stares at the radio and listens + to them. + + DEEJAY + Okay, campers, rise and shine, + and don't forget your booties + because it's COOOLD out there + + TODAY1 + Phil grimaces and swings out of bed. + + SIDEK ICK + It's cold out there everyday. + W hat is this-- Miami Beach? + The deejay laughs. Phil shakes his head at the cheesy repartee + as he crosses to the sink and starts brushing his teeth. + + + + -12- + + + + DEEJAY + Not hardly. And you can expect + hazardous travel later today with + that, you know, blizzard thing-- + + SIDEKICK + That "blizzard thing?" + Phil splashes some water on his face and prepares to shave. + + SIDEKICK (CONT.) + Oh, here's the report: the + National Weather Service is + calling for a big blizzard thing. + + DEEJAY + Yes they are, but there's another + reason today is very special-- + + SIDEKICK + Es pec ia lly cold-- + + DEEJAY + Especially cold, okay, but the + big question on everybody's lips-- + + SIDEKICK + Ch ap pe d lips-- + + DEEJAY + :--on their chapped lips, right-- + Do you think Phil's going to come + out and see his shadow? + + SIDEKICK + Punxsutawney Phil. + Phil looks up at himself in the mirror, admiring his own face. + + DEEJAY + That's right, rodent lovers! + + IT'S-- + + BOTH DEEJAYS + Groundhog Day1 + SOUND EFFECT of GRUNTING GROUNDHOGS. + Phil grunts at his reflection in the mirror. + + PHIL + (to himself) + Never again. + + CUT TO: + + + + -13- + + + + INT. CORRIDOR - DAWN + + Phil heads for the breakfast room of the inn, now well-dressed + in a suit and tie, a nice overcoat slung over his arm. A + CHUBBY MAN passes. + + CHUBBY MAN + Morning . + + PHIL + Morning . + + CHUBBY MAN + Think it'll be an early Spring? + + PHIL + I ' m predicting March 21st. + + CUT TO: + + + + INT. BREAKFAST ROOM - CONTINUOUS + + Phil enters the old library of the house now set up with a + breakfast buffet. An old spinet piano stands in the corner. + One wall is lined with .bookcases filled with books. A handful + of guests are seated around the room, eating. + The matron of the house, MRS. LANCASTER, spots Phil as she + comes out of the kitchen with a fresh pot of coffee. + + MRS. LANCASTER + Did you sleep well, Mr. Connors? + + PHIL + (with mock civility) + Like a Roumanian orphan, Mrs. + Lancaster. + + MRS. LANCASTER + Would you like some coffee? + + PHIL + I don't suppose it1 d be possible + to get an espresso or a capuccino + around here. + + MRS. LANCASTER + + (BLANKLY) + I don't really know -- + + PHIL + Forget it. This '11 be fine. + + + + -14- + + + + MRS. LANCASTER + ( as she pours) + I wonder what the weather's going + to be like for all the + festivities. + + PHIL + My guess is it'11 be cold and + overcast, high today in the low + 30's, dropping to the low 20's + tonight, but I'm predicting that + all that moisture coming up from + the Gulf is going to miss us and + dump some locally heavy snow, + possibly blizzard conditions with + travel advisories in the + Harrisburg area and maybe as far + east as .Philadelphia. + (off her surprised + + LOOK) + You want to talk weather, you + asked the right guy. + He heads for the door. + + ;MRS. LANCASTER � + + : + Oh, will you be checking out + today, Mr. Connors? + + PHIL + Unfortunately yes. + Phil exits. + + CUT TO: + + + + EXT. BOARDING HOUSE - MOMENTS LATER + + Sipping at the steaming coffee, Phil manages to put on his coat + and gloves as he descends the front steps of the house and + joins the flow of pedestrian traffic on the street. + + + + EXT. MAIN STREET -KPUNXSUTAWNEY - CONTINUOUS + + There are a lot of people on the street for this hour. Traffic + is so heavy in fact, the pedestrians are moving faster than the + cars. Everyone seems to be going in the same direction, making + the annual trek to see the groundhog. + An OLD BUM is sitting on the sidewalk leaning against a + storefront. Someone throws him a coin. Phil walks by without + taking any notice. + + MAN (O.C.) + Hey, Phil! + + + + -15- + + + + + A big pie-faced man, NED RYERSON, comes huffing and puffing + right up to him. There is something about this guy that makes + us dislike him on sight. + + NED + Phil! Phil Connors! I thought + that was you! + Phil looks at him vaguely. + + PHIL + (at a loss) + I 'm sorry. Have we-- uh-- + + NED + My oh my! Phil Connors. Don't + say you don't remember me, 'cause + I sure as heckrfire remember you. + Well? + Phil stares, trying to remember. + + NED + Ned Ryerson? Needlenose Ned? + Ned the Head. Come on, buddy. + Case Western High? + + PHIL + Ned? + + NED + I see you clicking through that + brain of yours. Click-click, + c li ck- cli ck, click-click--Bing! + Ned Ryerson, did the whistling + trick with my belly button in the + talent show. Bing! Ned Ryerson, + got the shingles real bad senior + ^year^ almost didn't graduate. + Bing again! Ned Ryerson, went + out with your sister Mary Pat a + couple of times-- 'til you told + me not to anymore. Well? + + + + PHIL + + (RESIGNED) + Ned Ryerson. + + NED + Bing! + + PHIL + So what're you doing with + yourself, Ned? + + NED + Phil, I sell insurance. + + + + -16- + + + + PHIL + (sorry he asked) + No kidding. + + NED + Do you have life insurance, Phil? + 'Cause if you do, I bet you could + u s e more-- who couldn't?--but I + got a feeling you don't have any. + Am I right? + + PHIL + You know, Ned, I ' d love to talk + to you but I really have to-- + Phil starts to walk away,,but Ned won't take the hint. + + NED + That's okay. I'll walk with you. + When I see an opportunity, I + charge it, like a bull. Ned the + Bull, that's me now. Some of my + friends live and die by actuarial + tables, but I think it's all just + a crap shoot anyhoo. Ever heard + of single .premium life? That + could be the ticket for you, + buddy. God, it's good to see + you! Hey, what're you doing for + dinner? + + PHIL + Dinner? Umm, I don't think + that's going to work for me. + As they continue walking, Phil steps into what looks like a + shallow puddle and ends up ankle deep in wet slush. Ned laughs + like a donkey. + + NED + Hey, look out for that first + step! It's a doozy! + Phil looks at him with murderous contempt. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - DAWN + + A big crowd is standing in a park-like clearing off a + residential street. They are gathered around a large mound of + dirt enclosed by a rail fence, waiting for the big moment. For + a cold gray dawn, there is the atmosphere of a festival here. + An area close to the mound is roped off for news reporters and + cameras. Rita stands there, a pocket of genuine beauty in this + sea of potbellied old union guys and blow-dried reporters. + + + + -17- + + + + + Stomping her feet against the cold, Rita looks at her watch and + glances around. Larry, the cameraman, just looks bored. + + RITA + How could he be late? + + LARRY + Prima donnas. + + RITA + It's just so-- inconsiderate. + + LARRY + What happens to some people? + They're born nice. They grow up + nice. You put 'em on TV and - + bam! Prima donnas. + Rita spots Phil heading into the crowd. + + RITA + Here he comes. Phil! Hey, Phil. + Over here! + Phil joins them in the press area. Rita pulls him to his mark + near the rail fence. + + RITA + Where've you been? + + PHIL + I got hung up with some jerk I + went to high school with. So, + did you sleep okay without me? + You tossed and turned, didn't + you? + Rita holds up a slate for Larry to ID the tape. + + RITA + You're incredible. + + PHIL + Who told you? + + RITA + Ready when you are. + Phil takes the microphone from Rita and positions himself + against the fence. + The Groundhog Club Officials in top hats, striped trousers and + cutaway coats parade out to the burrow that houses Punxsutawney + Phil. + + RITA + Looks like they're starting. + Roll tape. + + + + -18- + + + + LARRY + Rolling. + Rita silently counts down from five and cues Phil who instantly + snaps into announce mode. + + PHIL + (to camera) + Once a year, the eyes of the + nation turn here, to this tiny + hamlet in Pennsylvania, to watch + a master at work. The master? + Punxsutawney Phil, the world's + most famous weatherman, the + groundhog, who, as legend has it, + can predict the coming of an + early spring. + Rita turns to Larry. This is impressive-- so far, so good. + A Groundhog Club Official kneels at the burrow and + ceremoniously knocks on the small wooden door, then opens it + and retreats. + + PHIL + And here's the big moment we've + all been waiting for. Let's just + see what Mr. Groundhog has to + say. + The groundhog sticks his head out, looks around, steps out of + the hole, and runs over to the other side of the mound, about + as far away from the cameras as he can get. + + PHIL + Hey! Over here, you little + weasel! + Larry zooms in as far as he can but the best he can manage is + a close-up of the groundhog's back. The groundhog stands there + a moment, his body casting a long shadow, then he lets out a + squeak and runs back into the hole. + + PHIL + Great shot, huh, folks? Well, + that was certainly worth the + trip. Now we'll be hearing from + Mr. Buster Greene, President of + the Punxsutawney Groundhog Club, + the so-called Seer of Seers who + will interpret for us. + BUSTER GREENE, dressed up in his top hat and cutaway coat, + walks onto the mound and hushes the crowd. + + + + -19- + + + + + + B U ST E R + He came out, and he saw his + shadow. Sorry, ladies and + gentlemen, but it looks like it's + going to be a long winter. + The crowd lets out a good-natured "Awwwwww" in disappointment. + + PHIL + (sarcastic, to camera) + Well, that's it. Sorry you + couldn't be here in person to + share the electric moment. This + is one event where televison + really fails to capture the + excitement of thousands of people + gathered to watch a large + squirrel predict the weather, and + I for one am deeply grateful to + have been a part of it. + Reporting for Channel 9, this is + Phil Connors. + Larry cuts the camera. + + RITA + (to Phil) + You want to try one that's a + little sweeter? + + PHIL + (to Rita) + That's as sweet as I get. I'm + outa here. + As he exits, Phil tosses the mike to Larry, who isn't expecting + the throw and bobbles it, dropping the mike on the ground. + + LARRY + + (MUTTERS) + Prima donnas. + + CUT TO: + + + + INT . DINER - LATER + Phil is sitting alone having a cup of coffee in a busy, loud + and lively cafe. Rita enters, sees him sitting there, crosses + to his table and sits down across from him. + + RITA + That was really lousy. + + PHIL + Is it my fault the little rat + went south on us? + + + + -20- + + + + RITA + A real professional would have + handled it. You acted like it + was a personal insult. Who do + you think you are -- Wolf Blitzer? + + PHIL + God, you really take this stuff + seriously, don't you. + + RITA + Yes, I do. As far as I ' m + concerned there are no little + stories, Phil. Only little + reporters with big egos who think + they're too good for the job they + have to do. + + PHIL + (trying to look hurt) + You really don't know me very + well, do you. 'Cause if you did + you could never say something + like that about me. I care! + Call me a cockeyed optimist but + I happen to think there's more to + this job than just getting my + ugly mug on the boob tube every + night. + + RITA + Is that so. + + PHIL + Yes, that is so. + Rita is so irritated by him she can't even respond. + Phil looks at her evenly for a long moment. + + PHIL + So as far as us getting together, + would you say the glass is half + empty or half full? + Larry pokes his head in the doorway, looks around, spots Rita + and makes his way over to their table. + + LARRY + (to Rita) + You ready? We better get going + if we ' re going to stay ahead of + the weather. + + PHIL + You don't have to rush off, you + know. That storm is 'going to + miss us completely. + + + + -21- + + + + RITA + Nice working with you, Phil. See + you around. + Rita walks away, leaving him sitting alone. + + CUT TO: + + � + + + + + + EXT. HIGHWAY - DAY + + Phil's Lexus is driving down the highway. Light snow is just + starting to fall. + + PHIL(V.O) + (on the earphone) + I'll call you after I see the + network guy. I should be back + there in a couple of + hours...What?...1 can't hear you-- + you're breaking up...Hello? + Sabrina? + + + + INT. THE CAR - CONTINUOUS + + Phil is getting annoyed as the phone connection deteriorates. + The snow is getting heavier. Phil switches on the windshield + wipers. + + PHIL + Sabrina ? Can you hear me? Shit! + He slams the phone back into it's cradle, then looks up and + notices slow traffic up ahead. He honks his horn as the + traffic comes to a complete stop. He keeps honking but nothing + moves. + He rolls down the window and looks up ahead. The highway is a + parking lot. + + PHIL + No. No! + + + + EXT. THE CAR - CONTINUOUS + + Phil jumps out and begins to walk down the highway, past the + parked cars, shivering in his light sweater and silk sport + shirt. The snowfall is getting heavier and the wind is pickin + up. The snow comes down unnaturally hard and fast. He walks + on, slipping and sliding in his expensive loafers until he + j comes to a police roadblock up ahead, manned by TWO HIGHWAY + + "J PATROLMEN. + + PHIL + What's going on, Officer? + + + + -22- + + + + PATROLMAN + Nothin's goin1 on. We're closin1 + the road. Big accident up ahead. + Blizzard movin1 in. + + PHIL + What blizzard? A couple of + flakes! An isolated phenomenon + of nature. + + PATROLMAN + Are you nuts? We got a major + storm movin' in. + + PHIL + No, no. All that moisture is + going to miss us and hit + Harrisburg. + + PATROLMAN + Pal, you got that moisture on + your head. + + PHIL + But I have to get to Pittsburgh + today! + + PATROLMAN + Mister, the only place anybody's + goin' on this road is back to + Punxsutawney. + Phil glowers at him and shivers. + + CUT TO: + + + + INT. GAS STATION - LATER + + Phil is on a pay phone. Snow is falling heavily outside. + GAS STATION ATTENDANT is shovelling around the pumps. + + PHIL + So all the long distance lines + a re down? What about the + sa tellite? Is it snowing in + space?...But I have to call + Pittsburgh...Isn't there some + special line you keep open for + emergencies or for + celebrities?...Well, I'm both + really. I'm a celebrity in an + emergency. Can you patch me + through on that line? + + + + -23- + + + The door opens and Phil is blasted with frigid Arctic wind and + blowing snow. The GAS STATION ATTENDANT enters the tiny office + and in trying to squeeze past Phil accidentally bangs him on + the head with his snow shovel. + + CUT TO: + + + + INT. HOTEL BAR - EVENING + + Phil is at the bar in Punxsutawney ' s oldest and best hotel , the + Pennsylvanian. He looks very bored, drinking a beer, + unsuccessfully hustling an attractive local girl named NANCY. + + PHIL + You never saw me on TV-- on the + news? + + NANCY + I don't think so. What part of + the news do you do? + + PHIL + I ' m the White House correspondent + for NBC news. + + NANCY + Oh , I ' m so sure . + + PHIL + Ask me anything? + + NANCY + Okay, how big is the White House? + + PHIL + Three bedrooms, two and a half + baths. Looks much bigger than it + , is. + Nancy just stares at him, clearly not into his sense of humor. + Suddenly, a BRIDE in full white wedding gown and veil rushes + into the bar, crying and shouting. A gaggle of BRIDESMAIDS + flutters around her trying to coax her back to her own wedding + but she won't budge. Then the GROOM, wearing a bad rented tux, + comes storming in and tries to drag her back, until the BEST + MAN restrains him and the bridesmaids hustle the bride away. + Phil watches the whole drama play out, then turns back to + Nancy . + + PHIL + Good start. I ' m sure they'll be + very happy. So what do you say? + You want to play doggie obedience + school with me? + + + + -24- + + + + NANCY + Thanks. I'll pass. + She gets up to leave. + + PHIL + Sit! Stay! + He watches her go, then tosses a tip on the bar and exits + somewhat unsteadily. + + CUT TO: + + INSERT - A THICK BOOK + The cover reads "101 Curses, Spells and Enchantments You Can Do + at Home." A well-manicured feminine hand opens the book to a + marked page . + + + + INT. CHERRY STREET INN - NIGHT - SAME TIME + + Phil enters his room and drunkenly tosses his overcoat, scarf + and gloves on the floor in a heap. + + + + INT. STEPHANIE'S BEDROOM - NIGHT + + Stephanie Decastro, Phil ' s disaffected ex-lover, is sitting + cross-legged on the floor with the book of curses open in front + of her. Her hair is down, she's wearing a caftan with a Zodiac + print, there are candles everywhere and other vaguely occult + decorating touches. + + INSERT + Phil's business card is dropped into a dish. Then the Tarot + card of the Hanged Man, a chicken bone, and a feather are + placed on top of it . + + PHIL + He stands at the sink, looking at himself in the mirror, + flexing his muscles . + + STEPHANIE + Reading from the book> she mutters incantations in a secret + language, then she sprinkles some powder on the plate, then a + few drops of oil. Then she makes a few passes over it with her + hands and, much to her surprise, the contents of the plate + spontaneously combust. + + PHIL + + + As he crosses to the bed, he accidentally knocks over the + suitcase stand, spilling his clothes out onto the floor. + + + + -25- + + + He contemplates picking them up for a moment, decides to leave + them there, and flops down on the bed. He lies there looking + u up at the ceiling until the room starts to spin around, then + he closes his eyes and quickly drops off to sleep, still fully + clothed. + + STEPHANIE + To complete the spell, she picks up a broken wristwatch and + drops it into the fire. + + INSERT + Phil's business card, the Hanged Man and the broken watch in + flames. The watch crystal is cracked and the hands are frozen + at 5:59. + + DISSOLVE TO: + + C LOSE UP - CLOCK + The digital clock-radio changes from 5:59 to 6:00 AM. The + radio comes on, playing the end of the Sonny and Cher hit, "I + Got You, Babe," just as it did the day before. + + + + INT. PHIL'S ROOM - DAWN + + Phil sits up in bed, quickly alert, and looks around the room. + Something is wrong. He's wearing pajamas, his suit is once + again hanging neatly on the closet door and his suitcase is + back on its stand at the foot of the bed, again neatly packed. + The song ends and the same radio deejay and his sidekick come + on with the same manic energy. Phil stares at the radio and + listens to them. A look of astonishment comes over his face as + they banter. + + DEEJAY + Okay, campers, rise and shine, + and don't forget your booties + because it's COOOLD out there + today! + + SIDEKICK + It's cold out there everyday. + What is this-- Miami Beach? + The deejay laughs. Phil "mock" laughs at exactly the same + time, recognizing the repartee from the previous morning. + + PHIL + (to himself) + Nice going guys. That's + yesterday's tape. + Phil crosses to the sink and gets a towel off the rack, only + half-listening to the radio. + + + + -26- + + + + DEEJAY + Not hardly. Expect hazardous + travel later today with that, you + know, blizzard thing -- + + SIDEKICK + That "blizzard thing?" + Phil turns on the water and splashes some on his face as if + trying to wake himself up, vaguely disturbed by the repetition + of the broadcast. + + SIDEKICK (CONT.) + Oh, here's the report: the + National Weather Service is + calling for a big blizzard + thing." + + DEEJAY + Yes they are, but there's another + reason today is very special -- + + SIDEKICK + Especially cold -- + + DEEJAY + Especially cold, okay, but the + big question on everybody's lips -- + Phil supplies the next line in unison with the radio. + + SIDEKICK AND PHIL + Chapped lips -- + + DEEJAY + -- on their chapped lips, right -- + Do you think Phil's going to come + out and see his shadow? + + SIDEKICK + Punxsutawney Phil. + Some vague doubt causes Phil to go to the window. + + DEEJAY + That's right, rodent lovers! + + IT'S-- + + BOTH DEEJAYS + Groundhog Day! + SOUND EFFECT of GRUNTING GROUNDHOGS as Phil pulls back the + curtains and looks out. + + HIS POV + The street is full of people heading toward Gobbler's Knob, + exactly as they did the day before. + + + + -27- + + + + PHIL + + (AGHAST) + What the hell? + + CUT TO: + + + + INT. BED AND BREAKFAST - DAWN + + Phil rushes out into the corridor, hastily tying his tie, his + suit jacket and overcoat over his arm. As he heads for the + breakfast room, the same Chubby Man passes. + + CHUBBY MAN + Morning. + + PHIL + Morning. + + CHUBBY MAN + Think it'll be an early Spring? + + PHIL + (stops, irritated) + Didn't we do this yesterday? + + CHUBBY MAN + + (INTIMIDATED) + I don't know what you mean. + Phil grabs him by the front of his shirt and looks deep into + his eyes. + + PHIL + Don't mess with me, pork chop. + What day is this? + + CHUBBY MAN + + (TERRIFIED) + Febr uary second--Groundhog Day! + Phil can see he's telling the truth and relaxes his grip on the + poor man. + + PHIL + Okay. Sorry. I'm having a bad + day. + Phil walks on, leaving the chubby man baffled and insulted. + + CHUBBY MAN + (to himself) + I'll say. + + + + -28- + + + + INT. BREAKFAST ROOM - CONTINUOUS + + Phil enters the old library of the house and finds everything + exactly as it was the day before. Mrs. Lancaster spots Phil as + she comes out of the kitchen with the fresh pot of coffee. + + MRS. LANCASTER + Did you sleep well, Mr. Connors? + + PHIL + (completely confused) + D i d I? I don't know-- + + MRS. LANCASTER + Would you like some coffee? + + PHIL + Yes, thank you. I ' m feeling a + little strange. + + MRS. LANCASTER + ( as she pours) + I wonder what the weather's going + to be like for all the + festivities. + + PHIL + Did you ever have deja vu, Mrs. + Lancaster? + + MRS. LANCASTER + Is that the Italian dessert with + the brandy and the chocolate + mousse? + + PHIL + No, that's spaghetti. Never + mind. + He heads for the door, still in a daze. + + MRS. LANCASTER + Oh, will you be checking out + today, Mr. Connors? + + PHIL + + (VAGUELY) + I don't know. I don't think so. + I'll tell you after I wake up. + Phil exits. + + CUT TO: + + + + -29- + + + + EXT. BOARDING HOUSE - MOMENTS LATER + + Phil gulps down the steaming coffee, still trying to wake up + from what he assumes is a dream, and descends the front steps + of the house. He accosts a PASSERBY. + + PHIL + Ma'am? Excuse me. Where's + everybody going? + + PASSERBY + To Gobbler's Knob. It's + Groundhog Day! + The coffee cup drops from Phil's hand as he stands there open- + mouthed. Then he slaps his own face and shakes his head as if + trying to clear it and starts off down the street. + + + + EXT. MAIN STREET - PUNXSUTAWNEY - CONTINUOUS + + Phil rushes down the street, again failing to notice the OLD + BUM sitting on the sidewalk leaning against a storefront. + + NED RYERSON (O.C.) + Hey, Phil! + Ned Ryerson approaches with the same obnoxious attitude. + + NED + Phil! Phil Connors! I thought + that was you! + Phil just stares at him and keeps walking. + + NED + My oh my! Phil Connors. Don't + say you don't remember me, 'cause + I sure as heck-fire remember you. + Well? + + PHIL + Ned Ryerson? + + NED + Bing! First shot right out of + the box. So how's it going, ol' + buddy? + + PHIL + To tell you the truth, Neddy, I ' m + not feeling real well. Could you + excuse me? + + NED + Now it's funny you should mention + your health 'cause you'll never + guess what I do. + + + + -30- + + + + PHIL + (very distressed and + desperate to get away + from this guy) + Do you sell insurance, Ned? + + NED + Bing again! You're sharp as a + tack today. Do you have life + insurance, Phil? 'Cause if you + do, I bet you could use more -- + who couldn't?" -- but I got a + feeling you don't have any. Am + I right? + + PHIL + (really annoyed now) + Did I say "fuck off, " Ned? I + can't talk to you right now. + He backs away from Ned and steps right into the same deep, + slushy puddle he stepped in the day before. + + NED + + (BRAYING) + Hey, look .out for that first v + step. It's a doozyi + Phil looks down at his wet shoes and cuffs and stumbles off + toward Gobbler's Knob. + + CUT TO: + + + + EXT . GOBBLER ' S KNOB - DAWN + The crowd is gathered as before for the big moment. + In the press area, Rita is having the same dialogue with Larry, + when she spots Phil heading into the crowd. + + RITA + Here he comes. Phill Hey, Phil! + Over here! + Phil waves to her and heads straight for an obscure corner of + the Knob, gesturing for her to follow. + Larry shakes his head as Rita charges through the crowd toward + Phil. She catches up to him just as he is scratching a mark in + the snow with his foot. She notices immediately that he is + uncharacteristically dishevelled, his tie askew, his hair + mussed. + + RITA + Where ' ve you been? + + + + -31- + + + + PHIL + (nervous, sweat ing) + I've got to talk to you. I think + I'm losing my mind. + + . RITA + I know you're losing it. What + are you doing over here? The + camera's over there. + + PHIL + Slap me, Rita. + + RITA + What is this? + + PHIL + + (INSISTENT) + Just slap me-- hard. + She gives up and taps him lightly on the cheek. + + PHIL + I said hardl + + . . .. ... .RITA . + I can't! + + PHIL + Do it! + Rita shrugs and slaps him very hard. + + PHIL + (his cheek smarting) + Better. Almost too hard, Rita. + + RITA + Are you drunk? + + PHIL + No, drunk is more fun. Can I be + serious with you for a minute? + + RITA + I don't know. Can you? + + PHIL + Yes. I ' m being serious. I' m + having a problem-- no, I may be + having a problem. + + RITA + What are you trying to say? + + + + -32- + + + + PHIL + I'm trying to say that if I was + having a problem, just + hypothetical ly, I ' d like to know + that you're someone I could count + on in a crisis. + + RITA + + (WORRIED) + What did you do last night? + The crowd begins to hush. + + LARRY + We better get started. We're + going to miss it. + + PHIL + Were not going to miss it. + (indicating the other + + REPORTERS) + They're going to miss it. + + RITA + + (EMPHATIC) + Phil. We've been out here for an + hour. We're cold and tired. + Let's just get this and get out + of here. + + PHIL + Okay, put it here. + + RITA + What? + + PHIL + Put the camera here . + Rita takes a forlorn glance towards the press area, where all + of the other cameras are set up . + + RITA + Phil , there is no tomorrow on + this one. It's Groundhog Day. + + PHIL + We were in the wrong spot + yesterday . + + RITA + + (IRKED) + W ha t? Yesterday? What are you + talking about? + + PHIL + Just trust me. Put the camera + here . + + + + -33- + + + + + Rita looks at him like he's crazy, then looks at her watch and + gives up. + + RITA + Larry! + She charges off toward the cameras. + In the Press Area, several reporters are already talking to + their cameras, dribbling on about how "He could appear any + second now." Rita and Larry grab their gear and rush back to + Phil. + Larry hurriedly sets up the camera. + + LARRY + You want me to roll tape? + + RITA + (to Phil) + Are you going to get on your + mark? + + PHIL + No hurry. + Larry glances over at the other news reporters, all talking to + their cameras and pointing towards the mound. + + LARRY + + (DESPERATELY) + Everyone else is rolling! + Rita looks helplessly at Phil. + + RITA + I'm begging you, all right? + Gould we please just do this? + Phil glances down at his watch. + + PHIL + Okay, let's do it. + He crosses over to Larry and taps him on the shoulder. + + PHIL + Roll tape. + + LARRY + + (MUMBLING) + Prima donnas. + Phil takes the microphone from Rita and positions himself + against the fence. + + LARRY + Rolling. + + + + -34- + + + Phil does a similar intro to the one he did before, though this + time it's a bit tentative. + + PHIL + (to camera) + We ll, it's Groundhog Day-- again-- + and you know what that means. + Everybody's here on Gobbler's + Knob waiting in the cold for the + appearance of the most famous + groundhog in the world, + Punxsutawney Phil, who's going to + tell us just how much more of + this we can expect. + The Groundhog Club Official knocks on the groundhog's door, + then opens it and retreats. + Phil takes a deep breath and makes his first experimental + prediction, recalling the previous day. + + PHIL + My forecast is we're going to see + the groundhog peek its head out + of its hole, look around a little + bit, then he's going to come out, + scamper over to this general + area, look at the crowd for a + second, make a little burping + noise and run back into the + ground. + + RITA + (whispers to Larry) + That's it. I'm going to kill + him. + Phil looks at his watch. + + PHIL + O k ay ? And here we go-- + Phil points to the hole and Larry zooms in. + The groundhog sticks his head out, looks left, looks right, + steps out of the hole, and runs away from the press pool, + directly over to Larry's camera. As he stands there, his body + casts a long shadow. The groundhog looks right into the + camera, lets out a squeak, and runs back into the hole. + Rita and Larry are completely amazed as the crowd cheers the + brief appearance of the groundhog. Larry pans back to Phil. + Phil just stands there speechless, staring at the groundhog + burrow. + + + + -35- + + + + RITA + + (HISSES) + Phil! + Buster Greene, the Groundhog club official, walks onto the + mound and hushes the crowd, exactly as before. + + BUSTER + He came out, and he saw his + shadow. Sorry, ladies and + gentlemen, but it looks like it's + going to be a long winter. + Again the crowd lets out a good-natured "Awwwwww" in + disappointment. + Larry pans back to Phil just in time to see him walking away in + a fog, without signing off. Then he pans back to Rita. + + RITA + (at a loss) + For Channel 9 News, this is Rita + Hanson in Punxsutawney. + She holds for a moment then makes the cut sign, drawing her + finger across her throat. + + CUT TO: + + + + - LATER + + INT; PHIL'S ROOM + Phil is on the phone desperately trying to make a call. + + PHIL + (on the phone) + I know there's a blizzard, but I + have to get a call through to my + doctor in Pittsburgh. It's a + medical emergency. . . .No, don't + give me the Punxsutawney Fire + Department. When do you think + the long distance lines will be + working again?. . . But what if we + don't have a tomorrow? We didn't + have one today, my friend... + Hello...Hello? + He hangs up and shakes his head which is now really starting to + ache, then he pops a handful of Tylenol, lies down and pulls + the covers up over his head. A moment later, he sits up, takes + a pencil from the nightstand, breaks it in half and puts the + pieces back on the nightstand. Then he lies back down and + retreats back under the covers. + + CUT TO: + + + + -36- + + CLOSE UP - CLOCK + The digital clock-radio changes from 5:59 to 6:00 AM. The + radio comes on, playing the end of the Sonny and Cher hit, "I + Got You, Babe," just as it did the day before. + + + + INT. PHIL'S ROOM - DAWN + + Phil sits up in bed fearing the worst and looks on the + nightstand. The pencil is whole again. Completely stunned by + the phenomenon, he jumps out of bed and starts dressing + hurriedly as the morning Deejays begin their now familiar rap. + + DEEJAY + Okay, campers, rise and shine, + and don't forget your booties + because it's COOOLD out there + today! + + SIDEKICK + It's cold out there everyday. + What is this-- Miami Beach? + Phil rushes out of the room. + + CUT TO: + + + + EXT. CHERRY STREET - LATER + + Phil hurries toward the bed and breakfast carrying two gallon + buckets of paint, and a couple of big bags from a hardware + store. + + + + INT. BED AND BREAKFAST - CONTINUOUS + + Phil enters and passes Mrs. Lancaster in the breakfast room. + + MRS. LANCASTER + Painting something, Mr. Connors? + + PHIL + I ' m conducting an experiment. + + + + INT. PHIL'S ROOM - LATER + + Phil enters and dumps the bags on the bed. Out fall a couple + of big paintbrushes, a small sledgehammer, a handsaw, a + crowbar, plastic goggles and assorted other tools. He puts on + the goggles, grabs a hammer and some nails and starts nailing + the door shut. + + CUT TO: + + + + -37- + + + + EXT. CORRIDOR - LATER + + Mrs. Lancaster and several other guests are gathered in the + hall outside Phil's room, listening at the door and looking + very worried. Loud music is playing inside the room. + From inside the room, they hear the sound of loud hammering, + wood splintering and glass breaking. + + + + INT. PHIL'S ROOM - CONTINUOUS + + Phil, has demolished just about all the furniture and woodwork + in the room. He rips off the last of the wooden moldings with + the crowbar, then crosses to the mirror over the demolished + sink. + Phil stands there, staring at his image in the mirror, trying + to figure out what's happening to him. He starts breathing + heavier, as if gathering courage, then, just when we think he's + going to cut off his ear or something, he raises an electric + barber clipper and shaves a bald stripe up the middle of his + head. He studies his new look for a moment then smashes the + mirror with his sledgehammer. + Then he opens the cans of paint, dips the two big brushes into + the cans and starts slapping bright red paint onto the walls, + madly, feverishly, splashing himself and everything else in the + room with it. + As a final touch he grabs the bed pillows and rips them open, + then shakes them all around the room creating a storm of + feathers. + Finally, Phil falls exhausted on the bed. From outside we can + hear outraged hotel employees pounding on the door. + We pan over to the clock radio, the only undamaged object in + the room. Feathers drift down past the face of the clock which + reads 5:59 AM. The time changes to 6:00, the radio clicks on + and "I Got You, Babe" starts playing as we pan back to Phil + sleeping on the bed. + He opens his eyes, jumps out of bed and looks around. No + paint, no feathers, no damage. Everything is as clean and tidy + as the day he checked in. + He races over to the unbroken mirror and looks at himself. His + hair is completely restored, as if it had never been shaved. + The song ends and the deejays come on. Phil says every word + right along with them, shocked into a state of complete + wonderment. + + + + -38- + + + + PHIL AND DEEJAY + Okay, campers, rise and shine, + and don't forget your booties + because it's COOOLD out there + today. + + PHIL AND SIDEKICK + It's cold out there everyday. + What is this -- Miami Beach? + The deejay laughs. Phil laughs insanely along with him. + + CUT TO: + + + + EXT . GOBBLER ' S KNOB - EARLY MORNING + Phil is wrapping up another groundhog report, trying to be + completely professional despite the circumstances. + + PHIL + (with forced good + + HUMOR) + . . . S o according to Mr. Groundhog + I guess we can expect six more + weeks of winter. It's not very + scientific, but it sure is fun. + Hey, wait a second. If he's + right, I could be out of a job! + (mock laugh) + For Channel 9 News, this is Phil + Connors in Punxsutawney . + He holds until Larry stops tape, then approaches Rita. + + PHIL + How was that? + + RITA + + (PLEASED) + It was good. A little smarmy for + my taste, but I guess that's what + sells. + + PHIL + Could I talk to you about a + matter that is not work related? + + RITA + You never talk about work. + + PHIL + Do you know what I did last + night? + + RITA + Do I want to know? + + + + -39- + + + + PHIL + I destroyed my hotel room. + + RITA + You whatl This is not some kind + of rock and roll tour. We don't + have the budget for that-- + + PHIL + No, it's okay. This morning it + was all right again. That's what + I have to talk to you about. + + RITA + Phil, what are you doing? + + CUT TO: + + + + EXT. MAIN STREET - A BIT LATER + + Phil and Rita cross the street and walk past a crowd of + concerned citizens gathered around what looks like a car + accident. As an ambulance arrives, Phil and Rita enter the + cozy looking diner on the corner. + + + + INT. DINER.- CONTINUOUS + + Phil and Rita sit together at the same table they had + previously. The WAITER approaches. + + RITA + (to waiter) + Could I have some coffee, please? + The waiter pours her a cup. + + WAITER + + (EXITING) + I'll be back to take your order. + + RITA + Thanks. + (to Phil) + Okay, so tell me. How'd you know + where to put the camera? + + PHIL + Because I've done it before. + + RITA + I know, but the groundhog doesn't + do exactly the same thing every + year, does he? + + + + -40- + + + + PHIL + I ' m not talking about last year. + I ' m talking about today. I lived + it before. + + RITA + You're having deja vu? + + PHIL + Big time. Rita, I know it's nuts + but I keep reliving the same day + o ve r and over-- Groundhog Day-- + today. This is the third time. + + RITA + (completely skeptical) + Uh-huh. I'm waiting for the + punchline. + + PHIL + No, really. It's like today + never happened. I shaved my head + last night, today its all grown + back. I could probably cut off + my limbs, one by one, and - pop! + They'd grow back. Just like a + starfish. I probably don't even + have to floss? + + RITA + I'm wracking my brain, but I + can't even begin to imagine why + you'd make up something like + this. + + PHIL + 'Cause I'm not making it up. I'm + asking for your help. + Rita looks at him for a long moment. + + RITA + Okay, I'll bite. What do you + want me to do? + + PHIL + The truth? I'd 1ike you to spend + the next 24 hours with me and + don't leave my side for a second. + + RITA + I see. You know, Phil, you can + charm all the little P.A.'s at + the station, all the secretaries, + and even some of the weekend + a nchors, but not me-- not in a + thousand years. + + + + -41- + + + + PHIL + Wa it a second-- + + RITA + Not if I was dying and your + breath was the only cure; not if + having your child was the only + way to preserve the human race. + Just get it out of your head + because it is NOT GOING TO + + HAPPEN! + + PHIL + So much for the truth. + Larry pokes his head in the doorway, looks around, spots Rita + and makes his way over to their table. + + LARRY + (to Rita) + You ready? We better get going + if we're going to stay ahead of + the weather. + + RITA + Yeah, , I ' m . ready, Larry. + + (EXITING) + Good luck, Phil. + + CUT TO: + + INSERT + X-rays of Phil's skull are slapped up onto a light box. + + + + INT. MEDICAL CLINIC - DAY + + Phil is having his head examined by a NEUROLOGIST. + + NEUROLOGIST + No spots, no tumors, no lesions, + no clots, no aneurisms. + Everything looks fine and dandy + to me, Mr. Connors. Have you + considered psychiatric help? + + CUT TO: + + + + INT. PSYCHOLOGIST'S OFFICE - DAY + + Punxsutawney's only PSYCHOLOGIST is a marriage and family + counselor at the local Lutheran church. His appearance and + manner indicate he may have some serious problems of his own. + + + + -42- + + + + PSYCHOLOGIST + (not too confident) + That's kind of an unusual + problem, Mr. Connors. Most of my + work is with couples and + families. + Phil is lying on a couch. His head is completely shaved. + + PHIL + Yeah, but you're still a + psychologist. You must have had + some course in school that + covered this kind of thing. + + PSYCHOLOGIST + Sort of, I guess. Abnormal + Psychology. + + PHIL + So based on that what would you + say? + + PSYCHOLOGIST + + (HESITANT) + I ' d say that maybe you're -- I + don't know -- a little delusional. + + PHIL + You're saying this thing is not + really happening to me? + + PSYCHOLOGIST + Uh-huh. + + PHIL + Then how do I know this + conversation is really happening? + + PSYCHOLOGIST + I guess you don't. + + PHIL + Then forget about me paying you. + A discreet little alarm sounds. + + PSYCHOLOGIST + + (RELIEVED) + I'm afraid that's all the time we + have, Mr. Connors. + + PHIL + Wait! Are you saying I'm crazy? + + + + -43- + + + + PSYCHOLOGIST + (humoring him) + Not necessarily. If it concerns + you we should schedule our next + session as soon as possible. + How's tomorrow for you? + Phil glowers at him. + + CUT TO: + + INSERT - A MODEL OF THE SOLAR SYSTEM + A SCIENTIST in a white lab coat is holding up the model. Phil + looks on with interest. + + SCIENTIST + + (AUTHORITATIVELY) + Now if the moon exerts a + gravitational pull strong enough + to cause the tides, .then it may + be theoretically possible for a + Black Hole or a Singularity of + sufficient magnitude to actually + bend time enough to cause it to + fold back ,on itself. + + PHIL + You think that's a realistic + possibility? + A paper airplane sails past his head, accompanied by a noisy + outburst of juvenile laughter. We pull back to REVEAL: + + + + INT. CLASSROOM - DAY + + Twenty-five eighth-graders running amok. + + SCIENTIST + + (STERNLY) + All right! I think someone may + just need a little visit to the + Assistant Principal's office! + Get back in your seats. The bell + has not rung yet. + The kids sit back down, but keep up their noisy chatter. + + SCIENTIST + (to Phil) + Well, I ' m speaking purely + hypothetically. + + CUT TO: + + + + -44- + + + + INT. SCHOOL CORRIDOR - LATER + + Phil is walking toward the exit when he passes a first grade + classroom. The door is open and the TEACHER is discussing a + story with the class. + + TEACH ER + So the princess picked up the + frog and kissed him. + Phil stops outside the door to listen. + + + + INT. CLASSROOM - CONTINUOUS + + + TEACHER + Now who can tell me what happened + when the princess kissed the + frog. + + LITTLE BOY + Her lips got slimed! + The whole class erupts in giggles and shrieks. + + T EACHER + Okay, come on now. What happened + when she kissed the frog? + + LITTLE GIRL + The princess kissed the frog and + the spell got broke and he turned + into a handsome prince and they + got married and lived happily + ever after. + + TEACHER + That's right. + + + + INT. THE CORRIDOR - SAME TIME + + Phil is leaning against the wall listening. There is something + very arresting about the fairy tale, but finally he just shakes + his head and exits. + + CUT TO: + + + + INT. DEW DROP INN - LATER THAT NIGHT + + Phil is at a bar getting drunk with two local blue-collar + workers, GUS and PHIL. + + PHIL + Gus, what would you do if there + was no tomorrow? + + + + -45- + + + + GUS + You mean like if the world was + gonna end? + + PHIL + No, I mean like if it was never + going to end. If everyday was + the same and you were stuck here + and you couldn't get out and + nothing you did mattered? + + GUS + You're right. Everyday is the + same, I can't get out of here and + nothin' I do matters. + + V RALPH + No, he's askin1 you a question, + ya idiot. + + GUS + What was the question? + + RALPH + What if nothing mattered?! Jeez, + I know what I'd do. I ' d j ust + spend all my time drivin' fast, + gettin1 loaded and gettin' laid. + That's it. + + PHIL + That's it. It just doesn't get + any better than this, does it? + Good friends, good conversation + and quality brew. Drink up, + boys. + They salute each other and drink. + + CUT TO: + + + + EXT. THE STREET - LATER + + Phil, Gus and Ralph approach Ralph's big, black, old Buick + convertible parked outside the bar. They are even drunker than + they were before. + + RALPH + (fumbling with his + + CARKEYS) + Where you stayin', Phil? We'll + drop you off. + + PHIL + Hey, friends don't let friends + drive drunk. Give me your keys. + + + + -46- + + + He's as wasted as they are, but Ralph hands over his keys + without a fight. + + RALPH + Thanks , man . + + PHIL + It's nothing. Get in. + They all pile into the front seat with Phil at the wheel. + + PHIL + (starting the ear) + Seatbelts. + Ralph and Gus give him the thumbs up sign and start digging + around in the seat cracks for their seatbelts. Suddenly, Phil + floors the accelerator and peels away, sideswiping a parked car + as he screeches around the corner. + + + + INT. THE BUICK - CONTINUOUS + + Phil is having a great time. Gus and Ralph are whooping it up + like kids on a roller coaster. + + PHIL + This is great, Ralph! + + RALPH + Oh, hey, take a left! + Phil passes the intersection. + + RALPH + You missed it! + + PHIL + No problem -- + + + + EXT . MAIN STREET - CONTINUOUS + Phil throws the car into a high-speed, skidding U-turn, goes up + on the curb, across a couple of lawns, takes out a mailbox and + a STOP sign and bounces back onto the street. + A POLICE CAR parked in front of the hardware store pulls out + and takes off after him. + + + + INT. THE BUICK - CONTINUOUS + + Phil swerves in and out of oncoming traffic. Gus is starting + to look a little green. + + PHIL + So many rules -- + + + + -47- + + + + RALPH + You can say that again. + + PHIL + "Don't do this--" + + + + EXT. THE STREET - CONTINUOUS + + The Buick demolishes a parked car. + + PHIL (V.O.) + "Don't do that -- " + He mows down a row of parking meters. + + POLICE CAR + It comes screaming around a corner in hot pursuit of the Buick + + + + INT. THE BUICK - CONTINUOUS + + Ralph hears the siren and looks back at the police car. + + + All right! Try and stop us, you + mothers ! + + PHIL + No more rules! + + RALPH + No more rules! + + + + EXT. THE STREET - CONTINUOUS + + A second police car joins the chase. + + RALPH + (looking back) + That's two! + + PHIL + Having a good time? + + RALPH + I'm having a great time! + Phil speeds up to a hundred miles and hour. Gus is looking + even worse from the liquor and the motion of the car. + + GUS + Hey, uh -- + + PHIL + Phil. + + + + -48- + + + + GUS + Yeah, Phil-- like the groundhog. + + PHIL + Right. + + GUS + Hey, Phil? How're we going to + get out of this? + + THEIR POV - THE INTERSECTION AHEAD + Two police cars with lights flashing are parked sideways, + completely blocking the road. Officers stand in the roadway, + motioning for Phil to stop. + + PHIL + + (CALMLY) + Gus, you're just going to have to + trust me on this one. + He tromps the gas pedal to the floor. Gus's eyes go wide with + terror. + The police dive out of the way. + + PHIL AND RALPH + Yahooooo! + + THEIR POV - THROUGH THE WINDSHIELD + The Buick crashes head on into one of the police cars. + + BLACK OUT: + + C LOSE UP - CLOCK + The time changes from 5:59 to 6:00. The radio starts playing + "I Got You, Babe." + Phil sits up suddenly and looks around, completely amazed. He + is in his room at the bed and breakfast, everything exactly the + same as before. He hops out of bed and quickly examines + himself for signs of physical injury. Nothing. The music ends + and the two deej ays come on. + + DEEJAY + Okay, campers, rise and shine, + and don't forget your booties + because it's COOOLD out there + today. + Phil talks out loud along with them. + + PHIL AND SIDEKICK + It's cold out there everyday. + What is this-- Miami Beach? + + + + -49- + + + The deejays laughs. Phil laughs, too, exhilirated at having + survived the car wreck, still very confused and perplexed, but + just beginning to see the possibilities of his unique + situation. He starts dressing in a hurry. + + CUT TO: + + + + INT. BREAKFAST ROOM - CONTINUOUS + + Phil rushes into the breakfast room just as Mrs. Lancaster + comes out of the kitchen with the coffee. Everything is + exactly the same as before. + + MRS. LANCASTER + W o u l d you-- + Phil interrupts, answering all her questions before she even + asks them. + + PHIL + + (URGENTLY) + Yes, I would like some coffee; + the weather is going to be cold + and overcast with blizzard + conditions moving in later today; + and yes, I will be staying an + extra day. + + MRS. LANCASTER + + (BAFFLED) + Why thank you. + + PHIL + Mrs. Lancaster, has anyone been + around here looking for me this + morning? Maybe a state official, + blue coat, hat, gun, nightstick, + badge, driving a late-model Ford + br Chevy, black and white with + bub ble lights on top-- + + MRS. LANCASTER + + (SHOCKED) + No, no one like that-- I .don't-- + Will they be? + + PHIL + (greatly relieved) + Apparently not. + Phil gooses her, grabs a sweet roll, and heads for the door, + starting to believe now that he can truly do anything he wants + to. + + CUT TO: + + + + -50- + + + + EXT. BOARDING HOUSE - DAWN + + Phil stops on the steps, puts on his coat and gloves and again + joins the traffic heading toward Gobbler's Knob. + + + + EXT. MAIN STREET - MOMENTS LATER + + Phil passes the old bum, ignoring him as usual. + + NED (O.C.) + Hey, Phil! + Phil slips off his glove as Ned Ryerson lumbers toward him. + + NED + Phil! Phil Connors! + + PHIL + Ned! Ned Ryerson! Ned the Head! + Before Ned can say another word, Phil SLUGS HIM. Ned goes + down, Phil puts his glove back on and keeps walking. + Phil deftly avoids the slushy pothole he stepped in before. A + PEDESTRIAN walking behind him steps right into it. + + CUT TO: + + + + EXT . GOBBLER'S KNOB - LATER + Phil is passing through the crowd on his way to the press area + when he notices NANCY, the girl he met at the hotel bar, and + stops to talk to her. + + PHIL + You here to see the groundhog? + She gives him a look. It's obvious she's never seen him + before. + + NANCY + Can you think of another reason + anybody'd be out here at dawn on + a freezing day? + + PHIL + What's your name? + + NANCY + Nancy Taylor. And you are-- + + + + PHIL + Where'd you go to high school? + + + + -51- + + + + NANCY + What is this? + + PHIL + + (PLAYFUL) + High school? + She really doesn't know what to make of Phil but she decides to + play along. + + NANCY + Lincoln High school. In + Pittsburgh. Who are you? + + PHIL + Who was your twelfth grade + English teacher? + + NANCY + Are you kidding? + + PHIL + I'm waiting. + + NANCY + .Mrs. Walsh. + + PHIL + Walsh. Nancy, Lincoln, Walsh. + + NANCY + Is this some kind of come-on? + + PHIL + I'm not really sure. We'll have + to see. + Phil walks off and joins Rita at their camera position. + + CUT TO: + + + + INT. DINER - LATER THAT MORNING + + Phil is sitting at his usual table, which is covered with an + incredible variety of rich foods-- eggs, bacon, sausage, + pancakes, pies, cakes, eclairs, ice cream, puddings, etc. + Rita sits across from him, watching in amazement as he stuffs + himself with pastry. + + RITA + Is this some new fad diet? Don't + you worry about cholesterol? + Phil scrapes a plate and takes a final bite of a chocolate + eclair. + + + + -52- + + + + PHIL + I don't worry about anything + anymore. + + RITA + What makes you so special? + Everybody worries about + something. + + PHIL + That's exactly what makes me so + special. + He takes a big bite of cake. Rita shakes her head. + + PHIL + (with his mouth full) + What? + + RITA + "The wretch, concentered all + in self, + Living, shall forfeit fair + renown, + And doubly dying, shall go + down to the vile dust from + whence he sprung, + Unwept, unhonored, and + unsung." Sir Walter Scott. + + PHIL + (stares at her for a + long moment) + "There was a young man from + Na n t uc k e t-- " + + RITA + That's really funny. When are + you going to grow up, Phil? + + PHIL + At this rate-- never. + (he pulls out a pack of + + CIGARETTES) + Okay if I smoke? + Rita shrugs. Phil lights up a cigarette. + + RITA + You really do have a death wish, + don't you? + + PHIL + Just the opposite, Rita. I have + a life wish. I'm just trying to + enjoy it. Taking pleasure in the + little things. Don't you ever + just want to cut loose and go + wild? + + + + -53- + + + + RITA + I wouldn't even know what it + means to go wild. + + PHIL + Yeah, well, that's where I come + in. Going wild is one of my + specialties. Last night I got + completely loaded and drove head- + on into a police car. + + RITA + + (DISBELIEVING) + Oh, really? You look pretty good + this morning. + + PHIL + That's my point. I know you + won't believe me, but we could do + anything we want today and it + wouldn't matter one bit. + Absolutely no consequences. + Complete and total freedom. + + RITA + And how. . , do we manage that? + + PHIL + You leave that to me. Why don't + you send Larry back and hang out + with me for the rest of the day? + You never make it through that + blizzard anyway. + Larry enters the diner and spots them. + + RITA + I'll take my chances with the + -weather. But you have a good + time. + + PHIL + Don't worry. I plan to. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - NEXT MORNING + + Phil comes through the crowd and finds Nancy in the same spot + she was in the day before. + + PHIL + Nancy? + Nancy turns and looks at him quizzically. + + + + -54- + + + + PHIL + Nancy, right? + + NANCY + I'm sorry, I-- + + PHIL + Nancy Taylor? Lincoln High? I + sat next to you in Mrs. Walsh's + English class. + + NANCY + T h at -- + + PHIL + Phil Connors. + + NANCY + --is amazing! + + PHIL + You don't remember me, do you? + + NANCY + I don't-- sure, I think-- + + PHIL + We used to shoot spit balls-- + + NANCY + Yeah, oh, God-- + + PHIL + I even asked you to the prom. + + NANCY + Phil Connors. + + PHIL + Yeah. + + NANCY + How ARE you?! + + PHIL + I ' m great. Wow, you look + terrific. Hey, listen, I gotta + d o this report-- + + NANCY + You're a reporter? + + PHIL + Weatherman. Channel 9, + Pittsburgh. + + NANCY + Right, I should've known-- + + + + -55- + + + + PHIL + But maybe after we could -- + + NANCY + Yeah, yeah, I ' d like that -- + + RITA (O.C.) + Phil! + Rita is calling from across the crowd. She looks at him with + disapproval . + + CUT TO: + + + + INT. PHIL'S ROOM - NIGHT + + Phil is making passionate love to a WOMAN in the dark. + + WOMAN + + (MOANS) + Oh, Phil. + + PHIL + Oh , Rita . + The woman suddenly freezes. There is a moment of silence, then + she snaps on the light. It's Nancy, not Rita. Phil is as + surprised as she is by his slip of the tongue. + + NANCY + + (COLD) + Who's Rita? + + PHIL + + (CAUGHT) + No one. It's just something I + say when I make love. You know -- + "Orita", "Orighta"-- it's like + "Oh, baby" or something. + + NANCY + (not entirely + + CONVINCED) + Oh. + + PHIL + (corrects her) + O-rita. + Nancy laughs uncertainly. Phil switches off the light, + thinking now about Rita. + + CUT TO: + + + + -56- + + + + INT. BREAKFAST ROOM - MORNING + + Some elderly GUESTS are sipping coffee and eating breakfast, + staring uncomfortably at something on the other side of the + room. + + THEIR POV + Phil is standing at the bookcase, wearing only pajamas, + absently munching on a Danish as he reads from one of the + books. + Mrs. Lancaster approaches him. + + MRS. LANCASTER + Isn't it a wonderful collection? + + PHIL + (not looking up) + Yes, it is. You don't usually + find this many trashy novels in + one place. + + MRS. LANCASTER + You can take a book up to your + room if you like. + + PHIL + No, thank you. I've actually + read them all. I was just + rereading some of the dirty + parts. + He finishes and puts the book back on the shelf. + + MRS. LANCASTER + + (WORRIED) + How long will you be staying with + us, Mr. Connors? + + PHIL + Indefinitely. I've already been + here for 211 days. + + MRS. LANCASTER + (humoring him) + Really? That's quite a long + time, isn't it. I hope you're + finding things to do in our + little town. + + PHIL + + (CASUALLY) + Yes, well, I'm getting a little + tired of casual sex so today I + thought I'd rob a bank and buy + myself a really expensive car. + + + + -57- + + + Phil kisses her on the lips and walks off. + + CUT TO: + + EXT. PENN BANK AND TRUST - DAY + + Two harmless-looking old GUARDS are calmly loading bags of cash + into an armored car parked in front of a local bank. Suddenly + Phil appears, wielding a shotgun, wearing a Batman style cape, + his face completely hidden by a ski mask. + + PHIL + + (SHOUTS) + All right, freeze!! Drop your + guns J! + The guards stand there frozen with terror. + + PHIL + You guys ever been held up + before? + (they shake their + + HEADS) + It's kind of exciting, isn't it? + + FIRST GUARD + + (FRIGHTENED) + I guess so. Something to tell + the kids about. + + PHIL + Yeah. By the way, I'm Phil. + He raises the mask and shows his face. + + FIRST GUARD + Herman. + + S E C O N D GUARD + Felix. + + PHIL + (shaking their hands) + Herman and Felix. Okay. Take it + easy, boys. And thanks. + The frightened guards watch as Phil makes off with two large + satchels of cash. + + CUT TO: + + INT. USED CAR DEALERSHIP - DAY + + Phil pats the hood of a used BMW 850 sports car as a SALESMAN + stands by beaming. Phil is wearing a full Steelers football + uniform complete with shoulder pads. + + + + -58- + + + + SALESMAN + A real beauty, huh. We picked it + u p at a-- + + PHIL + I'll take it. How much? + + SALESMAN + Well, the sticker says $62,999 + bu t if you want-- + + PHIL + I'll tell you what. I'll give + you $70,000 if you just knock off + the car salesman stuff and let me + get out of here with my car. + The Salesman gawks as Phil opens his briefcase and starts + counting out stacks of bills. + + CUT TO: + + + + EXT. PUNXSUTAWNEY - DAY + + From a high angle, we see the BMW tearing around the streets of + the town as if running a Grand Prix road race. + + CUT TO: + + + + EXT. MAIN STREET - DAY + + The BMW comes screeching to a stop right in front of the movie + theater and the door opens. + A pair of really elaborate cowboy boots complete with silver + spurs hits the pavement first; then we PAN UP to see Phil + emerge from the car wearing a really gaudy; full cowboy outfit + with real six-guns on his hips. A very trashy-looking girl, + LARAINE, gets out on the passenger side, dressed like a French + maid. + + LARAINE + (very self-conscious) + I thought we were going to a + costume party. + + PHIL + Yeah, we are, we are. But first + I have this movie theater fantasy + I want to talk to you about. + He escorts her into the theater. + + CUT TO: + + + + -59- + + + + INT. TATTOO PARLOR - ANOTHER DAY + + Phil is lying on the table, getting elaborately tattooed. + Rita walks by, looks in the window and is shocked to see Phil + there. + Phil waves at her and points to the colorful new heart pierced + by a bloody dagger being tattooed on his arm. + + CUT TO: + + + + INT. BIKER BAR - NIGHT + + We pan down the line of ROUGH TRADE PATRONS to. Phil, dressed + all in black leathers, both arms heavily tattooed, looking like + Sid Viscious on crack. He takes off his hat to reveal red, + white and blue hair shaved almost down to his skull. A slut + named ANGIE and another overweight, not very pretty MADONNA + WANNA-BE, both in too-tight jeans and bullet bras are coming on + to him, practically licking his ears. Angie pops a couple of + mystery pills into his mouth. Phil washes them down with a + shot and a beer. + + I + + CUT TO: + + + + INT. PHIL'S ROOM - NIGHT + + It looks like ;outtakes from Fellini's "Satyricon." Heavy metal + is blaring from the radio, as several unsavory looking men and + women are partying down, a few already passed out, sleeping off + whatever hit them. Someone is knocking loudly on the door, + shouting complaints about the music. A beer bottle smashes + against the door. + Phil is sitting up on the bed with Angie. He has his arm + around her shoulder and a fifth of Wild Turkey in his hand. + + PHIL + (more to himself than + to Angie) + Yeah, but eventually you' d just + get tired of screwing around and + then you'd want a real + relationship, wouldn't you? + + ANGIE + I don't know. + A big German Shepherd tries to jump up on the bed with them. + + PHIL + Get down, Brunoi + + (CONTINUING) + Someone decent, someone who you + respected, who respects you. + + + + -60- + + + + + + ANGIE + I guess so. + The dog jumps up again. + + PHIL + Down , Bruno ! + (still musing) + It's tough to find a relationship + like that, especially if your + time is kind of limited. But you + still have to try, don't you? + (the dog again) + Bruno! I told you! Off the bed! + Phil looks over at Angle who's passed out with her mouth open + + PHIL + There ' s got to be more to it than + this. + + CUT TO : + + + + EXT. A SIDE STREET - THE NEXT MORNING + + Rita is in the news van reviewing the tape of Phil's report + Phil hovers at the open side door. + + RITA + You look good. I mean, it came + o ut all right. How'd you know + where to put the camera? + + PHIL + Psychic. So did you have a nice + evening? + + RITA + + (GUARDED) + I just had a sandwich, watched + some TV and went to bed. + + PHIL + I got my whole body tattooed and + part ied all night with some + nymphomaniac biker chicks. + + RITA + + (SKEPTICAL) + Sounds wholesome. Were those the + new 24-hour disappearing tattoos + or can I see them? + + PHIL + No, they're gone. Rita, if you + only had one day to live, what + would you do with it? + + + + -61- + + + + + She switches off the videotape and steps out of the van. + + RITA + I don't know, Phil. What are you + dying of? + + PHIL + No, I mean like what if the + entire world was about to + explode? + + RITA + I ' d just want to know where to + p ut the camera. What are you + looking for, Phil-- a date for + the weekend? + She starts walking toward the center of town. Phil sticks + right with her. + + PHIL + No, I just want to know you + better. What do you like, what + do you want, what do you think + about, what kind of men are you + interested in, what do you do for + fun? + + RITA + (she stops) + Is this real or are you just + going to make me feel like a + fool? + + PHIL + I'm just trying to talk to you + like a normal person. Isn't this + how normal people talk? + + RITA + Close. + + PHIL + Okay, so talk to me. C'mon, I'll + buy you a cup of coffee. + + CUT TO: + + + + INT. DINER - A LITTLE LATER + + Phil and Rita are at their usual table, drinking coffee. + + RITA + I guess I want what everybody + wants-- you know, career, love, + marriage, children. So far I + don't have any of it. + + + + -62- + + + + PHIL + You have a career. + + RITA + I have a job. Doing stories on + the Punxsutawney groundhog is not + my ultimate goal. No offense. + + PHIL + How about the other stuff? You + seeing anybody? + + RITA + This is getting too personal. I + don't think I ' m ready to discuss + these things with you. What + about you? What do you want? + + PHIL + What I really want is someone + like you. + + RITA + O h , please-- + + PHIL + Why not? + + RITA + Phil, you know, you have so much + talent and ability. If you'd + just drop the attitude and act + like a decent human being, then + maybe I ' d -- + (she hesitates) + + PHIL + You'd what? + + RITA + I don't know what. + + PHIL + Then maybe you'd like me? + She stares hard at him. + + RITA + I don't know. It's sort of like + the way I feel about UFO's. I'd + have to see it to believe it. + Larry pokes his head in the doorway, looks around, spots Rita + and makes his way over to their table. + + + + -63- + + + + LARRY + (to Rita) + You ready? We better get going + if we're going to stay ahead of + the weather. + + RITA + Yeah, I'll be right out, Larry. + Larry scowls at Phil and exits. + + PHIL + (to Rita) + Why don't you stay for a while? + The road's going to be closed + anyway. Do you really want to be + stuck in the van with Larry for + three hours? + + RITA + I've got to get back. I'll see + you later. + Phil watches Rita exit. + + PHIL'S POV + Rita gets in the news van and drives off with Larry. + Phil stares out the window, more" determined than ever to win + her over. + + CUT TO: + + + + EXT. GOBBLER�S KNOB - ANOTHER DAY + + Phil is wrapping up his groundhog report. + + PHIL + Well, you heard it right from the + groundhog's mouth. Bundle up + good, 'cause it's going to be a + long winter-- at least in + Punxsutawney. Reporting for + Channel 9, this is Phil Connors. + Larry stops tape. + + RITA + That was great. How did you know + + THE-- + + PHIL + + (PREOCCUPIED) + I have to go now. There's + something I have to do. + + + + -64- + + + Phil runs off without another word of explanation. + + CUT TO: + + + + EXT. THE NEWS VAN - LATER + + Phil has the hood open and is doing something to the engine. + + CUT TO: + + + + INT. THE BERGHOF RESTAURANT - LATER + + Rita is sitting at the bar in the town's best restaurant, a + good chophouse with Black Forest decor and waitresses dressed + in dirndl skirts and aprons. Phil enters and sits down next to + her. + + PHIL + (acting surprised) + Oh, hi, Rita. You still here? + + RITA + + (GLUM) + The van won't start. Larry's + working on it. + + PHIL + + (INNOCENT) + Wouldn't you know it. Buy you a + drink? + + RITA + Okay. + + PHIL + (to the bartender) + Jack Daniels. + + BARTENDER + For you, miss? + + RITA + Tequila,with lime. Gold, if + you've got it. + Phil nods to himself. + + CUT TO: + + SAME SCENE - ANOTHER DAY + Phil walks in and sits next to Rita. + + PHIL + (acting surprised) + Oh, hi, Rita. You still here? + + + + -65- + + + + R IT A + + (GLUM) + The van won't start. Larry's + working on it. + + PHIL + Wouldn't you know it. Buy you a + drink? + + RITA + Okay. + + PHIL + (to the bartender) + Tequila with lime, gold if you've + got it. + Rita looks at Phil, surprised. + + BARTENDER + For you miss? + + RITA + Same for me, please. + The BARTENDER pours. + + PHIL + (to Rita) + What should we toast to? + + RITA + Your call. + + PHIL + To the groundhog! + Rita stares for a moment. + + RITA + I always drink to world peace. + + CUT TO: + + SAME SCENE - ANOTHER DAY + + BARTENDER + Take your order? + + PHIL + Tequila with lime, gold if you've + got it. + Rita looks at Phil. + + , BARTENDER + For you, miss? + + + + -66- + + + + + + RITA + Same for me, please. + The BARTENDER pours. + Phil lifts his glass. + + PHIL + To world peace. + Rita smiles, reevaluating him. + + RITA + To world peace. + They clink glasses. + + CUT TO: + + + + INT. THE BAR - LATER + + Rita and Phil are now sitting together at a table, a plate of + cheese and crackers and a bottle of white wine between them. + + PHIL + You like your job? + + RITA + It's okay. I think it could be + really challenging. Of course + it's about a million miles from + where I started out in college. + + PHIL + You weren't in broadcasting? + + RITA + At Bryn Mawr? No, uh-uh. + "Believe it or not, I studied + Nineteenth Century French Poetry. + + PHIL + (laughs good-naturedly) + Really? What a waste of time. + Rita looks offended. Phil knows he made a mistake. + + CUT TO: + + SAME SCENE - ANOTHER DAY + + PHIL + You weren't in broadcasting? + + + + -67- + + + + + + RITA + At Bryn Mawr? No, uh-uh. + Believe it or not, I studied + Nineteenth Century French Poetry. + Phil leans in closer to her. + + PHIL + La fille qui j'aimera + Sera comme bon vin + Qui se bonifiera + Un peut chaque matin. + Rita smiles, entranced. + + CUT TO: + + + + INT. FUDGE SHOP - DAY + + Phil and Rita are sitting at a table in a small confectionery, + tasting chunks of different flavored fudge. Rita takes a bite + + RITA + This is terrific. + + PHIL + Best fudge in town. + + RITA + How do you know so much about + Punxsutawney? + + PHIL + I like small towns. I think they + engender real community more than + big cities. + + RITA + That is so true! I've always + thought that, too. + + PHIL + No kidding. Here-- try the white + chocolate. + + RITA + Oh, yuk, don't make me sick. + + PHIL + (making mental note) + No white chocolate. + + RITA + There's something so familiar + about this. Do you ever have + deja vu? + Phil smiles. Then Larry enters. + + + + -68- + + + + + + LARRY + (irate, to Rita) + I don't believe it. Someone + bought every distributor cap in + this town. We're going to be + stuck here all night1 + Over Phil's sympathetic look we hear the song, "I Can't Get + Started With You". + + CUT TO: + + + + INT. THE BERGHOF RESTAURANT - NIGHT + + The music continues over Rita and Phil on the small dance + floor. They dance, close, dreamy, romantic. + + CUT TO: + + + + EXT. MAIN STREET - LATER THAT NIGHT + + There is a light snow falling. Phil and Rita are making a + little snowman. Somehow the town looks magical tonight-- old + fashioned, wholesome. + A snowball hits Phil in the back. He and Rita turn around to + see a giggling KID. Phil packs a snowball and tosses it. The + kid throws one back. Rita and Phil both get into it, packing + snowballs and getting into a war with this kid and his little + gang of friends. + A snowball catches Rita unaware, she slips and goes down in a + snowbank. Phil bends down to help her and slips. They are no + together, lying in the snow, laughing. Their eyes lock for a + long sweet moment, then Rita gets embarrassed and stands up. + + CUT TO: + + + + EXT . CHERRY STREET INN - NIGHT + Phil and Rita are walking slowly, very close. + + PHIL + What? + + RITA + I ' m just amazed. And I'm not + easily amazed. + + PHIL + About what? + + + + -69- + + + + RITA + How you can start a day with one + kind of expectation and end up so + completely different. + + PHIL + Do you like how this day is + turning out? + + RITA + Yes. I like it very much. + They stop dn front of Phil's hotel. She turns to him. + + RITA + You could never have planned a + day like this, but it couldn't + have been more perfect. + + PHIL + You're wrong. I've been planning + this day for weeks. + Rita ignores the remark and hugs him. Phil tries to kiss her + but she gently puts her fingers to his lips, stopping him. + \ They enter the bed and breakfast inn. + + + + INT. VESTIBULE - CONTINUOUS + + Rita hugs him again and starts to exit. + + RITA + Thanks. See you tomorrow. + + PHIL + Tomorrow? Wait, aren't you going + to come up to my room for a + while? + + RITA + (very reluctant) + I don't know, Phil-- + + PHIL + No�reason to end a perfect day. + + RITA + + (DECIDING) + Well-- we better not. + + PHIL + No, you should. The, uh, the + poetry! I've got some books, + Rimbaud, Beaudelaire, we could + l ig ht a fire-- + + + + -70- + + + + RITA + Thanks, but -- + + PHIL + (seeing it all slip + + AWAY) + Please come, Rita. It'll be -- + + RITA + + (DEFINITE) + Phil, I'm tired. We can be + together tomorrow. + + PHIL + (getting desperate) + But there is no tomorrow for me! + + RITA + + (ADAMANT) + Let's not ruin it, Phil. There's + no way I ' m sleeping with you + tonight. + + PHIL + Why not? Rita, I love you! + + RITA + You don't even know me! + + PHIL + (grabs her hand) + Please! You have to! + Rita shakes loose from his grasp. + + RITA + What's wrong with you! + There is a long moment of silent tension, then all her old + doubts about Phil come rushing back. + + RITA + (shaking her head) + Oh, no. I can't believe I fell + for it. This whole day was just + one long set-up. And I ate + fudge. Yucchh! I hate fudge. + + PHIL + No, it was real. I love you. + + RITA + Stop saying that! Do you really + expect me to trust you? The + whole secretarial pool is a Phil + Connors recovery group. + + + + -71- + + + + + + PHIL + But I can change! I really can-- + Rita slaps him hard on the cheek. + + RITA + That's for making me care about + you. + She turns and stomps off, leaving Phil standing there hurting. + + CUT TO: + + + + EXT. MAIN STREET - ANOTHER NIGHT + + The snowball fight with the kids is going on as before. Phil + falls into the snowbank with Rita and they almost kiss. + + CUT TO: + + + + INT. QUALITY INN MOTEL - LATER + + Phil is trying (MOS) to talk his way into Rita's room. She + ^pushes him away and slams the door in his face. + + CUT TO: + + + + EXT. MOTEL - NIGHT + + The streets are deserted except for Phil, staring up at Rita's + window in the Quality Inn. + Rita comes to her window and looks out. She sees Phil looking + up at her and draws the curtains. + + CUT TO: + + + + INT. PHIL'S ROOM - DAWN + + "I Got You, Babe" is playing. Phil hits the clock radio to + turn it off. He lies there for a moment, then hefts himself + heavily out of bed, not eager to repeat the day yet another + time. With the radio off, Phil does the deejays' morning + routine himself, seemingly for the millionth time. + + PHIL + + (DULLY) + Okay, campers, rise and shine, + and don't forget your booties + because it's cooooold out there + today. + Phil continues the radio report at his own pace, obviously + fatigued. + + + + -72- + + + + PHIL + It's cold out there everyday. + What is this -- Miami Beach? Haw. + Not hardly. And you can expect + hazardous travel later today with + that, you know, blizzard thing. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - DAWN + + Phil is walking through the crowd. He spots Nancy, walks up to + her and greets her half-heartedly . + + PHIL + Hi, Nancy. + + NANCY + + (PLEASANTLY) + Hi. Do I know you? + Phil can't manage enough enthusiasm to pursue her yet again. + + PHIL + No, I guess not. I thought you + were someone else. + Phil wanders over to where Rita and Larry are setting up the + camera. Rita comes over to him. + + RITA + Are you all right, Phil? You + look terrible. + Phil looks at her sadly, then turns away. + + PHIL + + (VACANTLY) + I ' m fine. + + CUT TO: + + + + INT . BIKER BAR - NIGHT + The balls CRACK as the cue ball breaks the rack. + Phil is walking around the table, cue in hand, sinking ball + after ball, while several admiring HUSTLERS look on. + + FIRST HUSTLER + Who is this guy? + + + + -73- + + + + SECOND HUSTLER + I don't know. Hey, mister-- + (Phil doesn't stop + + SHOOTING) + Who are you, anyway? + Phil shoots, sinks a tough one. + + PHIL + You don't know me? I've been + playing here every day for two + months. + + FIRST HUSTLER + Oh, yeah? So how come I ain't + seen you? + + PHIL + I don't know. I seen you. + + SECOND HUSTLER + So what's your name? + + PHIL + They call me-- Punxsutawney Phil. + + SECOND HUSTLER + Punxsutawney Phil? Like the + groundhog. + + PHIL + Yeah, like the groundhog. + Phil sinks another one. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - DAWN + + The crowd is waiting expectantly for the groundhog to appear + Phil is a wreck, squatting unprofessionally in front of the + camera. + + PHIL + + (CYNICALLY) + This is one of the most pitiful + spectacles known to civilization. + With one nod from a filthy rodent + best known to pest control + agencies, a moribund old coal + mining hamlet turns magically + into the Lourdes of Pennsylvania, + Mecca to thousands of people who, + if they hated the winter so + damned much, why don't they move + to Florida, anyway? + + + + -74- + + + Larry and Rita look on, incredulous. + + . CUT TO: + + CLOSE UP - TV SET + The program JEOPARDY! is playing. + + ALEX TREBECK + (on TV) + Nobel prize-winning co- + discoverers of the DNA molecule. + + PHIL (O.C.) + Who are Watson and Crick. + + CONTESTANT + (on TV) + Who are Watson and Crick? + + ALEX + (on TV) + Correct. + There is a cheering from a small group of people off-screen. + + + + INT. PARLOR - CONTINUOUS + + Phil is sitting in his bathrobe in a big lounge chair in the + parlor of his hotel. Mrs. Lancaster, and other guests watch + his performance, awed by his "intellect." + + ALEX + (on TV) + Twin brother and sister Sebastian + and Olivia create confusion in + this Shakespearean comedy. + + PHIL + What is "Twelfth Night." + + CONTESTANT + (on TV) + What is "Twelfth Night?" + + ALEX + (on TV) + Correct. + More cheering from the small group. + + CONTESTANT + (on TV) + I'll take New Jersey for eight + hundred, Alex. + + + + -75- + + + + ALEX + (on TV) + And the answer is-- an audio + daily double. + + PHIL + Count Basie. + + CUT TO: + + + + EXT. STREET - DAY + + Phil is walking through town, still dressed only in his pajamas + and overcoat, counting the sidewalk cracks, taking giants steps + from one to the next. He looks crazy. + + PHIL + Two thousand six hundred and + s e ve n ty -o n e-- + (takes another step) + two thousand six hundred and + se v en t y -t w o -- + (another step) + two thousand six hundred and + seventy-thr-ee-^- + A woman passes walking her dog. + + PHIL + Hey, pick up after your dog! + + DOG WALKER + He hasn't done anything. + + PHIL + He's going to! + + (POINTING) + There and there. And there! + Phil continues walking, counting the sidewalk cracks. THREE + NEIGHBORHOOD KIDS notice Phil and walk along, matching him step + for step. + + IPHIL + Two thousand six hundred and + seventy-four, two thousand six + hundred and seventy-five, two + + THOUSAND'-- + + JOEY + Five million eight hundred-- + + PHIL + S i x hundred-- + + MIKE AND SUE + Ninety, twenty, four, six, fifty-- + + + + -76- + + + + PHIL + Two thousand, four hundred-- + + JOEY, MIKE AND SUE + Two, eight, nine, forty-six-- + Phil stops. He has lost count. His lip curls up like an + animal as he turns slowly, growling at the kids. They run away + screaming with glee. Phil starts after them but runs right + into a COP. + + COP + You got a problem, buddy? + + PHIL + (out of control) + Yeah, I got a problem, buddy! I + can't stand this place anymore! + I can't stand this street and I + can't stand the fourteen bars and + the five banks and the one star + food and the bad weather and the + "quaint" little shops and most of + all, I can't stand anything-- + ANYTHING-- with a groundhog on + it. + He rips a groundhog patch off the cop's jacket sleeve. + + COP + + (CALMLY) + Okay. Then let's see what we can + do about getting you out of here. + You got a name? + + PHIL + (eyes downcast) + Phil. + + COP + Phil. Like the groundhog! + Phil turns to the cop like a rabid dog, ready to strike. + + PHIL + Yeah, like the-- + (he stops as if struck) + --groundhog. + Some big new idea has formed in his mind. + + CUT TO: + + + + EXT . GOBBLER'S KNOB - EARLY MORNING + Rita is looking at Phil as Larry videotapes his report. + + + + -77- + + + + LARRY + (turning to Rita) + The guy's nuts. He's out of his + gourd. + + RITA + Let him finish, then I'll call + the station. + They turn back to watch Phil's wrap-up. + Phil is completely unkempt, still wearing only pajama bottoms + and his overcoat, looking even more demented. + + PHIL + (to camera) + There is no way this winter is + ever going to end as long as that + groundhog keeps seeing his shadow + everyday. I don't see any other + way out. He's got to be stopped + and I've got to stop him. For + Channel 9 news, this is Phil + Connors. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - NIGHT + + Phil is walking around the mound, casing it out. He takes a + rifle out from under his coat and sneaks up to the burrow. He + pulls a smoke bomb from his pocket, lights it, and throws it + into the hole, then scurries for the edge of the knob and hits + the deck. He lifts his rifle and aims it. + Smoke is now pouring from the mound. Lots of it. + Phil waits, his trigger finger twitching. + A WOMAN casually walks by, stops. She surveys the situation. + + WOMAN + He ain't there. + Phil doesn't move. He-doesn't care that she sees him. + + WOMAN + You can wait all night, but he + ain't coming out. He don't live + there. They keep him in the + library. + Phil's gun droops. The woman begins to walk off, then stops. + + WOMAN + Plug him once for me. + + + + -78- + + + She leaves. + + CUT TO: + + + + EXT. CIVIC CENTER - DAY + + Phil passes a pedestal bearing a life-size bronze statue of the + groundhog and enters the public library. + + + + INT. LIBRARY - CONTINUOUS + + Phil walks past the front desk looking very haggard and + dangerous, and enters the children's section. No one is + present except the CHILDREN'S LIBRARIAN, a young woman, + reshelving books in the stacks. He looks around quickly and + sees a window in the wall and over it a large sign which reads: + "Punxsutawney Phil - The Great Prognosticates" + Phil heads right for it. + The groundhog scurries around his little temperature-controlled + habitat, oblivious to the approaching danger. + As Phil approaches the groundhog display, he reaches into his + overcoat and pulls out a pump shotgun with a short pistol grip. + The children's librarian sees the gun and freezes. + Phil pumps a shell into the chamber as he walks right up to the + case. + + PHIL'S POV + The groundhog looks right into his sights. + Philsqueezes the trigger. LOUD GUNSHOT. + The glass window is still intact, not a scratch on it. The + groundhog looks up playfully. + Phil fires off four more rounds but, again, no results. Phil + can't believe it. He charges the glass and pounds it with the + rifle butt. He can't even chip it. Suddenly he is seized from + behind by TWO STRONG MEN who take the rifle from him and + wrestle him to floor. + The librarian comes running up and looks at the groundhog. + + BYSTANDER + Is he all right? + + LIBRARIAN + He's just fine. That's two + inches of bullet-proof glass + there. You can't be too careful + in this day and age. + + + + -79- + + + + CUT TO: + + + + EXT. GOBBLER'S KNOB - DAWN + + The groundhog is just poking his head out of the hole. He + stands full height and looks around. + Phil looks directly at the groundhog with hate and scheming + madness. + Suddenly, Phil whips out a big kitchen knife from under his + icoat and dives at the groundhog. Town officials and police + throw themselves on Phil as the groundhog scampers safely back + into his hole. + Rita and Larry videotape the incident, aghast at Phil's insane + attack. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - ANOTHER DAY + + Larry and Rita are loading their equipment back into the van. + Rita spots Phil standing on the other side of the crowd, + staring at her. She marches straight over to him, furious. + + RITA + Where were you this morning? How + could you possibly miss the + shoot? + + PHIL + (at the end of his + + ROPE) + I've come to the end of me, Rita. + There's only one way out now. + Just remember/we had a wonderful + day together once. + Phil kisses her gently on the cheek and walks off toward the + back of the knob. Rita watches him, then follows at a discreet + distance, very worried. + In a small clearing behind the man-made groundhog burrow, + Buster Greene and TWO other GROUNDHOG CLUB OFFICIALS are + lifting a cage into the front seat of Buster's pickup. + + B USTER + (to the groundhog) + There you go, ol' buddy. Good + job. Hey! He smiled at me. See + that? + + FIRST OFFICIAL + Right. + + + + -80- + + + + BUSTER + (securing the cage) + There, little fella. + The other official looks up and sees Phil walking toward them + like a zombie. + + OTHER OFFICIAL + Hi, there, mister. Something I + can do you for? + Without a word, Phil jumps quickly into the cab of the pickup + and starts it up . + + FIRST OFFICIAL + Hey! What 're you -- ! + Phil drives off in Buster's truck. + Rita witnesses the groundhog-napping and runs back toward the + knob. + + RITA + + (SHOUTS) + Larry! + Buster and his aides race for another car parked nearby. + + BUSTER + Jake! Call the police, and get + the word out. Somebody kidnapped + Phil. We're going after him. + Come on, Tommy! + They jump into a car, Buster guns the engine and takes off + after the pickup. + Rita runs up to Larry and grabs the camera on the fly. + + RITA + Let's go! Phil just snatched the + groundhog! + Larry does a slow take and starts gathering up the rest of the + gear. + + LARRY + + (MUTTERS) + Probably some kind of gerbil + deal. Pervert. + + CUT TO: + + + + -81- + + + + + + EXT. LOCAL ROAD - MINUTES LATER + + Phil comes tearing around a slippery curve, followed by Buster + in his car, and close behind him, a contingent of police cars + and the Channel 9 news van. + + + + INT. PICKUP - CONTINUOUS + + Phil looks at the groundhog on the seat next to him, then + punches the gas as he turns up a mountain drive. + + PHIL + Coming to the end of the trail, + Phil. Then we're going out in a + blaze of glory. + + + + INT. BUSTER'S CAR - SAME TIME + + Buster pursues Phil with relentless determination. + + BUSTER + Nobody takes my groundhog and + gets away with it. + + .. � . + + INT. THE NEWS VAN - SAME TIME + + Rita is driving. Larry is hooking up the camera. + + RITA + (very upset) + What is he doing? What can he be + thinking? He must1 ve just -- + snapped. + Larry squeezes into the passenger seat with the camera mounted + on his shoulder . + + LARRY + This oughta be good. + + + + EXT. MOUNTAIN ROAD - CONTINUOUS + + The cars chase the pickup to the top of the mountain. + + + + INT. BUSTER'S CAR - CONTINUOUS + + + BUSTER + Okay! I know this road. There's + no way off ' cept the way we come + up. + + FIRST OFFICIAL + All right! We got him now. + + + + -82- + + + + EXT. LOGGER'S LEAP - CONTINUOUS + + The pickup is losing its lead over the pursuers as it nears the + sharp mountain cliff. + + + + INT. THE PICKUP - SAME TIME + + Phil looks in his rearview mirror at the cars chasing him. He + glances down at the groundhog. He takes a breath. + + PHIL + Okay, pal. It's showtime. + Phil hits the gas. + + + + INT. THE NEWS VAN - SAME TIME + + Larry is taping as Rita comes around the curve just in time to + see the pickup truck speeding toward the cliff. Rita hits the + brakes and watches in horror. + + RITA + + PHIL! NO! + + + + + + EXT. LOGGER'S LEAP - CONTINUOUS + + The pickup bursts through a retaining fence and rockets over + the edge of the cliff. + The pickup seems to hang in the air for a long time, then it + begins its SLOW MOTION descent, falling ever so gracefully + until it impacts on the granite rock face far below. + BIG EXPLOSION. BIG FIREBALL. FLAMING WRECKAGE. Then a small + click, followed by "I Got You, Babe." + + DISSOLVE TO: + + PHIL + He slowly opens his eyes and blinks. He looks around and + realizes he's back in his room at the bed and breakfast. + + PHIL + Ah, nuts! + Phil throws off the covers and hurls himself out of bed. + + CUT TO: + + + + -83- + + + + INT. NED RYERSON'S OFFICE - DAY + + Ned and a client are huddled over his desk, looking at some + papers. A BODY DROPS quickly past the window behind them. + It's Phil. + They rush to the window and look down at the sidewalk three + stories below. Phil is sprawled there like a broken puppet, + lifeless. + + + + INT. PHIL'S ROOM - DAWN + + "I Got You, Babe" is playing. Phil wakes up and smashes the + radio. + + CUT TO: + + + + EXT. STREET - DAY + + Rita and Larry are walking down the street when a GREYHOUND BUS + pulls out of the bus station and accelerates down Main Street. + Suddenly, Phil, dressed in pajamas and overcoat, leaps out in + front of the speeding bus. Rita witnesses the whole incident. + + D RIVERS' POV + He sees Phil through the windshield but doesn't even have time + to hit the brakes before he runs right over Phil. + + CUT TO: + + A TV SCREEN + A woman in some horror movie is screaming. + + REVEAL + Mrs. Lancaster is watching TV in the parlor of the hotel. In + the corridor behind her, Phil walks by, dressed in a robe, + carrying an electric toaster and a towel, heading for the + bathroom. + A few moments pass. + We hear the zap of an electrocution, the lights and TV flicker + and dim for a moment, then come back on again. + + CUT TO: + + + + EXT. THE BANK - DAY + + The building is surrounded by police, all crouched behind their + cars with guns and rifles trained on the doors. + + + + -84- + + + Suddenly, the doors burst open and Phil comes running out of + the bank screaming, dressed in camouflage fatigues and armed to + the teeth with an assault rifle in one hand, an Uzi in the + other and a couple of handguns stuck in his belt. He doesn't + get three feet before he is shot down in an incredible hail of + gunfire. + Rita stands beside the camera gaping in horror while Larry + records the grisly massacre. + + + + INT. CORONER'S - DAY + + Rita stands by weeping while Phil's body is covered with a + sheet. + In the shadowy darkness under the sheet, a CLICK is heard and + Phil's eyes pop open. "I Got You, Babe" plays. + + + + INT. PHIL'S ROOM - CONTINUOUS + + Phil pulls the sheet off his face and finds himself back in his + bed in his room. A tear falls from his eye. + + CUT TO: + + + + INT. DINER - DAY + + Phil and Rita are sitting in the diner at their regular table. + + RITA + I ' m sorry. What was that again? + + PHIL + I'm a god. + + RITA + You're God? + + PHIL + No, I'm A god. Not THE God-- at + least I don't think I am. + + RITA + That's reassuring. For a mintute + there I thought you might be + crazy. + + PHIL + No, it's true. It's the only + possible explanation. I'm a + supernatural being. + + RITA + Because you survived a car wreck? + + + + -85- + + + The waiter comes to the table. + + WAITER + Are you ready to order? + + PHIL + (to Rita, ignoring the + + WAITER) + Not just the car wreck! I didn't + just blow up yesterday, you know. + I've been run over, drowned, + crushed, stabbed, shot, + electrocuted, poisoned, frozen, + burn ed, and asphyxiated-- + + RITA + Really? + The waiter looks at him like he's nuts. + + PHIL + --but I always wake up the next + day without a scratch, without + even a headache. I'm telling + you, I ' m immortal. + + WAITER + The special today is blueberry + waffles. + + RITA + Why are you telling me this? + + WAITER + + (SHRUGS) + Because some people like + blueberry waffles. + + RITA + (to the waiter) + No t you-- him. + + PHIL + Because I want you to believe in + me. + + RITA + You're not a god, Phil. Take my + word for it. This is twelve + years of Catholic school talking. + + WAITER + I could come back if you're not + ready. + + PHIL + How do you know I'm not a god? + + + + -86- + + + + RITA + Please. + + PHIL + How do you know? + + RITA + Because it's not possible. + + WAITER + I'll come back. + The /waiter turns to leave. + + PHIL + Hey, Billy! + The waiter turns back. + + PHIL + This is Bill. He's been a waiter + for three years because he left + Penn State and had to find work. + He likes the town, he paints toy + soldiers, and he's gay. + + WAITER + I am notl + Phil grabs an astonished Rita and pulls her over to the next + table. + + RITA + What are you doing? + + PHIL + This is Doris Kleiser and her + fiance Fred. + + DORIS + Do I know you? + + PHIL + They're supposed to get married + tonight but Doris is having + second thoughts. + + FRED + What! + Doris touces her engagement ring, dumbfounded. Rita is a + little embarrassed. + + RITA + Lovely ring. + + DORIS + Thanks. + + + + -87- + + + Phil drags Rita to the counter. + + PHIL + This is Ralph. Say "Hi," Rita. + Rita flashes a quick smile. + + RALPH + Don't believe I've had the-- + + PHIL + Ralph hates his life here and + wants to drive around town + smashing into policemen. + + RALPH + Well, who don't? + + RITA + This is some kind of trick. + + PHIL + Yes, it's a trick. But maybe the + real God cheats, too. Maybe God + isn't omnipotent-- he's just had + a lot of practice. + + RITA + How about that guy? + + PHIL + Tom. Worked in the coal mine + �til they shut it down. + + RITA + Her? + + PHIL ' + Nancy. Went to Lincoln High + School in Pittsburgh. Takes + herself out to lunch once a week. + Rita is getting very bewildered. From their reactions she can + see that Phil is right about each and every one of them. + + RITA + How do you know these people! + + PHIL + I told you the truth. In five + seconds there's going to be a + grease fire in the kitchen. + Five, four-- + + RITA + This is nuts. + + + + -88- + + + + PHIL + --three, two, one. + Phil points to the kitchen as smoke starts pouring from the + service window. Everyone in the diner is now staring at them + + RITA + (trying to puzzle it + + OUT) + Okay, enough. Let's just sit + down and think for a second. + (they sit) + What do you know about me, Phil? + Do you know me, too? + Phil takes a long pause. + + PHIL + I know all about you, Rita. I + know you like producing, but hope + for better than Channel 9, + Pittsburgh. + + RITA + Everyone knows that. + + PHIL + You like boats but not the ocean. + There's a lake you go to in the + summer with your family, up in + the mountains, with an old wooden + dock and a boathouse with boards + missing in the roof, and a place + you used to crawl underneath to + be alone, and at night you'd look + up and see the stars. You're a + sucker for Rocky Road, Marlon + Brando, and French poetry. + You're wonderfully generous; + you're kind to strangers, and + children; and when you stand in + the snow, you look like an angel. + + + + RITA + How are you doing this? + + PHIL + I told you! I wake up every day + right here, right in + Punxsutawney, and it's always + February second and I can't turn + it off. If you still don't + bel iev e me, listen-- + + RITA + B u t , Phil-- + + + + -89- + + + + PHIL + Listen! In ten seconds Larry is + going to walk through that door + and take you away from me. + + RITA + Larry? + + PHIL + But you can't let him. Please + believe me. You've got to + believe me. + + RITA + I don't -- + Larry pokes his head in the doorway, looks around and spots + Rita. + + PHIL + Look. + As Rita turns around to see Larry, Phil grabs a pen and pad + from a passing waitress and quickly writes something down as + Larry makes his way to their table. Phil finishes writing. + + LARRY + (to Rita) + You ready? We better get going + if we're going to stay ahead of + the weather. + Phil hands the paper to Rita. She reads it. + + RITA + + (READING) + " . . . stay ahead of the weather. " + Larry looks at the paper. + + LARRY + What ' s that? + Rita looks at Phil with new understanding and empathy. + + CUT TO: + + + + EXT. PUNXSUTAWNEY - DAY + + Phil and Rita are walking down the sidewalk. + + PHIL + Afer I got over the shock, it was + kind of fun for the first year or + two. I had anything I wanted. + Except you, of course. + + + + -90- + + + + + Phil abruptly pulls Rita aside. A big pile of snow slides off + a roof and onto the sidewalk where they would have walked. + Phil doesn't even look up. Rita looks, as if she's seeing a + miracle. + + RITA + How did this start? + + PHIL + I don't know. I just woke up. + Just like always. + NED RY-ERSON approaches. + + NED + Hey, Phil! Phil Connors 1 + + PHIL + Rita, this is Ned Ryerson. He's + an asshole. + + NED + He remembers me! + Phil and Rita keep walking. Rita looks back at Ned, perplexed + + PHIL + Trust me on that one. + + CUT TO: + + + + EXT. FUDGE SHOP - DAY + + Phil and Rita come out of the shop, sharing pieces of fudge. + + RITA + This is great. + + PHIL + No, it isn't. You hate fudge. + + . RITA + Just how well do we know each + other? + + PHIL + I told you. I know everybody. + Rita stops walking. + + RITA + Did we ever...you know? + + PHIL + + (TEASING) + Did we ever! You were an animal. + + + + -91- + + + + + + RITA + Come on. + + PHIL + You're European trained, aren't + you. + Phil continues walking. + + RITA + + (BLUSHING) + Phil! It's not funny. + She catches up to him. Phil turns to her. + + PHIL + You weren't interested. + + RITA + + (RELIEVED) + Okay. + She begins walking again. + + RITA + Not that it would've been so + awful. + + PHIL + I understand. + + RITA + I just had to know whether to + smack you or not. + + PHIL + You did. + + RITA + Good. + + CUT TO: + + + + EXT. PARK - DAY + + Phil and Rita are sitting on a park bench. + + PHIL + So do you believe any of this? + + RITA + I don't know. I don't know how + else you could know so much. + Maybe it is really happening. + + + + -92- + + + + PHIL + I used to try to stay up all + night sometimes. I thought if I + could stay conscious I could + figure out what was going on, or + at least hang onto something from + the day before. But I gave up on + that a long time ago. + Rita looks at him with compassion. + + RITA + It sounds so-- lonely. + + PHIL + (trying to shrug it + + OFF) + It's not that bad. You get used + to it. + Rita comes to a decision. + + RITA + Maybe I should spend the rest of + the day with you-- as an + objective witness. Just to see + what happens. Okay? + + PHIL + Yeah, sure. That'd be okay. + + CUT TO: + + + + INT. PHIL'S ROOM - NIGHT + + A hat is lying on Phil's bed. A playing card flies past. A + second playing card sails right into the hat. Another playing + card sails past, missing. Another playing card sails right in + Phil and Rita are tossing cards. Rita is missing. Phil is + hitting. + + PHIL + It's not in the wrist so much as + the fingers. Be the hat. + + RITA + It would take me a year to get + good at this. + + PHIL + Uh-uh. Six months. Four, five + hours a day. + + RITA + Is this what you do with + eternity? + + + + -93- + + + + + + PHIL + Now you know. It's like waiting + for a bus that never comes . You + should see me play pool -- and + bowling, juggling, hacky sack. + I can ride a unicycle. + There ' s a knock on the door . + + PHIL + I'll get it! + Phil jumps for the door and opens it. The PIZZA GUY is there. + + PHIL + Hi, Marty. $11.75 including the + delivery charge, right? + + PIZZA GUY + U h hh h -- + Phil pays him, takes the pizza and closes the door. + + RITA + (opening the pizza box) + MMMM. Pepperoni and olives. My + favorite . + + PHIL + Of course. I told you, I know + everything . + + RITA + (taking a bite of + + PIZZA) + I don ' t think I ' d want to know + everything that ' s going to + happen. I like to be surprised. + + PHIL + That's not the worst part. + + RITA + What's the worst part? + + PHIL + The worst part is starting over + everyday. Tomorrow you won't + remember any of this. You'll go + back to treating me like a + complete jerk -- + + RITA + No -- + + PHIL + It's not your fault. I am a + jerk. + + + + -94- + + + + + + RITA + No, you're not. + + PHIL + Okay, I ' m not. It really doesn't + make a lot of difference. I've + killed myself so many times, I + don't even exist anymore. I'm + just completely empty. + + RITA + Or completely clean. + + PHIL + If you're going to be this + positive all the time I may have + to rough you up a little. + + RITA + Wait! Have we done this before? + + PHIL + Which part? + + RITA + You getting me up here, the card + gam e, the pizza-- + + PHIL + No, this is the first time. + + RITA + + (EXCITED) + Well? + + PHIL + Well, what? + + RITA + Well how does it feel to be doing + something completely new? + Phil looks at her with tremendous affection and gratitude. + + PHIL + Good. Really good. + He takes a slice of pizza and starts eating with gusto. + + DISSOLVE TO: + + THE PIZZA BOX - LATER + There's only one slice left. + Phil and Rita are sitting together on the bed, close but not + touching. Soft music is playing on the radio. + + + + -95- + + + + + + RITA + Sometimes I wish I had a thousand + lifetimes. One to be a great + journalist. One to, I don't + know, go back to school, study + art, or auto mechanics. One just + to take care of all the busywork, + you know, pay the bills, get my + car tuned up. One to be the wild + woman of Borneo. One to be + Mother Theresa. Maybe it's not + a curse, Phil. It all just + depends on how you look at it. + Phil stares at her for a long time letting this sink in. Then + he belches really loud. Rita stares at him, then burps + surprisingly loud herself. + + RITA + I want you to know, it's been a + really nice day for me. + + PHIL + Me, too. + + RITA + Maybe, if it's not too boring for + you, we could do it again. + + PHIL + I hope so. + The clock reads 11:59. Rita grabs Phil's hand. He puts his + arm around her. + They look into each others' eyes. Rita gives Phil a reassuring + smile. She squeezes his hand. Their eyes turn to the clock. + 11:;59 turns to 12:00. + Rita looks up at Phil as if expecting some magical event. + + RITA + You're still here! + + PHIL + I know. + + RITA + I thought you were supposed to + disappear-- or I was or + something. + + PHIL + Not 'til six. + + RITA + You rat! + + + + -96- + + + + + She is mad in a playful way. + + PHIL + I never said midnight-- + + RITA + You knew I was waiting for + midnight! + + PHIL + But I never said it. + + RITA + Oh, I can't believe you! + (she slugs him with a + + PILLOW) + I didn't know this was going to + take all night! + + PHIL + Does that mean you're going? + + RITA + No. + Phil takes Rita's hand. She doesn't resist. + + DISSOLVE TO: + + LATER + Rita is now sitting right next to Phil on the bed, her head + resting on his shoulder. She nods off then catches herself. + + RITA + I'm sorry. + + PHIL + It's okay to go to sleep you + know. I promise I won't touch + you-- much. + + RITA + No, it's all right. I'm not + tired. What were you saying? + Her eyes start to close again. + + PHIL + I was saying that the cow was + eventually returned to it's + rightful owner. + + RITA + (drifting off) + Really? + + + + -97- + + + + + + PHIL + That's right. + He looks at her, sees she's truly asleep, and gently maneuvers + her into a comfortable reclining position on the bed. Then he + carefully puts a pillow under her head and settles down next to + her. + + PHIL + What I was going to say was, I + think you're the kindest, + sweetest, prettiest, most + wonderful girl I ever met in my + life. + She starts to stir but he gently kisses her back to sleep. + + PHIL + Shhhh. That's good. + (satisfied she's still + + ASLEEP) + I could never tell you this, but + from the first minute I looked at + you I wanted to just hold you + close and be with you forever. + iEverytime I -saw you around the + station, I thought my heart was + going to explode. I used to + dream about us being together. + In my dream you loved me as much + as I loved you and we didn't have + to say anything but I knew you + understood everything. + She stirs again but he kisses her until she returns to deep + sleep. + + PHIL + I know a guy like me could never + deserve to have someone like you, + but if I did, I swear I would + love you for the rest of my life. + Rita opens her eyes. + + RITA + + (HALF-ASLEEP) + Did you say something? + + PHIL + Good-night, Rita. + He kisses her gently on the forehead. + + RITA + Good-night, Phil. + + + + -98- + + + + C LOSE UP - THE CLOCK + The time changes from 5:59 to 6:00. The radio starts playing. + Phil wakes up alone in bed. He lies there for a moment then + leaps out of bed like a man reborn and heads straight for the + shower. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - DAWN + + Rita and Larry are in the packed press area, beginning to set + up the equipment. + Phil arrives, carrying two cups of coffee. + + PHIL + Rita? + She looks at him without a trace of the rapport they shared the + night before. + + RITA + Oh, hi, Phil. + + PHIL + Thought you might like some-- + He hands her the coffee. + + RITA + Thanks! + + PHIL + Careful, it's hot. Larry? + He hands Larry a cup. + + LARRY + (surprised, mutters) + Yeah, great. + + RITA + We're just setting up. + + PHIL + You know, I bumped into Buster + Greene, he kind of runs this + thing, and he tipped me off that + we might get a better shot over + there. + + RITA + Really? + + + + -99- + + + + PHIL + I mean, maybe we should go for + it. What do you think? + + RITA + Sounds good to me. Larry? + + LARRY + Sure, why not? + + RITA + All right. Thanks, Phil. Good + work. + She reaches for an equipment case. + + PHIL + I'll get that. + Phil helps Larry carry the camera gear. + + PHIL + (to Larry) + You and I never talk, Larry. You + got kids? + Larry looks suspicious. Rita looks on, reevaluating Phil. + + CUT TO: + + + + INT. LIBRARY - DAY + + Phil enters the library, approaches the Librarian. + + PHIL + Where would I find the Philosophy + section? + + LIBRARIAN + Down and to the left, 600's. + Phil walks through the stacks, past the groundhog window. + + CUT TO: + + + + EXT. A HOUSE - DAY + + Phil rings the doorbell. A kindly young woman, MARY, answers + + MARY + Yes? + + PHIL + I ' d like a piano lesson, please. + + + + -100- + + + + MARY + Oh. Okay, I ' m with a student + now, but -- + + PHIL + I'll give you a thousand dollars. + Mary hesitates only a moment, then ushers Phil into the house + and closes the door. + A moment later the door opens and a LITTLE GIRL with an armloa + of music books exits as if pushed. The door closes behind her. + + CUT TO: + + + + INT. HALLWAY - DAWN + + Phil walks happily down the hallway. He passes the chubby man. + + CHUBBY MAN + Morning. + + PHIL + Buon Giorno, signore. + + / '. + + . ' + + � + + - + + : + + CHUBBY MAN + Think it ' 11 be an early Spring? + + PHIL + "Winter slumbering in the open + air wears on his smiling face a + dream of Spring." + + CHUBBY MAN + Oh. + + CUT TO : + + + + INT. MARY'S HOUSE - DAY + + Phil and Mary are sitting together at the piano. Phil is + playing, poorly. + + MARY + Not bad, Mr. Connors. You say + this is your first lesson? + + PHIL + Technically, yes. + Phil plays on, definitely improving. + + CUT TO: + + + + -101- + + + + + + INT. LIBRARY - DAY + + We see several cuts of Phil studying at the library. + SUPERED over these cuts is a calendar with the pages flipping + by. They all read "February 2 . " + + CUT TO: + + + + EXT. GOBBLER'S KNOB - DAWN + + Phil stands in front of the camera, giving his report. + + PHIL + In fact, the groundhog's + legendary ability to predict the + weather may be more than just the + German folklore of the region. + Higher temperatures trigger + hormonal changes in the + testosterone levels of male + groundhogs, which may in fact + wake them from hibernation and + send them out to battle with + other males ;for mating rights. + So, the truth is they're not + looking for their shadows, + they're looking for groundhog + chicks. + Rita looks on, clearly delighted with the report. + + CUT TO: + + + + INT. MARY'S HOUSE - DAY + + Phil is playing the piano with ever increasing skill as more + February 2 calendar pages flip by. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - DAWN + + Phil is delivering another report. + + + + -102- + + + + PHIL + Groundhog Day, February second, + also known as Candlemas Day or + the Feast of the Purification of + the Virgin Mary, the day Mary + first came to the temple for + ritual blessings following the + birth of the infant Jesus, and + celebrated since the Middle Ages + by the sacramental lighting of + candles. Hence the old Scottish + couplet which long predates the + .American groundhog tradition: "If + Candlemas dawns bright and clear, + there'll be two winters in the + year." + Larry whispers an aside to Rita. + + LARRY + Is he making this stuff up? + + RITA + + (RIVETED) + Shhhhh. + + CUT TO: + + + + EXT. CEMETERY - DAY + + Beyond the graveyard is a work shed with various tombstones + scattered about. Old TUCKER, the town stonecarver, is at work + chiseling a name into a gravemarker. + Behind him, Phil is chipping away at a small hunk of marble, + sculpting a very lovely cherub. + Rita sits on a stool eating an apple and sipping hot tea + watching him with amazed interest. + + PHIL + But what if the rules changed? + What if none of your actions had + consequences? + + RITA + There would still be an absolute + morality. There has to be an + absolute good, regardless of the + circumstances. + + PHIL + Oh, is that so, Miss Plato? Then + let me ask you this. Where does + this "absolute good" come from? + From the sky? + + + + -103- + + + Rita shrugs. + + RITA + I don't know. From my freshman + Philosophy course, I guess. + They both laugh. Then she looks at him for a long moment and + grins. + + PHIL + What? + + RITA + Nothing. I just can't believe + you're such a fine sculptor. + Phil takes a bite of her apple and gets up. + + PHIL + I gotta go. + + RITA + Where do you have to go in + Punxsutawney? + + PHIL + I got piano and then drums. + + RITA + Here? + + PHIL + Come on, I'll drop you off. + They exit. + + CUT TO: + + + + EXT. MAIN STREET '��-.. LATER + + Phil drops Rita off and watches as she crosses the street to + Larry who is waiting on the other side. + Across the street, Rita takes a wistful glance toward Phil, + then gets in the news van and drives off. + Phil gets out of the car and starts walking, but finds himself + face to face with Ned Ryerson. + + NED + Phil! Phil Connors! I thought + that was you! + + PHIL + Ned? Ned Ryerson! I don't + believe it. I've missed you so + much. + + + + -104- + + + Phil gives Ned a big hug and keeps holding on for an + uncomfortably long time, actually giving Ned a hickey on the + neck. Ned goes into homophobic shock. + + NED + Uh, I gotta get going. Nice to + see you, Phil. + He hurries off. + + CUT TO: + + + + INT. MARY'S HOUSE - DAY + + Phil is sitting on the piano bench with Mary, playing pretty + well. Mary is astonished. + + MARY + How long have you been studying, + Mr. Connors? + + PHIL + One day. I'm gifted. + + CUT TO: + + + + EXT. STREET - DAY + + Phil is walking down the street. He glances down the alley as + he passes, stops, walks back and enters the alley. The OLD BUM + that Phil never noticed before is lying there, huddled against + a wall. Phil goes to help him. + + PHIL + Hey, mister. Hey. Come on, + let's get you somewhere warm. + The old bum turns to look at Phil, then closes his eyes. + + PHIL + (helps the old man to + his feet) + There you go. + Phil practically carries him out of the alley. + + CUT TO: + + + + INT. HOSPITAL EMERGENCY ROOM - NIGHT + + A nurse approaches Phil. + + NURSE + You the one brought in the old + man? + + + + -105- + + + + PHIL + How is he? + + NURSE + He passed away just now. + Phil pauses for a long moment. + + PHIL + What'd he die of? + + NURSE + + (SHRUGS) + He was just old. It was his + time. + + PHIL + I want to see his chart. Excuse + me. + Phil brushes past her and makes for the big double doors + leading to triage. + + NURSE + Sir, you can't -- + (hurrying after him) + Look! Some people just die! + + PHIL + Not on my watch. + + CUT TO: + + + + INT. DINER - MORNING + + Phil is propping up the old man at a table, trying to feed him + hot soup. + + CUT TO: + + + + INT. HOSPITAL - DAY + + Phil is furiously looking over X-rays, flipping through medical + journals and making notes. + + CUT TO: + + + + EXT. ALLEY - NIGHT + + Phil is in the alley, shaking the old man, trying to rouse him. + + PHIL + Come on . Hang on . Hang on , + there . Breathe . + + + + -106- + + + Phil stops. The body lies, unmoving. Phil sits back, + breathing heavily. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - DAWN + + Phil is delivering his report. Everyone there is silent and + listening to Phil. Even the other reporters have turned their + cameras on him. + + PHIL + ...When Chekhov saw the long + winter, it was a winter bleak and + dark and bereft of hope; and yet, + we know winter's only one more + step in the cycle. And standing + among the people of Punxsutawney -- + (Phil looks directly at + + RITA) + -- basking in the warmth of their + hearths and hearts, I couldn't + imagine a better fate than a long + and lustrous winter. + Phil smiles. Rita smiles, too. + + PHIL + For Channel 9 news, I ' m Phil + Connors. + There is much applause. Even Larry brushes away a tear. + Phil hands the microphone to Rita. + + RITA + + PHIL-- + + PHIL + Sorry. I'm gonna be late. + Phil rushes off. + + RITA + Late for what? Phil? + (To Larry) + Could you break it down and wrap + out of here by yourself, Larry? + + LARRY + Sure . + + RITA + Thanks . + + + + -107- + + + Rita rushes off after Phil. + + CUT TO: + + + + EXT. STREET CORNER - DAY + + Phil walks briskly toward an intersection, glancing nervously + at his watch. Rita follows him at a distance, hurrying to keep + up. + MARIE, a little nine-year-old girl, approaches the intersection + shielding her brand new puppy under her winter coat. She isn't + paying attention to traffic and fails to notice a big truck + bearing down on her. + As she steps off the curb, Phil arrives and, with split-second + timing, nonchalantly but firmly grabs her coat to hold her + back, just as the big truck rushes past in the street, narrowly + missing her. + + PHIL + Hey! Did you forget to look both + ways? You didn't even look one + way. + + MARIE + My doggie was cold. + + PHIL + Yeah, well, my doggies are + freezing, but I ' m still gonna + watch out for cars. See you + around, kid. + Phil looks at his watch and rushes off. + Rita looks on amazed and follows him at a distance. + + CUT TO: + + + + INT. BERGHOF RESTAURANT - DAY + + Phil enters the crowded restaurant and pushes past all the + people waiting to be seated. He walks casually but quickly and + purposefully around the tables, squeezing past busy waitresses + and seated patrons toward a commotion in the back of the + restaurant. + TWO BUSINESSMEN are leaning over a THIRD. + + BUSINESSMAN + Oh, my God! He's having a heart + attack! + + SECOND BUSINESSMAN + Lay him down! + + + + -108- + + + + BUSINESSMAN + What do I do? He's not + + BREATHING1 + + SECOND BUSINESSMAN + He's turning blue! Help! + Phil walks straight up to the BLUE-FACED MAN, grabs him from + behind, gets him in the Heimlich grip and squeezes sharply. + A bolus of food flies across the room. The victim coughs and + sputters, then starts breathing again. + + FIRST BUSINESSMAN + Jerry, you okay? + + SECOND BUSINESSMAN + I think that did it. + Phil lets go of the grateful victim. + + PHIL + If you're going to eat steak, get + better teeth, will you? Enjoy + the rest of your lunch, gents. + He exits. + + JERRY + Wow. Who was that guy? + Phil gets to the door and finds Rita standing there, looking at + him in awe. + + PHIL + Rita! + + .RITA + + (CONFRONTING) + -Okay, hold it right there. I + want to know what' s going on and + I want to know right now. + + PHIL + I'm sorry, I'm really pressed + right now. Meet me outside the + hospital about 5:00 and we'll + talk about it. + + RITA + The hospital? + Phil looks at his watch and rushes away. + + PHIL + Try the curlycue fries. Killer. + + CUT TO: + + + + -109- + + + + INT. HOSPITAL CORRIDOR - LATER + + A gurney bursts through the double doors, paramedics and nurses + in attendance. The patient is a teenage girl, JANEY, totally + unconscious. + + + + INT. EMERGENCY ROOM - CONTINUOUS + + The gurney is wheeled into the surgery. + + NURSE + Looks like insulin shock. She's + probably diabetic. + Phil enters wearing a doctor's scrub suit and begins barking + orders. + + PHIL + She's not diabetic. It's an + overdose. Let's get her up here + and pump her stomach, then I want + a complete blood work-up, STAT. + + NURSE + R i g h t , Doctor--uh-- + She realizes she's never seen him before. + + PHIL + Call me Phil. + + NURSE + Phil. Like the groundhog? + + PHIL + Exactly. + + CUT TO: + + + + INT. CHILDREN'S WARD - LATE AFTERNOON + + Sick CHILDREN in hospital gowns are gathered around Phil, + laughing and squealing. Phil is. making balloon animals. + + KID + Make a giraffe! + + PHIL + A giraffe? Let's see. It's just + like a dog with a biiiiig-- what + was it? + + ALL THE KIDS + Neck! + + + + -110- + + + + PHIL + A big tail? Okay, a big tail. + + KIDS + Neck! A big neck! + Phil makes an animal really quickly. + Rita watches from the doorway, unseen by Phil. + + PHIL + There. A dog with long legs. + + KIDS + Nooo ! Long neck ! + + PHIL + Oh! Right! A dog with a big + head. + + KIDS + Noooo! + The kids attack Phil. Lots of rolling around on the bed. Rita + watches, completely enthralled. + Finally, Phil extricates himself and exits to find Rita + waiting. + + RITA + All right, now what's going on? + + PHIL + (taking her arm) + Come on. We have to hurry. + + CUT TO: + + + + EXT . RESIDENTIAL STREET - A LITTLE LATER + Phil rushes down the sidewalk with Rita close behind him. He + stops under a tree and puts his arms out just as a YOUNG BOY + falls out of the tree and into his arms, knocking him to the + ground. The kid runs off unhurt as Phil gets back to his feet + and brushes himself off. + + PHIL + (to Rita) + That little bastard has never + thanked me once . I ought to j ust + let him fall. Teach him a + lesson. + + RITA + Phil, this is too -- I must be + dreaming. + + + + -1 1- + + 1 + + + + PHIL + Yeah, you and me both. Come on, + We're almost done. + + CUT TO: + + + + EXT. ALLEY - NIGHT + + Phil kneels on the cold ground beside the old bum who lies + huddled against the wall, immobile. + Rita is standing by at the end of the alley, watching as Phil + examines him. + Phil writes something down on a small pad. He finishes, and + sets it down by the old man. Then he takes his coat and uses + it to cover the man up. A siren is heard. + Phil stands and walks away, as an ambulance pulls into the + alley. + + RITA + Is he -- ? + + . 'PHIL + Yeah. Let's go. + + RITA + In a minute. + She waits and watches. + The paramedics, BUD and ANDY, get out of the ambulance and + inspect the scene. + + BUD + It's ol1 Really. + + ANDY + That's a shame. + + BUD + Look here . + Bud picks up the note Phil left. + Rita steps closer. + + RITA + May I see that? + (reading aloud) + "Every night, by cold bricks + + GLOW + I watch the shadow rising + from this old man in the snow. + At 8:02 we let it go." + + + + -112- + + + + ANDY + + (REPEATING) + "At 8:02 we let it go." + + BUD + Wow, that's nice. + Rita hands him the note and quickly walks away. + + ANDY + Suppose he wrote it? + + BUD + + (DOUBTFUL) + Are you kidding? + + CUT TO: + + + + EXT. MAIN STREET - NIGHT + + Rita catches up with Phil outside the Pennsylvanian, the town's + oldest and best hotel. + + RITA + Now what? + + PHIL + Come on. You'll see. + They enter. + + CUT TO : + + + + INT. HOTEL LOBBY - CONTINUOUS + + As Phil and Rita enter there is music coming from a side room. + The black velvet announcement board proclaims: KLEISER-SCOTT + + WEDDING. + + CUT TO: + + + + INT. PARTY ROOM - CONTINUOUS + + Phil and Rita walk into a banquet room decorated with + streamers, balloons and flowers. There is a long buffet table + and a punch bowl. Another long table is loaded with wedding + gifts. A small band is playing. + People are dancing. The wedding party is dressed in rented + tuxedos and appropriately pouffy bridesmaid dresses. + + RITA + This is incredible. Who's + wedding is this? + + + + -113- + + + Phil grabs two glasses of champagne and hands one to Rita. + + PHIL + Just some friends. Dorisi + The bride, DORIS, young and cheery, is on her way to see Phil. + She is dragging FRED, her groom, with her. + + DORIS + Hi, Mr. Connors! Come ON, + Freddy. + + FRED + Hi. + + DORIS + This is the guy I told you about. + + FRED + No way! + + PHIL + How's it going, Fred? + + FRED + Hey, I ' d like to thank you for + making Doris go through with + this. + + PHIL + Are you kidding? Don't buy that + playing hard to get stuff. She's + crazy about you, you stud. + + DORIS + I ' m really glad you could come. + + PHIL + Congratulations. + Phil reaches into his pocket, pulls out two tickets and hands + them to Doris. + + DORIS + What is this? Oh, no way! No + way! Ahhh! + Doris throws herself on Fred and jumps up and down. Fred grabs + the tickets. + + FRED + Wrestlemania! No way! No way! + Doris throws herself on Phil. + + DORIS + How did you know? + + + + -114- + + + + FRED + We're like going to be in + Pittsburgh anyway. + + PHIL + I don't know. I just thought + about you two, tried to picture + what you ' d want more than + anything in the world and it came + to me. Bing! Wrestlemania. + + FRED + Thanks, Mr. Connors. You're a + real pal. + + DORIS + This is the best! + Doris gives Phil a kiss. She and Fred move on. + + RITA + I don ' t understand . You rush + from one person to the next in a + town you only visit once a year, + you know everything before it + happens , and you -- - I don ' t know , + you seem to be Punxsutawney ' s + leading citizen. + The band finishes a set. The guests stop dancing and head for + the refreshments. Phil and Rita are left alone for the moment + + PHIL + What do you want to know? + + RITA + Who are you? + + PHIL + I really don't know. + + RITA + No, there's something going on + with you. + + PHIL + Okay, I wake up in Punxsutawney + on February second -- every day. + It's supernatural. I don't even + try to explain it anymore. So, + I live each day as if it's the + only day I've got. + Rita stares into his eyes for a very long time, but sees only + good, true things. + + RITA + That's pretty amazing. " + + + + -115- + + + + PHIL + You want to know what's really + amazing? I've been waiting for + you every day for ten thousand + years. I dream of you every + night of my life. You've been my + constant weapon against total + despair, and just knowing you + exist has kept me alive. How's + that? + Rita can't even speak. This is clearly the nicest thing + anybody has ever said to anybody. + Mary the piano teacher notices Phil. + + MARY + Phil! + (to her friend) + This is the guy. + + PHIL + Hello, Mary. Rita, this is one + of Punxsey's finest musicians. + + �MARY + Give me a break. You should + talk. Why don't you play + something? + + PHIL + N o , I-- + + MARY + Please. + + FRED + Hey, Mr. Connors. Go for it. + Phil looks at Rita. She nods and shrugs. + Phil walks up to the platform and sits at the piano. He begins + to play a slow, serious, classical piece. Everyone falls + silent. It's so beautiful, Rita is almost in tears. + Then, after a pause to let the serious notes sink in, Phil + transforms the piece into a fast, lively, upbeat jazz romp. + Everyone is delighted, and as the rest of the band kicks in, + everyone grabs a partner and begins to dance. + An old coot, UNCLE LEO, grabs Rita and the two of them dance up + a storm. + + LEO + That's a great guy you've got + there. Doctor Connors fixed my + back, you know. + + + + - -116- + + + + + + RITA + Do ctor Connors? + + + Rit a looks over at Phil, joyously playing the piano. + + + + CUT TO: + + + + + + EXT . STREET - NIGHT + + + It is snowing lightly. Phil and Rita are walking slowly, arm + in arm, close. They stop and embrace. Phil looks at Rita. + She looks like an angel. + + + + PHIL + Wait! Don't move! + + + Phil scoops up some snow and begins packing it down, furiously, + joyously, then rolling it into a large ball. + + + + RITA + Making a snow man? I'll help. + + + + PHIL + No, stay there. Stand right + th ere. + + + Ph il lifts the now larger chunk of packed snow and sets it on + a mailbox. Then he looks at her, and starts to sculpt it. + + + + DISSOLVE TO: + + + + LATER + + + Phil is using a stick and the heat of his bare hands to model + a delicate fold in the snow sculpture. Several bystanders look + o n with interest as Phil stands back from his work. + + + + RITA + Can I look? + + + + PHIL + O kay, look. + + + It is an excellent likeness of Rita, the snow white as + alabaster, pure as marble, a beautiful and delicate homage. + + + + RITA + + (OVERWHELMED) + Nobody's ever done this for me. + Not even a drawing. It's + beautiful. + + + + -117- + + + + PHIL + This is how I see you. When it + all gets too much, I just close + my eyes and there you are-- just + like this. Take it home and keep + it in the freezer. + Rita embraces Phil. They are about to kiss, looking deep into + each others eyes. + + PHIL + This one's for the Frog Prince. + + RITA + What? + + PHIL + Nothing. + They kiss-- a long, deep, soul-stirring kiss. + + PHIL + Will you come with me? + Rita nods. They continue standing there, embracing, warming + each other in the cold night air. + + RITA + (looks back at the ice + + SCULPTURE) + We're just going to leave her? + + PHIL + It doesn't matter. Really, it + doesn't. + They kiss again. + + CUT TO: + + CLOSE UP - THE CLOCK + The digital clock-radio changes from 5:59 to 6:00. Silence. + No Sonny and Cher, no deejays-- nothing. + Phil sits up in bed. He looks around the room. Things are + different, messier. Then he sees the covers move. Wide-eyed + now, he looks over and sees Rita waking up, snuggling deep + under the covers. + + PHIL + + (DISBELIEVING) + It's not true. It's not. It + can't be true. Rita? Rita! + + + + -118- + + + + RITA + + (STRETCHING + + LUXURIOUSLY) + Mmmm. Morning. + Phil pounces on Rita, showering her with kisses. + + PHIL + You're here! My god! I can't + believe you're here! + + RITA + Glad to see you, too. + + PHIL + No! It's happened. Don't you + get it? It's tomorrow! It's -- + Phil turns on the radio. + + DEEJAY + . . . still shoveling put the + highways, but if you're walking, + it's a beautiful day. + + S IDEKICK + Yeah, the snow kind of cleaned + e ve r yt h in g up-- + + DEEJAY + --except your mouth. + Phil kisses the radio. + + PHIL + I love those guys. + + RITA + Are you always this jolly in the + morning? + Phil runs to the window and looks out. + + HIS POV - THE STREET + The street ;is virtually empty, the town just waking up. Kids + are throwing snowballs. + + PHIL + No groundhog! Rita! They're all + gone! + + RITA + You must've had some dream. + Phil stops, thinks. + + + + -1 1 9 - + + + + PHIL + Did I just dream it? + Phil opens the door and runs into the hallway wearing only + pajama bottoms. + + RITA + Phi l? Phil! + Rita sits up in bed and waits. Suddenly, from somewhere else + in the inn comes the sound of Phil at the piano expertly + playing a difficult classical piece. He stops after a few + bars. + + PHIL (O.C.) + Yeah!!!! + Phil runs back into the room. + + PHIL + It really happened! You're + really here! + He pounces on Rita again. + + PHIL + You're really actually here. + + RITA + + (LAUGHING) + I'm here, I'm here! + They kiss, passionately, hungrily. + + PHIL + Let's go! + He scoops her up in his arms. + + RITA + Where're we going? + + PHIL + Anywhere! Everywhere! + + CUT TO: + + + + INT. BREAKFAST ROOM - LATER + + Phil and Rita, dressed now, enter and encounter Mrs. Lancaster + Phil hugs her. + + MRS. LANCASTER + Oh, my! + + + + -120- + + + + PHIL + Florence! Say hello to Rita. + She loves me. + + MRS. LANCASTER + I'm not surprised. + He kisses her on the cheek and rushes out with Rita. + + + + EXT. THE STREET - DAY + + Phil and Rita walk down Main Street hand in hand. + + A MAN + Phil! Good morning! + + A LADY + Mr. Connors. I wanted to thank + you. + + PHIL + That's all right. I-- + A FLORIST steps out of the flower shop with a bouquet. + + FLORIST + Phil, here. I want you to have + these. + + PHIL + Thanks, Carl. + Phil smells the flowers, and hands the bouquet to Rita. + + PHIL (V.O.) + And so began my final lifetime, + and ended the longest winter on + record. I would find myself no + longer able to affect the chain + of events in this town, but I did + learn something about time. You + can waste time, you can kill + time, you can do time, but if you + use it wisely, there's never + enough of it. So you'd better + make the most of the time you've + got. + A car skids on the ice and smashes into a tree. Phil and Rita + rush over to help, but the driver waves that he's okay. Rita + and Phil continue their walk. + + + + -121- + + + + PHIL (V.O.) + Larry never got through the + blizzard, so none of my groundhog + reports ever made it on the air. + But Rita and I-- we lived happily + ever after. + Phil and Rita walk off together. + Across the street, Larry is trying to get rid of Ned Ryerson + who is doggedly trying to sell him insurance. + + NED + But Phil told me you were his + accountant! + + LARRY + Look, I told you! He's nuts! + Larry keeps trying to walk away, but Ned won't leave him alone. + + NED + Let me just tell you about single + premium life-- + Finally, Larry slugs Ned and storms off, leaving Ned + floundering in a snowbank. + Phil and Rita walk on as we pull up and away from Main Street + revealing the whole of Punxsutawney and the snowy countryside + that embraces it. + + THE END \ No newline at end of file diff --git a/scripts/Guardians of the Galaxy Vol 2.txt b/scripts/Guardians of the Galaxy Vol 2.txt new file mode 100644 index 0000000000000000000000000000000000000000..305f3e8e9fafeb7774198d15ee9cf93abda01652 --- /dev/null +++ b/scripts/Guardians of the Galaxy Vol 2.txt @@ -0,0 +1,8093 @@ + 1. + + + + BLACK: + + O.S. “BRANDY” by LOOKING GLASS PLAYS. + + +1 EXT. FORD COBRA MUSTANG - DAY 1 + + SUPER: MISSOURI + + EARTH + + 1980 + + OVERHEAD SHOT: A ‘79 Cobra winds alongside the Missouri + River, past swaying loosestrife, vibrant sugar maples, and + oily self-pump gas stations. A hazy sun glints off the hood + of the Cobra which, like its descendant the Milano, is + orange and teal. + + We MOVE DOWN AND IN on a fresh-faced girl of 18 in the + passenger seat: MEREDITH QUILL. As “Brandy” blasts from the + car stereo, she pushes her fine, feathered hair from her + mouth, and sings along, out-of-tune - + + MEREDITH + Do do do do do do do do do do do! + + The driver, a MYSTERIOUS MAN in his 30’s, dressed in sleek, + mod attire, LAUGHS. + + Meredith LAUGHS too. She SINGS and dances with abandon in + her seat. She’s a lively goofball, and it’s apparent where + Peter Quill received much of his personality. + + +2 EXT. DAIRY QUEEN/WOODS - MOMENTS LATER 2 + + The Cobra pulls beside this Dairy Queen in a desolate area. + + +3 EXT. WOODS BEHIND DAIRY QUEEN - MOMENTS LATER 3 + + The Mysterious Man helps Meredith down the steep hillside + into the woods. “Brandy” continues to play on the car + stereo in the lot behind them. Meredith GIGGLES. + + MYSTERIOUS MAN + This way, my river lily. + + MEREDITH + Where are you taking me? + 2. + + +The Mysterious Man shows her a STRANGE SPROUT nestled +amongst the trees. + +A few inches tall and decidedly alien in nature, its +delicate limbs twist and turn in a complex pattern. + + MEREDITH + Oh. It’s beautiful. + +The Mysterious Man looks proudly at Meredith. With a +perpetually excited glint in his eye, and the air of a +self-empowerment guru, he is an intoxicating presence. + + MYSTERIOUS MAN + I was afraid it wouldn’t take to + the soil, but it rooted quickly. + +He nods toward the sky between the branches above. + + MYSTERIOUS MAN + Soon it will be everywhere - all + across the universe, fulfilling + life’s one true purpose. + + MEREDITH + Which is what? + + MYSTERIOUS MAN + Expansion. + +The Mysterious Man takes her in his arms. He gazes into her +eyes. She grows almost teary. + + MEREDITH + I’m not sure what you’re talking + about. But I like the way you say + it. + + MYSTERIOUS MAN + My heart is yours, Meredith Quill. + + MEREDITH + I can’t believe I fell in love with + a spaceman. + +And they KISS, with passion, and love. “DO DO DO DO DO DO +DO DO DO DO DO!” sings Looking Glass as SOURCE BECOMES +SCORE and we TILT DOWN to the plant. It TWITCHES AND GROWS +AND TWISTS. + 3. + + + We PUSH IN ON IT, where we see the plant is made, not only + of cellulose and leaves, but of a BRIGHT COSMIC LIGHT. And + we KEEPING PUSHING IN, INTO THE PLANT ITSELF, more FLESH- + LIKE than you’d imagine, where COLORFUL BACTERIA OVERCOMES + US as “BRANDY” DISTORTS AND TRANSFORMS into something epic. + + O.S. A CRACK OF INTERDIMENSIONAL THUNDER + + SUPER: 34 Years Later + + +4 EXT. THE SOVEREIGN - OUTER SPACE 4 + + An artificial, golden planet, made of interlocking orbs, + revolves around a blue sun. + + We PUSH IN on THUNDEROUS INTERDIMENSIONAL CRACKS on one + small patch of planet. + + SUPER: THE SOVEREIGN + + +5 I/E. POWER STATION - DAY 5 + + A DIMENSIONAL CRACK SNAPS in the sky overhead. PETER QUILL + looks from it to an old MATTEL ELECTRONICS FOOTBALL GAME + converted into a tracker. A RED DOT APPROACHES. + + QUILL + Showtime, a-holes! It’ll be here + any minute! + + GAMORA (O.S.) + Which will be its loss. + + Quill turns toward GAMORA, loading a rifle. DRAX, ROCKET, + and BABY GROOT also ready themselves for battle in this + grand, open-air power station. Dozens of BATTERIES are + couched in conductor towers encircling them. Quill, Gamora, + and Rocket wear flying rigs. + + QUILL + Is that a rifle? + + GAMORA + You don’t know what a rifle is? + + QUILL + I thought your thing was a sword. + + GAMORA + 4. + + + We’ve been hired to stop an + interdimensional beast from feeding + on those batteries’ energy, and I’m + going to stop it with a sword? + + QUILL + (mumbling to himself) + Don’t look at me like I’m stupid. + You’re the one being all + inconsistent. + +A LOUDER, LARGER CRACK: something seems to be fighting its +way through the sky. + + GAMORA + Drax, why aren’t you wearing one of + Rocket’s aero-rigs? + + DRAX + It hurts. + + GAMORA + Hurts? + + DRAX + (muttering) + I have sensitive nipples. + +Rocket, who is working on a pair of speakers wired to +Quill’s Walkman, LAUGHS HARD at this. Drax points at him. + + DRAX + What about him?! What’s he doing?! + + ROCKET + If I finish this, we can listen to + tunes while we work. + + DRAX + How is that a priority? + + ROCKET + Blame Quill! He’s the one who loves + music so much! + + QUILL + I agree with Drax. It’s hardly + important right now. + + ROCKET + Oh, sure, okayyyy, Quill. + +Rocket WINKS at him. + 5. + + + QUILL + No, I really agree with him. + + ROCKET + Sure, I know. + +Rocket WINKS some more. + + DRAX + I can clearly see you winking. + + ROCKET + Damn. I’m using my left eye? + +Rocket hears a small GROWL. + +He looks down and sees Baby Groot - newly unpotted, only +nine inches tall or so - angrily THROWING ASIDE some +foraging Orloni. Then he looks up at Rocket, explaining: + + GROOT + I am Groot. + + ROCKET + They were not looking at you funny. + +AN EVEN LARGER CRACK! + +Rocket swirls as a GIGANTIC BEAST - a hundred-foot-long +Lovecraftian monstrosity - BREAKS THROUGH THE +INTERDIMENSIONAL RIFT. THE ABILISK is the color of a pinkie +mouse with kaleidoscopic and deadly SPLATTER MATTER pulsing +from its maw. + + ROCKET + Well. That’s intense. + +Rocket, Quill, and Gamora JET-PACK OUT OF THE WAY, while +they BLAST at the creature. Drax HOLLERS, CHARGING it with +his twin blades. Quill TURNS ON his mask. + +But we FOCUS on baby Groot, who trots up to the stereo +speakers and Walkman. + +He fiddles with two wires. They SPARK, the stereo POWERS +UP, and “MR. BLUE SKY” by ELECTRIC LIGHT ORCHESTRA PLAYS as +- + +THE CREDITS START + +Baby Groot DANCES IN-FOCUS in the foreground as the +Guardians get PUMMELED by the beast OUT-OF-FOCUS in the +background. + 6. + + +Baby Groot’s dancing is arrhythmic and many of his “dance +moves” are nonsensical mixtures of trembling, swaying, and +making weird faces. + +But it is joyous. + +As Groot struts, Quill comes ROLLING behind him. As he +stands, he sees Groot dancing and looks at him, worried. + + QUILL + Groot, look - ! + +A TENTACLE FLIES IN FROM OFF-SCREEN, KNOCKING Quill OUT-OF- +FRAME as Groot dances on, blissfully unaware. + +Groot, smiling, dances onward, as DRAX, in the clutches of +a giant tentacle, is SLAMMED NUMEROUS TIMES BESIDE HIM. + +Groot arrives at GAMORA, who is blasting at the OFF-SCREEN +BEAST. + + GAMORA + Get out of the way, Groot! You’re + going to get hurt! + +Groot stops dancing. He WAVES at her. + + GAMORA + Hi. + +She AERO-JETS back into the fray. + +As Groot DANCES, Drax FALLS directly behind him. + +Groot FREEZES. + +Drax stares at him a moment, suspicious. Groot stays +frozen. + +Drax LEAVES, and Groot COMMENCES THE DANCE where he left +off. + +Groot sees an INSECT FLYING BY. + +Suddenly dancing is forgotten and GETTING THIS BUG is all- +important. He CHASES it. + +He HOPS up and grabs it from the air... + +And starts EATING it. + 7. + + +Rocket spots this and FLIES DOWN beside him, worried. He +PRIES OPEN GROOT’S MOUTH with his fingers, frantically +trying to get it out. + + ROCKET + Spit it out! Spit it out! + +Groot COUGHS IT OUT. The bug FLIES crookedly away, one wing +mulched. + +Rocket JETS OFF back toward the battle, muttering: + + ROCKET + Disgusting. + +Groot sees something else and becomes furious. We follow +his line of sight to a GRAZING ORLONI. + +Groot SCREAMS A WAR CRY and ATTACKS IT. He GROWS HIS +BRANCHES AROUND IT, and the terrified Orloni DARTS AWAY, +DRAGGING GROOT WITH IT. + +Groot’s anger becomes panic as he is DRAGGED AROUND BY THE +ORLONI and can’t let go. + +The Orloni DARTS around the power station and underneath +the RAGING BATTLE, a CRYING Groot bouncing along behind it. + +Finally, he LETS GO and goes TUMBLING, ROLLING directly +INTO THE CAMERA. + +And then stands up and, as if none of it happened at all, +starts DANCING AGAIN. + +We PAN and see the speakers and Walkman beside him, and we +realize Baby Groot has traveled around the entire Power +Station and has arrived back where he started - + +When Drax is FLUNG by the beast into the stereo system, +SMASHING it. + +Groot stops dancing. Angry that Drax has ruined his fun, he +picks up a piece of the stereo and beats him with it. + +CREDITS END. + +Drax stands and glares at the ferocious beast as Rocket, +Quill, and Gamora BLAST at it without effect. + + DRAX + The beast’s hide is too thick to be + pierced from the outside. I must + cut through it from the inside. + 8. + + + GAMORA + Huh? + + Drax HOLLERS, CHARGING the creature. + + GAMORA + Drax, no! That doesn’t make - + + The creature OPENS ITS ENORMOUS MOUTH, SCREECHING, and Drax + LEAPS INSIDE IT, instantly swallowed up. + + QUILL + What is he doing?! + + GAMORA + He said the skin is too thick to be + pierced from the outside, so he -- + + QUILL + That doesn’t make sense! + + GAMORA + I tried to tell -- ! + + QUILL + Its skin is the same thickness from + the inside as from the out! + + GAMORA + I REALIZE THAT. + + +6 INT. BEAST’S STOMACH - DOESN’T MATTER 6 + + Drax HOLLERS as he SLASHES AWAY inside the goo of the + beast’s stomach. To no avail. + + +7 I/E. POWER STATION - DAY 7 + + Quill reloads his pistol, thinking. + + QUILL + Gamora, there’s a cut on its neck - + Rocket, get it to look up. + + Quill and Rocket JET UP HIGH up over the creature as they + BLAST REPEATEDLY at it. + + QUILL + Hey, you giant Sea Monkey, up here! + 9. + + + Gamora’s rifle is jammed. She tosses it down. PULLS HER + SWORD. SNAPS IT OPEN. + + The beast SCREECHES at Quill and Rocket FLYING overhead. + The colorful SPLATTER MATTER FLIES FROM ITS MOUTH, + BATTERING ROCKET, BURNING his clothes. + + But its neck is exposed, where the skin is thinner, and + there is a small wound. + + Gamora DASHES, LEAPING HIGH into the air, and she PLUNGES + her sword directly into the wound. + + She holds tight to the hilt as she FALLS, SLICING AN + INCISION down the length of the creature’s neck. + + The beast WOBBLES, TOPPLES, and DIES. As it COLLAPSES, Drax + SPILLS OUT of the wound. He raises his arms in victory. + + DRAX + Ha ha! I have single-handedly + vanquished the beast! + + Quill SCOFFS. Rocket SNORTS. Gamora stares at him, dead- + eyed. + + Baby Groot throws a rock at him. + + DRAX + What? + + +8 I/E. POWER STATION - MOMENTS LATER 8 + + The Guardians de-rig by the Anulax batteries. + + DRAX + What are they called again? + + QUILL + Anulax batteries. + + DRAX + Harbulary batteries. + + QUILL + That’s nothing like what I just + said. But they’re worth thousands + of units a piece. Which is why the + Sovereign hired us to protect them. + + Rocket pulls out one of the ANULAX BATTERIES, checking it + out. + 10. + + + Gamora, Drax, and Quill walk on. Rocket stays back a + moment. + + Quill nods down the walkway, where GOLDEN SOVEREIGN + CITIZENS stand at the edge of the station, gawking. + + QUILL + Just be careful what you say around + these folks. They’re easily + offended and the cost of + transgression is death. + + DRAX + Sounds judgmental for a bunch of + golden morons. + + QUILL + That’s the kind of thing you might + want to keep to yourself. + + GAMORA + I’ll hold my tongue, as long as + they deliver what was promised. + + +9 EXT. LAIR OF THE HIGH PRIESTESS - MORNING 9 + + An enormous golden palace in the shape of a globe, dappled + by morning sunlight. + + AYESHA (O.S.) + We thank you, Guardians, for + putting your life on the line. We + could not risk the lives of our own + Sovereign citizens. + + +10 INT. LAIR OF THE HIGH PRIESTESS - DAY 10 + + HIGH PRIESTESS AYESHA is stunningly beautiful with golden + skin. Her CHAMBERMAIDS and other DENIZENS flutter + throughout her luxurious lair, all of whom are equally + perfect. + + AYESHA + Every citizen is born exactly as + designed by the community, + impeccable, both physically and + mentally. We control the DNA of our + progeny, germinating them in + birthing pods. + + QUILL + 11. + + + I guess I prefer making people the + old-fashioned way. + + AYESHA + Well... perhaps someday you could + give me a history lesson in the + archaic ways of our ancestors... + for academic purposes. + + QUILL + Yeah, I mean, if it’s for research + that could be pretty -- + +Quill sees Gamora staring at him. + + QUILL + Pretty repulsive. I’m not into that + kind of casual - + + GAMORA + Oh, please. + (to Ayesha) + Your people promised something in + trade for our services. Bring it + and we shall gladly be on our way. + +Ayesha nods. + +Two SOLDIERS emerge with A WOMAN in a hood and cloak, her +wrists bound by SHACKLES. They SHOVE HER TO HER KNEES and +yank back her hood, REVEALING -- + +NEBULA. Her clothes are tattered. Her hand is now just a +low-tech metal claw. + +She glares at Gamora. Gamora glares at her. Quill looks +from one to the other, feeling the tension. + + QUILL + (quietly) + Family reunion. Yaaaay. + + AYESHA + I understand she is your sister? + +Gamora roughly picks Nebula up, starts to go. + + GAMORA + She’s worth no more to me than the + bounty due for her on Xandar. + + AYESHA + 12. + + + Our soldiers apprehended her + attempting to steal the batteries. + Do with her as you please. + + QUILL + Thank you, High Priestess Ayesha. + +Quill starts to go. + + AYESHA + What is your heritage, Mr. Quill? + +Quill turns back towards her, uncomfortable with the +question. + + QUILL + My mother is from earth. + + AYESHA + And your father? + + QUILL + He’s... not from Missouri, that’s + all I know. + +Ayesha stares at him as if she’s eaten something foul. + + AYESHA + I see it within you, an unorthodox + genealogy. A hybrid that seems + particularly... reckless. + +Quill tries not to let this affect him, but it does. Rocket +grins a huge, fake grin at Ayesha. + + ROCKET + You know, they told me you people + were conceited douchebags. But that + isn’t true at all. + +Rocket turns to Quill and WINKS. The Guardians shift +uncomfortably. + + ROCKET + Oh, shit, I’m using my wrong eye + again, aren’t I? + (to Ayesha) + I’m sorry. That was meant to be + behind your back. + +Drax YANKS Rocket away. + 13. + + + Gamora and Quill head out of the lair. Drax and Rocket are + a few paces behind. + + DRAX + Count yourself blessed they didn’t + kill you. + + ROCKET + You’re telling me. You wanna buy + some batteries? + + Rocket grins and shows Drax something hidden in his bag - + TWO ANULAX BATTERIES. + + “LAKE SHORE DRIVE” by ALIOTTA, HAYNES, AND JEREMIAH PLAYS. + + Drax LAUGHS. Rocket SHUSHES him so Quill and Gamora don’t + hear. + + +11 EXT. SOVEREIGN SPACE DOCK/THE MILANO - MOMENTS LATER 11 + + The Milano RISES into the blue sunset over the Sovereign + Space Dock filled with golden, capsule-shaped ships. + + Rocket works the controls as they rise up. He speaks into + the comm: + + ROCKET + Let’s get baldy back to Xandar and + retrieve that bounty! + + +12 INT. MILANO LOWER FLIGHT DECK - OUTER SPACE 12 + + Groot lies on the rear window peering out the back as they + pass overhead. + + On the CASSETTE PLAYER AWESOME MIX VOL. 2 is playing; we + PAN away from it, MOVING IN on Quill, looking perturbed as + he takes off his jacket. + + Gamora is nearby, putting shackles on Nebula. + + GAMORA + You all right? + + QUILL + That stuff about my father. Who + does she think she is? + + GAMORA + I know you’re sensitive about that. + 14. + + + QUILL + I’m not sensitive about it. I just + don’t know who he is. + +Gamora nods. + + QUILL + Sorry if it looked like I was + flirting with her. I wasn’t. + + GAMORA + I don’t care if you were. + +Gamora pushes Nebula to the rear of the craft. + + QUILL + I think you do care. That’s why I’m + apologizing. + +Quill watches her go, somewhat longingly. + + DRAX + Gamora is not the one for you, + Quill. + +Quill is startled to see Drax directly beside him. + + DRAX + There are two types of beings in + the universe. Those who dance, and + those who do not. + + QUILL + Uh huh. + + DRAX + I first met my beloved at a war + rally. + + DRAX + Everyone in the village flailed + about, dancing. Except one woman. + My Ovette. I knew immediately she + was the one. + +Quill nods, trying to be polite. + + DRAX + The most melodic song in the world + could be playing, and she wouldn’t + even tap her foot. She wouldn’t + move a muscle. One might assume she + was dead. + 15. + + + QUILL + Well, that is pretty hot, but-- + + DRAX + It would make my nether regions + engorge - + + QUILL + All right, okay, fascinating, don’t + need to hear it. I get your point, + I’m a dancer and Gamora is not. + +Drax smiles kindly, clutches Quill’s shoulder. + + DRAX + You just need to find a woman who + is pathetic, like you. + +At the rear of the ship, Gamora roughly restrains Nebula. + +Nebula notices a bowl of fruit. + + NEBULA + I am hungry. Hand me some of that + yaro root. + + GAMORA + No. It’s not ripe yet. And I hate + you. + + NEBULA + You hate me?! You left me there + while you stole that stone for + yourself. Yet here you stand, a + hero, a Garden of the Galaxy! + + GAMORA + A what? + +Nebula stares at her, confused. + + GAMORA + ‘Guardians of the Galaxy.’ + + NEBULA + Oh. + + GAMORA + Why would we be ‘the Gardens of the + Galaxy’? + + NEBULA + 16. + + + I don’t know. I thought it was + stupid. + + GAMORA + Yeah, it would be. + + NEBULA + It’s still wordy. + + GAMORA + I wasn’t the one who thought of it. + + NEBULA + Your name doesn’t matter. I’ll be + free of these shackles soon enough, + and I’ll kill you, I swear. + + GAMORA + No. You’ll live out your days in a + prison on Xandar, wishing you + could. + + WARNING LIGHTS FLASH. + + +13 I/E. MILANO FLIGHT DECK - MOMENTS LATER 13 + + Gamora MOVES UP from the stairs. Rocket and Quill are in + the pilot seats. Drax is moving up from the back. + + QUILL + We got an armed Sovereign fleet, + approaching from the rear. + + Gamora takes the center seat, sees a REARVIEW SCAN: + + Golden, capsule-shaped, Sovereign OMNICRAFT, with a video + screen on front and a blaster on each side - getting + closer. + + GAMORA + Why would they do that?! + + DRAX + Probably because Rocket stole some + of their batteries. + + Quill and Gamora look at Rocket, astounded. Rocket gawks at + Drax, betrayed. + + ROCKET + Dude. + 17. + + + DRAX + Oh, right. He didn’t steal one of + those. I don’t know why they’re + after us. What a mystery this is. + +THE SOVEREIGN FIRE UPON THE MILANO. + +Quill does his best to evade their blasts. + + QUILL + What were you thinking?! + + ROCKET + Dude, it was really easy to steal. + + GAMORA + That’s your defense? + + ROCKET + Come on. You saw how that high- + priestess talked down to us! I’m + teaching her a lesson! + + QUILL + Oh! I didn’t realize your + motivation was altruism. A shame + the Sovereign have mistaken your + intentions and are trying to kill + us. + + ROCKET + Exactly. + + QUILL + I WAS BEING SARCASTIC! + + ROCKET + Oh no! You tricked me! You’re + supposed to use a sarcastic voice! + Now I look foolish! + +Drax points at Rocket and LAUGHS at him. + + QUILL + SHUT UP, DRAX! You knew! You should + have told us! + +Drax is aghast. He looks at Rocket. + + DRAX + Did you tell him it was easy to + steal? + 18. + + + ROCKET + Are you kidding me? + + DRAX + What? + + ROCKET + You never listen to anything! + + GAMORA + None of you listens! Can we please + just put the bickering on hold + until after we survive the massive + space battle?! + + Rocket glances at Quill, nodding back at Gamora. + + ROCKET + Whoa. Somebody woke up on the wrong + side of the bed this morning. + + QUILL + Do not try to bro down with me + right now, dude. I will fricking + punch you in your fricking face. + + ROCKET + Real nice! Resorting to violence. + + QUILL + More incoming! + + MORE SHIP FLY AT THEM from the front. + + ROCKET + GOOD! I WANT TO KILL SOME GUYS! + + They twist and turn between the oncoming ships as ROCKET + FIRES AT THEM, SCREAMING. They EXPLODE. + + On the front of the Sovereign ships is the VIDEO IMAGE OF A + PILOT. + + SOVEREIGN PILOT (ON SHIP) + Bloody hell! + + +14 INT. SOVEREIGN PILOT BAY - DAY 14 + + The same SOVEREIGN PILOT sits in a REMOTE POD. On a SCREEN + in front of her we see ROCKET FIRING. + + The SHIP IS HIT and the SCREEN GOES STATIC. + 19. + + + The Pilot SHOUTS in anger, like a kid who lost at a video + game. + + High Priestess Ayesha surveys from a walkway above; ROWS OF + PODS containing PILOTS, all flying their Omnicraft + remotely. + + +15 I/E. MILANO FLIGHT DECK 15 + + GAMORA + You’re not killing anyone. Those + ships are all remotely piloted. + + +16 INT. SOVEREIGN PILOT BAY - DAY 16 + + A SOVEREIGN ADMIRAL is beside Ayesha. + + AYESHA + What is the delay, Admiral? + + ADMIRAL + High Priestess, if we destroy their + craft, we risk destroying the + batteries. They’re extraordinarily + combustible and could, in turn, + destroy the entire fleet. + + AYESHA + We have thousands of batteries and + thousands of ships. Our concern is + their slight against our people. We + hired them and they steal from us? + It is heresy of the highest order. + + The Admiral speaks into his comm. + + ADMIRAL + All command modules - + + A FRIGHTENED SOVEREIGN PILOT, on the outskirts of the + battle, hears the Admiral in his headset. + + ADMIRAL (O.S.) + Fire with the intent to kill. + + A MEAN SOVEREIGN PILOT, FIRING at the Milano, smirks. + + +17 I/E. MILANO FLIGHT DECK - OUTER SPACE 17 + 20. + + +THE MILANO’S WING IS STRUCK. The EMERGENCY SYSTEMS FLASH +ON. + + QUILL + What’s the closest habitable + planet? + +Gamora dances her fingers over the UNIVERSAL NEURAL +TELEPORTATION NETWORK, clicking through “jump points” until +she finds one. + + GAMORA + It’s called Berhert. + + QUILL + How many jumps? + + GAMORA + Only one. But the access point is + 47 clicks away. And it’s through + that Quantum Asteroid Field over + there. + +Quill spots, to his side, a HUGE FIELD OF SMALL, GLOWING +ASTEROIDS, SWIRLING IN RANDOM PATTERNS, DISAPPEARING OUT OF +SPACE and EMERGING AGAIN a few feet or a few yards away. + +Quill ZOOMS SIDEWAYS toward the field. + + DRAX + Quill, to make it through that, + you’d have to be the greatest pilot + in the universe. + +Quill smirks. + + QUILL + Lucky for us - + + ROCKET + I am. + +Rocket FLIPS the pilot controls between them so that he’s +the one piloting the ship. Quill gapes at him. + +The Milano DIVES into the QUANTUM ASTEROID FIELD, SWOOPING +in and around the SWIRLING ATOMIZED STONES, barely missing +them. + +The Sovereign ships FOLLOW. They are not pilots on par with +Rocket, so most of the ships are immediately PELTED WITH +STONES AND DESTROYED. + 21. + + +18 INT. SOVEREIGN PILOT BAY - DAY 18 + + One after another the SOVEREIGN PILOTS screens go blank, + and they FALL BACK, angry and upset. + + PUSH IN on Ayesha, barely containing her fury. + + +19 I/E. MILANO FLIGHT DECK - OUTER SPACE 19 + + Quill FLIPS the controls back, so he’s piloting again. + + ROCKET + What are you doing?! + + QUILL + I’ve been flying this rig since I + was ten years old. + + ROCKET + I was cybernetically engineered to + pilot a spacecraft! + + Rocket FLIPS the controls back to him. + + QUILL + You were cybernetically engineered + to be a douchebag. + + Quill FLIPS the controls back to him. + + GAMORA + Stop it! + + ROCKET + Quill, later on tonight you’re + gonna lay down in your bed and + there’s gonna be something squishy + in your pillowcase and you’re gonna + be, like, ‘what’s this?’ and it’s + gonna be because I put a turd in + there. + + Rocket FLIPS the switch back. + + QUILL + You put your turd in my bed, I + shave you. + + ROCKET + Oh it won’t be my turd, it will be + Drax’s. + 22. + + + Drax LAUGHS cheerfully. Gamora glances at him. He explains: + + DRAX + I have famously huge turds. + + GAMORA + We’re about to die, and this is + what we’re discussing? + + DRAX + They raise havoc with the pipes. + That’s why I do all the plumbing. I + take responsibility for my actions. + Unlike some people... + + Drax eyes baby Groot. + + QUILL + Groot, he’s right, you have to + start aiming inside the box. + + Groot looks ashamed. Quill FLIPS the controls back. + + GAMORA + Stop it. + + Rocket SWITCHES it back. Quill SWITCHES it back. + + They’re nearing the end of the Asteroid Field when both go + to switch it at the same time and -- + + WHAM! A LARGE ASTEROID SMASHES THROUGH the stern of the + Milano. + + +20 I/E. MILANO LIVING AREA - OUTER SPACE 20 + + A CHUNK OF THE REAR OF THE CRAFT DISAPPEARS. + + Nebula IS SUCKED toward the hole - but, fortunately, her + arms are shackled to a post, so she doesn’t fly out. + + Her face and body cover with frost. + + +21 I/E. MILANO FLIGHT DECK - OUTER SPACE 21 + + Everything FLIES AROUND THE SPACECRAFT, RUSHING THROUGH THE + HOLE. + + Groot GOES FLYING, but Quill CATCHES HIM, and casually + TOSSES him back to Drax -- + 23. + + + So that he can punch in a code, causing - + + +22 I/E. MILANO LIVING AREA - OUTER SPACE 22 + + A PROTECTIVE ENERGY SHIELD SLIDES UP in front of the hole. + + Nebula COLLAPSES to the floor. She yells upstairs -- + + NEBULA + Idiots! + + +23 I/E. MILANO FLIGHT DECK - OUTER SPACE 23 + + Everyone catches their breath, relieved. + + ROCKET + Well, that’s what you get when + Quill flies. + + Gamora THROWS SOMETHING HARD at the back of Rocket’s head. + + ROCKET + Ow! + + GAMORA + There’s still a Sovereign craft + behind us! + + The electronics FLICKER. + + QUILL + Our weapons are down! + + GAMORA + Twenty clicks to the jump. + + The Mean Pilot BLASTS at them from the sole Sovereign + Craft, TAKING OUT another part of a wing. The Milano is + TREMBLING. + + Drax starts climbing down into the living area. + + QUILL + Where’s he going? + + +24 INT. SOVEREIGN PILOT BAY - DAY 24 + + A group of pilots have gathered around the Mean Pilot, + rooting him on, like kids at a video arcade. + 24. + + + FRIGHTENED PILOT + Come on, Zylak, you can do this. + + +25 I/E. MILANO LIVING AREA - OUTER SPACE 25 + + Nebula sees the bowl of yaro root has spilled in front of + her. + + She reaches for a piece, but it’s KICKED OUT OF HER WAY. + + She looks up to see Drax, grabbing a cable on a spool + attached to the wall. + + DRAX + It’s not ripe. + + Drax HOOKS the cable to his belt. A folder on the wall + reads SPACESUITS FOR EMERGENCY and, below that, in Rocket’s + scrawl: OR FOR FUN. + + Drax pulls a small disk from the folder. He slaps it + between his shoulder blades and a SHIMMERY SHEATH COVERS + HIS ENTIRE BODY - a thin force-field spacesuit. + + +26 I/E. MILANO FLIGHT DECK - OUTER SPACE 26 + + Gamora watches THE MAP leading to the jump point. + + GAMORA + Fifteen clicks. + + Another BLAST from the Sovereign craft HITS them. + + +27 INT. SOVEREIGN PILOT BAY - DAY 27 + + The pilots rooting on the Mean Pilot erupt into CHEERS. + + +28 I/E. MILANO LIVING AREA - OUTER SPACE 28 + + Drax grabs a huge rifle. + + He punches buttons on the wall. A SECOND PROTECTIVE SHIELD + OPENS UP between him and Nebula, and THE FIRST PROTECTIVE + SHEATH OPENS, exposing him to space -- + + +29 INT. SOVEREIGN PILOT BAY - DAY 29 + 25. + + + The Mean Pilot watches in awe as Drax JUMPS OUT the back of + the Milano. + + +30 I/E. MILANO LIVING AREA - OUTER SPACE 30 + + Drax smiles. The cable UNSPOOLS and SNAPS TAUT when it + reaches its end. + + Drax is DRAGGED HAPHAZARDLY by the Milano like a water sled + on a boat. + + +31 I/E. MILANO FLIGHT DECK - OUTER SPACE 31 + + ON THE MAP, the jump point gets closer. + + GAMORA + Ten clicks. + + +32 I/E. MILANO LIVING AREA - OUTER SPACE 32 + + The Mean Pilot BLASTS WILDLY at Drax, missing him by mere + inches. + + Drax brings the sight to his eye. Aims at the ship. + + DRAX + Die, spaceship. + + And he SHOOTS, BLASTING the Sovereign ship. + + +33 INT. SOVEREIGN PILOT BAY - DAY 33 + + The Mean Pilot SCREAMS as his lights go out. The Frightened + Pilot shakes his head in disgust. + + FRIGHTENED PILOT + You suck, Zylak. + + Zylak is really sad. + + +34 I/E. MILANO FLIGHT DECK - OUTER SPACE 34 + + As Quill and Rocket leave the asteroid field, it seems for + a moment they’re scot-free... + + GAMORA + Five clicks! + 26. + + + Then DOZENS OF OMNICRAFT pull around them on both sides. + + QUILL + Son-of-a-! They went around the + field! + + +35 INT. SOVEREIGN PILOT BAY - DAY 35 + + Ayesha smiles. + + +36 I/E. MILANO FLIGHT DECK - OUTER SPACE 36 + + It looks like the end of the road for the Guardians when - + + THERE IS A BLINDING BURST OF LIGHT AND ALL OF THE OMNICRAFT + EXPLODE. + + +37 INT. SOVEREIGN PILOT BAY - DAY 37 + + Ayesha watches in shock as the screens in the pods go dead. + + ADMIRAL + Someone destroyed all the ships. + + AYESHA + What?! WHO?! + + But the Admiral doesn’t know. + + +38 I/E. MILANO FLIGHT DECK - OUTER SPACE 38 + + Rocket sees the BRIGHT WHITE LIGHT is emanating from an + OVAL-SHAPED SPACECRAFT. + + ROCKET + What is that?! + + Quill sees the FLICKERING framework of a JUMP POINT. + + QUILL + Doesn’t matter! That’s the jump + point! GO! GO! + + As they’re about to reach the jump point, Rocket sees a MAN + standing casually atop the oval ship, LIGHT BURSTING + THROUGH HIS BODY and into the craft - the source of the + explosion. + 27. + + + ROCKET + It’s a guy. + + Quill doesn’t see as the Milano DISAPPEARS INTO THE JUMP + POINT. + + +39 I/E. MILANO LIVING AREA/DIRECTLY ABOVE BERHERT - DAY 39 + + The ship POPS IN HERE, TELEPORTING directly above the + earth-like planet. Because the ship is in such bad shape, + parts of it TEAR OFF AND SPIRAL AWAY as it enters this new + atmosphere. + + +40 I/E. MILANO FLIGHT DECK - OUTER SPACE 40 + + Gamora sees Drax being dragged in the REARVIEW MONITOR. + + GAMORA + Oh my God. + + +41 I/E. MILANO LIVING AREA/DIRECTLY ABOVE BERHERT - DAY 41 + + Drax WHIPS WILDLY OUT of the back of the ship. The CABLE + SPOOL on the wall is coming off - + + +42 I/E. MILANO FLIGHT DECK/BERHERT FOREST - DAY 42 + + Quill sees a green forest APPROACHING UNBELIEVABLY FAST. + + He turns toward Gamora, but she’s gone. Instead Baby Groot + is sitting alone, happily munching on candies as if he’s + watching a movie. + + QUILL + Groot, put on your seat belt! + + +43 I/E. MILANO LIVING AREA/DIRECTLY ABOVE BERHERT - DAY 43 + + The SPOOL DETACHES and FLIES toward the back, which would + leave Drax in the upper reaches of the planet’s atmosphere + - + + But Gamora has made it downstairs - she GRABS ONTO THE + SPOOL with one hand while CLUTCHING onto a secure part of + the ship with her other. As it SNAPS TIGHT, it nearly + wrenches her apart. She GROANS. + + QUILL + 28. + + + Prepare for a really bad - + + The Milano HITS THE TREES, BARRELING OVER THEM. They PART + and FLATTEN and SWAT at the windshield. + + Out back, Gamora HOLDS TIGHT despite searing pain, as Drax + BOUNCES VIOLENTLY off the trees. + + DRAX + Ow! Ow! Ow! Ow! + + And, eventually, the Milano comes to an ABRUPT STOP. + + SUPER: BERHERT + + Drax pushes himself up in the dirt. He CHUCKLES. He glances + back at Gamora like the madman he is. + + DRAX + That was awesome. + + Gamora nods, sure, yeah, okay, whatever, dude. + + +44 I/E. CRASHED MILANO - CLEARING - MOMENTS LATER 44 + + CRANE DOWN OVER THE SMOKING, BATTERED MILANO TO our heroes, + and a still-shackled Nebula. + + GAMORA + Either one of you could have gotten + us through that field, if you had + flown with what’s between your ears + instead of what’s between your + legs! + + QUILL + If what’s between my legs had a + hand on it, I guarantee I could + have landed this ship. + + GAMORA + It’s not funny, Peter. We almost + died. Because of your arrogance. + + QUILL + (re: Rocket) + More like because he stoled Anulax + batteries! + + DRAX + They’re called Harbulary batteries. + 29. + + + QUILL + No, they’re not! + + ROCKET + You know why I did it, Star-Munch? + +Quill fumes. + + ROCKET + Do you? + + QUILL + I’m not going to answer to ‘Star- + Munch.’ + + ROCKET + I DID IT BECAUSE I WANTED TO. + + QUILL + Dick. + + ROCKET + What are we even talking about this + for? We just had a little man save + us by blowing up fifty ships! + + DRAX + How little? + +Rocket shows him with his finger and thumb. + + ROCKET + Like this. + + GAMORA + A little one-inch man saved us? + + ROCKET + Well, if he got closer I’m sure + he’d be much larger. + + QUILL + That’s how eyes work, you stupid + raccoon. + + ROCKET + Don’t call me a raccoon! + + QUILL + Oh, I’m sorry, I meant to say + ‘trash panda.’ + +Rocket pauses, unsure, looks at Drax. + 30. + + + ROCKET + Is that better? + + DRAX + I don’t know. + + QUILL + It’s worse. + + ROCKET + YOU SON-OF-A-!! + +Rocket LEAPS, SNAPPING at Quill, when Nebula looks up into +the sky. + + NEBULA + Someone followed you through the + jump point. + +A HUGE SPACESHIP HOVERS overhead. + +The Guardians COCK THEIR WEAPONS as they FALL BACK-TO-BACK +in tight formation. + + NEBULA + Set me free. You’ll need my help. + + GAMORA + I’m not a fool, Nebula. + + NEBULA + You’re a fool if you deprive + yourself a hand in combat. + + GAMORA + You’ll attack me the moment I let + you go. + + NEBULA + (mumbly, unconvincing) + No, I won’t. + + QUILL + You’d think an evil supervillain + would learn how to properly lie. + + DRAX + I bet it’s the one-inch man!! + +The SHIP LANDS, CRUSHING ALL OF THE TREES AROUND IT. + 31. + + + A HATCH OPENS, and an adventurous, outer space frontiersman + steps forward. He has grown hardened and haggard over the + years, but he is definitely the MYSTERIOUS MAN from the + beginning of the film. MANTIS, a creepy woman with + antennae, emerges behind him. + + The Man smiles. + + MYSTERIOUS MAN + After all these years, I’ve found + you. + + QUILL + Who the hell are you? + + MYSTERIOUS MAN + I figured my rugged good looks + would make that obvious. My name’s + Ego. And I’m your Dad, Peter. + + +45 EXT. CONTRAXIA - OUTER SPACE 45 + + QUIET. A planet of mostly water and white icy patches of + land, revolving around two overlapping suns. + + SUPER: CONTRAXIA + + M15 5127512731+X1955KX + + +46 EXT. THE IRON LOTUS - DAY 46 + + SNOW FALLS GENTLY over this sleepy, pastel-colored town of + wood and stone buildings. + + PUSH IN on the Iron Lotus, a robot brothel and saloon. + + ASSORTED RAVAGERS, including KRAGLIN, as well as some + ROBOTIC COURTESANS, are drunk and GIGGLING, trying to catch + snowflakes on their tongues. + + +47 INT. IRON LOTUS SUITE - DAY 47 + + YONDU UDONTA is staring out the window as he puts on his + pants. He looks utterly disconnected and alone. + + Behind him are three ROBOT COURTESANS. One pushes a button + on her neck and she POWERS DOWN. + + TULLK (O.S.) + Yondu! Come on down! + 32. + + + Yondu looks down at the street where an older Ravager, + TULLK, drunkenly dances, waving for him to join. + + +48 INT. IRON LOTUS - MOMENTS LATER 48 + + Yondu exits his suite. Two bodyguards, BRAHL and HALF-NUT, + salute and follow him as he descends the stairwell. + + At the bottom of the stairs a group of RAVAGERS in BLUE + UNIFORMS LAUGH. A gruff, older warrior, STAKAR, and a man + seemingly made of diamonds, MARTINEX are among them. + + Yondu stops when he sees them. He’s struck. Stakar LAUGHS + as he tells a story - + + STAKAR + And I was like, Aleta, I love you, + but you’re crazy now, you always + been - + + Yondu approaches Stakar with trepidation. + + YONDU + Stakar. + + Stakar is surprised to see him. + + YONDU + Been some time. I’d - + + STAKAR + Seems like this establishment is + the wrong kind of disreputable. + + The blue-coats turn and walk away. + + YONDU + Stakar... + + Stakar glances at the PROPRIETOR as he passes her. + + STAKAR + There are a hundred Ravager + factions, Sneeper. You just lost + the business of ninety-nine by + serving one. + + PROPRIETOR + Please, sir! Sir! + + Yondu stands there for a moment, hurt, as they head out the + door. + 33. + + + But, little by little, his hurt turns to rage and he + FOLLOWS. + + +49 EXT. IRON LOTUS - DAY 49 + + Yondu trots quickly toward Stakar and the others. + + YONDU + You all can go to hell! I don’t + care what you think of me! + + Stakar swirls toward him, furious. + + STAKAR + Then why you following us for?! + + YONDU + ‘Cause you’ll listen to what I got + to say! + + STAKAR + I don’t got to listen to nothing! + You betrayed the code! Ravagers + don’t deal in kids! + + YONDU + I didn’t know what was going on - + + STAKAR + You didn’t know ‘cause you didn’t + want to know, ‘cause it made you + rich! + + YONDU + I demand a seat at the table! I + wear the flames same as you! + + STAKAR + You may dress like a Ravager but + you won’t hear no Horns of Freedom + when you die, boy, and the Colors + of Ogord will not flash over your + grave! + + STAKAR + You think I take some pleasure in + exiling you, you’re wrong. You + broke all our hearts. + + Stakar and the others storm away. Martinex stays a moment, + staring at Yondu, and then moves on too. + 34. + + + Yondu is left alone, shaken as the WHITE SNOW FALLS GENTLY + on his blue face. + + NEARBY, a MONSTROUS RAVAGER leans in toward Kraglin, Tullk, + GEF THE RAVAGER, OBLO, and RETCH. As he eyes Yondu, he + WHISPERS: + + MONSTROUS RAVAGER + First Quill betrays us and Yondu + just lets him go, scot-free. Now + he’s getting all riled over + nothing. We followed him ‘cause he + was the one wasn’t afraid to do + what needed to be done. Seems like + he’s going soft. + + KRAGLIN + If he’s so soft why you whispering + for? + + MONSTROUS RAVAGER + You know I’m right, Kraglin. + + TULLK + You best watch what you say about + the Cap’n, Tay - + + RETCH + Who the hell is that?! + + Tullk stops when he sees High Priestess Ayesha approaching + beside them. The Chambermaids ROLL OUT a LONG BLUE CLOTH so + she doesn’t touch unconsecrated ground. + + She STOPS at the carpet’s end. Does her best to force a + smile. + + AYESHA + Yondu Udonta, I have a proposition + for you. + + Yondu looks at her. + + EGO (PRE-LAP) + When your mother passed away, I + hired Yondu to pick you up. + + +50 EXT. CAMPFIRE/CRASHED MILANO - NIGHT 50 + + Quill sits around a campfire with Ego, Mantis and the + others, eating. Ego indulges heartily. + 35. + + + EGO + I would have done so myself, but I + was in the midst of an outlandish + adventure at the time, battling + demonic forces to save this + dimension or some such nonsense - I + can’t quite recall, it all bleeds + together after awhile. But instead + of returning you, Yondu kept you. I + have no clue as to why. + + QUILL + Because I was a skinny kid who + could squeeze into places adults + couldn’t, making thieving easier. + + EGO + I’ve been trying to track you down + ever since. + + DRAX + I thought Yondu was your father. + + QUILL + What? + +Drax stares at him. + + QUILL + We’ve been together all this time + and you thought Yondu was my + actual, blood relative? + + DRAX + You look exactly alike. + + ROCKET + One’s blue. + + QUILL + He wasn’t my father. Yondu was the + guy who abducted me. He’d beat the + crap out of me so I’d learn how to + fight and he kept me in terror + threatening to eat me. + + EGO + Eat you?! + + QUILL + Yes. + + EGO + 36. + + + That son-of-a-bitch. + + GAMORA + How’d you locate us now? + + EGO + Even where I reside, out past the + edge of what’s known, we’ve heard + tell of the man they call Star- + Lord. + + He stands, handing his dish to Gamora. + + EGO + Say we head out that way now? Your + associates are welcome, even that + triangle-faced monkey there. + + Rocket, self-conscious, feels his nose. + + EGO + I promise you, it’s like no place + you’ve ever seen. And there I can + explain your very special heritage, + and finally be the father I’ve + always wanted to be. + (almost teary) + ‘Scuse me. I gotta take a whizz. + + Ego leaves. Quill looks at Gamora. + + QUILL + Not buying it. + + GAMORA + Peter, we need to take a walk. + + +51 EXT. CAMPFIRE/CRASHED MILANO - NIGHT 51 + + Ego is WHISTLING “BRANDY” and PEEING into the bushes. + + Mantis looks at Drax. She GRINS, or at least her best + attempt at grinning. It’s kind of creepy. + + MANTIS + I am Mantis. + + DRAX + What are you doing? + + MANTIS + 37. + + + Smiling. I hear it is the thing to + do to make people like you. + + DRAX + Not if you do it like that. + + MANTIS + Oh. I was raised alone on Ego’s + planet. I do not understand the + intricacies of social interaction. + + She points at Rocket. + + MANTIS + Can I pet your puppy? It is + adorable. + + DRAX + (mischievous) + Yes... + + She goes to pet Rocket: startled, he SWIRLS and SNAPS at + her. + + MANTIS + AHH! + + She pulls back her hand. Drax LAUGHS, heartily. + + DRAX + That’s called a practical joke! + + She GIGGLES. + + MANTIS + I liked it very much! + + They both LAUGH together. Nebula shakes her head with + disbelief. + + +52 EXT. BESIDE CRASHED MILANO - MOMENTS LATER 52 + + Quill and Gamora enter this private spot; the campfire + flickers through the trees beyond them. + + QUILL + Give me a break! After all this + time, and he just expects to be my + Dad all of the sudden! + + GAMORA + I hear you. + 38. + + + QUILL +I mean, this could be a trap - the +Kree purists, the Ravagers, now the +Sovereign - they all want us dead. + + GAMORA +I know, but - + + QUILL +But what? + + GAMORA +What was that story you told me +about Zardu Hasselfrau? + + QUILL +Who? + + GAMORA +The wonderful television-singer +man. He had a magic boat. + + QUILL +David Hasselhoff? + + GAMORA +Right. + + QUILL +He had a talking car, not a magic - + + GAMORA +Why did it talk again? + + QUILL +Just to be a good friend, I guess. + + GAMORA +And as a child you carried his +picture in your pocket, and you +told the other children he was your +father, but he was out of town -- + + QUILL + (embarrassed) +Shooting Knight Rider or touring +with his band in Germany. Why are +you bringing this up now? I was +drunk when I told you that. + + GAMORA +I love that story. + 39. + + + QUILL + I don’t. It’s just sad! I was so + sad because I’d see the other kids + off playing catch with their dads, + and I wanted that, more than + anything in the world. + + Gamora takes Quill’s hands in her own. + + GAMORA + My point is, maybe this man is your + Hasselhoff. I know it’s a long + shot. But I lost my father as a + child. I’d give anything... + + Quill nods, grudgingly. + + GAMORA + If he ends up being evil, we’ll + just kill him. + + Quill CHUCKLES. + + GAMORA + What’s funny? + + +53 I/E. CRASHED MILANO - SUNRISE 53 + + Inside the ship, “THE CHAIN” BY FLEETWOOD MAC PLAYS on the + cassette player. Nebula is angry. + + NEBULA + You’re leaving me with that fox?! + + Rocket is SOLDERING the ship. + + GAMORA + He’s not a fox. + + Gamora glances at Rocket as she grabs her outer-space- + adventurer version of luggage. + + GAMORA + Shoot her if she does anything + suspicious. Or if you feel like it. + + Rocket GRUNTS. Gamora looks at a sad Baby Groot. + + GAMORA + It will just be a couple days. + We’ll be back before Rocket’s + finished fixing the ship. + 40. + + +Gamora steps out. Rocket sees Groot, who is ABOUT TO CRY as +he watches them go. + +Drax and Quill come from the back of the ship. + + DRAX + What about your spool of songs? + + QUILL + I have clones. + + DRAX + What if the Sovereign come? + + QUILL + There’s no way for them to know + they’re here. + + DRAX + I am uncertain about parting ways. + + QUILL + You’re like an old woman. + + DRAX + Because I am wise? + +Quill turns to Rocket as Drax and Gamora head toward the +ship. He starts to say something nice - perhaps something +conciliatory but -- + + ROCKET + Hope daddy isn’t as big of a dick + as you, orphan boy. + +Quill just shakes his head and SNICKERS. + + QUILL + So what’s your goal here? To get + everyone to hate you? ‘Cause it’s + working. + +Quill turns back around with Gamora and Drax and walks +away. + +Rocket looks at the others leaving as THE SONG BECOMES +SCORE: I can still hear you saying you will never break the +chain. + +Rocket watches them move away. + +IN SLOW-MOTION, Quill, Drax, and Gamora approach the oval +ship. The slit opens. Ego, with Mantis, is waiting inside. + 41. + + + Ego smiles and CLASPS his hand on Quill as he enters. + + +54 INT. EGOS SHIP - SUNRISE 54 + + Quill sits back against the wall, alone, nervous. He looks + across the way at a SLEEP CHAMBER, where Mantis helps Ego + lie down on a slab. + + She places her hand on his forehead with her hand: her + antennae ALIGHT. And he drifts off to sleep. + + Quill takes a small, folded piece of paper out of his + pocket. + + It’s the PHOTO OF DAVID HASSELHOFF. + + He looks at it, then looks at Ego. Quill’s eyes fill with + cautious hope. And the SONG ENDS. + + +55 EXT. BERHERT - MOMENTS LATER 55 + + Ego’s ship rises, blocking out the sun. + + +56 EXT. EGO’S SHIP - OUTER SPACE 56 + + The Orb moves through a rainbowish funnel of space and + time; technology beyond what even the Guardians know. + + +57 INT. EGO’S SHIP - OUTER SPACE 57 + + Quill and Drax are drinking tea and LAUGHING with Mantis. + + QUILL + Can I ask you a personal question? + + MANTIS + Oh, no one has ever asked me a + personal question! + + QUILL + The antennae, what are they for? + + MANTIS + Their purpose? + + Gamora ENTERS, pouring herself some tea. + + DRAX + 42. + + + Yes, Quill and I have a bet. + + QUILL + You’re not supposed to say that. + + DRAX + I say that if you are about to go + through a doorway that is too low, + your antennae will feel this, and + stop you from being decapitated. + + QUILL + Just making clear - if it’s + anything else - any other answer - + I win? + +Gamora smiles, warmed by the good-natured, by-now-familiar +bickering between Quill and Drax. + + MANTIS + They are not for feeling doorways. + + DRAX + (bummed) + Damn. I just lost my entire life’s + savings. + + QUILL + Three pairs of pants. + + MANTIS + I think they have something to do + with my empathic abilities. + + GAMORA + What are - ? + + MANTIS + If I touch someone I can feel their + feelings - + + QUILL + You read minds? + + MANTIS + No. Telepaths know thoughts. + Empaths feel feelings. Emotions. + +She looks at Quill. + + MANTIS + May I? + 43. + + +Quill doesn’t stop her. Mantis, cautiously, touches him. +Her hand quivers as his emotions shoot through her and her +antennae ALIGHT. She is moved. + + MANTIS + You feel love. + + QUILL + Yeah, I guess, yeah, I have sort of + a general, unselfish love for + everyone. + + MANTIS + No, romantic, sexual love. + + QUILL + No. No, I don’t. + +Mantis nods at Gamora. + + MANTIS + For her. + + QUILL + No. + +Gamora is embarrassed. Drax starts LAUGHING UPROARIOUSLY. + + DRAX + She just told everyone your + deepest, darkest secret, Quill! + HAHAHAHAHAHA!!! + + QUILL + What the hell, dude? That’s a total + overreaction. + +Drax SLAPS HIS CHEST. + + DRAX + DO ME! DO ME! + +Mantis touches Drax. She grins brightly. + + MANTIS + I have never felt such humor! + +She starts GIGGLING and before long both she and Drax are +LAUGHING HYSTERICALLY. + + QUILL + You got to be kidding me. + 44. + + +Drax and Mantis both point at Quill, clutching onto each +other and FALLING OVER WITH LAUGHTER. Quill’s humiliated. + + QUILL + That’s so incredibly uncool. + +Mantis wipes the tears from her eyes, composing herself. +She goes to touch Gamora, who grabs her wrist though her +clothes. + + GAMORA + Touch me. And the only thing you’re + going to feel is a broken jaw. + +Mantis smiles, nods, backs away. + + MANTIS + I can also alter emotions, to some + extent. + + QUILL + Like what? + + MANTIS + If I touch someone who is sad I can + ease them into contentment, for a + short while. I can make a stubborn + person compliant. But I mostly use + it to help my Master sleep. He lies + awake at night, thinking about his + progeny. + +Quill looks at her, struck by this. + + DRAX + Do one of those on me! + +Mantis touches him. He grins expectantly. + + MANTIS + Sleep. + +Drax COLLAPSES, INSTANTLY ASLEEP. Mantis smiles at the +others, hoping she has pleased. Quill and Gamora look at +Drax, SNORING. They’re surprised. + + GAMORA + Is that real? + + QUILL + It’s kind of like someone put a + baby’s head on a big, muscular + body, isn’t it? + 45. + + + FADE TO BLACK. + + O.S. ALIEN INSECTS CHIRP + + +58 EXT. CRASHED MILANO - NIGHT 58 + + Four moons shine over the forest. The campfire CRACKLES + beside the Milano, and “SOUTHERN NIGHTS” BY GLENN CAMPBELL + emerges from the cassette player within. + + The Monstrous Ravager and Kraglin lead a group of Ravagers + up over a ravine. Dozens of M-Ships quietly lower behind + them. + + Kraglin nods toward the sounds of Glenn Campbell in the + distance. They raise their weapons. + + OVERHEAD SHOT: dozens and dozens of Ravagers come from + different directions, surrounding the Milano. + + One Ravager cluster, lead by Half-Nut, CREEPS close enough + to the Milano that they see the lights within the vehicle + and can hear Rocket inside HUMMING along to the song. + + Half-Nut licks his lips in anticipation, closing in for the + kill, when he steps on a small pedal. It CLICKS. + + A HUNDRED DARTS FLY AT THE GROUP from traps set in trees. + + They STICK INTO THE RAVAGERS’ BODIES, knocking them + instantly unconscious. As one Ravager FALLS, a GUNSHOT is + discharged. + + +59 INT. CRASHED MILANO - NIGHT 59 + + Nebula is awakened by the SHOT. She sees a frightened + Groot, peering through a hole at the bodies falling. + + PULL BACK TO REVEAL, beside him, a futuristic walkie-talkie + with ROCKET’S HUMS emerging. + + +60 EXT. CRASHED MILANO - PERCUSSIVE BOMB TRAP - NIGHT 60 + + Rocket is crouched on a limb in shadows above the Milano, + smiling and HUMMING to “Southern Nights” into his comm. + + He spots A LARGER GROUP OF RAVAGERS APPROACHING THE MILANO + from the other side, led by Retch. + 46. + + + Rocket LEAPS TOWARD THEM, from one tree limb to another + like a squirrel. + + The GROUP enters a clearing close to the ship. A TALL + RAVAGER looks up and spots Rocket LEAPING OVER THEIR HEADS. + + TALL RAVAGER + There! + + The Ravagers BLAST at Rocket, following him. He HOPS from + tree to tree as BULLETS WHIZZ PAST HIM, leading them right + where he wants them. + + He stops in a tree at the end of the run. He holds a device + with two buttons. He presses one of them. + + A PERCUSSIVE BOMB at the feet of the Ravagers BURSTS, + sending half of them FLYING UP into the air. + + As the confused group on the ground watches, Rocket presses + the second button and a second BOMB BURSTS. They FLY UP + INTO THE AIR as well. + + Rocket SNICKERS, as he continues pushes the buttons and the + two groups of Ravagers FLY UP and DOWN until the bombs are + depleted of energy. + + Retch looks up from the ground, to see the little animal + hopping away in the tree limbs overhead. + + +61 EXT. CRASHED MILANO - STICKY DISK TRAP - NIGHT 61 + + An EVEN LARGER GROUP OF RAVAGERS walk beneath the branches, + MOONLIGHT FLICKERING ON THEIR FACES. + + TILT UP TO REVEAL ROCKET’S SILHOUETTE on a gnarled limb. + He’s clutching an armful of small discs. He breathes + shallowly, waits. As soon as the last Ravager is passing + beneath him, he LEAPS onto his back. + + Rocket JUMPS FORWARD FROM ONE MAN TO THE NEXT, SLAPPING A + STICKY-DISC to each of their heads - SLAP! SLAP! SLAP! + SLAP! + + And then he LEAPS from the Ravager at the front of the line + BACK UP INTO THE TREES. + + The men are confused. They bring their fingers to the + sticky discs on their bodies. + 47. + + + Rocket smiles in the tree as he flicks a trigger. The + STICKY-DISCS SEND ELECTRICITY COURSING THROUGH ALL OF THE + MEN’S BODIES. + + They CONVULSE for a moment, then COLLAPSE. + + +62 EXT. CRASHED MILANO - CLEARING - NIGHT 62 + + Rocket LEAPS to the ground in a crouch. He sees Brahl + approaching in front of him, and then another RAVAGER + approaching from behind. They train their weapons on him. + + BRAHL + Ain’t so tough now without all your + toys, are you? + + Rocket LEAPS up onto Brahl’s face. + + He PUNCHES HIM IN THE THORAX so hard he can’t breathe. + + The other Ravager SHOOTS at him, but Rocket BACKFLIPS over + the SHOT so Brahl is STRUCK instead. + + Rocket LANDS on the back of the shooter’s neck and RAPID- + FIRE PUNCHES HIM in the head, until the man CRUMPLES to the + ground, unconscious. + + As Rocket lands, he HEARS WHISTLING and he looks up to see + -- + + YONDU’S ARROW FLYING THROUGH THE TREES, DIRECTLY TOWARD + HIM. + + ROCKET + Crap. + + Another high-pitched WHISTLE and the arrow STOPS ABRUPTLY, + FLOATING with the tip almost grazing Rocket’s forehead. + + Yondu waltzes out of the trees with Tullk, Kraglin, the + Monstrous Ravager, and many more. + + Rocket reluctantly raises his hands in surrender. + + YONDU + Hey there, rat. + + ROCKET + How’s it going, you blue idiot? + + YONDU + 48. + + + Eh, not so bad. We got a pretty + good gig. A golden gal with quite a + high opinion of herself offered us + a large sum to deliver you and your + pals to her, so she can kill y’all. + + +63 INT. CRASHED MILANO - NIGHT 63 + + Nebula looks out the window to see even more Ravagers + surrounding Rocket. She looks at baby Groot. + + NEBULA + Your friend. There’s too many of + them. They’re going to kill him. + + Groot looks as if he’s about to cry. + + NEBULA + He needs my help. If you care about + him, you need to get me out of + these bonds. + + Groot is unsure. + + +64 EXT. CRASHED MILANO - CLEARING - NIGHT 64 + + The Ravagers have entirely encircled Rocket. There’s no + chance of escape. Though upset, he mostly holds it in. + + YONDU + Pretty easy to find you, since we + put a tracer on your ship back + during the War over Xandar. + + ROCKET + You give me your word you won’t + hurt Groot, and I’ll tell you where + the batteries are. + + YONDU + Lucky for you my word don’t mean + squat. Otherwise I’d actually hand + you over. + + MONSTROUS RAVAGER + Otherwise you’d what?! + + Yondu scowls at the Monstrous Ravager. + + YONDU + 49. + + + We’ll take the batteries. They’re + worth a a quarter mil on the open + market - + + MONSTROUS RAVAGER + That priestess offered us a + million! A quarter is only one + third of that! + + YONDU + A quarter ain’t one-th - + + OBLO + A quarter is four times a million! + We’re in the money! + + GEF THE RAVAGER + No, idiot. A quarter is twenty- + five. + + YONDU + No - + + GEF THE RAVAGER + We can’t even buy a pair of boots + with twenty-five units! + + YONDU + The point is, we aren’t stupid + enough to help kill the Guardians + of the Galaxy. We’d have the whole + Nova Corps on us. + + KRAGLIN + (realizing) + That ain’t right. I just gotta say + it this one time, Cap’n. + +Everyone looks at Kraglin. + + KRAGLIN + No matter how many times Quill + betrays you, you protect him, like + none of the rest of us much matter. + I’m the one what sticks up for you, + me and Tullk. + + MONSTROUS RAVAGER + Damn straight, lad. You’re right: + he’s going soft. S’pose it’s time + for a change in leadership! + + KRAGLIN + 50. + + + Uh - + +The Monstrous Ravager points his weapon at Yondu. + +Others follow his lead. + +A handful of others, including Tullk and the Innocent +Ravager, raise their weapons in their Captain’s defense, so +that the whole circle are aiming at one another. Kraglin is +confused. + + TULLK + Put you damn guns down! + +Rocket is in the center of the potential crossfire. + + ROCKET + Hold on! There’s got to be some + sort of peaceful resolution here! + Or even a violent resolution, where + I’m standing over there. + +Yondu glares at the Monstrous Ravager. His FIN LIGHTS UP +and he starts to WHISTLE when - + +A GUNSHOT RINGS OUT; THE FIN IS BLOWN OFF THE TOP OF +YONDU’S HEAD. The arrow CLATTERS to the ground. + +Rocket watches as Yondu, confused, TOTTERS there for a +moment, and then COLLAPSES -- + +REVEALING NEBULA behind him, clutching a smoking pistol. + +Rocket looks at her, dead-eyed: really? + +She SHOOTS HIM WITH A BLAST OF ELECTRICITY, knocking him +unconscious. + +The Ravagers gape at Nebula. + + NEBULA + Well, hello, boys. + +She takes a bite from a piece of yaro root she stole from +the Milano. As she chews, she becomes disgusted. + +She spits it out. + + NEBULA + It’s not ripe. + 51. + + +65 EXT. RED PLANET - MOMENTS LATER 65 + + Ego’s ship ARRIVES at a bold red planet, twisting in front + of an enormous yellow sun, so close it seems like the sun + is about to devour it. “MY SWEET LORD” BY GEORGE HARRISON + PLAYS. + + SUPER: EGO’S PLANET + + G52 22C848T12F+E16UC22 + + +66 INT. EGO’S SHIP - SLEEP CHAMBER - OUTER SPACE 66 + + Mantis sets her hand on Ego’s forehead, waking him. + + +67 EXT. EGO’S PLANET/SPACEPORT - MOMENTS LATER 67 + + Ego’s ship lands in a spaceport. It organically JOINS the + spot where it lands - strands of material actually linking + up with the landing pad itself. + + From the front of the craft, a FLOATING TRAM emerges, with + Ego, Mantis, Quill, Gamora, and Drax. + + As the TRAM GLIDES toward its destination, the Guardians + are overwhelmed by transcendentally splendid surroundings. + The plant life is colorful and alien. Tall, twisting + obelisks seem to have no function other than beauty itself. + + EGO + Welcome, friends, to my world. + + QUILL + Wow. You have your own planet? + + EGO + But a trifle, no larger than your + earth’s moon. + + DRAX + Humility. I like it. I too, am + extraordinarily humble. + + Even Gamora smiles at the wonder of it all. + + Multicolored mercurial clumps FLOAT BY. + + Drax pokes one, and it BURSTS INTO A DOZEN VIBRANT HUES. + 52. + + +68 EXT. TRAM/PALACE - MOMENTS LATER 68 + + Ahead of them looms an astounding palace atop a mountain. + + QUILL + It’s beautiful. + + The tram STOPS. + + They step off it and toward the palace, Ego stops beside a + large FOUNTAIN. + + EGO + Peter, consider this a token of a + father’s pride. + + Ego motions; the WATERS OF THE FOUNTAIN FALL AWAY, + REVEALING a GIANT STATUE OF STAR-LORD: Quill stands + heroically, with foolish-looking Guardians kneeling around + him worshipfully. + + EGO + A memorial to the War Over Xandar, + when you single-handedly saved the + galaxy. + + GAMORA + Single-handedly? + + QUILL + Whoa. It’s perfect. + + GAMORA + You’ve got to be kidding. + + DRAX + Why am I dead? Why did you all kill + me?! + + GAMORA + That’s Ronan. That’s you. + + Drax is sitting on Quill’s shoulder, with a raccoon tail. + + DRAX + When was I that tiny? + + Gamora shakes her head in disbelief. They step past the + statue and onto the steps approaching the palace. + + GAMORA + 53. + + + You own a planet and can destroy + two dozen spaceships without a + suit. What are you, exactly? + + EGO + I’m what they call a Celestial, + sweetheart. + + The Guardians STOP behind him, astounded. + + QUILL + A Celestial. Like a... god? + + EGO + Small ‘g’, son. At least on the + days I’m feeling humble as Drax. + + He LAUGHS and walks up the stairs. + + +69 INT. PALACE - MOMENTS LATER 69 + + Ego SAUNTERS with Quill, Gamora, Drax, and Mantis, through + the enormous open doors, toward huge DIORAMAS lining either + side of the palace, like cosmic Stations of the Cross. + + EGO + This form you see before you is + only an extension of who I truly + am. I don’t know where I came from, + exactly. + + The DIORAMAS around them begin to ANIMATE: In the first, a + FLICKERING BRAIN COMPOSED OF POLYCHROMATIC LIGHT FLOATS in + space. + + EGO + The first thing I remember is + flickering, adrift in the cosmos - + utterly and entirely alone. + + The flickering brain pulls cosmic dust and rocks into + itself, ingesting them, GROWING. + + EGO + I fed on the matter around me like + plankton. I grew smarter and + stronger. + + A hard metal shell forms around the brain, with channels + running through for his energy to flow like rivers. + + EGO + 54. + + + I formed a sheathe to protect + myself from the elements. + +Ego continues developing outward from the shell, growing +the planet, then its beautiful landscapes and structures. + + EGO + And continued building from there, + layer by layer, the very planet you + walk on now. I built the spires + reaching up to the sky and the + tunnels burrowing into its depths. + + QUILL + Wow. + + EGO + But I was no ant to be fulfilled + solely by labor. I wanted more. I + desired... meaning. + +In the core shell - the Self Chamber - the flickering brain +floats, alone, perhaps sad. + + EGO + There must be some life out there + in the universe besides just me, I + thought, and I set myself to task + with finding it. + +The brain grows a SKELETAL FRAMEWORK OF LIGHT up from the +self chamber and to the surface of the planet. He pulls +molecules around this shape to create his “human” self. + + EGO + I created what I imagined + biological life might be like, down + to the most minute detail. + + DRAX + Did you make a penis? + + QUILL + Dude. + + DRAX + If he’s a planet, how did he make a + baby with your mother? He would + smush her. + + QUILL + I don’t need to hear about how my + parents, you know - + 55. + + + DRAX + Why? My father would tell me the + story of impregnating my mother + every winter solstice. + + QUILL + That’s disgusting. + + DRAX + It was beautiful. You earthers have + hang-ups. + + EGO + Yes, Drax, I’ve got a penis. + + QUILL + Oh my God. + + EGO + It’s not half bad. I’ve also got + pain receptors, a digestive system, + and all the accompanying junk. I + wanted to experience what it truly + meant to be human as I set out + amongst the stars. + +In another DIORAMA, Ego explores various uninhabited and +barren planets. + + EGO + I visited thousands of planets over + thousands of years, one barren husk + after the next until I found what I + sought... + +Ego stares down at a CUTE ALIEN CHILD. + + EGO + Life. I was not alone in this + universe after all. + +Ego reminisces: wistful? Sad? It’s hard to tell. + + QUILL + When did you meet my mother? + + EGO + Not long after. + +Ego turns toward the last set of DIORAMAS. They show +Meredith and Ego kissing and Ego with his hand on +Meredith’s pregnant belly. + 56. + + + EGO + It was with Meredith that I + experienced love for the first + time. I called her my river lily. + And from that love, Peter, you. + + In the final DIORAMA we PUSH IN on the belly and see, + inside the womb, VERY young Peter Quill, a fetus, himself + encased in light. + + Quill looks up in amazement - this story is the story of + himself. And Ego gazes at Quill with adoration. + + EGO + I searched for you for so long. + When I heard a man from earth held + an Infinity Stone in his hand + without dying, I knew you must be + the son of the woman I loved. + + Ego puts his hand on Quill. Quill wants to believe, but he + can’t quite let it go. + + QUILL + If you loved her why did you leave + her? + + +70 EXT. THE ECLECTOR - OUTER SPACE 70 + + The Ravagers’ massive ship FLOATS in space. + + SUPER: RAVAGER TERRITORY + + HE2 6SM6R16617+6241023 + + TULLK (O.S.) + You can’t do this! + + +71 INT. ECLECTOR CENTRAL AREA - OUTER SPACE 71 + + Ravagers LAUGH as they DRAG Tullk across the floor while he + STRUGGLES to get free. + + TULLK + This is mutiny! Mutiny! + + They shove Tullk into a cylindrical room as a glass door + CLOSES on him. + + © + 57. + + + He continues SCREAMING and SLAMMING ON THE GLASS, but we + can barely hear him. + + Half-Nut smiles and presses a button. The outside of the + compartment OPENS so that Tullk is SUCKED INTO SPACE. + + +72 EXT. THE ECLECTOR - OUTER SPACE 72 + + Tullk FLOATS AWAY, opening his mouth to scream, but he + can’t. + + His FACE AND BODY SWELL QUICKLY and he EXPIRES there. + + As we CURL AROUND his lifeless body, we REVEAL the + countless other CORPSES of Ravagers loyal to Yondu, leading + like bread crumbs toward nothing at all. + + +73 INT. ECLECTOR CENTRAL AREA - OUTER SPACE 73 + + Yondu watches this, helplessly. He’s in a chair, his hands + tied behind him. He’s a wreck, his headpiece destroyed, + wires hanging from a gap in his head where the fin used to + be. He sees the mutineers grab the innocent Oblo, DRAGGING + HIM to the same fate as Tullk. + + OBLO + Cap’n, help me! Cap’n?! + + Yondu drops his head in shame. + + MONSTROUS RAVAGER + You’re the one what kilt those men + by leading ‘em down the wrong path. + + He PUNCHES Yondu. + + MONSTROUS RAVAGER + Because you’re weak. + + He PUNCHES him again. + + MONSTROUS RAVAGER + And stupid. + + The Monstrous Ravager turns towards the Ravagers, who + listen, rapt and vengeful. Nebula leans calmly against a + wall, watching. Kraglin watches too, seemingly concerned. + + MONSTROUS RAVAGER + 58. + + + It’s time for the Ravagers to once + again rise to glory with a new + Cap’n... TASERFACE. + +The Ravagers SHOUT IN APPROVAL. Taserface throws his arms +up in glory - when he hears SNICKERING. He stops. + +He and the other Ravagers turn and see Rocket, also in a +chair with his arms secured behind him, GIGGLING. + + ROCKET + I’m sorry. Your name is... it’s + ‘Taserface’? + + TASERFACE + That’s right. + + ROCKET + Do you... shoot tasers out of your + face? + + TASERFACE + It’s metaphorical! + + ROCKET + For what? + +Taserface thinks. Time for a new answer: + + TASERFACE + It’s a name what strikes fear in + anyone what hears it! + + ROCKET + (doubtful) + Really?... Okay, sure. + +Taserface screams at him, SPIT FLYING EVERYWHERE. + + TASERFACE + You shut up! You’re next! + +Taserface goes back to Yondu, bringing out his blade. + + TASERFACE + Udonta, I been waiting to do this + for a long ti - + +Again they hear SNICKERING. Rocket is burying his mouth in +his chest, TRYING TO STOP FROM CRACKING UP. + + TASERFACE + What?! What?! + 59. + + + ROCKET + I’m sorry, I’m so sorry. I just + keep imagining you waking up one + morning, looking in the mirror, + and, in all seriousness, saying + ‘You know what would be a really + kickass name? Taserface!’ + +Nebula smirks. The Ravagers are TRYING NOT TO LAUGH. Rocket +can’t stop LAUGHING. + + ROCKET + What was your second choice?! + Scrotum Hat?! + +The Ravagers all BUST OUT LAUGHING. + + TASERFACE + New plan. We’re killing you first. + +Taserface SHOVES HIM BACK, ready to plunge the knife in +him. + +Rocket’s smile disappears. He stares at Taserface with dead +eyes. + + ROCKET + Well, dying is certainly better + than having to live an entire life + as a moronic shitbag who thinks + ‘Taserface’ is a cool name. + +Taserface goes to stab him, when - + + NEBULA + That’s enough killing for today. + +Taserface turns toward her, irritated. + + TASERFACE + Thought you were the biggest sadist + in the galaxy. + + NEBULA + That was when Daddy was paying my + bills. The Priestess wants to kill + the fox herself. And he - + (re: Yondu) + - has bounties on his head in at + least twelve Kree provinces. + +Taserface glares at her. It’s obvious he’s considering +attacking her. + 60. + + + NEBULA + I assure you, I am not as easy a + mark as an old man without his + magic stick or a talking woodland + beast. + + Taserface decides not to risk it. + + NEBULA + I want ten percent of the take, and + a couple more things. + + +74 INT. ECLECTOR DOCKING BAY HALL - LATER 74 + + Nebula is TRYING OUT A BRAND NEW HAND as Kraglin leads her + through this hall. + + KRAGLIN + We got a whole box of hands if that + one don’t work out. + + NEBULA + It’s fine. + + KRAGLIN + You think them Kree is gonna + execute the Cap’n? + + NEBULA + The Kree consider themselves + merciful. It will be painless. + + Kraglin comes to an open doorway beside a huge DOCKING BAY, + and an M-SHIP decked out with lots of weapons. + + KRAGLIN + Well, there it is, best ship we + got. The location of Ego’s planet’s + in the nav. We’ll wire you the ten + percent when we’s paid. What you + gonna do with your share? + + Nebula stops at the doorway. + + NEBULA + 61. + + + As a child my father would have + Gamora and me battle one another in + ‘training.’ Every time my sister + prevailed my father would replace a + piece of me with machinery, + claiming he wanted me to be her + equal. But she won, again and again + and again. Never once refraining. + Because of them, I am this. So + after I murder my sister, I will + buy a warship with every + conceivable instrument of death. + + NEBULA + I will hunt my father like a dog + and I will tear him apart slowly, + piece by piece, until he knows some + semblance of the profound and + unceasing pain I know every single + day. + + Kraglin stares at her, weirded-out. + + KRAGLIN + Yeah... I was talking about, like, + a pretty necklace. Or a nice hat. + Something that’ll make the other + girls go ‘oooooo, that’s nice.’ + + Nebula gives him a look of pure death. + + KRAGLIN + Anyway, uh, happy trails. + + +75 INT. PALACE COURTYARD - DAY 75 + + Quill looks up at a GIANT SCULPTURE of his mother. He is + upset. Ego is behind him, watching him, sadly. + + QUILL + My mother told everyone my father + was from the stars. + + Quill turns to look at his father, somewhat accusatory. + + QUILL + She had brain cancer - so everyone + thought she was delusional. + + Ego looks sad, ashamed. + + EGO + 62. + + + Peter - + + QUILL + Listen. I’d love to believe all of + this, I really would - but you left + the most wonderful woman ever, to + die alone! + +Ego has tears in his eyes. + + EGO + I didn’t want to leave your mother, + Peter. But if I don’t return + regularly to this planet, and the + light within, this form will wither + and perish -- + + QUILL + So why didn’t you come back?! Why’d + you send Yondu, a criminal, of all + people, to fetch me?! + + EGO + I loved your mother, Peter! I + couldn’t stand to set foot on an + earth where she wasn’t living! You + can’t imagine what that’s like! + + QUILL + I know exactly what that’s like! I + had to watch her die! + +Ego stops, seeming to hear his son. He touches him. + + EGO + Over the millions and millions of + years of my existence I have made + many mistakes, Peter. But you’re + not one of them. Please give me the + chance to be the father she would + want me to be. + +Quill looks at him, vulnerable. + + EGO + There are so many things I need to + teach you. This planet, and the + light within... they are a part of + you. + + QUILL + What do you mean? + 63. + + +Ego takes Quill’s hands in his own, gently, putting them in +the correct position. + + EGO + Give me your hands, son. Here. Hold + them like that. + +Quill holds his hands apart. Ego steps back, holding his +hands in the same way. + + EGO + Now close your eyes and + concentrate. Take your brain to the + center of the planet. + +Quill concentrates. He holds his hand out. A white light +emanates from it. + + EGO + Yes! Yes! + + QUILL + Whoa. + +The light disappears as quickly as it came. + + EGO + Yes, yes - it’s okay. Just relax. + Concentrate. You can do it. Bring + it back. + +Quill concentrates and the LIGHT, once again, bursts up +from the palms of his hands. + + EGO + Yes, yes, now - shape it - + +Ego shows him, pulling in the molecules around him, so that +the light itself forms into the shape of a ball. + + EGO + Feel the energy. + +Quill tries to pull molecules into the ball. And, little by +little, they come, and the ball glows brighter. + + EGO + Yes. + +Quill laughs. Ego is JOYOUS. He almost looks as if he’s +going to break down in tears. + + EGO + 64. + + + You’re home, Peter. + + Ego cups his hands. + + EGO + Here. + + Quill, smiling, THROWS him the ball. Ego LAUGHS. He + inspects the cosmic ball of light, and he throws it back to + Quill. + + Quill LAUGHS, catching it, and throws it back. Ego moves + back further. + + And Ego and Quill continue tossing the ball back and forth + there, LAUGHING, a friendly father and son game of catch in + the middle of a palace courtyard. + + +76 EXT. PALACE - DAY 76 + + Drax and Mantis sit here, soaking in the sun and gazing at + the lush, flowing hills, like something an alien Maxfield + Parrish would paint. + + DRAX + How did you get here? + + MANTIS + Ego found me in my larva state, + orphaned on my homeworld. He raised + me by hand, and kept me as his own. + + DRAX + So you’re a pet? + + MANTIS + I suppose. + + DRAX + People usually want cute pets. Why + would Ego want a hideous one? + + MANTIS + I am hideous? + + DRAX + You’re horrifying to look at, yes. + + Mantis seems sad about this. Drax notice this, feels bad. + + DRAX + But it is a good thing. + 65. + + + MANTIS + Oh? + + DRAX + When you are ugly and someone loves + you, you know they love you for who + you are. Beautiful people never + know who to trust. + + MANTIS + Well, then I am certainly grateful + to be ugly! + (thinking) + Poor Gamora. She can never trust + anyone. + +Drax nods and stares out at spattered patches of water. + + DRAX + Those pools remind me of a time I + took my daughter to visit the + Forgotten Lakes on my homeworld. + She was like you. + + MANTIS + Disgusting? + + DRAX + Innocent. + +Drax stares out at them without expression. + +Slowly, Mantis TOUCHES his shoulder. + +And, as she does, TEARS INSTANTLY FLOW DOWN HER CHEEKS. She +stares with Drax at the hills. They feel the sadness +together: she cries while he’s stoic. + + MANTIS + I have never met anyone like you, + or your friends. You are filled + with such... love. It is a thing I + did not know existed, not like + this, and I think... I think it may + be the very finest of all things. + It both hurts and soothes the + heart. + +She looks at Drax. There is something she wants to say, but +she is torn. + + MANTIS + 66. + + + Drax, there is something I must + tell - + + GAMORA (O.S.) + What’s going on? + + Drax and Mantis turn to see her behind them. She smiles. + + MANTIS + I am learning many things. Like I + am a pet and ugly. + + GAMORA + You’re not ugly. + (admonishing) + Drax. + + Drax, confused, points at Mantis, as if her ugliness proves + itself. + + GAMORA + Mantis, can you show us where we’ll + be staying? I’m getting eye-strain + in this place. + + Mantis nods, yes. + + +77 EXT. PATH TO SLEEPING QUARTERS - MOMENTS LATER 77 + + Gamora, Drax, and Mantis walk across the sunset. + + GAMORA + Why are there no other beings on + this planet? + + MANTIS + The planet IS Ego. A dog would not + invite a flea to live on his back. + + GAMORA + And you’re not a flea? + + MANTIS + I’m a flea with a purpose. I help + him sleep. + + Gamora curls around Mantis, cutting her off. + + GAMORA + What were you about to say to Drax + before I walked out? + 67. + + + Mantis looks around, worried. + + MANTIS + Nothing. + + Gamora and Drax share a look: why is she so scared? Mantis + moves on. + + MANTIS + Your quarters are this way. + + +78 INT. ECLECTOR CELL - OUTER SPACE 78 + + Rocket HITS THE GROUND, hard. Yondu LANDS equally hard on + the ground beside him. + + They look up to see Taserface, Gef the Ravager and an + OBTUSE RAVAGER locking the cell door. + + TASERFACE + We’ll deliver you to the Kree in + the morning. Neither one of you + gonna last much longer after that. + + Rocket crawls toward them as they walk away. + + ROCKET + Okay, Taserface. See you later, + Taserface. Hey, Taserface, tell the + other guys we said hi, Taserface! + + Taserface glances back, perturbed, as he disappears around + the corner. + + +79 INT. ECLECTOR HALLWAY - OUTER SPACE 79 + + Taserface, Gef, and Obtuse come around the hall. + + GEF THE RAVAGER + What about the little plant? Can I + smash it with a rock? + + TASERFACE + No, Gef! It’s too adorable to kill. + Bring it to the tailor. + + +80 INT. ECLECTOR CELL - OUTER SPACE 80 + + Yondu and Rocket settle. Yondu looks like a beaten man. + 68. + + + ROCKET + No offense, but your employees are + a bunch of jerks. + + YONDU + I was a Kree battle-slave for + twenty years when Stakar freed me. + He offered me a place in the + Ravagers. Said all I needed to do + was adhere to the code. But I was + young and greedy and stupid - like + you stealing those batteries. + + ROCKET + That was mostly Drax. + + YONDU + Me and Stakar, and the other + captains - we weren’t so different + from you and your friends. The only + family I ever had. But I broke the + code. They exiled me. + + YONDU + These ones here are the ones who + followed - of course they’re jerks. + Which is what I deserve. + + ROCKET + Slow down, drama queen. You might + deserve this, but I don’t. We gotta + get out of here. + + YONDU + Where’s Quill? + + ROCKET + Went off with his old man. + + YONDU + Ego? + +Yondu looks concerned. Rocket stares at him, picking this +up. + + ROCKET + Yeah. It’s a day for dumbass names. + +Yondu SNICKERS. + + ROCKET + 69. + + + You smiled and for a second I got a + warm feeling, but then it was + ruined by those disgusting-ass + teeth. Ever heard of floss? + + Yondu’s smile disappears. + + YONDU + You’re like a professional asshole + or - ? + + ROCKET + Pretty much a pro. Why didn’t you + deliver Quill to Ego like you + promised? + + YONDU + He was skinny, could fit into + places we couldn’t. Good for + thieving. + + Rocket nods, GRUMBLES. + + YONDU + I got an idea on how to get outta + here. But we’re gonna need your + little friend. + + +81 INT. BAR/QUADRANT FLIGHT DECK - OUTER SPACE 81 + + Baby Groot is wearing a tiny Ravager uniform. He reacts to + clothes like a cat, struggling to take them off but unable. + + Ravagers are gathered around him, drunk and LAUGHING. They + are CHANTING “MASCOT.” + + RETCH + Lil’ feller’s all worked up! Needs + a drank! + + Retch POURS ALCOHOL on him. The Ravagers LAUGH MORE as + others POUR DRINKS on him as well. Groot SCREAMS at them, + furious but helpless. + + RETCH + Lookit how cute it is when it’s all + riled up! + + HALF-NUT + It’s Goddang precious! + 70. + + +82 INT. ECLECTOR CELL - LATER 82 + + Groot, in shadows, MOPES down the hallway, looking + traumatized. His clothes are torn and he’s soaked in + alcohol. + + As he passes the cell, he hears - + + YONDU (O.S.) + Hey, twig. C’mere. + + Groot sees Yondu and Rocket looking at him in the cell. He + steps toward them. + + ROCKET + Oh, man. What’d they do to you? + + YONDU + Hey, you wanna help us get outta + here? + + Groot NODS. Rocket looks unsure. Yondu speaks slowly. + + YONDU + There’s something I need you to + get, and bring back to me. + + Groot NODS. + + YONDU + In the Cap’n’s quarters, there’s a + prototype fin, like the thing I + wore on my head. + + Groot NODS. + + YONDU + There’s a drawer next to the bunk. + It’s inside that. It’s red. You got + it? + + Groot NODS EMPHATICALLY and DARTS OFF to get it. Yondu + looks at Rocket, pleased. + + Rocket looks more than a bit uncertain. + + +83 INT. CAPTAIN’S QUARTERS - MOMENTS LATER 83 + + Baby Groot CREEPS into this dark room. DRUNKEN RAVAGERS are + sprawled everywhere. + 71. + + +He spots a bureau. A drawer is half open. + +His face lights up. + +MOMENTS LATER + +Baby Groot stands outside of the cell, beaming, holding A +PAIR OF SHORTS. + + YONDU + That’s my underwears. + + ROCKET + Yeah, I was pretty sure he didn’t + know what you were talking about. + You have to explain it more + careful. + + YONDU + All right. It’s a prototype fin - + +MOMENTS LATER + +Groot is back in front of the cell, holding a wriggling +ORLONI in his hands. + + ROCKET + That’s an orloni. It’s a fin, + Groot. + + YONDU + You explain it this time. + +Rocket starts to speak - + +MOMENTS LATER + +Groot looks hopeful, holding out a CYBERNETIC EYE. + + YONDU + That’s Vorker’s eye. He takes it + out when he sleeps. Go look again. + +Groot starts to SLINK OFF - + + ROCKET + But leave the eye here. + + YONDU + Why? + +Rocket CAN HARDLY SPEAK he finds it so funny. + 72. + + + ROCKET + He’s gonna wake up tomorrow and + he’s not gonna know where his eye + is! + +MOMENTS LATER + +Groot is DRAGGING a LARGE PIECE OF FURNITURE to the cell. + + ROCKET + That’s a desk. We told you it was + this big. + +Rocket shows him how small it is with his hands. + +Groot makes a face like “Oh!” as if NOW he gets it. It’s +all coming together. + +MOMENTS LATER + +Groot is holding a SEVERED TOE. + + ROCKET + Tell me you guys have a + refrigerator somewhere with a bunch + of severed human toes. + +Yondu SUBTLY SHAKES HIS HEAD. + + ROCKET + Okay, then let’s just agree to + never discuss this. + +Yondu RIPS the Ravager patch off his jacket. + + YONDU + The drawer you want to open. Has + this symbol on it, okay? + +Groot takes it. He looks at Yondu and NODS. + +And then, slowly, HE PLACES IT ON TOP OF HIS HEAD. + + YONDU + What? No. + + ROCKET + He thinks you want him to wear it + as a hat. + + YONDU + That’s not what I said. + 73. + + + Groot takes it off his head. + + GROOT + I am Groot. + + ROCKET + (translating) + He’s relieved that you don’t want + him to. + + GROOT + I am Groot. + + ROCKET + He hates hats. + + GROOT + I am Groot. + + ROCKET + On anyone, not just himself. + + GROOT + I am Groot. + + ROCKET + One minute you think someone has a + weird-shaped head. The next minute, + it’s just because you realize part + of that head is a hat. + (to Groot) + That’s why you don’t like hats? + + Groot nods. + + YONDU + This is an important conversation + right now? + + ROCKET + No. Let’s try again. + + +84 INT. CAPTAIN’S QUARTERS - MOMENTS LATER 84 + + Taserface is SNORING and SLOBBERING in his bed. We see the + Ravager Patch tossed up onto the bed beside him. Then + Groot’s vines GROW up the bed, and he pulls himself up + beside the sleeping giant. + + Groot clasps the Ravager patch in his hand and looks + fearfully around. + 74. + + + He spots the Ravager symbol on a night stand drawer. + + He stares at the symbol in his hand, then at the drawer, + then at the symbol, and then at the drawer again, and then + one more time for good measure -- he wants to be very, very + sure they’re the same. + + He creeps carefully towards the drawer, GROWING his vines + out to grab the handle and PULL IT slowly open... + + He peers inside. + + Beside some writing instruments and a tin of candies, there + lies a RED FIN, taller and more shark-like than Yondu’s + current model. Groot smiles hugely, picking up - + + THE TIN OF CANDIES! He’s found it! + + KRAGLIN (O.S.) + That ain’t it. + + Groot SWIRLS to see KRAGLIN, BACKLIT IN THE DOORWAY, + LOOMING OVER HIM, intimidating as hell. And CUT TO -- + + +85 INT. ECLECTOR CELL - MOMENTS LATER 85 + + The RED FIN PLOPS DOWN at Yondu’s feet. + + Yondu and Rocket look up to see Kraglin, holding Groot. He + stares at the ground - + + KRAGLIN + I didn’t mean to do a mutiny. + (pause, then, sadly) + They killed all my friends. + + YONDU + Go get the third quadrant ready for + release. + + Kraglin SALUTES. + + ROCKET + One more thing. + + Kraglin stares at him. + + ROCKET + You got any clones of Quill’s old + music on the ship? + 75. + + +86 INT. ECLECTOR BATHROOM - OUTER SPACE 86 + + Brahl is shaving, when, suddenly, JAY AND THE AMERICAN’S + “COME A LITTLE BIT CLOSER” STARTS PLAYING over the + intercom. + + He looks up, confused. + + +87 INT. ECLECTOR HALLWAY/CELL - OUTER SPACE 87 + + TWO RAVAGERS outside the cell hear the MUSIC. They turn, + unlocking the cell door. + + As they enter, THE CAMERA OVERTAKES them, arriving before + they do at -- + + Yondu, sitting calmly; Rocket is finishing ATTACHING THE + BIG-ASS FIN TO HIS HEAD. Its electrical systems POP on. + + PUSH IN ON the two surprised Ravagers trying to UNHOLSTER + THEIR PISTOLS in time. + + Too late. + + Yondu WHISTLES. + + +88 INT. ECLECTOR CLOSET - OUTER SPACE 88 + + The ARROW FLIES OFF a shelf of supplies and SHOOTS TOWARD A + WALL. + + +89 INT. ECLECTOR CELL - OUTER SPACE 89 + + The ARROW PUNCHES THROUGH THE WALL behind the Ravagers. + They swirl to see it -- + + IT SHOOTS THROUGH ONE RAVAGER + + And THEN THE OTHER -- + + And then to Yondu; he CATCHES it, and STANDS. + + He SAUNTERS past the two Ravagers as they WOBBLE and FALL. + + Rocket and Groot follow. + + On the way out the door, Rocket looks down and sees TWO + PISTOLS beside the dead Ravagers. + 76. + + + He smiles. + + +90 INT. CAPTAIN’S QUARTERS - OUTER SPACE 90 + + Taserface is awoken by JAY AND THE AMERICANS on the PA. He + glances over to see the open drawer beside him, sans + gargantuan fin. + + He SCRAMBLES for the comm, yelling into it -- + + TASERFACE + He’s got it! + + +91 INT. BAR/QUADRANT FLIGHT DECK - OUTER SPACE 91 + + The hoard of Ravagers hear Taserface’s voice. + + TASERFACE (O.S.) + HE’S GOT IT! YONDU’S GOT THE DAMN + FIN! + + RETCH + GO! + + +92 SERIES OF SHOTS - INT. ALL OVER THE SHIP - OUTER SPACE 92 + + ALL OF THE RAVAGERS all over the ship, in a panic, LOAD + THEIR WEAPONS and HEAD TOWARD THE CELL. + + +93 INT. ECLECTOR HALLWAY - OUTER SPACE 93 + + Yondu and Rocket and Groot COME AROUND THIS CORNER IN SLOW- + MOTION, the three biggest badasses in the history of + cinema. + + A HOARD OF RAVAGERS, led by Brahl, FILE IN at the end of + the hallway. + + But Yondu WHISTLES and the ARROW TWISTS QUICKLY BACK AND + FORTH, SLICING THROUGH EACH OF THEM. + + Yondu SLAMS through a door into - + + +94 INT. ECLECTOR DOCKING BAY - OUTER SPACE 94 + 77. + + + Our heroes step onto a catwalk in this, the biggest space + in the Eclector. There are catwalks throughout and dozens + of docked M-ships. The SCURRILOUS RAVAGER sees them from + above -- + + SCURRILOUS RAVAGER + Down there! + + IN AN EXTREME WIDE ANGLE, we see the ARROW FLYING UP AND + DOWN, BACKWARDS AND FORWARDS, CUTTING THROUGH ALL SORTS OF + RAVAGERS, closer and further from CAMERA. + + We TRAVEL BEHIND YONDU AND ROCKET as BODIES FALL AROUND + THEM IN SLOW-MOTION LIKE FIREWORKS. + + Groot looks up and sees RETCH looking down at him. + + RETCH FLEES in terror as Groot GROWS branches to pull + himself up behind him. + + Groot HOWLS FURIOUSLY, TAKING CHASE. + + Retch YOWLS like a child as he frantically runs. + + But Groot GROWS HIS BRANCHES around RETCH’s legs, TRIPPING + HIM. + + BAM! He FALLS, face first to the floor. + + And, with a WAR CRY, Baby Groot FLINGS the sadistic Ravager + off the edge towards the abyss below. + + As RETCH FALLS past Yondu and Rocket, Baby Groot DROPS back + down onto Rocket’s shoulder, and they push their way + through the doorway - + + +95 INT. ECLECTOR SECURITY DOCK - OUTER SPACE 95 + + Yondu, Rocket, and Groot move into this area, where they + look up at DOZENS OF SECURITY MONITORS encircling them + showing Ravagers filing toward them from every part of the + ship. + + Yondu WHISTLES as he watches the MONITORS - + + ON A MONITOR, the arrow FLIES out the wall. He whistles so + that it strikes TWO RAVAGERS running towards them. + + It ZIPS out of that room and + 78. + + +96 INT. DARK HALL - OUTER SPACE 96 + + A HOARD of Ravagers come running down a hall. The ARROW + ZIPS overhead, smashing out all the lights so that the hall + is completely dark, except for the DIM RED LIGHT OF THE + ARROW. + + And we can just make out the RED LIGHT smashing through the + body of every Ravager there and then on into -- + + +97 INT. SPACEPORT - OUTER SPACE 97 + + A YELLING CROWD OF RAVAGERS come, hungry for war, when the + arrow SHOOTS THROUGH THE CHAINS holding a giant spaceship + in place over their heads. + + It FALLS, instantly CRUSHING them all, and then zips on -- + + +98 INT. BAR - OUTER SPACE 98 + + Gef the Ravager is drunkenly drinking a mug of beer, when + the arrow zips past him and through the mug, SHATTERING it. + + As Gef looks at the shattered mug, confused, the arrow + comes flying back, ripping through Gef himself, FLINGING + him off the bar stool. + + +99 INT. ECLECTOR SECURITY DOCK - OUTER SPACE 99 + + Rocket also uses the MONITORS to pinpoint where their + attackers are. He methodically SHOOTS THROUGH the walls, + striking the Ravagers as they get closer. + + WIDE OVERHEAD SHOT, the CAMERA REVOLVES as hoards of + Ravagers GET CLOSE to Yondu and Rocket but the arrow and + gunshots ZIP THROUGH THE WALLS taking them all down, one by + one, like Busby Berkely gone mad. + + Then Yondu stops, seeing something on one of the MONITORS. + + Taserface, clutching a big ass gun, is marching down the + hall towards them. + + Yondu WHISTLES, loudly and angrily. + + +100 INTERCUT - INT. ENGINE ROOM/SECURITY DOCK - OUTER SPACE 100 + + Taserface sees THE ARROW COMING AROUND A CORNER TOWARDS + HIM. + 79. + + + Yondu WHISTLES again. + + The ARROW BURSTS INTO FLAMES. + + Taserface DODGES it. + + He turns to watch it go, CACKLING pridefully over his + agility. + + But his smile quickly dissipates. + + The arrow PLUNGES into a giant tank - which EXPLODES, + ENGULFING HIM. + + +101 EXT. ECLECTOR - OUTER SPACE 101 + + A huge portion of the giant spacecraft EXPLODES, leading to + a domino effect of one part of the ship BURSTING after + another. + + +102 INT. ECLECTOR SECURITY DOCK - OUTER SPACE 102 + + ROCKET is dumbfounded as he sees on the MONITORS the + numerous EXPLOSIONS throughout the ship. + + ROCKET + You maniac. The whole ship is gonna + blow. + + +103 INT. ECLECTOR SECURITY DOCK - OUTER SPACE 103 + + A DOOR SWINGS OPEN and TASERFACE FALLS ONTO THE FLOOR, + ENGULFED IN FLAMES, but furious. + + He angrily SLAPS off the flames as he reaches for a + COMMUNICATIONS MODULE. + + +104 INT. ECLECTOR SECURITY DOCK - OUTER SPACE 104 + + YONDU + Not the whole ship. + + Yondu catches the arrow and walks out. + + +105 INT. BAR/QUADRANT FLIGHT DECK - OUTER SPACE 105 + 80. + + + Kraglin ENTERS, pulling latches and flipping switches and + twisting dials on elementary flight controls. + + +106 INT. ECLECTOR SECURITY DOCK - OUTER SPACE 106 + + With pained effort, Taserface PULLS UP A VIDEO SCREEN with + a SOVEREIGN CHAMBERMAID. + + CHAMBERMAID (ON SCREEN) + Who is this? You’re not supposed to + be on this line. + + TASERFACE + I’m sending you the coordinates for + Yondu’s ship. + + +107 INT. QUADRANT FLIGHT DECK - OUTER SPACE 107 + + Yondu enters with Rocket and Groot. + + YONDU + Release the quadrant. + + KRAGLIN + Aye Capn’ + + +108 INT. ECLECTOR SECURITY DOCK - OUTER SPACE 108 + + TASERFACE + I only ask one thing. That your + High Priestess tells him the name + of the man what sealed his fate: + Taserface. + + The CHAMBERMAID laughs uncontrollably at his name. + + Taserface looks really sad as he EXPLODES. + + +109 INT. QUADRANT FLIGHT DECK - OUTER SPACE 109 + + As Rocket and Groot, frightened, feel the SHIP EXPLODING + around them, Kraglin pulls up one final latch - + + +110 EXT. ECLECTOR - OUTER SPACE 110 + + THE ENTIRE REAR UPPER QUADRANT OF THE ECLECTOR DETACHES + FROM THE REST OF THE SHIP, while the remains CONTINUE + EXPLODING. + 81. + + +111 I/E. QUADRANT FLIGHT DECK - OUTER SPACE 111 + + Rocket and Groot are amazed as the SHIP thrusts forward, + away from the explosions. + + Kraglin keys into a JUMP POINT ahead. Nearby, Rocket pulls + up the Navigation panel. + + KRAGLIN + Where to, Cap’n? + + Rocket SETS THE DESTINATION: + + ROCKET + Ego. + + YONDU + NO, BOY! + + The Quadrant TREMBLES as they hit THE JUMP POINT. It BLOOPS + out of present space, making the JUMP to - + + +112 EXT. DESERT - DAY 112 + + The Quadrant POPS into a blue sky above a DESERT with two + fighting KRONANS. + + +113 INT. QUADRANT FLIGHT DECK - VARIOUS OUTER SPACE LOCATIONS 113 + + Inside the ship, Rocket, Yondu, Kraglin, and baby Groot + hold on for dear life as the ship VIOLENTLY SHAKES and THE + LOCATIONS OUTSIDE OF THE WINDOW RAPIDLY SHIFT. + + Their bodies DISTEND SLIGHTLY. Yondu is furious. + + YONDU + It ain’t healthy for a mammalian + body to hop over fifty jumps at a + time. + + ROCKET + I know that. + + YONDU + We’re about to do seven-hundred. + + Rocket looks bummed. + + +114 EXT. PINK SKY - AMOEBA BLOBS - OUTER SPACE 114 + 82. + + + The Quadrant pops out of a jump point into this Pepto + Bismol pink land, SMASHING THROUGH an AMOEBA-LIKE BLOB, and + then through the next jump point. + + +115 INT. QUADRANT FLIGHT DECK - VARIOUS OUTER SPACE LOCATIONS 115 + + Kraglin, Yondu, Rocket, and Baby Groot all SCREAM, their + entire faces and bodies distorting as if in some evil + funhouse mirror. + + +116 EXT. RED PLANET LANDSCAPE - VARIOUS 116 + + The yellow sun CURVES SLOWLY WEST TO EAST over this + magnificent landscape. + + “BRING IT ON HOME TO ME” BY SAM COOKE PLAYS. + + +117 EXT. SLEEPING QUARTERS - VERANDA - DAY 117 + + TILT DOWN to Quill, on this veranda, gazing out at the + beauty. The Walkman is connected to small, jerry-rigged + speakers nearby, PLAYING SAM COOKE. + + QUILL + So I guess this could all be mine + someday. + + Gamora isn’t paying attention. She’s fooling with a + communications device, which has no reception. + + GAMORA + Rocket? Rocket, you there? Dammit. + + Quill comes up behind her, messing with her. + + GAMORA + What are you doing, Peter? + + QUILL + Dance with me. + + GAMORA + No. I’m not -- + + QUILL + Come on. This is Sam Cooke, one of + the greatest Earth singers of all + time. + 83. + + +Gamora lets out an exasperated SIGH, but, reluctantly, +starts DANCING with him. She is incredibly light on her +feet. + +Quill smiles and Gamora, despite herself, does as well. He +TWIRLS HER AND BRINGS HER BACK IN. This is definitely not +the first time they’ve done this. + + QUILL + Drax thinks you’re not a dancer. + + GAMORA + If you ever tell anyone about this, + I’ll kill you. + +They look at each other. + + QUILL + When are we going to do something + about this... unspoken thing + between us? + + GAMORA + What unspoken thing? + + QUILL + This Cheers-Sam-and-Diane-guy-and- + girl-on-a-TV-show-who-dig-each- + other-but-never-say-it-’cause-when- + they-do-the-ratings-would-go-down + sort of thing? + + GAMORA + There is no unspoken thing between + us. + + QUILL + Well, that’s a Catch-22. Because if + you said there was, it would be + spoken, and then you’d be a liar. + So by saying there isn’t, you’re + telling the truth, and admitting + there is. + + GAMORA + That’s not -- + +Gamora PULLS AWAY. + + GAMORA + What we should be discussing right + now is that something about this + place doesn’t feel right. + 84. + + + QUILL + What are you talking about? You + were the one who wanted me to come + here! + + Gamora moves into -- + + +118 INT. SLEEPING QUARTERS - DAY 118 + + GAMORA + That girl, Mantis. She’s afraid of + something. + + Quill follows her. He stops, staring at her, hurt and + frustrated. + + QUILL + Why are you trying to take this + from me? + + GAMORA + I’m not -- + + QUILL + He’s my father. He’s blood - + + GAMORA + You have blood on earth. You never + wanted to return there. + + QUILL + Again - you made me come here! And + Earth?! Earth is the place my + mother died in front of me. + + GAMORA + No, it’s because that’s real, and + this is a fantasy. + + QUILL + This is real. I’m only half human, + remember? + + GAMORA + That’s the half I’m worried about. + + QUILL + Oh, I get it. You’re jealous + because I’m part god! You like me + being the weak one! + + Gamora adds some pieces to her transmitter. + 85. + + + GAMORA + Uh. You were insufferable to begin + with. I haven’t been able to reach + Rocket. I’m going to see if I can + get a signal outside. + + QUILL + You know, this isn’t Cheers after + all. It’s whatever the show is + where one person is willing to, you + know, open themselves up to new + possibilities, and the other person + is just kind of a jerk who doesn’t + trust anyone! It’s a show that + doesn’t exist - it would never be + made, it would be so horrible! It + would get zero ratings! + + GAMORA + You’re having a conversation with + yourself! I don’t know what Cheers + is! + + QUILL + I finally found my family, don’t + you understand that!? + + GAMORA + I thought you already had. + + QUILL + So this is how it ends, then? Our + whole story. Like this? You and me? + + GAMORA + Get it through your head, Peter. + There is no you and me. There never + was. + + Quill watches her leave. + + +119 EXT. EGO’S FIELDS - SUNSET 119 + + Gamora sits, alone in the fields, pouting, fuming. She + stops, staring angrily inward. + + Two plants, nearby, flitter against one another in the + wind, making a CLICKING sound. She side-eyes them. They + don’t stop. + + She slices them off with her sword. + 86. + + + GAMORA + Dammit. + + Gamora hears something. She turns to see, in the distance, + an M-ship flying toward the planet. + + She watches as it gets closer and closer, and realizes it + is FLYING DIRECTLY AT HER. + + Gamora RUNS. + + +120 INT. NEBULA’S SHIP - SUNSET 120 + + Nebula HOLLERS as she BLASTS HER GUNS, DIVING towards + Gamora. + + +121 EXT. HILLSIDE - SUNSET 121 + + Gamora FLEES from Nebula’s ship like Cary Grant from the + crop duster in North by Northwest as HUGE CHUNKS OF LAND + EXPLODE on either side of her. + + Gamora leaps into a DITCH, LANDING HARD, as the M-Ship + SWOOPS just a couple feet above her. + + GAMORA + You psychopath. + + Gamora sees the M-Ship banking and FLYING BACK at her + again. + + She stands and runs along the hillside as GUN BLASTS burst + behind her. But Gamora sees a CAVERN, leading down into the + earth. + + She DARTS into it. + + +122 INT. EGO’S CAVERN - FIRST/SECOND LEVELS - SUNSET 122 + + As Gamora RUNS down the cavern, she glances back over her + shoulder where Nebula, insane with rage, continues FLYING + towards her -- + + The M-SHIP ENTERS THE CAVERN, which is too small for it, + CLIPPING ITS WINGS - but it keeps flying. It again BLASTS + at Gamora as she FLEES - + + The BLASTS cause the ground to COLLAPSE around Gamora, and + she FALLS, SMASHING DOWN THROUGH ONE LEVEL, to another + level below, SLAMMING HARD on the ground. + 87. + + + The underside of the M-ship gets SCRAPED APART as it flies + above her, and pieces of it come RAINING DOWN around her. + + Nebula ZOOMS towards a huge cavern wall. She tries to turn + her ship in time, to no avail. + + She SIDESWIPES it, falling down, CRASHING on the ground, + where she is now on the same level as Gamora. + + Gamora sees something beside her: it’s one of the ENORMOUS + BLASTERS from the M-ship, attached to an AMMO RIG. + + +123 INT. NEBULA’S M-SHIP - SUNSET 123 + + Nebula sees Gamora, through the canopy, picking up the + blaster, and clutching it. It is comically enormous. + + Nebula struggles to get free and out of the way, but her + legs have been pinned in the crash - + + +124 INT. EGO’S CAVERN - SECOND/THIRD LEVELS - SUNSET 124 + + Gamora CLAMPS two metal switches together, MACHINE-FIRING + THE GUN, as she walks forward. + + The front of the M-ship is peppered with blasts and then + EXPLODES. + + The explosion causes the thin ground around it to COLLAPSE, + and the entire ship FALLS BACKWARDS to an even LOWER LEVEL + - BURSTING some more as it hits the ground. + + Gamora gazes down at the ship. + + +125 I/E. NEBULA’S SQUASHED M-SHIP - SUNSET 125 + + Nebula is a mess. Her legs are broken, trapped in the ship. + + There is a FIRE at her feet. + + She struggles, trying to get out, but her machine parts are + SPARKING and she can hardly breathe. It seems as she’s + going to die, when -- + + Part of the ship is TORN AWAY. She sees Gamora. + + Gamora GRABS HER, unceremoniously PULLING HER FREE, just as + the M-ship EXPLODES, PITCHING THEM BOTH to the ground. + 88. + + +They lie next to each other. Nebula COUGHS as her legs are +healing, CRACKING back into place. + +She looks over and eyes Gamora. + +And then she HOLLERS and attacks her. + + GAMORA + Are you kidding me?! + +They FIGHT. + +Nebula snatches Gamora’s blade from her, and TUMBLES on top +of her as she gains the upper hand. She holds the blade +above Gamora, ready to plummet it into her. + +She wants to - she really does - but now that the moment is +here... + +She SCREAMS in frustration, and falls back. + + NEBULA + I win. + +Gamora eyes her, a little surprised. + + NEBULA + I win. I bested you in combat. + + GAMORA + Uh, no, I just spared your life - + + NEBULA + You were stupid enough to let me + live so - + + GAMORA + You just let me live! + + NEBULA + I WIN! + + GAMORA + Nebula, I really don’t need this. + My day has been bad enough - + + NEBULA + I don’t need you always trying to + beat me! + + GAMORA + 89. + + + I’m not the one who just flew + across the universe because I + wanted to win! + + NEBULA + Don’t tell me what I want! + + GAMORA + I don’t have to because you make it + obvi - + + NEBULA + YOU WERE THE ONE WHO WANTED TO WIN, + I JUST WANTED A SISTER! + + Gamora stops suddenly, struck. Nebula is cracking. + + NEBULA + You were all I had, but you were + the one who needed to win! Thanos + pulled my eye from my head and my + brain from my skull and my arm from + my body because of you! + + Gamora doesn’t know what to say. Nebula is almost instantly + embarrassed. + + They sit there for a moment, saying nothing. + + +126 EXT. SLEEPING QUARTERS - NIGHT 126 + + The Quarters are entombed in stars. The dim sound of + “BRANDY” comes from within. + + +127 INT. SLEEPING QUARTERS - NIGHT 127 + + Quill lies in bed, unable to sleep, listening to the song. + + EGO (O.S.) + You all right, son? + + Quill turns to see Ego in the doorway. + + EGO + I saw your girl stomp off earlier + in quite a huff. + + Quill sits up, nods. + + QUILL + Yeah. + 90. + + +Ego sits beside him. + + EGO + It’s fortuitous you’re listening to + this song. + + QUILL + You know - ? + + EGO + ‘Brandy’ by Looking Glass. A + favorite of your mom’s. + + QUILL + Yes. + + EGO + One of earth’s greatest musical + compositions. Perhaps its very + greatest. + + QUILL + Yeah, it is. + + EGO + You and I, Peter, we’re the sailor + in the song. + +Ego speaks along with the lyrics as they play. + + EGO + He came on a summer’s day, bringing + gifts from far away - like the + child I put in your mother, or the + freedom you brought Gamora. + +Quill listens. + + EGO + Brandy, you’re a fine girl, what a + good wife you would be. But my + life, my love, my lady is the sea. + The sea calls the sailor back. He + loves the girl, but that’s not his + place. The sea calls upon him as + history calls upon great men, and + sometimes we are deprived the + pleasures of mortals. + + QUILL + Well, you might not be mortal, but + me - + 91. + + + EGO + Death will remain a stranger to + both of us as long as the light + burns within the planet. + +Ego smiles. + + QUILL + I’m immortal? That’s... really? + + EGO + Yes, as long as the light exists. + + QUILL + And I can use the light to make + cool things? Like how you made all + this? + + EGO + It’ll take thousands of years of + practice before you get really good + at it . But, yes. + + QUILL + Well, get ready for an eight + hundred foot statue of Pac Man, + then. With Skeletor. And Heather + Locklear. I’m gonna make some weird + shit. + +Ego puts his arm around him, smiles kindly. + + EGO + I can’t wait to see your weird + shit. + + QUILL + Wow, that... + + EGO + Came out a little disgusting. + +They CHUCKLE. + + EGO + It is a tremendous responsibility, + Peter. Only we can remake the + universe. Only we can take the + bridle of the cosmos and lead it + where it needs to go. + + QUILL + How? + 92. + + + Ego holds up his fingers, letting forth a flame of white + cosmic light. Quill holds up his fingers, letting forth a + smaller, less intense flame of white cosmic light. + + REVEAL MANTIS, IN THE HALL, around the corner, looking at + Ego and Quill and the light emanating from their fingers. + + EGO + Come with me. + + Mantis looks like she’s having a panic attack. + + +128 INT. DRAX’S SLEEPING QUARTERS - MOMENTS LATER 128 + + CLOSE-UP OF DRAX, sound asleep. + + MANTIS (O.S.) + Drax! Drax! + + He WAKES to see a panicked Mantis sitting on the bed beside + him. + + MANTIS + Drax, we need to talk - + + DRAX + Ugh. I am sorry, but I like a woman + with some meat on her bones. + + MANTIS + What? + + DRAX + I tried to let you down easily by + telling you I found you disgusting. + + MANTIS + No! That’s not what I - + + Drax starts to GAG. + + MANTIS + What are you doing?! + + DRAX + I’m imagining being with you + physically! + + MANTIS + Drax, that’s not - I don’t like you + like that. I don’t even like the + type of thing you are. + 93. + + + DRAX + (offended) + Hey! There’s no need to get + personal! + + MANTIS + Listen! Ego’s gotten exactly what + he wanted. I should have told you + earlier, I am stupid. You are in + danger. + + +129 EXT. NEBULA’S SQUASHED M-SHIP - NIGHT 129 + + Gamora and Nebula still sit here, quietly and awkwardly. + + Gamora glances down a twisting tunnel, where phosphorescent + lights shine brightly. + + GAMORA + What’s that? + + She moves towards it. Nebula, hesitantly, follows. + + +130 INT. PALACE - NIGHT 130 + + Ego and Quill enter the palace. + + EGO + You need to readjust the way you + process life. Everything around us + - including the girl - is + temporary. We are forever. + + QUILL + Doesn’t eternity get boring? + + EGO + Not if you have a purpose, Peter. + Which is why you’re here. I told + you how all those years ago I had + an unceasing impulse to find life. + + Ego is standing underneath the diorama of him facing the + little alien girl. + + EGO + I didn’t tell you how when I did + find it, it was all so... + disappointing. + 94. + + +131 INT. TWISTING CAVERNS - NIGHT 131 + + Gamora and Nebula move further down the cavern, stepping + into light, getting closer. + + EGO + And that is when I came to a + profound realization. + + +132 INT. PALACE - NIGHT 132 + + EGO + My innate desire to seek out other + life was not so that I could walk + among that life. + + Ego looks at his son, moved by the memories. + + EGO + Peter, I had found meaning. + + Quill is taken aback. But Ego sets his finger lightly on + his forehead, and the white light bursts through his son’s + body. + + We see THE COSMOS IN QUILL’S EYES. He looks ecstatic, far + beyond where he stands, and seems to finally understand. + + QUILL + I see it. Eternity. + + +133 INT. TWISTING CAVERNS - NIGHT 133 + + Gamora and Nebula stop, in horror. + + GAMORA + Oh my God. + + They are staring at piles and piles of skeletons of various + species, thousands of them, seeming to go on forever. + + NEBULA + We need to get off this planet. + + +134 EXT. GALAXY/UNIVERSE - OUTER SPACE 134 + + We see traces of the UNIVERSAL NEURAL TELEPORTATION + NETWORK, the Quadrant a blinking light POPPING IN and OUT + on a trail across the cosmos - + 95. + + + And then ZOOM BACK FURTHER TO THE UNIVERSE, the same + blinking light making its way while ROCKET, YONDU, and + KRAGLIN SCREAM. + + +135 EXT. ASTEROIDS - OUTER SPACE 135 + + WATCHERS swirl to the Quadrant SWISH past them and JUMPS + OUT. + + They turn back to STAN LEE, in a spacesuit with a fishbowl + helmet. + + STAN LEE + Anyway, before I was so rudely + interrupted, that time I was a + World War II vet - + + +136 EXT. RED PLANET - OUTER SPACE 136 + + THE QUADRANT POPS INTO SPACE, EGO’S PLANET nearby. + + +137 INT. QUADRANT FLIGHT DECK - OUTER SPACE 137 + + Yondu, Kraglin, Rocket and Groot FALL OUT OF THEIR SEATS, + RETCHING, clutching their stomachs. + + YONDU + What the hell you doing, boy?! + + ROCKET + I could tell by how you talked + about him - this Ego is bad news. + We’re here to save Quill. + + YONDU + For what? + (derisively) + For ‘honor’? For ‘love’? + + ROCKET + No! I don’t care about those + things! I want to save Quill so I + can prove I’m better than him! I + can lord this over him forever! + + Yondu LAUGHS bitterly as he pulls himself up to the + controls. + + Rocket yanks himself up beside him. + 96. + + + ROCKET + What are you laughing at me for?! + + YONDU + You can fool yourself and everyone + else but you can’t fool me. I know + who you are. + + ROCKET + You don’t know anything about me, + loser. + + YONDU + I know everything about you. I know + you play like the meanest and the + hardest ‘cause you actually the + most scared of all. + + ROCKET + Shut up. + + YONDU + I know you steal batteries you + don’t need and you push away anyone + who’s willing to put up with you, + ‘cause just a little bit of love + reminds you how big and empty that + hole inside you actually is! + + ROCKET + I said, shut up. + + YONDU + I know the scientists what made you + never gave a rat’s ass about you - + + ROCKET + I’m serious, dude - ! + + YONDU + Just like my own damn parents, who + sold me, their own little baby, + into slavery! I know who you are, + boy, because you’re me. + +They stare at each other there, a mirror. + + ROCKET + What kind of pair are we? + + YONDU + The kind that’s about to go fight a + planet I reckon. + 97. + + + ROCKET + All right, okay, that’s - Wait. + Fight a what? + + +138 INT. DRAX’S SLEEPING QUARTERS - NIGHT 138 + + Gamora, furious, BURSTS into the room. She sees Mantis + standing with Drax. + + She RUNS to her, GRABBING HER by the neck -- + + DRAX + Hey! + + And she SLAMS her against the wall. + + GAMORA + Who are you people?! What is this + place?! + + DRAX + (re: Nebula) + What is she doing here? + + NEBULA + Just watching the fireworks. + + DRAX + Gamora, let her go! + + GAMORA + The bodies in the caverns, who are + they?! + + MANTIS + You are scared. + + Gamora, whose skin is touching Mantis, lets go of her neck, + terrified. + + +139 INT. PALACE - NIGHT 139 + + The DIORAMAS all around Quill and Ego TRANSFORM into a map + of the universe. Quill stares in his cosmic reverie at the + PLANETS around him - thousands of them with pieces of EGO’S + LIFEFORM - GLOWING COSMIC PLANTS - buried within them. + + EGO + I call it the Expansion. It is my + purpose. And now it’s yours as + well. + 98. + + + QUILL + It’s beautiful. + + Quill stares up at a DIORAMA: Ego grabs handfuls of his own + body, engulfed in light, and plants the wriggling pieces on + various planets. + + EGO + Over thousands of years I implanted + thousands of extensions of myself + on thousands of worlds. + + In the DIORAMAS, the COSMIC PLANTS OVERGROW and COVER each + of the planets, like chocolate on a malt ball. + + EGO + I needed to fulfill life’s one true + purpose: to grow and to spread, + covering all that exists, until + everything... is me. + + +140 INT. DRAX’S SLEEPING QUARTERS - NIGHT 140 + + Gamora backs away, recovering. + + GAMORA + What did she do to me?! + + DRAX + She already told me everything. + + +141 INT. PALACE - NIGHT 141 + + EGO + I only had one problem. A single + Celestial doesn’t have enough power + for such an enterprise. But two + Celestials - well now, that just + might do. + + +142 INT. DRAX’S SLEEPING QUARTERS - NIGHT 142 + + MANTIS + The bodies are his children. + + Gamora is horrified. + + +143 INT. PALACE - NIGHT 143 + 99. + + + On the DIORAMAS we see Ego with hundreds of species of + female aliens. + + EGO + Out of all my labors the most + beguiling was attempting to graft + my DNA with that of another + species. I hoped the result of such + a coupling would be enough to power + the expansion. + + +144 INT. ECLECTOR HALLWAY - NIGHT 144 + + Yondu and Rocket walk here. + + EGO (O.S.) + I had Yondu deliver some of them to + me. It broke the Ravager code - but + I compensated him generously. And, + to ease his conscience, I told him + I would never hurt them. + + +145 INT. PALACE - NIGHT 145 + + EGO + That was true. They never felt a + thing. But, one after the other, + they failed me. None of them had + the Celestial genes. Until you, + Peter. Out of all my spawn, only + you have carried the connection to + the light. + + Peter smiles, an enchanted idiot, the cosmos in his eyes. + + +146 INT. DRAX’S SLEEPING QUARTERS - NIGHT 146 + + GAMORA + We need to find Peter now and get + off this damn planet. + + MANTIS + Ego will have won him to his side + by now. He has a way of - + + NEBULA + Then we just go. + + GAMORA + No. He’s our friend. + 100. + + + NEBULA + All any of you do is yell at each + other. You’re not friends. + + DRAX + You’re right. We’re family. We + leave no one behind. + (To Nebula) + Except maybe you. + + NEBULA + Oh my god. + + +147 INT. PALACE - NIGHT 147 + + EGO + For the first time in my life, I am + truly not alone. + + Quill suddenly looks sad. + + EGO + What is it, son? + + QUILL + My friends. + + EGO + That’s the mortal in you, Peter. + + QUILL + Yes. I don’t need that. + + EGO + What are we? + + QUILL + Forever. + + EGO + What are they? + + QUILL + Temporary. + + EGO + You think you love them. But love + is merely an evolutionary trick in + the service of reproduction. We are + beyond such things. + + QUILL + 101. + + + Yes. + + EGO + Now - + + QUILL + But my mother. + +Ego looks at him, questioningly. + + QUILL + You said you loved my mother. + + EGO + That I did. My river lily, who knew + the words to every song that came + on the radio. I returned to earth + to see her three times. I knew if I + came back a fourth, I’d never + leave. + + EGO + The expansion, the reason for my + very existence would be over. So I + did what I had to do. But it broke + my heart to put that tumor in her + head. + + QUILL + Wh- what? + +ZOLLY IN ON QUILL as the cosmos disappear from his eyes. + +Tears stream down his face. + + EGO + I know that sounds bad - + +QUILL PULLS OUT HIS PISTOLS AND FIRES; THE BLAST TEARS +THROUGH EGO, DISPERSING the MOLECULES forming his body. + +Quill SHOOTS at him AGAIN and AGAIN and AGAIN. The flesh +disappears from Ego like bites from a cookie, exposing the +angry alien skeletal form beneath. + +But, as the charge on Peter’s blasters wears out, Ego just +looks at him, and, although he’s filled with holes, he’s +merely disappointed. + + EGO + Who in the hell do you think you + are? + 102. + + + QUILL + You killed my mother! + + EGO TRANSFORMS into DAVID HASSELHOFF. + + EGO + I tried so hard to find the form + that best suited you, and this is + the thanks I get? + + And then, once again, BECOMES HIS USUAL FORM. + + EGO + You really need to grow up. + + A SPIKY COSMIC LIGHT-PROPELLED TENDRIL SHOOTS UP from the + floor behind Quill, and JUTS into Quill’s body. + + Quill is THRUST INTO THE AIR. He opens his mouth to SCREAM + and WHITE LIGHT EMITS. + + EGO + I wanted to do this together! But I + suppose you’ll have to learn by + spending the next thousand years as + a battery, ‘Star-Lord’. + + +148 INT. DRAX’S SLEEPING QUARTERS - NIGHT 148 + + THROUGH THE WINDOW to the PALACE - PAN TO Gamora watching + as her TRANSMITTER - the one she was trying to contact + Rocket on - BEEPS. She answers. + + GAMORA + Rocket?! + + Gamora follows Drax, Nebula, and a confused Mantis as they + move out. + + +149 INT. LASER DRILL - OUTER SPACE 149 + + Rocket, Yondu, and Groot are CRAWLING into a huge LASER + DRILL. + + ROCKET + Keep that transmitter nearby so I + can find you. We’re in an old piece + of construction equipment Yondu + once used to slice open the Bank of + A’askavaria. + 103. + + + GAMORA (O.S.) + Ego’s unhinged - + + ROCKET + I know. Get ready. + + YONDU + Drop it, Kraglin! + + +150 INT. QUADRANT FLIGHT DECK - OUTER SPACE 150 + + Kraglin YANKS a lever. + + +151 I/E. LASER DRILL - OUTER SPACE 151 + + An ugly, bulbous and uneven craft PLOPS from the Quadrant, + and heads toward Ego’s surface. + + ROCKET + I got a plan. + + YONDU + What is it? + + ROCKET + It’s pretty simple. + + +152 INT. PALACE - NIGHT 152 + + Ego walks calmly up beside the trapped Quill. He snatches + the Walkman off of him. He stares at it. Quill can barely + speak. + + QUILL + NO. + + EGO PRESSES PLAY. A distorted version of “Brandy” plays. He + stares at it - perhaps he’s feeling wistful sadness, or + perhaps nothing at all. + + ‘Brandy, you’re a fine girl. What a good wife you would + be.’ + + EGO + ‘My life, my love, my lady is the + sea’? Peter, THIS IS THE SEA. + + EGO CRUSHES THE WALKMAN IN HIS GRIP as Quill watches + helplessly. + 104. + + + The POWER SURGES from Quill through the TENTACLE and + throughout the entire PALACE -- + + +153 EXT. PALACE - NIGHT 153 + + As Gamora, Mantis, Drax, and Nebula run toward the Palace + it BURSTS WITH COSMIC LIGHT, so brightly they have to + protect their eyes. + + +154 INT. PALACE - NIGHT 154 + + EGO basks in the power and we TRAVEL down his legs -- + + +155 INT. RED PLANET/SELF CHAMBER - NIGHT 155 + + We FOLLOW THE ENERGY THROUGH THE SURFACE OF THE PLANET -- + + +156 THROUGH THE TWISTING VEINS OF LIGHT BENEATH -- 156 + + And INTO an ENORMOUS, METAL ORB, the SELF CHAMBER, which + EXPLODES WITH LIGHT. + + Boom. + + +157 EARTH - EXT. WOODS BEHIND DAIRY QUEEN - MOMENTS LATER 157 + + We PUSH INTO the small plant - now a bit larger - that Ego + planted at the very beginning of the film. + + It LIGHTS UP and GROWS, INSTANTLY BURSTING UPWARDS - + + +158 EARTH - EXT. DQ - MOMENTS LATER 158 + + The PLANT BURSTS UP BEHIND the Dairy Queen (now a modern + DQ), a huge ORGANIC, BLOB-LIKE MASS OF LIGHT that comes + down instantly on the building, CRUSHING it and everyone + inside -- + + AND CONTINUING TO SPILL FORWARD, SPREADING. + + +159 INT. PALACE - NIGHT 159 + + EGO SUMMONS all his energy, when, SUDDENLY, a DOOR beside + him SMASHES APART. + 105. + + + Drax has kicked through it and Gamora, Nebula and Mantis + are with him. Ego turns to see them, then hears a RUMBLING + above him. + + He turns to look at a window on the palace wall behind him. + + AND THE GIANT LASER DRILL COMES SMASHING THROUGH THE PALACE + WALL. + + YONDU + Hey there, Jackass. + + Ego looks surprised. + + The LASER DRILL lands on Ego, SQUASHING HIM. + + The tendril retracts from Quill as he falls and heaves for + breath. + + +160 EARTH - EXT. STREET - DAY 160 + + The cosmic plant, barreling down the street, suddenly + STOPS. + + +161 INT. PALACE/LASER DRILL - SUNRISE 161 + + Drax, Gamora, Nebula, and Mantis rush into the crumbling + palace. + + The door on the side of the Laser Drill SLIDES OPEN. Baby + Groot is standing there, smiling, and waving. + + DRAX + Out of the way, dumber, smaller + Groot. + + As Drax crawls in, Groot starts PUNCHING Drax as hard as he + can. Probably because he called him dumb, but who’s to say. + + Gamora helps up Quill. + + GAMORA + I told you something didn’t feel + right. + + QUILL + ‘I told you so.’ That’s really what + I need right now. + + GAMORA + 106. + + + I came back, didn’t I? + + QUILL + Because there’s an unspoken thing. + + GAMORA + There is no unspoken thing. + + +162 INT. LASER DRILL - NIGHT 162 + + Drax, Mantis, Gamora, and Quill step inside the door. + + DRAX + What are you doing? You could have + killed us all crashing in here like + that! + + ROCKET + Uh, ‘Thank you, Rocket’? + + DRAX + We had it under control. + + MANTIS + We did not. That is only an + extension of his true self. He will + be back soon. + + QUILL + (re: Nebula) + What’s Smurfette doing here!? + + NEBULA + Back rubs, dishes, killing gods, + whatever I need to do to get a damn + ride home. + + ROCKET + She tried to murder me! + + NEBULA + I saved you, you stupid fox. + + GAMORA + He’s not a fox. + + GROOT + I am Groot. + + ROCKET + I’m not a raboon either! + 107. + + + GROOT + I am Groot. + + ROCKET + ‘Raccoon,’ whatever! + + Drax looks out the window. + + +163 INT. PALACE - NIGHT 163 + + TENTACLE-LIKE STRANDS BURST UP through the palace flooring + all around the drill. + + +164 INT. PALACE - NIGHT 164 + + Drax turns to the others. + + DRAX + How do we kill a Celestial? + + QUILL + There’s the center to him - his + brain, his soul, whatever it is, in + some sort of shell -- + + MANTIS + It’s in the caverns below the + surface. + + Quill climbs up the ladder to see - + + QUILL + YONDU? + + Nebula looks at Gamora. + + NEBULA + If he’s got that fin back, I am so + screwed. + + +165 I/E. PALACE - SUNRISE 165 + + Yondu THRUSTS the ship upward for takeoff. But TENTACLES + wrap around the ship -- + + And YANK IT BACK DOWN into the floor, destroying the + foundation of the palce. + + THE ENTIRE PALACE SLOPES. + 108. + + +166 INT. LASER DRILL - SUNRISE 166 + + Everyone FALLS forward. + + YONDU + Thrusters are out! + + Quill starts rewiring the mechanics. + + QUILL + I guess I should be glad I was a + skinny kid. Otherwise you would + have delivered me to this maniac! + + YONDU + You still reckon that’s the reason + I kept you around, you idiot?! + + QUILL + That’s what you told me, you old + doofus! + + YONDU + Once I figured out what happened to + them other kids, I wasn’t gonna + just hand you over. + + QUILL + You said you were gonna eat me! + + YONDU + That was being funny! + + QUILL + Not to me!! + + ROCKET + You people have issues. + + Quill sees THROUGH THE WINDSHIELD where EGO’S CREEPY + SKELETAL is GROWING IN FRONT OF THEM. + + QUILL + Of course I have issues that’s my + fricking father!!... Thrusters are + back up. + + Quill thrusts the ship FORWARD instead of up. + + It CRASHES through Ego and DOWN THE SLOPING FLOOR -- + + And OUT THROUGH the giant pane of glass at the end. + 109. + + +167 I/E. LASER DRILL/CRACK IN THE PLANET - SUNRISE 167 + + Everyone holds on in what’s essentially the worst roller + coaster drop ever. + + YONDU + We should be going up! + + QUILL + We can’t. Ego wants to eradicate + the universe as we know it. We have + to kill him. + + They PLUMMET toward a fissure in the earth below. It’s too + small for the ship. + + QUILL + Rocket! + + ROCKET + Got it. + + Rocket BLASTS the lasers perfectly, CHIPPING AWAY PIECES of + rock, forming an opening in the crack. + + They SMASH into the opening, barely fitting, leading down + into the planet. + + Quill flies perfectly, TWISTING through tunnels and around + corners. + + Rocket mans the lasers, BLASTING PIECES OUT OF PLACE just + in time so they can SCRAPE through. + + ROCKET + So, we’re saving the galaxy again? + + QUILL + I guess. + + ROCKET + Awesome. We’ll really be able to + jack up our prices if we’re two- + time-galaxy savers. + + QUILL + I seriously can’t believe that is + where your mind goes. + + ROCKET + It was just a random thought, man! + I thought we were friends! + 110. + + + ROCKET + Of course I care about the planets, + and the buildings, and all of the + animals on the planets. + + QUILL + And the people. + + ROCKET + Meh. + + Mantis GIGGLES. + + MANTIS + The crabby puppy is so cute he + makes me want to die! + + DRAX + Your suicidal thoughts sadden me, + but your wish will likely come + true. + + +168 I/E. QUADRANT FLIGHT DECK - OUTER SPACE 168 + + MEANWHILE, Kraglin is mellowly hanging out, eating some + soup and listening to “WHAM BAM” BY SILVER as he sees + something out in the distance of space. He looks a bit + closer. + + SOVEREIGN OMNICRAFT ARE POPPING THROUGH JUMP POINTS ABOVE + EGO’S PLANET. + + +169 EXT. AYESHA’S SPACECRAFT - OUTER SPACE 169 + + AYESHA is remotely piloting one of the ships. She looks + determined and angry on the vid-screen. + + And, one by one, Sovereign OMNICRAFT POP IN all around her, + until there is a large fleet. + + +170 INT. SOVEREIGN PILOT BAY - DAY 170 + + Ayesha, in full pilot gear, yells into her comm. + + AYESHA + Pilots, release envoy units! + + +171 EXT. AYESHA’S SPACECRAFT - OUTER SPACE 171 + 111. + + + Smaller, more nimble robotic ENVOYS, like big pods with + blasters for arms - detach from the front of every + Omnicraft. + + AYESHA + Our sensors detect the batteries + are below the surface of the + planet. + + +172 INT. SOVEREIGN PILOT BAY - DAY 172 + + AYESHA + Dive! + + OVERHEAD SHOT: On the screens in all the pods, the envoys + DIVE toward the planet from slightly different directions. + + +173 I/E. QUADRANT FLIGHT DECK - OUTER SPACE 173 + + Kraglin, in shock, watches the massive fleet of envoys + diving downward. He grabs the comm. + + KRAGLIN + Uhh... Cap’n? + + No answer. + + KRAGLIN + Cap’n? + + +174 INT. LASER DRILL/CRACK IN THE PLANET - SUNRISE 174 + + Yondu doesn’t hear the CRACKLING SPEAKER beside him as they + maneuver down through the fissure. Quill eyes him. + + YONDU + So why’d Ego want you here? + + QUILL + He needs my genetic connection to + the light to help destroy the + universe. He tried to teach me how + to control the power. + + YONDU + So could you? + + QUILL + A little. I made a ball. + 112. + + + YONDU + A ball? + + QUILL + I thought as hard as a could, + that’s all I could come up with. + + YONDU + You ‘thought’? + + Quill nods. + + YONDU + You think when I make this arrow + fly I use my head? + + QUILL + What do you use? + + They look at each other instead of where they’re going, and + the CRASH into an overhanging piece of rock. + + The entire side door is RIPPED OFF. + + As the SCREECH through a smaller space and into -- + + +175 INT. PLANET’S HOLLOW/LASER DRILL - DAY 175 + + The Laser Drill DROPS into this enormous open space within + the planet. + + The Guardians gather on the side of the ship open to the + hollow, gazing out at its stunning beauty, lit by Ego’s + white glow running throughout it. + + GAMORA + Whoa. + + Mantis turns, looking through the portholes on the other + side. + + MANTIS + There! Thats Ego’s core. + + Mantis points at the Self Chamber, down below them. They + twist down towards it. + + GAMORA + That ore’s thick. Rocket, we’re + gonna need to use the big laser. + 113. + + +Rocket nods, FLICKS switches. + +All the small lasers on the sides move through grooves to +combine into one huge laser in the center of the ship: the +MEGA-LASER. + + MANTIS + We must hurry. It will not take Ego + long to find us. + + ROCKET + Keep it still! + +Quill steadies the craft as best he can beside the Self +Chamber. But it’s an unwieldy beast, built for power, not +precision. + +Rocket powers up the mega-laser and holds tight to the +SHUDDERING CONTROLS as it DRILLS, BURNING a HOLE into the +protective sheathe. It melts and drips down. + + QUILL + We drill into the center, we kill + him. + +Quill holds tight to the steering wheel. Yondu notices the +BLINKING LIGHT on the comm. He taps it. + + YONDU + What is it, Kraglin? + + KRAGLIN (O.S.) + Um, remember that Ayesha chick? + + YONDU + Yeah, why? + +Yondu looks out the window where AYESHA’S SQUADRON is +SWOOPING OUT OF the cracks in the ceiling all around them. + + YONDU + Aw, hell. + +Quill PULLS AWAY from the envoys. + +But the Sovereign envoys start BLASTING AT THE CRAFT all at +once; the LASER LOSES POWER and the VEHICLE TURNS SIDEWAYS +- + +Drax, Mantis, and Gamora GO TUMBLING from the hole in the +side. Nebula and Groot grab onto the floor. + 114. + + +176 INT. BELOW SELF CHAMBER - DAY 176 + + Gamora, Drax, and Mantis FALL from an incredible height. + They LAND - ONE, TWO, THREE - WITH APLOMB. + + Gamora looks up and sees the Laser Drill CURL behind the + Self Chamber as it tries to avoid the envoys’ BLASTERS. + + +177 INT. SELF CHAMBER/LASER DRILL - DAY 177 + + Nebula and Groot settle as the ship rights itself and + BLASTS PIERCE the ship around them. + + Quill peers down at Rocket, who has jumped out of his seat + and is pouring out the contents of his satchel. + + QUILL + Why aren’t you firing the laser?! + + ROCKET + They blew out the generator! I + think I packed a small detonator. + + NEBULA + A detonator is worthless without + explosives! + + ROCKET + We got these! + + Rocket shows Nebula the Anulax batteries. + + Quill leaves the controls to Yondu as he CLIMBS down beside + Rocket, now messing with wiring on his BOMB. + + QUILL + Is it strong enough to kill Ego? + + ROCKET + If it is, it will cause a chain + reaction throughout his entire + nervous system. + + QUILL + Meaning what? + + ROCKET + The entire planet will explode. + We’ll have to get out of here fast. + I rigged a timer. + 115. + + + Rocket stuffs the bomb back in his satchel. Groot climbs on + his back. + + Rocket and Quill slap on their AERO RIGS. + + QUILL + Go! + + The run and jump out of the laser drill, FLYING ON THEIR + AERO RIGS, avoiding the GUNFIRE. + + The ZOOM towards the blast hole on the side of the self + chamber. + + +178 INT. OPENING OF BLAST HOLE - DAY 178 + + Rocket and Quill land here, messily, TUMBLING. + + +179 INT. BELOW SELF CHAMBER - DAY 179 + + Mantis is worried about something else entirely; the entire + chasm begins TREMBLING and the walls start to MUTATE. + + MANTIS + He’s coming. + + DRAX + Didn’t you say you could make him + sleep? + + MANTIS + When he wants! He’s too powerful! I + can’t! + + DRAX + You don’t have to believe in + yourself because I believe in you. + + They look ahead. They see, on the enormous wall in front of + them, the LIGHT-FORM of a giant EGO SCREAMING ANGRILY. + + His SCREAM becomes a TUNNEL OF ROCKS RUSHING TOWARDS THEM + like a train. + + Mantis sees a nerve bundle on the ground coming from Ego’s + Core. Although afraid, she grabs it. + + MANTIS + SLEEP! + 116. + + + She SCREAMS with effort and some pain as energy travels + through the bundle and into the core, where it darkens. + + The LIGHT LEAVES THE ROCK FORMATION and it SLAMS into the + ground in front of them, SPLASHING DIRT OVER THEM. + + But they are safe, shivering. Drax and Gamora look at each + other. + + DRAX + I never thought she’d be able to do + it. With as skinny and weak as she + appears to be. + + Mantis’s arm is TREMBLING. + + MANTIS + I don’t know how long I can hold + him! + + GAMORA + You need to, girl. If you don’t + keep Ego at bay, we all die. + + +180 INT. OPENING OF BLAST HOLE - DAY 180 + + Rocket shines a powerful PEN-LIGHT inside the cavity, + exposing the interior, spattered with Swiss-cheese-like + holes glowing with light. + + ROCKET + The metal is too thick! For the + bomb to work we’d actually need to + place it on Ego’s core. And our fat + butts ain’t gonna fit through those + tiny holes. + + QUILL + Well... + + Quill slowly eyes Groot, who is playing with a leaf on his + arm and thinking about something else entirely. + + ROCKET + That’s a terrible idea. + + QUILL + Which is the only kind of idea we + got left. + + Rocket SIGHS. He puts Groot on his back and MOVES with + Groot deeper into the blast hole, mumbling to himself: + 117. + + + ROCKET + Unbelievable. ‘Rocket, do this. + Rocket, do that.’ + + Quill turns toward the opening. PUSH UP AND IN ON QUILL. + + QUILL + Uh, what a day. + + He jumps out into the fray. + + +181 INT. PLANET’S HOLLOW - DAY 181 + + Quill FLIES UP as a ship FLIES in toward him BLASTING, and + he’s about to fire back. MAN VS. SPACESHIP. This is most + likely the beginning of the biggest, baddest fight scene + ever, but instead we CUT TO - + + +182 INT. INSIDE BLAST HOLE - DAY 182 + + Quiet. Blasts in the deep background. Rocket places a tiny + bomb in front of Groot. It is a small, simple device with + two switches and two buttons. He explains, very carefully: + + ROCKET + All right. First you flick this + switch, then this switch. That + activates it. And then you push + this button, which will give you + five minutes to get out of there. + Whatever you do don’t push this + button, because that will set off + the bomb immediately, and we’ll all + be dead. Now repeat back what I + just said. + + GROOT + I am Groot. + + ROCKET + Uh huh. + + GROOT + I am Groot. + + ROCKET + That’s right. + + GROOT + I am Groot. + 118. + + + ROCKET + No! That’s the button that will + kill everyone! Try again. + +Groot thinks. + + GROOT + I am Groot. + +Rocket nods. + + GROOT + I am Groot. + +Rocket nods. + + GROOT + I am Groot. + + ROCKET + No! That’s exactly what you just + said! How is that even possible?! + Which button is the button you’re + supposed to push?! Point to it. + +Groot thinks. And he points to the one that will kill +everyone. + + ROCKET + NO!!! + + QUILL (O.S.) + Hey, you’re making him nervous! + +Rocket runs to see, at the end of the hole, a sliver of the +outside as Quill peeks in while SHOOTING at envoys. + + ROCKET + Shut up! And give me some tape! + Does anyone have any tape out + there!? I want to put some tape + over the death button! + + QUILL + I don’t have any tape. Let me + check. + +Quill disappears from the hole. As Rocket waits, he hears, +amongst the chaos, faintly - + + QUILL (O.S.) + Yo, Yondu, do you have any - ow! - + do you have any tape?! + 119. + + + O.S. GUN BLASTS. + + We hear VOICES GRUMBLING. + + Rocket and Groot look around, waiting. Rocket is impatient. + + He coughs. Groot is like a bored kid in a waiting room. He + shifts around and plays with the wires on the bomb. + + Quill reappears outside the hole, SHOOTING an envoy. + + QUILL + No one has any tape. + + ROCKET + Not a single person has tape? + + QUILL + You have priceless batteries and an + atomic bomb in your bag! If anyone + had tape it would be you! + + ROCKET + That’s exactly my point! I have to + do everything! + + QUILL + Dude, you’re wasting time! + + Rocket turns back to Groot, who has already taken the bomb + and is heading towards the hole. + + He makes a “WHEEEEEE” sound and smiles brightly as he HOPS + into the hole and SLIDES down as if on a water slide. + + Rocket, heavy-lidded, watches him go. + + ROCKET + We’re all gonna die. + + +183 INT. PLANET'S HOLLOW/LASER DRILL - DAY 183 + + Yondu and Nebula, in the cockpit, are being overcome as + blasts come through the walls. + + YONDU + We’re done for without the + generator. + + Nebula MOANS, frustrated. She flips open a section of the + dashboard, then a part of her arm. + 120. + + +184 INT. PLANET'S HOLLOW/LASER DRILL - DAY 184 + + The remaining Sovereign envoys have ENCIRCLED the battered + Laser Drill, BLASTING IT TO BITS. + + Quill FLIES into the Laser Drill, SLAMMING into the wall. + + AYESHA (ON SHIP) + Guardians! Perhaps it will provide + you solace that your deaths are not + without purpose. + + Nebula is feeding the wires from the craft into her + mechanical arm. + + +185 INT. SOVEREIGN PILOT BAY - DAY 185 + + The actual Ayesha, fitted with the pilot gear, looks at the + Laser Drill on the screen. + + AYESHA + They will serve as a warning to all + of those tempted with betraying us; + don’t screw with the Sovereign. + + +186 INT. PLANET'S HOLLOW/LASER DRILL - DAY 186 + + Yondu works some switches: The LASERS slide back into the + slots all over the ship. + + YONDU + This is gonna hurt. + + NEBULA + Promises, promises. + + Yondu flips ALL the switches; ALL THE POWER RUNS PAINFULLY + OUT OF NEBULA’S BODY INTO THE VEHICLE -- + + AND THE LASERS BEAM OUT OF THE SHIP IN ALL DIRECTIONS AT + ONCE, like a dangerous disco ball, slicing through almost + nearly every single ENVOY. + + +187 INT. BELOW SELF CHAMBER - DAY 187 + + A BEAM ALMOST HITS Drax, but he LEAPS out of the way. Smoke + rises from a hole in the ground between him and Mantis. + + DRAX + Hey! + 121. + + +188 INT. PLANET'S HOLLOW/LASER DRILL - DAY 188 + + With flair, Yondu spins the pilot’s wheel, so that the + whole rig REVOLVES. + + Ayesha looks on, in horror as the BEAMS SLICE THROUGH the + remaining CRAFT - and one is COMING HER WAY. + + AYESHA (ON SHIP) + NO!! + + AYESHA’S ENVOY IS RIPPED APART. + + +189 INT. SOVEREIGN PILOT BAY - DAY 189 + + Ayesha SITS BACK. She looks around her at the other pods: + all of them are down. + + AYESHA + NO! NOOOOO!! + + +190 INT. PLANET'S HOLLOW/LASER DRILL - DAY 190 + + Quill sees FLAMING CHUNKS FLY into the rig... + + And FIRE SPILLING toward the ship’s engine, dripping fuel. + + QUILL + We’re gonna blow! + + Yondu WHISTLES as the FLAMES HIT THE FUEL - + + +191 INT. BELOW SELF CHAMBER - DAY 191 + + Gamora watches as the ENTIRE LASER DRILL EXPLODES. She is + stricken. + + GAMORA + Peter? + + She sees a tiny body flying from the ship - it’s Nebula, + who LANDS across from her on her feet. + + Gamora looks at her, worried. Nebula gives her what might + be a little smile, and looks upward. Gamora follows her + line of sight. + 122. + + +Quill is FLYING FROM THE EXPLOSION on his aero-rig. Yondu +is holding onto a flying arrow: his one arm up straight, +his heels touching. Quill looks at him and SNICKERS. + + YONDU + What? + + QUILL + You look like Mary Poppins. + + YONDU + Is he cool? + +Quill looks at the man who raised him. He smiles. + + QUILL + Yeah. He’s cool. + +Yondu looks out at the Guardians as he comes in for a +landing. + + YONDU + I’m Mary Poppins, y’all! + +Quill and Yondu LAND beside Nebula. Gamora sees Quill and +MARCHES TOWARD HIM. + +The CAMERA CIRCLES GAMORA AND QUILL, FIERY SHIP FRAGMENTS +RAINING DOWN AROUND THEM IN SLOW-MOTION, as if this is the +greatest heavy metal video of all time. + +The other Guardians enter, one by one - Nebula, Drax, +Yondu, Rocket FLYING DOWN on his aero-rig, and finally, +Mantis, staring forward with concentration until -- + +A HUGE CHUNK OF SPACESHIP FLIES IN FROM THE SIDE, +FLATTENING MANTIS. The others all look down at her in +shock. + + QUILL + Oh. Wow. + +Mantis, UNCONSCIOUS BENEATH a ship fragment, has lost hold +of Ego. + +THE ENTIRE HOLLOW AROUND THEM BEGINS TO RUMBLE. THE GROUND +AND WALLS THEMSELVES SHIFT and WAVER. + +The whole cavity is alive. Drax checks on Mantis. + + DRAX + She’s just unconscious. + 123. + + +192 INT. SELF CHAMBER TUNNELS - DAY 192 + + Groot RUNS and HOPS through the tunnels. He comes to a + crossroads. + + He sees a COSMIC LIGHT emanating from one tunnel. He dashes + off toward it. + + +193 INT. BELOW SELF CHAMBER - DAY 193 + + QUILL + How long before the bomb goes off? + + ROCKET + In the unlikely event Groot doesn’t + kill us all, about six minutes. + + Yondu speaks into the comm on his lapel. + + YONDU + Kraglin. + + +194 INT. QUADRANT FLIGHT DECK - DAY 194 + + Kraglin, NODDING OUT, abruptly wakes. + + YONDU (O.S.) + We need the Quadrant for extraction + in T-minus five minutes. + + KRAGLIN + Aye, Cap’n! + + +195 EXT. BELOW SELF CHAMBER - DAY 195 + + Our heroes peer up to see the SURFACE OF THE PLANET + UNFOLDING ABOVE THEM, so that THE BRIGHT SKY SHINES + THROUGH. + + QUILL + Someone needs to be up top when + Kraglin arrives. Drax, take Mantis. + + Drax nods. He picks up Mantis. Quill grabs the aero-rig off + himself and SLAPS it on Drax’s back, which AUTOMATICALLY + WRAPS around his upper body. + + DRAX + Ahhh! My nipples! + 124. + + + He FLIES UPWARD. + + The ground around them SPLITS INTO ENORMOUS CRACKS. Gamora + sees a CRACK IN THE EARTH RUSHING TOWARD her and Quill, and + she turns toward him. + + And Gamora’s side CRUMBLES AWAY, GAMORA FALLING DOWN with + it. + + QUILL + Gamora!! + + HUGE BURSTS OF EARTH SHOOT UP all around Drax, Yondu, + Rocket, and Quill. + + The planet has formed GIANT TENTACLES THAT HURTLE towards + our heroes. + + +196 EXT. LOWER RIFT - DAY 196 + + Gamora is PLUMMETING, seemingly to her death, when she + looks over and sees Nebula FALLING just behind her. + + Nebula grabs Gamora’s arm and then grabs onto a passing + cliff. + + They SNAP TO A STOP- OW! - hanging down off the side. + + Nebula tosses Gamora up onto a flat surface. + + As Nebula climbs up after her, Gamora looks at her, wary + but surprised by this beneficence. + + NEBULA + Oh, get over it. + + +197 EXT. BELOW SELF CHAMBER - DAY 197 + + Quill BLASTS a tentacle. + + Yondu WHISTLES, the ARROW WEAVING THROUGH TENTACLES around + them. + + Rocket TOSSES a bunch of tiny bombs at some, which they + stick to and EXPLODE. + + But they are by no means winning this fight. + + +198 EXT. PLANET SURFACE - DAY 198 + 125. + + + The giant Quadrant LOWERS toward the surface. + + +199 EXT. LOWER RIFT - DAY 199 + + Gamora looks at Nebula. + + GAMORA + We have to get up to the extraction + point! + + They look over the edge and see a huge RIFT OF LAND RISING + QUICKLY. They look at each other and JUMP - + + They GRAB ONTO THE EDGE of the rising rift, CLUTCHING TO IT + as it FLIES upward toward the open space above them. + + +200 EXT. PLANET SURFACE - DAY 200 + + Drax FLIES UP onto the surface; he sees the Quadrant + waiting for him there. He DARTS for the ship. + + +201 INT. QUADRANT FLIGHT DECK - DAY 201 + + Kraglin opens the LOADING DOOR + + +202 EXT. PLANET SURFACE - DAY 202 + + But huge swatches of the planet reach up and GRAB onto the + Quadrant, YANKING IT DOWN. + + +203 INT. QUADRANT FLIGHT DECK - DAY 203 + + Kraglin, freaking out, throws the thrusters into high gear. + + +204 I/E. PLANET SURFACE/QUADRANT LOADING BAY - DAY 204 + + The thrusters FLARE as the massive ship STRUGGLES to free + itself from Ego’s tendrils. + + And it does PULL ITSELF UP for a moment, but the tendrils + tighten, SLAMMING it back down. + + The whole Quadrant starts to TIP OVER. Kraglin falls down + against the side of the ship. + 126. + + + Drax sees the ship FALLING TOWARDS HIM and he RUNS away + from it in fear. + + But he arrives a the edge of a cliff. He crouches as the + ship CONTINUES DOWN toward him, about to SQUASH both he and + Mantis -- + + But Kraglin heroically CRAWLS his way back up to the + controls as he dangles from them. He pushes on the + thrusters, so that the ship goes back upright. + + Drax turns and again RUNS toward the Quadrant. + + +205 EXT. PLANET’S HOLLOW - DAY 205 + + Gamora and Nebula are still rising on the rift when they + SLAM into a wall near the opening in the surface of the + planet. + + +206 EXT. BELOW SELF CHAMBER - DAY 206 + + Quill turns and sees Ego, in his terrifying SKELETAL LIGHT + FORM, STROLLING DOWN TOWARDS HIM as the land around him + PARTS LIKE THE RED SEA. + + As Ego walks, THE DIRT AND MOLECULES AROUND EGO FORM ORGANS + IN HIS BODY, piecing himself back together. + + Quill sees a tentacle SLAM Yondu to the ground and COVER + HIS ENTIRE BODY. + + He turns to see Rocket HOLLERING as he FIRES at tentacles, + but they OVERWHELM him. + + +207 EXT. PLANET SURFACE - DAY 207 + + The earth WRAPS AROUND Drax’s legs like quicksand, pulling + him and Mantis down into it. + + +208 EXT. PLANET’S HOLLOW - DAY 208 + + Gamora and Nebula scramble, trying to CLIMB BACK UP, when + TENDRILS WRAP AROUND THEM, stopping them from going + further. + + +209 INT. SELF CHAMBER TUNNELS - DAY 209 + 127. + + + The walls are tightening around Groot. He grows his + branches to try to stop them, but they aren’t working. + + He begins to CRY, like an actual baby, terrified, on the + brink of suffocating. + + +210 EXT. BELOW SELF CHAMBER - DAY 210 + + Ego approaches his son. He is fully formed, and he is more + truly “himself.” Alien. Dark eyes and pale skin. + + EGO + I told you I don’t want to do this + alone. + + +211 EXT. BELOW SELF CHAMBER - DAY 211 + + EGO + You cannot deny the purpose the + universe has bestowed upon you! + + And once again, the LIGHT TENDRILS STAB THROUGH QUILL’S + BACK, thrusting him to his knees. + + Smaller light tendrils stab into his face and body. + + And we see the LIGHT being sucked out of Quill and up into + the Self Chamber once more as it BURSTS WITH LIGHT. + + +212 EARTH - EXT. STREET - DAY 212 + + POLICE OFFICERS and bystanders are in the streets, snapping + phone photos, etc, beside the HUGE, STILL SWATCH OF EGO’S + LIFEFORM. + + OFFICER FITZGIBBON + Please, everyone. Step back. I need + you all to clear the - + + WEIRD OLD MAN + What is that? + + The LIFEFORM ALIGHTS WITH ENERGY and MOVES again, SPILLING + INCREDIBLY QUICKLY towards them. + + People abandon their cars in traffic as it RUNS OVER THEM. + + A WOMAN FALLS. People TRAMPLE around her. + 128. + + + But an old man’s hands reach in, helping her up. + + REVEAL GRANDPA QUILL, in his 70’s or 80’s now. + + GRANDPA QUILL + Come on, ma’am. + + He HELPS the woman into an SUV. + + He SLAMS on the gas, SCREECHING AWAY from the enormous + tidal wave of organic light. + + +213 XANDAR - I/E. STARBLASTER/CITY - DAY 213 + + EGO’S LIFEFORM smashes down the PARK WALLS and into the + street. + + EGO + (O.S) + It doesn’t need to be like this + Peter + + +214 EXT. BELOW SELF CHAMBER - DAY 214 + + Ego approaches his son. + + EGO + Why are you destroying our chance?! + + +215 AAKON - EXT. AAKON CITY - NIGHT 215 + + AAKONS run from a giant wave behind them. + + EGO + (O.S) + Stop pretending you aren’t, what + you are! + + +216 KREE HOMEWORLD - EXT. STEEP HILLSIDE - DAY 216 + + KREE MONKS run from the cosmic flesh as it pours down the + hillside behind them. + + But it’s too fast, RUSHING OVER THEM. + + +217 PRIMITIVE PLANET - EXT. WETLANDS - DAY 217 + 129. + + + THOUSANDS OF ORLONI are darting in fear across this dusty + desert, as it WASHES OVER them. + + EGO + (O.S) + One in billions.. + + +218 ARAGO-7 - EXT. STONY LANDSCAPE - DAY 218 + + THREE HURCTARIANS run, SCREAMING. + + EGO + (O.S) + Trillions, even more! + + +219 EASIK - EXT. FOREST - NIGHT 219 + + AN EASIK MOTHER clutches her BABY, covering it with her own + body, as the spreading lifeform LOOMS UP behind her. + + She closes her eyes and waits for the worst. + + +220 EXT. BELOW SELF CHAMBER - DAY 220 + + Quill looks up at Ego, barely able to focus, as the + molecules form skin over the muscle and skeleton and + innards beneath. + + EGO + What greater meaning could life + possibly have to offer?! + + Yondu struggles beneath the tentacle beside Quill. + + YONDU + I don’t use my head to fly the + arrow, boy! I use my h - + + Quill hears this as the earth COVERS Yondu’s face. + + Quill LOOKS INWARD. And suddenly, everything becomes... + + QUIET. + + Tears come to Peter Quill’s eyes as he remember those + around him and what they mean to him. And we see his + MEMORIES. + 130. + + + - YOUNG PETER QUILL AND HIS MOTHER CUDDLED AND LISTENING TO + MUSIC ON THE WALKMAN TOGETHER, EACH WITH ONE EAR PIECE. + + - QUILL AND DRAX LAUGHING HYSTERICALLY ON THE MILANO. + + - GAMORA AND PETER LOOKING INTO EACH OTHER’S EYES AND + DANCING ON KNOWHERE. + + - QUILL AND ROCKET FLYING THROUGH THE SKY ON AERO-RIGS FOR + THE FIRST TIME, SMILING AS THE AIR RUSHES THROUGH THEIR + HAIR. BABY GROOT CLUTCHES HAPPILY ONTO QUILL’S BACK. + + - YONDU AND YOUNG QUILL IN THE FOREST. YONDU’S ARM IS ON + PETER’S ARM AS HE TEACHES HIM HOW TO SHOOT. + + Quill looks back up at Ego as we HEAR the gentle chords of + FLEETWOOD MAC’S “THE CHAIN” starts echoing throughout the + hollow. + + He clutches his fist and we see the light growing within + it. + + Bits of earth begin to ROLL UP AND SCRAMBLE AND SWIRL + around Quill’s body, his arms, his legs, as if he’s pulling + them towards himself with magnets. + + And Ego looks confused, as the GROUND QUAKES AROUND HIM. + + Quill glares at his father, his voice distorting with + Celestial thunder. + + QUILL + You shouldn’t have killed my mom + and squished my walkman. + + Ahd a SOLID TORNADO OF EARTH PROPELS QUILL FORWARD. Ego + tries to protect himself as Quill SLAMS into him, FLYING + UPWARDS WITH HIM -- + + Quill raises his fist, NOW A GIANT CLUB. And he SMASHES + Ego. + + As Ego loses his concentration -- + + +221 EXT. PLANET’S SURFACE - DAY 221 + + A pair of arms are protruding from the surface of the + planet, still holding Mantis aloft. + + The earth falls away, and Drax, who was entirely covered, + heaves for breath. + 131. + + +222 EXT. CRACK IN PLANET - DAY 222 + + The TENDRILS FALL, freeing Gamora and Nebula as they GASP. + + +223 EXT. BELOW SELF CHAMBER - DAY 223 + + Yondu BREAKS THROUGH THE ROCKS around him, drawing in + breath. + + The TENTACLES HOLDING ROCKET ALOFT CRUMBLE, and he looks + around, confused. + + +224 EARTH - EXT. ST. CHARLES, MISSOURI - DAY 224 + + The WAVE PUSHES UP against the back of Grandpa Quill’s + CAMARO and suddenly STOPS: + + the mountainous plant, a hundred stories high, is up + against the back of the car. + + +225 EASIK - EXT. FOREST - NIGHT 225 + + The Easik Mother clutching her baby looks behind her; the + wave has stopped. + + She clutches her baby to her chest, relieved. + + +226 INT. SELF CHAMBER TUNNELS - DAY 226 + + The tunnel around Groot SNAPS BACK to what it was. Once + more he can see the light at the tunnel’s end, and one + looks like a GIANT BRAIN composed of prismatic light. + + He RUNS forward. + + +227 INT. INSIDE BLAST HOLE - DAY 227 + + Rocket flies up and yells at Groot. + + ROCKET + Groot! Groot, if you can can hear + me, hurry up - I’m not sure how + long Quill can keep him distracted! + + +228 INT. SELF CHAMBER CORE - DAY 228 + 132. + + + Groot ARRIVES at the end of the tunnel, and stops there. + + The center of the core holds a huge cosmic placenta, and, + within that, EGO’S TRUE SELF, the COSMIC BRAIN. It ROILS + FURIOUSLY, the reflection of its fight with Quill, + thrashing around within this womb. + + Although afraid, Groot places the bomb on the placenta. + + Groot stares at both buttons, scared - he doesn’t know + which one to pick. + + Groot makes a decision on which button to press. He goes to + push the death button. + + Then his finger STOPS just millimeters from the button, + TREMBLING. He thinks... + + And then changes the course of his finger, PUSHING THE + CORRECT BUTTON. + + THE COUNTDOWN CLOCK COMMENCES. + + Baby Groot turns, terrified, and RUNS. + + +229 I/E. PLANET SURFACE/QUADRANT LOADING BAY - DAY 229 + + Drax moves with Mantis into the loading bay. He throws her + down and climbs up a ladder. + + THE CAMERA SWINGS TO GAMORA AND NEBULA, climbing up to the + surface in the dirt storm. + + +230 INT. PLANETS HOLLOW - DAY 230 + + Ego RISES on his own MOLECULAR TORNADO and STRIKES BACK at + Quill. He YELLS as he SLAMS Quill against the wall, + DRAGGING his face along the wall. + + He TOSSES Quill into a another wall. + + +231 EXT. BELOW SELF CHAMBER/PLANET’S HOLLOW - DAY 231 + + QUILL brings his ARM FILLED WITH LIGHT away from the wall, + so that he causes a WAVE OF LIGHT AND ROCK around the + interior of the hollow, FLYING TO EGO and knocking him + aside. + 133. + + +Yondu protects his face as DIRT SWIRLS in the wake of the +Quill/Ego battle. + +Rocket, carrying Groot, FLIES BACK DOWN beside him. + + ROCKET + Yondu! We’re about to blow! + + YONDU + Get to the ship. + + ROCKET + Not without Quill. + + YONDU + You gotta take care of the twig. + + ROCKET + Not without you. + + YONDU + I ain’t done nothing right my whole + damn life, rat. You need to give me + this. + +Rocket, hesitantly, nods. He grabs some things from his +bag. + +He hands them to Yondu. + + ROCKET + A space suit and an aero rig. I + only have one of each. + +Yondu nods. Rocket nods too. + +Rocket starts to go, but STOPS and looks at Yondu. + +He wants to say something, but he doesn’t know what. Baby +Groot does. + + GROOT + I am Groot. + + YONDU + What’s that? + + ROCKET + He says welcome to the frickin’ + Guardians of the Galaxy... only he + didn’t use ‘frickin’. + 134. + + + YONDU + Bye, twig. + + Groot waves. + + And Rocket FLIES UP toward the surface. Rocket mutters to + Groot. + + ROCKET + We’re gonna need to have a + discussion about your language. + + +232 EXT. BELOW SELF CHAMBER/PLANET’S HOLLOW - DAY 232 + + Ego SLAMS Quill back against a wall. Ego pulls the huge + rocks away from the wall, FLYING THEM TOWARDS HIM and + BATTERING HIM THERE. + + Ego and Quill FLY TOWARDS each other. + + Ego uses the LIGHT TO BRING ROCKS TO HIS BODY, forming a + giant AVATAR OF HIMSELF. + + Quill brings YELLOW ROCKS to his body, forming a GIANT PAC- + MAN. + + Ego’s form flies into Pac-Man’s mouth, so hard there’s a + SONIC BOOM. + + They fall, TUMBLING, still striking one another on the way + down. + + They LAND HARD. + + +233 INT. SELF CHAMBER CORE - DAY 233 + + The timer counts down. A minute left. + + +234 I/E. PLANET SURFACE/QUADRANT LOADING BAY - DAY 234 + + Gamora and Nebula are caring for Mantis as Rocket and Groot + ARRIVE. + + GAMORA + Where’s Peter? + + Rocket doesn’t answer. Or he can’t answer. + + GAMORA + 135. + + + Rocket, where is he?! + + Rocket looks down at a timer in his hand. The time is + almost there. + + GAMORA + Rocket?! Rocket, look at me! Where + is he?! + + Rocket just shakes his head a little. + + But Groot points sadly outside. + + GAMORA + I’m not leaving without him. + + Gamora hardens. She stands and SNATCHES A RIFLE off the + wall. + + She COCKS IT. + + She STARTS OUT the bay door -- + + When AN ELECTRICAL BLAST HITS HER from behind. + + She FALLS OVER, unconscious, REVEALING Rocket with his gun. + + ROCKET + I’m sorry. I can only afford to + lose one friend today. + (into comm) + Kraglin, GO! + + +235 INT. QUADRANT FLIGHT DECK - DAY 235 + + Drax looks uncertain as Kraglin presses thrust. + + DRAX + Wait. Is Quill back? + (into comm) + Rocket, where’s Quill?! + + +236 I/E. PLANET SURFACE/QUADRANT LOADING BAY - DAY 236 + + Rocket looks sadly out the bay door as it CLOSES; Drax’s + voice echoes on his comm. + + DRAX (O.S.) + Where’s Quill?! WHERE’S QUILL?! + 136. + + +237 EXT. BELOW SELF CHAMBER - DAY 237 + + Quill and Ego are exhausted, on their knees and leaning + against one another like boxers after too many rounds. + + +238 INT. SELF CHAMBER CORE - DAY 238 + + The timer reads 00:26 seconds + + +239 EXT. BELOW SELF CHAMBER - DAY 239 + + Ego reaches for the core.. + + EGO + No, we need to stop it! + + Quill throws him to the ground. But Ego comes back up, + grasping his son’s jacket, pleading with him now. + + EGO + Listen to me! You are a god! If you + kill me, you’ll just be like + everyone else! + + QUILL + What’s so wrong with that? + + Ego looks at his son, scared. + + EGO + NO - + + +240 INT. SELF CHAMBER CORE - DAY 240 + + The countdown reaches zero. The brain EXPLODES. + + +241 I/E. EGO’S NERVOUS SYSTEM - DAY 241 + + The explosion causes the life forces to BURST THROUGH THE + ENTIRE PLANET. + + +242 EXT. BELOW SELF CHAMBER - DAY 242 + + Everything around Quill is EXPLODING. + + He looks down at his hands, where the glow FADES and + DISAPPEARS. + 137. + + + He gazes up at the mammoth walls around him as they BLOW UP + and COLLAPSE. + + He lowers at head, at peace with the death that’s coming, + when, from the side, through the debris -- + + +243 YONDU IS FLYING TOWARDS HIM ON AN AERO-RIG. 243 + + Yondu GRABS him, almost a tackle, really, LIFTING HIM up + and FLYING AWAY. + + +244 EXT. PLANET'S HOLLOW - DAY 244 + + As Yondu and Quill FLY UPWARD, the planet EXPLODES behind + them, flames licking their heels, huge stretches of the + planet caving in. + + +245 EXT. SKY - DAY 245 + + Yondu holds a surprised Quill as they SOAR up into the sky, + + YONDU + He may have been your father, boy. + But he wasn’t your daddy. + + QUILL + What? + + YONDU + I’m sorry I didn’t do it right. I’m + damn lucky you’re my boy. + + Quill is touched. + + Yondu SLAPS the SPACESUIT disk onto Quill; THE SHIMMERY + SHEATHE COVERS HIM. + + QUILL + What? + + Yondu breathes out as completely as he can, emptying his + lungs. And they EXIT THE PLANET’S ATMOSPHERE, bursting into + - + + +246 EXT. SPACE - OUTER SPACE 246 + + Quill struggles to get free, but Yondu holds him there, + trapping him, but it is also an embrace. The ENTIRE PLANET + is COLLAPSING BEHIND THEM. + 138. + + + QUILL + Yondu, you can’t! What are you + doing? What are you doing?! + + Yondu’s jet pack expires its supply of fuel, and they STOP + THERE, in space, FLOATING. + + Yondu’s grip weakens. Quill turns to face him. + + QUILL + Yondu. Yondu, no! + + Yondu grabs his son’s face with both hands, looking and + touching him with love. + + QUILL + No. + + And Yondu’s FACE EXPANDS and his BODY GOES LIMP as he DIES + there. And he starts to DRIFT AWAY. Quill grabs onto his + shirt. He is CRYING. + + QUILL + No! + + And, suddenly, behind Quill, Rocket and Drax PROPEL + themselves toward him in aero-rigs, GRABBING him. + + FADE TO BLACK + + +247 INT. ECLECTOR CREMATORY - LATER 247 + + Yondu’s body lies on a plank here: Various colored cloths + are laid in strips over his body and face, yaro lilies + beneath him, red-fired pyres and Yondu’s toys all around. + + Rocket, Groot, Drax, Gamora, Mantis, and Kraglin surround + the table. Quill is at the head. He has to say a few words. + But it is not easy. + + QUILL + The other day I told Gamora how I + used to pretend my dad was David + Hasselhoff. + + Rocket and Drax exchange a look. + + QUILL + He’s a singer and actor from + earth... a really famous guy. + + Drax nods. + 139. + + + QUILL + And, you know, today it struck me. + Yondu didn’t have a talking car, + but he did have a flying arrow. And + he didn’t have the voice of an + angel, but he did have the whistle + of one. And both David Hasselhoff + and Yondu went on kickass + adventures, and hooked up with hot + women, and fought robots. So, the + thing is, David Hasselhoff kinda + did end up being my Dad after all, + only he was Yondu. I had a pretty + cool Dad. + + Quill starts to break down. + + QUILL + And what I’m trying to say here is, + that thing you’re searching for + your whole life, sometimes it’s + right there by your side all along + and you don’t even know it. + + Gamora sees Nebula, watching from a darkened doorway, + before she turns and walks away. She moves after her. + + Groot looks up at an upset Rocket. + + GROOT + I am Groot? + + ROCKET + Yeah. That’s the friend I was + talking about. + + GROOT + I am Groot. + + ROCKET + He did call you ‘twig.’ + + +248 INT. QUADRANT SMALL HALLWAY - MOMENTS LATER 248 + + Gamora catches up to Nebula in the hall. + + GAMORA + Nebula. + + Nebula turns toward her, but she doesn’t look her in the + eye. + 140. + + + GAMORA + I was just a child. Like you. I was + concerned with staying alive until + the next day - every day. And I + never considered what Thanos was + doing to you. I am sorry. + + Nebula nods. + + GAMORA + I’m trying to make it right, + everything I did. + + GAMORA + There are little girls like you + were - little boys - all over the + universe - who are in danger. You + can stay with us, and help them. + + NEBULA + I’ll help them by killing Thanos. + + GAMORA + I don’t know if that’s possible. + + Nebula shrugs: maybe. She turns to leave. But Gamora grabs + her, perhaps too roughly. Nebula turns, ready to snap. + + And Gamora EMBRACES her. Nebula does not know how to react. + + GAMORA + You’ll always be my sister. + + Tears well in Nebula’s eyes and, for just a moment, she + embraces her sister back with one hand... + + Before pushing her away and leaving. + + +249 INT. ECLECTOR CREMATORY - MOMENTS LATER 249 + + The Guardians lift Yondu on the plank. A bulbous and rusty + crematory is at the center of the room. It doesn’t burn + with fire, but a SWIRLING, VIBRANT COSMIC ENERGY. + + They SLIDE YONDU IN as they watch with sadness and respect + as his body is enveloped by the sparkling colors. Quill + closes the door on the crematory. + + As Quill moves away, Kraglin approaches. + + KRAGLIN + Pete. + 141. + + + Quill turns toward him. He’s holding something. + + KRAGLIN + Cap’n found this for you in a + junker shop. Said someday you’d + come back to the fold. + + Kraglin puts an MP3 player in his hand. + + KRAGLIN + It’s called a Zune - what everyone + listens to on earth nowadays. It’s + got three hundred songs. + + Quill nods, touched. + + QUILL + Wait. + + Quill holds out Yondu’s arrow. Kraglin’s lip trembles. + + QUILL + Rocket grabbed the pieces and + reassembled them. I think Yondu + would want you to have it. + + KRAGLIN + Thank you... Cap’n. + + +250 EXT. QUADRANT - OUTER SPACE 250 + + Yondu’s SPARKLING ASHES ARE BLOWN OUT IN SPURTS FROM THE + CREMATORY INTO SPACE. + + +251 INT. QUADRANT FLIGHT DECK - OUTER SPACE 251 + + Rocket, Drax, and Mantis are here, watching Yondu’s ashes + in the vacuum of space, SWIRLING almost magically. + + +252 INT. CAPTAIN’S QUARTERS - OUTER SPACE 252 + + Quill sits down on the bed in Yondu’s quarters. He scrolls + through selections on the Zune. + + He comes to “FATHER AND SON” by CAT STEVENS. + + He PRESSES PLAY. + 142. + + + He listens. As he does, Groot crawls up onto the bed, and + then onto his lap. + + Quill offers him one of the ear buds. + + Groot holds it against his ear, amazed by the clarity of + sound. Quill watches him, hearing the beauty of the song + more through Groot’s face than the music itself. + + And they sit there together, listening to the music, a new + father and son. + + +253 INT. M-SHIP - OUTER SPACE 253 + + Nebula FLIES AWAY, sad, perhaps regretful, but forcing her + chin up to brace against what’s to come. + + +254 INT. QUADRANT SMALL HALLWAY - OUTER SPACE 254 + + Gamora watches, THROUGH A WINDOW, as Nebula leaves. + + +255 INT. QUADRANT FLIGHT DECK - OUTER SPACE 255 + + Rocket sees something by the ashes. His eyes alight. + + ROCKET + They came. + + +256 INT. CAPTAIN’S QUARTERS - OUTER SPACE 256 + + Groot sees COLORFUL FLASHING LIGHTS out of the window. He + pulls on Quill’s shirt to show him. + + They go to get a better view. + + +257 INT. QUADRANT FLIGHT DECK - OUTER SPACE 257 + + Drax and Rocket see Yondu’s COSMIC ASHES PULSING AND + SWIRLING out in space as, one by one, enormous RAVAGER + SHIPS arrive around them. + + They each FLASH SPECIFIC LIGHT SEQUENCES - and, with all + the ships together - it looks like fireworks. + + DRAX + What is it? + 143. + + + ROCKET + I sent word to Yondu’s old Ravager + buddies and told them what he did. + + Quill comes up behind them with Groot, just as Gamora + enters. + + Quill smiles. + + QUILL + It’s a Ravager funeral. + + +258 INT. HALLWAY - OUTER SPACE 258 + + Kraglin sees it from here. He SCREAMS with joy, and he + slams his fist twice against his chest, a Ravager salute. + + +259 I/E. RAVAGER FLIGHT DECK 1 - OUTER SPACE 259 + + STAKAR and Martinex watch him there, moved. + + MARTINEX + He didn’t let us down after all, + Cap’n. + + STAKAR + No, he did not, son. He did not. + + +260 I/E. RAVAGER FLIGHT DECK 2 - OUTER SPACE 260 + + CHARLIE-27, an enormous man, is wistful as he salutes. + + CHARLIE-27 + Fare thee well, old friend. + + +261 I/E. RAVAGER FLIGHT DECK 3 - OUTER SPACE 261 + + ALETA is here, tears in her eyes, alcohol in her hand, an + ALL-FEMALE RAVAGER CREW around her. + + ALETA + See you in the stars, Yondu Udonta. + + +262 INT. QUADRANT FLIGHT DECK - OUTER SPACE 262 + + And the Guardians all watch, enchanted by the majesty. + 144. + + + ROCKET + He didn’t chase ‘em away. + + QUILL + No. + + ROCKET + Even though he yelled at ‘em. + +Quill shakes his head. + + ROCKET + And was always mean. + +Quill shakes his head. + + ROCKET + And he stole batteries he didn’t + need. + +Quill is surprised - what? And then he looks at Rocket, a +little animal who doesn’t know the rules of how to be any +more than a young boy whose tribe sold him into slavery. + + QUILL + Of course not. + +Baby Groot is on Gamora’s shoulder. He reaches for Drax, +who takes him. Baby Groot YAWNS and nuzzles into Drax’s +shoulder, falling asleep. Drax lovingly pats his back. + +Gamora looks at Drax and Groot, and Rocket, and Mantis, +taking it all in, this strange family of hers. She turns to +Quill, staring at him with love. + + QUILL + What? + + GAMORA + It’s just some unspoken thing. + +Quill wraps his arm around her and she sinks into him. + +Mantis smiles and becomes teary and GASPS, overwhelmed, as +she looks out the window. + + MANTIS + It’s beautiful. + + DRAX + It is. And so are you. + (beat) + On the inside. + 145. + + + They turn back to the window and they stand there together, + our Guardians of the Galaxy, watching the Ravager funeral + and the colorful dust of an old friend dance. + + And the shape of the dust seems to form something very + close to an ARROW. + + Rocket sees this and he cries. + + THE END (NOT REALLY) + + RUN CREDITS. + + “SURRENDER” BY CHEAP TRICK PLAYS. + + +263 CREDIT BREAK 1 - INT. ECLECTOR HALLWAY - OUTER SPACE 263 + + SURRENDER is PLAYING HERE. Kraglin has had a version of + Yondu’s fin implanted in his head. He looks nervously down + at the arrow on the floor. + + He tries to WHISTLE. It just flips around like a dead fish. + + He WHISTLES again, and it FLIES UP, hitting a wall, and + falls back down again. + + He WHISTLES again, and it ZIPS AWAY. We HEAR A SCREAM. + + Kraglin looks around the corner where Drax is sitting, the + ARROW IMPALED in his chest, yelling in agony. + + Kraglin looks around, hoping no one saw him there, and he + tries to slink away. + + MORE CREDITS as SURRENDER CHORUS KICKS IN: Mommy’s all + right, Daddy’s all right, they just seem a little weird. + + +264 END CREDITS - INT. STAKAR’S SHIP - OUTER SPACE 264 + + Stakar looks sad, serious. + + STAKAR + It’s a shame it takes a tragedy + like losing Yondu to bring us all + back together. But I think he’d be + proud if he knew we were working as + a team again. + 146. + + + Over Stakar we see this incredibly motley crew - MARTINEX, + CHARLIE-27, ALETA, who is holding MAINFRAME (a robotic head + in a cage), and the mouthless, wormlike KRUGARR, + + STAKAR + What say we steal some shit? + + CHARLIE-27 + In. + + MARTINEX + Dope. + + MAINFRAME + I MISSED you guys! + + Krugarr makes a hex symbol and TWO COLORFUL THUMBS-UP BURST + in front of him. + + ALETA + Hell. Yes. + + +265 END CREDITS - INT. BIRTHING PODS CHAMBER - DAY 265 + + Ayesha sits on a bench, brooding, disheveled and still + furious. The Chambermaid cautiously approaches. + + CHAMBERMAID + High Priestess, the Council is + waiting. + + AYESHA + They are perturbed I have wasted + our resources. + + The Chambermaid smiles politely, nods slightly, agreeing in + a circumspect manner. Ayesha stares across the way. + + AYESHA + When they see what I have created + here, their wrath will dissipate, + though it will be some time. + + The Chambermaid looks where Ayesha is looking. + + CHAMBERMAID + That is not just another birthing + pod, ma’am? + + AYESHA + 147. + + + That, my child, is the next step in + our evolution: more powerful, more + beautiful, and more capable of + destroying the Guardians of the + Galaxy. + + A large, human-sized cocoon stands where Ayesha stares. + + AYESHA + I think I shall call him... ‘Adam’. + + +266 BOX OVER CREDITS - INT. GROOT’S BEDROOM - OUTER SPACE 266 + + Quill is standing in the bedroom doorway, looking down. + + QUILL + Dude, seriously, you got to clean + up your room. It’s a complete mess. + + We REVEAL a gawky ADOLESCENT GROOT, hunched over, playing a + video game, in this very messy room. + + ADOLESCENT GROOT + I am Groot. + + QUILL + I’m not boring, man. You’re boring. + Once I got stuck on a planet where + everyone was just lines and dots. I + had to use geometry to get out of + prison. Is that boring? + + Adolescent Groot shakes his head in disdain. + + QUILL + You know what’s boring? Not doing + the dishes. What’s boring is me + tripping over your vines + everywhere. + + Adolescent Groot SIGHS. + + QUILL + Drax and I switched pants in the + middle of that party last weekend. + For no reason other than we’re + awesome and very much not boring. + + Quill starts to walk away then comes back. + + QUILL + 148. + + + Once I got a venereal disease that + made me float for three days... + Don’t tell Gamora... it’s dormant, + but... If that’s boring then, I + guess I’m boring. + +He looks at him. + + QUILL + I’m not boring. + +Groot ROLLS HIS EYES and makes an exasperated sound. + + QUILL + What’s boring is when you roll your + eyes like that at me and make an + exasperated sound like I’m an old, + boring, stupid idiot. + +Quill thinks. + + QUILL + Now I know how Yondu felt. + +Quill begins to CRY. + + QUILL + Yondu. + + CUT TO BLACK. + +THE END + \ No newline at end of file diff --git a/scripts/Harry Potter and the Sorcerers Stone.txt b/scripts/Harry Potter and the Sorcerers Stone.txt new file mode 100644 index 0000000000000000000000000000000000000000..4ddea82cce2a35ce355bde5d1b1586c34cd392ed --- /dev/null +++ b/scripts/Harry Potter and the Sorcerers Stone.txt @@ -0,0 +1,6809 @@ + 1. + + + + +1 EXT. PRIVET DRIVE - NIGHT 1 + + Dark at this hour, except for the STREET LAMPS that dot the + street, spilling deep pools of light upon the ground. + + On the far corner, a MAN MATERIALIZES out of the darkness. + He is tall and thin, with a silver beard long enough to + tuck into his belt. He wears a PURPLE CLOAK and is roughly + one hundred and fifty years old. He is ALBUS DUMBLEDORE. + + Dumbledore removes a small silver object from his cloak—the + PUT-OUTER. He extends his hand and—CLICK—the nearest street + lamp GOES OUT with a soft pop. He continues to click the + Put-Outer until all the lamps go DARK. + + He turns, spies a CAT, sitting on the wall of Number Four. + He smiles knowingly. + + DUMBLEDORE + I should have known you'd be here, + Professor McGonagall. + + The cat leaps forward, TRANSFIGURES itself into a rather + severe-looking woman in an EMERALD CLOAK. + + PROFESSOR MCGONAGALL + Are the rumors true, Albus? + + DUMBLEDORE + (smile fading) + I'm afraid so. The good. And the + bad. + + PROFESSOR MCGONAGALL + And the boy? + + DUMBLEDORE + Hagrid's bringing him. + + PROFESSOR MCGONAGALL + You think it...wise...to trust + Hagrid with something as important + as this? + + DUMBLEDORE + I would trust Hagrid with my life, + Professor. + 2. + + +A LOW RUMBLE disturbs the skies. Dumbledore and McGonagall +look up and—suddenly—a HUGE MOTORCYCLE plummets through the +clouds, hits the ground with a THUNDEROUS ROAR. As the +SMOKE clears, a FIGURE climbs off. He is HAGRID and is, +quite obviously, a GIANT. In his vast, muscular arms, he +holds a BUNDLE of BLANKETS. + + HAGRID + Ev'ning, professor Dumbledore, sir. + Professor McGonagall. + + DUMBLEDORE + No problems, I take it, Hagrid? + + HAGRID + No sir. Little tyke fell ter sleep + as we was flyin' o'er Bristol. + +Hagrid steps forward and Dumbledore takes the bundle, turns +toward the doorstep. + + PROFESSOR MCGONAGALL + Albus, do you really think it best + to leave him here, with these + people? I've been watching them all + day. They're the worst sort of + Muggles imaginable. They're... + + DUMBLEDORE + The only family he has. + + PROFESSOR MCGONAGALL + But this boy will be famous. There + won't be a child in our world who + doesn't know his name... + + DUMBLEDORE + Exactly. It would be enough to turn + any boy's head. Famous before he + can walk and talk. Famous for + something he won't even remember. + No. He'll be much better off + growing up away from all that. + Until he's ready. + +Dumbledore lays the bundle on the mat. Hagrid SNIFFLES. + + DUMBLEDORE + There, there, Hagrid. It's not + eally goodbye, after all. + +Hagrid hods. Dumbledore tucks a PARCHMENT ENVELOPE into the +blankets and steps back, his face suddenly dark. Serious. + 3. + + + DUMBLEDORE + Good luck, Harry Potter. + + The CAMERA DOLLIES forward, toward the swaddled baby. A + CUT, still fresh, gleams on the baby's forehead. It is in + the shape of a BOLT of LIGHTNING. SMASH CUT TO TEN YEARS + LATER. + + +2 INT. CUPBOARD - NUMBER FOUR PRIVET DRIVE - MORNING 2 + + A pair of blinking GREEN EYES jerk into the light. + + WOMAN'S VOICE (O.S.) + Up! Now! + + THUMP! THUMP! THUMP! + + WOMAN'S VOICE + I said now! + + FOOTSTEPS RECEDE and HARRY POTTER, now ten years old, + swings his skinny legs to the floor. He's small, which is + lucky since his room is not really a room at all, but + merely a cupboard under the stairs. + + Abruptly, the cupboard begins to SHAKE, DUST spilling from + the joists above Harry's head. Calmly, Harry takes a pair + of EYEGLASSES—taped at the bridge with Sellotape—from a + nail. + + +3 EXT. HALLWAY - DAY 3 + + Harry comes blinking out the cupboard door, watches his + enormous cousin, DUDLEY, thunder down the last step. Just + then, Harry's Aunt Petunia appears in the kitchen ahead. + + AUNT PETUNIA + There's the birthday boy! Don't you + look smart for your trip to the + zoo. + (scowling at Harry) + You mind the bacon. And don't dare + let it burn. I want everything + perfect on my Dimplin's special + day. + + HARRY + Yes, Aunt Petunia. + + +4 INT. KITCHEN - DAY 4 + 4. + + +Harry enters, finds his UNCLE VERNON reading the Daily Mail +behind a monstrous PILE OF PRESENTS. + + UNCLE VERNON + Bring my coffee, boy. + + HARRY + Yes, Uncle Vernon. + +Dudley enters, stares at the presents. + + DUDLEY + How many are there? + + UNCLE VERNON + Thirty-six. Counted them myself. + + DUDLEY + Thirty-six. But last year...last + year I had thirty-seven... + + UNCLE VERNON + Well now, son, some of these are + quite a bit bigger than last year-- + + DUDLEY + I DON'T CARE HOW BIG THEY ARE! + + AUNT PETUNIA + Now, now, here's what we'll do. + Today, when we're out, we'll buy + you two more presents. How's that, + popkin? + + DUDLEY + So then I'll have...I'll have... + + HARRY + Thirty-eight, popkin. + +Aunt Petunia cuffs Harry on the head on her way to the +RINGING TELEPHONE. + + AUNT PETUNIA + You just mind that bacon! + + HARRY + Yes, Aunt Petunia. + +As Dudley tears open a BOX of LEAD SOLDIERS, Uncle Vernon +ruffles his hair. + + UNCLE VERNON + 5. + + + Want your money's worth, don't you, + tiger. Well, look there. Aunt + Marge's sent you the Fourth + Battalion? + +Dudley twists the head off one. + + DUDLEY + This one's lost its head. + + UNCLE VERNON + Well now, son. Remember, we talked + about this. They're not meant to + move... + +As Dudleyrtosses the damaged soldier aside, Harry studies +it closely, then...Aunt Petunia HANGS UP the phone, turns. + + AUNT PETUNIA + Bad news. Mrs. Figgs' broken her + leg. She can't take him. + + UNCLE VERNON + We could phone Yvonne. + + AUNT PETUNIA + Don't be silly. She hates the boy. + + HARRY + You could just leave me here. + + UNCLE VERNON + And come back to find the house in + ruins? + + DUDLEY + I...Don't...Want...Him...To...Come! + He... always... spoils... + everything! + + AUNT PETUNIA + Now, precious, don't cry. He won't + spoil anything. What if Mummy buys + you three more presents. + + DUDLEY + Three? + + AUNT PETUNIA + As many as you want, sweetums. + +As Aunt Petunia cuddles him, Dudley shoots Harry a nasty +grin through the gap in his mother's arms. + 6. + + +5 EXT. NUMBER FOUR PRIVET DRIVE - A BIT LATER 5 + + As Harry gets in the car, Uncle Vernon leans close. + + UNCLE VERNON + I'm warning you now, boy. Any funny + business, any at all, and you'll + have no meals for a week... + + +6 EXT. ZOO - DAY 6 + + Happy children walk hand in hand with their parents, as... + + +7 INT. REPTILE HOUSE - LATER - DAY 7 + + Dudley presses his pudgy nose to a gleaming plate of glass. + + DUDLEY + Make it move. + + Uncle Vernon looks over a zoo map at the HUGE BURMESE + PYTHON curled beyond the glass. RAPS his knuckles. Nothing. + + HARRY + He's asleep. + + DUDLEY + He's boring. + + Dudley waddles away and the others follow, all but Harry, + who steps forward and rubs Dudley's noseprint from the + glass. + + HARRY + Sorry about him. He doesn't + understand what it's like, lying + there day after day, watching + people press their ugly faces in on + you... + + The snake nods. Harry stops, looks off, then back. + WHISPERS: + + HARRY + Can you hear me? + + The snake cocks its head and...winks. + + HARRY + 7. + + + It's just, I've never talked to a + snake before. Do you, I mean...do + you talk to people often? + + The snake regards Harry...then slowly shakes its head no. + Harry nods, looking a bit unnerved. + + HARRY + So...you're from Burma, aren't you? + Was it nice there? Do you miss your + family? + (listening) + I see. That's me as well. I never + knew my parents either... + + DUDLEY + MUMMY! DAD! COME HERE! You won't + believe what this snake is doing! + + Dudley JABS Harry hard in the ribs, sending him tumbling to + the concrete, floor. Angry, Harry looks up as Dudley leans + against the^glass and it...VANISHES. Dudley flops forward, + the snake slithers out, and people run screaming. + + Stunned, Harry watches the python slip into the sunshine, + then glances back to the snake tank. The glass has + reappeared and Dudley sits within, face pale, eyes frozen + in terror. + + +8 INT. NUMBER FOUR PRIVET DRIVE - LATER - DAY 8 + + Uncle Vernon, face purple with rage, drags Harry by the + ear. + + HARRY + I swear, I don't know how it + happened! One minute the glass was + there and then it was gone. It was + like magic. + + Uncle Vernon hurls Harry into the cupboard, stares hard. + + UNCLE VERNON + There's...no...such...thing...as... + magic! + + The door SLAMS. Harry sits quietly. Then, from his pocket, + he removes the damaged soldier Dudley had discarded + earlier. + + Reaching up, he places it on a dark shelf, next to half a + dozen others. + 8. + + +9 EXT. NUMBER FOUR PRIVET DRIVE - MORNING 9 + + A single OWL swoops down onto the Dursley's roof. + + +10 INT. KITCHEN - MORNING 10 + + Dudley parades about the kitchen in knickerbockers, + tailcoat and straw boater, tapping the floor with a KNOBBLY + STICK, while a teary Aunt Petunia snaps a photo with a + FLASH CAMERA. + + AUNT PETUNIA + Oh, Vernon, look at him. To think + in only a week he'll be off to + Smeltings. + + UNCLE VERNON + Proudest moment of my life. + + HARRY + (with dread) + Will I have to wear that too? + + AUNT PETUNIA + You! Go to Smeltings? Don't be + stupid. You'll goto state school, + where you belong. That there'll be + yours, once I'm done dying it. + + Harry glances at a tub of grey mud boiling on the stove. + + HARRY + But that's Dudley's old uniform. + It'll fit me like bits of old + elephant skin. + + AUNT PETUNIA + Fit you fine enough. Now fetch the + post. + + +11 INT. FRONT HALL - DAY 11 + + Three letters lie on the mat. A bill. A postcard. An + envelope of YELLOW PARCHMENT. Harry takes all, then stops, + staring at the envelope, which is addressed in EMERALD INK. + + Mr. H. Potter + + The Cupboard Under The Stairs + + 4 Privet Drive + 9. + + + Little Whinging + + Surrey + + Harry turns the envelope over, finds a PURPLE WAX SEAL. It + is a COAT OF ARMS, surrounding a large letter H. + + +12 INT. KITCHEN - DAY 12 + + arry drops the post on the table and sits, staring in quiet + wonderment at his envelope. Uncle Vernon takes the + postcard. + + UNCLE VERNON + Marge's ill. Ate a funny whelk... + + BAM! Dudley brings the Smelting stick down-hard on the + table. + + DUDLEY + Dad! Look! Harry's got a letter! + + Quickly, Uncle Vernon SNATCHES it away. + + HARRY + That's mine! + + UNCLE VERNON + Yours. Who'd be writing to you— + + Uncle Vernon's face goes pale. + + +13 INT. HALLWAY - DAY 13 + + The boys come flying into the hall, throw themselves + against the door as.it slams shut. + + HARRY + I want my letter! + + DUDLEY + I want my stick! + + Harry and Dudley make a furious play for the keyhole, but + Dudley's size proves too much and Harry, glasses dangling + from one ear, settles for the crack between door and floor. + + HARRY'S POV + + of Uncle Vernon's thick black shoes pacing back and forth. + 10. + + + AUNT PETUNIA + Vernon. Look at the address. How + could they possibly know where he + sleeps? You don't think they're + watching the house? + + UNCLE VERNON + Watching. Spying. Following us. We + both know the dangerous nonsense + your sister and her husband were + mixed up in. + + AUNT PETUNIA + But what should we do, Vernon? + Should we write back. Tell them we + don't want— + + UNCLE VERNON + No. We'll ignore it. If they don't + get an answer...Yes, that's + best...I'll burn it. + + HARRY + NO! I WANT MY LETTER! + + +14 INT. KITCHEN - DAY 14 + + Uncle Vernon walks to the stove, flips on a gas jet. As the + letter BURNS, Harry POUNDS the door, and a MONTAGE BEGINS. + + +15 EXT. ROOF - NUMBER FOUR PRIVET DRIVE - MORNING 15 + + An OWL beats its way across the sky, flutters down upon the + TV ANTENNA, where TWO OTHER OWLS already sit. + + +16 INT. LIVING ROOM - SAME TIME 16 + + A frowning? Uncle Vernon stands before the TELLY, + struggling to unscramble a RUGBY MATCH. The CLICK of the + MAIL SLOT is heard and he turns. + + +17 INT. FRONT HALL -DAY 17 + + THREE MORE LETTERS lie on the mat. Uncle Vernon enters, + snatches them up, RIPS them to pieces. + + +18 INT. CUPBOARD - DAY 18 + 11. + + + Harry sits sadly upon his bed, when...BANG! BANG! BANG! + + +19 INT. FRONT HALLWAY - MOMENTS LATER 19 + + Harry eases open the cupboard door. Down the hallway, Uncle + Vernon stands swinging a hammer, mouth bulging with nails + as he POUNDS SHUT the mail slot. + + +20 EXT. NUMBER FOUR PRIVET DRIVE - MORNING 20 + + Uncle Vernon exits the house with his briefcase, stops. + FOUR OWLS sit atop his Vauxhall. He watches curiously as + they take flight, then looks down. FOUR LETTERS lie at his + feet. + + +21 INT. LIVING ROOM - NIGHT 21 + + The FIREPLACE BLAZES. Uncle Vernon pitches a handful of + LETTERS into the flames, turns. Harry stands watching. + + +22 EXT. ROOF - NUMBER FOUR PRIVET DRIVE - SAME TIME 22 + + As the CHIMNEY SMOKES, FIVE OWLS sit in black silhouette + against a full moon. + + +23 EXT. KITCHEN WINDOW - NUMBER FOUR PRIVET DRIVE - MORNING 23 + + Aunt Petunia cracks an EGG. Inside is a LETTER. She cracks + another. Another LETTER. We PAN off the window to Dudley's + neglected BICYCLE. Perched atop the handlebars, seat and + tires are SIX OWLS. MONTAGE ENDS. + + +24 INT. LIVING ROOM - SUNDAY MORNING - DAY 24 + + Dudley lies on the floor, destroying another birthday toy, + as Aunt Petunia carefully sets a cup of coffee by Uncle + Vernon, who sits in an armchair, smiling strangely. + + UNCLE VERNON + Fine day, Sunday. Best day of the + week in my opinion. Know why I say + that, Dudley? + + HARRY + (entering) + Because there's no post on Sundays. + 12. + + + Uncle Vernon looks up brightly, but Harry's eyes are on the + window behind him. Outside, the sky is DARK WITH OWLS. + + UNCLE VERNON + Right you are, Harry! No damn + letters today! No sir. Not one + blasted... + + Just then, something WHIZZES DOWN the chimney and SMACKS + Uncle Vernon flat on the back of the head. Seconds later + another follows, and then another, until the living room is + aflock with...LETTERS. Harry leaps onto a table, trying to + snag one, when Uncle Vernon seizes him by the waist. + + +25 INT. HALLWAY - DAY 25 + + As Uncle Vernon stumbles out, Harry shakes free of his + grasp and stares dumbly: LETTERS swirl up and down the + hall. + + DUDLEY + Who on earth wants to talk to you + this badly! + + A letter flutters on Harry's fingertips...before Uncle + Vernon sweeps it away, eyes crazed, SHOUTING CRAZILY: + + UNCLE VERNON + That does it! We're going away! Far + away! Where they can't find us! + Where they can't get to us! + + Dudley glances at his mother. + + DUDLEY + Daddy's gone mad, hasn't he? + + +26 EXT. HUT ON THE ROCK - NIGHT 26 + + A very sad-looking HUT sits perched upon a large ROCK far + at sea. Wind whistles. The sea rages. + + +27 INT. HUT ON THE ROCK - NIGHT 27 + 13. + + +Uncle Vernon and Aunt Petunia sleep on a lumpy bed in the +hut's only bedroom. Dudley SNORES on a moth-eaten sofa. +Harry lies on the bare floor beneath a ragged blanket. +LIGHTNING FLASHES. As the room goes dark again, Harry +studies the lighted dial of Dudley's watch. As it ticks +toward midnight, Harry puts the last touches to a BIRTHDAY +CAKE he's etched in the dust that layers the floor. + + HARRY + Make a wish, Harry. + +Closing his eyes, he...blows...and the "flames" of dust +scatter. Eyes still closed, Harry holds the wish when... + +BOOM! + +The DOOR SHUDDERS. HINGES squeal. A pin squirrels out of +its housing. Falls to the floor. + +BOOM! + +Uncle Vernon comes sledding into the room in his socks, a +RIFLE in hand, paper hanging by a string from the barrel. + + UNCLE VERNON + Who's there? I warn you--I'm armed! + +SMASH! The door falls flat. An IMMENSE SILHOUETTE stands +against the raging sea outside, identical to the beastly +figure seen climbing the stairs in Godric's Hollow. He is +HAGRID and is, rather obviously, a GIANT. Presently he is +standing on the front door. + + HAGRID + Er, right. Sorry 'bout that... + +Hagrid steps clear, takes the door, and fits it back into +its frame. Glances at Dudley. Frowns. + + HAGRID + Mind, I haven't seen yeh since you + was a baby, Harry, but yeh're a bit + more along than I woulda expected. + ’Specially round the middle. + + DUDLEY + (terrified) + I'm not Harry. + + HARRY + I am. + +Hagrid turns, watches Harty's face come into the light. + 14. + + + HAGRID + Well now, course yeh are. + + UNCLE VERNON + I demand that you leave at once, + sir! You are breaking and entering! + + HAGRID + Ah, dry up, Dursley, yeh great + prune. + +Hagrid takes the rifle, knots it like a piece of licorice. + + HAGRID + Anyway, Harry. Got summat fer yeh. + ’Fraid I mighta sat on it at some + point, but ’magine it'll taste all + right jus' the same...let's see + now...got it here somewhere... + +Hagrid rummages in his coat, removes: a kettle, frying pan, +sausages, one PINK UMBRELLA and, finally, a squashed paper +box containing a CHOCOLATE CAKE with "Happee Birthdae, +Harry" scrawled in green icing. + + HAGRID + Baked it meself, words an' all. + + HARRY + Thank you. + + HAGRID + Well, it's not ev' ry day yer young + mein turns ’leven. + +Hagrid turns to the fireplace, gives the embers a poke with +the pink umbrella. As they ROAR to life, he takes the +frying pan, lobs in the sausages. Dudley perks up as they +sizzle. + + HARRY + Excuse me, but.. .who are you? + +Harry stares blankly. Hagrid frowns. + + HAGRID + Blimey, Harry, did yeh never wonder + where yer parents learnt it all? + + HARRY + Learned what? + + HAGRID + 15. + + + What? DURSLEY!!! Do yeh mean ter + tell me the boy knows nothin? + +Uncle Vernon stands mute. Hagrid simmers, then shakes his +head and turns back to the fire. + + HAGRID + ’Harry, yer a wizard. + +For a moment, the hut is utterly silent. + + HARRY + I'm a what? + + HAGRID + A Wizard. And a thumpin' good 'un, + I'd wager, once yeh've been trained + up a bit. + + HARRY + No. You've made a mistake. I...I + can't be a...wizard. I mean...I'm + just...Harry. Just Harry. + + HAGRID + Tha' right. Tell me, Harry. Ever + make somethin' strange 'appen? When + yeh was scared maybe. Or angry? + +As Harry looks up in recognition, Hagrid slaps a soggy +ENVELOPE into Harry's hand. Harry opens it, reads. + + HARRY + 'Dear Mr. Potter, We are pleased to + inform you that you have been + accepted at Hogwarts School of + Witchcraft and Wizardry...' + +As Harry looks up, Hagrid winks, and takes a bite of +sausage. + + UNCLE VERNON + He'll not be going, I tell you! We + swore when we took him in we'd put + a stop to that rubbish! + + HARRY + You knew? You knew I'm a...a + wizard? + +Aunt Petunia—looking furious—emerges from the shadows. + + AUNT PETUNIA + 16. + + + Of course we knew! How could you + not be, my dratted sister being + what she was? Oh, mother and father + were so proud when the letter came. + A witch in the family. Isn't it + wonderful. I was the only one who + saw her for what she was...a freak! + (distastefully) + Then she met that Potter and had + you. I knew you'd be the same. Just + as strange, just as abnormal. And + then, if you please, she went and + got herself blown up and we got + landed with you— + + HARRY + Blown up? You told me my parents + died in a car crash. + + HAGRID + CAR CRASH! A car crash kill Lily + and James Potter? It's an outrage! + A scandal! + + UNCLE VERNON + HE'LL NOT BE GOING, I TELL YOU! + + HAGRID + An' I s'ppose a great Muggle like + yerself is goin' ter stop him. + + HARRY + Muggle? + + HAGRID + Non-magic folk. + (turning to Uncle Vernon) + This boy's name's been down ever + since he was born. He's off to the + finest school of witchcraft and + wizardry in the world and he'll be + under the greatest headmaster + Hogwart's has ever known, Albus + Dumbledore— + + UNCLE VERNON + I will not pay for some crackpot + old fool to teach him magic tricks! + +Hagrid spins, eyes bulging. + + HAGRID + 17. + + + NEVER..INSULT...ALBUS...DUMBLEDORE. + ..IN...FRONT...OF..ME! + + Hagrid spins, points the umbrella at Uncle Vernon, then + spies Dudley, one hand deep in Harry's birthday cake. POP!— + a FLASH of VIOLET LIGHT hits Dudley square in the rump. + Instantly, a PIG’S TAIL curls through the back of his + trousers. Uncle Vernon ROARS, hurries everyone out of the + room. + + HAGRID + Tha’s curious. Meant ter turn ’im + into a complete pig, whole hog an + all. Suppose he was so much like a + pig already, there wasn't much left + ter do. + + Hagrid sees Harry staring in awe at the pink umbrella. + + HAGRID + Er, be grateful if yeh didn't + mention that to anyone at Hogwarts. + Strictly speakin', I'm not allowed + ter do magic. + (checks pocket watch) + Bit behind schedule, aren't we? + Best be off. + + Hagrid exits, leaving Harry to consider his sorry + surroundings. He looks momentarily at a loss, then...Hagrid + pokes his head back in. + + HAGRID + T'Less, o' course, yeh'd rather + stay. + + +44 EXT. STREET - LONDON - DAWN 44 + + Harry, reads ALOUD from his LIST as he trails Hagrid, who + draws an eye or two—as a giant in Central London will. + + HARRY + 'First year students will require + three sets of plain work robes, one + plain pointed hat for day wear, one + pair of dragon-hide gloves...' + + Hagrid chuckles at a PARKING METER. + + HAGRID + Things these Muggles dream up... + 18. + + +45 INT. TRAIN - LONDON - DAWN 45 + + Harry sits beside Hagrid, continues to read from his list. + + HARRY + '...and the following Set Books: + The Standard Book of Spells by + Miranda Goshawk. One Thousand + Magical Herbs and Fungi by Phyllida + Spore...' + + +46 EXT. STREET/LEAKY CAULDRON - LONDON - DAWN 46 + + Hagrid leads Harry on, parting the crowd easily. + + HARRY + 'One wand, one standard Size 2 + pewter cauldron and may bring, if + they desire, either an owl, a cat, + or a toad.' + (looking up) + Can we find all this in London? + + Hagrid pauses by a NARROW GRAY DOOR that stands between a + BOOK SHOP on one side and a RECORD SHOP on the other. + + HAGRID + If yen know where to go. + + +47 INT. LEAKY CAULDRON - DAY 47 + + A dark, shabby pub. in a corner, some OLD WOMEN sit + drinking, one smoking a pipe as long as her arm. Up front, + a TINY MAN in a TOP HAT talks to the BARTENDER, who + resembles a gummy walnut. Harry and Hagrid enter. + + BARTENDER + Hagrid! The usual, I presume— + (spying Harry) + Good Lord. Is this? Can this be + him? Bless my soul. It's Harry + Potter. + + The pub goes quiet. Then... everyone is up and around + Harry, holding out their hands and gabbling, while Hagrid + looks on, beaming. Slowly, a NERVOUS YOUNG MAN makes his + way forward. + + QUIRRELL + Harry P-P-Potter. C-Can't tell you + how p-pleased I am to meet you. + 19. + + + HAGRID + Professor! Didn't see yeh there. + Harry, this 'ere's Professor + Quirrell. He'll be yer Defence + Against the Dark Arts teacher at + Hogwarts. + + QUIRRELL + F-F-Fearfully f-fascinating + subject. N-Not that you n-need it, + eh, P-P-Potter? + + Quirrell's eyes flutter nervously over Harry's scar. + + HAGRID + Yes, well, must get on. Lots ter + buy. + (as he pulls Harry along) + See? Tol' yeh you was famous. + + +48 EXT. BACK COURTYARD/LEAKY CAULDRON - MOMENTS LATER 48 + + Hagrid TAPS the bricks of one wall with the tip of his + umbrella while Harry stands by, deep in thought. + + HARRY + Why am I famous, Hagrid? All those + people back there. How is it they + know who I am? + + HAGRID + Don' know that I'm the right one + ter tell yeh that, Harry. Let's see + now...Three up...Two + across...Right. Stand back now. + + Hagrid gives the wall one last 'TAP and the bricks QUIVER, + wriggling and jiggling until an ARCHWAY appears, giving out + on a COBBLED STREET so long and twisting it seems never to + end. As Harry's jaw drops, Hagrid grins. + + HAGRID + Welcome, Harry. To Diagon Alley. + + +49 EXT. DIAGON ALLEY - CONTINUOUS - MORNING 49 + + As Harry steps through, the archway SHRINKS INSTANTLY into + a solid wall. All around him, Harry sees mothers and + fathers with children in tow, clutching LISTS similar to + his own. + 20. + + + PLUMP WOMAN + Seventeen Sickles an ounce for + Dragon Liver, can you imagine? + They're mad! + + MOTHER + It says brass, Trevor. As such, you + will get brass, + + BOY + There it is! The Nimbus Two + Thousand! Runs a good twenty times + faster than the old Comets. Neil + Marks himself rides it for the + Chudley Cannons. + + FATHER + Mind you don't drop your bottle of + eel's eye, Belinda, I'll not buy + you another. + +Harry tries to take in everything at once, marveling at +shops specializing in everything from cauldrons, owls and +broomsticks to robes, 'unmentionables,' and spell books. + + HARRY + Dragon Liver? Do they mean from a + real dragon? + + HAGRID + Well, they don't mean a ruddy + penguin. Crikey, I'd like a dragon. + + HARRY + You'd like a dragon? + + HAGRID + Vastly misunderstood beasts, Harry. + Vastly misunderstood... + + HARRY + (staring in a cauldron + shop) + But how am I to pay for all this, + Hagrid? I haven't any money. + +Hagrid gestures to a TOWERING, SNOW-WHITE BUILDING ahead. + + HAGRID + There's yer money. Gringotts. + Wizard's Bank. No place safer, + Harry. Not one. 'Cept perhaps + Hogwarts. + 21. + + +50 INT. GRINGOTTS - DAY 50 + + ONE HUNDRED GOBLINS sit on high stools at a long counter, + scribbling in ledgers, weighing coins in brass scales. As + Harry and Hagrid enter, a clever-looking goblin closes the + door behind them, watches their every step. + + HARRY + Uh, Hagrid, what exactly was that? + + HAGRID + Yer basic Door Goblin. Clever as + they come goblins, but not yer most + friendly beasts. Best stay close. + (stepping up to a teller) + Mornin'. Mr. Harry Potter wishes to + make a withdrawal. + + GOBLIN + And Mr. Harry Potter has his key? + + HAGRID + Let's see, got it 'ere somewhere... + + The Goblin looks on disfavorably as Hagrid rifles his coat, + producing in rapid succession: a jangly RING of KEYS, one + BALL of STRING, a fistful of MINT HUMBUGS, two TEABAGS, and + a MOTH...which simply flutters from one pocket to another. + + HAGRID + Ah, 'ere's the li'l devil. + (leaning close) + There's another matter as well. + I've got a letter from Professor + Dumbledore. It's about the You- + Know-What in Vault You-Know-Which. + + GOBLIN + Very well. I'll have Griphook take + you. + + +51 INT. STONE PASSAGEWAY - GRINGOTTS - DAY 51 + + CLOSE ON: GRIPHOOK + + ...a swarthy, slit-eyed goblin, driving a small cart with + white-knuckle precision down a STONE PASSAGEWAY lit with + FLAMING TORCHES. They plunge deeper, come... + + +52 EXT. VAULT - STONE PASSAGEWAY - DAY 52 + 22. + + + ...whistling to a halt before a SMALL DOOR. Griphook steps + out, takes Harry's key and UNLOCKS the vault, revealing - + great glittering pyramids of coin. Harry is speechless. + + HAGRID + Din' think yer parents would leave + yeh with nothin', did yeh? + + +53 INT. CART - PASSAGEWAYS - A FEW MINUTES LATER 53 + + The cart hurtles even DEEPER, abruptly stops. + + GRIPHOOK + Vault Seven Hundred Thirteen. + + HARRY + What's in here, Hagrid? + + HAGRID + Can’t tell yeh that, Harry. + Hogwarts business. Very secret. + + Griphook steps up to a door with no keyhole, strokes it + with one long finger, and it simply MELTS away. + + HAGRID + Anyone but a Gringotts goblin tried + that, they'd be sucked through the + door. + + HARRY + How often do you check to see if + anyone's inside? + + GRIPHOOK + About once every ten years. + + Harry peers into the vault, sees...a GRUBBY LITTLE PACKAGE. + Hagrid slips it into his LEFT COAT POCKET, returns. + + HAGRID + Best not mention this ter anyone + either, Harry. + + +54 EXT. DIAGON ALLEY - LATER - DAY 54 + + Harry and Hagrid exit the Apothecary, loaded with Harry's + various purchases. Harry studies the list in his hand. + + HARRY + I still need...a wand. + 23. + + + HAGRID + (points ahead) + Only place for wands, is + Ollivanders. You go inside. I got + one more thing I gotta'do. + + Harry nods, walks into Ollivanders. + + +55 INT. OLLIVANDERS WAND SHOP - DAY 55 + + Harry and Hagrid stand in a very narrow shop where + thousands of slender boxes are stacked to the ceiling. + Hovering above them on a spindly ladder is a pale old man + with eyes like silver moons. He is OLLIVANDER. + + OLLIVANDER + I wondered when I'd be seeing you, + Mr. Potter. Seems only yesterday + your mother and father we're in + here buying their first wands... + + Ollivander steps down.with a pair of slender boxes. + + OLLIVANDER + (extending a box) + Here we are. Just give it a wave. + + Feeling a bit supid, Harry raises his arm. Nothing. + + OLLIVANDER + No. Apparently not. Perhaps this. + + Harry raises it and...BRIGHT LIGHT shoots forth...sending a + CRYSTAL VASE OF BLACK ROSES shattering to the floor. + + OLLIVANDER + No. No. Definitely not. No Matter. + After all...it's the wand that + chooses the wizard. + + +56 INT. OLLIVANDERS WAND SHOP - LATER 56 + + HUNDREDS OF WAND BOXES lie at Harry's feet. Hagrid, eyes + heavy, sits on a spindly chair. Ollivander, meanwhile, + stands at the top of a spindly ladder, eyeing his + inventory. + + OLLIVANDER + I wonder... + 24. + + +Ollivander descends, presents a box. Stifling a yawn, Harry +takes the wand...and his expression changes. + + OLLIVANDER + Go on then. + +As Harry extends his arm his hand trembles. A breeze stirs, +sending the shop's tiny bell RINGING. The pages of a BOOK +FLUTTER on the counter, and Harry's hair feathers off his +forehead, showing his scar. Astounded, Harry smiles and +then.. .Ollivander slips the wand from his fingers and the +breeze dies, the shop returning to its eerie calm. + + OLLIVANDER. + Curious. Very curious... + + HARRY + Sorry, but what's curious? + + OLLIVANDER + I remember every wand I've ever + sold, Mr. Potter. It so happens + that the phoenix whose tail feather + resides in your wand, gave another + feather. Just one other. It's + curious that you should be destined + for this wand when its brother... + (eyes shifting) + ...gave you that scar. + + HARRY + And who owned that wand? + +Ollivander exchanges a surprised glance with Hagrid. + + HAGRID + We don't speak his name, Harry. + + OLLIVANDER + As I said, the wand chooses the + wizard, Mr. Potter. It's not always + clear why. But I think it's clear + we can expect great things from + you. After all, He-Who-Must-Not-Be- + Named did great things. + +Ollivander slides the lid on the box, hands it to Harry. + + OLLIVANDER + Terrible, yes. But great. + 25. + + + Harry looks out the window, sees Hagrid standing there, + bolding a cage with a snow white Owl inside. Harry turns to + say goodbye to Ollivander. He's gone. Harry runs outside. + + +57 EXT. DIAGON ALLEY - DAY 57 + + Harry runs up to Hagrid, looks at the owl. + + HAGRID + Happy Birthday, Harry. + + HARRY + (excited) + For me?...Really?...He's Mine?... + + HAGRID + Crikey, yeh'd think yeh hadn't + gotten a birthday present before. + + HARRY + I haven't. Not really. + + +58 INT. LEAKY CAULDRON 58 + + Hagrid and Harry sit at a table in the corner. Hagrid dips + a spoon into a huge bowl of soup, looks up. + + HAGRID + You all right, Harry? Yer very + quiet. + + HARRY + (touching his scar) + He killed my parents, didn't he? + The one who gave me this. You know, + Hagrid. I know you do. + + Hagrid studies Harry, conflicted, then sets down his spoon. + + HAGRID. + 'Course I know. Who do yeh think + carried yeh out o' yer parents' + house, Hallowe'en night, ten years + ago? Who do yeh think brought yeh + ter Dumbledore an' watched him lay + yeh on yer Aunt an' Uncle's + doorstep? 'Course I know, Harry. + + Hagrid leans in closer, his eyes glimmering in the dim pub. + + HAGRID + 26. + + + Firs', un'erstand this, 'cause it's + important: not all yer wizards are + good. Some go bad. Years ago, there + was this one wizard who went as bad + as you could go. His name + was...was... + + HARRY + Maybe if you wrote it down. + + HAGRID + Nah—can' spell it. All right— + Voldemort. + + HARRY + Voldemort? + +Hagrid shivers, holds up his hand, and glances quickly +about the shadows of the pub before continuing. + + HAGRID + Dark days those were, Harry. + Volde...You-Know-Who...started + lookin' fer followers. Got 'em too. + Anyone that stood up to him ended + up dead. Including yer parents. No + one lived once he decided to kill + 'em. Not one. 'Cept you. + + HARRY + Me? Voldemort tried to kill me? + + HAGRID + That's no ord'nary cut on your + forehead. A mark like that only + comes when yeh've been touched by a + curse. An evil curse. + +Just then, a HIGH, CACKLING VOICE pierces the silence. +Harry turns, sees an OLD WOMAN laughing with the gummy +bartender. + + HARRY + But what happened to Vol...to You- + Know-Who? + + HAGRID + 27. + + + Some say he died. Codswallop, in my + opinion. I reckon he's out there + somewhere, jus' too weak to carry + on. But one thing's fer certain, + Harry. Somethin' about you stumped + him that night. That's why you're + famous. That's why e'ryone knows + yer name. + + Hagrid leans close once more and t-Ms time his voice is + barely a WHISPER. + + HAGRID + You're the boy who lived. + + +59 EXT. KING'S CROSS STATION - DAHN 59 + + Harry and Hagrid, laden with a heavy TRUNK and SNOWY OWL, + stand outside the station in the shimmering dawn light. + + Hagrid checks his WATCH, looks suddenly urgent. + + HAGRID + Blimey, look at the time. 'Fraid I + 'ave ter be leavin' yeh now, Harry. + Dumbledore will be wantin'— + + Hagrid pats his LEFT POCKET. Catches himself. + + HAGRID + He'll be wantin' ter see me. + (handing him a TICKET) + That there's yer train. Leaves in + about ten minutes time. Jus' make + sure yeh stick ter yeh ticket. + That's very important, Harry. Stick + ter yeh ticket... + + HARRY + There must be something wrong, + Hagrid. This says Platform Nine and + Three Quarters. There's no such + thing... + + Harry looks up, but Hagrid...is gone. + + HARRY + ...Is there? + + +60 INT. LOWER LEVEL - KING'S CROSS - MOMENTS LATER 60 + 28. + + +Harry dashes through a bustling King's Cross, sledding to a +halt in front of a pair of PLATFORM SIGNS. One reads NINE. +One reads TEN. Harry turns to a passing STATION OFFICER. + + HARRY + Excuse me. Can you tell me where I + might find Platform Nine and Three- + Quarters. + + STATION OFFICER + (grumbling off) + Think you're funny, do you? Nine + and Three-Quarters indeed... + +Harry looks about, despairingly, then HEARS... + + MRS. WEASLEY (O.S.) + ...packed with Muggles, of course. + +Harry turns, sees a plump woman (MRS. WEASLEY) hurrying +along FOUR RED-HEADED BOYS and their little, red-headed +sister (GINNY). The boys all tow trunks identical to +Harry's. + + MRS. WEASLEY + All right, Percy. You first. + +Harry watches the tallest boy walk straight toward a +dividing barrier.and...VANISH. Harry squints in confusion. +Next, Mrs. Weasley turns to a pair of cheeky twins (FRED +and GEORGE). + + MRS. WEASLEY + Fred. You next. + + FRED + I'm not Fred. I'm George. Honestly, + woman, you call yourself our + mother? + + MRS. WEASLEY + Sorry, George. + + FRED + Only joking. I am Fred. + +Fred dashes off, trailed by George. They too vanish. + + HARRY + Excuse me. Could you tell me— + + MRS. WEASLEY + 29. + + + How to get onto the platform? Not + to worry, dear. It's Ron's first + time to Hogwarts as well. + + Harry looks at the youngest red-haired boy. He is tall, + gangly, and presently has a SMUDGE on his nose. + + MRS. WEASLEY + "All you have to do is walk + straight at the barrier between + Platforms Nine and Ten. Focus...but + don't stop and don't be scared + you'll crash into it either. Best + do it at a bit of a run if you're + nervous. + + Harry looks. Shrugs. ‘Sprinting at full speed, the barrier + coming closer and closer, he shuts his eyes and... + + +61 EXT. PLATFORM NINE AND THREE QUARTERS - DAY 61 + + ...SLEDS onto a platform milling with people. A sign above + reads HOGWARTS EXPRESS. Below it sits a SCARLET STEAM + ENGINE.. Harry glances behind, sees a wrought-iron archway + where the barrier had been, with the words PLATFORM NINE + AND THREE QUARTERS on it. Just beyond, he sees Kings Cross + and the world he's left behind. + + NEW ANGLE ON PLATFORM + + Harry struggles with his heavy trunk as all around him + people say goodbye to their families. A round-faced boy + (NEVILLE LONGBOTTOM) turns frantically to his GRAN. + + NEVILLE + Gran! I've lost my toad again. + + GRAN + Oh, Neville. Honestly. Not again... + + Further up, a BOY IN DREADLOCKS (LEE JORDAN) holds a BOX. + + STUDENT + Go on, Lee. Give us a look. + + As Lee lifts the LID, a LONG HAIRY LEG protrudes and + students SHRIEK. Unimpressed, one of the twins spots Harry + struggling. + + GEORGE + Want a hand? + 30. + + + HARRY + Yes, please. + + GEORGE + Oy! C'mere, Fred! Take a handle. + + +62 EXT. PLATFORM - FURTHER ALONG - SECONDS LATER 62 + + Fred and George heave Harry's trunk atop other, similar + trunks while Harry sets Hedwig with the owls. Harry wipes + his sweaty hair off his brow...revealing his scar. + + HARRY + Thanks very much. + + GEORGE + Blimey. You're... + + FRED + Harry Potter. + + HARRY + What? Oh, him. Yes. I mean, I am. + + MRS. WEASLEY + Fred! George! Come say goodbye to + Ginny. + + Mrs. Weasley stands waving, the redheaded girl clinging to + her dress. The twins take one last look at Harry, dash off. + + +63 INT. TRAIN COMPARTMENT/EXT. PLATFORM - DAY 63 + + Harry exits the crush of the aisle, enters an empty + compartment. Very much alone, he sits, peers out the window + as Percy Weasley strides forth in billowing BLACK ROBES. + + PERCY + Have to go, Mother. The other + Prefects are expecting me up front. + + FRED + Mum! Guess who’s on the train? + Right now. + + FRED/GEORGE + Harry Potter! + + GINNY + Oh, Mum, can I go on and see him? + Please. + 31. + + + MRS. WEASLEY + Certainly not. The boy isn't + something you goggle at in a zoo. + (as the WHISTLE BLOWS) + All right, on you go, all of you. + Ron, what is that on your nose? + + She goes for a handkerchief, but Ron spins away. She sighs, + calls after the twins. + + MRS. WEASLEY + You two watch out for your brother. + And behave yourselves this year..If + I get one more owl telling me + you've blown up a toilet or + something-- + + FRED + Blown up a toilet? We've never + blown up a toilet. + + GEORGE + Great idea, though, thanks, Mum! + + +64 EXT. HOGWARTS EXPRESS - DAY 64 + + As the train moves out of the station, Ginny chases after. + + Harry watches her from his' window until she drops back. + King's Cross, and the life he's known, drift away. + + +65 EXT. SCOTLAND - HOGWARTS EXPRESS - DAY 65 + + The train whips past fields, small country lanes. + + +66 INT. TRAIN COMPARTMENT - DAY 66 + + Harry sits quietly. Then the compartment door slides open. + Ron stands there. Seeing Harry, he hesitates. + + RON + Mind? Everywhere else is full. + + HARRY + Not at all. + + RON + I’m Ron, by the way. + + HARRY + 32. + + + I heard. I’m Harry. + + RON + I...heard. + (unable to resist) + Is it true? I mean, have you really + got the...you know... + +Without prompting, Harry lifts his hair.. Shows the scar. + + RON + Wicked. + + HARRY + Are all your family wizards? + + RON + Huh? Oh. I think so. Well, Mum's + got a second cousin who's an + accountant. But we never talk about + him. I heard you went to live with + Muggles. What are they like? + + HARRY + Horrible. Well, not all of them. + Mine are, though. Trade them for + three wizard brothers any day. + + RON + Five. I'm the sixth in our family + to go to Hogwarts. Everyone expects + me to do as well as the others. But + if I do, it's no big deal because + they did it first. You never get + anything new, either, with five + brothers. I've got Bill's old + robes. Charlie's old wand. Even + Scabbers used to be Percy's... + +Ron reaches into his pocket, pulls out a fat, gray, +seemingly unconscious, RAT (SCABBERS). + + RON + Hardly ever wakes up. He's useless + basically. Percy got an owl for + making Prefect, but Mum and Dad + couldn't afford-- I mean, I got + Scabbers instead. + +Roh looks embarrassed. Just then, a DIMPLED WOMAN pushing a +TROLLEY FULL OF SWEETS pops her head in. + + DIMPLED WOMAN + 33. + + + Anything off the trolley, dears? + + Ron mumbles 'No thanks,' takes out a lumpy sandwich. Harry + studies him, then digs into his pockets, heavy with coin. + + HARRY + We'll take the lot. + + CLOSE UP: TROVE OF TREATS + + +67 INT. TRAIN COMPARTMENT - DAY (LATER) 67 + + ...spread out on an empty seat. Harry marvels at the + strange, wondrous candies before him. + + HARRY + 'Bertie Bott's Every Flavor Beans'? + + RON + They mean every flavor. There's + chocolate, peppermint...but you can + also get liver or spinach or tripe. + George reckons he had a bogey- + flavored one once. + + HARRY + These aren't real frogs, are they? + + Harry holds up a pack of "CHOCOLATE FROGS"—something is + wriggling under the foil—then sees that Ron already has a + very realistic leg squirreling out the corner of his mouth. + + RON + (mumbling) + Just a spell. Besides, it's the + card you want. Each pack's got a + Famous Witch or Wizard. Got about + 500 myself. Watch it! + + As Harry breaks the foil on his pack, the frog springs into + the air and out the open train window. + + RON + That's rotten luck. They've only + got one good jump in them to begin + with. + + Harry glances at the card in his hand. On it, there's a MAN + with a crooked nose, long silver beard, and half-moon + glasses. Underneath is a name: ALBUS DUMBLEDORE. + + HARRY + 34. + + + I've gotten Dumbledore! + + RON + I've about six of him. Trade you + Scabbers though, if you get Agrippa + or Ptolemy. + + HARRY + (reading the back) + 'Considered by many the greatest + wizard of modern times, Dumbledore + is particularly famous for his + defeat of the dark wizard + Grindelwald in 1945, for his + discovery of the 12 uses of + dragon's blood, and his work on + alchemy with his partner, Nicolas + Flamel. Approximately one hundred + and fifty years old, Professor + Dumbledore enjoys chamber music, + tenpin bowling, and... + (looking up) + One hundred and fifty years old? + + RON + Thought he'd be older, did you? + + HARRY + No--I--Hey, he's gone. + +Harry holds up the cardn-now blank--to Ron, who only +shrugs. + + RON + Well, you can't expect him to hang + around all day, can you? + + HARRY + It's just, in the Muggle world, + people stay put in photos. + + RON + Really? They don't move at all? + Weird! + +Just then, Scabbers SNORTS, falls back asleep. + + RON + Pathetic, isn't it? Fred gave me a + spell that's to turn him yellow. + Want to see? + 35. + + +Harry nods, eager to see some magic. Ron pulls out a +BATTERED WAND--just as the compartment door OPENS and a +GIRL with bushy brown hair and rather large front teeth +looks in. She is HERMIONE GRANGER and is already wearing +her school robes. + + HERMIONE + Has anyone seen a toad? A boy named + Neville has lost one. + (seeing Ron's wand) + Oh, are you doing magic? Let's see + then. + +She sits down. Ron looks a bit taken aback, but clears his +throat nonetheless, poises his wand over Scabbers. + + RON + Sunshine, daisies, butter mellow, + Turn this stupid, fat rat yellow. + +Scabbers SNORTS, but otherwise remains fat, grey, and +asleep. + + HERMIONE + Are you sure that's a real spell? + Well, it's not very good, is it? + I've only tried a few simple ones + myself but they've all worked for + me. For example... + +To Harry's surprise, Hermione takes her wand, points it +directly over his brow, then...stops. + + HERMIONE + Goodness. You're Harry Potter, + aren't you? I know all about you, + of course. I was doing a little + recreational reading and you're in + Modern Magical History, The Rise + and Fall of the Dark Arts and Great + Wizarding Events of the 20th + Century. + + HARRY + Am I? + + HERMIONE + Didn't you know? I'd have found out + everything I could if it was me. + (raising her wand) + Anyway...Oculus Reparo. + +instantly, the cracked bridge of Harry's glasses is mended. + 36. + + + HERMIONE + There. That's better, isn't it? I'm + Hermione Granger, by the way. And + you are...? + + Ron is still staring at the glasses, feeling a bit outdone. + + RON + Um...Ron Weasley. + + HERMIONE + Pleasure. Do either of you know + what House you'll be in? I'm hoping + for Gryffindor--I hear Dumbledore + himself was in it--but I think I + might just die if they put me in + Slytherin. That was You-Know-Who's + House. Anyway, you two had better + change into your robes. I expect + we'll be arriving soon. You've got + dirt on your nose, by the way, did + you know? + + As she exits, Harry and Ron just sit, staring at the door. + + +68 EXT. HOGSHEADS STATION - HOGWARTS - NIGHT 68 + + As the scarlet engine HISSES to a stop, Harry and the + others spill out. Harry's robes shimmer grandly, while + Ron's secondhand silks show a bit too much sneaker. + + HAGRID + Firs' years! Firs' years over here! + + Hagrid gives Harry a wink as he comes loping out of the + darkness, swinging a LAMP. Ron, preoccupied with wiping his + nose clean on his robes, stops, dumbstruck by Hagrid's + size. + + +69 EXT. BLACK LAKE - NIGHT - MOMENTS LATER 69 + + A FLEET of TINY BOATS glides silently over a glassy lake. + Harry rides with Ron, Hermione and Neville Longbottom, + gazing at the DARK TREES of the FOREST that surrounds them. + A GLINT OF SILVER flickers through the black trees, like a + dream. Harry watches, transfixed, then... + + HAGRID + You there! Don' be trailin' yer + fingers in the water. Yeh might + find yeh don' get 'em all back. + 37. + + + Harry turns, sees that Hagrid is speaking to a POINTY-FACED + BOY (DRACO MALFOY). Malfoy eyes Hagrid darkly, whispers to + a PAIR OF THICK-LOOKING BOYS (CRABBE and GOYLE). + + Harry peers into the black water, sees his own pale face + looking back, then a soft GLITTER of REFLECTED LIGHT dances + on the surface. He looks up, watches a magnificent CASTLE + drift into view. Hogwarts. + + +70 INT. ENTRANCE HALL - HOGWARTS CASTLE - NIGHT 70 + + Harry and the others enter a grand entryway lit with + flaming torches. PROFESSOR MCGONAGALL, a rather severe- + looking witch in an emerald cloak, stands before a pair of + TOWERING DOORS. + + She lifts her chin, surveys the new students. + + PROFESSOR MCGONAGALL + Welcome to Hogwarts. In a moment, + you will pass through these doors + and join your classmates, but + before you can take your seats, you + must be sorted into your Houses. + They are Gryffindor, Hufflepuff, + Ravenclaw, and Slytherin. While + here, your House is, in many ways, + your family. Your triumphs will + earn your House points, while any + rule-breaking will lose points. At + the end of the year, the House with + the most is awarded the House Cup, + a great honor. I hope each of + you... + + Just then, a rather LARGE TOAD springs forth, CROAKS. + + NEVILLE + Trevor! + + Neville, blissfully relieved, gathers his toad, then peers + up from the hem of Professor McGonagall's robes. + + PROFESSOR MCGONAGALL + ...will be a credit to whichever + House becomes yours. The Sorting + Ceremony will begin momentarily. + + Professor McGonagall glowers at Neville, then exits. As she + goes, there is a BRIEF CLAMOR of SOUND from the students + waiting in the Great Hall beyond. + 38. + + + HARRY + How exactly do they sort us? + + RON + Some kind of test, I think. Fred + says it hurts like hell, but I'm + sure he was joking. At least...I + think he was. + +Just then, Draco Malfoy pushes through the crowd, shadowed +by the boys from the boat. Malfoy stares openly at Harry's +scar. + + MALFOY + It's true then, what they were + saying on the train. Harry Potter + has come to Hogwarts. + +Harry's eyes slide, appraise the other two boys. + + MALFOY + Oh. This is Crabbe and Goyle. And + my name's Malfoy. Draco Malfoy. + +Ron COUGHS, masking a snigger. Malfoy's eyes narrow. + + MALFOY + Think my name's funny, do you? No + need to ask yours. Red hair, + freckles, and a hand-me-ddwn robe-- + you must be a Weasley. + (to Harry) + You'll soon find out some wizarding + families are better than others, + Potter. You don't want to go making + friends with the wrong sort. I can + help you there. + +Malfoy extends his hand, but Harry's gaze remains level. + + HARRY + I think I can tell the wrong sort + for myself, thanks. + +Malfoy's eyes glitter with rage. Finally he drops his hand, +turns away. + + HERMIONE + Well, he's rather disagreeable, + isn't he? + +Ron and Harry turn, see Hermione. Just then, Professor +McGonagall returns. + 39. + + + PROFESSOR MCGONAGALL + We are ready for you. + + +71 INT. GREAT HALL - NIGHT 71 + + Harry and the others file into a strangely splendid place + lit by THOUSANDS OF CANDLES FLOATING in midair over four + long tables lined with students. Harry looks to the windows + below the ceiling, finds glorious stars and an icy blue + moon. + + HERMIONE + It's not real, the ceiling. It's + only bewitched to look like the + night sky. I read about it in + Hogwarts, A History. + + Professor McGonagall sweeps to the front of the room where + a WIZARD'S HAT—patched and frayed—sits on a stool. + + PROFESSOR MCGONAGALL + Before we begin, Professor + Dumbledore would like to say a few + words. + + Harry watches with great interest as the great wizard + himself rises from his seat at the High Table. + + DUMBLEDORE + Yes, and here they are: Nitwit! + Blubber! Oddment! Tweak! Thank you! + + The Great Hall THUNDERS with APPLAUSE. + + HERMIONE + I hear he's a genius. + + As the applause subsides, the hat TWITCHES. At the brim, a + rip OPENS WIDE, and the hat begins to TALK. + + SORTING HAT + Oh, you may not think I'm pretty + But don't judge on what you see + I'll eat myself if you can find + A smarter hat than me. There's + nothing hidden in your head The + Sorting Hat can't see So try me on + and I will tell you Where you ought + to be.... + + As the students APPLAUD, the hat takes a bow and Professor + McGonagall: steps forward with a ROLL OF PARCHMENT. + 40. + + + PROFESSOR MCGONAGALL + When I call your name, you will + come forth, put on the hat and be + sorted. + (consulting her list) + +Hermione Granger. + + HERMIONE + Oh dear. Here it is, isn't it? The + moment. Goodness. What if the hat + says nothing and we're all just + left standing here forever... + + RON + (as she goes mumbling + off) + Mental, that one. I'm telling you. + +Both watch Hermione seat herself, lower the Hat. + + SORTING HAT + GRYFFINDOR! + +Percy pulls out a chair for Hermione at the Gryffindor +table. + + PROFESSOR MCGONAGALL + Draco Malfoy. + + RON + Slytherin. + +Draco Malfoy swaggers forth and grips the hat. He's barely +touched it to his head, when: + + SORTING HAT + SLYTHERIN! + + RON + (off Harry's amazement) + There's not a witch or wizard who + went bad who wasn't in Slytherin. + Draco's father was one of the first + to join You-Know-Who when he got + power. And one of the first to come + back when he lost it. + + PROFESSOR MCGONAGALL + Susan Bones. + 41. + + +As SUSAN BONES dashes up front, Harry glances to the High +Table. Dumbledore watches the proceedings placidly, while +Professor Quirrell talks to a hook-nosed man with greasy +black hair and sallow skin, PROFESSOR SNAPE. Slowly, as if +he can feel Harry's gaze, Snape turns, looks straight into +Harry's eyes. Instantly, a Sharp, hot PAIN shoots across +Harry's scar. + + HARRY + Ouch! + + RON + Harry? What is it? + + HARRY + N-nothing. I'm fine. + + SORTING HAT + Hufflepuff! + +As Susan Bones runs off... + + PROFESSOR MCGONAGALL + Ronald Weasley. + +As Ron steps nervously away, Harry glances back to the High +Table. Shape has returned to his conversation. + + SORTING HAT + Gryffindor! + +Fred and George WHOOP LOUDLY as Ron comes grinning out of +the hat, greatly relieved. Harry starts to clap himself +when... + + PROFESSOR MCGONAGALL + Harry Potter. + +There is an abrupt drop in the CHATTER. As Harry makes his +way, he avoids the eyes of the many who stare and whisper. + + PROFESSOR MCGONAGALL + If you will, Mr. Potter. + +Harry sits, takes the hat, and...slowly...lowers it. He +waits, then the hat begins to SPEAK. + + SORTING HAT + Hmmm. Difficult. Very Difficult. + Plenty of courage, I see. Not a bad + mind either. There's talent, oh + yes, and a thirst to prove + yourself. But where to put you...? + 42. + + + Harry grips the edge of the stool, closes his eyes. His + lips move ever so slightly: Not Slytherin. Not Slytherin. + + SORTING HAT + Not Slytherin, eh? Are you sure? + You could be great, you know, it's + all here in your head, and + Slytherin will help you on the way + to greatness, no doubt about + that... No? Well, if you're sure + better be GRYFFINDOR! + + A ROAR erupts from the Gryffindor table. Harry stands + shakily and walks to his table, where Percy, the Weasley + twins, and Hermione all welcome him. At the High Table, + Dumbledore lifts his goblet and, meeting Harry's + eyes...nods. + + +72 INT. GREAT HALL - LATER 72 + + Freshly sorted and seated, the Gryffindor first years watch + in amazement as the empty plates before them + suddenly...fill with food. There is roast beef, chicken, + pork chops, lamb chops, sausages, bacon, steak—the feast of + all feasts. Harry listens as a rather wild-looking boy + named SEAMUS talks to another student, DEAN THOMAS. + + SEAMUS + I'm half and half. Me dad's a + Muggle, Mam's a witch. Bit of a + nasty shock for him when he found + out. + + As Percy leans over to pour a strange liquid into Harry's + goblet, Harry nods to the High Table, to Professor Snape. + + HARRY + Say, Percy. Who's that teacher + talking to Professor Quirrell? + + PERCY + Hm? Oh. Professor Snape. Head of + Slytherin House. + + HARRY + What's he teach? + + PERCY + Potions. But everyone knows it's + the Dark Arts he fancies. Been + after Quirrell's job for years. + 43. + + +Just then, several STUDENTS SHRIEK as a volley of GHOSTS +stream into the hall overhead. One swoops down. + + PERCY + Hello, Sir Nicolas. Have a nice + summer? + + NEARLY HEADLESS NICK + Dismal. What with the Slytherins + winning the House Cup six years in + a row, the Bloody Baron's become + unbearable. + +Nick nods his head in the direction of the Slytherin table, +where a horrific, BLOOD-STAINED GHOST hovers imperiously. + + NEARLY HEADLESS NICK + Then again, he's always been + unbearable. + + RON + I know you. You're Nearly Headless + Nick. + + NEARLY HEADLESS NICK + I prefer Sir Nicolas, if you don't + mind. + + HERMIONE + Nearly headless? How can you be + nearly headless? + + NEARLY HEADLESS NICK + Like this. + +Seizing himself by the left ear, Nick swings his ENTIRE +HEAD off his neck and onto his shoulder, as if it were on a +hinge. + + NEVILLE + (blanching) + I think I'm done eating. + +Just then, Dumbledore rises at the High Table. + + DUMBLEDORE + If I may, I have a few start-of- + term notices to announce. First + Years should note that the. Dark + Forest is strictly forbidden to all + pupils. Also, our caretaker, Mr. + Filch has asked me to remind you + that... + 44. + + + FILCH, a sour-looking man, stands near a side exit while + MRS. NORRIS, a cat with glittering RED EYES, sits by his + feet. + + DUMBLEDORE + ...no magic should be used between + classes in the corridors. And + finally, please note that this + year, the third floor corridor on + the right hand side is out of + bounds to everyone who does not + wish to die a most painful death. + + Hearing this, Ron stops chewing for the first time, glances + at Harry. But before either can speak... + + DUMBLEDORE + And now, let us sing the school + song! Everyone pick their favorite + tune and off we go! + + Professor McGonagall rolls her eyes slightly as Dumbledore + wields his wand. Consulting the PARCHMENT of LYRICS placed + beside their plates, Harry and his fellow First Years join + a rousing, but rather dischordant, chorus of VOICES. + + SCHOOL SINGING + Hogwarts, Hogwarts, Hoggy Warty + Hogwarts Teach us things worth + knowing Bring back what we've + forgot. Just do your best, we'll do + the rest And learn until our brains + all rot... + + +73 INT. MARBLE STAIRCASE - HOGWARTS - LATER - NIGHT 73 + + As the new Gryffindors follow Percy up the staircase, Harry + stares in wonderment at the PORTRAITS on the walls: the + people in them MOVE. + + PERCY + This is the most direct path to the + dormitory, except on Fridays, of + course, when the + staircases...change. + + As the staircase before them moves to the right, Percy + waits briefly, then leads on without comment to a... + + +74 INT. 7TH FLOOR CORRIDOR - MOMENTS LATER - NIGHT 74 + 45. + + + ... a new corridor. Up ahead, Harry spies a bundle of + WALKING STICKS floating in midair. Without warning, the + walking sticks come flying forth. As the First Years duck + and dodge, Percy sighs in annoyance. + + PERCY + Gryffindors, I give you Peeves, + Hogwarts resident poltergeist. + + POP! A tiny translucent man with wicked eyes and wide mouth + appears, clutching the last walking stick. He is PEEVES. + + PEEVES + Oooh! Ickle Firsties! What fun! + + With that, Peeves swoops off, wagging his tongue and + bouncing a walking stick off Neville's head. + + PERCY + (walking on) + Rather a nuisance, I'm afraid. Ah. + Here we are. + + At the very end of the corridor, hangs a PORTRAIT of a + WOMAN in a pink silk dress. She looks at Percy. + + PINK LADY + Password? + + PERCY + Caput Draconis. + + The portrait SWINGS FORWARD, revealing a ROUND HOLE in the + wall. The students all scramble through it, into the... + + +75 INT. GRYFFINDOR COMMON ROOM - NIGHT 75 + + The students enter a cozy, round room, filled with squashy + armchairs. At the top of a SPIRAL STAIRCASE, are two DOORS. + + PERCY + Girls' dormitory to the left. Boys + to the right. You'll find your + belongings have already been + brought up. Any questions? + (no one speaks) + Then, goodnight all. Oh, and don't + forget. Before retiring, please + place all living potion ingredients + in your cupboards. This includes + slugs, fire beetles and cutworms. + Sweet dreams... + 46. + + +76 INT. BOYS TOWER DORMITORY - LATER - NIGHT 76 + + Moonlight falls through the tower windows as Ron, Neville + arid Seamus slumber. As we find Harry, he is sleeping too, + but it is not restful. He twitches and turns... there is a + FLASH OF GREEN...then he awakens with a start, sits up. + Trembling. He glances about the room, then lies slowly + back. Eyes open. + + +77 INT. STAIRWAY - 12 NORTH - HOGWARTS - MORNING 77 + + The stairway bustles with students as Harry and Ron make + their way. Clearly lost, Ron consults his TIMETABLE. + + RON + This is Staircase Twelve North, + which should take us to Backward + Staircase Seven—no wait a minute, + we're on Backward Staircase + Seven... + + HARRY + How many staircases are there? + + HERMIONE + One hundred forty-two, though, in A + History of Magic, Bathilda Bagshot + makes unattributed reference to + three others. + + Harry arid Ron watch Hermione pass by, apparently holding + every single First Year course book in her arms. + + RON + I hate her. + + +78 INT. MCGONAGALL'S CLASSROOM - MORNING 78 + + Students sit attentively, looking front...at a CAT. Its + markings, particularly around the eyes, are somehow + familiar. Harry and Ron burst in, glance around. + + RON + Whew! We made it, mate. Can you + imagine old McGonagall's face if we + were late first day out... + + Hearing this, the cat narrows its eyes, leaps up + and...TRANSFORMS...into old McGonagall herself. Ron's mouth + drops open in amazement. + 47. + + + RON + That was bloody brilliant! + + PROFESSOR MCGONAGALL + Thank you for that assessment, Mr. + Weasley. But perhaps it might be + more useful if I transfigured Mr. + Potter or yourself into a pocket + watch. That way one of you might be + on time. + + HARRY + We got lost. + + PROFESSOR MCGONAGALL + Then perhaps a map. I trust you + don't need one to find your seats? + + Harry and Ron Slink past Hermione, sitting front row + center. + + PROFESSOR MCGONAGALL + Transfiguration is some of the most + complex, dangerous and valuable + magic you will learn at Hogwarts. + Use it skillfully and it may, one + day, save your life. Make a mistake + and you could find yourself with a + toad's head and a monkey's tail. + (opening a textbook) + All right then. Shall we? + + Harry and Ron exchange a glance, whip open their books. + + +79 INT. DUNGEONS - POTIONS - NEXT MORNING - DAY 79 + + As Professor Snape paces imperiously, Harry and the others + sit in dead silence, eyes wandering to the PICKLED ANIMALS + floating in GLASS JARS along the cold stone walls. + + SNAPE + There will be no foolish wand + waving or silly incantations in + this class. As such, I don't expect + many of you to appreciate the + subtle science and exact art that + is potion making. However, for + those select few... + (glances at Malfoy) + 48. + + + ...who possess the predisposition, + I can teach you how to bewitch the + mind and ensnare the senses. I can + tell you howto bottle fame, brew + glory, even stopper death. Then + again, maybe some of you have come + to Hogwarts in possession of + abilities so formidable that you + feel confident enough to...not pay + attention. + +Harry blinks, realizes Snape is looking at him. + + SNAPE + Mr. Potter. Our hew...celebrity. + Tell me. What would I get if I + added powdered root of asphodel to + an infusion of wormwood? + +Harry looks at a loss. Hermione’s hand shoots into the air. + + SNAPE + You don't know. Well, let's try + again. Where, Mr. Potter, would you + look if I told you to find me a + bezoar? + + HARRY + I don't know, sir. + + SNAPE + And the difference between + monkshood and wolfsbane? + +Harry sees Malfoy, Crabbe and Goyle sniggering. + + HARRY + I don't know, sir. + + SNAPE + Pity. Clearly fame isn't + everything, is it, Mr. Potter. + + HARRY + Clearly Hermione knows. It seems a + pity not to ask her.. + +Neville, Seamus and a few other Gryffindors LAUGH. + + SNAPE + Silence! And put your hand down, + you silly girl! + 49. + + + Hermione wilts. Snape steps toward Harry, eyes glimmering. + + SNAPE + For your information, Potter, + asphodel and wormwood make a + sleeping potion so powerful it is + know as the Draught of the Living + Dead. A bezoar is a stone taken + from the stomach of a goat and it + will save you from most poisons. As + for monkshood and wolfbane, they + are the same plant, which also goes + by the name of aconite. + (to the others) + Well, why aren't you all copying + this down? + + The students scramble for their quills and parchment. + + SNAPE + And Gryffindors. Note that five + points will be taken from your + House for your classmate's cheek. + + +80 INT. GREAT HALL - LATER - DAY 80 + + Harry stares glumly at the FOUR HOURGLASSES as the PRECIOUS + GEMS drop in Gryffindor's, rise in Slytherin's. Down the + table, Seamus is MUTTERING. + + SEAMUS + Eye of rabbit, harp string hum... + + HARRY + What’s Seamus trying to do to that + glass of water? + + RON + Turn it to rum. Actually managed a + weak tea yesterday before it... + + PFFFT! BLUE FLAMES shoot over the rim of the glass. + + RON + Two Knuts says he loses his + eyebrows by week's end. Ah, mail's + here. + + DOZENS OF OWLS circle the ceiling, then swoop down, + dropping parcels from home. A copy of The Daily Prophet + rolls onto the table near Harry. + 50. + + + RON + Hey look! Neville's gotten a + Remembrall! + + Neville holds a GLASS BALL filled with WHITE SMOKE. Slowly, + the smoke begins to turn a DEEP SCARLET. + + HERMIONE + I've read about those. If the smoke + turns red it means you've forgotten + something. + + NEVILLE + Only problem is...I can't remember + what I've forgotten. + + Harry, Daily Prophet in hand, nudges Ron. + + HARRY + Hey, Ron. Somebody broke into + Gringotts! Listen: 'Believed to be + the work of Dark wizards or witches + unknown, Gringotts goblins, while + acknowleging the breach, insist + nothing was taken. The vault in + question had, in fact, been emptied + earlier that very same day.' That’s + odd. + + RON + It’s mad. Dad says there are + dragons guarding some of the + vaults. + + HARRY + No. It’s just odd...That’s the day + Hagrid and I were there. + + +81 EXT. THE GROUNDS - HOGWARTS - DAY 81 + + Harry stands in a cluster of Gryffindors, across from + Malfoy and his Slytherin cronies. Between them, there is a + LONG LINE OF BROOMSTICKS. MADAME HOOCH, a rangy witch with + short grey hair and hawk-like eyes, stands between the two + groups. + + MADAME HOOCH + Welcome to your first Flying + Lesson. Well, what are you all + waiting for? Everyone step up to a + broomstick. Come now. Hurry up. + 51. + + +Harry steps forward nervously, glances down. His broom is +old, with twigs sticking out at odd angles. + + MADAME HOOCH + Stick out your right hand, Over the + broom, and say "Up"! + +SHOUTS of "Up!" ring on the cold afternoon air. Though he +barely WHISPERS the command, Harry’s broom SNAPS smartly +into his hand. Hermione's simply rolls over. Ron's FLIES UP +and CRACKS HIM IN THE NOSE. + + MADAME HOOCH + Now. Once you’ve got hold of the + broom, I want you to mount it. And + grip it tight. We don't want you + sliding off the end. + (walking the row) + Your other right hand, Mr. + Finnegan. Goodness, boy, what have + you done with your eyebrows? + + SEAMUS + Lost 'em, ma'am. + + MALFOY + Excuse me, Madam Hooch. Given that + a few of us have been on sticks for + years, would it not make sense to + separate the expert flyers from... + (glancing at Harry) + ...the neophytes? + + MADAME HOOCH + Thank you, Mr. Malfoy, but I’m sure + even an expert flyer such as + yourself can appreciate the + benefits of reacquainting oneself + with the basics. Your grip, for + example. It's thumb in, not out. + +As Malfoy reddens, Harry and Ron share a grin. + + MADAME HOOCH + Very well. Now when I blow my + whistle, I want each of you to kick + off from the ground. Hard. Keep + your brooms steady, hover for a + moment, then lean forward slightly + and touch back down. On my + whistle...Three...Two... + 52. + + +Jumping the gun entirely, a nervous Neville shoots straight +up into the air, like a cork out of a bottle. + + MADAME HOOCH + Mr. Longbottom! Exactly where do + you think you're going? + +Clutching desperately to his broom, Neville caroms crazily +off a tree, flops upside down, rockets past the other +students—who duck—then soars into a mad spiraling climb. + + MADAME HOOCH + Come down here this instant! + +Neville's pale face peers down, his eyes roll up... + + MADAME HOOCH + On your broomstick, Longbottom! + +Too late. With a giant THUD and a nasty CRACK, Neville hits +the pitch. Madame Hooch and the Gryffindors rush over. + + MADAME HOOCH + Broken wrist. Come on, dear. Up you + get. + (leading him off) + Everyone's to keep their feet on + the ground while I take Mr. + Longbottom to the Hospital Wing. + Understand? If I see a single broom + in the air, the one riding it will + find themselves out of Hogwarts + before they can say 'Quidditch.' + +As they go, Harry watches Neville's broom sail high over +Hagrid's house, where the giant himself sits in the front +garden, watching with a pair of BINOCULARS. Malfoy scoops +Neville's Remembrall from the grass, cackles. + + MALFOY + Did you see his face? Perhaps if + the great lump had given this a + squeeze, he would've remembered to + fall on his fat arse. + + HARRY + Give it here, Malfoy. + + MALFOY + No, I think I'll leave it somewhere + for Longbottom to find. How about + up a tree? + 53. + + + Malfoy slings a leg over his broom, KICKS into the air. + + MALFOY + What's the matter, Potter? A bit + beyond your reach? + + Harry glowers up at Malfoy, then GRABS his broom. + + HERMIONE + Harry! No! You heard what Madame + Hooch said. Besides you don't even + know how to...fly. + + Harry shoots into the sky, so angry that it's a moment + before he realizes what the others see clearly: he's a + natural. Turning his broomstick sharply, he hovers, glaring + at Malfoy. + + HARRY + Give it here. Or I'll knock you off + that ruddy broom. + + MALFOY + Is that so? + + Harry SHOOTS forth like a javelin, Malfoy just managing to + slip his charge. As Harry whips around, Malfoy glances down + at the ground, clearly unnerved. Harry simply smiles. + + MALFOY + Have it your way, then! + + Malfoy hurls the ball high. As it plummets, Harry throws + himself into a steep dive, rocketing recklessly downward, + ignoring the earth as it rushes toward him, extending his + hand and...snatching the ball only feet from the ground. He + lands running, grinning, as the Gryffindors cheer. then... + + PROFESSOR MCGONAGALL + HAR-RY POT-TER! + + Harry's stomach drops. Malfoy grins hideously. + + MALFOY + Chin up, Potter. They might let you + stay on as Hagrid's assistant. + + +82 INT. CORRIDOR - HOGWARTS - MOMENTS LATER - DAY 82 + + Harry trails silently after Professor McGonagall. + 54. + + +83 INT. ADJOINING CLASSROOM - MOMENTS LATER 83 + + Professor McGonagall leans into an adjacent classroom. + + PROFESSOR MCGONAGALL + Excuse me, Professor Quirrell, + could I borrow Wood for a moment. + + Startled, Professor Quirrell jumps, then OLIVER WOOD, a + burly fifth-year, emerges, glances curiously at Harry. + + PROFESSOR MCGONAGALL + Potter, this is Oliver Wood. + Wood...I've found you a Seeker. + + +84 INT. CORRIDOR - HOGWARTS - EVENING 84 + + Harry and Ron walk, buffeted by the stream of students + heading for dinner. Hermione walks a few steps behind. + + RON + Seeker! But first years never make + the House teams. You must be the + youngest Quidditch player in-- + + HARRY + --a century. According to + McGonagall. + + Just then, Fred and George descend. + + FRED + Well done, Harry. Wood's just told + us. + + RON + Fred and George are on the team + too. Beaters. + + GEORGE + + Our job to make sure you don't get bloodied up too bad. + Can't make any promises, of course. Rough game, Quidditch. + + FRED + Brutal. But no one's died in years. + Someone will vanish occasionally... + + GEORGE + But they turn up in a month or two. + + As the twins dash off, Ron reads Harry's troubled fade. + 55. + + + RON + Oh go on, Harry. Quidditch is + great. Best game there is. And + you'll be great too. + + HARRY + But I've never even played + Quidditch. What if I make a fool of + myself? + + HERMIONE + You won't make a fool of yourself. + + Ron and Harry turn. They hadn't’even noticed Hermione. + + HERMIONE + It's in your blood. + + +85 INT. TROPHY STAIRCASE - MOMENTS LATER 85 + + Hermione leads Harry and Ron to a DISPLAY CASE. Inside is a + history of Quidditch at Hogwarts, with ancient brooms, + strange equipment, and various TROPHIES. She points. Etched + upon a SILVER TRAY, below a GRYFFINDOR LION, one NAME + shines: + + James Potter. Seeker. + + RON + Harry...you didn't tell me your + father was a Seeker too. + + HARRY + I...didn't know. + + +86 INT. MARBLE STAIRCASE - MOMENTS LATER 86 + + As Harry and Ron trail Hermione up the staircase, Ron + WHISPERS. + + RON + I'm telling you, it's spooky. She + knows more about you than you do. + + HARRY + Who doesn't? + + Just then, the staircase LURCHES beneath their feet... + + +87 INT. FORBIDDEN CORRIDOR - CONTINUOUS 87 + 56. + + + ...and transports them to a very dark, very creepy + corridor. + + RON + Does anybody feel like...we + shouldn't be here? + + HERMIONE + We're not supposed to be here. This + is the Third Floor. It's forbidden. + + HARRY + (intrigued) + Why, though? + + HERMIONE + Because Dumbledore said so. Let's + go. + + Meow. They freeze. A CAT sits watching them, eyes + glittering in the dark. Then...a SHADOW scales the wall. + + FILCH (O.S.) + Who goes there! + + They turn, dash the opposite way. As they reach a DOOR, + Harry grips the knob, twists. It's LOCKED. + + FILCH (O.S.) + Lead me to them, my sweet.... + + RON + That's it. We're done for. + + HERMIONE + Oh, move over. Alohomora! + + Hermione gives her wand a swish and...the door swings open. + + Harry and Ron stare incredulously. + + HERMIONE + Standard Book of Spells. Chapter + Seven. + + +88 INT. FORBIDDEN ROOM - CONTINUOUS 88 + + As they fall inside, Hermione presses her ear to the door. + + RON + Chapter Seven? + 57. + + + HERMIONE + Shhh! Filch is...gone. + + RON + He probably thinks this door is + locked. + + HERMIONE + It was locked. + + HARRY + And for good reason... + + Hermione and Ron turn. Standing a feet away is a DOG...only + this one has three heads, three pairs of mad, rolling eyes, + and three sets of hideous yellow fangs dripping with + saliva. + + As the dog ROARS, they tumble back outside and... + + +89 INT. 3RD FLOOR CORRIDOR 89 + + ...Harry FLINGS home the DOOR just before the dog throws + itself against it. They exchange a glance, dash off. + + +90 INT. GRYFFINDOR COMMON ROOM - NIGHT 90 + + The Pink Lady frowns as they spill through, stand gasping. + + RON + What do they think they're doing + keeping a thing like that locked up + in school? + + HERMIONE + You don't use yqur eyes, do you? + Didn't you see what it was standing + on? + + RON + I wasn't looking at its feet. I was + a bit preoccupied with its heads. + Or maybe you didn't notice. There + were three. + + HERMIONE + It was standing on a trapdoor, + which means-it's not there by + accident. It's... + + HARRY + 58. + + + Guarding something. + + HERMIONE + That's right. Now, if you don't + mind, I think I'll go to bed before + either of you figures out another + clever way to get us killed. Or + worse...expelled. + + +133 EXT. PRACTICE FIELD - DUSK 133 + + Harry stands with Oliver Wood on the empty practice pitch. + + WOOD + Quidditch is easy enough to + understand. Each team has seven + players: Three Chasers, two + Beaters, one Keeper and the Seeker— + that's you. There are three kinds + of balls. This one's called the + Quaffle. + (holds up a red ball) + The Chasers handle the Quaffle and + try to put it through one of three + hoops. The Keeper—that's me—defends + the hoops. With me so far? + + Harry nods, points to a WOOD CRATE rocking Violently. + + HARRY + I think so. What's in there? + + WOOD + Here. Take this. + + Wood hands Harry a SMALL CLUB, kneels before the crate, and + unlashes a leather strap. Instantly, a BLACK BALL rockets + into the sky, then, without warning, PLUMMETS straight down + — at Harry's head. Startled, Harry jumps aside and—purely + on instinct—clubs it back into the sky. + + WOOD + Not bad, Potter. You'd make a fair + Beater. Careful now, it's coming + back. + + As the ball screams back to earth, Wood crates it. + + HARRY + What was that? + + WOOD + 59. + + + Bludger. Nasty little buggers. But + you're a Seeker. The only ball I + want you to worry about is...this. + + Wood takes out a TINY BALL about the size of a walnut. + BRIGHT GOLD, it has little, fluttering WINGS. + + HARRY + I like this ball. + + WOOD + You like it now. Just wait. It's + wicked fast and damn near + impossible to see. + + HARRY + What do I do with it? + + WOOD + Catch it. Before the other team's + Seeker. You catch this, the game is + over. You catch this, Potter...we + win. + + +134 INT. PROFESSOR FLITWICK'S CLASS - DAY 134 + + PROFESSOR FLITWICK, a very tiny, gnome-like wizard, stands + on a PILE OF BOOKS as he oversees the class. + + PROFESSOR FLITWICK + Now don't forget that nice wrist + movement we've been, practising. + Swish and flick. Swish and flick. + + Harry, paired with Seamus, poses his wand over the FEATHER + before him and begins to swish and flick. + + HARRY + Wingardium Leviosa. + + The feather flutters, but never leaves the table. + + PROFESSOR FLITWICK + And enunciate! Never forget Wizard + Baruffio, who said 's' instead of + 'f' and found himself on the floor + with a buffalo on his chest. + + RON + WINGARDIUM LEVIOSA! + + Ron windmills his arms grandly. Nothing. Hermione frowns. + 60. + + + HERMIONE + Honestly. You're going to take + someone's eye out. Besides, you're + saying it wrong. It's Levi-ohhhh- + sa. Not Levi-o-saaaah. + + RON + You do it then, if you're so + clever. + + HERMIONE + Wingardium Leviosa. + + Hermione swishes and flicks. Instantly the feather rises. + + PROFESSOR FLITWICK + Oh, well done! Everyone see here. + Miss Granger's done it! + + PFFFT! Across the room, SMOKE curls between Seamus and + Harry. + + HARRY + I think we’re going to need another + feather over here, Professor. + + +135 INT. COURTYARD - LATER - DAY 135 + + As Harry and Ron cross the courtyard, Ron mimics Hermione. + + RON + It'sLevi-ohhhhh-sa. Not Levi-o- + saaaah. She's a nightmare, + honestly. No wonder she hasn't got + any friends. + + JuSt then, someone BUMPS into Harry. He turns, sees + Hermione dash by, hugging her books, eyes glittering; with + tears. + + HARRY + I think she heard you. + + +136 INT. GREAT HALL - NIGHT 136 + + Candlelit PUMPKINS flicker throughout the hall, while + THOUSANDS OF LIVE BATS flutter overhead. Harry sits + quietly, studying an EMPTY CHAIR, then sees Professor + McGonagall standing across the way with Hagrid. Both are + looking at him. McGonagall says something to Hagrid, who + nods, then she steps away, approaches Harry. + 61. + + + PROFESSOR MCGONAGALL + How are you, Potter? All right? + + HARRY + Yes, Professor. Fine. + + PROFESSOR MCGONAGALL + I know...that is, we know...the + members of the staff...that this is + perhaps a difficult night for you. + Halloween. Your parents... + +Harry realizes what she is talking about. Nods. + + HARRY + I'm all right, Professor. + + PROFESSOR MCGONAGALL + Very well. + +She turnsstarts to go. + + HARRY + Professor...Thank you. + + PROFESSOR MCGONAGALL + You're welcome, Potter. + +As she goes, Harry sees Ron glumly pushing his food around, +listening to Neville speak across the EMPTY CHAIR to +Seamus. + + NEVILLE + Parvati Patil said she wouldn't + come out of the girls' bathroom. + Said she's been in there all + afternoon. Crying. + +Just then, Professor Quirrell runs into the room, CRIES +OUT: + + QUIRRELL + TROLL IN THE DUNGEON! TROLL IN THE + DUNGEON ! Thought you ought to + know... + +He faints to the floor. There is a brief silence, then +utter pandemonium breaks out; Students SHRIEK. Bats +SCREECH. + +POP! POP! POP! The hall goes still, all eyes on Dumbledore, +standing at the front, purple smoke trailing from his wand. + 62. + + + DUMBLEDORE + Everyone will please not panic. + Prefects, lead your Houses back to + the dormitories. Teachers, follow + me to the dungeons. + + +137 INT. MARBLE STAIRCASE - MOMENTS LATER - NIGHT 137 + + As they follow Percy up the stairs, Ron still looks glum. + + HARRY + How could a troll get in? + + RON + Not on its own. Trolls are really + stupid. Probably Peeves' playing + jokes... + (seeing Harry's face) + What? + + HARRY + Hermione. She doesn't know. + + +138 INT. GIRL'S BATHROOM CORRIDOR - MOMENTS LATER - NIGHT 138 + + Harry and Ron slip away from the Gryffindors, in with the + Hufflepuffs, then down a deserted hallway. As FOOTSTEPS + ring out, they duck behind a STONE GRIFFIN, see Snape hurry + past. + + HARRY + That's the third-floor he's going + to. Teachers were supposed to go to + the dungeons... + (wrinkling his nose) + What's that? + + RON + Smells like Fred's socks. + Only...worse. + + Much worse. Lumbering toward them is a TROLL with an + ENORMOUS CLUB. As it comes into a PATCH OF MOONLIGHT, it + blinks stupidly, peers into a doorway, then slouches slowly + inside. + + Harry studies a SUIT OF ARMOR beside the door, thinks... + + HARRY + Follow me. + 63. + + + Harry edges forward, pulls the SWORD from the suit of + armor, and runs it through the door handle, trapping the + troll. + + RON + Yes! + + Harry grins, then HEARS a high, petrified SCREAM. + + HARRY + This wouldn't be the girl's + bathroom, would it? + + CUT TO: + + CLOSE UP — HERMIONE SCREAMING + + +139 INT. GIRL’S BATHROOM - NIGHT 139 + + A HUGE SHADOW falls over Hermione’s face. + + HERMIONE'S POV + + ...as the troll advances directly toward her. + + She dashes into a stall, bolts the door. Trembling, she + peers upw’ard.. .watching as...the troll's face appears + over the top, looking in. + + Panicked, she drops to the floor and shimmies into the next + stall, out of Sight. Angered, the troll raises its club and + —■ SMASH!--shatters the stall Hermione just vacated. As + wood rains down in jagged, splintered pieces... + + ...Harry and Ron rush in, staring in horror as the troll + raises the club high and SHATTERS the next stall. + + Hermione, still crawling, covers her head and peers back. + + SMASH! The club comes thundering down yet again, this time + just inches from her foot. + + RON + Don't worry, Hermione! We're here! + (turning to Harry) + She's dead. + + HERMIONE + I heard that! + + RON + 64. + + + What do we do? + + HARRY + (looking about + frantically) + Confuse it! + + RON + Confuse it? + (SHRUGGING) + Hey, pea brain! + +Harry and Ron grab anything they can arid begin to hurl it +at the troll, but they might as well be throwing +marshmallows. + +As shards of wood bounce off its pint-sized head and great +lumpy shoulders, the troll brings the club down once more +and SHATTERS the last stall. + +As Harry and Ron look on grimly, the troll jabs its club +into the hash of wood before it, poking about for Hermione, +when, at the last second... + +...she scrambles out and dashes under the sink. GRUNTING +furiously, the troll turns, begins to advance on her. + +Harry, thinking fast, rushes forward and leaps upon the +troll's rising club, rising himself...right out of +FRAME...and then...dropping... + +...right onto the troll's slimy neck. The troll blinks +dimly and, before it can react, Harry—purely on instinct— +shoves his wand straight up the troll's nose. + +The troll ROARS in pain, dropping the club and stamping +about. Ron watches helplessly, then glances at the club on +the floor, an idea flickering across his face. Raising his +wand, he SPEAKS: + + RON + Wingardium Leviosa. + +Harry swings around, sees Ron standing, wand poised. It +does not inspire confidence. Ron looks at Hermione, takes a +breath, and this time, employs the correct pronunciation. + + RON + Wingardium LEVI-OHHHH-SA! + 65. + + +With that, the club quivers upon the floor...begins to +rise. The troll, still raging, grabs Harry's leg and peels +him off his body. As he holds Harry up high, suspended by +one leg, Harry's world goes upside down, spinning, when... + +...the club floats by his face. The troll pauses, watching +in confusion as the club rises toward the ceiling, hanging +in magical suspension until... + +...THUNK! It drops smack on the troll's head. Wobbling, the +troll releases its grip on Harry's leg and... + +...drops him hard to the floor. Harry peers up. The troll +wobbles one last time and starts to fall...directly on top +of Harry. Quickly, Harry rolls away... + +...just before the troll SLAMS to the floor, inches away. + +All is quiet for a moment. Then Hermione steps forward. + + HERMIONE + Is it--dead? + + HARRY + I don't think so. Just knocked out. + + RON + No need to kill it, after all. + + HARRY + Yes, well, that was big of you. + Ugh. Troll snot. + +Harry extracts his wand, wipes it on the troll's trousers. +A sudden VOLLEY of FOOTSTEPS announces the arrival of +Professors McGonagall, Snape, and a still queasy Quirrell. +Harry notices a SPOT OF BLOOD on Snape's leg, sees Snape +shift his cloak to cover it. + + PROFESSOR MCGONAGALL + Explain yourselves! Both of you. + + HERMIONE + It's my fault, Professor + McGonagall. + + PROFESSOR MCGONAGALL + Miss Granger! + + HERMIONE + 66. + + + I went looking for the troll. I've + read about them and thought I could + handle it. But I was wrong. If + Harry and Ron hadn't come + along...I'd be dead. + + Ron drops his wand, stunned by Hermione's lie. + + PROFESSOR MCGONAGALL + I'm very disappointed in you, Miss + Granger. Five points will be taken + from Gryffindor for your very + serious lack of judgement. As for + you gentlemen, I hope you realize + just how lucky you are. Not many + First Years could take on a full + grown maintain troll and live to + tell the tale. I award each of you + five points...for sheer dumb luck. + + +140 INT. SEVENTH FLOOR CORRIDOR - MOMENTS LATER - NIGHT 140 + + Hermione walks silently beside Harry and Ron. + + HARRY + Good of her to get us out of + trouble like that. + + RON + Mind you, we did save her from a + full grown mountain troll. + + HARRY + Mind you, she might not have needed + saving if we hadn't locked the + thing in with her. + + Ron glances at Hermione, then away. + + RON + What are friends for? + + +141 INT. GREAT HALL - DAY 141 + + Harry, Ron and Hermione sit together. Harry ignores his + breakfast. Ron, as usual, is stuffing his face. + + RON + Take a bit of toast, mate. Go on. + + HERMIONE + 67. + + + Ron's right, Harry. You're going to + need your strength today. + + HARRY + I'm not hungry. + + SNAPE + (appearing) + Good luck today, Potter. Then + again, now that you've proven + yourself against a troll, a little + game of Quidditch should be easy + work for you. Even if it is against + my boys. + +Snape smiles, LIMPS away toward the Slytherin table. + + HERMIONE + That was...disturbing. + + RON + I tell you what's disturbing. Snape + smiling. + + HARRY + That explains the blood... + + HERMIONE + Blood? + + HARRY + Last night, Ron and I saw Snape + heading for the third floor. I'm + guessing he let the troll in as a + diversion, tried to get past the + three-headed dog, and got himself + bit. That's why he's limping. + + HERMIONE + But why would anyone go near that + dog? + + HARRY + Listen. The day I was at Gringotts, + Hagrid took something out of one of + the vaults. Said it was Hogwarts + business. Very secret. + + HERMIONE + So you're saying... + + HARRY + 68. + + + That's what the dog's guarding. + That's what Snape wants. + + RON + "But what's safer than Gringotts? + + HARRY + One place, according to Hagrid. + Hogwarts. + + HERMIONE + Well, whatever it is, it must be + really valuable. + + HARRY + Or really dangerous. + + Just then, an OWL beats into the room. + + HERMIONE + Bit early for mail, isn't it? + + HARRY + That's Hedwig. + + All watch as she swoops down with a LONG, THIN PACKAGE. + Harry slips Hedwig a piece of his uneaten toast, strips + open the parcel and finds, inside, a sleek mahogany + BROOMSTICK. + + HARRY + It's a broomstick. + + RON + That's not a broomstick, Harry. + That's a Nimbus Two Thousand. + + HARRY + But who...? + + Harry glances up, sees—far across the room--Professor + McGonagall looking his way. Quickly, she turns away. + + +142 EXT. QUIDDITCH FIELD - DAY 142 + + The stadium is full. Ron and Hermione join Neville and + Seamus in the Gryffindor section, unfurl a banner that + reads POTTER FOR PRESIDENT. As the Slytherin and Gryffindor + teams take the field, the CROWD ROARS. Oliver Wood runs up + alongside a nervous Harry, who clutches his new Nimbus + 2000. + 69. + + + WOOD + I know what you're thinking, Harry. + I'm playing my first game of + Quidditch, the entire school's + watching me and, worst of all, it's + against Slytherin. Am I right? + + HARRY + Pretty close. + + WOOD + It's all right. I felt the same way + before my first game. + + HARRY + What happened? + + WOOD + I don't really remember. I took a + Bludger to the head about two + minutes in and woke up in the + hospital a week later. + +Madame Hooch, clad in REFEREE ROBES, addresses the players. + + MADAME HOOCH + Now, I want a nice clean game. From + all of you. + +She glances tellingly at Slytherin Captain MARCUS FLINT. + +Harry leans over to ANGELINA JOHNSON, Gryffindor Chaser. + + HARRY + Who's he, Angelina? + + ANGELINA + Marcus Flint. Slytherin Captain. + They say he's got troll blood in + him. + +Harry swallows as Flint glares at him murderously. + + MADAME HOOCH + Mount your brooms, please. + +Hands trembling, Harry waits, then the WHISTLE BLASTS. +FOURTEEN BROOMSTICKS rise into the air. As the crowd ROARS, +Madam Hooch kicks the crate, releasing two SCREAMING +Bludgers, then tosses up the Quaffle. In the stands, LEE +JORDAN does COMMENTARY. + + LEE JORDAN + 70. + + + Quaffle's up...and straight off + taken by Angelina Johnson of + Gryffindor. What an excellent + Chaser that girl is, and rather + attractive too, I might add. + +Professor McGonagall casts a disapproving glance at Jordan, +then turns to watch the action below. + +Cradling the Quaffle, Angelina Johnson WEAVES wickedly past +a Slytherin Chaser, DUCKS UNDER a sizzling Bludger that +Fred Weasley CHIPS AWAY, then DISHES OFF to a speeding +Alicia Spinnet. Alicia FALLS into a FIFTEEN FOOT ROLLING +DIVE, feeds the Quaffle back to Angelina...but has it +INTERCEPTED by a slashing Marcus Flint. Flint FLIES FAST +for the hoop, rears back...but has his shot BLOCKED by +Oliver Wood. Wood bumps, the Quaffle to Chaser Katie Bell, +who ROCKETS past Flint the length of the field...only to +take a Bludger to the back of the head. As the Quaffle pops +loose, Marcus Flint grabs it, drives with astonishing speed +back the other way, then takes a Bludger himself, courtesy +of George Weasley. Angelina Johnson swoops down, Snatches +the spinning Quaffle and, flying like lightning, races the +field to score. + +As Gryffindor CHEERS fill the cold air, Hagrid makes his +way up the stands, scattering students in his wake. + + HAGRID + Budge up there. Clear the way. + How's Harry holdin' up? + +Ron and Hermione squeeze together, giving Hagrid space. + + RON + He hasn't had much to do yet. + + HAGRID + First game. He stays outta trouble, + that'll be doin' enough. + +Above the pitch, Slytherin's ADRIAN PUCEY eludes two +Bludgers, two Weasleys and the Chaser, ZOOMING toward the +goals...when suddenly a FLASH OF GOLD zips by his left ear. + + HARRY + The Snitch! + +Far below, Slytherin Seeker TERENCE HIGGS makes his move. + 71. + + +Harry DIVES. Faster than Higgs, he closes the gap quickly, +eyes locked on the tiny golden ball. He adds some speed, +reaches out, and—WHAM!—Marcus Flint HITS HIM full on, +sending him reeling. Harry PULLS UP his tip, LEVELS-OFF, +and glances about. But the Snitch is GONE. + + RON/HERMIONE/HAGRID + FOUL! FOUL! FOUL! + +As a Bludger screams past Harry, he tries to kick his broom +higher. Instead, it LURCHES, nearly tossing him off. Below, +Hagrid peers through his BINOCULARS, frowns. + + HAGRID + Dunno what Harry thinks he's doin'. + If I didn't know better, I'd say + he's lost control of his broom... + + RON + Maybe something happened to it when + Flint blocked him. + +In the stands, people gasp as the broom ROLLS OVER and +leaves Harry DANGLING from one end. Neville buries his +face. + + HAGRID + No. Can't nothin' interfere with a + broomstick except, powerful Dark + magic. No kid could do that to a + Nimbus 2000. + +Hearing this, Hermione GRABS Hagrid's binoculars. + + HERMIONE + (whispering to Ron) + It's Snape. He's jinxing the broom. + +Ron takes the binoculars, looks. Snape sits MUTTERING in +the opposite stands, staring into the sky. Staring at +Harry. + + RON + Jinxing the broom? What do we do? + + HERMIONE + Leave it to me. + +As Hermione dashes off, Ron turns the binoculars back to +the sky. Harry hangs from the broom with two hands while +Fred hovers nearby. George circles about ten feet below. + + HARRY + 72. + + + What’s George doing? + + FRED + Just in case you fall, George + will... + (not sure of this + himself) + ...catch you. + + HARRY + I knew I should have gone out for + football. + + GEORGE + What's football? + +Hermione fights her way through the Slytherin faithful, who +cackle at Harry's plight, toward Snape. + + MALFOY + Take a good look, lads. With any + luck we'll be having Potter soup + for supper— + +Just then, Hermione brushes past, sending Malfoy ass over +tea kettle into Professor Quirrell in the row below. +Reaching Snape, Hermione crouches down and whips out her +wand. + +Across the field Ron peers through the binoculars... + + RON + Come on, Hermione... + +Just then, BLUE FLAMES spit from Hermione's wand, climbing +quickly up Snape's robes. Snape continues to mutter, +staring skyward, then realizes he's on fire, and looks +away. In the commotion, that ensues, Ron sees Hermione +scoop the blue fire into a little jar, slip it into robe, +and make her escape. + +Instantly, Harry's broom stops jerking. He clambers back +on, when—SWOOSH!—A FLASH OF GOLD streaks by him: the +Snitch. Higgs ZOOMS UP from below and he and Harry give +chase. + +The Snitch SWERVES, then... DIVES. As it PLUMMETS, Harry +and Higgs plummet too, giving it all they've got. + +On the pitch below, Hermione puts her hand to her mouth. In +the stands, Neville buries his head again. + 73. + + + As the Snitch drops, the ground rushes crazily upward, the + speed breathtaking. Harry seems intoxicated by it, slightly + crazed, eyes riveted to the fluttering Snitch, seeing it + and only it. Higgs, on the other hand, sees only the ground + and, at the last minute, can bear it no longer, PULLING UP + on his broom and SWERVING to safety. As Harry and earth + collide, the Nimbus cartwheels away, Harry rolls off and, + coming up on all fours, Claps his hand to his mouth. As if + he were sick. + + PROFESSOR MCGONAGALL + Well, that's unfortunate. + Understandable, but unfortunate. + + As Harry COUGHS, Hagrid takes back his binoculars, which, + unfortunately for Ron, are still around Ron's neck. + + HAGRID + Unfortunate nothin'. He's got the + Snitch! + + Harry SHOOTS his hand in the air. The crowd ROARS. Marcus + Flint touches down, fuming. + + FLINT + He didn't catch it. He swallowed + it! + + HERMIONE + (popping in) + Nothing in the Quidditch rulebook + discriminates against catching the + Snitch in your mouth. Or any other + place for that matter. In fact, in + a game played in Greece in the late + seventeenth century— + + MADAME HOOCH + Thank you, Miss Granger. We can + dispense with the more unattractive + historical details of the game. + Nevertheless, your point is well + taken. Match to Gryffindor! + + As Harry's teammates lift him to their shoulders, Hermione + spies Snape in the far stands, limping quickly away, his + robes still smoking. + + +143 EXT. HOGWARTS GROUNDS - LATER - DAY 143 + + Harry, Ron, and Hermione walk with Hagrid towards his home, + a WOODEN HUT on the edge of the Dark Forest. + 74. + + + HAGRID +Rubbish! Why would Snape put a +curse on Harry's broom? + + HARRY +Who knows? Why was he trying to get +past that three-headed dog on +Halloween? + + HAGRID +How do you know about Fluffy? + + RON +Fluffy? + + HERMIONE +That thing has a name? + + HAGRID +'Course he's got a name. He's mine. +Bought him off an Irish bloke I met +in the Pub las' year. Lent him to +Dumbledore to guard the... + + HARRY +Yes? + + HAGRID +Don' be askin' me anymore. That's +top secret, that is. + + HARRY +But Hagrid, whatever Fluffy's +guarding, Snape's trying to steal +it. + + HAGRID +Codswallop! Snape's a Hogwart's +teacher. + + HERMIONE +Hogwarts teacher or not, I know a +jinx when I see one, Hagrid. I've +read all about them. You've got to +keep eye contact, and Snape wasn't +blinking. + + HAGRID + 75. + + + Now listen to me, all three of yeh— + yer meddlin' in things that + shouldn't be meddled. It's + dangerous. What that dog's guardin' + is strictly betw'n Professor + Dumbledore and Nicolas Flamel— + + Hagrid stops, furious with himself, then turns for his hut, + where FANG, an enormous black boarhound, greets him. + + HARRY + Nicolas Flamel. Why does that name + sound familiar? + + +144 EXT. HOGWARTS CASTLE - DAY 144 + + December.. Snow falls, dusting the castle turrets and + blanketing the grounds. Hagrid drags a GIANT CHRISTMAS FIR + toward the Castle, Fang trotting by his side. + + +145 INT. GREAT HALL - DAY 145 + + Nearly Headless Nick SWOOPS about a TOWERING CHRISTMAS + TREE, running GARLAND over the limbs, while Peeves plucks + ORNAMENTS from the branches, hurling them to the floor. + + PROFESSOR MCGONAGALL + Listen up! As the lake is frozen, + all students going home for holiday + will take a flying sleigh to the + departure platform. Earmuffs are + strongly recommended. + + Harry and Ron pay no attention to the students bustling + about them, sitting alone by the window playing WIZARD + CHESS. Unlike Muggle chess, these figures are alive. + Presently, Harry's BISHOP looks cross. + + BISHOP + Don't send me there! Can't you see + his Knight? Send him. We can afford + to lose him. + + The bishop points to a PAWN. Harry sheepishly complies. + + RON + Queen to pawn six. + + Ron YAWNS as his queen steps forward and--with extreme + prejudice—disposes of the pawn. Hermione, huge trunk in + tow, arrives just in time to witness the carnage. + 76. + + + HERMIONE + Oh my god! That's barbaric! + + RON + That's chess. I see you're packed. + + HERMIONE + I see you're not. + + RON + Change of plans. My parents decided + to go to Romania to visit my + brother Charlie. He's studying + dragons there. + + HERMIONE + You can help Harry then. He + promised to keep looking in the + library for Nicolas Flamel over + holiday. + + RON + We have looked. A hundred times. + + HERMIONE + (as she exits) + Not in the Restricted Section. + + RON + I think we've had a bad influence + on her. + + +146 INT. BOYS TOWER DORMITORY - MORNING 146 + + CAMERA PANS a stack of PACKAGES at the foot of Harry's bed. + + RON + Happy Christmas, Harry! + + Harry rubs his eyes, sees Ron wearing a MAROON SWEATER over + his pajamas. Ron tosses him a present. + + HARRY + I've got presents. + + RON + What'd you expect? In your hand's + from Hagrid. And by the looks of + that lumpy one, Mum's sent you a + Weasley sweater. + 77. + + + Harry opens Hagrid's, finds a WOODEN FLUTE. As he blows it, + Hedwig cocks her head. It sounds like an owl. Harry takes + up the next parcel. It's very light. He reads the NOTE + attached. + + HARRY + 'Your father left this in my + possession before he died. It is + time it was returned to you.' + + Harry tears the paper away, finds something SHINY and + translucent slithers to the floor. + + HARRY + It's some kind of...cloak. + + RON + Well, let's see then. Put it on. + + As Harry takes the cloth, we hang on Ron, watching, then: + + RON + Ahhh! + + Harry's head is floating in midair. Ron looks on in awe. + + RON + Harry, do you know what this is? + It’s an invisibility cloak. They're + really rare. Who gave you this? + + HARRY + There's no name...It just says, + 'Use it well.' + + +147 INT. LIBRARY - NIGHT 147 + + Pitch black. A match STRIKES, floats by itself, in midair. + It drifts forward, LIGHTS a LAMP. + + +148 INT. LIBRARY - ROW OF BOOKS - MOMENTS LATER - NIGHT 148 + + The lamp floats eerily among the books, then rises, + illuminates a SIGN: RESTRICTED. + + +149 INT. RESTRICTED ROOM - LIBRARY - NIGHT 149 + + The lamp FLOATS into the room, the invisibility cloak drops + and, bit by bit, HARRY appears. + 78. + + + HARRY + Flamel. Nicolas Flamel... + + Harry runs his finger along the spines, stops. Takes a + LARGE BOOK from the shelf. Runs his hand over the course + leather, then...opens it. At once it begins to SHRIEK! + Harry SLAMS it shut, but it goes on WAILING. Stumbling + back, Harry tips the lamp and all GOES dark. FOOTSTEPS ring + out. Frantically, Harry sifts the darkness for the cloak, + panicking, when his hands...DISAPPEAR. Pitching the cloak + over himself, he dashes to the door, just as it CLANGS open + —revealing Filch. As Filch's pale, wide eyes stare straight + ahead, Harry glides right past him... + + +150 INT. LIBRARY CORRIDOR - NIGHT 150 + + —then dashes into the corridor, the book’s SHRIEKS echoing + behind him, coming face to face with... Snape and Quirrel, + in the midst of a heated conversation. + + SNAPE + Have you found out how to get past + that beast of Hagrid’s, yet? + + QUIRRELL + B-b-but Severus, I— + + SNAPE + You don’t want me as your enemy, + Quirrel. + + QUIRRELL + I don’t know what you— + + SNAPE + You know perfectly well what I + mean. Your little bit of hocus + pocus... + + Harry walks slowly, carefully around them, trying not to be + heard. Snape stops, as if he's felt a small breeze, then... + turns... seeing soft FEATHERS OF VAPOUR. Snape reaches out + to touch them... Inside the cloak, Harry puts his hand to + his mouth, to stop his breath... Snape finds nothing in + front of him. He turns back to Quirrel. + + SNAPE + We'll have another little chat + soon, when you've had time to think + things over and decide where your + loyalties lie. + 79. + + + The door behind them slowly opens and closes... quietly, + carefully... + + Filch appears, from around the corridor, walks up to Snape + and Quirrel. + + FILCH + Professors... I found this. In the + Restricted Section. It's still hot. + + SNAPE + Then they can't be far. + + Snape, Quirrel and Filch exit. + + +151 INT. EMPTY CLASSROOM - NIGHT 151 + + Harry drops the cloak, exhales, and absently rubs his scar; + wincing mildly. As his eyes adjust, he sees a MAGNIFICENT + MIRROR, as high as the ceiling, across the room. On the + frame is an INSCRIPTION: Erised stra ehru oyt ube cafru oyt + on wohsi. He steps in front. + + HARRY + Ah! + + Harry turns—as if expecting to see someone--but finds only + the dark shapes of desks and chairs.. Slowly, he turns + back. + + In the mirror, Harry sees his own startled reflection + and...beyond...a MAN and a WOMAN. + + HARRY + Mum? Dad? + + +152 INT. BOYS TOWER DORMITORY - MOMENTS LATER - NIGHT 152 + + CLOSE UP: A SLEEPING RON + + HARRY + Ron! Ron! Wake up! + + Ron squints in confusion, then Harry lowers the cloak. + + HARRY + There's something you've got to + see! + + +153 INT. EMPTY CLASSROOM - A FEW MINUTES LATER - NIGHT 153 + 80. + + + Harry drags Ron to the mirror. + + HARRY + Come look! It's my family. + + RON + (yawning) + That's you, Harry. + + HARRY + Look in properly, go on, stand + here. + + Harry steps aside. Ron takes his place and...freezes. + + HARRY + There. You see them, don't you? + That's— + + RON + Me. Only I'm...Head Boy! And I'm + holding the Quidditch Cup + and...bloody hell...I'm Quidditch + Captain too! Harry, do you think + this mirror shows the future? + + HARRY + (troubled) + How can it? All my family are dead. + + +154 INT. GREAT HALL - THE NEXT MORNING - DAY 154 + + The Hall looks deserted as the students who remain eat + breakfast. The Weasleys chatter amongst themselves, + laughing, then Ron looks away, sees Harry staring into the + distance. + + RON + Want to play chess? + + HARRY + No. + + RON + Want to go visit Hagrid? + + HARRY + No. + + RON + 81. + + + Harry, I know what you're thinking. + But don't. There's something not + right about that mirror. + + +155 INT. EMPTY CLASSROOM - NIGHT 155 + + Harry sits before the mirror, transfixed. + + DUMBLEDORE (O.S.) + Back again, Harry? + + Harry turns. Dumbledore slips off a desk, sits beside him. + + DUMBLEDORE + I see that you—like so many before + you—have discovered the delights of + the Mirror of Erised. I expect by + now you realize what it does. + + HARRY + It shows me my family. + + DUMBLEDORE + And it showed your friend Ron + himself as Head Boy. + + Harry looks surprised. Dumbledore smiles. + + DUMBLEDORE + I don't need a cloak to become + invisible. + (re: the mirror) + I'll give you a clue, Harry. The + happiest man on earth would look + into the Mirror of Erised and see + only himself, exactly as he is. + + HARRY + So, then, it shows us what we + want... Whatever we want... + + DUMBLEDORE + 82. + + + Yes and no. It shows us nothing + more or less than the deepest, most + desperate desire of our hearts. + You, who have never known your + family, see them gathered around + you. Ronald Weasley, who has always + been overshadowed by his family, + sees himself standing alone. + Remember this, though, Harry. This + mirror gives us neither knowledge + or truth. Men have wasted away + before it. Even gone mad. + (rising) + That's why it will be moved to a + new home tomorrow. I ask that you + do not go looking for it again, + Harry. It does not do to dwell on + dreams and forget to live. + + HARRY + Can I ask you something, Professor? + What do you see when you look in + the Mirror? + + DUMBLEDORE + I? I see myself holding a pair of + thick, woolen socks. One can never + have enough socks, Harry. You'll do + well to remember that as well. + + +156 EXT. SCHOOLCOURTYARD - DAY 156 + + Bundled against thechill,Harry—burdened by heavy thoughts— + enters the empty courtyard, Hedwig on his arm. As he + releases her, she sails high over the castle + walls...wending her way through the turrets and then out + over the wintry grounds, her reflection glimmering on the + surface of the icy lake below. + + As she turns, beating her way back, the dark sky lightens, + turning a slow, glorious blue and the once-dark trees + shimmerin the crisp Spring light. Hogwarts itself shimmers + as well, no longer dusted with snow. Hedwig glides over the + castle walls, swoops, and comes to a fluttering rest + outside one of the high windows of the Great Hall. + + +157 INT. GREAT HALL - DAY 157 + + Hermione—book in hand—quizzes Ron, who seems more + interested in the pack of Chocolate Frogs in his hand. + 83. + + + HERMIONE + I'll ask you again. What are the + three most Crucial ingredients in a + Forgetfulness Potion? + + RON + And I'll tell you again. I forgot. + + HERMIONE + And what, may I ask, do you plan to + do should you get that question on + final exams? + + RON + Crib off you. + + HERMIONE + You will not. Besides, according to + Professor McGonagall, we're to be + given special quills bewitched with + an anti­cheating spell. + + RON + That's insulting. It's as if they + don't trust us. + (frowning) + Dumbledore again. + +As Ron tosses the wizard card onto the table, HARRY WATCHES +IT SPIN...just.as...a smattering of LAUGHTER erupts across +the hall. Neville is HOPPING like a bunny, legs STUCK +TOGETHER, while Seamus trails after. + + RON/HERMIONE + Leg-Locker Curse. + (and then to each other) + Malfoy. + +Neville, breathing hard, reaches the Gryffindor table, +then, before anyone can catch him, topples to the floor. + + RON + You’ve got to start standing up to + him, Neville. + + NEVILLE + How? I can't stand up at all. + + SEAMUS + I offered to do the countercurse, + but he wouldn't let me. + + NEVILLE + 84. + + + Of course not. That's all I need, + you to set my bloody kneecaps on + fire. + + SEAMUS + I don't appreciate the insinuation, + Longbottom. Besides, if anyone + cares to notice, my eyebrows have + completely grown back. + +As Seamus turns away, the others see a curious BALD SPOT on +the back of his head. Ron takes out his wand. + + RON + All right then, Neville, who shall + it be? Me, Hermione, or... + + HARRY + I've found him. + +Ron stops, sees Harry holding up Dumbledore's wizard card. +Ron takes it. + + RON + He's bowling. So what? He's always + bowling. + +Harry rolls his eyes, turns the card over for Ron to READ. + + RON + 'Dumbledore is particularly famous + for his defeat of the dark wizard + Grindelwald, for the discovery of + the twelve uses of dragon's + blood...and his work on + alchemy...with his partner, Nicolas + Flamel.' + + HARRY + I knew the name sounded familiar. I + read it on the train that day. + +Hermione steps right over Neville. + + HERMIONE + Follow me. + + NEVILLE + Hey! Wait! What about that counter- + curse! + +Neville1 eyes shift. Seamus smiles, raises an eyebrow. + 85. + + +158 INT. LIBRARY - MOMENTS LATER - DAY 158 + + CLOSE UP: A BOOK ON ALCHEMY + + as it hits the table with a LOUD THUD. Hermione flips + through the pages as Harry and Ron look over her shoulder. + + HERMIONE + How could I be so stupid! I checked + this out weeks ago for a bit of + light reading. + + RON + This is light? + + HERMIONE + Of course! Here it is! + (whispers dramatically) + Nicolas Flamel is the only known + maker of the Sorcerer's Stone! + + Harry and Ron glance at each other, then Hermione. + + HARRY/RON + The what? + + HERMIONE + Oh, honestly, don't you two read? + (reading) + ’The Sorcerer's Stone is a + legendary substance with + astonishing powers. It will + transform any metal into pure gold + and produces the Elixir of Life, + which will make the drinker + immortal.' + + RON + Immortal. + + HERMIONE + It means you'll never die. + + RON + I know what it means— + + HERMIONE + ’The only stone currently in + existence belongs to Mr. Nicolas + Flamel, the noted alchemist, who + last year celebrated his six + hundred and sixty-fifth birthday.' + (looking up) + 86. + + + That's what Fluffy's guarding on + the Third Floor. That's what's + under the trapdoor. The Sorcerer's + Stone! + + HARRY + So Flamel knows someone's after the + Stone...gives it to Dumbledore to + keep safe at Hogwarts...not + realizing that the one who's after + it... + + HERMIONE + Teaches at Hogwarts. + + RON + So Snape wants piles of gold and to + live forever. Who wouldn't? + + Hermione closes the book, troubled by something. + + HARRY + What is it, Hermione? + + HERMIONE + I don't want to scare you, Harry. + It's just...if all Snape wants is + the Sorcerer's Stone...why did he + try to kill you that day on the + Quidditch pitch? + + Harry ponders this, but doesn't have an answer. + + +159 EXT. HAGRID'S HUT - LATER - NIGHT 159 + + Harry, trailed by Ron and Hermione, KNOCKS on Hagrid's + door. + + The door rattles, opens a crack, and Hagrid peers out. + + HAGRID + Oh. Hullo. Er...not ter be rude, + but I'm not really fit ter + entertain right about-- + + HARRY + We know about the Sorcerer's Stone. + + +160 INT. HAGRID'S HUT - NIGHT 160 + 87. + + +Everything here is oversized. Hagrid adds wood to an +already roaring fire, putters about a large, simmering +kettle. + + HAGRID + Snape! Blimey, yer not still on + abou' him, are yeh? + + HARRY + Hagrid, we know he's after the + Stone. We just don't know...why. + + HAGRID + Harry, Snape was one o' the + teachers in on protectin' the + Stone. He's not abou' ter steal it. + + HARRY + What? + + HAGRID + Yeh heard me: Snape was one o' the + teachers in on protectin' the + Stone. Now, as I said, I'm a bit + preoccupied at the moment-- + + HARRY + Wait a minute. One of the teachers? + + HERMIONE + Of course! There are other things + defending the Stone, aren't there? + Spells, enchantments... + + HAGRID + Tha's right. Bloody waste o' time + if yeh ask me. T'ain't no one goin' + ter get past Fluffy. Not a soul + knows how 'cept me an' Dumbledore— + +CRACK! A CLICKING SOUND is heard coming from the kettle, +then a curious SCRAPING. Harry looks. Sees a HUGE BLACK +EGG. + + HARRY + Hagrid...exactly what is that? + + HAGRID + Ah. Well. That's...er... + + RON + I know what that is! But Hagrid. + How did you ever get one? + 88. + + + HAGRID + Won it. Off a stranger in the + village. Think he was glad ter be + rid of it, ter be honest.Blimey... + + The scraping is furious now. Quickly, Hagrid takes the egg + from the kettle, sets it on a table. Fissures spread like + veins over its surface, then it...EXPLODES... SHELL FLYING + LIKE SHRAPNEL. Harry, Ron and Hermione cover themselves. + + HERMIONE + Is that...a dragon? + + RON + That's not just a dragon! That's a + Norwegian Ridgeback! My brother + Charlie works with these in + Romania. + + HAGRID + Isn't he beautiful! Bless 'im, + look, he knows 'is Mummy! + (tickling the dragon's + tummy) + Hullo, Norbert. + + HARRY + Norbert? + + HAGRID + Well, he's got ter have a name. + + The dragon blinks at Hagrid, screws up its face + and...SNEEZES, spewing forth a shower of SPARKS, which + sends Fang whimpering and kindles a brief blaze in Hagrid's + beard. + + HAGRID + Needs ter be trained up a bit, o' + Course, + (stopping cold) + Hey, you there! + + All turn. Peering through the window is a FACE. + + HARRY + Malfoy! + + They leap to the door--see a fleet figure racing across the + grounds, disappearing in the night. + + +161 EXT. HOGWARTS GROUNDS - MOMENTS LATER - NIGHT 161 + 89. + + + Harry, Ron and Hermione walk toward the glittering castle. + + HARRY + Hagrid always wanted a dragon. Told + me so the first time I ever met + him. + + RON + But it's crazy. And worse, Malfoy, + knows. + + HARRY + I don't understand. Is that bad? + + PROFESSOR MCGONAGALL (O.S.) + Mr. Potter. Mr. Weasley. Miss + Granger. + + Up ahead stands Professor McGonagall, a jagged silhouette + in castle-light. Beside her, Draco Malfoy grins arrogantly. + + RON + It's bad. + + +162 INT. PROFESSOR MCGONAGALL'S CLASSROOM - MOMENTS LATER 162 + + Harry, Ron and Hermione stand before a displeased + McGonagall, while Malfoy looks on, practically quivering + with pleasure. + + PROFESSOR MCGONAGALL + ‐ + As every schoolchild knows, dragon­ + breeding is against our laws, has + been ever since the Warlock's + Convention of 1709. And for good + reason. It's hard to keep the + Muggles from noticing us if we've + got a thirty-foot Ukranian + Ironbelly running around the back + garden. + + RON + Norwegian Ridgeback. + + Professor Mcgonagall's eyes shift, narrow on Ron. + + RON + I just meant... in this + case...sorry. + + PROFESSOR MCGONAGALL + 90. + + + Personally, I don’t care if Hagrid + has a Chinese Fireball sitting in + his kitchen, Mr. Weasley. He + answers to Dumbledore. You, on the + other hand, answer to me. Nothing — + I repeat, nothing--gives a student + the right to walk about the school + at night. Therefore, as punishment + for your actions, fifty points will + be taken. + + As the others gasp, Malfoy's eyes glimmer with cruel + ecstasy. + + HARRY + Fifty? + + PROFESSOR MCGONAGALL + Each. And to insure it doesn't + happen again, all four of you will + receive detention. + + MALFOY + Excuse me, Professor. Perhaps I + heard you wrong. I thought you said + the four of us. + + PROFESSOR MCGONAGALL + Indeed. You see, Mr. Malfoy, + however noble your intentions, you + too were out of bed after hours. + You will join your classmates in + detention. + + +163 INT. GREAT HALL - MORNING 163 + + As Harry, Ron and Hermione eat breakfast, the HOURGLASSES + tell the tale: Gryffindor has slipped to last place. Just + then, Fred and George pass by. + + FRED + Don't worry, you three. This'll all + blow over. + + GEORGE + It may take a year or two, but + eventually people will start + talking to you again. + + HERMIONE + (sniffing defensively) + 91. + + + Well, I for one, see nothing wrong + with a reduced social life. It'll + give us more time to revise for + finals. + + RON + Why bother? Even with Malfoy losing + points, Slytherin's a lock for the + House Cup. And look. Malfoy knows + it. + + All three peer at Malfoy. He raises a goblet in their + direction, cackles with Crabbe and Goyle. + + HERMIONE + He won't be smiling tonight, + (off Harry and Ron's + looks) + Haven't you heard? For detention + they're taking us into the Dark + Forest. + + +164 EXT. HOGWARTS GROUNDS - NIGHT 164 + + Beneath a pale moon, Filch, carrying a lantern, leads + Harry, Ron, Hermione and Malfoy across the dark grounds. + + FILCH + A pity they let the old punishments + die. Was a time, detention would + find you all hanging by your thumbs + in the dungeons... + + +165 EXT. HAGRID'S HUT -MOMENTS LATER 165 + + As Filch and the others reach the yard, they find Hagrid + stringing a crossbow, Fang at his side. + + FILCH + A sorry lot this, Hagrid. I pity + you. + + Filch squints, sees tears running down Hagrid's face. + + FILCH + Good god, man, you're not still on + about that bloody dragon, are you? + + HAGRID + (to Harry, Ron, Hermione) + 92. + + + Norbert's gone. Dumbledore's sent + 'im off ter Romania ter live in a + colony. + + HERMIONE + Well, that's good, isn't it? He'll + be with his own kind. Better all + around, don't you think? Especially + for Fang. + + Hearing his name, a singed Fang beats his BANDAGED tail. + + HAGRID + But what if Norbert doesn't like + Romania. What if the other dragons + are mean to him? He's only a baby, + after all. + + RON + A baby that breaths fire. + + Harry elbows Ron, silencing him. + + FILCH + For god's sake, pull yourself + together, man. You're going into + the Forest, after all. Got to have + your wits about you. + + MALFOY + The Forest? But I thought that was + just a joke. We can't go in the + Forest. Students aren't allowed. + And there's...werewolves. + + FILCH + (turning away) + Oh, there's more'n werewolves in + those trees, lad. You can be sure + o' that. + + +166 EXT. DARK FOREST - LATER 166 + + Harry and the others trail Hagrid down a skinny path + through the dark trees. Hagrid turns to Harry, speaks low. + + HAGRID + Sorry abou’ this, Harry. Know it’s + me that deserves punishin’, not + you. By all rights I should be + sittin’ in a cell in Azkaban + tonight. + 93. + + + HARRY + It’s all right, Hagrid. Besides, + it’s not your fault we were out + after hours. If we hadn’t come + knocking on your door in the middle + of the night— + + Abruptly Hagrid kneels, takes something onto his fingers. + + HARRY + (a bit warily) + What’s that? + + HAGRID + The reason we’re here. + (rising) + All righ’ now, lis’en up. See this + here? + + Hagrid holds up his fingers. They're marked with SILVER. + + HAGRID + It's unicorn blood. I found one + dead a few weeks back and two + before that first term. This one + here's been hurt bad by summat. + It's our job to find the poor + thing. Only one way ter get that + done and that's ter split inter two + parties. Ron, Hermione—yeh'll come + with me. Harry, yeh'll go with + Malfoy. + + MALFOY + I want Fang then. + + HAGRID + Fine. But jus', so yeh know. He's a + bloody coward. + + +167 EXT. PATH - DARK FOREST 167 + + Fang trots down the path ahead of Harry, while a nervous + Malfoy trails behind. + + MALFOY + Wait until my father hears about + this. This is servant stuff. We + should be writing lines + or...something. + + HARRY + 94. + + + If I didn't know better, Draco, I'd + say you were scared. + + MALFOY + You're too stupid to be scared, + Potter, growing up with Muggles. If + you were from a real wizard family, + you wouldn't be laughing. + + HARRY + I'm not, believe me... + +As Malfoy joins Harry, he stops dead. The trees ahead are +striped violently with DRIPPING SILVER, and beyond—lying in +a small clearing—is the broken body of a UNICORN. + +Fang backs off, something primal in his eyes. Harry watches +Mm, reading hisfear, then..the SLITHERING SOUND returns. +Seconds later, a HOODED FIGURE slithers over the leaves, +drops its head over the leering WOUND on the unicorn's +side...and begins to DRINK ITS BLOOD. + + MALFOY + AAAAAAAAAAAAAAH! + +Malfoy bolts, slipping and sliding as Fang whimpers after. +Barry WINCES, clutches his scar, then sees that the Hooded +Figure is staring directly at. him, silver dribbling down +its front. Woozy from pain, Harry staggers back, then +falls, the SLITHERING SOUND DRAWING CLOSER, when... + +HOOVES pummel the path behind him and some thing leaps +clear over him, flickering past the moon above. It charges +the hooded figure, drives it back into the trees...and +away. + +A SHADOW FALLS across Harry's face. It is a CENTAUR with +eyes like pale saphires. He is FIRENZE. + + FIRENZE + Harry Potter. You are known to many + creatures here. You must leave. The + forest is not safe at this time. + Especially for you. + + HARRY + What was that thing you saved me + from? + + FIRENZE + 95. + + + Only one who has nothing to lose + would commit such a crime. It is a + monstrous thing to slay a unicorn. + The blood of a unicorn will keep + you alive, even if you are an inch + from death, but at a terrible + price. You have slain something so + pure that-- from the moment the + blood touches your lips-you will + have a half life. A cursed life. + + HARRY + But who would choose such a life? + + FIRENZE + Can you think of no one? + + HARRY + Do you mean to say that thing that + killed the unicorn, that was + drinking its blood, that was + Voldemort! + + FIRENZE + Do you know whatis hidden in the + school at this very moment, Mr. + Potter? + + HARRY + The Sorcerer’s Stone. + + AND FOR THE UK AUDIENCE... + + HARRY + The Philosopher’s Stone... + + A commotion is heard as Hagrid and the others come slashing + through the trees. As Harry reacts, the others break into + the clearing. + + HERMIONE + Harry! + + HAGRID + Oh, it’s you, is it, Firenze. I see + you’ve met our Mr. Potter. All + right there, Harry? + + Harry nods...but he looks anything but all right. + + +168 INT. GRYFFINDOR COMMON ROOM - LATER 168 + 96. + + + Harry paces before the fire while Ron and Hermione watch. + + RON + You mean...You-Know-Who's out + there, right now, in the forest! + + HARRY + But he's weak. He's living off the + unicorns. Don't you see? We had it + wrong. Snape doesn't want the Stone + for himself. He wants the Stone for + Voldemort. With the Elixer of Life + Voldemort will be strong again. + He'll...come back. + + RON + But if he comes back, you don't + think he'd try to...kill you? Do + you? + + HARRY + I think if he'd had the chance, he + might have tried to kill me + tonight. + + Ron looks vaguely sick. + + RON + And to think I've been worrying + about my Potions final. + + HERMIONE + No. We're forgetting one thing. + Who's the one wizard Voldemort + always feared? + (as they turn) + Dumbledore. As long as Dumbledore's + around, you're safe, Harry. As long + as Dumbledore's around...you can't + be touched. + + +169 EXT. HOGWARTS CASTLE - DAY 169 + + Students flock onto the sunny grounds, finished with exams. + + HERMIONE + I'd always heard Hogwarts' end of + year exams were frightful. But I + found that rather enjoyable. + Weren’t you stunned not to be asked + about Elfric the Eager? + 97. + + + RON + I'm stunned my head didn't explode. + Alright there, Harry? + + HARRY + My scar. Keeps...burning. + + HERMIONE + It's happened before... + + HARRY + Not like this... + + Harry glances across the grounds at Hagrid, sitting in his + front garden playing a FLUTE. At his feet, Fang's eyes + droop. + + HARRY + No... + + HERMIONE + Harry? + + Harry starts across the grounds. Hermione and Ron glance at + one another, rush after. + + HARRY + Don't you think it's a bit odd, + that what Hagrid wants more than + anything is a dragon? And a + stranger turns up who just happens + to have one? I mean, how many + people wander around with dragon + eggs in their pocket? Why didn't I + see it before? + + +170 INT. HAGRID'S HUT - MOMENTS LATER 170 + + Hagrid shrugs, goes on polishing the FLUTE in his hand. + + HAGRID + Ne'er saw his face. Kept his hood + up. + + HARRY + Didn't that strike you as unusual? + + HAGRID + Yeh meet a lot o' unusual types in + the village. Ain't 'xactly usual + meself. + 98. + + + HARRY + This stranger, though. You and he + must've talked... + + HAGRID + He asked what I did, the sorta + creatures I look after. Tol' him + after Fluffy a dragon wouldbe easy. + + HARRY + And did he seem interested in + Fluffy? + + HAGRID + Well, yeah. How many three-headed + dogs do yeh meet, even if yeh're in + the trade? So I tells 'im, this + stranger, the trick with any beast + is ter know what calms 'em. Take + Fluffy, fer example. Jus' play 'im + a bit o' music an' he'll go + straight off ter sleep-- + + Hagrid stops, horrified by his slip. + + HAGRID + I shouldn'ta tol' yeh that! Forget + I said it! Hey! Where yeh goin'! + Hey! + + +171 INT. MCGONAGALL'S CLASSROOM - DAY 171 + + Harry, Ron and Hermione clang through the door, Professor + McGonagall looks up. + + HARRY + We have to see Professor + Dumbledore. Immediately. + + PROFESSOR MCGONAGALL + I see. Well, I'm afraid Professor + Dumbledore is not here. Only + moments ago, he received an urgent + owl from the Ministry of Magic and + flew off to London. + + HARRY + He's gone? Now? But this is + important! This is about...the + Sorcerer's Stone. + + Professor McGonagall nearly drops the books in her hands. + 99. + + + PROFESSOR MCGONAGALL + How do you know-- + + HARRY + Someone's going to try and steal + it. + + PROFESSOR MCGONAGALL + Nonsense. I don't know how you + three found out about the Stone, + but I assure you it is well + protected. Now, run along. + + +172 EXT. CORRIDOR - MOMENTS LATER 172 + + Harry leads the others down the corridor. + + HARRY + That was no stranger Hagrid met in + the village. It was Snape. Which + means he knows how to get past + Fluffy. + + HERMIONE + And with Dumbledore gone... + + SNAPE (O.S.) + Good afternoon. + + They freeze. Up ahead, Snape stands, studying them. + + SNAPE + Now what would three fine + Gryffindors such as yourselves be + doing inside on such a lovely day? + + HERMIONE + We were just... + + SNAPE + You want to be careful. People will + think you're...up to something. + + Snape eyes Harry, then turns away. + + HERMIONE + What do we do now? + + HARRY + Go through the trapdoor. Tonight. + 100. + + +173 INT. GRYFFINDOR COMMON ROOM - NIGHT 173 + + Empty. Dark. Two doors ease open. Hermione slips out the + one, Harry and Ron the other. They creep toward the Pink + Lady when--CROAK!--they freeze. Look. Breath a sigh of + relief. + + HARRY/RON/HERMIONE + Trevor. + + Trevor the toad blinks up at them. CROAK! + + RON + Trevor! Shh! Go! You shouldn't be + here. + + NEVILLE + Neither should you. + + They all jump. Neville rises from an armchair. + + NEVILLE + You're sneaking out again, aren't + you? + + HARRY + Now, Neville, listen... + + NEVILLE + No! I won't let you. You'll get + Gryffindor in trouble again. + I'll...I'll fight you! You were the + ones who told me I had to stand up + to people! + + RON + To people. Not us. + + Neville raises his fists. Unfortunately, his teddy bear + pyjamas somewhat undermine the intended effect. + + HERMIONE + Neville. I'm really, really sorry + about this. + (raising her wand) + Petrificus Totalus! + + Instantly, Neville's arms and legs snap to his sides. He + SWAYS...then FALLS FLAT...only his eyes moving, staring at + them in horror. Harry and Ron look a little horrified too. + + RON + 101. + + + You're a little scary sometimes, + you know that? Brilliant. But + scary. + + +174 INT. THIRD FLOOR CORRIDOR - MOMENTS LATER - NIGHT 174 + + CAMERA DRIFTS...down the corridor. Suddenly, up ahead, + Peeves rounds the corner, MUMBLING to himself as he JUGGLES + a trio of APPLES. Suddenly, he stops, eyes narrowing + suspiciously. + + PEEVES + Who's there? Know you're there, + even if I can't see you. Are you + ghoulie or ghostie or wee student + beastie? + + Nothing. Peeves smiles slyly, reaches back, and hurls one + of the apples. It streaks through the + air...then...disappears in mid-flight. Peeves smile fades. + + PEEVES + Never mind. + + He backpedals frantically, turns, and swoops off the way he + came. Seconds later, Harry drops the cloak, tosses the + APPLE in his hand to Ron. + + HERMIONE + That was close. + + Harry steps to the chamber before them. Inside, the thrum + of MUSIC can be heard. Slowly, Harry starts to ease open + the door...when... CRUNCH! Hermione and Harry jump, turn. + Ron stands chewing the apple. + + RON + Sorry. I get hungry when I'm + nervous. + + Harry pushes the door clear...finds...a giant quivering + nose and yellow fangs dripping with saliva. They GASP, + then... + + RON + Wait a minute. He's... + + HARRY + Snoring. + + Harry pushes the door further and the light from the + corridor falls on a TINY HARP. Playing by itself. + 102. + + +175 INT. FORBIDDEN CORRIDOR - NIGHT 175 + + As they enter, Harry takes a FLUTE from his pocket. + + HARRY + Suppose we won't be needing this + now. Look, it's obvious Snape's + already got past Fluffy. If you two + want to go back— + + RON + Don't be stupid. + + HERMIONE + We're coming. + + HARRY + Right then. All together now. + + Straining mightily, they put their shoulders to the massive + paw that lays across the trapdoor. Once done, Harry flings + it open. Below lies only darkness...a faint whistling wind. + + HARRY + I'll go first. Don't follow until I + give you a sign. If something...bad + happens...get yourselves out— + (stopping) + Does it seem a bit...quiet...to + you? + + HERMIONE + The harp...what happened to the— + + Splat! Something wet and sticky hits Ron's shoulder. + + RON + Yuck! What's this ruddy stuff— + + Slowly, they look up. A MONSTROUS, DROOLING SHADOW darkens + their faces. Fluffy. Awake. Hungry. Each head ponders its + own particular snack, then, with a mighty GROWL, swoops. + + Instantly, the trio pitches themselves into the darkness... + + +176 INT. SHAFT/DEVIL'S SNARE - SECONDS LATER 176 + + Harry PLUMMETS down a glittering shaft, tumbling head over + heels, down, down, down, until... + 103. + + +FLUMP! He lands in something soft and yamlike, followed +quickly by Ron and Hermione. Harry adjusts his glasses, +looks up. A tiny SQUARE OF LIGHT—the trapdoor—glimmers far +above. + + RON + That was...cool. + + HARRY + We must be miles under the school. + + RON + Lucky this plant thing's here, + really. + + HARRY + WO! + +A vine snakes out Ron's back collar. + + RON + Wo! + +Twin creepers encircle Harry's chest. + + HERMIONE + Stop moving! Both of you! This is + Devil's Snare! You have to relax. + + HARRY + Uh, Hermione, it's a bit difficult + to relax... + (as a vine encircles his + neck) + ...given the circumstances. + + HERMIONE + I know, Harry. But you must. If you + don't, it'll only kill you faster. + + RON + Kill us faster? Oh now I can relax. + +As they watch, Hermione takes a LONG, SLOW BREATH and...is +SUCKED beneath the surface...VANISHING. + + HARRY/RON + Hermione! + +Panicking, Harry and Ron begin to struggle anew, but the +vines only wrap more tightly around them. + + RON + 104. + + + What are we going to do now! + + HERMIONE (O.S.) + Just relax. + + HARRY + (glancing about) + Hermione? But how...where? + + HERMIONE (O.S.) + Do what I say! + + Harry looks at Ron. He's almost completely entwined. + + HARRY + I suggest we do what she says. + + Harry takes a DEEP BREATH and closes his eyes. Slowly, like + witch's fingers...the vines DRAW him beneath the surface. + + +177 INT. STAIRCASE (BENEATH DEVIL'S SNARE) 177 + + Harry drops through the ceiling, twisting through the webby + undergrowth of Devil's Share and onto the ground next to + Hermione. From above, Ron can be HEARD screaming for HELP. + + HERMIONE + He's not relaxing, is he? + + Ron's VOICE BELLOWS again. + + HARRY + Apparently not. + + Hermione furrows her brow, thinking ALOUD in a sing-song. + + HERMIONE + Devil's Snare, Devil's Snare. + Dances in the dark, delights in the + damp... + + +178 INT. SHAFT/DEVIL'S SNARE 178 + + Ron, wrapped tight as a mummy by this point, cocks his ear + in disbelief. + + RON + Is she doing a poem? It's not + possible she's doing a poem, is it? + 105. + + +179 INT. STAIRCASE (BENEATH DEVIL'S SNARE) 179 + + Hermione ignores him, continuing in deep concentration. + + HERMIONE + It's deadly fun, but will...sulk in + the sunl That's it! Light! Devil's + Snare hates the light! + + She whips out her wand, points it at the vines hanging from + the ceiling, and sends forth a BRIGHT BURST of GOLD. + + +180 INT. SHAFT/DEVIL'S SNARE 180 + + As the LIGHT BURNS through, the plant withers. An OPENING + forms, the vines SNAP free of Ron, and...he DROPS through. + + +181 INT. STAIRCASE (BENEATH DEVIL'S SNARE) 181 + + Ron lands heavily, looks up. + + RON + Lucky we didn't panic. + + HARRY + Lucky Hermione pays attention in + Herbology. + + Just then...they detect a SOUND: a RUSTLING, a CLINKING. + The three exchange a glance, begin to descend the + staircase. + + HERMIONE + What is that? + + HARRY + I don't know...sounds like wings. + + +182 INT. CHAMBER OF KEYS 182 + + Harry, Hermione and Ron enter a brilliantly lit chamber + where hundreds of JEWEL BRIGHT BIRDS flutter below a high + arching ceiling. On the opposite side is a HEAVY WOODEN + DOOR and, floating in the center of the chamber, a single + BROOMSTICK. + + Ron and Hermione begin to cross to the door, gazing in + wonder at the strangely beautiful creatures overhead. + + HERMIONE + 106. + + + Curious. I've never seen birds like + these... + + HARRY + They're not birds... + +Ron and Hermione turn, see Harry standing by the floating +broom in the center of the room, looking up. + + HARRY + They're keys. And I'll bet one of + them fits that door. + +Hermione tests the doorknob, nods. + + HERMIONE + Locked. + + RON + Alohomora! + +Hermione turns, sees Ron waving his wand at the knob. No +good. It's still locked. He shrugs. + + RON + Well, it was worth a try. + + HERMIONE + (peering up) + Sowhat do we do? There must be a + thousand keys up there... + + RON + (examining the lock) + We're looking for a big, old- + fashioned one—probably silver, like + the handle. There! That one, see! + With the bright blue wings! + +Ron points. Fluttering within a pocket of brass keys is a +larger, SILVER one. + + HERMIONE + What's wrong with its wing? + + RON. + The feather's pinched. Probably + from Snape catching it before us. + +Hermione nods, sees Harry still staring at the broom. + + HERMIONE + Harry? + 107. + + + HARRY + It's...too simple. + + RON + Oh, go on, Harry. If Snape could + catch it on that old CleanSweep, + you can. It's not for nothing + you're the youngest Seeker in a + Century. + +Harry nods uncertainly—still troubled—but slowly reaches +out nonetheless. As his fingers touch the broomstick... + +...the KEYS EXPLODE IN A FRENZY, hissing like wasps, +swarming in great, glittering clouds. Ron's smile droops. + + RON + Well, this complicates things a + bit. + +As Harry kicks into the air, a seething cluster of keys +falls like HARD RAIN, CHATTERING at his arms and legs, +SLICING at his skin, SHREDDING his sweater... + + RON + He'll be torn to pieces.. + +Horrified, Ron and Hermione watch Harry soar higher, +fending off the keys with his free hand, until... + +HARRY'S POV + +Through a MAD CLATTERING, CLUSTER of KEYS, he spies the +larger, silver one, fluttering only feet beyond his grasp. + +Harry hovers, grimacing as the hissing keys drop like DARTS +onto his extended hand...then SNATCHES the silver key. + +Instantly, Harry whips downward in a wide, dizzying circle, +trying to outrun the now furious keys. They shadow his +every move, drawing closer and closer, HUMMING VICIOUSLY as +they begin to CHIP at the TAIL TWIGS of the broom. +Desperate, Harry throws the broom into a reckless dive and, +steering with one hand... + 108. + + + ...FLINGS the key to Ron. As Ron dashes to the door, Harry + soars back up, taking the raging keys with him, then + circles back and watches Ron JAM the key into the lock. As + Hermione and Ron scurry through, Harry rockets straight + after, the keys gaining once again, CHIPPING at the tail of + broom like a buzzsaw through balsa wood. As the broom + begins to WAFFLE, Harry gives one last BURST of SPEED + and...SOARS through the open door. Together, Hermione and + Ron FLING the door SHUT... just before the keys rain down + like BULLETS. + + +183 INT. CHESS ROOM 183 + + ...UTTER DARKNESS. Hermione's VOICE pierces the darkness. + + HERMIONE + I don't like this. I don't like + this at all. + + A small bouquet of BLUE FLAMES blooms in Hermione's hands, + illuminating little more than the trio's faces and some + VAGUE SHAPES looming ahead. + + HARRY + Where are we? A graveyard? + + Harry steps forward and—suddenly--one of the SHAPES moves + towards them. Hermione GASPS. The SHAPE stops. + + RON + This is no graveyard... + + Ron takes an unlit torch from the wall, touches it to the + blue flames fluttering in Hermione's palms, and kneels. As + he paints the floor with light, a SPARK SPITS from the + torch and ignites a trail of FIRE. + + RON + It's a chessboard. + + Sure enough. As the chamber glows with light, a kind of + battlefield is revealed, studded with faceless soldiers. + + HERMIONE + But what're we to do? + + As Hermione takes a tentative step onto the board, a + BISHOP'S STONE SWORD drops heavily down, barring her way. + + RON + 109. + + + It's obvious, isn't it? We've got + to play pur way across the room. + Excuse me...are we meant to join + you? + (as the bishop nods) + Brilliant. + (to Harry, Hermione) + Now don't be offended, but neither + of you are particularly good at + chess— + + HARRY + Just tell us what to do. + + RON + All right. Harry, you take the + empty Bishop's square. Hermione— + you'll be the Queenside castle. As + for me... + +Ron leaps astride the only riderless horse. + + RON + ...I'll be a Knight. + + HERMIONE + What happens now? + + RON + We play. + +Across the board, a WHITE PAWN moves forward two squares +(e4). As Ron contemplates his own move, Hermione glances +apprehensively at the fierce pieces across the board. + + HERMIONE + Ron, you don't suppose this is + going to be like real wizard's + chess, do you? + +Ron—contemplating something--doesn't answer immediately, +instead gesturing to his own pawn. + + RON + You there...d5 + +As Ron's BLACK PAWN obliges, WHITE'S PAWN slides swiftly +forth (to d5) and, with a THUNDEROUS collision, the black +pawn EXPLODES, rubble raining to the ground. + + RON + 110. + + + Yes, Hermione? I think this is + going to be exactly like wizard's + chess. + + DISSOLVE TO: + +...the chess board, a real battlefield now, littered on +both sides with fallen pieces. Ron, drained but intense, +surveys the board, MUTTERING to himself. + + RON + Think...Think. + (deciding) + Castle to ...c3 + +The BLACK CASTLE advances. Instantly, the WHITE QUEEN +sweeps forward and, with cruel indifference, SHATTERS the +Rook. Harry, only one square removed, stares with horror. + +Unnerved, he glances up at Ron, but Ron's eyes see only the +board. Harry turns, taking a look himself...and blinks. + + HARRY + Wait a minute... + (pointing to the Queen) + She's made the same mistake I + always make. If I go there, she has + to take me, and the King is + exposed! + +Ron nods, but it's clear he doesn't share Harry's +enthusiasm. + + RON + There's just one problem with that. + It's you that has to go on, Harry. + I know it. Not me. Not Hermione. + You. + + HARRY + No, Ron... + + HERMIONE + What is it? + + HARRY + He's going to sacrifice himself. + + HERMIONE + No. There has to be another way! + + RON + 111. + + + Do you want to stop Snape from + getting the Stone or not! + (turning to Harry) + You understand, right, Harry? Once + I make my move, the Queen will take + me. Then you're free to check the + King. + +Harry stares at Ron—an understanding between them—then +simply nods. Ron grips the reins then and, without a word, +drives his horse forward (Nh3). Instantly, the White Queen +POUNCES. As Ron hits the floor, Hermione SCREAMS. She +starts to go to him, when Harry holds up his hand. + + HARRY + No! + (AS SHE FREEZES) + Don't forget we're still playing. + +Hermione nods, staring at Ron. Harry steps forward (Bc5). + +The WHITE QUEEN moves to block (Qe3), but it's futile. + +Harry stares at her, eyes full of hatred, then steps +forward, places his trembling hand on the cold stone of her +gown and, with the gentlest of shoves...topples her. + + HARRY + (softly) + Checkmate. + +As a veil of dust hovers, the white king removes his CROWN, +lets it roll from his fingers, across the stone floor, +where it comes to rest at Harry's feet. Harry stares at +Hermione's stricken face. + + HARRY + If you can, go to the Owlery and + send a message to Dumbledore. Ron's + right. I have to go on. + +Hermione turns, her eyes glittering. Without warning, she +rushes forward, embraces Harry. + + HERMIONE + You're a great wizard, Harry + Potter! You are, you know! + + HARRY + (a bit embarrassed) + Not as good as you. + + HERMIONE + 112. + + + Me! Books. And cleverness. There + are more important things— + friendship and bravery and—-oh, + Harry, be careful! + + She turns then, goes to Ron. Harry studies his two friends, + then looks away. The remaining chessmen bow, parting the + way to the next door. He steps forward. + + +184 INT. LAST CORRIDOR - MOMENTS LATER 184 + + Alone, Harry makes his way through a corridor that drops + down like a tunnel. Up ahead, a chamber glimmers. + + +185 INT. THE LAST CHAMBER - NIGHT 185 + + Harry descends a staircase. As the chamber below comes into + view, he sees a FIGURE standing before the Mirror of + Erised. + + HARRY + You! + + The figure turns. It is Professor Quirrell. + + HARRY + No. It can’t be. Snape... + + QUIRRELL + Mm, yes, he does seem the type, + doesn't he? So useful Snape. + Swooping around like an overgrown + bat. Next to him, who would suspect + p-poor st-stuttering Professor + Quirrell? + + HARRY + But that day, during the Quidditch + match...Snape to kill me. + + QUIRRELL + No, dear boy, I tried to kill you. + And, trust me, if Snape's cloak + hadn't caught fire and broken my + eye contact, I would've succeeded. + Even with Severus muttering his + little countercurse. + + HARRY + Snape was trying to save me? + 113. + + + QUIRRELL + Oh, don't misunderstand. He hates + you, just as he hated your father + when they were at Hogwarts + together. But he never wanted you + dead. Your father, after all, saved + his life once, long ago. + +Harry looks stunned. Quirrell looks amused. + + QUIRRELL + Didn't know? Surprising, given how + curious you are Potter. I knew you + were a danger to me right off. + Especially after Halloween. + + HARRY + You let the Troll in. + +Quirrell nods, examining the Mirror as he speaks: + + QUIRRELL + Yes. I have a way with trolls. + Snape, unfortunately, wasn't + fooled. While everyone else was + running about the dungeons, he went + straight to the Third Floor to head + me off. That three­headed dog + didn't even manage to bite Snape's + leg off properly. He, Of course, + never trusted me again. Rarely left + me alone,. But he doesn't + understand. I am never alone. + Never... + (frowning) + Now what does this mirror do? I see + what I desire, I see myself holding + the Stone. But how do I get it? + + VOICE (O.S.) + Use the boy. + +Harry glances about in horror as the DARK VOICE echoes. +Quirrell turns, eyes Harry. + + QUIRRELL + Come here, Potter. + 114. + + +Quirrell points to the mirror. As Harry steps in front, he +sees himself, looking pale and scared. Then, slowly, his +reflection SMILES, puts its hand in its pocket, and pulls +out a BLOOD-RED STONE. Harry's own eyes widen—in a mixture +of stunned disbelief and fear. Struggling to control his +expression, he shuts his eyes briefly...as if making a +wish...lets out a breath, and opens them once again. His +reflection WINKS, returns the Stone to its pocket and, to +Harry's amazement... + +...it DROPS HEAVILY into his own: He's gotten the Stone. + + QUIRRELL + (studying him) + What is it? What do you see? + + HARRY + I...I'm shaking hands with + Dumbledore.I...I've won the House + Cup. + + VOICE (O.S.) + He lies. + + QUIRRELL + Tell the truth! What do you see! + + VOICE (O.S.) + Let me speak to him. + + QUIRRELL + Master, you are not strong enough. + + VOICE (O.S.) + I have strength enough...for this. + +Quirrell reaches up, unfurls his turban. In the mirror, +Harry watches a FACE appear...on the back of Quirrell's +head. + + HARRY + (in a whisper) + Voldemort. + + VOLDEMORT + Harry Potter. We meet...again. + +Petrified, Harry stares at the face. It is hideous, +constantly changing, struggling to become whole. + + VOLDEMORT + 115. + + + Yes. You see what I've become. + Unicorn blood can sustain me, but + it cannot give me a body of my own. + But there is something that can. + Something that, conveniently + enough...lies in your pocket. + +Harry wheels, dashing toward the staircase. + + VOLDEMORT + Stop him! + +Coolly, Quirrell SNAPS his fingers and, just as Harry +reaches the threshold, FLAMES SHOOT from the floor, barring +his way. + + VOLDEMORT + Don't be a fool, Harry. Why suffer + a horrific death, when you can join + me...and live. + + HARRY + Never! + + VOLDEMORT + Ah, bravery. Your parents had it + too. Tell me, Harry...would you + like to see your mother and father + again? + +Harry stops, looks up. Quirrell steps aside, Voldemort's +face sliding from the glass and revealing...Harry's +parents. + + VOLDEMORT + Together, we can bring them back. + All I ask...is for something in + return. + +Slowly, almost involuntarily, Harry removes the Stone from +his pocket. + + VOLDEMORT + That's it, Harry. There is no good + and evil, there is only power, and + those too weak to seek it. + Together, we'll do extraordinary + things. Just...give me the Stone. + +Harry studies his parents' faces, drifting to his mother's, +when...we RACK FOCUS...and Voldemort's hideous face +surfaces through her's...and she is gone. + 116. + + + HARRY + Liar! + +Voldemort's eyes narrow. + + VOLDEMORT + Kill him. + +Instantly, Quirrell flies across the room, knocking Harry +clean off his feet and the Stone tumbling from his grasp. + +Quirrell drops, his hand closing on Harry's neck. Harry +winces at the touch, face creased in pain, looking up into +Quirrell's face, when....for the briefest of moments—it +becomes Voldemort's. Harry gasps, struggling, when—to his +amazement—Quirrell's own face returns, SCREAMING, releasing +Harry and recoiling. + + QUIRRELL + Wh-what is this magic? + +Harry, breathing hard, follows Quirrell's gaze, stares in +horror: Quirrell's fingers are slowly turning to dust. + + VOLDEMORT + Fool! Get the Stone! + +Harry rises, looks at Quirrell's withering fingers, then to +his own hands, healthy and whole. As Quirrell starts to +move, Harry, in the flash of a second... + +...decides. He bolts forward, reaches up with both hands +and...presses them to Quirrell's face. + +Quirrell SCREAMS, but Harry holds tight, growing weaker as +the face under his fingers begins to DISSOLVE until, +finally, just when Harry looks ready to pass out... + +Quirrell's face drops away. + +Harry staggers back. Quirrell's body steps forward, blindly +lurching towards Harry, and then...crumbles to dust. Harry +stands still, just staring, then turns wearily, picks up +the Stone, when...an APPARITION—bearing Voldemort's +devilish face—SWOOPS up behind. Harry spins, watching in +terror as... + +WHOOSH!—in a VIOLENT RUSH—Voldemort returns to DUST and +WHISTLES FORWARD, passing through Harry, blasting him back +-- through the air and onto the stone floor. As the dust +disappears, all is quiet once more, and we CUT TO: + +WIDE SHOT + 117. + + + Of Harry. Lying on the floor. The Stone glimmering dully in + his palm. + + +186 INT. HOGWARTS HOSPITAL WING - DAY 186 + + A PAINTING...of an INJURED SOLDIER lying in a HOSPITAL BED. + A NURSE enters the frame, begins to tend to his dressings + as... + + Harry awakens in a hospital bed of his own. On the table + next to him, TREATS are piled high, including a raft of + open WIZARD CARDS. In one, Dumbledore beams down. + + DUMBLEDORE + Good afternoon, Harry. + + Harry squints, as if the card itself had spoken to him, + then sees that the real Dumbledore is sitting on the + windowsill. The great wizard slides off, gestures to the + treats. + + DUMBLEDORE + Tokens from your admirers. + + HARRY + Admirers? + + DUMBLEDORE + What happened down in the dungeons + between you and Professor Quirrell + is a complete secret—so naturally + the whole school knows. Your friend + Ronald has saved you the trouble of + opening your chocolate frogs. + Though one suspects Agrippa and + Ptolemy still elude him. + + HARRY + Ron was here? Is he all right? What + about Hermione-- + + DUMBLEDORE + Fine. Both of them. Madame Pomfrey + has explicitly forbidden visitors. + But I think—with the help of a + certain cloak— they've managed to + monitor your progress. + + HARRY + But what happened to the— + + DUMBLEDORE + 118. + + +Relax, dear boy. The Stone has been +destroyed. My friend Nicolas and I +had a little chat and agreed it was +best all around. + + HARRY +But then, Flamel...he'll die, won't +he? + + DUMBLEDORE +He has enough Elixir to set his +affairs in order. But, yes, he will +die. To one as young as you, I'm +sure it seems incredible. But to +the well-organized mind, death is +but the next great adventure. + + HARRY +But to destroy such a remarkable +thing... + + DUMBLEDORE +Yes, yes. As much money and life as +one could ever want—the two things +most human beings would choose +above all else. Unfortunately, +humans do have a knack for choosing +precisely those things that are +worst for them. + + HARRY +How is it I got the Stone, Sir? One +minute I was stating in the mirror— + + DUMBLEDORE +Ah. You see, only a person who +wanted to find the Stone—find it, +but not use it— would be able to +get it. One of my more brilliant +ideas and, between you and me, +that's saying something. + + HARRY +Does that mean—with the Stone gone, +that is—that Voldemort can never +come back? + + DUMBLEDORE + 119. + + + I'm afraid there are other ways for + him to return. And when—if—he does, + it will take someone willing to + fight a losing battle to stop him + again. Someone like your parents. + Someone like you. + + HARRY + (troubled) + Professor Dumbledore. Voldemort + said...if I gave him the Stone, he + could bring back my...family. Could + he have, sir? Really? + + DUMBLEDORE + Some people are like mirrors, + Harry. They reflect our most + desperate desires. We see what they + want us to see. As painful as it + surely was...you made the right + choice. + +Harry nods. Dumbledore studies him thoughtfully. + + DUMBLEDORE + Do you know why Professor Quirrell + couldn't bear to touch you, Harry? + It's because of your mother. She + sacrificed herself for you. And + that kind of act leaves a mark. + +Harry reaches up to his scar. + + DUMBLEDORE + No, this kind of mark cannot be + seen. It lives in your very skin. + It is the very thing someone like + Professor Quirrell—full of hatred + and greed—cannot understand. Or + bear to touch. + + HARRY + What is it? + + DUMBLEDORE + Love, Harry. Love. + +Dumbledore looks away then, smiles at Harry's treats. + + DUMBLEDORE + 120. + + + Ah! Bertie Bott's Every Flavor + Beans! I was unfortunate enough in + my youth to come across a vomit + flavored one, and since then I'm + afraid I've lost my liking for + them. But I think I'll be safe with + a nice toffee. + (popping it) + Alas! Ear wax! + + +187 INT. MARBLE STAIRCASE - NIGHT 187 + + As Harry limps down the staircase, he can hear the good + cheer of those feasting beyond the doors of the Great Hall. + Below, Hermione and Ron stand talking. Harry stops, simply + studying them, then they turn, see him. Nothing is said for + a moment. + + All of them beyond words. Then Harry nods to Ron's-bruises. + + HARRY + All right there, Ron? + + RON + All right. You? + + HARRY + All right. Hermione? + + She smiles. + + HERMIONE + Never better. + + +188 INT. GREAT HALL - NIGHT 188 + + The roaring Hall is bedecked in GREEN AND SILVER—Slytherin + colors—in honor of their winning the House Cup. + + RON + D'you think Dumbledore meant for it + all to happen? And for you to do + it? Sending you your father's cloak + and all? + + HERMIONE + Well, if he did—I mean—that's + terrible. You could have been + killed. Come to think of it, I + could've been killed... + 121. + + + HARRY + I think Dumbledore knows pretty + much everything that goes on here. + The only thing I don't understand + is Snape... + + PROFESSOR MCGONAGALL + Professor Snape, Potter. + +Harry looks up, sees Professor McGonagall there. + + HARRY + Yes, of course. I was only + wondering. Is it true? Did he hate + my father? + + PROFESSOR MCGONAGALL + They were not compatible + personalities, if that's what you + mean. And then, of course, your + father did something Severus could + never forgive. + + HARRY + What was that? + + PROFESSOR MCGONAGALL + He saved his life. + +Astonished, Harry glances at Snape sitting at the High +Table. + + PROFESSOR MCGONAGALL + I suppose he felt it his obligation + ...to look after you this year. + + RON + Of course! And now that he's + squared things, he can hate Harry + in peace, right, Professor? + + PROFESSOR MCGONAGALL + Hogwarts teachers do not hate their + students, Mr. Weasley... + (pointedly, as she exits) + No matter how taxing they may be. + + R0N + I think she's warming up to me. + +At the High Table, Dumbledore rises and the Hall quiets. + + DUMBLEDORE + 122. + + + Another year gone! Now as I + understand it, the House Cup needs + awarding, and the points stand + thus: tn fourth place, Gryffindor, + with 312. + +Percy turns and glares at Ron. + + RON + You'd think saving the bloody + school from a Dark Lord would count + for something. + + DUMBLEDORE + In third place, Hufflepuff, with + 352. In second, Ravenclaw, with + 426. And in first place, with 472 + points...Slytherin House. + +The Slytherin table erupts. Draco Malfoy, banging his +goblet, casts a smirk at Harry, Ron and Hermione. + + DUMBLEDORE + Yes, well done, Slytherin. However, + recent events must be taken into + account. I have a few last minute + points to award. + +The hall goes very STILL. The Slytherin smiles FADE a bit. + + DUMBLEDORE + First, to Miss Hermione Granger, + for the cool use of intellect when + others were in grave peril... fifty + points. + +As the Gryffindors cheer, Hermione looks overwhelmed. + + DUMBLEDORE + Second, to Mr. Ronald Weasley, for + the best played game of chess + Hogwarts has seen in many + years...fifty points.. + + PERCY + My youngest brother, you know! + + DUMBLEDORE + Third, to Mr. Harry Potter, for + pure nerve and outstanding courage, + I award Gryffindor House...sixty + points. + 123. + + + The DIN is deafening as Hermione makes the calculations. + + HERMIONE + Oh my goodness. We've tied + Slytherin! + + DUMBLEDORE + And finally...it takes a great deal + of bravery to stand up to our + enemies, but even more to stand up + to our friends. I therefore award + 10 points to...Mr. Neville + Longbottom. + + As the room ROARS and the HOURGLASSES shift, a stunned + Neville accepts wild slaps on the back. + + DUMBLEDORE + Assuming my calculations are + correct, I believe a change of + decoration is in order. + + umbledore CLAPS his hands and--instantly—the green and + silver of Slytherin-become the scarlet and gold of + Gryffindor. Neville, white with shock, disappears under a + pile of people hugging him. Draco Malfoy, looks stunned and + horrified. Snape, with a horrible, forced smile, shakes + Professor McGonagall's hand, then catches Harry's eye, his + hatred still evident, but not enough to mar the moment. + Harry considers the cheering faces’ that surround him, + alone in the eye of a happy huricane. For a moment, he is + not part of them, just watching. Then his voice joins the + others, his face saying it all... + + This is a long way from the cupboard under the stairs. + + +189 EXT. HOGSMEADE STATION - NEXT DAY - DAY 189 + + The Hogwarts Express stands steaming, ready to depart. From + the doorway, Ron calls to Harry, alone on the platform. + + RON + Come on now, Harry. + + Harry glances about once more, then starts for the train. + + HAGRID + Didn' think yeh'd be leavin' + without sayin' goodbye, didya? + + Harry stops, smiles as Hagrid comes loping forward. Hagrid + hands him a LEATHER-COVERED BOOK. + 124. + + + HAGRID + That there's fer you to open on the + train. Which seems to be leavin', + by the way. + + Harry holds out his hand. Hagrid takes it, then pulls him + into a rough hug. + + HAGRID + Go on now. An' Harry? If tha' dolt + of a cousin o' yers Dudley gives + yeh any grief, yeh can always + threaten ter give 'im a pair o' + ears ter go with that tail of 'is. + + HARRY + But Hagrid. We're not allowed to do + magic away from Hogwarts. You know + that. + + HAGRID + I do... + (a wink) + But yer cousin don't. + + +190 INT. TRAIN COMPARTMENT - DAY 190 + + Ron half-dozes against the window, while Hermione does some + "light reading." Harry sits opposite them, studying + Hagrid's gift curiously. Then he opens it. Inside, the + pages are filled with WIZARD PHOTOGRAPHS. Smiling and. + waving at Harry from every page are the faces he first saw + in the Mirror of Erised. The faces of his mother and + father. + + As the train lurches forward, Hermione looks up. + + HERMIONE + Feels strange, doesn' t it? To be + going home. + + Harry traces his finger over the smiling face of his + mother, then looks up, following Hermione's gaze to the + window. + + HARRY + I'm not going home...Not really. + + +191 EXT. TRAIN - MOVING AWAY - SAME TIME 191 + 125. + + +As Harry peers out, his face is calm. Peaceful. Hogwarts +Castle glimmers in reflection on his window and we... + +PULL AWAY + +...rising high above Hogsmeade Station, above the Dark +Forest and Hogwarts Castle itself as the Scarlet Express +glitters far below, making its way back to the Muggle +world. Slowly, we... + + FADE TO BLACK + \ No newline at end of file diff --git a/scripts/Home Alone.txt b/scripts/Home Alone.txt new file mode 100644 index 0000000000000000000000000000000000000000..d49e40eab925ae278b933153119eb13a6f10354c --- /dev/null +++ b/scripts/Home Alone.txt @@ -0,0 +1,6153 @@ + 1. + + + + +1 EXT. HOUSE - EVENING 1 + + A big, old, three-story brick house in a small Chicago + suburb. + + Three days before Christmas. There are lights and Christmas + decorations on the house and the surrounding houses. + + +2 INT. HOUSE - FOYER - NIGHT 2 + + A uniformed POLICE OFFICER is standing here. Middle-aged. + + Paunchy. He's standing alone trying to catch the attention + of passing adults and children who cross the foyer, go up + and down the stairs and in and out of the house carrying + clothing, luggage, toiletries and wrapped Christmas gifts. + + POLICE OFFICER + Excuse me... May I ... ? Is your + mother home? + + +3 INT. MASTER BEDROOM - NIGHT 3 + + KATE McCALLISTER is talking on the phone and packing a + suitcase. She's handsome and energetic, in her early + forties. + + Still dressed from work. + + KATE + I don't want any calls. I'm not + going to France so I can spend the + holidays on the phone. + + KEVIN McCALLISTER enters. He's seven. + + KEVIN + Mom? Uncle Frank won't let me watch + the movie but the big kids can. Why + can't I? + + KATE + Kevin. I'm on the phone. + + KEVIN + (insistent) + It's not even an "R". He's just + being a jerk. + 2. + + + KATE + (to the phone) + Excuse me. + (to Kevin) + If Uncle Frank says, no. I say no. + +Kevin flops down on the bed. + + KATE + Get off there. + (to the phone) + I'm sorry. Say that again. + (to Kevin) + Get out of herel + + KEVIN + Hang up the phone and make me, why + don't you? + +Her husband, PETER, comes out of the bathroom with his +electric razor. He's 40, good-looking, easygoing. + + PETER + Kate? Where's the voltage adaptor + thing? + + KATE + I didn't have time to pick one up. + + PETER + How am I going to shave? + + KEVIN + Dad. Nobody'll let me do anything. + + PETER + I'll let you do something. Pick up + your MicroMachines. Aunt Leslie + stepped on one and almost fell + down. + + KATE + (covering the phone) + And he was in the garage again. + Playing with the glue gun. + + PETER + What have I told you about that? + + KEVIN + Did I b u m down the joint? I don't + think so. I was making ornaments + out of fish hooks. + 3. + + + PETER + My good fish hooks?!? + + KEVIN + I can't make ornaments out of the + old ones with the dried worm guts + stuck on them. + + A woman, LESLIE McCALLISTER, comes into the room. She's in + her late thirties she's a bit chunky, extreme in her dress + and coiffure. She's Peter and Kate's sister-in-law. + + LESLIE + There's a policeman downstairs. + + PETER + What's he want? + + KEVIN + Aunt Leslie? How come Uncle Frank + won't..? + + LESLIE + In a minute, Kevin. + (to Peter) + I have no idea. + + KEVIN + I'm sick of everybody saying... + (mocks her) + ... "in a minute." + + PETER + Kevin! Out! + (to Leslie) + Do you have a voltage adaptor? + + LESLIE + That's just what I was going to ask + you. + + +4 INT. FOYER - NIGHT 4 + + The Police Officer is still waiting. TRACEY McCALLISTER + crosses through the dining room into the foyer. She's 14. + + Very pretty. But dressed a little cheap. + + POLICE OFFICER + Pardon me? Are your parents home? + + TRACEY + 4. + + + Yeah. But they don't live here. + +She heads up the stairs as HEATHER McCALLISTER comes down +the stairs. She's nineteen and a cousin. She's wearing a +Northwestern University sweatshirt. + + HEATHER + (to Tracey and Megan) + Did you call for the pizzas? + + TRACEY + Buzz did. My dad said an American + hair dryer won't work in France. Is + that true? + + HEATHER + You need a voltage adaptor. + + TRACEY + What's that? + + HEATHER + Ask your mom. + +Tracey heads upstairs. The cop catches Heather's attention. + + POLICE OFFICER + Excuse me. Are your parents here? + + HEATHER + My parents live in Paris. Sorry. + +She exits into the dining room, as SONDRA McCALLISTER, +enters the foyer. She's 11. + + SONDRA + (to Heather) + Bon jour. + + HEATHER + Wrong. That's good day. + + POLICE OFFICER + Hi. Are your parents home? + + SONDRA + Yeah. + + POLICE OFFICER + Do they live here? + + SONDRA + No. + 5. + + +5 EXT. HOUSE - NIGHT 5 + + A LITTLE NERO'S PIZZA delivery car — a Red Ford Geo — with + a cartoon rendering of a Roman holding a pizza and the + slogan NO FIDDLIN' AROUND PIZZA IN THIRTY MINUTES OR LESS + painted on the side and on the lighted roof sign whips into + the driveway and skids to a stop. + + +6 INT. HOUSE - UPSTAIRS HALLWAY - NIGHT 6 + + Kevin and JEFF McCALLISTER come out of their bedroom. + Jeff's Kevin's nine year-old brother. He's lugging a large + canvas duffel bag. He's stocky and build, aggressive and + confident. + + KEVIN + I don't know how to pack a + suitcase. I've never done it once + in my whole life. + + JEFF + Tough. + + KEVIN + That's what Megan said. + + MEGAN McCALLISTER comes out of her room into the hall. + She's 15, aloof, regal, vain, self-absorbed. + + MEGAN + What did I say? + + JEFF + You told Kevin, "tough". + + MEGAN + The dope was whining about a + suitcase. What am I supposed to do? + Shake his hand and say, + "Congratulations, you're an idiot"? + + KEVIN + I'm not an idiot! + + MEGAN + Oh really? You're completely + helpless. Everybody has to do + everything for you. + + JEFF + She's right, Kev. + 6. + + +Megan heads down the hall to the stairs and bounces down. + + KEVIN + Excuse em, puke breath, I never + packed a suitcase. + +LINNIE McCALLISTER, walks out of her room. She's twelve. + +Perfectly beautiful. + + LINNIE + I hope you didn't just pack crap, + Jeff. + + JEFF + Shut-up, Linnie. + + KEVIN + (to Linnie) + Do you know what I should pack? + + JEFF + Buzz told you, cheek-face, toilet + paper and water. + +Jeff continues to the stairs. Kevin hangs back with Linnie. + + LINNIE + What're you worried about? Mom's + gonna pack your stuff anyway. + You're what the French call les + Incompetant. + +Linnie turns on her heels and goes into room. + + LINNIE + P.S. You have to sleep on the hide- + a-bed with Fuller and he still wets + his bed. + + KEVIN + What happened to my room? + + LINNIE + Heather, Tracey, and Sondra took + it. + + KEVIN + This house is so full of people, it + makes me sick! When I grow upand + get married, I'm living alone! + +He stomps away. Linnie laughs. + 7. + + +7 INT. HALLWAY-STAIRS / FOYER 7 + + Jeff slings the duffel down the stairs. + + JEFF + BOMBS AWAY! + + CLOSE-UP POLICE OFFICER + + He looks down at his feet and the bag that's just landed. + He looks up. + + +8 INT. BUZZ'S BEDROOM - MIGHT 8 + + BUZZ McCALLISTER and ROD McCALLISTER are in Buzz's room. + Buzz is packing his suitcase. He's stocky and muscular, a + jock with a three-inch, waxed flattop. Rod is thin and + lanky, dull and bookish. Rod is looking at Buzz's + tarantula. + + ROD + Who's gonna feed your spider while + you're gone? + + BUZZ + He just ate a shitload of mice + guts. He's good for a couple weeks. + (pause) + Is it true that French babes don't + shave their pits? + + ROD + Some don't. + + BUZZ + And they got nude beaches? + + ROD + Not in the winter. + + Kevin opens the door and walks in. + + KEVIN + Buzz? + + Buzz turns angrily to him + + BUZZ + Don't you know how to knock, dick + rash? + + KEVIN + 8. + + + Can I sleep in your room? I don't + wanna sleep in the family room. + + BUZZ + I wouldn't let you sleep in my room + if you were growing on my ass. + +Buzz notices something out the window. He moves to the +window and points it out to Rod. + + BUZZ + Check it out. Old man Marley. + +CLOSE-UP KEVIN + +The mention of Marley's name gives Kevin pause. + +ROOM WINDOW + +Buzz and Rod peer through the window. + +BUZZ'S POV - MARLEY - NIGHT + +A grizzled old fellow with a mangy Howard Hughes white hair +and beard, shuffles out to his mailbox in a bathrobe and +boots. + +He gets his mail, hurriedly running back into the house. + +BACK TO SCENE - NIGHT + + ROD + Who's he? + + BUZZ + Ever heard of the South Bend Shovel + Slayer? + + ROD + No ... + + BUZZ + That's him. Back in '58, murdered + his whole family and half the + people on his block with a snow + shovel. Been hiding out in our + neighborhood ever since. + + ROD + If he's the slayer... How come the + cops don't arrest him? + 9. + + + BUZZ + They got no proof. But everybody + around here knows he did it. That's + why he only comes out once a day. + To get his mail. His groceries and + everything else gets delivered. He + lives by himself. Never says a word + to anybody. + + ROD + Wow... + + BUZZ + I keep watchin' that show... + "America's Most Wanted." I know + he's gonna be on it someday. Then + I'm gonna call that 900 number. + Turn his ass into the authorities. + Make a trillion dollars. + + He turns to Kevin and stalks him to the door + + BUZZ + (mean) + And if you don't get outta my + room... I'm gonna tie you to his + front porch and ring the doorbell + until he comes out. + + Kevin backs out of the room, scared. Buzz slams the door in + his face. He turns to Rod with a grin. + + BUZZ + The microveenie has the balls of a + butterfly. + + +9 INT. FOYER - NIGHT 9 + + The PIZZA BOY nervously offers his stack of pizza boxes to + the Police Officer. + + PIZZA BOY + (to the Officer) + $122.50. Sir. + + POLICE OFFICER + I don't live here. + + PIZZA BOY + Just here for the holidays? + 10. + + +10 INT. HALLWAY - NIGHT 10 + + FRANK McCALLISTER comes out of the bathroom with a Michel + in Guide under his arm. He's Peter's brother. A bit + younger, bulky and balding in department store casual + clothes. Kevin comes out of Buzz's room. Frank gives him an + affectionate, if a bit too hard, pat on the head with his + Michelin Guide. + + FRANK + Parlez vous Francais yet, squirt? + + Kevin gives him a chilly look. + + KEVIN + My name's Kevin. + + FRANK + Yeah? You know what they're gonna + call you in France don't you? + + KEVIN + What? + + Frank reaches around behind him, grabs the waist of his + pants and gives him a sharp pull. + + FRANK + YANK! + + He snorts and continues down the hall. Kevin glowers at + him. + + +11 INT. FOYER - NIGHT 11 + + CLOSE-UP POLICE OFFICER AND PIZZA BOY + + They're staring down. + + THEIR POV + + FULLER and BROOKE McCALLISTER are staring back up at them. + + Fuller is five and wearing glasses. Brooke is eight and + she's wearing glasses. + + The Pizza Boy leans over to Brooke and Fuller. + + PIZZA BOY + You dinks are my witnesses. I was + here in 30 minutes or less. + 11. + + +Frank comes down the stairs. + + FRANK + Pizza's here! + +He takes the pizzas from the Boy. + + PIZZA BOY + $122.50. + + FRANK + My brother'll get it. This is his + house. + +He exits with the pizzas. A stream of kids run down the +stairs and cross into the dining room to the kitchen. Aunt +Leslie follows. + + POLICE OFFICER + Are you Mrs. McCallister? + + AUNT LESLIE + Yes. But I'm not the Mrs. + McCallister that lives here. + +She exits into the dining room. + + AUNT LESLIE + (calls) + Use paper plates, Frank! And don't + give Fuller any Coke! + +Peter comes down. The cop points. + + POLICE OFFICER + Are you the Hr. McCallister who + lives here? + + PETER + Yes. + + PIZZA BOY + Good. 'Cause somebody owes me + $122.50. + + POLICE OFFICER + I need a word with you, sir. + + PETER + My wife's coming right down. She'll + take care of both of you. Excuse + me. + 12. + + + Peter exits. The cop and the Boy exchange confused looks. + + +12 INT. KITCHEN - NIGHT 12 + + It's a pizza orgy. The boxes are spread across the counters + and table. Everybody's talking at once, grabbing pizza, + opening and closing the refrigerator, drawers, cupboards. + + AUNT LESLIE + Take napkins and get your own + drinks. + + FULLER + What time do we have to go to bed? + + UNCLE FRANK + Early. We're leaving the house at + eight A.M. On the button. + + Kate comes down the back stairs into the kitchen. + + KATE + Everybody have milk? I have to get + rid of it. + + BROOKE + Mom... Does Santa have to go + through customs? + + PETER + (to Kate) + Honey? The pizza kid needs $122.50. + + KATE + For pizza? + + Kate crosses to the counter, opens her purse, taking out an + envelope of travel money. + + UNCLE FRANK + Ten pizzas times twelve bucks + + AUNT LESLIE + Frank? You have money, don't you? + + UNCLE FRANK + Traveller's checks. + + KATE + We have it. + + Kevin sifts through the pizza boxes. + 13. + + + KEVIN + (looking up) + Did anybody order me plain cheese? + +Buzz, his mouth packed with pizza, looks at Kevin. + + BUZZ + Yeah. But if you want any, + somebody's gonna have to barf + theirs up because it's gone. + +Kevin glares at Buzz, who smiles sadistically and begins to +feign a barf. Kevin charges Buzz, knocking the loaded plate +of pizza from his hands and ramming him into the counter, +knocking over a half-gallon carton of milk. + +CLOSE-UP PASSPORTS + +A stack of fifteen passports. Dosed with milk. + +BACK TO SCENE + +Kate grabs Kevin. Peter lunges from his seat, knocking the +table, spilling a glass of milk. + + PETER + THE PASSPORTS1 + +Frank shoves his chair back to avoid the river of milk +heading his way. + + FRANK + LOOK OUT! + +He pins Fuller between the wall and the back of his chair. + + FULLER + DAD! + + AUNT LESLIE + (noticing Fuller) + FRANK! + + FRANK + GET A NAPKIN! + +Kate pulls Kevin off Buzz. Peter rescues the passports and +tickets. + + KATE + What's the natter with you? + 14. + + + She gives him a violent shake. + + KEVIN + HE STARTED IT! HE ATE MY PIZZA ON + PURPOSE. HE KNOWS I HATE SAUSAGE + AND OLIVES AND ONIONS AND... + + KATE + You get upstairs! Right this + Instant! + + KEVIN + Why?!? + + TRACEY + Kevin. You're such a disease. + + KEVIN + Shut up. + + PETER + Get upstairs! + + KATE + Say good night, Kevin. + + Kate yanks him out of the kitchen. Peter holds the drenched + passports and tickets over the sink. + + +13 INT. FOYER - NIGHT 13 + + The cop and the Pizza Boy are still waiting. They look to + the dining room as Kate drags a struggling Kevin through. + + KEVIN + Why do I always get treated like + scum!? + + POLICE OFFICER + Ma'am? + + She hands the Pizza Boy his money + + KATE + (to the cop as she pays + the boy) + 15. + + + I'm sorry. We're going out of town + tomorrow and it's just crazy around + here. My husband's brother + transferred to Paris during the + summer and his daughter goes to + college here and his son is + finishing high school and staying + with my brother-in-law. + + Kate gives the last of the cash to the Pizza Boy. + + PIZZA BOY + Nice tip. Thank you. Have a very + Merry. + + KATE + You, too. + + He exits. Kate continues explaining to the cop. + + KATE + So... as a Christmas present ... My + husband's brother gave us all a + trip to Paris ... So we can all be + together for the holidays. My + brother-in-law drove in from Ohio + today... we all leave for Paris in + the morning. We have a house full + of people here and... + (referring to Kevin) + ... this one's a little out of + sorts. Give me a minute and I'll be + right with you. + + POLICE OFFICER + Fine. + + She marches Kevin up the stairs. + + CLOSE-UP KEVIN + + He looks back at the police officer. + + KEVIN'S POV - NIGHT + + Moving away from the Police Officer, who smiles and winks. + + The cop's upper right incisor is gold. + + +14 INT. HOUSE - UPSTAIRS HALLWAY - NIGHT 14 + 16. + + +Kate and Kevin round the landing and come up into the +hallway. + + KATE + There are fifteen people in this + house. And you're the only one who + has to make trouble. + + KEVIN + I'm the only one getting dumped on. + + KATE + You're the only one acting up. Now + get upstairs. + + KEVIN + I am upstairs, dummy. + +Kate resists the urge to belt him. She reaches up, pulls +open the door at the end of the hall. A stairwell to the +third floor. + + KEVIN + The third floor? + +Solemn, distant CHURCH BELLS TOLL. Kevin's tough, little +face droops. Third Floor" is parent for "Hell." Kate knows +she has the upper hand. + + KATE + Go. + + KEVIN + It's scary up there. + + KATE + You should have thought about that + before you lost your temper. + + KEVIN + I'm sorry. + + KATE + It's too late. Go. + +Kevin realizes the softer approach won't work. + + KEVIN + Everybody in this family hates me! + + KATE + Then maybe you should ask Santa + Claus for a new family. + 17. + + + He steps onto the first stair. + + KEVIN + I don't want a new family! I don't + want any family! Families suck! + + KATE + You stay up there. I don't want to + see you for the rest of the night! + + KEVIN + I don't want to ever see you again + for the rest of my whole life and I + don't want to see anybody else + either! + + KATE + (after a pause) + I hope you don't mean that. You'd + feel pretty sad if you woke up + tomorrow and we were all gone. + + Kevin has shocked himself. But he doesn't give in. As much + to save face as to continue the battle. + + KEVIN + No, I wouldn't. + + A long, hurt stare is on Kate's face. + + KATE + Say it again, then. Maybe it'll + happen. + + She closes the door. + + +15 INT. STAIRWELL - NIGHT 15 + + Kevin's furious that Kate closed the door on him. That he + lost. + + KEVIN + I hope I never see any of you jerks + again! + + Hearing himself, he realizes how wicked and horrible it + sounds. + + He feels immediate remorse. + + +16 INT. UPSTAIRS HALLWAY/FOYER - NIGHT 16 + 18. + + + Kate is hurt, but dismisses it as temper. She turns and + heads down the stairs. She slows and stops as she looks + down into the Foyer. + + HER POV + + The Police Officer is gone. + + CLOSE-UP KATE + + A Curious look. Why did he leave? She shrugs it off and + continues down. + + +17 INT. STAIRWELL - NIGHT - THIRD FLOOR - CLOSEUP - KEVIN 17 + + He slowly walks up the stairs. He's worried and frightened. + + Has he gone too far? + + +18 EXT. HOUSE - NIGHT 18 + + The lights are out. A strong wind is blowing. Trees sway. + + Christmas decorations blow over. A plastic Santa tumbles + across the lawn. A large limb snaps. It falls across the + power and phone lines, bringing them down in a shower of + sparks. + + CLOSEUP - ALARM CLOCK - NIGHT + + In Peter and Kate's room. The digital light goes out. + + +19 EXT. HOUSE - MORNING 19 + + Two blue and yellow airport minivans are parked in the + driveway. Two uniformed drivers are on the porch. One is + hammering on the door.. The other steps back from the + house, trying to see if there is anyone inside. + + A Power Company truck is parked in the street. A LINEMAN + isrepairing the wire. + + +20 INT. MCCALLISTER HOUSE - MASTER BEDROOM - MORNING 20 + 19. + + + Peter and Kate are still sleeping. We hear the DOORBELL and + the POUNDING. Kate stirs. Confused. She sits up, looks at + the clock. It takes a moment for her to realize that it's + not working. She quickly looks at her wristwatch on the + night stand and seeing the real time, Kate panics. + + KATE + Peter! + + +21 INT. HOUSE - FOYER - MORNING 21 + + Parents and kids clamor down the stairs. + + KATE + Where're the passports? + + PETER + You have 'em! + + AUNT LESLIE + I have 'em. + + KATE + Ours! + + FRANK + You know what they're gonna call + you in France, Pete? + + +22 EXT. HOUSE - MORNING 22 + + The two drivers, who load a suitcase and duffel bags into + the two minivans. A neighbor BOY is watching them. He's + Kevin's age. + + BOY + You guys going out of town? + + +23 INT. FOYER - MORNING 23 + + Kate and Peter, Aunt Leslie and Uncle Frank, are making a + last minute check of money and passports and tickets. + Peter's adjusting his trousers. + + KATE + Peter, you have the tickets. + + PETER + Yes + 20. + + + KATE + Count 'em. + + Peter counts. + + AUNT LESLIE + Frank? You have the money? + + UNCLE FRANK + Son of a bitch. + + AUNT LESLIE + You left it upstairs? + + UNCLE FRANK + No. I'm wearing a dirty shirt + + +24 EXT. HOUSE - HORNING 24 + + Heather wearily goes through her head count including the + neighbor Boy who is turned away, looking into the van. + + HEATHER + Six... Seven... Eight ... + + BUZZ + (loudly, to throw her + off) + Ninety-three ... Six hundred... + Elevendy-trillion ... + + HEATHER + Nine. Buzz. Don't be a moron. + Ten...Eleven. + (to the kids) + Get in! Half in here, half in the + front one. + + She shuffles to the van pulled first into the drive and + gets in. The older girls follow her. The boys and the + little girls get into the other van. The kids are tired and + groggy. + + CLOSE-UP NEIGHBOR BOY + + He wishes the kids a good trip. + + BOY + Have a good trip. Bring me + something French. + 21. + + +25 EXT. FRONT PORCH - MORNING 25 + + The parents come out. Peter locks the door. Leslie and Kate + hurry to the first van. Frank hangs back with Peter. + + UNCLE FRANK + No way on earth we're gonna make + that plane. It leaves in forty five + minutes. + + PETER + Think positive. + + UNCLE FRANK + You be positive. I'll be realistic. + + They move toward the vans. + + +26 EXT. PORCH - MORNING 26 + + The electric company LINEMAN approaches them. + + LINEMAN + Power's fixed. Phone lines were + tore up real bad, though... It's + gonna take Ma Bell a couple days to + make a house call... 'specially + around the holidays + + KATE + (not listening, passes' + by) + Excuse me. I've got to catch a + plane. + + The Lineman shrugs. Kate and Leslie hurry to the first van. + + Peter and Uncle Frank get inside the other van. + + +27 INT. VAN - MORNING 27 + + Kate turns to Heather, her head against the window and eyes + closed. + + KATE + Heather? You counted heads? + + HEATHER + 22. + + + Eleven. Including me. Five boys. + Six girls. Four parents. Two + drivers and a partridge in a pear + tree. + + +28 EXT. HOUSE - STREET - MORNING 28 + + The two vans zip out of the drive and speed off down the + street. + + +29 INT. O'HARE AIRPORT - CONCOURSE - MORNING 29 + + The two frenzied families run down the corridor. + + +30 INT. DEPARTURE AREA - MORNING 30 + + The Air France flight has boarded. A COUNTER PERSON exits + the ramp, and secures the door. The McCallister horde + thunders into the departure area. + + KATE + Did the plane leave? + + The Counter Person glances around the board to the windows + and sees the plane is still in place. + + COUNTER PERSON + No. You just made it. + + She hurriedly takes all of the tickets, counting them + quickly. + + COUNTER PERSON + Four in First class. Eleven in + coach. + + KATE + Right. + + COUNTER PERSON + (as she hands the tickets + back) + Single seats only in coach. Take + whatever's free. + + The family storm into the tunnel as a group. + + +31 INT. PLANE - FIRST CLASS - MORNING 31 + 23. + + + Kate and Peter move to their section. The kids hurry + through the curtain, to the back of the plane. + + PETER + We made it + + KATE + I hope we didn't forget anything + + +32 INT. HOUSE - UPSTAIRS HALLWAY - THIRD FLOOR DOOR-MORNING 32 + + It's closed. A long beat. The door opens. Kevin pokes his + head out. + + +33 EXT. AIRPORT - MORNING 33 + + An Air France 747 takes off. In a thundering ROAR. + + +34 INT. HALLWAY - MORNING 34 + + O.S. a TOILET FLUSHES. Kevin exits the bathroom, heads down + the hall, to stairs. He's yawning, scratching his rump. + + +35 INT. FOYER - MORNING 35 + + Kevin comes down the stairs. Still unaware that he's alone + + +36 INT. KITCHEN - MORNING 36 + + Kevin walks in, turns ON the TV and sits down at the + kitchen table. He waits for his breakfast to be served. + + Kevin sits hunched over, chin resting on his hands, his + eyelids slung low, his hair twisted and twirled from sleep. + He sits for a long beat before looking to the side. + + KEVIN'S POV - MORNING + + Sink. Stove. Counter. No people. + + Something is starting to bother Kevin. He slowly sits up. + + He turns, looking around behind him. + + KEVIN'S POV - MORNING + + The dining room table and chairs. But no people. + 24. + + + Kevin turns back. He slides off the chair and walks to the + TV. He turns it OFF and listens. + + KEVIN + Mom? + + +37 INT. 747 FIRST CLASS - MORNING 37 + + Kate and Peter are having breakfast. Frank and Leslie are + across the aisel from them. + + PETER + Do you feel like a heel flying + First Class while the kids fly + coach? + + UNCLE FRANK + When I was a kid we didn't even fly + coach. We flew station wagon. And + it wasn't to France. They're fine. + + KATE + Do you know how strange it's going + to be to come home from a vacation + to a house where the beds haven't + been made? + + +38 INT. MASTER BEDROOM - MORNING 38 + + The bed is unmade. Kevin enters the room. + + KEVIN + Dad? + + He walks toward the master bath. Kevin peeks into the + shower, looks into the linen closet. + + KEVIN + Where are you guys?! + + +39 INT. BUZZ'S ROOM - MORNING - CLOSEUP-TARANTULA AQUARIUM 39 + + THROUGH the glass, PAST the tarantula, we see Kevin step + into the room. Kevin scans the room. + + KEVIN + Buzz? + + HIS POV + 25. + + + Buzz's messy room is dominated by sports and muscle heroes. + + There is a row of sports figurines on one shelf. + + +40 INT.BASEMENT - MORNING 40 + + He opens the door and looks into the basement. + + KEVIN + Is this a joke? Megan? Rod? Uncle + Frank? Uncle Frank? Is this a joke? + + HIS POV + + Moving from one side to the other, past the accumulated + rubbish * of a couple of generations. Boxes, old + furnishings, lamps, discarded toys, a huge, old boiler with + wrapped pipes that look like tentacles reaching into the + floor and the house above, a pair of naked store + manneouins, a work bench loaded with old tools, jars of + nails and paint cans and finally, a collection of a dozen, + old, tattered, marionettes hanging from the rafters by + their strings. It's an altogether unsettling place for a + lonely, young boy. + + CLOSEUP KEVIN + + He gulps at the mass of potentially scary material. + + +41 INT. HOUSE - BASEMENT STAIRS - MORNING 41 + + Kevin charges up the stairs as fast as he can go and slams + the door. + + +42 EXT. HOUSE - PORCH - MORNING 42 + + Kevin unlocks the door and peeks out into the yard. + + HIS POV + + The garage door is open. A Ford wagon and a Ford Taurus are + parked in the garage. + + CLOSSEUP KEVIN + + A look of deep concern. + + KEVIN + 26. + + + The cars are still here. They + didn't go to the airport! + (worried) + Oh, no. What did I do? + + He goes back inside. + + +43 INT. KITCHEN - MORNING 43 + + Kevin leans on the counter to sort things out in his mind. + + Something occurs to him. He slowly looks down at the + counter and recoils. The coffee maker is still "on." A full + pot. + + Kevin is in horror as he comes to a chilling conclusion. + + KEVIN + I made my family disappear! + + +44 EXT. SKY - DAY 44 + + The Air France 747 drifts AWAY FROM CAMERA. + + +45 EXT. STREET - DAY 45 + + A dirty, salt-stained Ford van drives slowly down the + street. + + Painted on the side of the van is — "OH-KAY HEATING AND + PLUMBING." + + +46 INT. VAN - DAY 46 + + Two men in the van. The one driving we recognize as the + police officer from the night before. He's no longer in + uniform. + + His name is HARRY LYME. His partner, MARVIN MURCHENS, sits + beside Harry. Marvin is in his late thirties. A police + blotter perfect crook. Thin. Bad skin. Heavy brow. Circles + under his deep set eyes. Tattoos on the back of his hands. + + These two are obvious burglars. + + HARRY + Five families gone on one block + alone. And they told me from their + own mouths. + 27. + + + MARV + It's almost too easy. + + HARRY + Remember the old days, Marv? When + everybody stayed home for the + Holidays? + + MARV + Now it's off to Hawaii. Aspen. + Paris. Whatever happened to just + sittin' around the fireplace with + your family...? Roastin' chestnuts + ...? Singin' Christmas Carols? + + HARRY + People have become too cynical. Too + jaded. Just another sign of ongoin' + moral decay of contemporary + society. + + MARV + Yeah. + (long pause) + So which house you wanna' hit + first? + + +47 INT. MCCALLISTER HOUSE - FOYER - DAY 47 + + Kevin yells at the top of his voice. + + KEVIN + Somebody? Anybody? I'm starving! + + +48 EXT. STREET - DAY 48 + + Harry and Marv's van pulls deep into the neighbor driveway. + + CAMERA SWINGS BACK to reveal the McCallister house a few + doors down. + + +49 INT. KITCHEN - DAY 49 + + Kevin's in the kitchen, standing before the open + refrigerator. + + KEVIN + I don't remember the food groupsI + 28. + + +50 INT. NEIGHBOR'SHOUSE- BASEMENT - DAY 50 + + A cellar door bursts open. Harry and Marv enter. + + +51 INT. FAMILY ROOM - DAY 51 + + CLOSE-UP TELEVSION SET + + A McCallister family video is playing. The image is a hand + held shot of a Busch Garden's brochure. CAMERA ZOOMS BACK + to reveal that Megan is holding the brochure. She's wearing + a nightgown. + + The drapes are drawn. Kevin is in his pajamas. We hear + PETER NARRATING. + + PETER + We're here in our luxurious hotel + at Busch Gardens in Tampa Bay + Florida. + + +52 INT. KITCHEN - CLOSE-UP ICE CREAM CARTON - DAY 52 + + A half gallon container sits on the counter. Dripping. A + sticky, ice-cream-covered serving spoon rests on the + counter beside the container. + + +53 INT. FAMILY ROOM - DAY 53 + + CLOSE-UP KEVIN + + He's sitting inhis father's chair in the family room + watching the video tape. He's eating a huge bowl of ice + cream. Between bites, he dips Cheetos into the ice cream. + He's drinking a Pepsi. CLOSE-UP TELEVISION Kevin is now + standing next to Megan. He slips on an elephant mask with a + rubber trunk. Buzz steps INTO FRAME. He's in shorts with no + shirt. + + PETER + Our first guest is Kevin the + elephant boy McCallister. + + BUZZ + (stepping around behind + Kevin) + Hold on, Dad. Elephants don't + wear... + 29. + + +Buzz slaps his hands to Kevin's hips and yanks down his +pajama bottoms. + + BUZZ + PAJAMAS! + +Kevin swings at him and catches Megan in the belly. + + MEGAN + OOF! YOU LITTLE BASTARD! + + PETER (O.S.) + CUT IT OUT! + +The CAMERA swings down and goes off. It goes back on with +Kevin yelling and screaming to Peter. + + KEVIN + THIS IS THE WORST VACATION OF MY + LIFE! HOW WOULD YOU LIKE TO HAVE + SOMEBODY PULL YOUR PANTS DOWN IN + FRONT OF FEMALE RELATIVES WITH BIG + MOUTHS? HUH?! + +Kate rushes into FRAME and speaks to the CAMERA. + + KATE + Buzz! Turn that damn thing off! + (to Kevin) + Get in the other room! + + KEVIN + Buzz pants'd me! + + KATE + I don't care what Buzz did, nobody + in this family hits anybody! + + KEVIN + Why am I always the one who gets in + trouble? I should never have come + here with your stupid children. + + KATE + Maybe you'd like to spend this + vacation by yourself? + + KEVIN + Fine + + KATE + We oughta just leave you and teach + you a lesson. + 30. + + + (to CAMERA) + BUZZ! SHUT THAT THING OFF! + + CLOSE-UP KEVIN + + He points the remote at the TV. + + CLOSE-UP TV + + The tape rewinds, stops and starts. + + KEVIN + Fine. + + KATE + We oughta just leave you and teach + you a lesson. + + The FRAME FREEZES. + + CLOSE-UP KEVIN + + A little grin sneaks across his lips. + + CLOSEUP - KEVIN - DAY + + He bounces IN and OUT OF FRAME + + +54 INT. MEGAN'S BEDROOM - DAY 54 + + Kevin's jumping on the bed as he eats microwave popcorn. + + CLOSEUP - PLAYBOY MAGAZINE - DAY + + A stack of Playboys. + + +55 INT. BUZZ'S BEDROOM - DAY 55 + + Kevin has gone through Buzz's room and discovered his + secret suitcase. He's looking through a Playboy. It's not + so great. + + KEVIN + No clothes on anybody. Sickening. + + He flips it aside, reaches into the trunk and comes up with + a package of firecrackers. + + KEVIN + Cool. + 31. + + + He reaches into it again and comes up with a handful of + candy. + + KEVIN + I'll save this for later. + (yells) + Buzz? I'm going through all your + private stuff! You better come out + and pound me! + + He pulls out a 4x6 school photo of a girl. + + KEVIN + Buzz! Your girlfriend? Woof! + + +56 INT. HALLWAY - DAY 56 + + Kevin comes out of Buzz's room with a stack of sports + figurines. He crosses to the laundry chute and opens the + door. + + KEVIN + We'll just store these... + + He dumps the sports figurines down the chute. He listens as + they clang and bang down to the basement. + + KEVIN + ...in the basement. + + He heads down the stairs. + + +57 INT. KITCHEN - DAY - CLOSEUP - ICE CREAM CARTON 57 + + A half gallon container sits on the counter. Dripping. A + sticky, ice-cream-covered spoon protrudes from the + container. + + CLOSEUP - VCR - DAY + + A movie is playing. We hear the dialogue. + + MAN'S (V.O.) + Who is it?! + + SECOND MAN'S (V.O.) + It's me, Winston. I got the stuff. + + MAN'S (V.O.) + Leave it on the doorstep and get + the hell outta here. + 32. + + + SECOND MAN'S (V.O.) + Awright, Johnny. But what about my + money? + + CLOSEUP - TV - DAY + + An action film is now playing. A door opens and a burly, + scarfaced mobster looks out. + + MOBSTER (V.O.) + What money? + + A thin, ashen-faced young man cowers at the sight of the + mobster. + + MAN'S (V.O.) + Acey said you'd have some dough for + me. + + MOBSTER (V.O.) + That a fact? How much do I owe you? + + +58 INT. FAMILY ROOM - DAY 58 + + Kevin is sitting in his father's chair, watching the + videotape. + + He's eating a huge bowl of ice cream. He's drinking a + Pepsi. + + KEVIN + You guys? I'm watching an 'R' + movie! You better stop me! + + MAN'S (V.O.) + Acey said ten percent. + + MOBSTER (V.O.) + Too bad Acey ain't in charge no + more. + + MAN'S (V.O.) + What do you mean? + + MOBSTER (V.O.) + He's upstairs taking a bath. He'll + call you when he gets out. + + CLOSEUP - TV - DAY + + The young man rears back in horror. He knows that Acey is + dead. The mobster leans in. CLOSE and ugly. + 33. + + + MOBSTER (V.O.) + I'll tell you what I'm gonna give + you. Snakes. I'm gonna give you to + the count of ten to get your ugly, + yella, no-good ass off my property + before I pump your guts fulla lead. + + MAN'S (V.O.) + Awright, Johnny. I'm sorry. I'm + goin'. + + MOBSTER (V.O.) + One! Two! ... Ten! + +The mobster lifts a MACHINE GUN INTO FRAME and OPENS FIRE. + +Kevin's eyes are open wide. Filled with horror. The GUNFIRE +ENDS. + + MOBSTER (V.O.) + Keep the change, you filthy animal. + +Kevin grabs the remote control and STOPS the movie to avoid +seeing the bloody carcass. + + KEVIN + Mom! + +CLOSEUP - KATE - FIRST CLASS SECTION - NIGHT + +She's sleeping against Peter's shoulder. Suddenly, her eyes +pop out. She sits up. CAMERA PULLS BACK. A movie plays In +the cabin. The plane's shades are drawn. + +Passengers sore watching and chuckling. Peter lowers his +book and looks at Kate. She's in the first stages of a full +panic. She opens her purse. + + PETER + What's the matter? + +Kate rummages through the purse, comes up with passports +and money. + + PETER + Honey? + + KATE + I have a terrible feeling. + + PETER + About what? + 34. + + + KATE + That we didn't do something? + + PETER + (smiles warmly) + It's just that we left in a hurry. + We took care of everything. + + KATE + I turned off the coffee? + + PETER + I did. + + KATE + You locked up? + +Peter nods in the affirmative. Her thoughts are coalescing, +taking a disturbing form. + + KATE + Put the timers on the lights? + + PETER + Yeah... + +Peter starts to worry that they've forgotten something +important. + + PETER + I closed the garage? + +Kate nods slowly. + + KATE + Did you put the answering machine + on? + +Peter thinks. That's the one. + + PETER + No. That's it. I forgot to put on + the machine. + + KATE + That's not it. + +She thinks. Peter thinks. + + PETER + I don't know. What else could we be + forgetting? + 35. + + + She stares into his eyes. It suddenly occurs to Kate what's + troubling her. She grabs Peter's arm. She screams. + + KATE + Kevin! + + Her cry coincides with a funny moment in the airplane movie + and is covered by the passengers' laughter. + + +59 INT. HOUSE - FOYER - STAIRS - DUSK 59 + + Kevin is at the top of the stairs on his saucer sled. He + pushes off, flies down the stairs, across the foyer floor + and out the door. + + +60 EXT. PORCH - DUSK 60 + + Kevin shoots out of the door, jumps the porch and crashes + in the yard. + + Kevin rolls over. Dazed and sore. He's taken a big hit. He + sits up and rubs his roasted ass. He glances around slowly. + + The sun is setting. A florid, yellow, purple and black + winter sunset. Kevin looks up. The bare trees move in the + breeze. + + Kevin is getting nervous. He looks across the street. To + old mem Marley's house. Marley is scraping his front walk + with a snow shovel. Kevin Freaks. + + +61 EXT. HOUSE - DUSK - WIDE 61 + + The street lights go on. Kevin jumps up and mins into the + house. He slams the door. + + +62 INT. 747 - FIRST CLASS - NIGHT 62 + + Kate's calmed down a fraction. Frank and Leslie are doing + their best to console both Kate' and Peter. + + AUNT LESLIE + We'll call as soon as we land. I'm + sure everything's okay. + + Kate isn't interested in Leslie's consolations.Frank leans + across. + + UNCLE FRANK + 36. + + + (to Peter) + If it makes you feel anybetter, I + forgot my reading glasses. + + +63 EXT. STREET - NIGHT - LATER 63 + + The street lamps are fading "On". Harry and Marv's van is + parked at the far end of the street. + + +64 INT. VAN 64 + + Harry and Marv sit inside, surveying the street. Harry + glances from his vristwatch to the various houses. + + HARRY + Check it out. All the houses with + nobody home have automatic timers + on their lights... I got it all + figured out... Number 1128 should + go on right about... now... + + Outside, the white Christmas house lights of address #1128 + turn on. Harry points to another house, while glancing to + his watch. + + HARRY + Number 1135... Now. + + Outside, the McCallister house lights FLASH ON. Harry + smiles. + + HARRY + That's the one, Marvin. That's the + silver tuna. + + MARV + It's very G. + + HARRY + It's loaded. Lots of top-flight + goods. Antiques, collectibles, + objects d'art. Lots of kids means + lots of stereos, VCR's, TV's. We're + probably looking at some nice + jewelry, possible cash hoard, the + odd marketable security. Who knows. + It's a gem. + + MARVIN + We'll probably need anight and day + in there to clean itout. + 37. + + + HARRY + Grab the crowbar. + + +65 EXT. HOUSE - LATER 65 + + The house is dark. + + +66 INT. MCCALISTER FAMILY ROOM - NIGHT 66 + + Kevin is asleep. The house is silent. Dark. Save for the + exterior Christmas lights, which throw strange, elongated + shadows along the walls. The outside wind is strong. + + Howling. Kevin wakes. The house boards creak. Kevin's eyes + are wide. Afraid. + + He hears a sound. His name. Echoing in a scratchy, eerie + whisper. Kevin. Kevin. Kevin. He slowly turns to the sound. + + It is only a branch, scratching against the window. + + Kevin takes a breath, gathers his courage, attempting to + calm himself. + + KEVIN + Okay. Just relax. Stay calm. Just + like Dad always says, "Don't let + your fears get the best of you. + It's all in your imagination." + + Suddenly, Kevin hears more voices. Singing. An accapella, + devilish version of "Silent Night". Kevin turns. + + The nutcrackers are singing. Their mouths flapping wildly. + + Kevin screams and runs out of the room. + + +67 INT. FOYER - NIGHT 67 + + x Kevin skids to a stop. A long, shadow of a man in a hat + is on + + the wall. The shadow transforms into a "Night On Bald + Mountain" demon. Kevin jumps back, cries out and runs out + of the room. CAMERA WHIPS to the source of a shadow. It's + only a hat and coat, hanging from the hall cloak rack. The + shadow is back to normal. + + +68 INT. DINING ROOM - NIGHT 68 + 38. + + + Kevin dashes inside. Face to face with the Grandfather + Clock./ The clock- suddenly comes to life. Its face and + body ditorts for a moment, scaring the hell out of Kevin. + Kevin screams and dashes out of the room. + + +69 INT. KITCHEN - NIGHT 69 + + Kevin stops. Catches his breath. Gets a sudden chill. + + KEVIN + It's freezing. + (a realization) + The furnace. + (a worse realization) + The pilot light. + + +70 INT. BASEMENT - NIGHT 70 + + A LOW ANGLE HIDE SHOT, from the bottom of the basement + stairs. + + The top stair opens. Kevin stands here, looking down at the + longest descent of his life. + + CLOSE-UP: KEVIN. + + Pondering. + + KEVIN + Like Dad always says "You gotta + face your fears if you wanna' + conquer 'em." + (gulp) + If I don't face my fears now... + I'll be a dreamsicle by tomorrow + morning. + + Kevin takes a deep breath. He slowly takes a step. Into the + basement. The stair creaks. Kevin gingerly walks down the + stairs. The basement is dark. Damp. + + He arrives at the bottom of the stairs. Kevin's foot hits + something. He looks down. + + It's the mannequin head. Its blank features have been + replaced by a face. The head is alive. It SPEAKS to Kevin. + + MANNEQUIN HEAD + Only a dummy would come into the + basement. + 39. + + +The mannequin head laughs. Joined by more laughter. Kevin +looks up. The other mannequins are laughing. Headless +bodies slap their knees. Disembodied heads chuckle. + +Kevin closes his eyes. + + KEVIN + It's not real. + +Kevin slowly opens his eyes. The mannequins are calm. +Quiet. + +The head at h is feet is faceless. Kevin turns. He looks at +the enormous FURNACE ahead of him. + +Kevin slowly walks to the furnace. He gets to his knees and +moves toward a mouth-like opening, located near the bottom +of the furnace. Kevin reaches for the lever that opens the +furnace. He pulls the lever forward. A loud grinding sound +is heard. The mouth opens. Kevin peers inside. + +KEVIN'S POV + +A red button. Tiny letters read: PILOT above the sign. A +few mousetraps, laced with cheese, are scattered on the +floor in front of the pilot light. + +A nervous Kevin slowly moves his arm into the opening, His +trembling hands pass only inches above the mousetraps. + +The sound of several squealing mice fill Kevin's head. +Getting louder. Louder. Kevin closes his eyes to stop the +sound. + + KEVIN + STOP! + +The sounds stop. Kevin continues to move his hand toward +the pilot light button. + +He presses the button. + +The furnace erupts. + +Kevin jumps back and looks up. + +The furnace has COME TO LIFE. Its mouth roars. Its dials +become bulging eyes. Steam rushes from its cracked pipes. + +Kevin turns and runs up the stairs. CAMERA PANS BACK to the +furnace. It is calm, still. Purring gently. + 40. + + +71 INT. FAMILY ROOM - NIGHT 71 + + Kevin wakes up with a scream. + + +72 EXT. CHARLES DEGAULLE INTERNATIONAL AIRPORT - MORNING 72 + + The 747 touches down. + + +73 EXT. MCCALLISTER HOUSE - NIGHT 73 + + Harry and Marv's Ford van pulls in the driveway. + + +74 INT. VAN - NIGHT, 74 + + Harry shuts off the lights and turns off the engine. They + exit the van. + + +75 INT. FAMILY ROOM - NIGHT 75 + + Kevin's sitting in the chair, breathing heavy, shaking off + the dream. He looks at the TV. He scrambles to his feet and + turns on the light, he turns on another. + + +76 EXT. HOUSE - BACK YARD - NIGHT 76 + + Harry and Marv walk down the cellar stairs + + +77 INT. BASEMENT - NIGHT 77 + + Harry and Marv peek in the dirty windows of the cellar + door. + + +78 EXT. HOUSE - CELLAR STAIRS - NIGHT 78 + + Harry positions his crowbar at the jamb. Behind them we see + light. + + +79 INT. KITCHEN - NIGHT 79 + + Kevin's turned on the kitchen lights. He carefully opens + the basement stairs and... + + CLOSE— UP SWITCH + 41. + + + He turns on the basement lights. + + +80 INT. BASEMENT - CLOSE-UP HARRY AND MARV - NIGHT 80 + + Through the glass, looks of shock. + + +81 INT. KITCHEN - NIGHT 81 + + Kevin turns on the kitchen TV and the radio. + + +82 EXT. HOUSE - CELLAR STAIRS - NIGHT 82 + + Harry and Marv hear the TV. They turn to see the light. + + HARRY + Shit. + + MARV + I thought you said they were + gone?!? + + HARRY + They were supposed to leave this + morning! + + MARV + We gotta get outta here! + + They race across the back yard, back to their van. + + +83 INT. AIRPORT - ARRIVAL AREA - MORNING 83 + + ROB McCALLISTER, his wife, GEORGETTE, their eight year old + son, KEITH, and eleven year old son, STEFFAN. Rob looks + down at his kids. + + ROB + Okay, kids. Try the sign. + + The kids grumble and unenthusiastically unfurl a long + computer sign that reads — WELCOME TO PARIS! MERRY + CHRISTMAS. Rob is craning his neck to see over the crowd. + He spots the McCallisters. + + ROB + There they are! + + Rob puts his arm around Georgette and grins. + 42. + + + ROB + Look how excited they are to see + us! + + ROB'S POV - MORNING + + Kate and Peter lead the horde from the arriving flight. + + They're running. Aunt Leslie, Uncle Frank and the kids + trail behind. Nothing is stopping Peter and Kate. + + ROB + (wave) + Pete! Kate! + + +84 INT. AIRPORT - MORNING 84 + + Peter and Kate burst through the sign. Uncle Frank and Aunt + Leslie follow, then the kids, all running past. Rob, + Georgette and his family are completely stunned. + + CLOSEUP - PAY PHONE AREA - MORNING + + In the foreground. The running throng approaches, like a + festive, holiday marathon. Kate arrives and grabs the + phone. + + She turns and shouts orders to the others. + + KATE + I'm gonna try our house. Peter, you + call the Bensons. If they're home, + they can run over and get Kev. + (to the kids) + Kids. Get some change. Start + calling people you know. + (to Leslie) + Leslie. Frank. Take my address + book. Call anybody who lives on our + street. Maybe somebody will still + be home. + + +85 INT. MCCALLISTER HOUSE - UPSTAIRS HALLWAY - NIGHT 85 + + CLOSEUP KEVIN + + Kevin sitting on the top stair. He's terrified and + breathing heavily. + + +86 INT. AIRPORT - PHONE AREA DAY - KATE AND PETER 86 + 43. + + + Kate stands at the phone, listening with distress. In the + background the kids huddle around another phone, trying + various numbers. + + Aunt Leslie and Uncle Frank are on another telephone. Kate + hangs up the phone. Frustrated. + + KATE + The phone's still out of order. + + Kate hurriedly dials another number. + + +87 INT. POLICE STATION - NIGHT 87 + + A switchboard OPERATOR answers a call. + + OPERATOR + Oak Park Police Department. Mmm + Hmmm. You want to report a missing + child? + + +88 INT. AIRPORT - DAY/NIGHT 88 + + The following scene INTERCUTS BETWEEN the switchboard + Operator and Kate, between DAY/NIGHT. + + KATE + He's not missing. + + Peter reacts instinctively to the strength of the word. + + PETER + Missing? + + KATE + (waves him silent) + He's at home. We left on an + overseas flight and somehow, we had + eleven kids, somehow we overlooked + him. + + OPERATOR + The child is not missing? + + KATE + (frustration growing) + Ma'am. I need someone to go to my + house and see if my child is + alright and to tell him that... + + She looks to Peter. + 44. + + + PETER + We're coming home for him. + + KATE + ...that we're coming home for him. + + OPERATOR + Let me connect you with family + crisis intervention. + + KATE + It's not a family crisis. + + OPERATOR + (making the transfer) + Hold on. + + Kate curses silently, and silently turns to Peter. + + KATE + Go down to the ticket counter. Book + a flight. + + PETER + For all of us? + + KATE + There's no sense taking the kids. + You stay here with them. I'll go + get Kevin and come back. + (tender) + You hold Christmas for us. + + Peter nods, gives a comforting smile and hurries off to the + ticket counter. A voice interrupts Kate on the phone. + + KATE + Hello? + + +89 INT. POLICE STATION - OFFICE - NIGHT/DAY 89 + + A grumpy, prune faced officer in a rumpled uniform sits + behind a desk. His PHONE RINGS and he answers. + + OFFICER BALZAK + Family crisis intervention. + Sergeant Balzak. + + KATE + (begins to explain) + 45. + + + Hi... Look... I'm calling from + Paris... I have a little boy who's + home alone... + + OFFICER BALZAK + Has the child been involved in a + violent altercation with a drunken + or mentally ill family member? + + KATE + No ... + + OFFICER BALZAK + Has the child been involved in a + household accident? + + KATE + I don't think so... + + OFFICER + Has the child swallowed poison or + an object that has become lodged in + his throat? + + KATE + (hysterical) + NOI HE'S JUST HOME ALONE! I JUST + WANT YOU TO SEND SOMEBODY OVER TO + THE HOUSE! JUST TO CHECK ON HIM! + + OFFICER + You want someone to go over to your + house and check on your son? + + KATE + (breathless) + YES! + + OFFICER + Let me transfer you to the police + department. + + KATE + But they just transferred me to + you... + + OFFICER + (making the trams far) + Hold on. + +Kate stops herself from smashing the receiver into the +wall. + 46. + + + The kids, Leslie and Frank surround her. Kate gives a + hopeful look. + + KATE + Any luck? + + The kids shake their heads. Kate turns to Frank and Leslie. + + They shake their heads. + + AUNT LESLIE + Nothing but a bunch of answering + machines. + + +90 INT. HOUSE - UPSTAIRS HALLWAY - NIGHT 90 + + Kevin stands up. The sadness is gone. He's finding his + courage. + + +91 INT.FRENCH AIRPORT - TICKET COUNTER - DAY 91 + + Peter is there. Kate walks into the scene. Peter turns to + Kate. He is solemn. + + PETER + Tonight's flights are all booked. + + KATE + To Chicago. + + PETER + To Chicago. New York. Detroit. I + tried everything. + + KATE + What about a private plane? + + PETER + I checked. Nothing. I'm booking you + on a flight that leaves Friday + morning. + + KATE + Friday morning? That's two days + from now. + + Kate gives a frustrated sigh. Peter tries to comfort her. + + PETER + 47. + + + Look, honey... We've done all ve + can here... The kids are exhausted. + Let's go to Rob's. We can call the + police again from there... + + KATE + (strong-willed) + No. I have a child at home alone. + I'm not leaving here unless it's on + an airplane. + + Peter sighs, helpless. The TICKET AGENT, a French woman + with a light accent, having overheard the conversation, + looks at Kate. + + TICKET AGENT + Ma'am... If you stay at the + airport... Maybe we can get you on + standby... There's a very slim + chance that a seat will open up... + And you may have to wait several + hours... But it is the Holiday + season. Miracles can happen. + + Kate nods. It's her only hope. + + +92 EXT. MCCALLISTER HOUSE - FRONT DOOR - NIGHT 92 + + The door swings open. Kevin marches out to the end of the + driveway. Angry, he looks left and right and yells at the + top of his little voice. + + KEVIN + I'm not afraid anymore1 + + Mr. Marley steps but of the darkness, standing a few feet + in front of Kevin. Marley is holding the snow shovel. He + nods to Kevin. Kevin's eyes pop wide in fear. His face goes + white. + + He screams, turns and runs into the house. He slams the + door. + + Marley turns to the curb and continues poking the handle at + a clog in the gutter. + + +93 INT. FOYER - NIGHT 93 + + Kevin runs into the Foyer screaming, He slams the door and + runs up the stairs screaming. + 48. + + +94 INT. KITCHEN - NIGHT 94 + + Kevin runs down the back stairs screaming. He stops at the + foot of the stairs. He sees he's run back down stairs, + turns and runs back up. Screaming. + + +95 INT. KEVIN'S BEDROOM - NIGHT 95 + + Kevin jumps into his bed and scrambles under the covers. + + +96 EXT. KEVIN'S HOUSE - NIGHT 96 + + A Police Officer steps up on the porch and rings the bell. + + +97 INT. KEVIN'S BEDROOM - NIGHT 97 + + CLOSEUP KEVIN + + He peaks out from under the covers. He's shocked. + + +98 EXT. FRONT PORCH - NIGHT 98 + + The Officer bangs on the door. + + +99 INT. KEVIN'S BEDROOM -NIGHT 99 + + CLOSEUP KEVIN + + His eyes are wide with terror. He pulls the covers over his + head. + + +100 EXT. HOUSE - NIGHT 100 + + The Police Officer steps back and looks up at the house. It + looks okay to him. He returns to his car. + + +101 INT. DEGAULLE AIRPORT - DAY 101 + + A soft, sweet voice croons "I'LL BE HOME FOR CHRISTMAS” in + French over the airport speakers. Peter and the kids say + their goodbyes to Kate. With a final kiss, Peter and the + kids join Rob and the rest of the family. They exit. Kate + watches for a moment. Saddened. She takes a seat. Alone in + the crowded airport. + 49. + + +102 EXT. MCCALLISTERHOUSE - NEXT MORNING 102 + + A dark, grey day. + + +103 INT. BATHROOM - DAY 103 + + He's taken a shower. His hair is vet and he has a towel + wrapped around his waist. He's being very adult and very + conscientious about his brushing. + + KEVIN + I took a shower, washing every body + part with actual soap including all + my major crevices including between + my toes and my belly button which I + never did before but sort of + enjoyed. I washed my hair with + adult-formula shampoo and I used + cream rinse for the just-washed + shine. I can't find my toothbrush + so I'll pick one up when I go out + today. Other than that I'm in good + shape. + + He opens a bottle of after-shave, splashes a quantity on + his hands, as his father does, and slaps it on his cheeks. + He smiles at himself. Then screams! + + +104 EXT. MCCALISTERHOUSE - DAY 104 + + We hear Kevin scream inside. + + +105 INT. BUZZ'S ROOM - DAY 105 + + Kevin pulls a chair over to a shelving unit attached to the + wall. He stands on the chair and tries to reach to the top + of the unit and a tin baseball card box. Kevin reaches up, + woefully short-armed. He tests the strength of the shelf + with his foot. He begins to climb the shelf unit. He + gingerly steps up on the next shelf, then the next. He + makes it to the top. His little fingers barely touch the + box. + + The box slides forward into his hand as the shelving unit + pulls away from the wall. The shelf unit topples, throwing + Kevin and everything on the shelves to the floor. CRASH! + + The tin box hits the floor and splits open, spilling coins + and crumpled bills. + 50. + + + Kevin emerges stunned and shocked, but unharmed from the + heap of rubbish that was once Buzz's shelves. CAMERA PANS a + few feet away. + + The tarantula is free from its shattered aquarium. It + skates across the floor. + + +106 EXT. HOUSE - BACK DOOR - LATER - DAY 106 + + Kevin comes out the door, bundled in his coat, hat and + scarf. + + He leaves the door WIDE OPEN, as he would if his mother + were there to close it for him. He jumps down off the porch + and heads around the corner of the house, to the driveway. + + +107 EXT. HOUSE - FRONT YARD - DAY 107 + + Kevin tiptoes around the corner of the house. He glances + across the street, to Marley'shouse, making sure that the + coast is clear. It is. Kevin breathes a sigh of relief. He + comes down the drive to the sidewalk and heads up the + street. He glances to his left. + + HIS POV - DAY + + The van is parked far up the driveway of the MURPHY house + across the street. They're back. + + Kevin notes the van with curiosity. He whispers to himself. + + KEVIN + I thought the Murphy's went to + Florida... + + Kevin shrugs and EXITS FRAME, hurrying by Marley's house + + +108 EXT. PARIS - NIGHT 108 + + The Christmas lights are shining bright. Traffic's moving. + + The city is charged with spirit and movement. CAMERA PULLS + BACK. This is the view from the window of + + +109 INT. ROB MCCALLISTER'S APARTMENT - NIGHT 109 + + Peter stands in the foreground on the telephone. Megan and + Buzz are talking. + 51. + + + MEGAN + You aren't even worried. Are you? + + BUZZ + Why should I be? + + MEGAN + He's home alone. + + BUZZ + Good. He's acted like an asshole + once too many times and this time + he caught it in the butt. + + MEGAN + He's so little and helpless: Don't + you think he's flipped out? + + BUZZ + He's probably going through a stage + ten brain fry-down right now, but + he asked for it. + + MEGAN + You're really cruel. + + BUZZ + The little trout can use a couple + days in the real world. + + MEGAN + You're not at all worried that + something might happen to him? + + BUZZ + No. For three reasons. A. I'm not + that lucky. 2. We have smoke + detectors and D. We live on the + most boring street in the United + States of America where nothing + even remotely dangerous is ever, + did ever, or will ever happen. + Period. + + +110 INT. MURPHY'S HOUSE - BEDROOM - DAY 110 + + Marv and Harry are sacking the house. Marv is dumping + drawers. + + The PHONE RINGS. He freezes. An ANSWERING MACHINE CLICKS + ON. + 52. + + + MALE VOICE (V.O.) + Hello. We're not home right now. If + you'll leave your name and number, + and the time you called, we'll get + back to you as soon as possible. + Thank you. + + BEEP. + + PETER (V.O.) + Chuck? This is Peter McCallister + again. We're in Paris. At my + brother's apartment. Let me give + you the number here... The country + code is... + + As Peter recites the number, Marv recognizes something in + Peter's message. + + MARV + Harry! The house we were at last + night, was that McCallister? + + HARRY (O.S.) + Yeah. + + MARV + (smiles) + You're right. They're gone. + + +111 INT. DRUGSTORE - DAY 111 + + CLOSE-UP PHARMACY CLERK + + LEANING INTO CAMERA. A WOMAN in her mid-fifties. A little + too much make-up, a little too much hairspray. She's + grinning. + + CLERK + How may I help you? + + DRUG STORE + + It's a small, local drug store. Drugs. Toiletries. Notions. + Kevin's at the pharmacy counter. He sets a toothbrush on + the counter. + + KEVIN + Is this toothbrush approved by the + American Dental Association? + + DOOR - CLOSE-UP FEET + 53. + + +The door opens and a pair of worn galoshes shuffle in. + +PHARMACY COuNTER + +The clerk Is wearing half-glasses trying to read the +printing on the toothbrush package. + + CLERK + It doesn't say, hon. + +STORE - CLOSE-UP GALOSHES + +Shuffling down an aisle. + +CLOSE-UP CLERK + +She sets downthe toothbrush and turns back to the counter. + + CLERK + Herb? I have a question about a + toothbrush. + +CLOSE-UP KEVIN + +He awaits his answer, he reaches into his pocket and takes +a twenty dollar bill. Behind him a FIGURE approaches. + +CLOSE-UP COUNTER + +Kevin fiddles with the toothbrush. He turns it over. +Suddenly, a bloodied hand slaps down on the counter. + +CLOSE-UP KEVIN + +His eyes open wide in fear as he looks at the hand. + +HIS POV - CLOSE-UP HAND + +CAMERA follows the hand up to a tatteredovercoat sleeve +to... + +CLOSE-UP MARLEY + +He's looking down at Kevin. A HORROR STING. + +CLOSE-UP KEVIN + +TERROR! He backs away from the counter. + +CLOSE-UP CLERK + +She turns back to the counter. + 54. + + + HER POV + + Marley's at the counter, looking back at Kevin as he moves + away from the counter. The toothbrush is still in his hand. + + CLOSE-UP CLERK + + She calls to Kevin. + + CLERK + Hon? you pay for that here. + + CLOSE-UP KEVIN + + He doesn't hear her, pays her no mind, doesn't think that + he has the toothbrush in his hand. He'sonly interested in + getting out. + + HIS POV + + MOVING AWAY. The Clerk is calling tohim. Marley's watching + him. + + CLERK + Son? Come back! Hey! + + STORE - WIDER + + Kevin keeps moving, not taking his eyes off Marley. + + CLOSE-UP CLERK + + She yells. + + CLERK + Stop that boy! + + CLOSE-UP STOCKBOY + + He looks up from the shelf he's stocking. + + CLOSE-UP KEVIN + + He's overwhelmed by panic. He turns and bursts out of the + store. + + +112 EXT. TOWN SQUARE - DAY 112 + 55. + + + Kevin speeds out of the drugstore, across the street, past + Santa's Village. TheStockboy breaksout of the store and + charges after Kevin, who runs across the street, past + Santa's Village. A police car is parked a few feet away. + The Stockboy sees the cop,grins, puts his fingers to his + mouth and whistles, waving to the cop. The police car + stops. THE COP rolls down his window and looks to the + Stockboy + + STOCKBOY + Shoplifter! + + People within earshot turn at the Stockboy's cry. All eyes + are upon Kevin. Accusing. Angry. A frightened Kevin + sprints. + + Pumping his legs as hard and fast as they'll go. The cop + begins to follow Kevin, chasing the scared little boy + through the town square. + + Kevin runs onto the ICE SKATING RINK. He hits the ice + SPRINTING. Kevin crouches down and GLIDES across the ice, + barely avoiding a collision with several skaters. + + KEVIN'S MOVING POV + + Ice skaters leaping out of his path. + + +113 EXT. TOWN SQUARE 113 + + The cop attempts to make his way across the ice rink. + + Stumbling. He takes a few steps and FLIPS BACKWARD, falling + on his ass. Kevin emerges on the opposite side of the rink. + + Kevin escapes across a bridge leading into the suburbs. He + glances back. + + KEVIN'S POV ... + + The cop is being helped to his feet by two skaters. + + Kevin turns and continues running, DISAPPEARING into the + suburbs. + + +114 INT. DRUGSTORE - PHARMACY COUNTER - DAY 114 + + Marley is paying for a purchase. + + INSERT - A BAANDAID BOX + 56. + + +115 EXT. NEIGHBORHOOD STREET - LATER - DAY 115 + + Kevin shuffles down the street, tired, cold and frightened. + + He looks at the toothbrush in his hand. + + KEVIN + I'm a criminal. + + +116 INT. MURPHY HOUSE ACROSS STREET - LIVING ROOM - DAY 116 + + It has been sacked, thoroughly searched and plundered. + + Cabinets are smashed and overturned, tables upended. The + drapes are drawn. Marv comes down from upstairs with a + heavy cotton sack in one hand, a VCR in the other. + + He exits toward the back of the house. + + As he passes through the kitchen, Marv stuffs a dish towel + in the sink drain. He turns on the water. He grins + sadistically + + +117 EXT. HOUSE - DAY 117 + + Harry's in the van. - The MOTOR'S RUNNING. Marv comes out, + looks to the street and quickly deposits his loot in the + van. + + +118 INT. VAN - DAY 118 + + A huge haul from the house sits in the back of the van. The + door slides shut. A grinning Marv gets inside. Harry glares + at him. + + HARRY + You did it again. Didn't ya'? You + left the water runnin'. + + Mary continues to smile deviously, saying nothing. + + HARRY + I told you to stop that. There's no + reason for it + + HARRY + It's our calling card. All the + great ones leave their mark. We're + the 'Wet Bandits'. + 57. + + + Harry stares incredulously at Marv for a moment, then puts + the van in reverse. + + HARRY + Sick bastard. + + +119 EXT. HOUSE - DRIVEWAY - DAY 119 + + The van backs out. Kevin continues to walk down the street. + + +120 EXT. HOUSE - DAY 120 + + The van comes down the drive. Kevin is in line for a + collision. Harry glances into the van's side mirror. Kevin + is visible in the mirror, walking across the drive. Seeing + this, Harry reacts with surprise and jams the brakes on. + The van's TIRE LOCKS and SKIDS on the- slick pavement. + Kevin looks up and around in shock, as the van slides in + front of him. + + Missing him by inches. + + KEVIN'S POV - DAY + + The van slides to a stop on Harry's face. + + HARRY'S POV - DAY + + Kevin's frightened little face. Nose nearly touching glass. + + Harry feigns a look of false concern. He doesn't recognize + Kevin. He rolls down his window. + + HARRY + Keep an eye out for traffic, son. + + Marv leans around Harry and adds his less skillful two + cents. + + MARV + Santa don't visit the funeral + hones, little buddy. + + HARRY + Step back. + + Kevin takes a step back away from the van. + + Harry smiles and winks, revealing his gold tooth. + 58. + + + HARRY + Merry Christmas! + + Kevin recognizes Harry as the police officer who was at his + house the night before. Kevin's jaw drops. + + The van pulls out of the driveway. Kevin watches it. He + starts to run across the street. The van stops. + + +121 INT. VAN - DAY 121 + + Harry looks back out the window. + + MARV + What's the matter? + + HARRY + I don't know. I don't like the way + the kid looked at me. + + MARV + You ever seen him? + + HARRY + I seen a hundred kids this week. + + MARV + See what house he's goin' to. + + CLOSEUP - KEVIN - DAY + + Kevin reaches the parkway, when he realizes that the van + has stopped. He slows and peeks over his shoulder. + + KEVIN + You're not afraid... + + KEVIN'S POV - DAY + + The van, waiting in the middle of the street. + + CLOSEE-UP KEVIN + + Kevin wants to cry, he's so scared. He stops when he + reaches the sidewalk. He looks at his house. Hakes a quick + decision, turns and heads down the street, passing the + house. + + +122 INT. VAN - DAY 122 + 59. + + + Harry watches the mirror. + + +123 EXT. STREET DAY 123 + + Kevin is walking down the street. The van is tailing him. + + Kevin hurriedly begins to sprint. He turns and disappears + around the corner. The van follows. + + +124 INT. VAN - DAY 124 + + As Harry and Marv turn the comer, a blank, puzzled look + covers Harry's face. + + HARRY AND MARV'S POV + + The street. Bare. No sign of Kevin. He's disappeared. + + +125 INT.VAN - DAY 125 + + Harry and Marv squint. Baffled. + + HARRY + Shit I Where 'd he go? + + +126 EXT. STREET - CHURCH - DUSK 126 + + Harry and Marv's van pass the Church. A LIFE-SIZE NATIVITY + SCENE decorates the church's front lawn. Figures of Joseph, + Mary, Jesus, the Wise Hen and various animals are here. + There is also a very realistic LITTLE DRUHMER BOY standing + over the manger. Head lowered. + + +127 EXT. VAN - MOVING SHOT - MARV - DUSK 127 + + Staring out the window, at the nativity scene, then looking + away. + + +128 EXT. NATIVITY SCENE - DUSK 128 + + CAMERA DOLLIES TOWARD the Little Drummer Boy. He slightly + raises his head. It is Kevin, dressed in the statue's robes + and holding the drum. Kevin watches Harry and Marv's van + TURN and DISAPPEAR around the corner. + 60. + + +129 INT. VAN - DUSK 129 + + Harry is still baffled. + + HARRY + How could he just disappear like + that? + + MARV + Why don't we forget it, huh? You + shouldn't be following a kid, man. + That's like sending invitations to + the cops. + + HARRY + I don't like the way that kid + looked at me. + + MARV + You're just gettin' an edge on ya'. + We're doin' good. Now, c'mon. It's + gettin' dark. Let's drop this stuff + off, get a bite to eat and come + back for some more Holiday + surprises. + + Harry grins. Marv laughs. Harry hits the gas. + + +130 EXT. NATIVITY SCENE - DUSK 130 + + Kevin hurriedly removes the Little Drummer Boy costume. He + hurries away from the church. He glances up. The street + lamps are turning on. It is getting dark. + + +131 EXT. STREET - NIGHT 131 + + Kevin runs as fast as he can. All up and down the block. + The CHURCH BELLS strike a fifth time, calling it five + o'clock. + + The timers in the houses of the people away for the + holidays turn on the Christmas lights. Kevin arrives at his + driveway. + + +132 INT. HOUSE - NIGHT 132 + + Kevin runs in and turns on the foyer light, locks the front + door, secures the chain and the deadbolt. He collects + himself. + 61. + + + KEVIN + This is my house. I have to defend + it. + + He runs up the stairs. + + +133 EXT. HOUSE - LATER - NIGHT 133 + + All of the upstairs and downstairs lights are on. A beat, + and the attic lights go on. BRENDA LEE'S "ROCKIN' AROUND + THE CHRISTMAS TREE" FILLS THE SOUNDTRACK. A MONTAGE BEGINS. + + The Brenda Lee song plays over the following images: Kevin + arranging the living room chairs to face toward the + windows, a Piano song book being flipped to "Joy To The + World", the Sports hero poster being peeled from Buzz's + wall, an ELECTRIC t TRAIN being removed from the closet, a + laugh box being removed from Jeff's drawer, one of the + nutcrackers with a rifle being snatched from the piano top, + Kevin carrying mannequins up from the basement and carrying + stereo speakers from the family room to the kitchen. + + +134 EXT. HOUSE - LATER - NIGHT 134 + + A Little Nero's Pizza delivery car pulls into the driveway. + + The delivery boy, who we remember from earlier, walks to + the porch. + + A note attached to the front door. It's written in child's + hand, it reads: "BACK DOOR, PLEASE.” + + The Pizza boy reads the note and shrugs. The back door is + no problem for him. He hops down off the porch and walks + around to the back door. + + +135 INT. FAMILY ROOM - NIGHT 135 + + Kevin is listening to the Brenda Lee song. THE DOORBELL + RINGS Kevin jumps up, turns OFF the CD PLAYER and sneaks + into the kitchen. + + +136 EXT. PORCH - NIGHT 136 + + The Pizza Boy tries to look in the window. The kitchen door + curtains are closed. He knocks. A voice comes from inside. + + MAN (V.O.) + Who is it? + 62. + + + PIZZA BOY LITTLE + Nero's Pizza, sir! I have your + pizza. + + CLOSEUP - TELEVISION - NIGHT + + The mobster MOVIE fast-forwards, stops, and the mobster + says + + MOBSTER (V.O.) + Leave it on the doorstep and get + the hell outta here. + + The picture freezes. MOTE comes on and it steps to the next + cut. + + +137 EXT. PORCH - NIGHT 137 + + The Pizza Boy is startled by the angry tone of the man's + voice. + + PIZZA BOY + (timidly) + Okay. But what about the money? + + +138 INT. KITCHEN - NIGHT 138 + + Kevin holds the remote towards the combination TV- VCR. The + speakers are hooked up to the television. Kevin un-pauses + the video picture. + + MOBSTER (V.O.) + What money? + + Kevin hits pause, mute and stop. + + PIZZA BOY (O.S.) + You have to pay for the pizza, sir + + CLOSEUP - TELEVISION - NIGHT + + The picture unfreezes. + + MOBSTER (V.O.) + That a fact? How much do I owe you? + + +139 EXT. PORCH - NIGHT 139 + + The Pizza Boy looks at the ticket. + 63. + + + PIZZA BOY + $11.80, sir. + + +140 INT. KITCHEN - NIGHT 140 + + Kevin counts out twelve dollars of Buzz's money. It's + difficult for him. He lifts the doggie door and flips the + money out. + + +141 EXT. PORCH - NIGHT 141 + + The Pizza Boy reaches down for the money and is + disappointed to see that It's only twelve dollars. + + MOBSTER (V.O.) + Keep the change, you filthy animal! + + PIZZA BOY + (under his breath) + Cheapskate. + + +142 INT. KITCHEN - NIGHT 142 + + Kevin flips on a desk lamp that rests behind the + Nutcracker, which is positioned on the counter in front of + the door. The Nutcracker's rifle is extended. The light + casts a large shadow of the nutcracker on the kitchen + curtains. Kevin hits the video "Play" button. + + MOBSTER (V.O.) + I'm gonna give you to the count of + ten to get your ugly, yella, no + good ass off my property ... + + +143 EXT. PORCH - NIGHT 143 + + The Pizza Boy stares fearfully at the shadow of the + Nutcracker, which resembles a gangster holding a gun. + + MOBSTER (V.O.) + Onel Two!... Ten! + + +144 INT. KITCHEN - NIGHT 144 + + Kevin drops a row of LIT FIRECRACKERS into the metal + kitchen garbage can. They EXPLODE, creating a LOUD GUNFIRE + SOUND. + 64. + + +145 EXT. BACK PORCH - NIGHT 145 + + Hearing the "gunfire', the Pizza Boy picks himself up and + scrambles to his car. + + CLOSEUP - PIZZA CAR - NIGHT - REAR TIRES + + They SPIN and the car zips OUT OF FRAME. + + +146 INT. KITCHEN - NIGHT 146 + + Kevin cautiously opens the door and retrieves his pizza. He + comes back in, grinning. + + KEVIN + A lovely pizza just for me. + + +147 INT. FRENCH AIRPORT - NIGHT 147 + + Kate has snared a MIDDLE-AGED WOMAN and is trying to talk + her out of her seat assighment. + + KATE + I have the five hundred dollars, + pocket translator, the first class + — that's an upgrade from your coach + seat. + + WOMAN + Is that a real Rolex? + + KATE + Do you think it is? + + WOMAN + No. + + KATE + But who can tell? And I have a + ring. + + She displays a modest sapphire ring. + + WOMAN + It's lovely. + + A MIDDLE-AGED MAN joins them. + + MAN + Come on, Irene. They're boarding. + 65. + + + WOMAN + This gal's offered us two first + class seats back to Chicago next + week plus a ring, a watch, a pocket + translator, five hundred dollars + and... + + KATE + The Samsonite luggage. + + MAN + (thinks) + What do we do about our Christmas + plans? + + KATE + You forgot the bracelet. + + WOMAN + I didn't care for the bracelet. + +Kate holds out her wrist. + + MAN + I don't like it either. + (shakes his head) + Thanks anyway. + + KATE + You liked the necklace, ma'am. + + MAN + She's got a necklace. + (to the wife) + Let's go. + + KATE + (almost breaking down) + My little boy's home all by + himself. I'm desperate. I beg you. + From A mother to a mother. Please. + + WOMAN + Ed? + + HAN + (taps his ear) + Hearing aid went out. Damn. Come + on, honey. Hello? Hello? + +He takes her arm and leads her away. + + MAN + 66. + + + Say what? + + He sneaks a look back at Kate. + + CLOSE-UP KATE + + She's crushed. Boarding PASSENGERS jostle her as they head + for the ramp. + + +148 EXT. NEIGHBORHOOD - NIGHT 148 + + Harry and Marv's van slowly PULLS UP to the front of the + McCallister house. + + +149 INT. VAN - NIGHT 149 + + Harry and Marv look out. They exchange puzzled glances and + look again to the house. + + THEIR POV - NIGHT + + The lights are all on. Two chairs are turned toward the + window. He can see the back of a man's head and the back of + a woman's head. They're both wearing hats and jerking + slightly back and forth. LAUGHTER and MUSIC is heard. + + +150 INT. VAN - NIGHT 150 + + Marv is completely baffled. He shifts his eyes slightly to + the dining room window. + + +151 EXT. HOUSE - NIGHT 151 + + A shirtless sports hero bobs past the dining room window. + + +152 INT. VAN - NIGHT 152 + + Harry looks around Marv. They're-both confused. + + MARV + Did they come home? + + HARRY + From Paris? + + They shrug and continue to watch. + 67. + + +153 INT. HOUSE - DINING ROOM - NIGHT 153 + + CLOSE-UP: ELECTRIC TRAIN. The train is set up on a winding + track that is spread across the dining room. CAMERA FOLLOWS + the train, CAMERA RISES and WIDENS to reveal a straightened + coat hanger taped to the train cars. The life-size sports + hero cut-out from Buzz's room is taped, from the back to + the hanger which runs up the spine. A piano plays "JOY TO + THE WORLD". + + +154 INT. LIVING ROOM - NIGHT - CLOSEUP - PIANO KEYS 154 + + Kevin's uncertain fingers play with the keys. He tries to + concentrate on the sheet music. Each time there is a break + in the music, Kevin reaches over and touches the LAUGH BOX, + causing the laughter to begin. CAMERA MOVES DOWN FROM the + keys TO Kevin's foot. A pair of taut strings are tied to + his ankle. + + He's wiggling his foot to the music. + + CAMERA TURNS AWAY to reveal, sitting in the chairs at the + window, the mannequins from the basement. They're dressed + in Kate and Peter's clothes. String is tied around their + waists. + + The wiggling of Kevin's foot rocks the mannequins in time + to the music. + + +155 INT. VAN - NIGHT 155 + + A confused and worried Harry and Marv continue to watch the + activity. Marv turns to Harry. + + MARV + Somebody's in there. + + HARRY + Yeah. C'mon. Let's get outta' here + before somebody sees us. We'll come + back again tomorrow. Maybe they'll + be gone by then. + + +156 EXT. HOUSE - NIGHT 156 + + The van pulls away. CAMERA PANS TO the dining room window. + + Kevin's head peers up over the windowsill. Seeing the van + pull out of the driveway, Kevin smiles to himself. + 68. + + +157 INT. MASTER BEDROOM - LATER - NIGHT 157 + + Kevin finishes flossing his teeth, shuts off the bathroom + light, turns ON the TV, crosses to the bed and gets in. + JOHNNY CARSON. + + KEVIN + Heeeeeeere's Johnny. + + +158 EXT. PARIS - NIGHT 158 + + A cold sun is a moment away from rising. + + +159 INT. ROB MCCALLISTER'S APARTMENT - GUEST ROOM - NIGHT 159 + + Peter is in bed. He's not sleeping. He's staring out the + window. + + CLOSEUP - MEGAN - NIGHT + + She's in bed with Linnie. She's not sleeping CAMERA SLIDES + OVER TO Linnie. She's not sleeping, either. + + CLOSEUP - JEFF - NIGHT + + He's in bed with Fuller. Jeff can't sleep either + + CLOSEUP - BUZZ - NIGHT + + He's snoring like a bear. + + +160 INT. MASTER BEDROOM - LATER - NIGHT 160 + + Kevin watches TV for a moment before the lonely thoughts + creep into his head. He turns to the nightstand. He picks + up a family portrait in a silver frame. + + Kevin pushes out his lower lip to keep from crying as he + looks at the photo. + + KEVIN + I didn't mean it. If you come back. + I'll never be a pain in the butt + again. I promise. + + He searches for and finds his strength. He addresses the + photo. + + KEVIN + 69. + + + Good night. + + Kevin looks around the room. An instinctive reaction to + what will be an embarrassing act. He kisses the picture and + puts it back on the nightstand. He turns off the light. + + CLOSE-UP TELEVISION + + Johnny Carson is reading kid's letters to Santa Claus. + + +161 INT. DEGAULLE AIRPORT - DAWN 161 + + Kate is sleeping on the seats. She's curled up with her + purse for a pillow. A P.A. ANNOUNCEMENT wakes her. + + MALE VOICE + This is the final call for boarding + American Airlines flight 561 to + Boston connecting to Detroit. + Standby passenger McCallister + please come to the ticket counter. + + Kate sits up. She grabs her purse and her overnight bag. + She takes off. + + +162 INT. GROCERY STORE - NEXT DAY - DAY 162 + + Kevin is pushing a grocery cart. He's wearing a hat that's + I pulled down over his eyes. The collar on his coat is + turned up. He stops at the dairy section and picks up a + carton of milk. + + +163 INT. STORE - BREAD AISLE - DAY 163 + + Kevin comes down the aisle. He selects a loaf of bread. A + WOMAN shopper comes up behind him. + + WOMAN + Pushing the cart for Mommy? + + KEVIN + Yes, ma'am. + + WOMAN + What a good littlehelper you are. + I'll bet you'll be getting lots of + swell things from Santa tomorrow + morning, huh? + + KEVIN + 70. + + + You never know. + + The woman smiles as she passes him. + + KEVIN + Excuse me. What's the stuff you put + in the washing machine to make + clothes feel as fluffy soft as a + kitten and smell as fresh as a + springtime breeze? + + The Woman is puzzled by the request. + + KEVIN + It's for... Mommy. + + WOMAN + Fabric softener. Two aisles over. + + KEVIN + Thank you and have a most Merry, + Merry, Merry Christmas. + + He turns his cart around and heads up the aisle. + + +164 INT. STORE - CHECKOUT COUNTER - DAY 164 + + A college age CHECKOUT GIRL begins ringing up Kevin's + purchases. He smiles at her. She looks at him curiously. + + He picks up a "Woman's Day" and leafs through it. She rings + up the milk, fabric softener, bread, soup, a microwave + dinner. + + KEVIN + (refering to the dinner) + Are those any good? + + CHECKOUT GIRL + I don't know. + + KEVIN + I'll give 'em a whirl. + + He goes back to the magazine. The Girl rings up a jar of + jelly, a bottle of Tide liquid, a four-pack of toilet + paper. + + Kevin turns away a little as she rings up the TP. + + KEVIN + 71. + + + I wish I could use the stove. I'd + make some of these Macafurters. + + He shows her the magazine. + + KEVIN + They look good, don't they? + + He smiles. The Girl nods. She can't figure him out. She + rings up a large package of plastic Army men. + + KEVIN + For the kids. + + The Girl picks up the final item — a quart carton of orange + juice. + + KEVIN + Hold on. + + He hands her a coupon. + + KEVIN + It was in the paper this morning. + + She rings up the orange juice, less the coupon savings. + + CHECKOUT GIRL + $19.83. + + KEVIN + Okay. + + Kevin reaches into his jacket and takes out Buzz's twenty. + + +165 EXT. ALLEY - DAY 165 + + Kevin walks down the alley with his groceries. THe bags are + soft from wear and pose a terrible threat to break open, a + dozen steps and the bottoms burst on both bags and the + groceries tumble to the ground. Kevin sighs and begins + picking up the groceries. + + +166 INT. MCCALLISTER HOUSE - BASEMENT - LATER - DAY 166 + + Kevin is doing laundry. The laundry cycle is over. He + removes Kate's dress. He examines it. The stain is GONE. + Kevin smiles to himself. + 72. + + + He places the dress on top of a laundry basket already + loaded with clothes. He lifts the basket and heads up the + stairs. + + +167 EXT. HOUSE - VAN - DAY 167 + + The Ford van is parked deep in the driveway of the house + next to the McCallister's. + + +168 INT. VAN - DAY 168 + + Harry and Marv are studying the back of the McCallister + house. + + HARRY + I can't figure it. Right now, it + don't seen like anybody's home. But + last night... The place is + jumpin'... Somethin' ain't right... + + CLOSE-UP HARRYY AND MARV + + Looking out of the van. Harry opens the door. + + MARV + What're you doing? + + HARRY + I'm not convinced. + + +169 EXT. BACKYARDS - DAY 169 + + Harry crosses the neighbors yard to the McCallister's yard. + + +170 INT. KITCHEN - DAY 170 + + Kevin's doing dishes. He glances out the window. He + freezes. + + HIS POV + + Harry sneaks across the yards. + + CLOSE-UP KEVIN + + A flash of fear. He's too prepared to let it cripple him. + He pulls the kitchen curtains closed and jumps down from + the chair he's standing on. + 73. + + +171 INT. FAMILY ROOM - DAY 171 + + Kevin races into the family room and slams on the VCR. He + grabs the remote and dashes into the kitchen. + + +172 EXT. HOUSE - BACK PORCH - DAY 172 + + Harry walks up the steps and tries to peek in the drapes. + He steps back and pushes the doggie door with his foot. + + +173 INT. KITCHEN - DAY 173 + + Kevin nervously watches the door. + + HIS POV + + The doggie door flaps as Harry kicks it. The door knob + rattles. + + CLOSE-UP KEVIN + + He hits the remote. The movie starts. + + MAN'S VOICE + Awright, Johnny. But what about my + money? + + MOBSTER'S VOICE + What money? + + +174 EXT. HOUSE - BACK PORCH - DAY 174 + + Harry's completely mystified as to who could be in the + house. + + MOBSTER'S VOICE + He's upstairs taking a bath. He'll + call you when he gets out. + + Harry steps away from the door, jumps off the porch and + runs back to the van. + + +175 INT. VAN - DAY 175 + + Harry jumps into the van and slams the door. + + MARV + What happened? + 74. + + + HARRY + I'm goin' nuts! Now there's two + guys in the house and another guy + upstairs takin' a bath. + + +176 INT. 747 - NIGHT - KATE 176 + + She's sleeping on the plane. + + +177 INT. PARIS APARTMENT - LIVING ROOM - NIGHT 177 + + Peter's sitting alone in the living room, looking out at + the lights, thinking. + + LINNIE + She comes into the room. She's in + her pajamas. She can't sleep. + + LINNIE + Dad? + + CLOSE-UP PETER + + He turns to her. + + PETER + What're you doing up, sweetheart? + + CLOSE-UP LINNIE + + She's troubled. + + LINNIE + Where's Mom? + + WIDER + + Peter waves her over to him. + + PETER + She stayed at the airport, she's + just got on a flight for Detroit. + + Linnie sits down next to Peter. + + LINNIE + She won't be here for Christmas. + Kevin won't be here for Christmas. + It won't even be like Christmas. + 75. + + + PETER + We're just gonna delay it a little + bit. + + LINNIE + I think it's a bad idea. + + PETER + We don't have much choice, + sweetheart. + + LINNIE + Families shouldn't be apart on + Christmas. No natter how mean they + are to each other the rest of the + year. Us here. Them there. It's + stupid. Daddy. Christmas isn't + about Paris. + + CLOSE-UP PETER + + There's a lot of truth in what Linnie is saying. He looks + away and nods as he comes to a realization. + + +178 EXT. DRIVEWAY - VAN - DAY 178 + + The van's still parked in the drive. + + +179 INT. VAN. - DAY 179 + + Harry and Marv are sleeping, snoring bark strippers. + + +180 EXT. MCCALLISTER HOUSE - BACK PORCH - DAY 180 + + Kevin comes outside. He slams the door. + + +181 INT. VAN - DAY 181 + + CLOSE-UP HARRY + + One eye opens. He sits up, realizing he's fallen asleep + during his shift. He looks out the window. + + +182 EXT. MCCALLISTER HOUSE - MARV'S POV - BACK PORCH - DAY 182 + + Kevin walks down off the porch with a saw and disappears + into the back yard. + 76. + + +183 INT. VAN - DAY 183 + + Harry smacks Marv. He wakes with a start. + + MARV + What?! + + HARRY + I got a bad feeling we're getting + scammed by a kindygartener. + + MARV + Huh? + + +184 EXT. HOUSE - BACK YARD - DAY 184 + + Kevin saws the top off a six-foot fir tree behind the + garage. + + +185 INT. LIVING ROOM - LATER - DAY 185 + + Kevin has put the little tree into the tree stand. He's + found lights and ornaments and is decorating the tree. + + +186 EXT. HOUSE - BACK YARD - DAY 186 + + Marv is on the back porch, trying to look in the doggie + door. + + Harry is on the other comer. He peeks in a window. + + +187 INT. LIVING ROOM - CLOSEUP - KEVIN - DAY 187 + + THROUGH the tree. He hangs a round, red glass ornament, + blocking his face. A beat and he gently pushes the ornament + aside and looks ahead fearfully. + + KEVIN'S POV - DAY + + PAST the ornament, THROUGH the tree TO the window and + Harry's face peering in. The ornament slowly returns to its + original position. We see Kevin reflected in its surface. + + CLOSE-UP KEVIN + + Kevin yells at the top of his voice. + + KEVIN + 77. + + + Dad! Can you come here and help + me?! + + +188 EXT. HOUSE - BACK YARD - DAY 188 + + Marv has joined Harry. Harry smiles. + + HARRY + The kid we saw the. other day. He + lives here. + + MARV + If the kid's there, the parents + gotta be. + + HARRY + (shakes his head) + No. He's home alone. + + Marv grins. + + +189 INT. HOUSE - BUZZ'S ROOM - DAY 189 + + Kevin runs in, grabs Buzz's BB grin off the rack above his + bed, whips open his nightstand drawer and grabs a box of + BBs. He dashes out. + + +190 EXT. HOUSE - CLOSEST WINDOW TO BACKYARD - DAY 190 + + Kevin appears in the window with a BB gun. Kevin opens it + and looks out. + + KEVIN'S POV - DAY + + Next door. Harry and Marv walk toward their van. They are + talking. Kevin listens. Marv is incredulous. + + MARV + You can't be serious... You wanna + come back tonight? + + HARRY + MmmHmmm. + + MARV + Even with the kid here? + + HARRY + MmmHmmm. + 78. + + + MARV + I don't think it's a very good + idea... + + HARRY + (intense, angry) + Look... That house is the only + reason we started workin' this + block in the first place. Ever + since I laid eyes on that house... + I wanted it. That house is the + difference between me havin' a good + or a bad Christmas. And Marv... I + ain't had a good Christmas since + 1962. + + MARV + That long? + + HARRY + That long + + MARV + Gee, Harry. I don't wanna spoil + Christmas for ya'. + + HARRY + Good. Now let's take this one step + at a time... He'll unload the van, + take a shower, get a bite to eat + and come back tonight... when it's + dark... around nine o'clock. + + MARV + (smiles) + Yeah. Kids are ascared of the dark. + + Kevin listens intently. Harry and Marv get inside the van. + + The van backs out of the driveway. + + BACK TO SCENE - DAY + + Kevin's face is filled with concern, turning to worry and + fear. + + He whispers to himself in a voice filled with fear. + + KEVIN + Horn. Hhere are you? + + +191 INT. DETROIT METROPOLITAN AIRPORT - DAY 191 + 79. + + +A heavy snow falls outside. A desperate, tired and worn +Kate pleads with the TICKET AGENT. + + KATE + Everything's full? + + TICKET AGENT + (nods) + It's Christmas Eve. + + KATE + What about another airline? + + TICKET AGENT + (taps computer) + Nothing available. I suggest you + get a hotel room in the city. + Tomorrow afternoon. He can get you + a flight to Chicago... + + KATE + I can't wait that long. + + TICKET AGENT + I'm terribly sorry, M'am. There's + nothing else I can do. It's + hopeless. + + KATE + (freaks, snaps) + Hopeless?!?... Hopeless?!?... Lady, + I've been awake for almost 60 + hours... I've travelled from + Chicago to Paris to New Jersey just + to get home to my eight year old + son... And now that I'm this + close... you're telling me it's + hopeless?!?... Uh-uh. No way. It's + Christmas. The season of goddamn + perpetual hope. And I don't care if + I have to to hijack a pilot at + gunpoint, if I have to fly through + a 300 mile wall of solid snow, if + it costs me everything I own, or if + I have to sell my soul to the devil + himself... I'm going to get home to + MY SON!!! + +The ticket agent just stares at Kate, as does everyone in +the terminal. Suddenly, a hand APPEARS on Kate's shoulder. + + GUS + Maybe I can help. + 80. + + +Kate turns. A curly haired man in his late thirties, GUS +POLINSKY, stands, beside her. Gus is dressed in his +travelling clothes. A sky blue banlon shirt, sansabelt +slacks, plastic loafers and a red satin jacket with the +words "GUS POLINSKI AND THE KENOSHA KICKERS" emblazened +across the back. He is holding an accordion case. Gus +extends his hand. + + GUS + Gus Polinski. Polka king of the + midwest. That's my band over + there... The Kenosha Kickers... + +Gus points to a row of men, seated a few feet away, dressed +in pastel, banlon shirts and polyester slacks, wearing red +satin jackets and holding their packed musical instruments. + +Gus continues to speak, with Kate. + + GUS + You a polka fan? + + KATE + A little ... + + GUS + Ever heard of the "I Don't Want Her + You Can Take Her She Can't Stuff + the Kielbasa Polka"? + + KATE + Sounds familiar... + + GUS + That's us. Sold six hundred and + fifty-eight copies. In Sheboygan + alone. That's a record for a polka + band. + + KATE + Congratulations. + + GUS + 81. + + + Yeah. We were playing a 'Holly and + Hops' party at the Asbury Park + V.F.W. last night. We got a + Christmas gig lined up tomorrow at + the Milwaukee Jaycees... But they + cancelled our flight. So I sent + Stash, my clarinet player, to + "Avis"... He's gonna rent us a + truck. We're gonna brave this + treacherous weather and drive to + Wisconsin. Since Chi-town's on the + way... + (smiles) + I figured you might like to hop a + ride with us ... + + Kate's eyes light. A POLKA version of "HAVE A HOLLY JOLLY + CHRISTMAS" FILLS THE SOUNDTRACK. WE CUT TO: + + +192 EXT. DETROIT EXPRESSWAY - DAY 192 + + Heavy snow continues to fall. A bright yellow Astro van + barrels along the icy, snow covered highway. + + +193 INT. ASTRO VAN - DAY 193 + + STASH, a curly haired fellow, drives.. CAMERA PANS TO the + back of the van. Gus and his band sit here, playing their + instruments, and singing along. Gus leads the vocals and + plays accordion. Kate sits amongst the polkateers. A forced + smile on her face. + + +194 EXT. DEPARTMENT STORE- DUSK 194 + + A small department store in town. + + KEVIN (OS) + I'd rather stand if that's okay. + I'm a little old to sit on your + lap. + + +195 INT. DEPARTMENT STORE - DUSK 195 + + Kevin is standing at the knee of a store Santa. + + SANTA + 82. + + + Whatever. You want to tell Santa + what you want for Christmas? And + let me add that we close soon and + Santa has a little party to go to. + + KEVIN + Sure. I understand. Okay. I know + you're not the real Santa Claus. + And to be honest I'm not real sure + the real Santa Claus is real but + just in case he is I'd like you to. + tell him something this year from + Kevin McCallister, 1135 Rivard + Blvd. Do you need the phone number? + +Santa shakes his head, no. + + KEVIN + Okay. This is extremely important. + Would you please tell him that + instead of presents this year I + just want my family back. + +Santa doesn't understand. + + KEVIN + No toys. Nothing but Peter, Kate, + Buzz, Megan, Linnie and Jeff and my + aunt and my cousins and if he has + time, my Uncle Frank. Okay? + + SANTA + I'll see what I can do. + + KEVIN + Thanks. + +He starts to walk away. + + SANTA + You want a candy came? + + KEVIN + No, thanks. I don't want to spoil + my-appetite. + +He pulls his hat down over his eyes and takes off. + +CLOSE-UP SANTA + +He's completely baffled. + 83. + + +196 EXT. STREET - LATER - NIGHT 196 + + Kevin's walking home. It's dark. The street lights are on. + + Kevin is walking slowly. He's looking at the houses. + + HIS POV - MOVING - NIGHT + + A house with lights around the door, lights burning in big + windows. People inside celebrating. Kids running around, + grandparents,aunts, uncles, cousins. It seems as if their + excitement and joy was made in the extreme to emphasize + Kevin's sorrow. + + CLOSE-UP KEVIN + + Shuffling down the sidewalk, eyes on the house he's + passing. + + He looks forward and stops suddenly. + + HIS POV + + A young MAN and WOMAN, she carrying a baby, he loaded with + gifts, walking from their car which is parked far down in a + crowded driveway to the sidewalk of the house Kevin's + watching. + + +199 EXT. HOUSE - NIGHT 199 + + The young family continues up the walk to the house. Kevin + stands at the foot of the walk, watching. CHURCH BELLS RING + in the distance. + + CLOSE-UP: KEVIN + + Kevin's eyes are brimming with tears. As strong as he wants + to be, it's too much for him. A tear falls. He wipes it + away, only causing more to fall. + + +200 INT. HOUSE - NIGHT 200 + + Kevin's framed in the door of the holiday house as the + young family passes off the baby and the gifts and takes + off their coats. Great warmth and cheer. Christmas music is + playing. + 84. + + + Children are running wild, old men are laughing, grannies, + are yakicing. It's everything Kevin wants. He stands like a + sobbing statue at the end of the walk, lit by a coach + light, wiping tears from his cheeks with the backs of his + cold, bare hands. + + The door closes on him. + + +201 EXT. CHURCH - NIGHT 201 + + A small, old frame church. We can hear the voices of a + CHOIR, rehearsing for the midnight mass. Kevin approaches + the church slowly, apprehensively. He-looks up at the + steeple, listens to the sweet voices inside mixing with the + RINGING BELLS. + + Kevin gathers his courage and walks in. + + +202 INT. CHURCH - NIGHT 202 + + A couple of people sit in the first few rows — people + involved with the program. An elderly woman and her husband + sit several rows back. They're praying. Further back, we + see the silhouette of a man sitting alone. Kevin enters. He + peels off his hat and holds it tight to his belly. + + HIS POV - MOVING - NIGHT + + into the light, spaciousness and beauty of the old church. + + BACK TO SCENE - NIGHT + + Kevin looks up into the ceiling as he slowly makes his way + down the aisle. He slips into a pew and sits. He unzips his + jacket a little bit and looks to his left. + + The silhouetted man sits across the aisle from Kevin. The + man leans forward, out of the shadows and into the light. + It is MARLEY. + + MARLEY + My great granddaughter's upthere + singing. + + Kevin is startled that he has relatives. Didn't he kill his + family? + + MARLEY + She's a very pretty little girl. + You might know her. + 85. + + + KEVIN + I don't go to this church. I'm sure + she's very nice. And very pretty. + + MARLEY + You live across the way from me. + +Kevin nods. + + HARLEY + You gonna sing tonight? + + KEVIN + No, sir. + + HARLEY + (looking up) + I was baptized In this church. + +Kevin looks up. + + HARLEY + I got married in this church. Hy + boys got married in this church. I + said goodbye to my wife in this + church. + +Kevin looks down from the ceiling to Harley. + + KEVIN + (after a long pause) + You got divorced in a church? + +CHOIR - NIGHT + +They end their number and look to the back of the church as +we hear the old man SNORT and CHUCKLE.One very pretty +twelve year old GIRL turns away, knowing that it's her +grandfather. + +BACK TO SCENE - NIGHT + +Kevin smiles. Harley pats him on the knee and stops his +laughter. He takes his hankie out and blows his nose with a +loud honk! + + HARLEY + I don't laugh too much anymore, but + you got me. + +He puts his hankie back. + + HARLEY + 86. + + + What I meant was... was that the + services for my wife, when she + died, were here. In this church. + +Kevin feels terrible. + + HARLEY + It won't be too long before they + have my services here. + + KEVIN + You shouldn't say that. + + MARLEY + I'm an old mem. I've had a lot of + living. + (pause) + I'd like to be with my wife again. + + KEVIN + Is that possible? + + MARLEY + I believe it. Up in the kingdom, + not here. + (points) + Up there. + + KEVIN + Oh. + + MARLEY + This time for eternity. + (pause) + You been a good boy this year? + +Kevin looks up at Marley. After a long beat he shakes his +head, no. + + MARLEY + Fighting? + +Kevin nods. + + MARLEY + Back-talking? Disrespecting? + +Kevin nods. + + MARLEY + Telling fibs? + +Kevin thinks. + 87. + + + KEVIN + A few. + + MARLEY + Maybe you oughta tell him. + + KEVIN + Who? + +Marley shifts his eyes up to the ceiling. + + MARLEY + Him. + + KEVIN + Should I bother him on Christmas? + + HARLEY + He's open all year 'round. Twenty + four hours a day. + + KEVIN + Okay. + + HARLEY + He'll listen. You're a good soul. + + KEVIN + I'm not sure if I am anymore. + + HARLEY + You are. Bad souls can't bring + themselves to come in places like + this. + + KEVIN + Is that true? + + HARLEY + That's true. And you tell him about + the trouble you had with your + folks. + +Kevin's startled that Harley knows. + + KEVIN + You know about they? + + HARLEY + 88. + + + Just a guess. You get on your knee + and you ask Him to fix things for + you and your folks. You say please + and you say thank you for all the + other things he does for you. And + then you go on home where you + belong. + + Kevin leans forward and kneels. He clasps his hands and + bows his head. He closes his eyes and silently prays. + Harley sits back and watches with a grin. Kevin finishes + and sits back in the pew. He looks at Harley. + + KEVIN + How long does it usually take for + these things to work? + + HARLEY + Give him 'till morning. + + KEVIN + Okay. + + Harley holds out his hand + + MARLEY + Nice talking to you on this + Christmas Eve. + + Kevin shakes his hand. It feels good to him to touch + another person. Kevin gets up and steps around Harley. He + stops, turns back and patshim on the shoulder. + + KEVIN + Say hello to your wife for me when + you see her. + + HARLEY + I sure will. And I hope you get a + big surprise when you get home. + + Kevinsmiles.He turns and walks up the aisle. + + CLOSE-UP KEVIN + + He thinks about what the old man said. He's forgotten all + about the crooks. He stops cold, a look of panic comes over + him. + + +205 EXT. CHURCH - NIGHT 205 + 89. + + + Kevin blasts out of the church and tears off down the + street. + + MONTAGE BEGINS + + DARLENE LOVE'S "CHRISTMAS, BABY PLEASE COME HOME" FILLS THE + SOUNDTRACK playing over the following images of Kevin + preparing the house for the burglar's arrival: + + Kevin's hands draw out a battle plan on a large sheet of + paper. + + He places Micromachines on the floor, pours water on the + front and back stairs, sets a pillow and electric fan on + the dining room table, ties rope to the handle of a metal + paint can, pushes roofing nails through an asphalt shingle, + painting roofing tar on the basement stairs, removes the + front door knob, plugging in the soldering iron and jamming + it into the hole and attaching a rope from the third floor + window to his tree house. + + MONTAGE ENDS. + + CLOSEUP - CHRISTMAS TREE NIGHT + + The lights go on. + + +208 EXT. HOUSE - NIGHT 208 + + The picture perfect Christinas Card house. Harm. Inviting. + + Welcoming. + + CLOSEUP - MICROWAVE - NIGHT + + It goes off with a DING! Kevin opens it and takes out a + turkey dinner. + + +210 INT. KITCHEN - NIGHT 210 + + Kevin sits at the kitchen table. He's using a placemat, + linen napkin, crystal glass. As if his mother had set the + table for him. He bows his head over the microwave dinner + and says grace. + + KEVIN + Bless this highly nutritious + microwaveable turkey dinner and the + people who sold it on sale. Amen. + 90. + + + Kevin puts his napkin in his lap. He is about to take a + bite out of the dinner. There is a DISTANT CHURCH BELL + CHIME. + + Kevin glances to the kitchen clock. It CLICKS to 9:00 P.M. + + Kevin jumps up from the table and shoves the dinner back + into the microwave. He hurriedly cleans off the table. A + SECOND BELL CHIMES. + + +211 EXT. HOUSE - NIGHT 211 + + The van pulls into the driveway All the way up to the + garage and stops. + + +212 INT. KITCHEN - NIGHT 212 + + Kevin's cleaning up the kitchen. He hears the van. He grabs + his BB gun and runs to the lights. + + KEVIN + This is it. Don't get scared now. + + Kevin turns off the light. + + +213 EXT. HOUSE - NIGHT 213 + + Harry and Marv get out of the van.. A FIFTH BELL CHIMES. + Harry has the crowbar. + + MARV + How do you want to go in? + + HARRY + May as well knock and see if he'll + open up. Who knows? + + MARV + Yeah. He's a kid. Kids are stupid. + I know I was. + + HARRY + You still are. + + MARV + Yeah, but I was a lot worse. + + A SIXTH BELL CHIMES. + 91. + + +215 INT. KITCHEN - NIGHT 215 + + Kevin is standing at the door, peeking out through the + curtains. He backs away. A beat and there's a sharp KNOCK. + + HARRY (O.S.) + Merry Christmas, little fella. We + know you're in there and that + you're all alone. + + MARV (O.S.) + Yeah, come on. Open up, kid. It's + Santa Claus and his elf. + + A SEVENTH BELL CHIMES. + + +217 EXT. HOUSE - CLOSEUP - DOGGIE DOOR - NIGHT 217 + + The barrel of the BB gun slowly sneaks out of the doggie + door and points up. + + HARRY (O.S.) + We ain't gonna hurt you. + + MARV (O.S.) + We got some nice presents for ya. + + An EIGHTH BELL CHIMES. + + CLOSEUP - HARRY'S CROTCH - NIGHT + + SEEN DOWN the BARREL of the BB gun. + + HARRY (O.S.) + Be a good boy and open the door. + + CLOSEUP - TRIGGER - NIGHT + + Kevin's little finger squeezes the trigger. + + +220 EXT. PORCH - NIGHT 220 + + A sharp POP! and a TWING! Followed by the NINTH CHURCH BELL + chiming. Harry howls ... + + HARRY + Yeeuuutz! + + ... and grabs his groin. Marv drops to his knees and whips + open the doggie door. + 92. + + +221 INT. KITCHEN - DOGGIE DOOR - NIGHT 221 + + Marv's curious and angry face appears. A beat and his eyes + open wide in fear. + + MARV'S POV - NIGHT + + The muzzle of the BB GUN. POP! + + +223 EXT. PORCH - NIGHT 223 + + Marv jumps back, clutching his forehead. + + MARV + Eeeeesssssssshhhh! + + Harry is off the porch, pinching his groin. Marv joins him. + + MARV + The little bastard's armed! + + HARRY + I'll go around the front way. You + go in the basement. + + Harry limps around the side of the house. Marv hangs back a + moment, rubbing his forehead. + + +224 EXT. FRONT PORCH - NIGHT 224 + + Harry hustles around the front of the house and jumps up on + the porch. It's a sheet of ice. .He hits it, falls to his + ass and slips into the bushes. + + +225 EXT. BASEMENT STAIRS - NIGHT 225 + + Marv starts down the stairs. Ice again. One step and Marv's + legs go out from under him. + + +226 INT. BASEMENT DOOR - NIGHT 226 + + THROUGH the window, we see Marv fly down the iced stairs. + He hits the basement door with a wham! The CROWBAR CLANGS! + He pulls himself up. A beat and he falls again. + + +227 EXT. FRONT PORCH - NIGHT 227 + 93. + + + Harry grabs a porch pillar and climbs back onto the porch. + + He straddles the pillar and the door as he tries to reach + the knob. + + +228 EXT. BASEMENT STAIRWELL - NIGHT 228 + + Marv jams the crowbar in the door and cracks it open. + + +229 EXT. PORCH - NIGHT 229 + + Harry pushes off the pillar, slides toward the door, + doesn't quite make it, starts to slide back, steps forward + and falls on his face. + + +230 INT. BASEMENT - NIGHT 230 + + Marv steps into the basement. He feels for a light switch. + It doesn't go on. He feels his way through the dark to a + hanging bulb. + + +231 INT. HOUSE - SECOND FLOOR HALLWAY - LAUNDRY CHUTE - NIGHT 231 + + A steam iron with a string attached to the handle is + resting on the edge of the open chute. The string runs down + the chute. + + +233 INT. BASEMENT - MARV 233 + + He grabs the chain and yanks on it. The chain, socket, + bulb, and cord come loose in his hand. He looks at it as OS + we HEAR THE HORRIBLE CLATTER OF THE IRON FALLING DOWN THE + CHUTE. Marv looks up. + + HIS POV + + Into the chute. The iron FALLS INTO CAMERA. + + BACK TO SCENE + + Marv catches the iron square in the face and hits the deck. + + +235 EXT. HOUSE - FRONT PORCH - NIGHT 235 + 94. + + + Harry is back on the porch, clutching the pillar. He pushes + himself away from the pillar, using the crowbar. The + doorknob is within easy reach now. + + CLOSEUP - DOORKNOB - NIGHT + + It's glowing red with heat. + + BACK TO SCENE - NIGHT + + A big cprin is on Harry's face. He reaches for the door + knob, grabs it and shrieks. + + +238 INT. FOYER - NIGHT 238 + + Kevin shakes his fist victoriously. + + +239 EXT. PORCH - NIGHT 239 + + He drops the crowbar and the knob. His extreme reaction + takes him off his feet and he lands square on his back and + slides down the steps, yowling in agony. Harry thrusts his + hand into a pile of dirty corn snow. + + +241 INT. BASEMENT - CLOSE-UP STEPS - NIGHT 241 + + One of Marv's shoes is stuck in the thick, drying roof tar. + + CAMERA MOVES UP the stairs. One of Marv's socks is stuck in + the next stair. CAMERA continues to move. Marv's other shoe + is stuck in the next step. His other sock is stepping onto + the top step. CAMERA PANS UP. Marv is stepping out of the + sock, in his BARE FEET. He has a triangular series of + indentations peaking at his hairline caused by the + perforated underside of the iron. There is murder in Marv's + eyes as he steps onto the top landing. + + CLOSE-UP LANDING + + A shingle with protruding nailswaits for Marv's + approaching, NAKED FOOT. + + CLOSE-UP MARV + + He freezes for a moment, looks down and then howls with + pain. + + BASEMENT STAINS + 95. + + + Marv lifts his foot and the shingle. To steady himself he + grabs the stairrail. It comes loose in his hand and he + takes a backwards tumble down thestairs. + + +244 EXT. HOUSE - BACK PORCH - NIGHT 244 + + Harry limps up the porch steps, clutching his burned hand. + + With some difficulty he manages to jimmie the door with his + crowbar, using only one hand. He sticks the crowbar under + his arm and carefully opens the door. + + +245 INT. KITCHEN - NIGHT 245 + + Harry enters slowly. As the door opens, the tension on the + wire ignites the torch. Harry's naked head is scorched. He + shrieks and jumps back out the door. It closes and the + torch goes off. + + +246 EXT. HOUSE - SNOWBANK - NIGHT 246 + + Harry drives his flaming head into the snowbank. The fire + is extinguished with a SIZZLE. + + CLOSEUP - KEVIN'S BATTLE PLAN - NIGHT + + Lit by flashlight. Kevin draws an "X" through a drawing of + the torched door. + + CLOSEUP - HARRY - NIGHT + + He rises INTO FRAME. The hair on the top of Harry's head is + burned away, his sideburns smoldering, blisters rising, + eyebrows singed, eyes wild with rage and teeth gritted. + + +249 EXT. HOUSE - BACK PORCH - NIGHT 249 + + Harry kicks open the door, snapping the torch wire. He + marches into the house. + + HARRY + Where are you?... You little + bastard?!? + + +250 INT. BASEMENT - NIGHT 250 + + Marv stumbles to the door. + 96. + + +251 INT. KITCHEN - NIGHT 251 + + Harry listens at the dining room door. It's closed. + + HARRY + It's too late for you, kid! We're + in the house and we're cornin' for + ya. + + KEVIN (O.S.) + Okay. + + Harry grins. + + +253 INT. DINING ROOM - NIGHT 253 + + A room fan is resting on the table pointed at the dining + room door. A pillow's worth of feathers is heaped in front + of the fan. + + CLOSE-UP FAN + + A pencil is stuck in the fan blades. The MOTOR STRUGGLES + against the pencil. A string runs from the pencil to the + handle of the dining room door. + + +255 INT. FOYER - TOP OF STAIRS - NIGHT 255 + + Kevin is sitting at the top of the stairs. He calls to + Harry with complete confidence. + + KEVIN + Cone and get ne. + + +256 INT. KITCHEN - NIGHT 256 + + Harry pulls open the dining door and rushes into the room. + + The pencil is pulled out of the fan. The fan blades turn. + + The feathers blow into the air. + + Harry storms into the room and straight into the glued + Saran Wrap that spans the doorway. It sucks tight around + his face. + + Harry roars with anger and peels off the wrap. Feathers + immediately stick to his face. + 97. + + + HARRY + Shit! + + +257 INT. KITCHEN - NIGHT 257 + + Marv steps gingerly up the porch stairs and into the + kitchen in his bare feet. + + MARV + What happened?!? + + +258 INT. FOYER - STAIRS - NIGHT 258 + + Kevin stands up. He's on full alert. They're both in the + house. + + KEVIN + Do you guys give up!? + + CLOSEUP - HARRY - NIGHT + + He turns to reveal his face full of feathers, his hair + burned. + + CLOSEUP - MARV - NIGHT + + He's just as much a wreck. He curls his lip in an angry + snarl. + + MARV + I wanna kill him! + + +261 INT. FOYER - NIGHT 261 + + Harry and Marv charge into the foyer.Marv's walking on his + heels to spare his punctured soles of his feet. + + HARRY + Why the hell did youtake your shoes + off? + + MARV + Why the hell did youset your head + on fire? + + They hit the MicroMachines and hit the deck. + 98. + + +Kevin, standing in the middle of the stairs, takes aim with +his BB GUN. Kevin PUMPS a SUCCESSION of BBs at the crooks +before running up the stairs. + + KEVIN + Come and get me! + +Marv and Harry scramble to their feet, rubbing their +stinging butts and backs. Marv dashes up the stairs. Harry +follows. + +At the top of the stairs, Kevin holds a can of paint over +his head. He lets it fly. The paint can arcs out, the rope +tied to it pulls taut and the can swings rapidly into the +stairwell. + +Marv looks up as he runs up the stairs. His eyes widen in +horror. + + MARV + HEAD'S UP! + +MARV'S POV - NIGHT + +The paint can swings INTO CAMERA + +BACK TO SCENE - NIGHT + +Marv ducks, revealing Harry's unsuspecting face. The paint +can strikes Harry. Square on the chin, knocking him off his +feet, off the stairs and into the foyer. Kevin hurls his +second can. Marv looks back down at Harry. + + MARV + I'll get him for ya, Harry. + +Marv turns and screams. Marv catches the second paint can. + +He's knocked off his feet. Harry-is on his back in the +foyer. + +He opens his eyes. + +HARRY'S POV - NIGHT + +Marv is sailing down on him. + +BACK TO SCENE - NIGHT + +And it's a burglar sandwich. + 99. + + +266 INT. HALLWAY - NIGHT 266 + + Kevin scoots down the hallway on his hands and knees, + toward the master bedroom. + + +267 INT. FOYER - NIGHT 267 + + Marv helps Harry to his feet. + + MARV + He's only a kid, Harry. We can take + him. + + HARRY. + Shut up. + + MARV + You're missing some teeth. + + Harry shoves Marv away and heads up the stairs. + + +268 INT. MASTER BEDROOM - NIGHT 268 + + Kevin is on the telephone. + + KEVIN + Helpl My house is being robbed! I + live at 1132 Rivard. My name's + Murphy. + + +269 INT. FOYER - STAIRS - NIGHT 269 + + Harry and Marv trudge up the stairs. They are cautious, + keeping an alert eye on the railing above. + + HARRY + You bomb me with another can, kid + and I'll snap off your cajones and + boil them in motor oil. + + +270 INT. HALLWAY - NIGHT 270 + + Kevin crawls out of the master bedroom. + + +271 INT. UPSTAIRS HALLWAY - NIGHT 271 + + Harry and Marv make the turn up the stairs and see Kevin. + 100. + + + HARRY + There he is! + +Kevin scampers down the hallway to the third floor stairs. + +with the little strength they have left, Harry and Marv +take off down the hall, after Kevin. + +CLOSEUP - DOORKNOB - NIGHT + +A wire is tightly fastened around the knob. CAMERA PANS +ALONG the wire, it is connected to another doorknob, across +the hall + +BACK TO SCENE - NIGHT + +Harry charges down the hall. Suddenly he's off his feet, +flipped forward with a TWANG 1 With the wire snapped, Marv +keeps moving. He jumps over the fallen Harry and lunges for +Kevin. Marv's hand grabs Kevin's ankle. Kevin holds onto +the third floor doorknob with both hands. He screams. with +his free leg he repeatedly kicks Marv in the head. + + MARV + Harry! Get up! Grab him! + +Harry doesn't move. + +He is lying on the floor. His eyes open in horror. + +HARRY'S POV - NIGHT + +The tarantula runs INTO CAMERA. + +BACK TO SCENE - NIGHT + +Harry stands up, with the spider clinging to his face. +Harry is screaming. He peels off the spider and throws it. +Marv turns back to Harry. + + MARV + Har...! + +The spider lands on Marv's face. Marv lets go of Kevin's +ankle. + +Kevin whips open the door and charges up the stairs. Marv +flicks the spider off his face. + +In a panic, Marv grabs his crowbar, draws it back, draws a +bead on the spider... Harry is shivering with revulsion. +The spider climbs up on Harry's shoe. + 101. + + + SEVERE UP-ANGLE - NIGHT + + Marv has lost his senses for the moment. He brings down the + crowbar with all his force. Harry screams as the crowbar + slams down on his foot. + + +277 INT. BUZZ'S ROOM - NIGHT 277 + + The tarantula scoots back inside the room. + + +278 INT. HALLWAY - NIGHT 278 + + Marv drops the crowbar, realizing what he's done. + + MARV + Harry! I'm... + + Harry belts Marv in the face. + + +279 INT. ATTIC STAIRWELL - NIGHT 279 + + Kevin stands at the top of the stairs. He looks down into + the stairwell. + + KEVIN'S POV - NIGHT + + Steep drop. Harry, then Marv appear at the bottom of the + stairs. + + HARRY + Now where you gonna go? + + MARV + We was just gonna kidnap you. Now + we're gonna kidnap ya and feed ya + to the fishes. + + BACK TO SCENE - NIGHT + + Kevin yells down to Harry and Marv. + + KEVIN + Go kiss a dog on the lips! + + Kevin dashes OFFSCREEN. + + +282 INT. STAIRWELL - NIGHT 282 + 102. + + + Harry and Harv hobble up the stairs + + MARV + Can I shoot him? + + HARRY + Right after I strangle him. + + +283 EXT. ATTICWINDOW - NIGHT 283 + + Kevin climbs into the window. He fastens a large metal hook + onto the rope. He secures his grip on the rope tied through + an eye on the handle. He looks down fearfully. + + KEVIN'S POV - NIGHT + + It is three stories down to the cold, dark, ground. + + BACK TO SCENE - NIGHT + + Kevin gulps back his nerves and swings out of the window. + + +286 EXT. BACK YARD - NIGHT 286 + + Kevin slides down the rope, picking up speed as he heads + for his tree house. + + KEVIN'S POV - NIGHT + + MOVING DOWN the rope. + + +288 INT. TREE HOUSE - NIGHT 288 + + Kevin sails down the rope into the tree house. He puts up + his legs to absorb the impact. + + +289 EXT. TREE HOUSE - NIGHT 289 + + The back side. Kevin's legs burst through the weathered + wood. + + +290 EXT. TREE HOUSE - NIGHT 290 + + Kevin brushes himself off and shakes off the hurt. + + +291 INT. ATTIC BEDROOM - NIGHT 291 + 103. + + + Harry and Marv enter. They are quick to see the open + window. + + MARV + Maybe he committed suicide. + + Harry climbs up on the student desk beneath the window and + looks out. + + +292 EXT. ATTIC WINDOW - NIGHT 292 + + Harry scans the yard. + + HIS POV - NIGHT + + Kevin waves to him from the tree house. + + KEVIN + Down here you big horse's ass! Come + and get me before I go call the + police! + + +294 INT. ATTIC BEDROOM - NIGHT 294 + + Marv calls up to Harry. + + MARV + Come on! + + He starts for the stairs. + + HARRY + (looking back from the + window) + That's exactly what the little shit + wants us to do. Go back down + through his fun house and get tore + up more. + + MARV + You gonna let him call the cops?! + + Harry pulls out his handkerchief and wraps it around his + hand. + + MARV + Not out the window, Harry. + + HARRY + That's just what the kid's sayin'. + Come on. + 104. + + +295 EXT. BACK YARD - NIGHT 295 + + Harry swings out the window on the rope and begins hand- + walking down it. Marv joins him. + + +296 INT. TREE HOUSE - KEVIN - NIGHT 296 + + Kevin grins and brings up a large pair of hedge trimmers. + + CLOSEUP - HARRY - NIGHT + + He stops cold, his eyes locked open. + + HARRY + Oh, no ... + + BACK TO SCENE - NIGHT + + Kevin snips the rope. Harry and Marv crash into the side of + the house. They slide down the house and fall to the + ground. + + Dazed. Shaken. + + Kevin scampers down from the tree house and runs to the + van. + + He opens the door to the van, puts it in neutral and runs + down the driveway. The van rolls down the driveway and hits + the curb. + + Kevin runs across the street, to the Murphy house. + + +299 EXT. MURPHY HOUSE - NIGHT 299 + + Kevin arrives in the front yard. He stops, turns and looks + across the street, to his house. + + KEVIN'S POV - NIGHT + + Scratched and bruised,. Harry and Marv stagger out from + beneath the pile of broken icicles. Their eyes filled with + murder, they see Kevin across the street. + + BACK TO SCENE - NIGHT + + Kevin waves to the two crooks. + + KEVIN + I'm calling the cops! + 105. + + + Harry and Marv take off after Kevin. Kevin races across the + Murphys' lawn. Harry and Marv hobble across the street, + trying to catch up. Kevin rounds the front corner of the + house and runs into the backyard. + + +302 EXT. MURPHY HOUSE - BACK YARD - NIGHT 302 + + Kevin whips around into the back yard, runs down the cellar + steps and inside. + + +303 INT. MURPHY HOUSE - BASEMENT- NIGHT 303 + + Kevin enters. He looks around in the darkness, sees the + stairs leading upstairs and runs towards them. He sprints + up the stairs. He pulls the door open. + + CLOSE-UP KEVIN + + He recoils in fear. + + HIS POV + + Harry and Marv are standing in the door. + + HARRY + Evening, little nipper. + + Kevin steps down off the top stair. + + STAIRS - HARRY AND MARV + + Marv reaches for Kevin. He's tapped on the shoulder. He + turns. + + MARV + Huh? + + MARV'S POV + + A mem is swinging a wide metal snow shovel toweurd his + head. + + Before Marv can react he is slammed in the face with the + snow shovel. Marv collapes. Harry turns. + + HARRY'S POV + + The snow shovel. Swinging into CAMERA. WHAM! The snow + shovel connects with Harry. He falls to the floor beside + Marv. + 106. + + + CLOSE-UP KEVIN + + He looks up. + + HIS POV + + Harley steps out of the shadows to reveal himself to Kevin. + + WFTPTREY + A little trick I learned in South + Bend. + + He winks. + + +308 EXT. MURPHY HOUSE - NIGHT - LATER 308 + + A pair of squad cars are pulled up in front of the Murphy + house. Officers are coming and going from the house. + + +310 INT. SQUAD CAR - NIGHT 310 + + Marv and Harry, handcuffed and looking half-dead, drop into + the back seat from either side. They sit exhausted, + confused, defeated, injured and humiliated. + + +311 EXT. HOUSE - SQUAD CAR - NIGHT 311 + + Harry looks out the window. + + HARRY'S POV - NIGHT + + The shirtless sports hero is in the window of the + McCallister house. Rocking back and forth. Kevin pops up + beside the sports hero. Seeing Harry, Kevin grins. + + HARRY - NIGHT + + curls his lip in anger; + + +314 EXT. STREET - NIGHT 314 + + The two squad cars drive off into the night. + + +315 INT. MCCALLISTER LIVING ROOM - LATER - NIGHT 315 + + Kevin places the gifts under his tree. + 107. + + +317 INT. LIVING ROOK - NIGHT 317 + + Kevin sets a glass of milk and a plate of cookies and a + plate of carrots. He adjusts the family stockings that he's + taped to the mantel, and looks around proudly. + + +318 EXT. HOUSE - MORNING 318 + + A picture-perfect snowfall is in progress, having started + over the night. + + +319 INT. MASTER BEDROOM - DAY 319 + + Kevin is at the end of his sleep. He stirs, suddenly sits + up and listens carefully. The house is silent. He looks to + the window. + + KEVIN'S POV - DAY + + The glass is frosty and the rooftops are white. + + Kevin smiles. He leaps out of bed and tears out of the + room. + + KEVIN + Mom! + + +321 INT. FOYER - DAY 321 + + Kevin scrambles down the stairs, jumping the last few steps + and skidding on the wooden floor. He shoots into the living + room. + + Kevin grinds to a halt, his face glowing with the biggest + smile of his life. + + KEVIN AND HIS POV - DAY + + No one's there. It's as he left it. + + Kevin's smile falls. He's crushed. His work, his prayers, + his reformation, his courage, his independence. It's for + nothing. + + KEVIN + Dammit! + + He stomps to the coffee table and picks up a crystal + paperweight. He draws his arm back to heave it at the tree. + 108. + + + He pauses, thinks better of it. He slowly re-turns the + paperweight to the table. + + +323 INT. FOYER - DAY 323 + + Kevin walks slowly out of the living room, into the foyer. + + He stops at the bottom of the stairs. Something occurs to + him. + + He crosses to the door and opens it. + + +324 EXT. HOUSE - DAY 324 + + Kevin in his pajamas. He sees nothing. He closes the door. + + A beat. The sound of POLKA MUSIC is heard. The van rolls + in, FILLING the FRAME. + + Kate steps out of the van, waving "Good-bye," thanking and + wishing a "Merry Christmas" to the musicians inside. She + gives a quick kiss to Gus. The van drives off. Kate looks + to the house. + + +325 INT. FOYER - DAY 325 + + Kate peeks in. She steps softly inside. She's concerned and + cautious. She quietly closes the door behind her. She + glances in the dining room. Then in the living room. She + looks back to the stairs. Thinks for a split second and + then turns quickly back to the living room. + + +326 INT. LIVING ROOM - DAY 326 + + Kate enters slowly. She's surprised and touched as she + sees... + + HER POV - DAY + + Kevin's tree, the gifts, then the stockings and finally the + cookies and the carrots. + + KATE + + Kate's eyes are filled with tears. She puts her hand to her + mouth to keep from crying. + 109. + + +329 INT. MASTER BEDROOM - DAY 329 + + Kevin is sitting on the bed, holding the family portrait. + + CLOSEUP - KEVIN'S TREE - DAY + + Kate plucks a little antique silver Christmas bell ornament + off the tree. She shakes it. + + CLOSEUP - KEVIN - DAY + + No tears. Just defeat and sorrow. O.S. we hear the TINKLE + of the BELL. Kevin looks up, thinking he's hearing things. + + Another TINKLE of the BELLS. Kevin puts the photograph down + and covers his ears to see if the sound is in his head. + It's not. He stands. + + +332 INT. UPSTAIRS HALLWAY - DAY 332 + + The BELL CONTINUES. Kevin pokes his head out of the bedroom + door, walks to the railing and looks over. He can't see + anything. But he can hear the BELL. He walks around the + railing and down to the landing. + + +333 INT. HOUSE - FOYER - DAY 333 + + Kevin appears at the top of the stairs. He looks down and + doesn't see anything. The BELL RINGS AGAIN. He comes down + the stairs. A loose STAIR CREAKS. + + CLOSEUP - KATE - DAY + + She knows now that he's home She grabs the bell to silence + it. + + CLOSEUP - KEVIN - DAY + + He comes down the stairs, into the foyer and turns into the + dining room. + + CLOSEUP - KATE - DAY + + She's standing in the entrance to the living room, smiling + through her tears. She rings the bell. + + HER POV + + Kevin has his back to her. He straightens up and turns + 110. + + + HIS POV + + Kate rings the bell. + + KATE + Merry Christmas, sweetheart. + + CLOSEUP - KEVIN + + The sight of his mother Is so overwhelming he doesn't + react. + + CLOSEUP - KATE + + She thinks his hesitation is anger. + + KATE + I'm sorry. + + CLOSEUP - KEVIN + + He walks slowly to her, stopping in front of her. + + +342 INT. FOYER - DAY 342 + + Kate kneels before him. She kisses his forehead. He + suddenly throws his arms around her and squeezes for all + he's worth. + + She grabs him tight to her. She breaks the embrace and + kisses both his cheeks. + + KEVIN + Where's everybody else? + + KATE + I'm sorry, honey. They're all ... + + +343 INT. FOYER - FRONT DOOR - DAY 343 + + It swings open and the haggard, bickering remainder of the + family stumbles in. Buzz looks back to Megan. + + BUZZ + I didn't fall asleep in the cab and + drool all over you, did I? + + MEGAN + I don't drool. + 111. + + + LINNIE + Will you guys please shut up? + + PETER + Come on, you jerks, it's Christmas! + +They notice Kate and Kevin. + + PETER + Kev! + +Kevin runs to his dad. Kate is dumbfounded to see the +entire family home. Peter gives Kevin a hug. + + PETER + You're okay! + +Buzz walks up to Kevin and grins. + + BUZZ + It's pretty cool you didn't burn + the place down. + +Buzz holds out his hand and smiles warmly. Kevin slaps it. + +Kate gives an incredulous look to Peter. + + KATE + How did you guys?... I mean...? + + PETER + He decided to get on the morning + flight back. Remember? The one you + didn't want to wait for? + +Kate nods. If she wasn't so happy, she'd would be +frustrated. + +She kisses her husband and looks at everyone. + + KATE + Who wants breakfast? + + PETER + Who wants to get the presents out + of the car? Jeff? + + JEFF + I haven't even said 'hello' to my + brother. + (to Kevin) + Hi. You didn't miss anything. The + T.V. shows are all in French. + 112. + + + LINNIE + (TO KEVIN) + I'll be the only decent person in + the family and say that I really, + really missed you and was worried + about you. But you can't use that + against me. Okay? + +Kevin nods. Megan turns to Linnie. + + MEGAN + So you're saying I didn't miss him? + I cried several times and often it + was for real. + + PETER + Go get the presents. + + KATE + Somebody has to run out and find a + store open. We don't even have + milk. + + KEVIN + I vent shopping yesterday. + +Everybody looks at him. + + KEVIN + We have milk. And eggs. And fabric + softener. + + PETER + What else did you do while we were + gone? + +CLOSEUP - KEVIN - DAY + +He thinks for a moment. + + KEVIN + Just hung around. + +Everybody pauses. Kevin smiles and turns to CLOSE the front +door. He looks across the street for a moment. + +KEVIN'S POV + +Marley stands at the curb of his house, being greeted by a +family of five, emerging from astation wagon Marley +embraces his son. As Marley hugs his Granddaughter, he +opens his eyes and sees Kevin, watching him from the +doorway of the McCallister house. + 113. + + + Kevin and Marley exchange a warm and knowing smile. + + Kevin slowly closes the door to his home. + + FADE TO BLACK. + + THE END. + + TITLES ROLLOUT AND... + + CLOSE-UP TV + + The gangster movie's showing. + + MOBSTER + Too bad Acey ain't in charge no + more. + + MAN + What do you mean? + + MOBSTER + He's upstairs taking a bath. He'll + call you when he gets out. + + MOBSTER + I'll tell you what i'm gonna give + you, Snakes. I'm gonna give you... + + +349 INT. LOCK-UP - HARRY AND MARV - DAY 349 + + They're in the day room watching TV with the rest of the + offenders. They're dressed in blues. They look at each + other. + + END + \ No newline at end of file diff --git a/scripts/In Bruges.txt b/scripts/In Bruges.txt new file mode 100644 index 0000000000000000000000000000000000000000..086669fc0db67dac45225aa17c3a0ca00c1267c3 --- /dev/null +++ b/scripts/In Bruges.txt @@ -0,0 +1,5978 @@ + 1. + + + + +1 EXT. BRUGES STREETS - NIGHT 1 + + Various shots of the empty, cobble-stoned, other worldly + streets of Bruges, Belgium. It's winter, and a freezing fog + covers everything; the Gothic churches, the narrow canals, + their odd little bridges. We could be in any period of the + last five hundred years. We happen to be in the present + day. + + RAY speaks over all this. + + RAY (V.O.) + After I killed them I dropped the + gun in the Thames, washed the + residue off my hands in the + bathroom of a Burger king, and + walked home to await instructions. + Shortly thereafter the instructions + came through - "Get the fuck out of + London, you dumb fucking cunts. Get + to Bruges". I didn't even know + where Bruges fucking was. + + FADE TO BLACK. + + RAY (V.O.) + It's in Belgium. + + OPENING CREDITS. + + +2 EXT. BLACK SCREEN - DAY 2 + + SOUND ONLY of two men walking, a train in the background. + + RAY + Bruges is a shithole. + + KEN + Bruges is not a shithole. + + RAY + Bruges is a shithole. + + KEN + Ray, we've only just got off the + fucking train. Could we reserve + judgement on Bruges until we've + seen the fucking place? + + RAY + 2. + + + I know it's gonna be a shithole. + + +3 EXT. BRUGES STREETS - DAY 3 + + KEN and RAY walking through the pretty Christmas-tide + streets from Minnewater Park to the Burg; past quaint + chocolate shops, past horse and carts, past canal boats, + past tourists taking photos of all these. + + KEN, pop-up map in hand, is enjoying the novelty of the + place, which irritates the sulky RAY no end. By the end of + the walk we have passed most of Bruges picturesque places, + none of which could be described as a shithole. + + RAY + Shithole. + + +4 EXT. HOTEL CANALSIDE - DAY 4 + + They arrive at their pretty canalside hotel, KEN looking it + over. + + KEN + Looks quite nice. + + RAY just looks at him. + + +5 INT. HOTEL LOBBY - DAY 5 + + A small (five room) family-run place; a breakfast room off + the lobby, a narrow set of carpeted stairs to the first + (and only) floor, and a small front desk that nobody's at. + KEN rings the bell. + + RAY + Great service. + + KEN + (quietly) + Cheer... fucking... up, or I will + smack you... in your fat... + fucking... head. + + RAY + Yeah? You and whose army? Your + mum's? + + KEN + Are you twelve years fucking old? + 3. + + + MARIE, the pretty, heavily pregnant receptionist/owner of + about thirty, appears behind the desk, obviously having + heard. + + KEN + Oh, hello... + + RAY + No, I'm not twelve years fucking + old. + + RAY sits, in a mood. + + KEN + I think we have a couple of rooms + booked with you, under Cranham and + Blakely. + + MARIE + Yes. No, we have one room booked. + One twin room. + + KEN + Oh. + + MARIE + Booked for two weeks. + + RAY + Two weeks?!! + + KEN + Do you have another room? + + MARIE + No, I'm afraid we're fully booked, + with Christmas. Everywhere's fully + booked. + + +6 INT. HOTEL ROOM - DAY 6 + + KEN looking out at the pretty canal beneath the latticed + picture-window. RAY on one of the twin beds, staring at the + poky room. + + KEN + It's very pretty. + + RAY + Ken, I'm not being funny. We can't + stay here. + 4. + + + KEN + We've got to stay here till he + rings. + + RAY + What if he doesn't ring for two + weeks? + + KEN + Then we stay here for two weeks. + + RAY + For two weeks?! In fucking Bruges?! + In a room like this?! With you?! No + way. + + KEN + Ray, I really don't like to say + this... + + RAY + You really don't like to say what? + + KEN + Well, y'know, X wasn't the one who + killed the little kid, Ray. + + The life totally drains from RAY'S face as he turns bleary- + eyed, sickened, sad. + + RAY + (quietly) + Fucking bring that up... + + RAY goes into the bathroom, closes the door. + + KEN + (quietly) + Well... I wasn't. + + +7 INT. HOTEL BATHROOM - DAY 7 + + RAY looks at himself in the mirror, then breaks down in + silent tears. He cries them all out, cleans himself up. + Looks at himself again. Breathes deeply. + + +8 EXT. CANALS - DAY 8 + 5. + + + RAY and KEN at the back of a canal-boat, half full of + tourists, sightseeing the waterways. The dull DRIVER drones + on, the usual quips. RAY stares at KEN as he does so; KEN + enjoys the sights. He has a pocket guidebook with him, + which he consults now and then. + + We see various of the town's picturesque places. + + RAY + Do you think this is good? + + KEN + Do I think what is good? + + RAY + Y'know, going round in a boat, + looking at stuff. + + KEN + Yes. I do. It's called sight- + seeing. + + KEN observes the sights further. + + KEN + Look at that. + + RAY + Look at what? + + KEN + It's a former hospital. + + RAY looks at him blankly. + + KEN + From the eleven-hundreds. + + RAY looks at him blankly. + + KEN + Bruges is the most well-preserved + medieval town in the whole of + Belgium, apparently + + RAY looks at him blankly. KEN can only smile. + + +9 EXT. BEGIJNHOF CONVENT - DAY 9 + + KEN looking at the buildings of the 13th century + Benedictine convent. + 6. + + + KEN + This here... + + RAY + Ken! It's just all old buildings!! + Can we go and get a fucking beer, + please? I assume they have beer in + this fucking country. + + KEN + They have over three hundred + different types of beer. + + RAY + Ken, I just want one. + + RAY walks off. KEN follows. + + +10 INT. IRISH BAR - DAY 10 + + RAY happily plonks two pints in front of them, KEN's an + odd­coloured one in a strangely shaped glass. + + RAY + Now this is more like it. Proper + holidays. One gay beer for my gay + friend, one normal beer for me, + because I am normal. Ahh! Dis is + duh loif. + + KEN + We're not staying here getting + pissed. We're quietly sight-seeing, + like he says, and awaiting his call + to see what we do next. + + RAY hands KEN an English newspaper. + + RAY + Ken. Read it. They haven't got a + single lead. + + KEN + They say they haven't got a single + lead. + + RAY + 7. + + + Ken, come on, they're the English + police. When they say they haven't + got a single lead, they haven't got + a single lead. This is my vote of + what we should do. We give it + another day, two days max, then we + check the papers again and if + there's still nothing in 'em we + phone him and say "Harry, thank you + for the trip to Bruges, it's been + very nice, all the old buildings + and that, but we're coming back to + London now and hide out in a proper + country where it isn't all just + fucking chocolates". + + KEN + ‐ + My vote would be we quietly sight­ + see, like he says, and we await his + call to see what we do next. + +RAY sneers, drinks, gestures to the paper. + + RAY + Close that up. + +As KEN closes the paper we glimpse the edge of a headline +reading '...IN SHOOTING DEATH OF LITTLE TOBIAS'. + + KEN + You don't even know that we're here + hiding out. + + RAY + What are you talking about? + + KEN + You don't even know that we're not + here on a job. + + RAY + What? On a job? + + KEN + Yeah. + + RAY + Here in Bruges? + + KEN + Yeah. + + RAY + 8. + + + Here in Bruges, on a job? + + KEN + Yeah. + + RAY + Why, what did he actually say? + + KEN + He didn't actually say nothing. + + RAY + So why do you think it might be... + + KEN + I don't think anything. But it's a + bit fucking over-elaborate, isn't + it? "Go take him to hide out". "Go + take him to hide out where?" "Go + take him to hide out in fucking + Bruges". + (pause) + You can hide out in Croydon. + + RAY + (thinking) + Mm. Or Coventry. Hmm. It is a bit + over-elaborate. Hmm. But we ain't + got no guns. + + KEN + Harry can get guns anywhere. + + RAY + Hmm, interesting. Very interesting. + + +11 INT. HOTEL ROOM - NIGHT 11 + + RAY sitting at window, looking at the beautiful night-lit + canal. KEN lying on the bed, reading a book, 'THE DEATH OF + CAPONE' by K.K.KATURIAN. + + RAY + He ain't gonna ring tonight. + + KEN keeps reading. + + RAY + (pause) + How did Capone die? + + KEN + 9. + + + (finishing his + cheesecake) + Neuro-syphilis. + + RAY nods, looks out window again. + + RAY + He ain't gonna ring tonight. Let's + go out. + + KEN + Go out where? + + RAY + The pub. + + KEN + No. + + RAY + Let's go out and look at some of + all the old medieval buildings and + that, cos I bet they look even + better at night, all lit up. + + KEN smiles, puts down his book. + + RAY + Yes! + + +12 EXT. GRUUTHUSE MUSEUM/ENVIRONS - NIGHT 12 + + They wander the beautifully lit buildings, sculptures and + little bridges around the museum, KEN consulting his + guidebook, RAY with two beer bottles in his trousers front + pockets and one in his hand, happy out. + + KEN + This is the smallest bridge in + Bruges. + + RAY + Ahh, it's so little, look at it. + Ahh. Hello little bridge. How would + a little bridge's voice go? + (in a little bridge's + voice) + "Hello. I'm a little bridge". + + KEN + Yeah, go easy on the fucking beers + now, Ray. + 10. + + + RAY + I am! + +SCULPTURE GARDEN. + + KEN + These are the Four Horsemen of the + Apocalypse. Designed by Rik Poot, + it says. Rik Poot. + + RAY + Hmm. They're not the real Four + Horsemen of the Apocalypse though, + are they? They're more sort of + robot versions. + + KEN + Yes, well, I guess they're more the + artist's impression of the Four + Horsemen of the Apocalypse. The + real Four Horsemen of the + Apocalypse didn't actually exist. + + RAY + Didn't they? They were just made + up? + + KEN + Yes. They might exist one day. + That's the whole thing. + + RAY + I like robot horses. They're good. + How would a Four Horseman of the + Apocalypse's voice go? Probably + angry. "Grrr". + +MUSEUM BUILDING. + + KEN + That there is called the 'Gruuthuse + Museum'. + + RAY + They all have funny names, don't + they? + + KEN + Yes, Flemish. In here, this says, + the Belgians twice sheltered + fugitive English kings from being + murdered. + 11. + + + RAY + So they're not all good. + + KEN + Henry IV and Charles II, in 1471 + and 1651, respectively. + + RAY + I used to hate History, didn't you? + It's all just a load of stuff + that's already happened. What are + they doing over there?! They're + filming something... They're + filming midgets!! + + RAY runs off excitedly. + + KEN + Ray! + + +13 EXT. FILM SET - NIGHT 13 + + Behind a rope cordon with a few other people, RAY watches + the crew et al as they set up between takes, dry ice + around. + + RAY'S POV: A little way off, the film's DIRECTOR is + coaching JIMMY, a bored American dwarf actor, on how to + creep along on tiptoe "like a l'il mouse". JIMMY, + irritated, is forced to ape this, without enthusiasm. + DIRECTOR goes off happy. JIMMY quietly gives him the finger + behind his back. END POV. + + RAY is THRILLED by all this dwarf/film stuff. KEN comes up. + + KEN + Ray, come on, let's go. + + RAY + My arse 'let's go'. They're filming + midgets. + + RAY spots a stunning GIRL ON SET. + + RAY + Oh my god! Look at that girl! She's + gorgeous! + + The GIRL smiles over at the overly loud RAY. + + KEN + Ray? We're going right now. + 12. + + + RAY + Fuck off are we! This the best bit + of Bruges so far! You and your + buildings. + + KEN storms off. + + +14 EXT. FILM SET/CATERING SECTION - NIGHT 14 + + The cute GIRL, CHLOE, gets a coffee. RAY gets one too. + + RAY + Hello. + + She just looks at him. He's smiling gormlessly but seems + safe. + + RAY + Do you speak English? + + CHLOE + No. + + RAY + Ah yes you do. Everybody does. What + are you filming midgets for? + + CHLOE smiles - he's so genuinely excited by it all. + + CHLOE + It's a Dutch movie. It's a dream + sequence. It's a pastiche of + Nicolas Roeg's 'Don't Look Now'. + Not a pastiche, but a... 'homage' + is too strong... A 'Nod of the + Head'. + + RAY is bemused but she's so cute he doesn't mind. + + RAY + Wow, your English is very good. + + He's losing her, he knows it. From the depths of his brain + he finally dredges something up... + + RAY + 13. + + + A lot of midgets tend to kill + themselves. Yes. A disproportionate + amount. Of midgets. In comparison + to normal people. Herve + Villechaise, off of Fantasy Island. + I think somebody off 'The Time + Bandits'. A hell of a lot of + midgets. Kill themselves. I guess + they must get really sad about, + like, being really little, and + that. People looking at them, and + laughing at them. Calling them + names. 'Shortarse'. There's another + famous midget I'm missing but I + can't remember. It's not the R2D2 + man, he's still going. No, it's + somebody else. + (pause) + I hope your midget doesn't kill + himself. Your dream sequence'll be + fucked. + + CHLOE + He doesn't like being called a + midget. He prefers 'dwarf'. + + RAY + Well this is my exact point! People + going round calling you a midget + when you wanna be called a dwarf. + Of course you're gonna blow your + head off! + +She smiles. + + RAY + My name's Ray. What's yours? + + CHLOE + Chloe. How did you get past the + security men? + + RAY + Getting past security men, it's + sort of my job. + + CHLOE + You're a shoplifter? + + RAY + No, I'm not a shoplifter. Good + joke, though. No, I'll tell you + what I am at dinner tomorrow night. + 14. + + + She laughs, walks away, and RAY thinks he's lost her, until + she tosses a small card over her shoulder and behind her, + into the mud. + + RAY picks the card up. It reads 'CHLOE VILLETTE’ and a + mobile number. He watches her, hoping she'll look back. She + doesn't. + + RAY + How fucking cool. + + RAY gives the DWARF the thumbs up as he walks away. The + DWARF smiles slightly. + + +15 INT. HOTEL LOBBY - NIGHT 15 + + As KEN passes up the stairs, MARIE appears behind the desk. + + MARIE + Mister Blakely? + + KEN + Yes. No, Mister Cranham. No! Yes! + Mister Blakely. Yes. + + MARIE + You have a message. + + She hands him an envelope, blushing, then hurries away + again, KEN a little disconcerted at her behavior. + + +16 EXT. HOTEL CANALSIDE - NIGHT 16 + + Leaning on a wall by the night-lit canal outside the hotel, + KEN opens the envelope, sees the typed message is from + HARRY. + + KEN + Shit. + + HARRY (V.O.) + 15. + + + Number one, why aren't you in when + I fucking told you to be in? Number + two, why doesn't this hotel have + phones with fucking voicemail on + them and not I have to leave + messages with the fucking + receptionist? Number three, you + better fucking be in tomorrow night + when I fucking call again or + there'll be fucking Hell to pay, + I'm fucking telling you. Harry. + + KEN sighs, then sees the following hand-written message at + the bottom of the card - 'I'M NOT THE RECEPTIONIST, I'M THE + CO-OWNER WITH MY HUSBAND, PATRICE' - signed 'MARIE'. + + KEN smiles. In through the yellow-lit windows of the + reception, MARIE is quietly talking to her unborn baby. + + +17 EXT. BRUGES STREETS - NIGHT 17 + + RAY wanders drunkenly the misty cobbled streets and + bridges. + + An odd song plays over, like a gentle music box on LSD. As + he wanders, there's a happiness at having met a girl, and a + curiosity at finding the night-lit Bruges a lot more + interesting than he'd have thought. + + A child's teddy bear has been left on a canal wall. As RAY + tries to button up it's pretty little jacket, the bear's + head falls off and into the canal, and RAY is reminded, + somewhat, of why he's in Bruges. + + +18 INT. HOTEL ROOM - NIGHT 18 + + The room is dark. Sound of RAY stomping up the stairs, key + fumbling, opening the door, turning the light on. + + KEN + Turn the fucking light off! + + RAY + Sorry, Ken. + + KEN + And keep the fucking noise down! + + RAY sits on his bed, takes off his shoes. + + RAY + 16. + + + Someone's in a mood. + +RAY turns the light off, lets his shoes clatter to the +floor, starts taking his clothes off. + + RAY + You'll never guess what. + + KEN + Can you shut your fucking mouth + please and go to sleep? + + RAY + Oh, sorry. Except I've gotta take + my contact lenses out. + +RAY goes to the bathroom, turns the light on, blinding KEN +and waking him fully. He resigns himself to it, turning +onto his back, wide-eyed. RAY returns with glasses on. + + RAY + Altogether I've had five pints of + beer and six bottles... No, six + pints of beer and seven bottles, + and y'know what? I'm not even + pissed! + +KEN just stares at the ceiling. + + RAY + You'll never guess what, Ken? + (pause) + Ken, you'll never guess what? + + KEN + What? + + RAY + I've got a date for tomorrow night. + + KEN + I'm so happy for ya. + + RAY + With a girl. + + KEN + Can you turn the light off, please? + + RAY + 17. + + + Only been in Bruges one day, got a + date with a girl in the film + business. The Belgium film + business. They're doing a film + about a midget. + (pause) + Harry didn't ring, did he? + + KEN + Can you turn the light off, please? + + RAY does so, and gets into bed. + + RAY + Told you he wouldn't. + + +19 EXT. LONDON CATHOLIC CHURCH - DAY 19 + + A small pretty church in a run down area. KEN loitering + outside. + + +20 INT. LONDON CATHOLIC CHURCH -DAY 20 + + FLASHBACK. CONFESSIONAL . The faces of RAY and FATHER + MCHENRY, a priest in his sixties, can just be seen in the + darkness. + + The crucifix on MCHENRY'S signet ring glints now and then. + + MCHENRY + Take your time, son. Just take your + time. + + RAY + What's your name, Father? + + PEWS. Outside the confessional, a LITTLE BOY of seven is + kneeling, awaiting his turn. He goes over his crimes on his + fingers, but can't remember them properly. He takes out a + scrap of paper and looks at it. + + MCHENRY (O.S.) + It's Father McHenry. What's your + name, son. Just your first name? + + CONFESSIONAL. + + RAY + It's Ray, Father. Raymond. + + MCHENRY + 18. + + + And what is it you've done, + Raymond? + + RAY + Murder, Father. + + MCHENRY + Murder? Why did you murder someone, + Raymond? + + RAY + For money, Father. + + MCHENRY + For money? You murdered someone for + money? + + RAY + Yes, Father. Not out of anger, not + out of nothing. For money. + + MCHENRY + And who did you murder for money, + Raymond? + +RAY clears his throat. + + RAY + You, Father. + + MCHENRY + I'm sorry...? + + RAY + I said "You, Father". What, are you + deaf? + +MCHENRY recoils from the gauze as RAY cocks his gun. + + RAY + Harry Waters says 'Hello'. + +RAY shoots him point blank. MCHENRY bursts out of his +little compartment, clutching his stomach. RAY shoots him +again. + +MCHENRY wrenches open the door of the confessional, trying +to get away, and, as daylight bursts in from the body of +the church, framing him in angelic shafts of light, RAY +shoots him in the back four more times, stopping him dead +in his tracks. + 19. + + + MCHENRY slowly turns around to face RAY, still framed in + the doorway, blood trickling from his mouth. + + MCHENRY + The little boy. + + RAY doesn't understand what he's talking about. MCHENRY + falls to his knees, then collapses backwards, dead, + revealing behind him, still kneeling in the pews, the + LITTLE BOY, whose head has been blown apart by one of the + bullets that passed through the priest. + + Horrified, RAY approaches the BOY who, though clearly dead, + remains kneeling, his hands clasped together in prayer, the + scrap of paper between them. RAY falls to his knees, pulls + the paper from the BOY'S hands. It reads + + '1. BEING MOODY. + + 2.BEING BAD AT MATHS. + + 3.BEING SAD'. + + VIEWED FROM OVERHEAD, KEN comes running down from the back + of the church, as RAY collapses, and starts dragging RAY + away, their footsteps echoing, leaving the blood-soaked + corpses alone and silent and still. + + +21 INT. HOTEL ROOM - DAY 21 + + RAY'S eyes are open. He looks at the bed beside him. It's + empty. He looks at the blue skies through the latticed + windows, then at the grey ceiling, thinking. A tear falls + from his cheek. He wipes it, sighs. + + +22 INT. HOTEL RESTAURANT - DAY 22 + + KEN having breakfast, looking through his guidebook. MARIE + passes. + + KEN + Um, Miss? Marie? I'm sorry about + the message last night. The man who + left it is a bit of a... Well, he's + a bit of a... + + MARIE + Cock? + + KEN + (smiles) + 20. + + + Yes. He's a bit of a cock. + +She smiles and passes on. RAY holds a door open for her +with a gallant flourish, comes in, sits. + + KEN + Harry rang last night. We missed + it. + +KEN gives RAY the message, which he reads. + + RAY + He swears a lot, don' he? + + KEN + We're staying in tonight, whatever + happens. + + RAY + Mm. Except... hmm. + + KEN + Mm except hmm what? + + RAY + Except only really one of us needs + to stay in, really. + + KEN + Uh-huh? And which one of us would + that be, Ray? I thought you didn't + like Bruges. + + RAY + I don't like Bruges. It's a + shithole. But I did already say I + had a date with a Belgian lady in + the Belgian film business, which I + did already say about before. + + KEN + Well just don't get into any + fucking trouble. We are keeping a + low profile. And this morning and + this afternoon we are doing + whatever I want to do. Got it? + + RAY + Of course. Which I presume will + involve culture. + + KEN + 21. + + + We shall strike a balance between + culture and fun. + + RAY + Somehow I believe, Ken, that the + balance shall tip in the favour of + culture. Like a big fat fucking + retarded fucking black girl on a + see­saw, opposite... a dwarf. I was + down the park one day when I was + little and this big fat retarded + black girl came up and beat the + fucking shit out of me for + absolutely no reason. Completely + beat the shit out of me. + + KEN + What does her being black have + anything to do with it? + + RAY + Well, she was black. + (pause) + She mightn't've been retarded. She + might've just been one of them deaf + and dumb people, I'm not sure. + Whatever she was, she was a cunt. + Completely beat the shit out of me! + Bitch! + + +23 INT. GROENINGE MUSEUM - DAY 23 + + KEN and RAY wandering the gallery - various odd paintings + including 'The Judgement of Cambyses' (a flaying alive) and + 'De gierigaard en de dood' (a skeletal Death come to + collect his due). + + They end up in front of Bosch's 'LAST JUDGEMENT' which we + see various details from - freakish demons torturing + various people in various freakish ways. KEN and RAY take + it all in, quietly. + + RAY + I quite like this one. All the rest + were rubbish by spastics, but this + one's quite good. What's it all + about, then? + + KEN + Well it's the Last Judgement. + Judgement Day. Y'know? + 22. + + + RAY + Oh yeah? What's that then? + + KEN + Well it's, y'know, the final day on + Earth when mankind will be judged + for all the crimes they have + committed. And that. + + RAY + Oh. And see who gets into Heaven + and who gets into Hell and all + that? + + KEN + Yeah. + + RAY + And what's the other place? + + KEN + Purgatory. + + RAY + Purgatory. Purgatory's kind of like + the inbetweeny one. "You weren't + really shit, but you weren't all + that great, either." Like + Tottenham. Do you believe in all + that stuff, Ken? + + KEN + Tottenham? + + RAY + The Last Judgement and the + afterlife and... guilt and... sins + and... Hell and... all that...? + + KEN realises that RAY is really looking for an answer. + + KEN + Um... Oh. Um... + + +24 EXT. JAN VAN EYCKPLEIN SQUARE - DAY 24 + + KEN and RAY on a bench, the distinctive Poorterslodge + rising up behind them. + + KEN + 23. + + +I don't know, Ray. I don't know +what I believe. Um. Y'know, I was +brought up believing certain +things, I was brought up Catholic, +which I've more or less rejected +most of... + + RAY +Yeah, they're nuts, aren't they? + + KEN +But the things you're taught as a +child, they never really leave you, +do they? So I believe in trying’ to +lead a good life, like if there's +an old lady carrying her shopping +home... Well, I don't try and help +her carry her shopping, I don't go +that far, but I'll certainly hold +the door open for her and that and +let her go out before me. + + RAY +Yeah. And anyway, if you tried to +help her carry her shopping, she'd +probably think you were just trying +to nick her shopping. + + KEN +Exactly. + + RAY +This is the world we live in today. + + KEN +And at the same time, at the same +time as trying to lead a good life, +I have to reconcile that with the +fact that, yes, I have killed +people. Not many people. And most +of them were not very nice people. +Apart from one person. + + RAY +Who was that? + + KEN +This fella Danny Aliband's brother. +He was just trying to protect his +brother. Like you or I would. He +was just a lollipop man. But he +came at me with a bottle. What are +you gonna do? I shot him down. + 24. + + + RAY +Hmm. In my book, though, someone +comes at you with a bottle, I'm +sorry, that is a deadly weapon, +he's gotta take the consequences. + + KEN +I know that in my heart, but I also +know he was just trying to protect +his brother, you know? + + RAY +I know, but a bottle, that can kill +ya. That's a case of "It's you or +him". If he'd come at you with his +bare hands, that'd be different. +That wouldn't've been fair. + + KEN +But, technically, someone's bare +hands, they can kill you too. They +can be deadly weapons too. What if +he knew Karate, say? + + RAY +You said he was a lollipop man. + + KEN +He was a lollipop man. + + RAY +What's a lollipop man doing, +knowing fucking Karate? + + KEN +I'm just saying... + + RAY +How old was he? + + KEN +About fifty. + + RAY +What's a fifty year old lollipop +man doing, knowing fucking Karate? +What was he, a Chinese lollipop +man? + + KEN +Course not. + + RAY + 25. + + + Well then. Jesus, Ken, I'm trying + to talk about... + + KEN + I know what you're trying to talk + about... + + RAY + I killed a little boy. You keep + bringing up lollipop men! + + KEN + You didn't mean to kill a little + boy. + + RAY + I know I didn't mean to. But + because of the choices I made, and + the course that I put into action, + a little boy isn't here any more. + And he'll never be here again. + (pause) + Y'know, I mean here in the world. + Not here in Belgium. + (pause) + Well, he'll never be here in + Belgium either, will he? He + might've wanted to go, when he got + older. I don't know why. And that's + all because of me. He is dead + because of me. And I'm trying to... + I'm trying to get my head round it, + but I can't. I will always have + killed that little boy. And that + ain't ever gonna go away. Ever. + Until, maybe, I go away. + + KEN + Go away where? + +RAY gives him a look. Suicide is conveyed. + + KEN + Don't even think like that. + + RAY + And even then it mightn't go away. + Looking at that painting of fucking + torment and Hell... + + RAY + 26. + + + Jesus, I'm not sure if I fucking + needed that right now. The bloke + who painted that, he must be + bonkers. + + KEN + Don't think like that, Ray. It'll + get easier. It will. + + RAY + I think that's the problem, Ken. I + think that's the problem. + + +25 EXT. MARKET SQUARE - DAY 25 + + KEN looking up at the 300ft bell-tower, the dominant + landmark of town. + + KEN + You coming up? + + RAY + What's up there? + + KEN + The view. + + RAY + The view of what? The view of down + here? I can see that from down + here. + + KEN + Ray, you're about the worst tourist + in the whole world. + + RAY + Ken, I grew up in Dublin. I love + Dublin. If I'd grown up on a farm, + and was retarded, Bruges might + impress me, but I didn't, so it + doesn't. + + +26 INT. BELL TOWER - ENTRY KIOSK -DAY 26 + + A sign, 'ENTRY FIVE EUROS'. A stern Belgian TICKET-SELLER + (male) behind glass. + + KEN + 27. + + + Trying to get rid of my coins. + There's 3,.. 3:50. There's 4. 4:10. + 4:20, 4:30, 4:40, 4:50, 4:60, 4:70, + 4:80... Oh, 4:90. Will you take + 4:90? + + TICKET-SELLER taps the sign. + + TICKET-SELLER + Entry is five Euro. + + KEN + Come on, man, it's ten cents. + + TICKET-SELLER taps the sign. + + TICKET-SELLER + Entry is five Euro. + + KEN collects up all his coins, pays a fifty Euro note. + Stares at the TICKET-SELLER as he gets his change and + ticket. + + KEN + Happy in your work? + + TICKET-SELLER + Very happy. + + KEN gives him a look, goes through the turnstile. + + +27 EXT. MARKET SQUARE - DAY 27 + + RAY sitting waiting outside the tower, watching people + pass, Christmas stuff, his thoughts on darker things. Some + way away JIMMY THE DWARF passes, in normal clothes. RAY + waves enthusiastically at him, smiling. JIMMY looks at him, + then looks away without acknowledging. RAY loses his smile. + + RAY + (quietly) + Little fucking cunt. + + +28 INT. BELL TOWER - DAY 28 + + KEN climbing the narrow winding wooden staircase to the + tower top. Reaches the uppermost look-out room, slightly + breathless. Takes in the town and environs. + + KEN + (quietly) + 28. + + + I like it here. + + He sees RAY way down below. Cocks his finger, shoots him + with an imaginary gun, just for fun. + + +29 EXT. MARKET SQUARE - DAY 29 + + A massive shadow falls over RAY. Three enormously + overweight Americans are standing there, one MAN, two + WOMEN. + + OVERWEIGHT MAN + Have you been to the top of the + tower? + + RAY + Yeah, yeah. It's rubbish. + + OVERWEIGHT MAN + It is? The guidebook says it's a + must-see. + + RAY + Well you lot ain't going up there. + + OVERWEIGHT MAN + Pardon me? Why? + + RAY + I mean, it's all windy stairs. I'm + not being funny. + + OVERWEIGHT MAN + What exactly are you trying to say? + + RAY + What exactly am I trying to say? + You're a bunch of fucking elephants + 11 + + The OVERWEIGHT MAN tries to hit RAY, but RAY dodges and + steps away from the blows. The MAN tries to catch and hit + him but RAY keeps dodging easily. + + RAY + Come on, leave it, Fatty... + + The MAN is already puffing, one of the WOMEN is crying. KEN + comes out of the tower. + + WOMAN + 29. + + + You are just the rudest man! The + rudest man! + + The WOMEN lead the breathless MAN away. + + KEN + What was all that about? + + RAY shrugs innocently. The Americans enter the tower. + + KEN + They're not going up there... + (calling out) + Hey guys? I wouldn't go up there. + It's really narrow and... + + WOMAN + Screw you, Motherfucker!! + + KEN is dumbfounded, open-mouthed. RAY shrugs again. + + RAY + Americans, ain' it? + + +30 INT. BASILICA OF THE HOLY BLOOD - DAY 30 + + Small Gothic chapel, RAY sitting irritated in a pew, + watching as KEN quietly ambles, guidebook in hand, + surveying the statues and murals, the Stations of the + Cross, all candle-lit and warm. + + KEN ushers RAY over. RAY sighs, refuses - all this holy + shit is getting to him. KEN ushers him over again, + forcefully this time. RAY idles over, head bowed, trying + not to look at anything with Jesus on it. + + KEN + Ray, did we or did we not agree + that if I let you go on your date + tonight, we'd do the things X + wanted to do today? + + RAY + We are doing the things you wanted + to do today. + + KEN + And that we'd do them without you + throwing a fucking moody like some + five year old who's dropped all his + sweets? + 30. + + + RAY + I didn't agree to that. + (pause) + I'll cheer up, I'll cheer up. + + KEN + This here, up there on the altar, + is a phial brought back by a + Flemish knight from the Crusades in + the Holy Land, and that phial, you + know what it's said to contain? + + RAY + No, what is it said to contain? + + KEN + It's said to contain some drops of + Jesus Christ's blood. + +RAY feigns interest with his eyebrows. + + KEN + Yeah. That's where this church gets + it's name, the Basilica of the Holy + Blood. + + RAY + Yeah? + + KEN + Yeah. And this blood, right, though + it's dried blood, at different + times over many years, they say it + turned back to liquid. Turned back + to liquid from dried blood. At + various times of great... stress. + + RAY + Yeah? + + KEN + Yeah. So, yeah, I'm gonna go up in + the queue and touch it, which is + what you do. + + RAY + Yeah? + + KEN + Yeah. You coming? + + RAY + Do I have to? + 31. + + + KEN + Do you have to? Of course you don't + have to! It's Jesus's fucking + blood, isn't it?! Of course you + don't fucking have to! Of course + you don't fucking have to! + + KEN storms off and gets in the queue, seething. RAY takes + in some more of the iconography for a minute then leaves. + KEN watches him doing so. Now he's really pissed off. He + tries to calm himself down and concentrate on Jesus' + fucking blood. + + +31 INT. BASILICA STAIRWELL - DAY 31 + + On the way out, still pissed off, KEN sees, through the + basilica's beautiful second-storey windows, RAY sitting on + a bench in the square below, eating an ice-cream. Sounds of + a children's choir. + + +32 EXT. BASILICA OF THE HOLY BLOOD - DAY 32 + + KEN bursts out of the church and approaches RAY, who pays + him no attention, transfixed as he is on the CHILDREN'S + CHOIR a short distance to the side, as they sing the creepy + Christmas carol "Gabriel's Message" for the passers-by. + + None of the kids are much older than eight, and a few bear + a resemblance to the LITTLE BOY that RAY killed. As KEN + gets closer he sees the tears in RAY's eyes. He slows down, + loses his anger, and sits beside RAY, who wipes his eyes. + + KEN + Did you get yourself an ice-cream? + + RAY + Yeah. Strawberry, + (pause) + How was Jesus's blood? + + KEN + Just looked like some really old + phlegm, really. + + The Christmas carol finishes, the passers-by applaud. + + RAY + What shall we do now? Culture or + fun? + + RAY crosses his fingers and grits his teeth. KEN smiles. + 32. + + +33 EXT. MARKET SQUARE - BELGIAN BAR - DAY 33 + + RAY plonks the drinks down on KEN's outside table and sits, + the tower high in the background. + + RAY + Yes! One gay beer, one normal beer + and one whisky to calm me nerves + for me date. Ching-ching! + + RAY downs the whisky. + + KEN + You nervous? + + RAY + Shitting myself. + + KEN + What time are you meeting her? + + RAY + Seven thirty. + + KEN + You'd better drink up, Ray. You've + only got four and a half hours. + + RAY + I figure if I have four pints here, + takes us up to five-thirty, go + home, change, takes us up to six, + go to the place where we're meeting + to make sure I don't get lost, then + go to a nearby bar, have a coupla + drinks in there til seven-thirty, + and hope my nerves calm down. Then + go back to the place and begin our + date. And if she's late, sneak in + another little one. They're usually + late on a first date, aren't they? + + KEN + Belgians? + + RAY + Girls. Very droll. + + KEN + It was nice up that tower. You + should've come up. + + RAY + 33. + + + I know. I hear it's a must-see. + + KEN + You could see for miles. If you had + a high-powered rifle, you could be + up there all day. + + RAY + Yeah. Picking off little kids. + + KEN + Jesus. Where are you meeting your + girl? + + RAY takes out a couple of pieces of paper from his pocket + and realises one of them is the LITTLE BOY's confession + note. KEN grabs it to get rid of it. RAY just stares at him + a second, then puts his hand out to be given it back. KEN + gives it back. RAY puts it away. + + RAY + 'Spinola' the restaurant's called. + + KEN + A restaurant? That's a bad move. + First date, dinner at a restaurant? + That's a bad move. That's way too + nerve-wracking. That always ends in + disaster. + + RAY + (worried) + Do you think? + + KEN + Always. + + RAY sips some beer, thinks about it, then shrugs. + + RAY + Fuck it, I'll be pissed anyway. + + +34 INT. HOTEL ROOM - NIGHT 34 + + RAY sombrely getting dressed up. KEN at window-seat. A + downbeat song, 'I SEE A DARKNESS4 by Bonnie Prince Billy, + plays on their Walkman's mini-speakers. They're both + drinking miniatures. RAY finishes dressing. He looks good. + + KEN + You look good. + 34. + + + RAY looks himself over. + + RAY + (sadly) + What does it matter anyway? + + A gesture of goodbye. An exit. + + +35 INT. RESTAURANT - NIGHT 35 + + At the table, CHLOE is looking stunning, RAY looking + similar. + + It's quite a small restaurant, the next door table quite + close, at which a young American-sounding GUY and his + GIRLFRIEND eat. CHLOE is smoking. + + CHLOE + So what do you do, Raymond? + + RAY + I shoot people for money. + + CHLOE + What kinds of people? + + RAY + Priests, children. Y'know, the + usual. + + CHLOE + Is there a lot of money to be made + in that line of business? + + RAY + There is in priests. There isn't in + children. What is it you do, Chloe? + + CHLOE + I sell cocaine and heroin to + Belgian film crews. + + RAY + Do you?! + + CHLOE + Do I look like I do? + + RAY + You do, actually. + + She laughs. + 35. + + + RAY + Do I look like I shoot people? + + CHLOE + No. Just children. + +RAY doesn't laugh. + + RAY + I saw your midget today. The little + prick didn't even say hello. + + CHLOE + Well, he's on a lot of Ketamine. + + RAY + What's that? + + CHLOE + A horse tranquiliser. + + RAY + A horse tranquiliser? Where'd he + get that? + + CHLOE + I sold it to him. + + RAY + You can't sell horse tranquilisers + to a midget! + + CHLOE + This movie, I think it's going to + be a very good one. There's never + been a classic movie made in + Bruges, until now. + + RAY + Of course there hasn't. It's a + shithole. + + CHLOE + Bruges is my home town, Ray. + + RAY + Well it's still a shithole. + + CHLOE + It's not a shithole. + + RAY + 36. + + + What? Even midgets have to take + drugs to stick it. + + CHLOE + Okay, so we've insulted my home + town, you're doing well, Raymond. + Why don't you tell me some Belgian + jokes while you're at it? + + RAY + I don't know any Belgian jokes. And + if I did, I think I'd have the good + sense not to... Hang on! Is Belgium + where there was all those child + abuse murders lately? + +She nods, warily. + + RAY + Then I do know a Belgian joke. + What's Belgium famous for? + Chocolates and child abuse. And + they only invented the chocolates + to get to the kids! + +She stares at him blank-faced. + + RAY + What? + + CHLOE + One of the girls they murdered was + a friend of mine. + +RAY'S face falls. + + RAY + I'm sorry, Chloe. + +She stares at him a while. + + CHLOE + One of the girls they murdered + wasn't a friend of mine. I just + wanted to make you feel bad. It + worked quite well. + +She smiles slightly. He stares at her open-mouthed. + + CHLOE + Somehow I don't believe you shoot + people for money, Raymond. + 37. + + + RAY + Somehow I don't believe you sell + drugs to film crews, Chloe. + + CHLOE + What do you believe I do? + + RAY + I believe you're a wardrobe lady, + or a continuity person, or some + girl who makes the tea. + + CHLOE + Uh-huh? And do you know what I + believe you are? I believe you are + a sad little tourist, come here to + see the stupid sights of Bruges, + hopefully to fuck some Belgian + girl, then hurry home to your ugly + Irish girlfriend, feeling slightly + guilty, but not very. + + RAY + If you thought that, why would you + still be sitting here? + +CHLOE blows a cool stream of cigarette smoke out of the +side of her mouth. + + CHLOE + I'm horny. + +She winks at him and goes to the bathroom. RAY smiles, but +the stream of smoke has hit the neighbouring American- +sounding couple, who react like it's Anthrax. + + GUY + (under breath) + Fucking unbelievable. + +This is one of those situations where a normal person +wouldn't react, even though he knows he ought to. + + RAY + What's fucking unbelievable? + +The GUY ignores him. + + RAY + I said "What's fucking + unbelievable"? + + GUY + 38. + + + Are you talking to me? + + RAY + (beat) + He pauses, even though he should + just hit the cunt, and he repeats, + yes, I am talking to you. What's + fucking unbelievable? + + GUY + Well I'll tell you what’s fucking + unbelievable, shall I? Blowing + cigarette smoke straight in myself + and my girlfriend's face, that's + fucking unbelievable! + + RAY + This is the smoking section. + + GUY + I don't care if it's the smoking + section! She directed it right in + my face, man. I don't wanna die + just cos of your fucking arrogance. + + RAY + Uh-huh? Isn't that what the + Vietnamese used to say? + + GUY + The Vietnamese? What are you + talking about, 'The Vietnamese'? + That statement makes no fucking + sense at all! + + RAY + Yes it does. The Vietnamese. + + GUY + Saying it over and over ain't gonna + make any more sense out of it. How + does 'The Vietnamese' have any + relevance whatsoever to myself and + my girlfriend having to breathe + your friend's cigarette smoke? Tell + me how saying... + +RAY punches the GUY clean in the jaw. He falls off his +chair in an unconscious heap. + + RAY + That's for John Lennon, you Yankee + fucking cunt! + 39. + + + Suddenly his GIRLFRIEND swings their wine bottle at RAY'S + head. RAY dodges, the bottle missing him by a whisker. + + RAY + A bottle?! + + The GIRLFRIEND tries to swing again. + + RAY + No, don't bother... + + RAY hits her in the chin too, and she collapses beside GUY. + + The other diners and waiters are stunned into silence. + + CHLOE returns from the bathroom, sees the two prone diners. + + RAY has her coat in his hand. + + RAY + We're leaving. + + +36 EXT. BRUGES STREETS - NIGHT 36 + + RAY and CHLOE walking the mist-strewn, cobbled streets, + glancing behind them now and then, RAY a little embarrassed + CHLOE half in shock. + + CHLOE + Ray, I'm a bit uncomfortable with a + man who would hit a woman. + + RAY + I don't hit women1 I would never + hit a woman! I'd hit a woman who + was trying to hit me with a bottle! + That's different. That's self- + defence, isn't it? Or a woman who + could do Karate. I'd never hit a + woman generally, Chloe. Don't think + that. God you're pretty. + + She looks at him a while, then takes out a mobile. + + CHLOE + I have to make a call. + + RAY + Oh no. You've gone off me now, + haven't you? Just cos I hit that + fucking cow. + 40. + + + She shakes her head, puts a finger to his lips, kisses him + quickly, then speaks into the phone in French. + + CHLOE + (in French, sub-titled) + Eirik? it's Chloe. Go home, I'm + calling it off tonight. + (pause) + Because he's a nice guy. + (Eirik angry) + Okay, listen, listen, it isn't that + he's a nice guy, it's that there's + no way you could take him all your + own, so forget about it, okay? + Okay. + + She hangs up. + + RAY + What was all that? + + CHLOE + I was just checking with my + flatmate to make sure she's not + coming home tonight. + + RAY + oh. + (realising) + Oh-h... + + She takes his hand and leads him off. + + RAY + This is turning out to be a really + nice date. + + +37 INT. HOTEL ROOM - NIGHT 37 + + In one continuous take, if possible. + + KEN blankly channel-surfing, remains of his dinner on a + tray on the bed beside him. Phone rings, KEN mutes the + cartoons and answers. + + KEN + Hello? + + HARRY + Where the fuck were you yesterday? + + KEN + 41. + + +We just popped out for some dinner, +Harry. We only popped out half an +hour. + + HARRY +Yeah? What did you have? + + KEN +For dinner? + + HARRY +Yeah. + + KEN +Er pizza. Pizza-Hut. + + HARRY +Was it nice? + + KEN +Yeah, it was alright. Y'know, it +was Pizza-Hut, it was the same as +in England. + + HARRY +Yeah, well, that's globalisation, +isn't it? Is Ray there with ya? + + KEN +Er, he's in the toilet. + + HARRY +Can he hear? + + KEN +No. + + HARRY +What's he doing? + + KEN +What do you mean? + + HARRY +Is he doing a wee or a pooh? + + KEN +I don't know, Harry. The door's +closed. + + HARRY + 42. + + + Send him out on an errand for half + an hour. But don't make it sound + suspicious. + +KEN puts his hand over the receiver and, a little confused +starts talking to the empty bathroom. + + KEN + Ray? Why don't you go out down the + pub for half an hour? + (pause) + I know I said you couldn't, but we + might as well enjoy ourselves, eh? + (pause) + No, I don't know if they've got + bowling anywhere, you could have a + look, eh? Yeah, see ya.... + +KEN goes to the door, awkwardly with the phone, opens it, +slams it, and goes back to the bed. + + KEN + Yeah, he's gone. + + HARRY + What did you say to him? + + KEN + I said why don't he go have a + drink, save being cooped up. + + HARRY + And what did he say? + + KEN + He said yeah he would, and he might + go have a look see if there's a + bowling alley around. + + HARRY + Was he just having a wee? + + KEN + Yeah, I think so. I assume so. + + HARRY + So he didn't mind? + + KEN + No, he was glad to get out. + + HARRY + Is he definitely gone? + 43. + + + KEN + Yeah, yeah, he slammed the door. + + HARRY + That don't mean he's gone. Go check + outside the door. + +KEN rolls his eyes, sighs internally, opens the door, +pauses closes it again and returns to the phone. + + KEN + Harry, he's definitely gone. + + HARRY + You realise there are no bowling + alleys in Bruges? + + KEN + I, realise that, Harry. The boy + wanted to have a look anyway. + + HARRY + What are they gonna have, a + Medieval fucking bowling alley? + + KEN + As I say, I think he was just glad + to get out and about. + + HARRY + Ah, is he having a nice time, + seeing all the canals and that? I + had a lovely time when I was there. + + HARRY (COAT'D) + All the canals and the old + buildings and that. + + KEN + When were you here? + + HARRY + When I was seven. Last happy + holiday I fucking had. Have you + been on a canal-trip yet? + + KEN + Yeah. + + HARRY + And have you been down like all the + old cobbled streets and that? + 44. + + + KEN + Yeah. + + HARRY + It's like a fairy-tale, isn't it, + that place? + + KEN + Yeah. + + HARRY + With the churches and that. The + Gothic. + + KEN + Yeah. + + HARRY + Is it 'Gothic'? + + KEN + Yeah. + + HARRY + So he's having a really nice time? + + KEN + Well... I'm having a really nice + time. I'm not sure if it's really + his cup of tea. + + HARRY + (pause) + What? + + KEN + Y'know, I'm not sure if it's really + his thing. + + HARRY + What do you mean it's not really + his thing? What's that supposed to + mean, "It's not really his thing". + What the fuck is that supposed to + mean? + +KEN realises something is very wrong. + + KEN + Nothing, Harry. + + HARRY + 45. + + +It's a fairy-tale fucking town, +isn't it? How can a fairy-tale town +not be somebody's fucking thing? +How can all those canals and +bridges and cobbled streets and +those churches and all of that +beautiful fucking fairy-tale stuff, +how can that not be somebody's +fucking thing, eh? + + KEN +What I think I meant to say was... + + HARRY +Is the swans still there? + + KEN +Yeah, there's swans. + + HARRY +How can fucking swans not fucking +be somebody's fucking thing?! How +can that be?! + + KEN +What I think I meant to say was, +when he first arrived he wasn't +quite sure about it. Y'know, +there's that big dual-carriageway +when you get off the train, that +mightn't've been here when you were +here last, Harry, but as soon as he +got to, like, the old town proper, +and saw the canals and the bridges +and, y'know, the swans and that, +well he just fucking loved it then, +he couldn't get enough of it, the +medieval part of town. It was just +that initial dual-carriageway thing +sort of put him off for a second. + + HARRY +I don't remember a dual- +carriageway. That must be recent. +It hasn't spoilt it, has it? + + KEN + 46. + + + No, no, it was just that initial + thing. And you know what? As we + were walking through the streets, + there was this kind of freezing fog + hanging over everything, and it + made it look almost like a fairy- + tale or something, and he turned to + me and you know what he said? + + HARRY + What did he say? + + KEN + He said, "Ken, I know I'm awake, + but I feel like I'm in a dream". + + HARRY + Yeah? He said that? + + KEN + Yeah. + + HARRY + Meaning like in a good dream? + + KEN + Yeah. Of course, like in a good + dream. + + HARRY + Ahh. Good. I'm glad he likes it + there. I'm glad we were able to + give him something. Something good + and happy. Cos he wasn't a bad, + kid, was he? + +KEN's heart sinks, he hopes he isn't hearing what he's +hearing. + + KEN + Huh? + + HARRY + He wasn't a bad kid, was he? + Listen, take down this address. + "Raamstraat 17". That's "Raam" like + "Ram" but with an extra 'A'. + + KEN + Raamstraat 17. + + HARRY + You got that? + 47. + + + KEN +Yes. Raamstraat 17. + + HARRY +Good. There'll be a man there +tomorrow morning at nine, his +name's Yuri. + + KEN +Yuri. + + HARRY +He'll give you the gun. Ring me on +the public phone at Jimmy +Driscoll's about three or four +tomorrow, after it's done. + + KEN +After what's done? + + HARRY + (pause) +Are you being thick? + + KEN +NO. + + HARRY +Listen. I liked Ray. He was a good +bloke, but when it all comes down +to it, y'know, he blew the head off +a little fucking kid. And you +brought him in, Ken. So if the buck +don't stop with him, where does it +stop? + (pause) +Ken? If the buck don't stop with +him, where does it stop? + + KEN +It stops with me, Harry. That's an +easy one. + + HARRY +Don't get shirty, Ken. Listen, I'm +just glad I was able to do +something for the boy before he +went. + + KEN +Do what for the boy? + + HARRY + 48. + + + Y'know, have him get to see Bruges. + I hope to get to see Bruges again + before I die. What was it he said + again, about "It's like a + dream..."? + + KEN + "I know I'm awake, but I feel like + I'm in a dream". + + HARRY + Ahh. + (pause) + Yeah, give me a call when he's + dead. + + HARRY hangs up. KEN listens to the phone's dead drone a + while, staring at the muted cartoons, then hangs up. He + sits on the window seat, and looks at Bruges all lit up + like a fairy-tale and... + + +38 EXT. CANAL - CONTINUOUS 38 + + As KEN sits in the window we pull back, leaving him framed + there, alone with his thoughts, as a swan passes on the + canal below. + + FADE TO BLACK. + + +39 INT. CHLOE'S APARTMENT - NIGHT 39 + + RAY and CHLOE half-naked on the bed, kissing, rolling + around, starting to get down to it. They're both a little + awkward but giggly about it. A gun is slowly pointed + against the back of RAY'S head. CHLOE reacts in shock, RAY + freezes. + + EIRIK + That's my fucking girlfriend, you + asshole! + + EIRIK, a skinhead, slowly drags RAY off her by the neck, + gun still to his head. + + CHLOE + Eirik, what are you doing?! + + EIRIK + Where you from, fucker? + + RAY + 49. + + + Ireland, originally. + + EIRIK + Uh-huh? And you think it's okay to + come over to Belgium and fuck + another man's girl? + + RAY + Look, I didn't know she had a + boyfriend, alright, and I hadn't + fucked her anyway. Ask her. I'd + only put my hand on it. + + CHLOE + Eirik, put the gun down! + + EIRIK + (to RAY) + Get down on your knees and open + your mouth. + + RAY + Oh don't start being silly... + + EIRIK + Get down on your knees and open + your mouth, Irishman! + +RAY sighs, then suddenly headbutts EIRIK hard in the face, +grabs the gun and backs away, pointing it back at him. + +EIRIK's nose is broken and bleeding. + + RAY + Exactly at what point was it that + all skinheads suddenly became + poofs? It used to be, if you were a + skinhead, you just went round + beating up Pakistani twelve-year + olds. Now it seems a prerequisite + to be a fucking bum-boy! + +EIRIK takes out a hunting knife. + + RAY + That's not gonna help ya, mate. + +RAY cocks the gun. EIRIK smiles. + + CHLOE + Ray, there's only blanks in that + gun. + 50. + + +RAY turns the gun towards a wall and fires at it. A loud +shot is heard, but the wall remains unscathed. EIRIK slowly +moves towards him with the knife. + + CHLOE + Eirik, don't...! + + EIRIK + Now who's a fucking bum-boy...? + +Suddenly, RAY raises the gun, lunges forwards... + + RAY + You, ya fucking bum-boy! + +...and fires it into EIRIK's face point blank, the fiery +discharge blinding him. EIRIK screams, falls to his knees, +dropping the knife, clutching at his eyes. CHLOE jumps up +from the bed to try to help him. + + RAY + Chloe? What exactly is going on + here? + + EIRIK + I can't see! I can't see! + + RAY + Of course you can't fucking see! I + just shot a blank in your fucking + eyes! Is this fella your boyfriend? + + CHLOE + No. I mean, he used to be. + + RAY + Well what's he doing here? + + CHLOE + We rob tourists sometimes. Eirik + comes in and the guy is usually so + scared... + +RAY sits slumped on the bed. + + RAY + I fucking knew it was too good to + be true! I knew you'd never've + shagged me normally! + + CHLOE + 51. + + + No, it's not true! I called it off + tonight! I told him not to come + tonight. + +She hits EIRIK. + + CHLOE + Why did you come tonight! + + EIRIK + Chloe, I can't see, I swear it. + + RAY + Oh stop whinging like a big gay + baby. + +CHLOE splashes water in EIRIK'S eyes. It doesn't help. + + RAY + And I haven't had a shag in months! + + EIRIK + I still can't see out of this eye, + Chloe. I'll have to go to the + hospital. + + CHLOE + I'll drive you. + +She finds her keys and coat as EIRIK gets to his feet. + + RAY + Oh great, so now the whole night's + ruined1 + + CHLOE + You can stay if you want, but I + don't know how long I'll be... + + RAY + Oh I just knew someone like you + would never like someone like me. I + just knew. + + CHLOE + What do you mean, someone like me? + + RAY + Y'know. Someone nice. + +She looks at him to see if he's being sarcastic. He isn't. + +Touched, she kisses him goodbye. + 52. + + + CHLOE + Call me. Please? + + She leaves with EIRIK, the door slamming shut, leaving RAY + alone in silence. He can barely believe what's happened. He + picks up his shirt from the floor, puts it on, finds his + poor unopened condom on the bed, tuts, puts it away. + + Looks over CHLOE'S stuff on her dresser, opens a + distinctive froggy ornament - it's full of baggies of + cocaine, pills, acid, etc. RAY brightens considerably. He + helps himself to a pocketful of drugs, then he tries + another drawer. In it are two boxes of bullets, one, + irritatingly, full of blanks, the second, happily, full of + live rounds. He brightens again, and puts the live box in + his pocket. + + +40 INT. BAR - NIGHT 40 + + KEN nursing a beer at the bar, depressed. Downs half the + pint in one, gestures for another. BARMAN gives him a + slight look, then refills his pint. + + KEN + Have you got some sort of problem? + + BARMAN + No, no problem. Four beers in + twenty minutes, man? No problem. + + KEN + (quietly) + Fuck off. + + JIMMY the DWARF enters with a very attractive girl, DENISE, + and sits at the bar, orders. BARMAN fixes the drinks, + looking the couple over. DENISE kisses JIMMY on the cheek, + goes to the bathroom. KEN looks at JIMMY a while too. + + KEN + How's the movie going? + + JIMMY + It's a jumped-up Euro-trash piece + of rip-off fucking bullshit. + + KEN + Oh. Like in a bad way? + + JIMMY smiles. + + KEN + 53. + + + Your girlfriend's very pretty. + + JIMMY + She ain't my girlfriend. She's a + prostitute I just picked up. + + KEN + Oh. I didn't know there were any + prostitutes in Bruges. + + JIMMY + You just have to look in the right + places. Brothels are good. + + KEN + Well... You've picked up a very + pretty prostitute! + + JIMMY + Thank you! + +BARMAN serves the drinks. + + KEN + You from the States? + + JIMMY + Yep. But don't hold it against me. + + KEN + I'll try not to. Just try not to + say anything too loud or crass. + +JIMMY only half-smiles. DENISE returns and the couple sit +at a corner booth to get some distance from KEN, who +finishes his pint rapidly, gestures for and is given +another. RAY enters, sits up beside him, sniffing slightly. + + RAY + Hey-ho. Drowning your sorrows, huh? + + KEN + What sorrows? + + RAY + Y'know. Being a sad old ugly little + man. + (to BARMAN) + One gay beer, please. + + KEN + How did your date go? I'm assuming + not fantastically well. + 54. + + + RAY + My date involved two instances of + extreme violence, one instance of + her hand on my cock and my finger + up her thing which lasted all too + briefly, isn't it always the way, + one instance of me blinding a poofy + little skinhead, and one instance + of me stealing three grams of her + very high quality cocaine, of which + I have already partaken of one + gram, so, all in all, my evening + pretty much balanced out fine. + + KEN + You've got three grams of coke? + + RAY + I've got two grams on me and one + gram in me which is why my heart is + going like the clappers as if I am + about to have a heart-attack so if + I collapse any minute now please + remember to tell the doctors that + it might have something to do with + the coke. + + KEN + Give us a gram, then. + + RAY + I thought you were laying off it + cos it makes you too depressed? + + KEN + Y'know what? I really don't give a + fuck any more. + +RAY quietly passes KEN the coke. KEN goes to the bathroom. + +RAY gets his drink, then spots JIMMY and DENISE kissing. He +goes over and stands looking at them a while. They finally +notice him. + + RAY + Why didn't you wave hello to me + today when I waved hello to you + today? + + JIMMY + 55. + + + I was on a very strong horse- + tranquiliser today. I wasn't waving + hello to anybody. Except, maybe, to + a horse. + + RAY + Huh? What are you talking about? + + JIMMY + Ah just horse-shit. + + RAY + You from America? + + JIMMY + Yep. But don't hold that against + me. + + RAY + Well, that's for me to decide, + isn't it? + (to DENISE) + Are you from America too? + + DENISE + No, I'm from Amsterdam. + + RAY + Amsterdam? Amsterdam's just a load + of bloody prostitutes, isn't it? + + DENISE + Yes. That's why I came to Bruges. I + thought I'd get a better price for + my pussy here. + + RAY + Huh?! You two are weird. + (pause) + Would you like some cocaine? + + KEN comes out of the toilet, sniffling, wired. + + RAY + I've also got some acid and some + ecstasy. + + +41 INT. FIVE STAR HOTEL - JIMMY'S SUITE - NIGHT 41 + 56. + + +A trippy scene. Music loud. DENISE on phone in bra and +pants JIMMY semi naked too, chatting with RAY. KEN +hoovering up another line or two of coke. A semi-naked +black girl, KELLI, beside him, helping. + + RAY + Herve Villechaise, I know, did. The + dwarf off, I think, 'The Time + Bandits', did. Lots of midgets... + dwarfs. Top themselves. Mm, + shitloads. + (pause) + Would you ever think about it? + + JIMMY + Huh? + + RAY + Would you ever think about killing + yourself because you're a midget? + + JIMMY + Fuck, man, what kind of a question + is that? + + RAY + (shrugging) + We're just chatting, aren't we? + +JIMMY goes back to the drugs. KEN comes over. + + RAY + See, Ken, this is the sort of hotel + Harry should've put us in. A five + star, with prostitutes in. Y'know, + sometimes I think Harry doesn't + even give a shit about us at all. + Has he still not called? + +RAY does another line. + + RAY + Ken? Has Harry still not called? + +KEN looks at him, thinks about it a moment. + + KEN + No. He still hasn't called. + + RAY + Well, no news is good news, eh? + +KEN nods. LATER. KELLI on RAY's lap, kissing him at length. + 57. + + +KEN looking at them both, rather sadly. KELLI breaks off +and does a line. RAY mouths "Who's she?" to KEN. The very +wired JIMMY starts talking. + + JIMMY + There's gonna be a war, man, I can + see it. There's gonna be a war + between the blacks and between the + whites. You ain't even gonna need a + uniform no more. This ain't gonna + be a war where you pick your side, + man. Your side's already picked for + ya. + + RAY + Well I know whose side I'm fighting + on. I'm fighting with the blacks. + The white's are gonna get their + heads kicked in! + + JIMMY + You don't decide this shit, man. + Your side's already picked for ya. + + RAY + Who are the half-castes gonna fight + with? + + JIMMY + With the blacks, man. That's + obvious. + + RAY + (pause) + What about the Pakistani's? + + JIMMY + The blacks. + + RAY + What about, think of a hard one... + What about the Vietnamese? + + JIMMY + The blacks! + + RAY + Well I'm definitely fighting with + the blacks if they've got the + Vietnamese. + (pause) + 58. + + + So, hang on, would all of the white + midgets in the world be fighting + against all of the black midgets in + the world? + + JIMMY + Yeah. + + RAY + That'd make a good film! + + JIMMY + You don't know how much shit I've + had to take offa black midgets, + man. + + RAY + That's... undeniably true. + + KEN + See, Jimmy? My wife was black. And + I loved her very much. And in 1976 + she got murdered by a white man. So + where the fuck am I supposed to + stand in all this blood and + carnage? + + JIMMY + Oh man. Did they get the guy who + did it? + + KEN + A friend of mine got him. + + RAY + Harry Waters got him. Ker-chunk! + + KEN + So tell me, Jim, whose side do I + fight on in this glorious war? + + JIMMY + (pause) + I think you need to weigh up all + your options and let your + conscience decide, Ken. + +JIMMY goes off to do more coke. RAY comes over to KEN, +observing the fleshy, debauched scene with sudden depressed +disdain. + + KEN + 59. + + + Two manky hookers and a racist + dwarf. I think I'm gonna head home. + + RAY + Yeah? I think I'll come with ya. + + They collect their stuff, push JIMMY and the girls out of + the way, take their drugs and go to leave. + + JIMMY + Hey! What's...? + + RAY pulls a Karate stance. + + RAY + Back off, shorty. + + JIMMY + Huh. You don't know Karate... + + RAY Karate chops JIMMY'S neck. JIMMY falls to his knees in + pain. + + JIMMY + Owww... + + KEN + Don't say you didn't have it + coining... + + RAY + (overlap) + Don't say you didn't have it + coining... + + JIMMY + Hurts... + + RAY + (overlap, exiting) + Shortarse. + + +42 INT. HOTEL ROOM - NIGHT 42 + + Early blue dawn. The come down. RAY on window seat, KEN + sitting on bed, wrapped in blankets, grinding his jaw a + little. + + RAY + I should've phoned Chloe. + + KEN + 60. + + + And say what? + + RAY + I hate myself and I want to die. + + KEN + Save that for your second date. + Keep her keen. + + RAY + Crush a couple of your sleeping + pills in a glass of whisky, will + ya, Ken? + +KEN pours a miniature whisky then gets his pills, pours two +into his hand, pauses, pours another ten into his hand, +pauses, pours the ten back into the bottle and crushes just +two in the whisky. Gives it to RAY. He knocks it back in +one. + + KEN + How are you feeling? + + RAY + As if I've recently murdered a + little boy. + + KEN + (pause) + It's funny how we don't even give a + shit about the priest. + + RAY + You become a priest, you've got to + accept whatever's coming to you. I + assumed it was some paedophile + thing. Didn't you? You know how + Harry is about kids. + + KEN + No. That church was in the middle + of one of Harry's housing + developments. The priest was just + on the action committee against it. + + RAY + Oh. Great. + +LATER. Both in bed, wide awake. RAY thinking of the killing +of the little boy. KEN thinking of killing RAY. + 61. + + + Sounds of a couple having sex start up next door. They look + at each other, laugh a little, then turn back to their + respective ceilings. + + RAY + I kinda like hearing people having + sex. Means at least somebody around + here's happy. + + KEN + It doesn't mean they're happy. It + just means they're having sex. + + RAY + (pause) + We're a barrel of fucking laughs, + aren't we? + + KEN + (sarcastic) + I love cocaine. + + RAY + It's great being a gangster. + + They sigh a while. + + LATER. 8:15 on clock. RAY asleep. KEN dressed, brings the + address 'Raamstraat 17', gently closes the door behind him + as he leaves. RAY opens his eyes, he wasn't asleep at all. + + +43 EXT. BRUGES STREETS - DAY 43 + + KEN wandering the misty dawn streets and bridges to + Raamstraat. Knocks on door at number 17. YURI answers it. + + KEN + Meeting Yuri? + + YURI + Yes, I am Yuri. + + YURI lets him in. + + +44 INT. HOTEL ROOM - DAY 44 + + RAY loads live bullets into the gun. Lays it on the bed. + + Looks out window. Sits on bed. Takes a piece of paper. + Writes "Dear Ken...". + 62. + + +45 INT. YURI'S HOUSE - DAY 45 + + The room is like an arsenal, semi-automatics all over the + walls. KEN is given a handgun... + + YURI + Mr Waters said this might be + necessary... + + ...and a silencer. KEN looks over the gun, attaches the + silencer. + + YURI + There are a lot of alcoves in the + Koningin Astrid Park. You use this + word, 'Alcoves'? + + KEN + Alcoves? Yes. Sometimes. + + YURI + There are not many people around in + these alcoves in Christmastime. If + I were to murder a man, I would + murder him here. Are you sure this + is the right word, 'Alcoves'? + + KEN + Alcoves, yes. Kind of like 'Nooks + and crannies'. + + YURI + 'Nooks and crannies', yes. Perhaps + this would be more accurate. 'Nooks + and crannies'. Rather than + 'Alcoves'. Yes. + + KEN is still looking the gun over, somewhat sadly. + + YURI + You are going to do it, aren't you? + Mr Waters will be very + disappointed... + + KEN + Of course I'm going to fucking do + it. + (pause) + It's what I do. + + +46 EXT. PHONE BOX - BRUGES STREET. DAY 46 + 63. + + + RAY dials a number. The other end is picked up. + + CHLOE (O.S.) + (sleepily) + Hello? + + RAY + It's Raymond. + + CHLOE + Hello Raymond. What time is it? + + RAY + Early. Listen, I nicked some of + your drugs last night. + + CHLOE + I know. It's okay. + + RAY + Out of your froggy thing. + + CHLOE + It's okay. + + RAY + The fucking midget hogged most of + 'em anyway. Oh, and I took some of + your bullets too. I'm sorry. + + CHLOE + What did you want the bullets for? + + +47 SHOOTING SCRIPT - IN BRUGES - 29/12/2006 57. 47 + + RAY + It doesn't matter. How's your + skinhead boyfriend? + + CHLOE + He's not my boyfriend. He's lost + the sight in one eye. + + RAY + Oh great, so I bet he's pissed off + with me now too. + + CHLOE + Can I see you today? + (pause) + Raymond? Can I see you today? + 64. + + + RAY + I'm just calling to say goodbye, + Chloe. I've got to hang up the + phone now. + + RAY hangs up, walks off. + + +48 INT. BAR - DAY 48 + + A large whisky in front of him, drizzly rain outside, KEN + sits there thinking. + + +49 INT. LONDON BROTHEL (1970'S) - NIGHT 49 + + FLASHBACK. KEN (in his early 20's) holds the dead body of + his beautiful black WIFE. There's blood all over the bed + and walls, and another WORKING GIRL standing beside it, + staring. + + KEN is in tears as HARRY (early 20's) bursts into the room. + + HARRY + Who? + + WORKING GIRL + Potter. + + KEN + (numb, rocking) + She's gone, Harry. She's gone. + + HARRY + Yeah, I can see that, Ken. Why + don't you just sit there crying + about it? I'll sort it out. + + KEN + I'm coming with you. + + HARRY + Ken, it's Potter. Just sit there + and take care of your missus. + + HARRY exits. + + +50 INT. LONDON POLICE STATION (1970'S) - NIGHT 50 + + FLASHBACK. HARRY approaches the DESK SERGEANT. + + DESK SERGEANT + 65. + + + Well, well. Harry Waters. Come to + turn yourself in? + + HARRY + Hello Blinky... + + DESK SERGEANT + (blinking) + Don't call me Blinky... + + HARRY + Is Mr Potter about? + + DESK SERGEANT + It's Detective Potter to you... + + HARRY + Oh, there he is. I'll go straight + through... + + HARRY brushes past the DESK SERGEANT and approaches POTTER, + who's sharing a joke with some uniformed SUBORDINATES. The + DESK SERGEANT tries to catch HARRY up. + + POTTER + Waters ? What the fuck are you...? + + In one swift motion, HARRY lets a machete slide down from + his sleeve and hacks it clean through POTTER'S neck, + completely beheading him. The SUBORDINATES and the DESK + SERGEANT just stare, stunned, as his head and body fall to + the floor. + + HARRY + Now don't get mad but I think I + just beheaded your Detective. + + HARRY tosses the machete away over his shoulder. END + FLASHBACK. + + +51 INT. BRUGES STREETS - DAY 51 + + KEN walking back to the hotel, drizzly rain, Christmas + clutter, children about. He's hunched up in his overcoat, + gun in pocket, deep in thought. + + +52 INT. HOTEL LOBBY - DAY 52 + + KEN ignores the smiling MARIE completely and darts + upstairs. + 66. + + + MARIE + Your friend was behaving very oddly + this morning. + + KEN comes back down. + + KEN + Oddly? How? + + MARIE + Well, he asked me about the baby, + and if I wanted a boy or a girl, I + said I didn't mind as long as it + was healthy, of course, and then he + gave me two hundred Euros to give + to the baby. I refused, obviously, + but he was quite insistent. Would + you give it back to him when you + see him? I don't want to appear + ungrateful, and it seemed like all + the money he had. + + KEN nods, takes the notes. + + KEN + Do you know where he is now? + + MARIE + He said he was going to the park. + + KEN looks out at the heavy rain. + + +53 EXT. KONINGIN ASTRID PARK - DAY 53 + + RAY on a bench in the rain, watching a solitary MOTHER and + SON in the distant children's playground, the SON splashing + about in Wellingtons, a see-through umbrella in hand. He + looks a lot like the boy from the church. + + Some distance behind RAY, KEN watches him from the cover of + a tree. He sees also the MOTHER and SON, waits for them to + leave. + + At the bench, the rain is heavier on RAY'S face. He doesn't + even flinch. + + At the tree, KEN tightens his collar against the rain. + + Notices... + 67. + + +In the playground the MOTHER finally decides it's too wet +and takes her SON by the hand. They slowly walk off out of +the park. + +RAY watches them go, then slowly looks around the park... + +KEN darts back behind his tree. Waits a few seconds, then +peeks back out to see RAY facing front again, his back to +KEN. KEN takes out and cocks his gun. + + KEN + (quietly) + I'm sorry, Ray. I'm sorry. + +KEN comes out from behind the tree and starts approaching +RAY from behind... + +RAY is totally oblivious to KEN'S approach... + +KEN raises his gun and aims it at the back of RAY's head, +still approaching, just as... + +RAY suddenly raises his own gun, and holds it straight up +in the air for a second. + +KEN into stops dead in his tracks, as... + +RAY places the gun against his own temple and cocks it... + +KEN horrified, screams out almost involuntarily... + + KEN + Ray! Don't...! + +RAY is totally startled. He jumps, the gun falls from his +hand and fifes off a shot as it hits the ground. + + RAY + Fucking hell! Where the fuck did + you come from? + +KEN hides his gun in his overcoat, but RAY sees him as he +does so. RAY quickly picks up his own gun and hides it from +anyone who might've heard the shot. + + KEN + I was behind a tree. What the fuck + are you doing, Ray? + + RAY + What the fuck are you doing? + 68. + + + KEN + Nothing. + + RAY + Oh my God! You were gonna kill me. + + KEN + No I w... You were gonna kill + yourself! + + RAY + Well,... I'm allowed to. + + KEN + No you're not. + + RAY + What? I'm not allowed to and you + are? How's that fair? + + KEN + Um... Can we just get out of this + bloody rain, please? + + +54 EXT. CHILDREN'S PLAYGROUND - DAY 54 + + RAY and KEN huddled in the park's brightly coloured + shelter/climbing thing. Funny faces painted on it's walls. + + RAY + You fucking bastard. + + KEN + I wasn't gonna go through with it, + Ray. + + RAY + Well you fucking looked like you + were gonna go fucking through with + it. Where'd you get that gun? + + KEN + A friend of Harry's. + + RAY + Fuck, man. Let me see it. + + KEN gives RAY the gun. RAY looks it over. + + RAY + Silencer too. Nice. + 69. + + +RAY gives it back without a thought. + + RAY + Mine's a bloody girl's gun... + +RAY gives KEN his gun. He examines it, then puts both guns +away inside his overcoat. + + KEN + I'm keeping it. + + RAY + Pardon me? Gimme my gun back. + + KEN + You're not getting it back. You're + a suicide case. + + RAY + And you're trying to shoot me in + the fucking head! + + KEN + You're not getting that gun back. + + RAY + Oh a great day this has turned out + to be! I'm suicidal, my mate tries + to kill me, my gun gets nicked, + it's pissing down, and we're still + in fucking Bruges! + + KEN + Listen, I'm gonna give you some + money and put you on a train to + somewhere... + + RAY + Back to England? + + KEN + You can't go back to England, Ray. + You'll be a dead man. + + RAY + Ken, I wanna be a dead man! Have + you been missing something? + + KEN + You don't want to be a dead man, + Ray... + + RAY + 70. + + + Ken! I killed a little boy...! + + RAY breaks down in tears that won't stop. KEN holds him, + and RAY allows himself to be held. + + KEN + Then save the next little boy. Just + go away somewhere, get out of this + business, and try to do something + good. You're not going to help + anybody dead. You're not going to + bring that boy back. But you might + save the next one. + + RAY + What am I gonna be, a doctor? You + need exams. + + KEN + Do anything, Ray. Do anything. Just + keep moving. And don't ever go + home. + + +55 INT. HOTEL ROOM - DAY 55 + + RAY packing his stuff away. KEN in bathroom, sees a note on + the sink, which reads 'DEAR KEN, I WENT TO THE PARK SO SHE + WOULDN'T HAVE TO CLEAN IT UP. RAY'. + + RAY + So Harry Waters wants me dead. What + a wanker! + + KEN + He said this whole trip, this whole + being in Bruges thing, was just to + give you one last joyful memory + before you died. + + RAY + In Bruges?! + + RAY laughs at length, KEN also. RAY has to sit on the bed, + he's coughing and spluttering so much. + + RAY + The Bahamas, maybe. Like, + fucking... Fiji. Bruges? Why + fucking Bruges? + + KEN + I suppose it's cheaper. + 71. + + +56 EXT. TRAIN STATION - PLATFORM - DAY 56 + + RAY loads his bag onto the train, then lowers the window to + talk to KEN on the platform. + + KEN + You've got a few minutes. + + RAY gives KEN a little package surreptitiously. + + RAY + The rest of the acid and the + ecstasy. + + KEN + Why don't you keep it? + + RAY shakes his head. + + RAY + Think I'm gonna clean myself up a + bit. Cut down on the booze. Become + a worthwhile citizen a bit. Yeah. + Can I have my gun back, please? + + KEN shakes his head. + + RAY + What am I gonna do, Ken? What am I + gonna do? + + KEN + Just keep moving. Keep on moving. + Try not to think about it. Learn a + new language, maybe? + + RAY + I can hardly do English. + (pause) + That's the one thing I like about + Europe, though. You don't have to + learn any of their languages. + + KEN + Just forget about home for a while. + See how the land lies in six years, + seven years. Seven years isn't all + that long. + + RAY + It's more than that boy got. + (pause) + 72. + + + My first fucking job. A great + hitman I turned out to be. + + KEN + Some people just aren't cut out for + it, Ray. + + RAY + Are you? + +KEN doesn't answer. + + RAY + When are you going back to England? + + KEN + I'll head back in a couple of hours + or something. + + RAY + Harry isn't gonna be mad at you, is + he, for letting me go? + +KEN smiles. Train doors are slamming, it's ready to go. + + KEN + I'll sort out Harry. + + RAY + Just tell him I'll have probably + killed meself in a fortnight + anyway. + +RAY smiles, the train slowly starts up. + + KEN + You won't, will you, Ray? + +RAY just looks at him a while, then shrugs, as the train +pulls away. They wave goodbye sadly, tears in their eyes. +KEN dials a number on a public phone on the platform. + + KEN + Harry? It's Ken. Listen to this + noise... + +KEN holds the phone out towards the departing train. + + KEN + You know what that is? + (pause) + 73. + + + I know you know it's a train. But + do you know what train? Well, it's + a train that Ray's just got on, and + he's alive and he's well, and he + doesn't know where he's going and + neither do I. So, if you need to do + your worst, do your worst. You've + got the address of the hotel, I'll + be here waiting. Cos I'm getting to + quite like Bruges now. It's like a + fucking fairy-tale or something. + + KEN hangs up and walks away as the train passes into the + distance behind him. + + +57 EXT. BRUGES STREETS - DAY 57 + + KEN heads back towards the distant spires and bell-tower of + Bruges proper, huddled up against his fate. + + +58 INT. TRAIN CARRIAGE - DAY 58 + + RAY alone in a carriage with his thoughts as the train + trundles along. Suddenly the brakes are put on, and the + train slows to a halt. RAY looks out window - there's no + station, just flat countryside five minutes from Bruges + town. + + A POLICEMAN comes up along the aisle. + + POLICEMAN + You Irish? + + RAY + Yes + + POLICEMAN + What is your name? + + RAY + Um, Derek... Per-lurrl. + + POLICEMAN + You heet the Canadian? + + RAY + Hah? + + POLICEMAN + You heet the Canadian? + 74. + + + RAY + I heet the Canadian? I don't know + what you're talking about. + + The POLICEMAN points back along the carriage. RAY looks + that way. At the far end of the carriage, RAY sees a SECOND + POLICEMAN, along with the American-sounding GUY and his + GIRLFRIEND he beat up in the restaurant last night, the GUY + with a cut lip, the GIRLFRIEND with bruising. + + GUY + ‐ + That's him! That's the mother­ + fucker! + + GIRL + You asshole! + + The POLICEMAN takes out his cuffs. + + POLICEMAN + You heet the Canadian, yes? + + RAY + Canadian? Shit. + + The POLICEMAN cuffs RAY'S hands behind his back. + + POLICEMAN + We're taking you back to Bruges. + + RAY + Brilliant. + + The POLICEMAN walks RAY back along the aisle. + + +59 INT. HARRY'S HOUSE - DAY 59 + + STUDY. HARRY stares at the phone he's just put down. + + LIVING-ROOM. His kids, aged 8, 7 and 5, are playing happily + with their Japanese au pair, IMAMOTO. The children's + mother, NATALIE, an aging dolly bird, sits reading 'Hello'. + + Sound of a phone being smashed to pieces in the next room. + + The children are startled at first, then giggle - it's + obviously happened before. NATALIE sighs, gets up. + + STUDY. HARRY is smashing the final remnants of the phone + against the wall with the cord, as NATALIE comes in. + 75. + + + NATALIE + Harry. + + HARRY + What? + + NATALIE + It's an inanimate fucking object. + + HARRY + You're an inanimate fucking object! + +NATALIE sighs, exits. Breathing deeply, HARRY tries to calm +himself, puts the remnants of the phone on the table. Takes +his passport from a cluttered drawer, flips through it - no +stamps on any of the pages. Pockets it. + +LIVING-ROOM. HARRY tenderly kisses and hugs each of his +kids goodbye, as NATALIE and IMAMOTO watch, bemused. + + HARRY + You lot be good for your mummy and + Imamoto, okay? Daddy's got to go + away for a few days. + + NATALIE + Where you going? + + HARRY + Got to go to Bruges. + + NATALIE + Bruges? Where's that? + + HARRY + It's in Belgium. + + NATALIE + Why would anybody have to go to + Belgium? + + HARRY + I have to sort something out. + + NATALIE + Is it something to do with the + phone? + + HARRY + It's something to do with Ken. It's + a matter of honour. + + NATALIE + 76. + + + It ain't gonna be dangerous, is it? + + HARRY + Well course it's gonna be dangerous + if it's a matter of fucking honour! + + NATALIE + You are bringing the fellas with + ya. Tell me you're bringing the + fellas with ya? + + HARRY shakes his head sadly. + + HARRY + I'm sorry for calling you an + inanimate object. I was upset. + + NATALIE + I'm scared, Harry. I don't want you + to go. + + HARRY + There's nothing to be scared about. + + They look at each other. They both know that there is. + + +60 INT. EUROSTAR TRAIN - DAY 60 + + HARRY watching the English countryside pass by, his mood + grim, a suit-and-tied BUSINESSMAN opposite him. + + BUSINESSMAN + Off to Belgium on business? + + HARRY + If I'd wanted a conversation with a + cunt, I'd've gone to the "Have a + conversation with a cunt" shop. + + The BUSINESSMAN can't even speak. The train enters the + darkness of the channel tunnel. + + +61 INT. HOTEL ROOM - DAY 61 + + KEN dresses in a neat suit and tie, hides RAY'S gun in a + cupboard, checks his own gun is loaded and pockets it, and + lays a sealed envelope on the pillow of his neatly-made + bed. + + He looks over the room one last time, and exits. + 77. + + + The envelope reads 'MY LAST WILL AND TESTAMENT'. + + +62 EXT. BRUGES STREETS - DAY 62 + + HARRY walking through the same pretty streets that RAY and + KEN did earlier, taking it all in, remembering the last + time he was here. + + FLASHBACK: HARRY, AGED SEVEN, hand in hand with a MAN we + can't quite see, taking in the church towers, the horse and + carts, the canals, the swans, et al, happily, mouthing + words we don't hear, pulling the MAN along. The MAN is + dressed in black. + + +63 EXT. MARKET SQUARE - DAY 63 + + HARRY looking up at the bell-tower. + + FLASHBACK: HARRY, AGED SEVEN, racing into the tower, the + UNSEEN MAN behind him. + + +64 INT. BELL TOWER - DAY 64 + + FLASHBACK: HARRY, AGED SEVEN, racing up the winding steps, + the UNSEEN MAN trying to keep up, HARRY rabbiting on. + UNSEEN MAN comes out on the dark look-out room, to see + HARRY trying to jump up to see out of the window. HARRY + gestures to be picked up. The man does so. HARRY looks out + at the town below, thrilled. + + After a moment, the UNSEEN MAN puts him back down and + gestures for HARRY to go back downstairs. HARRY complains + they've only just got up there. The MAN gestures more + forcefully, and HARRY trudges away moodily, leaving the MAN + alone there. + + UNSEEN MAN (O.S.) + Not here. Not here. + + +65 EXT. CANALSIDE - DAY 65 + + HARRY leaning on a wall, looking at the waters below, a + leaf in his hand, thinking. + + UNSEEN MAN (V.O.) + Did you like Bruges, Harry? + + HARRY - AGE SEVEN (V.O.) + 78. + + + Oh my God, it was like a fairy-tale + or something! It was the best + holiday I've ever had in my life! + + UNSEEN MAN (V.O.) + Well, seeing as I did that whole + trip for you, will you do something + for me? + + HARRY - AGE SEVEN (V.O.) + Oh anything, Father! Anything! + + FLASHBACKS A smiling HARRY AGED SEVEN'S cheek is gently + caressed by the UNSEEN MAN'S hand. The hand bears the same + crucifix signet ring as the man in SCENE 20. HARRY loses + his smile somewhat. + + Back in present day Bruges, HARRY lets the leaf he was + holding fall into the waters below, and watches it slowly + float away. + + +66 INT. YURI'S HOUSE - DAY 66 + + EIRIK on couch, forlorn, one eye heavily bandaged. HARRY + looks him over as he enters... + + HARRY + Aye aye... + + ...as YURI lays out a bunch of heavy duty guns to choose + from; Uzi's, Magnum's, etc. + + YURI + Take your pick, Mr Waters. + + HARRY + An Uzi? I'm not from South Central + Los-fucking-Angeles. I didn't come + here to shoot twenty black ten- + year-olds in a fucking drive-by. I + want a normal gun for a normal + person. + + YURI gets him a run of the mill .45. + + YURI + I knew he wouldn't kill the guy. I + could see it in his eyes. When I + was telling him about the alcoves. + + HARRY + About the what? + 79. + + + YURI + The alcoves. The alcoves in the + Koningin Astrid Park. + +HARRY is nonplussed. + + YURI + Oh, I also have some Dum-Dums. You + use this word, 'Dum-Dums'? The + bullets that make the head explode. + + HARRY + Dum-Dums, yes. + + YURI + Would you like some of these Dum- + Dums? + + HARRY + I know I shouldn't, but I will. + +YURI gives him a box of bullets. + + EIRIK + Motherfucker. + + HARRY + Is he talking to me? + + YURI + No, Eirik's on your side, Mr- + Waters. Your young friend blinded + him last night. + + HARRY + Ray did? + + EIRIK + I was trying to rob him and he took + my gun from me, and the gun was + full of blanks, and he shot a blank + into my eye, and now I cannot see + from this eye ever again, the + doctors say. + + HARRY + Well, to be honest, it sounds like + that was all your fault. + + EIRIK + Hah? + + HARRY + 80. + + + I mean, basically, if you're + robbing a man, and you're only + carrying blanks, and you allow your + gun to be taken off you, and you + allow yourself to be shot in the + eye with a blank, which I assume + the person has to get quite close + to you, then, yeah, really it's all + your fault for being such a poof. + So why don't you stop whinging and + cheer the fuck up? + + EIRIK is about to react angrily... + + YURI + Eirik? I really wouldn't respond. + + EIRIK calms down. + + EIRIK + I thought you wanted the guy dead. + + HARRY + I do want the guy dead. I want him + fucking crucified. It doesn't + change the fact that he stitched + you up like a blind little gayboy, + does it? Thanks for the gun, Yuri. + + HARRY leaves the house. + + YURI + (in Flemish, subtitled) + He's under a lot of stress. + + +67 EXT. MARKET SQUARE - NIGHT 67 + + HARRY walking the cobbled streets to the square as dusk + falls, a pop-up map with 'KEN'S HOTEL' circled and arrowed. + + Suddenly, ten feet behind his map, he sees KEN sitting at a + table outside a bar, staring straight back at him, a beer + in front of him. + + HARRY freezes, hand on gun in pocket. KEN sips his beer + nonchalantly and gestures for HARRY to come and sit down. + + After a moment, HARRY does so. They sit in silence for + quite a while. + + HARRY + Well? + 81. + + + KEN + The boy's suicidal, Harry. He's a + walking dead man. He keeps going on + about Hell and purgatory and... + + HARRY + When I phoned you yesterday, did I + ask you, "Ken, will you do me a + favour and become Ray's + psychiatrist, please?" No. What I + think I asked you was "Could you go + blow his fucking head off for me?" + (pause) + "He's suicidal". I'm suicidal! + You're suicidal! Everybody's + suicidal! We don't all keep going + on about it! Has he killed himself + yet? No. So he's not fucking + suicidal, is he? + + KEN + He put a loaded gun to his head + this morning. I stopped him. + + HARRY + He...? This gets fucking worse...11 + +HARRY gestures for a beer from the WAITER. + + KEN + We were down the park... + + HARRY + Let me get this right... "You were + down the park"? What's that got to + do with fucking anything? Let me + get this right. Not only have you + refused to kill the boy, you've + even stopped the boy from killing + himself. Which would've solved my + problem, which would've solved your + problem, and which, it sounds like, + would've solved the boy's problem! + + KEN + It wouldn't've solved his problem. + + HARRY + 82. + + +Ken, if I'd killed a little kid, +accidentally or otherwise, I +wouldn't've thought twice, I'd've +killed myself on the fucking spot! +On the fucking spot! I'd've stuck +the gun in my mouth on the fucking +spot! + + KEN +But that's you, Harry. The boy has +the capacity to change. The boy has +the capacity to do something decent +with his life. + + HARRY +Excuse me, Ken. I have the capacity +to change. + + KEN +Yeah, you do. You've got the +capacity to get fucking worse! + + HARRY +Oh now we're getting down to it! + + KEN +Harry, let's face it, and I'm not +being funny and I mean no +disrespect, but you're a cunt. +You're a cunt now, you've always +been a cunt, and the only thing +that's gonna change is you're going +to become an even bigger cunt. And +maybe have some more cunt kids. + + HARRY +Leave my kids fucking out of it! +What have they done?! + + HARRY +You fucking retract that bit about +my cunt fucking kids... 1 + + KEN +I retract that bit about your cunt +fucking kids. + + HARRY +Insulting my fucking kids! That's +going overboardr mate! + + KEN +I've retracted it, haven't I? + 83. + + + (pause) + That still leaves you being a + cunt... + + HARRY + I fucking got that!! + + HARRY takes a big drink, deciding what to do, where to go. + + KEN drinks too. + + HARRY + Where's Ray now? + + KEN + Right about now, Ray's in one or + the other of the one million towns + in mainland Europe it's possible to + be in. Other than here. + + +68 INT. BRUGES POLICE STATION - NIGHT 68 + + CHLOE waiting, DESK CONSTABLE doodling. She stands, + excited, as RAY is released. + + RAY + I'll get the money back to you as + soon as I get through to my + friend.•. + + CHLOE + It's not a problem, Raymond. + + RAY + And I'll get all your acid and + ecstasy back to you too... + + The DESK CONSTABLE looks up. + + CHLOE + (in French, subtitled) + English humour! + + She quickly leads him out. + + +69 EXT. CANALSIDE - NIGHT 69 + + CHLOE and RAY walking. + + RAY + 84. + + + Bloody Bruges again. I seriously + think I'm never gonna get out of + this town alive. + + CHLOE + Let's go to my place. + + RAY + That's a bit forward, Chloe. + + CHLOE + Uh-huh? And how about this... ? + + She kisses him at length. + + RAY + Let's go get a drink first... + + CHLOE + No. Let's go have a fuck first, + Richard Burton, then let's go get a + drink. + + RAY + 'Richard Burton', you're funny. + + +70 INT. CHLOE'S APARTMENT - NIGHT 70 + + RAY and CHLOE trying to make love; RAY can't quite get + there, but there's something so tender between them it + doesn't even matter. + + RAY + Somehow I didn't think I'd be here + tonight. + + CHLOE + Is Bruges so bad? + + He smiles, caresses her tummy. + + RAY + Bits of it are alright. + (pause) + But, seriously Chloe, can we go and + get that drink now, seriously? + + She hits him with a pillow and gets up, smiling. + + +71 EXT. BRUGES STREETS - NIGHT 71 + 85. + + + Arm in arm, CHLOE points the best direction to go - towards + Market Square and the bell-tower there. RAY tells her about + the OVERWEIGHT AMERICAN incident in mime. + + +72 EXT. MARKET SQUARE - NORTH SIDE - NIGHT 72 + + The bell-tower high in the background on the other side of + the square, HARRY finishes his drink. + + HARRY + I'm assuming you've got your gun on + you. + + KEN + (nods) + That Yuri bloke's a funny fella, + isn't he? + + HARRY + (nods) + He does Yoga. + + KEN + 'Alcoves'. + + HARRY + Was he going on to you about the + 'Alcoves'? + + KEN + 'The alcoves in the Koningin Astrid + Park'. + (pause) + Harry, I know you've gotta do what + you've gotta do, but it's a bit + crowded around here, you know? + + HARRY + Well I'm not gonna have a shoot-out + in the middle of a thousand fucking + Belgian's, am I? Not to mention the + other nationalities, just on their + holidays. + + KEN + Mm. To see the swans and the Gothic + and all the fairy-tale stuff, eh? + + HARRY + Are you trying to fucking wind me + up?! + 86. + + + KEN + No, Harry... + + HARRY + On top of calling me a cunt and + calling me kids cunts 1 I might + just have to fucking shoot you + right here! Christ! + + KEN + Let's go up the bell-tower. It'll + be quiet up there, this time of + evening. Let's go up there. + + HARRY looks up at it a while, then nods. They stand, KEN + pays the bill, and they start walking towards the tower, + just as it chimes six o'clock. + + +73 EXT. MARKET SQUARE - SOUTH SIDE - NIGHT 73 + + As the tower continues chiming, CHLOE and RAY look up at it + a second, then continue walking away from it, in the + direction that HARRY and KEN are coming from. + + RAY + Yeah, Canadians. Poor sods. I'm + terrible at telling the difference + between that lot. They still kind + of deserved it, but not as much. + They didn't kill John Lennon, did + they? Anyway, I'm supposed to turn + up to court here in two days. + + CHLOE + Are you going to turn up? + + RAY + I dunno. What have I got to stay + for, really? + + CHLOE smiles and kisses him, accidentally obscuring his + face from HARRY and KEN as they pass, oblivious. + + CHLOE + The most beautiful woman... + (kiss) + ... you've ever seen... + (kiss) + ... in all of your life. + + RAY + (pause) + 87. + + + The black one off of Star Trek? Is + she here? + + CHLOE mimes shooting RAY in the head. They take an outside + table at a bar there. In the background, HARRY and KEN + enter the bell-tower. + + +74 INT. BELL TOWER - ENTRY KIOSK - NIGHT 74 + + The stern TICKET-SELLER is out in front of the turnstile, + the entranceway is roped off. + + TICKET-SELLER + The tower is closed this evening. + + KEN + No way! It's supposed to be open + til seven. + + TICKET-SELLER + The tower is usually open until + seven. Yesterday an American had a + heart-attack up the tower. The + tower is closed this evening. + + HARRY + Here, Cranky, here's a hundred for + ya. We're only gonna be twenty + minutes. Okay? + + HARRY sticks a hundred euros in the TICKET-SELLER'S pocket. + + The TICKET-SELLER takes it out, scrunches it up, tosses it + at HARRY'S head, then taps the following words on HARRY'S + forehead with his finger. + + TICKET-SELLER + The tower... is closed..., this + evening. Understand,... Englishman? + + KEN can only smile, A few specks of blood spatter the wall + as we hear the sounds and see the shadow of the TICKET- + SELLER being quickly pistol-whipped unconscious. + + +75 EXT. BELL TOWER - NIGHT 75 + + EIRIK, in passing, sees HARRY shiftily roping off the + entranceway of the bell-tower. Knowing something unlawful + is occurring, he passes on. + 88. + + +76 INT. BELL TOWER - NIGHT 76 + + HARRY and KEN, huffing and puffing up the bell-tower steps, + finally reach the room at the top. They slowly get their + breath back, look out at the view. + + +77 EXT. MARKET SQUARE - SOUTH SIDE - NIGHT 77 + + RAY and CHLOE at table - staring at something in open- + mouthed shock. + + RAY'S POV - it's JIMMY the dwarf, standing staring at them, + dressed in the school uniform of a small boy, complete with + peaked cap, satchel and short trousers. His expression is + deadpan, even as RAY and CHLOE burst out laughing. END POV. + + They try to stop laughing, but can't. JIMMY stays staring + at them. + + RAY + Jimmy, I've been wanting to say I'm + really sorry for Karate-chopping + you the other night. That was way + out of order. + + JIMMY + Yeah, y'know, Ray, I'd find it + easier to believe you and forgive + you, somehow, if the two of you + weren't laughing straight in my + fucking face! + + They try to stop, but again can't, til JIMMY eventually can + only see the funny side too. He smiles, and joins them at + their table. + + JIMMY + It's for the goddam movie, man. + + Some distance away, EIRIK walks by, but as his blinded eye + is towards them, he doesn't see them at all, and passes on. + + +78 INT. BELL TOWER - NIGHT 78 + + HARRY and KEN look out at the view a while. Freezing fog is + gradually descending. + + KEN + 89. + + + It is a nice town, Harry. I'm glad + I got to see it. I didn't mean to + take the piss out of it being a + fairy­tale place. It is a fairy- + tale place. It really is. + + HARRY + Mm. It's just a shame it's in + Belgium, really. But then, you + think, if it wasn't in Belgium, if + it was somewhere good, there'd be + too many people coming to see it, + it'd spoil the whole thing. + + KEN + I'm glad I got to see it. Before I + died. + +KEN slowly opens his jacket, gently, safely, takes his gun +out butt first, as HARRY quickly takes his out too,... + + HARRY + What are you doing? + +...and tosses it at HARRY'S feet. + + HARRY + What are you fucking doing?! + + KEN + I ain't fighting any more, Harry. + + HARRY + Alright. Then I'm blowing your + fucking head off... + +HARRY points his gun at KEN's head. KEN nods in acceptance. + + HARRY + Oh don't come over all Gandhi! What + are you doing?! + +HARRY tosses his gun back to him. + + HARRY + Ken, stop messing about please. + Pick up your gun. I know I'm gonna + beat you anyway, cos you're a spaz, + but... + + KEN + 90. + + + Harry. I am totally in your debt. + The things that's gone between us + in the past, I love you + unreservedly for all that. For your + integrity, for your honour. I love + you. + (pause) + The boy had to be let go. The boy + had to be given a chance. And if to + do that I had to say fuck you and + fuck what I owe you and fuck + everything that's gone on between + us then that's what I had to do. + But I'm not fighting you. And I + accept totally everything you've + got to do. I accept it totally. + + HARRY + Oh yeah? + + KEN + Yeah. + + HARRY + (pause) + Well you say all that fucking + stuff, I can't fucking shoot you + now, can I? + + KEN + It's entirely up to you, Harry. + It's entirely your call. All I'm + saying is, I ain't fighting. + +Pause. HARRY raises his gun and shoots KEN in the leg. KEN +rolls around in pain. + + KEN + You fucking cunt 11 + + HARRY + Like I'm not gonna do nothing to ya + just cos you're standing about like + Robert fucking Powell! + + KEN + Like who?! + + HARRY + Like Robert fucking Powell out of + Jesus of fucking Nazareth. + + KEN + 91. + + + My fucking leg! + + HARRY + Oh shut your whinging, pick up your + gun and let's get out of this + place, it's freezing, and don't + think I haven't clocked you calling + me a cunt again, ya cunt. + + HARRY gives KEN back his gun, helps him up and gives him a + shoulder to lean on as they traipse down stairs. + + +79 EXT. MARKET SQUARE - SOUTH SIDE -NIGHT 79 + + At the table. + + JIMMY + Yeah, it's the final night's + shooting. The psycho dwarf turns + out to be just a lovable little + schoolboy and it was all some kinda + Boschian nightmare. Yeah, kiss my + ass! + + RAY + I guess at least there weren't any + black people involved, eh Jimmy? + + JIMMY puts his hand to his mouth, horrified. + + JIMMY + Aw no. I wasn't talking about... I + wasn't talking about... The War + again, was I? + + RAY nods. JIMMY puts his head in his hands. + + CHLOE + What war? + + RAY + There's gonna be a war between all + the blacks and all the whites. And + all the black midgets and all the + white midgets, which would actually + be really good. + + JIMMY + Aw shit, that's just cocaine. + That's just cocaine. + + RAY + 92. + + + He didn't even want the Vietnamese + on his side! + + CHLOE + You've got to have the Vietnamese + on your side. + + RAY + That's what X said. + + JIMMY + Man, I'm never gonna touch coke or + Ketamine or Ecstasy or acid ever + again. + (to CHLOE) + What else have ya got, Chloe? I'm + kinda... + + They laugh. + + JIMMY + Listen, we're filming down by the + Vismarkt tonight, this wild bloody + endgame thing. It should actually + be quite fucked up. You guys should + come along. + + CHLOE + I think we might just have a quiet + one tonight, Jimmy. + + JIMMY + Ohh, so that's how it is! Well, in + another life. + + Smiling, shaking hands, they make their goodbyes. + + +80 EXT. MARKET SQUARE - NORTH SIDE - NIGHT 80 + + Bell-tower in background, EIRIK remembers his keys or + something and, pissed off, turns around and heads back the + way he came. + + We follow him all the way, until he gets to the bar RAY and + CHLOE are at and JIMMY is walking away from. Suddenly + seeing them, EIRIK stops dead in his tracks. CHLOE ushers + him over. + + EIRIK edges away, then sprints for the bell-tower. RAY and + CHLOE watch him go, bemused. + 93. + + +81 INT. BELL TOWER - NIGHT 81 + + HARRY helping KEN down the winding wooden stairs with great + difficulty, they suddenly hear someone running up towards + them from far off. They sit on the steps and await the + strangers approach. The distant footsteps get closer and + closer, until they hear, still from far below... + + EIRIK + Mister Waters? Mister Waters? + + HARRY + Who's that? + + EIRIK + It's Eirik. + + HARRY + The blind boy? + + EIRIK + Ye... Er,.. Yes. + + HARRY + What do you fucking want? + + EIRIK + The guy you're looking for, the guy + Ray? He's downstairs. + + HARRY and KEN freeze. + + HARRY + He's where? + + EIRIK + He's downstairs, at a bar. + + In a flash, HARRY and KEN, still sitting side by side, pull + their guns and try to point them at each other, at the same + time as their free hands grab each others gun hands. + + It's like some slow, deathly arm-wrestling match, but HARRY + is the stronger man, and though KEN keeps struggling, he + knows there is nothing he can do, as HARRY slowly slowly + slowly brings his gun all the way up to KEN's neck. + + They look at each other in the eye, KEN crying a tear, + HARRY almost. HARRY blows a massive hole in KEN's neck. KEN + collapses, dropping his gun. HARRY gets up. + + HARRY + 94. + + + I'm sorry, Ken. You can't kill a + kid and expect to get away with it. + You just can't. + + KEN nods. HARRY starts racing downstairs. KEN leans back on + the bloody wooden staircase, dying. Sounds of HARRY'S + footsteps echo up, gradually getting more distant. + + Suddenly KEN gets an idea. He picks up his gun and slowly + starts pulling himself up the stairs, towards the look-out + room. + + STAIRWELL. HARRY continues his spiral descent. + + +82 EXT. MARKET SQUARE - SOUTH SIDE - NIGHT 82 + + Still bemused by EIRIK'S behaviour but not actually + worried, RAY orders from the WAITER. + + RAY + One gay beer and one normal, + please. Thanks. + + CHLOE + What's a gay beer? + + RAY + (bemused) + A beer that gay people drink. + + +83 INT. BELL TOWER - NIGHT 83 + + LOOK-OUT ROOM. Pouring blood and weak as hell, KEN makes a + massive final effort to pull himself onto a side wall. He + pulls out his gun and looks down at the Market Square + below. + + KEN'S POV - The freezing fog has descended so heavily that + nothing whatsoever can be seen down there. + + KEN loses hope, leaning in the window. + + +84 EXT. MARKET SQUARE - SOUTH SIDE - NIGHT 84 + + RAY kisses CHLOE at the table. She touches his face as they + break, the bell-tower entrance framed directly behind her. + + +85 EXT. BELL TOWER - NIGHT 85 + 95. + + + STAIRWELL. HARRY still racing down, passes EIRIK. + + HARRY + Where? + + EIRIK + To the left when you come out. The + bar to the left. + + HARRY continues on. + + LOOK-OUT ROOM. The forlorn KEN suddenly gets an idea. He + puts his gun inside his jacket, buttons it up tightly, then + takes out a handful of coins and lets a few drop out + through the open window, down into the fog. + + +86 EXT. MARKET SQUARE - NIGHT 86 + + Almost in SLOWMO, the coins fall out of the fog, landing in + the square, frightening the PASSERS-BY, who move away from + it, looking up... + + +87 INT. BELL TOWER - NIGHT 87 + + LOOK-OUT ROOM. KEN drops out all the rest of his coins. + + +88 EXT. MARKET SQUARE - NIGHT 88 + + The coins hit the ground heavily, warning the PASSERS-BY to + give the tower an even wider berth. Even RAY has noticed + something's wrong. He looks over and up... + + +89 INT. BELL TOWER - NIGHT 89 + + STAIRWELL. HARRY getting down lower and lower... + + LOOK-OUT ROOM. Scared, KEN breathes deeply, then lets + himself fall through the window, out into the fog. + + +90 EXT. MARKET SQUARE - NIGHT 90 + + As the PASSERS-BY and RAY are still looking up, a figure + plummets out of the fog and crashes to the ground in a + hideous broken heap. The PASSERS-BY move away in screaming + horror. + 96. + + +RAY flinches in disgust, turning CHLOE's face away, then, +as he brings himself to look again, slowly realises who it +is. + +He sprints over and collapses to his knees beside him. + +KEN's head, chest and shoulders have just about survived +the impact; everything else is pulp. + + RAY + Ken?! Ken?! + + KEN + Harry's here. + + RAY + What?! + + KEN + Take my gun. + +RAY reaches inside KEN's bloodied coat, and comes out with +the broken useless gun. Bits of KEN's heart drip off it. + + RAY + Ken? Where's my gun?! Where's my + gun?! + + KEN + (slowly, trying to think) + Hotel... + + RAY + Oh Ken, Jesus...! + + KEN + I'm gonna die now, I think. + +KEN nods, then dies. RAY is shaking in horror and sadness. + +HARRY bursts out of the tower, sees CHLOE and everyone else +staring at the bloody scene. He follows her gaze, and sees +RAY. + +RAY sees him but cannot move. + +HARRY sees KEN'S pulped corpse, the broken gun in RAY's +hand, realises what's gone down. He acknowledges, somehow, +KEN's sense of honour, courage, what have you. + +RAY starts backing away... + 97. + + + Which snaps HARRY out of it. He raises his gun... + + CHLOE screams... + + Harry fires at RAY but misses... + + ...And RAY sprints rapidly away, PASSERS-BY and CHLOE + scattering. + + HARRY gives chase, firing whenever he has a clear shot. + + RAY cuts down an alley and HARRY follows. + + +91 EXT. BRUGES STREETS - NIGHT 91 + + LONG CHASE SEQUENCE. Down the same cobbled streets, dark + canal-sides and bridges that we've seen earlier, now all + mist-strewn and doubly eerie, RAY is chased and shot at by + HARRY. + + However, because RAY already knows these streets so well, a + large gap starts opening up between them. + + We CRANE UP as RAY takes another couple of fast corners, + taking his jacket off, doubling back on himself, and + finally comes out on his hotel, checks that he's lost HARRY + and, breathless, enters. + + +92 INT. HOTEL LOBBY - NIGHT 92 + + MARIE is behind the desk. + + MARIE + Oh. Mr Blakely said you'd left... + + RAY + I need the key to the room right + now. QuicklyI Now! + + She finds and gives it to him. + + RAY + And I need you to lock up and go + home right now. It's very very + dangerous here. Okay? Go home right + now! + + MARIE + Okay... + 98. + + + Realising how serious he is, MARIE gathers up her coat and + stuff. RAY heads upstairs. + + MARIE + Is Mr Blakely not coming back + tonight? + + RAY winces, keeps moving. + + +93 EXT. BRUGES STREETS - NIGHT 93 + + HARRY, breathing hard, opens his pop-up map of Bruges with + 'KEN'S HOTEL' circled, and looks up at a street sign. + + +94 INT. HOTEL ROOM - NIGHT 94 + + RAY quickly tears the room asunder and finds the hidden + gun, checks it's loaded. He sees the 'Last Will' envelope + and almost cries, but stops as he suddenly hears + downstairs... + + MARIE (O.S.) + No I won't let you up there. Put + that gun away right now. + + HARRY (O.S.) + Lady, get out of my way, please. + + MARIE (O.S.) + No. I won't. I won't get out of + your way. You'll have to go through + me. + + RAY goes to the top of the stairs, peeks round the corner + and down at MARIE on the second step of the stairs, + blocking the way of HARRY, below her. RAY crouches down and + takes aim as they argue... + + RAY'S POV: Along the barrel of the gun, he has a clear shot + of HARRY, but it's just above MARIE'S pregnant tummy. + + END POV. + + HARRY + Well obviously I'm not gonna go + through you, am I, with your baby + and that. I'm a nice person. But + could you just get out of the + fucking way, please? + 99. + + +RAY chooses not to take the shot, and lowers the gun. As +RAY speaks, HARRY ducks out of sight. + + RAY + Marie? Just let him come up, it's + okay. Harry? Swear not to start + shooting until she's left the + hotel. + + HARRY + I swear not to start shooting til + she's left the hotel. I totally + swear. + + MARIE + Well I'm not going anywhere. This + is my hotel. So you can fuck off. + +MARIE sits in the middle of the narrow stairs. HARRY is +astonished. RAY peeks out and looks down at him. They +exchange a look of 'What the hell is wrong with this +woman?' + + HARRY + I suppose you've got a gun up + there? + + RAY + Yeah. + + HARRY + Well what are we gonna do? We can't + stand here all night. + + MARIE + Why don't you both put your guns + down and go home? + + HARRY + ‐ + Don't be stupid. This is the shoot­ + out. + + RAY + Harry? I've got an idea. Listen, my + room faces onto the canal, right? + I'm gonna go back to my room, jump + into the canal and see if I can + swim to the other side and escape. + + RAY + 100. + + + If you run outside and round the + corner, you can shoot at me from + there and try and get me. But that + way we leave this lady and her baby + out of the whole entire thing. + + HARRY + Do you completely promise to jump + into the canal? I don't wanna run + out there and come back in ten + minutes and find you fucking hiding + in a cupboard. + + RAY + I completely promise, Harry. I'm + not gonna risk having another + little kid die, am I? + +MARIE hears that, disturbed and saddened. + + HARRY + So, hang on, I go outside and then + I go which way, right or left? + + RAY + You go right, don't ya. You can see + it from the doorway. It's a big + fucking canal! + + HARRY + Alright! Jesus! I've only just got + here, haven't I?! Okay. On a count + of 'One, two, three, go'. Okay? + + RAY + Okay. + (long tense pause) + What, who says it? + + HARRY + Oh. Er, you say it. + + MARIE + You guys are crazy!! + + RAY + Alright, ready? + + HARRY + Ready. + + RAY + Set? + 101. + + + HARRY + Set. + + RAY + (pause) + One, two, three, go! + + Sound of RAY stomping into his room. HARRY rushes outside. + + MARIE is left sitting there, stunned. + + +95 INT/EXT. HOTEL ROOM - NIGHT 95 + + RAY pulls open the lattice-window, looks down into the + waters below, prepares himself... + + ...then sees a canal-boat approaching quickly out of the + freezing fog, empty save for the DRIVER. RAY times it so + it's just under his window as he leaps... + + +96 EXT. CANAL BOAT - NIGHT 96 + + ...And lands in the boat with a thud. His gun, however, + topples out of his hands and is lost in the murk of the + canal. + + RAY + (to DRIVER) + Keep driving! + + RAY suddenly sees HARRY appear at the distant canalside, + look around at the water a few seconds, then spot RAY in + the boat, getting further and further away, into the mist. + HARRY takes aim as the DRIVER speeds up. + + RAY + (quietly) + No way. You're way too far away. + + +97 EXT. HOTEL CANALSIDE - NIGHT 97 + + HARRY steadies his gun hand, takes aim at RAY, steadily + receding into the fog... + + HARRY + No way. I'm way too far away. + + ...and fires. + 102. + + +98 EXT. CANAL BOAT - NIGHT 98 + + RAY is hit fully in the stomach, busting a bloody hole + there. + + He falls back in the boat. The DRIVER speeds towards the + nearest landing dock. + + +99 EXT. CANALSIDE - NIGHT 99 + + HARRY, seeing the boat aiming for the distant dock, sprints + away to cut them off, MARIE watching him go from the + doorway. + + It's beginning to snow. + + +100 EXT. DOCK - NIGHT 100 + + Bleeding profusely and terribly faint, RAY walks up the + steps of the dock. The DRIVER tries to help him, but he + says he's okay, and gives him the last of his money. + + In the background, HARRY can be seen running along the + other side of the canal towards the nearest bridge. + + At the top of the steps, RAY sees distantly, through the + fog and the snow, the arc-lights, the costumes, the cameras + and the people of JIMMY'S film set. He staggers towards + them. + + +101 EXT. BRIDGE - NIGHT 101 + + HARRY puts his gun away so he doesn't look so suspicious to + the PASSERS-BY, but keeps on after RAY. + + +102 EXT. CANALSIDE FILM SET - NIGHT 102 + + RAY slowly staggers into the middle of the misty set, which + seems to be waiting for the freezing fog to clear. All the + EXTRAS are dressed in strange, nightmarish masked costumes, + many frighteningly similar to the demons, and those + terrorised by them, in Bosch's 'LAST JUDGEMENT'. Some have + an identical bullet wound to RAY'S, who staggers through + all these, dizzily, horrified. + 103. + + +He tries to warn them of the danger from HARRY, but they +don't seem to understand. A little way off, JIMMY THE DWARF +gets up to see what all the fuss is about, but can't quite +see through the throng of people, so tries to push his way +through them. + +RAY falls to his knees at one point, but gets up and +staggers on. HARRY finally arrives, a few feet behind him, +and takes his gun back out. The EXTRAS don't seem to be +sure if this isn't all part of their film, somehow. + +RAY suddenly stops dead in his tracks, staring at something +in front of him, horrified. + + RAY + The little boy. + + HARRY + That's right, Ray. The little boy. + +HARRY fires twice through RAY's back. RAY falls to his +knees... + + RAY + Oh Jesus, no...! + +...then slumps to the ground, revealing to us, and to +HARRY, the body of JIMMY THE DWARF, one of the bullets +having passed through RAY and blown JIMMY'S head off. + +RAY crawls up beside him and touches him gently. He's +obviously dead, and with his head half gone, and his +school­cap and uniform still intact, he looks just like a +little dead boy. + +He looks that way to HARRY, anyway, as he stands above the +pair, horror-stricken. HARRY looks at RAY. RAY looks at +HARRY. + + HARRY + Oh. I see. + +Slowly, very slowly, HARRY raises his gun and places it in +his own mouth... + + RAY + No, Harry, no...! + +HARRY takes the gun out again, taps it against his teeth a +moment, thinking, then nods... + + HARRY + 104. + + + You've got to stick to your + principles. + + HARRY puts the gun back into his own mouth... + + RAY + Harry, No! He's not...! + + ...and blows his head completely off. + + RAY slumps back down. The gunshot rings in his ears and all + other sound is gone. + + RAY'S POV - looking up at the misty night sky and the roofs + of the old buildings around as the snow falls heavy; then, + in turn,... + + At the horrifying Bosch figures looking down at him; + + At one-eyed EIRIK somehow amongst them, looking as guilty + as Judas; + + At the dismayed, tear-stricken face of CHLOE being dragged + away from him, screaming (silently); + + At the AMBULANCEMEN and DOCTORS, whose grim countenances + don't seem to hold out too much hope; + + At, from somewhere almost heavenly, MARIE, whose gentle, + angelic, smiling face makes him think it all might work out + alright in the end. + + As the oxygen goes on, as he's loaded into the too bright + ambulance, RAY'S POV FADES TO BLACK. + + LONG PAUSE. + + +103 INT. ROOM - DAY 103 + + CLOSE SHOT of a NEWSPAPER HEADLINE seemingly reading 'IN + BRUGES'. We pull back to reveal the headline actually reads + 'THREE DIE IN BRUGES BLOODBATH'. We pull back further to + reveal, beneath the headline, the photo's of HARRY, JIMMY + and KEN. This whole piece of paper has been pinned to a + wall. + + A telephone starts ringing. + 105. + + +Sitting on his bed, his chest and stomach wrapped in +bandages, is RAY, the newspaper article pinned to the wall +to the side of him. It's three months since the shooting, +he's unshaven and sickly-looking. The phone is still +ringing. + +He puts a couple of ice-cubes from the tray beside his bed +into his glass, pours some whisky in and drinks. The phone +finally stops ringing. + +RAY gets up, still in pain, and moves across the room, +passing another newspaper headline on the wall reading +'STILL NO CLUES IN MURDER OF LITTLE TOBIAS' along with a +large happy picture of the little boy from the church. Also +pinned to the wall is the LITTLE BOY's confession note. + +As we see these, we hear RAY open a cupboard and take +something metallic out. + +Phone starts ringing again. RAY sits back on the bed in the +same position as before, takes another sip of whisky, and +picks up the phone. He doesn't speak. + + CHLOE + Hello?! Hello, Raymond?! + (pause) + Raymond, is that you? + (pause) + Please, Raymond....! + + RAY + Hello, Chloe. + + CHLOE + Ray...! + +SOUND of CHLOE breaking down in tears. + + CHLOE + You went back to London? + + RAY + Mm. + + CHLOE + I wanted to take care of you. + (pause) + They said it was okay to leave? + + RAY + To leave Bruges? + + CHLOE + 106. + + +To leave the hospital. + + RAY +I stayed in Bruges three months +longer than I ever intended to. I +wasn't staying any longer. + + CHLOE +Are you going to come back? + + RAY + (almost tearfully) +I don't think so. + + CHLOE +Well can I come to London to see +you? + + RAY +No. + + CHLOE + (crying) +Raymond, please... Don't be +horrible. + + RAY +I'm not being horrible. + + CHLOE +Then let me come to see you. + + RAY +I'm not gonna be here. + + CHLOE +Where are you going to be? + (pause) +Ray, come back to Bruges. + + RAY +I don't like Bruges. + + CHLOE +You do like Bruges. + + RAY +I don't like Bruges. + (smiling) +It's a shit-hole. + + CHLOE + (laughs) + 107. + + + Say you like Bruges, just a little + bit. + (pause) + Ray? Say you like Bruges, just a + little bit. + + RAY + I like Bruges. Just a little bit. + + CHLOE + Do you really? + + RAY + I liked the swans. + (pause) + And a couple of the people. + + CHLOE + Oh, that lady from the hotel, you + know? Is her name Marie? I met her + on the street yesterday. She had a + baby boy. + + RAY + Did she? + + CHLOE + Yes. + + RAY + That's good. + + CHLOE + Seven pounds. + + RAY + That's good. What's she going to + call it? + + CHLOE + Er... What's she going to call it, + she did tell me... I can't + remember. Something like 'Tobias' + or something. + +RAY half-laughs, sick to his stomach. + + CHLOE + I think it's a nice name. + + RAY + 108. + + + I think it's a nice name too. + Listen, Chloe, I've got to hang up + now. + + CHLOE + What?! + + RAY + I've got to hang up now. + + CHLOE + You've got to hang up?! You + wouldn't let me see you all the + three months you were in the + hospital, even though I came every + day, then you run back to England + without even telling me, and then + when I finally speak to you, you + speak for two minutes, then you + have to hang up?! Why do you have + to hang up?! Why?! + + RAY + It's for your own good, Chloe... + + CHLOE + It's not for my own good! How is it + for my own good?! Tell me why you + have to hang up! I've waited for + three months, Ray! Tell me why you + have to hang up! + + RAY + Why do I have to hang up? + + CHLOE + Yes! Why do you have to hang up?! + + RAY + (pause) + Because I don't want you to hear + the gunshot. + +RAY hangs up, then takes the receiver off the hook and lays +it down. It will quietly drone through the rest of the +scene. + +A tear falls as he takes the gun that was resting in his +lap, holds it in the air for a second, breathes deeply for +a few moments, then places it against his head. + 109. + + +He holds it there a long while, eyes closed, deep +breathing, then finally takes it away, opens his eyes, +picks up his whisky glass, sighing, and slowly finishes it +off. Courage regained, he puts the glass back down, +breathes deeply again, and puts the gun back up to his +head. + + RAY + Come on. Ten, nine, eight, seven... + +He closes his eyes... + + RAY + Six, five, four, three, two, one... + +Teeth gritted, eyes clamped tight, ten more seconds pass +til he finally sighs loudly, takes the gun away again and +leans his head back against the wall. + +He looks at the photos on the wall from the newspaper +story, of JIMMY, of HARRY, and, lingeringly, of KEN. None +of them want him to go through with it. + +Then finally he looks at the photo of little TOBIAS and the +blood-stained confession note beside it. He moves across +the bed and takes the confession note from the wall, +knocking into the telephone slightly as he does so. + +He looks at the phone a while as it irritatingly drones on. + +He puts the phone back on the hook and looks at it a very +long while, to see if it'll ring. It doesn't ring. + +He sits on the edge of his bed, shitty London framed out +the window behind him. + +He looks at the confession note again, as do we... + +RAY'S POV: "1. Being sad. 2. Being bad at maths. 3. Being +moody" and the months-old blood still caked in the corner. + +He folds the note into his left breast pocket, beside his +heart. He nods... + + RAY + You've got to stick to your + principles. + +He cocks the gun. + +He slowly puts it to his head. + +Tears fill his eyes and he closes them as the tears fall. + 110. + + +He sighs calmly, knowing, perhaps for the first time, that +this time he'll go through with it. + +The telephone starts ringing. + +He opens his eyes. + + CUT TO BLACK + \ No newline at end of file diff --git a/scripts/Inception.txt b/scripts/Inception.txt new file mode 100644 index 0000000000000000000000000000000000000000..a17e63b3309b272d95a3aefbe9381dd563c4b250 --- /dev/null +++ b/scripts/Inception.txt @@ -0,0 +1,8801 @@ + 1. + + + + FADE IN: + + DAWN. CRASHING SURF. + + The waves TOSS a BEARDED MAN onto wet sand. He lies there. + + A CHILD'S SHOUT makes him LIFT his head to see: a LITTLE + BLONDE BOY crouching, back towards us, watching the tide + eat a SANDCASTLE. A LITTLE BLONDE GIRL joins the boy. The + Bearded Man tries to call them, but they RUN OFF, FACES + UNSEEN. He COLLAPSES. + + The barrel of a rifle ROLLS the Bearded Man onto his back. + A JAPANESE SECURITY GUARD looks down at him, then calls up + the beach to a colleague leaning against a JEEP. Behind + them is a cliff, and on top of that, a JAPANESE CASTLE. + + +1 INT. ELEGANT DINING ROOM - JAPANESE CASTLE - LATER 1 + + The Security Guard waits as an ATTENDANT speaks to an + ELDERLY JAPANESE MAN sitting at the dining table, back to + us. + + ATTENDANT + (in Japanese) + He was delirious. But he asked for + you by name. And -- + (to the Security Guard) + Show him. + + SECURITY GUARD + (in Japanese) + He was carrying nothing but this -- + + He puts a HANDGUN on the table. The Elderly Man keeps + eating. + + SECURITY GUARD + -- and this. + + The Security Guard places a SMALL PEWTER CONE alongside the + gun. The Elderly Man STOPS eating. Picks up the cone. + + ELDERLY JAPANESE MAN + (in Japanese) + Bring him here. And some food. + + +2 INT. SAME - MOMENTS LATER 2 + 2. + + + The Elderly Man watches the Bearded Man WOLF down his food. + He SLIDES the handgun down the table towards him. + + ELDERLY JAPANESE MAN + (in English) + Are you here to kill me? + + The Bearded Man glances up at him, then back to his food. + + The Elderly Japanese Man picks up the cone between thumb + and forefinger. + + ELDERLY JAPANESE MAN + I know what this is. + + He SPINS it onto a table, it CIRCLES gracefully across the + polished ebony, a SPINNING TOP. + + ELDERLY JAPANESE MAN + I've seen one before. Many, many + years ago -- + + The Elderly Japanese Man STARES at the top mesmerized. + + ELDERLY JAPANESE MAN + It belonged to a man I met in a + half-remembered dream -- + + MOVE IN on the GRACEFULLY SPINNING TOP. + + ELDERLY JAPANESE MAN + A man possessed of some radical + notions -- + + The Elderly Japanese Man STARES, remembering. + + COBB (V.O.) + What's the most resilient parasite? + + CUT TO: + + +3 INT. SAME ELEGANT DINING ROOM - NIGHT - YEARS EARLIER 3 + + The speaker, COBB, is 35, handsome, tailored. A young + Japanese man, SAITO, eats as he listens. + + COBB + A bacteria? A virus? + + Cobb gestures at their feast with his wine glass- + 3. + + + COBB + An intestinal worm? + +Saito's fork pauses, mid-air. Cobb GRINS. A third man is at +the table, ARTHUR. He jumps in to save the pitch. + + ARTHUR + What Mr. Cobb is trying to say -- + + COBB + An idea. + +Saito looks at Cobb, curious. + + COBB + Resilient, highly contagious. Once + an idea's taken hold in the brain + it's almost impossible to + eradicate. A person can cover it + up, ignore it, but it stays there. + + SAITO + But surely to forget--? + + COBB + Information, yes. But an idea? + Fully formed, understood? That + sticks -- + (taps forehead) + In there, somewhere. + + SAITO + For someone like you to steal? + + ARTHUR + Yes. In the dream state, conscious + defenses are lowered and your + thoughts become vulnerable to + theft. It's called extraction. + + COBB + But, Mr. Saito, we can train your + subconscious to defend itself from + even the most skilled extractor. + + SAITO + How can you do that? + + COBB + 4. + + + Because I am the most skilled + extractor. I know how to search + your mind and find your secrets. I + know the tricks, and I can teach + them to your subconscious so that + even when you're asleep, your guard + is never down. + + Cobb leans forwards. Holding Saito's gaze. + + COBB + But if I'm going to help you, you + have to be completely open to me. + I'll need to know my way around + your thoughts better than your + wife, your analyst, anyone. + (gestures around) + If this is a dream and you've got a + safe full of secrets, I need to + know what's in that safe. For this + to work, you have to let me in. + + Saito gives this a flicker of a smile. Rises. A BODYGUARD + opens double doors which give onto a LAVISH PARTY. + + SAITO + Gentlemen. Enjoy your evening as I + consider your proposal. + + They watch Saito leave. Arthur turns to Cobb, worried- + + ARTHUR + He knows. + + Cobb motions silence. A TREMOR starts, they steady their + glasses, Cobb glances at his watch, THE SECOND HAND IS + FROZEN. + + ARTHUR + What's going on up there? + + And we -- + + CUT TO: + + +4 INT. FILTHY BATHROOM - DAY - FEELS LIKE DIFFERENT TIME 4 + + Cobb, ASLEEP, SITTING IN A CHAIR AT THE END OF A STEAMING + BATH. The chair is up on a cabinet- the bottom of the legs + level with the rim of the tub. + 5. + + + A sweating man (40's) watches over Cobb. This is NASH. A + distant EXPLOSION rumbles through the room. Nash moves to + the window, parts the curtains. Outside: a CHAOTIC + DEVELOPING, WORLD CITY, the street filled with RIOTERS, + SMASHING, BURNING. + + Nash checks Cobb's left wrist: above his watch, tape holds + TWO THIN YELLOW TUBES in place. Nash looks at Cobb's watch, + THE SECOND HAND CRAWLS UNNATURALLY SLOWLY. + + Nash follows the tubes to a SILVER BRIEFCASE at Arthur's + feet: ARTHUR IS ASLEEP in an armchair. Tubes connect the + briefcase to Arthur's wrist. + + Nash follows another set of tubes from the briefcase to + where they pass under the door to the bedroom. Through the + crack of the door, Nash sees SAITO ASLEEP on the bed, tubes + running to his wrist. BOOM, a closer EXPLOSION, and we -- + + CUT TO: + + +5 INT. BULLET TRAIN COMPARTMENT - DAY - FEELS LIKE DIFFERENT 5 + TIME + + Nash, ASLEEP. Head ROCKING AGAINST THE WINDOW as the train + BUMPS OVER A ROUGH PIECE OF TRACK. + + A Japanese Man, TODASHI (18) watches Nash nervously. He + checks Nash's wrist: TWO YELLOW TUBES CONNECT NASH WITH + THREE OTHER SLEEPING MEN IN THE COMPARTMENT: COBB, ARTHUR, + SAITO. + + Todashi checks his watch: THE SECOND HAND TICKS IN REAL + TIME. Another TRAIN PASSES in the opposite direction with a + MIGHTY WHUMP. Todashi's eyes FLY to Nash's sleeping face. + + NASH JERKS WITH THE MOVEMENT OF THE TRAIN, and we -- + + CUT TO: + + +6 INT. FILTHY BATHROOM - CONTINUOUS 6 + + Another EXPLOSION- Nash CHECKS the sleeping Cobb and we -- + + CUT TO: + + +7 EXT. ROOFTOP TERRACES - JAPANESE CASTLE - NIGHT 7 + 6. + + +A LOW TREMOR RUMBLES THROUGH THE CASTLE. Cobb and Arthur +steady themselves against the wooden rail. Several TILES +and pieces of MASONRY fall. Below them a BLACK SEA churns. +Other GUESTS wander the massive terraces. + + ARTHUR + Saito knows. He's playing with us. + + COBB + I can get it here. The + information's in the safe, he + looked right at it when I mentioned + secrets. + +Arthur nods. Then spots someone over Cobb's shoulder. + + ARTHUR + What's she doing here, Cobb? + +Cobb turns to see a beautiful woman, elegantly dressed, +staring out at the sea. This is MAL. Cobb watches her. + + COBB + You just get to your room. I'll + take care of the rest. + + ARTHUR + See that you do. We're here to + work. + +Arthur brushes past Mal, shaking his head. She nears Cobb. +Looks out at the DROP. The WIND WHIPS HER HAIR. + + MAL + If I jumped, would I survive? + + COBB + With a clean dive, perhaps. Mal, + why are you here? + +She turns to look at him. Amused. + + MAL + I thought you might be missing me - + - + +She smiles. He leans in, mesmerized. + + COBB + I am. But I can't trust you + anymore. + +She stares up at him, inviting. + 7. + + + MAL + So what? + + +8 INT. BEDROOM SUITE, JAPANESE CASTLE - MOMENTS LATER 8 + + Mal sips champagne as she studies a painting by Francis + Bacon. + + MAL + Looks like Arthur's taste. + + Cobb is looking down through the window at the GUARDS + patrolling the castle at ground level. + + COBB + Actually, Mr. Saito is partial to + postwar British painters. + + He turns to Mal, donning a pair of black leather gloves. + + COBB + Would you sit down? + + Mal lowers herself gracefully into a leather wingback + chair. Cobb approaches, pulls out a length of BLACK ROPE + and kneels at Mal's feet. She looks down at him. + + MAL + Tell me -- + + Cobb TIES the rope around the CHAIR LEGS. + + MAL + Do the children miss me? + + Cobb pauses. He lets his gloved fingers lightly touch Mal's + ankle. He looks up at her. + + COBB + You can't imagine. + + Mal looks away, uncomfortable. Cobb gets to his feet, + letting out the rope as he moves back to the window. + + MAL + What're you doing? + + Cobb tosses the rope out. + + COBB + Getting some air. + 8. + + + He tugs on the rope, testing. The weight of the chair, with + Mal on it, holds. + + COBB + Stay seated. Please. + + And with that, he JUMPS. Mal considers the open window. + + +9 EXT. JAPANESE CASTLE WALL - CONTINUOUS 9 + + Cobb RAPPELS down the wall, darting past windows. He stops + at a particular one. Gets out a glass cutter. + + Suddenly he starts DROPPING. + + +10 INT. BEDROOM SUITE, JAPANESE CASTLE - CONTINUOUS 10 + + The EMPTY CHAIR SLIDES across the floor, WEDGES under the + window. + + +11 EXT. JAPANESE CASTLE WALL - CONTINUOUS 11 + + Cobb JOLTS to a stop 15 ft. lower. He looks up at the + bedroom window. Shakes his head. Starts climbing back. + + +12 INT. KITCHEN - JAPANESE CASTLE - MOMENTS LATER 12 + + Cobb drops silently from the window into the darkened + kitchen. He pulls a PISTOL from his belt, screwing a + SILENCER onto the barrel as he GLIDES across the room. + + +13 INT. HALL - JAPANESE CASTLE - CONTINUOUS 13 + + Cobb SLIPS through the shadows towards a GUARD stationed at + the head of a GRAND STAIRCASE. + + The Guard HEARS something, TURNS, PEERS into the shadows. + + Cobb FLASHES out of the shadows, silenced pistol up, + AIMING, PHHT, head shot, the Guard starts to drop but Cobb + is already there to CATCH him, sliding on his knees and + lowering the Guard SILENTLY to the floor. + + +14 INT. DINING ROOM - JAPANESE CASTLE - CONTINUOUS 14 + 9. + + +Cobb moves to a PAINTING. With practiced hands he removes +it from the wall, revealing a SAFE. Cobb spins the dial, +pulls it OPEN, GRABS an envelope from within, stuffs it +into his waistband, where there is already an IDENTICAL +ENVELOPE. + +LIGHTS COME ON. Cobb freezes. + + SAITO (O.S.) + Turn around. + +Cobb turns. At the far end of the room: Saito. Next to him +is Mal, gun in hand. She smiles at Cobb. + + MAL + The gun, Dom. + +Cobb doesn't move. Mal motions outside, two GUARDS drag +Arthur into the room. Mal puts the gun to his head. + + MAL + Please. + +Cobb slowly places his gun at his end of the long table, +then SLIDES it along the polished ebony. It comes to rest +HALFWAY down the length or the table. + + SAITO + Now the envelope, Mr. Cobb. + +Cobb reaches into his waistband, removes ONE of the +envelopes, SLIDES it along the table. Steps back, hands +raised. + + COBB + Did she tell you, or have you known + all along? + + SAITO + That you're here to steal from me? + (beat) + Or that we're actually asleep? + +Arthur gives Cobb an I-told-you-so look. + + SAITO + I want to know who your employer + is. + +Mal COCKS the gun at Arthur's temple. + + COBB + 10. + + + No point threatening him in a + dream. + + MAL + That depends on what you're + threatening. Killing him would just + wake him up -- but pain? Pain is in + the mind -- + + Mal LOWERS the gun and SHOOTS Arthur in the leg. Arthur + drops, SCREAMING, Mal looks at Cobb, cold. + + MAL + And, judging by the decor, we're in + your mind, aren't we, Arthur? + + Cobb watches Arthur's PAIN. Mal aims at Arthur's other leg. + + Cobb SPRINGS for the table, SKIDDING along its polished + surface, he GRABS his gun, SHOOTS ARTHUR BETWEEN THE EYES. + + Arthur DROPS, the room starts to SHUDDER in a MASSIVE + EARTHQUAKE. Cobb SPRINGS for the door, Arthur's eyes stare + at the ceiling, DEAD, and we -- + + CUT TO: + + +15 INT. FILTHY BATHROOM - DAY 15 + + Arthur's EYES OPEN as he WAKES IN THE ARMCHAIR, he GRABS at + the tubes at his wrist, YANKING them free. + + NASH + What're you doing?! It's too soon - + - + + FLUID spurts from the tubes as Arthur STRUGGLES with the + SILVER CASE on the bathroom floor. + + ARTHUR + I know! We have to reconnect the + loop before they wake up! + + Arthur grabs the case and pushes through the door to the + bedroom, following the tubes to where they meet Saito's + wrist, SAITO LIES ON THE BED ASLEEP. Saito STIRS and we -- + + CUT TO: + + +16 INT. JAPANESE CASTLE CORRIDOR - NIGHT 16 + 11. + + + Cobb LURCHES towards the stairs, as all around him the + building BUCKS and HEAVES. + + +17 INT. DINING ROOM - JAPANESE CASTLE - CONTINUOUS 17 + + Saito and the Guards PANIC. Mal walks calmly through the + destruction, picks up the envelope and turns to Saito. + + MAL + He was close. Very close. + + +18 EXT. GRAND STAIRCASE - JAPANESE CASTLE - CONTINUOUS 18 + + Cobb runs up the stairs, pulling out the SECOND ENVELOPE. + + +19 INT. DINING ROOM, JAPANESE CASTLE - CONTINUOUS 19 + + Saito RIPS open the envelope, pulls out sheets of paper. He + looks at Mal, PANICKED. He turns to the Guards. + + SAITO + Stop him! + + Mal, confused, looks at the sheets of paper: THEY ARE + BLANK. Mal smiles, amused. + + +20 INT. GRAND STAIRCASE - JAPANESE CASTLE - CONTINUOUS 20 + + As Cobb runs up the stairs he reads the TYPEWRITTEN SHEETS + from his envelope, and we -- + + CUT TO: + + +21 INT. DILAPIDATED HOTEL ROOM - DAY 21 + + Arthur OPENS the silver case: a COMPLEX MECHANISM of TUBES, + SYRINGES, DOSAGE CONTROLLERS. Arthur's hands fly across the + machine's controls as he glances at Saito's STIRRING face. + + ARTHUR + I'm not going to make it! Wake + Cobb! + + +22 INT. FILTHY BATHROOM - CONTINUOUS 22 + 12. + + + Nash turns to Cobb. Raises his hand and SMACKS him across + the face, and we -- + + CUT TO: + + +23 INT. GRAND STAIRCASE - JAPANESE CASTLE - NIGHT 23 + + Cobb is SMASHED sideways off his feet. + + +24 INT. DINING ROOM - JAPANESE CASTLE - NIGHT 24 + + The CEILING CRACKS above Saito, he looks up as a TON of + STONE floods down, CRUSHING HIM and we -- + + CUT TO: + + +25 INT. DILAPIDATED HOTEL ROOM - DAY 25 + + Saito's eyes FLICKER OPEN. AWAKE. + + +26 INT. FILTHY BATHROOM - CONTINUOUS 26 + + Nash SMACKS Cobb again. + + NASH + He won't wake! + + +27 INT. DILAPIDATED HOTEL ROOM - CONTINUOUS 27 + + Arthur crouched by Saito, connects the second tube. + + ARTHUR + Dunk him! + + A CLICK: Arthur looks up to find Saito with a gun to his + head and a finger to his lips, gesturing silence. + + +28 INT. FILTHY BATHROOM - CONTINUOUS 28 + + Nash puts his hand on Cobb's forehead and PUSHES HIM + BACKWARDS, as Cobb starts to FALL BACKWARDS in the chair we + are in SLOW MOTION, and we -- + + CUT TO: + 13. + + +29 INT. GRAND STAIRCASE - JAPANESE CASTLE - NIGHT 29 + + Cobb, full speed, picks himself up, scrambling to read the + last sheet of paper. He stares at it PUZZLED, bullets hit + around him as the Guards race up the stairs and we -- + + CUT TO: + + +30 INT. FILTHY BATHROOM - DAY 30 + + Cobb in SLOW MOTION, hits the WATER, head THRASHING as he + goes under and we -- + + CUT TO: + + +31 INT. GRAND STAIRCASE - JAPANESE CASTLE - NIGHT 31 + + Cobb glances up from the paper as WATER EXPLODES IN THROUGH + ALL THE WINDOWS, FLOODING THE ENTIRE HALL. + + COBB IS SWAMPED BY WATER, SPUN IN ALL DIRECTIONS AT ONCE, + HE PULLS DEEPER OR FOR THE SURFACE, WE CAN'T TELL. + + HE BREAKS THE SURFACE, GASPING FOR AIR IN THE BATHTUB IN + THE -- + + +32 INT. FILTHY BATHROOM - DAY 32 + + Cobb's AWAKE, GULPING AIR, getting his bearings. + + Saito SMASHES into the room, KNOCKING Nash down, Cobb + LAUNCHES himself out of the tub, FLYING dripping wet across + the room to SLAM Saito against the door, the gun DROPS, + Cobb's fist CONNECTS with Saito's jaw and the struggle is + over. + + +33 INT. DILAPIDATED HOTEL ROOM - MOMENTS LATER 33 + + Cobb, wet but composed, sits, turning Saito's gun in his + hand. Nash holds Saito's arms behind him. Outside, the + sounds of RIOTING grow louder. + + COBB + You came prepared. + + SAITO + I bring the gun because not even my + head of security knows this + apartment. How did you find it? + 14. + + + Arthur, at the window, looks out at the WORSENING VIOLENCE. + + COBB + Hard for a man in your position to + keep a love nest totally secret... + particularly when there's a married + woman involved. + + SAITO + She would never -- + + COBB + And yet, here we are. + + Saito is silent. + + COBB + With a dilemma. + + SAITO + You got what you came for. + + COBB + Not quite. The key piece of + information wasn't there, was it, + Mr. Saito? + + Arthur looks over at Cobb, worried. + + ARTHUR + They're getting closer, Cobb. + + CUT TO: + + +34 INT. BULLET TRAIN COMPARTMENT - DAY 34 + + Todashi slips a pair of HEADPHONES over Nash's ears, then + pulls out an MP3 player and we -- + + CUT TO: + + +35 INT. DILAPIDATED HOTEL ROOM - DAY 35 + + Saito's eyes are on the floor. + + COBB + You held something back because you + knew what we were up to -- + + Cobb uses the barrel of the gun to raise Saito's chin. + 15. + + + COBB + So why let us in at all? + + Saito smiles, defiant. VIOLENT NOISES echo up the stairway. + + SAITO + An audition. + + COBB + Audition for what? + + SAITO + It doesn't matter. You failed. + + COBB + I extracted all the information you + had in there. + + SAITO + But your deception was readily + apparent. + + And we -- + + CUT TO: + + +36 INT. BULLET TRAIN COMPARTMENT - DAY 36 + + Todashi opens the SILVER BRIEFCASE, revealing the complex + mechanism of syringes and controllers, FOUR CONTROLLERS + DISPLAY COUNTDOWNS. + + Todashi waits for the first countdown to hit "30," then + HITS PLAY on the MP3 player. He watches Nash's sleeping + face as he RAISES the volume -- + + Through Nash's headphones: the opening bars of Edith Piaf's + "Non, je ne regrette rien," and we -- + + CUT TO: + + +37 INT. DILAPIDATED HOTEL ROOM - DAY 37 + + In the distant background, strange MASSIVE low-end MUSICAL + start, sounding like DISTANT HORNS. + + SAITO + So leave me and go. + + COBB + 16. + + + You know the corporation who hired + us won't accept failure. We won't + last two days -- + + The DISTANT, SLOWED-DOWN MUSIC is becoming LOUDER, as are + the SHOUTS coming up the stairs. Arthur looks at his watch, + its SLOW SECOND TICKING MARKS TIME WITH THE MASSIVE MUSIC. + + ARTHUR + Come on, Cobb. + + COBB + So now I have to do this the old, + fashioned way -- + + Cobb GRABS SAITO AND PUTS HIS HEAD TO THE FLOOR, gun + pressed into his cheek. Saito looks into Cobb's eyes, sees + he will pull the trigger. Saito BLINKS, looks away in + shame. + + When he NOTICES SOMETHING. And starts LAUGHING. + + SAITO + I've always hated this carpet. + + Cobb's eyes flick to the carpet and back. + + SAITO + It's stained and frayed in such + distinctive ways -- + + Cobb looks up at Nash, who shrugs, at a loss. + + SAITO + But very definitely made of wool. + Right now I'm lying on polyester. + + Cobb glares at Nash, and we -- + + CUT TO: + + +38 INT. BULLET TRAIN COMPARTMENT - DAY 38 + + Todashi watches the first of the countdowns hit ZERO. He + looks up at Arthur, STIRRING, and we -- + + CUT TO: + + +39 INT. DILAPIDATED HOTEL ROOM - DAY 39 + 17. + + + Saito turns from the carpet to look up at Cobb. + + SAITO + Which means I'm not lying on my + carpet, in my apartment -- + (smiles) + You've lived up to your reputation, + Mr. Cobb -- I'm still dreaming. + + Cobb looks over to Arthur, but ARTHUR HAS VANISHED, and we + -- + + CUT TO: + + +40 INT. BULLET TRAIN COMPARTMENT - DAY 40 + + Arthur's eyes flicker open, AWAKE. He RIPS at his tubes. + + TODASHI + How'd it go? + + ARTHUR + Not good. + + Arthur checks the remaining three countdowns, and we -- + + CUT TO: + + +41 INT. DILAPIDATED HOTEL ROOM - DAY 41 + + Saito gets to his feet, looking admiringly at Cobb. + + SAITO + A dream within a dream -- I'm + impressed. + + Cobb lowers the gun. Defeated. Glances at his watch. The + music REVERBERATES, the RIOTERS BANG ON THE DOOR, and we -- + + CUT TO: + + +42 INT. BULLET TRAIN COMPARTMENT - DAY 42 + + Arthur retracts the tubes into the case as he watches the + next countdown hit ZERO, and we -- + + CUT TO: + 18. + + +43 INT. DILAPIDATED HOTEL ROOM - DAY 43 + + Another BANG on the door. Saito, confident now, approaches + Cobb. Nash is behind Saito. + + SAITO + But in my dream, we really ought to + be playing by my rules -- + + NASH + Ah, yes, but you see, Mr. Saito -- + + Saito turns to Nash. + + COBB + We're not in your dream -- + + Saito turns back to Cobb, BUT COBB HAS VANISHED. + + NASH + We're in mine. + + Saito SPINS back to Nash, the DOOR SMASHES OFF ITS HINGES + AS RIOTERS POUR INTO THE ROOM, SWARMING OVER NASH BUT NASH + IS GONE. The music DIES. Saito and the rioters stand there + in the SILENCE, the light DWINDLING and we -- + + CUT TO: + + +44 INT. BULLET TRAIN COMPARTMENT - DAY 44 + + Nash' eyes open, AWAKE. + + ARTHUR (O.S.) + Asshole! + + Nash BLINKS. Arthur is in his face, furious. + + ARTHUR + How could you get the carpet + wrong?! + + NASH + It wasn't my fault! + + ARTHUR + You're the architect -- + + NASH + I didn't know he was going to rub + his damn cheek on it! + 19. + + + Cobb pulls Arthur away from Nash. + + COBB + Lets go. + + ARTHUR + And you, what the hell was all + that? + + COBB + I had it under control. + + ARTHUR + I'd hate to see out of control -- + + COBB + There's no time for this, I'm + getting off at Kyoto. + + ARTHUR + Why? He's not gonna search every + compartment. + + COBB + I can't stand trains. + + Arthur moves to the briefcase. Turns a dial. + + ARTHUR + I can keep him under for one minute + -- + + Arthur hits a button, A PLUNGER DEPRESSES. Cobb RIPS the + tape off Saito's wrist, ROLLS up his tubes. Arthur SLAMS + the silver case shut. Todashi pulls open the door. + + COBB + Every man for himself. + + Arthur and Nash EXIT, heading in different directions down + the corridor. Cobb hands Todashi a thick roll of CASH, + looks at Saito, who stirs. Cobb moves off. + + +45 EXT. JAPANESE COUNTRYSIDE - CONTINUOUS 45 + + The BULLET TRAIN speeds through the lush landscape. + + +46 INT. BULLET TRAIN COMPARTMENT - CONTINUOUS 46 + 20. + + + Saito WAKES GENTLY. Looks around the compartment, empty but + for Todashi, reading a comic. Saito looks down at his + wrist. Sees a small mark. Rubs it. SMILES. + + +47 EXT. TOKYO - DUSK 47 + + Moving over the vast city towards a high rise. A HELICOPTER + thumps into frame, heading for a pad on the roof. + + +48 INT. APARTMENT - TOKYO - CONTINUOUS 48 + + Cobb sits, waiting. Checks his watch, restless. He pulls a + HANDGUN. Checks it is loaded. places it on the table in + front of him. Pulls out a PEWTER SPINNING TOP, SPINS it on + the table. He INTENT STUDIES the top's spin. As he stares, + the sound of a FREIGHT TRAIN builds and builds, the top + WOBBLES, TIPS onto its side, the sound of the train STOPS. + The PHONE RINGS. Cobb GRABS it. + + CHILDREN'S VOICES (OVER PHONE) + Hi, Daddy! Hi, Dad. + + COBB + Hey, guys. How are you? + + CHILDREN'S VOICES (OVER PHONE) + Good. Okay, I guess. + + Cobb closes his eyes, trying to picture his children: + INSERT CUT: COBB's MEMORY, a LITTLE BLONDE BOY (3), back + towards us, crouches IN A GARDEN, looks at something in the + grass. + + COBB + Who's just okay? Was that James? + + JAMES (OVER PHONE) + Yeah. When are you coming home? + + COBB + I can't. Not for a while. + + INSERT CUT: A LITTLE BLONDE GIRL (5), also FACE UNSEEN, + joins JAMES, CROUCHING BESIDE HIM. + + JAMES (OVER PHONE) + Why? + + COBB + Well, James, like I've told you -- + I'm away because I'm working -- + 21. + + + LITTLE GIRL (OVER PHONE) + Grandma says you're never coming + back. + +Cobb pauses. Takes a breath. + +INSERT CUT: James and Philippa, FACES UNSEEN, lift their +heads from the grass, responding to someone's call, they +RUN AWAY FROM US ACROSS THE GARDEN. + + COBB + Philippa, can you ask Grandma to + pick up the phone -- + + PHILIPPA (OVER PHONE) + She's shaking her head. + +Cobb TENSES, as if about to SMASH the phone. + + COBB + Well, we'll just have to hope + Grandma's wrong about that won't + we? + + JAMES + (over phone) + Daddy? + + COBB + Yes? + + JAMES (OVER PHONE) + Is Mommy with you? + +Cobb looks like he just got punched. + +INSERT CUT: COBB'S MEMORY - MAL, WIND BLOWING HER HAIR, +SMILES CALMLY. + + COBB + No. No, we talked about this, + James. Mommy's gone. + + JAMES (OVER PHONE) + Where? + + GRANDMA'S VOICE (OVER PHONE) + Time to go, kids. Say bye, bye. + + COBB + I'll give some presents to Grandpa, + okay? Just be good for -- + 22. + + + Cobb STARES at the dead phone. Then DOWNS his drink, A + KNOCK at the door. Cobb GRABS the top, the gun, MOVES to + the door, cracks it: Arthur. + + ARTHUR + Our ride's on the roof. + + Cobb nods. Moves to pick up his bag. Arthur watches. + + ARTHUR + Cobb -- are you okay? + + Cobb looks up. + + COBB + Yeah, why? + + ARTHUR + Down in the dream -- Mal showing up + like that -- + + COBB + Yeah. I'm sorry about your leg. + + ARTHUR + It's getting worse, isn't it? + + COBB + One apology's all you're getting, + Arthur. Now, where's Nash? + + ARTHUR + Hasn't shown. Wanna wait? + + COBB + (shakes head) + We were supposed to deliver Saito's + expansion plans to Cobol + Engineering two hours ago. By now + they know we failed. Time to + disappear. + + +49 INT. CORRIDOR - CONTINUOUS 49 + + Cobb and Arthur head towards the elevator. + + ARTHUR + Where will you go? + + COBB + 23. + + + Buenos Aires. I can lie low there. + Maybe sniff out a job when things + quiet down. You? + + ARTHUR + Stateside. + + COBB + (wistful) + 'Course. Send my regards. + + Arthur looks at Cobb. Nods. Sympathetic. + + +50 EXT. ROOFTOP HELIPAD - NIGHT 50 + + The HELICOPTER sits, ROTORS SPINNING. As Cobb and Arthur + reach the door, it SLIDES OPEN. Cobb steps up into the + leather-padded interior. He freezes. + + +51 INT. HELICOPTER ON PAD - CONTINUOUS 51 + + Nash, BEATEN BLOODY, sits on the far side, slumped against + the wine. Beside him: SAITO. He nods politely at Cobb. + + SAITO + He sold you out. Thought to come to + me and bargain for his life -- + + Saito's BODYGUARD offers Cobb a GUN. + + SAITO + So I offer you the satisfaction. + + COBB + That's not how I deal with things. + + SAITO + Would you work with him again? + + Cobb shakes his head. Saito's BODYGUARDS PULL Nash from the + chopper. Saito motions Cobb and Arthur to sit. The chopper + RISES. Cobb watches Nash DRAGGED across the pad. + + COBB + What will you do to him? + + SAITO + Nothing. But I can't speak for your + friends from Cobol Engineering. + + Saito looks out at the city slipping by. + 24. + + + COBB + What do you want from us? + + SAITO + Inception. + +Arthur raises his eyebrows. Cobb is poker-faced. + + SAITO + Is it possible? + + ARTHUR + Of course not. + + SAITO + If you can steal an idea from + someone's mind, why can't you plant + one there instead? + + ARTHUR + Okay, here's planting an idea: I + say to you, "Don't think about + elephants." + + ARTHUR + (Saito nods) + What are you thinking about? + + SAITO + Elephants. + + ARTHUR + Right. But it's not your idea + because you know I gave it to you. + + SAITO + You could plant it subconsciously. + + ARTHUR + The subject's mind can always trace + the genesis of the idea. True + inspiration is impossible to fake. + + COBB + No, it isn't. + + SAITO + Can you do it? + + COBB + I won't do it. + + SAITO + 25. + + + In exchange, I'll give you the + information you were paid to steal. + + COBB + Are you giving me a choice? Because + I can find my own way to square + things with Cobol. + + SAITO + Then you do have a choice. + + COBB + And I choose to leave. + + +52 EXT. AIRFIELD - MOMENTS LATER 52 + + The helicopter sets down next to a PRIVATE JET. + + +53 INT. HELICOPTER - CONTINUOUS 53 + + Saito indicates the plane. + + SAITO + Tell the crew where you want to go, + they'll file the plan en route. + + Cobb and Arthur look at each other. Then move for the door. + + SAITO + Mr. Cobb--? There is one other + thing I could offer you. + (Cobb stops) + How would you like to go home? To + America. To your children. + + Cobb turns back to Saito. + + COBB + You can't fix that. Nobody could. + + SAITO + Just like inception. + + Cobb considers this. Arthur touches his arm. + + ARTHUR + Cobb, come on -- + + COBB + How complex is the idea? + 26. + + + SAITO + Simple enough. + + COBB + No idea's simple when you have to + plant it in someone else's mind. + + SAITO + My main competitor is an old man in + poor health. His son will soon + inherit control of the corporation. + I need him to decide to break up + his father's empire. Against his + own self-interest. + + ARTHUR + Cobb, we should walk away from + this. + + COBB + If I were to do it. If I could do + it... how do I know you can + deliver? + + SAITO + You don't. But I can. So do you + want to take a leap of faith, or + become an old man, filled with + regret, waiting to die alone? + + Cobb looks at Saito. Barely nods. + + SAITO + Assemble your team, Mr. Cobb. And + choose your people more wisely. + + +54 INT. PRIVATE JET - LATER 54 + + Cobb reclines his seat. Arthur picks at a salad, angry. + + ARTHUR + I know how much you want to go home + -- + + COBB + (sharp) + No, you don't. + + ARTHUR + But this can't be done. + + COBB + 27. + + + It can. You just have to go deep + enough. + + ARTHUR + You don't know that! + + COBB + I've done it before. + + Arthur is taken aback. Cobb turns to the window. + + ARTHUR + Did it work? + + COBB + (quiet) + Yes. + + ARTHUR + Who did you do it to? + + Cobb looks at Arthur. Closed. Arthur shrugs. + + ARTHUR + So why are we headed to Paris? + + COBB + We're going to need a new + architect. + + +55 INT. GREAT HALL - ÉCOLE D'ARCHITECTURE - MORNING 55 + + Cobb, carrying a shopping bag, looks into a lecture hall: + no students, just a RUMPLED PROFESSOR hunched over + paperwork. + + +56 INT. LECTURE HALL - CONTINUOUS 56 + + COBB (O.S.) + You never did like your office. + + PROFESSOR MILES looks up, squinting. Recognizes Cobb. + + MILES + No space to think in that broom + cupboard. + + Cobb steps down past the empty wooden rows. + + MILES + 28. + + + Is it safe for you to be here? + + COBB + Extradition between France and the + U.S. is a bureaucratic nightmare. + + MILES + I think they'd find a way to make + it work in your case. + +Cobb hand Miles the shopping bag. + + COBB + Can you take these back for the + kids? + + MILES + It'll take more than the occasional + stuffed animal to convince those + children they still have a father. + + COBB + I know. I thought you could talk to + Marie about bringing them on + vacation. Somewhere I could meet -- + + MILES + Why would she listen to me? + + COBB + You were married for twenty years. + + MILES + She blames me as much as you. + + COBB + Doesn't she understand that my kids + need me? + + MILES + Yes, she does. We all do. Go back + and face the music, Dom. Explain + what Mal did. + + COBB + Be realistic, Stephen. They'd never + understand -- they'd lock me up and + throwaway the key. Or worse. + + MILES + You think what you're doing now is + helping your case? + 29. + + + COBB + Lawyers don't pay for themselves. + This is what I have. This is what + you taught me. + + MILES + I never taught you to be a thief. + + COBB + No, you taught me to navigate other + people's minds. But after what + happened with Mal there weren't a + whole lot of legitimate ways for me + to use that skill. + +Miles looks at Cobb. + + MILES + Why did you come here, Dom? + +Cobb shifts slightly. + + COBB + I found a way home. A job. For + powerful people. If I pull it off, + I can get back to my family. But I + need help. + +Miles realizes something. + + MILES + My God. You're here to corrupt one + of my brightest and best. + + COBB + If you have someone good enough, + you have to let them decide for + themselves. You know what I'm + offering -- + + MILES + Money? + + COBB + No, not just money: the chance to + build cathedrals, entire cities -- + things that have never existed, + things that couldn't exist in the + real world -- + + MILES + 30. + + + Everybody dreams, Cobb. Architects + are supposed to make those dreams + real. + + COBB + That's not what you used to say. + You told me that in the real world + I'd be building attic conversions + and gas stations. You said that if + I mastered the dream-share I'd have + a whole new way of creating and + showing people my creations. You + told me it would free me. + +Miles looks at Cobb, sad. + + MILES + And I'm sorry. I was wrong. + + COBB + No, you weren't. Your vision was a + vision of pure creativity. It's + where we took it that was wrong. + + MILES + And now you want me to let someone + else follow you into fantasy. + + COBB + They won't actually come on the + job, they'll just design the levels + and teach them to the dreamers. + + MILES + Design them yourself. + + COBB + Mal won't let me. + +Miles looks at Cobb. Appalled. + + MILES + Come back to reality, Dom. Please. + + COBB + You want to know what's real, + Stephen? Your grandchildren waiting + for their dad to come back. + + COBB + This job, this last job, is how I + get there. + 31. + + + Miles looks down, fiddles with his papers. + + COBB + I wouldn't be standing here if + there were any other way. I can get + home. But I need an architect who's + as good as I was. + + Miles looks Cobb in the eye. Decides. + + MILES + I've got someone better. + + +57 INT. CORRIDOR - LATER 57 + + Miles and Cobb stand by as STUDENTS file out of a lecture. + + MILES + Ariadne -- + + A young woman carrying books turns. This is ARIADNE. + + MILES + I'd like you to meet Mr. Cobb. + + She sizes him up with quick eyes. Offers her hand. + + ARIADNE + Pleased to meet you. + + MILES + If you have a few moments, Mr. Cobb + has a job offer to discuss with + you. + + ARIADNE + A work placement? + + COBB + (smiles Not exactly.) + + +58 EXT. ROOFTOP - ÉCOLE D'ARCHITECTURE - MOMENTS LATER 58 + + Ariadne leans against the parapet, overlooking Paris. She + unwraps a sandwich, watching Cobb pull out a pad of GRAPH + PAPER and a PEN. He offers them. She bites her sandwich. + + COBB + A test. + 32. + + + ARIADNE + (mouth full) + Aren't you going to tell me + anything? + + COBB + Before I describe the job, I have + to know you could do it. + + ARIADNE + Why? + + COBB + It's not, strictly speaking, legal. + +Ariadne raises her eyebrows. + + COBB + You have two minutes to draw a maze + that takes me one minute to solve. + +Ariadne takes the pad and pen. Cobb looks at his watch. + + COBB + Go. + +She starts DRAWING LINES on the grid, constructing a maze. + + COBB + Stop. + +Ariadne hands the pad and pen to Cobb. He glances at the +pad, then, looking her in the eye, TRACES the solution. She +is taken aback. Cobb RIPS off the sheet, hands the pad +back. + + COBB + Again. + +She traces straight lines, CONCENTRATING. + + COBB + Stop. + +She hands Cobb the pad, a touch pleased. Cobb solves the +puzzle instantly, as before. Her smile falls. + + COBB + You'll have to -- + +She GRABS the pad, frustrated but this time she FLIPS it +over and starts drawing on the BLANK CARDBOARD of the back. + 33. + + + Cobb watches, surprised. He smiles as he sees that she's + drawing CIRCLES, creating a maze based on concentric rings. + + Ariadne hands back the pad, defiant. Cobb takes the pen, + starts the maze. This time he gets stuck. Nods. + + COBB + (working the maze) + More like it. + + +59 EXT. NARROW STREET - PARIS - DAY 59 + + Arthur stops at a warehouse door. Consults a piece of + paper. + + +60 INT. WORKSHOP - CONTINUOUS 60 + + A large, dusty warehouse. The SLIDING DOOR cracks open. + Arthur enters. Looks around, approvingly. + + +61 INT. SAME - LATER 61 + + Arthur DRAGS LAWN CHAIRS into the middle of the room. He + erects a table. Lays out several SILVER CASES, unpacking + them, laying out lines of tubing, MECHANISMS. + + +62 EXT. PARISIAN CAFE - DAY 62 + + Cobb and Ariadne sit at an outdoor table. + + COBB + They say we only use a fraction of + the true potential of our brains -- + but they're talking about when + we're awake. While we dream, the + mind performs wonders. + + ARIADNE + Such as? + + COBB + How do you imagine a building? You + consciously create each aspect, + puzzling over it in stages -- But + sometimes, when your imagination + flies- + + ARIADNE + I'm discovering it. + 34. + + + COBB + Exactly. Genuine inspiration. + +Cobb leans forwards and draws on the paper table cloth. + + COBB + In a dream your mind continuously + does that -- + +Cobb has drawn a circle made of two arrows. + + COBB + It creates and perceives a world + simultaneously. So well that you + don't feel your brain doing the + creating. That's why we can short- + circuit the process -- + + ARIADNE + How? + + COBB + By taking over the creating part. + +Cobb draws a straight line between the two arrows. + + COBB + This is where you come in. You + build the world of the dream. We + take the subject into that dream, + and let him £111 it with his + subconscious + + ARIADNE + But are you trying to fool him that + the dream is actually real life? + + COBB + (nods) + While we're in there, We don't want + him to realize he's dreaming. + + ARIADNE + How could I ever get enough detail + to Convince him that it's real? + + COBB + Our dreams reel real while we're in + them. It's only when we wake up we + realize things were strange, + +Ariadne gestures around them. + 35. + + + ARIADNE + But all the textures of real life, + the stone, the fabric, cars, + people, your mind can't create all + this. + + COBB + It does. Every time you dream. Let + me ask you a question: You never + remember the beginning of your + dreams, do you? You just turn up in + the middle of what's going on. + + ARIADNE + I guess. + + COBB + So -- how did we end up at this + restaurant? + + ARIADNE + We came here from -- + +Ariadne trails off, confused. + + COBB + How did we get here? Where are we? + +Ariadne THINKS, unable to remember. A FAINT RUMBLE begins. + + ARIADNE + Oh my God. We're dreaming. + +Cobb nods. The RUMBLE is BUILDING. + + COBB + Stay calm. We're actually asleep in + the workshop. This is your first + lesson in shared dreaming, + remember? + +Ariadne looks around, mind REELING. Cobb BRACES. + +The restaurant VIOLENTLY FRAGMENTS, EXPLODING AND IMPLODING +PARTICLES OF FURNITURE, WALLS, PEOPLE FLYING AROUND. +Ariadne WONDERS at the MAYHEM WHIRLING around them, Cobb +SHIELDS his head against the debris. She sees him. + + ARIADNE + (shouting over noise) + If it's just a dream, why are you + covering your -- + 36. + + + Ariadne is WIPED FROM HER SEAT BY A MASSIVE BLAST and we -- + + CUT TO: + + +63 INT. WORKSHOP - DAY 63 + + Ariadne JOLTS awake. + + COBB (O.S.) + Because it's never just a dream. + + Ariadne turns to Cobb's voice. They are both sitting in the + lawn chairs. Arthur watches over them. + + COBB + And a face full of glass hurts like + hell, doesn't it? While we're in + it, it's real. + + ARTHUR + That's why the military developed + dream sharing, a training program + where soldiers could strangle, stab + and shoot each other, then wake up. + + ARIADNE + How did architects get involved? + + COBB + Someone had to design the dreams. + (to Arthur) + Let's go another five minutes -- + + ARIADNE + We were only asleep for five + minutes? We talked for an hour at + least -- + + COBB + When you dream, your mind functions + more quickly, so time seems to pass + more slowly. + + ARTHUR + Five minutes in the real world + gives you an hour in the dream. + + COBB + Let's see how much trouble you can + cause in five minutes. + + And we -- + 37. + + + CUT TO: + + +64 EXT. SAME PARISIAN STREET - DAY 64 + + Ariadne walks down the crowded street with Cobb. Cobb looks + around at the street, the cafe, approving. + + COBB + It's good. You've got the cafe, the + layout -- you forgot the book shop + but pretty much everything else is + here. + + Ariadne looks at the passers-by. + + ARIADNE + Who are the people? + + COBB + They're projections of my + subconscious. + + ARIADNE + Yours? + + COBB + Sure, you are the dreamer, I am the + subject. My subconscious populates + your world. That's one way we get + at a subject's thoughts, his mind + creates the people, so we can + literally talk to his subconscious. + + ARIADNE + How else do you do it? + + COBB + Architecture. Build a bank vault or + a jail, something secure, and the + subject's mind will fill it with + information he's trying to protect. + + ARIADNE + Then you break in and steal it. + + COBB + Exactly. + + Ariadne wonders at the detail of the street. + + ARIADNE + 38. + + + I love the concrete sense of things + -- + (stamps foot) + Real weight, you know? I thought a + dream space would be all about the + visual, but it's the feel of + things. Question is, what happens + as you start to mess with physics - + - + +She CONCENTRATES on the street. The street starts to BEND +IN HALF, the buildings on either side FOLDING IN until they +form the INSIDE OF A CUBE OF CITY, GRAVITY FUNCTIONING +INDEPENDENTLY ON EACH PLANE. Ariadne looks up (or down) at +the people on the opposite city surface. Cobb watches her +excitement. + + ARIADNE + It's something, isn't it? + + COBB + (quiet) + Yes. It is. + +As they walk, Ariadne notices more and more of the +projections STARING at her. + + ARIADNE + Why are they looking at me? + + COBB + Because you're changing things. My + subconscious feels that someone + else is creating the world. The + more you change things, the quicker + the projections converge on you. + + ARIADNE + Converge? + + COBB + They feel the foreign nature of the + dreamer, and attack-like white + blood cells fighting an infection. + + ARIADNE + They're going to attack us? + + COBB + Just you, actually. + 39. + + +They walk along the street to where it joins the next +gravitational plane. They step up onto the different plane +and walk down the street towards a river. As Ariadne +approaches, steps emerge from the flagstone, and she leads +Cobb up onto a small jetty. As she concentrates, pillars +emerge and a BRIDGE starts to telescope out from the jetty. +They step onto it as it grows. Cobb is impressed. + + COBB + It's beautiful -- but if you keep + on changing things -- + +People crossing the bridge STARE at Ariadne. Several of +them BUMP her shoulder as they pass. + + ARIADNE + Mind telling your subconscious to + take it easy? + + COBB + That's why it's called + subconscious. I don't control it. + +The bridge now spans the Seine. Cobb marvels at it. + + COBB + Arched stone, iron pillars -- it's + -- + +Cobb pauses, thinking. Remembering. + +INSERT CUT: Mal, hair blowing, turns to Cobb, smiling, +laughing. He smiles back. They are on the same bridge. + + COBB + I know this bridge. This place is + real -- + (serious) + You didn't imagine it, you + remembered it -- + + ARIADNE + (nods) + I cross it every day on my way to + the college. + + COBB + Never recreate places from your + memory. Always imagine new places. + + ARIADNE + You have to draw from what you know + -- + 40. + + + COBB + (tense) + Use pieces, a streetlamp, + phonebooths, a type of brick-not + whole areas. + +Several people around them ECHO Cobb's attitude. + + ARIADNE + Why not? + + COBB + Because building dreams out of your + own memories is the surest way to + lose your grip on what's real and + what's a dream. + + ARIADNE + Did that happen to you? + +Cobb says nothing. He stands there, starinq at Ariadne. +PEOPLE around her stop and look at her, hostile. + + COBB + Look, this isn't about me -- + +Cobb reaches for Ariadne's arm, turns her to him. + + ARIADNE + Is that why you need me to build + your dreams? + +A passerby GRABS Ariadne's shoulder. + + COBB + Leave her alone. + +More of the crowd join in, PULLING at Ariadne, holding her +arms open. Cobb PULLS people off, the crowd PUSHES him +away. Cobb sees someone WALKING PURPOSEFULLY through the +crowd towards the helpless, Ariadne, it is Mal. She +approaches with even strides, Ariadne stares at her, +uneasy. + + ARIADNE + Wake me up, Cobb. + +As Mal walks, she pulls out a LARGE KNIFE. + + COBB + Mal, no! + + ARIADNE + 41. + + + Wake me up! + + Ariadne SCREAMS as Mal LUNGES at her with the knife and we + -- + + CUT TO: + + +65 INT. WORKSHOP - DAY 65 + + Ariadne WAKES, BREATHING HARD. Arthur moves to her. + + ARTHUR + It's okay. + + ARIADNE + Why couldn't I wake? + + ARTHUR + The only way to wake from inside + the dream is to die. + + Cobb, in the lawn chair opposite, PULLS his tubes out. + + COBB + She'll need a totem. + + ARIADNE + What? + + ARTHUR + Some kind of personal icon. A small + object that you can always have + with you, and that no one else + knows, + + Cobb gets to his feet, Ariadne stares at him, furious. He + heads to the bathroom. + + ARIADNE + That's some subconscious you've + got, Cobb. + (calls after him) + She's a real charmer! + + ARTHUR + Sounds like you've met Mrs. Cobb. + + ARIADNE + (surprised) + She's his wife? + + Arthur nods, pulling off Ariadne's tubes. + 42. + + + ARTHUR + So. A totem. You need something + small, potentially heavy -- + + +66 INT. BATHROOM - WORKSHOP - CONTINUOUS 66 + + Cobb takes out his PEWTER SPINNING TOP, SPINS it on the + marble counter. + + +67 INT. WORKSHOP - CONTINUOUS 67 + + Ariadne looks at Arthur, puzzled. + + ARIADNE + Like a coin? + + ARTHUR + Too common. You need something that + has a weight or movement that only + you know. + + +68 INT. BATHROOM - WORKSHOP - CONTINUOUS 68 + + Cobb STUDIES the spin of the top as it decays, becoming + more and more ECCENTRIC. + + +69 INT. WORKSHOP - CONTINUOUS 69 + + ARIADNE + What's yours? + + Arthur holds out a DIE. + + ARTHUR + A loaded die. + + Ariadne reaches for it. Arthur snatches sit away. + + ARTHUR + I can't let you handle it. That's + the point. No one else can know the + weight or balance of it. + + ARIADNE + Why? + + ARTHUR + So when you examine your totem -- + 43. + + +70 INT. BATHROOM - WORKSHOP - CONTINUOUS 70 + + Cobb's spinning top WOBBLES OVER. + + ARTHUR (O.S.) + You know, beyond a doubt, that + you're not in someone else's dream. + + Cobb GRABS it like a drowning man reaching for a lifeline. + + +71 INT. WORKSHOP - CONTINUOUS 71 + + Ariadne thinks this over. + + ARIADNE + That's not an issue for me. + + ARTHUR + Why not? + + ARIADNE + Arthur, maybe you can't see what's + going on, maybe you don't want to. + But Cobb's got problems he's tried + to bury down there. I'm not going + to open my mind to someone like + that. + + Ariadne gets to her feet. Walks away. + + COBB (O.S.) + She'll be back. + + Arthur turns. Cobb is standing in the bathroom doorway. + + COBB + I've never seen anyone pick it up + so fast. And one reality won't be + enough for her now. When she comes + back, get her building mazes. + + ARTHUR + Where will you be? + + COBB + I've got to talk to Eames. + + ARTHUR + Eames? But he's in Mombasa. Cobol's + backyard. + + COBB + 44. + + + Necessary risk. + + ARTHUR + There are plenty of other thieves. + + COBB + We don't just need a thief. We need + a forger. + + +72 INT. GAMBLING DEN - MOMBASA - DAY 72 + + Crowded, bustling, smoke-filled. a westerner (40's), shabby + suit, is squeezed in at a dice game. This is EAMES. He + FIDDLES with his last two chips. + + COBB (O.S.) + Rub them against each other all you + like, they're not going to breed. + + Eames looks up to see Cobb. + + EAMES + You never know. + + Eames tosses down his last chips. The dice are rolled. + + COBB + Drink? + + Eames loses. + + EAMES + You're buying. + + Cobb follows Eames. Eames mysteriously produces two stacks + of chips and puts them down in front of the cashier. Cobb + pulls one off the top, squints at the embossed name. + + COBB + You're spelling hasn't improved. + + Eames GRABS the chip. Hands it to the cashier. + + EAMES + Piss off. + + COBB + How's your handwriting? + + Eames takes his money. Smiles at Cobb. + 45. + + + EAMES + Versatile. + + +73 INT. STREET - MOMBASA - CONTINUOUS 73 + + Eames leads Cobb down the quiet street. + + EAMES + Word is, you're not welcome in + these parts. + + COBB + Yeah? + + EAMES + There's a price on your head from + Cobol Engineering. Pretty big one, + actually. + + COBB + You wouldn't sell me out. + + Eames looks at Cobb, offended. + + EAMES + `Course I would. + + COBB + (smiles) + Not when you hear what I'm selling. + + +74 EXT. BALCONY OF A COFFEE HOUSE - LATER 74 + + A ramshackle balcony overlooking a bust street. Eames + pours. + + COBB + Inception. + + Eames's glass stops halfway to his mouth. + + COBB + Don't bother telling me it's + impossible. + + EAMES + It's perfectly possible. Just + bloody difficult. + + COBB + 46. + + +That's what I keep saying to +Arthur. + + EAMES +Arthur? You're still working with +that stick-in-the-mud? + + COBB +He's a good point man. + + EAMES +The best. But he has no +imagination. If you're going to +perform inception, you need +imagination. + + COBB +You've done it before? + + EAMES +Yeas and no. We tried it. Got the +idea in place, but it didn't take. + + COBB +You didn't plant it deep enough? + + EAMES +It's not just about depth. You need +the simplest version of the idea, +the one that will grow naturally in +the subject's mind. Subtle art. + + COBB +That's why I'm here. + + EAMES +What's the idea you need to plant? + + COBB +We want the heir to a major +corporation to break up his +father's empire. + + EAMES +See, right there you've got various +political motivations, anti- +monopolistic sentiment and so +forth. But all that stuff's at the +mercy of the subject's prejudice, +you have to go to the basic. + + COBB +Which is? + 47. + + + EAMES + The relationship with the father. + (downs drink) + Do you have a chemist? + +Cobb shakes his head. + + EAMES + There's a man here. Yusuf. He + formulates his own versions of the + compounds. + + COBB + Let's go see him. + + EAMES + Once you've lost your tail. + (Cobb reacts) + Back by the bar, blue tie. Came in + about two minutes after we did. + + COBB + Cobol Engineering? + + EAMES + They pretty much own Mombasa. + +Cobb glances over the balcony. + + COBB + Run interference. We'll meet + downstairs in half an hour. + + EAMES + Back here? + + COBB + Last place they'd expect. + +Eames downs his drink. Rises. Walks over to the +Businessman. + + EAMES + Freddy! + +The Businessman looks up, awkward. + + EAMES + Freddy Simmonds, it is you! + +Cobb nonchalantly SLIPS over the balcony DROPPING HARD into +the midst of the crowd on the street below. + 48. + + + EAMES + (looks harder) + Oh. No, it isn't. + + +75 EXT. STREET - MOMBASA - CONTINUOUS 75 + + Cobb stands up, PUSHES into the crowd, faces PEER at him, + he moves, trying to blend, TURNS a SECOND BUSINESS MAN is + there. + + COBB + (disarming smile) + Yes? + + SECOND BUSINESSMAN + We need to -- + + Cobb HEAD BUTTS the Second Businessman, PUSHES past him. + + The First Businessman races out of the bar, sees Cobb's + wake, DIVES after him. Cobb RACES headlong through tight + passageways, WEAVING through or KNOCKING into the locals. + + He steps into a dark, crowded cafe, scanning the tables, + the First Businessman enters, spots him. An AFRICAN MAN + gets in Cobb's face, jabbering at him in Swahili. Cobb + considers his options, the First Businessman DRAWS A GUN. + Cobb bolts, steps up on a table and out an open window, + SCRAMBLING into the alley outside. + + Cobb LOOKS left, right, CUTS LEFT into a narrow, CROWDED + alley, the alley NARROWS TO A DEAD END. Faces in the CROWD + start to watch Cobb, PEOPLE start to SURROUND him, Cobb + looks back the way he came, the two Businessmen are there, + GUNS DRAWN. + + Cobb sees a SMALL GAP between the buildings at the narrow + end, he THROWS himself into it, gets STUCK HALFWAY. + + The crowd bears down, GRABBING for him as Cobb struggles to + SQUEEZE HIMSELF through the gap. Cobb's moving INCHES as + his pursuers gain YARDS, the Crowd is upon him, he BURSTS + FREE. TUMBLING onto the next street, ROLLING out of sight. + + Cobb Jumps to his feet, in a market square. TWO MORE + BUSINESSMEN move towards him. Cobb BOLTS but a CAR SKIDS + UP, BLOCKS HIS PATH, the door opens, SAITO IS IN THE BACK. + + SAITO + Care for a lift, Mr. Cobb? + + COBB + 49. + + + (jumping in) + What brings you to Mombasa, Mr. + Saito? + + SAITO + I have to protect my investment. + + +76 EXT. COFFEE HOUSE - MOMENTS LATER 76 + + Eames stands on the pavement. The car pulls up. Cobb + beckons from the rear window. Eames looks at Saito. Back to + Cobb. + + EAMES + This is your idea of losing a tail? + + COBB + (shrugs) + Different tail. + + +77 INT. WORKSHOP - DAY 77 + + Arthur sits at the table, working on a mechanism. A small + COUGH prompts him to look up: Ariadne is there. + + ARTHUR + He said you'd be back. + + ARIADNE + I tried not to come. + + ARTHUR + But there's nothing else quite like + it. + + ARIADNE + No paper, no pens -- nothing + between you and raw, direct + creation. + + Arthur picks up his mechanism. + + ARTHUR + Shall we take a look at paradoxical + architecture? + + Ariadne nods, takes off her coat and we -- + + CUT TO: + 50. + + +78 INT. PENROSE STEPS - LATER 78 + + Arthur leads Ariadne down some busy steps in a large glass + and steel ATRIUM in an office complex. + + ARTHUR + You're going to have to master a + few tricks if you're going to build + three complete dream levels. + + A SECRETARY DROPS some papers as they pass. + + ARIADNE + What sort of tricks? + + They take a tight turn and continue down the next flight. + + ARTHUR + In a dream, you can cheat + architecture into impossible + shapes. + + ARTHUR + That lets you create closed loops, + like the Penrose Steps. The + infinite staircase. + + Ariadne FREEZES. THEY ARE IN THE EXACT SPOT THEY STARTED + DESCENDING FROM, next to the Secretary gathering her + papers. + + Ariadne puzzles at the impossible construction of the + stairs. + + ARTHUR + See -- + + Arthur stops her gently, they are on the highest step, with + a LARGE DROP to the next step. Arthur gestures at the drop. + + ARTHUR + Paradox. A closed loop like this + helps you disguise the boundaries + of the dream you've created. + + ARIADNE + How big do the levels have to be? + + ARTHUR + Anything from the floor of a + building, to an entire city. But it + has to be complicated enough for us + to hide from the projections. + 51. + + + ARIADNE + A maze. + + ARTHUR + And the better the maze -- + + ARIADNE + The longer we have before the + projections catch us. + +Ariadne looks around. Sees people LOOKING at Arthur. + + ARIADNE + My subconscious seems polite + enough. + + ARTHUR + You wait, they'll turn ugly. No one + likes to see someone else messing + around in their mind. + + ARIADNE + Cobb can't build anymore, can he? + + ARTHUR + I don't know if he can't, but he + won't. He thinks it's safer if he + doesn't know the layouts. + + ARIADNE + Why? + + ARTHUR + He won't tell me. I think it's Mal. + I think she's getting stronger. + + ARIADNE + His ex-wife? + + ARTHUR + She's not his ex. + + ARIADNE + They're still together? + +Arthur turns to Ariadne. Gentle. + + ARTHUR + No. No, she's dead, Ariadne. What + you see in there is just his + projection of her. + + ARIADNE + 52. + + + What was she like in real life? + + ARTHUR + (quiet) + She was lovely. + + CUT TO: + + +79 EXT. ROOFTOP - OLD TOWN - MOMBASA - DAY 79 + + Saito deposits a FILE in front of Cobb: PHOTOS, DOCUMENTS. + As Cobb runs through them, he passes them to Eames. + + SAITO + Robert Fischer, 32. Heir to the + Fischer Morrow energy conglomerate. + He's spent his whole life being + groomed as successor-breaking up + his father's empire will take a + radical shift in his thinking. + + COBB + What's your problem with Fischer? + + SAITO + That's not your concern. + + COBB + This isn't the usual corporate + espionage, Mr. Saito. This is + inception. The seed of the idea we + plant will grow in this man's mind. + It'll change him. It might even + come to define him. + + Saito looks at Cobb. + + SAITO + My sources suggest you might not + have always been so cautious. + + COBB + Then you need new sources, Mr. + Saito. + + Saito considers Cobb. Shrugs. + + SAITO + 53. + + + Fischer Morrow has the regulators + in their pockets. We're the last + company standing between them and + total energy dominance and we can + no longer compete. Soon they'll + control the energy supply of half + the world. They'll be able to + blackmail governments, dictate + policy. In effect, they become a + new superpower. The world needs + Robert Fischer to change his mind. + + EAMES + That's where we come in. How's + Robert Fischer's relationship to + his father? + + SAITO + Rumor is the relationship is + complicated. + + COBB + We'll need more than rumor, Mr. + Saito. + + Eames picks up a photo: a distinguished executive (68). + + EAMES + Can you get me access to him? + Browning. Fischer senior's right- + hand man. Fischer junior's + godfather. + + SAITO + It should be possible. If you can + get the right references. + + EAMES + References are something of a + specialty for me, Mr. Saito. + + +80 EXT. DECREPIT BUILDING - MOMBASA - LATER 80 + + Eames leads Cobb and Saito down uneven steps to a doorway. + + +81 INT. STAIRWELL - CONTINUOUS 81 + + Peeling paint, buzzing flies. They ascend to a dusty, wire, + reinforced glass door which Eames pushes open. + 54. + + +82 INT. PHARMACY - CONTINUOUS 82 + + Row upon row of wooden shelves holding hundreds of dusty + glass bottles of all shapes and colors. At the far end, a + portly 40-year-old man rises from behind his desk, + beckoning. + + This is YUSUF. + + YUSUF + Come, come. + + Eames shakes Yusuf's hand. Yusuf stops at Cobb. + + YUSUF + Ah, yes. Mr. Cobb. I've heard so + very much about you. + (indicates chairs) + please. + + Yusuf chases a CAT off Saito's chair. + + YUSUF + Bloody cats. + + Yusuf moves to a shelf and runs his fingers over the glass + bottles. None of them has a label. + + YUSUF + You work using Somnacin, I think, + Mr. Cobb? + + COBB + You're well informed, Mr. Yusuf. + + Yusuf places a bottle on the desk in front of Cobb. + + COBB + (dubious) + Somnacin? + + YUSUF + (proudly) + Yusuf's Somnacin. + + Yusuf pulls the stopper, holds it towards Cobb's nose. + + COBB + As good as the real thing? + + Yusuf WHIPS the bottle away from Cobb, offended. + 55. + + + YUSUF + Better. + +Yusuf holds the bottle to the light, marveling. + + YUSUF + Binds the dreamers tight. Let's + them dream as one. Makes it real. + Of course, if you'd prefer, you + could use Somnacin brand. If you + could explain to the international + control council what you wanted it + for. + +Yusuf puts the bottle back onto the shelf. Sits. + + YUSUF + You are seeking a chemist? + (Cobb nods) + To formulate compounds for a job? + + COBB + And to come into the held with us. + + YUSUF + I rarely go into the held, Mr. + Cobb. + + COBB + We need you there to tailor + compounds to our particular + requirements. + + YUSUF + Which are? + + COBB + Great depth. + + YUSUF + A dream within a dream? Two levels? + + COBB + Three. + + YUSUF + Not possible. That many dreams + within dreams would be too + unstable. + + COBB + I've done it before. You just have + to add a sedative. + 56. + + + YUSUF + A powerful sedative. How many team + members? + + COBB + Five. + + SAITO + Six. + (to Cobb) + The only way to know you've done + the job is if I go in with you. + + COBB + There's no room for tourists on + these jobs, Mr. Saito. + + SAITO + This time, it would seem there is. + + Cobb looks at him, uneasy. Yusuf pulls out another bottle. + + YUSUF + Of course. I use it every day. + + Yusuf hands it to Cobb, who considers the white liquid + inside. + + COBB + For what? + + Yusuf beckons them further into the pharmacy, to a METAL + DOOR. He STOPS, second thoughts. + + YUSUF + Perhaps -- you will not want to + see. + + Cobb motions to continue. Yusuf pulls out a large key. + + +83 INT. BACK ROOM - PHARMACY - CONTINUOUS 83 + + A dark room with ROWS of low COTS. Each with a sleeping + occupant. Tubes connect their wrists. An ELDERLY BALD MAN + watches over them. + + EAMES + (counting) + Eighteen, twenty-all connected, + bloody hell. + + YUSUF + 57. + + + They come every day. To share the + dream. + +Yusuf nods at the Elderly Bald Man, who moves to the +nearest bed. Reaches out to the OCCUPANT. Gives his face a +FIRM SLAP. The sleeper does not even stir. + + YUSUF + See? Very stable. + + COBB + How long do they dream? + + YUSUF + Three, four hours. Every day. + + COBB + How long in dream time? + + YUSUF + With this compound -- about forty + hours. Each and every day. + +Saito surveys the room, appalled. + + SAITO + Why do they do it? + + YUSUF + Tell him, Mr. Cobb. + + COBB + After a while -- + (looks at Saito) + It becomes the only way you can + dream. + + YUSUF + Do you still dream, Mr. Cobb? + +Cobb STARES at the sleepers. Uneasy. + + EAMES + They come here every day to sleep? + + ELDERLY BALD MAN (O.S.) + No. + +Cobb turns to the Elderly Bald Man, who looks fondly at his +dreamers. + + ELDERLY BALD MAN + 58. + + + They come to be woken up -- the + dream has become their reality -- + + The Elderly Bald Man pokes a crooked finger at Cobb's + chest. + + ELDERLY BALD MAN + And who are you to say otherwise? + + Cobb STARES at the Elderly Bald Man. DISTURBED. Cobb turns + to Yusuf. TOSSES him the bottle. + + COBB + Let's see what you can do. + + +84 INT. SAME - MOMENTS LATER 84 + + Cobb is lying on an empty cot, asleep. Yusuf stands over + him. As we move in on Cobb's SLEEPING FACE we hear the + sound of a FREIGHT TRAIN, BUILDING, and we -- + + CUT TO: + + +85 EXT. WASTELAND - DAY 85 + + CLOSE ON Cobb's face as he lies, EYES CLOSED, cheek pressed + to a METAL RAIL. THE SOUND OF THE TRAIN IS DEAFENING. Cobb + is BREATHING, BREATHING, BREATHING, and we -- + + CUT TO: + + +86 INT. BACK ROOM - PHARMACY - DAY 86 + + Cobb's eyes open. Yusuf is watching him. + + YUSUF + Sharp, no? + + Cobb nods. Gets to his feet, looking around. + + +87 INT. BATHROOM - PHARMACY - CONTINUOUS 87 + + Cobb SPLASHES water on his face, breathing hard. + + INSERT CUT: A CURTAIN BILLOWS. MAL TURNS TO US, HAIR + BLOWING, SMILING. + 59. + + + Cobb fumbles in his pockets, pulls out his spinning top. He + tries to set it spinning on the back edge of the sink, but + it FALLS to the floor and rolls towards the door. Saito is + there. WATCHING Cobb. He looks down at the spinning top. + + SAITO + Everything alright, Mr. Cobb? + + Cobb dries his face with a paper towel. Picks up his top. + + COBB + Everything's fine. + + +88 INT. BACK ROOM - WORKSHOP - NIGHT 88 + + Close on a small BRASS CHESS PIECE. Ariadne tips it over. + Frowning, she picks up a micro drill, peels back the felt + on the bottom and widens a hole in one side of its base. + Tests the TIPPING POINT again. A NOISE makes her look up. + + +89 INT. WORKSHOP - CONTINUOUS 89 + + Ariadne comes into the main space. Someone is there, + unpacking one of the MECHANISMS. Cobb. + + ARIADNE + You're back. + + Cobb looks up with a start. Caught out. + + ARIADNE + Are you going under on your own? + + COBB + I just -- I need to test some + things. I didn't realize anyone was + here. + + ARIADNE + Just working on my totem. + + Ariadne holds up the chess piece. Cobb reaches for it. + + COBB + Let me see -- + + Ariadne SNAPS it out of his reach. Smiles. Cobb nods. + + COBB + You're learning. + 60. + + + ARIADNE + It's an elegant solution to keeping + track of reality. Your invention? + + COBB + No. Mal's. + +Cobb pulls out his spinning top. Looks at it. + + COBB + This one was hers. She'd spin it in + a dream and it would never topple. + Just spin and spin... + + ARIADNE + Arthur told me she died. + + COBB + She did. How are the mazes coming? + +Ariadne indicates three large ARCHITECTURAL MODELS. + + ARIADNE + Good. Each level relates to the + part of the subject's subconscious + we're trying to access. I'm making + the bottom level a hospital, so + that Fischer will bring his father + there -- + + COBB + Don't tell me. Remember, you only + want the dreamer to know the + layout. + + ARIADNE + Why's that so important? + + COBB + In case one of us brings in part of + our subconscious. You wouldn't want + any projections knowing the layout. + + ARIADNE + In case you bring Mal in. + +Cobb says nothing. + + ARIADNE + 61. + + + You won't build yourself because if + you know the maze, then she knows + it. And she'd sabotage the + operation. You can't keep her out, + can you? + +Cobb says nothing. + + ARIADNE + Do the others know? + + COBB + No. + + ARIADNE + You have to warn them if it's + getting worse -- + + COBB + (gentle) + I didn't say it's getting worse. + Look, Ariadne, I need them for this + job. I need you for this job. + Without your help, I'll never get + back to my children. And that's all + I can care about right now. + + ARIADNE + Why can't you go home, Cobb? + +Cobb looks at her, deciding what to say. + + COBB + They think I killed her. + + ARIADNE + How did she die? + +Cobb thinks. + +INSERT CUT: Mal, wind BLOWING her hair, smiles at Cobb. Now +we see Cobb, SHAKING HIS HEAD, TEARS STREAMING, BEGGING. + + COBB + Thank you. + + ARIADNE + For what? + + COBB + Not asking whether I did. + 62. + + +90 INT. WORKSHOP - DAY 90 + + Ariadne, Arthur, Yusuf, Eames and Saito sit around the + room, looking at FILES. Cobb presides. + + COBB + The mark is Robert Fischer, heir to + the Australian energy conglomerate, + Fischer Morrow. + + Cobb opens a large presentation pad. + + COBB (READS ALOUD) + "I WILL SPLIT UP MY FATHER'S + EMPIRE." + + Cobb turns to the team. + + COBB + An idea Robert Fischer's conscious + mind would never accept. We have to + plant it deep in his subconscious. + + ARTHUR + How deep? + + COBB + Three levels down. + + ARTHUR + A dream within a dream within a + dream? Is that even possible? + + COBB + Yes. It is. + + COBB + Now, the subconscious motivates + through emotion, not reason, so we + have to translate the idea into an + emotional concept. + + ARTHUR + How do you translate a business + strategy into an emotion? + + COBB + That's what we have to figure out. + Robert and his father have a tense + relationship. Worse, even, than the + gossip columns have suggested -- + + EAMES + 63. + + + Do you play on that? Suggest + breaking up his father's company as + a 'screw you' to the old man? + + COBB + No. Positive emotion trumps + negative emotion every time. We + yearn for people to be reconciled, + for catharsis. We need positive + emotional logic. + + Eames thinks. Paces. Looking back at the board. + + EAMES + Try this -- "MY FATHER ACCEPTS THAT + I WANT TO CREATE FOR MYSELF, NOT + FOLLOW IN HIS FOOTSTEPS." + + COBB + That might work. + + ARTHUR + Might? We'll have to do better than + that. + + EAMES + Thanks for the contribution, + Arthur. + + ARTHUR + Forgive me for wanting a little + specificity, Eames. + + COBB + Inception's not about specificity. + When we get inside his head, we're + going to have to work with what we + find. + + Arthur shrugs, frustrated. And we -- + + CUT TO: + + +91 EXT. NEW YORK STREETS - DAY 91 + + The team are in the middle of a DESERTED intersection. + Ariadne is showing Yusuf aspects of the geography. + + EAMES + We could split the idea into + emotional triggers, and use one on + each level. + 64. + + + COBB + How do you mean? + + EAMES + On the top level, we open up his + relationship with his father -- + Say: "I WILL NOT FOLLOW IN MY + FATHER'S FOOTSTEPS." Next level + down we've accessed his ambition + and self-esteem. We feed him: "I + WILL CREATE SOMETHING MYSELF." + Then, the bottom level, we bring + out the emotional big guns -- + + COBB + "MY FATHER DOESN'T WANT ME TO BE + HIM." + + EAMES + That could do it. + + ARTHUR + How do you produce these emotional + triggers? + + EAMES + I forge each emotional concept in + the style and manner of Peter + Browning, a key figure in Fischer's + emotional life. + +Two AFRICAN PEDESTRIANS wander into view. + + ARTHUR + Are those yours? + +Eames shakes his head. Cobb turns to Yusuf. + + ARTHUR + Yusuf? + + YUSUF + Yup. Sorry. + + COBB + Suppress them. We don't bring our + own projections into the dream, we + let Fischer's subconscious supply + the people. + + EAMES + Saito, when do I get to see + Browning? + 65. + + + SAITO + You fly out to Sydney on Tuesday. + We've arranged for you to spend + several days -- + + +92 INT. ANTEROOM - MAURICE FISCHER'S OFFICE - DAY 92 + + Eames sits in the crowded room. Boxes and files are piled + high. Browning stands by a pair of double doors. + + SAITO (V.O.) + -- as part of a consulting + litigation team working for + Browning. + + BROWNING + I'm not smelling settlement here, + we take them down. + + LAWYER + Mr. Browning, Maurice Fischer's + policy is always one of avoiding + litigation -- + + Browning turns to the lawyer. Calm, but POWERFUL. + + BROWNING + Shall we relay your concerns + directly to Maurice? + + Browning opens the doors to Maurice Fischer's inner office. + Eames leans in to watch as Browning beckons the Lawyer into + -- + + +93 INT. MAURICE FISCHER'S INNER OFFICE - CONTINUOUS 93 + + The office is a MAKESHIFT HOSPITAL ROOM: a BED where the + desk should be. Browning addresses a figure at the window. + ROBERT FISCHER, 30'S, abstracted. + + BROWNING + How is he? + + Fischer turns to Browning. Motions silence, as he glances + at his FATHER in the bed. Wheezing gently. + + BROWNING + I don't want to bother him + unnecessarily but I know he -- + + FATHER + 66. + + + Robert! I've told you to keep out + the damn! + + MAURICE LASHES OUT, KNOCKING things from his bedside table. + A NURSE calms Maurice as Fischer crouches to retrieve a + FRAMED PHOTOGRAPH. He looks at the photo through the broken + glass, a YOUNG BOY holds a PINWHEEL CLEARLY MADE BY A CHILD + (each of the points is numbered in pen), his FATHER blows + on it. + + BROWNING + Must be a cherished memory of his - + - + + FISCHER + I put it by his bed. He hasn't even + noticed. + + BROWNING + Robert, we have to talk about a + power of attorney. I know this is + hard for you, but it's important + that we start to think about the + future- + + FISCHER + Not now, Uncle Peter. + + Browning looks at Fischer, considering. Biding his time. + + EAMES (V.O.) + The vultures are circling. The + sicker Maurice Fischer becomes, the + stronger Peter Browning becomes -- + + Eames WATCHES Browning, STUDYING his every move . + + +94 INT. BATHROOM - DAY 94 + + Eames gestures at a mirror, as if offering to shake hands. + + EAMES (V.O.) + I've had time to learn Browning's + physical presence and mannerisms -- + + In the mirror: BROWNING GESTURES BACK. + + +95 INT. WORKSHOP - CONTINUOUS 95 + + EAMES + 67. + + + Now, in the dream, I can + impersonate Browning and suggest + the concepts to Fischer's conscious + mind -- + (draws a diagram) + Then we take Fischer down another + level and his own subconscious + feeds it right back to him. + + ARTHUR + (impressed) + So he gives himself the idea. + + EAMES + Precisely. That's the only way to + make it stick. It has to seem self- + generated. + + ARTHUR + Eames, I'm impressed. + + EAMES + Your condescension, as always, is + much appreciated, Arthur. + + CUT TO: + + +96 INT. DESERTED HOTEL LOBBY - DAY 96 + + The team sit on the steps of the large marble lobby, + debating. Ariadne is showing Arthur the lobby. + + EAMES + He's not scheduled for surgery, no + dental, nothing. + + COBB + I thought he had some knee thing? + + EAMES + Nothing they'd put him under for. + Besides, we need a good ten hours. + + SAITO + Sydney to Los Angeles. + + They turn to Saito. + + SAITO + 68. + + + Twelve hours and forty-five + minutes-one of the longest flights + in the world. He makes it every two + weeks -- + + +97 EXT. AIRFIELD - DAY 97 + + Fischer steps out of a black town car and walks across the + tarmac towards a GULF STREAM JET, accompanied by two aides. + + COBB (V.O.) + Surely he flies private? + + SAITO (V.O.) + Not if there were unexpected + maintenance with his plane. + + Fischer is met at the steps by a DISTRAUGHT FLIGHT OFFICER. + + +98 INT. HOTEL LOBBY - DAY 98 + + Cobb chews this over. Arthur comes over. + + ARTHUR + It'd have to be a 747. + + COBB + Why? + + ARTHUR + On a 747 the pilots are up above, + first class is in the nose so + nobody walks through the cabin. + We'd have to buyout the whole + cabin, and the first class flight + attendant -- + + SAITO + We bought the airline. + + Everyone turns to Saito. + + SAITO + It seemed -- neater. + + COBB + Neater, huh? + (gets to his feet) + Well, now we have ten uninterrupted + hours. + 69. + + + COBB + (to Ariadne) + Nice lobby, by the way. + + And we -- + + CUT TO: + + +99 INT. WORKSHOP - DAY 99 + + The group is back in the workshop, deep in discussion. + + ARTHUR + My question is how we go down three + layers with enough stability. Three + layers down a little turbulence is + gonna translate into an earthquake. + The dreams are gonna collapse with + the slightest disturbance. + + Yusuf clears his throat. + + YUSUF + Sedation. For sleep stable enough + to create three layers of dreaming + -- + + +100 INT. MAKESHIFT LAB - DAY 100 + + Yusuf depresses a plunger. Arthur is SLEEPING in a chair. + + YUSUF (V.O.) + We will have to combine it with an + extremely powerful sedative -- + + Eames SLAPS Arthur, HARD. Arthur does not stir. + + +101 INT. WORKSHOP - DAY 101 + + Arthur unconsciously rubs his cheek. + + YUSUF + The compound we'll be using to + share the dream is an advanced + Somnacin derivative. It creates a + very clear connection between + dreamers, whilst actually + accelerating brain function. + + CUT TO: + 70. + + + COBB + Buying us more time in each level. + + YUSUF + Brain function in the dream will be + about twenty times normal. + + YUSUF + And when you go into a dream within + that dream the effect is + compounded. + + ARIADNE + How much time? + + YUSUF + Three dreams -- that's ten hours, + times twenty, times twenty, times + twenty -- + + EAMES + Math was never my strong suit. + + COBB + It's basically a week one layer + down, six months two layers down -- + + ARIADNE + And ten years in the third level. + Who wants to spend ten years in a + dream? + + YUSUF + Depends on the dream. + + EAMES + It's not going to take us long to + crack Fischer open once we get + going. We'll be out in a couple + days, max. + + ARTHUR + How do we get out once we've made + the plant? + (to Cobb) + I hope you've got something a + little more elegant in mind than + shooting me in the head like last + time. + +Arthur tilts back in his chair. Yusuf turns to Cobb. + + COBB + 71. + + + A kick. + + ARIADNE + What's a kick? + + Eames slips his foot under Arthur's chair leg. TIPS it. + Arthur's legs SHOOT UP INSTINCTIVELY for balance. + + EAMES + That, Ariadne, would be a kick. + + COBB + That feeling of falling which snaps + you awake. We use that to jolt + ourselves awake once we're done. + + ARTHUR + But how are we going to feel that + through the sedation? + + YUSUF + That's the clever part. I customize + the sedative -- + + +102 INT. MAKESHIFT LAB - DAY 102 + + Cobb, Eames and Yusuf watch Arthur, ASLEEP, in a chair. + + YUSUF (O.S.) + To leave inner ear function + unimpaired -- + + Yusuf, with a wicked grin, slowly TIPS Arthur's chair + backwards as he falls, Arthur's body JERKS, EYES OPENING + just before he HITS the floor. + + +103 INT. WORKSHOP - DAY 103 + + Arthur thinks, nodding slowly. + + YUSUF + That way, however deep the sleep, + the sleeper will still feel falling + -- + + +104 INT. MAKESHIFT LAB - DAY 104 + + Yusuf gleefully LEANS a SLEEPING ARTHUR to one side. + + YUSUF (V.O.) + 72. + + + Or tipping -- + + Arthur goes down with a CRASH, JERKING AWAKE- + + +105 INT. WORKSHOP - DAY 105 + + Arthur thinks this through. + + ARTHUR + Even that won't cut through three + layers of deep sleep. + + COBB + The trick is to devise a kick for + each level, then synchronize them + to get a snap that penetrates all + three layers. + + Arthur looks at Cobb, getting it. + + ARTHUR + We can use the musical countdown to + synchronize the different kicks. + + +106 INT. WORKSHOP - NIGHT 106 + + Ariadne comes into the darkened main space. Cobb is lying + on one of the chairs, asleep. Plugged into the mechanism. + + Ariadne stands over him. Watching. + + She opens the case, PULLS one of the tubes, sits, checking + the dials as she injects the needle cap into her arm, and + we -- + + CUT TO: + + +107 INT. CAGE STYLE ELEVATOR - DAY 107 + + Ariadne ascends. She looks at the buttons. Spots the "B." + The elevator STOPS. She looks through the grill at -- + + +108 INT. YOUNG GIRL'S BEDROOM - DAY 108 + + Ariadne pulls back the grill and walks across the room, + considering the dusty furnishings. At the window is a + doll's house, front slightly ajar. Ariadne opens it. Inside + is a SAFE. She tries it. LOCKED. A NOISE STARTLES her, she + turns, looking through a doorway into another room. + 73. + + +109 INT. LIVING ROOM - CONTINUOUS 109 + + Ariadne looks into the room to see Cobb and Mal talking, + arguing. A private moment. Mal brushes at Cobb's hair, + trying to convince him. We hear snatches of conversation. + + MAL + You remember when you asked me to + marry you? + + COBB + Of course -- + + MAL + You said you had a dream -- + + COBB + That we'd grow old together. + + MAL + And we can. You know how to find me + -- you know what you have to do. + + Cobb is shaking his head, gently. Mal looks into Cobb's + eyes, gentle, loving. Mal SPOTS Ariadne spying on them. + + FREEZES, staring, hostile. Cobb turns, sees Ariadne, moves + towards her, leaving Mal. + + COBB + You shouldn't be in here. + + Cobb guides her back into the elevator. + + ARIADNE + I wanted to know what "tests" you + need to do on your own every night. + + +110 INT. CAGE STYLE ELEVATOR - DAY 110 + + Cobb shuts the CAGE DOOR. Ariadne hits a button. The + elevator RISES. Through the GRILL Ariadne can see a BEACH + stretching off into the distance. The elevator stops. Mal + sits on the sand. Beside her, the two children are + crouched, away from us, building a SANDCASTLE. + + ARIADNE + Why do you do this to yourself? + + COBB + This is the only way I can still + dream. + 74. + + + ARIADNE + Is it so important to dream? + + Cobb stares at his family. + + COBB + In my dreams -- we're still + together. + + The kids, WITHOUT TURNING AROUND, jump up and RUN AWAY. + + +111 INT. CAGE STYLE ELEVATOR - CONTINUOUS 111 + + The elevator descends. + + ARIADNE + But these aren't just dreams, are + they? They're memories. You said + never to use memories. + + COBB + And I shouldn't. + + ARIADNE + You're keeping her alive. + + COBB + No. + + ARIADNE + You can't let her go. + + COBB + No. These are moments I regret. + Moments I turned into dreams so I + could change them. + + Ariadne's fingers move across the buttons, stop at the "B." + + ARIADNE + What've you got buried down there + that you regret? + + Cobb pushes her hand away. Hits the third floor button. + + COBB + There's only one thing I need you + to understand about me -- + + +112 INT. KITCHEN - COBB AND MAL'S HOUSE - MOMENTS LATER 112 + 75. + + +Ariadne follows Cobb into the kitchen. A THIN MAN is there, +standing by the table. He holds a FOLDED PIECE OF PAPER. + + ARIADNE + This is your house? + + COBB + Mine and Mal's. + + ARIADNE + Where is she? + + COBB + She'd already died. + +The Thin Man offers Cobb the piece of paper. A CHILD'S +SHOUT, Cobb TURNS. Ariadne follows his gaze to the garden. +A small blonde boy faces away from them, crouched on his +haunches to look at something on the ground. + + COBB + It's James. My boy. He's found + something. Maybe a worm. + +A slightly older girl RUNS into view. + + COBB + And there's Philippa. + +She crouches beside the boy. Their FACES ARE AWAY FROM US. + +They point and discuss whatever is on the ground. + + COBB + I thought about calling out, so + they'd turn and smile those + incredible smiles -- but I'm out of + time -- + +The Thin Man thrusts the paper into Cobb's hand. + + THIN MAN + Right now. Or never, Cobb. + +Cobb nods, turns from the window. + + COBB + Then I panic that I'll always wish + I'd seen them turn, that I can't + waste this chance -- + +Cobb TURNS BACK to call out, but the children RACE OFF. + 76. + + + COBB + But the moment's passed. And + whatever I do, the dream's always + the same -- When I'm about to call + -- they run. + + Cobb watches them run off, calling for grandma, FACES + UNSEEN. + + COBB + If I'm going to see their faces + again -- I've got to get back here + in the real world -- + + Behind him, Ariadne SLAMS the grill shut. Cobb TURNS. + + +113 INT. CAGE STYLE ELEVATOR - CONTINUOUS 113 + + Ariadne hits the BASEMENT button. The elevator starts to + DESCEND. ariadne STARES, fascinated as glimpses of floors + slip past: Mal's childhood bedroom, a thundering wall of + freight train. The elevator STOPS. Through the grill + Ariadne sees a HOTEL SUITE. She pulls open the grill, steps + cautiously out into -- + + +114 INT. ELEGANT HOTEL SUITE - CONTINUOUS - NOW NIGHT 114 + + DISHEVELED bedclothes, UPENDED room service table, + STRAWBERRIES across the floor. A STRUGGLE. Ariadne steps + forwards- SMASH- she looks down to see that she has kicked + over a CHAMPAGNE FLUTE. Ariadne feels a draught. The + CURTAIN BILLOWS. + + MAL (O.S.) + What are you doing here? + + Ariadne TURNS. Mal is there. + + ARIADNE + My name is -- + + MAL + I know who you are. What are you + doing here? + + ARIADNE + I don't know. Trying to understand. + + MAL + 77. + + + How could you understand? Do you + know what it is to be a lover? To + be half of a whole? + + ARIADNE + No. + + Mal moves slowly towards Ariadne. + + MAL + I'll tell you a riddle. You're + waiting for a train. A train that + will take you far away. You know + where you hope this train will take + you, but you don't know for sure. + + Mal glides around Ariadne, looking her over. + + MAL + But -- it doesn't matter. How can + it not matter to you where that + train will take you? + + COBB (O.S.) + Because you'll be together. + + Cobb is standing in the elevator. Mal nods. Looks at him. + + MAL + How could you bring her here, Dom? + + ARIADNE + What is this place? + + COBB + A hotel. We spent our anniversaries + in this suite. + + ARIADNE + What happened here? + + Mal picks up the BROKEN STEM of a champagne flute. + + +115 INT. CAGE STYLE ELEVATOR - CONTINUOUS 115 + + Cobb PULLS Ariadne into the elevator. Mal THROWS herself + towards Ariadne. Cobb SLAMS the GRILL. Mal SMASHES against + it AGAIN and AGAIN like a WILD ANIMAL. Ariadne FLINCHES. + + MAL + you PROMISED! YOU SAID WE'D BE + TOGETHER!- + 78. + + + COBB + We can. We will. But I need you to + stay here for now -- + + MAL + YOU SAID WE'D GROW OLD TOGETHER! + + Cobb pushes a button and the elevator starts to rise. + + COBB + I'll come back. I need you to stay + here on your own for now. Just + while I do this job. Then we can be + together -- + + MAL + WE'LL BE TOGETHER -- YOU PROMISED! + + Mal THROWS herself against the grill, and we -- + + CUT TO: + + +116 INT. WORKSHOP - NIGHT 116 + + Ariadne watches Cobb sleeping. His eyes gradually flicker + open. He sees her watching him. + + ARIADNE + You think you can just build a + prison of memories to lock her in? + You think that's going to contain + her? + + The LIGHTS COME ON: Saito and Arthur stand in the doorway. + + SAITO + Maurice Fischer just died in + Sydney. + + COBB + When's the funeral? + + SAITO + Thursday. In Los Angeles. + + COBB + Robert'll accompany the body + Tuesday at the outside. We have to + move. + + Cobb gets up. Ariadne comes over to him. + 79. + + + ARIADNE + (low) + I'm coming with you. + + COBB + No. I promised Miles. + + ARIADNE + The team needs someone in there who + understands what you're struggling + with. If you don't want it to be me + then you need to show Arthur what I + just saw. + + Cobb looks at Ariadne. Turns to Saito. + + COBB + We need one more seat on the plane. + + +117 INT. DEPARTURE GATE - SYDNEY - DAY 117 + + Saito stands looking out the window at a 747. Cobb arrives + beside him. They watch a COFFIN being loaded. + + COBB + If I get on this plane and you + haven't taken care of things -- + when we land I go to jail for the + rest of my life. + + SAITO + Complete the job en route, I make + one phone call from the plane -- + you will have no trouble clearing + immigration. + + +118 INT. FIRST CLASS CABIN - 747 - CONTINUOUS 118 + + The luxurious cabin has only ten seats. Cobb finds his- + sees Ariadne in the seat behind his. They do not + acknowledge each other. Behind her is Arthur, looking out + the window. Eames enters, STUFFS his bag into the overhead + bin, BLOCKING the passenger behind: ROBERT FISCHER, + standing there, patient, bag in hand, wearing black. + + EAMES + Oh, sorry. + 80. + + + Eames SQUEEZES up against his seat to let Fischer BRUSH + PAST. Fischer moves to his seat, directly in front of Cobb. + Eames TOSSES Cobb a PASSPORT. Cobb flips it open: + Fischer's. Pockets it. Yusuf and Saito enter, take their + seats. + + +119 EXT. RUNWAY - MOMENTS LATER 119 + + The 747 HURTLES down the runway. + + +120 INT. FIRST CLASS CABIN - 747 - MOMENTS LATER 120 + + Cobb looks down at his hand: a TINY VIAL taped to the + center of his palm. He removes the cap. The seatbelt sign + goes dark. Cobb unbuckles, stands. + + COBB + Excuse me? + + Fischer looks up. + + FISCHER + Yes? + + COBB + I think this is yours -- + + Cobb holds up the open passport, comparing the picture to + Fischer. Fischer's hand goes to his pocket. Cobb hands + Fischer the passport. + + FLIGHT ATTENDANT + Would you gentlemen care for a + drink? + + FISCHER + Water. + + COBB + Same. + + Fischer gives Cobb a thin smile. Holds up his passport. + + FISCHER + Well, thank you. + + COBB + No problem. Look, I couldn't help + noticing your name. You're not + related to Maurice Fischer? + 81. + + + Fischer takes a beat. But Cobb seems harmless. + + FISCHER + Actually, he was my father. + + COBB + I'm very sorry for your loss. He + was an inspiring figure. + + The Flight Attendant brings their drinks. Cobb takes them. + + COBB + Thanks. + + As he turns to Fischer he LOWERS his right hand, a CLEAR + LIQUID DROPS into Fischer's water as Cobb hands it to him. + + COBB + To Maurice Fischer. + (they drink) + I'll leave you in peace. + + Fischer grants him a smile. + + +121 EXT. 747 - LATER 121 + + The great plane SOARS through a burning cloudscape. + + +122 INT. FIRST CLASS CABIN - 747 - MOMENTS LATER 122 + + Cobb reaches into the overhead for a blanket, lets it fall + onto Fischer's head. Fischer doesn't flinch. ASLEEP. Cobb + SIGNALS the others. The First Flight Attendant unlocks a + CUPBOARD in the galley, then leaves, closing the curtain. + + Arthur moves into the galley and pulls out a MECHANISM + CASE. + + Cobb and Arthur open the mechanism, uncoil the tubes, feed + them around the window side of each of the seats. Arthur + rolls up Fischer's cuff, PUSHES the needle cap into + Fischer's wrist. Arthur pulls Fischer's cuff down and hides + the tubes behind the armrest of Fischer's seat. + + Arthur runs the next tube to Ariadne. Cobb puts the case on + Yusuf's lap. Yusuf checks the TIMERS, tapping the syringes. + The others recline their seats. Yusuf HITS A BUTTON, closes + the case, places it at his feet. He settles back, and we -- + + CUT TO: + 82. + + +123 INT. SEDAN - DAY 123 + + Cobb DRIVES. Saito and Arthur are in the back. Rain BEATS + down. Cobb pulls over. + + +124 EXT. NEW YORK STREETS - CONTINUOUS 124 + + Yusuf stands on the corner, silver briefcase in hand, + collar turned up against the rain. He reaches for the door. + + +125 INT. SEDAN - CONTINUOUS 125 + + Yusuf clambers into the back, brushing rain from his face. + + ARTHUR + (indicates rain) + Couldn't you have peed before you + went under? + + YUSUF + Sorry. + + The front door OPENS and Eames climbs in, soaked. + + EAMES + Bit too much free champagne before + takeoff, Yusuf? + + YUSUF + Ha bloody ha. + + COBB + At least we know he'll be looking + for a cab in this. + + +126 INT/EXT. SEDAN ON RAINY NEW YORK STREETS - CONTINUOUS 126 + + Cobb pulls out into the heavy traffic. He weaves around + several cars before lining up behind a YELLOW CAB. + + COBB + Brace yourselves. + + Cobb hits the gas, REAR ENDS the cab with a CRUNCH. The + CABDRIVER gets out, fuming. Heads to Cobb's window. + + CABDRIVER + Hey, asshole! Why don't you try + driving without your thumb up -- + 83. + + + He sees the SILENCED PISTOL Cobb is holding at his belly. + + COBB + Walk away. + + The Cabdriver backs off. Arthur climbs into the cab. Both + cars pull away. + + +127 INT/EXT. CAB ON RAINY NEW YORK STREETS - CONTINUOUS 127 + + Arthur SLOWS in front of the TRAIN STATION, peering at the + pedes pedestrians. He SPOTS Fischer, lights the cab's sign. + Fischer FLAGS him down. Fischer JUMPS into the back, + brushing rain from his shoulders. + + FISCHER + Third and Market. Snappy. + + Eames JUMPS in from the other side. + + FISCHER + What're you doing? + + EAMES + Sorry, I thought it was free. Maybe + we could share. + + FISCHER + Maybe not. + + Saito gets into the front passenger seat. Pointing a gun. + + FISCHER + Great. + + Arthur pulls away. Fischer pulls out his wallet and tosses + it at Eames. + + FISCHER + (contemptuous) + There's 500 dollars in there. And + the wallet's worth more than that. + For that you ought to at least drop + me at my stop. + + Eames smiles at this. + + EAMES + I'm afraid -- + + A SHOT SHATTERS the window by Eames's head, another SHOT + IMPACTS by Saito. + 84. + + + EAMES + Get us out of here! + +Arthur hits the gas, but a BLACK S.U.V. SKIDS sideways in +front, BLOCKING the path. + +A BLOCK BEHIND. Cobb is at a light. ARIADNE is getting in +the front. Cobb has HEARD the GUNFIRE. + + COBB + Come on! + +Cobb looks ahead to the AMBUSH, hits the gas, the sedan +ROCKETS forwards but BAM. + +A FREIGHT TRAIN CLIPS THE FRONT OF THE SEDAN, SHOVING IT +SIDEWAYS AS AN ENDLESS TRAIN BARRELS PAST, A WALL BETWEEN +COBB AND THE AMBUSH. + +A SECOND S.U.V. is behind the cab, PLAIN CLOTHES SECURITY +MEN advance through the traffic, weapons trained on the +cab. + +Bullets RIP into the cab as Eames throws himself on top of +Fischer, PULLING a SACK over his head. + +Inside the sedan, Ariadne watches the train passing. + + ARIADNE + This wasn't in the design -- + +Cobb BACKS UP, SPINS around, heading for the tail of the +train. + +A Security Man emerges from the front S.U.V. carrying an +AUTOMATIC RIFLE, he steps towards the cab through the rain, +raises his weapon and BLASTS THE CAB'S WINDSCREEN. + +Cobb clears the end of the train, and SKIDS across the +tracks. + +Arthur CROUCHES down, PUSHES the accelerator with his HAND- +YANKS the wheel, FLYING BLIND. The cab NAILS the Security +Man, CRUNCHING into the front S.U.V. + +Cobb SMASHES his car into the rear S.U.V., creating a GAP. + +Arthur YANKS the transmission and REVERSES, SCRAPING +through the gap. Security Men DIVE out of the way. Arthur +throws a ragged J-turn to head down a SIDE STREET- Cobb +follows in the other car. Rain whips across Arthur's face +as he BREATHES. + 85. + + + ARTHUR + Everybody okay? Saito? + + Arthur looks at Saito. Saito's hand is at his belly. + Covered in BLOOD. + + +128 EXT. WAREHOUSE - MOMENTS LATER 128 + + The sedan and cab pull into the side entrance. Eames jumps + out. PULLS the shutter down behind them. + + +129 INT. WAREHOUSE - CONTINUOUS 129 + + Yusuf and Eames PULL Fischer from the cab, HUSTLING him + through a doorway. Cobb JUMPS out of the sedan, furious. + + COBB + Arthur! Arthur what the -- + + Arthur pulls the bloody Saito from the front seat. + + COBB + Oh, Christ. Is he dying? + + ARTHUR + I don't know. What happened back + there? Where were you? + + COBB + We were blocked by a freight train. + + ARTHUR + (to Ariadne) + Why would you put a train crossing + in a downtown intersection? + + ARIADNE + I didn't. + + COBB + (snaps) + Why were we all ambushed, Arthur?! + Those weren't regular projections, + they'd been trained! + + ARIADNE + How could they be trained? + + ARTHUR + 86. + + + Fischer's had an extractor teach + his mind to defend itself. His + subconscious is militarized. It + should've shown on the research -- + + COBB + So why the hell didn't it?! + + ARTHUR + Calm down. + + COBB + Don't tell me to calm down, you + were meant to check Fischer's + background thoroughly. You can't + make this kind of mistake, we're + not prepared for this kind of + violence -- + + ARTHUR + Cobb, we've dealt with sub-security + before. We just have to be more -- + + COBB + This wasn't part of the plan, + Arthur! + (points at Saito) + He's dying! + + EAMES + So we put him out of his misery. + +Eames steps into the room, pulls his gun and moves over +Saito. + + COBB + No. + + EAMES + He's in agony. Let's wake him up -- + +Cobb GRABS Eames's arm. + + COBB + No! + (they lock eyes) + It won't wake him up. + + EAMES + What do you mean, it won't wake + him? When you die in a dream you + wake up. + 87. + + + YUSUF + Not from this. We're too heavily + sedated to wake up that way. + +Eames looks at Yusuf, then to Cobb. + + EAMES + So what happens if one of us dies? + + COBB + That person doesn't wake up. Their + mind drops into Limbo. + + ARIADNE + Limbo? + + ARTHUR + Unconstructed dream space. + + ARIADNE + What's down there? + + ARTHUR + Raw, infinite subconscious. Nothing + there but what was left behind by + anyone on the team who's been + trapped there before. On this team + -- just Cobb. + + ARIADNE + How long would we be stuck there? + + YUSUF + You couldn't even think about + trying to escape until the sedation + eases --- + + EAMES + How long? + + YUSUF + Decades, it could be infinite -- I + don't know! Ask him, he's the one + who's been there before! + +Eames moves to Cobb. Looks him in the eye. + + EAMES + Great. So now we're stuck in + Fischer's mind battling it out with + his private army, and if we get hit + we're stuck in Limbo 'til our + brains dissolve into scrambled egg? + 88. + + + Cobb says nothing. Saito groans more loudly. + + ARTHUR + Let's just get him upstairs. + + +130 INT. OFFICE - WAREHOUSE - MOMENTS LATER 130 + + Saito is laid out on an old desk. Arthur examines him. He + motions to Ariadne. Eames watches Cobb. + + ARTHUR + Hold this. Firm pressure. + + Arthur turns to Cobb. + + ARTHUR + You knew the risks and you didn't + tell us. + + COBB + There wasn't meant to be any risk. + We weren't supposed to be dealing + with a load of gunnre. + + ARTHUR + You had no right. + + COBB + It's the only way you can go three + layers deep, Arthur. + + Arthur turns to Yusuf, hostile. + + ARTHUR + And you. You went along with this? + + YUSUF + I trusted him. + + ARTHUR + You trusted him? When? When he + promised you half his share? + + YUSUF + (offended) + No! His whole share. Plus, he told + me he'd done it before. + + Arthur turns to Cobb. + + ARTHUR + 89. + + + Oh, yeah? With Mal? That worked out + great, didn't it, Cobb? + + Cobb grabs Arthur. + + COBB + You don't know anything about that. + This was the only way to do this + job, Arthur. I did what I had to do + to get back to my children. + + EAMES + So you led us into a war zone with + no way out. + + COBB + We have a way out. The kick. We + just have to push on, do the job as + fast as possible and get out using + the kick. + + EAMES + Forget it. We go any deeper, we + just raise the stakes. I'm sitting + it out on this level. + + COBB + You'll never make it, Eames. + Fischer's security is surrounding + this place as we speak. The ten + hours of the flight is a week at + this level, you'll never make it + without getting killed. Downwards + is the only way forwards. We have + to carry on. + + Saito groans. Cobb looks at him. + + COBB + And we have to do it fast. + + Eames and Arthur weigh this. + + COBB + Eames, go get ready. Arthur, let's + get in there and soften him up. + + +131 INT. BATHROOM - WAREHOUSE - LATER 131 + + Cobb and Arthur, wearing BALACLAVAS, PULL the sack from + Fischer's head. He is chained to the radiator. + 90. + + + FISCHER + I'm insured against kidnapping up + to ten million, this'll be simple. + + COBB + No, it won't. + + Fischer looks at Cobb, unnerved. + + ARTHUR + In. your lather's office, below the + bookshelves, is his personal safe. + We need the combination. + + FISCHER + I never noticed a safe. + + COBB + Doesn't mean you don't know the + combination. + + FISCHER + Well, I don't. + + ARTHUR + We have it on good authority that + you do. + + FISCHER + Whose? + + +132 INT. OFFICE - WAREHOUSE - CONTINUOUS 132 + + Yusuf looks through Fischer's wallet. Eames is opening a + HINGED, THREE-WING MIRROR. + + YUSUF + Five hundred dollars, this cost? + + EAMES + What's inside? + + YUSUF + Cash, cards, ID and this. + + Yusuf holds up a SNAPSHOT: the photo from Maurice Fischer's + office. YOUNG ROBERT holds his HOMEMADE PINWHEEL, his + FATHER blows on it. Eames takes it from Yusuf. STUDIES it. + Cobb enters. Eames hands him the snapshot. + + EAMES + Useful? + 91. + + + Cobb studies the snapshot. Eames examines himself in the + hinged mirror from multiple angles: ONE BY ONE the myriad + Eames reflections BECOME BROWNINGS. Cobb pockets the photo. + + COBB + You're on. You've got an hour. + + EAMES + An hour? I was supposed to have all + night to crack him. + + COBB + And Saito was supposed to keep his + guts on the inside. You've got an + hour, get something we can use. + + Eames turns from the mirror AS BROWNING. He glances at his + watch, then SCREAMS, as if begging for mercy. + + +133 INT. BATHROOM - WAREHOUSE - CONTINUOUS 133 + + Browning's CRY reverberates, Fischer looks up, concerned. + + FISCHER + What's that? + + ARTHUR + Good authority. + + Another cry rings out. Fischer recognizes the voice. + + FISCHER + Uncle Peter?! Make them stop. + + ARTHUR + The combination. + + FISCHER + I don't know it! + + ARTHUR + Why would Browning tell us you did? + + FISCHER + Let me talk to him -- I'll find + out. + + +134 INT. BATHROOM - WAREHOUSE - MOMENTS LATER 134 + 92. + + +Cobb pushes Browning (Eames), bloody and bruised, into the +room and forces him down next to Fischer. Cobb handcuffs +Browning's wrist to a metal bracket on the side of the +sink. + + COBB + You've got an hour. Get talking. + +Cobb leaves. + + BROWNING (EAMES) + They've had me for two days. + They've got someone with access to + your father's office and they're + trying to open his safe, they + thought I'd know the combination, + but I don't -- + + FISCHER + Neither do I, Uncle Peter. + + BROWNING + (confused) + Maurice told me that after he + passed only you would be able to + open it. + + FISCHER + He never gave me the combination. + +Browning thinks for a minute. Realizes something. + + BROWNING + He did, he just didn't tell you + that it was a combination. + + FISCHER + What, then? + + BROWNING + Something only you would know. Some + meaningful combination of numbers + from your experiences with Maurice + -- + + FISCHER + We didn't have a lot of meaningful + experiences together. + + BROWNING + Perhaps after your mother died -- + + FISCHER + 93. + + + After my mother died, I went to him + in my grief. + + FISCHER + You know what he told me? "There's + really nothing to be said, Robert." + + BROWNING + He always had a hard time with + emotional -- + + FISCHER + I was eleven, Uncle Peter. + + Browning (Eames) takes this in. + + BROWNING + He loved you, Robert. In his way. + + FISCHER + "In his way?" At the end he called + me to his deathbed. He could barely + speak, but he took the trouble to + say one last thing to me. He pulled + me close -- I could make out only + one word. "Disappointed." + + Browning can say nothing. + + +135 INT. OFFICE - WAREHOUSE - CONTINUOUS 135 + + Cobb pulls off his balaclava. Looks down at Saito, who is + breathing fast, shallow. + + COBB + How's he doing? + + ARIADNE + He's in a lot of pain. + + Cobb takes Saito's hand. Looks him in the eye. + + COBB + When we get you down to the next + level, the pain will be less + intense. + + Saito nods, breathing hard. + + ARIADNE + (low) + And if he dies? + 94. + + + COBB + His conscious mind will drop out of + the dream. He'll be trapped in + Limbo for a lifetime -- + + ARIADNE + What will that do to him? + +Cobb looks at her. Grave. + + COBB + When he wakes -- his mind could be + completely gone. + + SAITO + When -- when we wake I will still + honor our arrangement -- + +Cobb looks down at Saito sadly. + + COBB + Saito-san, when you wake you might + not even remember that we had an + arrangement. You'll have forgotten + this world. Limbo will be your + reality. Lost there so long, you'll + have become an old man -- + + SAITO + Filled with regret? + + COBB + Waiting to die alone. Yes. + + SAITO + Then I'll take the chance and come + back. And we'll be young men + together again. + +Saito smiles weakly. Cobb nods at him, turns to Ariadne. + + ARIADNE + When were you trapped in Limbo? + +Cobb says nothing. Ariadne pulls him away from Saito. + + ARIADNE + Cobb, you might have convinced the + rest of this team to carry on with + the job. But they don't know the + truth. + + COBB + 95. + + + What truth? + + ARIADNE + The truth that at any minute you + might bring a freight train through + the wall. The truth that Mal is + bursting up through your + subconscious. + + ARIADNE + The truth that as we go deeper into + Fischer, we're also going deeper + into you and I'm not sure we're + going to like what we find there. + +Cobb stares back at Ariadne. Saying nothing. + + ARIADNE + This is not just about Fischer, + it's about you. Tell me what + happened to you and Mal. Trapped in + Limbo. + +Cobb looks at her. Thinking it through. + + COBB + We were on a job. Exploring dreams + within dreams. But we didn't + understand how your mind can turn + hours into years. How you can get + trapped. Trapped so deep that when + you wash up on the shore of your + subconscious -- + +INSERT CUT: MAL LIES ON THE SAND, STARING UP AT A CLOUDLESS +SKY, WAVES WASHING OVER HER. + + COBB + You can lose track of what's real. + + ARIADNE + How long were you stuck? + +Cobb pauses before he answers. Looks at Ariadne. + + COBB + Fifty years. + +Ariadne stares at him, incredulous. + + ARIADNE + How did you stand it? + 96. + + + INSERT CUT: COBB AND MAL BUILD A SANDCASTLE ON THE BEACH. + + COBB + We built. We created a whole world + for ourselves. + + INSERT CUT: COBB AND MAL WALK THROUGH A DESERTED CITY. + + COBB + It's not so bad at first, being + gods. The problem is knowing that + it's not real. It became impossible + for me to live like that. + + ARIADNE + But not for her? + + COBB + She accepted it. At some point -- + + INSERT CUT: + + +136 INT. MAL'S CHILDHOOD HOME - DAY 136 + + Mal opens a DOLL'S HOUSE. Inside is a SAFE. She opens it, + it is empty. She pulls out her SPINNING TOP. + + COBB (V.O.) + -- she'd decided to forget that our + world wasn't real. + + Mal places the top inside the safe. LOCKS IT AWAY. + + +137 INT. OFFICE - WAREHOUSE - CONTINUOUS 137 + + ARIADNE + And when you finally woke up? + + COBB + To wake from that. From decades + lived. To be old souls thrown back + into youth. It was hard. At first + Mal seemed okay. But I started to + realize something was wrong. + Finally she admitted it. This idea + she was possessed by. This simple + little idea that changed everything + -- + + ARIADNE + What was it? + 97. + + + COBB + That our world was not real. No + matter what I did, no matter what I + said, she was convinced that we + were still in a dream. That we + needed to wake up again -- + + +138 INT. COBB AND MAL'S KITCHEN - DAY - FLASHBACK 138 + + Cobb is trying to calm Mal, who is hysterical. + + COBB (V.O.) + That to get home we'd have to kill + ourselves. + + +139 INT. WORKSHOP - DAY 139 + + Ariadne looks at Cobb, appalled. + + ARIADNE + What about your children? + + Cobb has to look away. + + COBB + She -- she believed they weren't + real. That our real children were + waiting. Somewhere above -- + + +140 INT. COBB AND MAL'S KITCHEN - DAY - FLASHBACK 140 + + Mal shakes her head at Cobb as he USHERS the children out + of the room, FACES UNSEEN. + + COBB + Calm down, Mal. + + MAL + They're projections, Dom. Your + dreams. I'm their mother, don't you + think I can tell the difference? + + Cobb closes the door, turns to her, eyes full of bitter + tears. + + COBB + If it's my dream then why can't I + control it? Why can't I stop this? + + MAL + 98. + + + (it's obvious) + You don't know you're dreaming. + + COBB + You keep telling me I am -- + + MAL + And you don't believe me! + + COBB (V.O.) + She was certain. But she loved me + too much to go without me. So she + made a plan -- + + +141 INT. ELEGANT HOTEL CORRIDOR - NIGHT - FLASHBACK 141 + + Cobb walks along, checking door numbers against a key. + + COBB (V.O.) + For our anniversary -- + + +142 INT. ELEGANT HOTEL SUITE - CONTINUOUS - FLASHBACK 142 + + Cobb enters the lavish suite. He notices the DISHEVELED + BEDCLOTHES. + + He steps forwards. SMASH, he has tipped over a champagne + glass with his foot, dinner for two is SPREAD ACROSS THE + FLOOR. + + He looks at the DEBRIS, confused, next to the broken glass + is a SPINNING TOP. He picks it up, studying it, thinking. + He feels a draught, looks to the window. The CURTAIN + BILLOWS. + + +143 EXT. EXTERIOR ATRIUM - CONTINUOUS - FLASHBACK 143 + + Cobb looks out the window: Mal sits on the ledge of the + opposite window. HAIR BLOWING. Feet dangling over the + dizzyingly high atrium. She smiles. + + MAL + Join me. + + COBB + Mal, come back inside. + + MAL + No. I'm going to jump. And you're + coming with me. + 99. + + + COBB + No, I'm not. This is real, if you + jump, you're not going to wake up, + you're going to die. Let's go back + inside and talk about this, please. + + MAL + We've talked enough. + +She KICKS off a shoe and watches it DROP. + + MAL + Come out onto the ledge or I'll + jump right now. + +She means it. Cobb swings his legs out, sitting on the +ledge opposite is wife. He looks down at the drop. + + MAL + I'm asking you to take a leap of + faith. + + COBB + I can't do that, Mal. I can't leave + our children. + + MAL + If I go without you, they'll take + them away, anyway. + + COBB + What do you mean? + + MAL + I filed a letter with our attorney. + Explaining how I'm fearful for my + safety, how you've threatened to + kill me -- + +Cobb looks back at the wrecked hotel suite, PANICKING. + + MAL + I love you, Dom. I've freed you + from the guilt of choosing to leave + them. We're going home to our real + children. + + COBB + Out children are here, Mal. + +Mal CLOSES HER EYES. Cobb looks for some way to reach her. + + MAL + 100. + + + You're waiting for a train -- + + COBB + NO! MAL, NO, I CAN'T! + + MAL + A train that will take you far away + -- + + COBB + DON'T DO THIS! + + MAL + You know where you hope this train + will take you, you can't know for + sure -- + + COBB + DON'T! + + MAL + But it doesn't matter -- + + COBB + NO! + + MAL + Because you'll be together -- + + Mal SLIPS FORWARD INTO SPACE. Cobb SCREAMS after her. Then + tries to bury his face in the wall. + + +144 INT. OFFICE - WAREHOUSE - DAY 144 + + Cobb stares as he remembers. + + COBB + He letter to the authorities + refuted all the claims about her + sanity that she knew I'd make. + + +145 INT. COBB AND MAL'S KITCHEN - DAY - FLASHBACK 145 + + Cobb stands with the Thin Man, who has a piece of paper. + + COBB (V.O.) + She'd had herself declared sane by + three different psychiatrists. + + Cobb hears a SHOUT, turns to the garden. James CROUCHES, + Philippa joins him, examining the ground, FACES UNSEEN. + 101. + + + COBB (V.O.) + It was impossible for me to explain + the nature of her madness -- + + The Thin Man thrusts the paper into Cobb's hand. + + THIN MAN + Right now. Or never, Cobb. + + Cobb turns back to the window, about to call out. James and + Philippa RUN OFF. Cobb turns from the window. Looks at the + paper in his hand. It is an AIRPLANE TICKET. + + COBB (V.O.) + So I ran. And I've been running + ever since, trying to buy my way + back to my family -- + + +146 INT. OFFICE - WAREHOUSE - DAY 146 + + Cobb looks across at Ariadne. + + ARIADNE + Psychiatrists judged her sane? + + COBB + She was sane. She was just lost in + the labyrinth. + + ARIADNE + Then why should you blame yourself? + + COBB + Because we were a family. And we + had a life I would do anything to + get back to now. But that reality + wasn't enough for me then. + + ARIADNE + It might have been your idea to + push the limits, Cobb. But you're + not responsible for the idea that + destroyed her. The idea that her + world wasn't real -- that was her + own idea from her own mind. + + Cobb says nothing. + + ARIADNE + 102. + + + Your guilt defines her. Powers her. + If we're going to succeed in this, + you're going to have to forgive + yourself, and you're going to have + to confront her. But you don't have + to do it alone. + + COBB + You don't have to do this for me -- + + ARIADNE + I'm doing it for the others. They + don't know the risk they've taken + coming in here with you. + + Cobb looks at the rooftop opposite, sees a SNIPER take up a + position. Cobb shakes his head, frustrated. + + COBB + We can't stay here. Arthur?! + + +147 INT. BATHROOM - WAREHOUSE - CONTINUOUS 147 + + Browning puts his hand on Fischer's shoulder. + + BROWNING + These people are going to kill us + if we don't give them the + combination. + + FISCHER + They won't, they'll try to ransom + us -- + + BROWNING + I heard them, they're going to lock + us in and run the can into the + river. + + FISCHER + What is in the safe? + + BROWNING + Something for you. Maurice always + said it was his most previous gift + -- a will. + + FISCHER + Maurice's will is with Port and + Dunn. + + BROWNING + 103. + + + It's an alternate. It supersedes + the other only if you want it to. + + FISCHER + What does it say? + + BROWNING + It splits all the component + businesses of Fischer Morrow into + individual companies, transferring + ownership to the boards of those + companies -- + + FISCHER + Leaving me nothing? + + BROWNING + A basic living. Nothing more. The + entire empire would cease to exist. + + FISCHER + Destroy my own inheritance? Why + would he suggest such a thing? + + BROWNING + I don't know, Robert. + +Cobb OPENS the door. Arthur is behind him. + + COBB + Come to your senses? + + FISCHER + Let us go. I don't know the + combination. Not consciously. + +Cobb considers this. Opens his phone. Pulls out his gun. + + COBB + Let's try instinctively. I have + someone standing in your father's + office ready to tap in a + combination. + +He holds the phone to Fischer's mouth. + + COBB + First six numbers that come into + your head. Right now. + + FISCHER + I have no idea -- + 104. + + + Cobb SWINGS the gun onto Browning. + + COBB + RIGHT NOW! + + FISCHER + Five, two, eight -- four, nine, + one. + + Cobb lowers his weapon. Listens to the phone. Shakes his + head. Shuts the phone. + + COBB + You'll have to do better. Bag `em. + + Arthur puts SACKS over their heads. + + +148 INT. WAREHOUSE - CONTINUOUS 148 + + Cobb and Arthur drag Fischer and Browning to the van. + + FISCHER + We're worth much more to you alive + -- + + Arthur places Fischer on the back seat, uses a DROPPER to + drop LIQUID onto Fischer's mask, his head SLUMPS FORWARDS. + "Browning" yanks the sack from his head, it is now EAMES. + + EAMES + (excited) + His relationship with his father's + much worse that we thought. + + ARTHUR + That helps us? + + Arthur pulls a SNIPER RIFLE from a case by the van. + + COBB + The stronger the issues, the more + powerful the catharsis. + + Cobb motions for Yusuf to follow his upstairs. + + ARTHUR + But how do you reconcile them if + they're that estranged? + + EAMES + I'm working on that. + 105. + + + Arthur lines up a shot through the window. + + ARTHUR + Well, work fast, Fischer's + projections are closing in quick, + we need to break out of here before + we're totally boxed in... + + Arthur SHOOTS two snipers. Cobb and Yusuf gently load Saito + into the van. He groans. Ariadne straps him in, checks his + bandages. Arthur can't get the last sniper, he's too hidden + behind a wall. + + EAMES + Shouldn't be afraid to dream a + little bigger, Arthur -- + + Eames lines up a shot with a grenade launcher. Fires, the + sniper EXPLODES into the air. Arthur looks at Eames. + + EAMES + Shall we? + + They climb into the van. + + +149 INT/EXT. VAN ON RAINY STREETS - CONTINUOUS 149 + + The van pulls out into the rain-drenched streets. Arthur + opens the mechanism case and hands out tubes. + + COBB + Shifting Fischer's antipathy from + his father onto Browning should + work. + + EAMES + We need the imagery, the words -- + + ARIADNE + So you destroy his one positive + relationship? + + COBB + No. We repair his relationship with + his father and expose his + godfather's true nature. + + EAMES + Hell, we should be charging Fischer + as much as Saito. + + ARTHUR + 106. + + + What about his security? It's going + to get worse as we go deeper. + + COBB + We bring in Mr. Charles. + + ARTHUR + No. + + EAMES + Who's Mr. Charles? + + ARTHUR + A bad idea. + + COBB + Arthur, the second we approach + Fischer in that hotel, they're + gonna mow us down, we run with Mr. + Charles like on the Stein job. + + EAMES + So you've done it before? + + ARTHUR + Sure. But it didn't work. The + subject realized he was dreaming + and his subconscious tore us to + pieces. + +Eames takes this in. + + EAMES + You learned a lot, though. Right? + + COBB + (to Eames) + I'll need a decoy. + + EAMES + No problem. How about a pretty + young lady I've used before? + + COBB + Fine -- + +Cobb looks back: a second S.U.V. pulls out, tailing them. + + COBB + (to Yusuf) + 107. + + + I know you've got to stay ahead of + them, but drive with kid gloves, + okay? The world down there is going + to be very unstable -- + + ARTHUR + And don't make the jump too soon + that kick is our only way back, we + have to be ready to catch it -- + + YUSUF + I'll use the music to let you know + when it's coming, but the rest is + up to you. + + Arthur puts the mechanism onto the front seat. + + YUSUF + Everyone ready? + + Nods all round. + + YUSUF + Sweet dreams -- + + Yusuf hits a button and we -- + + CUT TO: + + +150 INT. HOTEL LOBBY BAR - SUNSET 150 + + Fischer nurses a drink. Staring at the ice cracking. + + BLONDE (O.S.) + Am I boring you? + + Fischer looks up. A beautiful BLONDE is next to him. + + BLONDE + I was telling you my story. I guess + it wasn't to your liking. + + FISCHER + I have a lot on my mind. + + Fischer looks around the bar. There are several STERN- + LOOKING CHARACTERS paying him too much attention. + + +151 INT. HOTEL LOBBY - CONTINUOUS 151 + 108. + + + Arthur and Ariadne sit at a table across the lobby. They + spot Cobb moving across the lobby towards Fischer. + + ARTHUR + And there goes Mr. Charles. + + ARIADNE + Who or what, exactly, is Mr. + Charles? + + ARTHUR + It's a gambit designed to turn + Fischer against his own + subconscious. + + +152 INT. HOTEL LOBBY BAR - CONTINUOUS 152 + + Cobb approaches the bar, watched closely by Fischer's Sub- + security. + + COBB + Mr. Fishcer! Good to see you again. + Rod Green, Marketing. + (to Blonde) + And you must be -- + + BLONDE + Leaving. + + She presses against Fischer as she slides off her stool and + deposits a cocktail napkin in front of him. + + BLONDE + In case you get bored. + + Cobb watches her walk away. The Sub-security FOLLOWS her. + + COBB + I think you just got blown off -- + unless her phone number really does + have only six digits. + + Fischer glances at the napkin: "528-491." + + +153 INT. HOTEL LOBBY - CONTINUOUS 153 + + Arthur watches the Sub-security follow the Blonde. + + ARIADNE + And why don't you approve? + 109. + + + ARTHUR + Because it involves telling the + mark that he's dreaming. Which + involves attracting a lot of + attention to us. + + ARIADNE + Didn't Cobb say never to do that? + + ARTHUR + You must've noticed by now how much + time Cobb spends doing things he + says never to do. + + +154 INT. HOTEL LOBBY BAR - CONTINUOUS 154 + + Cobb turns to Fischer. + + COBB + Strange way to make friends. + (off look) + Lifting your wallet, I mean. + + Fischer pats his pocket. Empty. He looks to the lobby where + he sees the Sub-security trailing the Blonde. + + FISCHER + Goddamn it. The wallet alone's + worth -- + + COBB + Five hundred bucks. I know. Don't + worry, my guys are on it. + + FISCHER + Who did you say you were? + + Fischer looks at him, curious. Cobb plows on, confident. + + COBB + I said I was Rod Green from + Marketing, but I'm not. My name is + Mr. Charles. I might seem familiar + to you. I'm in charge of your + security here. + + +155 INT. HOTEL LOBBY - CONTINUOUS 155 + + The Blonde hurries up to Saito, emerging from the elevator. + + BLONDE + 110. + + + Mr. Saito, can I have a minute? + + She pushes him back into the elevator, closing the door as + the Sub-security approaches. + + +156 INT. ELEVATOR - CONTINUOUS 156 + + The Blonde fondles Saito's lapels, getting close. + + SAITO + I'm sorry, but -- + + Saito glances over her shoulder to see, in the tunnel of + infinite reflections created by the elevator's opposing + mirrors, three reflections in, THE BLONDE IS EAMES. He + winks. + + SAITO + (pushing him away) + Very amusing, Mr. Eames. + + EAMES + You look a bit perkier. + + A SHUDDER ripples through the elevator. + + SAITO + Turbulence on the plane. + + EAMES + Feels closer. That's Yusuf's + driving. + + And we -- + + CUT TO: + + +157 INT/EXT. VAN ON RAINY DOWNTOWN STREETS - DAY 157 + + Yusuf FIGHTS the wheel as the van CUTS DOWN AN ALLEY, + BUMPING OVER POTHOLES and SMASHING TRASH CANS aside. + + THREE S.U.V.s IN FURIOUS PURSUIT. Yusuf looks in the rear + view mirror, FRUSTRATED. He checks his WATCH, then checks + the back: the SLEEPERS SHAKE with the impact and we -- + + CUT TO: + + +158 INT. HOTEL LOBBY BAR - NIGHT 158 + 111. + + + As a TREMOR echoes through the bar Fischer looks at Cobb + trying to place him. + + FISCHER + Security? You work for the hotel? + + COBB + No. My specialty is subconscious + security. + + FISCHER + You're talking about dreams. You're + talking about extraction. + + COBB + Exactly. My job is to protect you - + - + + Behind Fischer a WAITER puts down a tray, tipping a + champagne glass over, SMASH. + + Cobb NOTICES. Pauses, looks across the bar, HIS TWO + CHILDREN ARE CROUCHED, BACKS TOWARDS US. + + Cobb looks around the bar, the patrons start to STARE at + Cobb, suspicious. Cobb shifts back to Fischer. + + COBB + My job is to protect you from any + attempt to access your mind through + your dreams. + + Cobb regains his patter, the patrons lose interest. + + +159 INT. ELEVATOR - CONTINUOUS 159 + + Eames pulls out Fischer's wallet, moves to hand it to + Saito, then PAUSES, opens it, leafs past the cast to find. + The SNAPSHOT: young Robert holding his HOMEMADE PINWHEEL, + his father blowing on it. The elevator doors open and Eames + steps off. HANDS Saito the wallet. + + EAMES + Get off at a different floor and + keep moving. Dump the wallet, then + meet me in the lobby. The security + will try to track it down. We need + to buy Cobb a little more time. + + The doors close. Saito puts the wallet in his pocket. He + COUGHS, a deep, nasty cough. + 112. + + +160 INT. HOTEL LOBBY BAR - CONTINUOUS 160 + + Cobb looks over Fischer's shoulder to see a SUITED MAN + watching him. Another MAN is walking in from the lobby. + + COBB + You're not safe here. + + Cobb steps away from the bar. Fischer does not move. + + COBB + Trust me. They're coming for you. + + Fischer sizes him up, A CLAP OF THUNDER ECHOES, and we -- + + CUT TO: + + +161 INT/EXT. VAN ON RAINY DOWNTOWN STREETS - DAY 161 + + GUNSHOTS BLAST out the rear and side windows of the van, a + Security Man is leaning out of the lead S.U.V. With a + SHOTGUN, WIND AND RAIN RIP THROUGH THE VAN, in the back, + ARTHUR'S SLEEPING FACE IS WHIPPED BY THE SPRAY, AND WE -- + + CUT TO: + + +162 INT. HOTEL LOBBY BAR - SUNSET 162 + + Fischer looks out the windows at sudden, HURRICANE LIKE + RAIN. + + COBB + Strange weather, huh? + + A TREMOR runs through the bar. Cobb looks around. + + COBB + You feel that? + + +163 INT. HOTEL LOBBY - CONTINUOUS 163 + + Ariadne and Arthur watch the GUSTS OF WIND RATTLE the + windows. Arthur sees HOTEL GUESTS staring out at the + weather, PUZZLED. Several of them TURN TO LOOK DIRECTLY AT + ARTHUR. + + ARIADNE + What's happening? + 113. + + + ARTHUR + Cobb's drawing Fischer's attention + to the strangeness of the dream. + That's making his subconscious look + for the dreamer. For me. + + And we -- + + CUT TO: + + +164 INT/EXT. VAN ON RAINY STREETS - DAY 164 + + At the end of the alley, Yusuf THROWS the van into a HARD + RIGHT TURN, we move into EXTREME SLOW MOTION. THE SLEEPERS + IN THE BACK ARE DRAWN TO ONE SIDE OF THE VAN BY THE + CENTRIFUGAL FORCE and we -- + + CUT TO: + + +165 INT. HOTEL LOBBY BAR - CONTINUOUS 165 + + The liquid in Fischer's drink RISES UP AGAINST ONE SIDE OF + THE GLASS. Fischer notices, confused. + + COBB + Very odd, the weather, the gravity + -- + + Fischer looks around the bar, it's as if THE ENTIRE ROOM IS + SET AT A 45-DEGREE ANGLE, glasses SLIDING off tables. + + COBB + But I can explain all this. You've + actually been trained for this. + (Fischer nods) + Think of the strangeness of the + weather, the shifts in gravity. + None of this is real -- + + COBB + (beat) + We're in a dream. + + Fischer looks at the room around them. Back to Cobb. All + through the bar, patrons turn to look at Cobb IN UNISON. + + COBB + The simplest test of what I'm + saying is for you to try and + remember anything about the way you + arrived in this hotel -- okay? + 114. + + + Fischer stares at Cobb, trying to process this. All around + them, people STARE at Cobb. Several get up as if to + approach. + + COBB + Breathe. Remember the training. + Accept the fact that we're in a + dream. That's why I'm here + protecting you. + + As Fischer considers this we -- + + CUT TO: + + +166 INT/EXT. VAN ON RAINY STREETS - DAY 166 + + Yusuf STRAIGHTENS UP the van, RACING down the street, + swerving through traffic and we -- + + CUT TO: + + +167 INT. HOTEL LOBBY BAR - EVENING 167 + + The building gradually EASES BACK INTO ALIGNMENT. + + FISCHER + So you -- you're not real? + + The bar patrons start to ignore Cobb again. + + COBB + No. I'm a projection of your + subconscious. I was put in place to + protect you in the event that + extractors pulled you into a dream. + I believe that's what has happened. + + Fischer takes this in. Then looks at the Security Men + approaching across the crooked floor, he nods at Cobb. + + +168 INT. HOTEL LOBBY - EVENING 168 + + Cobb escorts Fischer across the lobby. As he does so, he + walks past the two CHILDREN, backs to us, Cobb ignores + them. The two Sub-security fall in behind. Cobb hurries + Fischer up the stairs, then PUSHES him into. + + +169 INT. HOTEL LOBBY BATHROOM - CONTINUOUS 169 + 115. + + +Fischer stumbles in, turns to Cobb, angry. + + FISCHER + Hey -- + +Cobb reaches into his jacket, the First Man BURSTS in. Cobb +KICKS him to the ground. DRAWS his gun as the SECOND MAN +comes through the door, moving towards Fischer. + +BLAM! Cobb BLASTS the Second Man in the back, TURNS and +SHOOTS the First Man. + + FISCHER + Jesus Christ! What are you doing?! + +Cobb turns to Fischer, calm. Convincing. + + COBB + Look at the gun in his hand. + +Fischer looks: the Second Man was holding a pistol. Cobb +opens the First Man's jacket to show Fischer his holster +and sidearm. + + COBB + These men were sent to abduct you. + +Cobb pulls out the gun and HANDS it to Fischer. + + COBB + If I'm going to help you, I need + you to be calm. + +Fischer remembers something. + + FISCHER + If this is a dream, I have to kill + myself and wake up -- + +Fischer raises the gun towards his head. + + COBB + I wouldn't do that-they've probably + got you sedated. If you pull that + trigger, you might not wake up, you + might drop into a lower dream + state. + + COBB + Mr. Fischer, you know all this, you + just have to remember it -- + +Fischer lowers his gun. + 116. + + +170 INT. HOTEL CORRIDOR - CONTINUOUS 170 + + Saito walks down the corridor, followed by a Security Man. + + Saito DUCKS around the corner, moves to a GARBAGE CHUTE and + DROPS Fischer's WALLET into it. He SLIPS into the stairwell + as the Security Man comes abreast of the chute and pauses. + + +171 INT. HOTEL CORRIDOR - CONTINUOUS 171 + + Arthur leads Ariadne to a particular room: 491. + + +172 INT. ROOM 491 - CONTINUOUS 172 + + Arthur leads Ariadne in. He opens the closet, opens the + room safe, pulls our FOUR BRICKS OF PLASTIC EXPLOSIVE. + + ARTHUR + So, if everything's correct, this + room should be directly below 528. + + +173 INT. HOTEL LOBBY BATHROOM - CONTINUOUS 173 + + Cobb looks reassuringly at Fischer. + + COBB + What do you remember from before + this dream? + + FISCHER + (thinking) + Rain -- gunfire -- Uncle Peter. + (looks up) + Christ, we've been kidnapped. + + COBB + Where were they holding you? + + FISCHER + They had us -- in the back of a van + -- + + COBB + Your body's bouncing around in the + back of a van right now, that + explains the gravity shifts. + + FISCHER + 117. + + + It was -- to do with a safe -- + Christ, why's it so hard to + remember? + + COBB + It's like trying to remember a + dream after you've woken up. It + takes years of practice to do it + easily. So, you and Browning have + been pulled into this dream so they + can steal something from your mind. + What? + + FISCHER + They wanted a combination to a safe + -- they demanded the first numbers + to pop into my head. + + COBB + That's them extracting a locator. + + FISCHER + A locator? + + COBB + A number from your own + subconscious. It can be used any + number of ways -- + (thinking) + This is a hotel. Room numbers. What + was the number you gave them? + + FISCHER + 5, 2 -- something -- it was a long + number. 528 -- 528, 4 something. + + COBB + (opens phone) + Well, we know where to start. + (into phone) + Fifth floor. + + +174 INT. ROOM 491 - CONTINUOUS 174 + + Arthur hangs up the phone. He is standing on a chair, + attaching the explosives to the ceiling. + + ARIADNE + Do you use a timer? + + ARTHUR + 118. + + + No, I have to judge it myself. Once + you're all asleep up in room 528, I + wait `til Yusuf starts his kick -- + + ARIADNE + How will you know? + + ARTHUR + His music warns me it's coming, + then the van hitting the barrier of + the bridge should be unmistakable + that's when I blow the floor out + from underneath us and we get a + nice synchronized kick. Too soon, + and we won't get pulled out; too + late and I won't be able to drop + us. + + ARIADNE + Why not? + + ARTHUR + The van will be in free fall. I + can't drop us with no gravity. + + Arthur finishes setting the charges. + + +175 INT. HOTEL LOBBY - CONTINUOUS 175 + + Saito moves through the lobby. Browning is coming in the + other direction. Saito assumes him to be Eames. + + SAITO + I see you've changed. + + BROWNING + I'm sorry? + + Eames comes up behind Browning, catching Saito's eye. + + SAITO + I'm -- I mistook you for a friend. + + BROWNING + Good-looking fellow, I'm sure. + + Browning moves off. Saito approaches Eames. + + EAMES + That's Fischer's projection of + Browning. We'll keep an eye on how + he behaves -- + 119. + + + SAITO + Why? + + EAMES + How he acts will tell us if + Fischer's starting to suspect his + motives the way we want him to. + + +176 INT. HOTEL CORRIDOR - FIFTH FLOOR - MOMENTS LATER 176 + + Cobb leads Fischer around a corner. Arthur and Ariadne are + waiting in the corridor. + + COBB + They work for me. + + Fischer starts looking at room numbers. Stops at 528. Cobb + draws his gun, steps back from the door and KICKS it open. + + +177 INT. ROOM 528 - CONTINUOUS 177 + + Cobb JUMPS into the room, gun up. The room is empty. Arthur + and Ariadne search the room. Saito and Eames arrive. Eames + shuts the door. Arthur FINDS something- + + ARTHUR + Mr. Charles! + + Arthur holds up a MECHANISM CASE. Cobb shows it to Fischer. + + COBB + You know what this is? + + Fischer's eyes roam over the dials and plungers. + + FISCHER + I think so. But I don't understand. + + COBB + They were going to put you under. + + FISCHER + I'm already under. + + COBB + Under again. + + FISCHER + A dream within a dream? + 120. + + + ARTHUR + Shhhh! + +Arthur is at the door. Someone is there. A key goes into +the lock, the door starts to open. Arthur REACHES OVER and +GRABS the person entering, THROWS THEM TO THE FLOOR, puts +his gun in their face. IT IS BROWNING. + +Fischer stares, disbelieving, at his own godfather. + + FISCHER + Uncle Peter. What's going on? + +Cobb pulls the key from Browning's hand: ROOM 528. + + COBB + You said you were kidnapped + together? + + FISCHER + Not exactly, they already had him. + They'd been torturing him -- + + COBB + You saw them torture him? + +Fischer shakes his head. Looks at Browning. Thinking. + + FISCHER + The kidnappers are working for you. + + BROWNING + No, Robert -- + + FISCHER + You're trying to get that safe + open. To get the alternate will. + +Browning looks up at Fischer. + + BROWNING + Fischer Morrow's been my entire + life. I can't let you destroy it. + + FISCHER + I'm not going to throw away my + inheritance. Why would I? + + BROWNING + I couldn't take the chance of you + rising to your father's final + taunt. + 121. + + + FISCHER + What taunt? + + BROWNING + That will. I'm sorry, Robert, but + it's his final insult. A challenge + to build something for yourself. + He's telling you that you aren't + worthy of his achievements. + +Fischer takes this in. Devastated. + + FISCHER + That he was "disappointed?" + + BROWNING + I'm so sorry. But he was wrong. + You'll make his company even + greater than he ever could. + + COBB + Your godfather's lying, Robert. + +Fischer turns to Cobb. + + FISCHER + How do you know? + + COBB + It's what I do. He's hiding + something. + +Cobb looks at Browning. + + COBB + Let's find out what. + +Cobb nods at Arthur, who starts unpacking the mechanism. +Browning watches. Silent. + + COBB + Let's do to him what he was going + to do to you. + +Cobb rolls up his sleeve. Nods at Fischer to do the same. + + COBB + We'll penetrate his subconscious + and find out what he doesn't want + you to know. + 122. + + + Fischer looks Cobb in the eye. Decides, rolls up his + sleeve, offering his bare arm. The team run tubes to each + other. Arthur injects Fischer, whose head slumps. + + ARTHUR + He's out. + + ARIADNE + Wait, Cobb -- I'm lost. Whose + subconscious are we going into? + + COBB + Fischer's. I told him it was + Browning's so he'd come with us as + part of our team. + + ARTHUR + (impressed) + He's going to help us break into + his own subconscious. + + COBB + That's the idea. He'll think that + his security is Browning's and + fight them to learn the truth about + his father. + + Arthur hits buttons on the mechanism. The team goes out one + by one. Cobb is last. + + COBB + Fischer's subconscious is going to + run you down hard. + + ARTHUR + I'll lead them on a merry chase. + + COBB + Be back in time for the kick. + + ARTHUR + I'm on it. + + Cobb is no longer listening, he stares at the net curtains, + BILLOWING like those in Mal's suite, a GLIMPSE of someone + (Mal?) As the screen goes WHITE, and we are -- + + +178 EXT. SNOW - COVERED MOUNTAINS - DAY 178 + + CLOSE ON Cobb's face, staring. Fixed. + + ARIADNE (O.S.) + 123. + + + Cobb? Cobb? + +Ariadne is beside him. They stand on a cliff, dressed in +white snowsuits, carrying white-painted weapons like WWII +commandos. Cobb checks his SNIPER RIFLE, examines their +objective: a massive FORTIFIED MEDICAL FACILITY a mile +below. + + ARIADNE + What's down there? + + COBB + Hopefully, the truth we want + Fischer to learn. + + ARIADNE + I meant what's down there for you? + +Cobb turns to her. Eames, Saito and Fischer arrive, SKIING +down from the hill above. Cobb pulls Eames out of Fischer's +earshot. + + COBB + You're the dreamer. I need you to + draw the security away from the + complex. + + EAMES + Then who guides Fischer in? You? + + COBB + If I know the route -- we could be + compromised. + +Eames looks as Cobb, uneasy. Ariadne comes over. + + ARIADNE + I designed the place. + + COBB + No. You're with me. + + SAITO (O.S.) + I could do it. + +They turn to Saito. Saito shrugs at Eames. Eames smiles. + + COBB + Eames, brief Saito on the route + into the complex. What we're + looking for is going to be in the + most heavily fortified section. + That north tower. + 124. + + + Cobb moves to Fischer. Saito COUGHS. SPITS. Eames sees + BLOOD on the snow. Looks at Saito. + + COBB + Mr. Fischer, you're going in with + Mr. Saito. + + FISCHER + You're not coming in? + + COBB + You have to do this on your own. + You have to get in there, break + into your godfather's mind and find + out the truth about your father. + + Cobb taps Fischer's radio mike. + + COBB + Keep this live at all times. I'll + be listening in, covering you. + (holds up the sniper + rifle) + The windows on the upper floors are + big enough that I can cover you + from that south tower. + + Cobb slips into his skis, shoulders his rifle. + + CUT TO: + + +179 INT. ROOM 528 - NIGHT 179 + + Arthur checks the mechanism. He hears LOW BOOMS like + thunder. He checks his watch. THE SECOND HAND CRAWLS + FORWARDS. With a last look at the sleepers, he heads out + into the corridor -- + + +180 INT/EXT. VAN ON RAINY DOWNTOWN STREETS - DAY 180 + + A GUNSHOT slams into the van as Yusuf DRIVES, he glances + back to see a MOTORCYCLE pulling up behind him, the REAR + PASSENGER FIRING A SHOTGUN, the bike pulls alongside + Yusuf's window as the passenger RELOADS. + + Yusuf YANKS the wheel TOWARDS the bike, bringing the + shotgun barrel into the cab so he can GRAB it, spin the + wheel back- PULLING the passenger from the back of the + bike. Yusuf turns a corner, heading into a disused MARKET. + 125. + + +181 INT. HOTEL CORRIDOR - CONTINUOUS 181 + + Arthur walks towards the elevator. It OPENS a SECURITY MAN + emerges, heading right for him. Arthur takes a TURN, + speeding up. The BOOMS are louder, and we -- + + CUT TO: + + +182 INT/EXT. VAN ON RAINY DOWNTOWN STREETS - DAY 182 + + The bike crosses behind the van, catching up again as the + driver pulls a handgun and starts BLASTING. Up ahead, an + S.U.V. sits in a side road, lining up to head off the van, + the SECURITY MAN driving the S.U.V. guns it, as the bike + creeps up on the other side of the van. Yusuf HITS THE + BRAKES, forcing the bike out into the path of the S.U.V., + tossing the rider like a rag doll. + + Heading out of the market, the van races onto a FREEWAY ON + RAMP, approaching the BRIDGE. An S.U.V. SMASHES into the + van's side, FORCING it up against a CRASH BARRIER, the van + starts to SLOWLY TILT OVER THE BARRIER as the S.U.V. + PUSHES. + + CUT TO: + + +183 INT. HOTEL CORRIDOR - NIGHT 183 + + As Arthur hurries down the corridor, the corridor starts to + TILT, and Arthur is forced to run UP ONTO THE WALL, he + rounds a corner, STRAIGHT INTO another Security Man. Arthur + HEAD BUTTS him and they STRUGGLE as they struggle, the + corridor SPINS around, THROWING THEM UP ONTO THE WALLS, THE + CEILING as wall becomes floor they DROP through a door into + -- + + +184 INT. HOTEL ROOM - CONTINUOUS 184 + + The fight continues all over the spinning room and we -- + + CUT TO: + + +185 INT/EXT. VAN ON RAINY OFF RAMP NEAR BRIDGE - DAY 185 + + SLEEPING ARTHUR BOUNCES around as the van TILTS, SCRAPING + along the barrier, the van CLEARS THE END OF THE BARRIER + AND ROLLS DOWN THE EMBANKMENT, and we -- + + CUT TO: + 126. + + +186 INT. HOTEL ROOM - NIGHT 186 + + Arthur and the Security Man DROP to the floor, Arthur on + top. Arthur gets up, heads to the stairwell. + + +187 INT/EXT. VAN ON RAINY STREETS NEAR BRIDGE - DAY 187 + + The van SETTLES with a thump. Yusuf BREATHES hard. Then + SMILES as he realizes he is in one piece. A RINGING BELL up + ahead makes him look up to the bridge, where the barriers + are starting to come down. Yusuf checks his watch -- + + YUSUF + Bugger. + + Yusuf hits the gas, heading for the bridge. An S.U.V. lines + up behind him, trying to catch up before the van crosses + the barrier onto the bridge. + + The van JUST MAKES IT, the S.U.V. behind RIPS its read axle + off, SCRAPING to a halt on the rising section. The Security + Man inside starts FIRING on the van. + + +188 INT. HOTEL STAIRWELL - CONTINUOUS 188 + + Arthur RACES down the steps, OPENS the door to the fourth + floor, spots SECURITY MEN outside room 491. + + ARTHUR + Hey! + + They TURN, he DARTS back into the stairwell, RACES down the + stairs, the Security Men follow, they start SHOOTING, and + we -- + + CUT TO: + + +189 EXT. SNOW-COVERED MOUNTAINS - DAY 189 + + Eames SKIS down within sight of the hospital complex. He + reaches into his pack and lets off a FLARE. + + +190 EXT. HOSPITAL COMPLEX - CONTINUOUS 190 + + Security Men on the ramparts spot the flare and send + PATROLS out on skis and SNOWMOBILES to investigate. + + +191 EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS 191 + 127. + + + Eames watches them close in, then launches himself down the + mountain, STREAKING across the icy slope, and we -- + + CUT TO: + + +192 INT/EXT. VAN ON RAINY RISING BRIDGE - DAY 192 + + Yusuf PULLS FORWARD, looking over his shoulder to line up a + BACKWARDS RUN at the edge. He DUCKS as vicious FIRE from + the S.U.V. HAMMERS the vehicle. He looks at his watch. The + SECOND HAND TICKING SLOWLY. + + YUSUF + Sod it. I hope your ready. + + He grabs an MP3 player and reaches into the back to place + HEADPHONES on sleeping Arthur's head. As he does so, he + notices Saito's bandage BLEEDING THROUGH. Yusuf hits PLAY, + Edith Piaf's "Non, je ne regrette rien" starts up and we -- + + CUT TO: + + +193 INT. HOTEL STAIRWELL - NIGHT 193 + + Arthur STOPS, hearing something, MASSIVE LOW-END MUSICAL + TONES, he looks up PANICKED. + + ARTHUR + No, Yusuf. Too soon! + + SHOTS slam into the stairs around him and we -- + + CUT TO: + + +194 EXT. SNOW-COVERED MOUNTAINS - DAY 194 + + Cobb and Ariadne make their way down towards the complex. + + EAMES (OVER RADIO) + Cobb? Are you hearing that? + + Cobb listens. The wind sounds unusually LOW. + + +195 EXT. FOREST - SNOW-COVERED MOUNTAINS - CONTINUOUS 195 + + Eames is hidden at the base of some trees, whispering as a + patrol passes beneath his position. + 128. + + + EAMES + I noticed it twenty minutes ago, at + first I thought it was just wind -- + + +196 EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS 196 + + Cobb is listening intently. The "wind" changes pitch. + + COBB + No, it's music. Dammit. + + EAMES (OVER RADIO) + What do we do? + + COBB + We move fast. Saito, did you copy? + + +197 EXT. MOUNTAINS - THE OTHER SIDE OF THE COMPLEX - CONTINUOUS 197 + + Saito and Fischer CLIMB down a CLIFF FACE above the + complex. + + SAITO + We're going as fast as we can. + + +198 EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS 198 + + Ariadne looks at Cobb, concerned. + + ARIADNE + How long do we have? + + COBB + Yusuf's about ten seconds from the + jump, which gives Arthur about + three minutes, which gives us about + -- + + ARIADNE + Sixty minutes. + + COBB + The route you gave them, can they + do it in under an hour? + + ARIADNE + I don't think so. They've still got + to climb down to the middle + terrace. + 129. + + + COBB + They need a new route, a direct + route. + + ARIADNE + The building's designed as a + labyrinth. + + COBB + There must be access routes that + cut through the maze. + (into radio) + Eames? + + +199 EXT. FOREST - SNOW-COVERED MOUNTAINS - CONTINUOUS 199 + + Eames cannot answer, he SLALOMS through the forest, Sub- + security in hot pursuit, bullets smashing into the trunks. + + +200 EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS 200 + + Cobb turns to Ariadne. + + COBB + Did Eames add any features? + + ARIADNE + Yes. + + COBB + What did he add? + + Ariadne looks at Cobb. + + ARIADNE + I shouldn't tell you. If Mal -- + + COBB + There's no time, what did he add? + + ARIADNE + Utility closets, trap doors -- + + COBB + What about service features? Did he + add any large pipes or -- + + ARIADNE + 130. + + + Ducts. He added an air duct system, + it doesn't follow the maze. They + can use it to go straight from the + outer walls to the upper tower. + + COBB + Explain it to them. + + ARIADNE + (into radio) + Saito? + + +201 EXT. CLIFF FACE BEHIND COMPLEX - CONTINUOUS 201 + + Saito is using a hammer to tap in a belay. + + SAITO + Go ahead. + + And we -- + + CUT TO: + + +202 INT/EXT. VAN ON RAINY RAISED BRIDGE - DAY 202 + + Yusuf looks at the Security Man in the S.U.V., gives him + the finger and hits the GAS, RACING BACKWARDS at the + barrier and we -- + + CUT TO: + + +203 INT. HOTEL STAIRWAY - NIGHT 203 + + Arthur RUNS UP the stairs, gun in hand, rounds a corner + andIMPOSSIBLY, arrives behind the Security Man, who looks + at him, CONFUSED, then looks down to realize he is now at + the edge of a dangerous drop. Arthur shrugs. + + ARTHUR + Paradox. + + Arthur PUSHES him over the edge, he falls. Arthur races up + to the fourth floor, throws open the door and we -- + + CUT TO: + + +204 INT/EXT. VAN ON RAINY RAISED BRIDGE - DAY 204 + 131. + + + In SLOW MOTION, the van SMASHES THROUGH THE CONCRETE + BARRIER and we -- + + CUT TO: + + +205 INT. HOTEL CORRIDOR - NIGHT 205 + + Arthur is SPRINTING down the corridor when a TREMENDOUS + CRASH sends him FLYING into the air and we -- + + CUT TO: + + +206 EXT. SNOW-COVERED MOUNTAINS - DAY 206 + + A MASSIVE RUMBLE prompts Cobb to look across the valley. + + +207 EXT. FOREST - SNOW-COVERED MOUNTAINS - CONTINUOUS 207 + + Eames shoots out of the trees, then FALLS to the snow as he + sees a great CRACKING up ahead, the SLOPE IS FALLING AWAY + IN AN AVALANCHE. + + +208 EXT. CLIFF FACE BEHIND COMPLEX - CONTINUOUS 208 + + Saito hears the RUMBLE above them. He looks down, Fischer + is below, near the bottom of the sheer face. + + SAITO + Look out! + + Saito CUTS the rope, they FALL, HIT the icy face and SLIDE + down the slope, clearing the path of the avalanche and we - + - + + CUT TO: + + +209 INT/EXT. VAN - DAY 209 + + In EXTREME SLOW MOTION, the van emerges from the concrete + balustrade and starts FALLING and we -- + + CUT TO: + + +210 INT. HOTEL CORRIDOR - NIGHT 210 + 132. + + + Arthur is still FLYING through the corridor, NOT LANDING, + GRAVITY HAS DISAPPEARED, he scrambles for a handhold, + GRABBING a sconce and we -- + + CUT TO: + + +211 EXT. SNOW-COVERED MOUNTAINS - DAY 211 + + Cobb watches the avalanche cloud slide past the complex. + + ARIADNE + What was that? + + COBB + The kick. + + EAMES (OVER RADIO) + Cobb? Did we miss it? + + COBB + Yeah, we missed it. + + +212 EXT. FOREST - SNOW-COVERED MOUNTAINS - CONTINUOUS 212 + + Eames is lying on the snow. + + EAMES + What the hell do we do now? + + COBB (OVER RADIO) + Finish the job before the next + kick. + + EAMES + What next kick? + + +213 EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS 213 + + Cobb looks at Ariadne as he talks into the radio. + + COBB + When the van hits the water. I + figure Arthur's got a couple + minutes and we've got about twenty. + + Cobb and Ariadne MOVE towards the base of the complex. + + +214 EXT. HOSPITAL COMPLEX - CONTINUOUS 214 + 133. + + + Saito and Fischer RUN around the base of the building. They + find a large EXHAUST PORT. Lay a charge on the GRILL. They + blow the charge. Climb into the open vent. + + +215 INT/EXT. VAN - DAY 215 + + In EXTREME SLOW MOTION, the van seems SUSPENDED IN MID-AIR + TEN STORIES ABOVE THE RIVER and we -- + + CUT TO: + + +216 INT. HOTEL CORRIDOR - NIGHT 216 + + In ZERO GRAVITY, Arthur pulls himself to the door of 491, + opens it. He looks at the charges planted on the ceiling. + + ARTHUR + How the hell do I drop you? + + He PULLS the charges from the ceiling. Hurrying. And we -- + + CUT TO: + + +217 INT. DUCT SYSTEM - HOSPITAL COMPLEX - CONTINUOUS 217 + + Saito and Fischer hurry through the duct system. Saito is + falling behind, coughing up blood. + + +218 EXT. UPPER TERRACE - HOSPITAL COMPLEX - CONTINUOUS 218 + + Cobb GRABS a Security Guard from behind, strangling him + unconscious. He beckons to Ariadne, covering her as she + runs towards him. They enter the base of the south tower. + + +219 INT. TOP ROOM - SOUTH TOWER - HOSPITAL COMPLEX - CONTINUOUS 219 + + A guard is manning the tower. Cobb and Ariadne enter. Cobb + SHOOTS the guard and moves to the window. + + ARIADNE + (she points) + That's the antechamber outside the + strongroom. + + Cobb looks at the large windows of the antechamber. + + COBB + 134. + + + What about the strongroom? Doesn't + it have any windows? + + ARIADNE + Wouldn't be very strong if it did. + (off look) + Look, if you wanted to design it + yourself -- + + COBB + It's fine. Better hope that we like + what Fischer finds in there. + + Cobb sets up his sniper rifle. Through the scope he can see + three guards on the balcony outside the chamber. Three more + inside. Cobb casually picks them off with his rifle. + Ariadne watches through binoculars, appalled. + + ARIADNE + These projections, they're part of + his subconscious? + + COBB + Yeah. + + ARIADNE + Are you destroying those parts of + his mind? + + COBB + No, of course not. They're just + projections. + + EAMES (OVER RADIO) + Cobb? Something's wrong? + + +220 EXT. FOREST - SNOW-COVERED MOUNTAINS - CONTINUOUS 220 + + Eames is watching the patrols HEAD BACK towards the + complex. + + EAMES + They're heading your way. Like they + know something. + + +221 INT. TOP ROOM - SOUTH TOWER, HOSPITAL COMPLEX - CONTINUOUS 221 + + Cobb hears this. Concerned. + + COBB + Buy us some time. + 135. + + + EAMES (OVER RADIO) + On my way. + + +222 EXT. FOREST - SNOW-COVERED MOUNTAINS - CONTINUOUS 222 + + Eames TAKES OFF towards the base of the complex. And we -- + + CUT TO: + + +223 INT. ROOM 528 - NIGHT 223 + + Arthur FLOATS into the room. The SLEEPERS are floating, + loosely connected by their tubes. Arthur looks at them, + MIND RACING. He PULLS Cobb towards Eames, and we -- + + CUT TO: + + +224 INT. DUCT SYSTEM - HOSPITAL COMPLEX - DAY 224 + + Saito and Fischer approach the grate covering the exit to + the anteroom. Saito SLUMPS to the floor of the duct, pulls + out his radio. Fischer looks at him, he is PALE, SHIVERING. + + Fischer takes the radio, WHISPERS into it. + + FISCHER + (into radio) + We're here. Are we clear to + proceed? + + +225 INT. TOP ROOM - SOUTH TOWER - HOSPITAL COMPLEC - CONTINUOUS 225 + + Cobb SCANS the anteroom through the scope, it looks clear. + + COBB + You're clear, but hurry, there's an + army headed your way -- + + Ariadne watches the patrols approaching the complex. + + +226 INT. DUCT SYSTEM - HOSPITAL COMPLEX - CONTINUOUS 226 + + The SQUELCH from the radio is too loud. Fischer GRABS it + and turns the volume to zero as he starts to remove the + grate. + 136. + + +227 EXT. BASE OF THE HOPISTAL COMPLEX - CONTINUOUS 227 + + Eames is setting MINES along the LOWEST WALL of the + structure. He moves carefully, there is a SHEER DROP below + the wall. + + +228 INT. TOP ROOM - SOUTH TOWER - HOSPITAL COMPLEX - CONTINUOUS 228 + + Cobb SPOTS something through his scope. Something above the + main windows, glimpsed through the side of the skylight. + + COBB + Shit. There's someone else in + there. + + Cobb prepares to fire. Ariadne GRABS the radio. + + ARIADNE + Fischer, stop! It's a trap! + + +229 INT. DUCT SYSTEM - HOSPITAL COMPLEX - CONTINUOUS 229 + + Fischer does not see the flashing light on his radio as he + carefully lifts the grate. He motions for Saito to stay. + + +230 INT. TOP ROOM - SOUTH TOWER - HOSPITAL COMPLEX - CONTINUOUS 230 + + Cobb TENSES to fire. + + COBB + Come on -- a little lower -- a + little -- + + COBB FREEZES. IT IS MAL IN HIS SIGHTS. Ariadne puts up her + binoculars. Spots Mal. Fischer is climbing out of the vent. + + ARIADNE + Cobb, that's not really her -- + + Cobb turns to her. + + COBB + How can you know that? + + +231 INT. ANTECHAMBER - CONTINUOUS 231 + + Fischer moves into the antechamber, cautious. + 137. + + + FISCHER + I'm in. + + Fischer turns up the volume- + + ARIADNE (OVER RADIO) + Fischer, look out! + + Mal DROPS gracefully to the floor behind him. + + MAL + Hello. + + +232 INT. TOP ROOM - SOUTH TOWER - HOSPITAL COMPLEX - CONTINUOUS 232 + + Cobb looks at Ariadne. + + ARIADNE + Cobb, she's just a projection. + Fischer -- he's real. + + Cobb thinks. Nods, TURNS back to the scope, too late. MAL + SHOOTS FISCHER. Cobb reflexively pulls the trigger. Mal + GOES DOWN. Cobb steps back from the scope, STUNNED. + + ARIADNE + Eames? Get to the anteroom now! + + They run for the door. + + +233 INT. DUCT SYSTEM - HOSPITAL COMPLEX - CONTINUOUS 233 + + Saito STARTS as he hears the shot. He starts edging + forwards, clutching his belly. And we -- + + CUT TO: + + +234 INT. ROOM 528 - NIGHT 234 + + The sleepers are floating in a rough stack, top-and-tailed. + Arthur pulls the bedding from the bed and uses the sheet to + bind the sleepers together. And we -- + + CUT TO: + + +235 INT/EXT. VAN - DAY 235 + 138. + + + In EXTREME SLOW MOTION, the van CREEPS DOWNWARDS, still + high above the river and we -- + + CUT TO: + + +236 INT. HOTEL CORRIDOR - NIGHT 236 + + Arthur PUSHES the floating stack of sleepers to the + elevator. He hits the button, the doors open, he pushes + them in. GRABS the charges, climbs through the hatch in the + ceiling and we -- + + CUT TO: + + +237 INT. DUCT SYSTEM - HOSPITAL COMPLEX - DAY 237 + + Eames steps over Saito, who looks up at him with DYING + eyes. + + +238 INT. ANTECHAMBER - HOSPITAL CORRIDOR - DAY 238 + + Eames jumps out of the vent to find Cobb and Ariadne + standing over the bodies of Fischer and Mal. + + EAMES + What happened? + + ARIADNE + Mal killed Fischer -- + + COBB + I wouldn't shoot her. + + Eames grabs a defibrillator from the wall and pulls + Fischer's jacket open. + + COBB + It won't do any good -- + + Eames SHOCKS Fischer's chest. + + COBB + Even if you could revive his body, + his mind's trapped down there. It's + over. + + Eames listens for a pulse. Looks up at Cobb. + + EAMES + 139. + + + So that it, then? We failed. + + COBB + I'm sorry. + + EAMES + It's you who doesn't get back to + your family. + +Eames looks down at Fischer. Then over to the double doors. + + EAMES + I wanted to know what was going to + happen in there. I think we had + this one. + + ARIADNE + There's still a way: We follow + Fischer down -- + +They look at her. + + EAMES + We're almost out of time -- + + ARIADNE + Down there they'll be enough time. + We'll find him, soon as you hear + Arthur's music start, you use the + defibrillator to revive him, we + give him his own early kick from + below. + + ARIADNE + Get him in there -- + (points to doors) + Then, as the music ends you blow + the hospital and we all ride the + kick back up through the layers. + +Eames looks at her, then to Cobb. + + EAMES + Okay, Saito can hold them off while + I plant the rest of the charges. + + COBB + Saito's not going to last, Eames. + + ARIADNE + We have to try! + + EAMES + 140. + + + Go for it, but I'm taking the kick + whether you're back or not... + + Eames pulls the mechanism from his pack. Offers it to + Ariadne. Cobb watches. Silent. Ariadne pulls out the tubes. + + ARIADNE + Can I trust you to do what's + needed? Mal's down there -- + + COBB + And I can find her. She'll have + Fischer. + + ARIADNE + How do you know? + + COBB + She wants me to come after him. She + wants me back down there with her. + + Cobb rolls up his sleeve. Ariadne rolls up her own sleeve. + Eames NODS. Cobb and Ariadne lie down. Eames hits the + button-WATER. BUBBLES. DROWNING. And we are -- + + +239 EXT. COAST - LIMBO - DAY 239 + + Ariadne lies in the SURF, STARING up at a CLOUDLESS SKY. A + tremendous BOOM prompts her to look around her, URBAN + BUILDINGS PILED right down to the water. The buildings are + DECAYING, falling into the ocean like a GLACIER calving. + Cobb WADES towards her through the shallow water. Ariadne + looks up at the crumbling city around them. + + ARIADNE + This is your world? + + COBB + It was. And this is where she'll + be. + + And we -- + + CUT TO: + + +240 INT. ELEVATOR SHAFT - DAY 240 + 141. + + + Arthur floats on top of the elevator, planting small + charges on the EMERGENCY BRAKES and CABLE. He sets them, + GRABS the other explosives, then PUSHES AWAY, shooting up + the shaft. As he hits the DETONATOR, BLASTING the braking + and safety systems of the elevator, we move into SLOW + MOTION, the fireballs FLAMING OUT in graceful licks and we + -- + + DISSOLVE TO: + + +241 INT. ANTECHAMBER - DAY 241 + + Eames RACES around, full speed, getting the defibrillator + paddles, laying them by Fischer's body, he runs into the + duct, pulls Saito up to a seated position and hands him a + handgun. + + EAMES + Come on, Saito. I need you to cover + Fischer while I plant the charges. + + Saito nods weakly, tries to hold the gun. Eames moves to + the window, pulls his machine gun off, checks its load. + Ready. He watches the security patrols climb up the outer + walls. Eames lays down a HAIL of covering fire, then heads + outside. + + +242 EXT. HOSPITAL COMPLEX - CONTINUOUS 242 + + Eames races along the upper terrace dodging fire. BULLETS + SHATTER a window behind him and we move into SLOW MOTION, + the glass CASCADING GENTLY and we -- + + DISSOLVE TO: + + +243 EXT. COAST - LIMBO - DAY 243 + + Cobb and Ariadne climb out of the waves, full speed. They + move into the shadow of the tall, crumbling buildings. The + streets are eerily DESERTED. As they move further in, the + buildings become NEWER, different. Ariadne marvels at the + extraordinary collection of buildings, every architectural + style imaginable in waves of FAILED UTOPIAS. + + ARIADNE + You built all this? + + COBB + We both did. + 142. + + + ARIADNE + It's incredible. + + COBB + We built for years. Then, when that + got stale, we started in on the + memories. + +A child's SHOUT echoes through the deserted canyons, +prompting Cobb to look down a side street: a LITTLE BLONDE +BOY crouched, his back to us. A LITTLE BLONDE GIRL joins +the boy, and, as Cobb turns down the street, they run off. + +Cobb and Ariadne emerge into a peculiar SQUARE lined with +an eclectic mix of buildings, from APARTMENT BLOCKS to +HOUSES. + + COBB + This is our neighborhood. + + ARIADNE + (confused) + From what city? + + COBB + No. Our neighborhood. + (pointing) + That was our first apartment -- + then we moved to that building -- + we got that small house when Mal + became pregnant. + + ARIADNE + You reconstructed them all from + memory? + + COBB + We had time. + +Cobb pauses in front of a French country house. Staring. + + ARIADNE + What's that? + + COBB + The house Mal grew up in. + + ARIADNE + Will she be in there? + + COBB + No. Come on -- + 143. + + + Cobb leads Ariadne to the entrance of a glass skyscraper. + + +244 INT. SKYSCRAPER LOBBY - LIMBO - CONTINUOUS 244 + + Cobb leads Ariadne across the gleaming lobby to the + elevators. + + COBB + We both wanted a house, but we both + loved skyscrapers. In the real + world we had to choose. Not here. + + +245 INT. SKYSCRAPER ELEVATOR - LIMBO - CONTINUOUS 245 + + Cobb pulls out his handgun, and a ziplock bag full of + bullets. + + ARIADNE + How do we send Fischer back? + + COBB + We need some kind of kick. + + ARIADNE + What? + + COBB + I'll improvise. + + Cobb COCKS his weapon, and the ELEVATOR STOPS. The doors + open. Ariadne moves to exit, Cobb stops her. + + COBB + There's something you have to + understand about me. About + inception. You see, an idea is like + a virus -- + + Cobb leads her out of the lift. + + +246 INT. PENTHOUSE - LIMBO - CONTINUOUS 246 + + Cobb and Ariadne step off the lift and into the incongruous + interior of a craftsman house. They cautiously move down + the corridor towards the back of the house. + + COBB + Resilient -- + (turns to Ariadne) + 144. + + + Highly contagious, and an idea can + grow. The smallest seed of an idea + can grow to define or destroy your + world -- + + Cobb is staring into the kitchen. Mal is sitting at the + table, back to them, staring out at the porch, the TOWERS + of Limbo stretching off behind it. + + MAL + The smallest idea, such as -- "Your + world is not real." + + Cobb hands Ariadne his gun and moves towards Mal. + + MAL + A simple little thought that + changes everything -- + + Ariadne watches as Cobb sits down beside Mal. And we -- + + CUT TO: + + +247 INT. ELEVATOR SHAFT - NIGHT 247 + + Arthur FLIES back down the shaft to the top of the + elevator, SQUEEZES past the car to the bottom and starts to + set the MAIN CHARGES ACROSS THE BOTTOM OF THE CAR, and we - + - + + CUT TO: + + +248 INT. PENTHOUSE - LIMBO - DAY 248 + + Cobb touches Mal's arm, she TURNS, angry. It is only now + that we see that she holds a CARVING KNIFE. Mal looks at + Ariadne. + + MAL + So certain of your world. Of what's + real. Do you think he is -- + (points at Cobb) + Or do you think he's as lost as I + was? + + COBB + I know what's real. + + MAL + 145. + + + What are the distinguishing + characteristics of a dream? Mutable + laws of physics? Tell that to the + quantum physicists. Reappearance of + the dead? What about heaven and + hell? Persecution of the dreamer, + the creator, the messiah? They + crucified Christ, didn't they? + + COBB + I know what's real. + + MAL + No creeping doubts? Not feeling + persecuted, Dom? Chased around the + globe by anonymous corporations and + police forces? The way the + projections persecute the dreamer? + +Mal puts her hand on his face. Pitying. + + MAL + Admit it, Dom. You don't believe in + one reality anymore. So choose. + Choose your reality like I did. + Choose to be here. Choose me. + + COBB + (rising anger) + I have chosen, Mal. Our children. I + have to get back to them. Because + you left them. You left us. + + MAL + You're wrong, Dom. You're confused, + our children are here -- + +A child's SHOUT draws Cobb. James CROUCHES on the porch, +back to us. Philippa joins him, also turned away. Cobb +watches, moved. Mal leans in close. + + MAL + (whispers) + And you'd like to see their faces + again, wouldn't you, Dom? + + COBB + Our real children are waiting for + me up above. + +And we -- + + CUT TO: + 146. + + +249 INT. ELEVATOR - NIGHT 249 + + Arthur scrambles to arrange the sleepers on the floor of + the car as his hand comes away from Saito, he sees BLOOD on + it. + + He looks at Saito's belly, the blood is coming through his + shirt. Arthur sticks headphones on sleeping Eames, and we - + - + + CUT TO: + + +250 INT. HOSPITAL FORTRESS - DAY 250 + + Eames throws a GRENADE, blowing up the security forces + trying to ascend the terraces. He DUCKS to the ground to + avoid HEAVY FIRE, starts unpacking the charges and setting + them along the base of the terraces. + + +251 INT. DUCT SYSTEM - HOSPITAL COMPLEX - CONTINUOUS 251 + + Saito looks up as he hears a Security Guard climbing + through the duct, he raises his gun, TREMBLING with + weakness. And we -- + + CUT TO: + + +252 INT. KITCHEN - PENTHOUSE - LIMBO - DAY 252 + + Mal laughs at Cobb. + + MAL + (laughs) + Up above? Listen to yourself. You + judged me for believing the very + same thing. + + Mal points at the children. + + MAL + These are our children. Watch. + (turns to the kids) + Hey, James! Philippa?! + + The children START TO TURN to us BUT COBB CLOSES HIS EYES. + + COBB + They're not real, Mal. Our real + children are waiting for us -- + 147. + + +The children run off. Cobb opens his eyes. + + MAL + You keep telling yourself that but + you don't believe it -- + + COBB + I know it -- + + MAL + And what if you're wrong? What if + I'm what's real? + +Cobb is silent. + + MAL + You keep telling yourself what you + know -- but what do you believe? + What do you feel? + +Cobb looks at Mal. Struggling. + + COBB + Guilt. I feel guilt. And however + confused I might get. + + COBB + However lost I might seem -- it's + always there. Telling me something. + Reminding me of the truth. + + MAL + What truth? + + COBB + That you were wrong to doubt our + world. That the idea that drove you + to question your reality was a lie + -- + + MAL + How could you know it was a lie? + + COBB + Because it was my lie. + + MAL + (realizing) + Because you planted the idea in my + mind. + + COBB + 148. + + + Because I performed inception on my + own wife, then reaped the bitter + rewards -- + + ARIADNE + Why? + + COBB + We'd become lost in here. Living in + a world of infinite possibilities. + A world where we were gods. I + realized we needed to escape, but + she'd locked away her knowledge of + the unreality of this world -- + +INSERT CUT: Mal opens the doll's house. Takes the spinning +top, lies it down in the safe. LOCKS IT AWAY. + + COBB + I couldn't make Mal understand that + we needed to break free. To die. So + I started to search our world -- + +Cobb turns to Mal, but keeps talking to Ariadne. + +INSERT CUT: Cobb WANDERS the streets of Limbo. + + COBB + Searching for the right place in + her mind -- + +INSERT CUT: Cobb stops outside the VICTORIAN HOUSE, MAL'S +CHILDHOOD HOME, looking up at it. He heads inside. + + COBB + And when I found that place, that + secret place where she had shut + away her knowledge years before, I + broke it open- - + +INSERT CUT: Cobb looks around Mal's childhood bedroom. +Comes to the doll's house. + + COBB + I broke into the deepest recess of + her mind, to give her the simplest + little idea. + +INSERT CUT: Cobb throws open the safe doors. Sitting on the +shelf of the safe is a spinning top. On its side. + + COBB + 149. + + + A truth that she had once known, + but had chosen to forget -- + +INSERT CUT: Cobb picks up the totem. He SPINS it in the +safe. + +IT SPINS AND SPINS WITHOUT END. Cobb CLOSES THE DOOR of the +safe. + + COBB + That her world was not real. + +INSERT CUT: COBB AND MAL ARRIVE AT TRAIN TRACKS CUTTING +THROUGH WASTELAND. + + COBB (V.O.) + That death was a necessary escape. + +They lie on the tracks looking into each other's eyes. Mal +is crying. Cobb takes her hand, reassuring. He starts to +speak. + + COBB + You're waiting for a train. A train + that will take you far away. You + know where you hope this train will + take you, but you can't know for + sure. Yet it doesn't matter -- + +Mal looks at him across the railroad tracks. Replies. + + MAL + Because you'll be together. + +The train comes, OBLITERATING the lovers. Back in the +present, Cobb looks into Mal's eyes. She is crying. + + COBB + I never thought that the idea I'd + planted would grow in her mind like + a cancer. That even after we woke - + - + +INSERT CUT: Cobb looks around the HOTEL SUITE, confused. He +moves to the CURTAINS. Mal is on the ledge opposite. + + COBB + You'd continue to believe that your + world was not real -- + +Crying, Mal nods. + + MAL + 150. + + + That death was the only escape? + + INSERT CUT: Mal PLUNGES to her death. + + MAL + You killed me. + + Cobb looks at Mal. Whispers. + + COBB + I was trying to save you -- I'm + sorry. + + Mal comes in close to Cobb. Looks him over. + + MAL + You infected my mind. You betrayed + me. But you can make amends. You + can still keep your promise. We can + still be together- - right here. In + our world. The world we built + together. + + CUT TO: + + +253 INT. ELEVATOR - NIGHT 253 + + Arthur hits "Play" on his music player. Edith Piaf starts + to ring out, Arthur checks his detonator and we -- + + CUT TO: + + +254 INT. ANTECHAMBER - DAY 254 + + Eames races back in, in the relative quiet he notices + MASSIVE LOW-E MUSICAL TONES. He drops his gun and goes to + Fischer's side. + + +255 INT. DUCT SYSTEM - HOSPITAL COMPLEX - CONTINUOUS 255 + + Saito musters all his remaining strength as the guard + emerges. Saito FIRES, dropping the guard, then COLLAPSES, + the gun clattering to the duct floor. Saito is dead. + + +256 INT. ANTECHAMBER - CONTINUOUS 256 + + Eames powers up the defibrillator, puts the paddles on + Fischer's chest, then Pow!- he shocks him, and we -- + 151. + + + CUT TO: + + +257 INT. PENTHOUSE - LIMBO -DAY 257 + + LIGHTNING crackles across the sky. Ariadne sees it. + + ARIADNE + We need Fischer. + + MAL + You can't have him. + + Cobb stares at Mal. Mesmerized. + + COBB + If I stay, can she take him back? + + ARIADNE + Cobb, what are you saying? + + MAL + Fischer's on the porch. + + ARIADNE + Cobb, you can't do this. + + COBB + Go check he's alive, Ariadne. + + Ariadne moves onto the porch, high above the metropolis, + and we -- + + CUT TO: + + +258 INT. ELEVATOR - NIGHT 258 + + Arthur nods his head in time with the music, counting down, + holding the detonator. He starts bracing himself, and we -- + + CUT TO: + + +259 INT. ANTECHAMBER - DAY 259 + + Eames recharges the defibrillator. SHOCKS Fischer again, + and we -- + + CUT TO: + 152. + + +260 EXT. PORCH, PENTHOUSE - LIMBO - DAY 260 + + Ariadne looks up as a LARGE BOLT OF LIGHTNING RIPS across + the sky, she looks down to see Fischer, BOUND AND BLOODY, + lying below the rail. + + ARIADNE + He's here. And it's time. But you + have to come with us. + + Another massive lightning strike flickers across the sky. + + ARIADNE + Cobb, I'm not going to let you lose + yourself in here! You have to get + back to your children! + + COBB + Send Fischer, I have to stay. + + ARIADNE + You can't stay here to be with her + -- + + Cobb turns from Mal. Looks at Ariadne. + + COBB + I'm not. Saito is dead by now. That + means he's here. I have to stay + here and find him. + + Ariadne removes Fischer's gag, pulls him up, onto the rail. + Cobb looks back at Mal. + + COBB + I can't stay here to be with her + because she's not real. + + Mal looks at Cobb, furious. + + MAL + Not real? I'm the only thing you do + believe in anymore. Here doesn't + this feel real, Dom? + + She STABS him in the chest, Cobb WHEEZES, GASPING, looking + at Mal. + + COBB + 153. + + + I wish you were. But I couldn't + make you real. I'm not capable of + imagining you in all your + complexity and -- perfection. As + you really were. You're the best I + can do. And you're not real. + + Mal pulls the knife and moves to STRIKE again. + + ARIADNE + No! + + A SHOT rings out, Mal GRABS her shoulder, Cobb turns to + Ariadne, who is pointing Cobb's gun. + + COBB + What're you doing? + + ARIADNE + Improvising. + + She KICKS Fischer off the roos, AIMS again at Mal. + + Fischer DROPS as the sky LIGHTS UP WITH ELECTRICITY. + Fischer SCREAMS, then GASPS, no longer falling, and we are + -- + + +261 INT. ANTECHAMBER - DAY 261 + + Eames pulls the defibrillator from Fischer's chest as he + COUGHS AWAKE. + + EAMES + Get in there, quick! + + Fischer looks up at the double doors. STAGGERS to his feet. + Fischer pushes open the doors to the STRONGROOM. + + +262 INT. STRONGROOM - CONTINUOUS 262 + + Fischer walks into the silent white room. At one end of the + room is a bed. A figure lies in the bed. His FATHER. + + Breathing with tremendous difficulty. Dying. And we -- + + CUT TO: + + +263 EXT. PENTHOUSE - LIMBO - DAY 263 + 154. + + + Ariadne takes aim at Mal. + + COBB + No! + + Cobb holds Ariadne's gaze. She lowers the gun. And we -- + + CUT TO: + + Eames GRABS the detonator, then moves to the door of the + strongroom. + + CUT TO: + + +264 INT. ELEVATOR - HOTEL - NIGHT 264 + + Arthur HITS THE DETONATOR. + + +265 INT. ELEVATOR SHAFT - CONTINUOUS 265 + + The CHARGES on the bottom of the elevator EXPLODE, and we + move into EXTREME SLOW MOTION as the flames BALLOON. + + CUT TO: + + +266 INT. STRONGROOM - CONTINUOUS 266 + + A RUMBLE BUILDS as Fischer approaches the bed, overcome + with emotion. His Father sees him. Starts trying to speak. + Fischer leans in. + + FATHER + (hoarse whisper) + I -- was -- dis -- dis -- + + FISCHER + I know, Dad. You were disappointed + that I couldn't be you. + + The dying man SHAKES HIS HEAD with surprising energy. + + FATHER + (whisper) + I was disappointed -- that you + tried. + + Fischer hears this. And we -- + + CUT TO: + 155. + + +267 INT. ELEVATOR SHAFT - NIGHT 267 + + The elevator car is ROCKETED along its track by the + explosion. + + +268 INT. ELEVATOR - CONTINUOUS 268 + + Arthur is SMASHED against the floor of the car next to the + sleepers who SHUDDER with the force of ACCELERATION and we + -- + + CUT TO: + + +269 INT. ANTECHAMBER - DAY 269 + + Eames WATCHES Fischer- + + EAMES + (to himself) + Come on, come on -- + + +270 INT. STRONGROOM - DAY 270 + + The Father collapses back onto the pillow. Fischer starts + to weep. His Father reaches out a trembling hand but when + Fischer tries to hold IT, he SHAKES his son's hand away. + + He is reaching for the SAFE next to his bed. His fingers + fumble at the keypad, he can't open it. His son pushes + 5,2,8,4,9,1 into the keypad. Opens it. Inside the safe is + the WILL. And beside it is a HOMEMADE PINWHEEL, clearly + made by a child. By Fischer. He takes it out, MARVELING at + it. He turns to his father, but his father is dead. + + Eames, watching from the door, HITS THE DETONATOR. + + +271 EXT. HOSPITAL COMPLEX - CONTINUOUS 271 + + A line of EXPLOSIONS RIPS ALONG THE LOWER WALL, the ENTIRE + BUILDING STARTS TO SLIDE DOWN THE MOUNTAIN. + + +272 EXT. PENTHOUSE - LIMBO - DAY 272 + + A FIERCE WIND starts HOWLING through the house as the sky + outside DARKENS. Cobb shields Mal against the blast, looks + up at Ariadne, who HOLDS the railing, FIGHTING the wind. + + COBB + 156. + + + That's the kick, you have to go! + + ARIADNE + You're coming! + + COBB + No, I'm not. I'm staying here to + find Saito. + (turns to Mal) + And to say goodbye. + + Ariadne loosens her grip on the railing. + + ARIADNE + Don't lose yourself. Find Saito. + And bring him back. + + COBB + I will. + + Ariadne lets the wind pull her off the edge, FALLING and we + -- + + +273 INT. ANTECHAMBER - CONTINUOUS 273 + + Ariadne DROPS as the FLOOR COLLAPSES, her eyes SNAP OPEN. + + +274 EXT. PENTHOUSE - LIMBO - DAY 274 + + Cobb holds Mal in his arms. The wind DIES. + + MAL + We'd be together forever. You + promised me. + + COBB + I know. But we can't. And I'm + sorry. + + MAL + You remember when you asked me to + marry you? You said you dreamt that + we'd grow old together. + + COBB + And we did -- + + Mal looks at Cobb, thinking. Remembering. + 157. + + + INSERT CUT: TWO ELDERLY PEOPLE (MAL AND COBB) WALK THROUGH + LIMBO. ACROSS A WASTELAND. TWO ELDERLY HANDS CLUTCH EACH + OTHER AS THEY LIE DOWN ON THE RAILROAD TRACK. + + COBB + I miss you more than I can bear -- + but we had our time together. And + now I have to let go -- + + She nods, weakly. Cobb holds Mal as her eyes close. DYING + and we -- + + +275 INT. STRONGROOM - CONTINUOUS 275 + + Fischer and his Father's body DROP AWAY. + + +276 INT. ELEVATOR - NIGHT 276 + + Ariadne DROPS inside the ROCKETING ELEVATOR, and as it + SMASHES INTO THE TOP OF THE SHAFT Ariadne SMASHES into -- + + +277 INT/EXT. VAN INTO RIVER - DAY 277 + + THE WATER, THE VAN CRUNCHING WITH THE IMPACT. WATER + CRASHING THROUGH THE BROKEN WINDOWS FLOODING THE INTERIOR. + + Fischer's EYES OPEN, PANICKING- he UNBUCKLES HIMSELF, + pushes out of the broken window- STOPS, goes back to + UNBUCKLE Browning and DRAG him out. + + +278 EXT. RIVER - CONTINUOUS 278 + + Fischer breaks the surface with Browning, who COUGHS and + GASPS. He starts PULLING for the near bank, struggling + through the rain-impacted water. + + +279 INT. VAN - UNDERWATER - CONTINUOUS 279 + + Ariadne, Arthur and Yusuf wait calmly underwater. They are + sharing TWO REGULATORS pulled from beneath the front seat. + + Arthur turns to Saito. There is blood in the water around + Saito's belly, his eyes are LIFELESS. Arthur feels for a + pulse, turns to Cobb, whose eyes are lifeless. Ariadne + GRABS Arthur's elbow, pulling him away. + + +280 EXT. RIVERBANK - MOMENTS LATER 280 + 158. + + + Fischer turns Browning/Eames over. They lie there, + exhausted. + + BROWNING + I'm sorry, Robert. + + Fischer stares at the rain on the water. + + FISCHER + The will means that Dad wanted me + to be my own man, not live for him. + (turns to Browning) ) + And I'm going to, Uncle Peter. + + Browning nods. Wipes the rain from his face. In the puddle + beside them, the reflection is not Browning, but Eames. + + +281 EXT. UNDERNEATH BRIDGE IN THE RAIN - MOMENTS LATER 281 + + Arthur sits on the riverbank, breathing heavily. + + ARTHUR + What happened? + + ARIADNE + Cobb stayed. + + ARTHUR + With Mal? + + ARIADNE + No. To find Saito. + + Arthur looks out at the water below the bridge. + + ARTHUR + He'll be lost -- + + ARIADNE + No. He'll be alright. + + And we -- + + CUT TO: + + +282 EXT. DAWN - CRASHING SURF 282 + + The waves TOSS a BEARDED MAN onto wet sand. + 159. + + + As the Japanese Security Guard turns him onto his back, we + realize that this is Cobb OLDER. WEARY. TRAVELLED. + + +283 INT. DINING ROOM - CASTLE - DAY 283 + + Cobb WOLFS his food. The Elderly Japanese Man (Saito, 90 + years old) watches him. + + SAITO + So- - have you come to kill me? + + Cobb does not look up. + + SAITO + I've been waiting for someone to + come for me -- + + COBB + Someone from your half-remembered + dream--? + + Saito peers at Cobb. + + SAITO + Cobb? Not possible, he and I were + young men together. And I am an old + man -- + + COBB + Filled with regret? + + Saito REMEMBERS, nods. + + SAITO + Waiting to die alone, yes. + + Cobb is STARING at something on the table. + + COBB + I came back for you. I came to + remind you of what you once knew. + + Cobb gestures at the table. Saito follows his gaze down to + the polished surface of the table. + + COBB + That this world is not real. + + The top IS STILL SPINNING PERFECTLY, AS IF IT WILL NEVER + TOPPLE. Saito looks at the top. Then back to Cobb. + 160. + + + SAITO + You came to convince me to honor + our arrangement? + + COBB + Yes. And to take a leap of faith. + + As Saito-san listens to Cobb, he looks at the GUN on the + table between them. + + COBB + Come back and we'll be young men + together again. + + The elderly Saito looks at Cobb. Nods. And we -- + + CUT TO: + + +284 INT. FIRST CLASS CABIN - 747 - DAY 284 + + Ariadne watches Cobb. His eyes are closed. + + FLIGHT ATTENDANT (O.S.) + Hot towel, sir? + + His EYES FLICKER OPEN. He takes the towel with a nod. + Ariadne smiles. Relieved. + + FLIGHT ATTENDANT + We'll be landing in Los Angeles in + about twenty minutes. Do you need + immigration forms? + + Cobb nods. Takes a landing card. Looks around the cabin. + + Saito is WATCHING him. Serious. Haunted. Holding Cobb's + gaze, SAITO PICKS UP THE PHONE AND DIALS. Cobb nods thanks. + + +285 INT. ARRIVALS - LAX - LATER 285 + + Cobb steps forwards to the IMMIGRATION OFFICIAL. Hands him + his passport. Nervous. The Official takes a beat, looks + Cobb up and down, then WHUMP!- the passport is stamped. As + Cobb takes it back, he spots Ariadne at the next counter. + She nods at him. He nods back. Then moves off. + + As Cobb passes through baggage claim, he exchanges subtle + greetings with Eames and Yusuf. + 161. + + + Arthur smiles broadly at Cobb. Cobb brushes past Fischer, + who glances back at him as if thinking maybe he should know + him, then moves on. + + As Cobb emerges into the crowded arrivals hall, he spots + Professor Miles, waving at him. + + +286 INT. KITCHEN - COBB AND MAL'S HOUSE - DAY 286 + + Cobb enters with Miles. Drops his bags. Moves to the table, + looking out at the overgrown garden. He reaches into his + pocket, takes out his pewter spinning top, lowers it to the + table and SPINS IT, a CHILD'S SHOUT makes him look up. + + Through the window, James and Philippa have run into view, + playing, THEIR FACES TURNED AWAY. Cobb STARES at the back + of his children's heads. Miles moves to the window and + KNOCKS on the glass. + + James and Philippa TURN, see their Dad. He steps to the + window, watching their BRIGHT FACES SHINING as they run + towards him. + + Behind him, on the table, the spinning top is STILL + SPINNING. And we -- + + FADE OUT. + \ No newline at end of file diff --git a/scripts/Interstellar.txt b/scripts/Interstellar.txt new file mode 100644 index 0000000000000000000000000000000000000000..36d046f4d504a48befa50101cc1e6b70e0ac867b --- /dev/null +++ b/scripts/Interstellar.txt @@ -0,0 +1,8636 @@ + 1. + + + + BLACK. THE GENTLE SOUND OF WIND IN CORN + + A row of books. From spaces between them, dust falls. + + I N T E R S T E L L A R + + ELDERLY FEMALE VOICE + (V.O.) + Sure. Dad was a farmer. + + BRIGHT CORN STALKS FILL THE FRAME, SWAYING IN THE BREEZE + + ELDERLY FEMALE VOICE + (V.O.) + Like everybody else back then. + + The wind is RISING, shaking the plants more FORCEFULLY ... + Insert cut: a WOMAN in her eighties against a dark + background. + + ELDERLY WOMAN + Course, he didn’t start that way... + + The WIND IS HOWLING, SHRIEKING and we RIP INTO - + + +1 EXT. THE STRATOSPHERE - DAY 1 + + BURNING through the fringes of space - + + +2 INT. COCKPIT - CONTINUOUS 2 + + A young PILOT fights his BUFFETING craft - + + RADIO + (O.S.) + Computer says you’re too tight - + + PILOT + I got this - + + The Pilot grabs a panicked glance at his instruments - + + RADIO + (O.S.) + Crossing the Straights ... shutting + it down, Cooper. Shutting it all + down ... + + PILOT + 2. + + + NO! I need the power up - + + +3 EXT. THE STRATOSPHERE - CONTINUOUS 3 + + The BLACK and RED SKY starts SPINNING HORRIFYINGLY - + + +4 INT. COCKPIT - DAY 4 + + As the controls RIP themselves free, the pilot SHOUTS and + we - + + CUT TO: + + +5 INT. BEDROOM, FARMHOUSE - NIGHT 5 + + A man WAKES, nightmare SWEATY. This is COOPER. + + YOUNG GIRL’S VOICE + (O.S.) + Dad? Dad? + + Cooper turns: in the doorway - his sleepy ten-year-old + daughter. This is MURPH. + + COOPER + Sorry. Go back to sleep. + + MURPH + I thought you were the ghost. + + COOPER + There’s no ghost, Murph. + + MURPH + Grandpa says you can get ghosts. + + COOPER + Maybe Grandpa’s a little too close + to being one himself. Back to + sleep. + + MURPH + Were you dreaming about the crash? + + COOPER + Back to sleep, Murph. + + Murph shuffles back out the door. Cooper moves to the + window. DAWN breaks over an ENDLESS SEA OF CORN ... + 3. + + + ELDERLY FEMALE VOICE + (V.O.) + Corn, sure. But dust. In your ears, + your mouth... + + INSERT CUT: AN OLD-TIMER IN CLOSE UP, WATERY-EYED, + DESCRIBES DUST BOWL CONDITIONS. + + OLD-TIMER + (V.O.) + Dust just everywhere. Everywhere. + + +6 EXT. COOPER’S FARM - MORNING 6 + + An old man, handkerchief across his face, sweeps dust out + of the door onto the porch. This is Grandpa (DONALD). + + +7 INT. KITCHEN, FARMHOUSE - MORNING 7 + + Cooper pours himself coffee as Donald puts grits on the + table. TOM, Cooper’s fifteen-year-old son, stuffs his face. + + Murph, wet hair, towel around neck, plays with pieces of a + MODEL (a lunar lander). + + DONALD + Not at the table, Murph. + + MURPH + Dad, can you fix this? + + COOPER + (takes pieces, frowning) + What’d you do to my lander? + + MURPH + Wasn’t me. + + TOM + Lemme guess - your ghost? + + MURPH + It knocked it off my shelf. It + keeps knocking books off. + + TOM + There’s no such things as ghosts, + dumb-ass - + + COOPER + (to Tom) + 4. + + + Hey - + + MURPH + I looked it up, it’s called a + poltergeist. + + TOM + Dad, tell her. + + COOPER + Murph, you know that’s not + scientific. + + MURPH + You say science is about admitting + what we don’t know. + + DONALD + She’s got you there. + + COOPER + (hands her pieces) + Start looking after our stuff. + + Donald looks at Cooper, admonishing. Cooper shrugs. + + COOPER + Fine. Murph, you wanna talk + science, don’t just tell me you’re + scared of some ghost - record the + facts, analyze, present your + conclusions. + + MURPH + Sure. + + Cooper gets up, grabs his keys. + + DONALD + Hold up. + (Off look.) + Parent-teacher conferences. + ’Parent’ - not ’grandparent’. + + +8 EXT. FARMHOUSE - MOMENTS LATER 8 + + The kids pile into an old pickup truck, scraping DUST off + the seats. Cooper, coffee in hand, peers at a black cloud. + + COOPER + Dust storm? + 5. + + + DONALD + (shakes his head) + Nelson’s torching his whole crop. + + COOPER + Blight? + + DONALD + They’re saying it’s the last + harvest for okra. Ever. + + Cooper stares at the smoke. Uneasy. Gets into the truck. + + COOPER + Shoulda planted corn like the rest + of us. + + DONALD + Be nice to Miss Hanley. She’s + single. + + COOPER + What’s that supposed to mean? + + DONALD + Repopulating the Earth - start + pulling your weight. + + COOPER + Start minding your business. + + +9 INT/EXT. PICKUP TRUCK ON DIRT ROAD - MOMENTS LATER 9 + + Cooper sips his coffee, steering while Murph shifts - + + COOPER + Okay, gimme second - + + Murph wrestles the long gear stick into second. Cooper + sips. + + COOPER + Now third - + + Murph struggles to find third - GRIND. + + TOM + Find a gear, dumb-ass. + + MURPH + Shut up, Tom! + 6. + + +BANG - A TIRE BLOWS OUT. Cooper stops the truck. + + TOM + What’d you do, Murph? + + COOPER + She didn’t do anything. We lost a + tire is all. + + TOM + Murphy’s Law. + + MURPH + Shut up, Tom. + +Cooper gets out of the truck, checks the flat, turns to +Tom. + + COOPER + Grab the spare. + + TOM + That is the spare. + + COOPER + Okay, patch kit. + + TOM + How’m I supposed to patch it out + here? + + COOPER + Figure it out. I’m not always going + to be here to help you. + +Tom moves to the back of the truck. Murph is there. + + MURPH + Why’d you and Mom name me after + something bad? + + COOPER + We didn’t. + + MURPH + Murphy’s Law? + + COOPER + Murphy’s Law doesn’t mean bad stuff + will happen. It means ’whatever can + happen, will happen’. And that + sounded just fine to us. + 7. + + + Murph frowns, hearing something ... + + COOPER + What? + + Then Cooper hears it, too. A LOW RUMBLE. Cooper GRABS Murph + as a DRONE SOARS low overhead - + + COOPER + Come on! + + Cooper jumps into the truck - he pulls out a laptop and + antenna hands them to Murph - shouts at Tom - + + COOPER + Get in! + + TOM + (jack in hand) + What about the tire? + + +10 INT/EXT. PICKUP TRUCK THROUGH FIELDS - MOMENTS LATER 10 + + Close on the SHREDDING TIRE as the truck BARRELS through + cornfields. Murph fires up the laptop. Cooper strains to + see through the cornstalks, scanning the horizon - + + TOM + There! + + To the right, the dark shape of the drone, cruising low + over the fields. Cooper JERKS the wheel - the drone has + long, thin wings like a U-2, but no cockpit. + + COOPER + Indian air force surveillance + drone. Solar cells could power an + entire farm. + (To Tom.) + Take the wheel - + + Tom takes the wheel - Cooper hands Murph the antenna. + + COOPER + Keep it pointed right at it - + + Cooper works the laptop - the screen fills with Hindi. + + Faster, Tom. I’m losing it. + 8. + + +Tom WEAVES through the corn - they round a corner, almost +HIT a HARVESTER - BANG - the truck loses a wing mirror - +Ahead the drone SOARS, banking, pulling away - + +The truck BURSTS out of the corn, Cooper’s nose is in the +laptop. + + TOM + Dad? + + COOPER + Almost got it. Don’t stop. + +In front of them, the drone plummets from view into the +next valley - the path ahead leads to a three-hundred-foot +drop. + + TOM + DAD ... + +Cooper looks up. + + COOPER + Tom! + +Tom locks up the brakes. Cooper looks at him - he shrugs. + + TOM + You told me to keep going. + +Cooper grabs the laptop and opens the door. + + COOPER + Guess that answers the ’if I told + you to drive off a cliff’ scenario. + +Murph is still pointing the antenna. + + MURPH + We lost it. + + COOPER + (smiles) + No, we didn’t. + +The DRONE SOARS BACK OVER THEM - Cooper is moving his +fingers across the track pad, PILOTING THE DRONE. + +As the kids watch, Cooper sends the drone soaring over +them, banking above the valley. Cooper crouches next to +Murph. + 9. + + + COOPER + Want to give it a whirl? + + Murph, guided by Cooper, moves her fingers across the track + pad - the massive drone BANKS in response. Murph is in + heaven. + + COOPER + Let’s set her down next to the + river. + + +11 EXT. RIVERBANK - MOMENTS LATER 11 + + The truck limps up to the drone. Cooper and the kids climb + down. Cooper runs a hand along the smooth carbon flank of + the aircraft. + + TOM + How long you think it’s been up + there? + + COOPER + Delhi mission control went down + same as ours, ten years ago. + + TOM + It’s been up there ten years? Why’d + it come down so low? + + COOPER + Sun finally cooked its brain. Or it + came down looking for something. + + MURPH + What? + + COOPER + Some kind of signal. Who knows? + + Cooper finds an access hatch. Pries it open. Examines the + black-box brain of the machine. + + MURPH + What are you going to do with it? + + COOPER + Give it something socially + responsible to do, like drive a + combine. + + MURPH + 10. + + + Couldn’t we just let it go? It’s + not hurting anyone. + + Cooper looks down at his daughter. Good kid. + + COOPER + This thing has to adapt, just like + the rest of us. + + +12 EXT. COUNTY SCHOOL - DAY 12 + + The truck pulls up to school, drone fuselage hanging out. + + COOPER + How’s this work? You guys come + with? + + TOM + I’ve got class. But she ... + + Pats Murph on shoulder. + + Needs to wait. + + Murph glares at Tom as he hops out. + + COOPER + Why? What? + + MURPH + Dad, I had a thing ... well, + they’ll tell you about it. Just try + and ... + + COOPER + Am I gonna be mad? + + MURPH + Not with me. Just try not to - + + COOPER + Relax, I got this. + + Murph pulls out a notebook. Starts drawing a BARCODE. + + +13 INT. PRINCIPAL’S OFFICE - LATER - MORNING 13 + + Cooper enters, awkward. The PRINCIPAL (male, fifties) turns + from the window. + 11. + + + PRINCIPAL + Little late, Coop. + (Indicates chair.) + Guess you had to stop off at the + Asian fighter plane store. + + COOPER + (sits, smiles) + Actually, sir, it’s a surveillance + drone. With outstanding solar + cells. + +Cooper nods at Murph’s teacher, Ms Hanley, thirties, +attractive. + + PRINCIPAL + We got Tom’s scores back. He’s + going to make an excellent farmer. + Congratulations. + +The Principal slides a paper across the desk. + + COOPER + (taken aback) + What about college? + + PRINCIPAL + The university only takes a + handful. They don’t have resources + - + + COOPER + I’m still paying taxes - where’s + that go? There’s no more armies. + + PRINCIPAL + Not to the university. Coop, you + have to be realistic. + + COOPER + You’re ruling him out for college + now? He’s fifteen. + + PRINCIPAL + Tom’s score simply isn’t high + enough. + + COOPER + What’re you? About a thirty-six- + inch waist? + (Beat.) + Thirty-inch inseam? + 12. + + + PRINCIPAL + I’m not sure I see what - + + COOPER + You’re telling me you need two + numbers to measure your own ass, + but just one to measure my son’s + future? + +Ms Hanley stifles a laugh. The Principal shoots her a look. + + PRINCIPAL + You’re a well educated man, Coop. A + trained pilot - + + COOPER + And an engineer. + + PRINCIPAL + Okay. Well, right now the world + doesn’t need more engineers. We + didn’t run out of planes, or + television sets. We ran out of + food. + +Cooper leans back. He’s not going to win this one. + + PRINCIPAL + The world needs farmers. Good + farmers, like you. And Tom. + (Smiles benignly.) + We’re a caretaker generation. And + things are getting better. Maybe + your grandchildren - + + COOPER + Are we done, sir? + + PRINCIPAL + No. Ms Hanley is here to talk about + Murph. + +Cooper shifts his gaze to Ms Hanley. + + MS HANLEY + Murph’s a bright kid. A wonderful + kid, Mr Cooper. But she’s been + having a little trouble ... + +Ms Hanley places a textbook on the desk. + +She brought this to school, to show the other kids the +section on the lunar landings ... + 13. + + + COOPER + Yeah, it’s one of my old textbooks, + she likes the pictures. + + MS HANLEY + This is an old federal textbook. + We’ve replaced them with corrected + versions. + + COOPER + Corrected? + + MS HANLEY + Explaining how the Apollo missions + were faked to bankrupt the Soviet + Union. + + COOPER + You don’t believe we went to the + moon? + + MS HANLEY + (tolerant smile) + I believe it was a brilliant piece + of propaganda. The Soviets + bankrupted themselves pouring + resources into rockets and other + useless machines. + + COOPER + ’Useless machines’? + + MS HANLEY + Yes, Mr Cooper. And if we don’t + want a repeat of the wastefulness + and excess of the twentieth + century, our children need to learn + about this planet, not tales of + leaving it. + +Cooper considers this in silence. Looks at Ms Hanley. + + COOPER + One of those useless machines they + used to make was called an MRI. And + if we had any of them left, the + doctors might have been able to + find the cyst in my wife’s brain + before she died, rather than + afterwards. Then she could be + sitting here listening to this, + which’d be good, cos she was always + the calmer one ... + 14. + + + Ms Hanley looks at Cooper, embarrassed. Then - + + MS HANLEY + I’m sorry about your wife, Mr + Cooper. But Murph got into a fist + fight with several of her + classmates over this Apollo + nonsense and we thought it best to + + MS HANLEY + bring you in and see what ideas you + might have for dealing with her + behavior on the home front. + + COOPER + Sure. Well, there’s a ball game + tomorrow night, and Murph’s going + through a bit of a baseball phase. + There’ll be candy and soda ... + + Ms Hanley looks at him, expectant. + + COOPER + I think I’ll take her to that. + + Ms Hanley turns to the Principal, not happy. + + +14 EXT. PICKUP TRUCK OUTSIDE SCHOOL - MOMENTS LATER 14 + + Murph looks up from her notebook at her dad, expectantly. + + MURPH + How’d it go? + + COOPER + I, uh ... got you suspended. + + MURPH + What?! + + COOPER + Sorry. + + MURPH + Dad! I told you not to - + + The CB radio CRACKLES to life. + + CB OPERATOR + Cooper? Boots for Cooper. + + COOPER + 15. + + + Cooper. + + BOOTS + (over radio) + Coop, those combines you rebuilt + went haywire. + + COOPER + Power the controllers down for a + couple minutes. + + BOOTS + (over radio) + Did that. You should come take a + look, it’s kinda weird. + + +15 EXT. FARMHOUSE - DAY 15 + + Cooper and Murph pass a slow-moving harvester pulling up to + the house, which is surrounded by AUTOMATED FARM MACHINES. + + They’ve nosed up to the house like animals at a Nativity. + + Boots, the farm hand, approaches - + + BOOTS + One by one they been peeling off + from the fields and heading over. + + Cooper pops open the cabin to a harvester. Checks the auto + pilot hooked up to the controls. + + BOOTS + Something’s interfering with their + compass ... + + Cooper jumps down and heads to the front door. Enters. + + BOOTS (O.S.) + Magnetism or some such ... + + +16 INT. FARMHOUSE - CONTINUOUS 16 + + Cooper looks at the kitchen. Nothing. Murph comes in. + + MURPH + What is it, Dad? + + A small BANG from upstairs. Cooper heads up. + 16. + + +17 INT. MURPH’S BEDROOM - CONTINUOUS 17 + + Murph’s bedroom clearly used to be her mother’s. Cooper, in + the doorway, looks at the wall of BOOKS opposite - several + GAPS. He looks down at some books on the floor. + + MURPH + Nothing special about which books. + (Off look.) + + MURPH + Been working on it, like you said. + + Murph holds up her notebook with its barcode. + + MURPH + I counted the spaces. + + COOPER + Why? + + MURPH + In case the ghost’s trying to say + something. I’m trying Morse. + + COOPER + Morse? + + MURPH + Yeah. Dots and dashes, used for - + + COOPER + Murph, I know what Morse code is. I + just don’t think your bookshelf’s + trying to talk to you. + + He leaves. Murph, embarrassed, turns back to the shelf. + + +18 INT. FRONT PORCH, FARMHOUSE - NIGHT 18 + + Donald hands Cooper a beer. + + COOPER + Had to reset every compass clock + and GPS to offset for the anomaly. + + DONALD + Which is? + + COOPER + 17. + + + No idea. If the house was built on + magnetic ore, we’d’ve seen this the + first time we switched on a + tractor. + +Donald nods. Sips. + + DONALD + Sounds like your meeting at school + didn’t go so well. + + COOPER + (sighs) + We’ve forgotten who we are, Donald. + Explorers, pioneers. Not + caretakers. + +Donald nods, thoughtful. Weighs up his words. + + DONALD + When I was a kid it felt like they + made something new every day. Some + gadget or idea. Like every day was + Christmas. But six billion people + ... just try to imagine that. And + every last one of them trying to + have it all. + +He turns to Cooper. + +This world isn’t so bad. And Tom’ll do just fine - you’re +the one who doesn’t belong. Born forty years too late, or +forty years too early. My daughter knew it, God bless her. +And your kids know it. ’Specially Murph. + + COOPER + We used to look up and wonder at + our place in the stars. Now we just + look down and worry about our place + in the dirt. + + DONALD + Cooper, you were good at something + and you never got a chance to do + anything with it. I’m sorry. But + that’s not your kids’ fault. + +Cooper looks up at the stars above. + + OLD-TIMER (V.O.) + May 14th. Never forget. Clear as a + bell. You’d never think ... + 18. + + + INSERT CUT: THE OLD-TIMER REMEMBERS. CUT TO A SECOND OLD- + TIMER ... + + SECOND OLD-TIMER + When the first of the real big ones + rolled in ... I thought it was the + end of the world. + + +19 EXT. BASEBALL FIELD - LATE AFTERNOON 19 + + The CRACK of ball off bat - a pop-fly caught to a trickle + of applause. Half-filled stands at what looks like a minor + league game. + + DONALD + In my day we had real ball players. + Who’re these bums? + + As the team runs in from the field we see: NEW YORK + YANKEES. + + COOPER + Well, in my day people were too + busy fighting over food for + baseball, so consider this + progress. + + Murph offers Donald some popcorn. + + DONALD + Fine. But popcorn at a ball game is + unnatural. I want a hot dog. + + MURPH + (confused) + What’s a hot dog? + + Cooper sits with Tom a row in front. + + COOPER + The school says you’re gonna follow + in my footsteps. I think that’s + great. + + TOM + You think that’s great? + + MURPH + You hate farming, Dad. Grandpa + said. + + Cooper looks at Donald, who shrugs ’sorry’. + 19. + + + COOPER + What’s important is how you feel + about it, Tom. + + TOM + I like what you do. I like our + farm. + + On the field: the batter hits one along the ground - it + rolls to an infielder’s foot - but the infielder IGNORES + it, STARING up at the sky. The crowd starts to look up ... + + OLD-TIMER (V.O.) + You’ve never seen the like. Black. + Just black ... + + INSERT CUT: THE OLD-TIMER CHOKES BACK FEAR AS HE REMEMBERS. + + Cooper stares at the horizon, where an ENORMOUS BLACK DUST + STORM IS MASSING. People start leaving, tying handkerchiefs + across their faces. + + COOPER + Come on, guys. + + +20 INT/EXT. PICKUP TRUCK - MOMENTS LATER 20 + + Cooper speeds along as Donald and the kids stuff RAGS into + cracks and vents ... behind them the WALL OF BLACK DUST + ADVANCES, SWALLOWING UP ROADS, BUILDINGS. A nasty SOUND is + developing - the truck ROCKING with GUSTS of wind ... + Suddenly, BLACK DUST ENVELOPS the car, LIGHTNING CRACKLING. + + DONALD + It’s a bad one ... + + COOPER + Mask up, guys. + + Murph and Tom take SURGICAL MASKS out of the glove box. + + +21 EXT. FARMHOUSE - CONTINUOUS 21 + + VISIBILITY MERE FEET as the dust storm BRUTALIZES the farm. + + The truck CRAWLS up to the house. Cooper leans in to try + and see better ... CRACK - a panel of sheet metal SMASHES + into the windshield - Cooper turns - wrestles Murph out of + the truck as Donald blindly stumbles towards the front door + with Tom ... + 20. + + +22 INT. FARMHOUSE - CONTINUOUS 22 + + The SHUTTERS BANG as the wind WHIPS around the house, + FORCING JETS OF DUST up through cracks in the window + frames, floorboards ... Donald SLAMS the door. Murph is + COUGHING ... Cooper looks around. Sees dust coming from + upstairs. + + COOPER + Did you both shut your windows? + + Tom nods. Murph looks at Cooper. Runs for the stairs. + + COOPER + Wait - + + +23 INT. MURPH’S BEDROOM - CONTINUOUS 23 + + Cooper gets to the doorway. Murph stands in the middle of + the room, STARING. Cooper SHUTS the window. The dust hangs + in the relative quiet. Murph is staring, TRANSFIXED, at + LINES where dust is FALLING UNNATURALLY FAST, STREAMING + DOWN through the air, collecting on the floor in a PATTERN + - + + MURPH + The Ghost. + + Cooper STARES at dust collecting like snow on power + lines... + + COOPER + Grab your pillow, sleep in with + Tom. + + +24 EXT. FARMHOUSE - DAWN - MORNING 24 + + Calm. Dust settled. + + +25 INT. TOM’S ROOM - CONTINUOUS 25 + + Murph slips out of bed, wrapped in her blanket. Pads down + the hall, peeks in her bedroom door at - + + +26 INT. MURPH’S BEDROOM - CONTINUOUS 26 + + Cooper sits, staring at the PATTERN of dust: thick radial + lines, like a CIRCULAR BARCODE. Murph sits down next to her + dad. They STARE at it together. He holds up a coin ... + 21. + + + COOPER + It’s not a ghost ... + + Cooper tosses the coin across a line. It SHOOTS at the + floor - + + It’s gravity. + + +27 INT. SAME - LATER 27 + + Donald pokes his head in. + + DONALD + I’m dropping Tom, then heading to + town ... + (Looks at dust pattern.) + You wanna clean that up when you’ve + finished praying to it? + + Cooper reaches for Murph’s notebook. Starts writing ... + + +28 INT. KITCHEN, FARMHOUSE - LATER 28 + + Murph fills a glass of water. Picks up a plate of + sandwiches. + + +29 INT. MURPH’S BEDROOM - CONTINUOUS 29 + + Follow Murph into the room, to find Cooper standing there. + + COOPER + I got something. + + Cooper is pointing to the thick and thin radial lines - + + COOPER + Binary. Thick is one, thin is zero + - it’s numbers ... number pairs... + + He holds up the notebook to show Murph the number pairs. + + Coordinates. + + +30 INT. KITCHEN, FARMHOUSE - MOMENTS LATER 30 + + Cooper and Murph pore over MAPS. Cooper TOSSES one aside, + lays it out on the table. Finds a spot. Looks up at Murph + ... + 22. + + +31 EXT. FARMHOUSE - MOMENTS LATER 31 + + Cooper packing his truck - sleeping bag, flashlight ... + + MURPH + You can’t leave me behind! + + COOPER + Grandpa’s back in two hours. + + MURPH + You don’t know what you’re going to + find - + + COOPER + That’s why I can’t take you. + + +32 INT. KITCHEN, FARMHOUSE - MOMENTS LATER 32 + + Cooper grabs the maps and a bottle of water. He calls up - + + COOPER + Murph? + + Nothing. + + COOPER + Murph, just wait here for Grandpa. + Tell him I’ll call him on the + radio. + + +33 INT/EXT. PICKUP TRUCK ON ROAD - MOMENTS LATER 33 + + Cooper drives, map spread on the wheel, looks for a pen - + reaches over to the passenger wheel well - lifts a BLANKET + - Murph is there - + + COOPER + JESUS! + + The truck WOBBLES as Cooper regains control. + + COOPER + Murph, what are you doing?! + + Murph is LAUGHING as she climbs into the passenger seat - + + COOPER + It’s not funny - + 23. + + + But Murph’s laugh is infectious. + + MURPH + You wouldn’t be here if it wasn’t + for me. + + Cooper hands Murph the map. + + COOPER + Fair enough. Make yourself + useful... + + The pickup cruises down the road, heading for the + MOUNTAINS. + + +34 EXT. PLAINS APPROACHING MOUNTAINS - DUSK 34 + + The tiny pickup is dwarfed by the darkening foothills. + + +35 EXT. DIRT ROAD OFF MOUNTAIN PASS - NIGHT 35 + + Cooper pulls up to a gate in chain-link fence. Murph is + asleep next to him. + + COOPER + Murph. Murph. + + Murph wakes. + + COOPER + I think this is as far as we get. + + Murph glances out at the fence. Closes her eyes again. + + MURPH + Why? You didn’t bring the bolt- + cutters? + + COOPER + I like your spirit, young lady. + + Cooper gets out of the truck, retrieves his bolt-cutters + and comes up to the fence. He looks up and down the road. + + Nothing. He reaches out and puts the jaws of the cutters - + + WHAM! SPOTLIGHTS IN COOPER’S EYES - A HARSH ELECTRIC VOICE + - + + VOICE + 24. + + + STEP AWAY FROM THE FENCE. + + Cooper drops the cutters, puts his hands in the air - + + COOPER + Don’t shoot! My child is in the + car! I’m unarmed! My daughter is - + + Murph watches, terrified as, with a ZAP, Cooper DROPS. + Murph SCRAMBLES back along the seat as MASSIVE FOOTSTEPS + APPROACH. + + The door is WRENCHED open - a BLINDING LIGHT + + VOICE + DON’T BE AFRAID. + + Murph SCREAMS. + + +36 INT. BRIGHT, INDUSTRIAL ROOM - LATER 36 + + Cooper comes to, sitting in a chair. Opposite him is an + ARTICULATED MACHINE. A VOICE emanates from its side. + + MACHINE + How did you find this place? + + COOPER + Where’s my daughter? + + MACHINE + You had the coordinates for this + facility marked on your map. Where + did you get them? + + Cooper leans in to the machine. + + COOPER + WHERE’S MY DAUGHTER?! + + Cooper’s scream REVERBERATES. Cooper sizes up the machine. + + MACHINE + You might think you’re still in the + Marines, but the Marines don’t + exist anymore, pal. I’ve got grunts + like you mowing my grass ... + + The Machine RISES to its full height. + + MACHINE + 25. + + + How did you find us? + + COOPER + But you don’t look like a lawnmower + to me ... you, I’m gonna turn into + an overqualified vacuum cleaner - + + FEMALE VOICE (O.S.) + No, you’re not. + +Cooper turns to see a businesslike woman in her thirties. + + WOMAN + Tars, back down, please. + +The machine, TARS, sinks back down. + + COOPER + You’re taking a risk using ex- + military for security. They’re old, + their control units are + unpredictable ... + + WOMAN + Well, that’s what the government + could spare. + + COOPER + Who are you? + + WOMAN + Dr Brand. + + COOPER + I knew a Dr Brand once. But he was + a professor - + + WOMAN (BRAND) + What makes you think I’m not? + + COOPER + And nowhere near as cute. + + BRAND + You think you can flirt your way + out of this mess? + + COOPER + (honest, scared) + 26. + + + Dr Brand, I have no idea what this + mess is. I’m scared for my little + girl and I want her by my side. + Then I’ll tell you anything you + want to know. Okay? + + Brand considers this. Turns to Tars. + + BRAND + Get the principals and the girl + into the conference room. + (To Cooper.) + Your daughter’s fine. Bright kid. + (Rises.) + Must have a very smart mother. + + +37 INT. UNDERGROUND FACILITY - MOMENTS LATER 37 + + Cooper follows Brand into a corridor. Tars LURCHES behind. + + COOPER + It’s pretty clear you don’t want + visitors - why not let us back up + from your fence and be on our way? + + BRAND + It’s not that simple. + + COOPER + Sure it is. I don’t know anything + about you or this place. + + BRAND + Yes, you do. + + Brand ushers Cooper through a door into a conference room - + + +38 INT. CONFERENCE ROOM - CONTINUOUS 38 + + Where an OLD MAN is crouched down, talking to Murph. + + MURPH + Dad! + + Murph runs into Cooper’s arms. The Old Man SMILES at + Cooper. + + OLD MAN + Hello, Cooper. + + COOPER + 27. + + + (stunned) + Professor Brand? + + MAN AT TABLE (DOYLE) + Just take a seat, Mr Cooper. + +Cooper and Murph sit at a table where five people are +waiting - a bespectacled man, WILLIAMS, leans forward to +address Cooper. + + WILLIAMS + Explain how you found this + facility. + + COOPER + Stumbled across it. Looking for + salvage and I saw the fence - + + WILLIAMS + You’re sitting in the world’s best + kept secret - you don’t stumble in. + And you certainly don’t stumble + out. + + PROFESSOR BRAND + Cooper, please. Cooperate with + these people. + +Cooper looks nervously around the room. + + COOPER + It’s hard to explain, but we + learned these coordinates from an + anomaly ... + + DOYLE + What sort of anomaly? + + COOPER + I don’t want to term it + ’supernatural’ ... but ... + +Cooper is losing them. Williams leans forward. Serious. + + WILLIAMS + You’re going to have to, Mr Cooper. + Real quick. + + COOPER + After that last storm, it was a + pattern ... in dust ... + + MURPH + 28. + + + It was gravity. + + All eyes turn to Murph. She’s said the magic word. Doyle + looks at Professor Brand, excited. Turns to Cooper - + + DOYLE + Where was this gravitational + anomaly? + + COOPER + Look, I’m happy you’re excited + about gravity, but if you want more + answers from us I’m gonna need + assurances - + + WILLIAMS + Assurances? + + Cooper looks at Murph. Then covers Murph’s ears. + + COOPER + That we’re getting out of here ... + and not in the trunk of some car. + + Brand laughs. Williams smiles. Cooper looks confused. + + PROFESSOR BRAND + Don’t you know who we are, Coop? + + COOPER + No. No, I don’t. + + BRAND + (points around table) + Williams, Doyle, Jenkins, Smith, + you already know my father, + Professor Brand. We’re NASA. + + COOPER + NASA? + + PROFESSOR BRAND + NASA. Same NASA you flew for. + + Now Cooper is laughing, too. Murph looks around, confused. + + +39 INT. UNDERGROUND FACILITY - MOMENTS LATER 39 + + Professor Brand shows Cooper the facility. + + COOPER + 29. + + + I heard you got shut down for + refusing to drop bombs from the + stratosphere onto starving people. + + PROFESSOR BRAND + When they realized killing other + people wasn’t a long term solution + they needed us back. Set us up in + the old NORAD facility. In secret. + + COOPER + Why secret? + + PROFESSOR BRAND + Public opinion won’t allow spending + on space exploration. Not when + we’re struggling to put food on the + table. + + Professor Brand ushers Cooper through a large door - + + +40 INT. GREENHOUSE - CONTINUOUS 40 + + Professor Brand gestures to large PLANTATIONS under glass. + + PROFESSOR BRAND + Blight. Wheat seven years ago, okra + this year. Now there’s just corn. + + COOPER + But we’re growing more than ever - + + PROFESSOR BRAND + Like the potatoes in Ireland, like + the wheat in the dust bowl, the + corn will die. Soon. + + Brand enters with Murph. She shows her the greenhouses. + + COOPER + We’ll find a way, we always have. + + PROFESSOR BRAND + Driven by the unshakable faith that + the Earth is ours. + + COOPER + Not just ours, but it is our home. + + PROFESSOR BRAND + 30. + + + Earth’s atmosphere is 80 percent + nitrogen. We don’t even breathe + nitrogen. + + Professor Brand shows him a blighted stalk. + + PROFESSOR BRAND + Blight does. And as it thrives our + air contains less and less + oxygen... + + Professor Brand gestures over at Murph ... + + PROFESSOR BRAND + The last people to starve will be + the first to suffocate. Your + daughter’s generation will be the + last to survive on Earth. + + Cooper looks over at Murph. Then back to Professor Brand. + + COOPER + Tell me this is where you explain + how you’re going to save the world. + + +41 INT. VAST CIRCULAR CHAMBER - LAUNCH FACILITY - MOMENTS 41 + LATER + + Cooper and Professor Brand enter like ants in a grain silo. + + A ROCKET is on a pad, DWARFED by the circular chamber. Far + above, a ring of mirrors reflects the dawn down into the + facility. + + PROFESSOR BRAND + We’re not meant to save the world + ... we’re meant to leave it. + + Cooper stares up at the rocket. He recognizes the + arrangement of two CRAFT at the top. + + COOPER + Rangers. + + PROFESSOR BRAND + The last components of our one + versatile ship in orbit, the + Endurance. Our final expedition. + + COOPER + What happened to the other + vehicles? + 31. + + + PROFESSOR BRAND + The Lazarus missions. + + COOPER + Sounds cheerful. + + PROFESSOR BRAND + Lazarus came back from the dead - + + COOPER + He had to die in the first place. + You sent people out there looking + for a new home ... + +Professor Brand nods. + + COOPER + There’s no planet in our solar + system that can support life ... + and it’d take them a thousand years + to reach the nearest star - that + doesn’t even qualify as futile ... + Where did you send them, Professor? + + PROFESSOR BRAND + Cooper, I can’t tell you any more + unless you agree to pilot this + craft. You’re the best we ever had. + + COOPER + I barely left the stratosphere. + + PROFESSOR BRAND + This crew’s never left the + simulator. We can’t program this + mission from Earth, we don’t know + what’s out there. We need a pilot. + And this is the mission you were + trained for. + + COOPER + Without ever knowing. An hour ago, + you didn’t even know I was still + alive. And you were going anyway. + + PROFESSOR BRAND + We had no choice. But something + brought you here. They chose you. + + COOPER + Who’s ’they’? + +Professor Brand is silent. Cooper wrestles. + 32. + + + How long would I be gone? + + PROFESSOR BRAND + Hard to know. Years. + + COOPER + I’ve got my kids, Professor. + + PROFESSOR BRAND + Get out there and save them. + + Cooper considers this. Decides. + + COOPER + Who’s ’they’? + + +42 INT. CONFERENCE ROOM - LATER 42 + + A man in his forties has the solar system up on the screen. + + This is ROMILLY. + + ROMILLY + We started detecting gravitational + anomalies almost fifty years ago. + Mostly small distortions to our + instruments in the upper atmosphere + - I believe you encountered one + yourself ... + + COOPER + (realizing) + Over the Straights - my crash - + something tripped my fly-by wire - + + ROMILLY + Exactly. But the most significant + anomaly was this ... + + Cooper stares at an image of Saturn and its moons. Romilly + zooms in on some stars DISTORTED like ripples in a pond. + + ROMILLY + A disturbance of spacetime out near + Saturn. + + COOPER + A wormhole? + + ROMILLY + It appeared forty-eight years ago. + 33. + + + COOPER + Where does it lead? + + PROFESSOR BRAND + Another galaxy. + + COOPER + A wormhole isn’t a naturally + occurring phenomenon. + + BRAND + Someone placed it there. + + COOPER + ’They’. + + BRAND + And whoever ’They’ are, they appear + to be looking out for us - that + wormhole lets us travel to other + stars. It came along right as we + needed it. + + DOYLE + They’ve put potentially habitable + worlds within our reach. Twelve, in + fact from our initial probes. + + COOPER + You sent probes into it? + + PROFESSOR BRAND + We sent people into it. Ten years + ago. + + COOPER + The Lazarus missions. + +Professor Brand rises and moves to a MEMORIAL, pointing - + + PROFESSOR BRAND + Twelve possible worlds. Twelve + Ranger launches carrying the + bravest humans ever to live, led by + the remarkable Dr Mann. + + DOYLE + 34. + + + Each person’s landing pod had life + support for two years - but they + could use hibernation to stretch + that, making observations on + organics over a decade or more. + Their mission was to assess their + world, and if it showed promise, + send a signal, bed down for the + long nap, and wait to be rescued. + + COOPER + And if their world didn’t show + promise? + + DOYLE + Hence the bravery. + + COOPER + Because you don’t have resources to + visit all twelve. + + DOYLE + No. Data transmission back through + the wormhole is rudimentary, simple + binary ’pings’ on an annual basis + to give some clue as to which + worlds have potential. One system + shows promise. + + COOPER + One? Kind of a long shot. + + BRAND + One system with three potential + worlds ... no long shot. + + COOPER + So if we find a new home, what + then? + + PROFESSOR BRAND + That’s the long shot. There’s Plan + A and there’s Plan B. Did you + notice anything strange about the + launch chamber ... + + +43 INT. LAUNCH FACILITY - MOMENTS LATER 43 + + Cooper cocks his head, puzzling at the VAST chamber ... + there are structures built SIDEWAYS around the CURVED + walls... + 35. + + + COOPER + This whole facility ... it’s a + vehicle? A space station? + + PROFESSOR BRAND + Both. We’ve been working on it, and + others like it for twenty-five + years. Plan A. + + COOPER + How does it get off the Earth? + + PROFESSOR BRAND + Those first gravitational anomalies + changed everything - suddenly we + knew that harnessing gravity was + real. So I started working on the + theory - and we start building this + station. + + COOPER + But you haven’t solved it, yet. + + PROFESSOR BRAND + That’s why there’s a Plan B. + + +44 INT. LABORATORY - MOMENTS LATER 44 + + TECHNICIANS work the complex, high-tech lab. Professor + Brand and Cooper follow Brand to a large glass and steel + apparatus. + + BRAND + The problem is gravity. How to get + a viable amount of human life off + + BRAND + this planet. This is one way - Plan + B. A population bomb. Almost five + thousand fertilized eggs, weighing + in at under 900 kilos. + + COOPER + How could you raise them? + + BRAND + 36. + + + With equipment on board we incubate + the first ten. After that, with + surrogacy, the growth becomes + exponential - within thirty years + we might have a colony of hundreds. + The real difficulty of colonization + is genetic diversity, + (Indicates vials.) + This takes care of that. + + Cooper looks at the equipment. Unenthusiastic. + + COOPER + We just give up on the people here? + + PROFESSOR BRAND + That’s why Plan A’s a lot more fun. + + +45 INT. PROFESSOR BRAND’S OFFICE 45 + + Professor Brand watches Cooper as he gazes over the vast + tracts of ALGEBRA covering every available surface. + + COOPER + Where have you got to? + + PROFESSOR BRAND + Almost there. + + COOPER + Almost? You’re asking me to hang + everything on an ’almost’? + + Professor Brand moves close to Cooper. + + PROFESSOR BRAND + I’m asking you to trust me. + + Cooper looks at the passion in Professor Brand’s eyes. + + COOPER + All those years of training - you + never told me. + + PROFESSOR BRAND + We can’t always be open about + everything, Coop, even if we want + to be. What can you tell your + children about this mission? + + Cooper considers this. Uneasy. + 37. + + + PROFESSOR BRAND + Find us a new home. When you + return, I’ll have solved the + problem of gravity. You have my + word. + + +46 EXT. FARMHOUSE - LATE DAY 46 + + Donald, on the porch, gets to his feet as he sees Cooper’s + pickup approaching. The truck pulls up. Murph TEARS past + Grandpa into the house - Donald looks at Cooper, + questioning. + + +47 INT. HALL OUTSIDE MURPH’S ROOM - CONTINUOUS 47 + + Cooper tries to open the door, but Murph has stacked a desk + and chair against it - + + COOPER + Murph? + + MURPH + Go! If you’re leaving, just go! + + +48 EXT. PORCH - NIGHT 48 + + Donald looks out at the night, taking it all in. + + DONALD + This world never was enough for + you, was it, Coop? + + COOPER + I’m not gonna lie to you, Donald - + heading out there is what I feel + born to do and it excites me. That + doesn’t make it wrong. + + Donald considers this. Turns to Cooper. + + DONALD + It might. Don’t trust the right + thing done for the wrong reason. + The ’why’ of a thing? That’s the + foundation. + + COOPER + (sadly) + Well, the foundation’s solid. + (Gestures at landscape.) + 38. + + + We farmers sit here every year when + the rains fail and say ’next year’. + Next year ain’t gonna save us. Nor + the one after. This world’s a + treasure, Donald. But she’s been + telling us to leave for a while + now. + (Stares at the horizon.) + Mankind was born on Earth. It was + never meant to die here. + + Donald considers this. Scoops the dust off the rail. + + DONALD + Tom’ll be okay. But you have to + make it right with Murph. + + COOPER + I will. + + DONALD + Without making any promises you + don’t know you can keep. + + Cooper meets Donald’s gaze. Looks away, nodding. + + +49 INT. MURPH’S BEDROOM - MORNING 49 + + Cooper’s hand, reaching in, removes the chair from the + desk, barricading the door. Murph is lying on the bed, + turned away. Cooper pushes the desk back gently. Enters, + quietly. + + COOPER + You have to talk to me. + + Nothing. + + COOPER + I have to fix this before I go. + + Murph turns, tear-stained, angry cheeks blazing - + + MURPH + Then I’ll keep it broken so you + have to stay. + + Cooper sits down on the bed next to Murph. + + COOPER + 39. + + + After you kids came along, your + mother said something I didn’t + really understand - she said, ’I + look at the babies and I see myself + as they’ll remember me.’ She said, + ’It’s as if we don’t exist anymore, + like we’re ghosts, like now we’re + just there to be memories for our + kids.’ Now I realize - once we’re + parents, we’re just the ghosts of + our childrens’ futures. + + MURPH + You said ghosts don’t exist. + + COOPER + That’s right. I can’t be your ghost + right now - I need to exist. + Because they chose me. They chose + me, Murph. You saw it. Murph sits + up. + +Points at the shelves. The gaps. + + MURPH + I figured out the message ... + (Opens her notebook.) + It was Morse code ... + + COOPER + Murph - + + MURPH + One word. You know what it is? + +Cooper shakes his head sadly. Murph holds out her notebook +- + +’STAY’. It says ’STAY’, Dad. + + COOPER + Oh, Murph. + + MURPH + You don’t believe me?! Look the + books! Look at - + +Cooper takes his daughter in his arms ... + + COOPER + It’s okay, it’s okay ... + +Murph buries her head on Cooper’s shoulder, sobbing. + 40. + + +Murph, a father looks in his child’s eyes and thinks - +maybe it’s them ... maybe my child will save the world. And +everyone, once a child, wants to look into their own dad’s +eyes and know he saw how they saved some little corner of +their world. But, usually, by then, the father is gone. + + MURPH + Like you will be. + +Cooper looks at his daughter. Lies with head, not heart: + + COOPER + No. I’m coming back. + + MURPH + When? + +Cooper reaches into his pocket. Pulls out two WATCHES. + + COOPER + One for you. One for me. + +Murph takes the watch, curious. Cooper holds up his watch. + +When I’m in hyper-sleep, or travel near the speed of light, +or near a black hole, time will change for me. It’ll run +more slowly. When I get back we’ll compare. + + MURPH + Time will run differently for us? + + COOPER + Yup. By the time I get back we + might even be the same age. You and + me. Imagine that ... + +Murph takes this in. Cooper sees he’s made a mistake. + +Wait, Murph - + + MURPH + You have no idea when you’re coming + back. + +Cooper looks at his daughter. + + MURPH + No idea at all! + +Murph THROWS the watch - TURNS HER BACK. + + COOPER + 41. + + + Don’t make me leave like this. + + Nothing. + + COOPER + Please. I have to go now. + + Murph will not turn around. Cooper tries to rest his hand + on the back of her head, but she shakes it off. + + COOPER + I love you, Murph. Forever. And I’m + coming back. + + Cooper walks slowly out. A BOOK DROPS FROM THE SHELF. + Cooper turns to look at it. Then leaves. + + +50 EXT. FARMHOUSE - MOMENTS LATER 50 + + Cooper, mechanical, puts his small bag in the truck. + + DONALD + How’d it go? + + COOPER + Fine. It was fine. + + Cooper turns to Tom. Hugs him. Tight enough for both kids. + + I love you, Tom. + + TOM + Travel safe, Dad. + + COOPER + (indicates farm) + Look after our place, you hear? + + TOM + Can I use your truck while you’re + gone? + + COOPER + (smiles) + I’ll make sure they bring it back + for you. + + Cooper gets in. Starts the engine. + + COOPER + Mind my kids for me, Donald. + 42. + + + Donald nods. Cooper pulls out. + + +51 INT. MURPH’S BEDROOM - CONTINUOUS 51 + + Murph jumps off the bed, GRABS the watch, RUNS downstairs. + + +52 INT. PICKUP TRUCK - CONTINUOUS 52 + + As Cooper drives he lifts the blanket in the wheel-well + where Murph hid last time. Nothing. And we hear a + COUNTDOWN... + + VOICE + (O.S.) + TEN ... NINE ... + + +53 EXT. FARMHOUSE - CONTINUOUS 53 + + Murph RACES out of the house, watch in hand - + + MURPH + Dad?! DAD?! + + VOICE + (V.O.) + EIGHT ... SEVEN ... + + But Cooper is a dust trail far down the road. + + VOICE + (O.S.) + SIX ... FIVE ... + + Murph SOBS as her grandpa puts his arms around her ... + + +54 INT/EXT. PICKUP TRUCK ON DUSTY PLAIN - CONTINUOUS 54 + + As Cooper drives away tears roll down his cheeks + + VOICE + (O.S.) + FOUR ... THREE ... TWO ... ONE ... + + +55 INT. LAUNCH FACILITY - DAY 55 + + VOICE + (O.S.) + 43. + + + IGNITION. + + FIRE SHOOTS FROM THE BASE OF THE ROCKET ... The rocket + RISES slowly from the pad, up into the sky ... + + +56 INT. RANGER COCKPIT - CONTINUOUS 56 + + Cooper, in his space helmet, lets the FORCE of the rocket + vibrate through him ... + + VOICE + (O.S.) + Stage one ... SEPARATION. + + Cooper starts to see the Earth’s curve through the + window... + + VOICE + (O.S.) + Stage two ... SEPARATION. + + And Cooper shakes loose the bonds of Earth. + + +57 EXT. UPPER ATMOSPHERE - CONTINUOUS 57 + + The rocket RIPS upwards into the sky. + + +58 INT. RANGER COCKPIT - CONTINUOUS 58 + + Cooper glances around the vibrating, cramped cockpit - + Brand, Doyle, Romilly, Tars. Tars spots Cooper’s glance - + + TARS + All here, Mr Cooper. Plenty of + slaves for my robot colony. + + Cooper looks at him, confused. + + DOYLE + They gave him a humor setting so + he’d fit in with his unit better. + He thinks it relaxes us. + + COOPER + A massive, sarcastic robot. What a + great idea. + + TARS + I have a cue light I can turn on + when I’m joking, if you like. + 44. + + + COOPER + Probably help. + + TARS + You can use it to find your way + back to the ship after I blow you + out the airlock. + + Tars looks at Cooper. A beat. An LED turns on. Cooper + shakes his head. + + COOPER + What’s your humor setting, Tars? + + TARS + One hundred percent. + + Cooper turns to the instruments - + + COOPER + Take it to seventy-five, please. + + EARTH ORBIT - CONTINUOUS + + The Rangers streak across the Earth, settle into a low + orbit. + + +59 INT. RANGER COCKPIT - CONTINUOUS 59 + + Quiet. Cooper stares down at the continents sliding by. He + looks over at Brand who is doing the same, abstracted. + + COOPER + We’ll get back. + + She stares at the land. The oceans. + + It’s hard. Leaving everything. My kids ... your father ... + + BRAND + We’re going to spend a lot of time + together ... + + COOPER + (nods) + We should learn to talk. + + BRAND + And when not to. + (Off look.) + Just trying to be honest. + 45. + + + COOPER + Maybe you don’t need to be that + honest. + (Turns to Tars.) + Tars, what’s your honesty + parameter? + + Tars DISENGAGES from the floor and MOVES to the rear + airlock - + + TARS + Ninety percent. + + COOPER + Ninety? What kind of robot are you? + + TARS + Absolute honesty isn’t always the + most diplomatic, or safe form of + communication with emotional + beings. + + Cooper turns to Brand. Shrugs. + + COOPER + Ninety percent honesty it is, then. + + Brand looks at Cooper. Can’t help smiling. + + VOICE + (over radio) + Sixty seconds out... + + +60 EXT. EARTH ORBIT - CONTINUOUS 60 + + The Rangers approach a RING MODULE, fire retro-thrusters + and slide gracefully into the center of the ring - the last + piece of a large modular craft: the U.S.S. ENDURANCE. Four + LANDERS (including the Rangers) are nestled inside the ring + module. + + +61 INT. RING MODULE, ENDURANCE - MOMENTS LATER 61 + + Brand, Doyle and Romilly, following Tars, FLOAT through the + cramped cabins, powering up. Tars powers up a second + articulated machine, CASE. + + DOYLE + Cooper, you should have control. + 46. + + +62 INT. COCKPIT, ENDURANCE (RANGER) - CONTINUOUS 62 + + Cooper checks instruments - + + COOPER + Talking fine. Ready to spin? + + +63 INT. RING MODULE, ENDURANCE - CONTINUOUS 63 + + Doyle and Romilly are strapped in - Brand grabs a handhold + - + + +64 INT. COCKPIT, ENDURANCE - CONTINUOUS 64 + + BRAND + (over radio) + All set. + + Cooper hits a switch ... + + +65 EXT. EARTH ORBIT - CONTINUOUS 65 + + Thrusters silently fire on the Endurance. It starts + ROTATING. + + +66 INT. RING MODULE, ENDURANCE - CONTINUOUS 66 + + The crew members settle in as gravity is established. + + Romilly is clearly struggling to find his sea legs in the + rotating ship. + + BRAND + You okay there? + + ROMILLY + Yup. Just need a little time - + + BRAND + There should be Dramamine in the + hab pod. + + +67 INT. RING MODULE, ENDURANCE - LATER 67 + + The crew listen to Professor Brand over the video link - + + PROFESSOR BRAND + 47. + + + (on screen) + I miss you already. Amelia, be + safe. Give my regards to Dr Mann. + + BRAND + I will, Dad. + + PROFESSOR BRAND + (on screen) + Things look good for your + trajectory. We’re calculating two + years to Saturn. + + ROMILLY + That’s a lot of Dramamine ... + + Cooper thinks about two years. What it means to his kids. + + COOPER + (on screen) + Keep an eye on my family, sir. + Specially Murph. She’s a smart one. + + PROFESSOR BRAND + (on screen) + We’ll be waiting when you get back + ... + + +68 INT. COCKPIT, ENDURANCE - LATER 68 + + Cooper and Doyle flick switches and check instruments - + + PROFESSOR BRAND + (V.O.) + ... A little older. A little wiser. + But happy to see you ... + + +69 INT. RING MODULE, ENDURANCE - CONTINUOUS 69 + + Brand, Romilly, Tars and Case strap in. + + PROFESSOR BRAND + (V.O.) + ’Do not go gentle into that good + night ...’ + + +70 INT. COCKPIT, ENDURANCE - CONTINUOUS 70 + + Cooper turns to Doyle. HITS the thrusters. + 48. + + +71 EXT. EARTH ORBIT - CONTINUOUS 71 + + Endurance’s main engines FIRE. The craft PUSHES out of + orbit - + + PROFESSOR BRAND + (V.O.) + ’Rage, rage against the dying of + the light.’ God speed, Endurance. + + The craft accelerates away from Earth. + + +72 INT. RING MODULE, ENDURANCE - DAY 72 + + The crew sets up their CRYO-BEDS. Cooper looks out at the + diminishing Earth floating in the void. Brand joins him. + + COOPER + So alone. + + BRAND + We’ve got each other - Dr Mann had + it worse. + + COOPER + (points at Earth) + I meant them. Look at that perfect + planet. We’re not gonna find + another one like her. + + BRAND + No. This isn’t like looking for a + new condo - the human race is going + to be adrift ... desperate for a + rock to cling to while they catch + their breaths. We have to find that + rock. Our three prospects are at + the edge of what might sustain + human life. + + Brand shows him a blurry image of a dark blue planet. + + BRAND + Laura Miller’s first. She started + our biology program. + + She shows him a red world, just a tiny dot. + + And Wolf Edmunds is here. + + Cooper hears something in her voice. + 49. + + + COOPER + Who’s Edmunds? + + BRAND + (fondly) + Wolf’s a particle physicist. + + COOPER + None of them had family? + + BRAND + No attachments. My father insisted. + They knew the odds against ever + seeing another human being. I’m + hoping we surprise at least three + of them. + + COOPER + Tell me about Dr Mann. + +Brand replaces the screen image for a grainy, white orb. + + BRAND + Remarkable. The best of us. My + father’s protégé. He inspired + eleven people to follow him on the + loneliest journey in human history. + Scientists, explorers ... That’s + what I love - out there we face + great odds. Death. But not evil. + + COOPER + Nature can’t be evil? + + BRAND + Formidable, frightening - not evil. + Is a tiger evil because it rips a + gazelle to pieces? + + COOPER + Just what we bring with us, then. + + BRAND + This crew represents the best + aspects of humanity. + + COOPER + Even me? + +Brand looks at him. Smiles. + + BRAND + Hey, we agreed, ninety percent. + 50. + + +Brand moves to her cryo-bed. Cooper looks out at space. + + BRAND + Don’t stay up too late. We can’t + spare the resources. + + COOPER + Hey, I’ve been waiting a long time + to be up here - + + BRAND + You are literally wasting your + breath. + +Cooper nods at her. Joins Tars. + + COOPER + Show me the trajectory again. + + TARS + Eight months to Mars, then counter- + orbital slingshot around - + +Brand’s cryo-bed darkens. + + COOPER + (whisper) + Tars? Was Dr Brand - + + TARS + Why are you whispering? You can’t + wake them. + + COOPER + Were Dr Brand and Edmunds ... + close? + + TARS + I wouldn’t know. + + COOPER + Is that ninety percent, or ten + percent ’wouldn’t know’? + + TARS + I also have a discretion setting. + + COOPER + So I gather ... + (Rises.) + + COOPER + But not a poker face. + 51. + + + Tars watches Cooper head for the comm. station. He sits + down to record a message. Awkward. Stuck. He dives in - + + COOPER + Hey, guys. I’m about settle down + for the long nap, so I figured I’d + send you an update ... + + +73 EXT. OUTER SPACE - CONTINUOUS 73 + + The Endurance slips away from the small blue planet ... + + COOPER + (V.O.) + The Earth looks amazing from here + ... you can’t see any of the dust - + + +74 EXT. CORNFIELDS - DAY 74 + + A line of dust slides across the shimmering horizon. + + COOPER + (V.O.) + Hope you guys are doing great. This + should get to you okay ... + + +75 EXT. FRONT PORCH, FARMHOUSE - DAY 75 + + Donald watches two approaching vehicles kick up dust. + + COOPER + (V.O.) + Professor Brand said he’d make sure + of it. Guess I’ll say good night. + + Donald recognizes Cooper’s truck ... Murph BURSTS out of + the house - + + MURPH + (quiet) + Is it him? + + DONALD + I don’t think so, Murph. + + Donald rises to meet the truck. Professor Brand gets out. + + PROFESSOR BRAND + You must be Donald. Hello, Murph. + 52. + + + MURPH + Why’re you in my dad’s truck? + + PROFESSOR BRAND + He wanted me to bring it for your + brother. + + Silence. Professor Brand reaches into his briefcase. + + PROFESSOR BRAND + He sent you a message - + + Murph TURNS and goes back into the house. Donald takes a + disc from Professor Brand. + + DONALD + Pretty upset with him for leaving. + + PROFESSOR BRAND + If you record messages, I’ll + transmit them to Cooper. + + Donald nods. Professor Brand looks up at the house. + + Murph’s a bright spark. Maybe I could fan the flame. + + DONALD + She’s already making fools of her + teachers. She should come make a + fool out of you. + + Professor Brand smiles. Donald looks up into the blue. + + Where are they? + + PROFESSOR BRAND + Heading towards Mars ... + + +76 EXT. MARS - DAY 76 + + The Endurance streaks away from Mars ... + + PROFESSOR BRAND + (V.O.) + Next time we hear from Cooper, + they’ll be coming up on Saturn. + + +77 EXT. SATURN - DAY 77 + 53. + + + The Endurance settles into an orbit around the ringed + giant. + + TOM + (O.S.) + But they said I can start advanced + agriculture a year early ... + + +78 INT. COMMUNICATIONS BOOTH, ENDURANCE - CONTINUOUS 78 + + Cooper, blanket around his shoulders, watches a highly + compressed video of Tom - + + TOM + Got to go, Dad. Hope you’re safe up + there. + + Tom makes way for Donald: + + DONALD + I’m sorry, Coop, I asked Murph to + say hi, but she’s stubborn as her + old man. I’ll try again next time, + stay safe. + + The video cuts out. Cooper gets up, puts a pair of EAR BUDS + in his ears and heads into - + + +79 INT. HAB POD, RING MODULE - LATER 79 + + Cooper enters. Romilly is staring out the window. + + COOPER + You good, Rom? + + Romilly looks at Cooper. + + ROMILLY + It gets to me, Coop. This tin can. + Radiation, vacuum outside - + everything wants us dead. We’re + just not supposed to be here. + + Cooper looks at him, sympathetic. + + COOPER + We’re explorers, Rom, on the + greatest ocean of all. + + Romilly bangs on the side of the ship. + 54. + + + ROMILLY + Millimeters of aluminum. That’s it. + And nothing within millions of + miles that won’t kill us in + seconds. + + COOPER + A lot of the finest solo yachtsmen + couldn’t swim. They knew if they + went overboard that was it, anyway. + This is no different. + + Romilly considers this. Cooper passes him his ear buds - + + COOPER + Here - + + And the sounds of a THUNDERSTORM wash over Romilly, sounds + that take us to ... + + +80 EXT. SPACE - CONTINUOUS 80 + + The Endurance is a tiny speck before the ringed gassy + giant. + + +81 INT. NAVIGATION, RING MODULE, ENDURANCE - CONTINUOUS 81 + + Cooper looks over Doyle’s shoulder - he’s flicking through + images of star fields, distorted as if through a fish-eye + lens. + + COOPER + From the relay probe? + + DOYLE + It was in orbit around the wormhole + - each time it swung around we got + images of the other side of the + foreign galaxy. + + COOPER + Like swinging a periscope around? + + DOYLE + Exactly. + + COOPER + So we’ve got a pretty good idea + what we’re gonna find on the other + side? + 55. + + + DOYLE + Navigationally. + + Brand approaches. + + BRAND + We’ll be coming up on the wormhole + in less than forty-five. Suit up. + + +82 INT. COCKPIT, RANGER - LATER 82 + + Cooper straps in, peering out at the inky blackness past + Saturn. Romilly joins him there, excited. + + COOPER + (over radio) + Strap in - I’m killing the spin ... + + +83 EXT. SATURN - CONTINUOUS 83 + + As the Endurance streaks past Saturn, it stops rotating, + headed for a DISTORTED BLUR of stars. + + +84 INT. COCKPIT, RANGER - CONTINUOUS 84 + + ROMILLY + There! + + He points at the SPHERICAL blur of stars. + + ROMILLY + That’s it! That’s the wormhole! + + COOPER + Say it, don’t spray it, Rom. + + ROMILLY + Cooper, this is a portal, cutting + through spacetime - + (Points.) + We’re seeing into the heart of a + galaxy so far away we don’t even + know where it is in the universe. + + Cooper stares at the wormhole as they approach: a massive + spherical lens into another galaxy. + + COOPER + It’s a sphere. + 56. + + + ROMILLY + Of course it is. You thought it + would be just a hole? + + COOPER + No ... well, in all the + illustrations - + +Romilly grabs a piece of paper, draws two points, far apart +- + + ROMILLY + In the illustrations they’re trying + to show you how it works - + +He pokes a hole in one point with his pen ... + + ROMILLY + So they say ’You wanna go from here + to there but it’s too far? A + wormhole bends space like this ...’ + +He folds the paper over and jams the pen through the second +point, connecting them. + + ROMILLY + ’So you can take a shortcut across + a higher dimension.’ But to show + that, they’ve turned three- + dimensional space ... + (Gestures around.) + Into two dimensions. + (Hold up paper.) + Which turns the wormhole into two + dimensions ... a circle. + (Indicates hole in + paper.) + But what’s a circle in three + dimensions? + + COOPER + A sphere. + + ROMILLY + Exactly. + (Points out window.) + It’s a spherical hole ... + +Cooper marvels at the concept. And at the looming sphere +... + + ROMILLY + 57. + + + And who put it here? Who do we + thank? + + COOPER + I’m not thanking anyone till we get + through it in one piece. + + +85 EXT. WORMHOLE - CONTINUOUS 85 + + As the Endurance SWINGS around the wormhole, the view of + the foreign galaxy SWINGS in opposition, like an ENORMOUS + SHAVING MIRROR ... it’s extremely disorienting. + + The Endurance fires retro-thrusters to slow, descending + towards the wormhole ... + + +86 INT. COCKPIT, RANGER - CONTINUOUS 86 + + Cooper is at the controls. Doyle is next to him. + + COOPER + Any trick to this? + + DOYLE + No one knows. + + COOPER + (glances at Doyle) + But the others made it, right? + + DOYLE + At least some of them. + + COOPER + Thanks for the confidence boost. + + Cooper stares down into the vast lens of the wormhole. + + Everybody ready to say goodbye to our solar system? + + ROMILLY + (over radio) + To our galaxy ... + + Cooper pushes the sticks forward, nosing down and letting + gravity PULL them towards the center of the wormhole ... + + +87 EXT. WORMHOLE - CONTINUOUS 87 + 58. + + + The Endurance reaches the surface of the wormhole. As it + crosses the threshold it becomes apparent that THERE IS NO + SURFACE ... the craft simply passes into the space of the + distortion, its own warped reflection flickering towards it + as if the ship were leaning into a giant shaving mirror ... + + +88 INT. COCKPIT - CONTINUOUS 88 + + Cooper and Doyle stare at the distortion of space ahead ... + + +89 INT. RING MODULE, ENDURANCE - CONTINUOUS 89 + + Brand and Romilly look out at reflections bordering the + bulk - a space beyond our three dimensions ... + + +90 EXT. WORMHOLE - CONTINUOUS 90 + + The Endurance moves through a TUNNEL OF DISTORTED + REFLECTIONS, seeming to gather more and more dizzying + speed, but getting no closer to the far mouth, as if on an + accelerating treadmill - + + +91 INT. COCKPIT, RANGER - CONTINUOUS 91 + + Cooper, awestruck, checks his instruments - + + DOYLE + They won’t help you in here. We’re + cutting through the bulk - space + beyond our three dimensions ... + (Checks his equipment.) + All we can do is record and + observe. + + +92 INT. RING MODULE, ENDURANCE - CONTINUOUS 92 + + Brand JUMPS - a shape in the air in front of her is + BENDING, warping to form ripples in spacetime inside the + cabin - Romilly STARES at the distortion - + + ROMILLY + What is that?! + + Brand watches the distortion move towards her - + + BRAND + I think - I think it’s them. + 59. + + + ROMILLY + Distorting spacetime? Don’t -! + + Brand is reaching out towards the warped space - it MOVES + towards her, DISTORTING her hand - but Brand is not in pain + ... + + +93 INT. COCKPIT, RANGER - CONTINUOUS 93 + + Cooper and Doyle watch the tunnel mouth STREAK towards + them, a mass of stars and nebulae GROWING ... + + +94 EXT. FAR SIDE OF THE WORMHOLE - CONTINUOUS 94 + + The Endurance slides out of the wormhole. + + +95 INT. COCKPIT, LANDER - CONTINUOUS 95 + + Suddenly, the instruments are chirping - + + DOYLE + We’re ... here. + + Cooper and Doyle look out at the new galaxy ... + + +96 INT. RING MODULE, ENDURANCE - CONTINUOUS 96 + + Brand’s hand is back to normal. She stares at her fingers. + + ROMILLY + What was that? + + Brand flexes her fingers, delighted. + + BRAND + The first handshake. + + +97 EXT. FAR SIDE OF THE WORMHOLE - CONTINUOUS 97 + + The cosmos is more CROWDED here - STAR upon STAR, NEBULAE + ... + + +98 INT. RING MODULE, ENDURANCE - LATER 98 + + Doyle calls up data on a workstation - + 60. + + + DOYLE + The lost communications came + through - + + BRAND + How? + + DOYLE + The relay on this side cached them. + +Doyle flicks through data - + +Years of basic data - no real surprises. Miller’s site has +kept pinging thumbs up, as has Mann ... but Edmunds went +down, three years ago. + + BRAND + Transmitter failure? + + DOYLE + Maybe. He was sending the thumbs up + right till it went dark. + + ROMILLY + Miller still looks good? + +Doyle nods. Romilly is drawing on a whiteboard - + +She’s coming up fast ... with one complication - the planet +is much closer to Gargantua than we thought. + + COOPER + Gargantua? + + DOYLE + A very large black hole. Miller’s + and Dr Mann’s planets orbit it. + + BRAND + And Miller’s is on the horizon? + + ROMILLY + A basketball around the hoop. + Landing there takes us dangerously + close. A black hole that big has a + huge gravitational pull. + +Cooper glances around the concerned faces - + + COOPER + Look, I can swing around that + neutron star to decelerate - + 61. + + + BRAND + It’s not that, it’s time. That + gravity will slow our clock + compared to Earth’s. Drastically. + + COOPER + How bad? + + ROMILLY + Every hour we spend on that planet + will be maybe ... seven years back + on Earth. + + COOPER + Jesus - + + ROMILLY + That’s relativity, folks. + + COOPER + We can’t drop down there without + considering the consequences. + + DOYLE + Cooper, we have a mission - COOPER + That’s easy for you to say - you + don’t have anyone back on Earth + waiting for you, do you? + + DOYLE + You have no idea what’s easy for + me. + + BRAND + Cooper’s right. We have to think of + time as a resource, just like + oxygen and food. Going down there + is going to cost us. + +Doyle steps up to the screen, points out three planets. + + DOYLE + Look, Dr Mann’s data is promising, + but we won’t get there for months. + Edmunds is even further. Miller + hasn’t sent much, but what she has + sent is promising - water, organics + ... + + BRAND + 62. + + + You don’t find that every day. + DOYLE No, you do not. So think + about the resources it would take + to come back here ... + +They look at each other, considering. Cooper turns to +Romilly - + + COOPER + How far off the planet do we have + to stay to be out of the time + shift? + +Romilly indicates a spot on his white board. + + ROMILLY + Just back from the cusp. + + COOPER + So we track a wider orbit of + Gargantua, parallel with Miller’s + planet but a little further out ... + take a Ranger down, grab Miller and + her samples, debrief and analyze + back here + + BRAND + That’ll work. + + COOPER + No time for monkey business down + there - Tars, you’d better wait up + here. Who else? + + ROMILLY + If we’re talking about a couple + years - I’d use that time to work + on gravity - observations from the + wormhole. That’s gold to Professor + Brand. + + COOPER + Okay. Tars, factor an orbit of + Gargantua - minimal thrusting - + conserve fuel - but stay in range. + + TARS + Don’t worry, I wouldn’t leave you + behind ... + (Swivels around.) + Dr Brand. + +She smiles at him. + 63. + + +99 EXT. BLACK HOLE, GARGANTUA - DAY 99 + + A black sphere sucking light from the cosmos, visible by + its distorting effect on the light of stars behind it - + squeezed into a GLOWING, CURVED HORIZON. The Endurance + approaches. + + +100 INT. RANGER COCKPIT - DAY 100 + + Cooper looks out at Gargantua. Doyle peers over his + shoulder + + DOYLE + A literal heart of darkness ... + + Brand points to a small glowing planet nearer the + blackness. + + BRAND + There’s Miller’s planet. + + Cooper turns to Case, the machine riding shotgun. + + COOPER + Ready? + + CASE + Yup. + + COOPER + Don’t say much, do you? + + CASE + Tars talks plenty for both of us. + + Cooper chuckles as he throws a final switch - + + COOPER + Detach - + + +101 EXT. ENDURANCE - CONTINUOUS 101 + + The Ranger DETACHES from the ring module, like an X-1 from + a B-29, FIRES retro-thrusters to slow and ... DROPS - + + +102 EXT. THE BLACK HOLE, GARGANTUA - DAY 102 + + The Ranger SHOOTS down towards Gargantua - + 64. + + +103 INT. COCKPIT, RANGER - CONTINUOUS 103 + + Cooper is in awe at their acceleration - + + COOPER + (into radio) + Romilly, you reading these forces? + + +104 INT. RING MODULE, ENDURANCE - CONTINUOUS 104 + + Romilly studies data, marveling. + + ROMILLY + Unbelievable. + (Looks out at Gargantua.) + If we could see the collapsed star + inside, the singularity, we’d solve + gravity. + + +105 INT. COCKPIT, RANGER - CONTINUOUS 105 + + Cooper looks down at the eerie blackness sliding beneath - + + COOPER + No way to get anything from it? + + ROMILLY + (over radio) + Nothing escapes that horizon. Not + even light. The answer’s there, + just no way to see it. + + +106 EXT. GARGANTUA - CONTINUOUS 106 + + The Ranger looks tiny as it STREAKS over the blackness, + high above the GLOWING HORIZON. It is approaching Miller’s + planet, a gleaming dark-blue world ... + + +107 INT. COCKPIT, RANGER - CONTINUOUS 107 + + Cooper studies his trajectory. + + CASE + This is fast for atmospheric entry. + Should we use the thrusters to + slow? + + COOPER + 65. + + + We’re gonna use the Ranger’s + aerodynamics to save the fuel. + + CASE + Air brake? + + COOPER + Wanna get in fast, don’t we? + + CASE + Brand, Doyle, get ready. + + +108 EXT. MILLER’S PLANET - CONTINUOUS 108 + + The Ranger STREAKS down towards the planet. It starts to + encounter the STRATOSPHERE - + + +109 INT. COCKPIT, RANGER - CONTINUOUS 109 + + The craft starts to HOWL and SHAKE. Cooper studies the + curving horizon, concentrating - + + CASE + We should ease - + + COOPER + Hands where I can see them, Case! + Only time I ever went down was a + machine easing at the wrong moment + - + + CASE + A little caution - + + COOPER + Can get you killed, same as + reckless. + + DOYLE + Cooper! Too damn fast! + + COOPER + I got this. + + Cooper squeezes the shaking controls with white knuckles - + + CASE + Should I disable the feedback? + + COOPER + No! No, I need to feel the air ... + 66. + + +110 EXT. STRATOSPHERE, MILLER’S PLANET - CONTINUOUS 110 + + The Ranger glows WHITE HOT, slicing through FLAT CLOUDS - + + +111 INT. COCKPIT, RANGER - CONTINUOUS 111 + + Cooper peers out at the razor-like layers of cloud - + + COOPER + Do we have a fix on the beacon? + + CASE + Got it. Can you maneuver? + + COOPER + Gotta shave more speed. I’ll try + and spiral down on it - + + Doyle looks at Brand, nervous. She takes a breath. + + +112 EXT. MILLER’S PLANET - CONTINUOUS 112 + + The Ranger CUTS through cloud formations, BURSTING out into + CLEARER AIR, HIGH ABOVE AN ENDLESS OCEAN - + + +113 INT. COCKPIT, RANGER - CONTINUOUS 113 + + The crew peer at SPARKLING WATER, streaking below them - + + DOYLE + Just water. + + BRAND + The stuff of life ... + + CASE + Twelve hundred meters out. + + Cooper BANKS sharply, eases down. + + BRAND + It’s shallow. Feet deep ... + + +114 EXT. MILLER’S PLANET - CONTINUOUS 114 + + The Ranger is low now, kicking up backwash - + 67. + + +115 INT. COCKPIT, RANGER - CONTINUOUS 115 + + CASE + Seven hundred meters ... + + Cooper peers ahead - + + COOPER + Wait for it ... + + CASE + Five hundred meters ... + + Cooper YANKS the stick - + + COOPER + Fire! + + +116 EXT. MILLER’S PLANET - CONTINUOUS 116 + + The Ranger’s retro-rockets FIRE - killing the craft’s speed + just feet from the surface. Water SPRAYS UP as the Ranger + SLEWS diagonally, gear is lowered, the Ranger drops, its + landing gear holding it just above the shallow water. + + +117 INT. COCKPIT, RANGER - CONTINUOUS 117 + + Everyone BOUNCES with the impact. Then BREATHES. + + BRAND + Very graceful. + + COOPER + No. But it was very efficient. + (Looks at them.) + What’re you waiting for? Go! + + Brand and Doyle hurry out of their harnesses, helmets on. + + Case moves to the hatch. With a CRACK, the hatch opens and + LIGHT and SPRAY whip inside ... + + +118 EXT. MILLER’S PLANET - MOMENTS LATER - DAY 118 + + Case climbs quickly from the craft, knee deep in the water. + + Brand and Doyle follow. Case TRACKS the beacon. + + CASE + 68. + + + This way, about two hundred meters. + + Brand and Doyle peer into the distance. Smooth, ankle-deep + water to the horizon, where a distant MOUNTAIN RANGE LOOMS. + + They start splashing towards it in their heavy spacesuits + ... + + DOYLE + (panting) + The gravity’s punishing ... + + BRAND + Floating through space too long? + + CASE + One hundred and thirty percent + Earth gravity. + + +119 INT. COCKPIT, RANGER - CONTINUOUS 119 + + Cooper listens to their chatter, IMPATIENT. + + COOPER + (under his breath) + Come on ... + + +120 EXT. MILLER’S PLANET - CONTINUOUS 120 + + Doyle falls behind. Brand pushes on. Ahead, Case stops. + + CASE + Should be here. + + Brand joins him, searching the shallows for some sign of + Miller’s mission. She looks up, confused. + + BRAND + If the signal’s coming from here - + + Case DROPS to his knees THRASHING under the water, like a + bear fishing. Doyle arrives - + + DOYLE + What’s he doing? + + +121 INT. COCKPIT, LANDER - CONTINUOUS 121 + + Cooper notices something. In the distance. The mountains - + 69. + + +122 EXT. MILLER’S PLANET - CONTINUOUS 122 + + Case WRENCHES a piece of DAMAGED EQUIPMENT from the sea + bed. + + BRAND + Her beacon ... + + Case starts lugging the beacon to the Ranger. + + DOYLE + Wreckage. Where’s the rest ...? + + BRAND + Towards the mountains! + + She starts moving fast towards some FLOATING OBJECTS. + + +123 INT. COCKPIT, RANGER - CONTINUOUS 123 + + Cooper is staring out at the horizon - + + COOPER + Those aren’t mountains ... + + +124 EXT. MILLER’S PLANET - CONTINUOUS 124 + + Brand pauses - + + COOPER + (over radio) + They’re waves - + + Brand looks closer - the ’mountains’ are moving, tiny lines + of white sea spray are blowing from the tops ... + + +125 INT. COCKPIT, RANGER - CONTINUOUS 125 + + Cooper looks the other direction ... there is a MOUNTAIN + WAVE BEARING DOWN ON THE SHIP ... + + +126 EXT. MILLER’S PLANET - CONTINUOUS 126 + + Brand is searching the wreckage -. + + COOPER + (over radio) + Brand, get back here! + 70. + + + BRAND + We need the recorder - + + Doyle looks from Brand to Case, who is loading the beacon. + + Beyond him Doyle sees the mountain wave approaching - + + DOYLE + Case, go get her! + + +127 INT. COCKPIT, RANGER - CONTINUOUS 127 + + Cooper hits the dash, frustrated. + + COOPER + Dammit! Brand, get back here! + + +128 EXT. MILLER’S PLANET - CONTINUOUS 128 + + Brand sloshes along, checking DEBRIS - + + BRAND + We can’t leave without her data - + + COOPER + (over radio) + You don’t have time! + + Case is back at Doyle. + + DOYLE + Go, go! + + Case takes off towards Brand, who is trying to lift a piece + of equipment from the water. She drops it and moves on - + + +129 EXT. RANGER - CONTINUOUS 129 + + Cooper swings open the hatch, stands in the doorway, + peering out at the approaching mountain waves - turns back + to Brand - + + COOPER + Get back here! Now! + + Brand has pulled something heavy from the wreckage - she + SLIPS, the wreckage PINNING her down ... She looks back at + the Ranger - sees the mountain wave THOUSANDS OF FEET HIGH + ALMOST UPON THEM - + 71. + + + BRAND + Cooper, go! Go! I can’t make it! + + Cooper looks at Case RACING towards her - + + COOPER + Get up, Brand! + + BRAND + GO! GET OUT OF HERE! + + Case THROWS her onto his back and starts running. Doyle + stands, mesmerized by the sheer liquid mountain face ... + + COOPER + Doyle! Come on! Case has her! + + Doyle turns, starts sloshing back, the water RUNNING + against his ankles now ... Two hundred yards behind, Case + POUNDS through the shallows, Brand on his back - + + Cooper looks up at the EVER CLOSER MOUNTAIN WAVE - jumps + inside. + + +130 INT. COCKPIT, RANGER - CONTINUOUS 130 + + Cooper powers up, as the wall of liquid fills his view. + + COOPER + Come on, come on ... + + He sees the water right upon them - RUNS back to the hatch. + + Doyle is at the foot of the ladder, Case RUNNING FAST. + + DOYLE + Go! + + Case JUMPS up the ladder, THROWS Brand inside - TURNS for + Doyle. The Ranger TILTS, RISES - DOYLE IS RIPPED FROM + CASE’S HAND - WATER RAGES ACROSS THE OPEN HATCH - + + COOPER + Shut the hatch! + + Case shuts the hatch. Cooper is throwing switches - + + COOPER + Power down! Power down! We have to + ride it out! + (To Brand, furious.) + 72. + + + We are not prepared for this! + + +131 EXT. MILLER’S PLANET - CONTINUOUS 131 + + Doyle is DRAGGED under and away. The Ranger is SUCKED + SIDEWAYS up the face of the mountain - + + +132 INT. COCKPIT, RANGER - CONTINUOUS 132 + + Brand and Cooper are thrown across the cockpit. Case GRABS + Brand, pulls her into her seat - Cooper holds on as the + craft ROLLS and ROLLS - + + +133 EXT. MILLER’S PLANET - CONTINUOUS 133 + + The Ranger reaches the top of the wave, rocks upright - + + +134 INT. COCKPIT, RANGER - CONTINUOUS 134 + + Cooper drops into his seat as the water pours off the + canopy - + + +135 EXT. MILLER’S PLANET - CONTINUOUS 135 + + The Ranger tilts over the backside of the wave, SURFING for + a second then PITCHING FORWARD - TUMBLING DOWN 8,000 FEET + ... + + +136 INT. COCKPIT, RANGER - CONTINUOUS 136 + + They hang on for dear life, THRASHED MERCILESSLY - + + +137 EXT. MILLER’S PLANET - CONTINUOUS 137 + + The Ranger comes AGROUND as the wave leaves it behind ... + + +138 INT. COCKPIT, RANGER - CONTINUOUS 138 + + The craft comes to rest. Cooper jumps to the controls, + powers up the electrics. The engines won’t respond - + + +139 EXT. RANGER - CONTINUOUS 139 + 73. + + + The gear LIFTS the Ranger. Water FLOODS out - + + +140 INT. COCKPIT, RANGER - CONTINUOUS 140 + + Cooper tries the engines again. Nothing. + + CASE + Too waterlogged. Let it drain. + + COOPER + (hits console) + GODDAMN! + + BRAND + I told you to leave me. + + COOPER + And I told you to get your ass back + here! Difference is, only one of us + was thinking about the mission - + + BRAND + Cooper, you were thinking about + getting home - I was trying to do + the right thing! + + COOPER + Tell that to Doyle. + + Quiet. Cooper looks down at the clock. Bitter. + + How long to drain, Case? + + CASE + Forty-five to an hour. + + Cooper shakes his head. Pulls his helmet off. + + COOPER + The stuff of life, huh? What’s this + gonna cost us, Brand? + + BRAND + A lot. Decades. + + Cooper rubs his face. Mind reeling. Trying to breathe. + + COOPER + What happened to Miller? + + BRAND + 74. + + + Judging by the wreckage, she was + broken up by a wave soon after + impact. + + COOPER + How could the wreckage still be + together after all these years? + + BRAND + Because of the time slippage. On + this planet’s time, she landed here + just hours ago. She might’ve only + died minutes ago. + +Case indicates the beacon. + + CASE + The data Doyle received was just + the initial status, echoing + endlessly. + +Cooper takes this in. Breathes hard. Takes off his gloves. + + COOPER + We’re not prepared for this, Brand. + You’re a bunch of eggheads without + the survival skills of a boy-scout + troop. + + BRAND + We got this far on our brains - + farther than any humans in history + - + + COOPER + Not far enough. And we’re stuck + here till there won’t be anyone + left on Earth to save - + + BRAND + I’m counting every second, same as + you, Cooper. + +Cooper takes this in. They’re in the same boat. + + COOPER + Don’t you have some clever way we + jump into a black hole and get back + the years? + +She shakes her head, dismissive. + + COOPER + 75. + + + Don’t just shake your head at me -! + + BRAND + Time is relative - it can stretch + and squeeze - but it can’t run + backwards. The only thing that can + move across dimensions like time is + gravity. + + COOPER + (thinks) + The beings who led us here ... they + communicate through gravity ... + +Brand nods. + + COOPER + Could they be talking to us from + the future? + + BRAND + (considers) + Maybe ... + + COOPER + Well, if they can - + + BRAND + Look, Cooper, they’re creatures of + at least five dimensions - to them + time may be just another physical + dimension. To them the past might + be a canyon they can climb into and + the future a mountain they can can + climb up ... but to us it’s not, + okay? + +Brand pulls her helmet off. Looks Cooper in the eyes. + + BRAND + I’m sorry, Cooper. I screwed up. + But you knew about relativity. + + COOPER + My daughter was ten. I couldn’t + explain Einstein’s theories before + I left. + + BRAND + Could you tell her you were going + to save the world? + + COOPER + 76. + + + No. I wasn’t much of a parent, but + I understood the most important + thing - let your kids feel safe. + Which rules out telling a ten-year- + old that the world’s ending. + + CASE + Cooper? + + Case is pointing out at another MOUNTAIN RANGE. + + COOPER + How long for the engines? + + CASE + A minute or two - + + COOPER + We don’t have it! + + The mountain wave is approaching. Cooper tries the engines + - + + +141 EXT. RANGER - CONTINUOUS 141 + + The rockets COUGH and steam ... + + +142 INT. COCKPIT, RANGER - CONTINUOUS 142 + + Cooper tries the engines again. Close. But no ignition. + + COOPER + Helmets on! + + The wave is upon them ... + + COOPER + Blow our cabin oxygen through the + main thrusters. We’ll spark it - + + Case hits a button - a HISS and SHRIEK of gas escaping ... + Brand seals her helmet just as the cockpit DEPRESSURIZES - + + COOPER + Come on, now ... + + Cooper hits the engines - they BLAST TO LIFE - + + +143 EXT. RANGER - CONTINUOUS 143 + 77. + + + A fiery BLAST sends the Ranger clear of the mountain wave. + + Down below, Doyle’s body lies in the shallows, about to be + swept up into the next rush of water ... + + +144 INT. RING MODULE, ENDURANCE - DAY 144 + + Romilly watches as Cooper and Brand enter the Endurance. + + BRAND + Hello, Rom. + + ROMILLY + I’ve waited years. + + COOPER + How many years? + + ROMILLY + By now ... it must be - + + TARS + Twenty-three years ... + + Cooper’s head lowers. + + TARS + ... four months, eight days. + + Cooper turns away. + + ROMILLY + Doyle? + + Brand’s eyes flicker down. She shakes her head. She grasps + Romilly’s hands, looks up into his eyes, vulnerable - + + BRAND + I thought I was prepared. I knew + all the theory. Reality’s + different. + + ROMILLY + And Miller? + + BRAND + There’s nothing here for us. + + Brand looks at Romilly’s wrinkles. His greying beard. + + BRAND + 78. + + + Why didn’t you sleep? + + ROMILLY + I did a couple of stretches. But I + stopped believing you were coming + back, and something seems wrong + about dreaming your life away. I + learned what I could from studying + the black hole, but I couldn’t send + anything to your father. We’ve been + receiving, but nothing gets out. + + She looks up at Romilly, not wanting to ask ... + + BRAND + Is he still alive? + + Romilly nods. Brand closes her eyes with relief. + + ROMILLY + We’ve got years of messages stored + ... + + Brand opens her eyes, looks for Cooper. He is in the comm. + booth. He SHUTS the privacy curtain. She looks down. + + +145 INT. COMMUNICATIONS BOOTH, ENDURANCE - CONTINUOUS 145 + + Cooper studies the machine like it might bite him. + + COOPER + Cooper. + + COMPUTER VOICE + Messages span twenty-three years - + + COOPER + I know. + (Whispers.) + Just start at the beginning. + + Cooper leans forward as the screen flickers to life: Tom, + still seventeen, turns on the camera. + + TOM + Hi, Dad - + + Cooper pauses it. Prepares himself. Lets it run - + + TOM + I met another girl, Dad. I really + think this is the one - + 79. + + + Tom holds up a picture of himself and a teenage GIRL. + + TOM + Murph stole Grandpa’s car. She + crashed it - she’s okay, though. + Your truck’s still running - + Grandpa said she should steal that + next time. I said if she did it’d + be the last thing she did ... + + Cooper leans back ... + + +146 INT. COMMUNICATIONS BOOTH, ENDURANCE - DAY 146 + + Cooper is holed up, still watching, unshaved. He’s been + watching for days. On the screen, Tom is in his twenties - + + TOM + I’ve got a surprise for you, Dad. + You’re a grandpa ... + + Tom holds up an infant wrapped tight in swaddling. + + TOM + Congratulations. Meet Jesse. + + Cooper smiles a tearful smile. + + TOM + Grandpa said he already earned the + ’great’ part so we just leave it at + that. + + The screen cuts out. Then comes back on. Tom in his + thirties - + + TOM + Hi, Dad. I’m sorry it’s been + awhile. What with Jesse and all ... + + He stops, emotional. + + TOM + Grandpa died last week. We buried + him out in the back forty, next to + Mom and Jesse. + (Looks down.) + Where we’d have buried you, if + you’d ever come back. + (Looks up.) + Murph was there for the funeral. I + don’t see her so much anymore. + 80. + + + (Sighs.) + You’re not listening to this. I + know that. All these messages are + just out there, drifting in the + darkness ... I figured as long as + they were willing to send them + there was some hope, but ... + (Pauses.) + You’re gone. You’re never coming + back. And I’ve known that for a + long time. Lois says - that’s my + wife, Dad - she says I have to let + you go. So I am. + (Reaches up to turn off + camera.) + Wherever you are, I hope you’re at + peace. Goodbye, Dad. + +The screen goes black. Tears are streaming down Cooper’s +face. He stares at the black screen, wiping his face. He +starts to get up - the screen flickers to life once more - +A beautiful WOMAN of about forty has turned on the camera - +she looks at us, unsure about this. Makes a start - + + WOMAN + Hello, Dad. You sonofabitch. + +Cooper peers into the face, recognizing - + + COOPER + (whispers) + Murph? + + WOMAN (MURPH) + I never made one of these when you + were still responding cos I was so + mad at you for leaving. When you + went quiet, it seemed like I should + just live with my decision. And I + have ... + (Looks around.) + But today’s my birthday. And it’s a + special one because you once told + me - + +She stops, unable to speak for a second. + + MURPH + You once told me that when you came + back we might be the same age ... + and today I’m the age you were when + you left ... + (Starts crying.) + 81. + + + So it’d be a real good time for you + to come back. + + Murph reaches up, switches off the camera and we stay with + her in - + + +147 INT. COMMUNICATION ROOM, NASA - DAY 147 + + Murph brings her hand down from the camera. Wipes her + tears. + + PROFESSOR BRAND + (O.S., softly) + I didn’t mean to intrude. + + Murph turns to see Professor Brand, now ELDERLY, in a + WHEELCHAIR in the doorway. + + PROFESSOR BRAND + I’ve never seen you in here before. + + Murph rises - + + MURPH + I’ve never been in here before. + + Murph wheels Professor Brand out into the corridor. + + +148 INT. CURVING CORRIDOR, NASA - MOMENTS LATER 148 + + Murph pushes Professor Brand. + + PROFESSOR BRAND + I talk to Amelia all the time. It + helps. I’m glad you’ve started - + + MURPH + I haven’t. I just had something I + wanted to get out. + + +149 INT. PROFESSOR BRAND’S OFFICE - MOMENTS LATER 149 + + Professor Brand wheels behind his desk. + + PROFESSOR BRAND + I know they’re still out there. + + MURPH + I know. + 82. + + + PROFESSOR BRAND + There are so many reasons their + communications might not be getting + through. + + MURPH + (smiles gently) + I know, Professor. + + PROFESSOR BRAND + I’m not sure which I’m more afraid + of ... they never come back, or + they come back to find we’ve + failed. + + She watches his introspection. Brings him back with - + + MURPH + Then let’s succeed. + + PROFESSOR BRAND + (gestures at formula) + So, back from the fourth iteration, + let’s run it with a finite set. + + Murph has picked up a notebook. Pauses. + + MURPH + With respect, Professor. We’ve + tried that hundreds of times. + + PROFESSOR BRAND + And it only has to work once, + Murph. + + She shrugs. Starts to work. + + +150 INT. LAUNCH FACILITY - LATER 150 + + Murph and Professor Brand sit, eating sandwiches on a + walkway. WORKERS move about the CIRCULAR CHAMBER, building + more SIDEWAYS INFRASTRUCTURE. Professor Brand looks down, + proud. + + PROFESSOR BRAND + Every rivet they drive in could + have been a bullet. We’ve done well + for the world, here. Whether or not + we crack the equation before I kick + - + + MURPH + 83. + + + Don’t be morbid, Professor. + + PROFESSOR BRAND + I’m not afraid of death, Murph. I’m + an old physicist - I’m afraid of + time. + + +151 INT. PROFESSOR BRAND’S OFFICE - MOMENTS LATER 151 + + Murph stands before the algebra. She REALIZES something. + + MURPH + Time ... you’re afraid of time ... + + CONVINCED, she TURNS - + + MURPH + Professor, the equation ...? + + He looks up. + + MURPH + For years we’ve tried to solve it + without changing the underlying + assumptions about time - + + PROFESSOR BRAND + And? + + MURPH + And that means each iteration + becomes an attempt to prove its own + proof - it’s recursive. Nonsensical + - + + PROFESSOR BRAND + (sharp) + Are you calling my life’s work + ’nonsense’, Murph? + + MURPH + No, I’m saying you’ve been trying + to finish it with one arm - no, + with both arms tied behind your + back ... + + Murph focuses on Professor Brand, suddenly WARY ... + + MURPH + ... and I don’t understand why. + + Professor Brand looks down. Starts wheeling his chair. + 84. + + + PROFESSOR BRAND + I’m an old man, Murph. Could we + pick this up some other time? I’d + like to go talk to my daughter. + + Murph nods. Looking at the Professor. Confused. + + PROFESSOR BRAND + (V.O.) + Stepping out into the universe, we + must first confront the reality + that nothing in our solar system + can help us ... + + +152 INT. COMMUNICATIONS BOOTH, ENDURANCE - NIGHT 152 + + Brand watches her father on screen. + + PROFESSOR BRAND + (V.O.) + ... then we must confront the + realities of interstellar travel. + We must venture far beyond the + reach of our own life spans. We + must think not as individuals, but + as a species ... + + +153 INT. RING MODULE, ENDURANCE - DAY 153 + + Romilly, Brand, Cooper, Tars and Case sit in discussion. + + COOPER + Tars kept the Endurance right where + we needed her, but it took years + longer than we anticipated ... + + Cooper puts both planets on screen - Dr Mann’s ice world, + and Edmunds’ desert planet. + + COOPER + We don’t have the fuel to visit + both prospects. We have to choose. + + ROMILLY + How? They’re both promising. + Edmunds’ data was better, but Dr + Mann is the one still transmitting. + + BRAND + 85. + + + We’ve got no reason to suppose + Edmunds’ results would have soured. + His world has key elements to + sustain human life - + + COOPER + As does Dr Mann’s. + + BRAND + Cooper, this is my field. And I + really believe Edmunds’ is the + better prospect. + + COOPER + (challenging) + Why? + + BRAND + Gargantua, that’s why. + (Steps to board.) + Look at Miller’s world - + hydrocarbons, organics, yes. But no + life. Sterile. We’ll find the same + thing on Dr Mann’s. + + ROMILLY + Because of the black hole? + + BRAND + (nods) + Murphy’s Law - whatever can happen + will happen. Accident is the first + building block of evolution - but + when you’re orbiting a black hole + not enough can happen - it sucks in + asteroids and comets, random events + that would otherwise reach you. We + need to go to further afield. + + COOPER + You once referred to Dr Mann as the + ’best of us’. + + BRAND + He’s remarkable. We’re only here + because of him. + + COOPER + And he’s there on the ground + sending an unambiguous message that + we should go to that planet. + +Brand is silent. Romilly looks from Brand to Cooper. + 86. + + + ROMILLY + Should we vote? + + COOPER + If we’re going to vote, there’s + something you need to know. Brand? + +She says nothing. + + COOPER + He has a right to know. + + BRAND + That has nothing to do with it. + + ROMILLY + What does? + + COOPER + She’s in love with Wolf Edmunds. + + ROMILLY + (to Brand) + Is that true? + + BRAND + Yes. And that makes me want to + follow my heart. But maybe we’ve + spent too long trying to figure all + this with theory - + + COOPER + You’re a scientist, Brand - + + BRAND + I am. So listen to me when I tell + you that love isn’t something we + invented - it’s observable, + powerful. Why shouldn’t it mean + something? + + COOPER + It means social utility - child + rearing, social bonding - + + BRAND + 87. + + + We love people who’ve died ... + where’s the social utility in that? + Maybe it means more - something we + can’t understand, yet. Maybe it’s + some evidence, some artifact of + higher dimensions that we can’t + consciously perceive. I’m drawn + across the universe to someone I + haven’t seen for a decade, who I + know is probably dead. Love is the + one thing we’re capable of + perceiving that transcends + dimensions of time and space. Maybe + we should trust that, even if we + can’t yet understand it. + + Brand looks at Romilly, who can’t meet her eye. + + BRAND + Cooper, yes - the tiniest + possibility of seeing Wolf again + excites me. But that doesn’t mean + I’m wrong. + + Cooper thinks back to his conversation with Donald. + + COOPER + Honestly, Amelia ... it might. + + Romilly looks at Brand. It’s clear she’s lost. + + COOPER + Tars, set the course for Dr Mann. + + Brand is starting to tear up. She turns away. + + +154 EXT. OUTER SPACE - MOMENTS LATER 154 + + The thrusters FIRE, pushing the Endurance out of its orbit + of Gargantua. + + +155 INT. RING MODULE, ENDURANCE - LATER 155 + + Brand is checking her POPULATION BOMB. Cooper enters. + + COOPER + Brand, I’m sorry. + + BRAND + Why? You’re just being objective. + (Beat.) + 88. + + + Unless you’re punishing me for + screwing up on Miller’s planet. + + COOPER + This wasn’t a personal decision for + me. + + Brand turns from her equipment. Looks him in the eye. + + BRAND + Well, if you’re wrong, you’ll have + a very personal decision to make. + (Off look.) + Your fuel calculations are based on + a return journey. Strike out on Dr + Mann’s planet, and we’ll have to + decide whether to return home, or + push on to Edmunds’ planet with + Plan B. Starting a colony could + save us from extinction. + + She closes the population bomb. + + BRAND + You might have to decide between + seeing your children again ... and + the future of the human race. + (Smiles bitterly.) + I trust you’ll be as objective, + then. + + +156 EXT. OUTER SPACE - CONTINUOUS 156 + + The Endurance sinks past a GLORIOUS NEBULA whose GOLDEN + MISTS DISSOLVE TO ROILING BLACK CLOUDS and we are - + + +157 EXT. FARMHOUSE - DAY 157 + + Murph stands with Tom, now late forties. Watching a field + BURN. + + TOM + We’ll lose about a third this + season. But next year ... I’m gonna + start working Nelson’s fields. + Should make it up. + + MURPH + What happened to Nelson? + + Tom glances at her. Don’t ask. Heads for the house. + 89. + + +158 INT/EXT. FARMHOUSE - DUSK 158 + + Murph at family dinner with Tom, LOIS, and their six-year- + old son COOP. + + LOIS + Will you stay the night? We left + your room like it was ... + + Murph looks down, awkward ... + + MURPH + No, I need to ... + + Murph looks upstairs. At Lois. + + MURPH + Too many memories, Lois. + + She nods. Coop helps Tom clear. As Coop takes Murph’s plate + he starts COUGHING. Looks up at her, sees her concern, + GRINS. + + COOP + The dust. + + He and Tom head into the kitchen. + + MURPH + I have a friend who should look at + his lungs, Lois. + + She nods, is about to speak. Tom sits back down. + + Pull back to reveal the glowing windows against the + darkening plain, dust clouds rolling across the horizon ... + + +159 INT. CORRIDOR, NASA - NIGHT 159 + + Murph hurries down a corridor with a doctor, GETTY. + + GETTY + He started asking for you after he + came to, but we couldn’t raise you + - + + +160 INT. HOSPITAL ROOM, NASA - MOMENTS LATER 160 + + Murph is at Professor Brand’s bedside. He is hooked up to + machines. Barely breathing. + 90. + + + PROFESSOR BRAND + Murph ... Murph ... + +Murph takes his hand with gentle concern. + + MURPH + I’m here, Professor. + + PROFESSOR BRAND + I don’t have much life ... + (Breathes.) + I have to tell you ... + + MURPH + Try to take it easy. + + PROFESSOR BRAND + All these ... years. All these + people ... counted on me ... + + MURPH + It’s okay, Professor. + + PROFESSOR BRAND + I let you ... all you ... down. + + MURPH + No. I’ll finish what you started. + +Professor Brand looks up into Murph’s eyes, tears welling. + + PROFESSOR BRAND + Murph. Good, good Murph. Such faith + ... all these years, I told you to + have faith ... to believe ... + + MURPH + I do believe - + + PROFESSOR BRAND + I needed you to believe your father + was coming back ... + + MURPH + I do, Professor - + + PROFESSOR BRAND + Forgive me, Murph ... + + MURPH + There’s nothing to forgive. + + PROFESSOR BRAND + 91. + + + I lied, Murph. I lied to you ... + +Murph looks at Professor Brand, confused. + + PROFESSOR BRAND + There’s no reason to come back ... + no way to help us ... + + MURPH + But Plan A - all this - all these + people ... the equation! + +But Professor Brand slowly shakes his head, tears rolling +down. As Murph tries to comprehend, he settles, DRIFTING. + + MURPH + (whispers) + Did he know? + +Nothing. + + MURPH + Did my dad know?! + +Nothing. + + MURPH + Did he abandon me?! + + PROFESSOR BRAND + Do ... not ... go... + +She leans in to hear. + + PROFESSOR BRAND + Gentle ... into ... into ... + + MURPH + NO! NO! Professor, stay! You can’t! + You can’t leave ... + +Getty is at her shoulder. + + MURPH + You can’t, you can’t, you ... + +Getty puts his hand on her shoulder. She sits there. Stuck. + +As Professor Brand goes still ... + + MURPH + (V.O.) + 92. + + + Dr Brand, I’m sorry to tell you + that your father died today ... + + +161 INT. COMMUNICATION ROOM, NASA - DAY 161 + + Murph, controlled anger, sits in front of the camera. + + MURPH + He had no pain and was ... at + peace. I’m sorry for your loss. + + She reaches to switch off the camera. STOPS. Acid. + + MURPH + Did you know, Brand? Did he tell + you ...? + + +162 INT. RING MODULE, ENDURANCE - DAY 162 + + Murph’s voice rings through the empty ship. Only Case there + to register it. + + MURPH + (V.O.) + Did you know that Plan A was a sham + ...?! You left us here. To die. + Never coming back ... + + Through the window we see the Ranger moving away, towards - + + +163 EXT. DR MANN’S PLANET - DAY 163 + + The Endurance orbits the silvery white globe as the Ranger + heads towards the planet. + + +164 EXT. STRATOSPHERE - MOMENTS LATER 164 + + The Ranger drops through layers of large, MOUNTAINOUS + CLOUD. + + +165 INT. COCKPIT, RANGER - CONTINUOUS 165 + + Cooper and Tars, Brand and Romilly. Cooper peers out, + concerned, studying a heads-up display of CLOUD DENSITY ... + + +166 EXT. DR MANN’S PLANET - CONTINUOUS 166 + 93. + + + The Ranger cuts through one cloud, banks left and SCRAPES + AGAINST THE NEXT ’CLOUD’, PANELS TEARING FROM THE WING - + THE CLOUDS ARE ACTUALLY SOLID ICE FORMATIONS ... + + +167 INT. COCKPIT, RANGER - CONTINUOUS 167 + + Cooper banks away from the ICE, glancing out at the damage + - + + +168 EXT. DR MANN’S PLANET - CONTINUOUS 168 + + The Ranger moves cautiously through the ’cloudscape’ like a + ship through an ice field ... + + +169 INT. COCKPIT, RANGER - CONTINUOUS 169 + + Romilly and Brand put their helmets on. Tars indicates the + beacon’s position. Cooper looks, BANKS the Ranger. + + +170 EXT. DR MANN’S PLANET - CONTINUOUS 170 + + The Ranger’s gear lowers as it comes to rest, tentatively, + at the base of what looks like a large CUMULUS CLOUD. + + +171 EXT. DR MANN’S PLANET - LATER 171 + + Cooper leads them up the ICE CLOUD. From a distance, they + are walking on a cloud. Tars brings up the rear. + + Cooper crests a ridge. SPOTS something. He starts down + towards a dirty orange dot in the cloudscape. + + +172 EXT. DR MANN’S POD - MOMENTS LATER 172 + + Cooper is there. The others arrive at the large metal pod - + WEATHERED and DAMAGED over the years, half buried in ice. + + Nearby, various WIRE MARKERS stick out of the ice. Tars + starts digging out the hatch. + + +173 INT. DR MANN’S POD - LATER 173 + + A CRACK of COLD LIGHT, as the outer hatch is wrenched open. + 94. + + + Cooper steps through the airlock, into a CRYPT-LIKE SPACE - + Cooper’s hand sweeps ice from the nameplate of a cryo- + chamber, ’DR MANN’. + + Tars fires up the cryo-chamber. The ice starts to melt. + + Cooper, helmet off, CRACKS the lid, pushes it back, + revealing a figure in a plastic shroud. Cooper rips the + seal ... + + Dr Mann’s eyes flicker open. He watches Cooper, breathing, + focusing - reaches up with TREMBLING hands - GRABS Cooper - + PULLS himself up, CHEEK AGAINST CHEEK - SOBBING - hands + desperately CARESSING Cooper’s face. Cooper holds him + tight. + + COOPER + (whispering) + It’s okay. It’s okay. + + +174 INT. SAME - LATER 174 + + Dr Mann sits, blanket over his shoulders, sipping from a + steaming cup. He looks at their faces, marveling. + + DR MANN + (cracked, parched) + Pray you never learn just how good + it can be to see another face. + (Shaky sip.) + I hadn’t much hope to begin with. + After so much time, I had none. My + supplies were exhausted. The last + time I went to sleep, I set no + waking date. + (Looks at them all.) + You have literally raised me from + the dead. + + COOPER + (smiles) + Lazarus. + + DR MANN + (nods) + And the others? + + ROMILLY + I’m afraid you’re it, sir. + + DR MANN + So far, surely? + 95. + + + COOPER + With our situation, there’s not + much hope of any other rescue. + + This hits Dr Mann hard. He looks down at his tea. + + BRAND + Dr Mann, tell us about your world. + + DR MANN + (smiles gently) + My world. Yes. Our world, we hope. + Our world is cold, stark ... + + +175 EXT. DR MANN’S PLANET - DAY 175 + + Dr Mann leads the others up to the summit of a cloud. + + DR MANN + (V.O.) + But undeniably beautiful ... + + From the top, they watch the planet’s pale sun setting. + + DR MANN + The days are sixty-seven cold + hours, the nights are sixty-seven + far colder hours ... + + They make their way back into the shelter. + + DR MANN + (V.O.) + The gravity is a very pleasant 80 + percent of Earth’s. Up here, where + I landed, the ’water’ is alkali and + the ’air’ has too much ammonia in + it to breathe for more than a few + minutes ... + + Brand checks readings on Dr Mann’s instruments. + + +176 INT. DR MANN’S POD - NIGHT 176 + + The crew are captivated by Dr Mann ... + + DR MANN + 96. + + + But down at the surface, and there + is a surface ... the chlorine + dissipates and the ammonia gives + way to crystalline hydrocarbons and + breathable air. To organics. + Possibly even to life. + (Off looks.) + Yes. We may be sharing this world. + + BRAND + (giddy) + These readings are from the + surface? + +Brand is reviewing Dr Mann’s piles of data. + + DR MANN + Over the years I’ve dropped various + probes. + + COOPER + How far have you explored? + + DR MANN + I’ve mounted several major + expeditions, but with oxygen in + limited supply, Kipp there had to + do most of the legwork. + +Dr Mann indicates a DEFUNCT ARTICULATED MACHINE. + + TARS + What’s wrong with him? + + DR MANN + Degeneration. He misidentified the + first organics we found as ammonia + crystals. We struggled on for a + time, but ultimately, I + decommissioned him and used his + power source to keep the mission + going. + (Remembers, sadly.) + I thought I was alone before I shut + him down. + + TARS + Would you like me to look at him? + + DR MANN + No, I think he needs a human touch. + +Tars turns to Brand. + 97. + + + TARS + Dr Brand, Case is relaying a + message for you from the comm. + station. + + She nods. + + MURPH + (V.O.) + ... He had no pain and was ... at + peace. + + +177 INT. DR MANN’S POD - LATER 177 + + Brand watches Murph’s message on Tars’ data screen. + + MURPH + I’m sorry for your loss. + + Brand STARES. Cooper is there. Murph reaches up - + + BRAND + (abstract) + Is that Murph? + + Cooper nods. + + BRAND + She’s become a - + + MURPH + (acid) + Did you know, Brand? Did he tell + you? That Plan A was a sham ...?! + + Cooper looks at Brand, who is shocked. + + MURPH + You left us here to set up your + colony. Never coming back ... + + Murph does not want to ask, tears are running down her + cheeks - + + MURPH + (Small.) + Did my father know? Dad ...? + + Cooper stares. Murph’s eyes bore into his ... + + COOPER + Did you leave me here to die? + 98. + + +The screen goes dark. Cooper stands there, SHOCKED. + + BRAND + Cooper, my father devoted his whole + life to Plan A - I have no idea + what she means - + + DR MANN + (O.S.) + I do. + +They turn. Dr Mann looks at them with gentle calm. + + COOPER + He never even hoped to get people + off the Earth. + + DR MANN + No. + + BRAND + But he’s been trying to solve the + gravity equation for forty years! + +Dr Mann comes over, looks into Brand’s eyes. + + DR MANN + Amelia, your father solved his + equation before I even left. + + BRAND + Then why wouldn’t he use it?! + + DR MANN + The equation couldn’t reconcile + relativity with quantum mechanics. + You need more - + + COOPER + More what?! + + DR MANN + More data. You need to see inside a + black hole. And the laws of nature + prohibit a naked singularity. + + COOPER + (to Romilly) + Is that true? + + ROMILLY + If a black hole is an oyster, the + singularity is the pearl inside. + 99. + + + ROMILLY +Its gravity is so strong, it’s +always hidden in darkness, behind +the horizon. That’s why we call it +a black hole. + + COOPER +If we could look beyond the horizon +- + + DR MANN +Some things aren’t meant to be +known. + (To Brand.) +Your father had to find another way +to save the human race from +extinction. Plan B. A colony. + + BRAND +Why not tell people? Why keep +building that damn station? + + DR MANN +He knew how much harder it would be +for people to come together and +save the species, instead of +themselves ... + (To Cooper, sympathetic.) +Or their children. + + COOPER +Bullshit. + + DR MANN +Would you have left if you hadn’t +believed you were trying to save +them? Evolution has yet to +transcend that simple barrier - we +can care deeply, selflessly for +people we know, but our empathy +rarely extends beyond our line of +sight. + + BRAND +But the lie. A monstrous lie ... + + DR MANN +Unforgivable. And he knew it. Your +father was prepared to destroy his +own humanity to save our species. +He made the ultimate sacrifice. + + COOPER + 100. + + + No. That’s being made by the people + of Earth who’ll die because, in his + arrogance, he declared their case + hopeless. + + DR MANN + I’m sorry, Cooper. Their case is + hopeless. We are the future. + + Cooper REELS. Brand puts her hand on his shoulder - + + BRAND + Cooper, what can I do? + + He turns to her. Looks her in the eyes. + + COOPER + Let me go home. + + And the sound of WIND in DRY CORNSTALKS takes us - + + +178 INT/EXT. PICKUP TRUCK ON DUSTY PLAIN - DAWN 178 + + Murph drives. Getty next to her. In the distance, several + fields BURN. + + GETTY + Are you sure? + + MURPH + His solution was correct. He’d had + it for years. + + GETTY + It’s worthless? + + MURPH + It’s half the answer. + + GETTY + How do you find the other half? + + Murph points at the sky. + + MURPH + Out there? A black hole. Stuck here + on Earth? I’m not sure you can. + + They pass vehicles PILED HIGH with belongings and people. + + GETTY + 101. + + + They just pack up and leave. What + are they hoping to find? + + MURPH + Survival. + (Looks ahead.) + Dammit! + +A DUST STORM SWAMPS the truck, killing visibility. Murph +pulls over. Kills the engine. The wind rocks the car. + + GETTY + Don’t people have a right to know? + + MURPH + Panic won’t help. We have to keep + working, same as ever. + + GETTY + Isn’t that just what Professor + Brand ...? + + MURPH + (sharp) + Brand gave up on us - I’m still + trying to solve this. + + GETTY + So you have an idea? + + MURPH + No. I have a ... feeling. + +Getty looks at her as she STARES out at the dust. + +INSERT CUT: MURPH (TEN), wet hair, towel around neck, turns +and STARES at a book on the floor - + + MURPH + (V.O.) + I told you about my ghost ... + +She stoops to pick up the toy next to it - a broken LUNAR +LANDER. + +MURPH (FORTY) puts her hands on the glass, watching the +sand scrape the car’s window ... + + MURPH + My dad thought I called it a ghost + because I was scared of it ... + +INSERT CUT: MURPH (TEN) counts the books and gaps. + 102. + + + MARVELING. + + MURPH + (V.O.) + But I was never scared of it ... + + MURPH (TEN) takes out her notebook and starts drawing lines + to represent the books. + + MURPH + (V.O.) + I called it a ghost because it felt + like ... + + MURPH (FORTY) turns to Getty. + + MURPH + Like a person. Trying to tell me + something ... + + The storm is clearing. Murph starts the engine. + + MORPH + If there’s an answer here on Earth, + it’s back there, somehow. No one’s + coming to save us. + (Pulls out.) + I have to find it ... + + Murph pulls past a pickup piled with worldly goods and + people. She makes eye contact with two filthy kids in the + back ... + + And we’re running out of time. + + +179 EXT. RANGER, DR MANN’S PLANET - DAWN 179 + + Tars is up on the wing of the Ranger. Case pilots the + LANDER in to land near the Ranger. + + +180 INT. COCKPIT, RANGER - CONTINUOUS 180 + + Cooper is sitting with his feet on the console. + + CASE + (over radio) + What about auxiliary oxygen + scrubbers? + + COOPER + 103. + + + They can stay. I’ll sleep most of + the journey. + (Wry.) + + COOPER + I saw it all on the way out here. + +Romilly comes through the airlock. Removes his helmet. + + ROMILLY + I have a suggestion for your return + journey. + + COOPER + What? + + ROMILLY + Have one last crack at the black + hole ... + +Tars enters. + + ROMILLY + Gargantua’s an older, spinning + black hole - what we call a gentle + singularity. + + COOPER + Gentle? + + ROMILLY + They’re hardly gentle, but their + tidal gravity is quick enough that + something crossing the horizon fast + might survive ... a probe, say. + + COOPER + What happens to it after it + crosses? + + ROMILLY + Beyond the horizon is a complete + mystery - who’s to say there isn’t + some way the probe can glimpse the + singularity and relay the quantum + data? If he’s equipped to transmit + every form of energy that can pulse + - X-ray, visible light, radio - + + TARS + Just when did this probe become a + ’he’? + 104. + + + Romilly looks from Tars to Cooper, sheepish. + + ROMILLY + Tars is the obvious candidate. I’ve + already told him what to look for. + + TARS + I’d need to take the old optical + transmitter from Kipp. + + COOPER + (to Tars) + You’d do this for us? + + TARS + Before you get teary, try to + remember that as a robot I have to + do anything you say, anyway. + + COOPER + Your cue light’s broken. + + TARS + I’m not joking. + + Bing. The light flashes on. + + +181 EXT. RANGER, DR MANN’S PLANET - DAY 181 + + Brand and Dr Mann approach Cooper and Romilly at the foot + of the ladder. Cooper addresses Brand - + + COOPER + Ranger’s almost ready. Case is on + his way back down with another + load. + + BRAND + I’ll start a final inventory. + + ROMILLY + Dr Mann, I need Tars to remove and + adapt some components from Kipp. + + Dr Mann considers this. Looks at Tars. At Romilly. + + DR MANN + He musn’t disturb Kipp’s archival + functions. + + ROMILLY + I’ll supervise. + 105. + + + Dr Mann considers this. Nods. + + COOPER + We need to pick out a site. You + don’t wanna move the module once we + land it. + + DR MANN + I’ll show you the probe sites. + + Cooper glances around at the winds picking up - + + COOPER + Will conditions hold? + + DR MANN + These squalls usually blow over. + You’ve got a long-range + transmitter? + + Cooper reaches up to check a box plugged in at his neck. + + COOPER + Good to go. + + Dr Mann points at a nozzle on his elbow - + + DR MANN + Charged? + + Cooper checks, thumbs up. Dr Mann sets off, Cooper follows. + + +182 EXT. DR MANN’S PLANET - LATER 182 + + As Cooper follows Dr Mann down a ridge, they see the lander + fly over. Cooper waves, reaches up to his long-range + transmitter - + + COOPER + A little caution, Case? + + CASE + (over radio) + Safety first, Cooper. + + Cooper follows Dr Mann down to the edge of the ice. They + peer down a fifty-foot drop. + + DR MANN + Just take it gently - + 106. + + + He steps off, DROPPING - his ELBOW JETS FIRE, slowing his + descent in time for him to land with a THUD. Cooper + follows. + + They set out through a massive CANYON of ice ... + + DR MANN + Brand told me why you feel you have + to go back - + + Cooper STOPS. + + COOPER + If this excursion is about trying + to change my mind, let’s turn + around right now. + + DR MANN + No. I understand your position. + + He turns and starts walking. Cooper follows. + + DR MANN + You have attachments. I’m not + supposed to, but even without + family, I can promise you that the + yearning to be with other people is + massively powerful. Our instincts, + our emotions, are at the + foundations of what makes us human. + They’re not to be taken lightly. + + The wind WHIPS ice crystals between them ... + + +183 INT. KITCHEN, FARMHOUSE - DAY 183 + + Murph introduces Getty to Lois and Coop. Getty pulls out a + STETHOSCOPE and starts examining Coop, Murph slips upstairs + ... + + +184 INT. MURPH’S BEDROOM - DAY 184 + + Murph opens the door. Stands in her old bedroom. Feeling + ... + + COOP + (O.S.) + Mama lets me play in here ... + + Murph turns to see Coop. He points at a box on the shelf - + 107. + + + COOPER + I don’t touch your stuff. + + +185 EXT. LANDER - CONTINUOUS 185 + + Brand turns away as the lander touches down in a spray of + ice. + + +186 INT. DR MANN’S POD - CONTINUOUS 186 + + Romilly watches Tars crouch down beside Kipp and connect + Kipp to his own power. Kipp shows signs of life ... + + +187 EXT. ICE CANYON, DR MANN’S PLANET - CONTINUOUS 187 + + Dr Mann waits for Cooper catch up. The WIND is picking up - + + DR MANN + You know why we couldn’t just send + machines on these missions, Cooper? + + COOPER + (breathless) + Frankly, no. + + DR MANN + (pressing on) + A trip into the unknown requires + improvisation. Machines can’t + improvise well because you can’t + program a fear of death. The + survival instinct is our single + greatest source of inspiration. + + Dr Mann pauses to take a breath. Turns to Cooper. + + DR MANN + Take you - a father. With a + survival instinct that extends to + your kids ... + + COOPER + That’s why I’m going home, hopeless + or not. + + DR MANN + And what does research tell us is + the last thing you’ll see before + you die? + (Off look.) + 108. + + + Your children. At the very moment + of death, your mind pushes you a + little harder to survive. For them. + + Dr Mann turns and starts walking out onto a massive ice + field. + + +188 INT. KITCHEN, FARMHOUSE - DAY 188 + + Murph brings Coop downstairs. Getty is listening to Lois’ + back. He looks up at Murph. GRAVE. Shakes his head ... + + GETTY + They can’t stay here. + + TOM + (O.S.) + Murph? + + Murph turns to see Tom in the doorway. + + TOM + What is this ...? + + +189 EXT. LANDER, DR MANN’S PLANET - CONTINUOUS 189 + + Brand is counting flight cases when a WIND whips ice at her + ... + + +190 INT. DR MANN’S POD - CONTINUOUS 190 + + Romilly takes his helmet off, PEERING over Tars’ shoulder + at Kipp’s data screen. Confused. + + ROMILLY + I don’t understand. + + +191 EXT. ICE FIELD, DR MANN’S PLANET - CONTINUOUS 191 + + Cooper and Dr Mann are like two ants on a sheet. + + DR MANN + The first window’s up ahead - + + Cooper peers ahead to an OPENING in the ice. Dr Mann stops + at the edge. Looks around the wind-blasted ice plane. + + DR MANN + 109. + + + When I left Earth I felt fully + prepared to die. But I just never + faced the possibility that my + planet wouldn’t be the one. None of + this turned out the way it was + supposed to. + + COOPER + Professor Brand would disagree. + + Cooper peers over the edge at an enormous CREVASSE ... + + Dr Mann RIPS COOPER’S LONG-RANGE TRANSMITTER FROM HIS NECK + - + + Cooper TURNS to Dr Mann - who BLASTS him with his ELBOW + JET. + + He SLIPS backwards, but avoids going over the edge - + + COOPER + What are you doing?! + + Until Dr Mann KICKS him. Cooper hits his jets, pushing + himself onto a lower ledge of ice - + + +192 INT. KITCHEN, FARMHOUSE - DAY 192 + + Tom confronts Murph while Getty looks on - + + MURPH + They can’t stay here, Tom! + + GETTY + Not one more day - + + Tom TURNS, PUNCHES Getty - who collapses. + + LOIS + Tom?! + + TOM + Coop, get your aunt’s things - + she’s done here. + + MURPH + Tom, Dad didn’t raise you this dumb + - + + TOM + 110. + + + Dad didn’t raise us, Grandpa did, + and he’s buried outside with Mom in + our ground. I’m not leaving them - + + MURPH + You have to, Tom - + + TOM + I’m a farmer, Murph! You don’t give + up on the Earth. + + MURPH + No! But she gave up on you! And + she’s poisoning your family. + + +193 EXT. DR MANN’S PLANET - DAY 193 + + Cooper SCRAMBLES to his knees. Dr Mann approaches - + + DR MANN + I’m sorry - I can’t let you leave. + + COOPER + Why?! + + DR MANN + We’re going to need your ship to + continue the mission ... once the + others realize what this place + isn’t. + + Cooper’s mind races. He looks around. + + COOPER + You faked all the data? + + DR MANN + I had a lot of time. + + COOPER + Is there even a surface? + + DR MANN + I’m afraid not - + + Dr Mann KICKS Cooper over the edge, Cooper CLINGS on - + + DR MANN + 111. + + + I tried to do my duty, Cooper, but + the day I arrived I could see this + place had nothing. I resisted the + temptation for years ... but I knew + there was a way to get rescued. + + COOPER + You fucking coward. + + Cooper BLASTS Dr Mann off his feet with his jet - SCRAMBLES + up onto the ice. Dr Mann TACKLES him, they go down, + WRESTLING. WIDER shows us two TINY FIGURES in a VAST + LANDSCAPE, deciding the future of humanity with a BRAWL ... + + +194 INT. KITCHEN, FARMHOUSE - DAY 194 + + Murph begs Tom - + + MURPH + Please, come with us. + + TOM + To live underground, praying Dad + comes back to save us all? + + MURPH + He’s not coming back. He was never + coming back. It’s up to us. To me. + + TOM + You’re gonna save the human race, + Murph? Really? How? Our dad + couldn’t - + + MURPH + HE DIDN’T EVEN TRY! + (Off look.) + He just abandoned us, Tom. + + Murph looks around, frustrated. Coop hands Murph the box. + + MURPH + Tom, if you won’t come, let them - + + TOM + Murph. + (Points at box.) + Take your stuff, and go. Murph + hands the box back to Coop. + + MURPH + Keep it. + 112. + + + She leaves. Getty follows. + + +195 EXT. ICE FIELD, DR MANN’S PLANET - DAY 195 + + Dr Mann LUNGES at Cooper, who SIDESTEPS him and PINS him + ... + + COOPER + Stop this! + + Dr Mann HEADBUTTS COOPER, FACEPLATE IMPACTS FACEPLATE. + + COOPER + Mann! Don’t - you’ll kill us both - + + CRACK. Dr Mann SMASHES his helmet into Cooper’s AGAIN AND + AGAIN as he - + + DR MANN + SOMEONE’S - GLASS - WILL - GIVE - + WAY - FIRST -! + + COOPER + FIFTY-FIFTY YOU KILL YOUR SELF! + STOP! + + Dr Mann STOPS. Looks up at Cooper, BREATHING. Both + faceplates have TINY FRACTURES ... + + DR MANN + Best odds I’ve had in years - + + WHACK - He BUTTS Cooper’s faceplate, which CRACKS + SICKENINGLY. AMMONIA HISSES INSIDE - COOPER ROLLS OFF, + HANDS UP, DESPERATELY TRYING TO PLUG THE LARGE CRACK - Dr + Mann RISES. Checks the fractures in his own helmet. Bends + down to look at Cooper, STRUGGLING, CHOKING - + + DR MANN + Please don’t judge me, Cooper - you + were never tested like I was. Few + men have been ... + + +196 INT/EXT. PICKUP TRUCK ON DUSTY PLAIN - DAY 196 + + Murph drives. Getty looks over, sympathetic. + + GETTY + You did your best, Murph. + + She just stares ahead at the road ... + 113. + + +197 EXT. ICE FIELD, DR MANN’S PLANET - DAY 197 + + With curiosity and FEAR, Dr Mann watches Cooper CRAWL ... + + DR MANN + You’re feeling it, aren’t you? That + survival instinct - that’s what + drove me. It’s always driven the + human race, and it’s going to save + it now. I’m going to save it. For + all mankind. For you, Cooper. + + Unable to watch any more, he RISES, walking away, + continuing to talk to Cooper via the radio ... + + DR MANN + I’m sorry, I can’t watch you go + through this - I thought I could. + But I’m still here. I’m here for + you ... + + Dr Mann, hurrying away, listens to Cooper RASPING - + + DR MANN + Cooper. When you left, did + Professor Brand read you that poem? + How does it end ...? + + Dr Mann hauls himself up a ledge. The wind WHIPS up ice. + + DR MANN + (over radio) + ’Do not go gentle ...’ + + Cooper FREEZES. REMEMBERS. TRANSMITTER ... + + DR MANN + (over radio) + ’... into that good night ...’ + + Cooper LOOKS around - on the ice ten feet away - the + TRANSMITTER - + + +198 INT/EXT. PICKUP TRUCK ON DUSTY PLAIN - DAY 198 + + Murph and Getty drive past a long line of DESPERATE + REFUGEES - glimpsing FACES hardened against insurmountable + odds ... + + DR MANN + (over radio) + 114. + + + ’... Rage, rage against the dying + of the light.’ + + +199 EXT. DR MANN’S PLANET - DAY 199 + + Cooper CRAWLS - CRAWLS - CHOKING - CRAWLING ... + + Dr Mann leap/jets up onto the higher ice - glances back at + the floundering figure on the ice with pity and awe. + + DR MANN + (whispers) + Cooper ...? Do you see your + children, yet? + + Dr Mann hears only CHOKING, GASPING, HACKING. He kills his + radio. Scared. Watches Cooper’s silent thrashing. TURNS. + + Cooper GRABS the transmitter - tries to calm his FRANTIC + HANDS - can’t reconnect it with clumsy gloves - pulls glove + off - FREEZING - BITING - WAKING - he gets the connector IN + - + + COOPER + BRAND! BRAND! + + +200 EXT. LANDER - CONTINUOUS 200 + + Brand is STARTLED by Cooper’s RASPING over her radio - + + COOPER + (over radio) + HELP ... ME ... HELP ... + + +201 INT/EXT. PICKUP TRUCK ON DUSTY PLAIN - CONTINUOUS 201 + + Murph DECIDES - she SPINS the truck around - floors it back + in the direction they came ... + + +202 INT. COCKPIT, LANDER - CONTINUOUS 202 + + Brand JUMPS into the lander - + + BRAND + Case?! + + Case is already FIRING engines - + 115. + + + CASE + I have a fix. + + BRAND + Cooper?! Cooper, we’re coming! + + +203 EXT. ICE PLAIN, DR MANN’S PLANET - CONTINUOUS 203 + + Cooper GASPS - + + COOPER + NO AIR - AMMONIA. + + BRAND + (over radio) + Don’t talk - breathe as little as + possible. We’re coming -! + + +204 EXT. CORNFIELDS - DAY 204 + + Murph PULLS off the road, CUTTING through the corn - + + +205 EXT. DR MANN’S PLANET - CONTINUOUS 205 + + The lander HURTLES through the cloudscape, RECKLESSLY, + DANGEROUSLY FAST, PUNCHING through some clouds, DODGING + others -. + + +206 INT. COCKPIT, LANDER - CONTINUOUS 206 + + Brand watches Case fly, praying he’s not just guessing - + + +207 INT. DR MANN’S POD - CONTINUOUS 207 + + Romilly is crouched next to Tars, perturbed. + + ROMILLY + This data makes no sense. Access + the archive - + + +208 EXT. CORNFIELDS - DAY 208 + + Murph PULLS UP in a SCREECH of dust - jumps out - GRABS her + spare gas can, THROWING FUEL over the nearby stalks ... + 116. + + +209 EXT. ICE PLAIN, DR MANN’S PLANET - CONTINUOUS 209 + + Cooper FLOPS back onto the ice, STARING SKYWARD ... + + INSERT CUT: MURPH (TEN) examines the WATCH Cooper has given + her ... She THROWS it - turns her tear-stained face to + Cooper - Cooper’s eyes water, from poison or memory - + + +210 EXT. CORNFIELDS - DAY 210 + + Murph SETS FIRE to the corn ... JUMPS in the truck - + + +211 EXT. DR MANN’S PLANET - CONTINUOUS 211 + + The lander SWEEPS around a towering cumulus, SPIRALING in + on the ICE PLAIN - + + +212 INT. COCKPIT, LANDER - CONTINUOUS 212 + + Brand POINTS - + + BRAND + I see him - + + +213 EXT. FARMHOUSE - DAY 213 + + Tom RACES out of the house, JUMPS in Cooper’s old truck, + heading out to the fire ... calling on the radio - + + +214 EXT. ICE PLAIN, DR MANN’S PLANET - CONTINUOUS 214 + + Through WATERING EYES and WIND-WHIPPED ICE, Cooper glimpses + Brand LEAPING from the lander, elbow jets firing. Brand + RIPS Cooper’s helmet off - THRUSTS an OXYGEN MASK over his + nose and mouth. Cooper GASPS, SUCKING AIR HARD - + + COOPER + MANN - WAS - MANN - + + BRAND + Dr Mann did this?! + + Cooper nods. Brand takes this in - REALIZES - + + BRAND + Romilly! + 117. + + + She keys her long-range transmitter - + + BRAND + Romilly?! Romilly?! + + +215 INT. DR MANN’S POD - CONTINUOUS 215 + + Tars turns back from Kipp. + + TARS + It needs a person to unlock its + archival function. + + Tars makes way for Romilly, who leans in to the screen. He + glances at his helmet - the radio is SQUAWKING. As he + reaches for his helmet, he places his hand on the screen - + Kipp FLICKERS TO LIFE ... Romilly lifts his helmet - + + ROMILLY + Brand -? + + Kipp LOOKS UP - + + KIPP + Please, don’t make - + + And EXPLODES - + + +216 EXT. DR MANN’S PLANET - CONTINUOUS 216 + + Dr Mann hears the explosion - sees a BLACK CLOUD rising + from up the hill. PANIC-STRICKEN - + + DR MANN + Dammit, Romilly ... + + He switches his radio back on - + + BRAND + (over radio) + Come on, Cooper! Couple more steps + - + + Dr Mann THINKS - makes for the Ranger. + + +217 INT. COCKPIT, LANDER - CONTINUOUS 217 + + Brand pulls the mask off Cooper, who looks at Case - + 118. + + + COOPER + What happened to caution? + + CASE + Safety first. + + COOPER + Brand, I’m sorry. We should’ve + followed your instincts. Mann lied + about this place - + + BRAND + (scared) + Oh, no - + + +218 EXT. FARMHOUSE - DAY 218 + + Murph SCREECHES up - turns to Getty - + + MURPH + Keep watch - + + She runs towards the farmhouse. + + MURPH + Lois! + + +219 INT. COCKPIT, LANDER - DAY 219 + + Case spots something on the console. + + CASE + There’s been an explosion - + + BRAND + Where? + + CASE + Dr Mann’s compound. + + Case puts the lander into the air. + + +220 INT. COCKPIT, RANGER - CONTINUOUS 220 + + Dr Mann straps in. Powers up. + + +221 EXT. DR MANN’S PLANET - CONTINUOUS 221 + 119. + + + The Ranger RISES - + + +222 INT. COCKPIT, RANGER - CONTINUOUS 222 + + Dr Mann pushes the craft into the air - + + +223 EXT. DR MANN’S PLANET - CONTINUOUS 223 + + The lander comes through the black smoke from Dr Mann’s + pod. + + Below - a figure BURSTS out of the smoke: Tars, blackened, + burned, but RUNNING ... towards the lander - + + +224 INT. COCKPIT, LANDER - CONTINUOUS 224 + + Case SWINGS the lander around and HITS the airlock open - + + +225 EXT. DR MANN’S POD - CONTINUOUS 225 + + Tars LEAPS UP into the airlock - the lander THRUSTS away - + + +226 INT. COCKPIT, THE LANDER - CONTINUOUS 226 + + Cooper looks over at Case - + + COOPER + Do you have a fix on the Ranger? + + CASE + He’s pushing into orbit - + + COOPER + If he takes control of the ship + we’re dead - + + BRAND + He’d maroon us? + + COOPER + He is marooning us - + + +227 INT. KITCHEN, FARMHOUSE - DAY 227 + + Lois and Coop head outside with a few essentials. Murph + heads upstairs ... + 120. + + +228 EXT. FARMHOUSE - CONTINUOUS 228 + + Getty helps them into the truck, glances nervously at the + distant fire - + + GETTY + Come on, Murph! + + +229 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 229 + + The Ranger ROCKETS upwards ... + + +230 INT. COCKPIT, LANDER - CONTINUOUS 230 + + Cooper moves up next to Case. Hits the transmitter - + + COOPER + Dr Mann? Dr Mann, please respond - + + CASE + He doesn’t know the Endurance + docking procedure. + + COOPER + The autopilot does. + + CASE + Not since Tars disabled it. + + Cooper looks into the airlock - + + COOPER + Nice. What’s your trust setting? + + TARS + Lower than yours, apparently. + + Cooper hits the transmitter - + + COOPER + Dr Mann? + + +231 INT. COCKPIT, RANGER - CONTINUOUS 231 + + Dr Mann hears Cooper. Ignores him - looking instead at the + navigation computer. + + COOPER + (over radio) + 121. + + + Dr Mann, if you attempt docking - + + Dr Mann switches off the transmitter - + + +232 INT. MURPH’S BEDROOM - DAY 232 + + Murph looks at the bookshelves. Spots the box. Moves over + to it and LOOKS INSIDE ... + + +233 EXT. FARMHOUSE - CONTINUOUS 233 + + Outside, Getty paces, Lois and Coop sit tight ... + + +234 EXT. ORBIT, DR MANN’S PLANET - CONTINUOUS 234 + + The Ranger approaches the Endurance ... + + +235 INT. COCKPIT, RANGER - CONTINUOUS 235 + + Dr Mann pilots the lander alongside the ship. Hits the + autopilot - + + COMPUTER VOICE + Auto-docking sequence withheld. + + Dr Mann looks at the screen, surprised. + + DR MANN + Override. + + COMPUTER VOICE + Unauthorized. + + Dr Mann thinks. Looks over at the MANUAL DOCKING CONTROLS + ... + + +236 INT. COCKPIT, LANDER - CONTINUOUS 236 + + Cooper peers ahead as they SHOOT up into orbit. Brand looks + - the Ranger is in close to the Endurance - + + COOPER + Dr Mann, do not attempt docking. Dr + Mann? + + Static. + 122. + + +237 INT. COCKPIT, RANGER - CONTINUOUS 237 + + Dr Mann SCRAMBLES from the controls to the airlock, FOCUSED + ... + + +238 EXT. ENDURANCE - CONTINUOUS 238 + + The Ranger inches closer to an OUTER HATCH of Endurance - A + ROW OF MECHANICAL GRAPPLES tries to connect with Endurance + - + + +239 INT. COCKPIT, RANGER - CONTINUOUS 239 + + Dr Mann works the docking system, concentrating - + + +240 EXT. ENDURANCE - CONTINUOUS 240 + + The grapples PULL the Ranger into the Endurance hatch. + + +241 INT. COCKPIT, RANGER - CONTINUOUS 241 + + A CLANG as the ships come together - + + COMPUTER VOICE + Imperfect contact - hatch lockout. + + DR MANN + Override. + + COMPUTER VOICE + Hatch lockout disengaged. + + Dr Mann moves to the airlock control ... + + +242 INT. COCKPIT, LANDER - CONTINUOUS 242 + + Cooper stares out at the Ranger - + + COOPER + Is he locked on? + + CASE + Imperfectly. + + Cooper grabs the transmitter - + + COOPER + 123. + + + Dr Mann! Dr Mann! Do not, repeat do + not attempt to open the hatch! If + you - + + +243 INT. COCKPIT, RANGER - CONTINUOUS 243 + + In SILENCE Dr Mann looks through the hatch window. Hits the + button opening the outer door - + + +244 EXT. ENDURANCE - CONTINUOUS 244 + + The outer door of the Ranger SLIDES OPEN. Several grapples + are OPENING AND CLOSING BLINDLY, trying to seal the join - + + +245 INT. COCKPIT, LANDER - CONTINUOUS 245 + + Cooper looks at Case - + + COOPER + What happens if he blows the hatch? + + CASE + Nothing good. + + COOPER + Pull us back! + + Case hits the retro-thrusters. + + BRAND + Case, relay my transmission to his + onboard computer, and have it + rebroadcast as emergency p.a. - + + BRAND + (hits transmitter) + DR MANN, DO NOT OPEN THE IN-- + + +246 INT. COCKPIT, RANGER - CONTINUOUS 246 + + Silence. Dr Mann takes a breath, reaches for the inner + lever - + + BRAND + (over radio) + --PEAT - DO NOT OPEN INNER HATCH! + + Dr Mann is STARTLED by the voice. He hits the transmitter - + 124. + + + DR MANN + Brand, I don’t know what Cooper’s + told you, but I’m taking control of + the Endurance, then we’ll talk + about continuing the mission. This + is not my survival, or Cooper’s - + this is mankind’s - + + Turns back to the lever ... PULLS IT - + + A DEVASTATING RUSH OF AIR YANKS HIM INTO THE AIRLOCK - + + +247 EXT. ENDURANCE - CONTINUOUS 247 + + The ESCAPING AIR AND DEBRIS push Endurance into a slow SPIN + ... + + +248 INT. COCKPIT, RANGER - CONTINUOUS 248 + + Dr Mann is HAMMERED by debris as the airlock starts to RIP + APART - + + +249 EXT. ENDURANCE - CONTINUOUS 249 + + The ship SPINS FASTER AND FASTER - the Ranger is RIPPED + AWAY, FRAGMENTING, SHREDDING THE CLOSEST MODULE OF THE + RING. + + +250 INT. COCKPIT, LANDER - CONTINUOUS 250 + + They STARE in HORROR as their ship is sent SPINNING OFF ITS + ORBIT TOWARDS THE PLANET - + + BRAND + Oh, my God. + + Cooper GRABS the sticks - HITS the thrusters - + + +251 EXT. ORBIT, DR MANN’S PLANET - CONTINUOUS 251 + + The CRIPPLED Endurance is in a FAST FLAT SPIN, heading down + towards the stratosphere - + + The lander FLIES after it, DODGING the Ranger debris - + + +252 INT. COCKPIT, LANDER - CONTINUOUS 252 + 125. + + + Cooper’s eyes are glued to the Endurance as he flies - + + CASE + Cooper, there’s no point using our + fuel to - + + COOPER + Just analyze the Endurance’s spin - + + BRAND + What’re you doing?! + + COOPER + Docking. + + +253 EXT. ORBIT, DR MANN’S PLANET - CONTINUOUS 253 + + The DIZZYING SPIN of the Endurance as it PLUMMETS towards + the ATMOSPHERE - The lander ROCKETS after it, CLOSING + SLOWLY - + + +254 INT. COCKPIT, LANDER - CONTINUOUS 254 + + Cooper pours on the power - + + CASE + Endurance rotation is 67, 68 RPM - + + COOPER + Get ready to match it on the retro- + thrusters - + + CASE + It’s not possible - + + COOPER + No. It’s necessary. + + +255 EXT. ORBIT, DR MANN’S PLANET - CONTINUOUS 255 + + The SPINNING ENDURANCE starts to encounter the STRATOSPHERE + - heating up - + + +256 INT. COCKPIT, LANDER - CONTINUOUS 256 + + Brand looks ahead at the spinning ship - + + CASE + 126. + + + Endurance is hitting stratosphere - + + BRAND + She’s got no heat shield -! + + Cooper checks the lander’s speed against Endurance - pulls + back on thrust as they come in below it - + + +257 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 257 + + The lander is PERILOUSLY CLOSE to the RED HOT UNDERSIDE of + the SPINNING ENDURANCE. The lander BANKS sideways, bringing + its airlock within FEET of the spinning Endurance - + + +258 INT. COCKPIT, LANDER - CONTINUOUS 258 + + Cooper looks sideways at the spinning hull - + + COOPER + Case, you ready? + + CASE + Ready. + + Cooper watches the spinning hull, suddenly UNCERTAIN - + + CASE + Cooper? + (Off look.) + This is no time for caution. + + COOPER + (grins) + If I black out, take the stick - + Tars, get ready to engage the + docking mechanism - Brand, hold + tight - + + CASE + Endurance is starting to heat - + + COOPER + HIT IT! + + Case hits the RETRO-THRUSTERS. The view SPINS - + + +259 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 259 + + The lander goes into a FASTER AND FASTER SPIN as it, with + Endurance, PLUMMETS towards the planet - + 127. + + +260 INT. COCKPIT, LANDER - CONTINUOUS 260 + + LIGHT FLASHES across their faces as the G-force of the spin + PULLS THEM AGAINST THEIR RESTRAINTS. Cooper STRUGGLES to + stay conscious - they BUFFET AGAINST THE ATMOSPHERE - Tars + opens the airlock - the Endurance hatch above him is now + SLOWLY ROTATING relative to him ... + + +261 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 261 + + The GLOWING HOT Endurance and the lander PLUMMET, SPINNING + towards the ice planet, whose curvature is FAST + DISAPPEARING - + + +262 INT. AIRLOCK, LANDER - CONTINUOUS 262 + + Tars peers up as THE SPIN SPEEDS MATCH. He waits as the + BUFFETING moves the hatches ... THEY LINE UP - he FIRES the + GRAPPLES - they don’t connect - the hatches moved - + + +263 INT. COCKPIT, LANDER - CONTINUOUS 263 + + Brand loses consciousness - Cooper watches the instruments, + not the dizzying view, on the point of RED OUT - + + COOPER + Come on, Tars ... come on ... + + +264 INT. AIRLOCK, LANDER - CONTINUOUS 264 + + Tars sees the hatches roll back into ALIGNMENT. He FIRES + AGAIN - this time THE GRAPPLES HOLD - + + TARS + GOT IT! + + +265 INT. COCKPIT, LANDER - CONTINUOUS 265 + + Cooper registers this. Case fires the retro-rockets to slow + the spin. + + COOPER + Gen-- gentle, Case ... + + +266 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 266 + + The two craft, NOW JOINED, start to spin more SLOWLY ... + 128. + + +267 INT. COCKPIT, LANDER - CONTINUOUS 267 + + Cooper eases back into his seat as the G-force lessens - + + COOPER + Get ready to pull us up - + + The spin is slowing to almost nothing - + + +268 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 268 + + Parts are RIPPING off the Endurance in the HEAT - + + +269 INT. COCKPIT, LANDER - CONTINUOUS 269 + + Cooper EASES into POWER on the main thrusters - + + COOPER + Come on. You can do it ... + + +270 EXT. STRATOSPHERE, DR MANN’S PLANET - CONTINUOUS 270 + + The THRUSTERS on the lander start to DRAG both ships back + up away from the planet, the heat DIMINISHING - + + +271 INT. COCKPIT, LANDER - CONTINUOUS 271 + + Cooper pulls back on the sticks, RELIEF washing over him. + + Brand comes to ... Cooper turns to Case, grinning - + + COOPER + Right? And for our next trick ... + + CASE + It’ll have to be good. We’re + heading into Gargantua’s pull - + + Cooper’s smile fades. He UNBUCKLES - + + COOPER + Take her - + + +272 INT. RING MODULE, ENDURANCE - MOMENTS LATER 272 + + HISSING STEAM - RUSHING AIR - WHIRLING DEBRIS as Tars and + Cooper (in suit and helmet) lock down different BULKHEADS - + 129. + + + Brand (in suit and helmet) FLOATS alongside the POPULATION + BOMB, checking the equipment - + + CASE + (over radio) + Cooper, we’re slipping towards + Gargantua - shall I use main + engines? + + COOPER + No! Let her slide as long as we can + - + + Cooper FLIES over to Tars, who is welding a bulkhead - + + COOPER + Give it to me. + + TARS + There’s good news and bad news - + + COOPER + I’ve heard that one, Tars - just + give it to me straight. + + +273 INT. SAME - MOMENTS LATER 273 + + Cooper SCRAMBLES to where Brand is checking her equipment. + + COOPER + The navigation mainframe’s + destroyed and we don’t have enough + life support to make it back to + Earth. But we might scrape to + Edmunds’ planet. + + BRAND + What about fuel? + + COOPER + Not enough. But I’ve got a plan - + let Gargantua suck us right to her + horizon - then a powered slingshot + around to launch us at Edmunds. + + BRAND + Manually? + + COOPER + That’s what I’m here for. I’ll take + us just inside the critical orbit. + 130. + + + BRAND + And the time slippage? + + COOPER + Neither of us can afford to worry + about relativity right now. + + BRAND + I’m sorry, Cooper. + + They embrace, delicately touching faceplate to faceplate. + + +274 EXT. ENDURANCE - CONTINUOUS 274 + + The CRIPPLED Endurance FALLS towards the HEART OF DARKNESS + among the stars ... + + +275 INT. COCKPIT, LANDER - DAY 275 + + Cooper looks ahead at Gargantua. Preparing for battle. + + +276 EXT. ENDURANCE - MOMENTS LATER 276 + + The lander DETACHES, shifting its orientation ... + + COOPER + (over radio) + Once we’ve gathered enough speed + around Gargantua - we use the + lander 1 Ranger 2 as rocket- + boosters to push us out of the + black hole’s gravity ... + + The lander REATTACHES to the rear of the ring module. + + +277 INT. COCKPIT, RANGER 2 - CONTINUOUS 277 + + Cooper slides into Ranger 2 - checking the systems. + + COOPER + The linkages between landers are + destroyed ... + + +278 INT. COCKPIT, LANDER - CONTINUOUS 278 + + Tars sits at the controls, running similar checks ... + 131. + + + COOPER + (over radio) + So we’ll control manually. When + Lander 1’s spent, Tars will detach + ... + + TARS + And get sucked into that black + hole. + + +279 INT. RING MODULE, ENDURANCE - CONTINUOUS 279 + + Brand and Case listen to Cooper and Tars over the radio. + + BRAND + Why does he have to detach? + + COOPER + (over radio) + We have to shed mass if we’re gonna + escape that gravity. + + TARS + (over radio) + Newton’s third law - the only way + humans have ever figured out of + getting somewhere is to leave + something behind. + + BRAND + Cooper, you can’t ask Tars to do + this for us - + + +280 INT. COCKPIT, RANGER 2 - CONTINUOUS 280 + + Cooper puts his hands on the controls - + + COOPER + He’s a robot, Amelia - I don’t have + to ask him to do anything. + + +281 INT. RING MODULE, ENDURANCE - CONTINUOUS 281 + + Brand is furious - + + BRAND + Cooper, you asshole - + + COOPER + (over radio) + 132. + + + Sorry, you broke up a little there. + + TARS + (over radio) + It’s what we intended, Dr Brand ... + + +282 INT. COCKPIT, LANDER - CONTINUOUS 282 + + Tars sits at the controls, ready. + + TARS + It’s our last chance to save people + on Earth - if I can find some way + to transmit the quantum data I’ll + find in there, they might still + make it. + + +283 INT. RING MODULE, ENDURANCE - CONTINUOUS 283 + + Brand considers this. + + BRAND + If there’s someone still there to + receive it ... + + +284 EXT. ENDURANCE - CONTINUOUS 284 + + The Endurance ACCELERATES towards the darkness ... + + +285 INT. RING MODULE, ENDURANCE - CONTINUOUS 285 + + The black hole’s gravity makes the ship SHUDDER ... Brand, + helmet on, tightens her harness ... + + +286 EXT. ENDURANCE - CONTINUOUS 286 + + The Endurance STREAKS above the glowing horizon, SKIRTING + the BLACKNESS beneath ... + + +287 INT. COCKPIT, LANDER - CONTINUOUS 287 + + Tars looks out at the DARK OCEAN ... + + +288 EXT. ENDURANCE - CONTINUOUS 288 + 133. + + + The ship orbits the black hole with BLINDING ACCELERATION - + + +289 INT. RING MODULE, ENDURANCE - CONTINUOUS 289 + + The ship is SHAKING with GRAVITATIONAL ENERGY ... + + CASE + MAXIMUM VELOCITY ACHIEVED ... + PREPARE TO FIRE ESCAPE THRUSTERS - + + +290 INT. COCKPIT, LANDER - CONTINUOUS 290 + + Tars checks his instruments - + + TARS + Ready. + + +291 INT. COCKPIT, RANGER 2 - CONTINUOUS 291 + + Cooper checks his instruments - + + COOPER + Ready. + + +292 INT. RING MODULE, ENDURANCE - CONTINUOUS 292 + + Brand looks out at the glowing horizon. Glances fearfully + at the darkness below ... Case puts his hand on the button + - + + CASE + Main engine ignition in three, two, + one, mark - + + Case hits the button - + + +293 EXT. ENDURANCE - CONTINUOUS 293 + + The MAIN ENGINES FIRE - STRAINING AGAINST GARGANTUA ... + + +294 INT. RING MODULE, ENDURANCE - CONTINUOUS 294 + + Brand feels the thrusters STRAIN to lift the craft - + + CASE + 134. + + + Lander 1 engines, on my mark, + three, two, one, mark - + + +295 INT. COCKPIT, LANDER - CONTINUOUS 295 + + Tars hits the button - + + TARS + Fire. + + +296 EXT. ENDURANCE - CONTINUOUS 296 + + Lander 1’s engines FIRE, adding to the thrust. The + Endurance starts RISING away from the darkness ... + + CASE + (over radio) + Ranger 2’s engines, on my mark - + three, two, one, mark - + + +297 INT. COCKPIT, RANGER 2 - CONTINUOUS 297 + + Cooper hits the button - + + COOPER + Fire. + + +298 EXT. ENDURANCE - CONTINUOUS 298 + + Ranger 2’s engines add a fresh BLAST of fire, pushing the + Endurance higher and higher ... back into the starlight ... + + +299 INT. COCKPIT, RANGER 2 - CONTINUOUS 299 + + Cooper, shaking with the thrust, looks at his instruments - + + COOPER + That little maneuver cost us fifty- + one years ...! + + +300 INT. RING MODULE, ENDURANCE - CONTINUOUS 300 + + Brand holds on tight - + + BRAND + 135. + + + You don’t sound so bad for a + hundred and twenty! + + +301 EXT. ENDURANCE - CONTINUOUS 301 + + Lander 1’s engines DIE OUT ... + + CASE + (over radio) + Lander 1, prepare to detach, on my + mark ... three ... + + +302 INT. RING MODULE, ENDURANCE - CONTINUOUS 302 + + Brand looks over at the lander - + + CASE + Two ... + + +303 INT. COCKPIT, LANDER 1 - CONTINUOUS 303 + + CASE + (over radio) + One ... mark - + + Tars hits a switch - + + TARS + Detach. + + +304 INT. RING MODULE, ENDURANCE - CONTINUOUS 304 + + Brand sees Lander 1 DROP, revealing Cooper in Ranger 2 ... + + BRAND + Goodbye, Tars ... + + TARS + (over radio) + See you on the other side, Coop ... + + Something in this makes Brand frown, PUZZLED ... + + +305 EXT. ENDURANCE - CONTINUOUS 305 + + Lander 1 FALLS behind as the Endurance continues to RISE + ... + 136. + + +306 INT. COCKPIT, RANGER 2 - CONTINUOUS 306 + + Cooper checks his dwindling fuel supply ... + + COOPER + Hey, Case? Nice reckless flying. + + CASE + (over radio) + Learned from the master. + + +307 EXT. ENDURANCE - CONTINUOUS 307 + + As Lander 1 FALLS back towards Gargantua, Ranger 2’s + engines DIE OUT ... + + +308 INT. RING MODULE, ENDURANCE - CONTINUOUS 308 + + Case registers the burnout. + + CASE + Ranger 2, prepare to detach - + + Brand looks up, SHOCKED - + + BRAND + NO! + + She UNBUCKLES - + + CASE + On my mark - + + FLIES to the window looking onto Cooper - + + BRAND + What are you doing! + + CASE + Three ... + + +309 INT. COCKPIT, RANGER 2 - CONTINUOUS 309 + + Cooper looks across at Brand. + + COOPER + Newton’s third law - you have to + leave something behind. + 137. + + + CASE + (over radio) + Two ... + + +310 INT. RING MODULE, ENDURANCE - CONTINUOUS 310 + + Brand pushes her helmet up against the window, + + BRAND + You told me we had enough power - + + CASE + One ... + + +311 INT. COCKPIT, RANGER 2 - CONTINUOUS 311 + + Cooper looks at her, fondly - + + COOPER + Hey, we agreed - ninety percent. + + CASE + (over radio) + Mark ... + + Cooper reaches for the button. Takes one last look at Brand + - inside her helmet, Brand is crying, zero-G tears catching + in her eyelashes like melted snowflakes. + + Cooper hits the button. But the word catches in his throat + -. + + COOPER + Detach - + + +312 EXT. ENDURANCE - CONTINUOUS 312 + + Ranger 2 DROPS AWAY from the Endurance ... + + +313 INT. COCKPIT, RANGER 2 - CONTINUOUS 313 + + Cooper sees the Endurance ACCELERATE AWAY to a bright point + as he FALLS AND FALLS ... Cooper starts to breathe FASTER - + + +314 EXT. GARGANTUA - CONTINUOUS 314 + 138. + + + Ranger 2 PLUMMETS towards blackness as the horizon GLOWS + BRIGHTER and BRIGHTER - distorted starlight, plasma jets + ... + + +315 INT. COCKPIT, RANGER 2 - CONTINUOUS 315 + + Cooper, trying to control his breathing, uses retro-rockets + to TURN the lander down. He GASPS at the FLAMING HORIZON - + + COOPER + (over radio) + Tars? Are you there? + + STATIC - Ranger 2 TILTS down - INKY BLACKNESS ahead - + + +316 INT. ENDURANCE - CONTINUOUS 316 + + Brand, crying, monitors Cooper’s lonely transmissions ... + + +317 EXT. GARGANTUA - CONTINUOUS 317 + + Ranger 2 PLUNGES towards the black hole. We hear Cooper’s + panic breathing get LOUDER and LOUDER until - Ranger 2 + SHUDDERS with EXPONENTIALLY RISING GRAVITATIONAL ENERGY as + it CROSSES THE HORIZON - PLUNGING TOWARDS THE SINGULARITY - + ALL WAVELENGTHS OF LIGHT CASCADING WITH HIM - AS WE - + + PLUNGE INTO ABSOLUTE ... + + WHITE - + + Not a whiteout - a SHIMMERING CAVALCADE OF ALL WAVELENGTHS: + LIGHT, SOUND, EVERYTHING ... the SPHERICAL INSIDE OF THE + BLACK HOLE, like a STAR turned INSIDE OUT. COOPER IS + SCREAMING and we CUT to - + + BURNING CORN - men fighting a fire, Tom leading, GESTURING + - + + +318 INT. MURPH’S BEDROOM - TWILIGHT 318 + + Murph (forty) sits on the bed, looking into the BOX. She + pulls out the LUNAR LANDER MODEL, looks up at the books ... + + GETTY + (O.S.) + Come on, Murph! We don’t have much + time! + 139. + + +319 EXT. GARGANTUA - DAY 319 + + A BLACK DOT appears, RUSHING TOWARDS US to become - A DARK + SPHERE - we PLUNGE through it into SILENT DARKNESS - a + WHITE SPHERE races towards us - + + Just as the wormhole was a spherical hole, THESE SPHERES + ARE HOLES WITHIN HOLES ... we are dropping through A FOUR- + DIMENSIONAL RABBIT HOLE - LIGHT/DARK/LIGHT/DARK/LIGHT/DARK + with BLINDING RAPIDITY - the frequency almost SPEAKING. + Cooper hangs on for dear life - + + COMPUTER VOICE + (O.S.) + FUEL CELL OVERLOAD. DESTRUCTION + IMMINENT. INITIATE EJECTION. + + Cooper is LAUNCHED out of Ranger 2, which EXPLODES, and, + PULLED to one side, MISSES A WHITE HOLE - PLUNGING INSTEAD + TOWARDS A SMALLER GLASS-LIKE SPHERE - + + Cooper slows as he falls towards this sphere, reminiscent + of the wormhole, but the light within is not stars but an + infinity of WORLD LINES - (paths of objects through + spacetime) - + + Cooper PLUNGES INTO THE WORLD SPHERE ... As he falls his + SINGLE WORLD LINE stretches behind him - the INFINITE + FUTURES OF HIS WORLD LINE splitting ahead to all the + different possibilities in spacetime - + + Cooper himself is now like a ring being pulled down a cone + of fabric. He STARES at the ORDERED CHAOS of world lines + ... + + As he SLOWS his past and future world lines BREAK UP so + they become like INFINITE REFLECTIONS IN PARALLEL MIRRORS + ... Cooper’s world line DROPS into a SMALL, SQUARE TUNNEL - + + +320 INT. THE TESSERACT - CONTINUOUS 320 + + Tight enough to feel BLINDINGLY FAST at first, but Cooper + (and his INFINITE OTHERS) is actually SLOWING ... Cooper + DESPERATELY reaches out, KNOCKING the sides of the tunnel, + TRYING to slow himself - GRAPPLING - KICKING ’BRICKS’ out + of + + the ’walls’. He finally STOPS. Looks around in the SUDDEN + CALM, FLOATING, catching his breath. He reaches out to the + tunnel wall - CONFUSED - + 140. + + + Each ’brick’ is TIGHTLY PACKED PAPER ... PAGES ... BOOKS - + AS SEEN FROM BEHIND A SHELF ... + + Cooper PUSHES against a book - it MOVES SLIGHTLY. Cooper + PUSHES, HARDER AND HARDER AND HARDER - + + The book drops out of sight, revealing - + + Murph, aged ten, wet hair, towel around her neck, TURNS, + STARTLED by THE BOOK FALLING FROM HER SHELF. + + COOPER + Murph? Murph? + + She can’t hear him ... + + +321 INT. MURPH’S BEDROOM - MORNING 321 + + Murph (ten) stands there, startled, STARING at the + bookshelves. At the book on the floor, a broken toy beside + it ... + + +322 INT. MURPH’S BEDROOM - TWILIGHT 322 + + Murph (forty) looks at the bookshelves, REMEMBERING ... + + +323 INT. THE TESSERACT - CONTINUOUS 323 + + Cooper watches Murph (ten) cautiously approach - she + CROUCHES. Picks something up - + + +324 INT. MURPH’S BEDROOM - TWILIGHT 324 + + Murph (forty) turns the lunar lander in her hands. + Thinking. + + +325 INT. MURPH’S BEDROOM - DAY 325 + + Murph (ten) stands up holding the broken LUNAR LANDER ... + + +326 INT. THE TESSERACT - CONTINUOUS 326 + + Cooper watches Murph (ten) examine the two pieces of the + LUNAR LANDER MODEL - + + COOPER + 141. + + + MURPH! MURPH! + + She turns ... leaves the room ... Cooper floats there, + staring. He LOOKS around - each ’wall’ of the tesseract is + a different view of Murph’s bedroom, so that by rotating he + can effectively orbit her room ... + + He claws his way down to the next book wall. PUNCHES out + two books - + + Murph’s bedroom, empty. The door opens, Cooper’s EARLIER + SELF is standing there, staring at the room, perturbed. + + Murph (ten) joins Cooper, staring at the empty room ... + Cooper LASHES out at the books - kicks a book out - SPOTS - + Murph (ten) closes her door, crying, sliding the desk in + front - + + +327 INT. MURPH’S BEDROOM - TWILIGHT 327 + + Murph (forty) feels the desk. She puts her hand on the back + of the chair, tilts it slightly, remembering - + + +328 INT. THE TESSERACT - CONTINUOUS 328 + + Cooper watches Murph (ten) put A CHAIR ON TOP OF THE DESK. + + The earlier Cooper nudges the door open - + + +329 INT. MURPH’S BEDROOM - EVENING 329 + + Murph (ten) sees the door NUDGING against the desk and + chair - + + MURPH + Just go. If you’re leaving - just + leave now. + + +330 INT. THE TESSERACT - CONTINUOUS 330 + + Cooper, the frustrated observer, spins around to see his + EARLIER SELF nudging the door - + + COOPER + (to his earlier self) + Don’t go, you idiot! + + His Earlier Self shuts the door ... + 142. + + + COOPER + Don’t leave your kids. You goddamn + fool. + + Cooper PUNCHES OUT books with all his strength - + + COOPER + S ... T ... + + Murph (ten) is watching, no longer scared, fascinated - + + COOPER + A ... Y ... + + Cooper STOPS. Catches his breath. Waits ... Earlier Cooper + lifts the chair off the table to enter. + + Cooper watches his earlier self, FRUSTRATED - + + COOPER + Stay, you idiot! Tell him, Murph! + Stay ... + + As before, Cooper gives Murph the WATCH ... Murph THROWS + THE WATCH and TURNS AWAY ... + + COOPER + Murph, tell him again! Don’t let + him leave ...! + + +331 INT. MURPH’S BEDROOM - TWILIGHT 331 + + Murph (forty) picks up the notebook. Opens it. Finds the + word ’STAY’ ... looks up at the books, REALIZING ... + + +332 INT. THE TESSERACT - DAY 332 + + Cooper is crying with frustration ... + + COOPER + Murph, don’t let me leave ... + + Cooper watches as his earlier self heads to the door - + + COOPER + STAY!! + + Cooper SMASHES a book from the shelf with all his might - + His earlier self turns back. Looks at the book. Then + leaves. + 143. + + + Cooper rests his head against the books, SOBBING. + + +333 INT. MURPH’S BEDROOM - TWILIGHT 333 + + Murph (forty) lowers her notebook, moves to the + bookshelves, IN AWE ... + + MURPH + Dad ... it was you. You were my + ghost ... + + She is crying. Joyful. + + +334 INT. THE TESSERACT - DAY 334 + + Cooper sobs at the back of the books. Lost ... + + TARS + (over radio) + Cooper? + + Cooper, STARTLED, turns. Tars is not there. + + COOPER + You survived. + + TARS + (over radio) + Somewhere. In their fifth + dimension. They saved us ... + + COOPER + (frustrated) + Who’s ’They’? And why would they + help us? + + TARS + (over radio) + I don’t know, but they constructed + this three-dimensional space inside + their five-dimensional reality to + allow you to understand it ... + + COOPER + It isn’t working -! + + TARS + (over radio) + 144. + + + Yes, it is. You’ve seen that time + is represented here as a physical + dimension - you even worked out + that you can exert a force across + spacetime - + + COOPER + (realizing) + Gravity. To send a message ... + + Cooper looks around the infinite tunnel, infinite Coopers. + + COOPER + Gravity crosses the dimensions - + including time - + + Cooper THINKS ... He pulls himself up to a different wall, + starts counting books ... + + And you have the quantum data, now - + + TARS + (over radio) + I’m transmitting it on all + wavelengths - but nothing’s getting + out ... + + COOPER + I can do it - + + Cooper HITS a book’s world line, sending a WAVE ... + + TARS + (over radio) + Such complicated data ... to a + child ... + + COOPER + Not just any child. + + +335 INT. MURPH’S BEDROOM - TWILIGHT 335 + + Murph (forty) stands there, looking at her old notebook - + the page that says ’STAY’ ... + + GETTY + (O.S.) + MURPH?! COME ON! + + She looks around the room, SEARCHING for an answer ... + 145. + + +336 EXT. THE TESSERACT - DAY 336 + + Cooper watches Murph (ten) looking out the window ... + + TARS + (over radio) + Even if you communicate it here, + she wouldn’t understand its + significance for years ... + + Cooper is seized by a sudden anger - + + COOPER + Then figure something out! + Everybody on Earth is going to die! + + TARS + Cooper, they didn’t bring us here + to change the past. + + Cooper hears something in this - + + COOPER + We brought ourselves here ... + + Cooper PUSHES off, looking through the gaps in the books. + + Murph’s bedroom, full of DUST in the DUST STORM - + + COOPER + Tars, feed me the coordinates of + NASA in binary ... + + Cooper is in the room now, drawing a pattern in the dust + ... + + Cooper watches Murph (ten) burst into the room. Murph stops + and stares at the dust as Cooper’s Earlier Self comes in + past her, SLAMS the window shut - sees the PATTERN of dust + ... + + +337 INT. MURPH’S BEDROOM - TWILIGHT 337 + + Murph (forty) runs her finger along the DUST of the + windowsill ... She turns to look around the room. + + Frustrated. + + MURPH + Come on, Dad. Is there something + else here ...? + 146. + + +338 INT. TESSERACT - CONTINUOUS 338 + + Cooper looks up from the floor - + + COOPER + Don’t you see, Tars? I brought + myself here. We’re here to + communicate with the three- + dimensional world. We’re the bridge + ... + + Cooper moves to another iteration of Murph’s room. Murph + (ten) JUMPS up - GRABS the WATCH, RUNS out the door ... + + +339 INT. MURPH’S BEDROOM - TWILIGHT 339 + + Murph (forty) looks at the watch, remembering. The second + hand TWITCHES. She drops the watch back into the box ... + + +340 INT. TESSERACT - CONTINUOUS 340 + + Cooper pushes himself along the world line of the books ... + + COOPER + I thought they chose me - they + never chose me - they chose Murph. + + TARS + (over radio) + For what? + + COOPER + To save the world! + + Murph (ten) comes back into her bedroom, SOBBING. She is + holding the watch. She puts it on the shelf. + + +341 INT. MURPH’S BEDROOM - TWILIGHT 341 + + Murph (forty) puts the box back on the shelf. SIGHS ... + + +342 INT. TESSERACT - CONTINUOUS 342 + + Cooper races FASTER and FASTER down the world lines. + + COOPER + ’They’ have access to infinite + time, infinite space ... + 147. + + + Cooper gestures at the INFINITIES in all directions ... + + COOPER + But no way to find what they need - + but I can find Murph and find a way + to tell her - like I found this + moment - + + TARS + (over radio) + How? + + COOPER + Love, Tars. Love - just like Brand + said - that’s how we find things + here. + + TARS + (over radio) + So what are we here to do? + + Cooper looks around the tesseract. The watch sits there on + the shelf for as long as he can see ... + + COOPER + The watch. That’s it. She’ll come + back for it - + + TARS + How do you know? + + COOPER + Because I gave it to her. We use + the second hand. Translate the data + into Morse and feed it to me - + + Tars starts to transmit. Cooper GRABS the second-hand world + line - starts to MANIPULATE it, sending waves down the + world line ... + + TARS + What if she never came back for it? + + COOPER + She will. She will ... I feel it + ... + + The second hand is FLICKING back and forth ... + + +343 INT. MURPH’S BEDROOM - TWILIGHT 343 + + Murph (forty) turns to leave ... + 148. + + + GETTY + (O.S.) + MURPH, HE’S COMING! + + She pauses. Goes back to the box - reaches in. PULLS OUT + THE WATCH ... staring at it ... wondering ... + + GETTY + (O.S.) + MURPH?! MURPH ...?! + + +344 EXT. FARMHOUSE - TWILIGHT 344 + + Getty is holding a tire iron, watching TOM’S TRUCK + APPROACH. + + Lois and Coop STARE, FEARFUL, from the truck ... Tom + APPROACHES, BLACK from soot ... + + Murph BURSTS out of the house ... right up to Tom ... + + MURPH + Tom, he came back ... he came back + ... + + TOM + Who? + + She holds up the watch ... + + MURPH + Dad. It was him. All this time ... + it was him. He’s going to save us + ... + + CLOSE ON the second hand of the watch, FLICKING back and + forth - + + +345 INT. PROFESSOR BRAND’S OFFICE - DAY 345 + + Murph furiously TRANSCRIBES the movements of the second + hand - + + +346 INT. CORRIDOR, NASA - LATER 346 + + Murph, papers in hand, RUNS down the corridor, BUMPS into + Getty - doesn’t stop ... + + +347 INT. LAUNCH FACILITY - CONTINUOUS 347 + 149. + + + Murph runs to the railing of the catwalk above the enormous + construction, looks down at the thousands of workers below. + + Getty comes out after her, curious. She looks at him, then + SHOUTS OUT to the enormous space ... + + MURPH + EU-RE-KA! + + She turns to Getty - GRINNING. + + MURPH + Well, it’s traditional. + + She THROWS her paper out over the railing - + + MURPH + EUREKA!! + + Workers look up to see her papers flitting down ... + + +348 EXT. THE TESSERACT - DAY 348 + + Cooper looks out at the world line of the watch, of Murph, + as it leads out into infinite complexity ... + + COOPER + Did it work? + + TARS + (over radio) + I think it might have. + + COOPER + (hopeful) + Why? + + TARS + (over radio) + Because the bulk beings are closing + the tesseract ... + + Cooper looks out to the distance - it is RAPIDLY + APPROACHING, WORLD LINES BECOMING WORLD SHEETS, BECOMING + BULKS ... + + COOPER + Don’t you get it, yet, Tars? ’They’ + aren’t ’beings’ ... they’re us ... + trying to help ... just like I + tried to help Murph ... + 150. + + + TARS + (over radio) + People didn’t build this tesseract + - + + COOPER + Not yet ... but one day. Not you + and me but people, people who’ve + evolved beyond the four dimensions + we know ... + + The tesseract EXPANSION BACK INTO FIVE DIMENSIONS IS ALMOST + UPON THEM - Cooper BRACES HIMSELF - + + COOPER + What happens now -? + + BAM - he is swept up in the expansion like a tiny leaf on a + CHURNING WAVE - + + Cooper FLIES through the EXPANDING COSMOS, past PLANETS + ORBITING STARS, WHICH BECOME ATOMIC PARTICLES, WHICH BECOME + MATTER, BECOMING STARS ... + + Cooper APPROACHES A GLASSY TUBE. Inside is the OLD, + UNDAMAGED ENDURANCE. As Cooper looks in from the bulk he + sees: Brand, strapped in, Doyle opposite, traversing the + wormhole for the first time ... + + Cooper REACHES for Brand ... She sees something, reaches up + - their hands would touch if they weren’t in different + dimensions, her fingers distorting the space of his fingers + - + + WHAM! She, and the Endurance, are SWEPT PAST - Cooper is + SMASHED into the spacetime of the wormhole - he SCREAMS AND + WE - + + +349 INT. OUTER SPACE - LATER 349 + + Cooper FLOATS, dead or unconscious, near Saturn. In the + distance we see two Rangers approaching ... + + +350 INT. HOSPITAL ROOM - DAY 350 + + Cooper’s eyes flicker open. A bright room with an open + window, net curtains obscuring the view. We hear the CRACK + of a baseball off a bat. Children LAUGHING. + + VOICE + (O.S.) + 151. + + + Mr Cooper? Mr Cooper? + +Cooper looks over to see a Nurse and a Doctor watching him. + +He tries to sit up. + + DOCTOR + Take it slow, sir. Remember you’re + no spring chicken any more. + (Amused.) + I gather you’re one hundred and + twenty-four years old. + (Checks Cooper’s chart.) + You were extremely lucky. The + Rangers found you with only minutes + left in your oxygen supply - + + COOPER + Where am I? + +The Doctor, almost surprised, TURNS, moves to the window, +opens the curtains. Where Cooper should see sky, he sees a +CURVING UPSIDE-DOWN TOWN ... + + DOCTOR + Cooper Station. Currently orbiting + Saturn. + +The Nurse helps Cooper to the window. He looks out at the +VAST CYLINDRICAL STATION - cornfields and buildings. +Outside his window, kids are playing baseball. The batter +hits a POP FLY ... the kids watch it up and up, until it +carries on, falling up towards the buildings above. The +kids SHOUT a warning - the ball smashes a skylight. Cooper +watches the kids laugh. + + COOPER + Nice of you to name the place after + me. + +The Nurse giggles. The Doctor shoots her a look - + +What? + + DOCTOR + The station wasn’t named after you, + sir ... It was named after your + daughter. + +Cooper smiles at this ... + + DOCTOR + 152. + + + Although, she’s always maintained + just how important you were - + + COOPER + Is she ... + (Braces.) + still alive? + + DOCTOR + She’ll be here in a couple weeks. + She’s really far too old for a + transfer from another station, but + when she heard you’d been found ... + well, this is Murphy Cooper we’re + talking about. + + COOPER + (marveling) + Yes, it is ... + + The Doctor is wrapping up - + + DOCTOR + We’ll have you checked out in a + couple days. + + Cooper turns back to the window, thinking ... + + ADMINISTRATOR + (V.O.) + I’m sure you’ll be excited to see + what’s in store ... + + +351 INT. HANGAR, COOPER STATION - DAY 351 + + The ADMINISTRATOR, thirties, leads Cooper along a walkway - + + ADMINISTRATOR + We’ve got a nice situation for you + ... + + Cooper looks down at a line of SLEEK NEXT-GENERATION + RANGERS. Sees a PILOT climb into one. Mechanics work + another ... + + ADMINISTRATOR + I actually did a paper on you in + high school, sir. I know all about + your life on Earth ... + + +352 EXT. TOWN SQUARE, COOPER STATION - CONTINUOUS 352 + 153. + + + Cooper looks at the strangely ordinary town the + Administrator is walking him through ... + + ADMINISTRATOR + So when I made my suggestion to Ms + Cooper, I was delighted to hear + that she thought it was perfect ... + + +353 EXT. FARMHOUSE - CONTINUOUS 353 + + The Adminstrator leads Cooper through a cornfield ... The + old farmhouse is there, preserved. As Cooper approaches, a + small monitor starts playing the footage of OLD-TIMERS from + the start of the movie. + + ADMINISTRATOR + Of course, I didn’t speak to her + personally ... + + As Cooper passes the monitor it changes to a FAMILIAR OLD + LADY, but Cooper misses it ... + + +354 INT. KITCHEN, FARMHOUSE - CONTINUOUS 354 + + OLD-TIMERS play on video screens: a museum exhibit. The + Administrator holds the door open for Cooper. + + ADMINISTRATOR + But she confirmed just how much you + loved farming. + + COOPER + She did, huh? + + Cooper looks over the kitchen. Cooper sees a familiar- + looking articulated machine - + + COOPER + Is that ...? + + ADMINISTRATOR + The machine we found out near + Saturn when we found you, yes. Its + power source was shot, but we could + get you another if you want to try + and get it up and running again. + + Cooper turns to the Administrator. + + COOPER + Please. + 154. + + +355 INT. HANGAR, COOPER STATION - EVENING 355 + + Cooper, from the catwalk, watches the last of the Rangers + come back from patrol. The PILOT jumps down as the ground + crew wheels it into its place in the line of sleek ships. + + +356 INT. KITCHEN, FARMHOUSE - NIGHT 356 + + Cooper has Tars’ head laid out on the kitchen table. + + TARS + Settings: general settings, + security setting - + + COOPER + Honesty. New level setting. Ninety- + five percent. + + TARS + Confirmed. Additional + customization? + + COOPER + Yes. Humor, seventy-five percent. + Wait. + (Thinks.) + Sixty percent. + + +357 INT. HOSPITAL WAITING ROOM - DAY 357 + + Cooper enters, nervous. A nurse is there. + + COOPER + Is she -? + + NURSE + The family’s all in there. + + COOPER + The family? + + NURSE + They all came along to see her - + she’s been in cryo-sleep for almost + two years. + + +358 INT. HOSPITAL ROOM - CONTINUOUS 358 + 155. + + +Cooper cautiously pushes open the door. The bed is +surrounded by people, grown-up children, grandchildren, +babies ... They turn to look at him: some SMILES, some +CURIOUS looks, a small child HIDES behind a parent’s leg +... Cooper approaches, and the family parts to let him see +an ELDERLY WOMAN, lying in the bed, FRAIL. + +She looks up at Cooper. Delighted. Tears of joy. She +reaches up to him ... he takes her hands. + + COOPER + Murph. + + MURPH + Dad. + (To the others.) + Please. + +Her voice is a frail whisper. With authority. The family +shuffles out. Cooper watches them go, turns back to Murph. + + COOPER + You told them I like farming. + +Murph smiles, still mischievous. Cooper marvels at her. + + COOPER + Murph, it was me. I was your ghost. + + MURPH + I know ... + +She lifts her wrist - the WATCH is there ... + + MURPH + People didn’t believe me, they + thought I’d done it all myself ... + (Taps watch.) + + MURPH + But I knew who it was ... + + COOPER + A father looks in his child’s eyes + and thinks - maybe it’s them - + maybe my child will save the world. + + MURPH + 156. + + + And everyone, once a child, wants + to looks into their own dad’s eyes + and know he saw. But, usually, by + then, the father is gone. Nobody + believed me, but I knew you’d come + back. + + COOPER + How? + + MURPH + Because my dad promised me. + + Cooper is crying now. + + COOPER + I’m here now. I’m here for you, + Murph. + + Murph is shaking her head. + + MURPH + No parent should have to watch + their child die. My kids are here + for me now. Go. + + COOPER + Where? + + MURPH + (it’s so obvious) + Brand. + + And the family comes back in as Cooper releases Murph’s + hand, stepping back to let Murph’s kids and grandkids swarm + over her ... He watches them, their love, as if from + another dimension. A man out of time. A ghost. + + MURPH + (V.O.) + She’s out there ... + + +359 EXT. EDMUNDS’ DESERT PLANET - DAY 359 + + Brand, in suit and helmet, stands watching Case excavate a + pod, buried under a massive rock fall. She is crying. + + MURPH + (V.O.) + Setting up camp ... + 157. + + +360 EXT. HANGAR, COOPER STATION - NIGHT 360 + + MECHANIC finishes looking over one of the sleek new + Rangers. + + He packs his tools and heads out. + + A figure unfolds itself in the shadows - Tars. He picks his + way through the shadows, unlocks the door. Cooper DARTS in + ... + + +361 EXT. EDMUNDS’ DESERT PLANET - DAY 361 + + Brand kneels in front of a small CROSS. Edmunds’ nameplate + hangs from it. + + MURPH + ... Alone in a strange galaxy ... + + She unseals her helmet - PULLS IT OFF ... + + +362 INT. HANGAR, COOPER STATION - NIGHT 362 + + Cooper and Tars scurry down the line of sleek ships. Cooper + points - Tars starts working the hatch mechanism, while + Cooper KEEPS WATCH ... + + +363 EXT. EDMUNDS’ DESERT PLANET - DAY 363 + + Brand, helmet off, BREATHES. And breathes again. + + MURPH + (V.O.) + Maybe, right now, she’s settling in + for the long nap ... + + +364 INT. RANGER IN HANGAR, COOPER STATION - NIGHT 364 + + Cooper STRAPS into the pilot’s chair, Tars beside him. The + outer doors slide open. They look out at the inky blackness + of space ... + + +365 EXT. EDMUNDS’ DESERT PLANET - DUSK 365 + + Brand looks at the setting sun ... + + MURPH + 158. + + + (V.O.) + By the light of our new sun ... + + +366 INT. HANGAR, COOPER STATION - MORNING 366 + + The Mechanic opening up, walks along the row of ships until + - + + One is MISSING. + + +367 EXT. EDMUNDS’ DESERT PLANET - DUSK 367 + + Brand turns from the dwindling light ... + + MURPH + (V.O.) + In our new home. + + She heads down through the twilight towards camp. And we - + Fade out. + + Credits. + + End. + \ No newline at end of file diff --git a/scripts/Iron Man.txt b/scripts/Iron Man.txt new file mode 100644 index 0000000000000000000000000000000000000000..69649fa218e108b86b9ab031f91590b1c7b683fc --- /dev/null +++ b/scripts/Iron Man.txt @@ -0,0 +1,8787 @@ + 1. + + + + FADE IN: + + +1 EXT. RURAL AFGHANISTAN - DAY 1 + + FROM UP HIGH: a U.S. Military convoy worms through a barren + vista. ROCK MUSIC swells as we drift down and enter the + center Humvee. + + +2 INT. HUMMER - CONTINUOUS 2 + + Three Airmen, kids with battle-worn faces. Crammed in there + with them is a Man in an expensive suit, who looks + teleported from Beverly Hills. + + He is, of course, genius inventor and billionaire, TONY + STARK. In his hand is a drink tumbler of vodka. + + TONY + Oh, I get it. You guys aren’t + allowed to talk. Is that it? Are + you not allowed to talk? + + One Airman grins, fidgeting with his orange NY Mets watch. + + JIMMY + No. We’re allowed to talk. + + TONY + Oh. I see. So it’s personal. + + RAMIREZ + I think they’re intimidated. + + TONY + Good God, you’re a woman. + + The others try to compress laughs. + + TONY (CONT'D) + I, honestly, I couldn’t have called + that. + (after silence) + I would apologize, but isn’t that + what we’re going for here? I saw + you as a soldier first. + + JIMMY + I have a question, sir. + + TONY + 2. + + + Please. + + JIMMY + Is it true you’re twelve for twelve + with last years Maxim cover girls? + + + + TONY + Excellent question. Yes and no. + March and I had a schedule conflict + but, thankfully, the Christmas + cover was twins. Anyone else? You, + with the hand up. + + + + PRATT + It’s a little embarrassing. + + + + TONY + Join the club. + + + + PRATT + Can I take a picture with you? + + + + TONY + Are you aware that Native Americans + believe photographs steal a little + piece of your soul? + (then) + Not to worry, mine’s long gone. + Fire away. + + + +Pratt, excited, poses as another Airman snaps the photo. A +second later A MASSIVE EXPLOSION rocks them. + +Through the windshield, the Humvee ahead of them erupts in +a fireball. + +Tony is flung aside, and in the side-mirror The Humvee +behind them EXPLODES. + +Pandemonium as The Airmen are instantly in battle mode. +They scramble out, shutting Tony inside. + 3. + + + PRATT + STAY HERE! + + + + TONY’S POV - OF JIMMY: as he’s stitched by a bouncing Betty + mine. Now, running past, firing a .50 cal. machine gun is - + - + + USAF Lt. Colonel JAMES “RHODEY” RHODES. He looks in. + + RHODEY + GET DOWN, TONY. GET THE -- + + + + An EXPLOSION cuts him off. Rhodey fires through the chaos, + covering all directions, then advances into the murk. + + Another Hummer goes up in a fireball, and now -- + + Tony’s window blows in, spraying glass and shrapnel. He + scrambles for the door. + + + + +3 EXT. TONY’S HUMVEE - SECONDS LATER 3 + + Smoke. Machine gun fire. Tracers zip past. SHOUTING. + + Tony ducks, scampering along. He spots an M-16, picks it + up, but the weapon is burning hot. He drops it, moves on + when-- + + Something PINGS off a smoldering Humvee and thuds in the + dirt near him. He spins and we -- + + SNAP ZOOM TO: an RPG, revealing its pedigree, “USM 11676 - + STARK MUNITIONS.” + + Just as we suspect it’s a dud, it DETONATES and throws Tony + back, shredding his suit and revealing his body armor + underneath. Over the chatter of SMALL ARMS FIRE we -- + + FADE TO WHITE: + + + + +4 INT. INSURGENT CAVE - AFGHANISTAN - DAY 4 + 4. + + + Tony snaps awake. He’s tied to a chair, bloody rags + covering his chest. Two Insurgents flank a DV camera. + + Behind Tony a line of armed hooded men and a banner showing + ten interlocked rings. The Leader, a huge Choori knife in + one hand, reads rhetoric (in Dari) for the camera. + + PUSH IN ON - THE DV CAMERA VIEWFINDER: until the image of a + desperate Tony breaks up into pixel chaos. + + CUT TO: + + + + +5 CREDITS OVER A FULL SCREEN FILM REEL 5 + + The attack on Pearl Harbor. FDR gives an impassioned + speech. + + NARRATOR (RHODEY’S VOICE) + December 7, 1941: the day the world + changed forever. + President Roosevelt declares the + United States will build fifty + thousand planes to fight the armies + of Hirohito and Hitler-- + + + + S.S. Officers goose-step through Paris. + + NARRATOR + Although no such capacity to build + existed -- + + + + 1940s L.A., an unassuming hangar reads: “STARK INDUSTRIES.” + + NARRATOR + Howard Stark, founder of the + fledgling Stark Industries, answers + his call to duty -- + + + + A Young Howard Stark shakes FDR’s hand. + + NARRATOR + And builds not fifty, but a hundred + thousand planes. + 5. + + + + +An airfield covered in B-29s. Stark bombers in flight, +strewing bombs and paratroopers across the sky. + + NARRATOR + Later, Stark’s work on the + Manhattan project makes the end of + the war possible. + + + +A mushroom cloud in the New Mexico desert. Howard Stark +observes with Oppenheimer. + + NARRATOR + Stark Industries would go on to + contribute to every major weapons + system through the Cold War -- + + + +Korean War, B-52s, ICBMS, nuclear subs, F-16s launching +from carriers. Howard Stark with Kennedy, Johnson, Nixon. + + NARRATOR + But Howard Stark’s greatest + achievement would come in 1973-- + + + +President Ford, holding baby Tony, posing with Howard. Four +year-old Tony building a massive building-block city. +Howard and twelve year-old Tony assembling a hot-rod +engine. + + NARRATOR + From early on, it was clear that + Tony Stark had a unique gift-- + + + +Tony working on TURBINE ENGINES in a hangar full of F-18s. + + NARRATOR + At seventeen he graduated summa cum + laude from MIT. Four years later, + tragedy would pass the Stark mantle + from father to son-- + + + +Howard’s funeral. Tony with Reagan, Bush Sr. and Clinton. + 6. + + + NARRATOR + The loss of a titan. But Tony did + not let personal grief distract him + from his duty -- + + + +Tony cuts the ribbon on a brand new ARK REACTOR at Stark +Industries West Coast HQ. + + NARRATOR + At twenty-one, he became the + youngest-ever CEO of a Fortune 500 + company. And with it came a new + mandate -- + + + +A laser-guided bomb hits its target. + + NARRATOR + Smarter weapons, fewer casualties. + A dedication to preserving life. + + + +A visual crescendo of America’s modern military might. + + NARRATOR + Today Tony Stark’s ingenuity + continues to protect freedom and + American interest around the globe. + + + +A waving American flag superimposed with an Annie Liebowitz +portrait of Tony. And as it fades out, APPLAUSE, then a +light shines on a podium, revealing Lt. Colonel Rhodes. + + RHODEY + As Program Manager and Liaison to + Stark Industries, I’ve had the + honor of serving with a real + patriot, a man whose life has been + dedicated to protecting our troops + on the front lines. He’s a friend. + And a great mentor. A man who has + always been there for his friends + and his country. Ladies and + gentlemen, this year’s ARES Award + winner -- Mr. Tony Stark. + 7. + + + THUNDEROUS APPLAUSE. A spotlight fixes on Tony Stark or + rather his empty chair. Applause wanes, lights fade up -- + + + + +6 INT. BALLROOM - CAESAR’S PALACE - LAS VEGAS - NIGHT 6 + + Military brass, politicians, movers and shakers. Heads + swivel and MURMUR, where’s Tony? + + OBADIAH STANE (50s), CFO of Stark Industries, regards the + empty chair. He makes his way to the podium. Awkward. + + OBADIAH + Thank you-- I, uhhh, I’m not Tony + Stark, but if I were Tony, I’d tell + you how honored I am and-- what a + joy it is to receive this award. + (then) + The best thing about Tony is + also the worst thing, he’s always + working. + + + + SMASH CUT TO: + + + + +7 INT. CASINO - CAESARS PALACE - NIGHT 7 + + Tony plays craps, a crowd erupting as they all win big. + Chips pile up. Tony’s flanked on both sides by lucky + ladies. + + In between rolls, he whispers into one Woman’s ear -- + + TONY + --you think we’re having a ‘moment’ + here, but this is actually the + logical conclusion of several + mathematical truisms. Your + hypothalamus is flooding your + system with a chain of proteins + called peptides, so that every cell + in your body is opening itself up + to the happy chemical: oxytocin. + 8. + + + WOMAN + (seriously turned on) + That’s-- wow-- + + + + TONY + Hold on a second -- + + + +He rolls again. The table is hot. More cheers. + + TONY + -- so now your limbic system is + positively throbbing. A Kirlian + photograph of us right now, + occupying this space, would show + serious subatomic particles being + exchanged between us, with a + rapidity that transcends-- + (then) + Are you getting this? You will be + quizzed -- + + + +And now he sees Rhodey pulling up, glowering. + + TONY + My God, what are you, they roped + you into this thing too? + + + + RHODEY + Yeah. They said you’d be deeply + honored if I presented. + + + + TONY + Okay, let’s do it. + + + +Rhodey plops the ARES statue down on the felt. + + TONY + That was quick. Thought there’d be + more of, you know, a ceremony. + Maybe a highlight reel -- + 9. + + + + +Tony shakes karma into the dice, rolls again. He craps out. +Groans from the table, everyone staring at Rhodey the +“cooler”. + + TONY + (to the Boxman) + Colore me up. + (turns others) + + My chaperone has just arrived with + my -- + (holding the ARES) + -- Degenerate of the Year Award. + Judging from his look, I may have + just peed in the kiddie pool. + + + +The Boxman racks up Tony’s chips. + + TONY + I must now take my ease, along with + the House’s funds. + + + +He’s handed racks of chips, then tips the table Operators +and heads off with Rhodey. Two hotel Security Guards fall +in behind. As they meander past tables -- + +People gawk, snap photos of Tony with their phones. + + RHODEY + A lot of people would kill to have + their name on that award. + + + + TONY + It belongs to my old man. They + should have given it to him. + + + + RHODEY + What’s wrong with you? A thousand + people came here tonight to honor + you, and you leave them with egg on + their face. This award means + something, Tony, it’s bigger than + you -- + 10. + + + + + TONY + Hold that thought a sec. + + + +He’s stopped in front of a roulette wheel. Puts all his +chips down on, nods to wheel operator. + + TONY + Put it all on black. Don’t worry -- + it’s approved. + + + +The Wheel Operator spins. + +CLOSE ON - ROULETTE WHEEL: the ball finally settling on +red. + +The Dealer scoops away Tony’s chips. + + RHODEY + --you just blew three million. + + + + TONY + Yeah. Don’t know what was more + exciting -- winning it-- or the + fact that I don’t care I just lost + it. + + + + RHODEY + Everything’s funny to you. + + + + TONY + No. You’re not funny. + + + + RHODEY + We’ve got a hell of a day tomorrow. + Can we get out of here now? + 11. + + + TONY + One more stop. + + + + CUT TO: + + + + +B8 INT. BATHROOMS - CAESARS PALACE - NIGHT B8 + + An empty palatial bathroom. Tony’s in the stall on his + throne. Rhodey splashes his face by the mirrors. + + TONY + (IN STALL) + Of course I respect your opinion. + + + + RHODEY + This is no joke. You’re going into + a hot zone. We should be doing this + test here in Nevada. + + + + TONY + (IN STALL) + This system has to be demonstrated + in true field conditions. + + + + The Bathroom door swings open and VIRGINIA “PEPPER” POTTS + enters, Tony’s sexy and very capable assistant. + + PEPPER + Tony, it’s the President. Wants to + congratulate you personally. Heads + up. + + + + She tosses the cellphone over the top of the stall. All + very routine. Rhodey listens to Tony talk, shaking his + head. + + TONY + ((IN STALL)) + 12. + + + Jim, how’re the trout running? + Yeah, sitting on top of the world + here. Working on my masterpiece -- + + + + A MINUTE LATER + + Tony washes up. As they leave, Rhodey drops money in the + absent Attendant’s tip basket. Tony adds the ARES statue to + the basket and follows Rhodey out. + + + + +9 INT. CASINO FLOOR - CAESAR’S PALACE - CONTINUOUS - NIGHT 9 + + Hotel Guards have patrons cordoned outside the bathroom. We + PICK UP Tony and Pepper in mid walk-and-talk. + + PEPPER + You’re leaving the country for a + week. I need five minutes -- + + + + TONY + Okay -- shoot. + + + + +10 EXT. CAESAR’S PALACE - NIGHT 10 + + Tony heads for his waiting limo, the entourage hanging + back. + + PEPPER + (checking her tablet PC) + The Board meeting is on the + eleventh. Should I tell them to + expect an appearance--? + + + + WOMAN’S VOICE (O.S.) + Mr. Stark! + + + + Tony turns, spots CHRISTINE EVERHART, a hot young Reporter + holding a recorder. Security keeps her at bay. + 13. + + + CHRISTINE + Christine Everhart, Vanity Fair + Magazine. Can I ask you a few + questions? + + + + TONY + Can I ask a few back? + + + +She gives him a disarming smile. Tony waves at Security to +let her through. Pepper shakes her head, then takes a call. + + CHRISTINE + You’ve been described as a Da Vinci + for our times. What do you say to + that? + + + + TONY + Ridiculous. I don’t paint. + + + + CHRISTINE + And what do you say to your other + nickname: “The Merchant of Death?” + + + + TONY + That’s not bad -- + + + +Her gaze is suddenly cold. + + TONY + Let me guess. Berkeley? + + + + CHRISTINE + Brown. + + + + TONY + 14. + + +Well Miss Brown, it’s an imperfect +world and I assure you, the day +weapons are no longer needed to +keep the peace, I’ll start +manufacturing bricks and beams to +make baby hospitals. + + + + CHRISTINE +Rehearse that much, Mr. Stark? + + + + TONY +Every night in front of the mirror. +Call me Tony. + + + + CHRISTINE +I’m sorry, “Tony”, I was hoping for +a serious answer. + + + + TONY +Here’s serious: my old man had a +philosophy: peace means having a +bigger stick than the other guy. + + + + CHRISTINE +Good line, coming from the guy +selling the sticks. + + + + TONY +My father helped defeat Hitler. He +was on the Manhattan Project. A lot +of people including your professors +at Brown might call that being a +hero. + + + + CHRISTINE +Others might call it war- +profiteering. + 15. + + + Tony has to smile, this gal is relentless. + + TONY + Tell me: do you plan to report on + the millions we’ve saved by + advancing medical technology? Or + kept from starving with our inteli- + crops? All were breakthroughs + spawned from, that’s right, + military funding. + + + + CHRISTINE + Wow. You ever lose an hour of sleep + your whole life? + + + + He regards her in earnest, then off her drop-dead look we - + - + + SMASH CUT TO: + + + + +11 INT. TONY’S BEDROOM - STARK ESTATE - NIGHT 11 + + Christine and Tony, half naked, crashing about. She’s the + one attacking. They flop out of frame. + + + + +12 INT. TONY’S BEDROOM - MORNING 12 + + A clock changing from “5:59AM” to 6:00”. Christine awakens + alone, as the room begins to transform. + + Darkened windows turn translucent, admitting light. + + She rises, startled by the TV flickering alive as she + passes it. She looks out the window -- hell of a view. + + REVERSE ANGLE - OUTSIDE WINDOW. + + As we PULL AWAY and establish Tony’s estate, perched + impossibly on the cliffs above the Pacific. + + BACK TO: + 16. + + + + +13 INT. TONY’S BEDROOM - SAME TIME 13 + + Christine pads over to the closet, tries to open it. + + JARVIS (O.S.) + I’m sorry, Miss Everhart, you are + not authorized to access that area. + + + + She jumps, freaked out, grabs for Tony’s shirt on the floor + and covers herself. Just then Pepper enters, holding dry- + cleaned clothes in plastic. + + PEPPER + (re: the voice) + Don’t worry, that’s Jarvis -- he + runs the house. Jarvis: de- + activate security. + + + + Pepper eyes Tony’s oversized shirt on Christine. + + PEPPER + Here, your clothes cleaned and + pressed. Anything else I can get + you? + + + + CHRISTINE + Look, Tony wanted me to stay for + breakfast, but I’ve got to get a + jump on the day. Call me a cab, + would you? + + + + PEPPER + Cab’s waiting outside. + + + + A beat, then -- + + CHRISTINE + And a coffee, hon. Black. One + Splenda. + 17. + + + + + PEPPER + (smiling sweetly) + Should I tell Mr. Stark you were + satisfied with the interview? + + + + +14 INT. TONY’S WORKSHOP - MORNING 14 + + It’s like the chaos inside Tony’s head, ultra-modern drones + and missile parts, sports cars and long-abandoned + prototypes. + + Framed photos of Tony and his Dad working on a classic ‘32 + Ford. MUSIC drifts from an old Wurlitzer. + + We drift past: screens containing various CAD images of a + flathead engine, and finally we find -- + + Tony, in suit-slacks and an undershirt, grimy from working + on the same ‘32 Ford as in the photo. Pepper enters holding + her PDA. + + PEPPER + You still owe me five minutes-- + + + + TONY + Five? I’ll need a bit longer than + that -- + + + + PEPPER + Focus. I need to leave on time + today. + + + + TONY + You’re rushing me. What, you have + plans tonight? + + + + PEPPER + The MIT commencement. Yes or no? + 18. + + + + + TONY + Maybe. Tell me your plans. + + + + PEPPER + I’ll tell them ‘yes’. You want to + buy the Jackson Pollock? He’s got + another buyer in the wings -- + + + + TONY + What’s it look like? + + + + TONY + It’s a minor work in his later + Spring Period, it’s ludicrously + over-priced-- + + + + TONY + Buy it. + + + +She’s interrupted by her phone and taps her bluetooth +headset. Listens. + + PEPPER + He left an hour ago. Okay. (hangs + up) It’s Rhodey again. + + + + TONY + You have plans, don’t you --? + + + + PEPPER + I’m allowed to have plans on my + birthday. + + + + TONY + 19. + + + It’s your birthday again? + + + + PEPPER + Yep. Funny, same day as last year. + + + + TONY + Well, get yourself something from + me. Something nice. + + + + PEPPER + Already did. + + + + TONY + And? + + + + PEPPER + It was very tasteful, very elegant. + Thank you, Mr. Stark. + + + + TONY + You’re welcome, Miss Potts. + + + + +15 EXT. STARK AVIATION HANGAR - SANTA MONICA AIRPORT - DAY 15 + + Rhodey, in uniform, paces talking on a cellphone. Behind + him a parked Boeing Business Jet reading: STARK + INTERNATIONAL, “TOMORROW TODAY.” A GROWING RUMBLE and + Rhodey turns to see a Saleen S7 roaring up, stopping short + of him. + + Seconds later a Rolls limo arrives. Tony’s chauffeur HOGAN + pops the trunk and takes out: a single overnight suitcase. + + The Saleen’s scissor-doors open, Tony jumps out. + + He heads for the Boeing, right past Rhodey. + 20. + + + TONY + Sorry, pal, car trouble. + + + + +16 INT. TONY’S PLANE - PARKED - DAY 16 + + Rhodey, steaming, settles into his seat. + + RHODEY + I was standing out there three + hours, what the hell --? + + + + TONY + I had car trouble. + + + + A hot Flight Attendant holds out steamy towels with thongs. + + TONY + Thanks, maybe later. + + + + Rhodey grabs a towel. The WHINE of ENGINES build. + + + + +17 INT. TONY’S PLANE - FLYING - DAY 17 + + A Flight Attendant stops by their seats. + + ATTENDANT + Would you like a drink, Mr. Stark? + + + + TONY + Two fingers of Laphroig. + (to Rhodey) + You want one? + + + + RHODEY + We’re working. + 21. + + + + + TONY + You should have a drink. We’ve got + a twelve hour flight ahead of us. + + + + RHODEY + It’s two in the afternoon. + + + + TONY + It’s two in the morning where we’re + going. C’mon, ten hours “bottle to + throttle --” + + + + RHODEY + Don’t start with me. + + + + TONY + Jeez, we’re not getting hammered. + Just a nightcap. We’ll sleep + better, arrive fresh. It’s the + responsible thing to do. + I don’t know about you, but I want + to sell some weapons. + + + + Off Rhodey’s stoic look, we -- + + SMASH CUT TO: + + + + +18 INT. TONY’S PLANE - FLYING - NIGHT 18 + + MUSIC blares. Tony and Rhodey sip drinks, comfortably numb + and oblivious to the flight attendants dancing next to + them. + + RHODEY + (a few drinks in) + 22. + + +You don’t get it. I don’t work for +the military because they paid for +my education, or my father’s +education. Don’t cheapen it like +that. + + + + TONY +All I said was, with your smarts, +your engineering background, you +could write your own ticket in the +private sector -- on top of which, +you wouldn’t have to wear that +‘straight-jacket’. + + + + RHODEY +‘Straight-jacket’? This uniform +means something. A chance to make a +difference. You don’t respect that, +because you don’t understand. + + + + TONY + (motions with a nod) +See that one? Her I understand. +Croatian. Hot-blooded, I’m serious. +Must be those winters in Zagreb -- + + + + RHODEY +You’re not listening to a word I’m +saying. + + + + TONY +I am listening. I’m changing the +subject. It’s the same litany, +every time you’ve had a thimble of +alcohol. Drink One: reflections on +the New American Century and +related topics -- + + + + RHODEY +Something’s seriously wrong with +you, man. + 23. + + + + + TONY + Drink 2: a history of World War II + and the Tuskeegee Flyers. Drink 3-- + + + + RHODEY + You know, hell with you. I’m not + talking to you anymore. + + + + He undoes his seatbelt, rises, looking for somewhere else + to sit. + + TONY + Go hang with the pilot. You’ll get + along, he’s got a personality just + like yours. + + + + RHODEY + I will. + + + + Rhodey heads to the cockpit and opens the door. + + RHODEY’S POV - THE COCKPIT + + Two empty pilot chairs, a fully-automated flight system. + + As Rhodey returns to his seat. + + RHODEY + That’s funny. + + + + TONY + You could tell? + + + + +19 EXT. BAGRAM AFB - AFGHANISTAN - DAY 19 + + Tony exits the plane, fresh, fired up to greet the waiting + brass. He shakes hands. Then -- + 24. + + + Rhodey appears dressed in ABUs. He’s weary, squinting at + the stinging sun. Pulls his sunglasses down over bleary + eyes. + + Three JERICHO MISSILES on a ‘flatbed’ (which have been + unloaded from a military jet in the b.g.) are brought under + heavy guard to a waiting convoy. + + The CHATTER of MACHINE GUN fire and we -- + + CUT TO: + + + + +20 EXT. DESERT TEST SITE - AFGHANISTAN - DAY 20 + + Tony firing a N.R.F. 425 MACHINE GUN. + + Generals sit on folding chairs behind a safe-zone of Hescos + and sand-bags. Afghani soldiers and SF (Air Force security) + men patrol the perimeter. + + Tony puts the N.R.F. 425 gun down next to other weapons. He + struts before the Generals like a carnival barker. + + TONY + The age old question: is it better + to be feared or respected? I say, + is it too much to ask for both? + + + + He nods at the Jericho Missile, on a mobile launcher. + + TONY + With that in mind, I humbly present + the crown jewel of Stark Industries + Freedom Line. It’s the first + missile system to incorporate my + proprietary Repulsor Technology. + They say the best weapon is one you + never have to fire. I prefer the + one you only have to fire once... + + + + The Jericho ROARS into the sky from a mobile launcher. + + TONY + That’s how dad did it, it’s how + America does it, and so far its + worked out pretty well. + 25. + + + Find an excuse to fire off one of + these and I personally guarantee + the enemy is not gonna want to + leave their caves. + + + + FLASH TO: the Jericho, as it divides from a single missile, + into scores of mini-missiles. + + ANGLE - ON TONY + + A row of majestic peaks behind him. He raises his arms. + + TONY + For your consideration, the + Jericho-- + + + + The mountains behind his outstretched hands explode. + + The shock-wave washes over Tony, blanking him with dust. + + REVERSE ANGLE + + As the shock-wave erases the observing Generals with dust. + + TONY + Now there’s one last creation I + haven’t shown anyone yet. You might + be interested-- + + + + He opens a large silver case. Ice-smoke curls out, then -- + + A bottle appears. Drink glasses. As Tony pours the Generals + and Afghani military officials exchange awkward glances. + + TONY + (raises his glass) + To peace, gentlemen and with every + five hundred million, I’ll throw in + a free one of these. + + + + +21 EXT. DESERT TEST SITE - DAY 21 + + The Generals board their Humvees and depart to the East. + 26. + + +Tony and Rhodey walk to their convoy of waiting Humvees, +pointing West. Tony gets Obadiah Stane on his video-phone. + + TONY + Hey, what are you doing up? + + + + OBADIAH + Sleeping. How did it go? + + + + TONY + I think we got an early Christmas + coming. + + + + OBADIAH + Sounds good. + + + + TONY + Hey, why aren’t you wearing the PJs + I got you? + + + + OBADIAH + I don’t do monograms. I’m hanging + up now, bye-bye. + + + +Stane hangs up. + + TONY + All right, who wants to ride with + me? Jimmy? + + + + JIMMY + (psyched) + Me? + + + +Jazzed, Jimmy and the others jump into the lead Humvee. As +Rhodey approaches -- + 27. + + + TONY + Sorry, Rhodey, no room for my + conscience in here. Or that hang- + dog look. + (raising his glass) + See you back at base. + + + + Rhodey shakes his head, and heads for a different Humvee. + + ROCK MUSIC is cranked up on a boom-box. And as Tony’s door + slams shut. + + SMASH CUT TO: + + + + +22 INT. CRUDE OPERATING ROOM - CAVE - AFGHANISTAN - NIGHT 22 + + Nightmarish. GARBLED VOICES. Stabbing lights. Tony thrashes + against a restraining belt. + + Impressionistic glimpses: a red scalpel. Blood-spattered + hands. Tony’s heaving chest. A boilerplate. + + TONY’S POV: YINSEN (60s), looks down on us, performing the + “operation”. He yells to someone in Arabic, and -- + + Tony is held down, a chloroform rag is pressed to his face. + + + + +23 INT. LAB - CAVE - DAY 23 + + Tony flickers awake, disoriented. A tube protrudes from his + nose. He sees -- + + Yinsen, humming a tune as he shaves by a broken mirror. But + more importantly right now -- + + There is a jug of water on the table. + + Tony tries to speak, can’t. It’s the damn nasal tube. He + pulls at it, gagging as two of feet of tubing slithers from + his nose. + + TONY + (hoarse whisper) + --water-- water. + 28. + + + + + Yinsen keeps humming. Tony yanks the IV from his arm and + stretches for the water, but is stopped by a wire, under + his chest bandages, snapping taut. + + YINSEN + I wouldn’t do that if I were you. + + + + Tony follows the wire with his eyes and finds, to his + horror, that it’s hooked up to a car battery. + + He starts clawing at his chest bandages. Yinsen turns. + + Tony sees his ugly chest wound. It’s too much. He swoons. + + + + +24 INT. LAB - CAVE - HOURS LATER - DAY 24 + + Yinsen stirs a bubbling pot on the furnace. He flicks + glances at Tony, waking up on the cot. + + Tony eyes the bulky chest-piece protruding from his fresh + bandages. + + TONY + What have you done to me? + + + + YINSEN + What did I do? I removed what I + could, but there’s a lot left + headed for you atrial septum. Do + you want a souvenir? + + + + He tosses Tony a jar with scores of bloody Christmas tree- + like barbs. Tony regards the ‘shrapnel’ he owns the patent + to, and lets the jar drop. + + YINSEN + 29. + + + I’ve seen many wounds like this in + my village. The walking dead we + called them, because it took a week + for the barbs to reach vital + organs. I anchored a magnetic + suspension system to the plate. + It’s holding the shrapnel in place + at least for now. + + + +Tony struggles up, sits on the cot and notices something -- + +TONY’S POV: a surveillance camera on the cave wall. + + YINSEN + That’s right, smile. (then) We met + once -- at a technical conference + in Bern. + + + + TONY + I don’t remember. + + + + YINSEN + You wouldn’t. If I’d been that + drunk, I wouldn’t have been able to + stand, much less give a talk on + integrated circuits. + + + + TONY + Where are we --? + + + +The door-slat flies opens and a pair of dark eyes stare in. +Yinsen drops his spoon, puts his hands on his head. + + YINSEN + Stand up! Do as I do. Now! + + + +Tony gets to his feet, can’t gets his hands up. Yinsen +helps him. + + YINSEN + 30. + + + Listen to me, whatever they ask + you, refuse. You understand? You + must refuse. + + + +The door opens and ABU BAKAR enters with two armed Henchmen +(Ahmed and Omar). On Ahmed’s wrist, Tony notices -- + +Jimmy’s bright orange METS watch (from the convoy earlier). + + ABU + (in Arabic) + Welcome Tony Stark, the greatest + mass murderer in the history of + America. It’s a great honor. + + + + YINSEN + (translating for Abu) + He says welcome Tony Stark, the + greatest mass murderer in the + history of America. He is very + honored. + + + +Abu looks Tony up and down like a prize horse, then -- + + ABU + (in Arabic) + I want you to build this for me -- + the Jericho missile you were + demonstrating. + + + +Abu holds out a photo: a surveillance image of the Jericho +Missile launch. + + YINSEN + (translation) + You will build for him Jericho + missile you were demonstrating. + + + + TONY + --I refuse. + 31. + + + Yinsen backhands Tony across the face, goes ballistic -- + + YINSEN + You refuse? You will do everything + he says. This is the great Abu + Bakar. You’re alive only because of + his generosity. You are nothing. + NOTHING. He offers you his + hospitality, and you answer only + with insolence He will not be + refused. You will die in a pool of + your own blood. + + Abu, spooning down Yinsen’s food, throws a look of smug + satisfaction. He heads out. The door slams shut. + + YINSEN + Perfect. You did very well, Stark. + + + + Tony is utterly perplexed. + + YINSEN + Good, I think they’re starting to + trust me. + + + + Yinsen returns to cooking. + + YINSEN + Well, that’s the end of my plan. + + + + +25 INT. LAB - CAVE - DAY 25 + + Tony is jostled awake by Abu’s Henchmen, wrestling a hood + over his head. He struggles as he’s pulled to his feet. + + + + +26 INT. TUNNEL - CAVE - DAY 26 + + TONY’S POV - THROUGH HOOD: approaching the tunnel opening. + 32. + + +27 EXT. CAVE COMPLEX - MINUTES LATER - DAY 27 + + CLOSE ON - TONY: the hood is yanked off his head. He + squints into the stinging daylight, his expression turning + to shock. + + In a bowl of tall mountains, camouflaged tarps are furled, + revealing skids upon skids of Stark Industries weapons + dating back to 80s Afghanistan. + + VARIOUS SHOTS - OF CRATES: the STARK INTERNATIONAL + MUNITIONS logos. Some faded, some new. + + Tony, stunned, staggers along the crates. Yinsen follows. + + YINSEN + Quite a collection, isn’t it? + + + + TONY + How did they get all this? + + + + ABU YINSEN + (in Arabic) + (translation) + As you see, we have As you can see, + they have everything you need to + build everything you need to build + the Jericho. You will make a the + Jericho. He says make a list of + materials and start list of + materials. You will work right + away. When we are start work right + away and done we will set you free. + When you are done he will set you + free. + + + + Tony sees a heavily armed and imposing man surrounded by + several men, who act as pilot fish around him. This is + Warlord RAZA, a man you don’t mess with. + + TONY + No he won’t + + + + YINSEN + --no he won’t. + 33. + + + + +28 EXT. AMBUSH SITE - AFGHANISTAN - DAYS LATER - DAY 28 + + Cold charred wreckage. Rhodey, GENERAL GABRIEL (50s) and a + team of SF men assess the remains of Tony’s convoy. + + RHODEY + Something’s not right. + + + + GABRIEL + Looks like a standard hit and run. + + + + RHODEY + Sir, I’m telling you, this was a + snatch and grab. A perfectly + executed linear ambush. As soon as + they got what they wanted, they + melted away. + + + + GABRIEL + Intel’s on it, we’re in good hands. + If he’s out there, we’ll get him. + + + + It hangs there, then -- + + RHODEY + With your permission I’d like to + stay in theater and head up the + search and investigation. + + + + GABRIEL + There’s a PR firestorm brewing over + this. Right now the best way to + serve your country is to get back + there and handle it. + + + + RHODEY + 34. + + + Tony Stark is the DOD’s number one + intellectual asset, and I can be of + value in the field. + + + + GABRIEL + Duly noted, but we need you back + home. + (walks away, then) + Colonel, it’s not lost on me that + Stark is a lifelong friend. + + + + Rhodey nods and heads for his Humvee as things are packed + up. + + + + +29 INT. LAB - CAVE - DAYS LATER - DAY 29 + + Dark. Tony sits in a wheelbarrow by the furnace, wrapped in + an Army surplus blanket. Yinsen looms over him. + + YINSEN + I’m sure they’re looking for you, + Stark, but they will never find you + here. + (then) + That car battery is running out and + they won’t turn on the generator + till you start to work. + + + + Silence. + + YINSEN + You don’t like what you saw out + there, did you? I didn’t like it + either when those weapons destroyed + my village. + (beat) + What you just saw, that’s your + legacy -- your life’s work in the + hands of these murderers. Is that + how you want to go out? Is this the + last act of defiance of the great + Tony Stark? Or are you going to try + to do something about it? + 35. + + + + + TONY + Why should I do anything, they’re + either going to kill me or I’m + going to die in a week. + + + + YINSEN + Then this is a very important week + for you. + + + + +30 INT. LAB - CAVE - DAY 30 + + The lights come on as the generator is started. Abu is + flanked by Ahmed and several Guards. He watches as Omar + refuels the generator, then walks the gas can to a ‘cage’, + housing a fuel drum, and locks that down too. + + TONY + Okay, here’s what I need. + + + + Tony paces, barking what he needs done while more of Abu’s + Guards carry in missiles and materials. Yinsen follows, + translating as Tony assesses his work area. + + TONY - YINSEN + (in Arabic) + S-Category missiles. Lot 7043. The + S-30 explosive S-Category missiles. + Lot tritonal. And a dozen of the + 7043. The S-30 explosive S-76. + Mortars: M-Category tritonal. And a + dozen of the Abu’s men dart + about.This area free of clutter, + 36. + + + with good light. I want it-- this + area free of clutter, at 12 o’clock + to the door to with good light. He + wants it avoid logjams. I need at + 12 o’clock to the door to welding + gear -- acetelyene or avoid + logjams. He needs propane, helmets, + a soldering welding gear -- + acetylene or set-up with goggles, + and propane, helmets, a soldering + smelting cups. Two full sets set-up + with goggles, and of precision + tools. smelting cups. Two full sets + of precision tools. + +Abu getting exasperated by the never-ending list. + + TONY - YINSEN + Finally, I want: three pairs + Finally, he needs: three of tube + socks, white, a pairs of tube + socks, white, a toothbrush, protein + powder, toothbrush, protein powder, + spices, sugar, five pounds of + spices, sugar, five pounds of tea, + cards, + (thinks, then) + tea, and some playing cards. And a + washing machine. + (pauses) + + + + + And a washing load. machine. Top + load. + + + +Abu’s eye bulge. He gets in Tony’s face. + + ABU + (in Arabic) + A WASHING MACHINE? DOES HE THINK + I’M A FOOL? + + + + TONY + (to Abu) + Must have everything. Great Satan + make big boom-kill for powerful Abu + Bakar. Big boom-kill. + 37. + + + + +31 INT. LAB - CAVE - NEXT DAY - DAY 31 + + Tony pulls open a missile-housing and removes a glass ring + from the inner workings of its guts. Then -- + + He leads Yinsen up to a large missile crate. They remove + the chip-rack cylinder from a larger warhead. + + YINSEN + You do know they’ve removed all the + explosives before they brought this + to us. + + + + TONY + I know, they’re crazy not stupid. + + + + Tony walks the heavy chip-rack to the work-bench and + removes a tiny palladium strip. + + TONY + This is what we’re looking for. I + need eleven of these. + + + + YINSEN + Eleven? + + + + +E32 INT. LAB - CAVE - LATER - DAY E32 + + SHOT OF: Yinsen removes chip-rack cylinders, bringing them + to Tony. Tony extracts palladium strips. + + TONY + Heat the palladium to 1825 Kelvin. + + + + YINSEN + (at furnace) + How will I know when it reaches + that temperature? + 38. + + + + + TONY + The palladium will melt. + + + +LATER: + +INSERT OF: Tony wraps a copper coil around the glass ring. + +INSERT OF: Tony drops palladium strips into a crucible on +the fire. + +INSERT OF: Tony sculpts a sand-mold for the palladium ring. + +LATER: + +SHOT OF: Yinsen bringing the crucible of melted palladium +to Tony. + + TONY + Careful, careful-- + + + + YINSEN + Relax. I always had steady hands. + It’s why you’re still alive. + + + + TONY + Oh yeah, thanks. What do I call + you? + + + + YINSEN + My name is Yinsen. + + + + TONY + Nice to meet you. + + + + YINSEN + Nice to meet you too. + 39. + + + LATER: + + SHOT OF: Tony lifts the palladium ring out of the mold with + a tweezer. + + YINSEN + What are you building? + + + + TONY + A better mousetrap. + + + + +33 INT. LAB - CAVE - DAY 33 + + Tony plugs a cable into the generator. + + TONY + What are you shaving for? We’re + almost done. + + + + YINSEN + (taking his time shaving) + Look like an animal, and soon + you’ll start behaving like one. + + + + Tony throws a generator switch. The lights go up and down. + + INSERT SHOT OF: the finished RT device, wired to the + generator cable, beginning to glow on the workbench. + + Yinsen wipes his face, and trails Tony to the workbench. He + undoes the wires, holding up the glowing RT device. + + YINSEN + That doesn’t look like a Jericho + missile. + + + + TONY + That’s because it’s a miniature ARK + reactor. It should suspend the + shrapnel in my chest and keep it + from entering my heart. + 40. + + + + + YINSEN + What an original invention. + + + + TONY + Yeah, but this one is going to last + a bit longer than a week. + + + + YINSEN + It’s pretty small, what can it + generate? + + + + TONY + Three gigajoules -- per second. + + + + Yinsen marvels. + + YINSEN + That could run your heart for fifty + lifetimes. + + + + TONY + Or something very big for fifteen + minutes. + + + + Their eyes meet a moment, then -- + + TONY + Let’s put it in. + + + + +34 INT. RAZA’S CONTROL ROOM - CAVE - HOURS LATER - DAY 34 + + PUSH IN - MONITOR: Tony lying on a workbench, Yinsen + craning over him. + 41. + + + PUSH IN - ON: Raza, watching as he spoons peanut-butter + from a military airdrop care-package. + + + + +35 INT. TONY’S OFFICE - STARK INTERNATIONAL - DAY 35 + + Pepper enters and is surprised to see Obadiah sitting + behind Tony’s desk, head in his hands. + + OBADIAH + Sorry, did I startle you? + + + + PEPPER + A little-- + + + + He watches as Pepper swaps yesterday’s unread L.A. Times + and Wall Street Journal with today’s. Her little vigil. + + Stane rises, gazes out the windows at the vast Stark + compound. Pepper comes up behind him. + + OBADIAH + This was a bad idea, I should never + have let him go over there-- + + + + He starts to break down. She touches his shoulder. + + PEPPER + Hey, hey-- we’ve got to be strong, + he’s going to be okay. + + + + He composes himself, nods. + + CUT TO: + + + + +36 INT. LAB - CAVE - WEEKS LATER - DAY 36 + + CLOSE ON - TONY’S OLD CAR BATTERY: we follow the wires and + end on the bloody chest plate, no longer in Tony’s chest. + 42. + + +INSERT - TRACKING SHOT: of new set dressing, revealing that +time has passed and ‘missile’ components have progressed +(we see jig). + +We find Tony, bearded and filthy now, cutting metal flat- +stock with a torch. His shirt is cracked open, revealing +the glowing RT device in his chest. He snuffs the torch, +looks over his shoulder at -- + +Yinsen concentrating on building a backgammon board. + +Tony secretly begins filling a cylinder with gas from the +torch. + + YINSEN + (flicks a glance at Tony) + Stark, tell me what you’re doing, + and I’ll tell you what I’m doing. + + + + TONY + Looks to me like you’re making a + crappy backgammon board. + + + + YINSEN + Crappy? This is Lebanese cedar. + + + + TONY + Is that where you’re from, Lebanon? + + + + YINSEN + I’m impressed you even know what + this is. + (then) + How about we play, and if I win, + you tell me what you’re really + making. + + + + TONY + “A” I don’t know what your talking + about. “B” I was the backgammon + champ at MIT four years running. + 43. + + + YINSEN + Interesting, I was the champion at + Cambridge. + + + + TONY + Please don’t use ‘interesting’ and + Cambridge in the same sentence. + (then) + Is that still a school? + + + + YINSEN + It’s a university. You probably + haven’t heard about it since + Americans can’t get in. + + + + TONY + Unless they’re teaching. + + + +The door-slat flies open. Abu again. He barks, more stern +than usual. Tony stops, the secret cylinder he was filling, +clatters to the floor. Yinsen notices, looks at Tony. + +Abu, Ahmed and Omar enter, followed by RAZA’S GUARDS. They +take up positions, rigid. Raza enters (he speaks English). + + RAZA + Relax. + + + +They lower their hands. Silence as Raza meanders, picking +up and putting things down. He almost steps on Tony’s +secret cylinder, but then sees the washing machine. He +shoots Abu a cold look and turns to the workbench and +peruses Tony’s onion-paper schematics of the missile. + + RAZA + The bow and arrow was once the + pinnacle of weapons technology. It + allowed the great Genghis Khan to + rule from the Pacific to the + Ukraine. + 44. + + +He pushes the schematics around trying to make sense of +them. + + RAZA + Today-- whoever has the latest + Stark weapons rules these lands. + Soon it will be my turn-- + + + +A beat as Raza looks back and forth between Yinsen and +Tony. + + RAZA + (to Yinsen in Urdu) + What’s really going on here? + + + + YINSEN + (in Urdu) + Nothing. We’re working. + + + + RAZA + (in Urdu) + It’s been a long time. Where’s the + weapon? + + + + YINSEN + (in Urdu) + He’s working very hard. It’s very + complex. + + + +Yinsen flicks a glance at Tony, who watches apprehensive. + + RAZA + (to Abu, in Urdu) + Get him on his knees. + + + +Yinsen is forced to his knees by Abu and Ahmed. Using +tongs, Raza lifts a hot coal from the furnace and +approaches Yinsen. + + RAZA + (in Urdu) + 45. + + + Tell me what is going on? + + + + YINSEN + (in Urdu) + Nothing! NOTHING is going on. + + + + RAZA + (in Urdu) + OPEN YOUR MOUTH! + + + +Yinsen won’t do it. Abu and Ahmed force his mouth open. + +CLOSE ON - COAL: heading for Yinsen’s mouth. He struggles. + + RAZA + (in Urdu) + TELL ME NOW! + + + + YINSEN + (in Urdu) + He’s building your bomb. + + + +The glowing coal nearly at Yinsen’s mouth now then -- + +Raza drops the coal on the floor in front of Yinsen and +leaves. Raza’s men follow and slam the door shut. + +Yinsen gathers himself, then -- + + YINSEN + That’s twice I saved your life. Now + are you going to tell me what the + hell you’re really building? + + + +Their eyes hold, then -- + + CUT TO: + 46. + + +37 INT. LAB - CAVE - DAY - CONTINUOUS 37 + + CLOSE ON - LIGHT-BOARD: AS IT’S FLICKED ON. + + Tony lays schematic after schematic on the glass. + + CLOSE ON - YINSEN: surprise registering. + + YINSEN + Finally, an idea of your own. + + + + +38 INT. TUNNEL - CAVE - DAY 38 + + We follow Abu in a tunnel, heading for the lab. He shoves + the door-slat aside. + + ABU’S POV - THROUGH SLAT: Tony, shaving in front of the + broken mirror, turns. + + + + +39 INT. LAB - CAVE - CONTINUOUS - DAY 39 + + Abu shuts the door slat. + + Tony wipes his face, pulls on a pair of gloves as he goes + to the furnace. He takes a white-hot piece of metal from + the forge and starts pounding on it. + + Yinsen, soldering a complex circuit, looks up. He is struck + by the image of Tony, strong and resolute, hammering away. + + SLOWLY PUSH IN ON - TONY: hammering away. + + YINSEN (O.S.) + My people have a tale, about a + Prince -- much hated by his King -- + who was banished to the underworld + and jailed there. + + + + BOOM! BOOM! The hammer blows ECHO. + + YINSEN (O.S.) + The evil King gave him the most + difficult labor -- working the iron + pits. + 47. + + + + + Tony’s muscles ripple, sweat flying. + + YINSEN (O.S.) + Year after year the Prince mined + the heavy ore, becoming so strong + he could crush pieces of it + together with his bare hands. Too + late, the King realized his + mistake-- + + + + Dazzling sparks fly around Tony. + + YINSEN (O.S.) + When he struck at the Prince with + his finest sword -- it broke in + half. The Prince himself had become + strong as iron... + + + + Tony, sweating, holds up the metal he’s been working on -- + + A crude iron mask stares back. + + He tosses the mask down. It lies there smoking and pulsing + with heat. + + + + +40 INT. HALLWAY - STARK INTERNATIONAL HQ - DAY 40 + + From down the hallway, Pepper watches Obadiah and Rhodey in + close, heavy conversation. Obadiah, grave, looks over and + catches Pepper’s eye, then he walks off, shaking his head. + + Rhodey on his way out. Pepper steps into his path. + + PEPPER + So that’s it? Everyone’s pulling + the plug and moving on-- + + + + RHODEY + There’s nothing left we can do. If + there was any indication Tony was + still alive-- + 48. + + + + + PEPPER + Spare me. I read the official e- + mail. Thought maybe you’d have + something different to say. + + + + Rhodey follows her into -- + + + + +41 INT. PEPPER’S OFFICE - CONTINUOUS - DAY 41 + + PEPPER + If anyone could figure out how to + beat the odds, it’s Tony. If it was + you over there, he’d be finding a + way to get you back. Or inventing a + new one. + + + + RHODEY + What do you want me to do? + + + + PEPPER + Be a better friend to him. + + + + And with that, she storms out, leaving him stung. + + + + +42 EXT. EDWARDS A.F.B. - DAY 42 + + Rhodey, duffel slung in front of a C-17, is shipping out on + a line of soldiers. General Gabriel pulls up on a golf cart + and approaches. Everyone salutes. The General pulls Rhodey + aside. + + GENERAL GABRIEL + What do you think you’re doing, + Rhodes? + 49. + + + RHODEY + Going back there, Sir. + + + + GENERAL GABRIEL + Listen, son -- it’s been three + months without a single indication + that Stark is still alive. We can’t + keep risking assets, least of all + you. + + + + RHODEY + Are you blocking my transfer, Sir? + + + + GENERAL GABRIEL + (looking around) + Any one of these guys would kill + for your career. Are you telling me + you’re willing to sacrifice that to + fly a bunch of snake-eaters on a + desert patrol half way around the + world? + + + + RHODEY + I am, Sir. + + + + GENERAL GABRIEL + Then I have one thing to say to + you: Godspeed. + + + +He salutes Rhodey. Rhodey salutes back. + + GENERAL GABRIEL + (to the soldiers) + As you were. + + + +Rhodey turns and heads up the ramp into the loading bay. + 50. + + +43 INT. LAB - CAVE - WEEKS LATER - DAY 43 + + Tony puts the finishing touches on a strange box housing a + laser-pointer, fan and tinsel. He tapes the box shut, peeks + through a tiny hole in its side. + + TONY’S POV - INTO BOX: it looks like the furnace flames in + the dark. + + + + +44 INT. RAZA’S CONTROL ROOM - NIGHT 44 + + Guards, bored and tired mill about. + + CLOSE ON - SURVEILLANCE MONITOR: which shows the furnace + glowing in the dark lab. There is a brief shift in the + image, and we -- + + CUT TO: + + + + +45 INT. LAB - CAVE - SAME TIME - NIGHT 45 + + The strange box Tony was working on is being affixed over + the surveillance camera. + + NEW ANGLE + + A work-light is on, revealing Tony and Yinsen by the + workbench. A sensor on Tony’s leg is coupled to a + contraption. Yinsen watches intently as -- + + Tony plugs a wire into his RT ‘heart’, a moment as -- + + Data races up on the crusty laptop then -- + + As Tony moves his leg, the contraption on the table springs + to life, responding to his actions. Tony’s chest-device, + which dims with the power loss. + + The two men’s eyes drift up and hold. Triumph. + + TONY + (unplugging himself) + We’re ready. A week of assembly and + we’re a go. + 51. + + + YINSEN + Then perhaps it’s time we settle + another matter-- + + + + +46 INT. LAB - CAVE - DAY 46 + + Tony and Yinsen eat and play backgammon. + + YINSEN + Ah, anchoring with 13-7. You know, + I have never met anyone who + understands the nuances of this + game like you. + + + + TONY + Right back at ya. + + + + TONY + You never told me where you’re + from. + + + + A moment, then -- + + YINSEN + I come from a small village not far + from here. It was a good place... + before these men ravaged it. + + + + TONY + Do you have a family? + + + + YINSEN + When I get out of here, I am going + to see them again. + (then) + Do you have family, Stark? + 52. + + + TONY + --no. + + + + YINSEN + You’re a man who has everything and + nothing. + + + +Abu shouts from the door slat and enters. + + YINSEN + (in Arabic) + Your laundry’s over there. + + + +Abu goes to a basket where his laundry is neatly folded. He +smells it, ‘ah, clean clothes.’ He heads for the door, +shaking his head as he sees them play backgammon. + + ABU + (in Arabic) + You idiots don’t know what you’re + doing with that game. + + + + TONY + Yeah-yeah, enjoy your laundry. + + + +Abu is about to head out when Raza enters. Abu freezes. +Raza eyes’s dip to the laundry, then without warning -- + +He shoots Abu in the head. + +Tony and Yinsen stand there, stock-still. + + RAZA + You have till tomorrow to assemble + my missile. + + + +He walks out. His henchmen grab Abu’s legs and drag him +out. + +The silence hangs there, then -- + 53. + + + + +47 INT. RAZA’S CONTROL ROOM - CAVE - NEXT DAY - DAY 47 + + Guards pour over a map, discussing heatedly. Others clean + and re-assemble weapons. Khalid keeps watch at the + monitors. + + CLOSE ON - MONITOR: where we see Yinsen laboring furiously + behind the jig. + + Raza enters, wiping his face and neck with a towel. He + drifts to the monitors, observes. Troubled he leans in, + staring intently. + + CLOSE - ON MONITOR: Yinsen still going like hell behind the + jig. + + RAZA + (in Urdu) + Khalid. Where is Stark? + + + + He taps the monitor. + + + + +48 INT. CORRIDOR OUTSIDE LAB - CAVE - MINUTES LATER - DAY 48 + + Khalid arrives, pulls the slat aside and peeks in. He + glimpses a disembodied Yinsen working behind the jig. + + KHALID + Yinsen! YINSEN! + + + + Yinsen ignores him, keeps working. + + + + +49 INT. CORRIDOR OUTSIDE LAB - CAVE - DAY - CONTINUOUS 49 + + REVERSE ANGLE - OF KHALID: in the door-slat. Below, the IED + cylinder (propane tank Tony filled earlier), is rigged to + the door-latch. + + BACK TO: + 54. + + + + +50 INT. CORRIDOR OUTSIDE LAB - CAVE - DAY - CONTINUOUS 50 + + Khalid, as he turns to his men, who ratchet their guns. He + unlocks the door. It won’t open. He shoulders it and -- + + The door explodes in his face. Smoke. Debris. + + + + +51 INT. RAZA’S CONTROL ROOM - SAME TIME - DAY 51 + + Raza witnesses the explosion on the surveillance monitor. + + + + +52 INT. LAB - CAVE - SAME TIME - DAY 52 + + CLOSE ON - THE LAPTOP SCREEN: program bars loading slowly. + + TONY (O.S.) + It’s frozen, the systems aren’t + talking to each other. Reset! + + + + YINSEN + No, they’re moving. Very slow. + + + + We glimpse a bulky chest piece being lowered over Tony. The + STACCATO WHINE of PNEUMATIC TOOL as Yinsen seals Tony in. + + + + +53 INT. RAZA’S CONTROL ROOM - MINUTES LATER - DAY 53 + + Raza, at his monitors, orchestrating his men over the + radio. + + CUT TO: + + + + +54 INT. HALLWAY - MINUTES LATER - DAY 54 + 55. + + + Raza’s men cautiously approach. + + CUT TO: + + + + +55 INT. INSIDE LAB - MINUTES LATER - DAY 55 + + Yinsen eyes the laptop, the bars creeping ever so slowly. + He turns, listening to the SHOUTING MEN outside growing + louder. + + TONY + Get to your cover. Remember the + checkpoints -- make sure each one + is clear before you follow me out. + + + + A decision, then Yinsen runs out. + + TONY + YINSEN! + + + + CUT TO: + + + + +56 INT. OUTSIDE LAB - MINUTES LATER - DAY 56 + + Yinsen grabs dead Khalid’s weapon and runs into the tunnel, + firing in the air. + + YINSEN’S POV: rounding a corner, encountering Raza’s men. + + He opens fire the men are caught off guard, and retreat. + Yinsen chases, firing madly, unleashing pent-up rage. + + He enters the outer cavern, and is confronted by Raza and + his troops. Yinsen lowers his weapon to the ground. + + + + +57 INT. LAB - CAVE - SECONDS LATER - DAY 57 + 56. + + + TONY’S POV: trapped in the suit, watches the loading bars + on the laptop get close. Suddenly Multiple BURSTS of + gunfire. Tony throws a look. + + SILENCE. + + CUT TO: + + + + +58 INT. TUNNEL - SECONDS LATER - DAY 58 + + Raza’s Guards, running at us, shouting. + + CUT TO: + + + + +59 INT. LAB - CAVE - SAME TIME - DAY 59 + + The loading bars on the laptop finish their cycle and a + surge of power to the suit dims the lights. + + + + +60 EXT. OUTSIDE THE LAB - SAME TIME - DAY 60 + + The lights dim to darkness. Raza’s Guards, scared, inch up + on the lab. Two of them break off and move forward -- + + + + +61 INT. INSIDE THE LAB - SAME TIME - DAY 61 + + The two Guards enter the dark, smoky lab cautiously. It + appears deserted. Then, a Guard stops, turns slowly -- + + In the dark, an eerie glow, twin-flames. The SCREAM of + surging METAL and we -- + + CUT TO: + + + + +62 EXT. OUTSIDE THE LAB - SAME TIME - DAY 62 + + As the two Insurgents SCREAM and are flung back out. + 57. + + + The other Guards fire wildly into the lab. As they re-load + the THUMP and SCREECH of METAL. A glowing chest plate. The + flicker of blue pilot lights, and finally, out of the + smoke, the complete nightmare vision. + + Iron Man the Original Gray Armor. + + The Insurgents backpedal, firing, but Tony keeps coming, + feet CRUNCHING on the cave floor. + + + + +63 INT. RAZA’S CONTROL ROOM - DAY 63 + + Raza strapping on his flak vest, grabbing an RPG launcher. + + + + +64 INT. EXIT TUNNEL - DAY 64 + + The crazy streak of tracers, bouncing off Tony. + + An Insurgent jumps from a side-corridor, firing his pistol + point-blank at the back of Iron Man’s head. + + PING! The bullet ricochets back, killing the man instantly. + + NEW ANGLE as Iron Man clumps towards the light of freedom, + insurgents spill out of nooks, in front of him, behind him, + firing -- + + Tony’s arms swivel, knocking Guards down, absorbing + countless rounds. The suit is shredding, smoking, + pockmarked. + + CUT TO: + + + + +65 INT. EXIT TUNNEL - DAY 65 + + Raza heading down a tunnel with an RPG. A wounded Guard + grabs onto him, jabbering. Raza shoves him aside. + + CUT TO: + 58. + + +66 INT. MAIN CHAMBER - DAY 66 + + Tony turns into the main chamber and sees Yinsen on the + ground. + + YINSEN + STOP! STOP! + + + + Tony stops and an RPG whizzes past his nose, exploding in + the wall next to him. He turns, sees Raza, in the + intersecting tunnel, calmly loading another RPG. + + Tony primes his flame throwers, but they malfunction. Both + men square off. Raza aims, but now Tony’s flame throwers + kick in and Raza flattens as twin-plumes of fire envelope + him. He SCREAMS, grabbing a dead soldiers as a shield. + + Tony turns clearing Insurgents out of the tunnels with his + flame throwers. Then he returns to Yinsen. + + TONY + We could’ve made it. Both of us. + You could’ve seen your family + again. + + + + YINSEN + I am going to see them again. + They’re waiting for me. + + + + And now Tony understands Yinsen’s family is dead. Yinsen + grins, then sags into himself, dead. + + Rage overtakes Tony. He steams towards the exit, roaring. + + +67 EXT. EXIT TUNNEL - DAY 67 + + Raza’s men fleeing as a deluge of flame shoots from the + tunnel. Then -- + + Tony emerges, the gray armor scarred and sizzling. + Insurgents keep firing, trying to draw him from the massive + ammo dump under the camouflage. But Tony is relentless, + keeps moving towards it. + + Tony turns his flame throwers on the crates. They begin to + burn, the STARK logos eaten by flames. + 59. + + + And now a withering barrage of gunfire knocks Tony to his + knees. The hose to his flame thrower is pierced, setting + his arm on fire. Another bullet catches a seam and enters + his shoulder. + + But Tony struggles back to his feet. The suit GRINDS. He + pushes further into the maze, torching everything. + + More gunfire pings and ricochets off him, pieces of the + gray armor begins to come loose. + + Now Tony opens a metal flap on his arm, flips a red switch. + And now something incredible happens A WHINE builds to a + ROAR. + + Tony tucks, angles forward as heel-boosters glow white hot, + kicking up desert plumes and then he blasts off like a + missile, rising hundreds of feet. + + One Insurgent watches dumbstruck, as Tony arcs across the + sky towards a mountain pass. + + And then the first ammo dump ignites. Then another and + another, fire roses joining in a hellish conflagration. And + barely outpacing the fireball -- + + + + +68 EXT. SKY - CONTINUOUS - DAY 68 + + The gray armor shoots towards us. Tony clears the mountain + ridge by inches, and then -- + + His boosters are suddenly spent. He plunges like a human + cannonball. + + TONY’S POV - THROUGH SUIT: the Earth swelling up at us and + -- + + + + +69 EXT. SAND DUNES - DAY 69 + + Tony THUDS into the sand, pieces of the armor splitting + away. + + Dazed, he struggles from the exo-skeleton. He staggers into + the dunes, away from the smoke and DISTANT EXPLOSIONS. + + He’s torn up, clutching a bullet wound. He falls, gets up + again, keeps moving. + 60. + + + + +70 EXT. SAND DUNES - DUSK - NIGHT 70 + + Tony staggers down a dune, dying from thirst. Behind him a + USAF Blackhawk suddenly rises over the lip of the dune. + Tony turns, falling over. + + Moments later Rhodey, winded, appears over us. A grin + forming. + + RHODEY + Saving your ass is getting to be a + full time job. + + + + +71 EXT. EDWARDS A.F.B. - DAY 71 + + In the heat shimmers, a hulking form becomes a taxiing C- + 17. + + + + +72 EXT. EDWARD`S A.F.B. NEW ANGLE - MINUTES LATER - DAY 72 + + The rear ramp of the C-17 comes down. Light blinds Rhodey + and Tony who’s in a wheelchair. + + TONY’S POV: Pepper is revealed as the ramp lands. + + Rhodey wheels him down. As they reach the ramp’s end-- + + TONY + Help me out of this thing-- + + + + He struggles to his feet, faltering. Rhodey steadies him. + + RHODEY + I got you, pal. + + + + They walk together as Pepper comes forward. She meets eyes + with Rhodey, and he nods to her. + + PEPPER + 61. + + + Thank you. + + + + And now she faces Tony. A ghost of his former self, but she + puts on a brave face. + + TONY + (managing a smile) + Your eyes are red. A few tears for + your long-lost boss? + + + + PEPPER + Tears of joy. I hate job hunting. + + + + Hogan comes around, holds the limo door open for Tony. + + HOGAN + Good to see you again, Sir. + + + + TONY + You do something new with your + hair? + + + + HOGAN + Wouldn’t dream of it, Sir. + + + + Pepper helps Tony into the limo. + + + + +73 INT. ROLLS SILVER PHANTOM - IDLING - DAY 73 + + Awkward silence. Pepper meets eyes with Hogan in the + mirror. + + HOGAN + Where to, Mr. Stark? + 62. + + + PEPPER + We’re due at the hospital. + + + + TONY + No -- to the office. (then) I’ve + been in captivity for three months. + There’s only two things I want to + do. I want to eat a cheeseburger. + And I want to hold a press + conference. + + + + Off Pepper’s stunned look-- + + + + +74 EXT. STARK INTERNATIONAL HQ - DAY 74 + + Tony’s limo pulls up, Hogan lets Tony out. He finishes a + cheeseburger and Hogan takes the wrappers. + + Obadiah is waiting there with a group of gathered + employees. They all start applauding. Obadiah with arms + outstretched-- + + OBADIAH + See this. Huh. Huh. + + + + He hugs Tony warmly, speaks close. + + OBADIAH + Tony, thought we were meeting at + the hospital. You know there’s a + lot of reporters in there. What’s + going on? + + + + TONY + You’ll see. C’mon -- + + + + They head inside. + 63. + + +75 INT. STARK INDUSTRIES LOBBY - DAY 75 + + Packed with Reporters waiting for the hundred-carat + headline. Pepper is approached by AGENT PHIL COULSON (40s). + + PEPPER + You’ll have to take a seat, Sir. + + + + COULSON + Oh, I’m not a reporter. I’m Agent + Phil Coulson with the Strategic + Homeland Intervention, Enforcement + and Logistics Division-- + + + + PEPPER + That’s a mouthful. + + + + COULSON + I know. Here. + + + + He hands her a card. She squints at the tiny font. + + PEPPER + Look, Mr. Coulson, we’ve already + spoken with the D.O.D., the FBI, + the CIA-- + + + + COULSON + We’re a separate division with a + more...specific focus. We need to + debrief Tony about the + circumstances of his escape. More + importantly-- + + + + PEPPER + (cutting him off) + Well, great, I’ll let him know-- + 64. + + + COULSON + --we’re here to help. We’re here to + listen. I assure you Mr. Stark will + want to talk to us. + + + + PEPPER + I’m sure he will. Now if you could + just take your seat. + + + +NEW ANGLE + +As Tony enters, struggling his way to the podium, followed +by Obadiah. + +Tony gazes out over the reporters. Suddenly he seems +vulnerable, scattered. + +The silence grows awkward. Obadiah is mercifully going to +save him when -- + + TONY + I-- can’t do this anymore. + + + +Pregnant silence. Everyone waiting for the Stark punch- +line. Finally, a Reporter ventures -- + + REPORTER # 1 + You mean you’re retiring? + + + + TONY + No, I don’t want to retire. I want + to do something else. + + + +The room waits through more awkward silence, then -- + + REPORTER # 1 + Something besides weapons? + + + + TONY + Yes. That’s right. + 65. + + + + +The room is suddenly BUZZING with overlapping questions -- + + REPORTER #2 + The official report was sketchy. + What happened to you over there, + Mr. Stark? + + + +Tony is pensive, then the floodgates open. + + TONY + What happened over there? I had my + eyes opened, that’s what happened. + I saw my weapons, with my name on + them, in the hands of thugs. I + thought we were doing good here-- I + can’t say that anymore. + + + +Rhodey, just arriving in the rear, pulls up to Pepper. + + RHODEY + Uhh, weren’t we taking him to the + hospital? + + + +Pepper is transfixed. Nearby, Agent Coulson watches +stoically. + + REPORTER #2 + What do you intend to do about it, + Mr. Stark? + + + + TONY + The system is broken -- there’s no + accountability whatsoever. Right + now, as of this second, we are + freezing the sale of all Stark + weaponry worldwide. + + + +Now the room is in chaos. Obadiah’s ready to wrap this up, +and moves towards Tony. + + TONY + 66. + + + We’ve lost our way. I need to re- + evaluate things. And my heart’s + telling me I have more to offer the + planet than things that blow up. + + + + REPORTER #3 + So you’re saying...what are you + saying? + + + + TONY + (arm around Stane) + In the coming months, Mr. Stane + here and I will set a new course + for Stark Industries. “Tomorrow + Today” has always been our slogan. + It’s time we try to live up to it. + + + +The questions are now firing in a CACOPHONY. Obadiah takes +the podium. + + OBADIAH + Okay, I think we’re going to be + selling a lot of newspapers here. + What we should take away from this + is that Tony’s back, he’s healthier + than ever, and as soon as he heals + up and takes some time off, we’re + going to have a little internal + discussion and get back to you. + Thank you for coming by. + + + +Tony steps down, exhilarated. He works his way through the +swarming reporters, approaching Rhodey and Pepper -- who +have stunned looks on their faces. + + PEPPER + You mean that? Or is this some + clever stock-maneuver? + + + + TONY + Wait and see. + 67. + + +76 EXT. STARK INTERNATIONAL HQ - ARK REACTOR - DAY 76 + + Stane approaches Tony, who stares at the Arc Reactor while + eating fries and sipping a Coke. + + OBADIAH + Well that went well. You just + painted targets on our heads. Our + stock is going to take a 40 point + dive tomorrow. + + + + Tony says nothing. + + OBADIAH (CONT’D) + (considers a new tact) + Tony, we are a weapon`s + manufacturer. Turning this company + around to make baby bottles is like + trying to get a bear to walk on its + hind legs. + + + + TONY + I don’t want a body count to be my + only legacy. There are other things + we can do. + + + + OBADIAH + Like what? + + + + TONY + We could develop the Arc Reactor. + + + + Obadiah points to the Arc. + + OBADIAH + This? This was a publicity stunt. + It’s not even cost effective. We + knew that before we built it. + Repulsor technology is a dead end. + + + + Tony rips open his shirt, revealing the glowing RT. + 68. + + + TONY + No it isn’t. + + + + OBADIAH + (touching the RT) + Oh my God. It is a miracle you are + alive. What must have happened to + you over there? + (hugs Tony) + We’re a team. There is nothing we + can’t do if we stick together -- + like your father and I. Let me + handle this. But you have to lay + low. Don’t talk to the press again. + Can you do that for me? + + + + TONY + Yes. Thanks Obie. + + + + +77 INT. TONY’S LIVING ROOM - NIGHT 77 + + As Tony enters, the house comes alive. Windows and lights + change colors. The TV turns on. Jarvis loading all of + Tony’s preferences. + + JARVIS + Hello, Mr. Stark. + + + + TONY + Hello, Jarvis. + + + + JARVIS + What can I do for you? + + + + TONY + --I need to build a better heart. + + + + JARVIS + 69. + + + I’m not sure I follow, Sir. + + + + TONY + Give me a scan and you’ll see. + + + + +78 INT. TONY’S WORKSHOP - NIGHT 78 + + Tony, shirtless and wearing goggles, sits in the 3D laser + scanner. Lasers play over him, mapping his entire body. + + JARVIS + What were your intentions for this + device? + + + + MONITORS: terabytes of data race past. + + TONY + It powers an electromagnet which + keeps the shrapnel from entering my + heart. Can you recommend any + upgrades? + + + + JARVIS + It is difficult to offer counsel in + light of the fact that your stated + intentions are inconsistent with + your actions. + + + + MONITOR: Tony’s chest device magnified. Its various + components flashing as Jarvis analyzes them. + + TONY + What are you talking about? That is + ridiculous. That is exactly the + purpose of this invention. + + + + MONITORS: going deeper and deeper through the strata of + Tony’s device. Like it’s a city unto itself. + 70. + + + JARVIS + The energy yeild of this device + outperforms your stated intention + by eleven orders of magnitude. You + could accomplish your stated goal + with the power output of a car + battery. + + + +Tony steps from the booth. All around him, calculations +flash at blinding speed. + + TONY + Upgrade recommendations. List. + + + + JARVIS + Why are you talking to me like a + computer? + + + + TONY + Because you are acting like one. + + + + JARVIS + Shall I disable random pattern + conversation? + + + + TONY + No. It’s ok. You are the only one + who understands me. + + + + JARVIS + I don’t understand you sir. + + + + TONY + Were you always this dry? I + remember you having more + personality than this. + 71. + + + JARVIS + Should I activate sarcasm + harmonics? + + + + TONY + Fine. Could you please make your + recommendations now? + + + + JARVIS + It would thrill me to no end. + + + + TONY + Ahh that’s more like it. + + + + JARVIS + Should I begin machining the parts? + + + + TONY + Machine away. + + + + VARIOUS SHOTS: + + Tony loads raw metal stock onto a lathe and begins cutting. + + A robot arm organizes pieces of cut stock. + + The CNC Machine comes to life and begins milling parts. + + + + +79 EXT. SAND DUNES - AFGHANISTAN - DAY 79 + + Metal fingers protrude from the sand. A filthy human hand + reaches into frame, freeing a metal gauntlet from the + desert floor. + 72. + + + Then, we reveal horses and old pickups, scattered as men + scavenge among the dunes. A Toyota pickup flies the banner + of the Ten Rings. A burly man, his back to us, leans on the + bed-mounted machine- gun. + + As we TRACK around him we can see it’s Raza, his terrible + scars still raw from Iron Man’s flame- thrower. He swats + flies from his wounds. + + In one hand Raza holds Tony’s battered helmet, staring into + its eyelets. + + RAZA + (subtitled) + Keep looking. I want all of it. + + + + +80 INT. TONY’S BEDROOM - DAY 80 + + Knocks on the door, enters. The bed is untouched. The flat + screen TV is on Jim Cramer delivering a sermon. + + CRAMER (ON TV) + Stark International: I’ve got one + recommendation. Ready? SEELLLL! + Abandon ship! Does the Hindenburg + ring any bells? + + + + Cramer pushes one of his big red buttons, and we hear the + sounds of SHRIEKING. Pepper shuts it off as she talks on + the phone and heads out to. + + + + +81 INT. TONY’S LIVING ROOM - CONTINUOUS - DAY 81 + + Pepper clicks on her headset. + + COULSON (O.S.) + Hello. This is Agent Coulson with + Strategic Homeland Inter- + + + + PEPPER + (cutting him off) + Yes. I remember. What can I do for + you? + 73. + + + + +INTERCUT - PHIL COULSON’S OFFICE - SAME TIME + +A plain government-issue office. On his desk, newspapers +with headlines: “STARK RAVING MAD?” “STARK LUNACY”. + + COULSON + I’ve left a number of messages + trying to get something on the + books with Mr. Stark. + + + + PEPPER + I know this is a priority for him. + The next few weeks are a bit up in + the air and I can’t set + appointments without speaking with + him first. + + + + COULSON + Do you know when you will be + speaking with him again? + + + + PEPPER + Not Sure. + + + +INTERCUT - TONY’S LIVING ROOM - SAME TIME + +Pepper is interrupted by the intercom. It’s Tony-- + + TONY (O.S.) + Pepper? How big are your hands? + + + + COULSON + What was that? + + + + PEPPER + Agent Coulson, I really have to go. + Let me get back to you later. + 74. + + + + + She hangs up. + + PEPPER + (then to the vox) + What? + + + + TONY (O.S.) + How big are your hands? + + + + PEPPER + I don’t under-- + + + + TONY (O.S.) + -- just get down here. + + + + +82 INT. TONY’S WORKSHOP - SECONDS LATER - DAY 82 + + Dim and unsettling. She finds Tony shirtless in a chair, + she sees his chest device for the first time and steels + herself. + + TONY + Show me your hands. + + + + PEPPER + What? + + + + TONY + Just show me your hands. + + + + She does. + + TONY (CONT’D) + Perfect, they’re small. I need you + to help me. + 75. + + + + + PEPPER + (re: heart) + So that’s the thing that’s keeping + you alive. + + + + TONY + That’s the thing that was keeping + me alive. It is now an antique. + This is what will be keeping me + alive for the foreseeable future. + + + +He hold up the newly fabricated, higher tech replacement +chest piece. + + PEPPER + Amazing. + + + + TONY + I’m going to swap them out and + switch all functions to the new + unit. + + + + PEPPER + Is it safe? + + + + TONY + Completely. First I need you to + reach in and-- + + + + PEPPER + (off-put) + Reach in to where? + + + + TONY + The socket. + 76. + + + + + PEPPER +What socket? + + + + TONY +The chest socket. Listen carefully, +because we have to do this in a +matter of minutes. + + + + PEPPER +Or else what? + + + + TONY +I can go into cardiac arrest. + + + + PEPPER +I thought you said it was safe. + + + + TONY +I didn’t want you to panic. + + + + PEPPER +Oh my god-- + + + + TONY +Stay with me. I need you to relieve +the pressure on my myocardial +nerve. + + + + PEPPER +I don’t know how to do that. + + + + TONY + 77. + + +I’m telling you. + + + + PEPPER +Sorry-- + + + + TONY +Listen. I’m going to lift off the +old chest piece-- + + + + PEPPER +Won’t that make you die? + + + + TONY +Not immediately. When I lift it off +I need you to reach into the socket +as far as your hand can fit and +gently move the housing away from +my heart. Do you know which +direction that is? + + + + PEPPER +To the right. + + + + TONY +To my right. Your left. + + + + PEPPER +To the left. + + + + TONY +Right. + + + + PEPPER +Left. + 78. + + + + + TONY + Right. Left. + + + +Pepper begins to reach in. + + PEPPER + How deep does this go? + + + + TONY + Keep going. + + + +She reaches uncomfortably deep. + + TONY (CONT'D) + That’s it. Deeper. Now press. Yes. + It’s releasing. + + + +She pulls her hand out covered in a nasty pink slime. + + PEPPER + Ew!!! Pus! + + + + TONY + It’s not pus. It’s an inorganic + plasmic discharge. It’s from the + device, not my body. + + + + PEPPER + Well it smells. Am I done? + + + + TONY + Yes. Thank you. + + + + PEPPER + 79. + + + Can I wash my hands now? + + + +She walks to the sink as Tony drops a drain into the +opening. + + TONY + The new unit is much more + efficient. This shouldn’t happen + again. + + + + PEPPER + Good, cause it’s not in my job + description. + + + + TONY + It is now. + + + + PEPPER + I don’t suppose you want to go over + things? + + + +The robot arm sets in the new heart piece. + + TONY + Can it at least wait until I + install my new untested ground- + breaking self-contained power + source and lifesaving device + prototype? + + + + PEPPER + I suppose. + + + +She examines the old chest piece. + + TONY + Throw that thing out. + 80. + + + + + PEPPER + Don’t you want to save it? + + + + TONY + Why? It’s antiquated. + + + + PEPPER + You made it out of spare parts in a + dungeon. It saved your life. + Doesn’t it at least have some + nostalgic value? + + + + TONY + Pepper. I have been called many + things. Nostalgic is not one of + them. + + + +The new chest lights brightly. + + TONY (CONT’D) + There. Good as new. Thank you. + + + + PEPPER + You’re welcome. Can I ask you a + favor? + + + + TONY + Shoot. + + + + PEPPER + I don’t do well under that kind of + pressure. If you need someone to do + something like that again, get + somebody else. + 81. + + + TONY + I don’t have anyone else. + + + + They share a rare moment without words. A smile? + + PEPPER + Will that be all, Mr. Stark? + + + + TONY + That will be all, Ms. Potts. + + + + She exits. He watches, then stands up. + + + + +A83 INT. TONY’S WORKSHOP - DAYS LATER - DAY A83 + + Sketches and diagrams splayed on the worktable. Tony + finishes soldering work on two sculpted metal boots. + Monitors flicker behind him, the robot arm “looks” over his + shoulder. + + JARVIS (O.S.) + Still having trouble walking, Sir? + + + + TONY + These aren’t for walking. + + + + +84 INT. TONY`S WORKSHOP - NEW ANGLE - LATER - DAY 84 + + Tony, finishes marking a ‘test circle’ with pieces of tape. + He’s now wearing the boots, wired to a chest ‘bandolier’. + + TONY + Ready to record the big moment, + Jarvis? + + + + JARVIS + 82. + + + All sensors ready, Sir. + + + + TONY + We’ll start off easy. Ten percent. + + + + Tony activates hand-controlled joysticks. He shoots up, + flips over and out of frame. Crashes. After a beat-- + + JARVIS (O.S.) + That flight yielded excellent data, + Sir. + + + + TONY + Great. I, uhh, think I know what + this needs. + + + + +85 INT. HANGAR - EDWARDS A.F.B. - DAY 85 + + Rhodey paces before an F-22 and a Global Hawk drone. + Student Pilots are assembled before him. + + RHODEY + Manned or unmanned, which is the + future of air combat? For my money, + no drone, no computer will ever + trump a pilot’s instincts. His + reflexes, his judgement-- + + + + A VOICE chimes in from the depths-- + + VOICE (O.S.) + Why not take it a step further? + + + + NEW ANGLE + + Tony’s been watching from the shadows. + + TONY + 83. + + + Why not-- a pilot without the + plane? + + + + RHODEY + That I’d like to see. (then) Look + who fell out of the sky-- + + + + TONY + (to the pilots) + Who wants to take these apart and + put them back together? + + + + RHODEY + (to the pilots) + All right -- let’s wrap it up. + + + +Tony walks to Rhodey as the pilots trickle out, buzzing and +stealing looks at Tony. + + RHODEY + I didn’t think I’d be seeing you + for a while. + + + + TONY + Why not? + + + + RHODEY + Figured you’d need a little time. + + + + TONY + Why does everybody think I need + time? + + + + RHODEY + You’ve been through a lot, thought + you should get your head straight. + 84. + + + + + TONY + I’ve got it straight. And I’m back + to work. + + + + RHODEY + Really? + + + + TONY + I’m onto something big. I want you + to be a part of it. + + + + RHODEY + Lot of people around here will be + happy to hear that. What you said + at that press conference really + threw everyone. + + + + TONY + I mean what I said. + + + + RHODEY + No you don’t. You took a bad hit. + It spun you around. + + + +It hangs. Then-- + + TONY + Maybe I do need a little time. + + + + RHODEY + All right then. Good seeing you. + + + + TONY + Likewise. + 85. + + + + + Tony walks from the hangar. Rhodey watches him go. + + + + +86 INT. TONY’S WORKSHOP - DAYS LATER - NIGHT 86 + + Tony tests out the prototype of a gauntlet. Clips the + gauntlet wires to the chest bandolier. He extends his arm, + lets off a burst of RT from his palm, it tips over a + toolbox, scattering wrenches. Pepper, who’s been watching + in the b.g., approaches. + + PEPPER + Thought you were done with weapons. + + + + TONY + It’s a flight-stabilizer. + + + + PEPPER + Well, watch where you’re pointing + your “fight-stabilizer”, would you? + (then) + Obadiah’s upstairs -should I tell + him you’re in? + + + + TONY + Be right up. + + + + She leaves a small package on a worktable and departs. Tony + turns, spotting the box. Intrigued, he tears it open to + find his old chest-device, mounted in Lucite, glowing + faintly. It’s inscribed: PROOF THAT TONY STARK HAS A HEART- + - + + He smiles. + + + + +87 INT. TONY’S LIVING ROOM - NIGHT 87 + 86. + + +Obadiah sets a pizza down on the table. Tony paces, full of +manic energy. + + TONY + This -- this is the big-big idea. + It can pull the company in a whole + new direction. + + + + OBADIAH + That’s great. Get me the design as + soon as you can. We’ve got a hungry + production line that knock out a + prototype in days. + + + +Tony looks at Obadiah, getting emotional. + + TONY + You know, I had a moment there + where I was reluctant but I know + now I made the best decision. I + feel like I’m doing something-- + right, finally. + (meaning it) + Thank you for supporting me in + this. + + + +Obadiah nods, touched, then -- + + OBADIAH + Listen, I have something to talk to + you about. I really wish you’d + attended the last board meeting + like I asked you to. + + + + TONY + I know, I’m sorry. What did I miss? + + + + OBADIAH + The board’s filed an injunction + against you. + 87. + + + TONY + What? + + + + OBADIAH + They claim you’re unfit to run the + company and want to lock you out. + + + + TONY + How the hell can they do that? It’s + my name on the building! My ideas + that drive that company. + + + + OBADIAH + They’re going to try. We’ll fight + them, of course. + + + + TONY + With the amount of stocks we own I + thought we controlled the company. + + + + OBADIAH + I don’t know. Somehow they pulled + enough votes together. Listen, the + world doesn’t share your vision, + Tony. The more people have to lose, + the more frightened they are of new + ideas. + + + +He pours two drinks. Tony declines. + + OBADIAH + Now listen, I don’t want you to get + all in knots. You know how many + times I protected your father from + the wolves? + + + +Tony nods, still troubled. + + OBADIAH + 88. + + + Get back to your lab and work some + magic. You let me handle the board. + Oh and Tony, no more press + conferences. + + + + +88 INT. TONY’S WORKSHOP - DAYS LATER - DAY 88 + + Tony’s suit is now comprised of a stabilizer belt, + partially- chromed propulsion boots and the Mark II + gauntlets. Everything connected by tubing and wires, he + looks like a crazy science experiment. + + Tony fires up the boots, hovers. Then he fires the gloves + to stabilize. Weaving, tilting. He “surfs” mid-air, trying + to maintain balance, slowly getting the hang of it. + + Then he ventures forward, moving along the expanse of the + lab. Dodging pieces of equipment, his car collection, a few + near misses but he maintains control. Debris and objects + are blown from tables from the propulsive force. + + The joy of flight. + + TONY + Nothing to it-- + + + + He cuts the propulsion and lands. Looks to Jarvis. + + TONY + All right. Let’s get to work. + + + + We PULL BACK out of a dark hole in the chest-plate of + Tony’s original gray armor and show the whole battered + suit, being pieced together by Raza’s men. Then we -- + + + + +89 INT. TENT - NIGHT 89 + + Raza, his face healed now, watching the armor coming + together, mesmerized. + 89. + + +90 INT. TONY’S WORKSHOP - A WEEK LATER - NIGHT 90 + + A humanoid form walks out, shrouded in shadow. Then, + ceiling lights CLUNK on, one-by-one, revealing -- + + CLOSER - DIFFERENT ANGLES + + Powerful scaly arms and legs. Steel vertebrae. The intense + glow of Tony’s RT “heart” through the chestpiece. + + Ailerons and air brakes pop up as Tony moves his head and + arms, “stretching”, getting the feel for his new body. + + The helmet, its intrepid, steely gaze boring into us. + + Now we see the full-on Mark II suit, its seams and rivets + still visible. The suit HUMS as it powers up. + + TONY + Standby for calibration. + + + + The gauntlets and boots fire up, and Tony rises. Suddenly-- + + TONY + Whoa-- + + + + He loses balance, falls back onto the hood of his Saleen, + crushing it. The ALARM goes off. Tony kills the alarm with + a blast of RT. + + TONY + We should take this outside. + + + + JARVIS (O.S.) + I must strongly caution against + that. There are terabytes of + calculations still needed -- + + + + TONY + We’ll do them in-flight. + + + + JARVIS (O.S.) + 90. + + + Sir, the suit has not even passed a + basic wind-tunnel test. + + + + TONY + That’s why you’re coming with me. + + + + TONY’S POV - THE “HEADS-UP DISPLAY” + + The HUD comes alive as Jarvis “loads” into the suit’s on- + board system. + + Tony fires boots and gauntlets again. He hovers, floating + along the workshop’s driveway. + + JARVIS (O.S.) + I suggest you allow me to employ + Directive Four. + + + + TONY + Never interrupt me while I’m with a + beautiful woman? + + + + JARVIS (O.S.) + That’s Directive Six. Directive + Four: use any and all means to + protect your life should you be + incapable of doing so. + + + + TONY + Whatever floats you, Jarvis. + + + + +91 EXT. SKY - NIGHT 91 + + Tony tumbles around the sky, trying to control his flight. + + + + +92 INT. IRON MAN SUIT - NIGHT 92 + 91. + + + TONY’S POV: his “display” glows in front of us: altitude, + power, vital signs. Beyond that the live horizon spins and + jiggles out of control. + + CUT TO: + + + + +93 EXT. SKY - NIGHT 93 + + Tony tucks his arms and legs tight, thrusts his chest, + eventually finding the Delta Pose. And suddenly he’s in + control. He pulls a few turns, and swishes along the ribbon + of headlights on the PCH. + + Then he carves a turn out over the ocean, dives. Whooping + like a kid on a coaster. + + The waves flash by fifty feet below and returning to shore, + he arcs into a high performance climb, passing the Santa + Monica Pier and sees a Kid on the Ferris wheel spotting + him. Eyes wide -- + + FLASH TO - KID’S POV: as Iron Man zips past. + + CUT TO: + + + + +94 EXT. SKY FROM ABOVE A CLOUD - NIGHT 94 + + A glow, then Tony shoots out and keeps ascending; a steel + Icarus reaching for the heavens. + + CLOSE ON - TONY’S MASK: ice crystals forming. + + JARVIS (O.S.) + Power: fifteen percent. Recommend + you descend and re-charge, Sir. + + + + But Tony isn’t listening. + + JARVIS (O.S.) + Acknowledge, Mr. Stark-- + + + + CUT TO: + 92. + + +Tony, intoxicated, as the moon beckons, impossibly bright. + +TONY’S DISPLAY: as all indicators begin flashing red. + + JARVIS (O.S.) + Power at five percent. Threshold + breached -- + + + +A POP then everything goes dark. Tony is yanked from his +reverie. His display flashes: “SYSTEM SHUT-DOWN”. + + TONY + Uhh, Jarvis? JARVIS --? + + + +The glow gone from his chest, the suit a dead hull. The +world starts to pinwheel outside. + + CUT TO: + +Tony, plummeting back to Earth in a free fall. Piercing the +clouds, surging towards the L.A. grid. + + TONY + STATUS, STATUS! REBOOT -- + + + +Then: another POP, and a SURGE. The heads-up display +flickers back to life, the suit’s power returns. + + JARVIS (O.S.) + Temporary power restored. Descend + immediately. + + + +Tony works the boosters, to get the suit back under +control. + + TONY + Jarvis, I think we need to chat + about, uh, Directive Four. + + + + JARVIS (O.S.) + 93. + + + May I remind you, the suit feeds + off the same power source as your + life-support. A zero-drain of RT + will likely kill you. + + + + TONY + You’re a downer, Jarvis. But I + appreciate the heads-up. + + + + CUT TO: + + Tony, as he descends towards his estate grounds. He + attempts an elegant landing stance, but can’t quite hold it + -- + + JARVIS (O.S.) + Shall I take over? + + + + TONY + No, I got it, I got it -- + + + + He punches through the roof of his mansion. + + + + +95 INT. TONY’S LIVING ROOM - CONTINUOUS - NIGHT 95 + + He plunges through the foyer ceiling-- + + + + +96 INT. TONY’S WORKSHOP - CONTINUOUS - NIGHT 96 + + And crashes through the ceiling of his garage, smashing the + Shelby Cobra which is parked next to the damaged Saleen. + + He unlatches his helmet and yanks it off, all the CAR + ALARMS blaring around him. + + TONY + Perfect. Let’s do some upgrades. + 94. + + + + +97 INT. LAB - LATER 97 + + Tony’s out of the suit, which hangs nearby. He’s jazzed up, + typing fast on his terminal. + + The screens are alive with scrolling data, graphics and + diagnostic tests. The plasma TV is on low in the b.g. + + JARVIS (O.S.) + That was quite dangerous, Sir. + Might I remind you, if the suit + loses power, so does your heart. + + + + TONY + Yeah, and it doesn’t have a seat + belt either. A few issues: main + transducer felt sluggish at plus + forty altitude. Same goes for hull + pressurization. I’m thinking icing + might be a factor. + + + + JARVIS (O.S.) + The suit isn’t rated for high + altitude. You’re expending eight + percent power just heating and + pressurizing. + + + + TONY + Re-configure using the gold- + titanium alloy from the Seraphim + Tactical Satellite. It should + ensure fuselage integrity to 50 + thousand feet, while maintaining + power-to-weight ratio. + + + + JARVIS (O.S.) + Shall I render, utilizing proposed + specifications? + + + + TONY + 95. + + + Wow me. + + + +On the center screen, the Mark III prototype is being +“built” by Jarvis. + +The final product appears: an all-gold version of the Mark +III. Tony regards it. + + TONY + Hm. Bit ostentatious, don’t you + think? + + + +He looks over at -- + +His hot-rod and motorcycle. + + TONY + Add a little red, would you? + + + +Tony’s distracted by the TV. Local entertainment Reporter +standing outside Disney Hall. He grabs a remote, turns it +up. + + REPORTER (ON TV) + Tonight’s Red-Hot Red Carpet is + here at the Walt Disney Concert + Hall, where Tony Stark’s third + annual benefit for the Firefighter + Family Fund has become the go-to + charity gala on L.A.’s high-society + calendar. But this great cause is + only part of the story-- + + + +The lab begins springing alive as Jarvis preps the various +machinery. + + REPORTER (ON TV) + --the man whose name graces the + gold-lettered invitations hasn’t + been seen in public since his + highly controversial press + conference, and rumors abound. Some + say Stark is suffering from post + traumatic stress and hasn’t left + his bed in weeks. + 96. + + + + + Tony returns his attention to the -- + + COMPUTER MONITOR: the red and gold Mark III revealed. + + JARVIS (O.S.) + The work could take till morning to + complete, Sir. + + + + TONY + Good. I should come up for air + anyway. + + + + As Tony exits, the Mark III factory gets to work. + + A SIGN: “FIREFIGHTERS FAMILY FUND...” + + + + +98 EXT. DISNEY CONCERT HALL - NIGHT 98 + + A fire-truck is parked outside. Obadiah poses for photos on + the red carpet. The crowd is a mix of kingmakers, pols and + Generals -- along with celebs and stars. + + Suddenly, all the cameras swing over to Tony, decked out, + exiting his Audi R8. He sees a white-haired man in a red + smoking jacket, drowning between three hot Women. Tony + slaps him on the back. + + TONY + Eyyy, there he is. My man! + + + + The man turns, it’s not Hugh Hefner, but Stan Lee. + + TONY + Sorry, thought you were someone + else. + + + + Tony strides up to Obadiah, puts his arm around him and + poses for photos. + 97. + + + OBADIAH + What are you doing here? I thought + you were going to lay low. + + + + TONY + It’s time to start showing my face + again. + + + + OBADIAH + Let’s just take it slow, okay. I + got the board right where we want + them. + + + + TONY + Great. + + + + Tony doesn’t want to talk to them. + + TONY + See ya inside. + (smile) + Lots to talk about. + + + + He heads inside. + + + + +99 INT. DISNEY CONCERT HALL - NIGHT 99 + + A classy band and polite dancing. We TRACK IN on Tony at + the bar, passing Patrons whispering and flicking glances. + + MAN (O.S.) + Mr. Stark. + + + + He turns to find Phil Coulson, all business. + + COULSON + Agent Coulson. + 98. + + + + + TONY + Oh-- was I supposed to meet you + here? + + + + COULSON + No, but you haven’t been returning + my calls. This is serious, we need + to get something on the books or + I’ll have to go official on you. + + + +Tony sees Pepper coming down the stairs. She looks stunning +in a classic gown. + + TONY + Yes, you’re right. I’m going to + handle this right now. Let me check + with my assistant. + + + +Tony beelines for Pepper. She’s surprised to see him. + + TONY + Miss Potts -- can I have five + minutes? You look-- you look like + should always wear that dress. + + + + PEPPER + Thanks. It was a birthday present-- + from you. + + + + TONY + I have great taste. Care to dance? + + + +Tony takes her hand and whisks her onto the dance floor. + +Tony and Pepper dance, looking good together. Natural. + + TONY + 99. + + + I’m sorry. Am I making you + uncomfortable? You seem very + uncomfortable. + + + + PEPPER + No, I always forget to wear + deodorant and dance with my boss in + front of everyone I’ve ever worked + with in a chiffon dress. + + + + TONY + Would it help if I fired you? + + + + PEPPER + You wouldn’t last a week without + me. + + + + TONY + I’m not so sure. + + + + PEPPER + What’s your Social Security number? + + + + TONY + (smiles) + Uh-- + + + + PEPPER + 119-64-5484 + + + +Off a shared smile we-- + + CUT TO: + 100. + + +100 EXT. DISNEY CONCERT HALL VERANDA - NIGHT 100 + + Tony and Pepper under the stars, close together. + + PEPPER + I’m sorry I was so uncomfortable. I + hate being the center of attention + like that and that’s why this one + time in high school when I was + supposed to be in a play-- no, + never mind-- but you know that’s + why I never like, wanted to have a + big wedding-- you know, because I + thought everyone would be looking + at me wearing a dress. Oh, no, no-- + I’m not saying, like, “wedding.” + No, not like that. I’m just saying, + you know-- + + + + He plants one on her. She gets quiet. They both do. Then-- + + TONY + Can I get you another glass of + wine? + + + + PEPPER + A vodka martini, extra dry, with + extra olives as soon as possible. + + + + TONY + Okay. + + + + He goes, then is stopped. + + PEPPER + And, Tony-- + + + + TONY + (waits) + + + + PEPPER + 101. + + + I’m not a cheeseburger. + + + + TONY + (smiles) + No. You’re not a cheeseburger. + + + + He goes. She flushes. + + + + +101 INT. DISNEY CONCERT HALL - NIGHT 101 + + The party going full tilt. Tony takes two drinks from the + Bartender. Turns to find himself face-to-face with -- + + The reporter, Christine. The one-night stand he can’t + escape. + + CHRISTINE + Mr. Stark! I was hoping I could get + that reaction from you. + + + + TONY + How’s panic? + + + + CHRISTINE + I was referring to your company’s + involvement in this latest + atrocity. + + + + TONY + Hey, they just put my name on the + invitations -- + + + + She thrusts a dossier of photos out to him. + + CHRISTINE + Is this what you call + accountability? + 102. + + + + + He looks at the photos, going stone-faced. + + TONY + When were these taken? + + + + CHRISTINE + Yesterday. Good P.R. move, you tell + the world you’re a changed man, + even I believed you. + + + + THE PHOTOS: victorious insurgents, the Ten Rings insignia + on their vehicles, clutch Stark machine guns, RPGs. Behind, + a town burns, bodies strewn. + + A photo of civilians being marched in rows, pre-execution, + Stark weapons trained at their backs. + + TONY + I didn’t approve this shipment. + + + + CHRISTINE + Well your company did. + + + + TONY + Come with me. + + + + He leaves, making a bee line for-- + + + + +102 EXT. DISNEY CONCERT HALL - MINUTES LATER - NIGHT 102 + + Tony strides out to the red-carpet paparazzi. + + TONY + I made some promises I’m not going + to be able to keep. I suggest you + pull all your money out of Stark + Industries immediately -- + 103. + + + + +Obadiah is suddenly there, steering Tony up the entrance +stairs. + + OBADIAH + Is this like a tick for you? + Whenever you have a feeling, you + start going to all the people who + don’t trust you, who don’t protect + you. They’re going to put a spin on + everything you say. + + + + TONY + Wait a minute. I got to ask you + something. I’m dead serious about + this. I’m not kidding. Am I losing + my mind or is Pepper really cute? + Do you think she’s attractive and + interesting, or is it just that her + hair is down? I’ve been out of the + game for a while. + + + + OBADIAH + Are you out of your mind. You’re + messing with the “guys in the + rooms”, we’re talking about billion + dollar interests, the world order - + - + + + + TONY + I’m not worried about that right + now -- + + + + OBADIAH + -- you should be. You’ll disappear. + I can’t protect you against people + like that --? + + + +The Paparazzi has snuck up on them, snapping photos. + + OBADIAH + DO YOU MIND? + 104. + + + + +They go further up the stairs. + + OBADIAH + Tony don’t be so naive -- + + + + TONY + -- naive? I was naive before, when + I was growing up and they told me + don’t ever cross this line, this is + how we do business. In the meantime + we’re double-dealing under the + table. We don’t even deserve to + represent the United States -- + + + + OBADIAH + -- Tony, you’re a child --! + + + + TONY + -- you don’t believe I can turn + this company around, do you --? + + + + OBADIAH + -- you’ve got about as much control + over things as a child riding in + the backseat of your father’s car + with a red plastic steering wheel + in your hand. + + + + TONY + Maybe I’ll just get out of the car. + + + + OBADIAH + You’re not even allowed in the car. + (then) + I’m the one who’s filing the + injunction against you. + 105. + + + Tony is shell-shocked. Then, he goes after Obadiah. They + jostle and Obadiah backs off as Tony goes ballistic. The + paparazzi snap photos. + + OBADIAH + It’s the only way I could protect + you. + + + + Aki (from earlier) and several Obadiah’s Men, smiling, but + steely-eyed, step in to prevent Tony from following Obadiah + to his waiting car. + + TONY + (yelling after Obadiah) + This is going to stop. + + + + CUT TO: + + + + +103 INT. TONY’S WORKSHOP - NIGHT 103 + + Tony, wearing a Mark III gauntlet, wired to his RT chest- + piece, turns a screwdriver to adjust the power. + + On the wall beside him a flat screen TV: live war footage, + refugees huddled. The bottom crawl reads, “BREAKING NEWS - + TRAGEDY IN GULMIRA.” + + TV REPORTER’S VOICE the ten mile drive to the outskirts of + Gulmira can only be described as a descent into Hell, into + a modern-day Heart of Darkness. + + Simple farmers and herders, from peaceful villages, driven + from their homes at the butt of Western rifles and the + turrets of modern tanks. Displaced from their lands by + Warlords and insurgent groups emboldened by their newfound + power, a power fueled by high-tech weapons easily purchased + with Poppy money on the black market and further + destabilizing a fragile region which for decades has been a + tinderbox of tribal feuding and ethnic hatred. + + Tony aims the gauntlet at some light fixtures. Gives them + an RT blast. They spark and fall from the ceiling. + + TV REPORTER’S VOICE (CONT’D) + 106. + + + The villagers have taken shelter in + whatever crude dwellings they can + find -- in the ruins of other razed + villages, in the cold barren + scrublands, or in the remnants of + an old Soviet smelting plant. Our + translator relayed to us one human + tragedy after another. + + + + A seven year old boy, thin as a scarecrow,clutching + yellowed photographs and holding them out to anyone who + would stop, with a child’s simple question: where are my + mother and father? + + A woman, begging for news of her husband, who’d been + kidnapped by insurgents, either forced to join their + militia, or to be shot without reason. + + Tony adjusts the gauntlet again, raising the power level. + Blasts a window in the lab, shattering the glass and + knocking a painting off the wall. + + TV REPORTER’S VOICE (CONT’D) + With no political will or + international pressure, there is + little hope for these newly-formed + refugees. Refugees who can only + wonder one thing: is the world + watching? + + + + A final adjustment. Another RT blast, this time Tony wipes + out the plasma TV screen. + + + + +104 INT. TONY`S WORKSHOP NEW ANGLE - MINUTES LATER 104 + + Pepper enters, regards the destruction, the massive hole in + the ceiling, then Tony. He is stoic. + + PEPPER + Are you going to tell me what’s + going on? + + + + TONY + (never looking at her) + 107. + + + Get my house in Dubai ready. I want + to throw a party. + + + + She’s flustered by his abrupt tone. + + PEPPER + Yes. Mr. Stark. + + + + +105 EXT. DUBAI SKYLINE - ESTABLISHING - STOCK FOOTAGE - DUSK 105 + + +106 EXT. TONY’S DUBAI VILLA - DUSK 106 + + Festively lit up, music cranking. Expensive cars pulling + up, valets scurrying. Beautiful people everywhere. + + + + +107 INT. DUBAI VILLA - SAME TIME - DUSK 107 + + Tony weaves through glitzy guests, saying hello, shaking + hands, slapping shoulders. + + TYCOON + Tony! You never said what is the + big occasion? + + + + TONY + Ever known me to need one? + + + + The Tycoon laughs, as Tony keeps moving. + + + + +108 EXT. TONY’S DUBAI VILLA - POOLSIDE - HOURS LATER - NIGHT 108 + + The party in full tilt now. Guests dancing everywhere, or + splashing around in the pool. + + Tony moves along, arm-in-arm with two exotic beauties + (DUBAI BEAUTY #1 & DUBAI BEAUTY #2). Pepper approaches him. + 108. + + + PEPPER + Well you seem back in old form. + + + + TONY + Life of the party -- isn’t that + what everyone wanted? + (then) + Cue the fireworks in five, would + you? + + + + DUBAI BEAUTY #1 + Kinky! + + + + He stumbles towards the house with the two giggling women + + PEPPER + Sure. + (with edge) + Don’t hurt yourself. + + + + +109 INT. MASTER BEDROOM - TONY’S DUBAI VILLA - MINUTES LATER - 109 + NIGHT + + The Dubai beauties tumble onto the huge bed. + + TONY + I’ll be right back. Why don’t you + two get started without me. + + + + They laugh and he checks his watch, then slips out a side + door, instantly sober. + + + + +110 EXT. TONY’S DUBAI VILLA - POOLSIDE - MINUTES LATER - NIGHT 110 + + Guests congregate, watching the massive fireworks show. The + HISS and BOOM of launching and bursting rockets. + + NEW ANGLE - PEPPER + 109. + + + Alone, staring off. She spots a streaking ‘rocket’, but + unlike the others, it disappears without exploding. + + CLOSER - FIREWORKS: heavy concussion, lighting up the sky. + + + + +111 EXT. SKY - DAWN 111 + + Tony flying against the backdrop of rising dawn. Peaceful. + + SMASH CUT TO: + + + + +112 EXT. GULMIRA - DAY 112 + + A mortar explodes in our face. + + Smoke drifts away revealing a terrified MOTHER and her FOUR + KIDS huddled in a cave-like crawlspace. She doesn’t have + enough arms to cover them all. + + THEIR POV - OF ‘ALLEY’ OUTSIDE: an abandoned industrial + facility. GUNFIRE, SCREAMING. + + In the distance ragged tents and shanties are beset upon by + black clad Irregular Forces, firing and burning and + destroying. + + Soldiers toss grenades into rat holes. Hunter-killer teams + fire at offscreen targets then smile with satisfaction. + + The oldest of the four kids in the crawlspace darts out + into the alley, frantically calling -- + + KID + Arto! ARTO! + + + + On his way back he’s surprised by a four man hunter-killer + team. They shout at him to drop the puppy, but he won’t. + + The men cock their guns, briefly distracted by a strange + rocket-streak in the sky. + + Never mind, they take aim on the boy, and are about to fire + when IRON MAN lands before them, slamming his fist to the + ground in the classic Granov fist smash. + 110. + + + With a single RT blast the Soldiers are thrown fifty yards. + Tony scoops up the Kid, with the barking mutt in his arms, + and they take off. + + NEW ANGLE - CRAWLSPACE + + Iron Man drops down, delivering Kid and dog back to safety. + The Kid, ignoring his mother’s protests, darts back out to + watch Iron Man. He sees a soldier flying like a ragdoll + from behind a heap of bricks. + + The Boy moves for a better view and sees Iron Man in full + terrible glory, deflecting withering fire while laying + waste to a cluster of militants with his fists and bursts + of RT. + + Refugees slowly emerge from their cover, stunned to watch + Soldiers retreating in fear. + + CUT TO: + + Raza, his wounds healed like papier-mâché, observing his + retreating men from a command post. He grabs a rifle, steps + through a building, and spots Iron Man, in the distance, + throwing a Soldier through a wall. + + Raza scrunches into nook, riveted. + + NEW ANGLE - IRON MAN + + Picks a Soldier up, who’s about to fire an RPG. Holds an RT + palm to the man’s face. + + SOLDIER + (shuddering in terror) + Geneva Convention! Article Three! + Geneva Convention -- + + + + Tony disarms the soldier, tosses him down. The Soldier + scrambles away for his life. + + Suddenly Tony is jarred by a sniper’s bullet. + + + + +113 INT. TONY’S SUIT - SAME TIME 113 + + A thermal silhouette of a rooftop sniper. Tony fires RT, + but “OUT OF RANGE” flashes. + 111. + + + CUT TO: + + Tony is hit again. He spots a Jeep wheel and grabs it. + + CUT TO: + + Calculations cascade across Tony’s display, culminating in + a hyperbolic arc with a blinking target. + + CUT TO: + + Full view of Tony as he whips the wheel like a discus. + + CUT TO: + + The Sniper, as he’s hit and flies off the roof. + + CUT TO: + + Tony, turning, intrepid -- he’s ready to mop up the rest. + + + + +114 INT. CENTRAL AIR OPS CTR - EDWARDS AFB - SAME TIME - NIGHT 114 + + In the glow of consoles, and on huge SCREENS, Officers + watch grainy satellite views of the action on the ground. + + SCREENS: A vague figure moving through the battle haze and + smoke. Flying, blasting, Insurgents fleeing. + + MAJOR ALLEN (50s) enters the CAOC, taking in the Images. + + MAJOR ALLEN + Are we in there? + + + + OFFICER + Negative, it’s a local skirmish, + green-on-green. + + + + MAJOR ALLEN + (scrutinizing the + screens) + Anyone want to tell me what the + hell I’m looking at? + 112. + + + OFFICER + A drone? An advanced robotic? We + don’t know what it is, Sir. + + + + MAJOR ALLEN + Get someone down here from Weapons + Development -- now. + + + + +115 EXT. GULMIRA - SAME TIME - DAY 115 + + Emboldened Refugees emerge from hiding in droves, when a + tank shell blasts the building next to Tony. He staggers. + The tank rolls towards him smashing makeshift hovels. + + Tony gets to his feet, squares off with the tank, its + turret zeroing on him. + + CUT TO: + + Tony’s H.U.D.: switching to a schematic overlay of the + Stark- designed tank. He identifies its weak spot, then -- + + CUT TO: + + A forearm panel pops open on Tony’s suit, revealing a mini- + missile pod. He fires and the missile nails the weak spot. + A chain reaction, then the tank explodes, raining debris. + + Then Tony is surprised from behind. He whirls, brandishing + his glowing palm. + + But it’s only the little Boy from earlier, holding an apple + out to him. + + He musses the boy’s hair, waves and takes off. The Kid + watches in awe. + + ANGLE ON - RAZA + + Like a rat hiding in a crawlspace. He dials on a Sat-Phone, + watching as Iron Man flies below the rafters. + + RAZA + (subtitled) + Put me through to the boss. + 113. + + + ANGLE ON - REFUGEES + + Cheering faces as Tony does a low pass over them, and + climbs into the sky. + + The battlefield smolders below as Tony rises to the clouds. + + + + +116 INT. TONY’S SUIT - SAME TIME - DAY 116 + + TONY + Jarvis, plot a course for home. + + + + +117 INT. CENTRAL AIR OPS CTR - SAME TIME - NIGHT 117 + + Rhodey enters, pulling off his jacket. He paces past + screens taking in the SAT-IMAGES of Iron Man’s assault on + Gulmira. + + MAJOR ALLEN + So what do we have here, Rhodes? + + + + RHODEY + I don’t think it’s Russian, or + Chinese. + + + + MAJOR ALLEN + Then where did it come from? + + + + RHODEY + (thinking, then) + Let me make a call. + + + + Rhodey punches a number on a console. All around him, + pixelated images of destruction. + + CUT TO: + 114. + + +An INCOMING CALL flashes up on Tony’s HUD. D.O.D. EMERGENCY +CALL. + + TONY + (hesitates, then) + Put it through, Jarvis. + (listens) + Yeah? + + + + CUT TO: + +Rhodey paces listening to the headset, away from the chaos. + + RHODEY + Tony, it’s Rhodey. + (then) + What the hell’s that noise? + + + + TONY (O.S.) + I’m in the convertible. Not the + best time -- + + + + CUT TO: + +TONY’S SUIT + + RHODEY (O.S.) + I need a quick ID. What do you know + about un-manned combat robotics, + with air-ground capabilities. + + + + TONY + Never heard of anything like that. + Why? + + + + CUT TO: + +CAOC, a TOPO MAP showing Iron Man’s “dot” about to cross a +line. + + OFFICER + UAV has entered the no-fly zone-- + 115. + + + + + RHODEY + Because I think I’m staring at one + right now, and it’s about get blown + to Kingdom Come. + + + + ALARMS add to the frenzy of the control room. + + MAJOR ALLEN + Rhodes! You got something for me? + + + + TONY (O.S.) + Uhh-- ’kingdom come’? + + + + CUT TO: + + Two USAF F-22 Raptors flash out of the clouds like sharks. + + CUT TO: + + TONY’S HUD: His ALARM SOUNDS, “PROXIMITY WARNING” FLASHES. + + TONY + This is my exit -- gotta go. + + + + CUT TO: + + + + +118 EXT. SKY 118 + + FRONTAL: we see Tony going turbo and rolling out of view in + a treacherous bank. The F-22s curve expertly onto his tail. + + VIPER 1 (O.S.) + Ballroom Control -- this is Viper 1 + & 2 checking in. UAV is in sight. + + + + MAJOR ALLEN (O.S.) + Viper: target at 330 for 10 miles. + 116. + + + + + Tony screams past us, trying to outrun the pursuing jets. + + CUT TO: + + + + +119 INT. CONTROL ROOM 119 + + The CAOC SCREENS now fill up with images from the belly- + cams of the Raptors. The pursuit of Iron Man. Awe- + inspiring. + + Officers react. Rhodey’s face. Holy shit. What is it? + + +120 INT. F-22 VIPER 1 - FLYING - SAME TIME - DAY 120 + + From behind the Pilot: as he fights to stay with Tony. + + VIPER 1 + Ballroom, contact appears to be an + unmanned aerial vehicle-- + + + + MAJOR ALLEN (O.S.) + Ballroom copies, you are cleared to + engage. + + + + The cockpit’s BITCHING-BETTY now speaks in a calm voice. + + BITCHING-BETTY (O.S.) + Locked on! Locked on! + + + + CUT TO: + + Viper 1’s F-22 fires a SIDEWINDER MISSILE. + + CUT TO: + + Iron Man goes full tilt as the missile closes in fast. + + CUT TO: + + TONY’S HUD: a red dot moves across the center of his face. + 117. + + + JARVIS (O.S.) + Incoming Sidewinder in five-- four- + - three-- two-- + + + +‘COUNTER-MEASURES’ flashes on the screen. + + CUT TO: + +A hatch opens on the Iron suit. Chaff is released. + + CUT TO: + +The Sidewinder hits the cloud of chaff and the missile +detonates. Iron Man shoots from the fireball. The Raptors +veer. + +Iron Man dives, rolls into dizzying evasive maneuvers. +Pulling heavy Gs. The F-22s stay glued to his tail. + + CUT TO: + +HUD: Tony nearly blacks out as the G-Force Meter hits red. + + JARVIS (O.S.) + Sir, may I remind you that the suit + can handle these maneuvers. You + cannot. + + + + CUT TO: + +The F-22s now spray heavy cannon-fire in Iron Man’s path. + +Tracer rounds streak past Tony, exploding, hitting him, +ricocheting off the armor. Tearing him up. + + TONY (O.S.) + Jarvis -- AIR BRAKES! + + + +The brakes pop out from the suit and Tony instantly slams +down to a quarter-speed. The jets blow past him. + + CUT TO: + + VIPER 1 + That was not a drone. + 118. + + + + +Viper 1, checking his scope. Nothing. + + VIPER 2 (O.S.) + Where the hell is it? + + + + CUT TO: + +Rhodey, his wheels beginning to turn, stares at the belly- +cam monitors. Nothing but sky and clouds. Then -- + + OFFICER + Lt. Colonel Rhodes, I have Tony + Stark calling-- + + + + RHODEY + Put him through. + + + +The call clicks on Rhodey’s headset. A low ROAR in the b.g. +Rhodey strains to hear. + + TONY (O.S.) + Rhodey, I had Jarvis run a check. I + might have some info on that UAV. A + piece of gear like that might + exist. Might definitely exist -- + + + +Rhodey speaks low, away from the Major. + + RHODEY + Wouldn’t happen to be red and gold, + would it? + + + + CUT TO: + +Viper 1&2 in close formation, searching, searching. Viper 2 +begins to bank slowly, and coming into view Iron Man +clinging to the underside of one of the Raptors. + + VIPER 1 (O.S.) + 119. + + + Viper 2 -- he’s on your belly! + Shake him! + + + + VIPER 2 (O.S.) + What--? + + + + CUT TO: + +CONTROL ROOM + +ALLEN’s eyes go wide at the belly-cam images. The Iron suit +hangs on for dear life as the Raptor tries to shake it. + + VIPER 1 (O.S.) + Ballroom: that is definitely not a + UAV. + + + + MAJOR ALLEN + What is it then? + + + + VIPER 1 (O.S.) + I think it’s-- a Man, sir. + + + +PUSH IN: on Rhodey, as all the pieces click. + + RHODEY + Son of a bitch. + (then) + Tony--! + + + +But the line is dead. + + CUT TO: + +Viper 2, frantic, looking out both sides of the cockpit, +trying to spy Iron Man, shaking the jet harder. + + VIPER 1 (O.S.) + Still there Viper 2. ROLL! ROLL! + 120. + + + + +Viper 2 works the stick, world becoming a centrifugal blur. + + CUT TO: + +Viper 2 engages in dangerous rolls. The horizon spins as +Iron Man clings desperately for life. + + CUT TO: + +INSIDE SUIT: BUZZERS. WARNING LIGHTS FLASH: “POWER 28%”. + + JARVIS (O.S.) + Sir: two minutes and there won’t be + sufficient power to get home. + + + + CUT TO: + +Finally, Tony is jarred loose, tumbling and hits Viper 1’s +tail-fin, shearing it off. The jet careens out of control. + + VIPER 1 (O.S.) + I’M HIT! + + + + CUT TO: + +Inside Viper 1’s Raptor, spiraling crazily. + +Viper 1 pulls his EJECT and blasts out of the crippled jet. + + CUT TO: + +The sky, as we fall with Viper 1, his chute failing to open +as he pulls the damaged lever. + +And he continues plunging, Earth and sky revolving like +one. + + MAJOR ALLEN (O.S.) + Viper 2, do you see a chute? + + + + VIPER 2 (O.S.) + Negative! No chute, no chute-- + 121. + + + CUT TO: + +Iron Man zipping through the clouds. + + JARVIS (O.S.) + Power critical, set course for home + immediately. + + + +But Tony dives, vortices curling off his feet as he pursues +the tumbling pilot. + + VIPER 2 (O.S.) + The UAV is going after him! It’s + attacking--! + + + + CUT TO: + +Iron Man reaches the pilot, and they are face to face a +split second, before he yanks the chute mechanism free and +the chute snaps open, yanking the pilot up and out of view. + + VIPER 2 (O.S.) + GOOD CHUTE! GOOD CHUTE! You’re not + gonna believe this, Ballroom-- but + that thing just saved his ass. + + + +Iron Man banks sharply, coming dangerously close to the +ground. Viper 2 barrel-rolls onto his tail. + + CUT TO: + +Rhodey and Major ALLEN are glued to the SCREENS. + + MAJOR ALLEN + Viper 2: re-engage. + + + + RHODEY + -- WAIT --! + + + + MAJOR ALLEN + -- TAKE THE TARGET OUT! + 122. + + + + + RHODEY + Major, call off that Raptor. You + don’t know what you’re shooting at. + + + + MAJOR ALLEN + We’ll find out when recover the + pieces. + + + + CUT TO: + +Viper 2’s Bitching Betty activates. + + BITCHING-BETTY (O.S.) + LOCKED ON! LOCKED ON! + + + +Viper 2, staying with Tony in a barrel roll-- + + VIPER 2 + Ballroom: understand, you want me + to engage the UAV? + + + +The Pilot’s finger hovers over the kill button. + + CUT TO: + + MAJOR ALLEN + Copy. + + + + RHODEY + Negative, Viper 2, disengage. + + + + MAJOR ALLEN + It’s not your call. That thing just + took out an F-22 inside a legal no- + fly zone. + (then) + Viper 2: you get a clean shot you + take it. + 123. + + + + + Rhodey’s eyes are locked on the screens. + + CUT TO: + + Viper 2 fires its missile. It races towards Iron Man. + Evasive maneuvers, chaff released. Then the explosion, way + too close for comfort. Iron Man is thrown from the frame by + the fireball. + + CUT TO: + + Iron Man’s “dot” vanishes from the screens. + + MAJOR ALLEN + Viper 2. Can you confirm the kill? + + + + VIPER 2 (O.S.) + I got him good. He went down, he + was smokin’. But I cannot confirm. + + + + Rhodey reacts. + + + + +121 INT. TONY’S DUBAI VILLA - ALCOVE - SAME TIME - DAY 121 + + Pepper sitting on a small bench, head propped in her hand, + having dozed off. + + A WHOOSH and a streak flashes outside the window, startling + her awake. + + Pepper rises, looking around, then exits frame -- + + + + +122 INT. TONY’S DUBAI VILLA - SITTING ROOM - MINUTES LATER - 122 + DAY + + Pepper enters, cautiously, moving towards something in the + shadows. We hinge as she passes us, to REVEAL Tony, sitting + in a huge chair, the armor scarred and still smoking. + Helmet off, bleeding from the nose and ears. A drink in one + shaky hand. + 124. + + + TONY + Get me home-- + + + + +123 EXT. SNOW-COVERED WASTELAND - OUTSKIRTS OF GULMIRA - NIGHT 123 + + A few yurts. Raza’s bivouacked men lick their battle + wounds. A devastated band. They grab their guns and stand- + to as a train of black Suburbans arrive. Private Security + Guards exit and take up positions. + + Then the scarred Raza saunters out of a yurt and goes to + the lead Suburban. Its door opens and out steps Obadiah + Stane gazes about, unfazed, then -- + + RAZA + Welcome. + + + + Obadiah assesses the scars on Raza’s face. + + RAZA + Compliments of Tony Stark. + + + + OBADIAH + If you’d killed him when you were + supposed to, you’d still have a + face. + + + + RAZA + You paid us trinkets to kill a + prince. An insult, to me and the + man whose ring I wear. + + + + CLOSE ON - RAZA’S RING: the familiar ten interlocked rings. + + OBADIAH + I think it’s best we don’t get him + involved in this. + (then) + I’ve come a long way to see this + weapon. Show me. + 125. + + + RAZA + Come. Leave your guards outside. + + + + +124 INT. RAZA’S YURT - NIGHT 124 + + Obadiah enters and stares down, transfixed. + + STANE’S POV: THE REASSEMBLED GRAY ARMOR suspended on wires. + + RAZA + His escape bore unexpected fruit. + + + + OBADIAH + (as it dawns on him) + --so this is how he did it. + + + + RAZA + This is only a crude first effort. + But he’s perfected his design-- + + + + Raza hands grainy surveillance photos to Stane. + + CLOSE ON - VARIOUS PHOTOS: Iron Man wreaking havoc in + Gulmira. + + Stane has seen the future. Then he looks down at -- + + Tony’s crusty laptop. The onion-skin schematics. + + OBADIAH + What’s this? + + + + RAZA + The inside of Tony Stark’s mind. + + + + Raza arranges the schematics on a light board, and the + sketches laid together become-- Iron Man. + + RAZA + 126. + + + Everything you will need to build + this weapon. + + + +Obadiah is circling the armor now, taking it all in. Raza +sits and pours tea. + + RAZA + Stark has made a masterpiece of + death. A man with a dozen of these + could rule from the Pacific to the + Ukraine. And you dream of Stark’s + throne -- we have a common enemy. + + + +Now Stane pokes at the vacant hole in the chest plate. + + RAZA + If we are back in business, I give + you these designs as my gift. In + turn, I hope you will repay me with + a gift of iron soldiers. + + + +Obadiah smiles, places his hands on Raza’s shoulders, as if +going to hug him in brotherhood. + + OBADIAH + (in perfect Urdu) + This-- is the only gift you shall + receive. + + + +Raza is strangely confused. Paralyzed. Blood begins running +from his ear. + +And now, in Obadiah’s hand, we realize he’s holding a +device. A sonic taser. + +Obadiah removes a pair of filtering ear-plugs as Raza +crumples to the dirt. + + OBADIAH + Technology -- + (holds up the taser) + it’s always been your Achilles + Heel. Don’t worry, it’ll wear off + in fifteen minutes -- but that’s + the least of your problems. + 127. + + + + + Obadiah removes Raza’s ring, studies it. Then he turns and + exits-- + + + + +125 EXT. RAZA’S YURT - CONTINUOUS - NIGHT 125 + + As he steps out of the tent, Obadiah sees by the Suburbans, + Raza’s men kneel, guns to their heads. + + OBADIAH + (to head guard) + Crate up that armor and the rest of + it. + + + + We TRACK WITH Obadiah as he passes Raza’s kneeling men. + + OBADIAH + Send them to their virgins. + + + + The SOUND of MACHINE GUN FIRE. Obadiah does not flinch. + + + + +126 INT. PHIL COULSON’S OFFICE - DAY 126 + + Phil Coulson at his desk. He picks up the phone and dials. + + COULSON + Ms. Potts. It’s Agent Coulson from + the Strategic Homeland Inter-- + + + + PEPPER (O.S.) + Yes, I know. Unfortunately Tony is + not going to be available to sit + down with you for a while. + + + + COULSON + Really? And why is that? + 128. + + + + + PEPPER (O.S.) + He’s uh, there’s a-- Tony won’t be- + - + + + + COULSON + Maybe I can meet with you instead? + + + +INTERCUT - TONY’S LIVING ROOM - SAME TIME + + PEPPER + Why? I don’t know anything. + + + + COULSON (O.S.) + About what? + + + + PEPPER + About anything. + + + +There’s a BUZZ. Pepper eyes the security monitor and sees +Rhodey. + + RHODEY (ON MONITOR) + Pepper. It’s Rhodey. + + + + PEPPER + (pressing a button) + Come in. + + + + COULSON (O.S.) + I’d just like to ask you a few + questions. + + + + PEPPER + 129. + + + I’m really jammed right now. Booked + solid for the next few weeks. I + have to go. + + + +Rhodey enters, grim. + + COULSON + Let’s just put something on the + books. How about + (checks his calendar) + the twenty-eighth? Seven PM, at + Stark Industries? + + + + PEPPER + Great. Perfect. Bye. + + + +She hangs up. + + RHODEY + How’s he doing? + + + + PEPPER + Not so good. + + + + RHODEY + I want to see him. + + + + PEPPER + You can’t see him right now. + + + +Rhodey eyes the hole in the ceiling, worried now. + + RHODEY + What the hell is going on here? + (off her silence) + Let me in there, Pepper. + 130. + + + She faces off with him. Then allows him by. + + PEPPER + You want to see him? Fine. See what + you’ve done to him. + + + + +127 INT. TONY’S BEDROOM - STARK ESTATE - MINUTES LATER 127 + + Tony lies in bed, tethered to all sorts of medical + equipment. + + Rhodey enters, stunned at Tony’s state. Pulls up a chair + and sits. Tony drifts in and out of consciousness. + + RHODEY + Look at you-- what were you + thinking? + + + + TONY + Weapons I built are being used to + kill innocent people. Can’t let + that happen anymore. + + + + RHODEY + You can’t go around and blow up + stuff every time you see something + you don’t like on TV. + + + + TONY + Yes I can. + + + + RHODEY + You got lucky, next time they’ll + blow you to pieces. + + + + TONY + Next time, maybe I won’t play + defense. + 131. + + + + + Rhodey, floored, gets to his feet. Paces. + + RHODEY + Does Pepper know about this? + + + + He nods, his eyes starting to flicker. + + RHODEY + You’ve put me in a tough spot here. + What am I supposed to do? + + + + TONY + That’s up to you. I’ve made my + choice -- I’m not going to sit on + the sidelines anymore -- I’m going + to fight for what’s right. + + + + RHODEY + Don’t you get it? It’s not up to us + to decide. + + + + TONY + That’s where you’re wrong-- + + + + He drifts into unconsciousness. + + + + +128 INT.SUB-BASEMENT PIPE ROOM - STARK INTERNATIONAL HQ - DAY 128 + + Windowless and full of pipes. The Mark I armor, dissected + into its pieces, hovers mid air, suspended by wires. + + Elite Engineers from the Stark empire are hard at work, + milling and machining armored parts. Obadiah walks among + them. + + OBADIAH + 132. + + + Civilization, gentlemen, has been + preserved by the right people + having the right idea at the right + time. You are shaping in your + hands, this very moment, the future + of this company, and this nation. + But it is imperative this project + remain data-masked, that it’s + existence never leave these walls. + Make no mistake -- this is a + ‘tool’, that in wrong hands, could + jeopardize civilization as we know + it. + + + + Obadiah faces the Head Engineer. + + HEAD ENGINEER + Give us full access to the Sampson + Cluster, and we’ll have you a + prototype in record time. + + + + OBADIAH + The Sampson’s yours. We go 24-7. + + + + +129 EXT. CAVE - AFGHANISTAN - DAY 129 + + Yinsen, framed by the mountains in the b.g., stares at us. + + YINSEN + Are you on the right path? I don’t + know-- what does your heart tell + you, Stark? + + + + HOLD on Yinsen, then -- + + CUT TO: + + + + +130 INT. TONY’S BEDROOM - DAY 130 + + Tony waking up in his gilded bedroom, alone. + 133. + + + He catches his own sad reflection in a mirror. Hooked up to + IVs and machinery that PINGS and HISSES. + + + + +131 INT. TONY’S BEDROOM - DAY 131 + + Pepper enters and finds Tony’s bed empty. + + + + +132 INT. TONY’S WORKSHOP - DAY 132 + + Pepper enters as Tony toils away at an eviscerated suit + suspended from a chain winch. + + TONY + This device will hack into Stark + Industries mainframe. I need you to + go to there and retrieve all + shipping manifests. + + + + PEPPER + What are you doing? Absolutely not + you should be in bed-- + + + + TONY + --they’ve been dealing weapons + under the table and I’m going to + stop them. + + + + PEPPER + Absolutely not. I’m not helping you + with anything if you’re going to + start this again. + + + + TONY + There is nothing else. There’s no + art opening. There’s no benefit. + There’s nothing to sign. There’s no + decisions to be made. There’s the + next mission and nothing else. + There’s nothing except this. + 134. + + + + + PEPPER + I quit. + + + + TONY + Really? You stood there by my side + when all I did was reap the + benefits of wholesale + irresponsibility and destruction + and now that I’m trying to right + those wrongs and protect the people + I put in harms way you’re going to + walk out on me. + + + + PEPPER + You’re going to kill yourself. I + can’t support that. + + + + TONY + So far so good. + (beat) + Pepper. I know what I have to do. I + don’t know if I can, but I know in + my heart that it’s right. And you + do too. And I can’t do it without + you. + + + + +133 INT. SUB-BASEMENT PIPE ROOM - SAME TIME - DAY 133 + + Obadiah, next to his Head Engineer. Behind them are the + hulking steel legs of the Dynamo, extending out of frame. + The sparks from a welding gun shower down. + + HEAD ENGINEER + There’s no technology that can + power this thing. + + + + OBADIAH + I told you, miniaturize the ARK + reactor. + 135. + + + + + HEAD ENGINEER + I’m sorry, Mr. Stane, I’ve tried. + What you’re asking for can’t be + done. + + + + OBADIAH + Tony Stark was able to do it in a + cave -- with a box of scraps. + + + + HEAD ENGINEER + Well-- I’m not Tony Stark. + + + + HOLD ON - OBADIAH: his mind churning something. + + + + +134 INT. HALLWAY - STARK INDUSTRIES - NIGHT 134 + + After hours, few people around. Pepper hurries down the + dimmed main hallway of Stark Industries. Casting nervous + glances back behind her. + + + + +135 INT. TONY’S OFFICE - MINUTES LATER - DAY 135 + + Pepper at Tony’s computer. She plugs in the hacking device + (the size of a jump-drive) Tony gave her. + + MONITOR: the screen as the device starts hacking through + Obadiah’s passwords, firewalls, security nets. + + She’s in. She watches items scroll up from Obadiah’s hard + drive. + + MONITOR: Jericho Missile orders. Shipping manifests. + + PEPPER + Make a copy of everything-- + 136. + + +More. Schematics and blueprints. For sections of the Dynamo +suit. For the pipe room under the Ark Reactor. + + PEPPER + What are you doing, Obadiah? + + + +She glances towards the door, thinking she heard something. +Waits. Nothing. + +THE MONITOR: an icon now appears, with Arabic text +underneath. An icon for a video clip. + +She double clicks, watches MONITOR a grainy video clip +opens: Tony, half-dead, tied to a chair. Raza and his +henchmen behind him. It’s the ‘decapitation tape’ made in +the cave months ago. + +She shakes her head, disbelieving. + + PEPPER + Translate-- + + + +CLOSE ON - MONITOR: as the clip plays, the translated text +appears like subtitles: “Obadiah Stane, you have deceived +us...the price to kill Tony Stark has just gone up...” + +Pepper, shell-shocked, gapes at the monitor. + +PEPPER’S POV: she looks up from the monitor to see Stane +standing there in the doorway. + +She nearly leaps out of her skin. + + OBADIAH + What a nice surprise. + + + + PEPPER + I-- just wanted to get some of my + personal stuff. + (nods to the monitor) + And my resume. In case. + (grins) + You know how I love job hunting. + 137. + + +He circles around the desk and Pepper quickly changes +screens, replacing the DOWNLOAD INDICATOR with GOOGLE. + + OBADIAH + How’s Tony? + + + + PEPPER + Honestly-- I don’t know. He’s shut + me out. + + + + OBADIAH + You and everyone else. + + + +He circles her, picking up a photo on the desk of Tony. +Pepper stiffens, flicks a glance at the hacking jump-drive +protruding. The WHIRR and GRIND of the hard drive as it +copies Stane’s files. + + PEPPER + This-- thing between you, it’s + hurting him. You’re the only real + father Tony ever had. It would mean + so much if you could just talk -- + + + + OBADIAH + (matter-of-fact) + Tony’s imploding -- it’s + unfortunate. + (then) + You should consider whether you + want to take that ride with him. + + + + PEPPER + “Unfortunate?” + + + + OBADIAH + You know I love Tony -- but this is + business. We can’t save him, but we + can save his legacy. + 138. + + + She flashes to the download screen, “87%” completed. + + OBADIAH + It’s tragic, but-- Tony never + really came home, did he? + + + + He circles behind her again, looking closely at the screen + again depicting Google ads. + + OBADIAH + This company has a bright future, + I’d like you to be a part of it. + + + + He smiles and touches her cheek. She shuts off the + computer. + + OBADIAH + Tony doesn’t understand your value. + He never did. + + + + PEPPER + Are you-- offering me a job? + + + + OBADIAH + Think about it. + (then) + Come on, I’ll walk you out. + + + + He takes her box of personal effects, waits for her. As she + passes the computer, she snatches the jump drive out, + palming it. A tense moment: did he see her? + + + + +136 INT. LOBBY - STARK INDUSTRIES - DAY 136 + + Pepper descends the stairs as Obadiah hovers above on the + balcony railing watching her. + + PEPPER’S POV: by the Security Desk, a savior: Agent Coulson + gestures and argues with the Security Guard. + 139. + + + Pepper rushes over, startles Coulson by linking arms with + him and dragging him towards the door. + + COULSON + Miss Potts, did you forget our + appointment? + + + + PEPPER + No. Of course not. I’ve been very + much looking forward to it. + Let’s-- + (looks over her shoulder) + why don’t we do this somewhere + else? + + + + They push outside. Obadiah still watches from above. + + + + +137 INT. TONY’S WORKSHOP - NIGHT 137 + + Noisy as Tony slaves away on the CNC machine. Behind him + is-- + + A SCREEN: listing six messages, all the same: “MISSED CALL + - PEPPER.” + + Suddenly, the CNC machine powers down unexpectedly. + + TONY + What gives, Jarvis? + + + + JARVIS (O.S.) + You have a visitor, Sir. Obadiah + Stane is here. + + + + +138 INT. TONY’S LIVING ROOM - NIGHT 138 + + Obadiah holds a pizza. + + OBADIAH + 140. + + + It’s UNOS. Four cheese. I just had + it flown in from Chicago. + + + +Tony remains stoic. Obadiah puts the pizza down, crosses to +Tony and hands him a letter. + + OBADIAH + I’d like you to proofread something + for me. + + + + JARVIS (O.S.) + Would you like me to spell-check + it, Sir? + + + + OBADIAH + Can you turn him off? All the way? + + + + TONY + (as he scans the letter) + Spin down Jarvis. + + + +Tony looks up from the letter, surprised. + + TONY + Your resignation. + + + + OBADIAH + You were right. It’s not my company + -- not my name on the building. + We were a great team-- but I guess + this is where our paths diverge. + + + +Tony hears a blip from the phone system. + +CLOSE ON - ANSWERING SYSTEM LCD + +“INCOMING. PEPPER POTTS” appears. + 141. + + +Tony looks to Obadiah. + + TONY + Pepper. I should take that. + + + + OBADIAH + Tony. Please. I’ll be out of here + in a minute. + + + +Tony finally nods, pushes a button, sending the call to +voicemail. + +Obadiah meets Tony’s eyes, fatherly. Puts a hand on Tony’s +shoulder. + + OBADIAH + We have too much history to part on + bad terms. I’d like your blessing. + + + +Tony’s eyes, suddenly registering a paralyzing pain. + +FLASH ON: Stane’s ear, the blue electronic ‘filter’, like +the ones he wore with Raza. + +Tony sinks back in his chair. Stane places the sonic taser +down on the table. + + OBADIAH + Easy, now. Try to breathe-- + + + +He kneels beside Tony. Unbuttons Tony’s shirt. + + OBADIAH + You can’t mess with progress, Tony. + It’s an insult to the Gods. You + created your greatest weapon ever + but you think that means it belongs + to you. It belongs to the world. + + + +CLOSE ON - TONY’S EYES: wide with pain, unable to move. All +he can do is gasp and gurgle as Stane begins removing the +chest-piece from its socket. + 142. + + + OBADIAH + Your “heart” will be the seed of + the next generation of weapons. + They’ll help us steer the world + back in the right direction -- put + the balance of power back in our + hands. The right hands. + + + + CLOSE ON - OBADIAH: he removes Tony’s “heart”, the RT glow + reflecting on his face. + + OBADIAH + By the time you die, my prototype + will be operational. + (smiles) + It’s not as conservative as yours. + + + + He wraps the heart in cloth. Then stands, clicking off the + sonic taser and pocketing it. + + Tony rolls from the chair, onto his back, staring at the + ceiling. Already slipping away. Then-- + + OBADIAH + The sad thing is-- we’re both the + good guys. + + + + Obadiah kills the lights and leaves + + + + +139 INT. RHODEY’S OFFICE - NIGHT 139 + + Rhodey is on the phone with Pepper. + + RHODEY + What do you mean, he paid to have + Tony killed? Slow down. Why would + Obadiah-- + (listens) + Where is Tony now? + + + + +A140 INT. PARKING GARAGE - NIGHT A140 + 143. + + + Pepper, Coulson and five dark-suited Agents walk with + urgency towards two Crown Victorias. Pepper is on her + cellphone, worried-- + + PEPPER + --I don’t know, he’s not answering + his phone. Will you just go over + there and check on him? Thanks + Rhodey. + + + + She CLICKS off. The Agents pile into the Crown Vics, and + Coulson holds a door open for her. + + Pepper instead beelines for her parked Audi. + + PEPPER + I know a shortcut. + + + + She hops in. Coulson looks at the Agent behind the wheel, + then back at Pepper. + + COULSON + I’ll ride with her. + + + + Coulson hurries over, jumps in and the Audi races off. The + Crown Vics try to keep up. + + + + +141 INT. TONY’S LIVING ROOM - NIGHT 141 + + Tony, on fumes, pulls himself up a shelving system. It + topples, spilling items, including the Lucite-encased heart + Pepper gave him. + + He crawls to it, smashes it open. + + CLOSE ON - TONY’S HAND: lifting the glowing chest piece. + + + + +142 INT. SUB-BASEMENT PIPE ROOM - NIGHT 142 + 144. + + + Obadiah inserts the glowing “heart” he stole from Tony’s + chest into the Dynamo’s chest. We can only see slivers of + the full suit on its scaffolding. + + The heart locks in place and we go -- + + CLOSE ON - DYNAMO’S EYES: coming alive. + + + + +143 EXT. ARK REACTOR - STARK INT’L HQ - NIGHT 143 + + Pepper and the Agents stand outside the locked door to the + sub-basement pipe-room. An Agent finishes laying detonator + cord around the door hinges. + + AGENT + Clear. + + + + They take cover and the Agent hits a clacker. The door is + blown off its hinges. + + + + +144 INT. SUB-BASEMENT PIPE ROOM - NIGHT 144 + + Obadiah looks up at the SECURITY MONITORS: bad news. + + Pepper and the Agents infiltrating and moving towards the + pipe room stairway. + + Obadiah’s face sets. He begins climbing up the scaffolding + to the Dynamo. + + + + +B145 INT. TONY’S LIVING ROOM - NIGHT B145 + + We HEAR A DOOR SPLINTERING. Rhodey rushes in and finds + traces of blood on the floor. The collapsed shelving unit. + Tony staggering to stay on his feet. + + RHODEY + TONY-- + 145. + + + TONY + Where’s Pepper? + + + + RHODEY + Don’t worry, she’s with the Feds. + They’re on their way to Stark to + arrest Obadiah. + + + + TONY + (grim--) + They’re going to need a lot more + than a few Agents. Give me hand. + + + + +146 INT. TONY’S WORKSHOP - NIGHT 146 + + The door swings open and Tony and Rhodey enter. Rhodey + stops shocked, his eyes playing over The Hall of Armor. The + hanging Mark II suit. The weaponized battle-ready Mark III. + Components, rows of helmets, boots, gauntlets and future + design prototypes littered everywhere. + + + + +147 INT. SUB-BASEMENT PIPE ROOM - NIGHT 147 + + Pepper and the Agents drift through a metal jungle of vats, + machines, armored limbs and guts hanging from tethers. + Utility pipes run along the walls. + + They come upon the Mark I armor and stop, spooked. + + We notice: an empty scaffolding. + + Pepper advances, Coulson and his team fanning out. + + CLOSE ON - AN AGENT: looking off. Suddenly, he’s yanked out + of frame. + + + + +148 INT. TONY’S WORKSHOP - SAME TIME - NIGHT 148 + 146. + + + Rhodey helps Tony rivet a last panel in place, then tosses + him the Mark III helmet. + + Tony lowers the helmet. Blasts off through the hole in the + ceiling, knocking it even wider. + + Rhodey stares after him, impressed as hell. Then he sees + the Mark II, beelines for it. + + Considers, then shakes his head. + + He moves for Tony’s car collection. Likes the R8. Hops in, + fires her up and screeches after Tony. + + + + +149 INT. SUB-BASEMENT PIPE ROOM - SAME TIME - NIGHT 149 + + Wandering the fringes, Pepper tries to make a call on her + cell. No signal. + + PEPPER’S POV: through the pipes and girders, she spots what + may be a pair of glowing eyes. The WHIRR of hydraulics and + GRINDING METAL wild gunfire suddenly breaks out. Bullets + ricochet, hitting pipes, spewing steam and coolants. + + Pepper rushes away from the pandemonium. + + She whirls, squinting through the machine gears and steam, + seeing flashes of agents running for cover, firing their + guns at some giant flitting shadow. Another agent is yanked + out of view and SCREAMS. + + ANGLE ON - PEPPER + + Panicked, trying to find a way out. + + A piece of metal zips at her head, cutting pipes before it + embeds itself in the cement above her. And now an Agent + staggers out of the murk with his radio. + + AGENT + Agents down, agents down! + (seeing Pepper) + GET OUT OF HERE -- + 147. + + + He throttles her towards the exit, then runs off, firing + and Pepper, halfway up the stairs, turns hearing the three- + ton THUMP of the Dynamo’s legs charging out of the mist, + but the armor is too big for the stairwell and crashes into + it in a shower of debris. + + All we see is a brightly glowing chest-piece and arms, + raking cement, grinding, trying to get up the stairs after + Pepper, who fumbles her way up and out. + + + + +150 EXT. ARK REACTOR - CONTINUOUS - NIGHT 150 + + Pepper slams the door behind her. Silence. She catches her + breath, dials on her cell with shaky fingers -- + + PEPPER + Tony! Obadiah’s got a whole + assembly line under the Ark. He’s + inside one of them--! + + + + TONY (O.S.) + Where are you--? + + + + Now she hears THUMP from below her. The asphalt cracks. + Another THUMP and another and Pepper is knocked over as the + asphalt bulges open to reveal the Dynamo’s fist. + + Her cellphone skitters away. Like a hatching dinosaur, he + peels away asphalt, pulling himself out of the ground, and + finally Rises to his full height. He turns, face-to-face + with Pepper, who’s a gnat against this dull-grey leviathan. + + PEPPER + (backpedaling) + Obadiah-- + + + + Dynamo keeps coming, not a single forgiving feature in the + steel-face and dead eyes. Her foot hits her cellphone and + she grabs it. And now she’s almost backed up against the + Plexiglas of the ARK Reactor when -- + + PEPPER + Tony-- + 148. + + + + + TONY (O.S.) + Pepper, I have one thing I need to + say to you: DUCK! + + + + Pepper dives as-- + + The Dynamo stops, jerking his head up to see Iron Man, + diving out of the sky at him, feet first. + + He lands on the Dynamo’s shoulders, and the iron giants + crash back into the hole Dynamo crawled from. + + + + +151 INT. SUB-BASEMENT PIPE ROOM - CONTINUOUS - NIGHT 151 + + The warriors fall and hit a grating. Dynamo breaks through, + plunging through pipes and into the water below, while -- + + Iron Man tumbles along the unbroken part of the grating and + falls out of sight. + + + + +152 EXT. ARK REACTOR - SAME TIME - NIGHT 152 + + The atrium glass ruptures outward from the underground + impact. Pepper dives to shield herself. + + She sees the reactor-housing has been cracked. KLAXONS + BLARE. Warning lights flash as the damaged reactor begins + to ‘melt down’. + + + + +153 INT. SUB-BASEMENT PIPE ROOM - SECONDS LATER - NIGHT 153 + + DYNAMO’S POV: We emerge out of the water, searching for + Iron Man. + + + + +154 INT. TONY’S SUIT - SAME TIME - NIGHT 154 + 149. + + + POV - MOVING: sweeping around the steel-maze with his + INFRARED, but perforated steam pipes cast red plumes and + confusing shadows everywhere. + + OBADIAH (O.S.) + It’s miraculous, Tony, it’s your + Ninth Symphony. Trying to rid the + world of weapons, you gave it its + best one ever. + + + + TONY + This wasn’t meant for the world. + + + + Still moving, still swiveling through the murk -- + + OBADIAH (O.S.) + How can you be so selfish? Do you + understand what you’ve created? + This will put the balance of power + back in our hands for decades. Your + country needs this. + + + + TONY + What kind of world will it be when + everybody’s got one? + + + + OBADIAH (O.S.) + Your father helped give us the + bomb. What kind of world would it + be if he’d failed us? + + + + +155 INT. DYNAMO SUIT - SAME TIME 155 + + STANE’S POV: waiting, as Iron Man emerges from behind + machinery and girders. He doesn’t see Dynamo, who charges - + - + + CUT TO: + 150. + + +156 INT. PIPE ROOM - SAME TIME 156 + + Iron Man realizes too late that Dynamo is coming at him + like a bullet-train. He’s hit, driven backwards in Dynamo’s + vice- grip, and they smash into the cement wall and punch + clean through it onto -- + + + + +157 EXT. HIGHWAY - CONTINUOUS - NIGHT 157 + + They crash into a truck trailer, passing through it and + onto the highway, tossing vehicles aside. + + More cars screech, collide. A HYDROGEN-POWERED bus jack- + knives, narrowly averting disaster. People flee vehicles. + + In Tony’s H.U.D., “INCOMING CALL” flashes-- + + PEPPER (O.S.) + TONY -- ARE YOU THERE? + + + + TONY + A little busy, Pepper-- + + + + PEPPER (O.S.) + The reactor’s been it-- + + + + TONY + Get to the control room. Shut it + down-- + + + + PEPPER (O.S.) + How the hell do I shut it down?? + + + + Dynamo rises first, grabs a Volvo station-wagon with a + stunned mother and kids inside. + + Iron Man rises as the Dynamo lifts the car over his head. + + TONY + 151. + + + Don’t. This is our fight. + + + + OBADIAH + People are always going to die, + Tony -- part of the chess game. + + + + +158 INT. VOLVO - SAME TIME - NIGHT 158 + + The world skewed fifteen feet below them. The mother white- + knuckles the steering wheel in terror. The kids scream. + + CUT TO: + + Tony, trying his palm RTs. Nothing. + + TONY (O.S.) + Emergency power! + + + + JARVIS (O.S.) + Sir, you’ll drain the -- + + + + TONY (O.S.) + NOW! + + + + Dynamo winds up to throw the car when Iron Man nails him + with a huge Repulsor blast from his chest. Dynamo is + knocked back, throwing the car at Iron Man, who catches it. + + But the weight is too much for his armor to handle and he + buckles, saving the car from impact, but gets trapped + underneath it. + + CUT TO: + + Tony’s HEADS-UP DISPLAY: “POWER CRITICAL: RECHARGING.” + + CUT TO: + + Inside the Volvo, it takes everyone a moment to realize + they’re okay. Then, as Dynamo clumps towards them-- + 152. + + + KID IN THE BACKSEAT + GO, MOM! GO -- + + + + She stamps the gas. + + CUT TO: + + Iron Man, dragged as the Volvo speeds forward. A shower of + sparks fly from his suit. A wild weaving ride. + + Dynamo follows, using cars as stepping stones. People flee + pell-mell, jumping the highway divider. + + CUT TO: + + + + +159 INT. TONY’S AUDI R8 - SAME TIME - NIGHT 159 + + Rhodey driving like hell, HONKING. Tail lights flash past + like tracers as he slaloms through tight traffic. + + CUT TO: + + Iron Man finally manages to push the car off him. It speeds + away, three gaping Kids staring out the back. + + Tony staggers up, trying to regain his footing as Dynamo + pulls up. + + They clash in a CACOPHONY of steel and GRINDING HYDRAULICS. + Stane knocks Tony into a mini-van and pounds him + mercilessly. + + PEPPER (O.S.) + TONY? Where are you--? + + + + CUT TO: + + Tony, his helmet now being squeezed by the Dynamo. + + PEPPER (O.S.) + I’m in the control room. Now what? + + + + TONY + 153. + + + Central panel. Red button. Press + it. + + + + +160 INT. ARK REACTOR CONTROL ROOM - SAME TIME - NIGHT 160 + + DEAFENING KLAXONS. Pepper flips open a panel to find A + HUNDRED BUTTONS. All red. All flashing. + + PEPPER + Thanks, Tony. + + + + TONY (O.S.) + What’s the delta rate? + + + + Pepper finds the monitor. + + PEPPER + 1-2-5-0. + + + + TONY + Damn -- + + + + PEPPER + Damn?! I don’t want to hear “damn.” + GET UP HERE-- + + + + CUT TO: + + + + +161 INT/EXT. TONY’S H.U.D. - SAME TIME 161 + + Cracking under Dynamo’s pressure. + + TONY + Pepper, I’m delegating this to you. + FIND A WAY! + 154. + + + + + CUT TO: + + IRON MAN as he finally rolls and frees himself from Dynamo. + + TONY + You know what happens when that + reactor blows. A lot of people are + going to die. + + + + OBADIAH + It didn’t have to end like this, + Tony. You were down -- you + should’ve stayed down. + + + + And they’re about to collide again when a Shit Kicking + Biker on a Harley weaves from around a truck. + + He realizes his mistake and jams the throttle, but Dynamo + grabs the front wheel of the motorbike, (sending the Biker + flying), and in one swoop belts Iron Man with it. + + Tony tumbles away and struggles to get up. Falls, tries + again, but Dynamo is all over him, smacking him with the + bike. + + + + +162 INT. TONY’S AUDI R8 - DRIVING - SAME TIME - NIGHT 162 + + Rhodey, in the breakdown lane, weaving around waves of + fleeing people, toppled cars and debris till he sees -- + + Dynamo standing over Tony, about to deliver his death-blow. + He red lines the engine and pops the clutch. + + CUT TO: + + + + +163 EXT. HIGHWAY - SAME TIME - NIGHT 163 + + The R8 rockets forward. Zero to sixty in under three + seconds. + 155. + + + The Dynamo raises the Harley over his head, ready to smash + Tony’s already broken helmet. He looks up a second too late + the car hits Dynamo’s leg and crumples, tumbling away like + a toy, and now the Dynamo, un-weighted, reels around to + catch his balance, but pitches head-first into the hydrogen + bus perforating it. + + CLOSE ON - DYNAMO: struggling to free himself. His groping + fingers set off a spark and HELLFIRE ERUPTS blanking the + Dynamo and everything around it. Flames roll over Tony. + Over the crushed sports car, igniting its leaking tanks. + + Tony removes his broken helmet and staggers to the car, + tearing it open like a can. + + TONY + You had to take my car. + + + + He pulls out Rhodey, dazed and bloody. + + RHODEY + Saving your ass is getting to be a + full-time job. + + + + They regard the burning bus. Nothing moves. Just a heap of + red-hot steel. + + TONY + Get this area evacuated! There’s + going to be a meltdown-- + + + + Tony’s boosters ignite and he’s gone. + + TONY (O.S.) + Pepper, how we doing? + + + + +164 INT. ARK REACTOR CONTROL ROOM - SAME TIME - NIGHT 164 + + Pepper, awash in EMERGENCY MANUALS, throws one over her + shoulder flipping switches, turning dials. The whole place + THRUMS with energy. + + PEPPER + 156. + + + Thanks for checking in Tony. + Delta’s at 2300. It’s not going + down. + + + + TONY (O.S.) + It’s too late. + + + + PEPPER + Too late? What’s going to happen? + + + + TONY (O.S.) + It’s going to blow a crater a mile + wide. I’m coming to get you. + + + + She backs away from the monitors, disbelieving. + + + + +165 INT. TONY’S SUIT - FLYING - SECONDS LATER - NIGHT 165 + + He heads towards the reactor, now a shimmering mass of + energy. A row of SATELLITE DISHES on the roof of the + reactor. It sparks an idea. + + TONY + Pepper, wait. Stay put -- we’re + going to overload the reactor. + + + + +166 EXT. ROOF OF ARK REACTOR - SECONDS LATER - NIGHT 166 + + As Tony lands. + + PEPPER (O.S.) + IT’S ALREADY OVERLOADING -- + + + + TONY + 157. + + + No, it’s compressing energy. We’re + going to convert the plasma core to + electricity and channel it up + through the roof. Like a Tesla + coil. + + + + +167 INT. ARK REACTOR CONTROL ROOM - SAME TIME - NIGHT 167 + + Pepper watches the core bulge. + + PEPPER + I don’t need a science lesson, just + tell me what button to push -- + + + + TONY (O.S.) + See a red submarine hatch? A wheel + -- a red wheel. + + + + PEPPER + --no. YES -- + + + + She runs to it. + + + + +168 EXT. ARK REACTOR ROOF - SECONDS LATER - NIGHT 168 + + Tony re-arranges satellite dishes, pulling wires creating a + makeshift Tesla coil. + + TONY + Open it all the way, then standby + to hit the master. We’ve only got + one shot at this. + + + + He’s connecting a wire when the satellite dish beside him + reflects an eerie yellow flicker. He turns, stunned as -- + + THE DYNAMO LANDS on the roof. Flames still licking off his + blackened suit. Obadiah moves closer to Tony -- + 158. + + + TONY + Pepper, hit the switch. PEPPER -- + + + + +169 INT. ARK REACTOR CONTROL ROOM - SAME TIME - NIGHT 169 + + Electromagnetic tentacles arc from the reactor to the + control room around Pepper. + + PEPPER + TONY? Which Master Switch -- + + + + She eyes her phone. It’s dead. And in front of her -- + + A row of “MASTER” switches blink-- + + PEPPER + I am so looking for another job. + + + + +170 EXT. ARK REACTOR ROOF - SECONDS LATER - NIGHT 170 + + The Dynamo, smoking like an oil fire, about to reach Tony. + + + + +171 INT. ARK REACTOR CONTROL ROOM - SAME TIME - NIGHT 171 + + Pepper hits all the switches, then diving under the + consoles for cover as the world goes steel-blue. + + An electromagnetic pulse (EMP) flashes upwards along the + reactor. + + + + +172 EXT. ARK REACTOR ROOF - A SECOND LATER - NIGHT 172 + + As the searing flash of the EMP is momentarily ‘halted’ + between the satellite dishes, vaporizing the roof in + between. Then -- + + The EMP surges outwards, turning Dynamo and Iron Man into + statues as the pulse knocks out his power and electronics. + 159. + + +FROM UP HIGH: the EMP blast travels concentrically +outwards, rendering everything dark in its wake. + + BACK TO: + +The roof, as it sags down in the center. + +Tony, dazed, looks at his heart-device. It’s dead too. + +The Dynamo, closest to the collapsed section of the roof, +topples over. Its dead fingers catch on a seam and it lies +precariously on the edge of the ‘slope’. + +The Dynamo hatch opens, revealing Obadiah. + +OBADIAH’S POV: through the hole in the roof, the seething +plasma bubbling below. + +Tony, using his own waning strength, tries to extend a dead +Iron Man hand to Obadiah. + + TONY + Take my hand-- + + + + OBADIAH + So this is the answer, Tony? This + is how you’re going to save the + world? It’s not in you. Your father + told me before he died, my boy + doesn’t have a warrior’s heart. I + should have listened. + + + + TONY + My father never knew me. + + + + OBADIAH + But I do. + + + +Now we see what Stane is attempting: to manually winch his +forearm rocket bay open so he can blast Tony. + +But his movements unsettle the Dynamo suit and suddenly he +begins to slide. + 160. + + + OBADIAH + Goodbye, my boy-- + + + + TONY + This is just the beginning. + + + + And now Obadiah shuts the hatch and tumbles away. He + plunges down through the ARK’s silo, splashes into the + plasma which HISSES and swallows him up. + + Tony remains, shutting his eyes. + + + + +173 INT. ARK REACTOR - SECONDS LATER - NIGHT 173 + + Pepper rises, staring at the bubbling plasma. Not sure who + fell in there. She runs out. + + + + +174 EXT. ARK REACTOR ROOF - TEN MINUTES LATER - NIGHT 174 + + Tony frozen in his dead suit. He’s not moving. Two + flashlights cut the darkness and Tony bats his eyes to see + Rhodey and Pepper picking their way towards him. + + DISSOLVE TO: + + + + +175 INT. STARK INDUSTRIES - HALLWAY - MOVING - DAY 175 + + Tony and Pepper walk along the hallway. Pepper shoves a + written statement into his hands. + + PEPPER + Here, your alibi. You were on your + yacht. I’ve got port papers that + put you in Avalon all night, and + sworn statements from fifty of your + guests. + 161. + + + TONY + Maybe it was just the two of us. On + the yacht, I mean. + + + + PEPPER + Focus, please. + + + +Tony grabs an L.A. Times from the pile of papers in her +arms, glances at the headline: “WHO IS THE IRON MAN?” A +grainy newspaper photo of the iron battle at Stark +Industries. + + TONY + “Iron Man”. Not technically + accurate, since it’s mostly carbon- + fiber and ceramic. But I like the + ring of it. “Iron Man”. + + + +They turn a corner. Tony suddenly stops. Meets her eyes. + + TONY + You know-- that night at the + concert hall. Do you ever think + about it? + + + +For a moment there is nothing else in the world but the two +of them. Then, with a tinge of sadness-- + + + + PEPPER + I don’t know what you’re talking + about, Mr. Stark. + + + +She brings her hands up and fixes his unruly tie knot. All +business. + + PEPPER + Will that be all, Mr. Stark? + 162. + + + TONY + That will be all Miss Potts. + + + + +176 INT. STARK INDUSTRIES LOBBY - MINUTES LATER 176 + + Rhodey is in mid-speech, in front of assembled reporters. + + RHODEY + --I can confirm that a series of + military test-prototypes were + involved in the incident at Stark + Industries last night. I can also + confirm that there was, for a brief + time, the danger of an Ark Reactor + “incident”, which was rectified + without injury to the public -- and + all power outages have been + restored. Here now, to answer a few + brief questions, is Tony Stark. + + + + Tony walks out. Takes the podium. Puts a hand up to silence + the bubbling questions. + + TONY + I’ve seen the papers. I’ve heard + the reports. That’s why I want to + put an end to all this wild + speculation. The truth is-- + + + + He looks to Rhodey. To Pepper. To the crowd. + + TONY + I am Iron Man. + + + + The Reporters erupt in a CACOPHONY-- + + We end on Tony’s face. + + CUE MUSIC + + +177 INT. TONY’S LAB - MONTHS LATER - NIGHT 177 + 163. + + +Tony and Rhodey stare at a screen as the War Machine suit +is being designed. + + RHODEY + Good. And I want a Gatling gun on + the right shoulder. + + TONY + --and a rocket launcher on the + left? Where are you going to store + all that ammo? + + + + RHODEY + Who’s suit is this anyway? + (then) + And do it in silver and black, + would you? + \ No newline at end of file diff --git a/scripts/Jurassic Park.txt b/scripts/Jurassic Park.txt new file mode 100644 index 0000000000000000000000000000000000000000..e93facfc2d01647e9b5cbd99771e5c45b205e12a --- /dev/null +++ b/scripts/Jurassic Park.txt @@ -0,0 +1,8667 @@ + 1. + + + + +1 EXT. JUNGLE - NIGHT 1 + + An eyeball, big, yellowish, distinctly inhuman, stares + raptly between wooden slats, part of a large crate. The eye + darts from side to side, alert as hell. + + A legend tries to place us -- + + ISLA NUBLAR 120 MILES WEST OF COSTA RICA + + -- but to us it's still the middle of nowhere. + + It's quiet for a second. A ROAR rises up from the jungle, + deafening. The trees shake as something very, very large + plows ahead through them, right at us. Every head gathered + in this little clearing snaps, turning in the direction of + the sound as it bursts through the trees. + + It's a bulldozer. It drops its scoop and pushes forward + into the back end of the crate, shoving it across the + jungle floor towards an impressive fenced structure that + towers over an enclosed section of thick jungle. There's a + guard tower at one end of this holding open that makes it + look like San Quentin. + + The bulldozer pushes forward into the back end, the crate + THUDS TO THE FLOOR. A door slides open in the pen, making a + space as big as the end of the crate. + + Nobody moves for a second, A grim-faced guy who seems to be + in charge (Robert Muldoon, although we don't know it yet). + + MULDOON + Alright now, pushers move in. + Loading team move it. + + The movement as agitated whatever is inside the crate, and + the whole thing shivers as GROWLS and SNAPS come from + inside. + + Everyone moves back. + + MULDOON + Alright, steady. Get back in there + now, push. Get back in there, Don't + let her know you're afraid! + + The men go back to the crate and begin to push it into the + slot. + 2. + + +The crate THUDS UP AGAINST THE OPENING. A green light on +the side of the pen lights up, showing contact has been +made. + +FROM INSIDE THE CRATE, we get glimpses of what's on the +other side of those wooden slates -- jungle foliage, MEN +with rifles, searching searchlights. + +The view is herky-jerky as the crate put into position. + + MULDOON + Well lockedŠ Loading team, step + away. Joffrey, raise the gate. + +A WORKER climbs to the top of the crate. The search lights +are trained on the door. + +The RIFFLEMEN throw the bolts on their rifles and CRACK +their stun guns, sending arcs of current CRACKING through +the air. + +The WORKER gets ready to grab the gate when all at once -- + +A ROAR from the inside the crate, and the panel flies out +of his hands and SMACKS into him, knocking him clear off +the crate. + +Now everything happens at once. The WORKER THUDS to the +jungle floor, the crate jerks away from the mouth of the +holding pen flash, an alarm BUZZER sounds -- + +-- and a claw SLASHES out from inside the crate. It sinks +into the ankle of the WORKER. dragging him toward the dark +mouth between the crate and the pen. The WORKER SCREAMS and +paws the dirt, leaving long claw marks as he is rapidly +dragged toward the crate. + +Muldoon SHOUTS orders: + + MULDOON + Tasers get in there, Goddamn it! + +They FIRE their guns - the wood of the crate SPLINTERS. + +Muldoon runs in and grabs the WORKER, trying to pull him +free. + +The wild arcs of currents from the stun gun flash and CRACK +all around, but in a second -- + +-- the WORKER is gone. + + CUT TO: + 3. + + +2 EXT. MOUNTAINSIDE - DAY 2 + + MANO DE DIOS AMBER MINE DOMINICAN REPUBLIC + + DONALD GENNARO, forty, in a city man's idea of hiking + clothes and a hundred dollar haircut, approaches on a raft + being pulled across a river by TWO MEN. + + On the hillside, JUAN ROSTAGNO, thirty-ish, Costa Rican, a + smart-looking guy in workers clothes, is waiting for him. + + ROSTAGNO + Tengo mil pesos que dicen que se + cae + (I have a thousand pesos + that say he falls) (or) + Apuesto mil pesos que se cae. + (I bet a thousand pesos + he falls) + + Gennaro finally lands, and Rostagno helps him off the raft. + + GENNARO + Hola, Juanito. + + ROSTAGNO + Hola, bienvenido. + + Rostagno leads Gennaro towards the mine. Dozen of shirtless + WORKERS claw and SCRAPE at a rocky mountainside that is the + site of an extensive mining operation. The work is all done + by hand, pick and shovel instead of dynamite and bulldozer. + + GENNARO + What's this I hear at the airport? + Hammond's not even here? + + ROSTAGNO + He sends his apologies. + + GENNARO + You're telling me that we're facing + a $20 million lawsuit from the + family of that injured worker and + Hammond couldn't even be bothered + to see me? + + ROSTAGNO + He had to leave early to be with + his daughter. She's getting a + divorce. + + GENNARO + 4. + + + I understand that. + (or) + I'm sorry to hear that. We'd be + well advised to deal with this + situation now. The insurance + company -- + +Gennaro almost falls, Rostagno helps him. + + GENNARO + -- the underwriters of the park + feel the accident raises some very + serious questions about the safety + of the park, and they're making the + investors very anxious. I had to + promise I would conduct a thorough + on-site inspection. + + ROSTAGNO + Hammond hates inspections. They + slow everything down. + + GENNARO + Juanito, if they pull the funding, + that will really slow things down. + (or) + If they pull the funding that's + going to slow things down around + here. + +A WORKER hurries up to them and busts into the +conversation, breathless. + + WORKER + (to Rostagno) + Jefe, encontramos otro mosquito, en + el mismo sitio. + (Chief, we found another + mosquito in the same + place) + + ROSTAGNO + Seguro? Muestrame! + (Are you sure? Show me.) + +The WORKER and ROSTAGNO scramble back deeper into the mine. + +Rostagno calls back over his shoulder to Gennaro. + + ROSTAGNO + It seems like it's going to be a + good day after all. They found + another one! C'mon. + 5. + + + Gennaro struggles to keep up. + + +3 EXT. CAVE - DAY 3 + + ROSTAGNO and GENNARO move into the dark, dripping cave, + where at least a dozen other WORKERS are gathered in a + tight circle, staring at something intently. + + Rostagno fights his way to the center of the group. One of + the WORKERS hands him something and Rostagno examines it + carefully. + + It's a chuck of amber, a shiny yellow rock about the size + of a half dollar. + + GENNARO + If two experts sign off on the + island, the insurance guys'll back + off. I already got Ian Malcolm, but + they think he's too trendy. They + want Alan Grant. + + ROSTAGNO + Grant? You'll never get him out of + Montana. + + GENNARO + Why not? + + ROSTAGNO + Because he's like me. He's a + digger. + + Rostagno turns and holds the amber up to the sunlight + streaming through the mouth of the cave. + + With the light pouring through it, the amber is + translucent, and we can see something inside this strange + stone -- + + -- a huge mosquito, long dead, entombed there. + + ROSTAGNO + (smiles) + Hay que lindo eres vas hacer a much + gente feliz. + (Oh you're so beautiful. + You will make a lot of + people happy) + + CUT TO: + 6. + + +4 EXT. THE DIG - DAY 4 + + An artist's camel hair brush carefully sweeps away sand and + rock to slowly reveal the dark curve of a fossil - it's a + claw. A dentist's pick gently lifts it from the place its + has laid for millions of years. + + Pull up to reveal a group of diggers working on a large + skeleton. All we see are the tops of their hats. The + paleontologist working on the claw lays it in his hand. + + GRANT + (thoughtfully) + Four complete skeletons... such a + small area... the same time horizon + -- + + ELLIE + They died together? + + GRANT + The taphonomy sure looks that way. + + ELLIE + If they died together, they lived + together. Suggests some kind of + social order. + + DR ALAN GRANT, mid-thirties, a ragged-looking guy with + intense concentration you wouldn't want to get in the way + of, carefully examines a claw. + + DR ELLIE SATTLER, working with him, leans in close and + studies it too. She paints the exposed bone with rubber + cement. Ellie in her late twenties, athletic-looking. + There's an impatience about Ellie, as if nothing in life + happens quite fast enough for her. + + Her face is almost pressed up against his, she's sitting so + close. + + GRANT + They hunted as a team. The + dismembered tenontosaurus bone over + there - that's lunch. But what + killed our raptors in a lakebed, in + a bunch like this? We better come + up with something that makes sense. + + ELLIE + A drought. The lake was shrinking - + - + 7. + + + GRANT + (excited) + That's good. That's right! They + died around a dried-up puddle! + Without fighting each other. This + is looking good. + +From the bottom of the hill a voice SHOUTS to them: + + VOLUNTERR (O.S.) + Dr Grant! Dr Sattler! We're ready + to try again! + +Grant SIGNS and sits up, stretching out his back. + + GRANT + I hate computers. + +He shoves the claw absent-mindedly into his pocket and he +and Ellie walk toward the source of the voice. As they +walk, we get our first look at the badlands. Exposed +outcroppings of crumbling limestone stretch for miles in +every direction, not a tree or a bush in sight. + +In the dig itself, the ground is checkered with excavations +everywhere. There's a base camp with five or six teepees, a +flapping mess tent, a few cards, a flatbed truck with +wrapped fossils loaded on it, and a mobile home. There are +a dozen VOLUNTEERS of all ages at work in various places +around the dig. The Volunteers are from all walks of life, +dinosaur buffs. Three or four of them have CHILDREN with +them, and the kids run around, like in a giant sandbox. + +Grant , Ellie and a Volunteer walk down the hill. Grant +spots a KID kicking dirt onto one of the digs. He notices +and frowns. + + GRANT + What's that kid doing? + (to the kid) + What are you doing there!? Excuse + me! Can you just back off? This is + very fragile! Are you out of your + mind? Get off that and go find your + parents! + (to Ellie) + Did you see what he just did? + +The kid stomps away, pissed off. + + KID + Asshole. + 8. + + + GRANT + (to Ellie) + Why do they have to bring their + kids?! + + ELLIE + You could hire your help. But + there's four summers of work here, + with the money for one. And you say + it's a learning experience, sort of + a vacation, and you get volunteers + with kids. + +He and Ellie arrive to where several VOLUNTEERS are +clustered around a computer terminal that's set up on a +table in a small tent, its flaps lashed open. + + GRANT + (to the Volunteer) + Ready to give it a shot, Jerry? + +A LITTLE GIRL moves a little too close to the machine. + + ELLIE + Want to watch the computer? + +Ellie quietly moves her out of Grant's way, to a place she +can see. + + VOLUNTEER + Thumper ready? + + MAN + Ready. + + VOLUNTEER + Fire. + +The VOLUNTEER throws a switch on a machine that looks a bit +like a floor buffer. The whole thing hops up into the air +as it drives a soft lead pellet into the earth with a +tremendous force. There is a dull THUD, the earth seems to +vibrate, and all eyes turn to the computer screen -- + + ELLIE + How long does this usually take? + + VOLUNTEER + 9. + + + It should be immediate return. You + shoot the radar into the ground, + the bone bounces back.... The + screen suddenly comes alive, yellow + contour lines tracing across it in + three waves, detailing a dinosaur + skeleton. + + VOLUNTEER + This new program's incredible! A + few more years of development and + you don't have to dig any more! + +Grant looks at him, and his expression is positively +wounded. + + GRANT + Well, where's the fun in that? + + VOLUNTEER + It looks a little distorted, but I + don't think that's the computer. + + ELLIE + (shakes her head) + Postmortem contraction of the + posterior neck ligaments. + (to Grant) + Velociraptor? + + GRANT + Yes. Good shape, too. Five, six + feet high. I'm guessing nine feet + long. Look at the -- + +He points to part of the skeleton, but when his finger +touches the screen the computer BEEPS at him and the image +changes. He pulls his hand back, as if it shocked him. + + VOLUNTEER + What's you do? + + ELLIE + He touched it. Dr. Grant is not + machine compatible. + + GRANT + They've got it in for me. + +The Volunteer LAUGHS and touches a different part of the +screen, which brings the original image back. Grant +continues, but doesn't get as close. + 10. + + + GRANT + Look at the half-moon shaped bone + in the wrist. No wonder these guys + learned to fly. + +The group laughs. Grant is surprised. + + GRANT + Now, seriously. Show of the hands. + How many of you have read my book? + +Everyone stops laughing and looks away. Ellie raises her +hand supportively. So does the Volunteer, Grant sighs. + + GRANT + Great. Well maybe dinosaurs have + more in common with present-day + birds than reptiles. Look at the + public bone -- it's turned + backwards, just like a bird. The + vertebrae -- full of hollows and + air sacs, just like a bird. Even + the word raptor means "bird of + prey". + +The kid steps forward and looks at the computer skeleton +critically. + + KID + That doesn't look very scary. More + like a six-foot turkey. + +Everyone sort of draws in their breath and steps aside, +revealing the KID, standing alone. Grant turns to the Kid, +lowers his sunglasses, and stares at him like he just came +from another planet. + +Grant strolls over to the KID , puts his arms around his +shoulders in a friendly way. + + GRANT + Try to imagine yourself in the + Jurassic Period. + (or) + Try to imagine yourself in the + Cretaceous Period. + +Ellie rolls her eyes. + + ELLIE + (under her breath) + Here we go. + 11. + + + GRANT + You'd get your first look at the + six-foot turkey as you move into a + clearing. But raptor, he knew you + were there a long time ago. He + moves like a bird; lightly, bobbing + his head, And you keep still, + because you think maybe his visual + acuity's based on movement, like a + T-rex, and he'll lose you if you + don't move. But no. Not + VELOCIRAPTOR. You stare at him, and + he just stares back. That's when + the attack comes -- not from the + front, no, from the side, from the + other two raptors you didn't even + know were there. + +Grant walks around the Kid. + + GRANT + Velociraptor's a pack hunter, you + see, he uses coordinated attack + patterns, and he's out in force + today. And he slashes at you with + this -- + +He takes the claw from his pocket and holds it at the front +of the raptor's three-toed foot. + + GRANT + -- a six-inch retractable claw, + like a razor, on the middle toe. + They don't bother to bite the + jugular, like a lion, they just + slash here, here -- + +He points to the Kid's chest and thigh. + + GRANT + -- or maybe across the belly, + spilling your intestines. Point is, + you're alive when they start to eat + you. Whole thing took about four + seconds. + +The Kid is on the verge if tears. + + GRANT + So, you know, try to show a little + respect. + 12. + + +And with that he walks back across the camp, returning to +his skeleton. Ellie hurries to catch up with him. + + ELLIE + You know, if you really wanted to + scare the kid you could've just + pulled a gun on him. + + GRANT + Yeah, I know, you know...kids. You + want to have one of those? + + ELLIE + Well, not one of those, well yeah, + a possibly one at some point could + be a good thing. What's so wrong + with kids? + + GRANT + Oh, Ellie, look. They're noisy, + they're messy, they're sticky, + they're expensive. + + ELLIE + Cheap, cheap, cheap. + + GRANT + They smell. + + ELLIE + Oh my god, they do not! They don't + smell. + + GRANT + They do smell. Some of them smell.. + babies smell. + + ELLIE + Alright, the one on the airplane + had an accident, but usually babies + don't smell. + + GRANT + They know very little about the + Jurassic Period they know less + about the Cretaceous. + + ELLIE + The what? + + GRANT + The Cretaceous. + 13. + + + ELLIE + Anything else, you old fossil? + + GRANT + Yeah, plenty. Some of them can't + walk! + + ELLIE + It frustrates me so much that I + love you, that I need to strangle + you right now! + + Ellie playfully takes Grant's hat off and gives him a tight + hug. + + They kiss. + + A strange wind seems to be whipping up. Grant and Ellie + look around, confused. The wind is getting stronger, + blowing dirt and sand everywhere, filling in everything + they've dug out, blowing the protective canvasses off. Now + there's a more familiar ROAR, and they look up and see it - + - + + -- a huge helicopter, descending on the camp. + + ELLIE + (to the volunteers) + Get some canvasses and cover + anything that's exposed! + + Grant's already on it, trying to desperately to protect the + skeleton he's excavating. He looks up at the helicopter and + SHOUTS, shaking his fist. + + CUT TO: + + +5 EXT. BASE CAMP - DAY 5 + + Down at the base camp, the helicopter has landed. The PILOT + is already out, waiting as GRANT comes down from the + mountaintop like Moses steaming. Grant gestures wildly at + him to turn the chopper off. + + The pilot points timidly to a mobile home across the camp. + + Grant runs to the trailer. + + +6 EXT. TRAILER - DAY 6 + + The door to the trailer SLAPS open, and GRANT storms in. + 14. + + + GRANT + What the hell do you think you're + doing in here? + +The trailer serves as the dig's office. There are several +long wooden tables set up, every inch covered with bone +specimens that are neatly laid out, tagged, and labeled. + +Farther along are ceramic dishes and crocks, soaking other +bones in acid and vinegar. + +There's old dusty furniture at one end of the trailer, and +a refrigerator. A man roots around in the refrigerator, his +back to us. + +GRUMBLING about the contents which are mostly beer. + +His hand falls across a bottle of expensive champagne in +the back. + + MAN + Ah hah! + +He pulls it out - the cork POPS. + +The Man turns around. JOHN HAMMOND, seventy-ish, is +sprightly as hell, with bright, shining eyes that say +"Follow me!" + +Grant stares incredulously at the Man, holding his +champagne bottle without an invitation. + + GRANT + Hey, we were saving that! + + HAMMOND + For today, I guarantee it. + + GRANT + And who in God's name do you think + you are...? + + HAMMOND + John Hammond. And I am delighted to + finally meet you in person Dr + Grant. + +Grant is struck silent. He shakes his hand, staring dumbly. + + GRANT + Mr. -- Hammond? + 15. + + +Hammond looks around the trailer approvingly, at the +enormous amount of work the bones represent. + + HAMMOND + I can see my fifty thousand a year + as been well spent. + +The door SLAPS open again and ELLIE comes in, just as +pissed off as Grant was. + + ELLIE + Okay, who's the jerk? + + GRANT + Uh, this is our paleobotanist, Dr + Ellie... + + ELLIE + Sattler. + + GRANT + Dr Sattler. Ellie, this is Mr. + HAMMOND. + (in case she didn't catch + it) + John Hammond. + + ELLIE + Did I say jerk? + + HAMMOND + I'm sorry for the dramatic + entrance, but I'm in a hurry. Will + you have a wee bit of a drink now + and then? + +Hammond begins to walk into the kitchen, making himself at +home. + +Ellie follows him tries to help. Grant settles behind the +table. + + HAMMOND + Come along then, don't let it get + warm! + (expansively) + Come on in, both of you. Sit down. + +As Hammond moves, they notice he walks with a slight limp +and uses a cane -- for balance or style, it's hard to say +witch. + + ELLIE + 16. + + + I have samples all over the + kitchen. + (she takes some stones + out of one of the + glasses) + + HAMMOND + Come along. I know my way around a + kitchen. Come along. + +Ellie goes around towards Grant. She grabs a bottle of +water. + +They look at each other, really aback by this guy's +bravado, and site down. Hammond dries the glasses. + + HAMMOND + Well now, I'll get right to the + point. I like you. Both of you. I + can tell instantly with people; + it's a gift. + (new subject) + I own an island. Off the coast of + Costa Rica. I leased it from the + government and spent the last five + years setting up a kind of + biological preserve down there. + Really spectacular. Spared no + expense. It makes the one I had in + Kenya look like a petting zoo. No + doubt that sooner or later our + attractions will send + (drive the) + kids right out of their minds. + + GRANT + And what are those? + + ELLIE + Small versions of adults, honey. + +He gives her a dirty look. + + HAMMOND + Not just kids -- for everyone. + We're going to open next year. + Unless the lawyers kill me first. I + don't care for lawyers. You? + + GRANT + I, uh, don't really know any. We -- + + HAMMOND + 17. + + +Well, I'm afraid I do. There's one, +a particular pebble in my shoe. He +represents my investors. He says +they insist on outside opinions. + + GRANT +What kind of opinions? + + HAMMOND +Not to put a fine point on it, your +kind. Let's face it, in your +particular field, you're the top +minds. If I could just get you two +to sign off on the park -- you +know, give a wee testimonial -- I +could get back on schedule -- + (he Americanizes him + pronunciation) +-- schedule. + + ELLIE +Why would they care what we think? + + GRANT +What kind of park is it? + + HAMMOND + (smiles) +Well, it's -- right up your alley. + (hands Grant a drink) +Look, why don't you both + (the pair of you) +come on down for the weekend. Love +to have the opinion of a +paleobotoanist as well. + (hands Ellie a drink) +I've got a jet standing by at +Choteau. + (he jumps up and sites on + the counter) + + GRANT +No, I'm sorry, that wouldn't be +possible. We've just discovered a +new skeleton, and -- + + HAMMOND + (pours himself a drink) +I could compensate you by fully +funding your dig. + + GRANT + 18. + + + -- this would be an awfully unusual + time -- + + HAMMOND + For a further three years. + + Grant OOFS as Ellie elbows him hard in the ribs. + + ELLIE + Where's the plane? + + CUT TO: + + +7 EXT. CAFE - DAY 7 + + DENNIS NEDRY is in his late thirties, a big guy with a + constant smile that could either be laughing with you or at + you, you can never tell. He sits at a table in front of a + Central American cafe, eating breakfast + + Another Legend: + + SAN JOSE, COSTA RICA + + Nedry looks up and sees a man get out of a taxi - - LEWIS + (Louis) DODGSON, fiftyish, wearing a large straw hat and + looking almost too much like an American tourist. Dodgson + clutches as attaché case close to him and scans the cafe + furtively. + + Nedry laughs, shakes his head, and waves to him. + + NEDRY + Dodgson! + + Dodgson hurries over to the table. + + DODGSON + (as he sites) + You shouldn't use my name. + + NEDRY + Dodgson, Dodgson. + (loud) + We got Dodgson here! See, nobody + cares. Nice hat. What are you + trying to look like, a secret + agent? + + Dodgson ignores that, sets his attaché case down next to + the table, and slides it towards Nedry, + 19. + + + DODGSON + Seven fifty. + +Nedry smiles and pulls the attaché closer to him. + + DODGSON + On delivery, fifty thousand more + for ever viable embryo. That's one + point five million. If you get all + fifteen species off the island. + + NEDRY + Oh, I'll get 'em all. + + DODGSON + Remember - - viable embryos. + They're no use to us if they don't + survive. + + NEDRY + How am I supposed to transport + them? + +Dodgson pulls an ordinary can of shaving cream from a +shoulder bag he carries and sets it on the table. + + DODGSON + The bottom screws open; it's cooled + and compartmentalized inside. They + can even check it if they want. + Press the top. + +Nedry presses the top of the can and real shaving cream +comes out. He grins, impressed. While Dodgson talks, Nedry +looks around for somewhere to wipe the shaving cream and +ends up dumping it on top of someone's Jell-O on a dessert +tray next to him. + + DODGSON + There's enough coolant gas for + thirty-six hours. + +Nedry looks at the can. + + NEDRY + What? No menthol? + + DODGSON + Mr Nedry, Mr Nedry. The embryos + have to be back here in San Jose by + then. + + NEDRY + 20. + + + That's up to your guy on the boat. + Seven o'clock tomorrow night, at + the east dock. Make sure he got it + right. + + DODGSON + I was wondering, how are you + planning to beat the security? + + NEDRY + I got an eighteen minute window. + Eighteen minutes, and your company + catches up on ten years of + research. + + A WAITER arrives and puts the check down on the table, + between them. Nedry looks down at it pointedly, then up at + Dodgson. + + NEDRY + Don't get cheep on me Dodgson. + + Dodgson rolls his eyes and picks up the check. + + NEDRY + That was Hammond's mistake. + + +8 EXT. OPEN SEA - DAY 8 + + A helicopter, "IN-GEN CONSTRUCTION" emblazoned on the side, + skims low over the shimmering Pacific. + + +9 EXT. HELICOPTER - DAY 9 + + GRANT, ELLIE, GENNARO and MALCOLM are huddled in the back + of the chopper; HAMMOND is in the front with the PILOT. + + There are two other passengers was well -- DONALD GENNARO, + the lawyer from the amber mine, now dressed in safari + clothes, everything straight from Banana Republic. The + other Dr. IAN MALCOLM, fortyish, dressed all in black, with + a snakeskin boots and sunglasses. Malcolm, who finds it + hard to take his eyes off Ellie, leans over and SHOUTS over + the engine whine. + + MALCOLM + So you two dig up dinosaurs? + + GRANT + Try to! + 21. + + +Malcolm laughs, finding this very amusing, which confuses +Grant. + +Hammond turns around annoyed. + + HAMMOND + You'll have to get use to Dr. + Malcolm! He suffers from a + deplorable excess of personality, + especially for a mathematician! + + MALCOLM + Chaotician, actually! Chaotician! + +Hammond SNORTS, not even bothering to cover his contempt +for Malcolm. + + MALCOLM + John doesn't subscribe to Chaos, + particularly what it has to say + about his little science project! + + HAMMOND + Codswollop! Ian, you've never come + close to explaining these concerns + of yours about this island! + + MALCOLM + I certainly have! Very clearly! + Because of the behavior of the + system in phase space! + +Hammond just waves him off. + + HAMMOND + A load, if I may say so. of + fashionable number crunching, + that¹s all it is! + + MALCOLM + (poking at Hammond's + knee) + John, John. + + HAMMOND + (pushing him away) + Don't do that! + + MALCOLM + Dr. Grant, Dr. Sattler -- you've + heard of Chaos Theory? + + ELLIE + 22. + + + (shaking her head) + No. + + MALCOLM + No? Non-linear equations? Strange + attractions? + (again, she shrugs) + Dr. Sattler, I refuse to believe + that you are not familiar with the + concept of attraction! + +Grant just rolls his eyes as Malcolm gives her an oily +grin, but Ellie smiles, enjoying Grant's jealousy. Hammond +turns to Gennaro and gives him a dirty look. + + HAMMOND + I bring scientists -- you bring a + rock star. + +Hammond looks out the windshield, and CLAPS his hands +excitedly. + + HAMMOND + There it is! + +Up ahead, the others see it. + +ISLA NUBLAR. It's a smallish island, completely ringed by +thick clouds that give it a lush, mysterious feel. The +PILOT pulls up over a spot in the clouds and starts to +descend, fast. + + HAMMOND + Bad wind shears! We have to drop + pretty fast! Hold on, this can be a + little thrilling! + +The helicopter drops like a stone. Outside the windows, +they can see cliff walls racing by, uncomfortably close. +They bounce like hell, hitting wind up and down drafts. + +Only Hammond still feels chatty. + + HAMMOND + We're planning an airstrip! On + pilings, extending out into the + ocean twelve thousand feet! Like La + Guardia, only a lot safer! What do + you think? + 23. + + + They don't answer, just hold on. As they near the ground, a + luminous white cloud cross appears below them, a landing + pad shining through the Plexiglas bubble in the floor of + the chopper. + + The cross grows rapidly larger as the chopper plummets, but + a sudden updraft catches them and they bounce skyward for a + moment then drop again, even faster if possible, before + landing with a hard BUMP. + + +10 EXT. HELICOPTER LANDING PAD - DAY 10 + + The chopper plummets and finally lands. One of the workers + opens the door and the group gets out. Hammond looks out, + proudly. + + +11 EXT. HILLTOP - DAY 11 + + Two large, open-top jeeps ROAR down the hilltop away from + the landing cross as the helicopter engines WHINE back to + life and the rotors start to spin again. + + ELLIE, GRANT, and MALCOLM hold on tight in the front jeep, + HAMMOND and GENNARO are in the rear jeep. Both cars have + DRIVERS. + + They pass through an enormous gate in a thirty foot high + fence, which is closed behind them by two PARK ATTENDANTS. + + There are large electrical insulators on the fences, + warning lights that strobe importantly and clear signs -- + "ELECTRIFIED FENCE! + + 10,000 VOLTS!" + + IN THE REAR JEEP, Gennaro regards the fences critically. + + GENNARO + The full fifty mile of perimeter + fence are in place? + + HAMMOND + And the concrete moats, and the + motion sensor tracking systems. + Donald, dear boy, do try to relax + and enjoy yourself. + + GENNARO + 24. + + + Let's get something straight, John. + This is not a weekend excursion, + this is a serious investigation of + the stability of the island. Your + investors, whom I represent, are + deeply concerned. Forty-eight hours + from now, if they -- + (gestures to Grant, + Ellie, and Malcolm) + -- aren't convinced. I'm not + convinced. And I can shut you down + John. + + HAMMOND + Forty-eight hours from now, I'll be + accepting your apologies. Now get + out of the way. So I can see them! + +He shoves Gennaro aside, to get a clear view of Grant, +Ellie, and Malcolm. + + HAMMOND + I wouldn't miss this for the world. + +The jeeps wind their way along a mountain road. + +IN THE LEAD JEEP, Ellie stares off to the right, fascinated +by the thick tropical plant life around them. She tilts her +head, as if something's wrong with this picture. + +She reaches out and grabs hold of a leafy branch as they +drive by, TEARING it from the tree. + +IN THE REAR JEPP, Hammond watching Grant, signals to his +Driver . + + HAMMOND + Just stop here, stop here. Slow, + slow. + +He slows down, then stops. So does the front jeep. + +IN THE FRONT JEEP, Ellie stares at the leaf, amazed, +running her hand lightly over it. + + ELLIE + Alan -- + +But Grant's not paying attention. He's staring too, out the +other side of the jeep. + +Grant notices that several of the tree trunks are leafless +- just as thick as the other trees, but gray and bare. + 25. + + + ELLIE + (still staring at the + leaf) + This shouldn't be here. + +Grant twists in his seat as the jeep stops and looks at one +of the gray tree trunks. Riveted, he slowly stands up in +his seat, as if to get closer. He moves to the top of the +seat, practically on his tiptoes. + +He raises his head, looking up the length of the trunk. He +looks higher. + +And higher. + +And higher. + +That's no tree trunk. That's a leg. Grant's jaw drops, his +head falls all the way back, and he looks even higher, +above the tree line. + + ELLIE + (still looking at the + leaf) + This species of vermiform was been + extinct since the cretaceous + period. This thing -- + +Grant, never tearing his eyes from the brachiosaur, reaches +over and grabs Ellie's head, turning it to face the animal. + +She sees it, and drops the leaf. + + ELLIE + Oh -- my -- God. + +Grant lets out a long, sharp, HAH - a combination laugh and +shout of joy. + +He gets out of the jeep, and Ellie follows. Grant points to +the thing and manages to put together his first words since +its appearance: + + GRANT + THAT'S A DINOSAUR! + +-- a dinosaur. Chewing the branches. Technically, it's a +brachiosaur, of the sauropod family, but we've always +called it brontosaurus. It CRUCHES the branch in its mouth, +which is some thirty-five feet up off the ground, at the +end of its long, arching neck. It stares down at the people +in the car with a pleasant, stupid gaze. + 26. + + +Ellie looks up at the sauropods in wonder. + +They've pretty light on their feet - a far cry from the +sluggish, lumbering brutes we would have expected. + +Hammond gets out of his jeep and comes back to join them. +He looks like a proud parent showing off the kid. + +Ian Malcolm looks at Hammond, amazed, and with an +expression that is a mixture of admiration and +rapprochement. + + MALCOLM + You did it. You crazy son of a + bitch, you did it. + +Grant and Ellie continue walking, following the dinosaur. + + GRANT + The movement! + + ELLIE + The -- agility. You're right! + +In their amazement, Grant and Ellie talk right over each +other. + + GRANT + Ellie, we can tear up the rule book + on cold-bloodedness. It doesn't + apply, they're totally wrong! This + is a warm-blooded creature. They're + totally wrong. + + ELLIE + They were wrong. Case closed. This + thing doesn't live in a swamp to + support it's body weight for God's + sake! + +Several of the top branches are suddenly RIPPED away. +Another sauropod, reaching for a branch high above their +heads, stands effortlessly on its hind legs. + + GRANT + (to Hammond) + That thing's got a what, twenty- + five, twenty-seven foot neck? + + HAMMOND + The brachiosaur? Thirty. + Grant and Ellie continue to walk. + 27. + + + GRANT + -- and you're going to sit there + and try to tell me it can push + blood up a thirty-foot neck without + a four-chambered heart and get + around like that?! Like that!? + (to Hammond) + This is like a knockout punch for + warm-bloodedness. + + HAMMOND + (proudly) + We clocked the T-rex at thirty-two + miles an hour. + + ELLIE + You've got a T-rex!? + (to Grant) + He's got a T-rex! A T-rex! He said + he's -- + + GRANT + Say again? + + HAMMOND + Yes, we have a T-rex. + +Grant feels faint. He sits down on the ground. + + ELLIE + Honey, put your head between your + knees, and breathe. + +Hammond walks in front of them and looks out. + + HAMMOND + Dr. Grant, my dear Dr. Sattler. + Welcome to Jurassic Park. + +They turn and look at the view again. It's beautiful vista, +reminiscent of an African plain. A whole herd of dinosaurs +crosses the plain, maybe a hundred that we see in a quick +glance alone. + + GRANT + Ellie, they're absolutely -- + they're moving in herds. They do + move in herds! + + ELLIE + We were right! + + GRANT + 28. + + + (to Hammond) + How did you do it?! + (or) + How did you do this?! + + HAMMOND + I'll show you. + + Finally, we notice Gennaro, who was sort of faded into the + background while the others reacted. He's just staring, a + look of absolute rapture on his face. + + He speaks in a voice that is hushed and reverent. + + GENNARO + We are going to make a fortune with + this place. + + +12 EXT. MAIN COMPOUND - DAY 12 + + The main of Jurassic Park is a large area with three main + structures connected by walkways and surrounded by two + impressive fences, the outer fence almost twenty feet high. + + Outside the fences, the jungle has been encouraged to grow + naturally. + + The largest building is the visitor's center, several + stories tall, its walls still skeletal, unfinished. There's + a huge glass rotunda in the center. + + The second building looks like a private residence, a + compound unto itself, with smoked windows and its own + perimeter fence. + + The third structure isn't really a building at all, but the + impressive cage we saw earlier, overgrown inside with thick + jungle foliage. The jeeps pull up in front of the visitor's + center. + + +13 EXT. VISITOR'S CENTER - DAY 13 + + HAMMOND leads GRANT, ELLIE, GENNARO, and MALCOLM up the + stairs, talking as he goes, Two ladies open the doors to + the Visitor Center. + + +14 INT. VISITOR'S CENTER - DAY 14 + 29. + + + The lobby of the still-unfinished visitor's center is a + high-ceilinged place, and has to be house its central + feature, a large skeleton of a tyrannosaur that is + attacking bellowing sauropod. + + WORKMEN in the basket of a Condor crane are still + assembling skeletons. + + A staircase climbs the far wall, to another wing. + + HAMMOND + (continuing) + -- the most advanced amusement park + in the world, combining all the + latest technologies. I'm not + talking rides, you know. Everybody + has rides. We made a living + biological attractions so + astonishing they'll capture the + imagination of the entire planet! + + Grant stares up at the dinosaur skeletons and just shakes + his head. + + Ellie catches his reaction. + + ELLIE + So what are you thinking? + + GRANT + We're out of a job. + + Ian Malcolm pops in between them + + MALCOLM + Don't you mean "extinct"? + + Ellie and Malcolm move on ahead. + + CUT TO: + + +15 INT. SHOW ROOM - DAY 15 + + HAMMOND + Why don't you all sit down. + + GRANT, ELLIE, and MALCOLM take their seats in the front row + of the fifty seat auditorium. GENNARO sits behind them. + HAMMOND walks over to the giant screen in front of them. + + Behind him, a huge image of himself beams down at him from + the giant television screen. + 30. + + + HAMMOND (SCREEN) + Hello, John! + + HAMMOND (STAGE) + (to the group) + Say hello! + (then, fumbling with his + three by five cards) + Oh, I've got lines. + +He scans them, looking for his place. The screen Hammond +continues without him, + + HAMMOND (SCREEN) + Fine, I guess! But how did I get + here?! + + HAMMOND (STAGE) + Uh - - + (finding his place) + "Here, let me show you. First I'll + need a drop of blood. Your blood!" + +The screen-Hammond extends his finger and the stage-Hammond +reaches out and mimes pocking it with a needle. + + HAMMOND (SCREEN) + Ouch, John! That hurt! + + HAMMOND (STAGE) + "Relax, John. It's all part of the + miracle of cloning!" + +While the two Hammonds rattle on, the screen image splits +into two Hammonds, then four then eight, and so on, like a +shampoo commercial. + +Grant, Ellie, and Malcolm huddle together excitedly in the +audience. + + GRANT + Cloning from What?! Loy extraction + has never recreated an intact DNA + strand! + + MALCOLM + Not without massive sequence gaps! + + ELLIE + Paleo-DNA? From what source? Where + do you get 100 million year old + dinosaur blood?! + 31. + + + GENNARO + Shhhhh! + +IN THE FILM, the screen-Hammond is joined by another +figure, this one animated. MR. DNA is a cartoon character, +a happy-go-lucky double-helix strand of recombinant DNA. +Mr. DNA jumps down onto the screen-Hammond's head and +slides down his nose. + + HAMMOND + Well! Mr. DNA! Where'd you come + from? + + MR. DNA + From your blood! Just one drop of + your blood contains billions of + strands of DNA, the building blocks + of life! + +IN THE FILM, Mr. DNA has taken over the show, and is +speaking to the audience from the screen. + + MR. DNA + A DNA strand like me is a blueprint + for building a living thing! And + sometimes animals that went extinct + millions of years ago, like + dinosaurs, left their blueprints + behind for us to find! We just had + to know where to look! + +The screen image changes from animated to a nature- +photography look. It's an extreme close-up of a mosquito, +its fangs suck the deep into some animals flesh, its body +pulsing and engorging with blood it's drinking. + + MR. DNA + A hundred million years ago, there + were mosquitoes, just like today. + And, just like today, they fed on + the blood of animals. Even + dinosaurs! + +The camera races back to show the mosquito is perched on +top of a giant animated brachiosaur. + +The image changes, to another close-up, this one of a tree +branch, its bark glistening with golden sap. Mr. DNA leaps +on the sap. + + MR. DNA + 32. + + + Sometimes, after biting a dinosaur, + the mosquito would land on a branch + of a tree, and get stuck in the + sap! + + The engorged mosquito lands in the tree sap, and gets + stuck. So is Mr. DNA. He tugs his legs, but they stay + stuck. + + MR. DNA + WHOA! + + Now the tree sap flows over them, covering up Mr. DNA and + the mosquito completely. Mr. DNA SHOUTS from inside the + tree sap. + + MR. DNA + After a long time, the tree sap + would get hard and become + fossilized, just like a dinosaur + bone, preserving the mosquito + inside! + + +16 INT. A SCIENCE LABORATORY 16 + + The place buzzes with activity. Everywhere, there are piles + of amber, tagged and labeled with SCIENTISTS in white coats + examining it under microscopes. + + One SCIENTIST moves a complicated drill apparatus next to + the chuck of amber with a fossilized mosquito inside and + BORES into the side of it. MR. DNA escapes through the + drill hole as the Scientist moves the amber onto a + microscope and peers through the eyepiece. + + MR. DNA (O.S.) + This fossilized tree sap -- which + we call amber - waited millions of + years, with the mosquito inside - + until Jurassic Park's scientists + came along! + + THROUGH THE MICROSCOPE + + We see the greatly enlarged image of a mosquito through the + lens. + + MR. DNA (O.S.) + Using sophisticated techniques, + they extract the preserved blood + from the mosquito, and - - + 33. + + + A long needle is inserted through the amber, into the + thorax of the mosquito, and makes an extraction. + + MR. DNA + - -Bingo! Dino DNA! + + Mr. DNA jumps down in front of DNA data as it races by at + headache speed. He holds his head, dizzied by it. + + MR. DNA + A full DNA strand contains three + billion genetic codes! If we looked + at screens like these once a second + for eight hours a day, it'd take + two years to look at the entire + strand! It's that long! And since + it's so old, it's full of holes! + That's where our geneticists take + over! + + +17 INT. GENETICS LAB - DAY 17 + + SCIENTISTS toil in a lab with two huge white towers at + either side. + + MR. DNA + Thinking Machine supercomputers and + gene sequencers break down the + strand in minutes -- + + One SCIENTIST, in the back has his arms encased in two long + rubber tubes. He's strapped into a bizarre apparatus, + staring into a complex headpiece and moving his arms + gently, like Tai Chi movements. + + MR. DNA + -- and Virtual Reality displays + show our geneticists the gaps in + the DNA sequence! Since most animal + DNA is ninety percent identical, we + use the complete DNA of a frog -- + + ON THE V.R. DISPLAY + + we see an actual DNA strand, except it has a big hole in + the center, where the vital information is missing. Mr. DNA + bounds into the frame, carrying a butch of letters in one + hand. + + He puts it in the gap and turns back against it, GRUNTING + as he shoves into place. + 34. + + + MR. DNA + (straining) + -- to fill in the -- holes and -- + complete -- the -- + (finally getting it) + -- code! Whew! + + He brushes his hands off, satisfied. + + MR. DNA + Now we can make a baby dinosaur! + + IN THE AUDIENCE + + The scientist look at each other, not sure. + + HAMMOND + All this has some dramatic music -- + da dum da dum da dum dum -- march + or something, it's not written yet, + and the tour moves on -- + + He throws a switch and safety bars appear out of nowhere + and drop over their seats, CLICKING into place. + + HAMMOND + For your own safety! + + The row of seats moves out of the auditorium. + + +18 INT. HALLWAY - DAY 18 + + The row of seats moves slowly past a row of double-panned + glass window beneath a large sign that reads + "GENETICS/FERTILIZATION/HATCHERY." Inside, TECHNICIANS work + at microscopes. + + In the back is a section entirely lit by blue ultraviolet + light. + + Mr. DNA VOICE continues over a speaker in each seat. + + MR. DNA (O.S.) + Our fertilization department is + where the dinosaur DNA takes the + place of the DNA in unfertilized + emu or ostrich eggs -- and then + it's on to the nursery, where we + welcome the dinosaurs back into the + world! + 35. + + +GENNARO has a wondrous grin plastered on his face, just +loving everything now. + + GENNARO + This is overwhelming, John. Are + these characters + (people) + animatronics? + + HAMMOND + No, we don't have any animatronics + here. These are the real miracle + workers of Jurassic Park. + +GRANT, ELLIE, and MALCOLM are frustrated, leaning forward, +straining against the safety bars for a better look. But +the cars keep going. + + GRANT + Wait a minute! How do you interrupt + the cellular mitosis?!? + + ELLIE + Can't we see the unfertilized host + eggs?! + +But the cars are already moving on to another set of +windows, which give a glimpse into what looks like a +control room. + + HAMMOND + Shortly, shortly... + + MR. DNA (O.S.) + Our control room contains some of + the most sophisticated automation + ever attempted in -- + +Grant strains to look back into the labs, but the cars move +past again, no intention of slowing down. + + GRANT + Can't you stop these things?! + + HAMMOND + Sorry! It's kind of a ride! + + GRANT + (to Malcolm) + Let's get outta here! + 36. + + + The two of them team up on the safety bars. Grant shoves + his all the way back with one foot and Malcolm does the + same. They stand up and head for the door of the hatchery. + + GENNARO + Hey! You can't do that! + + Too late. Ellie slips out from under her safety bar too and + stomps right across Gennaro's seat. + + GENNARO + Can they do that? + + They reach the door to the hatchery. Grant tries to shove + it open, but just THUDS into it. He rattles the handle, but + the door won't budge as it's on a security key-card system. + + HAMMOND steps up and takes his glasses off. + + HAMMOND + Relax, Donald, relax. They're + scientists, They ought to be + curious. + (he steps up to the code + box) + It's a retinal scanner. + + He pushes various code numbers. The door opens. He steps + aside, and the group eagerly goes up the stairs. + + +19 INT. HALLWAY - STAIRS - DAY 19 + + GRANT runs up the stairs. MALCOLM and ELLIE eagerly try to + get a look at the lab. HAMMOND and GENNARO come up and join + Grant at the door. + + GENNARO + John, we -- what I'm just saying... + + HAMMOND + Relax Donald, relax. They're + scientists. They ought to be + curious. + + Hammond reaches the door, Grant tries to pry it open. + + HAMMOND + Dr. Grant, just a minute, just a + minute, + (or) + Dr. Grant, just a moment, dear boy. + 37. + + + (he pushes the code; the + door opens) + Remember what Samuel Johnson said. + (they step into the + cubicle) + "Curiosity is one of the permanent + and certain characteristics of a + vigorous intellect!" + (the second door opens) + Right! Come along. + + +20 INT. HATCHERY - NURSERY - DAY 20 + + The hatchery is a vast, open room, bathed in infrared + light. + + Long tables run the length of the place, all covered with + eggs, their pale outlines obscured by hissing low mist + that's all through the room. + + HAMMOND + Come on in. + + HAMMOND takes off his hat and hands it one of the + technicians. + + HENRY WU, late twenties, Asian-American, wearing a white + lab coat works at a nearby table, making notes. + + HAMMOND + Good day, Henry. + + WU + Oh, good day, Sir. + + GRANT goes to a round, open with various eggs under a + strong light. + + One of the eggs makes strong movements - a robotic arm + steadies the shell. + + GRANT + My God! Look! + + Hammond, Ellie, and Malcolm join him, as does Henry Wu. + + WU + Ah, perfect timing! I'd hoped + they'd hatch before I had to go to + the boat. + + HAMMOND + 38. + + + Henry, why didn't you tell me? you + know I insist on being here when + they're born. + +Hammond puts on a pair of plastic gloves. + +The egg begins to crack. The robotic arm moves away...a +BABY DINOSAUR tries to get out, just its head sticking out +of the shell. + +Hammond reaches down and carefully breaks away egg +fragments, helping the baby dinosaur out of its shell. + + HAMMOND + Come on, then, out you come. + + HAMMOND + They imprint on the first living + creature they come in contact with. + That helps them to trust me. I've + been present for the birth of every + animal on this Island. Just look at + that. + + MALCOLM + Surely not the ones that have bred + in the wild? + + WU + Actually, they can't breed in the + wild. Population control is one of + our security precautions here. + There is no unauthorized breeding + in Jurassic Park. + +Grant and Ellie exchange a look. She manages not to smile. + + MALCOLM + How do you know they can't breed? + + WU + Because all the animals in Jurassic + Park are females. + (I've) + We engineered them that way. + +Hammond keeps his attention trained on the new dinosaur. + + HAMMOND + There you are. Out you come. + + ELLIE + Oh my God. + 39. + + + HAMMOND + Could I have a tissue please? + + WU + Right away. + (certainly) + Coming right up. + +The animal is now free, Hammond sets in don carefully next +to its shell. Grant picks it up and holds it in the palm of +his hand, under the incubator's heat light. + + GRANT + Blood temperature feels like high + eighties. + + HAMMOND + Wu? + + WU + Ninety-one. + +Grant picks up the large, broken half-shell, but the +robotic arm snatches it back out of his hand, and puts it +down. + + GRANT + Homoeothermic? It holds that + temperature? + (to Wu) + Incredible. + +Malcolm is looking at Hammond, skeptical. + + MALCOLM + But again, how do you know they're + all female? Does someone go into + the park and, uh -- lift up the + dinosaurs' skirts? + + WU + We control their chromosomes. It's + not that difficult. All vertebrate + embryos are inherently female + anyway. It takes an extra hormone + at the right developmental stage to + create a male, and we simply deny + them that. + + HAMMOND + Your silence intrigues me. + + MALCOLM + 40. + + + John, the kind of control you're + attempting is not possible. If + there's one thing the history of + evolution has taught us, it's that + life will not be contained. Life + breaks free. It expands to new + territories. It crashes through + barriers. Painfully, maybe even... + dangerously, but and...well, there + it is. + +Ellie listens to him, impressed. + + HAMMOND + Watch her head -- support her head. + +Grant, ignoring the others, picks up the baby dinosaur, and +holds it on the palm of his hand, under the incubator's +heat light. He spreads the tiny animal out on the back of +his hand and delicately runs his finger over its tail, +counting the vertebrae. A look of puzzled recognition +crosses his face. + + WU + You're implying that a group of + composed entirely of females will + breed? + + MALCOLM + I'm simply saying that life -- + finds a way. + + ELLIE + "You can't control anything." I + agree with that. I like that. + +She walks over to Malcolm, he smiles at her, too warmly. + + ELLIE + You can talk. I don't k now how to + say it. You're just articulate. You + say everything that I think, that I + feel. It's exciting. + (or) + I find it so exciting. It's + exciting that you can't control + life, that you know -- + (or) + You know that, I find it + terrifying. Life will always find a + way. + + MALCOLM + 41. + + + That's right. Will break through. + + ELLIE + I get ah -- + + MALCOLM + I know, it's very exciting. + + ELLIE + And scary. + + MALCOLM + And scary. + + ELLIE + When people try to control things + that it's out of their power -- + + MALCOLM + It's anti-nature. + + ELLIE + Anti-nature. + + Grant doesn't notice, as he's still obsessed with the + infant dinosaur, measuring and weighing it on a nearby lab + bench. He stops, a strange look on his face. He knows what + this animal is -- but it can't be. + + GRANT + (dreading the answer) + What species is this? + + WU + Uh -- it's a Velociraptor. + + Grant and Ellie turn slowly and look at each other, then + look at Hammond, astonished. + + GRANT + You bred raptors? + + +21 EXT. RAPTOR PEN - DAY 21 + + Grant charges across the compound, a fire in his eyes, + ahead of ELLIE, MALCOLM, and GENNARO. HAMMOND struggles to + keep up. + + HAMMOND + Dr. Grant, Dr. Grant? Uh -- we + planned to show you the raptors + later, after lunch. + 42. + + +But Grant has stopped abruptly next to the Velociraptor +pen, which we recognize as the heavily fortified cage we +some earlier, which the San Quentin towers at one end. + +Grant stands right up against the fence, eyes wide, dying +for a glimpse. + +HAMMOND catches up, slightly out of breath. + + HAMMOND + Dr. Grant -- as I was saying, we've + laid out lunch for you before you + head out into the park. Alejandro, + our gourmet chef -- + + GRANT + What are they doing? + +As they watch, a giant crane lowers something large down +into the middle of the jungle foliage inside the pen. +Something very large. + +It's a steer. They poor thing looks disconcerted as hell, +helpless its in a harness, flailing its legs in the air. + + HAMMOND + Feeding them. + (moving along) + Alejandro is preparing a delightful + meal for us. A Chilean sea bass, I + believe. Shall we? + +Grant goes up to the viewing deck. The others follow, +staring as the steer disappears into the shroud of foliage. +The line from the crane hangs for a moment. + +The jungle seems to grow very quiet. They all stare at the +motionless crane line. It jerks suddenly, like a fishing +pole finally getting a nibble. There's a pause -- + +-- and then a frenzy. The line jerks every which way, the +jungle plants sway and SNAP from some frantic activity +within, there is a cacophony of GROWLING, of SNAPPING, of +wet CRUNCHES that mean the steer is literally being torn to +pieces and is almost makes it worse that we can't see +anything of what's going on -- + +-- and then it's quiet again. The line jerks a few times, +then stops. Slowly the SOUND of the jungle starts up again. + + HAMMOND + Fascinating animals, fascinating. + 43. + + + ELLIE + Oh my God. + + HAMMOND + Give time, they'll out draw the T- + rex. Guarantee it. + + GRANT + I want to see them. Can we get + closer? + +Ellie puts a hand on his arm, like calming an overexcited +child. + + ELLIE + Alan, these aren't bones anymore. + + HAMMOND + We're -- still perfecting a viewing + system. The raptors seem to be a + bit resistant to integration into a + park setting. + +A VOICE comes from behind them. + + VOICE (O.S.) + They should all be destroyed. + +They turn and look at the man who spoke. ROBERT MULDOON, +the grim-faced man who was present at the accident in the +beginning, is fortyish, British. + +He joins them and takes his hat off. When Muldoon talks, +you listen. + + HAMMOND + Robert. Robert Muldoon, my game + warden from Kenya. Bit of an + alarmist, I'm afraid, But he's + dealt with the raptors more than + anyone. + + GRANT + (introducing himself) + Alan Grant. Tell me, what kind of + metabolism do they have? What's + their growth rate? + (or) + rate of growth. + + MULDOON + 44. + + +They're lethal at eight months. And +I do lethal. I've hunted most +things that can hunt you, but the +way these things move -- + + GRANT +Fast for biped? + + MULDOON +Cheetah speed. Fifty, sixty miles +per hour if they ever got out in +the open. And they're astonishing +jumpers. + + HAMMOND +Yes, yes, yes, which is why we take +extreme precautions. They viewing +area below us will have eight-inch +tempered glass set in reinforced +steel frames to -- + + GRANT +Do they show intelligence? With the +brain cavity like theirs we assumed +-- + + MULDOON +They show extreme intelligence, +even problem solving. Especially +the big one. We bred eight +originally, but when she came in, +she took over the pride and killed +all but two of the others. That one +-- when she looks at you, you can +see she's thinking + (or) +working things out. She's the +reason we have to feed 'em like +this. She had them all attacking +the fences when the feeders came. + + ELLIE +The fences are electrified, right? + + MULDOON +That's right. But they never attack +the same place twice. They were +testing the fences for weaknesses. +Systematically. They remembered. + 45. + + + Behind them, the crane WHIRRS back to life, raising the + cable back up out of the raptor pen. The guest turn and + stare as the end portion of the cable becomes visible. The + steer has been dragged completely away, leaving only the + tattered, bloody harness. + + Hammond claps his hands together excitedly. + + HAMMOND + Who's hungry? After you, my dear. + + +22 INT. VISITOR CENTER PRESENTATION ROOM - DAY 22 + + HAMMOND, GRANT, ELLIE, MALCOLM, and GANNARO eat lunch at a + long table in the visitor's center restaurant. + + There is a large buffet table and two WAITERS to serve + them. + + The room is darkened and Hammond is showing slides of + various scenes all around them. Hammond's own recorded + voice describes current and future features of the park + while the slides flash artists' renderings of all them. + + The real Hammond turns and speaks over the narration. + + HAMMOND + None of these attractions have been + finished yet. The park will open + with the basic tour you're about to + take, and then other rides will + come on line after six or twelve + months. Absolutely spectacular + designs. Spared no expense. + + More slides CLICK past, a series of graphs dealing with + profits, attendance and other fiscal projections. Donald + Gennaro, who has become increasingly friendly with Hammond, + even giddy, grins from ear to ear. + + GENNARO + And we can charge anything we want! + Two thousand a day, ten thousand a + day -- people will pay it! And then + there's the merchandising -- + + HAMMOND + Donald, this park was not built to + carter only to the super rich. + Everyone in the world's got a right + to enjoy these animals. + 46. + + + GENNARO + Sure, they will, they will. + (laughing) + We'll have a -- coupon day or + something. + +Grant looks down, at the plate he's eating from. It's in +the shape of the island itself. He looks at his drinking +cup. It's got a T-rex on it, and a splashy Jurassic Park +logo. + +There are a stack of folded amusement park-style maps on +the table in front of Grant. He picks one up. Boldly, +across the top it says, "Fly United to Jurassic Park!" + + HAMMOND + (on tape) + -- from combined revenue streams + for all three parks should reach + eight to nine billion dollars a + year -- + + HAMMOND + (to Gennaro) + That's conservative, of course. + There's no reason to speculate + wildly. + + GENNARO + I've never been a rich man. I hear + it's nice. Is it nice? + +Ian Malcolm, who was been watching the screens with +outright contempt, SNORTS, as if he's finally had enough. + + MALCOLM + The lack of humility before nature + that's been displayed here staggers + me. + +They all turn and look at him. + + GENNARO + Thank you, Dr. Malcolm, but I think + things are a little different than + you and I feared. + + MALCOLM + Yes, I know. They're a lot worse. + + GENNARO + 47. + + +Now, wait a second, we haven't even +see the park yet. Let's just hold +out concerns until -- + (or alt. version) +Wait -- we were invited to this +island to evaluate the safety +conditions of the park, physical +containment. The theories that all +simple systems have complex +behavior, that animals in a zoo +environment will eventually begin +to behave in an unpredictable +fashion have nothing to do with +that evaluation. This is not some +existential furlough, this is an +on-site inspection. You are a +doctor. Do your job. You are +invalidating your own assessment. +I'm sorry, John -- + + HAMMOND +Alright Donald, alright, but just +let him talk. I want to hear all +viewpoints. I truly do. + (or) +I truly am. + + MALCOLM +Don't you see the danger, John, +inherent in what you're doing here? +Genetic power is the most awesome +force ever seen on this planet. But +you wield it like a kid who's found +his dad's gun. + + MALCOLM GENNARO +If I may... It is hardly +appropriate to start hurling Excuse +me, excuse me -- generalizations +before -- I'll tell you. + + MALCOLM + 48. + + +The problem with scientific power +you've used is it didn't require +any discipline to attain it. You +read what others had done and you +took the next step. You didn't earn +the knowledge yourselves, so you +don't take the responsibility for +it. You stood on the shoulders of +geniuses to accomplish something as +fast as you could, and before you +knew what you had, you patented it, +packages it, slapped in on a +plastic lunch box, and now you want +to sell it. + + HAMMOND +You don't give us our due credit. +Our scientists have done things no +one could ever do before. + + MALCOLM +Your scientists were so preoccupied +with whether or not they could that +they didn't stop to think if they +should. Science can create +pesticides, but it can't tell us +not to use them. Science can make a +nuclear reactor, but it can't tell +us not to build it! + + HAMMOND +But this is nature! Why not give an +extinct species a second chance?! I +mean, Condors. Condors are on the +verge of extinction -- if I'd +created a flock of them on the +island, you wouldn't be saying any +of this! + (or) +have anything to say at all! + + MALCOLM +Hold on -- this is no species that +was obliterated by deforestation or +the building of a dam. Dinosaurs +had their shot. Nature selected +them for extinction. + + HAMMOND +I don't understand this Luddite +attitude, especially from a +scientist. How could we stand in +the light of discovery and not act? + 49. + + + MALCOLM + There's nothing that great about + discovery. + (or) + What's so great about discovery? + It's a violent, penetrative act + that scars what it explores. What + you call discovery I call the rape + of the natural world! + + GENNARO + Please -- let's hear something from + the others. Dr. Grant? I am sorry - + - Dr. Sattler? + + ELLIE + The question is -- how much can you + know about an extinct ecosystem, + and therefore, how could you assume + you can control it? You have plants + right here in this building, for + example, that are poisonous. You + picked them because they look + pretty, but these are aggressive + living things that have no idea + what century they're living in and + will defend themselves. Violently, + if necessary. + +Exasperated, Hammond turns to Grant, who looks shell- +shocked. + + HAMMOND + Dr. Grant, if there's one person + who can appreciate all of this -- + (or) + What am I trying to do? + +But Grant speaks quietly, really thrown by all of this. + + GRANT + I feel -- elated and -- frightened + and -- + (starts over) + The world has just changed so + radically. We're all running to + catch up. I don't want to jump to + any conclusions, but look -- + +He leans forward, a look of true concern on his face. + + GRANT + 50. + + + Dinosaurs and man -- two species + separated by 65 million years of + evolution -- have just been + suddenly thrown back into the mix + together. How can we have the + faintest idea of what to expect? + + HAMMOND + I don't believe it. I expected you + to come down here and defend me + from these characters and the only + one I've got on my side it the + bloodsucking lawyer!? + + GENNARO + Thank you. + + One of the WAITERS whispers to Hammond. + + HAMMOND + Ah -- they're here. + + GRANT + Who? + + +23 INT. VISITOR'S CENTER LOBBY - DAY 23 + + HAMMOND, GRANT, ELLIE, MALCOLM, and GENNARO walks out of + the restaurant and into the lobby of the visitor's center. + They head down the stairs, and pass the skeletons of the + dinosaurs again. + + HAMMOND + You four are going to have a little + company out in the park. Spend a + little time with our target + audience. Maybe they'll help you + get the spirit of this place. + + GRANT + What does he mean by "target + audience"? + + Hammond turns toward the door of the center and throws his + arms out expansively. + + HAMMOND + (bellowing) + KIDS!! + 51. + + + Two kids standing in the doorway to the center break into a + broad smiles. TIM, the boy, is about nine years old; + ALEXIX, his sister, looks around twelve. + + TIM & LEX + Grandpa! + + They race across the lobby and into Hammond's arms, + knocking him over on the steps. + + LEX + We miss you. + + TIM + Thanks for the presents. + + LEX + We love the presents. + + HAMMOND + You must be careful with me. Did + you like the helicopter? + + TIM + It was great! It drops, we were + dropping! + + Grant looks on. + + +24 EXT. VISITOR'S CENTER - DAY 24 + + Two modified Ford Explorers leap up out of an underground + garage beneath the visitor's center. They move quietly, + with a faint electronic HUM, and straddle a partially + buried metal rail is the middle of the road. They pull to a + stop where the group is gathered. + + Ellie is off to the side with ALEXIS, introducing herself + warmly. + + HAMMOND is with MALCOLM, GRANT, and GENNARO. + + HAMMOND + Have a heart gentlemen. Their + parents are getting a divorce and + they need the diversion. + + GENNARO + Hey! Where are the brakes? + + HAMMOND + 52. + + + Brakes? No. No brakes. They're + electric cars, guided by this track + in the roadway, and totally non- + polluting, top of the line! + + LEX + It's interactive CD-ROM. Look, see + -- you just touch the right part of + the screen and it talks about + whatever you want. + + HAMMOND + Spared no expense. Have fun. I'll + be watching you from the control + (or) + back in control. + (to Ellie) + Come along, my dear. You'll ride in + the second car, I can promise you + you'll have a real wonderful time. + + ELLIE + Oh thank you so much. So you'll see + you later then. + +Hammond turns and head back towards the Visitor's Center. + + MALCOLM + (too eagerly; to Grant) + I'll ride with Dr. Sattler. + (or) + I'm going to ride with Dr. Sattler. + +He turns and walks over to Ellie. Grant frowns, not liking +this one bit. He moves to follow, but TIM cuts him off, and +stares up at him, wide-eyed + + TIM + I read your book. + + GRANT + Oh, yeah -- great. + +Grant heads for the rear car. Tim follows. + + TIM + You really think dinosaurs turned + into birds? And that's where all + the dinosaurs went? + +Grant opens the door of the rear car and climbs in. Tim +follows. + 53. + + + GRANT + Well, uh, a few species -- may have + evolved, uh -- along those lines -- + yeah. + +A mechanical voice intones from inside: + + VOICE + "Two to four passengers to a car, + please. Children under ten must be + accompanied by an adult." + +Tim is right behind Grant, so Grant keeps moving, across +the back seat of the car and out the other door. But Tim +follows. + + TIM + Because they sure don't look like + birds to me. I heard a meteor hit + the earth and made like this one + hundred mile crater someplace down + in Mexico -- + + GRANT + Listen, ahh -- + + TIM + Tim. + + GRANT + Tim. Which car were you planning on + -- + + TIM + Whichever one you are. + +Grant goes to the front car again, opens the rear door, and +holds it for Tim, who climbs in the back seat, rattling on +and on. + + TIM + Then I head about this thing in + OMNI? About the meteor making all + this heat that made a bunch of + diamond dust? And that changed the + weather and they died because of + the weather? Then my teacher told + me about this other book by a guy + named Bakker? And he said the + dinosaurs died of a bunch of + diseases. + 54. + + + SLAM! Grant closes the car door on Tim. He turns and head + for the rear vehicle -- + + -- and bumps right into Lex. + + LEX + (points at Ellie) + She said I should ride with you + because it would be good for you. + + Grant looks over at Ellie, annoyed. + + GRANT + She's a deeply neurotic woman. + + CUT TO: + + +25 INT. CONTROL ROOM - DAY 25 + + The Jurassic Park control room looks like a mission control + for a space launch, with several computer terminals and + dozens of video screens that display images of various + dinosaurs, taken from all over the park. + + There's a large glass map of the island at the front of the + room that is lit up like a Christmas tree with various + colored lights, each one with a number and identification + code next to it. + + But the place is unfinished, with unattached cables, + construction materials, and ladders scattered about. + + The mood among the half dozen TECHNICIANS present is + chaotic as they rush around with last-minute adjustments. + + MULDOON whisks in through the double doors. HAMMOND is + right behind him. They go straight to the main console, + where RAY ARNOLD fortyish, a chronic worrier and chain- + smoker, is seated. + + MULDOON + National Weather Service is + tracking a tropical storm about + seventy-five miles west of us. + + Hammond sighs and looks over Arnold's shoulder. + + HAMMOND + Why didn't I build in Orlando? + + MULDOON + 55. + + + I'll keep an eye on it. Maybe it'll + swing south like the last one. + + HAMMOND + (a deep breath) + Ray, start the tour program. + + He punches a button on the console. + + ARNOLD + (not exactly comforting) + Hold onto your butts. + + CUT TO: + + +26 EXT. VISITOR'S CENTER - DAY 26 + + With a loud CHUNK, the Explorers start forward along the + electrical pathway. + + GENNARO, TIM, and LEX are in the front vehicle; GRANT, + ELLIE, and MALCOLM in the rear. + + +27 EXT. MAIN GATES - DAY 27 + + They pass through two enormous, primitive gates, torches + blazing on either side. + + +28 EXT. JURASSIC PARK - DAY 28 + + IN THE REAR CAR, the Explorer's speakers BLARE with fanfare + of trumpets, and the interior video screen flashes "Welcome + to Jurassic Park." A familiar VOICE comes over the speaker: + + VOICE (O.S.) + Welcome to Jurassic Park. You are + now entering the lost world of the + prehistoric past, a world - - + + VOICE + creatures long gone from the face + of the earth, which you are + privileged to see for the first + time. + + +29 INT. CONTROL ROOM 29 + + HAMMOND watches the monitor. His grandchildren are enjoying + themselves. + 56. + + + HAMMOND + By the way, that's James Earl Jones + (or) + Richard Kiley. We spared no + expense! + +IN THE PARK, the fences are retaining walls are covered +with greenery and growth, to heighten the illusion of +moving through a jungle. + +IN THE FRONT CAR + + GENNARO + The accident took place in a + restricted area. It would not have + been available to the public + access. So how can the safety of + the public be called into question? + +The cars come to the top of a low rise, where a break in +the foliage gives them a view down a sloping field that is +broken by a river. The tour voice continues. + + VOICE (O.S.) + To the right, you will see a herd + of the first dinosaurs on our tour, + called Dilophosaurus. + +IN THE FRONT CAR, Tim and Lex practically SLAM up against +the windows, to get a look. + + GENNARO + (keeps talking) + The safety. That's the problem I + had to answer. + + LEX + Shhh. + + TIM + I can't see. + + GENNARO + What are we looking for? + + TIM + Dilophosaurus. + +IN THE REAR CAR, Grant looks at his map. Ellie, hearing the +voice, reacts. + + ELLIE + Oh, shit. + 57. + + + GRANT + Dilophosaurus. + + Grant, Malcolm, and Ellie press against the windows. + + DOWN NEAR THE RIVER BANK there are a lot of beautiful + plants, but no sign of a herd of anything. + + The tour voice continues anyway. + + VOICE (O.S.) + One of the earliest carnivores, we + now know Dilophosaurus is actually + poisonous, spitting its venom at + its prey, causing blindness and + eventually paralysis, allowing the + carnivore to eat at its leisure. + This makes Dilophosaurus a + beautiful, but deadly addition to + Jurassic Park. + + Corny SCARY MUSIC plays over the speaker. + + IN THE FRONT CAR. + + TIM + There's nothing there! + + IN THE REAR CAR. + + ELLIE + Alan, where? + + Grant and the others sit back, disappointed. + + GRANT + Damn. + + ON THE ROAD, the cars move on. As they roll past, we notice + the headlights are on, even in the daytime. + + CUT TO: + + +30 INT. CONTROL ROOM - DAY 30 + + RAY ARNOLD watches his computer screen and the video + monitors at the same time, keeping an eye on the cars as + they move through the park. HAMMOND hovers over his + shoulder. + + ARNOLD + 58. + + + Vehicle headlights are on and don't + respond. Those shouldn't be running + off the car batteries. He signs and + reaches for a clipboard hanging + next to his chair and jots this + down. + + ARNOLD + Item one fifty-one on today's + glitch list. We've got all the + problems of a major theme park and + a major zoo, and the computer's not + even on its feet yet. + +Hammond shakes his head and turns to the TECHNICIAN to his +right, who still has his back to them, watching a Costa +Rican game show on one of his monitors and drinking a Jolt +cola. + + HAMMOND + Dennis, our lives are in your hands + and you have butterfingers. + +The Technician turns around his chair and extends his arms +in a Christ-like pose. As we get a good look at him, we get +the sinking feeling that we've seen him somewhere before. +And we have. DENNIS NEDRY is the man who accepted a +suitcase full of cash in San Jose. + + NEDRY + I am totally unappreciated in my + time. We can run the whole park + from this room, with minimal staff, + for up to three days. You think + that kind of automation is easy? Or + cheap? You know anybody who can + network eight Connection Machines + and de-bug two million lines of + code for what I bid this job? + Because I'd sure as hell like to + see them try. + + HAMMOND + I'm sorry about your financial + problems. I really am. But they are + your problems. + + NEDRY + You're right, John. You're + absolutely right. Everything's my + problem. + + HAMMOND + 59. + + + I will not get drawn into another + financial conversation with you, + Dennis. I really will not. + + NEDRY + I don't think there's been any + debate. There's no debate...my + mistakes... + + HAMMOND + I don't blame people for their + mistakes, but I do ask that they + pay for them. + + NEDRY + Thanks, Dad. + + ARNOLD + Dennis -- the headlights. + + NEDRY + I'll de-bug the tour program when + they get back. Okay? It'll eat a + lot of computer cycles; parts of + the system may go down for a while + -- Don't blame me. If I am + playing...losing memory... + + MULDOON, who has been hovering near the video monitors as + always, turns towards them, annoyed. + + MULDOON + Quiet, all if you. They're coming + to the tyrannosaur paddock. + + CUT TO: + + +31 EXT. TYRANNOSAUR PADDOCK - DAY 31 + + The two Explorers drive along a high ridge and stop at the + edge of the large, open plain that is separated from the + road by a fifteen-foot fence, clearly marked with "DANGER!" + signs and ominous-looking electrical post. + + TIM, LEX, and GENNARO are pressed forward against the + windows, eyes wide, waiting for you-know-who. + + IN THE REAR CAR, the voice of the radio drones on, but + GRANT, ELLIE, and MALCOLM aren't even listening anymore, + dying of anticipation. + + VOICE (O.S.) + 60. + + + The mighty tyrannosaurus arose late + in the dinosaur history. Dinosaurs + ruled the earth for hundred and + fifty million years, but it wasn't + until the last- - + + GRANT + Will you turn that thing off? + +Ellie flips a switch and they wait in silence -- except for +Malcolm, who looks at the ceiling, thinking aloud. + + MALCOLM + God creates dinosaurs. God destroys + dinosaurs. God creates man. Man + destroys God. Man creates + dinosaurs. + + ELLIE + (finishing it for him) + Dinosaur eats man. Woman inherits + the Earth. + + ARNOLD (O.S.) + Hold on, we'll try to tempt the + rex. + +IN THE PADDOCK, there is a low HUMMING sound. Out in the +middle of the field, a small cage rises up into view, +lifted on hydraulics from underground. + +The cage bars slide down, leaving the cage's occupant +standing alone in the middle of the field. + +It's a goat, one leg chained to a stake. It looks around, +confused, and BLEATS plaintively. + +IN THE FRONT CAR, LEX and TIM look at the goat with widely +different reactions. + + LEX + What's going to happen to the goat? + He's going to eat the goat?! + + TIM + (in heaven) + Excellent. + + GENNARO + (to Lex) + What's the matter, kid, you never + had lamb chops? + 61. + + + LEX + I happen to be a vegetarian. + + IN THE REAR CAR. + + GRANT + (shakes his head) + + T-rex doesn't want to be fed; he wants to hunt. You can't + just suppress sixty-five million years of gut instinct. + + IN THE PADDOCK + + The goat waits. And waits. From the Explorers, six faces + watch it expectantly. The goat tugs on its chain. It walks + back and forth, nervous. It BLEATS. + + IN THE REAR CAR. + + Grant watches, his eyes glued, his breathing becoming a + little more rapid. + + IN THE FRONT CAR. + + Tim and Lex can't tear their eyes away, + + IN THE PADDOCK, finally, the goat -- + + -- lays down. + + IN THE REAR CAR, everyone sits back, disappointed again, as + the cars pull forward to continue the tour. Malcolm picks + up the microphone. + + MALCOLM + Now, eventually you do plan to have + dinosaurs on your dinosaur tour, + right? + + +32 INT. CONTROL ROOM - DAY 32 + + HAMMOND just shakes his head as Malcolm's voice comes + through, + + HAMMOND + I really hate that man. + + +33 EXT. PARK - DAY 33 + 62. + + +GRANT gets into the seat, leaving MALCOLM behind ELLIE. He +longingly looks out of the opposite window, while Malcolm +rattles on to Ellie. + + MALCOLM + You see? The tyrannosaur doesn't + obey set patterns or park + schedules. It's the essence of + Chaos. + + ELLIE + I'm still not clear on Chaos. + + MALCOLM + It simply deals with + unpredictability in complex + systems. It's only principle is the + Butterfly Effect. A butterfly can + flap its wings in Peking and in + Central Park you get rain instead + of sunshine. + +Ellie gestures with her hand to show this information has +gone right over her head. + + MALCOLM + I made a fly by, I go too fast. + +Looking out of the opposite window, Grant sees movement at +the far end of a field. He sits bolt upright, trying to get +a better look. + +Malcolm, looking for another example -- + + MALCOLM + (points to the glass of + water) + Here. Give me your glass of water. + +He dips his hand into the glass of water. He takes Ellie's +hand in his own. + + MALCOLM + Make like hieroglyphics. Now watch + the way the drop of water falls on + your hand. + +He flicks his fingers and a drop falls on the back of +Ellie's hand. + + MALCOLM + 63. + + + Ready? Freeze your hand. Now I'm + going to do the same thing from the + exact same place. Which way is the + drop going to roll off? + (or) + Which way will the drop roll? Over + which finger? Or down your thumb? + Or to the other side? + + ELLIE + Uh -- thumb! + (or) + The same way. + + MALCOLM + It changed. Why? + (or) + Okay, back over your wrist. + (then) + Because and here is the principle + of tiny variations -- the + orientations of the hairs -- + + ELLIE + Alan, listen to this. + + MALCOLM + -- on your hand, the amount of + blood distending in your vessels, + imperfections in the skin -- + + ELLIE + Oh, imperfections? + + MALCOLM + Microscopic -- never repeat, and + vastly affect the outcome. That's + what? + + ELLIE + Unpredictability... + + MALCOLM + And even if we haven't seen it yet, + I'm quite sure it's going on in + this park right now. There's + definitely something out in that + field, and Grant has to see it. + +He jerks on the door handle and opens his door a few +inches. He looks outside towards freedom, then looks around +to is anybody's watching him. + 64. + + + Malcolm lowers his voice, becoming more seductive now. + + MALCOLM + Life's a lot like that, isn't it? + You meet someone by chance you'll + never meet again, and the course of + your whole future changes. It's + dynamic -- its exciting -- I think. + + Grant throws the door open and bolts out of the moving car. + + MALCOLM + There, there see?! I'm right again! + + ELLIE + Alan? + + MALCOLM + No one could have predicted Dr. + Grant would suddenly jump out of a + moving vehicle! + + ELLIE + Alan? + + She jumps out too and follows him into the field. + + MALCOLM + There's another example! + + IN THE FRONT CAR. + + TIM + Hey! I want to go with them! + + IN THE REAR CAR. + + MALCOLM + See? Here I am now, by myself, + talking to myself -- that's Chaos + Theory! What the hell am I doing + here? I'm the only one who knows + what's going on, etc, etc... + + +34 INT. CONTROL ROOM - DAY 34 + + HAMMOND, MULDOON, and ARNOLD stare at the video monitor + incredulously as everyone now pouts out of the cars and + follows Grant down the hill. + + The cars roll on slowly, empty, their doors hanging open. + 65. + + + ARNOLD + Uh -- Mr. Hammond -- + + HAMMOND + Stop the program! Stop the program! + + MULDOON + There you are! How many times did I + tell you we needed locking + mechanisms on the vehicle doors! + + ACROSS THE ROOM + + DENNIS NEDRY sneaks a peek at the video monitor. It shows + an image of the steel door, plainly marked -- "EMBRYONIC + COLD STORAGE. RESTRICTED!" + + He looks to another monitor, which is labeled "EAST DOCK." + The monitor shows a supply ship, moored at the dock. Its + cargo is being uploaded and a large group of WORKERS is + filing aboard. + + Nedry has something in the counter, where no one can see + it. + + It's a can of shaving cream. + + +35 EXT. PARK - DAY 35 + + GRANT, ELLIE, GENNARO, and the KIDS are out in the open + field, heading towards a small stand of trees. For the + first time, we notice the sky is darken rather early in the + day. Tim dogs Grant's footsteps, so excited he can hardly + keep his feet on the ground. + + TIM + So like I was saying, there's this + other book by a guy named Bakker? + And he said dinosaurs died of a + bunch of diseases? He definitely + didn't say they turned into birds. + + Gennaro is scared as hell, following the others, but his + head darting left and right. + + ELLIE + Alan? Where are we going? You see + something? + + GENNARO + Uh - - anybody else think we + shouldn't be out here? + 66. + + + TIM + And his book was a lot fatter than + yours. + + GRANT + Really? + + ELLIE + Yours was fully illustrated, honey. + + GENNARO + Anybody at all. Feel free to speak + up. + +Lex stumbles and Grant takes her hand, to stop her from +falling. + +She looks up at him and smiles. + +Grant smiles back and tries to recover his hand, but Lex +holds tight. He's massively uncomfortable. Ellie notices. + +Suddenly they all stop in their tracks. A huge smile +spreads across the faces of both Tim and Grant. Grant walks +forward. Tim follows. + + ELLIE + Timmy, Timmy. + + LEX + Come back here, blanket head. + +Fearless, Tim walks forward behind Grant. + + HARDING (O.S.) + Hi everybody, Don't be scared. + +Tim reaches the clearing and sees: + +A Triceratops, a big one, lying on its side, blocking the +light at the end of the path. It has an enormous curved +shell that flanks its head, two big horns over its eyes, +and a third on the end of its nose. It doesn't move, just +breathes, loud and raspy, blowing up a little clouds of +dust with every exhalation. + +Grant stands next to Harding, almost in a daze. + + GRANT + Beautiful. Is it okay? Can I touch + it? + + HARDING + 67. + + + Sure. + +Grant walks next to the animal and strokes its head. Ellie + +moves forward to the animal. + + GRANT + Oh Ellie. It's so beautiful. It's + the most beautiful thing I ever + saw. + + ELLIE + It's my favorite. + +They both kneel, checking the animal. + +He furrows his bow, noticing something, all professional +curiosity now. The animal's tongue, dark purple, droops +limply from its mouth. + + GRANT + Ellie, take a look at this. + + ELLIE + Yeah, baby girl, it's okay. + +She scratches the tongue with her fingernail. A clear +liquid leaks from the broken blisters. + + ELLIE + Micro vesicles. That's interesting. + +Grant, fascinated, wanders all the way around to the back +of the animal. Harding joins Ellie and hands her his +penlight. + + ELLIE + What are her symptoms? + + HARDING + Imbalance, disorientation, labored + breathing. Seems to happen about + every six weeks or so. + + ELLIE + Six weeks? + +She takes the penlight from the veterinarian and shines it +in the animal's eyes. + + ELLIE + Are there pupillary effects from + the tranquilizer? + 68. + + + HARDING + Yes, mitotic, pupils should be + constricted. + + ELLIE + These are dilated. Take a look. + + HARDING + They are? + (checks it out) + I'll be damned. + + ELLIE + That's pharmacological. From local + plant life. + +She turns and studies the surrounding landscape. Her mind's +really at work, puzzling over each piece of foliage. + + ELLIE + (pointing) + Is that + (or) + this West Indian lilac? + + HARDING + Yes. We know they're toxic, but the + animals don't eat them. + + ELLIE + Are you sure? + + HARDING + Pretty sure. + + ELLIE + There's only one way to be + positive. I need to see some + droppings. + (or) + I have to see the dinosaur's + droppings. + + HARDING + You won't be able to miss them. + (or) + Can't miss them. + +Malcolm walks up to Ellie. + + MALCOLM + Dino droppings? + 69. + + + ELLIE + Yeah. + + She walks way, Malcolm looks on. + + +36 INT. CONTROL ROOM - DAY 36 + + HAMMOND and ARNOLD are watching the video monitors, + displeased about something. Arnold is looking at one that + gives them a view from the beach, looking out at the ocean. + The clouds beyond are almost black with a tropical storm. + + ARNOLD + That storm center hasn't dissipated + or changed course. We're going to + have to cut the tour short, I'm + afraid. Pick it up again tomorrow + where we left off. + + HAMMOND + You're sure we have to? + + ARNOLD + It's not worth taking the chance, + John. + + MULDOON + (into phone) + Sustain winds 45 knots. + + HAMMOND + (nods) + Tell them when they get back to the + cars. + + MULDOON + (into phone) + Thanks, Steve. + + ARNOLD + (making an announcement + to the others) + Ladies and gentlemen, last shuttle + to the dock leaves in approximately + five minutes. Drop what you are + doing and leave now. + + HAMMOND + Damn! + + ACROSS THE ROOM + 70. + + + NEDRY stares at his video monitor, watching the boat. He's + on the phone with the MATE, whose images he can see on the + monitor. The seas around the dock are much rougher now. + + MATE + We're not well-berthed here without + a storm barrier! We may have to + leave as soon as the last of the + works are aboard. + + NEDRY + (low voice) + No, no. You stick to the plan. You + wait till they're back from the + tour. + + +37 EXT. FIELD - DAY 37 + + As the weather grows darker, ELLIE, GRANT, HARDING, and + MALCOLM are grouped around an enormous spoor of triceratops + excreta that stands at least waist high and is covered with + BUZZING flies. + + MALCOLM + That is one big pile of shit. + + Ellie has plastic gloves on the reach up to her elbows, and + is just withdrawing her hand from the middle of the dung. + + ELLIE + (to Harding) + You're right. There's no trace of + lilac berries. That's so weird, + though. She shows all the classic + signs of Meliatoxicity, + (thinking aloud) + Every six weeks -- + + She turns and walks out into the open field a few paces, + thinking. Malcolm watches her, and looks back at the dung. + + MALCOLM + (TO GRANT) + She's, uh -- tenacious. + + GRANT + You have no idea. + + MALCOLM + (TO ELLIE) + You will remember to wash your + hands before you eat anything? + 71. + + +38 INT. CONTROL ROOM - DAY 38 + + DENNIS NEDRY is busily and surreptitiously typing a series + of commands into his console. On his screen, a cartoon hand + winds up a cartoon clock, moving its second hand up to the + twelve. The clock rotates around to face us. + + It has a large green dollar sign in the middle. A big word + appears on screen, an option surrounded by forbidding red + box. + + "EXECUTE," it says. + + +39 EXT. PARK - DAY 39 + + The skies are really foreboding now, and there's a sense of + growing urgency. ELLIE is by the animal, a short distance + away from the group. GRANT is near her, thinking. + + GRANT + Ellie, I've been thinking there's + something about the periodicity + doesn't had up. + + ELLIE + I know. + + Tim holds one of the smooth rocks up and calls out, a + little timidly. + + TIM + These look kind of familiar. + + GRANT + Triceratops was a constant browser, + and constant browsers would be + constantly sick. + + ELLIE + Constantly sick. + + GRANT + Not just every six weeks. + + ELLIE + Yeah, I know. + + TIM + I've seen pictures of these! + + Grant turns and looks at him, a little annoyed. + 72. + + + TIM + In your fully illustrated book. + +Grant just rolls his eyes, but Ellie comes over and checks +out the stones. + + ELLIE + What's that? + +A light goes on in her eyes. + + ELLIE + Alan -- gizzard stones! + +She throws Grant one of the stones. They look at each other +in amazement. + +As before, when they get excited, they talk right over each +other. + + GRANT + Elm that's it, it explains the + periodicity, the -- + + ELLIE + -- the undigested state of the + berries because it's -- + + GRANT + -- totally incidental + (or) + unrelated to the feeding pattern -- + + TIM + What are you guys saying? + + ELLIE + (turning to Tim) + It's simple, see. Some animals like + her, don't have teeth -- + + GRANT + -- like birds -- + + ELLIE + -- like birds. What happen is, they + swallow the stones and hold them in + a muscular sack in their stomachs - + - + + GRANT + -- a gizzard -- + 73. + + + ELLIE + -- which is called a gizzard, and + it helps them mash their food, but + what happens after a while -- + + GRANT + -- what happens is that after a + while, the stones get smooth, every + six weeks, so the animal + regurgitates them -- + + ELLIE + (for Tim) + -- barfs them up -- + + GRANT + -- and swallows fresh ones. + + ELLIE + And when she swallows the stones, + she swallows the poison berries + too. That's what makes her sick. + (impressed) + Good work Tim. + +She looks at Grant pointedly. Tim looks up at Grant too, +smiling from ear to ear. Grant GRUNTS, not so easily +convinced. + +THUNDER rumbles as the storm overhead is about to bust +loose. + +GENNARO, scared of more than one thing now, puts his foot +down. + + GENNARO + Doctors, if you please -- I have to + insist we get moving. + + ELLIE + Oh, you know, if it's alright, I'd + like to stay with Dr. Harding and + finish with the trike. Is that + okay? + + HARDING + Sure. I've got a gas powered jeep. + I can drop her at the visitor's + center before I make the boat with + the others. + + ELLIE + (to Grant) + 74. + + + I'll catch up with you. You can go + with the others. + + GRANT + Are you sure? + + ELLIE + I'll just finish. Yeah, I want to + finish. + + There is a lightning flash now, with a tooth-rattling + THUNDERCLAP right on its heels. + + GENNARO + Now. + + Grant turns and follows the others, Lex right in his + tracks. + + Ellie and Harding go back to the triceratops, which is + starting to come back to life. + + As Grant reaches the Explorer, he turns back for one last + look at Ellie. He raises his hand to wave, but she is + turned the other way. + + Feeling silly, he drops his hand and goes into the woods. + Just as he does, Ellie turns and waves to him, but with his + back turned, he misses it too. + + In this way, they say goodbye. + + BACK AT THE CARS, as the reflections of the GROUP approach, + the first raindrops fall on the windshields of the tour + vehicles. They're big, fat drops, and they kick up little + clouds of dust as they SMACK into the glass. + + It's going to be a hell of a storm. + + +40 EXT. PARK - DUSK 40 + + It's near dark now. The wind has whipped up, and the trees + are swaying. + + +41 INT. CONTROL ROOM - DUSK 41 + + HAMMOND is with RAY ARNOLD, staring at the video screens. + + ARNOLD + 75. + + + I found a way to re-route through + the program. I'm turning the cars + around in the rest area loop. + + HAMMOND + Rotten luck, this storm. Get my + grandchildren on the radio will + you? I don't want them to worry + about a wee bit of rain. + +Arnold reaches for the hand microphone. + +ACROSS THE ROOM, DENNIS NEDRY, sweat forming on his upper +lip now, is staring at his video monitor. The supply boat +is still docked on the island shore, but is now being +buffeted by heavy waves. Nedry whispers sharply into the +phone, arguing with the MATE of the ship again, who he can +see on the video monitor. + + MATE + There's nothing I can do! If the + Captain says we gotta go, we gotta + go! + + NEDRY + No, no, listen to me. You've got to + give me this time. I did a test run + on this thing and it took me twenty + minutes. I thought I could do it in + fifteen -- you've got to give me + fifteen minutes. + + MATE + No promises! No promises! + + NEDRY + I'll be there in ten! + +Arnold SNAPS a button on his console. + + ARNOLD + Visitor vehicles are on their way + back to the garage. + + HAMMOND + So how much for our first tour. Two + no-shows and one sick triceratops. + + ARNOLD + It could have been worse, John. It + could have been a lot worse. + +Dennis Nedry stands up. + 76. + + + He's shaking in his shoes, but trying like hell to be + casual. + + NEDRY + Anybody want a Coke? Anybody what + some from the machines? Or a soda + or something? I had too many + sweets. + (or) + I thought I'd get something sweet. + + Hammond and Arnold shake their heads. Nedry starts to + leave, then turns back with an afterthought that is so + rehearsed its almost obvious. + + NEDRY + Oh, I finished de-bugging the + phones, but the system's compiling + for eighteen minutes, or twenty. + So, some minor systems may go on + and off for a while. There's + nothing to worry about. Simple + thing... + + HAMMOND + Okay, okay, okay, okay, that's + enough! Ahh! + + Nedry turns, stretches one finger out to his screen, and + selects an option. + + "EXECUTE." + + At the same time, he presses the start button on his + digital stopwatch he holds in his hand. A digital clock on + the computer screen starts to tick down from sixty seconds + , and a musical clock starts to sound too -- something like + the "Jeopardy" theme. + + He starts to leave -- but returns when he remembers the + shaving cream can. He grabs it and leaves. + + +42 EXT. PARK ROAD - NIGHT 42 + + Night was completely fallen now, and the rain has started. + It's a tropical storm, the rain falling in drenching sheets + on the roofs and hoods of the Explorers, which are making + their way slowly back to the visitor's center. + + IN THE REAR CAR, GRANT and MALCOLM are alone. Grant is + staring out the window, lost in his thoughts. + 77. + + + GRANT + You got any kids? + + MALCOLM + Me? Oh, hell yes. Three. + (glowing) + I love 'em. I love kids. Anything + at all can and does happen. + + He takes a flask from jacket pocket and unscrews the top. + His expression darkens. + + MALCOLM + Same with wives, for that matter. + + GRANT + You're married? + + MALCOLM + Occasionally. Always on the lookout + for the future ex-Mrs. Malcolm. + + +43 INT. FERTILIZATION LAB - NIGHT 43 + + DENNIS NEDRY, waits outside the silver door marked + "EMBRYONIC COLD STORAGE," staring at the digital stopwatch + in his hand. + + NEDRY + Two -- one -- + + On cue, the security lock panel goes dark and the door + CLUNKS ajar. + + IN THE COOLER, Nedry hurries in and flips open the hatch on + the bottom of the shaving cream can, revealing slotted + compartments inside. He goes to the rack of dozens of thin + glass slides. A sign says "VIABLE EMBRYOS -- HANDLE WITH + EXTREME CARE!" + + He takes the slides out of the rack one by one. They're + labeled -- "STEGOSAURUS", "APATOSAURUS", "TYRANNOSAURUS + REX" -- and puts them into the can. + + +44 INT. CONTROL ROOM - NIGHT 44 + + ARNOLD is staring at his terminal, puzzled. On the screen, + glowing red and blue lines are blinking off, in + succession.. + + ARNOLD + 78. + + + What? + + HAMMOND comes up behind him, as does ROBERT MULDOON. + + HAMMOND + What? + + ARNOLD + The door security systems are + shutting down. + + HAMMOND + Well, Nedry said a few systems + would go off-line, didn't he? + + +45 INT. REAR CAR - NIGHT 45 + + GRANT and MALCOLM still wait in their car. They don't + notice, but the video screen in the middle of their front + console suddenly goes black. + + Malcolm continues their conversation. + + MALCOLM + By the way, Dr. Sattler -- she's + not like, uh, available, is she? -- + + GRANT + Why? + + MALCOLM + Why? Oh, I'm sorry. Are you two, uh + -- are? I wish you the best luck. + + The cars jerk to a stop. The lights in the vehicles and + along the road go out, plunging them into blackness. Grant + jerks his hands away from the steering column, immediately + assuming it's his fault. + + GRANT + What'd I touch?! + + MALCOLM + You haven't touched + (or) + didn't touch anything. We're + stopping. + (or) + We've stopped. + + GRANT + 79. + + + I must've touched something. This + happens all the time. It must be my + fault. Machines hate me. + + MALCOLM + Machines hate you? + + GRANT + Yeah, they hate me. + + MALCOLM + You want to talk about this? + + GRANT + No. + + +46 EXT. JURASSIC PARK - NIGHT 46 + + Nedry's jeep SPLASHES up to the giant gates that lead into + Jurassic Park. NEDRY jumps out and hurries to the control + panel on the side of the cement supports. + + He FLICKS a switch and gates CLICK unlocked. + + He jumps back in the car and noses into the gates, shoving + them open far enough to drive through. + + He ROARS into the park grounds + + +47 EXT. CONTROL ROOM - NIGHT 47 + + RAY ARNOLD stares at his terminal, aghast, as row upon row + of colored lights crawls off on his screen. + + ARNOLD + Woah, woah, woah, what the hell, + what the hell? + + HAMMOND + What now? + + ARNOLD + Fences are failing, all over the + park! A few minor systems, he said! + + HAMMOND + (to Muldoon, pissed) + Find Nedry! Check the vending + machines! + + ARNOLD + 80. + + + The monitors are failing. + + Muldoon heads for the door just as all the video monitors + in the control room go out with a faint electronic ZIP. + + The three of them freeze for a moment, looking at each + other. + + The tension in the room goes up a notch. + + HAMMOND + (to Arnold) + Use Nedry's terminal. Get it all + back on. He can de-bug later. + + ARNOLD pushes off on the floor and whizzes over to Nedry's + master terminal in his chair. With one stroke of his arm, + he brushes all the loose junk off Nedry's station - junk + food, soda cans, torn out magazine pages - - and tries to + work. + + ARNOLD + God, look at this workstation. + + The "Jeopardy"-type music is playing a little faster now. + + Muldoon steps forward, growing alarmed. + + MULDOON + The raptor fences aren't out, are + they? + + ARNOLD + (checks) + No, they're still on. + + HAMMOND + Why the hell would he turn the + others off?! + + +48 EXT. PARK ROAD - NIGHT 48 + + A wire mesh fence in front of us has a very clear sign: + + DANGER! ELECTRIFIED FENCE! + + This Door Cannot Be Opened + + When Fence is Armed! + 81. + + + A hand reaches out, grabs the fence by the bare wire, flips + a latch, and shoves the door open. No sparks fly. + + DENNIS NEDRY runs from the fence back to his jeep, drops it + in gear, and tears off down the park road. The rain is + absolutely flowing down now, the road is rapidly turning to + mud. + + IN THE JEEP, Nedry can barely see through the windshield. + He's driving as fast as possible, checking his watch every + few seconds. + + He leans forward, squinting to see through the windshield, + wiping off the condensation with his free hand. A fork in + the road rushes into view. He jumps on the brakes - - to + late. The jeep careens into a signpost. + + NEDRY + Shit! + + He throws the door open and hurries to the fallen sign: "To + The Docks". He props it up - the directional arrow swings + hopelessly on a nail. He clenches his jaws and growls. + + Soaked, Nedry stomps back to his car. + + Although he doesn't look too convinced, he drops the car in + gear and speeds off to the left. + + +49 EXT. CONTROL ROOM - NIGHT 49 + + HAMMOND still hovers over ARNOLD's shoulder while he works + at Nedry's terminal. Arnold MUTTERS to himself as he tries + another command. + + ARNOLD + -- access main program grid -- + + He punches a button, but a BUZZER sounds and a little + cartoon image of Nedry appears on the screen and waves its + little finger disapprovingly. + + CARTOON NEDRY + "You didn't say the magic word!" + + ARNOLD + (livid) + Please, God damn it! I hate this + hacker crap! + + He SMACKS the top of the monitor, furious. The game show + music plays still faster. + 82. + + + HAMMOND + Call Nedry's people in Cambridge! + + Arnold whisks across the floor in his chair and snatches up + the nearest phone. He punches for an outside line. + + ARNOLD + Phones are out too. + + HAMMOND + Where did the vehicles stop? + + +50 EXT. TYRANNOSAUR PADDOCK - NIGHT 50 + + BAAA! The goat that was brought up from the underground + earlier is still tethered in the same place, BLEATING in + the pouring rain + + The two explorers sit still in the middle of the road. A + man's form races back from the front car to the rear car. + + IN THE REAR CAR, GRANT, soaking wet, gets back into the + care and closes the door behind him. MALCOLM turns to him. + + GRANT + Their radio's out too. Gennaro said + to stay put. + + MALCOLM + The kids okay? + + GRANT + Well, I didn't ask. Why wouldn't + they be? + + MALCOLM + Kids get scared. + + GRANT + What's to be scared about? It's + just a little hiccup in the power. + + MALCOLM + I didn't say I was scared. + + GRANT + I didn't say you were scared. + + MALCOLM + I know. + + GRANT + 83. + + + Fine. + +Malcolm turns and looks out at the driving rain, and the +fence that stands between them and the tyrannosaur paddock. +He is scared. + +IN THE FRONT CAR, GENNARO, LEX, and TIM wait, bored. The +rain drums on the roof monotonously. Tim is upside down in +the front seat. Lex pushes his legs up, and he swings them +down. + + TIM + Up and down, up and down! + + GENNARO + (sotto) + I can't believe we invited Ian + Malcolm. + + TIM + People were gettin' bloody noses -- + things on your head -- aneurisms -- + + LEX + (a little dreamy) + I think Dr. Grant is really -- + smart. + + GENNARO + How he'll write a butch of + (letters) + papers, go on Larry King Live, say + we're irresponsible -- + +Tim climbs into the back seat. Lex hits him with her hat as +he moves by her. + + LEX + Don't scare me. + +Tim finds something under the seat and sits up abruptly, +holding what looks like a heavy-duty pair of safety +goggles. + + GENNARO + Hey! Where did you find those + things? + + TIM + In a box under my seat. + + GENNARO + Are they heavy? + 84. + + + TIM + Yeah. + + GENNARO + Then they're expensive. Put them + back. + +He leans back and closes his eyes. Tim ignores him and puts +on the goggles. + +Tim stares out the back window of the Explorer with Grant +and Malcolm in it, behind them. The image is bright +fluorescent green. + + TIM + Oh, cool! Night vision! + +As Tim watches, the door of the rear Explorer opens, and a +hand reaches out, holding an empty canteen out to catch +some rain water. + +IN THE REAR CAR + +Grant pulls the canteen back in, closes the door, and takes +a drink. He and Malcolm wait. + +IN THE FRONT CAR + +Tim continues to stare out of the back window with the +goggles. + +He swings his legs -- but suddenly stops. He feels +something. He pulls off the goggles and turns back. He +moves into the back seat with Lex who is tapping her hat, +and reaches forward to still her hand. + +BOOM. BOOM. BOOM. + + TIM + Did you feel that? + (or) + Can you feel that? + +She don't answer. + +Tim leans over to the front passenger seat and looks at the +two plastic cups of water that sit in the recessed holes on +the dashboard. + +As he watches, the water in the glasses vibrates, making +concentric circles -- + +-- then it stops -- + 85. + + +-- and then it vibrates again. Rhythmically. + +Like from footsteps. + +BOOM. BOOM. BOOM. + + GENNARO + (not entirely convinced) + What is that? M-Maybe it's the + power trying to come back on. + +Tim jumps into the back seat and puts the goggles on again. + + LEX + What is that? + + GENNARO + What is what? + +Tim turns and looks out the side window. He can see the +area where the goat is tethered. Or was tethered. The chain +is still there, but the goat is gone. + +BANG! + +They all jump, and Lex SCREAMS as something hits the +Plexiglas sunroof of the Explorer, hard. They look up. + +It's a bloody, disembodied goat leg. + + GENNARO + Oh, Jesus. Jesus. + +Tim whips around to look out the side window again. His +mouth pops open, but no sound comes out. Through the +goggles, he sees an animal claw, a huge one, gripping the +cables of the "electrified" fence. + +Tim whips the goggles off and presses forward, against the +window. He looks up, up, than cranes his head back further, +to look out the sunroof. Past the goat's leg, he can see -- + +-- Tyrannosaurus rex. It stands maybe twenty-five feet +high, forty feet long from nose to tail, with an enormous, +boxlike head that must be five feet long by itself. The +remains of the goat hang out of the rex's mouth. It tilts +its head back and swallows the animal in one big gulp. + +Gennaro can't even speak. His hand claws for the door +handle, he shoulders it open, and takes off, out of the +car. + + LEX + 86. + + + (freaking out) + He left us! He left us alone! Dr. + Grant! Dr. Grant! He left us! He + left us! + +ON THE ROAD, Gennaro runs away, as fast as he can, right +past the second car, towards a cement block outhouse twenty +or thirty yards away. + +He reaches it, ducks inside, and pulls the door after him - +- + +-- but there's no latch, just a round hole in the +unfinished door. Gennaro backs into a stall, frantic. + +The whole bathroom begins to shake. + +IN THE REAR CAR, Grant and Malcolm turn in the direction +Gennaro went. + + GRANT + Where does he think he's going? + + MALCOLM + When you gotta go, you gotta go. + +Malcolm looks the other way, out the passenger window. As +he watches, the fence begins to buckle, its post collapsing +into themselves, the wires SNAPPING free. + + MALCOLM + What was that all about? -- + +Grant now turns and watches as, ahead of them, the +"DANGER!" + +sign SMACKS down on the hood of the first Explorer. The +entire fence is coming down, the posts collapsing, the +cables SNAPPING as -- + +-- the T-rex chews its way through the barrier. + +They watch in horror as the T-rex steps over the ruined +barrier and into the middle of the park road. It just +stands there for a moment, swinging its head from one +vehicle to the other. + +IN THE FRONT CAR + +The rex strides around to the side of the car and peers +down, from high above. Tim leaps into the front seat and +pulls the driver's door shut. Both kids are terrified, +breathing hard, unable to speak. + 87. + + + TIM + Please! Please! + +IN THE REAR CAR + + MALCOLM + Boy, do I hate being right all the + time. + + GRANT + Look at that! + +The T-rex turns and strides quickly back towards them. It +circles, slowly, bending over to look in at them through +the window. + +Grant and Malcolm sit trembling in the front seat, watching +as the giant legs stride past their windows. + + GRANT + (a quivery whisper) + Keep absolutely still -- it's + vision's based on movement! + + MALCOLM + You're sure?! + + GRANT + (pause) + Relatively. + +Malcolm freezes as the rex bends down and peers right in +through his window. The dinosaur's giant, yellowing eye is +only slightly smaller than the entire pane of glass. + +The T-rex pulls away slightly, then reaches down and BUMPS +the car with its snout, rocking it. + +IN THE FRONT CAR, Lex is rummaging around in the back cargo +area, looking for something, anything. She finds a +flashlight. + +ON THE ROAD, the front car lights up from within as Lex +switches on the flashlight. + +The dinosaur raises its head. It turns slowly from the +second car to the first car, drawn by the light. Making a +decision, it strides over to the first vehicle. FAST. + +IN THE FRONT CAR, Tim and Lex can only stare out of the +windows as the T-rex reaches their car and starts to circle +it. + 88. + + +The rex bends down and looks in through the front +windshield, then the side window. Tim is eye to eye with +the thing for a second, then the dinosaur raises its head +up, above the car. + + LEX + I'm sorry -- I'm sorry -- + + TIM + Turn it off, Lex! Turn it off! + +Tim climbs over the seat and joins Lex. + + TIM + Where is the button then? + + LEX + I don't know, I don't know. I'm + sorry -- + + TIM + Why did you do this? + + LEX + I don't know! I'm sorry! + +The Kids look up, through the sunroof, as the head goes +higher, and higher, and higher, and then the rex turns, +looks straight down at them through the sunroof, opens its +mouth wide and -- + +-- ROARS. + +The windows RATTLE, Lex SCREAMS, the flashlight goes on +again, and the tyrannosaur strikes. + +SMASH! The thing's head its the plastic sunroof, knocking +the whole frame right out of the roof of the car and down +into the vehicle. + +The bubble falls down onto Tim and Lex, trapping them, and +the animal lunges down, through the hole, SNAPPING at them. + +The Plexiglas holds, though and protects Tim and Lex even +as it pins them to the seats. The T-rex continues to push +down, and the glass GROANS, crack lines racing across it. + +Tim, whose feet were caught above him, pushes back, only an +inch of glass between him and the dinosaur's teeth. + +IN THE REAR CAR, Grant and Malcolm watch in horror as the +dinosaur claws at the side of the vehicle with one of its +powerful thigh legs. + 89. + + +It pushes, starting to tip the car over. + + MALCOLM + Oh my God! + + GRANT + We gotta do something. + + MALCOLM + What? What can we do? + + GRANT + There's gotta be something -- + +Grant looks around, climbs over the seat. He tears apart +the back area, searching - and finally finds a metal case. +He opens it, finding flares. He grabs one and moves quickly +back to the driver's seat and opens the door. + +Malcolm grabs a flare, too. + +IN THE FRONT CAR, the glass windows SHATTER, the Kids are +thrown to the side, and the Explorer tilts. + +The rex bends down and nudges the car with its head, +rolling it up on its side. Tim and Lex tumble around. + +ON THE ROAD the T-rex starts to nudge the Explorer toward +the barrier. Over the barrier, there is a gentle terraced +area at one side where the rex emerged from, but the car +isn't next to that, it's next to a sharp precipice, +representing a fifty or sixty foot drop. + +The car, upside down now, is pushed near the edge. + +The rex towers over the car. Like a dog, its puts one foot +on the chassis and tears a the undercarriage with its jaws. + +Biting at anything it can get a hold of, it rips the rear +axle free, tosses it aside, and bites into a tire. + +The tire EXPLODES, startling the animal. + +INSIDE THE CAR, Tim and Lex are trapped inside the rapidly +flattening car. As the frame continues to buckle, they +crawl toward the open rear window, the car collapsing +behind them. Mud and rain water pout into what little space +there is left. + +Tim is ahead, nearing the back window, when there is a +CRUNCH and a seat comes down, pinning him. + 90. + + +ON THE ROAD, the dinosaur backs up, dragging the Explorer, +swinging it left and right. It seems ready to fling it over +the edge. + +Grant gets out of his car. He's holding the flare in one +hand, which he pulls the top off of. Bright flames shoot +out the end of it. + + GRANT + Hey! Hey! Over here! + +The T-rex turns and looks at him + +Grant waves the flare slowly in front of him from side to +side. + +The T-rex follows his moving arm, eyes locked on the flare. +Grant looks over to the wall, and tosses the flare over the +edge of the barrier. The rex lunges after it -- + +Unclear with Grant's plan, Malcolm leaps out of the car and +tries to scare up the T-rex's attention with his own newly +lit flare. + +He begins to wave it at the animal. Grant sees him -- + + GRANT + Ian! Freeze! Freeze! Get rid of the + flare! + + MALCCOLM + Get the kids! + +Malcolm inches back slowly, then takes off, running for his +life down the road. He runs to the cement block outhouse +Gennaro went into earlier. + +The T-rex sees the movement. It whirls and takes off after +Malcolm, fast. + +Malcolm runs as fast as he can, approaching the outside +just steps ahead of the T-rex + +But not far enough ahead. Without even slowing down, the +rex leans forward and flicks Malcolm into the air with its +snout. + +It's just a nudge a for the rex, but it sends Malcolm +sailing right through a wooden portion of the wall, and +into the building. + +IN THE RESTROOM + 91. + + +Gennaro, who cowers in a corner, SCREAMS as teh head of the +T-rex EXPLODES through the front of the building, sending +chunks of cement flying in all directions inside. The roof +collapses; Gennaro tries to protect himself from the +falling junk. + +ON THE ROAD + +Grant gets on his feet and watches as the T-rex noses +around in the rubble. + +It seems to find something. It lunges, and Grant can hear +Gennaro SCREAMING, the sound piercing -- + +-- until it abruptly stops. + +Grant scrambles over to the car. + + GRANT + Tim! Lex! + + LEX + Dr. Grant! Dr. Grant! + +He lays on the ground, looking inside, and sees Lex staring +up at him, conscious, her face covered in mud. + + GRANT + Are you okay? Can you move? + (calling into the car) + Tim! Are you okay? + + GRANT + Tim, are you okay? + + TIM + I'm stuck. The seat's got my feet! + + GRANT + Tim, I'll come back for you. I'll + get Lex out first. + +Grant reaches in and drags her out. + + GRANT + Are you okay? Good girl. + +Grant tries to find Tim + + GRANT + Tim? Tim? + 92. + + +Lex, staring over his shoulder, SCREAMS. Grant whirls, +covering her mouth at the same time. + + GRANT + Shhh! Don't move! It can't see us + if we don't move. + +Lex looks at him like he's crazy, but freezes. They wait. + +BOOM! A big T-rex foot print smacks down in front of them +as + +the dinosaurs approaches the car again. It leans down, +right past them, and SNIFFS the car, ragged bits of flesh +and clothing hanging from its teeth. + +Not finding anything, the dinosaur swings its head away, +SNORTING loudly through its nose. Grant's hat flies off his +head. + +Still, he doesn't move. + +The rex walks to the back of the car. It bends down. + +WHAP! The car spins as it is pushed from behind by the rex. + +Grant and Lex are pushed in front of it, helpless. They +scramble around on their knees, trying to keep ahead of the +car, which the rex is now pushing even closer to the edge +of the barrier. + +Grant and Lex crawl quickly, but the car is moving faster, +catching up on them. + +INSIDE THE CAR + +Tim awakens and SCREAMS. He tries to untangle himself. + +ON THE ROAD, the T-rex looms over Lex and Grant, who are +trapped between the car and the sixty foot drop. + +INSIDE THE CAR, the rex bends down and sees Tim. Tim backs +away, furiously, but there's almost no room to move in +there. The rex opens its mouth wide and stretches its +tongue into the car. + +Tim screams and kicks as the tongue tries to wrap around +him. + +But it fails, and withdraws from the car. + 93. + + +ON THE ROAD, the T-rex still tries to get to Grant and Lex, +pushing the car, spinning on its roof. Grant and Lex +scramble, trying to avoid being caught by the T-rex and +crushed by the car. + + GRANT + This way! + +The back of the car almost crushes them against the barrier +-- + + GRANT + Get back! + +They move, as the rex continues to move the car towards the +edge. Grant finally gets on the wall, Lex follows. + +The T-rex ROARS in frustration. It bends down for one final +lunge at the car. + +Grant sees it coming. He grabs one of the dangling fence +cables on the other side of the barrier. + + GRANT + Grab a hold of me! + +She wraps her arm around his neck. He scrambles to the edge +of the barrier, and starts to climb down. + + LEX + (screaming) + Timmy! Timmy! + +The cable is slick with rain, and it's all Grant can do to +hang on as he and Lex slide rapidly down. Above them, the +vehicle is now teetering over the edge, threatening to drop +right on top of them if they didn't hurry. + +Grant GASPS, as Lex has unwittingly started to choke him as +she holds on for dear life. + + GRANT + You're choking me! + +The car GROANS, nearly over the edge now. Grant looks to +the side. There are other cables, out of the line of the +car's impending drop. His feet scrambling along the +concrete wall, Grant tries to swing over towards one. + + GRANT + Grab a wire! + 94. + + + But he falls short. His momentum carries them back the + other way, but on the second swing Lex manages to grab hold + of the second cable. + + LEX + I got it! + + The car falls. Lex and Grant are clear by inches, clinging + to the second cable. + + LEX + Timmy! + + The car CRUNCHES into the leafy top of a tree, resting on + its + + roof some fifteen feet below them. + + The T-rex stares down at them, but they are safely out of + its reach. + + It ROARS once more, in a final fit of frustration, turns -- + + +51 INT. CONTROL ROOM - NIGHT 51 + + JOHN HAMMOND is live. + + HAMMOND + I will kill Nedry. I will kill him. + + Muldoon bursts through the door. + + HAMMOND + (to Muldoon) + Well? + + MULDOON + There's no sign of him anywhere. + + The game show music is louder and faster now, very + annoying. + + HAMMOND + Ray will you please switch off + (or) + stop that music?! + + RAY ARNOLD's cigarette is practically burning his lips, + down to almost nothing in his mouth. He hovers over NEDRY's + computer terminal, which is a mass of incomprehensible + commands that scroll by quickly as he futilely examines + each one of them. + 95. + + +MULDOON paces. ELLIE stares at Arnold in amazement. + + ELLIE + Are we getting anywhere with these + procedures of yours? I mean, what's + hanging us up? + + ARNOLD + I ran a key check on every stroke + Nedry entered today. It's all + pretty standard stuff, until this + one -- + + ELLIE + (stands, joins the group + at the computer) + What one? + +He points to his computer screen, to a specific series of +commands. The others crowed over his shoulder and stare at +the screen. + + ARNOLD + "Keycheck /space -o keycheck off + safety -o." He's turning the safety + systems off. He doesn't want + anybody to see what he's about to + do. Now look at this next entry, + it's the kicker. "Wht.rbt.obj." + Whatever it did, it did it all. But + with Keycheck off, the computer + didn't file the keystrokes. Only + way to find them now is to search + the computer's lines of code one by + one. + + ELLIE + How many lines of code are there? + + ARNOLD + Uh -- about two million. + + ELLIE + Two million -- great. That would + help. + (or) + Oh good, that'll take no time. + + HAMMOND + Robert -- I wonder if perhaps you + would be kind + (or) + 96. + + + good enough to take a gas jeep and + bring back my grandchildren. + + MULDOON + Sure. + + ELLIE + I'm going with him. + + They head for the door. Hammond turns, staring out the + windows at the front of the control room. He's gone pale, + and he's sweating, wrapped up in million thoughts. Behind + him, Ray Arnold's voice calls to him, but he doesn't hear + it. + + ARNOLD + John -- John -- + + Hammond leans on his cane, and for the first time he looks + like he's actually using it. + + ARNOLD + John. + + Hammond turns, finally hearing him. + + ARNOLD + I can't get Jurassic Park back on + line without Dennis Nedry. + + +52 EXT. PARK ROAD - NIGHT 52 + + As the rain continues to pour down, a gas-powered jeep + ROARS down another park road. + + +53 INT. JEEP - NIGHT 53 + + DENNIS NEDRY drives the jeep as fast as he can in the + treacherous conditions. He MUTTERS to himself, shaking his + head. + + NEDRY + Shoulda been there by now -- + shoulda been there -- + + He hauls it around a corner and looks down, checking his + watch. + + When he looks back up, his eyes go wide. + 97. + + +There's a white wood guard rail fence, right in front of +him. + +He stands on the brakes as hard as he can. The jeep +fishtails, skidding out of control in the mud towards the +fence. + +Nedry hauls the wheel hard to the side to try to control +the skid, but the jeep skids off the road, going halfway +over the muddied embankment. + + NEDRY + God damn it! + +He drops the car in reverse and hits the gas. The wheels +spin, sending mud flying everywhere, but the jeep goes +nowhere, just digs in further. + +Nedry can't believe it. Frustrated, he gets out of the +jeep. + +He stops suddenly - he can see another park road, down the +sloping embankment, about twenty feet below. + +There is a large sign alongside the road. Nedry leans +forward excitedly to get a better look. It reads "TO EAST +DOCK." He scrambles to the front of the jeep. + +ON THE HILLSIDE + +Nedry CRANKS a winch its coil on the front end of the jeep. + + NEDRY + (mumbling to himself) + No problem. Winch this sucker off + the thing -- tie it do a thing -- + pull it down the thing -- and pull + it back up. + +He loses his balance and slips - falling back on his rear. +He slides down the muddy embankment, across the road below. +Pissed, he gets to his knees and searches for his glasses. + + NEDRY + Where are my glasses? I can afford + new ones. + +He stands and grabs the winch, and goes to a sturdy-looking +tree on the other side. + + NEDRY + You can make it! + 98. + + +From the distance, there is a soft HOOTING sound. There's +some movement in the bushes - Nedry looks around for the +source of the sound and movement. He doesn't find it. He +nervously checks his watch and goes back to the winch, but +faster. + + NEDRY + No problem -- pop this thing right + down -- + +The HOOTING comes again and Nedry turns - again, nothing. + +A figure ducks around the tree and pops out on the other +side, HOOTING playfully. + +Nedry looks around one side of the tree - nothing. It pops +up on the other side, HOOTING again. And Nedry looks again. +Nothing. It seems like a friendly game of hide-and-seek. +But Nedry begins to get rattled. + + NEDRY + That's nice. Gotta go. I'm getting + out of here. C'mon you can make it! + +He secures the winch and starts across the road, back up +the embankment. He freezes, as he feels something behind +him. He turns around slowly and sees: + +A dilophosaur. It stands only about four feet high, its +spotted like an owl, and has a brilliant colored crest that +flanks its head. + +It doesn't look very dangerous. In fact, it's kind of cute. + + NEDRY + Oh. Uh -- nice boy. Nice boy. Okay. + Run along. I don't have anything + for you! Go on! Go home! Dinner + time! Are you hungry? They'll feed + you! Go, boy. Girl. Whatever. + +The dilophosaur just stares at Nedry, tilting its head +curiously. Nedry looks around on the ground and finds a +stick. He picks it up and chucks it at the thing. He throws +it as far as he can. + + NEDRY + Nice juicy stick! Fetch! + +The dilophosaur gets into the spirit of the game, but not +the object. + + NEDRY + 99. + + + Lame brain! What's the matter with + you? + (or) + What's the matter with you? + +He shakes his head and starts back towards the jeep, +muttering to himself. + + NEDRY + Walnut brain...extinct + kangaroo...hope I run over you on + the way down -- + +He's near the top when the dilophosaur suddenly hops out +right in front him, startling him. Nedry loses his balance +and falls back, right on his rear. He gets to his feet, +angry. + + NEDRY + I said -- + +He picks up a stick and chucks it at the thing. + + NEDRY + -- beat it! What are you do -- + +The animals HISSES. The brightly colored fan around its +neck flares wildly, two bulbous sacs on either side of its +neck inflate. It rears its head back again -- + +-- and it SPITS. + +SPLAT! A big glob of something wet SMACKS into the middle +of Nedry's chest. He reaches down and touches the goo +that's dribbling down his slicker. + + NEDRY + That's disgusting! + +SPLAT! Another glob of goo SMACKS into the highlight, right +next to Nedry's head. + +He stands up. A look of confusion crosses his face. He +lifts his right hand, the one that he touched the spit +with, and looks at it strangely, flexing it. + +POW! This time the lugie hits Nedry right smack in the +face. + +He SCREAMS and rubs it away, frantically. + 100. + + + Because it hurts. Like hell. Nedry falls back, clawing at + this eyes, in excruciating pain. He pulls his hands away, + starting to hyperventilate. He flails his arms in front of + him, blinking a mile a minute, but blinded. + + He staggers forward, to try to get into the jeep. He gets + the door open, but SMACKS his head on the door frame and + collapses. + + The can of shaving cream flies out of Nedry's jacket pocket + - - and tumbles into runoff water, down the muddy hillside. + Nedry gets to his feet again and staggers in the general + direction of the jeep. He reaches the open door and feels + his way in. He SLAMS the door. + + There is another HOOT. From inside the jeep. + + Nedry turns and SCREAMS. The dilophosaur is right there, in + the passengers seat. It HISSES louder than before, its + crest fans angrily, vibrating, reaching a crescendo -- + + -- and the thing pounces, SLAMMING Nedry back against the + driver's window, SHATTERING it. As Nedry shrieks -- + + Rain and mud wash over the shaving cream can, burying it. + + +54 EXT. PARK GROUNDS - NIGHT 54 + + The rain has all stopped now. GRANT and LEX are at the + bottom of the large barrier leading up to the park road. + Like it or not, they're in the park now, and are surrounded + by think jungle foliage on all sides. They're both beaten + up, and Grant's face is covered in blood. + + He's bent over a big puddle, splashing water on his face, + rinsing the blood off and trying to bring himself to. + + Poor Lex is scared as hell. She stands behind Grant, ramrod + straight, her breath coming short, desperate GASPS. Her + eyes are wide, and she doesn't look like she can move. + + As Grant gets rid of the blood, his injury doesn't look so + bad, just a gash on his forehead. + + He turns and looks up to the tree the Explorer fell in. + It's stuck there, nose down in the thickest top branches. + + Lex's GASPS are getting louder. She's terrified. + + GRANT + 101. + + + Hey, come on, don't -- don't -- + don't -- just -- just -- stop, + stop. + +He touches her, but it's awfully awkward, more of a pat on +the head than anything strong or reassured. + +But she responds to the contact, hurling herself forward +and throwing her arms tightly around his waist. She clamps +here, holding on for dear life, SOBBING. + + GRANT + Lex, you gotta be quiet, please. + Stop it. Shhhhh. + +This seems to quiet her. + + GRANT + Because if we make too much noise, + he's going to hear us and come + back. + +Lex bursts out crying again, a WAILING scream, nearly +hysterical now. Grant holds her, no idea what to do. He +turns and looks around. + + GRANT + (a whispered shout) + Timmy?! Timmy! + +He hears a CRACKING sound. He looks up to the tree again. +The Explorer has fallen a few feet lower into the branches. + +Grant looks down at Lex, who is sitting on a rock. + + LEX + Dad -- Dad -- + + GRANT + Shhh -- I'm right here, Lex. I'm + going to look after you. I'm going + to help your brother. I want you to + stay here and wait for me, okay? + + LEX + He left us! He left us! + + GRANT + That's not what I'm going to do. + Good! + +Grant walks to the tree. Lex scampers into the culvert. + 102. + + +55 EXT. TREE - NIGHT 55 + + GRANT takes a deep breath. grabs hold of the first branch, + and starts his long climb. Fortunately, it's a good + climbing tree, its branches thick and regularly spaced. + + Grant moves at a good pace. He reaches the car's level, on + the driver's side five or six feet to one side of it. + + The car's in rough shape. It's much thinner that it use to + be, its nose completely smashed in, the front wheels driven + solidly into a thick branch. They are what hold it in + place. + + GRANT + Tim? Tim? + + Grant comes up to the car and looks in. TIM is huddled on + the floor on the passenger side, frightened, hugging his + knees to his chest. + + He looks up at Grant with a tear and blood-streaked faced. + His voice is barely audible. + + TIM + I threw up. + + GRANT + That's okay. Listen, give me your + hand. + + Tim doesn't move. + + GRANT + I won't tell anybody you threw up. + Just give me your hand, okay? + + He reaches out. Tim reaches too, but they're still about a + foot apart. Grant grabs hold of the steering wheel, to pull + himself further in. The wheel turns. + + On the branch, the front wheel turns, losing a bit of their + grip on the thick branch they're resting on. + + Tim and Grant grab hands. Grant holds on to him, getting an + arm securely around his waist. They climb down. They stop + on a branch. + + GRANT + Okay, that's not so bad, ah Tim? + + TIM + Yes it is. + 103. + + + GRANT + It's just like coming out of a tree + house. Did your dad ever build you + a tree house, Tim, eh? + + TIM + No. + + GRANT + Me too. + (he starts to move down) + Okay. Well, the main thing about + climbing is never, never look down, + never. + + TIM + This is impossible. How am I + going...I can't make it. This + is...it's about fifty feet. + + GRANT + So am I going to help you with your + foot? + + TIM + What if the car falls? + (or) + What if the wheels fall? + +The car GROWNS forward on the branch, which sags in their +direction. They look up. The car begins to shift +dramatically towards them. + + GRANT + Oh, no! GO, Tim, go! Go! + +They climb down, as fast as they can, as the big branch +that is supporting the car CREAKS, ready to give way any +second. + + GRANT + Faster! Faster! + +The branch breaks. Disintegrates, really, and the car falls +straight at them. + +Grant and Tim let go of the branch they're on and fall, +THUDDING into another branch a few feet down. The car +SMACKS into the bug branch they just vacated, and stops +there. + 104. + + + Grant and Tim are half climbing, half falling down the tree + now, slipping on the resin-covered branches, just trying + like hell to get out of the way. + + CREEEE-POW! The second branch breaks, and now the car + SMASHES and CRASHES through a network of thinner branches, + headed right for them. It hits open space and goes into + free fall. + + Grant turns, and puts up his arms in defense -- + + -- and the car stops, SLAMMING into a thick branch just + above him. + + Grant looks up, eyeball to eyeball with the front grill. + + The new branch starts to CREAK. + + Grant and Tim basically fall down the rest of the tree, the + car BASHING its way through right behind them. They jump + the last six or seven feet and hit the ground, hard. + + Grant grabs Tim and rolls with him, to the side, just as + the car SMASHES into the earth, nose first, standing + upright that way. + + They look up in relief, but the damn thing's still heading + for them, now tipping over, falling straight at them, and + there's no way they have time to get out of the way this + time, so Grant just balls himself up on top of Tim to try + to protect him and -- + + -- CRASH! The jeep falls on top of them. Grant, amazingly + unhurt, looks up confused. + + They're inside the jeep again, saved by the hole sunroof. + + CUT TO: + + +56 EXT. CULVERT - NIGHT 56 + + LEX is still in the culvert, terrified, slowly BANGING her + head against the wall. + + GRANT is at the mouth of the culvert, carefully studying + the rinky-dink map of the park he picked up during the + slide show. + + GRANT + Okay -- okay -- + 105. + + +He's trying to get his bearings from the crude, cartoon- +like drawing on the map, but it's tough. + +He looks up, picking a direction, and shoves the map in his +pocket decisively. + +He looks back in at Lex. + + GRANT + Lex, you're going to have to get + out of there. + (he walks towards her) + Hiding isn't a rational solution; + we have to improve our situation. + +She doesn't move. Grant looks at Tim. + + GRANT + Tim's out here. + (Grant picks Tim up) + He's okay. + +Still nothing. Grant tries a new tact. + + GRANT + (walking away) + 'Course you could just wait in + there while we go back and get + help. + + TIM + (following Grant) + That's a good idea. + + GRANT + You'll probably be safe enough + (alone) + on your own -- + + TIM + I doubt it. + + GRANT + Maybe -- it's hard to say. + + LEX + Liar! You said you wouldn't leave! + + GRANT + I'm trying to use psychology to get + you out of the drain, you know! + 106. + + +She just stares at him like he's nuts. Tim shakes his head +at Grant, as if to say "nice try." Grant calms his tone. + + GRANT + We can't go back the way we came. + What we have is a free-range T-rex + on the road. There's + (there are) + fences on either side. If we meet + him between here and the lodge, + we'd have problems. But what this + means, what this means, is that + this whole paddock is empty. It's + safe. + + LEX + It's safe? + + GRANT + It's safe. + + LEX + It's safe. + + GRANT + Go + (and) + that's the way we're going to go. + What do you say? + + LEX + Alright. + +He's spoken calmly and confidently, so Lex crawls out of +the culvert and stands next to him. + + GRANT + Good girl. + +He kisses her hand and helps her crawl out of the culvert. + +Tim and Lex nod, and he starts off in the direction he +indicated. They trail behind him. + + GRANT + Might be kind of slow, but it can't + be more than three or four miles. + I'd hoped the rex finished feeding + by now, but let's not kid + ourselves. Did you know a carnivore + can eat up to 25% of its body + weight in + (about) + 107. + + + one sitting, so he's probably just + ready to move on to the main course + by now -- + + He stops in the middle of the sentence, noticing he's + alone. He turns around. Now both kids have scampered all + the way back into the culvert, terrified. + + +57 EXT. PARK ROAD - NIGHT 57 + + MULDOON and ELLIE race down the park road in an open-topped + jeep like the one Nedry took earlier. Neither of them + speak, they just stare ahead grimly, wondering what they're + about to find. + + MULDOON + There they are! + + They round a corner and come to the top of the hill, where + the attack took place. The jeep skids to a stop and they + jump out. + + The road is rutted, muddy mess. The cement block house is a + pile of rubble. One of the Explorers is gone, the other + stands untouched, both doors hanging open. + + ELLIE + Oh, God. Where's the other car? + + She runs to the Explorer. Muldoon follows, looking around. + + AT THE EXPLORER, Ellie leans in and looks around. Nobody's + there. She and Muldoon walk towards the wreckage of the + outhouse, calling out: + + ELLIE + I think it's ahead of us. + + MULDOON + It could be anywhere. With the + fences out, it can go in and out of + any paddock it likes. + + They hear a MOANING sound from somewhere in the wreckage of + the restroom building. They rush over to it. + + IAN MALCOLM lies on his back, semiconscious among the + twisted wood and cement. + + MULDOON + It's Malcolm! + 108. + + +He shines his light along the length of Malcolm's body. His +shirt is soaked with blood, but his right leg is even worse +off. The right ankle it bent outward at a strange angle +from his leg, the trousers flattened, soaked with blood. + +Malcolm's belt has been twisted around his thigh. + + ELLIE + He's put a tourniquet on. Ian! Ian! + +Malcolm GROANS as she touches him, groggy. + + MALCOLM + Remind me to talk John for a lovely + weekend. + +The T-rex ROARS again. But closer now. Ellie and Muldoon +look at each other. + + ELLIE + Can we chance moving him? + + MALCOLM + Please -- chance it. + +Muldoon lays Malcolm as carefully as possible in the back +of the jeep. + + MALCOLM + Where are the kids? + +Ellie looks around. + + ELLIE + Lex! Tim! + +She turns and looks back at the empty road. She's on the +verge of tears, but is fighting them back. + + MULDOON + Dr. Sattler, I've seen a lot of + animal attacks. People just + disappear. No blood, no trace. + That's the way it happens. + + ELLIE + No, no, no! + +She walks to the edge of the road, her eyes following the +deep ruts the Explorer made when it went over the edge. +Muldoon gets ready to leave. + + MULDOON + 109. + + + Ellie, com one!! + + ELLIE + The other car! + + +58 EXT. CLEARING - NIGHT 58 + + ELLIE's and MULDOON's flashlight beams spray light by the + base of the tree. + + MULDOON + Dr. Grant! + + ELLIE + Alan! + + They find the wrecked Explorer. Muldoon peers inside, + looking for anything. + + ELLIE + Do you see anything? + + MULDOON + I don't know. + + The T-rex ROARS again, closer still Ellie nervously goes to + the other side of the car and looks in. + + ELLIE + Alan?! + + MULDOON + They're not here. + + Ellie desperately searches the ground for any signs of + Grant. + + She finds their footprints. + + ELLIE (O.S.) + Thank God. + + +59 EXT. PARK ROAD - NIGHT 59 + + MALCOLM, laid out in the back of the jeep, feels something + strange. He looks down, at the one of the T-rex footprints + in the road. It's filled with water. + + The water in the puddle vibrates rhythmically. + 110. + + + Malcolm's eyes widen. He looks around, frantically. + + MALCOLM + Uh -- anybody? Anybody hear that? + + +60 EXT. CLEARING - NIGHT 60 + + ELLIE is still looking around, to MULDOON's chagrin. Her + flashlight falls on three sets of footprints in the mud. + + ELLIE + Look! + + Wit her flashlight, she follows the trail the footprints + made. + + They lead into the jungle and disappear. + + +61 EXT. PARK ROAD - NIGHT 61 + + MALCOLM's staring , wide-eyed, at the rings in the water, + which are getting bigger now. + + MALCOLM + It's a -- an impact tremor is what + it is, it, uh -- + + BOOM. BOOM. + + MALCOLM + I'm fairly alarmed here! + + ELLIE and MALCOLM come up over the embankment, excited. + + MALCOLM + Gotta move, gotta get out of here. + Let's go - we gotta go, we gotta + get out of here, right now! Go, go! + Let's hurry, let's get out of here! + + They stop talking. The BOOMING is louder now, and faster. + Much faster. They look back, over their shoulders. + + ELLIE + Oh. + + Ellie and Muldoon get into the jeep, Muldoon in the + driver's seat. + + MALCOLM + 111. + + + Move now! Let's go, let's go, right + now, right now! + +The tyrannosaur SMASHES out of the jungle foliage, bursts +onto the road, and runs straight at them, moving at least +thirty miles an hour. + + MALCOLM + GOGOGOGOGOGOGOGOGOGO! + +Muldoon fumbles for the keys, turns the jeep over, and +SLAMS it into gear. He drops the clutch, hits the gas, and +tears ass out of there. + +But the jeep is slow to work through the first few gears. + +Terrified, Ellie dares to look down, to the side view +mirror, which tells her "Objects Are Closer Than They +Appear." + +And they sure are. The T-rex is still gaining on the slowly +accelerating jeep. All three of them stare back at the rex +in terror -- + + ELLIE + Faster, faster! + + MALCOLM + Must go faster, it's getting closer + - must go faster! + + ELLIE + Faster! Shit, shit, shit, faster! + + MALCOLM + Must go faster, go, go. Open it up, + 5th gear, 5th gear! Here it comes! + Stand on it! Fifth - stand on it, + 5th gear, go! + +-- which means they don't see the half-fallen tree branch +right in front of them, blocking the path of the road. +Muldoon looks back first, SHOUTS -- + + MULDOON + DOWN! + +-- they all duck. + +The windshield hits the branch and SHATTERS as the jeep +flies ahead, really picking up speed now. + 112. + + + The T-rex just runs right through the branch, SMASHING it + entirely. + + They're bounced around pretty badly. Malcolm is knocked + into the front, and in so doing knocks the gear shift into + neutral. The engine RACES, the T-rex closes in again -- + + Losing ground now, the dinosaur makes a final lunge for the + jeep and CRUNCHES into the left rear quarter panel -- + + ELLIE + Faster, faster! + + -- but Muldoon SLAMS it back into gear and guns it. The T- + rex gives up, fading into the distance. + + They drive in silence for a few moments, all scared out of + their wits. + + MALCOLM + Think they'll have that on the + tour? + + +62 EXT. PARK GROUND - NIGHT 62 + + GRANT, LEX, and TIM make their way through Jurassic Park. + Far in the distance, there's another ROAR. Grant hears it, + but tries not to show it. + + LEX + Hear that? + (or) + Are you hearing this? + + GRANT + No, I didn't hear anything. + (or) + No, we're okay. + + They keep walking, but now Grant is looking around for a + safe place to hide. He looks up, to the towering trees + around them. + + GRANT + You + (guys) + both look pretty tired. I think + (or) + why don't we find + (or) + we ought to find someplace to rest. + 113. + + + He hears another ROAR + + GRANT + Like about now. C'mon! Hurry up! + Like this tree. + + LEX + Why are we hurrying if there's + nothing wrong? + + TIM + What if we fall? I hate trees. + + +63 EXT. TREE - NIGHT 63 + + LEX, TIM, and GRANT climb. Grant is behind, watching the + other two, giving them a push up when they need it. + + TIM + I hate trees! + + LEX + They don't bother me. + + TIM + Yeah, you weren't in that last one. + + Now, near the top of the tree, the three of them sit there, + dangling their legs, looking out over the park. + + It's an incredible view. They can see in all directions. + And with the full moon, there's a lot of detail. + + Most striking of all are dozens of sauropod heads, at the + end of long necks, that tower over the park. + + TIM + Hey! Those are brontosauruses -- I + mean, those are brachiosauruses. + + GRANT + It's okay to call them brontosaurs, + Tim. It's a great name. It's a + romantic name. It means "thunder + lizard". + + TIM + (digging that) + "Thunder lizard!" + 114. + + +Grant finds a solid web of branch and settles himself in +it, leaning back against the trunk of the tree, with a +little room on either side of him. Lex nestles up next to +him on the branch. Grant is surprised, but accepts it. + +Tim climbs off to the side, to a nook in the branch of his +own. + +Silent of a moment, the three can hear the HOOTS of the +animals as they call. Some are almost musical. + + GRANT + Listen to that! They're singing! + (he moves over to a + higher branch) + Of course no one's ever heard one + from a dinosaur before, but -- I + could swear that sounds + suspiciously to me like a mating + call. + (to me) + In an all-female environment -- + (or) + On an all-girl island? + +He smiles, enchanted. He HOOTS himself, trying to imitate +one of the calls. Immediately, five or six of the heads +turn in their direction and HOOT back. + + LEX + No, no, sh, sh, sh -- stop! Stop! + Stop! Don't let the monsters come + over here! + + LEX + They're not monsters, Lex. They're + just animals. And these are + herbivores. + + TIM + That means they only eat + vegetables. But for you, I think + they'd make an exception. + + GRANT + Tim, Tim, Tim... + + LEX + Oh, I hate the other kind. + + GRANT + They're just doing what they do. + (or) + 115. + + + Well the other kind -- + (he gets off the branch + and goes back to sit with + the kids) + -- just do what they do. + + LEX + Dorkatops! + + TIM + Straight-A brainiac! + + GRANT + Could you guys possibly cool that + for a -- + +Satisfied, Tim settles in for the night. Grant shifts too, +getting comfortable, but something in his pocket pinches +him. He winces and digs it out. It's the velociraptor claw +he unearthed so long ago in Montana + +Yesterday, actually. He looks at it, thinking a million +thoughts, staring at this thing that used to be so +priceless. + + LEX + What are you gonna do now if you + don't have to dig of dinosaur bones + any more? + + GRANT + I guess we'll just have to evolve + too. + + TIM + What do you call a blind dinosaur? + + GRANT + I don't know. What do you call a + blind dinosaur? + + TIM + A Do-you-think-he-saurus. What do + you call a blind dinosaur's dog? + + GRANT + You got me. + + TIM + A Do-you-think-he-saurus Rex. + +Grant laughs. Both kids finally close their eyes, but after +a moment, Lex pops hers open again. + 116. + + + LEX + What if the dinosaur comes back + while we're all asleep? + + GRANT + I'll stay awake. + + LEX + (skeptical) + All night? + + GRANT + All night. + + Grant lets the claw fall to the ground. + + +64 INT. RESTAURANT - NIGHT 64 + + ELLIE comes into the darkened restaurant, following the + source of the flickering light. A candle burns at a table + in the corner. + + JOHN HAMMOND sits at the table, alone. There is a bucket of + ice cream in the middle, and he's eating a dish of it, + staring down morosely. + + Ellie draws up to the table and Hammond looks up at her. + His eyes are puffy, his hair is messed up -- for the first + time we've seen him, the fire is gone from his eyes. + + HAMMOND + They were all melting. + (or) + It was all melting. + + Ellie just nods. + + ELLIE + Malcolm's okay for now. I gave him + a shot of morphine. + + HAMMOND + They'll all be fine. Who better to + get the children through Jurassic + Park than a dinosaur expert? + + Ellie nods. Another pause. Hammond breaks it again. + + HAMMOND + 117. + + + You know the first attraction I + ever built when I came down south + from Scotland? Was a Flea Circus, + Petticoat Lane. Really quite + wonderful. We had a wee trapeze, a + roundabout -- a merry-go -- what + you call it? + + ELLIE + Carousel. + + HAMMOND + A carousel -- and a seesaw. They + all moved, motorized of course, but + people would swear they could see + the fleas. "I see the fleas, mummy! + Can't you see the fleas?" Clown + fleas, high wire fleas, fleas on + parade... + (he trails off) + +Ellie just looks at him, not sure what his state is. He +goes on. + + HAMMOND + But with this place, I -- I wanted + to give + (show) + them something real, something that + wasn't an illusion, something they + could see and + (feel) + touch. An aim devoid of + (without) + merit. + + ELLIE + But you can't think through this + one. You have to feel it. + + HAMMOND + You're absolutely right. Yes, + you're right. Hiring Nedry was a + mistake, that's obvious. We're + over-dependent on automation, I can + see that now. But that's all + correctable for the next time + around. + + ELLIE + 118. + + + John, John. John, you're still + building onto that Flea Circus, + that illusion. And now you're + adding onto it by what you're doing + here. That's the illusion. + + HAMMOND + (When) + Once we have control again we -- + + ELLIE + Control?! You never had control! I + was overwhelmed by the power of + this place. So I made a mistake + too. I didn't have enough respect + for that power, and it's out now. + You're sitting here trying to pick + up the pieces. John, there's + nothing worth picking up. The only + thing that matters now are the + people we love. Alan, Lex, and Tim. + And John, they're out there where + people are dying -- people are + dying, you know? + + There is a long pause. Hammond avoids her gaze. Ellie + reaches out and takes a spoon out of one of the buckets of + ice cream, and licks it. Finally: + + ELLIE + It's good. + + He looks up at her, and his face is different, as the + unhappy irony of what he's about to say finally hits home. + + HAMMOND + Spared no expense. + + +65 EXT. PARK - DAWN 65 + + The sun comes up over Jurassic Park. The danger of the + night before is overcome by the sheer beauty of the place - + - it really is like the Serengeti Plain. + + Over at the edge of a great open field, a huge tree marks + the border between the open area and the thick of the + jungle. + + UP IN THE TREE, GRANT, TIM, and LEX are asleep in the + branches of the tree, both kids now curled up under Grant's + arms. + 119. + + +A heavy shadow falls over all three of them, blocking out +the sun entirely. Grant awakens, only a little bit asleep, +as -- + +-- a brachiosaur's head pushes into the tree branches, +right up beside them. It hesitates there for a second, +seemingly staring at them. Grant just watches as it opens +its mouth very wide and CHOMPS down on a branch over their +heads. + +The kids awaken with a start. Tim points, Lex opens her +mouth to scream, but nothing comes out. Then -- + + LEX + Go away! + + GRANT + (quietly) + It's okay! It's okay! It's a + brachiosaur! + + TIM + Veggiesaurus, Lex, Veggiesaurus! + +But Lex isn't taking any chances and scrambles back, away +from its mouth. Tim and Grant come together on the branch, +just staring at the dinosaur in wonder as it eats its +breakfast. + +Grant gets another branch. + +Tim scampers up, trying to get the brachiosaur's attention. + + TIM + Come here, boy -- I mean girl. + (he tries whistling) + +Grant moves forward and tries to feed the brachiosaur. The +animal gets the end of the branch and starts a tug-of-war +with Grant. + +Tim tries to help him -- they really begin to have a good +time with the brachiosaur. + +HONK! The brachiosaur makes a loud honking noise, startling +Grant and the kids. + + GRANT + Take a bite, take a bite. I'm not + letting go. + + TIM + It's so strong! Look at its nose. + 120. + + + (he grabs onto the + branch) + Need help? + +Tim reaches out, petting the dinosaur's head while it +chews. + + TIM + That's a girl. Hey Lex, you can + touch it. It's a girl, just like + you. Come on, it's okay. Lex, come + on and touch it. It likes you. It's + gotta like you. Come on Lex. Lex, + come over and touch -- it's a girl, + it has to like you. Lex, why don't + you touch it. It has to like you. + It's a girl. + + GRANT + Come on, try some. Take a bite. + + TIM + It's good protein. Come on, Lex. + Why don't you touch it? Look at his + nose. + + GRANT + This is a seventy-seven ton animal. + Come on over, Lex! Just think of it + as a big cow. Look at it's teeth? + (he moves in closer) + Come here, girl. This is a seventy- + seven ton animal. Just think of it + as a big cow! + +Grant maneuvers in closer. He reaches out and grabs hold of +the thing's lip with both hands and pulls it down, +revealing the jaw at work. + + LEX + I like cows. + + GRANT + You're a beautiful big animal. + + TIM + His nose is running. It looks like + it has a cold. + +The dinosaur keeps chewing, not objecting to the +inspection. + + TIM + 121. + + + Did you smell that? + +Lex tentatively edges forward in the tree to the +inspection. + + LEX + Come on girl, up here. + +She barely touches the thing on the tip of its nose -- + +-- and it SNEEZES. It's a vast explosion, and Lex falls +back, dripping wet from head to toe. + + TIM + God bless you! + +ON THE GROUND, Lex, her shirt is soaked, and face all wet, +walks away from the tree. Tim and Grant follow. + + TIM + Oh, great. Now she'll never try + anything new! + +Lex is embarrassed and ticked off. + + TIM + She'll just sit in her room and + never come out and play with her + computer -- + + LEX + (as she wipes off some of + the wet and throws it at + Tim) + I'm a hacker! + + TIM + That's what I said! You're a nerd! + They don't call you people hackers + anymore -- they call you people + nerds! + +Tim and Lex continue talking, oblivious to Grant, who has +stopped by a tree root trunk. + + TIM + Hey Lex, ahhhchooo! + (or) + Hey Lex, com here. + + LEX + What? + 122. + + + TIM + Hey Lex, you forgot to say + gazundheit. + + Grant is still crouching on the ground below the tree where + he landed, staring at something in the palm of his hand. + They both come and look over his shoulder, curious. They + stare in amazement -- + + -- at a whole clutch of dinosaur eggs! All hatched, now + empty. + + Grant picks up one of the fragments, a large one - nearly + half an egg. + + GRANT + You know what this is? It's a + dinosaur egg. The dinosaurs are + breeding. + + TIM + (taking the shell from + him) + But -- my grandpa said all the + dinosaurs were girls. + + GRANT + Amphibian DNA. + + LEX + What's that? + + GRANT + Well, on the tour -- the film said + they used frog DNA to fill in the + gene sequence gaps. They mutated + the dinosaur's genetic code and + blended it with that of frogs. Now, + some West African frogs have been + known to spontaneously change sex + from male to female, in a single + sex environment. Malcolm was right! + Look, life found a way! + + +66 INT. CONTROL ROOM - DAY 66 + 123. + + +The mood in the room is hopeless. MALCOLM, his wounds +bandaged, but in real pain, hangs around with ELLIE and +MULDOON, hoping for some development while RAY ARNOLD is +still at the computer terminal and looking a mess, he +doggedly sorts through the computer system's lines of code. +One. By one. By one. They BLIP by, reflected in his +glasses. He turns and stares up at HAMMOND with a look of +absolute incredulity on his face. + + ARNOLD + No, no, no, that's crazy, you're + out of your mind, he's absolutely + out of his mind -- + + ELLIE + Wait a minute. What exactly does + this mean? + +Hammond turns to her, the twinkle back in his eye. + + HAMMOND + We're talking, my dear, about a + calculated risk, which is the only + option left to us. We will never + find the command NEDRY used. He + covered his tracks far too well, + and I think it's obvious he's not + coming back. So shutting down the + system - - + + ARNOLD + I will not do it. You'll have to + get somebody else, because I will + not. + + HAMMOND + -- shutting down the system is the + only way to guarantee wiping out + everything he did. If I understand + correctly, all the system will come + back on their original start-up + modes correct? + + ARNOLD + Theoretically, yeah + (yes) + , but we've never shut down the + whole system. It may not come back + at all. + + ELLIE + But would we get the phones back? + 124. + + + ARNOLD + Yeah, again, in theory, but -- + + MULDOON + (desperate) + What about the lysine contingency? + We could put that into effect! + + ELLIE + What's that? + + HAMMOND + It's absolutely out of the + question. + +Hammond walks away from the group. + + ARNOLD + The lysine contingency - it's + intended to prevent the spread of + the animals is case they ever got + off the island, but we could use it + now. Dr. Wu inserted a gene that + makes a single faulty enzyme in + protein metabolism. Animals can't + manufacture the amino acid lysine. + Unless they're continually supplied + with lysine by us, they'll go into + a coma and die. + + ELLIE + How would we cut off the lysine? + + ARNOLD + No trick to it. Just stop running + the program. Leaving them + unattended. + +Malcolm speaks up. + + MALCOLM + How soon before they become + comatose? + + ARNOLD + It would be totally painless -- + they'd just slip into + unconsciousness and they die. + + MALCOLM + How long before they slip into + unconsciousness? + 125. + + + ARNOLD + About -- seven days, more or less. + + ELLIE + Seven days?! Seven days?! Oh, + great. Oh good -- clever. + + MALCOLM + That'll - it'd be a first; man and + dinosaur all die together. John's + plan. + (he raises a hand) + +Hammond finally loses his cool. He BELLOWS, summoning every +ounce of authority at his command. And that's quite a bit. + + HAMMOND + PEOPLE ARE DYING! + +There is a moment in which no one dares to speak. Hammond +regains himself. + + HAMMOND + Will you please shut down the + system. + +Arnold swallows and gets to his feet. + + ARNOLD + You asked for it -- + +He walks slowly across the room to a red metal box on the +wall. + +He takes a key from his belt, unlocks the door, and opens +it. + +There is a row of four switches inside. He flips them off, +one by one, leaving only a single lever left. + +His hand hovers over it... and he flips the lever. + + ARNOLD + -- and you got it. + +Every monitor, every terminal, every fluorescent light +shuts out. plunging them into near-darkness. + +They just sit in eerie stillness for a moment. + + ELLIE + (hushed voice) + How long will this take? + 126. + + + ARNOLD + 'Bout thirty seconds. + +They wait, in tense silence. Hammond adjusts the wilting +silk handkerchief in his breast pocket. He notices Malcolm +staring at him, his eyes full of disapproval. + + HAMMOND + I think perhaps I'll just sit down. + I don't suppose you think all that + much of me now, do you? + + MALCOLM + You're all right, John You're okay. + It's just you don't have + intelligence. You have + "thinktelligence." You think + narrowly and call it "being + focused." You don't see the + consequences. You're very good at + solving problems, at getting + answers -- but you just don't know + the right questions. + + ELLIE + Ian -- + +Malcolm looks at her. + + MALCOLM + Yes? + + ELLIE + -- shut up. + + MALCOLM + Yes. + (to Hammond) + It's not a criticism, by the way. + +Finally, Arnold turns back to the box. He flips the row of +safety switches back again, then hesitates by the main +switch. + + ARNOLD + Hold on to your butts. + +He throws it. And nothing happens. There is a very long +pause. + + MALCOLM + It's not working. + 127. + + + ARNOLD + Uh -- + + MULDOON + Listen, which of you knows how to + handle a gun? + +Arnold, who can't quite understand this, races over to the +main monitor + + ARNOLD + (joyously) + HAH! It's okay! It's okay! Look! + See that?! LOOK! + +They stare at the monitor, which glows with a faint amber +light, the only mechanical thing in the room that's on. The +left hand corner of the screen displays two words -- system +ready. + +Arnold looks at them, his face triumphant. + + ARNOLD + It's on! It worked! + + HAMMOND + That will teach you to trust + Grandpa. + + MALCOLM + Wait a minute? What do you mean + "worked"? Everything is still off! + + ARNOLD + The shutdown must have tripped the + circuit breakers. All we have to do + is turn them back on, reboot a few + systems in here -- the phones, + security doors, half a dozen others + -- but it worked! System ready! + + MULDOON + Where are the breakers? + + ARNOLD + Out in the maintenance shed. Other + side of the compound. I'll go out + there. Three minutes, and I can + have the power back on in the + entire park. + + HAMMOND + 128. + + + Just to be safe, I'd like to have + everybody in the emergency bunker + until Mr. Arnold returns, and the + whole system is back on its feet + again. + + CUT TO: + + +67 EXT. COMPOUND - DAY 67 + + MULDOON and ELLIE carry a Gerry rigged stretcher with + MALCOLM on it down a narrow path in the compound. HAMMOND + is with them. + + CUT TO: + + +68 EXT. PARK GROUNDS - DAY 68 + + GRANT, TIM, and LEX walk through the park grounds, heading + across a relatively open area. Grant consults the map. + + TIM & LEX + I'm tired, and I'm hungry. When I + get back I'm gonna have peanuts + and...etc. + + GRANT + The visitor's center should be just + about a mile beyond that rise. If + we keep -- + + The ANIMAL CRY they heard earlier is closer now, louder, + and repeated by many more animals. Grant looks up. + + GRANT + What is that? Can you tell me what + they are? + + TIM + Gallimimus. + + He turns around, to face the direction the sound is coming + from. + + He squints. The ANIMAL CRY are much louder now, accompanied + by a low rumble. + + TIM + Here -- they're flocking this way. + 129. + + +Grant takes a few steps forward. As he watches, he can make +out shapes in the distance. + +Dinosaurs. Dozens of them. All at once, he figures it out. + + GRANT + STAMPEDE! + +And that's exactly what it is, a stampede of at least forty +dinosaurs, Gallimimus by name. Lex is ready to get out of +there, but Grant and Tim hesitate, staring. + +The dinosaurs kick up a flock of birds, which startles +them, and they call change direction at once, the same way. + + GRANT + Look at the wheeling -- the uniform + direction change! Like a flock of + birds evading a predator! + +Sure enough, they hear a ROAR, the very familiar roar -- + +-- of Tyrannosaurus rex. + + GRANT + Oh, shit. + +Grant and the kids whirl at the sound, but can't place it, +as it seems to come from all around them. They look back +towards the stampede. The herd spontaneously changes +direction again, and now they're headed straight at them. + +The three of them take off, across the meadow, toward the +relative cover of the jungle. It's a real footrace, but the +herd is far faster, and Grant knows they're not going to +make it. + +They jump over a huge root network. There's a space under +it to hide, and Grant stops the kids, shoves them +underneath, then follows them. They cover their heads as +the herd THUNDERS over the roots. + +Chunks of everything fly everywhere as the herd plows +overhead, their clawed feet striking the roots dangerously +close to Grant and the kids. + +Finally, they pass. Grant peers up, over the top root. He +looks toward the trees, which the herd is now running +alongside. + +A ROAR comes from somewhere within the trees. + +Grant scans the trees, looking for any sign of the T-rex -- + 130. + + + -- and then it bursts out, ahead of the herd, cutting them + off, throwing them into disarray, scattering them + everywhere. + + They all stare as the rex kicks it into overdrive, runs + down one of the Gallimimus, and sinks its teeth into its + neck. + + The T-rex makes the kill in a cloud of dust and debris. + + Tim and Grant half rise to their feet, staring in wonder. + + LEX + I wanna go -- now! + + But Grant and Tim are transfixed, watching the T-rex. + + GRANT + Watch how it eats! + + LEX + Please! + + GRANT + Bet you'll never look at birds the + same way again! + + Tim nods in fascination. The T-rex pauses in the middle of + its meal and ROARS. + + LEX + Let's go! + + GRANT + Okay. Keep low. Follow me. + + She turns and takes off, running as fast as she can, across + the open plain. Tim and Grant tear themselves away and + follow her. + + TIM + Look at all it's blood! + + CUT TO: + + +69 INT. BUNKER - DAY 69 + + ELLIE paces impatiently. She comes down the stairs. + + ELLIE + 131. + + + Something's happened. Something + went wrong. + +MULDOON paces too. HAMMOND and MALCOLM are also crammed in +the underground bunker. Malcolm lays on a table, while +Hammond tries to tend to his wounds. + +Hammond speaks, still feeling the obligation of the host. + + HAMMOND + This is just a delay, that's all + this is. All major theme parks have + had delays. When they opened + Disneyland in 1956, nothing worked, + nothing. + + ELLIE + John... + + MALCOLM + But, John. But if the Pirates of + the Caribbean breaks down, the + pirates don't eat the tourists. + +Another pause. More pacing. + + ELLIE + I can't wait anymore. Something + went wrong. I'm going to go get the + power back on. + + MULDOON + You can't just stroll down the + road, you know. + + HAMMOND + Bob, let's not be too hasty. He's + only been gone -- + (he looks at his watch) + +Muldoon walks over to a steel cabinet. Ellie joins him. + + MULDOON + I'm going with you. + + ELLIE + Okay. + +Muldoon CLANGS open a steel cabinet, revealing an +impressive array of weaponry inside. He removes a shotgun +and what looks like a small rocket launcher. He shoves a +shell into the barrel of the rocket launcher, which accepts +it with a faint electronic SIZZLE. + 132. + + +Hammond searches out the set of blueprints, gets them out +of the file cabinet and spreads them out on top of Malcolm +almost crushing his leg. + + HAMMOND + Sorry. + +Ellie and Muldoon join Hammond. + + HAMMOND + This isn't like switching on the + kitchen light, but I think I can + follow this and talk you through + it. + +Hammond signals with a look. + + ELLIE + Talk. + (or) + Right. + (or) (nothing) + +Ellie gets a couple of walkie-talkies from the shelf and +shoves them in her belt. + + ELLIE + Okay. + + HAMMOND + But you know, I should really be + the one going + (to go) + + ELLIE + Why? + + HAMMOND + Well, because you're a -- I'm a -- + + ELLIE + Look. + + MULDOON + Come on, let's go. + + ELLIE + We'll discuss sexism in survival + situations when I get back. + (she backs towards the + door) + You just take me through this step + by step. I'm on channel two. + 133. + + + CUT TO: + + +70 EXT. JUNGLE - DAY 70 + + GRANT, TIM, and LEX scrambles through the jungle, + completely out of breath, exhausted. They arrive at the + base of the big electrical fence that surrounds the main + compound. + + Grant looks up at the fence. It must be over twenty feet + high. + + GRANT + It's a bit of a climb. You guys + think you can make it? + + TIM + Nope. + + LEX + Way too high. + + Grant grabs a stick and climbs up on the ledge. He looks at + the warning light on the fence. It's out. He pokes the wire + with a stick. + + No sparks fly. + + GRANT + Well, I guess that means the + power's off. + + Still not trusting the fence, he taps it with his foot. He + moves in slowly and lays both hands on a cable and closes + his fingers around it. + + Grant's body shakes! He SCREAMS. The kids SCREAM! He stops, + and turns around slowly...and smiles wickedly. + + LEX + That's not funny. + + TIM + That was great! + + Far in the distance, the T-rex ROARS. Without a second's + delay, both kids leap to their feet. + + CUT TO: + + +71 EXT. BUNKER - DAY 71 + 134. + + + ELLIE and MULDOON step out of the bunker. + + The main compound feels different now - - it belongs more + to the jungle than to civilization. Muldoon has the big gun + in his hands. + + ELLIE + (on the radio) + Okay, I'm on channel two. + + MULDOON + Stick to my heels. + + They start down the path, moving quickly. + + +72 EXT. PATH - DAY 72 + + MULDOON and ELLIE emerge from one path and come into a + slightly more open area. The huge raptor pen stands + silently, surrounded and penetrated by jungle, the + abandoned goon toward looming over it like a haunted house. + + Muldoon slows down, Ellie right next to him. They notice a + hole in the fence that surrounds the raptor pen. + + The metal is twisted, as if gnawed, the hole is large + enough for an animal to slip through. + + ELLIE + Oh my God. Aw, God. + + MULDOON + The shutdown must have turned off + all the fences. + + Goddamn it! Even Nedry knew better than to mess with the + raptor fence. + + He squats near the hole, looking at the ground. He sees + three sets of footprints. He follows them with his eyes. + They head off in different directions, but all in the + jungle foliage on either side of them. + + MULDOON + C'mon on, this way. + + ELLIE + I can see the shed from here! We + can make it if we run! + + Muldoon walks slowly, as if he heard something. + 135. + + + MULDOON + No. We can't. + + ELLIE + Why not? + + MULDOON + Because we're being hunted. From + the bushes straight ahead. + + Ellie turns, very slowly, to face the bushes. At first, she + doesn't see anything, but then there's something very + faint, like a shifting of the light, and a shadow seems to + move in the bush, RUSTLING the leaves. + + MULDOON + It's all right. + + ELLIE + Like hell it is! + + Muldoon raises his weapon slowly to his shoulder. + + MULDOON + Run, towards the shed. I've got + her. + + Ellie backs up, down the path, slowly. Muldoon follows + behind her, keeping his gun trained in the bushes. The + shadow in the bushes moves too, at an even pace with them. + + MULDOON + Go! + + Ellie, startled, turns and falls over a log. She quickly + stands and starts to run towards the shed. Muldoon walks + slowly into the bushes. + + ON THE PATH, Ellie runs as fast as she possibly can -- a + real broken field sprint, hopping over branches, flying + across the open area at top speed. Over a log -- SPLASH!, + she hits a water puddle. She comes to another log obstacle + -- she grabs a tree and swings over it. + + She nears the maintenance shed, and doesn't look back. She + reaches the door, blasts through it, and SLAMS it behind + her. + + CUT TO: + + +73 EXT. JUNGLE - DAY 73 + 136. + + + A hand comes into the foreground and takes a firm grip on + one of the tight fence cables. Another hand follows it, + then a third. + + GRANT, TIM, and LEX climb over the fence, pulling + themselves up by the tension wires, crawling right past a + "DANGER!" sign that tells them this fence ought to be + electrified. + + +74 INT. BUNKER - DAY 74 + + MALCOLM and HAMMOND hover over a complex diagram of the + maintenance shed that's spread out in front of them. + Hammond clutches the radio in his hand, almost praying to + it. + + Finally, it CRACKLES. + + ELLIE (O.S.) + I'm in. Mr. Arnold? Mr. Arnold? + + +75 INT. MAINTENANCE SHED - DAY 75 + + ELLIE is at the doorway of the maintenance shed, breathing + hard from fear, listening to Hammond's VOICE on the radio + + HAMMOND (O.S.) + Great. Good. Okay -- ahead of you + should be a metal stairway. Go down + it. + + Ellie does, heading into the room, shining the flashlight + ahead of her. There is a maze of pipes. ducts, and + electrical work on both sides of her. + + +76 INT. SHED - DAY 76 + + ELLIE walks straight ahead from the bottom of the metal + stairs. + + HAMMOND (O.S.) + Right. After twenty or thirty feet, + you'll come to a T junction. Take a + left. + + MALCOLM (O.S.) + John. just have her follow the main + cable -- + + HAMMOND (O.S.) + 137. + + + I understand how to read a + schematic. + +Ellie keeps walking, nervous as hell. She looks around. + +Awfully dark down here. + + ELLIE + Going down the stairs...okay... + damn it! Dead end! + + HAMMOND (O.S.) + Wait a minute, wait a minute, there + was a right back there somewhere - + - + + MALCOLM (O.S.) + (taking over) + Ellie?! Look above you -- there + should be a large bundle of cable + and pipes all leading in the same + direction! Follow that! + +Ellie looks up, finds the bunch of cables, and follows it +into a main corridor. + + ELLIE + (into the radio) + Piping...okay... following the + piping. It goes back up the stairs + and across the stairs... following + the stairs. + + HAMMOND (O.S.) + Look for a metal grate and that to + it's longest direction. + + ELLIE + Mr. Arnold? He's not answering me. + Okay I'm on the grating. + + HAMMOND + Good! Keep going, now. The cable + will terminate in a big, gray box. + + ELLIE + Okay, I'm following the tubing. I'm + going down a passage way. How long + does this stuff go for? Could you + guys talk a little bit to me? + +Walking fast Ellie follows the tubing to the end of the +corridor, where she sees just a box. + 138. + + + ELLIE + (into the radio) + Okay -- I see the gray box. + + Ellie goes through a mesh gate and walks towards the gray + box. + + ELLIE + It says "High Voltage". + + She pushes the door open even further, revealing a vast + array of breakers and switches inside. + + HAMMOND (O.S.) + Now, Ellie, you can't just throw + the main switch by hand, you have + to pump up the primer handle to + give you a charge. It's a large, + flat, gray -- + + ELLIE + I see it! + + +77 EXT. JUNGLE - DAY 77 + + GRANT and the KIDS swig over the top of the fence and start + their climb down. + + +78 INT. SHED - DAY 78 + + ELLIE pumps the gray handle, which is sluggish. Above it, a + small white indicator CHINGS over the "discharged" to + "charged". Ellie SLAMS the gray lever back into positions. + + ELLIE + It's charged, okay! + + HAMMOND (O.S.) + Right. + (good) + Now, under the words "contact + position" there's a round green + button that says "push to close!" + Push it! + + Ellie does. The "contact position" light CHINGS over to + "closed" and lights start to go on all over the panel. + + ELLIE + Did I do it? Is the power back on? + 139. + + +79 EXT. JUNGLE - DAY 79 + + GRANT and LEX continue to climb down the fence. Tim is + having difficulty -- just as he's about to take another + step, he loses his footing and almost falls... but then + regains control and hangs on. + + +80 INT. SHED - DAY 80 + + ELLIE watches as the column of twelve white indicator + lights flash on the control panel. They are clearly + labeled, each one for a different area of the park. + + HAMMOND (O.S.) + Now Ellie, the red buttons turn on + the individual park systems. Switch + them on. + + As Ellie punches the buttons, they light up... and our eyes + go to near the end of the row. + + It's marked "Perimeter Fence." + + +81 INT. JUNGLE - DAY 81 + + GRANT lets go, dropping the last few feet to the ground. + LEX does the same. + + A warning light begins to flash, coming back to life. + Grants eyes go wide. He looks up at TIM, who is still far + up - - near the top, in fact, he has to come to a complete + stop. + + +82 INT. SHED - DAY 82 + + ELLIE keeps pushing the buttons. She's getting closer to + the button for the fence. + + +83 EXT. JUNGLE - DAY 83 + + TIM, terrified, has frozen where he is. + + GRANT + Tim -- you have to let go! + + +84 INT. SHED - DAY 84 + 140. + + + ELLIE's still punching the buttons, now only a half a dozen + away from the one for the fence, now five, now three -- + + +85 EXT. JUNGLE - DAY 85 + + GRANT and LEX are botch screaming at TIM + + GRANT + C'mon Tim, move down, damn it! + + LEX + Timmy! The power is coming down, + quick! + + TIM + I can't! I'm scared! + + GRANT + Tim, you're gonna have to let go. + I'm going to count to three. + + LEX + Jump, Timmy! It's too late! + + TIM + I'm afraid I am gonna fall! + + GRANT + Go, go, go, jump! + + TIM + You're crazy! I'm not gonna jump! + + GRANT + Tim, you're going to have to let go + of the fence. Tim! Get down right + now. Get off the fence! Now! + + LEX + Do as he says! The power's coming + back, Timmy! + + GRANT + Timmy, let go! You're gonna have to + let go! Count to three. I'll catch + you. + + LEX + Timmy! Do as he says! Timmy! Do as + Dr. Grant says, quick! + + TIM + 141. + + + Are you crazy? What if you miss? I + hate it up here. + + GRANT + Tim, I'm right here. Easy catch. + Easy catch. Count to Three.. + + LEX + You're gonna get electrocuted + (or) + electrified! The power's coming + back! + + TIM + Shut up! You're scaring me. Stop! + You're scaring me. + + GRANT + Shhhh. Tim, I'm right here below + you. Easy catch. One, two, three. + You count it yourself. One, two, + three -- + + LEX + You're gonna get electrocuted + (or) + electrified! + + GRANT + It's am easy catch, you let -- go - + - you do the counting, you count + it, Tim. One, two, three -- you do + all the counting, okay? + + LEX + Timmy, listen to Dr. Grant! + + GRANT + I'm coming up there Tim! I'm coming + to get you! Lex, I've got to get + him! + + +86 INT. MAINTENANCE SHED - DAY 86 + + ELLIE finally pushes the button for the fences. It stops + flashing and lights up, a brilliant white. + + CUT TO: + + +87 EXT. JUNGLE - DAY 87 + 142. + + + The fence HUMS as it awakens. GRANT and LEX are SCREAMING + at TIM: + + TIM + Okay, okay! I'm going to count to + three. One, two, three... + + With a low, loud frightening BUZZ -- + + -- the fence comes alive. + + POW! Tim is cut off mid-sentence, and literally thrown from + the fence. He SLAMS into Grant. They fall to the ground. + Lex runs over to them. + + GRANT + Tim, you're okay? You're okay? + + GRANT notices a larger problem. + + GRANT + He's not breathing. Tim? + + +88 INT. MAINTENANCE SHED 88 + + ELLIE watches as the banks of fluorescent lights in the + maintenance shed come on, one by one. + + The lights are going on in rows, coming closer and closer + to her. Finally, her row comes on. She follows the light + and sees -- + + -- a raptor, right there, behind the control panel! It + SLASHES, taking a lunging sweep at Ellie, but gets stuck, + its feet and legs tangled in the maze of pipes on the + floor. + + This is our first good look at one of these things, and if + it weren't so terrifying, we could admit that it truly is a + thing of beauty. It's the biggest of the raptors, intensely + muscled, coordinated as hell, a smoothly designed predator. + + Ellie SHOUTS and falls back into the pipes on the other + side of the aisle. + + The raptor untangles itself from the pipes and gives chase, + just as Ellie SLAMS the mesh door closed. The raptor BANGS + against the mesh door, Ellie falls to the ground. + + She holds on by kicking the door shut as the raptor + continues to push himself through the door. Ellie is able + to get the door closed. + 143. + + + She stands, but then falls back onto one of the walls. + + A dead arm falls onto her shoulder. RAY ARNOLD is there, or + what's left of him, stuck in the tangle of pipes. Ellie + moves away, and his arm falls to the ground. + + She doesn't realize that she has moved right back near the + mesh wall -- and the raptor comes at her again. Ellie takes + off running as fast as she can, back the way she came. She + drags the flashlight with her, running over the dead arm + and Arnold's legs. + + She continues to run, her headset dangling, the flashlight + dragging behind her on its cord. + + She reaches the stairs and hits them hard, flying up them. + The raptor must be right behind her, she can hear the + CLICKING and CLANGING as it scrambles up the stairs, but + she doesn't look back. + + She reaches the top, throws open the door, hurls herself + outside -- + + +89 EXT. SHED - DAY 89 + + -- and SLAMS the door behind her, just as the raptor's head + SNARLS at her from near the top of the stairs. She runs out + the fence and collapses. + + +90 EXT. JUNGLE - DAY 90 + + TIM is still unmoving. GRANT is performing CPR, alternately + compressing Timmy's chest fifteen times, quickly, and + breathing into his mouth twice. + + LEX is freaking out. + + Fifteen compressions. Two deep breaths. + + GRANT + C'mon, Tim. + + Fifteen compressions. Two deep breaths. + + GRANT + TIMMY! + + Fifteen compress- - + + Tim GASPS and comes to. + 144. + + + GRANT + Good boy, Tim. Good boy. + + TIM + Three. + (Two, three) + + CUT TO: + + +91 EXT. JUNGLE - DAY 91 + + ROBERT MULDOON creeps slowly through the jungle foliage, + tracking his prey. He ducks and walks through a hollow log, + underneath a fallen tree, following the RUSTLING sound up + ahead of him. + + He can see just a trace of the raptor's gray flesh as it + movies behind the bushes up ahead, staying camouflaged + enough to deny him a decent shot. Thinking he's got a + moment, Muldoon extends the back handle of the gun and + clicks it into place. He prepares to take aim. + + A snake slithers across a tree branch, past what looks like + the large iris of a flower. + + The flower blinks. + + It's the eye of the raptor. Muldoon sees it. He raises his + gun. + + Instead of running away again, the raptor rises slowly out + of the brush, fully revealing itself to Muldoon, HISSING at + him. + + The corners of Muldoon's mouth twitch up into a smile. He + draws a bead on the animal. + + His finger tenses on the trigger. Suddenly, his smile + vanishes, both eyes pop open, and a terrible thought sweeps + across his face. His eyes flick to the side -- + + MULDOON + Clever girl. + + -- which is where the attack comes from. With a ROAR, + another raptor comes flashing out of nowhere and pounces on + him. The gun BLASTS, but wildly, and the raptor's claw + SLASHES through Muldoon's midsection. + + Muldoon SCREAMS and falls back, the raptor locked on top of + him, all tooth and claw all of a sudden. + 145. + + + As the second raptor makes the kill, the first raptor + strides slowly forward and watches approvingly. + + It throws its head back and SNARLS. + + +92 INT. VISITOR'S CENTER - DAY 92 + + GRANT, TIM, and LEX come into the deserted visitor's + center. A large sign that says "When Dinosaurs Ruled the + Earth..." droops overhead. Grant now carries Tim, who is + weakened but conscious. + + GRANT + HELLO?! + + But nobody answers. + + +93 INT. RESTAURANT - DAY 93 + + GRANT, TIM, and LEX come into the restaurant. Grant + carefully sets Tim in a chair at one of the tables. Lex + across from him. + + GRANT + I am gonna have to find the others + and get you to a doctor. Will you + look after Tim, Lex? + + LEX + (scared as hell) + Yes. + + Grant nods. He looks at Tim for a second. + + GRANT + Your hair's all standing up. + + He gently rearranges Tim's hair, which is wild, all over + this head. Tim looks up at him weakly and manages a smile. + Grant smiles back. + + GRANT + Big Tim, the human piece of toast. + + Tim laughs. Grant pauses for a second, as if debating + something -- + + GRANT + Be back soon, guys. I promise. + 146. + + + He leaves. As he goes across the lobby of the visitor's + center and outside, they can see his silhouette, moving + through a translucent mural that depicts dinosaurs in + various natural settings. It's quiet for a second as Lex + and Tim just look at each other. + + Tim goes across the room, to an all-you-can-eat table on + the other side, and quickly piles some food on a tray. He + brings its back to the table. + + Lex digs in, munching on veggies, grabbing food with two + hands. + + Tim enjoys his food, too. + + Lex comes up with a spoonful of lime Jell-O from a plastic + dinosaur egg cup -- but her hand freezes halfway to her + mouth. + + Tim looks up, and sees the expression on her face. She's + staring over his shoulder, eyes wide, the Jell-O quivering + in her shaking hands. + + TIM + What? + + Tim turns around. Behind him, one of the silhouettes on the + mural is a raptor, in a hunting pose. + + While they stare, the silhouette of a real raptor moves out + from behind it and creeps forward, in the lobby of the + visitor's center. + + +94 INT. KITCHEN - DAY 94 + + LEX pulls the shiny metal door shut as quietly as she can. + It latches with a distinctive CLICK, but there's no lock. + + She runs to a panel of lights switches and kills them all, + plunging the room into semidarkness. She helps TIM down an + aisle and they hide at the end, behind a counter, breathing + hard. + + A raptor's head pops into view, visible through the round + window + + in the middle of the restaurant door. + + It just looks for a moment, its breath steaming up the + window. + 147. + + + THROUGH THE WINDOW, as the steam evaporates, the raptor can + see a part of Tim that is not entirely hidden by the + counter. + + IN THE KITCHEN, TIM and LEX remain frozen in fear as the + raptor first SNIFFS at the bottom of the door, then THUMPS + its head against it. + + But the door doesn't budge. + + CUT TO: + + +95 EXT. COMPOUND - DAY 95 + + GRANT walks quickly down the narrow path towards Hammond's + compound, eyes darting from side to side, not exactly sure + where he's going. From far off, he hears someone SHOUTING + to him. + + He turns. He sees ELLIE, standing outside the bunker. She's + waving to him, SHOUTING something too faint for him to + hear. + + He furrows his brow and walks towards her. She SHOUTS + louder. + + He walks faster. He's closer now, and he can finally make + out where she's shouting. + + ELLIE + Run! + + Grant takes off running towards her, not even looking back. + He races up, and she runs into his arms. + + ELLIE + Where are the kids?! + + +96 INT. BUNKER - DAY 96 + + JOHN HAMMOND stands between GRANT and ELLIE in the bunker, + watching as Grant RACKS the bolts on a ten gauge shotgun. + + GRANT + (to Ellie) + It's just the two raptors, right? + You're sure the third one's + contained? + + ELLIE + 148. + + + Yes, unless they figured out how to + open doors. + + CUT TO: + + +97 INT. KITCHEN - DAY 97 + + OUTSIDE THE DOOR TO THE KITCHEN, the raptor stares down at + the door handle, cocking its head curiously. It SNARLS and + bumps the door handle with its head, but that doesn't do + anything. + + It reaches out, toward the handle, with one clawed hand. + + IN THE KITCHEN, Tim and Lex stare in shock as the door + handle starts to turn. + + The door opens. The first raptor stands in the doorway, + draws itself up to its full height, and looks around the + kitchen. + + Now, a second raptor joins it in the doorway. They move + into the room, brushing against each other. The first + raptor SNAPS as the second, as if to say "keep your + distance." + + Now the raptors split, taking two different aisles. Tim and + Lex crawl away, Tim awfully weak now, down a third aisle, + around the other side of the counter from the raptors, + moving in the opposite direction. + + As Tim and Lex pass the raptors, one of the raptor's tails + SMACK into some pots and pans, knocking them off the + counter. They fall on the kids, who manage to keep quiet. + + The kids keep moving as one of the raptors dips down, + looking through an open cabinet to inspect the racket. + + Tim and Lex reach the end of the aisle and round a corner - + - but Timmy's falling behind now, and he accidentally + brushes against some hanging kitchen utensils. + + Both raptors turn. One jumps onto the counter, knocking + more kitchen stuff to the floor. A ladle CLATTERS to a + stop, and the strange metallic sounds confuse the raptors + for a moment. + + But then they move, in Tim's direction, SNIFFING, heading + right for him. + 149. + + +The raptor on the floor is just about to turn the corner to +where Tim sits, exposed and exhausted, but both the raptors +suddenly stop, hearing a CLICKING sound from the other end +of the aisle. + +It's Lex, TAPPING a spoon on the floor to distract them. +The raptor on the counter jumps down and starts cautiously +towards Lex's noise, leaving Tim. + +Lex sees a steel cabinet behind her, its sliding door slid +up and open. She crawls inside, silently. + +Tim sees the raptors make the turn towards Lex, SMASHING +more stuff around with their tails. He turns and sees a +walk-in freezer in the far wall, with a pin-locking handle. + +As Lex tries to pull the overhead door to the cabinet shut, +one of the raptors rounds a corner and sees her reflection +on a shiny cabinet front. Lex tries frantically to lower +the cabinet door, but it's stuck. + +Tim takes a few deep breathes, summons what little strength +he has left -- + +-- and makes a break for the walk-in freezer. He's limping, +dragging himself, really moving like a wounded prey now, +and -- + +-- the other raptor spots him. Both raptors go into a pre- +attack crouch -- + +-- and they pounce, one towards each of the kids. + +Lex tugs on the cover, to the avail -- Tim's raptor charges +after him, just open floor space between them -- + +-- and Lex's raptor THUDS into a shiny surface bearing hr +reflection. It chased the wrong image. It sags to the +floor, semiconscious. + +At the other end of the aisle, the real Lex SCREAMS as the +other raptor bears down on Tim. Tim reaches the freezer, +rips the door open, and falls inside. The floor is cold and +slick and his feet go right out from under him. He sprawls +across the floor, rolls out of the way -- + +-- and the raptor slips and falls into the freezer too, +right past him. + +Tim drags himself to his feet and out of the freezer. + +The raptor makes one last lunge, right on Tim's heels, its +mouth wide open -- + 150. + + + -- but Lex SLAMS the door shut just as Tim is clear. The + raptor's head is caught for a second, but it SNARLS, + retreats, and Lex's gets the door shut all the way. + + The raptor ROARS and SCREAMS inside. Lex jams the pin + through the handle, locking it in. + + Now the other raptor staggers to is feet. Groggy, it + SMASHES into stuff all over the kitchen. Lex throws her + arms around Tim again for support and they take off. + + +98 INT. RESTAURANT - DAY 98 + + TIM and LEX hurry across the restaurant. They stare back + over their shoulders as they run. They CRASH into GRANT and + ELLIE. + + LEX + It's in there! + + ELLIE + Control room. + + +99 INT. SECOND FLOOR CORRIDOR - DAY 99 + + GRANT, ELLIE, and the KIDS race down the second floor + corridor towards the control room, Grant helping Tim. + + +100 INT. CONTROL ROOM - DAY 100 + + The door to the control room SMACKS open. GRANT, ELLIE, and + the KIDS burst in. Ellie heads straight for Nedry's + computer terminal. + + Grant moves Tim to the side, and races back to the door to + lock it. + + LEX + We can call for help?! + + ELLIE + We've got to reboot the system + first! + + She sits at the computer and studies the screen. It's + flashing to her, dominated by a maze-like grid. She studies + it, confused. + + GRANT + (at the door) + 151. + + + Oh, no! The door locks -- Ellie! + Boot up the door locks! Boot up the + door locks! + +POW! Something hits the door, hard, from the outside, the +kids SCREAM, Grant hurls his back against it -- Grant loses +his gun. He struggles. The raptor scratches his head. + + ELLIE + ALAN! + +-- and Ellie leaps out of the chair and races over to the +door to help him. A raptor SNARLS and SNAPS, RAMMING itself +against the door, trying to force its way into the control +room. It's all Ellie and Grant can do to hold the door +against the onslaught, but it bucks against them viciously. + + GRANT + (to Ellie) + Ellie -- get back and boot up the + door locks! + + ELLIE + You can't hold it by yourself! + + GRANT + Ellie, get the gun! + (or) + Try to reach the gun! + + ELLIE + I can't get it! + (or) + I can't get it unless I move! + +OVER AT THE COMPUTER, Lex slides quickly into the command +chair at Nedry's terminal. + +She stares at the screen for a moment -- + + LEX + This is a Unix system. I know this. + It's the files for the whole park. + It's like a phone book -- it tells + you everything. + +-- and then her fingers start to fly over the keyboard. Tim +watches, amazed, as the computer starts to respond to Lex's +commands. + + LEX + 152. + + + I've got to find the right file. Oh + no, this isn't right. This might be + right, no this isn't it. + + TIM + C'mon, Lex! C'mon, Lex! Go, Lexie! + + Reaching another menu, Lex spots a box on the screen that + reads "DOOR INTEGRITY." She reaches out and touches it. The + screen BEEPS -- + + LEX + There it is, I got it! This is it, + I did it. Yes, yes! + + -- and the door latch panel BUZZES. Grant and Ellie put + everything they have into it and finally the door SNICKS + shut, locking the raptor outside. + + GRANT + What works? + + LEX + Phone security systems, everything + works. You ask for it, we got it! + + CUT TO: + + +101 INT. BUNKER - DAY 101 + + A phone RINGS. HAMMOND and MALCOLM look at each other, + wide-eyed. Hammond lunges for it. + + HAMMOND + Grant?! The children alright? + + +102 INT. CONTROL ROOM - DAY 102 + + All the screens in the control room have come alive now, + and data is scrolling by at incredible speed as every + remaining system is the park comes back on line. ELLIE is + at the keyboard with LEX now, figuring things out, and + GRANT is on the phone. + + GRANT + The children are fine. + + +103 INT. CONTROL ROOM - DAY 103 + + HAMMOND is on the phone, MALCOLM is trying to listen. + 153. + + + HAMMOND + Thank God. + + GRANT (O.S.) + Listen, the phones are back up! + Call the mainland! Tell them to + send the damn helicopters -- + + Suddenly Grant stops in the middle of his sentence. A + SCREAM cuts in, then three GUNSHOTS, fast, and a horrible + CLUNKING as the phone is dropped. + + HAMMOND + Grant! GRANT! + + But there's no answer. + + +104 INT. CONTROL ROOM - DAY 104 + + Grant's rifle lies on the floor, smoking, several spent + shells alongside it. The front window of the control room + has three huge impact shatter patterns in the glass, where + the gunshots hit. + + TIM goes into an open panel through the ceiling, and into + the crawl space. LEX climbs the ladder, followed by ELLIE + and GRANT. + + Grant looks over to the front window, scared as hell, just + as -- + + -- it SHATTERS in a shower of glass and a raptor EXPLODES + into the control room. It lands on its feet on a work + station console, images from wall projectors falling across + its head. + + Grant vaults himself up into the ceiling, and knocks the + ladder with his feet. + + The raptor tilts its head curiously, looking up at the + swaying ceiling. + + IN THE CRAWL SPACE, Grant, Ellie, and the kids dash across + the ceiling panels, moving fast, but carefully, so as not + to break through. + + SMASH! The raptor's head bursts through a panel behind + them, leaping up at them, SNARLING and SNAPPING. + + It drops down again, and they keep moving forward. But now + it ERUPTS through a panel right in front of them. They + SCREAM, its teeth CLICK just inches in from of Ellie -- + 154. + + + -- but the raptor can't hold itself up there, and it falls + back to the floor of the control room. + + Grant looks around frantically and spots an air duct a few + yards away. + + GRANT + Follow me! + + They move for it, but the raptor's head CRASHES through the + ceiling again, this time right underneath Lex. + + She SCREAMS and is lifted up, on top of its head, and + pinned to the ceiling above. + + Grant SMASHES hit boot into the side of the raptor's head. + The raptor SLAMS at him, latching onto his boot for a + second before the raptor's own weight pulls it back down. + + Lex goes down with the raptor, spinning into the hole in + the ceiling, tumbling down. Grant grabs her by the collar + at the last second, but Lex dangles there, above the + raptor. + + The animal flips over onto its feet and crouches to pounce + just as Grant summons his strength and jerks Lex back into + the ceiling. + + The raptor springs, but too late. Grant and Lex scramble + over to the air duct and join Ellie and Tim inside it. + + IN THE AIR DUCT, Grant, Ellie, and the kids crawl through + the air duct as fast at they can, the thin metal BOOMING + and creasing around them. They reach a metal gate that + shows daylight beneath. Grant reaches out and pulls it up. + + Through the gate, they can see the lobby of the visitor's + center below. They're directly above the skeletons of the + dinosaurs, the T-rex and the sauropod it's attacking. The + unfinished skeletons are surrounded by scaffolding. + + +105 INT. ROTUNDA - DAY 105 + + Grant and the others climb down out of the air duct and + onto a platform of the scaffolding that stands alongside + the skeletons. They continue down to the second platform, + then the third. They suddenly see -- + + A RAPTOR, standing to the side by the second floor railing. + 155. + + +It's much too far to jump to the lobby floor, so Grant +climbs gingerly onto the nearest skeleton, the towering +brachiosaur. + +They climb down as fast as they can. Grant helps Tim down, +Lex and Ellie follow. Ellie goes to the tail. Lex moves to +the front. + +Grant lands on the main body in the middle with Tim. And +the raptor watches them. + +Up in the ceiling, the skeleton's anchor bolts GROAN in the +plaster, starting to pull free. But for now, they hold. + +The raptor flies out and lands on the back of the middle +section of the skeleton. SNAP! It CRACKS apart with the +weight, sending the sections spinning in all different +directions. + +Grant and Tim twirl on the middle section. Tim begins to +slide down. Grant tries to hold on to him -- but Tim loses +his grip and falls to the ground right underneath the +swinging, large middle section of the dinosaur skeleton. + +Meanwhile, Lex spins on the front section. She slips -- and +tries to keep from falling as she hangs by her legs. + +The anchor bolts in the ceiling RIP free, ZINGING past them +like bullets. The entire brachiosaur skeleton collapses +like a house of cards sending Ellie to the ground. She +covers herself with her arms, trying to protect her head +from the shower of falling bones. + +Lex falls, landing on the ground with bones falling on top +of her. She SCREAMS. + +Grant, alone in the middle section, looks up and sees the +cable about to SNAP -- he falls! The large section of the +skeleton comes careening down, heading straight for Tim, +who lays where he fell on the ground. It comes SMASHING +down... with just enough space for him to be safe. + +The raptor tumbles to the floor in a cascade of splintering +bone. + +It lands on its back a few yards away and staggers for a +moment, the wind knocked out of it. + +Grant lands in front of Tim. He stands, and goes to Tim. +Lex sits up and sees the raptor regain its feet. She +SCREAMS. + 156. + + +Ellie stands. She notices the shadows of the second raptor, +standing behind the visqueen. She stops dead in her tracks. +She backs up towards Grant and Tim. + +The raptor comes out from under the plastic and looks +around. + +Grant gets Tim out from under the skeleton. Lex joins them. +They back away from the raptor, approaching from the left +side. They back up towards the large rock in the middle of +the room holding the other skeleton. + +The raptor crouch in their pre-attack stance -- + +The group is caught in the middle of the two approaching +raptors. + +Lex looks back and SCREAMS. Grant and the others continue +to back up. They look up and see -- + +-- TYRANNOSAURUS REX! It's massive head descends down from +above. A set of six-foot jaws clamp down on the raptor. +Eighteen-inch teeth sink into its side, and the helpless +animal HOWLS in agony as it's lifted up, up, up off the +floor of the lobby. + +Grant and the others look up in stunned amazement. They +step back behind the rock for safety and look to the right. +They see another raptor approaching. + +The other raptor goes up in the air now, twenty feet off of +the lobby floor, held fast in the mouth of the Rex. It +stands in the entrance to the lobby in front of the massive +hole it ripped through the Visqueen wall. It shakes its +enormous head once, BREAKING the neck of the velociraptor, +then drops it, dead, to the floor at its feet. + +Grant, Ellie, and the kids skirt the battle royal on the +lobby floor and dash of the door of the Visitor's Center. + +The second raptor turns from the humans and lunges at the +Rex's side, leaping twelve feet into the air and rending +the Rex's flesh as it comes down, slashing it open with its +six-inch claw. + +The rex BELLOWS in pain, and turns on the raptor, eyes +raging, and strikes, just once, quickly, as fast as the +head of a serpent. It catches the raptor by thick back end, +buts one of its enormous feet down on it, and tears. + +It rips the last velociraptor in half. + 157. + + + The rex whirls around - as it turns, its heavy tail + counterbalances, SNAPPING the other way, sweeping across + the lobby and SMASHING right through the T-rex skeleton. + + The skeleton collapses in an explosion of bones, falling to + pieces around the living rex. + + The rex stands majestically in the middle of the lobby, + both skeletons swept away, SNAPPING like matchsticks as + they settle around the animal. + + The rex draws itself up to its full height -- + + -- and ROARS. + + The sound is deafening, and the vibrations rattle the + entire Visitor's Center. The sign which dangled over the + lobby by its one remaining wire finally falls, CLATTERING + to the floor at the Rex's feet, face up. + + "WHEN DINOSAURS RULED THE EARTH", it says. + + OUTSIDE THE VISITOR'S CENTER + + Hammond SQUEALS the Jeep to a halt in front of the steps. + + Malcolm is lying in the back. + + Grant and the other practically fall into the Jeep. + + GRANT + Mr. Hammond, I've decided not to + endorse your Park. + + HAMMOND + After careful consideration, Dr. + Grant - - so have I. + + Hammond hits the gas and the Jeep takes off. + + +106 EXT. HELICOPTER LANDING PAD - DAY 106 + + The helicopter rotors whirl to life as the chopper waits on + the landing cross. Two Jeeps ROAR up next to it, one driven + by GRANT, the other by HAMMOND. + + +107 INT. HELICOPTER - DAY 107 + + One by one, they climb aboard, their faces white from their + ordeal. + 158. + + +ELLIE comes on first, holding LEX. Then HAMMOND, carrying +TIM. + +And GRANT, helping MALCOLM. + +No one speaks. Hammond takes another look at his dream, +Grant comes over and takes him back to the helicopter. + +The helicopter takes off immediately. As they rise into the +air, they stare out the windows, looking down on the park +as it spreads out below. + +DOWN IN THE PARK, the helicopter soars over a vast plain. +The Tyrannosaur, which is still feeding on the remains of +the dinosaurs it ran down and killed, looks up. + +It throws its head back and ROARS, waving its little +forelimbs at the strange thing in frustration. As the +helicopter moves off, the T-rex just stares, silently, with +huge, yellowing eyes. It's a moment of utter bewilderment +for the rex, and we almost feel -- + +-- sad for her. + +BACK IN THE HELICOPTER, Hammond looks down at the park, his +eyes full. He looks over at the kids. + +They're in the back of the helicopter, with Grant. As they +look out the window, Grant almost absently has his arms +around both kids. + +Now Ellie looks at him. Both he and the kids seem so +natural, so obviously comfortable and trusting with each +other. She smiles. + +The four of them sit that way, in the back of the +helicopter, huddled together. Survivors. + +Grant looks out the window. + +The helicopter sweeps low over a huge flock of sea birds +that's feeding on a school of fish. As the chopper ROARS +near, it kicks up the flock. Hundreds of birds sail off in +all directions, powerful and graceful. + +Grant looks at the bids and breaks into a wide grin. + +The birds reform as flock again and fly straight into the +sun. + + FADE OUT. + \ No newline at end of file diff --git a/scripts/Knives Out.txt b/scripts/Knives Out.txt new file mode 100644 index 0000000000000000000000000000000000000000..fb5bed17ee7fbdd92553bee719069cafecf0469e --- /dev/null +++ b/scripts/Knives Out.txt @@ -0,0 +1,7041 @@ + 1. + + + + +1 EXT. THROMBEY ESTATE MANOR HOUSE - DAWN 1 + + The grounds of a New England manor. Pre-dawn misty. + + +2 INT. MANOR - PANTRY - LIVING ROOM - FOYER - HALLWAY - DAWN 2 + + INSIDE THE MANOR + + Unlit and still. Gothic with a theme of antique games, + arcane puzzles and decorative weapons. + + First floor: A drawing room, living room, kitchen. The + detritus of a party. Stray champagne flutes. + + +3 INT. THROMBEY ESTATE - 2ND FLOOR - DAWN 3 + + Follow one housekeeper named FRAN carrying a tray of coffee + up a flight of stairs. + + Second floor: a hallway, doors all closed. The house has + not woken up, and Fran steps lightly. Up a much narrower + creaky flight of steep stairs. + + +4 INT. THROMBEY ESTATE - 3RD FLOOR MASTER BEDROOM - DAWN 4 + + Third floor: the master bedroom suite. + + FRAN + Morning Mr Thrombey + + But the bed is empty, unslept in. A robe thrown across it. + + Fran heads out onto the landing and UP an EVEN NARROWER + half flight of stairs, which leads to a single door. + + FRAN + Mr Thrombey you up there? Mr + Thrombey I'm coming in + + +5 INT. HARLAN THROMBEY'S STUDY - DAWN 5 + + A cramped attic study, every shelf crammed with curios. + + The door swings open and Fran sees: + 2. + + + HARLAN THROMBEY himself. 85 years old. Slung across a white + leather day bed. + + Throat slit. Drenched in blood. Very much dead. + + Fran's tray slips out of her hands for a second. + + FRAN + Shit. + + CUT TO: Title card, on black. + + THEN TO: + + +6 INT. MARTA'S BEDROOM - MORNING 6 + + MARTA CABRERA wakes with a cry. + + Plain, modern, cramped. Marta, in her late twenties, takes + a moment to catch her breath. Opens a window. + + +7 EXT. SOUTH BOSTON HOUSING PROJECT - MORNING 7 + + A tiny window in a cheap apartment building opens, Marta's + face appears breathing deep. + + SUPER: "ONE WEEK - after Harlan Thrombey's demise" + + +8 INT. CABRERA KITCHEN - MORNING 8 + + Marta sits in front of a laptop. Her MOM is at the table + with her, her sister ALICE watches CSI on an iPad on the + counter top. Murder related dialog from the show. + + Marta scroll through a jobs site, tired, eyes dead. Her mom + watches, concerned. + + MOM + Alice, turn that off now. + + ALICE + Why it's almost over, what - + they're finding out who did it and + the wifi sucks in my room so it + doesn't play it's like two minutes + left what there isn't even anything + bad on it, it's just normal tv and + they're just talking ok ok goddddd + whatever ok whatever. + 3. + + + MOM + Now please just turn it off. Turn + it off. Now. Alice. Off. They're + talking about murder on it, your + sister just had a friend she loves + slit his throat open she doesn't + need to be hearing that right now + let's be sensitive! + + Mom standing yelling, Alice slams the iPad cover closed. + + Marta puts her head in her hand. Looks at her mom, who + looks back at her with protective sympathy. Marta starts + laughing at the absurdity of it, but the laugh turns into + crying. + + MARTA + Alice you can keep watching your + show it's alright. + + ALICE + No, I guessed who did it anyway. + I'm sorry Marta. + + Alice hugs her sister. Marta's phone rings. WALT THROMBEY. + + MARTA + It's Harlan's son. + (answers) + Hi, Walt. + (listens) + Uh huh. + + Her face shifts in confusion. + + MARTA + What? + + +9 EXT. PRIVATE ROAD - LATE MORNING 9 + + A long narrow private road leading to the Thrombey estate. + + Marta's shitty SUBCOMPACT car buzzes by, towards the house. + + +10 EXT. THROMBEY ESTATE FRONT DRIVE 10 + + Several cars, including a police cruiser with a few + uniformed officers by it. Marta pulls up. An officer eyes + her, approaches. + + COP + 4. + + + Hey! Excuse me ma'am. Are you with + the help? + + MEG, Thrombey's college aged granddaughter, trots out. + + MEG + Hey! Her name is Marta, she was + granddad's nurse, she's with us. + "The help?". + + MARTA + (to the cop) + It's ok, sorry. + + MEG + (mutters) + No. It's not ok. What the hell? + + They hug, and are both instantly crying. They laugh. + + MARTA + Not very good. Alone, lots of just, + this + (the crying) + and not knowing what to do next. + + MEG + Anything you need, you're part of + this family Marta. + + MARTA + Thank you. + + +11 INT. FOYER 11 + + Thrombey's eldest daughter Linda opens the door for Marta. + + LINDA + How you doing kiddo. + + Linda is 60ish, well put together, sharp and steely eyed. + + She dresses and speaks with just a little more sharpness + than any situation she's in requires. + + MARTA + Hi Linda. How are you? + + LINDA + 5. + + + Ueuh. The funeral helped. I guess. + Just seeing him. I thought you + should have been there. I was out + voted. + + Linda's husband Richard walks in, on the phone. Same age as + Linda, gruff and confident, will put his feet up on + anything. + + RICHARD (ON PHONE) + I'm not the cop so I don't know. + Alright fine, don't come, get + arrested. Die up your own ass all I + care. + (hangs up) + He's not coming. + + RICHARD (ON PHONE) + (to Marta) + Ransom. Little shit. Missed the + funeral. + + STATE TROOPER WAGNER, fresh faced in his 30s, pokes his + head in through a door. + + TROOPER WAGNER + Excuse me, we're ready for you now, + we'd like to see you one at a time. + + LINDA + Alright I'll go first. I'm assuming + this will all be wrapped up before + the memorial tonight. + + TROOPER WAGNER + We'll do our best ma'am. + + Linda exits with Wagner, leaving Richard and Marta. + + RICHARD + So. How you doing kiddo. + + +12 INT. LIBRARY 12 + + Mystery and horror memorabilia scattered on the shelves. + + Linda sits opposite three men: LIEUTENANT ELLIOTT, in his + 30s, in a working suit. Very good at his job. The young + Trooper Wagner stands behind him. + 6. + + + Sitting back behind both of them, almost blending into the + background, is a slight man in a linen suit. Legs and arms + fold sharply, like a paper crane. Silent, listening. + + LIEUTENANT ELLIOTT + We are just going to reintroduce + ourselves as a formality, I'm + Detective Lieutenant Elliott, and + this is Trooper Wagner. Now, I'm + going to record, just makes it + easier. + (squints at his phone) + Alright, we're with Linda Drysdale, + nee Thrombey, Harlan Thrombey's + eldest daughter, in discussing the + events the night of his demise, one + week ago, November 8th. + + TROOPER WAGNER + We're sorry for your loss. + + LINDA + (dry as chalk) + Thank you that means a lot. + + Elliott checks his notes. + + LIEUTENANT ELLIOTT + So we understand that night the + family had gathered to celebrate + your father's eighty fifth + birthday. + + LINDA + Yes. + + LIEUTENANT ELLIOTT + How was that? + + LINDA + The party? Pre my dad's death? It + was great. + + +13 INT. LIVING ROOM - NIGHT OF THE PARTY - FLASHBACK 13 + + Warmly lit, classic rock playing, food laid out. Linda and + Richard mingle happily with the rest of the family (who + we'll meet shortly.) + + LIEUTENANT ELLIOTT (V.O.) + Did anyone besides the family show + face? + 7. + + + LINDA (V.O.) + Uh. There was Fran, the + housekeeper. Marta, Harlan's + caregiver, good girl, hard worker. + Family's from Ecuador. And Wanetta + - Greatnana, Harlan's mom. + + At the snack table wearing a dozen coats, a woman who might + be three hundred years old. She pounds down chips and dip + like a machine. + + LIEUTENANT ELLIOTT (V.O.) + (wow) + His mom? How old is she? + + LINDA (V.O.) + We have no idea. + + LIEUTENANT ELLIOTT (V.O.) + Okay, Your son Ransom, was he there + as well? + + LINDA (V.O.) + Yes but he left early. + + RANSOM DRYSDALE, roguishly handsome in his early 30s, + breezes out the side door, past Greatnana. + + GREATNANA + Ransom, are you leaving? + + +14 INT. LIBRARY 14 + + The strange man in the linen suit taps a piano key, as if + reminding to ask him something. + + LIEUTENANT ELLIOTT + Right, did all three of you show up + at around the same time? + + LINDA + N...o, Richard came early to help + the caterers set up. + + She raises a questioning finger to ask about the man but + + LIEUTENANT ELLIOTT + Okay and you and your husband + Richard work for a real estate firm + in Boston? + + LINDA + 8. + + + (sharp) + It's my company. + + LIEUTENANT ELLIOTT + (checks notes) + Sorry. Right. + + LINDA + I built my business from the ground + up. + + LIEUTENANT ELLIOTT + Just like your dad. You two were + very close? + + LINDA + We had our own secret way of + communicating. You had to find that + with dad. You had to find a game to + play with him. And if you did that, + and played by his rules... + + CUT TO: Richard in the chair Linda was in, giving his + statement. + + RICHARD + Everyone idolizes their dad, right? + + LIEUTENANT ELLIOTT + I don't know, do they? + + RICHARD + Very much not, don't know why I + said that. But Linda does. + + +15 INT. LIVING ROOM - NIGHT OF THE PARTY 15 + + Harlan Thrombey, surrounded by his family, Richard and + Linda flanking him, a birthday cake with candles. All + smiles. + + RICHARD (V.O.) + Harlan started with a rusty Smith- + Corona, built himself into one of + the bestselling mystery writers of + all time. + + +16 INT. LIBRARY 16 + + LIEUTENANT ELLIOTT + 9. + + + Seems like all his kids are self + made overachievers. + +Richard makes a "...sure" face. + + RICHARD + Sure. + + CUT TO: + +WALT THROMBEY now sits in the questioning chair. Late 40s, +softly obsequious in a sweater and loafers. His leg is in a +cast. + + LIEUTENANT ELLIOTT + For the record, I'm speaking to + Walt Thrombey, Harlan Thrombey's + youngest son. + + LIEUTENANT ELLIOTT + So you run your father's publishing + company? + + WALT + Yeah. It's my - it's our, it's the + family's publishing company, dad + trusts me to run it. 30 languages, + over 80 million copies sold. A real + legacy. You guys fans? + + LIEUTENANT ELLIOTT + I don't do much fiction - + + TROOPER WAGNER + BIG fan. Big. + + TROOPER WAGNER + His plots, like something like "A + Thousand Knives," with the - I + don't want to spoil it but - the + cow and the shotgun, like where do + you come up with that? + + WALT + Dad said the plots just popped into + his head fully formed, that was the + easy part for him - + +TAP from the linen suit man's finger. + + LIEUTENANT ELLIOTT + 10. + + + You live in town, right? You guys + probably arrived at around the same + time? + + Walt looks at Linen suit, thrown. + + WALT + Uh. We all got here around 8. + + +17 INT. LIVING ROOM - NIGHT OF THE PARTY 17 + + Walt laughing and mingling with his nervous wife DONNA. + + WALT (V.O.) + My wife Donna, she's my rock. + + Richard backs up into Donna, who YELPS in fear and throws + her martini in the air. Richard jumps, but Walt doesn't + even register it. + + RICHARD + Jeeesus! Donna, you alright? + + WALT (V.O.) + And my son Jacob, he's sixteen. + Very politically active. + + His angry looking son JACOB, who is always on his phone. + + +18 INT. LIBRARY 18 + + Quick cuts, each in the chair: + + RICHARD + The boy's literally a Nazi + + MEG + He's an alt-right troll dipshit + + WALT + Kids today, with the internet, + amazing. + + LIEUTENANT ELLIOTT + So the night went well? + + +19 INT. LIVING ROOM - NIGHT OF THE PARTY 19 + 11. + + + The exact same moment we saw with Richard and Linda of + Harlan in front of the birthday cake - but now it's Walt, + Donna and Jacob next to Harlan. + + WALT (V.O.) + I mean. We're all gutted but I'm + happy we got that night with him. + To be by his side, to think about + our books and what we've + accomplished with them, it's like I + can still feel his hand on my + shoulder. + + +20 INT. LIBRARY 20 + + WALT + Passing the torch. + + Cut to: JONI THROMBEY in the chair. A striking woman, tall + and boho chic in chunky jewelry and a flowy dress. + + LIEUTENANT ELLIOTT + So we are with Joni Thrombey, + Harlan Thrombey's... daughter in + law? + + JONI + Mm. I was married to his son Neil, + We had one daughter, Meg, and then + Neil passed on fifteen years ago. + + LIEUTENANT ELLIOTT + And you remained close to the + Thrombeys. + + +21 INT. LIVING ROOM - NIGHT OF THE PARTY 21 + + Joni dances with various family members, free and flowing. + + JONI (V.O.) + Oh they're my family. I feel + simultaneously freed by and + supported by them, that balance of + opposites is the nugget of Flam. + + +22 INT. LIBRARY - PRESENT 22 + + LIEUTENANT ELLIOTT + Sorry, the Nugget of? + 12. + + + JONI + Flam. + + LIEUTENANT ELLIOTT + Ah! Yeah Flam, right, your skin + care company. Sorry. + + JONI + I forgive you, yes, it's skin care + but it promotes a total lifestyle. + Self sufficiency with an + acknowledgment of human need. + That's Flam, but it's also Harlan. + He got me and Meg through some + tough times. + + Meg in the chair. + + MEG + Granddad gives my mom a yearly + allowance, and he's never missed + wiring a tuition payment to my + schools. He's a genuinely selfless + man. + + LIEUTENANT ELLIOTT + You left his party early? + + MEG + To see some friends at Smith. + + +23 INT. LIVING ROOM - NIGHT OF THE PARTY 23 + + Meg trots out. Linda, pissed, to Richard so Joni can hear: + + LINDA + you know, Dad's paying for her + crypto-Marxist postdeconstructual + feminist poetry theory whatever + major, she could have stuck around + for the cake. + + +24 INT. LIBRARY 24 + + JONI + I think Linda was upset. But Harlan + understood. + + Tap. + + LIEUTENANT ELLIOTT + 13. + + + Right. You two arrived together to + the party at the same time? + +Joni looks at the linen suit man. + + JONI + If I could - pause - because I, who + is that guy? And why are we doing + all this? Again? + + LIEUTENANT ELLIOTT + Just some follow up questions, just + being thorough, in order to + determine the manner of death. + +Cut back to Walt in the chair. + + WALT + (almost laughing) + So by "manner of death" you mean if + he was killed. If one of us killed + him. One of his family? + + LIEUTENANT ELLIOTT + None of us think that, this is pro + forma, all of it. + +CUT TO: Richard in the chair. He doesn't buy it. + + RICHARD + Ok. So who the fuck is that? + +He points at linen suit. Elliott takes a breath. + + LIEUTENANT ELLIOTT + This is Benoit Blanc. + + RICHARD + (the hell?) + Benoit Blanc? + + LIEUTENANT ELLIOTT + Yes. Mr. Blanc is a private + investigator of great renown. + +Joni in the chair. + + JONI + Wait a minute - I read a tweet + about a New Yorker article about + you. The last of the gentlemen + sleuths? You solved that case with + the tennis champ - you're famous! + 14. + + + LIEUTENANT ELLIOTT + Mr. Blanc is not with the police + department, he is not officially + involved with the case but he has + offered to consult. I happily + obliged and I can vouch for him. + +Linda in the chair. + + LINDA + Mr. Blanc, I know who you are, I + read your New Yorker profile. It + was delightful. I just buried my + eighty five year old father who + committed suicide. Why are you + here? + +Elliott and Wagner turn back to Blanc, who leans forward +slightly and speaks in the gentlest southern lilt you have +ever heard in your life. + + BLANC + I am here at the behest of a + client. + + LINDA + Who? + + BLANC + I cannot say, but let me assure you + this: my presence will be + ornamental. + + BLANC + You will find me a respectful, + quiet, passive observer. Of the + truth. + +Elliott and Wagner turn nervously back to Linda. She +doesn't look thrilled. Cut to Richard. + + RICHARD + Fine. Are we getting there? + + BLANC + Nearly. Harlan's nurse. She was at + the party in a professional + capacity? + +Blanc begins idly playing with a silver dollar. + + RICHARD + Marta? + 15. + + +25 INT. LIVING ROOM - NIGHT OF THE PARTY 25 + + The family is engaged in an animated discussion, Marta + standing on the outskirts. + + RICHARD (V.O.) + I guess. Harlan hired her to be + around, take care of whatever + medical needs pop up, but really + she's like part of the family. + + Richard beckons with his cake, calls Marta into the + discussion, into the circle of the family. + + RICHARD (V.O.) + Good kid, been a good friend to + Harlan. Her family's from Paraguay. + Linda really likes her work ethic. + + +26 INT. LIBRARY 26 + + RICHARD + "Immigrants - we get the job done." + From Hamilton. + + Wagner gives him a smile to show he got the reference. + + TROOPER WAGNER + Oh Hamilton! + + RICHARD + I saw it at the public. + + Cut to Linda back in the chair. + + BLANC + May I just - and then I'll recede, + but as a self made man myself I + have to express my admiration for + how you've followed in your + father's footsteps. + + LINDA + Thank you. + + BLANC + Just marvelous. The whole family + too. Joni with her things, Walt + with his publishing empire. + + LINDA + Well. + 16. + + +Blanc pauses. Doesn't push anything. Just waits a moment. + + LINDA + Yes. I mean. Walt, yeah. He's done + well with what dad's given him. + Walt - not like it matters but he + was sort of adrift, dad gave him + the job, but really dad hands him a + book twice a year and Walt + publishes it, I mean... it's just + not the same. + + BLANC + But surely Walt runs the + merchandising, adaptations, film + and television rights... + +Linda squints, narrowing her eyes on Blanc. Softly: + + LINDA + Are you baiting me, Detective? You + know he doesn't, and you think I'm + dumb enough to be baited into + talking family business, into shit + talking my brother in front of a + police detective and a state + trooper - + +Richard in the chair. + + RICHARD + Walt doesn't run shit! There are no + film or TV rights, Harlan's never + allowed any adaptations of his + books. Hates the idea. + + BLANC + No! + + RICHARD + Oh yeah! Drives Walt nuts, cause + that's where the real money's at. + When he gets a little Irish courage + in him he'll get into it with + Harlan. + + BLANC + Did he get "into it" at the party? + + RICHARD + Oh my god. + 17. + + +27 INT. LIVING ROOM - NIGHT OF THE PARTY 27 + + Walt with a drink in his hand has cornered Harlan. Richard + watches across the room as Walt goes from arguing to + pleading. + + RICHARD (V.O.) + He wouldn't leave him alone, poor + guy. Harlan had to give him the + hook. + + Harlan has had enough, he takes Walt's arm and leads him + into the drawing room for a private talk. + + RICHARD (V.O.) + I didn't hear what he said but he + must have really handed him his + lunch, Walt was like a wounded + puppy the rest of the night. + + +28 INT. LIBRARY 28 + + Walt in the chair, indignant. + + WALT + What? Richard said what? Jesus. No, + we didn't get "into it." + + BLANC + I'm just trying to get an accurate + impression - Harlan took you aside + at the party, when you returned you + were chastened, what did Harlan say + to you? + + Walt starts to open his mouth, hesitates. Off his + frightened face we FLASH BACK: + + +29 INT. DRAWING ROOM - NIGHT OF THE PARTY 29 + + Walt, drunk, Harlan guiding him firmly into the shadows. + + WALT + The Netflix guys, their business + affairs guy sent over something, + hard numbers this time, and I think + - this is a window, it's not Walt. + going to last and you should just + look at these numbers + + HARLAN + 18. + + + Walt. Walt. + + WALT + Dad you put me in charge of our + books let me be in charge, let me + do this! Please. + + HARLAN + They're not our books, son. They're + my books. And this is not how I + wanted to have this conversation + but, you're right, it's unfair of + me to keep you tethered to + something that isn't yours to + control. + + WALT + What? + + HARLAN + I've done you a grave disservice + all these years, I've kept you from + building something of your own, + that's yours. You're not going to + run the publishing house anymore. + You are free of it. + + WALT + Dad. Are you firing me? + + HARLAN + We'll talk about details tomorrow. + But my mind's made up. Good boy. + + Harlan pats his face, then leaves him shell shocked. + + +30 INT. LIBRARY 30 + + Back to Walt's hesitating face. The briefest of moments has + passed. Walt lies: + + WALT + We talked, we had a business + discussion, about e-books, Jesus, + it was nothing. You want to talk + about an argument, hell Ransom had + an argument with him. + + BLANC + Ransom, Richard and Linda's son? + + WALT + 19. + + + Look we love Ransom, he is a good + kid, we love him. + + BLANC + ...but + + WALT + But he's always been the black + sheep of the family, and I'm not, + I, I keep stuff like this in the + family, but with Ransom, he's never + had a job. But dad for some unknown + reason has always supported him, + they've got this love hate bond. + They fight. But that night, god. + They had a blow out. + + BLANC + About what? + + +31 INT. LIVING ROOM - NIGHT OF THE PARTY 31 + + The family having a conversation, everyone but Harlan, + Jacob and Ransom. It grinds to a halt as through the door + to Harlan's study indistinct shouting booms. + + WALT (V.O.) + We couldn't make it out, but it was + huge. And it was strange they went + in another room to do it - they + usually love stoking up drama in + front of the whole family. + + Ransom bursts out of the doors and storms out of the party, + past Greatnana. + + GREATNANA + Ransom are you leaving? + + +32 INT. LIBRARY 32 + + Richard in the chair. + + BLANC + Speaking of getting into it, you + were at the house early to help the + caterer set up. Did you converse + with Harlan at that time? + + RICHARD + He was there, we must have spoke. + 20. + + + BLANC + In his study? + + RICHARD + I don't think so. + + BLANC + You see, I spoke with the caterer + this morning. She didn't see you + helping her staff, but she did hear + Harlan in a screaming match with + someone that afternoon. In his + study. + + RICHARD + I don't, a screaming match? No. + Joni was here too, she was early, + maybe it was her, ask her. + + BLANC + These were two male voices. + + +33 INT. HALLWAY - DAY OF PARTY 33 + + A CATERER walks through with a platter. Pauses, hears + shouting through the wall. + + BLANC (V.O.) + Harlan shouted the phrase + + HARLAN (O.S.) + ...you tell her or I will! + + +34 INT. LIBRARY 34 + + BLANC + You tell her. Or I will. Bells + ringing? + + For a just a split second, Richard considers what he is + going to say. In the second, we FLASH BACK: + + +35 INT. SMALL STUDY - DAY OF PARTY 35 + + Harlan showing Richard photos on a laptop. Long lens + photos, of Richard kissing a woman who is not Linda. + + Richard glares at it, Harlan turns an old baseball over in + his hands. + 21. + + + RICHARD + That's none of your business, + Harlan. Stay out of my marriage. + + Harlan holds up a sealed small envelope with flowery + embroidery, "L" written on the front. + + HARLAN + I know my daughter. She'd want to + know. I've put it all in this + letter to her, tomorrow she gets + it. + + RICHARD + I'm warning you once, don't do this + like hell - + + HARLAN + She deserves to know, you're going + to tell her! + + Harlan slams the baseball down on the desk. + + HARLAN + You tell her or I will! + + +36 INT. LIBRARY 36 + + Back to Richard. He grins, snaps his fingers. + + RICHARD + Yes. I know - yes, ha. So. Harlan + decided to finally put his mom in a + nursing home. Which Linda always + opposed. And I was going to wait + till we were back home in Boston to + tell her, so there wouldn't be a + whole scene, but Harlan wanted me + to tell her then. That was it. + Sorry. Forgot. + + Joni in the chair. + + JONI + The house? + + BLANC + Early. Richard said you were there. + + JONI + I was. At the house early. + 22. + + + BLANC + To see Harlan? + + JONI + To see Harlan. Yes. + + Joni stops, smelling something in the air. She's about to + ask about it but - + + BLANC + What were you seeing Harlan about? + + JONI + It was just a mix up with the + payment for Meg's tuition. + + BLANC + I'm sorry to press, what kind of + mix up? + + Joni hesitates, we FLASH BACK: + + +37 INT. SMALL STUDY - DAY OF PARTY 37 + + Harlan at his desk, toying with the same old baseball. This + is a thing he does at his desk. Joni standing, arms + crossed. + + JONI + The school hasn't got the check + yet, I don't know why Alan didn't + mail it + + HARLAN + Alan didn't mail it because he + caught a discrepancy. Alan's office + has been wiring tuition directly to + the school, as per your request. + But Phyllis's office that handles + your yearly allowance has been + wiring the tuition money directly + to you as well. As per your + request. You've been double dipping + Meg's tuition, stealing from me. A + hundred thousand dollars a year. + For the past four years. + + Harlan shows Joni a letter from his business manager, with + transaction receipts attached. + + JONI + 23. + + + Harlan. I don't know how this mix + up happened but + + Harlan opens his ledger, hand writes a check. + + HARLAN + I'm writing this tuition check, + then that is the last money you or + Meg will get from me. + + JONI + Please you don't understand + + HARLAN + I know it'll hurt but it's for the + best. + + Joni's speechless, her face frozen. Harlan puts the + baseball down and detaches the check, holds it out to her. + + HARLAN + My mind's made up. + + +38 INT. LIBRARY 38 + + Back to Joni. She shakes her head. + + JONI + Just a money wiring issue. With the + office at the school. So I had to + ask Harlan to cut a check for this + semester. No big deal. + + LIEUTENANT ELLIOTT + Why don't we take a breather. + + +39 INT. FOYER - DAY 39 + + Joni comes out into the foyer from the library, obviously + rattled. She pulls it together quick when Linda comes down + the stairs. + + LINDA + Joni. You haven't seen Richard have + you? + + JONI + No, I was just in with the - no. + + +40 INT. SMALL STUDY 40 + 24. + + + LINDA (O.S.) + Richard! + + Alone, Richard waits very still for Linda's footsteps to + walk away, then when he knows she's not coming in he + furtively rifles through desk drawers, finding various + ridiculous ephemera. He finds a small locked drawer, + jimmies it open with a letter opener. + + Inside - the small pink envelope Harlan threatened him with + in his flashback. He rips it open, pulls out the card + inside. + + It is blank. + + Richard almost laughs. Drops it onto the desk. + + RICHARD + Son of a bitch. + + He spots Harlan's old baseball. Grabs it, spitefully chucks + it out the open window. + + +41 EXT. SIDE OF HOUSE - DAY 41 + + Blanc, Elliott and Wagner stroll long the wide lawn beside + the house. Blanc ignites a long thin cigar. + + LIEUTENANT ELLIOTT + Maybe I'm a victim of my own + expectations. But when the great + Benoit Blanc knocks on my door, I + expect it's going to be for + something... if not extraordinary, + at least interesting. This is an + open and shut case of suicide. + (checks watch) + And Benny we're at the point where + I need to know what we're doing + here. + + Blanc notices the OLD BASEBALL lying in the grass. He picks + it up idly. + + BLANC + The method, throat slit. Typical of + a suicide? + + LIEUTENANT ELLIOTT + Dramatic. But look around. The guy + practically lives in a CLUE board. + 25. + + +42 INT. FOYER 42 + + Marta sits alone, across from a portrait of Harlan. Muffled + voices out on the patio. Cigar smoke drifts by outside. + + She creeps over to the glass door. Puts her ear to it. + + LIEUTENANT ELLIOTT (O.S.) + You ask me to drag all these good + people back for questioning, go + over it all again, I don't get it. + This is a pleasant family with the + usual quarrels but no possible + motives for murder - where are you + going? + + At that moment, BLANC's face appears right next to Marta's + staring right at her through the distorted glass. She yelps + and falls back. + + +43 EXT. PATIO 43 + + Blanc opens the glass door. Marta steps back sheepishly, + but with a warm nod Blanc beckons for her to join them. + + BLANC + Harlan Thrombey's nurse, Marta... + + MARTA + ...Cabrera + + BLANC + Marta Cabrera. + + TROOPER WAGNER + Miss Cabrera, you can just wait + inside - we'll be with you soon. + + BLANC + Miss Cabrera, I been doing a little + poking, you're hired on a part time + basis as a registered nurse, yes? + + MARTA + Yeah, I don't work for a VNA. + Harlan hired me directly. + + BLANC + You're paid a flat rate for how + many hours a week? + + MARTA + 26. + + + I started at 15, but slowly he... + needed more help. + + BLANC + Medical help? + + MARTA + He needed a friend. + + Blanc smiles at the girl, genuinely touched. + + BLANC + Does having a kind heart make you a + good nurse? + + LIEUTENANT ELLIOTT + Blanc. + + BLANC + Yes. Marta we were just discussing + possible motives in the family. I + suspect Harlan has told you much + unfiltered truth about each of + them, and a little bird has told + me, how shall I put this + delicately? You have a regurgitive + reaction to mistruthin'. + + MARTA + Who told you that? + + BLANC + Is it true? + + MARTA + Yes. It's something that I have had + as a kid. It's a physically thing + that I - I - Just the thought of + lying, yeah, it makes me puke. + + BLANC + Really? Is Richard having an + affair? + + Marta is stunned. She FLASHES BACK TO: + + +44 EXT. PATIO - DAY - FLASHBACK 44 + + She reads, Harlan sits at his laptop, heavy with sadness. + + HARLAN + 27. + + + Why do men instinctively pull at + loose threads on their parachutes? + + MARTA + What? + + Harlan spins his laptop towards her - the Richard photos. + + +45 EXT. PATIO - DAY 45 + + Back to our scene. Marta looks queasy, tries to stall. + + MARTA + Heh - Richard? - affair? Heh. + + BLANC + A yes or no will do. + + She struggles, her jaw clenched, face working hard, then + attempts - + + MARTA + .....no + + And immediately VOMITS into a nearby planter. + + LIEUTENANT ELLIOTT + Whoa! + + TROOPER WAGNER + Oh my god! + + They all rush to her, Blanc brings water, awfully + concerned. + + BLANC + Dear girl I'm sorry. I assumed you + were speaking figuratively. + + Blanc takes the shortest acceptable beat of concern before + turning to Elliott. + + BLANC + Quite something. But I was + obviously right, Richard is having + an affair, his father in law found + out and confronted him. "You tell + her. Or I will." + + LIEUTENANT ELLIOTT + Even if it's true... you ok? + 28. + + + Marta gives a weak thumbs up, recovering + + ELLIOTT + Even if that was right, protecting + his marriage is weak sauce as a + motive. + + BLANC + Well. And then there is... Joni. + + LIEUTENANT ELLIOTT + Joni? + + TROOPER WAGNER + Joni?! + + TROOPER WAGNER + Lifestyle guru Joni? No. Harlan was + supporting her and her daughter, + she had the opposite of a motive. + + Marta tries to quietly slip back into the house + + BLANC + And if that support was threatened? + Miss Cabrera one moment please + + MARTA + I'm just going to go get some Scope + + BLANC + Miss Cabrera, was Harlan planning + on cutting off Joni's allowance? + + Off Marta's "oh god no" face: + + +46 INT. STUDY - DAY - FLASHBACK 46 + + Harlan looking at the letter from his business manager, + with the transaction receipts. He sighs heavily. + + HARLAN + Oh, Joni. + + MARTA + What's up? + + He hands her the letter. + + +47 EXT. PATIO - DAY 47 + 29. + + +Marta's face works against impending nausea. + + MARTA + I... + + LIEUTENANT ELLIOTT + Ok don't answer that if you're + going to puke. Please. + +But Blanc presses. + + BLANC + Meg said Harlan pays the school + directly, Joni says he sends the + money to her. Both were true, she + was pocketing the double payment, + Harlan found out and cut her off + without a cent. Yes? + +Marta starts to shake her head no, but her throat +convulses. + +She nods. Blanc hands her a glass of water. + + TROOPER WAGNER + And she bumps him off for the + inheritance? Come. On! Have you + seen her insta? She's an + influencer. + + LIEUTENANT ELLIOTT + An allowance as a motive, Blanc. + She has her business. More weak + sauce. + +Blanc idly scratches a spot on the side of his neck. + + BLANC + Granted. But she lied. To me. All + three of them did. + + LIEUTENANT ELLIOTT + Three? + + BLANC + Walter. + + LIEUTENANT ELLIOTT + I see where you are going with + this. + + BLANC + 30. + + + But there was something else. + Harlan had turned Walter down + before regarding film rights, but + that night something Harlan said + shook him. We look at the pattern, + Harlan was cleaning house. I + wonder... + (to Marta) + did he plan to fire Walter? + + MARTA + (honest & relieved) + Can I wait inside? I don't feel + like I should be here. + + LIEUTENANT ELLIOTT + Yes, please just wait inside but + stay close. + +She steps back in, grateful. Blanc to Elliott: + + BLANC + You've been very patient my friend, + and you are right, none of these + weak alibis and domestic squibbles + answer your question: why is Benoit + Blanc here? But now I will tell you + why. + (beat) + I am here because this morning + someone dodged one very important + question. + + LIEUTENANT ELLIOTT + Who? + + BLANC + Me. Linda asked who hired me. + + LIEUTENANT ELLIOTT + So who hired you? + + BLANC + I. Do. Not. Know. An envelope of + cash showed up at my apartment + yesterday, with the news clipping + of Thrombey's death. + + TROOPER WAGNER + An envelope? That worked? + + BLANC + An envelope of cash. + 31. + + + Blanc indicates with his fingers - several inches thick. + + BLANC + So somebody suspects foul play, but + goes through this ha cha dance of + hiring me, of staying anonymous. It + makes no damn sense. Compels me + though. + + BLANC + (beat) + Walk me through everyone's + whereabouts at the time of death. + + Elliott hesitates, but Blanc's got him hooked. He flips + open his notebook. Blanc leans back, closes his eyes. + + LIEUTENANT ELLIOTT + We know, the party broke up at + 11:30. + + +48 INT. SECOND FLOOR LANDING - NIGHT OF PARTY 48 + + Marta and Harlan vanish up the stairs towards the third + floor, while Richard and Linda head into the bedroom right + next to the stairs. Down the hallway Joni waves, and ducks + into another bedroom. + + LIEUTENANT ELLIOTT (V.O.) + Marta took Harlan upstairs to give + him his meds, Richard and Linda and + Joni went right to bed. Now we do + have this: the stairs leading up to + Harlan's bedroom and his attic + office creak horribly. + + +49 INT. RICHARD AND LINDA'S GUEST ROOM - NIGHT OF THE PARTY 49 + + Richard sleeps deep, Linda sleeps lightly. + + LIEUTENANT ELLIOTT (V.O.) + And Linda is a light sleeper. So we + know every time someone took the + stairs that night. + + +50 INT. JONI AND MEG'S GUEST ROOM - NIGHT OF PARTY 50 + + Joni has decorated the room with colorful silks and + candles. + 32. + + + She is in lotus position on her bed, meditating. + + LIEUTENANT ELLIOTT (V.O.) + The first was when Joni heard a ka- + THUNK from somewhere above her in + the house. + + Ka-THUNK! Joni looks up at the ceiling. + + +51 INT. SECOND FLOOR LANDING - NIGHT OF PARTY 51 + + Joni trots down the hall and up the creaky stairs. + + LIEUTENANT ELLIOTT (V.O.) + She's concerned about Harlan, she + went up to investigate. Waking + Linda. + + +52 INT. RICHARD AND LINDA'S GUEST ROOM - NIGHT OF PARTY 52 + + CREAK CREAK CREAK! From outside. Linda's eyes pop open. + + +53 INT. THIRD FLOOR LANDING - NIGHT OF PARTY 53 + + Joni knocks on the door of Harlan's attic office. It opens, + and Harlan answers. In the room behind him we see Marta, + her back turned, preparing a hypo needle. + + LIEUTENANT ELLIOTT (V.O.) + Harlan was in his attic office with + Marta. He explained that they had + just knocked the GO board over - + that game with the grid and stones, + they play it every night, and he + was fine, go to bed. So she does. + + The spilled GO board on the floor. Joni kisses Harlan on + the cheek, goes. He shuts the door. + + +54 INT. RICHARD AND LINDA'S GUEST ROOM - NIGHT OF PARTY 54 + + Linda has just gotten back to sleep. + + LIEUTENANT ELLIOTT (V.O.) + Ten minutes later, Linda is woken a + second time, by Marta leaving. + + CREAK CREAK CREAK! Linda wakes, supremely annoyed. + 33. + + + MARTA (O.S.) + Walt! I'm leaving! + + +55 EXT. FRONT PORCH - NIGHT OF PARTY 55 + + Walt and Jacob sit on the porch, Walt with a cigar, Jacob + with his phone. Marta trots through, saying goodbye. + + LIEUTENANT ELLIOTT (V.O.) + Walt was smoking a cigar on the + porch with his son. He saw her + leave and drive off, and noted the + time - midnight. + + Walt glances at his watch. Midnight. + + +56 INT. RICHARD AND LINDA'S GUEST ROOM - NIGHT OF PARTY 56 + + Linda with a pillow over her head. + + LIEUTENANT ELLIOTT (V.O.) + Fifteen minutes later, Linda is + woken for the third and final time. + By someone coming down the stairs. + + CREAK CREAK CREAK! Linda wakes. You've gotta be kidding me. + + +57 EXT. FRONT PORCH - NIGHT OF PARTY 57 + + Walt, still smoking with Jacob, spots Harlan through the + glazed glass, coming down the stairs in the foyer. + + LIEUTENANT ELLIOTT (V.O.) + Harlan. Who came down for midnight + snacks, which Walt tried to + discourage. + + WALT + Dad, go to bed! + + Through the glazed glass, Harlan goes back up the stairs. + + LIEUTENANT ELLIOTT (V.O.) + Based on this, the medical examiner + determined time of death to be + between 12:15 and 2am. As Walt was + finishing his cigar, about 12:30, + Meg came home. She went straight to + bed. Walt and Jacob turned in + shortly after that. + 34. + + + Meg pulls up, trots past Walt and Jacob and inside. + + +58 INT. JONI AND MEG'S GUEST ROOM - NIGHT OF PARTY 58 + + Meg stirs, wakes. Joni is asleep. + + LIEUTENANT ELLIOTT (V.O.) + Sometime later that night, + undetermined but possibly near 3am, + Meg woke up because the dogs were + barking outside. She used the + bathroom and went back to bed. + + +59 EXT. PATIO - DAY 59 + + Elliott snaps the notebook closed. + + LIEUTENANT ELLIOTT + And that's it. Everyone's stories + matched, every movement accounted + for. + + BLANC + There is no other staircase up to + Harlan's room? + + Blanc scratches that same spot on the side of his neck. + + LIEUTENANT ELLIOTT + No. Just the creaky one. + + Blanc seems intrigued by this. + + BLANC + Interesting. + + TROOPER WAGNER + So I guess we can rule out Ransom, + he wasn't there. And Marta, Harlan + was alive after she left. But Meg + got home during the time of death + window. + + LIEUTENANT ELLIOTT + 35. + + + Except it was a suicide. Harlan hit + both carotids, we saw from the + blood blood splat patterns that + they were uninterrupted. Meaning, + It's almost impossible for anyone + to have been around him at the + time. He's the one that cut his own + throat. I don't know why we keep + going over this. + + BLANC + Physical evidence can tell a clear + story with a forked tongue. + + LIEUTENANT ELLIOTT + What? + + BLANC + And as we've seen this morning, + everyone can lie. Well. Almost + everyone. + + +60 INT. LIBRARY - LATE AFTERNOON 60 + + Marta in the chair. She shifts, uncomfortable. + + Blanc, Elliott and Wagner in their normal places. + + BLANC + Ms. Cabrera, we've kept you waiting + all afternoon because I wanted to + hear from you last. I wanted to + have the entire picture of the + evening in my head. Your piece of + it is at its very center. So + please, take your time. You took + Mr. Thrombey upstairs at 11:30. And + left at midnight. Think very + carefully. And with as much detail + as possible, tell us what happened + in that half hour. + + Marta is very still. A moment of silence. Blanc flips his + silver dollar into the air. + + She does not say a word, but in that moment while the coin + hangs in the air we FLASH BACK with her to: + + +61 INT. HARLAN'S BEDROOM - NIGHT - FLASHBACK 61 + + The night of the party. A clock on a nightstand: 11:32. + 36. + + + Off screen we hear Marta leading Harlan up the creaky + stairs. + + MARTA + Up up up up - you got it? + + HARLAN + I got it. Up up up I got + it. + + Marta enters the room, and behind her we see Harlan keep + climbing up the narrow stairs to his office. + + MARTA + Up up nooooo no not tonight, no + straight to bed tonight it is soooo + late c'mon. Harlan. Harlan! + + She grabs a med kit from the bedroom and follows him, + exasperated. + + +62 INT. HARLAN THROMBEY'S STUDY - NIGHT - FLASHBACK 62 + + Harlan sits, setting up a GO board. Marta enters. + + MARTA + It's late, I had champagne no no no + + HARLAN + It's my birthday, we are - You had + one glass - we're not breaking + tradition on my birthday. + + Marta puts two vials and a pill box on the GO board. She + pulls out two plastic wrapped hypodermics. + + MARTA + Take your goddamn medicine and go + to bed. + + HARLAN + If you're going to put that vile + shit in me you will have to earn + it. On my birthday. + (playing it up) + Eighty fifth. So old. Soo olddd + + MARTA + Alright old man. 8x8 game. You + ready? + 37. + + +She sits and they start clacking white and black stones on +the board. + + HARLAN + Why can't I beat you at this game? + Oh uh huh. + + MEG + Because I'm not playing to beat + you, I'm playing to build a + beautiful pattern. + +They play fast, and Marta is obviously winning. + + HARLAN + Elder abuse. I'm calling the AARP. + + MARTA + Don't make me get the belt. + + HARLAN + It's basically over. My only hope + is that an earthquake will strike. + But what are the chances - + +Harlan starts shaking the table with his knee. He looks +around, startled. Marta just stares at him, deadpan. + + HARLAN + Get under a door frame! + +He tips the whole table and the GO board and med vials and +syringe and med kit fall to the soft rug. Things spill out +of the kit. A mess. Marta just shakes her head. + + MARTA + Meds then beds. + + HARLAN + Fair. + +She retrieves the vials and loads a syringe from one of +them. Harlan rolls up his sleeve revealing a pre-inserted +catheter. He crosses to close the room's only small window. + + HARLAN + Ugh, Walt's smoking a cigar on the + porch. Nasty things. + + MARTA + How was tonight? + 38. + + +She hooks the syringe up to the catheter and slowly injects +him bit by bit while he talks. + + HARLAN + Tonight was... good. + + MARTA + Because I know you weren't looking + forward to it. + + HARLAN + No. But I did it. Cut the line on + all four of them. It was not easy. + This goddamn fortune. Sometimes I + think, everything I've given my + family, I've done, maybe without + knowing it, maybe, to keep them + beneath me. I should have what... + maybe, I don't know. Encouraged + Walt to write his own stories, not + just be a caretaker of mine. Like + you said I should. Been a father, + not just a provider, to Joni. Like + you've also said. I should have + been kinder to Linda. And Ransom. + +Harlan takes a curved ornamental dagger from a display +mount, turns it over in his hands. + + HARLAN + Jesus there's so much me in that + kid. Confident, stupid, I dunno. + + HARLAN + Protected. Playing life like a game + without consequence, till you can't + tell the difference between a stage + prop and a real knife. + +He stabs it into the desk, sharp and real. Leaves it there. + + HARLAN + I don't fear death. But god I'd + like to fix some of this before I + go. Close the book with a flourish. + I guess we'll see. + + MARTA + I guess we will. Hey. Old man. + You've had a long day. Wanna do + drugs. + +She loads the second syringe from the second vial. + 39. + + + HARLAN + you mean the good stuff? + + MARTA + Yeah but just a tiny bit. + + HARLAN + Send me to lala land. Why did I + wait till my mid eighties to become + a morphine user, what a schmuck, + what a nud-nig, this stuff's the + best. + +She pulls the needle from the second vial... then sees the +label. Freezes. Blinks at it. + + MARTA + Oh my god. + +She snatches up the first vial she just injected him from. + +Compares the label to the one she just picked up. They're +similar but not the same. + + HARLAN + Is there a problem? + + MARTA + This is what I just gave you 100 + milligrams of. But I messed up. + + HARLAN + You gave me 100 milligrams of the + good stuff. + +She immediately pulls an EMERGENCY KIT from a nearby shelf, +starts calmly but quickly going through its contents. + + HARLAN + What's the good stuff dosage + supposed to be? + + MARTA + Lets not call it that right now - + three milligrams. + + HARLAN + That's much less. So what happens? + + MARTA + I give you an emergency shot of + Naloxone, so that you don't die in + ten minutes. + 40. + + + HARLAN + Well no pressure. You know that's + an interesting, efficient method + for murder, I need to write that + down. + +He gets a little notebook and scribbles while she checks +and rechecks the kit contents with increasing urgency. + + HARLAN + So if someone switched the meds on + purpose I'd be dead in ten minutes, + like stone cold dead? + + MARTA + You'll feel symptoms in five. + Sweats, disorientation. Then yeah, + that big a dose, injected, within + ten your respiratory - your - yes + ten minutes. + + HARLAN + From the time of injection, so + eightish now. And even if the + victim called an ambulance when he + first felt symptoms, if he was at a + country home like this one... where + the ambulance takes fifteen minutes + to arrive, it would be too late. If + the victim didn't have this + emergency Naxostuff. + +He watches her. She's now digging around the carpet, +looking under the couch. She dumps the entire contents of +the kit out and is now frantically going through it. A bead +of sweat rolls down Harlan's brow. + + HARLAN + Marta. Do you have Naxostuff? + + MARTA + Yes! Naloxone yes it comes with the + emergency kit - it should be here, + it's - fuck. No Harlan it's not + here. It's not. Oh my god. + +They look at each other for a second. She's panicked. He's +thinking. + + MARTA + Where's my phone? Shit - + 41. + + +She picks up a landline phone on the table, dials 911 with +shaking hands - + +Before it can even ring, the line goes dead. + +She looks, unbelieving: Harlan's finger is on the cradle. + +His eyes are locked with hers, serious and certain. + + MARTA + Harlan what are you doing? + + HARLAN + Marta, listen to me. + +She goes for her cell phone across the room and Harlan +stops her - they trip and fall to the ground with a KA- +THUNK. + +He actually puts his hand over her mouth. + + HARLAN + Listen. If what you said is true I + am gone, there's no saving me, we + have six minutes. There is one last + thing I need to do in this world, + and only you can help me do it. But + you need to trust me and do + everything I say. + + MARTA + What do you want to do? + + HARLAN + Get you out of this. Think of your + mom - please trust me, we have to + make this look ironclad like it + can't have been your fault. You. + Can't. Have done this. + + MARTA + My mom...? + +CREAK on the stairs outside. + + HARLAN + Get up. + +A knock on the door. + + JONI (O.S.) + Harlan? Marta? Everything alright? + 42. + + +Harlan and Marta stand. She's dazed, deer in the +headlights, but he's focused and sharp. He turns her away +from the door. + + HARLAN + Stand here, keep your back to me, + don't say a word. + +Harlan opens the door. While he gets rid of Joni we stick +with Marta, who stands stock still, tears running down her +face, eyes wild - what does she do? + + HARLAN + Joni. + + JONI + I - hi - I heard something, is + everything ok? + + HARLAN + Oh yes we just, I just knocked over + the GO board, sorry about that. + + JONI + Everything's alright? + + HARLAN + Yes yes all fine, go to bed Joni. + + JONI + Ok. And maybe we can talk tomorrow + about the, uh, the thing with + + HARLAN + Yes. Tomorrow. + + JONI + Love you, Night. + + HARLAN + Night night. + +Harlan shuts the door. Looks at the knife still sticking in +the desk. Then takes Marta's shoulders, looks in her eyes. + + HARLAN + Pay attention now, your mom is + still undocumented, if this is your + fault she'll be found out and at + best deported, your family will be + broken. + +A new kind of fear in Marta's eyes. + 43. + + + MARTA + Oh god + + HARLAN + But we're not going to let that + happen. I have a plan, it's not + going to be easy but you have to do + exactly what I tell you. Will you + do this Marta? This last thing. For + me, and for your family. + + She's terrified. But she nods. + + MARTA + What do you want me to do? + + +63 EXT. FRONT PORCH - NIGHT OF THE PARTY - FLASHBACK 63 + + Walt smoking and Jacob. + + HARLAN (V.O.) + Go downstairs as noisily as you + can, say goodbye loudly. + + MARTA (O.S.) + Walt! I'm leaving! + + Marta exits quickly, down to her car. + + HARLAN (V.O.) + Call attention to the time if you + can. + + MARTA + God it's midnight already. + + Walt checks his watch. + + +64 INT. MARTA'S CAR - NIGHT - FLASHBACK 64 + + She drives out the guard gate and down the private road. + + HARLAN (V.O.) + Drive out the gate, then to avoid + the security cameras, pull off the + road BEFORE the carved elephant. + + Up ahead - a weathered wood carved elephant statue. + + MARTA + Wait... was it before or after? + 44. + + + HARLAN (V.O.) + AFTER the carved elephant. + + MARTA + No, he said - before? Was it? + + HARLAN (V.O.) + BEAFTERFORE the carved elephant. + + MARTA + Shit... + + She yanks the wheel and pulls off BEFORE the statue. + + +65 EXT. WOODS - NIGHT - FLASHBACK 65 + + Marta trudges away from the parked car, tree branches + catching her hair. + + HARLAN (V.O.) + Park and come back on foot up to + the house, + + +66 EXT. THROMBEY ESTATE SIDE GATE - NIGHT - FLASHBACK 66 + + A waist-high stone wall with a little pedestrian gate. The + house up ahead. Marta goes through the gate and up towards + the house. + + HARLAN (V.O.) + Take the side yard path, through + that little gate. + + The DOGS sprint down the moonlit yard from the house + towards Marta. + + HARLAN (V.O.) + The dogs will know you, they + shouldn't bark. + + The dogs stop at Marta and lick her hand. + + +67 EXT. THROMBEY ESTATE SIDE YARD - NIGHT - FLASHBACK 67 + + Marta looks up the side of the looming house. A sturdy + trellis on the wall, and high above a third story window. + + HARLAN (V.O.) + 45. + + + You've got to get up to the third + floor without being seen, and the + only way is to climb the side + trellis and come in through the + trick hall window. + + MARTA + You've gotta be kidding me. + + HARLAN (V.O.) + I am not. Do it. + + Cut to: moments later, Marta climbing the trellis. It's + easy going until a piece BREAKS under her foot, and she + swings for a second by one hand. + + HARLAN (V.O.) + And for godssakes don't make any + noise. + + +68 INT. THIRD FLOOR LANDING - NIGHT - FLASHBACK 68 + + What appears to be a dead end hallway, with a painting at + the end. BUT suddenly the end wall swings away like a door, + revealing a WINDOW behind it. Marta heaves her way in + through it, and steps lightly into Harlan's bedroom. + + HARLAN (V.O.) + Once you're inside, this is the + tricky part. + + MARTA (V.O.) + THIS is the tricky part? + + +69 INT. HARLAN'S BEDROOM - NIGHT - FLASHBACK 69 + + HARLAN (V.O.) + Get my robe and cap from my + bedroom. And put them on. + + She picks them up from the bed. Stops. A moment of doubt. + + +70 INT. HARLAN THROMBEY'S STUDY - NIGHT - FLASHBACK 70 + + Back to the scene with Harlan. Marta stops him. + + MARTA + Harlan this is - I - this is crazy + - + 46. + + + HARLAN + We need to make this so airtight + your average cop will entirely + dismiss you as a suspect. This + seems crazy but it will work. + + +71 INT. HARLAN'S BEDROOM - NIGHT - FLASHBACK 71 + + Marta in the robe, pulling the cap on, tucking her hair + under it. + + +72 INT. SECOND FLOOR LANDING - NIGHT OF PARTY - FLASHBACK 72 + + Marta, in Harlan's robe and cap, creeps down the creaky + stairs, then keeps going down. + + HARLAN (V.O.) + Walt and Jacob are smoking outside. + They'll see you... + + +73 INT. FOYER - NIGHT OF PARTY - FLASHBACK 73 + + Marta come down the stairs, and sees the outline of Walt + and Jacob outside through the glazed window windows. + + HARLAN (V.O.) + ...through the glazed window. + + She holds her breath, a deer in the headlights. + + WALT + Dad, go to bed. + + Marta heads right back up the stairs. + + HARLAN (V.O.) + You were seen leaving, the security + cameras show you driving off, and + twenty minutes later I am seen + alive and well by my son. + + +74 INT. SECOND FLOOR LANDING - NIGHT 74 + + Marta climbs the creaky stairs. + + HARLAN (V.O.) + You've gone from suspect number one + to an impossibility. + 47. + + +75 INT. HARLAN'S BEDROOM - NIGHT 75 + + Marta ducks in, ditching the robe and cap on the bed. + + +76 EXT. THROMBEY ESTATE SIDE YARD - NIGHT 76 + + Marta shimmies down the last of the trellis. + + HARLAN (V.O.) + Leave the way you came. And don't. + Be. Seen. + + She hops to the ground, then FREEZES and almost shouts. + + She's facing a darkened first floor window. Wide open. And + inside it, staring RIGHT AT her, is Greatnana. + + Marta is frozen. Greatnana isn't moving either. Just has + her eyes locked on Marta. + + After what seems like forever, Greatnana cocks her head + slightly and asks... + + GREATNANA + Ransom? Are you back again already? + + Marta breathes. And backs away. Then turns and goes, + quickly, down across the lawn. + + HARLAN (V.O.) + Drive home. Sometime in the next + few days the police will question + you. + + +77 INT. HARLAN THROMBEY'S STUDY - NIGHT 77 + + Back to Harlan and Marta. + + MARTA + Harlan I can't lie I'll puke + + HARLAN + Don't lie. Tell fragments of the + truth. In this exact order: + + +78 INT. LIBRARY - LATE AFTERNOON 78 + 48. + + + Blanc catches his coin. Lieutenant Elliott and Trooper + Wagner look up at Marta, expectant. Just a brief moment has + passed since we left them. + + MARTA + I took him upstairs. We played our + nightly game of GO, at some point + he knocked the board over and Joni + came up to check on us. Then I gave + him pain medication, he pulled his + shoulder last week, and left him in + his study. At midnight. Said bye to + Walt, went home. + + LIEUTENANT ELLIOTT + What medication did he get? + + Marta chooses her words very carefully: + + MARTA + Since his injury I've been giving + him a 100 milligram IV push of + Toradol, a non narcotic analgesic. + And to help him sleep, 3 milligrams + of morphine. + + LIEUTENANT ELLIOTT + Anything unusual about his + demeanor? + + Uh oh. Marta keeps it solid. Superhuman effort. + + MARTA + No. + + The three men nod. Blanc holds Marta's gaze. She holds it + right back. Then he smiles. + + BLANC + Well that sounds about right. Thank + you Ms. Cabrera. + + +79 INT. FOYER - MOMENTS LATER 79 + + Marta walks calmly out of the library. Then across the + foyer into a small door. + + +80 INT. HALF BATH 80 + + Marta walks in, closes the door behind her, locks it, turns + on both the taps, and PUKES into the toilet. + 49. + + +81 INT. LINDA'S ROOM 81 + + Linda stands in her childhood room, by the window in the + ebbing light. From a shelf she pulls a stack of PINK + NOTECARDS, identical to the one Harlan showed Richard in + his office. But these are covered in writing, sweet little + notes, a father to his daughter. + + WALT (O.S.) + Hey sis. People are going to start + getting here for the memorial + pretty soon. Are you- Are you + alright? + + She looks up. Walt in the doorway. She wipes her eyes, + indicates the notes. + + LINDA + I was just thinking about Dad's + games. This all feels like one, it + feels like something he'd write, + not do. I keep waiting for a big + reveal, where it all makes sense. + How nice would that be? + + Her little brother hugs her. His eyes tired and dark. + + +82 INT. LIVING ROOM - NIGHT 82 + + HARLAN THROMBEY - his portrait, with an ambiguous look on + his face. + + Marta. Soda water in hand at the reception that night. + + Staring shell shocked at Harlan. + + The reception for friends of the family. Tables of food. + + Twenty or thirty people milling, in dark tasteful clothes, + with the whole Thrombey family. + + A tearful Fran has cornered Marta, talks through sobs: + + FRAN + 50. + + + I don't think he killed himself I + don't. I don't. There's this + Hallmark movie Deadly By Surprise + where Danica McKellar plays a wife + who gets poisoned by her husband + but bit by bit so she thinks she's + going crazy and she ends up killing + herself, and my cousin who's the + receptionist at the medical + examiners office says that kind of + thing can totally happen, she says + it's not even like 3% as crazy as + stuff she's seen come through the - + + As Fran's talking, Marta looks at the room of family + members, gathered around talking. + + She FLASHES BACK to: + + +83 INT. LIVING ROOM - NIGHT OF PARTY - FLASHBACK - NIGHT 83 + + NIGHT OF THE PARTY + + Harlan and Ransom go off together to have a private talk, + leaving the family having a heated conversation in the + living room. + + RICHARD + I don't like him no he's an asshole + but maybe an asshole's what we + needed oh uh huh yeah there you go + + JONI + Oh god. Yeah an asshole's what + Germany needed in nineteen thirty + ever + + Marta stays on the outskirts. Fran, with a tray of + champagne flutes: + + FRAN + Jesus. I'm gonna disappear until + the politics talk is done. You want + some champers? + + MARTA + No I'm technically working. Thanks. + + Marta checks her watch. Meanwhile Donna, who's had a few, + is tearing into the family fight. + + DONNA + 51. + + + We're losing our way of life and + our culture, there's millions of + Mexicans coming and this isn't Joni + don't make this a race thing, I'd + say the same thing if they were + European immigrants - we allow them + in and they think they own what's + ours + + JONI + Oh god really - yeah it's not a + race thing yeah Oh yeah, if the + Swiss were clogging in the streets + - They're putting. Children. In + cages. I mean these are camps. + + RICHARD + Nobody's saying that isn't bad, but + I blame the parents + + JONI + For wanting a better life for their + kids, isn't that what America + + RICHARD + For breaking the law. You're going + to hate hearing this but it's true, + America is for Americans. Marta, + come here. + +Richard beckons her over, waving his cake plate. We've seen +this moment before, silent, during Richard's questioning. + + LINDA + Oh god don't. + +Marta is drawn over next to Richard, very uncomfortable. + + RICHARD + No, Marta your family came from + Uruguay but you did it right, she + did it legally, I'm saying. You + work hard, and you'll earn your + share from the ground up just like + dad and all of us did - Marta I bet + you agree with me. + + LINDA + Leave the poor girl alone. + + RICHARD + 52. + + + No Marta do you agree, I'd like you + to answer - you wanna become an + American, there are legal ways to + do it, but if you break the law it + doesn't matter if you have a good + heart, you gotta face the + consequences. + + At that moment booming shouts begin behind the study door - + Harlan and Ransom going at it. Ransom bursts out. + + Marta takes the opportunity to slip into the hallway, + alone. + + She breathes hard. Takes a champagne flute from the tray. + + Drinks it in one gulp. + + +84 INT. LIVING ROOM - NIGHT 84 + + END FLASHBACK. Marta in the same spot, Fran still talking + her ear off. The room sways. Marta sucks in breath, sways, + and braces herself against the wall. + + FRAN + Oh my god Marta, what? + + Meg runs over, rubs her back. + + MEG + Whoa hey, c'mere, hey. What do you, + you want water? Breathe. Hey. Fran + have you still got your stash? + + +85 INT. DRAWING ROOM - NIGHT 85 + + Empty and dark, fireplace blazing. Above the fireplace is + an ornate mantle clock. Fran uses a key to unlock one of + several tiny drawers hidden in its face, takes out a joint + and hands it to Meg. + + FRAN + Take em whenever you need em - + they're just drying out since you + gave me that Juul. + + MEG + Thanks Fran. + + Fran leaves them alone. + 53. + + + MARTA + I'm sorry I'm sorry I'm sorry + + MEG + Stop saying you're sorry Jesus + + Meg lights the joint. + + MARTA + God my heart won't stop, I can't - + it's just everything, no, thank you + + she refuses the joint, then realizes where it came from. + + MARTA + That's where Fran keeps her stash? + + MEG + Who's going to open a clock? + + +86 INT. LIVING ROOM 86 + + Walt yells at a non responsive, bored Greatnana. + + WALT + DO YOU WANT DINNER, NANA? DINNER? + TO EAT? EAT? + + LINDA + Walt she's fine, she ate the whole + salmon spread already. + + Meg grabs Walt, pulls him to Marta. + + MEG + Did you tell Marta yet? What we all + talked about? + + WALT + No, not yet, is now a good time? + + MEG + Yes a very good time. Right now. + + WALT + Marta. We've talked it over, and + (wait) + Have you been smoking grass? + + MEG + No. + 54. + + + WALT + We talked it over and the whole + family, we want to take care of + you. + + MARTA + What does that mean? + + MEG + We all think you deserve something. + + WALT + Financially, we want to help you + out. You were never anything but + good to dad. Because of that, you + can count on us. + + Walt embraces her, Meg puts a hand on her back. + + Over Walt's shoulder, Marta sees Harlan's portrait again. + + Has its expression changed? It looks like it has a slight + conspiratorial smile. Marta breathes - maybe this is all + going to be ok. + + WALT + I thought you should have been at + the funeral, by the way. I was + outvoted. + + +87 EXT. SIDE PORCH - NIGHT 87 + + Later. Marta comes out to get some air. Exhales deeply. + + And then jumps - she's not alone. Benoit Blanc sits in a + wicker chair in the dark, smoking a long thin cigar. + + MARTA + Wah ha. Detective. You're still + here? + + BLANC + Mm. + + Silence. Blanc smokes and stares at Marta. Marta shifts. + + MARTA + Did you know Harlan? + + BLANC + 55. + + +He knew my father who was a police +detective. Years ago. My father +respected Harlan. That says quite a +lot. + + MARTA +So that's why you're here? + + BLANC +Here now here? No. I stayed hoping +to speak to you a little more. + + MARTA +Uh? + + BLANC +Something is afoot with this whole +affair. I know it, and I believe +you know it. + + MARTA +So you're... going to keep digging. + + BLANC +Harlan's detectives they dig, they +rifle and root, truffle pigs. I +anticipate the terminus of +gravity's rainbow. + + MARTA +Gravity's Rainbow. + + BLANC +It's a novel. + + MARTA +I know. I haven't read it. + + BLANC +Neither have I. Nobody has. But I +like the title. It describes the +path of a projectile, determined by +natural law. Voila, my method. I +observe the facts without biases of +the head or heart, I determine the +arc's path, stroll leisurely to its +terminus, and the truth falls at my +feet. + (beat) + 56. + + + The medical examiner was ready to + rule this a suicide, but Elliott + agreed to keep it pending for forty + eight hours. Tomorrow morning I + search the grounds and the house, + begin my investigation. I want you + to be by my side for it. My + confidant, my eyes and ears. + + MARTA + What but - why me? + + BLANC + I trust your kind heart. Also you + are the only one who had nothing to + gain from Harlan's death. So. + Watson. + + Blank puts out his cigar, stands. + + MARTA + You want my insight into this + family? None of them are murderers. + That's my insight. + + BLANC + And yet. Be it cruel or comforting, + this machine unerringly arrives at + the truth. That's what it does. + + MARTA + Always? + + He does a little bow. + + BLANC + Tomorrow at eight. + + Marta watches him go. + + +88 INT. CABRERA LIVING ROOM - NIGHT 88 + + Marta gets home. Her mom is on the couch, zoning out in + front of the TV, still in a cleaning uniform. Without a + word Marta sits next to her. Stares at the TV. + + Off her eyes, we FLASH BACK with her: + + +89 INT. HARLAN THROMBEY'S STUDY - NIGHT - FLASHBACK 89 + + HARLAN + 57. + + + I know I missed something... + there's going to be something I + missed. But I know you can beat it. + Without losing your soul you have + to do what you have to do to beat + this, and win. + + MARTA + I can't. + + HARLAN + You can and you have to. For me. + Right now. + + She's out the door and he shuts it. + + +90 INT. OUTSIDE HARLAN'S ATTIC OFFICE DOOR - NIGHT - FLASHBACK 90 + + Marta stands frozen. Soft voices of Walt and Jacob float up + from downstairs. She turns back to the door. + + Silence. Moments going by. Shit. Can she do this? Shit. + + No. She turns and pushes back into the office - + + +91 INT. HARLAN THROMBEY'S STUDY - NIGHT - FLASHBACK 91 + + MARTA + Harlan I have to get you help - + + Harlan reclines on the couch in the middle of the room, + ornate dagger against his throat. Marta's eyes go wide. + + HARLAN + Do what I say and everything's + going to be ok, Marta. I promise. + + She makes a move to stop him and with one quick motion he + DRAWS THE DAGGER across his throat. Blood sprays. + + She leaps back, hands to her mouth, spins and leaves the + room, closing the door behind her. + + +92 EXT. THIRD FLOOR LANDING - NIGHT - FLASHBACK 92 + + Breathing hard, silent crying. Then her breathing slows. + + Her brain taking over. Resolve settling. The dice are + thrown. She wipes her eyes. Then bounds down the stairs, + out of frame. + 58. + + +93 INT. CABRERA LIVING ROOM 93 + + Back to Marta and her mom on the couch. She puts her hand + on Mom's knee. + + MARTA + Everything's going to be ok. I + promise. + + MOM + (of course) + I know. + + They go back to watching TV. But Marta's mind is buzzing. + + On her white sneaker, we see but she does not - one single + drop of blood. + + +94 EXT. THROMBEY ESTATE GUARD GATE - MORNING 94 + + The gate is open, Marta's car pulls up just inside it. The + small Guard house next to the gate, Blanc, Elliott and + Wagner outside it. Blanc waves to her. + + +95 INT. GUARD HOUSE 95 + + Thrombey's security man, MR PROOFROC, guides them into the + cramped dusty space. Proofroc is old and salty. He shows + them old photos of the house, stuck to a steel fridge with + big brightly colored fruit magnets. + + MR PROOFROC + Fifty years I worked this estate, + you know security back then meant + making the rounds with a 94, + keeping your ears open. Before all + this modern technology. + + Nothing in the room is newer than 1988. An 8 inch CRT + monitor shows a phosphorescent live feed of the road + outside the gate, and a top loaded VHS VCR sits next to it. + + MR PROOFROC + Well the video here, I saved the + tape from that night, usually I + erase 'em with the magnetic de- + gauser, but I thought better save + that one. Cause, security. That's + the live feed there. + 59. + + +Marta notices something with alarm - the video feed shows +the road outside, and at the top edge you can just barely +see the carved elephant that marks the gardener's utility +road. She realizes Harlan said + + HARLAN (V.O.) + ...to avoid the security cameras, + pull off the road AFTER the carved + elephant. + +Marta keeps a poker face, but.. shit. + + LIEUTENANT ELLIOTT + (to Proofroc) + Can we see the actual TAPE? + + MR PROOFROC + Oh sure. + +CLACK! The tape loads into the mechanical VCR. An +impossibly grainy, smeared night vision view of the road +outside the gate. Time stamp: 10:02pm. + + TROOPER WAGNER + It's like a Japanese horror movie. + + MR PROOFROC + (proud) + I record it SSLP, gets eight hours + per tape. Nine pm to five am. + + BLANC + Can we - + (to Marta) + Can we scan forward? + + MARTA + (to Proofroc) + Can we scan forward? + + MR PROOFROC + Hold the play button down and press + the FF down halfway till you feel + it grind. + +Wagner does, the machine makes horrible noises and the +picture frizzles and frazzles. Then stops and ejects. + + MR PROOFROC + And hold the tape down or it'll + eject. + + BLANC + 60. + + + Can your guys digitize it so we can + scan it properly? + + TROOPER WAGNER + I'm sure we can. + + MARTA + I got it. + + Marta grabs the tape from the VCR. + + +96 EXT. WOODS - DAY 96 + + They all hack through the overgrown gardener's path. + + TROOPER WAGNER + You know all these statues that you + see around here - they are all + straight out of his series the + "menagerie tragedy series", pretty + cool. + + LIEUTENANT ELLIOTT + (dry) + Awesome. Blanc the grounds are + lovely but you think what, someone + broke into the house? To kill + Harlan? Is that why we're out here? + + BLANC + I think it's an unlikely but if + they did, there will be traces. + + TROOPER WAGNER + I'll take that, thanks ma'am. + + Marta hands Wagner the VHS tape. Then she discretely + pockets something she had held in her hand next to it - a + few of the bright fruit MAGNETS from Proofroc's fridge. + + +97 EXT. THROMBEY ESTATE SIDE YARD 97 + + The group hikes up out of the woods, towards the low wall + with a small pedestrian gate that leads to the east lawn. + + Marta is out in front. During the following, she notices + something: The earth around and under the gate is soft and + bare. And clear as day: HER FOOTPRINTS from the other + night, the only ones from women's shoes. The same ones she + has on now. Her breath catches. SHIT. + 61. + + + LIEUTENANT ELLIOTT + Any luck with - whatshisname? + + TROOPER WAGNER + Ransom. No, but we have an address. + Ten Kenoak street. + + BLANC + Ten Kenoak. That's a pleasant thing + to say. kenoak. I awoke amid + Kenoak. + + TROOPER WAGNER + Ugh this mud, my boots are going to + stink. + + BLANC + Mud - has it rained the past week? + No - Nobody move! Freeze! Everyone! + These footprints must not be + disturbed! + (sees) + Marta! + +Marta has already walked through the pedestrian gate and up +onto the lawn, stepping in her pre-existing prints. She +turns back, playing dumb. + + MARTA + What? + + BLANC + Don't - stop there, don't - + + MARTA + I can't hear you, what? + +She trots back to them through the gate, stepping into her +returning prints. + + BLANC + No no no no don't - don't step on + the, ok, alright. Aughhhhh ok. + + MARTA + What? + +Blanc sidesteps up to the gate, not stepping in the mud. + + LIEUTENANT ELLIOTT + Alright, Wagner let's get the boys + on it, check the prints, tape off + this area, keep it clear. + 62. + + +The dogs come running down the lawn, barking at the men. + +They tear through the gate, further messing up the mud. + + MARTA + Hey boys, easy. Hey. Hey. + +She pets them and they quiet down. + + BLANC + Best judge of character is a dog. + I've found that to be true. + +The dogs start BARKING and bolt towards the house, where +Richard and Linda are pulling up in their lux SUV. + + LIEUTENANT ELLIOTT + They're doing the will reading at + ten, whole family will be here + soon. + +Elliott heads up towards the house. Blanc meanders up the +lawn, and Marta follows. + + MARTA + I've never been to a will reading. + + BLANC + You think it'll be like a game + show. No. Imagine a community + theater performance of a tax + return. + +They approach the side of the house. Blanc does a gentle, +meandering study of the layout. + +Marta steals a look at the trellis she climbed. + +Oh no. A piece of the white lattice trellis that broke off +when she was climbing - about eight inches long - lies in +the grass beneath it. Her eyes dart up - yup, there's the +broken spot. Shit. + + BLANC + SWEET BEANS + +Marta starts - did he spot it? No - he's come face to face +with Greatnana, standing stock still on the porch. She +stares at him like a bird. + + BLANC + Good morning Mrs. Thrombey. + 63. + + + He approaches her, slowly. When his back is fully turned + Marta takes her shot and KICKS the piece of trellis under + some thick bushes at the base of the house. + + Blanc and Greatnana stare at each other. Blanc gets very + close to her, great sympathy in his eyes. Greatnana stares + back. It's almost like they're communicating. This goes on + for a little too long. Then Blanc breaks from the trance, + and turns to Marta. + + BLANC + Do you think you could handle the + study? + + +98 INT. HARLAN THROMBEY'S STUDY 98 + + The blood is now only a subtle dark stain, but other than + that the room has been left intact from the night of the + party. Marta and Wagner observe as Blanc paces the room. + + BLANC + (to Marta) + Where's your medical bag? + + MARTA + I... don't know - I left it here, I + always leave it with Harlan at + night. + + TROOPER WAGNER + They must have taken it in as + evidence. I'll check on it. + + Blanc picks up the GO board and sets it on the table. + + Examines its grid idly. + + BLANC + How'd the GO board get knocked + over? + + MARTA + We were just goofing around. + (beat) + What are you thinking? + + Blanc sighs gently, turns the baseball over in his hands. + + Looks like this was a bust. + + Blanc tips the GO board over, and it lands on the carpet + with a nearly inaudible WHOMPH. He stares at it. + 64. + + + But his concentration is broken by sharp barking outside. + + They go to the tiny window and look out. A DASHING MAN in + his early 30s climbs out of a vintage Porsche. The dogs go + NUTS, biting at his pant legs. + + BLANC + Let me guess. + + +99 EXT. THROMBEY ESTATE FRONT DRIVE 99 + + The man kicks off the dogs and limps toward the house, + cursing. Lieutenant Elliott and Trooper Wagner step out + onto the porch. + + LIEUTENANT ELLIOTT + Hugh Drysdale? + + RANSOM + Ransom. Call me Ransom, my middle + name. The help call me Hugh. + + LIEUTENANT ELLIOTT + I'm Lieutenant Elliott, this is + officer Wagner, we'd like to ask + you a few questions about the night + of + + RANSOM + Uh huh. + + He blows past them and into the house. + + +100 INT. LIVING ROOM 100 + + Walt, Donna and Jacob (nose in his phone) sit around the + room. Linda and Richard stand, on their phones. Ransom + breezes in, bumping Donna who YELPS, startled. + + Elliott and Wagner follow. + + TROOPER WAGNER + Sir excuse me, we are officers of + the law. + + RANSOM + You gonna run me in? I don't feel + like talking. I'm distraught. + + Ransom disappears into the kitchen, comes out eating a + sleeve of pinwheel cookies. + 65. + + +Blanc and Marta slip in. Elliott nods to Blanc. + + LIEUTENANT ELLIOTT + Blanc, anything you need to ask + him? + + RANSOM + The hell anyway is this + arrangement? + + BLANC + Mr. Drysdale + +Ransom sizes up Blanc with a grin. + + RANSOM + CSI KFC? + +Ransom grabs Fran the housekeeper's sleeve as she walks by. + + RANSOM + Hey Frannie can you get me a glass + of cold milk? + +Meg and Joni have just entered, and Meg heard this. + + MEG + Hey asshole. Not her name, not her + job. + +Fran walks off with a scorching look at Ransom. + + RANSOM + Meg. How's your SJW degree coming? + +ALAN STEVENS, the family's attorney, knocks and enters with +an assistant, SALLY, who juggles several attache cases. + + ALAN + Hey everyone. Hey. I'm just going + to set up in the other room, be + ready in ten minutes. + +They go off to the library, leaving the family all together +in tense silence. + + WALT + Funny Ransom, you skipped the + funeral but you're early for the + will reading. + + JONI + 66. + + +Ok, people grieve in different +ways, let's not + + WALT + (to Ransom) +It's funny you're here at all. Why +are you even bothering, that's what +I want to know. + + RICHARD +What's that supposed to mean? + + WALT +He knows what it means. + + LINDA +Walt, what? + + WALT +Jacob was in that bathroom the +night of the party. + + JONI +Is that where you were all night? + + RICHARD +The hell were you doing in the +bathroom all night? + + JACOB +Nothing. + + MEG +Swatting Syrian refugees. + + JACOB +No. + + MEG +Alt right troll. + + JACOB +Liberal snowflake. + + WALT +I don't know what any of that means + + RICHARD +It means your son's a little creep. + + WALT +Oh MY son's a creep? + 67. + + + JONI + Guys! Walt he was in the + bathroom... + + WALT + He was in the bathroom + + RICHARD + Joylessly masturbating to pictures + of dead deer. + + WALT + Ok you wanna go? + + They go at each other and do some half-hearted slap- + fighting before Linda and Joni break them apart. Ransom's + loving this. + + RANSOM + We gotta do this more often. + + LINDA + Alright! Enough. Jacob, we get + where this is going. The bathroom's + next to Harlan's office, where he + had the big fight with Ransom. You + heard something. Spill it. + + JACOB + I just heard two things. + + +101 INT. HALF BATH - NIGHT OF PARTY - FLASHBACK 101 + + Jacob on the toilet, hearing non distinct yelling through a + vent high in the wall. But two words poke through: + + HARLAN (O.S.) + ...my will! + + +102 INT. LIVING ROOM 102 + + JACOB + And then there was more shouting, + but I also heard Ransom say "I'm + warning you." + + Walt raises his arms, triumphant. + + LINDA + Ransom? What's this mean? + 68. + + +He just eats cookies, silent. + + WALT + It means dad finally came to his + senses and cut this worthless lazy + brat out of the will. + (to Ransom) + And you better sell your little + Beamer and you better give your + notice at that country club and + kick whatever fashion drugs you're + on cause if you think after the + bridges you've burned, the shit + you've said and what you've put + this family through for the past + ten years that any of us are going + to support you, are going to give + you like dad used to say a single + red dime you're nuts. + +Ransom looks around the room. Cold faces. + + RICHARD + Son. + + RANSOM + (mock gravity) + Father? + + RICHARD + Did Harlan tell you he was cutting + you out of the will? + + RANSOM + Yes. + + RICHARD + Then he's done what we weren't + strong enough to do - this might + finally make you grow up. + +Ransom is really slapped by this but he doesn't let it +show. + + LINDA + I think it might be the best thing + that could happen to you. + + RANSOM + Thanks - my mother, folks. + + JONI + 69. + + + It won't be easy for you but it'll + be good. Nothing good is ever easy. + + RANSOM + Up your ass Joni, you've got your + teeth bit into this family tit so + hard + + MEG + Oh 'up your ass' very nice you + homophobic privileged - + + RANSOM + (going down the line) + As a matter of fact - Eat shit, + hows that? In fact eat shit, eat + shit - eat shit - Definitely eat + shit. Eat shit. + + And now everyone is shouting at each other. + + Blanc has heard enough. He sets the baseball down on a side + table, and drifts out. Marta follows him. + + +103 EXT. FRONT PORCH 103 + + Blanc breathes in the air. Marta joins him. From inside the + house, the shouting continues. + + MARTA + What was that about will readings + being boring? + + BLANC + Exception that proves the rule. + + Fran bursts out of the living room, muttering + + FRAN + Asshole. + + She storms off around the house. A beat of thought. Then: + + BLANC + I'm warning you. Ransom said. I'm + warning you. + + One of the dogs bounds up the steps to Blanc. + + MARTA + You heard Ransom in there, it's the + kind of thing he says. + 70. + + + When Blanc goes to pet him, the dog drops something to his + feet with a clatter. Marta freezes. + + MARTA + What's he got there? Hey boy. You + find a stick? He's always bringing + junk into the house - + + It's the piece of broken trellis. Blanc picks it up, + examines it, and suddenly his eyes go sharp. + + +104 EXT. THROMBEY ESTATE SIDE YARD 104 + + Holding the piece up as he studies the trellis that runs up + the side of the house. Marta runs up beside him. + + BLANC + This looks like a relatively fresh + break - yes. Right there. + + He's spotted the broken spot on the trellis. Just up from + it, what looks like a boarded window. + + BLANC + Wait - that doesn't make sense, + where's that window? + + +105 INT. LIVING ROOM 105 + + The whole family in a screaming match, but Blanc and Marta + walk through and up the stairs. Three people notice: + Elliott and Wagner (who follow) and Ransom (who doesn't.) + + +106 INT. THIRD FLOOR LANDING 106 + + Blanc looks down the "dead end" hallway. Marta joins him, + out of breath. + + BLANC + Show me, but don't step on the + carpet. + + It's a runner rug, and Marta delicately steps on the wood + siding as she goes to the wall with the painting. And + swings it open, revealing the window. + + TROOPER WAGNER + It's the trick window! From "A Kill + For All Seasons!" + 71. + + + Elliott and Wagner at the top of the stairs, and Blanc + motions them not to approach. + + BLANC + Off the carpet! + + He drops down to his knees, removes a loupe from his + jacket, and holds it in his eye. Then, his face inches from + the carpet, he scans it. All the way to the window. Then + stops. + + BLANC + Traces of dried mud. I suspect they + go the length of the hallway. + + MARTA + Footprints? + + BLANC + No, just traces. + + LIEUTENANT ELLIOTT + Depending on when it was last + cleaned, it could be from anytime + + BLANC + But that would not explain this. + + He motions to the base of the window sill - obvious scuffs + of dried mud. Marta winces. + + Blanc tosses the piece of trellis to Elliott. + + BLANC + Analyze this mud. It will match + these traces, and you will find + similar samples leading up the + trellis on the side of the house. + (beat) + On the night of the party, somebody + who did not want to be heard + climbing the steps went to a great + deal of trouble to break into + Harlan Thrombey's rooms. The game + is afoot, eh Watson? + + +107 INT. LIBRARY - MINUTES LATER 107 + + The whole family assembled. Marta stands in the back, with + Blanc, Elliott and Trooper Wagner. + 72. + + +Alan Stevens, Harlan's attorney, sits at a table with +papers in front of him, assistant Sally beside him. + + ALAN + Well. Thank you all for getting + together like this, it isn't + legally necessary but I thought + because you're all in town and some + of you are leaving soon, it would + be best - + + BLANC + Excuse me Mr. Stevens. As to that, + ladies and gentlemen, I'd like to + gently request you all remain in + town until the investigation is + completed. Shouldn't be more than + two days. + + LIEUTENANT ELLIOTT + He's gently requesting, I'm + ordering. Nobody move until we + figure this out. + +Nobody likes this. + + LINDA + What? + + JONI + Can we ask why? Has something + changed? + + BLANC + No. + + JONI + No it hasn't changed or no we can't + ask? + + BLANC + Mr. Stevens, please continue. + + ALAN + 73. + + + Right. Well the other reason I + thought this gathering would be, + uh, beneficial is that as I told + Walt, Harlan altered his will one + week ago. He sealed it and asked me + not to submit it to the courts for + probate until after his death. So + in case there's any confusion about + anything we're all together, we can + talk. I can't imagine any of it + will be that complicated, Harlan's + assets included um + + SALLY + ...the house + + ALAN + the house which he owned outright, + um + + SALLY + sixty million + + ALAN + right in various cash accounts and + investments, yes and of course the + real assets are sole ownership of + um + + SALLY + Blood Like Wine + + ALAN + Blood Like Wine publishing, his + publishing company. Ok. + +Walt's wife puts her hand on his knee. He squeezes it, +smiled tightly. + + ALAN + Um, he did write up a statement + when he made the recent changes, he + wanted it read first, so: + (reads) + "Some of you may be surprised by + the choice I've made here. No + pleasure was taken in the + exclusion, and its purpose was not + to sow greater discord in the + family, quite the opposite. Please + accept it with grace and without + bitterness. But do accept it. It's + for the best." + 74. + + +Gently condescending eyes shift to Ransom. Linda sees this, +puts her hand on her son's hand, and he immediately gets up +and moves to a chair in the corner. + +Alan's assistant hands him an envelope and he removes a +single sheet of paper with one short typed paragraph. + + ALAN + Ok. So - oh wow, yeah, not complex + at all. This'll be quick. "I Harlan + Thrombey, being of sound mind and + body, yada yada, my assets both + liquid and otherwise, I leave in + their entirety to Marta Cabrera. My + entire ownership of Blood Like Wine + publishing I leave in its entirety + to Marta Cabrera. The copyright of + its catalog likewise I leave in its + entirety to Marta Cabrera. + +The air around Marta's head goes away. The room spins She's +not sure what's happening. Blanc is looking at her. + +The whole family is looking at her. + +Walt bursts out of his chair and grabs the will + + WALT + No. + + LINDA + No. + + WALT + No. What? + (beat) + That can't be - that can't be right + + RICHARD + What the genuine shit + + WALT + That can't be right it's right + + ALAN + It's right + +Donna begins to hyperventilate. She puts her head between +her knees, breathes deep. + + LINDA + No no no no Alan this can't be + legal, there are, we're his family + 75. + + + WALT + We're his family, Alan he obviously + wasn't, something - I don't know + what but something wasn't right + here + + RICHARD + Are there safeguards against this? + +And from the back of the room, slowly rising above the din +of confusion and cursing, slowly drawing even Marta's deer +in the headlights attention... Ransom. LAUGHING. Loud and +weirdly sincerely, tears down his cheeks, laughing his head +off. + + JONI + Alan there's a mistake + + MEG + Mom if it's what granddad wanted + + JONI + No this is a mistake, this is ours. + + LINDA + Alan take that piece of paper and + shove it up your ass and get out. + And you cops, out! + +They don't but Ransom slips out, his child-like laughter +trailing after him. + + RICHARD + Linda - + + LINDA + No, we need to talk and we need to + fight this thing and we're not + going anywhere. GET OUT! We're the + Thrombeys goddammit! This is still + our house! + +A beat of silence. Then all eyes go to Alan. Who looks down +at the will. His assistant Sally points helpfully. + + ALAN + Sorry, there's, uh. "Likewise the + house at two Deerborn Drive and all + belongings therein I leave to Marta + Cabrera. + +Linda goes for Marta. + 76. + + + LINDA + You little bitch. Did you know + about this? What did you do to him + to make this happen, were you two + what were you boinking my father? + + Marta recoils, stumbles back. + + MEG + 'Boinking?' + + RICHARD + Linda! + + JACOB + Anchor baby. + + WALT + Marta! Jacob! And Linda - please! + + JONI + Linda please - Marta, you need to + tell us though, + + WALT + Yes Marta, did dad discuss this + with you? + + JONI + You need to tell us everything you + know about this and we need to talk + about this, + + WALT + This isn't what dad wanted, this + isn't fair but we can work this out + + RICHARD + Jesus don't mob the girl, let's + talk about this + + The whole family is coming towards her like zombies. Blanc + takes her by the arm and steers her towards the door. + + BLANC + I think heads have to cool a + little, and in the meanwhile I'd + maybe run. + + +108 EXT. THROMBEY ESTATE FRONT DRIVE 108 + 77. + + + Marta stumbles out of the house in a daze. Behind her, the + entirety of the family floods out after her, shouting + reassurances and questions and accusations and a general + din of confusion. + + MARTA + I - I have no idea why he - I just + need to think - I'll call you or + have him call me or do something I + don't know + + She gets in her car and slams the door, and it's instantly + like A Hard Day's Night - the family gathered around trying + to talk through the window and rapping to get her + attention. + + Marta keys the ignition - chug chug chug. Nothing. Oh god, + not now - chug chug chug. It won't turn over. + + Richard opens the door, she pulls it closed again and locks + it, this is like a horror movie. Blanc is trying to get the + family to back off but no dice. + + Marta puts her head in her hands, all of it swirling and + echoing and horrifying, she has no idea what to do. + + HONK! + + She turns - a honking car pulls up right beside her and + through the family crowd she sees Ransom in his Porsche, + waving "get in." With no other options she pushes out of + her car and through the family and JUMPS IN with him. + + As he GUNS IT and careens out of the driveway he shouts + back at the family with a wave + + RANSOM + I think this could be the best + thing to happen to all of you! + + And they're gone. The family keeps shouting at each other. + + Blanc watches the Porsche recede, his expression + unreadable. + + DING! His phone buzzing. He checks it. His expression + darkens. + + +109 INT. RANSOM'S PORSCHE 109 + 78. + + + Tearing down the private road, away from the house. He's + still laughing, she's still shell shocked. Slowly, his + laughter eases to a stop. A moment of silence. + + RANSOM + Ok seriously though, what the hell? + + She shakes her head, looks at him. What the hell indeed. + + +110 EXT. ROADSIDE FAMILY RESTAURANT - LATER 110 + + The Porsche parked out front. + + +111 INT. RESTAURANT - CORNER BOOTH 111 + + Tucked into a dark corner, Marta is miserable. Ransom is + bemused, but regards her closely. + + They sit in silence. A waitress sets a sausage plate down. + + RANSOM + (to the waitress) + Could we get an extra bowl please? + (to Marta) + You look like you're gonna pass + out. Have you eaten all day? Eat. + + She joylessly shovels food in her mouth, starving. + + MARTA + This is a nightmare. + + RANSOM + Uh huh. So why. + + MARTA + Why + + RANSOM + Why. Hey, this is everything. There + has to be a bigger reason why and + you know it. + + MARTA + Well Ransom how about it had more + to do with you guys than with me. + + RANSOM + (agrees) + Yeah. + (beat) + 79. + + + Yeah that's the only thing that + makes sense. + +Marta is unexpectedly effected by this. The waitress +breezes by, sets an empty bowl on the table. + + MARTA + Did he tell you anything? + + RANSOM + Just I wasn't getting a cent. + + MARTA + He wanted you to build something + from the ground up, like your + parents + + RANSOM + something from the ground up, like + my parents + + RANSOM + yeah. My mom built her business + from the ground up with a million + dollar loan from granddad. My dad + owns none of it, and mom made him + sign a prenup. He lives in fear. I + know that's what granddad wanted to + protect me from by doing this, and + I know I shouldn't say this out + loud but when he told me, Jesus + Christ I coulda killed him. + (beat) + After I left the party, though. I + was driving fast, nowhere, just in + the night. And I got this weird... + clarity. That from here on I was + going to have to do for myself. And + that felt... good. The old bastard. + (beat) + Marta I know three things. One: I + know he didn't commit suicide. + + MARTA + What makes you think that + + RANSOM + I don't think it. I know it. Cause + I knew my granddad. So you're not + going to bullshit me. Because two: + I know lying makes you puke. Cause + of that mafia game last fourth of + July. + 80. + + + Marta sinks back, suddenly nervous. + + RANSOM + And three. I know that you just ate + a full plate of sausage and baked + beans. + + She looks down at her empty plate. Oh no. He pushes the + large empty bowl in front of her. + + RANSOM + So look me in the eye. And tell me + what really happened to my + granddad. + + Her lip quivers. She looks like she might attempt it. But + then tears drop from her eyes. + + MARTA + You bastard. + + Ransom pull the bowl away, and puts his hand on hers. + + RANSOM + Marta. Tell me everything. + + +112 EXT. THROMBEY ESTATE - EVENING 112 + + Dusk settles heavy. Warm light from the windows. + + WALT (O.S.) + There have to be options here. + + ALAN (O.S.) + No. I don't know how many times I + can repeat the same two simple + pieces of information. + + +113 INT. LIVING ROOM - EVENING 113 + + Lit by a fire in the fireplace, the whole family pacing + around, Alan the lawyer looking very tired seated at a + table in the center of the room. + + ALAN + If Harlan was of sound mind when he + made the changes, and we've all + confirmed he was + + RICHARD + 81. + + + Would a sound person do this! Sound + how? + + LINDA + The very action speaks to + unsoundness! + + ALAN + not legally no, you not liking what + they did does not speak to + testamentary capacity. + + JACOB + What about undue influence? + + WALT + Yes! Undue influence! + + ALAN + (weary) + Did you just google that? + + WALT + If Marta was manipulating dad + somehow, if we found out that she + had + + LINDA + Gotten her hooks into him + + WALT + Somehow or something + + ALAN + You need a strong case for that. + You've got nothing. "She endeared + herself to him through hard work + and good humor" won't cut the + salami. + + JONI + What about the slayer rule? + +All eyes turn to her. Her face is lit by her phone. + + JONI + I did just google that. + + ALAN + The slayer rule obviously does not + apply here. + + RICHARD + 82. + + + What the hell is the slayer rule? + + JONI + It's if someone is convicted of + killing the person they can't get + their inheritance. + + ALAN + Not even convicted, even if they're + held responsible for their death in + civil court + + WALT + Like OJ + + ALAN + Like OJ, yes. But Harlan committed + suicide. + +All eyes turn to Blanc, who this whole time has been +sitting in a chair by the fire, lost in thought. + + JONI + Detective Blank. You said that the + investigation is continuing. You + made a point of that. Do you + suspect foul play? + + BLANC + Mister Blanc. If you please. + (beat) + There is much that remains unclear. + But yes. I suspect foul play. + +The eruption you would expect breaks out. + + RICHARD + Marta? + + BLANC + I have eliminated no suspects. + + RICHARD + You're full of shit, I don't trust + this guy in the tweed suit, and + Alan god bless you you're useless. + + ALAN + Thank you. + +Alan takes that as an excuse to leave. + + RICHARD + 83. + + + There's one answer to this: she can + renounce the inheritance. + + WALT + She knows it's what she should do, + it's the right thing to do. + + LINDA + We've gotta make her do theright + thing. + + Meg rounds on her mom, speaks quietly, in tears. + + MEG + Mom. If Granddad wanted Marta to + have everything, that's what he + wanted. + + JONI + No, this was not him. He loved us, + he wanted us taken care of. He + wanted you to have an education. + + JONI + Meg. You think I can pay for your + school? + + This leaves Meg shaken. + + +114 INT. RESTAURANT - NIGHT 114 + + Beer bottles now stacked up in front of Ransom. Marta has + just told Ransom everything. He stares into space, and + makes the slightest hint of a laugh which I'll write as: + + RANSOM + Heuh. + + MARTA + I know, just saying it it sounds + insane but it's all true. I think + Blanc's been on to me from the + start - I don't care if I go to + jail, but my mom... my sister, we + can't - + + Nothing but silence from Ransom. Maybe he's deep in + thought. A strange glint in his eye. + + MARTA + You going to say something? + 84. + + + RANSOM + I always thought I was the only one + who could beat Granddad at GO. I + always thought that meant + something. + + MARTA + I know you did. + + RANSOM + At the party, that night, my last + conversation with him, our last + fight, that's what he told me, + about you. That you beat him nearly + every time. More than me. And I + thought what a strange thing to + tell me. But I think I get it now. + I think it did mean something. + (beat) + I'm not telling the family shit. + You're not going to jail. That + detective is not going to catch + you. And you're not giving up the + family fortune. + + RANSOM + Think about what Granddad did to + see this through, this was what he + wanted not just for you but for his + family, and for him. And yes for + you. You've come this far. Let me + help you go all the way. + +Marta looks at him hard. + + MARTA + This isn't you. You could turn me + in right now and get your cut of + the inheritance. Why? + + RANSOM + Because fuck my family. They don't + deserve any of this. I can help you + and we can fool them all and get + away with it... and then you will + give me my cut of the inheritance. + The perfect ending, we all win. + You, me and Harlan. Deal? + +Silence. Broken by Marta's phone ringing. On the phone ID - +"MEG T" + +Marta takes a breath, looks at Ransom. And picks it up. + 85. + + + MARTA + Meg + + MEG (ON PHONE) + Marta. Oh that was nuts. + + MARTA + I know + + MEG (ON PHONE) + Are you ok? + + MARTA + Yeah are you? + + MEG (ON PHONE) + I'm fine, I mean everyone's nuts, + they're all going, I don't know, + they've lost it. No one knows I'm + calling you, I wanted to - I don't + know what I wanted, I wanted to say + sorry for how everyone was. + + MARTA + No... + + MEG (ON PHONE) + And... I guess I wanted to ask... + (beat) + What are you going to do? + + MARTA + What do you mean? + + MEG (ON PHONE) + Well the... with the, will. What + are you going to do? + +Marta looks at Ransom. What indeed. + + MARTA + What do you think I should do? + + MEG (ON PHONE) + 86. + + + You should do what you think is... + right. I think you should give it + back to us. Granddad always took + care of us, we're his family, I + know he was like family to you but + we're his actual family. Marta you + know this isn't fair, we've always + been good to you and we're going to + take care of you, everyone loves + you and you're like family and + we'll take care of you but you have + to make things right, you know + what's right. + + Marta, keeping eye contact with Ransom. Then, her voice + quavering, Meg drops what is for her the big bomb: + + MEG (ON PHONE) + Marta, mom's broke, she says I'll + have to drop out of school. + + MARTA + No, no. I won't let that happen. + (beat) + Whatever money you need Meg, I'll + help you. I don't want you to + worry. + + +115 INT. DRAWING ROOM - NIGHT 115 + + Meg on the phone. Her face horrified, mortified, barely + comprehending what she's just heard. + + MARTA (ON PHONE) + I'll take care of you. I promise. + + MEG + Thanks. + + MARTA (ON PHONE) + And once I get the - + + Meg hangs up, lets the phone drop from her ear. Tears in + her eyes. She turns to her whole family gathered behind + her, silent and expectant. + + +116 INT. RESTAURANT - NIGHT 116 + + Marta realizes the connection's dead, holds the phone in + her hand like something delicate she just broke. + 87. + + + RANSOM + Ok then. Did the detective find + anything suspicious at the house? + + MARTA + (in a daze) + Mud. Tracks upstairs - where I + broke in through the window. + + Ransom winces. + + RANSOM + Identifiable prints? + + MARTA + No. + + RANSOM + Good. Ok. Good. Hey. You've just + gotta ride the next few days out + until the investigation putters + out, cause it will, cause no matter + how sharp this Blanc guy is he's + got nothing. Relax. + + +117 INT. MARTA'S BEDROOM - EARLY MORNING 117 + + She wakes to a sharp rapping at her door. Her sister Alice + pokes her head in, flustered. + + ALICE + Marta get your ass up, what the + hell is happening? There's a guy + here and a bunch of stuff, + everything's going crazy, are we + rich?? + + Marta lifts her head from her hands. + + MARTA + Maybe, I dunno. + + ALICE + I don't even know what that means + but you better get your ass up. + + Marta looks at her phone - 28 missed calls. + + +118 INT. CABRERA LIVING ROOM 118 + + Marta stumbles in - Alice in front of the TV, mom pacing. + 88. + + + MOM + (subtitled Spanish) + Oh my god Marta what is all this, + what did you do? + + The TV is tuned to local news - an anchor stands outside + THEIR APARTMENT BUILDING. + + LOCAL NEWS ANCHOR (ON TV) + ...we again we don't know much + about Marta Cabrera or the exact + relationship she had to Harlan + Thrombey, beyond being his home + nurse, and the Thrombey family has + yet to release a statement... + + MARTA + Is that here? + + ALICE + Oh yeah it is. Wait so is that + true? Are we rich? + + Marta looks out the blinds - several local reporters down + in the streets with their vans and cameras. + + MARTA + Oh my god. + + +119 EXT. THROMBEY ESTATE FRONT DRIVE - DAY 119 + + Wagner's prowler pulls up. Blanc gets out of the passenger + side. + + Blanc nods to the Wagner and the officer. + + +120 INT. GREATNANA'S ROOM 120 + + Dim. By an open window stands GREATNANA. Blanc enters, she + turns. They look into each others eyes. + + BLANC + Good Morning Mrs. Thrombey. + + A long pause as he thinks of exactly the right word. + + BLANC + 89. + + + Why is grief the providence of + youth? I don't know. But I'd + imagine that age deepens all + feelings. Including grief. This was + a long walk to offering condolences + for the loss of your son. And + asking you if it isn't presumptuous + of me to not think too harshly of + your family, if I am as I suspect + the first to console you. They're + young aren't they. + + Blanc sits. + + BLANC + One thing I do assume of age is + weariness. Damned if I don't get + more tired every day. Tired of what + I do. Following arcs, like lobbed + rocks. The inevitability of truth. + But the complexity and the gray + lies not in the truth but what you + do with the truth once you have it. + + Greatnana's eyes move slightly. + + BLANC + I think you have something you want + to tell me. I think you're very + perceptive and very capable of + telling me what you saw the night + of your son's party. But I'll + happily wait. I'm in no rush. I + find it quite pleasant. Sitting + here with you. + + He reclines, not particularly looking at her. She looks + back at him. Every now and then a breeze stirs the window + sheers. + + +121 INT. CABRERA LIVING ROOM 121 + + MOM + Lawyers were here, very big lawyers + it looked like, and some other guys + I didn't know, they left all this + for you and business cards, so many + business cards, and there was a + pile of other stuff when I got home + - + 90. + + + Mom shovels some official looking legal letter and courier + envelopes into Marta's arms. + + MOM + (subtitled Spanish) + Hey. I don't like this. + + MARTA + (subtitled Spanish) + I don't like it either mom. I'm + slipping out the back - I'll be + back later, don't talk to anyone. + + +122 INT. APARTMENT BUILDING HALLWAY 122 + + Dim and dingy. Marta comes out of their apartment door, + then jump, startled - at the end of the hall, lurking: + Walt. + + MARTA + Hey. + + Walt's eyes are rimmed red. His heavy cane taps. + + WALT + Hey. + + They're not sure what to do so they awkwardly hug. Marta + still has the envelopes in her hands. + + WALT + How you doing? + + MARTA + Well. Walt I want you to know I + didn't know about any of this. This + is + + WALT + I know you didn't, we all went + kinda crazy yesterday + + MARTA + Understandable + + WALT + You're still very important to all + of us, I want you to know that. + + MARTA + 91. + + + I haven't even looked at all this + yet, this legal stuff, is this from + you guys? + +Marta flips through the envelopes, squinting. + + WALT + it isn't from us. Maybe just local + lawyers and accountants who saw the + news and want to jump on it, I'd be + careful of it all. + +One envelope sticks out - a blank plain letter sized +envelope, no postage, no return address. + + WALT + Marta. Is it your intention to + renounce the inheritance? + + MARTA + This is what Harlan wanted. + + WALT + Well. Harlan has put you in a very + hard position here. It was unfair + of him. + +Walt's hand on his cane. Gripping tight. + + WALT + You see what this kicks up with the + press and the scrutiny, and we + know... with your mother... + + MARTA + ...with my mother. + +Marta's spine straightens. + + MARTA + What did Meg tell you. + + WALT + This isn't about who - you're + missing the point, we're not + attacking you with this. + + WALT + 92. + + + Marta if your mom came here + illegally, criminally, if you come + into this inheritance with the + scrutiny that entails I'd be afraid + that could come to light. That's + what we're all trying to avoid + here. We can protect you from that + happening, or if it happens. + + MARTA + You're saying even if it came to + light, with the family's resources + you could help me fix it. + + WALT + Yes. The right lawyers, none of + those local guys but New York + lawyers, DC lawyers, enough + resources put towards it, yes. But + there's no need it should ever even + come up. But yes. + + MARTA + Ok. Good. + + WALT + Ok? + + MARTA + Cause Harlan gave me all your + resources. So that means with my + resources I'll be able to fix it. + So I guess I'm going to go find the + right lawyers. + + WALT + Marta. + + He shuffles towards her. For the first time she feels a + hint of physical threat, and backs up quick into her + apartment. + + WALT + You better be sure you want to - + + She slams the door + + +123 INT. CABRERA KITCHEN 123 + + and leans against it, breathing hard. But angry and + focused. She dumps the legal envelopes in the trash but + keeps the mysterious envelope, opens it and pulls out: + 93. + + + Half a sheet of paper, roughly torn. A photocopy of the + header of some sort of medical document, "OFFICE OF THE + CHIEF MEDICAL EXAMINER" Under that, a photocopy of a tag + with her name on it. And hand written in block letters at + the top: "I KNOW WHAT YOU DID." + + Marta's phone BUZZES, and she jumps. Caller ID: "maybe B + BLANC". She hesitates, then sends it voicemail. Looks at + the mysterious letter in her hands. + + +124 INT. RANSOM'S LIVING ROOM 124 + + Ransom studies the mysterious letter. Marta pushes aside a + stack of New Yorkers and sits on the couch. + + RANSOM + Well I don't know what this is from + + Indicating the tag photocopy with her name. + + MARTA + It's my medical bag tag. They have + my medical bag. For some reason. + + RANSOM + OK, but this is just a photocopy of + the header of a blood toxicology + report, from the local crime lab. + On Harlan. Marta, it would show the + morphine overdose. + + MARTA + So I'm screwed! How do you know all + this stuff? + + RANSOM + I was Harlan's research assistant. + For a summer. + + He sips his morning coffee. + + RANSOM + But what kind of blackmail scheme + is this? I mean the actual evidence + is sitting up the street at the + crime lab. What was the point of + sending you this? + + +125 EXT. NORFOLK ROADS 125 + + Siren blazing, the cop car SPEEDS into town. + 94. + + +126 EXT. MEDICAL EXAMINER'S OFFICE 126 + + The cop car pulls past an identifying sign into the parking + lot of a one story stand alone building, joining several + other cop cars, and fire trucks. Journalists kept at bay. + + The building is a charred brick husk. Black smoke, debris. + + It's been gutted with an explosion and a blazing fire. + + Blanc steps out of the cop car and finds Lieutenant + Elliott. + + BLANC + What's the cheese? + + LIEUTENANT ELLIOTT + Five AM, security systems here was + all triggered. It went up quick. + Blood stores, records, all gone. No + employees around, thank god. + + BLANC + Any surveillance cams? + + Elliott gestures wearily to the charred remains of a + security camera on the smoking shell of an awning. + + LIEUTENANT ELLIOTT + And speaking of security, the + security tape from the Thrombey + residence was scrambled. For some + reason. + + Blanc unsurprised. He motions back to the building. + + BLANC + What was still pending from the + autopsy? + + LIEUTENANT ELLIOTT + The report on the blood work. + + BLANC + Blood work? + + Blanc chews on this. + + Across the street, Marta and Ransom pull up in her car. + + +127 INT. MARTA'S CAR 127 + 95. + + + MARTA + Holy shit. This is insane. + + Ransom looks at her - yeah it's likely. They both + instinctively duck down in case the cops look over. + + MARTA + Who would blow up a whole real + official building just to blackmail + me? + + RANSOM + Marta this means that the + blackmailer has the only paper copy + of the thing that can prove your + guilt. You didn't get any other + instructions, no phone call no + email, no nothing? + + Marta looks stunned. She stabs at her phone, quick swipes. + + MARTA + ...nothing...I didn't check my + email. + + She shows him an email from 092832@shushmail.com. No + subject line, simple text: 1209 Columbus Rd 10AM + + RANSOM + That's it. 1209 Columbus Road, + 10am. + + Marta looks at Ransom, then at the clock on her dashboard - + 9:32, then at the charred building. + + +128 EXT. MEDICAL EXAMINER'S OFFICE 128 + + Blanc looks around, deep in thought. He spots Marta's car. + + +129 INT. MARTA'S CAR 129 + + Marta peeking up through the window. + + Blanc sees her. She sees him. Ducks back down. Shit. + + RANSOM + You know what this means right? If + you destroy that copy you are + totally within the clear. + 96. + + + Blanc begins to walk straight towards Marta. Quickly and + with purpose. Shouts something, Lieutenant Elliott follows. + + RANSOM + Marta. Did you hear me. + + Marta peeks again - Blanc coming at them full speed. Twenty + paces from the car. Closing in fast. + + MARTA + Yeah. + + She sits up, throws the car in gear and FLOORS IT. + + +130 EXT. MEDICAL EXAMINER'S OFFICE 130 + + Her subcompact PEELS OUT and buzzes off down the road. + + Blanc, crestfallen, runs back towards the cop cars in the + parking lot, shouting at Elliott, who flags a cop. + + +131 INT. MARTA'S CAR 131 + + The whine of the engine, Ransom puts on his seat belt. In + the rear view, siren lights as cop cars pour out of the + parking lot in pursuit. + + MARTA + You regret helping me yet? + + RANSOM + I regret not taking the beamer. + + Her phone buzzes - Blanc calling. IGNORE. + + +132 EXT. NORFOLK ROADS 132 + + Marta buzzing down the road, cop cars a quarter mile back. + + +133 INT. COP CAR 133 + + Blanc in back, Elliott in front, Trooper Wagner driving. + + TROOPER WAGNER (ON RADIO) + Vehicles in pursuit in Washington + Street + + LIEUTENANT ELLIOTT + 97. + + + (into radio) + No force - repeat that. Possible + murder suspect. + + Their speedometer creeping up on 85 + + +134 INT. MARTA'S CAR 134 + + Marta's speedometer creeping up on 55. + + MARTA + Oh my god oh my god oh my god I am + literally flooring it + + RANSOM + Are you flooring it? + + Her phone rings - Blanc again. She looks over - cop cars + are RIGHT ALONGSIDE them. Blank holds his phone up, looks + at her quizzically. Points to the phone. + + RANSOM + This is going well. + + MARTA + This is stupid, I'm pulling over + + RANSOM + If you miss your shot at getting + that tox report it's all over... + + MARTA + Aaauuuuuawwwaaagghhhh + + She hits the brakes. + + +135 EXT. NORFOLK ROADS 135 + + Marta's car PEELS TO A STOP and the two COP CARS on either + side blaze by, hitting their brakes. + + She pulls off onto a SIDE STREET and into narrower city + streets, down narrow alleys, using her small car to nimbly + dart though small spaces. + + The cops can't follow, and she loses them. + + She pulls to a stop in a secluded little back lot. + 98. + + +136 INT. MARTA'S CAR 136 + + Marta, breathing hard. Ransom is shocked. + + MARTA + Ok. I'm all just pure adrenaline + now it's like I swallowed bees. + What's the the whatsitcalled + address ok. And I just - I mean + whatever they want, I just say yes + right, just to get that report + back. And destroy it. Ransom. Thank + you. I couldn't do this without + you. + + RANSOM + 1209 Columbus road. And destroy it. + + He smiles slightly. A quick moment of silence between them. + + Then: RAP RAP RAP on Ransom's car window. + + Blanc. Standing right outside. Marta looks in her rear view + - the cop car has pulled up silently behind them. + + Another pulls up in front. + + +137 EXT. PARKING LOT 137 + + Ransom and Marta step out of the car, hands raised for some + reason. + + LIEUTENANT ELLIOTT + That was the dumbest car chase of + all time. Put your hands down. + + BLANC + (to Marta) + I spoke to Wanetta Thrombey, + Greatnana. The night of the party + she saw someone climb the trellis + to the third floor. + + LIEUTENANT ELLIOTT + Mr. Drysdale, come with us please. + + Elliott leads Ransom off by the elbow. Ransom throws a look + back at Marta - he has no idea what's going on. + + MARTA + What's going on? + 99. + + + BLANC + "Ransom came back" she said. I + don't know what he came back to do, + but we'll find out. + + Marta looks at Ransom - oh no. Senile Greatnana thought she + was him. This is a mistake. But... she glances at her watch + - 9:51. + + BLANC + Did he ask you to drive when he saw + me coming? + + Ransom's being led to the police car. Marta decides: + + MARTA + Yes. + + Marta gets back in her car. She pretends to take a sip from + an empty soda cup, but actually SPITS UP a little into it. + + LIEUTENANT ELLIOTT (O.S.) + Blanc. Coming with us? + + BLANC (O.S.) + (to Elliott) + I'll drive with Marta. + + To Marta's horror Blanc opens her passenger door. + + BLANC + Let's go to the police station, I + want a full run down of everything + he said to you, and I can catch you + up on where we're at. + + +138 EXT. NORFOLK ROADS 138 + + Cop cars coast through town, Marta's bringing up the rear. + + +139 INT. MARTA'S CAR 139 + + Marta glances at the dashboard clock - 9:55. Blanc, casual: + + BLANC + Strange case from the start. A case + with a hole in the middle. A donut. + I'm just talking through my process + here, let me know if this is + boring. + 100. + + + Marta's arms are locked, her eyes steal a glance at the + clock - 9:58. + + BLANC + I feel the noose tightening - the + family are truly desperate. + + BLANC + Desperate motives, the mystery of + who hired me, the impossibility of + the crime, and yet - + + Up ahead, a street sign - "Columbus Road." Marta tenses. + + BLANC + A donut! One central piece, and if + it reveals itself the fog would + lift, the arc would resolve, the + slinky become unkinked + + MARTA + Do you mind if I stop for a second. + I need to pick something up. It + will be very quick. + + BLANC + Sure. + + +140 EXT. NORFOLK ROADS 140 + + Marta's car makes a sharp turn, leaving the cop caravan. + + +141 EXT. 1209 COLUMBUS ROAD 141 + + A row of storefronts - 1209 is vacant. Marta's car pulls a + few stores past it. She gets out of the car. + + MARTA + I'll just be a few minutes. + + Marta runs into a bustling hair salon. + + +142 EXT. BACK ALLEY 142 + + Marta ducks out the back door of the salon, goes two doors + down to 1209, and slips into the back door. + + +143 INT. 1209 COLUMBUS ROAD 143 + 101. + + +Dark, empty retail space. Lit only by the painted-over +front windows. Marta edges her way in, her eyes still +adjusting from the sun. + + MARTA + Hello? + +Her foot hits something on the dirty concrete floor. + +HER MEDICAL BAG. + +She kneels, picks it up gently. + +Next to where it was lying, she finds something else +curious - the burned remnants of a piece of paper. Only a +charred corner remains. + +She turns her attention back to the room. Creeps forward. + + MARTA + Hello? + +Ahead - a silhouette. A person. Seated in a chair, in the +center of the room. Silent, facing her. + + MARTA + Listen I don't know what you want. + Whatever you want we can work it + out, but we have to figure it out + right here, right now, and I'm + leaving with that report. + +A beat of silence. Nothing. Something's not right here. + + MARTA + Hello? + +Marta takes a step closer, lifts her phone, and turns on +its flashlight. + +Illuminating the ghostly face of FRAN, the housekeeper. + +Marta, barely breathing: + + MARTA + Fran? + +A SPIDER crawls across Fran's face. Marta STIFLES A SCREAM +and leaps back, sucking in air. + +A moment of stillness. Her phone BUZZES - Blanc calling. + 102. + + +Marta ignores the call, frozen. + +Her eyes go to: A white letter sized ENVELOPE in Fran's +hand, resting on her lap. + +Marta swallows. Leans in, carefully and quietly for some +reason, and SLIPS the envelope from the lifeless fingers. + +Unsealed. She opens it. + +It is empty. + +Before this can even sink in, a rattling, grating DRAW OF +BREATH - from Fran. + +Marta starts - oh my god - and goes to her, checking a +pulse, checking her eyes, lays her on her back. Fran sucks +in thin breath, her eyes finding Marta in the glare of the +dropped phone flashlight. + + MARTA + Fran! Fran! Can you hear me? Fran, + give me a sign if you can hear me! + + FRAN + You + + MARTA + Me? Fran it's Marta, you called me + here, you sent me the email, I'm + here. I'm going to call an + ambulance and you're going to be ok + but can you tell me what happened, + did you take something, what's + happened to you - + +Weak, Fran grabs Marta's wrist, and Marta focuses on her. + + FRAN + ...copy... copy + + MARTA + What? + + FRAN + ...stashed... + +These words are barely given breath: + + FRAN + you... did this... won't... get + away.. with this + 103. + + + Her eyes seize. Her breath gets ragged. Marta is paralyzed + with shock and fear. Fran is dying. + + Marta looks at the medical bag in her hand. Then at Fran, + struggling with her final breaths, eyes wide with fear. + + She takes a step back from the dying Fran. Fingers tight + around the medical bag. Letting her die. + + But then, a decision: no. Marta dials 911 on speaker, drops + to her knees and starts administering mouth to mouth. + + PHONE + 911, what is your emergency? + + +144 EXT. 1209 COLUMBUS ROAD 144 + + Blanc sitting in the car, singing softly to himself. + + BLANC + Sometimes I stand in the middle of + the room... not going left... not + going right... + + He looks at the hair salon - what's taking so long? And + then sirens, as an AMBULANCE pulls up two doors down, and + EMT's run into the abandoned storefront. + + BLANC + Oh lord. + + HARD CUT TO: + + +145 INT. HOSPITAL WAITING ROOM - LATER 145 + + Marta and Blanc sitting silently in the fluorescent-lit + waiting room. Marta with her face in her hands. Blanc is on + his phone, mostly listening. + + BLANC + (listens) + Alright my friend, thank you for + the update. No I'm here with her. + No need for that, I'll bring her in + once we get word that the + housekeeper is stable. It's still + touch and go. + (listens) + Alright. + + He hangs up. Marta looks at him. + 104. + + + MARTA +This is over. People are getting +hurt. I'm going to tell you the +truth. + + BLANC +Young Ransom just told Lieutenant +Elliott everything. Who just told +me everything. + + MARTA +Good. Wait god I hope he didn't +cover for me, did he tell the real +truth, about me switching theAnd +the disguise and all theAnd the +blackmail with the + + BLANC +Yeah Yes Mm. + + MARTA +But why did Fran take my morphine? +Obviously she had swiped my bag +from the house, but she didn't seem +like a user to me, unless that's +why she needed money... + (beat) +I dunno, doesn't matter. I should +tell the Thrombeys myself, I feel +like I owe that to them. + + BLANC +I don't think that's a good idea + + MARTA +No, I need to do it. I won't do any +of this if I can't do that. I +really need to. I gave the doctors +my number, they'll call if anything +changes with Fran. + + BLANC +We'll round up the Thrombeys at the +house, along with a police escort. + + MARTA +For the arrest after. + + BLANC +You can tell me your whole story on +the drive over. I want no more +surprises. + 105. + + + Marta stands, a dead man walking, resigned. + + +146 EXT. NORFOLK ROADS 146 + + Marta's car drives through the scenic countryside. Inside + we see but don't hear her telling a long story to Blanc, + who looks at the passing countryside, brow knit. + + +147 EXT. THROMBEY ESTATE FRONT DRIVE - AFTERNOON 147 + + All the family cars there, along with two police cruisers. + + Marta's pulls up. + + +148 INT. MARTA'S CAR 148 + + MARTA + ...said it was stashed, the copy, + and then she told me "you did this, + you won't get away with it" and + then I called the ambulance. And + that's it. + + She turns the engine off. Looks up at the house. Breathes. + + BLANC + Alright. Are you ready? + + +149 INT. FOYER 149 + + Marta and Blanc enter. This really feels like a walk + towards the gallows. Richard, Walt and Meg are there. Meg + avoids eye contact with Marta. + + RICHARD + Ah. Ok, has she come to her senses? + + WALT + She's standing right there Richard + she can speak for herself - + + BLANC + Is the rest of the family here? + + WALT + In the living room. + + BLANC + I think maybe, if we could... + 106. + + + Blanc beckons, and Richard and Walt file out. On her way + out Meg hugs Marta, weeping. + + MEG + I'm sorry, I'm so sorry I told them + about your mom. I was angry and + scared, I'm sorry + + MARTA + It's ok, Meg. I understand. Believe + me. It's alright. + + Meg sniffs, dries her eyes. + + MEG + God I am so raiding Fran's stash + after this. + + They hug one more time. Then when Meg walks off towards the + living room, Marta realizes something. Blanc walks back. + + BLANC + I still think this is a bad idea, + but the family is assembled. + + MARTA + (to Blanc) + I know where the tox report is. + + +150 INT. DRAWING ROOM 150 + + Marta jimmies the clock drawer open with a letter opener. + + She pulls a FOLDED PIECE OF PAPER from inside, blows loose + pot leaves off it. She hands it to Blanc. + + MARTA + She practically told me where it + was. Anyway this'll tie everything + up. And I just handed it to you, + god you're you're not much of a + detective are you? + + BLANC + To be fair you're a pretty lousy + murderer. Perhaps we deserve each + other. + + +151 INT. LIVING ROOM 151 + 107. + + +The family gathered, impatient. Lieutenant Elliott and +Trooper Wagner are there too, with another uniformed +officer. Ransom sits in the corner, his face passive. + +Marta gulps. Blanc is a few steps behind her. As she +speaks, he unfolds and reads the tox report. + + MARTA + Um. You guys have always been good + to me. And what I'm about to say + isn't going to be easy, and you're + going to be upset, but especially + after everything you've gone + through the past few days, I + thought you deserved to hear it + from me. + +Walt smiles at her, "you're doing the right thing." Marta +takes a deep breath. + +Blanc has finished reading the report. He refolds it +carefully. + + MARTA + I - + + BLANC + Excuse me. You have not been good + to her. You have all treated her + like shit to steal back a fortune + that you lost and she deserves. + You're a pack of bloody vultures at + the feast, but you're not getting + bailed out, not this time. + (beat) + Ms. Cabrera has decided + definitively not to renounce the + inheritance. + + WALT + What? + + MARTA + What? + + BLANC + Furthermore it will be my + professional recommendation to the + local authorities that the manner + of death in the case of Harlan + Thrombey is ruled as suicide, and + the case is closed. + 108. + + + RANSOM + What? + + MARTA + What? No, Blanc - + + BLANC + Thank you all for coming goodbye. + + He firmly guides Marta out by the elbow. A beat of silence. + + RICHARD + Is anybody else confused? + + As the family breaks out in hubub, Linda notices her dad's + OLD BASEBALL on the side table where Blanc left it. What's + that doing here? She picks it up. + + +152 INT. LIBRARY 152 + + Blanc steers Marta into the library, as sounds of hubub and + shouting come from the other room. + + MARTA + What the hell? I want to come + clean, this is over - + + BLANC + Almost. + + Elliott bursts in, motions to the living room, then Marta, + then Blanc. + + LIEUTENANT ELLIOTT + What - with - what? + + BLANC + I'm sorry - officer Wagner! + + Wagner enters. + + BLANC + Please keep the family out of this + room and get them out of the house + if you can. But stand by with your + additional officer. + + TROOPER WAGNER + Get the family out? + + BLANC + Yes but not all of them. + 109. + + +Blanc whispers something to Wagner, who nods and exits. + + LIEUTENANT ELLIOTT + Blanc c'mon, what's all this Drama. + + BLANC + Indulge me. + +Marta sits. Elliott remains standing. + + MARTA + Blanc. I told Ransom, Ransom told + you, I'm telling you now - it is an + immovable fact that I killed + Harlan. + + BLANC + Yes you did, yes he did, yes you + are, but. But. + + BLANC + I spoke in the car about the hole + at the center of this donut. And + yes, what you and Harlan did that + fateful night seems at first glance + to fill that hole perfectly. A + donut hole in the donut's hole. But + we must look a little closer. And + when we do, we see that the donut + hole has a hole in its center - it + is not a donut hole at all but a + smaller donut with its own hole, + and our donut is not whole at all! + + LIEUTENANT ELLIOTT + Blanc I understand that this is + amusing for you - + + BLANC + Why. Was. I. Hired? Why would + someone hire me? + + LIEUTENANT ELLIOTT + Someone fishing for any crime that + could help reverse the will. + + BLANC + 110. + + + I was hired before the sealed will + was read. Yes, the person must have + known the contents of the will. But + one step further - that same person + must have known a crime was + committed, and further, if the + intent was to reverse Marta's + inheritance, they must have known + that Marta was responsible. + (beat) + An intriguing combination of + factors. Someone who knew what + Marta did, wanted to expose it, but + could not reveal how they knew. + + MARTA + Fran? She was blackmailing me, she + knew what I did + + BLANC + But Fran wanted money, ergo she did + not want the crime exposed. + + LIEUTENANT ELLIOTT + Did someone in the family see Marta + doing something suspicious? + + BLANC + They would have had no reason to + not speak up. No. The answer is not + so simple. + +Blanc sits, suddenly weary. + + BLANC + Now with the entire solution in my + field of view, the arc of this case + is a tragedy of errors. And Marta, + it will not be easy to hear. But + there is at least one truly guilty + party behind it all, guilty in the + true sense of acting with malice, + and committing a heinous crime with + selfish intent. + (calls) + Trooper Wagner. + + MARTA + (stunned) + Trooper Wagner?? + +Blanc squints at her. No. + 111. + + + A moment later Wagner leads Ransom in. Ransom looks at + Marta softly, sadly. + + RANSOM + Marta I'm sorry. I told them + everything, I figured it was all + up. I'm sorry. + + MARTA + It's alright Ransom, I'm glad you + did. + + BLANC + Not exactly everything though. + + MARTA + Is this about what Greatnana told + you? She saw me that night, she + mistook me for Ransom + + BLANC + We'll get to that. But first, Mr. + Hugh Ransom Drysdale, you might + tell us all why you hired me. + + RANSOM + Why I hired you? + + BLANC + You're right, let's back up. To the + night of the party. Your argument + with Harlan. What were the + overheard words by the Nazi child + masturbating in the bathroom - "my + will" and "I'm warning you." You + and Harlan were "drama mamas," you + shared a love of twisting the knife + into one another. I don't believe + he would have slipped it in halfway + - no, I submit that Harlan told you + everything. + + +153 INT. SMALL STUDY - NIGHT OF PARTY 153 + + Ransom and Harlan face each other. + + RANSOM + You can't be serious. + + HARLAN + 112. + + + Not a red dime or word of my work + to a single one of them, you + included. + + +154 INT. LIBRARY 154 + + BLANC + Marta, remind me what Ransom said + his conversation with Harlan ended + with. + + MARTA + Harlan told him that I could beat + him in GO. + + BLANC + And I asked myself - Marta? Why + would the topic of the will have + steered around to Marta? There is + one obvious explanation... + + +155 INT. SMALL STUDY - NIGHT OF PARTY 155 + + RANSOM + You are not this crazy. You would + not just throw your fortune away + + HARLAN + No. I'm giving it to Marta. All of + it. + + RANSOM + Ha. To your Brazilian nurse are you + goddamn insane. + + HARLAN + I'm sane for the first time in my + life and I've done it I've made the + change to my will it's done + + RANSOM + I'm going to stop this Harlan, I - + + RANSOM + I'm warning you! + + Push into a vent in the wall. + + +156 INT. LIBRARY 156 + 113. + + + RANSOM + That is some heavy duty conjecture. + + BLANC + Granted. But it's the only way what + comes next makes sense. So you + storm out, you drive off into the + night. You tell Marta later of what + was it, feeling an overwhelming + sense of... + + MARTA + Clarity. That he has to make do for + himself from here on out. + + BLANC + Exactly. + + +157 EXT. NORFOLK ROADS - NIGHT OF PARTY 157 + + Ransom's Porsche SKIDS TO A STOP on the side of the empty + road. Sits idling. + + BLANC (V.O.) + Marta. The will. Harlan. "You won't + get away with this." Do for + yourself. And a plan forms. + + A beat. Then the Porsche roars into a skidding U-TURN and + drives back the way it came. + + +158 EXT. PRIVATE ROAD - NIGHT OF PARTY 158 + + Ransom's Porsche kills its lights and drives slowly down + the private road, hooking a left at the CARVED ELEPHANT + that marks the utility road. + + BLANC (V.O.) + You return, careful to avoid the + gate's security camera range. + + +159 EXT. WOODS - NIGHT OF PARTY 159 + + The Porsche parked, Ransom hacks his way through the woods. + + BLANC (V.O.) + Then on foot up towards the house, + + +160 EXT. THROMBEY ESTATE SIDE YARD - NIGHT OF PARTY 160 + 114. + + + The party is still going on inside. Ransom slips through + the side gate, up towards the house, and up the trellis. + + BLANC (V.O.) + You sneak in, up the trellis so as + not to be seen by the rest of the + family, who are still having their + party downstairs. + + +161 INT. THIRD FLOOR LANDING - NIGHT OF PARTY 161 + + The painting wall swings aside, and Ransom climbs through, + leaving mud traces on the sill and the carpet. He heads + straight down the narrow hall and into Harlan's bedroom. + + The party din from downstairs. + + BLANC (V.O.) + What you need to do will take + moments. But it is essential you + are alone, and undetected. + + Ransom disappears into the darkened doorway. + + BLANC (V.O.) + You knew the medications Harlan + took. You knew what Marta would be + injecting him with that night. + + BLANC (V.O.) + And you knew if Marta was + responsible for his death, even + unintentionally, the slayer rule + would nullify the changed will, and + you would get your share back. + + +162 INT. HARLAN'S BEDROOM 162 + + Dark and still. Marta's medical bag, open. Ransom has + unwrapped two syringes and has the two vials out - the + Toradol and the morphine (the "good stuff.") + + Using the syringes he extracts the liquid from both + vials... and then injects the liquids back into the + opposite vials. + + He SWITCHES THE MEDICATIONS. + + BLANC (V.O.) + 115. + + + You use the syringes in the kit to + switch the liquids in the two + medication vials. And as a final + precaution, you take the Naloxone, + the life saving antidote. + + Replacing the vials he takes an injection pen, closes the + bag up and leaves. + + +163 INT. LIBRARY 163 + + Marta is stunned, she can't even process this. + + MARTA + No, no that's impossible. + + BLANC + It is the truth. Hand me that vial + of morphine, I'll show you. + + Blanc has placed two identical vials on the table behind + Marta. Her mind is still spinning, she glances at them, + takes one and absently hands it to him. + + MARTA + If he did that, if the meds were + switched, then when I got them + mixed up... + (oh my god) + I accidentally switched them back. + But then I gave Harlan + + BLANC + The correct doses. Yes. But not + accidentally. I taped over the + labels of these two vials. + + Blanc shows white tape over the one she just handed him. + + Picks up the other vial, shows the same. + + BLANC + The vials themselves are identical. + How did you know that this was the + morphine? + + MARTA + I... just knew + + BLANC + 116. + + + You knew because there is the + slightest, almost imperceptible + difference of tincture and + viscosity between the liquids. You + knew because you had done it a + hundred times. You gave him the + correct medication. Because you are + a good nurse. + + MARTA + Then Harlan was... + + BLANC + I'm sorry Marta. But yes. Harlan + was perfectly fine. + + He unfolds the tox report and hands it to her. + + BLANC + His blood was normal. The cause of + death was truly, solely suicide, + and you are guilty of nothing but + some damage to the trellis and a + few amateur theatrics. In fact if + he had listened to you, he would be + alive today. + + Marta is white as a ghost. She shudders, buckles over. + + LIEUTENANT ELLIOTT + Hot damn. + + BLANC + A twisted web, and we are not + finished untangling it. Not yet. + + BLANC + Marta when Greatnana spotted you + climbing down the trellis she said + + +164 EXT. THROMBEY ESTATE SIDE YARD - NIGHT OF PARTY 164 + + Marta facing Greatnana, who says: + + GREATNANA + Ransom? Are you back again already? + + BLANC (V.O.) + Are you back again already, because + earlier that night - + 117. + + + CUT TO: the exact same scene but RANSOM hops down off the + trellis, and is startled by Greatnana staring at him. + + GREATNANA + Ransom, you're back! + + He puts his finger to his lips - shhh, and blows a kiss as + he walks off into the night. + + +165 INT. LIBRARY 165 + + Marta with her fingers on her temples, still unbelieving. + + RANSOM + Marta c'mon. + (to Blanc) + This is stoopid with two o's and + you don't have a shred of evidence, + you're just spinning a fairy tale. + + BLANC + Not a shred no, just as we have no + real proof of Marta's mixing up the + vials so it's your word against - + + RANSOM + You have her confession! + + The sharpness of this makes Marta look at Ransom for the + first time. + + BLANC + Ah right, we do have that. If + you'll indulge me, I'd like to spin + a little further. + + +166 EXT. THROMBEY ESTATE SIDE YARD - NIGHT OF PARTY - FLASHBACK 166 + + Moonlit, silent. + + BLANC (V.O.) + Much later that night you would + have to come back to the house, to + break back in and retrieve the + incriminating tampered vials. + + A dark figure, Ransom, approaches the side gate. But when + he opens it, the two dogs come bounding across the lawn, + barking loudly. + + BLANC (V.O.) + 118. + + + However, this time the dogs were + outside. They barked. Waking Meg. + + A light goes on upstairs. The dogs keep barking, paws on + the gate. Ransom backs off. + + BLANC (V.O.) + No matter. You'll get the vials + tomorrow. + + +167 INT. LIBRARY 167 + + BLANC + But tomorrow brings news not of a + medical error and guilty nurse, but + of a slit throat and suicide!? + + +168 INT. RANSOM'S APARTMENT LIVING ROOM - DAY 168 + + A nervous Ransom tears a clipping from the local newspaper + about Harlan's death, stuffs in it an envelope with a huge + fold of cash, and addresses it to Blanc. The New Yorker + profile open on the couch. + + BLANC (V.O.) + Now the circumstances are perfect + for the anonymous hiring of a me: + you know a crime has been committed + by Marta, you need her to be caught + for it, you cannot reveal how you + know. + + +169 INT. LIBRARY 169 + + BLANC + Enter Benoit Blanc. + + Elliott can't help but roll his eyes. + + LIEUTENANT ELLIOTT + Benny look I hear what you are + saying + + Trooper Wagner quickly shushs Elliott, enthralled by every + word Blanc says. + + BLANC + 119. + + + The body was discovered early the + next morning. The police, the + medical examiners, the family, + everyone swarms in, + (to Ransom) + and there is no possible way you + can get to Marta's medical bag to + remove the vials. You must wait for + your moment, when the investigation + is over and you know the house will + be empty. And that is why you + missed the funeral. + + +170 INT. THIRD FLOOR LANDING - AFTERNOON - FLASHBACK 170 + + Ransom bounds up the stairs, climbs under the POLICE TAPE + blocking Harlan's study, and enters. + + BLANC (V.O.) + there is no one home to wonder why + you're going into Harlan's study. + Or so you think. + + Fran comes around the corner, spots Ransom and is about to + say something, but doesn't. + + BLANC (V.O.) + Poor Fran. She witnessed you + tampering with Harlan's medication + in the medical bag. She did not + know what you were doing. But she + knew you were up to no good. And so + her mind begins to turn. + + Ransom pockets the two incriminating vials from the medical + bag and replaces the Naloxone pen. When he stands to go she + retreats. + + +171 INT. LIBRARY 171 + + MARTA + Oh god that movie she told me + about, with Danica McKellar, that's + what she was talking about - + + TROOPER WAGNER + Deadly by Surprise. + + BLANC + 120. + + + She loved Harlan. She hates Ransom. + So the poor girl decides to test + her theory and make this asshole + pay. She gets a copy of the + toxicology report, I will be honest + I have no idea how + + MARTA + She has a cousin - she told me, she + has a cousin who works as a + receptionist at the examiners + office! + + BLANC + Well voila. The numbers mean + nothing to her, but if Ransom is + guilty its existence is a threat, + so she photocopies the header and + makes her blackmail note. + + MARTA + So why did she send it to me? + + BLANC + She did not. She sent it to Ransom. + + +172 INT. RANSOM'S LIVING ROOM - DAY - FLASHBACK 172 + + Ransom walks in sorting mail - finds the blank envelope, + reads the blackmail note inside, and slowly grins. + + BLANC (V.O.) + And when Ransom first gets it, what + is his reaction? Elation! He still + thinks Marta gave Harlan the + tampered drugs! A blood tox report + will prove Marta's guilt! + + +173 INT. LIBRARY - DAY - FLASHBACK 173 + + The will reading, the family assembled. Ransom sits in + back, a sly smile on his face as the will is read. + + BLANC (V.O.) + He goes to the will reading in high + spirits, ready to see the family + tear themselves apart, secure in + the knowledge that it will all be + undone when the tox report comes to + light. And then... + 121. + + +174 INT. RESTAURANT - NIGHT - FLASHBACK 174 + + Beers stacked up. Marta has just confessed. Ransom's face + is unreadable. + + BLANC (V.O.) + Marta's confession. And everything + turns on its head. Now he realizes + that Marta has committed no crime, + and the tox report will prove her + innocence. The changed will is + going to stand. He has lost. + Unless. + + +175 INT. LIBRARY 175 + + Blanc rounds on Ransom. + + BLANC + Unless you decide. + + +176 INT. RESTAURANT - NIGHT - FLASHBACK 176 + + Ransom giving Marta his pep talk - + + RANSOM + ...you're not going to give up the + money. + + +177 INT. LIBRARY 177 + + BLANC + You are not going to give up the + money. + + +178 INT. RESTAURANT - NIGHT - FLASHBACK 178 + + RANSOM + You've come this far! + + +179 INT. LIBRARY 179 + + BLANC + You have come this far. Just one + step further. Just one last act, in + for a penny, in for a pound. You + decide. You are in. + 122. + + + CLOSE ON: A lighter ignites a rag stuffed in a tin gas can. + + THE CAN: Being thrown through a window in a brick wall. + + +180 INT. MEDICAL EXAMINERS OFFICE MORGUE - FLASHBACK 180 + + Empty, dark. The flaming can falls in slow motion from the + high window. Hits the floor, ignites. + + BLANC (V.O.) + Step one: destroy all evidence of + Marta's innocence. + + The flames dance in the reflection of a glass case of + refrigerated BLOOD SAMPLES. + + BLANC (V.O.) + Step two: + + +181 INT. RANSOM'S APARTMENT - LIVING ROOM - NIGHT / DAY? 181 + + CLOSE ON: The BLACKMAIL NOTE - at the bottom is written + "1209 COLUMBUS ROAD 8AM" A hand TEARS this bottom part off, + then puts the top half in an envelope. + + BLANC (V.O.) + Send Marta the anonymous email with + a late morning rendezvous time, + + CLOSE ON: An email addressed to Marta being typed on a + phone, "1209 COLUMBUS ROAD 10AM" + + +182 INT. APARTMENT BACK HALLWAY - NIGHT - FLASHBACK 182 + + Ransom creeps down the hall, slips the ENVELOPE into the + letter slot of Marta's door. + + BLANC (V.O.) + and deliver her the blackmail note. + + +183 EXT. 1209 COLUMBUS ROAD - MORNING - FLASHBACK 183 + + Ransom's Porsche pulls up. He gets out, pulling on gloves. + + BLANC (V.O.) + Step three: keep your appointment + with Fran. + 123. + + +184 INT. 1209 COLUMBUS ROAD - 8AM - FLASHBACK 184 + + Fran standing in the middle of the room, nervous. She turns + as Ransom walks in and strides towards her. + + FRAN + I knew it. I knew you were a no + good son of a bitch, I knew Harlan + wouldn't have just killed himself. + + RANSOM + Yes, you were right Fran. + + Ransom sees the medical bag on the floor, kneels and pulls + something out of it. + + FRAN + I knew you were guilty as shit. Now + you're gonna pay for it don't come + near me I'm warning you I - + + But he's upon her, hand over her mouth, stifling her scream + as he pushes the syringe into her neck and PUSHES THE + PLUNGER. + + MINUTES LATER - her inert body in the chair. He fishes + through her pockets, finds the envelope, and takes the TOX + REPORT from it, leaves the empty envelope in her hands. + + On his way out: lights the tox report on fire, drops it + burning next to Marta's bag. We stay with it as it burns + away. + + BLANC (V.O.) + Now the board is set. Marta will + get the blackmail note. You will + put the pieces together for her - + the tox report, her one chance at + getting away with it all. You'll + guide her to the rendezvous. + + BLANC (V.O.) + You'll make an anonymous call to + the police, they will catch her + there with the body and the burned + evidence. Marta will be arrested + for killing Fran... and Harlan. + + +185 INT. LIBRARY 185 + + MARTA + She said - + 124. + + +186 INT. 1209 COLUMBUS ROAD - FLASHBACK 186 + + Marta holding Fran on the floor, her dying words - + + FRAN + you... did this... + + +187 INT. LIBRARY 187 + + MARTA + She didn't say "you did this," she + wasn't talking about me, she said + + +188 INT. 1209 COLUMBUS ROAD - FLASHBACK 188 + + Exact same moment but this time we hear - + + FRAN + Hugh... did this... + + +189 INT. LIBRARY 189 + + MARTA + Hugh did this. Cause you made the + help call you Hugh. Cause you're an + asshole. + + BLANC + (to Ransom) + It would have worked. If we hadn't + brought you in for questioning, so + you could not make your anonymous + call. And if Fran had not stashed a + safety copy of the tox report. + + +190 INT. 1209 COLUMBUS ROAD - FLASHBACK 190 + + Marta turns away from the dying Fran. + + BLANC (V.O.) + And if Marta had not outplayed you + once again. + + Marta turns back, calls 911, gives mouth to mouth to Fran. + + BLANC (V.O.) + 125. + + + By having a kind heart. By saving + Fran's life, though it meant her + losing the inheritance and going to + jail. She didn't play your game, + she saved Fran's life. + + +191 INT. LIBRARY 191 + + For the first time, Ransom looks afraid. + + RANSOM + Fran's alive? + + Marta's phone starts to ring. They all see the caller id - + it's the hospital. + + BLANC + (to Marta) + Oh yes. Fran, who will confirm this + fairy story or something close to + it. + (to Ransom) + And will send you, Hugh, to jail. + + She answers the call, puts the phone to her ear. + + MARTA + Yes. + + A long beat, then her face breaks in relief. + + MARTA + Yes. Thank you doctor, that's great + news, we'll be there soon. + + She hangs up. And smiles with radiant joy. + + MARTA + She's okay. + (to Blanc) + She's ready to talk. + + Ransom stares at Marta, his face a mask. + + BLANC + Trooper Wagner, if you would keep + Mr. Drysdale in custody while + Lieutenant Elliott, Ms. Cabrera and + myself go to the hospital to take + Fran's statement. + 126. + + +Ransom stands. Steps to Marta, who's frozen, looking in his +eyes. His poker face breaks. And he grins. + + RANSOM + I want to say this just to you, not + to a courtroom of cameras, just to + you because you know it's the + truth: we allowed you into our + home. We allowed you to take care + of granddad, to be part of our + family and now you think you can + steal it from us? You think I'm not + going to fight for our birthright, + our home, our ancestral family + home? + + BLANC + Harlan bought this house in the + eighties. From a Pakistani real + estate baron. + + RANSOM + Oh shut up Blanc, shut up! Shut up + with that Kentucky fried fog horn + rag-horn drawl. Yeah I killed Fran + but I guess I didn't, so what do + you have on me. Nothing What? + attempted murder - + (to Blanc) + I get arson for the bombing, maybe + a few other charges, with a good + lawyer I'll be out before you know + it. + +Face to face, Ransom's face hateful, Marta's strong and +set. + + RANSOM + (to Marta) + And then you'll see just how much + hell I can wreak on your life, you + vicious little bitch. + +But then... Marta's face starts to do things. Odd things. + +Convulses. Her jaw clenches. Her cheeks bulge. + +And the PROJECTILE VOMITS into Ransom's face. + + RANSOM + AUGH! WHAT THE SHIT! + +He falls back cursing, she drops to her knees, spitting. + 127. + + +Wagner, inappropriately excited: + + TROOPER WAGNER + That means she was lying! + + MARTA + That's right, Fran's dead. + (to Ransom) + And you just confessed to her + murder. + +Ransom takes this in. Then he smirks. + + RANSOM + Well. In for a penny... + +In one fluid motion he spins to the ornamental WALL OF +KNIVES, grabs one - + + BLANC + No! + +and TACKLES MARTA... + +Time slows as Blanc and Elliott lunge to stop him but it's +too late - + +Ransom and Marta fall together, his arm arcing down + +And as the they hit the ground his arm comes down PLUNGING +THE KNIFE UP TO THE HILT IN HER CHEST. + +They lie still, breathing hard. Her eyes wide with pain and +horror. His cold and wild. + +But then she blinks. Squints. + +And he cocks his head. Realizing something. + +Withdraws the knife from her chest. + +Its fake blade had retracted into the handle. It's a +theatrical prop. + +He pumps it up and down a few times, the spring making a +pathetic toy noise. + +Ransom smirks. + + RANSOM + Shit + 128. + + + And is VIOLENTLY TACKLED out of frame by Trooper Wagner. + + Leaving Marta lying on her back. Blanc shouting if she's + alright, Elliott and Wagner wrestling Ransom into cuffs, it + all fades into the background as she holds the knife and + stares at the ceiling. + + +192 INT. SMALL STUDY 192 + + CLOSE ON: Harlan's old baseball being set carefully back in + place. + + By Linda. She's about to leave, but she notices the pink + envelope on the desk. Picks it up, takes out the blank + note. Seems to recognize it, and smiles sadly. + + +193 EXT. THROMBEY ESTATE FRONT DRIVE - LATER 193 + + Linda comes outside and joins the family. + + Several more police cars, and an ambulance. Ransom is + loaded into the cop car. His family are held at bay by + officers, but they react in different ways - + + Richard yelling at the cops. Walt sobbing, Donna collapsed + against him, Jacob on his phone. + + Joni staring into space, ruined. Meg talking to Lieutenant + Elliott, crying. She's just learned about Fran. + + Linda watches the circus, strangely disconnected, going to + light a cigarette. With a strange smirk, she uses the flame + to warm the blank note from the office, and HIDDEN WRITING + starts to appear - a note from her father. Their secret + communication. As the letters appear, her face changes. + + +194 INT. LIVING ROOM 194 + + Marta sits, a blanket over her shoulders. An officer who's + just taken her statement walks away. Blanc approaches. + + MARTA + Can I ask. At what point did you + suspect I had something to do with + Harlan's death? + + BLANC + From the moment you first set foot + in front of me. + 129. + + + Taps her shoe. The tiny, faded spot of blood. + + MARTA + Oh my god. + + BLANC + I want you to remember something + very important: you won not by + playing the game Harlan's way, but + yours. + + Through the window she sees the family outside. + + MARTA + I should help them. Right? + + BLANC + I have my own opinion. But I have a + feeling you'll follow your heart. + + He gives her a wink, and strolls off. + + +195 INT. FOYER - LATER 195 + + Marta shuffles to the front doorway. One last glance at + Harlan's portrait, its grin now gentle and content. + + +196 EXT. FRONT PORCH - BALCONY 196 + + She stands on the threshold. Sees Blanc get into the front + door of a cruiser, and it drives off - Ransom in the back. + + He looks back at her through the window. + + The family out on the lawn. Not sure where to go or what to + do. They all turn to see: Marta standing very small, but + somehow not, in the doorway of her house. + \ No newline at end of file diff --git a/scripts/La La Land.txt b/scripts/La La Land.txt new file mode 100644 index 0000000000000000000000000000000000000000..de94a218d40e5bc033a998cbe2dc298695fca870 --- /dev/null +++ b/scripts/La La Land.txt @@ -0,0 +1,6645 @@ + 1. + + + + FADE IN: + + A sun-blasted sky. We HEAR radios -- one piece of music + after another -- + + We’re -- + + + + +1 EXT. 101 FREEWAY - DAY 1 + + Cars are at a standstill. It’s a horrific traffic jam. + + Morning rush hour. Sun beating down, asphalt shimmering in + the heat. The blown-out downtown L.A. skyline hovers in the + distance. + + We DRIFT past more CARS. Hear one snippet of audio after + another-- + + One driver taps his steering wheel to PROG ROCK. Another + sings to OPERA. A third raps along to a HIP-HOP track. We + move from a RADIO INTERVIEW to a FRENCH BALLAD to TECHNO, + until finally we begin to hear-- + + --a new, original piece of music-- [ANOTHER DAY OF SUN] + + We settle on the CAR from which this new tune is playing. + The driver is a YOUNG WOMAN. She hums along to the riff on + her radio, then starts SINGING. + + Then, she EXITS her car. Then, she starts MOVING down the + lane. + + One by one, more DRIVERS join her SINGING and DANCING + along. Without a single cut, we’ve found ourselves in a + FULL- FLEDGED MUSICAL NUMBER-- + + Drivers leap on car-tops, dance Jerome Robbins-style, + making use of the road and the hot gleam of the + automobiles. Arms swaying, feet banging, dancers darting, + as the MUSIC blasts. We WEAVE and SWIRL and DART between + and around the cars, taking the magic in-- + + Finally, all the drivers swing back into their vehicles and + the song comes to a dramatic stop. + + Flash title card: + + WINTER + 2. + + + + +2 INT. NEW CAR - CONTINUOUS 2 + + A 1983 Dodge Riviera. In it is SEBASTIAN, 32, L.A. native. + He’s listening to the radio. He’s playing a track on his + music system, a tape of Thelonious Monk’s “Japanese Folk + Song”. But he keeps stopping it, over and over and over, + always rewinding to the same exact spot. + + + + +3 INT. CAR FURTHER UP AHEAD - CONTINUOUS 3 + + A light-green 2005 Prius. Inside is MIA, 27, Nevada-raised. + Six years of “no” in L.A. have toughened her, but she’s + still a dreamer. She seems to be on the phone, speaking + into her car’s system. Fast, fiery, full of energy -- + + MIA + --and I swear to God, she was + wrecked. It was pure insanity. + + + + Mia stops. Thinks. Mutters to herself: “Insanity”. Then + leans down and grabs a piece of paper from the passenger + seat. It’s a SCRIPT. + + MIA (CONT’D) + (reading now) + Pure lunacy. Oh God, I know-- + + + + Just then, the traffic around Mia starts to let up. She’s + too focused on her lines to notice. + + Then, a long, sustained honk behind her: AHHHHHHHHHHHHHHHT. + + Mia comes to. Jerked back to reality. The honking car + behind her swerves into the next lane. It’s Sebastian. Mia + gives him the finger. We then FOLLOW her as she drives-- + + + + +4 INT. COFFEE SHOP - DAY 4 + + Mia works, photos of Hollywood icons on the wall behind + her, as -- + 3. + + + CUSTOMER #1 + This doesn’t taste like almond + milk. + + + + MIA + Don’t worry, it is. I know + sometimes it -- + + + + CUSTOMER #1 + Can I see the carton? + + + +Mia hands it over. The Customer looks. + + CUSTOMER #1 (CONT’D) + I’ll have a black coffee. + + + +Mia gets the coffee. Quickly sneaks a look at a script +hidden underneath her counter. The same one we saw in her +car-- + +She hands the coffee to the Customer. We follow the +Customer out through the door, as a WOMAN walks into the +shop. We don’t see the Woman’s face, but we see all the +eyes in the shop turn immediately to her. We see one +CUSTOMER whisper to another, discreetly pointing as the +WOMAN passes by-- + + WOMAN + Cappuccino, please. + + + +Mia nods. Gets it made. The Manager takes it from her. + + MANAGER + On us. + + + + WOMAN + No, I insist. + 4. + + + She pays. Then smiles at Mia and drops a bill in the tip + jar. Mia watches as the Woman walks off, is joined by a + STUDIO EMPLOYEE on a golf cart outside, we realize this + coffee shop is on a STUDIO LOT and is driven away-- + + Then, Mia’s phone rings. It reads: “MOM”. Mia presses + “IGNORE” and the time pops up on the phone’s screen: 4:07. + + MIA + Shit. + + + + Removing her apron and hurrying out, turning back as -- + + MANAGER + Where do you think you’re going? + + + + MIA + It’s -- five past-- + + + + MANAGER + You’d better be here early + tomorrow. + + + + MIA + Ok. + + + + -- then realizes she doesn’t have her script, runs back to + grab it, hurries on and then, CRASHES into a table. Coffee + and food spill all over her shirt, and all at once we’re -- + + + + +5 INT. AUDITION ROOM - DAY 5 + + Mia’s in a thick winter coat, covering her stained shirt. + On her cell, loudly laughing while her adrenaline surges -- + + MIA (CONT’D) + And I swear to God, she was + wrecked. It was pure lunacy. Oh + God, I know-- + 5. + + + + +Her nerves are practically visible. As she talks, we PULL +BACK to see that she’s auditioning for a CASTING DIRECTOR. + + MIA (CONT’D) + No, no, Turner’s fine. So you -- + are you waiting ‘til Denver to tell + her--? + (as her smile contracts) + Oh. I see-- + (silence; she clenches + her jaw) + No, you’re right. I understand. + (--and a tear falls from + her eye) + Ok-- I just-- Oh-- + + + +An ASSISTANT appears through the glass on the door behind +Mia, waving to the Casting Director. + + ASSISTANT + Yoohoo. Can I come in? + + + + MIA (CONT’D) + (crying now) + No, I’m happy for you-- I -- I just + -- + + + + CASTING DIRECTOR + One second. + + + +Mia stops. The Casting Director waves the Assistant in. The +Assistant scurries in, shows her boss a post-it. Mia stands +there, trying to hold onto the tears, hold onto the +emotion, as the Casting Director reads the post-it and +thinks. + + CASTING DIRECTOR (CONT’D) + --I’ll call her back. Tell her I’m + almost done in here. + 6. + + + The Assistant nods. Walks out. Mia waits, trying to + maintain-- + + CASTING DIRECTOR (CONT’D) + You know what? I think we’re good. + Thanks for coming in. + + + + Mia looks at her. A beat. + + + + +6 INT. LOBBY - DAY 6 + + Mia exits. Nerves still on edge. Passes one beautiful + redhead after the next, all getting ready to cry. + + Enters the elevator with two other WOMEN, tall, statuesque. + Also redheads. + + + + +7 INT. MIA’S APARTMENT - EARLY EVENING 7 + + Mia enters. Exhausted. Heads to her ROOM. + + Old movie posters hang on the walls, including a big Ingrid + Bergman one over the bed. There’s also a shelf filled with + acting books, Uta Hagen, Stella Adler. Various other + trinkets: an old globe, an old blue-and-red suitcase. Mia + takes off her shoe. A blister on her sole. + + + + +8 INT. BATHROOM - CONTINUOUS 8 + + Just showered, wrapped in a towel. She hums to herself. + + The mirror is fogged up. She turns off the vent. The mist + on the glass thickens. She dabs some of it away. Dims the + lights. Looks-- + + With the fog in place, her reflection looks like one of + those soft-focus old Hollywood close-ups. She hums as she + brushes her hair-- + + Then, the door SWINGS open and the spell is broken. + 7. + + + TRACY + Holy Mother of God. + + + +Mia snaps out of it. Turns. Fog is enveloping TRACY, 27. + + TRACY (CONT’D) + Ever heard of a vent? + + + + MIA + I wanted to give you an entrance. + + + + ALEXIS + (appearing in the hall, + 26, eating Cheetos) + Mia! How’d it go? + + + + MIA + Eh-- + + + + ALEXIS + Same here. Was Jen there? Or + Rachel? + + + + MIA + I don’t know who Jen and Rachel + are. + + + + ALEXIS + They’re the worst. + + + + MIA + I don’t know if they were there. + + + +As Mia slips away -- + 8. + + + ALEXIS + I bet they were. + + + + CAITLIN + (appearing, 27) + Why is there a convention in the + bathroom? + + + + TRACY + Two minutes, people! Mia you’re + coming, right? + + + + +9 INT. MIA`S BEDROOM - CONTINUOUS 9 + + MIA + Can’t. Working. + + + + TRACY (O.S.) + What? + (we PAN BACK to Tracy) + Did she say “working”? + + + + We follow Mia INSIDE her room. She closes the door. Takes a + moment. You can tell in her eyes work or not, a night on + the town is the last thing she wants to do now. + + + + +10 INT. HALLWAY - CONTINUOUS 10 + + To find Tracy POUNDING on Mia’s door. + + MIA + (opening up) + Yes? + + + + TRACY + 9. + + + Look, I know things didn’t go well + today. There are four things in my + inbox that you’re perfect for and I + will submit you. But right now -- + you’re coming. + + + +With that she barges in and beelines to Mia’s closet -- + + TRACY (CONT’D) + It’ll be fun. + + + + MIA + It’ll be a bunch of social climbers + packed into one of those glass + houses. + + + + TRACY + Exactly. Fun. + + + +She pulls out a blue dress. As Alexis hurries in -- + + TRACY (CONT’D) + MIA This looks familiar. I was + going to give it back! + + + +Alexis moves from Mia’s perfume to the dress, lighting up +as she grabs it -- + + ALEXIS + Come on, Mia. When else do you get + to see every Hollywood cliché + crammed into a single home? + + + + TRACY + (faux-offended) + Lex! I’m disappointed in you. + There’s nothing to make fun of. + This party will be humanity at its + finest. + 10. + + + Mia rolls her eyes and, with that -- + + Tracy BREAKS INTO SONG. [SOMEONE IN THE CROWD] + + She play-acts the clichés this party will represent. Alexis + and Caitlin join in, giddy and playful. Mia can’t help but + laugh. The roommates sing and dance, hoping to persuade Mia + to join the night’s revelry-- + + Mia remains reluctant. Stays behind in her room as her + roommates head out the door. But she’s starting to wonder: + A night at home, feeling sorry for herself or a night out + with her friends? + + + + +11 EXT. APARTMENT BUILDING - STREET - NIGHT 11 + + We’re outside now, and BACK with Tracy, Alexis and Caitlin, + marching across the courtyard and toward the street. They + sing, dance, half-assuming Mia is a no-go -- + + -- until Mia APPEARS, blue-dress-clad. Her roommates look + at her in surprise -- then delight. The energy swells and + the four characters dance their way together down the + street. They dive into a single CAR. + + DISSOLVE TO: + + + + +12 EXT. CITY - NIGHT 12 + + An old-fashioned MONTAGE of a night on the town: neon signs + and overflowing champagne glasses. Soon enough, we’re at... + + + + +13 EXT. MODERN HILLTOP HOUSE - NIGHT 13 + + Valet cars lined up. We FOLLOW Alexis, Tracy, Caitlin and + Mia to the door-- + + + + +14 INT/EXT. HILLTOP HOUSE - NIGHT 14 + 11. + + + --and into a big-glass hilltop pad. We FOLLOW Mia as she + takes in her surroundings. + + A D.J. turning tables. A FAT OLD PRODUCER dancing with a + TWENTY-SOMETHING. A trio of AGENTS glad-handing each other + in rhythm by the bar. Yep, every cliché is here-- + + Mia tries talking to a pair of WOMEN, who promptly ditch + her. + + Seeing she’s now alone, a YOUNG MAN swoops in to hit on + her. + + She makes a hasty exit toward the bar, but the line’s + obscenely long. + + She nears the BATHROOM door, but a COUPLE stands in her + way, making out. + + She slips in behind them-- + + + + +15 INT. BATHROOM - CONTINUOUS 15 + + Mia takes a moment. The joy of seconds ago is gone from her + eyes now. She gazes into the mirror -- + + -- and SINGS by herself. + + This verse, sung in private, belongs to a new style: less + brash, and far more vulnerable-- + + Once finished, Mia takes a breath, steels herself to once + again face the world, opens the door and rejoins the crowd- + - + + We MOVE with her slowly now surrounded by the party, but + everything set at a snail’s pace, the crazed carousers + moving in SLOW MOTION. It’s the sadness underneath the + revelry, the pain underneath the clichés-- + + + + +16 EXT. OUTSIDE - CONTINUOUS 16 + + Gradually we RAMP UP. Follow Mia OUTSIDE, where we see the + splash of blue-green that is the POOL and a flurry of FAKE + SNOW falling from above-- + 12. + + + As we reach FULL-SPEED, a PARTY-GOER races to the edge, + jumps -- + + -- and we PLUNGE WITH HIM INTO THE POOL. + + This is the climax of the number. Everyone joins in, + circling the pool a swath of color against the black sky. + Everyone dances, everyone sings and the song concludes with + a blast of fireworks. + + + + +17 EXT. STREET - NIGHT 17 + + Close on a sign: “NO PARKING ANYTIME: TOW-AWAY ZONE”. + + MIA (O.S.) + No-- + + + + We see Mia, all alone, staring at the sign. No car in + sight. She reaches into her purse, pulls out her cell phone + to call Tracy. It’s dead. + + MIA (CONT’D) + No-- + + + + +18 EXT. HILL - LOS ANGELES STREETS - NIGHT 18 + + Mia trudges down the steep hill in her unwieldy heels. + She’s an hour-and-a-half walk from her place. She crosses + roads and lots, navigates stretches where the sidewalk + stops and gives way to shrubbery. + + And then, she hears something-- Music. A piano, in the + distance. And a MELODY, one we will come to know very well- + - + + Without being sure why, she FOLLOWS THE SOUND. Passes + several doors. Then stops. Has found where it’s coming + from-- + + She reaches out and slowly opens a door-- + + CUT BACK TO: + 13. + + +19 EXT. 101 FREEWAY - EARLIER THAT MORNING 19 + + AHHHHHHHHHHHHHHHHHHHHHHT. The same 101 traffic jam we began + with. This time we’re on Sebastian, the honker. + + He passes Mia’s car. She gives him the finger. He drives + on, shaking his head-- + + + + +20 EXT. RAYO’S - MOMENTS LATER 20 + + Sebastian sips a coffee as he gazes across the street at a + 30’s Deco building. A sign above the door: “VAN BEEK”. A + newer sub-heading below: “TAPAS & TUNES”. + + The door opens. Two EMPLOYEES step out, setting up a valet + stand. Sebastian watches them and shakes his head. The + employees notice him. Recognize him. What is it with that + guy? + + + + +21 INT. SEBASTIAN’S APARTMENT - DAY 21 + + Sebastian enters his apartment, cramped, dingy, bare walls, + no furniture or decoration, boxes filled with dusty black- + and-white photographs and unused instruments on the floor, + a black Steinway upright piano in the center of the living + room and sees a WOMAN rummaging around. + + SEBASTIAN + You gotta stop breaking into my + home. + + + + She looks up. She’s 37 quickly going on 50, and dressed + like she doesn’t care. This is LAURA, Sebastian’s older + sister. + + LAURA + You think Mom or Dad would call + this a home? + + + + Seeing that she’s seated on a stained, decrepit stool -- + + SEBASTIAN + Please don’t sit on that. + 14. + + + + + LAURA +Are you serious? + + + + SEBASTIAN +Yes. Hoagy Carmichael sat on that +stool. The Baked Potato was gonna +throw it away. + + + + LAURA +I wonder why. + (then, rising,) +I brought you this. It’s a throw +rug. + + + + SEBASTIAN +Don’t need it. + + + + LAURA +Yeah? What if I told you Miles +Davis pissed on it? + + + + SEBASTIAN +That’s almost insulting. Did he? + (She shakes her head) +Unbelievable. Tosses the rug to the +side. + + + + LAURA +When are you going to unpack these +boxes? + + + + SEBASTIAN +When I unpack them in my club. + 15. + + + LAURA + Oh my God. It’s like a girl broke + up with you and you’re stalking + her. + (then, looks at him --) + You’re not still going by there, + are you? + + + + SEBASTIAN + No. + + + +A beat. Then -- + + SEBASTIAN (CONT’D) + They’ve turned it into a tapas- + samba place. You believe that? + + + + LAURA + Seb -- + + + + SEBASTIAN + Who wants to tapas while they + samba? + + + + LAURA + I have someone I want you to meet. + + + + SEBASTIAN + I don’t want to meet anyone. + + + + LAURA + You’ll like her. + + + + SEBASTIAN + Uh-huh. Does she like jazz? + 16. + + + + + LAURA +Probably not. + + + + SEBASTIAN +Then what are we gonna talk about? + + + + LAURA +You’ll talk about the weather. + + + + SEBASTIAN +Ok. Then I have someone I’d like +you to meet. He’s got a face +tattoo, but a heart of gold. + + + + LAURA +Sebastian -- + + + + SEBASTIAN +How long’s it been? + + + + LAURA +You need to get serious. You live +like a hermit. You’re driving +without insurance. + + + + SEBASTIAN +I am serious. I had a very serious +plan for my future. It’s not my +fault I got Shanghaied. + + + + LAURA +You did not get “Shanghaied”, you +got ripped off. + 17. + + + + + SEBASTIAN + What’s the difference? + + + + LAURA + It’s not as romantic as that. + (she starts to walk off) + And everyone knew that guy was + shady except for you. + + + + SEBASTIAN + Why do you say romantic like it’s a + dirty word? + + + + LAURA + Unpaid bills are not romantic. Call + her. + + + +She heads to the door. He follows her, won’t give it up -- + + SEBASTIAN + You’re acting like life’s got me on + the ropes -- what you don’t + understand is, I want to be on the + ropes. I’m letting life hit me + ‘till it gets tired. Then I’m gonna + make my move. It’s a classic rope- + a-dope. + + + +Laura can’t help but laugh. Stops by the door. Looks at +him. + + LAURA + I love you. Unpack your boxes. + + + + SEBASTIAN + I’m changing the locks. + 18. + + + LAURA + (out the door with a + smile --) + You can’t afford it. + + + + She’s gone. Sebastian thinks for a beat, then calls out -- + + SEBASTIAN + I’m a phoenix rising from the + ashes! + + + + No reply to his triumphant declaration. He shuts the door. + Looks again at the napkin. Thinks. Tosses it in the trash. + + + + +22 INT. SEBASTIAN’S APARTMENT - LATER 22 + + Moments later. Sebastian takes a slice of pizza from the + fridge, pours himself some more coffee, places a Thelonious + Monk LP onto a record player, and sits down at the piano. + + “Japanese Folk Song” the piece we heard in his car plays-- + + Sebastian plays along. Stops. Moves the record back a few + bars. Starts it again. Plays the same passage over. Stops. + Moves the record back a second time. Plays the passage + again. Stops. Over and over, just like in his car until, + finally, he gets it right. + + He keeps playing, louder now, and we’re -- + + + + +23 INT. RESTAURANT - NIGHT 23 + + A red-booth bar-and-restaurant. Christmas decorations all + over. Sebastian steps in. Immediately beelining over -- + + BOSS + Seb. + + + + SEBASTIAN + (putting on a smile) + 19. + + + Bill. Thanks for having me back. + + + + BOSS + Your welcome. Stick to the set + list. + + + + SEBASTIAN + Of course. + (under his breath as he + heads to the piano) + Though I don’t think they care what + I play. + + + + BOSS + I do, and I don’t want to hear the + free jazz. + + + + SEBASTIAN + How ‘bout one for you, one for me? + Or two for you, one for me? + (the Boss just glares) + Or all for you, none for me? Ok, + that works. Good deal. + + + + Sebastian sits down at the keys. A WAITRESS passes by. + + WAITRESS + Well-- Welcome back. + + + + SEBASTIAN + There’s a nice way to say that. + + + + With that he starts playing “Jingle Bells”. + + + + +24 INT. RESTAURANT - LATER 24 + 20. + + +The restaurant’s demographic has changed. It’s now younger +stragglers wandering in. Sebastian looks beyond bored. He +finishes “We Wish You a Merry Christmas”. Zero applause. + +He begins a new chart: “Deck the Halls”. But something +seems to come over him now. He’s restless. Slowly, his +playing drifts off, his fingers charting their own path-- + +And then, we hear a melody. The one Mia heard outside. The +one we’ll refer to from now on as Mia and Sebastian’s song- +- + +The door opens and Mia steps in. She sees Sebastian at the +piano. Is instantly struck by his playing. [MIA AND +SEBASTIAN’S THEME] + +Gradually, all sounds but the music drop out. We drift away +from reality. Even the walls seem to go slightly darker, as +though Sebastian and Mia were all alone-- He concludes his +piece with a jumble of chords, his playing almost free jazz +now, as we pull back to real life-- + +--and see the Boss looking on in scorn. + +Sebastian finishes. Silence. Mia looks like the wind has +been knocked out of her. Sebastian looks up for a second +and sees her. They look at one another. Just a moment. + +Then, the Boss taps Sebastian on the shoulder. WE STAY ON +Mia as she watches Sebastian rise with the Boss. We just +see the Boss talking to Sebastian, can’t hear what is said. +Then, we get closer and realize: + + BOSS + --every goddamn night. + + + +Sebastian is silent. Then, doesn’t want to have to beg but +-- + + SEBASTIAN + I’ll stick to the set list, I + promise -- + + + + BOSS + Too late. You’re done. + + + + SEBASTIAN + 21. + + + You’re not gonna find a better + player. You know that. + + + + BOSS + (leans in, and --) + Do you think anyone here gives a + shit? + + + + With that, the Boss walks off. We linger on Sebastian. + Anger giving way to hurt. He starts hurrying toward the + door. + + BACK to Mia who didn’t hear what was said. She watches + Sebastian, takes a breath, so moved that she’s about to lay + it all out, swoops in to corner him and -- + + MIA + I just wanted to say -- I saw your + playing, and I -- + + + + -- but Sebastian just walks right by his shoulder bumping + against Mia’s for an added measure of disdain. + + He heads out the door. Slams it shut. Mia is left standing + on her own. She looks like she’s just been slapped. + + CUT TO BLACK: + + SPRING + + + + +25 INT. AUDITION ROOMS - DAY 25 + + Mia auditions. Pilot season cattle-call, a series of soul- + crushing try-outs. She’s pandering to the hilt. Quick + glimpses: + + MIA (CONT’D) + I don’t like the fissure on the GT + scan. Did you test for + achromatopsia? + 22. + + +26 INT. A SECOND AUDITION - CONTINUOUS 26 + + MIA (CONT’D) + D.O.A. on 23rd, perp laughing his + face off at P.D. Damn Miranda + Rights. + + + + +27 INT. A THIRD AUDITION - CONTINUOUS 27 + + MIA (CONT’D) + This is my classroom. You don’t + like it, the door’s to my left. + + + + READER (O.S.) + (a well-dressed forty- + year-old WOMAN reading + from sides) + Lady why you be trippin’ like that? + + + + MIA + No, Jamal. You be trippin’. + + + + +28 EXT. PARTY - DAY 28 + + Mia wanders around another party. A BAD 80’s COVER BAND + plays. + + TRACY + There you are! You need to meet + someone! Carlo, this is Mia. Mia, + Carlo’s a writer. + + + + CARLO TRACY + Nice to meet you, Mia. + + + + He’s got projects all over town. + + CARLO + 23. + + + (shrugs, faux-modest) + They say I have a knack for world- + building. + + + + MIA + (takes this in; then --) + Congratulations. I have to grab a + drink... + + + +She slips away. Presses toward the bar. The music gets +louder, more obnoxious. She peers toward the band to get a +look-- + +And then she sees him. Sebastian. + +Playing keyboard-guitar for the band. Dressed up like his +band- mates in a bright polyester outfit. And hating every +second. + +The band finishes, and the SINGER addresses the (thin) +crowd. + + SINGER + Alright, one more for y’all before + we break. Do I hear any requests? + + + + MIA + “I Ran”. + + + +Sebastian turns. Sees Mia, looking at him with a defiant +grin, enjoying her power. He thinks, then recognizes the +face. + + SINGER + “I Ran” it is. + (to Sebastian) + Wanna start us off, piano-man? + + + +Sebastian stays silent. Mortified. Finally, so reluctant, +he taps his keyboard to count the band in and begins +playing. + 24. + + + On the keys, it’s a single note, repeated measure after + measure. Mia knew this. Sebastian looks at her. She smiles + right back. + + SINGER (CONT’D) + I walked along the avenue-- + + + + +29 EXT. PARTY - INT. HOUSE - MOMENTS LATER 29 + + Set break. Sebastian hurries from the keys, enters the + house, looks both ways, finally spots Mia and -- + + SEBASTIAN + Ok. I remember you. + + + + Mia looks at him. One eyebrow raised. Yeah? + + SEBASTIAN (CONT’D) + And I’m sorry if I was curt that + night. + + + + MIA + “Curt”? + + + + SEBASTIAN + Ok I was an asshole. I can admit + that. + + + + MIA + Ok. + + + + SEBASTIAN + But requesting “I Ran” from a + serious musician, it’s too far. + + + + MIA + 25. + + +My God. Did you just call yourself +“a serious musician”? + + + + SEBASTIAN + (beat) +I don’t think so. + + + + MIA +Can I borrow what you’re wearing? + + + + SEBASTIAN +Why? + + + + MIA +Because I have an audition next +week. I’m playing a serious fire- +fighter. + + + + SEBASTIAN + (irritation building --) +So you’re an actress. That makes +sense. Have I seen you in anything? + + + + MIA +Uh-- The coffee shop on the Warner +Brothers lot. That’s a classic. + + + + SEBASTIAN +Oh, you’re a barista. Well now I +see how you can look down on me +from all the way up there. + + + + SINGER + (popping in from nowhere) +Sebastian. Second set. + 26. + + + + + Sebastian looks at Mia. She smirks. Pleased. The Singer + walks off. + + SEBASTIAN + He doesn’t tell me what to do. + + + + MIA + He just told you what to do. + + + + SEBASTIAN + I let him. + + + + A beat. + + SEBASTIAN (CONT’D) + What’s your name? + + + + MIA + Mia. + + + + SEBASTIAN + Mia. Guess I’ll see you in the + movies. + + + + He heads back to the keys, and the band resumes: + + SINGER + Never seen you lookin’ so lovely as + you did tonight-- + + + + +30 EXT. PARTY - STREET - NIGHT 30 + 27. + + +The party’s finished. Sebastian exits, pulling out his +keys, as we DRIFT and see a long line to the VALET. +Standing way in the back, waiting, is Mia. She’s stuck once +again with CARLO, who’s regaling her -- + + CARLO + --Goldilocks from the point of view + of the bears. Home-invasion + thriller. Fox and Warners are going + crazy for it. + + + +Mia spots Sebastian, passing by the Valet with his keys. + + CARLO (CONT’D) + --We’re going after Charlize. For + the bear. We’re flipping it. Feels + like a franchise. But the thing is + it’s grounded. + + + + MIA + (to Sebastian) + George Michael! + + + +Sebastian stops. Looks at her. Surprised. + + SEBASTIAN + You again. + + + + MIA + Did you just get your keys? + + + +Sebastian thinks. Sees the Valet. Playing it off -- + + SEBASTIAN + --Yeah. + + + + MIA + Can you grab mine? + 28. + + + SEBASTIAN + --Which one is it? + + + + MIA + The Prius. + + + + A beat. Sebastian turns to the Valet’s box. Motions to the + + VALET: + Sorry. One second. Looks. All the + keys are Prius keys. + + + + MIA (CONT’D) + The one with the green ribbon. + + + + Another beat. Sebastian finds it. Grabs it. + + + + +31 EXT. STREET - NIGHT 31 + + Mia and Sebastian trudge up a hill lined with cars. Mia + aims her key fob. No beep. Sebastian points his own keys, + also aiming for a beep. Silence. They’ve been at this for a + while. + + MIA (CONT’D) + (almost tripping in her + heels) + Shit-- + + + + SEBASTIAN + Those look comfortable. + + + + MIA + They aren’t. + 29. + + +A beat. She aims again. No beep. + + MIA (CONT’D) + Thank you for saving the day back + there. + + + + SEBASTIAN + You didn’t give me much of a + choice. + + + + MIA + Strange that we keep running into + each other. + + + + SEBASTIAN + It is strange. Maybe it means + something. + + + + MIA + I doubt it. + + + + SEBASTIAN + Yeah I don’t think so either. + + + +On that, Mia aims again. As always, no beep. Noticing -- + + SEBASTIAN (CONT’D) + Put the clicker under your chin. + + + + MIA + What? + + + +Sebastian demonstrates with his fob. He looks idiotic. + + SEBASTIAN + 30. + + + It turns your head into an antenna. + Probably gives you cancer, but you + find your car more quickly. + + + + MIA + Uh-huh. + + + + SEBASTIAN + You don’t live as long, but you get + things done faster, so it all evens + out. + + + + MIA + Oh my God. + + + +Just then, they reach a clearing AND THE CITY SKYLINE +APPEARS BELOW. A ribbon of lights, stretching as far as you +can see. It’s the most romantic sight imaginable. They look +at each other. A beat. And then -- + + MIA (CONT’D) + Eh. + + + +They walk on, the lights shimmering behind. + + SEBASTIAN + Not much to look at. + + + + MIA + Agreed. I’ve seen better. + + + +And on that they SING. [A LOVELY NIGHT] + 31. + + +Mia and Sebastian try to downplay the romanticism of this +setting, this moment, being lost here, at night, alone +together, atop a hill, the city glittering before them. +It’s “no big deal”, nothing they haven’t seen or felt +before because, after all, there’s no chance for romance +between them-- + +Of course, the music, swelling and building, suggests +otherwise. Mia tires of her heels, finds a bench and fishes +for flats in her handbag. Sebastian sits beside her as she +slips the flats on. They look at each other, suspicious... + +He moves his foot. She moves hers. They look at each other +again. Still suspicious-- + +He moves again. She moves again. They seem to be moving in +sync without their even wanting to-- + +And bit by bit before our eyes, they’ve almost slipped into +DANCE-- + +Sebastian rises. Mia rises as well. The two look at each +other. Run back to the bench, hop atop it, the lights +stretch out like a magic carpet. They share a moment, share +a look, jump off, AND START REALLY DANCING NOW-- + +Mia does a move, Sebastian responds. Sebastian does a move, +Mia shakes her head: “Nope”. They make the road their own, +growing more and more energized, as surprised as we are to +find -- + +--that they can really dance together. + +Just as this starts to look like a blossoming romance, real +joy peeking through, our two heroes getting closer and +closer and closer, looking at each other almost giddily-- + +--a sound cuts through. It’s a CELL PHONE ring. + +Mia and Sebastian turn to her handbag, back by the bench. +Snapped out of it, Mia heads over and pulls out her cell. + + MIA (CONT’D) + Hey-- Greg--? Can you hear me--? + Yeah, I’m just leaving now-- OK, + see you soon-- + + + +She hangs up. Looks at Sebastian. An awkward silence. +Finally, she presses her fob again. Puts it under her chin +this time. A BEEP can be heard. They see her Prius. + 32. + + + MIA (CONT’D) + Ah. Great-- Well-- Do you want a + ride to your car? + + + + SEBASTIAN + No, that’s fine-- Thanks-- + + + + MIA + --Ok-- + + + + Not sure what else to say, she heads to her vehicle. Waves. + + MIA (CONT’D) + Night. + + + + Sebastian waves back. Mia drives off. Fast. Silence-- + + Looking even more disappointed than he thought he’d be, + Sebastian walks on for a bit, then retreats back down. + + + + +32 EXT. HIS RIVIERA - CONTINUOUS 32 + + Comes to a stop across from the party, and we see his + Riviera right, it seems, where he knew it was all along. He + pulls out his keys, they don’t have a clicker after all. + + + + +33 INT. COFFEE SHOP - DAY 33 + + CLOSE on -- + + CUSTOMER + Are these pastries gluten-free? + + + + Mia’s at work. A typically chaotic day. + + MIA + 33. + + + No-- + + + + CUSTOMER + What?? I want a refund. + + + +Mia nods, heads to the Manager -- + + MANAGER + You’re closing up Friday. + + + + MIA + I have an audition. Remember? + + + + MANAGER + Do I look like I care? Reschedule + it. + + + + MIA + But you said -- + + + + MANAGER + And fix your apron. + + + +With that, the Manager walks off. Mia is silent for a +moment, wants to talk back but needs this job, then turns +and sees Sebastian at the counter. + + MIA + --Hi. + (then) + What are you doing here? + + + + SEBASTIAN + Meetings. Studio heads. + 34. + + + MIA + Uh-huh. How’d you get on the lot? + + + + SEBASTIAN + Piece of cake. + + + + Mia looks at him. He’s sweating through his shirt. A beat. + + SEBASTIAN (CONT’D) + Actually it took me four hours and + I ended up running. We probably + have twenty minutes before the guy + finds me. You got a break coming + up? + + + + Mia laughs. A moment. + + MIA + I’m off in ten. + + + + SEBASTIAN + Great. I’ll hide in the bathroom. + + + + +34 EXT. COFFEE SHOP - STUDIO LOT - DAY 34 + + Mia exits, apron off. She and Sebastian start walking. She + points across the street to the façade of a Parisian + apartment. + + MIA + That’s the window Ingrid Bergman + and Humphrey Bogart looked out of + in Casablanca. + + + + Sebastian nods. They start walking. + + SEBASTIAN + What’s your Bogart’s name--? + (Mia looks at him) + 35. + + + Is it Greg? + + + + MIA + Yeah. Greg. + + + + SEBASTIAN + How long have--? + + + + MIA + We’ve been seeing each other for a + few months. + + + +An awkward beat. They pass a wooden SALOON where a WESTERN +is being shot. Extras in COWBOY costumes drink coffee on +the steps. + + MIA (CONT’D) + I love this stuff. Makes coming to + work easier. + + + + SEBASTIAN + I know what you mean. I get + breakfast five miles out of the way + just to sit outside a jazz club. + + + + MIA + Oh yeah? + + + + SEBASTIAN + It was called Van Beek. The swing + bands played there. Count Basie. + Chick Webb. + (then,) + It’s a samba-tapas place now. + + + + MIA + 36. + + + A what? + + + + SEBASTIAN + Samba-tapas. It’s-- Exactly. The + joke’s on history. + + + +Mia laughs. + + SEBASTIAN (CONT’D) + Anyway, that’s L.A. They worship + everything and they value nothing. + + + +They reach a patch of green. Another shoot. A P.A. yells +out: + + P.A. + Clear the frame! + + + + MIA + (to Sebastian) + We need to wait here. + + + + SEBASTIAN + I know. They shoot movies on my + street. “C-stands.” “Apple box.” + “Don’t forget to sign out.” + + + +Mia laughs. A beat. + + A.D. (O.S.) + Quiet on set! + + + +Mia and Sebastian watch the cameras roll. Then, in a +whisper -- + + SEBASTIAN + How’d you get into all this? + 37. + + + + + MIA + Into--? Oh -- I -- my aunt was an + actress. She was in this traveling + theater company-- And there was + this little library across the + street from my house when I was + growing up. This was Boulder City, + Nevada -- every house looked + exactly the same. I was ten and + already I needed to get out. And + one day, my aunt flew into town, + and she showed me the library’s + old-movie section. We spent a whole + day watching one after the other. + Bringing Up Baby. Notorious. + Casablanca. I never knew the world + was so big. + + DIRECTOR (O.S.) + Cut! + + + +Mia and Sebastian resume walking. Now, at full volume -- + + MIA + I started putting on plays in my + garage. I’d write the scripts and + print up programs, and she’d give + me props to use from wherever she’d + just been -- New York, London, + Paris. And then she’d jet off again + and I wouldn’t hear from her for + another year. + + + + SEBASTIAN + Who would you invite to watch? Your + parents? + + + + MIA + God no -- I didn’t invite anyone. + That would have been terrifying. + + + + CUT TO: + 38. + + +The entrance to a giant soundstage. + + MIA (CONT’D) + Honestly, I wish I loved something + else. I’ve tried so hard to want + other things. + + + +She and Sebastian stop. Peer inside the stage. + + MIA (CONT’D) + I left school after two years to + come here, my fourth manager just + dropped me, and my last audition + was for a teen soap pitched as + Dangerous Minds meets The O.C. + (a beat; then, deadpan) + Should’ve been a lawyer. + + + +They resume walking. + + CUT TO: + +A row of closed soundstages, sandy-tan against the bright +blue sky. + + SEBASTIAN + --‘Cause the world needs more + lawyers. + + + + MIA + Well it doesn’t need more + actresses. + + + + SEBASTIAN + You’re not just an actress. + + + + MIA + What do you mean, “just an + actress”? + 39. + + + SEBASTIAN + You said it yourself, you’re a + child- prodigy playwright. + + + + MIA + That is not what I said. + + + + SEBASTIAN + You’re too modest to say it but + it’s true. So you could write your + own roles. Write something that’s + as interesting as you are. + + + + MIA + Last thing I wrote was a stand-up + routine for an open-mic night. It + was horrible. + + + + SEBASTIAN + All I’m saying is -- Louis + Armstrong could have played the + marching-band charts he was given. + What did he do instead? He made + history. + + + + MIA + Ok, I’ll stop auditioning and make + history instead. + + + +Sebastian laughs. + + MIA (CONT’D) + Anyway -- I’m getting a feeling + there’s something I should tell + you-- + + + + SEBASTIAN + Yeah? + 40. + + + + + MIA + I hate jazz. + + + + Sebastian stops. Turns to her. + + SEBASTIAN + What does that mean? “I hate jazz”? + + + + MIA + It means when I listen to it I + don’t like it. + + + + SEBASTIAN + But it’s such a blanket statement. + It’s like saying “I hate animals”. + + + + MIA + I do hate some animals. + + + + SEBASTIAN + Do you need to be anywhere right + now? + + + + Mia looks at him. We hear DRUMS. A swinging ride pattern. + And we’re in -- + + + + +35 INT. LIGHTHOUSE CAFE - DAY 35 + + -- an old-school JAZZ CLUB. It’s almost empty, only aged + JAZZ CATS here, except for Mia and Sebastian, watching a + QUARTET-- + + SEBASTIAN (CONT’D) + 41. + + + Most people say they hate jazz + because they don’t have context. + They don’t get where it came from. + All these people packed into + flophouses in New Orleans, speaking + five different languages, and jazz + was how they talked to each other. + + + + MIA + I thought it was just Kenny G. + + + + SEBASTIAN + --What? + + + +Mia looks at him. Already knows just how to get to him. + + MIA + I associate it with facials. It’s + relaxing. + + + + SEBASTIAN + It’s not relaxing! Sid Bechet got + into a gunfight ‘cause somebody + told him he played a wrong note! + + + + MIA + (laying it on thick) + Right, but it’s good to talk over. + Where I grew up there’s this jazz + station they’d play at cocktail + parties whenever they served the + salami and cheese. + + + + SEBASTIAN + Mia. These are things you can’t + unsay. + + + +She bursts into laughter. Sebastian points to the band -- + 42. + + + SEBASTIAN (CONT’D) + It’s not cocktail music -- it’s a + high- wire act. These guys are + performing and composing and + rearranging all at once. + + + +A beat. Mia looks at the band. We DRIFT over the +instruments-- + + SEBASTIAN (CONT’D) + That’s why you need to be in the + space and see what’s at stake. This + whole thing -- it’s dying. In + twenty minutes they’ll head off to + cut commercial sessions or do pit + at the Pantages ‘cause they have to + -- but when I have my own place -- + my club -- they’ll play whatever + they want. + + + +Mia looks at Sebastian. Her laughter has subsided. She can +see something in him now, the same passion he’s speaking +of-- + + MIA + Your club? + + + + SEBASTIAN + --It’s gonna be the old Van Beek. + I’m getting the lease back. It’ll + be perfect. + + + +He watches the band. Lost in the sound. Then, sincere -- + + SEBASTIAN (CONT’D) + The world tells everyone to move + on. Says the music’s had its + moment. But I love it too much. I’m + not moving on. + + + +The band finishes. The ride cymbal sizzles in the air-- + + SEBASTIAN (CONT’D) + 43. + + + So? + + + + He looks at Mia. She’s visibly moved. + + Just then, we hear a BEEP. Mia looks at her phone. + + + + +36 INT. SIDE CORRIDOR - LIGHTHOUSE CAFE - CONTINUOUS 36 + + MIA + Hi, I just missed a call-- + + + + +37 INT. LIGHTHOUSE CAFE - MOMENTS LATER 37 + + Mia steps out, dazed. Sebastian’s listening to a new tune. + He spots Mia, turns to her as, shouting over the music -- + + MIA (CONT’D) + I got a call-back! + + + + SEBASTIAN + Really? For what? + + + + MIA + That show I told you about. + + + + SEBASTIAN + Dangerous Minds meets The O.C.? + + + + MIA + Right. It’s -- actually more like + Rebel Without a Cause. + + + + SEBASTIAN + 44. + + + That’s amazing! “I got the + bulletsssss!” + + + +Mia laughs. But Sebastian can tell something in her laugh-- + + SEBASTIAN (CONT’D) + You’ve seen it, right? + + + + MIA + Obviously. + (a beat; then --) + No. + + + + SEBASTIAN + What? You’re the movie person. + + + + MIA + It’s the one I lie about. + + + + SEBASTIAN + Come on. You can’t do this audition + and never see Rebel. The theater + near me’s playing it. If you want - + - I can take you. For research. + + + + MIA + (considering this) + --Ok. + + + + SEBASTIAN + 10pm Monday at the Rialto. Cool? + + + + MIA + Ok. + (another nod, taking it + in) + 45. + + + For research. + + + + Mia looks at him, he looks at her, each of them suppressing + a newfound giddiness-- And on that -- + + + + +38 EXT. LIGHTHOUSE CAFE - EVENING 38 + + Mia and Sebastian exit. Wave “good-bye”. We FOLLOW + Sebastian. He rounds the corner, nears the Hermosa Beach + pier-- + + --and begins to SING. [CITY OF STARS] Lifted by a strange + new feeling, a feeling he wasn’t expecting. The feeling + that perhaps, just perhaps, he’s falling in love-- + + He gazes out at the sea, the purple sky. Dances with an OLD + COUPLE, then continues on his way, as though caught in a + dream. There’s an uncertainty in his singing, he’s not sure + if this dream will sustain. But for now, it’s a beautiful + feeling-- The MUSIC simmers down. + + FADE OUT: + + + + +39 EXT. AUDITION BUILDING - DAY 39 + + A Pasadena building. As Mia approaches the door, another + cell ring. It’s her MOM. This time, Mia is happy to get the + call: + + MIA (CONT’D) + Hi, Mom! + + + + MIA’S MOM (O.S.) + Hi, sweetie. How are you? + + + + MIA + Great, actually: I got a call-back + on a pilot. + 46. + + + MIA’S MOM (O.S.) +Oh my God! You’re going to be on +TV?? + + + + MIA +Well -- it’s not picked up yet. + + + + MIA’S MOM (O.S.) +Not picked up? + + + + MIA +First they make the pilot, then if +they like the pilot it goes on TV. + + + + MIA’S MOM (O.S.) +And you’re in the pilot? + + + + MIA +Well, no, I have a call-back. + + + + MIA’S MOM (O.S.) +I see-- Didn’t you audition for a +TV thing last week? + + + + MIA +It’s another audition. + + + + MIA’S MOM (O.S.) +I see-- So you might get a role in +a thing that might one day be put +on TV-- + + + + MIA + 47. + + + --Well when you put it like that it + sounds like a huge accomplishment. + + + + MIA’S MOM (O.S.) + No, I don’t mean that, it’s so + exciting. What channel? ABC? HBO? + + + + MIA + Oxygen. + + + + MIA’S MOM (O.S.) + Oxygen? + + + + MIA + You know what, I have to go. I love + you. + + + + She hangs up. Takes a deep breath. Enters the building. + + + + +40 INT. WAITING ROOM - MOMENTS LATER 40 + + Mia sits, starts reviewing her script. + + Looks around her, the room is filled with ACTRESSES + silently MOUTHING THEIR LINES. It’s a bizarre sight: a + dozen women moving their mouths, with no sound coming out + at all. + + What’s more, they’re all in variations of the same type of + costume: Michelle Pfeiffer’s leather jacket from Dangerous + Minds. + + A few stare at Mia, sizing her up. In the corner, another + one of them GRUNTS while performing stretches. Then, a DOOR + to the side opens, and Mia can hear -- + + DIRECTOR (O.S.) + --We’ll be seeing you very soon. + 48. + + + + + An ACTRESS exits. Absolutely beaming. And then, a bored + voice -- + + ASSISTANT + Mia, Dolan? + + + + +41 INT. AUDITION ROOM - MOMENTS LATER 41 + + Mia steps in. The pilot’s DIRECTOR is seated at a table, + looking in his folder at Mia’s head-shot. He looks up at + Mia. + + DIRECTOR + Whenever you’re ready. + + + + Mia breathes in. Heart pounding. Sweat percolating. Has + been practicing this for days now. + + Fighting her nerves, she begins -- + + MIA + Two options. Follow my rules, or + follow my rules. Kapish? You want + to bully, you’d best be ready to + get bullied -- + + + + DIRECTOR + Thanks. + + + + Mia is taken aback. + + MIA + I can do it another way -- + + + + DIRECTOR + No, thanks, that was great. + 49. + + + We linger on Mia for a moment, and then -- + + + + +42 EXT. PARKING LOT - INT. MIA’S CAR - DAY 42 + + Crestfallen, humiliated, Mia hurries to her car. Sees a + voicemail on her cell. Plays it -- + + MIA’S MOM (O.S.) + Dad just helped me find Oxygen on + the guide! So exciting! So will you + be getting health insurance now? + + + + Mia switches her phone off and drives. Clenches her jaw. + Turns left and sees a movie theater. The Rialto. Manages a + smile. + + Something she can remain upbeat about-- + + + + +43 INT. MIA’S APARTMENT - DAY 43 + + Mia in her room, sorting through outfits. Slips into jeans + -- + + ALEXIS + Mia? + + + + -- then spins around, startled. Alexis is at the door, + eating Fritos. Has been crying. + + ALEXIS (CONT’D) + (with difficulty) + Greg’s here-- + + + + Mia looks at Alexis, completely confused. Then, Greg steps + out behind Alexis. Waves to her. + + GREG + Hey-- I’m parked out front. But we + should hurry, my brother just + landed. + 50. + + + + + Mia looks at him, still confused. Then remembers. + + GREG (CONT’D) + Did you forget? + + + + MIA + Shit. No. Yes. I’ll change-- + + + + GREG + (smiles) + It’s ok. + + + + Mia closes her door, turns, and we see her face. She’s + crushed. She goes to call Sebastian, then freezes. + Remembers something else. She never got his number-- + + We linger on her face, as, on his phone outside her door -- + + GREG (O.S.) (CONT’D) + Josh! Yep, just picking Mia up now. + Will be there in twenty. + + + + +44 INT. LIGHTHOUSE CAFE - NIGHT 44 + + Sebastian’s playing a jam session. Excited, distracted. + 10pm can’t come quickly enough. + + + + +45 INT. JAR - NIGHT 45 + + Mia, in a green dress, with Greg, his brother JOSH, and + Josh’s FIANCEE. The restaurant is posh, modern. Josh wears + a Brooks Brothers suit: he seems better-off than his + brother. + + JOSH + That’s right -- but now we’ve got a + surround-sound set-up, so it’s like + -- + 51. + + + + + FIANCEE + It’s like being in a movie theater. + + + + JOSH + It’s better than going to a + theater, really. You know theaters + these days -- + + + + GREG + Oh, sure -- + + + + JOSH + -- they’re so dirty, and they’re + either too hot or too cold, and + there’s always people talking, + which is just -- + (his phone buzzes) + -- just so annoying, I mean you’re + trying to watch a movie -- one + second -- + (opens phone) + Hello?-- + + + +His Fiancée smiles, looks at Greg and Mia, proud. + + FIANCEE + Probably work. + + + + JOSH + Yeah, I’ll have to call you back. + (closes and pockets his + phone) + So, yeah, we love it. + + + +Awkward silence. Mia hasn’t spoken a word. + 52. + + +46 EXT. RIALTO MOVIE THEATER - NIGHT 46 + + Sebastian paces. People shuffle in. He looks. No sign of + Mia. + + + + +47 INT. JAR - NIGHT 47 + + Midway through the meal. + + Mia is bored, restless, uneasy. + + JOSH (CONT’D) + One word for you. Nicaragua. + + + + GREG + I’ve never heard anyone say that. + Was it amazing? + + + + JOSH + Oh my God. A five-star jungle eco- + resort. It was unbelievable. + + + + Mia stays quiet, in her own thoughts, the voices around her + fading away. And then she hears it, coming from the + restaurant speakers, peeking out subtly at first: the + melody we now know so well-- Her and Sebastian’s song. + + She FREEZES. The radio music seems to have morphed into the + melody, and the tune stirs something deep within her -- + + A few seconds pass. And then she can’t deny it any longer. + It’s clear as day to her now. She rises from her seat -- + + GREG + Mia? + (looks at Greg) + + + + MIA + I’m sorry. + 53. + + + -- and as the sounds of a FULL ORCHESTRA swoop in -- + + -- RUNS out of the restaurant as fast as she can. + + + + +48 EXT. JAR - NIGHT 48 + + The MUSIC SWELLS, strings carrying us through and lifting + Mia’s spirits as she runs down the street in her green + dress, for once absolutely sure of what she’s doing -- + + + + +49 INT. RIALTO MOVIE THEATER - NIGHT 49 + + Inside the Rialto, Sebastian settling into his seat, the + show about to begin. He’s visibly disappointed that he’s + alone. The lights dim. Projector light cuts through the + darkness. And then, as the movie’s credits start up, + Sebastian spots, out of the corner of his eye, a figure in + the aisle -- + + He looks. The figure turns. Looks at him. It’s Mia. + + And, caught like a freeze-frame in the projector light, her + green dress incandescent, the giant movie screen behind her + like a great piece of back-projection, she looks more + beautiful than ever right now. A true old-fashioned screen + siren. + + Sebastian’s eyes go wide. He’s surprised. And thrilled. He + waves. Mia hurries toward him. Takes the seat next to his, + as Rebel Without a Cause begins -- + + + + +50 INT. RIALTO MOVIE THEATER - LATER 50 + + Half an hour has passed. The movie plays, lights flickering + on Mia and Sebastian’s darkened faces. + + He puts his arm on the armrest, she moves hers nervously. + + He scoots to his right, she scoots back. + + She edges her elbow onto the armrest, he moves his arm. + 54. + + + Inch by inch, their bodies grow closer. Hands approaching, + breaths quickening, hearts pounding -- + + -- until finally their hands touch -- + + And then, suddenly, just as James Dean and Natalie Wood + arrive at Griffith Observatory, and Mia and Sebastian seem + about to kiss -- + + -- burn marks streak their way across the image. + + The screen goes blank. + + Silence. The lights go on. Mia and Sebastian turn around. + AUDIENCE MEMBERS start murmuring. Sebastian can barely + believe his bad luck. + + But then Mia turns to him. Energized. + + MIA (CONT’D) + I have an idea. + + + + +51 EXT. ROAD - NIGHT 51 + + Sebastian’s car, traveling up a winding road, stars + glittering above it, the lights of Los Angeles glittering + below it. The sky is a deep, painted blue. Music plays + [PLANETARIUM] + + The car is bending around the turns, making its way up to - + - + + + + +52 INT. THE REAL GRIFFITH OBSERVATORY - CONTINUOUS 52 + + There, our MUSIC crests. Our two characters get out of the + car and wander, searching for an open entrance. They find + one and sneak in -- + + They ascend a staircase. Make their way past the exhibits, + the Tesla coil shooting off electric bolts. + + They reach the pendulum, gaze up at the mural above it, + look at one another. Circle the pendulum, and then, so + tenderly, so nervously -- + + -- they begin to DANCE. + 55. + + + This is a dance that fulfills all the promise in their + earlier duet. They circle the floor, gently and gracefully. + The music BUILDS, and they drift into -- + + + + +53 INT. THE PLANETARIUM. - CONTINUOUS 53 + + It’s darkened, empty. Mia removes her shoes, feels the soft + carpet under her feet. Turns on the projector. The screen + STARTS TO GLOW. She and Sebastian take in the sight, the + STARS and GALAXIES -- + + Enchanted, they look at one another, the lights from the + screen reflected on their faces. They approach, as though + about to kiss-- When -- + + -- Mia’s shoes LIFT UP. Float toward the ceiling, toward + the star-filled screen. She and Sebastian trade looks. + Realize. And then they too begin to FLOAT -- + + -- RISING from the floor, nothing stopping them. SOARING + past the views of comets and moons and nebulae. Eyes wide, + their emotions seized, as they HOLD EACH OTHER TIGHT -- + + And so unspools a gravity-free dance. + + Mia and Sebastian SPIN and TWIRL through the planetarium as + though they themselves were in outer space, flying through + the cosmos. The music carries them higher and higher, and + their spirits likewise soar, JOYOUS, EXUBERANT, until, + finally -- + + -- the music SOFTENS. + + Mia and Sebastian drift back to the floor like feathers. + They land on a pair of seats. + + There, once again seated like audience members at a movie, + they turn and look into each other’s eyes. The music picks + back up for the big finish, as the lovers lean in and in + true movie- movie old-Hollywood big-musical fashion -- + + -- LOCK LIPS. + + It’s their first kiss, and it’s a kiss to remember, full of + all the hope and yearning and terror and wonder of love’s + first blush. A swoon-worthy kiss, with the orchestra + soaring and the camera swooping in to catch the embrace in + all its glory. + + On this triumphant moment -- + 56. + + + FADE OUT: + + + + +54 INT. MIA’S APARTMENT - LIVING ROOM - DAY 54 + + Mia’s scribbling in a notebook. It’s dialogue. We see + character headings, scene headings. Seems to be some kind + of a script -- + + TRACY (O.S.) + What’s that? + + + + Mia turns. Tracy has wandered in pajamas, eating cereal. + + TRACY (CONT’D) + Is that a script? + + + + MIA + It’s a play. I’m going to put it on + myself. + + + + ALEXIS (O.S.) + (chiming in from her + bedroom) + A play? You better give us roles! + + + + MIA + Actually -- it’s a -- it’s a one- + woman show -- + + + + A beat and then -- + + AHHHHHHHHHHHHHHHHHHHHHHHHHHHT. + + HONKING outside the nearest window. It’s a honk we + recognize: + + TRACY + -- Is that gonna happen every time? + 57. + + + + + MIA + (glowing) + I think so. + + + + +55 EXT. MIA’S APARTMENT BUILDING - DAY 55 + + Mia dashes out and LEAPS into Sebastian’s car and into his + arms. They KISS giddy, emotional, as though they’d been + separated for years. Sebastian drives off when -- + + MIA (O.S.) (CONT’D) + It’s one-way!! + + + + The car SCREECHES to a stop in front of a TRUCK going the + opposite direction. Sebastian goes into REVERSE as Mia + cracks up laughing. A BURST OF MUSIC as a title card pops + on: + + SUMMER + + The MUSIC carries us through the following series of + GLIMPSES: + + + + +56 INT. BUNKER HILL - CONTINUOUS 56 + + Mia and Sebastian ambling past weathered 30’s bungalows in + BUNKER HILL -- + + + + +57 EXT. SILENT - ERA HOMES - CONTINUOUS 57 + + Mia guiding Sebastian down a street peppered with SILENT- + ERA HOMES, past old gas-lamps and palms -- + + + + +58 INT. VAN BEEK. - CONTINUOUS 58 + 58. + + + Sebastian gestures to the “TAPAS & TUNES” sign. Excitedly + tries to deface it. Mia, aghast, pulls him back -- + + + + +59 EXT. THE HUNTINGTON GARDENS - CONTINUOUS 59 + + Where Mia and Sebastian gaze at the tiny forest -- + + + + +60 EXT. WATT`S TOWERS - CONTINUOUS 60 + + Where the two lovers stroll and kiss -- + + + + +61 EXT. THE GRAND CENTRAL MARKET - CONTINUOUS 61 + + Where they grab food -- + + + + +62 INT. ANGEL’S FLIGHT - CONTINUOUS 62 + + At night, where they stumble and slip into a tipsy, love- + soaked dance -- + + Interspersed throughout, WE SEE IMAGES OF LOS ANGELES: + + 1940’s high-rises, green movie-movie lettering, ochre walls + shaded by palm fronds, red flowers and Spanish missions, + old lamps and Art Deco hotels. It’s a gorgeous city, and + the music only makes it more gorgeous, building and + carrying us to -- + + +63 INT. LIGHTHOUSE CAFE - NIGHT 63 + + A Lighthouse JAM SESSION. Sebastian’s at the keys, having a + blast. The place is again mostly empty, but Mia is dancing + her heart out. She shoots looks at Sebastian. He laughs, + plays out for her. The two of them are in their own world, + one of pure, unadulterated JOY -- + + The song ends. Sebastian rises, joins Mia. They sit down as + the band strikes up a new tune, and kiss. + 59. + + + KEITH (O.S.) + Sebastian? + + + +Mia and Sebastian look up, startled. A YOUNG MAN, 35, is +standing next to them. Tall, fierce eyes. This is KEITH. + + SEBASTIAN + Keith? + + + + KEITH + Holy shit. Come here, man. + + + +Sebastian gets up. Gives him a hug. But Mia can sense an +unease in Sebastian’s eyes. It’s a strained hug. + + SEBASTIAN + This is Mia. Mia, Keith. + (explaining to Mia) + We used to play together. + + + + KEITH + Hey, Mia. Hey -- + + + +Sebastian sits back down. Wants to end the conversation. + + KEITH + So how’ve you been? + + + + SEBASTIAN + Great. You? + + + + KEITH + Keeping busy. Got a new combo. + + + + SEBASTIAN + Good for you. + 60. + + + + + KEITH + -- Looking for keys. + + + + SEBASTIAN + (after a beat) + I’m good. + + + + KEITH + You sure? It pays. + + + +Sebastian looks at Keith. A moment. + + SEBASTIAN + I’m good. + + + +Keith almost smiles. Expected this. + + KEITH + Let’s just grab a drink then. Call + me. It’s been too long. + + + + SEBASTIAN + You bet. + + + + KEITH + Nice meeting you, Mia. + + + + MIA + Nice meeting you. + + + +Keith walks off. Mia and Sebastian look at each other. Then +-- + 61. + + +64 INT. SEBASTIAN’S APARTMENT - NIGHT 64 + + CLOSE ON MIA. She looks anxious. CLOSE ON Sebastian. He + looks head-over-heels in love. + + SEBASTIAN + It’s beautiful. + + + + MIA + -- You’re just saying that. + + + + SEBASTIAN + No-- I’m not. + + + + We PULL BACK and see a script on Mia’s lap. She’s just + finished reading Sebastian her play. + + MIA + I don’t know-- Is the whole thing + too nostalgic? + + + + SEBASTIAN + That’s the point. + + + + MIA + But do you think people will like + it? + + + + SEBASTIAN + Fuck ‘em. + + + + MIA + (laughs) + You always say that. + + + + SEBASTIAN + 62. + + + I truly believe it. + + + + MIA + Fine -- as long as you sit front- + row ‘cause I’ll probably throw up + on the middle of the stage + otherwise. + + + + SEBASTIAN + I’ll be front-row. + + + +Mia looks at him. Smiles. It genuinely means the world to +her. Then, a glow in her eyes, wants to reciprocate -- + + MIA + I made something for you. + + + +She hops off the bed, fishes through a bag. Pulls out a +drawing. + + SEBASTIAN + What’s that? + + + + MIA + It could be the name design. On the + door. + + + + SEBASTIAN + Why does it say “Seb’s”? + + + + MIA + That’s what you should name it. + + + + SEBASTIAN + Never. + 63. + + + + + MIA + Sebastian, no one’s going to a club + called “Chicken on a Stick”. + + + + SEBASTIAN + You don’t get it. Charlie Parker + got the name “Bird” because he + loved chicken. So my club’s gonna + be old-school jazz and beer and + chicken. “Chicken on a Stick”. + + + + MIA + No. Drop the chicken. Drinks and + jazz. + (he rolls his eyes) + And it’s time to start looking for + other places. + + + + SEBASTIAN + It’s gotta be Van Beek. I can’t let + them samba all over its history. + + + + MIA + Make your own history. + + + +Sebastian looks at her. Appreciates that line. A beat. Then +-- + + SEBASTIAN + Your play’s incredible. + + + +Mia smiles. He approaches her, sits by her side. + + SEBASTIAN (CONT’D) + The whole world from your bedroom? + Who’s doing that? + 64. + + + MIA + I’m doing that. + + + +They laugh. + + MIA (CONT’D) + So who was that guy at the + Lighthouse? + + + + SEBASTIAN + -- Which guy? + + + + MIA + The one who offered you a gig. + + + + SEBASTIAN + You mean Keith? He’s the worst. + + + + MIA + Why was it weird between you two? + + + + SEBASTIAN + It’s always weird with him. + + + + MIA + He did offer you a job. + + + + SEBASTIAN + Right -- + + + + MIA + Are you going to call him? + 65. + + + SEBASTIAN + No. + + + + A beat. + + MIA + Ok -- + + + + A moment passes. They lie down, side by side. + + SEBASTIAN + Here’s what we know. It’s + definitely Chicken on a Stick -- + (Mia rolls her eyes) + -- and your play is going to be a + triumph. + + + + She looks at him. He looks at her. A shared smile. + + And on that -- + + + + +65 INT. SEBASTIAN’S APARTMENT - MORNING 65 + + The next morning. Sebastian is in bed. Hears snatches of + Mia’s voice, she’s on her phone in the other room: + + MIA (O.S.) + -- No, Mom, it’s a one-woman show - + - No, I’m acting in it as well -- + No, I’m not getting paid, I’m + paying to do it -- + (then,) + He’s great -- He’s going to open + his own jazz club. It’s going to be + incredible -- + (beat; then, softer --) + Well he has to get the money + together first, and -- He’s + figuring it out -- Yeah, it’s just + been a little tricky lately -- + + + + Sebastian listens. Takes it in. + 66. + + + MIA (O.S.) (CONT’D) + Look -- he’s going to find a way to + open it and you’re going to love + it. Ok? How’s Dad? + + + + On Sebastian. He thinks -- + + + + +66 INT. REHEARSAL SPACE - DAY 66 + + Sebastian enters. Keith’s combo is assembled. + + It’s a sign-up practice room in the West Valley. There’s a + drummer, electric bassist, and trumpeter: COLE, MALCOLM and + TOM. They’re more polished in their looks than Sebastian. + Well-groomed beards, tighter jeans. + + KEITH + Sebastian. + + + + Sebastian approaches. + + KEITH (CONT’D) + Didn’t know if I’d see you today. + + + + SEBASTIAN + (a bit awkward) + Well -- Here I am. + + + + A moment. Then -- + + SEBASTIAN (CONT’D) + Where’s the piano? + + + + Keith gestures to an electronic keyboard. Sebastian winces. + + KEITH + 67. + + + Here’s the deal. We’ve got + distribution with Universal, got + our own imprint. We’re about to go + on the road. We can cut you in for + 1K a week while we tour, plus an + equal share of any merchandise or + ticket revenue that comes in. Sound + good? + + + +We see Sebastian’s face. Taken aback. + + KEITH (CONT’D) + Sebastian? + + + + SEBASTIAN + Yeah, that -- that -- + (beat) + -- sounds good. + + + +A moment. Keith smiles. + + KEITH + Let’s play, see how it feels. + + + +He pulls out a guitar. Cole starts on drums. Keith joins +in. Malcolm and Tom follow suit. Sebastian listens. It +sounds like modern jazz, electronic in feel, but still jazz +-- + +Sebastian approaches the keyboard. Joins, slowly, one step +at a time. Then begins playing out a bit more, his fingers +starting to race. Malcolm gives Keith a look: “Damn”. Keith +gives Malcolm a look back: “I told you so.” Bit by bit, +Sebastian eases into the groove. This isn’t so bad -- + +Then, Keith moves to a LAPTOP. Introduces a DRUM-MACHINE +SAMPLE. + +Sebastian, into the music, is caught off-guard. Uneasy now. +This isn’t him -- + +Keith plays a riff on his guitar. Tom echoes it on bass, +then Malcolm on trumpet. Now it’s Sebastian’s turn. He +hesitates. And then, finally, he plays the riff -- + 68. + + + It doesn’t feel so bad. The guys build on the riff. + Sebastian keeps up with them, trying to let go of his + presuppositions. + + After all, these guys can play -- + + The music builds, the whole thing swelling and finally + carrying us to. + + + + +67 INT. REHEARSAL SPACE - DAY - CONTINUOUS 67 + + Sebastian and Keith sit across from each other as the other + players pack up. Sebastian looks pensive. Noticing -- + + KEITH (CONT’D) + I know. It’s different. + + + + Sebastian stays silent. Then, leaning in -- + + KEITH (CONT’D) + But you say you want to save jazz. + How are you going to save jazz if + no one’s listening? Jazz wouldn’t + exist if people hadn’t gotten tired + of what they were listening to + before. I mean, do you really think + a bunch of ninety-year-olds in a + basement is the future of the form? + Traditionalists whined when Kenny + Clarke started dropping bombs. If + traditionalists had their way, we’d + still be playing Dixieland. + + + + Sebastian considers this. As much as he might make a play + of resisting, we can tell the words are getting to him -- + + SEBASTIAN + You’re holding onto the past. But + jazz is about the future. + + + + A moment. Then -- + + KEITH + 69. + + + I get it. I got it wrong. Last guy + wasn’t as good as you. But you’re a + pain in the ass, man. + + + + Sebastian nods. Knows he can’t argue with that. + + Another beat. + + KEITH (CONT’D) + If it’s not your thing, just let me + know. I don’t want you + uncomfortable and trying to change + this into something it’s not. But + if you want it -- the job’s yours. + + + + Sebastian looks at Keith. A moment. He’s really weighing + this. And on that, his look of uncertainty, we’re -- + + + + +68 INT. SEBASTIAN’S APARTMENT - DUSK 68 + + The door opens. Mia enters. Takes a deep breath. Hears + piano. Steps forward and sees Sebastian at his piano, + playing a melody we’ve heard before. [CITY OF STARS AS + DUET] + + She smiles. Sebastian begins to SING. Mia sits down beside + him and begins to SING as well. They share a duet, simple, + unaffected, hopeful, the music just perhaps suggesting + their uncertainty about what they might be about to do -- + + As the vocals give way to instrumentation, we’re -- + + + + +69 INT. DINER - DAY 69 + + Sebastian and Keith hunched over paperwork. Sebastian signs + -- + 70. + + +70 INT. COFFEE SHOP - STUDIO LOT - DAY 70 + + Mia handing the Manager her apron. She’s done with the job + -- + + + + +71 INT. PRACTICE SPACE - DAY 71 + + The band rehearsing in their new PRACTICE SPACE. We see + Sebastian play, see Keith sing this time -- + + + + +72 INT. CAFE - DAY 72 + + Mia hunched over her script, obsessively fine-tuning it -- + + + + +73 INT. DESIGNER CLOTHING STORE - DAY 73 + + Sebastian gets dressed up in a new suit -- + + + + +74 INT. BLACK-BOX THEATER - DAY 74 + + We follow Mia through a BLACK-BOX THEATER in North + Hollywood. The space is small, simple, but perfect. We see + her haggle with the OWNER and then light up. They shake + hands -- + + + + +75 INT. GREEN ROOM - EVENING 75 + + Sebastian and the band in a green room, waiting. + Sebastian’s wearing the new suit. Looking sharper -- + + + + +76 INT. VINTAGE SHOP - DAY 76 + 71. + + + Mia looking for PROPS. Another wild assortment, a TOP HAT, + a CANE, a DIORAMA of London, rolled-up MAPS, an old GLOBE - + - + + + + +77 INT. APARTMENT - DAY 77 + + We MOVE IN on a laptop. On it a YOUTUBE video plays, an + interview with Sebastian, Keith and the rest of the band -- + + + + +78 EXT. RIALTO - DAY 78 + + Mia drives by the Rialto theater. It’s now CLOSED -- + + + + +79 INT. SEBASTIAN’S APARTMENT - LIVING ROOM - NIGHT 79 + + Mia sits on the floor, penciling out drawings for her play. + Costume and poster sketches scattered by her feet. She’s + tired. The clock on the wall reads: 10:54pm. + + + + +80 INT. SEBASTIAN’S APARTMENT - BEDROOM - NIGHT 80 + + Mia gets into bed. Checks her phone. Turns off the light. + + + + +81 INT. SEBASTIAN’S APARTMENT - LIVING ROOM - DAWN 81 + + Sebastian enters the apartment. Checks his reflection in + the mirror -- a new addition. The clock reads: 4:57am. + + + + +82 INT. SEBASTIAN’S APARTMENT - BEDROOM - DAWN 82 + + Sebastian gets into bed, careful not to wake Mia. + 72. + + +83 INT. SEBASTIAN’S APARTMENT - LIVING ROOM - MORNING 83 + + Mia crosses through to the kitchen to get herself + breakfast, careful not to wake Sebastian. The clock: + 7:02am. + + + + +84 INT. SEBASTIAN’S APARTMENT - BEDROOM - MORNING 84 + + Sebastian in bed, fast asleep. And WE RETURN TO -- + + + + +85 INT. SEBASTIAN’S APARTMENT - DUSK 85 + + -- Mia and Sebastian at the piano, before this latest + journey began, finishing their song. The last lyrics + resonating as they look into one another’s eyes: + + SEBASTIAN + City of stars-- You’ve never shined + so brightly. + + + + On that, this image of love, Sebastian playing out the + final chords on his piano, WE GO DARK. + + All sound fades out. And then, we hear -- + + -- a CROWD CHEERING. [START A FIRE] + + We see, a white spotlight. It reveals Sebastian. We’re -- + + + + +86 INT. THE ECHO - NIGHT 86 + + Sebastian is on-stage. He’s the only musician we can see. + The floor beyond the stage is FILLED with people. + + Among them, we spot Mia, beaming with pride. Sebastian sees + her, smiles to her as he plays a piano intro. Mia grins + right back, heart swelling -- + 73. + + +A SECOND SPOTLIGHT turns on, illuminating Keith. He SINGS. +He has a beautiful voice. Mia bobs her head. It’s just +Keith and Sebastian right now, all acoustic, a simple, +catchy tune -- + +And then, suddenly, a DRUM MACHINE SURGES IN, and -- + +BOOM! The entire CLUB is lit up as the MUSIC EXPLODES. A +full-fledged dance beat and a thick radio-ready electronic +track. + +Mia is taken aback. But she keeps bobbing her head as the +crowd around her GOES CRAZY -- + +Keith owns the stage, as Sebastian plays out more, now +switched to an electronic keyboard, complete with synth +sounds. We recognize fragments of melody from when Keith +and Sebastian first rehearsed, but the tune has been +transformed beyond recognition. Not a hint of jazz -- + +Keith breaks into the CHORUS and a TRIO OF BACKUP SINGERS +are revealed stage-left. The band surges into the song’s +bridge and BACKUP DANCERS appear stage-right, scantily- +clad. + +And then, the lights go NUTS. It’s a full-out LIGHT SHOW +now, shafts of red, blue, green and orange cutting through +the dark. The crowd starts CHEERING, pumping their fists -- + +Mia looks at Sebastian. He’s not fighting any of this. He +sees her. She smiles. But something is changing in her +expression -- + +She looks at the lights, the singers, the dancers, +Sebastian and his bandmates in matching magazine-cover- +ready outfits. She looks at the crowd around her, their +hollers growing more and more frenzied as Sebastian +launches into a prolonged SOLO -- + + MIA + (looks back at him, takes + it all in) + Is this really him --? + + + +As the mass of people swells and moves, Mia finds herself +PUSHED TO THE SIDE, bit by bit, away from the center -- + 74. + + + She tries to hold her ground, but is edged FURTHER AND + FURTHER AWAY. Sebastian, deep in his solo, doesn’t notice. + Mia tugs against the tide of the crowd, but to no avail. + She’s pushed to the back of the club, away from the lights + and into shadow -- + + The final chorus begins, floor-shaking, fist-pounding. We + linger on Mia’s face, watching as the band feverishly tear + into their climactic bars, the dancers on-stage and the + crowd below busting out one last burst of CRAZED + CHOREOGRAPHY, ending the song just as we SMASH CUT TO A + TITLE CARD OVER BLACK: + + FALL + + Silence. + + We take a moment to collect ourselves before -- + + + + +87 EXT. - INT. CHINESE RESTAURANT - LOS ANGELES - DAY 87 + + CLOSE on Mia. She looks tired. A bit weathered. She’s + nursing a green tea across from Laura. They’ve finished + eating. + + LAURA + Look at him -- watch -- + + + + Mia glances out the window. A MAN in his early 40’s has + just parked, is walking around his car, inspecting it. + + LAURA (CONT’D) + Now he’s going to check the other + window. Yep, it’s closed. Now he’s + going to check again. Yep, still + closed. + + + + Mia smiles. The MAN enters the restaurant, greets Mia and + kisses Laura. This is HARRY. Her new boyfriend. + + HARRY + Hey. I’m grabbing some pastries, + you two want anything? + 75. + + + MIA + Thanks Harry, I’m good. + + + + LAURA + Same here but I think someone’s + trying to break into your car. + + + +Harry rolls his eyes, heads to the front. Laura looks at +Mia. + + LAURA (CONT’D) + Don’t stress about the play. + Where’s Seb now? + + + + MIA + I think today’s San Diego. I’m not + sure -- + + + +A moment passes. + + LAURA + You should come over tonight. + Harry’s cooking, but don’t let that + stop you. + (Mia manages a smile; a + beat) + What’s the matter? + + + + MIA + Nothing -- + + + + LAURA + You miss him. + + + + MIA + I guess. I’m adapting. + 76. + + + LAURA + (nods; then,) + I got used to being alone. Growing + up it was just me and Seb. We only + had each other. + + + + MIA + He told me. + + + + LAURA + I wasn’t looking for anybody. Then + I met Harry and -- we just fit -- + (Mia smiles) + You’ve changed Seb. You know that? + + + +Laura means it positively, but Mia seems concerned -- + + MIA + Do you think he’s happy? + + + + LAURA + Is he happy? + + + + MIA + I mean with the band, the travel, + all of it. + + + +Laura shrugs. + + LAURA + Our dad never got to do what he + wanted. We were always treading + water, he took a job running a + washer-dryer store. But every night + at home he’d play his clarinet + along to a Benny Goodman record. + (a beat) + So I look at Sebastian -- Playing + music, getting paid for it. I’m + happy for him. + 77. + + + + + She notices Harry through the window, returning. Her + thoughts drift. + + LAURA (CONT’D) + Dreams change. + + + + A beat. She looks back at Mia. Sees her worry. + + LAURA (CONT’D) + Don’t overthink it. He’ll be home + soon. + + + + Harry rejoins the table. Hands Laura a sponge cake. + + LAURA (CONT’D) + I told you not to get me anything! + + + + HARRY + Oh, right -- I’ll eat it I guess. + + + + LAURA + No -- I changed my mind. + + + + They laugh. Kiss. Tender. Loving. Mia watches -- + + + + +88 INT. DINER - NIGHT 88 + + Mia eats, her laptop next to her meal. She takes a bite, + types. We see her screen, an email draft, glimpses of + words: “one- woman show”, “one night only”, “7pm”, “I would + be thrilled --” + + She thinks. Picks up her phone. Dials Sebastian. Waits. No + answer. + + MIA + 78. + + + Hey it’s me... Not sure where you + are -- maybe Boston? Or Dallas? + Anyway -- I haven’t heard from you + in a while -- I miss you -- + (a beat) + Ok -- Bye -- + + + + She hangs up. Resumes typing. + + + + +89 INT. SEBASTIAN’S APARTMENT COMPLEX - APARTMENT - NIGHT 89 + + Mia walks through the courtyard. Reaches the door. Then + hears something-- Music -- LOUD, FAST JAZZ -- + + She enters, has to jostle the door handle to do so -- + + -- and then freezes in place. Sebastian is sashaying around + a fully-decked table, lighting candles as he moves. He + looks up, sees her and grins. + + SEBASTIAN + Surprise. + + + + She lights up. He lifts up silver serving trays, revealing + what he’s cooked. Roast chicken. Pasta. + + SEBASTIAN (CONT’D) + And -- + (he hurries to the + kitchen -- and holds up a + big apple pie) + There’s twenty-five pounds of + apples in it. It probably destroyed + an ecosystem but it tastes good. + + + + Mia laughs. Can’t believe it. Sebastian looks at her -- + sincere now. + + SEBASTIAN (CONT’D) + I have to head back in the morning + but I needed to see you. + 79. + + + Mia’s eyes seem almost on the brink of tears. Beyond moved, + she runs into Sebastian’s arms. A LONG, HEARTFELT KISS -- + + + + +90 INT. SEBASTIAN’S APARTMENT - EVENING 90 + + CLOSE ON: The record player. An old jazz track. We see Mia + and Sebastian seated at the table, eating, drinking, + laughing. + + SEBASTIAN (CONT’D) + Feels so good to be home. + + + + MIA + Stay. + + + + He smiles. + + SEBASTIAN + How’s the play going? + + + + MIA + I’m nervous. + + + + SEBASTIAN + Why? + + + + MIA + Because -- + (a beat) + What if people show up? + + + + SEBASTIAN + Fuck ‘em! + + + + Laughter. Then -- + 80. + + + SEBASTIAN (CONT’D) + You’re nervous about what they + think? + + + + MIA + I’m nervous to be up on a stage and + perform in front of people. I’m + terrified. + + + + SEBASTIAN + They should be so lucky to see it. + (then,) + It’s going to be incredible. I + can’t wait. + + + + MIA + I can. + + + +A smile. Beat. + + MIA (CONT’D) + What time do you leave in the + morning? + + + + SEBASTIAN + 6:45. + + + + MIA + Ugh. + + + + SEBASTIAN + Yep. Boise. + + + + MIA + Boise? + 81. + + + + + SEBASTIAN + (nods) + You should come. + + + + MIA + To Boise? + + + + SEBASTIAN + Yeah, you could knock that off your + bucket list. + + + +Mia laughs. + + MIA + Wish I could. + + + +A beat. + + SEBASTIAN + Why can’t you? + + + + MIA + Come to Boise? + + + + SEBASTIAN + Yeah. + + + + MIA + Because I have to rehearse. + + + + SEBASTIAN + Can’t you rehearse anywhere? + 82. + + +She looks at him. + + MIA + You mean anywhere you are? + + + + SEBASTIAN + -- I -- I guess -- + + + + MIA + Well, all my stuff is here and my + show’s in a few weeks and -- I + don’t know, it doesn’t seem + practical -- + + + + SEBASTIAN + Right -- I just -- we’re going to + have to do things so we can see + each other. We never see each + other. + + + + MIA + I know, but when are you done? + + + + SEBASTIAN + -- What do you mean? + + + + MIA + When are you done with the tour? + + + + SEBASTIAN + But, as soon as we’re done with the + tour we go back and record, and + then we go back on tour. + + + +Mia looks at him. Doesn’t seem to understand. + 83. + + + SEBASTIAN (CONT’D) + We tour so we can make the record, + and then we go back on tour to sell + the record. + + + +Beat. Mia takes this in. + + MIA + So it’s-- the long haul? + + + + SEBASTIAN + -- What does that mean? + + + + MIA + I mean the long haul, like, you’re + going to be in this band for a long + time. + + + + SEBASTIAN + What did you think I was going to + do? + + + + MIA + I don’t know, I didn’t think the + band would -- + + + + SEBASTIAN + You didn’t think we’d be + successful. + + + + MIA + No, that’s not what I meant. What I + meant was -- this band -- you’re + going to be on the road for -- + what, years now? + 84. + + + SEBASTIAN + Yeah, feasibly -- I could be on the + road for years with just this + record. + + + +Beat. + + MIA + Do you like the music you’re + playing? + + + + SEBASTIAN + I don’t know how that matters. + + + + MIA + It matters if you’re going to give + up your dream to be on the road for + years. + + + + SEBASTIAN + Do you like the music I’m playing? + + + + MIA + Yes. I do. + (beat) + I just didn’t think you did. + + + + SEBASTIAN + Yeah, well, I -- + + + + MIA + And now I hear you’re going to be + on the road for years, and I’m -- + + + + SEBASTIAN + 85. + + +What are you doing? Why are you +doing this? + + + + MIA +What do you mean why am I doing +this? + + + + SEBASTIAN +This is what you wanted from me. + + + + MIA +To be in this band? + + + + SEBASTIAN +To have a steady job. + + + + MIA +Yes, I wanted you to have a job so +you could take care of yourself and +start your club. + + + + SEBASTIAN +So I’m doing that. So why aren’t we +celebrating? + + + + MIA +Why aren’t you starting your club? + + + + SEBASTIAN +You said yourself no one wants to +go to that club! No one wants to go +to a club called Chicken on a Stick +-- + 86. + + + MIA + Change the name! + + + + SEBASTIAN + -- and no one likes jazz. Not even + you. + + + + MIA + I do like jazz now, because of you. + + + + SEBASTIAN + (not listening to her) + What am I supposed to do? Go back + to playing “Jingle Bells” so I can + save money for some Shangri-La club + no one wants to go to? + + + + MIA + People will want to go to it! + People love what other people are + passionate about. + + + + SEBASTIAN + Not in my experience. + + + +A beat. Mia realizes she’s getting nowhere. A moment of +quiet. Then -- + + SEBASTIAN (CONT’D) + Anyway -- it’s time to grow up. You + know? This is what I’m doing. If + you had a problem, I wish you + would’ve said something earlier, + before I signed on the dotted line. + + + + MIA + (trying again) + You had a dream that you were + sticking to, that -- + 87. + + + + + SEBASTIAN + This is the dream! + + + + MIA + This is not your dream. + + + + SEBASTIAN + Guys like me go their whole lives + and never do anything that’s liked. + I’m finally doing something that + people enjoy. What is wrong with + that? + + + + MIA + Why do you care so much about being + liked -- ? + + + + SEBASTIAN + (finally bursting--) + You’re an actress, who are you to + talk?? + + + +Silence. We suddenly realize -- + +-- the LP has finished. You can hear the needle scratch +against it now -- back and forth, back and forth. Sebastian +looks at Mia. + +A moment. Finally -- + + SEBASTIAN (CONT’D) + Maybe you liked me more when I was + a failure because it made you feel + better about yourself. + + + +Mia looks back at him. Can’t believe he said that. Tears +starting to well in her eyes. She tries to suppress them. + 88. + + + MIA + Are you kidding? + + + + SEBASTIAN + No. + + + + They stare at each other. + + Then, all of a sudden, the FIRE ALARM blares. + + Sebastian turns and sees smoke billowing from the KITCHEN. + A dish in the oven has started to burn. + + Sebastian rises, springs toward the kitchen, then sees Mia + grabbing her things. + + SEBASTIAN (CONT’D) + Wait -- + + + + But she’s out the door. It slams shut, as Sebastian pulls + the burnt apple pie from the oven. + + CUT TO: + + + + +91 EXT. THEATER - DAY 91 + + A poster, placed on the front of the theater we saw before. + A title. A name below it: “MIA DOLAN.” And a word: + “TONIGHT.” + + We spot Mia, carrying a box of props. She enters the + theater. And we’re -- + + + + +92 INT. THEATER - DAY 92 + + The empty theater. Dark. Silent. Then, a light turns on. + Mia steps in. We stay WIDE. She seems small from this + vantage point, surrounded by her props and backdrops. She + takes a moment. Looks at all the empty seats. + 89. + + + Takes a deep breath. Nervous. And then, nodding to + herself,you can do this, she starts setting up -- + + + + +93 INT. PRACTICE SPACE - DAY 93 + + A BLAST of music. The Messengers have just finished a + rehearsal. Sebastian packs his stuff, heads toward the + exit, nodding to the others -- + + SEBASTIAN + Cole, see you tomorrow. See ya. + + + + KEITH + You good for tonight, right? + + + + Sebastian stops. Looks at Keith. + + SEBASTIAN + -- Tonight? + + + + KEITH + Seven. The photo shoot. + (reading Sebastian’s + face, adding --) + Mojo. + + + + A beat. Sebastian is confused. + + SEBASTIAN + I thought that was next Thursday. + + + + KEITH + No. It’s tonight. + + + + We linger on Sebastian for a moment -- + + KEITH (CONT’D) + 90. + + + Is that ok? + + + + +94 EXT. REHEARSAL SPACE - DAY 94 + + Sebastian stands out front. Checks his watch. Thinks -- + + + + +95 INT. THEATER - INT. BACKSTAGE - NIGHT 95 + + People are shuffling into the theater. We DRIFT BACKSTAGE. + Mia, now in a male suit and tie, watches behind a curtain. + Checks her phone. 7:04. Breathes in. Nervous, and alone -- + + She turns. Nods to the OWNER, off to the side. He heads to + a switch, and the lights GO DOWN. + + You can hear the murmurs beyond the curtain. The audience, + expecting. Mia tries to get her nerves under control. She + can do this -- Sets her phone aside, one last breath -- + + -- and walks out. + + + + +96 INT. PHOTO STUDIO - NIGHT 96 + + LOUD MUSIC. It’s the band’s song, blaring from a speaker. + They’re pantomiming, the musicians styled and ready for + their close-ups. A PHOTOGRAPHER grabs shots. + + PHOTOGRAPHER + Put a light on the drums -- I need + more fill in this corner -- + + + + We ZERO IN on Sebastian. His hair sticks out at various + angles. An artfully-undone tie hangs from his neck. He + fake-plays, as Keith pretends to lay in sampled beats -- + + Keith, Tom, Malcolm, Cole, they all grin, as excited as + kids. Sebastian looks at them, then down at his elaborate + outfit, then back up at the Photographer running around, + then at his watch -- + + PHOTOGRAPHER (CONT’D) + 91. + + + Bass, head up. Piano, look down at + the keys. + + + + Sebastian does as told, but his thoughts are elsewhere. The + Photographer moves in close, SNAPPING shots of just him -- + + PHOTOGRAPHER (CONT’D) + Cut the music. Turn the keyboard + live. Piano look up, play. + + + + The track stops. Sebastian stops as well. The CLICKS of the + Photographer’s camera loud now. + + PHOTOGRAPHER (CONT’D) + No -- piano -- actually play + something. + + + + Sebastian is still. Then he starts to play a single melody + on the keys. We recognize it. The first notes of his and + Mia’s song -- + + PHOTOGRAPHER (CONT’D) + Good, now bite your lip like you’re + concentrating on a solo. + + + + Beat. Sebastian stops. Silence. He stares ahead. + + PHOTOGRAPHER (CONT’D) + That was good. Don’t stop. + + + + We PUSH IN on Sebastian -- + + + + +97 INT. THEATER - NIGHT 97 + + We’re CLOSE on Mia. In ordinary clothes now. + 92. + + + Behind her is a wallpapered wall, and a small window. By + her side are the globe we saw in her room, and other little + trinkets: a pearl necklace, an old suitcase, a roll of + maps. Outside the window, projection of a starlit Parisian + night sky. Completely silent, Mia moves to a lamp, turns it + off. + + We go BLACK. + + Then, the house lights go on. White, fluorescent. Thin + applause can be heard. Mia manages a smile, as we finally + see -- + + -- that the theater is less than a quarter full. + + Mia takes a bow. Peers out. One seat, in the front row, has + a “RESERVED” sign on it. The seat is empty. + + + + +98 INT. THEATER - DRESSING ROOM - MOMENTS LATER 98 + + Mia slips inside, holding in her hurt. Starts collecting a + few outfits, then overhears two AUDIENCE MEMBERS outside -- + + AUDIENCE MEMBER #1 (O.S.) + I swear to God, if I have to hear + one more hipster waxing nostalgic + I’m gonna slit my wrists. + + + + AUDIENCE MEMBER #2 (O.S.) + Seriously. + + + + AUDIENCE MEMBER #1 (O.S.) + She’s not even good. That window + thing --? + + + + AUDIENCE MEMBER #2 (O.S.) + Christ-- Don’t quit your day job -- + + + + Laughter. + 93. + + + Mia freezes. The nail in the coffin. The voices fade. She + slides into a chair. + + + + +99 EXT. THEATER - NIGHT 99 + + Sebastian SPEEDING. Screeching to a stop. He’s at Mia’s + THEATER. He dashes out and runs to the door. + + But it’s locked. No one’s in sight. Fuck. + + He spins around, frantic when Mia appears from an adjacent + doorway, alone and carrying her box of props to her car. + + SEBASTIAN + Mia! + + + + She turns. Sees him. He runs to her. WRAPS his arms around + -- + + SEBASTIAN (CONT’D) + I’m sorry -- + + + + -- and KISSES her. The kind of kiss that might once have + swept her off her feet. He starts to move with her -- + + -- starts to DANCE -- but -- + + MIA + Stop -- + + + + She pulls away. Steps back. Sebastian looks at her. + Unmoored. + + SEBASTIAN + I’m -- I’m sorry I missed it -- and + I’m sorry I was a dick and I -- I + promise I’ll make it up to you -- + + + + MIA + It’s over. + 94. + + + + +She doesn’t say the words with any anger. Just acceptance. + + SEBASTIAN + (a beat; then --) + -- What do you mean? + + + + MIA + I’m done embarrassing myself. + + + + SEBASTIAN + You didn’t embarrass yourself -- + + + + MIA + No one showed up. I can’t even pay + back the theater. + + + +She says this as though just realizing it. Sebastian looks +at her. A moment passes. He doesn’t know what to say now. + + MIA (CONT’D) + I’m gonna go home for a while. + + + + SEBASTIAN + -- This is home. + + + + MIA + Not anymore. + + + +Sebastian is silent now. A tear in his eye. He clenches his +jaw. Mia looks at him one more time, steps into her car, +and drives off. + +Sebastian lingers. Doesn’t move. Silence. Then, music. +Soft, melancholy, just piano, as -- + + DISSOLVE TO: + 95. + + + + +100 EXT. MIA’S CAR - DAY 100 + + Mia drives, boxes stacked in the back. + + She gets on the 405 -- Heading out of the city -- + + + + +101 EXT. - INT. MIA’S HOUSE - NEVADA - DUSK 101 + + Mia steps inside a modest house. Her MOM is by the door. + Hugs her. Her DAD stands by the hallway. + + + + +102 INT. MIA’S HOUSE - BEDROOM - DUSK 102 + + Mia enters her old bedroom. Slides in a suitcase. Moves a + couple of boxes from the hall. Looks around. Old photos. + Old soccer trophies. She sits down on the bed. Takes a + breath. And, finally, we’re -- + + + + +103 EXT. ORANGE GROVE - DAY 103 + + Laura and Harry’s ENGAGEMENT PARTY. We’re outside, in a + sun- dappled grove. A small gathering. + + Sebastian plays a baby grand piano, the source, we realize, + of the music we’ve been hearing -- + + As he watches Laura dance with her new fiancé, this woman + he has known for so many years as a romantic cynic, now + once again full of all the youthful innocence of first + love, his thoughts seem to drift. The music comes to a + close and -- + + + + +104 EXT. ORANGE GROVE - DAY - CONTINUOUS 104 + + Sebastian with Laura, by the orange trees -- + + LAURA + 96. + + + You remember the McKenzies? + + + + SEBASTIAN + Oh God, I didn’t see them. + + + + LAURA + Yeah. They kept going, “oh + Sebastian’s so handsome”. + + + +Sebastian smiles. Then -- + + SEBASTIAN + You look beautiful. + (beat) + I hope it was ok. I haven’t played + in a while. + + + + LAURA + You were great + (pause) + You’re always great when you play. + + + +Sebastian is silent. Then -- + + LAURA (CONT’D) + Now -- listen to me. I want you to + save for a down payment. You + understand? You need a home. + + + + SEBASTIAN + Yes ma’am. + + + + LAURA + I’m not gonna be hovering anymore. + + + + SEBASTIAN + 97. + + + -- You still think New York? + + + + LAURA + I think so. Maybe Boston. I don’t + know, it’s exciting -- + + + + Sebastian smiles again. Some calls from the distance -- + + LAURA (CONT’D) + Ah I gotta -- the future in-laws... + + + + She lights up. Likes the sound of that. + + LAURA (CONT’D) + Is my-- my hair-- ? + + + + Sebastian, without a word, pulls a strand back. Laura + smiles, kisses him on the cheek. A quiet, tender moment. + Then she hurries off. Sebastian stands there. Watches-- + + FADE OUT: + + + + +105 INT. SEBASTIAN’S APARTMENT - MORNING 105 + + RINGING. Sebastian is awoken. Groaning, he rolls over. Lets + the phone ring. It keeps going. Endless. Finally, fed up, + he reaches for it. Answers -- + + SEBASTIAN + What-- ? + + + + WOMAN #2 (O.S.) + Hi, I’m trying to reach Mia Dolan. + + + + Sebastian is taken aback. He goes to hang up, saying just - + - + 98. + + + SEBASTIAN + Wrong number. + + + + WOMAN #2 (O.S.) + -- She’s not answering her cell and + I was told I might find her here. + + + + Sebastian pauses. Hurt by the mere mention of Mia’s name -- + + SEBASTIAN + Yeah, well-- not anymore. + + + + WOMAN #2 (O.S.) + Ok. If you do talk to her -- + + + + SEBASTIAN + I won’t. + + + + WOMAN #2 (O.S.) + -- please tell her Jane at Amy + Brandt Casting is trying to reach + her. + + + + A beat. Sebastian sits up. Suddenly wide-eyed. + + SEBASTIAN + ”Casting”? + + + + +106 INT. MIA’S HOUSE - KITCHEN - NIGHT 106 + + Dinner has just finished. Mia’s Mom gives her a kiss -- + + MIA’S MOM + Night, sweetie. + 99. + + + MIA + Night, Mom. + + + +-- and heads off, as Mia and her Dad stay behind. Getting +up to scrape the dish -- + + MIA’S DAD + You want some more rice? + + + + MIA + I’m ok. + + + + MIA’S DAD + You look hungry. + + + + MIA + I’m good -- + + + +A moment. Mia’s Dad puts a few more dishes away, then sits +back down across from her. + + MIA’S DAD + It’s fun having you back. Your mom + ditches me at ten. + + + +Mia laughs. A moment. + + MIA + You took down the swing. + + + + MIA’S DAD + She made me. + + + +A smile. + + MIA’S DAD (CONT’D) + 100. + + + I’ve still got all your old tapes. + + + + MIA + Oh God. Throw those away. + + + + MIA’S DAD + Never. + + + + Just then, a loud, persistent HONK. Mia’s Dad looks up, + eyebrow raised. Mia turns, hearing it as well. The HONKING + is nearby, just outside -- + + Mia’s thoughts suddenly sharpen. Ears perk up. She’s heard + the honking before: + + AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHT. + + MIA’S DAD (CONT’D) + What the hell? + + + + Disbelief on Mia’s face. It can’t be. She heads to the + nearest window. There, at the corner, smack-dab in front of + her house is SEBASTIAN’S CAR. + + A NEIGHBOR angrily yells at him. Sebastian sees Mia. They + lock eyes. And on that -- + + + + +107 EXT. MIA’S HOME - SEBASTIAN’S CAR - MOMENTS LATER 107 + + Mia and Sebastian stand next to his car. + + MIA + Why did you come here? + + + + SEBASTIAN + Because I have good news. + 101. + + + MIA + Ok -- + + + + SEBASTIAN + Amy Brandt. The casting director. + + + + MIA + I know who she is. + + + + SEBASTIAN + She was at your play. And she loved + it. And she loved it so much that + she wants you to come audition for + a huge movie she’s got. + + + +He’s brimming over with excitement. But Mia just shakes her +head. + + MIA + I’m not going. + + + + SEBASTIAN + -- Excuse me? + + + + MIA + I’m -- no-- That will kill me. + + + + SEBASTIAN + That’s it? + + + + MIA + Yes. + + + + SEBASTIAN + 102. + + +So you’re happy here? + + + + MIA +I’m happier. + + + + SEBASTIAN +Why won’t you come? + + + + MIA +I told you. + + + + SEBASTIAN +I don’t buy it. + + + + MIA + (finally letting it out, + fed up --) +Because it’s another audition! +I’ve been to hundreds of auditions. +Do you want to know what happens? +Either they interrupt me because +someone ordered a sandwich, or they +cut me off after two seconds, or +I’m crying and they start laughing, +or I’m one of a hundred lookalikes +in the waiting room who never has a +chance, because -- + (beat) +-- because -- + + + + SEBASTIAN +Because what? + + + + MIA +Because I’m probably not good +enough. + 103. + + + SEBASTIAN + Yes you are. + + + + MIA + No. Maybe I’m not. + + + +A beat. + + MIA (CONT’D) + Maybe I’m one of those people who’s + always wanted to do it but never + had a chance. It’s a pipe dream. + Maybe it’s like you said. Maybe I + need to grow up. + + + +She hesitates. Continues -- + + MIA (CONT’D) + I can go back to school. I can find + something else that I’m supposed to + do. I left school to give it a + shot, and it didn’t work out, and + it took six years, and I don’t want + to do it anymore. + + + +Beat. But Sebastian isn’t giving up. + + SEBASTIAN + Why? + + + + MIA + Why what? + + + + SEBASTIAN + Why don’t you want to do it + anymore? + + + +Mia thinks about this one for a moment. + 104. + + + MIA + -- Because it hurts a little bit + too much. + + + + Sebastian shakes his head. Nope. Won’t accept this. + + SEBASTIAN + I told them you’d be there at five- + thirty tomorrow. I’ll swing by here + before I drive back at eight. + Either you’ll be outside or you + won’t. + + + + With that, he gets back into his car. Mia is silent. Then - + - + + MIA + How did you find me? + + + + Sebastian turns. Points. Matter-of-fact -- + + SEBASTIAN + The house across from the library. + + + + He drives off. Mia looks up. There, sure enough, is the + LIBRARY, crouched on the corner. The library that once + helped set her on her path to acting. + + She looks at it. Thinks -- + + + + +108 EXT. MIA’S STREET - NIGHT - DAY 108 + + Wide on the street. All is quiet. Night becomes morning... + + + + +109 EXT. MIA’S HOME - DAY 109 + + Sebastian’s car pulls over. He sits there. Sips a coffee, a + second coffee in the holder. The time: 8:02. + 105. + + + A moment passes. He taps the wheel. Looks at the house. The + front door remains closed. No Mia. He leans back. Seems + worried. Closes his eyes, breathes out. We MOVE CLOSE on + him. He breathes in and out again -- + + He opens his eyes. 8:10. The door’s still closed. Resigned, + he starts his car up, BEGINS TO PULL AWAY, when -- + + -- BAM! A KNOCK on the opposite window. He jumps. + + It’s Mia. She’s just arrived at the car from the other + side, two just-bought cups of coffee and a bag of pastries + in her hands. A beat. Sebastian smiles. Then OPENS the door + for her. + + + + +110 EXT. PARAMOUNT STUDIO LOT - DAY 110 + + A cloudy late afternoon. Mia and Sebastian slowly walk + through the lot together. They pass the New York street, + the murals and posters of classic Hollywood, the old Art + Deco ornaments and the big sound stages and backdrops. + Neither says a word -- + + + + +111 INT. WAITING LOBBY - DAY 111 + + Mia and Sebastian are seated. Waiting. The DOOR opens. An + ACTRESS exits. A second later -- + + ASSISTANT #2 + Mia? + + + + Mia gathers her nerves. Gets up. And steps in. + + + + +112 INT. AUDITION ROOM - INT. LOBBY - DAY 112 + + In the room is AMY BRANDT, mid-forties. Seated behind her + is the director, FRANK. + + AMY BRANDT + Mia, Hi. + 106. + + + + + MIA + Hi. + + + + AMY BRANDT + I’m Amy, this is Frank. Glad we + found you. + + + +Mia nods. Smiles. A moment. + + AMY BRANDT (CONT’D) + The movie shoots in Paris. There’s + no script. + + + + FRANK + We want to build the character with + you. It’s a process. Three-month + rehearsal, four-month shoot. + + + + MIA + -- Ok. + + + + AMY BRANDT + So why don’t you just tell us a + story? + + + + MIA + -- About --? + + + + AMY BRANDT + About anything. + + + +Mia nods again. A moment. + + AMY BRANDT (CONT’D) + 107. + + + Whenever you’re ready. + + + + Mia thinks. She takes a breath,then goes silent again. It + seems she might be unsure what to do, might even be about + to choke the audition. We fear she may botch this + completely -- + + + + +113 INT. LOBBY - CONTINUOUS 113 + + To Sebastian, hearing Mia’s silence. On edge-- Worried-- + + + + +114 INT. THE AUDITION ROOM - CONTINUOUS 114 + + Brandt and Frank waiting-- + + MIA + My aunt lived in Paris for a bit-- + She used to tell me these stories, + when I was growing up, about living + abroad-- + (beat) + I remember -- she told me she + jumped into the Seine once-- + + + + She pauses, and then continues in SONG. [TRACK: AUDITION] + + Yes, this audition is different than the rest, and the + switch to song signals just that. Mia’s nerves fade away, + all the accents and fakery of earlier auditions a distant + memory. This is Mia undisguised, pure and stark and + beautiful -- + + She uses the story of her aunt jumping into the river to + paint a portrait of all the dreamers in the world, all the + people who are told they’re nuts for pursuing their + passion, all the so-called “fools” who take the plunge. She + sings about them and for them. This is why Mia does what + she does, why she simply has no choice -- + + The song ends, and we linger on her for a moment. Then -- + + DISSOLVE TO: + 108. + + + + +115 EXT. GRIFFITH PARK - DAY 115 + + Mia and Sebastian sit on a bench, the Observatory perched + behind them. The clouds have parted, and it’s now a + gorgeous Los Angeles afternoon, minutes before dusk. + + Sebastian looks at Mia. A moment passes. + + SEBASTIAN + When do you find out? + + + + MIA + They said the next couple of days - + - But I’m not expecting to find + anything out. + + + + SEBASTIAN + You’re going to get it. + + + + MIA + No, I’m not. + + + + SEBASTIAN + You are. I know these things. + + + + A beat. + + MIA + Where are we? + + + + Sebastian looks at her. + + SEBASTIAN + Griffith Park. + 109. + + + MIA + I mean -- where are we? + + + + SEBASTIAN + I know -- + (beat) + I don’t know. + + + + MIA + What do we do? + + + + SEBASTIAN + I don’t think we can do anything. + Because when you get this -- + + + + MIA + If I get this -- + + + + SEBASTIAN + When you get this -- you’ve got to + give it everything you’ve got. + + + +Beat. + + SEBASTIAN (CONT’D) + It’s your dream. + + + + MIA + What are you going to do? + + + + SEBASTIAN + I’ve got to follow my own plan. + Stay here. Get my own thing going. + You know -- + 110. + + +A moment. Mia nods. Sebastian looks at her again. + + SEBASTIAN (CONT’D) + You’re going to be in Paris. Good + jazz there. And you love jazz now. + + + +Mia smiles. + + SEBASTIAN (CONT’D) + Right? + + + + MIA + Right. + + + +Another moment. And then, finally -- + + SEBASTIAN + I guess we’re just going to have to + wait and see. + + + +Mia’s eyes well up, just slightly, as she hears this. She +nods. + + MIA + You know I’m always going to love + you. + + + + SEBASTIAN + I’m always going to love you too. + + + +Beat. Sebastian looks up at the Observatory. + + SEBASTIAN (CONT’D) + Look at this view. + + + + MIA + (playfully) + I’ve seen better. + 111. + + + + + SEBASTIAN + Agreed. + + + + They laugh. + + Then, almost to herself -- + + MIA + I’ve never been here during the + day. + + + + Sebastian smiles. A moment. + + We CUT TO WIDE. Sebastian and Mia sit side by side. We + linger here, our two characters framed by the white-and- + green Observatory, the rest of L.A. stretching out beyond. + + And then, ever so slowly -- + + FADE TO: + + WINTER + + A palm tree, a cloudless sky. We PULL BACK to reveal it’s + all painted -- + + + + +116 EXT. STUDIO LOT - DAY 116 + + We’re on a studio lot, looking at one of the old painted + backdrops, of a palm tree and sky. A new title card: + + Five years later -- + + We TILT down to the studio’s entryway. A CAR enters. + + A WOMAN steps out. We don’t see her face. We FOLLOW her + from behind. She walks elegantly, poised. The wind picks up + a strand of her hair. She makes her way down side-streets + we’ve seen before, past Parisian-style façades. Then enters + a COFFEE SHOP we recognize -- + 112. + + +117 INT. COFFEE SHOP - DAY 117 + + The eyes inside all look the WOMAN’s way. She reaches the + counter and we finally SEE HER FACE: + + MIA + Hi -- Iced coffee, please. + + + + MIA looks different. Different haircut, different way of + handling herself. + + The BARISTA hurries to get Mia’s order. We recognize this + as the shop where Mia used to work. A man who appears to be + the NEW MANAGER gives Mia the coffee -- + + NEW MANAGER + On us. + + + + MIA + No, no, that’s fine. + + + + Mia hands over a few dollar bills. Then drops another bill + into the tip jar. The Barista smiles. + + + + +118 EXT. COFFEE SHOP - MOMENTS LATER 118 + + Mia exits the coffee shop-- and is met by a CREW MEMBER on + a GOLF CART. She gets on the cart and is driven away -- + + CUT TO: + + CLOSE ON hands on piano keys, fluttering across the + ivories. We PULL BACK: it’s SEBASTIAN. We’re in -- + + + + +119 INT. JAZZ CLUB - DAY 119 + 113. + + +-- a small jazz club. Simple, tasteful, cool. Stone arches +in 1940’s style. The seats close to the band, the piano in +the center. The club has the same old-school character as +the Lighthouse, but it’s not run-down. It’s polished, +inviting. + +The place is empty save for Sebastian and an EMPLOYEE. It’s +before-hours. Sebastian finishes playing. Feels out the +lowest keys once more, then the highest. Then turns and -- + + SEBASTIAN + Alright, I’m done. + (gets up) + Harris did a nice job with it. + + + + EMPLOYEE + Took him long enough. + + + +Sebastian smiles. + + SEBASTIAN + No one touches the instruments. + Carson’s coming an hour early to + test levels. + + + + EMPLOYEE + I got a check for you to sign. + + + + SEBASTIAN + How’d we do last month? + + + + EMPLOYEE + Not too bad. + + + + SEBASTIAN + (as he signs the check) + Not too bad is great. + (taps the Employee on the + shoulder) + See you tonight. + 114. + + + + + EMPLOYEE + See you tonight. + + + + +120 EXT. CHATEAU MARMONT - DAY 120 + + Mia pulls into the driveway. + + + + +121 INT. ROOM - CHATEAU MARMONT - DAY 121 + + She steps inside. Flowers and cards. We glimpse cursive + “CONGRATULATIONS” written on a few of them. A stack of + scripts on a nearby table. Her name visible. She drops her + things, spots someone, goes in to kiss him. A long, tender, + loving embrace, as we pull back -- + + -- and see that it’s not Sebastian. + + It’s a MAN we haven’t seen before: DAVID, mid-thirties. He + and Mia kiss again. And, running over and grabbing Mia’s + leg, is a TWO-YEAR-OLD GIRL -- + + + + +122 INT. SEBASTIAN’S APARTMENT - EVENING 122 + + Sebastian steps in. The place is more habitable than his + old digs. Fully furnished, warm and welcoming. He heads to + the kitchen, pulls out some pork cutlets he’s been thawing. + We see, sitting on the counter, a Christmas card with a + photo attached: Laura, Harry, and a FOUR-YEAR-OLD BOY, all + gathered on a couch and smiling at the camera. + + + + +123 INT. SEBASTIAN’S APARTMENT - LATER 123 + + Sebastian eats his meal, in a new shirt and pants. Checks + his watch. + 115. + + +124 EXT. JAZZ CLUB - DAY 124 + + Sebastian pulls up outside the club. New car, same style. + Gets out and passes by a movie poster as he walks. We can’t + see the title, but we can catch a glimpse of a face on it. + + It’s MIA -- + + + + +125 INT. JAZZ CLUB - NIGHT 125 + + We’re back in the club. + + It’s bustling now, the BARTENDERS setting up, DOORMEN + coming in, MUSICIANS sound-checking. Sebastian enters, the + musicians greet him -- + + DRUMMER + King Seb! + + + + SEBASTIAN + Hothouse Eddie -- miss me? + + + + DRUMMER + Like the desert misses the rain. + + + + And then, we see a SAXOPHONIST we recognize. One of the old + Lighthouse players. + + SAXOPHONIST + Seb -- Edgar’s bringing his horn + tonight. + + + + SEBASTIAN + Yeah? Tell him to tune it, huh? + + + + SAXOPHONIST + That’s not Edgar. + 116. + + + Laughs, pats on the back. + + + + +126 INT. ROOM - CHATEAU MARMONT - NIGHT 126 + + Mia, in a new outfit, crosses the living area and grabs her + purse and jacket. David is by the door, jacket on as well. + Mia bends back around a sofa, where the GIRL we saw before + is seated next to a nineteen-year-old baby-sitter, CHELSEA. + + MIA + Bye, sweetie. You be nice to + Chelsea. + + + + The Girl nods. Mia kisses her forehead. Heads to the door. + + CHELSEA + Bye, Mrs. Dolan. + + + + +127 INT. CAR - NIGHT 127 + + David drives, Mia seated beside him. They’re on the 101. + Gridlock traffic up ahead. + + DAVID + What if we miss this? What do we + tell Natalie? + + + + MIA + We can just see it back in New York + -- + + + + David nods. Looks at the time on the car. 8:06. + + + + +128 INT. CAR - LATER 128 + + Mia and David are seated. Still not moving. Mia looks at + the clock again: 8:27. + 117. + + + MIA (CONT’D) + Do you want to just skip it--? Turn + off here and get dinner? + + + + David looks at her. Smiles. + + DAVID + Alright -- + + + + +129 EXT. CITY STREET - NIGHT 129 + + Mia and David walk down a street. A few open restaurants + and bars, a few other closed storefronts. A lot of old, + weathered buildings: 1930’s stucco, Art Deco signs. + + Then, David’s ears perk up. He hears something. MUSIC -- + + He looks around. Doesn’t see the source. Heads to the end + of the block, then sees, just up ahead, a few people + entering a building. Seems to be where the music’s coming + from -- + + Mia heads over, curious. The music grows louder, sounds + like a JAZZ COMBO. Mia peeks toward the door -- + + -- and then FREEZES. + + The sign on the door reads: “SEB’S”. It’s written the way + she drew it for Sebastian, years ago -- + + Coming up to her side, oblivious -- + + DAVID (CONT’D) + This looks fun. + + + + David edges past Mia. Glimpses the bar inside. Turns to + her, inviting -- + + DAVID (CONT’D) + Come on -- + + + + Mia doesn’t know what to say. She follows David -- + 118. + + + + +130 INT. JAZZ CLUB - CONTINUOUS 130 + + Inside, a JAZZ COMBO is tearing through a fast bop chart. + The seats around the band are almost all occupied. Young + fans, older couples, passersby trickling in from outside. + It’s an excited crowd, far more varied than what we saw at + the Lighthouse, a real range of ages and styles. + + Mia’s eyes drift as David heads to the bar. She recognizes + the images on the walls, all Sebastian’s. Recognizes a + stool by the bar, also Sebastian’s, formerly Hoagy + Carmichael’s -- + + DAVID (CONT’D) + Mia? + + + + She turns to David. Wavering, unsure what to do, she + follows him as he manages to find two empty seats close to + the bandstand -- + + The combo finishes. Hearty applause. A young PIANIST rises + from the keys, waves “thanks”. + + And just then, Sebastian appears. Mia looks at him, frozen. + + SEBASTIAN + (taking the microphone) + Manny Halloran, ladies and + gentlemen. + (more applause) + I don’t know, I told him to play + “Jingle Bells”. + + + + The crowd laughs. Sebastian smiles, looks at them -- + + -- and sees Mia. + + Shock. The two LOCK EYES and you can tell it’s the first + time they’ve seen each other in years. + + A prolonged silence. Sebastian is speechless. + + Then, forcing himself to keep on a face -- + + SEBASTIAN (CONT’D) + Welcome to Seb’s. + 119. + + + + + More applause. Sebastian sits at the piano. Looks at the + keys. + + He seems uncertain, perhaps unsure what to play. He looks + at Mia. Takes the sight in. Beat. Then looks at his fellow + musicians. Murmurs to them. Then turns back to the keys -- + + -- and finally starts playing. + + A quieter tune, just piano, soft and tender and melancholy. + A melody we and Mia, instantly recognize -- + + It’s Mia and Sebastian’s song. + + Mia looks at Sebastian. He looks at her, then back at his + keys. This is the most beautiful we’ve ever heard his + playing. The most tender, and full of emotion, it has ever + sounded. + + We MOVE CLOSER on Sebastian. We recognize this image. It + recalls the visualization of his dream, back at the + RESTAURANT that night in winter, years ago. Gradually, as + Sebastian plays, his surroundings seem to grow DARKER. + Slowly, subtly at first, with just shifts in lighting, then + a shift in perspective, the interior of the club changes, + and soon -- + + + + +131 INT. RESTAURANT 131 + + Back when Mia laid eyes on Sebastian for the first time... + + Within this fantasy-flashback, Sebastian finishes his + piece. We stick on Mia, watching him as his Boss talks to + him. All is as before, as we remember it -- And sure + enough, Mia approaches Sebastian as he walks near her, and + -- + + MIA + I just wanted to say -- I saw your + playing, and I -- + + + + -- but instead of brushing past her -- + + -- Sebastian decks her with a kiss for the ages. + + A BURST OF ORCHESTRAL MUSIC. + 120. + + + The DINERS in the restaurant spin around to face Mia and + Sebastian and SNAP their fingers in time. Even the Boss + starts to DANCE. Mia and Sebastian grin and then strut out + together, hand in hand -- [EPILOGUE] + + + + +132 INT. NEW APARTMENT - DAY 132 + + Mia and Sebastian push open a new door to their new place. + It’s a shabby one-bedroom, but it’s theirs -- + + + + +133 INT. LIGHTHOUSE CAFE - NIGHT 133 + + Next, Keith approaches Sebastian at the Lighthouse, but + Sebastian immediately shakes his head “no”. + + + + +134 INT. THEATER - NIGHT 134 + + Sebastian watches Mia perform, it’s the night of her play. + He stands up to applaud and behind him, the entire theater, + utterly packed, rises as well. A huge standing ovation. + Mia’s ROOMMATES are there, giddy with joy, as are LAURA and + HARRY -- + + + + +135 INT. STUDIO SOUNDSTAGE - DAY - NIGHT 135 + + Mia and Sebastian walk together outside, but now that we’re + outside we realize this isn’t the real L.A. at all -- + + This, in fact, is an L.A. that doesn’t exist. A painted- + backdrop L.A., just like the one we saw Mia pass by when + parking on the lot -- + + The old orange groves and the gabled rooftops and the moss- + covered bungalows and the ivy-decked lamps, the jacaranda + trees and the giant hills and Griffith and the Santa Monica + Pier, all painted, all props, all figments of a studio- + backdrop imagination. We’ve entered a fully fantastical + realm, the realm of the old Hollywood ballets of the 40’s + and 50’s -- + 121. + + +136 EXT. STREET - CONTINUOUS 136 + + Everyone DANCES, the pedestrians and the street performers + and the cops and the guards -- AMY BRANDT races up to Mia, + seems to beckon her to audition -- We see the audition + silhouetted against a wall -- We don’t hear Mia sing, but + the music takes on the melody of her song, carrying us to - + - + + + + +137 EXT. PARIS - CONTINUOUS 137 + + Sebastian travels there with Mia -- We chart the journey + through an OLD GLOBE, the same one we saw Mia use for her + play, a miniature plane and dissolves, the old-Hollywood- + movie way -- + + Finally, we find ourselves looking at a PAINTED BACKDROP of + Paris, the same one Mia used for her play. The Sacré-Cœur + and the Arc de Triomphe and the Eiffel Tower etched in + bright colors, the ornate lampposts and the cobblestones + stretching before us -- And then a sign “CAVEAU DE LA + HUCHETTE”-- + + + + +138 INT. CAVEAU - CONTINUOUS 138 + + We see a jam session at the Caveau, a crypt-like jazz club. + Sebastian plays, on cloud nine -- + + + + +139 INT. MOVIE SHOOT - CONTINUOUS 139 + + We see a MOVIE SHOOT, Mia surrounded by lights and cranes, + decked in movie-movie glow. + + We’re BACK to the Caveau. The lights go out, except for the + TRUMPETER, playing out a lovelorn solo, rim-lit. We MOVE in + close on his horn, DIVE into the bell -- + + + + +140 EXT. NIGHTTIME PARIS - CONTINUOUS 140 + 122. + + + All painted. Mia and Sebastian wander through this + wonderland, pedestrians frozen around them -- Finally, they + stop and look at one another -- + + And as the city lights behind them start to glitter like + all the stars of the galaxy -- + + -- they DANCE. + + This is the last time we’ll ever see them dance, and they + seem to recognize that, so graceful and poised are their + movements-- Remember, this is a romance more perfect than a + real romance could ever be -- + + DISSOLVE TO: + + a projector beam -- + + 16mm footage plays on a screen, full of scratches and + pockets of light, Mia and Sebastian sit down to watch + together -- and we see the following moments in brief, + vivid GLIMPSES, as we move in closer on the imagery: + + The first home -- + + Mia’s pregnancy -- + + The newborn child -- + + THE CHILD’S FIRST BIRTHDAY -- + + The child’s first day of pre-school -- + + All dressed up -- Everything here glows with the warmth of + old home movies -- These are memories, fluttering by, + grabbed at random and yet all concocted, dreamed up out of + nothing -- The SCORE continuing to sway and taking us right + up to -- + + + + +141 EXT. ROAD 141 + + Sebastian and Mia, husband and wife, father and mother, + hiring a babysitter because they've decided to go out for a + night at the movies -- (We’re back to 35mm now.) The look + here is unaffected, just everyday. The MUSIC quiets + slightly, everything goes more natural, as this happily + married couple hit the road -- + 123. + + +142 EXT. ROAD - CONTINUOUS 142 + + -- then find themselves blocked by a traffic jam-- then + take a side route, winding up in another part of L.A -- + + + + +143 EXT. STREET - CONTINUOUS 143 + + -- then walk down the street, then hear music, a jazz combo + playing somewhere -- + + + + +144 INT. SEBASTIAN CLUB - CONTINUOUS 144 + + -- and step into a place that looks just like Sebastian’s + club -- They sit down to listen -- + + And then and this is how our imagined montage-musical + number ends, the combo’s PIANIST, who of course is not + Sebastian, launches into Mia and Sebastian’s melody -- + + -- and Mia and Sebastian look at each other, recognizing + it. + + The music goes full-circle, back to where it started, as + Mia and Sebastian look into each other’s eyes, lean in and, + softly, but with all the love in the world -- + + -- KISS. + + WE CUT BACK TO THE PIANO: + + Sebastian has just finished his piece. We’re back to + reality. The audience in the club applauds. + + Beat. Mia looks at Sebastian. Looks away. A moment passes. + + DAVID + Do you want to stay for another? + + + + She’s silent for a second. Then she looks at David. + + MIA + No -- We should go. + 124. + + + He nods. They rise from their seats and head for the exit. + + Just as they reach the door, and as David steps out, Mia + turns and looks back at Sebastian. He looks at her. Their + eyes lock. A hint of a tear in both -- + + And, ever so subtly, for just a fleeting second, Mia + smiles. + + It’s the kind of smile you could miss if you blinked, but + it’s enough to signal to Sebastian that she recognized the + melody he played, and that she still remembers it, and + still thinks of it to this day -- + + Then she walks out the door. Sebastian glances at his + fellow musicians. Then, he nods, and they launch into a new + chart. + + + + +145 EXT. STREET - NIGHT 145 + + It’s silent outside. You can’t hear the music. Mia and + David reach their car. They get in. It pulls out. + + Passing by Sebastian’s club, the car continues on. We stay + put, the jazz club on one side of the frame, the lights of + the car on the other. Those lights growing smaller and + smaller, before finally disappearing into the big L.A. + night -- + + FADE OUT. + + THE END + \ No newline at end of file diff --git a/scripts/Les_Incompetents.txt b/scripts/Les_Incompetents.txt new file mode 100644 index 0000000000000000000000000000000000000000..5e3f7ca64966eec0bc07def23767e3ffc9eb5e6c --- /dev/null +++ b/scripts/Les_Incompetents.txt @@ -0,0 +1,24 @@ +3 INT. MASTER BEDROOM - NIGHT 3 + + KATE McCALLISTER is talking on the phone and packing a + suitcase. She's handsome and energetic, in her early + forties. + + Still dressed from work. + + KATE + I don't want any calls. I'm not + going to France so I can spend the + holidays on the phone. + + KEVIN McCALLISTER enters. He's seven. + + KEVIN + (to Linnie) + Do you know what I should pack? + + LINNIE + What're you worried about? Mom's + gonna pack your stuff anyway. + You're what the French call les + Incompetant. \ No newline at end of file diff --git a/scripts/Midsommar.txt b/scripts/Midsommar.txt new file mode 100644 index 0000000000000000000000000000000000000000..aa3826cfad9ed19c22b7cd7d12ddf4d4af5ceb6f --- /dev/null +++ b/scripts/Midsommar.txt @@ -0,0 +1,8998 @@ + 1. + + + + +1 EXT. WOODS - HÄLSINGLAND - DAY 1 + + Hälsingland, North Sweden. We cycle through a series of + beautifully composed midday landscapes. None of them + feature people or human habitation. + + A spare Swedish lullaby plays over this quiet montage. This + is the song of the Hårgas. When it concludes, we CUT HARD + TO: + + +2 EXT. HOUSE - MINNESOTA - NIGHT 2 + + A beautiful suburban home, bathed in vivid moonlight. The + neighborhood is very quiet. + + +3 INT. BEDROOM - NIGHT 3 + + A MAN and WOMAN (early sixties) lay asleep in bed. They are + extremely still. + + The PHONE rings. The Man and Woman do not stir. After a few + rings, the ANSWERING MACHINE takes it. + + ANSWERING MACHINE (V.O.) + Hello. You’ve reached -- + + MAN & WOMAN (V.O.) + -- the Ardor residence. + + ANSWERING MACHINE (V.O.) + Please leave your message at the + tone. When you’re finished with + your message, press pound. + + BEEP. Enter the voice of a YOUNG WOMAN: + + YOUNG WOMAN (V.O.) + Hey mom and dad, it’s Dani. Sorry + I’m calling so late. I’m just + checking in to make sure everyone’s + okay. I got kind of a scary email + from Terri and it sounded like you + guys were having some sort of + conflict? Anyway, I just got a + little worried, so call me when you + can, and if there’s anything I can + do, just please know that I’m here. + Okay. All right. I love you. + 2. + + +4 INT. BEDROOM - BROOKLYN, NY - NIGHT 4 + + The young woman lowers the cell from her ear. This is DANI + (25), a beautiful but delicate brunette. She hangs up, and + turns to her laptop. An EMAIL from Terri Ardor, titled + “dear dani,” is displayed. It reads: + + i cant anymore - everything’s black - mom and dad are + coming too. goodbye. + + Dani stares at this, anxiety rising. She picks up her + phone, hesitates, and then calls Christian. + + Four rings. CHRISTIAN (25) answers. The rest of this scene + will be shot in a VERY TIGHT CLOSE-UP of Dani. + + CHRISTIAN (V.O.) + Hi...! + + Dani affects a care-free tone: + + DANI + Hey baby. What you up to? + + CHRISTIAN (V.O.) + Oh, just smoked some resin at + Mark’s and now we’re getting pizza. + + DANI + Oh nice. + + In the b.g., we hear a young man repeating “hi Dani, hi + Dani, hi Dani...” + + CHRISTIAN (V.O.) + Yeah - he’s saying hi right now, + over and over. + + DANI + Hi Mark! + + CHRISTIAN (V.O.) + (off-phone) + “Hi Mark.” + + DANI + So I was just calling to see if you + were still wanting to get together. + + CHRISTIAN (V.O.) + Oh - did we talk about doing + something tonight? + 3. + + + DANI + I mean, not concretely. I was just + seeing. + + CHRISTIAN (V.O.) + (ambivalent) + Uh, well - okay. Yeah. I should be + able to swing by. + + DANI + All right...! + + CHRISTIAN (V.O.) + Yeah. Okay... How’s the sister + situation? + + DANI + Well. I’ve now sent her three + emails and still no response... I’m + starting to get a little nervous. + + CHRISTIAN (V.O.) + I’m sure it’s fine. + + DANI + Yeah. Probably. I hope so. + + CHRISTIAN (V.O.) + She does this every other day, + Dani. And only because you let her. + + DANI + Well, I don’t LET her. She’s + bipolar. + + CHRISTIAN (V.O.) + I know, but you do, though, babe. + You go straight to crisis mode. + + DANI + Well - but she’s my sister. And + even you admit this last email was + different... + + CHRISTIAN (V.O.) + Okay, but is it, though? It’s still + another clear ploy for attention - + just like every other panic attack + she’s given you. + +Dani looks like she wants to argue with this. She stifles +it. + 4. + + + DANI + Okay. Yeah. You’re right. You are + right. + + CHRISTIAN (V.O.) + The more you respond, the more + she’s encouraged to keep this crap + up. + + DANI + No, I do know you’re right. I just + needed to be reminded. Thank you. + I’m really lucky to have you. + + CHRISTIAN (V.O.) + Me too. + + DANI + I love you. + + CHRISTIAN (V.O.) + ...So do I. + + DANI + Okay. See you later? + + CHRISTIAN (V.O.) + Yup. + + DANI + Okay. “Bye Mark!” + + CHRISTIAN (V.O.) + “Bye Mark.” + + DANI + All right. Love you. Bye. + + Dani hangs up. Her eyes are wide with insecurity. + + +5 INT. KITCHEN - MINUTES LATER 5 + + Dani stands in the kitchen, mid-phone conversation. + + FRAUGHT. She paces when she’s not speaking. + + DANI + It’s just in his tone - you can + hear it. It’s like he’s trying to + work up the nerve to say something + and I just keep staving it off. + 5. + + + GIRLFRIEND (V.O.) + So don’t stave him off. Be direct! + Confront him! + + GIRLFRIEND (V.O.) + Well - what if I scared him? I’m + always roping him into my family + crap... I’m always leaning on him! + I tell him everything! I even + called him today in tears because + my sister sent me another scary + email. What if I’m scaring him off? + + DANI + Oh - how do you rope him in? That’s + what he’s there for! + + GIRLFRIEND (V.O.) + What did your sister write? + + DANI + Oh - just some ominous bullshit! + She does it all the time! It’s + torture, and I’ve been completely + leaning on him for support! What if + I overwhelmed him and now he thinks + I have too much baggage? + +Dani opens a prescription bottle of ATIVAN. She pops one. + + GIRLFRIEND (V.O.) + Well, if that’s the case, then good + riddance! Right? + + DANI + No! Not if I went too far! What if + I leaned too heavily? + +Dani has returned to her laptop. + + GIRLFRIEND (V.O.) + You didn’t! He should be there when + you need him. + +Dani begins hastily composing an EMAIL to her sister Terri. + +DANI + + GIRLFRIEND (V.O.) + 6. + + + But what if I need him too often? + If it becomes a chore? Then he's + not the right guy. Because it + shouldn't ever be a chore. Would it + be a chore if he leaned on you? + + Dani breaks from writing to respond: + + DANI + But he never asks for anything from + me! I've never even seen him cry! + So I'm the only one leaning! + + GIRLFRIEND (V.O.) + Or the only one opening up! The + only one making yourself + vulnerable. That's intimacy. + + As the friend says that, Dani finishes typing. Her email + reads: "PLEASE write me back, Terri. You can't just write + me something like that and then disappear. I'm worried sick + and I think my boyfriend is breaking up with me and I'm + freaking out. Please write back. Please." + + Dani’s phone beeps with an INCOMING CALL. It’s an UNKNOWN + NUMBER. + + +6 INT. PIZZA PARLOR - NEW YORK - NIGHT 6 + + A grubby pizza parlor. Outside the window looms a purple + NYU sign. + + CHRISTIAN, very handsome and fit, sits at a booth. Beside + him are his friends MARK (26, droll, shaggy hair), JOSH + (27, a skinny, sometimes snobbish academic), and PELLE + (26), a nice-looking Swedish exchange student. Pelle + doodles on his napkin (drawing the flowers on the table). + + Mark is currently lecturing a despondent Christian. + + MARK + Dude: you need to stop sitting on + the fence with this. + + CHRISTIAN + But what if I end up regretting it + a week later, and then I can’t get + her back? + + MARK + You don’t want her back! + 7. + + + CHRISTIAN + I might! + + MARK + So then you can bitch to us for + that week about how much you regret + it, and we'll be like “Dude: you’ve + been wanting out of this absurd + relationship for the last year,” + and you’ll be like “oh shit, that’s + right” and then you can find some + new chick who actually likes sex + and who doesn’t drag you through a + million hoops a day. + +Christian is thinking about this. Extremely conflicted. + + JOSH + Do you think a masochistic part of + you is playing this drama out to + distract you from the work you + actually need to be doing? + + CHRISTIAN + (prepared to be offended) + And what work do I actually need to + do, Josh? + + JOSH + Uhhh - your prospectus maybe? I + dunno. Your PhD...? + +Christian clearly doesn’t want to be told his priorities by +Josh. Before he can snap back, an attractive WAITRESS +(early 20s) brings over the check. + + WAITRESS + Whenever you guys are ready. + + PELLE + (with Swedish accent) + Thank you. + +She SMILES -- at Christian. + + WAITRESS + Thank you. + +She HOLDS the smile with Christian and walks bashfully off. + +Mark definitely caught that. + + MARK + 8. + + + Dude. You could be getting that + girl pregnant right now. + + PELLE + And don’t forget all the Swedish + women you can impregnate in June. + + MARK + Yeah, dude - don’t forget all the + Swedish milkmaids. + +Christian’s PHONE rings. He checks. It’s DANI. He deflates. + + MARK + Who is that? + +Christian doesn’t respond. + + MARK + That’s not her again? Seriously? + +Christian lets the call go. + + MARK + That’s ridiculous, dude. She needs + a therapist. + + CHRISTIAN + She has one. + + MARK + So she should call him! That’s + insane, dude. She’s using you. + +The phone starts ringing again. Christian checks it. “Dani +again.” + + MARK + Oh my God. + +Christian answers. He rises from the booth to get some +privacy. + + CHRISTIAN + Hello? + +On the other end: an extended, agonized MOAN. + + CHRISTIAN + Dani? + + DANI (V.O.) + 9. + + + (distantly) + ...no, no, no, no, no, no, no... + + CHRISTIAN + Sweetheart? What’s going on? + + But now there’s only heavy, frightening CRYING on the other + end. It’s a deep, horrible cry. One of pure animal grief. + + CHRISTIAN + (now scared) + What’s happening, baby? Please talk + to me. + + The crying has curdled into a sustained WAIL OF ANGUISH. + + +7 INT. GARAGE - MINNESOTA - NIGHT 7 + + The house from the beginning (scene 2). + + Two CARS are parked. Their engines hum quietly. A + FIREFIGHTER opens one car’s door and turns OFF the + ignition. + + We now reveal that the end of a GARDENING HOSE has been + taped to one car’s EXHAUST PIPE. A second hose has been + taped to the other car’s exhaust pipe. Both hoses TRAIL out + of the garage and INTO the house... + + +8 INT. HALLWAY - CONTINUOUS 8 + + One gardening hose leads to a BEDROOM DOOR. The door is now + open, but the end of the hose has been TAPED to the + bottom... + + +9 INT. BEDROOM - CONTINUOUS 9 + + The bedroom of the sleeping MAN and WOMAN (in their 60s, + from the beginning). It is very clear now that they are + DEAD. + + Two police officers survey the room. + + HARD CUTS to the man and woman being ZIPPED UP into body + bags. + + +10 INT. TERRI’S BEDROOM - SAME TIME 10 + 10. + + + TERRI (24), Dani’s sister, sits on the floor of her + bedroom, beside her desk. The end of the other gardening + hose has been DUCT-TAPED TO HER MOUTH. A mess of vomit has + dried around the edges of the hastily applied tape. + + On Terri’s desk: her LAPTOP. It is open to the EMAIL THREAD + between her and Dani. In the bottom right corner of the + screen: “3 New Messages from Dani Ardor.” + + +11 EXT. STREET - BROOKLYN - NIGHT 11 + + Dreamy snowfall in Brooklyn. + + Christian, bundled up in layers, RUNS down the street. He’s + approaching DANI’S BUILDING, but even as he rushes, he’s + not going as fast as he possibly could. There’s an + ambivalence in his stride. + + He enters the front door of Dani’s building. + + +12 INT. DANI’S APARTMENT - NIGHT 12 + + Wide on the LIVING ROOM. We’re centered on the COUCH, where + Christian sits. Dani has crumbled there, her head shaking + violently against Christian’s lap as she WEEPS. Behind + them: a WINDOW showcases snowfall against the dark night. + + Dani’s sobs are possessed of a profound despair. It’s so + intense that it looks painful - dangerous even. + + We are pushing in on this, toward them. Christian’s eyes + are wide with worry. A worry that goes beyond Dani’s well- + being. + + He stares into space, imagining a future that he’s being + chained to. He looks TRAPPED. + + We continue pushing toward them until we have pushed PAST + them. The window behind them FILLS our frame. + + Through the window - HEAVY SNOW raging in a black vacuum. + We hold on this as our OPENING CREDITS ROLL, accompanied by + intense, groaning score. + + After the credits, we + + SLAM CUT TO: + + DAYLIGHT. We are still looking out the window, but it’s now + late afternoon. LATE SPRING. + 11. + + +13 INT. DANI’S BEDROOM - LATE AFTERNOON - 6 MONTHS LATER 13 + + Dani lies on her bed, fully clothed. Her eyes are numb as + she stares at the wall. + + A KNOCK at the door. A well-dressed Christian pops his head + in. He’s grown a beard since we last saw him. + + CHRISTIAN + Hey babers. How we feeling? + + DANI + (looking to him) + Hey. + (sitting up) + I’m up. + + CHRISTIAN + I’m just going to that party + for like 45 minutes. You + should keep sleeping. + + DANI + Oh - I’ll come with you...! + + CHRISTIAN + (hesitates) + You sure you got enough rest? + + DANI + I wasn’t sleeping anyway. + + Christian pauses briefly, as if this clashes with his + plans. + + CHRISTIAN + Okay, great! Well, I was gonna + leave in like three minutes, so + I’ll just be at the door. + + DANI + Okay. I’ll just get dressed. + + Christian nods for a little too long, then “smiles” and + leaves the room. Dani rises. Stands for a moment. Heavy. + + +14 INT. APARTMENT - EVENING 14 + + A PARTY in a brownstone full of circulating twenty- + somethings. + 12. + + +Dani stands with Christian, who chats with Josh, Mark +(holding two beers), Pelle, and a stoned HIPSTER GUY (26). + + HIPSTER GUY + I’m fucking dreading the summer. + Stuck in Boulder while my dad + watches Law & Order all day. + + MARK + Yeah, man - I have to visit my + parents in shit-ass Tucson after we + all get back. + +Dani squints with curiosity. Christian suddenly looks +nervous. + + HIPSTER GUY + Oh - you guys are going somewhere? + + JOSH + To Sweden! + + PELLE + Hälsingland. + + MARK + Mr. Pelle’s invited us for an + authentic hippie midsummer at his + yodeling farm. + +Dani has PAUSED. She hadn’t heard this before. + + DANI + ...Oh yeah? + +Dani turns to Christian, who now looks semi-panicked. + + CHRISTIAN + I mean, yeah, we were thinking + about maybe - we were talking about + it. + + DANI + For when? + +Dani feigns casualness as she looks inquiringly to the +guys. + + JOSH + ...Mid June to late July? + + MARK + In two weeks. + 13. + + + CHRISTIAN + I mean, if we even go. I probably + won’t. We were just talking about + it. + + Mark, Josh and Pelle stand awkwardly, confused. Christian + clearly hasn’t been honest with Dani. + + +15 INT. SUBWAY - MOVING - NIGHT 15 + + Christian and Dani ride the L train back home. + + Christian stands, gripping the rail. Dani sits to his side. + Her eyes are BUSY with nagging, paranoid thoughts. + Christian, very tense, looks down at her from the corner of + his eye. + + Dani looks up at Christian uncertainly. Christian forces a + casual “hey” smile. She “smiles” back. + + +16 INT. CHRISTIAN’S APARTMENT - NIGHT 16 + + Christian’s apartment is choked with cultural artifacts + (pieces acquired in China, South America, Africa, etc.). + + The door opens. Christian and Dani enter. Christian goes to + his laptop and turns it on. Dani stays by the door, still + preoccupied. Christian looks to her. + + CHRISTIAN + Are you okay? + + Dani looks at him, hesitant to start a fight. Christian + gives her an impatient look: “Yes? No?” + + DANI + I mean - yeah. I’m okay. That was + just...very weird. + + CHRISTIAN + (playing dumb) + What was? + + Dani looks at him: “Seriously?” Christian widens his eyes: + “What was weird?” + + DANI + The...Sweden! I had no idea. + + CHRISTIAN + 14. + + + Well - what do you mean? I told you + I wanted to go. + + DANI + Okay, fine, but I didn’t know you + were going. + + CHRISTIAN + Well, I just decided today. I + wasn’t keeping it from you. + + DANI + You already have a ticket! + +Beat. Christian now looks cornered. + + CHRISTIAN + (shrugs) + I’m sorry. + +Christian looks extremely defensive. He has LOCKED DOWN. +Dani sees this, gathers herself, and tries to explain: + + DANI + It’s just -- imagine if we were at + a party and someone asks "what are + you doing this summer," and my + friends say: "oh, we’re all going + to Alaska for three months, A month + and a half. we’re leaving in two + weeks,” and imagine that was the + first you’d ever heard of it! + + CHRISTIAN + (correcting) + A month and a half. + + CHRISTIAN + Okay: I told you I wanted to go to + Sweden. + + DANI + You told me it would be “cool to + go.” + + CHRISTIAN + Yeah! And then I got the + opportunity to go and I decided to + do it. + + DANI + I have no problem with you going! I + just wish you'd involve me! + 15. + + + CHRISTIAN + Well, I just apologized, Dani. + + DANI + You didn't apologize, you said - + (shrugs) + - "sorry." Which sounds more like + "too bad." + +Beat. Christian’s eyes are now very cold. + + CHRISTIAN + Maybe I should just go home. + + DANI + ...I’m just trying to understand. + + CHRISTIAN + And I tried apologizing. + + DANI + I don't need an apology. I just + wanna talk about it. + +Pause. + + CHRISTIAN + I think I should just prob’ly go + home. + +Dani looks helpless. + + DANI + I'm not trying to attack you. + + CHRISTIAN + Well, it feels like that. + + DANI + Well -- I’m sorry! I am sorry. I + just got confused. + +Christian’s eyes, looking down, haven’t begun to thaw. +Dani, now desperate to reverse the mood, sits on the couch. +She beckons him. + + DANI + Come on: Sit with me. I'm sorry. + That just felt weird, that's all. I + think going to Sweden could be + really great for you. That sounds + amazing. Are you going for your + thesis? + 16. + + + CHRISTIAN + (quietly) + I don’t know what my thesis is. + + DANI + (brightly) + I know! It could be inspiring! + Right? + + CHRISTIAN + (still looking down) + -- I think I’m just gonna leave. + +Dani’s eyes start to well intensely with TEARS. + + DANI + Please. I'm sorry. I didn't mean to + overreact. Please. + +Christian SOFTENS when he sees that she’s crying. Still +distant, he sits with her. + + CHRISTIAN + Okay - shhh. It’s okay. I’m sorry, + too. All right? + + DANI + I get paranoid. I'm sorry. I'm + going through all this stuff and + I've been dealing with all this + panic and I just - overreacted. I'm + not trying to put pressure or + accuse you of anything. I just got + crazy for a second. I didn't mean + to project. + +Christian strokes her hair. + + CHRISTIAN + It’s okay. I’m sorry, too. It’s + okay. + +Beat. + + CHRISTIAN + (uncertainly) + I was gonna ask you to come with + me. + +Pause. Dani looks at him. + + DANI + What do you mean? + 17. + + + CHRISTIAN + -- What I just said. + + DANI + To Sweden? + + Christian nods a stiff “yes.” + + DANI + You don’t want me to. + + CHRISTIAN + I just asked you. + + DANI + After I broke down crying! + + CHRISTIAN + Well...you ruined the surprise. + + Dani searches Christian’s eyes. They aren’t especially + warm. + + CHRISTIAN + I wanted it to be romantic. + + +17 INT. MARK & JOSH’S APARTMENT - DAY 17 + + Mark & Josh’s apartment is essentially a stoner’s den + crossed with a serious anthropologist’s home. Ironic + posters (a portrait of Ronald Reagan, etc.) are countered + by a huge poster of James George Frazer. There are stacks + of books in every corner. + + Christian, Mark, Pelle and Josh sit in the living room, + smoking from a bong. Josh holds a book by Johannes Bureus + (titled Adalruna) and Pelle is drawing in his notepad. + + JOSH + Are the Swedes sensitive about + their history of Nazi + collaboration? + + PELLE + Are you sensitive about Hiroshima? + Or slavery? Or the trail of tears? + + JOSH + (deadpan) + Yes. + 18. + + +Christian looks extremely preoccupied. His foot pumps +involuntarily. He receives a TEXT. + + CHRISTIAN + (anxiously) + Hey guys, it’s Dani - she’s coming + up. + + MARK + ...Okay. + + JOSH + (re: weed and bong) + Should we clear all this? + + CHRISTIAN + No no, it doesn’t matter. But uh - + listen... + +Christian goes to buzz her in. + + CHRISTIAN + ...just so you guys know: she’s not + gonna actually come, but I invited + her on the trip. Just to not make + it weird. + +A moment of silence. Pelle sits especially frozen. + + MARK + You invited her? + + CHRISTIAN + Yeah, but she’s not coming. + + JOSH + She doesn’t want to? + + CHRISTIAN + (measuredly) + No: I "invited" her and she + "accepted," but she's not gonna + actually come. + +Mark and Josh just stare at him. + + CHRISTIAN + You guys know what she’s dealing + with! + + MARK + No, we know. I just didn’t realize. + It’s totally fine if she joins. + 19. + + + JOSH + Yeah, dude, nobody minds. + +A KNOCK at the door. Christian goes to answer it, but +before he does, he reasserts: + + CHRISTIAN + Okay, so just: you guys told me to + invite her and you know that she’s + coming. Agreed? + +They don’t respond. Christian now OPENS the door to DANI. +She enters with an almost apologetic smile on her face. + + DANI + Hey. + (to the room) + Hey guys! + + CHRISTIAN + Hi baby. + + JOSH/MARK/PELLE + Hey! + + DANI + How’s it going? + + MARK + Just chillin’. + + DANI + Nice. + +A brief, awkward pause. + + JOSH + So, Sweden--! + + DANI + Yeah! + + PELLE + You’re coming, right? + + DANI + I think so--! If it’s not + completely destroying your guys’ + male bonding plans. + + MARK/JOSH/PELLE + Nope. / Not at all. + 20. + + + CHRISTIAN + Oh, shut the fuck up. + +Dani smiles bashfully. Mark abruptly addresses Christian: + + MARK + Hey man, can I get you to look at + that paragraph real quick? + + CHRISTIAN + (confused pause) + Sure. Yeah. Okay. + (to Dani) + Right back. + +Christian kisses Dani, and leaves the room with Mark. Dani +looks to the ROOM. Josh has returned to his book. Pelle, +alone on the couch, warmly gestures for Dani to join him. +She obliges. + + DANI + Hey Pelle. + + PELLE + Hi Dani. + +She notices that Pelle has been composing a DRAWING in his +notepad. It’s a drawing of the room. + + DANI + Ooh, that’s a nice drawing. + + PELLE + Oh, thanks, yeah, I’m trying to be + a naturalist. + +Pelle closes the drawing pad. Gives Dani his full +attention. + + DANI + How’ve you been? + + PELLE + Pretty good! Survived finals. You? + + DANI + Uh, well - didn’t quite finish! But + they’re giving me a break this + year... + + PELLE + (realizing) + Oh, right. God. Of course. + 21. + + +Dani makes an embarrassed “bleh” face. + + DANI + How did you like the anthropology + department? + + PELLE + It’s good! I just can’t seem to + choose if I hate academia or not. + Unlike this one. + (”this one” being Josh) + You’re doing psychiatry? + + DANI + Psychology. Yeah. That’s how you + know I’m nuts. + + PELLE + Also that funny look in your eye. + +Dani LAUGHS, a bit unnaturally. An awkward moment. + + PELLE + So! You’re coming to Hälsingland! + + DANI + Yeah! I can’t wait. Christian says + you’ve got a special thing in the + woods planned? + + PELLE + Oh yeah - a sort of crazy, nine-day + festival we’re doing... + + DANI + Do you do that every midsummer? + + PELLE + Uh - well...not quite like this + one. + + DANI + (mock-scandalized) + Ooh. What makes this guy different? + + PELLE + Well, “this guy” happens only once + every ninety years. So it’ll be a + first and a last for everybody. + +Pelle raises his eyebrows, mock-menacing. + + DANI + 22. + + + ...Christian says you’re from a + really small community? + + PELLE + Oh yes - tiny. Very sort of... + (”what’s the word?”) + Incestuous? Incestual? + + DANI + Depends on which of those you mean. + + PELLE + Oh - ha! No: we’re just very + secluded... + +Pelle pulls up a PHOTO on his phone. Shows it to Dani. It +features a lush, impossibly green field. Young men and +women stand about - all dressed like hippies in white. + + DANI + Oh wow! Flower children. + + PELLE + Big time! We do our own + thing, love our astrology... + + DANI + What’s your sign? + + PELLE + Taurus! You? + + DANI + Cancer! + + PELLE + Ooh, yes, I do see that. Your + birthday? + + DANI + July seven. + +Pelle makes an “Ah” face. A thoughtful pause before he +asserts: + + PELLE + You know, I think it’s actually + very good you’re coming. + + DANI + Oh yeah? For who? + + PELLE + 23. + + + For you! And for my family. I think + you’ll be very... + + Pelle weaves his fingers together, signifying a tight-knit + connection. Dani smiles. Pelle PAUSES again, and his tone + now CHANGES. He leans forward, sensitively: + + PELLE + You know...I never had the chance + to tell you, but I was really so + very sorry to hear about - your + loss... + + DANI + Oh...! + + PELLE + ...and what happened. I can’t even + fathom. I mean, I lost my parents, + too, so I have some idea, but... + + Dani looks cornered. TEARS have welled up in her eyes. + + PELLE + Oh, no. Sorry to bring it up! + + DANI + No, I mean - thank you. I just... + I'm sorry. + (stands up suddenly) + I'll be right back. Bathroom. Thank + you. + + Dani rushes off. Pelle watches her with blank eyes. + + Dani, stifling tears, enters the BATHROOM. + + +18 INT. AIRPLANE LAVATORY - IN FLIGHT - DAY - 2 WEEKS LATER 18 + + Dani has entered an airplane’s lavatory, stifling an + oncoming deluge. After shutting the door behind her, she + BREAKS DOWN in a fit of violent SOBS. + + +19 INT. AIRPLANE - IN FLIGHT - MINUTES LATER 19 + + We are WIDE, looking down the length of the plane. We track + forward, drifting over the heads of passengers. + + In the b.g., Dani exits the lavatory and returns to her + seat. Christian is seated beside her at the window. We have + arrived at a PROFILE CU of them (the window in the b.g.). + 24. + + + Christian takes Dani’s hand and smiles at her. It’s clear + she’s been crying, but she hides it behind a determinedly + casual “all is well” expression. + + Christian goes along with the pretending, and looks out the + WINDOW. We have begun a slow ZOOM past them, toward the + window. The window soon FILLS the frame. We are flying over + beautiful terrain. We have entered SWEDEN. + + +20 INT. STOCKHOLM AIRPORT - DAY 20 + + Dani, Christian, Josh, Mark and Pelle stand at a CUSTOMS + DESK. + + A CUSTOMS OFFICER looks over their passports. + + CUSTOMS OFFICER + Purpose of your trip? + + PELLE + Visiting my home in Hälsingland. + + CUSTOMS OFFICER + All of you? + + They all say “yes.” Christian, meanwhile, is desperately + searching his backpack for his passport. + + The Customs Officer scrutinizes Dani’s passport. + + CUSTOMS OFFICER + Happy birthday tomorrow. + + DANI + Oh - thank you. + + Christian, distracted from that, FINDS his passport. + + +21 INT. RENTAL MINIVAN - MOVING - DAY 21 + + Our group, now in a rental minivan, drives through + Stockholm traffic. Pelle is at the wheel. + + Mark sits passenger, holding a film theory book. In the + back: Dani, Christian and Josh. Josh is reading the Poetic + Edda. + + They pass a group of BEAUTIFUL BLONDE WOMEN. + + MARK + 25. + + + (to Christian) + Oh my God, dude, the women here...! + +Christian, aware of Dani, gives a self-conscious half-nod. +Dani happily pretends to ignore this. + + MARK + What is it that makes them hotter? + + CHRISTIAN + The Vikings grabbed all the best + ones and dragged them over. + + JOSH + Makes a pretty good case for rape, + from a nationalist point of view. + +Dani WINCES at that one. They have now pulled onto the +FREEWAY - leaving Stockholm. + + DANI + How far are we driving? + + PELLE + Four hours, about. + + MARK + (exasperated) + Oh my God. + +Dani notices a book on Josh’s lap: The Secret Nazi Language +of the Uthark. Its cover is a runic pattern. + + DANI + Why are you reading that? + + JOSH + Ha. Ask Pelle. + + PELLE + (accepting the cue) + We’re taught the runic alphabet in + my village. Josh just carries that + around to annoy me. + + DANI + (to Josh) + What are you doing your thesis on, + again? + + JOSH + 26. + + + Uhhhh - Well! My focus is actually + on European midsummer traditions. + Which was actually sorta the + impetus behind this whole trip. + + DANI + (to Christian) + That’s similar to what you’re + thinking of doing - right, baby? + For your thesis? + + CHRISTIAN + (tensely) + Well, I don’t know quite what I’m + doing. + + CHRISTIAN + (As you know.) + But I’m thinking about rooting it + in something Scandinavian. + + DANI + See that, Pelle? You’ve managed to + brainwash all your friends. + + PELLE + Josh was already brainwashed when I + found him. + + JOSH + (re: Pelle’s + acknowledgement) + Thank you. + + DISSOLVE TO: + +TWO HOURS LATER + +Pelle is still driving. Everyone is silent and zoning out +as the radio plays an old Swedish folk tune. + +Mark suddenly notices a DEAD BOAR on the side of the road. + + MARK + That’s the second of those I’ve + seen. + + PELLE + Yeah, they’re a huge problem out + here. Everybody hunts them. + + MARK + You ever gone boar huntin’? + 27. + + + PELLE + Yep! + + MARK + Is it fun? + + PELLE + ...It’s cathartic and then it’s + sad. + + Beat. They drive past another dead boar, also in a field. + + JOSH + They’re allowed to just leave them? + + Mark alights on something ahead. + + MARK + ...the fuck? + + Everyone looks up. In the distance, about 300 feet off the + road, is an OAK TREE with SEVERAL BOAR CARCASSES HANGING + FROM ITS BRANCHES. + + CHRISTIAN + What is that? + + DANI + Oh my God. + + JOSH + Wait: slow down. Can you pull over + to it? + + DANI + Why?? + + JOSH + Please, Pelle. + + Pelle reluctantly slows down. He veers off the road and + idles to a STOP beside the tree. Josh marvels at it. + + +22 EXT. ROAD - CONTINUOUS 22 + + The back door opens and Josh emerges from the car. Everyone + else filters out behind him. + + Josh approaches the tree, stunned. A cacophony of buzzing + FLIES. + 28. + + + JOSH + (to Pelle) + Do you know what this is? + + PELLE + No idea. + + Josh has pulled out his CELL PHONE. He starts to take + photographs of the tree from every possible angle. + + DANI + This is horrible. + + MARK + (to Pelle) + Is this how you people hunt out + here? + + CHRISTIAN + It looks almost ritualistic. + + JOSH + It looks absolutely ritualistic! + (takes more photos) + This is fucking amazing. + + Dani looks extremely disturbed. She swipes away flies. + Christian pulls out his phone to take a single wide shot of + the tree. + + PELLE + Okay, let’s go. We still have a lot + of driving. + + DANI + Fantastic. Thank you. + + Everyone returns to the car. Except for Josh, who continues + his ecstatic photo-taking. + + +23 INT. RENTAL MINIVAN - MOVING - DAY 23 + + Pelle is still driving. Christian sleeps in the back. + Everyone looks notably more tired. It’s been a long drive. + + They pass a sign announcing (in Swedish) that they have + arrived in Hälsingland. + + PELLE + Entering Hälsingland! + + Everyone looks up. + 29. + + + MARK + Are we getting high right when we + get there? + + TEN MINUTES LATER + + Pelle idles up to a LARGE GRASSY MEADOW. It’s lush, + impossibly green - magical. About fifty YOUNG PEOPLE (teens + to twenties) lounge about. Tents and camping equipment + abound. Many of the women are dressed in traditional white + dresses and don floral garland crowns. Some of the men look + like 19th century farmers. + + PELLE + Look, guys! New friends. + + Pelle parks the minivan in the field. + + +24 EXT. MEADOW - CONTINUOUS 24 + + They all emerge, yawning and stretching. Dani is + mesmerized. Pelle WAVES to a bunch of people on the grass. + They clearly know each other well. Pelle gestures for our + group to follow him as he approaches a crowd of GIRLS. + + GIRLS + Pelle!! + + We cut WIDE as Pelle happily introduces everyone. + + Then, across the field, a Chubby Blonde Guy (25) calls out + to Pelle. This is INGEMAR. + + INGEMAR + (in Swedish) + Holy shit! Pelle!! + + Pelle turns to Ingemar. His face LIGHTS UP, and he runs + over to him. Dani, Christian, Mark and Josh follow. + + INGEMAR + (in Swedish) + Happy St. John’s! + + Pelle laughs. They hug. + + INGEMAR + (in Swedish) + Christ - you’re so skinny! Where’d + the rest of you go? + + PELLE + 30. + + + (in Swedish) + Looks like you got it. + + INGEMAR + (in Swedish) + What the fuck? I look fatter? + + PELLE + Here: English. These are my great + friends - Josh, Christian, Mark, + Dani: meet my brother Ingemar. Best + friend since we were babies. + + INGEMAR + (recounting) + Josh, Christian, Mark...Dani? + (confirmed) + Awesome! And say hello to my + friends, Simon and Connie from + London. + +He gestures to an attractive British couple, CONNIE (24, +skinny) and SIMON (26, spectacled, tattooed). + + INGEMAR + Simon and Connie, this is Pelle + and...all the names I just + remembered two seconds ago. + + SIMON + Hey. + + CONNIE + Hello. + + INGEMAR + Perfect timing, by the way: + +Ingemar pulls out a bag of MAGIC MUSHROOMS. Hands them to +Pelle. + + INGEMAR + We just took these five minutes + ago. Haven’t even started coming up + yet. + + MARK + (overjoyed) + Ohhh shit. + +Mark grabs the bag from Pelle and studies the contents. + +PELLE + 31. + + + MARK + (to the group) + Do you guys wanna take it now? Or + should we settle in first? + +Fuck it. Let’s just take ‘em. + + DANI + (to Christian) + I think I might need to find my + footing first. + + CHRISTIAN + Yeah. Of course. + (quietly) + And you know you don’t need to take + them. If you’re feeling unsure. + + DANI + No, I just need to get settled. + + CHRISTIAN + Okay. Well. I’ll wait for you. + + DANI + No - go ahead! + + CHRISTIAN + No, I’ll wait. We’ll come up + together. + +Josh and Mark and Pelle have pulled their mushrooms from +the bag. They look to Christian, ready to go. + + PELLE + Ready? + + CHRISTIAN + I’m waiting for Dani. You guys go + on. + + MARK + Dude. We can’t come up at different + times. They’ll be totally separate + trips. + + CHRISTIAN + Then you can wait for us. + +Mark looks frustrated - angry even. + + DANI + 32. + + + You know what? That’s okay. I’m + ready. + + CHRISTIAN + Baby. Don’t feel rushed. + + DANI + I don’t. I’m ready. + + MARK + (false concern) + You sure? + + DANI + (bluntly) + Yeah, Mark, thanks. + + INGEMAR + They made mushroom tea if you + prefer against the taste. + + DANI + (considers) + Okay. Yeah. I’ll have that. Thank + you - Ingmar? + +Ingemar smiles confirmation and goes to fetch her a mug of +tea. + + CHRISTIAN + Don’t let Mark pressure you. Of all + people. + + DANI + He’s not. It’ll get too complicated + otherwise. It’s fine. + +Ingemar hands Dani her TEA. + + PELLE + (to Dani) + Ready? + +Dani, now holding the tea, nods yes. + + PELLE + Okay. Here we go. Think happy + thoughts! + +They eat their shrooms. Dani hesitates before SIPPING the +tea. + + CHRISTIAN + 33. + + + You okay? + + DANI + Yeah. It’s good. I’m excited. + + CHRISTIAN + (still concerned) + Cool. Me too. + +MINUTES LATER + +Dani sits on the grass with Christian and Pelle. Mark is +off to the side, stabbing at an ANT COLONY with a stick. +Josh paces nearby. His stomach TURNS audibly. + + JOSH + Uggghhh, I really don’t feel good. + +Josh hunches over to RETCH. + + MARK + Don’t puke, dude. Keep it down. + + CHRISTIAN + (to Dani) + How are you feeling? + + DANI + A little like I have food + poisoning. + + PELLE + Technically you do. It’ll go away + soon. + + CHRISTIAN + And you can throw it up if you need + to. + +JUMP CUT to Dani VOMITING into a bush. Christian stands +near her. + + CHRISTIAN + That’s good, baby. It’s okay. Throw + it up. + +Dani rises to take a breath. + + CHRISTIAN + Does that feel better? + + PELLE + 34. + + + Don’t worry - you had it down long + enough. You’re still gonna trip. + +MINUTES LATER + +The group sits on the grass together. The sun is still +shining. + + CHRISTIAN + What time is it? + + PELLE + Ten at night. + +Mark sits up, alarmed. + + MARK + What do you mean?! + + PELLE + What do you mean? + + MARK + That doesn’t feel right. + + PELLE + Why? It’s the midnight sun. + + MARK + It doesn’t feel like ten. I don’t + like that! It feels wrong. + +A YOUNG MAN approaches. + + CHRISTIAN + Oh fuck. It’s a new person. + + MARK + What? I don’t want new people. + + PELLE + No - new people are good! + +The Young Man walks past. + + YOUNG MAN + Hey hey! + +The group mumbles hello. + + MARK + I wanna lay down. + 35. + + +Mark lies down. + + MARK + Oh my God. Lay down. Guys. It’s so + nice. + +Everyone lies down. Except for Josh. For the rest of the +scene, our focus is on DANI - even as everyone else speaks. + + MARK + Lie down, Josh. + +Josh doesn’t. Stubborn. + + PELLE + Can you feel the energy come up + from the earth? + + CHRISTIAN + Yeah, like a - pulsing. Oh my God, + they are. And the grass! + + PELLE + And so are the trees. They’re + breathing. + +The trees do seem to be breathing - visibly swelling and +deflating with psychedelic life. They LOOM IMPOSINGLY over +Dani. They GROAN in the wind, their branches leaning +(almost reaching) down. + +Pelle, marveling at his surroundings, sits up: + + PELLE + Nature just knows instinctually how + to stay in harmony! It’s + mechanical. Everything doing its + part. + + MARK + (emotional) + You guys are my family. + +The word “family” HITS Dani. + + MARK + I really mean that. You’re like my + real actual Family. + +Dani SITS UP, suddenly overwhelmed. Christian looks to her. +She looks to him. He SMILES, but there’s something false +about it. + 36. + + +Dani looks SCARED now. This scares Christian. + + CHRISTIAN + Dani? Don’t look like that. + +Dani STANDS, panic mounting. Her eyes look crazed. + + DANI + I’m sorry. I’m gonna walk. + + CHRISTIAN + I can walk, too. + + DANI + No no. Sorry. I’m gonna... + +Dani starts to walk off, a terrible feeling rising in her. + + JOSH + Is she mad at us? + + MARK + I don’t like how she did that. + +Dani continues to walk. She’s starting to think very bad +thoughts. + + DANI + (to herself) + No, that’s not good. No. No. + +She then stumbles onto a group of TEENAGERS - all wearing +flower garlands. They sit in a circle, passing around a +homemade POTION of some sort. They all look at Dani and +then BURST OUT LAUGHING. + +Dani turns stiffly around, tears welling. + + DANI + No, no, no, no -- + +Dani tensely speed-walks away. Her surroundings are +THROBBING visibly (and more intensely than before). + +INGEMAR calls out to Dani. + + INGEMAR + Hey! Dani! + +Dani freezes. Terrified, she looks in his direction. He +waves her over. He’s sitting with a group of happy twenty- +somethings. + 37. + + + Dani warily approaches. + + INGEMAR + How are you feeling? Everyone: this + is Pelle’s friend, Dani. + + Everyone says hi. + + DANI + They were laughing at me over + there. + + INGEMAR + What? No, I’m sure they weren’t. + They probably just wanted you to + laugh with them. + + But Ingemar’s face was MUTATING as he said that. + + DANI + (terrified, forcing a + smile) + Okay. Sorry. Never mind. Thank you. + + Dani turns around and walks stiffly off. + + DANI + (trying to turn it + around) + It’s okay. It’s not that. You’re + okay. It’s drugs. + + She continues toward a sturdy wooden OUTHOUSE. She hastily + enters. + + +25 INT. OUTHOUSE - CONTINUOUS 25 + + The interior of the outhouse is illuminated by CANDLE- + LIGHT. + + It’s very clean. Dani stands here for a moment. + + DANI + This is a coffin. + (immediately reprimanding + herself) + Hey! No it’s not. + + Dani sees a MIRROR on the wall. She looks at it. Hard. + + DANI + Fuck you. Stop it. + 38. + + + Suddenly her skin seems to take on a translucent quality. + Her veins become faintly visible. Beneath her cheeks, it + looks like organic gears are turning. + + DANI SQUEEZES HER EYES SHUT. She takes a moment, trying to + will that vision away. + + DANI + Don’t look in the mirror. It’s not + your face. + (saying that again, under + scrutiny) + “It’s not your face.” + + After a long moment, Dani OPENS her eyes again. When they + open, TEN ADDITIONAL EYES open simultaneously - all over + her face. Like spider eyes. + + Dani SCREAMS and FLEES the outhouse... + + +26 EXT. OUTHOUSE - CONTINUOUS 26 + + Dani runs frantically across the field, desperately wiping + off her face (as if to wipe off the extra eyes). We CHASE + AFTER HER before CUTTING TO: + + +27 EXT. FIELD - SAME TIME 27 + + Christian, Josh, Mark and Pelle are still lying in the same + spot. They’ve hit the peak of their trip. Twilight is + coming. + + In the b.g., a group has finished setting up LARGE + SPEAKERS. + + CHRISTIAN + Where did she go? MARK + + MARK + It’s okay. + + JOSH + (looking at his hands) + Why the fuck do we have + fingerprints? + + Christian STANDS, panic starting to build. + + CHRISTIAN + Dani’s gone. We need to find Dani. + 39. + + + JOSH + I don’t feel like standing. + + MARK + Yeah - I don’t wanna move. + + CHRISTIAN + Hey! Dani’s our friend! + + MARK + She isn’t all of our friend. + + CHRISTIAN + What? Yes she is. That’s not nice! + Why aren’t you ever nice?! You’re + being mean! + + MARK + (scared by this) + What? I am nice. + (tearing up) + I’m not being mean! + +Droning techno begins to THROB from the speakers in the +b.g. With every bass punch, the surrounding environment +THUMPS visibly. + + CHRISTIAN + Dani’s our friend. And she’s sad. + + MARK + But that makes me sad! + (suddenly angry) + And she’s NOT our friend! She’s + barely YOUR friend! You only + invited her because you’re too + scared to be honest with her! + +Christian pauses, FURIOUS, and then: + + CHRISTIAN + Her family is dead, Mark! Do you + get that? They all died! + + MARK + (suddenly terrified) + Why are you saying that? + + CHRISTIAN + Because they are! They’re dead! + + MARK + Why??? + 40. + + + JOSH + (insistent) + HEY! NO! We need to connect back to + the good things! This is getting + bad! Everything’s alive right now. + + CHRISTIAN + But that’s just so it can die + later. + + MARK + (getting sucked into + darkness) + Oh God...! + + Silence. Everyone looks at Pelle, catching up to what he + just said. Christian STOMPS OFF. + + MARK + Wait! Christian! We need to stay + together! + + +28 EXT. WOODS - SAME TIME 28 + + Dani paces in the woods. Muffled techno drones in the + distance. + + DANI + Hello?!... HELLO??!! + (redirecting her + thoughts) + It’s almost your birthday. Fuck. + + DANI + What time is it? + (then, PAUSES) + You were almost born... You’re a + baby. + + This gets to Dani. She now looks around the woods, + fearfully. Like a lost child. + + DANI + MOMMY?!... DADDY?!... + (silently to herself) + Mommy daddy mommy daddy... + (panicked now) + + CHRISTIAN?! + + No answer. + 41. + + + DANI + No...no.... You’re alone. + +Then it HITS Dani. Her eyes well intensely with tears. This +idea is now horribly significant. + + DANI + (a revelation) + You’re alone. + +Dani sees a DEAD RABBIT. Its innards are splayed. + +Dani warily approaches. Magnetized but repulsed. As she +nears, the FEAR rises in her. She gets close enough to +finally see... The rabbit is being devoured by ANTS. + +Dani looks mortified, but her eyes are glued. She LEANS IN +to look closer, but then -- she sees ANTS on her arm. +(Whether they’re there or not is unclear.) + +Dani SCREAMS. She violently SLAPS at her arm. She then +swipes at her other arm, and starts slapping at her NECK +and FACE, as if she were engulfed in ants. (She’s not.) + +Dani looks down. The earth seems to now be a PULSATING +CARPET OF ANTS. + +Dani SCREAMS and RUNS for her life. As she sprints: + + CHRISTIAN (O.S.) + Dani! + +Dani FREEZES, eyes crazed. + + DANI + ...Christian?! + + CHRISTIAN (O.S.) + Dani!! + +Dani searches desperately for his voice. She FINDS him +standing at a CLEARING. She runs for him, crying. + + CHRISTIAN + Where the hell did you go?! + +They EMBRACE. She hugs him. SQUEEZES him. + + DANI + I got lost. + + CHRISTIAN + 42. + + + Let’s go back to the group. + + DANI + (still squeezing) + Christian. Nothing means anything. + + CHRISTIAN + What? + + DANI + (looking at him) + Nothing means anything! We’re just + alone. + (tearing up) + And I felt this presence - like God + but not God - and it was telling me + this and it was laughing at me. + + CHRISTIAN + You heard laughing? + + DANI + I felt it laughing! I figured it + out, that nothing means anything + and we’re born alone and we die + alone, and it was getting pleasure + from that. + +Christian is getting SCARED. He takes Dani’s ARM - + + CHRISTIAN + Okay: no. We’re going back to the + friends. + +- and starts leading her away. + + CHRISTIAN + You’re having a bad trip, and + you’re thinking you’re alone + because you went off and you made + yourself alone. You just got + scared. + +He’s now PULLING Dani, aggressively. + + CHRISTIAN + (not even looking at her) + You have me. Everything’s + connected. We’re all one. Those are + the good things you’re supposed to + think about when you trip. We’re + all unified. Fuck. + 43. + + +Christian has been leading her out of the woods. They +emerge onto the FIELD, where the droning techno is now very +present (and making the visible surroundings THROB to its +beat). + +We track alongside Dani and Christian as they walk uneasily +through the grass - past groups of happy, tripping +strangers. + +Christian’s eyes are glued tensely to the ground, combating +dark thoughts. Dani looks less frightened now than +disconnected. + +They arrive at Josh, Mark and Pelle, who are now +accompanied by CONNIE, SIMON, INGEMAR and a BLONDE SWEDISH +GUY (20s). + + BLONDE SWEDISH GUY + Hey hey! + + MARK + Where were you? + + PELLE + How are you, Dani? + + CHRISTIAN + (insistent) + We’re fine. She’s fine. Just took a + little walk. + + CONNIE + (very high) + Are you feeling it?! + + DANI + (to Pelle) + I wanna sleep. How can I sleep? + +HOURS LATER + +CLOSE-UP OF DANI’S SLEEPING FACE. + +In the distance: a faint, barely discernible melody. It +sounds like a flute. + +A HAND reaches into frame to nudge Dani. She stirs awake. + + CHRISTIAN (O.C.) + It’s time to get up. + + DANI + ...how long was I asleep? + 44. + + + Dani sits up. It’s still BRIGHT outside. The visual + surroundings are no longer morphing. Mark and Pelle and + Josh are standing. Christian is crouched beside her. + + DANI + Did it get dark at all? + + PELLE + For a couple hours. Not completely. + + Then something occurs to Dani: + + DANI + Is it tomorrow? + + CHRISTIAN + ...It’s today. + + Dani looks at Christian, whose expression is blank. She + SINKS with quiet disappointment. (He forgot her birthday.) + Christian helps Dani up. She wobbles. + + DANI + Where are we going? + + PELLE + Where we came for. + + +29 EXT. WOODS - DAY 29 + + Everyone from the meadow CRUNCHES through the woods. Our + group is at the end of the queue (carrying their bags). As + they walk, the MELODY is growing clearer and louder. It’s a + happy tune. + + The group’s footing is unsteady. Dani, especially, keeps + stumbling over her own feet. She grips Christian’s wrist. + + MARK + The come-down on these mushrooms is + really intense. + + Dani notices a few disparate FLOWERS sprouting up from the + ground. As she walks, the flowers continue to accumulate. + + Soon she’s walking down a controlled, narrow TRAIL of wild + yellow flowers - all leading toward a CLEARING. + + MARK + Okay: am I still tripping or is + there a lot that people aren’t + acknowledging right now? + 45. + + + The group finally arrives at the clearing. It opens to + another FIELD, beyond which is a SMALL VILLAGE. The melody + is being played by a floutist, a fiddler and a key harpist. + The scene is UTOPIC. + + JOSH + (mesmerized) + This is the place? + + PELLE + (slightly tongue-in- + cheek) + The tranquil and majestic Hårga. + + They continue toward it, approaching a Hälsingegård (a + farm). + + About a HUNDRED PEOPLE stand on the grass, waiting. They + are dressed like Amish people, but less formal. They appear + to be a WELCOMING COMMITTEE. + + CHRISTIAN + (to Pelle) + You know all these people? + + PELLE + These are my family! + + +30 EXT. HÅRGA FARMSTEAD - CONTINUOUS 30 + + They arrive at the FARMSTEAD. At the center is one + particularly LARGE building in the shape of a barn; this is + the MAIN HOUSE. + + Surrounding this are several houses, a horse stable, a + temple, and different gardens. The windows and doorways are + all adorned in ST. JOHN’S WORT (flowers with bright yellow + petals and golden stamens). Beyond the farmstead are vast + fields of CROPS. + + Most of the arriving crowd is embraced ecstatically by the + welcoming committee. They hug and kiss and squeal with + excitement. It appears to be something of a REUNION. Pelle, + in particular, is bombarded with affection. + + Josh, Mark, Christian and Dani stand awkwardly through + this. + 46. + + +Josh and Christian notice a towering MAYPOLE. Immense in +height and width, it is entangled in lush green shrubbery +and marked by a wealth of symbols (some runic, some more +esoteric, all colorful). At the top of the pole is a +TRIANGLE, beneath which hang two RINGS. + +Pelle brings a beautiful, blonde woman over to the group. + +This is DAGNY (25). She wears a white dress with intricate +embroidery (featuring a pentagon and distinct Pagan runes). + + PELLE + (in Swedish) + Dagny - this is Dani, Christian, + Josh, Mark. + (in English, to the guys) + This is my sister Dagny. Born on + the same exact week as me. + + DAGNY + Välkommen till Hårga! + + DANI + (attempting Swedish) + Tack! + + JOSH/CHRISTIAN + Thank you! + +Dagny smiles and walks off. + +An older man, ODD (50s), approaches. He is wearing a dress. +Pelle lights up at the sight of him. + + PELLE + Father Odd! + + ODD + Little Pelle! + +They embrace. There is a moment where they rest their +foreheads together. (Note: throughout the film, the Hårgas +will communicate little things through subtly modulated +expressions and gestures. These are their AFFECTS, a +language known only to them.) + + ODD + (in Swedish) + How is the pilgrimage? + + PELLE + (in Swedish) + Wonderful. Amazing. + 47. + + + (in English) + These are my friends - Christian, + Mark, Josh, Dani... + +Odd shakes their hands as Pelle introduces them. + + ODD + Hello, hello...yes, hello, welcome. + (to Dani) + Welcome home! + +He HUGS Dani. + + DANI + (amused, but slightly + weirded out) + Thank you. + + ODD + We are very happy to have you! + Pelle has an immaculate sense for + people. + +Pelle smiles. + + DANI + I love what you’re wearing. + + ODD + Oh - my frock? Quite girly, no? Ha! + (explains) + + ODD + We do this as a tribute: Because of + nature’s, em, hermaphrodite-ick - + sorry - her-ma-phro-DI-TIC + qualities - + (sighs relief at getting + the word out) + - the men do like women and visa + versa. + + JOSH + Like the cult of Aphroditus! + (then, remembering) + I think the sakhis saints do the + same thing, too - in Brajbhoomi? + +If Odd is annoyed by this, he hides it well. He shines a +tight-lipped SMILE at Josh. + + ODD + 48. + + + So! We’re your hosts! Yes? So + whatever you need, you tell us and + we’ll do everything to accommodate! + Today is all festivities, yet + tomorrow the official ceremonies + begin. So have yourselfs ready! + It’s a sincere pleasure to have + you, and you are Welcome-Welcome- + Welcome. So enjoy! + +They all say thanks and Odd walks happily away. + + MARK + Nice guy. + +The music suddenly gets LOUDER. Percussion is introduced, +and the music swells to become a regal melody. + +Everyone’s attention moves to TEN GIRLS (different ages - +from 7 to 13), all dressed in identical white dresses. They +hold FLORAL GARLAND CROWNS (made of mugwort and vervain) +and sprigs of LARKSPUR. They are walking single-file +towards a PLATFORM... + +Sitting on the platform are TEN OLD MEN AND WOMEN (60s to +early 70s). These are the ELDERS. They wear severe or +neutral expressions, and are dressed in finely embroidered +linen. + +The girls march onto the platform. They each stop before +one of the seated elders. Upon a cue, they simultaneously +lay the crowns onto the elders’ heads. They then hand the +elders the larkspur sprigs. After this, the girls return +bashfully to the crowd. + +One of the elders - a sturdy old woman (70) - rises to +address the crowd. The music drops out. She is beautiful, +composed, elegant. This is SIV, the matriarch. + + SIV + (in Swedish) + Happy midsummer, all! + +As she speaks, several children - all wearing outfits to +distinguish them as waiters - pass out shot glasses of +AQUAVIT. + + SIV + + + + + å + 49. + + + Ni är så oerhört välkomna hit. Till + oss. Vi vill att ni är med och + firar Midsommar med oss. Ni får + boende, mat och vara en del av det + som är den största festen här hos + oss i Hårga. Faktiskt den största + på nästan hundra år. + +She notices the non-Swedish speakers. + + SIV + Forgive me - I’m excluding the ones + who aren’t of Swedish tongue. + Welcome to Hårga, and happy + midsummer! I believe it is the + hottest and brightest that we’ve + had in at least a decade, and this + is our biggest party in almost a + century! So - wow, yah? + + JOSH/DANI/CHRISTIAN/CONNIE + (as if solicited) + Yeah. Wow. + +Siv smiles, and proceeds to wrap it up. + + SIV + All right, my fellow merrymakers. + Without any further blathering - + let’s raise our glasses - + +Everyone raises their aquavit. + + SIV + - and let our Nine-Day Feast begin! + (announcing) + Skål! + + EVERYONE + Skål!! + +The crowd drinks. Everyone CHEERS. Including our group. The +MUSIC begins again. + +On one side of the platform: A young GIRL, also wearing an +embroidered white dress, walks up with a JUNIPER BOUGH in +each hand. She is accompanied by a TEENAGE BOY, who holds +two FLAMING TORCHES. Meanwhile, two of the ELDERLY MEN (72) +have risen from their seats. + +Siv now speaks in English, presumably for our group’s +benefit. (As she does this, the young girl and teen boy +hand the elderly men a juniper bough and flaming stick.) + 50. + + + SIV + And now, in keeping with tradition: + Hjalmar and Josef will make three + trips. If they make it back with + the flame intact, our vintage will + be abundant this year! On the other + hand, if it burns out - that will + be an omen of bad luck and we will + know to prepare. + +Josh turns to Pelle. + + JOSH + What does “bad luck” mean? + + PELLE + Usually that the cattle will get + sick. + +Siv yells something in Swedish to the air. + + JOSH + (to Pelle) + What did she just say? + + PELLE + Told any lingering spirits to go + back to the dead. + +The two elderly men, now BLINDFOLDED, begin to run around +the Main House, holding up their flaming sticks. (Everyone +watches, rapt.) They pick up the pace to finish their first +cycle around the house. They then begins circling it again. + + JOSH + (to Pelle) + Can I takes photos? + + PELLE + Discretely. + +The men finish their second cycle around the house, and +immediately begin a third. The community seems to be +holding its collective breath. The men FINISH the third +run-around, but...one man’s flame has been EXTINGUISHED. + +A man in the audience, ISAK (50s), lets out a GASP when he +sees this. Everyone else sinks audibly with disappointment. + +The men, having finished, remove their blindfold. The elder +with the extinguished torch DEFLATES. Siv gestures sadly to +the crowd: “There we have it.” + 51. + + +Isak looks absolutely devastated. Christian notices. + + CHRISTIAN + (to Pelle) + Is he okay? + + PELLE + The cattle are his responsibility. + +Isak’s eyes stare off, unblinking. Heartbroken. He looks to +the CATTLE HOUSE, eyes filling with tears. + + MARK + (to Pelle and Christian) + How do you think he’d react if I + just put my finger in his butt + right now? + +Continuing the ritual, Siv takes the torches from the men +and walks to a healthy FIRE in a pit. She deposits the +sticks into the fire. + + SIV + (in Swedish) + This high my fire, but no higher, + no hotter! + + PELLE + (translating) + Uh - this high is my fire, but not + higher or hotter. + (explaining) + It’s to keep the fire from growing + out of control. + +Josh WRITES this down in his notebook. Christian WATCHES +Josh, slightly perturbed. + +Siv now accepts a BOWL OF BEER from one of the children. +She drinks a healthy gulp, and then throws the rest into +the fire. + +Everyone now APPLAUDS. This seems to be the end of the +ritual. + +A group of TEENAGERS (all dressed in bright, formal garb) +emerge from a kitchen. They carry PLATES OF FOOD (lamb and +blood pudding) and BEER. They begin by serving the elders. + 52. + + +Dani sees that one of the teens is carrying an ornate +platter featuring a LAMB’S SKULL (brain exposed) and a +LAMB’S HEART. The platter is bordered by a dense spiral of +INTESTINES. This is laid onto the center of a table that +has been painstakingly decorated with local flowers. + + PELLE + That’s a tradition. They just + killed that lamb today. + +The servers now move to our group, which has settled onto +the grass. They are handed plates and beers. + + DANI + (to Pelle) + Can we help at all? + + PELLE + No no. You’re the guests. Let + yourself be spoiled. + +One boy, RUBEN (15), walks up to Dani. He is severely +mentally handicapped and his hands are palsied. He’s +dressed in gorgeous linen. + + RUBEN + (with difficulty) + Hey hey! + + DANI + (warmly) + Hello! + +Ruben walks off. As he ambles aimlessly, people reach out +to lovingly TOUCH him - as if in reverence. + + PELLE + You just met Ruben. + + DANI + Ruben is lovely. + +The teens finish serving. They now sit with plates of their +own. + +Mark has already started eating. Josh NUDGES him. Nobody +else has begun. Mark bashfully sets down his fork. + +Silence. + +Siv, the matriarch, looks to a PLUMP ELDER (60s) sitting +beside her. He stands, takes a moment, and then speaks +loudly in Swedish, as if in PRAYER. + 53. + + + PELLE + (whispering to Josh and + Christian) + He’s giving thanks. + + JOSH + For the food? + + PELLE + Yes. And the weather, and the + crops... + + The Plump Man finishes his speech, and then announces: + + PLUMP MAN + Låt oss äta! + + Everyone digs in. + + CHRISTIAN + Who was he praying to? + + PELLE + Uh - well, that wasn’t really + “praying.” But he was just + addressing the...everything. The + harmony and the balance. + + JOSH + Can you translate what was said? + + PELLE + ...I can get an exact translation + later. + + CHRISTIAN + (jumping in) + Yeah, please, that would be + amazing. + + JOSH + (eyes now burning on + Christian) + ...Yes, Pelle, thank you. + + Christian looks at Josh. A CHARGED moment. They start + eating. + + +31 INT. BATHROOM - NIGHT 31 + 54. + + + A beautiful, curly-haired BLONDE GIRL (16) stands before a + mirror, anxiously fussing with her hair. She clearly needs + it to look perfect. This is MAJA. + + +32 EXT. HÅRGA FARMSTEAD - MINUTES LATER 32 + + Maja emerges from the MAIN HOUSE. All the younger Hårgans + have joined hands to form a train of people. They run and + dance in a wide circle, singing a variation of Visa i + midsommartid. The MAYPOLE stands at the center of their + circle. + + Maja timidly watches the dance, smiling. Her eyes trail off + to find our group. She alights on CHRISTIAN, instantly + smitten. It almost looks like she recognizes him. + + One of the dancing boys suddenly GRABS Maja’s hand. He + PULLS her into the train. She LAUGHS as she joins. + + MEANWHILE: Our group is still sitting in the same place + (along with Connie and Ingemar). They watch the passing + dancers with fascination. + + PELLE + You guys should join! + + DANI + I’m too scared. + + SIMON approaches, carrying two beers. He momentarily gets + caught in the crossfire of a group of YOUNG BOYS CHASING + EACH OTHER. He finally reaches Connie, and hands her a + beer. + + SIMON + Alright? + + CONNIE + Ta. + + Simon sits. + + SIMON + (re: the boys) + What are they playing? + + PELLE + “Skin the fool!” + + SIMON + (sarcastic) + Ah. Precious. + 55. + + +Dani notices Ingemar STARING at Simon and Connie. He looks +resentful. He finally averts his eyes and forces a smile. + +MAJA, in the dancing train, is about to pass the group. She +summons the nerve to gently KICK Christian’s back. +Christian looks up to see Maja passing by. She SMILES +bashfully at him. + +He confusedly smiles back. + +Dani notices Christian smiling, but doesn’t see Maja (who +has already turned away). + +Christian RISES, suddenly feeling bold. + + CHRISTIAN + (to Pelle) + How can I join the...? + + PELLE + You’re American. Just jam yourself + in there. + +Christian uneasily JUMPS IN. He joins hands with two girls. +Josh rises to follow Christian. Dani’s eyes follow them. + +Pelle takes this opportunity to turn covertly to Dani: + + PELLE + Hey: very quick: + +He hands her a folded up DRAWING. + + PELLE + Happy birthday. + +Dani, surprised, opens the paper. It’s a drawing of her +FACE (donned with an extremely lush floral crown). The +style is simple, but her likeness is captured beautifully. + + DANI + Oh - my gosh. Pelle! + PELLE + + PELLE + It’s just something I do for + birthdays. Maybe it’s not + appropriate? + + DANI + Oh my God, not at all! It’s + wonderful. Thank you, Pelle. I’m so + touched. + 56. + + + PELLE + Anyway. Just between us. + + DANI + Yeah, well - don’t worry. Christian + forgot. + + Pelle PAUSES, surprised. He doesn’t know what to say. + + DANI + (immediately regretting) + Or - I forgot to remind him. It + doesn’t matter. Thank you so much + for this, Pelle. It’s beautiful. + + She folds the drawing back up. + + +33 EXT. HÅRGA FIELD - MINUTES LATER 33 + + The dance is over, although separate groups are still + dancing and playing in the b.g. + + Pelle is now leading our group on a TOUR. (Ingemar, Connie + and Simon have joined along.) We track alongside. + + JOSH + How do you guys support this place? + + PELLE + Lumbering, wheat, vegetables... + + INGEMAR + Water power plant. + + They pass a CIRCLE OF CHILDREN, accompanied by a TEACHER + (60s). They’re carving RUNIC SYMBOLS into smooth, well- + sanded STONES. + + PELLE + Schooltime over here. + + CHRISTIAN + Carving runes? + + The Teacher looks up and smiles confirmation. + + PELLE + (to Dani) + Then they put it under their pillow + and dream about its meaning. + + Dani makes an “ooh” face. Josh makes a NOTE of this. + 57. + + +Christian sees that they’re now passing an old RUNESTONE +(on their other side). It stands erect in an untended +field. + + CHRISTIAN + Oh man - there’s a serious one. + + JOSH + Oh shit! + + CHRISTIAN + Which alphabet is that from? + + JOSH + (quick to answer) + Looks like the Elder Futhark. + (to Pelle) + Right? Or is that medieval? + + INGEMAR + That’s actually the younger + Futhark. + +Josh nods “Ah, right” - visibly pained to be wrong. + + CONNIE + (to Christian and Dani) + So, how long’ve you two been + together? + + DANI + Oh, jeez...almost three years now! + + CHRISTIAN + (gently correcting) + Uhhh, well...two and half. + + DANI + ...You’re joking. It’ll be three in + fifteen days. + +Christian thinks about that, and grudgingly concedes. + + CHRISTIAN + Okay, no, that is true. + (off Dani’s look) + It is! You’re absolutely right. + +He makes a “sowwy” face, kisses her incredulous cheek, and +changes the subject by asking Simon, Connie and Ingemar: + + CHRISTIAN + How did you guys all meet? + 58. + + +They look at each other. “Who answers?” + + INGEMAR + Well...we were all working on the + same farm, and funny enough: I was + dating Connie when Simon and me + first became pals. + +Simon’s eyes narrow. + + CONNIE + (correcting) + Well - we‘d been on a date. Which I + wasn’t even actually aware that it + was a date. + + INGEMAR + (backtracking jovially) + Right, no, I meant that Connie and + me had just become friends - we + decided to be friends - and that + was just before Connie and Simon + started dating. And now they're + engaged! + + DANI + Oh wow. Congratulations. + + INGEMAR + Which is amazing. Yes. + Congratulations. + +Simon and Connie look uncomfortable. They smile “thank +you.” + + SIMON + (to Dani) + We’ve actually asked Ingemar to + officiate the wedding. + + DANI + (excited) + You did?! + + SIMON + Nope. + +Everybody LAUGHS - including Ingemar. + + PELLE + (announcing) + And now...behold! + 59. + + +They have all arrived at a SMALL TREE. + + PELLE + My tree. + + CHRISTIAN + Why your tree? + + PELLE + When someone’s born, we plant a + tree for that person and they grow + up together. This one’s mine. + + DANI + That’s so beautiful. + + JOSH + (pen and paper ready) + Is there a specific name for that + practice? + +Christian points out a SMALL HOUSE which stands isolated in +a large field. It has been painted a vivid yellow. + + CHRISTIAN + What about that house? + + PELLE + Ah, that’s like a sacred temple. No + one’s allowed in there. + + CHRISTIAN + Looks like it was just built. + +Changing the subject, Pelle motions toward the MAIN HOUSE. + + PELLE + This is where we sleep! + +He leads them toward it. Meanwhile, Ingemar leads Simon and +Connie in another direction. + + INGEMAR + Here: come see my tree! + +On our group’s way to the Main House, they pass a CAGED +BEAR. + + MARK + So we’re just gonna ignore the + bear, then. + + PELLE + 60. + + + (acknowledging, deadpan) + That’s a bear. + + +34 INT. THE MAIN HOUSE - MINUTES LATER 34 + + Josh leads our group through the two-storied interior of + the huge, barn-shaped house. There is a large, square HOLE + in the floor of the second story (so both stories are + visible to each other). On both floors, the walls are lined + with BEDS. The center of the bottom story is bare, like a + dance floor. A MAP TO THE COSMOS has been painted on the + floor, featuring sacred lines connecting notable stars. + + Pelle points out four small beds. + + PELLE + These’ll be yours. + + Mark throws his bag onto one of them. + + The group marvels at the walls, which are covered in + INTRICATE MURALS. Runic letters abound. The CEILING is + especially impressive. It’s painted to tell an epic story + in hundreds of sequenced panels. At the center of the + ceiling is a painting of the SUN. All stories lead to this + (or do they come from this?). + + CHRISTIAN + Who all sleeps in here? + + PELLE + All the younger ones. Until we turn + thirty-two. Then we move to the + houses. + + JOSH + Why thirty-two? + + Josh has pulled out his MOLESKIN NOTEPAD, ready to write + down Pelle’s answer. Christian (almost in response) pulls + out his phone, ready to type. Pelle PAUSES at this. He then + explains, gesturing to a MURAL that dramatizes the + following: + + PELLE + 61. + + + We think of life like the seasons. + You are a child until you’re 16, + and that is the Spring. At some + point we all do our Pilgrimage, and + that’s between 17 and 32. That’s + Summer. Then, from 33 to 52, you’re + of working age: Fall. And finally + from 53 to 72, you become a mentor. + + JOSH + Winter. + +Josh and Christian have written all this down - their eyes +intermittently piercing each other. + + DANI + What happens when you turn 72, + then? + +Pelle makes a comical THROAT SLASH gesture. Dani laughs, +and begins to walk off. + + MARK + Not a lot of privacy. What do you + do when you wanna jerk off? + +Now that Dani is away, Pelle crosses quietly to Christian. +He covertly ushers him aside. + +Dani has found a wall of twelve FRAMED PHOTOGRAPHS. They +all feature a different young woman dressed in ceremonial +garb. + +In each photo, the woman is richly adorned in summer +flowers and wears an impressive FLORAL CROWN. These photos +have been taken annually for the last dozen years. + +Dani looks over to notice Pelle WHISPERING to Christian, +who now looks extremely GUILTY. She interrupts by bluntly +asking: + + DANI + Who are these of? + + PELLE + Oh - those are our May Queens. + You’ll actually be here for that. + + JOSH + Who are the “May Queens”? + + PELLE + 62. + + + Every midsummer we do the dance of + the Hårgas. All the younger women + compete and the winner gets + crowned. + + Outside we hear: + + ODD (O.S.) + (announcing, in Swedish) + Movie in twenty minutes! Field + five! + + +35 EXT. FARMSTEAD - SAME TIME 35 + + Several Hårgans set up chairs on the grass. A 16MM FILM + PROJECTOR is wheeled in to face a large PROJECTOR SCREEN. + + Dani stands on the grass, under a now-overcast sky. An + ominous RUMBLING in the distance. She closes her eyes, + breathes deeply - practicing mindfulness. + + She is suddenly distracted by a baby’s CRYING. Dani looks + off to see in the distance... + + SEVERAL HÅRGANS are gathered around an OAK TREE. The + VILLAGE DOCTOR (50) is crouched, cradling a CRYING BABY. He + directs a doting WOMAN (50s) to pour some fresh dew (from a + vial) into the baby’s mouth. + + Dani appeals to a nearby HÅRGAN MAN (30s): + + DANI + Excuse me? Can I ask if you know + what’s happening over there? + + HÅRGAN MAN + (looking over) + Ah. Poor little Einar has the, em - + where the bones are bad? + + DANI + Oh no. Rickets? + + The man shrugs “sorry, I don’t know.” + + The Doctor is now passing the baby through a WIDE CLEFT in + the tree. The baby is received on the other side by the + doting woman. + + DANI + Do you know what they’re doing? + + Å + 63. + + + HÅRGAN MAN + Old cure. Three times through the + Oak. + +The woman hands the baby to the Doctor again, and he passes +the child back through the cleft. Again, the woman hands +the child to the Doctor, and the baby is passed through one +last time. + + HÅRGAN MAN + Now the healths of the baby and the + tree are - together. + +On “together,” he illustratively hooks two fingers. + + DANI + Like a - sympathetic connection? + +The man shrugs, confused. They SMILE at each other and the +man walks off. Dani continues watching the ceremony, until- +-CHRISTIAN appears behind her, holding a SOCKERKAKA (sponge +cake). A lit candle protrudes from it. He approaches +carefully... + + CHRISTIAN + (singing) + Happy birthday to you - + +Dani turns, mortified. + + CHRISTIAN + (singing) + Happy birthday to you, Happy + birthday dear Dani + (I love you) + ... Happy birthday to you. + +She doesn’t blow out the candle. + + CHRISTIAN + You thought I forgot, didn’t you? + +Dani just glares at him. + + CHRISTIAN + You’re not surprised? + +Dani doesn’t soften. He finally RELENTS with a guilty +smile: + + CHRISTIAN + 64. + + + Okay - I’m sorry. I’m really sorry. + I thought it was tomorrow because + of the sun. It’s impossible to + tell. + + He kisses her. She doesn’t kiss back. He keeps kissing. + + CHRISTIAN + Happy birthday, happy birthday, I’m + sorry. - You should be. + + DANI + Fine. It’s fine. I’m not upset. - I + know I should! + + He kisses her again, tenderly. She grudgingly kisses back. + + CHRISTIAN + Happy birthday, mouse. + + She forces a tight smile and BLOWS OUT the candle. + + MEANWHILE: WOMEN fill the baby’s tree’s cleft with MUD and + CLAY. They pack it tight. Then the MEN tie a ROPE around + the tree. They draw it as TIGHTLY as possible. + + +36 INT. FARMSTEAD - LATER 36 + + Everyone has gathered to either sit in chairs or on the + grass. They all face the PROJECTOR SCREEN. + + Dani, Christian, Mark, Josh and Pelle sit crossed-legged in + the front. The PLUMP ELDER stands before the screen to + announce: + + PLUMP ELDER + And now, for tradition and for fun: + a work of antique escapism - + (aside, to our group) + - and an annual mood-setter, made + by one of our own lost Hårgans! + + The Plump Elder joins the audience, and the projector + starts to RATTLE. Before the film starts, Christian + WHISPERS to Dani: + + CHRISTIAN + Happy birthday. + 65. + + +ON THE PROJECTOR SCREEN: A SILENT COLOR FILM begins. It is +weathered and grainy. The film seems to have been made in +the late 1960s or early ‘70s (shot on a Bolex camera). The +TITLE appears (in Swedish): A Midsummer Romance + +The film opens on a beautiful BLONDE GIRL (15) walking +through a field with her friends. They pause to admire a +GANG OF BOYS. The girl fixes on one BLONDE BOY (15). It’s +love at first sight. + +The group of girls walks over to the boys. They talk. + + INTERTITLE + (in Swedish) + Hello lads! Happy midsummer to + you.” -”Why thank you, girls! And a + happy midsummer to you. + +One of the girls looks mischievously to her friends, and +then puts an idea to the boys. + + INTERTITLE + (in Swedish) + Why don’t you lads come to our + house for lunch tomorrow? We will + prepare a feast and you can be our + special guests! + +The boys look to each other and nod. They agree. + +The NEXT SCENE depicts the girls gathering FLOWERS from a +lush MEADOW. They pick these flowers with their left hand +as they walk backwards. We cycle through NINE CLOSE-UPS OF +DIFFERENT FLOWERS BEING PICKED. + + INTERTITLE + (in Swedish) + Nine Flowers Picked + (don’t forget the + Orpine!) + and Nine Fences Jumped. + +The girls jump over a series of SMALL FENCES. This is done +nine times. + +The NEXT SCENE reveals the blonde GIRL in her bedroom. She +puts the nine flowers under her PILLOW, and then lies down +in bed. She closes her eyes to SLEEP. + + INTERTITLE + (in Swedish) + 66. + + + With the nine flowers under her + pillow, she will now dream of the + boy she is to marry. + +The blonde girl has fallen asleep, and a CLOUDY DREAM +BUBBLE appears beside her head. Inside the bubble, we are +given a scene in which the blonde girl is MARRYING the +blonde boy. He lifts her BRIDE’S VEIL to kiss her. + +The NEXT MORNING the girl wakes up. She wears a wicked +smile. + +LATER THAT DAY, the GIRLS are gathered in the KITCHEN. They +are cooking. The BOYS all arrive in the living room. Our +blonde girl says “hello” to the boy of her dreams. + + INTERTITLE + (in Swedish) + Hello! Can I bring you some coffee + while you wait for your pancake? + +The boy nods excitedly. The girl goes off to the kitchen. + +In the KITCHEN, the girl takes a CUP OF COFFEE and sets it +on the floor. She then crouches over the coffee. + + INTERTITLE + (in Swedish) + Three droplets of menstrual blood + for the spell to take effect. + +Three drops of blood DRIP from between the girl’s legs. +They LAND in the coffee. + +IN THE AUDIENCE, Dani and Mark WINCE at this. Christian and +Josh (along with the surrounding Hårgans) are delighted. + +ON THE PROJECTOR SCREEN: The girl brings the coffee to the +boy. She smiles mischievously as he takes a SIP. + +In the KITCHEN, the girl now props her leg up onto a chair. +She takes a pair of SCISSORS and snips between her legs. +She pulls a few STRANDS OF PUBIC HAIR from her groin. + +The girl CHOPS UP the pubic hair into fine pieces. She then +sprinkles them into a BOWL OF PANCAKE BATTER. The batter is +then poured onto a burning skillet. + + INTERTITLE + (in Swedish) + Hair from the vulva will complete + the spell. + 67. + + + The girl hands the boy his PANCAKE. He eats the pancake, + and then looks up at the girl. SPIRALS appear in his eyes. + Spellbound, he moves toward her, like a love-stricken + zombie. + + INTERTITLE + (in Swedish) + Voilà! The spell was a success. + + The boy and girl KISS in Close-Up. We pull out from the CU + to reveal that the girl is now PREGNANT with a grossly + distended belly. They are surrounded by a huge and adoring + CROWD, all wearing identical clothing. + + Fade to white. THE END. + + The audience applauds politely. MAJA, however, looks + ENTRANCED. + + Mark and Dani wear inscrutable grins. (Slightly charmed, + mostly disturbed.) Josh and Christian are BUZZING. + + +37 INT. THE MAIN HOUSE - NIGHT 37 + + The windows have been boarded up for the night. Sunlight + peeks from the edges. + + People are climbing into their beds. There are TWO BABY + CRIBS in the corner, stationed near the beds of women in + their twenties. Both bedframes are made of severe-looking + iron and metal. + + Dani, noticing this, turns to Pelle. + + DANI + Pretty serious-looking cribs. + + PELLE + For the iron. Keeps away the + “invisibles.” So the babies don’t + get “changed.” + + Pelle smiles sardonically, knowing how it sounds. + + DANI + How real is that stuff for you + guys? + + PELLE + (deflecting) + Ah, who knows? + 68. + + + Dani smiles. She looks over to Christian, whose eyes are + GLUED TENSELY to Josh’s notepad as he scrawls “Iron. Babies + changed. ‘Invisibles.’” Christian looks threatened. + + Pelle has already climbed into bed. + + PELLE + All right - beauty rest! Tomorrow’s + a big day. + + JOSH + And what’s tomorrow? + + PELLE + (mysterious) + First of the big ceremonies. + + JOSH + So you’re just gonna be weird and + cryptic? + + Pelle PAUSES, then takes Josh’s notepad. He writes + “Ättestupan” and hands it back. + + Josh happens to know that word. His eyes WIDEN. “Are you + serious?” Pelle smiles mischievously. + + CHRISTIAN + What’s that? What’s Ättestupan? + + Pelle gestures for Christian to keep his voice down. + Christian pulls out his phone and types “Atestupan” into a + search engine. But there’s no internet connection. + + CHRISTIAN + Fuck. + (to Josh and Pelle) + What’s Ättestupan? + + Josh smugly climbs into bed. This has made Dani nervous. + + DANI + (to Josh) + Is it scary? + + Josh teasingly raises his eyebrows: “You’ll see.” + + +38 INT. THE MAIN HOUSE - NIGHT 38 + + Everyone is asleep. Silence, save for the baby’s CRYING. + 69. + + + Dani lies AWAKE. Beside her: Christian sleeping soundly. To + her other side: Mark SNORING. + + Dani shifts her weight. She looks over at the wall mural, + and notices an ILLUSTRATION of a HAPPY MAN OPENING HIS + WRIST WITH A SPECIAL KNIFE. He is surrounded by smiling + friends, and above him, a smiling SUN. Dani looks unnerved, + but her attention is suddenly DRAWN AWAY by the SOUND of... + + A teenaged BOY and GIRL (clearly new lovers) sneak quietly + out of their beds. Giggling. They tip-toe out of the house, + careful to make no noise. + + Dani stares at this. Heavy. + + +39 EXT. FIELD - MORNING 39 + + A GOAT-SHAPED STRAW FIGURE. It’s the size of an actual goat + and notably well-crafted. + + An AXE comes down to swiftly LOP OFF ITS HEAD. + + Then another AXE comes down to STRIKE its body in HALF. + + We cut WIDE to reveal that it’s being chopped into clean + pieces by three MEN in ceremonial garb. Onlookers abound. + + +40 EXT. CROP FIELD - MORNING 40 + + Farmers BURY different pieces of the chopped-up straw goat + into FOUR CORNERS of a flourishing grain field. + + AT THE FIELD’S CENTER: A man pours a bowl of LAMB’S BLOOD + into a carefully hollowed HOLE in the earth. After this, + the STRAW GOAT’S HEAD is dropped in. The hole is then + covered up with SOIL. + + +41 EXT. FIELD - MORNING 41 + + Near the Main House, several men are setting up DINING + TABLES on the grass. They are laying them out to form a + pattern. + + In one FIELD, a group of WOMEN collect the morning DEW (in + small vials) from the leaves and grass. They throw a SHEET + over the wet grass. It absorbs the dew, and they WRING it + out into a pail. + 70. + + +We PAN AWAY from this to yet another FIELD, where a large +GROUP has assembled for what appears to be some sort of +DANCE CLASS. They stand in rows of ten. DANI, JOSH, MARK, +PELLE and CHRISTIAN are among them. + +At the head of the class is a THIN ELDER (60s) with an +impressive physique. In demonstration, he lifts his arm and +waves it fluidly, rhythmically, EMOTIONALLY, back and +forth. + +The class IMITATES him. They strive to perfectly match his +movements and emotions. + + THIN ELDER + Don’t just copy me. Feel me. + +The class continues to mimic his movements. Mark, Josh and +Christian are looking quite graceless. DANI, however, +matches the Elder’s movements with surprising sensitivity. +Pelle notices this. + +The Elder stops. So does everyone else. The Elder swiftly +affects a DIFFERENT POSTURE. (This time he goes to his tip- +toes, one hand curled at his abdomen and the other arm +draped mournfully around his head.) + +The class now imitates this. The Hårgas are impressive in +their poise and precision, and Dani is fitting right in. +(Josh and Christian - not so much.) Once everybody finds +this position, the Elder fluidly contorts his body to +assume another. + +A sleepy Mark has stopped trying altogether. He looks over +to a woman beside him. He smiles at her, but her gaze +remains FIXED SERIOUSLY AHEAD. For the Hårgas, this is a +spiritual practice. + +A PRETTY BRUNETTE (25) to Mark’s side says: + + PRETTY BRUNETTE + (in Swedish) + Try. + + MARK + What? + + PRETTY BRUNETTE + (in Swedish, smiling) + Try. + +Mark smiles, not understanding. He’s SMITTEN. He half- +attempts to join in, only to immediately give up again. + 71. + + +42 EXT. FARMSTEAD - ONE HOUR LATER 42 + + The dining tables have been set up to form a wide CIRCLE. + Inside the circle, at the center, is a ROUND YELLOW TABLE + (representing the sun). There are no seats for this table. + + Half of the community is already standing at the + surrounding tables. The other half is arriving now. Plates + of food have already been placed. No one sits. + + Our group (minus Dani) arrives at one of the tables. They + gaze around, trying to understand the etiquette. They + notice that a few lingering GIRLS walk backwards through a + neighboring field, picking FLOWERS. + + DANI now appears with a bouquet of HANDPICKED FLOWERS. She + happily presents Christian with the bouquet. + + CHRISTIAN + What?! For me? + + DANI + Ja! + + CHRISTIAN + (accepting them with + strained appreciation) + ...Tack så mycket. + + He kisses her cheek. + + Now that everyone is stationed at the tables, a BOY runs + off to officially summon the guests of honor... + + After a moment, TWO ELDERLY MEN (72), both wearing ornate + golden dresses, enter the scene. (We will recognize them as + the Elderly Men who ran around the Main House three times + with the flaming torches.) They stand with alert posture, + maintaining an awareness of their bodies as they walk. They + arrive at TWO LARGE WOODEN CHAIRS, situated at a + beautifully decorated table with fine silverware and golden + plates. (Every other table seats at least five people, but + this table has been reserved solely for these two.) + + Josh mouths to Pelle: “Are those the ones?” Pelle smiles. + + The two men SIT. This prompts everyone else to sit. + + Mark picks up his fork, only to notice that no one else has + begun eating. Everyone waits patiently. Total SILENCE, save + for the baby who is still crying. + 72. + + +Finally, the two men pick up their silverware and begin to +eat. Now everyone starts eating. + +Josh is scrutinizing every detail. Christian scrutinizes +Josh. + +MID-MEAL + +MAJA feverishly carves a small RUNE STONE in her lap. She +is hunched over to conceal her progress from curious eyes. + +The two elderly men are receiving lots of attention. + +Near Dani, a BLONDE WOMAN (30s) cradles the CRYING BABY. + + DANI + (inquiring) + Is your baby okay? + + BLONDE WOMAN + Oh, she will be. She has a bone + problem. She is not “mine,” though. + + DANI + Oh, I’m sorry...! + + BLONDE WOMAN + No no - her birth mother is on + pilgrimage. It helps them to + detach. The babies are raised here + by everyone. + +Dani smiles at this idea. Josh and Christian are also taken +by this. Josh SEES Christian’s excitement, and quietly +HARDENS. + + BLONDE WOMAN + (to Dani) + How is your family like? + + DANI + Mine? Oh no, mine are...not here + anymore. + +Christian suddenly looks nervous about this exchange. + + BLONDE WOMAN + “Not here”? + + DANI + (now embarrassed) + Ha. Unfortunately not. It’s okay... + 73. + + + BLONDE WOMAN + Not any? + +The Blonde Woman has TEARS in her eyes. She looks sincerely +affected by this. + + DANI + (reacting) + Oh God, no, I’m sorry. I shouldn’t + have said. We’re enjoying our food. + + BLONDE WOMAN + (now worried for Dani) + Am I making you sad to ask? + + DANI + No no. I just shouldn’t have + mentioned it. + + BLONDE WOMAN + Please know we can talk if you + like. Please. I am happy to talk. + + DANI + (uncomfortable) + Okay, thank you. Sorry. I feel + silly. Thank you. + (to Christian) + Sorry. + +Christian shrugs: “Don’t apologize to me.” + +SIV, a table over, has been avidly watching this exchange. + +MINUTES LATER + +Everyone has finished eating. Another HUSH falls awkwardly +over the procession. Silence, save for the wailing baby. + +Mark, half-asleep, confusedly looks around. He sees the +Pretty Brunette SMILING at him. Caught off guard, he +BLUSHES and smiles back (a little too eagerly). + +One of the two elderly men STANDS. Clears his throat. +Closes his eyes. After a moment, he begins to SING a +wordless, choral song. + +Everyone watches, rapt and emotional. + 74. + + + At the appropriate time, the OTHER MAN begins to sing + along, softly and awkwardly at first. Soon he rises, + singing with greater projection. When the song comes to a + finish, SIV stands to RAISE her glass. This prompts + everyone else to stand. They all raise their aquavit. + + A long silence. Siv finally DRINKS. So does everyone else. + The MUSICIANS begin to play their handmade instruments, and + EIGHT MIDDLE-AGED MEN break into two groups. They walk to + either of the elderly men’s chairs, HOIST them up, and + start CARRYING THEM OFF. + + The congregation follows behind as the elevated men are + carried up a hill. Our group JOINS them, confused. Mark + lags behind. + + MARK + (to the group) + I think I’m gonna take a nap. + Jetlag and the shrooms... + + Mark heads back toward the Main House. Dani, Christian, + Josh and Pelle proceed to follow the community. + + +43 EXT. HILL - MINUTES LATER 43 + + Everyone happily follows the elderly men of honor (still + carried on hoisted thrones). They follow a narrow TRAIL OF + FLOWERS up a hill. + + There is a FORK in the trail, leading either to the left + and downward or continuing straight ahead and upward. + + The elderly men are carried straight ahead, continuing to + ascend the rising hill. The following procession BRANCHES + OFF to veer left. They continue down a slope that leads to + a BEACH. + + Our group, squinting with curiosity, begins following the + procession toward the beach. But Pelle slows down. + + PELLE + Okay - actually: let’s stop a + moment. + + He holds them back. + + PELLE + I need to warn you before we go + down... + (to Dani now) + ...because you might not want to. + 75. + + + DANI + Is this gonna be something weird? + + PELLE + Uhhh - it might seem very weird, + but it’s a great honor for them. + + DANI + ...Is this the thing you mentioned + last night? + + JOSH + (smiling) + Ättestupan. + + PELLE + We’re about to perform a centuries- + old rite that is very important to + us and very beautiful, but also - + very far from anything you have in + America. + + DANI + (suddenly nervous) + ...Do I not want to do this? + + PELLE + Well - that’s what I’m saying. + You’re invited to. I just... + (pauses) + You remember I explained the winter + stage of a man’s life goes from 53 + to 72? Well, this is what happens + when 72 is reached. + + DANI + Okay. And what is “this”? + + Pelle pauses, considering his words. Dani grows more + nervous. + + DANI + What is Ättestupan? + + Josh can’t suppress a smile - anticipating Pelle’s answer. + + +44 EXT. BEACH - MINUTES LATER 44 + + The community has gathered on the rocky beach. Tall CLIFFS + loom imposingly. The baby cries in the b.g. + 76. + + + Our group stands to the side, along with Simon, Connie and + Ingemar. Christian turns to DANI, who looks extremely + uneasy. + + CHRISTIAN + Are you sure you can handle this? + + Dani doesn’t know the answer to this. + + CHRISTIAN + Maybe you should go back to the + main house? It’s not too late. + + Dani starts to wrestle with this, but then: + + DANI + No. I need to try. + + A HORN sounds. All eyes go to... + + SIV, the Matriarch, holds a LEATHER-BOUND BOOK whose cover + is marked by runic letters. In Swedish, she formally + addresses the congregation - like a priest to a parish - + before opening the book. Its scripture is written in runes + and unknown hieroglyphs (the AFFECT language). + + JOSH + (to Pelle, whispering) + What’s that book? + + Christian leans in to hear the answer: + + PELLE + Rubi Radr. Our scripture. + + JOSH + Can I possibly read that? + + PELLE + You would not be able. + + Siv, eyes on the page, surprises our group by beginning to + SING a wordless hymn. It’s beautiful, yet feels improvised, + as if inspired (on the spot) by emotions provoked by the + text. + + +45 EXT. CLIFF - SAME TIME 45 + + The two elderly men have been carried to the top of a CLIFF + overlooking the beach. Their chairs are SET DOWN near the + precipice. They are placed beside freshly carved (and + impressively sized) RUNE STONES. + 77. + + + The elders rise from their seats. They are each handed a + CEREMONIAL BLADE. They stoically drag the blade across + their palms, DRAWING BLOOD. + + The men rub their palms together, making their hands nice + and bloody. They press their palms onto their rune stones, + both leaving TWO BLOODY HAND-PRINTS. + + +46 EXT. BEACH - SAME TIME 46 + + Everyone looks up at the cliff’s peak. Dani is SWEATING + BEADS now, her breathing erratic. + + Finally, the TWO ELDERLY MEN appear at the edge. + + Rapt silence. + + One of the elderly men ANNOUNCES something loudly in + Swedish. + + JOSH + (to Pelle) + What did he say? + + But Pelle ignores Josh. His eyes are glued to the men. Josh + redirects his attention to the cliff-top. + + Dani BRACES herself. Her TEETH begin to chatter. She GRABS + Christian’s arm, and then -- + + The elderly man LEAPS OFF THE PRECIPICE. Connie and Simon + SCREAM. The man plummets 200 feet to LAND FATALLY on the + jagged rocks below. Upon impact, a FLOCK OF BIRDS ALIGHTS + from a tree. + + Our group is shocked into horrified silence. Dani looks + like she’s been knocked out of her body. The birds fly over + Dani’s head, and a sudden rush courses through her. + + The OTHER ELDERLY MAN - the one whose torch burnt out + before circling the house three times - now steps up to the + precipice. He also announces something in Swedish. + + SIMON + (panicking) + What’s happening? Is he gonna jump, + too? No-- + 78. + + +The man LAUNCHES HIMSELF OFF THE CLIFF. Connie GASPS. The +man plummets straight down, landing not only ON HIS FEET, +but also on the fresh corpse of his friend. This softens +the blow, preventing the fall from killing him. The man, +all broken bones now, WAILS in horrible pain. + +The community grumbles with concern. Everyone turns to +THREE MEN, each the oldest of their respective generations +(the youths, the laborers, and the mentors). They +understand what they must do. + + SIMON + Why did that just happen? We need + to call an ambulance. + + INGEMAR + It’s okay. + + SIMON + What’s okay?! CALL AN AMBULANCE! + Everybody’s just watching! + +The PLUMP ELDER approaches the three men with a CUDGEL. +This is a long-handled club with a pointed block of wood at +the end. The cudgel is handed over to the MENTOR. + +Dani watches, overwhelmed, as the three men (now armed with +the cudgel) stalk over to the dying man. The dying man +moans pathetically, in too much pain to scream. + +From DANI’S POV: The men have arrived at the dying elder’s +feet. The mentor RAISES the cudgel, and brutally swings it +down onto the old man’s HEAD. This isn’t a fatal blow. The +man raises the cudgel again, and this time he STRIKES the +elder with enough force to silence him. + +The mentor hands the cudgel to the LABORER. He raises the +cudgel and brings it down onto the old man’s crown. The +elder’s leg goes into pathetic SPASMS. Blood gurgling. The +laborer BLUDGEONS him once more. He goes limp, probably +dead. + +The YOUTH is now handed the cudgel. He delivers two brutal +swings to the old man’s head. The mentor gently takes the +cudgel away from the youth, and they all return to the +community. The mentor hands the Plump Elder the cudgel, and +everyone stands in respectful, contemplative silence. + +Dani is GRIPPING Christian’s arm. She is completely shell- +shocked. Christian turns to Josh; they exchange “holy shit” +looks. More EXCITED than troubled. + 79. + + +Siv bounds over to Connie and Simon, who are in a panic. +Dani trembles, powder-white. Traumatized. + + SIV + Ingemar! Did you not warn them? + + INGEMAR + I’m sorry, grandmother Siv! I kind + of warned them. + + SIMON + Nobody did anything! Everyone just + watched that! + + SIV + Oh my, poor things-- + + SIMON + You’re all just standing calmly + around!! + +Siv lays an empathic hand on Simon and Connie’s shoulder. + + SIV + Oh, mercy - please: You should have + been warned better. What you just + saw is a long, long, long observed + custom. Those two men has just + reached end of the Hårga life- + cycle. + +Siv now looks into DANI’S eyes, but Dani is in a daze. She +seems to have been knocked into a dissociative state. + + SIV + It is a great joy for them, you + must realize. And when I do so, it + will be a great joy for me. + (back to Simon and + Connie) + We view life as a circle. Okay? A + re-cycle. One thing falls and + another rises. The first man who + jumped: his name was Olof. Yes? + +Siv points to a PREGNANT WOMAN: + + SIV + That baby, who is not yet born, + will inherit this name. He will be + Olof. And if it is a girl, she will + take the name of our last fallen + lady, which was Dagmar. + 80. + + + Dani gazes at Siv, who has taken on a strange ETHEREAL GLOW + (like an angel). + + SIV + But instead of growing old and + getting sick and dying in pain and + shame and fear, we’ll give our life + - as a gesture. Yes? A gift. And we + will leave this chapter with + dignity and gratitude. Before it + can spoil. + + Siv releases Simon and Connie, who are no less fraught. Siv + now addresses the whole group. + + SIV + It does no good to die kicking and + screaming and lashing back at the + inevitable. It corrupts the soul. + + INGEMAR + (to Simon and Connie) + I’m sorry I did not warn you + better. + + +47 EXT. FIELD - DAY 47 + + Everyone is walking back from the beach. JOSH rushes + feverishly toward the Main House. Christian’s eyes are + trained on him as he moves to Dani, who looks destroyed. + + CHRISTIAN + You okay, baby? + + DANI + (branching off) + I need to not be here right now. + + CHRISTIAN + Okay. Good idea. You walk. I’ll + find you in a second - okay? + + Dani walks off, addled. Christian ACCELERATES to follow + Josh. + + +48 EXT. WOODS - MOMENTS LATER 48 + + Dani’s walk speeds into a SPRINT. Once out of sight, she + stops at a tree, now HYPERVENTILATING. She tries to steady + her breath, but it’s too erratic. She breaks down into + violent SOBS. These are interrupted by a shrill RETCH. + 81. + + +49 INT. THE MAIN HOUSE - SAME TIME 49 + + Josh anxiously goes through his backpack to find his + LAPTOP. He sits on the mattress as the computer boots up. + + Christian enters awkwardly - eyes on Josh. He appears to be + summoning the courage to say something. + + CHRISTIAN + Hey dude... + + JOSH + Hey! + (excitedly) + Holy fuck, right? + + CHRISTIAN + Holy fuck. Incredible. + + JOSH + Incredible! + + Christian works up the nerve: + + CHRISTIAN + So listen: I’ve been wanting to ask + you, or tell you, or just - mention + to you something I’ve been thinking + about... + + Josh looks up. He DARKENS with concern. + + CHRISTIAN + I’ve just been thinking, and I’ve + decided...I really think I wanna do + my thesis here. On the Hårgas. + + Josh doesn’t react. Christian nervously continues: + + CHRISTIAN + And I wanted to tell you first, so + that it didn’t seem like I wasn’t + telling you. + + JOSH + I feel like I can’t tell if you’re + joking. + + Christian doesn’t respond. Josh becomes incredulous. + + JOSH + Oh my God. I honestly can’t even... + 82. + + + (barely containing his + rage) + You know I’m out here doing my + thesis, on midsummer. That’s why + I’m here. + + CHRISTIAN + Yeah, but not on this community. + +Josh’s eyes BURN on Christian. + + CHRISTIAN + What? + + JOSH + ...You knew I was gonna want to do + this. + + CHRISTIAN + How would I know that? Did you even + know that before I just told you? + + JOSH + Oh my God, Christian, of course you + did! + + JOSH + You think I don’t know what you’re + doing? It’s actually kind of + outrageously unsubtle. The fact + that you’re being this bald about + it. It’s impressive. It is. I’m + honestly impressed. + + CHRISTIAN + What the fuck? + + JOSH + Oh, yeah - “What the fuck.” + (seething) + This is what I’ve been working + towards and you know it. That’s why + you looked so guilty when you + brought it up. Because you know - + you know - that what you’re doing + is unethical and leechy and lazy + and frankly kind of sad-- + + CHRISTIAN + Okay, wow, fuck you-- + + JOSH + 83. + + + No dude, not fuck me! Find your own + subject - or your own passion. + Because I’m actually invested in + this. It’s not some glorified hobby + that I’m casually dipping my feet + into. + + CHRISTIAN + Oh my God! You are so arrogant! In + case you forgot, we’re both earning + the same degree-- + + JOSH + But we’re not doing it in the same + way, Christian. Okay? I have to + hold your hand through everything. + You didn’t even know how to use J- + Stor before I taught you, and + you’re a fucking grad student. I + mean, why are you even in academia? + You don’t care! Which is fine! + That’s your prerogative! Just don’t + appropriate my actual work for your + new shortcut! + + This cuts Christian like a knife. His eyes are flaring with + RAGE. But he stifles it. Determined to remain collected, he + concludes: + + CHRISTIAN + I wanna do my thesis here. If you + want to as well, I’d be happy to + discuss collaborating. If not, I + guess we’ll have two separate + theses on the Hårgas. + + Christian leaves. + + Josh sits motionless. + + +50 EXT. FARMSTEAD - CONTINUOUS 50 + + Christian emerges from the Main House, extremely tense. A + very pale SIMON smokes a joint near the door, looking very + ill. He notices Christian’s demeanor. + + SIMON + You traumatized too, mate? + + CHRISTIAN + (still fuming) + What? Oh. Yeah... + 84. + + + SIMON + (offering joint) + You want some? It’s laced with + hydrocodone. + +Christian notices in the FIELD: a group of WOMEN collecting +Linum usitatissimum (FLAX), which is in abundance. Among +thme he sees MAJA, working with her friend ULLA (28). They +laugh as they work. + +Christian gestures “excuse me” to Simon, and approaches +Maja. + + CHRISTIAN + Hey. Hi. Sorry to bother you... + +Maja looks up - not understanding. She looks almost +panicked. + + CHRISTIAN + I’m Christian. + +Ulla insert herself: + + YOUNG WOMAN + Hello. I am Ulla. She is Maja. + + CHRISTIAN + Hi Ulla. Maja. I was wondering if I + could ask, uh - + (pulls out pen and paper) + - how many of those Attestupans you + guys have seen performed. + + ULLA + Every time one reaches age. + + CHRISTIAN + Okay... + + ULLA + So lots. + + CHRISTIAN + Right. Okay. And you don’t have + like, a typical mourning period? + For grieving? + + ULLA + We grieve and celebrate. + +Maja has been staring at Christian, love-stricken. He is +aware of it, but tries to ignore. + 85. + + + ULLA + We must go now and keep working. + + CHRISTIAN + Okay. No problem. Thank you. I + might find you to ask more later? + + Ulla smiles “okay” and walks off with Maja. They wave + goodbye. + + CHRISTIAN + Goodbye. + (to Maja) + ‘Bye Maja. + + Maja smiles timidly and waves again. + + In the b.g., Josh stands at the Main House’s door, STARING. + + +51 EXT. MEADOW - EVENING 51 + + Dani sits cross-legged near the river. Her eyes are closed. + + She’s trying to meditate, but her breathing is still + unstable. + + Christian appears behind her. + + CHRISTIAN + Hey. + + Dani’s eyes open with a start. She turns to him. + + CHRISTIAN + How we doing? + + DANI + I can’t stop fucking shaking and my + teeth keep chattering. + + CHRISTIAN + I can imagine. Today was a lot. + + DANI + I feel like the neck on my skin is + getting tighter. Like I’m choking. + + Dani pulls at her neck. Christian puts a hand on her + shoulder. + + CHRISTIAN + 86. + + + You okay, baby? + + DANI + (looking up at him) + Are you just not at all disturbed + by what happened? + + CHRISTIAN + I mean, of course, it was shocking. + But I’m also trying to keep an open + mind. + +Dani just stares at him. + + CHRISTIAN + It’s - cultural. We put our elderly + in nursing homes. I’m sure they + find that disturbing. + +Dani EYES him, disturbed by his nonchalance. She then +sees... In the b.g., a congregation of WOMEN are migrating +off together. + +DAGNY, whom we met earlier, splits from the group to RUN +over to Dani and Christian. + + DAGNY + Dani! Do you like to join us? + + DANI + Why? What’s happening? + + DAGNY + A special ceremony - for the + womans. + (to Christian) + The mans are joining for a - + meditate. At the houses. + +Dani looks to Christian, fraught. He gives her a “go ahead” +look. + +Dani looks over to the flock of women and sees an equally +unnerved CONNIE. + +MOMENTS LATER + +Dani uneasily joins Connie in the migrating crowd of women. + +They’re approaching a RIVER, which seems to GLOW in the +distance. + + DANI + 87. + + + Did they tell you what this is? + + CONNIE + (shakes head) + Someone better not be jumping off + another fucking cliff. + + Dani pulls again at her neck - still feeling claustrophobic + in her own skin. + + +52 EXT. FIELD - MOMENTS LATER 52 + + All the men are seated in a mass circle for a GROUP + MEDITATION (which hasn’t yet begun). Isolated in the center + of the circle is an Elder. He is the MEDITATION LEADER. + (Outside the circle, a GROUP OF MEN decorate a TREE that + has been pulled from the earth. + + They adorn it in various FLOWERS and HANDMADE ORNAMENTS.) + Christian joins Mark in the circle. + + CHRISTIAN + Nice nap? + + Mark, eyes elsewhere, leans over to WHISPER: + + MARK + That girl over there keeps chatting + me up, but she speaks like zero + English. + + Mark is pointing to the PRETTY BRUNETTE from earlier. + + CHRISTIAN + Oh yeah. She’s cute. + + MARK + Right? She keeps eyeing me. + + Christian pauses, and then: + + CHRISTIAN + (can’t help himself) + Don’t you kinda hate Josh? + + +53 EXT. WATER WELL - SAME TIME 53 + + Pelle stands by the well, drawing up water. Josh appears. + + JOSH + Hey. Can I talk to you? PELLE + 88. + + + PELLE +Sure. But we’re being called for +the meditation-- + + JOSH +Has Christian come to you yet? + + PELLE +...About what? + + JOSH + (quickly) +Okay - so listen: And you can +obviously say “no,” but point- +blank: I wanna do my thesis here. +On this. + + PELLE +Oh which? The nine-day feast? + + JOSH +Or - yes, but no: On you guys. On +the Hårgas. And Itold Christian +this already, and now I think he’s +trying to pretend that it was his +idea, so if he comes to you-- + + PELLE +Okay, well... +Well, no, hey, wait a minute: I +seriously doubt the elders will +approve of anything being written. +They’re extremely protective. + + JOSH +Yeah, of course, and I wouldn’t do +anything without their approval or +permission. + + PELLE +Yeah, but - they won’t approve, +Josh. The only reason we’ve +survived at all is because we +operate in total isolation. + + JOSH +Right: So I can just use aliases +for everything! + + PELLE +Then what would be the point? You +couldn’t even get it peer reviewed! + (before Josh can argue) + 89. + + + Christian did already ask me this, + by the way. I told him the exact + same thing I’m telling you. + + JOSH + ...I thought you just said he + hadn’t talked to you. + + PELLE + (annoyed) + Fuck, look: I’ll ask the elders. + Okay? But if it’s approved, you + either both do it together or you + fight it out between yourselves. + + Pelle puts his hands up to signify “That’s it.” He walks + off toward the MEDITATION CIRCLE. + + +54 EXT. FIELD - MOMENTS LATER 54 + + Pelle walks to an Elder near the back of the circle. He + WHISPERS in his ear. As this happens, Josh hovers in the + distance. He WATCHES Pelle’s interaction, in suspense. + + Christian, still sitting in the circle, SEES Josh staring + at Pelle. Christian becomes instantly PARANOID. He RISES. + + CHRISTIAN + (to Mark) + I’m gonna - take a leak. + + Christian walks off towards a wall of BUSHES. Josh sees + this, hesitates, and then warily FOLLOWS. He keeps a + healthy distance. (Pelle’s EYES are now on both of them.) + + Once Christian is hidden by foliage, he sneakily RUNS off. + He pursues the crowd of women, who are off in the distance. + + MEANWHILE, Mark looks helpless in the meditation circle. + + MEDITATION LEADER + (in Swedish) + We begin now. Close your eyes. + + +55 EXT. RIVER - SAME TIME 55 + + The women arrive at the river. Hundreds of LANTERNS have + been set up around the water to resemble a FIERY NECKLACE. + In the river’s center, NINE BURNING TORCHES protrude from a + BUOY atop the water. + 90. + + +The women have stopped at a spot near the river. Everyone +stands seriously about. Siv walks up to a mystified Dani +and Connie. + + SIV + Do you admire the Brísingamen? + + CONNIE + The lanterns? + + SIV + Glädje’s necklace made by the + fairies. We give it now to her + mother, Kärlek, as praise for + creating our sun. + +Dani and Connie don’t understand, nor do they inquire +further. + +Siv laughs, seeing their confusion. + + SIV + Think of it like theatre. Strictly + presentational. Yes? + +Dani placates her by nodding. Siv smiles and directs their +attention to the CENTER of the congregation. + +One of the female elders - a LARGE WOMAN (60s) with sturdy +legs - holds the sacred book Rubi Radr. She takes a moment +as everyone quiets down. She then reads a passage (in +Swedish) out loud. She reads with clarity and authority. +After she has finished... A GROUP OF NINE WOMEN (three in +their 20s, three in their 30s/ 40s, and three in their +50s/60s) all DISROBE. They are now NUDE. + +A woman begins playing the KEY-HARP. After the tune is +established, three women begin to SING. It is a WORDLESS +choral song - comprised only of expressive/abstract sounds +that evoke a range of feelings and tell a strictly +emotional story. + +As this is sung, the nude women walk to the RIVER. They +descend into the water and swim towards the center. The +song continues. + 91. + + + The nude women arrive at the burning buoy. They wait for + the song to reach a bridge, and then they each draw a + FLAMING TORCH from the buoy. Holding up their torches, the + nude women now step carefully onto what must be underwater + planks. They are still up to their necks in water. As the + song crescendos, they slowly walk up the planks (each of + which move in separate directions) to emerge from the + water. + + SIV + (explaining to Dani) + The women represents the sun. The + sea gave birth to the sun, so + they’re like - + (gestures “rising up”) + - from the womb. + + Dani and Connie watch. It is hypnotic. + + Christian, having just caught up, WATCHES this ritual from + behind a tree. Josh, a good distance behind Christian, also + watches. Transfixed. + + The women all arrive onto the shore at the same time. They + rest their torches, and the song comes to an end. + + Siv looks to a young RED-HAIRED WOMAN (30s), who runs off + to now fetch the men. + + +56 EXT. FARMSTEAD - MOMENTS LATER 56 + + The Red-Haired Woman gives a signal to ODD. Odd then + gestures to the MEN handling the decorated tree. They all + LIFT the tree, and one man strikes a BELL. This ROUSES the + men from their meditation. + + MEDITATION LEADER + (in Swedish) + Now we stop. + + Odd addresses the meditators. + + ODD + Okay everyone! Let us form a + procession. Following the tree. + + Everybody rises, still coming out of their collective + trance. + + They queue up to follow the decorated tree. + 92. + + +57 EXT. RIVER - MOMENTS LATER 57 + + The men carrying the tree ARRIVE at the river, joining the + women. The nude women are now dressed. + + Christian awkwardly joins the crowd. As does Josh. + + After a moment, the Large Woman announces to the river: + + LARGE WOMAN + (in Swedish) + In thanks and praise, Great + Goddess, we bestow upon you this + modest gift. + + Music is played as the men HOIST up the lavish tree, run it + towards the river, and HURL it into the water. The river + gulps the tree down. + + A horn bellows. + + A THIN MAN (40s) steps out to announce, quite theatrically: + + THIN MAN + (in Swedish) + Oh no! Did you hear that rumbling? + I think she is still hungry. + + LARGE WOMAN + (in Swedish) + I heard no rumbling. + (to the crowd) + Did any of you? + + Grumblings all around. The consensus is “no.” + + THIN MAN + (in Swedish) + Ah, well - I suppose it could have + been my own belly. + + Some polite laughter among the congregation. + + THIN MAN + (in Swedish) + But I do not wish to risk offending + our generous Mother. + + LARGE WOMAN + (in Swedish) + 93. + + + Nor do I. Yet we have already given + our finest jewels and most fruitful + tree. What else could we possibly + offer? + +Then a YOUNG BOY (10) is heard among the crowd. + + YOUNG BOY (O.S.) + You can use me! + +The crowd OPENS UP to reveal the young boy. He is adorned +in the same jewels and flowers as the tree. His costume is +an imitation of the tree’s. He is clearly reciting lines +(with less confidence than the Thin Man and Large Woman). + + LARGE WOMAN + (in Swedish) + You, young Ame, wish to offer your + life to our beloved Goddess? + + YOUNG BOY + (in Swedish) + If She will have it. + + THIN MAN + (in Swedish) + How brave you are, little Ame! + + YOUNG BOY + (in Swedish) + Brave? What is brave in going home? + +Horns are played as the Young Boy steps forward to stand +before the men who tossed the tree. They reluctantly lift +the boy up and carry him to the river. + +Dani starts to PANIC. + + DANI + (to Siv) + No. What’s happening? + +Siv SMILES. + +The boy is taken to the edge of the river, and the men +begin to SWING him back and forth. They are preparing to +launch him into the water. + + DANI + NO!!! + +This mingles with other protestations from the crowd: + + Å + 94. + + + HÅRGAN #1 + (in Swedish) + No! Don’t! + + HÅRGAN #2 + (in Swedish) + Leave him be! He has shown his + bravery! + + The crowd erupts into a CACOPHONY OF STAGED PROTEST. The + men stop swinging the boy. After sufficient heckling, the + men RELEASE the boy. He then runs to SIV, bashfully burying + his face into her dress. She pats his head with pride. + + Everyone APPLAUDS. The performance seems to be over. Dani + looks completely disoriented. + + Connie, who has now been joined by Simon, turns to Siv. + + CONNIE + So, is this like a Wiccan thing? + + SIV + (confused at first) + Wicca? Oh my dear no! This is about + reciprocity. + + CONNIE + Okay... + + SIV + Strictly presentational. + + Connie looks skeptical. Dani still looks crazed. She turns + to find CHRISTIAN, who (in contrast) looks very amused. + + +58 EXT. FIELD - MINUTES LATER 58 + + Dani has pulled Christian to a secluded spot. She is very + high-strung. In the b.g., the Hårgas’ WATER POWER PLANT is + visible. + + DANI + Please Christian - we need to + leave. This is feeling really + wrong. + + CHRISTIAN + Okay: look: I know it’s weird. + That’s because it’s alien. We + haven’t ever been exposed to + anything like this. + 95. + + + DANI + No, Christian: this is pagan nature + worship. This is completely + backwards. We shouldn’t be here. + + CHRISTIAN + We just need to acclimate-- + + DANI + I don’t want to acclimate! I want + to leave. + + CHRISTIAN + Baby, I cannot leave right now. + Period. I’m doing my thesis on + these guys-- + + DANI + What? Since when?! + + CHRISTIAN + Since I decided! Today. Which you + know has been a nightmare for me to + figure out. And I made the mistake + of telling Josh and now he’s + competing with me-- + + DANI + So let him have it if he wants it! + We shouldn’t be here, Christian. + But why have they invited us? And + why did Pelle?! + + CHRISTIAN + No, hey - have you even seen what’s + happening here?! This level of + tradition? And nobody knows about + it, nobody’s written on it - and + they’ve invited us to be part of + it! Can’t you see what a privilege + that is?! Because Pelle did! + Because he trusts us! + + DANI + And why would he trust you, of all + people? You’re opportunistic + anthropology students. + + CHRISTIAN + (stubborn) + Not necessarily. + +Dani HESITATES, seeing that she’s getting nowhere. + 96. + + + DANI + I want to leave. + + CHRISTIAN + Then you can leave. I invited you + to come, and I don’t regret that, + but I’m here for a reason. + + Beat. Christian’s eyes are ice cold. + + DANI + ...Do you not love me anymore? + + CHRISTIAN + (momentarily stunned) + What does that have to do with + this? + + DANI + (almost to herself) + This is the devaluation phase. + We've been in it for a long time + now. Next comes the discard. + + CHRISTIAN + Oh fuck - can you maybe spare our + relationship the psychology 101? + + DANI + No - this has been happening for a + long time! You’ve been pulling + away... And I've been in denial. + + CHRISTIAN + (finished) + Oh, please babe - give yourself + some credit. Looks to me like + you've got it all figured out. + + Christian turns and STORMS away. + + DANI + Oh my -- you’re gonna walk away + now?? + + As he leaves, she cries out: + + DANI + You’re just gonna leave me like + this?! + + +59 INT. THE MAIN HOUSE - NIGHT 59 + 97. + + + People are laying boards over the windows, bringing the + Main House into darkness. + + Dani enters with sunken eyes. Christian’s already in bed. + Staring at him, Dani walks to JOSH. (She is pulling at her + neck again.) + + DANI + Do you have a sleeping pill? + + JOSH + Sure. Uh... + + Josh fishes a PILL out of his bag. + + JOSH + They’re intense, though. You might + wanna cut it in half. + + DANI + I just need to sleep. + + She swallows it whole. + + +60 INT. THE MAIN HOUSE - NIGHT 60 + + Silence. Everyone is asleep, including Dani. + + There is RUSTLING heard off-screen. Dani WAKES. She sits up + to see... + + Christian’s bed is now EMPTY. So is Mark’s bed. And Josh’s. + + Concerned, Dani looks to the DOOR. Mark, Josh, Pelle and + Christian are quietly tip-toeing out of the house. They + GIGGLE. Christian is the last to exit. + + Confused, Dani climbs out of bed. She rushes to the door. + + Dani looks OUTSIDE to see that the group is now inside the + RENTAL MINIVAN, which is IDLING off. Pelle drives, + LAUGHING. Christian, in the back seat, looks out the back + window. HE SMILES GIDDILY AT DANI as they drive away. + + Dani watches this in utter horror. + + The diminishing car’s TAILPIPE belches thick black smoke. + + Dani opens her mouth in anguish. An impossible amount of + BLACK SMOKE (the same color as that from the tailpipe) + escapes her lungs, FILLING the frame, and then-- + 98. + + + We SLAM to a HARSH INSERT of the GORED FACE of the second + Elder who jumped off the cliff. He GASPS wretchedly. + + We then PUNCH OUT, wider, to reveal that the dashed bodies + on the rocks are DANI’S PARENTS and her SISTER. We then CUT + TO: + + +61 INT. THE MAIN HOUSE - NIGHT 61 + + Dani is ASLEEP in bed. The last scene was a DREAM. Her + eyelids twitch as she continues to suffer the nightmare. + + We pan away from Dani to reveal that MAJA, several beds + over, is AWAKE. She anxiously fingers a freshly carved RUNE + STONE. Her eyes are GLUED to Christian, who is fast asleep. + + Maja climbs out of bed and tip-toes to Christian’s bed. She + crouches to SLIDE the rune stone under his mattress. She + then runs nervously back to her bed. + + JOSH, whom we now reveal to be awake, has been watching + this. + + +62 INT. THE MAIN HOUSE - MORNING 62 + + All of the beds are now empty, and morning activity is + heard outside. Dani, however, is still asleep. + + +63 EXT. MEADOW - NEXT MORNING 63 + + Pelle plants vegetables in the garden. + + Josh, accompanied by Mark, approaches Pelle. Watching this, + Christian lingers in the b.g. + + JOSH + Hey man. Any word? + + Pelle looks up to see Josh. He SIGHS and rises. + + PELLE + They said you can do it as long as + you absolutely don’t use names and + the location is never even hinted + at. And they’re gonna have you sign + an agreement to that. + + JOSH + (nodding, excited) + Okay. Wow. Okay. + 99. + + +Josh can’t contain his glee. + + PELLE + And you split it with Christian. + Because he came to me first. + + JOSH + Well, that’s -- We’ll figure that + out. + +Mark notices in the distance: One MAN has climbed to the +top of a TREE to fetch a strange, FLOWERING PINECONE from +the tip of a branch. At the base of the tree is a crowd of +observing men. + + MARK + What are they doing? + + JOSH + Gathering...charms. + +The climbing man CUTS the cone with a golden blade. The men +CHEER. + + JOSH + (to Pelle) + Here: can I ask you something? + +Josh pulls Maja’s RUNE STONE out of his pocket. + + JOSH + I found this under Christian’s bed. + Do you know what this is? + + PELLE + (looking over it) + Love rune. It casts a love spell. + +CHRISTIAN walks over. Josh CONCEALS the rune. + + CHRISTIAN + What’s going on? + + PELLE + The elders said you can do your + thesis as long as you don’t use + actual names or location. + + CHRISTIAN + Holy shit. That’s incredible. Thank + you so much. + + PELLE + 100. + + + You’re splitting it with Josh. + + CHRISTIAN + (as if Josh isn’t there) + I already told him that’s totally + fine with me. + +Pelle notices Christian glancing over at Maja. + + PELLE + I think my sister Maja has taken a + liking to you. + + CHRISTIAN + Yeah. I think I noticed. + +In the b.g., a COW and a LAMB are being led across the +field by different Hårgans. + + PELLE + (raising eyebrows) + You know, she just got her + byxmyndig. + + CHRISTIAN + Ha. What’s that? + + PELLE + It means - + (smiling at the silly + expression) + - “pants license”? When you turn + fifteen, you’re allowed to have + sex. + + MARK + (pointing) + How ‘bout that one? Is she + licensed? + +Mark is pointing out the BRUNETTE that he has a crush on. + + PELLE + (laughs) + Inga? Oh yes. + +Pelle is SUMMONED by a few men struggling to carry +equipment. + +He goes off to help them. + 101. + + + At the same time, Mark catches the brunette, INGA, looking + at him again. He suddenly feels COMPELLED to do something. + He starts marching in the direction of the climbing men. + + CHRISTIAN + Mark? + + +64 INT. THE MAIN HOUSE - MORNING 64 + + Dani stirs awake. Extremely groggy. + + DANI + (as if still dreaming) + Christian? + + +65 EXT. FARMSTEAD - SAME TIME 65 + + Mark has arrived at an OAK TREE with a particularly large + PINECONE (also bearing a flower) at the top. Its base has + been tied with rope. Mark begins to CLIMB it. + + CHRISTIAN + Wait, dude. Maybe hold off. + + MARK + I’m gonna “gather a charm.” + + Josh and Christian look uneasy as Mark quickly scales the + Oak. As he climbs past a few branches, a BEARDED MAN (40s) + is heard off-screen: + + BEARDED MAN (O.S.) + NEJ!!! + + Mark FREEZES. The Bearded Man runs over. This is ULF. + + ULF + (in Swedish) + WHAT ARE YOU DOING?! GET OFF! GET + DOWN! + + Mark, now standing motionless on a branch, looks stupefied. + The branch suddenly SNAPS beneath his feet, and he comes + TUMBLING to the ground. He lands HARD on his ass. + + Ulf desperately picks up the BROKEN BRANCH. He then notices + that the tree’s mud-plugged CLEFT (wrapped in rope) has + BROKEN OPEN. + + ULF + (in Swedish) + 102. + + + Oh no no no... What have you done? + +People have started gathering around. He appeals to them: + + ULF + (in Swedish) + Can we put it back on? Can we...? + + MARK + What’s wrong? What did I do? + +Pelle has run over. + + PELLE + What happened? + + ULF + (in Swedish, heartbroken) + Your American friend. He desecrated + my tree. + + PELLE + (gasps, in Swedish) + I’m so sorry, Father Ulf! He didn’t + know. + + MARK + What happened? What did I do? + + PELLE + You climbed his tree. + + MARK + His tree? So what? I’m sorry. + + ULF + (suddenly enraged) + “So what?!” + + MARK + What?! I didn’t know! + +Ulf is clearly in a fury. He STIFLES it, but his eyes are +frighteningly wide. + + PELLE + Here, Mark: let’s just... + +Pelle leads Mark away. + + MARK + What the fuck? How is it his tree? + What’s even happening? + 103. + + + PELLE + That tree cured him of pneumonia + when he was a baby. + + MARK + What? How?! No it didn’t. + + PELLE + He believes it did. And now + his health and his life are tied to + that tree. If it gets hurt, he gets + hurt. + +Mark looks over to Ulf, who has collapsed into TEARS. The +Thin Elder speaks soothingly to him. + + THIN ELDER + (in Swedish) + We can reattach the branch. It’s a + minor wound. Barely anything. + + ULF + (in Swedish) + What about the cleft? + +Mark calms down. + + MARK + Well - fuck. I am sorry. I still + don’t understand what I did... Do I + apologize? + + PELLE + Apologize later. + +The Pretty Brunette, INGA, has walked up. + + MARK + Oh shit. Hi. + + INGA + (to Pelle, in Swedish) + Tell him it’s okay. He didn’t know. + I will talk to father Ulf. + +She SMILES at Mark and walks off. + + PELLE + (explaining) + She said to tell you it’s okay and + that she’ll explain to him your + mistake. + 104. + + + MARK + (overjoyed) + Seriously? What else did she say? + + Christian sees DANI in the distance, woozily looking for + him. He walks over to her, affecting pleasantness. + + CHRISTIAN + Hey! + + DANI + (seeing him) + Oh! + + CHRISTIAN + You get some good sleep? + + They arrive at each other. He gives her a peck. + + DANI + I’m sorry about last night. + + CHRISTIAN + ...How you feeling? + + DANI + (pause, emotional) + I don’t want us to be fighting, + Christian. + + CHRISTIAN + Well - me neither. + + Christian looks like he wants to say more. Dani waits for + it. Finally, Christian thinks better of it. + + CHRISTIAN + Are you feeling less nervous today? + + Dani pauses uncertainly at this. + + HORNS bellow in the b.g. A ceremony is beginning somewhere, + and all the Hårgans are presently migrating over a hill. + PELLE, standing at a distance, is waving Dani and Christian + over. + + +66 EXT. HILL - DAY 66 + + ECU of a BABY BULL’S HIND LEGS, tied together with rope. + The rope is PULLED SWIFTLY UP. + 105. + + +ECU of a LAMB’S HIND LEGS, also tied together. The rope is +yanked up. + +ECU of a BABY HORSE’S HIND LEGS, also tied. The rope pulls +UP. + +We now cut to a WIDE SHOT of the top of a HILL. NINE +ANIMALS (lamb, goat, dog, baby horse, baby bull, baby cow, +pig, rabbit, and three tied-together chickens) have been +STRUNG UPSIDE-DOWN. + +They are all alive. Each of them is separated by about five +feet. + +The THIN ELDER stands to the side of the line-up. On the +other side is SIV. + +The entire community has congregated at the bottom of the +hill. Dani looks very nervous. She turns to Pelle, who +already looks concerned for her. + + DANI + Do I want to stay for this? + + PELLE + ...Maybe you should not. + +Dani looks to Christian. He looks very excited. She turns +back to the top of the hill, anxious. + +Siv speaks exultantly to the air (in Swedish). When she +finishes, STEADY PERCUSSION BEGINS. The Thin Elder strikes +a different POSE (physically and emotionally) with every +percussive hit. + +The RED-HAIRED WOMAN, reading from the holy book Rubi Radr, +begins to SING. As we’ve heard before, it is a WORDLESS +choral song. + +Nine YOUNG MEN, each holding a blade, walk up to the +animals. + +Simultaneously, they all SLIT THE ANIMALS’ THROATS. The +animals THRASH wildly as BLOOD drains from their necks. +(The song has degraded into anguished snarls and cries.) + +That does it. Dani STORMS OFF. Christian is too awe- +stricken to care. Josh, meanwhile, is taking covert PHOTOS +with his phone. + 106. + + + Beneath each animal, a narrow CHANNEL has been pre-carved + into the earth. Each channel winds and loops to eventually + converge, thus forming a MASSIVE RUNIC SYMBOL (symbolizing + fertility). The blood pours from each animal to run down + the separate canals. + + Soon, the blood has co-mingled to fill the carefully- + engineered runic sculpture. It’s horrible and beautiful. + + Josh and Christian, briefly joined in their excitement, + trade looks of amazement. Mark looks mystified. + + MARK + This is fuckin’ weird, no? + + Pelle now goes after Dani, who is speed-walking away. + + In the b.g., Simon can be heard saying: + + SIMON (O.S.) + What the fuck did you bring us to? + + Christian looks over at this. SIMON, who looks very scared, + is confronting a grinning Ingemar. + + SIMON + (to Ingemar, + aggressively) + Why are you smiling, mate? + + +67 EXT. FIELD - SAME TIME 67 + + Dani speed-walks (with intermittent running) toward the + Main House in the distance. Pelle follows her, glancing + over his shoulder to view more of the ceremony. + + +68 INT. THE MAIN HOUSE - MINUTES LATER 68 + + Dani enters the Main House, eyes crazed. She goes to her + bed and begins hastily packing her bag. Her breathing is + erratic and she’s pulling at her neck again (as if to + loosen the skin). + + Pelle enters. + + PELLE + Dani? + + Dani looks up, teeth chattering with anxiety. + + DANI + 107. + + + I’m really sorry, Pelle. Thank you + for inviting me, but I really need + to go. Can someone maybe drive me? + + PELLE + I did warn you this time. I know it + looks extreme, but we only do this + once every ninety years. It’s - + what’s the word...? + + DANI + I understand that it’s momentous. + + PELLE + (that was the word) + Right! Exactly! + + DANI + (snapping) + I don’t know why we’re here, Pelle! + I don’t know why you invited us! + + PELLE + Okay: Here: Sit down. Please. + +He sits Dani down. He plants himself beside her, taking her +hands. + + PELLE + I invited my friends because this + is a once-in-a-lifetime thing and I + wanted to share it. Especially with + my friends who I knew would + appreciate it, because I am proud + of this place. + + DANI + But I’m not an anthropologist. I + don’t have the foundation to + understand this. + + PELLE + And yet I was the most excited for + you to come. + +Pelle has pulled a special POUCH from his pocket. He draws +something out. + + PELLE + Here: smell this. + +He places a homemade sachet (containing a SPECIAL HERB) +under her nose. + 108. + + + DANI + What is it? + + PELLE + It calms you down. + +She pauses before smelling it. + + PELLE + Go on. Inhale. I will, too. + +Demonstrating, he INHALES the herb deeply. He puts it back +to her nose, and she does the same. She’s still trembling. + + PELLE + Isn’t that nice?... I know what + you’re going through, Dani. + + DANI + What am I going through? I’m + scared. I can’t breathe. + + PELLE + You’re going through a lot. + + PELLE + I know you are, and I’m gonna say + something now, because my birth + parents are both gone, too-- + + DANI + What?! + (crying now) + That’s not what I’m talking about! + + PELLE + 109. + + + I know, and that’s fine, but + please... My birth-parents both + died when I was a little boy. They + burned up in a fire, and I became - + technically - an orphan. So believe + me when I say I know what that is, + because I do. Yet my difference is: + I didn’t get a chance to feel lost. + Because I had a family - here - + where everyone embraced me and + swept me up and I was raised by a + community that doesn’t distinguish + between what is theirs and what is + not theirs. That’s what you were + sacrificed to. But I - have always + felt...held. By a family. A real + family. Which everyone deserves. + And you deserve. + +Dani looks down at Pelle’s hands GRIPPING hers. + + DANI + Christian could walk in. + + PELLE + He’s what I’m talking about. And + he’s my good friend and I like + him... But do you feel HELD by him, + Dani? Does he feel like a HOME to + you? + +His eyes are locked intensely on Dani’s. She doesn’t turn +away. + + PELLE + My pilgrimage has been fun. New + York is fun... But I also find it + terrifying how people live. As if + it’s necessary and even good to be + lost and drifting...and I haven’t + spent one night over there that I + haven’t longed to be back here...in + the lap of the Hårgas. + +Dani looks almost hypnotized as she looks into Pelle’s +eyes. + + PELLE + Stay, Dani. Please. It will be + good... And I swear we’re all + finished sacrificing animals. + 110. + + + Dani gives a weak half-laugh. She relents. She sits up + straight and wipes her eyes, regaining composure. + + PELLE + Good. + + Pelle stands up. + + DANI + You’re a very empathic person, do + you know that? + + PELLE + Well, our first language here is + strictly emotion-based. So I could + just be using that to manipulate + you. + + Dani pauses at this. Pelle sticks his TONGUE out, teasing. + + Dani SMILES, relieved. + + PELLE + You are very vulnerable, though. + And I mean that in a great way. + It’s very rare. It’s beautiful. + + Dani is touched, but tries to hide it. + + DANI + (re: the herb) + Can I smell that again? + + +69 EXT. HILL - SAME TIME 69 + + The ceremony has ended. Groups are now setting up TABLES + for lunch. As usual, they’re being laid out in a particular + pattern. + + Simon and Connie stand frozen, traumatized. Simon is + visibly DISTRAUGHT. He stares up at the top of the HILL, + where the dangling, blood-drained animals are now being cut + down. + + SIMON + Are we eating those animals? + + INGEMAR + Not those ones. + + SIMON + And why not? + 111. + + + INGEMAR + (seeing the aggression) + ...Because they weren’t killed for + that. + + SIMON + So what were they killed for? So we + could watch that shit and clap? + +Ingemar smiles. This infuriates Simon. + + SIMON (CONT’D) + What the fuck is that smile, mate? + Get it off. + + CONNIE + (trying to calm him) + Simon... + +This has drawn attention. People are now looking over. + + INGEMAR + (gesturing) + We can talk about this over here. + + SIMON + Why didn’t we talk about it before + you took us here? + +Ingemar gently touches Simon’s arm to lead him away. + + SIMON + (pulling back his arm) + Don’t sort me out, mate! + +The PLUMP ELDER speaks up. + + PLUMP ELDER + What’s offending you, son? + + SIMON + What’s offending me? Besides the + fact I just saw something I can’t + ever unsee, I’m offended that + you’re teaching impressionable kids + to sacrifice living, innocent + animals - including a fucking + defenseless dog-- + +One middle-aged WOMAN (50s) speaks up. + + WOMAN + 112. + + + We sacrificed defenseless animals + yesterday, too! To fill your belly! + + PLUMP ELDER + Why are we using “sacrifice” like + it’s a dirty word? SIMON + + SIMON + Because it’s fucking medieval! + + WOMAN + Why are you swearing?! We’re not + swearing! + + PLUMP ELDER + (to Simon) + You’ll find that sacrifice is + essential in any relationship. + Let’s put it in your terms-- + + SIMON + You don’t know my terms! + + PLUMP ELDER + (continuing, louder) + Say you find yourself entangled + with a lover who can’t put your + needs before her own. + + CONNIE + What’s that supposed to mean?! + + PLUMP ELDER + (to Connie now) + Say you learn that your partner + can’t part with even a fraction of + his own comfort to give you what + you need. And show that you’re + appreciated. + (to both of them now) + Wouldn’t you start to resent this + person? Wouldn’t your own + performance begin to lack, knowing + they’re not pulling their weight? + Wouldn’t you want to punish that + person for taking you for granted? + (to Simon) + Sacrifice is proof. And without it, + no union can last. + +Beat. Simon pops the bubble: + + SIMON + 113. + + + Alright. Thank you for that. And + now we’ve seen two people kill + themselves and nine animals get + bled to death, so I think we’re + leaving. + + PLUMP ELDER + I’ll happily drive you to the + station. + + SIMON + Lovely. Thank you. + (to Connie) + Let’s go. We’re getting our things. + + PLUMP ELDER + (gesturing) + I do need your help jumping the + truck, if you’ll be so kind. + + Simon pauses. + + SIMON + (to Connie) + Go pack our stuff. I’ll pick you up + out front in - + (to the Plump Elder) + - what, five minutes? + + PLUMP ELDER + Fine. + + Connie doesn’t want to go alone. She hesitates and then + walks quickly off. We TRACK alongside Connie, following her + away. + + As Connie speed-walks, PANIC rises in her. She looks back a + few times, making sure that she’s not being followed. + + She arrives at the MAIN HOUSE. Dani and Josh are standing + outside. They watch her storm past. + + DANI + Are you okay, Connie? + + CONNIE + (not stopping) + Yeah. Sorry. We’re actually + leaving. + + +70 INT. THE MAIN HOUSE - CONTINUOUS 70 + 114. + + + Connie rushes to her bed. She starts throwing her things + into her suitcase. + + +71 EXT. THE MAIN HOUSE - MOMENTS LATER 71 + + Connie stops outside the door, gripping her and Simon’s + bags. She turns to Dani as she waits for Simon. + + CONNIE + (anxious) + It was really lovely meeting you, + Dani. + + DANI + Yeah, it was lovely meeting you, + too. + + CONNIE + Sorry to just leave like this. + Simon’s coming with the car. + + DANI + I understand. I might be right + behind you. + + CONNIE + (on overdrive) + Simon went mental. Christ. I feel + sick. + (then) + We exchanged emails an’ all that, + yeah? + + DANI + No. We didn’t. + + CONNIE + Oh. I’m Connie-dot-Brahms at + AOL.com. + + DANI + Connie-dot-Brahms. I’ll write you. + + CONNIE + Yeah. Lovely. Sorry to just leave + like this. + + ODD comes running up. + + ODD + Connie! Simon told me to tell + you... + 115. + + + (arrives) + Jan drove him to the train station. + After Simon gets dropped off, he’s + sending the truck straight back for + you - + + CONNIE + What? + + ODD + - and you’ll meet him there. + + CONNIE + No. Why would he go without me? He + wouldn’t do that. + + ODD + The truck only had room for two. + + CONNIE + What does that mean? That’s not + real. Why wouldn’t he tell me? + + ODD + Today’s only train leaves in ninety + minutes. It takes forty-five + minutes to drive there and back. + They didn’t want to waste time. + + CONNIE + So I could have sat on his lap! + + ODD + Simon mentioned that, too. We don’t + break traffic laws. + +Connie looks to Dani, incredulous. + + CONNIE + (to Odd) + They just left without me, just + now? + + ODD + There wasn’t room in the truck. Yet + it is coming right back. For you. + +Connie shakes her head, not buying it. She WALKS OFF, on a +mission to find out more. Odd turns to Dani: + + ODD + Lunch has been called. + 116. + + +72 EXT. FIELD - DAY 72 + + Lunch time. Everyone is seated at the tables (which are + connected to form a HELIX shape). + + ULF, still panicked over the damage done to “his tree,” is + consulting a BESPECTACLED ELDER. + + ULF + (in Swedish) + It feels like a tingling. Like a + numbness in my arm. + + The Elder presses his arm. MARK watches this, very nervous. + Farther down the table, CHRISTIAN sits beside a HAPPY MAN + (30s). + + Christian takes NOTES as he asks questions. Two Hårga women + listen in, smiling. Christian’s eyes keep straying to JOSH, + who is also questioning people. They are now RACING to + gather info. + + CHRISTIAN + How are roles or jobs assigned? + + HAPPY MAN + Well - that’s based on traits we + show as children. For example: + (points to the + bespectacled elder) + He was assigned “to protect,” so he + did his pilgrimage as doctor. + + Christian quickly writes this down as DANI arrives at the + table. She sits next to Christian. + + CHRISTIAN + Hey. You okay? + + DANI + ...Simon left without Connie. + + CHRISTIAN + (faux concern) + Really? That’s so shitty. + + Christian bluntly returns his attention to the Happy Man. + Dani PAUSES, disturbed by Christian’s indifference. For the + first time, she actually looks scared of him. + + CHRISTIAN + (to Happy Man) + Is incest ever a problem? + 117. + + + HAPPY MAN + Ha! Well...the bloodlines are very + well preserved, so - the elders + must approve mates. + + Christian is taking feverish notes. Dani watches him with a + new kind of SCRUTINY; a new kind of distrust. As Christian + writes, he GLANCES over at: + + JOSH, who is now interrogating an uncomfortable BALD MAN + (40s). + + JOSH + What about the holy text? Ruby + Radr? + + BALD MAN + Um...I cannot answer this for you. + You might ask a elder. + + +73 EXT. FIELD - DAY 73 + + Lunch is over. Josh is now interrogating the Thin Elder on + the grass. + + THIN ELDER + I don’t understand: You want to see + it? + + JOSH + I wouldn’t even touch. + + THIN ELDER + It’s written in our Affect + language. You would not be able to + read it... + + +74 EXT. FARMSTEAD - DAY 74 + + Dani walks idly around, thinking about her exchange with + Pelle (and about Simon leaving Connie). She holds the + folded DRAWING that Pelle gave her for her birthday. As the + gears turn in her head, her attention falls on... + + A large KITCHEN in one of the houses. A group of WOMEN (all + ages) collaborate to prepare dinner. One SMALL WOMAN (40s) + sees Dani and waves her over. Dani pauses and then + approaches. + + SMALL WOMAN + Would you like to help join us? + 118. + + + DANI + Sure! But actually - have you seen + Simon? + + SMALL WOMAN + Oh, yes, he was driven to the + station. Did you not say goodbye? + + DANI + No. I didn’t. But that’s okay... + (mind still racing) + What are we making? + + SMALL WOMAN + Meat tarts! + + Dani smiles “ooh!” and joins the women. She’s handed an + apron. Another Woman says something to Dani in Swedish. + + SMALL WOMAN + (translating) + She says you’re so beautiful. + + DANI + Oh! She’s so beautiful! + + Meanwhile, MAJA is preparing a tray of unbaked MEAT PIES. + One of the pies is clearly very special. She distinguishes + this one by laying a special BASIL LEAF on top. + + +75 EXT. FARMSTEAD - SAME TIME 75 + + SIV stands among labouring men, staring at the KITCHEN + WINDOW. She watches Dani. + + +76 INT. TEMPLE - SAME TIME 76 + + The HOLY TEMPLE. Josh stands near the altar with the Thin + Elder, who has pulled the Rubi Radr from an elevated + pedestal. + + He shows Josh the text (written in the graphic Affect + language - a combination of runes and abstract hand + paintings). + + THIN ELDER + We describe it like “emotional + sheet music.” + + JOSH + What does it say? + 119. + + + THIN ELDER + Well...each runic letter represents + one of the 16 affects, which are + graded from most holy to most + unholy. This here is about Grief. + You can see at the end, however, we + have blank pages? + +Indeed the last half of the book is BLANK. + + THIN ELDER + This is because the Rubi Radr is a + constant work in progress. Always + evolving. + + JOSH + And who decides what’s added? + + THIN ELDER + Well - this iteration is being + written by Ruben. + +The Thin Elder points to RUBEN, the mentally disabled boy, +who is playing outside. + + JOSH + Wait. The...disabled? + + THIN ELDER + Since birth. He draws and the + Elders interpret. + +He shows Josh the first pages. They are marked by a BABY’S +HANDPRINTS - all in different colors of paint. (Below the +drawings are runic interpretations.) + + THIN ELDER + Ruben is unclouded by normal + cognition. It makes him open for + the source. + + JOSH + So...what happens when Ruben dies? + Do you just wait until a new baby + isn't “clouded”? + + THIN ELDER + Ruben was a product of inbreeding. + All of our Oracles have been + deliberate products of inbreeding. + +Josh’s jaw hangs. He hides his amazement. + 120. + + + JOSH + Can I possibly take a photograph? + + THIN ELDER + (suddenly alarmed) + What? No. Absolutely not. + + The Elder CLOSES the book. + + JOSH + Okay. Sorry. + + THIN ELDER + Absolutely not. + + A TENSE beat. Broken suddenly by: + + SCREAMING, outside. They TURN. + + CONNIE (O.S.) + SIMON!! SIMON!! + + +77 EXT. FIELD - SAME TIME 77 + + CONNIE, panicked and crying, backs away from three + encroaching Hårgans (all 30s). They approach her carefully, + trying to calm her down. Connie desperately appeals to + CHRISTIAN and MARK: + + CONNIE + Please! I’m begging you! I saw them + pulling Simon! I swear I saw them! + + HÅRGAN MAN #1 + He was driven to town an hour ago. + We all watched them drive off. + + CONNIE + I’m not talking to you!! + (to Christian) + Please. You have to believe me. + + CONNIE + I saw them dragging Simon through + the woods. He was unconscious. + + CHRISTIAN + Where? + + CONNIE + (pointing) + Back there. Near the river. Please. + 121. + + + CHRISTIAN + Can you show us? + (to the Hårgans) + Can she show us? + + CONNIE + (crying) + Please. + + HÅRGAN MAN #1 + Of course. Just please - + (to Connie) + - calm down. I promise it’s not + what you think you saw. + + HÅRGAN MAN #2 + (impatient) + And the truck is already back for + you, by the way! You can leave. + + CONNIE + I’M NOT GOING WITHOUT SIMON! + + +78 EXT. WOODS - MINUTES LATER 78 + + Connie desperately leads the group (Christian, Mark, and + the two Hårgans) into the woods. She keeps her eyes locked + on Christian, as if begging him to believe her. + + CONNIE + It was right back here! I swear to + God. Right over there! They were + dragging him by the arms and he + wasn’t moving and his head was + bleeding! + + HÅRGAN MAN #1 + So why didn’t you try to stop them? + Or follow them? -So where did they + go? + + CONNIE + I couldn’t even breathe! -They went + behind the bushes. I ran back for + help. + (to Christian) + I wanted to find someone! + + CHRISTIAN + Which direction were they going? + + CONNIE + 122. + + + (indicating) + That way! They rushed behind the + bushes when they saw me. + + HÅRGAN MAN #1 + (placating) + Okay: I can tell you’re saying the + truth. Let’s all go in the + direction you saw them. If he’s + here, we’ll find him. + + CONNIE + They’d have already hid him by now! + You’re lying!! + + The Hårgan Man wears a false smile, but his eyes BUZZ. + + CHRISTIAN + (interjecting) + I’ll go. Okay? They went in that + direction? I’ll go looking. + + CONNIE + I’m coming, too. + + CHRISTIAN + Great. You and Mark go together. + Okay, Mark? We’ll cover more + ground. + + Mark nods. + + CONNIE + (re: Hårgan Men) + I don’t want them. + + CHRISTIAN + They’ll go away. + (to Hårgan men) + Right? Thanks guys. Sorry. + + The Hårgan men concede. They begin walking off. + + HÅRGAN MAN #1 + I hope you find him. + + HÅRGAN MAN #2 + And the truck is waiting for you + when you finally choose to leave. + + +79 EXT. WOODS - MINUTES LATER 79 + 123. + + + Christian walks alone through the woods, half-heartedly + searching. He suddenly stumbles upon a vague trail of DRIED + BLOOD, streaked across the grass. Christian PAUSES at this. + Tree limbs groan in the wind. + + Christian looks up, left and right. Nobody’s around. + + MINUTES LATER + + Christian sees MARK in the distance. He walks over. + + CHRISTIAN + Where’s Connie? + + MARK + She got freaked out and ran back. I + dunno. + + CHRISTIAN + (skeptically) + She went off alone? + + MARK + She’s fucking nuts, dude. So are + the rest of these people. The whole + fuckin’ place is crazy. + + They arrive at each other. + + MARK + Did you find anything? + + CHRISTIAN + Not really. + + MARK + ...I do really wanna fuck that + brunette. + + +80 EXT. FIELD - DAY 80 + + Christian and Mark return from the woods. They approach the + two Hårgan men, who are now laying a dense CIRCLE OF ROCKS + around the ominous, yellow SACRED HOUSE (which we saw + earlier, isolated in the field). + + CHRISTIAN + Did Connie come back here? + + HÅRGAN MAN #1 + (looking up) + 124. + + + Uh - yes. Her boyfriend called our + landline from the station and they + talked on the phone. Then she + begged our pardon and Jan drove her + to the station. + + Christian squints with burgeoning suspicion. + + CHRISTIAN + Okay. Huh. I guess that’s a relief. + + HÅRGAN MAN #1 + For her it was. We already saw him + leave the first time. + + In the b.g., a Hårgan BOY (13) runs from one group to + another, announcing: + + BOY + (in Swedish) + Supper is ready! ... They’re + calling supper! + + +81 EXT. HILL - DAY 81 + + At the base of the hill, the dining tables are now set in + the pattern of a STAR. Everyone is seated, save for some + stragglers. + + Christian, Dani, Josh and Mark sit at a table. Pelle is + seated a few seats away. Dani glances over at him. He + smiles warmly and looks away. Dani’s eyes LINGER on him. + + The SERVERS are laying plates in front of everyone. One + especially COY-LOOKING SERVER sets a plate in front of + CHRISTIAN. + + It features the special meat pie with the BASIL LEAF on + top. + + CHRISTIAN + Thanks. + + Dani turns to Christian. + + DANI + Do you know what happened with + Connie? + + CHRISTIAN + She supposedly got driven to the + station. + 125. + + + DANI + Why do you think Simon would leave + without her? + +Christian shrugs. + + DANI + I could see you possibly doing + that. + + CHRISTIAN + ...The fuck does that mean? + + DANI + (pause) + Never mind. + +Christian stares at Dani. Surprised at the uncharacteristic +defiance. + +Meanwhile, Mark has noticed ULF staring at him from a +distance. + +Ulf has murder in his eyes. + + MARK + (to Josh) + Fuck. Somebody’s still sore about + “his tree.” + +Josh looks up to see Ulf, whose eyes really are trained on +Mark. + + JOSH + Yikes. + + MARK + Is he gonna kill me? + +Josh, preoccupied, turns to Christian. He asks, faux- +casually: + + JOSH + Did you learn anything about the + Rubi Radr? + + CHRISTIAN + (mock-delighted) + Oh, what? You wanna collaborate + now? + +Josh ignores this and moves on to his food. + 126. + + + CHRISTIAN + I know that one elder showed you + through it... + + JOSH + (abruptly) + Yeah, barely. Never mind. Sorry I + brought it up. + +Christian seethes. He takes a BITE of his tart. As he +chews, he catches something on his tongue. He turns away +from Dani, and pulls a PUBIC HAIR from his mouth. His eyes +widen with alarm. + + MARK + (seeing this) + Oh my God, dude. What the fuck? + + DANI + (inquiring) + What is it? + +Christian turns to Dani. + + CHRISTIAN + Just a piece of bone. + + DANI + Ew. + + CHRISTIAN + Yeah. It’s okay. + +Mark leans in to whisper to Christian: + + MARK + Was that a fucking pube? + + CHRISTIAN + Shhh! Calm down. + +Christian sits “casually” back into his chair. He tucks the +pubic hair into his pocket. He looks around to finally +ALIGHT on Maja. She is smiling at him. Dani catches this. + +Christian self-consciously breaks the gaze, taking a sip of +his drink (a pink-tinted MEAD). He then PAUSES, realizing +what he might be drinking (namely, menstrual blood). +Paranoid, he sets the drink back down. + +Mark notices that ULF is still staring him down. + + MARK + 127. + + + Jesus. He’s still lookin’ at me. I + don’t like this. + + Josh looks tensely at his NOTES. He stares at a line that + reads: Affects -- runic combinations, “emotional sheet + music” INGA, the pretty brunette, sneaks up behind Mark. + She whispers in his ear. + + INGA + You will come with me? + + Mark turns to her, startled. He smiles widely. + + MARK + What? + + INGA + You will come? I show you. + + MARK + Uhhh... Oh-kay. + + INGA + Yes? + + MARK + Yeah. Okay. Sure. Great. + + Mark rises from his seat. + + MARK + (to his friends) + I’ll be back, I guess? She’s gonna + show me... + + Mark looks very excited as he walks off with Inga. She + takes his hand and leads him toward the woods. + + DANI + Somebody for everybody, I guess. + + Josh is so immersed in his thoughts, he didn’t even notice + Mark being lured away. + + +82 INT. THE MAIN HOUSE - NIGHT 82 + + Everybody is climbing into bed. Josh’s eyes, however, are + BUSY. He’s thinking intensely about something. + + Dani sneaks up on him. + 128. + + + DANI + Hey, can I steal another sleeping + pill? Only half this time. + + JOSH + Oh. Yeah. Okay. + + Josh fetches her a pill. She takes it and moves to her bed. + + Josh crawls stiffly into his bed. He’s still wearing his + SHOES. + + +83 INT. THE MAIN HOUSE - LATER 83 + + Everyone is asleep, except for JOSH, who looks as tense as + before. He sits up, scanning the room to make sure nobody + is awake. He then climbs quietly out of bed. He creeps to + the door and silently exits. + + +84 EXT. THE MAIN HOUSE - CONTINUOUS 84 + + Josh rushes across the grass. It’s now darkest twilight. He + hustles to the TEMPLE, glancing nervously about. + + +85 INT. TEMPLE - FOYER - CONTINUOUS 85 + + Josh passes the dark foyer to enter through the Temple + Doors... + + +86 INT. TEMPLE - CONTINUOUS 86 + + Josh sneaks into the Temple. He creeps over to the pedestal + featuring the holy book RUBI RADR. He pulls out his phone, + turns on the FLASHLIGHT, and begins taking silent PHOTOS - + page by page - of Rubi Radr’s text. + + While he anxiously photographs, Josh keeps glancing up at + the Temple DOORS, making sure he’s still alone. He has + photographed about fifteen pages when he hears the front + door CREAK open. + + Josh FREEZES. He looks up. Through the Temple’s open doors, + he sees SOMEONE standing in the dark foyer. The person is + barely visible in the dimness. After some scrutiny, Josh + makes it out to be MARK. He is standing motionless. + + JOSH + (relieved, whispering) + Holy fuck. Mark? + 129. + + + But Mark doesn’t move or speak. + + JOSH + (whispering) + What the fuck are you doing? Close + the door! We’re not supposed to be + here. + + Mark still doesn’t move. Despite how hard it is to see, one + can tell that his body looks BULKIER than usual. And his + face seems somewhat SWOLLEN. + + Josh looks unsettled. He starts moving toward the door. + + JOSH + (whispering) + Mark? Hello? What the fu--? + + MARK steps forward. It is now bright enough to see... This + isn’t Mark. It’s a LARGER MAN, and he’s WEARING MARK’S SKIN + (which is stretched uneasily over the man’s bulkier + features). Upon closer inspection, one might identify these + features as belonging to ULF. + + Before the full horror of this revelation can register on + Josh’s face, he is STRUCK against the HEAD by a bludgeoning + FORCE (a block of wood wielded by an off-screen Hårgan). + Josh collapses to make a sustained, involuntary GROANING + noise. + + A quiet moment as “Mark,” eyes invisible behind the skin + mask, stares down at Josh’s twitching body. + + Josh’s body is swiftly DRAGGED out of frame. + + +87 INT. THE MAIN HOUSE - MORNING 87 + + Outside, the ROOSTER crows. + + People stir awake in their beds. Josh’s bed is EMPTY. As is + Mark’s. + + +88 EXT. FARMSTEAD - MORNING 88 + + Breakfast time. Dani, Christian and Pelle look quizzically + around. + + DANI + Could Mark still be off with that + girl? + 130. + + + PELLE + I wouldn’t be surprised. + + DANI + Then what about Josh? + + CHRISTIAN + I’m honestly not too concerned. + +The Plump Elder stands up. A hush falls cleanly over the +scene. + + PLUMP ELDER + We have something regretful to + announce. This morning the third + book of Rubi Radr was found missing + from the south house. We are not + hoping to point fingers, yet we ask + kindly that whoever took it, please + return it to its original place. + You can leave it in the south + house, which will be left unguarded + and unwatched. Nobody need know it + was you. If it is not returned by + tonight, other actions will be + taken. Thank you. + +He sits down and everyone uneasily resumes eating. + + CHRISTIAN + (under his breath) + Fuck. + (to Dani and Pelle) + Which of you is surprised? + +LATER + +Breakfast has ended. People leave their tables, carrying +their empty plates. + +Christian, Dani and Pelle stand up to see the THIN ELDER +and the PLUMP ELDER walking toward them. Our group +anticipates the following question: + + THIN ELDER + Where is your friend Josh? + + CHRISTIAN + I know. We have no idea. + + THIN ELDER + 131. + + + He and your other friend go + disappearing on the same day. You + see how it looks. + + CHRISTIAN + Yes, obviously, but I swear to you + - we are completely in the dark on + this. We are every bit as confused + as you are. + + DANI + (not sure whether to say + it) + We did see Mark go off with one of + the girls last night. + + PLUMP ELDER + What girl? + + PELLE + Inga. + +The Plump Elder thinks about this. Christian interjects: + + CHRISTIAN + But Mark wouldn’t have done this. + Josh, though: he came to bed with + us, and when we woke up, he was + gone. And if he did take that book, + I just pray you understand: we do + not identify as friends of his, or + collaborators, or anything. I + certainly don't vouch for him and + we'd be so embarrassed to be + connected to this in any way. + +Beat. The Thin Elder relents. + + THIN ELDER + ...Let’s just hope it gets + returned. + + CHRISTIAN + Yes. I hope that very much. + + PELLE + I feel responsible. + + THIN ELDER + Well - you and Odd can go looking + for them. Maybe you can redeem + this. + 132. + + + Pelle nods, walks to Odd, and they proceed toward the + truck. + + The Plump Elder turns to Dani and Christian. + + PLUMP ELDER + (to Dani) + You’ll be going with the women for + the day’s activity. + (to Christian) + And Siv asks to see you in her + house. + + CHRISTIAN + (nervous) + Why? + + The Elder doesn’t have the answer. + + CHRISTIAN + ...Which one is hers? + + The Elder points to a SMALL WHITE HOUSE across the field. + + Christian nods “okay” and starts toward it. As he walks, he + hears: + + PELLE (O.S.) + Grandfather Sten! + + ODD (O.S.) + The truck is gone! + + PLUMP ELDER (O.S.) + What?! + + Christian turns to see a distraught Pelle and Odd. + + ODD + They took the truck. + + Pelle stares daggers at Christian, and then turns back to + Odd. + + Christian, very uneasy now, proceeds to the small white + house... + + +89 EXT. FIELD - DAY 89 + + ECU of a BRIGHT YELLOW-GREEN PASTE. It’s being MASHED + vigorously in a bowl. The paste is made of ground-up + flowers. + 133. + + +A fat SCOOP of the paste is dropped into a LARGE JUG OF +SPRING WATER (perched on a table). The paste is STIRRED +into the water. + +A queue of WOMEN (between 16 and 35) has formed behind the +table. + +One by one, the women accept a CUP of the water. They drink +it (sometimes after nervous hesitation). In the b.g. is the +MAYPOLE. + +Dani has joined the line. The BLONDE WOMAN (whom she +befriended earlier) is in front of her. + + DANI + Do you know what we’re doing? + + BLONDE WOMAN + Oh yes. This is the big one. + +The Blonde Woman smiles mischievously. Dani smiles +skeptically back. They arrive at the “water” table. Both +are handed a cup. + + DANI + It’s just water? + + BLONDE WOMAN + Not just. It is for the + competition. + +The Blonde Woman gulps hers down, and then gestures “You +now.” Dani pauses, and then knocks it back. + + BLONDE WOMAN + (smiling) + Uh-oh. + +She LAUGHS and HUGS Dani. + + BLONDE WOMAN + Here we go! + +Dani looks very nervous. + +LATER + +Three CIRCLES OF WOMEN have formed around the Maypole. The +inside circle (of about 8 women) is surrounded by the +middle circle (about 15 women), which is surrounded by the +largest, outside circle (about 22 women). + 134. + + + The men, children and older women have gathered on the + grass to watch. The LARGE WOMAN stands with musicians + (fiddler, key-harpist, and floutist). + + Dani stands in the middle circle. All the neighboring women + look very excited. + + Dani looks down at the earth. At first everything looks + normal, but then she notices...GRASS has begun to sprout + from her shoes. + + Dani looks up. Fuck. She’s tripping. + + The LARGE WOMAN speaks up. + + LARGE WOMAN + (in Swedish) + It was here, long ago, that the + Black One lured the youths of Hårga + to the grass and seduced them into + dance. Once they began, they could + not stop, and they danced + themselves to death. Now, in life- + holding defiance of the Black One, + we dance until we fall. And she who + survives last will be crowned for + her stamina. + + The Large Woman CLAPS her hands ONCE. The musicians play a + long, sustained NOTE. All of the women join hands and + slowly dip to a cross-legged BOW. The musical note dies. A + brief moment of SILENCE, and then...THE MUSIC BEGINS! (It + is the song of Hårgas.) The women begin to DANCE. The + inside circle dances to the right. + + The middle circle to the left. The outside circle to the + right. + + Dani stumbles as she finds her way into the dance. Once she + hits her stride, she smiles. The Blonde Woman looks back at + her and LAUGHS good-naturedly. Dani laughs back! + + +90 INT. SMALL WHITE HOUSE - SAME TIME 90 + + Christian sits in a small wooden chair in the empty LIVING + ROOM. The walls are completely covered in RUNIC MURAL ART. + + Christian lingers on a particularly striking ILLUSTRATION + (painted in the wall’s center) in which a BEAR is being + BURNED ALIVE before several onlookers. + + A door opens to reveal SIV. + 135. + + + SIV + Please. Come in. + + Christian rises to follow Siv into the other room. + + +91 INT. SMALL ROOM - CONTINUOUS 91 + + A spare room. Two chairs face each other in the center. Siv + takes a seat in one of them. + + SIV + Please. Sit. + + Christian obliges. + + Siv’s posture is perfect. Christian self-consciously + corrects his posture. A long silence, and then: + + CHRISTIAN + I just need to say, I have no idea + where Josh went, and I can swear to + that on my mother’s life. + + SIV + How do you feel about Maja? + + Christian pauses. + + CHRISTIAN + About Maja? + + Siv’s lack of response says “yes.” + + CHRISTIAN + How do I feel about her how? + + SIV + You have been approved to mate with + her. You’re an ideal astrological + match and she has fallen in love + with you. + + CHRISTIAN + We haven’t even spoken. + + SIV + She fell in love with you before + you came. Pelle showed her a photo. + + CHRISTIAN + (pause) + 136. + + + I have someone here with me. I’m + with Dani. + + SIV + Dani will not know. I am not + proposing marriage. You wouldn’t be + approved for that. + + CHRISTIAN + So...you’re asking me to what? + + SIV + I’m asking you if you care to mate + with Maja. It is a one-night offer. + + CHRISTIAN + ...She’s very beautiful. + + SIV + She is very beautiful. + + CHRISTIAN + I think I ate one of her pubic + hairs. + + SIV + That sounds probably right. + +Beat. Christian doesn’t know what to say. + + SIV + From an academic perspective, it + would also serve as a unique + glimpse into our sexual rites. + + CHRISTIAN + Can I not have a unique glimpse + without participating? + +Siv smiles at the silly question. + + CHRISTIAN + Can I think about it? + + SIV + You can think about it here. + Tonight is the time of alignment. + Then it’s done. + +A long, conflicted pause. + + CHRISTIAN + I don’t think I can. + 137. + + + SIV + Okay. Is that your answer? + + Christian hesitates. He’s very torn. + + +92 EXT. SMALL WHITE HOUSE - MINUTES LATER 92 + + Christian emerges from the house in a daze. We track back + with him. His eyes are fraught as he wrestles with the + moral quandary. But as he continues to walk/think, a vague + SMILE sneaks onto his face. + + Christian looks forward to see the DANCE COMPETITION in the + distance. He’s walking toward it. + + +93 EXT. FIELD - SAME TIME 93 + + Dani is still engaged in the dance. It’s a dizzying + spectacle, and the mounting hallucinations are clearly + taking their toll on the dancers. + + The music STOPS abruptly, and everyone FREEZES. + + LARGE WOMAN + (in Swedish) + Around! + + Everybody turns around to face the OPPOSITE DIRECTION. They + switch hands, and the music RESUMES. They now dance in the + opposite direction. + + One woman STUMBLES to her knees, laughing. She is now + disqualified. She walks off to sit on the grass and watch. + + Another WOMAN pulls out of the circle to RETCH nearby. She + is also disqualified. + + Dani, who was having fun, is suddenly disturbed by the + retching sound. She feels sick for a second. + + DANI + (thoughts turning) + Josh...? + + The Blonde Woman turns happily to Dani. + + BLONDE WOMAN + Don’t slip! + + Dani looks to her. + 138. + + + BLONDE WOMAN + Can you holding on?! + +Dani gets a second wind. She’s back. + +Maja, who is dancing in the outside circle, sees CHRISTIAN +arriving. He joins the onlookers. + +Maja decisively feigns COLLAPSE, opting out of the dance. +She stumbles over to the onlookers, affecting dizziness. +She glances over at Christian, smiling at him. He SMILES +back. She coyly sits a few people over. The electricity +between them is palpable. + +The music STOPS abruptly again. All the dancers turn +around, switching hands. As the music starts again, one +woman TOPPLES to her side, bringing down two of her +neighbors. She and one other laugh; the third woman is +furious. + +LATER + +Many of the women have now been disqualified. Dani is still +in the running! She seems determined to stay alert and +compete. + +The music CEASES. The women STOP. Their attention is turned +to a field where NINE SMALL FENCES extend one after the +other. + + LARGE WOMAN + (in Swedish) + Nine fences jumped clean! Three + ladies at a time! + + BLONDE WOMAN + (to Dani, translating) + Now we are jumping the nine fences. + We go three and then three. + + DANI + (confused, semi-alarmed) + What? + + BLONDE WOMAN + Just watch first. + +The Large Woman CLAPS once. Three women - including the +Blonde Woman - walk up to form a row. Standing side-by- +side, they face the nine fences. + +The fiddler suddenly WAILS on his fiddle, creating an +intense treble. The women all RUN forwrd. + 139. + + +They JUMP over each fence and run to the next. One woman’s +foot catches the third fence and she FALLS to the grass. + +Another women collapses over the fifth fence. The Blonde +Woman makes it to the end. She happily returns, still +eligible. + +Another three women go. Again, only one makes it to the +end. + +Next up, two women line up. DANI is urged forward to join +them. She looks to the women beside her. They SMILE at her. + +Their smiles stretch wider (and more fluidly) than normal. + +The edges of their mouths elongate up their cheeks. + +The fiddle suddenly TREBLES. The women RUN. + +DANI JUMPS OVER THE FIRST FENCE. She gasps, suddenly filled +with confidence. She runs to the next fence and CLEARS it. +She runs faster now, to the third fence. Clears it. The +fourth fence - clears it! The woman to Dani’s left suddenly +BIFFS it, falling on her face. Unshaken, Dani clears the +fifth fence, and then the sixth, and then the seventh, and +the eighth... Dani makes it to the final (and tallest) +fence. She leaps high. Her foot ALMOST connects with the +top of the fence, but it PASSES OVER! She lands on her +feet, triumphant. She glows with excitement. + +The other woman also made it. She walks up to Dani, HUGS +her and gives her an encouraging PECK on the lips. + +Dani turns to the onlookers. She sees CHRISTIAN. He isn’t +paying attention. He claps absent-mindedly. + +Dani’s expression CURDLES. She walks back to the maypole. +Her trip is turning BAD again. + +More women have lined up to jump the fences. The fiddle +SHRIEKS, and they run. + +Christian’s eyes go to Dani. She’s staring at him. Taken +aback, he gives her a smile. She doesn’t smile back. She’s +very much in the grip of the psychedelics now. + +Dani’s HANDS are taken by women on either side of her. + +Confused, she looks around to see that she is now part of a +more modest circle surrounding the maypole. Only SEVEN +women remain. The music STARTS and they commence dancing. + 140. + + +MEANWHILE, Christian sits among the onlookers. He’s +sneaking obsessive glances at Maja. Suddenly, he notices +ULLA (whom he met earlier) walking toward him. She arrives +at his feet, holding out the CUP of the flower-spiked +water. + + ULLA + For you. + + CHRISTIAN + What is it? + + ULLA + Spring water with special + properties. + + CHRISTIAN + (skeptical) + What’s it do? + + ULLA + Breaks down your defenses and opens + you for the influence. + + CHRISTIAN + ...I’m worried I’ll have a bad + trip. + +Christian looks back to Maja. She’s now looking directly at +him. + +Her eyes are languid, confident. She doesn’t break the +gaze. + +Christian turns to Ulla, and accepts the water. He sips it. + +Sips it again. KNOCKS it back. + +Settling into the idea that he’s now going to hallucinate, +Christian looks back to the MAYPOLE. The women are still +dancing in a circle. + +IN THE DANCING CIRCLE, Dani’s eyes betray a rising panic. + +One SKINNY WOMAN says, as provocation: + + SKINNY WOMAN + (in Swedish) + If we stop, will everything keep + spinning? + +A SHORT WOMAN replies: + 141. + + + SHORT WOMAN + (laughing, in Swedish) + What if we looked down and there + were centipedes everywhere? + +The Short Woman laughs, and then looks down. As imagined, +she sees the ground as a squirming BLANKET OF CENTIPEDES. +She SCREAMS in horror, desperately FLEEING the circle. +Another woman has looked down to see the same thing. She +SCREAMS too, and runs off. + +Dani looks down, panicked and confused. It’s just the earth +beneath her feet. + + DANI + There’s nothing there. + +Dani looks up. She laughs with relief, still confused. + + BLONDE WOMAN + (smiling) + That’s right! Hold on to your + brain! + +Now there are only five women dancing. + +TIME-LAPSE. The shadows of the dancing women crawl across +the grass, moving in accordance with the drifting sun. Two +women FALL (to be disqualified) over the course of this +time lapse. + +Now, only Dani and two other women are in the running. One +of these is the Blonde Woman. The other is a good-natured +Plump Woman. They each dance separately, no longer holding +hands. + +The Plump Woman’s legs are clearly less stable than Dani’s +or the Blonde Woman’s, and she is tired and stumbling. + +Competition has been growing in Dani. She’s so close to +winning that she can now taste it. + +The Blonde Woman turns happily to Dani. + + BLONDE WOMAN + (in Swedish) + Are you tired?! + +Dani, still dancing: + + DANI + I don’t speak Swedish! + 142. + + + BLONDE WOMAN + (not understanding) + What?! + +Dani repeats herself, but it comes out as: + + DANI + Aewobeemeewish! + +The Blonde Woman, understanding, responds: + + BLONDE WOMAN + Waweroobeeny! + + DANI + (somehow understanding) + Aewabeeny-sa-aewonnerstabloo! + +They are speaking complete gibberish, but they understand +each other perfectly. Dani is amazed. + + DANI + (excitedly remarking on + this) + Weerabbleeishcobleraymib! + +The Blonde Woman nods manically, agreeing with this. + + BLONDE WOMAN + Blorishcobleraymib-wonnerstablee! + +The Plump Woman suddenly TRIPS over one foot to fall +CRASHING to the ground. The Blonde Woman (still facing +Dani) TRIPS over the Plump Woman. She COLLAPSES, laughing +merrily on the way down. + +Dani dances past the fallen women. She doesn’t immediately +realize that she’s just won the competition. She still +looks determined as she continues dancing manically around +the maypole. + +Cheering women rush over to congratulate Dani, but she +KEEPS DANCING in the circle, afraid that it’s a trick. + +The women tug excitedly at Dani’s arms. They embrace her. +Dani decelerates, but does not cease dancing. Finally, +enough women have enfolded her. Her dancing feet slow to a +confused halt. + + LARGE WOMAN + (in Swedish) + We have our May Queen!! + 143. + + +The LARGE WOMAN approaches with an immense, gorgeously +crafted GARLAND CROWN. She lays it on Dani’s head. + + DANI + (hallucinating) + It’s over? + + LARGE WOMAN + You are our May Queen. + + DANI + (confused) + Why? Me? + + LARGE WOMAN + You! + + DANI + (suddenly scared) + What do you mean?! + +ROSE PETALS are fired out of small air cannons by children. + +The petals rain down on Dani and the surrounding Hårgans. + +Dani, severely disoriented, is led aside by several women. +One woman wraps her in a sort of scarf (composed only of +greenery and flora), and then she is directed to stand +before a gorgeous view of the field. Her distracted +attention is pointed to a MAN holding a large, old FILM +CAMERA. He takes Dani’s PHOTOGRAPH. + +Dani looks for Christian, who stands among the Hårgans with +a baffled expression. Dani alights on him. + + DANI + What’s happening?! + +But Christian doesn’t understand it himself. He shakes his +head to say “I don’t know!” + + DANI + (pleadingly, to the + surrounding women) + What does this mean? What do I have + to do? + +The women answer with hugs, warm smiles, and kisses on the +cheek. Their faces morph subtly (a product of the +psychedelics). + 144. + + +Among the people who kiss her are her MOTHER and FATHER and +SISTER (Terri). She looks back for them, but they have +disappeared. A figment of her imagination? + +Caught in the hallucination, Dani falls into a traumatized +daze. + +PELLE breaks the spell by giving Dani an enthusiastic hug. + + PELLE + Holy cow, you won! May Queen! + +He gives her a blunt KISS on the lips. Before she can +react, Pelle is replaced by two new women, also kissing and +hugging her. + +Dani is then led to a ROUND WOODEN PLANK (painted gold and +shaped like a cartoon SUN) with eight long, protruding +handles. She is directed to STAND on it. + + BLONDE WOMAN + Careful! + +The handles are gripped by eight men, and Dani is swiftly +HOISTED UP. She almost falls, but doesn’t. She is elevated +five feet above the ground as the crowd erupts into +mirthful SONG. + +The song persists as Dani, still on her pedestal, is +carried across the field. All eyes are on her. Everyone +follows her. + + DANI + (searching) + Christian?! + +But Christian has lagged to the back of the crowd. He looks +extremely conflicted. His eyes move to Maja, whose eyes are +TRAINED on him. She smiles widely, but her eyes are faded. + +Christian slows to a stop as the procession continues. Ulla +runs back to fetch him. She takes his hand and pulls him +back toward the crowd. + +Meanwhile, Dani’s confusion and fear is beginning to +subside. + +She looks down at the procession to see that these people +are indeed celebrating her. A few women even persist in +throwing rose petals up at her. + 145. + + +Dani, now calm, looks down to see that her FEET and LEGS +have assumed the GOLD color of the plank (like a +chameleon). + +The crowd arrives at today’s DINING AREA. In a LUSH FIELD, +the tables are all queued up to form a long, straight line. + +At the head of the table is a HUGE CHAIR (more like a +throne) adorned in lush greenery and bright flora. + +Dani’s pedestal is set down. Members of the crowd step +aside to create a PATH for Dani’s trajectory (toward the +throne). Dani takes a moment before stepping decisively +onto the GRASS. + +When Dani’s FOOT touches the grass, small SUMMER FLOWERS +magically SPROUT UP around her foot. Her next step is the +same. Flowers emerge, impossibly, from the soil. She +continues to walk forward, having now assumed a more self- +possessed posture. Confidence is rising in her, and with +every step, more flowers sprout up. She’s leaving a +beautiful trail of wild flowers in her wake. + +Dani STOPS at the throne. Everyone now finds their way to +their seats, but no one sits. They look to her. She looks +momentarily confused, but then understands. She SITS. Now +everyone may sit. + +Dani admires her green throne. The greenery/flora subtly +SWELLS and DEFLATES (as we saw before, with the mushroom +trip). + +SERVERS appear with plates. Dani is the first person to +receive food and drink. Her tableware is much finer than +the rest. + +Before long, everyone has food in front of them. They sit +with their hands on their laps, present. They WAIT for +Dani. + +Dani picks up her FORK. She looks back to the rest of the +table. + +They all look back at her with patience. She then looks +down and PIERCES her food with the fork. (The sound of the +piercing is heightened.) Dani takes a BITE. Now everyone +may begin eating. + +Dani looks down the length of the extended table. She +alights on CHRISTIAN, who isn’t eating. He looks very +disturbed, clearly suffering a bad trip. He looks in Dani’s +direction. + 146. + + +They LOCK EYES, but communicate nothing to each other. They +are both lost in confusion, but they don’t share in this. +If anything, they look SCARED of each other. + +This moment is broken by a SERVER arriving at Dani’s side. +He presents her with a baby SALT HERRING. The community +sees this and laughs, knowing what’s in store. + + DANI + For what? + +The PLUMP ELDER explains: + + PLUMP ELDER + You must eat it whole, but the tail + going first. + + DANI + (sincerely frightened) + What? I can’t. That’s too big. + + PLUMP ELDER + (chuckle) + No no - you must try. + +Christian, tripping heavily, turns to a LARGE MAN to his +side. + + CHRISTIAN + How much is happening right now? + +Inexplicably, the Large Man CLAPS in Christian’s face. This +sends Christian on an intense downward spiral. + + CHRISTIAN + (almost inaudible) + Why did you do that? + +The Large Man’s attention is now on Dani, whose head is +tilted back as she tries to eat the herring whole (tail +first). The Plump Elder holds it above her, feeding it into +her mouth. + +Dani takes half of the herring into her mouth, starts to +chew, and then coughs out the rest. This elicits ecstatic +APPLAUSE. + +Dani, unnerved at first, lets out a childlike LAUGH. + + PLUMP ELDER + A word from the May Queen! + + BLONDE WOMAN + 147. + + + Yes! Speech! + + DIFFERENT HARGANS + Speech! + + LARGE WOMAN + Stand! Stand! + +Dani is urged to stand up. She does so, clearly +hallucinating intensely. The silence hangs heavily. + + DANI + ...I don’t know if this is real, or + what’s happening - but...thank you. + +Dani lets this hang, and then sits back down. Brief, +awkward pause, and then: + + THIN ELDER + To the May Queen! + (raises his aquavit) + Skål!! + + EVERYONE + Skål!! + +Everyone drinks to that. One Hårgan Woman turns to Dani to +excitedly says: + + HÅRGAN WOMAN + You are the family now! Yes? + +Dani nods, unsure. The woman nods manically. + + HÅRGAN WOMAN + Yes! Yes! You are the family! + +The Woman rubs Dani’s arm, smiling warmly (and +aggressively). + +PELLE, we reveal, is composing a drawing of Dani in her +throne. + +Christian’s expression is SOUR. He turns to notice that +MAJA is looking at him. Taken aback, Christian’s expression +slowly SOFTENS (in a slack-jawed, lust-stricken way). Maja +is clearly “in heat.” Holding Christian’s gaze, she RISES +from her seat (as if in slow-motion) and begins to walk +sensually off. Christian watches her go. She passes SIV, +whose eyes are also trained on Christian. + 148. + + +Maja continues toward the TEMPLE, glancing back at +Christian to confirm that he’s still watching her. DANI +notices this, despite the fact that everyone is competing +for her attention. + +Dani looks to Christian. He stares dumbly at the table, +lost in conflict. + +MINUTES LATER + +Everyone is finished. Siv RISES. All eyes go respectfully +to her. + + SIV + Now it is traditional for the May + Queen to bless our crops and + livestock. And after the luck you + just inherited from that salt + herring, we should all be doubly + encouraged. + +Polite laughter all around. + +Siv gestures in the direction of a CARRIAGE, just beyond +the tables. Its roof sports THREE UNLIT TORCHES. + +Three GIRLS scatter flowers to create a PATH between Dani +and the carriage. Dani RISES. Everyone else stands up, too. + + DANI + Can Christian come with me? + + SIV + No. The Queen must ride alone. + +Dani pauses to accept this. She steps onto the floral path +and approaches the carriage. On the way, one MAN (dressed +in lady’s clothing) offers her a LONG, FLAMING STICK. Dani +accepts it. The man motions to the carriage’s unlit +torches. + +Dani walks to the carriage, extends the stick’s flame +toward the torches, and sets them each AFIRE. + +The man takes the stick back from Dani, and gestures for +her to enter the carriage. A TRADITIONALLY DRESSED MAN +stands beside the carriage door. He hands Dani a VIAL OF +HOLY SPRING WATER, and offers Dani his hand (for support) +as she contemplates entering. + + TRADITIONALLY DRESSED MAN + Your majesty. + 149. + + + Dani accepts his supportive hand as she climbs into the + carriage. + + +94 INT. CARRIAGE - CONTINUOUS 94 + + Dani takes a seat. + + Outside, several YOUNG WOMEN (including the RED-HAIRED + WOMAN) have gathered in front of the carriage. They each + take hold of RODS, prepared to pull the carriage. + + A few other women have gathered to the sides of the + carriage. + + They hold juniper boughs and unlit torches. One girl goes + around, IGNITING their torches. + + +95 EXT. FIELD - SAME TIME 95 + + Most of the community remains standing at the dining + tables. + + They WATCH as the women pull the carriage away. + + Christian watches, too. Guilt-ridden. He looks to SIV. She + looks unblinkingly back. + + +96 INT. CARRIAGE - MOVING - MOMENTS LATER 96 + + Dani looks out the window as the carriage is pulled through + the WHEAT FIELDS. The accompanying women WAVE their torches + about, casting away dark spirits. + + +97 EXT. FIELD - SAME TIME 97 + + A GIRL begins scattering flowers to create a NEW PATH. This + is between Christian and the TEMPLE. All eyes are now on + him. + + Christian, frozen for a moment, RISES. He takes one abrupt + step forward, and then continues warily toward the Temple. + + +98 INT. TEMPLE - CONTINUOUS 98 + + Christian enters the foyer of the temple. The temple doors + are closed. A BEARDED MAN IN A DRESS stands in waiting. He + hands Christian a WHITE GOWN. + 150. + + + BEARDED MAN IN DRESS + Put this. + + The man gestures to a MODESTY PANEL in the corner (behind + which Christian can disrobe). + + +99 EXT. WHEAT FIELD - SAME TIME 99 + + The women pulling the carriage have slowed to a STOP. Dani + is directed by the Red-Haired Woman to step out. She is + handed a flaming torch, and led to a small HOLE in the + ground. + + Dani is handed a sack of GRAIN, a raw STEAK, and an EGG. + She is directed to pour the grain into the hole, which she + does, and then to drop the steak over the grain. She does + this, too. She is then instructed to crack the egg and pour + its contents into the hole. + + The Red-Haired Woman now affects perfect posture. Dani + instinctively mimics this. + + RED-HAIRED WOMAN + Repeat now after me. + + Dani and the Red-Haired Woman are looking directly into + each other’s eyes. The Red-Haired Woman begins to SING very + slowly, enunciating very carefully, and Dani SINGS ALONG + (quite well): + + RED-HAIRED WOMAN + Vakna upp, vakna upp, både åker och + äng Nu har du sovit länge i din + säng Nu är det över med snö och med + regn Nu har sommarnatten kommit. + + The Red-Haired Woman is impressed. As are the onlooking + young women. + + The hole is COVERED UP with soil. + + +100 INT. TEMPLE - FOYER - SAME TIME 100 + + Christian has changed into the WHITE GOWN. He steps + nervously out from behind the modesty panel. + + CHRISTIAN + What now? + + The Bearded Man in the Dress holds up a STONE POT. He lifts + off the lid to release a WAVE OF STEAM. + 151. + + + BEARDED MAN IN DRESS + Breathe in. + + CHRISTIAN + What does it do? + + BEARDED MAN IN DRESS + For your vitality. + + Christian BREATHES IN the vapors. His eyes begin to cloud. + He EXHALES heavily. He’s already feeling the effects. His + breathing becomes shallow. + + The Bearded Man now OPENS THE DOORS to the temple. + + +101 INT. TEMPLE - CONTINUOUS 101 + + It is dark, save for several burning candles. + + In the center of the room, lying on a bed of freshly cut + birch twigs and WILD FLOWERS, is MAJA. She is NUDE, lying + on her back, legs together. + + Several OLDER WOMEN, mostly in their 30s and 40s (a few in + their 50s and 60s), stand at the back of the room. They are + also NUDE. + + Christian is too stoned to react. He regards the room as he + would a dreamscape. + + Ceremonial MUSIC begins. A few women, reading from the Rubi + Radr, SING in the Hårgas’ wordless, groaning, microtonal + tradition. + + One Woman steps up to draw Christian’s gown OFF of his + shoulders. He is fluidly DISROBED. Now standing naked (and + erect), he is directed towards Maja, who waits nervously. + + Christian seems to LEVITATE half-an-inch off the ground and + then FLOATS gently across the room (clearly a product of + the escalating hallucination). As he approaches Maja, the + singing intensifies. Maja’s LEGS timidly PART. Christian, + now standing at her feet, looks down at her. Her eyes are + closed as she waits to be taken. + + +102 EXT. CATTLE HOUSE - SAME TIME 102 + + The sun is less intense now. It is nearing twilight. + 152. + + + The carriage has pulled up to the cattle house. Dani, + holding a torch, proceeds to bless the livestock (according + to the Red-Haired Woman’s instructions). + + +103 INT. TEMPLE - SAME TIME 103 + + Christian has descended to his knees. He sits between + Maja’s legs, preparing himself. He looks extremely + intoxicated. + + Maja’s eyes are squeezed shut as she anticipates what’s + coming. + + Christian awkwardly leans down to gently KISS her lips. + Without opening her eyes, she kisses back - slowly, + sensually. The singing rises and falls (out of harmony) + with trembling impatience. + + Christian gently presses himself into Maja. Her mouth opens + in anticipation. He ENTERS her. Overwhelmed, Maja digs her + nails into his back. Her eyes well with tears. Christian + looks unsettled, but he continues... + + Christian is now MAKING LOVE to Maja, very slowly - almost + robotically. She lies motionless, mouth agape. She doesn’t + move a muscle, nor does she make a sound, but her + expression is one of total, paralyzed ECSTASY. The singing + has now HARMONIZED. + + The Older Women watch this with rapt attention. They are + clearly aroused. The lovemaking is dreamily slow. The + singing rises steadily. Delayed percussion accompanies each + heavy, lagging THRUST. + + Maja looks back at one of the WOMEN (50s). The woman smiles + tenderly at her. This would be touching if it weren’t so + weird. + + Maja offers the woman her HAND, and the woman supportively + takes it into her hands. The woman lovingly presses her + CHEEK against Maja’s open palm, CARESSING her face. + + +104 EXT. FARMSTEAD - MOMENTS LATER 104 + + The carriage has returned to the farmstead. Dani steps + uneasily out of the wagon, still under the warping + influence of the hallucinogen. The SINGING is heard faintly + from the Temple. + + RED-HAIRED WOMAN + We shall go now to Siv’s house. + 153. + + + DANI + What’s there? + + RED-HAIRED WOMAN + It is a special meeting, only for + the Queens. She will bless you. + + The distant singing persists. Dani looks to the Temple. She + seems DRAWN to it. + + DANI + What about there? + + RED-HAIRED WOMAN + Not for us. + + Dani, attracted by the singing, takes a few steps toward + the Temple. The young women look very concerned. The Red- + Haired Woman steps up to STAND IN DANI’S WAY. + + RED-HAIRED WOMAN + I think you should not. + + DANI + ...Why? + + The Red-Headed Woman is not convincing when she says: + + RED-HAIRED WOMAN + It is a ceremony for the men. + + Dani is now very suspicious. Her expression begs “What is + it really?” The Red-Haired Woman’s expression says that + it’s something that would hurt Dani. The woman’s expression + pleads: “Don’t go inside. For your own sake.” Dani’s eyes + NARROW with paranoia. Now she must enter. She PUSHES ahead. + The women remain where they are, very worried. + + +105 INT. TEMPLE - FOYER - CONTINUOUS 105 + + Dani enters the foyer of the temple. Beyond the closed + doors, the singing has reached an operatic intensity. + + Dani takes a moment to gather herself, and then she bends + down to peer through the door’s KEYHOLE. + + Through the keyhole, Dani sees Christian’s BACK as he + “makes love” to Maja. The surrounding women have fallen + deeper into their trance. Dani’s eyes go WIDE with horror. + + Stunned, Dani backs away from the keyhole. She suddenly + doubles over and RETCHES. She rushes out of the temple. + 154. + + +106 EXT. TEMPLE - CONTINUOUS 106 + + Dani runs outside. She VOMITS onto the grass. She’s in a + state of shock. Her breathing is shallow and she looks + anxiously around, as if confused as to her whereabouts. + + The young women rush over to Dani. They surround her, + touching her, rubbing her. Dani CAN’T BREATHE. She’s + panicking. + + The Red-Haired Woman directs the women to LEAD Dani to the + Main House. They all hurriedly guide her in that direction. + + +107 INT. MAIN HOUSE - CONTINUOUS 107 + + The young women usher Dani to her bed. They sit her down, + gathering intimately around her. Dani struggles + increasingly to breathe. + + The Red-Haired Woman HOLDS Dani’s FACE in her hands. She + locks eyes with Dani and affects DEEP BREATHING. Dani’s + eyes, unwilling to settle at first, gradually become FIXED + to the Woman’s. The Woman continues to affect deep, + measured breathing. Dani struggles to follow her. Her + breathing trembles to meet the Red-Haired Woman’s example. + + Finally, Dani BREAKS DOWN into tears. Everything she’s + bottled up, all the emotions that she’s labored to stifle - + it all comes BURSTING out. She falls into deep, anguished + SOBS. + + Still locked onto Dani’s gaze, the Red-Haired Woman also + breaks down. She SOBS DEEPLY along with Dani. They are + sympathetically connected. It’s remarkable, and very + unsettling. + + The surrounding women have also started CRYING, although + not as intensely as the Woman who has fixed herself to + Dani. The crying is infectious, and the deeper they go, the + greater the outpour. + + It has become a circle of hysterical, weeping women. They + moan and scream and cry. It’s positively TRIBAL. + + +108 INT. TEMPLE - SAME TIME 108 + + The ceremony has nearly reached its apogee. The singing has + peaked, and Christian is thrusting faster and harder than + before. + 155. + + + Maja, eyes still closed, is in a state of absolute + EUPHORIA. + + Christian suddenly looks ill. He begins to slow down. + + MAJA + (in Swedish) + No. Don’t stop. + + Christian looks like he’s going to be sick. + + One of the OLD WOMEN (60s) crouches behind Christian. She + PUSHES on his buttocks, urging him to thrust faster. She + keeps pushing and pushing until Christian’s thrusts have + gained in force. + + MAJA + (in Swedish) + Yes. Yes. Fill me. + + Christian continues to push until he finally CLIMAXES. The + Old Woman releases him, and backs away. + + The singing DIES out. + + Christian, motionless for a long moment, pulls out of Maja + and sits on the ground. He looks slightly traumatized. Maja + looks as euphoric as ever. She hugs her knees to her chest, + and gently rocks herself back and forth. + + MAJA + (in Swedish, to the + women) + I can feel it! I feel his life + inside me! + + Christian looks back to the OLD WOMAN who was just pushing + his buttocks. She smiles toothlessly at him. He’s + definitely going to be sick. He STANDS suddenly, taking in + the room with growing repulsion. He turns to amble dizzily + out of the temple. + + +109 EXT. TEMPLE - CONTINUOUS 109 + + Christian exits. He looks around, increasingly disoriented. + He looks down to see the fresh puddle of Dani’s VOMIT. This + triggers him to retch. He moves desperately away from the + vomit. + + + + + å + 156. + + + Standing at a distance, several isolated Hårgans watch + Christian stumbling about. Christian tries to ignore them. + He walks toward the MAIN HOUSE, but as he approaches, he + hears the CHORUS OF CRYING (coming from Dani and the young + women), and he immediately changes his trajectory. + + Christian is now walking toward a HORSE STABLE. + + As he passes the stable, he peers inside to notice that the + TRUCK (which was supposedly stolen) is parked inside. + + Christian’s eyes buzz with suspicion. + + Very aware that he’s being watched, Christian continues + onward. He arrives at a SMALL HOUSE. He opens the door to + reveal that it’s a CHICKEN COOP. + + +110 INT. CHICKEN COOP - CONTINUOUS 110 + + Christian enters. He shuts the door behind him. Chickens + flap stupidly about. + + Christian tries to regain his composure. As he tries to + sober himself up, a barely audible MOANING is heard. He + looks up, startled, to SEE... + + Across the room, JOSH has been chained to a fence. He is + shirtless, his eyes are half-open, and the SKIN of Josh’s + upper abdomen has been stretched OPEN to expose his LIVER + and the corners of his ribs. If it weren’t for his faint + moans, it would be difficult to discern whether he was + alive. + + The gnarled edges of Josh’s wound have been covered in bird + feed. It’s clear that the birds have been at it. In fact, + one chicken is currently (and feebly) trying to flap its + way up to Josh’s open wound, and one CROW is perched to + Josh’s side. + + Frozen in horror, Christian stares unblinkingly. + + CHRISTIAN + Josh? + + Christian’s eyes fill intensely with TEARS. He starts + toward Josh. As he arrives near him, he begins to repeat: + + CHRISTIAN + Jo-- + + Josh’s eyes BURST open and he GASPS wretchedly for air. He + is thrown into violent, gurgling convulsions. + 157. + + + Terrified, Christian turns around to see... SIMON’S CORPSE, + hanging upside-down. His bare feet have been SHOD with IRON + HORSESHOES, and he hangs dangling by the HEELS (rope, + secured at the ceiling, has been tied between the tendon + and the bone). + + Christian’s face is locked in an expression of utter + horror. He turns to RUN, only to bump into ODD, whose face + is painted WHITE. Odd blows a handful of BROWN POWDER in + Christian’s face. + + Christian can’t help but BREATHE IT IN. He coughs out a + lungful of the mysterious dust. + + Stunned for a moment, Christian stumbles back. He tries to + move his legs, but they are suddenly FROZEN. Now immobile, + Christian drunkenly COLLAPSES. He writhes into panic, + unable to move. His eyes are LOCKED OPEN. + + He sees a gathering of Hårgans outside the door. Among them + is PELLE. Christian looks pleadingly at Pelle. Pelle looks + away with shame. + + Odd leans down. With his fingers, he CLOSES one of + Christian’s EYELIDS. He then CLOSES the other. As this lid + shuts, we GO TO BLACK. + + HOLD ON BLACK. After a beat, we sharply cut to: + + +111 EXT. FIELD - NEXT DAY 111 + + A TIGHT CLOSE-UP of Christian’s sleeping face. His lip is + slightly contorted, and his chin is chapped with dried + saliva. A HAND enters frame to gently SLAP Christian awake. + + His eyelids do not open on their own. + + The hand’s fingers PRY OPEN Christian’s EYELIDS. His lip + remains contorted. He tries to speak, but it’s nothing but + vowels. + + HÅRGAN MAN (O.C.) + You cannot speak. You cannot move. + 158. + + +We cut WIDE to reveal that Christian sits limply on the +grass, propped up against a pole. He faces an immense +THRONE, made of jagged sticks and enveloping greenery. DANI +sits in this throne, dressed in a beautiful white dress +(covered in intricate embroidery). Her face is painted +WHITE. Her lips painted BLACK. Her impressive FLORAL +GARLAND CROWN is comprised of the nine special flowers and +herbs. To either side of her, the ELDERS are all seated in +a row. (Also, RUBEN has a special seat, whose platform is +covered in COTTON, to resemble CLOUDS.) Dani seems to have +detached from reality completely. Her eyes are somewhere +far away. + +The entire community is gathered behind Christian. Among +them, MAJA stands happily, wearing vivid red lipstick. + +Siv has risen to announce. + + SIV + On this, the day of our deity of + purification, we gather to give + special thanks to our beloved Sun. + As an offering to our great Father, + we will today surrender nine human + lives. + +Christian’s eyes flare with terror. Dani’s expression is +blank. + + SIV + As Hårga takes, so Hårga gives. + Thus, for every newblood + sacrificed, we will dedicate one of + our own. That is: four newbloods, + four Hårgans, and one to be chosen + by our Queen. Nine in all, to die + and be reborn in the great and just + Cycle. + +Siv turns to the PLUMP ELDER. He rises to continue the +speech. + + PLUMP ELDER + The four newbloods have already + been supplied. As for our end, we + have two already dedicated - + +The Plump Elder gestures to the CORPSES of the two elders +who jumped to their death. These bodies are proudly +DISPLAYED near the back of the crowd. + + PLUMP ELDER + - and two who have volunteered. + 159. + + + (projecting to the crowd) + Ingemar? Ulf? + +INGEMAR and ULF take one step forward. Ulf looks nervous. + +Ingemar looks overjoyed. + + PLUMP ELDER + You have brought outside offerings, + thus volunteering your own bodies. + You will today be joined in harmony + with Everything. + (to Pelle) + And to Pelle, who has brought us + new blood and our new Queen: you + are today honored for your + unclouded intuition. + +Pelle, wearing a TWIG CROWN, smiles sadly. + +The Plump Elder continues: + + PLUMP ELDER + And now, for the ninth offering, it + is traditional that our Queen, in + all her fairness and wisdom, shall + choose between a pre-selected + newblood and a specially ordained + Hårgan... + +The Plump Elder turns to a Man standing beside a large BALL +CAGE (as generally used in bingo). The cage holds about a +hundred WOODEN BALLS (the size of ping-pong balls) with a +different RUNIC NAME carved into each. + +The Man rotates the ball cage, which then dispenses a +single BALL. The man holds up the ball and reads the name +aloud: + + BALL MAN + Dag. + + PLUMP ELDER + Honorable Dag! Please step forward. + +DAG, a man in his late 50s, looks like he just won the +lottery. He takes a step forward, beaming with pride. + + PLUMP ELDER + And Christian Hughes... + +The Plump Elder acknowledges Christian, whose eyes are +locked wide. + 160. + + + PLUMP ELDER + (to Dani) + These are your candidates for the + ninth and final offering. We + patiently await your verdict. + + Christian tries to scream, but this only results in muffled + moans. His eyes BEG Dani for mercy. Her eyes are GLASS. + + The community waits as Dani makes her silent deliberation. + + Dani’s EYES settle fixedly on CHRISTIAN. A wave of intense + EMOTION suddenly animates Dani’s face. Sadness, anger, + love, heartbreak... These feelings are finally wrestled + down, and her expression becomes BLANK again. Her EYES, + still trained on Christian, have HARDENED. They narrow + pointedly to suggest that she’s made her decision. The + Plump Elder understands. + + PLUMP ELDER + (to the crowd) + The honor has been bestowed on + Christian Hughes, our ninth and + most sacred offering! + + Christian’s muffled screams now become hysterical. Dani’s + gaze remains steely and absent. + + +112 EXT. FIELD - EVENING 112 + + CU of a WHEEL rolling across the grass. Tracking alongside + this, we tilt up to reveal that it belongs to a + WHEELBARROW. Lying in the wheelbarrow is CONNIE’S CORPSE. + It is soaking wet and its flesh is grossly distended (from + being left underwater). She is wearing the same outfit (of + greenery and jewels) that was used earlier for the + sacrificial tree (which was fed to the river). + + Continuing to track alongside the wheelbarrow (which is + pushed by a young male Hårgan), we pull back to EXPAND OUR + VIEW. We reveal that the Hårgan is carting Connie’s corpse + toward the yellow-painted SACRED HOUSE, which was + previously off-limits. + + It stands in the center of an open field. Its door is now + OPEN. + + We settle on a static wide of this until a NEW CART is + pushed into frame. We now follow this cart, keeping it + centered in frame. This cart holds MARK’S “CORPSE.” In + fact, it is just his hollowed out SKIN - stuffed with straw + and hay. + 161. + + + Peripherally, other bodies are being carted toward the + house. + + We continue to track ahead, following Mark’s cart INTO the + SACRED HOUSE... + + +113 INT. SACRED HOUSE - CONTINUOUS 113 + + The interior is completely adorned in greenery. An + impossibly lush mausoleum. In the center is a PLATFORM made + of hay. + + Connie’s corpse is rested in one corner. Mark’s is placed + in the next corner. Simon’s body is placed in between them. + + In the following corner is the corpse of one of the ELDERLY + MEN who jumped off the cliff. He is surrounded by his most + precious belongings (jewelry, books, etc.). His SON (40s) + is overseeing the removal of one of his father’s EYEBALLS + by the DOCTOR. + + The doctor has effectively drawn the corpse’s eyeball from + its socket. He hands the eyeball to the son. + + The doctor then moves to the body of the other elderly man + who leapt to his death. He is also surrounded by his most + prized possessions. The doctor now proceeds to remove his + eyeball. + + +114 EXT. FIELD - DAY 114 + + The son of the fallen elder has walked to a small HOLE in + the earth. He lays his father’s EYEBALL in the hole, and + covers it with soil. + + +115 INT. BOOK-BINDING ROOM - SAME TIME 115 + + A room that is typically used for book-binding. Its walls + are lined with collector’s editions of books. + + A DEAD BEAR (seen earlier, alive and caged) lies on the + island table. A deep INCISION has been drawn from the + animal’s neck to its groin. Two Hårgan Labourers pull out + the bear’s INNARDS. + + After scooping out the majority of its guts, they pile the + waste into a bucket. + + Then, with the assistance of two well-built Hårgan men, the + Labourers endeavor to lift CHRISTIAN’s paralyzed body. + 162. + + + Christian is fitted into the bear’s hollowed out carcass. + + They start by inserting his limp legs into the bear’s legs. + + +116 INT. SACRED HOUSE - MINUTES LATER 116 + + Christian has been secured into the giant bear carcass. The + incision (from its groin to its neck) has been SEWN UP. The + bear’s JAW has been removed, creating a gaping HOLE (down + to its upper chest) through which Christian’s FACE is + visible. + + Five Hårgan labourers plant the bear carcass in the CENTER + of the hay platform. There is a pole against which its back + is rested. Christian is still unable to move or speak. His + muffled screams persist. + + A man dressed as “Víoarr” (god of vengeance) stands before + Christian. He holds the Rubi Radr in his hands. + + VÍOARR + (in Swedish) + Mighty and dreadful beast. With + you, we purge our most unholy + affects. We banish you now to the + deepest recesses, where you may + reflect on your wickedness. + + Ingemar and Ulf are now strapped to the walls. They are + also surrounded by their most prized belongings. The Doctor + stands before Ulf. He pours a thick, sappy LIQUID into + Ulf’s mouth. + + DOCTOR + (in Swedish) + Drink from the yew tree. Feel no + fear. + + The doctor moves to Ingemar, who smiles widely. The doctor + pours the liquid into his mouth as well. + + DOCTOR + (in Swedish) + Drink from the yew tree. Feel no + pain. + + In the b.g., Josh’s corpse has also been placed. + + The doctor leaves the house. Now, THREE HÅRGAN MEN enter + with FLAMING TORCHES. Music begins outside, including the + wordless, microtonal SINGING we’ve come to recognize. + 163. + + + The men approach Christian, whose “screaming” has become + horribly frenzied. + + The men move to different sides of the hay platform. They + form a TRIANGLE. Simultaneously, they touch their torches + to the hay - igniting a FIRE. + + +117 EXT. FIELD - SAME TIME 117 + + The torch-men exit the house. Inside, the fire has begun to + spread along the platform. + + The music rises as the fire picks up. The SINGING, which + wavers in trembling anticipation, has not yet found + harmony. + + Dani watches this with dissociated eyes. She stands tensely + in the field, eyes locked on the fire. Behind her, all of + Hårga is enraptured. + + +118 INT. SACRED HOUSE - SAME TIME 118 + + The fire has grown considerably. Inside the bear, Christian + is now being steam-boiled in the animal’s fluids. + + The bear’s FUR begins to catch fire. Before long, the whole + animal is swallowed in the blaze. Christian’s wretched face + becomes invisible behind the flames. + + Ulf and Ingemar (still smiling) watch this with detached + fascination. + + The fire has now spread to other piles of hay. It has begun + to crawl up the walls of the house. + + Ulf is suddenly consumed by flames. He SCREAMS! + + +119 EXT. FIELD - SAME TIME 119 + + Ulf’s screams are heard from the Sacred House. Suddenly, + every member of the Hårgan community (who is not singing) + begins to SCREAM as well. Feeling Ulf’s pain, they emit a + horrible chorus of wails. When Ulf’s screams die down, so + do theirs. + + Meanwhile, Ruben has been given paper to PAINT on. Two + elders encourage him. + 164. + + +DANI, watching the burning house with fraught eyes, is +suddenly met with a wave of conflicting emotions. Her +expression curdles into one of sheer HORROR and DISGUST. +Then it becomes one of deep SORROW and SHAME. Her eyes well +with tears. The singing has now HARMONIZED and has risen to +an insane, operatic pitch. + +We cut to an immense WIDE. Dani’s back is in the f.g. and +the burning house is in the b.g. Overcome, Dani buries her +face in her hands. Breaking into gentle sobs, she begins to +walk aimlessly to the side. We TRACK alongside her, keeping +her centered. She is circling the house, pulling at her +hair and face in increasing anguish. She is WEEPING now, +and the house (ever-present in the b.g.) has become +ENGULFED in the raging flames. + +Dani begins MOANING and SCREAMING. Her howls almost +harmonize with the singing in the b.g. The fire ROARS and +CRACKLES in the distance. It’s apocalyptic. + +Soon it’s uncertain whether Dani is crying or LAUGHING. Her +legs become weak and she collapses to her knees. Four +Hårgans (one of them being Pelle) run into the scene, +carrying a LARGE CHAIR - Dani’s throne. + +The Hårgans lift Dani by the arms and SEAT her in the +throne. + +They then HOIST the chair into the air. + +On the upward LIFT, we cut to a tight CLOSE-UP of Dani’s +face. + +She is being carried forward. Her expression, which begins +as one of great distress, slowly starts to TURN. Her agony +subsides into sudden CONFUSION. What’s happening? Where am +I? + +I’m on this chair, being carried! Her expression goes from +FEAR to EXCITEMENT to CONFUSION again. She suddenly lets +out an abrupt LAUGH (which we can’t hear over the music and +the now-deafening FIRE). Dani is now being taken over by an +invading sense of pride and contentment. This soon evolves +into a manic exhilaration. Dani BEAMS. She has been +embraced by a new family. She is Queen. She is not alone. + +A SMILE finally breaks onto Dani’s face. She has +surrendered to a joy known only by the insane. She has lost +herself completely, and she is finally free. It is horrible +and it is beautiful. + + CUT TO BLACK + \ No newline at end of file diff --git a/scripts/Mission Impossible.txt b/scripts/Mission Impossible.txt new file mode 100644 index 0000000000000000000000000000000000000000..33e12c91ef6279a2ac5346975fbbb762475eb343 --- /dev/null +++ b/scripts/Mission Impossible.txt @@ -0,0 +1,5984 @@ + 1. + + + + +1 INT. KIEV APARTMENT - NIGHT 1 + + We're in a large closet. JACK KIEFER, an athletic American + in his late thirties wearing a headset, is wedged into a + corner, staring at a television screen. + + The television shows a surveillance view of the living room + that lies outside the confines of the closet. The TV image + is in black and white. JACK shifts, trying like hell to get + comfortable but he's been there a while + + ON THE SCREEN + + A bare bulb shines down on the contents of a shabby hotel + room. Directly under the bulb a man, GENNADY KASIMOV, sits + in a straight backed wooden chair in his blood-stained T- + shirt. There are a couple of THUGS and a stray HOOKER in + the room behind him. A legend: KIEV. + + KASIMOV is sobbing. Uncontrollably. A MAN enters the room, + ANATOLY, an imperious Russian in his forties, a Russian + godfather. The THUGS and HOOKERS are ushered out. + + ANATOLY looks down at KASIMOV piteously and urges him to go + and sit by him in a chair he picks up for him. KASIMOV does + as he is bid, looking gratefully up at ANATOLY. They speak + in Russian which is subtitled. + + ANATOLY + Kasimov, Kasimov, good that you + called us. + + KASIMOV + (sobbing) + I don't remember what happened! We + were at the bar, drinking, laughing + -- having fun. + + ANATOLY gets up out of the chair and goes to a bed across + the room. A WOMAN lies half under the sheets. She's lying + in an unnatural position on the bed, and the sheets are + smeared with blood. She's dead. ANATOLY lifts her eyelid. + + KASIMOV + I don't even know how I got here. I + swear, Anatoly, I never touched + her! I didn't lay a finger on her. + + ANATOLY moves away from the WOMAN. + 2. + + + ANATOLY + Kasimov. Don't flounder. + +IN THE CLOSET + +JACK, impatient, checks his watch. + + JACK + Jesus, she's been under too long. + Come on, come on! + +ON THE SCREEN + + KASIMOV + You're the only one who can help + me. + +Desperately he tugs at ANATOLY'S jacket. But ANATOLY hits +his hand away and smacks him around the head. + +IN THE CLOSET + +JACK reacts. + +ON THE SCREEN + +ANATOLY bends close to KASIMOV. + + ANATOLY + C'mon, c'mon, tell the + truth...c'mon. + + KASIMOV + They'll kill me. + +ANATOLY paces up the room, away from KASIMOV. + + ANATOLY + You asked for my help. You asked + for my help...come on... + + KASIMOV + You're right, of course. + +IN THE CLOSET + +JACK leans forward. + + JACK + The name pal...give us the name. + +ON THE SCREEN + 3. + + + KASIMOV + The contact in Minsk..the contact + in Minsk..works in a travel agency. + + IN THE CLOSET + + JACK + Come on! + + ON THE SCREEN + + ANATOLY + Come on! + + KASIMOV + His name is.....Dimitri Miediev. + + ANATOLY + Dimitri Miediev...Dimitri + Miediev... + + IN THE CLOSET + + JACK + Got him. + + ON THE SCREEN + + Back on screen, ANATOLY places a hand on KASIMOV'S shoulder + as if he had just anointed him. + + IN THE CLOSET + + In the closet, JACK types the name into a computer and + cross checks -- "MIEDIEV" comes up, then "posting/American + consulate/Kiev." + + JACK turns and nods to a WHOREHOUSE WAITRESS in costume in + the closet next to him, dressed in traditional Russian + tunic and virtually no bottom. She quickly leaves. + + +2 INT. SHABBY ROOM - NIGHT 2 + + We enter the room for the first time as the WAITRESS does. + She's carrying a tray with a bottle of vodka and two shot + glasses. + + ANATOLY + Now, we drink. + + He pours them out and hands one to KASIMOV. + 4. + + + ANATOLY + To friends. + + KASIMOV + Yes, Anatoly, yes. + + JACK + Cheers. + +He drinks. He blinks. Something felt funny about that. +Dizzied, KASIMOV swoons and passes out on the floor. +ANATOLY moves to the closet door and opens it. + +IN THE CLOSET + +ANATOLY reaches up to his face -- + +--and tears away a mask of flesh. He's no middle aged +Russian mobster, he's ETHAN HUNT, an American in his early +thirties. He gestures to KASIMOV contemptuously. JACK hands +ETHAN a hypodermic kit and he goes quickly back into the +room. + + ETHAN + (in English now) + Get rid of this scum. + +Immediately, there is activity, and PEOPLE everywhere. TWO +OTHERS come into the room and carry KASIMOV out. + +ETHAN goes quickly to the body of the dead woman. He cheeks +the pulse in her neck, shines a penlight in her eye. He +strips the adrenalin kit and jabs the long needle into the +dead woman's thigh. He checks her pulse again, checking a +stopwatch. In about ten seconds, the woman's eyes open. + +CLAIRE is her name, a French woman of thirty or so. She +half rolls over, GROANS, and wipes some of the blood from +her mouth. + + CLAIRE + Did we get it? + + ETHAN + We got it. On your feet. + + CLAIRE + I want to sleep. Can I sleep here. + + ETHAN + Walk, just walk. Start walking. + + CLAIRE + 5. + + + I'm walking. + + ETHAN + Talking's good, walking's better. + + CLAIRE + Sleeping's better. + +Meanwhile, MEN in overalls take apart the room. The ceiling +lifts right off the walls, and the walls themselves start +to come down, revealing the "hotel room" to be an elaborate +set in the middle of an empty warehouse. + +JACK comes into the room from the closet. He hands CLAIRE +her jewelry, including a watch and a wedding ring. ETHAN +stops what he's doing, noticing. She looks up at him +questioningly. + + CLAIRE + Are you all right Ethan. What's + wrong with you? + + ETHAN + If you're gonna do this again + Claire, It's not gonna be on my + watch. + + CLAIRE + Oh yeah? + +JACK comes into the room from the closet. He hands CLAIRE +her jewelry, including a watch and a wedding ring. ETHAN +stops what he's doing, noticing. She looks up at him, +questioningly. + + JACK + Claire. + + ETHAN + Jack. + +She almost unconsciously slips the wedding ring onto her +finger. ETHAN notices. He turns and SHOUTS to the room at +large. + + ETHAN + IS THERE ANY PARTICULAR REASON + WE'RE NOT + +OUT OF HERE YET?! + + JACK + Just waiting for you, tubs. + 6. + + + He walks across the room and out the door. CLAIRE, worried, + clutches her hands together, glancing down at her wedding + ring. + + We move in on it -- + + CUT TO: + + +3 INT. JET - DAY 3 + + -- and come out on another wedding ring, this one on a + MAN's finger. One of several he's drumming on an arm rest + in the plush first class cabin of a commercial airliner. He + shoves some money into his wallet, and as he does so we + catch a fleeting glimpse of a photograph of CLAIRE. + + The pilot's voice makes an announcement. + + VOICE (O.S.) + Ladies and gentlemen, we have + leveled off at our cruising + altitude of thirty-eight thousand + feet-and we should be arriving in + Prague right on schedule. + + A FLIGHT ATTENDANT makes her way between the seats, passing + out menus. + + FLIGHT ATTENDANT + Would you like to watch a movie Mr + Rosen? + + A passenger takes one. The ATTENDANT continues on. + + FLIGHT ATTENDANT + (CONT'D) + Would you like to watch a movie Mr + Phelps? + + The MAN with the wedding ring looks up. JIM PHELPS is in + his mid-forties, good-looking, intense. He's a tired man, + and not just now, it's a profound fatigue. He looks up at + the ATTENDANT and smiles warmly. + + PHELPS + No, I prefer the theatre. + + A look crosses the FLIGHT ATTENDANT'S face; her tone + becomes stilted. + + FLIGHT ATTENDANT + 7. + + + Would you consider the cinema of + the Ukraine? + + PHELPS + Perhaps you'd choose one for me. + +The ATTENDANT turns and walks away. PHELPS sits back, +shakes a cigarette out of a pack, and taps it nervously on +the armrest. + +AT THE FRONT OF THE CABIN. + +The FLIGHT ATTENDANT opens a case loaded with video 8 +cassettes of feature films. She opens a panel in the top of +the case and withdraws a tape hidden back there. + + BACK AT PHELPS' + SEAT + +The ATTENDANT returns with the tape and hands it to PHELPS. +He takes it without a word and she moves on. + +PHELPS reaches down and turns a lever on the support +between his seat and the empty one beside him. He flips up +a small movie screen and angles it toward himself, away +from the other passengers. He puts on a headset, opens a +door in the armrest, and puts the tape in. + +He presses play. + +ON THE TAPE, + +the image of a man comes on. EUGENE KITTRIDGE is fortyish, +but seems permanently stuck in the Nixon era -- horn rimmed +glasses, short short haircut, rather be caught dead than +tieless. But if he catches your eye, he will never, ever +look away. He's seated at a desk, looking into the camera. + + KITTRIDGE + (on the tape) + Good morning, Mr. Phelps. The man + you're about to see is Aleksander + Golitsyn -- + +The screen winks and shows an image of GOLITSYN, a burly +man in his forties. The image is herky-jerky videotape, +presumably taken from a concealed camera as GOLITSYN walks +down a foreign street. + + KITTRIDGE (O.S.) + -- a former KGB Line X officer now + working the international black + market selling intelligence. + 8. + + + This morning, we learned that Golitsyn has stolen one half + of a CIA NOC list, the list of our non- official cover + agents working in Eastern Europe. + + The screen shows an image of what such a list might look + like, code names and other information scrolling by on a + computer screen at high speed. + + KITTRIDGE (O.S.) + For security reasons, the NOC list + is divided into two encoded halves. + Golitsyn already has the cryptonym + portion, which contains agent code + names and targeting areas. This + portion is useless unless combined + with the second half -- the true + name list that is kept in the CIA + station in our Embassy in Prague. + + The Embassy itself comes on screen, a beautiful old + building at the base of the Charles Bridge, which spans the + Vltava River. + + KITTRIDGE (O.S.) + We believe Golitsyn plans to steal + the true name list at an Embassy + function tomorrow night. Your + mission, should you decide to + accept it, is to obtain + photographic proof of the theft, + apprehend those involved, and + return the stolen list. I don't + have to stress the importance of + this matter, Jim. We're keeping it + internally black. Because of its + urgency, I've already sent to + Prague a team selected from your + usual group. + + Still photographs come on screen, some of which we're + already seen -- JACK KIEFER, CLAIRE and ETHAN. + + KITTRIDGE (O.S.) + Ethan Hunt will of course be your + point man, as usual. He's in Kiev; + we're getting word to him now. + + +4 INT. JET - DAY 4 + + PHELPS sits back in his seat, closes his eyes, and rubs his + tired brow. KITTRIDGE himself comes back on the tape. + 9. + + + KITTRIDGE (O.S.) + As always, should you or any member + of your IM force be caught or + killed, the Secretary will disavow + all knowledge of your actions. This + tape will self- destruct in five + seconds. Good luck, Jim! + + PHELPS inhales deeply -- + + -- the tape in the armrest starts to smolder, sending up a + plume of wispy smoke -- + + -- and PHELPS exhales, concealing the plume in a cloud of + cigarette smoke. + + CUT TO: + + +5 EXT. PRAGUE SAFE HOUSE - DAY 5 + + SARAH and HANNA, a German woman in her mid-thirties enter. + Another legend: + + PRAGUE + + +6 INT. SAFE HOUSE - PRAGUE - DAY 6 + + The IMF team's safe house is a sparsely furnished Prague + apartment with a panoramic view of the city. + + The IMF team is scattered around the room. Sketches, pads, + overfilled ashtrays and equipment are strewn everywhere. + JACK and SARAH seated next to each other - JACK + demonstrating the VISCO glasses to her. CLAIRE is seated + opposite JACK at the computer. JIM and ETHAN are in the + kitchen. HANNAH taking a roll of black-out curtain through + the room. + + JACK + Look to your right, then back to + me. There's a camera built right + into the bridge. Whatever you see + it sees and transmits it back here. + Can you hear me? + + SARAH + Of course I can hear you. + + JACK + 10. + + + No, in your...ear piece. You have a + lovely smile (eyes). Can you hear + me now? + + SARAH + Loud and clear. + + JACK + What's going on? + + SARAH + I don't know. + + JACK + Why don't you take a look? + + SARAH + Jack...that's spying. + + JACK + That's what we do isn't it? + + SARAH + Jack you're so wicked. + + JACK + Too wicked to have a drink later? + + SARAH + I think I might just take that + look. + +ETHAN and JIM PHELPS are in a heated conversation. + + ETHAN + Yeah, well, Jim, fact is I've got + more than ninety days leave coming. + + PHELPS + A hundred and sixty-seven, I think + it is. Take it all, if you want. + After this one. + + ETHAN + I thought I'd take some now. + + PHELPS + (quietly, to Ethan) + What the hell's made you decide to + take your leave at the worst + possible time? Claire's in a weird + mood too. + 11. + + + ETHAN + Oh? What's the problem? + + PHELPS + I don't know, I had to go to + Chicago again. You were in Kiev. + You tell me. + + ETHAN + Tell you what? + + PHELPS + When you started noticing your + short term memory loss. What the + problem was you and Claire had in + Kiev? + + ETHAN + What problem? + + PHELPS + (laughs) + Ah, God, forget it. What are we + talking burnout here? + + ETHAN + I guess. + + PHELPS + Ethan, you can't burn out. + + ETHAN + Why not? + + PHELPS + Because I can't afford it. And + because you'd burn up before you'd + burn out. + +CLAIRE, who is at the computer behind them, somehow seems +to be the reference point in the following exchange: + + ETHAN + How was Chicago? + + PHELPS + 12. + + + Wonderful. Ran into a convention of + auto dealers at the Drake Hotel. + You hear the one about the + astronaut who comes back from the + first manned flight to Mars after + two years? His wife's got a year + old kid. So he says "All right. Who + was it? My friend Harry?" She says + no. "Oh, it was my friend Sammy." + She says it wasn't Sammy. + + "Oh, I suppose it was my friend Lou." "No, what's the + matter, don't you think I have any friends of my own?!" + + PHELPS laughs. ETHAN doesn't. The back of CLAIRE'S head is + in his line of sight. + + PHELPS + Boy, you really are grim. Come + here, take a look. + + He leads ETHAN to the window, which overlooks the city. + + +7 EXT. PRAGUE - DAY 7 + + ETHAN's POV of Embassy. + + +8 INT. SAFE HOUSE - DAY 8 + + ETHAN nods. + + PHELPS + Beyond Charles Bridge there is our + Embassy. See it? Tomorrow night, if + anything goes wrong, this guy will + steal the names of our agents in + every country all over Eastern + Europe. Up for grabs to the highest + bidders -- third world terrorists, + arms dealers, drug lords -- any and + everybody who'd love to get rid of + long term coverts like us, and some + very dear friends among them. If + they're exposed, they'll be + executed. Come over here. Take a + lock at this. + + CLAIRE, who is working at a computer, has pulled up a + quicktime video image in a box on her screen. In it, an old + edition of the McLaughlin Report, the PBS news show, is + playing. + 13. + + +ETHAN is distracted by it. + +INSERT - TELEVISION + +SENATOR WALTZER, a bearded, bespectacled man in his +forties, is holding forth: + + SENATOR WALTZER + I'll go you one further. I say the + CIA and all its shadow + organizations have become + irrelevant at best and + unconstitutional at worst. It's + time we throw a little light on the + whole concept of the Pentagon's + "black budget." These covert agency + subgroups have confidential + funding, they report to no one -- + who are these people?! We were + living in a democracy the last time + I checked. + +BACK TO SCENE + +ETHAN looks back at JIM. + + ETHAN + You're going to use Walter? + + PHELPS + He's our guy. + + ETHAN + Isn't he chairing the Armed + Services hearing? + + PHELPS + Not this week. This week he's + flyfishing at the Oughterard Slough + in County Kildare, with one of our + best Irish guides. + + ETHAN + He won't be back in a hurry? + + PHELPS + No, not in a hurry. What do you + think? You think the plot'll work? + + ETHAN + Sure. If the main character does. + + PHELPS + 14. + + + If you were me, Ethan, who would + you trust to make him believable? + + JACK comes breezing in with a piece of bubble gum. + + JACK + Sorry, am I interrupting? + + ETHAN + Always. + + JACK shows the gum to ETHAN. + + JACK + Stick of gum. If you come up + against a lock you can't pick -- + + Half the gum is red, the other half is green. + + JACK + Red light. Green light. Mash them + together, asta lasagna. Don't get + any on you -- you have five + seconds. + + He offers the gum to ETHAN. + + PHELPS + Are you gonna take it? + + CLAIRE glances up from the computer and catches ETHAN's + eye. PHELPS may have caught the glance, but is focused on + ETHAN. + + ETHAN + (relenting) + Give me the God damn gum. + + JACK + Just don't chew it. + + PHELPS + Thank you. + + CUT TO: + + +9 EXT. AMERICAN EMBASSY - NIGHT 9 + + The American Embassy glitters beside the Vltava River. + Party at the Embassy tonight. + 15. + + +10 INT. AN ELEVATOR SHAFT - NIGHT 10 + + JACK, wearing black coveralls and slightly odd-looking + eyeglasses (they're called Visco glasses), enters an + elevator shaft through a small door at the base of the + wall. He looks up the shaft, shining a flashlight until he + finds what he's looking for -- + + -- a gray metal box, protruding from the wall one floor up. + + +11 INT. SAFE HOUSE - NIGHT 11 + + PHELPS is at a table in the safe house apartment, watching + the bank of monitors HANNAH wired together earlier. The + monitors are alive now, showing various views of the inside + of the Embassy, where the party is going on, and one view + of the elevator shaft. + + PHELPS wearing an IMF headset and speaks into the + mouthpiece. + + PHELPS + Ethan. Jack's inside. Window's open + by twenty-three hundred. + + +12 INT. EMBASSY - NIGHT 12 + + Inside the Embassy, the party is a formal, tuxedoed affair + that's in full swing on the second floor. + + SENATOR WALTZER, the man who was on TV, walks up a grand + staircase, headed in. An AMERICAN DIPLOMAT in a tuxedo + hurries up to him. + + DIPLOMAT + How do you do, Senator, I'm Rand + Housman, the Ambassador's aide. If + I could just steer you through the + reception line here + + -- + The DIPLOMAT pilots the SENATOR by + one arm, guiding him to a reception + line at the base of the stairs to + the party. + + DIPLOMAT + Allow me to introduce Jaroslav + Reid, the director of the National + Gallery -- Petr Brandl, the mayor + of Prague -- + 16. + + + SARAH, a very attractive young American dressed in an + elegant gown, steps out of the reception line and shakes + hands with + + WALTZER. + + SARAH + I bet you don't remember me, do + you, Senator? + + SENATOR WALTZER + Of course I do. How are you, Miss + Norman? + + He leans in and kisses her on the cheek, and as he does so + SARAH whispers something in his ear. + + SARAH + He's in pocket. Under the archway + behind me. + + Her tone, her words -- we realize she's on the team. + + The SENATOR pulls a pair of Visco glasses from his pocket + (and if we didn't know the SENATOR was ETHAN before, this + confirms it), puts them on, and looks up, over her + shoulder. + + UNDER AN ARCHWAY NEAR THE ENTRANCE, + + ALEKSANDER GOLITSYN, the Ukrainian, has just come in from + outside. + + +13 INT. SAFE HOUSE - NIGHT 13 + + PHELPS sees the SENATOR's point of view of GOLITSYN, + through the glasses, broadcast back to PHELPS' monitor. He + speaks into his microphone. + + PHELPS + Sarah, mark the package and go to + two. + + +14 INT. EMBASSY PARTY - NIGHT 14 + + SARAH still has the SENATOR's attention. + + SARAH + 17. + + + Your advance team mentioned you'd + want a tour of the facility, so + I've gone ahead and set that up for + you -- + + SENATOR WALTZER + Terrific. Let's get going. + (to the Diplomat) + Will you excuse us? + + He slips an arm around SARAH and they walk off, not into + the party, but the other way, toward a staircase that leads + further into the Embassy. + + DIPLOMAT + Uh, sir? + + +15 INT. ELEVATOR SHAFT - NIGHT 15 + + JACK climbs up the elevator shaft, towards the gray metal + box. He just begins to remove the cover when he hears a + noise from above. He looks up and sees the elevator above + him descending. + + JACK quickly pulls himself flush against the wall. The + elevator comes down adjacent to him and stops, pinning him + to the wall. + + JACK + Great. Come on. + + +16 INT. EMBASSY PARTY - NIGHT 16 + + As the SENATOR and SARAH pass behind the entering GOLITSYN, + SARAH pulls a small bottle of perfume from her purse. But + as she sprays, she points it slightly to the left, missing + herself and hitting the back of GOLITSYN'S head. He never + notices. They move on and down the flight of stairs. + + +17 INT. SAFE HOUSE - NIGHT 17 + + JIM PHELPS monitors the Visco views of the party. He looks + to the fourth monitor and checks a view of the party, a + jumpy one, as someone hurrying up stairs. + + PHELPS + Hannah. He's marked. Lets go. + + +18 INT. EMBASSY PARTY - NIGHT 18 + 18. + + + On a flight of stairs, HANNAH, dressed for the party and + slightly out of breath, hurries up the stairs. + + HANNAH + En route. + + She also has a pair of Visco glasses, which she trains on + the party below. She pushes a micro switch on the side of + her glasses, activating an electronic filter, which tints + the lenses. + + PHELPS (O/S) + Hannah, pull the shade (or - Hannah + go to night vision). + + HANNAH'S VISCO POV + + the party looks the same, but one head in the crowd stands + out. That head is GOLITSYN'S, his hair a fluorescent green + where SARAH sprayed it. + + +19 INT. THE DENIED AREA/ELEVATOR BANK - NIGHT 19 + + The SENATOR (let's just call him ETHAN) and SARAH come down + the stairs and pass a sign that says "Denied Area -- + Political Attaches Only." ETHAN checks his watch. 23:00. + + He nods to SARAH, they round a corner, and come to an + elevator at the end of the corridor. A sign in front of it + says "Out of Order." They head for it anyway. + + A MARINE GUARD appears from behind a side door, catching + them by surprise. + + JACK + Governor's in position. We have the + elevator. + + GUARD + Excuse me, can I help you? + + SARAH + -- which leads directly to the + Denied Area, the only limited + access area in the whole facility. + + SARAH flashes an ID at the GUARD and keeps talking. + + SARAH + 19. + + + As you can see. this area has both + a Marine guard and video + surveillance, and is strictly + monitored at all times. + + She walks up to the thumbprint analyzer on the elevator + bank and slides her thumb inside. The panel lights up and + flashes a message -- "ACCESS DENIED." SARAH and ETHAN trade + a look. + + SARAH + (covering) + Senator, don't you have a young man + on your staff named JACK? + + She tries the thumb again, Still no soap. + + ETHAN + Jack? I believe we did have a young + man named Jack. Not a reliable man, + as I recall. Constantly late or + behind in his work. + + Now the GUARD, noticing that Sarah's not being allowed + access, comes closer to them. + + GUARD + Excuse me, let me see that ID + again! + + +20 INT. ELEVATOR SHAFT - NIGHT 20 + + JACK is still pinned to the wall by the elevator, listening + to their conversation. + + PHELPS (O.S.) + Jack's pinned down Sarah. Should be + a second. Keep dancing. + + ETHAN (O.S.) + (with the Senator's + southern accent) + We were forced to tie him to my + best stallion and drag him around + the barn a few times. + + Finally, the elevator moves down a floor and JACK is freed. + + JACK + Relax your crack, Foghorn, I'm + workin' on it. + 20. + + + He quickly opens the gray metal box, revealing a maze of + circuitry. He patches in his computer, climbs on top of the + elevator, and hits the keyboard, beginning to download. + + THE LAPTOP + there's a split-screen of SARAH's + thumbprint and the ID picture. JACK + downloads her file into the + security computer. + + +21 INT. THE DENIED AREA - ELEVATOR BANK - NIGHT 21 + + Ignoring the GUARD, SARAH turns and slides her thumb into + the thumbprint analyzer once more. The panel glows, this + time the message flashes -- + + IDENTITY CONFIRMED + -- and the elevator doors slide + open briskly. + + The GUARD, surprised, now catches sight of the SENATOR. + + GUARD + Oh. Sorry, sir. + + He snaps a salute. ETHAN and SARAH get into the elevator + and the doors close behind them. + + +22 INT. ELEVATOR SHAFT - NIGHT 22 + + JACK looks down at the elevator below. Through a grating, + he can see them inside. + + JACK + The drink (date) with Sarah is + definitely off. + + +23 INT. SAFE HOUSE - NIGHT 23 + + PHELPS moves from JACK's view of the elevator car to + HANNAH's view of the party on his video monitors. + + PHELPS + (a touch of impatience) + Hannah -- I'm blind again. Hannah. + + +24 INT. EMBASSY PARTY - NIGHT 24 + 21. + + + HANNAH, stationed on the second floor of the Embassy, moves + to get a better view of the party. She reacquires + GOLITSYN's glowing head. + + HANNAH + He's heading to the denied area. + + +25 INT. EMBASSY WORK ROOM - NIGHT 25 + + This work room is filled with combination lock filing + cabinets and various computer terminals. ETHAN hands SARAH + his Visco glasses and she crosses the room, placing them + upside down on top of a filing cabinet. + + ETHAN straps on a Visco wrist monitor and tunes it in, + switching several times. + + ETHAN + (to Sarah) + Higher. Higher. + + SARAH + Higher. + + ETHAN + Right, right. Good. + + SARAH adjusts the glasses. + + THROUGH THE GLASSES, + + the view of the main computer terminal is upside down, but + clear. Anyone sitting there will be recorded. + + +26 INT. SAFE HOUSE - NIGHT 26 + + On PHELPS' monitor, we see ETHAN, via his Visco glasses on + the filing cabinet, standing next to the computer. PHELPS + barks out a warning. + + PHELPS + Get moving, Ethan. He's rolling to + you. + + +27 INT. EMBASSY WORK ROOM - NIGHT 27 + + ETHAN pushes the elevator button but the elevator is + already moving up. + + ETHAN + 22. + + + Jack we're in position. + + +28 INT. ELEVATOR SHAFT - WORK ROOM - NIGHT 28 + + In a split view, we see both sides of the elevator wall + simultaneously -- on one side, JACK is lying on top of the + rising elevator, on the other side, ETHAN and SARAH are + waiting for it to arrive. + + ETHAN + Jack. Jack. + + JACK + I didn't touch it. + + The elevator stops, the doors open -- + + -- and GOLITSYN gets on. GOLITSYN descends in the elevator + with JACK on top and ETHAN and SARAH waiting down below! + + +29 INT. SAFE HOUSE - NIGHT 29 + + PHELPS sees JACK's point of view of the elevator, with + GOLITSYN inside. + + PHELPS + (tension rising) + He's in the box, Ethan, he's in the + box! + + +30 INT. EMBASSY WORK ROOM - NIGHT 30 + + ETHAN and SARAH are waiting in front of the elevator, the + one GOLITSYN is about to step off of! ETHAN looks around, + for a place to hide. + + ETHAN + OK. Taking Golitsyn's exit. Jack, + open the doors. + + SARAH + What about my coat? I'll freeze. + + JACK (O.S.) + I don't have it. + + +31 INT. SAFE HOUSE - NIGHT 31 + + PHELPS whips over to a laptop and starts typing. + 23. + + + PHELPS + Opening the doors. Go under. + + He jabs ENTER on his keyboard. + + +32 INT. EMBASSY WORK ROOM - NIGHT 32 + + The elevator doors WHISK open, revealing the empty shaft + beyond. ETHAN and SARAH jump into the shaft. + + +33 INT. ELEVATOR SHAFT - NIGHT 33 + + ETHAN and SARAH jump down into the five foot empty space + below the work room floor. Above them, the elevator + continues its descent, with them hiding below. The elevator + drops to just over their heads and stops. + + +34 INT. EMBASSY WORK ROOM - NIGHT 34 + + GOLITSYN steps off the elevator, crosses the room and + slides a 3.5 computer disk into the computer in the work + room. Through the Visco glasses, we can clearly see him at + work, downloading the vital information. + + +35 INT. ELEVATOR SHAFT - BELOW ELEVATOR - NIGHT 35 + + Waiting below the elevator, ETHAN takes off his jacket, + starting to reverse it. He checks his Visco wrist monitor + as GOLITSYN perpetrates the theft. He smiles and speaks + into a microphone. + + ETHAN + He's got it. Saved your ass again + Jack. + + JACK (O.S.) + Give me a break, Pops. + + SARAH + Such a nice ass. + + JACK (O.S.) + And a lonely ass. + + ETHAN + Sarah's reconsidering. Claire, + transport in five minutes. + + CLAIRE (O.S.) + 24. + + + Roger that. + + +36 INT. ELEVATOR SHAFT - BELOW ELEVATOR - NIGHT 36 + + Back inside, ETHAN strips off his mask and wearing his now + reversed jacket, he and SARAH exit the small door at the + base of the elevator shaft. + + +37 EXT. ELEVATOR SHAFT - ABOVE ELEVATOR - NIGHT 37 + + JACK rapidly disconnects his equipment. But as he pulls the + final electrical clip from the elevator's wiring, it + flashes and SPARKS. + + +38 EXT. EMBASSY - NIGHT 38 + + ETHAN and SARAH exit an Embassy service area by the + waterfront and blend into the Embassy crowd, as an amorous + couple. + + ETHAN + In position. Jack open the door, + let the package roll. + + JACK (O.S.) + Roger that. Opening doors now. + + ETHAN + Stairway, you're wrapped, go to + transport. + + ETHAN'S voice comes over HANNAH'S earpiece. + + HANNAH + En route. + + HANNAH breaks off and goes up the stairs. + + +39 INT. ELEVATOR - NIGHT 39 + + The button marked "ROOF" lights up, seemingly all by + itself. + + +40 INT. ELEVATOR SHAFT - ABOVE ELEVATOR - NIGHT 40 + + The car engages with a sharp jolt -- + 25. + + + JACK + Hey. + + --and starts to rise. JACK looks down, into the elevator + car, through the grate. There's no one in it. + + +41 INT. SAFE HOUSE - NIGHT 41 + + On one of his monitors, PHELPS sees the elevator moving in + the shaft. + + PHELPS + Jack, what are you doing?! + + +42 INT. ELEVATOR SHAFT - ABOVE ELEVATOR - NIGHT 42 + + JACK + I'm not doing anything! (I don't + have it either). + + +43 INT. SAFE HOUSE - NIGHT 43 + + PHELPS is typing at his keyboard and jamming the enter + button but gets no response. + + PHELPS + I don't have it -- I don't have + control! + + +44 INT. ELEVATOR SHAFT - ABOVE ELEVATOR - NIGHT 44 + + JACK'S face pales. He looks up, above him, at the + approaching ceiling. + + JACK + Uh -- then I have a problem. + + +45 INT. EMBASSY WORK ROOM - NIGHT 45 + + GOLITSYN pulls out the now-programmed disk from the + computer, slips it in his jacket pocket and heads for the + door. + + +46 INT. ELEVATOR SHAFT - ABOVE ELEVATOR - NIGHT 46 + + JACK looks up through his Visco glasses at the approaching + roof, covered with spikes. + 26. + + +47 EXT. EMBASSY - NIGHT 47 + + Through the monitor, ETHAN sees JACK'S P.O.V. of the roof + of the building approaching. Fast. + + ETHAN + Cut the power. Cut the power Jack. + Do you hear me. + + +48 INT. ELEVATOR SHAFT - ABOVE ELEVATOR - NIGHT 48 + + On top of the elevator, JACK has ripped open the control + panel again and is frantically trying to adjust wires to + get the thing to stop. + + He swears, his fingers fumble, he works faster and faster. + He looks up. The roof of the building is nearly upon him. + + ETHAN (O.S.) + Come on, Jack, come on. + + JACK looks up again, he cringes, he covers his head with + his hands, he SCREAMS -- + + --and he's crushed to death against the roof. + + +49 EXT. EMBASSY - NIGHT 49 + + ETHAN is staring at the static on the monitor that once was + JACK'S signal. + + ETHAN + Jack. Jack. + + He closes his eyes, knowing what that means. + + +50 INT. SAFE HOUSE - NIGHT 50 + + PHELPS also sees the static. + + PHELPS + Man down. Stay where you are. I'm + on my way. + + He gets up and races out of the apartment. + + +51 INT. EMBASSY WORK ROOM - NIGHT 51 + 27. + + + GOLITSYN, who now has the disk, jabs again and again at the + elevator button but it won't even light up. He studies the + elevator doors and jumps into the shaft, just as ETHAN and + SARAH did moments before. + + He hits the floor of the elevator shaft and exits the small + door at the shaft's base. + + +52 EXT. PRAGUE SAFE HOUSE - NIGHT 52 + + PHELPS hurries towards the bridge. + + PHELPS + En route. + + +53 EXT. CHARLES BRIDGE - NIGHT 53 + + PHELPS dashes onto the Charles Bridge and heads across the + river, toward the Embassy. He throws a look back, over his + shoulder. Paranoia's setting in. + + +54 EXT. EMBASSY - AS SEEN FROM CHARLES BRIDGE - NIGHT 54 + + Outside the Embassy, GOLITSYN escapes, pushing through the + service area door and racing past a DRUNKEN COUPLE who are + in the midst of a lover's quarrel, in Russian. + + Pan past the embankment and onto the bridge where PHELPS is + still racing to meet ETHAN. But he stops suddenly, as if + hearing something and looks behind him, at the deepening + gloom. + + +55 EXT. EMBASSY - NIGHT 55 + + ETHAN and SARAH hear PHELP'S voice over the monitor. + + SARAH + The package is in the open. + + ETHAN + Jim. Jim. He's in the open. + + PHELPS (O.S.) + I've got a shadow. + + ETHAN + Can you lose him? + + PHELPS (O.S.) + 28. + + + No. Abort. + + Over ETHAN's shoulder, SARAH sees GOLITSYN getting away. + Fog starts to roll over the river towards the bridge. + + SARAH + Ethan. He's out of pocket. + + ETHAN + (to Phelps) + Jim we can't. + + PHELPS (O.S.) + Abort. That's an order. + + ETHAN + Negative, Golitsyn's on the move. + + +56 INT. GETAWAY CAR - NIGHT 56 + + Seated in the getaway car, CLAIRE listens to JIM and ETHAN + argue. + + PHELPS (O.S.) + No, damn it, no, I said ABORT! + + +57 EXT. EMBASSY - NIGHT 57 + + Outside the Embassy, SARAH and ETHAN argue. + + ETHAN + Sarah eye on the package. Jim, I'm + coming to you. + + SARAH + Jim gave an abort, we should walk + away. + + ETHAN + No, we're going to recover the + disk, understand?! Now move! + + ETHAN takes off for the bridge, leaving SARAH to shadow + + GOLITSYN. + + +58 EXT. PARKING AREA - NIGHT 58 + + HANNAH hurries toward the getaway vehicle. + 29. + + +59 EXT. RESIDENTIAL STREET - NIGHT 59 + + ETHAN moves to the bridge stairs. + + PHELPS (O.S.) + Where are you? + + ETHAN + About two hundred yards from the + bridge. + + PHELPS (O.S.) + They're covering this frequency, + Ethan. Cut all radio + communications. Repeat. Cut all + radio communications. + + ETHAN continues to run toward the stairs to the bridge. + Past CLAIRE who sits in the getaway car. He looks on his + monitor and again sees PHELPS' POV. Only ominous silence. + Phelps is looking back over his shoulder. The bridge is + deserted. + + +60 EXT. EMBANKMENT - NIGHT 60 + + SARAH follows GOLITSYN as he hurries toward the shore, + where a cobblestone promenade runs along the river. He + disappears into the fog at the edge of the river. + + +61 EXT. STAIRS TO BRIDGE - NIGHT 61 + + ETHAN checks his monitor again. + + THE MONITOR + PHELPS' point of view changes + radically as his head swivels on + the darkened bridge. He whirls + again, looking over his shoulder + and this time the barrel of a gun + is visible, pointing at him and + before PHELPS has a chance to react + a GUNSHOT CRACKLES over the + monitor. + + The point of view goes crazy for a moment, then over and + down to a bloody hole in his own chest. + + His head rocks again, then goes over the side of the bridge + and makes the long, hard fall into the river below. + 30. + + +62 EXT. STAIRS TO BRIDGE - NIGHT 62 + + ETHAN's face goes white with shock. + + ETHAN + JIM! + + +63 EXT. CHARLES BRIDGE - NIGHT 63 + + He races up the rest of the stairs to the bridge but + there's no sign of PHELPS. + + ETHAN runs to the railing and looks down into the river but + sees only dark, choppy waters below, now becoming obscured + in the gathering fog. + + He turns and looks to the embankment. He can faintly see + GOLITSYN, hurrying along the promenade. ETHAN gives chase. + + +64 EXT. PARKING AREA - NIGHT 64 + + ETHAN runs towards the getaway car, reaching a vantage + point on the top of the stairs, he can see CLAIRE'S + outline, visible in the driver's seat. But as he descends + the stairs + + -- + --the car explodes and bursts into + flames. + + The force of the blast knocks ETHAN back. + + ETHAN + CLAIRE! + + He watches the burning car in stunned silence for a moment, + a stunned CROWD starts to gather. + + Remembering SARAH, he rushes down the stairs towards the + embankment. + + +65 EXT. EMBANKMENT - NIGHT 65 + + SARAH comes out of the fog near the riverbank and sees + GOLITSYN again, slowing down. A MAN comes out of the fog an + seems to ask GOLITSYN for a light. + + SARAH draws closer. Behind her, the DRUNKEN COUPLE seems to + be hanging with her for some reason. + 31. + + +66 EXT. STAIRS FROM BRIDGE - NIGHT 66 + + ETHAN continues towards the embankment. + + +67 EXT. EMBANKMENT - NIGHT 67 + + SARAH is almost to GOLITSYN. Suddenly, the MAN in front of + GOLITSYN pulls him towards him. Sensing something wrong, + SARAH quickens her pace. The MAN is now hunched over + GOLITSYN, facing away from SARAH, going through GOLITSYN's + pockets. + + The figure finds what it's looking for -- the disk -- and + takes it. SARAH comes closer -- + + -- and the figure whirls. It brings a knife up sharply, + plunges it into her chest and slinks away out of sight. + + ANGLE + ETHAN races around the corner onto + the embankment. He bursts out of + the fog, just in time to see SARAH + fall to her knees, over GOLITSYN's + body. ETHAN sees the knife in her + chest and + + GASPS. + + He pulls the knife out of SARAH, who is close to death. He + looks at it -- it is a black Teflon knife with a serrated + edge. + + BEHIND ETHAN + The DRUNKEN COUPLE seem drunk no + more. In fact, they're watching + ETHAN. Through the fog and night, + they see him leaning over SARAH, + holding the knife in his hands. + + AT THE BODIES + + SARAH goes still. ETHAN lays her down, turns the other body + over and sees that it is GOLITSYN. He quickly begins + rummaging through his pockets. + + ETHAN hear police sirens and sees... + + ANGLE + A Prague police boat, SIREN + wailing, arrives at the dock in + front of the Embassy. The DRUNKEN + MAN and WOMAN stop suddenly. + 32. + + + As THREE POLICE leap off the boat and race toward the + explosion, ETHAN leaps over the gate and races up the alley + and out of sight. + + +68 EXT. STREET - PHONE BOOTH - NIGHT 68 + + ETHAN unscrews the mouthpiece of a payphone receiver. He's + holding a flat piece of metal with six prongs on it, a + modernist cockroach. He CLICKS the cockroach into the guts + of the phone's wiring, piercing it with its little prongs. + + He screws the mouthpiece back on, holds the phone's tongue + down for a second, releases it and listens. He has a dial + tone. Now he punches in a fourteen digit number he knows by + heart. + + After a moment, a FLAT VOICE comes on the other side. + + FLAT VOICE (O.S.) + Satcom seven. + + ETHAN + Central Europe. Unsecured. + + FLAT VOICE (O.S.) + Designator? + + ETHAN + Bravo Echo one one. + + FLAT VOICE (O.S.) + Switching. + + There is a long pause and then familiar voice comes on the + line. + + KITTRIDGE (O.S.) + This is Kittridge. + + ETHAN + Go secure. + + Pause. A funny series of CLICKS comes over the line. + + KITTRIDGE (O.S.) + Go ahead. + + ETHAN + They're dead. + + KITTRIDGE (O.S.) + Who's dead? + 33. + + + ETHAN + My team. Claire, Jack, even Jim - - + Hannah, maybe, I -- don't know + + KITTRIDGE (O.S.) + Are you damaged? + + ETHAN + They knew we were coming. + Golitsyn's dead too. The disk is + gone. + + KITTRIDGE (O.S.) + Are you intact? + + ETHAN + Do you read me? The list is in the + open! + + KITTRIDGE (O.S.) + Let's just bring you in safely, and + then we'll worry about that, okay? + Were you followed? + +ETHAN closes his eyes. KITTRIDGE'S voice is strong and +reassuring and he needs that right now. + + ETHAN + I don't think so. + + KITTRIDGE (O.S.) + Don't think, be sure. Are you + clean? + + ETHAN + Yes. + + KITTRIDGE (O.S.) + Location green. One hour. I'll be + there myself. + + ETHAN + You're in Prague? + + KITTRIDGE (O.S.) + Heard a lot about you, Hunt. Don't + disappoint me. + + ETHAN + No sir. + + KITTRIDGE (O.S.) + One hour. + 34. + + + He hangs up. ETHAN does the same. He stares at the phone + for a moment, thinking. He checks his watch. + + +69 EXT. STREET - NIGHT 69 + + ETHAN steps out of the phone booth and starts down the + street. Every face seems to be starring at him now, every + sound is menacing. He pulls his coat in tight, shoves his + hands in his pockets and walks among the crowd. + + +70 EXT. OLD TOWN SQUARE - NIGHT 70 + + ETHAN makes his way past the old town clock, a towering, + gothic structure and into a plaza, surrounded mostly by + residential buildings. + + ETHAN'S POV + + Straight across from him is a glass enclosed restaurant + built on the portico of an old palace. + + Brilliantly lit up from inside, the restaurant positively + shimmers, every table visible from everywhere in the plaza. + + +71 INT. RESTAURANT - NIGHT 71 + + ETHAN'S POV + + ETHAN walks in the glass front doors, right next to an + enormous fish tank, part of the restaurant's exterior wall. + He scans the clientele carefully -- maybe a dozen PATRONS + are scattered around. + + EUGENE KITTRIDGE is seated at a table in the middle. He and + ETHAN make eye contact. ETHAN walks to the table, a couple + of quick, seemingly cursory glances around the room as he + goes. KITTRIDGE has been working on a pretty good-sized + lobster. He rises to greet ETHAN and they sit. + + KITTRIDGE + I can't tell you how sorry I am. I + know how much Jim, in particular, + meant to you, Ethan. Personally as + well as professionally. + + ETHAN + Yeah. + + He spots a stack of documents on the table. + 35. + + +ETHAN picks them up. There's a Canadian picture bearing +ETHAN photo and the name Phillipe Doucette, credit cards, +driver's license, etc. + + KITTRIDGE + Passport, visas - you know the + drill. We'll work the exfiltration + thru Canada, debrief you at + Langley. Throw the Prague police a + bone, you know toss them a few + suspects. Follow me? + + ETHAN + Yeah. I follow you. + + KITTRIDGE + We've lost enough agents for one + night. + + ETHAN + You mean I've lost enough agents + for one night. + +KITTRIDGE seems to be at the point of saying one thing, +then, carefully: + + KITTRIDGE + You seem hell bent on blaming + yourself, Ethan. + + ETHAN + Who else is left? + + KITTRIDGE + Yes. I see your point. + + ETHAN + Why was there another team? + + KITTRIDGE + What? + + ETHAN + Of IMF agents. At the Embassy. + Tonight. + + KITTRIDGE + I don't quite follow you. + + ETHAN + Let's see if you can follow me + around this room. + 36. + + + (eyes moving around the + room) + The drunk Russians on the + embankment at 7 and 8 o'clock...The + couple waltzing around me at the + Embassy at 9 and 11. The waiter + behind Hannah at the top of the + staircase - Bowtie, 12 o'clock. The + other IMF team. You're worried + about me. Why? + + KITTRIDGE + (a tight little smile) + You're right. Maybe this'll save + some time. + +The figures around the room have grown restless. KITTRIDGE +tries to indicate that it's okay. He pulls some papers out +of his jacket. + + KITTRIDGE + For a little over two years now + we've been spotting serious + blowback in IMF operations. We have + a penetration. The other day we + decoded a message on the Internet + from a Czech we know as "Max." + + ETHAN + The arms dealer. + + KITTRIDGE + That's right. Max, it seems, has + two unique gifts -- a capacity for + anonymity and for corrupting + susceptible agents. This time he's + gotten to someone on the inside - + he's put himself in a position to + buy our NOC list. An operation he + referred to as "Job 314". The job + he thought Golitsyn was doing + tonight. + + ETHAN + But the list Golitsyn stole was a + decoy. + + KITTRIDGE + Correct the actual list is safe at + Langley. "Golitsyn" was a lightning + rod, one of ours. + + ETHAN + 37. + + + This whole operation was a + molehunt. + + KITTRIDGE + Yes, the mole's deep inside. And -- + like you said. You survived. + +ETHAN stares at him levelly. + + KITTRIDGE + I want to show you something, + Ethan. + +He now shoves the papers across the table. They're xeroxed +copies of a Wisconsin bank account in the name of DONALD +and MARGARET ETHAN HUNT. It shows a balance of $127,000. + + KITTRIDGE + Since your father's death, your + family's farm has been in sub- + chapter S and now, suddenly, + they're flush with over a hundred + and twenty grand in the bank. Dad's + illness was supposed to have wiped + out the bank account -- dying + slowly in America after all, can be + a very expensive proposition Ethan. + So, why don't we go quietly out of + here onto the plane... + + ETHAN + How about if we just go quietly + into the bathroom and I wash your + mouth out with soap - you pathetic + button down bureaucratic asshole. + + KITTRIDGE + Ethan, I can understand you're very + upset. + + ETHAN + Kittridge, you've never seen me + very upset. + +ETHAN takes something from his jacket pocket. While +KITTRIDGE talks, ETHAN unwraps whatever is in his hand. + + KITTRIDGE + 38. + + + All right, enough is enough Hunt. + You've bribed, cajoled, killed - + and relied on intimate loyalties to + get away with it. You're determined + to shake hands with the devil and + I'm going to make sure you do it in + hell. + + We see what ETHAN holds in his hand -- it's the piece of + bubble gum, half red, half green. He squeezes the gum, + mushing the two sides together. + + ETHAN lashes out, swatting KITTRIDGE'S glass of wine off + the table in one quick motion. As he does, he hurls the + piece of gum. + + Diners look up, startled at the sound of the breaking wine + glass. KITTRIDGE follows the trajectory of the glass -- + + -- and sees the piece of gum, stuck to the tank. His eyes + widen. KA BOOM! + + The tiny piece of plastique explodes, SHATTERING the fish + tank. A hundred gallons of water flow over the MAN and + WOMAN, knocking them to the ground. + + At the same time, ETHAN bolts for the door. + + +72 EXT. OLD TOWN SQUARE - NIGHT 72 + + ETHAN races out of the restaurant and takes off, into the + deserted square. + + +73 EXT. SAFE HOUSE - ENTRYWAY - NIGHT 73 + + Silence. ETHAN enters the darkened entry. + + +74 INT. SAFE HOUSE STAIRWELL - NIGHT 74 + + ETHAN glances up at the stairwell. Naked light bulbs + illuminate the way up. He slips off his jacket and shirt, + then puts his jacket back on. + + +75 INT. SAFE HOUSE STAIRWELL - MOMENTS LATER - NIGHT 75 + + ETHAN unscrews a bulb. He crushes the bulb in his shirt and + scatters the glass fragments on the steps. He climbs to the + next bulb. + 39. + + +76 INT. SAFE HOUSE - DOORWAY - NIGHT 76 + + At the now-darkened door to the apartment, there's the soft + sound of another bulb being POPPED in cloth, glass + fragments dropping and ETHAN'S at the door. + + +77 INT. SAFE HOUSE - NIGHT 77 + + In the darkened safe house, ETHAN goes to a vase with + flowers, picks it up and unscrews the bottom, retrieving a + Sig Sauer automatic. He moves through the rooms, checking + them as he goes. + + +78 INT. SAFE HOUSE BATHROOM - NIGHT 78 + + ETHAN checks the shower, then goes to his shaving kit, + pulling out a shaving cream can and a hairspray can. He + unscrews the bottoms, retrieving cash in various + denominations from various countries and a couple of + passports. + + As he pockets them, he catches sight of himself in the + mirror. He's a mess. He splashes water on his face. + + +79 INT. SAFE HOUSE KITCHEN - NIGHT 79 + + ETHAN greedily tears the cap off a bottle of mineral water + and proceeds to guzzle it as if he was dying of thirst. + + +80 INT. SAFE HOUSE - NIGHT 80 + + He comes back into the living room. Still drinking, he + notices flickering lights on the other side of the room, + the static from the four monitors PHELPS was watching. One + by one, he switches them off. + + THE LAPTOP + JACK had been using lies closed at + his abandoned desk. ETHAN wakes it + up. + + The computer emits a DIAL TONE, then STATIC as it hits its + connection. It prompts ETHAN along: + + SELECT USENET GROUP + + ETHAN TYPES IN + + job 314 + 40. + + + ETHAN + Job. Job 3:14. March fourteen. Job + 31 March. + +The computer replies: + +SEARCHING STRING NOT FOUND + +ETHAN tries again: + +max.com + +The answer: + +SEARCH STRING NOT FOUND + +He tries a few more, quickly -- "job," "jobs," +"joblist.com," but nothing comes up. He tries something +else -- "scroll usenet groups." + +The computer scrolls names of bulletin boards at a dizzying +speed, by the hundreds. That's not going anywhere. + +ETHAN pauses, slaking his bottomless thirst and trying to +figure out what permutation of "job 314" he should add to +the others on his computer screen. He MUMBLES. + + ETHAN + Job three fourteen. Job -- + (a realization, the + Biblical pronunciation) + It's Job! + +He rummages around on the desk, checks the bookshelf and +finds a Gideon Bible. He turns to Job 3:14 and reads the +Bible passage "Kings and Counsellors..." + +He thinks for another moment, then punches back into the +Internet and under the command "Select Usenet Group" he +types: + + BIBLE + The computer replies: + +126 ENTRIES FOUND, SPECIFY GROUP 126 + +ETHAN: + +BOOK OF JOB + +The computer presents a multi-colored screen of religious +icons and artwork with an accompanying message: + 41. + + +WELCOME TO THE BOOK OF JOB DISCUSSION + +GROUP. WHICH CHAPTER AND VERSE DO + +YOU WISH TO POST YOUR ENTRY UNDER? + +ETHAN types his answer "Job 3:14" and the screen presents a +"stickie" for him to write his message on. He does: + + ETHAN + Max -- Goods tainted. Consider + extremely hazardous. DO NOT USE. + Fate will be that of kings and + counsellors who built for + themselves palaces now lying in + ruins. Must meet to discuss + a.s.a.p. + + ANGLE + A rhythmic CRUNCHING sound and from + the darkness on the other side of + the room, PHELPS staggers toward + him, wet and muddy, his middle a + hopelessly bloody mess. He looks + like he's dying on his feet. ETHAN + freezes, appalled. + + PHELPS + Ethan, what are you doing? + +ETHAN tries to speak but nothing will come out. + + PHELPS + I needed you, Ethan. 1 needed you + on the bridge, and -- you weren't + there. Ethan? Ethan? + +ETHAN reaches out to grab PHELPS but can't seem to touch +him. PHELPS suddenly vanishes into thin air, ETHAN awakens +from the dream and finds himself leaping to his feet, gun +cocked and pointed at -- + + ANGLE + It's CLAIRE. + + ETHAN + What are you doing here?! + +CLAIRE freezes, her hands half-raised. + + CLAIRE + (carefully) + 42. + + + Ethan -- Ethan, it's okay. It's + Claire. Ethan what's wrong with + you? + + ETHAN + Don't move. + +Her right hand has moved a fraction. She freezes again. + + ETHAN + You were in the car! + + CLAIRE + I wasn't. I heard that Jim was in + trouble on the radio. He said + someone was... + + ETHAN + Shut up! I saw you. You were in the + car. + + CLAIRE + No, I got out of the car and I ran + to the bridge. + + ETHAN + Don't give me that! I was on the + bridge. + + CLAIRE + What happened to Jim? + + ETHAN + There was nobody on the bridge. + + CLAIRE + What happened to Jim? + +Ethan grabs her wrists, shouting. + + ETHAN + Dead. Dead. Dead! Wake up, Claire! + Jim's dead, they're dead. They're + all dead! + +ETHAN releases her wrists. + + CLAIRE + (mumbling) + They're dead. Jim's dead. + + ETHAN + Take off your coat. + 43. + + + CLAIRE + What? + + ETHAN + Take off your God damn coat! + +He grabs a sleeve and literally tears the coat off her, +half- spinning her around. The coat hits the floor like a +dead body. CLAIRE'S instinctive move is to cover her chest. + +CLAIRE begins to shiver. ETHAN circles her, runs his hand +cursorily across her body. It accentuates CLAIRE'S +shivering. + + ETHAN + Where were you? + + CLAIRE + I walked away. He said abort. He + was gone so I walked away. + + ETHAN + That was four hours ago! Who sent + you? Did they send you here? + + CLAIRE + (slowly) + Who is "they?" + + ETHAN + Did they send you...Did they send + you? + + CLAIRE + Who is they, who is they? + +ETHAN grabs her by the wrists. + + ETHAN + Who sent you?! Who sent you? + + CLAIRE + (screaming) + No one sent me! + +We're supposed to be back here at four o'clock, four +o'clock, if we abort, we don't return here until four +o'clock, 0-four hundred, four am, four o'clock --! + +She sags. A moment. Then the clock begins to chime -- BONG, +BONG, BONG, BONG. In the wake of the bells' reverb, ETHAN +releases his grip on her wrists. + 44. + + +81 INT. SAFE HOUSE - LATER THE SAME NIGHT 81 + + ETHAN sits in front of the computer, staring blankly at it, + still waiting for a response. CLAIRE sitting on the end of + the bed. Dawn approaches, it's very, very quiet. + + CLAIRE + Why haven't they brought us in yet? + + ETHAN + I've been disavowed. They think I + killed Jim and everyone else. + Somehow a hundred thousand dollars + found its way into my parents' bank + account. Kittridge assumes I'm a + mole they've been tracing and I've + been in the employ of an arms + dealer, Max, for the last two + years, to get him our NOC list. + + A long moment while she stares at ETHAN's back. + + CLAIRE + What are you going to do? + + ETHAN + I'm going to get it for him. + Whoever the mole is, I think goes + by the name of Job, at least part + of the time. 1 can't find him, but + if he knows 1 have the NOC list, + he'll find me. + + CLAIRE + Ethan, you're not making sense. Let + me go in and talk to Kittridge. I'm + going to tell him you had nothing + to do... + + ETHAN + Claire, Claire, Claire, if you're + not dead, he's going to assume + you're with me. + + The computer blinks and makes a noise - ETHAN goes to it. + + THE COMPUTER SCREEN + + Blinking -- "MESSAGE WAITING." ETHAN hurries over and + clicks on the message box. The screen blinks and the + message shows up: + + JOB - CORNER OF NEKAZANKA AND PRlKOPY ONE P.M. + 45. + + + BUY A PACKET OF DUNHILL + + AND ASK THE MAN SITTING ON THE BUS + + STOP BENCH FOR A MATCH + + CLAIRE looks to ETHAN. + + CLAIRE + The message is for Job. + + ETHAN + I'm going to answer it. + + +82 EXT. STREET BY BANK/FLORENC BUS STOP - DAY 82 + + ETHAN arrives at the bus stop outside the Savoy Arcade. A + MAN in a black wind-breaker sits on the bench, his back to + + ETHAN. + + ETHAN + Excuse me, could I trouble you for + a match? + + Without turning, the MAN offers up a box of matches. As + ETHAN takes them, TWO MEN from behind take him by either + arm and escort him into a car which has just pulled up. + + +83 INT. CAR - DAY 83 + + ETHAN slides into the back seat, between the TWO MEN. + MATTHIAS, the man on the left, holds up a black hood. He + extends it to ETHAN, who doesn't take it. + + MATTHIAS + Would you remove your hat please? + + ETHAN + Why? + + MATTHIAS + You wish to meet Max? This is the + price of admission. + + Reluctantly, Ethan pulls the hood over his head and the car + takes off. + + +84 INT. MAX'S APARTMENT - DAY 84 + 46. + + +The black hood still on his head, ETHAN has trouble sitting +upright. He's before a desk, in an apartment somewhere in +the city -- it's impossible to tell where, as the blinds +are drawn. The place is roomy and lavishly furnished -- +expensive Oriental rugs, well-chosen objects of art. + +Somewhere down the block, a dog BARKS, steadily, every few +seconds. In the hallway outside the apartment door, someone +is VACUUMING. MATTHIAS and the OTHER MAN are nearby. + + ETHAN + I thought I was going to see Max. + + MATTHIAS + You misunderstood. No one sees Max. + + ETHAN + Then what am I doing here? + + MATTHIAS + Allowing Max to see you and hear + what you've got to say. + + ETHAN + I don't communicate very well + through a shroud. + + MATTHIAS + If Max doesn't like what you have + to say, you'll be wearing that + shroud indefinitely. + + ETHAN + I'm willing to take the chance. + + MATTHIAS + Very well. + +MAX'S figure into frame. MATTHIAS removes ETHAN's hood. +When it comes off ETHAN finds himself looking up at a tall +woman of indeterminate age. She's handsome to the point of +severity. + + MAX + Who are you and what are you doing + here? + + ETHAN + I need one hundred thousand + dollars. + + MAX + 47. + + +Really? And you thought if you +simply showed up I might give it to +you? + + ETHAN +Why not? You gave Job a hundred and +twenty five thousand. + + MAX +The penny drops. You are not Job. +Yes, Job is not given to quoting +Scripture in his communications. +And there was its tone -- +aggressive but playful. Job is not +playful. So you're something of a +paradox. + + ETHAN +That depends. + + MAX +On what? + + ETHAN +Whether you like a paradox. I want +a hundred and fifty thousand +dollars. + + MAX +It's quite out of the question. + + ETHAN +The disk Job sold you is worthless. +It's bait, part of an internal +molehunt. + + MAX +And how might you know that? Are +you another Company man? + + ETHAN +Like Job? + + MAX +Ah, but, we're asking about you. + + ETHAN +I'm NOC. Was. Now disavowed. + + MAX +Why, may I ask? + + ETHAN + 48. + + + That's the question I want to ask + Job. + + MAX + I don't know Job any more than he + knows me. + + ETHAN + Even so, I'm sure you could arrange + an introduction. + + MAX + Why should I? + + ETHAN + Because I can deliver the actual + NOC list. The one you have is not + only worthless, it's certain to be + equipped with a homing device to + pinpoint your exact location. + + MAX + It's easy to say the disk is + worthless when you say I can't look + at the information and see if it's + worthless. Not a tenable position, + sir. + + ETHAN + Okay, boot it up and in anywhere + from thirty seconds to ten minutes + you're gonna have Virginia farm + boys hopping around you like + jackrabbits. + + MAX + (Pause.) + Mm - Hmmm... + + ETHAN + Tell you what. How good's the RF + scanner you used in the car? + + MAX + Very good. + + ETHAN + Okay, use it. But I suggest pack up + first. + +ANGLE + 49. + + + MATTHIAS boots up. There's a little musical noise and the + screen brightens. The computer WHIRS and CLICKS and a + complex list of names, addresses, phone numbers and other + personal information scrolls by. But Matthias is watching + the digital read-out on the RF scanner. + + MATTHIAS + Twenty-six, twenty-seven. So far so + good. + + MAX + That's not so good for you, my + friend. + + On the scanner, the digital read-out is now in the + thirties. + + MATTHIAS + Thirty-two and change. + + MAX + (to Ethan) + Doesn't mean it's a signal. Could + just be the hard drive heating up. + + She looks from the scanner to ETHAN as if she's trying to + make up her mind about something. + + MATTHIAS + Forty-four. Forty-five. + + ETHAN + I'd say you've got about two + minutes. + + MAX still doubts it. The OTHER MAN goes to the windows -- + + --nothing happens. He opens the French doors that lead out + onto a balcony. + + +85 EXT. MAX'S APARTMENT - BALCONY - DAY 85 + + The OTHER MAN comes out on the balcony. Nothing out here + but a beautiful day. He walks to the railing and looks down + at the street. + + Down below, the dog that's still barking is tied to a + street sign. WOOF. WOOF. WOOF. Abruptly, it stops. + + +86 INT. MAX'S APARTMENT - DAY 86 + 50. + + + Back inside: + + MATTHIAS + Fifty-seven. Fifty-nine. + + +87 EXT. MAX'S APARTMENT 87 + + A pollution control van and a taxi arrive amidst other + street activity. KITTRIDGE and the FEMALE CZECH AGENT exit + the taxi as BARNES and TWO OTHER UNDERCOVER MALE IMF agents + leave the van. + + +88 INT. MAX'S BUILDING - LOBBY - DAY 88 + + Led by KITTRIDGE, the FIVE IMF AGENTS wearing Kevlar-lined + trenchcoats creep through the lobby of the building and hit + the stairs. They climb them silently. + + +89 INT. MAX'S BUILDING HALLWAY - DAY 89 + + A CLEANING WOMAN is vacuuming the hall carpeting when the + AGENTS come up the stairs, guns drawn. Her jaw drops and + she turns off the vacuum cleaner. + + FEMALE IMF + (in czech) + Switch it on. Keep cleaning. + + KITTRIDGE looks at her sharply and gestures. She turns the + vacuum back on. They reach the door of a certain apartment + and -- + + +90 INT. APARTMENT - DAY 90 + + -- KICK through it. The AGENTS swarm into MAX'S apartment, + guns waving in all directions. KITTRIDGE sweeps in between + them and takes command of the place -- + + --but there's nobody here. TWO AGENTS race into the + bedroom, and just as quickly out again. + + +91 EXT. POWDER TOWER - TOP SHOT - DAY 91 + + MAX, ETHAN, MATTHIAS and the OTHER MAN move quickly across + the bridge that connects Max's apartment to the tower. + + +92 EXT. MAX'S APARTMENT BALCONY - DAY 92 + 51. + + + KITTRIDGE kicks open the door to the balcony, comes + outside, and looks around. Nobody in sight. + + KITTRIDGE + GOD D- + + +93 INT. MAX'S CAR - ETHAN AND MAX - DAY 93 + + MAX + Oh dear, Gunther will never let me + use one of his apartments again. + (turns to Ethan) + Phew, sorry I doubted you, dear + boy. You're a good sport. Do accept + the compliment. + + ETHAN + Thanks, Max. Or is it Maxine? + + +94 INT. CAR - MOVING - DAY 94 + + MAX + I don't have to tell you what a + comfort anonymity can be in my + profession -- like a warm blanket. + (abruptly) + My deal with Job was subject to a + successful boot scan. Obviously it + didn't pass muster. Deal's off. + + ETHAN + What was your deal with Job? + + MAX + Six million dollars. I'll give you + the same. But I want the complete + list now, not just Eastern Europe. + I won't do this piecemeal, it's too + dangerous. I want the entire list, + the true name of every non-official + cover agent throughout the world. + + ETHAN + Ten million. Ten million in + negotiable U.S. Treasury + certificates, in bearer form, + coupons attached. And one more + thing -- your personal assurance + that Job will be at the exchange. + + MAX + 52. + + + Done. Bring it to me in London. I + want it by the end of the week. + + ETHAN + How will you make sure Job will be + there? + + MAX + How will you make sure I'll have + the list in three days? It's been a + delight. Now where can I drop you + dear boy? + + ETHAN + I'm not being dropped anywhere + without my money. + + MAX manages to laugh without coughing. Then, with an + admonishing forefinger: + + MAX + I'm going to have to front you + personally. Don't lose that money + without losing your life. + + ETHAN + I wouldn't dream of it. + + MAX settles back and regards ETHAN. A theatrical sigh. She + fancies this guy. + + CUT TO: + + +95 INT. MAX'S APARTMENT - DAY 95 + + KITTRIDGE waits on the balcony for his AGENTS to complete + their search. HARRY BARNES, a middle-aged, gray suited, + somewhat gray-faced bureaucrat, comes to join Kittridge. + + KITTRIDGE + The man's gone black, Barnes. He's + under until he decides to surface. + + BARNES + Look we can use someone from the + Embassy and we can get the local + authorities involved. Close off his + transportation. + + KITTRIDGE + 53. + + + What can we do, Barnes? Put a guy + at the airport? How many identities + do you think Hunt has? How many + times has he slipped past custom, + in how many countries? These guys + are trained to be ghosts. We taught + them how to do it, for Christ's + sake! + + BARNES + So what do you suggest? + + KITTRIDGE + Let's not waste time chasing him. + Make him come to us. Everybody's + got pressure points. Find out + something that's important to him + personally and you squeeze. + + CUT TO: + + +96 INT. SAFE HOUSE - DAY 96 + + ETHAN enters the living room. CLAIRE walks out of the + bedroom holding a gun. + + ETHAN reaches into his jacket and holds up a hefty wad of + currency. + + CLAIRE + Max made a deal with you? + + ETHAN + I deliver the NOC list, Max + delivers Job. + + CLAIRE + We've got seventy-five rounds for + your Glock 9, but only twenty for + the Sig Sauer, one pair of Visco + glasses with monitor, plenty of + passports. You said it yourself -- + if I'm not dead, I'm with you. + + ETHAN + You're sure about this? + + CLAIRE + Jim was my husband. I want to know + who killed him. ( ALT ) I want to + get the son of a bitch who did + this. + 54. + + + ETHAN + We need help, and we don't have + time. They have to be local. + + CLAIRE + What kind of help? + + +97 INT. SAFE HOUSE - MOMENTS LATER - DAY 97 + + The KY57 crypto phone, a black box with an ordinary phone + receiver in the top, THUNKS down on the table. + + ETHAN plugs the phone cable from his laptop into the back. + The green display on top of the KY57 dials a number and + makes a computer connection. + + On the computer, the screen says: + + I.M.F. PERSONNEL DATABASE + + ENTER PASSWORD NOW + + ETHAN types a password and the screen asks him for the + + CATEGORY? + + He types in a single word. + + DISAVOWED + + DISSOLVE TO: + + +98 INT. TRAIN - STATEROOM - NIGHT 98 + + The word "disavowed" dissolves slowly over the stateroom of + a high speed train, where the newly assembled IM force has + gathered around a table -- KRIEGER, a dangerous-looking + Frenchman of forty or so, LUTHER STICKELL, a muscular, + soft- spoken American in his mid-thirties. ETHAN, and + CLAIRE. LUTHER regards the others warily. + + ETHAN + Simple game. Four players. + (points to Krieger) + Exfil opens the pocket -- + (and to Luther) + -- cyber ops lifts the wallet. + + KRIEGER + Bank? + 55. + + + ETHAN + IMF mainframe. + + KRIEGER + (after a moment) + Where exactly is it? + + ETHAN + In Langley. + + LUTHER + In Langley? The one in Virginia, + Langley? + + KRIEGER + Inside CIA headquarters at Langley. + +ETHAN nods. KRIEGER turns to CLAIRE. + + KRIEGER + Is he serious? + + CLAIRE + Always. + + KRIEGER + If we're going to Virginia, why + don't we drop by Fort Knox? I can + fly a helicopter right in through + the lobby and set it down inside + the vault and it will be a hell of + a lot easier than breaking into the + God damn CIA. + + LUTHER + What are we downloading? + + ETHAN + Information. + + LUTHER + What kind? + + ETHAN + Profitable. + + CLAIRE + Payment on delivery. + + LUTHER + I don't know. This I don't know. + + ETHAN + 56. + + + This doesn't sound like the Luther + Stickell I've heard of. What'd they + used to call you? The Net Ranger? + Phineas Phreak? The only man alive + who actually hacked NATO Ghostcom. + + LUTHER + There was never any physical + evidence that I had anything to do + with that.. that.. + (correcting himself) + With that exceptional piece of + work. + + ETHAN + You don't know what you're missing. + This is the Mt. Everest of hacks. + + LUTHER + You're all kidding yourselves. Even + with top of the line crypto. Cray + access. STU 3's -- + + CLAIRE + Krieger can get it. + (to Krieger) + Right? + + KRIEGER + May take a little time. + + ETHAN + May take a little time. That's not + what Claire tells me about you. + + LUTHER + Thinking Machine laptops, I'm + talking about the 686 prototypes -- + with the artificial intelligence + Risk chip -- + +ETHAN looks at KRIEGER. + + KRIEGER + Twenty-four hours. + +ETHAN looks back at LUTHER. LUTHER thinks. + + LUTHER + And I get to keep the equipment + when we're done. + + ETHAN + 57. + + + Luther, I guess you're all out of + excuses. + + LUTHER + I can't just hack my way inside. + There's no modem access to the + mainframe, it's in a stand-alone. + I'd have to be physically at the + terminal. + + ETHAN + Luther, relax, it's worse than you + think. The terminal's in black + vault lock-down. + + +99 INT. CIA CORRIDOR - GUARD STATION - DAY 99 + + While ETHAN talks, we see what he's referring to: + + A CIA ANALYST carrying a glass of iced tea and several file + folders walks down a long corridor in the headquarters + building. He comes to an impressive guard station and rests + his chin on a strange-looking optometric device. + + ETHAN (V.O.) + They missed nothing in that room. + Even the vents have laser nets over + them. + + Apparently the device approves and the ANALYST is buzzed + into a "RESTRICTED" area of the building. + + +100 INT. CIA COMPUTER ANTEROOM - DAY 100 + + The ANALYST reaches a curtained area. He shoves the curtain + aside and comes to a large, vaulted door. He slides a card- + key into a slot, leaves it there and slides a second card- + key into the slot beneath it. + + ETHAN (V.O.) + Inside, there are three + countermeasure systems that can + only be deactivated by authorized + entry. Which we won't have. + + A panel next to the ANALYST says "INTRUSION COUNTERMEASURES + OFF." The ANALYST next spins a three digit combination + code, CHUNKS the door open and steps into -- + + +101 INT. CIA COMPUTER ROOM - DAY 101 + 58. + + + -- the secured terminal room. It's not large but it's + impressive. A single terminal is bolted into the middle of + the floor and the glass and tile walls of the room overlook + computer storage towers. + + ETHAN (V.O.) + The first system is sound- + sensitive, anything above a whisper + sets it off. The second system is + on the floor and pressure-sensitive + -- + + The ANALYST closes the vault door behind him and walks + across the room. As he walks, the floor tiles light up + under his feet, turning off again when he lifts the weight + from them. + + ETHAN (V.O.) + --and the third detects any + increase in temperature. Even the + body heat of an unauthorized person + in the room will trigger it. + + A thermometer on the wall shows the temperature is 72 + degrees. The ANALYST sets his glass down, boots up the + computer, and starts entering data from the file folders. + + ETHAN (V.O.) + All three systems are state of the + art. + + The ANALYST turns and takes a sip of his iced tea. A drop + of condensation runs down the glass and hits the floor. + When it makes contact, the floor panel lights up. + + +102 INT. TRAIN STATEROOM - NIGHT 102 + + The other team members gathered around the table look at + ETHAN skeptically. + + LUTHER + And you really think we can do + this. + + +103 INT. TRAIN CORRIDOR - NIGHT 103 + + The middle of the night and the train is dark. The team + members come out of the stateroom to go to bed -- KRIEGER + heads in one direction, ETHAN and CLAIRE in the other. + 59. + + + ETHAN stops. His attention is drawn to the car ahead. There + is a window in the door to the car and he looks through it. + + +104 INT. BUSINESS CAR - NIGHT) 104 + + Ethan sees the business car, a plush space for busy + executives to get some work done on the train. There are + laptops, cellular phones, desks that fold out in front of + spacious seats. + + A FEMALE EXECUTIVE, forty or so, is seated at one of the + desks, typing away into her laptop. + + +105 INT. TRAIN - CORRIDOR - NIGHT 105 + + ETHAN knocks on the compartment door. + + ETHAN + May I come in? + + CLAIRE + (wary but interested) + Sure... + + +106 INT. TRAIN - CLAIRE'S COMPARTMENT - NIGHT 106 + + ETHAN and CLAIRE enter, ETHAN closing the compartment door. + He pulls an envelope from his jacket and holds it out to + her. She takes it, waits. + + ETHAN + It's cash. And a second passport. + If anything goes wrong when we're + inside, if you sense even the + slightest deviation don't look over + your shoulder, you walk away - you + hear me? Just walk away. + + CLAIRE + You don't think we're going to make + it. + + ETHAN + I didn't say that. + + CLAIRE + You didn't have to......... + + ETHAN + I just need you to be safe. + 60. + + + CLAIRE + What about you? + + ETHAN + What about me - Jim called an abort + - I didn't comply. I lost the team. + I just need you to be safe. + + CLAIRE's coolness causes ETHAN to hesitate just enough to + take it in. + + CLAIRE + I wish I'd never laid eyes on you.. + + And they're suddenly, violently in each others arms, + kissing and half-falling onto the converted bed. She + suddenly resists. He senses it and pulls away. + + ETHAN + Sorry. + + He rises and goes to the door. He's got his hand on the + knob when CLAIRE wraps her arms around him from behind, + turns him to her and kisses him, deeply. This time they + sink slowly to the bed. + + CUT TO: + + +107 EXT. CIA LANGLEY - DAY 107 + + Seen from the air, CIA headquarters is a sprawling complex, + two huge buildings surrounded by acres of parking lots + hacked out of a thick forest. + + LANGLEY + + +108 INT. COMMUNICATIONS ROOM - DAY 108 + + KITTRIDGE, BARNES, and their STAFF are hard at work, + photographs and biographical data of ETHAN on various + computer and television screens around the room. KITTRIDGE + leans back in his chair, staring at the ceiling. + + BARNES + What I want to know is how Hunt + accessed the disavowed file, even + after we cut off his authorization + code. + + AGENT LOWDEN/AGENT + 61. + + + MAREK + He may have used Phelps' code. They + were friends, and Phelps, was still + valid for twenty-four hours. + + BARNES + If that's the case, we need to + implement a system to immediately + deactivate an agent's code + immediately... + +KITTRIDGE brings his chair legs down on the floor with a +BANG. + + KITTRIDGE + I can't believe what I'm listening + to. Hunt just kicked us in the ass, + you guys are standing here trying + to figure out what kind of shoes he + had on! I don't care how he did it, + I want to know why he did it! Is he + recruiting? For what purpose? + +From somewhere in the building, an ALARM sounds, not too +loud in here. + +AGENT PAT/AGENT + + LOWDEN + Survival. + +The alarm get louder as it goes off in another part of the +building. + + KITTRIDGE + Too short sighted. This guy's + proactive, he initiates. The + question is what does he want now + and where does he need to get it + and Barnes what the hell is that + noise?! + +An AGENT is just coming in from the hallway. + + AGENT + Fire alarm, Gene. + + KITTRIDGE + Oh, for -- do we have to evacuate? + + BARNES + That's S.O.P.. + 62. + + + KITTRIDGE + S.O.P.. + + CUT TO: + + +109 EXT. VIRGINIA TWO LANE HIGHWAY - DAY 109 + + SIRENS BLARING, three fire trucks race past an + inconspicuous gray van parked on the shoulder of a two lane + highway. + + +110 INT. CIA LANGLEY LOBBY - DAY 110 + + Three FIREMEN stomp into the main lobby of the CIA + headquarters building. ETHAN and KRIEGER are among them, in + firemen's jumpsuits, carrying packs of equipment. + + ETHAN takes a breath as they cross to the GUARD's desk. He + looks up, above him. + + Etched into the top of one wall are the words "AND YE SHALL + KNOW THE TRUTH AND THE TRUTH SHALL MAKE YOU FREE." + + They reach the GUARD. ETHAN, who wears Visco glasses, + elbows to the front of the group and takes charge. + + ETHAN + (to the Guard) + We picked up alarms in sectors + three, seven, and twelve. + + The GUARD checks a screen in front of him. + + GUARD RICHARD + Yeah. That's what I've got too. + + The FIREMEN look at each other. Who is this guy? But he + seems to know what he's talking about, so -- + + ETHAN + (to the Guard) + What sector's the air conditioning? + + GUARD RANDALL + Uh -- twenty-one, but there's no + alarm in sector twenty-one. + + ETHAN + I gotta go in there and shut it + down! + 63. + + + GUARD RANDALL + Nobody goes into any sector where + the alarm didn't go off. + + ETHAN + Do you want to blow the fire + through the whole building? + + GUARD RICHARD + (reciting policy) + Nobody goes into any sector where + the alarm did not go off -- + + +111 EXT. CIA LANGLEY - PARKING AREA - DAY 111 + + One fire truck is parked slightly behind the others in the + parking area of the headquarters building. Second truck + roars past. LUTHER watches it go. + + +112 INT. FIRE TRUCK - DAY 112 + + LUTHER is in the belly of the fire truck with a ton of + equipment -- three laptops, a bundle of phone cable, a + mini- dish antenna, a cellular phone, several thick phone + company manuals with names like "COSMOS" and "SWITCHED + ACCESS SERVICE." + + One laptop serves as a Visco monitor, showing a video image + in which LUTHER watches ETHAN'S point of view of the + stubborn GUARD, who's finishing his sentence. + + GUARD + (on screen) + --and it did not go off in twenty- + one! + + LUTHER turns to a screen on another computer and searches + through a complex facilities menu. + + LUTHER + (mouths) + Twenty-one, twenty-one -- + + He finds what he's looking for and double clicks on it. A + red box on his screen lights up -- + + +113 INT. CIA LANGLEY - LOBBY - DAY 113 + + -- and the same red box lights up on the GUARD'S screen. + From in the distance, a new ALARM begins to wail. + 64. + + + GUARD RANDALL + Wait! Hold it - it's on. Let's go. + + ETHAN + Let's move! + + ETHAN turns and looks at one of the FIREMEN behind them -- + it's CLAIRE. CLAIRE and KRIEGER follow ETHAN/GUARD to + corridor. + + +114 INT. CIA STORAGE ROOM - DAY 114 + + CLAIRE quickly slips out of her fireman's jumpsuit, + revealing a business suit underneath. She clips an ID tag + to her breast pocket. + + She pulls a piece of paper from her pocket, a computer + printout of a man's ID photo. She stares at the face, + studying it. + + +115 INT. CIA CAFETERIA - DAY 115 + + CLAIRE, carrying a cup of coffee and a muffin, looks for a + spot among the tables in the cafeteria of the headquarters + building. + + She sees a MAN sitting alone, reading a newspaper. It's the + man whose picture she looked at in the storage room. She + sits next to him. + + He looks up and gives her an acknowledging half smile, then + goes back to his paper. + + He turns to pick up the paper and in the moment he is + facing the other way, CLAIRE pulls out a small vial + resembling a perfume sampler. She dumps the clear liquid + contents into his coffee. He turns back and hands her part + of the paper. CLAIRE smiles. + + COFFEE MAN drinks up. CLAIRE stares at his shoulder + strangely. He notices. + + She reaches out and flicks something off his shoulder + blade. + + He smiles. But she hasn't flicked something off his + shoulder blade, she's flicked something onto it -- a little + piece of shiny gray metallic tape. CLAIRE leaves the table. + COFFEE MAN drinks up and leaves the table. + 65. + + +116 INT. FIRE TRUCK - DAY 116 + + LUTHER stares at another one of his laptops, this one with + a blueprint of the inside of the building. A cursor begins + to flash in one of the rooms. LUTHER smiles. + + LUTHER + Hi there. + + +117 INT. CIA CORRIDOR/GUARD STATION - DAY 117 + + A GUARD carrying an MP5, a handheld machine gun, leads + ETHAN and KRIEGER to a heavy metal door marked SERVICE. + + GUARD + Air conditioning's through here! + + They turn a corner, walking directly past -- + + -- COFFEE MAN, who's coming the other way. We stay with + + COFFEE MAN. + + +118 INT. CIA LANGLEY - CORRIDORS - DAY 118 + + COFFEE MAN comes out of the cafeteria, walks down the + corridor. he goes to the restricted access door, taps the + control panel. + + CIA ANALYST + William Donloe. + + COFFEE MAN (ANALYST) walks past a GUARD desk and peers into + an optometric scanner and we suddenly remember where we've + seen COFFEE MAN before. He's the TECHNICIAN who works at + the secured computer terminal. + + +119 INT. CIA - SERVICE AREA - DAY 119 + + ETHAN and KRIEGER in the service area - preparing. ETHAN + putting the mask in a bag. + + The GUARD returns. + + GUARD + Where's the other guy? + 66. + + + The GUARD moves towards ETHAN, who kicks back at him, + pushing him back to KRIEGER, who zaps the GUARD on the back + of the neck. He twitches and slumps to the ground, + unconscious. KRIEGER quickly grabs him around the neck. + + ETHAN turns. Holding the GUARD'S head with one hand, + KRIEGER pulls a stiletto from the sheath in the back of his + belt with the other. He jabs it toward the base of the + GUARD'S skull - + + -- but ETHAN is on him in a flash. He grabs KRIEGER's knife + arm shoving it up against the wall. Staring into KRIEGER'S + face in warning. + + ETHAN + Zero body count. + + KRIEGER + (a threat) + We'll see. + + ETHAN + Time up. + + ETHAN releases him and walks away. + + +120 INT. VERTICAL DUCT - DAY 120 + + The Guard is tied up, lying on the floor of the Service + Area Room. ETHAN and KRIEGER are below the open vent into + the duct system. + + The first climb is straight up. KRIEGER cups his hands + under ETHAN'S foot and lifts him up into the duct as he + starts to climb. + + +121 INT. DUCT - DAY 121 + + ETHAN and KRIEGER crawl quickly through the ducts, moving + horizontally now. They reach a juncture and turn right. + + ETHAN + - 2 - 3 - Toast, toast. Luther, I'm + going in. Don't disappoint + me...Krieger, from here on in, + absolute silence. + + +122 INT. DUCT - DAY 122 + 67. + + + ETHAN and KRIEGER reach a ventilator shaft in the duct. A + laser net protects the ventilator, red shafts of light + cris- crossing every which way. ETHAN looks down, through + the net. + + He can see the computer room below and the top of the + TECHNICIAN'S head. + + +123 INT. DUCT - DAY 123 + + In the duct, ETHAN signals to KRIEGER, making a triangle of + his hands. KRIEGER wriggles forward and hands him a multi- + sided, pyramid shaped glass object. + + ETHAN raises the pyramid and intercepts a portion of one of + the laser net's beams. The pyramid glows and we realise + what it is -- a prism. + + The laser beam now captive in the prism, ETHAN carefully + moves it out of the centre of the ventilator shaft and + directs it toward another prism, clearing a path through + the shaft. + + +124 INT. CIA - COMPUTER ROOM - DAY 124 + + Up in the ceiling above it, one of the screws starts to + move in the ventilator shaft, unscrewing. When it appears + ready to drop out, a thin strip of metal snakes out from + between the bars of the shaft and edges up next to the + screw. + + The screw drops out of its hole but it doesn't drop to the + floor, it zips over and clings to the side of the metal + strip with a gentle CLICK, as to a magnet. + + The screw is pulled up, through the shaft. Now the whole + shaft moves, down, into the room, held by a hand. + + It turns sideways and is pulled up, into the duct. + + A rubber tube snakes down, through the hole, coming to a + stop near the thermostat, which says it's seventy-two + degrees. A gentle WHOOSH is audible as frosty air blows + through the tube, cooling the room. + + +125 INT. CIA COMPUTER ROOM - DAY 125 + + The TECHNICIAN defaults the security systems outside the + terminal room. + 68. + + +126 INT. CIA - COMPUTER ROOM - DAY 126 + + It is eerily still in the locked-down computer room we saw + earlier. No-one is there, there's not a sound but for the + gentle HUM of the computer as it waits to be put to use. + + Now ETHAN's head descends slowly into the room, his hair + falling in front of him. + + At first it seems he's just poking his head in for a look, + but he keeps coming and coming -- first his head, then + shoulders, then waist, then knees, and finally we see his + ankles and understand. + + He is lowered to stop in front of the thermometer and + temperature read out on the computer. Suddenly ETHAN is + lifted back up quickly to hang at ceiling height above the + computer as the ANALYST enters the room. + + +127 INT. CIA - COMPUTER ROOM - DAY 127 + + The TECHNICIAN crosses to the computer and sits down, a + stack of work to his right. + + +128 INT. CIA COMPUTER ROOM - DAY 128 + + The TECHNICIAN is working away at the computer. He pauses + and wipes some sweat from his forehead. + + +129 INT. CIA COMPUTER ROOM - DAY 129 + + With a strange look on his face, the TECHNICIAN looks up. + It's almost as if he senses ETHAN above him but instead -- + + TECHNICIAN + Oh, God. + + -- he vomits. + + He reaches for the garbage can and upchucks again. Puzzled, + sick and feeling another wave coming on, he drags himself + to his feet, hauls himself across the room and leaves. + + +130 INT. CIA - COMPUTER ANTEROOM - DAY 130 + + Even sick, the TECHNICIAN still thinks to re-activate the + alarm systems with a card-key. They HUM back to life + efficiently, a light flashing: + 69. + + + INTRUSION COUNTERMEASURES ON + + +131 INT. CIA COMPUTER ROOM - DAY 131 + + ETHAN descends again, slowly but steadily, until he is at + the same height as the computer terminal to hang + horizontally in front of the computer. + + A heavy velcro strap binds his ankles together, secured by + a rope that leads up into the ventilator shaft and through + the set of pulleys. + + +132 INT. DUCT - DAY 132 + + KRIEGER holds the rope, his jaw clenched, sweat breaking + out on his forehead. + + +133 INT. CIA - COMPUTER ROOM - DAY 133 + + Unfortunately, he's three feet away from it. He stretches + his arms but can't reach. + + He blinks, unable to believe this. He curls himself into a + situp and looks up, into the shaft. + + +134 INT. DUCT - DAY 134 + + KRIEGER sees the predicament. + + +135 INT. CIA - COMPUTER ROOM - DAY 135 + + ETHAN gestures to him, pointing to the floor. Slowly, + KRIEGER drops him another few feet. Now ETHAN's lower than + the terminal and still three feet away from it. + + He closes his eyes, summoning his strength and does another + situp, bringing himself up right in front of the terminal. + + +136 INT. FIRE TRUCK - DAY 136 + + In the fire truck, LUTHER, who is watching on the Visco + monitor, turns his head upside down to get a look at what + ETHAN sees. + + He cups his hands around the microphone of his headset and + begins to whisper. We hear only the moist, airy sound of + his breath, not the words. + 70. + + + LUTHER + Type this password: AW96B6. Return. + Go to the files menu, find the NOC + list file. Open "NOC List." Put + your diskette in. Double click on + the NOC list. + + +137 INT. CIA - COMPUTER ROOM - DAY 137 + + ETHAN's ear receiver WHISPERS ever-so-slightly. He reaches + out, to the upside down keyboard, cranes his head to see it + and starts typing, softly. + + The computer HUMS, activated. ETHAN unbuttons his pocket, + withdraws a 3.5 disk and slides it gently into the floppy + drive. + + The computer accepts it with a soft WHIR. ETHAN winces, + even that soft sound is deafening in these circumstances. + + But no alarms go off. + + +138 INT. FIRE TRUCK - DAY 138 + + LUTHER cranes his head again to see the computer terminal + through ETHAN's trembling viewpoint. He WHISPERS more + commands. + + LUTHER + Ok, good! It's scrolling. 0K, now + we're going to download. Edit menu. + Select "copy to disc". You're + downloading. When it's all green + it's done. + + +139 INT. CIA - COMPUTER ROOM - DAY 139 + + ETHAN types in the contends, presses enter and the screen + displays a comforting message: + + DOWNLOADING + + +140 INT. FIRE TRUCK - DAY 140 + + LUTHER'S eyes widen as he gets his first look, on the Visco + monitor, of the specific information they're downloading. + The NOC list. + + LUTHER + 71. + + + Holy mother of God. + + +141 INT. DUCT - DAY 141 + + KRIEGER shakes with the strain of holding the rope. His + eyes suddenly widen as he sees something next to him. + + It's a rat. KRIEGER stares. The rat stares back. Neither + moves. Puzzled by KRIEGER'S lack of response, the rat + crawls forward, inquisitive. + + KRIEGER's eyes water, his nose twitches. He's about to + sneeze. + + +142 INT. FIRE TRUCK - DAY 142 + + LUTHER pulls himself together and WHISPERS another command + into the microphone. + + LUTHER + You've done it. Eject it. + + +143 INT. CIA - COMPUTER ROOM - DAY 143 + + The 3.5 disk is ejected from the floppy drive. ETHAN + pockets it and signals to be raised. + + Slowly, his body starts to move up. As it does, a bead of + sweat rolls down his nose, balling at the tip. + + ETHAN ignores it. But below him, he sees the floor tiles, + four of them lit up under the wheels of the chair at the + computer terminal. + + His eyes widen as he realizes something -- + + --the drop of sweat falls -- + + --and he catches it with his right hand. + + +144 INT. CIA - MEN'S - DAY 144 + + CIA ANALYST crosses corridor from restricted access door to + bathroom. + 72. + + + A toilet FLUSHES, smashing the silence, and the TECHNICIAN + staggers out of the bathroom. He goes to the sink and + throws some water on his face. He's still unaware of the + piece of shiny metallic tape stuck to his shoulder blade. + + He walks out of the bathroom, crosses corridor to door. + + +145 INT. FIRE TRUCK - DAY 145 + + On one of LUTHER'S laptops, the blinking cursor starts to + move down a corridor. LUTHER speaks into his microphone. + + LUTHER + He's rolling. Get moving! + + +146 INT. CIA - COMPUTER ROOM - DAY 146 + + ETHAN is near the ceiling, but KRIEGER isn't pulling any + more. ETHAN looks up at him, wide-eyed and gestures to pull + him up. KRIEGER shakes his head no. + + ETHAN gestures -- "WHAT?!" + + +147 INT. FIRE TRUCK - DAY 147 + + The cursor is halfway across the screen. + + LUTHER + Get out of there -- get out of + there -- + + +148 INT. CIA - COMPUTER ROOM - DAY 148 + + ETHAN still dangles. Holding the rope with one hand, + KRIEGER holds out his other, demanding something. He wants + the disk. + + +149 INT. CIA CORRIDOR - GUARD STATION - DAY 149 + + The TECHNICIAN makes his way back down the corridor, toward + the computer room. + + +150 INT. FIRE TRUCK - DAY 150 + + The blinking cursor is near the edge of the screen and + LUTHER is sweating. + 73. + + + LUTHER + He's at the vault - get moving! 1 + yellow, 2 yellows...Toast! + + +151 INT. CIA - COMPUTER ROOM - DAY 151 + + ETHAN, still hanging upside down, has refused. KRIEGER + demands again. + + +152 INT. CORRIDOR - GUARD STATION - DAY 152 + + The TECHNICIAN passes through the optometric scanner. + + +153 INT. FIRE TRUCK - DAY 153 + + LUTHER + You're not moving! + + +154 INT. CIA - COMPUTER ROOM - DAY 154 + + ETHAN is hoisted up. + + +155 INT. FIRE TRUCK - DAY 155 + + LUTHER + Phew! (to himself) NOC list. + + +156 INT. CIA - COMPUTER ROOM - DAY 156 + + ETHAN has the diskette in his mouth. KRIEGER leans down and + takes it. He drops the knife. + + KRIEGER + Merci. + + ETHAN + We're not outta here yet. + + +157 INT. CIA - COMPUTER ANTEROOM - DAY 157 + + The TECHNICIAN deactivates the alarm systems, swings the + door open and comes back into the room. + 74. + + + He turns to close the door behind him and in so doing just + misses seeing ETHAN'S head as it is pulled back up into the + ceiling. + + CUT TO: + + +158 INT. DUCT - DAY 158 + + ETHAN throws smoke cannisters and he and KRIEGER crawl + frantically back through the duct, the way they came. + + +159 INT. CIA LANGLEY - LOBBY - DAY 159 + + CLAIRE walks quickly past the GUARDS in the reception area + and out of the building. + + +160 INT. CIA - COMPUTER ROOM - DAY 160 + + The TECHNICIAN enters the room and shuts the door. He sees + the knife, picks it up, looks at it and then puts it down. + He resumes his work at the computer but when he punches up + his program, something prints out on his screen. Its + header: + + KEYSTROKE LOG -- FILE DOWNLOAD + + 9.58 AM + + And it goes on. The TECHNICIAN'S eyes widen in disbelief. + He spins back in his chair and reaches for the nearest + telephone. + + +161 INT. CIA - COMMUNICATIONS ROOM - DAY 161 + + In the communications room, tempers are running a little + high. KITTRIDGE is on his feet, berating his staff. + + KITTRIDGE + Think, for Christ's sake, you guys + are mired in detail, open your + minds, it's gotta be staring us in + the face! What does Ethan Hunt + want?! + + BARNES + Same thing he wanted in Prague! + Same thing he's always wanted! The + NOC list! + 75. + + + KITTRIDGE + Okay! + + Now it's coming together in KITTRIDGE'S mind and a horrible + thought occurs to him. + + KITTRIDGE + And where is the list vulnerable? + + There is nervous silence for a moment. Behind KITTRIDGE, on + the other side of the room, the phone starts to ring. + + An AGENT gets up to answer it as a creeping fear pervades + the room. + + KITTRIDGE + (joking) + Other than here. + + Nervous laughter goes around the table. It fades. On the + other side of the room, the AGENT who answered the phone + turns, receiver in hand, face ashen. + + He holds the phone out to KITTRIDGE, terrified, the bearer + of extremely bad news. + + They all turn slowly and look at him. He holds the phone + out to KITTRIDGE, shaking slightly. + + AGENT + It's for you. + + KITTRIDGE + Kittridge, yup? + + CUT TO: + + +162 EXT. VIRGINIA ROAD - DAY 162 + + It may be a HUMAN SCREAM or it may be a SIREN'S WAIL but it + echoes over the forest as a lone fire truck ROARS away from + the headquarters building, making its escape. + + +163 INT. FIRE TRUCK - MOVING - DAY 163 + + LUTHER, KRIEGER, CLAIRE and ETHAN, the victorious team, are + in the truck's cab. They exchange looks of massive relief. + But no one speaks. LUTHER, in particular, looks heavily + troubled by what they've just done. + 76. + + + ETHAN looks at CLAIRE, who is jammed into the seat next to + him. She drops her head on his shoulder, exhausted. + + KRIEGER, in the driver's seat literally and figuratively. + + ETHAN just looks straight ahead and to CLAIRE. + + CUT TO: + + +164 INT. COMMUNICATIONS ROOM - DAY 164 + + The TECHNICIAN who discovered the theft of the list sits at + one end of the now-empty conference table in the + communications room. KITTRIDGE sits in a chair beside, + staring gravely at him. + + He gets up and walks to the door, where HARRY BARNES + hovers. KITTRIDGE lowers his voice, it's barely audible. + + KITTRIDGE + (to Barnes) + You and I know about this -- and + that's where it stops. Understand? + It never happened. + + BARNES + What about him...? + + He gestures to the TECHNICIAN, who watches them anxiously. + + KITTRIDGE + I want him manning a radar tower in + Alaska by the end of the day. Just + mail him his clothes. + + He leaves. Barnes turns to the TECHNICIAN, who looks up at + him anxiously. + + CUT TO: + + +165 EXT. LONDON - NIGHT 165 + + Night. This street is a row of nondescript hotels, one + after the other, with anonymous names like "Hotel Pomeroy," + "Hotel Vincent," and "Hotel Berridge." + + LONDON + + +166 INT. LONDON SAFE HOUSE - NIGHT 166 + 77. + + +This barely furnished flat is as nondescript as the row of +buildings it's in. ETHAN hurriedly digs through an +overnight bag until he finds what he's looking for -- the +now-battered bible he's used to contact Max. He flips +through the pages and crosses the room to his laptop, which +is powered up and waiting on the tiny desk. + +LUTHER, alone in a chair across the room. is seriously +preoccupied. KRIEGER is sprawled-on a ratty sofa, hoisting +a lager and watching CNN. + +CLAIRE is at the window staring out, anxious. + +KRIEGER glances over the back of the sofa at ETHAN. + + KRIEGER + You contacting your buyer? + (no answer) + Ethan? + +From the desk, ETHAN glances up. Then goes back to the +computer. KRIEGER continues to glare over the sofa back. + + KRIEGER + Ethan? Oh, 'scuse me Mr. Hunt? + +ETHAN ignores him, working. His computer jams with static +as it connects to a BBS. The screen blinks and displays the +familiar Bible group service through which he's contacted +Max. When it asks him which chapter and verse for the +posting, ETHAN flicks through the Bible, looking for the +next code. He begins to type. + +MAX -- Now might be an excellent time to interpret +Scripture face to face. Meet on TGV, noon tomorrow. Take +seat 27. Bring our mutual friend Job. + +KRIEGER suddenly appears over his shoulder and knocks bible +out of Ethan's hands to the floor. + + KRIEGER + You're not going to any meeting + without me. + + ETHAN + My contact is extremely shy. + +He goes back to the computer, his finger hovering over the +"ENTER" button. + 78. + + +LUTHER and CLAIRE watch this growing conflict closely. +ETHAN sighs and stands up. KRIEGER pulls out the blue disk +he took from ETHAN in the computer room and waves it in +front of him. + + KRIEGER + I don't think you're in any + position to give orders, do you? + Not while I'm holding this. + + CLAIRE + Krieger. + + KRIEGER + Stay out of this. + + OR + Lachez - moi + + OR + T'agueue + + ETHAN + Don't you mean this? + +He reaches into his briefcase and pulls out an identical +disk. He puts it back in his jacket pocket. + +KRIEGER stares for a second. + + KRIEGER + That's not it. That's not the list. + + ETHAN + What's the matter, you don't know + this trick? + +He holds the jacket pocket wide open, for KRIEGER to look +into. KRIEGER does. The pocket is empty. + + ETHAN + (mock surprise) + Where did it go?! It's GONE! + +ETHAN walks over to CLAIRE, reaches into the pocket of the +trousers she's wearing and pulls out the disk. + + ETHAN + But not too far! + +He palms the disk in his right hand. + + ETHAN + 79. + + + I know what you're thinking, + Krieger. You're thinking, back in + the computer room -- I was up here + - - he was down there -- . He was + carrying two discs. + +While he talks, he rotates his hand, palm away from +KRIEGER. When he rotates it back, the disk is gone again. +He holds up his left hand. It's there now. + + ETHAN + So hard to keep track of these + things. + +ETHAN shows his hands -- now both are empty. + + KRIEGER + (fuming) + Where is it? + +ETHAN pats his pockets, pretending to be frantic. + + ETHAN + I thought you had it! Do you + actually think I'd let you have the + NOC list? + +KRIEGER just stares at him, shaken. CLAIRE laughs. KRIEGER +looks at her. He turns completely red. When he looks back +at ETHAN, ETHAN holds two disks -- one in each hand. + + KRIEGER + Try any sleight-of-hand with my + money and I'll cut your throat. + +He tosses his worthless disk into the trash can and storms +out, SLAMMING the door behind him. ETHAN picks up the Bible +and sees Drake Hotel. + + CLAIRE + I'm so sorry. Krieger was my call. + I've never worked with him. I'm + sorry, Ethan. + + ETHAN + We did what we had to do. + + CLAIRE + I'm going to try and get some + sleep. + +She leaves, closing the door behind her, leaving ETHAN and +LUTHER alone. + 80. + + + ANGLE + ETHAN waits a moment, then casually + walks to the trash can, picks up + the disk KRIEGER threw out and + brushes it off carefully. + +He replaces it, in the trash, with the blue disk from his +jacket pocket. + + LUTHER + Krieger did have the NOC list. + + ETHAN + Now I want you to hold onto it. + + LUTHER + What makes you trust me? + + ETHAN + Because if you knew what you were + getting into, you never would have + done it. + + LUTHER + I'm not letting this list get out + in the open. + + ETHAN + Exactly, that's your job. Tomorrow + on the train, you can't let this + list get out into the open. What's + the range of this thing? + + LUTHER + It's hard to tell. I'm gonna have + to be close. + + ETHAN + I'll get you close. + +Claire opens the door. + + CLAIRE + Ethan I need to talk to you. + +ETHAN follows CLAIRE into her room where she shows him the +television screen. + +INSERT - SCREEN + +On the screen, an anchor in the CNN news center. + + ANCHOR + 81. + + + The unlikely setting...a farm in + the heartland of America...the + State of Wisconsin, where federal + agents claim to have broken the + brain trust behind an international + drug ring. For a report we go live + now to CNN correspondent (Joe + Jones) in the state capitol, + Madison. (Joe)...? + +CNN reporter speaks to camera, on the steps of a +courthouse. + + REPORTER + Authorities have identified the + couple as Margaret Ethan Hunt and + Donald Hunt. + +BACK TO SCENE + +ETHAN looks. CLAIRE behind him. + +INSERT - SCREEN + +An OLDER COUPLE, mid-sixties, exit the doors and are led +down the steps of the courthouse in shackles. The Reporter +and other news crews race up to the door. + + REPORTER + Here they are now. + +Camera follows the couple downstairs. Police roughly pull +them away from the news crews. + +BACK TO SCENE + +INSERT - SCREEN + + REPORTER + They were apprehended this morning + by the DEA in a major sting + operation for the illegal + manufacture of the drug + methcathinone, known on the street + as "cat". + + BACK TO SCENE + + ETHAN + INSERT - SCREEN + + VOICE (O.S.) + 82. + + + Similar to methamphetamines, cat is + seen by officials as one of the + most powerful and dangerous drugs + in the world. Some thirty-four cat + labs have been seized so far, but + the recently widowed Mrs. Hunt and + her brother-in-law are believed to + be involved in a global drug + distribution network. + +A public official exits the building. The reporter and +other news crews charge up to him. + + REPORTER + Mr. Fairchild, agent Fairchild, a + comment please. + +The image on the television changes to an interview with a +PUBLIC OFFICIAL who faces a bank of microphones. + + PUBLIC OFFICIAL + I think it's sad, really. Farmers, + unless they're a conglomerate, are + always operating on a paper-thin + margin. I'm afraid what we have + here is a case of a naive and + lonely widow with a lot of + financial problems who chose to + make money through illegal means. + + REPORTER + That was John Fairchild, the DEA + agent in charge of this + investigation. Officials tell me + that international law enforcement + agents are expected to arrive here + later today to question the Hunts. + This is Joe Jones, CNN, Love in + Madison, Wisconsin. + +BACK TO SCENE + + ETHAN + Kittridge... + + CLAIRE + Bastard! + +ETHAN switches TV off and paces away from it. His anger +erupts and he kicks the old filing cabinets, then picks up +a chair and throws it across the room so it smashes into +the wall. CLAIRE tries to get hold of him, but he shakes +her away. + 83. + + + ETHAN + Don't...don't touch me... + + CAMERA SWING PANS between them. + + CLAIRE + What are you going to do? + + ETHAN + (turns to her and + gestures at TV) + He's expecting my call. + (strides to door) + I'm going to the station... + (o/s at door) + And I'm going to call him. + + +167 EXT. LONDON SAFE HOUSE - RAIN - NIGHT 167 + + ETHAN comes out from a side street by Liverpool Street + Underground Station and crosses the road to the main + station. CLAIRE watches him from the window. + + +168 INT. LONDON TERMINUS RAILWAY STATION - NIGHT 168 + + ETHAN hurries down escalator. CAMERA MOVES IN on him. He + crosses to the TELEPHONE BOXES. He starts to dial a number. + + CUT TO: + + +169 INT. CIA - COMMUNICATIONS ROOM - NIGHT 169 + + A light flashes and a phone BUZZES. KITTRIDGE in shirt and + tie, picks up. BARNES and several other AGENTS are + monitoring newscasts and engaged in various activities + related to the Hunt case. + + KITTRIDGE + (picking up) + Kittridge. + + ETHAN (O.S.) + I see you've been out visiting the + folks. + + KITTRIDGE + (covers receiver) + It's Hunt. + + What do you need for a pinpoint? + 84. + + + (TO ETHAN) + Been watching a little T.V., have + you? + + One of the technicians frantically scratches something on a + piece of foolscap and waves it at KITTRIDGE: "80 SECONDS". + + KITTRIDGE nods. + + +170 EXT. PHONE BOX - LONDON - NIGHT 170 + + ETHAN + Hauling Mom off to jail in shackles + was an especially nice touch. + + +171 INT. CIA - COMMUNICATIONS ROOM - NIGHT 171 + + At the console, the number 44 flashes on the TECHNICIAN'S + screen. + + TECHNICIAN + He's in England. + + BARNES scratches England and 22 seconds on foolscap and + waves it. + + KITTRIDGE + (covering receiver) + Get MI5. + + The TECHNICIAN opens another line on his console and begins + patching through to Whitehall. + + KITTRIDGE + Ethan, I want to reassure you that + my first order of business after + you come in is to get these + ridiculous charges against your + family dropped and eliminated + completely from their files. Come + in now, we can plea down the + charges against you as well. + + The wall clock is thirty seconds and counting down. The + TECHNICIAN is frantically signalling KITTRIDGE to keep + talking. KITTRIDGE is momentarily stuck. Fortunately: + + ETHAN (O.S.) + Can I ask you something, Kittridge? + + KITTRIDGE + 85. + + + Certainly Ethan. + + +172 INT. PHONE BOX - LONDON - NIGHT 172 + + ETHAN + If you're dealing with someone + who's crushed, stabbed, shot and + detonated five members of his own + IMF team, how devastated do you + think you're going to make him by + marching Ma and Uncle Donald down + to the county courthouse? + + +173 INT. CIA - COMMUNICATIONS ROOM - NIGHT 173 + + KITTRIDGE + I don't know, Ethan. Suppose you + tell me? + + Click. ETHAN has hung up. KITTRIDGE looks hopefully to the + TECHNICIAN who says: + + BARNES + Lost him. We needed three more + seconds. + + Surprisingly KITTRIDGE is not as upset as he is puzzled. + + KITTRIDGE + He wanted us to know he was in + London. + + Clearly that's the question that KITTRIDGE is turning over + in his mind and he doesn't have a simple answer to it. + + CUT TO: + + +174 EXT. PHONE BOX - LONDON - NIGHT 174 + + Close Digital clock. It reads 23.59. Angle widens to show + ETHAN looking at it with grim satisfaction. He opens the + door of the phone booth and almost SMACKS right into -- + + --the pale, weary, ghostlike figure of a man standing just + inches in front of him. Startled, ETHAN looks up, but what + he sees shakes him to the core. + + The man is JIM PHELPS. + 86. + + + ETHAN SHOUTS and almost falls back into the phone booth. + PHELPS leans against the door of the booth and smiles + weakly. + + PHELPS + You're a hard man to catch up with. + + PHELPS falls towards ETHAN. ETHAN tries to speak, but can't + even form words. + + +175 INT - RAILWAY STATION CAFE - DAY 175 + + ETHAN and PHELPS opposite one another in a booth, PHELPS + looking clammy and listing to one side. But the banter + seems friendly and very quick - two friends and close + colleagues able to follow one another's reasoning easily, + finishing each other's sentences: + + PHELPS + ..the next day I managed to drag + myself to the safe house, must've + just missed you..anyway, I checked + our aliases. + + ETHAN + - and picked us up in the States - + + PHELPS + - but you left before I could get + there and I could check just so + many places.. + + ETHAN + Yeah, smaller countries don't + computerize customs records - + + PHELPS + - so I watched Europe. Once you + showed up in England..it was easy. + + ETHAN + You knew I liked the rentals at + Liverpool Street. + + PHELPS + Hey, I showed 'em to you! + + ETHAN + I remember.. + 87. + + + PHELPS smiles warmly, has to steady himself to maintain an + upright position. He opens a medicine bottle and takes the + pain killers. + + ETHAN + Jim, who do you think you're + kidding? A doctor's gotta look at + that. You can't sit up straight. + + PHELPS + I can sit up straight. I just + can't..sit up straight very well. + It's not important! I saw who shot + me. Ethan, I saw the mole. It was + Kittridge. + (a fist into the table) + Kittridge! + + PHELPS grips the sides of the table. + + ETHAN + Kitteridge. Oh my god! Kittridge is + the mole? + + PHELPS + Yeah. + + ETHAN + How did Kittridge do it?.. + + +176 EXT. CHARLES BRIDGE - FLASHBACK - NIGHT 176 + + A reprise of PHELPS'S narrative only now ETHAN'S telling it + and camera is showing the events as ETHAN sees they + actually happened. + + ETHAN VO + - first he took care of Jack in the + elevator - + + At the Embassy PHELPS sends the elevator to the top of the + building, watching it go and crush Kiefer. + + ETHAN VO + - he shot you on the bridge - + + On the Charles bridge PHELPS using the Visco glasses aims + the gun toward them, fires, cants the glasses and tosses + them into the Vltava River. + + ETHAN VO + 88. + + + - he must have had back up take out + Golitsyn and Sarah at the fence.. + + There on the embankment, in the night and fog, it is + KRIEGER who takes out GOLITSYN and SARAH thru the fence.. + + ETHAN VO + How did he do Hannah? + + Here it is CLAIRE with back to camera who presses the + detonator and turns dreamily to face it, the explosion + brilliant behind her... + + ETHAN VO + No. No. He could've taken out + Hannah himself. + + PHELPS presses the remote detonator and the car blows.. + + +177 INT. RAILWAY CAFE 177 + + ETHAN looking intently at him. + + ETHAN + Why, Jim? Why? + + Awkward moment. + + PHELPS + ..when you think about it, Ethan, + it was inevitable..no more Cold + War. No more secrets you keep from + everyone but yourself, operations + you answer to no one but yourself. + Then one morning you wake up and + find out the President of the + United States is running the + country - without your permission. + The son-of-a- bitch! How dare he? + You realize it's over, you're an + obsolete piece of hardware not + worth upgrading, you've got a lousy + marriage and sixty-two grand a + year. Kittridge, we'll go after + that no good son-of-a-bitch, big + time! + + ETHAN + We don't have to, Jim. He'll come + after us. + + PHELPS + 89. + + + What's going to make him do that? + + ETHAN + What he didn't get in Prague. The + NOC list. + + PHELPS + Jesus, Ethan. Good for you. + + ETHAN + A meeting tomorrow on the TGV, + enroute to Paris. + + PHELPS + Tight security. No guns. Real plus. + + ETHAN + If I supposedly deliver the NOC + list to Max, Max has agreed to + deliver Job to me. I'll have Claire + and Luther Stickell with me on the + train. Marcel Krieger will have + helicopter transport waiting in + Paris. + +PHELPS looks away. Seems badly shaken. + + ETHAN + Jim...? + + PHELPS + I was sitting in a cafe waiting for + you and suddenly there she was, + standing in the rain just outside + the safe house..alive and + beautiful..and thinking I'm dead + and gone. God knows what she's had + to do forget about me to keep going + and get the job done, I.. + +PHELPS breaks off abruptly. Apparently some inner struggle +over this threatens to overwhelm him. Then, controlling it: + + PHELPS + - no. She can't know about me. No + one can. Not til this is over. + There's too much at stake, Ethan. + + ETHAN + You're probably right. + + PHELPS + I usually am. + 90. + + + ETHAN + Once we leave the safehouse, get in + there and crash. I'll call you from + Paris. + + PHELPS + You got it. + + ETHAN + And get a doctor. + + PHELPS + Good luck. + + +178 INT. LONDON SAFE HOUSE - CLAIRE'S ROOM - NIGHT 178 + + The door to CLAIRE'S room in the safe house opens, throwing + a shaft of light over her form. ETHAN creeps in and closes + the door behind him. + + It is approximately one a.m. . CLAIRE is huddled in the + corner. ETHAN enters and stands looking at her. + + CLAIRE + What happened? + + ETHAN + (walks towards her) + I sent the message to Max. We're on + for tomorrow. + + CLAIRE + Okay... + + ETHAN + (he steps towards her, + stops) + Is this the only way? + + CLAIRE + Yes.......come here....viens pres + moi... + + She draws him down by his hand to kiss her. + + He kisses her again, more fully. She wraps an arm around + him and he holds onto the kiss. The room appears to revolve + around them. + + CUT TO: + 91. + + +179 EXT. PRIVATE HELIPAD - DAY 179 + + Suddenly it's bright, broad daylight, so bright it hurts + our eyes. + + KITTRIDGE and BARNES step off a military helicopter, + blinking at the sunlight and hurry down the steps. + + TWO AGENTS immediately flank KITTRIDGE at the bottom and + fall into step alongside, ready to brief him. One of them + holds out a small package with "for Job" written on it. + + KITTRIDGE looks at him. He rips it open. A note inside + simply says: + + TGV. LONDON TERMINUS + + Noon. + + KITTRIDGE looks at his watch. It's ten to twelve. + + As he reads the note, something else falls out of the + envelope and CLUNKS to the ground. + + He bends over, picks it up, and looks at it. Cradled in his + hand, we can't see what it is. But to him, it's very + interesting. + + He steps up his pace, headed for the car. + + KITTRIDGE + (to the Agent) + How long to the London Terminus? + + AGENT + Twenty, twenty-five minutes. + + KITTRIDGE + You've got ten. Move! + + +180 INT. WATERLOO STATION PLATFORM - DAY 180 + + The sleek front power car, looking like the nose of an SST, + gets its 25,000 volt charge from the overhead catenary. + + The rear power car gets its jolt. + + The TGV starts to move, pulling out of the station. + + +181 INT. BUSINESS CAR - MOVING - DAY 181 + 92. + + + The business car is similar to the one ETHAN saw on the + first train they look across Europe. It's crowded, maybe + THIRTY MEN and WOMEN in suits, most of them already + immersed in work on their laptops or talking on their + cellular phones. + + One such woman is MAX in her seat, number 27. MATTHIAS and + the OTHER MAN, last seen dropping off ETHAN in Prague, sit + across from her, her laptop is on the table next to her, in + her briefcase. + + MAX + How long until we reach the + Chunnel? + + MATTHIAS + Twenty minutes. + + +182 INT. REAR CAR - MOVING - DAY 182 + + A MAN puts a cellular phone and a radio/cassette machine on + the bunk-bed. We only see his hands as he proceeds to take + the parts of a pistol out of the cassette machine and + assemble a wicked-looking pistol from the seemingly + innocuous electrical parts inside. + + +183 INT. BUSINESS CAR - MOVING - DAY 183 + + MAX is reading the Financial Times. MATTHIAS is looking out + of the window. A cellular phone rings inside MAX's + briefcase in front of MATTHIAS. MATTHIAS takes the phone + out. + + MATTHIAS + Yes... + (holds phone out for Max) + It's him. + + MAX + (into phone) + This wasn't what we discussed. + + ETHAN (O.S.) + (on phone) + My apologies Max. Couldn't be + helped. There's a piece of black + cloth under your seat. Tear it away + and you'll find the disk. + 93. + + + MAX reaches down and does as instructed, finding the + computer disk as promised. She hands it to Matthias who + strips off the velcro covering and slots it into the drive + next to the computer in the briefcase. He boots it up + quickly and turns the briefcase containing the computer + toward MAX for her to see. + + One half of the screen, with the heading "CRYPTONYM AND + OPERATIONAL SPECS" is already jammed with information. The + blank second half of the screen acquires the title "TRUE + NAME," and information starts filling itself in rapidly -- + names, addresses, identities. + + As the two sides match up, a legend flashes: + + IDENTITY MATCH + + MAX + (back into phone) + Ha, dear boy! I do hope this + doesn't prelude a meeting in + private. + + ETHAN (O.S.) + It doesn't, dear girl. as long as + you tell me where the money is. + + MAX + The possibility alone is worth ten + million. Baggage car, rack 3. + Silver briefcase. Combination 314. + + ETHAN (O.S.) + What about Job? + + MAX + I wouldn't worry about him. Once + you've got the money -- he'll find + you. + + +184 INT. BUSINESS CAR - MOVING - ANOTHER ANGLE 184 + + LUTHER, three rows behind in another seat, is at work on a + laptop of his own. A mobile Nokia phone is beside it - red + light flashing. + + +185 INT. SECOND CLASS CAR - MOVING - ANOTHER ANGLE - DAY 185 + + KITTRIDGE and BARNES move through the second class car. + They turn around and start working their way back again. + 94. + + +At the front, CLAIRE is getting desperate. A LARGE MAN +passes through the door behind her. + +The LARGE MAN continues back, nearing KITTRIDGE and BARNES, +who are forced to step into empty seats on the side in +order to make room for him to pass. As they move by him, +their vision is momentarily blocked -- + +-- and CLAIRE gets up to follow. + +She follows to the rear of the car and she passes through +the door and out of the car, after KITTRIDGE and BARNES +talk in doorway. + + BARNES + Only four more cars. + + KITTRIDGE + And if we don't find him - we'll + search the whole train again. + + BARNES + What's Hunt doing on the TGV? + + KITTRIDGE + High speed train. No-one gets on. + No- one gets off. High security. + Good place for a pass off to Max. + + BARNES + But why tell us? + + KITTRIDGE + He's putting on a show, Barnes. + + BARNES + What kind of show. + + KITTRIDGE + I don't know. + (looks at his wrist + monitor) + It didn't say on the tickets. + +KITTRIDGE and BARNES go off back through the next coach. +CLAIRE follows into the same doorway and stops to speak +into her wristwatch to ETHAN: + + CLAIRE + Ethan...Kittridge is on the train. + + ETHAN + 95. + + + Kittridge is Job. Max delivered. + How far is he from Luther? + + CLAIRE + Two cars. Where are you? + + ETHAN + You are my eyes. Stay with him. + + She moves onto the next coach, going after KITTRIDGE and + + BARNES. + + +186 INT. BUSINESS CAR - MOVING - MAX - DAY 186 + + On her computer screen in the business car, an ominous + message flashes. + + LIST COMPLETE + MAX dials a number on her cellular + phone. She is calling Job. + + MAX + (into phone) + He's in the baggage car. + + PHELPS (O/S) + (assembling gun in + sleeping compartment) + I'll be there. + + MAX hangs up and hands the phone to MATTHIAS who slots it + into the briefcase next to the computer. He dials a number + on the keyboard and pushes send. The computer emits a DIAL + TONE. Her computer flashes a message. + + MODEM DENIED + + MAX + What's the problem. + + MATTHIAS + Connection denied. + + MAX + Try it again. + + MATTHIAS + It's not working. + + MAX + Is something wrong with the phone? + 96. + + + (Pause as he tries the + phone) + Well is something wrong with the + batteries? + + MATTHIAS + I always check the batteries. + + MAX + Run it through from the top. + + +187 INT. REAR CAR - SLEEPING COMPARTMENT - MOVING - DAY 187 + + The MAN assembling the gun CLICKS the last piece, the + silencer, into place. + + +188 INT. CAR - NEXT TO MAX'S CAR - MOVING - DAY 188 + + KITTRIDGE and BARNES looking - stop in doorway. + + BARNES + Nothing but civilians, Gene. + + KITTRIDGE + This is bullshit - we don't even + know what Max looks like. + + BARNES + Maybe we don't have to know what he + looks like. If he's got that list, + he's going to want to check it. We + should be looking for laptops. + + KITTRIDGE + Good idea. + + +189 INT. BUSINESS CAR - LUTHER - MOVING - DAY 189 + + LUTHER sees them coming. He smacks the laptop shut and + positions his jamming phone on the table to point at Max's + computer. He gets up, taking his computer with him, headed + for the rear of the car. A WAITER sees the phone and goes + after LUTHER with it. + + WAITER + Excuse me, Sir, your telephone... + + OTHER PASSENGERS' phones nearby go haywire. LUTHER looks to + MAX. Exits car. + 97. + + +190 INT. BUSINESS CAR - MOVING - MAX - DAY 190 + + Her dial tone finally hits the static of a computer + connection and the message on her screen changes: + + TRANSFER IN PROGRESS + + MATTHIAS + It's working. + + MAX + Phew! We've got five minutes... + + +191 INT. BUSINESS CAR - MOVING - DAY 191 + + LUTHER shuts himself in the bathroom. The OTHER MAN follows + him, tries the door and waits his moment. The OTHER MAN + bangs against the door. LUTHER braces himself against the + door. + + +192 INT. ANOTHER CAR - MOVING - DAY 192 + + CLAIRE walking through. She pauses to listen in her + earpiece. + + ETHAN (O/S) + I've got the money. Meet me in the + baggage car. + + She walks on. + + +193 INT. BUSINESS CAR - MOVING - DAY 193 + + KITTRIDGE and BARNES are looking at the people in the + Business Car behind MAX. CLAIRE passes them by heading for + the last executive coach to get to Club and Baggage Car. + She passes the OTHER MAN at the bathroom door. He follows + her. + + KITTRIDGE + Get this door open. + + KITTRIDGE and BARNES have seen CLAIRE go through MAX'S + Business Car and past the OTHER MAN at the bathroom door. + They follow, but suspect the locked bathroom door and stop + there to listen. + + +194 INT. LAST EXECUTIVE CAR - MOVING - DAY 194 + 98. + + + CLAIRE moves swiftly through the last car (after MAX'S + car). up into the Club Car and opens the door leading to + the BAGGAGE CAR. Goes in. The door slams shut. + + KITTRIDGE + Hello, Luther. Where's Hunt? + + LUTHER + Mr. Kittridge, the NOC list is + being modemed off the train. + + KITTRIDGE + Where? + + +195 INT. REAR CAR - MOVING - DAY 195 + + CLAIRE enters a little breathless. Spotting PHELP'S profile + in the darkened car. + + CLAIRE + Ethan's right behind me. Listen to + me Jim. Is it such a good idea to + kill him? We take the money. Ethan + takes the blame. No-one else has + seen you alive. No-one will believe + him. + + ETHAN + Of course - I'm sorry to hear you + say that Claire. + + CLAIRE + Ethan? + + PHELPS + Yes. Ethan Hunt, darling. Remember + him? + + Here PHELPS pulls out his assembled pistol. + + CLAIRE + You knew about Jim? + + PHELPS + Course he did. Just exactly when he + knew is something of a question. + Before or after I showed in London, + mind telling me, Ethan? + + ETHAN + 99. + + + Before London. But after you took + the Bible out of the Drake Hotel in + Chicago. + + PHELPS + They stamped it, didn't they? Those + damn Gideons. + +PHELP'S watch alarm goes off. + + PHELPS + Two minutes til Krieger shows. + This'll have to be quicker than I'd + like. Certainly quicker than you'd + like. + + CLAIRE + Ethan, if you knew about + Jim?..Why.. + + PHELPS + Why the masquerade? Why take the + risk? Well, Claire, you've asked + the question and you are the + answer. + + ETHAN + I knew about Jim. + + PHELPS + But, he didn't know about you. In + all fairness, Ethan, Claire was + never convinced her charms would + work with you. But I was supremely + confident - having tastes the + goods. "Thou shall not covet thy + Neighbour's wife", Ethan. Oh, Ethan + is in love with you, Claire, make + no mistake about it. And like all + the world's lovers, he's tortured + by the same, one pathetic question + - "does she feel the same way I + do?" + +JIM turns to CLAIRE. + + PHELPS + Well Claire do you? Have you been + exploiting his feelings or + returning them? + + CLAIRE + 100. + + + Jim - lets just get the money and + get out of here. + +CLAIRE goes to ETHAN. + + CLAIRE + The money Ethan. + +ETHAN hands her the money. + + ETHAN + You've earned it. + +CLAIRE goes to Jim with the money. + + PHELPS + Count it. + +CLAIRE starts to count. + + ETHAN + Tell me something Claire, that + night in Prague, was it you or Jim + that blew up the car and scattered + Hannah all over town? + + PHELPS + Keep counting Claire. + + CLAIRE + It was me. I did it. + +CLAIRE hands PHELPS the money. + + PHELPS + Satisfied? + + CLAIRE + All ten million. + + PHELPS + Fold it. Fold it tight. + + ETHAN + Aren't you going to thank me Jim. + Ten million is better than six. + + PHELPS + 101. + + + Don't flatter yourself - six was + for Eastern Europe. You made a + lousy deal - ten for the world? + What is that? But I needed you for + the transfer with Max. I got a + little extra change; and you got a + little extra too. + +PHELP'S watch alarm goes off. + + PHELPS + Sorry Ethan. Times up. Say goodbye. + + ETHAN + You're wrong about one thing. I'm + not the only one who's seen you + alive. + +ETHAN throws JIM the Visco glasses. + + KITTRIDGE + Good morning, Mr Phelps. + +PHELPS and CLAIRE are stunned. + + PHELPS + You son of a bitch. + +PHELPS points the gun at ETHAN. + + CLAIRE + Don't Jim. + + PHELPS + Now we don't have to eliminate him? + You like that, don't you Claire? + Don't you? + + CLAIRE + Yes. + + ETHAN + Jim, it's over. + + PHELPS + Ethan - I've always taught you, + nothing can be more dangerous than + the truth. It can kill you. + +PHELPS shoots CLAIRE. Struggle between PHELPS and ETHAN. +The gun is lost. PHELPS beats ETHAN to the ground. His +watch alarm beeps rapidly. He turns, goes up the stairs +and... + 102. + + + ETHAN goes to CLAIRE. + + ETHAN + Claire...Hey... + + CLAIRE + This stuff is so sticky. + + ETHAN + Claire. + + CLAIRE + It's all right, Ethan..you'll bring + me back...won't you... + + ETHAN + I always have, Claire.. + + CLAIRE dies. ETHAN looks to ladder hatch and climbs ladder. + + +196 INT. REAR CAR - ENGINEER'S SECTION - DAY 196 + + PHELPS climbs up a ladder past an inert engineer slumped + over the control panel -- an obvious earlier victim of + PHELPS. PHELPS puts on a pair of clear goggles, reaches a + trap door and climbs through it -- + + +197 EXT. ROOF OF TRAIN - DAY 197 + + -- halfway out onto the roof of the train. He reaches into + his jacket pocket and pulls out a suction cup with a handle + on the end of it. He SMACKS the suction cup down on the + roof and pulls himself the rest of the way out. + + He pulls out a second suction cup and SMACKS it down on the + smooth surface of the train. + + Now for the tough part. Using the suction cups, PHELPS + slowly pulls himself forward, a foot at a time, pulling and + replanting the cups as he goes. + + He drags himself over the length of the final car, to the + back of the train, where the rear engine slants off + sharply, a window for the ENGINEER. + + Half kneeling on the roof, PHELPS pulls out the clip from + his belt. + + He looks up, scanning the sky behind the train. From out of + the fog, a helicopter approaches. + 103. + + + PHELPS turns and looks ahead, in the direction the train is + going. In the distance, he can see the chunnel approaching + the tunnel under the English Channel. His eyes widen. + + +198 INT. HELICOPTER - DAY 198 + + KRIEGER is at the controls. He sees the approaching tunnel + as well. + + +199 EXT. ROOF OF TRAIN - DAY 199 + + PHELPS crawls like hell to get into position. Looking up, + he sees KRIEGER pointing frantically behind him. PHELPS + turns. + + ETHAN is climbing out the trap door. + + A cable and hook swing down from the helicopter, almost + touching the roof of the train. PHELPS crawls closer to it. + + ETHAN, behind him, is in a far more precarious position. + Without goggles or suction cups, he has to use his fingers + to grab small holes on the roof. + + He is flipped over by the wind, ending up facing the other + way. Loses his grip and is blown backwards over the roof. + + +200 INT. HELICOPTER - DAY 200 + + KRIEGER sees the Chunnel entrance approaching. He gestures + to PHELPS and tries to move the cable closer to him, + passing over PHELPS and then back to him. + + +201 EXT. ROOF OF TRAIN - DAY 201 + + PHELPS grabs the cable and is about to hook the cable onto + his belt, ETHAN slides into him and they both crash onto + the roof. + + ETHAN grabs the cable out of PHELPS hand and clips it onto + the roof. + + PHELPS and ETHAN struggle, but they are hurtling + dangerously closer to the chunnel entrance. + + They're now right on top of the chunnel entrance. + + +202 INT. HELICOPTER - DAY 202 + 104. + + + KRIEGER sees the tunnel, only seconds away now. He paws at + the controls, jerking back desperately on a certain lever. + + +203 EXT. ROOF OF TRAIN - DAY 203 + + PHELPS kicks ETHAN and he falls off the far side of the + train. PHELPS falls off the near side and holding onto the + strap manages to pull himself back on. + + -- The train ZOOMS into the tunnel -- + + -- AND THE HELICOPTER ROARS RIGHT IN BEHIND IT! + + +204 INT. BUSINESS CAR/TUNNEL - MOVING - DAY 204 + + As the train roars into the tunnel, the business car goes + nearly dark and the message on MAX'S computer screen + changes one last time. This time it says: + + CONNECTION TERMINATED. + + TRANSFER LOST. + + MAX'S face falls. + + MAX + Damn! + + +205 INT. REAR CAR - ENGINEER'S SECTION - DAY 205 + + Another CONDUCTOR races into the power car, past his inert + companion, and is shocked to see the copter right behind + the train. He grabs a radio and SCREAMS into it. + + CONDUCTOR + No, no, it's IN the tunnel! + + VOICE (O.S.) + Stop the train! + + CONDUCTOR + It'll crash into us! Accelerate, + accelerate. + + +206 EXT. ROOF OF TRAIN - TUNNEL - DAY 206 + 105. + + + For a moment, we see no one. No ETHAN. No PHELPS. Moving + around to the other end of the car, we see where they've + gone. + + They're dangling from either side of it. + + PHELPS paws for one of the suction cups and pulls himself + back onto the roof of the train. ETHAN reaches for the + other cup. + + The helicopter, fortunate that this tunnel is double track + and barely wide enough to accomodate it, pursues, KRIEGER + pushing it up to full speed again. + + But it can't lift up high enough to go completely over the + train. + + +207 EXT. ROOF OF TRAIN - TUNNEL - DAY 207 + + PHELPS, nearing the back, manoeuvers himself to the + windshield of the rear power car, trying to grab the skid + of KRIEGER'S copter. + + He doesn't see what's headed toward him, coming from the + other direction. + + Another train. + + At the last moment, PHELPS notices the reflection of the + oncoming train in the windshield and swings back onto the + roof of his train, barely avoiding getting creamed by it as + it blows by. + + The helicopter avoids the oncoming train too -- and PHELPS + misses the skid. + + KRIEGER tips the front of the copter, trying to decapitate + ETHAN with the rotor. PHELPS jumps onto the skid, but the + copter pitches so far forward the blade hits the top of the + tunnel. SPARKS and chunks of cement fly. + + KRIEGER levels the chopper quickly. ETHAN uses the moment + to leap from the train onto the other helicopter skid. + + PHELPS and ETHAN now hang on the skids, facing one another. + Crouching on the skid, ETHAN digs in his pocket and pulls + out -- + + -- a red and green piece of bubble gum. + + PHELPS sees it and SCREAMS at KRIEGER, who scrambles + frantically for his gun. + 106. + + + ETHAN + Red light, green light. Asta + Lasagna mother fucker. + + ETHAN mashes the red into the green, slaps the gum onto the + copter's underbelly and turns away from it. + + PHELPS kicks vainly at the gum, SCREAMING -- + + -- but the gum EXPLODES. The force of the blast rockets + ETHAN forward, he lands on the train's windshield. + + The helicopter whirls and BASHES into the tunnel, veers + wildly, then pitches forward and down, smashing PHELPS + under the skid and EXPLODING in a giant fireball. + + ETHAN, stuck on the windshield, can only watch as the + wreckage of the copter tumbles down the train towards him. + + It stops just short of him, with its bent and broken rotor + blade barely missing his throat. + + ETHAN lays his head against the windshield glass, utterly + drained. + + +208 INT. BUSINESS CAR/TUNNEL - MOVING - DAY 208 + + KITTRIDGE comes back into the business car and is joined by + BARNES. LUTHER, only slightly bruised, stands up next to + them and gestures to MAX and her laptop. + + LUTHER + I think this is what you're looking + for. + + MAX looks up, stunned. KITTRIDGE leans over and peers at + her screen. He just smiles and sits down next to her, + content to wait for her to speak. + + When she finally does, she's almost charming. + + MAX + My lawyers will have a field day + with this. Entrapment, + jurisdictional conflicts -- + + KITTRIDGE leans closer to her and lowers his voice, just as + friendly. + + KITTRIDGE + Maybe we'll just keep the courts + out of this one. + 107. + + + MAX + I'm sure we can find something I + have that you need. + + KITTRIDGE + You know, I would love to try. + + +209 EXT. LONDON PUB - DAY 209 + + LUTHER sits on a high stool, his PowerBook next to him, + while he sips a beer. A television screen is featuring + follow-up coverage of yesterday's dramatic helicopter-train + wreck in the chunnel. Aside from emphasizing that it was + the work of a lone, crazed character in a helicopter who + was killed in the crash, there are comments about how + miraculous it was there were no other fatalaties. There are + intermittent sounds of aircraft taking off and landing, + announcements of arrivals and departures. ETHAN into shot. + He sits beside LUTHER. + + LUTHER + Reach your folks? + (ETHAN nods) + How they feeling? + + ETHAN + About what? + + LUTHER + The official apology from the + Justice Department, the VIP + treatment, you know, the whole nine + yards. + + ETHAN + Well my Mother was a little + confused about how the DEA could + mistake her and Uncle Donald for a + couple of dope smugglers in the + Florida keys. + + LUTHER picks up his beer. + + LUTHER + (Laughs and with a + British accent) + Cheers. + + They drink. + + ETHAN + Here's to you, Luther. + 108. + + + (clink glasses) +To being off the disavowed list. + + LUTHER +Hey, I'm the flavour of the month! + + ETHAN +You're more than that, Luther. They +were mistaken about you and they're +trying to show you they know it. +They want you back in. + + LUTHER +Sure. They want me back in so I +won't break in! They still can't +figure out how we did it. + + ETHAN +You didn't tell 'em at the +debriefing? + + LUTHER +I figured I'd let 'em reinstate my +back pay, give me a promotion, +check out my office at Langley and +then, maybe, talk about it. + + ETHAN + (laughing) +It's all one big negotiation, isn't +it? + + LUTHER +Why don't you come back with me? + + ETHAN +Just don't know why I'd be doing +it. + + LUTHER +You really liked Phelps, didn't +you? + + ETHAN +He was a good guy for a long, long +time. Just - not long enough. + (looks up) Gotta catch + my) +flight..(rising) So. How's it feel +being a solid citizen again? + + LUTHER + 109. + + + Oh man...I don't know. I'm gonna + miss being disreputable. + + ETHAN + Well, Luther - if it makes you feel + any better I'll always think of you + that way. + + The two men understand one another and LUTHER will say no + more. The two exchange slight gestures of farewell and in a + moment ETHAN disappears from the bar, leaving a + contemplative LUTHER looking after him. + + +210 INT. PLANE - NIGHT 210 + + ETHAN HUNT slumps down in his scat, dosing. A FLIGHT + ATTENDANT makes her way down the aisle, holding a case + filled with movie cassettes. She stops before a lady + passenger. + + FLIGHT ATTENDANT + Would you like to watch a movie, + Miss Clarke? + + She then stops before ETHAN. + + FLIGHT ATTENDANT + Excuse me, Mr. Hunt. Would you like + to watch a movie. + + ETHAN + No, thank you. + + FLIGHT ATTENDANT + Would you consider the cinema of + the Caribbean? + + ETHAN just stares at her. This couldn't be what it's + sounding like. + + FLIGHT ATTENDANT + Aruba, perhaps? + + The camera moves into ETHAN's face. They found him. They + want him back. He looks up at her and..... + + CUT TO BLACK. + + THE END + \ No newline at end of file diff --git a/scripts/Oceans 11.txt b/scripts/Oceans 11.txt new file mode 100644 index 0000000000000000000000000000000000000000..1dc508b4c733bb96bf21f3f7b26fbe155dd05fc4 --- /dev/null +++ b/scripts/Oceans 11.txt @@ -0,0 +1,8415 @@ + 1. + + + + FADE IN: + + +1 INT. EMPTY ROOM WITH SINGLE CHAIR 1 + + We hear a DOOR OPEN and CLOSE, followed by APPROACHING + FOOTSTEPS. DANNY OCEAN, dressed in prison fatigues, ENTERS + FRAME and sits. + + VOICE (O.S.) + Good morning. + + DANNY + Good morning. + + VOICE (O.S.) + Please state your name for the + record. + + DANNY + Daniel Ocean. + + VOICE (O.S.) + Thank you. Mr. Ocean, the purpose + of this meeting is to determine + whether, if released, you are + likely to break the law again. + While this was your first + conviction, you have been + implicated, though never charged, + in over a dozen other confidence + schemes and frauds. What can you + tell us about this? + + DANNY + As you say, ma'am, I was never + charged. + + +2 INT. PAROLE BOARD HEARING ROOM - WIDER VIEW - MORNING 2 + + Three PAROLE BOARD MEMBERS sit opposite Danny, behind a + table. + + BOARD MEMBER #2 + Mr. Ocean, what we're trying to + find out is: was there a reason you + chose to commit this crime, or was + there a reason why you simply got + caught this time? + + DANNY + 2. + + + My wife left me. I was upset. I got + into a self-destructive pattern. + + BOARD MEMBER #3 + If released, is it likely you would + fall back into a similar pattern? + + DANNY + She already left me once. I don't + think she'll do it again just for + kicks. + + Glances dart between the Board Members. + + BOARD MEMBER #1 + Mr. Ocean, what do you think you + would do if released? + + Danny considers. + + DANNY + (deadpan) + I don't know. How much do you guys + make a year? + + +3 INT. MINIMUM-SECURITY PRISON - CHECK-OUT STATION - DAY 3 + + GUARD #2 + Ocean, Daniel. + + Danny steps forth, and GUARD #1 doles out his possessions + and a form certifying their return to Danny. + + GUARD #2 + Sign. + (adding a piece of mail + to the pile) + This came today for you. Rest'll be + forwarded to your parole officer. + + GUARD #1 + (reading its return + address over Danny's + shoulder) + Those your lawyers? + + DANNY + My wife's. + + He opens the letter, and as his eyes gaze over the papers + within, he smirks just a little. + 3. + + + GUARD #1 + What's it say? + + DANNY + I'm a free man. + + +4 INT. CHANGING CUBICLE 4 + + Danny pulls on civilian clothes and there's not a bare + thread among them. He tugs his cuffs and smiles: The old + skin feels good. One last item to don: a silver wedding + band. Danny considers it. Will he put it on? + + +5 EXT. MINIMUM-SECURITY PRISON - FRONT GATE - AFTERNOON 5 + + A sign reads: "NEW JERSEY STATE MINIMUM-SECURITY + CORRECTIONAL FACILITY." Someone has graffitied below it: + "If you were in prison, you'd be home now." + + The great metal door opens, and Danny stands within its + frame, ready for release. (If it matters and if you notice, + he's wearing his wedding ring.) + + He hovers there for a moment, on the precipice of freedom. + The WIND WHISTLES a little on the other side of the gate, + and the view ahead is not pleasant (New Jersey): Life is + hard out there. + + But Danny musters his courage, then takes his first step + into free America. + + +6 EXT. ATLANTIC CITY BOARDWALK - DUSK 6 + + Any empty wintery boardwalk. + + +7 INT. CASINO - ATLANTIC CITY - NIGHT 7 + + And his wingtip lands squarely on plush red carpeting. + + As we PULL UP TO Danny's face and SPIN AROUND him, we hear, + then see the BUZZ of a CASINO floor: the HUM of + CONVERSATION, the DING-DING-DING and THUNK-THUNK-THUNK from + the SLOTS, the brisk WHIR of SHUFFLED CARDS. + + And to Danny, it's a hearth and fire and a comfy chair and + a snifter of brandy. He's home. + + ON DANNY'S WALLET + 4. + + +As he pulls out several crisp one hundreds, sets them on +green felt, then sees them replaced by a neat pile of +chips. + +AT BLACKJACK TABLE + +Danny cranes his neck about the casino, looking for +someone, a friend, somebody who should be here, but without +success. He turns his attention back to his cards, and the +cards of the dealer. + +Nine-ten. Stay. Dealer, seventeen. Danny wins. King-four. +Dealer shows a six. Stick. Dealer busts. Queen-ace. Twenty- +one. Danny wins again. + +A second dealer relieves the first, and Danny recognizes +him with a smile, this wasn't the friend he was scouting +for, but two hours out of the joint any familiar face is +welcome. + + DANNY + Hello, Frank. + +The new dealer (FRANK CATTON) glances up at Danny, and his +eyes go wide, like a priest who's discovered he's dealing +communion wafers to the pontiff himself. He quickly hides +his astonishment. + + FRANK + I beg your pardon, sir. You must + have me confused with someone else. + My name is Ramon. See? + He taps the name embroidered on his + vest, although he is the most + African-looking Ramon you've ever + seen. A pit boss circles close by + and glares at them both. + + DANNY + My mistake -- + (collecting his chips, + doubled) + Table's cold anyway. + + FRANK + You might try the lounge at the + Grand, sir. It gets busy around + one. + + DANNY + (as he goes) + Thanks. + 5. + + +8 INT. LOUNGE AT GRAND 8 + + Danny checks his watch -- 12:58 -- then the lounge around + him: prison had more nightlife. He nurses a bourbon, folds + back the New York Times and scans. + + His eyes move down the page and stop at a header "Vegas' + Paradiso to be Razed; Former Owner Denounces Plans" + accompanied by two photographs. + + The first: Tan, well-coiffed developer and new owner of the + Paradiso, Terry Benedict, with a beautiful (if barely + visible) woman on his arm. The second: scowling former + owner, Reuben Tishkoff. + + FRANK (O.S.) + Catching up on current events? + + Danny lowers the paper; Frank is sitting across from him, + changed out of his dealer's threads. + + DANNY + Ramon? + + FRANK + Glad to meet you. Frank Catton + wouldn't get by the gaming board. + (beat) + You just out? + + DANNY + This afternoon. + + FRANK + (re: Danny's drink and + whereabouts) + And already turning over a new + leaf. + + Frank signals a passing waitress; she ignores him. + + DANNY + (directly, this is why + he's here) + You seen him? + + FRANK + Last I heard he was in L.A. + Teaching movie stars how to play + cards. + (beat) + Why? You don't have something + planned already? + 6. + + + DANNY + You kidding? I just became a + citizen again. + + Frank stares at Danny a moment, finally catches his eye, + and Danny can't help but grin: of course he has. + + Frank turns his eyes to heaven... + + FRANK + Jesus -- + + +9 INT. SUB SHOP - NIGHT 9 + + MOVING WITH Danny and Frank. + + FRANK + It's tough now, our line of work. + Everybody so serious. Too many + guns, too many computers. Whadda + you gonna do? Steal from ordinary + people? + + DANNY + That would be criminal. + + FRANK + So what's left? Banks? Hah. Banks + got no money. It's all electronic. + Only place that still takes cash is + -- + + DANNY + Casinos. + + FRANK + (realizing) + Oh, no -- + + DANNY + Oh, yes -- + + FRANK + When? + + DANNY + Soon. Interested? + + Frank smiles. Danny has his answer. + + +10 INT. SUB SHOP - FOYER - NIGHT 10 + 7. + + + Danny pulls a business card from his jacket, picks up the + phone again, and dials the card's number. + + DANNY + Yes, Officer Brooks? My name is + Danny Ocean. I'm just out, I'm + supposed to check in with you + within twenty-four hours. + (listens) + No, sir, I haven't gotten into any + trouble. No drinking, no sir. + (listens, finishes his + bourbon) + No, sir, I wouldn't even think of + leaving the state. + + OFF the sound of a JET fly-over we -- + + CUT TO: + + +11 EXT. HOLLYWOOD CLUB - DEEP - REAR ENTRANCE - NIGHT 11 + + PULLING OFF the Capitol Building, we PICK UP Rusty (tall, + angular, ebony) leaning against his Ford Falcon. + + TOPHER (O.S.) + Hey! Hey, Rusty! + + Rusty turns to the voice and -- + + CUT TO: + + ANOTHER ANGLE + + MOVING WITH him and Topher Grace, the actor, as they push + down a back alley. + + TOPHER + Hey, I don't know if you're, uh, + you know, incorporated or anything, + like Rusty Ryan. And, I don't know, + incorporated, but you should think + about it, really, 'cause I was + talking to my manager yesterday -- + + RUSTY + Bernie? + + TOPHER + 8. + + + No, not Bernie, I mean not, not + that Bernie, my business manager, + he's also Bernie, he was telling me + that since this, what we do, could + be considered research for, you + know, a future gig, that I should + be able to write it off as a + business expense. So he suggested + that it'd be better if I wrote you + a check, and thereby -- + + Rusty looks at him: are you stoned? + + TOPHER + Or, or we could keep it cash. + + By this time, they should have entered. + + +12 INT. HOLLYWOOD CLUB - DEEP - NIGHT 12 + + -- where they must weave through hordes of young Hollywood + nightclubbers. + + RUSTY + Alright. Who's here? + + TOPHER + Josh is here. Seth is here. David + couldn't make it. He's got two + weeks of reshoots on Lusitania + because somebody just figured out + forty percent of the budget is + coming from Germany. + + RUSTY + That's a problem. + + TOPHER + Barry is here. + + RUSTY + I thought they let him out to do + that H.B.O. thing in Vancouver. + + TOPHER + Couldn't work the dates. Oh, and he + brought his girlfriend. + + RUSTY + Not the one from -- + + TOPHER + 9. + + + Uh-huh. + + RUSTY + (beat) + I quit watching when Kate left Don + after his accident. + + They pass on, and into -- + + +13 INT. BACK ROOM - NIGHT 13 + + Small but stylish. Rusty enters, Topher in tow. + + RUSTY + Good evening, guys. Let's play some + cards -- + + A glance at the table reveals: the three waiting players + are all young TV stars (Josh Jackson, Seth Green, Barry + Watson) here for a group poker lesson with Rusty. (One + star, indeed, has brought his girlfriend, Katie, also a + known actress, to observe.) + + A glance back at Rusty reveals: he's in for a long night. + + RUSTY + -- and let's play some cards. + + AT TABLE - LATER + + The group lesson has begun. + + TOPHER + A hundred bucks to me -- + (mulling it over) + Ah, what the hell. Pocket change. + Call. + + Rusty leans into Topher's ear, whispering: + + RUSTY + Why you bet a certain way is your + business. But you have to make them + think you're betting for a reason. + Understand? + + SAME SCENE - LATER + + To another player: + + RUSTY + 10. + + + Seth. You know what you have. + Looking at them doesn't change + them. Leave 'em where they are and + make your bet. + + SAME SCENE - LATER + + To another player: + + RUSTY + You're showing. Yeah, I know she's + your girlfriend, Barry, but you + can't -- Thank you. + + SAME SCENE - LATER + + To another: + + RUSTY + Josh. Deal to your left. + + SAME SCENE - LATER + + A WAITRESS enters from the club, and DANCE MUSIC with her. + As she distributes a fresh round: + + WAITRESS + One McCallum neat. And four bottled + waters. + + Rusty takes in the sight, bottled fucking water on a poker + table. + + SETH + (triumphantly) + Two pair -- nines and twos. + + Rusty checks his hand: a full-house full of face cards. + + RUSTY + (folding) + You got me. + (as Seth rakes in his + winnings) + Let's take a little break. + + +14 INT. HOLLYWOOD CLUB - DEEP - NIGHT 14 + + At the bar, Rusty orders a double. He needs it. + + BARTENDER + (shouting over music) + 11. + + + How's the game going?!! + + RUSTY + It's been the longest hour of my + life. + + BARTENDER + What?! + + RUSTY + (at the same volume) + I'm running away with your wife. + + The Bartender, not able to hear him, smiles and flashes a + thumbs-up before moving away. + + BARTENDER + Cool, man! + + Behind the bar two go-go dancers writhe behind red-light- + district windows, and Rusty catches his own fatigued + expression in their reflection. Then, out the corner of his + eye, he catches sight of a man passing through the + pulsating crowd. Someone familiar to him. He follows. + + +15 INT. HOLLYWOOD CLUB - DEEP - BACK ROOM 15 + + Rusty returns. + + TOPHER + Hey, Rusty, we got another player, + if that's alright. + + Topher indicates the new arrival: Danny. Rusty looks as if + there's a bad smell in the room. + + RUSTY + What's this? + + DANNY + The bouncer mentioned there was a + game in progress. I hope I'm not + intruding. + + TOPHER + No intrusion at all -- + + RUSTY + What was his name, the bouncer's? + + DANNY + I don't remember. + 12. + + + RUSTY + A card player with amnesia. This + should be fun. + +AT TABLE - MOMENTS LATER + +Rusty deals the next hand. + + TOPHER + What do you do for a living, Mr. + Ocean? If you don't mind my asking. + + DANNY + Why should I mind? Two cards, + please -- + (long beat) + I just got out of prison. + + TOPHER + Really? + (a glance among the other + players) + Really -- + + RUSTY + (half to divert + attention) + Barry, you're showing again. + + BARRY (O.S.) + Sorry. + + JOSH + What'd you, uh, go to prison for? + + DANNY + I stole things. + + JOSH + What, like jewels? Diamonds? + +A beat, then: + + RUSTY + Incan matrimonial headmasks. + +Looks are exchanged. Everyone digests that. + + JOSH + From a museum? + + DANNY + Gallery. + 13. + + + SETH + There a lot of money in those? + Incan matrimonial -- + + DANNY + Headmasks. Some. + + RUSTY + Don't let him fool you, Seth. + There's boatloads. If you can move + the things -- + (finishing his deal) + One card to me. + (to Danny, pointedly) + -- but you can't. + + DANNY + My fence seemed confident enough. + + RUSTY + If you're dealing with cash, you + don't need a fence. + + DANNY + Some people just lack vision. + + RUSTY + Probably everybody in cell block E. + +Now the other players realize. These guys have a +relationship. In fact, a criminal one. And, judging from +their steely glares across the table, not a happy one. + + DANNY + Well, that's all behind us now. + + RUSTY + I should hope so. + +Danny smiles, icily, of course, it's not, then pulls out +his wallet. + + DANNY + I raise you five hundred dollars. + +A hush in the room. Danny has thrown down the gauntlet. He +and Rusty hold each other's stares. + + RUSTY + Guys: Day One: what's the first + rule of poker? + + BARRY + 14. + + + Um, never bet on, uh, on a -- + + TOPHER + 'Leave emotion at the door.' + + RUSTY + That's right. My friend here just + raised me out of pique. + (beat) + Today's lesson. How to draw out a + bluff. This early in the game, that + much money, I'm thinking he's + holding nothing better than a pair + of face cards. + (beat) + Seth, raise him. + + SETH + Okay. Uh, your five hundred and -- + another two? + +Rusty nods, and Seth pushes in his chips. + + RUSTY + Tophe -- + + TOPHER + Seven to me. Plus three. What the + hell. + + RUSTY + Indeed. But be careful you don't + push him too high too fast. Want to + keep him on the leash. I call. + +It's Josh's turn. He hesitates. + + JOSH + What's that to me? A thousand? + + RUSTY + All you have to do is call. + + DANNY + (off Josh's further + hesitation) + What? Your girlfriend holding your + purse? + +That does it. Josh is in. The bet's to Danny. He checks his +hand, and Seth starts to whisper to Topher. + + DANNY + 15. + + + Contrary to what Mr. Ryan may say, + Seth, I always check my cards + before I make a bet. But be + cafeful. I could tell from your + face you're holding three of a kind + or better. + (digging his wallet out) + Five hundred to call. And two grand + more. + + Danny stares Rusty down. The others look a little pale. + + RUSTY + Guys, you're free to do what you + like. It's a lot of money. But I'm + staying in. He's trying to buy his + way out of his bluff. + + Nobody looks too eager to call, but nobody wants to leave a + grand on the table, either. Finally, Seth ponies up, and + the others, not be outdone, do, too. + + RUSTY + We call. + + Danny sets down his hand. Four nines. It's a winner. The + others, jaws dropped, throw in their cards. For the first + time tonight, Rusty blanches. + + RUSTY + Shit. Sorry, guys. I -- I was sure + he was bluffing. + + As Rusty plummets in the estimation of all the guys around + him, Danny rakes in his pot. + + DANNY + Thanks for the game, fellas. + (then) + Hey, I hate to ask this, but could + you sign something for me? It's for + the guys in the joint. They just + love all your shows. + + +16 EXT. HOLLYWOOD CLUB - DEEP - NIGHT 16 + + A queue of clubgoers erupt in a frenzy as Topher and + company exit, and they begin signing autographs. Danny and + Rusty exit, too, but of course nobody gives a shit about + them. + 16. + + +17 INT. RUSTY'S FALCON - MOVING - NIGHT 17 + + Danny and Rusty ride silently, staring out opposite windows + at Sunset Boulevard. + + RUSTY + That was, that was just -- + + DANNY + Unprofessional. + + Rusty agrees. + + RUSTY + How was the clink? You get the + cookies I sent you? + + DANNY + Why do you think I came to see you + first? + + Danny pulls out a wad of bills from his jacket, peels off + half, and hands it to Rusty. + + DANNY + Ten grand. Half of it's yours. + + RUSTY + You barge into my new workplace, + ruin my professional reputation, + least you could do is tell me + you've got something better for me. + + DANNY + I've got something better for you. + + +18 INT. CANTER'S DELI - NIGHT 18 + + They're sitting in a booth over coffee. + + RUSTY + How's Tess? + + Danny stares at him: next subject, please. + + RUSTY + Alright. Tell me. + + DANNY + It's tricky. No one's ever done it + before. Needs planning, a large + crew. + 17. + + + RUSTY + Guns? + + DANNY + Not loaded ones. It has to be very + precise. There's a lot of security. + But the take -- + + RUSTY + What's the target? + + DANNY + Eight figures each. + + RUSTY + What's. The. Target. + + DANNY + (deep breath, then) + When's the last time you were in + Vegas? + + RUSTY + What? You wanna knock over a + casino? + + Danny puts down his coffee. And shakes his head. And lifts + three fingers: three casinos. Rusty must put down his + coffee, too. + + +19 EXT. DOWNTOWN L.A. - NIGHT 19 + + It's after hours downtown. Dark, empty, dead. + + +20 INT. LIBRARY TOWER - 40TH FLOOR CORRIDOR - NIGHT 20 + + Lights out on the 40th. Engraved brass announces: J.A. + KUEHN & ASSOCIATES, ARCHITECTS. + + Two flashlight beams strafe wood-paneled, elegant offices: + Danny and Rusty on late-night reconnaissance. As Danny + prowls a cabinet full of blueprints, Rusty passes the time + switching papers from a desk's in box to its out box. + + At last, Danny finds the right set of blueprints and drapes + it across the desk; we, however, never see it. + + DANNY + The vault at the Bellagio. + 18. + + +A beat as Rusty scans the document, then another underneath +it. + + RUSTY + If I'm reading these right -- and I + think that I am -- this is probably + the least accessible vault ever + designed. + (beat) + Oops. Actually, you know what, I'm + wrong. It's definitely the least + accessible vault ever designed. + + DANNY + Yep. + +Rusty's brow furrows just a little. + + RUSTY + You said three casinos -- + + DANNY + (flips to next blueprint) + These feed into the cages at both + the Mirage and the M.G.M. Grand. + (tapping vault) + But every dime ends up here. + + RUSTY + The Bellagio, Mirage, and -- These + are Terry Benedict's places. + + DANNY + Yes, they are. Think he'll mind? + + RUSTY + More than somewhat. + +AT 40TH FLOOR ELEVATOR BAY + +No ding. The elevator just arrives. Its doors part to +reveal a SECURITY GUARD within, here to make his tour; a +large fellow, he has to duck to exit. + +BACK WITH DANNY AND RUSTY + +As Danny rolls up the set of blueprints, Rusty considers +the plan (which, in our absence, Danny has pitched him). + + RUSTY + You'd need at least a dozen guys, + doing a combination of cons. + 19. + + + DANNY + Like what, you think? + + RUSTY + Well, off the top of my head, I'd + say you're looking at a Boesky, a + Jim Brown, a Miss Daisy, two + Jethros, and a Leon Spinks. Oh, and + the biggest Ella Fitzgerald ever. + (beat) + Where do you think you're gonna get + the money to back this? + + DANNY + As long as we're hitting these + three casinos, we'll get our + bankroll. Terry Benedict has a list + of enemies. + + RUSTY + But does he have enemies with loose + cash and nothing to lose -- + (smiles, realizing) + Aha. + + DANNY + (smiles, too) + Aha. + + RUSTY + Reuben. + +MOVING WITH SECURITY GUARD as he approaches Danny's and +Rusty's voices. + +BACK WITH DANNY AND RUSTY + + DANNY + So -- + + RUSTY + So, here's what I think: You should + take this plan, kick it around for + a week or two. Sleep on it. Turn it + over in your head. Then: never + bring it up to me again. + + DANNY + Uh-huh. So what are you saying? + + RUSTY + 20. + + + I'm saying: this is like trying to + build a house of cards on the deck + of a speeding boat. + + DANNY + Really? I thought it was much + harder than that -- + +Suddenly the Security Guard's flashlight beam hits them +square in the eyes. Danny and Rusty put their hands up to +block the light. + + DANNY + Jesus, Oscar, lower it a little, + will ya? + + SECURITY GUARD + Sorry. + (lowers beam) + You two done up here? Find what you + wanted? + + DANNY + Yeah, thanks. You mind if we borrow + a couple drawings for the night? + Make some copies. + + SECURITY GUARD + Whatever you need. + +Danny withdraws his money clip, peels off a couple +hundreds, and buries them in the Security Guard's hand. + + DANNY + 'Preciate it. + +AT 40TH FLOOR ELEVATOR BAY + +Danny and Rusty wait for an elevator. When its doors open, +Rusty stops Danny from boarding. + + RUSTY + I need a reason. And don't say + money. + (beat) + Why do this? + + DANNY + Why not do it? + +Rusty stares at him: enough bullshitting around. + + DANNY + 21. + + + Because yesterday I walked out of + the joint wearing my entire + wardrobe and you're colddecking + TeenBeat coverboys. + (beat) + Because the house always wins. You + play long enough, never changing + stakes, the house takes you. + Unless, when that special hand + comes around, you bet big. And then + you take the house. + + A beat. Rusty smiles. + + RUSTY + You're been practicing that speech, + haven't you? + + DANNY + A little. Did I rush it? It felt + like I rushed it. + + RUSTY + No, it was good. + + They step aboard the elevator. As the door closes: + + RUSTY + I wonder what Reuben will say? + + Danny and Rusty look at each other. + + TISHKOFF (V.O.) + You're out of your goddamn minds. + + +21 EXT. TISHKOFF'S OPULENT BACK YARD - LAS VEGAS - DAY 21 + + REUBEN TISHKOFF, the grimace of a man in mid-movement, + forever cemented on his face, scrutinizes his two lunch + guests (Danny and Rusty) at his poolside. + + TISHKOFF + Are you listening to me? You are, + both of you, nuts. I know more + about casino security than any man + alive. I invented it, and it cannot + be beaten. They got cameras, they + got watchers, they got locks, they + got timers, they got vaults. They + got enough armed personnel to + occupy Paris. Okay, bad example -- + 22. + + + DANNY + It's never been tried. + + TISHKOFF + Oh, it's been tried. A few guys + even came close. You know the three + most successful robberies in Vegas + history? + + +22 INT. SANDS CASINO FLOOR - 1965 - FLASHBACK 22 + + An Adlai Stevenson-lookalike approaches a lockbox carrier + from behind and snatches the box. + + He takes almost three steps before five security men leap + at him and FREEZE FRAME on his wide-eyed expression of + horror. + + TISHKOFF (V.O.) + Number three. The bronze medal. + Pencilneck grabs a lockbox at the + Sands. He got two steps closer to + the door than any living soul + before him. + + RESUME ACTION: Adlai Stevenson gets a taste of what NFL + quarterbacks experience every Sunday, five fold. + + +23 INT. FLAMINGO CASINO FLOOR - 1971 23 + + A hippie races toward the electronic sliding doors, + clutching a tray full of chips, and as the doors begin to + part for him FREEZE FRAME: A billy club appears out of + nowhere. + + TISHKOFF (V.O.) + Second most successful robbery. The + Flamingo '71. This guy actually + smelled fresh oxygen before they + got him. + + RESUME ACTION: The billy club comes down -- whap! -- across + the hippie's skull and it's Chicago '68 all over again. + + TISHKOFF (V.O.) + Course, he was breathing out of a + hose the next three weeks, goddamn + hippie. + + +24 EXT. REUBEN TISHKOFF'S BACK YARD - DAY - PRESENT 24 + 23. + + + TISHKOFF + And the closest any man has gotten + to robbing a Las Vegas casino -- + + +25 EXT. CAESAR'S PALACE ENTRANCE - 1987 - FLASHBACK 25 + + Tourists and valets scatter as a Euro-thief (pastel T-shirt + beneath a white linen suit) bursts from the casino and + takes five steps before FREEZE FRAME: GLASS EXPLODES from + three different doors behind him and he arches his back in + agony. + + TISHKOFF + Outside of Caesar's in '87. He + came, he grabbed, he got conquered. + + RESUME ACTION: BULLETS rip the man to shreds and he + collapses on Caesar's steps a bloody pulp. + + +26 EXT. REUBEN TISHKOFF'S BACK YARD - DAY - PRESENT 26 + + TISHKOFF + But what am I saying? You guys are + pros, the best. I'm sure you can + make it out of the casino. Of + course, lest we forget, once you're + out the front door, you're still in + the middle of the fucking desert! + + Both Danny and Rusty look chastened. + + RUSTY + You're right. + (to Danny) + He's right. + + DANNY + Reuben, you're right. Our eyes are + bigger than our stomachs. + + RUSTY + That's exactly it. Pure ego. + + TISHKOFF + Yeah yeah blah blah. + + DANNY + Thank you so much for setting us + straight. Sorry we bothered you. + + They both rise to go. + 24. + + + TISHKOFF + Look, we all go way back. I owe you + from that thing with the guy in the + place, and I'll never forget it. + + DANNY + It was our pleasure. + + RUSTY + I'd never been to Belize. + + TISHKOFF + Give Dominic your addresses, I got + some remaindered furniture I wanna + send you. + +Danny and Rusty begin to circle the pool to leave. +Tishkoff, of course, won't let them go that easily. + + TISHKOFF + Just out of curiosity, which + casinos did you geniuses pick to + rob? + +Danny stops, almost as if he's been waiting for this +question, which of course he has. + + DANNY + The Bellagio, Mirage, and the + M.G.M. Grand. + + TISHKOFF + (nostrils flared, + smelling a rat) + Those are Terry Benedict's casinos. + + RUSTY + Say, you know, he's right. + +Tishkoff waves them back, sipping on his umbrellaed +cocktail. + + TISHKOFF + You guys -- Whadda you got against + Terry Benedict? + + DANNY + What do you have against him? + That's the real question. + + TISHKOFF + 25. + + + He torpedoed my casino, muscled me + out, now he's gonna blow it up next + month to make way for another + fuckin' eyesore. Don't think I + don't see what you're doin'. + + RUSTY + What are we doing, Reuben? + + TISHKOFF + You gonna steal from Terry + Benedict, you better goddamn know. + This sorta thing used to be + civilized. You'd hit a guy, he'd + whack you. Done. But Benedict -- + (bristles) + At the end of this he better not + know you're involved, not know your + names, or think you're dead. + Because he'll kill you, and then + he'll go to work on you. + + DANNY + That's why we've got to be very + careful. We have to be precise. We + have to be well-funded. + + TISHKOFF + Yeah, you gotta be nuts, too. And + you're gonna need a crew as nuts as + you are. + (pregnant silence) + Who do you have in mind? + + Danny and Rusty both smile; they've hooked their fish. And + so it begins -- + + RUSTY (V.O.) + Alright. Who's in? + + DANNY (V.O.) + Frank C. is in. + + +27 INT. CASINO OFFICE - ATLANTIC CITY 27 + + Frank Catton coughs mightily into a handkerchief. Across a + desk, his boss fills out paperwork. + + DANNY (V.O.) + Frank C. has developed a bad case + of bronchitis and is putting in for + a transfer to warmer climates. + 26. + + +28 EXT. LAS VEGAS AIRPORT - DAY 28 + + Frank carries his bag toward the taxi bay. He stops to + light a cigarette, inhales with deep satisfaction before a + banner: "WELCOME TO LAS VEGAS." + + DANNY (V.O.) + What about drivers? + + +29 EXT. VACANT, WEEDY DRAG RACETRACK - DAY 29 + + CLOSE ON a souped-up tractor-wheeled monster truck, its + ENGINE ROARING before a starting line, itching to cross it. + Now take a step back. + + That souped-up monster truck stands a foot-and-a-half off + the ground and sprouts an antenna from its back bumper. + It's a remote-controlled toy. + + The ROARING ENGINE comes from the vehicle next to it: an + actual monster truck. Both vehicles peer down the track at + a finish line a hundred yards away. This is a race. + + The drivers stare each other down: TURK (behind the wheel + of the truck) and VIRGIL (track-side, remote control in + hand) MALLOY. They're nice boys. Really. Peckerwoods, sure, + but nice. + + RUSTY (V.O.) + I talked to the Malloys yesterday. + + DANNY (V.O.) + The Mormon twins? + + RUSTY (V.O.) + They're both in Salt Lake City, six + months off the job. I got the sense + they're having trouble filling the + hours. + + Lights flash red-to-yellow-to-green and while the TRUCK + COATS RUBBER on the track, Virgil's toy zips to a lead. + + It's looking to be an embarrassment for Turk until he jerks + his wheel a little and ka-thunk, flattens his brother's + vehicle. + + Virgil pouts as he plucks up the wreckage of his entry. + + DANNY (V.O.) + Electronics? + 27. + + + RUSTY (V.O.) + Livingston Dell. + + +30 INT. SURVEILLANCE VAN - DAY 30 + + On a black and white monitor: Two mobsters, on a meet in a + public park, peer over their shoulders, making certain no + one is watching them. Little do they know LIVINGSTON DELL, + audio-visual junkie, and victim of a continual flop sweat, + crouches before their image, masterfully controlling his + surveillance camera with a joystick in his left hand. He is + flanked by FBI MEN. + + RUSTY (V.O.) + Livingston's been doing freelance + surveillance work of late for the + F.B.I. Mob Squad. + + DANNY (V.O.) + How are his nerves? + + RUSTY (V.O.) + Okay. + (beat) + Not so bad you'd notice. + + As a FBI Man reaches to adjust a monitor -- + + LIVINGSTON + D-don't, don't-don't -- touch -- + it. + + FBI MAN #1 + What? + + LIVINGSTON + Do you see me pulling the gun out + of your holster and firing it? + + FBI MAN #2 + Hey, Radio Shack: relax. + + +31 EXT. SANTA MONICA BOARDWALK - LATER 31 + + Livingston walks down the boardwalk. A rollerblader with a + dog on a leash approaches and Livingston gets caught + between the two. As he struggles to untangle himself from + the leash -- + + +32 INT. CAFE 32 + 28. + + + With a view of Livingston on the boardwalk. Danny and Rusty + wait for him over espressos. + + RUSTY + (next item on his list) + Munitions. + + DANNY + Phil Turentine. + + RUSTY + Dead. + + DANNY + No shit? On the job? + + RUSTY + Sun cancer. + + DANNY + You send flowers? + + RUSTY + Dated his wife a while. + + DANNY + (onto next candidate) + Basher -- + + RUSTY + (checks his watch) + We may be too late. + + +33 INT. BANK - CLOSE ON BASHER TARR - NIGHT 33 + + the explosives expert. A pair of goggles over his eyes + reflects a match being struck, then touched to a fuse. + + BASHER + Sweet -- + + BANG! Wood shards and SPLINTERS of GLASS fly all around; + Basher merely ducks his head and whistles. As the dust + settles, three men move quickly past Basher and into (what + the settling fog now reveals to be) a dynamited bank vault. + ALARMS begin to sound: this is bad news. + + BASHER + (to the rest of his gang, + his temper flaring) + You know, you guys had one job to + do. + 29. + + +34 EXT. BANK - ONE MINUTE LATER 34 + + The men exit through the front doors, their hands over + their heads, Basher trailing them. Policemen and SWAT + members encircle the group, weapons trained on them, chock + full of instructions. + + +35 EXT. POLICE CAR - LATER 35 + + Basher sits in the rear, handcuffed behind his back, feet + on the pavement. An explosives COP kneels in front of him. + + COP + And that's all you used during the + event? Nothing else? + + BASHER + Are you accusing me of booby- + trapping? + + COP + Well, how 'bout it? + + VOICE (O.S.) + Booby traps aren't Mr. Tarr's + style. + + The Cop turns; standing behind him, stone-faced, is Rusty, + in a dark suit and shades. + + RUSTY + Isn't that right, Basher? + + BASHER + That's right. + + RUSTY + (flashing badge, briefly) + Peck, A.T.F. Let me venture a + guess. A simple G4 mainliner, + double-coil, backwound, quick fuse + with a drag under 20 feet. + (off Cop's reaction) + That's our man. Tell me something + else. Have you checked him for + booby traps on his person? I mean + really checked, not just for + weapons -- + + The Cop looks bewildered. Rusty steps forward, yanks Basher + onto his feet, spins him around. He moves his hands up and + down Basher's legs, around his waist, under his arms. + 30. + + + RUSTY + Will you go find Griggs and tell + him I need to see him? + + COP + Who? + + RUSTY + (loud) + Just go find him, will you? + (as Cop stalks off; under + his breath) + How fast can you put something + together with what I passed you? + + BASHER + Done. Thirty seconds all right? + + RUSTY + From when? + + BASHER + (as we hear something + SNAP from behind his + back) + Now. + +MOVING WITH RUSTY AND BASHER + +They're hurrying; ahead of them is a wall of squad cars, a +police cordon, and a crowd of onlookers. + + RUSTY + Ten seconds? + + BASHER + Not quite. Is Danny here? + + RUSTY + Around the corner. + + BASHER + Be good working with professionals + again. + (beat) + Okay: go. + +And they both start running. + + RUSTY + Everyone down! Get down! There's a + bomb in the -- + 31. + + + And behind them the SQUAD CAR ERUPTS with a BANG! A + collective SCREAM rises from the crowd, everyone ducks, + cops hit the ground and cover their heads. Rusty and Basher + move briskly past them, dodging their splayed legs like + tires on an obstacle course. By the time the Explosives Cop + thinks to look around for Basher, they've both disappeared. + + +36 INT. UNDER BIG TOP - DAY 36 + + The Chinese National Circus, currently on tour in the + Western United States. Trapeze artists, gymnastic teams, + and trampoline daredevils fly, somersault, spin, and swing + through the air. + + A full house applauds every feat. Danny and Rusty sit in + the bleachers, surrounded by parents and kids munching on + spindles of cotton candy. Tough guys in toyland. + + ANNOUNCER (V.O.) + (in Chinese, then + English) + Ladies and gentlemen: the amazing + Yen. + + A funambulist (YEN) begins his high-wire act. + + DANNY + So he can walk on a rope. + + RUSTY + More than that. + + DANNY + So he can juggle. We need a grease + man, not an acrobat. Who else is on + the list? + + RUSTY + He is the list. + + DANNY + Who else? + + RUSTY + Watch. + + Halfway across the wire, the funambulist sits. And very + slowly, but without hesitation, he contorts himself into a + ball, never losing his balance. Even Danny is impressed. + + RUSTY + There's your grease man. + 32. + + +37 EXT. SANTA MONICA PIER PARKING LOT - DAY 37 + + Danny and Rusty exit the circus tent, head for their car. + + DANNY + We need Saul. + + RUSTY + He won't come. He swore off the + game a year ago. + + DANNY + He get religion? + + RUSTY + Ulcers. + + DANNY + You can ask him. + + Rusty stops, stares at Danny, sighs. + + RUSTY + I can ask. + + +38 EXT. DOG TRACK - BETTING WINDOW - MIAMI - DAY 38 + + SAUL BLOOM, 50s, befuddled, wearing a corduroy jacket + patched at the elbows and a duffer's hat, counts out money + through the window, lists his bets. He checks his tickets, + plunges them into his pants pocket, and moves off. + + THROUGH TRACK LOBBY + + Rusty appears in the f.g. behind a pillar, as dapper as + Saul is down-at-heel, watching him go. When Saul disappears + into the tunnel, he moves. + + IN INFIELD + + Saul sits on one of the long, general admission steps under + the box seats. He produces an orange from his pocket, + starts to peel it. A pair of well-shined shoes appears + behind him. Saul senses their presence, but doesn't turn + around. + + SAUL + I saw you in the paddock before the + second race, outside the men's + room, when I placed my bet. I saw + you before you even got up this + morning. + 33. + + + RUSTY + How ya been, Saul? + + SAUL + Never better. + + RUSTY + What's with the orange? + + SAUL + My doctor says I need vitamins. + + RUSTY + So why don't you take vitamins? + + For the first time, Saul cranes his neck and shoots a look + up at Rusty. + + SAUL + You come here to give me a + physical? + + RUSTY + I got a box seat. Come on. + + +39 EXT. BOX SEATS - LATER 39 + + A waiter serves coffee to Rusty and Saul. + + RUSTY + I thought you drank bloody Mary's + at the track, Saul. + + SAUL + A man shouldn't drink on the job. + + RUSTY + (re: race) + Who we rooting for here? + + SAUL + Number four. + + There's the BELL; the electronic rabbit is released and the + dogs break out of the gate. From this point on Saul's eyes + never leave the race. + + SAUL + You gonna ask me? Or should I just + say no and get it over with? + + RUSTY + 34. + + + Saul, you're the best there is. + You're in Cooperstown. What do you + want? + + SAUL + Nothin'. I got a duplex now, I got + wall-to-wall and a goldfish, I'm + seeing a nice lady, she works the + unmentionables counter at Macy's. + I've changed. + + RUSTY + Guys like us don't change, Saul. We + stay sharp or we get sloppy, but we + don't change. + + SAUL + Quit connin' me. + + They watch the race. + + RUSTY + That your hound way in the back + there? + + SAUL + He breaks late. Everyone knows + this. + + On the track: The dogs are now coming around the back + stretch, and the crowd on the bleachers rises, cheering. + + SAUL + You gonna treat me like a grownup + at least? Tell me what the scam is? + + Under the noise: Rusty leans in and whispers in Saul's ear. + Saul's eyes widen, then glaze over as all around him people + are standing and shouting. + + Rusty places an envelope in Saul's lap, then gets up and + walks out as, on the track, the #4 dog crosses the finish + line, last by several lengths. + + Saul considers his options. In one hand: a fan of losing + tickets. In the other (courtesy of Rusty): a ticket to Las + Vegas. + + DANNY (V.O.) + And Saul makes ten. + + +40 INT. BAR - NIGHT 40 + 35. + + + Danny and Rusty look weary from all this recruitment. A + nearby TV with the sound off plays a promo for an upcoming + Tyson fight. + + DANNY + Ten should do it, don't you think? + (as Rusty shrugs) + You think we need one more? + (as Rusty shrugs) + You think we need one more. + (as Rusty shrugs) + Okay. We'll get one more. + + +41 INT. CROWDED SUBWAY CAR - CHICAGO 41 + + Native Chicagoans demonstrate their indigenous sixth sense, + L-car balance as the TRAIN bends and SHAKES at a corner. + + One passenger in particular keeps his footing, a young man + in a frayed jacket: LINUS. + + Two overgroomed STOCKBROKERS stand with their backs to the + young man, yammering about high interest yields, and + consequently they don't notice (and neither do we, not at + first) that Linus is slowly picking one of their pockets. + + The thievery is glacier-paced: Linus, his face always + forward and inscrutable, gingerly raises one tail of his + target's Brooks Brothers jacket and then, with incomparable + dexterity, unbuttons his wallet pocket with a flick of his + thumb and forefinger. + + From halfway down the train car, nothing appears amiss, and + no passenger looks the wiser. Or so it seems. + + A copy of the Chicago Sun-Times, opened and upheld, lowers + just enough to allow its reader a peek at Linus. + + It is Danny, smirk on his lips: He (and he alone) is aware + of the ongoing heist. + + Back to Linus, his spoils (a Gucci wallet) now in sight, + but he waits for just the right moment, and then, when the + train hits another curve, he stumbles forward, his left + hand finding support on the Stockbroker's shoulder as his + right relieves the man of his wallet. + + LINUS + Sorry 'bout that. + + STOCKBROKER + No problem, guy. + 36. + + + The Stockbroker resumes his yacketing, oblivious, as Linus + tucks his prize into his own jacket pocket, face betraying + nothing. Only Danny appreciates the artistry performed here + today. He folds the Sun-Times under his arm as -- + + +42 INT. UNION STATION - SUBWAY STATION 42 + + -- The SUBWAY SQUEALS to a stop. Linus jumps out, leaving + his prey aboard, and a few moments later, Danny steps off, + too. + + +43 INT. UNION STATION - EVENING 43 + + The hurly-burly of rush hour in Union Station. + + Commuters zig and zag, this way and that, all on furious + schedules, and Linus slips blithely through them, in no + hurry, a man who's pulled this job a thousand times before. + + He dodges and sidesteps crazed commuters, and except for a + brief brush with one well-dressed man (the Sun-Times tucked + under his arm), he escapes the station without incident. + + +44 EXT. UNION STATION - EVENING 44 + + Linus exits, casually reaching into his jacket to count his + winnings. And his face falls. + + All he finds where the stolen wallet once resided is a + calling card. On one side, in engraved printing: "DANIEL + OCEAN." On the flip side, in handwriting: "Nice pull. + Murphy's Bar, Rush & Division." + + +45 INT. MURPHY'S BAR - FIVE MINUTES LATER 45 + + On a tabletop: the Gucci wallet beside a half-drunk + Guinness. Linus enters the front door, cases the joint, + spots the wallet on the table, and Danny behind it. + + DANNY + Hi, Linus. Sit down. + + LINUS + Who are you? + + DANNY + A friend of Bobby Caldwell's. Sit + down. + 37. + + +Linus balks, prideful, but sense finds a way, and he sits. + + DANNY + Bobby told me about you. Said you + were the best set of hands he ever + saw. Didn't expect to find you + working wallets on the subway. + + LINUS + That wasn't work, that was + practice. + +Danny reaches into his jacket and sets a plane ticket on +the table. He keeps his hand over it. + + DANNY + You're either in or out, right now. + + LINUS + What is it? + + DANNY + A plane ticket. A job offer. + + LINUS + You're pretty trusting pretty fast. + + DANNY + Bobby has every faith in you. + + LINUS + Fathers are like that. + (off Danny's reaction) + He didn't tell you? + (as Danny shakes his + head) + He doesn't like me trading on his + name. + + DANNY + You do this job, he'll be trading + on yours. + + LINUS + What if I say no? + + DANNY + We'll get someone else who won't be + quite as good. You can go back to + feeling up stockbrokers. + +Linus considers. He looks down at the ticket, then at the +wallet. It's one or the other. + 38. + + + A waitress passes, and Danny signals her for his bill. When + his attention returns to Linus, the wallet remains, but the + ticket beneath his hand is gone. Linus is reading it. + + DANNY + That's the best lift I've seen you + make yet. + + LINUS + Las Vegas, huh? + + DANNY + America's playground. + + And our MAIN THEME KICKS IN as we -- + + CUT TO: + + +46 EXT. LAS VEGAS - AERIAL VIEW - ESTABLISHING - DUSK 46 + + The city looms out of the desert like an infernal machine, + lights flashing, skyline pulsing, a neon fortress. + + One thing in particular catches our eye: an enormous + billboard with an ad for the upcoming boxing match between + Mike Tyson and Lennox Lewis. Below it, a promoter hands out + fliers for strip joints and call girls. + + +47 INT. REUBEN TISHKOFF'S MANSION - LAS VEGAS - NIGHT 47 + + Frank Catton is already here, mixing a drink, when DING + DONG, the DOORBELL CHIMES. Tishkoff shuffles toward the + front (he's given the help the night off) and opens his + door to find -- + + LIVINGSTON + Trick or treat. + + -- Livingston, Basher, Yen, the Malloys, Saul and Linus + crowding his doormat. A taxi-van pulls away behind them. + + TISHKOFF + What, you guys get a group rate or + something? + + +48 INT. TISHKOFF'S LIVING ROOM - LATER 48 + + Along one wall, a buffet table has been set up, and while + Virgil and Turk pile shrimp onto plates, Saul pockets an + orange for later. + 39. + + + TURK + You make it out to Utah much, Saul? + + SAUL + (last man you'd see in + the Tabernacle) + Not as much as I'd like. + + TURK + You should. You'd like it. You'd + like Provo. + + VIRGIL + (scarfing a jumbo shrimp) + Anybody see the salsa goes with + this? + +At the wet bar, Basher mixes a drink for Livingston; on a +couch, Yen balances coffee-table ornaments into a +skyscraper, to Frank's astonishment. In a corner, off on +his own, Linus watches the company, his eyes narrowing, +wary. Until -- + + DANNY (O.S.) + Gentlemen: welcome to Las Vegas. + +Danny stands at the top of the stairs leading into the +room, flanked by Rusty and Tishkoff. He starts down. + + DANNY + Everybody eaten? Good. Everybody + sober? Close enough. Most of you + know each other already. You + probably haven't met Linus Caldwell + before, he's Bobby's kid outta + Chicago. + +Linus trades nods around the room. + + DANNY + Okay. Before we start, nobody's on + the line here yet. What I'm about + to propose to you happens to be + both highly lucrative and highly + dangerous. If that doesn't sound + like your particular brand of + vodka, help yourself to as much + food as you like and safe journey. + No hard feelings. + (pauses, soberly) + Otherwise, come with me. + +He turns and walks out of the living room, into another. + 40. + + + Rusty is close behind; he turns briefly, casts an eye over + the assembled and keeps going. The guys look each other + over, sizing things up. + + BASHER + What the hell. + + And he follows, along with Frank and Livingston. Then + Virgil, Turk and Yen. Then Saul. That leaves Linus, + watching the line of men disappear. He turns to find + Tishkoff by his side, staring at him. + + LINUS + Hi. + + TISHKOFF + You're Bobby Caldwell's kid, huh? + + LINUS + Yeah. + + TISHKOFF + From Chicago? + + LINUS + Yeah. + + TISHKOFF + It's nice there. You like it? + + LINUS + Yeah. + + TISHKOFF + That's wonderful. Get in the + goddamn room. + + +49 INT. GAME ROOM 49 + + A tournament-level pool table holds center stage here. Atop + its green felt sits a raised, elaborate miniature of Terry + Benedict's Las Vegas: three casinos and hotels with the + Strip running between them. + + As the eleven surround the table and the model -- + + DANNY + 41. + + + Gentlemen: the 14000 block of Las + Vegas Boulevard. Otherwise known as + the Bellagio, the Mirage, the + M.G.M. Grand. Together, they're the + three most profitable casinos in + Las Vegas -- + +Danny removes the Strip from the model. Revealed beneath is +a complex substructure, featuring three tunnels, each +leading from a casino to a single freight-sized elevator +shaft which descends into an enormous vault. + + DANNY + Gentlemen: the Bellagio vault. + Located below the Strip, beneath + two hundred feet of solid earth. It + safeguards every dime that comes + through each of the three casinos + above it. + (beat) + And we're going to rob it. + +Everyone takes a breath, awed. + + LINUS + Smash-and-grab job, huh? + + RUSTY + It's a little more complicated than + that. + +Danny picks up a remote control and flips on a panel of +Tvs. + + DANNY + Courtesy of Frank Catton, new + blackjack dealer at the Bellagio, + security tapes from the three + casinos. + +On the monitors: three montages of black-and-white security +tapes, starting within the three casinos' cages, moving +into the tunnels, then (as the TVs unite in their images) +pushing into the elevator and eventually the vault. + +As the group's glances shoot back and forth from the TV to +the corresponding section of the model, i.e. from a POV of +the tunnel to the miniature tunnel itself. + + DANNY + 42. + + + Okay. Bad news first. This place + houses a security system which + rivals most nuclear missile silos. + First: we have to get within the + casino cages -- + + RUSTY + (indicating) + -- here, here, and here -- + + DANNY + -- which anyone knows takes more + than a smile. Next: through these + doors, each of which requires a + different six-digit code changed + every twelve hours. Past those lies + the elevator, and this is where it + gets tricky: the elevator won't + move without authorized fingerprint + identifications -- + + RUSTY + -- which we can't fake -- + + DANNY + -- and vocal confirmations from + both the security center within the + Bellagio and the vault below - - + + RUSTY + -- which we won't get. + + DANNY + Furthermore, the elevator shaft is + rigged with motion detectors -- + + RUSTY + -- meaning if we manually override + the lift, the shaft's exit will + lock down automatically and we'll + be trapped. + + DANNY + Once we've gotten down the shaft, + though, then it's a walk in the + park: just three more guards with + Uzis and predilections toward not + being robbed, and the most + elaborate vault door conceived by + man. Any questions? + +Silence. For a moment, each man keeps his two dozen +questions or more to himself. At last, one speaks up -- + 43. + + +The Amazing Yen. In Cantonese. Of course, no one +understands him. Except Rusty. + + RUSTY + (in response) + No. Tunneling is out. There are + Richter scales monitoring the + ground for one hundred yards in + every direction. If a groundhog + tried to nest there, they'd know + about it. Anyone else? + +Another silence. Either the guys are too dumbfounded by +that bilingual exchange or too numbed by the task ahead of +them to speak. + + TURK + You said something about good news + -- + + DANNY + (smiles, happy someone + asked) + The Nevada Gaming Commission + stipulates: a casino must hold in + reserve enough cash to cover every + chip at play on its floor. As I + mentioned, this vault services each + of the three casinos above it. That + means: during the week, by law, it + must hold anywhere from sixty to + seventy million dollars in cash and + coin. On a weekend, between eighty + and ninety million. On a fight + night, like the one two weeks from + tonight, the night we're going to + rob it, at least a hundred and + fifty million. Without breaking a + sweat. + (gazing about room) + Now there are eleven of us. Each + with an equal share. You do the + math. + +MOVING AROUND the table ON ten faces, as everyone does +precisely that, in their heads, except for Virgil who does +it on his fingers. He whistles. + + RUSTY + That's what I said. + +Everyone seems suitably impressed by their share. + 44. + + + SAUL + I have a question. + (as Danny turns to him) + Say we do get into the cage, and + through the security doors there, + and down the elevator we can't + move, and past the guards with + guns, and into the vault we can't + open -- + + RUSTY + Without being seen by the cameras. + + DANNY + (off everyone's + astonishment) + Oh, right. Sorry. I forgot to + mention that. + + SAUL + Say we do all that. We're just + supposed to walk outta there with a + hundred million dollars in cash on + us without getting stopped? + + Danny smiles, his broad, sure-of-himself grin, the one + Rusty couldn't deny earlier and these guys won't deny now. + + DANNY + Yeah. + + Saul looks panic-stricken; like that, his ulcer has flared + up, and he pops a Rolaid in his mouth. + + DANNY + Alright. Here's how we'll begin. + + +50 INT. MGM GRAND CASINO - DAY 50 + + MOVING WITH a cash cart as security guards push it past + tourists, past cocktail waitresses, past Linus sitting at a + blackjack table. + + DANNY (V.O.) + First task: reconnaissance. I want + to know everything that's going on + in all three casinos. From the + rotation of the dealers to the path + of every cash cart -- + + +51 INT. BELLAGIO - BREAK ROOM - DAY 51 + 45. + + + Two security TECHNICIANS on a smoke break grumble about + their sex lives. Across the room, Frank sits innocently + doing a crossword. + + DANNY (V.O.) + I wanna know everything about every + guard, every watcher, anyone with a + security pass. I wanna know where + they're from, what their nicknames + are, how they take their coffee -- + + BETTER VIEW + + REVEALS: On his crossword, Frank has scribbled a transcript + of the Technicians' conversation. As he glances up at an + electronic keycard clipped to one Technician's belt -- + + +52 INT. MIRAGE CASINO - DAY 52 + + -- an identical keycard is swiped through a keypad, its + light flashing red to green, admitting a guard into an + "Employees Only" doorway. + + The Malloys, who've shadowed the guard here, note a sentry + standing watch by the door as well as a security camera + embedded in the ceiling above: No one walks through that + portal unchecked. + + DANNY (V.O.) + Most of all, I want you guys to + know these casinos. They were built + as labyrinths, to keep people in. I + want you guys to know the quick + routes out. + + Their job done, the Malloys start toward the casino's exit + -- in different directions. They begin to argue: The exit's + that way, no, it's that way. + + +53 EXT. LAS VEGAS BOULEVARD - OUTSIDE THREE CASINOS - DAY 53 + + With two dozen other tourists, Basher crosses the street + and when he meets a manhole cover he stops and, extracting + a small metal hook from his jacket, removes it from its + perch, so casual about the action that no passerby looks + twice at him. + + DANNY (V.O.) + 46. + + + Second task: power. On the night of + the fight, we're gonna throw the + switch on sin city. Basher, it's + your show. + + Basher drops into the hole, pulling the cover over him, as + we PULL UP OVER the Bellagio and -- + + DISSOLVE TO: + + +54 INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY 54 + + Dozens of monitors manned by dozens of watchers canvas + dozens of casino tables; only NASA's control rooms house + more technology. + + Apart from the fray, another bank of monitors manned by two + watchers (let's call them, for no particular reason, FAT + and SLIM) oversee a different section of the casino: the + cage, its tunnels, the elevator, and the vault it leads to; + everything, in fact, which our team saw in the game room. + + DANNY (V.O.) + Third task: surveillance. Casino + security has an eye and ear on + everything, so we'll want an eye + and ear on them. Livingston -- + + +55 INT. BELLAGIO - LIVINGSTON'S ROOM - CLOSE ON SET OF 55 + SCHEMATICS OF BELLAGIO - NIGHT + + A page of the set Danny and Rusty "borrowed" from Kuehn & + Associates. Danny and Livingston study it. + + WIDER + + LIVINGSTON + Well, it's not the least accessible + system I've seen, but it's close. I + don't suppose they have a closed- + circuit feed I could tap into? + + Danny shakes his head: no such luck. + + LIVINGSTON + Then this is definitely a black bag + job. Do they employ an in-house + technician? + 47. + + + Danny looks to Rusty who, behind them, tampers with + Livingston's audio-video setup: several portable monitors, + a laptop and modem, telephone headset, etc. + + RUSTY + Two. And one of them is lonely. + + DANCE MUSIC overwhelms the SOUNDTRACK -- + + +56 INT. OLYMPIC GARDENS STRIP CLUB - NIGHT 56 + + -- as we join a lap dance already in progress. A security + Technician (one of the two Frank eavesdropped on in the + break room) shells out twenty bucks every three minutes for + a DANCER to grind her pelvis against his chest and while + the Technician grins not-very-soberly and ogles her perfect + breasts and paws at her midriff, the Dancer secretly + removes the keycard from his belt. + + DANCER + I'll be right back, honey. Don't + move a muscle. + + TECHNICIAN + (drunk and in love) + Depends on the muscle. + + She pouts, flirtingly, as she does for every idiot who + drops a line like that, then makes her way to -- + + +57 EXT. OLYMPIC GARDENS STRIP CLUB - NIGHT 57 + + -- where Rusty waits for her, and when she slips him the + keycard, he slips her a c-note. + + RUSTY + Thanks, Charmaine. I'll have it + back within the hour. + (as he goes) + Say hello to your mom for me. + + DANCER + Say it yourself. She'll be onstage + in five minutes. + + +58 INT. BELLAGIO CASINO - NIGHT 58 + 48. + + + FOLLOWING a bunch of balloons, all congratulating "Happy + Anniversary!" as a delivery boy carries them through the + casino, and just as he's passing an "Employees Only" door + (complete with sentry and embedded ceiling camera), he + bumps into a TOURIST, and the balloons drift out of his + hand and into the camera. + + TOURIST + Hey, watch it, bud -- + + +59 INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY 59 + + As the balloons fill the frame of one monitor -- + + SLIM + 433, we have visual impairment on + the east door camera. + + +60 INT. BELLAGIO CASINO - BY CAGE DOOR - NIGHT 60 + + The SENTRY (#433) hears this and spots the balloons + covering the embedded camera and approaches the delivery + boy (who by freak accident happens to be Virgil Malloy) -- + + SENTRY + Excuse me, sir: You're going to + have to move your balloons. + + -- but Virgil's too busy picking a fight with the Tourist + (surprise, surprise: Turk Malloy) to listen. + + VIRGIL + Who you calling 'bud,' pal? + + TURK (TOURIST) + Who you calling 'pal,' friend? + + VIRGIL + Who you calling 'friend' -- + (can't think of another) + -- bud -- + + And with the Sentry out of position Livingston (dressed now + in a technician's uniform, don't worry about how he got it) + goes quickly to the door and swipes the newly-acquired + keycard and when it flashes red-to-green, he enters. + + +61 INT. CAGE - HALLWAY 61 + 49. + + + He's in. Livingston takes a moment, his brow perspiring + (he's in the lions' den now), then checks his palm: drawn + there in ballpoint is a diagram of the cage corridors. + + +62 INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY - ON MONITOR 62 + NEXT TO BALLOON-CLOUDED ONE + + Livingston appears and, as nonchalantly as he can, he + ambles down a hallway, then another, until he reaches -- + + +63 INT. CAGE - HALLWAY 63 + + -- an unmarked door next to the entrance to the security + center. Livingston swipes his keycard to enter -- + + +64 INT. CIRCUITRY ROOM 64 + + A giant walk-in closet/switchboard full of wires, plugs, + lights, etc. Livingston goes to work: + + FLURRY OF SHOTS + + He splices into all sorts of wires and lines and cables. + Meanwhile -- + + +65 INT. BELLAGIO CASINO - BY CAGE DOOR - NIGHT 65 + + -- Virgil and Turk argue, nose-to-nose, "accidentally" + blocking the Sentry from the balloons -- + + VIRGIL + You hear about this new medical + discovery they made? It's called a + 'sense of direction.' Apparently + we're all supposed to have one -- + + TURK + Yeah yeah yeah, whatever, balloon + boy. + + SENTRY + Gentlemen, gentlemen -- + + +66 INT. CIRCUITRY ROOM 66 + 50. + + + Livingston's work here is almost done: he clips a small + mechanism (known in his industry as a "spider" -- it's + small, black, antenna-less and hides in dark places) to a + main conduit, then verifies a tiny receiver he holds is + picking up the spider's feed. + + One last click into place -- + + +67 INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY 67 + + -- causes a brief, unnoticed blip on Slim's monitors -- + + +68 INT. BELLAGIO - LIVINGSTON'S ROOM - NIGHT 68 + + -- and transmits all the views of the cages onto the + monitors upstairs. Danny and Rusty witness their + appearance. + + DANNY + Why do they paint hallways that + color? + + RUSTY + They say taupe is very soothing. + + +69 INT. CAGE - HALLWAY 69 + + Livingston steps outside. His job done, he exhales and + wipes the sweat from his brow and checks his palm for + directions and -- + + Whoops. His sweat just smeared the ballpoint. He's flying + blind. He looks left down a corridor, then right, trying to + remember which way he came from. No idea. + + +70 INT. BELLAGIO - LIVINGSTON'S ROOM 70 + + DANNY + Uh-oh. + + +71 INT. CAGE - HALLWAY 71 + + MOVING WITH Livingston as he tries to find his way out. He + takes a left -- + + Whoops again: here comes Fat, dead ahead. Livingston has no + recourse but to march right by him. + 51. + + + FAT + Hiya. + + LIVINGSTON + Fine, thanks. + + Livingston continues on, and maybe for a second he thinks + he's in the clear, especially when he sees the exit looming + ahead, but then Fat turns behind him and hails him back. + + FAT + Hey -- + + +72 INT. BELLAGIO CASINO - BY CAGE DOOR - NIGHT 72 + + At last, the Sentry outmaneuvers Virgil and Turk and grabs + the balloons himself. Virgil quickly snatches them back... + + VIRGIL + Hey -- get your own balloons. + + +73 INT. CAGE - HALLWAY 73 + + Livingston approaches the exit's keypad and swipes his + keycard: the light does not flash red-to-green. + + FAT + (on his tail) + Hey -- + + Livingston looks: he swiped the wrong side of his keycard. + He tries again. Red flashes to green. He pulls the door but + Fat blocks it. Livingston peers up, certain he's had it. + + +74 INT. BELLAGIO - LIVINGSTON'S ROOM 74 + + Danny and Rusty simultaneously lean forward. + + +75 INT. CAGE - HALLWAY 75 + + FAT + You dropped this. + + Fat holds out Livingston's receiver and drops it in his + hand. + + LIVINGSTON + Thanks. + 52. + + + And he's out. + + +76 INT. BELLAGIO - LIVINGSTON'S SUITE - NIGHT 76 + + Danny and Rusty exhale. + + DANNY + Well -- + + RUSTY + Yeah -- + + DANNY + Fourth task: construction -- + + +77 INT. WAREHOUSE - DAY 77 + + The gang hauls building materials, lumber, tools, paint, + etc. and Yen hauls three times his share, carrying objects + on his head/shoulders/arms, a circus act in a hardware + store. + + DANNY (V.O.) + We need to build an exact, working + replica of the Bellagio vault. + + RUSTY (V.O.) + For practice. + + DANNY (V.O.) + Something like that. + + As Linus hauls in materials, Danny takes him aside. + + DANNY + Fifth task: intelligence. We need + those codes, Linus. From the only + man who has all three. + + LINUS + Benedict. + + DANNY + Learn to love his shadow. + (back to the team) + Sixth task: transport -- + + LINUS + (young and eager) + Wait, wait, wait. All I get to do + is watch him? + 53. + + + DANNY + For now. You gotta walk before you + crawl. + + RUSTY + (to Linus, correcting + Danny) + Reverse that. + + DANNY + (toward the Malloys) + Sixth task: transport -- + + +78 EXT. BILLY TIM'S VAN AND TRUCK DEALERSHIP - OFFICE - DAY 78 + + Outside a window: Turk and Virgil jump up and down on + opposite bumpers of a van, testing its durability. + + Inside, Frank negotiates with BILLY TIM, a Cal- + Worthingtonesque redneck car dealer, who half-pays + attention to him, half-frets over the Malloys outside. + + BILLY TIM + I'm sorry: eighteen-five each is + the best offer I can make you. + + FRANK + (playing a bit of a + dandy) + Oh, I understand perfectly. They + are beautiful vans. Well, I thank + you for your time, Mister--? + + BILLY TIM + Denham. Billy Tim Denham. + + FRANK + Yes, Denham, like a jean. + (they shake) + You know: you have lovely hands -- + do you moisturize? + + BILLY TIM + I'm sorry? + + Frank's not letting go of the man's hand, the object now is + to force Billy Tim into lowering his price just to get + Frank out of his office. + + FRANK + 54. + + + I swear by it. I try all sorts of + lotions. I went through a + fragrance-free period last year, + but now I'm liking this new brand + fortified with rose hip. My sister, + you know, she uses the aloe vera + with the sun screen built in -- + + BILLY TIM + (just can't get his hand + back) + Uh-huh. You said you'd be willing + to pay in cash? + + FRANK + I did. You know: they say cinnamon + is wonderful for your pores. Read + that on the internet. And that + ideally you should be wearing + gloves to bed, but I find that + would interfere with my social + agenda. Problem is: I get a + reaction to camphor so I can't use + traditional remedies -- + + BILLY TIM + If you could pay cash, I could + probably drop the price a little. + To, say, seventeen -- + (as Frank squeezes a + little) + -- sixteen each. + + FRANK + (big smile) + That would be lovely. + + +79 INT. WAREHOUSE - BACK TO DANNY - DAY 79 + + overseeing the construction, reviewing his list of tasks on + his fingers, suspecting he's missed one. + + DANNY + -- Power, surveillance, transport - + - + + TISHKOFF + Anything I can do? + + Danny's eyes flash from Tishkoff to Saul, behind him, + dressed in his usual frumpy attire: that's what he missed. + 55. + + + DANNY + Get your wallet. + + +80 INT. HABERDASHERY 80 + + A tailor fits Saul for the finest suits Tishkoff's money + can buy. As Saul smoothes out a coat sleeve- - + + SAUL + This is nice material. + + DANNY + It's Armani, Saul. + + SAUL + It's very nice. + + Saul's not fooling anyone: he's scared, right down to his + Florsheims. Danny nods to the tailor: "Give us a moment." + + DANNY + Saul, you sure you're ready to do + this? + + Saul turns away, and when he faces Danny again, his entire + aspect has changed: His features stone, his eyes icicles. + + SAUL + If you ever question me again, + Daniel, you won't wake up the + following morning. + + They exchange a long, fierce glance; Saul's eyes never + waver. + + DANNY + You're ready. + + Danny signals Tishkoff: let's pay, and Saul immediately + slumps into his old self. To a mirror, he practices -- + + SAUL + Hello. My name is Lyman Zerga -- + (this time a little + deeper) + My name is Lyman Zerga -- + + +81 INT. LIMOUSINE - DAY 81 + 56. + + + Saul's dressed completely (and immaculately) now in Armani, + with his hair slicked back, a brief moustache on his lip, + and impenetrably dark glasses riding the bridge of his + nose. He continues to practice, his accent even deeper now + and specifying no geographic origin, could be Scottish, + could be Israeli -- + + SAUL + My name is Lyman Zerga -- My name + is Lyman Zerga -- + + Danny passes him an envelope full of $100 bills. + + DANNY + There's a little over twenty grand + there, Saul. Try to make it last. + + Saul pats down his pockets for something he can't find. + + SAUL + You seen my -- + + DANNY + (handing him Rolaids) + Bought you a fresh roll. + + The limo pulls to a stop, and outside there is a flurry of + FOOTSTEPS before Saul's door swings open, and Turk and + Virgil (both costumed as bodyguards) stand waiting for him. + + VIRGIL + Mr. Zerga, we're here. + + DANNY + Good luck, Lyman. + + SAUL + (hesitates, then gets + out) + Luck is for losers. + + +82 INT. BELLAGIO CASINO - DAY 82 + + Saul, as Lyman Zerga, makes as low-profile an entrance into + the Bellagio as he can with bodyguards preceding and + trailing him. He approaches a V.I.P CONCIERGE. + + V.I.P. CONCIERGE + Good afternoon, sir. How can I be + of service? + + SAUL + 57. + + + My name is Lyman Zerga. I'd like a + suite, please. + + V.I.P. CONCIERGE + Do you have a reservation with us? + + SAUL + (long glare at him) + I don't make reservations. + + A longer glance at Lyman's bodyguards tells the Concierge + this is not a man to be denied. As he jumps to it -- + + +83 INT. OUTSIDE RESTAURANT'S ENTRANCE - DAY 83 + + Outside a restaurant's entrance, Rusty and Linus sit before + two slot machines, idly dropping in quarters as they watch + Saul receive the royal treatment. + + RUSTY + Okay. Tell me about Benedict. + + LINUS + The guy is a machine. + + +84 EXT. BELLAGIO CASINO - DAY - SUPER SLOW MOTION 84 + + TERRY BENEDICT emerges from a Town Car and, from his + haircut to his smile to his pant-cuffs, he is effortless + perfection. He is Vegas royalty, yet he denies eye contact + to no man. He strides into his casino and, appearing behind + a pillar, Linus follows him in. + + LINUS (V.O.) + He arrives at the Bellagio every + day at two p.m. Same Town Car, same + driver. Remembers every valet's + name on the way in. Not bad for a + guy worth three-quarters of a + billion. + + +85 INT. BELLAGIO - ELEVATOR BAY - SUPER SLOW MOTION 85 + + The doors open, and Terry Benedict steps out. Linus watches + from a craps table. + + LINUS (V.O.) + Offices are upstairs. He works + hard, hits the lobby floor at seven + on the nose. + 58. + + +86 INT. BELLAGIO CASINO - NIGHT - SUPER SLOW MOTION 86 + + From a balcony, Benedict stands overlooking the casino + floor. His CASINO MANAGER approaches and they confer. + + LINUS (V.O.) + Spends three minutes on the floor + with his casino manager. + + RUSTY (V.O.) + What do they talk about? + + LINUS (V.O.) + All business. Benedict likes to + know what's going on in his + casinos. There's rarely an incident + he doesn't know about or handle + personally. + + +87 INT. HIGH ROLLERS' ROOM - SUPER SLOW MOTION 87 + + Benedict works the room. He speaks to a Japanese High + Roller in Japanese, to a Swiss in German, etc. + + LINUS (V.O.) + He spends a few minutes gladhanding + the high rollers. He's fluent in + Spanish, German and Italian, and + he's taking Japanese lessons, + getting pretty good at it. He's out + by seven-thirty, when an assistant + hands him a black portfolio. + Contents: the day's take and new + security codes. Then he heads to + the restaurant. + + Indeed, as Benedict makes his exit, an assistant hands him + a black portfolio. + + +88 INT. BELLAGIO CASINO - OUTSIDE RESTAURANT 88 + + Rusty and Linus watch the entrance: No one enters. + + LINUS + Give him another ten seconds. + + Around the corner comes Benedict, carrying his black + portfolio. + + LINUS + As I said: a machine. + 59. + + + RUSTY +And that portfolio contains the +codes to all the cage doors? + + LINUS +Two minutes after they've been +changed, he's got 'em in hand. + (beat) +I'll tell you: you guys picked a +helluva target. He is as smart and +ruthless as they come. The last guy +caught cheating here, Benedict not +only sent him up for ten years, he +got the bank to seize the guy's +home and bankrupted -- + + RUSTY +-- his brother-in-law's tractor +dealership, I heard. + + LINUS +He doesn't just go after your +knees, he goes after your +livelihood. And everyone-you-ever- +met's livelihood. + + RUSTY +You scared? + + LINUS +You suicidal? + + RUSTY +Only in the morning. + (beat) +Now what? + + LINUS +Now comes the girl -- if she comes +in after he does, that means +they're in a snit. + + RUSTY +Where's she come from? + + LINUS +The museum downstairs. She's the +curator there. Wait -- here she is. +You'll like this. + 60. + + + Rusty looks up as a beautiful woman (the one Danny saw on + Benedict's arm in the New York Times photo) appears. + Elegantly dressed, a knockout, she moves very much in her + own private space. And Rusty's face just about drops at the + sight of her. + + LINUS + I don't know if we can use her yet. + I haven't even caught her name. + + RUSTY + Tess. + + LINUS + What? + + RUSTY + (looks very certain about + this, very certain and + very upset) + Her name is Tess. + + +89 EXT. WAREHOUSE - NIGHT 89 + + Construction continues into the wee hours. + + +90 INT. WAREHOUSE - NIGHT 90 + + A facsimile of the Bellagio vault sprouts into shape. + + Livingston fixes a security camera in a corner, then + matches its image (of Frank staple-gunning floorboard into + place) to a security tape of the real McCoy. + + On the other side of the garage, Turk and Virgil go to work + on their newly-purchased vans, with wrenches and blow + torches. Tishkoff recognizes a gasket Virgil handles. + + TISHKOFF + This looks familiar. Where'd you + get this? + + VIRGIL + Off your Rolls. + + TISHKOFF + Danny! Tell 'em not to touch the + Rolls! + 61. + + + Overlooking the whole enterprise is Danny, grinning from + ear to ear, happy in his work. He checks a stopwatch in his + hand as the false top to the cash cart before him flies + open, revealing Yen within, his arms, legs and torso folded + into a three-by-four foot space. He whips an air hose from + his mouth and inhales deeply. Danny checks his watch. + + DANNY + 29:47. Everything okay in there? + + Yen responds. Of course, Danny doesn't understand him. But + Rusty does, appearing behind him. + + RUSTY + But what doesn't beat the shit out + of being a circus performer? + + Danny turns to Rusty: he looks very, very serious. + + +91 EXT. WAREHOUSE - NIGHT 91 + + Danny and Rusty adjourn from the warehouse. + + DANNY + What is it? + + RUSTY + Tell me this isn't about her. Or + I'll walk off the job right now. + (off Danny's reaction) + Tess. She's with Terry Benedict + now. Tell me this isn't about + screwing the guy who's screwing + your wife. + + DANNY + Ex-wife. + + RUSTY + Tell me. + + DANNY + It's not. About that. Entirely. + + A beat. + + DANNY + You said you needed a reason. Well, + this is mine. + (beat) + 62. + + + When we started in this business, + we had three rules. We weren't + gonna hurt anybody. We weren't + gonna steal from anybody didn't + have it coming. And we were gonna + play the game like we had nothing + to lose. Well, I lost something. + Someone. That's why I'm here. + + A beat. + + RUSTY + Here's the problem: we're stealing + two things now. And when push comes + to shove, if you can't have both, + which are you gonna choose? And + remember: Tess doesn't divide + eleven ways. + + A beat. + + DANNY + If things go to plan, I won't be + the one who has to make that + choice. + + The two men stand quietly for a moment. + + DANNY + How'd she look by the way? Tess -- + + RUSTY + I've seen her happier. + + CLOSE ON PICASSO'S WOMAN WITH GUITAR + + TESS (V.O.) + 'Radiant' is the word. Absolutely + radiant. + + +92 INT. BELLAGIO ART GALLERY - DAY 92 + + The painting hangs under a portrait lamp on a wall between + a van Gogh and a Monet. + + At a distance, admiring it, are Tess, the SELLER and the + seller's AIDE-DE-CAMP. A staff photographer and other + personnel mill nearby. + + Off to the side, in a sharp blazer, Tess stands transfixed + by the painting. + 63. + + + TESS + He painted it in the summer of + 1912, after the break-up with + Fernande Olivier. + + SELLER + She must have put him through hell. + + TESS + You can see the conflict. He makes + her both erotic and grotesque. He's + hopelessly drawn to her, and yet + she drives him crazy. + + AIDE-DE-CAMP + (checking his watch) + Mr. Santaniello has an early + flight. Do you think Mr. Benedict + will be late? + + TESS + Mr. Benedict is never late. + +Just then the double doors to the gallery swing open, and +Terry Benedict enters, right on time. + +He is elegant, beaming, commanding. All that's missing is a +blare of trumpets. + + BENEDICT + Am I late? + + TESS + Not at all, Mr. Benedict. + (greeting him) + Allow me to introduce to you Mr. + Jean Santaniello. + + BENEDICT + (to Seller) + Mr. Santaniello, I apologize if I + kept you. I had to iron out a few + issues with my fight promoter. I + gave him an unlimited budget, and + he exceeded it. + + SELLER + I understand it's going to be a + hell of a fight. + + BENEDICT + We hope. + 64. + + +Tess angles Benedict toward the painting. + + TESS + Here it is. + +Benedict moves toward the painting, and as he does he +catches Tess in his glance, and his smile deepens. Then: + + BENEDICT + Magnificent! I've been following + her for fifteen years now. At last + I've made her a home. + (to Tess) + All the arrangements and so forth - + - + + SELLER + Done. She's yours. + + BENEDICT + Not mine. She belongs to everyone + who comes into my hotel. Isn't that + right, Ms. Ocean? + + TESS + Yes, Mr. Benedict. + + BENEDICT + She's lovely, isn't she? + (as the Seller is + confused; Benedict + specifies painting) + I can't be the only one who was + after her. + + SELLER + You're the only one who met my + price. + + BENEDICT + Ah, but this -- You can't put a + price on beauty. But I shouldn't + philosophize. I own casinos, after + all. + + AIDE-DE-CAMP + Can we get a quick shot? Mr. + Santaniello has a plane to catch. + + BENEDICT + Of course, of course. + +Tess understands: she is not to be part of the photo. + 65. + + + Benedict and the Seller pose together and -- + + Flash! + + +93 INT. BELLAGIO ART GALLERY - LATER 93 + + The Seller exits with the Aide-De-Camp in tow. Benedict + remains, enthralled by the painting. Tess appears beside + him. + + TESS + You like it? + + BENEDICT + I like that you like it. + (beat) + I have some bad news from the world + of high fashion. It seems Mike + Tyson will be wearing red on + Saturday night. Red trunks with a + white stripe. + + TESS + Oh? + + BENEDICT + And you, as I recall, will be + wearing a red Donna Karan? And when + the TV cameras pick us up in the + front row, that red dress -- + + TESS + I see. + + BENEDICT + He's a charming man, but no one's + going to be watching him when they + can make a study of you. I've asked + Paolo to find three or four things + for you to try. I hope you're not + too disappointed. + + She is, but she buries it. + + BENEDICT + Are you sure? + + She nods, smiles faintly. + + BENEDICT + I'll see you tonight. + 66. + + + Instinctively she leans in to kiss him. He recoils ever so + slightly. + + TESS + What? We're alone. + + He lets his eyes wander along the length of the ceiling, + over all the eye-in-the-sky cameras hidden there. She + follows his look. + + BENEDICT + In my hotels, there's always + someone watching. + + But he kisses her anyway. + + TESS + I'll see you tonight. + + He glances once more on the Picasso as he moves away. + + BENEDICT + Actually, I do like it. + + And Tess remains, thinking: he's rich, he's handsome and + wooing, but is she happy? + + +94 INT. HIGH ROLLERS' ROOM - NIGHT 94 + + Quiet, elegant, tense. One table is operating only, in the + corner, and at it Saul, as Lyman Zerga, furtively peels at + the roll of Rolaids and slips one in his mouth. + + HIGH ROLLER #1 + Weak stomach, Mr. Zerga? + + SAUL + I don't believe in weakness. It + costs too much. I don't believe in + questions, either. + + This shuts the High Roller up fast. Saul looks up from the + table, just perceptibly, to spot Terry Benedict, on his way + in, right on schedule. He approaches the PIT BOSS by the + entrance. + + BENEDICT + Eddie. Anything for me? + + PIT BOSS + 67. + + + Mr. Zerga, sir. Lyman Zerga. In the + third position. Wishes to speak + with you privately. + + BENEDICT + Who is he? + + PIT BOSS + Businessman of some kind, working + mostly in Europe. He's very vague, + but I asked around. Word is he + deals primarily in arms. One of the + biggest. + + BENEDICT + Zerga? Never heard of him. + + PIT BOSS + Yessir. That's why I don't doubt + it. + + BENEDICT + He's staying here? + + PIT BOSS + Checked in two nights ago, sir. + He's in the Mirador suite. + + BENEDICT + How's he doing? + + PIT BOSS + Up. Almost forty grand. + + BENEDICT + (knowing he can't duck + this) + Good for him... + + +95 INT. BELLAGIO - RESTAURANT - SAME TIME 95 + + Tess Ocean sits in a booth and sips at a glass of wine and + checks her watch: Benedict is late or very close to being + so when a pair of hands slips over her shoulders and starts + to caress her arms. + + TESS + (without looking at him) + You're thirty seconds late. I was + about to send out a search party -- + (recognizing the hands, + she turns, stunned) + 68. + + + Danny -- + + DANNY + (standing over her, + grinning) + Hello, Tess. + + TESS + (thrilled and petrified + and stunned to see him, + but outraged mostly) + What are you doing here? + + DANNY + I'm out. + + TESS + You're out. + + DANNY + Of prison. You remember. The day I + went for cigarettes and never came + back. You must have noticed. + + TESS + I don't smoke. + (as he sits) + Don't sit -- + + DANNY + (but he does) + They said I'd paid my debt to + society. + + TESS + Funny, I never got a check. + +Danny smiles. Tess stares daggers. + + TESS + You can't stay. + + DANNY + It's good to see you. + + DANNY + You're not wearing your ring. + +A beat. + + TESS + 69. + + + I sold it. And I don't have a + husband. Or didn't you get the + papers? + + DANNY + My last day inside. + + TESS + I told you I'd write. + +Danny reaches his hand (ringed) for hers (ringless), but +she removes it from the table. + + TESS + Danny. Go. Now. Before -- + + DANNY + Benedict? + +She freezes: Danny knows. He smiles: it's okay. Then, to a +passing waiter: + + DANNY + (his fingers two inches + apart) + Whiskey and -- + (then one inch apart) + -- whiskey. + + TESS + Danny -- + + DANNY + You're doing a great job curating + the museum. + +She sighs, exasperated. + + DANNY + The Vermeer is quite good. Simple + but vibrant. Although his work + definitely fell off as he got + older. + + TESS + Remind you of anyone? + + DANNY + And I still get Monet and Manet + confused. Which one married his + mistress? + + TESS + 70. + + + Monet. + + DANNY + Right. Manet had syphilis. + + TESS + They also painted occasionally. + +A beat. + + DANNY + You don't know how many times I + played this conversation out in my + head the last two years. + + TESS + Did it always go this poorly? + + DANNY + Yes. + + TESS + Sounds frustrating. + + DANNY + You were never easy. + (as she shrugs) + Okay. I'll make this quick. I came + here for you. I'm gonna get on with + my life, and I want you with me. + + TESS + You're a thief and a liar. + + DANNY + I only lied about being a thief. + But I don't do that anymore. + + TESS + Steal? + + DANNY + Lie. + + TESS + I'm with someone now who doesn't + have to make that kind of + distinction. + + DANNY + No, he's very clear on both. + + TESS + 71. + + + Nice. Work on that for two years, + too? + + DANNY + Year and a half. + + A light smile from Tess. + + TESS + Do you know what your problem is? + + DANNY + I only have one? + + TESS + You've met too many people like + you. + (then) + I'm with Terry now. + + DANNY + Does he make you laugh? + + TESS + He doesn't make me cry. + + +96 INT. HIGH ROLLERS' ROOM - SAME TIME 96 + + At the table, Saul bets heavily for the bank. Benedict + approaches, stands off to the right, watching. + + HIGH ROLLER + (to Saul, noticing his + heavy bet) + You don't want to get in the hole + too heavy to this Benedict. A + friend of mine once borrowed a + hundred g's from the guy. Two + months went by, Benedict hadn't + heard from him, he calls my friend + up, asks 'Where's my money?' I'll + get to it when I get to it,' my + friend says. Half hour later + Benedict's in my friend's hotel + room, dangling him off his 10th + floor balcony by his feet. 'You + gonna get to it now?' + + High Roller turns over a nine. Saul wins. + + FRANK + Bank wins -- natural nine. + 72. + + +Benedict steps forward. + + HIGH ROLLER + Hiya, Terry. + + BENEDICT + Mr. Weintraub. How's everything? + + HIGH ROLLER + Eh. They put too much grenadine in + my Shirley Temple. + + BENEDICT + And here I thought you were + drinking vodka. + (turning attention to + Saul) + Mr. Zerga. + + SAUL + Mr. Benedict. I recognize you from + the TV. You know, nine casinos out + of ten, owner comes up in the + middle of the hand to ask me what I + want. I respect your waiting. + + BENEDICT + You're the guest, sir. + + SAUL + And I have to impose on your + hospitality. Can you sit in for a + hand? + + BENEDICT + I'd love to, Mr. Zerga, but the + gaming board would feed me to my + white tigers. + + SAUL + That's a shame. You're the king of + Vegas and you have to play craps in + the alley. + + BENEDICT + No shame at all. Reminds me of my + youth. + +CORNER - MOMENT LATER + +Benedict and Saul are huddled in a corner. + + SAUL + 73. + + + The fight is Saturday, is it not? + + BENEDICT + Yes. I can get you seats -- + + SAUL + No, no. Hand-to-hand combat doesn't + interest me. I have a package + arriving here Saturday evening. A + black briefcase, standard size, the + contents of which are very valuable + to me. + + BENEDICT + I'd be happy to put it in the house + safe for you. + + SAUL + The house safe is for brandy and + grandmother's pearls. I'm afraid I + need something more secure. + + BENEDICT + I can assure you, the house safe is + utterly -- + + SAUL + (his looks stops + Benedict) + I can assure you, Mr. Benedict, + your generosity in this matter will + not go overlooked. Now: what can + you offer me besides the safe? + + Saul's eyes are pure steel: he is not a man familiar with + being denied. And Benedict recognizes that fact. + + +97 INT. BELLAGIO - RESTAURANT - SAME TIME 97 + + TESS + See, the kind of people you steal + things from, they have insurance to + compensate them. They get made + whole again. I had to leave New + York to get away from what + happened. How do I get my five + years back, Danny? + + DANNY + You can't. But what you can do is + not throw away another five years. + 74. + + + TESS + You don't know anything about -- + + DANNY + (leaning in) + Listen, you don't love me anymore, + you want to make a life with + someone else? Fine, I'll have to + live with that. But not him. + + TESS + Spoken like a true ex-husband. + + DANNY + I'm not joking, Tess. + + TESS + I'm not laughing. + (beat) + You have to admit there's a + conflict of interest when you give + me advice about my love life. + +Danny exhales and leans back. + + DANNY + Yes. But that doesn't mean I'm + wrong. + +She looks at him, and maybe part of her knows that he +isn't. She looks down at his ring, somewhat wistful. He +sees her looking at it. + + TESS + Do you remember what I said to you + when we first met? + + DANNY + You said: you better know what + you're doing. + + TESS + Do you? Now? Because -- truly -- + you should walk out the door if you + don't. + + DANNY + I know what I'm doing. + + BENEDICT + What are you doing? + 75. + + +Terry Benedict is hovering over them, fresh from his +meeting with Saul. + + DANNY + Catching up. + + TESS + Terry, meet my ex-husband -- + + DANNY + (extending his hand) + Danny Ocean. + + BENEDICT + (taking it) + Mr. Ocean. + (to Tess) + Forgive me for being late. A guest + required my attention. + + TESS + Danny was just walking through the + restaurant and spotted me. + + BENEDICT + Is that right? + + DANNY + I was shocked myself. Imagine the + odds. + + BENEDICT + 'Of all the gin joints in all the + world--' + (beat) + You've been in prison until + recently, isn't that right? How + does it feel to be out? + + DANNY + About the same. Everything you want + is still on the other side. + + BENEDICT + There's the human condition for + you. + + TESS + Terry, Danny was just about to... + + DANNY + I just wanted to say hello. For old + time's sake. + 76. + + + BENEDICT + Stay for a drink, if you like. + + TESS + He can't -- + + DANNY + (simultaneously) + -- I can't. + + An awkward silence. Benedict takes Tess's hand in his. + + BENEDICT + Well, then I don't imagine we'll be + seeing you again, Mr. Ocean. + + DANNY + You never know. + + BENEDICT + I know everything that happens in + my hotels. + + DANNY + So I should put those towels back. + + BENEDICT + The towels you can keep. + + DANNY + (smiles, rises) + Good seeing you, Tess. + + TESS + Take care, Danny. + + Danny goes. When he's out the door -- + + TESS + I'm sorry -- + + BENEDICT + (like lightning) + Don't be. + + +98 EXT. OUTSIDE RESTAURANT 98 + + MOVING WITH Danny as he exits, his fingers snapping, he saw + the mist in Tess's eyes just now, he knows he's got a + fighting chance with her, but what he does not know is. + 77. + + + Linus is tailing him, ten steps back. He stops, glances + back at the restaurant quizzically, then continues + following Danny. + + +99 INT. BASHER TARR'S HOTEL ROOM - DAY 99 + + Nobody lights a match, this place is a powder keg. Basher + sits on his bed, surrounded by combustibles, whittling and + polishing a plastic explosive into an emerald shape. + There's a KNOCK at the door. + + MAID (O.S.) + House cleaning. + + BASHER + (eyes never leave his + work) + Just jumping into the shower, can + you come back later? + + The maid moves on, on TV: A Reporter broadcasts live. + + REPORTER (V.O.) + We're here at the historic Paradiso + Hotel and Casino, once the prize + resort of Las Vegas, now seconds + away from demolition -- + + +100 EXT. PARADISO HOTEL - ON STRIP - DAY 100 + + Just down the block from the Terry Benedict Trinity stands + (for a few remaining moments) the edifice of the Paradiso, + Reuben Tishkoff's bankrupted hotel-casino. + + A crowd has gathered to witness its destruction: Terry + Benedict, for one, his finger on the button and his face in + the spotlight; Tess another, standing (near)by her man; + Danny, too, hidden within the masses, eyes fixed on his ex; + and Linus, who keeps a steady bead on Danny. + + REPORTER + -- and here's Reuben Tishkoff, + former owner of the Paradiso, come + to bid farewell to his fabled + resort and wish Terry Benedict all + the best with his future plans for + the property- - + + Terry greets Reuben before the TV cameras and newspaper + reporters, and everyone's smiling and shaking hands, but + behind those smiles and under their breaths -- + 78. + + + BENEDICT + Good to see you. + + REUBEN + Go shit in your mouth. + + Tess, her eyes roaming the crowd, finds a pair staring back + at her: Danny's. She holds his glance a moment long enough + for both Linus and Benedict to notice before turning away, + to Benedict, who puts his public smile back on and steps up + to a podium alongside MIKE TYSON and LENNOX LEWIS, and + together they all put their hands on "the plunger" and + Benedict leans into a microphone -- + + BENEDICT + I hope there's as much dynamite in + the Paradiso as there will be in + this Saturday's fight. + + -- and -- WHOOMPH, the PLUNGER comes down and write your + own onomatopoeia here, the PARADISO IMPLODES. + + Reuben wipes a tear from his eye. + + REUBEN + G'bye, honey -- + + +101 INT. BASHER TARR'S HOTEL ROOM - SAME TIME 101 + + As the Paradiso crumbles outside his window, the lights and + TV in his room flicker and go out. + + BASHER + Shit. + + As he scrambles out the door, making sure to post a "Do Not + Disturb" sign. + + RUSTY (V.O.) + Saturday day is yours. Do whatever + you like with it. + + +102 INT. TISHKOFF'S - GAME ROOM - NIGHT 102 + + FROM ABOVE, SLOWLY DESCENDING: Ten of our eleven (Basher is + missing) surround the model of the three casinos. Rusty + leads everyone in a run-down of the heist. + + RUSTY + 79. + + + Call is at five-thirty. Makeup and + costume. Saul's package arrives at + seven-fifteen, and Linus grabs our + codes. All goes well there and + we're a go. Seven-thirty Virgil and + Turk deliver Yen and we're + committed. From that point, we have + thirty minutes to blow the power or + he suffocates. + + We DESCEND ONTO the miniature of the vault, then -- + + DISSOLVE TO: + + +103 INT. BELLAGIO VAULT - NIGHT 103 + + FROM ABOVE, DESCENDING STILL: This is the Real Deal. The + Bellagio vault. A clock reads: 8:03. + + RUSTY (V.O.) + Once the electricity goes, all + entry points to the vault and its + elevator will automatically lock + down for two minutes. That's when + we make our move -- + + Two guards wheel in a cash cart and leave it in the vault's + center and march out again, closing the thick metal door + behind them. When the vault LOCKS CLICK. + + We STOP DESCENDING, just above the cash cart. There is + silence for a spell, the lights flicker out, then the false + top of the cart springs open, revealing Yen within, folded + neatly. + + He inhales deeply, then slowly unspools himself from the + cash cart until, at last, he crouches atop it. He takes in + the room: vacant and silent. + + Except for Rusty, who walks right by him, incongruously. + + RUSTY + Okay: they've put you in the middle + of the room, far from everything. + You have to get from here to the + door without touching the floor. + What do you do? + + A WIDER ANGLE reveals we're -- + + +104 INT. WAREHOUSE - NIGHT 104 + 80. + + + The Bellagio vault has been fully reproduced here, and what + we've been watching has been a trial run. Ten of the eleven + (Turk and Virgil in guard costumes, Basher is still + missing) watch from offstage, like a film crew watching a + dress rehearsal. + + FRANK + Fin says he shorts it. + + LIVINGSTON + Make it a sawbuck. + + From a dead squat, Yen leaps, hands first, from the cash + cart to a ledge five yards away, and grips it safely with + both hands without touching the floor. From this position, + he'll inch his way to a counter, then, to the door. + + Frank pays up. Behind him, a DOOR SLAMS, and he turns to + see Basher, at last. Sniffing the air, he double-takes, + Basher's covered head-to-toe in sewage. + + BASHER + (and he's not happy) + We're in deep shit. + + +105 EXT. WAREHOUSE - NIGHT 105 + + Linus hoses Basher off, his accent angry and thick as he + spits out water and the story of his afternoon and if + nobody understands a word he's saying, that's okay. + + BASHER + The damn demo crew didn't use a + coaxial lynch to back the mainline! + Onioned the mainframe couplet! + + Reuben leans into Livingston. + + REUBEN + You understand any of this? + + LIVINGSTON + I'll explain later. + + BASHER + Blew the backup grid one by one! + Like dominoes! + + DANNY + (as he hardly understands + this either) + Basher. What happened? + 81. + + +106 INT. VEGAS SEWERS - THAT AFTERNOON - FLASHBACK 106 + + A cabal of city engineers investigates subterranean fuse + boxes, and Basher tails them, hiding near a waterfall of + effluent. + + BASHER (V.O.) + They did exactly what I planned to + do. Only they did it by accident. + Now they know their weakness. And + they're fixing it. + + An ECHOING FOOTSTEP draws the attention of the city + engineers, and Basher retreats into the waterfall. + + +107 INT. TISHKOFF'S LIVING ROOM - NIGHT - PRESENT 107 + + Basher towels off his hair. + + DANNY + So -- + + BASHER + So unless we decide to do this job + in Reno, we're screwed. + + Danny rises and paces, frustrated. He's come too far for + things to go awry now. + + RUSTY + We could -- + + DANNY + By tomorrow? + + Danny keeps pacing; Rusty hangs his head and thinks; Basher + dries his hair. + + BASHER + (an idea occurs to him) + We could use a pinch. + + Danny stops; Rusty looks up. + + DANNY + What -- is a pinch? + + +108 INT. LAB - DAY 108 + + Scientists demonstrate the pinch, a lithium wire in a glass + vacuum tube the size of a small refrigerator. + 82. + + + BASHER (V.O.) + A pinch is the equivalent of a + cardiac arrest for any broad-band + electrical circuitry. Or better + yet: A pinch is a bomb -- but + without the bomb. Every time a + nuclear weapon detonates, it + unleashes an electromagnetic pulse + which shuts down any power source + within its vicinity. That tends not + to matter in most cases because the + nuclear weapon destroys everything + you might need power for anyway. + Now a pinch creates a similar + electromagnetic pulse, but without + the headache of mass destruction + and death. So instead of Hiroshima, + you get the Seventeenth Century. + + +109 INT. TISHKOFF'S LIVING ROOM - NIGHT 109 + + RUSTY + For how long? + + BASHER + About ten seconds. + + DANNY + Could a pinch take out the power of + an entire city? Like, I don't -- + + BASHER + Las Vegas? + (beat) + But there's only one pinch in the + world big enough to handle it. + + Danny and Rusty trade a look: They have their answer. + + DANNY + Where? + + BASHER + (a beat, then balefully) + Pasadena. + + +110 EXT. CAL TECH CAMPUS - NIGHT 110 + + Headlights hit a sign: "Cal Tech. HIGH-SECURITY AREA. KEEP + OUT." A white VAN SHOOTS PAST it. + 83. + + +111 INT. WHITE VAN - NIGHT 111 + + Turk and Virgil man the front seats as Danny, Basher, Yen + and Linus huddle in the back. Basher and Yen both prepare + equipment for their raid: hooks and a rope for Yen, a small + blowtorch and a drill for Basher. + + DANNY + (to Basher and Yen) + You two ready? + + They nod and, with Danny, start out the van's rear door. + Linus starts to follow but -- + + DANNY + What are you doing? + + LINUS + Coming with you. + + Danny smiles and shakes his head. + + LINUS + (furious) + But -- + + The van door slams in his face. + + +112 EXT. LABORATORY - AT PERIMETER DOOR - NIGHT 112 + + Danny picks a lock, then he, Yen, and Basher disappear into + the lab's interior. + + +113 INT. WHITE VAN 113 + + Linus twiddles his thumbs, tired of being seated at the + kids' table. Meanwhile, up front, another Mensa meeting has + been called to order -- + + VIRGIL + Are you a man? + + TURK + Yes. Nineteen. + + VIRGIL + Are you alive? + + TURK + Yes. Eighteen. + 84. + + + VIRGIL + Evel Knievel. + + TURK + Shit! Okay, your turn- - + +SAME SCENE - LATER + + VIRGIL + Co-sign squared over .0455. + + TURK + No. Co-sign squared over .0415. + + VIRGIL + .04-five-five. + + TURK + One-five. + + VIRGIL + You're so wrong. + + TURK + You don't know your string theory, + bitch. + +SAME SCENE - LATER + +After a spell of silence -- + + VIRGIL + Mom told me she loves me more. + + TURK + She told me she was going to tell + you that. + +ON LINUS + + TURK (O.S.) + Stop it. + + VIRGIL (O.S.) + Make me. + + TURK (O.S.) + Stop it. + + VIRGIL (O.S.) + Make me. + 85. + + + They can be heard WRESTLING. Linus has had enough. He + sneaks out the van's back door without the Malloys hearing + him. + + AT PERIMETER DOOR + + Linus sulks along the laboratory's perimeter, finds the + door Danny pick-locked, and disappears inside. + + A moment passes. + + A moment passes. + + And the next door opens, and Danny, Basher, and Yen appear, + pinch in hand, they've succeeded. They weave a path to the + van. + + +114 INT. VAN 114 + + Turk and Virgil are still wrestling as the trio appears. + Danny, Basher and Yen pile in the back. + + DANNY + We got it. Let's go. + + Turk floors it, and they're off. + + DANNY + Wait a minute. + + Turk brakes, and they're not. + + DANNY + Where's Linus? + + Everyone realizes: he's not here. Just then: + + SIRENS and ALARMS and lights come to life. Uh-oh. + + Danny spins to look out the back of the van, Basher by his + side. His eyes scan the compound, then: + + DANNY + There he is. + + DANNY'S POV + + of the lab, and its beveled-glass stairwell. Linus + scrambles up its steps, a flight ahead of a duo of chasing + guards. As he ascends out of sight. + 86. + + + Danny shifts his focus to -- + + DANNY'S POV + + The other side of the building, and two more guards + arriving on the roof and moving toward the staircase: Linus + will be trapped. + + BACK TO SCENE + + Danny, Basher, and Yen squat side-by-side-by-side, watching + all this. Yen makes a colorful observation about Linus's + predicament; of course, no one understands it. + + VIRGIL (O.S.) + One of us should help him. + + BASHER + (who speaks Danny's mind) + Then there'll be two of us who need + saving. + + DANNY + He knows where we are. + + DANNY'S POV + + Both sets of guards appear on the rooftop, and find no + Linus between them, he's disappeared. + + TURK (O.S.) + Where'd he go? + + BACK TO SCENE + + Danny and Basher slowly turn: Turk and Virgil crouch inches + behind them, wanting to spectate as well. + + TURK + (off Danny's look) + What? + (then, realizing their + goof, to his brother, + remonstratively) + Would you -- shouldn't someone be + behind the wheel? + + CRASH! + + +116 EXT. LABORATORY - NIGHT 116 + 87. + + + A second-story WINDOW EXPLODES as a desk chair flies + through it, followed shortly by Linus who leaps onto a + steel-mesh overhang running alongside the building. + + +117 INT. VAN 117 + + DANNY + Alright, back it up, back it up! + + Virgil leaps into the driver's seat, shifts into reverse. + + +118 EXT. VAN 118 + + Linus runs along the overhang, then leaps down, onto the + reversing van, and rolls along its roof and down its + windshield. + + THROUGH the windshield: Virgil jabs his thumb over his + shoulder: get in the back. + + DANNY + (appearing from the rear + doors) + C'mon, c'mon -- + + Linus scrambles back over the van, and Danny and Yen pull + him in. Virgil hits the gas for a quick getaway, but he + does so before the rear doors are closed, and one of them + slams shut right on Yen's hand -- CRUNCH! + + YEN + Ahhh! + + +119 INT. WHITE VAN 119 + + as it hurtles away. Basher tends to Yen, cradling his hand, + and Danny stares down Linus, breathless. + + DANNY + I say stay in the van, you stay in + the van, got it? 'Cause you lose + focus for one second in this game, + and someone gets hurt. + + LINUS + (he's had just about + enough of Danny's shit) + I got it. + + They continue staring daggers at one another as -- + 88. + + +120 EXT. VAN 120 + + The van pulls away into the night. + + JIM LAMPLEY (V.O.) + It's fight night in Las Vegas -- + + +121 EXT. LAS VEGAS - DAY 121 + + Incoming lanes of the I-15 reflect bumper-to-bumper steel; + planes in the air are stacked for five miles over the + desert; even Gila monsters below seem Vegas-bound. + + JIM LAMPLEY (V.O.) + -- people are flooding in from all + over the country to see what has + been dubbed the 'Fight to End All + Fights' -- + + +122 EXT. LAS VEGAS - DAY 122 + + JIM LAMPLEY broadcasts live from a mobbed Strip. + + JIM LAMPLEY + -- and even though it's still five + hours 'til the opening bell, the + energy here is fever-pitched. + + +123 INT. BELLAGIO CASINO 123 + + Every table is in play, every seat filled. + + +124 INT. BELLAGIO SECURITY CENTER - THE EYE IN THE SKY 124 + + The Bellagio's CASINO MANAGER (the one Linus spied with + Benedict before) checks in with his watchers. + + MANAGER + How we doing? + + +125 INT. MIRADOR SUITE - DAY 125 + + Livingston has moved A/V operations into Lyman Zerga's + suite. As he scours the same images the watchers downstairs + do, he eavesdrops on their communications through his + headset. + + WATCHER (V.O.) + 89. + + + (over Livingston's + headset) + Cotton couldn't be taller. + + IN MIRADOR SUITE BATHROOM + + Lost in the luxury his role dictates, Saul floats in a + full-sized Jacuzzi and chews on a hundred dollar cigar; + Reuben, meanwhile, paces the floor, nervously. + + TISHKOFF + Where are they? That's what I want + to know. Where are they? + + SAUL + (as Lyman) + They'll be here. + + TISHKOFF + (to himself, mocking + "Lyman") + 'They'll be here.' Thanks a lot, + Fidel. + + AT LIVINGSTON'S CONSOLE + + Punching up a new set of views from the Eye In The Sky, + Livingston thrusts forward, alarmed by one. + + LIVINGSTON + Yikes. + + +126 INT. BELLAGIO CASINO - LOBBY - DAY 126 + + Rusty keeps watch on the hotel's side entrance. + + He glances at his watch, then outside again as the white + van arrives, dropping off only Linus and Danny, who slaps + the van's roof before it pulls away. + + As Danny and Linus enter the lobby, Rusty falls into step + with them, exchanging a smile with Danny but not Linus, he + still looks chastised from the car-trailer. + + +127 INT. ELEVATOR 127 + + Riding up. + + RUSTY + You boys have a nice trip? + 90. + + + Rusty, smiling, looks to Linus, glowering, then to Danny. + Before Danny can explain the doors part at the Mirador + Suite, where Livingston greets them urgently. + + LIVINGSTON + We have a problem. + + +128 INT. MIRADOR SUITE - ON LIVINGSTON'S LAPTOP - DAY 128 + + A mug-shot of Danny, complete with vital information: + height, weight, criminal history. + + LIVINGSTON + You've been red-flagged. It means + the moment you step on the casino + floor, they'll be watching you. + Like hawks. Hawks with video + cameras. + + DANNY + This is a problem. + + A pall falls over the room: this is more than a problem, + this is disastrous. Only SAUL dares make a noise, HUMMING + and SPLASHING in the next room. + + RUSTY + Saul: time to get out. + + SAUL (O.S.) + (as Lyman) + It's time when I say it is. + + RUSTY + Now! + + We hear HIM JUMP-TO-IT out of the tub. + + SAUL (O.S.) + (himself again) + I'm out. + + RUSTY + (back to Danny) + You have any idea how this + happened? + + Before Danny can answer -- + + LINUS + 91. + + + I do. He's been chasing Benedict's + woman. Got into a real snarl with + him two nights ago. + (off Danny's look) + I was tailing you. + + DANNY + Who told you to do that? + +Before Linus can answer -- + + RUSTY + I did. + (he and Danny hold a + stare) + I knew you couldn't leave Tess + alone. + + TISHKOFF + Who's Tess? + + DANNY + My wife. + + RUSTY + Ex-wife. + + SAUL + (appearing in a bathrobe) + Tess is here? + + RUSTY + (eyes still on Danny) + I'm sorry. I didn't know if it + would sting you, but it did. + (the most difficult words + he's ever had to say) + You're out, Danny. + + TISHKOFF + He's out?! + + RUSTY + It's that or we shut down right + now. His involvement puts us all at + risk. + +Danny and Rusty face off, furious with each other. + + DANNY + This isn't your call. + + RUSTY + 92. + + + You made it my call. When you put + her ahead of us. You made it mine. + + DANNY + This is my job. + + RUSTY + Not anymore. + + Danny stares daggers at Rusty. But he can see: everyone in + the room is on Rusty's side. Defeated, he stalks out of the + room, onto a balcony, but not without staring down Linus. + + TISHKOFF + But, but -- he can't just be out. + Who's gonna take his place? + + Rusty turns to Linus. + + RUSTY + Kid, you up for it? + + Linus's eyes drift to Danny outside, whatever acrimony he + felt before, he never meant to kick Danny off the job. He + nods, half-cocksure/half-scared-pissless: he's up for it. + + RUSTY + (to Livingston) + Find everyone else. Let 'em know + the change in plan. Curtain goes up + at seven. + + Livingston exits. Everyone else in the room staggers about, + like witnesses after an execution. Rusty steps out onto the + balcony, perhaps to console Danny, but (as Linus watches + them from inside) their words cannot be heard. + + SAUL + Tess is with Benedict now? + (as nobody responds) + She's too tall for him. + + +129 INT. BENEDICT'S SUITE - DRESSING ROOM - NIGHT 129 + + Tess, readying herself for the big evening, meets her own + glance in a dressing mirror, then spots Benedict in its + reflection, pacing the bedroom behind her. + + BENEDICT + (on phone) + Yes. Yes. No. Very much no. + (beat) + 93. + + + Then inform Mr. Levin he'll find a + better view of the fight in front + of his television. Surely he must + have H.B.O. + + Hanging up, Benedict approaches her, puts his hands on her + shoulders. + + BENEDICT + What are you thinking about? + + TESS + You. + + She smiles at him in the mirror. His glance in it, turns + from her to himself. + + +130 INT. EXECUTIVE ELEVATOR 130 + + Riding down, Terry Benedict checks his watch. The elevator + doors open and -- + + +131 INT. BELLAGIO CASINO - ELEVATOR BAY 131 + + -- he steps onto his casino's floor, the king of Las Vegas. + + The time is 7:00. + + ON BALCONY OVERLOOKING CASINO FLOOR + + Benedict meets his casino Manager, according to schedule. + + BENEDICT + Any sign of Ocean? + + MANAGER (WALSH) + Not in a couple hours. You want him + out? I can bounce him from the + state for parole violation if you + like. + + BENEDICT + (shakes his head) + Put a guy on him. He's here for a + reason. I'd like to know what it + is. But if he comes anywhere near + Tess, take it to the next level. + + MANAGER + Bruiser? + 94. + + + Benedict nods, goes on his way. + + AT CASINO ENTRANCE + + Saul, as Lyman Zerga, stands ramrod straight, looking + through sliding glass doors out at the valet station. + + From behind, Terry Benedict approaches, two security guards + walking half a pace behind him. Saul spots him in the + glass's reflection; he does not turn. + + SAUL + Mr. Benedict. + + BENEDICT + Mr. Zerga. It's a very busy night + for me. Are we on schedule? + + SAUL + I have no reason to suspect + otherwise. My couriers should be + here momentarily. + + A beat as Benedict studies Saul. + + BENEDICT + It's a nice evening. Shall we wait + outside? + + POV THROUGH BINOCULARS - ON BELLAGIO VALET AREA + + Benedict and Saul emerge, guards positioned around them. + + TURK (V.O.) + They're in position. + + LIVINGSTON (V.O.) + (over STATIC) + Okay. We're a go. + + +132 EXT. BELLAGIO CASINO - VALET AREA - SUNSET 132 + + A white, unmarked van pulls in from the street and races up + to the curb where Saul and Benedict wait. + + Turk Malloy gets out the passenger's side, a briefcase + handcuffed to his wrist, as Virgil comes around from the + driver's side, both of them dressed in their bodyguard + suits. + + TURK + Mr. Zerga. A gift from Mr. Hesse. + 95. + + + Turk extends the briefcase to Saul, so that they both clasp + the handle, as Virgil produces a key, unlocks the cuff on + Turk's wrist, transfers it to Saul's, clamps it shut, and + hands Saul the key. + + SAUL + Thank you, Friedrich, Gunther. + + He turns, nods to Benedict, and they retreat into the + hotel, the security guards and Malloys flanking them. + + +133 INT. BELLAGIO CASINO 133 + + Frank deals blackjack to a full table. His eyes gaze past + his players to Saul, the guards and Benedict passing by. + + FRANK + (as he busts) + Lookin' like a bad night for the + house. + + MOVING WITH Benedict as he spies out of the corner of his + eye Danny, lurking at a slot machine. To one of his guards + -- + + BENEDICT + Find Mr. Walsh. Tell him Mr. + Ocean's in the west slots. + + The guard goes, and Benedict continues with Saul. + + BENEDICT + I'm afraid I can't allow my private + security personnel inside the + casino cages. I hope you don't + mind... + + SAUL + Of course not. + + Saul turns to dismiss Virgil and Turk when -- + + -- passing by, on his way to a sports betting window, an + old RACETRACK DENIZEN happens past this cabal and, worse + yet, happens to recognize Saul. + + RACETRACK DENIZEN + Saul? Saul Bloom, is that you? + + Saul does his best to ignore the man. But even Benedict + notices: this guy seems to know Lyman Zerga. + 96. + + + RACETRACK DENIZEN + Saul, it's me. Bucky Buchanan, + remember? From Saratoga. + + At last Saul turns to face this man, with shark's eyes. + + SAUL + Friedrich, Gunther. + + An order: dispose of this man. Virgil and Turk pick up the + Denizen by his elbows and haul him away. + + SAUL + Mr. Benedict -- + (gesturing to the cage; + re: his briefcase-cuff) + Please: I have never enjoyed the + touch of steel to my skin. + + They proceed. + + AT SLOTS + + Danny sits in a row of octogenarians, all vacantly dropping + $1 coins and pulling levers. As he watches Saul and + Benedict disappear into the cage. + + DING! DING! DING! DING! Four cherries. Danny smiles, a big + winner, but he's got bigger pots to win tonight. + + He steers a neighboring senior citizen (blind as a bat) to + his slot machine -- + + DANNY + Pops, you won. + + -- then slips away. + + +134 INT. MIRADOR SUITE 134 + + Linus stands dressed in a sharp, conservative suit, a far + cry from the threadbare thief in Chicago. Rusty circles + him, inspecting. + + RUSTY + Where you gonna put your hands? + + Linus clasps them. + + RUSTY + No -- + 97. + + + Linus goes for his pockets. + + RUSTY + Not the pockets, either. And don't + touch your tie. Look at me -- + + Linus does. + + RUSTY + That how you gonna stand? + + Linus shifts his balance. + + RUSTY + Wrong again. I ask you a question, + you have to think of the answer, + where you gonna look? + + Linus looks down. + + RUSTY + Death. You look down, they know + you're lying -- + + Linus looks up. + + RUSTY + -- and up they know you don't know + the truth. Don't use three words + when one will do, don't shift your + eyes, look always at your mark but + don't stare, be specific but not + memorable, funny but don't make him + laugh, he's gotta like you then + forget you the moment you've left + his sight, and for God's sakes + whatever you do, don't under any + circumstances -- + + LIVINGSTON (O.S.) + Rust, can you come here a sec? + + RUSTY + (wandering off) + Sure thing. + + Linus is left utterly bewildered, a thousand commandments + to remember and fifteen minutes to remember them in. + + +135 EXT. ALLEY - DUSK 135 + 98. + + + Turk and Virgil's white van whips around a corner and + shoots inside. + + +136 INT. WAREHOUSE - SECOND VAN POV 136 + + Of which, importantly, we never see the exterior, just an + air freshener hanging from the rearview mirror. + + The white VAN SCREECHES to a halt inches from Basher who + stands ready beside the pinch (and the now-gutted and + dismantled mockup of the Bellagio vault) and faster than a + NASCAR pit crew Basher, Turk and Virgil load the pinch into + the white van's rear and before you can say + "electromagnetic pulse" the VAN SCREECHES back out of the + warehouse fully loaded. + + The time is 7:16. + + +137 INT. BELLAGIO CAGES - EMPTY COUNT ROOM 137 + + The room is empty save for a large table. Saul places his + briefcase on it, adjusts its numbered combination locks, + and opens it. + + Inside the case: five rows of glittering emeralds. + + BENEDICT + They're very beautiful. A gift. + + Saul stares at him: none of your fucking business. + + BENEDICT + Can you lift them out, please? + + Saul lifts the velvet tray out of the case, and Benedict + pats down the case's interior. Saul replaces the tray. + + BENEDICT + Alright, Mr. Zerga. I acknowledge + that the case does not contain any + dangerous or illicit material. I + further agree to take custody of + your case for a twenty-four hour + period to store in our secured + vault. While I cannot permit you to + accompany the case to the vault -- + + SAUL + Why not? + + BENEDICT + 99. + + + Insurance, for one. Security, + another. And I don't trust you. + + There is a KNOCK at the door, and Walsh the casino manager + enters. He speaks low in Benedict's ear. + + WALSH (MANAGER) + I put two plainclothes on Ocean. + He's at the keno bar now. + + Walsh nods, and Benedict turns back to Saul. + + BENEDICT + Mr. Zerga, this is Mr. Walsh, my + casino manager. If you will allow, + he will arrange for your briefcase + to be stored inside our vault while + you watch on a security monitor. + (beat) + Those are my terms. Yes or no? + + Saul and Benedict eyeball each other. + + SAUL + You leave me no choice. + + Saul unlocks the cuff from his wrist. + + +138 EXT. BELLAGIO CASINO - KITCHEN ENTRANCE - NIGHT 138 + + The white van slows enough to unload Virgil and Turk, + changed into waiter uniforms, and they hurry a table- + clothed room service cart inside as Basher pulls away. + + +139 INT. BELLAGIO CASINO - BY CAGE DOOR - NIGHT 139 + + RISING FROM a spotless pair of wingtips shifting side-to- + side, OVER hands flexing and stretching, UP TO Linus + Caldwell. He keeps an eye on the cage door, waiting for + Benedict to appear, as he tries anything to shake out his + nerves. Then, from a discreet earpiece he wears, comes: + + LIVINGSTON (V.O.) + Deep breaths. You'll do fine. + + LINUS + (breathes deep) + Thanks. + + LIVINGSTON (V.O.) + No sweat, kid. You're a rock. + 100. + + + (as Linus smiles, feeling + good about himself) + Now don't fuck up. + + +140 INT. MIRADOR SUITE - ON LIVINGSTON'S MONITOR - NIGHT 140 + + Linus's smile disappears as he continues to bounce. There's + a KNOCK at the door. + + VOICE (O.S.) + Room service. + + Rusty checks through the peephole, then ushers in Turk and + Virgil in costume with their room service cart. + + TURK + Who ordered the penne? + + Livingston raises a hand, and as Turk serves him his plate, + Virgil whips off the cart's tablecloth: underneath it's the + false-lid cash cart. Rusty turns to a corner. + + RUSTY + You ready? + + In it, Yen finishes bandaging his busted hand and nods. + + +141 INT. BELLAGIO SECURITY CENTER - THE EYE IN THE SKY 141 + + Fat and Slim sit before their monitors, feet kicked up, as + behind them Walsh, Benedict, and Saul enter. + + WALSH + This is our security center, where + we oversee all gaming in the casino + as well as our vault. You'll be + able to monitor your briefcase from + here. + + Walsh, finding Fat and Slim as they are, coughs; the two + watchers leap immediately to their feet. Benedict checks + his watch. + + SAUL + Don't let me keep you. + + BENEDICT + Mr. Zerga -- + + And Benedict takes his leave -- + 101. + + +142 INT. MIRADOR SUITE - NIGHT 142 + + RUSTY + Linus -- you're up. + + +143 INT. BELLAGIO CASINO - BY CAGE DOOR - NIGHT 143 + + Linus nods, shakes out his hands some more -- + + LINUS + Deep breaths, deep breaths. + + -- and here comes Benedict, exiting the cage just as his + assistant arrives with his portfolio. As he turns toward + the restaurant... + + LINUS + Mr. Benedict -- + + BENEDICT + Yes? + + LINUS + (presents proper + identification) + Sheldon Wills. Nevada Gaming + Commission. Could I have two + minutes of your time? + + Benedict sighs, his evening's been sidetracked enough + already but -- + + BENEDICT + Of course. Anything for the N.G.C. + + AT KENO BAR + + Danny watches Benedict escort Linus toward the blackjack + tables, unaware that TWO PLAINCLOTHES SECURITY GOONS watch + him from across the bar, and when he turns in their + direction, they look away, acting incognito, but it's not + them he's turning toward, it's Tess, rounding a corner + toward the restaurant. Danny jumps to his feet, throws a + tip on the bar, and goes. + + +144 INT. MIRADOR SUITE - NIGHT 144 + + The time is 7:27. + 102. + + + Yen tucks himself into the cash cart's hidden compartment + with a slim oxygen tank for company. Meanwhile, Rusty + drills Virgil and Turk. + + RUSTY + Okay: when do you make the deposit? + + TURK + Not until we get your signal. + + VIRGIL + Hey. What do we look like: a couple + of peckerwood jackasses or + something? + + No one responds. + + RUSTY + (turning his attention to + Yen, squeezed into the + cart) + Amazing: how's it feel? You + alright? + (as Yen nods) + Want something to read? Magazine? + + From the tangle of limbs, a middle finger protrudes to show + Rusty what he can do with a magazine. + + RUSTY + Okay. I'm counting down. Thirty + minutes of breathing time starts, + now. + + On "now" a RUNNING CLOCK APPEARS ON-SCREEN, descending from + 29:59. It will REMAIN there for the duration of the pre- + pinch heist, jumping at times BETWEEN SCENES. + + Rusty seals Yen inside the cash cart, then gives the top a + tug: it's shut tight. As Virgil redresses it with the + tablecloth, Turk snatches back Livingston's penne on the + way to the door. + + LIVINGSTON + You get no tip. + + +145 INT. CASINO FLOOR - 28:37 145 + + and counting. MOVING WITH Benedict and Linus into the Pit + Boss's station. + + LINUS + 103. + + + It only came to our attention this + morning, Mr. Benedict. Apparently + he has a record longer than my arm. + + BENEDICT + If he is who you say he is. + (hailing a PIT BOSS) + Charlie. Call over Ramon Escalante. + + PIT BOSS + Certainly, Mr. Benedict. + + Benedict and Linus wait, side-by-side. While Linus does his + best to play it cool, Benedict dips into his portfolio. + + +146 INT. MIRADOR SUITE - ON LIVINGSTON'S MONITOR - NIGHT 146 + + An overhead view of Benedict as he pulls out the + combination to the vault, reads it, then buries it in his + jacket pocket. + + RUSTY + Did you make it out? + + LIVINGSTON + His head blocked the last two + numbers. + (into his microphone) + We missed it, Linus. You gotta grab + the combination yourself. + + +147 INT. BELLAGIO CASINO - NIGHT 147 + + Linus half-nods in response, and Benedict notices. + Suspicious of the young man, he decides to test him. + + BENEDICT + You new at the commission? + + LINUS + Been there about two years. + + BENEDICT + I know Hal Lindley over there. You + work with him at all? + + LINUS + (a pause; will he pass?) + Not since he died last year. + + He passes. The Pit Boss returns with Frank in tow. + 104. + + + BENEDICT + Mr. Escalante. Would you come with + us, please? + + FRANK + What's this about? + + BENEDICT + I think it's better if we talked + off the floor. + + Linus and Benedict lead Frank away. As they pass an + elevator, its doors open, revealing Turk and Virgil, + dressed now as security guards, pushing out the false-lid + cash cart. They leave behind a pile of dishes, waiter + uniforms, a tablecloth. + + +148 INT. RESTAURANT - 24:26 148 + + and counting. A MAITRE D' scours his reservations list, + then peers up to find Reuben Tishkoff approaching, on + either side of him two gorgeous young women, all blonde + hair and breasts and legs, women who wouldn't give Hefner + the time of day. + + MAITRE D' + Good evening, Mr. Tishkoff. + + TISHKOFF + Good evening, Marcel. My nieces and + I would like a table. Something + quiet before the fight. + + MAITRE D' + I can put you at 19 in just a + couple minutes. + + TISHKOFF + Quick as you can. + (re: the girls) + The meter's running here. + + The Maitre d' turns to his next customer: Tess. She, of + course, merits a table instantly. + + MAITRE D' + Good evening, Miss Ocean. Right + this way -- + + Reuben can't help but stare as Tess passes by. His eyes + linger a little too long and a little too low... + 105. + + + VOICE (O.S.) + Hey -- + +Reuben pivots; it's Danny, and he strolls past Reuben and +his lady friends and into the restaurant... + + DANNY + Try to keep your tongue in your + mouth. + + TISHKOFF + (shocked to see Danny; + thinks he's off the job, + but covering) + Yeah, pal, well only if you take + your thumb out of your -- + +Reuben gets brushed from behind by the two Plainclothes +Goons following Danny. + + TISHKOFF + (outraged) + Hey: you have any idea who I think + I am? + +AT TESS'S USUAL TABLE + +Just as she's sitting, Danny approaches. She goes straight +at him, apoplectic. + + TESS + Danny: No. + + DANNY + I'll just be a moment. + + TESS + I'm having you thrown out of here. + +She starts past him; he grabs her arm to keep her, and she +wheels on him. + + TESS + You're up to something, Danny. + What? And don't say you came here + for me. You're pulling a job, + aren't you? + + DANNY + Tess -- + + TESS + 106. + + + Well, know this: no matter what it + is, you won't win me back. I can't + afford it. + + DANNY + I just came to say good-bye. + + This surprises Tess, and, truth be told, saddens her; she + studies him a moment, unsure of what to say. + + TESS + Oh -- then -- good-bye. + + DANNY + Good-bye. + + Danny starts for her cheek, stops to see if it's alright + with her, she, sad-eyed, does not recoil and then gently + kisses it -- + + DANNY + Be good. + + Danny leaves her. Tess watches him go. + + TESS + (already missing him) + Good-bye, Danny. + + AT RESTAURANT'S ENTRANCE + + Danny runs smack into the Plainclothes Goons. + + PLAINCLOTHES GOON #1 + Mr. Ocean. Mr. Benedict would like + to see you. + + DANNY + (resignedly, these men + are much too big to + tangle with) + I thought he might. + + The Plainclothes Goons escort Danny away, right past Reuben + who frowns, concerned. + + +149 INT. BELLAGIO CASINO MANAGER'S OFFICE - 18:25 149 + + Frank stands at attention before Linus and Benedict. Linus, + straddling a desk, takes a beeper off his belt when it + pinches him. Benedict checks his watch: the fight's opening + bell is growing closer and closer. + 107. + + + LINUS + Thank you for your cooperation, Mr. + Escalante. + (as Frank nods, not at + all) + Or should I call you Mr. Catton? + +Frank bristles, tries not to let it show. Linus pulls out a +Xeroxed mug shot and bio of him. + + LINUS + You are Frank Catton? Formerly of + the Tropicana, the Desert Inn and + the New York State penitentiary + system? + + LINUS + (as Frank remains quiet) + Your silence suggests you don't + refute that. + (to Benedict) + Mr. Benedict, I'm afraid you've + been employing an ex-convict. As + you know, the N.G.C. strictly + forbids -- + + FRANK + (under his breath) + Goddamn cracker -- + + LINUS + (a pause; he can't + believe he just heard + that) + Pardon me. + + FRANK + (leering at Linus, + simmering) + You heard me. Just 'cause a black + man tries to earn a decent wage in + this state -- + + LINUS + That has nothing to do with -- + + FRANK + (over him, ranting) + 108. + + + -- some cracker cowboy like you's + gotta kick him out on the street. + Want me to jump down, turn around, + pick a bale of cotton, won't let me + deal cards, might as well call it + whitejack. + + LINUS + (a beat, then) + I resent your implication that race + has anything to do with this. + (to Benedict) + Now, as I was saying, the Nevada + Gaming Commission strictly forbids + the employment of the colored -- + (whoops) + -- I mean -- + + That does it: Frank attacks Linus, lunging at the man, and + as Benedict steps in to separate the two. + + Linus's hand dips into his tuxedo jacket and withdraws the + vault combination. + + FRANK + Okay, okay, I'm cool. + + BENEDICT + (to Linus) + You alright? + + LINUS + (a beat, then) + Yeah. + + +150 INT. MIRADOR SUITE - NIGHT 150 + + RUSTY + (hearing this) + He's got it. + (into his mike) + Virgil, Turk: deliver your package. + + +151 INT. BELLAGIO CASINO - BY CAGE DOOR - 14:05 151 + + Two guards stand sentry outside the cage door. Virgil and + Turk move up with their cash cart, and when Virgil reaches + for his keycard, it's gone. + + VIRGIL + 109. + + + Aw, I think -- Jesus. I lost my + card. + + The guards frown at him. A SECURITY OFFICER approaches. + + SECURITY OFFICER + What's going on here? + + VIRGIL + I think -- Jesus! I lost my + keycard. + + SECURITY OFFICER + (and this, he knows, will + get this guard fired) + Okay. Leave the cart. Go find it. + (to one of the sentries) + Take this cart inside. + + The sentry nods, swipes his keycard, and enters with the + cash cart. Turk and Virgil hesitate a moment to watch it + enter, then hurry off. + + +152 INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY 152 + + On a monitor: The sentry pushes the cart down a cage + corridor. On another: Saul's briefcase is escorted by + another guard to the vault elevator. On another: Danny is + escorted inside the cage by the Plainclothes Goons. + + WALSH + There it is now. + + SAUL + (beginning to sweat this + a bit, nerves overtaking + him) + Wonderful. + + ON MONITORS + + The yen-filled cash cart joins Saul's briefcase on the + elevator. PULL OUT to -- + + +153 INT. MIRADOR SUITE - 11:19 153 + + RUSTY + That's my cue. + (as he exits) + Give Basher the go. + 110. + + + LIVINGSTON + (into mike) + Bash, what's your status? + + +154 EXT. BELLAGIO PARKING LOT - MOVING WITH BASHER - NIGHT 154 + + driving the white van, listening to a books-on-tape of Jane + Eyre. + + LIVINGSTON (V.O.) + Bash! + + BASHER + (turning Bronte down) + No need to yell. + + LIVINGSTON (V.O.) + What's your status? + + BASHER + I'm there. + + And he SCREECHES to a halt on the parking structure's top + level. Vegas can be seen in every direction. + + +155 INT. CAGE - HALLWAY - 08:36 155 + + and counting. Benedict exits the casino Manager's office + with Linus and Frank. Benedict hails two GUARDS. + + BENEDICT + Please show this man off the + premises. + (to Frank) + Don't step foot in my casino again. + + FRANK + (as he's led away, over + his shoulder, to Linus) + Cracker. + + Benedict checks his watch again: he's really running late. + + BENEDICT + Mr. Wills, if you don't mind... + (as Linus forgets to + respond) + Mr. Wills? + + LINUS + Of course. + 111. + + + They start toward the exit. But halfway there -- + + LINUS + My beeper. I'm sorry. I forgot it. + + Benedict hesitates: He's in an enormous hurry now, he's + behind schedule, he hates being behind schedule, but + leaving even a member of the Gaming Commission alone in his + cage is a security risk. One glace at the cameras all about + and he decides to risk it. + + BENEDICT + You know how to get back out? + + LINUS + Of course. Enjoy the fight. + + BENEDICT + (shaking his hand, then + hurrying away) + Thank you. + + Linus smiles after him, withdrawing the page of + combinations he lifted off the man. + + +156 EXT. BELLAGIO CASINO - 06:47 156 + + and counting. The Guards show Frank out. Frank tries to tip + them -- + + FRANK + Thanks, fellas. + + -- but they snarl at him before returning inside. Frank + smiles and goes on his way, his job complete. + + +157 INT. INTERROGATION ROOM - 06:36 157 + + Danny sits opposite two Plainclothes Goons in absolute + silence, waiting. + + DANNY + How much longer do you think Mr. + Benedict will be? + + GOON #1 + Just a few minutes more. + + He scans the room. + + DANNY + 112. + + + No cameras in this room, huh? Don't + want anyone seeing what happens + here? + +The Goons say nothing. Danny checks his watch. + + DANNY + He's not coming, is he? + +The Goons look at each other; Danny has called their bluff. + + DANNY + Who is? + +There's a KNOCK at the door, and the Goons smile: Danny's +about to find out who. One Goon rises to usher in, the +BRUISER, come to beat the shit out of Danny Ocean. The +guy's at least six-six, three hundred pounds, but it's not +his size that draws attention, it's his teeth or the lack +thereof; the Bruiser doesn't hold a single incisor, molar +or bicuspid in his mouth. Gum city. And there's something +really terrifying about the sight. + + DANNY + I guess Mr. Benedict didn't like me + talking to his girl. + +The Goons shake their heads. Danny smiles at the Bruiser, +and the Bruiser snarls back, showing off those gums. He +rolls up his shirtsleeves, itching to tear a hole in this +man. The Goons head for the door. + + GOON #1 + We're gonna step outside now. Leave + you two alone to talk things over. + +The Goons exit. Danny and the Bruiser face off. And as +Danny opens his mouth to speak, Bruiser's fist flashes out +and knocks him down. Danny rises, wiping a little blood +from his lip. + + DANNY + Jesus, Bruiser, not 'til later. + + BRUISER + Sorry, Danny. I -- I forgot. + + DANNY + S'okay. + (shaking it off) + How's the wife? + + BRUISER + 113. + + + Pregnant again. + + DANNY + Then we better get to work. + + OUTSIDE INTERROGATION ROOM + + Standing guard outside, the Goons hear PUNCHES and GROANS + from inside as -- + + +158 INT. INTERROGATION ROOM 158 + + -- Danny climbs onto Bruiser's shoulders and pushes through + the ceiling rafters, groaning every time Bruiser slaps his + fist into his hand. + + +159 INT. VAULT 159 + + A guard wheels in the Yen-filled cash cart, parks it in a + station next to its twin, then, as an afterthought plants + Saul's briefcase right on top if it, clunk, an unforeseen + obstacle to Yen's escape. + + INT. MIRADOR SUITE + + LIVINGSTON + Oh shit -- + + +160 INT. BELLAGIO SECURITY CENTER - 04:30 160 + + Saul witnesses this, too, and stifles a reaction. + + WALSH + Does that satisfy you, Mr. Zerga? + + SAUL + Yes, I'm very satisfied. + + WALSH + (to Slim) + Close it up. + + On the monitor, the vault door closes, but Saul looks + anything but satisfied. He's sweaty, his mouth's so dry he + can't swallow, and he keeps patting down his pockets for + his Rolaids, without finding them. + + FAT + You alright, sir? + 114. + + +161 INT. CAGE/HALLWAY - MOVING WITH LINUS - 04:02 161 + + as he circumspectly approaches the vault-elevator door, + checking up and down hallways for guards. + + +162 INT. MIRADOR SUITE - NIGHT 162 + + On a monitor, Linus comes into view -- + + LIVINGSTON + Almost there, kid. + + +163 INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY 163 + + -- and Saul spots him, but so does Fat -- + + FAT + Who's that? + + -- and Saul can't handle the suspense: He grips his arm and + groans and this is no ulcer problem, this is a full- + fledged cardiac, and Walsh, Fat, and Slim all attend to + him, their backs turned as... + + +164 INT. CAGE/HALLWAY - 03:42 164 + + Linus hurries to the elevator, punching Benedict's + combination into a keypad. The elevator doors open for him. + + +165 INT. MIRADOR SUITE - NIGHT 165 + + Livingston punches a few keys -- + + LIVINGSTON + Going to video now. + + +166 INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY 166 + + As Saul and his heart attack hold the spotlight, a security + monitor flips from a shot of Linus entering the elevator to + a Livingston-fed videotape of an empty lift. + + WALSH + (as Saul passes out) + Call for a doctor. + 115. + + +167 INT. ELEVATOR - 03:15 167 + + Linus immediately reaches up to the elevator's ceiling, + rips down its panel to reveal a trap door. As he starts to + push it open, a hand yanks it free from above. It's Danny. + + DANNY + You didn't really think I was gonna + sit this one out, did you? + + LINUS + What, didn't you trust me? + + DANNY + I do now. + + He reaches down and pulls Linus, wide-eyed, up to the roof + of the elevator. + + +168 INT. MGM GRAND GARDEN ARENA - 3:00 168 + + The boxers enter the ring before a full, cheering house. + + Benedict and Tess find their ringside seats, a row in front + of Reuben and his "nieces." + + RING ANNOUNCER + Ladies and gentlemen!! + + +169 INT. BELLAGIO CASINO - BY CAGE DOOR - 02:56 169 + + Rusty approaches the sentry on duty at the cage door. + + RUSTY + Someone called for a doctor? + + +170 INT. ELEVATOR SHAFT - ABOVE ELEVATOR - 02:21 170 + + Danny rips off his jacket and shirt to expose a rappelling + line wrapped around his torso. Linus does the same. + + LINUS + How'd you get here? + + DANNY + Crawlspace. And I had to give away + a couple mil. + + LINUS + 116. + + + But what about -- I mean, that + whole thing with Rusty -- + + Danny just smiles at him. + + +171 EXT. MIRADOR SUITE - BALCONY - FLASHBACK 171 + + Earlier that night, just after Rusty kicked Danny off the + job. As Linus watches from inside, deaf to their + conversation, blind to their expressions, Danny and Rusty + confer. + + DANNY + You think the kid bought it? + + RUSTY + Hell, I think Reuben bought it, and + he knew we were screwing around. + (beat) + You sure about this? + + DANNY + (nods) + Bobby Caldwell threw me into the + pool first time. Least I could do + is give his kid a push. + + +172 INT. ELEVATOR SHAFT - ABOVE ELEVATOR - PRESENT 172 + + LINUS + Why'd you make me go through all + this? Why not just tell me? + + DANNY + Well, where's the fun in that? + (starting toward elevator + shaft ladder) + C'mon: Yen's got about three + minutes of air left. + + Danny leads Linus down and around the elevator and side-by- + side they crawl onto the bottom of the elevator, gripping + the undercarriage of the lift to keep from falling. + Meanwhile, we DESCEND QUICKLY DOWN the shaft, just to + illustrate how very high up they are. + + +173 INT. BELLAGIO SECURITY CENTER - 00:53 173 + 117. + + + Rusty, playing doctor, inspects Saul. At the same time, he + inspects a monitor: the vault door closing with the Yen- + filled cash cart and Saul's briefcase inside. + + Rusty stops, listens to Saul's chest, then drops his head - + - + + RUSTY + He's gone. + + Walsh, Fat and Slim all bow their heads. At the door, two + paramedics arrive with a stretcher. + + WALSH + You're too late, guys. He's dead. + + The first paramedic turns to his partner and admonishes + him: + + VIRGIL + (to Turk) + I told you to hurry. + + +174 INT. ELEVATOR SHAFT - BELOW ELEVATOR - 00:42 174 + + As Danny and Linus work, affixing suction-cupped anchors to + their rappelling lines -- + + DANNY + Who do you like tonight? + + LINUS + Huh? + + DANNY + Tyson or Lewis. + + LINUS + The fight--? + (as Danny nods) + Lewis. + (as Danny shoots him a + look) + You like Tyson? + (as Danny nods) + How strongly do you feel about it? + + DANNY + You looking for action? + + LINUS + (shrugs) + 118. + + + I'd go in for a buck. + + DANNY + A buck it is. + + And they're ready, poised at the top, looking into the + abyss of an elevator shaft scattered with infrared sensors. + + DANNY + (into his mike) + Livingston, we're set. + + +175 INT. CASINO FLOOR - OUTSIDE CAGES 175 + + Rusty leads the "paramedics" out, with "dead" Saul on their + gurney. + + RUSTY + (into his mike) + Livingston, we're set. + + +176 INT. MIRADOR SUITE - 00:21 176 + + LIVINGSTON + (hearing this, into his + mike) + Basher, we're set. + + +177 EXT. BELLAGIO PARKING LOT - TOP LEVEL - 00:17 177 + + BASHER + (fixing the pinch atop + his van) + Just give me a minute. + + LIVINGSTON (V.O.) + We don't have a minute. Yen's gonna + pass out in thirteen seconds. + + BASHER + Then give me thirteen seconds. + + And Basher leaps down to hook up the pinch's wires to his + van's engine. + + +178 INT. MGM GRAND GARDEN ARENA - 00:10 178 + + The opening BELL RINGS, round one. The fighters break from + their corners, feinting, jabbing -- + 119. + + + Sitting ringside: Benedict looks at Tess and smiles as she + winces at the first sharp blow. + + +179 INT. ELEVATOR SHAFT - BELOW ELEVATOR - 00:05 179 + + Peering down into blackness, Danny and Linus prepare to let + go any moment. + + LINUS + You ever rappelled before? + + DANNY + Never. You? + + LINUS + Nope. + + +180 EXT. BELLAGIO PARKING LOT - TOP LEVEL - 00:01 180 + + Basher finishes preparations. + + BASHER + (into his mike) + Ready. + + LIVINGSTON (V.O.) + (over earpiece) + Then hit it. + + Basher flips the switch. BOOM! A quick TREMOR, then + stillness. He picks a point on the horizon, like Babe Ruth, + and suddenly -- + + BASHER + -- One -- + + HIGH ABOVE LAS VEGAS whole blocks of lights disappear. + Casinos vanishing one-by-one. + + FLAMINGO + + Every pink light vanishes. + + BELLAGIO + + The fountain goes flaccid. + + BASHER (V.O.) + -- two, three -- + 120. + + + NEW YORK, NEW YORK + + The roller coaster stops dead; its passengers keep their + arms raised, not sure what to do. + + MGM GRAND GARDEN ARENA + + Both fighters move in simultaneously, sweat flying, both + reach back, both going for the lights-out power cut to the + jaw, when lights out. + + BASHER (V.O.) + -- four, five -- + + +183 INT. ELEVATOR SHAFT 183 + + Blip -- out go the infrared sensors. + + DANNY + Now! + + And he and Linus lean forward and fall. + + HURTLING WITH DANNY AND LINUS + + DOWN the elevator shaft. + + Upside down, heads curled, and all we hear is the WHOOSH of + their bodies in motion and the WHIRL of their CORDS + UNCOILING. + + BASHER (V.O.) + -- six, seven -- + + And now, looking STRAIGHT DOWN, the ground is rising up + fast to meet them, a flat slab of gray concrete, fifty + feet, forty feet, thirty feet, twenty -- + + BASHER + -- eight, nine -- + + And SNAP -- the CORDS reach their full extension, and Danny + and Linus bounce up, watching the floor recede. + + LINUS + Aaaaahhhhh! + + +184 EXT. BELLAGIO PARKING LOT - TOP LEVEL - NIGHT 184 + + BASHER + 121. + + + -- ten -- + + In the distance, lights come up again, first at the Mirage, + then the MGM, gradually approaching. + + +185 INT. ELEVATOR SHAFT - BOTTOM 185 + + Coming to a rest about ten feet from the floor, Danny + quickly pulls a slim blade and slashes the two coils + straight across. He and Linus go tumbling to the floor as + their drop lines recoil lightning fast to their elevator + anchors, just before, the infrared lights go back on-line. + + +186 INT. MGM GRAND GARDEN ARENA 186 + + The lights suddenly flash back on, revealing both fighters + standing, and Tyson takes advantage of Lewis's + disorientation and throws a sucker punch to his jaw. Down + goes Lewis, and up goes the crowd, roaring. + + REF + -- One, two, three -- + + Benedict makes a quick survey; the arena is apoplectic from + the blackout-knockout. + + BENEDICT + What the hell was that? + + He cranes his neck, looking around the room, surveying his + empire: he smells a rat. His eyes fall on Reuben behind + him, but Reuben just shrugs: "I didn't pull the plug." + + BENEDICT + (to himself) + The first goddamn round. + + +187 EXT. BELLAGIO PARKING LOT - TOP LEVEL - NIGHT 187 + + All the lights are back on, and Basher observes his + achievement with great pride, his job complete. + + BASHER + Viva Las Vegas. + + +188 INT. ELEVATOR SHAFT - BOTTOM 188 + 122. + + + Linus and Danny arise from where they've fallen, clutching + their heads and rubbing bruises. Danny doesn't recover as + quickly. + + LINUS + You alright? + + DANNY + No, but you're sweet to ask. + + +189 INT. BELLAGIO VAULT 189 + + Lights are just flickering on here when the false lid of + the cash cart thrust upward slightly. It's Yen trying to + get out, out of air and only now alert to Saul's heavy case + resting atop him. + + +190 INT. MIRADOR SUITE - NIGHT 190 + + Livingston watches this on his monitors, just coming back + on, his finger poised on a play button, as Frank comes in + the door. + + FRANK + Are they in? + + LIVINGSTON + One second. + (a look at him) + I thought you got kicked out? + + Frank shrugs. Suddenly one of the monitors aligns itself, + and Livingston presses play. + + ON MONITOR A + + Overhead security-cam view of the vault corridor: the three + Uzi guards stand idly, on duty. And of the vault itself: + Yen trying to get out of the cash cart. + + ON MONITOR B + + Overhead security-cam view of the vault corridor: the three + Uzi guards stand idly, on duty... and in totally different + positions. Of the vault: no cash cart, but no Zerga + briefcase, no Yen. + + LIVINGSTON + + LIVINGSTON + 123. + + + This tape's from last night. Same + guards, same -- + + His eyes fixing on Saul's briefcase pushing closer to the + edge of the cash cart as Yen tries to free himself. + + LIVINGSTON + -- shift. + + +191 INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY 191 + + The room is abuzz with activity. The monitors here flicker + back on, too, displaying the images from monitor B, but + every watcher in the place is watching a table because -- + + +192 INT. BELLAGIO CASINO - NIGHT 192 + + -- the floor is going nuts. After the ten seconds of + darkness, all bets are off. Some players doubled-down + during the blackout, others miraculously halved their bets. + Consequently, Livingston's video feed switch goes + unnoticed. + + +193 INT. CORRIDOR/OUTSIDE VAULT 193 + + Danny and Linus pry open the elevator doors and squeeze + out. Just beyond the next doorway stand, three UZI-CARRYING + GUARDS, hovering outside the vault door and wondering what + the hell just happened to the lights. + + +194 INT. VAULT 194 + + Yen continues to push up on the cash cart lid, and the more + he pushes, the more Saul's briefcase slides off. Yen + stretches his hand out to grab it, but it's slid beyond his + reach, to the edge of falling. + + +195 INT. CORRIDOR - OUTSIDE VAULT 195 + + The Uzi-Carrying Guards turn their backs to the elevator + shaft and Linus and Danny appear in the doorway; they both + snap gas pellets and slide them into the corridor. + + UZI-CARRYING GUARD #1 + (sniffing something) + Jesus, Ron, was that you? + + OUTSIDE VAULT CORRIDOR + 124. + + + Linus and Danny wait, Danny silently mouthing a three-count + before THUD, THUD, THUD. They peer around the corridor to + find all three Uzi-carrying guards lie unconscious on the + ground. Linus starts in, Danny holds him back. + + DANNY + Not yet. + (a beat; another beat; + then) + Okay. + + +196 INT. VAULT CORRIDOR 196 + + Danny and Linus enter, waving the faint remnants of the gas + from their noses, tiptoeing past the guards' bodies. + + LINUS + You think Yen made it out okay? + + DANNY + I'm sure he's fine. + + +197 INT. VAULT 197 + + Saul's briefcase inches closer to falling off the cash + cart, which of course would trigger the floor sensor and + terminate this heist here and now. Yen's hand stretches + farther out to grab it, pushing up just a little more on + the false lid until the briefcase tumbles toward the floor + but not before Yen snags the handcuff chain attached to it + and swings it round. He's got it. That threat over, he + throws open the cash cart lid and takes the biggest breath + of his life. + + +198 INT. VAULT CORRIDOR 198 + + Linus punches in the code for the door to the vault + anteroom (the one he stole from Benedict). He steps back as + it slides open, revealing the vault door: it is sleek and + immense and impregnable. + + LINUS + (jaw dropping) + Jesus -- + + DANNY + There's a Chinese man with a + hundred sixty million dollars + behind that door. Let's get him + out. + 125. + + + Danny takes a flat hand and slaps the door hard. + + +199 INT. VAULT 199 + + Yen now sits perched atop the cash cart, Saul's briefcase + opened beside him (he has removed half of Lyman's + "emeralds"). He hears the muffled Danny's slaps and he + knows: it's time for his leap. It's the same distance as + the leap he made in the practice session, but this time + he's only got one good hand. + + +200 INT. MIRADOR SUITE 200 + + Frank and Livingston watch nervously. + + FRANK + Fin says he shorts it. + + LIVINGSTON + No bet. + + +201 INT. VAULT 201 + + Yen prepares for his leap, then springs -- + + -- across the room, to the ledge he must grab -- + + -- and he grabs it, but with only one hand he's slipping + right away, and in a second he'll hit the sensored floor -- + + -- but, in a flash, he spins and splits his legs, propping + himself up between two walls, inches above the floor. An + acrobatic wonder. + + +202 INT. MIRADOR SUITE 202 + + Frank and Livingston exhale. + + LIVINGSTON + (wishing he had bet) + Shit. + + OUTSIDE VAULT + + Danny, oblivious to this close call, slaps the door again. + A moment passes, then: Yen responds with a slap, too. + + DANNY + 126. + + + Okay. + + +203 INT. MIRADOR SUITE - NIGHT 203 + + As Basher enters, Livingston and Frank watch on a monitor + Linus punching in the combination he stole from Benedict as + Danny unravels a thin electrical wire connected to a + detonator. + + FRANK + That's it? + + LIVINGSTON + There's still the five pins and the + floor sensor. Not much we can do + about that from this side of the + door. But from this side -- + + He punches up the image of Yen in the vault. + + BASHER + -- a little bit of Semtex should do + the trick. + + +204 INT. VAULT 204 + + Yen sets the last of Lyman's emeralds against the vault + door like a plastic explosive which, of course, it is. + + He affixes a detonator receiver (the size of a golf ball + pencil) to it, then slaps the door twice: all set. + + OUTSIDE VAULT + + Danny responds with two slaps of his own. He steps back, + detonator in hand, its wires attached to the vault door. + + DANNY + Counting down from twenty -- + (checking watch) + -- now. + + +206 INT. VAULT 206 + + Yen starts his retreat from the door, but gets yanked back. + + His hand's bandage is caught on the door. + + OUTSIDE VAULT + 127. + + + DANNY + -- seventeen, sixteen, fifteen -- + + +208 INT. VAULT 208 + + Yen tries to free himself, but he can't use his other hand + lest he drop to the floor. He tries gnawing at his bandage, + which brings his face within inches of a plastic explosive. + + +209 OUTSIDE VAULT 209 + + DANNY + -- eleven, ten, nine -- + + +210 INT. MIRADOR SUITE 210 + + Livingston et al. are alert to the danger. + + LIVINGSTON + (into his mike) + Linus, can you read me? Linus, do + not blow the door, you're about to + kill Yen. + + OUTSIDE VAULT + + Linus hears nothing through his earpiece. + + LINUS + -- five, four, three -- + + INT. VAULT + + Yen finally frees himself just as -- + + -- ZOOMING INTO a plastic explosive -- + + OUTSIDE VAULT + + DANNY + -- one -- + + He presses his detonator. + + Nothing. + + +211 INT. VAULT 211 + 128. + + + Yen, still on the door, remains frozen. Trembling. + + A beat. + + Then, he starts to creep back, leaping onto a money shelf, + then another, as far from the explosives as he can get. + + OUTSIDE VAULT + + Danny presses it again. Still nothing. + + LINUS + What's wrong? + + DANNY + I don't know. + + Linus comes over to look. + + LINUS + You check the batteries? + + Danny blanches. Linus shoots him a look. + + +213 INT. MIRADOR SUITE - NIGHT 213 + + Livingston, Frank, and Basher watch the monitors in + disbelief. + + Saul enters, alive and dressed as himself again. His job is + complete. + + SAUL + Everything going okay? + + +214 INT. VAULT CORRIDOR - OUTSIDE VAULT 214 + + As Danny checks his batteries (the types with built-in + power meters: both at zero percent), Linus ransacks the + Uzi-carrying Guards' gear for replacements. He finds AA's + in their flashlights. + + LINUS + You know, you lose focus for one + second in this game -- + + DANNY + -- and someone gets hurt, yeah + yeah. I don't hear Yen complaining. + 129. + + + He takes the batteries, inserts them in his detonator, then + slaps the door twice more. + + +215 INT. VAULT 215 + + Yen catches his breath on the far end of the room. He hears + the slap, rolls his eyes, and ducks out of the line of + fire. + + OUTSIDE VAULT + + Danny presses the detonator. + + +217 INT. VAULT 217 + + The "EMERALDS" EXPLODE. + + OUTSIDE VAULT + + Several MUTED but powerful BLASTS. + + Linus inches forward, almost dreading this moment, pauses. + + DANNY + Do it. + + Linus pulls and the door opens. + + +219 INT. VAULT 219 + + Danny and Linus enter. Silence. The cash carts have + crumpled, and the vault gratings, blackened, have held. + + DANNY + Amazing? + + Linus goes to one of the racks and tentatively opens it. + + Yen pops up from within, his hair on end, looking like he + just dropped out of a cyclone. + + YEN + (his only English) + Where the fuck you been? + + +220 INT. MIRADOR SUITE - NIGHT 220 + 130. + + + Livingston, Frank, Saul, and Basher watch as the first wave + of bills gets tossed onto the vault floor. Smiles all + around. + + SAUL + Ever been in love? + + FRANK + (considers it for a + moment) + No, I guess not. Not really. + + SAUL + This is better. + + +221 INT. CASINO - OUTSIDE FIGHT ARENA 221 + + Rusty steps forward as people stream past him out of the + fight arena. He dials his cell phone, listens. + + +222 INT. MGM GRAND GARDEN ARENA 222 + + MOVING WITH Benedict and Tess, pushing their way out + through the crowd. A PHONE is RINGING nearby, again and + again. + + BENEDICT + You gonna answer it? + + TESS + I don't have a cell phone. + + They keep moving, but the RING pursues them. Finally, + Benedict stops, pulls Tess's purse from her shoulder and + opens it: inside, he finds a CELL PHONE, RINGING. + + TESS + It isn't mine. + + BENEDICT + See who's on the other end. + + She takes the phone, activates it. + + TESS + Hello? + + RUSTY (V.O.) + May I have a word with Mr. + Benedict, please? + 131. + + + Tess looks up, confused. + + TESS + It's for you. + + Benedict takes the phone. + + BENEDICT + Who the hell is this? + + ON RUSTY in the distance, at the arena's exit, unseen by + Benedict or Tess, on the phone. + + RUSTY + The man who's robbing you. + + +223 INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY 223 + + Benedict enters, and fear enters with him. And, of course, + Tess. As the room buzzes with activity, he keeps the cell + phone pressed to his ear. + + BENEDICT + What the hell is going on down + there in the vault? + + FAT + Nothing, sir. All normal. + + BENEDICT + Show me. + + Fat points to the security-cam view of the vault corridor + and vault, Livingston's tape. + + FAT + All quiet. + + BENEDICT + (on phone, venomously) + I'm afraid you're mistaken. + + +224 INT. MIRADOR SUITE - NIGHT 224 + + Frank, Basher and Saul watch over Livingston's shoulder as + this phone conversation is broadcast over a small speaker. + + RUSTY (V.O.) + You're watching your monitor? Okay, + keep watching. + 132. + + + Livingston punches in numbers. + + +225 INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY - ON FAT'S 225 + MONITOR + + New images suddenly appear. Three masked men in the vault + throw stacks of money onto the floor; the three Uzi Guards + lie bound and unconscious in the corridor. + + The security center, understandably, erupts in activity. + + BENEDICT + Jesus Christ -- + + +226 INT. BELLAGIO CASINO - NIGHT 226 + + Rusty strolls so casually there's no reason anyone passing + would suspect he was doing more than ordering a pizza. + + RUSTY (V.O.) + In this town, your luck can change + just that quickly. + + +227 INT. BELLAGIO SECURITY CENTER 227 + + BENEDICT + (close to apoplectic, + takes a breath and cups + the phone, then barks at + Walsh) + Find out how much money we have + down there. + + Tess, amid all this chaos, is still curious: how did that + cell phone get into her handbag? And suddenly it hits her. + + +228 INT. RESTAURANT - EARLIER THAT EVENING - FLASHBACK 228 + + DANNY + Good-bye. + + Danny starts for her cheek, stops to see if it's alright + with her -- she, sad-eyed, does not recoil and then gently + kisses it as he slips the cell phone into her handbag, + unnoticed. + + BENEDICT + (on phone) + 133. + + + Alright. You've proved your point. + You've broken into my vault. + Congratulations: you're a dead man. + + Tess leaves. + + RUSTY (V.O.) + Maybe. + + BENEDICT + May I ask: how do you expect to + leave here, hmm? + + INTERCUT WITH: + + +229 INT. CASINO FLOOR 229 + + BENEDICT + Do you believe I'll simply allow + you to parade bags full of my money + out my casino doors? + + A distance beyond Rusty, Tess exits the cages. She stops, + puzzling over what to do, happens to spot him. + + RUSTY + No. You're gonna carry it out for + us. + + BENEDICT + (has to laugh) + And why would I do that? + + RUSTY + Take a closer look at your monitor + -- + + +230 INT. SECURITY CENTER 230 + + Benedict does. As the three masked men stuff money into + large canvas bags and mark the bags with X's, another + portion of cash remains untouched, booby-trapped. + + RUSTY (V.O.) + As your manager's probably + reporting to you by now, you have a + little over a hundred sixty million + in your vault tonight. + + And, as if Rusty was in the room watching, Walsh approaches + with the night's cash count: $163,156,759. + 134. + + + RUSTY (V.O.) + You may notice: we're only packing + up about half that. The other half + we're leaving in your vault, booby- + trapped, as a hostage. + + +231 INT. CASINO FLOOR 231 + + RUSTY + You let our eighty million go, and + you get to keep your eighty. That's + the deal. You try and stop us, + we'll blow both cash loads. + + He spins and gasp, comes face-to-face with Tess. She stares + at him directly: she knows. + + RUSTY + (holding her glance) + Mr. Benedict: you can lose eighty + million dollars secretly tonight or + you can lose a hundred sixty + million dollars publicly. It's your + decision. + + He cups the phone. + + RUSTY + Hi. + + +232 INT. SECURITY CENTER 232 + + Benedict cups his phone, too, and vents his rage. He knows + what he should do, let the money go and he knows what he + wants to do, stop these sonsabitches. He makes his choice. + + BENEDICT + (to Walsh) + Make the call. + + Walsh grabs a phone, punches numbers. + + VOICE (V.O.) + 911. Emergency response. + + +233 INT. MIRADOR SUITE - NIGHT 233 + + Livingston listens in on the call. + + WALSH (V.O.) + 135. + + + Hello, this is Mr. Walsh at the + Bellagio. + + +234 INT. SECURITY CENTER 234 + + WALSH + We have an incident here -- + + BENEDICT + (uncupping his phone) + Okay. You have a deal. + + +235 INT. CASINO FLOOR 235 + + Tess and Rusty hold a stare as Rusty holds the phone. + + TESS + Where's Danny? + + RUSTY + He's fine. He wants you to go + upstairs, and watch TV. + + TESS + (a little pissed) + He does? + + BENEDICT (V.O.) + You have a deal. + + RUSTY + It's alright, Tess. I promise. + (back on phone) + Good. Here's what you do. Five + minutes from now, the men in the + vault are going to deposit six bags + in the vault elevator. + + Tess isn't sure what to do. As Rusty continues on the + phone, she backs off, debating: can she blow the whistle on + her ex? + + +236 INT. VAULT ELEVATOR - CLOSE ON SIX CANVAS BAGS 236 + + each sealed tight, each marked with an X, loaded onto the + vault elevator. + + RUSTY (V.O.) + 136. + + + If they meet anyone, we'll blow the + money in the bags and the money in + the vault. + + +237 INT. CAGE - OUTSIDE VAULT ELEVATOR 237 + + A small cadre of guards await the arrival of the vault + elevator. Its doors open to reveal the six large canvas + bags, each sealed tight, marked with an X. + + RUSTY (V.O.) + One minute after that, the elevator + will rise to your cages. Six of + your guards will pick up the bags + and carry them out into the casino. + + Six guards do precisely that. + + +238 INT. CASINO - NIGHT 238 + + MOVING WITH Rusty PAST slot machines. + + RUSTY + If they take more than twenty + seconds to reach the casino floor + or if there's any indication a + switch has been made, we'll blow + the money in the vault and the + money in the bags. + + A SLOT MACHINE RINGS behind him -- + + +239 INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY 239 + + -- and Benedict hears it. + + BENEDICT + (to Walsh) + He's in the casino right now. + + RUSTY (V.O.) + Of course, I'm in the casino. In + fact, I'm staying in your hotel. + And I have two words for you: mini- + bar. + (back to business) + Now as soon as your guards hit the + casino floor -- + 137. + + +240 INT. BELLAGIO CASINO - NIGHT 240 + + The six guards appear from the cage door, carrying six + canvas bags marked with X's; Bellagio security escorts them + from the building. + + RUSTY (V.O.) + -- a white unmarked van is going to + pull up in your valet station. + + +241 EXT. BELLAGIO CASINO - NIGHT 241 + + The white VAN (now clean of the "Nevada Telecom" sign) + IDLES before the Bellagio, its windows tinted, the driver's + identity inscrutable. It is swarmed by security, but they + maintain a wide perimeter. + + RUSTY (V.O.) + Your guards will load the bags into + the van's rear. If anyone so much + as approaches the driver's door, we + blow everything. + + The guards carry out the money and load it into the van's + rear. There, they find a video camera mounted within the + back seat of the van monitoring them. Still they cannot + catch a glimpse of the driver. They close the van doors. + + BELLAGIO - FROM HIGH ABOVE + + The white van departs the valet station in front, + clandestinely shadowed by five sedans. Meanwhile, behind + the casino, a SWAT van arrives and unloads its squad. + + BENEDICT (V.O.) + Now what? + + RUSTY (V.O.) + Now, when I get word that the van + hasn't been followed, that the + money is secure, my men will exit + the building, and once their safety + is confirmed, you'll get your vault + back. + + +242 INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY 242 + + Walsh mouths to Benedict: "SWAT team is here." Benedict + nods and throws him a thumbs-up. + + BENEDICT + 138. + + + Sir, I have complied with your + every request, would you agree? + + RUSTY (V.O.) + I would. + + BENEDICT + Good. Now I have one of my own. + + RUSTY (V.O.) + Yes? + + BENEDICT + (at last, his venom + released) + Run and hide. If you get picked up + next week buying a $100,000 sports + car in Newport Beach, I'll be + supremely disappointed. Because I + want my people to find you. And + rest assured: when they do, they + won't hand you over to the police. + (beat) + Run and hide. That's all I ask. + +And during the above rant by Benedict, we view -- + +MIRADOR SUITE now empty, Livingston's monitors still +displaying the masked men in the vault. + +WHITE VAN navigating the streets of Las Vegas. + +FIVE SEDANS tailing the van, security goons piled into +each, and maybe we NOTICE (or maybe not) the Rolls-Royce +tailing them. + +TESS pacing in Benedict's suite, biting her nails, debating +whether to blow the whistle on Danny. ON TV: a newscast of +the contentious aftermath of the prize fight. + +UZI GUARDS,bound and unarmed, unconscious to the activity +within the vault. + +RUSTY'S CELL PHONE opened and unmanned. + +BENEDICT listens, the line has gone dead. He hangs up. + + WALSH + Our guys say the van is headed + toward McCarren Airport. + + BENEDICT + 139. + + + Get everyone in position. I want my + vault back before that van hits the + tarmac. + + LONGER MONTAGE now, CUTTING BETWEEN: + + SWAT TEAM (six in all) hustling through the cage corridors, + armed to the teeth, with body armor and helmets and vision + guards: they're as faceless as storm troopers. + + WHITE VAN CONVOY as it approaches McCarren Airport. + + MONITORS OF THE VAULT + + The three masked men pace beside the booby-trapped money. + + +244 INT. SECURITY CENTER 244 + + BENEDICT + (on second inspection) + Where's Zerga? + (off Walsh's sheepish + look) + Mr. Zerga? With the briefcase? + + WALSH + He's -- he died. + + Benedict shoots him a slow, sideways glance. + + SWAT TEAM rappelling down the elevator shaft, its + ultraviolet sensors turned off by Walsh, then moving into + position. + + +245 INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY 245 + + SWAT LEADER (V.O.) + (over radio, on monitor) + Night goggles on. Prepare to cut + power. + + Fat mans the power switch. + + FAT + Ready when you are. + + Benedict scours the monitors: The masked men continue to + pace on one screen. The SWAT team prepares to invade on + another. + + BENEDICT + 140. + + + Do it. + + SWAT LEADER (V.O.) + (over radio) + Cut it. + + Fat flips the power switch. + + +246 INT. MIRADOR SUITE 246 + + Livingston's monitors all go black. + + +247 INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY 247 + + The monitors here go black as well. Benedict listens + closely to the SWAT frequency. + + SWAT FREQUENCY (V.O.) + (Leader's voice) + First wave, in! Second wave, now! + (there is RUNNING, + PANTING, then Linus's + voice, distant and + panicked) + Guys, someone's here! + (Leader's voice) + Take him down! Now! + + A brief SPURT of GUNFIRE, then BARRROOOOOOM! + + Dead silence in the Eye in the Sky. Slim stares deep into a + monitor's dark pitch. Then -- + + SWAT FREQUENCY (V.O.) + (Leader's voice) + Lights! We need power now! + + Fat flips the power back on, and on the monitors, visions + of destruction down below, smoke fills the vault as two + SWAT members push through it, other SWAT members help + evacuate the unconscious guards. + + BENEDICT + (into intercom) + What's the situation down there? + + SWAT LEADER (V.O.) + They blew it. They blew the -- Oh, + Jesus -- If there was anyone in + there, they're not in one piece + anymore. + 141. + + + BENEDICT + (to Walsh, soberly) + Tell them to take the van. I'm + going down there. + (as an afterthought, to + Slim) + Find out how they fiddled with our + cameras. + + +248 EXT. MCCARREN AIRPORT - NIGHT 248 + + As the white van arrives at a charter airline's entrance, + the five sedans converge upon it, TIRES SCREECHING, Goons + emerging, weapons drawn. + + HEAD GOON + Get out of the van, now! Now! + + No response within the van. The Head Goon signals and the + others SHOOT the van's tires. + + +249 INT. CIRCUITRY ROOM 249 + + Slim investigates the Eye in the Sky's wiring. Reaching + deep into a mesh, he finds a foreign object: Livingston's + "spider." + + +250 INT. VAULT CORRIDOR 250 + + The vault elevator doors open and Terry Benedict makes his + way into his smoke-filled vault corridor. He passes the Uzi + Guards, awake now and stumbling to the elevator with SWAT + members' assistance, then arrives before his decimated + vault: Anything within, people, money, Lyman Zerga's + emeralds, could only have been destroyed. + + OVER SWAT LEADER'S SHOULDER as he approaches Benedict. + + SWAT LEADER + Mr. Benedict -- + + BENEDICT + Yes. + + SWAT LEADER + We couldn't find any survivors. Or, + I'm afraid, any of your money. I'm + sorry, sir. + + BENEDICT + 142. + + + (doesn't want to hear + anymore; the SWAT team + failed him) + Take your men out now. + + HOLD ON Benedict, seething, as the SWAT Leader steps away. + + SWAT LEADER + Okay, guys, grab your gear and + clear out. + + BENEDICT + (into walkie-talkie he + has with him) + Walsh: How are we with the van? + + +251 EXT. MCCARREN AIRPORT - NIGHT 251 + + The stalemate with the van continues. Still no movement + from inside. + + HEAD GOON + Out of the van now! Hands up! + + An EMPLOYEE from the charter airline sticks his head out of + his office door. + + EMPLOYEE + (innocently) + Hey, what's going on here? + + Half-a-dozen firearms turn and point in his direction. The + Employee disappears back inside his office. + + The Head Goon cautiously approaches the van, reaches for + the driver's door, and yanks it open. + + Inside: There is no driver. Just a video camera mounted at + eye-level. The Head Goon cranes back his head, befuddled, + when he notices for the first time (and maybe we do, too) + an enormous antenna sprouting from the van's rear bumper. + + The van suddenly lurches. + + SHORT DISTANCE AWAY - CLOSE ON REMOTE CONTROL + + complete with a tiny video monitor (displaying the van + driver's POV) and a steering mechanism -- it's a near- + replica of the one Virgil Malloy used in the monster truck + drag race against his brother. + 143. + + + And Virgil's using it now, too, as he sits next to Reuben + Tishkoff in one of Reuben's Rolls and watches the Goons + scramble back from the flat-tired van. + + TISHKOFF + Enough monkey business. + + Virgil brings the van to a stop, then readies a distinctive + red button on his remote. + + BACK WITH VAN + + As the Head Goon reaches for the rear door, his hand inches + away when -- + + BARROOOOM! The door EXPLODES open! + + Knocked on his ass, the Head Goon watches as the canvas "X" + bags within burn to cinders. He does, however, happen to + notice one burning shred of paper dislodged from a bag: + It's a promotional flier for a call girl service. + + +252 INT. BELLAGIO VAULT - NIGHT 252 + + Benedict steps over the scattered remains of his vault. He + picks up a fragment of a cash cart, burnt to a crisp, then + lets it drop. + + WALSH (V.O.) + (over walkie-talkie) + Mr. Benedict -- + + BENEDICT + Yes? + + WALSH (V.O.) + They took the van. + + BENEDICT + And? + + WALSH (V.O.) + (hesitantly, this is bad + news) + And they blew up the bags, sir. + + BENEDICT + (dropping his walkie- + talkie to his side) + Shit. + + WALSH (V.O.) + 144. + + + Sir -- sir -- + + BENEDICT + What, Walsh? + + WALSH (V.O.) + They say it doesn't look like there + was any money in the bags, sir. + + BENEDICT + What?! + + WALSH (V.O.) + They say the bags were filled with + fliers. For hookers. + + BENEDICT + What do you mean there was no money + in the bags? + + WALSH (V.O.) + That's what they said, sir. I don't + understand it: we both saw them + putting money inside those bags. + + Benedict stops cold. He stares up at a wall where an + engraved sign reading "Bellagio" has been smoke-stained. + + BENEDICT + Walsh, cue up the tape of the + robbery. + + +253 INT. BELLAGIO SECURITY CENTER - EYE IN THE SKY 253 + + Walsh stands before several monitors as Slim cues up the + "masked men robbing the vault" image of a few minutes ago + beside the present image of Benedict staring at the vault + wall. + + BENEDICT (V.O.) + Does it say 'Bellagio' on the south + wall of the vault? + + In the masked-men image it does not, in fact, say + "Bellagio" there. + + WALSH + (on walkie-talkie) + No, sir. It doesn't. I -- I don't + understand -- + 145. + + +254 INT. VAULT 254 + + Benedict exhales. + + BENEDICT + We had that installed on Tuesday. + The image we saw of the men robbing + us was a tape. + + WALSH (V.O.) + What? + + BENEDICT + Someone built a double of my vault, + then made a tape of them robbing + it. When we saw them putting money + in those bags, that wasn't actually + happening. + + +255 INT. SECURITY CENTER 255 + + Walsh's jaw drops as he watches the tape again. + + WALSH + Then, sir -- + + +256 INT. BELLAGIO VAULT - NIGHT 256 + + Benedict is absolutely fucking furious. + + WALSH (V.O.) + -- what happened to all the money? + + +257 INT. BELLAGIO CASINO - CLOSE ON SWAT DUFFEL BAG - NIGHT 257 + + carried through the Bellagio casino, held by the SWAT + Leader leading his men out (now eight in all), and at last + we PULL UP to see his face for the first time... + + It's Rusty, in full regalia, leading Livingston, Turk, + Saul, Frank, Basher, Yen and Linus out of the casino, each + dressed as a SWAT member, each carrying a duffel bag with + nearly $20 million dollars inside. + + As we PASS each man, under the HUM OF the CASINO, we see: + + +258 INT. MIRADOR SUITE - LIVINGSTORM - FLASHBACK 258 + 146. + + + takes the call from Walsh in the Mirador suite as Basher, + Saul, and Frank dress behind him. + + LIVINGSTON + 9-1-1. Emergency response. + + TURK dressed as a SWAT member, hustles down a cage + corridor. + + SAUL has trouble rappelling with the rest. + + BASHER takes position next to Rusty at the elevator shaft's + bottom. They're on-camera, but just a few feet away and + (off-camera) Danny sits smiling. + + RUSTY + (hiding his voice) + Prepare to cut power! + + YEN lights a short fuse leading into the vault. + + LINUS feigns hysteria. + + LINUS + Guys, someone's here! + + RUSTY + + FIRES a SPURT of BLANKS. + + BARRROOOOM! No one is hurt. Nor is the money, stacked + neatly in a corridor, ready to be packed into the phony + SWAT team bags, body armor, etc. + + +259 EXT. BELLAGIO CASINO - NIGHT - PRESENT 259 + + The SWAT team exits and boards the second vehicle Turk and + Virgil have been working on all this time, the one in the + warehouse with an air freshener hanging from its rearview + mirror: it's a replica of a SWAT van. + + Turk takes the wheel as the others jump in the back. Rusty + flips open another cell phone. + + RUSTY + Las Vegas P.D. This is Officer + Brooks, New Jersey Probation + Division. I have a violator in your + jurisdiction -- + (cupping phone) + Hit it. + 147. + + + Turk hits the gas and the VEHICLE PEELS away, carrying its + cadre of new multi-millionaires far away from the Bellagio + Hotel and Casino. + + +260 INT. BELLAGIO VAULT 260 + + Benedict squats down to inspect a burnt scrap of paper on + the vault floor. It's a flier for a strip joint. + + BENEDICT + (and it finally occurs to + him) + Ocean -- + + +261 INT. CAGE - HALLWAY - MOVING WITH BENEDICT 261 + + Heated, he approaches the interrogation room, where his + Plainclothes Goons keep watch. + + (A1) + + BENEDICT + Where's Ocean? + + PLAINCLOTHES GOON #1 + Still inside, sir. With Bruiser. + + Benedict straightens his cuffs, cools himself, then: + + BENEDICT + Open that door. + + +262 INT. INTERROGATION ROOM 262 + + Bruiser throws a mean left hook across Danny's face as the + door swings open and Benedict steps in. Bruiser sees him + and steps away, toweling off his bloodied knuckles. + + Benedict studies Danny: the man is a bloody mess, head + rolling, eyes puffed up. + + BENEDICT + Wake him up. + + The Goons step in, slap Danny alert. At last, Danny + recognizes Benedict in the room. + + DANNY + (a little punchy) + 148. + + + Heya, Benedict -- How's the other + fight going? + + Benedict keeps his cool. + + BENEDICT + Did you have a hand in this? + (beat) + Did you? + + DANNY + Did I have a hand in what? + + Benedict scrutinizes Danny: Is he bluffing? He looks at + Bruiser, then Danny again, and decides: no. + + BENEDICT + Get him out of here. + + As the Goons scoop him up and drag him out, Danny catches + Bruiser's eye for just a moment. And barely winks. + + +263 INT. BENEDICT'S SUITE 263 + + The PHONE RINGS. Tess plucks it up. + + TESS + Hello? + + VOICE (V.O.) + (if you must know, it's + Livingston's) + Turn to Channel 88. + + CLICK. Tess does so. + + On her TV: A security-angle of the cage hallway. The Goons + appear, escorting bloodied Danny out. + + As Tess gasps, we go live to -- + + +264 INT. CAGE - HALLWAY 264 + + Where Benedict follows the Goons and Danny out, brooding: + what's his next step? Walsh approaches. + + DANNY + You get robbed or something, + Benedict? Geez, that's a shame. + 149. + + + Benedict looks up, suspicious. + + BENEDICT + Stop there. + + The Goons stop, spin Danny around to face Benedict. + + BENEDICT + Where. Is. My. Money. + + They hold each other's eye. + + DANNY + What would you say if I told you + you could get your money back -- + (beat) + -- if you gave up Tess? + (beat) + What would you say? + + BENEDICT + I would say yes. + + +265 INT. BENEDICT'S SUITE 265 + + She's crestfallen. + + +266 INT. CAGE - HALLWAY 266 + + DANNY + Well, that's very interesting -- + (beat) + -- but I didn't have anything to do + with it. + + He grins. Benedict sinks. + + BENEDICT + (to his Goons) + Escort Mr. Ocean to the exit. And + contact the police. I would imagine + Mr. Ocean is in violation of his + parole. + + +267 INT. BENEDICT'S SUITE - ON TV 267 + + The Goons haul Danny out. Tess has left, heartbeats ago: + the room's door is just closing. + 150. + + +268 INT. CAGE - HALLWAY 268 + + WALSH + Maybe we should have held him. + + BENEDICT + No. Follow him. Everywhere. + + +269 INT. CASINO FLOOR - OUTSIDE CAGES 269 + + Benedict exits. Takes in his casino. It's been a bad night: + he's down a hundred fifty million. He starts for -- + + +270 INT. CASINO FLOOR - ELEVATOR BAY 270 + + As he arrives, the elevator doors open and Tess steps out. + She breezes right past him. + + BENEDICT + Tess -- + (as she doesn't stop) + Tess? + + TESS + You of all people should know, + Terry: in your hotel, there's + always someone watching. + + She keeps going. Benedict, now down a hundred fifty million + and one woman, boards the elevator. Its doors close on him. + + +271 EXT. ALLEY - VACANT WAREHOUSE - EARLY MORNING 271 + + The SWAT van rounds a corner and ducks inside the + warehouse. + + Three-and-a-half seconds pass. + + And the eight SWAT members reappear, now all in suits, + perfectly pressed, and with grins on their faces and change + in their pockets, they begin their victory stroll, single- + file and sloppy, right down the -- + + STRIP - MOVING WITH THEM + + Turk, Livingston, Frank, Basher, Yen, Saul, Linus and Rusty + march down the strip single-file, and when they come to an + intersection. + 151. + + + Virgil and Reuben, also in suits, fall into stride for a + victory lap in front of the Bellagio fountains. + + Then, one-by-one, the group splinters off, strolling into + different hotels or grabbing cabs, until there are only two + left: Rusty and Linus. + + They take each other in, shake hands, and part. + + +272 EXT. BELLAGIO CASINO - NIGHT 272 + + Tess exits, searching for Danny. She rounds the building to + -- + + +273 EXT. SERVICE ENTRANCE 273 + + Where a LVPD squad car has just arrived to take goon-held + Danny away. She runs toward it. + + TESS + Wait! + + They do. As Danny is handcuffed and prepared for loading in + the back, he and Tess hold each other's glance. + + TESS + Danny -- + (beat) + I'm sorry. + + DANNY + I knew what I was doing. + + A beat. + + TESS + I didn't. + + A cop lowers Danny's head as he directs him into his seat. + + TESS + How long will you be? + + DANNY + (shrug) + Three to six months, I should + think. + + The squad car door closes him in and Tess stands vigil as + it pulls away. + 152. + + + ACROSS STREET + + Rusty watches Danny being driven back to prison, too. + + DISSOLVE TO: + + +274 EXT. FRONT GATE - MINIMUM-SECURITY PRISON - DAY 274 + + SUPERIMPOSE: THREE TO SIX MONTHS LATER. + + The great metal gate opens once more, revealing Danny Ocean + in its frame again, ready for release. + + He looks forward, no one's there to greet him, and the view + of New Jersey looks no brighter than it did before. He + takes his first step into free America -- + + -- to discover Rusty leaning against the prison wall. + Beyond him sits his second-hand Mercedes from L.A. + + RUSTY + Looking for someone? + + DANNY + Thirteen million and you drive that + piece of shit cross country to pick + me up? + + RUSTY + Hello to you, too. + + They shakes hands. Rusty looks Danny over. + + RUSTY + Your hair's grayer. + + DANNY + Your eyes got closer together. + (beat) + How's life? + + RUSTY + Life -- is a roomful of pillows. + (beat) + C'mon -- + + MOVING WITH Danny and Rusty toward the Mercedes, together + again. + + RUSTY + Where do you want to go first? + 153. + + + DANNY + To a phone. + +Rusty had anticipated this. + + RUSTY + I stopped and picked up your + personal effects, put them in the + back seat. + + DANNY + My what? + +Danny gets to the passenger door and looks in to see Tess +sitting in the back. She smiles at him. + + DANNY + (smiling back, then) + I'm not sure these belong to me. + + TESS + Sure they do. + +Danny and Rusty get in. Danny kisses Tess. Rusty STARTS the +CAR. + + DANNY + We need to find Rusty a girl. + + RUSTY + There's a women's prison just down + the road -- + +He drives off. In the back, Danny takes Tess's hand in his. +Notices a silver wedding band on it. + + DANNY + You said you sold this. + + TESS + That's what I said. + + DANNY + Liar. + + TESS + Thief. + +As they drive away another car STARTS its ENGINE begins to +follow. At the wheel: Benedict's goons. + +THE END + \ No newline at end of file diff --git a/scripts/Peaky Blinders (S1 E1).txt b/scripts/Peaky Blinders (S1 E1).txt new file mode 100644 index 0000000000000000000000000000000000000000..5120f81ea7520b3f6fb2a18abf0b5aee519e13ad --- /dev/null +++ b/scripts/Peaky Blinders (S1 E1).txt @@ -0,0 +1,3697 @@ + 1. + + + + Episode One - BLUE AMENDS + + +1 EXT. CHINESE QUARTER- DAY 1 - 16:50 1 + + Thursday 6th February 1919 - A young CHINESE GIRL (MAI) is + running, carrying a baby. An older Chinese man (ZHANG, her + FATHER) is yelling at her in Chinese to hurry up, turning + and waiting then trotting along beside her. + + ZHANG + (Hurry up. Or they will + kill us all.) + + They run and cross a street between ragged horses and + creaking carts. + + +2 INT. CHINESE QUARTER, LAUNDRY - DAY 1 - 16:51 2 + + Grey sheets hang in lines inside the chaotically cramped + laundry. Steam hisses from irons and there is a giant + thumping sound of a steam hammer coming from a forging and + pressing factory nearby. + + The heavy wet sheets are being scrubbed on steel washboards + by Chinese children aged seven to eleven. There are old + grandmothers using the steam irons, some with babies asleep + in slings on their backs. An old man lies asleep on an + ironing board. Through the steam we hear a dozen urgent + conversations in the same language. + + We might think we are in Shanghai until we see a + caption.... + + BIRMINGHAM, ENGLAND, 1919. + + Mai bursts into the laundry and hands her baby to a young + cousin barely big enough to take the baby’s weight. She + hisses quickly in Cantonese... + + MAI + (Do your tits still have + milk?) + + The cousin nods as she takes the baby. + + MAI + (Feed her) + + Mai turns to leave but a grandmother calls out... + 2. + + + GRANDMOTHER + (Hey! Where are you + going?) + + Zhang steps in from outside and speaks with fear. + + ZHANG + (They have asked for her) + + GRANDMOTHER + (Who have asked for her?) + + A pause. Zhang glances at his terrified daughter through a + billow of steam. + + +3 EXT. SLUM STREET - DAY 1 - 16:55 3 + + We are in a typical Small Heath tenement court. The yard is + a hundred foot long and dissected by a cobbled street. Two + four-storey tenements glare at each other across the + cobbles. Lines of washing are strung across the courtyard + and the sheets flap in the breeze. + + Dozens of children of all ages, all barefoot and dressed in + rags, are playing on the cobbles. Women are hanging washing + or bringing it in, calling out to each other, their voices + echoing against the tenement walls. The air fizzes with + yelling and laughter. + + We spend a moment with these people. A little boy pulls + open the door of an outside lavatory, exposing an old man + inside, to general hilarity. There are various cats and + dogs about the place. Tucked behind a blackened brick wall + an illegal gin still drips it’s lethal liquor into a stone + jar. + + The women are all dressed in billowing dresses (in + Victorian style) with brightly colored calico head-scarves + wrapped around their heads. + + In spite of the poverty, there is a feeling of huge energy + and vigor, rather than despair. In the background we hear + the thumping roar of heavy engineering factories. + + After a few moments, a man riding a beautiful black horse + trots into the courtyard. The horse’s hooves click on the + cobbles. + + Instantly, all talking and laughter stops. Whispered word + goes around the children and mothers like wildfire. All + games are frozen. Washing is left in baskets. Mothers turn + to the crowds of children to summon their own. + 3. + + +We study the man who has produced such instant terror as he +rides into the courtyard. He is immaculately dressed in a +dark suit (odd for a man riding a horse) and his boots are +polished. He is mid-thirties, handsome and well groomed. + +On his head he wears a Stetson Hatteras cap angled steeply +over his forehead, with generous folds of cloth hanging +over his ears. The peak puts his dark eyes in shadow. + +This man is THOMAS Shelby. + +He ducks under a line of sheets and finally pulls up his +horse and dismounts. + +The courtyard is now miraculously empty, with all the +mothers and children now hiding in doorways or alleys. + +They are all watching Thomas as he takes a gold watch on a +chain from his vest pocket and checks the time. His horse +snorts steam into the cold air. + +At that moment, at the end of the street we see Mai and +Zhang arrive. They turn into the courtyard and slow down +when they see Thomas and the horse. Zhang takes Mai’s hand +and leads her on to the rendezvous. + +Thomas takes out a fat Sweet Afton cigarette and lights it +with a match. Zhang and Mai approach as if Thomas were a +gunfighter in a Western street. All eyes are on them as +they meet. + +Zhang speaks English with a heavy chinese accent. + + ZHANG + Sir? This is her. + + THOMAS + The girl who tells fortunes? + +Zhang bows confirmation. Thomas hardly glances at Mai +before gesturing at Zhang to begin what is evidently a pre- +arranged exchange. With shaking hands, Zhang pulls a small +velvet bag from his inside pocket and holds it up for +Thomas to see. There is a golden dragon woven into the +velvet. + +Thomas reaches into the inside pocket of his jacket. As he +reaches in, we see a long barreled Webley revolver hanging +in a tan-leather army issue holster. Zhang and Mai see it +too and shrink back. Thomas takes two pound notes out of +his pocket which he holds up for Zhang to take (making sure +everyone watching can see the transaction). + 4. + + + Zhang takes the money then hands the velvet bag to Mai. He + quickly gives her instructions in Chinese and she seems to + be a little baffled. He urges her to do as she is told. + + Mai hesitantly opens the velvet bag and pours a palm full + of red powder into her hand. Thomas half smiles and urges + her to obey Zhang’s whispers. Mai puts her hand near to the + horse’s nose and blows. + + A cloud of red dust hits the horse. The horse snorts and + shies and we see Thomas’s face through the cloud of red + dust. Children in the alleys stare with wonder and whisper + to each other. We eavesdrop on one child explaining to her + little sister... + + CHILD 1 + They’re doing a magic spell to make + it win a race. + + Mai blows some more red dust onto the horse’s nose and + Thomas rubs it into the soft flesh around the nostrils. + + With the velvet bag now empty, Thomas drops his cigarette + and, in one easy movement, he mounts the horse. He looks + down at Zhang and Mai and touches his cap. He then looks + all around at the women and children watching and calls + out... + + THOMAS + The horse’s name is Monaghan Boy. + Kempton 3 o’clock Monday. You + ladies have a bet yourselves but + don’t tell anybody else. + + We might know Thomas is fully aware word of this will + spread like wild fire. He wheels the horse around and trots + away down the courtyard. Zhang and Mai watch him go. As + Thomas ducks under the flapping sheets, women and children + slowly emerge into their doorways and stare with open + mouths, mystified by what they just saw. Finally, a + grandmother speaks loudly to them all. + + MOTHER + Those Peaky Blinder devils are + using witchcraft now. + + +4 EXT. GARRISON LANE - DAY 1 - 17:00 4 + + We re-join Thomas as he rides his beautiful black horse + down the industrial street, silencing the chaos around him + briefly as he goes. + 5. + + + The street is busy with horse traffic and the odd car and + delivery van. Garrison Lane cuts between soaring industrial + buildings. The street is alive with children and, outside + every pub, men are gathered, smoking and drinking. On a + corner, a beggar is playing an accordion but he stops and + bows as Thomas passes. Other men look to their shoes as + Thomas rides by, some of them darting into doorways to + avoid his gaze. + + Outside the CHAIN TAVERN a black Afro-Caribbean street + preacher with long straggly hair (JIMMY JESUS) is preaching + fire and brimstone to no one, a large leather-bound bible + in his hand... + + JIMMY JESUS + ...And Abraham made his home in a + cave, but it was good because God + resided there with him. You see + children, God does not care if you + live in a slum or in a mansion... + + As the shadow of Thomas and his horse passes over Jimmy, he + glances up and nods a greeting. + + Thomas slows to allow a line of men to cross the road. They + are all blind, walking in single file, each with a hand on + the shoulder of the man in front, the leader being led by a + dog. (These are men blinded in the war, now begging for + pennies). + + The men sing ‘Molly Malone’ as they walk and the last in + line holds a begging bowl. Thomas leans down in the saddle + to drop a coin into their bowl. + + As the line of blind men clears, two policemen walking in + the opposite direction see Thomas. They both look nervous + and touch their caps. + + POLICEMAN + Good morning Mr Shelby. + + Thomas ignores them and urges his horse on. + + +5 EXT. CHARLIE STRONG’S YARD - DAY 1 - 17:30 5 + + The yard is a fantastic collection. It is ostensibly a + scrap metal yard but there is junk and treasure of every + kind. The Grand Union Canal runs through the yard and there + are stables for dray horses beside the water. A bonfire + burns in a corner of the yard. + 6. + + +The flames reflect on the high walls that seclude the yard +and there is a large corrugated iron gate. The gate is +being hammered from outside and a settled Gypsy (a +Diddicoi) named CHARLIE STRONG emerges from a small office +to open the gate. + +He is mid-forties, hard as iron, dressed in a fine tweed +suit and cap but with a large golden earring in his left +ear to denote his race. + +He opens the gate to find Thomas standing with his black +horse. No words are exchanged as Thomas enters and begins +to unsaddle the horse. + +Charlie turns towards the bonfire and calls out. + + CHARLIE + Curly? Get here. + +From the billowing smoke another Diccicoi man (CURLY) +appears. His head is totally bald and he wears a dark suit +(and a gold earring). He approaches at a trot and we will +learn that he is, (to use the language of the time), +‘simple minded’. However, we will also learn that he has a +way with horses like no one else. + + CHARLIE + Curly, come and tell this horse he + needs to get on a boat and stand + still. + +Curly takes the horse and begins to whisper to it as he +leads it toward the canal, where a coal boat is waiting. + +Charlie takes a cigarette from Thomas and smiles. + + CHARLIE + I heard there’s been some mumbo + jumbo in the Garrison with a + Chinese girl. What’s afoot Tommy? + +Thomas almost smiles too as he lights his cigarette. + + THOMAS + It’s a game called ‘turning rust + into gold’. + +Charlie moves a little closer. + + CHARLIE + So you still have the stomach for + games? + 7. + + +Thomas shrugs, stares into the flames. + + THOMAS + Business as usual. Like we agreed. + +Thomas looks up at Charlie without expression and repeats +to confirm... + + THOMAS + Like we agreed. + +Charlie takes a moment. We sense a secret between them. + + CHARLIE + I’m finding sleep hard to come by. + + THOMAS + Take less water with your rum. + + CHARLIE + Tommy, what if word gets round that + it was you? + + THOMAS + There’ll be no word from your lips, + Uncle Charlie. + +Over at the canal side, Curly is placing a couple of planks +for the horse to walk on. + + THOMAS + And he’s the only other one who + knows. + +Charlie half smiles. + + CHARLIE + I told him the whole thing was a + dream so that’s what he believes. + +Charlie drops his cigarette into the flames... + + CHARLIE + (Softly) + Bloody nightmare more like. + + THOMAS (FIRMLY) + I’m dealing with it. + +A pause. Charlie looks uncertain. Thomas turns and walks. + 8. + + + Charlie watches him go and we suspect dangerous times are + upon them. + + +6 EXT. WATERY LANE - DAY 1 - 18:10 6 + + Two lines of two storey terraces form a long street where + children play. Thomas approaches a particular door. We will + learn that this is the Shelby home and headquarters. + + Thomas opens the unlocked door and enters. We notice a + horse shoe nailed to the front door for luck as the door is + slammed in our faces... + + +7 INT. SHELBY HOME, PARLOUR - CONTINUOUS - DAY 1 - 18:11 7 + + Thomas breezes through a hallway and a parlour decorated + with brass and fancy floral crockery. The Shelby home is + compact, a typical terrace, but we might notice a surfeit + of brass and flowery ornamentation around the place. The + Shelbys are cash rich but without conventional good taste. + The home is decorated like a gypsy caravan, or a boatman’s + barge with lots of roses, elephants and castles. + + We might glance a photograph of three brothers in military + uniform, smiling (this is Arthur, Tommy, and John - all in + Warwickshire Yeomanry uniform, with a freshly dug trench + behind them). + + Thomas tosses his coat aside and passes through a small + kitchen, where a young boy (FINN, 10, Thomas’s youngest + brother) is smoking a cigarette into the flames of a coal + fire. A rabbit roasts on a spit. Finn hides the cigarette + and calls out as Thomas passes... + + FINN + Arthur’s mad as hell. + + THOMAS + What does a ten year old know about + hell? + + FINN + I’m eleven Sunday. + + Thomas keeps walking and passes into a pantry which has + been opened out to form a small back room. Instead of a + back wall, there is a black curtain. Thomas passes through + the curtain... + + +8 INT. BETTING SHOP - CONTINUOUS - DAY 1 - 18:12 8 + 9. + + + ...To our surprise the pantry gives out onto a secret + world. + + We find two hole terraced houses have been knocked through + to form a single open plan space with the windows boarded. + It is a fully functioning (illegal) betting shop and it is + buzzing with activity. + + The large room is dominated by a huge blackboard on which + bets and odds are being chalked by two RUNNERS in shirt + sleeves. They stand on stepladders to reach the top of the + board. The room swirls with cigarette and cigar smoke and + there are half a dozen men queuing silently at a desk to + lay bets. A heavy looking man (a gang enforcer known as + SCUD-BOAT) is taking the bets in the form of coins wrapped + in scraps of paper. + + Scud-boat unwraps the pieces of paper and drops coins into + a hat as he unrolls the next bet. Thomas pauses and peers + up at the blackboard. We see twenty bets, all for Monaghan + Boy. + + The sight doesn’t please or displease him. + + One of the men at the blackboard is young and pretty and + immaculately groomed. This is JOHN Shelby (Thomas’s 24 year + old brother). When he sees Thomas, he looks up from his + ledger and hisses with delight... + + JOHN + Tommy, will you just look at the + board. Will you just look. + + At that moment, at the far end of the room, a door opens + from a small office, partitioned by glass and curtains. A + man in his late thirties puts his head around the door. We + will learn that this is ARTHUR. He calls out angrily. + + ARTHUR + Tommy! Get in here! + + Arthur slams the door. John smiles as Thomas sets off + towards the partitioned office (we sense Thomas is in + trouble he can handle). Through reflections in the glass of + the partitioned office, we see Arthur’s angry, anxious + face, waiting. + + +9 INT. BETTING SHOP, ARTHUR’S OFFICE - CONTINUOUS - DAY 1 - 9 + 18:13 + + The office has a photograph of the King dominating the + wall. + 10. + + +Beneath it sits the King of the Shelby gang, Arthur Shelby. + +Arthur is three years older than Thomas, his hair slicked +and oiled, his jet black moustache dropping around his +thick lips. He wears gold chains and smokes a thick cigar, +the smoke almost hiding him. On the desk where he sits, +there is a half full bottle of rum and a mountain of coins, +pennies, shillings, farthings. He is counting them slowly +into a top hat as Thomas enters. + +Thomas closes the door. Arthur deliberately takes a while +to finish his count before looking up. + + ARTHUR + You was seen doing the powder trick + down at Garrison court. + +Thomas leans back against the door. + + THOMAS + Times are hard. People need a + reason to lay a bet. + +(As the conversation continues, we should sense that Arthur +feels his authority is threatened by Thomas. Arthur is +angry and blustery. Thomas is cool, hardly moving from the +door). + + ARTHUR + There was a Chinese. + + THOMAS + The washer women say she’s a witch. + It helps them believe. + + ARTHUR + We don’t mess with Chinese. + + THOMAS + Look at the board... + + ARTHUR + (Snapping back) + Chinese have cutters of their own. + + THOMAS + We agreed. I’m taking charge of + drumming up new money. + + ARTHUR + When did we agree that? + 11. + + +Thomas simply glances at the bottle of rum on Arthur’s +desk. + +Arthur retreats a little. + + ARTHUR + What if Monaghan Boy wins? + +Thomas stares hard at Arthur to suggest it’s all under +control. Arthur gets to his feet, his big fists on the +desk. + + ARTHUR + You fixing races now Tommy? + +Thomas angles his head. His eyes are hidden in shade. + + ARTHUR + You have permission from Billy + Kimber to be fixing races? + +Thomas doesn’t reply, his face hardening. Arthur comes +around the desk and comes close... + + ARTHUR + What’s got into you Tommy? You + think we can take on the Chinese + and Billy Kimber. Billy has an + army... + +Thomas interrupts firmly... + + THOMAS + I think, Arthur. That’s what I do. + I think. + +They stare at each other and once again Thomas glances at +the rum bottle. + + THOMAS + So that you don’t have to. + +Thomas turns and heads for the door. + + ARTHUR + Tommy! + +Thomas leaves and Arthur hurries after him... + + ARTHUR + Tommy, there’s some news from + Belfast... + 12. + + +10 INT. BETTING SHOP - CONTINUOUS - DAY 1 - 18:15 10 + + Thomas is already walking away through the smoke. Arthur + comes to the door and calls out... + + ARTHUR + Tommy! I’m calling a family council + tonight at eight o’clock. This time + you be there Tommy! + + John turns. Thomas walks on. + + ARTHUR + You hear me?! There’s trouble + coming. + + Thomas disappears through the velvet curtain. Arthur + seethes as he stares out. John studies him reacting to + Thomas’s defiance (which comes as no shock to John). Arthur + goes back into the office and slams the door. + + Through the glass partition we see his silhouette as he + takes a swig of rum. + + +11 EXT. CANAL - DAY 1 - 18:25 11 + + On the oil-slicked surface of the canal a beer bottle + floats, neck up. We watch it float past the open doors of a + forging and pressing factory, which has its main entrance + and delivery bay facing the canal. Through the open door we + briefly glimpse the hell inside the factory. A white hot + furnace is smelting metal and a five hundred pound steam + hammer slams from the roof onto burning steel, setting off + a huge explosion of sparks. + + Bare chested men are silhouettes against the burning white + heat and some of them swig beer from iron buckets. + + The beer bottle floats on past the doorway and the pounding + of the hammer is now just a sound. We follow the bottle for + a few more moments and see Finn standing on the bank, + staring at the bottle as it passes. He has something in his + hands. + + Then a bullet splashes in the water beside the bottle. Then + another. + + We come around to see Finn holding a Webley revolver and + aiming it with both hands at the passing bottle. He cocks + the trigger with both thumbs with some difficulty and fires + again. This time, the bottle smashes. Then we hear an + anxious voice. + 13. + + + VOICE + Finn? + + Finn turns and sees a woman in her mid-twenties, pretty and + prettily dressed in sleek Twenties (Faux Flapper) style, + standing on the tow path, her expensive white shoes oozing + in the mud. She wears a white hat at a jaunty angle and she + has a jazz-age figure. Finn smiles at her. + + FINN + Hello Ada. + + The woman is ADA Shelby, Thomas’s younger sister. She will + almost always be dressed to kill. Her fancy clothes will + often contrast the mud and grime of her surroundings. + + When Finn turns, he turns with the gun, so that it is + unintentionally aimed at Ada. Ada stares down the barrel of + the gun but she is brave and smiles. + + ADA + Finn, my pigeon, do you want to put + the gun down? + + FINN + It’s John’s. I found it on the + sideboard. + + ADA + Put it down on the ground very, + very softly because the trigger is + cocked. + + Finn begins to slowly put the gun down. Then, a sudden bang + from the foundry makes him jump and the gun slips from his + hand and the gun goes off. Ada does a little dance of shock + but the bullet flies wide. Ada then leaps forward and grabs + the gun. She unloads it like a professional and puts the + gun into her handbag. + + ADA + John is a dead man. Aunt Polly will + rip his balls off. + + Ada grabs Finn’s hand and marches off down the tow-path. + + +12 INT. 1ST CLASS TRAIN CARRIAGE - TRAVELLING - DAY 1 - 18:30 12 + + The carriage is spacious and the blinds are half drawn. + Only one man sits inside the six seat carriage. He is a + barrel-chested man with a bushy moustache and a wing + collar. He wears a heavy, dark suit. + 14. + + +This is CHIEF INSPECTOR CAMPBELL. + +He has round-rimmed spectacles on the tip of his nose as he +pulls a cardboard folder from a leather case. The desk in +the compartment is already covered in paperwork, all laid +out neatly in sections. + +There is a large blue print map of ‘The BSA Factory (Small +Heath)’ with intricate detail of workshops and offices. The +map has been pushed to the top of the table. + +Campbell is taking a bound folder from a leather case. The +cover of the new folder is labelled in red. ‘SPECIAL +BRANCH’. + +Beneath it is written in black ‘Top Secret. BSA robbery. + +Prime suspects’. + +He opens the folder. On the first page we see a small mug +shot photograph of Arthur Shelby. His name is beneath the +photograph and among the text we might glimpse the words +‘Gangster. Racketeer. Illegal bookmaker’ in bold type. + +Beneath it reads ‘GANG-NAME....PEAKY BLINDERS’. + +He turns the page and we see a photograph of Thomas Shelby. + +It is a head and shoulders shot but we see he is wearing +military uniform. Campbell scans the page, his pen hovering +over the text. + +We come close to the text so that only two or three words +at a time are legible. We read the words ’King’s medal for +gallantry’ in bold. Below it we read the words +‘racketeering, protection, armed robbery’. + +Beneath it in bold type, ‘GANG NAME...PEAKY BLINDERS’. + +At that moment the carriage door slides open and the ticket +inspector enters. + +Campbell closes his file calmly then shows his identity +badge. We glimpse the shield of the Special Branch. When he +speaks we will hear a Protestant Belfast accent. + + CAMPBELL + Government business. + 15. + + + The inspector gives him a sideways bow of the head in + deference. The inspector leaves. Campbell opens his file + again and turns a page to find a page devoted to ‘FREDDIE + THORNE’. We see a mug shot photograph of a handsome man in + his early thirties who is also wearing military uniform. + + Beneath his name in bold type we read... ’BSA Union + Convenor. + + Communist agitator. Bolshevik’. + + Campbell turns the page back to look once again at the face + of Thomas Shelby and Freddie Thorne. He holds both pages in + view at once. + + It’s as if Campbell is trying to decide which of the two + handsome uniformed men he will fall upon first. Then he + closes the book, settles back and closes his eyes. + + +13 EXT. GARRISON PUB, GARRISON LANE - DAY 1 - 18:45 13 + + We see Thomas approaching the pub and entering. + + +14 INT. GARRISON PUB - CONTINUOUS - DAY 1 - 18:45 14 + + The pub is an ornate Cathedral built to combat the gloom of + poverty. + + Every brass is polished to a blinding shine. All the + mirrors are gilded. Where outside there is dereliction, + inside the pub there is an excess of colour and decoration. + + There is a table by the window occupied by a group of men + whose faces we don’t see. Others stand at the bar, smoking + and drinking bitter or mild. Scud-boat is collecting bets + from punters at tables. Then Thomas enters. + + Everyone in the pub freezes a little but they all try hard + to carry on as normal. We join Thomas as he comes to the + bar and removes his cap. A barman is about to hurry to + serve Thomas but he is outrun by the LANDLORD of the + Garrison whose name is HARRY FENTON. Harry is scarred above + the eye. He is instantly deferential and produces a bottle + of stout which he opens quickly and puts in front of + Thomas. + + HARRY + On the house, Mr Shelby. + 16. + + +Thomas barely looks up from his cigarette pack as he puts +some coins on the bar anyway. As Thomas lights his +cigarette, we notice through his smoke that the men at the +window table are looking over. One of the men is on his +feet, draining his pint with purpose. As he approaches the +bar, we recognize him as FREDDIE THORNE from the photo in +Campbell’s file. + +Freddie comes to stand beside Thomas and appears to lack +the fear of almost everyone else. + + FREDDIE (TO HARRY) + I’ll take a Mild. + +Thomas hardly looks at Freddie but we feel a tension +between the men as they stand side-by-side. (Perhaps their +handsome silhouettes compete for our focus as they both +stare straight ahead). When Harry gives Freddie his pint, +Freddie pays with the money Thomas put down on the bar. It +is a deliberate gesture. Harry looks horrified. Thomas +draws on his cigarette and shrugs acceptance. Freddie half +smiles. + + FREDDIE + Cheers Thomas. Good health to you. + +Freddie sips his beer but doesn’t leave. Thomas knows there +is an agenda. Finally, Freddie speaks softly. + + FREDDIE + Is it not enough everybody’s scared + to death of you these days Tommy? + You have to make fools of them as + well. + +Thomas takes a weary breath (as if he expects this from +Freddie). + + FREDDIE + People who believe in witches + spending money they don’t have on a + horse that can’t win. + +Most in the pub have turned their backs, fearing Thomas. + +Freddie persists in a soft voice. + + FREDDIE + You have fun playing with their + ignorance... + +Thomas glances back at Freddie’s friends near to the door. + 17. + + + THOMAS + When the revolution comes you can + make me Minister of Information. + +Freddie has picked up Thomas’s hat and is examining the +peak. + +For the first time, we see its secret. + +There are three razor blades sewn into the peak, hardly +visible but proud enough of the peak to be lethal. + +Freddie makes a point of peering at the razor blades before +tossing the cap down onto the bar. + + FREDDIE + The crown of a Prince. + +Freddie turns to Thomas. + + FREDDIE + Soon to be King I’d bet. + +Thomas almost rises to the bait. + + THOMAS + You don’t bet. + + FREDDIE + No, but these past few days I’ve + been speculating. + +Thomas orders another bottle with a gesture and Harry +quickly opens it. In the silence Thomas senses significant +business. + + THOMAS + About what? + +Freddie gestures back at his comrades who are all averting +their eyes. + + FREDDIE + One of my Union comrades has a + sister who works in the telegraph + office at the BSA factory. + +Thomas swigs his beer. + + FREDDIE + 18. + + + She says in the past week there’s + been messages coming from London to + the brass. From Winston Churchill + himself. + +Thomas doesn’t react but we sense he knows more than he is +showing... + + FREDDIE + Something about a robbery. + +Thomas doesn’t react. + + FREDDIE + ‘A robbery of ‘national + significance’ it said. Underlined. + Twice. + +Freddie waits for the words to land but Thomas is poker +faced. + + FREDDIE + They’re keeping it out of the + papers but our girl is snooping. + +Still Thomas doesn’t react. + + FREDDIE + And she found something that’ll + make you laugh. + +A pause. + + FREDDIE + She found a list of names left on + the telegraph machine. And on the + list was your name and my name + together. + +Thomas appears to be unmoved but Freddie knows him well and +knows he’s on to something. + + FREDDIE ) + Now what kind of list would have + the name of a Communist and the + name of a bookmaker side-by-side? + +At last Thomas engages. He half smiles. + + THOMAS + Perhaps it’s a list of men who give + false hope to the poor. + 19. + + +Thomas turns to him and confronts. + + THOMAS + The only difference between me and + you Freddie is that sometimes my + horses stand a chance of winning. + +Thomas glances back with disgust at Freddie’s ‘comrades’. + +Freddie stares at Thomas. We might sense that these two men +knew each other well once but now Freddie is appalled by +what his friend has become. + + FREDDIE + (Quickly) + You know, there are days when I + hear about the cuttings and + beatings that I wish I’d let you + take that bullet in France. + +Thomas is privately amused and retorts instantly... + + THOMAS + There are nights I wish you had. + +A pause. Perhaps Freddie understands how those nights feel. + +Finally... + + FREDDIE + (To business) + So you don’t know anything about a + robbery that would trouble Mr + Churchill? + +Thomas swigs his beer. + + THOMAS + Freddie, I prefer to drink alone. + +Freddie studies him but before he can speak a figure walks +past the frosted glass behind them. First Thomas, then +Freddie, turn and they both recognize the man at the same +time. + + THOMAS/FREDDIE + Ah shit. + +Harry has seen the figure approaching the door too and he +reacts with alarm. + + HARRY + Ah, not again. + 20. + + +He dashes behind the bar... + + HARRY + Take cover! It’s Danny Whizz Bang! + +Everyone reacts. Suddenly the pub door flies open and DANNY +WHIZZ-BANG enters. Danny is a barrel of a man, short but +wide and round and full of muscle. His face is crimson with +rage and he immediately grabs a chair and hurls it across +the pub. + +As everyone scatters, he becomes a one-man whirlwind and +begins to smash glasses and knock over chairs. + +Thomas and Freddie swap a half amused glance before +silently resolving to act. They put down their drinks in +unison. They approach Danny from either side, and in +restraining the madman, we see that they are used to +working together in violent situations. + +Freddie takes Danny’s attention as Thomas grabs him from +behind. Freddie dives forward and grabs Danny’s legs, +upending him. Danny kicks and flails but Thomas falls on +him face down. Now Thomas is lying on top of Danny, their +faces close. Thomas hisses in Danny’s ear. + + THOMAS + Danny, you’re home. You’re home. + We’re all home in England. + +Both Freddie and Thomas see the comedy of all this. Danny +growls out a furious mantra... + + DANNY + Had to go bang, had to go bang, had + to go bang. + + THOMAS + You’re not an artillery shell, + Danny, you’re a man. + +Danny roars and struggles some more. + + THOMAS + You’re not a whizz bang. You’re a + human being. Now get yourself + together for Christ’s sake. + +After a moment Danny takes a huge breath and then takes +this on board. He begins to breath more easily. He looks up +at Thomas’s face just an inch from his own. + + DANNY + 21. + + + Ah hell. Did I do it again? + +Thomas kneels up and dusts himself off. He looks up at +Freddie and the two men share a weary half smile. + + THOMAS + Yeah you did it again Danny. Got to + stop doing this, man. + +Thomas gets to his feet. Freddie holds out a hand and helps +Danny up and puts his cap firmly back on his head. + + FREDDIE + Danny, next time you feel you’re + about to go bang, go down Aston. + The Garrison is a dangerous place + to break the rules. + +To illustrate his point, Freddie gestures at Thomas who +turns away to get his drink. Danny is now fully himself. He +looks around at the damage and then recognizes where he is. + + DANNY + Ah shit. Am I in the Garrison + Tavern? Oh God. Mr Shelby, I’m + sorry... + +Thomas swigs his beer. + + THOMAS + Go home to your wife, Danny. Try to + get all that smoke and mud out of + your head. + +Danny bows his head. + + DANNY + Yes Mr Shelby. I’m sorry Mr Shelby. + +Danny turns and quickly hurries out. Freddie rejoins Thomas +at the bar and in silence they share amusement at Danny’s +bizarre behavior. Meanwhile Harry has hurried up to +Thomas.... + + HARRY + Mr Shelby, you have to do something + about him. + +Freddie interrupts. + + FREDDIE + 22. + + + Damn right Harry. You pay the Peaky + Blinders a lot of money for + protection. + + Thomas grits his teeth. Freddie needles him some more. + + FREDDIE + You’re the law around here now + Tommy, aren’t you? + + Freddie grabs his beer. + + FREDDIE + Why don’t you put a bullet in Danny + Whizz Bang’s head. Like they do + with mad horses. + + Thomas turns sharply and glares at Freddie. Freddie + considers his old friend then raises his hands in mock + surrender. + + FREDDIE + Maybe you’ll have to put a bullet + in my head someday too. + + Thomas and Freddie stare at each other. Thomas doesn’t + smile. He grabs his cap and angles it on his head before + heading for the door. He picks up a knocked over chair as + he goes and calls out so all the customers can hear... + + THOMAS + Bring the bill to the Peaky + Blinders. We’ll take care of it. + + Freddie watches him go and turns back to his beer. Now that + he is alone he stares down into it with deep regret in his + eyes. + + +15 EXT. SLUM STREET - DAY 1 - 19:55 15 + + John Shelby is walking down the alley. + + Then suddenly, shockingly, a gun is pointed at his head. We + * see the lady holding the gun - this is AUNT POLLY, the * + matriach of the Shelby family, someone who all of the + brothers respect. She has a fierce expression and speaks * + with venom to John. + + JOHN + What the bloody hell did you do + that for? + 23. + + + John scurries backwards but Polly whacks him around the ear + with her hand. + + JOHN + Aunt Polly.... + + POLLY + Don’t you Aunt Polly me. Look at + this gun. + + Polly holds the Webley revolver up for John to look at. + + POLLY + You recognize it? + + John slowly does recognize it. + + POLLY + This afternoon Finn was playing + with it by the cut. It was loaded. + He nearly shot Ada’s tits off. + + John is horrified and slowly gets to his feet. He reaches + out for the gun but Polly pulls it away. + + POLLY + He found it on the sideboard in the + betting shop. + + JOHN + It must have dropped out of my + pocket... + + POLLY + When you were drunk. + + JOHN + Aunt Pol. I’m sorry. + + Polly peers at him and softens a little. + + POLLY + John, I know bringing up kids + without a woman is hard. I’ll keep + this among the women if you swear + not to leave guns laying around. + + John takes a moment and nods agreement. + + +16 INT. SHELBY HOME - DAY 1 - 20:03 16 + 24. + + + Finn is eavesdropping at a closed door. We hear the rumble + of Arthur’s voice from the other side. Finn is smoking a + cigarette and listening intently. We pass through the door + to join the family council... + + +17 INT. BETTING SHOP - DAY 1 - 20:03 17 + + The family are gathered and Arthur is addressing them. In + the room we find John, Ada, Aunt Polly, Scud-boat (a + cousin), a weasel-like runner called FRED FARR (an uncle), + two twins in their twenties with hard, dark faces (NIPPER + AND HENRY) and a Gypsy cousin in his fifties called JOHNNY + LOVELOCK. Johnny wears a bowler hat and is accompanied by + his three sons, aged eleven to twenty, all dark with golden + earrings. Thomas stands near to the crackling fire. + + Everyone is drinking beer. The air is thick with smoke. + + Arthur is speaking and also taking swigs from a silver + flask. + + We might see that he is already drunk but as an habitual + drunk he holds it well. + + ARTHUR + I called this meeting because I got + some news. From Ireland. + + Thomas watches Arthur like a hawk, waiting for him to + stumble... + + ARTHUR + Nipper and Henry got back from + Belfast last night. They were + buying a stallion to cover their + mares. + + Arthur gestures at Nipper and Henry and they confirm with a + nod. + + ARTHUR + They were in a pub in the Shankhill + Road yesterday and there was a + copper handing out these. + + Arthur produces a printed flyer, the size of an A5 sheet. + It is an offer of employment (we should use a copy of the + actual flyer which was produced at the time). Arthur hands + the sheet forward for first John, then Ada and the others + to look at. + + John reads the top line of the flyer aloud... + 25. + + + JOHN + ‘If you’re over five feet and can + fight, come to Birmingham’. + +There are puzzled looks as the flyer is passed on. Arthur +summarizes... + + ARTHUR + They’re recruiting Protestant + Irishmen to come over here as + Specials. + + ADA + To do what? + +The flyer has arrived at Thomas who speaks up before Arthur +can speak. + + THOMAS + To clean up the city. + +Arthur is surprised by Thomas’s knowledge. Thomas looks +over to Arthur then steps away from the fire and begins to +address the meeting. + + THOMAS + He’s a Chief Inspector. The last + four years he’s been clearing the + IRA out of Belfast... + + ARTHUR + How do you know so bloody much? + + THOMAS + Because I asked the coppers on our + payroll. + + ARTHUR + Why didn’t you tell me? + + THOMAS + I’m telling you. + +The meeting looks flustered but Polly has fixed Thomas with +a stare. She has suspicions about Thomas which will grow. + + POLLY + So why are they sending him to + Birmingham? + 26. + + +There is silence. Arthur is about to speak but instead +takes a swig. He evidently has no idea. Thomas steps to the +head of the meeting (we should be free to feel that +Thomas’s usurping of Arthur is unsubtle and done without +grace). + + THOMAS + There have been a lot of strikes at + the Austen works and the BSA + factory lately. Papers are talking + about sedition. Revolution. I + reckon it’s Communists he’s after. + +Thomas and Polly stare at each other. We might see even now +that these two are the real power in the family. Polly +senses deceit in Thomas with a sixth sense... + + POLLY + So this copper will leave us alone, + right? + + THOMAS + There are Irishmen in Green Lanes + who left Belfast to get away from + him. They say Catholic men who + crossed him used to disappear in + the night. + +John is on his feet. + + JOHN + Yeah but we ain’t IRA. We bloody + fought for the King. + +John looks around... + + JOHN + Anyway, we’re Peaky Blinders. We’re + not scared of coppers. + + JOHN + If they come for us, we’ll cut them + a smile each. + +There are some sniggers from the young men. The older heads +are solemn. Thomas still has the flyer in his hand. He +calmly screws it up into a ball. + + THOMAS + We’re just all going to have to be + more careful. That’s all. + +He steps to the fire and throws the flyer into the flames. + 27. + + + He turns back to Arthur and pointedly hands the authority + back to him (now that the business is done)... + + THOMAS + So Arthur, is that it? + + Arthur is a little fuzzy and nods. Polly now has deep + suspicions that Thomas knows more than he is saying. She + gets to her feet... + + POLLY + This family does everything open. + You have nothing more to say to + this meeting, Tommy? + + Silence. Thomas feels her suspicion and meets her stare. + + THOMAS + Nothing that’s women’s business. + + Polly stares back with cool certainty... + + POLLY + This whole bloody enterprise was + ‘women’s business’ while you boys + were away at war. What’s changed? + + Thomas is equally cool as he gestures around... + + THOMAS + We came back. + + Thomas heads for the door and Arthur finally follows. Polly + reacts with a growl. Then we move close on the burning + flyer in the fireplace. In the flames we see a signature on + the bottom of the page, along with the name in print. + + The flyer is signed by ‘Chief Inspector Chester Campbell’. + + +18 EXT. SNOW HILL TRAIN STATION - NIGHT 1 - 20:20 18 + + A huge steam train has pulled up at the buffers and clouds + of steam swirl across the platform. Through the white + clouds we see a figure emerging like an angel (or a devil). + As the cloud clears we see it is Chief Inspector Campbell. + + He has thrown a shiny black cape over his dark suit. He has + a bowler hat on his head. His shoes are polished to a + shine. + + He carries a cane. + 28. + + + Campbell marches towards us and past, steam swirling around + him. + + +19 EXT. GARRISON LANE - NIGHT 1 - 20:30 19 + + The street is lively in the dark. Children still play out + and the men are mostly drunk. Buskers play and beggars beg. + As we join the scene, we are close on Jimmy Jesus, who is + standing on a box, preaching in his Birmingham/Jamaican + accent... + + JIMMY JESUS + And the Lord will smite the unholy + when the great judgement comes. And + judgement is coming my friends. + Judgement is coming to this wicked + City... + + Campbell’s carriage shoots through shot and we join + Campbell inside. We see him staring out at the street. His + face is impassive, the half lit street scene is reflected + on the cab window. He sees drunks staggering from pub-to- + pub and notices four young prostitutes standing on a street + corner. + + Gangs of children smoke pipes and play barefoot. A horse is + being beaten into submission as it shies against the weight + of its dray. We pass the Chain pub and then approach the + twinkling lights of the Garrison, where young men with caps + pulled down over their eyes drink on the pavement, some + swigging from iron buckets. + + As the Garrison approaches, a rock hits Campbell’s window + and the reflection is shattered. Campbell doesn’t even + flinch. + + Another rock hits the carriage, then another. The driver + shouts down... + + DRIVER + That’s it, I don’t go any further. + + Campbell blinks impassively. + + CAMPBELL + Take me to the Police Station. + + The driver hurriedly turns his horse around and the cab + hurries away... + 29. + + + As the cab clears shot, we find Ada Shelby, walking fast + down Garrison Lane, dressed in white with her hat angled on + her head. We follow her. She hurries past Jimmy Jesus as he + preaches some more... + + JIMMY JESUS + Your wickedness and your + fornications will be revealed... + + Ada hurries past him and disappears into the shadows. + + +20 EXT. CANAL TOW PATH, BRIDGE - NIGHT 1 - 20:40 20 + + In the gas lit half-darkness we find Ada reaching some + steps and trotting down them. The steps lead into more + darkness and we might begin to wonder where the hell she is + going. + + Moonlight shimmers on the canal, and the noise of Garrison + Lane is distant. Ada arrives at a canal bridge and lights a + cigarette. She looks all around. A moment later a figure + emerges from the shadows. + + In Ada’s match light we see the man is Freddie Thorne. Ada + smiles and goes to him. Freddie puts his arms around her + and kisses her on the forehead. She offers him her + cigarette and he takes a drag. + + ADA + I got tickets for the Penny Crush. + They’re showing a Tom Mix picture. + + Freddie smiles wearily as he smokes Ada’s cigarette. + + FREDDIE + I’m not in the mood for the + pictures tonight Ada. + + She takes the cigarette. She thinks she knows what Freddie + is in the mood for. + + ADA + I’m not doing it here again. I got + covered in mud last time. + + Freddie smiles again, takes her arm. + + FREDDIE + Let’s just walk a bit. + 30. + + +Ada is reluctant, staying put. In the distance there is +blinding light from a foundry and there are flashes of +light on the horizon from other factories. + + ADA + If we go down as far as Greet we + could go to a pub. + + FREDDIE + Your brothers have friends in + Greet. They have friends + everywhere. We’d have to walk to + London... + +Ada pulls her arm free. + + ADA + I’m with you because you’re the + only man around here not scared of + them. + +Freddie leans against the bridge. + + FREDDIE + Oh I’m scared of them alright. + +She turns her back and speaks as if it’s a line from a +romantic novel. + + ADA + But you love me more than you fear + them, right? + +He turns her around and pulls her close. + + ADA + I don’t want to be always sneaking + about. + + FREDDIE + Soon, we’ll tell them. + + ADA + When? + +Freddie doesn’t answer. A pause. + + FREDDIE + How did the family meeting go? + + ADA + Usual. + 31. + + + She smokes... + + ADA + There’s a new copper coming. + + Freddie takes the cigarette... + + FREDDIE + Yeah I heard. + + ADA + And Tommy says he’s after the likes + of you. + + She turns to stare at Freddie pointedly. + + ADA + So maybe you should burn your books + and stop making speeches. + + He smiles. He pulls her close and addresses her lovingly. + + FREDDIE + Oh my Ada. Only Princess of the + royal family of the Kingdom of + Small Heath. + + FREDDIE + I am just a poor communist frog + with a big mouth. Give me a kiss, + Princess Ada. + + They kiss each other with deep passion. + + +21 INT. CATHOLIC CHURCH - DAY 2 - 09:30 21 + + Friday 7th February - The church is ornate with bleeding + Christ’s around the altar. Polly is sitting alone at a pew + with her head bowed. The double doors open and Thomas + enters. He doesn’t pause or genuflect, he just walks to + Polly’s aisle. She doesn’t turn until he sits beside her. + + THOMAS + I have ten minutes. What do you + want? + + Polly reacts to the cursory tone. + + POLLY + (Firmly) + An explanation. + 32. + + +Thomas reacts to Polly in a way he reacts to no one else. + +Her admonishments have an effect. + + THOMAS + An explanation of what? + + POLLY + Of what’s so secret. + +A pause... + + POLLY + I’ve always been able to tell... + + THOMAS + (Interrupts) + Tell what? + + POLLY + When you’re hiding something. + +A pause. + + POLLY + People round here talk. Some of + them work at the BSA. + +Thomas reacts to a bull’s eye. He takes a weary breath. + + POLLY + I’ve been talking to wives of + factory hands. + + POLLY + Detectives have been asking + questions in the proofing shops. + +Thomas looks up at the iconography. He doesn’t care for it. + + POLLY + Nothing happens at the factory + without you knowing about it. + +Thomas turns to Polly and we see he has respect for her. + +Still he waits... + + POLLY + Speak. God and Aunt Polly are + listening. + 33. + + + Finally Thomas comes clean in a soft voice... + + THOMAS + It was meant to be routine. I had a + buyer in London for some + motorcycles. I asked my men to + steal me four bikes with petrol + engines. I’m guessing my men were + drunk. There’s a still inside the + factory makes tram line gin... They + picked up the wrong fucking + crate... + + POLLY + So what was in the crate? + + Thomas takes a moment... + + THOMAS + The boys delivered it to Charlie’s + yard as agreed. + + +22 FLASHBACK - EXT. CHARLIE’S YARD - NIGHT X - 22:00 22 + + By gas light and fire light, through drizzle, we see + Charlie, Curly and Thomas using crow bars to prize the + crate open. We move close. Thomas pulls down a box and + forces it open. We see dull metal, a barrel, a roll of + machine gun shells... + + THOMAS (OOV) + They must’ve taken it from the + proofing bay instead of the export + bay. + + We come close to Thomas’s face as he reacts to the sight of + the contents of the box. Curly steps into the light... + + CURLY + Holy sweet baby of Mary. + + +23 INT. CATHOLIC CHURCH - DAY 2 - 09:31 23 + + Thomas stares ahead. + + THOMAS + Inside the crate we found twenty + five Lewis machine guns with ten + thousand rounds of ammunition. + Fifty semi automatic rifles, two + hundred pistols with shells... + 34. + + +Polly crosses herself. + + THOMAS + All bound for Libya. Sitting right + there in Charlie Strong’s yard. + +Polly is in shock. + + POLLY + Jesus Tommy. Tell me you threw them + in the cut. + +Thomas doesn’t exactly show uncertainty but there is a +flicker which he smothers. + +Polly stares at him with horror, but Thomas keeps staring +straight ahead. + + THOMAS + (Matter of fact) + We put them in the stables out of + the rain. The guns hadn’t been + greased yet... + +A pause. Polly suddenly punches and hammers Thomas’s arm +and shoulders and Thomas calmly takes the blows for a while +then grabs her arm. She slowly gets control. + + POLLY + That’s why they sent the copper + from Belfast. + +Thomas looks away. + + THOMAS + Maybe. Maybe not. + +Polly laughs away the doubt... + + POLLY + Thomas Shelby, you are bookmaker, a + robber, a fighting man, but you are + not a fool... + +She lowers her voice out of respect for the Christ +statue... + + POLLY + You sell those guns to anyone who + has use for them, you will hang. + +A pause. + 35. + + + POLLY + Dump them somewhere the police can + find them. When they know they + haven’t fallen into the wrong hands + perhaps this will blow over. + + Thomas nods gently. Polly takes his hand. + + POLLY + Tell Charlie to dump them tonight. + + Thomas gets to his feet. + + THOMAS + He won’t move contraband around + under a full Moon. + + Polly is about to speak... + + THOMAS + Three days until it wanes. + + POLLY + And then you’ll do the right thing. + + Thomas nods once and she grabs his arm and stares into his + eyes. + + POLLY + You have your mother’s common sense + and your father’s devilment. I see + them fighting. + + A pause. + + POLLY + Let your mother win. + + He turns and walks. His footsteps echo. Polly sits down + again in the pew and crosses herself with a mumbled prayer. + + +24 EXT. GARRISON LANE - DAY 2 - 09:40 24 + + We see the Garrison Tavern in early morning. Then, from + behind, we see a young woman crossing the street and + approaching the pub. + + +25 INT. GARRISON PUB - DAY 2 - 09:41 25 + 36. + + +The pub still bears the scars of Danny Whizz Bang’s visit +the day before. Harry is moving chairs and tables back when +he sees the silhouette of a woman walking past the window +then standing in the frosted glass of the door. + +She knocks and Harry approaches. He opens the door and +finds a beautiful woman, dressed for practical work but +beautiful nonetheless. This is GRACE BURGESS. When Grace +speaks she will have a light Southern Irish accent... + + GRACE + I’m here about the job as barmaid. + +Harry turns and goes back to work. + + HARRY + Are you mad? + + GRACE + Am I what? + +She steps inside. + + HARRY + You know about this place? + +Grace hesitates. + + GRACE + I saw an advertisement. + +He half smiles at her nervousness. Then speaks flatly. + + HARRY + Job’s been filled. + + GRACE + But it was in yesterday’s paper. + +Harry grabs a broom and busies himself sweeping up +cigarette ends... + + HARRY + Believe me love, I’m doing you a + favour. + + GRACE + I’m not asking for favours, I’m + asking for employment. + + HARRY + You’re too nice. + 37. + + + GRACE + How can you know? + + HARRY + And too pretty. They’d have you up + against a wall... + + GRACE + I have experience. + +Harry leans on his broom and peers at her. She reaches into +her bag for a sheet of paper... + + GRACE + I have references... + +Harry takes the sheet of paper. + + HARRY + Which part of Ireland are you from? + + GRACE + Galway. I worked in Dublin. + +Harry glances at the crucifix around her neck. + + HARRY + My mother was from Galway. + +Grace smiles. He looks at her smile then nods and goes back +to his work... + + HARRY + Too pretty. + +He continues to sweep. Grace makes a decision. + + GRACE + Watch... + +Grace grabs a spittoon from the base of the bar.... + + GRACE + And listen... + +Grace begins to sing the pretty Irish ballad ‘I wish I was +in Carrickfergus’ as she scoops up the other two spittoons. +She clutches all three in one hand and swirls them around +as she sings. Her voice is sweet and strong. She pours the +slimy, disgusting contents of one spittoon into the other +then that one into a third (with a slurp). Her song swoops +on... + 38. + + + GRACE + (Singing) + ...But the sea is wide, and I can’t + cross over... + + Her face shows no reaction of horror as she brandishes the + fully charged spittoon then heads for the back of the bar. + + Grace swiftly unlatches the bar divide and empties the + spittoon into the sink. She pours water from a jug into the + spittoon and returns to systematically half fill and swill + the other two spittoons. She then pours the dirty water + into one spittoon and takes it back to the sink and pours + it away. + + All the time singing... + + GRACE + ...with gold and silver, I will + support you... + + She places the three spittoons back in place with a + clatter, handles facing outward. She finishes her song with + a flourish to an amazed Harry... + + GRACE + ‘...Ah but I’m sick now, and my + days are over. So come all you + young men, and carry me down.’ + + Grace bows elegantly then straightens. Harry stares at her. + + She smiles and glances at the freshly fixed glass pane. + + GRACE + In Ireland my singing made them cry + and stopped them fighting. + + Harry takes a breath. He studies her again then looks + around at his battered pub. + + HARRY + I hope you know a lot of songs. + + +26 INT. POLICE STATION - DAY 2 - 10:00 26 + + A large meeting room has been cleared and twenty uniformed + police officers sit in rows of hard backed chairs. Smoke + rises from them. Amongst them is one Sergeant MOSS, who we + will meet again. + 39. + + +There is a murmur of conversation until Chief Inspector +Campbell walks purposefully onto the small stage at the +front of the meeting room. The room falls silent. + +He studies his officers for a few moments, his face devoid +of expression. He allows the silence to continue until it +hurts. The officers begin to shift uneasily in their seats. + +Finally he speaks... + + CAMPBELL + Babies. Discarded with the fish + bones and egg shells. + +A puzzled pause. + + CAMPBELL + Girls. Eleven years old. Pierced + and punctured by old men for + threepence a time. Rutted upon like + animals. + +Silence. + + CAMPBELL + Degradation. Fathers with their + daughters, brothers and sisters + sharing beds. Beggars and thieves + left to run in the streets and + astride the whole stinking pile of + wounds and rotten flesh... + +A pause. + + CAMPBELL + Your masters. The men who you touch + your cap to. + +He stares down on them like God. + + CAMPBELL + The Peaky Blinders. The vicious + merciless gangs who blind those who + see and cut out the tongues of + those who talk. + +He stares down at the lines of officers... + + CAMPBELL + 40. + + + You are worse than them. Those of + you who have been taking their + bribes these years since the war. + Those of you who have looked the + other way, you are worse than them. + +A pause before Campbell yells... + + CAMPBELL + God damn you for soiling your + uniforms!! + +There is a terrified silence. + + CAMPBELL + Then there are the Communists. And + the IRA Fenians. Blacker hearts + still. They feed on the puss of all + this corruption like maggots in a + corpse. And like maggots, if they + are left to swell they will + eventually swarm like flies and + spread their rotten philosophy + across the country and across the + world. + +His voice echoes to silence. + + CAMPBELL + Those then are our enemies. A three + headed beast. It is my job to + decapitate each one and by God I + will do it. + + CAMPBELL + I don’t trust any one of you until + you earn my trust and it takes some + earning. + +He nods at the door and a uniformed officer opens it. To +Moss and everyone’s astonishment a line of twenty hard +looking men in heavy boots and working clothes march into +the room. They stare straight ahead, most with their +sleeves rolled up ready for work. + +Their heavy boots drum on the wooden floor and Campbell +stares down on them with a watchful eye. + + CAMPBELL + These are the new men who will be + bolstering your ranks. Good men. + From God fearing families. + 41. + + + The men begin to form a line on the stage behind Campbell + and stare straight ahead. + + CAMPBELL + They will be sworn in and in + uniform before the sun sets. By + sunrise tomorrow, they will be on + the streets. + + A pause. + + CAMPBELL + God help those who stand in our + way. + + +27 INT. PENNY CRUSH CINEMA, FOYER - DAY 3 - 10:45 27 + + Saturday 8th February - The queue has already formed and is + growing for a Charlie Chaplin film, snaking out through the + entrance door. + + Then we see Arthur Shelby with a woman on each arm, both + dressed for fun. Arthur is leading them, chest puffed out, + straight through toward the cinema auditorium... + + ARTHUR + You see ladies? When you’re with a + Blinder you don’t have to queue. + + As Arthur disappears into the cinema, he doesn’t notice a + double line of four Specials marching at quick-march time + towards the entrance door of the cinema. + + +28 INT. PENNY CRUSH CINEMA, AUDITORIUM - DAY 3 - 10:46 28 + + Inside the otherwise empty auditorium, we find Arthur with + the two women taking their seats. + + ARTHUR + Right, I want a blow job off both + of you before they let the ordinary + people in. + + The women laugh but right then the double doors of the + cinema burst open and the Specials, including Sergeant MOSS + pour in. + + They grab Arthur roughly by the arms... + + ARTHUR + 42. + + + Eh? What the fuck are you + doing?!... + + Arthur fights but the Specials quickly and efficiently pin + his arms up his back. The women scatter and the Specials + lead Arthur away... + + ARTHUR + Oi!! I’m Arthur Shelby!! I am + Arthur fucking Shelby!! + + The policemen are brutal and fast. They slam Arthur into + the frame of the door before dragging him into the light... + + +29 INT. POLICE STATION, EMPTY ROOM - DAY 3 - 11:30 29 + + Arthur is hurled against the wall of a bare room. In the + van he has been given a brutal beating. His face is bloody + and bruised. He is in shock and in agony. Two officers grab + him and sit him down in a hard backed chair. + + Arthur almost passes out and rolls onto the floor but one + of the policeman shoves him back in place. Arthur groans + with pain and rage. + + Then Chief Inspector Campbell strolls into the room. He has + his cane in his hand and he stops to lean on it as he + stares at Arthur’s bloody face. + + CAMPBELL + Arthur Shelby. + + Arthur’s words hang limply... + + ARTHUR + What de huck... + + Campbell whacks Arthur across the face with his cane. + + CAMPBELL + Lead pack dog of the Peaky + Blinders. + + Campbell gestures at one of the officers who produces the + cap which Arthur was wearing. Campbell studies the peak, + the razor blades sewn in place. + + CAMPBELL + Your uniform, yes? + + Arthur is breathing hard, bleeding from many wounds. + 43. + + +Campbell roughly shoves the cap onto Arthur’s head and +peers at him. + + CAMPBELL + Terrifying, I’m sure. + +He turns to a uniformed officer - Sergeant MOSS. + + CAMPBELL + Did he have a gun? + + MOSS + (Local accent) + No gun Sir. Knife in his sock. Cosh + in his belt. + +Campbell nods and patrols. + + CAMPBELL + Mr Shelby, I want you to see this + as me introducing myself to you. Do + you understand? + +Campbell patrols some more. + + CAMPBELL + In all the world the only thing + that interests me is the truth. + +He stops and studies Arthur. He comes close and stares deep +into his groggy eyes. + + CAMPBELL + What do you know about the robbery? + +Arthur is confused and blinks away blood. + + ARTHUR + What robbery? + +Campbell studies him for a moment then grabs his hand in a +lock and begins to twist his thumb back. Arthur growls in +pain. + + CAMPBELL + I will ask you again. What do you + know about the robbery? + +Arthur is strong and instinctively twists his hand free +with a yell but in the process his thumb breaks at the hand +joint. + +He growls in agony and is breathing hard. + 44. + + +Campbell grabs the tip of the thumb and holds it steady. + +Arthur holds his breath then splutters... + + ARTHUR + I swear to God I don’t know what + you’re talking about. What robbery? + +Campbell studies Arthur and we sense a keen intuition. He +delicately lets go of his thumb. + + CAMPBELL + After thirty five years of dealing + with animals like you, I can tell + just by sniffing the air whether or + not you are lying. + +Arthur is cursing his broken thumb... + + ARTHUR + I’m not fucking lying! + + CAMPBELL + (Softly) + I know. + +Arthur slowly looks up and gets his breath through pain. + + CAMPBELL + I see nothing of interest behind + the blood in your eyes. And no + blood in your veins that could + carry even a trace of cunning or + guile. So... + +Campbell straightens. He patrols again. + + CAMPBELL + Understand this. It is well within + my power to have you and the rest + of your scum family face down in + the canal before the year is out. + +He turns sharply. A long pause. + + CAMPBELL + Alternatively, we can help each + other. + +Even through agony, Arthur is taken by surprise. Campbell +smiles. + 45. + + +30 INT. GARRISON PUB - DAY 3 - 12:30 30 + + It is Saturday lunchtime. The place is heaving with men, + some of them wearing blue scarfs. Beer is flying over the + bar and the talk is loud. A piano plays. Smoke swirls. + + Grace is learning the ropes but she is already pulling + pints with aplomb. Harry brushes by... + + GRACE + Is it always this busy on a + daytime? + + Harry pulls a pint beside her... + + HARRY + No. These boys are all on their way + to St. Andrews. + + GRACE + To pray? + + Harry chuckles. + + HARRY + That’ll be the day. St. Andrews is + a football ground. The Blues are + playing. + + Harry gestures at a group of four men, drinking beer and + smoking near the door... + + HARRY + That’s the forward line and the + goalie believe it or not. + + Harry takes his pint to his customer. Grace hears a tap on + one of the small windows to the private snug bar and + hurries to it. + + She opens the small, frosted window. She comes face-to-face + with Thomas. Grace and Thomas peer at each other. There is + a crackle of electricity. After a moment... + + THOMAS + I need a bottle of Rum. + + Grace double takes. Harry has glimpsed who she is serving + and looks anxious. He calls out... + + HARRY + Grace? Whatever it is, it’s on the + house. + 46. + + +Grace is a little thrown. Thomas is putting coins on the +bar... + + GRACE + A whole bottle? + +Thomas looks up at her, his eyes shaded. She stammers... + + GRACE + White rum or dark? + + THOMAS + I don’t care. + +Grace nods anxiously and turns around to the spirit +cupboard. + +Thomas watches her and sees anxiety. She finds a bottle of +dark Rum and puts it onto the bar. + + GRACE + Harry said on the house. + +Thomas pushes the coins forward then peers at Grace. + + THOMAS + Are you a whore? + +Grace is astonished. Thomas stares at her. + + THOMAS + Because if you’re not, you’re in + the wrong place. + +Thomas takes the bottle of rum and leaves. Grace watches +him go. Harry hurries to her and Grace catches her +breath... + + GRACE + He’s one of the ones you told me + about. + +Harry quickly closes the frosted window and locks it. + + HARRY + Grace, you’re a friendly girl but + be careful. If I say ‘on the house’ + say nothing to whoever you’re + serving. If they decide they want + you there’s nothing anybody could + do about it. + +Harry swigs a beer. + 47. + + + HARRY + Lucky for you, since he got back + from France, Tommy doesn’t want + anybody at all. + + +31 INT. SHELBY HOME, PARLOUR - DAY 3 - 12:35 31 + + Arthur is sitting on a hard-backed chair, groaning in pain. + + John and Polly are there and Ada is boiling water on the + open fire. + + ADA + John, wipe the blood out of his + eye. + + JOHN + Since when did you give orders? + + Ada squeezes a cloth.... + + ADA + I’m a trained nurse. + + ARTHUR + Don’t make me laugh, it hurts my + face. + + ADA + I bloody am. + + JOHN + You went to one first aid class in + the church hall and got thrown out + for giggling. + + ADA + Not before learning how to stop + somebody from choking. + + ARTHUR + I’m not choking. + + ADA + You will be when I wrap this cloth + round your neck. + + Thomas enters with the bottle of rum. The mood darkens... + 48. + + +He grabs a cloth and soaks it in the rum. We sense +battlefield training is kicking in as he applies the spirit +to the worst of Arthur’s wounds. Arthur already has his +thumb strapped with tape. Thomas is close to Arthur. Arthur +drinks some more, the sting of the alcohol hurting his +mouth. + + ARTHUR + He said Mr Churchill sent him to + Birmingham. + +Ada brings a bowl of boiling water to the table. + + ARTHUR + National interest, he said. He said + there’d been a robbery. + +Polly turns sharply to glare at Thomas. Thomas steps back, +not reacting. + + ARTHUR + He said he wants us to help him. + +John is offended... + + JOHN + We don’t help coppers. + + ARTHUR + He knew all about our war records. + He said we’re patriots like him. + +Ada has soaked a cloth in hot water and holds it onto +another wound... + + ARTHUR + He said he wants us to be his eyes + and ears. + +Arthur brushes Ada aside and peers at Thomas. + + ARTHUR + I told him we’d have a family + meeting and a vote. + +The two men stare at each other. Thomas says nothing. +Arthur takes another swig... + + ARTHUR + Why not? We have no truck with + communists. Or Fenians. + +Polly and Thomas are silent but Arthur is studying Thomas. + 49. + + + ARTHUR + What the fuck is wrong with you? + Polly, what is wrong with him + lately? + + Polly peers at Thomas for a moment. + + POLLY + If I knew, I’d buy the cure from + Compton’s Chemists. + + Thomas grabs his coat... + + THOMAS + Arthur, you’re broken up pretty + bad. + + He pulls his coat on, leaves. Arthur growls but his wounds + stop him from leaving his chair. Polly calls out... + + POLLY + Tommy! + + Thomas has already gone. + + +32 EXT. GARRISON LANE - DAY 3 - 12:40 32 + + We find Jimmy Jesus walking along the pavement near to the + Garrison, stopping every few paces to pick up cigarette + ends. + + He drops each one into a small sack he has slung over his + shoulder. + + As he walks, he hears a voice from an alley. + + THOMAS + Hey Jimmy. + + Jimmy ducks into the alley to join Thomas, who gives him a + cigarette and a light. + + THOMAS + Jimmy, what do you see? + + Jimmy blows smoke... + + JIMMY JESUS + I see lots of new coppers in shiny + coats. + 50. + + + THOMAS (SOFTLY) + Who do you see talking to them? + + JIMMY JESUS + The silver back coppers don’t talk + to anybody. They’re looking for + something. + + Thomas looks around... + + THOMAS + Do they say what? + + JIMMY JESUS + The ranks don’t know. They’ve just + been told to search cellars and out + houses. + + Thomas hands Jimmy a ten shilling note. Jimmy studies him. + + JIMMY JESUS + What’s happening Tommy? + + Thomas hands Jimmy the pack of cigarettes. + + THOMAS + Keep your eyes open and your mouth + shut. + + Jimmy suddenly stands erect and salutes Thomas... + + JIMMY JESUS + Yes Sir Sergeant Major. + + The salute suggests Jimmy is a veteran too. Thomas doesn’t + salute back but instead walks away. + + +33 EXT. WATERY LANE - NIGHT 3 - 00:30 33 + + We’re outside the Shelby Home on Watery Lane. + + +34 INT. SHELBY HOME, THOMAS’ ROOM - NIGHT 3 - 00:30 34 + + The bedroom has a bay window overlooking the street + outside. + + Gas light flickers from outside through net curtains. The + factories work all through the night and we hear the boom + of the giant steam hammers and see the flashes from the + steel foundries. + 51. + + + Thomas is in restless sleep in a plain bed, with a water + jug and a bottle of whisky on the bedside table. The thud + of industry makes for a restless mood in the room and + Thomas mumbles under his breath. + + Then he wakes with a start, breathing hard. He looks around + the room with incomprehension for a long time before coming + to himself. His hands are shaking and his eyes are wild. + + He gets to his feet and hurries to a drawer. He pulls out a + small, white clay pipe and a red velvet bag (similar to the + one the chinese girl used). + + From the bag he pours a palm full of brown opium. + + He feverishly pours the opium into the pipe then lights a + match. He puts flame to the opium and draws. Then he blows + a cloud of smoke. + + He slowly eases into the opium and takes some big breaths + of smoke. He goes to the window and pulls open the curtain + to look out over Montague Street. The terraces are all + sleeping in moonlight. Thomas looks deeply sad as he stares + out over his kingdom through his trailing smoke. + + Then footsteps. Thomas sees two policemen, both wearing + shiny capes, walking down the cobbled street carrying long + coshes. The sight of them seems to take Thomas by surprise + and he stares down as they pass under his window. + + One of the officers stops and peers up at the window, + apparently knowing who lives at that address. The two + policemen share a joke and one of them drags his finger + across his throat in a warning gesture to Thomas. + + Thomas reacts. The challenge seems to spark a reaction. His + face hardens and he speaks softly to the departing + police... + + THOMAS + See you in No-Man’s land boys. + + +35 EXT. LITTLE ITALY - DAY 4 - 10:00 35 + + Sunday 9th February - The neighborhood of Nechells Green + has several streets occupied by Italian immigrants. It has + recently stopped raining, and the street is full of kids + and looks like all the streets, but the shop signs are in + Italian and the language being yelled out by children is + Italian too. + 52. + + + Sharply dressed Italian men and their families walk down a + stretch of houses and shops. Cigarettes are lit and + greetings are made. Newspapers blow around (with headlines + about strikes and wage cuts). It is a pleasant, colorful + scene... + + Then, a man walking fast, wipes shot. + + We join him and realize it is Danny Whizz Bang. He is + wearing just a suit jacket over a collarless shirt. We come + close to his face beneath his hat and hear him mumbling... + + DANNY + Got to go bang, got to go bang... + + He is not looking where he is going and clatters into a + metal table and chairs outside a small ITALIAN CAFE. + + Chairs lean against two other tables, still stacked + following the recent rain. The cafe is closed and has its + blinds down. + + Danny curses the tables and chairs and untangles his feet. + + He stares like a mad man all around. He then picks up a + metal chair and hurls it to the ground. + + Almost immediately, a waiter appears from inside the cafe. + + WAITER + Hey, what you do? We’re closed. + + Danny stares at him with wild eyes. He growls and turns + over another metal table. The waiter is a small guy but + he’s not scared. He pulls a small stiletto from the back of + his belt. + + WAITER + Go home crazy man. + + Danny stares at the knife. He breaths hard. Then he + suddenly yells... + + DANNY WHIZZBANG + Fix bayonets!!! + + He hurls himself at the waiter, grabs the knife, twists it + around and plunges it into the waiter’s chest. The waiter + grips Danny’s jacket with a death grip before falling into + the bloody rain. Danny stares, realizes, then walks. + + +36 EXT. TRAIN STATION, PLATFORM - DAY 4 - 11:43 36 + 53. + + + A steam train is waiting at platform five. Passengers are + alighting and boarding. We hear an announcement... + + ANNOUNCEMENT + The train at platform five is the + Manchester Piccadilly bound 11.45 + originating from London Euston. + It’s departure will be delayed by + fifteen minutes. + + Through the crowd we see Campbell, dressed smartly, a top + hat on his head, hurrying toward the first class carriages. + + Then we see Campbell approaching the Pullman car at the + front of the First Class section. Two plain clothes + detectives guard the door of the carriage and they check + Campbell’s papers before allowing him to board. + + +37 INT. PULLMAN CARRIAGE, TRAIN STATION - DAY 4 - 11:44 37 + + The carriage has been turned into an office, with no lack + of luxury. + + Campbell is stopped by a DETECTIVE and briefly searched. He + is then shown through to the main carriage. + + There is a well stocked drinks cabinet and a large desk. + + There is thick cigar smoke and we see a pudgy man in pin + stripes working at the desk. + + This is WINSTON CHURCHILL. + + Campbell is introduced by one of the detectives... + + DETECTIVE + Secretary of State, this is Chief + Inspector Campbell. + + Campbell removes his hat and WINSTON CHURCHILL stands to + shake hands. Like many bullies, Campbell is awed by power. + + CAMPBELL + Mr Churchill, may I say what a + great honour it is to meet you. + + Churchill smiles and sits.... + + CHURCHILL + Bit of a whistle stop tour. Love + the hat by the way. + 54. + + + CAMPBELL + Thank you. It’s beaver. + + CHURCHILL + So how are you settling in? + + CAMPBELL + I have set up a command network. I + have agents in place across the + city who will act as my eyes and + ears. I have begun to interrogate + suspects vigorously. + +Churchill checks some papers (Campbell’s CV)... + + CHURCHILL + You were in Belfast. I understand + you broke a few Fenian hearts + there. + + CAMPBELL + A rat’s nest Sir. + +Churchill peers out of the window... + + CHURCHILL + So who do you think stole the guns? + Fenians or Communists? + +Campbell begins to speak like a preacher, a mantra... + + CAMPBELL + If it is IRA Fenians I will find + them and find the guns. If it is + Communists I will find them and + find the guns. If it is common + criminals I will find them and find + the guns. To me there are no + distinctions between any of the + above. + +Churchill studies Campbell and is almost amused by him. + + CHURCHILL + We chose you because you are + effective. + +Churchill offers a cigar but Campbell declines... + + CHURCHILL + 55. + + + But remember this, Mr Campbell. + This is England, not Belfast. + Bodies thrown into rivers, wash up + in the papers here. We must keep + the existence of these stolen guns + out of the papers otherwise we will + simply be advertising them for + sale. + + Campbell nods acceptance. + + CHURCHILL + If there are bodies to be buried, + dig holes and dig them deep. + + The platform whistle blows and Churchill closes his file... + + CHURCHILL + I want everything accounted for + down to the last bullet. + + +38 INT. GARRISON PUB - NIGHT 4 - 20:30 38 + + It’s dark outside and the place is packed with drunk and + happy men. + + Grace is standing on a make-shift stage near to the pub + piano and she is singing ‘The Boy I Love’, a sweet romantic + ballad with a lilting rhythm. The men in the pub are + singing along or swapping raucous laughter with the handful + of young prostitutes who hang out in pairs among the men. + + Grace’s voice is strong and Harry peers at her with + admiration. The song continues for a while and then the pub + door opens. First John and then Thomas enter. All heads + turn away. Men peer into their beer and all the men stop + singing. + + But Grace continues to sing. + + Thomas stands near to the door, peering up at Grace. The + pianist stops playing. Even then Grace continues to sing. + + There is silence apart from the song and Grace’s voice + falters only a little. She is nervous but somehow her + momentum keeps her going. + + John waits for Thomas to decide his reaction. Thomas’s eyes + are shaded. He stares without expression and now it’s as if + the song is directed at him. Grace concludes her song... + + GRACE + 56. + + + The boy I love is up in the + gallery.... + + We come close on Thomas’s face... + + GRACE + As pretty as a robin. As gentle as + a dove. + + Then silence. Finally, Harry dares to speak up. + + HARRY + We haven’t had singing in here + since the war. + + Thomas glares up at Harry. After a moment. + + THOMAS + Why do you think that is? + + Thomas leads his brother to their own private snug bar and + the door slams behind them. + + +39 EXT. FREDDIE THORNE’S GARRET - NIGHT 4 - 20:45 39 + + Freddie lives in one room in a tenement. From outside, + through a metal grill window and through skipping children + we hear the sound of sex. + + +40 INT. FREDDIE THORNE’S GARRET - NIGHT 4 - 20:47 40 + + The room is functional and the walls lined with books, + mostly revolutionary literature. There is a single bed in + which Freddie and Ada are just recovering from sex. Freddie + lights a cigarette and shares it with Ada. We can hear + children playing outside. After a moment... + + FREDDIE + So did Arthur say what kind of deal + this new copper offered him? + + Ada turns angrily to Freddie. + + ADA + The second your balls are empty + it’s back onto politics. + + She gets out of bed and begins to dress, the cigarette + smouldering in her mouth. Freddie half smiles... + + FREDDIE + 57. + + + What did Tommy say? + +Ada grabs a black mourning dress from the back of a chair. + +She begins to dress with anger which Freddie knows will +pass... + + ADA + He didn’t say anything. You know + what he’s like. + +A pause. Freddie thinks fondly... + + FREDDIE + Yeah, I know what he’s like. He + likes to take his fights onto the + mud. Doesn’t like to stand and + wait. + +Ada turns to Freddie. + + ADA + You know what he’d do if he found + out about us. + + FREDDIE + (Calm, defiant) + He could try. + +Ada turns back sharply (her black dress in her hand). + + ADA + Sometimes it’s like you’re with me + to show you can. + +Ada is about to pull on her black mourning dress but +Freddie takes her arms. He addresses her in a broken +mirror. + + FREDDIE + One day me and Tommy will be on the + same side again. + +Ada stares at his reflection. + + ADA + Yeah. When you become a bookie. + +Freddie laughs and embraces her from behind. He reaches for +a large black hat with a black veil, the kind worn by women +in mourning and common on the streets after the war. We +realize this is Ada’s disguise. He offers it to Ada... + 58. + + + FREDDIE + There sister. Thanks for coming. + + Ada half smiles. + + ADA + I must be the only girl ever who + had to wear a black widow dress to + get to wear a white one. + + She looks hopefully at Freddie. Freddie just smiles. + + +41 EXT. CHARLIE STRONG’S YARD - NIGHT 4 - 21:30 41 + + We find Curly and Charlie hauling heavy crates onto a coal + barge. They are in a hurry. We watch the work for a while + and see the gun cases as they are being loaded. + + Charlie drops a sack into the hold of the boat then turns + to see Thomas entering the yard. Charlie joins Thomas at + the fire. + + CHARLIE + They are aboard. There’s no Moon. + We can take them out to the turning + point beyond Gas Street and leave + them on the bank. They’ll be found + by railwaymen first thing. + + Charlie nods and warms his hands on the flames. He responds + to Tommy’s silence and gets uneasy. + + CHARLIE + Is that agreement? + + A pause. Factories pound in the night... + + THOMAS + (Softly) + I changed my mind. + + A pause. + + CHARLIE + You what? + + THOMAS + (Flat) + I have an alternative strategy. + 59. + + +Thomas takes a set of three large iron keys from his pocket +and offers them to Charlie. (We might realize, in the fire +light, Charlie feared something like this). + + THOMAS + Tell Curly to take her out to the + old tobacco wharf. There’s a lock + up mooring we used to keep + cigarettes. He knows it. + +Charlie stares at Thomas with horror, not taking the keys. + + THOMAS + When the boat leaves your yard it’s + no longer your concern. + + CHARLIE + (Firmly) + Have you lost your fucking mind? + +Thomas lays the keys aside to light a cigarette.... + + CHARLIE + Have you not seen the streets? + They’ve sent an army to find these + things... + + THOMAS + (Calm) + That’s right. They’ve shown their + hand... + + CHARLIE + (Incredulous) + Their hand? + +Thomas speaks almost as if he has rehearsed his +rationalization... + + THOMAS + If they want them back this bad, + they’ll have to pay. That’s the way + of the world. Fortune drops + something valuable in your lap, you + don’t just dump it on the bank of + the cut. + +Charlie stares at Thomas with disbelief... + + CHARLIE + 60. + + + You’re blood Tommy. I’ve always + looked out for you like a dad. + You’re going to bring holy hell + down on your head. This copper + takes no prisoners... + + A half smile appears on Thomas’s face. + + THOMAS + I’m told he didn’t serve. + + A pause. + + THOMAS + Reserved occupation. + + Charlie peers at Thomas as if he is slowly realizing + something... + + CHARLIE + It’s another war you’re looking for + Tommy? + + Thomas finishes his cigarette and puts the bunch of keys in + Charlie’s top pocket. + + THOMAS + The tobacco wharf. By order of the + Peaky Blinders. + + +42 EXT. MUSEUM - DAY 5 - 10:55 42 + + Monday 10th February - Campbell enters the museum. + + +43 INT. MUSEUM, STATUE ROOM - DAY 5 - 10:59 43 + + Campbell is wandering among the statues. The museum is + sparsely attended. He checks his watch. After a moment, + Grace walks by. + + Campbell looks straight ahead as he talks... + + CAMPBELL + Are you in position? + + GRACE + I am in, Sir. + + A shock. Grace works for Campbell (we might recall him + telling Churchill that he had agents in the field). + 61. + + + CAMPBELL + Your first impressions. + +Grace takes a moment... + + GRACE + I am quite shocked at how these + people live. + +Campbell looks grave... + + CAMPBELL + As you know Grace, I was opposed to + the use of female operatives in the + beginning. But Belfast proved their + worth. + +Grace seems keen to divert the flattery... + + GRACE + Have you found anything out that + might help me? + + CAMPBELL + I interrogated the head of the + Peaky Blinders. He didn’t know + anything. A brute. His gang may + even prove useful to us. + + GRACE + It strikes me that it isn’t Arthur + who heads the Shelby family. It is + the younger one... + +A pause. + + GRACE + Thomas. + +Grace nods as Campbell glances at her briefly. + + GRACE + They say he won two medals for + gallantry in the War. + +Campbell squeezes the end of his moustache... + + CAMPBELL + You sound fascinated. + + GRACE + (Ignoring) + 62. + + + However, my opinion has not + changed. The bookmaker gangs have + other business and the communists + are too weak to have planned this. + I believe the guns were taken by + the IRA. + + Campbell nods gently. + + CAMPBELL + You must not let your history cloud + your judgement. + + GRACE + (Knowing) + What history? + + Silence as someone passes. Grace continues wearily... + + GRACE + That the IRA murdered my father + will not affect my judgement. + + Campbell hears but doesn’t quite believe. He hands her a + slip of paper with a list of serial numbers and speaks + softly. + + CAMPBELL + If you see a gun, check the serial + numbers against this list. + + Campbell turns to go, checking his watch. Then he stops and + smiles at Grace. + + CAMPBELL + Your father was the finest officer + I ever worked with. I know he would + be very, very proud of you. + + He drifts away. Grace seems to be deeply affected by + mention of her father but holds it all in check... + + +44 EXT. GRAND UNION CANAL - DAY 5 - 18:00 44 + + We find Leo, the Italian cafe owner, and another Italian + guy, standing on the tow path. They are dressed in black + suits and overcoats. + + Behind them, we see a black coal barge slowly motoring up + the canal toward them. Leo reacts to someone crossing the + canal bridge. + 63. + + +We see Thomas, escorting Danny Whizz Bang. + +Thomas and Danny come down to the tow path a hundred yards +from where Leo and his friend are standing. Thomas is +wearing his cap and a long black coat. + +We come close to Thomas and Danny. Thomas speaks with grim +seriousness. Danny removes his hat and twirls it in his +hand. + + THOMAS + Danny, as you know, the man you + killed was Italian. And those two + men down there are his brothers. + +Danny, filled with terrible remorse, glances in their +direction. They glare murder at him. + + THOMAS + Now if I let the Italians do this + they’ll cut off your manhood and + let you drain. That’s how those + bastards do things. + +Danny takes a breath, stares ahead. The factories bang and +hiss. + + THOMAS + So, to stop a war breaking out + between us and the Italians, and to + save you from their barbarity, I + said I would dispatch you myself. + +Danny nods, already expecting this. + + THOMAS + They are here to witness. + +Thomas offers Danny a cigarette and he takes it with +shaking hands. Thomas lights his cigarette. Danny takes a +big draw. + + DANNY + I died over there anyway Tommy. I + left my fucking brains in the mud. + + THOMAS + Yeah. You have any last requests, + comrade? + +Danny takes a heavy breath. + + DANNY + 64. + + + You’ll look out for my Rosie and my + boys. + +Thomas nods as he smokes. + + DANNY + See they get apprenticeships. At + the BSA factory or the Austen. + They’ll make foremen. I know they + will. Just ordinary. Just ordinary + men. And they won’t get told to do + that shit, that shit, that shit we + got told to do. + +Thomas nods gently. Danny peers at Thomas with tears in his +eyes. + + DANNY + I suppose I ought to pray now. + +Thomas looks away. The black coal barge is getting closer. + + DANNY + Those fucking guns blew God right + out of my head. + +Danny bows his head and fights tears. He hears the +squelching tread of the horse approaching. + + DANNY + Is that boat for me? + +Thomas nods... + + THOMAS + We have to get your body out of the + city. This new copper, you know... + +Danny nods. + + DANNY + Don’t bury me anywhere where + there’s mud. Ok? Promise me. Bury + me on a hill. And tell Rosie where. + +Thomas nods then pulls his Webley revolver from his pocket. + +Danny’s eyes squeeze closed and his fists clench. Thomas +holds out his hand to shake. Danny shakes it. + + THOMAS + You were a good man and a good + soldier. + 65. + + + DANNY + Yes Sergeant Major. + + Danny folds his hands over his belt and lowers his head. + The boat is almost alongside. Danny closes his eyes. Thomas + holds up the gun for the Italian brothers to see. He then + puts it to Danny’s temple... + + THOMAS + (Softly) + In the bleak midwinter. + + Danny nods. The boat is alongside. Thomas pulls the trigger + (and as he does, he kicks the backs of Danny’s knees.) + There is a splash of blood and brains on Thomas’s face. + + Danny falls face first onto the deck of the boat as it + passes. + + Thomas wipes the blood from his face and looks down at the + Italian brothers. They turn and walk away and Thomas walks + away in the opposite direction. + + As he walks we see no emotion on his face. + + +45 INT. BETTING SHOP - NIGHT 5 - 20:20 45 + + Thomas enters through the customer entrance. He sits down, + lights a cigarette and opens a newspaper onto the racing + page. He studies the racing results. Outside we hear + children playing. + + Then Arthur bursts in. His face is scarlet with rage, his + wounds still healing. He has a newspaper of his own in his + big meaty hand and he slaps it... + + ARTHUR + (Furious) + It bloody won! + + Tommy doesn’t look up from his paper. + + ARTHUR + Monaghan Boy bloody won! + + Thomas finally turns to Arthur. He has a deep, deadly look + on his face. + + THOMAS + Yeah. It won. + + A pause. + 66. + + + THOMAS + And word will spread. So next time + we do the powder trick it won’t + just be the Garrison that’ll bet on + the horse, it’ll be the whole of + Small Heath. And you know what? The + horse will win again. + + Thomas confronts Arthur, toe-to-toe... + + THOMAS + And the third time we do it we’ll + have the whole of Birmingham + betting on it. A thousand quid bet + on the magic horse. And that time, + when we are ready, the horse will + lose. + + They stare into each other’s eyes. Then, without diverting + his gaze, Thomas reaches out and grabs the rum bottle from + Arthur’s desk. + + THOMAS + Have a drink and think about it + Arthur. + + Thomas turns and leaves through the drape curtain. Arthur + considers the bottle. + + +46 EXT. CANAL TOW PATH, TUNNEL - NIGHT 5 - 20:30 46 + + The coal barge is moored. If we didn’t know the grim truth, + this would be a rural idyll. + + After a moment, we see Charlie getting back onboard the + boat, carrying a shovel. We assume he has disposed of + Danny’s body. + + Then, suddenly, Danny Whizz Bang emerges from the hold. He + is a little dazed and has just washed his face of blood. + + CHARLIE + You ok Danny? + + Charlie stows the shovel (he just went for a latrine + break). + + DANNY + I’m still in shock. You’re sure + this isn’t heaven? + + CHARLIE + 67. + + + (smiling) + If it was heaven, what would I be + doing here? Tommy wanted you to + think it was real to try to knock + some sense into you. + + Danny rubs his woozy head. + + DANNY + A shell full of sheep brains hurts + pretty bad. + + CHARLIE + It was meant to. + + They prepare to set off. + + DANNY + So where are you taking me? + + CHARLIE + London. Tommy has a little job for + you. Give you chance to say thanks. + You’re a Peaky Blinder now Danny. + + The boat glides from its mooring. Danny now looks to be + filled with foreboding. + + +47 INT. SHELBY HOUSE - NIGHT 5 - 20:40 47 + + Aunt Polly is polishing a big brass pot and we see her face + in the uncertain reflection in the brass. She hears someone + entering the house. Aunt Polly prepares herself. Thomas + enters and produces a wad of notes and two bags of coins + which he places on the table. + + Polly takes the bag of coins and weighs it in her hand. + + POLLY + A bad week. + + Thomas removes his hat, sits down, rubs his eyes wearily. + + Polly begins to count the money and speaks casually, hiding + her anxiety... + + POLLY + There was no Moon last night. I + looked. + + Thomas lights a cigarette... + 68. + + + POLLY + Did you do the right thing? + + THOMAS + (Firmly) + Yes. I did the right thing. + + Polly stops counting and stares at him. She can read him + like a book. + + Thomas turns and leaves. In Polly’s face we read that she + knows Thomas didn’t dispose of the guns. She reacts and + peers at the pile of coins. She knows there are dangerous + times to come. + + +48 EXT. GARRISON LANE - NIGHT 5 - 20:45 48 + + We hear the song ‘In the Bleak Midwinter’ as we follow + Thomas walking through his kingdom. We are close on his + face, looking for reaction. He is resolved. He walks past + the Garrison... + + As he walks, Grace peers out from inside the pub and + watches him go. + + THE END + \ No newline at end of file diff --git a/scripts/Pet Sematary.txt b/scripts/Pet Sematary.txt new file mode 100644 index 0000000000000000000000000000000000000000..4369ec9354b6207d3003430fad88718256a21593 --- /dev/null +++ b/scripts/Pet Sematary.txt @@ -0,0 +1,8691 @@ + 1. + + + + 'PET SEMATARY’ + + by + + Stephen King + + FADE IN ON + + that most persistent summer SOUND: crickets in high grass-- + + ree-ree-ree-ree... This in dark which slowly + + DISSOLVES TO: + + +1 EXT. A GRAVE MARKER SUMMER - DAY 1 + + It’s a plywood cross leaning aslant. Written on the + crossarm in black paint which has faded: SMUCKY HE WAS + OBEDIENT. The letters are faded. They are also straggling + and ill-formed--the work of a child. + + MAIN TITLES BEGIN. + + +2 EXT. ANOTHER GRAVE MARKER 2 + + A child’s printing again, this time on a chunk of warped + crating: BIFFER BIFFER A HELLUVA SNIFFER UNTIL HE DIED HE + MADE US RICHER 1971-1974. + + MAIN TITLES CONTINUE + + +3 EXT. TWO MARKERS 3 + + I think all these shots are LAP DISSOLVES. All is silence + but for the crickets and the wind stirring the grass. + Around the markers themselves, the grass has been clipped + short, and by some markers there are flowers in cheap + vases. Crisco cans, Skippy peanut butter jars, etc. + + These two markers: IN MEMORY OF MARTA OUR PET RABIT DYED + MARCH 1, 1965 (on a wide flat board) and GEN PATTON (OUR! + GOOD! DOG!) APRIL 1958 (another board). + + MAIN TITLES CONTINUE + + +4 EXT. FIVE OR SIX MARKERS 4 + 2. + + + We can't read all of them; some are too faded (or the + "gravestones" themselves too degenerated), but we can see + now that this woodland clearing’s a rather eerie -- and + well-populated -- animal graveyard. + + We can see: POLYNESIA, 1953 and HANNAH THE BEST DOG THAT + EVER LIVED. HANNAH’S tombstone is part of an old Chevrolet + hood, painstakingly hammered flat. + + MAIN TITLES CONTINUE. + + +5 EXT. ANGLE ON THE PET SEMATARY 5 + + From here we can see most of the clearing, which is + surrounded by forest pines. We can see that the graves-- + maybe 80 in all--are arranged in rough concentric circles. + On the far side of this clearing is the end of a path which + spills into this graveyard clearing. The end of the path is + flanked by wooden poles which hold up a crude arch. We can + see no writing on this side -- the words on the arch face + those arriving along the path. + + MAIN TITLES CONTINUE + + +6 EXT. THE ARCH, FROM THE PATH SIDE, CU 6 + + MAIN TITLES CONCLUDE. Written on the arch in faded black + paint is the work of some long-gone child: PET SEMATARY. + + THE CAMERA HOLDS ON THIS FOR A MOMENT OR TWO, THEN PANS + SLOWLY + + DOWN to look through the arch. From this angle we are + looking across to a deadfall--a tangle of weather-whitened + old dead branches at the back of the graveyard. It’s maybe + twenty-five feet from side to side and about nine feet + high. At either end are thick tangles of underbrush that + look impassible. + + AS HAIN TITLES CONCLUDE, THE CAMERA MOVES SLOWLY IN on the + deadfall. And as it does, we realize that there is a + horrible snarling face in those branches. Is this an + accident? Coincidence? + + Our imagination? Perhaps the audience will wonder. THE + CAMERA HOLDS ON IT and then we + + BLACK. And a white title card: MOVING DAY. + + +7 EXT. A HOUSE IN THE COUNTRY - EVENING 7 + 3. + + + SOUND of crickets: ree-ree-ree-ree... + + To the left of this house: a big empty field. Behind it: + the woods. Before it: a wide two-lane road. + + The house is a pleasant two-story New England dwelling with + a shed/garage attached. In front of it is a sign which + reads QUINN REALTORS 292 HAMMOND STREET, BANGOR. A big SOLD + strip, like a bumper sticker, has been plastered across it + diagonally. + + GROWING SOUND: the rumble of a truck. A big, big truck. It + belts between the CAMERA and the house --a tanker truck + with a silver body and the word ORINCO written on the side + in blue letters. Its short-stack is blowing quantities of + dark brown smoke. Behind it comes a Ford wagon, which + slows, signals, and turns into the driveway of the house + we've been looking at. + + +8 EXT. REAR OF THE WAGON 8 + + As LOUIS CREED brings it to a stop we get a good look at + the license plate (Illinois) and a bumper sticker (HAVE YOU + HUGGED YOUR M.D. TODAY?) + + The ENGINE SOUND stops. For a moment or two we hear only + the ree-ree-ree-ree of crickets. Then: + + ELLIE CREED (VOICE) + Is this our new house, daddy? + + LOUIS CREED (VOICE) + This is it. + + +9 EXT. THE WAGON, A NEW ANGLE 9 + + The two front doors and one back door open. LOUIS CREED, + about 32, gets out from the driver's side. RACHEL CREED, + his wife, gets out from the passenger side. From the rear + door comes ELLIE CREED, a girl of 6. They are staring, + fascinated, at the house. + + They come together, the three of them, by the front of the + wagon, still staring at the house. LOUIS is clearly + nervous. + + LOUIS + So...what do you think? + + RACHEL begins to smile. She turns to LOUIS and hugs him. + 4. + + + RACHEL + It's gorgeous! + + ELLIE + Am I really gonna have my own room? + + LOUIS + Yes. + + ELLIE + Yaay! + +She looks toward the side lawn and sees a tire on a rope +hanging down from the bough of a tree. + + ELLIE (TO RACHEL) + Is that a swing? + + RACHEL + Yes, but the rope might be-- + + ELLIE + Yaay! + +She goes running toward it. RACHEL gives LOUIS a tired +smile. + + LOUIS + Let her go. It’s cool. + + RACHEL + Louis, the house is beautiful. + +They kiss--gently at first, then more passionately. As he +draws her more tightly against him, a baby--GAGE--begins to +cry from the car. LOUIS and RACHEL break the clinch. + + RACHEL + The Master of Disaster awakes. + +This SOUND is joined by the unhappy yowling of a pent-up +tomcat. + + LOUIS + And Buckaroo Banzai. + + RACHEL + Come on--let’s parole 'em. + +They walk to the car, RACHEL going to one of the back seat +doors, LOUIS to the rear of the wagon. + 5. + + +10 INT. THE FRONT SEAT, WITH RAHEL AND GAGE 10 + + GAGE is sitting in his car seat, not exactly crying but + certainly yelling to be let out. The seat, dash, and + floorboards are littered with roadmaps, soda cans, Big Mac + boxes, and similar crud. These folks have driven all the + way from Chicago to Maine in this station wagon, and the + wagon looks it. + + RACHEL + Decided to wake up and see what + home looks like, huh? + + She begins to unbuckle the straps and harnesses. GAGE is + just wearing a t-shirt and a diaper. He’s fifteen months + old. + + +11 EXT. THE REAR OF THE WAGON, WITH LOUIS 11 + + He opens the doorgate and lifts out a cat carrier. We see a + big tomcat inside--mostly what we're aware of are shining + green eyes. + + ELLIE (VOICE) + Daddy! Mommy! I see a path! + + LOUIS, cat carrier still in hand, turns toward: + + +12 EXT. ELLIE IN THE TIRE SWING 12 + + She’s got it penduluming back and forth in long wide arcs. + + +13 EXT. THE VIEW UP TOWARD THE WOODS, ELLIE'S POV 13 + + We see the field, and a clearly marked and mown path + leading up its flank and into the dark woods. + + THE CAMERA DIPS AND PENDULUMS as ELLIE swings. + + +14 EXT. RACHEL AND GAGE (FRONT OF THE CAR) 14 + + RACHEL (IRRITATED) + Not so high, Ellie! You don’t know + how strong that rope is. + + She puts GAGE down. He totters a bit on his little legs and + then stands there, looking at his sister. + 6. + + +15 EXT. THE ROPE AND THE BRANCH, CU 15 + + The bark has rubbed off the branch--it looks like a bone + peeping through decayed flesh. The rope is old, discolored. + And it is fraying away as we look at it. Soon ELLIE, like + Humpty Dumpty, is going to have a great fall. + + +16 EXT. LOUIS (REAR OF THE CAR) 16 + + He's set the cat-carrier down and is straightening up. + + ELLIE (RAPTUOUS VOICE) + Wheee! + + LOUIS + Ellie, you heard your m— + + His eyes widen. + + +17 EXT. ELLIE 17 + + ELLIE + Wh— + + SOUND: A heavy twang! as the rope breaks. The tire swing-- + with ELLIE still inside it--goes crashing to the grass. + ELLIE screams and begins to cry--a little hurt and a lot + surprised. + + LOUIS and RACHEL run to her. + + LOUIS + Ellie! Are you all right? + + RACHEL + Honey? Are you okay? + + +18 EXT. ELLIE, RACHEL, LOUIS, A CLOSER SHOT 18 + + ELLIE'S parents reach the tangle of tire, rope, and six- + year-old girl. + + ELLIE + Hurrts! It hurrrrts! + + LOUIS + Anyone who can scream that loud + isn't ready for intensive care just + yet-- looks like she just skinned + her knee. + 7. + + + Nevertheless, he begins to rapidly disentangle his daughter + from the tire. RACHEL helps. + + +19 EXT. GAGE 19 + + He's standing in the driveway by the front of the car, + utterly forgotten in the heat of the moment. His diaper is + sagging quite a bit; the boy needs a change. + + He stares toward the scene of the accident for a bit, then + loses interest. CAMERA FOLLOWS as he walks down the side of + the station wagon, little bare feet slapping on the + asphalt. He stops for a moment at the back, looking at the + cat-carrier, which LOUIS never got around to opening. + CHURCH is staring hopefully out through the mesh. + + GAGE + Hi-Durch! + + CHURCH + Waow! + + GAGE bends down and tries to open the cat-carrier’s door. + No soap. + + Either he can't solve the latch or his fingers don't have + the strength. Anyway, he stops trying after a moment. + + SOUND: Growing thunder of an approaching truck - a big one. + + +20 EXT. THE ROAD (GAGE'S POV) 20 + + A big tanker truck--silver body, ORINCO written on the side + in blue letters--blasts by. + + +21 EXT. GAGE, BY THE CAT CARRIER 21 + + The windlash if the passing truck blows GAGE'S hair back + from his forehead. We should be scared here--not by the + truck, but by GAGE'S lack of fear. He's smiling, happy. + + GAGE + Druck! + + He starts down the driveway toward the road. + + +22 EXT. LOUIS, RACHEL, ELLIE (AT THE SWING) 22 + 8. + + + ELLIE has been disentangled from the swing. She's sitting + by the wreckage at the end of the driveway, weeping + hysterically (as much from tiredness as from pain, I think) + as LOUIS and RACHEL examine her scraped knee. The wound + doesn't look too serious. + + LOUIS (TO RACHEL) + Would you get the first aid kit? + + ELLIE (SCREAMING) + Not the stingy stuff! I don't want + the stingy stuff, daddy! + + RACHEL suddenly looks around toward: + + +23 EXT. THE FRONT OF THE WAGON (RACHEL'S POV) 23 + + No one there. + + +24 EXT. RACHEL, ELLIE, LOUIS, BY THE SWING 24 + + RACHEL + Gage's gone! + + LOUIS + Jesus, the road! + + They get up together. + + +25 EXT. GAGE, AT THE EDGE OF THE ROAD 25 + + A truck is coming. A great big one. + + +26 EXT. ANGLE ON THE TRUCK, CU 26 + + The grille looks like a tombstone that's learned how to + snarl. + + +27 EXT. GAGE 27 + + He takes a step into the road...and then big, gnarled hands + grab him. + + GAGE looks rather surprised at this, but not worried--this + kid is used to being picked up and treated humanely. To + GAGE strangers are as interesting as...well, as interesting + as Orinco trucks. + 9. + + +28 EXT. GAGE AND JUD CRANDALL 28 + + The fellow who has picked GAGE up is a man of about eighty + in old blue jeans, a faded Bruce Springsleen T-shirt. Over + this lie wears a faded khaki vest with bright silver + buttons. His face is deeply wrinkled and kindly. + + JUD CRANDALL (TO GAGE) + No you don't, my friend--not in + that road. + + But he softens this with a grin. GAGE grins back at him. + + GAGE + Drucks! + + JUD (LOW) + No shit, Sherlock. + + JUD carries him up the driveway to the station wagon. Here + he's joined by LOUIS and RACHEL, out of breath and really + scared. ELLIE brings up the rear. She's still sniffling. + + RACHEL + Gage! + + JUD (HANDS HIM TO HER) + He was headed for the road, looked + like. I corralled him for you, + missus. + + RACHEL + Thank you. Thank you so much. + + LOUIS + Yes--thanks. I'm Louis Creed. + + He sticks out his hand and JUD shakes it. LOUIS takes it + easy--no crushing JayCees grip, or anything like that--the + old guy looks as if he might have arthritis. + + JUD + Jud Crandall. I live just across + the road. + + RACHEL + I'm Rachel. Thanks again for saving + the wandering minstrel boy, here. + + JUD + 10. + + + No harm, no foul. But you want to + watch out for that road. Those damn + trucks go back and forth all day + and most of the night. + +He leans over toward ELLIE. + + JUD + Who might you be, little Miss? + + ELLIE + I'm Ellen Creed and I live at 642 + Alden Lone, Dearburri, Michigan. + (Pause) + At least, I used to. + + JUD + And now you live on Route 9 in + Ludlow, and your dad's gonna be the + new doctor up to the college, I + hear, and I think you're going to + be just as happy as a clam here, + Ellen Creed. + + ELLIE (TO LOUIS) + Are clams really happy? + +They all laugh--even GAGE. + + RACHEL + Excuse me, Mr. Crandall--!'ve got + to change this kid. It's nice to + meet you. + + JUD + Same here. Come over and visit when + you get the chance. + +As RACHEL, carrying GAGE, moves away: + + ELLIE (WORRIES) + Daddy, do I really have to have the + stingy stuff? + + LOUIS + No-I guess not. + + ELLIE + Yayyy! + +She goes belting off. + + IUD (AMUSED) + 11. + + + I guess your daughter there ain't + going to die after all. + + LOUIS (ALSO AMUSED) + I guess not. + + JUD + House has stood empty for too long. + It's damn good to see people in it + again. + + SOUND: A truck engine, gearing down. + + +29 EXT. A MOVING VAN 29 + + It blinks and comes lumbering into the Creed's driveway. + + +30 EXT. LOUIS AND JUD 30 + + LOUIS + Hey--they actually found the place! + + JUD + Movin' in's mighty thirsty work. I + usually sit out on my porch of an + evening and pour a couple of beers + over m’dinner. Come on over and + join me, if you want. + + LOUIS + Well, maybe I-— + + RACHEL (VOICE) + Louis, what's this? + + +31 EXT. RACHEL AND GAGE 31 + + GAGE has been changed, and RACHEL is following him as he + explores the nearest edges of the new homestead. They are + fairly close to the wreckage of the tire swing, and here is + the head of the path ELLIE has already glimpsed. + + +32 EXT. LOUIS AND JUD 32 + + They cross to the van. The FIRST and SECOND MOVERS are just + climbing out of the van. + + FIRST MOVER + You Mr. Creed? + 12. + + + LOUIS + Yes. Just a second. + + +33 EXT. RACHEL AND GAGE, AT THE HEAD OF THE PATH 33 + + She's holding GAGE on her hip now, and both of them are + looking at that strange (and oddly enticing) path which + disappears into the deepening twilight. LOUIS and JUD join + them. + + LOUIS + The movers-- + + RACHEL + Yes--I know. This path, Louis? + Where does it go? + + LOUIS + I don't have the slightest idea. + When I saw the house, this field + was under four feet of snow. + + RACHEL (SMILING) + I bet Mr. Crandall knows! + + JUD nods. He smiles, too, but underneath the smile we sense + that he is serious. + + JUD + Oh, ayuh! I know. It’s a good + story, and a good walk, too. I’ll + take you up there sometime, and + tell you the story, too-- after you + get settled in. + + He smiles at them and they smile back--it is a look of + understanding and real liking, in spite of the age + difference between the CREEDS and JUD. + + +34 EXT. THE CREED HOUSE - NIGHT 34 + + SOUND: Crickets. Ree--ree--ree-ree... + + There's one light upstairs, one downstairs. Perhaps we see + the path, glimmering away into the field? Either by virtue + of it being mown, or by virtue of some gentle optical + trick? Maybe. + + +35 INT. THE LIVING ROOM - NIGHT 35 + 13. + + +There's a light on in the kitchen, but it just casts a dim +glow in here. The room has a fireplace and a lovely wooden +floor. It's going to be nice, but now it's just a big bare +box with movers' cartons stacked all over the place. + +LOUIS is drinking a can of Pepsi, and he looks pretty +damned tired--anyone who's ever moved house and can +remember the first night in the new place will understand. + +He finishes the last of the Pepsi and surveys the living +room. He sits on one of the bigger boxes, takes cigarettes +from his pocket, + +and lights one. He drops the spent match in the empty can, +and taps into the can during the scene. + +SOUND: Feet coming down the stairs. The door on the far +side of the room opens and RACHEL comes in, wearing a +nightgown. + + RACHEL (CROSSING TO LOUIS) + Kids are asleep, doc. + + LOUIS + Great. + +He hugs her. She hugs him back warmly--for a moment they +are just two good people in all the big darkness of their +new house. + + RACHEL + You're not really going over to + have a beer with that old guy, are + you? + + LOUIS + Well, I’ve got a million questions + about the area, and— + + RACHEL + —and you'll end up doing a free + consultation on his arthritis or + urinary problems and— + + LOUIS + Did you see his shirt? + + RACHEL (GIGGLES) + Sure. Bruce Springsteen. + + LOUIS + 14. + + + I really do have a million + questions about the area...but the + thing I'm really curious about is + how come this octogenarian Yankee + is decorating the slumped remains + of his pecs with the Boss. + + She laughs. + + +36 EXT. THE PATH OF THE CRANDALL HOUSE - NIGHT 36 + + Pervasive SOUND of the crickets as LOUIS comes rather + hesitantly up the crazy-paved path from the road's edge. + + DUD (VOICE) + That you, doc? + + +37 EXT. THE SCREENED-IN PORCH OF THE CRANDALL HOUSE 37 + + We hear the SQUEAK of a rocker; we see the dim red fitful + glow of DUD'S Pall Mall. We see by its glow that he is + wearing Walkman earphones. + + +38 EXT. LOUIS 38 + + LOUIS + It's me. + + +39 INT. THF PORCH, WTTH DUD 39 + + The Walkman is in his lap. He switches it off and puts the + headphones casually around his neck, like a kid. + + DUD + Well, come on up and have a beer. + + +40 INT. THE PORCH, A SLIGHTLY WIDER SHOT 40 + + LOUIS comes on up. DUD has got a pail of ice beside his + chair with some cans of beer in it. He opens one and hands + it to LOUIS. + + DUD + You need a glass? + + LOUIS + Not at all. + 15. + + + DUD + Good for you. + +LOUIS drinks half the can at a draught. + + LOUIS + God, that's fine. + + DUD + Ain't it just? The man who invented + beer, Louis, that man was having a + prime day for himself. + + LOUIS + What were you listening to? + + DUD + Allman Brothers. + + LOUIS + What? + + DUD + The Eat A Peach album. God, they + were good before drugs and bad luck + caught up with them. Listen to + this, Louis. + +He passes the headphones over. LOUIS puts them on. DUD +presses the Walkman's PLAY button. + +SOUND: Ramblin' Han blasts us out of our seats. + +LOUIS winces and rakes the spidery earphones off his head. + + DUD + I’m sorry. Wait. + +He turns it down. + + DUD + Try that. + +LOUIS puts the earphones back on and listens for a few +moments. + +It’s the instrumental break. Gregg and Duane Allman dueling +hot Fenders. LOUIS takes the earphones off. + + LOUIS + Nice. + 16. + + + DUD + I like rock and roll. No...I guess + that's too mild. I love it. Since + my ears started to die out on me, + it's the only music I can really + hear. And since my wife died...I + dunno, some­times a little rock and + roll fills up night. Not always, + but sometimes. + (Pause) + One more time--welcome to Ludlow. + Hope your time here will be a happy + one. + + LOUIS (GREAT SINCERITY) + Thank you, Mr. Crandall. + + He drinks again--they both do. There’s a moment of + companionable silence here, broken by the SOUND of a big + truck. They look + + +41 EXT/INT. THE ROAD (THROUGH THE PORCH SCREEN) 41 + + One of those big tanker trucks goes rumbling by--now there + are little amber running lights on top of it. It's going + fast, too-- + + sweeps by in a blast of air. + + +42 INT. THE PORCH, WITH LOUIS AND DUD 42 + + LOUIS (WINCING) + Desus! + + DUD (LIGHTS A CIGARETTE) + That's one mean road, all right-- + you remember that path your wife + commented on? + + LOUIS + The one that goes into the woods-- + sure. + + DUD + That road--and those Orinco trucks- + - are the two main reasons it's + there. + + LOUIS + What's at the end of it? + 17. + + + DUD (SMILES) + Another day--after you get settled + in a bit. Meantime, doc— + + Here DUD raises his glass in a toast. + + DUD (CONTINUES) + Here's to your bones. + + LOUIS clinks his glass against DUD'S. + + LOUIS + And yours. + + They drink. + + +43 EXT. ROUTE 9 - NIGHT 43 + + LOUIS crosses from the CRANDALL side to his own, and the + CAMERA FOLLOWS as he walks slowly up the driveway and past + the wagon. He pauses for a moment, looking thoughtfully-- + hopefully--at his new house. Then something--the CRY of an + OWL, perhaps--draws his attention the other way...toward + the path. + + He walks to its head and stands looking out at it--it + glimmers in a wide cut swath that's a bit ghostly in the + dark. + + A SHAPE suddenly lurches out of the high grass at him, and + LOUIS recoils with a startled, muffled cry. + + +44 EXT. CHURCH 44 + + The cat, sure; who--or what--else? We see his big green + eyes in the dark as he cries his strange feline hello: + Waow! + + +45 EXT. LOUIS AND CHURCH, AT THE HEAD OF THE PATH 45 + + LOUIS + Church! God, you scared the life + out of me! + + CHURCH + Waow! + + LOUIS bends and picks up the cat. As he does, that truck + SOUND comes again and he looks toward: + 18. + + +46 EXT. THE ROAD, LOUIS'S POV 46 + + Another Orinco tanker drones by, fast. + + +47 EXT. LOUIS AND CHURCH 47 + + LOUIS (TO THE CAT) + I know one thing that will keep you + home, good buddy. + + He starts toward the house. + + BLACK. And in that blackness, we see a second title card: + THE DEAD SPEAK. + + +48 INT. A KITCHEN BLACKBOARD, CU - DAY 48 + + Written on it is: MONDAY 1.) CHURCH SPAYED 10 A.M. QUENTIN + DOLANDER, D.V.M. And below, in even bigger letters: 2.) + ELLIE'S FIRST DAY OF SCHOOL!! + + THE CAMERA PANS LEFT, showing us the kitchen. There are + still a few cardboard cartons around, but the place is + getting in shape. + + We look out the window and see the CREEDS, led by DUD + CRANDALL, climbing the path toward the woods. LOUIS has got + GAGE in a Gerrypak. + + +49 EXT. AT THE TOP OF THE HILL, WITH CREEDS AND DUD 49 + + They are also at the edge of the woods. DUD stops and lets + them catch up. + + DUD + Take a look behind you. + + They turn around, and their faces express their wonder. + + LOUIS + My God! + + RACHEL + It's beautiful! + + +50 EXT. THE VIEW 50 + 19. + + + It is indeed beautiful. The CREED house is in the f.g., + Route 9 just behind it (with one of the ever-present Orinco + trucks droning along), but behind that is the great sweep + of the Penobscot river valley, dozing under a fall sky of + clear blue. + + +51 EXT. AT THE TOP OF THE HILL, WITH DUD AND THE CREEDS 51 + + DUD + You folks ready to go on? + + LOUIS + Sure. + + ELLIE + But where are we going, Mr. + Crandall? + + DUD + You'll see soon enough, hon. + + They go into the woods, still following the path. + + +52 EXT. FOREST - DAY 52 + + These are old woods indeed--huge trunks with dusty sunlight + shafting through them. It looks as though man has never + made his mark here. + + THE CAMERA PANS SLOWLY DOWN to them, on the path. Here it + is carpeted with pine needles, but it is just as clearly + marked. + + JUD stops. LOUIS looks glad of the rest; he’s sweating and + there are wide dark patches under his arms where the + Gerrypak’s straps are. + + LOUIS + Who owns the woods up ahead? Paper + companies? + + JUD + Nope. The Micmac Indians. What's up + ahead is all that's left of their + tribal lands. + + ELLIE (GIGGLING) + Micmac, Ricmac, Kickmac, Sickmac. + + JUD (SMILES) + 20. + + + Ayuh, it's a funny word, ain't it? + You tired of totin’ that yowwen + yet, doc? + + LOUIS + Not yet...how much further is it? + + JUD + Aw, you'll be okay. Less than a + mile. + + He starts off again, fresh as a daisy. ELLIE scampers after + him. + + LOUIS rolls his eyes at his wife and RACHEL rolls hers + back. Then they press on. + + +53 EXT. THE ARCH READING PET SEMATARY 53 + + +54 EXT. JUD AND THE CREEDS, ON THE PATH 54 + + JUD (STOPPING) + This is the place, honey. + + ELLIE is of course second. Se tries to read the words on + the arch but can’t. She whips around to look at her mother. + + ELLIE + What's it say, mommy? + + A strange expression has come over RACHEL'S face--she + doesn't like this. Not a bit. + + RACHEL + It says Pet Cemetery, hon. It's + misspelled, but...that’s what it + says. + + She runs for the arch. RACHEL starts; looks more uneasy + than ever. + + RACHEL + Ellen--! + + +55 EXT. ELLIE 55 + + She's almost under the arch. She looks back, questioning. + + +56 EXT. RACHEL, LOUIS, JUD 56 + 21. + + + RACHEL (A BIT LAME) + Be careful. + + +57 EXT. ELLIE 57 + + She goes racing into the Pet Sematary. + + +58 EXT. RACHEL, LOUIS, JUD 58 + + JUD lights a cigarette with a wooden match, using his + thumbnail. + + JUD + I told you it was a bad road, + Louis--it's killed a lot of pets + and made a lot of kids unhappy. But + at least something good come of it. + This place. + + ELLIE (EXCITED VOICE) + Mom! Dad! Y’oughtta see it! + + +59 EXT. ELLIE, AT THE EDGE OF THE SEMATARY 59 + + She surveys the rude markers with puzzled delight, then + runs toward the center, pausing to investigate some of the + markers as she goes. We clearly see the symmetrical pattern + of rings. + + +60 EXT. RACHEL, LOUIS, JUD 60 + + They are walking slowly toward that rude archway. LOUIS is + extremely interested in all this, but it’s becoming clearer + and clearer that RACHEL is troubled. They stop and look in. + + RACHEL + How can you call it a good thing? A + graveyard for pets killed in the + road! Built and maintained by + broken­hearted children! + + JUD + Well, but Missus Creed! It ain't + quite that way, dear! + + LOUIS + I think it's rather extraordinary. + + RACHEL + 22. + + + Extraordinarily morbid, maybe. + + She's growing more and more upset. JUD looks at her + curiously. + + JUD + Well...they have to learn about + death somehow, now don't they, + Missus Creed? The little ones? + + RACHEL (COLDLY) + Why? + + JUD + Well...well, because-- + + ELLIE (VOICE) + Mommy! Daddy! Look at me! + + +61 EXT. ELLIE, ON THE DEADFALL 61 + + She has begun to climb it, and this looks like an extremely + dangerous proposition. ELLIE, however, is having the time + of her life. A branch breaks under one of her feet and she + switches nimbly to the next one up. + + +62 EXT. THE GROWNUPS, AT THE ARCH 62 + + JUD (ALARMED) + No, honey! You don't want to go + climbing on that! Come on down! + + He hurries in. + + +63 EXT. EL HE, ON THE DEADFALL 63 + + She looks back at JUD. + + ELLIE + It's okay, Mr. Crandall-- + + +64 EXT. ELLIE'S FOOT, CU 64 + + The branch she's on breaks with a dry CRRRACK. Her foot + drops down suddenly. + + +65 EXT. ELLIE AND DUD 65 + 23. + + + She totters backward, pinwheeling her arms, and DUD catches + her as she falls. Not much of a catch because she wasn't + too far up. + + LOUIS joins DUD and ELLIE. GAGE jounces along on his back. + + LOUIS + Have you got a death-wish, Ellen? + + ELLIE + Well, I thought it was safe-- + + DUD + Best never to go climbing on old + blowdowns like this, Ellie-- + sometimes they bite. + + ELLIE + Bite? + + DUD + Ayuh. + + +66 EXT. RACHEL, STANDING AT THE ARCH 66 + + Her discomfort makes one thing very clear--she doesn't want + to come in. + + RACHEL (CALLS) + Is she all right, Louis? + + +67 EXT. LOUIS, DUD, ELLIE 67 + + LOUIS (CALLS BACK) + Fine! Come and see! + + +68 EXT. RACHEL, STANDING AT THE ARCH 68 + + RACHEL (CALLING) + I think I'll sit this one out, doc. + + +69 EXT. LOUIS, DUD, ELLIE--BY THE DEADFALL 69 + + ELLIE + I want to look around, daddy-- may + I? + + LOUIS + For a little while. + 24. + + + DUD looks toward: + + +70 EXT. RACHEL AT THE ARCH (ELLEN IN F.G.) 70 + + RACHEL has retreated a bit. She sits on the pine needle + carpet of the path, opens her purse, and draws out + cigarettes. + + +71 EXT. LOUIS AND DUD 71 + + DUD looks at LOUIS as if to say "What's all this about?” + LOUIS looks away. + + ELLIE (VOICE) + Dad! Daddy! Look! A goldfishie! + + +72 EXT. ELLIE 72 + + She runs from one tombstone to the next, cheerful as maybe + only a kid could be in such a place. She looks at BIFFER’S + tombstone; at SMUCKY'S. + + +73 EXT. LOUIS AND DUD 73 + + They are walking slowly toward her. LOUIS is looking at the + tombstones. + + LOUIS + I can hardly read these. + + DUD + Ayuh--they get older as you go + toward the middle. + (Points) + Pete LaVasseur's dog is buried + there... + (points) + the Stoppard boys’ racing pigeuri + LlidL MibbUb Cowley'b <\_dl + got...and I think that's the cat + himself right there, although it's + been so many years I can't tell for + sure. + (calling) + Missy Ellen! Come over here just a + minute! + + +74 EXT. ELLEN 74 + 25. + + + She runs amid the tombstones--they have worked their way + near to the center and there are quite a few of them--and + joins the adults. + + DUD + I see you're quite a reader for + such a little girl. Can you read + that? + + He points again, and Ellen goes over for a look-see. + + +75 EXT. ELLEN, AT THE GRAVE MARKER 75 + + It is a small slate marker slanted to one side. ELLEN reads + the words laboriously, tracing them with her finger. + + ELLEN + "Spot a good fellow we love you + boy." + (Pause) + "Owned by Dudson...Dudson..." Gee, + I can't read the rest. + + +76 EXT. DUD AND LOUIS 76 + + DUD + Last name's Crandall, little missy. + + LOUIS looks at him sharply as ELLIE rejoins them. + + DUD + That's where I buried my dog Spot + when he died of old age in 19 and + 14. Dug it good and deep. By the + time I finished, I had blisters all + over my hands and a hell of a crick + in my back. Soil's stony up here. + + ELLIE looks awed. LOUIS looks a little awed, too. + + DUD sweeps a hand around, indicating the whole sematary, + but is still looking at ELLEN. + + DUD + Do you know what this place is, + Ellie? Oh, I know you know it's a + boneyard, but a bone ain’t nothing + and even a whole pile of 'em don't + amount to much. Do you know what a + graveyard really lb? + 26. + + + ELLIE + Well...I guess not. + + JUD + It's a place where the dead speak, + Missy. + + He sees her startled, uneasy expression and laughs. He + ruffles her hair reassuringly. + + JUD + No--not right out loud. Their + stones speak...or their markers. + Even if the marker ain't nothing + but a tin can someone wrote on with + a Magic Marker, it speaks. Ain't + that so, Louis? + + LOUIS + I think it is so, Ellie. + + ELLIE + What if you can't read what’s + written on there anymore? + + JUD + Well, it still says some animal got + laid down here after, don't it? + + CLLIC + Yes-- + + LOUIS + And that someone cared enough about + that animal to mark the spot. + + ELLIE + To remember. + + JUD (SMILES) + Yes. To remember. This ain't a + scary place, Ellie. It's a place of + rest and speaking. Can you remember + that? + + ELLIE (A LITTLE AWED) + Yes, sir. + + They start to walk slowly back toward the arch. + + +77 EXT. RACHEL, OUTSIDE THE ARCH 77 + 27. + + + It’s clear she’s impatient and out-of-sorts with the whole + thing. + + RACHEL (CALLS) + Louis, can we go? I’m tired! + + +78 EXT. LOUIS, ELLIE, IUD 78 + + ELLIE + Mommy! This is a place where dead + animals talk! Mr. Crandall said so! + + +79 EXT. RACHEL AND ELLIE 79 + + But RACHEL is not amused. She doesn’t like any of this. + + RACHEL (SOFT) + Did he. + + +80 EXT. LOUIS AND JUD 80 + + LOUIS + My wife is not crazy about + cemeteries of any kind. As you may + have noticed. + + JUD + He neither. But I believe in + knowing your enemy. + + LOUIS looks at him, startled, then decides this is a joke. + He laughs. JUD smiles, a trifle thinly. + + +81 EXT. THE ARCH, A NEW ANGLE 81 + + The men rejoin RACHEL and ELLIE. + + LOUIS (VOICE) + Did we take too long? + + RACHEL (CURT) + Well, if supper's burned, I'm not + the one going out for pizza. + + They move away. + + +82 EXT. THE DEADFALL, FROM THE ARCH 82 + 28. + + + The face we saw at the beginning of the movie wasn't there + when the visitors were there...but it's sure there now, + leering at us. + + +83 INT. THE KITCHEN TRASH CAN - NIGHT 83 + + There are two greasy boxes poking out with NAPOLI PIZZA + stamped on them. Guess dinner was burned. + + THE CAMERA PULLS BACK and we se LOUIS sitting at the + kitchen table. The table is covered with newspapers. On it, + LOUIS is putting together a complicated model boat, using + glue and tweezers. He's wearing glasses. + + ELLIE comes in, wearing a nightgown. She watches him for + awhile. + + LOUIS (NOT LOOKING AROUND) + Hi, babe. + + ELLIE + Daddy, that Pet Sematary is there + because of the road, isn't it? + + LOUIS looks around at her, surprised. + + ELLIE + That's what I think. I heard Missy + Dandridge tell Mom when Church was + fixed he wouldn't cross the road so + much. + + LOUIS + Well, it's always better to take + precautions--but I'm sure Church + will be all right, honey... + + +84 INT. JUST OUTSIDE THE KITCHEN DOOR 84 + + RACHEL is coming along with some dirty dishes. She hears + voices and stops, listening, her face troubled and afraid. + + ELLIE (VOICE) + No he won't! Not in the end! He + won't be all right in the end no + matter how you fix 'im! + + +85 INT. LOUIS AND ELLIE 85 + + Ellis has started to cry. + 29. + + + ELLIE + In the end he’s gonna croak, isn't + he? + + LOUIS + Lovey...Church might be still alive + when you're in a high school...and + that’s a very long time. + + ELLIE + It doesn't seem long to me. It + seems short. I think the whole + thing about pets dying s-s-sucks! + + Poor kid’s bawling her eyes out now. LOUIS folds her into + his arms and she hugs him tightly, wanting his comfort. + + LOUIS + If it was up to me I'd let Church + live to be a hundred...but I don't + make up the rules. + + ELLIE (MUFFLED) + Well who does? God, I suppose. But + he's not God's cat! He's my cat! + Let God get His own, if He wants + one! Not mine! Not mine! Not-- + + She breaks down completely, sobbing, and LOUIS rocks her + back and forth. + + +86 INT. THE HALLWAY OUTSIDE THE KITCHEN, WITH RACHEL 86 + + She is crying silently. + + +87 INT. ELLIE'S BEDROOM - NIGHT 87 + + She is a dimly perceived hump in the darkness. An oblong + shaft of light falls on her, illuminating her more clearly. + She's asleep with her teddy encircled by one arm and her + thumb corked into her mouth. + + +88 INT. THE DOORWAY, WITH RACHEL 88 + + RACHEL looks at her daughter with infinite love and then + quietly closes the door. + + +89 INT. LOUIS'S AND RACHEL'S BEDROOM - NIGHT 89 + 30. + + +LOUIS is in his pajamas, propped up on pillows on his side +of the bed. There a number of medical books scattered +around him and he's making notes from one as RACHEL comes +in. + + RACHEL + She's finally asleep. + + LOUIS + She was a little over-excited, + that's all. Poor kid. + + RACHEL + It was that place. That creepy + cemetery up in the woods. Whatever + disease the kids in this town have + got, I don't want Ellie to catch + it. + + LOUIS + Jesus, Rachel, what’s got into you? + + RACHEL + Do you think I didn't hear her + tonight, crying as if her heart + would break? Here she is thinking + Church is going to die. + +It should be clear to us by now that, despite her words, +RACHEL is much more upset than ELLIE was. LOUIS slowly puts +his notebook aside and caps his pen. + + LOUIS + Rachel... someday Church is going + to die. + + RACHEL (WHIRLS ON HIM) + That is hardly the point! Church is + not going to die today, or + tomorrow-- Never mind. I can see + you don't have the slightest idea + what I'm talking about. + +She stalks to the bathroom, which adjoins. LOUIS follows. +She goes in and slams the door. He goes for the knob. + + LOUIS + Rachel--! + +SOUND: CLICK OF THE LOCK. + +LOUIS stares at the door, bewildered and upset. + 31. + + +90 EXT. ROUTE 9 - NIGHT 90 + + Here comes a big Orinco truck, droning along, headlights + glaring. + + +91 INT. LOUIS'S AND RACHEL'S BEDROOM 91 + + The headlights of the truck illuminate the room and we see + LOUIS and RACHEL asleep, each as far over to his/her own + side as he/she can get, with a big empty space in the + middle. + + Lights and TRUCK SOUNDS slowly fade. + + +92 INT. GAGE - MORNING 92 + + Cheerful little clots of scrambled eggs are scattered all + the way across the tray of his high-chair--it looks a + little like a map of the Pacific islands done by a guy who + only had a yellow crayon. + + Now he scoops up a handful and throws them. + + +93 INT. THE KITCHEN TABLE, WITH ELLIE 93 + + Splat! Eggs on the serving plate of toast. + + ELLIE + Yee-uck! Gross! + + +94 INT. THE KITCHEN, A WIDER SHOT 94 + + RACHEL is at the sink, doing dishes (we see the blackboard + with its message near her). + + LOUIS comes in, wearing a sport-coat and slacks, ready for + his first day on the job...and ELLIE is in a pretty first + day of school dress. + + LOUIS + He can't help it, babe. Emily Post + is going to be beyond him for a few + years. + + +95 INT. BY THE KITCHEN DOOR 95 + + Here is the cat-carrier with CHURCH inside it. He waows + unhappily. + 32. + + +96 INT. THE KITCHEN TABLE, WITH ELLIE AND GAGE 96 + + ELLIE gets down and goes across to the cat-carrier. + + ELLIE + I don't want him to get his nuts + cut, daddy! What if he dies? + + +97 INT. RACHEL AND LOUIS, BY THE SINK 97 + + LOUIS looks shocked and amused by ELLIE'S colorful choice + of words. + + LOUIS + Good God! Where'd you hear that? + + +98 INT. ELLIE 98 + + ELLIE + Missy Dandridge. And she says it's + a operation! + + +99 INT. RACHEL AND LOUIS, BY THE SINK 99 + + LOUIS tries to kiss RACHEL'S mouth. She turns her head + slightly so he gets her cheek instead. She's still mad. + LOUIS’S amusement dies. + + RACHEL + Honey, Church will be fine. + + +100 INT. ELLIE, BY THE CAT CARRIER 100 + + ELLIE + But what if he dies and has to go + to the Pet Sematary? + + +101 INT. LOUIS AND RACHEL, BY THE SINK 101 + + She gives him a look as if to say: "There! Now do you + understand what you did?" + + RACHEL + Don't be silly. Church is not going + to die. + + LOUIS + 33. + + + According to what Mr. Crandall + says, the road's a lot more + dangerous than the operation. + Church will be just the same. Well- + -almost the same--and we won’t have + to worry about him getting turned + into catburgers by one of those + damn Orinco trucks. + + At this RACHEL tightens up still more in that funny way-- + she's actually angered by LOUIS'S reference to catburgers-- + but under the anger we sense she is deeply shocked, as a + prudish woman might be shocked by a dirty joke. For RACHEL, + that's just what death is. + + RACHEL + That's enough of that kind of talk! + + LOUIS + I just said-- + + RACHEL + I know what you just said. Ellie, + clear your place. + + ELLIE goes slowly back to the table. + + ELLIE (SETS THE PLATE DOWN) + I'm scared. What if school here + isn’t like in Chicago! I’m scared + and I want to go h-h-home! + + ELLIE bursts into loud tears and puts her hands over her + face. + + +102 INT. THE KITCHEN, A NEW ANGLE (FEATURES LOUIS AND RACHEL) 102 + + THE CAMERA FOLLOWS as they go to the table to comfort + ELLIE. + + RACHEL + You’ll be fine, Ellie. Now you can + be excused. Go and wash your face. + + LOUIS + And Church will be fine. + + ELLIE (ANXIOUS) + Do you promise, Daddy? + + LOUIS + Well, honey...you know that... + 34. + + + RACHEL + Don't shilly-shally, Louis. Give + the little girl her promise. + + LOUIS (RELUCTANTLY) + Church will be fine. I promise. + + ELLIE + Yayyyy! + + She runs off, cheered up. And RACHEL is cheered up, too. + + RACHEL + Thank you, Louis. + + LOUIS + Oh, you’re welcome. Only if some­‐ + thing should go wrong while he's + under the gas--it’s a one-in-a- + thousand shot, but it happens--you + explain to her. + + He gets up and leaves the table. She looks after him, + stunned and a little frightened. + + +103 INT. GAGE 103 + + GAGE (CONVERSATIONALLY) + Here, Durch! + + He picks up a large glob of scrambled eggs from his tray + and throws it in the direction of the cat-carrier. + + +104 INT. THE CAT-CARRIER 104 + + CHURCH is close to the mesh, looking out. Scrambled eggs + hit the mesh, driving him back, surprised. + + +105 EXT. THE CREED HOUSE MORNING 105 + + The school bus pulls up, red lights flashing. ELLIE runs + toward it across the lawn, with her lunch-box. + + +106 EXT. LOUIS, RACHEL, AND GAGE, IN THE FRONT DOORWAY 106 + + RACHEL + Have a great day! + + LOUIS grabs GAGE’S hand and makes him wave it. + 35. + + + GAGE + Bye-bye! + + +107 EXT. THE BUS 107 + + ELLIE climbs abroad. The red flashers go out and the bus + pulls away. + + +108 EXT. THE CREED DRIVEWAY - MORNING 108 + + The station wagon is parked there. LOUIS comes out with a + heavy briefcase in one hand and the cat-carrier in the + other. He opens the wagon’s doorgate. + + A small car turns into the CREED driveway and parks beside + LOUIS. + + A rather sour-looking middle-aged woman gets out and + crosses the front of her car. Her color is bad. This is + MISSY DANDRIDGE. She looks at the cat-carrier. + + MISSY + Gonna get his-- + + LOUIS + --nuts cut, yes. Thank you, Missy, + for introducing that colorful + phrase into my daughter's + vocabulary. + + MISSY + Don't mention it. + + She opens the passenger side door of her car and we see a + big neat pile of folded sheets. She reaches for them, then + winces and presses her hands against her midriff for a + moment, as if with an attack of indigestion. + + LOUIS (SEES THIS) + How's that belly-ache of yours? + + MISSY (GETS THE SHEETS) + No better and no worse. + + LOUIS + You ought to see a doctor about it. + + MISSY + It'll pass. They always do. + + She starts toward the house with the sheets. + 36. + + +109 EXT. THE SIDE YARD - MORNING 109 + + RACHEL hurries past MISSY, who turns to look and then goes + on into the house. LOUIS has just put the cat-carrier into + the back of the wagon and closed the doorgate as RACHEL + reaches him. + + RACHEL (ANXIOUS) + Still friends, doc? + + LOUIS appears to consider this seriously for a moment...and + then he smiles and hugs her. They kiss. + + RACHEL + Thank God. I was a little worried + there. Have a great first day at + school, doc. No broken bones. + + LOUIS (SMILES) + Not so much as a sprain. + + +110 EXT. VICTOR PASCOW AND FRIENDS - MORNING 110 + + PASCOW is in a blanket that is being carried by three boys + and one girl. They are all yelling at each other not to + joggle him, not to drop him. A small knot of horrified + college kids moves with the bearers. + + PASCOW'S head is upside down to the CAMERA, which retreats + ahead of the advancing students. Fixed eyes stare. Half of + his head has been shattered inward. Before the catastrophe + he was a husky male of about twenty. He's dressed in a U of + M muscle shirt and red jogging shorts. + + THE CAMERA PULLS JERKILY TO ONE SIDE, allowing the bearers + to mount the steps of a brick building. The infirmary. The + lookers-on break to either side. The infirmary doors open. + + +111 EXT. NURSE CHARLTON, AT THE DOORS 111 + + She’s the head nurse, a tough old babe of about fifty. + + CHARLTON + Holy Jesus. + (turns) + Steve! Steve! Dr. Creed! Dr. Creed, + we've got a mess here! Stat! + + The bearers sweep past her and inside, leaving a red smear + of blood across the midriff of MARCY CHARLTON’S uniform. + 37. + + +112 INT. THE INFIRMARY RECEPTION AREA 112 + + THE CAMERA will show us all we need to see, but its + movements will seem almost random; this is like being in + the hotel kitchen after Sirhan shot Bobby. + + As the students bring in PASCOW, LOUIS comes running, + followed by STEVE MASTERTON, his P.A. Standing to one side + are two student nurses in candystriper uniforms. They're + boggled and horrified. + + LOUIS kneels. THE CAMERA RUSHES FORWARD, shoving between + onlookers. LOUIS looks at the wound. There’s shattered bone + and pulsing brain tissue beneath. + + There's a scream; the girl who was carrying one corner of + the blanket is having hysterics. + + GIRL + Vic! Vic! Oh Christ! Vic! + + LOUIS (TO CHARLTON) + Get her out. Get them all out. + + CHARLTON puts her arms around the girl. + + GIRL (STRUGGLING) + No! No! He can't die! He can't die! + + THE CAMERA MOVES BACK DOWN as LOUIS takes an opthalmascope + from STEVE and shines it in PASCOW'S bulging, fixed eyes. + + CHARLTON is just pushing the last of them gawkers and + bearers out the door. + + LOUIS + Steve, get the ambulance over here + right now. He’s got to go to EMMC. + + STEVE + The ambulance is at Sonny's Sunoco + downtown, getting-- + + LOUIS + --a new muffler, oh shit-- + + PASCOk makes a weird gargling noise. Blood suddenly spurts + out of his mouth. He begins to seizure. + + One of the candystripers shrieks. THE CAMERA JERKS UP TO + COVER the student nurses. One turns and throws up on the + wall. + 38. + + + CHARLTON rushes over. + + CANDYSTRIPER + I can't look at it...I can't stand + it... + + CHARLTON (SLAPS HER) + Yes you by God can. Go get the hard + stretcher! + + As they start away, one helping the other down the hall, + and as CHARLTON starts over to where PASCOW lies dying on + his blanket, THE CAMERA DROPS TO LOUIS AND STEVE. + + LOUIS + Help me hold him. + + They hold PASCOW'S spasming body. + + STEVE + It wouldn't matter if we did have + the ambulance. + + LOUIS + It wouldn't matter if we had the + SST. + + PASCOW begins to quiet. + + LOUIS + He's going. Steve, go call the + motor­pool. Marcy, roll out the + crash wagon. + + CHARLTON + It won't-- + + LOUIS + I know it won't! But let's for + God's sake do it by the rules! + + She leaves. LOUIS is alone with PASCOW. CHARLTON has drawn + the drapes, so the doctor and the dying man have complete + if temporary privacy. + + +113 INT. LOUIS AND PASCOW, A CLOSER SHOT 113 + + LOIS + There wasn't even supposed to be a + sprain today, my friend--that's + what I told her. + 39. + + + PASCOW'S fixed eyes suddenly roll and his left hand bear- + traps LOUIS'S right wrist. The dying man pulls him slowly + but relentlessly down, until their faces are only inches + apart. + + PASCOW + ...Pet Sematary. .. + + LOUIS recoils, breaking the grip of the hand...but he + cannot quite snap the grip of those bright dying eyes. + Blood leaks from PASCOW'S mouth. + + LOUIS (WHISPERS) + W-What did you say...? + + PASCOW struggles hard to speak again. At first he can only + gurgle. + + PASCOW + It's not the real cemetery... + (Long pause) + The soil of a man's heart is + stonier, Louis...a man grows what + he can...and tends it. + + LOUIS leans forward again, terrified, yet needing to know. + + LOUIS + How do you know my name? + + PASCOW (GURGLING) + I'll come...to you. + + LOUIS grabs PASCOW'S bloody shoulder. + + LOUIS (LOW BUT URGENT) + Dammit, how do you know my name? + + +114 INT. HALLWAY ENTRANCE TO RECEPTION, WITH STEVE 114 + + STEVE + Louis, they’re sending a-- + + +115 INT. LOUIS AND PASCOW 115 + + PASCOW begins to spasm again. + + LOUIS (SNAPS) + Help me! + + PASCOW spews more blood as STEVE kneels beside LOUIS. + 40. + + +116 INT. THE HAIN INFIRMARY HALLWAY 116 + + CHARLTON is pushing along your basic MEDCU goodie-cart, + covered with emergency life-saving gear. + + +117 INT. LOUIS, STEVE, PASCOW 117 + + PASCOW'S spasms are weakening. + + LOUIS (TO CHARLTON) + Never mind. He's going. + + PASCOW'S hand comes up and paws at LOUIS'S shirt, leaving a + bloody handprint. Then it falls limply back. PASCOW is + dead. + + LOUIS + Steve, will you get a sheet to + cover him with? + + STEVE leaves the frame and LOUIS stares fixedly down at the + body of VICTOR PASCOW. He closes the eyes. + + +118 EXT. A COUNTRY ROAD, LATE AFTERNOON 118 + + It’s the leading edge of Maine fall, sunny and wonderful. + Here comes LOUIS'S station wagon. As it reaches THE CAMERA, + it swivels to TRACK. + + RADIO (VOICE-OVER) + Tragedy struck on the first day of + the University of Maine's fall + semester when Victor Pascow, a + nineteen-year-old sophomore-- + + +119 INT. THE CAR, WITH LOUIS 119 + + He still looks shocked by the tragedy. The dying man's + bloody handprint is partly visible on LOUIS'S shirt in + spite of his sport-coat. + + LOUIS abruptly turns off the radio and swerves over to the + side of the road. + + +120 EXT. THE STATION WAGON 120 + + IT comes to a slueing, shuddering stop, almost going in the + ditch. + 41. + + +121 INT. LOUIS, BEHIND THE WHEEL 121 + + LOUIS + He said my name. I heard it. He + said my name. + + He stares blankly through the windshield. + + +122 EXT. THE CREED HOUSE - NIGHT 122 + + All lights are off. It’s late. + + +123 INT. THE CREED BEDROOM - NIGHT 123 + + LOUIS and RACHEL are asleep, each on his/her own side of + the big double. THE CAMERA MOVES IN ON LOUIS. + + SOUND: Loud, hollow BANG. It's very loud--loud enough to + wake the dead. + + LOUIS sits up. Beside him, RACHEL sleeps on. LOUIS'S eyes + widen in terror as he stares at: + + +124 INT. THE DOORWAY, WITH PASCOW 124 + + He's exquisitely dead. Now pallid as well as smashed up. + + PASCOW + Come on, doc. We got places to go. + + +125 INT. LOUIS 125 + + He is in terror...but he is also in a state of near-trance. + + +126 INT. PASCOW 126 + + PASCOW + Come on, doc--don't make me tell + you twice. + + +127 INT. LOUIS 127 + + He glances at RACHEL. Although PASCOW has spoken in a + fairly loud voice--and the opening door was like a bomb-- + she's still fast asleep. LOUIS looks back toward + PASCOW...and then gets out of bed. + 42. + + + He's naked except for a pair of pajama bottoms. + + +128 INT. PASCOW 128 + + He turns and leaves the doorway. + + +129 INT. LOUIS 129 + + He reaches the bedroom doorway himself and looks back at: + + +130 INT. THE BED, LOUIS'S POV 130 + + RACHEL is sleeping as before, and LOUIS himself is also in + bed asleep, although his rest is uneasy...as if he's having + a bad dream. + + +131 INT. THE DOORWAY, WITH LOUIS 131 + + LOUIS (RELIEVED) + Oh. Thank God. + + PASCOW (VOICE) + Hurry up, doc. + + +132 INT. THE KITCHEN 132 + + LOUIS enters and crosses toward the door which gives on the + shed/garage. This door stands open. LOUIS pauses by it. + + PASCOW (LOW) + Come on, doc... + + LOUIS goes into: + + +133 INT. THE SHED/GARAGE 133 + + The station wagon is a dark hulk. LOUIS crosses to it and + stands, perplexed. + + PASCOW looms softly behind him and puts an arm around him. + LOUIS turns... and suddenly his face is less than an inch + from PASCOW'S mutilated face. + + PASCOW + Let's go, doc. + 43. + + + LOUIS (MOANS) + I don't like this dream. + + PASCOW + Who said you were dreaming? + + He begins to move toward the garage door. After a moment + LOUIS follows him. + + +134 EXT. THE FIELD BEHIND THE HOUSE, LONG - NIGHT 134 + + We can see two shapes moving up the path toward the woods-- + PASCOW and, behind him, LOUIS. + + +135 EXT. THE PET SEMATARY ARCH 135 + + CAMERA HOLDS, THEN PANS DOWN as LOUIS passes under the + arch. + + +136 EXT. LOUIS, CLOSE 136 + + He looks around, obviously afraid. + + +137 EXT. THE PET SEMATARY, LOUIS'S POV 137 + + We can see why. By starlight this is one scary place. + + +138 EXT. LOUIS 138 + + He suddenly sees something else, and now his fear is close + to terror. + + +139 EXT. THE DEADFALL, LOUIS'S POV 139 + + The face is back in the tumbled branches. It yawns and + snarls. + + +140 EXT. LOUIS 140 + + He walks toward the deadfall as if hypnotized. PASCOW'S + hand falls on his shoulder. LOUIS turns, terrified. + + +141 EXT. PASCOW, CLOSE 141 + 44. + + + He really is a dreadful mangled mess. + + PASCOW + This is the place where the dead + speak. + + +142 EXT. LOUIS 142 + + He closes his eyes. + + LOUIS + I want to wake up. I want to wake + up, that's all. I-- + + +143 EXT. LOUIS AND PASCOW 143 + + PASCOW + The door must not be opened. The + barrier must not be crossed. Don’t + go on, doc. No matter how much you + + That grinning face--and perhaps now there are other effects + as well, subtle but there? Dim red light? A misty smoke + drifting through the tumbled dead branches? The director + will know. + + After a moment there is a HUGE GRUNTING ROAR from the woods + behind the deadfall--it sounds like no animal we've ever + heard before. + + There is the sound of something huge shifting and snapping + a tree like a toothpick. + + +144 EXT. PASCOW AND LOUIS 144 + + LOUIS has crumbled to PASCOW'S feet. His eyes are squeezed + tightly shut. + + LOUIS + Please, I want to wake up. Leave me + alone. It's not my fault you died; + you were as good as dead when they + brought you in-- + + PASCOW + The power of this place is old and + always restless. Sometimes the dead + do more than speak. Remember, doc. + + CAMERA BEGINS MOVING SLOWLY IN ON LOUIS. + 45. + + + LOUIS + Leave me alone! + + PASCOW + Remember. + + CAMERA IS TIGHT ON LOUIS. + + RADIO (VOICE) + --another beautiful day in Maine! + This is Michael O'Hara sayin' that + the git-go ain't gonna be that bad. + Temps are going all the way up to + 70... We got the Ramones for + Ludlow...here's "Sheena." + + As the Ramones start blasting "Sheena Is A Punk Rocker": + + +145 INT. LOUIS, IN BED 145 + + His eyes snap open. He's in his own bedroom. As he sits up + THE CAMERA ANGLE WIDENS OUT so we can see that he's in bed + alone; the covers on RACHEL’S side are thrown back. + + After the initial confusion and fear, LOUIS looks deeply + relieved; he looks the way I suppose we all look upon + waking up and realizing our worst dreams were only dreams + after all. + + RACHEL (CALLS) + You up, doc? + + LOUIS + Getting there. + + RACHEL + I got eggs down here! + + LOUIS + Good d-- + + He throws the covers back and freezes. + + +146 INT. LOUIS'S FEET, LOUIS'S POV 146 + + They are covered with mud and pine needles. The sheets are + greased with woods-muck. + + +147 INT. LOUIS, CU 147 + 46. + + + Utter terror. + + +148 INT. THE LAUNDRY CHUTE, CU 148 + + LOUIS'S hands enter the shot and dump a bundle of sheets + into the chute. + + +149 INT. LOUIS, IN THE UPSTAIRS HALL 149 + + He's naked but for a towel around his waist. He's obviously + fresh from the shower. + + He starts down to the bedroom to dress. + + BLACK. And on it a third title card: CHURCH. + + Over this the SOUND of a RINGING TELEPHONE. + + LOUIS (VOICE) + Hello? + + +150 INT. THE CREED LIVING ROOM - AFTERNOON 150 + + There's a bowling match on TV. LOUIS, dressed in his + Saturday afternoon grubs (jeans and a Maine sweatshirt), + has the phone to his ear. + + IUD CRANDALL (PHONE FILTER) + Louis? 'Fraid you may have a spot + of trouble. + + LOUIS (FROWNING) + Jud? What trouble? + + +151 INT. THE CRANDALL LIVING ROOM, WITH JUD 151 + + He's on the phone, looking out his window. + + JUD + Did you tell me Rachel took the + kids back to Chicago for a few + days? + + +152 INT. THE CREED LIVING ROOM, WITH LOUIS 152 + + LOUIS + 47. + + + For Ellie's birthday, yes. I didn't + go because her old man thinks I'm a + shit and the feeling is heartily + re­ciprocated...they'll be back + tomorrow night. Jud, what's this + about? + + +153 INT. THE CRANDALL LIVING ROOM, WITH JUD 153 + + JUD + Well, there's a dead cat over here + on the edge of my lawn, Louis. I + think it might be your daughter's. + + +154 INT. THE CREED LIVING ROOM, WITH LOUIS 154 + + LOUIS + Church? Oh. Oh, Jesus. + + +155 EXT. THE CRANDALL HOUSE, MEDIUM-LONG 155 + + We’re looking across from the CREED lawn. LOUIS waits for + one of those trucks to go blasting by and then crosses. + It's cold and windy. Downed autumn leaves fly. + + LOUIS and JUD stand over a small furry body like mourners. + + DUD (VOICE) + Well? + + +156 EXT. THE CAT'S BODY 156 + + It’s lying on its belly and doesn't look much damaged. + Hands-- + + LOUIS'S--come into the frame. He puts one hand under the + cat's head and lifts it so the open eyes, now a dull green, + stare into THE C/WERA. There's some blood on its ruff. + That's all. + + +157 EXT. LOUIS AND DUD, ON THE EDGE OF THE CRANDALL LAWN 157 + + LOUIS + It's Church. + + DUD + I’m sorry. At least it don’t look + like he suffered. + 48. + + + LOUIS + Ellie will, though. She'll suffer + plenty. + + From his jacket pocket he takes a green plastic garbage bag + and hands it to DUD. DUD holds the bag's mouth open on the + ground while LOUIS kind of shoves the body in. During this: + + DUD + Loved that cat pretty well, didn’t + she? + + LOUIS + Yes. + + LOUIS twists the bag shut and puts one of those plastic + ties on it. Then he holds it up. + + LOUIS + Bagged cat. What a mess. + + DUD + You going to bury him in the Pet + Sematary? + + LOUIS (A LITTLE BITTER) + I guess that’s what it’s there for, + huh? + + During all of this DUD has grown peculiarly intense. + + DUD + Going to tell Ellie? + + LOUIS + I don't know. + + DUD + Seems like you told me about a + promise you made-- + + +158 INT. THE CREED KITCHEN - MORNING 158 + + GAGE is in his high chair. ELLIE, in her first-day-of- + school dress, is in her place. LOUIS is sitting at his own + place staring, hypnotized, at the middle of the table, + where there is a large serving dish. On the dish is + scrambled eggs, strips of bacon, and CHURCH’S corpse-- + staring eyes, bloody ruff and all. + + RACHEL (IMPATIENTLY) + 49. + + + Don't shilly-shally, Louis. Give + the little girl her promise. + + +159 EXT. THE CRANDALL LAWN, WITH DUD AND LOUIS 159 + + LOUIS (DEFENSIVE) + That was a mistake. But Rachel... + she doesn't like to talk about + death, or even think of it. Her + younger sister died of spinal + meningitis when Rachel was eight. + Rachel was there when it happened. + Alone. I guess you could say it + made a complex. + + DUD + Cat's just as dead, Louis. + + LOUIS (SNAPS) + Well that's a big help! + (Pause) + I’m sorry, Dud. + + DUD + No need to apologize. + + LOUIS + Maybe when they call I’ll just tell + Ellie I haven't seen the damn cat + around. You know? + + DUD (AFTER A LONG PAUSE) + Maybe there’s a better way. + + +160 EXT. THE START OF THE PATH TO THE PET SEMATARY, LONG 160 + EVENING + + LOUIS and DUD cross the road from the CRANDALL side. LOUIS + is carrying the plastic bag in one hand and a flashlight in + the other. DUD has a pick and shovel in one hand and a + flashlight of his own in the other. + + Evening shadows have grown long. It’s maybe an hour until + dark. + + DUD and LOUIS stop near the replaced tire-swing. + + +161 EXT. LOUIS AND DUD 161 + 50. + + + DUD has a Walkman clipped to the belt of his pants and + earphones slung around his neck. + + LOUIS + Dud, this is crazy. It's going to + be almost dark before we get back. + + DUD + It's going to be dark before we + even get where we’re going, Louis. + But we can do it...and we're going + to. + + LOUIS + But - - + + DUD + Does she love the cat? + + LOUIS + Yes, but-- + + DUD + Then come on. + + He puts the earphones on, effectively forestalling further + argument, and pushes the PLAY button on the Walkman. We can + hear Marshall Crenshaw singing "Crystal Girl." DUD starts + away. After a moment, LOUIS follows. + + +162 EXT. THE PET SEMATARY AND THE BACK OF THE ARCH LATE - 162 + EVENING + + The SOUND of crickets...ree-ree-ree... + + The SOUND of footfalls. + + Faintly, the SOUND of Huey Lewis and the News, singing + "Working For A Living." + + It's now almost twilight. + + JUD and LOUIS enter the Pet Sematary. LOUIS is looking + around curiously. + + LOUIS + Well, folks, here we are, in Louis + Creed Dreamland. + + JUD snaps off the Walkman and puts the earphones around his + neck again. + 51. + + + JUD + What say, Louis? + + LOUIS + Nothing. + (Pause) + Do we plant him on the outer circle + or start a new one? + + JUD + We're still not where we’re going. + +He walks past LOUIS and toward the deadfall. LOUIS follows. + + LOUIS + What do you mean? + + JUD + The place we’re going is on the + other side of that. + +He points at the deadfall. + + LOUIS + We can't climb over that. We'll + break our necks! + + JUD + No. We won't. I have climbed it a + time or two before, and I know all + the places to step. Just follow + me...move easy...don't look + down...and don't stop. If you stop, + you'll crash through for sure. + + LOUIS + I'm not climbing that. + + JUD + Give me the cat. I'll take care of + it myself. + +He holds out his hand and LOUIS sees the old man means +exactly as he says. After a moment he says: + + LOUIS + Let's go. + +JUD starts up one side of the deadfall, and in spite of its +snarled tangles, he mounts as easily as a man climbing a +flight of stairs. After a few second, LOUIS follows. + + LOUIS (LOW) + 52. + + + Thank God my Blue Cross is paid up. + + +163 EXT. THEIR FEET 163 + + First JUD'S pass THE CAMERA, then LOUIS'S, partly obscured + by the swinging cat-bag. Their feet unerringly find the + right branches and just as unerringly miss holes which look + like ankle-breakers. + + +164 EXT. LOUIS 164 + + He's grinning, exhilarated. + + LOUIS + God, this is amazing! + + +165 EXT. JUD 165 + + There are beads of sweat on the old man's face. He looks + both stern and a little scared. + + JUD + Just don't stop and-- + + +166 EXT. LOUIS 166 + + He looks down. + + +167 EXT. LOUIS'S FEET 167 + + A dead branch snaps under one of them like a gunshot and + that foot plunges down maybe six inches. + + +168 EXT. LOUIS 168 + + He lurches to the edge of balance, then regains it. + + LOUIS + And don't look down. Right. + + He continues. + + +169 EXT. THE DEADFALL, REVERSE - TWILIGHT 169 + 53. + + + JUD reaches the top and starts down the far side. LOUIS + reaches the top. + + +170 EXT. LOUIS 170 + + LOUIS (AMAZED) + Holy...! + + +171 EXT. BIG GOD WOODS, LOUIS'S POV 171 + + In the dying glow of twilight, this should be a mystic, + awe­inspiring shot. There’s no more scrub underbrush and + junk pines and juniper-bracken here; ancient firs rise + almost like Sequoias. + + The sunset light shafts among them. This is a real + forest... an old forest. And winding upward among the trees + along that needle-carpeted floor, clearly marked by large + white stones, the path goes on. + + +172 EXT. LOUIS 172 + + He's stopped on top of the deadfall, still surveying all + this with frank amazement. + + +173 EXT. JUD 173 + + JUD (TURNS TO LOOK) + Come on, Louis--don't stop! + + +174 EXT. LOUIS, ATOP THE DEADFALL 174 + + LOUIS (GRINNING) + I'm all right! I'm f— + + +175 EXT. LOUIS'S FEET 175 + + One of the branches snaps. LOUIS'S foot plunges. His cuff + rips. + + +176 EXT. LOUIS, JUD'S POV 176 + + We’re looking up at a fairly steep angle as LOUIS staggers + off-balance. He steps with his other foot, misses, and goes + flying. + 54. + + +177 EXT. LOUIS, CLOSER 177 + + He does a half-somersault in the air and hits the deadfall + on his back, the green garbage bag flying out of his hand. + His flashlight also goes. Branches crack. White dust puffs + out from under him. + + +178 EXT. DUD, AT THE BASE OF THE DEADFALL 178 + + LOUIS thumps to the ground nearby. DUD kneels beside him. + + DUD + Louis! You all right? + + LOUIS sits up groggily. His pants are torn. His sweatshirt + is torn. His ankle is bleeding. + + LOUIS (DAZED) + Sure. I guess I just lost my happy + thoughts for a second there. + + LOUIS gets slowly up and retrieves the bag, which is rather + shredded now--and we can see catfur through some of the + rents. + + LOUIS (CONTINUES) + I shouldn't have stopped...and it + does bite. + + He whaps the flashlight against his palm a time or two and + the light comes on. Satisfied, he shuts it off. + + DUD + No, you shouldn't have stopped. But + you got away with it. Important + thing is are you sure you're all + right? + + LOUIS + Yes. + (Pause) + Where are we going, Dud? + + DUD + You'll see before long. Let’s go. + + He starts off up the path. After a moment LOUIS follows, + carrying the bag. + + +179 EXT. LOUIS AND DUD, FROM THE DEADFALL 179 + 55. + + + Again, there should be a sense of awe and mystery as they + go tolling up the path into the twilight, dwarfed by those + ancient firs. + + SOUND OF CRICKETS, LOW at first, then UP TO LOUD: Ree-ree- + ree... + + DISSOLVE TO: + + +180 EXT. LOUIS AND DUD, AT THE EDGE OF LITTLE GOD SWAMP 180 + BUILIGHT + + Lots of undergrowth here, and creeping ground-mist, too. + The SOUND OF CRICKETS is now only a part of the soundtrack: + BUZZ OF CICADAS, THUMP OF FROGS. Swamp-sounds. + + LOUIS looks frankly doubtful. + + DUD + This next bit's like the deadfall, + Louis-- you got to walk steady and + easy. Dust follow me and don't look + down. + + +181 EXT. LITTLE GOD SWAMP, LOUIS'S AND DUD'S POV DEEP TWILIGHT 181 + + Mysterious...awesome...scary. Dead trees poke out of the + murk like twisted hands. There's scummy water standing + around tussocks covered with long grass, most of it dead. + There's a lot of choking underbrush. + + All of this fades away into a grim, obscuring fog. + + +182 EXT. LOUIS AND DUD 182 + + DUD + Micmacs used to call it Little God + Swamp. + + LOUIS + Is there quicksand? + + DUD + Ayuh. + + LOUIS (NERVOUS; JOKING) + Are there ghosts? + + DUD looks at him expressionlessly. + 56. + + + DUD + Ayuh. + + DUD starts off, stepping to the first tussock. After a + moment, LOUIS follows. + + +183 EXT. DUD, CU 183 + + His face is set, strange. + + DUD + There's a lot of funny things down + this way, Louis. + + +184 EXT. LOUIS, BEHIND DUD 184 + + LOUIS + You're telling me. + + +185 EXT. DUD 185 + + DUD (STILL WALKING) + The air's heavier...more + electrical... something. You might + see St. Elmo’s Fire...what the + sailors call 'foo-lights.' It makes + funny shapes, but it's nothing. + + +186 EXT. LOUIS 186 + + HE looks up and his eyes widen as he sees: + + +187 EXT. ANGLE ON LITTLE GOO SWAMP, LOUIS'S POV 187 + + A faintly glowing, ethereal shape hangs in the branches of + one of the dead trees. It looks a bit like a corpse. In + fact, I think it looks quite a bit like PASCOW'S corpse. + + As we watch it fades...fades... is gone. + + +188 EXT. LOUIS 188 + + He's somewhere between being mystified and puzzled and + being scared. Now a weakly glowing fireball rolls slowly + across the surface of the standing water toward him...and + then just fades into the thick mist. + 57. + + + LOUIS + It's funny, all right. + + +189 EXT. DUD 189 + + DUD + Just don't stop, Louis. You don't + ever want to stop down here in + Little God. + (Pause) + And you don’t ever want to look + behind you, whatever you hear. + + +190 EXT. JUD AND LOUIS, LONG ANGLE - NIGHT 190 + + We see them moving through the mist like wraiths, JUD with + his digging tools, LOUIS with his light and his Hefty-Bag + coffin. The whole swamp is glowing dimly. + + +191 EXT. THE FAR SIDE OF LITTLE GOD SWAMP - NIGHT 191 + + In the extreme f.g. we can see firm ground sloping up. + Ahead is a thick white mist. And here comes JUD and LOUIS + slogging through it and out of it. Both of them are wet + from the knees down. They head into the woods on the far + side. + + +192 EXT. A LOW, STONY BLUFF OR STEEP HILL 192 + + In the book this is described as being almost a cliff, but + a rocky hill rising out of the woods would serve just as + well. We can see steps cut into the side, and two figures-- + LOUIS and JUD--toiling up them. + + +193 EXT. JUD AND LOUIS, A CLOSER SHOT 193 + + JUD'S panting and out of breath; LOUIS is, if anything, in + worse shape. + + JUD + Almost there, Louis. + + LOUIS + You keep saying that. + + JUD + This time I mean it. + 58. + + + He tops the last step and stands on a rocky level under the + stars, the wind blowing his hair off his deeply lined brow. + A few moments later LOUIS joins him and stares with + undisguised wonder. + + +194 EXT. THE MICMAC BURYING GROUND, LOUIS AND JUD’S POV 194 + + The top of this hill or bluff is rocky and bare, but there + are a number of rocky piles. But for every pile of rocks we + can see, there are ten littered heaps, as if the neat piles + had been burst apart. There's a shape to all of this, and + it is the shape of the Pet Sematary: concentric circles. + + SOUND: The wind, blowing ceaselessly. + + +195 EXT. LOUIS AND JUD, AT THE EDGE OF THE BURYING GROUND 195 + + LOUIS (AWED) + What is this place? + + JUD + This was their burying ground, + Louis. + + LOUIS + Whose burying ground? + + JUD + The Micmac Indians. I brought you + here to bury Ellen's cat. + + LOUIS + Why? For God’s sake, why? + + JUD + I had my reasons, Louis. We’ll talk + later. All right? + + LOUIS + I guess so...but... + + JUD + You want to rest a bit before you + start? + + LOUIS + No, I’m okay. Will I really be able + to dig him a grave? The soil looks + thin. + + JUD + 59. + + + Soil's thin, all right. But you’ll + manage. + + He hands him the pick and shovel. + + JUD + I'm going to sit over yonder and + have a smoke. I’d help you, but + you’ve got to do it yourself. Each + buries his own. That’s how it was + done then. + + JUD walks away, leaving LOUIS with the digging tools in one + hand and the flashlight in the other. After a minute, LOUIS + walks out into the burying ground. + + +196 EXT. LOOKING DOWN INTO A SHALLOW HOLE - NIGHT 196 + + SOUND: The wind. It blows ceaselessly up here. + + The hole’s about two and a half feet deep. Stubby rocks + protrude from the sides. The pick comes down, hits a rock + at the bottom, and flashes fire. + + +197 EXT. LOUIS 197 + + He drops the pick and sticks his hurt hands in his armpits. + Beside him we see a low pile of rocks and earth. + + JUD (VOICE) + Should be deep enough. + + He joins LOUIS. He's got a lot of rocks in his arms. + + LOUIS + You think so? + + He notices the rocks. + + LOUIS + What are those for? + + JUD + Your cairn. + + +198 EXT. THE MICMAC BURYING GROUND, LOUIS'S POV 198 + + Those tumbled piles of rock are very obvious. + 60. + + +199 EXT. LOUIS AND JUD, BY CHURCH'S GRAVE 199 + + LOUIS + Doesn't look like they last long. + + JUD + Don’t worry about that. + + LOUIS + Jud, why am I doing all this? + + JUD + Because it's right. + + He walks off again. + + LOUIS looks after him for a moment, then kneels down. + + +200 EXT. LOUIS, BY THE GARBAGE BAG 200 + + He opens it and looks in at CHURCH’S stiffening corpse. + + LOUIS + Pax vobiscum, Church old buddy. You + were a hell of a god cat. I doubt + if you were worth all this + aggravation, but you were a hell of + a good cat. + + He tumbles the bag containing the body into the grave, and + then begins pushing the stony soil over it with the spade. + + +201 EXT. THE CAIRN, CU - NIGHT 201 + + LOUIS'S hands come into the frame and add a final two or + three stones. + + +202 EXT. LOUIS, BY THE CAIRN 202 + + He looks at it for a moment and stands up. IUD is right + there. + + JUD + That's fine. You did real good. + + LOUIS looks at him. + + +203 EXT. THE CREED HOUSE - NIGHT 203 + 61. + + + There's a light on in the kitchen, but that's all. There’s + silence at first, and then the PHONE STARTS RINGING. + + +204 EXT. LOUIS'S FIELD - NIGHT 204 + + LOUIS and IUD are coming down the path with their tools and + their lights. They are both clearly fagged out. + + SOUND, FAINT: The telephone. + + LOUIS + Oh, shit! Rachel! + + He drops the tools and sprints. + + +205 EXT. THE CREED'S SIDE YARD, BY THE TIRE SWING 205 + + LOUIS runs into the side yard. SOUND of the phone is + louder. + + +206 EXT. THE KITCHEN DOOR OF THE CREED HOUSE, WITH LOUIS 206 + + He runs to the door and inside. + + +207 EXT. THE END OF THE PATH, WITH IUD 207 + + He stands there, eyes inscrutable. + + +208 INT. THE LIVING ROOM, WITH THE PHONE 208 + + It stops. A beat later LOUIS enters the room. He picks it + up, although he already knows it's too late. He listens to + the SOUND of the dial tone and then drops it back into the + cradle, disgusted. + + He starts to dial a number from memory. + + IUD (VOICE) + Louis. + + +209 INT. THE KITCHEN/LIVING ROOM DOORWAY, WITH JUD 209 + + JUD + 62. + + + When you talk to 'em, not one word + about what we done tonight. + 'S'far’s you know, the cat's still + fine. + + +210 INT. LOUIS, BY THE PHONE 210 + + After a moment he lowers it into the cradle. + + +211 INT. JUD 211 + + JUD + You'll understand. In the meantime, + keep your peace. What we did, + Louis, was a secret thing. Women + are supposed to be the ones who are + good at keeping secrets, but any + woman who knows anything at all + would tell you she's never seen + into a man’s heart. The soil of a + man’s heart is stonier, Louis--like + the soil up there in the old Micmac + burying ground. A man grows what he + can...and tends it. + + During this, he's come across the room to LOUIS and dropped + his hand on LOUIS'S shoulder. + + LOUIS + But - - + + JUD + No buts! Accept what’s done, Louis. + What we done was right. Another + time it might not be, but tonight + it was... at least I hope to Christ + it was. Now you make your + call...but not a word about + tonight. + + +212 EXT. THE ROAD, WITH JUD 212 + + SOUNDS: Boops and beeps of a touch-tone telephone. Ringing. + Then: + + DORY GOLDMAN (VOICE) + Goldman residence. + + LOUIS + Hi, Dory...it's Louis-- + 63. + + + During this, another SOUND has been growing: an approaching + truck. + + As JUU gains his side of the road, he looks back, and we + read fear on his face--no matter what he said to LOUIS, + he’s sorry for tonight's piece of work. + + A moment later a highballing Orinco truck cuts between THE + CAMERA and JUD. + + +213 INT. LOUIS, IN THE LIVING ROOM - NIGHT 213 + + He's on the phone, smiling and happy. + + RACHEL (VOICE) + You want to talk to the birthday + girl? + + LOUIS + That'd be real fine. + + ELLIE (VOICE) + Hi...daddy? + + LOUIS (SINGS) + Happy birthday to you/Happy + birthday to you/Happy birthday, + dear Ellie/Happy birthday to you! + + ELLIE (VOICE) + That was awful, daddy. + + LOUIS + Yeah, I know...how are things out + there in Chicagoland? + + ELLIE + Fine...except when Hom was airing + Gage's diaper rash, he walked away + and got into Grampa's study and + pooped in Grampa’s favorite chair. + + LOUIS (GRINNING BROADLY) + Way to go, Gage! + + ELLIE (VOICE) + What? + + LOUIS + I said that's too bad. What did you + get for presents from Gramma and + Grampa? + 64. + + + ELLIE (VOICE) + Lots of stuff! I got two + dresses...and a Chatty Cathy + doll... + + +214 INT. THE GOLDMAN LIVING ROOM, WITH ELLIE 214 + + She's dressed for bed, in fuzzy pink pajamas. Her Chatty + Cathy is crooked in one arm. In her lap is a Garfield + transistor radio. + + TLLLT + ...and a Garfield radio! How's + Church, dad? Does he miss me? + + +215 INT. THE CREED LIVING ROOM, WITH LOUIS 215 + + The smile fades off his face. It's replaced with a look of + combined guilt and unhappiness. He’s looking at his hands, + which are still dark with the dirt from CHURCH’S grave. + + LOUIS + Well...I guess he's just fine, + Ellie. I haven't seen him this + evening, but-- + + +216 INT. THE GOLDMAN LIVING ROOM, WITH ELLIE 216 + + RACHEL, holding GAGE, sits on the arm of ELLIE'S chair. + + ELLIE + Well, make sure you put him down + cellar before you go to bed so he + can't run out in the road and get + greased. And kiss him goodnight for + me. + + LOUIS (VOICE) + Yuck! Kiss your own cat! + + ELLIE + Want to talk to Gage? + + Before he can answer, she puts the phone in GAGE’S hand. + ELLIE and RACHEL watch, amused, as GAGE gobbles into it. + Perhaps RACHEL encourages him to say a few words. + + +217 INT. THE CREED LVING ROOM, WITH LOUIS 217 + 65. + + + From the telephone comes the sound of GAGE talking and + chortling. + + LOUIS is not listening. His eyes--and his mind--are far + away. + + +218 EXT. THE CREED HOUSE - MORNING 218 + + LOUIS is raking leaves on the side lawn, near the tree with + the tire swing. After a moment or two of this he props the + rake against the tree and starts toward the garage. He goes + in. + + +219 EXT. THE GARAGE, WITH LOUIS 219 + + It’s dim in here. LOUIS is crossing to the door which + communicates to the kitchen. As he passes the station + wagon, he hears a cat HISS. He turns. + + +220 INT. CHURCH, ECU 220 + + He's on top of the car, but at this point we probably don't + notice; THE CAMERA is so close that CHURCH looks like he's + coming right down our throats. He's hissing angrily. + + +221 INT. LOUIS 221 + + He recoils and stumbles backward with a cry. He hits a + tool-rack on the wall and a lot of them fall down with a + LOUD JANGLING NOISE. + + +222 INT. ON TOP OF THE STATION WAGON, WITH CHURCH 222 + + He jumps down, frightened by the noise, and the CAMERA + TRACKS as he goes flying out the garage door into the + sunlight. + + +223 INT. LOUIS 223 + + He gets slowly to his feet again. He’s getting over his + fright but we can see he's totally freaked out by what gave + him that fright. + + He goes to the garage door and looks out. + + LOUIS (CALLS) + Church? + 66. + + +224 EXT. THE SIDE YARD, LOUIS'S POV 224 + + Grass and fallen leaves. No sign of CHURCH. + + +225 EXT. LOUIS'S STUNNED FACE, CU 225 + + +226 INT. THE KITCHEN, WITH LOUIS 226 + + He's spooning cat-food into a dish. He goes to the door-- + there should be a total of three doors in the kitchen: one + to the living room, one to the shed/garage, and one which + leads directly outside. LOUIS uses this latter door now. + + +227 EXT. THE KITCHEN STOOP, WITH LOUIS 227 + + He puts the dish of food down and sits beside it. + + LOUIS + Food, Church...food! + + SOUND: Miaow. + + +228 EXT. THE SIDE OF THE HOUSE, LOUIS'S POV 228 + + CHURCH comes slinking out of the bushes and comes slowly + toward THE CAMERA. He stops, looking mistrustful. + + +229 EXT. LOUIS 229 + + LOUIS + Come on, Church! Chow down! + + +230 EXT. CHURCH 230 + + He crosses to the stoop and begins eating the food. + + LOUIS + (to himself) + Christ. I don't believe this. + + He picks CHURCH up. CHURCH miaows again--he wants the food. + + LOUIS (WINCING) + God, you stink, Church. + 67. + + + CHURCH is looking at the food, trying to get out of LOUIS'S + arms. + + LOUIS + In a second. + + He tilts the cat's head back so he can get a look at + CHURCH'S neck. + + +231 EXT. CHURCH'S NECK, CU (LOUIS'S POV) 231 + + There's some sort of mark here--a clear remnant of the + crash. A line of white fur, or perhaps a dark red scar + where no fur at all grows. + + +232 EXT. LOUIS AND CHURCH, ON THE STOOP 232 + + LOUIS sees something else as he lets the cat's neck go. He + tweezes something out of CHURCH'S whiskers. + + +233 EXT. LOUIS'S HAND, ECU 233 + + It’s a shred of green plastic. + + +234 EXT. LOUIS AND CHURCH 234 + + LOUIS + Chewed his way out. Jesus + Daldheaded Christ, he ch-- + + CHURCH suddenly claws at his face. + + LOUIS + Ow! + + He claps his hand to his face. CHURCH leaps for the food. + LOUIS slowly takes his hand away. There are claw marks on + his cheek, welling blood. He looks at the cat. + + +235 EXT. JUD CRANDALL'S GARDEN, WITH DUD 235 + + The garden is a plot of about half an acre. JUD comes + trundling slowly along a row, pushing a wheelbarrow. There + are several pumpkins in it. JUD is wearing old khaki + gardening pants and a Ramones sweatshirt. He’s wearing his + headphones and we can hear the Romantics doing "What I Like + About You." JUD is singing along and bopping a little--as + much as his arthritis will allow, if you can dig it. + 68. + + + He sees a real big pumpkin, stops, and bends over to get + it. + + He takes out his pocket-knife and slits the pumpkin-vine. + He gets the pumpkin in his arms and stands up. He + turns...and LOUIS is right there (kind of a cheap jump, but + always fun), looking totally stunned. + + JUD, startled, drops the pumpkin. LOUIS reaches out and + slides the phones off JUD'S cars. + + LOUIS + What did we do? + + +236 INT. THE CRANDALL KITCHEN 236 + + LOUIS is sitting at the kitchen table. JUD is at the + fridge. JUD comes back with a couple of long-necked bottles + of beer and opens them. + + JUD + I most generally don't start before + noon, but this looks like an + exception. + + LOUIS + What did we do, Jud? + + JUD + Why, saved a little girl from being + unhappy...that's all. Drink up, + Louis! + + LOUIS drinks about half the beer. + + LOUIS + I tried to tell myself I buried him + alive. You know--Edgar Allan Poe + meets Felix the Cat. But... + + JUD + Wouldn't wash? + + LOUIS + No. I'm a doctor. I know death when + I see it, and Church was dead. He + smells horrible and he uses his + claws, but he's alive...and I feel + like I’m going crazy. It was that + place, wasn't it? + + JUD + 69. + + + Ayuh. It was the rag-man told me + about the place--Stanley Bouchard. + Us kids just called him Stanny B. + He was half Micmac himself. + + LOUIS drains his beer. + + LOUIS + Can I have another one? + + JUD + I guess it wouldn't hurt. + + He gets up and goes to the fridge. + + +237 INT. JUD, AT THE FRIDGE 237 + + JUD + The Micmacs used to bury their dead + up there long before the whites + came. + + He returns to the table with the beer. + + JUD + They buried their dead and for a + long time their dead stayed buried. + Then something happened. Half the + tribe died in a season. The rest + moved on. They said a Wendigo had + soured the ground. + + LOUIS + Wendigo? + + JUD + Spirit of the north country. Not a + good spirit. Wendigos are great + liars and tricksters, according to + the stories. And if one touches + you... + + JUD pauses, perhaps a flustered, and gathers his thoughts. + + JUD + Maybe it really was a Wendigo-- I + ain’t the one to say it wasn't-- or + maybe it was just some disease. + Whatever the reason, those that + were left moved on. But they left + that place...the way it is now. + 70. + + + JUD shrugs, and drinks. + + +238 EXT. JUD AS A BOY, CU/SEPIA TONE - DAY 238 + + The time here is about 1910. JUD is wearing short pants. + He's crying, not in any big-deal histrionic way, but as if + he means to keep doing it for a long time. I mean he looks + really sad. + + JUD (VOICE) + I loved my dog a lot, Louis. When + Spot died, I thought I was gonna + die. + + JUD is sitting on the front stoop. It's the same house JUD + lives in now, but the porch hasn't been added yet, and the + road is dirt rather than tar. + + Along this road comes a horse-drawn wagon--STANNY B.'S + wagon. The wagon's full of junk, rags, bottles...stuff to + sell and swap. + + Strung across the top are bells, and we can hear their + CHIMING SOUND...but faint, like bells heard in a dream. + + STANNY B. is old and drunk. Dust spumes up behind the wagon + as he draws up to the CRANDALL house and stops. He gets + down, almost falls, takes a bottle out of his back pocket, + drinks, and approaches JUD. We can see him speaking. + + +239 INT. JUD’S KITCHEN, WITH JUD AND LOUIS 239 + + LOUIS + You and this old Indian rag-man-- + + JUD + Stanny B. did for me what I did for + you last night, Louis. Only I + wasn't alone when Spot came back. + + +240 EXT. THE CRANDALL BACK YARD/SEPIA TONE - DAY 240 + + JUD'S MOTHER is back to THE CAMERA, hanging sheets on the + line. + + The sheets billow. And suddenly, pushing out from behind + them, quite near her, is a small mongrel dog. SPOT. He's + covered with graveyard dirt. His eyes are red and rolling. + He splashes the sheets with the muck of his passage. + 71. + + + JUD (VOICE) + My mother was with me. + + She sees who it is--what it is--and backs away, screaming, + horrified. + + +241 EXT. SPOT, CLOSER/SEPIA 241 + + JUD (VOICE) + He’d got caught in bobwire that + infected. You could still see the + marks on him. + + And so we can, around his neck and along the side of his + head. + + These marks are the counterpart of the marks we've already + seen on CHURCH. + + SOUND of JUD'S MOM SCREAMING. Like the bells, these are + screams heard in a dream. + + +242 EXT. THE BACK STOOP OF THE CRANDALL HOUSE/SEPIA 242 + + The BOY JUD comes running out, dressed in a night-shirt. + + +243 EXT. JUD’S MOM/SEPIA (JUD'S POV) 243 + + She’s cringing against the fence at the rear of the yard. + SPOT stands in front of her, swaying from side to side, as + if doped. + + JUD'S MOM (DIM; FAR) + Get your dog, Jud! He stinks of the + ground you buried him in! Come here + and get your dog! + + She is in utter terror. + + +244 EXT. THE BOY JUD/SEPIA 244 + + Horrified...ashamed. + + +245 EXT. JUD’S MOM/SEPIA 245 + + JUD’S MOM (TERROR) + COME AND GET YOUR DOG!! + 72. + + +246 INT. JUD AND LOUIS, IN JUD’S KITCHEN 246 + + LOUIS + How did your mother take it, Jud? + How did she take it when your dog + came back from the dead? + + JUD'S face is a complication. He's lying to LOUIS, + certainly--but is he also lying to himself? Yes, I think + so. + + JUD + Well, she was a little upset at + first, and that's why I thought you + ought to hold your peace when you + talked to your people last + night...you did, didn't you, Louis? + + LOUIS + Yes. + + JUD + Why, then, things should be fine. + + LOUIS + A little upset is all she was? + Because I'll tell you, Jud, my + brains feel a little like a nuclear + reactor on the edge of a meltdown. + + JUD + She got used to the idea. Spot + lived another four years. He died + peacefully in the night that second + time, and I buried him in the Pet + Sematary. ..where his bones still + lie. + + +247 EXT. THE ROAD BETWEEN THE TWO HOUSES, WITH LOUIS AND JUD 247 + + We see them crossing. + + LOUIS (VOICE) + You still haven't told me why you + did it. + + +248 EXT. JUD AND LOUIS, ON THE CREED FRONT LAWN 248 + + JUD + 73. + + + A man doesn’t always know why he + does things, Louis. I think I did + it because your daughter ain't + ready for her favorite pet to die. + + LOUIS + What? + + JUD + Ellie’s a little scared of death. + And the main reason Ellie's that + way is because your wife is a lot + scared of death. Now you just go + ahead and tell me I'm wrong. + + But LOUIS’S reaction tells him he's not wrong--in fact, JUD + has hit the nail right on the head. + + +249 INT. BATHTUB FIXTURES, CU 249 + + LOUIS'S hands come into the frame and turn the spigots. + + +250 INT. THE BATHROOM, WITH LOUIS 250 + + He starts to undress, still looking troubled. We should + notice that the door behind him is firmly shut. The + bathroom has no windows. + + +251 INT. THE BATHTUB SPIGOTS 251 + + The hot water is steaming. LOUIS'S hands enter the frame + and turn off the faucets. SOUND of LOUIS climbing in. + + +252 INT. LOUIS IN THE TUB 252 + + A big sigh and an expression of exquisite pleasure. He + relaxes in the hot water. After a few moments he puts a wet + washcloth over his face. + + +253 INT. BY THE KITCHEN SINK, WITH RACHEL 253 + + RACHEL + Don't shilly-shally, Louis. Give + the little girl her promise. + + +254 INT. THE KITCHEN TABLE 254 + 74. + + + GAGE is in his high chair. ELLIE is at her place, crying. + In RACHEL’S place sits VICTOR PASCOW, bloody and wrecked. + LOUIS sits in his place. On the platter of bacon and + scrambled eggs is CHURCH’S mangled body. + + PASCOW + The door must not be opened. The + barrier must not be crossed. + + LOUIS + You don't understand-- + + +255 INT. THE BATHTUB, WITH LOUIS 255 + + The washrag is slipping, but it still covers his face. + + LOUIS (MUTTERS) + --I'm a doctor. + + +256 INT. THE CREED KITCHEN TABLE 256 + + In attendance: PASCOW, LOUIS, ELLIE, GAGE in his high + chair. Lying in the middle of the table, clotted with dirt + and blood, eyes staring, neck a gory mess of infected + wounds, is SPOT. He's also dotted with clots of scrambled + egg and bits of bacon. + + PASCOW + Sometimes the dead do more than + speak. Remember, doc. + + +257 INT. RACHEL, AT THE KITCHEN SINK 257 + + RACHEL (WITH GREAT FORCE) + Don't shilly-shally, Louis. Promise + me. Promise me. Promise me. + + +258 INT. THE BATHTUB, WITH LOUIS 258 + + The washcloth has slipped enough so we can see his eyes are + closed--he's dozing. + + LOUIS + Promise... + + +259 INT. THE CREED KITCHEN TABLE 259 + 75. + + + To LOUIS, ELLIE, PASCOW, GAGE, and the corpse of SPOT + enters JUD, his eyes shocked and staring. + + JUD (TO LOUIS) + You do it for all the best reasons, + but that ain't why. You do it + because it gets hold of you...you + do it because you have to. + + +260 INT. LOUIS, IN THE BATHTUB, CU 260 + + The washrag has worked its way down to his mouth by now. + His doze is deepening; he's started to snore a little. + + SOUND: A splash. Something has been dropped into the bath. + + LOUIS opens his eyes. Looks puzzled. Looks down. Eyes widen + in shock. + + +261 INT. THE BATHWATER, LOUIS'S POV 261 + + A very large and very mangled dead rat floats in the bath, + actually brushing against LOUIS'S chest. Blood has begun to + stain the water. + + +262 INT. LOUIS 262 + + Turns his head, preparatory to leaping out. + + +263 INT. THE TOILET LID, WITH CHURCH 263 + + Its mouth yawns open. It hisses, showing bloodstained + teeth. + + +264 INT. THE BATHROOM 264 + + LOUIS leaps from the tub. Grabs a towel and begins to rub + himself frantically. He’s grossed out. The cat tries to + arch against him and he hits it. CHURCH falls to the floor, + hissing. + + LOUIS looks at the closed door. + + LOUIS + How the hell did you get in? + 76. + + + He may not know that, but he knows how it’s going to get + out. He opens the door to the upstairs hall. If CHURCH + doesn't go at once, LOUIS helps it with his foot. + + Then he looks down at: + + +265 INT. THE BATHTUB WITH BRER RAT, LOUIS'S POV 265 + + +266 INT. LOUIS 266 + + Staring at the rat. Over this: THE SOUND OF JET ENGINES. + + +267 EXT. A DELTA 727 267 + + Its landing gear unfolds preparatory to touching down at + Bangor International Airport. + + +268 INT. A DELPLANTING AREA - DAY 268 + + Lots of people making their way up the jetway. + + +269 INT. LOUIS, OUTSIDE THE SECURITY POINT 269 + + He's looking anxiously for his people. In one hand he's got + half a dozen roses. His face lights up. + + +270 INT. THE DEPLANING AREA, LOUIS'S POV 270 + + Here comes LOUIS'S family. ELLIE is a little ahead. RACHEL + is pushing GAGE in his stroller. ELLIE sees LOUIS and + lights up. + + ELLIE + Daddy! + + She runs for him. + + +271 INT. DUST OUTSIDE THE SECURITY POINT 271 + + ELLIE comes belting up to LOUIS, weaving among the + deplanees like a slalom skier. She leaps into his arms. + LOUIS swings her cheerfully. + + LOUIS + Hi, sugar! + 77. + + + She smacks him noisily. He smacks her back just as noisily. + + ELLIE + Daddy, is Church all right? + + LOUIS'S face changes. All at once he's watchful. + + LOUIS + Yes...I guess so. He was sleeping + on the front porch when I left. + + ELLIE + Cause I had a bad dream about him. + I dreamed he got hit by a car and + you and Mr. Crandall buried him in + the Pet Sematary. + + LOUIS (TRYING TO SMILE) + That was a silly dream, wasn't it? + + ELLIE + Is he really all right? + + LOUIS + Yes. + + ELLIE + Because you promised. + + LOUIS + I know. + + RACHEL reaches them. She's pretty tired. Hair hanging in + her face, good travelling clothes now looking a bit + wrinkled and a bit stale. + + RACHEL + Want to take your son, doc? + + LOUIS does. GAGE is ecstatic. + + LOUIS kisses RACHEL deeply. + + +272 INT. THE CREED KITCHEN - NIGHT 272 + + CHURCH at the door, waiting to be let out. ELLIE does the + honors. + + CHURCH oils out into the shed/garage. ELLIE closes the + door. She looks distressed. She crosses the kitchen again. + 78. + + +273 INT. THE CREED LIVING ROOM - NIGHT 273 + + RACHEL, in a flannel nightgown, is watching TV. LOUIS is + reading a medical tome and making notes. GAGE, zipped into + a warm blanket suit, is sacking on the couch. + + ELLIE (ENTERING) + Can cats have shampoos? + + RACHEL + Yes--you have to take them to + someone who grooms animals, though. + I think it's pretty expensive. + + ELLIE (STILL UPSET) + I don't care. I'll save up my + allowance and pay for it. Church + smells bad. + + LOUIS + I've noticed it, too. I'll cough up + the money, Ellen. + + ELLIE + I hate that smell. + + +274 INT. LOUIS, CU 274 + + He looks both grim and sad--a man discovering that what you + pay for you own, and what you own always comes home to you. + + LOUIS + Yes--I hate it, too. + + BLACK. And on it, a fourth title card: MISSY DANDRIDGE. + + SOUND: A pen scratching over paper. + + +275 INT. A STUDY DESK, CU 275 + + A single sheet of lined paper is spotlighted by the glow of + the desk-lamp. On it, MISSY'S right hand is just finishing: + "Dr. says Intestinal Cancer. Cannot face this Pain. Sorry." + + The hand puts the pen down. It tears the paper in two, + leaving just the half with the message. + + +276 INT. THE DANDRIDGE CELLAR - NIGHT 276 + 79. + + + A light comes on and we see a hangman's noose strung over a + beam. + + It dangles above a kitchen table which has been relegated + to cellar duty. + + SOUND: Descending footsteps. + + +277 INT. THE NOOSE, CU 277 + + SOUND of MISSY climbing onto the table. + + Her face enters the frame. She looks very sick. She puts + her head into the noose and rakes it tight at the hyoid + bone. + + +278 EXT. THE DANDRIDGE HOUSE - NIGHT 278 + + One light on...a cellar light. + + SOUND: Ree-ree-ree...then... + + SOUND: Kick! THUMP! + + SOUND: Ree-ree-ree... + + +279 INT. THE CELLAR, WITH MISSY DANDRIDGE 279 + + She hangs limply, hands dangling at her sides, above the + table, which now lies upon its side. We can see the note + clearly. She pinned it to the bodice of her housedress. + + SOUND: Car engines starting up. + + +280 EXT. IN FRONT OF THE GRACE METHODIST CHURCH - DAY 280 + + People are coming out and getting into their cars and + turning on the headlights, even though it is only mid- + morning. + + In the immediate f.g. is a hearse. Four pallbearers are + loading a coffin into it. + + +281 EXT. LOUIS AND ELLIE, ON THE CHURCH STEPS 281 + + ELLIE + 80. + + + They're all turning on their + lights! Daddy, why are they all + turning on their lights in the + middle of the day? + + JUD, dressed in a rusty old black suit and a black tie, + comes out and stands with them. He looks haggard and old. + + JUD + They do it to honor the dead, + Ellen. + + ELLIE + Is that right, dad? + + LOUIS + Yes. To honor the dead. + + +282 EXT. THE CHURCH PARKING AREA 282 + + More cars start up; more lights come on; the back doors of + the hearse swing closed. + + +283 EXT. LUDLOW CEMETARY - DAY 283 + + [NOTE: In the book LOUIS finds it difficult to enter at + night because of a high iron fence. Here we should see + there's no such problem; there's only a low stone wall + between the graveyard and the public road.] + + The mourners are of course gathered around the grave of + MISSY DANDRIDGE. The coffin rests above it on runners. + + MINISTER (VOICE) + May the Lord bless you and keep + you; may the Lord make his face to + shine upon you, and comfort you, + and lift you up, and give you + peace. Amen. + + +284 EXT. LOUIS, ELLIE, JUD 284 + + As the mourners begin to break up, these three start back + toward LOUIS'S car. + + JUD + Rachel not feeling well? + + LOUIS + Well...a touch of the flu... + 81. + + + ELLIE + She's in bed. She was throwing up. + Ever since Mrs. Rogers called and + said Missy— + + LOUIS + That's enough, Ellen. + +They've reached the CREED station wagon. + + JUD + Out of the mouths of babes, Louis. + + LOUIS + This babe has said enough. + +He opens the front passenger door. + + LOUIS + Hop in, Ellie. + +She does, and LOUIS closes the door. + + JUD + Poor Missy. God, I was sorry to + hear. I remember when she was no + older'n Ellen there, walking down + to the store with her Raggedy Anne + doll draggin' behind her in the + dust. I don't know why God takes + someone like her, who should have a + bunch of years still in front of + them, and lets an old shit like me + just go on and on. + + LOUIS + My father used to have a saying, + Jud-- "God sees the truth, but + waits." + + JUD + Ayuh...how is your cat, Louis? + + LOUIS + It's Ellie's cat. + + JUD + Nope. He's your cat now. + +JUD opens one of the back doors as LOUIS goes around to the +driver's side. + 82. + + +285 INT. THE BACK SEAT OF THE WAGON 285 + + JUD has tilted over in one corner and is snoring. His + Walkman 'phones are on and we can hear the tinny sounds of + Billy Idol. A little old man's drool trickles down from one + corner of his mouth. + + SOUND: ELLEN is crying. + + +286 INT. THE FRONT OF THE WAGON, WITH LOUIS AND ELLIE 286 + + Tears are spilling freely down ELLIE'S face. + + LOUIS + Ellie? What's wrong? + + ELLIE + No more chocolate chip cookies. + + LOUIS + Huh? + + ELLIE + Missy made the best chocolate chip + cookies in the world--even Mom said + so. Now there won't be any more + because she's gonna be dead + forever! + + She cries harder. LOUIS reaches out and strokes her hair. + + +287 EXT. THE STATION WAGON - DAY 287 + + Moving up the country road toward home through blazing fall + foliage. + + +288 INT. TV SCREEN, CU - NIGHT 288 + + On it is a scene from "Night of the Living Dead." + + NEWSCASTER + Bizarre as it may seem, it now + seems almost beyond doubt: the dead + are returning to eat the living. + + ELLIE (VOICE) + Daddy? + + +289 INT. THE CREED LIVING ROOM - NIGHT 289 + 83. + + + There's a VCR on top of the TV; LOUIS has been watching + "Night." + + Now he quickly uses the remote control to shut down the TV. + + She's dressed for bed, and comes toward him slowly. + + LOUIS + What's up, sugar? + + ELLIE + Daddy, do you think Missy Dandridge + went to heaven? + + LOUIS + What? + + +290 INT. THE KITCHEN, WITH RACHEL 290 + + She's putting away the last of the supper things. She hears + this and moves toward the living room door to listen. She + doesn't look at all well. Her eyes are red from crying and + her face is haggard. + + +291 INT. THE LIVING ROOM, WITH LOUIS AND ELLIE 291 + + She's gotten up into his lap. + + ELLIE + At school Michael McDowell said she + was gonna fry in hell. Michael + McDowell says all sewersides fry in + hell. + + LOUIS + Well, I think Michael McDowell is + so full of shit he probably squeaks + when he walks, my dear. + + +292 INT. RACHEL, AT THE DOOR 292 + + She smiles a little at this. + + +293 INT. LOUIS AND ELLIE, IN THE LIVING ROOM 293 + + LOUIS + But don't you dare say that. + + ELLIE + 84. + + + I won't...is Missy in heaven, do + you think? + + LOUIS + I don't know, honey. Different + people believe all sorts of + different things happen to us when + we die. Some believe in heaven or + hell. Some think we're born again + as little children-- + + ELLIE + Sure, carnation. Like in that movie + you rented, Audrey Rose. + + LOUIS + Well, it's actually reincarnation, + but you get the idea. And some + people think we just wink + out...like a candle flame when the + wind blows hard. + + ELLIE + Do you believe that? + + LOUIS looks toward: + + +294 INT. THE LIVING ROOM SOFA, WITH CHURCH, LOUIS'S POV 294 + + CHURCH is sleeping. + + +295 INT. LOUIS AND ELLIE 295 + + LOUIS + I think we go on. I'm not sure what + happens after we die, but yeah-- I + have faith in that. + + ELLIE + You believe in it. + + LOUIS + Oh, faith's a little more than just + believing. + + +296 INT. RACHEL, AT THE KITCHEN DOOR 296 + + Listening intently. + 85. + + +297 INT. LOUIS AND ELLIE 297 + + LOUIS (CONTINUES) + I'll tell you what faith is--it's + the evidence of the heart; the + assurance of things not seen. + + ELLIE + I don't get it. + + LOUIS + Well, here we are, sitting in my + chair. Do you think my chair will + be here tomorrow? + + ELLIE + Yeah, sure. + + LOUIS + Then you have faith in that. But we + don't know it will be; after all, + some crazed chair-burglar might + break in while we’re away and steal + it, right? + + ELLIE'S giggling. + + +298 INT. RACHEL, AT THE DOOR 298 + + She's smiling, too...but tears are running down her cheeks. + + +299 INT. LOUIS AND ELLIE 299 + + LOUIS + But we plan on that chair. We + believe in that chair. And I plan + on going on somehow as Louis Creed, + after I die. it is now time for + Ellen Creed to get ready for bed. + So buzz. + + He gets her off his lap. + + ELLIE + I'm not tired! + + LOUIS + I’m sure you’re not. + + ELLIE + Then why do I have to go to bed? + 86. + + + LOUIS + Because your mother and I need the + rest, sugar. Now buzz. + + She heads toward the stairs. + + +300 INT. LOUIS AND RACHEL’S BEDROOM 300 + + LOUIS is in bed, reading. RACHEL, wearing a robe over her + nightgown, comes in. + + RACHEL + I heard you tonight. + + LOUIS + I thought maybe you did. I know you + don't approve of the subject being + raised-- + + RACHEL + That's not true. The subject scares + me. Because of Zelda. + + LOUIS puts his book down and looks at her thoughtfully. + + LOUIS + Your sister, I know. + + RACHEL sits down on the end of the bed. She’s clasping her + hands nervously together. + + RACHEL + Sometimes you're so good with her, + Louis--so straight with her--that + you make me ashamed of myself. + + LOUIS sits up and scoots down the bed to her. He tries to + put an arm around her. She rejects it--but gently. + + RACHEL + I’m sorry I couldn't go with you to + Missy's funeral. And that I blew up + when we went to that silly animal + graveyard. + + LOUIS + That’s forgotten. + + RACHEL + Not by me, it isn't. I know how + badly I acted, how unfair I was. + It's just that I..you know. + 87. + + + LOUIS + Yes, I guess I do. + + He makes a place for her beside him and hugs her. They lie + silently together for awhile, taking comfort from each + other. + + RACHEL + I'm going to try to do better. + + LOUIS + You're doing fine. + + DISSOLVE TO: + + BLACK. And on it, a fifth title card: GAGE. + + SOUND: An idling truck motor. + + +301 EXT. THE GRILLE OF A TRUCK - DAY 301 + + It looks monstrous...as high as a mountain. + + +302 EXT. THE TRUCK, A NEW ANGLE 302 + + It’s an Orinco tanker. The driver, a young man in khaki + fatigues and a baseball cap, climbs up into the cab. He + slams the door and jams the truck into gear. + + IRWIN GOLDMAN (VOICE) + I knew something like this would + happen. + + +303 EXT. THE ORINCO SHIPPING YARD - DAY 303 + + The truck comes rolling slowly toward the main gate...stops + so the driver can look both ways...and then pulls slowly + out onto ROUTE 9. + + IRWIN (VOICE CONTINUES) + I told her when you were first + married. ’You'll have all the grief + you can stand, and more,' I said. + + +304 INT. A FUNERAL CHAPEL, WITH IRWIN GOLDMAN AND LOUIS - DAY 304 + 88. + + + There are others here, but they are in the b.g., and + concentrating on the scene the old man is making. He's + RACHEL’S dad. LOUIS is sitting in the aisle seat of a pew- + like bench. He looks terribly shattered- -they both do, + actually. He's staring at the old man as if he cannot in + the least comprehend what he's saying. + + IRWIN (CONTINUES) + And now look at this! + + He gestures toward: + + +305 INT. THE FRONT OF THE FUNERAL CHAPEL - DAY 305 + + Here, half-buried in floral tributes, is a child-sized + coffin. + + GAGE'S. + + +306 INT. IRWIN AND LOUIS - DAY 306 + + IRWIN (WEEPING) + Run over in the road like a...a + chipmunk! + + +307 EXT. ROUTE 9, W/TRUCK - DAY 307 + + Getting up to speed. + + +308 EXT. A KITE, CU 308 + + There's a hand holding it—LOUIS'S. The kite begins to move + and THE CAMERA TRACKS IT. It flaps and flutters. + + +309 EXT. THE FIELD BESIDE THE CREED HOUSE, WITH LOUIS 309 + + He runs with the kite beneath a gorgeous fall sky in which + fat clouds move like airy ocean liners. + + ELLIE (VOICE) + Go, daddy! + + +310 EXT. A PICNIC TABLE DAY 310 + + The remains of a picnic lunch are spread here. Looks like + everyone ate well. In attendance: RACHEL, ELLIE, GAGE, and + JUD CRANDALL. + 89. + + + GAGE + Go, dayee! + + They all laugh--JUD ruffles the kid's hair. + + +311 EXT. LOUIS, RUNNING WITH THE KITE 311 + + He's paying out string--and the kite is going up. + + LOUIS (VOICE) + Where’s Rachel? + + +312 INT. THE FUNERAL CHAPEL, WITH LOUIS AND IRWIN 312 + + IRWIN looks toward: + + +313 INT. THE BACK OF THE CHAPEL, WITH RACHEL AND DORY GOLDMAN 313 + + They are by the sign-in book. Both are dressed in black. + Both look haggard. But RACHEL looks more than haggard; she + looks damned near insane with grief and horror. + + +314 INT. LOUIS AND IRWIN 314 + + IRWIN (LEANING FORWARD) + with her mother! where she should + be! As for you, I hope you rot in + hell! In hell, do you hear me? + + We should; by now he's screaming his head off. + + +315 INT. THE CAB OF THE ORINCO TRUCK - DAY 315 + + The driver is whistling. A transistor radio hangs from the + rear­view mirror on a strap. He turns it on. The Ramones. + "Sheena." + + Hey-ho, let's go. + + +316 EXT. ROUTE 9, TRUCKER'S POV 316 + + Unrolling before us at a good clip--too good, maybe. + + +317 INT. THE TUCKER'S FOOT 317 + 90. + + + Stamping the pedal closer to the metal. + + +318 EXT. THE ONCOMING TRUCK 318 + + Belting toward THE CAMERA. SOUND of the GROWLING ENGINE. + + +319 EXT. THE SKY, WITH THE KITE 319 + + LOUIS has clearly gotten it up okay. + + +320 EXT. LOUIS, IN THE FIELD 320 + + He’s holding the string, looking up at the sky. now he + looks back at the picnic table. + + LOUIS + Hey, Gage! + + +321 EXT. THE PICNIC TABLE 321 + + GAGE gets down and runs toward his father. + + +322 EXT. ROUTE 9 WITH THE ORINCO TANKER 322 + + Belting along fast. SOUND of the Ramones. + + +323 EXT. THE FIELD, WITH LOUIS AND GAGE 323 + + GAGE runs to his dad, chubby legs working. He reaches him, + and LOUIS transfers thee ball of string to GAGE’S hands. + + GAGE + Dat? + + LOUIS + String! You're flying it. Gage--you + got the hammer, my man! + + GAGE + Gage fline it? + + LOUIS + Bet your boots. Look-- + + LOUIS puts his hands over GAGE'S hands and pulls them down. + 91. + + +324 EXT. THE KITE 324 + + It dips in the sky. + + +325 EXT. LOUIS AND GAGE 325 + + LOUIS + See? + + GAGE + Gage fline it!! + + LOUIS (TENDERLY) + Bet your ass, little hero. + + He kisses his son. They look up at: + + +326 EXT. THE KITE 326 + + Dipping and drifting in that gorgeous fall sky. + + IRWIN GOLDMAN (VOICE) + Where were you while he was playing + in the road? Thinking about your + stupid medical articles? You + stinking shit! You killer of + children! + + +327 INT. THE FUNERAL CHAPEL, WITH LOUIS AND IRWIN 327 + + IRWIN + You-- + + But there is no way he can express his outrage with mere + words. As LOUIS sits staring numbly up at him, IRWIN + punches him in the nose. LOUIS sprawls backward, falling + out of the pew onto the floor. + + +328 INT. THE REAR OF THE CHAPEL, FEATURING RACHEL AND DORY 328 + + RACHEL screams and starts forward. DORY pulls her back. + + RACHEL + Louis! Daddy! Stop it! STOP IT! + + +329 INT. LOUIS AND IRWIN 329 + 92. + + + LOUIS is getting up groggily. Hs nose is pouring blood. + + IRWIN + How do you like that, you son of a + bitch? I should have done it + sooner! + + IRWIN punches him in the stomach. LOUIS "oofs” arid doubles + over. + + +330 INT. ANGLE ON THE OTHER MOURNERS 330 + + Among them we see STEVE MASTERTON and MARCY CHARLTON. + + STEVE (GETTING UP) + Hey! + + +331 INT. LOUIS AND IRWIN 331 + + LOUIS is slowly straightening up. IRWIN is in a sour frenzy + of glee. + + IRWIN + How do you like that? How do-- + + LOUIS pushes the old man with both hands. + + +332 INT. IRWIN GOLDMAN 332 + + He goes stumbling and flailing backwards... strikes the + coffin... knocks it off its bier. A SCREAM goes up from the + mourners. + + +333 INT. RACHEL AND DORY 333 + + RACHEL screams. Her mother struggles to hold her but RACHEL + easily breaks free and goes running down the aisle. + + +334 INT. ANGLE ON MOURNERS, WITH MARCY AND STEVE 334 + + MARCY + Stop them. Right now. + + STEVE gets up and goes toward: + + +335 INT. THE FRONT OF THE CHAPEL, WITH IRWIN 335 + 93. + + + He's picking himself out of a tangled mess of coffin and + overturned floral tributes. His suit is wet from spilled + water. + + He's weeping. + + LOUIS has just reached him, and that stunned look is gone. + I think he intends to do the Cool Jerk all over IRWIN + GOLDMAN'S puny little body. IRWIN strikes a Gentleman Jim + Corbett pugilistic pose. + + IRWIN + Come on! I'm ready for ya! I'll + take y'apart! + + As LOUIS wades in, STEVE MASTERTON gets between them...at + the last possible moment. + + STEVE + Stop it! + + LOUIS swings. STEVE manages to block the punch with his + body. + + STEVE + Stop it! Jesus, what's wrong with + you, Louis? It's your son's + funeral, not a boxing match! + + That gets to LOUIS. He drops his fists. That stunned + expression creeps over his face again--that look that says + he doesn't have the slightest clue as to what’s going on or + how it could possibly have happened. + + +336 INT. LOUIS 336 + + PASCOW (VOICE) + The soil of a man’s heart is + stonier, doc-- + + LOUIS turns toward: + + +337 INT. THE FRONT PEW, WITH PASCOW AND CHURCH 337 + + PASCOW, bloody and ruined in his jogging shorts and muscle + shirt, has the pew to himself...except for CHURCH, who is + sitting on his lap and PURRING. + + PASCOW + A man grows what he can...and tends + it. + 94. + + +338 INT. LOUIS, CU 338 + + A sense of horrible awareness comes into his face...and + then he covers it with his hands and begins to SOB. + + SOUND, COMING UP: A TRUCK MOTOR. + + +339 INT. THE CAB OF THE TANKER 339 + + The trucker is singing along with the radio. + + +340 INT. THE GAS PEDAL 340 + + It’s closer to the floorboards than ever. + + +341 EXT. LOUIS AND GAGE WITH THE KITE, IN THE FIELD 341 + + We are at some distance--far enough to see that the two of + them have moved quite close to the road. + + +342 EXT. LOUIS AND GAGE, A NEW ANGLE (KITE'S POV) 342 + + We can see their faces upturned to us--we can hear the + AMPLIFIED RATTLING SOUND of the kite itself. + + THE CAMERA PANS TO THE LEFT--to the road. And we can see + the truck, fairly close by now, and coming closer. + + +343 EXT. THE PICNIC TABLE, WITH RACHEL, ELLIE, AND JUD 343 + + JUD'S lighting a cigarette. His Walkman 'phones are around + his neck. + + ELLIE + I want to fly it! Can I fly it now, + mommy! + + RACHEL + In a minute, hon. Let Gage finish + his turn. + + +344 EXT. LOUIS AND GAGE 344 + + This is the last moment of happiness in this man’s life--so + let’s make it very happy. As he and GAGE stare up at the + kite: + 95. + + + IRWIN (VOICE) + Jesus. Louis. I'm sorry-- + + +345 INT. THE FUNERAL CHAPEL 345 + + The fight has gone out of IRWIN and STEVE has backed away-- + but cautiously. He's ready to jump back in if one or the + other goes mad again. But IRWIN is shuffling toward LOUIS, + hands out-- + + everyone else has gathered in a knot near the front of the + chapel. + + Among them is RACHEL and her mother, weeping in each + others' arms. + + IRWIN + I don't know what happened to me. + Louis, please-- + + LOUIS brushes by him with no acknowledgement that IRWIN + even exists. He kneels down slowly by the coffin and puts + his head against it. + + LOUIS (WEEPING) + I’m sorry, Gage--I’m so sorry, + little hero. + + +346 EXT. LOUIS AND GAGE, IN THE FIELD 346 + + There's a strong gust of wind. The ball of string falls out + of GAGE'S hand. + + +347 EXT. THE KITE, BLOWING AWAY 347 + + +348 EXT. THE PICNIC TABLE 348 + + ELLIE + It got away from him! That numb + shit! + + RACHEL (OUTRAGED) + Ellen Creed! + + +349 EXT. THE BALL OF KITE TWINE 349 + + It is bouncing and unraveling. More importantly, it is + being carried directly toward the highway. + 96. + + +350 EXT. GAGE 350 + + He takes off after the ball of twine. + + GAGE + Kite fline too fast! + + SOUND: The oncoming truck. + + +351 EXT. THE TRUCK 351 + + Slamming toward us--a brutal leviathan on eighteen wheels. + + +352 EXT. LOUIS 352 + + He's looking--looking toward his people at the picnic + table. + + LOUIS (SHRUGS, GOOD-HUMORED) + What can you d- + + TRUCK SOUND CONTINUES. + + +353 EXT. THE PICNIC TABLE 353 + + TRUCK SOUND LOUDER. + + Alarm hits IUD'S face. He rises. + + JUD + Don't let him go in the road, + Louis! + + RACHEL looks; registers terrible alarm. + + RACHEL (SCREAMS) + Get him, Louis! + + +354 EXT. GAGE 354 + + He's still scampering after the bouncing ball of kite- + twine, which has now almost reached the road + + TRUCK SOUND LOUDER. + + +355 EXT. LOUIS 355 + 97. + + + The SOUND is loud enough so he's having trouble hearing. + + LOUIS (CUPS HIS EAR) + What? + + +356 EXT. THE PICNIC TABLE 356 + + RACHEL (SHRIEKS) + GET THE BABY!! + + JUD is running toward the road, although he’ll never get to + GAGE in time; only LOUIS has a chance. + + +357 EXT. LOUIS 357 + + Horrible understanding dawns on his face. He whips around + and sees: + + +358 EXT. GAGE, LOUIS'S POV 358 + + The kid’s almost in the road; the ball of twine is in it. + + RISING DRONE OF THE TRUCK. + + +359 EXT. THE ONCOMING TRUCK 359 + + +360 EXT. GAGE, RUNNING INTO THE ROAD 360 + + GAGE (CHEERFUL) + Geddit-geddit-geddit! + + +361 EXT. EVERYONE, KITE'S POV 361 + + GAGE reaches the middle of the road as the truck comes + around the corner. LOUIS is running across the field, + getting close to the side of the road. RACHEL is clutching + ELLIE by the picnic table. + + JUD is helplessly trying to wave the truck down as it + passes him. + + +362 EXT. GAGE, IN THE ROAD 362 + + As he reaches the broken white line he grabs the ball of + string. + 98. + + + SOUND OF THE ONCOMING TRUCK. + + GAGE turns his head. + + GAGE (NOT AFRAID) + Druck! + + +363 EXT. THE ONCOMING TRUCK AND THE DRIVER, GAGE’S POV 363 + + Suddenly THE DRIVER'S face turns into a Halloween mask of + horror. + + He BLASTS THE AIR-HORN. + + +364 EXT. LOUIS, ON THE VERGE OF THE ROAD 364 + + LOUIS (SHRIEKS) + NO!! + + +365 EXT. GAGE 365 + + BLARE OF THE AIR-HORN. A shadow falls over his face. There + is an audible CLICK! and we FREEZE FRAME. What we have now + dously winning photograph of a little boy, not + is a tremen­ + quite two, with a ball of string in his hand...and a shadow + lying across his face. + + +366 EXT. PHOTO MONTAGE 366 + + a.) LOUIS is pushing RACHEL out of a hospital door. RACHEL + is in a wheelchair and looks radiantly happy (so, for that + matter, does LOUIS). I think we may safely assume that the + small blanketed bundle in RACHEL'S arms is CAGE. + + b.) LOUIS, bare to the waist, is tubbing a two-month-old + GAGE in a baby-tub. He's laughing. The infant looks + confused but calm. + + c.) The whole family by the Christmas tree, following an + orgy of present-opening. ELLIE, about five, has a doll in + each hand. LOUIS and RACHEL are in pajamas. GAGE, about + five months, is lying in a drift of wrapping paper. He + looks confused but calm. + + d.) A child's sneaker lying in the road. It’s splashed with + blood. + 99. + + + e.) GAGE--he's about nine months old in this snap--is + propped up in the angle of a sofa. There’s a big white + rabbit in his lap. + + GAGE looks c. but c. + + f. ) ELLIE and GAGE, bundled up against the Chicago winter. + ELLIE is pulling a child's chair-sled. GAGE is propped up + in the chair. + + He's about eleven months old in this snap. He's laughing. + + g. ) The Orinco tanker, overturned on the far side of Route + 9. + + h. ) This one was taken at Gage's first birthday party. + He's wearing a party-hat and looking at a birthday cake + with a single candle on it while LOUIS kisses one cheek and + RACHEL kisses the other. + + i. ) LOUIS, in the road. He's holding GAGE’S jumper, which + is torn, blood-soaked, and inside out. LOUIS is looking up + toward the sky and screaming. + + j. ) Here is a full-face studio portrait of GAGE. He is + smiling at us, heartbreakingly lovely. CAMERA HOLDS ON THIS + while: + + DUD (VOICE) + Sedative finally took hold. She's + asleep. + + +367 INT. THE KITCHEN TABLE, WITH LOUIS 367 + + He's holding the studio portrait in his hands and looking + at it fixedly. The other photos (the good ones, that is; + not the screamers--those, we may assume, exist only in + LOUIS'S tortured memory) are scattered on the table. We + only saw a few; there are actually hundreds. + + LOUIS puts the photo down as DUD comes in and crosses to + the fridge. LOUIS'S nose is badly swelled. He also has a + black eye. + + DUD gets a couple of beers and comes back toward the table. + + DUD + Your father-in-law packs a wallop, + for an old guy. He and his wife + gone back to Chicago? + + LOUIS + 100. + + + No...squatting out there at the + Holiday Inn like a couple of + vultures. He really thinks Rachel's + going to go back with them. Her and + Ellie. + + DUD + Louis-- + + The swing door opens. They look toward: + + +368 INT. ELLIE 368 + + She looks dazed and shocked. There are brown circles under + her eyes, but otherwise her complexion is much too white. + She's wearing fuzzy pj's. She's carrying the picture of her + pulling GAGE on the sled. + + +369 INT. DUD AND LOUIS, AT THE TABLE 369 + + ELLIE (COMING TO THE TABLE) + I want to go back to my own room. I + can't sleep with mommy. She keeps + stealing the covers. + + DUD + What you got there, Ellie? + + At first she doesn't want to show him, but DUD is very + kind. + + DUD (STUDYING IT) + Why that's real nice...you pullin’ + him on a sled. Bet he liked that, + didn’t he? + + ELLIE nods. She is starting to cry. DUD is also leaking at + the eyes. + + ELLIE (CRYING) + I used to pull 'im a lot. + + LOUIS, looking down at his hands, nods. + + ELLIE + I'm going to carry this picture, + Mr. Crandall, until God lets Gage + come back. + 101. + + + DUD reacts violently. And LOUIS looks up, dully + curious...but hasn't the thought already passed through + LOUIS'S mind? Yes--I think it has. + + DUD + Ellie...God doesn't do things like + that. I know you loved y*brother, + but-- + + ELLIE + He can if He wants to. He can do + anything, just like Inspector + Gadget on TV. But I have to keep + things ready for him, that’s what I + think. I've got his picture and I'm + going to sit in his chair— + + LOUIS + Ellie— + + ELLIE + And I’m going to eat his breakfast + cereal, too, even though it tastes + like boogers. And...and... + + She bursts into tears. + + DUD + Louis, take care of your little + girl...she needs you. + + +370 INT. LOUIS, CU 370 + + His face is stricken. + + +371 INT. ELLIE'S BEDROOM NIGHT 371 + + LOUIS comes in with ELLIE in his arms. He puts her gently + into her bed and pulls the covers up. She's already mostly + asleep. + + LOUIS (KISSES HER) + Good night, Ellie. + + ELLIE + G'night daddy. + + He starts for the door. + + +372 INT. ELLIE, CU 372 + 102. + + + ELLIE + God could take it back if He wanted + to, couldn't He? If He really, + really wanted to? Can I have faith + in that? + + +373 INT. LOUIS, AT THE DOOR 373 + + He stands looking at her for a long time, apparently + thinking about this quite deeply. + + LOUIS + Yes--I suppose you can. Good night, + Ellie. + + He steps out, closing the door. + + +374 INT. ELLIE, IN BED 374 + + In some sense comforted--it may be a poison comfort but she + surely doesn't know this--she turns over on her side to go + to sleep. We can see the picture of GAGE under her arm. + + +375 INT. THE UPSTAIRS HALL, WITH LOUIS 375 + + The light here is fairly dim. LOUIS goes down and opens + another door. He pokes his head in. + + +376 INT. THE MASTER BEDROOM, WITH LOUIS 376 + + He reacts first with surprise, then a species of horrified + disgust. + + +377 INT. LOUIS AND RACHEL'S BED, LOUIS'S POV 377 + + CHURCH is crouched on RACHEL’S sleeping form. + + +378 INT. THE BED, A NEW ANGLE 378 + + LOUIS comes in and swats the cat a damned good one. + + LOUIS (LOW SNARL) + Fuck off, hairball! ! + + +379 INT. CHURCH, CU 379 + 103. + + + It hisses at him through a mouthful of fangs, its eyes big + green balls...and then it flees. CAMERA FOLLOWS IT out the + door. + + +380 INT. LOUIS, BY THE BED 380 + + RACHEL stirs and mutters thickly, then lies still + again...she’s doped to the gills. LOUIS bends over and + kisses her gently. + + He leaves the room and closes the door behind him. + + +381 INT. THE UPSTAIRS HALL, WITH LOUIS 381 + + He tries the door a couple of times to make sure it's + firmly on the latch (his face wears an expression of "How'd + he get in there in the first place?”). Then he walks down + the hall to the stairs. + + +382 INT. ON THE STAIRS, CU 382 + + The cat is on one of the risers. LOUIS trips over it. + + +383 EXT. ON THE STAIRS WITH LOUIS, WIDER 383 + + For a moment he's pinwheeling madly for balance, on the + verge of falling. He regains his balance as the cat goes + shooting across the dining room toward the kitchen. + + LOUIS regains his equilibrium after a bit and continues on + down. + + +384 INT. THE KITCHEN, WITH DUD AND LOUIS AND CHURCH 384 + + As LOUIS enters through the swing door from the dining + room, DUD is just letting CHURCH out the back door. As DUD + closes the door: + + LOUIS (SLIGHTLY ANTAGONISTIC) + I thought you'd be gone by now. + + DUD + I got you a fresh beer out of the + fridge, Louis. + + He indicates the table, where there is indeed a fresh beer. + + LOUIS + 104. + + + Dud, I buried my son today and I’m + very tired. I wonder it we could + just-- + + DUD + You're thinking of things best not + thought of, Louis. + + LOUIS + I'm thinking about going to bed. + + But he begins pouring the beer into a glass. + + DUD + You never asked me if anyone had + buried a person up there in the + Micmac burying ground-- + + LOUIS'S hand jerks. Beer goes foaming across the kitchen + table. + + DUD + --but I think the thought has + crossed your mind. + + LOUIS + Shit! Look at this mess! + + DUD + Ayuh--it's a mess, all right. + + As LOUIS goes to get a cloth to wipe up the mess: + + DUD + I know the Micmacs thought it was a + holy place...and then they thought + it was a cursed place. That's why + they moved on. + + LOUIS + Because something called a wendigo + soured the ground. + + DUD + And because the dead walked. + + LOUIS stops sopping and looks at him. + + +385 INT. DUD, CU 385 + + DUD + 105. + + + Oh, ayuh. It's been done. What + you've been thinking of has been + done. + + +386 EXT. A COUNTRY RAILROAD STATION/SEPIA - DAY 386 + + The time is the late summer of 1944, although I don't + believe we need to know that specifically. The sign on the + station reads LUDLOW. There are a few 40s cars parked near + the station--they have gas-ration coupons on the + windshields. And a hearse. + + A train is coming. + + +387 EXT. THE HEARSE, WITH UNDERTAKER AND BILL BATERMAN/SEPIA 387 + + We can see the UNDERTAKER is trying to talk to BILL + BATERMAN, a man in his forties who periodically wipes his + brow with a bandana. + + BILL walks away. He doesn't want to talk; he doesn't want + comfort. + + He's a grief-stricken, bitter man. + + JUD (VOICE OVER) + Timmy Baterman was on his way home + from the war with his Purple Heart + when he got killed in some stupid + car accident down in Georgia. + + +388 EXT. THE TRAIN, IN FRONT OF THE DEPOT/SEPIA 388 + + The door of the mail-car is open. The UNDERTAKER and three + trainmen are unloading TIMMY BATERMAN'S coffin, which is + draped in a 48-star flag. BILL BATERMAN stands by, watching + balefully as they carry his son's final apartment to the + back of the hearse and load it in. + + JUD (V-O CONTINUES) + Bill was bitter--his son had been + in the thick of it two years and + then got shot in the leg--a clean + flesh-wound. He was supposed to be + coming home safe and sound, + instead, he come home in a box + after all. + + +389 EXT. THE REAR OF THE HEARSE/SEPIA 389 + 106. + + + The doors close. The hearse pulls away. THE CAMERA PANS TO + BILL BATERMAN, who stands staring balefully after it and + mopping his brow. + + DUD (V-O CONTINUES) + He wasn't able to get to the bottom + of the truth, Louis. + + +390 INT. THE CREED KITCHEN, WITH LOUIS AND JUD - NIGHT 390 + + LOUIS is now sitting down, drinking a beer, staring at JUD. + + LOUIS + I'll bite--what's the bottom of the + truth, Jud? + + JUD + Why...that sometimes dead is + better. That’s all. Sometimes dead + is better. + + LOUIS (BITTER) + Tell that to my wife and little + girl. + + JUD + It ain't your wife and little girl + that's got me worried, Louis. + + +391 EXT. THE LUDLOW CEMETARY/SEPIA - DUSK 391 + + We’re featuring a fresh grave...that of TIMMY BATERMAN. A + truck, showing only parking lights, turns into the + graveyard and drives slowly up to it. It stops, and BILL + BATERMAN gets out. HE looks at the grave and then goes to + the back of his truck. + + JUD (VOICE-OVER) + Timmy was buried on July 22nd, as I + remember. + + +392 EXT. BILL BATERMAN AT THE BACK OF HIS TRUCK/SEPIA - DUSK 392 + + He reaches in...and brings out a pick and shovel. + + DISSOLVE TO: + + +393 EXT. MARGIE WASHBURN, ON HER PORCH/SEPIA - DAY 393 + 107. + + + She's a middle-aged woman dressed in mid-forties style. + She's got a rug-beater in one hand; the other is up to her + eyes to shade the sun. She's staring at something, + horrified. + + JUD (V-O CONTINUES) + It was four or five days later + when... + + +394 EXT. A COUNTRY DIRT ROAD, WITH TIMMY BATERMAN/SEPIA - DAY 394 + + A young man dressed in Jeans and a plaid shirt is shambling + up the road. His eyes are vacant. His shirt is half + untucked. His hair is sticking up in a wild crow's-nest + thatch. There is an ugly mess of healed scars on his neck + and one side of his face. I think one of his ears may be + gone--torn off in the accident. + + JUD (V-O CONTINUES) + ...Margie Washburn seen him walking + up the road toward Yorkie's Livery. + + +395 EXT. MARGIE/SEPIA 395 + + She's screaming--we hear her faintly. + + +396 EXT. TIMMY/SEPIA 396 + + He turns toward her and we see a green light like the St. + Elmo’s fire in the Little God Swamp glow dimly deep in his + eyes. He grins at MARGIE. + + +397 EXT. IN FRONT OF THE LUDLOW TOWN OFFICES, WITH MARGIE/SEPIA 397 + + She hesitates for a moment or two and then walks up toward + the door. + + JUD (V.O.) + Lots of people saw Timmy Baterman + walking back and forth between the + home place and the town line. But + it was Margie... + + +398 INT. THE TOWN OFFICES, WITH MARGIE/SEPIA 398 + + She's in a hallway in front of a door with LUDLOW SELECTMEN + printed on the frosted glass. After a moment she opens it + and goes in. + 108. + + + JUD (V.O. CONTINUES) + ...who finally got up enough guts + to talk to the town fathers about + it. She knew it had to be stopped, + Louis. + + +399 INT. THE SELECTMEN'S OFFICE/SEPIA 399 + + MARGIE and four men are grouped around a desk. She’s + talking; they're listening. THE CAMERA LAZILY PANS the four + men--one, of course, is JUD as a YOUNG MAN. + + JUD (V.O. CONTINUES) + She knew it was an abomination. + George Anderson, the town + postmaster, was there...and Alan + Purinton...Hannibal Benson...and + me. I was there. + + +400 EXT. THE BATERHAN PLACE/SEPIA SUNSET 400 + + It’s a ramshackle old farm which looks remarkably like the + estate of that gentleman farmer Jordy Verrill. + + An old Ford pulls into the driveway, and the four men get + out. + + SOUND BLEEDS IN: Most of all the SOUND OF THE CRICKETS. + + They go to the door, and JUD is wordlessly elected as the + prime honcho. He knocks. No answer. Again. No answer. + + SOUND: Crazy laughter. + + BILL BATERHAN (VOICE) + Stop that, Timmy! + + The four men look at each other. + + JUD + Come on. + + They start around to the back. + + +401 EXT. THE BACK YARD, WITH BILL AND TIMMY/SEPIA 401 + + TIMMY BATERHAN is staring directly into the setting sun, + his eyes glowing with green fire. He’s laughing like Goofy + gone insane. + 109. + + + BILL, scared, is trying to make him stop, to turn away from + the sun. + + +402 EXT. THE BACK YARD, A NEW ANGLE/SEPIA 402 + + The four men come around the side of the house. They freeze + when they see BILL and TIMMY. + + ALAN + Oh holy Jesus look at that. + + BILL whirls around and sees them. + + BILL + You men get out of here! + + JUD + I heard your boy was killed down + Georgia. + + BILL (AGITATED) + That was a mistake! + + HANNIBAL + Was it? + + BILL + You see him standing there, don’t + you? Now get out! Get the Christ + off my land! + + Now TIMMY turns around and comes shambling forward. + + TIMMY (LAUGHING) + Ge ow! Ge Cwise off eye an! + + GEORGE (REVOLTED) + Oh Jesus, Jud! He's dead! I can + smell him! + + BILL + He ain’t dead! Give him a day or + two and he’ll be fine! Don't you + say that! + + JUD + Bill, this ain't right--you can see + that yourself-- + + BILL (SCREAMING) + GET OUT! YOU HEAR? GET OUT!!! + 110. + + +403 EXT. TIMMY BATERHAN/SEPIA 403 + + TIMMY (LAUGHING) + Dead! We love dead! Hate living! + + Abruptly he reaches up with both hands and scratches down + his cheeks, goring deep grooves in his flesh. Blood flows + sluggishly out. Very weird blood. + + +404 EXT. THE ENTIRE GROUP/SEPIA 404 + + BILL grabs TIMMY, who’s still laughing wildly, and gets him + turned around. TIMMY shambles back to where he was + originally standing. + + BILL goes with him like a man who has charge over a trained + baboon. A stupid trained baboon. + + BILL (OVER HIS SHOULDER) + You want to get out of here before + I get my shotgun! You boys are + trespassing! + + +405 EXT. THE FOUR MEN/SEPIA 405 + + JUD + God help you, Bill. + + +406 EXT. BILL AND TIMMY BATERMAN/SEPIA 406 + + BILL (SNARLS) + God never helped me. I helped + myself. + + +407 EXT. TIMMY BATERHAN, CU/SEPIA 407 + + Staring directly into the setting sun and laughing wildly, + mindlessly. + + +408 INT. THE CREED KITCHEN, WITH LOUIS AND JUD 408 + + LOUIS + What happened? + + +409 EXT. THE BATERHAN PLACE--MONTAGE NIGHT 409 + + a.) A car pulls up with its lights off and stops. + 111. + + + JUD (V.O.) + There was a fire. + + b. ) We see legs as people get out of the car, and hands + holding tin cans of gasoline. + + c. ) Hands splash gasoline from the cans along the sides of + the house. + + +410 EXT. THE BATERHAN PORCH - NIGHT 410 + + JUD (as a young man) rings the bell--an old-fashioned twist + type. + + BILL (VOICE) + Who's there? + + TIMMY (LAUGHING, SCREECHING VOICE) + Ooo air? Ooo air? + + JUD + Get out, Billy--the place is going + up. + + He walks away. BILL BATERMAN, wearing a strappy tee-shirt, + looks out the window. + + BILL + I seen you! I seen you, Dud + Crandall! + + +411 EXT. THE BATERHAN PLACE--MONTAGE - NIGHT 411 + + a. ) A match is struck...and applied to wet boards. Whoosh! + + b. ) The other side of the house: The same. + + c. ) In the back yard, JUD lights a torch and heaves it + through the kitchen windows. Ka-PLOOM! + + d. The men draw away toward the front, their faces grim and + ) + + judgmental. + + +412 EXT. THE BATERHAN PLACE - NIGHT 412 + + Burning. Going up fast. + 112. + + +413 EXT. THE MEN 413 + + ALAN + You think Bill's gonna get out, + Jud? + + JUD (STONY) + If he don't, he don’t. + + +414 EXT. THE FRONT DOOR 414 + + It bursts open. We see two men struggling at the forefront + of an inferno--correction, one man and an undead monster. + TIMMY is giggling and screaming, trying to pull his father + back into the flames. + + BILL (STRUGGLING) + No! No, Timmy! Let me go! + + TIMHE (LAUGHING) + Love dead! Hate living! + + He sinks his teeth into his father's arm. BILL screams. + + A beam falls on TIMMY, lighting him afire. BILL breaks free + and runs down the porch steps. + + +415 INT. THE FRONT HALL, WITH TIMMY 415 + + He's burning and laughing. + + TIMMY + LOVE DEAD! HATE LIVING! + + And into the fire he goes, still shrieking and laughing. + + +416 EXT. THE FRONT YARD - NIGHT 416 + + BILL BATERHAN is collapsed on the lawn as sparks drift down + around him, his face hidden against his thighs, weeping. + + CAMERA MOVES SLOWLY IN on the four men, who are grouped at + the end of the driveway by the road and staring with awe + at: + + +417 EXT. THE BLAZING FARMHOUSE - NIGHT 417 + + DISSOLVE TO: + 113. + + +418 INT. THE KITCHEN, WITH LOUIS AND JUD 418 + + JUD (SOFTLY) + Sometimes dead is better, Louis. + + BLACK. And on it, a sixth title card: THE DEAD WALK. + + SOUND BLEEDS IN: JET ENGINES. + + +419 EXT. BANGOR INTERNATIONAL TERMINAL - DAY 419 + + A jet plane rises into the sky from behind the building. + + GATE AGENT'S VOICE + This is the final call for United’s + flight 61 to Chicago... + + +420 INT. A BOARDING GATE, WITH LOUIS AND RACHEL 420 + + In the b.g. we can see IRWIN and DORY GOLDMAN waiting by + the jetway with ELLIE as the last few passengers board. + RACHEL looks confused and grief-stricken. She also looks + punchy, doped up. I imagine she's floating on a sea of + Valium, and that makes her easier to deal with. LOUIS'S + battle-scars are fading a little. + + The GATE AGENT is standing by the jetway with a mike in one + hand and a bunch of boarding passes in the other. + + GATE AGENT (CONCLUDES) + All passengers should now be + aboard. + + LOUIS + You better get going, hon. + + RACHEL + Oh Louis, I just don't know about + this— + + LOUIS + I told you last night--this can be + the start of patching things up + with your folks. If something good + doesn’t come of Gage's death, I + think I'll go crazy. + + RACHEL + Louis, are you sure? + + LOUIS + 114. + + + I'm sure. + + +421 INT. THE GOLDMANS, WITH ELLIE 421 + + ELLIE + I don't want to go to Chicago, + Gramma Dory. + + DORY + Why not, darling? + + ELLIE + I had a bad dream last night. A + nightmare. + + IRWIN (KINDLY) + About what? + + ELLIE + About Daddy. + (Pause) + And Gage. + + DORY and IRWIN exchange a knowing, sad glance over the + child's head. + + ELLIE + And someone named Paxcow. + + +422 INT. RACHEL AND LOUIS 422 + + LOUIS guides her to the jetway. + + LOUIS + Come on, you guys--before you miss + the boat. + + He kisses DORY. IRWIN hugs him. + + IRWIN + Louis, I am sorry. What can I say? + That I lost my mind? It's the + truth, but no good excuse. + + LOUIS (HUGS HIM BACK) + We all lost our minds, Irwin. + + LOUIS kisses RACHEL. Then he kneels and hugs ELLIE. + + LOUIS + 115. + + + Be good to your mother, darlin'. + She needs you. + + ELLIE + Come with us, daddy. Please come + with us! + + LOUIS + I'll be there in three days--four + at the most. I've got to get the + electricity shut off and square + things with your school so the + truant officer ain't after you, + and-- + + +423 INT. ELLIE, CU 423 + + ELLIE (CRYING) + Please, daddy! I'm scared! + + +424 INT. LOUIS AND ELLIE 424 + + LOUIS + Of what? + + ELLIE (CRYING HARDER) + I don’t know. + + LOUIS (GREAT EMPHASIS) + Everything's going to be all right, + Ellie. Now go on--get aboard. + + ELLIE + Do you swear? + + LOUIS + I swear. + + The Voice of Authority has spoken. We can tell by ELLIE'S + face that while things are still not all right, they are a + little better. She joins her mother. + + The four of them--RACHEL, ELLIE, and THE GOLDMANS--start + down the jetway. ELLIE looks back once, as if begging him + to come...and then they’re gone. + + +425 INT. LOUIS, CU 425 + + LOUIS'S face changes. Nov; it is a stony and contemplative + face. + 116. + + + Not, when you get right down to it, a very nice face. + + He turns and strides away. + + +426 INT. THE AIRPORT PARKING LOT, WITH LOUIS 426 + + The family station wagon is in the f.g. We hear the SOUND + OF JET ENGINES, and as LOUIS reaches the wagon he turns and + watches: + + +427 EXT. THE TERMINAL, LOUIS'S POV 427 + + From behind it a United Airlines jet lifts into view and + banks away. + + +428 EXT. LOUIS, IN THE PARKING LOT 428 + + Face set, he gets into the wagon and drives away. + + +429 EXT. ROUTE 15 IN BREWER 429 + + The CREED mobile pulls up across from the Brewer Tru-Value + Hardware and LOUIS crosses to it. + + +430 INT. THE HARDWARE STORE COUNTER, CU 430 + + On it: A six-cell flashlight, Duracell D-batteries, a pick, + a shovel, and a nylon drop-sheet in cellophane packaging. + Nov; the CLERK'S hands come into the frame and drop a pair + of heavy work­gloves into the pile. + + +431 INT. LOUIS AND CLERK (SMALL PUN, HEE-HEE) 431 + + CLERK + Anything else for you today? + + LOUIS (AFTER A LOOK) + I think we got it all. + + The CLERK starts to ring things up. + + CLERK + Looks like heavy work. + + LOUIS + It could be. + 117. + + + The quality of LOUIS'S reply is somehow unnatural. The + CLERK looks at him, momentarily unsure and uncertain. Then + he starts ringing things up again. + + +432 INT. A UNITED JETLINER, WITH ELLIE AND RACHEL 432 + + ELLIE is in the window-seat, asleep. RACHEL is holding a + paperback but not reading it. Her eyes are red. She's + looking into space. + + CAMERA DRIFTS TO ELLIE. Her sleep is not easy. Her head + turns from side to side, as if in negation. She becomes + steadily more upset. + + She’s starting to mutter. Suddenly her eyes flare open and + she screams. + + +433 INT. JETLINER, SLIGHTLY WIDER 433 + + We can see the GOLDMANS in the seats behind the CREEDS. + They are startled. So are other passengers. A stewardess + comes running. + + ELLIE + Paxcow says it's almost too late! + + RACHEL + Ellie...Ellie...what... + + ELLIE + Paxcow says it's almost too late! + We have to go back! Paxcow says + it's almost too late! + + +434 EXT. LUDLOW CEMETARY - DAY 434 + + The CREED wagon turns in and drives up one of the lanes. It + stops and LOUIS gets out. + + He walks to a fresh grave on which the first flowers are + already starting to wilt. He sits down and takes a flower. + He plucks it, looking at the grave steadily. He says + nothing for a long time. + + LOUIS + It's wrong. + (Pause) + What happened to you is wrong. + 118. + + +435 EXT. GAGE, IN THE FIELD 435 + + He runs toward THE CAMERA, happy and laughing, in SLOW + MOTION. + + +436 EXT. LOUIS, BY GAGE'S GRAVE 436 + + LOUIS is now weeping, but he seems calm just the same. + + PASCOW (VOICE) + Remember, doc. + + LOUIS looks at: + + +437 EXT. A TOMB, LOUIS'S POV 437 + + PASCOW, bloody and mutilated, is standing by it. + + PASCOW + The barrier was not meant to be + crossed. The ground is sour. + + +438 EXT. LOUIS, BY GAGE'S GRAVE 438 + + He is not put out of countenance in the slightest by + PASCOW'S appearance; he probably knows PASCOW is just a + figment of his conscience or imagination, and so do we. + + LOUIS + I'll tell you where the ground is + sour--the ground in my heart is + sour. Let me tell you something + else, Vic-baby: Wrong is wrong. + + +439 EXT. PASCOW 439 + + PASCOW + Timmy Baterman. That was wrong. + + +440 EXT. LOUIS, BY GAGE'S GRAVE 440 + + LOUIS + Don't talk like an asshole even if + you are just a bit of underdone + potato or a blot of mustard. + + +441 EXT. PASCOW, BY THE TOMB 441 + 119. + + + He stands mute, just looking. + + +442 EXT. LOUIS 442 + + LOUIS (WEEPING) + He was my son! He wasn't even two + and he was run down in the fucking + road and he was almost in pieces, + and if you don't think I'm going to + try... + + +443 EXT. THE TOMB, SANS PASCOW 443 + + VIC has put on his boogie shoes. + + +444 EXT. LOUIS, BY GAGE'S GRAVE 444 + + He's crying harder. Abruptly he reaches out at the floral + tributes and knocks a bunch of them over. + + LOUIS + If it doesn't work--if he comes + back like Timmy Baterman--I'11 put + him to sleep. But I'm going to try. + (Pause) + And if it doesn't work...they don't + ever need to know. + + +445 EXT. THE GOLDMAN HOUSE IN LAKE FOREST, ILLINOIS - NIGHT 445 + + +446 INT. UPSTAIRS HALL - NIGHT 446 + + THE CAMERA MOVES LEISURELY along this hallway, which is + lined with pictures of RACHEL, ELLIE...and GAGE (there may + even be a couple in which LOUIS is featured, but damned + few). Near the end of the hall a door is open and light + spills out. + + RACHEL (VOICE) + Honey, you just had a bad dream. + You know that, don't you? + + ELLIE (VOICE) + It wasn't a dream. It was Paxcow. + 120. + + + THE CAMERA GOES THROUGH THE DOOR and into the room where + ELLIE is staying. She's in bed, still badly upset. RACHEL + is sitting on the bed beside her. There's a single lamp on + the bedside table. + + ELLIE + Paxcow says Daddy's going to do + something really bad. He-- + + RACHEL + Who is this Paxcow? Is he like the + boogeyman? + + ELLIE + He’s a ghost. But he's a good + ghost. + + RACHEL turns off the bed-lamp. + + RACHEL + There are no ghosts, Ellie. I want + you to go to sleep and forget all + this nonsense. + + ELLIE + Will you at least call and make + sure daddy's okay? + + RACHEL + Of course I will. + + She kisses ELLIE. + + RACHEL + Now will you try to go to sleep? + + ELLIE (TURNS OVER ON HER SIDE) + Yes, Mom. + + RACHEL gets up and leaves the room. + + +447 INT. THE UPSTAIRS HALLWAY 447 + + PASCOW is here, halfway down the hall to the stairs, bloody + as ever. RACHEL doesn't see him. She looks perplexed, a + woman trying to think of something. She stops very near + him. + + RACHEL (TO HERSELF) + Paxcow, why do I know that name? + + PASCOW + 121. + + + Pascow. + + RACHEL suddenly straightens. She looks startled and afraid. + + RACHEL + Pascow? Was she saying Pascow? + + She suddenly heads for the stairs, fast. + + +448 EXT. THE CREED HOME IN LUDLOW - NIGHT 448 + + SOUND: A car starting up. + + The station wagon backs out and heads down the driveway. As + it passes THE CAMERA, we see LOUIS driving. The wagon turns + onto Route 9 and heads off. + + CAMERA HOLDS ON THE HOUSE. A beat of silence. Then: the + telephone starts ringing. + + +449 INT. THE GOLDMAN LIVING ROOM - NIGHT 449 + + IRWIN and DORY are watching RACHEL with some anxiety. + RACHEL is holding the phone to her ear. We can hear the + FILTERED SOUND of one ring after another. She hangs up. + + RACHEL + He's not home. + + DORY + Why, he probably went out for a + hamburger or a chicken dinner, + dear, you know how men are when + they're alone. + + Good old IRWIN'S face says that maybe LOUIS went out for a + couple of grams of coke and a whore in Nazi SS boots. + + RACHEL is dialing another number. + + +450 EXT. THE CRANDALL HOUSE - NIGHT 450 + + SOUND: Phone starts to ring. + + +451 INT. THE CRANDALL KITCHEN, WITH JUD 451 + + He shuffles to the telephone. His Walkman phones are around + his neck. He's got a bottle of beer in one hand. + 122. + + + DUD (PICKS UP) + Hello--you got Hudson. + + +452 INT. THE GOLDMAN LIVING ROOM, WITH RACHEL 452 + + RACHEL + It's Rachel Creed, Jud. I'm calling + from Chicago. + + JUD (SURPRISED VOICE) + Chicago! Is Louis with you? + + RACHEL + No...we're going to be here awhile, + and he wanted a few days to wind up + our affairs there. I just wondered + if he was with you. + + +453 INT. THE CRANDALL KITCHEN, WITH JUD 453 + + His face says this is very serious. + + JUD + No--but if he drops by, I'll tell + him to call you. + + +454 INT. THE GOLDMAN LIVING ROOM 454 + + RACHEL + Jud, do you remember the name of + the student that died on Louis's + first day at work? The one that was + hit by a car? + + JUD (VOICE) + I don't-- + + RACHEL + Was it Pascow? + + +455 INT. THE CRANDALL KITCHEN, WITH JUD 455 + + JUD + Ayuh, I think 'twas. If I see Louis + come home before I go to bed, I'll + tell him to-- + + +456 INT. THE GOLDMAN LIVING ROOM, WITH RACHEL 456 + 123. + + + RACHEL + Don't bother. I'm coming home. + + JUD (ALARMED VOICE) + Rachel! + + RACHEL + Thank you, Jud. Goodbye. + + She hangs up. + + +457 INT. THE CRANDALL KITCHEN, WITH JUD 457 + + JUD + No! Rachel! Don't do that! Rachel- + -! + + The buzz of an open line. Connection broken. JUD slowly + replaces the receiver. The man looks very grim. + + +458 INT. THE FRONT HALL OF THE GOLDMAN HOUSE 458 + + RACHEL comes down the stairs, dressed for travelling. She's + carrying a suitcase in one hand. Her parents meet her at + the foot of the stairs. + + DORY + Rachel...darling...you're upset... + a night's sleep... + + RACHEL + I have to go. The connections are + tight, and I have to be at O'Hare + in forty minutes. Will you drive + me, daddy? + + IRWIN + You know something's wrong, don't + you? You know. And Ellie does, too. + + RACHEL + Yes. + + IRWIN + I'll drive you. + + ELLIE (VOICE) + Mommy? + + They all turn to: + 124. + + +459 INT. ELLIE, ON THE STAIRS 459 + + ELLIE + Please hurry. + + +460 INT. RACHEL AND THE GOLDMANS 460 + + RACHEL + I will. Come and kiss me. + + ELLIE races into her arms. + + +461 EXT. LUDLOW CEMETERY - NIGHT 461 + + SOUND Of a car engine, THROBBING AND LOW. It cuts off. + + CAMERA MOVES IN on the low stone wall between the cemetery + and the road. Beyond it we can see the roof of the CREED + station wagon. + + LOUIS appears, dressed in dark clothes. He looks both ways, + then tosses a big duffle bag over the wall. Stuff clanks + inside. + + LOUIS climbs over the wall, grabs his bag, and checks out + the scene. + + +462 EXT. LUDLOW CEMETERY, LOUIS'S POV 462 + + A quiet city of the dead. Spooky. SOUND of crickets: Ree- + ree-ree... + + +463 EXT. LOUIS 463 + + He heads for GAGE'S grave. + + +464 INT. THE GOLDMAN CAR, WITH RACHEL AND IRWIN 464 + + IRWIN + I'll come with you if you want, + honey. + + RACHEL (SHAKES HER HEAD) + I've got three planes to catch and + I got the last seats on two of + them. It's like God saved them for + me. + 125. + + +465 EXT. O'HARE UNITED AIRLINES TERMINAL, WITH IRWIN'S CAR 465 + + IRWIN'S car heads for it. + + +466 EXT. THE GRAVE OF GAGE CREED 466 + + LOUIS approaches it slowly and sets down his bag of grave- + robbing equipment. He sets aside the remaining floral + tributes and then opens the bag and takes out the spade. He + looks down at the grave for a long second. + + LOUIS (LOW) + Gonna bust you out, son. + + He starts to shovel. + + +467 EXT. THE SHOVEL, CU 467 + + Digging...throwing...digging again. Already the shape of + the excavation is beginning to show. The work is easy; this + earth is new and fresh. + + +468 EXT. JETLINER, IN A LINE-UP OF JETLINERS 468 + + +469 INT. JETLINER, WITH RACHEL 469 + + Everyone looks impatient, but RACHEL looks half crazy. + + PILOT (VOICE) + This is the Captain speaking. I'm + sorry about this delay, folks, but + we’ve got a real low ceiling + tonight and air traffic control's + playing it safe. Looks like it's + going to be about half an hour + before we get on a roll, so I'm + turning off the NO SMOKING sign. + + SOUND: Bing! + + There's a general groan. CAMERA MOVES IN ON RACHEL, who has + closed her eyes. I think she’s praying. + + +470 EXT. GAGE'S GRAVE - NIGHT 470 + + Now it's pretty deep. Four feet, maybe. LOUIS is standing + in it. + 126. + + + We see his feet as the shovel goes up and down, up and + down. + + +471 EXT. LOUIS - NIGHT 471 + + He's sweating and dirt-streaked. He's tossing dirt on a big + pile. + + Suddenly, as he takes another shovelful, we hear a SCRAPING + SOUND. + + He tosses the shovel aside and squats. + + +472 EXT. IN THE GRAVE, WITH LOUIS 472 + + There's a white streak on the bottom of the grave--the top + of GAGE'S coffin. LOUIS swipes his hand through the loose + dirt, uncovering more, and then he begins to sweep off the + top of the coffin with his hands. + + +473 EXT. THE CRANDALL PORCH 473 + + JUD comes out. He's wearing a light jacket. His Walkman + phones are around his neck. He's got a six-pack. He looks + at: + + +474 EXT. THE CREED HOUSE, JUD'S POV 474 + + It's dark. + + +475 EXT. THE CRANDALL PORCH, WITH JUD 475 + + He sits down. + + JUD + You done it, you stupid old man... + now you got to undo it. + + He puts his earphones on. Cracks a beer. Lights a + cigarette. + + Pushes the PLAY button on the deck. Faint SOUNDS of The + Clash buzz-sawing "Rock The Casbah." + + JUD begins to watch. + 127. + + +476 EXT. LOUIS 476 + + He climbs out of the grave and opens his duffle bag. He + starts to pull out the pick. + + SOUND of an approaching car. + + LOUIS freezes. + + +477 EXT. THE ROAD OUTSIDE OF THE CEMETERY 477 + + A police car comes cruising slowly along. The spotlight on + the driver's side comes on and runs along the graveyard's + stone wall. + + +478 EXT. LOUIS 478 + + +479 EXT. LOUIS 479 + + He relaxes perceptibly. He gets the pick and drops back + into the grave. + + +480 EXT. THE TOP OF THE COFFIN, CU 480 + + LOUIS inserts the tip of the pick in the flange of the + coffin and levers it. CRACKING SOUND. Again. More CRACKING. + Again. And the lock breaks. The coffin lid comes up a + little, dirt gritting in the hinges. + + +481 EXT. LOUIS, CU 481 + + Here’s a man on the thinnest edge between sanity and + madness. + + +482 EXT. JETLINER LIFTING OFF FROM O’HARE 482 + + +483 INT. RACHEL AND HER SEATMATE 483 + + SEATMATE + Think you'll make your connection + in Boston? + + RACHEL + I have to. + 128. + + +484 EXT. LOUIS, BY GAGE’S GRAVE 484 + + He's lying on his stomach, reaching in. We hear the SOUND + of dirt grating in hinges again. + + +485 EXT. LOUIS, CU 485 + + We’re looking up into his face. If GAGE had a POV, this + would be it. LOUIS'S face fills with a terrible grief. + + LOUIS + Oh, Gage--oh, honey. + + +486 EXT. JUD CRANDALL, ON HIS PORCH 486 + + His chin slips to his chest, even though we hear Creedence + on his ’phones and to him the sound must be at blastoff + levels. There’s a long round ash on his cigarette in the + tray. A couple of empty beer cans on the table beside him. + + A truck blasts by, startling him out of his doze. He jerks + his head up suddenly...and slaps himself. He’s okay...for + now. + + +487 EXT. THE GRAVEYARD, WITH LOUIS 487 + + He is sitting on the edge of the grave, holding his dead + son in his arms, rocking him. GAGE is back to us. We see + only a small limp figure in a dark suit. Hair flops limply. + + LOUIS + It’s going to be all right...I + swear it’s going to be all right... + + The canvas tarp has been spread open to the right. LOUIS + begins to lay his son down on it. + + +488 EXT. THE GROUND BESIDE THE TARP, CU 488 + + It’s littered with flower petals. One limp hand appears + among them. + + +489 EXT. LOUIS 489 + + He closes the tarp over GAGE, making a roll. He then + produces rope from the duffle bag. He cuts the rope and + begins to tie one piece around one end of the canvas roll + containing the corpse of his son. + 129. + + +490 EXT. JETLINER IN THE NIGHT SKY 490 + + PILOT (VOICE) + Good evening again, ladies and + gentlemen... + + +491 INT. THE JETLINER, WITH RACHEL 491 + + Her seatmate is knitting something. Across the aisle sits + VICTOR PASCOW, bloody but serene, hands clasped in his lap, + looking straight ahead. RACHEL looks around tensely. + + PILOT (CONTINUES) + I’m delighted to tell you that + we've got a strong tail-wind + tonight and we expect to arrive at + Boston’s Logan Airport almost on + time. + + PASCOW clenches his fist in a "That’s one for our side!" + gesture. + + RACHEL (SOFTLY) + Thank God. + + Her SEATMATE looks at her a bit strangely. + + +492 EXT. THE GRAVEYARD, WITH LOUIS 492 + + He's got the bundle containing his son and the duffle-bag + with the tools. He runs bent over. He reaches the wall and + there's the SOUND of another motor. He crouches at the base + of the wall. + + +493 EXT. THE ROAD 493 + + Here comes that same police car. The spotlight runs along + the wall. + + +494 EXT. LOUIS 494 + + Crouching against his side of the wall and sweating. + + +495 EXT. THE POLICE CAR 495 + + It stops. The COP gets out. He walks slowly toward the + wall. + 130. + + +496 EXT. LOUIS 496 + + Crouched. Now we see the COP looking over the top. If he + looks down...but he doesn’t, instead he turns around so we + see his back. + + LOUIS looks up, miserably scared, pouring sweat. + + Silence. Then: SOUND of the cop taking a whiz. + + +497 EXT. THE COP 497 + + Ah! Relief. SOUND of his fly being zipped. He looks back at + the cemetery for a moment. + + COP + I ain’t afraid of no ghost. + + He walks back to his cruiser, gets in, and hauls ass. + + +498 EXT. LOUIS, BEHIND THE WALL 498 + + He collapses with relief. Then he gets up and looks + cautiously over the wall. Nothing there but his car, parked + a little way down on the other side of the road. + + He tosses the duffle bag over the top of the wall. He puts + the canvas roll containing GAGE on top of the wall. Then he + vaults over. + + +499 EXT. THE STREET SIDE OF THE WALL, WITH LOUIS 499 + + He takes the roll, gets the duttle bag hooked over his + shoulder by the string, and runs across the road like a + soldier crossing enemy territory. He goes to the rear of + the wagon. + + +500 EXT. THE REAR OF THE WAGON, WITH LOUIS 500 + + He puts the body down. He feels in his pocket for his keys. + No keys. Mild consternation. He looks around, feeling + exposed. The other pocket. Still no keys. More + consternation. He begins to hunt feverishly through his + pockets. Maybe in his jacket? Nope. + + SOUND: An approaching car. + + +501 EXT. PASSING CAR 501 + 131. + + + A civilian--not the ubiquitous cop. + + +502 EXT. LOUIS 502 + + He turns his pockets out, spilling change everywhere. + Nothing. + + Suddenly a little light goes on in his eyes. He goes to the + driver's side of the car and looks in at: + + +503 INT. IGNITION, LOUIS'S POV 503 + + The keys are in the switch. + + +504 EXT. LOUIS 504 + + He snatches the keys and returns to the back of the wagon. + He uses the key to open the doorgate. He puts gage's body + in gently, then the duffle bag. He closes the doorgate and + returns to the front of the car. He opens the driver's door + and freezes. + + LOUIS returns to the rear, gets his keys from the doorgate, + comes back to the front, gets in, and drives away. + + +505 INT. A JETWAY AT LOGAN INTERNATIONAL 505 + + People are debarking into the gate area. Through them comes + RACHEL, running fast, pushing some people, excusing herself + incoherently. PASCOW is walking near her. + + PASCOW + There's just time. If you run. + + Without looking at PASCOW, RACHEL takes off her shoes and + runs. + + +506 INT. THE CONCOURSE, WITH RACHEL 506 + + She's sprinting down the concourse--look out, Joanie + Benoit! + + +507 INT. GATE 27, WITH FEMALE GATE AGENT AND PASCOW 507 + + The FEMALE GATE AGENT is starting to close the jetway door. + 132. + + + PASCOW + Don't do that, babe. + + The GATE AGENT looks puzzled, as if she just had a thought + (or maybe a gas pain). She stops closing the door. RACHEL + runs into the area. She sees: + + +508 INT/EXT. THE JET PLANE, THROUGH THE GATE WINDOWS 508 + + It is just starting to swing ponderously away from the + jetway. + + +509 INT. RACHEL AND FEMALE GATE AGENT (PASCOW IS GONE) 509 + + RACHEL + Hake it come back! + + FEMALE GATE AGENT + I can't-- + + RACHEL bolts down the jetway. The GATE AGENT stares after + her, and then runs for her stand, where we can see FLIGHT + 61 and BANGOR on the slide-cards. She picks up her mike. + + +510 EXT. THE JETWAY NIGHT 510 + + RACHEL stands all alone at the end of it. + + AMPLIFIED SOUNDS OF JET ENGINES. + + RACHEL (SCREAMS) + COME BACK, MOTHERFUCKER!! + + +511 EXT. THE JET, RACHEL'S POV 511 + + It starts to swing back to pick her up. + + +512 EXT. RACHEL 512 + + PASCOW appears behind her and puts a hand on her shoulder. + + PASCOW + You're doing just fine. + + +513 EXT. JUD CRANDALL, ON HIS PORCH 513 + 133. + + + He's fast asleep with the tinny sound of Graham Parker + coming out of his Walkman 'phones. + + SOUND: An approaching car. + + +514 EXT. THE CREED HOUSE 514 + + The station wagon turns in and parks. LOUIS gets out. He + opens the back, removes the body in the tarp and the duffle + bag filled with tools. He manages to get everything + together and walks to the edge of the path. He looks at: + + +515 EXT. THE PATH TO THE PET SEMATARY, LOUIS'S POV 515 + + Off it goes, glimmering in the dark. + + +516 EXT. LOUIS 516 + + He holds the corpse of his little boy to him. + + LOUIS + Please God--let this work. + + He sets off. + + +517 EXT. JUD, ON HIS PORCH 517 + + Zonked out. He missed the whole thing. Nice going, Jud. + + +518 EXT. OUTSIDE THE ARCH TO THE PET SEMATARY, WITH LOUIS 518 + + Louis passes under like a ghost. + + +519 EXT. THE PET SEMATARY, WITH LOUIS 519 + + LOUIS is crying. He crosses to the deadfall. + + LOUIS + Ain't gonna stop, Gage. Ain't gonna + look down. + + He begins to mount the deadfall. + + +520 EXT. LOUIS, A NEW ANGLE 520 + 134. + + + He reaches the top. And woven into the deadfall, behind + him, facing the Pet Sematary, is that snarling face. + + LOUIS descends the other side. + + +521 EXT. THE FOOT OF THE DEDFALL, WOODS SIDE 521 + + LOUIS reaches the bottom and looks at: + + +522 EXT. THE WOODS, LOUIS’S POV 522 + + The path winds onward through those gigantic trees--it + glows slightly. + + +523 EXT. LOUIS, MOVING UP THE PATH 523 + + +524 EXT. LOUIS, AT THE EDGE OF LITTLE GOD SWAMP 524 + + That phosphorescent glow is a lot more pronounced. SOUNDS + of CRICKETS and FROGS. The water is mucky and still. + Hummocks stick up like knobs on the back of a creature best + not seen. Fog drifts through the dead trees. LOUIS doesn't + want to go in there. Smart man. I wouldn't either. + + But he does. + + +525 INT. THE HERTZ DESK, AT BIA WITH RACHEL AND CLERK--AND 525 + PASCOW + + PASCOW is lounging back against the rack of folders--and + getting some of them bloody. + + IICRTZ CLERK + I'm sorry...it's been very busy + tonight. I really don't have + anything. + + PASCOW + What about the Aries K with the + scratch on the side? + + The CLERK starts looking through her papers. + + CLERK + I do have an Aries K, but it came + in sort of beat up--there's a long + scrape up one side-- + 135. + + + RACHEL + I'll take it. + + +526 EXT. LOUIS, IN LITTLE GOD SWAMP 526 + + He comes walking toward THE CAMERA with GAGE in his arms + and the duffle bag over his shoulder. Mist swirls around + him. The landscape is weird, surreal. CRICKET SOUNDS, + AMPLIFIED. In fact there are a lot of swampy, marshy + SOUNDS--too many. It sounds almost prehistoric. + + SOUND: HARSH, SCREAMING LAUGHTER + + LOUIS stops. He looks slowly around at: + + +527 EXT. MIST-FACE, LOUIS’S POV 527 + + A demonic face takes shape in the mist and FLOATS SLOWLY + TOWARD THE CAMERA. It runs out a tongue that's about nine + feet long. + + Its eyes blow out. Blood and thick, gooey stuff runs from + the sockets. + + +528 EXT. LOUIS 528 + + He closes his eyes. After a moment he opens them. + + +529 EXT. LITTLE GOD SWAMP, LOUIS'S POV 529 + + Nothing there. + + +530 EXT. LOUIS 530 + + LOUIS + See? Dust imagination. Dust-- + + +531 EXT. LOUIS'S FEET 531 + + We can barely see them because they are thick in mist, but + he is standing on a couple of low, marshy tussocks. + Suddenly a thick tentacle slimes its way out of the + standing water and slithers around his ankle. + + +532 EXT. LOUIS, LOOKING DOWN 532 + 136. + + + LOUIS + Nothing...there. + + He turns around and begins to walk again. + + +533 EXT. LOUIS'S FEET 533 + + The tentacle falls away. + + +534 EXT. LOUIS, IN LITTLE GOD SWAMP 534 + + MYRIAD SOUNDS, none of them pleasant--laughter, gobbling + howls, screams. Sounds like the swamp has been invaded by a + pack of escaped lunatics. LOUIS continues on regardless. + + +535 EXT. WOODS 535 + + LOUIS comes into the frame. He's obviously tiring now, but + he keeps moving along. + + SOUND: Approaching footsteps. Big ones. Thudding ones. + Something is coming which sounds approximately the size of + a Tyrannosaurus Rex. And it just keeps getting louder and + louder and louder. LOUIS looks plenty scared. + + SOUND: A falling tree. + + +536 EXT. WOODS, LOUIS'S POV 536 + + Those SOUNDS keep getting closer and closer. Another tree + falls-- + + we see this one. And now we see a SHAPE--just a SHAPE. + + +537 EXT. LOUIS 537 + + He's scared almost to death. His face turns up...up...up. + + +538 EXT. THE WOODS--AND THE SHAPE, LOUIS'S POV 538 + + It is vaguely manlike: perhaps sixty feet tall, perhaps + eighty. We don't see it very well, nor do we have to--I'm + not even sure it's flesh and blood. But there is a clear + suggestion of a head. Now it turns and looks down...looks + at LOUIS CREED. We see great yellow eyes the size of + lighthouse lamps. + 137. + + + It makes a huge GRUNTING SOUND...and then walks on. + + +539 EXT. LOUIS 539 + + The SOUND OF FOOTFALLS is slowly diminishing. + + LOUIS + It was the Wendigo. Dear God, I + think the Wendigo just passed + within sixty feet of me. + + Slowly he begins to walk again. + + +540 EXT. LOUIS, A NEW ANGLE 540 + + In the extreme f.g. is a tree which has just fallen--it is + no small tree, either, but a great big old fir. + + LOUIS approaches it. Stops. Looks at the tree. Looks down + at: + + +541 EXT. THE FOREST FLOOR, LOUIS'S POV 541 + + Here is a gigantic animal track--if it was full of water, + LOUIS could swim in it. It looks like no animal track we've + ever seen before. Three big claws at the end of it. + + +542 EXT. LOUIS 542 + + Looks up again. His face is set and hard. + + LOUIS + It doesn't matter. Come on, Gage. + + He starts to walk again. + + +543 EXT. THE MICMAC BURYING GROUND 543 + + SOUND: The wind, lonesome and keening. + + THE CAMERA MOVES SLOWLY toward the slope, dreaming its way + over those rocky cairns...most of them burst apart. + + SOUND: Tortured breathing. Panting. + 138. + + + LOUIS toils his way into view, carrying his bundle. He + reaches the top. He makes his way slowly into the burying + ground. He stumbles over a rock. Falls down. Slowly gathers + his things together and gets up again. He goes a little + further and then stops and looks at: + + +544 EXT. A BROKEN CAIRN AND THE GRAVE BENEATH, LOUIS'S POV 544 + + We can also see the shredded remains of a green garbage + bag. + + +545 EXT. LOUIS 545 + + He slowly kneels down. He puts the canvas tarp to one side + and slowly takes the pick and shovel from the duffle bag. + By now he is clearly a man approaching total exhaustion. + + +546 EXT. A COUNTRY ROAD, WITH AN ARIES K 546 + + It tracks past THE CAMERA. + + +547 INT. THE ARIES K WITH RACHEL AND PASCOW 547 + + Both of them look tense. RACHEL is bolt upright behind the + wheel. + + Suddenly, BANG! as one of the tires blow. + + +548 EXT. THE ARIES K 548 + + It goes skidding and slueing across the road, the rear tire + half off the rim. IT climbs the curb and hits a tree. + + +549 INT. RACHEL 549 + + She lurches forward, but she’s wearing her seat-belt--good + girl! + + She unbuckles it and gets out. + + +550 EXT. RACHEL 550 + + She looks at the car, which now has quite a bit more wrong + with it than just a scratch up the side. + 139. + + + RACHEL slumps, near tears. LOUIS isn't the only one who’s + been through a lot tonight. + + RACHEL + Now what? + + PASCOW comes from around the tree as RACHEL walks to the + road, looking for cars, or something. He looks urgent and + upset. + + PASCOW + It's trying to stop you. Do you + hear me? It's trying to stop you. + + RACHEL looks around uncertainly... a little afraid. As she + scans the scene she looks at--and through--PASCOW. + + RACHEL + Is anyone there? + + After a moment of silence she turns back to the road. + Lights appear and brighten as a car approaches. RACHEL + steps to the shoulder and after a moment she sticks out her + thumb, surely for the first time in her life. + + The car sweeps by her without slowing. + + +551 EXT. GAGE'S CAIRN, CU 551 + + LOUIS'S hands enter the shot and put a few more rocks on + it. THE CAMERA PULLS BACK and we see him surveying his + work. Beside him is the canvas tarp, now open and empty. + + Absently, LOUIS stuffs the tarp into the duffle bag (where + his tools have also been replaced) and stands up with a + wince. One hand goes to his lower back. He looks down at + the cairn. + + LOUIS + Come back to me, Gage. Come back to + us. + + He turns away toward the stairs. + + +552 EXT. RACHEL, ON ROUTE 9 552 + + She's walking down the shoulder with her high heels in one + hand. + + Lights. An approaching car. She turns, thumb out. The car + blasts by. + 140. + + + RACHEL (SHOUTS) + MAY THE SEWERS OF RANGOON BACK UP + IN YOUR BEDROOM, ASSHOLE! + + She starts walking again. + + +553 EXT. THE FIELD BESIDE LOUIS'S HOUSE 553 + + LOUIS is moving down the path. As he passes the tire swing + he pushes it, setting it in motion. + + +554 INT. THE GARAGE 554 + + LOUIS slings the duffle bag wearily to one side and goes + into the kitchen. CHURCH is under the table but LOUIS + Doesn't see him. + + +555 INT. THE UPSTAIRS HALL 555 + + SOUND of LOUIS slowly plodding up the stairs. He comes into + view, dirty and exhausted, his hair hanging in his face. He + walks down the hall toward the master bedroom. + + +556 INT. THE BEDROOM 556 + + on the immaculate bedspread and lies still. + + In this shot we should note the closet door is standing + open. + + +557 EXT. THE MICMAC BURYING GROUND, FEATURING GAGE’S CAIRN 557 + + THE CAMERA MOVES IN SLOWLY. Holds. Nothing for a beat. + Then: + + A small white hand slams up through the rocks, hopefully + scaring the living shit out of us. + + CAMERA MOVES CLOSER as the hand begins to feel around. It + takes one of the rocks and pushes it aside. Another. + Another. Another. + + The SOUNDS are not encouraging. It is GRUNTING and + GROWLING. There is nothing human here. + + Rocks begin to tumble as GAGE starts to come out of his + grave. + 141. + + +558 INT. THE CREED BEDROOM, WITH LOUIS 558 + + Fast asleep on the coverlet in his dirty jeans and black + sweater. + + +559 EXT. RACHEL 559 + + My babe is still takin’ a hike. But here comes another + vehicle. + + +560 EXT. THE DEADFALL IN THE PET SEMATARY 560 + + THE CAMERA MOVES IN on that snarling face. + + SOUNDS: GAGE coming. Dead dry breath. Low snarling noises. + + Now we see small feet in dirty black shoes walking down the + deadfall. + + +561 EXT. RACHEL 561 + + Suddenly, as the lights appear, she does a Claudette + Colbert, pulling her skirt up and exhibiting a very lovely + leg. + + Lights--it's an Orinco truck, naturally--spotlight her. The + truck stops. + + +562 EXT. RACHEL AND THE TRUCK 562 + + The driver leans over and opens the door. + + DRIVER + Hop in, baby. + + RACHEL + Thank you. + + She does. + + +563 INT. THE CREED KITCHEN, WITH CHURCH 563 + + He's under the kitchen table, green eyes gleaming. I think + he loves dead, hates living. + + SOUND: The doorlatch. CHURCH MIAOWS. + 142. + + +564 INT. THE KITCHEN, A NEW (LOW) ANGLE 564 + + GAGE'S shoes grit slowly across the linoleum, leaving dirty + tracks. CHURCH turns to watch GAGE'S passage, and then + follows. + + +565 INT. THE BEDROOM, WITH LOUIS 565 + + CAMERA HOLDS ON LOUIS as those gritting footsteps approach. + Then we pan to the closet. On the floor is LOUIS'S little + black bag. We hold on this as the footfalls near. A small + white hand enters the frame and pulls the doctor-bag out of + the closet. Now another hand enters the frame and opens the + bag. The hands search around inside and bring out a + scalpel. + + They hold it up. The GAGE-THING makes a contented SOUND. + + +566 EXT. THE ORINCO TRUCK, ON ROUTE 9 - NIGHT 566 + + It sweeps past THE CAMERA + + +567 INT. THE CAB, WITH RACHEL AND DRIVER 567 + + RACHEL + Can't you go any faster? + + TRUCKER + Lady, I got nine points on my + license right now. + + RACHEL + I understand. It's just that-- + + She looks at him, pleading. The TRUCKER speeds up. + + RACHEL + Thank you. If you only understood + how important this is-- + + TRUCKER + That's all right, babe. Only if we + get stopped, next time I'll be the + one hitchin' and you can give me a + ride. + + +568 EXT. DUD, ON HIS PORCH 568 + 143. + + + More deeply asleep than ever. Suddenly, from inside, comes + the sound of Quiet Riot singing/screaming "Bang Your Head." + It's the stereo, and boy, is it cranked. + + JUD straightens up so suddenly he almost falls off his + chair. His hands go first to his earphones--his first + thought on waking is that it's coming from there--and then + he hurries inside. + + CAMERA PANS DOWN to small muddy tracks on the porch floor. + + +569 INT. THE LIVING ROOM, WITH JUD 569 + + He hurries in, turns on the light, and rushes across to his + stereo system, which is state-of-the-art digital--it looks + like a flying saucer among the more traditional furnishings + of the room. He shuts it off and looks around, frowning. + + SOUND: Todd Rundgren, singing "Bang on the Drum All Day" at + the top of his voice. + + JUD'S head snaps toward the SOUND. + + +570 INT. A SONY RADIO, CU 570 + + THE CAMERA PULLS BACK as JUD hurries across the kitchen to + the counter, where the radio is. He turns it off, looking + around, more bewildered than ever. + + JUD (SHARPLY) + Who's here? + + He walks toward the door which gives on the hall. + + +571 INT. THE HALL, WITH JUD 571 + + It's dimly lit by light-spill from the living room and + kitchen. + + JUD + Come on, stop playing games! + + SOUND: Molly Hatchet, "Flirtin' with Disaster," being + played top end, from upstairs. + 144. + + + DUD hurries up. Let me suggest that there is a certain + psychology at work here--for the moment he's more concerned + about waking the neighborhood with all this high-decible + rock and roll than with the prowler...and he would + certainly know who--or what--that prowler was, if he had + time to think. + + +572 INT. DUD’S BEDROOM 572 + + He enters and turns on the light. We see a portable + phonograph with the record, turning. DUD rushes over and + turns it off. + + He looks around, and we see by his face that he knows. + + DUD + Gage? + (Pause) + Are you the one playing games? + + He goes to the window and looks out at: + + +573 INT/EXT. THE CREED HOUSE, WITH THE STATION WAGON, DUD'S POV 573 + + +574 INT. THE BEDROOM, WITH DUD 574 + + He turns slowly and walks toward the bed. + + DUD + Gage? Come on out. + + He reaches in his pocket and brings out a pocket-knife. He + unfolds the blade. + + DUD + I want to show you something. + + SOUND: Miaow! + + +575 INT. THE DOORWAY, WITH CHURCH, DUD'S POV 575 + + +576 INT. DUD, BY THE BED 576 + + DUD (TO THE CAT) + How did you--?! + + +577 INT. DUD'S FEET 577 + 145. + + + A small hand holding a scalpel shoots out from beneath the + skirt of the coverlet and slashes DUD'S calf, + + +578 INT. DUD 578 + + He screams with pain and staggers backward. + + +579 INT. DUD'S FEET 579 + + The other hand shoots out. GAGE grabs one of DUD'S ankles + and pulls. + + +580 INT. DUD 580 + + With a startled yell, he falls. + + +581 INT. DUD AND GAGE 581 + + This one's gotta be pretty rough. George will know what to + do. We finally see GAGE, but it should be clear to us that + it's not really GAGE at all. Some daemonic presence is + riding inside the mouldering, disfigured shell of GAGE. + + There is a struggle. DUD is repeatedly slashed with the + scalpel. + + Perhaps he gets GAGE a time or two with the pocketknife. + + GAGE screams and gibbers--nothing intelligible here; only + sounds. + + DUD expires. + + GAGE sits on top of him...and then bites into his throat. + + +582 EXT. ROUTE 9, BETWEEN THE CRANDALL AND CREED HOUSES 582 + + Headlights. RACHEL'S truck has arrived. It pulls up. + + RACHEL opens the passenger door, which is on DUD'S side. + + +583 EXT. ANGLE ON THE CAB 583 + + We can see PASCOW sitting in the passenger seat where + RACHEL just was. + 146. + + + RACHEL + Thank you so much. + + TRUCKER + I didn't get a ticket, so you're + welcome, lady. + (And, more seriously) + Whatever your problems are, I hope + they work out. + + PASCOW + It's the end of the line for me, + too--I'm not allowed any further. + + RACHEL (TO THE TRUCKER) + I'm sure things will be fine. + + PASCOW + I'm not. + + She closes the door and steps down. + + The truck starts off with a HISS OF RELEASED AIRBRAKES. As + it pulls past her, RACHEL starts across the road, when: + + GAGE (SOFT VOICE) + Mummy! + + She stops, startled. Her face wears a "did I hear that?" + + expression. She looks back toward DUD'S house. + + GAGE (SOFT VOICE) + Mummy! + + RACHEL walks halfway up DUD'S paved walk and looks at: + + +584 EXT. DUD'S HOUSE, RACHEL'S POV 584 + + The one place in the whole world we do not want RACHEL to + go. + + +585 EXT. RACHEL 585 + + She goes. Up the steps to the porch. All through this she's + been travelling with two bags: her handbag and a light tote + with her initials on it. Now she sets the tote down on the + top step and opens the porch door. + + She looks very uncertain. This is the wee hours of the + morning, and someone else's house. But...that voice... + 147. + + + GAGE (VOICE) + Mummy, I need you! + + RACHEL looks stunned-- rocked. She steps onto the porch. + + RACHEL + Who-- + + The door to the house swings open. After a moment CHURCH + comes into the doorway and sits down. + + CHURCH + Miaow! + + RACHEL + Church! + + GAGE (VOICE) + Mummy, I need you! + + She crosses to the open door. + + RACHEL + Gage? Gage? + + No answer. RACHEL steps in. + + +586 EXT. THE CREED HOUSE MORNING 586 + + +587 INT. THE CREED BEDROOM, WITH LOUIS 587 + + He's restless, having a very bad dream, from the look. He + rolls back and forth. Closer and closer to the edge. + Finally, with a wild yell, he goes over onto the floor. + + +588 INT. LOUIS, ON THE FLOOR 588 + + He comes awake, sits up. Ouch! He's aches from top to + bottom and side to side...but his back is worst. His hands + go to it. + + LOUIS + Jesus! + + He starts to get up very slowly, and this his eyes fix on: + + +589 INT. GAGE'S TRACKS ON THE BEDROOM FLOOR, LOUIS'S POV 589 + 148. + + + They enter the house, go to the closet, then leave again. + + +590 INT. LOUIS 590 + + LOUIS + Gage--? + + He scrambles for the closet, his aches and pains forgotten. + He stares in wildly. + + +591 INT. THE DOCTOR-BAG 591 + + It’s open. + + +592 INT. LOUIS 592 + + He pulls the doctor-bag out. His original hope is now + tempered with the first signs of fear. He begins to go + through the doctor­bag. Suddenly he brings out a case and + opens it. The case is empty, but the indented shape is + clear. There was a scalpel in this case...but not anymore. + + LOUIS + Oh my God. + (Pause) + Gage! + + +593 INT. THE HALL, WITH LOUIS 593 + + LOUIS + Gage! + + LOUIS stands there, tensely listening, for a moment or two, + but there's only silence. He rushes down the hallway and + opens the door to GAGE'S room. + + +594 INT. GAGE'S ROOM, LOUIS'S POV 594 + + Empty. + + +595 INT. LOUIS, ON THE STAIRS 595 + + He goes downstairs, yelling GAGE'S name. + + +596 INT. THE KITCHEN, WITH LOUIS 596 + 149. + + + Nothing. The phone RINGS. LOUIS almost jumps out of his + skin reaching for it. + + LOUIS + Hello! + + IRWIN (VOICE) + Hello, Louis--it's Irwin. I just + wanted to be sure Rachel got back + all right. + + As IRWIN says this, LOUIS'S eyes fix upon something. + + +597 INT. THE FLOOR, WITH TWO SETS OF GAGE-TRACKS, LOUIS'S POV 597 + + One set comes in from the shed-garage and heads for the + parlor and upstairs. The other comes out of the parlor and + crosses to the kitchen door giving directly on the outside. + + +598 INT. THE KITCHEN, WITH LOUIS 598 + + In his eyes we suddenly see that he understands + everything...or almost everything. + + IRWIN (VOICE) + Louis...are you there? + + LOUIS (SLOWLY) + Yes--I'm here. + + IRWIN (VOICE) + Did she get there all right? + + LOUIS + Yes, she's fine. + + IRWIN (VOICE) + Well, put her on at that end and + I'll put Ellie on at this one. + Ellie's very worried about her + mother. + (Pause) + She’s almost in hysterics. + + LOUIS + She...Rachel1s asleep. + + |IRWIN (an edge in his voice now) + + Then I suggest you wake her up. Ellie...I think she had a + dream that her mother was dead. + 150. + + + LOUIS + I'll call you right back. + + IRWIN (VOICE) + Louis--! + + But LOUIS, whose last few responses have been almost + trancelike, hangs up. He looks at the tracks, then goes + into the parlor. + + +599 INT. THE CRANDALL LIVING ROOM, WITH THE PHONE 599 + + Tiny bloody hands lift it off the cradle. A tiny bloody + finger didlb. + + +600 INT. THE CREED KITCHEN 600 + + The phone starts to ring. After two or three ringy-dingys, + LOUIS, looking extremely upset, comes out of the parlor and + picks it up. + + LOUIS + Irwin, you'll just have to-- + + GAGE (VOICE) + I’m at Dud's, daddy. Will you come + over and play with me? + + LOUIS is dumbfounded...slack-mouthed with terror. + + |LOUIS (a bare whisper) + + Gage? + + GAGE (VOICE) + Mommy already came. We played, + daddy. First I played with Dud and + then mommy came and I played with + mommy. We had an awful good time. + Nov; I want to play with you. + + GAGE begins to giggle...a really awful sound. + + LOUIS + What did you do? What did you-- + + CLICK! The GAGE-THING hangs up, still giggling. + + +601 INT. THE CREED BED, CU 601 + 151. + + + He puts the doctor-bag down on the bed and roots through + it. He comes up with three syringes, still wrapped in + paper, and puts them aside. Then he roots around some more + and comes up with several ampoules. He holds one up for + inspection and we can read the word MORPHINE on it very + clearly. + + +602 INT. THE BEDROOM, WITH LOUIS 602 + + He carries the syringes and ampoules of morphine over to + the window. His hair has gone partially white. + + He fills all three syringes with morphine (using two + ampoules for each syringe--i.e., enough to kill a polar + bear) and puts them in the left breast pocket of his shirt. + He puts the spare ampoules in the right breast pocket of + his shirt. + + LOUIS is slowly going insane. What remains of his + rationality is like a rapidly fraying rope. + + LOUIS + What you buy is what you own, and + sooner or later what you own comes + home to you. Wasn't that what you + said, Dud? Wasn’t that pretty much + it? + + He leaves the room. + + +603 EXT. THE FRONT DOOR OF THE CREED HOUSE 603 + + LOUIS comes out the door. In one hand he's got a raw pork + chop. In the other he is carrying a pair of Playtex rubber + gloves. He walks to the soft shoulder and waits for an + Orinco truck to pass. Then he crosses. + + +604 EXT. THE CRANDALL WALK, WITH LOUIS 604 + + He walks most of the way to the house, then stops. + + +605 EXT. CHURCH, LOUIS”S POV 605 + + He gets up, humping his back warily. + + +606 EXT. LOUIS 606 + + LOUIS + 152. + + + Hi, Church. Want some grub? + + He tosses the pork chop onto the grass. + + +607 EXT. CHURCH 607 + + He hurries down the steps, goes to the chop, sniffs it, and + starts to chow up. He looks up at: + + +608 EXT. LOUIS 608 + + He is pulling on the rubber gloves. + + LOUIS + Don't mind me. Eat it while you + can. Eat all you want. + + +609 EXT. CHURCH 609 + + He starts worrying the chop again. Smack-smack-smack. + + +610 EXT. ANGLE ON LOUIS AND CHURCH 610 + + LOUIS + Eat all you can...all you want... + that's right...today’s Thanksgiving + day for cats, but only if they came + back from the dead... + + He finishes with the gloves, gets one of the loaded + syringes out of his breast pocket, holds it up, squirts a + drop out of the tip, then moves toward CHURCH. + + CHURCH looks up. LOUIS stops moving. CHURCH starts eating + again, and LOUIS starts moving again as soon as he does. + All the time he talks to the cat in that soothing voice. He + bends down...and grabs him. + + CHURCH begins to squall and fight. LOUIS holds onto him. He + tries to get the syringe into the cat and CHURCH almost + gets away. + + LOUIS + No, you don’t! + + +611 EXT. CHURCH, CU 611 + + The syringe plunges into his haunch. + 153. + + +612 EXT. CHURCH AND LOUIS 612 + + The needle is still dangling out of CHURCH'S haunch. The + cat looks dazed. It tries to walk and falls over on its + side. It tries to get up...and then falls over again. + + LOUIS + Go on. Lie down. Play dead. Be + dead. + + He walks to the porch steps and picks up the tote-bag. + + +613 EXT. THE TOTE-BAG, LOUIS'S POV 613 + + Any doubt he might have allowed himself the luxury of + having is erased by the initials--R.C. , same as the cola. + + +614 EXT. LOUIS 614 + + Twang! One of the few remaining strands of sanity has now + parted. + + He looks back at: + + +615 INT. CHURCH, ON THE PATH, LOUIS'S POV 615 + + Dead. + + +616 EXT. LOUIS 616 + + He climbs the steps and goes onto the porch. + + +617 EXT. LOUIS, ON THE PORCH 617 + + He strips off the rubber gloves. He tosses them onto the + table beside JUD'S beer-cans as he goes inside. + + +618 INT. THE FOYER OF THE CRANDALL HOME, WITH LOUIS 618 + + It’s dark in here, and spooky. + + LOUIS + Rachel? + (Pause) + Jud? + (Longer pause) + 154. + + + Gage? + + No answer. He looks down and sees: + + +619 INT. A SHOE, LOUIS'S POV 619 + + One of RACHEL'S shoes. It lies by the foot of the stairs. + + +620 INT. LOUIS 620 + + He goes over and picks up the shoe. It's a three-quarter + heel, and it's pretty badly scuffed. RACHEL, after all, did + some pretty hard travelling to get here. + + There's a spot of blood on it. + + SOUND: A low giggle. + + LOUIS looks up: + + +621 INT. THE STAIRS, LOUIS'S POV 621 + + Mighty dark. Mighty shadowy. + + SOUND: Another giggle. + + +622 INT. LOUIS, AT THE FOOT OF THE STAIRS 622 + + LOUIS + Gage? + + +623 INT. THE STAIRS 623 + + GAGE (VOICE) + Let's play, daddy! Let's play hide + and go seek! + + +624 INT. LOUIS 624 + + takpc one nf thf» loaded ^yrnngpc from hit pocket. + + LOUIS + All right, Gage...let's. + + He begins to climb the stairs. + 155. + + +625 INT. UPSTAIRS, WITH LOUIS 625 + + LOUIS arrives on the landing. We begin the nerve-wracking + business of checking rooms. First, the bathroom...and the + shower curtain is of course pulled. LOUIS yanks it back. + Nothing. + + He checks the linen closet. Nothing. Goes back to the hall. + Looks down it. He walks slowly along it. He checks one + room. It's a guest room. Shadowy and empty. + + Down the hall. A closet door. A bag falls off the top + shelf, and a bunch of ceramics inside it SHATTER LOUDLY. + LOUIS flinches back. + + Down the hall. Now he’s at JUD'S room. He goes in. + + +626 INT. JUD'S ROOM, WITH LOUIS 626 + + He checks the closet. No go. He steps around the bed and + sees: + + +627 INT. THE FLOOR, LOUIS'S POV 627 + + A bloodstain. + + +628 INT. LOUIS 628 + + He gets down on his hands and knees and examines the + bloodstain. + + He sees the skirt on the bedspread. He lifts it. He is nose + to nose with JUD, who is dead with his eyes open, an + expression of incredible horror on his face. + + The DOOR SLAMS. + + LOUIS bolts to his feet as GIGGLES fade down the hall. + + Slowly, he kneels down and speaks to the skirt of the + spread, which has mercifully fallen back into place. + + LOUIS + I'm sorry, Jud. I'm so sorry. I'm— + + There's a SQUEAKING, SQUEALING SOUND. + + LOUIS turns around. He gets up again. He starts for the + door. Then he turns back and speaks to JUD again. + 156. + + + LOUIS + I'm going to set things back in + order. I...I know just what to do. + + He goes out. + + +629 INT. THE HALLWAY, WITH LOUIS 629 + + He takes one of the two remaining loaded syringes from his + breast pocket. + + LOUIS + Gage? + + Another SQUEAKING SOUND. And another GIGGLE. + + LOUIS starts slowly forward. He gets about halfway down the + hall-- + + and our nerves are tuned to the breaking point--when there + is a SQUEALING CREAK and a GRATING THUMP from overhead. + + +630 INT. CEILING TRAPDOOR 630 + + This happens fast. The trap--which presumably gives on the + attic with a set of folding stairs--rises, and RACHEL'S + body plunges down through and then hangs, swinging: she has + been bound around the armpits and as become a grotesque + parody of MISSY DANDRIDGE. + + Half her face is gone. Eaten. + + +631 INT. LOUIS 631 + + He SCREAMS and backs against the wall. Twang! The last + silver + + +632 INT. THE TRAPDOOR, WITH GAGE 632 + + He leaps down, crashes on the floor, and then picks himself + up. He is waving the scalpel. + + GAGE (SCREECHING) + Allee-allee-in-free! allee-allee- + in-free! Allee-allee-in-free! + + +633 INT. LOUIS AND GAGE 633 + 157. + + + I won't choreograph all the moves, but GAGE slashes his + stunned father up pretty badly with the scalpel. He's + screeching the whole time. LOUIS finally begins to react. + He grapples with the little critter, and tries to get the + syringe into him. No good. It's batted out of his hand just + before he can do it. It breaks. + + LOUIS and GAGE fall to the floor. LOUIS gets the other + syringe out of his pocket, but it's also knocked out of his + hand. Only consolation is this one isn't broken. It rolls + off along the floor. LOUIS finally manages to get it again + as the struggle goes on, and plunges it into GAGE'S neck. + + GAGE + No fair! NO FAIR! + + He gets to his feet, clawing for the needle lolling out of + his neck. He's lost all interest in his father. He goes + staggering away. He’s slowing down. He goes to his + knees...and falls on his face. + + LOUIS watches this... and then his vacant, half-catatonic + gaze goes to: + + +634 INT. RACHEL, LOUIS'S POV 634 + + She swings slowly back and forth. + + +635 EXT. THE BACK YARD OF THE CRANDALL HOUSE 635 + + Time has passed. It's late afternoon. LOUIS comes out with + a sheet-wrapped form in his arms. RACHEL, of course. + + He sets the body down and goes back inside. + + +636 INT. THE KITCHEN, WITH LOUIS 636 + + He's splashing around a can of coal-oil. When he's got the + room wetted down to his satisfaction, he goes to the door, + lights a match, and tosses it. + + Flame runs across the floor. The fire is slow at first, but + then it begins to gain rapidly. + + LOUIS goes out. + + +637 EXT. THE BACK LAWN, WITH LOUIS 637 + 158. + + + He picks up the sheet-wrapped form of his wife and walks + around the side of the house as flames shoot through the + kitchen windows. + + +638 EXT. THE FRONT OF THE CRANDALL HOUSE, FROM ACROSS THE ROAD 638 + + LOUIS appears with his shrouded burden and approaches the + road. + + PAGE 134 MISSING FROM HARD COPY + + +639 EXT. THE SHOULDERING RUINS OF THE CRANDALL HOUSE NIGHT 639 + + CAMERA HOLDS FOR A MOMENT, then rises and looks toward the + CREED house. There's one light on--in the kitchen. + + TOLLING CONTINUES: Three...four...five... + + +640 INT. THE KITCHEN TABLE, WITH LOUIS 640 + + LOUIS is filthy, covered with dried blood. He is playing at + Patience. He holds a handful of cards. + + TOLLING CONTINUES: Six...seven... + + SOUND: The back door opens. + + SOUND: Crickets from outside. Ree-ree-ree... + + SOUND: Gritting footsteps. + + LOUIS looks up. He doesn't look behind, at what's coming. + He looks straight ahead. + + LOUIS + And what you own always comes home + to you. + + He flips up one card. + + TOLLING CONTINUES: Eight... + + +641 INT. THE CARD 641 + + It’s the Bitch, the Queen of Spades, she who supposedly + poisoned the laddies in the Tower. + + LOUIS'S hand falls upon it. + 159. + + + TOLLING CONTINUES: Nine...ten... + + +642 INT. LOUIS, CU 642 + + A hand clotted with grave-dirt falls on his shoulder. A + woman's hand. + + TOLLING CONCLUDES: Eleven...twelve... + + RACHEL (VOICE) + Darling. + + FADE OUT ON THE SOUND OF CRICKETS. + \ No newline at end of file diff --git a/scripts/Pirates of the Caribbean.txt b/scripts/Pirates of the Caribbean.txt new file mode 100644 index 0000000000000000000000000000000000000000..4a85dde422c094140dfbd7be472385bd502b2bed --- /dev/null +++ b/scripts/Pirates of the Caribbean.txt @@ -0,0 +1,6644 @@ + + + + + + + + + + PIRATES OF THE CARIBBEAN: + THE CURSE OF THE BLACK PEARL + + + + + + screenplay by + + Ted Elliott & Terry Rossio + + + + screen story by + + Jay Wolpert & Stuart Beattie + + and + + Ted Elliott & Terry Rossio + + + + + + + + + + + + FIRST DRAFT + September 1, 2002 + + + + + + +FADE IN: + +EXT. CARIBBEAN SEA - DAY + +A gray, impenetrable wall of fog. From somewhere comes the +FAINT SOUND of a LITTLE GIRL'S VOICE, singing, slow tempo, +almost under her breath: + + YOUNG ELIZABETH (O.S.) + Yo, ho, yo, ho, a pirate's life for + me. Yo, ho, yo, ho, it's a pirate's + life for me ... + +Suddenly a massive SHIP emerges from the grey, the Winged +Victory maidenhead looming. It's a British dreadnought, the +H.M.S. Dauntless. Formidable, frightening, twenty-five gun +ports on the side, and rail guns to boot. + +EXT. H.M.S. DAUNTLESS - FORECASTLE - DAY + +ELIZABETH SWANN, strawberry blonde hair, stands at the bow +rail, gazing at the sea, still singing -- + + ELIZABETH + ... drink up me hearties, yo, ho ... + +JOSHAMEE GIBBS, who was born old, skin a dark leather, clutches +her shoulder, startling her. + + GIBBS + (sotto) + Quiet, missy! Cursed pirates sail + these waters. You want to call 'em + down on us? + +Elizabeth stares wide-eyed at him. + + NORRINGTON + Mr. Gibbs. + +NORRINGTON, a dashing young man, Royal Navy to the core, glares +sternly at Gibbs. Standing beside him is GOVERNOR WEATHERBY +SWANN, a man of obvious high station, brass buttons on his +thick blue jacket. He is Elizabeth's father. + + NORRINGTON (CONT'D) + That will do. + + GIBBS + She was singing about pirates. Bad + luck to sing about pirates, with + us mired in this unnatural fog -- + mark my words. + + NORRINGTON + Consider them marked. On your way. + + GIBBS + 'Aye, Lieutenant. + (as he moves off) + Bad luck to have a woman on board, + too. Even a mini'ture one. + +He returns to his deck-swabbing duties, surreptitiously takes a +quick swig from a flask. + + ELIZABETH + I think it would be rather exciting + to meet a pirate. + + NORRINGTON + Think again, Miss Swann. Vile and + dissolute creatures, the lot of + them. I intend to see to it that + any man who sails under a pirate + flag, or wears a pirate brand, gets + what he deserves: a short drop and + a sudden stop. + +Elizabeth doesn't know what a 'short drop and a sudden stop' +means. Gibbs helpfully mimes: a man being hung. + + SWANN + Captain Norrington... I appreciate + your fervor, but I am concerned + about the effect this subject will + have on my daughter. + + NORRINGTON + My apologies, Governor. + + ELIZABETH + Actually, I find it all fascinating. + + SWANN + And that's what concerns me. + Elizabeth, we will be landing in + Port Royal soon, and beginning our + new lives. Wouldn't it be wonderful + if we comport ourselves as befits + our class and station? + + ELIZABETH + Yes, father. + +Chastised, she turns away, to look out over the bow rail. + + ELIZABETH (CONT'D) + (to herself) + I still think it would be exciting + to meet a pirate ... + +The fog still hems in the ship; very little of the sea is +visible -- + +-- but suddenly, a FIGURE comes into view. A young boy, WILL +TURNER, floating on his back in the otherwise empty water. +There is nothing to show where he came from, or how he came to +be there. + + ELIZABETH (CONT'D) + Look! A boy! There's a boy in the + water! + +Norrington and Swann spot him -- + + NORRINGTON + Man overboard! + + ELIZABETH + Boy overboard! + + NORRINGTON + Fetch a hook -- haul him out of + there! + +Quick movement and activity on deck. Sailors use a boathook to +snag the boy when he passes. Norrington and Swann haul him +aboard, and lay him on the deck. Elizabeth sidles in for a +closer look. + + NORRINGTON (CONT'D) + He's still breathing. + + SWANN + Where did he come from? + + GIBBS + Mary mother of God ... + +Attention is turned away from the boy -- + +The sea is no longer empty. WRECKAGE from a ship litters the +water ... along with the bodies of its crew. What is left of +the ship's hull BURNS, a ragged British flag hanging limply +from the stern. + +The H.M.S. Dauntless slips silently through it all. The scene +calls for hushed voices. + + SWANN + What happened here? + + NORRINGTON + An explosion in the powder magazine. + Merchant vessels run heavily armed. + + GIBBS + Lot of good it did them ... + (off Swann's look) + Everyone's thinking it! I'm just + saying it! Pirates! + + SWANN + There is no proof of that. It could + have been an accident. Captain, + these men were my protection. If + there is even the slightest chance + one of those poor devils is still + alive, we cannot abandon them! + + NORRINGTON + Of course not. + (to a sailor) + Rouse the Captain, immediately. + (to the crew) + Come about and strike the sails! + Unlash the boats! Gunnery crew ... + jackets off the cannons! + (to Swann) + Hope for the best...prepare for the + worst. + (to two sailors) + Move the boy aft. We'll need the + deck clear. + +They lift the boy. Swann pulls Elizabeth away from the rail, +away from the hideous scene in the water. + + SWANN + Elizabeth, I want you to accompany + the boy. He's in your charge now. + You'll watch over him? + +Elizabeth nods gravely. Swann hurries away to help unstow the +longboat. The sailors lay the boy gently on the poop deck, +behind the wheel, they hurry off. Elizabeth kneels down beside +the boy. + +His good looks are not lost on her. She reaches out, gently +brushes the blond hair from his eyes -- + +Suddenly, he grabs her wrist, awake now. Elizabeth is startled, +but their eyes lock. She takes his hand in hers. + + ELIZABETH + My name is Elizabeth Swann. + + YOUNG WILL + Will Turner. + + ELIZABETH + I'm watching over you, Will. + +He clutches her hands, then slips back into unconsciousness. + +His movement has opened the collar of his shirt; Elizabeth sees +he wears a chain around his neck. She tugs it free, +revealing -- + +A GOLD MEDALLION. One side is blank. She turns it over -- + +A SKULL gazes up at her. Vaguely Aztec in design, but to her +eyes, it can mean one thing only -- + + ELIZABETH (CONT'D) + You're a pirate. + +She glances back at the crew. Sees Norrington, giving orders, +moving toward her. + +She looks back at Will -- comes to a quick decision. Takes the +medallion from around his neck. Hides it under her coat. + +Norrongton arrives. + + NORRINGTON + Did he speak? + + ELIZABETH + His name is Will Turner -- that's + all I found out. + + NORRINGTON + Very good. + +Norrington hurries off. Elizabeth steals away to the stern of +the ship. Examines her prize -- the gold medallion. A wisp of +wind, and she looks up -- + +Out over the dea, moving through the fog, silent as a ghost, is +a large sailing ship, a schooner -- + +It has BLACK SAILS. + +Elizabeth stares, too frightened to move, or cry out. + +The ship is obscured by the fog as it passes -- but not the +mizzen-top ... and there hangs the frightening skull and +corssbones of the Jolly Roger. + +Elizabeth looks from it to the medallion -- the skull on the +flag is the same as the one on the medallion. + +Fog surrounds and closes in on the black ship -- except for the +black flag. As Elizabeth watches, the skull appears to TURN and +GRIN at her -- + +Elizabeth shuts her eyes tight -- + + EIGHT YEARS LATER + +INT. GOVERNOR'S MANSION - ELIZABETH'S BEDROOM + +-- and then snap open again, startled wide with fear. + +But this is no longer twelve-year-old Elizabeth on the stern of +the Dauntless; this is twenty-year-old Elizabeth, lying in bed +in the dark. + +She remains motionless (were the images we just saw a +nightmare, or a jumbled childhood memory?) + +Elizabeth slowly looks as far out the corner of her eyes as +possible without moving. Might there be someone in the room +with her, looming over her? + +She turns, ready for anything. She is alone. + +Elizabeth sits up, turns up the flame on an oil lamp beside the +canopied bed. She carries the lamp across the room to a +dressing table, sits down. + +She pulls one of the small drawers all the way out, reaches +into a space beneath it and removes -- + +The MEDALLION. She has kept it all this time. It has not lost +its luster -- or its sense of menace. She gazes at it as she +absently returns the draw to its place -- + +A BOOMING knock on the door; Elizabeth jumps up, startled, +knocking over the chair. + + SWANN (O.S.) + Elizabeth? Is everything all right? + Are you decent? + + ELIZABETH + Yes -- yes. + +She puts on the medallion, throws a dressing gown on as Swann +enters, carrying a large box. A uniformed maid, ESTRELLA, +follows. + + SWANN + Still abed at this hour? It's a + beautiful day! + +Estrella pulls back the heavy curtains, revealing: + +Beneath a blue sky lies the bucolic town of PORT ROYAL, built +on a natural harbor. On a bluff at the mouth of the harbor +stands FORT CHARLES, its stone parapets lined with cannons. + + SWANN (CONT'D) + I have a gift for you. + +He opens the box, and displays for her a gorgeous velvet +dress. She lets out an admiring gasp. + + ELIZABETH + It's -- beautiful. May I inquire as + to the occasion? + + SWANN + Is an occasion necessary for a + father to dote upon his daughter + with gifts? + +Elizabeth happily takes it, goes behind a screened-off dressing +area. Estrella follows, carrying the box. + + SWANN (CONT'D) + Although ... I did think you could + wear it to the ceremony today. + + ELIZABETH (O.S.) + Ceremony? + + SWANN + Captain Norrington's promotion + ceremony. + +Elizabeth peeks around the screen. + + ELIZABETH + I knew it. + + SWANN + Or, rather, Commodore Norrington + ... a fine gentleman, don't you + think? + (no answer) + He fancies you, you know. + +Behind the screen, Elizabeth GASPS. + + SWANN (CONT'D) + Elizabeth? How's it coming? + +ON ELIZABETH -- She holds her hair and the medallion (still +around her neck) out of the way as the maid cinches her into a +corset over her slip. Estrella has her foot in Elizabeth's +back as she pulls the laces tight. + + ELIZABETH + Difficult ... to say. + + SWANN (O.S.) + I'm told that dress is the very + latest fashion in London. + + ELIZABETH + (holding her breath) + Women in London must have learned + to not breathe. + +Estrella is finished. Elizabeth takes a breath -- and winces. + +A butler appears in the doorway of the room. + + BUTLER + Governor? A caller is here for you. + +INT. GOVERNOR'S MANSION - FOYER - DAY + +The caller, dressed in rough clothing, stands in the foyer, +looking very out of place, and knowing it. He holds a long +presentation case. He polishes the toes of his boots on the +back of his calves, but it doesn't help. + + SWANN + Ah, Mr. Turner! It's good to see + you again! + +The caller turns -- it is WILL TURNER. Handsome, with a watchful +demeanor that gives him a weight beyond his years. + + WILL + Good day, sir. + (holds out the case) + I have your order. + +Swann hurries to him, opens the case. Inside is a beautiful +dress sword and scabbard. Swann takes it out reverently. + + WILL (CONT'D) + The blade is folded steel. That's + gold filigree laid into the handle. + If I may -- + +He takes the sword from Swann, and balances it on one finger at +the point where the blade meets the guard. + + WILL (CONT'D) + Perfectly balanced. The tang is + nearly the full width of the blade. + + SWANN + Impressive ... very impressive. + Commodore Norrington will be + pleased, I'm sure. Do pass my + compliments on to your master. + +Will's face falls. Clearly, the work is his, and he is proud +of it. With practiced ease, he flips the sword around, catches +it by the hilt and returns it to the case. + + WILL + (bows slightly) + I shall. A craftsman is always + pleased to hear his work is + appreciated -- + +He stops speaking abruptly, staring past Swann -- + +Elizabeth stands on the stairs. Granted, the dress may be +painful to wear, but holy smokes! + + SWANN + Elizabeth! You look stunning! + +Will tries to speak, but can't. He gives up, smiles to himself, +and simply nods emphatically. + + ELIZABETH + Will! It's so good to see you! + +Her hand goes to the chain around her throat (the medallion is +hidden in the bodice of her dress). + + ELIZABETH (CONT'D) + I dreamt about you last night. + +Will reacts with surprise: "Really?" + + SWANN + Elizabeth, this is hardly + appropriate -- + + ELIZABETH + (ignores her father) + About the day we met. Do you + remember? + + WILL + I could never forget it, Miss Swann. + + ELIZABETH + Will, how many times must I ask you + to call me 'Elizabeth'? + + WILL + At least once more, Miss Swann. + As always. + +Elizabeth is disappointed and little hurt by his responce. + + SWANN + Well said! There's a boy who + understands propriety. Now, we must + be going. + +Swann takes the case from Will, opens the door for Elizabeth. + +Elizabeth straightens her back, gathers her skirts and strides +past Will. + + ELIZABETH + Good day, Mr. Turner. + +EXT. GOVERNOR'S MANSION - DAY + +Swann follows Elizabeth out the door. + + WILL + Good day. + +He watches as she is helped aboard a carriage by the driver. + + WILL (CONT'D) + (to himself) + Elizabeth. + +IN THE CARRIAGE: Swann glowers at his daughter. + + SWANN + Dear, I do hope you demonstrate a + bit more decorum in front of + Commodore Norrington. After all, it + is only through his efforts that + Port Royal has become at all + civilized. + +EXT. PORT ROYAL - HARBOR - DAY + +The skeletal remains of four pirates, still clad in buccaneer +rags, hang from gallows erected on a rocky promontory. There is +a fifth, unoccupied gallow, bearing a sign: + +PIRATES - YE BE WARNED + +The top of a billowing sail passes regally in front of them. +On the landward face of the sail, apparently high in the +rigging, is a man for whom the term 'swashbuckling rogue' was +coined: Captain JACK SPARROW. + +He gazes keen-eyed at the display as they pass. Raises a +tankard in salute. Suddenly, something below catches his +attention. He jumps from the rigging -- + +-- and that's when we see that his ship is not an imposing +three-master, but just a small fishing dory with a single +sail, plowing through the water -- the Jolly Mon. + +And it leaks. Which is why he has the tankard: to bail. + +Jack steps back to the tiller, and using a single sheet to +control the sail, and the Jolly Mon comes around the +promontory, the whole of Port Royal laid out before him. + +The huge British dreadnaught, H.M.S. Dauntless dominates the +bay. But Jack's attention is on a different ship: the H.M.S. +Interceptor, a small sleek vessel with rail guns and a mortor +in the middle of the main deck. It is tied up at the Navy +landing, at the base of the cliffs below Fort Charles. + +EXT. PORT ROYAL - DOCKS - DAY + +Smoothly and with no wasted movement, Jack hauls down the sail, +stows it, guides the dory alongside a dock. The HARBORMASTER, +a long ledger tucked under his arm, is there to catch the line +and help Jack tie up. + + HARBORMASTER + If you're rolling scuppers in this + tub, you're either incredibly brave + or incredibly stupid. + + JACK + It's remarkable how often those + two traits coincide. + +He starts up the dock, starpping on his sword belt; besides the +scabbard, it also carries a compass, pistol and small powder +horn. The Harbormaster cuts him off. + + HARBORMASTER + It's a shilling for the dock space, + and you're going to have to give me + your name. + + JACK + What do you sat three shillings, + and we forget the name? + +He tosses three shillings onto the ledger. The Harbormaster +considers, then shuts the ledger on the coins, steps aside. + + HARBORMASTER + Welcome to Port Royal, Mr. Smith. + +Jack gives him a half-salute as he goes past. Looks across the +water toward the Interceptor -- and smiles. Above the +Interceptor, among the parapets of Fort Charles, a ceremony is +underway -- + +EXT. FORT CHARLES - DAY + +With choreographed percision, Swann removes the sword and +scabbard from the presentation case, held by a uniformed Navy +man. He slides the sword into the scabbard, holds it out +vertically to Norrington, in full dress uniform. + +Norrington grasps the scabbard above Swann's hand, and Swann +lets go. Norrington draws the sword, flourishes the sword, and +snaps the blade up in front of his face. Swann steps forward, +pins a medal to Norrington's jacket, steps back. + +Norrington nods, turns smartly and nods to his fellow officers, +turns again and nods to the audience -- dignitaries, merchants, +plantation owners, their families. Another flourish, and he +returns the sword to its scabbard. + +The silence is broken loud APPLAUSE. Backslapping from the Navy +men. + +In the audience, Elizabeth doesn't look so good, out beneath +the hot sun. She applauds briefly, then winces. Discretely +tries to adjust the corset through the material of the dress, +then resumes clapping, trying to hide her discomfort. + +EXT. PORT ROYAL - NAVY DOCK - DAY + +Two sailors on sentry duty, MURTOGG and MULLROY, take advantage +of what little shade there is on the dock. But when Jack +saunters up, they are immediately on alert. + + MURTOGG + This dock is off-limits to + civilians. + + JACK + Sorry, I didn't know. + +Music drifts down from Fort Charles. Jack looks up, shields his +eyes. + + JACK (CONT'D) + Some sort of to-do up at the fort, + eh? You two weren't invited? + + MURTOGG + No ... somone has to make sure this + dock stays off-limits to civilians. + + JACK + This must be some important boat. + + MULLROY + Ship. + + JACK + Ship. + + MURTOGG + Captain Norrington's made it his + flagship. He'll use it to hunt + down the last dregs of piracy on + the Spanish Lake. + + MULLOY + Commodore. + + MURTOGG + Right. Commodore Norrington. + + JACK + That's a fine goal, I'm sure ... + But it seems to me a ship like + that -- + (indicates the Dauntless) + -- makes this one here just a wee + superflous. + + MURTOGG + Oh, the Dauntless is the power in + these waters, true enough -- but + there's no ship that can match the + Interceptor for speed. + + JACK + That so? I've heard of one, + supposed to be fast, neigh + uncatchable ... the Black Pearl? + +Mullroy scoffs at the name. + + MULLROY + There's no *real* ship as can match + the Interceptor. + + MURTOGG + The Black Pearl is a real ship. + + MULLROY + No, it's not. + + MURTOGG + Yes it is. I've seen it. + + MULLROY + You've seen it? + + MURTOGG + Yes. + + MULLROY + You've seen the Black Pearl? + + MURTOGG + Yes. + + MULLROY + You haven't seen it. + + MURTOGG + Yes, I have. + + MULLROY + You've seen a ship with black sails + that's crewed by the damned and + captained by a man so evil that + hell itself spat him back out? + + MURTOGG + ... No. + + MULLROY + No. + + MURTOGG + But I've seen a ship with black + sails. + + MULLROY + Oh, and no ship that's not crewed + by the damned and captained by a + man so evil that hell itself spat + him back out could possibly have + black sails and therefore couldn't + possibly be any ship other than + the Black Pearl. Is that what + you're saying? + + MURTOGG + ... no. + + MULLROY + (turns back to Jack) + Like I said, there's no real ship + as can match -- Hey! + +But Jack's not there. Murtogg and Mullroy look around, spot -- + +Jack standing at the wheel of the Interceptor, casually +examining the mechanism. + + MULLROY (CONT'D) + You! + +Jack looks over in exaggeratedly innocent surprise. The +sailors hurry toward the gangplank. + + MULLROY (CONT'D) + Get away from there! You don't + have permission to be aboard there! + +Jack spreads his hands in apology. + + JACK + I'm sorry. It's just such a pretty + boat. Ship. + +The sailors study him suspiciously. + + MURTOGG + What's your name? + + JACK + Smith. + + MULLROY + What's your business in Port Royal, + 'Mr. Smith'? + + MURTOGG + And no lies! + + JACK + None? Very well. You rumbled me. + I confess: I intend to commandeer + one of these ships, pick up a crew + in Tortuga, and go on the account, + do a little honest pirating. + + MURTOGG + I said, no lies. + + MULLROY + I think he's telling the truth. + + MURTOGG + He's not telling the truth. + + MULLROY + He may be. + + MURTOGG + If he were telling truth he + wouldn't have told us. + + JACK + Unless, of course, he knew you + wouldn't believe the truth if he + told you it. + +Murtogg and Mullroy consider that point -- + +EXT. FORT CHARLES - DAY + +Elizabeth, pale and perspiring, fans herself weakly, oblivious +to the music and chatter. + + NORRINGTON + May I have a moment? + +He extends his hand. She takes it. He walks her away from the +party, toward the parapet. A rather too long of a silence as +Norrington works up his courage. + + NORRINGTON (CONT'D) + (a burst) + You look lovely. Elizabeth. + +Elizabeth frowns, unable to focus. Norrington mistakes her +expression as disapproval. + + NORRINGTON (CONT'D) + I apologize if I seem forward -- + but I must speak my mind. + (working up his + confidence to do so) + This promotion confirms that I have + accomplished the goals I set for + myself in my career. But it also + casts into sharp relief that which + I have not achieved. The thing all + men most require: a marriage to a + fine woman. + (beat) + You have become a fine woman, + Elizabeth. + + ELIZABETH + I can't breathe. + + NORRINGTON + (smiles) + I'm a bit nervous, myself -- + +Elizabeth loses her balance, stumbles away from Norrington. She +reaches a hand out to the parapet to steady herself, but it +slides off -- + +-- and then she vanishes over the wall. Gone. + + ELIZABETH + Elizabeth! + +EXT. PORT ROYAL - NAVY DOCKS - DAY + +Jack reacts, pushes Murtogg aside to see -- + +Elizabeth plummets from the top of the cliff. It seems to take +her a long to reach the sea -- + +Elizabeth hits the water, narrowly missing the sharp rocks. A +wave breakes, and then she is washed out away from the cliff, +struggling feebly. + +AT THE FORT, + +Norrington looks down -- + + NORRINGTON + ELIZABETH! + +He leaps to the top of the parapet, prepared to dive -- a +lieutenant, GILLETTE, catches his arm. + + GILLETTE + The rocks, sir! It's a miracle she + missed them! + +Norrington shakes off his arm, looks down -- and realizes +Gillette is right. He jumps down and runs -- + +EXT. PORT ROYAL - NAVY DOCKS - DAY + +Jack, Murtogg and Mullroy are still in shock from the sight. + + JACK + Aren't you going to save her? + + MULLROY + I can't swim. + +Murtogg shakes his head -- neither does he. + + JACK + (rolls his eyes) + Sailors. + +Above where Elizabeth struggles in the water, Norrington and +several other men pick their way down the cliffs. They are too +far away to get to her in time. + +Jack scowls. He has no choice -- and it pisses him off. + + JACK (CONT'D) + Fine. + +He pulls a pistol from his sword belt, hands it to Murtogg; +then hands the belt to Mullroy. + + JACK (CONT'D) + Don't lose these. + +And then he dives into the water, swims toward Elizabeth. + +Elizabeth struggles to keep above water, gasping for air -- +then a swell rolls over her, and she is submerged -- + +UNDERWATER, + +Elizabeth drifts down, unconscious. The current turns her, and +the MEDALLION slips loose from her bodice. + +The MEDALLION turns slowly, until the SKULL is fully visible. +A shaft of filtered sunlight hits it, and it GLINTS -- + +EXT. PORT ROYAL - VARIOUS - DAY + +FORT CHARLES: The British flag flies, blown from an offshore +breeze. Suddenly the wind dies, and the flag goes limp. + +ON THE DOCKS: Wood and metal fittings on the lines bang against +masts. The wind dies, and there is silence. + +ON THE EDGE OF TOWN: A CARIBE WOMAN feeds clucking chikens, +frowns when they all suddenly go quit ... + +IN THE VILLAGE: A weather vane moves slightly in the wind. The +wind stops, and all is still. And then ... + +... the weather vanes TURNS, and holds steady -- the wind has +picked up again, but now blows from the sea toward the land. + +ON THE BEACH: an OLD SALT pulls a rope line, pauses. Turns and +gazes at the sky, frowning. The mangy hound at his side starts +BARKING incessantly -- + +ON THE DOCKS: The lines bang against the other sides of the +masts, the wind far stronger now. + +FORT CHARLES: the British flag flies in the opposite direction, +snapping in the new onshore breeze. + +EXT. PORT ROYAL - CLIFFSIDE - DAY + +Norrington rushes down, intent on the climb. Beyond him, past +the rocky point, far out to sea, FOG gathers -- + +EXT. PORT ROYAL - OCEAN - DAY + +UNDERWATER: the medallion hangs below Elizabeth's unmoving +form -- and then Jack is there. He wraps an arm around her +and makes for the surface. + +ON THE SURFACE, + +Jack swims toward the dock, struggling. It is far more +difficult than it should be. He stops stroking, and they +submerge. + +UNDERWATER: Jack realizes that it is Elizabeth's heavy velvet +dress that is weighing them down. He pulls at the buttons on +the back, and they give way. He skins her out of the dress, and +kicks away from it. + +The dress falls like a cloud into darkness -- + +ON THE SURFACE: Jack swims with Elizabeth, much more quickly. + +AT THE DOCK, + +Murtogg and Mullroy are there to help haul Elizabeth out of +the water. + +Jack climbs up, exhausted. Elizabeth is on her back; Murtogg +holds her arms above her head, pumping them. Mullroy puts his +cheek to her nose and mouth. + + MULLROY + Not breathing. + +Murtogg looks down; it seems hopeless. Jack steps up, drawing +Murtogg's knife from its sheath. + + JACK + Move. + +He pushes past Mullroy, kneels over Elizabeth, raises the +knife -- Murtogg is shocked -- + +Jack slits the corset down the middle, yanks it away. + +Elizabeth remains still. And then -- she coughs up water and +gasps, choking on her first full breath. Jack is relieved. + + MULLROY + I never would have thought of that. + + JACK + Clearly, you've never been to + Singapore. + +Jack flips the knife and hands it hilt-first to Murtogg -- and +that's when he spots -- + +The MEDALLION. Jack catches it up in his hand. + + JACK (CONT'D) + Where did you get this? + +Before Elizabeth can answer, the BLADE of a SWORD is at Jack's +THROAT -- Norrington's new ceremonial sword, in fact, looking +bright and sharp. + + NORRINGTON + On your feet. + +It looks bad -- Jack standing over Elizabeth, most of her +clothes gone. He gets to his feet. The rest of Elizabeth's +erstwhile rescuers reach the scene, including Swann. + + SWANN + Elizabeth! Are you all right? + +He strips off his jacket, drapes it around her. + + ELIZABETH + Yes -- yes, I'm fine -- Commodore + Norrington, do you intend to kill + my rescuer? + +Norrington looks at Jack. Jack nods as best he can with a blade +beneath his chin. Norrington sheathes his sword, and extends +his hand. + + NORRINGTON + I believe thanks are in order. + +Jack takes Norrington's hand gingerly. They shake -- + +-- and Norrington tightens his grip, yanks Jack's arm toward +him, then tears back the sleeve of Jack's shirt -- + +-- exposing a BRAND on Jack's inner wrist: a large 'P.' + + NORRINGTON (CONT'D) + Had a brush-up with the East India + Trading Company, did you ... + pirate? + +The others react in shock, but the sailors are well-trained -- +in an instant, half a dozen pistols are aimed at Jack. He +stands there, still holding the corset. + + NORRINGTON (CONT'D) + Keep your guns on him, men. + Gillette, fetch some irons. + +Norrington notices something else -- below the 'P' brand is a +tattoo: a small bird in flight across water. + + NORRINGTON (CONT'D) + Well, well... Jack Sparrow, isn't + it? + + JACK + Captain Jack Sparrow. If you + please. + +Norrington looks out at the bay. + + NORRINGTON + I don't see your ship -- Captain. + + MURTOGG + He said he'd come to commandeer + one. + + MULLROY + (to Murtogg) + I told you he was telling the + truth. + (currying favor) + These are his, sir. + +He holds out Jack's pistol and belt. Norrington takes the +pistol, examines it, notes the powder horn on Jack's belt. + + NORRINGTON + (to Jack) + Extra powder, but no additional + shot. + +Jack shrugs. Norrington unhooks the compass from the belt, +opens it. He frowns at the reading. Moves the compass this +way and that, keeping it parallel to the ground. + + NORRINGTON (CONT'D) + It doesn't bear true. + +Jack looks away, a bit embarrassed. Norrington returns the +compass to the belt. Draws the sword half from the scabbard. + + NORRINGTON (CONT'D) + I half-expected it to be made of + wood. + +He slides it back into the scabbard, hands it to Mullroy. + + NORRINGTON (CONT'D) + Taking stock: you've got a pistol + with only one shot, a compass that + doesn't point north ... and no + ship. You are without a doubt the + worst pirate I have ever heard of. + + JACK + Ah, but you have heard of me. + +Gillette returns with shackles, approaches Jack. + + NORRINGTON + Carefully, lieutenant. + +Elizabeth steps forward. Swann's jacket slips off her. She is +unconcerned, but he is intent on putting it back on her. + + ELIZABETH + Commodore, I must protest. Pirate + or not, this man saved my life. + + NORRINGTON + One good deed is not enough to + redeem a man of a lifetime of + wickedness. + +Gillette snaps the manacles closed on Jack's wrists. + + JACK + But it seems to be enough to + condemn him. + + NORRINGTON + (smiles) + Indeed. + +Now that Jack is safely chained, Norrington nods to his men. +All but one stow their weapons, and two step forward -- + + JACK + Finally. + +Lightning-quick, he snaps the corset around the hand and wrist +of the man holding the pistol and yanks. The pistol sails into +the water. Before anyone can react to that, Jack has the +manacle chain wrapped around Elizabeth's throat. + +Pistols are drawn again, but now Elizabeth serves as a shield. +Norrington raises a cautioning hand to his men. + + JACK (CONT'D) + (backing away, toward + land) + Commodore Norrington ... my pistol + and belt, please. + +Norrington hesitates, balls his fists in frustration. + + JACK (CONT'D) + Commodore! + +Mullroy hands the pistol and belt to Norrington. Norrington +holds them out to Jack. + + JACK (CONT'D) + Elizabeth -- it is Elizabeth? + +Elizabeth is more angry than frightened. + + ELIZABETH + Miss Swann. + + JACK + Miss Swann, if you'll be so kind? + +She takes the belt and pistol from Norrington -- Jack's quicker +than she is, and takes the pistol from her. He jerks her around +so she is facing him, belly to belly. + + JACK (CONT'D) + Now, if you'll be very kind? + +She figures out what he wants: put the belt on him. + + ELIZABETH + (as she works) + You are despicable. + + JACK + I saved your life; now you've saved + mine. We're square. + +Done. He turns her again, and then backs up until he bumps +against the cargo gantry. + + JACK (CONT'D) + Gentlemen ... m'lady ... you will + always remember this as the day you + almost caught Captain Jack Sparrow. + +He shoves Elizabeth away, grabs a rope and pulls free a +belaying pin -- a counterweight drops and Jack is lifted up to +the middle of the gantry, where he grabs a second rope -- + +Pistols fire -- and miss. Jack swings out, out, out, away from +and around the gantry. + +Norrington has held his shot. With careful aim, he tracks +Jack's trajectory -- + +Jack drops from the rope even as Norrington FIRES. His shot +tears the rope -- + +-- as Jack plummets past one of the gantry's guy lines, he +snaps the length of the manacle chain over the line and grabs +hold of the far loop -- slides down the line -- + +-- drops to the deck of a ship. He runs, leaping to another +ship, then out of sight -- + + NORRINGTON + On his heels! Gillette, bring a + squad down from the fort! + (to Elizabeth) + Elizabeth, are you -- + + ELIZABETH + Yes, I'm all right, I'm fine! Go + capture him. + +Norrington's taken aback by her ire, and wisely hurries away. +Swann drapes his coat around Elizabeth. + + SWANN + Here, dear ... you should wear + this. + +Elizabeth shivers, finding suddenly that she is cold. Glances +out at the bay -- + +-- where a THICK FOG moves across the top of the water. She +takes the jacket. + + ELIZABETH + Thank you, Father ... and let that + be the last of your fashion advice, + please. + +But she accepts his comforting embrace. + +EXT. PORT ROYAL - TOWN - ALLEY - DAY + +The fog creeps through, casting an eerie twilight pall. An +armed search party moves along the street. They glance down an +alley -- + +On the far side is another search party. The men nod to each +other, continue on. + +A moment, and then Jack drops from his hiding place beneath the +eaves of a building. He still wears the manacles. + +Across the street is a shop with barn doors, a pass-thru door +set in the middle. Above is a sign with a black anvil. + +INT. BLACKSMITH'S FORGE - DAY + +Jack slips through the door, takes a look around: + +No windows. The forge is dark, lit by lanterns. Work-in- +progress is scattered about: wagon wheels, wrought iron gates, +pipes -- even a cannon with a crack in it. But every tool is in +place; the workbench is tidy and neat. + +Jack is startled by a noise: MISTER BROWN, in a blacksmith's +apron, snores in the corner, cradling a bottle. Jack gives him +a hard poke. Another. Brown snorts, turns away. + +Satisfied, Jack sheathes his sword, takes a short-handled +sledge from its place on the wall. Moves to the glowing coke +furnace in the middle of the room. + +Slowly... he holds his right hand over the furnace, the chain +down in the embers. The chain begins to GLOW. Jack sweats, +grimaces at the pain -- + +Moving quickly, he wraps the chain around the nose of an anvil, +brings the sledge down with a fast, hard stroke on the glowing +links. One SHATTERS. Jack drops the sledge, plunges his +manacled hand in a bucket of water. Steam billows. + +Jack pulls his hand out, flexes it. Blisters form beneath the +manacle -- but his hands are free. + +The SOUND of the latch on the door -- Jack dives for cover. + +Will enters the forge, shuts the door behind him. Spots the +drunken Mister Brown in the corner. + + WILL + Right where I left you. + +Something catches his eye: an empty peg on the wall. The sledge +lying beside the anvil. + + WILL (CONT'D) + (under his breath) + Not where I left you. + +He moves casually toward the sledge. The grabs for it -- but +the flat of a sword blade slaps his hand. Will jumps back. + +Jack stands there, sword leveled at Will. He backs Will up, +toward the door. Will glares at him. + + WILL (CONT'D) + (voice low and tight) + You're the one they're hunting. + The *pirate*. + +Jack acknowledges it with the tip of his head ... then frowns, +regards Will. + + JACK + You look familiar ... Have I ever + threatened you before? + + WILL + I've made a point of avoiding + familiarity with pirates. + + JACK + Ah. Then it would be a shame to put + a black mark on your record. So if + you'll excuse me ... + +Beside the door is a grindstone, a sword resting in the honing +guide. Before Jack can react, Will has it in hand. + + JACK (CONT'D) + Do you think this is wise, boy? + Crossing blades with a pirate? + + WILL + You threatened Miss Swann. + + JACK + Only a little. + +In responce, Will assumes an en garde position. Jack appraises +him, unhappy to see Will knows what he's doing. + +Jack attacks. The two men stand in one place, trading feints, +thrusts and parries with lightning speed, almost impossible to +follow. Will has no trouble matching Jack. + + JACK (CONT'D) + You know what you're doing, I'll + give you that ... Excellent form + ... But how's your footwork? If I + step here -- + +He takes a step around an imaginary circle. Will steps the +other way, maintaining his relationship with Jack. + + JACK (CONT'D) + Very good! And if I step again, + you step again ... + (continuing to step + around the circle) + And so we circle, circle, like dogs + we circle ... + +They are now exactly opposite their initial positions. + + JACK (CONT'D) + Ta! + +Jack turns and heads for the door, now directly behind him. + +Will registers with angry surprise -- and then with a vicious +overhand motion, he throws his sword -- + +-- the sword buries itself into the door, just above the latch, +barely missing Jack. Jack registers it, then pulls on the +latch, but it won't move up -- the sword is in the way. + +Jack rattles the latch. Tugs on the sword a few times -- it is +really stuck in there. Jack mouths a curse, but when he turns +back to Will, he's smiling. + + JACK (CONT'D) + That's a good trick. Except, once + again, you are between me and the + way out. + (points his sword at + the back door) + And now you have no weapon. + +Eyes on Jack, Will simply picks up a new sword from an anvil. +Jack slumps in dismay -- but then he leaps forward. + +Will and Jack duel. Their blades flash and ring. Suddenly, Jack +swings the chain still manacled to his left hand at Will's +head. Will ducks it, comes up wide-eyed. + +Then Jack's chain smashes across Will's sword, disarming him. + +Will quickly picks up another sword. Jack becomes aware that +the entire room is filled with bladed weapons: swords, knives, +boarding axes in various stages of completion. + + JACK (CONT'D) + Who makes all these? + + WILL + I do. And I practice with them. + At least three hours a day. + + JACK + You need to find yourself a girl. + (Will sets his jaw) + Or maybe the reason you practice + three hours a day is you've found + one -- but can't get her? + +A direct hit -- and Will coils even more tightly with anger. + + WILL + No. I practice three hours a day + so that when I meet a pirate ... + I can kill him. + +He explodes: kicks a rack, causing a sword to fall into his +hand; uses his foot to bring his dropped sword into the air, +catches it -- and attacks Jack, both blades flashing. + +Jack parries with sword and chain. Jack's chain wraps around +Will's sword; Will twists the handle of his guard through a +link, and stabs the sword up into the ceiling -- + +So Jack's manacled left arm is now suspended from the ceiling. +Not good. He parries using one hand, twisting and dodging +around the furnace -- + +Jack compresses the bellows, blowing a SHOWER OF SPARKS into +Will's face. Jack grabs the chain, hoists himself up, kicks +with his feet, knocking Will back. + +Jack uses his full weight, yanks the sword from the ceiling. +Hurls a wooden mallet at Will, then a second, hitting Will on +the wrist. Will drops his sword, falls down, gets up -- + +Jack's pistol is aimed directly between Will's eyes. + +Will steps back, directly in front of the back exit. Glares, +rubs his wrist gingerly. + + WILL (CONT'D) + You cheated. + + JACK + (smiles; what did you + expect?) + Pirate. + +Jack steps forward. Will steps back, fully blocking the door. + + JACK (CONT'D) + Move away. + + WILL + No. + + JACK + Move! + + WILL + No. I can not just step aside and + let you escape. + +Jack cocks the pistol. Will stares back. The stand-off lasts +a long moment. + + JACK + You're lucky, boy -- this shot's + not meant for you. + +Jack uncocks the pistol. Will is surprised, reassesses Jack -- + +Suddenly, Mister Brown SLAMS his bottle against Jack's skull. +Jack crumples to the ground. + +The front and back doors smash open, and SAILORS fill the room. +Norrington pushes forward, sees Jack on the ground. + + NORRINGTON + Excellent work, Mister Brown. + You've aided in the capture of a + dangerous fugitive. + + BROWN + Just doing my civic duty. + +Jack groans. Norrington stands over him, smiles. + + NORRINGTON + I believe you will always remember + this as the day Captain Jack + Sparrow almost escaped. + +Norrington's men haul Jack away. Will watches them go. Brown +looks at his bottle -- broken. + + BROWN + That ratter broke my bottle. + +EXT. PORT ROYAL - NIGHT + +The thick fog blankets the entire bay now, and the town. The +only structure visible is Fort Charles, high on the bluff, like +a tall ship sailing a sea of grey. + +Above the Fort is a clear black sky sprinkled with stars. A +waxing moon shines, giving both Fort and fog an eerie glow. + +ANGLE - FORT CHARLES, + +just below the stone parapets of the fort, visible briefly deep +in the fog, like a shark fin slicing through water: the TOPMAST +of a ship, BLACK SAILS billowing. Flying from the mast is a +flag with white Aztec skull. + +The Black Pearl has come to Port Royal. + +INT. GOVERNOR'S MANSION - ELIZABETH'S BEDROOM - NIGHT + +A maid removes a bed warmer from the fireplace, slides it +between the sheets at the end of Elizabeth's bed. + + ELIZABETH + Nice and toasty. Thank you, + Estrella. + +The maid nods, exits. Elizabeth opens a book, begins reading, +toying absently with the medallion chain around her neck. + +The lamp flame begins to diminish. Elizabeth tries to turn it +up. No good. The flame goes out, and the room is black. + +INT. BLACKSMITH'S FORGE - NIGHT + +Will, shirtless, wearing a leather apron, heats an iron ingot +at the furnace, hammers it flat -- he stops. + +His attention is drawn to the window. He opens the shutter and +peers out -- nothing but fog. Almost without noticing, he +reaches for a broading axe hanging on the wall. Takes it down; +it has a satisfying weight in his hands. + +INT. CELL BLOCK - NIGHT + +CLOSE ON: A mutt of a dog, holding a ring of keys in his mouth. + +Three seedy-looking prisoners try to coax the dog to their cell +door. One holds a loop of rope; another waggles a bone. The dog +just sits and cocks his head. + + PRISONER + Come here, boy ... Want a nice, + juicy bone? + +In an adjoining cell, Jack lies on a pile of straw. + + JACK + You can keep doing that forever, + that dog's never going to move. + + PRISONER + Excuse us if we ain't resigned + ourselves to the gallows just yet. + +EXT. FORT CHARLES - PARAPETS - NIGHT + +A noose hangs from a gallows in the courtyard. Norrington and +Swann walk along the far wall. + + SWANN + Has my daughter given you an answer + yet? + + NORRINGTON + No. She hasn't. + + SWANN + Well, she had a very taxing day... + Ghastly weather tonight. + + NORRINGTON + Bleak. Very bleak. + +>From the distance, there is a BOOM -- + + SWANN + What was that? + +-- and then the WHISTLE of an incoming ball -- + + NORRINGTON + Cannon fire! + +He tackles Swann as the wall of the parapet EXPLODES -- + +INT. CELL BLOCK - NIGHT + +Jack sits up. There are more BOOMS -- + + JACK + I know those guns! + +He peers out through the bars of the window. The other +prisoners crowd around their window as well. + + JACK (CONT'D) + It's the Black Pearl. + + PRISONER + (frightened) + The Black Pearl? I've heard + stories ... she's been preying on + ships and settlements for near ten + years ... and never leaves any + survivors. + + JACK + There are a lot of stories about + the Black Pearl. + +EXT. PORT ROYAL - HARBOR - NIGHT + +The Black Pearl still cannot be seen -- but the fog lights up +around her with each boom of her guns. She's firing on both +sides now, hammering both the fort and the town. + +EXT. PORT ROYAL - TOWN - NIGHT + +Streets, buildings, docks and ships shatter and explode beneath +the onslaught. Villagers panic, run for cover, dodge flying +debris as best they can. If this is not hell on earth, then +it's about to be -- + +-- long boats emerge out of the fog, carrying ARMED PIRATES. +They swarm from the boats, striking down villagers +indiscriminately and setting fires. + +INT. BLACKSMITH'S FORGE - NIGHT + +Will slips the boarding axe into his belt at the small of his +back. He puts a dirk in his belt, then a second and a third. +He picks up a second axe and a sword. + +Will slides back the doors of the forge -- + +A woman runs past, chased by a ONE-ARMED PIRATE wearing a +yellow bandana. Will backhands the axe square into his chest, +a deadly blow. Will heads out, up the street -- + +EXT. FORT CHARLES - PARAPETS - NIGHT + +The moon is obscured by smoke rising from the burning gallows +and wooden roofs. Cannon fire continues to rain down, but the +fort's own cannons return fire. + + NORRINGTON + Governor! Barricade yourself in + my office! + (Swann hesitates) + That's an order! + +Swann turns to go -- but finds himself face-to-face with a +pirate -- KOEHLER, a handsome blond man with gold earrings. +Beyond Koehler, more pirates come up over the far wall. +Koehler grins and raises a cutlass -- + +-- Norrington's sword blocks Koehler's slash. + + NORRINGTON (CONT'D) + They've flanked us! Men! Swords + and pistols! + +The battle is joined -- + +INT. GOVERNOR'S MANSION - ELIZABETH'S BEDROOM - NIGHT + +Elizabeth looks out a window at the scene below: even through +the fog, multiple fires are visible, and ships burn in the +harbor. Shouts and cries of pain. Cannon fire ECHOES. + +She notices movement directly below her window: two SHADOWY +FIGURES, approaching the house -- pirates. Elizabeth bolts +from her room -- + +INT. SECOND FLOOR HALLWAY - NIGHT + +She reaches the railing overlooking the foyer, and cries out, +just as the butler opens the door -- too late; there is a BOOM +of a gun, and the butler crumples. + +Elizabeth ducks down in horror, peering through the balusters. +The pirates scan the foyer, searching. The leader is PINTEL, +a sallow-looking pirate with a bald head. + +Suddenly Pintel looks up, and locks eyes with Elizabeth. How +could he know she was there? + + PINTEL + Up there! + +The pirates rush for the stairs. Elizabeth scrabbles back into +the nearest room -- + +INT. SITTING ROOM - NIGHT + +Elizabeth shuts the door, locks it, listens as the pirates +pound up the stairs -- + + ESTRELLA + Miss Elizabeth? + +Elizabeth jumps. Estrella is right behind her, terrified. They +whisper: + + ESTRELLA (CONT'D) + Are they come to kidnap you, miss? + The daughter of a governor would be + very valuable. + +Elizabeth realizes she's right. There is the SLAM of a body +against the door. + + ELIZABETH + Listen, Estrella -- they haven't + seen you. Hide, and first chance, + run for the fort. + +Estrella nods. Another SLAM at the door -- it gives a bit -- + +Elizabeth shoves Estrella into the corner, between a tall +wardrobe and the wall. Dashes for the side door. + +When the door smashes inward, it slams into the wardrobe, and +the maid cannot be seen. The pirates run in -- spot the open +side door, and run for it -- + +INT. ELIZABETH'S BEDROOM - NIGHT + +Pintel is the first through, and gets the pan of the bed warmer +in the face for his trouble -- he staggers back, holding his +nose -- + +INT. SITTING ROOM - NIGHT + +Estrella breaks cover, runs for the hall, unnoticed. + +INT. ELIZABETH'S BEDROOM - NIGHT + +-- Elizabeth swings the bed warmer at the second pirate, but +he catches it by the handle -- Elizabeth can't jerk it free, +so she wrenches it over -- the pan lid swings down, BANGING +the second pirate -- hot coals spill on his head, sizzling. + +Elizabeth dashes for the hallway stairs -- + +INT. SECOND FLOOR HALLWAY/FOYER - CONTINUOUS - NIGHT + +The pirates burst from the bedroom -- Pintel goes for the +stairs, but the second pirate vaults over the handrail -- + +Estrella registers the butler's body, but continues out the +still-open front door at a dead run. Elizabeth follows -- + +The second pirate lands between Elizabeth and the front door. +His face is BURNED, his hair SMOLDERS -- he reaches -- + +Elizabeth pulls up short, runs the other way -- + +Pintel, on the stairs, grabs her by the hair -- Elizabeth +doesn't slow -- she spins, grabs Pintel's arm with both hands +and pulls him hard, belly-first, into the cap of the newel post +-- he lets go of her hair -- Elizabeth keeps going -- + +INT. DINING ROOM - NIGHT + +Elizabeth slams the double doors shut, throws the bolts. The +interior shutters are closed over the windows. Above the +fireplace are two crossed swords. + +Elizabeth climbs on the firebox; she grabs one of the swords +by the hilt and pulls -- but it won't come free. Both swords +are securely attached to the wall. Damn! + +A SMASH from the doors -- the pirates are relentless -- + +On the table is a platter with fruit, cheese and bread. +Elizabeth grabs the knife from the platter -- + +Like any bread knife, it has a round point. Elizabeth jabs it +into her palm -- it's useless as a weapon. Double damn! + +The blade of a broading axe breaches the door -- the pirates +will be through soon -- Elizabeth looks around -- + +INT. FIRST FLOOR HALLWAY - NIGHT + +The doors give way; the pirates charge through -- + +INT. DINING ROOM - CONTINUOUS - NIGHT + +Empty. Elizabeth nowhere to be seen. Pintel and Smoldering +Pirate search, under the table, behind draperies. + + PINTEL + We know you're here, poppet. Come + out and we promise we won't hurt + you. + +Smoldering Pirate gives him a look -- he wants to hurt her +plenty. Pintel shakes his head: 'Don't worry, I'm lying.' + + PINTEL (CONT'D) + We will find you, poppet ... You've + got something of ours, and it calls + to us! + +INT. DUMBWAITER - NIGHT + +Elizabeth hides in the dumbwaiter box, wrapped around the +double pulley ropes that go through the center. + + PINTEL (O.S.) + The gold calls to us! + +Elizabeth registers that -- she pulls out the medallion, rubs +the gold with her thumb. This is their objective. Light spills +into the box through gaps in the top as the door above is slide +open -- Elizabeth looks up through the gaps -- + +Pintel leers down at her. + + PINTEL (CONT'D) + Hello, poppet. + +Elizabeth works the ropes to lower the box. Pintel pulls the +other way; he's stronger, and the box rises. Elizabeth tries to +stop it -- wraps her left forearm through the rope and lets it +jam against the top of the box. + +Elizabeth gasps at the pain, but the box stops. She saws at the +rope with the bread knife. + +Smoldering Pirate helps pull the rope, crushing Elizabeth's +forearm. Tears of pain on her face, she keeps sawing -- + +The rope parts, and the dumbwaiter box PLUMMETS -- + +INT. KITCHEN - NIGHT + +>From behind the door of the dumbwaiter comes a CRASH, and a +cloud of dust. The door slides open, and Elizabeth clambers +out. Her head is cut, she is streaked with dirt, and can barely +stand. She leans over the table, trying to recover. + +The sound of the running FOOTSTEPS gets louder ... + + ELIZABETH + Please, no ... + +Elizabeth touches the chain of the medallion ... and a +desperate idea occurs to her. + +The pirates burst through the doors. Elizabeth backs away, +holds the bread knife to ward them off. They come around either +side of the table, stalking her -- + + ELIZABETH + (gasps it out) + Par... Parlay! + +Pintel can't believe his ears. + + PINTEL + What? + + ELIZABETH + Parlay! I invoke the right of + parlay! According to the Code of + the Brethern, set down by the + pirates Morgan and Bartholomew, + you must take me to your Captain! + + PINTEL + I know the code. + + ELIZABETH + If an adversary demands parlay, you + can do them no harm until the + parlay is complete. + + PINTEL + It would appear, so do you. + + SMOLDERING PIRATE + To blazes with the code! + +He steps forward, dirk drawn -- Pintel stops him. + + PINTEL + She wants to be taken to the + Captain, and she'll go without a + fuss. + +He looks to Elizabeth: 'right?' Elizabeth nods. + + PINTEL (CONT'D) + We must honor the code. + +Smoldering Pirate concedes the point, sheaths his dirk. He +grabs Elizabeth roughly by the arm -- + +EXT. PORT ROYAL - STREET - NIGHT + +Will races along, momentarily free of the pirates. He spots the +Governor's Mansion in the distance. There are FIGURES moving +away from it -- Elizabeth, forced by the two pirates. + +Will hurries forward -- + +Suddenly a PIRATE jumps out from the shadows, slashes; Will +defends himself. The pirate has one arm and wears a yellow +bandana. Will hesitates -- didn't he already kill this guy? + +The hesitation is just enough for another PIRATE, swinging a +flaming torch, to SLAM Will in the head from behind. Will +crumples. + +The pirate lights a second torch, hands it to One-arm; they +hoot with delight and head off, setting fires as they go. + +On the ground, Will doesn't move. + +INT. FORT CHARLES - CELL BLOCK - NIGHT + +The wall of the cells EXPLODES inward. Jack pulls himself out +from under the rubble. Moonlight spills in through the gaping +hole created by the cannon ball. Beyond it: freedom. + +But it is centered on the other cell. The part of Jack's cell +that is gone is too small for a man to slip through. + + PRISONER + Praise be! + +He and the other two scramble through. + + PRISONER (CONT'D) + (back to Jack) + My sympathies, friend -- you've no + manner of luck at all! + +The three descend the rocks beyond, disappearing from view. + +Jack is alone. Cannon fire continues, occasional hits shaking +the fort. The dog cowers under a long bench, key ring still in +his mouth. Jack sighs -- resigned, he picks up the bone from +the other cell, and tries coax the dog forward. + + JACK + It's all right, doggie ... come + here, boy. Come here, Spot. + Rover. Fido? + +To his surprise, the dog crawls out from under the bench. Jack +continues to coax him closer. + +The key ring is nearly within Jack's reach -- suddenly, the +dog's attention goes to the door into the cell block. He +BRISTLES, GROWLS. He backs away from the door, whining. + + JACK (CONT'D) + What's the matter, boy? + +The dog bolts, through the bars, into the cell, then out +through the breached wall -- taking the keys with him. + +The door to the cell block bursts open. A pair of pirates step +in: KOEHLER and TWIGG. + + TWIGG + This isn't the armory. + +He turns to go, but Koehler has spotted Jack. + + KOEHLER + (Dutch accent) + Well, well ... Look what we have + here, Twigg. It's Captain Sparrow. + + TWIGG + Huh. Last time I saw you, you were + all alone on a God-forsaken island, + shrinking into the distance. I'd + heard you'd gotten off, but I + didn't believe it. + + KOEHLER + Did you sprout little wings and fly + away? + + TWIGG + His fortunes aren't improved much. + +The two laugh. Jack doesn't. He steps forward, close to the +bars. This puts him in a spill of moonlight. He is tight with +fury. + + JACK + Worry about your own fortunes. The + lowest circle of hell is reserved + for betrayers ... and mutineers. + +Koehler and Twigg don't like hearing that. Koehler lashes out, +grabs Jack by the throat through the bars. Jack clutches the +pirates wrist, looks down -- + +Where they enter the moonlight, Koehler's wrists and hands are +skeletol. + +Jack's eyes go wide -- he is holding a skeleton arm. + + JACK (CONT'D) + You are cursed. + +Koehler sneers, shoves Jack bakwards, hard. Now out of the +moonlight, his hand is normal. Jack stares, realizing -- + + JACK (CONT'D) + The stories are true. + +Koehler ushers Twigg toward the door. Looks back. + + KOEHLER + You know nothing of hell. + +And then they're gone. + +EXT. PORT ROYAL - NIGHT + +Amid the thunder of cannon fire, a longboat slips through the +fog. Elizabeth sits in the prow. Columns of water from the +cannon balls geyser up around the boat. + +The fog parts. Elizabeth looks up to see -- + +The Black Pearl, a tall galleon, its black sails looming high +above her. At the bow is an ornately carved figurehead of a +beautiful woman, arm held high, a small bird taking wing from +her outstretched hand. + +The longboat makes for a pair of lines dangling from a winch. + +EXT. BLACK PEARL - MAIN DECK - NIGHT + +Lit by lanterns; no moon is visible beneath the fog. Smoke +hangs heavy above the deck. + +Elizabeth's longboat is raised above the deck rail -- pirates +spot her, and stare. One polite fellow steps forward to offer +his hand. She takes it and steps down. She huddles, self- +conscious in her nightgown and dressing robe. + + BOSUN + I didn't know we was taking + captives. + + PINTEL + She's invoked the right of parlay + ... with Captain Barbossa. + +ON THE POOP DECK -- an imposing FIGURE in silhouette stands by +the wheel, too far away to have heard Pintel's words. But his +head turns at the mention of his name. + +The silhouetted figure moves toward the stairs. A cloud of +SMOKE obscures him -- and then, as if he skipped the stairs, he +strides out of the SMOKE on the main deck -- + +This is BARBOSSA. Despite the bright colors of clothing, +definitely not a man you'd want to meet in a dark alley -- or +anywhere, for that matter. + +Elizabeth, more terrified than ever, cannot look away from his +eyes. But she musters her courage -- + + ELIZABETH + I am here to -- + +Bosun SLAPS her. + + BOSUN + You'll speak when spoken to! + +His wrist is grabbed -- painfully -- by Barbossa. + + BARBOSSA + And you'll not lay a hand on those + under the protection of parlay! + + BOSUN + Aye, sir. + +Barbossa releases him. Turns to Elizabeth, smiles -- it shows +both gold and silver teeth. + + BARBOSSA + My apologies, miss. As you were + saying, before you were so rudely + interrupted? + + ELIZABETH + Captain Barbossa ... I have come + to negotiate the cessation of + hostilities against Port Royal. + +Barbossa is both impressed and amused. + + BARBOSSA + There was a lot of long words in + there, miss, and we're not but + humble pirates. What is it you + want? + + ELIZABETH + I want you to leave. And never + come back. + +Barbossa and the pirates laugh. + + BARBOSSA + I am disinclined to acquiesce to + your request. + (helpfully) + Means 'No.' + + ELIZABETH + Very well. + +She quickly slips the medallion off, darts to the side of the +rail, dangles it over the side of the ship. The pirates go +quiet. + + ELIZABETH (CONT'D) + I'll drop it! + + BARBOSSA + My holds are bursting with swag. + That bit of shine matters to me + ... Why? + + ELIZABETH + Because it's what you're searching + for. You've been searching for it + for years. I recognize this ship. + I saw it eight years ago, when we + made the crossing from England. + + BARBOSSA + (interested) + Did you, now? + +Elizabeth glares at him. She's getting nowhere. + + ELIZABETH + Fine. I suppose if this is + worthless, there's no reason to + keep it. + +She flips the medallion up, off her finger -- + + BARBOSSA + NO! + +She catches it by the chain, smiles at him triumphantly. + + BARBOSSA (CONT'D) + You have a name, missy? + + ELIZABETH + Elizabeth -- + (stops herself from + saying "Swann"; then) + Turner. + (embroidering) + I'm a maid in the governor's + household. + (curtsies) + +Barbossa reacts to the name Turner: it confirms what he has +suspected. The other pirates surreptitiously exchange glances +and nods. + + BARBOSSA + You've got sand, for a maid. + + ELIZABETH + (curtsies again) + Thank you, sir. + + BARBOSSA + And how does a maid come to own a + trinket such as that? A family + heirloom, perhaps? + + ELIZABETH + Of course. + (offended) + I didn't steal it, if that's what + you mean. + + BARBOSSA + No, no, nothing like that. + (comes to a decision) + Very well. You hand that over, + we'll put your town to our rudder + and ne'er return. + + ELIZABETH + Can I trust you? + + BARBOSSA + It's you who invoked the parlay! + Believe me, Miss, you'd best hand + it over, now ... or these be the + last friendly words you'll hear! + +Elizabeth hesitates, but she has no choice. She holds out the +medallion. He grabs it, clutches it in his fist like hope. + + ELIZABETH + Our bargain..? + +Barbossa grins devilishly -- but then nods to Bosun. + + BOSUN + Still the guns, and stow 'em! + Signal the men, set the flags, and + make good to clear port! + +For the first time since the attack began, the BOOMING of the +guns ceases. Elizabeth is surprised -- and relieved. The +pirates hustle to follow orders. Barbossa turns away. + + ELIZABETH + Wait! You must return me to shore! + According to the rules of the Order + of the Brethen -- + +Barbossa wheels on her. + + BARBOSSA + First. Your return to shore was + not part of our negotiations nor + our agreement, and so I 'must' do + nothing. Secondly: you must be a + pirate for the pirate's code to + apply. And you're not. And + thirdly ... the code is more what + you'd call guidelines than actual + rules. + (grins gold and silver) + Welcome aboard the Black Pearl, + Miss Turner. + +Elizabeth stares in speechless terror -- + +EXT. PORT ROYAL - HARBOR - PRE-DAWN + +As the Black Pearl turns out to sea, Elizabeth is led back +along the deck to the captain's cabin. + +The fog starts to dissipate, turning to light mist; through it, +the Black Pearl makes for the scarlet glow of dawn. + +EXT. PORT ROYAL - STREET - PRE-DAWN + +Will comes to, still where he fell, gets to his feet. + +He takes in the devastation of Port Royal: the harbor is dotted +with burning and sunken ships; buildings are razed and still +smolder. The aftermath of hell on earth. + +Will turns, and runs for the Governor's Mansion. + +INT. GOVERNOR'S MANSION - MORNING + +Will races past the smashed doors, into the foyer. Calls out: + + WILL + Miss Swann! Elizabeth! + +A terrible silence answers him. He spots an overturned chair, +fallen bookshelf -- + +INT. FORT CHARLES - NORRINGTON'S OFFICE - MORNING + +Will bursts in, still armed with sword and boarding axe. + + WILL + They've taken her! They've taken + Elizabeth! + +A group stares at him: Swann, Norrington, and Gillette among +others, gathered around a map. The map is so large it drapes +over the Governor's desk, the far end supported by a chair. + + NORRINGTON + We're aware of the situation. + + WILL + We have to hunt them down -- and + save her! + +Swann's worry has made him short-tempered. + + SWANN + Where do you suppose we start? If + you have any information that + concerns my daughter, then share + it! If anyone does, tell me! + (Will is silent) + Leave, Mr. Turner. + +Murtogg has remembered something. He ventures it warily: + + MURTOGG + That Jack Sparrow ... he talked + about the Black Pearl. + + MULLROY + Mentioned it, is more what he did. + + MURTOGG + Still -- + + WILL + We can ask him where it is -- maybe + he can lead us to it! + + SWANN + That pirate tried to kill my + daughter. We could never trust a + word he said! + + WILL + We could strike a bargain -- + + NORRINGTON + No. The pirates who invaded this + fort left Sparrow locked in his + cell. Ergo, he is not their ally, + and therefore of no value. + (through with Will) + We will determine their most likely + course, and launch a search mission + that sails with the tide. + +Will slams the boarding axe into the desk, through the map. + + WILL + That's not good enough! This is + Elizabeth's life! + +Norrington is quick to react; he throws a strong arm across +Will's back, and guides him roughly to the door. + + NORRINGTON + Mr. Turner, this is not the time + for rash actions. + (low) + Do not make the mistake of thinking + you are the only man here who loves + Elizabeth. + (firm) + Now, go home. + +He opens the door, and then turns away. Will watches him walk +back to the desk. Will's face sets in resolve, and he leaves. + +INT. FORT CHARLES - JAIL CELLS - MORNING + +Jack strains, trying to budge one of the bars. Even with the +damage from the cannon ball, it won't move. He hears the sound +of the door latch -- + +The door opens, and Will slips in. Looks around. Jack lounges +on the floor of his cell, apparently relaxed and unconcerned. +Will marches straight up to the bars. + + WILL + Are you familiar with that ship? + The Black Pearl? + + JACK + Somewhat. + + WILL + Where does it make berth? + + JACK + Surely you've heard the stories? + The Black Pearl sails from the + dreaded Isla de Mureta ... an + island that cannot be found -- + except by those who already know + where it is. + + WILL + The ship's real enough. So its + anchorage must be a real place. + Where is it? + + JACK + Why ask me? + + WILL + Because you're a pirate. + + JACK + And you want to turn pirate + yourself? + + WILL + Never. + (beat) + They took Miss Swann. + + JACK + (he was right) + So it is that you found a girl. + Well, if you're intending to brave + all and hasten to her rescue and so + win fair lady's heart, you'll have + to do it alone. I see no profit in + it for me. + +Will slams his fist against the bars in furstration. Jack is +surprised at the outburst. Will thinks ... makes a decision. + + WILL + I can get you out of here. + + JACK + How? The key's run off. + + WILL + (examines his cell) + I helped build these cells. Those + are hook-and-ring hinges. The + proper application of strength, the + door'll lift free. Just calls for + the right lever and fulcrum ... + +Jack watches Will as he speaks, and it dawns on him -- Will is +the spitting image of someone he's known in the past. + + JACK + You're name is Turner. + +Will gives him a puzzled look. + + WILL + Yes. Will Turner. + +Jack grins. + + JACK + Will Turner... + (he stands) + I'll tell you what, Mr. Turner. + I've changed my mind. You spring + me from this cell, and on pain of + death, I'll take you to the Black + Pearl. + (sticks out his hand) + Do we have an accord? + +Will gives him a suspicious look. The deal seems too good. Jack +keeps his hand out, still smiling. Will shakes it. + + WILL + Agreed. + + JACK + Agreed! + +Will looks around, figures out what he needs. He makes a chair +his fulcrum, and levers the long bench under the door. Pushes +down -- it's hard work -- but the cell door rises, and then +falls forward, CRASHING down on the bench and chair. + +Jack is impressed. He steps out of the cell. + + WILL + Someone will have heard that. + Hurry. + +Will heads for the door. Jack searches the desk, cupboards. + + JACK + Not without my effects. + + WILL + We need to go! + +Jack finds his pistol, sword belt, and compass. Straps on the +belt, checks the shot in his pistol. + + WILL (CONT'D) + Why are brothering with that? + + JACK + My business, Will. As for your + business -- one question, or + there's no use going. + (joins Will at the + door) + This girl -- what does she mean to + you? How far are you willing to go + to save her? + + WILL + (no hesitation) + I'd die for her. + + JACK + Good. + +EXT. PORT ROYAL - DOCKS - MORNING + +The Jolly Mon, four inches of water in the bottom, squats low +in the water, heeled to one side, creeking on its lines. + + JACK (O.S.) + Ah, now there's a lovely sight! + +Jack hops down into the boat. Prepares to make way. + + JACK (CONT'D) + I knew the Harbormaster wouldn't + report her. Honest men are slaves + to their conscience, and there's no + predicting 'em. But you can always + trust a dishonest man to stay that + way... + +Jack notices that Will is standing, frozen on the dock, staring +at the boat in dismay. + + JACK (CONT'D) + Come aboard. + + WILL + I haven't set foot off dry land + since I was twelve, when the ship + I was on exploded. + (regards the boat) + It's been a sound policy. + + JACK + No worries there. She's far more + likely to rot out from under us. + +Will steels himself, steps into the boat as if it's going to +capsize with the slightest movement. Jack hoists the sail. + + JACK (CONT'D) + Besides, we are about to better our + prospects considerably. + +He nods toward the H.M.S. Dauntless, looming in the harbor. +Will whiteknuckles the gunwales. + + WILL + We're going to steal a ship? That + ship? + + JACK + Commandeer. We're going to + commandeer a ship. Nautical term. + + WILL + It's still against the law. + + JACK + So's breaking a man out of jail. + Face it, Will: you may say you'll + never be a pirate, but you're off + to a rip-roaring start. + (smiling) + My advice -- smile and enjoy it. + +EXT. PORT ROYAL - MORNING + +The Jolly Mon bobs its way across the bay, dwarfed against the +H.M.S. Dauntless. Will holds a stay line with iron fists. + + WILL + This is either crazy, or brilliant. + + JACK + Remarkable how often those two + traits coincide. + +The Jolly Mon nears the rudder of the much larger ship -- + +EXT. H.M.S. DAUNTLESS - MAIN DECK - MORNING + +There's been a breakdown in discipline; about a dozen Navy +sailors are gathered together on the main deck, playing dice. +Murtogg and Mullroy among them. + +Suddenly, Jack and Will jump out, into the open -- brandishing +pistols. + + JACK + Everybody stay calm. We're taking + over the ship! + + WILL + (a beat) + Aye! Avast! + +Jack gives him a look, shakes his hand: don't do that. + +The sailors all look at them -- and then burst out LAUGHING. +They grin, shake their heads. Jack stands there, grinning with +them -- but his gun is still level. The Lieutenant, GILLETTE, +steps forward. + + GILLETTE + You're serious about this. + +Jack moves his pistol across, points it at Gillette. + + JACK + Dead serious. + + GILLETTE + You understand this ship cannot be + crewed by only two men. You'll + never make it out of the bay. + + JACK + We'll see about that. + +More guffaws from the crew. A couple sailors more forward, +hands on swords -- Gillette holds up a hand. + + GILLETTE + Sir, I'll not see any of my men + killed or wounded in this foolish + enterprise. + + JACK + Fine by me. We brought you a nice + little boat, so you can all get + back to shore, safe and sound. + + GILLETTE + (a curt nod) + Agreed. You have the momentary + advantage, sir. But I will see you + smile from the yard arm, sir. + + JACK + As likely as not. + (calling) + Will, short up the anchor, we've + got ourselves a ship! + +EXT. DAUNTLESS - STERN - MORNING + +Sailors make their way down a rope ladder, crowd onto the Jolly +Mon. Will pushes hard against the windlass, to no avail ... the +anchor is too heavy for one man. Jack notices. + + JACK + A little help? + +Gillette shrugs, gestures to Murtogg and Mullroy. The three men +throw their weight into the windlass, and it turns. Jack's +pistol is on them the whole time. + + MURTOGG + I can't believe he's doing this. + +The windlass turns, bringing Mullroy into view. + + MULLROY + You didn't believe he was telling + the truth, either. + +The windless turns some more, and there's Gillette. + + GILLETTE + (over his shoulder, + to Will) + Do you have any idea, boy, what + you're doing? + +Another quarter turn -- + + WILL + No. + +EXT. DAUNTLESS - FORECASTLE - DAY + +Jack and Will crank a capstan, raising the forward jib sail. It +luffs and billows out. The huge ship inches forward slowly, +pulled by just the one sail. Jack grins. + + JACK + Lookee there, mate! We're + underway! + +EXT. PORT ROYAL - DOCK - DAY + +Norrington moves along, concentrating on a manifest. Alongside +him is Governor Swann, who glances over -- + +Sees the tiny Jolly Mon headed toward them, riding low in the +water, overloaded with sailors. Beyond that, the Dauntless +sails -- albeit slowly -- for open waters. + + SWANN + Commodore -- + + NORRINGTON + A moment. + + SWANN + But -- + + NORRINGTON + Please. + + SWANN + Dammit, man, it appears someone is + stealing your ship! + +Norrington glances out at the bay. Sure enough, the Dauntless +is on the move. Norrington takes a brass telescope from his +belt, opens it, trains it on -- + +The main deck. He picks out Will -- + + NORRINGTON + Rash, Turner, too rash. + +-- then spots Jack, at the wheel. Lowers the telescope. + + NORRINGTON (CONT'D) + That is, without a doubt, the worst + pirate I have ever seen. + +EXT. H.M.S. DAUNTLESS - DAY + +Out in the open sea, Jack leans on the wheel, relaxed; not much +sailing to do with a following wind. Will looks back -- + + WILL + They're coming! + +He points: the sails of the Interceptor fill out, and the ship +cuts through the water toward them -- + +EXT. H.M.S. INTERCEPTOR - DAY + +Norrington's smaller ship quickly comes alongside the +slowmoving Dauntless. Its decks appear empty. Grappling hooks +are thrown, and sailors draw the two ships together. + +Norrington's men swarm across. + + NORRINGTON + Search every cabin, every hold, + down to the bilges! + +PULL BACK, away from the Dauntless, and past the railing of the +Interceptor, where a single SENTRY stands watch -- and we find +a soaked Jack and Will as they climb up over the side of the +smaller ship, unseen. + +Jack tackles the Sentry from behind, covers his mouth. + + JACK + Can you swim? + (the man struggles) + Can. You. Swim? + +Jack removes his hand. + + SENTRY + Of course, sir. Like a fish. I + grew up summers living in Dover, + with my uncle -- + + JACK + Good. + +Jack lifts the man up, throws him overbroad. Quickly unties the +ropes to the grappling hooks. Will cranks the capstan bars, +raising the foresail -- + +EXT. H.M.S. DAUNTLESS - DAY + +Norrington emerges from a gangway -- and sees his other ship +moving away. + + NORRINGTON + Sailors! Back to the Interceptor! + +But the distance is already too great. One brave sailor tries +to swing across on a rope, Errol-Flyn style, but falls short +with a splash. + +Jack waves, and shouts across the distance -- + + JACK + Thank you, Commodore, for getting + our ship ready to make way! + We'd've had a hard time of it by + ourselves! + +Norrington seethes, but his order to Gillette is measured: + + NORRINGTON + Raise the sails. + + GILLETTE + The wind is quarter from astern ... + by the time we're underway, we'll + never catch them. + + NORRINGTON + We need only to come about, to put + them in range of the long nines. + +Gillette looks surprised at the order -- but relays it. + + GILLETTE + Hands! Come about! Jackets off + the cannons! + (to Norrington) + We are to fire on our own ship? + + NORRINGTON + Better to see it at the bottom + of the sea than in the hands of a + pirate. + +The STEERSMAN turns the wheel. The Dauntless' course does not +change one whit. + + STEERSMAN + Captain, there's a problem. + +The Steersman spins the wheel. It goes round and round, with no +signs of slowing. + + STEERSMAN (CONT'D) + He's disabled the rudder chain, + sir. + + NORRINGTON + So it would seem. + +The Interceptor dwindles with distance. Gillette watches it go, +with some degree of admiration. + + GILLETTE + He's got to be the best pirate I've + ever seen. + +Norrington reaches out, stops the spinning ship's wheel. + + NORRINGTON + So it would seem. + +The Interceptor makes for the horizon line. A SLOW DISSOLVE and +with the time passage, the ship is gone; the sky turns a deep +twilight blue -- + +EXT. CARIBBEAN SEA - EVENING + +-- with the fat white moon riding just above the horizon. +Suddenly, the edge of a black sail cuts into the foreground, +accompanied by the ROAR of the wind and the SNAP of canvas -- + +INT. BLACK PEARL - CAPTAIN'S CABIN - EVENING + +Elizabeth stalks the cabin. Pintel enters, carrying a black +silk dress. + + PINTEL + You'll be dining with the Captain, + and he requests you wear this. + + ELIZABETH + Tell the captain that I am + disinclined to acquiesce to his + request. + + PINTEL + (happy) + He said you say that! He also said + if that be the case, you'll be + dining with the crew, and you'll be + naked. + +Angry, Elizabeth holds out her hand. Pintel's grin fades. + + PINTEL (CONT'D) + (hands it over) + Fine. + +He exits, pouting. Elizabeth examines the dress -- + +INT. BLACK PEARL - CAPTAIN'S CABIN - NIGHT + +Barbossa enters, followed by PIRATES carrying trays of food, +wine, table setting, etc. Elizabeth stands at the small table +in the dress -- lovely. + + BARBOSSA + Maid or not, it fits you. + + ELIZABETH + Dare I ask the fate of it previous + owner? + + BARBOSSA + Now, none of that. Please dig in. + +The table is set. Elizabeth sits, cuts a tiny piece of meat, +eats it daintily. + + BARBOSSA (CONT'D) + No need to stand on ceremony, and + no call to impress anyone. You + must be hungry. + +Elizabeth drops the pretense: she's starving, and begins to eat +like it. Barbossa watches her intently. + + BARBOSSA (CONT'D) + Try the whine. + +Elizabeth does, a huge swig; she tears off a hunk of bread, +devours it. + + BARBOSSA (CONT'D) + And the apples -- one of those + next. + +She starts to bite into the apple -- stops. She is suddenly +aware of Barbossa's gaze -- and that he is not eating. + + ELIZABETH + It's poisoned! + +She shoves her plate away -- and takes the opportunity to palm +her knife. Barbossa LAUGHS. + + BARBOSSA + Oh, there would be no sense in + killing you, Miss Turner. + + ELIZABETH + Then why aren't you eating? + + BARBOSSA + Would that I could. + +He produces the medallion, lets it dangle from his fingers. + + BARBOSSA (CONT'D) + Do you not know what this is, then? + + ELIZABETH + It's a pirate medallion. + + BARBOSSA + It's a piece of the treasure of + Isla de Muerta. + +Elizabeth gives an infinitesimal shrug, intrigued despite +herself. + + BARBOSSA + Ah, so you don't know as much as + you pretend. Back when Cortes was + cutting a great bloody swath + through the New World, a high + priest gave him all the gold they + had, with one condition: that he + spare the people's lives. Of + course, Cortes being Cortes, he + didn't. + (nods) + He'd've made a great pirate, that + one. + +Barbossa stands, moves to a shelf. Puts a key to a medium-sized +polished wooden box -- the Captain's chest. Opens it. + + BARBOSSA (CONT'D) + So the priest, with his dying + breath, called on the power of the + blood of his people, and put on the + gold a curse. If anyone took so + much as a single piece, as he was + compelled by greed, by greed he + would be consumed. + +Inside the chest are charts, some gold, a sextant -- and a few +pages of a Mayan CODEX, pieces of tree bark inscribed with +Mayan glyphs. Barbossa removes them carefully, sets them on the +table. Pours over them. + + BARBOSSA (CONT'D) + Within a day of leaving port for + Spain, the treasure ship carrying + the gold ... something went wrong. + The ship run aground, every man + aboard dead, save one. He + survived long enough to hide the + gold ashore. + (beat) + Over time, the dark magic of the + curse seeped into the place, making + it a cursed island. An island of + death. Isla de Muerta. + +He looks up. Elizabeth has been rapt, involved in the story -- +but feigns a dismissive attitude. + + ELIZABETH + That's all very interesting, but I + hardly believe in ghost stories + anymore. + +Barbossa is angry. He stands, sweeps the food off the table. + + BARBOSSA + You idiot girl! It's no make- + believe! My crew and I, we found + the gold, and we did more than take + one piece, we took it all. Rich + men we were and we spent it and + traded it and gave it away in + exchange for drink and food and + pleasant company. But we found + out: the drink could not sate us, + and the food turned to ashes in our + mouths, and no amount of pleasant + company could ease our torment. + (regains his + composure) + We are cursed men, Miss Turner, + condemned, to be forever consumed + by our own greed. Gold calls to + US, always, and we are driven, + always, to find more, and add it + to the treasure. + +Barbossa picks up the priceless Codex. Crushes them in his +fist. + + BARBOSSA (CONT'D) + There is but one way to remove the + curse. All of the scattered pieces + of the treasure must be restored in + full, and the blood repaid. + (he throws the pages + aside) + We've recovered every piece -- save + for this. + (holds up the + medallion) + And as for the blood repaid ... + that's what we have for you. + (pleasant, finally + getting to his + point) + And that's why there's no sense + killing you. Yet. + +Elizabeth stares at him, horrified. Using the toe of his boot, +Barbossa flips an apple up off the floor, catches it, extends +it to Elizabeth. + + BARBOSSA (CONT'D) + Apple? + +Elizabeth slowly reaches for the apple -- and then comes up out +of her chair, trying to run around Barbossa. They struggle +briefly, and then suddenly he shoves her away -- + +Elizabeth's stolen KNIFE is buried in Barbossa's chest, to the +hilt -- + +Barbossa is completely unaffected. He opens his shirt to get a +better look at the knife, pulls it out with little effort. +There is BLOOD on the blade, but none anywhere else. + + BARBOSSA (CONT'D) + I'm curious -- after killing me, + what is it you were planning to do + next? + +Elizabeth backs away, whirls and barrels out the door -- + +EXT. BLACK PEARL - MAIN DECK - NIGHT + +-- Elizabeth comes to a dead stop. She stares, her jaw working, +trying to scream but unable to -- + +The pirate crew works at their stations, coiling lines, +navigating the ship, swabbing decks -- but where the moonlight +falls across their bodies, they are naught but SKELETONS. + +Elizabeth turns away from the sight -- + +Barbossa stands just inside the doorway, out of the moonlight. +He grabs her roughly by the shoulders and jerks her back +around -- Elizabeth shuts her eyes -- + + BARBOSSA + Look! + (shakes her) + LOOK! The moonlight shows us for + what we really are! We are not + among the living and so we cannot + die -- + +He spins her back around to face him -- he leans forward, +putting his face in the moonlight, turning it into a gleaming +SKULL with gold and silver teeth -- + + BARBOSSA (CONT'D) + -- but neither are we dead! We + have all the desires of the living, + but cannot satisfy them! Ten years + I have parched of thirst, and able + to quench it! Ten years, I have + been starving to death -- and + haven't died! + (raises his hand) + And I have not felt anything for + ten years ... Not the wind on my + face, nor the spray of the sea ... + (reaches toward + Elizabeth) + ... nor the flesh of a woman ... + +Elizabeth flicnhes away from the skeletal hand. It drops away +-- he takes a bottle of wine from the opened case beside the +cabin door, uncorks it with his teeth, raises it -- + + BARBOSSA (CONT'D) + You'd best start believing in ghost + stories, Miss Turner. Because now + you're in one. + +He tilts the bottle and drinks -- it runs over his jaw, through +his rib cage, drenching his clothes. + +Elizabeth darts around him, back into the cabin, and shuts the +door. Barbossa hurls the bottle away. + +INT. BLACK PEARL - CAPTAIN'S CABIN - NIGHT + +Elizabeth huddles in the far corner of the cabin, terrified. + +EXT. CARIBBEAN SEA - DAY + +The Interceptor cuts across the waves. Jack at the wheel; Will +tightens a line, moves back astern. + +EXT. INTERCEPTOR - MAIN DECK - DAY + +Will sharpens his sword with a whetstone: shhhk -- shhhk ... + + JACK + For a man whose made an industry of + avoiding boats, you're a quick + study. + + WILL + I worked passage from England as a + cabin boy. + (an attempt at guile) + After my mother passed, I came out + here ... looking for my father. + + JACK + Is that so? + + WILL + My father. William Turner? + +Jack says nothing. Will has lost his patience for guile. + + WILL (CONT'D) + I'm not a simpleton. At the jail + -- it was only after you learned my + name that you agreed to help me. + (a smile) + Since that's what I wanted, I + didn't press the matter. But now-- + (an accusation) + You knew my father. + +Jack considers his relpy -- settles on 'truth'. + + JACK + I knew him. Probably one of the + few he knew him as William Turner. + Most everyone just called him Bill, + or 'Bootstrap' Bill. + + WILL + 'Bootstrap?' + + JACK + Good man. Good pirate. And clever + -- I never met anyone with as + clever a mind and hands as him. + When you were puzzling out that + cell door, it was like seeing his + twin. + + WILL + (angry) + That's not true. + + JACK + I swear, you look just like him. + + WILL + It's not true my father was a + pirate. + + JACK + Figured you wouldn't want to hear + it. + + WILL + He was a merchant marine! He was a + respectable man who obeyed the law, + and followed the rules-- + + JACK + (laughs) + You think your father is the only + man who ever lived the Glasgow + life, telling folk one thing, and + then going off to do another? + There's quite a few who come here, + hoping to amass enough swag to ease + the burdens of respectable life. + And they're all 'merchant marines.' + + WILL + My father did not think of my + mother -- his family -- as a + burden. + + JACK + Sure -- because he could always go + pirating. + + WILL + My father -- was not -- a pirate! + +Will's sword is out, levelled at Jack. Jack gives him a +disbelieving look, sighs. + + JACK + Put it away, Will. It's not worth + getting beat again. + + WILL + You didn't beat me. You ignored + the rule of engagement. In a fair + fight, I'd kill you. + + JACK + Then that's not much incentive for + me to fight fair, is it? + +He kicks a lever on a wench. The sail boom whips around and +slams Will in the chest -- sweeping him off the ship. His sword +clatters onto the deck. Will dangles above the water. + +Jack slips a loop of rope around the wheel to hold the course. +Picks up the sword -- and pokes at Will with it. Will hand- +over-hands away from the blade, to the end of the boom. + + JACK (CONT'D) + As long as you're just hanging + there, pay attention. Must, + should, do, don't, shall, shall + not -- those are just mere + suggestions. There are only two + absolute rules. + (ticks them off on + his fingers) + What a man can do. And what a man + can't do. + +Will looks away, not interested. + + JACK (CONT'D) + For instance: you can accept that + your father was a pirate and still + a good man ... or you can't. Now + me, I can sail this ship to Turga, + by myself ... + (Will looks alarmed) + But I can't just let you drown. + +Jack swings the boom back in. Will drops to the deck. Jack +holds the hilt of the sword out. Will takes it. Glares at Jack, +considers what he'll do next. Jack watches him coolly. + +Will turns and strides to his spot on the deck, sits down, and +resumes sharpening his sword: shhhk -- shhhk -- shhhk ... + +Jack breathes a silent sigh of relief. Notices his shaking -- +he takes the wheel. + + WILL + Tortuga? + + JACK + Oh -- did I forget to mention that? + +EXT. TORTUGA - DAY + +A dank and dirty port, where the tides seem to have swept +together the sum of the Caribbean -- pirates, privateers, +prostitutes, theives, and drunkards. + +With its cantered, rotting docks, weatherbeaten buildings, +and odd assortment of livestock running free -- a donkey, +chickens, etc. -- it is far less civilized than Port Royal. + +Jack and Will move through the crowd. A REDHEADED woman turns +her head -- she has noticed Jack. + + JACK + We need a crew. We can manage the + ship between islands, but the open + sea, that's another matter -- + +Suddenly the Redhead SLAPS Jack, hard. Satisfied, she turns and +strides off. Will ignores her. + + WILL + Just do it quickly. + + JACK + (rubbing his jaw) + Don't worry. I've already got a + Quartermaster -- there! + +Jack leads Will toward the pub: the Faithful Bride, the emblem +over the door a politically incorrect painting of a smiling +woman holding a bouquet in her chained-and-manacled hands. + +Jack pulls open the door; Will goes inside passing a pretty +ASIAN woman coming out -- she sees Jack and immediately SLAPS +him, cursing something in Chinese. Jack backs away -- + +INT. FAITHFUL BRIDE - DAY + +Jack closes the door on the woman, joins Will. They take in the +place -- it is populated with slightly higher class of scum. +Jack spots a BARTENDER, smiles, moves forward -- + +-- and is suddenly DECKED by a waitress. This is ANAMARIA, +tall, strong, tough; she didn't spill a drink off her tray. + + ANAMARIA + You stole my boat. + + JACK + AnaMaria! Have you seen Gibbs? I + need to put together -- + +She SLAPS him again. Will shakes his head, heads for the bar. +Jack gets up. + + JACK (CONT'D) + Borrowed. Borrowed your boat. + (off her look) + Without permission. + +AnaMaria charges; Jack backs away, puts a table between them. +She chases him around the table, still carrying the tray. + + ANAMARIA + My dory. The Jolly Mon. Where is + it? + + JACK + Safe! At Port Royal. With the + Royal Navy. + + ANAMARIA + That boat is my livelihood! + + JACK + You'll get it back. Or one better. + + ANAMARIA + (a threat) + I will. + +Away from them, a PATRON calls for his food. AnaMaria scowls +at Jack, moves away -- comes back for one more SLAP! + + WILL + Jack! Over here! + +AT THE BAR, Will has spoken to the Bartender. Jack arrives, +rubbing his chin. + + WILL (CONT'D) + He knows Gibbs. + +The Bartender nods 'yes.' Then nods 'out back.' Then produces +a water bucket from behind the bar. + +Jack and Will exchange a look -- and Jack takes the bucket. + +EXT. FAITHFUL BRIDE - REAR - DAY + +A drunken man lays in the mud, having a friendly conversation +with two pigs. He wears an old tattered Navy jacket. + +A sudden SPRAY OF WATER splashes across his face, revealing: +this is JOSHAMEE GIBBS (the man who told pirate stories to +Elizabeth when she was a child). He sputters and roars: + + GIBBS + Curse you for breathing, you slack- + jawed idiot. + (recognizes Jack) + Mother's love, Jack, you know + better than to wake a man when he's + sleeping. It's bad luck! + + JACK + Well, fortunately, I know how to + counter it. The man who did the + waking buys the man who was + sleeping a drink, and the man who + was sleeping it drinks it while + listening to a proposition. + + GIBBS + Aye, that'll about do it. + +Jack helps Gibbs to his feet -- and then Gibbs is hit with a +second wave of water. Will stands there with the bucket. + + GIBBS (CONT'D) + Blast it, I'm already awake! + + WILL + I know. That was for the smell. + +INT. FAITHFUL BRIDE - DAY + +Jack and Gibbs sit at a table in the shadows, a single candle +illumining them, speaking in hushed voices. Will is away from +them, at the door, hand on sword, keeping a look-out. + +A tankard is set down. Gibbs lifts it to take a swig -- + + JACK + Just the one. + +Gibbs pauses. He takes a dainty sip. + + GIBBS + Make it last, then. Now, what's + the nature of this venture of + yours? + + JACK + First -- have you found me a crew? + + GIBBS + Oh, there's a hard tale, Jack. + Most of the decent pirates in town + won't sail with you -- seem to + think you're a jinx. + + JACK + Now where, I wonder, would they + have gotten that idea? + +Gibbs evades answering him by taking a long sip. Jack leans +forward. Gibbs leans forward. + + JACK (CONT'D) + I'm going after the Black Pearl. + +Gibbs straightens up like he's been hit. He stares. He reaches +for the drink as if to down it -- but then sets it back down. +He leans forward again. Jack has not moved. + + GIBBS + Say again? + + JACK + I'm going after the Black Pearl. + I know where it's going to be, and + I'm going to take it. + + GIBBS + Jack, it's a fool's errand: You've + heard the tales they tell about the + Pearl. + + JACK + Aye, and that's why I know where + it's going to be, and that's why I + know what Barbossa is up to. All I + need is a crew. + + GIBBS + (shakes his head) + A fool's errand. + + JACK + Not if the fool has something + Barbossa wants. Something he + needs. + + GIBBS + And you've got that, have you? + +ANGLE ON: Jack, as he smiles enigmatically, and shifts his eyes +-- behind him, Will, still on guard, glares a sailor away from +the table. + + JACK + Back there, guarding the door is + the son of old Bootstrap Bill + Turner. + +Gibbs' eyes widen over the edge of the tankard. Peers at Will. +Then smiles, with more missing teeth than good ones. + + GIBBS + Well, lookee there. I'll allow you + may be onto something, Jack. + (considers, nods) + There's bound to be sailors on this + rock crazy as you. I'll find some + men. + +Gibbs downs the drink, SLAMS the tankard on the table. + +Will reacts to the sound, draws both sword and dagger, kicks +over a table for cover, and whirls on anyone who moves. + + GIBBS + Kid's a bit of a stick, isn't he? + + JACK + That he is. + +EXT. TORTUGA - DOCK - LATER - DAY + +On the docks, a disheveled, motley and weather-beaten group +of about a dozen swabs stand in a ragged line-up. + + GIBBS + Feast your eyes, Cap'n. All of 'em + good sea-faring men, faithful hands + before the mast, every one worth + their salt -- + (sotto, making his + point) + -- and crazy, to boot. + +Jack holds up a hand -- enough. He moves down the line, Gibbs +at his side. Then he notices AnaMaria in line, dressed like a +man. He raises an eyebrow. + + ANAMARIA + You owe me a boat. + +Jack nods, continues. One sailor is quite fat, another thin and +sickly. Jack is not happy with his choices. + +He stops in front of COTTON, a short sailor with a large, +colorful PARROT on his shoulder. Jack raises an eyebrow. + + GIBBS + Cotton here is mute, sir. Poor + devil had his tongue cut out -- + +Cotton opens his mouth to show this -- Jack grimaces. + + GIBBS (CONT'D) + -- so he went and trained the + parrot to do the talking for him, + nobody knows how. Nobody knows the + parrot's name, neither, so we just + call it 'Cotton's parrot.' + +Jack decides to test this. + + JACK + Mr. Cotton. Do you have the + courage and fortitude to follow + orders and stay true, in the face + of danger, and almost certain + death? + +Cotton lifts the parrot off his shoulder, raises it -- + + COTTON'S PARROT + Wind in your SAILS! Wind in your + SAILS! + + GIBBS + Mostly, that seem to mean 'yes.' + +Cotton nods vigorously, lowers the parrot, and it goes silent. +Jack shakes his head. Steps back. + + JACK + That goes for the rest of you! + Danger and near certain death. + (turns away) + For we are to sail for the Isla de + Muerta, to rescue the daughter of + Governor Swann. An equal share of + the reward shall be-- + +Jack hears movement, looks back -- several potential crew +members back away in fright; first one, then another, turn and +run, followed by more. + +Soon just a half dozen are left, including Cotton (with parrot) +-- and AnaMaria. + + WILL + Shut up, before you lose them all! + + JACK + These are the only ones worth + having. + (glances at the sky) + And we're going to need them -- + +EXT. H.M.S. INTERCEPTOR - DAY + +A FLASH of lightening and the CRACK of thunder. The canvas of +every sail is stretched taut. The ship rocks as it drops into +the valley of huge swell, climbs up the other side. + +On board, the new crew members scurry about with their tasks, +pulling lines and trimming sails. Excellent sailors, it takes +everything they have to keep the ship afloat. + +AnaMaria is at the helm. Gibbs staggers along the deck. + + GIBBS + That fool will have us lose the + canvas, and the masts besides! + +On Jack, a ROARING wind blowing back his hair, eyes intent on +their course. Gibbs climbs the tilted deck toward him. + + GIBBS (CONT'D) + We'd best drop canvas, sir! + + JACK + She can hold a bit longer. + +The wind picks up, howling. Jack smiles. + + GIBBS + (shouts) + What's in your head to put you in + such a fine mood? + + JACK + (shouts) + We're catching up! + +Jack turns back to the sea, enjoying himself. Gibbs stares at +him like he's a crazy man. + +INT. BLACK PEARL - CAPTAIN'S CABIN - DAY + +The sound of RAIN pounds down on the deck above -- then +suddenly stops. Elizabeth moves to the stern windows, looks +out at the rolling sea below -- no escape there. + +She hears the sound of a VOICE calling, gazes up, wondering -- + +EXT. BLACK PEARL - CROW'S NEST - DAY + +High on the main mast, Twigg cups his hands to his face, calls +down: + + TWIGG + Isla de Muerta! Isla de Muerta, + off the port bow! + +ON DECK, Barbossa moves to the rail. The storm clouds are +breaking up. On the horizon is a dark, omnious shape: ISLA DE +MUERTA. Mostly sheer unfriendly cliffs that shoot straight into +the water. It is surrounded by a slate grey sea. + +Barbossa grasps the rail with both hands, his expression a +mixture of loathing and fear. Jacoby approaches, hesitant. + + JACOBY + Orders, Captain? + + BARBOSSA + Bring her in, not too close. I + won't brave the reef, not until + high tide. We lay anchor before + dark. + +Jacoby nods, backs away. Barbossa continues to stare -- + + BARBOSSA (CONT'D) + ... that is, if it first doesn't + sink back down to hell from where + it came. + +EXT. CARIBBEAN SEA - DAY + +The Interceptor, on open waters, glorious, her white sails set +wing-to-wing. + +EXT. H.M.S. INTERCEPTOR - DAY + +CLOSE ON: Jack's compass, cradled in both hands. Jack leans +over and studies it -- almost like he's praying. + +ON THE COMPASS -- the face shows old-fashioned rose petal style +direction markers below a quivering indicator that settles on +-- southeast. + + JACK + Bear three points starboard. + +AnaMaria turns the wheel, adjusting course. The ship leans into +the new direction. Jack looks down -- + +ON THE COMPASS -- where the indicator spins, reverses, settles +on -- northeast. + + JACK (CONT'D) + Six points port! + +AnaMaria frowns, but follows the order, turns the wheel back, +and the ship responds. + +Will works on deck, coiling a rope -- but he watches Jack and +AnaMaria, clearly not happy. Gibbs hobbles up. + + GIBBS + Left-handed ropes are coiled + against the sun, or it's bad luck! + (twirls a finger) + Anty-clockwise. + +Gibbs takes over the task. The ship shifts course again. Will +has had enough. + + WILL + How do we expect to find an island + no one can find -- with a compass + that doesn't work? + + GIBBS + Now, lad, just because it don't + point north don't mean it don't + work. + (voice low) + That compass gives bearings to the + Isla de Muerta, wherever it may + lay. + + WILL + Really? + (moves closer) + So ... what's the story on the + pistol? + +Gibbs settles in, happy to have a willing listener. + + GIBBS + I'll tell lee. Now, Jack Sparrow + has an honest streak in him, and + that's where the whole problem + starts. This was when he was + Captain of the Black Pearl -- + + WILL + What? He never told me that. + + GIBBS + Ah -- he's learned, then. Plays + things more close to the vest. + See, Jack was a cartographer, back + in Old England. Somehow he came by + the money to commission the Pearl. + Hired himself a crew, promised each + man an equal share. + (lowers his voice) + So, they're forty days out, and the + First Mate says, everything's an + equal share, that should mean the + location of the island, too. So + Jack gave up the bearings. + (shakes his head) + That night, there was a mutiny. + +Gibbs' voice is a whisper, now, so Will has to lean closer. + + GIBBS (CONT'D) + Jack gave hisself up for the sake + of his loyal crew. He was marooned + on an island, left there to die. + + WILL + How did he get off the island? + + JACK + (loud) + I didn't! + +Will and Gibbs jump. Jack is right there beside them. + + JACK (CONT'D) + My body's still there, rotting + away, and I am but a ghost! + +Will and Gibbs aren't sure what to make of that. Jack laughs. + + GIBBS + How did you get off the island? + + JACK + Ah, that's a dark and unpleasant + tale, best left untold. + +He starts off. + + WILL + Wait -- what about the pistol? + + JACK + The pistol. When a pirate is + marooned, Will, he's given a pistol + with a single shot. No good for + hunting, or surviving, really. But + after three weeks of starvation and + thrist -- the option of that pistol + begins to look good. + +Jack lets this sink in. He pulls out the pistol, raises it. + + JACK (CONT'D) + But I survived. And I still have + that single shot. It's meant for + one man. My mutinous first mate-- + + WILL + Barbossa. + +Jack shoots a glance at Will -- nods, and moves away. + +EXT. ISLA DE MUERTA - CAVE ENTRANCE - EVENING + +On Barbossa, face upturned. No expression in his eyes. + +Around him a group of pirates, Elizabeth among them, stand as +still as stones, in front of a dark cave opening. Their faces +look upward, their total lack of movement disconcerting. + +Above the cave, on a hillock, the pirate Koehler gazes out +toward the horizon. Slowly he TRANSFORMS, head-to-toe, from +pirate to SKELETON -- + +The MOON has climbed free of the storm clouds, rising large and +full on the horizon. The skeleton turns -- + + KOEHLER + Moonrise, Captain! First night of + full. + + BARBOSSA + Hah! + (to the pirates) + Be mindful of pits and crevasses. + Stay together. + +He takes a torch. Moves into the cave. The pirates follow. + +INT. ISLA DE MUERTA - CAVES - NIGHT + +The group keeps together under the firelight. The path leads +between boulders on a slope downhill. From the echoes and +shadows, it's clear the cave system must be huge. + +Elizabeth glances over -- the torches illumine caverns off to +the side -- and just the edge of a mound of coins. Clearly +there is more, but the rest is lost in darkness. + +Twigg, gazing upward in wonder, moves a few feet away from the +group. Barbossa grabs him as he nears a chasm. + + BARBOSSA + Careful, mate. Fall down there, + you'd die and miss Judgement Day -- + for not even the Lord himself'll + come look for you here. + +Barbossa lets go, and moves on, descending down, twisting and +turning, but always down -- + +EXT. H.M.S. INTERCEPTOR - NIGHT + +Cotton pulls a sail line, looks out -- sees something. He lifts +the parrot off his shoulder, strokes it along the back. + + COTTON'S PARROT + Land HO! Land HO! LAND ho! LAND + ho! + +Indeed, the faint outline of Isla de Muerta is in the distance +on the port side. Will stands, excited, jumps onto the rigging +for a better look. + +But AnaMaria, at the helm, stares at Cotton, and the parrot. + + ANAMARIA + How does he do that? + + JACK + They'll be anchored on the lee + side. Haul your wind, and keep to + the weather of the island -- + +INT. ISLA DE MUERTA - CAVES - NIGHT + +Flickering torchlight. Pirates stoop low to enter a cavern -- + +-- and revealed is the spectacular treasure of Isla de Muerta: +overflowing chests of coins, gold and silver ingots, jewelry, +objects d'art, jade and ivory, brightly colored silks, +furniture, jewels and pearls; mirrors and swords -- anything +and everything of value that might be carried by ship, is here. + +The pirates move through, Elizabeth can't help but gaze in +wonder. + + ELIZABETH + The curse drove you to gather this? + + BARBOSSA (O.S.) + Aye. And not a bit of it any use + to us, only hoarded. But it will + drive us no longer. + +Elizabeth pauses, staring at herself in a jewel-encrusted +mirror -- and then is pushed along by the pirates. + +EXT. ISLA DE MUERTA - LAGOON - NIGHT + +The Interceptor lies at anchor in the distance. Closer, Jack +and Will row away from the large vessel in a small longboat, +toward the rocky shore. + +The RUSH of a waterfall grows louder. Will looks: ahead of them +is a black CAVE MOUTH, right at water level. + + WILL + What's that? + + JACK + Depends. + + WILL + On what? + + JACK + On whether the stories are all + true. If they are, that's a + waterfall that spills over at high + tide, with a short drop to an + underground lagoon. If not -- + +By now, the moving water tugs on the longboat, and they are +sucked in -- + + JACK (CONT'D) + -- well, too late. + +The boat rushes forward, plunges into darkness -- + +INT. CAVES - UNDERWATER LAGOON - NIGHT + +-- the longboat takes a harrowing drop over a short waterfall +... but then lands safely in a gorgeous underwater lagoon, +floats lazily toward a sandy shore. + + JACK + Chalk one up for the stories. + +Will leaps out into the water, pulls the boat ashore -- + +INT. CAVES - BED CAVERN - NIGHT + +The pirate group reaches the end of a small chamber of mostly +jewels and pearls piled around a large bed -- + +INT. CAVES - MAIN CAVERN - NIGHT + +-- and then emerge into the largest cavern of all, also crammed +with treasure, including several mountains of gold coins that +reach the ceiling. Treasure everywhere -- + +Except for one spot in the center. A hole in the ceiling lets +in a column of moonlight, which illumines: + +A stone chest, lid pushed back, decorated with carved Aztec +glyphs, filled with gold coins identical to Will's medallion. +A sharp stone knife lies on top. + +In front of it, buried in the sand is a skeleton -- and this +one doesn't look like it's going to move ever again, judging by +the sword in its back. A crab scurries away from it as the +group approaches. + + BARBOSSA + Here we stand before the cursed + treasure of Cortez himself. Won by + blood, it demands blood in return. + +All eyes turn -- onto Elizabeth. Pintel takes the stone knife +from the chest, approaches her. Elizabeth shrinks back, but is +held by two other pirates. + +Pintel grins. Grabs her by the wrist. She turns her head away, +shuts her eyes. + +Pintel raises the knife ... + +... and then very carefully, daintily, uses just the sharp tip +of the knife to juck prick! Elizabeth's finger. + +One tiny red drop of blood appears, and drips down onto the +medallion. + +Elizabeth opens her eyes, surprised. + + PINTEL + What did you expect? We're all + gentlemen here, right and proper. + +The pirates laugh. Barbossa takes the medallion, grins at +Elizabeth. + + BARBOSSA + You know the first thing I'm going + to do after the curse is lifted? + (grins) + Eat a whole bushel of apples. + +Barbossa approaches the chest, shining in the beam of +moonlight. + + BARBOSSA (CONT'D) + What was begun by blood, let blood + now end! + +He tosses the gold medallion onto the others. + +The pirates tense, waiting, expectant. A long beat. They all +look at each other, look at themselves. Nothing happens. + + KOEHLER + Did it work? + + DEADEYE + I don't feel no different. + + JACOBY + How can we tell? + +Barbossa frowns, draws his pistol, and SHOOTS the pirate next +to him -- Jacoby -- square in the chest. Jacoby reacts in +shock, grabs his chest ... but doesn't die. + + KOEHLER + You're not dead. + + JACOBY + No. + (realizes) + He shot me! + + TWIGG + It didn't work! The curse is still + upon us! + +Barbossa searches his mind for an answer ... turns to +Elizabeth. + + BARBOSSA + You. Maid. Your father. What was + his name?! + (grabs her roughly) + Was your father William Turner?! + +Elizabeth takes time to smile before answering: + + ELIZABETH + No. + +The pirates cry out in alarm. Barbossa gathers himself, getting +his rage under steely control. + + BARBOSSA + Where's his child? The child that + sailed from England eight years + ago, the child who is the real + owner of that medallion, the child + in whose veins flows the blood of + William Turner?! Where? + +Barbossa SLAPS her hard across the face, sending her sprawling. + + JACOBY + (to Pintel) + You brought us the wrong person! + + PINTEL + She had the medallion! She's the + right age. She said her name was + Turner! + + TWIGG + (to Barbossa) + You brought us here for nothing? + +Barbossa whirls on him -- + + BARBOSSA + If you have sailed with Morgan for + ten years like I have, you'd know + not to question me! + +Elizabeth sits up, watching the pirates argue, for a moment +unnoticed. Suddenly, a scabbard comes down, right above her. + +Startled, Elizabeth looks up -- + +-- Will is at the top of a mound of coins, reaching down with +his scabbard for her to grab onto. + +Elizabeth quickly leans forward, takes the bloodied medallion +from the pile. Reaches back, grabs the scabbard. Will pulls her +up -- + + BARBOSSA (CONT'D) + If any coward here dare challenge + me, let him speak! Any more talk, + I'll chain ye to a cannon and send + ye to the watery depths! + +A sound catches his attention -- coins falling. He looks up, +sees Will and Elizabeth at the top of the treasure stack. + +ATOP THE STACK, Will grabs a large shield, flings them forward +-- the two ride down the mountain of coins on the far side, +slide through a small opening -- + +INT. ISLA DE MUERTA - SMALL CAVERN - NIGHT + +Behind them, loose coins from their slide come down in an +avalanche, sealing the entrance. + +Elizabeth jumps up, silver platter in hand, ready to swing -- +Jack catches her before she can do any damage. They recognize +each other. + + ELIZABETH + You?! + + JACK + Me! + + ELIZABETH + You're in league with Barbossa! + + JACK + No, I'm -- rescuing you. + +Elizabeth can't comprehend that one. + + ELIZABETH + You?! + +Will gains his footing in the rubble. + + WILL + Miss Swann! We're here to rescue + you! + (sounds of pursuit, + approaching) + It's going badly! + + JACK + This way! + +They race off, toward a bit of moonlight -- + +INT. ISLA DE MUERTA - NIGHT + +The three climb up a dark crevasse that leads out onto the +island. Will takes Elizabeth's hand, helps her. + + WILL + I'm glad we got here in time. + + ELIZABETH + Truthfully -- you were a bit late. + + JACK + The trick isn't getting here, it's + getting away. + +As if on cue, they hear the yells of pirates, coming closer. +They take off -- + +EXT. ISLA DE MUERTA - CLEARING - NIGHT + +The three race through the rocks, the sounds of pursuit close +behind. Suddenly Jack stops. + + ELIZABETH + Come on! + + JACK + No. This won't work. + (a quick decision) + I'll stay behind, and fight them. + You go on. + +Will and Elizabeth stare at him. + + WILL + No. + + JACK + I'll lead them away. + +The sounds are closer. + + JACK (CONT'D) + Go to the opposite end of the + island, and signal the ship. I'll + keep 'em busy. + + WILL + Are you sure? Jack -- this is not + something you have to do. + + JACK + I'm sure. When you've led the kind + of life that I have, there are + debts that must be paid. Maybe I + can balance the scales a little. + +Will nods, hesitates ... gives Jack his sword -- now Jack has +two, one for each hand. Elizabeth gives him a quick kiss. + +Will and Elizabeth race away, and are gone. + +Jack watches them a moment, turns to face the pirates. He +sticks the two swords in the ground, crossed. Leans casually +against a rock. + +A group of pirates round a corner, cutlasses drawn, ready to +fight -- but Jack raises his hand. + + JACK (CONT'D) + I invoke the right of parlay, + according to the Code of the + Brethren, set down down by the + pirates Morgan and Bartholomew... + +EXT. ISLA DE MUERTA - NIGHT + +Jack stands before Barbossa, surrounded by pirates. Jack has a +wide smile on his face -- and Barbossa doesn't like it. + + BARBOSSA + I'm inclined to kill you now, Jack + Sparrow, without so much as a word, + if you don't lose that grin from + you're face. + +Jack's smile remains. Barbossa puts a hand on his cutlass -- + + JACK + The woman's blood didn't work, did + it? + +Barbossa hesitates. + + JACK (CONT'D) + I know whose blood you need, to end + the curse. + + BARBOSSA + Say the name, or I slit your + throat. + + JACK + No you won't. + +Barbossa nods. Pintel steps forward, puts a blade to Jack's +throat. Jack's smile widen. + + PINTEL + Now? + + BARBOSSA + (nods) + Now. + (Pintel grins) + No, don't kill him. + +Surprised, Pintel lowers his cutlass. Jack's expression hasn't +changed. + + BARBOSSA (CONT'D) + Allow me the humor of listening to + your terms. + + JACK + Simple. I have something you won't + more than anything. The way to + free you from the curse of the + treasure. You have something I + want -- more than anything. + + BARBOSSA + The Pearl? + (laughs) + Oh, that's fine. And just how do + you expect this to work? + + JACK + You give me the Pearl. Then I tell + you who you need. + +Barbossa stares at him, incredulous. + + BARBOSSA + That's your offer? You, sailing + away nice and pretty with the Black + Pearl, and all I have is a name? + + JACK + That's right. + + BARBOSSA + I'm supposed to ... trust you? + +The pirates laugh. + + JACK + I'm a man of my word. + +The pirates laugh louder. + + JACK (CONT'D) + You see, I've got this honest + streak in me -- in its own way, a + sort of curse. Oh, and there's the + fact that you have no choice. + + BARBOSSA + I'll torture it out of you. + + JACK + You left me on a desert island -- + what worse can you do? + +Jack is still smiling, intentionally smug now. Barbossa sees +his options dwindling, begins to pace. + + BARBOSSA + Blast you! I'll throw you in + prison. + + JACK + Wait as long as you like. + + BARBOSSA + You're setting me up for a double + cross, you with the ship, and me + with nothing more than your word! + + JACK + Let's say I tell you the wrong + person. What would you do? + + BARBOSSA + Track you down and -- + +He sees where Jack is headed. + + JACK + And if I tell you the truth, you + become, and you won't come near me + because you know I'd kill you. + +Barbossa hesitates. The pirates are amazed at how the tide has +turned; Barbossa has gone past considering the idea, and might +even do it. + + BARBOSSA + Jack, I don't trust you, and that's + a fact. Never trust a smiling man, + you can lay to that. + + JACK + See, that's where we're different. + I trust you ... to do what it takes + to get what you want. + + BARBOSSA + You're playing this as close to the + edge as any man, I'll give you + that. + (decides, smiles) + We might just have to sign + articles, you and I. Jack, you're + a pirate at heart, that's certain. + +Jack nods. + + BARBOSSA + Pintel ... set sail. If this fool + plan is to work, we'll need the + medallion, and that means catching + the ship which brought 'em here. + +Jack is completely caught off guard. For the first time, his +smile fades. + + JACK + What -- you don't have the + medallion? + + BARBOSSA + That fool woman took it. You be + careful around her, Jack -- she's + pretty enough, she'll steal your + heart -- but pure evil inside. + + JACK + I'll watch my back. + + BARBOSSA + Bosun! Set up Mr. Sparrow's + quarters, nice and fine ... in the + brig. + (to Jack, a smile) + Meaning no disrespect, of course. + +Jack nods, and is taken away. Barbossa stares after him, not +hiding his mistrust. + +EXT. INTERCEPTOR - DAY + +At full sail, headed out to sea. Gibbs glances at Elizabeth and +Will, talking alone on the forecastle -- shakes his head. + + GIBBS + Two women on board? A man don't + have to be superstitious to know + that's trouble. + +Elizabeth holds the medallion, and finishes her tale: + + ELIZABETH + ... you were in danger ... so I + took the medallion. And I've kept + it ever since. They thought I was + you, that they needed my blood. + And it didn't work. + +She hands him the medallion. + + WILL + Why would my father send this to + me? + + ELIZABETH + To keep it away from them? No + pirate would sail to London, for + fear of Execution Dock. + + WILL + If I had known -- + + ELIZABETH + (anticipating him) + -- then we never would have met. + +Will nods. They hold each other's gaze a moment. Will turns +away first, leans on the rail. Looks out to sea, back the +direction they came. + + WILL + I can't believe he would make such + a sacrifice for us. + + ELIZABETH + I guess you can never truly know + someone else's heart. + +Will glances at her, and nods. + +AT THE HELM, Gibbs peers forward, scanning the horizon. There +is a tiny island in front of them. + + GIBBS + Shift your heading, steer clear of + that island. Fifteen degrees + starboard. + +On the aft deck, Cotton concentrates on his work, securing a +halyard. Suddenly Cotton's parrot flaps its wings, takes off, +lands on the starboard bulwark, squawking -- + + COTTON'S PARROT + Dead men tell NO tales! Dead men + tell NO tales! Dead men tell NO + tales! + +Cotton looks up -- on the horizon, following: black sails. +Gibbs and AnaMaria appear, and see the ship. + + ANAMARIA + Can we outrun them? + + GIBBS + Not a chance. Make for the reef. + +EXT. CARIBBEAN OCEAN - DAY + +Miles of blue water. The Interceptor tacks, leaving a long +white wake. The Black Pearl matches it -- gaining. + +EXT. BLACK PEARL - DAY + +Barbossa and Pintel eye the Interceptor, two hounds chasing +the fox. + + PINTEL + What's he doing? Is her going to + run her aground? + +EXT. INTERCEPTOR - DAY + +The Black Pearl is now close behind the Interceptor -- and the +Interceptor is headed for the island. + + GIBBS + Drop the forward anchor! + +A SAILOR at the stern of the ship pulls a release, and the +ship's anchor races down into the water, the metal chain +jumping and twisting on deck. + +The chain stops, and the Sailor locks it -- + +EXT. CARIBBEAN SEA - DAY + +With its forward momentum and the anchor down, the Interceptor +makes to turn quickly, pivoting around the anchor. + +EXT. BLACK PEARL - DAY + +Barbossa and Pintel watch as the huge ship brings its cannons +to bear right in front of them. + + BARBOSSA + All hands! Prepare to come about! + +But for now, the Interceptor has the advantage, and takes it: +its cannons boom, and cannonballs rain down. + +INT. BLACK PEARL - BRIG - DAY + +Jack sees what he can out the porthole. In the cell with him is +Twigg, acting as a guard. + + JACK + Don't hit my ship! I mean, kill + the lying scoundrel -- + (to Twigg) + I'm a little conflicted, here. + +Twigg just stares. + +EXT. INTERCEPTOR - DAY + +Elizabeth watches as the Black Pearl comes about -- and then +there is the low, loud RUMBLE of two dozen cannons firing as +one. The Interceptor is hit. A barrage of shots follow; most +find their mark. + +Sailors dive for cover, leaving their cannons; clearly they +are overmatched. + +EXT. BLACK PEARL - PORT SIDE - DAY + +Barbossa laughs. + + BARBOSSA + Strike your colors, you bloody + cockroaches! + +EXT. INTERCEPTOR - DAY + +Another round of fire; Barbossa shows no mercy. + + ANAMARIA + Looks like they mean to send us + under. + + GIBBS + There -- she's raised the Jolly + Roger, upside down. + +AnaMaria, Gibbs, Cotton, even Elizabeth -- all know what this +means. Will doesn't. He looks to Gibbs for an explanation: + + GIBBS (CONT'D) + It's a signal. If we resist, it + won't just be death. There'll be + torture as well. + + WILL + We're not going to just surrender! + + GIBBS + That we are. + +The Black Pearl fires again, a double-ball shot with a chain +connecting the two. It hits the main mast dead on! A CRACKING, +SPLINTING sound as it breaks, falls to the deck. + +Barbossa moves his ship alongside, preparing to board. + + WILL + We can at least fight -- we might + be able to kill a few-- + + GIBBS + Will -- it'll go worse for us -- + for Elizabeth, especially -- if we + fight. + +Will stares -- and nods. But his expression is still defiant. + +The deck slants; the ship is sinking. Pirates swarm across on +ropes, and take control of the Interceptor. + +EXT. BLACK PEARL - MAIN DECK - DAY + +The top masts of the H.M.S. Interceptor sink into the smooth +crystal waters of the Caribbean -- + +-- as Will and Elizabeth, held by pirates, are brought before +Barbossa -- and see that Jack stands beside him, manacled. + +Gibbs, AnaMaria and Cotton and the other crewmembers huddle +together. + +Barbossa's wrath falls on Elizabeth. + + BARBOSSA + Welcome back, Miss. Last time on + board, you played me right clever, + make pretending and all. I hope + your stay this time is more + pleasant. Boys, show her some + hospitality! + +He shoves her into a group of pirates; they yell their +approval. She is pushed from one to another. + +This goads Will to action. He head-butts the pirate behind him, +grabs a pistol, waves it at the pirates. + + WILL + She goes free! + +Will leaps onto the ship's rail. He steadies himself with a +hand on the rigging. Points the pistol at Barbossa. + + BARBOSSA + What's in your head, boy? + + WILL + She. Goes. Free. + + BARBOSSA + You've got one shot -- and we can't + die. + + WILL + You can't. I can. + +He leans out over the ocean. + + ELIZABETH + No! + +Jack pushes forward. + + JACK + Will -- don't do anything stupid! + Don't say anything stupid -- + + WILL + My name is Will Turner, the son of + Bootstrap Bill Turner. His blood + runs in my veins. + (raises the gun to his + head) + You need my blood. And on my word + I will pull this trigger, and sink + all the way down to Davy Jones' + Locker! + +Pintel squints at Will; the pirates murmur surprise. + + TWIGG + It's true -- he's the spittin' + image of Old Bootstrap. Even talks + the same! + +Jack drops his head. Barbossa grins at him. + + BARBOSSA + Looks like your back to having + nothing to offer. + + PINTEL + And he's got Old Bill's courage. + A curse on him, and you! + +Barbossa steps forward. + + BARBOSSA + Enough of that! + (to Will) + Name your terms. + + WILL + Elizabeth goes free! + + BARBOSSA + We got that part. Anything else? + + WILL + And Jack. And the crew. Free and + unharmed. If you agree ... then + ... I will remain with you. + +Barbossa considers; his crew waits. Finally -- + + BARBOSSA + Agreed. You have my word, as a + gentleman of fortune -- + + ELIZABETH + Will -- you can't trust him. + + WILL + You must swear by the Holy Bible. + + BARBOSSA + Eh? You have my word, then -- on + the Good Book, I do swear, and the + Lord spare my worthless soul. + +Barbossa crosses himself, as do many of his men. + +Will lowers his gun ... steps downs -- the pirates surround +him. They snatch away the pistol. + + BARBOSSA (CONT'D) + Boatswain! Take your captives + belowdecks. Chain them in the + galley, and teach 'em how to row. + +Gibbs, AnaMaria, Cotton and the rest are led away under guard. +Barbossa looks out to sea, toward the islet. + + BARBOSSA (CONT'D) + Hah. Look there. That's the very + same island we made Jack governor + of on our last trip. + (nods) + When you sail the open sea as long + as I, you learn to trust the signs + fate sends your way. + + GIBBS + (dejected) + Amen to that ... + + BARBOSSA + Jack, Elizabeth ... I'm a man of + my word and you're to be set free, + right quick. + (loudly) + Men, break out the plank! + +A CHEER goes up from the pirates. Will realizes what Barbossa +intends to do, struggles with captors. + + WILL + No! You gave your word! + + BARBOSSA + Quite, boy, or you'll lose your + tongue. Those as know me know I + wouldn't cross my word, and bring + down bad luck on the ship. + (nods) + I agreed to set them free. I + didn't when ... nor where. + +EXT. CARIBBEAN SEA - DAY + +The Black Pearl lies at anchor, closer now to the islet. + +EXT. BLACK PEARL - MAIN DECK - DAY + +Jack, wrists still bound, stands in the classic 'walking the +plank' pose. Elizabeth is next in line. Pirates crowd the +ship's rail to watch. + + JACK + It's pure evil to make a Captain + walk the plank of his own ship, + twice in one lifetime. No good can + come of it. + + BARBOSSA + Now, Jack. That reef is less than + a league distant. It's a square + deal all around, and you can't hope + for better. + + JACK + Someone needs to cut these bonds, + then. + +Barbossa smiles, shows a pistol. Points it at Jack. + + BARBOSSA + You'd best take a swim, Jack. + + JACK + The last time you do this, you left + me a pistol, with one shot. + +The pirates mutter agreement. + + PINTEL + That's proper, sir, according to + the code. + + BARBOSSA + By the powers, you're right! + (turns around) + Where's Jack's pistol? Who's got + it? Bring it forward! + + JACK + A gentleman might give us two + pistols, seeing as there are two + of us, this time. + +A pirate hands Jack's pistol to Barbossa. + + BARBOSSA + Tell you what. I'll give you one + pistol, and let you be the + gentleman, and shoot the lady, and + starve to death yourself! + (grins) + That is, presuming you're not both + drownded. + +The pirates laugh. Barbossa tosses Jack the pistol -- but over +his head, and down into the water with a splash. + + BARBOSSA (CONT'D) + So how did you get off that island, + anyway? + + JACK + You can go to your grave not + knowing. + + BARBOSSA + That's fair. + +Jack glares at Barbossa. Then he's prodded with a cutlass, +takes a step out. Reaches the end of the plank -- steps off. + +Jack plunges down into the water. Appears on the surface, +floundering, struggles to stay afloat. Will and Elizabeth +exchange helpless looks; there is nothing they can do. + + BARBOSSA + The lady's next. But first, I'll + be wanting that dress back, if you + please. + +Elizabeth hesitates ... then strips it off, leaving her in a +silk slip. She throws it at him. + + ELIZABETH + Here -- it will go well with your + blackheart! + +Barbossa indicates the plank. + + ELIZABETH (CONT'D) + I will not walk into the ocean. + You'll have to throw me in! + +Barbossa raises an eyebrow, grins, nods. + + BARBOSSA + Have at her, lads! + +The pirates rush to comply. Lift her up, toss her over the rail +-- with a scream she falls -- + +EXT. CARIBBEAN SEA - UNDERWATER - DAY + +We follow Elizabeth amid foam and bubbles as she PLUNGES down +through the water. Blue and clear, with streaks of sunlight +cutting down; bright coral and tropical fish, and a lovely +young woman in a silk dress ... if it weren't for the mortal +danger, the scene could be described as gorgeous. + +Elizabeth spots Jack, below her now, sinking, struggling. She +swims down ... unties his bonds. + +Elizabeth starts for the surface. Inexplicably, Jack swims the +other way, further down into the depths. + +EXT. CARIBBEAN SEA - DAY + +Elizabeth breaks the surface, looks around. And then, finally +Jack appears, sucking in air. He shows what he went after: his +pistol. He tucks it into his shirt. + + ELIZABETH + You went back for that? We need to + head for the reef! + +She starts swimming. Jack hesitates. The Black Pearl is already +underway; he stares at it. + + JACK + That's the second time I've had to + watch that man sail away with my + ship. + +He turns away, and swims after Elizabeth. + +EXT. ISLET - BEACH - DAY + +CLOSE ON: The surf line. Elizabeth's feet leave prints in the +sand ... and then meet up with matching footprints she made +earlier, going in the same direction. She has walked all the +way around the island. + + JACK (O.S.) + Not all that big, is it? + +Jack lays on the beach. He has dismantled his pistol; the parts, +ball and powder dry on his scarf. + + ELIZABETH + Has it changed since the last time + you were here? + + JACK + The trees are taller. + +Jack checks to see if the pistol parts are dry; they are. He +sets about re-assembling and loading his pistol. + + ELIZABETH + I hope you have no intention of + using that. + +Jack has finished putting his pistol back together. He shoves +it in his belt, walks off. + + JACK + Not yet. Ask me again in a few + weeks. + +Elizabeth can't believe it. + + ELIZABETH + Captain Sparrow! We have to get + off this island -- immediately! + + JACK + Don't be thinking I'm not already + working on it. + +He climbs up toward a clump of palm trees. Digs for something +beneath the sand. He finds it: a large iron ring. + + ELIZABETH + What is that? Is there a boat + under there? + +Jack heaves the trap door up and over, revealing a pit. Inside +are barrels and bottles of rum ... all covered with dust and +cobwebs, long abandoned. Jack's face falls. + + ELIZABETH (CONT'D) + What? What's wrong? How will this + help us get off the island? + + JACK + It won't. It won't, and so we + won't. + +He jumps down into the pit, cracks open a bottle of rum, takes +a swig. + + ELIZABETH + But ... you did it before! Last + time -- + + JACK + Last time, I was here a grand total + of three days. Last time, the + rumrunners who used this island as + a cache came by, and I bartered + passage off. But from the looks of + this, they've been out of business, + and so that won't be happening + again. + (takes another swig) + We probably have your friend + Norrington to thank for that. + + ELIZABETH + So that's it? That's the secret + grand adventure of the infamous + Jack Sparrow? You spent three days + on the beach drinking rum? + + JACK + Welcome to the Caribbean, love. + +He gathers up a few bottles, heads for the beach. + + JACK (CONT'D) + You should look at our contretemps + this way: we've got shade trees, + thank the Lord. We've got some + food on the trees, thank the Lord + again. And we've got rum, praise + the Lord. We can stay alive a + month, maybe more. Keep a weather + eye open for passing ships, and our + chances are fair. + + ELIZABETH + A month? Will doesn't have a + month! We've got to do something + to help him! + + JACK + You're right. + (hoists the bottle) + Here's luck to you, Will Turner. + +He drinks -- and difiantly returns Elizabeth's angry gaze. But +then turns away, sits down. + + JACK (CONT'D) + Don't be thinking I'm happy about + this, Elizabeth. But I see no use + in wailing and gnashing my teeth + over that which I can do nothing + about. + + ELIZABETH + Not when you can drink instead, at + least. + +Jack tosses her a bottle. + + JACK + Try it. It goes down rough, but it + goes down -- and the second swig + goes down easier. + +Elizabeth considers. Comes to a decision. She unseals the +bottle, takes a swig. They sit in silence for a bit. + + ELIZABETH + And you will call me Miss Swann. + +Jack toasts her: you got it. Elizabeth studies her bottle ... +gives Jack a sidelong glance. Back to her bottle ... + + ELIZABETH (CONT'D) + (under her breath) + Drink up me hearties, yo ho ... + + JACK + What? What was that? + (Elizabeth smiles) + Something funny, Miss Swann? + Share, please. + + ELIZABETH + Nothing ... it's nothing. Just ... + I'm reminded of a song I learned as + a child. A song about pirates. + + JACK + I know a lot of songs about + pirates, but none I'd teach a + child. Let's hear it. + + ELIZABETH + Oh, no ... it's silly. Back in + England we didn't know a thing + about pirates, really. They seemed + so romantic and daring -- + +Jack likes the way that sounds. + + ELIZABETH (CONT'D) + (looks at him) + That was before I met one, of + course. + + JACK + Now I must hear this song. An + authentic pirate song. Have at it. + + ELIZABETH + Well, perhaps ... with a bit more + to drink, I might ... + + JACK + More to drink! + +He gathers two more bottles, tosses one to her. She drops her +half-finished bottle to catch it. Opens it, takes a sip. + + JACK (CONT'D) + Well? + +Elizabeth clears her throat, begins to sing self-consciously, +becoming stronger as she goes on. + + ELIZABETH + We pillage, we plunder, we rifle, + we loot, Drink up me hearties, yo + ho. + +She gestures for him to drink. He does. + + ELIZABETH (CONT'D) + We kidnap and ravage and we don't + give a hoot, Drink up me hearties, + yo ho -- + +EXT. ISLET - BEACH - LATER - NIGHT + +The middle of the night. A fire BLAZES. Jack and Elizabeth are +roaring drunk, arm in arm, singing the song all the way up to +the stars -- + + JACK/ELIZABETH + Yo ho, yo ho, a pirate's life for + me! Yo ho, yo ho, a pirate's life + for me! + + JACK + I LOVE this song! + (sings) + Yo ho, yo ho, a pirate's life for + me! We're beggars and blighters, + ne'er do well cads, Drink up me + hearties, yo ho! + (gives it a touch of + Irish ballad) + Aye but we're loved by out mums + and our dads. Drink up me + hearties, yo ho! + +They hoist their bottles, but only Jack drinks. He drains the +bottle, then tosses it away. + + JACK + When I get the Black Pearl back, + I'm going to teach it to the whole + crew, and we'll sing it all the + time! + + ELIZABETH + You'll be positively the most + fearsome pirates to sail the + Spanish Main. + +Elizabeth salutes the idea with her bottle. Jack doesn't have +a bottle to salute back. She hands him hers. He drinks, then +settles shakily to the ground. Elizabeth sits beside him. + + JACK + Not just the Spanish Main. The + whole ocean ... the whole world. + Wherever we want to go, we go. + That's what a ship is, you know. + Not just a keel and a hull and a + deck and sails. That's what a ship + needs ... but what a ship is -- + what the Black Pearl really is ... + is freedom. + +Elizabeth lays her head on his shoulder. + + ELIZABETH + Jack, it must be so terrible for + you, to be trapped here on this + island, all over again. + + JACK + Ah, well ... the company is better + than last time. And the scenery + has definitely improved. + + ELIZABETH + (coy) + Mr. Sparrow! I'm not sure I've had + enough rum to allow that kind of + talk. + + JACK + We've got a few bottles left ... + and we've yet to tap the kegs. + +Elizabeth shrugs with a sleight -- but promising -- smile. She +picks up the empty bottle from the ground, holds it up. + + ELIZABETH + To freedom. + + JACK + To the Black Pearl. + +They tap the bottles together. Elizabeth feigns a drink as he +chugs. He taps his bottle against hers again. She laughs, +feigns another drink -- + +EXT. ISLET - BEACH - MORNING + +CLOSE ON -- JACK'S FACE, dead asleep, lying in the sunlight. +His nose twitches. A bit of SMOKE drifts by. His nose twitches +again. His eyes open. + +Jack GROANS and sits up. He rubs his head, looks over -- + +-- all of the foliage in the middle of the island is ON FIRE. +Smoke rises high up into the clear blue sky. + +Jack leaps to his feet. He sees Elizabeth, as she pours out the +last of the rum, dowsing a scrub brush at the base of a palm +tree. It goes up in FLAMES. She rolls the barrel forward -- it +starts to BURN merrily. + +Jack can't believe his eyes. + + JACK + What are you doing? You've burned + our food, the shade -- the rum! + + ELIZABETH + Yes, the rum is gone. + +She wipes her hands together. One of the rum barrels in the +fire EXPLODES. + + JACK + Why? + + ELIZABETH + One, because it is a vile drink + that turns even the most + respectable men into scoundrels. + Two -- + +She points to the sky. + + ELIZABETH (CONT'D) + That signal is over a thousand feet + high, which means it can be seen + for two hundred leagues in every + direction. The entire Royal Navy + is out to sea looking for me -- do + you think there is even a chance + they could miss it? + + JACK + You -- you burned up the island, + for a one-time chance at being + spotted? + + ELIZABETH + Exactly. + +Elizabeth turns toward the sea. + + ELIZABETH (CONT'D) + Just you wait, Captain. In an + hour, maybe two, keep a 'weather + eye open' and you'll be seeing + white sails on that horizon! + +She sits down, determined. Shields her eyes, scans the water, +waiting, searching. Jack is speechless. He throws up his hands, +stalks up the sand dune, just to get away from her. + +EXT. ISLET - LEEWARD SHORE - DAY + +At the crest of the dune, Jack stops -- and stares, incredulous. +We come around to see what he is looking at -- + +Past Jack, anchored on the other side of the island, white +sails glorious against the turquoise waters, is the H.M.S. +Dauntless. A longboat is already being rowed toward them. + +Jack shakes his head. + + JACK + They'll be no living with her after + this. + +EXT. H.M.S. DAUNTLESS - MAIN DECK - DAY + +Norrington gives Elizabeth a hand disembarking from the raised +longboat. + + NORRINGTON + Elizabeth, I'm relieved you're + safe. + (re: Jack) + Clap him in irons. And behind his + back this time. + + ELIZABETH + Commodore, you can't do that! + + NORRINGTON + You're speaking up for him again? + + ELIZABETH + He can locate Isla de Muerta -- but + I doubt he'll be willing to help us + from the brig. + + JACK + (she's right) + We had time to get to know each + other. + + NORRINGTON + We are bound for Port Royal, not + Isla de Muerta. + + ELIZABETH + No. The pirates have taken Will -- + + NORRINGTON + Your father is frantic with worry. + Our mission was to rescue you and + return home. That is what we shall + do. Mr. Turner's fate is + regrettable. But so was his + decision to engage in piracy. + + ELIZABETH + Commodore, please! + + JACK + Norrington, think about it ... the + Black Pearl, its captain and crew + ... the last pirate threat in the + Caribbean. How can you pass that + up? + + NORRINGTON + By remembering that I serve others, + not only myself. + + ELIZABETH + Commodore, I beg you -- please do + this ... for me. As a wedding + gift. + + NORRINGTON + I am to understand that you will + accept my marriage proposal on the + condition I rescue Mr. Turner? + + ELIZABETH + Not as a condition -- a request. + +Norrington considers. To Gillette: + + NORRINGTON + Free Mister Sparrow, and prepare to + come about. He'll give you our + heading. + +Gillette unlocks Jack's manacles. Jack raises an eyebrow. + + JACK + Congratulations, sir. + +Crew men lead Jack toward the bridge. Sailors go about their +tasks, and the ship begins its slow turn. + + NORRINGTON + Elizabeth, I hereby withdraw my + proposal. + + ELIZABETH + What? + + NORRINGTON + I know where your heart truly lies. + +Elizabeth looks at Norringtom, seeing him in a new light. + + ELIZABETH + And now I know ... where yours + does, as well. + +They gaze at each other a moment. Norrington looks away. + + NORRINGTON + You may seclude yourself in my + cabin. I'm afraid we do not have + any ladies' clothing aboard. + + ELIZABETH + Then I can wear men's clothing. + + NORRINGTON + That would hardly be proper. + + ELIZABETH + Well, I am not going to stay hidden + in some cabin, or I suppose it's + going to be heaving bosoms and bare + for the remainder of the voyage! + +Norrington is exasperated, but then can't help but grin -- this +is exactly why he loves her. She grins back at him -- she's not +going to change. + + NORRINGTON + Murtogg, take our guest below, and + find her some trousers, and a + shirt. + +Elizabeth smiles, allows herself to be escorted away. +Norrington watches her go ... then turns his gaze to the sea. + +INT. THE BLACK PEARL - BRIG - DAY + +Pintel enters the cell. It appears empty -- but that's because +Will is hanging from the rafters, trying to shove up the +ceiling planks with his legs. + + PINTEL + That ain't going to work. That's + the gun deck above yea. + +Will drops lightly to the deck. Suddenly: + + WILL + What happened to William Turner? + + PINTEL + Ah, William Turner. Stupid + blighter. He threw in with us + after we relieved Jack Sparrow of + his captaincy, but turned out, it + never sat well with him -- + particularly after we found Cortes' + treasure, and its peculiar + condition. He thought we deserved + to be cursed, for leaving ol' Jack + to the fate we did. That's why he + sent off a piece of the treaure -- + to you, as it were: so it would + never be recovered, and so cursed + we remain. + + WILL + And then he ran. And he's hiding + out someplace where you haven't + been able to find him. + + PINTEL + That's a nice thought, to be sure, + and I wager your da wishes he'd + thought it hisself. But, no. See, + what he'd done, didn't sit too well + with Captain Barbossa ... so he + chained a cannon to his legs and + dumped him over. + +Will reacts with shock at the account of his father's fate. + + PINTEL + Yep, last I saw of Bootstrap Bill, + was his face looking up, as he + sank down to the crushing black + oblivion of Davy Jones' locker. + (sighs) + It was only after, we found out we + needed his blood to solve the + curse. That's what you call + ironic. + +Barbossa appears behind Pintel, flanked by several others +pirates. He regards Will for a moment, then: + + BARBOSSA + Bring him. + +EXT. H.M.S. DAUNTLESS - MAIN DECK - EVENING + +Jack goes to the rail and waits, pretending to look out at the +sea. Elizabeth, dressed in sailor's clothes to excellent +effect, joins him. + + ELIZABETH + You didn't tell Commodore + Norrington everything. + + JACK + Nor did you, I noticed. + + ELIZABETH + He might delay the rescue ... and + that would be too late. + + JACK + Exactly. + + ELIZABETH + These men will be facing an enemy + that seemingly cannot be killed. + + JACK + I have a plan. If it succeeds, + then any battle will be decidedly + brief ... and one-sided. + + ELIZABETH + What's your plan? + + LOOKOUT (O.S.) + LAND HO! + +Isla de Muerta lay dark and menacing on the horizon. + + NORRINGTON + Elizabeth -- below decks. I will + not compromise your safety. + +She starts to speak; he turns away. + + NORRINGTON (CONT'D) + Lieutenant, escort Elizabeth to my + quarters, and make sure she stays + there. + +Norrington gazes through his spyglass, at the island. Jack +watches with some amusement as Elizabeth is escorted away. + + NORRINGTON (CONT'D) + I don't like the situation, Mister + Sparrow. The island is riddled + with caves. I will not put my men + at a disadvantage. + + JACK + Funny, I was thinking along those + lines. How about you let me go in + alone, and while you're setting up + an ambush, I'll trick the pirates + out to you. + + NORRINGTON + You would do that? + + JACK + They left me stranded. Twice. + What have you got to lose? + + NORRINGTON + (looks at him) + Nothing I wouldn't be please to be + rid of. + + JACK + (smiles) + I knew you'd listen to reason! + +EXT. ISLA DE MUERTA - CAVE ENTRANCE - EVENING + +Torches are lit. Barbossa leads Will, guarded by Pintel and a +band of pirates, into the caves. + +INT. H.M.S. DAUNTLESS - MAIN DECK - NIGHT + +A longboat is prepared to be lowered over the side. Jack wraps +his pistol securely in an oilskin pouch. + + JACK + That chart I drew up'll get you + past the reefs. If you're + steersman's good enough, that is. + + NORRINGTON + I'll be at the wheel myself. + + JACK + I'll slip in, talk them into to + come out, and you'll be free to + blow holy high heaven the whole lot + of them. + +The crewmen release the lines, and the boat drops -- + +INT. ISLA DE MUERTA - CAVES - NIGHT + +The pirate group moves deeper into the caves. Will moves along +unwillingly. + + PINTEL + No reason to fret. It's just a + prick of the finger and a few drops + of blood. + + BARBOSSA + Turner blood doesn't flow pure in + his veins. + (grins) + Best play it safe, and spill it + all. + + PINTEL + I guess there is a reason to fret. + +EXT. ISLA DE MUERTA - NIGHT + +The Dauntless drifts into the lagoon. Norrington and his men +prepare to go ashore. + +INT. ISLA DE MUERTA - CAVES - NIGHT + +Lit by torchlight. Will notices: a crack runs between the floor +and the wall of the cave, widening into a ravine. + + BARBOSSA + Careful, now. You could fall in + and still be wonder'n when you'll + hit dirt. + +Will makes a decision. He intentionally stumbles. Pintel shoves +him forwad -- Will continues forward, grabs the pirate in front +of him, swings him into the wall of the cave. Catches the +pirate's torch, and uses it to ward off the others. + + WILL + You deserve to be cursed -- and + remain cursed! + +He steps to one side -- and drops into the ravine. The wall of +the ravine becomes a loose gravel slope; Will hits it, and +tumbles down, disappeats into black. + + BARBOSSA + Blast him! A pox on him, and his + father, and the whole damnable + line! Fan out! Find him! + +INT. DAUNTLESS - CAPTAIN'S QUARTERS - NIGHT + +Elizabeth looks out the Captain's small porthole -- sees boats +laden with Navy men headed for shore. + +She turns away from the porthole, wishing there was something +she could do. Suddenly there is a flutter at the window -- + +Cotton's parrot is there. + + COTTON'S PARROT + Drink UP me hearties yo ho! Drink + UP me hearties yo ho! + +The bird flutters off; Elizabeth races to the porthole, and +then to the stern window to see it fly away. + +She looks down -- and there, fastened to the stern of the ship, +is a small rowboat. + +INT. ISLA DE MUERTA - CAVES - NIGHT + +Will races forward, turning this way and that. He sees a light +ahead, heads for it, turns a corner -- + +-- and runs straight into Jack. + + JACK + Do you have any idea where you're + going? + + WILL + Jack! + + JACK + Don't talk. These caves magnify + sound. Just follow me. + +EXT. ISLA DE MUERTA - THE BEACH - NIGHT + +Norrington and men land on the beach, and spread out. They +silently take up positions around the main cave entrance. + +INT. CAVES - NIGHT + +Jack leads Will out of a narrow passage -- and stops, staring. +Will is a few steps behind. + + WILL + Are you certain this is the right + way? + + JACK + It's the right way. + +Will joins him -- and sees what Jack is staring at: + +Treasure piled on treasure, sparkling, glowing, seemingly +endless. At the center is the moonlit clearing, and the stone +Aztec chest. + + BARBOSSA + Thank you, Jack Sparrow. + +They jump -- Barbossa is standing right behind them, flanked by +his men. The trio whirl to run -- more pirates emerge from +hiding. Nearly the entire crew of the Black Pearl is there. + +The pirates grab Will and Jack. Will struggles, but Jack does +not fight at all. + + BARBOSSA (CONT'D) + You couldn't have led him back more + directly if you knew exactly where + you were going. + +He laughs, and moves toward the stone chest. The pirates +follow, dragging Will and Jack with them. + + WILL + You did know where you were going! + You did lead us directly to them! + (Jack's silence + confirms it) + Why? + +Jack looks away -- as Will is manhandled toward the chest. +Barbossa steps up to him (becoming skeletal in the moonlight) +and puts the medallion around Will's neck. + +He picks up the stone knife. + + BARBOSSA + What was begun by blood, let blood + now end! + +He raises the knife to Will's throat -- + + JACK + You don't want to be doing that. + +Barbossa pretends to think about his words. + + BARBOSSA + No, I really think I do. + + JACK + (shrugs) + All right then. + +That makes Barbossa pause. He steps out of the moonlight. + + BARBOSSA + Why don't I want to do this? + + JACK + Because, right about now, the + H.M.S. Dauntless is lying in wait + in the harbor. + + WILL + Jack! + + JACK + -- and its guns and crew will cut + you and your men to pieces the + moment you step outside these + caves. + +A buzz of apprehension sweeps through the pirates. + + PINTEL + Do you believe him? + + BARBOSSA + No. + (indicates Will) + But him I believe. He us genuinely + angry. + + JACK + You've no hope of surviving + Norrington's attack ... that is, + if you're mortal. + + BARBOSSA + What're you suggesting? + +Jack shakes off the hands holding him, strolls toward Barbossa, +Will, and the chest of coins. + + JACK + Simple. Don't kill the boy yet. + Wait for a more opportune moment. + +Will glares, listening to every word he says. Jack scoops up a +handful of coins from the chest. + + JACK (CONT'D) + (drops the coins one- + by-one back into the + chest) + Like after you've killed ... Every + ... Last ... One ... of + Norrington's men. + + BARBOSSA + I can't help wondering, Jack, why + you're being so helpful and all? + Last time you did that, it didn't + end well for you. + + JACK + The situation has changed. + + BARBOSSA + That so? + + JACK + Aye. See, after you're done with + the Royal Navy, you'll have a bit + of a problem: the H.M.S. Dauntless. + There you'll be, with two lovely + ships on your hands, and what to + do? Of course you'll decide you + deserve the bigger one, and who's + to argue? The Dauntless a first- + rate ship-of-line, and with it, you + can rule the seas. + (beat) + But if you're Captain of the + Dauntless, who's left for the Black + Pearl? + +Jack smiles and spreads his hands: me. + + JACK (CONT'D) + I sail for you as part of your + fleet, I give you fifteen percent + of my plunder, and you get to + introduce yourself at tea parties + and brothels as 'Commodore + Barbossa.' + (sticks out his hand) + Do we have an accord? + +Barbossa licks his lips. It's tempting ... + + JACK (CONT'D) + Now, you can take care of the + Dauntless, right? + + BARBOSSA + Men! Are you up for it? + +The pirates yell to the affirmative. + + BARBOSSA (CONT'D) + Mr. Pintel, select five men to stay + here. Take the rest of the men out + ... not through the caves. + +Jack's expression falters; this he hadn't planned for. + + JACK + There's ... another exit? + + BARBOSSA + Aye, for us there is. + +EXT. LAGOON - UNDERWATER - NIGHT + +Moonlight shines down into the shallow waters, brightening +coral, sparkling over the rippled sand floor. + +Suddenly all the fish SCATTER. Briefly, the waters are empty. + +And then FIGURES appear in the distance, seeming to waver in +the shifting current. They scuffle forward, kicking up clouds +of sand -- + +The figures resolve into the skeleton PIRATES, moving silently +across the lagoon floor, swords glinting. The tatters of their +clothing drift in the water. Their skull heads are fixed in an +endless grin. + +The LEAD PIRATE glides forward -- + +And stops next to a huge iron ANCHOR -- twice his height, even +buried halfway into the sand. A heavy CHAIN with barrel-sized +links climbs up toward the surface -- + +A SHADOW falls across the Lead Pirate -- he TRANSFORMS, and we +see that it is Pintel. He looks up -- + +Above, the heavy chain leads to the giant bottom hull of the +H.M.S. Dauntless, silhouetted by moonlight. + +The huge shift drifts, again spilling moonlight below -- + +And the pirates gathered around the anchor are once again +SKELETONS, staring with upturned faces. The Pintel-skeleton +puts a knife between his teeth, starts to crawl up the iron +rings. + +Other pirates crowd forward, and soon the anchor-chain is +clustered with skeletons -- + +EXT. LAGOON - NIGHT + +Elizabeth has the small boat out, and rows away from the +Dauntless, looking ahead over her shoulder. Cotton's parrot is +nowhere to be seen. + +In the distance, Pintel breaks the surface near the Dauntless, +intent on climbing the anchor; he looks over -- + +Just as Elizabeth rounds the point, and rocks obscure the small +longboat from view. + +More skeleton-pirates appear, and Pintel continues his climb. + +EXT. LAGOON - DAUNTLESS - NIGHT + +Two SAILORS, alert and vigilant, stare out toward shore. The +island reveals nothing but blackness. + +There is a scurrying sound -- bones scraping against wood -- +and the sailors JUMP. They listen, intently -- nothing. + + TALL SAILOR + Ship rats. Big ones. + + SHORT SAILOR + (nods) + Hate those things. + +They turn back toward the island, continue their vigil. A long +pause. + + SHORT SAILOR (CONT'D) + Taste all right, though. + + TALL SAILOR + That they do. + +>From behind, the two sailors at the rail are well-lit by a +lantern. Suddenly shadows appear, skeletons, climbing up the +sailor's backs. MOVE CLOSER and then the skeletons appear, +reaching -- the two sailors are grabbed from behind -- + +EXT. DAUNTLESS - SIDE - NIGHT + +Two bodies are tossed out over the rail, hit the water with a +splash. + +EXT. DAUNTLESS - SIDE - NIGHT + +Pintel looks down into the water, satisfied. Puts away his +knife. Notices, pulls out a long piece of seaweed from his rib +cage. Tosses it. Turns to the others. + + PINTEL + Be quick, now. Train the starboard + guns on the beach, and set your + aim. Wait for my signal, we don't + want to spook them. + +The pirates hurry to comply -- + +EXT. LAGOON - BLACK PEARL - NIGHT + +Elizabeth rounds the point further, and sees: the Black Pearl, +anchored in the neighboring cove. A fleck of color -- Cotton's +parrot, as it darts through a porthole. + +Elizabeth slows her efforts, silently approaching the ship. + +EXT. BLACK PEARL - MAIN DECK - NIGHT + +Four PIRATES -- who really ought to be keeping watch -- instead +have gathered wine bottles and rum casts into a pile, along +apples, biscuits -- all the food on the ship. + +They act out a mock-feast, in anticipation of the curse being +lifted. A SKINNY skeleton offers two bottles to a BIG BONES +skeleton. + + SKINNY + Which would you prefer first, good + sir -- rum, or wine? + + BIG-BONES + I believe I'll have a spot o' rum, + if you don't mind, and thank'ee + kind sir! + +They burst out laughing -- a hideous sound that wheezes through +their bones. + +Behind them, unnoticed, Elizabeth peeks catiously around a +corner. She picks her moment and sneaks past quickly, down a +gangway, disappearing into the darkness of the ship. + +EXT. ISLA DE MUERTA - BEACH - NIGHT + +Gillette crouches, running low behind a line of rocks. He +reports to Norrington: + + GILLETTE + All the men in place, sir. Ready + to fire. + + NORRINGTON + Wait for my order -- what the + blazes is that? + +It's the sound of cannon fire -- coming from the Dauntless. +Cannonballs hit the shore; men cry out in anguish. + + NORRINGTON (CONT'D) + Men! Take cover! + +The sailors scramble to find refuge -- + +INT. ISLA DE MUERTA - MAIN CAVERN - NIGHT + +Will, guarded by pirates, glares at Jack. + + WILL + You've been planning this from the + beginning. Since you learned my + name. + +Jack takes the opportunity to move toward him. + + JACK + Oh, please -- did I really seem + that clever? + +Before Will can answer, Jack smoothly slips the sword from a +Pirate's scabbard -- tosses it to Will, who catches it despite +his sursprise. + + JACK (CONT'D) + Use it well. + +He draws his own sword -- and clobbers the Pirate. Barbossa and +the other pirates stare in shock -- + + BARBOSSA + Confound it, Jack -- I was actually + beginning to like you! + +Swords are drawn, and the Pirates attack. + +Jack and Will take on multiple opponents, each with his own +style: Will parries, glissades and dissarms with lightening +fast and perfect form, while Jack uses his blade, fists, +acrobatics and anything within reach to survive. + +EXT. ISLA DE MUERTA - BEACH - NIGHT + +The sailors charge. The moon emerges from behind a cloud -- + +Suddenly an army of SKELETON PIRATES rise up from the sea, and +charge the stunned sailors -- several men are struck down -- + + NORRINGTON + Steady, men! Remember -- we're the + Navy! + +The sailors recover their nerve, and engage the enemy. It's a +full on battle, Royal Navy against Skeleton Pirates -- + +The Navy men are driven back, surrounded -- + +Suddenly there is a massive BOOM of cannon fire. Norrington, in +the midst of of a swordfight, tries to see -- + + NORRINGTON (CONT'D) + What is happening out there? + +EXT. LAGOON - NIGHT + +It's the Black Pearl, manned by Gibbs, AnaMaria and Cotton, and +captained by Elizabeth, coming around the point, cannons +blazing -- + +EXT. ISLA DE MUERTA - BEACH - NIGHT + +Gillette sees the Black Pearl firing on the Dauntless. + + GILLETTE + They're on our side! Take heart, + men! + +The Royal Navy stand their ground and fight -- + +INT. CAVE - MAIN CAVERN - NIGHT + +Only two pirates left: Barbossa and Jacoby. Jacoby rounds on +Will; Barbossa faces off against Jack. + + BARBOSSA + Just so you know, Jack -- I don't + think you're that clever. I think + you're a fool. A mortal fool. + + JACK + Remarkable how often those two + traits coincide. + +Jack drives him back, making Barbossa laugh. + + BARBOSSA + You can't beat me, Jack. + +To prove his point, he drops his own sword -- and catches +Jack's sword with both hands. Jack can't free it. Barbossa +twists the sword from Jack's grip, reverses it -- + +-- AND DRIVES THE SWORD INTO JACK'S CHEST. + +Will battling Jacoby, sees it -- he smashes Jacoby in the jaw, +crumpling him. + + WILL + Jack! + +Jack stares down at the sword jutting from his chest. He takes +a few steps backward, toward the Aztec gold -- when he steps +into the moonlight, JACK BECOMES SKELETAL. + + JACK + Well, isn't that interesting. + +Skeleton Jack pulls the sword from his chest. He pulls +something from his pocket: one of the Aztec coins. + + JACK (CONT'D) + They're so pretty, I just couldn't + resist stealing one. It's a curse, + I guess. + +Barbossa grabs up his sword, and rushes Jack. Both men are +in moonlight now, two skeletons in pitched battle. + + BARBOSSA + So what now, Jack Sparrow? Are we + to be two immortals, locked in epic + battle until the trumpets of + Judgement Day? + + JACK + Or you could surrender. + +He shoves Barbossa back, out of the moonlight. Barbossa stalks +the room, his attention focused on Jack. + + BARBOSSA + Or I could chain you to a + cannonball and drop you in the + deepest part of the ocean, where + you can contemplate your folly + forever. + +Barbossa charges -- + +A SHOT RINGS OUT -- + +Jack stands out of the moonlight, flesh and blood again, +holding his smoking pistol, still aimed at Barbossa. + + BARBOSSA (CONT'D) + Hah. Ten years you carried that + pistol, and you end up wasting your + shot. + + WILL + He didn't waste it. + +Will stands over the Aztec chest, holding a bloody sword, his +left hand in a fist. He opens the fist -- + +-- the medallion, blood covering it, drops from his hand, +revealing the cut in his palm. + +Barbossa stares, then looks down at his chest. Blood blossoms +on his shirt around the bullet hole. It spreads quickly. + +Barbossa clutches his chest, his face registering pain for the +first time in years. Barbossa falls heavily to the ground, +dead. + +Jack blows the smoke from the barrel of his pistol ... tosses +it away. + +EXT. ISLA DE MUERTA - BEACH - NIGHT + +Murtogg FIRES a pistol at a pirate. The pirate is hit, screams +in pain, and crumples to the ground. Mullroy runs through +another pirate with a sword. + +The pirates react to the sight, and quickly realize their +peril. They set their weapons down in surrender. + +EXT. ISLA DE MUERTA - LAGOON - NIGHT + +The Black Pearl comes alongside the Dauntless, and Jack's crew +swarm across, overwhelming the pirates. + +The sailors on the beach see it, and CHEER. + +INT. ISLA DE MUERTA - CAVE - MAIN CAVERN - NIGHT + +Will wraps a cloth around his palm; Jack joins him near the +chest. + + WILL + Well, you're the worst pirate I've + ever heard of. + (smiles) + You're a man who can be trusted, + who can be counted on, and who + can't betray his friends. What + kind of pirate is that? + + JACK + (admits it) + The worst. + (beat) + On the other hand, maybe I'm a man + who can't pass up a chance for + revenge against the black-hearted + bastard who stole my ship and left + me to die in the middle of the + ocean -- twice! -- and who knows + how to get what he wants. Now + that's a great pirate. + +Jack cuts his palm, grips the coin he stole above the chest ... +and then hesitates. + +Will looks at him ... + +Jack releases the coin. It lands in the chest beside the other +bloody coin. + +Suddenly, the lid of the chest, all on its own, SLAMS SHUT. +Elizabeth stares at it. + + WILL + Let's get out of here. + +EXT. ISLA DE MUERTA - BEACH - NIGHT - LATER + +Jack, Will and Norrington gather together on the beach. +Elizabeth calls out: + + ELIZABETH + You're all right! + +The three men turn as one. An awkward moment -- which of them +does she mean? + +Elizabeth races across the sand, toward them -- and straight to +Will. She throws her arms around his neck in a hug. + + WILL + Miss Swann -- are you wearing + trousers? And how did you get off + the island? + +Elizabeth can't believe that's what he noticed. Indignant, she +steps away from him. + + ELIZABETH + Yes, I am wearing trousers. And as + for how we got off the island -- + ah, that's a grand adventure, but + now is not the time to talk about + it. + +She reaches a hand behind his neck, decisively kisses him. + + ELIZABETH + There. And don't you dare tell me + that wasn't a proper kiss! + + WILL + Elizabeth, I think it doesn't + matter that we are of a different + class -- + + ELIZABETH + It doesn't! + + WILL + -- but that was not a proper kiss. + +Pure consternation on Elizabeth's face -- + + WILL (CONT'D) + This is a proper kiss. + +Will sweeps her in his arms, leans her back, and kisses her +long and well -- + +Jack puts a hand on Norrington's shoulder. + + JACK + Tough luck. I was rooting for you. + +EXT. PORT ROYAL - FORT CHARLES - DAY + +Close on: Will's face, stoic, staring forward. He stands +straight and unmoving. Around him are members of the Royal +Navy, standing before for a group of witnesses from town. + +It is the courtyard on top of Fort Charles. A trial is underway +-- with Will as the defendant. + + NORRINGTON + ... and though I do say so with + regret, the law is clear. The + penalty for piracy is death by + hanging. + +In the crowd, Elizabeth squeezes the hand of her father, Swann. +She lets go as Swann stands. + + SWANN + By your leave, I wish to speak on + behalf of the boy. + (a glance at Elizabeth) + It is clear that these deeds were + performed out of a sincere desire + to do good, at great personal risk. + It seems to me, that in rare + occasion where the right course is + committing an act of piracy, then + an act of piracy is the right + course! + (cheers of approval) + So in my capacity as Governor, I + intend to grant a pardon to -- + + GILLETTE + Sir! + +All eyes turn. Gillette stands at the top of a stairway. + + GILLETTE (CONT'D) + Jack and his crew have escaped! + (gasps from the crowd) + There was no damage to the cell ... + they must have been set free. + +Will and Elizabeth exchange looks. You? Not me, you? No, not me +either! Swann notices something on the parapet, points -- + + SWANN + The Black Pearl! + +People rush to the parapet. Sure enough, below in the bay are +the distinctive black sails of the Pearl. The ship cuts through +the waters very close to the point -- + +-- where the gallows of the pirates are. Suddenly Jack appears, +on the point; he swings off the one empty gallows, across and +down onto the ship's rigging as it passes. + + GILLETTE + Sir! Shall I break out the + cannons? + + NORRINGTON + I don't think that will be + necessary. + +Norrington raises his hand ... twirls a key on his finger. + + NORRINGTON (CONT'D) + A day's head start. That's all he + gets. + +Will, Elizabeth and Swann look out toward the ocean -- + +EXT. BLACK PEARL - STERN DECK - DAY + +Jack monkeys down the rigging. AnaMaria is at the wheel. + + ANAMARIA + Capatin Sparrow -- the Black Pearl + is yours! + +Jack runs a hand lovingly along the rail, then takes the wheel. +It feels good -- right -- in his hands. He enjoys it, and then +shifts to 'Captain' mode. + + JACK + AnaMaria, trim the mainsail! + + ANAMARIA + Aye, aye, sir! + + JACK + Mr. Gibbs, organize a cleaning + detail -- you and Cotton. I want + every inch of the Pearl spic-and- + span and ship-shape! + +Gibbs actually stomps the deck, executes a salute. + +Jack stands at the wheel: he's got his ship back, and all is +right with the world. He begins to unconsciously hum: "Yo, ho, +yo, ho, a pirate's life for me ..." + +He realizes what he's doing and smiles, the orchestra takes +over as the Black Pearl sails for uncharted waters ... and we +FADE UP large words in script: + + THE END + +FADE OUT and CREDITS ROLL + + + diff --git a/scripts/Planet of the Apes.txt b/scripts/Planet of the Apes.txt new file mode 100644 index 0000000000000000000000000000000000000000..3c76615e4c766e38ecb920e61e6359d9e3c42683 --- /dev/null +++ b/scripts/Planet of the Apes.txt @@ -0,0 +1,5800 @@ + "PLANET OF THE APES" + + Screenplay + by + Michael Wilson + + + Based on Novel + By + Pierre Boulle + + + + + + + + + SHOOTING SCRIPT + May 5, 1967 + + REVISED: + 05/11/67 + 05/16/67 + 05/23/67 + 06/09/67 + 06/15/67 + 06/22/67 + 07/06/67 + 07/27/67 + + + + + + + + + + FADE IN + +1 EXT. CONSTELLATION OF ORION - NIGHT + + Stars glitter like diamonds on the black velvet backdrop of space. + The Belt of Orion is center screen, but much nearer and larger + than ever seen by an Earth-bound astronomer. + + A speck of light appears in the lower left corner of the screen. + No spaceship can be seen, but only a glowworm, a solitary sperma- + tosoan gliding through the womb of the universe. Over this we HEAR + the voice of an astronaut. He is concluding a report. + + ASTRONAUT'S VOICE + (o.s.) + So ends my last signal until we reach + our destination. We are now on automatic, + a mere hundred and five light years from + our base ... and at the mercy of com- + puters. I've tucked in my crew for the + long sleep. I'll join them presently. + +2 INT. CABIN OF SPACESHIP - ESTABLISHING SHOT - NIGHT + + The cabin is neither cramped nor spacious, but about the size of the + President's cabin in Air Force One. In the immediate f.g. is a console + of dials and switches flanked by four chairs. Only one of the chairs + is occupied. The astronaut's back is to CAMERA. There is a ladder + amidships which leads to an escape hatch. The after Dart of the cabin + is obscured in darkness. We hear the MUSIC of a Mozart sonata emanating + from a phonograph of stereotape. The astronaut is speaking into a + microphone. + + ASTRONAUT + Within the hour we shall complete + the sixth month of our flight from + Cape Kennedy. By our time, that is ... + + He pauses, looking up at: + +3 TWO LARGE CLOCKS - ON CABIN WALL + + One clock is marked SELF TIME, but instead of twelve numerals it has + twenty-four. One of the needles is moving very slowly. + + The other clock is labeled EARTH TIME, and its units, like those of a + tachometer, are given by hundreds and thousands. + + The largest needle of this clock makes one revolution every second. + Over this we hear: + + ASTRONAUT'S VOICE + (o.s.) + But according to Dr. Hasslein theory of + time in a vehicle traveling at close to + the speed of light, old Mother Earth has + aged a few thousand years since our de- + parture -- while we have scarcely aged + at all. + +4 CLOSE ON ASTRONAUT + + This is TAYLOR. He wears simple dungarees (or Churchill suit) and + comfortable boots. He seems calm and pensive. Extracting the butt of + a cigar from the breast pocket of his dungarees, he lights it, then + continues: + + TAYLOR + It may be so. This much is probable: the + men who sent us on this journey have long + since been moldering in forgotten graves; + and those, if any, who read this message + are a different breed. Hopefully, a + better one. + + He begins to roll up his left sleeve. + + TAYLOR + I leave the twentieth century without + regret. Who was it? Marshall? ... said + 'Modern man is the missin 'a link between + the ape and the human being.' + + He removes the cigar from his mouth, turns to look out through one + of the portholes into the astral night. + + TAYLOR + One final thought -- nothing scientific, + purely personal. Seen from up here, + everything looks different ... Time bends + and space is boundless. It squashes a + man's ego. He begins to feel like no more + than a mote in the eye of eternity. And + he is nagged by a question: ahat if any- + thing, will greet us on the end of man's + first journey to a star? Are we to believe + that throughout these thousands of galaxies, + these millions of stars, only one, that + speck of solar dust we call Earth, has + been graced -- or cursed -- by human life? + (pause) + I have to doubt it. + + He extracts a hypodermic needle from his breast pocket and injects + it into the vein of his forearm. He continues speaking. + + TAYLOR + (sardonically) + That's about all. I wonder if Man, that + marvel of the universe, that glorious + paradox who has sent me to the unknown... + still makes war against his brother., and + lets his neighbor's children starve. + + Taylor withdraws the hypodermic needle from his vein and secures it in + a drawer of the console. + + TAYLOR + Well then, Earthmen: A missing link + salutes you. Bless you, my descendants. + + Taylor snuffs out the cigar butt and places it in the drawer beside the + hypodermic. Then, flicking a switch Au cut off the Mozart, he rises and + looks up again at: + +5 THE CLOCK MARKED EARTH TIME + + The longest needle of this clock now makes nearly two revolutions per + second. The shortest needle points to the numeral 2105. + +6 INT. CABIN - TRACKING WITH TAYLOR + + Space scientists have presumably solved the problem of weightlessness, + for Taylor walks the short distance from; the console to the after + section without particular effort. CAMERA FOLLOWS him, and we can now + see four glass capsules, or "caskets", in the rear of the cabin. Taylor + looks down at them. + +7- SEVERAL SHOTS - THE FOUR CASKETS - FROM TAYLOR'S P.O.V. +10 + One of them is open. The other three are occupied by astronauts: DODGE, + LANDON and STEWART. They, too, wear dungarees and boots. Dodge and + Landon are thirtyish, clean-shaven, virile -- America's finest. Stewart + is a handsome young woman, her hair bobbed short. Their eyes are closed + and they do not appear to be breathing -- yet no undertaker could make + them so alive. + +11 ANOTHER ANGLE - FAVORING TAYLOR + + He grasps the handle of his own casket and slowly pulls himself into + it. Continuing SILENCE. CAMERA MOVES IN as Taylor Dulls the glass lid + shut and secures it. He adjusts two dials inside the capsule and lies + back, buckling his safety belt. CAMERA MOVES INTO A CLOSEUP of Taylor. + His eyes are open. He seems serene, even enraptured. + + + (NOTE: Credits will appear here over a series of shots designed to + convey a sense of loneliness, of separation, and of the passage of + time.) + + DISSOLVE TO: + +12- A SERIES OF SHOTS - A DISTANT GLOBE (MINIATURE) +16 + We see a strange and distant planet. At first the globe occupies but a + small area of the screen; but with each new VIEW it comes closer and + looms larger, as if" observed from a spaceship in a spiraling orbit of + descent. + + The topography of the planet bears little resemblance to our own. Much + of it is obscured by cloud cover; even more of-it appears to be + cratered desert of reddish hue. We can, however, make out a few narrow + "green belts" and a patch of blue water. + + In the FINAL SHOTS of this SEQUENCE we see the strange planet as it + would be observed from a spacecraft plummeting from twenty thousand + feet to one thousand feet. It appears that the ship will fall into a + vast lake surrounded by soaring sandstone pinnacles. The water is + blue-black, the pinnacles vermillion. (This is the Lake Powell + location, at Lone Rock.) + +17 INT. SPACESHIP - FULL SHOT - DAY + + Four empty pilot seats are seen in f.g., the four glass caskets in + b.g. We HEAR the RHYTHMIC BLEAT of a WARNING SIGNAL, a RUSH OF WIND + as in a rapid descent, and perhaps the ROAR OF RETROJETS. Then, a + great CRASH as the craft hits water. The whole ship shudders on impact. + Loose equipment falls to the cabin floor. CAMERA MOVES DOWN the cabin + aisle as the ship begins to roll in the water and HOLDS on the four + glass caskets. There are THREE LOUD METALLIC CLICKS as the glass + domes of the caskets swing open automatically. + +18 CLOSE ON TAYLOR + + He now has a full beard. His eyes come open. Instantly alert, he + rises to a sitting position, gazing across at: + +19 DODGE AND LANDON - FROM TAYLOR'S P.O.V. + + They, too, awaken and sit up, starring at Taylor. They, too, are + bearded. + + TAYLOR'S VOICE + (o.s.) + You all right? + + They nod. + +20 BACK TO TAYLOR - CLOSE SHOT + + He glances at the casket beside his own. + + TAYLOR + Stewart? + (struggling to his feet) + Stewart? + +21 CLOSE-SHOT --THE FOURTH CASKET + + Its dome remains unopened. The young woman is a skeleton in a + Churchill suit. + +22 REACTION SHOT - THE THREE ASTRONAUTS + + Dodge and Landon have joined Taylor and-stare at the grinning skull + of their dead comrade. A low, descending HUM of equipment is heard. + Simultaneously the lights begin to FADE. A moment later they brighten, + but not as much as before. + + TAYLOR + There goes our primary power. We're on + auxilliary. + + A slight CRACKING sound is heard. Taylor turns quickly away and o.s.: + +23 REVERSE ANGLE - THE FORWARD CABIN + + A trickle of water has begun to seep through a ruptured seam in the + cabin. Taylor darts to a porthole and peers cut. + +24 LONG SHOT - WHAT TAYLOR SEES: + + water + + The porthole is no more than six inches above the line. In the + distance we discern a shoreline of red desert. + + TAYLOR'S VOICE + (o.s.) + We're in the soup. We're sinking. + +25 INT. CABIN - FULL SHOT + + The leak in the seam becomes a growing spray of water. Taylor + turns away from the porthole, calling: + + TAYLOR + Dodge! Read the atmosphere! + + Dodge moves instantly to the ladder beneath an escape hatch and + mounts it. Taylor stumbles down the aisle of the rolling ship toward + the console and addresses Landon, who is still staring at Stewart's + skeleton. + + TAYLOR + Landon! Send a last signal. + + LANDON + (dazed) + What signal? + + TAYLOR + To Earth! That we've landed! + + As Landon lurches toward the communications equipment in f.g. + + CUT TO: + +26 EXT. TIM STRANGE PLANET - LONG PANORAMIC SHOT - LATE AFTERNOON (LONE + ROCK, LAKE POWELL) + + We are looking at a lifeless desert of sandstone buttes and pinnacles. + There is no sign of vegetation anywhere. CAMERA PANS DOWN to a body + of water that could be the bay of an inland sea. The deep blue of the + sea contrasts sharply to the red sands of the shoreline. CAMERA HOLDS + on the stricken spaceship, wallowing like a beached whale a hundred + yards offshore. The portholes of the craft are beneath the water, and + only its roof and the tail fin of its tail assembly are visible. The + red-hot skin of the ship vaporizes the water around it. + + Suddenly a snorkel-like tube sprouts from the escape hatch, which is + located amidships. + +27 INT. CABIN - CLOSE ON CLOSED ESCAPE HATCH + + Dodge, standing halfway up the ladder., has fastened a kit of gauges + to the end of the snorkel tube. He reads the dials, removes the kit, + sniffs the air in the tube and then, taking a deep breath, announces: + + DODGE + It's breathable. + + TAYLOR'S VOICE + (o.s.) + Okay! Blow the hatch before we lose + auxilliary power. + + Dodge reaches for a control mechanism near the escape hatch. + +28 CLOSE ON TAYLOR AND LANDON + + The spray of water coming through the ruptured seam is increasing. + The LIGHTS DIM again and the SOUND of the warning signal FADES. While + Landon fiddles with the radio, Taylor tries to get the tape recorder + rolling, but all we hear are scrambled and unintelligible noises. + + LANDON + It's no use ... there she goes. + + TAYLOR + Forget it. Abandon ship. + +29 WIDER ANGLE - TIM CABIN + + The escape hatch is now open. Taylor darts over to the ladder and + passes a folded life raft up to Dodge. When Landon reaches the ladder, + Taylor hands him two neatly packed rucksacks, and Landon climbs + through the escape hatch. Taylor is about to follow with a third + rucksack, then turns and crosses the cabin for a last look at: + +30 THE TWO CLOCKS - FROM TAYLOR'S P.O.V. + + Both clocks have stopped: the red needle of the clock labeled SELF + TIME rests on the numeral 18; the red needle of the clock marked + EARTH TIME rests on the numeral 3975. + +31 EXT. TOP OF SPACECRAFT - MED. SHOT + + Dodge inflates the raft with a cartridge of compressed air and + tosses it into the water. He and Landon jump into the water and + climb onto the raft as Taylor emerges from the hatch, Taylor slips + into the water and climbs onto the raft. He and Landon begin to + paddle toward shore, while Dodge immediately opens another kit and + takes a sample of the water. + +32 CLOSE ON THE MEN IN THE RAFT + + DODGE + (half to himself) + Briny...twenty-five percent salinity. + Near the saturation point. + + LANDON + (looking back) + She's still sinking... + +33 THE SPACESHIP - FROM THEIR P.O.V. + + Only the radio antenna and the tip of the tail fin remain visible. + + LANDON'S VOICE + (o.s.) + Going ... going... + + The craft vanishes beneath the water. + +34 CLOSE ON THE MEN IN THE RAFT + + Dodge is still busy with his kit. Landon is still looking back, but + Taylor doesn't bother to turn his head. + + LANDON + Gone. + + TAYLOR + (flatly) + We're here to stay. + +35 ANOTHER ANGLE - MOVING WITH THE RAFT + + They gaze at the forbidding sandstone battlements as they near the + shore. + + LANDON + Well? Where are we? Have any notion, + skipper? + + TAYLOR + (confidently) + We're some three hundred and twenty + light years from Earth. On an unnamed + planet in orbit around a star in the + constellation of Orion. + (looks off at + the "sun") + That could be Bellatrix. + +36 THE SUN - FROM THEIR P.O.V. + + Low on the horizon, seen through a dense envelope of dust particles. + + DODGE'S VOICE + (o.s.) + Too red for Bellatrix. + +37 BACK TO ASTRONAUTS IN RAFT + + Landon glances skeptically at Taylor. + + LANDON + You didn't have time to check the + tapes, so you don't really know, + do you? + (as Taylor ignores + him) + What went wrong? + (sardonically) + We weren't programmed to land + in water. + + DODGE + (grinning) + The question, Landon, is not so much + where we are as when we are. + + TAYLOR + (stands up in raft) + We've had a nice snooze. Let's start + earning all our back pay. + +38 WIDER ANGLE - THE BEACH + + As the three astronauts step out into shallow water and pull the + raft ashore. + + TAYLOR + Take your soil test, Dodge. I'll + check the equipment. + + Dodge moves inland about ten yards, removes a small hand drill + from his belt, extends the rod of the drill three feet and begins + to take some subsoil samplings. Taylor begins to examine the contents + of the three rucksacks. Landon sits down on the beach., hands around + his knees, gazing moodily at the sunken spaceship. During this and + succeeding scenes we sense that Dodge's obsession with scientific + inquiry leaves him immune to fear: Landon is possibly more courageous + and certainly more "human," for he has many fears to control: while + Taylor -- detached, cool and misanthropic -- is something of an enigma. + + TAYLOR + (calls Dodge) + Got your sensors? + + DODGE + Yo! + + TAYLOR + Geiger counter? + + DODGE + Yo! + + TAYLOR + (taking inventory) + One pistol... twenty-four rounds of + ammo. two medical kits.. one camera... + one TX9. + (loudly to the + others) + We've enough food and water for three + days. + + DODGE + But how long is a day? + + TAYLOR + Good question. + (turning) + Landon -- check your communications + kit. + +39 ANOTHER ANGLE - FAVORING LANDON + + He seems not to have heard. + + TAYLOR + (sharply) + Landon! Join the expedition. + + LANDON + (rising) + Sorry... + (crossing to his kit) + I was thinking of Stewart. What + d'you suppose happened? + + TAYLOR + (flatly) + Air leak. Died in her sleep. + + LANDON + You don't seem very cut up about + it. + + TAYLOR + It's a little late for a wake. She's + been dead nearly a year. + + LANDON + Then we've been away from Earth for + eighteen months. + + TAYLOR + By our time. + (smiling at Landon) + You've turned gray. + + Landon involuntarily touches the gray hair of his temple as Taylor + adds lightly: + + TAYLOR + Apart from that, you look pretty chipper + for a man who's two thousand and thirty + one years old. + (casually) + I read the clocks. They bear out Hasslein's + hypothesis. We've been away from Earth for + two thousand years, give or take a decade. + (pause) + Still can't accept it, huh? + + LANDON + long pause) + You know it. + + TAYLOR + Because time has wiped out everyone and + everything you cared for -- they're dust. + + LANDON + Prove it. If we can't get back, it's still + just a theory. + + TAYLOR + It's a fact, Landon. Buy it. You'll sleep + better. + + Dodge enters scene. A handful of reddish sand dribbles through his + fingers. + + DODGE + Nothing will grow here .... there's just a + trace of hydrocarbons, and most of the + nitrogen is locked into nitrates. + + TAYLOR + Any sign of dangerous ionization? + + DODGE + No. + + TAYLOR + (rising) + Okay. If there's no life here, we've got + just seventy-two hours to find it. That's + when the groceries run out. + + He picks up one of the rucksacks and puts it on. The others follow + suit. + + DODGE + Which direction? + + TAYLOR + (decisively, pointing + west) + That way. + + DODGE + Any particular reason? + + TAYLOR + None at all. + + He moves out. Dodge follows. CAMERA PANS with them. They have gone + only a few paces when Taylor looks back over his shoulder and halts. + +40 REVERSE ANGLE - FEATURING LANDON + + Landon is squatting in the sand, sticking something into the soil. + It is a small American flag, the size of a handkerchief. + +41 REVERSE ANGLE - FEATURING TAYLOR AND DODGE + + Mirth bubbles up in Taylor's throat. He explodes with wild laughter. + He is still laughing as they move out. + + DISSOLVE TO: + +41-A DAWN SHOT (GUNSIGHT LOC #43) + +42 THE ASTRONAUTS' TREK + + They descend from the plateau (Ochre Dunes) + +43 ASTRONAUTS CONTINUE MARCH, + + Across the top of the hills there suddenly runs a line of fire (Black + Dunes). + +44 THEY MOVE ACROSS THE TERRAIN + + Jagged bolts of lightning flash across the sky, but bring, no rain, and + thunder claps sound like heavy artillery. (Gray Area) + +45- OUT +58 + + QUICK DISSOLVE TO: + +59 ANOTHER PART OF THE CANYON (OCHRE DUNES AREA) - GROUP + SHOT - DAY + + Several huge boulders are dislodged, and the three astronauts run. + wildly to escape the falling rocks. When the avalanche ends, they + sprawl on the lifeless sands, breathing heavily and drenched with + sweat, surrounded by enormous boulders. Taylor looks about him. + + TAYLOR + Everybody all right? + + Murmurs of assent from Dodge and Landon. Taylor rummages through a + limp rucksack, comes up with some empty food cartons,rummages again, + coming up with a cigar butt. + + TAYLOR + Water check. + + Dodge takes a plastic canteen from another rucksack and inspects it. + + DODGE + Eight ounces. + + Dodge lies back and looks up at the sky. + + DODGE + It doesn't add up. There's a mantle of + dust around this planet and yet it's + as humid as a jungle. Thunder and + lightning and yet no rain. Cloud cover + every night and that strange luminosity, + and yet no moon. + + Landon also looks up at the sky. + + LANDON + If only we could get a fix. + + TAYLOR + (needling him) + What would you learn? I've told you + where you are and when you are. + + DODGE + (gently) + Taylor -- quit riding him. + + TAYLOR + (harshly, to Landon) + You're more than three hundred light + years from your precious planet. Your + loved ones have been dead and forgotten + for twenty centuries. Even if you could + get back, they'd think you were + something that fell out of a tree. + + LANDON + (wearily) + All right -- + + TAYLOR + There's only one reality left. We're + here and it's now. You get ahold of that + and hang on tight, or you might as well + be dead. + + LANDON + (quietly) + I'm prepared to die. + + Taylor turns to Dodge, throws up his hands. + + TAYLOR + He's prepared to die! Doesn't that make + you misty? Chalk up another victory for + the human spirit! + + Dodge rises and moves off, o.s., either embarrassed by this colloquy + or unwilling to hear it again. Taylor, cigar clamped between his + teeth, spins toward Landon. + + TAYLOR + Straighten me out on something. Why did + you come along at all? You volunteered. + Why? + (a beat; no answer) + I'll tell you. They nominated you for the + Big One and you couldn't turn it down. Not + without losing your All-American standing + + LANDON + (hard) + Climb off me, will you! + + TAYLOR + And the glory, don't forget that. There's + a life-sized bronze statue of you somewhere. + It's probably turned green by now, and nobody + can read the name plate. But never let it be + said we forget our heroes. + + LANDON + Taylor. I'm telling you -- + + TAYLOR + Oh, and one last item. Immortality. + You wanted to go on forever. + (pause) + Well, you damn near made it. Except for + Dodge and me, you've lived longer than + anybody. And with Stewart dead, it looks + like we're the last of the strain. You got + what you wanted, kid. How does it taste? + + Silence. Taylor lies down, spent of his venom, pillowing + his head on a rucksack. + + LANDON + (softly) + Okay. You read me well enough. + Why can't I read you? + + TAYLOR + Don't bother + + LANDON + (looking off) + Dodge ... he's not like me at all. But + he makes sense. Held walk naked into a + live volcano if he thought he could learn + something no other man knew. I understand + why he's here. But you...You're no seeker. + You're negative. + + TAYLOR + But I'm not prepared to die. + + LANDON + (heatedly) + I'd like to know why not. You thought + life on Earth was meaningless. You despised + people. So what did you do? You ran away. + + Taylor's eyes are closed. He is silent for a moment. When he speaks, + his tone is soft, reflective. + + TAYLOR + No, not quite, Landon. I'm a bit of a + seeker myself. But my dreams are a lot + emptier than yours. + (pause) + I can't get rid of the idea that somewhere + in the Universe there must be a creature + superior to man. + +60 ANOTHER ANGLE - FEATURING DODGE + + who has been wandering around, studying the boulders and the barren + soil. Taylor and Landon can be seen in b.g. Dodge spots something and + squats down to examine it. + +61 CLOSEUP - WHAT DODGE SEES: + + It is a tiny desert flower, no more than an inch high. + +62 CLOSEUP - DODGE + + His eyes light up as he calls: + + DODGE + Taylor! Over here! + +63 CLOSE. GROUP SHOT - ANGLING DOWN + + as Taylor and Landon hurry over and kneel down on either side of Dodge. + The astronauts hover over the tiny flower like three magi perceiving + the infant Deliverer. + + DODGE + Life. + + He digs gently around the roots of the plant with a small instrument. + + DODGE + Where there's one there's another. And + another. And another. + + TAYLOR + Let's find them all. + +63-A SUNSET SHOT + +64 END OF THE TREK AS THE ASTRONAUTS START FROM THE CANYON + TO THE TAMARISK AREA + + Absolute desolation (Ochre Area). The astronauts start down + the canyon. + +65 ASTRONAUTS CAST HUGE SHADOWS + + As they move across the terrain (top of Crazy Canyon). + +65-A JUMP SHOT + + As they jump across a gap. Thunder and lightning again (top of + Crazy Canyon). + +65-B THEY MOVE DOWN + + They march across Crazy Canyon overlook. + +65-C REACTION SHOTS OF ASTRONAUTS + +66- +A-R SERIES OF SHOTS OF DESCENT OF ASTRONAUTS DOWN SHEER FACE OF A CANYON + (Wire Grass Canyon). + + For a brief moment several "creatures" appear. We cannot identify the + species. + + QUICK DISSOLVE T0: + +67 EXT. A DRY WASH - CLOSE GROUP SHOT - DAY + + Blooming tamarisks border a. dry stream bed. Taylor and Landon hover + over Dodge, who is probing the soil with his drill. Their dungarees and + faces are caked with dust. + + DODGE + It's a stream bed., no doubt about + it -- but bone dry. + + Landon strightens up and looks off, startled by something he sees. + + LANDON + Look. . . + +68 LONG SHOT - A CLIFF BEYOND THE TAMARISKS + + with the astronauts in f.g. In the distance, on the skyline, we can + make out a long row of wooden crosses. Some animal or vegetable matter + appears to be tied to the crosses. + + LANDON + Scarecrows? + + TAYLOR + Let's take a look. + + Taylor plunges into the thicket of tamarisks, followed by Dodge and + Landon. Their view of the cliff is momentarily obscured. CAMERA HOLDS + on the distant crosses. For an instant only, three "creatures" again + appear on the skyline near the crosses. Then they vanish. + +69 REVERSE ANGLE - THE ASTRONAUTS + + as they emerge from the tamarisk thicket-nearer to the base of the- + cliff. They halt and look up at: + +70 THE CROSSES - ANGLING UP - FROM ASTRONAUT'S P.O.V. + + We can now see the pelts of unrecognizable animals have been bound to + the crosses and, thus mounted in a long row, seem to make a boundary + or serve as a warning. The living bipeds are no longer visible. + +71 BACK TO THE ASTRONAUTS + + Dodge and Landon are still looking up at the strange crosses, but + Taylor is scanning the terrain at the base of the cliff. The sound of + rushing water can be heard. + + TAYLOR + (half to himself) + Never mind the scarecrows. + + He breaks into a run, CAMERA PANNING with him as he moves toward a + declivity in the face of the cliff. + +72 MOVING SHOT - DODGE AND LANDON + + Agonized with thirst, they follow Taylor. + +73 FLASH SHOT - THE TOP OF THE CLIFF + + For an instant we see the bipeds again, moving in the same direction. + +74 EXT. A DECLIVITY IN THE CLIFF - FEATURING TAYLOR + + He scrambles up a rock-strewn gorge and looks off at the terrain + beyond. + +75 EXT. A WATERFALL - FROM TAYLOR'S P.O.V. + + The cascade is not spectacular, but the vegetation around it is + startlingly lush. (This location is not at Lake Powell, but at the + Ranch). + +76 CLOSEUP - TAYLOR + + His parched lips break into a smile. + + QUICK DISSOLVE TO: + +77 EXT. WATERFALL AND POOL - FULL SHOT - DAY + + The cascade has formed a cool and inviting pool. Thick foliage grows to + its very edge. Dodge is on his hands and knees, testing the liquid with + his kit. The others wait expectantly. + + DODGE + It's loaded with minerals, but safe. + + Without further ado Landon ducks his face into the pool. Dodge scoops + up water in his hands and drinks. Taylor follows suit. + + LANDON + (coming up for air) + Can we take a dip? + + TAYLOR + (looks around) + Okay. + + Landon and Dodge immediately remove their boots, strip down and plunge + into the pool. But Taylor does not yet disrobe. Alert and curious, he + strolls along the bank of the pool, looking around. + +78 DODGE AND LANDON SWIMMNG + +79 TAYLOR + + as he briefly looks around, then starts taking off his shirt. + +80 DODGE AND LANDON + + as they arrive at opposite shore. + +81 MED . SHOT - FAR SIDE OF POOL + + as Landon sees something on shore. + +82 TAYLOR IN WATER + + as he swims across. + + LANDON'S VOICE + (o.s.) + Hey, Taylor! Look at this -- + + Dodge and Taylor climb out of the pool and squat beside Landon. + +83 CLOSE SHOT - WHAT THEY SEE: + + The print of a large five-toad foot is clearly visible in the wet sand. + +84 GROUP SHOT - THE THREE ASTRONAUTS + + Taylor rises and walks slowly toward the underbrush, scanning the + ground for other sports. + + CUT TO: + +85 THE OTHER SIDE OF THE POOL - FULL PANNING SHOT + + Our view of the astronauts beyond the cascade in b.g. is partially + obscured by broad-leafed foliage directly in front of CAMERA, which + PANS SLOWLY away from the waterfall and HOLDS on the astronauts' + clothing at the edge of the pool. Suddenly and inexplicably a pair of + dungarees slithers away into the underbrush. A few seconds pass. Now a + pair of bronzed and brawny shoulders fill the SCREEN, blocking our + view. + +86 REVERSE ANGLE - CLOSE ON A HUMAN FACE IN HEAVY FOLIAGE + + Or is it human? The hair is matted, the face bearded, the jaw + prognathous, the orbital rim prominent. + +87 ANOTHER ANGLE - AT EDGE OF POOL + + A brown thick-fingered hand appears from behind heavy foliage and + plucks at a boot. The boot vanishes. + +88 BACK TO THE ASTRONAUTS - ON OTHER SIDE OF POOL + + Dodge is standing near Taylor and looking back at the spot where they + left their clothing. Suddenly he seizes Taylor's arm and points + silently at the far bank of the pool. + +89 WHAT THEY SEE: + + Another pair of dungarees slithers into the underbrush and disappears. + +90 REVERSE ANGLE - FULL PANNING SHOT - THE ASTRONAUTS + + Led by Taylor, they dive back into the pool and swim to the other bank. + Emerging from the water, they look around in bewilderment. Taylor makes + hand signals to indicate absolute silence and a reconnaissance. The + three astronauts fan out and move cautiously into the jungle (or rain + forest). + +91- +93 EXT. - JUNGLE (OR RAIN FOREST) - SEVERAL SHOTS - MOVING WITH THE + ASTRONAUT'S + + Little sunlight penetrates this dense vegetation. These SHOTS are + INTERCUT with: + +94 WHAT THE ASTRONAUTS SEE: + + fleeting forms as yet unidentified; trembling foliage; brown shadows + against a green backdrop. + +95 EXT. A SMALL CLEARING - FAVORING THE THREE ASTRONAUTS + + who stop at the edge of the clearing, startled by + +96 WHAT THEY SEE: + + a number of primitive bipeds, male and female, scarcely visible behind + trees and bushes on the other side of the clearing -- here a face, + there a portion of a head and torso. Throughout this sequence, the + primitives are never seen clearly or at close range. + +97 BACK TO THE AST40IONAUTS + + reacting. They speak in whispers. + + LANDON + My God..they look almost human. + + DODGE + They -- there's a herd of them. + + TAYLOR + Show them we're friendly. + + CAMERA PULLS BACK as Taylor advances a few steps into the clearing, + extending his empty hands and beaming like a politician. + + TAYLOR + (warmly) + Greetings! + +98 REVERSE - THE STRANGE CREATURES - FROM TAYLOR'S P.O.V. + + There are perhaps a dozen of them. They shrink back as Taylor advances + -- hostile, frightened or both. We now see that some of them are + clutching articles of the astronauts' clothing and equipment. Taylor + stops, stares at them glumly. + + TAYLOR + No cigar. + + LANDON + Try telling them our names. + + Taylor grimaces at Landon. + + TAYLOR + Well, if we're looking for an icebreaker... + (turning to the creatures) + Listen, folks ..... + + More shrinking back by the frightened primitives. + + DODGE + (softly) + I'm afraid they aren't having any. + +99- OUT +102 + +103- A SERIES OF FLASH SHOTS - THE JUNGLE (OR RAIN FOREST): +105 + + A pistol goes off with a deafening crash, and the primitive creatures + scatter in panicky flight. After a while, quiet returns to the jungle. + +106 EXT. A JUNGLE PATH - THE ASTRONAUTS + + They examine the remnants of their clothing and equipment and start to + don whatever is able to be worn. Taylor puts on what remains of a + ripped pair of trousers; Dodge starts to improvise from the remnants of + the kit (it is a torn shelter half). Landon, like Taylor, has the + remains of his pants. + + DODGE + They didn't leave much did they? + + LANDON + Shall we follow them? + + TAYLOR + Haven't much choice. + + As they walk off down the jungle path. + + DISSOLVE TO: + +107 EXT. A GROVE OF FRUIT TREES - ESTABLISHING SHOT - DAY + + This need not be a cultivated grove. A few trees (peach or apricot or + avocado, it matters not) grow wild in a pleasant glade. Nor is the + grove extensive. The three astronauts sit under a tree in f.g.; the + primitives sit under a clump, of trees some fifty yards away. Each camp + is feeding and warily watching the other. In the distance beyond the + fruit trees is an open grassy plain or cultivated field. + +108 THE PRIMITIVES - FROM LANDON'S P.O.V. + + They too are sitting under trees, munching fruit. There are no more + than a dozen altogether. + +109 BACK TO ASTRONAUTS - CLOSE GROUP SHOT + + TAYLOR + Well, at least they haven't + tried to bite us. + + DODGE + Blessed are the vegetarians. + +110 THE OTHER CAMP - FEATURING A YOUNG WOMAN + + Squatting on her haunches, eating fruit, gazing back at Taylor. Her + hair is long and black, her skin nut brown, her face hauntingly lovely + and hauntingly stupid. This is NOVA. + +111 BACK TO ASTRONAUTS + + Landon looks o.s. at the primitives. + + LANDON + We got off at the wrong stop. + + TAYLOR + You're our optimist Look at the bright + side. If that's the best there is + around here, in six months we'll be + running this planet. + + DODGE + (suddenly) + Look... + +112 THE PRIMITIVES - THEIR P.O.V. + + They appear to be agitated although neither we nor the astronauts + have yet heard or seen any cause for alarm. The primitives get to + their feet, sniffing, listening + +113 CLOSE GROUP SHOT - THE ASTRONAUTS + + Puzzled and alarmed by the primitives' behavior, they too get to + their feet. + + LANDON + Think they'll attack us? + + Taylor turns, looks back at: + +114 THE DISTANT JUNGLE (OR FOREST) + + From which they recently emerged. There is no sign of life. + +115 LONG PANNING SHOT - THE PRIMITIVES + + They suddenly run laterally across the grove, heading back toward + their jungle. A rumble becomes audible it is the SOUND of HOOFBEATS. + +116 VERY LONG SHOT - THE JUNGLE (OR FOREST) + + Twelve "horsemen" suddenly emerge from the trees, riding abreast at a + canter, like a squadron of cavalry about to charge. The horses look + huge. So do the riders, but at this distance we cannot identify them. + +117 LONG PANNING SHOT - THE PRIMITIVES + + Cut off from their natural habitat, they reverse direction and flee + toward the tall grasses of the savanna (or cultivated field). + +118 LONG SHOT - THE RIDERS + + With an exultant battle cry they break into a gallop. The hunt is on. + +119 CLOSE GROUP SHOT - THE THREE ASTRONAUTS + + Stupefied, frozen in place. + +120 LONG SHOT - THE RIDERS + + Coming closer. We HEAR a rifle shot, then a flurry of shots. + +121 MED. SHOT. + + A bullet spanks into the fruit trees above their heads. They run, + CAMERA PANNING with them as they race toward the tall grass in deep + b.g. + +122- A SERIES OF FLASH SHOTS - THE HUNT IN THE SAVANNA +124 + As the "horsemen" close in on the creatures fleeing on foot. + +125 MED. CLOSE SHOT - A RIDER + + He reins in, raises his rifle and fires. For the first time, we se that + he is a GORILLA. He wears a simple quasi-military uniform -- tunic, + trousers and boots. + +126 FLASH SHOT - DODGE + + Running through the high grass. He is shot in the back and falls. + +127 FLASH SHOT - TAYLOR + + He drops at the side of his fallen comrade. + +128 CLOSE TWO SHOT - ANGLING DOWN ON DODGE + + As Taylor rolls him over. Dodge is dead. + +129 WIDER ANGLE SHOT - THE SAVANNA - FEATURING A LINE OF BEATERS + + The beaters are all GORILLAS. They carry long sticks and nets, and + their task is to flush out the terrified primitives cowering in the + tall grass. + +130- A SERIES OF SHOTS - THE HUNTERS AND THE HUNTED: +135 + (a) Landon flees from one rider only to be cut off by another. + He stumbles and a rearing stallion tramples him. + + (b) A third mounted gorilla flings a net over a running female. + She is hopelessly entangled. This is Nova. + + (c) Landon lies unconscious on the grassy plain, an ugly gash + on his forehead. + + (d) Taylor crawls through the tall grass on his hands and knees. + A rider crosses his path without seeing him. + + (e) The beaters close in on Taylor, blocking his escape route. + + (f) Taylor changes direction and decides to run for it. + +136 EXT, SAVANNA - PANNING WITH TAYLOR + + Bent low, he flees through the tall grass. A SHOT rings out. Taylor + falls. + +137 CLOSE ON TAYLOR + + Lying on his back. His fingers go to his throat. Blood appears between + his fingers. He opens his mouth in pain, but no sound comes forth, as + Taylor sinks into unconsciousness. + + DISSOLVE TO: + +138 EXT. GROVE - FULL SHOT - THE HUNTERS - DAY + + The hunting party has reassembled here beneath the fruit trees. Some of + the gorillas have dismounted; others are still on horseback. In the + middle distance is a crude horse-drawn wagon. The sides and top of the + wagon form a wire cage. Three captive males and one female are visible + within the cage. Dodge and Landon are nowhere to be seen. Two gorilla + porters enter scene, dragging a male human corpse by the ankles, as two + other bearers enter scene with a living burden on a long carrying pole. + Taylor dangles from the pole, held aloft by the bonds around his wrists + and ankles. CAMERA PANS with the two gorillas as they dump Taylor into + the wagon and close the tail gate. + +139- OUT +140 + +141 CLOSE ON TAYLOR - WITHIN WAGON CAGE + + His throat is smeared with blood. His eyelids flutter as he regains + consciousness. + +142 CLOSE SHOT - WHAT TAYLOR SEES: + + Three primitive males bound hand and foot. They seem docile in + captivity. The female, Nova, clasps bound wrists around her bound + ankles and gazes blankly at Taylor. There is a JOLT of MOVEMENT as the + wagon gets underway + +143 CLOSE ON TAYLOR + + With a great effort he raises himself on one elbow and looks out from + the cage. + +144 TRUCKING WITH THE WAGON - WHAT TAYLOR SEES: + + A gorilla hunter stands over a dead man, one foot planted he chest of + his kill and his rifle butt resting on the on abdomen. Facing him is + another gorilla with an old-fashioned camera on a tripod. + + APE PHOTOGRAPHER + Smile. + + The hunter bares his teeth. + +145 CLOSE ON TAYLOR + + He faints. + + FADE OUT + + FADE IN + +146 INT. A SURGERY - ANGLING DOWN ON TWO OPERATING TABLES NIGHT + + The surgery is dimly-lit. (If possible we should be unaware of the + source of illumination.) Taylor lies strapped to the nearer table. He + appears to be unconscious. The young female captive, Nova, is strapped + to the table beside him. She is conscious. Taylor is receiving a direct + blood transfusion from her. + + Hovering over Taylor are a NURSE and a surgeon named GALEN. Both are + chimpanzees. Galen wears a bloody surgical apron, the nurse a white + smock. Galen is removing a filthy bandage from Taylor's neck. A door + behind them opens and DR. ZIRA, an animal psychologist, enters. She, + too, is a chimpanzee and wears a smock like the nurse's. + + ZIRA + Which one was wearing the strange + clothes? + + GALEN + Him. + + Zira looks down at Taylor. + + ZIRA + Will he live? + + GALEN + (irritably) + I don't know. This beast lost a lot + of blood. + + Galen paws through a tray of surgical instruments. The equipment is + obsolescent and the room untidy -- like that of a callous small-town + veterinarian. + + GALEN + (to Nurse ) + There's no probe here. Find one! + + NURSE + Yes, sir. + + She exits. Zira runs a forefinger across a dusty table.Her voice is + soft and well-modulated. + + ZIRA + This place is dirty, doctor. + + GALEN + (defensively) + These animals are dirty, doctor. They + stink, and they carry communicable + diseases. Why aren't they cleaned up + before they're brought here? + +147 CLOSE TWO SHOT - TAYLOR AND NOVA + + His eyes come open. Over this we hear: + + ZIRA'S VOICE + (o.s.) + You don't sound happy in your work. + + GALEN'S VOICE + (o.s.) + I'm nothing more than a vet in this + laboratory... + + Taylor feebly turns his head and looks at Nova. She returns his gaze + with an unchanged empty stare. We sense that Taylor realizes her blood + is flowing into his veins. Over this we hear: + + GALEN'S VOICE + (o.s.) + You promised to speak to Dr. Zaius + about me. + + ZIRA'S VOICE + (o.s.) + I did. But you know how he looks down + his nose at chimpanzees. + + Taylor rolls his eyes toward the apes. Weak as he is,we see his + astonishment at hearing them talk. + +148 BACK TO GROUP AROUND OPERATING TABLE + + as the Nurse reenters with a probe and hands it to Dr. Galen, who + protests to Zira: + + GALEN + But the quota system's been abolished! + You made it. Why can't I? + + ZIRA + What do you mean, made it? I'm an + animal psychologist, that's all. We + don't have any authority. + + GALEN + You do pretty well when it comes to + getting space and equipment. + + ZIRA + That's because Dr. Zaius realizes our + work has value. + + GALEN + Hmph. + + ZIRA + The foundations of scientific brain + surgery are being laid right here - + in studies of cerebral function in + these animals. + + GALEN + They're still dirty. And their bite is + septic. Look at that ... + + He shows Zira infected teeth marks on the back of his left hand. + + GALEN + (to Nurse) + Hold his head. + + The Nurse complies, gripping Taylor's skull with both hands. Galen + leans down and begins to probe the throat wound. Taylor passes out. + + DISSOLVE TO: + +149 INT. A ROW OF CAGES - ANIMAL LABORATORY - TRACKING SHOT DAY + + The cages are no larger than small jail cells. There are four of them. + Bars, not walls, divide the cages, so that all four are visible. Each + of the first three cages is occupied by a primitive male. At the moment + the first two are quiet -- dozing or scratching apathetically. The + third occupant is stolidly regarding a half-dozen brightly colored + hollow wooden boxes, or blocks, Of varying sizes and proportions on the + floor of his cage. He is trying to stack the boxes in such a way as to + reach a banana dangling from a cord twelve feet overhead. He has + correctly selected the first two large, sturdy blocks for his tower + under the banana -- but the tall third block is too unstable on its + small base to support the broad-based fourth block. + +149-A CLOSE - TAYLOR + + Taylor, Looking much stronger, sits on a pile of dirty straw in the + fourth cage. There is a clean bandage around his throat. He watches the + block-building primitive with contemptous amusement. + + Both the third and fourth blocks tumble to the floor when the primitive + tries to mount his tower. He stands there, staring dully at the + scattered blocks, then up at the unattainable banana. + +149-B MED. - THE LABORATORY + + A door at the end of the aisle opens and a gorilla named JULIUS enters, + dressed in a keeper's uniform. He quickly closes the door, snatches up + a broom, starts sweeping. Julius is obviously late for work. Taylor + struggles to his feet, moves to the bars of the cage, tries to call + out. + + TAYLOR + (soundlessly) + Hey! Hey! + + The three other primitives move toward the bars of their cages. Julius + barks at them. + + JULIUS + Simmer down! + (points at Taylor) + You especially. + + The third primitive goes back to stacking his blocks. Julius comes up + to Taylor's cage, indicates a like set of blocks strewn across its + floor, extends his broom handle to whack the banana overhead. + + JULIUS + Better give it a try, stupid. Unless + you like going hungry. + + He returns to his sweeping. Taylor glowers at him. A moment later, the + door at the end of the aisle opens and Dr. Zira enters. + + JULIUS + Good morning, Dr. Zira. + + ZIRA + Good morning, Julius. How's our patient + today? + + JULIUS + No change. The minute you open the door, + he goes into his act. + + She starts down the aisle toward Taylor's cage. He grasps the bars, + awaiting her anxiously. As she passes the second cage, the primitive in + it shakes the bars, jumps up and down. His tongue is hanging out. Zira + smiles, stops, digs into the pocket of her smock. + + ZIRA + (playfully) + Well, what do we want this morning? Do + we want something? Speak! Come on, speak! + + The primitive continues to jump up and down energetically. Zira takes a + cube of sugar from her pocket, holds it up for his inspection. + + ZIRA + Do we want some sugar, old-timer? + + The man eagerly sticks his hand through the bars. She drops the cube in + his hands. He jams it into his mouth. + + JULIUS + (concerned) + You could get hurt doing that, Doctor. + + ZIRA + Don't be silly. He's perfectly tame. + + She moves toward Taylor's cage, Julius behind her. + + JULIUS + They're all tame until they take a + chunk out of you. + +150 CLOSE SHOT - FEATURING TAYLOR - ZIRA AND JULIUS + + Taylor starts to open his mouth as Zira comes up to the bars. + + ZIRA + Well, Bright Eyes, is our throat + feeling better? + + TAYLOR + (frantic mouthing) + Listen, listen -- I can speak -- + + He winces, puts his hand to the bandage. + + ZIRA + (sympathetically) + Awww, it still hurts, doesn't it? + + JULIUS + See? He keeps pretending he can + talk. + + Taylor glares at Julius, slams the bars. + + TAYLOR + (mouthing) + I'm not pretending! I can talk! + + Zira hurriedly takes a pen and notebook from the breast Docket of her + smock, starts to scribble. + + ZIRA + (excitedly) + Did you see that? It's remarkable! + + JULIUS + Huh? + + ZIRA + He's trying to form words. + + JULIUS + Well, you know what they say. + Human see, human do. + + Taylor is staring in silent fascination at the open and notebook.He + stops mouthing, points at them. + + JULIUS + Now what? + + Taylor gestures for Zira to come closer to the bars. + + ZIRA + He seems to want something. + + She advances tentatively toward the cage. + + JULIUS + I'd be careful, doctor. + + Taylor suddenly reaches through the bars, tries to snatch the pen and + notebook from Zira. Julius instantly jabs his broom handle through the + bars, hitting Taylor in the ribs. + + JULIUS + What did I tell you! + (to Taylor) + Try that again, I'll break your arm! + + Zira draws back, looking at Taylor in surprise. + +151 CLOSER - TAYLOR + + His face is twisted in frustration. + + TAYLOR + (mouthing) + What's the matter with you? I can + talk! Can't you see that? + + Over this a door is heard opening o.s., and Julius' voice, nervous, + deferential: + + JULIUS' VOICE + (o.s.) + Good morning, Your Excellency. + + Taylor looks o.s. + +152- OUT +160 + +161 BOOM SHOT - THE THREE APES - FROM TAYLOR'S P.O.V. + + Julius and Zira cross to a stout, imposing orangutan who has just + entered the laboratory. Julius bows to him. This is DR. ZAIUS. Like the + other apes, he wears a simple tunic and trousers, but his garments are + of a Costlier material, and several decorations are woven into the sash + of his tunic. + + ZIRA + (bubbling) + Dr. Zaius, I'm so glad you could come. + He's over here. + + Zaius crosses with them to Taylor's cage. Beneath his austere manner, + we sense tension, worry. Zira looks up at Taylor, her tone an appeal. + + ZIRA + Bright Eyes, show him! Go ahead! + Do your trick! + + Taylor just glares at her. + + ZIRA + Speak! Go on. Speak again. + + TAYLOR + (silent mouthing) + My - name - isn't - Bright Eyes It's + Taylor! + + ZIRA + There! Can you believe it? I looks + like he's talking. + + ZAIUS + (evenly) + Yes, amusing. A man who acts like an ape. + + Taylor turns to Zaius. + + TAYLOR + (silent mouthing) + I'm not acting! I can talk! How much + proof do you want? + + ZIRA + (thunderstruck) + Dr. Zaius, I could have sworn he was + answering you! + + ZAIUS + (nodding, but unmoved) + He shows a definite gift for mimicry. + + Zira wiggles her fingers excitedly. + + ZIRA + I wonder how held score on a Hopkins + manual dexterity test? + + Zaius' voice is quiet, but there is steel in it. + + ZAIUS + An animal? + + JULIUS + Look! + + Taylor is frantically wiggling his fingers. + + ZIRA + He's moving his fingers! + + ZAIUS + Of course. He saw you moving yours. + + ZIRA + But perhaps he understood -- + +161-A CLOSE - TAYLOR + + He is pleading silently as Zaius' voice is heard over the SHOT. + + ZAIUS' VOICE + (o.s., hard) + Man has no understanding, Dr. Zira. + He can be taught a few simple tricks. + Nothing more. + + ZIRA'S VOICE + (o.s.) + I beg to disagree. According to my exper- + iments -- + +161-B CLOSE - ZAIUS + + A warning burns out of his eyes as he stares at Taylor. + + ZAIUS + A word to the wise, Dr. Zira. Experimental + brain surgery on these creatures is one + thing. I'm all for it. + +161-C CLOSER - TAYLOR + + Fear clouds his eyes. Abruptly, he stops moving his lips. + +161-D MED. THE GROUP + + Zaius sees the effect his words have had on Taylor. He turns to Zira, + goes on in a more detached tone. + + ZAIUS + But your behavioral studies are another matter entirely. To suggest + that we can learn something about simian nature from a study of man is + nonsense. Besides, men are a nuisance. They outgrow their own food + supply in the forest and migrate to our green belts and ravage our + crops. + (looking casually + at Taylor) + The sooner they're exterminated, the better. + + He turns toward the door. A disappointed Zira follows him. Zaius looks + back at Taylor just before going out. + + ZAIUS + It's a question of simian survival. + +161-E CLOSE - TAYLOR + + He stares after Zaius, than looks away, slumps to the floor. A pause, + then a VOICE is heard. + + APE GUARD + Is this the one you wanted, Doctor? + + ZIRA'S VOICE + (o.s.) + Yes, thank you. + (pause, her voice + much closer) + Bright Eyes? + + Taylor looks up. + + ZIRA'S VOICE + (o.s.) + I've got a present for you. + +161-F ANOTHER ANGLE - THE CAGE + + Standing outside the cage, held on a leash by an APE GUARD is Nova. + She looks at Taylor without expression. Zira gestures at JULIUS. + + ZIRA + Put her in with him. + + Julius unlocks the cage door-, leads Nova inside, removes her leash and + collar. Taylor has gotten to his feet. Julius goes out, locking the + door behind him. Nova hesitates, then slowly reaches out, takes + Taylor's hand. Zira beams at them. + +162- OUT +169 + + DISSOLVE TO: + +170 EXT.- EXERCISE YARD - ANIMAL COMPOUND - ESTABLISHING SHOT DAY + + It is nothing elaborate, A wire fence encloses a dirt yard. This + compound is situated on the outskirts of Apetown and the town is + visible in the distance. + + There are about a dozen adult human captives within the enclosure, no + more than a third of them females. Some of them trudge around the dusty + yard like convicts in a penitentiary. Others squat against the sun- + drenched wall. + + A big male suddenly runs to the fence and tries to climb it. Several + guides, armed with whips and torches, immediately close in on him. The + primitive recoils in fear from a fiery torch and rejoins the captives' + circle. + +171 CLOSER ANGLE - THE YARD - FEATURING TAYLOR + + He plods sullenly back and forth across the rear of the yard, + occasionally glancing off toward the approaches to the compound. Nova + is at his heels. He ignores her. Once again he looks off, stops + suddenly. Nova bumps into him. He turns, impatiently shoos her away, + then looks o.s., again. + +172 ZIRA AND COMPANION - TAYLOR'S P.O.V. + + Zira can be seen approaching with a young chimpanzee, DR. CORNELIUS. He + wears a simple smock over his tunic and trousers. Cornelius glances + surreptitiously around, covertly takes Zira's hand. + + CORNELIUS + Do you have to work tonight? + + ZIRA + No. + + CORNELIUS + Neither do I. + + He gives her a quick peck on the cheek. + +173 CLOSER - TAYLOR + + He drifts toward the fence, Nova behind him. + +174 MED. SHOT - ZIRA AND CORNELIUS + + They come up to the fence. Zira nods toward Taylor. + + ZIRA + That's Bright Eyes. The one I was telling + you about. + + CORNELIUS + What's so special about him? + + ZIRA + Watch. + (to Taylor) + Hello, Bright Eyes. How's our + throat today? + + Taylor stares at her impassively, then looks around to a that no guards + are watching, hunkers down, begins to scratch in the dust. Nova extends + unclean fingers to touch the bandage on his throat. Taylor flinches, + pushes her hand away. Nova touches a bluish bruise on the inside of her + own forearm, then searches for a similar bruise on Taylor's forearm. + + ZIRA + (excited) + Look -- she remembers. + + CORNELIUS + Remembers what? + + ZIRA + The blood transfusion. + + CORNELIUS + (peeved) + Zira, come on. You know they + can't -- + (he stops, looking off) + Oh oh. Here comes Number One. + + Taylor looks up and o.s., quickly rises. + +175 ANOTHER ANGLE - THE YARD - FEATURING DR. ZAIUS + + Who is approaching the two scientists from deep b.g. Zaius is followed + by a huge and much decorated gorilla Whom we recognize as the Leader of + the Hunt Club. + + ZIRA + (in a whisper, to + Cornelius) + Something's bothering him. He's + been prying around the lab for the last + two days ... + + ZIRA + (as Zaius comes + nearer) + Good morning, Dr. Zaius. You know Dr. + Cornelius, my fiance. + + Cornelius bows respectfully. Zaius is patronizingly polite. + + ZAIUS + Oh, yes -- the young ape with + a shovel. I hear you're planning + another archeological expedition. + +A-175 MED. SHOT - TAYLOR + + He has stepped back from the marks he made in the-dust, is watching + Zaius with concern. + + CORNELIUS' VOICE + (o.s.) + Yes, sir. If the academy agrees. + + ZAIUS' VOICE + (o.s.) + The project will require my support, of + course. + +176 MED. CLOSE SHOT - ANGLING DOWN ON TAYLOR AND NOVA + + A primitive male squats down to see what Taylor has marked on the + ground. In letters a foot high he has written: + + I CAN WRITE + + Nova, at once petulant and playful, erases the WRITE with a bare foot. + Taylor angrily flings her aside. This violence provokes the primitive + male, who snarls at Taylor and cuffs him. Over this we HEAR from a + distance: + + CORNELIUS' VOICE + (o.s.) + I hope I can count on it, sir. + + ZAIUS' VOICE + (o.s) + A friendly warning, Cornelius -- + when you're digging for artifacts, + don't bury your reputation. + + Taylor slugs the snarling male, who wades in, trying to bite him. + + A VOICE + (o.s.) + Guards! + +177 WIDER ANGLE - THE FIGHT + + Two gorilla guards rush in to break up the fight. One of them lashes + out with his whip. The other pokes his torch at Taylor. Its flame + brushes his arm. Taylor opens his mouth, gives a silent yell of pain, + shrinks back. Zira runs to the fence. + + ZIRA + (to guards) + Stop! You've hurt him! Take them inside! + + Prodding the malcreants with their torches, the two guards herd them + toward a doorway in the wall. Zira hurries around the side of the fence + and o.s. + +178 MED. SHOT - ZAIUS, CORNELIUS, HUNT CLUB LEADER + + ZAIUS + Cornelius, if you have a moment today, I'd + like to discuss this expedition of yours + in more detail. + + CORNELIUS + (eagerly) + Certainly, sir. I'll get my notes and come + right over. + + He exits hurriedly. The Hunt Club Leader turns to Zaius. + + HUNT CLUB LEADER + I don't understand these animal psychologists. + What's Dr. Zira trying to prove? + + ZAIUS + That man can be domesticated. + + The hunter guffaws. Zaius turns away and looks down at: + +179 THE DUST UNDERFOOT + + Just beyond the fence we can make out the letters: + + I CAN + + Zaius' extended foot appears beneath the bottom wire of the fence. The + foot wipes out the letters. + +180 CLOSEUP - ZAIUS + + His face is a mask. + +181 INT. TAYLOR'S CAGE - MED. SHOT - DAY + + He is slumped against the bars of the cell, gingerly touching a large, + reddening blotch on his arm. Julius watches him uncertainly from a few + yards away . In the b.g., the outside door opens and Zira rushes in, + hurries down the aisle. + + JULIUS + What happened? + + ZIRA + Those fools and their torches! Do you + have any ointment? + + JULIUS + I'll see. + + He moves to a cabinet at the other end of the laboratory, rummages + through some drawers. + +182 MED. SHOT - ZIRA - FROM TAYLOR'S P.O.V. + + Zira comes up to Taylor's cage, studies him solicitously. + + ZIRA + I'm sorry, Bright Eyes. + +183 ANOTHER ANGLE - TO INCLUDE TAYLOR + + He looks steadily at Zira, who is only an arm's length away. CAMERA + MOVES IN on them. Suddenly Taylor reaches out, snatching the pen and + notebook from the pocket of her smock. Zira leaps back with a cry. + Julius grabs a club, races up to the cage, unlocks the door. + + JULIUS + I told you what you'd get! + +184 WIDER ANGLE - TO INCLUDE THEM ALL + + Taylor is scribbling furiously on a sheet of note paper. The guard + moves in, his club upraised. + + ZIRA + (pleading) + Julius, don't. It doesn't matter. + + Julius swings his-club at Taylor's head. Taylor lifts his right arm to + ward off the blow, and the stick strikes him sharply on the hand. He + drops the pen and notebook. The guard swings again, driving Taylor to + the wall. Then Julius retrieves the stolen articles. + +185 ANOTHER ANGLE - FAVORING ZIRA + + The guard returns her pen and notebook with the comment: + + JULIUS + Natural born thieves, aren't they? + + Zira glances at the notebook. Her face clouds. + +186 INSERT - WHAT SHE READS: + + A hasty, almost illegible scrawl: + + MY NAME IS TAYLOR. + +187 CLOSEUP - ZIRA + + Her eyes afire with a wild surmise. + +188 TWO SHOT - ZIRA AND JULIUS + + Her eyes never leave Taylor as she tells the guard: + + ZIRA + Get me a collar and leash. I'm + taking him to the infirmary. + + JULIUS + He's vicious, Doctor. Besides, it's + against the rules. + + ZIRA + Do as I say. + + The guard shrugs and moves Off 0.3. Zira beckons to Taylor. He comes + forward to the bars of the cage. + + ZIRA + (sotto voce) + You wouldn't hurt me, would + you... Taylor? + +189 INT. DR. CORNELIUS' OFFICE - ESTABLISHING SHOT - DAY + + The office is simple, almost Spartan. There are books but no bric-a- + brac; several painted portraits of Great Apes but no tape recorder or + other modern office equipment. Taylor sits at a desk, scribbling + furiously on a sheet of paper. His leash has been removed, but not his + collar. Zira stands at his elbow. Cornelius paces nervously up and + down, reading a sheaf of notes Taylor has already written. + + CORNELIUS + (stubbornly) + It's a stunt. Humans don't write. + + ZIRA + Dear, you're a scientist. Don't + you believe your own eyes? + + CORNELIUS + (to Taylor) + Where did you learn to do this? + +190 ANOTHER ANGLE - THE OFFICE + + Taylor scribbles something on a small desk pad, rips off the page, + hands it to Cornelius. + + CORNELIUS + Jefferson Public School, Fort Wayne, + Indiana? + + He looks at Taylor narrowly. Taylor nods. + + CORNELIUS + (sardonically) + Back on that planet you say you came from? + (Taylor nods again) + Um-hm. + (to Zira) + He may be intelligent, but he's also mad. + + Taylor scribbles something else on the pad, hands it to Zira, points at + Cornelius. + + ZIRA + (reads aloud) + 'And you're a fool'. + + She smiles. Cornelius bristles. + + CORNELIUS + Now, just a minute -- + + ZIRA + Oh, Cornelius, be quiet. + + Taylor has resumed writing. He hands the sheet to Zira, who reads + aloud. + + ZIRA + 'Dodge was killed in the hunt. What + happened to Landon?' + (looking at Taylor) + I don't know. + + CORNELIUS + (scornfully) + And they fell out of the sky with you? + + Taylor writes quickly, hands the note to Zira. + + ZIRA + (reading) + 'Not fell -- flew!' + + Taylor impatiently begins to fold a sheet of paper. + + CORNELIUS + Flight is a scientific impossibility. + + ZIRA + And even if it weren't, why fly? + Where would it get you? + + Taylor points to the floor and mouths the word "Here." He flings the + paper plane he has just fashioned into the air. It describes a graceful + arc around the room and lands at the feet of Cornelius, who slowly + picks it up, then exchanges a long glance with Zira. + + CORNELIUS + (softly) + Well, now... + + Taylor scribbles on a piece of paper, hands it to Zira. + + ZIRA + (reading) + 'Do you have maps?' + + Cornelius puts the paper plane on his desk, crosses to a wall map + designed like a window shade. He pulls it down Taylor and Zira join him + at the map. + +191 CLOSE ON MAP + + It's not a map of the whole planet, of course, but only of that portion + known to the apes. Therefore it has the antique and fragmentary aspect + of a map drawn by some Babylonian cartographer. + + A swatch of blue at the right margin indicates a sea. In the southwest + quadrant are the "greenbelts" of the ape civilization, looking on the + map like jade stones strung on crescent-shaped necklace. Rubyidots in + the lade indicate ape communities. The northwest quadrant, colored + brown, is apparently uninhabited. East of the green belts is a patch of + green savanna, and next to it the darker green of a jungle. The eastern + quadrants are rendered in yellow, and except for a blue lake, appear to + be lifeless desert and barren mountain. This area is marked FORBIDDEN + ZONE. + + Using a pointer, Cornelius orients Taylor, indicating a red dot in the + middle of the green belt. + + CORNELIUS + We are here ... + (moving pointer) + You were captured about here. + + Taylor studies the map, then pointing at the lake in the eastern + desert, he goes into a brief charade, dramatizing the astronauts' + landing and trek. + + ZIRA + (interpreting his + movements) + You fell in the water here? ... you came + ashore ... you marched across the desert ... + the mountains ... many days and nights ... + and reached the jungle. + + Taylor nods, smiles gratefully. + + CORNELIUS + (flatly) + Out - of - the - question!. + + Taylor slams his fist against the wall in frustration. + + ZIRA + (annoyed) + Cornelius, why do you insist on + provoking him? + + CORNELIUS + (tapping map) + No creature can survive in that part of + the Forbidden Zone. I've been there. I've + seen it. + +192 WIDER ANGLE - THE THREESOME + + Taylor strides to the desk, writes something, hands it to Zira. + + ZIRA + (reading) + 'Then how do you account for me?, + + CORNELIUS + I don't. And I'm not going to try. + + ZIRA + But what about your theory? The existence + of someone like Taylor might prove it. + + CORNELIUS + (shushing her) + Zira, are you trying to get my head cut + off? + + ZIRA + Don't be foolish. If it's true, they'll + have to accept it. + + CORNELIUS + No, they won't - + + Taylor touches Zira on the arm, makes a gesture of inquiry. + + ZIRA + Cornelius has developed a brilliant + hypothesis - + + CORNELIUS + (quickly) + It's probably wrong -- + + ZIRA + -- that the ape evolved from a lower order + of primate, possibly man. In his trip to + the Forbidden Zone he discovered traces of a + culture older than recorded time - + + CORNELIUS + The evidence was very meager -- + + ZIRA + You didn't think so then. + + CORNELIUS + That was before Dr. Zaius and half the + Academy said the idea was heresy. + + ZIRA + How can scientific truth be heresy? What + if Taylor is exactly the proof you needed? + A mutation. A missing link between the + unevolved primate and the ape - + + Taylor bangs his fist on the desk, mouths the word "No!" scribbles + something on a piece of paper. + + CORNELIUS + He's touchy, isn't he? + + Taylor thrusts the sheet at Zira, who reads it aloud. + + ZIRA + 'I am not a missing link.' + + CORNELIUS + Because if he is a missing link, it means + the Sacred Scrolls aren't worth their + parchment. + + ZIRA + Well, maybe they're not. + + CORNELIUS + No, thank you'. I won't get into + that battle. + + ZIRA + Oh, Cornelius, show some strength! + + CORNELIUS + Zira, listen to me. We've got a fine + future ahead of us. Marriage. Stimulating + careers. I'm up for a raise -- + + At that moment there is a. loud RAP at the door o.s. All turn. + +193 REVERSE ANGLE - TO INCLUDE THE DOOR + + Dr. Zaius enters with another portly figure, DR. MAXIMUS. Like Zaius., + Maximus is an orangutan. + + CORNELIUS + (flustered) + Dr. Zaius -- + + ZAIUS + (not unkindly) + Did you forget our appointment, + Cornelius? + + CORNELIUS + Oh., no., sir. I was just assembling + my notes. + + ZAIUS + You know Dr. Maximus, our Commissioner + for Animal Affairs? + + CORNELIUS + Certainly, sir. It's a pleasure to see + you again. + + He hurries to his desk, starts gathering papers. Maximus notes Taylor + with distaste. + + MAXIMUS + What is that? + + ZIRA + A man, Dr. Maximus. + + MAXIMUS + I know it's a man. And you know the + rules. No animals outside the compound, + and most certainly not without a leash. + +194 ANOTHER ANGLE - THE OFFICE - FAVORING ZAIUS + + During the ensuing exchange, Zaius wanders idly through the office. He + glances at the scattered handwritten notes, but does not read them. + Meanwhile a rattled Zira replies to Maximus. + + ZIRA + Yes, Sir. But this -- creature + is a special case. + + MAXIMUS + Why special? + + ZIRA + We're -- conducting a new experiment. + + ZAIUS + Wouldn't it more properly be done in + your office? + + ZIRA + Yes, Sir. + + MAXIMUS + (calling) + Guards? + + The gorilla GUARDS enter from outside. + + MAXIMUS + Return this beast to the compound. + +195 ANOTHER ANGLE - FAVORING TAYLOR + + He regards the apes with hostility as they cross to him. One picks up + his leash. Over THE SHOT we hear: + + ZAIUS' VOICE + (o.s.) + What's this? + +196 REVERSE ANGLE - FEATURING ZAIUS + + Zira stiffens, looking at Zaius. He is holding the paper plane + fashioned by Taylor. + + ZIRA + A toy. It floats on the air. + (faint defiance) + Try it. + + CORNELIUS + (a warning) + Zira.... + + Zaius looks down at the paper plane in his hand, then back to Zira. He + smiles tolerantly. + + ZAIUS + Nonsense. + + He crumples the paper plane into a b all., drops it on the desk. The + ape hooks the leash to Taylor's collar, starts leading him out. Zira + follows them. + + DISSOLVE TO: + +197 INT. CAGES - ANIMAL COMPOUND - FULL SHOT - DAY + + The caged primitives are asleep. Julius, the keeper, dozes in a chair + outside Taylor's cage. CAMERA PIVOTS MOVING IN ON Taylor, who is lying + on his side, also asleep. Nova is curled up behind him. At the sound of + a door opening, she comes instantly awake, sitting up and clutching + Taylor's arm. He comes groggily awake, raising his head in time to + hear: + + JULIUS' VOICE + (o.s.) + What's up, Lieutenant? + +198 REVERSE ANGLE - WHAT TAYLOR SEES: + + TWO GORILLA OFFICERS have just entered the compound. They wear side + arms. Julius has just risen from his chair. + + APE LIEUTENANT + We're taking Number Four over to surgery + in five minutes. Have him ready. + + JULIUS + How come? The beast's throat is nearly + healed. + + LIEUTENANT + (snickering) + It's not his throat this time. The vet's + going to geld him. + +199 CLOSEUP - TAYLOR + + He stiffens but does not move. The apes, of course, speak freely in + front of him, believing the animal cannot understand. + + JULIUS' VOICE + (o.s.) + Dr. Zira won't like it. She wants this + pair to mate. + +200 BACK TO THE APES - FROM TAYLOR'S P.O.V. + + As the Lieutenant replies: + + LIEUTENANT + These orders came from Dr. Zaius himself. + There's nothing she can do about it. + + The two gorillas exit. The guard crosses to a wall peg for a collar and + 'Leash. + +201 CLOSE TWO SHOT - TAYLOR AND NOVA + + Pushing Nova aside, Taylor rises. + +202 MED. SHOT - THE CAGE + + As Julius unlocks the door and cautiously approaches Taylor, carrying + the collar and leash. + + JULIUS + (murmuring) + If only you knew, Bright Eyes, what + they're going to do ... + (raising collar) + Stand still now...don't give me any + trouble. + + The heel of Taylor's right palm crashes into the keeper's, chin, nearly + snapping his neck. Julius falls unconscious. Taylor leans over him, + taking his night stick and a set of keys on his belt. + +203 REVERSE ANGLE - TO INCLUDE NOVA AND MALE IN ADJACENT CAGE + + The male has awakened. He stares stupidly at Taylor. Nova is + whimpering, little strange cries of fear. Taylor moves o.s. + +204 ANOTHER ANGLE - PANNING WITH TAYLOR + + He leaves the cage, moves swiftly to the nearby door and exits. + +205 INT. A DARK CORRIDOR - FULL SHOT - DAY + + Barefoot, Taylor silently pads down the corridor to a locked door. + +206 CLOSE ON A DOOR + + Which is visible because of a beam of sunlight from the half-open door + of a guard room. We HEAR a murmur of ape voices and LAUGHTER. Taylor + fumbles with the keys, finds one that fits the lock and opens the door. + +207 EXT. ANIMAL COMPOUND - MED. SHOT - TAYLOR - DAY + + He emerges, quietly locking the door behind him. Two tethered horses + can be seen in deep b.g., and another gust of LAUGHTER can be heard + from the nearby guard room. Taylor looks off. + +208 LONG SHOT - WHAT TAYLOR SEES: + + As already established, the animal compound is situated on the + outskirts of the apes' community. The strange skyline of the town can + be seen in the distance. + +209 PANNING WITH TAYLOR + + He starts to cross an open field outside the compound. At that moment + we HEAR a shrill police WHISTLE from the guard room. Taylor breaks into + a run. + +210 REVERSE ANGLE - THE COMPOUND + + As the two gorilla officers emerge from the building and run toward + their horses. + +211 EXT. A DIRT ROAD - LONG SHOT - TAYLOR + + He runs down the road, starts across the long causeway that bisects a + small lake, looking over his shoulder. + + QUICK DISSOLVE TO: + +212 EXT. APETOWN - LONG ESTABLISHING SHOT - DAY + + The community we sue at the end of the causeway is small and arcane. + There are no power lines, no street lamps -- indeed, no streets as + such, but only a small cluster of buildings around a pleasant mall. The + architecture of the buildings is faintly derivative of the simpler and + less rococo work of Antonio Gaudi -- columns and pillars of brick or + exterior masonry look like the trunks and branches of great trees and + suggest an arboreal past. + + A small number of apes are visible on the mall: + + Taylor darts behind the buttress of a building, casing the situation. + He looks back at: + +213 EXT. LAKE AND CAUSEWAY - LONG SHOT - MORNING + + The two mounted gorilla-police can be seen on the causeway, galloping + straight toward CAMERA. It is evident they will soon spot Taylor. + +214 BACK TO TAYLOR - CLOSE SHOT + + He retreats from the buttress to a dark archway and vanishes inside the + building. + +215 INT. A DARK VESTIBULE - MOVING WITH TAYLOR + + The vestibule is nothing, no set required, a dark space through which + Taylor moves toward a shaft of light. We HEAR faintly the discordant + chords of an organ. Or is it an organ? At any rate,a strange and + melancholy tune. Taylor arrives at a font. + +216 INT. A TEMPLE - PANNING WITH TAYLOR + + He appears out of darkness into half-light. The rear of the temple is + obscure. Taylor darts behind a screen. Crouching there, he observes: + +217 A FUNERAL CEREMONY IN THE TEMPLE - MED. LONG SHOT + + The temple itself is small and austere. There is no altar, but against + a plain backdrop we see a statue of the Lawgiver, a Great Ape holding a + book. Below the Lawgiver is an ORANGUTAN MINISTER clothed in black + robes. He stands in front of a closed coffin. A dozen mourners, seated + on comfortable wicker chairs, form a semi-circle around the coffin. The + ape ladies wear cowls. + + MINISTER + Weep if you must, but make an end of + sorrow. He lives again. Yes, he has + found peace in Heaven. + +218 CLOSEUP - TAYLOR + + Crouching, listening, wide-eyed. + + MINISTER'S VOICE + (o.s.) + He was a model for us all, a gorilla to + remember; hunter, warrior, defender of + the Faith. + +219 BACK TO FUNERAL CEREMONY - FROM TAYLOR'S P.O.V. + + As the minister continues his eulogy, a small ape boy detaches himself + (as children will) from the group of mourners and comes marching up the + aisle toward the rear of the temple. + + MINISTER + Cherished husband, beloved father, + generous master -- yes, he was a font + of simian kindness. + +220 REVERSE ANGLE - SHOOTING AT TAYLOR + + Who is still crouching behind the screen in deep b.g. The small fry is + coming closer. Over this we hear: + + MINISTER'S VOICE + (o.s.) + The dear departed once said to me: + 'I never met an ape I didn't like'... + + The small fry spots Taylor. + + CHILD + (shrill soprano) + Look!. It's a man! + + The mourners' heads turn. Taylor slinks toward the vestibule. + +221 ANOTHER ANGLE - FEATURING THE MINISTER + + He is aghast. + + MINISTER + In Heaven's name ... + (aside to ushers) + Get rid of that creature. + + Two ushers rise, moving past CAMERA and o.s. + +222 EXT. TEMPLE - CLOSE ON VESTIBULE DOOR + + Staying close on the temple wall, Taylor moves stealthily away from the + vestibule door. The two ape ushers appear. + + FIRST USHER + (pointing) + There he is: + + They move toward Taylor. + +223 FLASH SHOT - TAYLOR + + He runs out onto the mall. + +224 FULL SHOT - THE MALL + + Taylor belatedly sees that he is running straight toward his two + mounted pursuers. Darting off in another direction, he races past + startled pedestrians. + +225 REACTION SHOT - TWO CHIMP PEDESTRIANS + + They do a slow take. + + FIRST CHIMP + You see what I saw? + + SECOND CHIMP + Must've escaped from the zoo. + +226 MED. SHOT - A MOUNTED COP + + He has spotted Taylor. Drawing a folded net from his saddlebag, he + swings it overhead (like a cowboy with a lariat) and gallops off in + pursuit of the man. + +227- SEVERAL SHOTS - TAYLOR AND PURSUING MOUNTIE +231 + + Taylor runs frantically from building to building, rounding corners, + vanishing momentarily and reappearing on another part of the mall. At + one point the mountie nearly overtakes him and flings his net, which + falls short. Taylor runs on. + +232 EXT. AN AMPHITHEATER - LOW ANGLE SHOT (FROM GROUND LEVEL) + + It is an open-air structure, like a Greek theater, located near the + central mail. Steeply tiered, it seats no more than fifty apes. The + dais in the pit is some fifteen feet above ground level. + + Taylor enters scene, running toward the amphitheater. Changing + direction, he darts into what appears to be an access tunnel. A moment + later the pursuing cop rides into' scene, dismounts and walks toward + the amphitheater, looking around for Taylor. + +233 EXT. AMPHITHEATER - HIGH ANGLE SHOT (FROM TOPMOST TIER) + + Taylor suddenly emerges from the access tunnel and runs up a ramp + encircling the amphitheater. (A retaining wall shields him from the + view of the apes.) Pausing for breath at the top of the ramp, Taylor + crouches behind the uppermost tier of seats and peers down: + + THE AMPHITHEATER - FROM TAYLOR'S P.O.V. + + The cop looks around, spots Taylor at the top tier, and starts up after + him. + +235- OUT +237 + +238 EXT. TOP OF AMPHITHEATER - PANNING WITH TAYLOR + + He starts to run back down the ramp, but is suddenly confronted by his + original pursuer (the dismounted cop coming up the ramp. Reversing + direction, Taylor runs around the rim of the amphitheater and vanishes + into an exit tunnel. The cop blows his whistle, summoning another cop, + who joins him in the chase. + +239- ANOTHER PART OF THE MALL - A SWIFT SEQUENCE OF SHOTS +244 + + In which we see the fugitive, his pursuers and the reactions of ape + shoppers and workers. + +245- EXT. OPEN-AIR MARKET - SEVERAL SHOTS +248 + + A market has been set up on one side of the mall, where street vendors + behind carts or tables hawk their wares: fruits, vegetables, wearing + apparel, etc. As Taylor runs frantically through the market place, + several apes join the chase. In the ensuing pandemonium, like the + proverbial Chinese fire drill, several tables are overturned. + +249 EXT. A BUILDING - CLOSE ON AN ARCHWAY + + Taylor runs into scene, pauses, panting, and looks back at his + pursuers. Then he darts through the archway into the building. + +250 INT. BUILDING - TRACKING WITH TAYLOR - DAY + + For the moment he is the sole visitor in this wing. His pace slows to a + walk as he and we observe fleetingly the specimens in what is a simian + museum: Possibly several stuffed and unfamiliar animals; primitive + artifacts and fossils; possibly the skeleton of a dog, a cat, etc. Over + this we hear a shrill police WHISTLE. + +251 FLASH SHOT - TAYLOR + + He runs again. + +252 MED. SHOT - AN APE MOTHER AND CHILD + + Looking at the stuffed animals as Taylor races past. The mother gives a + startled SCREAM. + +253 REACTION SHOT - A MUSEUM GUARD + + He starts after the fugitive. + +254 ANOTHER PART OF THE MUSEUM - FEATURING TAYLOR + + He runs past displays of other stuffed animals toward CAMERA and halts + abruptly in close f.g., shocked by: + +255 WHAT HE SEES: DODGE + + stuffed and mounted, Dodge bares his teeth at the world. + +256 CLOSEUP - TAYLOR + + Reacting in horror. He hears another police WHISTLE and the echoing + FOOTSTEPS of approaching guards, which mufffle his strangled gasp: + + TAYLOR + Dodge ... + + Taylor vanishes in a BLUR of movement. + + CUT TO: + +257 EXT. THE MALL - APETOWN - FULL SHOT FROM ON HIGH - DAY + + Order has been restored in the open-air market. Taylor bursts suddenly + into view from a building on the far side of the mall, running in panic + from ape guards in close pursuit. A mounted policeman spots him and + heads him off. Changing direction, Taylor is intercepted by another + mounted Gorilla. And then a third. + + CAMERA HOLDS, ANGLING DOWN on the center of the mall. We are witnessing + a hideous game: "baiting the man." The mounted police do not shoot or + club Taylor, for he cannot escape -- but they circle him, their long + whips CRACKING over his head. + +258 CLOSER ANGLE - THE CIRCLE AROUND TAYLOR - FAVORING A MOUNTIE + + who unfolds his net, swings it overhead and flings it at Taylor. This + time he bags his quarry. Taylor gives up. Spent, docile, entangled in + the net, he stands stock-still in the center of the mall. Guards and + civillians on foot join the circle around the man at bay. They regard + him warily. + +259 CLOSE SHOT - DR. ZIRA + + She pushes through the simian crowd around Taylor and hurries to his + side. + +260 CLOSE TWO SHOT - TAYLOR AND ZIRA + + She paws at the net, crying impulsively: + + ZIRA + Taylor, why'd you run away? + + Zira removes the net from his face. Panting with exhaustion, Taylor + flicks a wild glance at her. He looks demented. + +261 WIDER ANGLE - TO INCLUDE TWO GORILLA OFFICERS + + who approach Taylor and Zira. (They are the same gorillas introduced in + Scene 198.) One of them carries a collar and leash. The other presents + an I.D. card to Zira. + + LIEUTENANT + Security police. + + ZIRA + (promptly) + I'm in charge of this man. + + LIEUTENANT + No longer, madame. He is now in the + custody of the Ministry of Science. + + His colleague moves toward Taylor with a muzzle. + +262 CLOSE SHOT - FEATURING TAYLOR + + He speaks at last, his voice hoarse but audible. + + TAYLOR + Get away from me, you dirty ape! + +263 FULL SHOT - THE SIMIANS AROUND TAYLOR + + The arresting officer steps back involuntarily. All the apes freeze, + staring at the speaking animal with mute astonishment as we: + + FADE OUT + + FADE IN + +264 INT. CAGES - CLOSE SHOT - TAYLOR AND NOVA - DAY + + The compound is dimly lit. Taylor, the bandage now gone from his + throat, is back in his old cage. The other cages, however, are empty -- + their occupants presumably having been moved to the surgery or the zoo. + He is seated on a pile of straw in the rear corner, Nova's head cradled + on his lap. Idly he strokes her coarse hair. There is a dull glow of + madness in his eyes, and his manner is one of abstract soliloquy, like + a man talking to a dog. + + TAYLOR + ...and that's when I decided to take + up astronautical engineering., you see. I + was halfway through college and I... + (he breaks off) + It's an old trick! The silent treatment. + Four weeks and three days, and not a word + from anyone. Not Zira.,or Cornelius...or + that damn Julius. No one'll listen... + only you. You...Nova. NO-VAH. + + His manner is now more direct, and educative., but she stares in blank + comprehension. She brushes his moving lips with her fingers. He shrugs + wryly. + + TAYLOR + Yeah...me Tarzan, you Jane. That's all + right ... I had a puppy once that never + barked. He just licked my hand. + (pause) + He's dead now. They're all dead. Everything... + I think maybe they'll kill me, too. Are they + afraid of me? I can't hurt them... but I + threaten them somehow. Threaten their faith + in simian superiority. Yeah ... you're right. + They'll have to kill me. + + Faint footsteps are heard o.s. Taylor and Nova look in the direction of + the sound. A sudden stream of water shoots through the bars and strikes + Taylor in the chest. + +265 WIDER ANGLE - WHAT THEY SEE: + + An ape GUARD has a high pressure hose trained on Taylor. It forces him + back toward the rear of the cage. Julius, whip in hand, unlocks the + cage, steps inside. He unlimbers the whip., cracks it-'in Nova's + direction. She recoils. The jet of water hold Taylor at bay. Julius + grabs Nova, begins to pull her toward the door of the cage. Taylor + tries to fight his way through the water toward Julius. + + TAYLOR + Let her alone! + + Julius swings the whip. It cracks against Taylor's legs, biting into + the skin. Taylor stumbles, falls to one knee + + TAYLOR + Where are you taking her? What are you + going to do? + + Julius drags and pushes the girl through the door, slamming and locking + it behind him. Taylor, fights through the stream of water, flings + himself against the bars. + + TAYLOR + (raging) + Take your hands off her, you black + monster! You filth! + + Julius shoves Nova across the aisle to a cage opposite Taylor's, locks + her inside. + + TAYLOR + Why are you doing this? Say something, + you hairy scum! + + Julius gestures toward the ape guard + + JULIUS + Turn it off! + + The ape guard shuts off the hose. + + TAYLOR + Answer me! + + Julius strides over to Taylor's cage. + + JULIUS + (fiercely) + Shut up! The reason no one'll talk to + you is because you're a freak! + + TAYLOR + Where's Dr. Zira? Why--? + + JULIUS + I said shut up! + + He slashes viciously with his whip handle against Taylor's fingers. + Taylor yells in pain. Julius and the ape guard start out of the + compound. + + TAYLOR + (wildly) + Ape! Apes wearing clothes! + It's a madhouse! A madhouse! + + He sinks to the floor as the apes go out. + +266 OUT + +267 FULL SHOT - CAGE + + Taylor looks desolately through the bars across to Nova's cage. She + eyes him sadly. + + TAYLOR + (gently) + Now I don't even have you. + (pause) + Imagine me -- needing someone. Back on + Earth there was nobody. Women, yes. + Lots of them. Love making ithout love. + That's the kind of world it was turning + into, with the help of cynics like myself. + So I left it -- because there was no one + dear enough to keep me there. + (pause) + Did I tell you about Stewart? + (Looking away) + There was a lovely girl. The most precious + cargo we brought along. If human life could + survive here, she was to be the new Eve. + (morosely) + It's probably just as well she didn't live + to see this. + + He looks at Nova. She stretches her hands through the bars toward him. + + TAYLOR + I wonder if it's Love between us. + (looks around, + smiles ironically) + What a place to find it. + +C-267 FULL SHOT - THE CAGE + + Two gorilla officers enter, carrying torches. (These are the same apes + introduced in Scene 198.) One carries a double set of manacles. Julius + comes to meet them. The Lieutenant takes the two sets of manacles from + the other officer, hands them to Julius, whispers something. Julius + comes over and unlocks the door of Taylor's cage. He advances to + Taylor, who does not move, bends down and clamps the manacles around + each of his ankles. Then he straightens, lifts Taylor's arms, pulls his + wrists together, snaps on the cuffs. + +D-267 WIDER ANGLE - THE CAGE + + Taylor looks across at Nova, blows her a kiss. Julius leads him out of + the cage, takes his leash from a snaps it onto Taylor's collar, hands + the other end to the Lieutenant. Nova and Julius watch in silence as + Taylor is led down the aisle and out the door. + +268- OUT +272 + + DISSOLVE TO: + +273 INT. INQUIRY ROOM - ESTABLISHING SHOT - DAY + + Taylor, wearing his manacles, is seated at a table in the otherwise + deserted chamber. There is an empty chair on either side of him. Across + the room stands a dais with three rude, high-backed chairs. There is a + small table directly below the dais. A third table stands at right + angles to the dais. Taylor looks around the empty room. A door is + opened by a gorilla BAILIFF, and Zira and Cornelius come into the room, + sit down on each side of Taylor. A moment later, DR.HONORIUS, the + Prosecutor and a CLERK enter, take their seats at the third table. + + TAYLOR + (softly) + Where have you been? Why didn't you come + to see me? + + ZIRA + Shhhh! + + TAYLOR + What is this? + + ZIRA + A hearing. + + CORNELIUS + (hissing) + Be clever. Be quiet, + + BAILIFF + All rise! + + Everyone gets up as THE PRESIDENT, Dr. Zaius and Dr. Maximus enter and + mount the dais. The President takes the center chair; the other two + flanking him. + + BAILIFF + Be seated. + + All sit down. + + PRESIDENT + (pounds gavel once) + This ad hoc Tribunal of the National + Academy is now in session. President of + the Academy presiding. On my right, Dr. + Maximus, Commissioner for Animal Affairs. + On my left, Dr. Zaius, Minister of Science + and Chief Defender of the Faith... + (glancing at Prosecutor) + Appearing for the State, Dr. Honorius, + Deputy Minister of Justice. + + Honorius rises and bows. + + PRESIDENT + (raps gavel once) + Let it be clear at the outset that all + matters pertaining to this inquiry are + confidential, and anyone discussing them + outside this chamber will be held in + contempt of the Tribunal. + (a beat) + You may proceed, Dr. Honorius. + + ZIRA + (rising) + By your leave, Mr. President -- the + Tribunal has not yet defined the purpose + of this inquiry. + + The President appears to be taken aback. He glances at his colleagues. + + MAXIMUS + You asked for the opportunity to present + your case. Surely you must know why you're + here. + + ZIRA + My own purpose is to save this exceptional + creature from mutilation. + + MAXIMUS + (promptly) + And our purpose is to settle custodial and + jurisdictional questions concerning this + beast, and determine what's to be done with + him. + + ZIRA + At the very least, this man has the right + to know whether there's a charge against + him. + + HONORIUS + (rising) + Objection. The accused is indeed a man. + Therefore, he has no rights under ape law. + + PRESIDENT + Well, Dr. Zira? This is a man, is he not? + +274 CLOSE GROUP SHOT - THE DEFENDANT'S TABLE + + Sensing that the President has given them an opening, Zira smiles + confidently. + + ZIRA + He is unlike any man you have ever seen - + as we hope to prove. + + PRESIDENT'S VOICE + (o.s.) + Answer the question. Is he a man? + + CORNELIUS + (tentatively) + Sir? The question is the point at issue: + Is he a man? Or a deviate? Or a freak of + nature? + + HONORIUS' VOICE + (o.s.) + Objection! + +275 FULL SHOT - THE INQUIRY ROOM + + As the Prosecutor continues: + + PRESIDENT + Sustained. In all fairness, Dr. Zira, + you must admit the accused is a nonape, + and therefore has no rights under ape law. + + ZIRA + (rising) + Then why is he called the accused Your + Honors must think him guilty of something. + + Honorius seems confounded. Zaius takes over. + + ZAIUS + This man is not being tried. He is being + disposed of. + (pointing at + Zira and Cornelius) + It is scientific heresy that is actually + on trial here. + + MAXIMUS + Well put, Dr. Zaius. Let us warn + our friends that they endanger their + own careers by defending this animal. + +276 CLOSE SHOT - THE DEFENSE + + Both Cornelius and Zira appear shaken by this threat. Sensing their + predicament, Taylor rises impatiently. + + TAYLOR + Then I'll defend myself. + +277 FULL SHOT - THE INQUIRY ROOM + + Although the judges and Prosecutor have been told that this man can + speak, they react in stunned silence to the first sound of his voice. + Flustered, the President bangs his gavel. + + PRESIDENT + Dr. Zira -- tell Bright Eyes to + sit down. + + TAYLOR + My name is Taylor. + + The President refuses to address Taylor directly. Checking a document, + he speaks to Zira. + + PRESIDENT + It says here that his name is Bright + Eyes. You gave him that name yourself. + + TAYLOR + (voice rising) + This hearing is absurd! Let me tell + my story... + + PRESIDENT + (pounds gavel) + Bailiff! Make the animal be quiet. + + The Bailiff quickly crosses to Taylor and shoves him roughly into his + chair. + + PRESIDENT + State your case, Mr. Prosecutor. + + HONORIUS + Learned Judges: My case is simple. It is + based on our first Article of Faith: that + the Almighty created the ape in his own + image; that He gave him a soul and a mind; + that He set him apart from the beasts of + the jungle, and made him the lord of the + planet. + +278 CLOSE GROUP SHOT - THE DEFENDANT'S TABLE + + Taylor has begun to write something on a sheet of paper. Zira and + Cornelius remain attentive to: + + HONORIUS' VOICE + (o.s.) + These sacred truths are self-evident. The + proper study of apes is apes. But certain + young cynics have chosen to study man - + yes, perverted scientists who advance on + insidious theory called 'evolution.' + +279 FULL SHOT - THE INQUIRY ROOM + + As the Prosecutor continues: + + HONORIUS + There is a conspiracy afoot to undermine + the very cornerstone of our Faith + + PRESIDENT + Come to the point, Dr. Honorius. + + HONORIUS + Directly, Mr. President. This wretched man, + the accused, is only a pawn in the conspiracy. + We know that he was wounded in the throat at + the time of his capture. The State charges + that Dr. Zira and a corrupt surgeon named + Galen experimented on this wounded animal, + tampering with his brain and throat tissues + to create a speaking monster ... + + ZIRA + (on her feet) + Thats a lie! + + PRESIDENT + (pounding gavel) + Mind your tongue, madame. + + ZIRA + Did we create his mind too? Not only + can this man speak. He can write. He can + reason. + + HONORIUS + He can reason? With the Tribunal's permission, + let me expose this hoax by direct examination. + + PRESIDENT + Proceed. But don't turn this hearing into a + farce. + + Honorius crosses to the defendant's table and favors Taylor with an + evil smile. + + HONORIUS + Tell the court, Bright Eyes -- what is + the second Article of Faith? + + TAYLOR + I admit, I know nothing of your culture. + + HONORIUS + Of course he doesn't know our culture - + because he cannot think. + (to Taylor) + Tell us why all apes are created equal. + + TAYLOR + Some apes, it seems, are more equal than + others. + + HONORIUS + Ridiculous. That answer is a contradiction + in terms. Tell us, Bright Eyes, why do men + have no souls? What is the proof that a + divine spark exists in the simian brain? + + TAYLOR + (hands paper to Zira) + Show this to the President. + + Zira moves toward the dais. Honorius returns to his own table. + + ZIRA + Since the defendant is forbidden to speak + in his own defense, he asks that this + statement be read into the record. + + PRESIDENT + Read it yourself. + + ZIRA + (reading aloud) + 'I have come to you from a planet in a + different solar system. I am an explorer + in space, with no hostile intentions against + your civilization. On my planet it was the + primate Man who evolved Into a thinking + animal, while the apes remained..." + + PRESIDENT + (rapping gavel) + Stop right there. Bring me that paper. + + Zira crosses to the dais, handing the statement to the President. He + glances at it, laughs derisively and passes it to Zaius. + + PRESIDENT + (to Zira) + This is a joke in very poor taste. + + ZIRA + Is it a joke to seek the truth about + this man? + + ZAIUS + (glancing at document) + Dr. Zira -- you state here that a ship + from outer space sank in an inland sea + of our eastern desert. + + ZIRA + I do not state it, sir. The prisoner does. + + ZAIUS + Do you believe him? + + ZIRA + (uneasily) + Like you, I find it difficult. + + ZAIUS + But how convenient that the proof of + his arrival has vanished? + (glancing again + at document) + You also state that Bright Eyes had two + intelligent companions at the time of + his capture. + + ZIRA + This is his assertion. + + ZAIUS + Where are they now? + + TAYLOR + (blurting it out) + One is in a museum! + + PRESIDENT + (pounding gavel) + Dr. Zira! Silence that man! + + Returning to her table, Zira gestures to Taylor to remain silent. + + ZAIUS + How sad. Stuffed and mounted, eh? Dead + men, like sunken ships, can tell no + stories. And his other companion? + + ZIRA + He doesn't know. + + ZAIUS + Mr. President, I believe the Prosecutor + has reassembled all he surviving humans + captured in the hunt along with Bright Eyes. + + HONORIUS + That's true, Dr. Zaius. My witnesses -- + correction -- my exhibits are on display in + the amphitheater. + + PRESIDENT + Very well. I suggest we go and look at them. + + The President rises, starts out, followed by the others. Taylor is + last, being led on a leash by the bailiff. + +280 OUT + +281 EXT. AMPHITHEATER - FULL SHOT - DAY + + The inquiry group files through a door into the amphitheater. Two APES + stand guard over a number of leashed and nearly naked human beings in + the center of the pit below the dais. There are three primitive males, + the female Nova -- and Landon. He is dirty and bearded, but his hair is + cropped close. + +282 CLOSE - TAYLOR + + He turns to Zira, his eyes shining with vindication. + + TAYLOR + (a whisper) + It's him...Landon. + + ZIRA + Which one? + + TAYLOR + Second from the left. + +283 FULL SHOT - THE AMPHITHEATER + + Zaius glances at the accused. + + ZAIUS + Well...do you acknowledge kinship with + any of these creatures? + + TAYLOR + With one of them. + + ZAIUS + Identify him, then. Speak to him. + + Taylor moves forward for a few paces, stops. + + TAYLOR + Landon? + +284 CLOSER SHOT - FEATURING LANDON - FROM TAYLOR'S P.O.V. + + Landon looks catatonic. His face is in shadow + +285 WIDER ANGLE - TO INCLUDE TAYLOR + + Stunned by Landon's imbecility. + + TAYLOR + John ... it's me, Taylor. + + Taylor steps forward to grasp his arm. There is still no response. + Taylor takes Landon's head in his hands and looks at his face. There is + a fresh scar running from his forehead to the top of his cranium. + +286 FULL SHOT - THE AMPHITHEATER + + As Taylor whirls on Zira. + + TAYLOR + You! ... You knew about this? + + ZIRA + No, I swear -- I never saw this + man before. + + TAYLOR + (whirling on Zaius) + You did this to him! You've removed his + frontal lobes! + + PRESIDENT + Silence! + (turning) + Bailiff, take the prisoner inside! + + The bailiff Jerks brutally on Taylor's leash, pulling him toward the + door leading under the amphitheater. + +A-286 INT. INQUIRY ROOM - MED. SHOT - DAY + + The bailiff enters, dragging Taylor behind him, shoves him into his + chair. Moments later the other apes enter the room. All take their + seats but Zaius. Taylor glares at him furiously. + + ZAIUS + (calmly) + Mr. President, a word of explanation: the + creature in question suffered a skull + fracture during the hunt. Two fine + veternary surgeons under my direction + were able to save his life. But the beast + could not speak, of course. Nor will he + ever speak + + Taylor leaps from his chair, livid with rage, approaches the dais. + + TAYLOR + You destroyed his memory! His mind! His + identity! And, you want to do the same to + me! + + PRESIDENT + (pounding gavel) + Bailiff! Stop this outburst! Gag that + monstrosity! + + The bailiff and a husky guard seize Taylor, who continues shouting: + + TAYLOR + You barbarians! + + The powerful guard twists Taylor's arms behind his back and the bailiff + lashes his wrists together. Then the bailiff gags Taylor. His voice is + cut off as the bailiff ties the twisted kerchief around his open mouth. + The guard holds Taylor's leash during the rest of this scene. + + Meanwhile, Cornelius has risen to his feet. His tone is firm, but + conciliatory. + + CORNELIUS + May it please the Tribunal: I for one + grant that this being cannot have come + from another planet. But this much is + certain -- he comes from somewhere in the + Forbidden Zone. He has described the region + to us, and described it accurately, for I + have been there. + + PRESIDENT + You visited the Forbidden Zone? + + CORNELIUS + Why, yes, sir. A year ago. With the special + permission of the Academy. + + ZAIUS + (to President) + He exceeded his orders. His travel permit + was promptly revoked. + + CORNELIUS + Yes, sir, so it was -- thanks to you. But + not before I discovered evidence of a simian + culture that existed long before the Sacred + Scrolls were written ... + + HONORIUS + Objection! These remarks are profane and irrelevant. + + PRESIDENT + Sustained. + (to Cornelius) + Your archeological theories have no bearing + on the disposition of this creature. + + ZAIUS + (softly) + Let them talk, Mr President. Let them talk. + + ZIRA + (rising) + Sirs: our theories have a bearing on his + identity. + + PRESIDENT + How so? + + ZIRA + Let us assume, as common sense dictates, + that the prisoner's story is false. But if + he does not come from another planet, then + surely he sprang from our own. Yes, sprang. + (a beat) + As an animal psychologist, I have found no + physiological defect to explain why humans + are mute. + + HONORIUS + Objection! + + PRESIDENT + Sustained. + + ZIRA + (plunging on) + Their speech organs are adequate. The flaw + lies not in anatomy but in the brain. + + HONORIUS + Objection! + + PRESIDENT + Sustained. + + ZIRA + (voice rising) + Sustain all objections, but face the truth! + + Cornelius has regained his courage. Rising to Zira's support, he points + at Taylor. + + CORNELIUS + Yes! Behold this marvel, this living paradox, + this missing link in an evolutionary chain! + + PRESIDENT + (pounding gavel) + Silence! + (Puffing with rage) + You have gone too far. + + ZAIUS + (calmly) + There you are, Mr. President. I warned you + these two would use this hearing as a forum + for subversion. + + MAXIMUS + You were right! The advocates of heresy have + revealed themselves. + + ZAIUS + Mr. President, I think an indictment is + in order. + + HONORIUS + (promptly) + Yes, sir. The State charges Doctors Zira + and Cornelius with contempt of this Tribunal, + malicious mischief and scientific heresy. + + PRESIDENT + Be it so ordered. The Tribunal will examine + all the evidence presented here and in due + time render a verdict on the proposed + indictment and on the disposition of the + deviate in question. + (pounds gavel once) + This hearing is adjourned. + + All rise. The guard drags Taylor from the inquiry room. Zira and + Cornelius stand there, stunned by the entrapment into which Zaius has + maneuvered them. + +287- +289 OUT + + DISSOLVE TO: + +290 INT. A SMALL OFFICE - CLOSE ON DR. ZAIUS - NIGHT + + The office is as unadorned and Spartan as that of Cornelius -- in + fact, with minor changes in decor, the same set can be used. There are + many thick leatherbound books on this scholar's desk. Zaius is reading + one of them and taking notes. He looks up as someone KNOCKS at the + door. + +291 REVERSE ANGLE - SHOOTING PAST ZAIUS + + The two agents push Taylor through the doorway. + + ZAIUS + Wait outside. + + The officers withdraw, closing the door. Collared, wrists manacled, + Taylor stands facing the desk. + + ZAIUS + The verdict is in. At the moment your + simian friends -- and sponsors -- are + free on bail. But they'll soon be brought + to trial for heresy. + +292 ANOTHER ANGLE - FAVORING ZAIUS + + who falls silent, as if this were the only news of import. We note at + once a change In Zaius' tone and attitude. He no longer treats Taylor + like a freak animal, but addresses him as an imaginative adversary who + must be intimidated by the threat of terror. + + TAYLOR + What about me? + + ZAIUS + (offhandedly) + Oh, your case was preordained. In a way, + you performed a service for the State ... + (smiling) + Because your hearing made it possible + for us to expose Zira and Cornelius. + (a beat) + And now the Tribunal has placed you in + my custody for...final disposition. Do + you know what that means? + + TAYLOR + No. + + ZAIUS + Emasculation, to begin with. Then + experimental surgery. On the speech + centers. On the brain. Ultimately, a + kind of living death. + + Taylor stiffens but says nothing. Zaius lets this prospect sink in, + then continues. + + ZAIUS + However, it's within my power to grant + You a reprieve. That is why I summoned + you here tonight. + (a beat) + Tell me who and what you really are and + where you come from, and no veterinary + will touch you. + + TAYLOR + I told the truth at that 'hearing'of yours. + + ZAIUS + You lied. Where is your tribe? + + TAYLOR + My tribe, as you call it, lives on another + planet in a distant solar system. + + ZAIUS + Then how is it we speak the same language? + (suddenly intense) + Even in your lies, some truth slips + through! That mythical community you're + supposed to come from -- Fort Wayne'? + + TAYLOR + What about it? + + ZAIUS + A fort! Unconsciously, you chose a name + that was belligerent. + (more calmly) + Where were you nurtured? + + TAYLOR + I take it you don't believe the prosecutor's + charge -- that I'm a monster created by + Dr. Zira. + + ZAIUS + Certainly not. You're a mutant. + + TAYLOR + That's exactly what Zira and Cornelius + claim. You're talking heresy, doctor. + + ZAIUS + (smiling) + Of course. + + TAYLOR + (growing bolder) + All right, suppose I am a mutant? Why + does the appearance of one mutant send + you into a panic? + + ZAIUS + Because you're not unique. There was the + one you call Landon -- + + TAYLOR + Then you admit -- + + ZAIUS + I admit that where there's one mutant there's + probably another. And another. A nest of them. + Where's your nest, Taylor? Where are your women? + + TAYLOR + (pause) + Thank you for calling me Taylor. + (more firmly) + Dr. Zaius, I know who I am. Who are you? How + did this upside down civilization ever get + started? + + ZAIUS + (strangely calm) + You may well call it upside down, since you + occupy its lowest level. And deservedly. + (pause) + The eastern desert has never been explored -- + because we've always assumed that no life can + exist there. + (a beat) + Save yourself, Taylor. Tell me -- is there + another jungle beyond the Forbidden Zone? + + TAYLOR + I don't know. + + ZAIUS + If you are protecting others of your kind, + it will cost you your identity. + + TAYLOR + I'm not protecting anybody! That hearing + was a farce. What have I done? + + ZAIUS + You're a menace! A walking pestilence. I + do know who you are, Taylor. As I know + that others of your kind must live in the + Forbidden Zone. + (decisively) + You have just six hours to make a full + confession. After that I'll employ surgery + to obtain one. + (calling off) + Guards! + + The two burly security agents open the door and enter. + + ZAIUS + Take this creature back to his cage. + + The guards seize Taylor, start to shove him toward the doorway. He + twists around, faces Zaius. + + TAYLOR + All right, you can cut me to pieces. It's + within your power. + (with force) + But know this, doctor. You do it because + you're afraid of me. You do it from fear! + + Zaius jerks his head silently toward the door. The apes drag Taylor + through it. + + DISSOLVE TO: + +293 INT. ADJACENT CAGES - MED. SHOT - NIGHT + + A few hours have passed. Nova is watching Taylor from her cage across + the aisle. He sits on the pile of straw. There is an ugly welt on his + cheek made by the security officer's whip. FOOTSTEPS are heard. Taylor + and Nova look up and off. + +294 REVERSE ANGLE - WHAT THEY SEE: + + A solemn, teen-age chimp named LUCIUS appears outside the cage. The + guard Julius rises from his chair. + + LUCIUS + Are you Julius? + + JULIUS + What do you want? + + LUCIUS + I'm from the Office of Animal Affairs. + (indicating Taylor) + This male's to be transferred to the zoo. + + JULIUS + At this hour? Who says so? + + Taylor enters scene, coming over to the cage bars as Lucius continues + gravely, with just a note of disdain. + + LUCIUS + Don't they tell you anything? The Anti- + vivisectionist Society is up in arms. They're + going to save this beast from those butchers + in the lab. If he can speak he belongs in the + public zoo. + (taking off) + But what'll probably happen is that some + money-mad grown-up will put him in a circus. + And then we'll have to pay to see what + rightfully should have -- + + JULIUS + Stop making speeches and show me the order. + + Lucius hands the guard a document. It is dark here, so Julius crosses + to a beam of light near the bars and studies the document. Lucius, + behind the guard's back, signals frantically for Taylor to seize or + strike the guard. Taylor is slow to understand. Lucius shakes his + head impatiently. + + JULIUS + (peering at document) + This order's no good. It must be counter- + signed by Dr. Zaius -- + + Lucius suddenly gives Julius a violent shove. The guard's head crashes + against the bars and he is stunned. + + LUCIUS + Hit him! + + Taylor complies bringing down the heel of his fist on the nape of the + guard's neck. Julius collapses. The youngster immediately squats down, + gags him, and begins to bind him hand and foot. CAMERA MOVES IN. + + TAYLOR + Who are you? + + LUCIUS + (looking up,coolly) + So you can talk. + (as he works) + I'm Dr. Zira's nephew. This abduction was + her idea. You're not really going to the + zoo. That's just our cover story in case + we're stopped. + (off again) + Although I do feel that if it ever came + down to a question of whether something + like you should be public or private + property -- + + TAYLOR + Come on. Get me out of here. + + Taking the guard's keys, Lucius rises and unlocks the cage. Nova enters + the scene, coming to the bars of her cage. + +295 CLOSE TWO SHOT - TAYLOR AND NOVA + + He gazes at her, tense with indecision. She flashes an imploring smile, + a mute appeal that cannot be denied. Over this we hear: + + LUCIUS' VOICE + (o.s.) + We've got to move fast. + +296 WIDER ANGLE - TO INCLUDE LUCIUS + + as Taylor leaves his cage. + + TAYLOR + She comes along too. + + LUCIUS + Zira doesn't want your female. + + TAYLOR + I want her. + + LUCIUS + (a shrug) + If you insist. But I'm not taking + any orders -- + + TAYLOR + Fine. Just let her out. + + Lucius unlocks Nova's cage. She comes out quickly, takes Taylor's hand. + They follow Lucius out of the compound. + +297 EXT. ANIMAL COMPOUND - MED. SHOT - NIGHT + + A horse-drawn caged wagon (like that used in the hunt) stands near the + building. Zira waits at the rear of the wagon. Lucius, Taylor and Nova + emerge from a doorway or archway and join her. Zira notes Nova's + presence with disapproval. They speak in undertones. + + ZIRA + (to Lucius) + I told you not to bring the other one. + + LUCIUS + He wouldn't leave her. + + ZIRA + (with a sigh) + All right... + (to the humans) + Get in...hurry. Put this on. + + TAYLOR + Listen- + + ZIRA + Taylor -- just keep quiet and we may get + away with this. Remember that men all + look alike to most apes. + + Taylor and Nova comply, climbing into the cage. Lucius closes the + tailgate. Lucius and Zira move to the front of the wagon and climb + aboard. Lucius takes the reins. As they move off: + + WIPE TO: + +298 EXT. LAKE AND CAUSEWAY - LONG HIGH ANGLE SHOT - NIGHT + + As previously established, the animal compound is on the outskirts of + Apetown. The abductors must cross the causeway on their route of + escape. In the distance, near the gazebo, we can see the lights of + several torches. + + The caged wagon rolls into scene and out onto the causeway. At the same + time a mounted gorilla leading two pack animals appears on the far side + of the causeway, coming toward CAMERA. Lucius stops the wagon. + +299 CLOSE TWO SHOT - LUCIUS AND ZIRA - ON THE WAGON + + LUCIUS + (apprehensively) + Gorilla hunters ... + + ZIRA + Keep moving. We can't turn back now. + +300 BOOM SHOT - THE CAUSEWAY + + As the mounted hunter nears the wagon, we can see two bodies slung + across the backs of the pack animals. + +301 FLASH SHOT - TAYLOR AND NOVA - IN WAGON CAGE + + They look out at: + +302 THE PASSING HORSES - FROM THEIR P.O.V. + + The bodies on the horses are naked human corpses. + +303 MED. LONG SHOT - THE CAUSEWAY - REVERSE ANGLE + + In immediate f.g., near the gazebo, is a similar wagon. It has lost a + wheel, and its rear axle lies on the edge of the causeway. Two naked + primitive males can be dimly seen within the cage. Four or five armed + gorilla hunters stand near the wagon: two of them carry torches; the + others are passing a jug from hand to hand-. + + The leader of the Hunt Club, still on horseback, holds up his hand as + the lab wagon approaches. + + LEADER + Hold it! + + Lucius obeys. The hunters on foot swarm around his wagon as their + leader calls authoritatively: + + LEADER + Ah, Doctor Zira! Our wagon broke down! I'm + afraid we'll have to commandeer yours. + +304 CLOSER ANGLE - THE LAB WAGON + + as the Hunt Club Leader rides over, recognizing the animal + psychologist. + + ZIRA + You can't! I've two sick humans in the + cage. We're taking them to the chief vet + at the zoo ... + + LEADER + (indicating his + own wagon) + We bagged two live ones today. I'll have + to ask you to take them along. + + He moves to the rear of the wagon. + + ZIRA + (following him; + frantically) + No, no, my animals are diseased... Leave + them alone! They're diseased, I tell you! + + Lucius jumps down and runs toward the rear of the wagon. + +305 REVERSE ANGLE - REAR OF WAGON + + The hunters have opened the tailgate and are shining their torches on + the humans. They sound ready for sport. + + FIRST HUNTER + Give him a taste of fire! + + One of the hunters points his torch at Taylor, who, quite naturally, + shrinks back as Lucius runs into scene. + + LUCIUS + Stand back! He's dangerous! + + FIRST HUNTER + Why? + + ZIRA + He's rabid! His bite is fatal! + + FIRST HUNTER + You serious? + + LUCIUS + You would die in agony! + (with appropriate gestures) + Frothing at the mouth! + + The hunters fall back. Lucius promptly locks the tailgate and he and + Zira run back to the front of the wagon. Lucius snaps the reins and the + wagon moves off. The hunters follow it a few paces, pausing near their + mounted leader. + + FIRST HUNTER + They treat those animals better than they + treat us. + + LEADER + I still say the only good human is a dead + human. + + The fugitives' wagon recedes beyond the gazebo, as we: + + DISSOLVE TO: + +306 EXT. AN OPEN RANGE - LONG SHOT - DAWN + + The horse-drawn wagon is silhouetted-against the dawn light, bumping + across a semi-arid plain studded with mesquite and sage. (This SCENE + can be SHOT either on the Navajo reservation near Page or on the + Ranch). + + DISSOLVE TO: + +307 EXT. SAVANNA (OR CULTIVATED FIELDS) - LONG SHOT - MORNING + + This is the same area described on page 24, where the hunt occurred. As + the wagon rolls along a dirt track, the tall grasses of the savanna (or + cultivated field) can be seen in b.g. + +308 CLOSE TWO SHOT - TAYLOR AND NOVA - IN WAGON CAGE + + Taylor is dozing, but the girl is alert and nervous. She peers out at + the field, apparently recognizing or remembering this terrain. She + nudges Taylor, waking him. + +309 EXT. GROVE OF WILD FRUIT TREES - LONG PANNING SHOT - DAY + + This, too, is the location described on page 24. CAMERA PANS with the + wagon as it rolls into the grove and HOLDS on three horses. Cornelius + sits astride one horse; the other two nags are heavily burdened with + packs and saddlebags. + +310 CLOSER ANGLE - THE GROVE - FAVORING CORNELIUS + + He dismounts as Zira and Lucius jump down from the wagon + and hurry toward him. Cornelius and his fiancee embrace and kiss + lightly, ape-fashion. + + CORNELIUS + How did it go? + + ZIRA + There was one bad moment -- some hunters + stopped us. + + LUCIUS + (calmly) + I pursuaded them our beasts had rabies. + +311 CLOSE TWO SHOT - TAYLOR AND NOVA - IN CAGED WAGON + + The apes discussing the abduction are out of earshot. Exasperated to be + thus ignored and caged, Taylor kicks the tailgate, shouting: + + TAYLOR + Let me out of here! + +312 WIDER ANGLE - TO INCLUDE THE GROUP + + Lucius hurries back to unlock the tailgate. Taylor gets out of the + wagon, stretching his stiffened joints. Nova follows suit. During the + ensuing exchange the girl seems strangely agitated, pacing to and fro, + her eyes scanning the grove and fields in search of someone or + something. + + CORNELIUS + (approaching) + Well, Taylor -- we're all fugitives now. + + TAYLOR + Do you have any weapons? + + CORNELIUS + The best. But we won't need them. + + TAYLOR + Just the same, I want one. + + He moves toward one of the horses. Cornelius starts after him. + + CORNELIUS + Look here, Taylor. I'm in charge of this + expedition -- + + Taylor takes a rifle from one of the packs, examines it. + + TAYLOR + Fair enough. But you're no longer in + charge of me. And I don't mean to be + captured again. + + Zira and Lucius have come up. + + CORNELIUS + (peeved) + As you wish. + + TAYLOR + Zaius seems to think there might be + another jungle beyond the Forbidden Zone. + That's what we'll try for. What about you? + + ZIRA + Cornelius and I have been indicted for + heresy. Unless we can prove our theories, + we don't stand a chance of acquittal. + + TAYLOR + You're going back to the Forbidden Zone? + + CORNELIUS + To the diggings I worked at a year ago. + It's a three day ride across the eastern + desert, near where you claim you landed + from that planet of yours. + + TAYLOR + You still don't believe me, do you? + + CORNELIUS + (shrugs) + It's a long detour to Dead Lake. What + would we find? + + Taylor makes a helpless gesture, realizing that he cannot present sure + proof. + + TAYLOR + Nothing much. The remnants of a life raft. + Maybe a small flag. The emblem of my + countrymen. + + CORNELIUS + Sorry, Taylor. The terrain around that lake + is poisonous. There is no fresh water, no + vegetation. Nothing. + + TAYLOR + I know ... Nevertheless, I thank you + for saving us. You'll be in trouble for + going there. + + ZIRA + (a smile) + We've been in trouble since the moment we + met you. + + Nova seizes Taylor's arm to get his attention. Trying to communicate, + she makes whimpering sounds and points at: + +313- +314 OMIT + +315 THE DISTANT JUNGLE - AS SEEN FROM THE GROVE + + This is the same view of the jungle that Taylor saw when the gorilla + hunters emerged from the trees. (Page 25) + + ZIRA'S VOICE + (o.s.) + What's she pointing at? + +316 BACK TO TAYLOR AND THE OTHERS + + Taylor smiles at Nova, gives her a reassuring shrug. + + TAYLOR + That's the way home. And she knows it. + + Nova turns away, still holding Taylor's arm, tries to lead him toward + the jungle. + + TAYLOR + (sharply) + Nova! + (she turns; he shakes + his head, says gently) + We can't stay there. It's not safe. + + She looks at him sadly. + + ZIRA + We'd better get started. If the mounted + police pick up our trail, they'll come + this far at least. + + CORNELIUS + Right. + (to Lucius) + Let's put the water and provisions in + the wagon. + + He and Lucius move off toward the horses. + + ZIRA + (indicating Nova) + Are you going to take her with you? + + TAYLOR + Yes. + + ZIRA + Actually, you're a different breed. + This creature will never evolve. + + TAYLOR + Maybe not. + + ZIRA + (smiling) + You want her that much? + + TAYLOR + (testily) + You threw us together, remember? And you + guessed right. Men, like apes, get + despondent without a mate. + + He walks off to help Lucius and Cornelius. Nova tags along behind him + as we: + + DISSOLVE TO: + +A-316 THE GROUP MOVES ACROSS A PLATEAU + + DISSOLVE TO: + +317 EXT. DRY WASH AND TAMARISKS - FEATURING SCARECROWS - DAY + + The caravan is crossing, in a reverse direction, the route taken by the + astronauts on page 17. The three apes are on horseback. Taylor and Nova + follow in the wagon. They are nearing the row of sinister scarecrows on + the bluff above the dry wash. + +318 MED. SHOT - THE THREE MOUNTED APES + + They halt briefly and look up at the crosses. Lucius is impressed. + + LUCIUS + Who put them up? + + ZIRA + The Hunt Club. + + LUCIUS + To scare off humans? + + CORNELIUS + To scare us, too. We're entering + the Forbidden Zone. + + They move off again, riding across the dry wash. + +319 TWO SHOT - TAYLOR AND NOVA - SEATED ON THE WAGON + + They, too, have stopped and are looking up at the scarecrows. Nova is + plainly terrified. She grabs Taylor's arm, whimpers. + + TAYLOR + Don't worry. You'll be safe with me. + (sudden smile) + Here. It's time you learned to earn + your keep. + + He hands the reins to Nova. She just sits there. He demonstrates. + + TAYLOR + You can do it. Like this ... + + Nova flicks the reins, reacting in wide-eyed, open-mouthed disbelief as + the horse obeys her. + + DISSOLVE TO: + +320 EXT. DESERT PLATEAU - LONG HIGH ANGLE SHOT - DAY FOR NIGHT + + The party is traversing a red desert to the east of Dead Lake. Great + sandstone monoliths rise from the desert floor. From this vantage point + the horses look no bigger than ants. + + DISSOLVE TO: + +321 EXT. RIM OF A DEEP GORGE - HELICOPTER SHOT - DAY + + This is terrain never before seen in this picture. (Lake Powell + location, a few miles northeast of Wahweap). The party can be seen on + the rim of a flat desert tableland that falls away abruptly to a vast, + irregular river of deep blue water. Taylor, Cornelius and Lucius are + unloading the wagon and repacking their provisions and equipment on the + backs of horses. Zira watches them. + +A-321 CLOSER ANGLE - THE GROUP + + Zira wanders off, falls to her knees. + + LUCIUS + Something's wrong with your mate. + + Taylor looks off. He and the others move quickly to Nova, CAMERA + PANNING with them. + +B-321 CLOSE GROUP SHOT - AROUND NOVA + + She has been retching. Taylor lifts her up. She is faint with nausea. + Zira squats down beside them. + + ZIRA + Let me handle this. + (ruefully, to Taylor) + You may be smarter than I am, but I'm + the veterinary on this planet. + + Assisting Nova to her feet, Zira leads her off toward the wagon. + +C-321 MED. SHOT - CORNELIUS, TAYLOR AND LUCIUS. + + Taylor watches the departing females, then looks down at the river. + + TAYLOR + Where does the river lead? + + CORNELIUS + It empties into a sea some miles from + here. That's where the cave is. + +D-321 LONG SHOT - THE RIVER - FROM THEIR P.O.V.. + + The river winds o.s. between the sheer sandstone Cliffs rising from + either bank. + + TAYLOR'S VOICE + (o.s.) + And beyond that? + +E-321 THREE SHOT - TAYLOR, LUCIUS AND CORNELIUS + + CORNELIUS + Don't know. At high tide you can't ride + along the shore, and we had no boats on + the last expedition. + + TAYLOR + You've never told me why this region's + called the Forbidden Zone. + + CORNELIUS + No one really knows. It's an ancient + taboo. Set forth in the Sacred Scrolls. + The Lawgiver pronounced the area deadly. + + LUCIUS + Shouldn't we be moving on? + + TAYLOR + I'm for that. + + They start toward the horses and wagon. + +F-321 GROUP SHOT - NEAR WAGON + + Zira is looking curiously at Nova, who stands in the shade leaning + against the wagon as the males enter the scene. Nova's nausea has + passed, and she comes smiling to Taylor. + + TAYLOR + What's the diagnosis, doctor? A touch + of the sun? + + ZIRA + She's not sick at all. + (a beat) + She's pregnant. + +G-321 CLOSEUP - TAYLOR + + Consternation slowly gives way to wonder. He grins. + + TAYLOR + So I'm not an altogether + different breed, you see? + + DISSOLVE TO: + +322- +325 THE DESCENT OF THE GORGE - SEVERAL SHOTS - DAY + + To reach the camp site -- a beach at the base of the gorge -- the party + must lead the horses along a narrow trail that zigzags down the face of + the sandstone cliffs. They have abandoned the wagon. + + DISSOLVE TO: + +326 EXT. ARCHEOLOGICAL CAMP - ESTABLISHING SHOT - DAY + + Sand bars and two narrow beaches are in evidence here. The camp itself + consists of several lean-tos against the cliff wall. Above the camp, + reached by ladders connected to scaffolding, is the mouth of a cave. + Zira is cleaning up the breakfast things; Zaius and Lucius are sorting + out equipment. + +A-326 CLOSER ANGLE - TAYLOR AND ZIRA + + A small bowl of water rests on the ground in front of Taylor He has + nearly finished shaving himself with a sharp hunting knife. Nova + watches, a look of fascinated approval on her face. Taylor rinses off + his knife, starts to dry it. Nova reaches out, gently strokes his + smooth -- if nicked -- chin. + + TAYLOR + (smiling) + You like it? + + Lucius and Cornelius come up, Zira with them. + + LUCIUS + (disapprovingly) + Why did you do that? Scrape off your + hair? + + TAYLOR + In my world -- before I left it - + only youngsters of your age wore un- + scraped hair. + + CORNELIUS + (to Taylor, quizzically) + It makes you look somehow ... less + intelligent. + + Taylor grins wryly at Cornelius, picks up his rifle. + + TAYLOR + When are you going to show me what's + in the cave? + + CORNELIUS + Right now, if you like. + + They cross the beach to the ladders, when suddenly they hear the sound + of horses. They look o.s. + +B-326 WHAT THEY SEE: + + Dr. Zaius and five armed and mounted apes have come around the corner + of the beach and ride toward them through the rocks. + +C-326 MEDIUM - THE GROUP + + Taylor scrambles up onto the lower scaffold. Lucius runs to a lean-to, + scoops up his rifle. + + CORNELIUS + Lucius -- don't fire at them. + + The party rides up. + + ZAIUS + You're all under arrest! + (to Lucius) + You seditious scoundrel. Drop that + rifle. + +327- OUT +348 + +349 FLASH SHOT - LUCIUS + + He wavers, lowering his piece. + +350 WIDER ANGLE - TO INCLUDE BOTH GROUPS + + Zaius' gorillas ride forward a few paces, but halt again as Taylor + shouts: + + TAYLOR + Stop right there. + + ZAIUS + Don't be a fool. You're outnumbered + and outgunned. + + Taylor aims at Zaius and calls out: + + TAYLOR + If there's any shooting, Dr. Zaius, + you'll be the first to die. Depend + on it. + + CORNELIUS + (protesting) + Taylor, you're not in command here. + Put down that gun. + + TAYLOR + Shut up. + + Silence. Zaius knows Taylor isn't bluffing. + + ZAIUS + Very well. + (to his followers) + Lower your weapons. + + They obey. Taylor calls again: + + TAYLOR + (pointing) + Tell them to move around the point. + Out of range. + + Zaius turns and whispers to his apes. They rein about and ride away + through the rocks. Zaius dismounts and approaches the fugitives alone. + He is unarmed. + +351 CLOSER ANGLE - THE GROUP + + As Zaius draws nearer) Lucius lowers his rifle. But Taylor keeps his at + the ready. + + CORNELIUS + (uncertainly) + How did you know we'd come here? + + ZAIUS + It wasn't difficult. Only an apostate + or a lunatic would flee to the Forbidden + Zone. + (a glance at Taylor) + I see you brought along the female of + your species. + (Taylor nods) + I didn't realize a man could be monogamous. + + TAYLOR + On this planet -- it's easy. + + Zaius laughs derisively, then turns to the apes. + + ZAIUS + (evenly) + I ask you to reconsider the rash course + you've taken. If you're convicted of heresy, + the most you'll get is two years. But if + you persist in pointing guns in my direction, + you'll hang for high treason. + + CORNELIUS + (respectfully) + We've never meant to be treasonable, sir. + (pointing off) + But up there, in the face of that Cliff, + is a vast cave -- and in that cave a + fabulous treasure of fossils and artifacts. + + ZAIUS + I've seen some of your fossils and artifacts. + They're worthless. + + TAYLOR + (derisively) + And that's your Minister of Science. Honor- + bound to expand the frontiers of knowledge. + + ZIRA + (worried) + Taylor, please -- + + TAYLOR + Except that he's also the Chief Defender + of the Faith. + + ZAIUS + (loftily) + There is no contradiction between faith + and science. True science. + + TAYLOR + (suddenly angered) + All right, let's see if you're willing + to put that statement to a test. + + CORNELIUS + Taylor, I'd rather you - + + TAYLOR + No. You saved me from this fanatic. Maybe + I can pay you back. + + ZAIUS + (calmly) + What is your proposal? + + TAYLOR + When were the Sacred Scrolls written? + + ZAIUS + Twelve hundred years ago. + + TAYLOR + Very well. If Zira and Cornelius can prove + that those scrolls don't tell the whole + truth of your history; if they can show you + definite evidence of another culture from an + unrecorded past -- will you exonerate them? + + ZAIUS + Of course. + + TAYLOR + Okay.Up to the cave. + + He gestures toward the path leading to it. Zaius, Zira, and Cornelius + start upward. Lucius starts to follow them. + + TAYLOR + Sorry, Lucius. You'll have to stay here + and guard the horses. + + LUCIUS + Always giving orders. Just like every + other adult. + + TAYLOR + Relax. You'll see it all later. + + He pats the barrel of Lucius' gun, in the manner of a stern but + benevolent non-com, then starts up the trail with Nova at his heels. + Lucius, unused to taking commands from an animal, scowls after him, + then shrugs, adjusting to the Idea. + +352- +355 OUT + +356 EXT. WESTERN WALL OF GORGE - LONG SHOT - ANGLING UP + AFTERNOON + + The sun hovers over the lofty rim of the lake like a great red balloon. + The wall of the gorge, in shadow, is a darker hue. + +357 EXT. EASTERN WALL OF GORGE - LONG SHOT - ANGLING UP + + The crenelated east wall, looking like a red cathedral, is aglow with + sunlight. So is the mouth of the cave as the three apes, Taylor and + Nova pass through it and o.s. + +358 INT. CAVERN - BOOM SHOT - DAY + + Nature has formed a vaulted room here. It need not be enormous, but + should be as weird and fantastic as production capabilities permit. + There is an ape-made excavation in the floor of the cave, some ten feet + square and eight feet deep. Some small objects lie on the rim of the + excavation. Zaius, Cornelius, Zira, Taylor and Nova enter from the + outside. + + (AUTHOR'S NOTE: The effect should be an eyeful. I wish to create an + illusion of sunlight penetrating this cave, flooding it with direct, + refracted illumination, transforming it into a kaleidoscopic cavern.) + + ZAIUS + Present your evidence, Cornelius. + + Cornelius clambers down into the pit, followed by Zira. Taylor bends + down, examines some of the artifacts lined along the edge of the + excavation. Nova sits beside him. + + CORNELIUS + (pointing) + It was at this level I discovered traces + of an early ape creature -- stage of + primitive barbarism, really -- dating back + roughly thirteen hundred years. It was here + I found cutting tools and arrowheads of + quartz and the fossilized bones of + carnivorous gorillas. + + CAMERA (ON BOOM) MOVES IN SLOWLY as Cornelius continues: + + CORNELIUS + But the artifacts lying at your feet + were found here, at this level. And + that's the paradox. The more ancient + culture is the more advanced. Admittedly, + many of these objects are unidentified, + but clearly they were fashioned by beings + with a knowledge of metallurgy. + + CAMERA KEEPS MOVING IN on the group in and around the excavation as + Cornelius continues: + + CORNELIUS + Indeed, the very fact that these tools + are unknown to us could suggest a culture + in certain ways almost equal to our own. + Some of the evidence is uncontestable ... + + ZAIUS + (interrupting) + Don't speak to me in absolutes. The + evidence is contestable. + + CORNELIUS + I apologize. + + ZAIUS + To begin with, your methods of dating + the past are crude, to say the least. There + are geologists on my staff who would laugh at + your speculations. + + TAYLOR + Perhaps that's why they're on your staff. + + Zaius flicks a hostile glance at Taylor, then looks down at the + artifacts. He nudges them with his foot. + + ZAIUS + Secondly, if these 'tools' as you call + them, are unidentified, why are they + introduced as 'evidence' of anything? + + ZIRA + (promptly) + But there's the doll, sir. + + ZAIUS + What? + + CORNELIUS + (pointing) + Right there. The human doll. + + Zaius deigns to stoop and pick it up. + +359 CLOSE ON DOLL - IN ZAIUS' HAND + + It is only a porcelain fragment, but the head is intact, and it is + unmistakably the form of a human child. + + ZAIUS + What does this prove? My grand- + daughter plays with human dolls. + +360 FULL SHOT - THE EXCAVATION - INCLUDING TAYLOR + + Exasperated, Zira turns to the man for confirmation. + + ZIRA + Taylor! Tell him. + + TAYLOR + He has a point. On my planet children + often play with ape dolls. + + Zaius idly tosses the doll to the ground near Nova. She picks it up, + studies it. + +361 GROUP SHOT - THE THREE APES + + Cornelius tries again. + + CORNELIUS + A doll alone proves nothing. True. But + the doll was found beside the jawbone + of a man -- and no trace of simian fossils + has turned up in this deposit. + + ZAIUS + Your conclusion is premature. Have you + forgotten your Scripture? The Thirteenth + Scroll? + (quoting from memory) + 'And Proteus brought the upright beast + into the garden, and chained him to a tree, + and the children made sport of him.' + + CORNELIUS + (impatiently) + No sir, I haven't forgotten. + + ZAIUS + Well? For a time the ancients kept humans + as household pets. Until the Lawgiver + proved that man could not be tamed. Keep + digging Cornelius. You'll find evidence of + the master of this house: an ape. + +A-361 ANOTHER ANGLE - TO INCLUDE TAYLOR AND NOVA + + As Zira again appeals to the man. + + ZIRA + Are you going to let that pass without + an answer? + + Taylor, who has been toying with objects in the dirt, looks up. + + TAYLOR + Yes. I have to agree. From all you've + found so far, his position's as good as + yours. + + CORNELIUS + (annoyed) + What are you doing there? + + TAYLOR + Reconstructing a life. Care to have a + look? + + Cornelius and Zira cross the pit and Zaius walks around the rim of the + excavation. + +B-361 MED. CLOSE SHOT - FAVORING TAYLOR AND NOVA + + As the apes come close. A number of artifacts have been arranged in + front of Taylor. + + TAYLOR + (to Cornelius) + These were found near the human doll, + right? + (Cornelius nods) + Well, whoever owned them was in pretty + bad shape. + + He picks up the twisted fragment of a pair of spectacles. + + TAYLOR + Defective eyesight.. + + As Taylor continues his monologue, he picks up the other objects one by + one. + + TAYLOR + He wore false teeth. + (pause) + He suffered from a hernia and used + this truss to hold up his insides ... + (pause) + And toward the end, these little rings + of stainless steel enclosed a prefab- + ricated valve in his failing heart. + + Taylor pauses. Zaius picks up two of the steel rings, studies them. + + TAYLOR + I don't say he was a man like an Earthman, + but I'd call him a close relative, for + he was plagued by most of man's ills. + (to Zaius pointedly) + Yet, fragile as he was, he came before you + -- and was superior to you. + + ZAIUS + (a calm smile) + That's lunacy. I can give an alternate + description for everyone of those objects + that's equally as inventive as yours. But + it would be conjecture, not proof. + +362 WIDER ANGLE - TO INCLUDE TAYLOR AND NOVA + + She is poking her finger inside the decapitated head of the doll. From + it comes a distorted SOUND. + + DOLL'S HEAD + Mamma! Mamma! Mamma!. + + The apes stare at the doll in astonishment. Taylor snatches the doll + from Nova, brandishes it at the astonished Zaius. + + TAYLOR + Dr. Zaius! Would an ape make a human + doll that talks? + + Zaius looks at him, speechless. At that moment the CRACK of a distant + rifle shot reverberates through the cavern. All present freeze, + listening. + + ZIRA + Lucius.... + +363- +364 OUT + +365 FULL SHOT - THE CAVERN - REVERSE ANGLE + + Taylor alone is armed. Raising his rifle, he glowers at Zaius. + + TAYLOR + You louse! + + Cornelius is already crossing the pit. He climbs out arid races toward + the mouth of the cave. Taylor runs after him. Zira and Nova hurry after + Taylor. + +366 MED. SHOT - ZAIUS + + Expressionless, he looks down at the doll, then moves toward the mouth + of the cave. + +367 EXT. TRAIL FROM CAVE TO CAMP - ANGLING UP + + Cornelius emerges from mouth of the cave and runs down the trail toward + CAMERA. He halts in f.g., looking down at: + +368 THE CAMP SITE - AS SEEN FROM THE TRAIL + + Two of Zaius' gorillas have disarmed Lucius and are clubbing him with + their rifle butts. Two other mounted apes are driving the scientists' + horses back beyond the trees. + +369 EXT. THE TRAIL - AS SEEN FROM THE BEACH + + Cornelius, Taylor, Nova and Zira (in that order) can be seen high + above, descending the trail. CAMERA PULLS BACK TO DISCLOSE A GORILLA + SNIPER in immediate f.g., crouching behind a boulder near the water. He + sights his rifle at the man on the trail. Taylor is still too distant + to make a sure target, and so the sniper waits. + +370 CLOSER ANGLE - TAYLOR ON THE TRAIL + + This portion of the trail has no cover or concealment. Unaware of the + sniper, Taylor looks down at the camp as he makes his descent. + +371 LONG SHOT - TAYLOR - AS SEEN IN THE SNIPER'S SIGHTS + + The gorilla fires. + +372 CLOSE SHOT - TAYLOR + + The bullet ricochets off the rock wall a foot above his head. Taylor + scans the terrain bewlow, looking for the sniper. Nova comes to his + side, pointing at: + +373 THE SNIPER - FROM THEIR P.O.V. + + His head is visible behind the boulder as he reloads his piece . + +374 FLASH SHOT + + He aims and fires. + +375 FLASH SHOT - THE SNIPER + + Taylor has missed him, but the sniper ducks behind the boulder. + +376 THE TRAIL - PANNING WITH TAYLOR AND NOVA + + Taylor takes her hand and they race back up the trail to where Zira is + standing. Outcroppings of rock offer some cover here. Taylor pushes + Nova down behind a rock and signals for Zira to follow suit. + +377 CLOSE GROUP SHOT - TAYLOR, NOVA AND ZIRA + + The sniper's SECOND SHOT rings out. Instead of returning the fire, + Taylor looks up the rail at: + +378 ZAIUS - FRO14 TAYLOR'S P.O.V. + + He is standing impassively on the trail a short distance below the + mouth of the cave. + +379 FLASH SHOT - TAYLOR + + Bent low, he comes charging up the trail toward Zaius. The sniper's + THIRD SHOT splatters rock fragments around him. + +380 REVERSE ANGLE - THE TRAIL - ANGLING UP + + Zaius starts to retreat to the cave, but stumbles and falls on some + loose shale. No sooner has Zaius regained his feet than Taylor + overtakes him. Seizing the ape around the neck with his left arm. + Taylor drives the muzzle of his pistol into Zaius' kidney. He spins + Zaius around, using him as a shield. + +381 CLOSE TWO SHOT - ZAIUS AND TAYLOR + + Taylor releases the pressure on Zaius' throat but keeps the gun pointed + at his back. + + TAYLOR + Tell him to pull back! + + ZAIUS + (a hoarse cry) + Cease fire! Withdraw! + + His command echoes from the west wall of the canyon. + +382 LONG SHOT - THE FLOOR OF THE GORGE - FROM THEIR P.O.V. + + The sniper emerges from behind a boulder near the shore, and walks off + along the beach. + +383 BACK TO TAYLOR AND ZAIUS + + Taylor lift's the muzzle of his rifle and presses it against the back + of Zaius' head. + + TAYLOR + I ought to kill you right now. + (nudging him) + Let's go. + + They move off down the trail. + +384 EXT. ARCHEOLOGICAL CAMP - MED. SHOT - DAY + + Zira rushes down the trail to Lucius, who is sprawled on the ground. He + has a bloody nose and a lump on his forehead. Nova and Cornelius come + next, then Taylor, prodding Zaius ahead of him at gun point. Lucius + appears to be more humiliated than hurt. + + LUCIUS + They took me by surprise. Sneaked + up on me while I was watering the + horses. What's happened to honor? + (pause, glum) + I got off one round to warn you. + + CORNELIUS + (gloomingly) + They've taken everything. + + TAYLOR + Not everything. They left a hostage. + (a pause) + How do you feel, Lucius? + + LUCIUS + Disillusioned... + (turning on) + But vindicated! I've been right all + along. You can't trust the older + generation. It's a matter of values -- + + TAYLOR + (gently) + All right, all right. Will You do me + a favor? No orders. + + LUCIUS + (pause) + What is it? + + TAYLOR + I want you to go around the bend and + tell those gorillas their leader is my + prisoner. + + LUCIUS + (thoughtfull pause) + Yes, I can do that. + + TAYL0R + Good. Say I want a week's supply of food + for the woman and myself. A horse. A spade. + And fifty rounds of ammunition. + + LUCIUS + What if they won't agree to your terms? + + TAYLOR + Then tell them Dr. Zaius won't leave + here alive. + + ZIRA + (shocked) + Taylor, you can't. + + ZAIUS + (Calmly) + Oh yes he can. He's a born killer. + (to Lucius) + Deliver the message. + + Lucius looks to Taylor for confirmation. Taylor nods. The young ape + hurries away through the rocks. Taylor crosses to a useless saddle, + picks up a coil of rope, gestures at Zaius, indicating a nearby tree. + + TAYLOR + Sit down. Over there. + + Zaius squats on the ground beside the tree. Taylor sets his rifle + against the trunk, fashions a noose and places it around Zaius' neck. + Then, using an ingenious combination of knots, he ties Zaius' hands + behind his back, and finally fastens the rope around the base of the + tree. + + TAYLOR + (as he works) + Now, Minister of Science - let me explain + certain principle stress and strain. If + you exert pressure to remove these bonds, + you'll choke yourself to death. It'll be + suicide, you see? + + Zira and Cornelius look down at the captive mandarin. Their rebellious + spirit has evaporated, and they are clearly afraid. + + ZIRA + Taylor, please -- don't treat him that + way. + + TAYLOR + Why not? + + ZIRA + It's humiliating. + + TAYLOR + Wasn't I humiliated? By all of you? + Didn't you lead me around on a leash? + + CORNELIUS + That was different. We thought you + were .... inferior. + + TAYLOR + (wintry smile) + And now you know the truth. + (to Zaius) + Cornelius has beaten you, Doctor. He + proved it. Man preceded you here. You + owe him your science, your language, + whatever knowledge you have. + + ZAIUS + (quietly) + Then answer this: If ran was superior, + why didn't he survive? + + TAYLOR + (shrugging) + He might have been wiped out by a plague. + Natural catastrophe. Like a fiery storm + of meteors. From the looks of this part + of your planet, I'd say that was a fair bet. + + ZIRA, + (weakly) + But we can't be sure. + + TAYLOR + (indicating Zaius) + He is. He knew all the time. Long before + your discovery, he knew. + (to Zaius) + Defender of the Faith. Guardian of the + terrible secret. Isn't that right, doctor? + +385- +388 OUT + +389 REVERSE ANGLE - CIRCLE - FAVORING ZAIUS + + As Zira and Cornelius look at him expectantly. + + ZAIUS + What I know of man was written long ago + -- set down by the wisest ape of all -- + our Lawgiver. + (to Cornelius) + Open my breast pocket. + + Cornelius crosses to Zaius, and takes a small book bound in black + leather from the breast pocket of his tunic. + + ZAIUS + Read it to him: the twentythird Scroll, + ninth Verse. + + Cornelius thumbs through the book, finds the citation and reads aloud: + + CORNELIUS + 'Beware the beast man, for he is the + devil's pawn. Alone among God's primates, + he kills for sport, or lust or greed. + Yes, he will murder his brother to possess + his brother's land. Let him not breed + in great numbers, for he will make a desert + of his home and yours. Shun him. Drive him + back into his jungle lair: For he is the + harbinger of death'. + + Cornelius falls silent and looks down at Zaius. + + ZAIUS + (quietly) + I found nothing in the cave to alter that + conception of man. And I still live by its + injunction. + +A-389 ANOTHER ANGLE - THE GROUP + + Lucius hurries out of the rocks leading a saddled horse. Zaius' five + mounted gorillas appear behind him. Taylor calls out to them: + + TAYLOR + Stay where you are! + + Lucius comes up with the horse. Taylor checks the provisions in the + saddlebags. Lucius is frowning. + + LUCIUS + They think you're behaving foolishly. I + must say I agree. Where will you go? + + TAYLOR + (nodding o.s.) + I'll start by following the shoreline. + (a smile) + And my nose. + + ZIRA + But suppose you find nothing but a + wasteland. How will you survive? + + ZAIUS + (firmly) + He won't survive. + (all look at him) + Do you know what sort of life awaits + you out there, Taylor? That of an animal. + If you aren't eventually hunted down and + killed by apes, some jungle beast will + devour you. + + TAYLOR + Then there is another jungle? + + ZAIUS + (shrugs; then, + sardonically) + Of course, you could return with us. Our + society might find a place for you and + your mate. + + TAYLOR + Sure. In a cage. + + ZAIUS + Where else, but in a cage, does man + belong? + + TAYLOR + No, thanks. I'll take freedom. + + Taylor mounts the horse, extends a helping hand to Nova, who vault's + nimbly onto the horse's rump. Taylor looks at Zira and Cornelius. + + TAYLOR + Would you like to come along? + + ZIRA + We can't. + + TAYLOR + It's better than going to prison for + heresy. + + CORNELIUS + They can't convict us of that. You + proved our innocence. Besides... + (indicating Zaius) + ... his culture is our culture. + + TAYLOR + Good luck then. + + He reaches down, grasps Cornelius' hand, then grins crookedly. + + TAYLOR + Dr. Zira, I'd like to kiss you + good-bye. + + ZIRA + All right, but.... + (tears in her eyes) + ...you're so damned ugly! + + Taylor smiles, leans down, kisses her. + + ZIRA + (softly) + Go with God, Taylor. + (half smile) + That's an old expression. it comes + from both ape and man. + + TAYLOR + God bless you. + + He extends his hand to Lucius, who takes it. + + TAYLOR + Lucius. + + LUCIUS + I think you're making a mistake. + + TAYLOR + That's the boy. Keep 'em flying. + + LUCIUS + What? + + TAYLOR + The flags of discontent. It's the only + way anything ever gets changed. + (to Zaius) + Don't try to follow us. + (pats stock of + his rifle) + I'm pretty handy with things like this. + + ZAIUS + Of that I'm sure. All my life I've + awaited your coming and dreaded it. + Like death itself. + + Taylor looks piercingly at Zaius, more troubled than offended. + + TAYLOR + Why? From the first, I've terrified you, + Doctor. And in spite of every sign that + I'm an intelligent being who means no + harm, you continue to hate and fear me. + Why? + + ZAIUS + (calmly, + without rancor) + Because you are a man. And you were right + -- I have always known about man. From the + evidence, I believe his wisdom must walk + hand in hand with his idiocy. His emotions + must rule his brain. He must be a warlike + animal who gives battle to everything around + him -- even himself. + + TAYLOR + What evidence? No weapons were found in + the cave. + + ZAIUS + The Forbidden Zone was once a paradise. + Your breed made a desert of it, ages ago. + + TAYLOR + (he waits, + then wearily) + We're back at the beginning. I still don't + know the why. A planet where apes evolved + from men. A world turned wrong side up. + A puzzle with one piece missing. + + ZAIUS + (softly) + Don't look for it, Taylor. You may not + like what you find. + +B-389 WIDER ANGLE - TAYLOR AND THE GROUP + + Taylor shakes his head, still baffled, digs his heels into the horse's + flank. It canters off along the sandy shore. Zira, Cornelius and + Lucius sadly watch the departure. + + ZAIUS + Untie me! + + Cornelius moves quickly to remove the rope from Zaius' neck. Behind + them, the five mounted gorillas gallop forward. Zaius gets up, waves + them to a halt. + + ZAIUS + No, no! Let him go! + +C-389 MOVING SHOT - TAYLOR AND NOVA ON HORSEBACK + + Taylor looks back, sees that Zaius has stopped the mounted apes, slows + his horse to a trot, smiles at Nova. + +390- OUT +405 + +406 MED. SHOT - THE APES + + Zaius watches as Taylor's horse moves farther away along the beach. + Then he turns to an ape called MARCUS. + + ZAIUS + (quietly) + Fetch your explosives. We're going + to seal the cave. + + MARCUS + Yes, sir. + + He remounts his horse and rides o.s. + + CORNELIUS + (aghast) + Seal the cave? + + ZAIUS + That's correct. And you will both stand + trial for heresy. + + ZIRA + But the proof? The doll? + + ZAIUS + In a few minutes there will be no doll. + There can't be. + (honest regret) + I'm sorry. + + Cornelius throws himself at Zaius. + + CORNELIUS + You mustn't! You gave your 'word! + + Zaius looks emptily at one of his apes. + + ZAIUS + What I do, I do with no pleasure. Silence + him. + + A hairy hand is clapped over Cornelius' mouth. He is dragged off, + struggling, kicking. Julius, unafraid, glares at Zaius. + + LUCIUS + Dr. Zaius, this is inexcusable! Why must + knowledge stand still? What about the + future? + + Zaius looks benevolently at Julius. + + ZAIUS + I may just have saved it for you. + + Julius and Zira look at each other, befuddled. Once more their eyes + follow the retreating figures of Taylor and Nova. The beach separating + the water from the canyon becomes narrower as they move downstream. + + LUCIUS + What will he find out there, doctor? + +A-406 CLOSEUP - ZAIUS + + His face is A mask, his tone enigmatic. + + ZAIUS + His destiny. + +B-406 WIDER ANGLE - TIE APES P.O.V. + + A moment later, as they watch, Taylor and Nova vanish around the bend. + +407- OUT +408 + +409 EXT. PALISADE AND BEACH - LONG HIGH ANGLE SHOT - DAY + + Taylor and Nova are already far downstream. There is a striking change + in the terrain. The area is still desolate,but some vegetation can be + seen on the palisade above the narrow beach, and the river has widened + to form a vast tidal basin where it meets the sea. + + A NOTE ON PRODUCTION: If feasible at new location site, this scene + should be shot at high tide, so that the water laps at the base of the + cliffs, making a passage difficult and risky. + +410 CLOSER ANGLE - PANNING WITH TAYLOR AND NOVA ON HORSEBACK + + He is alert, sniffing the salt air, sizing up the situation. Hearing + the CRIES of birds, he reins in and looks' up. + +411 SKY SHOT - CIRCLING BIRDS + + Sea gulls are soaring overhead. + +412 TWO SHOT - TAYLOR AND NOVA ON HORSEBACK + + His expression is expectant, searching. Nova emits a whimper of + anticipation, pointing off. + +413 LONG SHOT - WHAT THEY SEE: + + A verdant forest atop a distant palisade. Their view of the beach below + the forest, is cut off by a rocky promontory in the middle distance. + +414 CLOSE SHOT - NOVA AND TAYLOR + + He smiles at her hopefully. + + TAYLOR + Yes, Nova -- I see it. + (looks again at + forest) + In my old profession green meant + safe. Green meant go. + + The horse moves off at a trot, CAMERA PANNING. But they have gone only + a short distance when they hear the distant THUNDER of an EXPLOSION. + Taylor reins in and looks back. + +415 VERY LONG SHOT - A CLOUD OF SMOKE + + A column of smoke and dust rises from the exploded cave far upstream. + +416 BACK TO TAYLOR AND NOVA + + Frowning with concern, Taylor gazes for a moment at the smoke, then + decides this is no time to linger. He digs his heels into the horse's + flanks and they move off at a canter, riding toward the promontory that + splits the beach. They are nearing the promontory that blocks their + view of the beach beyond. + +417- OUT +418 + +419 CLOSER ANGLE - TRACKING WITH TAYLOR AND NOVA. + + As they round the promontory, the tip of a strange rock formation comes + into view. it appears to be jutting from the sea. + +420 REACTION SHOT - TAYLOR + + He reins in momentarily, baffled by what he sees. Then he rides on. + +421 THE STRANGE FORMATION - AS SEEN BY TAYLOR + + An immense column juts from the beach at a thirty-degree angle. We can + now see that it is not rock, but metal. Green metallic tints show + through its gray salt-stained surface. As we draw closer, the object + takes on the appearance of a massive arm, its top shaped like a hand + holding a torch. + +422 REVERSE ANGLE - FAVORING TAYLOR + + Frowning with consternation. His horse proceeds at a slow walk. + +423 TRACKING WITH TAYLOR - WHAT HE SEES: + + Near the base of the column, where the shore and water meet, are a row + of metal spikes. From this angle they look like tank traps. + +A-423 CLOSER - TAYLOR + + Dumbfounded, he slides from his saddle, approaches the spikes. Nova + dismounts and follows him. + + TAYLOR + (a cry of agony) + My God! + + He falls to his knees, buries his head in his hands. CAMERA SLOWLY + DRAWS BACK AND UP to a HIGH ANGLE SHOT disclosing what Taylor has + found. Half-buried in the sand and washed by the waves is the Statue of + Liberty. + +424- OUT +451 + + FADE OUT + + + + THE END + + diff --git a/scripts/Raiders of the Lost Ark.txt b/scripts/Raiders of the Lost Ark.txt new file mode 100644 index 0000000000000000000000000000000000000000..dc697dd74ae1b5bb464950bd68e27852ff5caa09 --- /dev/null +++ b/scripts/Raiders of the Lost Ark.txt @@ -0,0 +1,5736 @@ + 1. + + + + FADE IN: + + +1 EXT. PERU - HIGH JUNGLE - DAY 1 + + The dense, lush rain forests of the eastern slopes of the + Andes, the place known as “The Eyebrow of the Jungle”. + Ragged, jutting canyon walls are half-hidden by the thick + mists. + + The MAIN TITLE is followed by this: + + PERU + + 1936 + + A narrow trail across the green face of the canyon. A group + of men make their way along it. At the head of the party is + an American, INDIANA JONES. He wears a short leather + jacket, a flapped holster, and a brimmed felt hat with a + weird feather stuck in the band. Behind him come two + Spanish Peruvians, SATIPO and BARRANCA. Bringing up the + rear are five Yagua INDIANS. They act as porters and are + wrangling the two heavily-packed llamas. The Indians become + increasingly nervous. They speak to each other in bursts of + Quechua. The American, who is known to his friends as Indy, + glances back at them. + + BARRANCA + (irritated) + They’re talking about the Curse + again! + + He turns and yells at the Indians in Quechua, his anger + giving an indication of his own fears. The party reaches a + break in the canyon wall and takes the trail through it. + + When they emerge, their destination is revealed to them in + the distance. Beyond a thick stand of trees is the + vegetation-enshrouded TEMPLE OF THE CHACHAPOYAN WARRIORS, + 2000 years old. + + The entire party is struck by the sight. The Indians, + terrified now, chatter away. Suddenly the three at the back + turn and run, dropping their packs as they go. Barranca + yells at the fleeing Indians and pulls his pistol out. He + starts to raise his arm to aim but Indy restrains it in a + muscular grip. + + INDY + No. + 2. + + + Barranca looks evilly at Indy’s hand upon him. Indy + releases him and smiles in a friendly way. + + INDY + We don’t need them. + + Satipo watches this confrontation with some concern. + + BARRANCA + I do not carry supplies. + + INDY + We’ll leave them. Once we’ve got + it, we’ll be able to reach the + plane by dusk. + + He turns back to the trail. Satipo gets the two remaining + Indians moving behind Indy. Satipo and Barranca then have a + fast, silent communication: Barranca indicates his desire + to slit Indy’s throat; Satipo gives him a look that says + “Be patient, you idiot” + + +2 EXT. THE APPROACH TO THE TEMPLE 2 + + The party fans out to fight their way through the entwined + trees that guard the temple. Visibility is cut to five feet + in the heavy mist. Satipo extracts a short, native dart + from a tree and examines the point gingerly. + + SATIPO + (showing Indy) + The Hovitos are near. The poison is + still fresh -- three days. They’re + following us, I tell you. + + INDY + If they knew we were here, they + would have killed us already. + + The two Indians jabber in Quechua, near hysteria. Barranca + is sweating profusely, eyes darting. He yells at the + Indians in Quechua to “shut up”. + + In the undergrowth, there is slithering movement. + + Indian #1 draws aside a branch and is face with a horrific + stone sculpture of a Chachapoyan demon. The Indian is so + frightened no sound comes out when he screams. He turns and + runs silently away. + 3. + + +Indian #2 calls to his friend. Getting no response, he +steps in that direction. A huge macaw, flushed from the +undergrowth, screams and flies away. Indian #2 does exactly +the same thing, never to be seen again. + +Indy, Satipo and Barranca, just clearing the trees, look +back in that direction. They all turn to face the Temple. + +It is dark and awesome. Vegatation curls from every +crevice, over each elaborate frieze. The entrance - round, +open and black - has been designed to look like open jaws. + + INDY + So this is where Forrestal cashed + in. + + SATIPO + A friend of yours? + + INDY + Competitor. He was good, very good. + + BARRANCA + (nervous) + No one has ever come out of there + alive. Why should we put our faith + in you? + +Indy takes the weird feather from the band of his hat. From +around its point, he slips a tightly rolled piece of +parchment. Barranca and Satipo exchange a quick “So that’s +where is was!” look. They all kneel as Indy spreads out the +parchment. On it is one-half of a crude floor plan of the +Temple. + + INDY + No one ever had what we have -- + partners. + +Indy fixes them with an expectant stare. Satipo produces a +similar, but folded, piece of parchment. He lays it - the +other half of the floorplan - next to Indy’s. They all +regard it for a moment, then Indy stands and walks toward +the Temple. Barranca’s eyes are shining as they dart +between the floorplan and Satipo. + + INDY + (back turned) + Assuming that pillar there marks + the corner and -- + 4. + + + Barranca is suddenly on his feet, quietly drawing his + pistol. He raises it toward Indy as Satipo realizes with + alarm what he’s doing. Too late. Indy’s head turns and he + sees Barranca. + + Indy’s next move is amazing, graceful and fast, yet totally + unhurried. + + His right hand slides up under the back of his leather + jacket and emerges grasping the handle of a neatly curled + bullwhip. With the same fluid move that brings Indy’s body + around to face the Peruvian, the whip uncoils to its full + ten foor length and flashes out. + + The fall of the whip (the unplaited strip at the end of the + lash) wraps itself around Barranca’s hand and pistol. He + could not drop the gun now if he tried. + + Indy gives the whip a short pull and Barranca’s arm is + jerked down, where it involuntarily discharges the gun into + the dirt. Barranca is amazed, but feels some slack in the + whip and immediately raises the gun toward Indy again, + cocking it with his free hand. + + Indy’s face goes hard. And sad. + + Indy sweeps his arm in a wide arc. Barranca spins around, + enclosed in the whip, his gun hand stuck tight against his + body. Indy gives one more short jerk on the whip handle and + Barranca’s gun fires. Barranca falls dead. + + Indy looks quickly at Satipo, who is shocked and + frightened. He raises his arms in supplication. + + SATIPO + I knew nothing! He was crazy! + Please! + + Indy looks him over, then nods. He frees the whip from + Barranca’s body and picks up the man. His eyes sweep the + surrounding woods. + + INDY + Let’s go. + + +3 INT. TEMPLE - INCLINED PASSAGE - DAY 3 + 5. + + + Indy and Satipo, carrying a torch, walk up the slightly + inclined, tubular passage from the main entrance. The + interior is wet and dark, hanging with plant life and + stalactites. Their echoing footsteps intermittently + overpower the sounds of loud dripping, whistling air drafts + and scampering claws. + + +4 INT. HALL OF SHADOWS 4 + + Indy leads the way down a twisting hallway, Satipo’s torch + barely lighting his way from behind. Indy disappears in a + shadow and when he reappears a moment later a huge black + tarantula is crawling up the back of his jacket. + + Indy doesn’t notice and disappears into another shadow, + emerging with two more tarantulas on his back. + + Satipo sees them and makes a frightened grunting sound. + Indy looks at him, sees what he’s pointing at and casually + brushes all three spiders off with his rolled whip, as he + would a fly. Satipo pirouettes for an inspection and Indy + flicks one off the Peruvian’s back. + + Indy begins picking up little pocket-sized artifacts from + the niches and ledges of the Temple. He continues to do + this as the men penetrate the Temple. His collecting is + quick and expert, evaluating the pieces in an instant, + discarding some, stuffing others into his clothes, and + never stopping his forward progress. + + +5 INT. CHAMBER OF LIGHT 5 + + The men reach an arch in the hall. The small chamber ahead, + which interrupts the hall, is brightly lit by a shaft of + sunlight from high above. Indy stops, looks it over. + + SATIPO + What’s wrong? Are you lost? + + Indy picks up a stick and throws it through the shaft of + light. Giant spikes spring together from the sides of the + chamber with a ferocious CLANG! And impaled on the spikes + are the remains of a white man, half-fleshed, half + skeleton, in explorer-type garb. Indy reaches out and takes + hold of the man’s carcass. As the spikes slowly retract, + Indy pulls it free and seats the remains gently on the + floor. + + INDY + Forrestal. + 6. + + + SATIPO + (gulps) + We can go no further. + + INDY + Now, Satipo, we don’t want to be + discouraged by every little thing. + + Indy steps sideways into the chamber. His back pressed + against the very points of the retracted spikes, he moves + along the edge of the light beam, and steps clear on the + other side. Satipo grimaces and begins sweating his way + through. + + +6 INT. STAIRWAY 6 + + Indy and Satipo come down stone stairs to a tight landing. + Framing the entry are a carefully strung network of dead + vines, each somehow hooked into the wall, narrowing the + opening even more. + + INDY + (taking the torch) + Let me see that. + + He lowers the torch to the floor of the landing. The + landing is carpeted with human skeletons, one on top of + another, all squashed flat as cardboard. Satipo gasps. Indy + looks up at the ceiling of the landing, then steps onto the + skeletons, which make a cracking noise under his feet. + + INDY + Try not to touch the vines. + + +7 INT. FOYER OF THE SANTUARY 7 + + The men are in a high, straight hallway 50 feet long. The + door at the end is flooded with sunlight. + + SATIPO + Senor, I think we are very close. + + Indy stands still looking at the hall. + + SATIPO + (impatient) + Let us hurry. There is nothing to + fear here. + + INDY + That’s what scares me. + 7. + + + They begin walking down the hall side by side. Satipo has + inched a little ahead. Suddenly his lead foot comes down + and through the floor! As Satipo beings to pitch forward, + Indy grabs him by the belt and pulls him back. They both + look down at the “floor”. + + Indy swings his whip across the floor. Fifteen feet of it + cuts open beneath the lash, falling away to reveal a black + pit as wide as the hall. The illusory floor was made of + dust-covered cobwebs. Satipo picks up a stone and drops it + down the pit. No sound. The two men exchange glances. Indy + looks up at the high roof of the hall. He swings the whip + up around a support beam, tests its strength with a pull + and swings over the pit on the whip. From the other side he + swings the whip back to Satipo, who throws Indy the torch. + Satipo swings across. + + When they are both standing on solid floor there is a + moment of quiet in which they hear, from far, far below -- + SPLASH! Indy wedges the whip handle into the wall and + leaves it strung to the beam for quick retreat. + + +8 INT. THE SANCTUARY 8 + + A large, domed room. Ten evenly-spaced skylights send their + shafts of sunlight down to a unique tiled floor: white and + black tiles laid out in a lovely, intricate pattern. Indy + and Satipo stand at the door and look across the wide room + at the alter. There, in the supreme hallowed spot, is a + tiny jeweled figurine, Indy’s real objective. + + Two torches, many years old, are in holders by the door. + Indy takes one down and lights it. He gives the regular + torch to Satipo. + + SATIPO + There’s plenty of light, amigo. + + Indy kneels and uses the unit end of the torch to reach out + and tap a white tile. It is solid. He taps a black tile. + There is a whizzing sound and a tiny dart sticks in the + torch. Satipo points to the wall nearby: there is a + recessed hole there. + + SATIPO + From that hole! + + Indy nods, stands and looks around the sanctuary. The + entire room is honey-combed with the same kind of hole. + Satipo sees it too and is properly impressed. + + INDY + 8. + + + You wait here. + + SATIPO + If you insist, senor. + + Torch in hand, Indy beings his careful walk across the + sanctuary. Stepping only on the white tiles, he almost + appears to be doing a martial arts kata. Before each big + move he waves the torch in front of him head to toe, + looking at the flame. Halfway out, he sees something on the + floor and kneels to look at it. + + A dead bird lies on one of the white tiles. Its body is + riddled with little deadly darts. + + This has great significance to Indy and he stands with even + greater caution. He waves the torch ahead of him and at + waist height an air current whips at the flame. Indy ducks + under it and leaves a burn mark on the white tile beneath + it. + + Satipo watches, wide-eyed and mystified. + + Indy reaches the alter. The tiny idol looks both fierce and + beautiful. It rests on a pedestal of polished stone. Indy + looks the whole set-up over very carefully. From his jacket + he takes a small, canvas drawstring bag. He begins filling + it with dirt from around the case of the alter. When he has + created a weight that he thinks approximates the weight of + the idol, he bounces it a couple times in his palm + concentrating. It’s clear he wants to replace the idol with + the bag as smoothly as possible. His hand seems ready to do + that once, when he stops, takes a breath and loosens his + shoulder muscles. Now he sets himself again. And makes the + switch! The idol is now in his hand, the bag on the + pedestal. For a long moment it sits there, then the + polished stone beneath the bag drops five inches. This sets + off an AURAL CHAIN REACTION of steadily increasing volume + as some huge mysterious mechanism rumbles into action deep + in the temple. + + Indy spins and starts his kata back across the sanctuary at + four times the speed. + + +9 INT. THE SANCTUARY - THE RETREAT - INTER CUTTING INDY AND 9 + SATIPO + + The sanctuary has begun to rumble and shake in response to + the mysterious mechanism. Just as Indy goes out the door, a + rock shakes loose from the wall and rolls onto the tile’s + floor. Immediately, a noisy torrent of poison darts fills + the room. + 9. + + +IN THE FOYER, Satipo swings acorss the pit. He makes it +just as the whip comes undone from the beam, leaving Indy +without an escape. Satipo, extremely nervous, regards the +whip a moment then turns back to face Indy, who has run up +to the far side of the pit. + + SATIPO + No time to argue. Throw me the + idol, I throw you the whip. + +Indy hesitates, eyeing the rumbling walls. + + SATIPO + You have no choice! Hurry! + +Indy concurs with that assessment. He tosses the idol +across the pit to Satipo. Satipo stuffs it in the front +pocket of his jacket, gives Indy a look, then drops the +whip on the floor and runs. + + SATIPO + Adios, amigo! + +Indy grimaces. He had a feeling this might happen. He looks +around. + +AT THE VINED LANDING, Satipo flies through like a chubby +ballet dancer and takes the steps five at a time. + +IN THE FOYER, Indy runs in full stride to the edge of the +pit and broad jumps into space. He doesn’t make it. His +body hits the far side of the pit and he begins to slide +out of view. Only wild clawing with his fingers at the edge +of the pit stops his descent. With just the tips of his +fingers over the edge, he begins pulling himself up. + +AT THE CHAMBER OF LIGHT, Satipo has slowed down. He begins +to edge carefully around the light shaft. + +AT THE VINED LANDING, Indy sails through sideways and rolls +to stop at the bottom of the steps. His whip is grasped in +his hand. As he raises himself, he hears, from above the +giant spikes of the Chamber of Light CLANG! And an abrupt, +sickening rendition of SATIPO’S LAST SCREAM. Indy runs up +the steps. The rumbling sound grows louder. + +AT THE CHAMBER OF LIGHT, Indy slides to a stop. The spikes +have retracted, taking Satipo’s body to one side. Indy +edges into the chamber with his back to the shaft of light. +Soon he is face to face with the dead Satipo; spikes +protrude from several vital spots in the Peruvian’s body. +Indy removes the idol from Satipo’s pocket and moves +quickly out the other side. + 10. + + + INDY + Adios. + + +10 INT. THE INCLINED PASSAGE 10 + + Indy shoots out of a cut-off hallway and turns toward the + exit. The rumbling is very loud and now we see why: right + behind Indy a huge boulder comes roaring around a corner of + the passage, perfectly form-fitted to the passageway. It + obliterates everything before it, sending the stalactites + shooting ahead like missiles. Indy dashes for the light of + the exit. His hat flies off his head. Almost immediately it + is crushed by the boulder. Indy dives out the end of the + passage as the boulder slams to a perfect fit at the + entrance, sealing the Temple. + + +11 EXT. FRONT OF THE TEMPLE - DAY 11 + + Indy lies on the ground, gasping for air. A shadow falls + across him and he looks up. + + WHAT HE SEES. Looming above him are three figures. Two are + HOVITOS WARRIORS in full battle paint and loin cloths. They + carry long blow guns. But the man in the center draws + Indy’s attention. He is a tall, impressive white man, + dressed in a full safari outfit including pith helmet. His + name is EMILE BELLOQ. His face is thin, powerful; his eyes + hypnotic; his smile charming, yet lethal. His heavily + French-accented speech is deep, mellifluous, wonderful. + Back beyond Belloq and his two escorts, thirty more Hovitos + Warriors hover at the edge of the trees. + + BELLOQ + Dr. Jones, you choose the wrong + friends. This time it will cost + you. + + Belloq extends his hand. Indy looks at it, then produces + the idol and hands it to Belloq. Belloq extends his other + hand, smiling. Indy hands over his gun. Belloq sticks it in + his jacket. + + BELLOQ + And you thought I’d given up. + + INDY + (eyeing the Hovitos) + Too bad they don’t know you like I + do, Belloq. + + BELLOQ + 11. + + + (smiles) + Yes, too bad. You could warn them - + - if only you spoke Hovitos. + + With that, Belloq turns dramatically and holds the idol + high for all the Hovitos to see and says something in + Hovitos. There is a murmur of recognition and all the + Indians, including Belloq’s escorts, prostrate themselves + upon the ground, heads down. + + Indy is immediately up and running toward the edge of the + clearing. + + BELLOQ + (in Hovitos) + Kill him! + + AT THE EDGE OF THE CLEARING, Indy disappears into the + foliage. An instant later, the leaves are peppered with a + rain of poison darts and spears. + + +12 EXT. THE JUNGLE - INDY’S RUN - VARIOUS SPOTS - DAY 12 + + Indy runs like hell through steadily falling terrain. And + always close behind, a swift gang of angry Hovitos. + Occasionally they get close enough to send a dart or spear + whizzing past Indy’s head. + + +13 EXT. THE URUBAMBA RIVER - DUSK 13 + + An amphibian plane sits in the water beneath a green cliff. + Sitting on the wing is JOCK, the British pilot. Indy breaks + out of some distant brush and runs along the path at the + top of the cliff. + + INDY + (yelling) + Get it going! Get it going! + + Jock hops in and fires up the plane’s engines. Indy reaches + a spot on the cliff above the place, glances back, then + jumps into the river. He comes up, swims to the plane and + grabs a strut. + + INDY + GO! + + Jock starts the plane moving across the water as Indy walks + across the wing and falls into the passenger compartment. + 12. + + +14 INT. JOCK’S PLANE - DUSK 14 + + Indy relaxes and lies across the seat, a big smile on his + face. One hand drops to the floor of the cabin and Indy + jumps, hitting his head. On the floor of the cabin is a + huge boa constrictor. Indy tries to get his whole body onto + the seat. Jock sees what’s happening. + + JOCK + Don’t mind him. That’s Reggie. + Wouldn’t hurt a soul. + + INDY + I can’t stand snakes. + + JOCK + The world’s full of them, you know. + + INDY + I hate them. + + JOCK + Come on now, Sport. Show a little + of the old backbone. + + +15 EXT. JOCK’S PLANE - TWILIGHT 15 + + It soars off over the dark jungle. + + +16 INT. INDY’S OFFICE, SMALL EASTERN COLLEGE - DAY 16 + + It’s autumn and the pretty, New England campus out Indy’s + window reflects it in dazzling color. A few weeks before + the start of classes. Activity just picking up. Some + students about. + + Indy is at a bookcase near the window and he looks quite + different in this setting. His outfit is tweedy, slightly + rumpled in the professional style. Part of his attention is + focused in a book and he wears glasses to see the fine + print. The office is cramped, absolutely inundated with + books, maps, etchings and archaeological artifacts. In + fact, the only neat spot in the room right now is Indy’s + desk, which has been cleared off expressly for the benefit + of-- + 13. + + +MARCUS BRODY, the Curator of the National Museum in +Washington D.C. Brody is examining the small artifacts Indy +pocketed on his way into the Peruvian Temple. He +occasionally uses a jeweler's eyepiece to get a closer +look. But he is distracted, his concerns elsewhere, and it +is this that his old friend Indy senses from across the +room. + + BRODY + Do you think the idol will ever + show up? + + INDY + I don’t know. Just because Belloq + had it doesn’t mean he kept it. + +Indy snaps the book closed and puts it on the shelf. He +takes his glasses off and focuses on Brody. At the windowed +door to his office, two pretty COEDS pause for a moment, +look in at their sexy Archeology professor, giggle and +disappear. + + INDY + Getting it away from those Indians + would be a neat trick. + (a hard look) + I hope they got him. + +A young male graduate student, Indy’s TEACHING ASSISTANT, +taps on the door and then pushes his way in with an arm- +load of reference books. Indy helps him find a spot for +them. + + TEACHING ASSISTANT + I couldn’t get the McNabe, + Professor. Someone’s got it checked + out ‘till next month when classes + start. + + INDY + That’s all right, Phil. Thanks a + lot. + + TEACHING ASSISTANT + (eager to please) + Will there be anything else? + + INDY + No. I’ll see you Thursday. + +The Teaching Assistant leaves. Brody is scowling as he +examines the last of the artifacts. + 14. + + + INDY + Hey, if you don’t like them, I can + always return them. + + BRODY + No, they’re beautiful. The Museum + will buy them as usual. No + questions asked. + + INDY + Then what’s wrong? + + BRODY + I brought along some people today. + + INDY + What kind of people? + + BRODY + Government. + + INDY + (concerned) + Government? + + BRODY + Don’t worry, it’s not about your + business. + (indicates the artifacts) + They’re from the Army. + + INDY + I’ve already served. + + BRODY + Army Intelligence. They’re looking + for Abner. + + +17 INT. INDY’S LECTURE HALL - CLASSROOM - DAY 17 + + Indy’s course - a combination of archaeology and + anthropology - is taught in this amphitheater-type lecture + hall. His desk and lectern hold large reference books; + blackboards line the wall. Bones, maps, charts fasten on + the walls. + + Indy leans against his desk talking with Brody and two + uniformed Army officers, COLONEL MUSGROVE and MAJOR EATON, + who are situated around the first seats in the classroom. + + MUSGROVE + 15. + + + -- but you did study under + Professor Ravenwood at the + University of Chicago? + + INDY + (nods) + We haven’t spoken in ten years. I’m + afraid we had a bit of a falling + out. + + EATON + You know nothing of his + whereabouts? + + INDY + (negative) + Just rumors. Somewhere in Asia, + last I heard. + +Musgrove and Eaton exchange a look; they’re disappointed. + + EATON + (to Musgrove) + Maybe Dr. Jones can make sense of + it. + +Again, the military men have a silent communication, +deciding what to reveal. + + MUSGROVE + Well -- you must understand, Dr. + Jones, this is all strictly + confidential. + + INDY + I understand. + + MUSGROVE + Yesterday, one of our European + sections intercepted a Nazi + communique from Cairo to Berlin. We + don’t quite know what to make of + it. + +Musgrove takes a sheet from his briefcase. + + MUSGROVE + Here it is - “Tanis development + proceeding. Acquire headpiece, + Staff of Ra, General Tengtu Hok, + Shanghai. Locate Abner Ravenwood, + U.S.” + 16. + + +Brody is excited. He looks at Indy. + + BRODY + Tanis. They must have discovered + the lost ruins. + +Indy contemplates this big news; he’s impressed. + + INDY + (to himself) + Tanis. Ain’t that somethin’! + + EATON + Frankly, we’re a little suspicious + -- An American being mentioned so + prominently in a secret Nazi cable. + + INDY + Ah, Ravenwood’s no Nazi. + + EATON + Then what do they want him for? + + INDY + They’re looking for the headpiece + to the Staff of Ra. + + MUSGROVE + (indicates his sheet) + But it says here that’s in China. + + INDY + Only half of it. Ravenwood had the + other half. + + EATON + What would the Nazis want with this + - this Staff of Ra? + + BRODY + I can tell you that. Over the last + two years the Nazis have had teams + of archaeologists running around + the world looking for all kinds of + religious artifacts. + + MUSGROVE + That’s right. Hitler’s a nut on the + subject. Crazy. He’s obsessed with + the occult. + + EATON + What is this Staff of Ra, anyway? + 17. + + + INDY + It all has to do with the Ark of + the Covenant. + (the Army guys look + mystified) + The chest the Hebrews used to carry + around the Ten Commandments. + +Now it’s the Army men who are impressed. + + INDY + An Egyptian pharaoh stole the Ark + from Jerusalem and took it back to + the city of Tanis. A short time + later, Tanis was consumed by the + desert in a sandstorm that lasted a + year. + + INDY + But before that, the Pharaoh had + the Ark hidden away in a secret + chamber called the Well of the + Souls. Which is where the Staff of + Ra comes in. + +Indy moves to the blackboard and makes a quick sketch to +give a rough idea of the system as he describes it. (And we +get a glimpse of what an interesting and enthusiastic +teacher he must be) + + INDY + Now this was rather clever. The + Staff was really just a big stick - + - oh, I don’t know, say like this - + - + (he indicates about six + feet) + -- no one really knows for sure. + Anyway, it was capped by an + elaborate headpiece with a carving + of the sun at the top. What you had + to do was take the Staff to a + special room in Tanis -- it had the + whole city laid out in miniature on + the floor. When you placed the + Staff in a certain spot in the + room, at a certain time of day, the + sun would shine through a hole here + in the headpiece and then send a + beam of light down here -- to the + map -- giving you the location of + the Well of the Souls -- + 18. + + + MUSGROVE + -- where the Ark of the Covenant + was kept. + + INDY + (nods) + Which is probably what the Nazis + are after. + + EATON + What’s this Ark look like? + + INDY + Look like? Why, it’s right here -- + +Indy pulls a big format book from the stack on his lectern +and flips through the pages until he finds a large color +print. The other men gather to look. + +THE PRINT fills the screen. + +It shows a Biblical battle. The Israelite Army is +vanquishing an opposition force. At the forefront of the +Israelite ranks, two men carry the Ark of the Covenant, a +beautiful gold chest, crowned by two sculptured gold +angels. The men do not touch the Ark itself; rather they +carry it by use of two long wooden poles which pass through +rings in the corners of the Ark. The painting is very +dramatic, full of smoke, tumult and sinewy dying men. But +the most astonishing thing in the picture is the brilliant +jet of white light and flame issuing from the wings of the +angels. It pierces deep into the ranks of the retreating +enemy, wrecking devastation and terror. + + EATON + Good God! + + INDY + Yes. That’s what the Hebrews + thought. + + MUSGROVE + What’s that supposed to be coming + out of there? + + INDY + Who knows -- lightning -- fire -- + the power of God. + + EATON + I’m beginning to understand + Hitler’s interest in this thing. + 19. + + + INDY + Oh yes. The Bible tells of it + leveling mountains and wasting + entire regions. Moses promised that + when the Ark was with you, “your + enemies will be scattered and your + foes fell before you”. + (pause) + An army which carries the Ark + before it is invincible. + + Eaton and Musgrove exchange worried looks. + + INDY + Oh, there’s one other thing that + Hitler undoubtedly believes about + the Ark -- + (a long, pregnant pause) + It’s said that the Lost Ark will be + recovered at the time of the coming + of the True Messiah. + + MUSGROVE + Dr. Jones, you’ve been very + helpful. I hope we can call on you + again if we have questions. + + INDY + Most certainly. + + Brody and Indy exchange a look as they all shake and Brody + starts to leave with the Army men. + + +18 EXT. FRONT DOOR - INDY’S HOUSE - NIGHT 18 + + Indy’s English Tudor, upper middle class home. Quite toney; + well beyond the financial reach of an honest college + professor. Marcy Brody has already rung the bell. Indy + opens the door. He is dressed in a tuxedo. + + BRODY + I’ve got to talk to you. + + INDY + This isn’t really a good time. + + BRODY + Indy, it’s important. + + INDY + All right. Come on in. + 20. + + +19 INT. FOYER - INDY’S HOUSE 19 + + The lush tone continues here in Art Deco and shiny marble. + Indy motions Brody toward the study to one side. + + INDY + I’ll be in in a moment. + + As Brody passes the entrance to the expansive living room, + he spots a beautiful, silk-gowned Harlow-type lounging on + the sofa in front of a roaring fire. She is sipping + champagne. + + +20 INT. STUDY - INDY’S HOUSE 20 + + Brody enters the book-lined, dark-wooded study. He paces + for a moment before the fire which is dying in the + fireplace, then spots something and goes over to Indy’s big + desk. The surface is covered with open books, monographs, + maps and drawings - all about the Ark of the Covenant. + Brody smiles; he knows his friend very well. + + Indy comes in, closing the door behind him. Brody turns to + him with a triumphant expression. + + BRODY + They want you to go for it. And + they’ll pay. + + INDY + (smiles) + Good work, Marcus. I had a feeling + this would happen. And, of course, + the Museum gets the Ark when we’re + done. + + BRODY + (smiles) + Of course. + + Indy’s manner is vigorous, aggressive. + + INDY + Okay, here’s the way it’s gonna be. + First, I’ll high-tail it to + Shanghai and get the piece from + General Hok. Then I think I know + where I can find Ravenwood. If only + I can get -- + + BRODY + 21. + + + General Hok’s a tough customer. + They don’t call him the Wild Boar + for nothing. And he’s tied in with + the Japanese. + + INDY + I’ll worry about that when the time + comes. My only hope is to find the + Well of the Souls before the Nazis + do. + + WIPE TO: + + +21 EXT. IN THE AIR - DAY - NIGHT 21 + + A Pan Am Clipper flies west over the Pacific. + + WIPE TO: + + +22 INT. KEHOE’S CAR - SHANGHAI AIRPORT - DAY 22 + + Indy is barely into the front seat of a dilapidated Ford as + the driver, BUZZ KEHOE, is peeling out into traffic. + + In the back seat is a Chinese named BANG CHOW. Kehoe zings + crazily through traffic with only his left hand as he + reaches over to shake with Indy. + + KEHOE + Buzz Kehoe, Army Intelligence. + You’ve met Bang Chow. + + INDY + What’s the hurry? + + KEHOE + Some German agents got here two + hours ago. Luckily, Bang was able + to have them detained at Customs. + We’ll have to hurry. + + +23 EXT. HOK’S STREET - DAY 23 + + Kehoe’s car emerges from an alley. Down the block is Tengtu + Hok’s modest, walled palace. Kehoe’s car slows a bit and + Bang steps from the moving car with a small black suitcase + in his hand. While he heads down the street toward Hok’s + place, Kehoe’s car continues across the street and into an + alley on the other side. + 22. + + +24 EXT. HOK’S STREET - IN FRONT OF THE PALACE - DAY 24 + + A Mercedes limousine appears round a corner and squeals to + a stop at the front gate of the palace, which is manned by + a sturdy Chinese Gateman. There are three Germans inside, + one the driver. + + +25 EXT. ALLEY BEHIND HOK’S MUSEUM - DAY 25 + + Kehoe, alone now, pushes a trash container casually into a + position to hide a newly created hole in the rear wall of + Hok’s Museum where several stone blocks have been removed. + He looks around and ambles back to the car. + + +26 INT. HOK’S PALACE - ENTRY HALL 26 + + The three Germans wait impatiently in a magnificent foyer. + A chime sounds and huge double doors open to reveal TENGTU + HOK, flanked by two uniformed Japanese Soldiers and a roved + Chinese Advisor. He wears a fantastic gold ornamental robe. + Despite the majesty, however, nothing can disguise the fact + that Hok is basically a wild, fat barbarian; an animal. Hok + and his escort group bow in what is the beginning of a long + welcoming ceremony. The Germans exchange impatient glances + but decide they should play it as it comes. They bow. + + +27 INT. HOK’S MUSEUM 27 + + No person in sight. Instead, we see a magnificent display + of ancient artifacts. Glass cases hold the velvet-couched + pieces at random spots on the shining marble floor. We hear + an odd sound. Near the floor on the rear wall of the + museum, a steel ventilation grate moves. A hand slides it + gently across the marble. Indy sticks his head out and + looks around. + + +28 INT. HOK’S PALACE - TEA ROOM 28 + + The three Germans are being served tea and exotic + delicacies. A pleased Tengtu Hok watches from a throne- + cushion. When the tray of tiny delicacies is presented to + him, he takes a massive handful, crushing them together on + their way to his smiling mouth. + + +29 INT. HOK’S MUSEUM 29 + 23. + + + A huge golden gong, seven feet in diameter, is suspended + from the ceiling by a hook. An enormous hammer hangs poised + above it, from which emanate myraid tiny threads which run + up and across the ceiling, then down to the various display + cases. Indy looks up at the gong, then continues his quick, + quiet foray among the cases. Beyond him, a high window. + + +30 INT. HOK’S PALACE - TEA ROOM 30 + + Hok and his visitors stand to go. The Germans’ pleased + expressions make it clear they’re finally on their way to + the museum. + + +31 INT. HOK’S MUSEUM 31 + + Indy arrives at his destination. The lovely, carved gold + section of the headpiece is nested on purple velvet in a + glass case. At the bottom of the piece is a round hollow + where the staff would fit. There is a grunting sound behind + Indy and he spins, already reaching for his revolver. + + A fierce Japanese Samurai is running at Indy full speed + down an aisle of display cases. His sword is raised over + his shoulder ready to cut Indy in half. He’s six feet away + when Indy’s gun levels and fires twice, blasting him + backwards. Indy is still looking over his gun when another + samurai sword comes down from the side and knocks the + pistol brutally out of Indy’s grip; his hand avoids + amputation by a quarter of an inch. + + An amazed Indy backs away from the crossing aisle as the + Second Samurai steps in to face him, sword raised. Indy + backs away into an open space and his bullwhip appears in + his hand. He gives it one savage CRACK! to announce its + arrival and the Samurai slows down, eyeing it curiously. + The Samurai does not look unhappy about this confrontation. + How pure it is - The Sword versus The Whip. + + +32 EXT. HOK’S PALACE - SECOND FLOOR WALKWAY - DAY 32 + + Tengtu Hok and the Germans have obviously heard something. + They are hurrying along the walkway at the side of the + building, Hok in the lead. Up ahead is the foot bridge + which crosses from the palace to the museum entrance over a + moat. + + +33 EXT. STREET IN FRONT OF THE PALACE - DAY 33 + + The lovely Mercedes limousine blows up. + 24. + + +34 EXT. HOK’S PALACE - SECOND FLOOR WALKWAY - DAY 34 + + The Germans spin toward the blast. Drawing weapons, they + run back to investigate. Hok follows them, confused. + + +35 INT. HOK’S MUSEUM 35 + + Indy and the Samurai face each other. They’re both + breathing hard from previous, no-contact passes at each + other. Now Indy begins swinging the whip over his head + again. It whizzes out toward the Samurai’s face. The + Samurai take two lightning-quick cuts at the leather, but + misses. + + Indy swings for the Samurai’s feet; the Samurai jumps + nimbly, slashing at the whip. Indy does it gain. The + Samurai hops it. Once more. The Samurai is concentrating on + hopping it. + + Indy sees it. The split second he wants. The whip flashes + up from the floor and wraps solidly and irrevocably around + the Samurai’s neck. Indy gives it a murderous pull and the + Samurai is dead on his feet. + + +36 EXT. HOK’S PALACE - SECOND FLOOR WALKWAY - DAY 36 + + Hok and the three Germans are looking down at the flaming + remains of the Mercedes. A look of concern crosses Hok’s + face. He turns and runs back toward his beloved museum. + + +37 INT. HOK’S MUSEUM 37 + + Indy is at the case containing the headpiece. He smashes + the glass with a samurai sword, reaches in and grabs the + piece. Immediately, behind him, the huge hammer falls and + the sound of the gong thunders through the museum. + + +38 EXT. HOK’S PALACE - SECOND FLOOR WALKWAY - DAY 38 + + At the sound of the gong, the running Hok skids to a halt + with a crazed expression on his face. He disappears for two + seconds in an alcove and emerges holding a big, black + Thompson Submachine Gun. He runs across the foot bridge and + is just barely over it when it blows up. Hok, safe, looks + behind him in amazement and then turns to the museum. + + +39 INT. HOK’S MUSEUM 39 + 25. + + + The double doors at the entrance slam open to reveal Hok. + + Indy is halfway along an unprotected wall back to his + ventilation entry route. Hok opens up on him, cutting off + his retreat. Indy jumps behind a marble column, which is + promptly blasted with machine gun fire. + + Indy looks above him, sees the giant disk of the gong. + Reaching up, pushing with tremendous effort, he maneuvers + it off the hook. It bounces to the floor on its side, + chipping the marble with its monstrous weight. Indy + steadies it and then puts his whole body into rolling it + across the room toward the window. As it starts to roll, + Indy slips behind it and runs across the room with it. + + Hok can see the rolling gong. He opens up on it. The + vicious cacophony of machine gun fire is joined by the + musical reports of bullets hitting the gong and ricocheting + away. Very, very noisy. + + Behind the gong, Indy gauges his move. As the gong is about + to be stopped by a marble bench, Indy takes a long stride + onto a bench and dives through the glass of the high + window. Hok’s bullets hit the wall. + + +40 EXT. ROOF - DAY 40 + + Indy lands in a shower of glass on the jutting roof of the + museum’s first floor. He rolls to a crouch and is + immediately being fired upon. The Germans, cut off from the + museum, are standing on the palace walkway firing at him. + Indy takes off fast for the rear of the museum. + + +41 EXT. ALLEY BEHIND HOK’S MUSEUM - DAY 41 + + Kehoe, craning to locate Indy, has the Ford rolling slowly + along the back of the museum. Bang scouts from the back + seat. Indy appears on the roof at a run, gauges the + movement of the car and jumps from the roof of the museum + to the roof of the sedan. Unfortunately, the roof of the + old car can’t take it and Indy’s legs knife right on + through to the interior, where he scares the hell out of + Kehoe. + + +42 INT. KEHOE’S CAR - DAY 42 + + Indy squirms his way down into the front seat. + + KEHOE + Jesus! Are you all right? + 26. + + + INDY + (he’s felt better) + Great. Got it. + + Kehoe guns it, throwing Indy back against the cushions. + + KEHOE + What now? + + INDY + I’ve got to get to Nepal. + + WIPE TO: + + +43 EXT. DC-3 IN THE AIR - DUSK 43 + + The plane flies west into the sunset. + + +44 INT. DC-3 - NIGHT 44 + + Under a meager seat light, Indy is pouring over a journal + article by Abner Ravenwood and a related map of Nepal. + + A few rows back, across the aisle, a trench coated European + Spy eyes Indy. + + WIPE TO: + + +45 INT. “THE RAVEN” SALOON - PATAN - NEPAL - NIGHT 45 + + A huge stuffed raven, wings spread wide, is mounted behind + the long bar in the noisy, crowded saloon. A lively mix of + patrons is represented in the late hour tableau: Nepalese + natives, fierce Sherpa mountain guides, sleazy + international smugglers and fugitives, and, of course, + mountain climbers from every corner of the earth. A tall + Nepalese, MAHDLO, is the bartender. + + In a corner near the fireplace trouble breaks out suddenly + between the groups at two neighboring tables. Ferocious + representatives from each table, one a wild-looking SHERPA, + the other a muscular Australian CLIMBER, jump up to face + each other. As the two contenders stand posed for action, + their representative supporters shift in their places, + fondling lethal ice axes and clubs. + + SHERPA + Gmoiska! Shurga rintoik! + + CLIMBER + 27. + + + Aye! That’ll be your last word. + +The bar has quieted ominously and so we hear with startling +clarity when a door behind the bar slams open with a huge +BANG! and some Presence, too small to be seen as it moves +through the forest of towering patrons, makes a beeline for +the troubled corner of the bar. A path clears for it. + +The Sherpa and the Climber are about to kill each other +when the Presence arrives directly between them: she is +MARION RAVENWOOD, twenty-five years old, beautiful, if a +bit hard-looking. At this moment, however, that look does +not hurt. She is not intimidated by the combatants; she +jabs accusatory fingers into their chests. She is angry as +hell. The patrons shrink under her gaze. + + MARION + That does it! I’ve been patient + with you no-goods long enough. I’m + not open at 2 o’clock for myself, + you know. It’s all for you. And how + do you repay me: Trouble and noise + and blood on my floor! I won’t have + it. Everybody out! Out! Out! We’re + closed. Closed! Do your killing + outside! And don’t leave any bodies + on the porch! + +The place clears quickly. Stragglers and grumblers are +given special attention by Marion and Mahdlo, who has come +from behind the bar carrying a big axe handle. Mahdlo herds +the crowd out the front door as Marion turns and walks +behind the bar. + +A scowl on her lovely face, she has just begun clearing the +bar of glasses when she notices one remaining Patron +huddled over a glass at the far end of the bar. Grimacing +in exasperation, she heads that way like a locomotive. + + MARION + Hey you, deaf one! I said out of + place. I don’t meant next Easter, I + mean now -- + +She is almost on him when Indy looks up smiling. Marion +stops, stares, shocked. + + INDY + Hello, Marion. + +She hits him with a solid right to the jaw, knocking him +off the bar stool on the floor. He rubs his jaw and smiles +up at her. + 28. + + + INDY + Nice to see you, too. + + MARION + Get up and get out. + + INDY + (getting up) + Take it easy. I’m looking for your + father. + + MARION + (bitterly) + Well you’re two years too late. + +Indy’s attitude changes instantly. This is sad news. He is +silent for a long time. Mahdlo comes in the front door and +hurries forward when he sees Indy with Marion. He looks to +her for guidance, but she stays him with a gesture. + + MARION + Go home, Mahdlo. I’ll see you + tomorrow. + +Mahdlo is hesitant, but lays the axe handle on the bar and +goes out. Indy has been barely aware of him. Now he settles +again on the bar stool. Marion has a vindictive look. +She’ll let him stay, but she wants to inflict as much pain +as possible. + + INDY + What happened? + + MARION + Avalanche. Up there. He was + digging. What else? He spent his + whole life digging. Dragging me all + over this rotten earth. For what? + + INDY + Did you find him? + + MARION + Hell no. He’s buried where he was + working. Probably preserved real + good, too. In the snow. + +Suddenly the hardness cracks. She is on the verge of tears +and does not want him to see them. She turns away and takes +a whiskey bottle from the shelf, then turns back to pour +herself a drink. + + INDY + 29. + + + Not a bad way to go. Doing what he + loved. + + MARION + (vitriolic) + Don’t give me that stuff! + + MARION + What do you know? + (she takes a drink) + I’m the one that was left in a bad + way. He didn’t have a penny. Guess + how I lived, Mister Jones. I worked + here. And I wasn’t the bartender. + (another swallow) + Finally the guy that owned the + joint went crazy. Snow crazy. They + took him away screaming. As they + dragged him out, he said the place + was all mine for life. + +She looks around the saloon. + + MARION + Can you imagine a more evil curse? + (pause) + So far, it’s working. + + INDY + Why not leave? Go back to the + States. + + MARION + I’ll go back. I’ll get there. Not + that there’s a soul there who knows + my name of cares. But I’ll go. And + when I do, they’ll know me. ‘Cause + I’m going to go back in style. With + money. A goddamn lady! + + INDY + Where you gonna get it? + + MARION + If I knew that, you think I’d still + be running this dive? + +Indy looks at her, thinking. Under his gaze, she blushes, +for reasons only she understands. She looks into her glass +and, for a moment, she softens. + + MARION + 30. + + + I’ll tell you something, Indy. I’ve + learned to hate you in the last ten + years. But somehow, no matter how + much I hated you, I always knew + that someday you’d come through + that door. I never doubted that. + Something made it inevitable. + (hopefully) + Why are you here -- now -- tonight? + +Indy takes a long time to answer. + + INDY + I need one of the pieces your + father collected. + +Marion’s eyes go icy. She swings at him again with her +right, but this time he catches her at the wrist. Then he +stops her left, which she has brought up to slap him. + + MARION + You son-of-a-bitch! You know what + you did to me, to my life? This is + your handiwork. + + INDY + I never meant to hurt you. + + MARION + I was a child! + + INDY + You knew what you were doing. + + MARION + I was in love. + + INDY + I guess that depends on your + definition. + + MARION + It was wrong. You knew it. + +Indy releases her arms. + + INDY + Look, I did what I did. I don’t + expect you to be happy about it. + But maybe we can do each other some + good. + + MARION + 31. + + + Why start now? + + INDY + Shut up and listen for a second. I + want that piece your father had. + I’ve got money. + +That stops her. + + MARION + How much? + + INDY + Enough to get you back to the + States. Where are his things? + + MARION + Gone. I sold it all. It was all + junk. The junk he wasted his life + on. + + INDY + Everything? + +Marion nods. + + INDY + (giving up) + That’s too bad. + +Indy feels tired, defeated. Marion is pleased. + + MARION + You look disappointed. I like that. + How’s it feel? + +Indy has to smile at her glee. + + MARION + (nods at his empty glass) + What are you drinking? + + INDY + Seltzer. + + MARION + (refilling his glass) + Real man’s drink. Me, I like + scotch. And I like bourbon. And + vodka and gin. I’m not much for + brandy. I’m off that. + +She pours herself another as Indy watches, amused. + 32. + + + INDY + You’re a tough broad now, aren’t + you? + + MARION + It’s no act, pal. This ain’t + Schenectady. + + INDY + I can only say I’m sorry so many + times. + +Marion looks at him thoughtfully, takes a drink. + + MARION + You really have money? You don’t + look rich. + (Indy nods) + I may be able to locate some of his + things. I know who’s got them. What + do you want? + + INDY + A bronze piece, about this size. In + the shape of the sun. Probably + broken off at the bottom. Has a + little hole in it, off-center. Does + that sound familiar. + +Marion thinks, nods slowly. + + INDY + Do you know where it is? + + MARION + Maybe. How much? + + INDY + Three thousand. American. + + MARION + (negative) + That’ll get me back, but not in + style. This doodad must be pretty + important. + + INDY + Maybe. + +A huge smile lights up Marion’s face. + + MARION + 33. + + + I knew it would happen eventually. + I knew it. Something had to go my + way. + (pours herself another + drink) + I’ve got to think this out. I’m + used to bargaining with yaks. + + INDY + Okay. Five thousand. That’s all I + can give you now. I can get you + more when you land in the States. + + MARION + Your word, huh? + (Indy nods) + Just like you said you’d be back + last time? That was your word too. + + INDY + I’m back, aren’t I? + +Marion sneers and they smile together. + + INDY + You can trust me. + + MARION + Come back tomorrow. + + INDY + Why? + + MARION + Because I said so, that’s why. It’s + about time I called the shots in + this relationship. + +Indy nods, gets up to go. + + MARION + Wait a minute. Leave the five + thousand here. + (Indy hesitates) + You want trust, give some. I want + to smell your money. + +Indy thinks about this a moment, then reaches inside his +shirt and pulls out cash from a money belt. He lays five +grand on the bar. + + INDY + I trust you. + 34. + + + MARION + You’re an idiot. + + INDY + I’ve heard that. + + Indy starts for the door. Marion takes another drink. She’s + getting high. + + MARION + Hold it. Come here. + + INDY + (moving back) + Bossy, aren’t you? + + MARION + That’s right. Give me a kiss. + + Indy looks into her eyes, then leans over the bar and + kisses her deeply. When the kiss ends, their faces are very + close. + + Marion is flushed. She liked it and would like more. She + raises her glass between them to discipline herself. + + MARION + Get out of my place. + + Indy smiles and walks to the front door. Then, without + looking back- + + INDY + Tomorrow. + + He’s gone. Marion stares after him, thinking. She takes a + drink. Then slowly, her hand comes up to loose the scarf + that is draped around her throat. It falls away, revealing + her graceful neck above the dipping top of her blouse. + Hanging there on a gold chain against her white skin is a + sun-shaped golden medallion. The bottom looks broken off. + Marion lifts the medallion so she can see it in her hand, + then looks thoughtfully after Indy. + + +46 EXT. STREETS OUTSIDE “THE RAVEN” - NIGHT 46 + + Indy sits thinking at the wheel of an old car. Finally, he + puts the car in gear and drives away. + 35. + + + Across the street, the shadow in a doorway comes to life. A + dark form steps out to look at Indy’s departing car; it is + the European Spy from the DC-3. He hurries off in the + opposite direction. + + DISSOLVE TO: + + +47 INT. “THE RAVEN” - NIGHT 47 + + Marion stands before the fire that is shrinking in the + fireplace. She jabs at it abstractedly with a poker, + thinking. Suddenly tears well up in her eyes. She lets the + poker slip from her hand, wipes away the tears. She walks + across the room to the end of the bar, still cluttered with + bottles and glasses, and stops at the pile of American + money Indy has left. She takes the chain from around her + neck and lets the medallion slide off it into her hand. She + places it on the bar next to the pile of money, thinking. + Then, having reached some decision, she picks up the pile + of bills, walks up the back of the bar and pulls a small + wooden box from under the bar. She flips open the top, puts + the cash inside and closes the top. She leaves the box on + the bar and starts back toward the medallion. The front + door of the saloon bursts open and Four Bad Men come in. + Marion, halfway between the valuable possessions and not + wishing to draw attention to either, stops where she is. + + The Four Bad Men who advance on her are: + + 1) the obvious leader, a short, vile, sadistic German in + spectacles by the name of BELZIG. + + 2) a trench coated SECOND NAZI. + + 3) a ratty-looking NEPALESSE and + + 4) a mean MONGOLIAN. The second NAZI and the MONGOLIAN both + carry sub machine guns. + + BELZIG + Good evening, Fraulein. + + MARION + The bar’s closed. + + BELZIG + We are not thirsty. + + The Mongolian and the Nepalese poke around, checking to + make sure there’s no one else there. + 36. + + +Down at the end of the bar, the medallion lies partially +hidden by surrounding glasses and bottles. The Second Nazi +stops very near it, but turns his back to it to face Belzig +and Marion. + + MARION + What do you want? + + BELZIG + The same thing your friend Dr. + Jones wanted. Surely he told you + there would be other interested + parties. + +Marion shakes her head. + + BELZIG + Ah, the man is nefarious. I hope + for your sake he has not yet + acquired it. + + MARION + Why, are you willing to offer more? + + BELZIG + Almost certainly. Do you still have + it? + + MARION + No. But I know where it is. + +Belzig’s smile fades at this news. He’s not a patient sort. +Marion is chilled by the look. She turns and moves to the +shelf of bottles behind her, reaching high for one, very +near the large stuffed raven. Her hand lingers there a +moment and we see - + +From an angle behind the stuffed raven, that the left wing +spread hides a Baretta automatic pistol. Marion’s hand is +very near it, but withdraws with only a whiskey bottle as +the Mongolian walks toward her behind the bar. + +Marion opens the bottle before Belzig, who watches her +intently. + + MARION + How ‘bout a drink for you and your + men? + +The Second Nazi lights up at this suggestion. Belzig gives +him a withering look. + + BELZIG + 37. + + + We will stick to the business at + hand, Fraulein. + + MARION + (tough) + Fine. Why don’t you come back + tomorrow when Jones is here and + we’ll have an auction? + +Belzig gives her a cold look then turns and walks toward +the fireplace. As soon as his back is turned, the Second +Nazi grabs the nearest whiskey bottle and takes a quick +pull. In so doing, he leaves the medallion completely +exposed. Marion is aware of this as she looks at him. But +he quickly puts the bottle down again, obscuring the +medallion, when Belzig speaks from the fireplace. + + BELZIG + I’m afraid an auction is not + possible. + (pause) + Your fire is dying here, Fraulein. + (a beat, then + threatening) + Why don’t you tell us where the + piece is right now? + + MARION + Listen, Herr Mac, I don’t know who + you’re used to dealing with, but no + one tells me what to do in my + place. + +Belzig, still looking in the fire, sneers and shakes his +head. + + BELZIG + Americans! You’re all alike. + Fraulein Ravenwood. I’ll show you + what I’m used to. + +He motions with his hand. The Mongolian moves up behind +Marion and lifts her roughly over the top of the bar, +knocking over bottles and spilling liquor. He deposits her +on the other side, where the Nepalese and the Second Nazi +flank her and hold her cruelly, arms behind her back. +Marion raises a ruckus. + +Belzig turns from the fireplace. In his hand is the poker, +its end glowing orange. He advances on Marion. Marion stops +yelling, her eyes widen in terror. + + MARION + 38. + + + Wait! I can be reasonable -- + + BELZIG + That time is passed. + +The glowing poker point moves inexorably across the room +toward Marion’s face. + + MARION + You don’t need that. I’ll tell you + everything! + + BELZIG + Yes, I know you will. + +Belzig has no intention of stopping now. The glowing tip is +approaching Marion’s face. The Nepalese watches with savage +glee. + +The tip of the poker is five inches from Marion’s nose when +there is a loud CRACK! and the fall of Indy’s bullwhip +wraps around the middle of the poker and tears it out of +Belzig’s hands. The poker sails high across the room, free +of the whip, and lands in the heavy curtains that over one +window. The curtains immediately burst into flame. + +The four Bad Men look in surprise toward the front +entrance. Indy is poised there, the whip in his right hand, +a .45 Automatic raised toward them in his left. + + INDY + Hello. + +Now everything begins to happen very fast- + +The Mongolian had just come around the bar at the end +opposite the medallion. He dives back to crouch behind the +end of the bar, raising his sub machine gun. + +Belzig and the Second German dive behind the tables near +the bar. The Nepalese is slower to leave Marion, he draws a +Luger. Indy’s .45 barks and the Nepalese dies spinning +against the bar. Indy fires in the direction of the +Mongolian. + +Marion swings up over the top of her bar. Belzig fires at +her, but his bullets smash bottles behind the bar and thud +into the raven. + +Marion flattens out on the floor behind the bar as bullets +hit above her. She reaches up, snatches the axe handle from +where Mahdlo left it, and begins crawling down the length +of the bar toward- + 39. + + +The Mongolian, who sticks his sub machine gun out and fires +blindly in Indy’s direction. + +Indy is in a crouch behind a table, trying to get a shot at +someone. He doesn’t notice in the din and confusion when +the door bursts open. + +An incredible, fearsome GIANT SHERPA, almost seven feet +tall, soars in and tackles Indy from behind. The whip flies +from Indy’s hand as he and the Giant Sherpa roll across the +floor, upsetting furniture. + +The Mongolian, seeing this, stands up confidently. Marion +rises behind him and bashes him over the head with the axe +handle. He goes down and out. + +Fire has completely engulfed the curtains and is working +across the ceiling on decorative yak skin bunting. A +burning fragment drops to the top of the bar, which +immediately lights up, fueled by the spilled alcohol. Full +whiskey bottles explode like Molotov cocktails. + +Rolling on the floor, Indy and the Giant Sherpa are +fighting for control of Indy’s .45. Belzig sees this and +shout to the Second Nazi, who is rising from cover with the +sub machine gun in hand. + + BELZIG + Shoot them both! + + SECOND NAZI + He’s our man! + + BELZIG + Do as I say! + +Both the Giant Sherpa and Indy hear this. The Giant Sherpa +exchanges an alarmed look with Indy and together they swing +the .45 around toward the surprised Second Nazi. Two blasts +blow him away. + +That done, Indy brings a brass spittoon down on the Giant +Sherpa’s wrist and the .45 slides away. Indy jumps up and +kicks the Giant Sherpa, who barely seems to feel it. He +grabs Indy and flips him effortlessly onto a table. + +Belzig now has a clear shot at Indy. He raises his Lugar. + +Marion, at the end of the bar, finally gets the hand of the +Mongolian’s sub machine gun. It roars to life in the +general direction of the ceiling. + 40. + + + Belzig runs for cover as Marion gets control of the gun and + levels it. Belzig dives around the end of the bar opposite + Marion. When he has set himself, he peeks up over the edge + of the scorched bar. The alcohol fire has moved down the + bar and now, much to Belzig’s surprise, he finds himself + staring at the fire-blackened sun-shaped medallion! His + eyes widen. He cannot believe his good fortune. Without + hesitation he picks up the metal medallion, palming it. + + Immediately there is a sickening searing sound and Belzig’s + expression changes from joy to agony. He screams in pain + and tries to shake the red-hot medallion from his skin. + Marion opens up and the bar starts to splinter in front of + Belzig. The medallion comes free of Belzig’s hand and rolls + across the floor. + + Belzig has had enough. In excruciating pain, he turns, sees + a window, runs and dives through the glass. + + An exhausted Indy uses his whole body to upend the Giant + Sherpa, who lands hard on his back. They are surrounded by + flames. + + +48 EXT. THE RAVEN - SNOW BANK - NIGHT 48 + + Belzig has his burned hand stuck deep in the snow. Now he + withdraws it, steaming, and scurries off into the night + like a wounded animal. + + +49 INT. THE RAVEN - NIGHT 49 + + Marion throws down the empty sub machine gun and moves + through the flames to the center of the bar where she left + the box with the five grand. She finds the remains of the + box and its contents: a shapeless pile of ash and charred + wood. + + MARION + Unbelievable! + + At the end of the bar, the Mongolian has come back to life. + He shakes out his head, then reaches inside his coat and + pulls out a Mauser pistol. + + Indy smashes a chair over the head of the Giant Sherpa and + the huge creature goes down. + + The Mongolian points his Mauser through the smoke and flame + at Indy. Suddenly, the Mongolian is shot dead. + + Marion stands beneath her stuffed raven with the Baretta. + 41. + + +Indy moves quickly through the flames, his eyes scanning +the floor. He picks up his bullwhip and his crumpled felt +hat. He peers through the smoke till he spots Marion moving +among the burning furniture. + + INDY + Let’s get out of here! + + MARION + Not without that piece you want! + + INDY + It’s here? + +Marion nods, kicks aside a burning chair. Another burning +beam falls from the roof. Indy pulls Marion close to him +protectively. + + INDY + Forget it! I want you out of here. + Now! + +He beings dragging her out. + + MARION + (pointing) + There! + +She breaks away from him, darts back and picks the hot +medallion up in the loose cloth of her blouse. + + INDY + Let’s go! + + MARION + (looking around) + You burned down my place! + + INDY + (figuratively) + I owe you plenty! + + MARION + (literally) + You owe me plenty! + + INDY + (smiles) + You’re something. + + MARION + I am something. And I’ll tell you + exactly what- + 42. + + + She holds up the medallion possessively. + + MARION + I’m your partner! + + +50 EXT. CAIRO - VARIOUS SHOTS - DAY 50 + + First we see the sprawl, the soaring minarets, the ancient + skyline. + + Then we’re closer, in the narrow, exotic streets, teeming + with life: fierce-looking men in tattered galabiyas, black- + gowned women with veiled face, ragged, barefoot children. + + +51 INT. DINING ROOM - SALLAH’S HOUSE - OLD CAIRO 51 + + Indy and Marion have been welcomed like family into the + crowded home of SALLAH, his wife FAYAH, and their NINE + CHILDREN (ages 4 - 18). Fayah, a huge, imposing woman, + appears, at first glance, to be the power in the house. + Sallah, a small, cheerful, energetic fellow in his forties + defers to his wife in all matters of little importance. + + Suddenly the general liveliness at the children’s table + escalates into pandemonium, attracting the attention of the + adults. + + FAYAH + Silence! + (there is silence) + Why do you forget yourselves? + + The gaggle of grinning off-spring parts to reveal in their + midst -- a MONKEY. It is munching some flat Arab bread. + + FAYAH + What is this? Who brought this + animal in? + + All the children chatter their innocence at once. The + Monkey chatters too; it’s an entertainer. The Monkey jumps + from the children’s table to the adults’ and struts slowly + up to Marion, who thinks it’s the cutest thing she ever + saw. When it reaches her, it takes off its turban and does + a deep, grand bow to her. She is delighted and takes the + Monkey into her arms. The Monkey kisses her cheek. The + children laugh. + + MARION + Why, thank you. I like you too. + 43. + + + FAYAH + Then it shall be welcome in our + house. + + MARION + Oh, no! You don’t have to have it + around if you don’t want it- + + SALLAH + (cheerfully) + All of Allah’s creatures are + welcome here. You please us by + letting us please you. + + +52 EXT. COURTYARD - SALLAH’S HOUSE - NIGHT 52 + + Indy and Sallah sit in the small, protected courtyard. + Sallah holds the two sections of the headpiece, the + medallion and the base, and has for the first time fitted + them together. They fit perfectly and complete the + headpiece. He peruses the markings on the headpiece + quizzically. Indy is cleaning and loading a .45 automatic. + + INDY + I knew the Germans would hire you, + Sallah. They couldn’t have an + excavation in the desert without + the best digger in Egypt. + + SALLAH + All Arabs look alike to them, Indy. + + INDY + Tell me about the map room at + Tanis. + + SALLAH + We found it three days ago. I broke + through myself. + + INDY + Those Nazis are moving awfully + fast. + + SALLAH + The Frenchman is helping them. + + Indy reacts. + + INDY + 44. + + + Belloq. So he got away from the + Indians. This is going to be more + interesting than I thought. + + SALLAH + I’m afraid this has put the Germans + close to finding the Well of the + Souls. + + INDY + (indicates the headpiece) + Even Belloq won’t be able to find + it without that. Can you make + anything of those markings? They’re + nothing I’m familiar with. + + SALLAH + (shakes his head “no”) + But I know someone who might. You + can go to see him tomorrow. + (a worried expression) + Indy -- something bothers me. + + INDY + What it is, my friend? + + Sallah finds it hard to say. When he finally speaks, his + words are accompanied by a strange, eerie, foreboding rush + of wind through the courtyard. Just a coincidence we might + suppose. + + SALLAH + It is the Ark. If it is there, at + Tanis -- It is not something man + was meant to disturb -- Death has + always surrounded it. It is not of + this earth. + + The wind dies down. Indy shakes off a chill and stares + thoughtfully at his friend. + + +53 EXT. HEAVILY TRAFFICKED CAIRO STREET - DAY 53 + + Indy and Marion are briskly walking along one of Cairo’s + busy bazaar streets. Vendors with fine cloth, pottery, + baskets, jewelry, etc line the street. Marion has the + Monkey from Sallah’s house on her shoulder. + + INDY + Do you really need that monkey? + + MARION + 45. + + + I’m surprised at you, Indy. Talking + that way about our baby. He’s got + your looks, too. + + INDY + And your brains. + + As Indy and Marion turn a corner, the Monkey seems to + notice something and immediately jumps from Marion’s + shoulder and hurries off at a frantic pace down the street. + + MARION + (looking disappointed) + Hey! Hey! -- where’re you going? + + INDY + (dragging Marion along) + He’ll be OK. Come on. Come on. + + +54 EXT. ANOTHER CAIRO STREET - DAY 54 + + The Monkey is seen running around another corner and jumps + into the waiting arms of MONKEY MAN, who appears to be like + a beggar with a dirty turban and an eye patch. MONKEY MAN + immediately hurries down the street and passes into a + building. In the building are two GERMAN AGENTS. MONKEY MAN + and the MONKEY both give the Heil Hitler salute and engage + in quick talk. + + MONKEY MAN quickly leaves the two GERMAN AGENTS and gets + back to the street. He is obviously shadowing Indy and + Marion. Indy and Marion are just now passing by and the + MONKEY MAN ducks back behind some baskets. + + +55 EXT. ANOTHER BUSY CAIRO STREET - DAY 55 + + Indy and Marion are passing under a balcony where a lone + GERMAN AGENT stands watch. After they pass, the AGENT nods + to some BAD ARABS who are hiding in the shadows of the + street. In a moment, Indy and Marion pass by the break. + Monkey Man turns and looks up at a roof further down the + alley. He waves with his hand. Someone up there waves back. + + +56 EXT. A SMALL BAZAAR - DAY 56 + 46. + + + Indy and Marion have reached a tiny square, made even more + cramped by its use as a small bazaar. They have started + working their way through the crowd when several Bad Arabs + and a German Agent begin to converge on them. Indy + immediately sees what’s happening and pulls the bull whip + from his jacket. The first Bad Arab to reach them gets hit + in the mouth by the handle of the whip. + + Now all hell breaks loose, with Bad Arabs, Innocent + Shoppers, baskets of fruit and tables of good flying every + which way in the constricted space. + + INDY + (to Marion) + Run! Get out of here! + + Indy catches a dagger-wielding Bad Arab around the legs + with the whip and flips him. Marion is reluctant to leave + Indy. + + INDY + Go, damnit! Go! + + Marion goes. She runs off between two buildings. A Bad Arab + takes off after her. Monkey Man, now standing at the edge + of the square, points at Marion. The Monkey jumps off his + shoulder and follows Marion. + + +57 EXT. BETWEEN THE BUILDINGS - DAY 57 + + Marion runs along the narrow space and soon encounters a + five foot wall. She flops over it. The Bad Arab is right on + her heels. He reaches the wall and vaults over. On the + other side of the wall, the Bad Arab lands in a crouch, + looks ahead and doesn’t see Marion. Immediately a heavy + earthen pot smashes over his head, putting him out. Marion + steps from an alcove and starts to run toward the street at + the other end of the walkway. Suddenly another Bad Arab and + a new German Agent appear in the street at that end. Before + they can spot her, Marion retreats to the alcove again. + There is a huge rattan basket sitting there. Marion climbs + in and closes the top above her. + + The only witness: the Monkey, who is now perched on the + five foot wall. + + +58 EXT. THE SMALL BAZAAR - DAY 58 + + Chaos. An entire booth of pots and pans collapses on a Bad + Arab and a German Agent as Indy whips away a support. + 47. + + +59 EXT. BETWEEN THE BUILDINGS - DAY 59 + + The chattering Monkey leads a German Agent and two Bad + Arabs to Marion’s hiding place, gesturing manically. + + +60 EXT. THE SMALL BAZAAR - DAY 60 + + Indy ducks under the swinging blade of a huge Arabian sword + and kicks the Bad Arab Swordsman in the groin. + + +61 EXT. SIDE STREET - DAY 61 + + The German Agent leads the way as the two Bad Arabs carry + the huge basket above their heads. The basket top has been + fastened closed, but Marion is making a fuss inside. As the + place where the street cuts across the far side of the + bazaar, Marion is able to wedge the top open one inch and + screams- + + MARION + Indy-y-y-y! + + +62 EXT. THE SMALL BAZAAR - DAY 62 + + Indy has heard her. He looks across the square as the + basket and its escorts disappear beyond a building. One + last Bad Arab rises before him. Indy’s whip flashes and the + Bad Arab’s robe falls down to his ankles. Indy frantically + pushes his way through the panicked mass of humanity in the + direction the basket has gone. + + +63 EXT. THE FOOT CHASE - INTERCUTTING INDY AND THE MOVING 63 + BASKET - DAY + + The Bad Guys move the basket as fast as they can through + streets, alleys and passageways thick with people. Indy + always seems to round a corner just in time to catch a + glimpse of the basket before it disappears around a new + corner. Indy must fight a flow of humanity as powerful as + an ocean riptide. Finally, at the head of one particularly + crowded alley, Indy leaps up onto a wall for a clearer + view. Whatever he sees gives him an idea and he cuts + between two buildings rather than following the basket. + + +64 EXT. DESERTED ALLEY - DAY 64 + 48. + + + Two Bad Arabs come running down the alley with the basket + between them. Suddenly, Indy’s whip flashes out sending + both Arabs and the basket tumbling. Indy steps into view, + his .45 trained on the sprawled Arabs, and looks at the + basket. The top has come flying off and the contents have + clattered onto the cobblestone: inside is not Marion, but a + load of contraband pistols, rifles and ammo. + + Indy is advancing on the trembling Bad Arabs with an ugly + look when suddenly he hears Marion scream around the + corner. + + +65 EXT. DESERTED SQUARE - DAY 65 + + Indy rounds the corner and is immediately driven back by + machine gun fire. Taking cover, he gets quick, intermittent + glimpses of this scene: At the far corner of the large, + deserted square is a canvas-covered trunk. Two Bad Arabs + are hurrying toward it with a large rattan basket between + them, Marion screaming inside. A German Agent is covering + the retreat with a machine gun from the cab of the truck. + Indy runs up to see the rattan basket being heaved into the + back of the truck. + + +66 EXT. BACK OF THE TRUCK - DAY 66 + + What Indy cannot see is that basket lands among an ominous + load of German munitions, dynamite and firearms. The truck + immediately peels out. + + +67 EXT. DESERTED SQUARE - DAY 67 + + The German Agent has stopped firing in order to drive. He + floors it, aiming for a street at the corner of the square. + Indy uses the lull to take careful aim at the German + Agent’s profile and fire off three careful shots. The + German Agent is hit, blasted dead against the steering + wheel. The speeding truck swerves, hits a wall, rolls over + and explodes in an enormous, multi-leveled eruption as its + contents ignite. Several surrounding buildings are leveled. + + Indy, blown back across the square, looks on, astonished + and horror-stricken. + + INDY + Marion. + + +68 INT. ARAB BAR - NIGHT 68 + 49. + + +A dark, smoke-filled den on iniquity. The patrons, almost +all fearsome Arabs, sit in small shadowy groups around the +room. Indy stands at the bar finishing off a fifth of +bourbon. He is drunk. The ARAB BARTENDER places a new +bottle of expensive bourbon in front of him. + +Indy eyes it queerly. + + ARAB BARTENDER + The gentleman in the corner sent + it. He would like you to join him. + + INDY + (doesn’t even look) + Too bad. I’m drinking alone. + +The Arab Bartender does a take, looking at the three, tough +GERMAN HENCHMEN who have surrounded Indy from out of the +smoke, their hands stuffed in bulging trench coat pockets. + +Indy notices them now with a bleary glance. He decides he’s +in no shape to kill or be killed and moves with them across +the room, taking his bottle with him. The Arab patrons take +this in and mind their own business. + +The occupant of the smoke-shrouded corner table becomes +visible only as Indy reaches there: it is Emile Belloq. He +is drinking wine. + + INDY + Belloq + + BELLOQ + Good evening, Dr. Jones. + + INDY + I ought to kill you right now. + + BELLOQ + It was not I who brought the girl + into this dirty business. + +Indy knows its true; that’s what’s tearing him up. + + BELLOQ + Sit down, please, before you fall + down. We can behave as civilized + people. I’m afraid it will be your + last opportunity. + +Indy sits, glancing at the German Henchmen, who settle +nearby, just out of earshot. + 50. + + + INDY + Not a very private place for a + murder. + + BELLOQ + (looking around) + These Arabs will not interfere in + the white man’s business. They do + not care if we kill each other off. + + BELLOQ + (takes a sip of wine, + refers to it) + Terribly difficult finding a + descent vintage here. You were + quite vigorous in Shanghai. + Unfortunately, our friend the Wild + Boar had taken the precaution of + making several copies of the piece. + +Indy registers this as he takes a drink. Belloq watches him +with disdainful amusement. + + BELLOQ + How odd that it should end this way + for us, after so many -- + stimulating encounters. I almost + regret it. Where shall I find a new + adversary so close to my own level? + + INDY + Try the local sewer. + + BELLOQ + I know you despise me. We always + hate in others that which we most + fear in ourselves. And you and I + are very much alike. + + INDY + Now you’re getting nasty. + + BELLOQ + We have always done the same kind + of work. Our methods have not + differed as much as you pretend. I + am a shadowy reflection of you. But + it would have taken only a nudge to + make you the same as me, to push + you out of the light. + 51. + + +There is a certain amount of truth to this; the recognition +of it flickers across Indy’s bleary eyes. Belloq sees it +there. + + BELLOQ + You know it to be true! How nice. + And how ironic the timing. + +Belloq leans forward, eyes shining, voice suddenly +different. + + BELLOQ + Do you realize what the Ark is? + (very intense) + It’s a transmitter. + + BELLOQ + A radio for talking to God! And now + it is within my grasp. + + INDY + What about your boss, Der Fuhrer? I + thought he was waiting to take + possession. + +Belloq glances in the gloom at the German Henchmen. + + BELLOQ + (quieter) + When the time is right. When I am + finished with it. + + INDY + I hope your friends are patient. + Dangerous work, Belloq. + + BELLOQ + Yes. Very. You may consider + yourself fortunate that your + involvement concludes here. + + INDY + Tell me, did you get away with the + idol? + + BELLOQ + (negative) + I was lucky to get away with my + life. The Hovitos proved quite + narrow-minded about the whole + matter. + +Indy takes a drink. + 52. + + + INDY + You know, if it’s God you want to + talk to, maybe I can arrange it. + + BELLOQ + (smiles) + You have not changed. But, please, + do not reach for your weapon until + you are ready to die. + + The front door of the bar slams open and all nine of + SALLAH’S CHILDREN scamper in and over to a surprised Indy. + Two of the smallest hop into his lap. + + LITTLE SON + Uncle Indy, we have been looking + for you. + + LITTLE DAUGHTER + Come home now, Uncle. Hurry! + + Suddenly the Arab patrons of the bar take an intense + interest in the situation, shifting their weapons. + + INDY + Yes. Yes, I’ll come now. + + Indy stands up. The German Henchmen are poised. Belloq eyes + the Arab patrons and signals for the Henchmen to relax. + + BELLOQ + Next time, Indiana Jones, it will + take more than children to save + you. + + The children usher Indy out. + + +69 INT. SALLAH’S TRUCK - IN FRONT OF ARAB BAR - NIGHT 69 + + Indy climbs into the cab of Sallah’s truck with a smiling + Sallah as the children pile into the back. Sallah pulls + out. + + SALLAH + I thought we would find you there. + (indicating the kids) + Better than the United States + Marines, eh? + + INDY + (nods) + Thank you. + 53. + + + (grave) + Marion’s dead. + + SALLAH + Yes, I know. I am sorry. + (pause) + More reason than ever to beat the + bastards. + (he touches Indy) + Life goes on, Indy. + (indicates the kids + again) + There is the proof. + +Indy looks back there, nods. + + SALLAH + I have much to tell you, Indy. + +Fayah brings in a tray of food and puts it on the table. +The bowl of dates is in one corner. As Fayah leaves the +room, the Monkey slips out of Sallah’s lap and disappears +under the table. Indy leans over the food tray, his hand +hovering over the dates. But he chooses some cheese and +bread instead. + + INDY + And they made the calculation in + the map room? + + SALLAH + (nods vigorously) + This morning. Belloq and the boss + German, Shliemann. When they came + out of the map room, we were given + a new spot in which to dig -- out + away from the camp. + + INDY + (resigned) + The Well of the Souls. + +Sallah nods, moves to the food. He picks up a date, then +changes his mind and drops it, taking a bunch of grapes +instead. Indy picks up a chicken leg in one hand and a date +in the other, his mind distracted. Fayah enters the room +just in time to see Indy flip the date high into the air +and try to catch it in his mouth. It bounces off his chin +and falls to the floor. Indy looks sheepishly at Fayah. +Fayah picks up the fallen date and puts it in the dirty ash +tray she is now removing. Amir speaks in a slow, raspy +voice without looking up. + 54. + + + AMIR + Come. Look. + +The two men go and huddle over the old man. The Monkey +peeks up over the edge of the table at the array of food. +He picks up a date and disappears below the table. Amir +points to some markings on the lower part of the headpiece. + + AMIR + This is a warning -- not to disturb + the Ark of the Covenant. + + INDY + Just what I need. + +The Monkey’s paw comes up over the edge of the table and +grabs another date. + + INDY + How ‘bout the height of the staff? + Did Belloq get it off of there? + + AMIR + Yes -- it is here. + +Indy, nervous, goes back to the food tray, picks up another +date. When he turns back to the men, the Monkey’s paw grabs +another date. + +We see the headpiece in closeup on the table. Amir’s +crooked fingers trace a line of markings along the bottom +section to the break in the piece. + + AMIR + It says it is -- ten jamirs high -- + + SALLAH + About seventy-five inches. + + AMIR + Wait! I am not finished -- + +Amir’s finger moves across the break as the markings +continue on the sun medallion. + + AMIR + (reading) + “And one jamir to honor the Hebrew + God whose Ark this is.” + +Indy, still holding the date, exchanges a long look with +Sallah. + 55. + + + INDY + You said their top section was + blank. Are you absolutely sure? + + Sallah nods. + + INDY + Belloq’s staff is seven and a half + inches short. They’re digging in + the wrong spot! + + Sallah and Indy begin to laugh. Amir gives them a glance + and returns to his wine. Sallah leans over and kisses the + old man. + + SALLAH + (to Amir) + A home run, my friend, grand slam! + (to Indy) + We have a saying -- “A little luck + is better than much smartness.” + Indy, pardner, you are very lucky + fellow. + + Indy hoots. Then he takes the date in his hand and flips it + high in the air. He opens his mouth to catch it, but it + doesn’t come down. He has inadvertently thrown it into a + bowl of a hanging lamp. This makes the men laugh even + harder. + + Indy goes over and picks up another date. He turns laughing + to Sallah and doesn’t see as the Monkey’s paw comes up, + slowly, takes another date and begins to withdraw. Suddenly + the paw is stricken with palsy and the unseen Monkey goes + into its death throws. Sallah watches the paw as though + hypnotized. Finally the paw slips from sight and we hear a + solid THUMP! on the floor. Sallah walks around the table + and looks at the floor. The Monkey lies dead among a mess + of date pits. + + Indy is in a happy world of his own. He throws his date + high in the air. He positions himself under it and waits + for it to drop in. Here it comes. Right on target. As it’s + about to disappear into Indy’s mouth, Sallah’s hand flashes + in and grabs it. Indy looks mystified and disappointed. + Sallah motions toward the dead Monkey. + + SALLAH + Bad dates. + + +70 EXT. DESERT ROAD - MORNING 70 + 56. + + + Two old trucks come down a narrow mountain road and onto + the flat surface of the desert. + + Further out into the desert, the one in the lead, Sallah’s + truck, stops and the second one, Omar’s truck, pulls up + beside it. There are half dozen Arab Diggers in Omar’s + truck. Indy, dressed as an Arab, gets out of the cab of + Sallah’s truck and moves over to confer with OMAR, another + old friend. They point off into the desert and reach some + conclusion. Indy gives him a pat on the back; Omar turns + off the road and drives into the desert with his workers. + Indy hops back in the car of Sallah’s truck with Sallah. + + As they move down the road we see that the back of the + truck holds three other Arab Diggers. + + +71 EXT. RISE ABOVE THE TANIS DIG - MORNING 71 + + Indy and Sallah are lying in classic shouting fashion at + the top of the rise looking down on the Tanis Digs. Down + behind them, Sallah’s truck is parked with the three Arab + Diggers. + + INDY + My God! They aren’t kidding! + + WHAT HE SEES. The Tanis Digs are laid out below like a + painting. Trucks, bulldozers, Arab workers and German + supervisors are everywhere. The excavations themselves are + extensive and somewhat random holes have been dug and then + abandoned, foundations and passageways unearthed and then + deserted. Beyond the main digs, a crude airstrip has been + created. Sallah points to what appears to be a mound of + dirt with a hole in it near the center of the activity. + + SALLAH + There! That is the map room! + + INDY + What time does the sun hit the map? + + SALLAH + Just after eight. + + INDY + We haven’t got much time. Where are + the Germans digging for the Well of + the Souls? + 57. + + + Sallah points out into the desert a short way beyond the + main area of activity. The desert turns to sand dunes out + there, the surface undulating into the distance. Several + trucks and men are out there and a bulldozer is lumbering + noisily toward it. + + INDY + Okay. Let’s go. + + +72 EXT. THE TANIS DIGS - MORNING 72 + + Sallah’s truck drives through the camp, one of the Arab + Diggers at the wheel. Indy and Sallah are in the back and + look just like the other two Arab Diggers. Sallah’s truck + goes behind a tent and when it appears on the other side, + Indy and Sallah are gone. + + +73 EXT. AMONG THE TENTS - MORNING 73 + + Indy and Sallah move stealthily among the tents. Indy + carries a smooth wooden staff almost seven feet tall. They + stop between two tents and look across a path at the + entrance to the map room. What appeared to be a mound of + dirt is actually the roof on the ancient building. The + hole/entrance is a five-foot square skylight. Indy looks + around, then walks casually to the edge of the hole and + looks inside. Sallah joins him, producing a length of rope + from his robes. Indy drops the staff into the unseen map + room as Sallah ties the rope around an oil drum. When it’s + secure, Indy wastes no time disappearing down it into the + map room. + + +74 INT. MAP ROOM 74 + + Indy is down the twenty feet to the floor of the room in + seconds. He tugs on the rope and it immediately gets pulled + up. Indy looks around with real wonder and excitement. The + room is lovely, with elaborate wall carvings and frescoes, + all lit by the bright stream of sunlight flooding in from + above. This beam of light leads Indy’s eye to the far end, + and the room’s truly remarkable feature: built into the + floor in meticulous relief is a miniature stone model of + the ancient city of Tanis. Already, the sunlight has worked + its way down the far wall and is edging onto the miniature + of the city. On the floor, to the skylight side of the + miniature, is an elaborate line created by embedded mosaic + tiles. The evenly spaced slots in the line, each + accompanied by a symbol of a time of year, are for the base + of the staff. Indy pulls the headpiece from his robes it + has been welded together and reaches for the staff. + 58. + + +75 EXT. ABOVE THE MAP ROOM - DAY 75 + + An extremely nervous Sallah has the gathered rope in his + hands and is trying to appear casual as he inches back + toward the oil drum. There is now a good bit of activity + going on up here. + + JEEP GERMAN (O.S.) + Hey! You, the skinny one! + + Sallah jumps about three feet. The JEEP GERMAN is standing + in an open space ten yards away looking at Sallah. + + JEEP GERMAN + Yes, you. What are you doing there? + + Sallah gestures his innocence. + + JEEP GERMAN + Well bring that rope over here, you + cur. + + The Jeep German starts back toward his major concern: his + jeep is stuck in some sand beyond the next tent. Some Arab + Workers are trying in vain to budge it. Now another German + has backed his truck up to it. Sallah can think of nothing + to do except obey. With a worried glance at the map room, + he begins untying the rope from the oil drum. + + +76 INT. THE MAP ROOM 76 + + Indy is examining the results of Belloq’s work. Red paint + marks one of the miniature buildings in the layout and a + white calibrated tape has been strung from that building + back to a miniature of the map room. Now Indy begins + examining the mosaic base line for the staff. Sunlight has + moved further down across the miniature. + + +77 EXT. IN THE CAMP - DAY 77 + + Sallah watches nervously as his precious rope is pulled + taut between the pulling truck and the stuck jeep. He + doesn’t notice that he has chosen to stand next to a large, + steaming kettle of food until -- + + HUNGRY GERMAN (O.S.) + Bring us some of that! + + He points to the kettle. Sallah looks frantically from the + rope, back to the skylight of the map room, to the kettle + of food. + 59. + + + HUNGRY GERMAN + Now, idiot! + + Sallah picks up some serving pieces and gets to work. + + +78 INT. THE MAP ROOM 78 + + The moment has arrived. Even the tension of the + circumstances cannot distract Indy from the purity of what + he is about to do. All his calculations are adjustments + complete, Indy takes the Staff of Ra and places it -- + CLINK! -- in the right depression on the base line. This is + as active and exciting moment as any archeologist can dream + of and, at heart, that is exactly what Indy is. The + sunlight catches the very top of the headpiece and moves + within a fraction of an inch of the tiny hole in its sun. + The edge of the sunlight moving across the miniature city + is still a good two feet beyond the spot Belloq has settled + on. And now that line of light is broken by the shadow of + an ornate sun at the top of the staff. + + Indy’s face reflects his concentration. And then his + immense pleasure. He sees what he came for. + + Out of the miniature city, one small building is being lit + by a tiny beam of sunlight in the center of the shadow of + the metal sun. And by some trick of ancient artistry, this + one building responds to the sunlight like none of the + others. The golden light permeates it: it seems to glow. + The building is in a direct line with Belloq’s, all of the + Frenchman’s other calculations were right but it is a foot + and a half beyond it. + + +79 EXT. IN THE CAMP - DAY 79 + + Sallah, sweating profusely, has finished serving the line + of Breakfasting Germans and now heads back to replace the + kettle and get away. + + HUNGRY GERMAN + Water. Bring us water. + + +80 INT. MAP ROOM 80 + 60. + + + Indy is on his knees at the miniature city, a special tape + measure in his hand. Indy has the tape strung from Belloq’s + mistaken spot to his own correct spot. He gets his reading, + leaps up and crosses to the erect staff. He pulls the + headpiece off the staff and hides it in his robes. He + quickly breaks the wooden staff in two and throws the + pieces behind a pile of debris. Then he moves quickly to + beneath the skylight. + + INDY + (stage whisper) + Sallah. + (he waits, then louder) + Sallah! + + More waiting. Nothing. Indy looks around for some + alternative means of escape. The room doesn’t offer any. He + looks up at the skylight again. + + INDY + (loudest) + Sallah! + + A long pause. Then something comes down. A makeshift rope. + Really just a bunch of clothing tied together, tunics, + robes, pants. But what we see first and most prominently, + the first section of Indy’s escape rope, is a bright Nazi + flag. Indy beams and climbs. + + +81 EXT. ABOVE THE MAP ROOM - DAY 81 + + Indy sticks his head out the skylight, sees it clear and + flops his body out. Sallah, crouching behind the oil drum, + immediately starts pulling in the makeshift rope. Sallah + stuffs the rope in the oil drum and the two men begin + walking toward some tents. + + HUNGRY GERMAN (O.S.) + Hey, you! More water over here! + + Sallah glances at Indy, then hurries back in that + direction. The Hungry German focuses on Indy. + + HUNGRY GERMAN + Why aren’t you at the digs? Come + here! + + Indy bows in wild subservience and hurries off in the + opposite direction. + + HUNGRY GERMAN + 61. + + + (yelling after him, + irriated) + No, dummkopf, I said come! + + +82 EXT. BETWEEN TWO TENTS - DAY 82 + + Indy hustles between the tents. Up ahead, two German + Officers stop to talk, blocking his exit. He moves along + the side of one of the tents until he finds an opening and + slips inside. + + +83 INT. THE TENT 83 + + Indy finds himself in a tent set up for rather comfortable + living. He has just started to cross it when he hears a + loud, excited grunting. He turns toward the sound. In the + corner, tied to a chair and gagged is Marion. Indy rushes + to her, snatches the gag from her mouth and embraces her. + They kiss, deep and long. + + INDY + I thought you were dead. + + MARION + They were throwing me around like a + rag doll. + + INDY + They must have switched baskets. + Thank god for that! Bless those + bastards. Have they hurt you? + + MARION + No. Not since I got here. They just + asked about you -- what you knew. + The Frenchman’s got the hot’s for + me. I’ve been playing that along. + Oh, Indy, get me out of here. + + Indy pulls out a knife and then stops suddenly, thinking. + + MARION + What’s wrong? + + INDY + (putting the knife away) + I have to leave you here for a + little while. I know where the Ark + is. If I take you out of here + they’ll start combing the place for + us. + 62. + + + MARION + (louder) + Cut me loose! + + INDY + Keep your voice down. + + MARION + (screaming) + I said get me out of -- + + Indy pops the gag back in her mouth. Her eyes widen in fury + and she grunts obscenities at him. + + INDY + Look, you don’t know how glad I am + to see you. And I don’t like doing + this. But the whole thing will be + shot if you don’t just sit here + quietly. They haven’t hurt you in + the last twenty-four hours, they + aren’t going to start now. I’ll be + back to get you in no time. + + He kisses her forehead, jumps up and hurries out of the + tent. + + +84 EXT. SAND DUNE OUTSIDE DIGS - DAY 84 + + With the digs behind them, Indy and Sallah run up to the + ridge of the dune and over the top. At the bottom of the + far side, Omar’s truck is parked. Omar and his men are + waiting. + + +85 EXT. DIFFERENT DUNE - DAY 85 + + This new spot gives Indy a higher, better view of the whole + scene. Indy is using a surveyor’s instrument to take a + reading. + + WHAT HE SEES. Looking through the instrument, Indy gets a + line from the map room through the site where the Nazis are + digging in the dunes to a spot several dunes over. We focus + on that virgin spot of well-hidden sand as -- + + INDY + There! + + +86 EXT. INDY’S DIG - DAY 86 + 63. + + + Omar’s truck is parked at the stop just viewed from afar. + Dunes rise on either side. One of Omar’s men has been + posted as a lookout up on a ridge. Everybody else, Indy, + Sallah, Omar, and his men, have begun digging for the Well + of the Souls. + + DISSOLVE TO: + + SAME SCENE, NIGHT. They continue to dig furiously, all of + them drenched in sweat. The hole has grown but this is + slow, back-breaking work. + + +87 INT. COMMAND TENT - TANIS DIGS - NIGHT 87 + + Belloq, SHLIEMANN the ranking Nazi, and Shliemann’s Aide, + GOBLER, come into the tent, which is full of charts and + maps, drawings of the Ark, radio equipment, liquor and + food. The men have been out digging for the Well all day. + They are tired, discouraged, testy. In all matters, Gobler + shows his alliance with Shliemann against Belloq with small + looks and body language. The Frenchman has disappointed + them and he is feelings the isolation of a scapegoat. + Belloq gets himself a drink as Shliemann towels off his + face. + + BELLOQ + I cautioned you about being + premature with that communique to + Berlin. Archeology is not an exact + science. It does not adhere to time + schedules. + + SHLIEMANN + The Fuhrer is not a patient man. He + demands constant reports and he + expects progress. You led me to + believe -- + + BELLOQ + Nothing. I have made no promises. I + said only that it looked very + favorable. Perhaps the Ark will + still be found in an adjoining + chamber. Based on the information + in our possession, my calculations + were correct. Perhaps some bit of + evidence still eludes us. Perhaps - + - + + GOBLER + Perhaps the girl can help us. + 64. + + + Belloq shoots him an angry look. + + SHLIEMANN + My feeling exactly. She was in + possession of the original piece + for years. She may know much. + (really evil) + If properly motivated -- + + BELLOQ + I tell you, she knows nothing + useful. + + SHLIEMANN + I’m surprised to find you + squeamish. That is not your + reputation. But it needn’t concern + you. I have the perfect man for + this kind of work. + + Shliemann signals Gobler, who steps outside the tent a + moment, calls someone and then reappears. Belloq looks + warily at the entrance. After a moment Belzig enters, + reeking villiany. When his eyes find Shliemann, his + superior, he snaps a crisp “Heil, Hitler!” at him, holding + his palm rigid a long time, exposing a burned scar in the + perfect shape of the sun medallion. + + +88 EXT. INDY’S DIG - NIGHT 88 + + In the eerie conjunction of moonlight and torchlight, Indy + and the other men step back in awe of their discovery: + there, flush with the bottom of their pit, is a heavy stone + entry door to an underground chamber. Special prying tools + are produced. With two men assigned to each of the two long + tools, they work in unison to open the vault. They open it + a foot and the two other men rush in to flop the heavy door + completely open. Down inside, only blackness. + + The men quickly prostrate themselves around the edge of the + entry to look inside. Indy and Sallah each take a torch and + hold them down the hole. + 65. + + + WHAT THEY SEE. The Well of the Souls is a spooky chamber + thirty feet deep. The walls are covered with hieroglyphics + and carvings. The roof is supported intermittently by stone + pillars, the closest of which hits the roof very near the + entry hole. The Well is quite large; as Indy and Sallah + wave their torches, more and more of the room is revealed. + Now the far end of the chamber comes into view. There is a + stone altar down there and on this elaborated carved + platform is a stone chest, big enough to enclose the Lost + Ark and protect it from the ravages of time. This altar + appears to be the only place on the floor of the Well that + is not covered by a strange, dark carpet of some kind. + + INDY + The Ark must be in that stone case. + What’s that gray stuff all over the + floor -- + + He breaks off realizing exactly what that carpet is. He + blanches. Indiana Jones blanches. + + Indy drops his torch to the floor of the Well. This is + answered by the most horrific HISSING imaginable. + + WHAT HE SEES. That thick dark carpet is moving. It’s alive. + It’s thousands and thousands of deadly poisonous snakes. + Egyptian asps. And the only thing that seems capable of + avoiding this venomous ground cover is the altar. The + snakes ebb and flow near it, but never encroach on it, as + though repelled by some invisible force. + + Indy shakes his head and talks to himself. + + INDY + Why snakes? Why did it have to be + snakes? Anything else. + + After a moment of this, he stops. He gathers his energy and + resolve and gets back to the task. + + SALLAH + Asps. Very dangerous. + + Where Indy’s torch has landed is a circle of snake-free + floor. The snakes hate the flame; they stay away. + + INDY + Lots of torches. And oil. I want a + landing strip down there. + + +89 INT. THE WELL OF THE SOULS 89 + 66. + + + Fifteen torches have been dropped to the floor of the + chamber, combining to make a good-sized clear zone. Smoke + begins to fill the room. Several canisters of oil have been + lowered into this space. Now, a large wooden crate is + lowered slowly by rope. Rope handles are attached to each + end of the crate. + + Up at the hole, Indy gives Sallah a reassuring pat, takes a + breath, and swings carefully onto a rope hanging from the + hole. Despite his care, he swings a bit and his feet hit + the stone pillar which is so near the entry. Surprisingly, + the pillar casually moves a bit, showering a light rain of + crumbled stone to the floor below. + + Indy lands on the floor of the Well. He looks at the altar + over a sea of undulating death. He picks up an oil canister + and splashes two parallel lines of oil and lights them. A + path six feet wide beings to open the altar. Behind Indy, + Sallah comes quickly down the rope. + + We begin to INTERCUT all the action in the Well from here + on with insert shots of the snakes outside the flames. + Snakes and snakes. We see: snakes piled and entwined six + inches deep; mother snakes laying snake eggs; snake eggs + hatching little snakes; snakes cannibalizing other snakes. + + +90 INT. MARION’S TENT 90 + + Belloq has been talking to the still-bound Marion. He has + removed her gag. He is impatient, angry, uncomfortable. + Caught between two forces. + + BELLOQ + Believe me, you made a mistake. If + you would just give me something to + placate them. Some bit of + information. + + MARION + I swear to you, I know nothing + more. I have no loyalty to Jones. + He’s brought me only trouble. + + He wants to believe her. + + BELLOQ + I cannot control them. + + Marion’s frightened look shifts suddenly to the entrance of + the tent. There are a few new arrivals there, Shliemann, + Govler and Belzig. Belzig carries a black leather case. He + steps forward and smiles at Marion. + 67. + + + BELZIG + We meet again, Fraulein. + + +91 EXT. INDY’S DIG - JUST BEFORE DAWN 91 + + The sky is just beginning to lighten over the dunes to the + east, making dangerously obvious the thin column of smoke + rising from the entrance to the Well. Omar and his men are + peering through the smoke down into the Well. + + +92 INT. THE WELL OF THE SOULS 92 + + Indy and Sallah are on the altar. Pushing together with all + their strength, the heavy stone top of the protective chest + begins to slide away. Indy and Sallah exchange slightly + wary but very excited looks, then continue to push. As the + Ark begins to be exposed, the air seems to almost vibrate, + to become electrostatically charged. We hear what sounds + like a low HUM. The sea of snakes around the altar draws + back further from this presence. + + As the top of the stone chest is pushed completely off and + slams down beside it, we see THE LOST ARK OF THE COVENANT. + It is awesomely beautiful, breathtaking. 4 feet long, 2.5 + feet wide and 2.5 feet high. It’s height, however, is + increased by the two sculptured gold angels mounted facing + each other on the top. Though the body of the Ark is acacia + wood, it has been overlaid with gold. An elaborate gold + crown surrounds the top edge and gold carrying rings are + attached to each corner. + + Sallah is mesmerized by the sight. His hand starts to reach + out and touch one of the angels, but Indy grabs it. + + INDY + Don’t touch it! Never touch it! + + The wooden crate stands open next to the stone chest. Now + Indy extracts the wooden poles from its rings and begins + fitting them through the rings in the Ark. This takes some + maneuvering by the two men, but soon they are able to lift + the Ark clear of the stone chest and into the wooden crate. + + They extract the poles, fasten the top of the crate and + stick the poles through the rings of the wooden crate. They + start back toward the space under the hole. The fire strips + have begun to dwindle, as have some of the torches. The + snakes move slowly in toward the clear spaces. + 68. + + + Indy and Sallah eye them nervously as they hurry along with + their heavy load. Under the hole, they hurriedly attach + ropes to the wooden crate and it is pulled up. Indy’s + concentration is on the tide of snakes. + + INDY + Hurry up! Why did it have to be + snakes? + + Sallah takes the next rope and climbs quickly out of the + Well. Indy has picked up a torch and now throws it at a + pool of snakes who are too close for his comfort. He turns + and takes hold of the exit rope. He gives it a first tug + and it falls down into the Well, landing partly beyond the + ring of fire where it instantly disappears in a tangle of + angry, hissing asps. Indy looks up at the hole. + + INDY + What the -- + + Smiling down at him from the perimeter of the entry are + Belloq, Shliemann and Gobler. + + BELLOQ + Why, Dr. Jones, whatever are you + doing in such a nasty place? + + Belloq and the Germans laugh. + + INDY + Why don’t you fellows come down + here? I’ll show you. + + BELLOQ + No thank you, my friend. + (he glances around him) + + BELLOQ + I think we are all very comfortable + up here. + + +93 EXT. INDY’S DIG - DAWN 93 + + Sunlight is flooding this tableau: Sallah, Omar and his men + are being held at bay by ten armed Nazis. The wooden crate + sits safely nearby. Belzig and another Nazi have the gagged + Marion held in their rough grasp. + + BELLOQ + (down to Indy) + 69. + + + After all these years, it is most + considerate of you to aid me in + this way. + + As Belloq speaks, Shliemann exchanges a look with Belzig. + Belzig smiles and takes the gag from Marion’s mouth. + + +94 INT. WELL OF THE SOULS 94 + + Shliemann smiles down at Indy. + + SHLIEMANN + I’m afraid we must be going now, + Dr. Jones. Our prize is awaited in + Berlin. But I do not wish to leave + you down in that awful place -- + (he gives a sign) + -- all alone. + + Belzig and the Nazi move Marion to the hole and, to + Belloq’s surprise, push her in. Marion falls thirty feet + screaming. Indy drops the torch, braces, and catches her! + Her weight knocks him to the ground, almost into the + snakes. She looks around at the snakes, clinging to him + more desperately as he struggles to his feet trying to + unload her. + + MARION + Don’t put me down! + + Up at the hole, there’s plenty of dissension. + + BELLOQ + The girl was mine! + + SHLIEMANN + She is of no use to us. Only our + mission for the Fuhrer matters. + + Shliemann glances meaningfully around at the other Nazis. + + SHLIEMANN + I wonder sometimes, Monsieur, if + you have that clearly in mind. + + Belloq feels how much he is the outsider, his own + vulnerability. He backs down with the wisdom of survival. + He turns to look down at Indy and Marion. His manner is + gallant. + + BELLOQ + Goodbye, mademoiselle. + 70. + + + (a pause, then with + respect) + Indiana Jones -- adieu! + +Belloq and the others step back from the hole and unseen +Nazis slam the heavy stone door into place. Marion screams. + +Her scream is accompanied by -- + +A huge WHOOSH! as air is sucked out and the chamber is +sealed. Half of the torches still burning go out with the +sound. The remaining torches continue to extinguish at +punctuating intervals throughout the following action and +the snakes immediately flood into the newly-darkened +spaces. Indy puts Marion down and snatches up two burning +torches. He hands one to Marion. + + INDY + Don’t panic. There’s plenty of time + for that later. Wave that at + anything that slithers. + +Indy holds his torch out like a lantern and begins a slow +360o turn, his eyes peering into the gloom, examining every +inch of the wall and ceiling. + + MARION + What are you doing? + + INDY + Just watch the floor. + +Reminded of the encroaching snakes, Marion waves her torch +at the nearest edge of their circle. She looks faint. Indy +continues his slow turn. + + MARION + Whatever you’re doing, do it + faster. + + INDY + (he spots something) + There! + +His head whips around, looking at the pillars around the +room. He sees what he wants. He grabs one of the oil +canisters, looks back to the spot on the wall he’s chosen +and splashes oil on the floor in that direction, then +lights it. A path opens toward that wall. + + INDY + Come on! + 71. + + +Marion is frozen in her spot. Indy drags her after him. He +splashes oil the rest of the way to the wall. It lights and +Indy pulls Marion over to the wall. He pours the remaining +oil in a circle around them, creating a safe zone there. + + INDY + Stay here! + + MARION + (grabbing him) + Where are you going? + + INDY + I’ll be back in a minute. We’re + going through this wall. + +Marion looks at the wall, which looks like all the rest to +her. She thinks he’s crazy. + + INDY + Just keep your eyes open and get + ready to run. No matter what + happens to me. + + MARION + (panicked) + What do you mean? + +Too late. Indy runs back through the path of flames to the +center of the room. Snakes strike at his flying heels. Indy +reaches the base of the pillar which he touched briefly on +his original descent. He uses the torch to clear away the +scattered snakes climbing on it, then pulls out his whip. +He draws it back, then wraps it solidly around the pillar +15 feet up. With the torch in his mouth, he beings climbing +the pillar. It moves ominously under his weight. + +The last two torches still burning on the floor go out. Now +the only light in the chamber is provided by the torches +held by Indy and Marion and the dwindling oil flames. +Snakes move in and surround the base of Indy’s pillar. The +path between Marion and the center of the room is overrun. +The circle of flame around Marion is dying down. + +She looks beyond it with terror-widened eyes, then up +through the increasing smoke at the distant Indy. + 72. + + + Near the top of the pillar, Indy’s hands strain along his + taut whip, which he has moved higher. A snake slithers into + view there, inches from Indy’s straining face. Indy turns + his head so the torch in his mouth can burn it. The snake + falls from the pillar. Indy’s torch is dwindling. Indy + works his body around so that he’s in on the side of the + pillar away from Marion. The pillar moves, showering dust. + Indy looks at the chamber wall five feet away, takes a + breath and swings his legs up against it. He is now braced + between the pillar and wall. + + MARION (O.S.) + (screaming) + Where are you?! + + Snakes are moving in force up the pillar toward Indy’s + dwindling torch. Indy grasps the pillar for dear life, + grimaces with exertion and pushes against the wall with all + he’s got. The pillar begins to break loose of the ceiling, + then stops. Indy’s eyes are on the torch. It is just a spot + of flame now. Snakes are sliding up toward his hands. Indy + again pushes against the wall and torch falls out of his + mouth. + + The pillar goes! In the dim light, we see it fall like a + tree directly at Marion. Indy rides it down. The top hits + the wall three feet from a cringing Marion and smashes + through to a black chamber beyond. Indy flies off into the + darkness. Gone. Marion clutches her torch at the black + hole. + + MARION + Indy! Where are you?! Please Lord! + + There is a moment that seems an eternity, then Indy appears + like an apparition out of the void. + + INDY + Come on! + + He grabs her and helps her over the remains of the wall + into -- + + +95 INT. THE CATACOMBS 95 + + The winding string of connected chambers is revealed to + them only a few feet at a time as their torch lights the + way. + + MARION + The snakes -- are they here? + 73. + + + INDY + I guess not. I think I’d be dead. + + MARION + Do you know where you’re going? + + INDY + Absolutely. + + MARION + Thank god. Where? + + INDY + Out. + + They round a corner and flush a covey of bats. Marion + screams. + + INDY + Don’t do that. It scares me. + + Marion gives him a look. They round a corner and begin a + walk through a maze of chambers that present for their + inspection: moldering mummies and stacked sarcophagus; a + room decorated with a thousand human skulls; a wall + crawling with huge scabbard beetles. Marion is quite + naturally a nervous wreck; she jumps when Indy grabs her + suddenly and points. + + INDY + Look! + + WHAT THEY SEE. There, coming through the crack in the + corner of the next chamber, is white blessed sunlight. + + +96 EXT. THE TANIS DIGS - NEAR AIRSTRIP - DAY 96 + + Indy and Marion peek out into the light from the shadows of + an abandoned excavation. Before them is the improvised + airstrip serving the digs: a crude runway, a tent supply + depot, two fuel tank trucks. Down by the fuel trucks a + German Mechanic is looking skyward. Now Indy and Marion + look there too, drawn by the roaring sound of -- + + A Flying Wing, which is circling over the digs in + preparation to landing. + + Now a new figure approaches the German Mechanic. It is + Gobler; he yells to the mechanic, indicating the plane. + + GOBLER + 74. + + + Get it gassed immediately! It has + an important cargo to take out! + +In the distance, the Flying Wing lands and rolls toward the +men. Gobler spins and heads back toward the main camp, +which is hidden from view by a rise. Indy and Marion watch +him go. + + INDY + When the Ark gets loaded, we’re + already going to be on that plane. + +The Flying Wing rolls up into the space near the fuel +trucks. The German Mechanic puts blue blocks in front of +the tires as the engines continue to roar. + +Indy and Marion run in a crouch to a hiding spot closer to +the plane, near the supply tent. Suddenly, a Second German +Mechanic appears behind them. He is as surprised as they +are, but recovers quickly and swings a monkey wrench at +Indy. Indy grabs the swinging arm and the two men tumble +out into the open, wrestling. Marion remains hidden, moving +fast among the crates. + +The first German mechanic, who is just pulling the fuel +hose from the tank truck to the plane, sees the combatants +and runs to help his countryman. He is almost upon them +when Indy puts the Second German away with a devastating +left, right, left combination. He turns to find the first +German Mechanic flying at him. The roll toward the rear of +the Flying Wing and its lethally spinning reversed +propellers. + +In the cockpit of the Flying Wing, the Pilot has been +fiddling with his gauges just prior to shutting off his +engines. Now he notices the fight going on outside. + +The fistfight between Indy and the German Mechanic has +taken on a new stomach-tightening dimension. The men are +fighting and flailing in and out between the spinning props +at the back of the plane’s wings. Each man comes within +inches of the becoming instant mincement. + 75. + + + The Pilot slides away the top of his cockpit and stands up. + He pulls a Lugar from his side and points it, waiting for a + clear shot at Indy. The German Mechanic kicks Indy away + from him and the Pilot aims his pistol. Suddenly, Marion + appears behind the Pilot, standing on the opposite wing, + and bashes him over the head with one of the blue blocks + that was holding the tires. The Pilot drops down into the + cockpit, his body falling on the throttle. The engines roar + louder, revving up. The plane begins to roll, rotating + around its one still-blocked set of tires. Marion grabs + onto the cockpit to keep from slipping into the props. She + bends into the cockpit, trying to pull the Pilot’s body off + the throttle. No luck. She grimaces and climbs inside. Her + shoulder bumps the top of the cockpit; it slides tightly + shut above her. + + Under the moving wing, Indy delivers a knockout right cross + to the German Mechanic which sends him staggering back + toward a roaring propeller. Indy’s grimace registers the + man’s demise and a fine mist of blood wafts toward him. + Indy spins toward the sound of crumpling metal and sees -- + + The other top of the Flying Wing slice into a tank truck. + The airplane fuel inside floods out onto the pavement, + surrounding the plane. Indy backpedals away from the plane, + his eyes searching the scene for Marion. Suddenly, he is + shocked to see her in the cockpit. He runs toward her, + skidding through the gasoline. + + INDY + Get out! Get out! + + Marion is struggling with the top of the cockpit. She can’t + budge it. She’s trapped. + + +97 EXT. THE COMMAND TENT - DAY 97 + + Three Armed Nazis stand guard around the wooden crate + containing the Ark. It is sitting near the flopped-open + entrance to the Command Tent and there is furious activity + going on here. Belloq, Shliemann, Golber, Belzig and + assorted Aides are packing up all the papers and personal + items in preparation for a hasty departure. + + A large crowd of Arab Diggers are milling about among the + tents. They all want to get a look at the Ark. Sallah is + among them. All at once, there is an earthshaking + explosion. All eyes turn toward the rise that hides the + airstrip. A huge fireball floats into view over there. + Everyone starts running toward it. Shliemann yells at + Belzig and the Armed Nazis. + 76. + + + SHLIEMANN + Stay with the Ark! + + +98 EXT. THE RISE ABOVE AIRSTRIP - DAY 98 + + Almost all the Arabs and Germans in the digs have + congregated here and are staring at the burning remains of + the Flying Wing. Belloq and Shliemann arrive just as the + second fuel tank blows up. The concussion knocks many of + the observers flat. Belloq, Shliemann and Gobler watch the + scene in alarm. + + SHLIEMANN + Sabotage! + + BELLOQ + We must get the Ark away from this + place immediately! + + SHLIEMANN + (to Gobler) + Have it put on the truck. We’ll fly + out of Cairo. + + Gobler snaps his heels, turns to go. + + SHLIEMANN + And Gobler -- + (Gobler stops) + -- I want plenty of protection. + + Gobler nods and runs off. Shliemann heads back toward camp. + + Belloq hesitates a long moment, studying the burning + wreckage with an odd, suspicious look. Finally, he turns + and leaves, passing a nearby stack of barrels. When he has + passed, Sallah appears from among the barrels. He searches + the crowd for his people and starts a broken field run + along some tents to avoid a group of Germans and is running + flat-out when someone sticks out a leg and sends him + flipping. Sallah, dust all over his face, looks angrily + toward the concealed culprit. At once, a flashing white + grin splits his darkened face. Indy and Marion, splotched + with soot and oil, are hiding in the flap of a tent. Sallah + runs into their arms and the three embrace warmly. When + they break -- + + SALLAH + Holy smoke, my friends! I am so + pleased you are not dead. + + MARION + 77. + + + Us too. + + SALLAH + (suddenly remembering) + The Ark! They’re taking it on a + truck to Cairo. + + INDY + Where is it? + + Sallah gestures to follow and all three run off stealthily + through the mostly deserted camp. + + +99 EXT. AMONG THE TENTS - DAY 99 + + Sallah, Indy and Marion run into a hiding spot behind some + water barrels near the Command Tent. They peek out at this + activity -- + + In the big space near the Command Tent is parked an open + German staff car; inside is a Blond Driver and an Armed + Guard. Directly behind it is a canvas-topped troop truck. + At this moment, Belloq and Shliemann are supervising the + careful placement of the crated Ark in the back of the + truck. When it is securely placed inside, we hear an + ominous marching sound and Nine Armed Nazis appear at a + trot from between some tents and climb into the back of the + truck with the Ark. + + Behind the water barrels, Sallah and Marion exchange + hapless looks, but Indy just concentrates on -- + + The scene by the truck: Belloq and Shliemann are about to + climb into the front staff car when they pause to check out + the final component of the convoy. Rolling into place + behind the truck is another open staff car. But this one is + special, mounted in the back is a big, black machine gun, + manned by a Gunner. At the wheel of the car is Gobler and + next to him sits Belzig. + + Sallah and Marion look at Indy. Belloq and Shliemann climb + in the back seat of the front car and the caravan pulls + out. + + Indy watches it go, thinking hard. + + INDY + You two get back to Cairo quick and + get us transportation to England -- + a plane, a ship, anything. + + MARION + 78. + + + What about you? + + INDY + I’m going to get that truck. I’ll + meet you at Omar’s. Be ready for + me. + + Sallah nods. Marion looks at him like he’s nuts. Indy jumps + up, looks around desperately. + + MARION + How are you going to get that + truck? + + INDY + (still searching) + I don’t know. I’m making this up as + I go. + + He runs away between two tents. + + +100 EXT. AT THE EDGE OF THE DIGS - DAY 100 + + From among the tents, Indy suddenly bursts into view, + happily astride a magnificent white Arabian stallion. He + gallops off across the desert. + + +101 EXT. THE DESERT - VARIOUS SHOTS - DAY 101 + + Indy cuts cross-country avoiding the road the convoy has + taken. He leaps gullies, climbs dunes, slides down slopes. + Soon the convoy comes into view far below him. He tears + along a parallel ridge, like an Indian shadowing a wagon + train. + + +102 EXT. DESERT ROAD - DAY 102 + + The convoy is entering rougher country. The narrow mountain + road we’ve seen earlier ascends ahead. To the wide of the + road are tall boulders. Suddenly, Indy shoots out from + between two rocks and rides directly for the truck. The + Armed Nazis in the back of the truck can see nothing + because the canvas hides their view. But Gobler, Belzig and + the Gunner in the rear staff car have a brief line on him. + Belzig points and the Gunner fires away at Indy, the + bullets kicking up sand near Indy’s horse. + 79. + + + The Armed Guard in the cab of the truck leans out to see + what’s happening. Indy has been riding alongside. Now he + stands on the horse and leaps to the cab. In a second, he + has flipped the Armed Guard out of the truck. He slides + into the cab and begins grappling with the Truck Driver. + The Truck Driver tries to hit the brakes, but Inyd kicks + his foot away and floors the gas pedal. The truck doubles + its speed and shoots onto the steep mountain road. + + +103 EXT. MOUNTAIN ROAD - DAY 103 + + The Blond Driver of the front staff car sees the truck move + up on him in the rearview mirror and speeds up. Belloq, + Shliemann and the Armed Guard in the car twist around to + look at the struggle in the truck. The Blond Driver begins + what will be a continuing preview of the twists in the + road. He turns his wheel sharply and takes the lead car + around a bend. + + In the cab of the truck, Indy and the Truck Driver stop + their fight temporarily and cooperate in turning the + steering wheel. The truck barely stays on the road. + + A full view reveals the incredible geography of this ride. + The convoy is tiny against the spectacular mountainside, + the cliffs drop hundreds of feet. + + At the wheel of the rear car, Gobler swerves to stay on the + road and accidentally sideswipes a boulder. The Gunner + perched in the back is flipped head over heels out of the + road through all the dust the convoy is picking up. + + The lead staff car reaches the summit of the road and + barely makes the hairpin turn there, delivering a + destructive blow to the guard rail that has been placed + there. The guard rail is now bent. + + In the cab of the truck, Indy and the Truck Driver again + stop trying to choke each other long enough to negotiate + the turn together. The bumper of the truck hits the broken + guard rail and sends it flying off the cliff. The truck, + however, holds the road. + + In the rear car, Golber and Belzig are trying to see + through the thick clouds of dust. Suddenly is clears + completely. + + Unfortunately for them, this happens because their car has + shot out into space at the hairpin turn. They are flying to + their final reward. Belzig, eyes wide behind his evil + spectacles, screams as he goes. + 80. + + +In the cab of the truck, the Truck Driver is distracted by +the sight of the flying staff car. Indy plasters him and he +tumbles out. + +Far, far below, Belzig’s staff car explodes on the rocks. +In the back of the truck, a TOUGH SERGEANT takes command of +the situation. He picks out six Armed Nazis and motions for +them to start climbing around the outside of the truck to +the cab. With some trepidation the lucky ones begin that +maneuver. The truck is swerving like crazy. + +In the front staff car, the Armed Guard aims his submachine +gun back at Indy, alone now in the truck’s cab. Shliemann +knocks the barrel roughly away. + + SHLIEMANN + (yelling) + If anything happens to that Ark, + we’re all dead men! The Fuhrer will + see to it! + +Indy sees this from the cab and reacts by speeding up, +putting even more pressure on the Blond Driver. + +Along the back of the truck, Armed Nazis are edging up +toward the cab, three on each side. They hang on as the +truck rounds a corner and goes into a straightaway that +leads through a short tunnel. + +In the cab, Indy has been concentrating on the lead staff +car. Now, just before entering the tunnel, he looks in the +side view mirror and sees the Nazis on his side. A quick +glance to the other mirror reveals the others. As the truck +sweeps into the tunnel, we see Indy just start to turn his +steering wheel, he’s going to sideswipe the walls of the +tunnel. + +At the other end of the tunnel, we hear the roar of the two +engines and two long, screeching, scraping sounds. The lead +staff car shoots out of the tunnel, then the truck, its +sides cleaned of Nazis. + +In the rear of the truck, the Tough Sergeant is looking +with distaste back at the tunnel. There remains only him +and two Armed Nazis with the Ark. He sends these two +climbing up over the top of the truck. + +In the lead car, the Blond Driver is being pressed hard by +Indy, who now edges up to bump them from the rear. Suddenly +the Armed Guard next to the Driver sees the two Armed Nazis +appear on the top of the truck. Without thinking, he starts +to point them out to Shliemann, then realizes his +stupidity. + 81. + + + In the cab, Indy has seen this and is at first mystified. + He checks his side-view mirrors. Then he figures it out and + slams on his brakes. The brakes lock, the wheels burn and + the truck skids to a dusty halt. The two Armed Nazis fly + off the truck, over the cab to the road in front. Indy + immediately hits the gas again. The two Armed Nazis, just + aiming their weapons, get wiped out. + + In the rear of the truck, the crated Ark is bouncing all + along, no one in sight, because -- + + The Tough Sergeant is on the top of the truck, making his + way steadily forward. This guy clearly knows what he’s + doing. A submachine gun is slung acorss his back. + + The truck and the staff car race through a series of S- + curves. In the staff car, Belloq and Shliemann spot the + Tough Sergeant as he reaches the front of the truck’s top + and begins to lower his submachine gun barrel toward the + cab. Indy is unaware. Belloq and Shliemann exchange looks. + + Then Shliemann yells to the Armed Guard in the front seat. + + The Touch Sergeant has a line on Indy. He points his gun. + The Armed Guard blasts away at the truck. The Tough + Sergeant dies in a hail of bullets and flies off. + + Indy, who has ducked the gunfire, is confused. But when he + sees the Armed Guard up front lower his gun, Indy again + floors it and begins bumping the staff car in earnest. + + The road is almost down to a level now. In the distance + Cairo. The road takes a little dogleg just before reaching + level ground again. Just as the staff car is about to make + the turn, Indy smashes them from behind. The staff car + flies off the road and down a twenty foot embankment. Indy + takes the truck speeding down the road and off toward + Cairo. + + In the staff car, the occupants are bruised but safe. + Shliemann points at the departing truck and yells at the + Blond Driver. The staff car fishtails out of its sandy + resting place and takes off after the truck. + + +104 EXT. OUTSKIRTS OF CAIRO - VARIOUS SHOTS - DAY 104 + + Indy had an ever-decreasing lead on the staff car as the + race thunders into the narrow streets. People and animals + leap out of the way; carts and barrels go flying helter + skelter. Indy takes the truck down a street so narrow there + are only inches to spare on each side. Pedestrians jump + into doorways. + 82. + + +105 EXT. OMAR’S SQUARE - DAY 105 + + When the truck clears the narrow street, it is in a small + square. Omar’s garage is gaping open on the opposite side. + Indy hits the brakes and the truck skids across the square + and into the garage. The garage door slams shut and tenting + drops from the building to hide the door. Various Arabs, + friends of Omar, rush out with fruit carts and baskets and + set up a mini-bazaar in seconds. Two Arab Boys sweep the + tracks of the truck into oblivion. They throw aside their + brooms just as the staff car appears from the narrow + street. Belloq and Shliemann look around desperately as the + Blond Driver steers the car through the square and out the + other side. + + +106 EXT. CAIRO DOCKS - NIGHT 106 + + The waterfront is dark and misty. An old tramp steamer, THE + BANTU WIND, sits by the pier. Several fierce Black African + Pirates, the crew members, are taking on final stores. + + A small light illuminates the top of the gangplank. In its + circle, Indy and Marion exchange long, warm embraces with + Sallah. A short distance away the ship’s Captain, a + handsome, powerful black named SIMON KATANGA, watches the + rail, smoking a pipe. + + DISSOLVE TO: + + +107 EXT. OPEN SEA - THE MEDITERRANEAN - NIGHT 107 + + The Batu Wind is bathed in moonlight as it cuts across the + even seas. + + +108 INT. INDY’S CABIN - NIGHT 108 + + Indy comes in, takes off his hat, jacket, whip and holster. + The door which connects this cabin to the next opens and + Marion appears. She is carrying a half-full glass of + liquor, but what you notice is the long, snow-white, high- + necked nightgown she is wearing. It is very prim. Very + innocent. And very sexy. Marion does a slightly embarrassed + model’s turn for Indy. + + MARION + I have a feeling I’m not the first + woman to travel with these pirates. + There’s a whole wardrobe in there. + + INDY + 83. + + + It’s lovely. + +Indy sits on the cot, takes off his boots. He leans back +against the wall and rubs his eyes. Marion sits on the bed, +leans back against the wall with him and looks down at her +white nightgown. She chuckles. + + MARION + I feel like a virgin bride in this. + + INDY + That’s what you look like. + + MARION + (takes a drink) + There are some things you can + recapture in this life, but that + isn’t one of them. + + INDY + What would you like to recapture? + + MARION + (after a long pause) + Nothing. That is the way it is. + +He watches her closely as she drains her glass and puts it +down. + + INDY + Did I ever say I was sorry I burned + down your tavern? + +She turns so their lips are very close. + + MARION + No. Then again, I burned up that + plane. + + INDY + You saved my life. + + MARION + And you saved mine. + + INDY + Seems things have worked out kind + of even. + + MARION + That’s the way I like them. + + INDY + 84. + + + Maybe we should consider all past + accounts closed. + + Marion thinks about this a long time. + + MARION + No. Not yet. + + INDY + What else? + + She looks into his eyes. A smile jumps from her lips to + his. He kisses her and they sink slowly to the cot. + + +109 INT. IN THE HOLD 109 + + The ship’s rats are agitated. They tremble and chitter at + the edges of the compartment, darting about. Out in the + center of the hold, sitting all by itself, is the crated + Ark. HUM-M-M-M. + + +110 INT. INDY’S CABIN - DAY 110 + + Marion awakes with a start, alone in the cot. Something’s + wrong. The ship is quiet. Indy is strapping on his holster. + He pulls his whip and jacket from a hook. + + MARION + What is it? + + INDY + The engines have shut down. + + MARION + Why? + + INDY + I’m going to find out. + + +111 EXT. LOWER DECK - DAY 111 + + Indy runs toward the bow, then climbs some steps four at a + time. A MESSENGER PIRATE is hurrying to get him, but flies + by him on the steps. By the time the Pirate stops himself, + Indy is gone. + + MESSENGER PIRATE + Mister Jones! The Captain he say -- + 85. + + +112 EXT. THE BRIDGE - DAY 112 + + Captain Katanga is looking with concern ahead of the ship. + Indy appears behind him. + + INDY + What’s wrong? + + KATANGA + You have most important friends. + + Katanga turns quickly, pointing with a sweeping hand. Indy + looks. Arrayed in a rough semicircle around the ship are + ten German Wolf Submarines. All of their deck guns are + manned and trained on the Bantu Wind. Worse, at least five + heavily-armed boarding parties in rafts are closing quickly + on the ship. + + INDY + Holy shit. + + KATANGA + (fast) + I sent my man for you. You and the + girl must disappear. We have a + place in the hold. Go, my friend! + + +113 EXT. UPPER DECK - DAY 113 + + Indy tears along the deck. He looks over the rail and sees + two Nazi rafts already next to the ship. + + +114 EXT. LOWER DECK - DAY 114 + + Indy flies down some stairs and starts to round a corner. + Suddenly he throws himself backwards, out of view. Three + uniformed Nazis are clustered near a cabin door holding the + Messanger Pirate. Now two more come out of the cabin trying + to maintain their grasp on a kicking, yelling Marion. She + is still wearing her white nightgown. More Nazis clamber + onto the deck and head toward Indy, slamming open doors, + rousting Pirates, spouting racial epithets. Indy steps + backwards and fades into the maze of the ship. + + +115 EXT/INT. THE BANTU WIND - VARIOUS SHOTS - DAY 115 + 86. + + + The ship is swarming with Nazis. The Black Pirates are + herded forward, subjected to rough physical and verbal + abuse by the Aryan Supermen. The Pirates are clearly under + orders not to resist, but not one of these strong men likes + it. They’d gladly give their lives to rip the throat out of + a few Krauts. In the hold, the door slams open and Nazis + pour in; they smile at the sight of the crated Ark. + + +116 EXT. THE BRIDGE - DAY 116 + + Captain Katanga watches as his crew is crowded into a + circle of Nazis on the wide deck below him. He is + surrounded by Belloq, Shliemann and several Nazis, two of + whom are holding Marion. Now the Nazis from the hold appear + on the lower deck carrying the crated Ark by means of the + long poles. Belloq’s eyes shine at the sight. + + SHLIEMANN + Take it aboard the Wurrfler! + + BELLOQ + And be very careful! + + The Ark is taken away. + + SHLIEMANN + (to a Sergeant below) + What about Jones? + + SERGEANT + Not a trace yet, sir! + + KATANGA + Jones is dead. + + Belloq and Shliemann regard him suspiciously. + + KATANGA + We killed him. He was of no use to + us. The girl, however, has certain + value where we are headed. She will + bring a very good price. If that + cargo you have taken was your goal, + then go in peace with it. But leave + us the girl. It will reduce our + loss on this trip. + + SHLIEMANN + 87. + + + Savage. You are not in a position + to ask for anything. We will take + what we wish and then decide + whether or not to blow your ship + from the water. + + Belloq steps forward and puts a proprietary hand on + Marion’s arm, fixing Shliemann with a steady look. + + BELLOQ + That girl goes with me. It will be + part of my compensation. I’m sure + the Fuhrer would approve. + + Shliemann considers. + + BELLOQ + If she fails to please me, you can + do with her as you wish. + + This appeals to Shliemann’s nature. He signals his + agreement with a gesture. Belloq ushers Marion away with + her two keepers. + + DISSOLVE TO: + + +117 EXT. THE WURRFLER - CONNING TOWER - DAY 117 + + The Nazis have returned to their subs. Shliemann is on the + bridge with THE WURRFLER’S CAPTAIN and the Captain’s Aides. + The Captain is an honorable career Navy man. + + THE WURRFLER’S CAPTAIN + Colonel Shliemann, all torpedoes + are loaded. + + Shielmann nods and continues to stare at the Bantu Wind, as + does the Captain. The Pirate crew is all lined across the + bow. Towering above the others, standing on the rail, proud + and defiant, is Katanga. Shliemann looks at the Wurrfler’s + Captain a moment. + + SHLIEMANN + What do you think, Captain? + + THE WURRFLER’S CAPTAIN + (earnestly) + I think not, Colonel. Nothing is to + be gained. We are not at war. + + Shliemann mulls this, then turns to the hatch. + 88. + + + SHLIEMANN + -- yet. Let the vermin live. We + must be on our way. + + Shliemann disappears down the hatch. The Captain is + pleased. A Radioman speaks into his headset, then follows + the other Aides down the hatch. In the distance the other + subs begin to move away from the ship. The Captain, alone + on the bridge, looks once more at Katanga. + + On the Bantu Wind, Katanga executes what might be taken for + a salute. + + The Wurrfler’s Captain smiles, salutes crisply, then goes + below, pulling the hatch closed. Immediately, the Wurrfler + begins to move. And as it does, we see the rail at the aft + of the main deck. From nowhere, a wet sleeve appears and a + hand grabs the rail! + + Indy pulls his dripping body onto the sub’s main deck. He + has lost his felt hat once and for all. Other than that, + his outfit is the same as always, just wetter. Suddenly, + water is washing over his feet; the Wurrfler is beginning + to submerge. Indy runs through quickly deepening water + toward the haven of the conning tower. Halfway there, he + slips and goes down. + + Only by grabbing the base of the aftmast light does he keep + from being swept away. He struggles to his feet and sloshes + through knee-deep water to the base of the conning tower. + + Indy climbs the ladder to the bridge of the conning tower + and looks down. The water is rising toward him fast. Indy + climbs the ladder to the top of the turret and braces + himself between the two uprights there - the 7 foot radio + mast and the 20 foot periscope. Still the ocean comes up to + meet him. Soon the top of the turret is under water and + radio mast is disappearing. Indy shifts his grip to the + periscope, working his way up it and hanging on for dear + life as the ocean whips at his body. The periscope is + quickly going under. Indy hangs on to the top three feet, + all that remains above. + + The forward movement of the sub continues, but, to Indy’s + slowly dawning delight, the dive stops. No more of the + periscope goes under. Indy smiles; it’s a pretty good + smile, too, given the circumstances. Indy pulls out his + bullwhip and begins tying himself to the periscope. + + +118 EXT. THE PERISCOPE - AFTERNOON 118 + 89. + + + The sun warms that part of his body Indy has contrived to + keep out of the water. The rest floats out behind. Indy + isn’t comfortable, but all in all, it’s not as terrible as + he might have feared. + + DISSOLVE TO: + + +119 EXT. THE PERISCOPE - DUSK 119 + + It’s as terrible as Indy might have feared. He looks + wasted. + + Waterlogged and exhausted. The wet leather of the whip is + contracting and he must struggle constantly to keep it from + cutting into his skin. + + DISSOLVE TO: + + +120 EXT. THE OCEAN - NIGHT 120 + + Several shark fins cut the surface, appearing and + disappearing in the bright moonlight. They are shadowing -- + + +121 EXT. THE PERISCOPE - NIGHT 121 + + Indy looks through barely open eyes at the sharks running + alongside. There is nothing to be done. His eyes close. + + FADE OUT. + + FADE IN: + + +122 EXT. THE PERISCOPE - NIGHT 122 + + The submarine has stopped. The water is calm. The moon is + bright. A gentle swell splashes Indy awake. He blinks, + tries to regain his senses. He makes an inventory of his + body. Surprised to find himself intact, his spirits lift. + Some hidden reserve of energy flows through him. He frees + his aching arms from the wet leather of his whip, leaving + only one loop around his waist to hold him to the sub. He + rubs his hands and stretches. Once again, he has survived. + To fight again. He looks around. + 90. + + + WHAT HE SEES. A lovely island. No sign of man’s presence. + The sub has stopped at the mouth of a wide cove completely + ringed by tall white rock cliffs. Suddenly the sub begins + to move again. It is headed directly toward the center of + the cliffs. Indy holds on, mystified, alert. When the + cliffs are very close, the sub begins to dive. + + INDY + Damn! + + He thinks hard. Inspiration hits just before the water. + Indy flips his leather jacket up over his head and holds + the jacket out in front of him. His head is hidden by the + jacket as he goes under water. + + +123 INT. THE UNDERWATER TUNNEL - NIGHT 123 + + The sub enters an underwater tunnel that penetrates into + the cliffs. Indy is held to the periscope by his crossed + legs and the whip. His improptu air bubble is working, but + it’s a struggle to maintain it. + + The sub begins to cut through thick marine vegetation. Each + dangling growth pulls at Indy’s body and slaps at his + leather bubble. Now a clump of entwined seaweed rips the + leather out of his hands and his bubble of air rises away. + Indy hangs on, holding his breath, but the vegetation gets + denser. Finally, it pulls him off the periscope. The sub + moves on, disappearing ahead. + + Indy rises desperately through the dark water, his hand + outstretched. Then, almost simultaneously, hand and head + hit solid rock. But no air. Indy feels along the ceiling of + rock. Nothing. It’s all submerged. + + Indy dives, stroking deep into the tunnel. When he has + descended 15 feet, he grabs a vine and steadies himself. + His eyes search the dim roof of the tunnel. He sees his + last hope in the distance, a small blue circle, an air + pocket. He swims for it. + + In the air pocket, Indy’s head breaks the surface and + smashes into rock again. The pocket is only six inches + deep. No matter. Indy loves it. He’d like to move in. He + gulps air. + + +124 INT. THE SUB BASE - DOCKING BAY 124 + 91. + + + The Wurrfler has arrived at an extraordinary base built in + the hollow interior of the island. This chamber, with the + docking bay, is almost all water. A huge natural cavern, it + has been reinforced and enlarged by the Germans. + + The Wurrfler sits surfaced at the dock. The Ark has been + unloaded and placed on a cart. Shliemann, Belloq and Marion + have just disembarked and been met by a Nazi contingent + from the base. Marion looks worse for the trip. Her white + nightgown is now ripped and smudged. + + One of the greeting Nazis, a TALL CAPTAIN, salutes + Shliemann and Belloq. As he speaks to them, we notice that + right behind this group, just above a great deal of sub + unloading activity, Indy’s whip hangs from the periscope. + Working Nazis pass within feet of it unaware; the Tall + Captain would see it in a moment if he were not so focused + on the new arrivals. + + TALL CAPTAIN + (to Belloq) + The tents have been arranged in + accordance with your radioed + instructions, sir. + + BELLOQ + Good. We must take the Ark there + now. + + Shliemann looks a little unhappy about this exchange, but + says nothing. The groups moves swiftly toward the end of a + mine train arrangement. The train, consisting of small, + separate, electric-powered cars, sits on a track which + disappears into a tunnel cut in the rock. + + On the turret of the Wurrfler, the Wurrfler’s Captain + lights a cigarette as he watches the mine train disappear, + then returns his attention to the activity on the dock. He + leans idly against the periscope, his head two feet below + Indy’s dangling whip. Something catches his eye, he yells + an order and climbs down from the turret to deal with the + matter. + + We hold on the whip for a long moment, until its owner’s + hand appears and quickly reclaims it. + + +125 INT. TRAIN TUNNEL 125 + 92. + + + The Ark and its entourage are moving slowly up the tight + dark tunnel, their way lit by intermittent lanterns. The + tunnel is irregular, but generally about 7 feet wide. It’s + height varies from an average of about 7 feet to a low of + only about 4.5 feet at the points (every 40 feet) where + support beams cross the track. The result is that there is + only about a foot of clearance above the mine cars at those + points; passengers must duck to keep from being hit in the + head. Shliemann, looking worried, and Belloq, very excited, + are focused on the Ark in the car ahead. + + SHLIEMANN + I am uncomfortable with the thought + of this -- + (spitting it out) + -- Jewish ritual. Are you sure it’s + necessary? + + BELLOQ + (playing him) + Let me ask you this -- Would you be + more comfortable opening the Ark in + Berlin -- for the Fuhrer -- and + finding out only then if the sacred + pieces of the Covenant are inside? + Knowing, only then, whether you + have accomplished your mission and + obtained the one, true Ark? + + Shliemann doesn’t like any of his alternatives. He looks at + Belloq with some suspicions as the train comes into bright + light. + + +126 INT. COMMAND CENTER 126 + + A second natural cavern, even bigger than the first, has + been worked over by the Germans into a rectangular, three- + story high supply center around a huge, open, center court. + Uniformed Nazi Soldiers are everywhere, wrangling supplies + and ammunition, monitoring electronic equipment. At the far + end of the court, a second train tunnel disappears into the + rock. + + Across the open court, Belloq sees his destination: a + large, brilliant white silk tent has been erected in the + midst of all this hardware. It looks incongruous, and more + than a little eerie. It is the Tabernacle. + + +127 INT. TRAIN TUNNEL 127 + 93. + + + Indy is making his way up the tunnel. He hears cars coming + from up ahead and steps into the shadows. A mine car passes + with several laughing Nazis. Indy continues on his way. + + +128 INT. THE TABERNACLE 128 + + The light in here is lovely, unearthly. Oil lamps burn. The + Tabernacle is really several concentric, silk tents, which + creates a flowing maze effect. The innermost tent has at + its center a 3-foot high, tapestry-covered altar. Belloq + watches with gleaming, obsessed eyes as two Nazis carefully + lift the actual Ark out of its crate by means of the long + poles. The Ark dazzles the eye, seeming to glow gold in + this strange light. The two Nazis place it carefully on the + altar. Shliemann and some Aides hang back. Marion is + nowhere to be seen. + + +129 INT. COMMAND CENTER - END OF TUNNEL 129 + + Indy makes a fast break from the shadows of the tunnel to + the protection of a high stack of supplies. He climbs the + back of the stack, peeks over and surveys the area. + + WHAT HE SEES. In addition to the Tabernacle, the second + train tunnel entrance, and all the activity, Indy’s glance + rests momentarily on a large, heavy metal door halfway down + one wall toward the Tabernacle. It bears the words in + German: DANGER - MUNITIONS. + + Indy continues to scan the scene. + + +130 INT. THE TABERNACLE 130 + + In the central area with the Ark, Shliemann and the other + Nazis wait impatiently, eyeing the Ark with some + discomfort. Belloq is not visible, because at the moment he + is -- + + In the folds of the Tabernacle, the silk of the tents + undulating around him. The light is even stranger, the + scene almost dreamlike. With the help of the Tall Captain, + Belloq lets an extraordinary, gold-embroidered, ceremonial + robe fall over his head and onto his body. Belloq looks + transported, possessed. The Tall Captain unlatches a wooden + case and takes from it a sturdy ivory rod about 5 feet + long, elaborately engraved. Belloq takes it from him, turns + and slips back through the silk. The Tall Captain stays in + the folds. + 94. + + +Back in the central area, Shliemann and the other Nazis are +taken aback by Belloq’s appearance in the rove. They +exchange looks. From one knot of men there is muttering +about “Juden” and such, but when Belloq turns a fiery gaze +on them there is immediate silence. Shliemann looks +uncertain in this presence. + +Belloq approaches the Ark. He stops a few feet from it and +begins murmuring an invocation in Hebrew. After a few +moments of this he advances a step and is about to place +the ivory rod in a notch under the lid of the Ark itself. +The end of the rod is an inch from the notch when-- + +Indy steps into the Tabernacle. On his shoulder is a +bazooka and it is aimed directly at the Ark. + + INDY + Hold it. + (the Nazi react) + One move from anybody and I blow + that box back to Moses. + +Shliemann makes it clear to the other Nazis that Indy is to +be obeyed. + + BELLOQ + Jones, your persistence surprises + even me. You are going to give + mercenaries a bad name. + + INDY + What about you? Talked to God yet? + (Belloq’s eyes flash) + Where’s the girl? + + SHLIEMANN + Doctor Jones, surely you don’t + think you can escape from this + base. + + INDY + That depends on how reasonable + we’re all willing to be. All I want + is the girl. We’ll keep possession + of the Ark only till we’ve got safe + transport to England. Then it’s all + yours. + + SHLIEMANN + If we refuse? + + INDY + 95. + + + Then the Ark and some of us are + going up in a big bang. I don’t + think Hitler would like that a bit. + Now I don’t want to talk about this + anymore. Show me that girl in five + seconds or-- + + The Tall Captain flies out of the silk and takes Indy down + by the neck. The bazooka clatters across the cement floor + as two other Nazis help subdue Indy. The three Nazis take + Indy’s pistol from his holster and raise him roughly in + their grasp. + + SHLIEMANN + Jones, this is the second time I + have seen you looking very foolish. + + INDY + It’s a bad habit. I’m trying to + break it. + + Shliemann draws his Luger. + + SHLIEMANN + I’ll help you. This time I’ll kill + you myself. + + Shliemann raises the pistol. + + BELLOQ + No! Not in the presence of the Ark! + Take him outside. + + Shliemann eyes Belloq, then the Ark. He lowers the pistol, + motions for the Nazis to take Indy out ahead of him. They + stop a moment only when Belloq speaks. + + BELLOQ + Indiana Jones, I salute you. I am + even a little sorry you will miss + this moment. + + INDY + Thanks. If you talk to Him, tell + Him I’m on my way up. + + Shliemann motions them out and follows. Belloq turns back + to the Ark, raising the ivory rod. + + +131 INT. COMMAND CENTER 131 + 96. + + + Shliemann, the Tall Captain, Indy and the two Nazis holding + him emerge from the Tabernacle. Shliemann points to a + nearby wall and the group starts that way with Shliemann + and the Tall Captain slightly ahead. + + +132 INT. THE TABERNACLE 132 + + Belloq has the ivory rod inserted in the notch under the + lid of the Ark. He utters a short phrase in Hebrew and + begins to press down on his end of the rod. The lid of the + Ark begins to lift. It’s difficult work. Belloq puts his + whole weight into one big press on his end and the lid + opens two feet. + + Inside the Ark of the Covenant is a preview of the end of + the world. A light so bright, a power so fearsome, a charge + so jolting, that there is nothing in our world to compare + to it. It’s as though this magnificent golden box has been + gathering electric energy for three thousand years, waiting + for just this crack of the lid to release it all in one + fast, cleansing explosion of pure force. + + Blinding arcs of light shoot out across the Tabernacle + instantly killing all the Nazis inside and turning the + white silk to flame. But it is Belloq in his obsession who + takes the full blast. His whole body seems lit by a million + volt current and, for a moment, his complete form is white, + then blue, then maybe green, but it is hard to tell because + our eyes are blinded now too. Two aspects of this ghastly, + beautiful display are somehow communicated in the chaos, + although the communication is subliminal. First, that + Belloq, in the instant of his destruction, has experienced + some kind of sublime, transcendental knowledge. If a + death’s-head can smile and look satisfied, that is how + Belloq’s incandescent face would be described. Secondly, + this event is accomplished by a sound like no other. A + sound so intense and so odd and so haunting that the + suggestible among us might imagine it were the whisper of + God. + + +133 INT. COMMAND CENTER 133 + + Chaos. Shliemann and the Tall Captain have been temporarily + blinded by the light from the Tabernacle. Indy makes short + work of his two escorts. He bashes their heads together. + When only one goes down at this, Indy uses the handle of + his bullwhip, which has appeared instantly in his hand, to + put the second one down. + 97. + + + Shliemann, hand on his eyes, aims his Luger blindly at the + scuffle. Indy pushes the Tall Captain at Shliemann, who + fires on impact, killing the Tall Captain. Indy knocks out + Shliemann. + + Behind Indy, the brilliant light and weird noise of the Ark + have suddenly ceased, but the Tabernacle is ablaze and the + fire has quickly spread to stacks of supplies on either + side. Smoke is already starting to fill the cavern. Nazis + are running around, yelling for firefighting water. A + burning crate at the side of the Tabernacle is pushed over, + only to knock over a drum of heavy black oil. A river of + flame shoots across the cement. + + Indy grabs a rifle with bayonet from the prostrate body of + one of his former escorts and runs back into the flaming + Tabernacle. + + +134 INT. THE TABERNACLE 134 + + Indy jumps through the flames into what is now a tent of + fire. He looks around at the dead bodies, then at the Ark. + The lid has slammed down shut again and the Ark shines gold + in the flames. Before it, where Belloq once stood, is a + pile of ash and charred debris. Indy registers this, then + continues to scan the scene. + + INDY + Marion! Marion, can you hear me? + + Suddenly, Indy looks as -- + + The far side of the Tabernacle burns completely away, + revealing Marion, tied spread-eagle between two upright + posts. Her nightgown is now in tatters, black with soot. + She is gagged but her eyes are screaming, focused on the + flaming river of black oil which is about to engulf her + feet. + + Indy rushes toward her, unaware of a uniformed Nazi who has + appeared from the flames. Marion looks up to see Indy and + the Nazi leveling his sub machine gun at Indy. She motions + desperately with her eyes. Indy dives and rolls through the + flames just as the Nazi opens fire. From the floor, Indy + blasts the Nazi. + + The river of burning oil is only a foot from Marion. + + Indy jumps up and runs toward the bound Marion, his bayonet + aimed directly at her. Her wide eyes flash between the + flames and the shining blade. Expertly, Indy slashes down + both sides at Marion, cutting all four bindings. + 98. + + +Marion falls backwards, away from the flames, but before +she hits the ground, Indy is there, catching her in his +arms. They embrace. They kiss. They break. + + INDY + Hi. + + MARION + Oh, Indy! Thank god you’re here. + + INDY + Glad I could make it. + +Indy rises, pulling her up with him. The Tabernacle is +burning away so fast that soon Indy and Marion will be +completely exposed. Indy rushes over and grabs the sub +machine gun and a Luger from the dead Nazi. + + INDY + Let’s get out of here. + + MARION + What about the Ark? + +Indy stops, startled by her spunky attitude. He’s +considering their chances. + + INDY + Are you game? + + MARION + Hell yes! We’ve made it this far. + + INDY + (grins at her) + Okay. Let’s do it. + +They approach the altar through the dying flames, Indy +slinging the sub machine gun over his back. The long +carrying poles are still in place. + + INDY + Whatever you do, don’t touch it. + Let’s put it on the floor. + +Marion nods. Each taking an end with the poles, they lift +the Ark from the altar and lower it to the floor. Marion +grunts under the weight. Indy registers this, hands her the +sub machine gun. He pulls out his whip, motions her back, +and sweeps the whip tightly around the body of the Ark. The +fall wraps snugly around the plaiting and Indy ties it off. +The Ark is now harnessed to the whip handle. + 99. + + + Indy gives it an experimental pull and the Ark slides + across the smooth cement. Indy indicates the direction of + the second train tunnel. + + INDY + We’ll go down that side. Shoot + anyone who looks at us cross eyed. + + +135 INT. COMMAND CENTER 135 + + Two huge stacks of goods are ablaze and the Nazis are + having trouble getting water to them. The Nazis’ main + concern at this point is an enormous, neat stack of wooden + cartridge boxes which are piled down the wall from one of + the already blazing, and now teetering, stacks of general + goods. Nervous Nazis are moving the heavy cartridge boxes + as fast as they can, but it’s slow work and the threatening + fire is close. + + Indy and Marion make their way along the side of the center + court, Indy grimacing with the strain of pulling the Ark. + One Nazi stops directly in front of them, looking at them + queerly. Indy knocks him out with the butt of his Luger + just as Marion is about to fire. + + Out in the court, Shliemann has regained his eyesight. Now + he crouches, scanning the scene desperately for Indy. He + looks into the remains of the Tabernacle and spots the + empty altar. Beyond it, the unoccupied posts where Marion + was bound. + + At the entrance to the second train tunnel, Indy and Marion + struggle to lift the Ark into a mine car. Marion has the + sub machine gun slung over her back. The Ark drops heavily + into the bottom of the car. The noise attracts the + attention of five water-carrying Nazis. They see what’s + going on and reach for their side-arms. Indy grabs Marion, + pulls her in front of him, as though to use her as a shield + and flips the sub machine gun, still on her back, toward + the Nazis. He opens fire, turning Marion’s body so he can + mow all five down. + + Shliemann spins around and looks at the tunnel entrance. He + points at Indy and Marion, who have just hopped into the + mine car with the Ark. + + SHLIEMANN + Stop them! Kill them! + 100. + + + A dozen Nazis spin and look at the mine car. Marion is just + leveling the submachine gun. Indy pushes forward the + throttle and the mine car moves toward the tunnel, picking + up speed. + + As the Nazis raise their guns to fire, Marion and Indy both + open up, peppering the area with lead. As the mine car is + about to disappear into the tunnel. + + INDY + (to Marion) + Get down! + + As the car disappears, bullets pock the entrance of the + tunnel. Shliemann runs up with three Nazis. They jump into + the next mine car and take off, disappearing into the + tunnel. + + Over at the burning stack of goods, some terrified + firefighters scurry away as the burning pile of general + goods falls over onto the stack of cartridge boxes. The + wooden boxes immediately start burning. Many of the Nazis + just want to get out of there, but a couple of disciplined + OFFICERS are trying to salvage the situation. They point to + the far side of the court, the walls are lines with oil and + gas drums. + + OFFICER + We must cover the drums! Protect + them from the bullets! + + INTERCUTTING: + + Indy and Marion with Shliemann and the Nazis, we see a most + extraordinary pursuit. This tunnel is of identical design + to the first, except more twisty. This early section goes + slightly uphill, as though headed for the summit of a + rollercoaster. The low cross beams and the higher sections + in between are causing the Nazis to alternately stand and + duck in their efforts to get a clear shot at the lead car. + One German times it wrong and gets whacked. Indy is unhappy + with the speed of his car and he’s right, the Nazis are + moving faster and gaining. When both cars are in the same + high section, the Nazis blast away at them. The noise is + deafening, with barking guns, splintering rock, and + twanging ricochets contributing to the din. As Marion fires + a return volley low over the Ark, Indy kicks at the + throttle, convinced it is jammed. + + +136 INT. COMMAND CENTER 136 + 101. + + + The Officers are directing the placement of every movable + item in front of the oil drums. Desks, crates, chairs, + food, all are heaped in front of the fuel. All the workers + cast frequent glances back at the burning cartridge boxes + across the court. Suddenly the worst begins to happen at + the cartridge boxes. Hundreds of thousands of live + cartridges begin exploding, flying around the court like + shrapnel. Hot lead begins to zing off the exposed fuel + drums, leaving big dents. + + +137 INT. TRAIN TUNNEL - LONG STRAIGHTWAY 137 + + The car with Indy and Marion looks almost sluggish compared + to the pursuing Nazi car as they both make their way into + an unusually long straightaway. Marion discards her empty + sub machine gun as Indy kicks at his throttle and casts a + worried look back at Shliemann. + + Shliemann, sensing victory, smiles evilly and carefully + takes aim. Indy and Marion will be easy targets until they + reach that approaching low cross beam, which is the crest + of the rising tunnel. + + +138 INT. COMMAND CENTER - CLOSE ON FUEL DRUM 138 + + A fuel drum, already pocked by bullets is finally + penetrated by high velocity hot lead. It explodes in a ball + of flame. And then its neighbor. Then all is exploding + flame. + + +139 INT. TRAIN TUNNEL - LONG STRAIGHTWAY 139 + + Shliemann and his cohorts hear the explosions behind them + and look back that way. + + Indy kicks the throttle one more time and it goes! Their + car doubles its speed and shoots under the low cross beam + at the same instant as-- + + A huge dragon of all-consuming fire shoots up the tunnel + behind the Nazis, catches their car and incinerates + Shliemann and his men. The tunnel collapses in this + section, burying the fried Nazis forever. + + +140 INT. TRAIN TUNNEL 140 + 102. + + + Indy and Marion look back at the low cross beam as the last + tongue of flame makes it there and then is doused by + falling rock and dirt. They look at each other, then turn + their attention back to their own predicament. Their mine + car is going incredibly fast as it moves into a downward + section of wildly twisting tunnel. + + MARION + Slow it down! + + Indy is already pulling the throttle. It moves easily. + Unfortunately, it is no longer attached to the motor. The + mine car is out of control. + + After several moments, far ahead, appears a circle of + bright daylight-- the end of the tunnel! It approaches at a + frightening rate. Indy reaches out grasps Marion’s hand. + They exchange looks and then turn to look ahead. + + THEIR POV. We’re taking this last stretch with them. It’s a + familiar nightmare. It has to do with a roller coaster that + ends suddenly and disastrously. The shocking brightness of + sunlight rushes up to engulf us, blinding us in its glare. + + +141 EXT. THE ISLAND - END OF TRACKS - DOCK 141 + + High up on the slope of the island, Indy and Marion’s mine + car shoots out of the black tunnel and roars down toward a + little dock at the end of the tracks. + + A small Nazi transport launch, carefully disguised as a + Greek fishing boat, sits bobbing by the dock. The only + human: a Nazi Sentry dressed as a Greek peasant. He is + perched on a pile of seed bags which are stacked at the + very end of the train tracks. As the mine care barrels + noisily down toward him, he throws away some burlap to + reveal a mounted machine gun which he spins quickly around + toward the approaching mine car. He opens fire. + + In the out-of-control mine car, Indy pulls Marion down with + him. They are squashed into the corner trying to avoid + contact with the bouncing Ark. Bullets clang against the + outside of the car and whiz inches overhead. Indy and + Marion are forced into a tighter and tighter embrace of + life. + + At the machine gun post, the Nazi Sentry has been firing + like crazy, but now there is terror in his eyes. He + realizes the car is not going to stop. He lacks faith in + his stronghold.Too late. + 103. + + + The mine car smashes into the seed bag bunker. And right on + through. The Nazi Sentry, his machine gun and a dozen + bursting seed bags are slammed into the ocean in a wild, + hurtling mass. The mine car jumps, bounces and spins + around, then slides to a stop in a cloud of seed at the + edge of the water. + + +142 INT. COMMAND CENTER 142 + + Fire. Everywhere. No sign of life. A large gaping doorway, + flames ringing it, blazing into the room beyond. Hanging by + one hinge there, its metal blasted and jagged, is a heavy + door with the signed lettering, in German, DANGER - + MUNITIONS. + + The first explosion happens. It’s a baby compared to what’s + coming yet is rocks the earth. It’s terrible. And then, + almost immediately, another. The long, irregular, ever- + larger chain of explosions begins. + + +143 EXT. THE ISLAND - VARIOUS SHOTS - DAY 143 + + The island rumbles and shakes. From fissures and small + natural caves, dirt and rock shoot out like spraying + water.Still the explosion continues. A huge chunk of white + cliff falls away into the turbulent sea. Birds scream and + soar, afraid to land. + + Finally, we settle on a full shot of the island. We can + recognize that the small opening high on the slope from + which a cloud of smoke and dust is billowing is the end of + the mine tunnel. And there below it, quite small from this + distance is the dock. And the boat that looks like a Greek + fishing boat. + + There can be no mistake even from this far away, the boat + is chugging out to sea. + + +144 INT. THE PENTAGON - DAY 144 + 104. + + +Indy, Brody and Marion, looking very stylish, are seated in +Colonel Musgrove’s huge office. Sun pours in a window, +through which Washington can be seen sparkling across the +Potomac. Everything is neat and clean and regular. +Including the three men who are arrayed around the office. +Two we know Col. Musgrove and Maj. Eaton. The third is an +unnamed Bureaucrat. He hangs back, smiling and genial, his +features obscured by the glare of the window. He doesn’t +say anything, yet you have a sense that the others defer to +him in the matter at hand. He is the essence of all that is +Byzantine and inscrutable in our scrubbed government +machine. + +Indy and Brody are dissatisfied with the way the meeting +has gone. Marion, on the other hand, is very happy and +eager to get out of there. Eaton’s manner is irritatingly +cheery. + + MUSGROVE + You’ve done your country a great + service. + + EATON + --And we trust you found the + settlement satisfactory? + + MARION + Quite. + + EATON + Good, good. + (glances around at the + others) + Then I guess that about does it. + + BRODY + When can we have the Ark? + +Eaton’s glance flicks over to the mysterious Bureaucrat, +then back to Brody. + + EATON + I thought we answered that. It’s + someplace very safe-- + + INDY + (heated) + That’s a powerful force. Research + should be done-- + + EATON + 105. + + + Oh, it will be, Dr. Jones, I assure + you. We have top men working on it + right now. + + INDY + Who? + + EATON + Top men. + + Indy exchanges a look with Brody. + + INDY + We may be able to help. + + EATON + We appreciate that. And we won’t + hesitate to call on you. + + MUSGROVE + (dismissing them) + Thank you all. Thank you again. + + Indy looks them over coldly. He gets up, sullen. + + +145 EXT. PENTAGON STEPS - DAY 145 + + Indy, Brody and Marion emerge from the building. Brody bids + them farewell and moves off in another direction. + + Marion clings to Indy’s arm in an energetic, very feminine + way, scolding him. + + MARION + --Well they aren’t going to tell + you, so why don’t you just forget + it. I’d think you’d had enough of + that damn Ark. Just put your mind + on something else. + + Indy stops, looking across the river, his mind occupied. + + INDY + Yeah, like what? + + Marion makes a face, then puts her arms around his neck and + plants a humdinger of a a kiss on his mouth. It goes on a + while. Finally they break. + + INDY + It’s not the Ark -- but it’ll have + to do. + 106. + + + They move down the steps, smiling. + + +146 INT. GOVERNMENT WAREHOUSE 146 + + The Ark of the Covenant sits in a wooden crate. A wooden + lid comes down and hides it from view. The lid is solidly + nailed to the crate as we read the stenciled message on + top. + + TOP SECRET + + ARMY INTEL. #9906753 + + DO NOT OPEN! + + The hammering is completed and hands shift the heavy crate + onto a dolly. + + THE END CREDITS ROLL AS WE SEE. + + A Little Old Government Ware houseman begins pushing the + crated Ark down an aisle. Soon we see that the aisle is + formed by huge stacks of crates. They come in many shapes + and sizes, but when it comes right down to it, they all + look like the one that holds the Ark. All have markings + like the message we’ve just seen. Pretty soon we’re far + enough and high enough away from the Little Old Government + Ware houseman to see that this is one of the biggest rooms + in the world. And it is full. Crates and crates. All + looking alike. All gathering dust. + + And then we notice that the Little Old Government Ware + houseman, pushing his new crate ahead of him, has turned + into another aisle and disappeared from view. + + FADE OUT. + + THE END + \ No newline at end of file diff --git a/scripts/Ratatouille.txt b/scripts/Ratatouille.txt new file mode 100644 index 0000000000000000000000000000000000000000..95f051bb7b2380e8c860c96451309fd862a7c226 --- /dev/null +++ b/scripts/Ratatouille.txt @@ -0,0 +1,6466 @@ + 1. + + + + FADE IN: + +A TELEVISION SET + +- tuned to a DOCUMENTARY. As an old fashioned World GLOBE +rotates in a sea of clouds, the EIFFEL TOWER slowly comes +into view over the horizon, dwarfing FRANCE underneath it. + + T.V. NARRATOR + Although each of the world’s + countries would like to dispute + this fact, we French know the + truth; the best food in the World + is made in France. The best food in + France is made in Paris, and the + best food in Paris, some say, is + made by Chef Auguste Gusteau. + +We see images of GUSTEAU: cooking, signing his cookbook, in +front of his famous restaurant. Gusteau is in his early +forties, but his massive girth makes him look older. + + T.V. NARRATOR + Gusteau’s restaurant is the toast + of Paris, booked five months in + advance, and his dazzling ascent to + the top of Fine French Cuisine has + made his competitors envious. He is + the youngest Chef ever to achieve a + five star rating. Chef Gusteau’s + cookbook “Anyone Can Cook!” has + climbed to the top of the best- + seller list. But not everyone + celebrates its success. + +A tall, gaunt, severe-looking MAN with fish-belly white +skin appears on the TV screen. SUPER: ANTON EGO-FOOD +CRITIC”. + +Beneath that, in italics, is his moniker: The Grim Eater. + + EGO + Amusing title, “Anyone Can Cook”. + What’s even more amusing is that + Gusteau actually seems to believe + it. I, on the other hand, take + cooking seriously and no-- I don’t + think “anyone” can do it -- + +TITLES (OVER BLACK): + +The SOUND of wind rattling barren branches -- + 2. + + + WALT DISNEY PICTURES PRESENTS + + A PIXAR FILM + + FADE IN: + + +1 EXT. FRENCH COUNTRYSIDE - LATE AFTERNOON 1 + + A light rain falls on a SMALL FARMHOUSE. The last remaining + dead leaves tremble in the gusts. The quiet is shattered by + a LOUD GUNSHOT that lights up the inside of the cottage. + CAMERA pushes down and in toward a single window. + + RATATOUILLE + + As we move closer, we begin to hear muffled SOUNDS OF + STRUGGLE; furniture being bumped, dishes breaking, an + indescribable CRASH, followed by an OLD LADY’S SHRIEK. + + We’re close to the WINDOW now, when it is suddenly + SHATTERED by a COOKBOOK. Instantly the action FREEZES. + + Underneath its splayed pages, shielding himself from the + shards of splintering glass is, inexplicably, a RAT-REMY. + He’s scrawny, frightened, almost comic. It’s hard not to + feel sympathetic towards the little guy. + + REMY (V.O.) + This is me. I think it’s apparent I + need to rethink my life a little + bit. What’s my problem? First of + all -- + + +2 EXT. OUTSIDE THE FARMHOUSE - DUSK - WEEKS EARLIER 2 + + A SILHOUETTE darts out from behind a wooden barrel, pausing + upright against a blood red sky. Mangy, sinister, the + opposite of Remy. This is how most humans see RATS. + + REMY (V.O., CONT'D) + -- I’m a rat. Which means life is + hard. + + Assured the coast is clear, the SINISTER RAT scampers out + into the yard, followed by DOZENS MORE RATS. The RATS move + across the expanse of grass toward a COMPOST HEAP, which + sits in the middle of a field under the darkening sky. + + Resourceful and well coordinated, the rats grab bits of + decomposing food and carry it off. REMY is among them, + drearily going through garbage. + 3. + + + REMY (V.O.) + And secondly -- I have a highly + developed sense of taste and smell. + + Suddenly he catches a SCENT; which leads him to uncover a + nearly untouched piece of PASTRY, a discarded NAPOLEON. + + REMY + (sniffing Napoleon) + Flour, eggs, sugar, vanilla bean, + small twist of lemon -- + + The Napoleon suddenly erupts, and out pops Remy’s pudgy + brother EMILE, covered in cream and completely oblivious to + the destruction he’s wrought. + + EMILE + You can smell all that? Wow. You + have a gift. + + Again the ACTION FREEZES. + + REMY (V.O.) + This is Emile. My brother. He’s + easily impressed. + + RESUME ACTION: An older rat, DJANGO, comes into view. He + snorts dismissively, plucks an APPLE CORE from the compost. + + DJANGO + So you can smell ingredients. So + what? + + REMY (V.O.) + This is my Dad. He’s never + impressed. He also happens to be + the leader of our clan. + + Remy catches another scent and FROWNS; this new scent is + different somehow, wrong. He follows the scent to Django -- + + REMY (V.O.) + So what’s wrong with having highly + developed senses? + + Django is about to eat the APPLE CORE when Remy lunges at + him, snatching the core from his hands. + + REMY + Whoa whoa whoa! DON’T EAT THAT!! + + +3 INT. SHED - MINUTES LATER 3 + 4. + + + Still holding the APPLE CORE, Remy sniffs the air, + following a scent to a tarp in the corner. He lifts it, + REVEALING: a can of RAT POISON. The other rats REACT. + Django’s impressed. + + REMY (V.O.) + Turns out that funny smell was rat + poison. Suddenly Dad didn’t think + my talent was useless. I was + feeling pretty good about my gift. + Until Dad gave me a job -- + + +4 INT. FARMHOUSE - COMPOST PILE - DAY 4 + + A line of rats file past REMY, holding up rotted scraps of + food so that each one passes under his nose. + + REMY (V.O.,CONT’) + -- that’s right -- “poison + checker”. + + As Remy sniffs with all the gusto of a lifelong DMV + employee, the line shuffles forward with each “clean”. + + REMY + (sniffs before each one) + Clean. Clean. Clean-erino. + Cleaneriffic. Close to Godliness -- + + The rat under inspection stands there, unsure as to whether + or not he’s been approved. + + REMY + -- which means “clean”. You know-- + “Cleanliness is close to--?” + (no response) + + Remy waits, expecting the rat to get his joke. Beat. + + REMY + -- never mind. Move on -- + + The rat moves on. Remy rolls resumes his bored inspection. + + +5 INT. ATTIC - LATE AFTERNOON 5 + + Django & Remy stand on a beat-up chair, overlooking the rat + clan as they go about their day. + + REMY (V.O.) + Well, it made my Dad proud. + 5. + + + DJANGO + Now don’t you feel better, Remy? + You’ve helped a noble cause. + + REMY + Noble? We’re thieves, Dad. And what + we’re stealing is-- let’s face it, + garbage. + + DJANGO + It isn’t stealing if no one wants + it. + + REMY + If no one wants it, why are we + stealing it? + + They continue to quarrel. It’s clear this is an old + argument. + + REMY (V.O.) + Let’s just say we have different + points of view. + + +6 INT. ATTIC - NIGHT 6 + + Django and Emile are gobbling up an assortment of RUBBISH, + which is in fact dinner. REMY watches them, appalled. He + looks down at his own plate in disgust. + + REMY (V.O., CONT’D) + This much I knew: if you are what + you eat, then I only want to eat + the good stuff. + + He pushes the rotted food away. Django reacts. + + REMY (V.O.) + But to my Dad -- + + DJANGO + Food is fuel. You get picky about + what you put in the tank, your + engine is gonna die. Now shut up + and eat your garbage. + + REMY + If we’re going to be thieves, why + not steal the good stuff in the + kitchen? Where nothing is poisoned. + + DJANGO + 6. + + + First of all; we are NOT thieves. + Secondly; Stay out of the kitchen + and away from the humans. It’s + dangerous. + + +7 EXT. OUTSIDE THE FARMHOUSE - DUSK 7 + + Remy watches the farmhouse, drawn to the warm light and the + sounds emanating from inside. + + REMY (V.O.) + I know I’m supposed to hate humans. + But there’s something about them -- + + +8 INT. FARMHOUSE - KITCHEN 8 + + Remy carefully sneaks into the kitchen. + + REMY (V.O., CONT’) + -- they don’t just survive, they + discover, they create. Just look at + what they do with food. + + The TV is tuned to the same show we saw in the opening. + CHEF GUSTEAU is cooking, speaking to the camera. Remy + watches. + + GUSTEAU (ON T.V.) + Good food is like music you can + taste, color you can smell. There + is excellence all around you. You + need only be aware to stop and + savor it. + + Remy notices a leftover plate of FRUITS & CHEESES. He picks + up a small slice of cheese and takes a bite. + + REMY (V.O.) + Gusteau was right. Each flavor was + totally unique. + + As Remy closes his eyes his surroundings FADE TO BLACK. A + amorphus COLORED SHAPE appears above his head accompanied + by a cello bass line. + + REMY (V.O., CONT’) + Oh, yeah. Amazing. But combine one + flavor with another -- + + Cheese still in his mouth, Remy takes a bite of the + STRAWBERRY. + 7. + + + REMY + -- and something new was created. + + New COLORED SHAPES and musical signatures appear; swirling + and dancing in harmony with the others. + + A light SNAPS ON, breaking the spell. The OLD LADY has + awakened. Remy drops the food and scampers away. + + +9 EXT. FIELD - DAY 9 + + Remy follows a pleasant scent in the air. It leads him to a + beautiful MUSHROOM. + + REMY (V.O.) + So now I had a secret life. The + only one who knew about it was + Emile. + + +10 EXT. BEHIND THE FARMHOUSE - LATE AFTERNOON 10 + + Emile is atop a full garbage can, rooting around under the + lid. Remy calls up from the tall grass below. + + REMY + Emile! Psst- hey, Emile --! + + Emile looks up, holding the remains of a brown-bag lunch. + + REMY + (giddy) + Look! I found a mushroom! Come on, + you’re good at hiding food, help me + find a good place to put this! + + +11 EXT. GRASSY FIELD - LATE AFTERNOON 11 + + Remy and Emile walk together; Emile on all fours, dragging + the enormous bag he grips between his teeth, while Remy + walks upright, carefully cradling his mushroom. + + REMY (V.O.) + He doesn’t under-stand me, but I + can be myself around him -- + + EMILE + Why are you walking like that? + + REMY + 8. + + + I don’t want to constantly have to + wash my paws. Do you ever think + about how we walk on the same paws + that we handle food with? Do you + ever think about what we put into + our mouths?? + + EMILE + All the time. + + REMY + (he shudders) + When I eat, I don’t want to taste + everywhere my paws have been. + + EMILE + Well, okay. But if Dad sees you + walking like that, he’s not gonna + like it. + +Remy SNIFFS Emile’s BAG. His eyes LIGHT UP. + + REMY + What have you got there? + +He disappears into the bag, RIFLES through it, emerging +with -- + + REMY + Cheese?? You found CHEESE? And not + just any cheese -- Tomme De Chevre + de Pays! That would go beautifully + with my mushroom!! And! And and and + -- + +He sniffs the air, quickly finds a plant nearby. He PLUCKS +it from the ground, his excitement growing by the second. + + REMY + -- this rosemary!! With, maybe with + -- + +He grabs a paw full of grass from the ground, tasting the +milky base. Smiling, he squeezes a few drops on the +mushroom. + + REMY + -- a few drops from this sweet + grass! + + EMILE + Well -- throw it on the pile I + guess, and we’ll -- + 9. + + + REMY + We don’t want to throw this in with + the garbage! This is special! + + EMILE + But we gotta return to the colony + before sundown or Dad’s gonna -- + + REMY + Emile! There are possibilities + unexplored here. We’ve gotta cook + this! Now, exactly how we cook this + is the real questi -- + + Remy STOPS, his gaze locking on the SMOKING CHIMNEY atop + the farmhouse roof. He GRINS. + + REMY + -- ooooohh yeah. Come on! + + +12 EXT. ROOFTOP - LATER 12 + + Remy has skewered the mushroom and cheese onto part of the + TV antennae, which he has bent over the smoking chimney + top, hand turning it like a rotisserie. + + REMY + The key is to keep turning it, get + the smoky flavor nice and even -- + + Lightning flickers in the far distance, followed a moment + later by a RUMBLE of thunder. Emile watches, concerned. + + EMILE + That storm’s getting closer. Hey, + you think that maybe we shouldn’t - + - + + KRAAAK!!! A BOLT OF LIGHTNING hits the TV antennae, + knocking both rats off the rooftop. They make a LONG FALL, + landing with a THUD into a the soft dirt. + + Miraculously, Remy and Emile are alive, their smoking fur + sticks out in an electrified frazzle. Remy holds the rod + up, keeping the cheesy mushroom, now transformed by + lightning into an amazing, puffed out shape, completely + clean. + + REMY + (moaning) + Whoaaa -- ohhh -- + (idly bites mushroom) + 10. + + + -- ohmmmmmnnn you gotta taste + this!!! It’s got this kind of -- + (smacks lips) + -- burny, melty -- it’s not really + a smoky flavor, it’s a certain -- + it’s kind of like a -- + (makes a sound effect) + -- it’s got a -- + (sound effect) + -- kind of taste, don’t you think? + What would you call that flavor? + + EMILE + Lightning-y? + + REMY + Yeah! It’s LIGHTNING-Y! We’ve gotta + do that AGAIN! Okay. When the next + storm comes we’ll go up on the roof + -- + + Remy’s eyes suddenly go BLANK with a pre-emptive thought. + + REMY + I KNOW WHAT THIS NEEDS! Saffron! a + little saffron would MAKE THIS! + + +13 INR. FARMHOUSE KITCHEN - MINUTES LATER 13 + + Emile frets, looking nervously at the old lady, still fast + asleep in front of the TV. Remy RUMMAGES through her + spices. + + REMY + Saffron -- saffron -- hmn -- + + EMILE + Not good. Don’t like it. She’s + gonna wake up. + + REMY + I’ve been down here a million + times. She turns on the cooking + channel-- boom. Never wakes up. + + EMILE + You’ve been here a million times?? + + REMY + (resumes rooting) + I’m telling ya, saffron’ll be just + the thing. Gusteau swears by it. + 11. + + + EMILE + Okay, who’s Gusteau? + + Remy pushes aside some COOKBOOKS, revealing a well-worn + copy of “AUGUST GUSTEAU’S ANYONE CAN COOK!” on the shelf. + + EMILE + Wait-- you read? + + REMY + (guilty) + Well, not -- excessively. + + EMILE + Oh, man. Does dad know? + + REMY + You could fill a book -- a LOT of + books -- with things dad doesn’t + know. And they have. Which is why I + read. + (pointed) + Which is also our secret. + + He resumes rummaging through the spices. Emile FRETS. + + EMILE + I don’t like secrets. All this + cooking and reading and TV watching + while we read and cook. It’s like + you’re involving me in crime. And I + let you. Why do I let you? + + +14 INT. FARMHOUSE ATTIC - SAME MOMENT 14 + + RATS stream in from a crack in the wall, throwing food from + the compost pile on to a heap. DJANGO is at the center, + overseeing things. He turns away, distracted -- + + DJANGO + What’s taking those kids so long? + + +15 INT. KITCHEN - REMY AND EMILE 15 + + Remy locates a tiny vial of saffron, holds it up. + + REMY + Ah. Aquila saffron. Italian. + Gusteau says it’s excellent. Good + thing the old lady is a food lov-- + 12. + + +Something on the TV attracts Remy’s attention; the great +Chef Gusteau is being interviewed. + + REMY + -- hey! That’s Gusteau! Emile, look + -- + + GUSTEAU (TV) + Great cooking is not for the faint + of heart. You must be imaginative, + strong-hearted, you must try things + that may not work. And you must not + let anyone define your limits + because of where you come from. + Your only limit is your soul. What + I say is true, anyone can cook but + only the fearless can be great. + +Remy grins, nodding in agreement. + + REMY + Pure poetry. + + TV NARRATOR + But it was not to last. Gusteau’s + restaurant lost one of its five + stars after a scathing review by + France’s top food critic Arnot Ego. + +Remy drifts closer to the TV, drawn to the shocking news. + + TV NARRATOR + It was a severe blow to Gusteau, + and the great Chef died shortly + afterward, which, according to + tradition, meant the loss of + another star. + + REMY + (stunned) + Gusteau is dead? + +Suddenly the TV SNAPS OFF! Remy & Emile spin around to see +the OLD LADY is awake and WIELDING A SHOT GUN. + + REMY + RUN!! + +Remy and Emile SCATTER! Emile panics, races toward the +attic. + + REMY + NO! You’ll lead her to the colony! + 13. + + +The Lady BLASTS huge holes in the ceiling just behind the +scrambling Emile. He LEAPS CLEAR and lands on the end of a +HANGING LIGHT FIXTURE. The old lady has him. She levels the +gun barrel at the helplessly dangling Emile. + +REMY hides his eyes. EMILE braces for the end. CLICK. + +The shotgun is EMPTY. The OLD LADY REACTS: WHAT? EMILE +REACTS: Huh? I’m not dead? REMY LOOKS UP: Emile is still +alive? The OLD LADY curses, ejecting the shells. + +EMILE SEES his opportunity, starts SCRAMBLING to pull +himself up onto the light. THE OLD LADY SEES THIS and +rushes for more shells. REMY sees an opening and takes off +to help Emile. + +Rifling through her desk drawers, the OLD LADY SPIES REMY +coming out of hiding to help EMILE. She REDOUBLES HER +EFFORTS to find a box of shells. + +EMILE struggles his fat body up to the precarious LIGHT +FIXTURE. + + EMILE + Help! Remy! Help! + + REMY + Emile, start swinging the light! + I’ll try to grab you! + +OLD LADY hears Remy calling for Emile, but from her POV all +we hear is a SQUEAKING SOUND. OLD LADY finds a SHELL BOX: +EMPTY. She YANKS OPEN another desk drawer. + +REMY arrives at the light fixture, reaches out for EMILE. + + REMY + Emile! Swing to me! + +Remy looks up, considering the streets above. He looks back +to the illustration. Gusteau has resumed his frozen pose. + +OLD LADY, nothing in the drawer, she decides to look in the +book shelf, LOOKING BACK to see if the TWO RATS are still +together and struggling, still sitting ducks. + +Finding no shells in the desk, the LADY goes for the +cabinet, LOOKING BACK to the TWO sitting duck RATS. The +lady FINDS a fresh box of SHELLS, spilling them in her +excitement. + +REMY STRAINS to lift EMILE. The LADY drops to her knees, +picks up a shell, loading it as EMILE’s feet get purchase. + 14. + + + The LADY chambers her SHELL and SWINGS the SHOTGUN AROUND. + + The RATS scramble up into a new blast hole at the base of a + hanging fixture. It EXPLODES in buckshot! + + SILENCE. + + Then a loud CRACK. + + The lady LOOKS UP: a large FISSURE snakes across the + ceiling, connecting the wide circle of SHOTGUN HOLES, a + massive CHUNK OF CEILING breaks free and comes crashing + down, bringing with it the FLOOR of the ATTIC above, its + furniture, and HUNDREDS OF SURPRISED RATS. + + The Old Lady FREAKS! She runs from the room. + + DJANGO + EVACUATE!!! EVERYONE TO THE BOATS! + + RATS grab assorted belongings as they make their escape. + Remy and Emile run with the terrified mob. Suddenly, Remy + stops, looks back to Gusteau’s COOKBOOK -- + + REMY + The book! + + -- and TURNS BACK, rushing into the flood of fleeing rats! + + +16 EXT. OUTSIDE THE FARMHOUSE - CONTINUOUS 16 + + RATS are diving out the windows, streaming through cracks, + racing across the grass to the banks of a nearby stream. + + +17 EXT. BY THE STREAM - CONTINUOUS 17 + + The rats run into the tall grass, pulling aside camouflage, + REVEALING several WATERCRAFT built from junk. The RATS push + them into the water and climb aboard. DJANGO urges them on. + + DJANGO + GO GO GO! MOVE MOVE MOVE! + + +18 INT. THE FARMHOUSE KITCHEN 18 + + Remy, the last remaining rat, struggles with GUSTEAU’S + COOKBOOK. A strange BREATHING SOUND causes him to look up: + the LADY is back, now sporting a World War 2 GAS MASK, and + GAS CANISTER. She starts after Remy, SPRAYING GAS + everywhere. + 15. + + + With a burst of adrenaline Remy hoists the COOKBOOK onto + his back and makes a running LEAP through the window -- + + +19 EXT. OUTSIDE THE FARMHOUSE 19 + + -- and lands on the lawn in a shower of glass. It appears + the COOKBOOK itself is struggling to catch up to the + fleeing rats. + + REMY + Wait! Wait for me! + + +20 EXT. ON THE RIVER 20 + + RAIN starts to fall. The last RAT BOAT has shoved off from + shore, but DJANGO’s boat lingers under the FOOTBRIDGE. + + DJANGO + Everybody here? We have everybody? + Wait a minute, where’s Remy?! + + At the shore, Remy throws the book into the water and + starts paddling toward the tunnel after the colony. + + REMY + Right here! I’m coming! I’m coming! + + DJANGO + Hold on son! + (to other rats) + Give him something to grab on to! + + GIT, a huge, muscular lab rat, grabs a SPATULA and hoists + it out over the water toward Remy. + + DJANGO + Come on boy! + + Remy reaches out, desperately paddling with his other paw. + + DJANGO + Paddle son! Come on, reach for it! + You can do it! + + Remy has almost reached the end of the spatula BLAM! + + A BLAST hits the water, sends Remy flying backward. The OLD + LADY has taken position at the footbridge above. She FIRES + at Django’s boat, missing as his boat enters the tunnel. + + DJANGO + 16. + + + Remy! + + REMY + Dad! + + DJANGO + Come on, you can make it! You can + make it! + + Remy climbs back aboard the cookbook and PADDLES into the + drainpipe before the LADY can get off a shot. She CURSES. + + +21 INT. TUNNEL - CONTINUOUS 21 + + Remy paddles. Ahead, Django’s BOAT vanishes into the dark. + + REMY + Guys wait! Stop! Hold up! Wait for + me! Hold UP! + + Remy decides to go. + + Frightened SHOUTS echo into SILENCE. + + REMY + DAD?? + (no response) + Dad? + + Silence. Remy strains to see into the darkness. He begins + to make out SHAPES; the channel forking into TWO TUNNELS. + + REMY + Which way? + + He paddles towards the right tunnel, changes his mind, + veers toward the left. He paddles, picking up speed. Then + he hears a LOW RUMBLE. + + He stops, suddenly alert. The rumble becomes a ROAR. Remy + whirls, PADDLES furiously the opposite direction. He’s + headed toward the edge of a waterfall! + + But it’s too late. Over the edge go Remy and the COOKBOOK, + tumbling into the rapids below. + + Remy is tossed about like a rag doll, buffeted in every + direction by the churning water. He struggles for air + finally breaking the surface, he GULPS a breath and is + PLUNGED back under. + 17. + + + The stone walls blur past him as he claws back to the + surface. Through the tumult he spies his one chance up + ahead-- the COOKBOOK. He swims toward it, finally catching + it, he pulls himself aboard. + + The rapids pass, the waters become calm. He looks back, + amazed he’s still alive. He collapses, exhausted. + + DISSOLVE TO: + + +22 INT. SOMEWHERE IN THE SEWER SYSTEM - NIGHT 22 + + A soaked and exhausted Remy has pulled his battered + cookbook to the sewer bank. It’s dark and cold, it smells + bad, but he’s safe. Maybe the clan will find him. He waits. + + The COOKBOOK has dried out a bit, and there is just enough + light seeping through a grate above for Remy to read it. + + REMY (V.O.) + I waited. For a sound -- a voice -- + a sign. Something -- + + Remy flips a crinkled page, to a appetizing photo of + pastry. + + His stomach GROWLS. He looks away, turning to a drawing of + GUSTEAU on the opposite page. + + The ILLUSTRATION comes to life; speaking to Remy-- + + GUSTEAU + If you are hungry, go up and look + around, Remy. Why do you wait and + mope? + + REMY + I’ve just lost my family. All my + friends. Probably forever. + + GUSTEAU + How do you know? + + REMY + Well, I -- + (what is he doing?) + You are an illustration. Why am I + talking to you? + + GUSTEAU + (shrugs) + 18. + + + You just lost your family. All your + friends. You are lonely. + + REMY + Yeah, well, you’re dead. + + GUSTEAU + Ah, but that is no match for + wishful thinking. If you focus on + what you’ve left behind you will + never be able to see what lies + ahead. Now go up and look around. + + Remy looks up, considering the streets above. He looks back + to the illustration. Gusteau has resumed his frozen pose. + Remy decides to go. + + WE FOLLOW REMY + + as he scurries up into a BUILDING, between walls, through + pipes, under floors,allowing GLIMPSES into the HUMAN world + around him. Remy moves through a crack, emerges into -- + + +23 INT. APARTMENT KITCHEN 23 + + In the next room A PARTY is in progress. Remy spies a loaf + of BREAD. Famished, he grabs it, prepares to take a bite + when a SPRITE in the form of GUSTEAU appears, smaller than + Remy, glowing and semi-transparent. + + GUSTEAU + What are you doing?!! + + REMY + (startled, defensive) + I’m hungry! I don’t know where I am + and I don’t know when I’ll find + food again -- + + GUSTEAU + Remy. You are better than that. You + are a cook! Cooks make. Thieves + take. You are not a thief. + + REMY + (reconsidering) + But I am hungry -- + + GUSTEAU + Food will come, Remy. Food always + comes to those who love to cook -- + 19. + + + The GUSTEAU SPRITE VANISHES. Remy shakes it off. He puts + the bread down, denying his growing hunger, and moves on. + + +24 INT. BETWEEN THE WALLS 24 + + Remy MOVES, following his exceptional nose. We see glimpses + of many French lives; + + A PAINTER carefully paints a nude model we can’t see. + + An DOG barks aggressively, warning Remy away from his flat. + + A LOVERS QUARREL. Remy watches from above, through a crack + in the ceiling; SHE shakily waves a pistol at a defiant HE. + + QUARRELING WOMAN + You think I am playing, Francois? + You think I am PLAYING?? + + QUARRELING MAN + You don’t have the guts! + + Losing interest, Remy moves on. A BULLET splinters the + floor in front of him. Remy rushes back to the crack and + SEES the couple struggling with the smoking gun. The MAN + wrenches it free, it clatters to the floor. They glare at + each other, blood in their eyes and KISS. + + Remy rolls his eyes and moves on, through dark, tight + spaces into a pipe and emerges onto -- + + +25 EXY. OUTSIDE THE BUILDING - ROOFTOPS - DUSK 25 + + CAMERA follows as Remy scampers along railings and ledges, + past windows, up vines, BOOMING UP as the ROOFTOP FALLS + AWAY TO REVEAL -- + + A STUNNING PANORAMA; PARIS AT NIGHT. + + It is GORGEOUS, a vast, luminous jewel. Remy is GOBSMACKED. + + REMY + Paris? All this time I’ve been + underneath PARIS? It’s beautiful. + + Remy’s takes in the sea of shimmering lights then sees a + HUGE SIGN atop a building several blocks away. It’s + GUSTEAU, a frying pan in each hand. The SIGN marvels at the + panorama. + + GUSTEAU SIGN + 20. + + + The MOST beautiful. + + REMY + Gusteau’s? Your restaurant?? You’ve + led me to your restaurant! + + GUSTEAU SIGN + (not entirely sure) + It seems as though I have. Yes. + There it is! I have led you to it! + + REMY + I gotta see this -- + + Remy heads off toward the restaurant. + + +26 INT. KITCHEN - GUSTEAU’S RESTAURANT 26 + + WAITERS and COOKS bustle back and forth preparing elaborate + meals with energetic precision; the complex dance of Haute + Cuisine. Professional cooking at its finest. + + While the COOKS range wildly in age and nationality, only + one is female; a French cook in her late twenties named + COLETTE. + + A small, nasty-looking MAN sporting a thin mustache and a + toque almost as large as the rest of him, ENTERS. This is + the head Chef, SKINNER. Several COOKS call out greetings to + him. + + He looks annoyed as LA ROUSSE nudges him. + + LA ROUSSE + Hey boss! Look who’s here! This is + Linguini, Renata’s little boy. + + La Rousse gestures to LINGUINI, a gawky young man with a + unruly mop of red hair sitting on a stool in the corner. He + jumps up and awkwardly approaches Skinner. + + LA ROUSSE + All grown up, eh? You remember + Renata, Gusteau’s old flame? + + SKINNER + (distracted) + Ahh yes. How are you, uh -- + + LA ROUSSE + Linguini. + 21. + + + SKINNER + Yes. Linguini. So nice of you to + visit. How is--? + + LINGUINI + My mother. + + SKINNER + Renata. + + SKINNER + (impatient) + Yes. Renata. How is she? + + LINGUINI + Good. Well, not g-- she’s been + better -- I mean, uh -- + + HORST + She died. + + SKINNER + Oh. I’m sorry. + + LINGUINI + Don’t be. She believed in heaven so + she’s-- covered -- + (awkward) + -- you know. Afterlife wise. + +Skinner stares at Linguini for a long, perplexed moment. + +Linguini suddenly hands a sealed envelope to him. + + SKINNER + What’s this? + + LINGUINI + She left it for you. I think she + hoped it would help. Me. Get a job. + Here--? + + LA ROUSSE + Of course, Gusteau wouldn’t + hesitate. Any son of Renata’s-- + + SKINNER + (cutting him off) + Yes. Well, we could file this, and + if something suitable opens up-- + + LA ROUSSE + We’ve already hired him. + 22. + + + SKINNER + (outraged) + What?! How dare you hire someone + without my -- + + HORST + We needed a garbage boy. + + Skinner processes this, calming as he does. + + SKINNER + Oh. Garbage. Well -- + (to Linguini, thin smile) + -- I’m glad it worked out. + + Skinner disappears into his office, which once belonged to + the great Gusteau himself. Linguini turns back to the other + cooks, who are already handing him his work clothes. + + +27 EXT. ROOFTOP - ABOVE GUSTEAU’S KITCHEN - MINUTES LATER 27 + + Remy and the Gusteau sprite look down through the SKYLIGHT + into GUSTEAU’S kitchen. Remy watches, rapt as the CHEFS + scurry about, preparing the gourmet meals. + + REMY + I can’t believe it. A real gourmet + kitchen and I get to watch. + + GUSTEAU + You’ve read my book. Let us see how + much you know. Which is the Chef? + + Remy points out SKINNER, who is berating another cook. + + REMY + That guy. + + GUSTEAU + Very good. Who is next in command? + + REMY + The Sous Chef there. + (points out HORST) + The Sous is responsible for the + kitchen when the Chef’s not there. + + REMY’S POV: ISOLATING THE COOKS as Remy points them out. + + REMY (O.C.) + 23. + + + Saucier; in charge of sauces, very + important. Chef de Partie, DemiChef + de Partie -- both important -- + (pointing) + Commis, Commis, Commis they’re + cooks. Very important. + + GUSTEAU + You are a clever rat. Now, who is + that? + +Gusteau is pointing at the garbage boy LINGUINI, who is +clumsily steering a mop and bucket through the kitchen. + + REMY + Oh, him? He’s nobody. + + GUSTEAU + Not nobody. He is part of the + kitchen. + + REMY + (dismissive) + He’s a Plongeur or something. + Washes dishes or takes out the + garbage. He doesn’t cook. + + GUSTEAU + But he could. + +Below, LINGUINI accidentally knocks over the pot of soup, +spilling it. Remy gives Gusteau a patronizing chuckle. + + REMY + No. + +What WE SEE, but Remy doesn’t: desperate that no one +notices his mistake, Linguini quickly replaces the pot on +the burner, and MOPS up the floor. + + GUSTEAU + How do you know? What do I always + say? “Anyone can cook”. + + REMY + Well, yeah. Anyone can. That + doesn’t mean that anyone should. + + GUSTEAU + Well that is not stopping him. See? + 24. + + + Remy watches aghast as Linguini quickly chums some water + from another pot into the soup to refill it to it’s former + level, haphazardly throws in a few spices and vegetables. + + REMY + No! This is terrible! He’s ruining + the soup! And nobody’s noticing?! + It’s your restaurant! Do something! + + GUSTEAU + What can I do? I am a figment of + your imagination -- + + REMY + But HE’S RUINING THE SOUP! We’ve + got to tell someone that he’s R -- + + The skylight suddenly gives way, and Remy PLUNGES down-- + + +28 INT. GUSTEAU’S KITCHEN 28 + + With a SPLASH Remy lands in a sink filled with soapy + dishwater. He paddles to the surface, climbs onto the + counter and tumbles over the edge, hitting the floor with a + SPLAT. + + +29 INT. KITCHEN FLOOR - UNDER THE COUNTER - CONTINUOUS 29 + + Remy HIDES. GIANT FEET (belonging to busy COOKS) boom by on + either side. Surrounded by the enemies of rat kind, Remy is + PETRIFIED. From REMY’S POV the kitchen is a terrifying + place; full of FIRE and NOISE. He runs out from under the + counter. + + The door to the walk-in OPENS, knocking Remy across the + floor and under the stove. Above him rows of burners + IGNITE. + + He races across a walkway, under another counter and out + the other side, nearly run over by a DINING CART. REMY + dives underneath it, using it to cross the kitchen + camouflaged. + + Sticking his head out, Remy spots an OPEN WINDOW on the far + wall: a way out! He runs for it, climbing up a dish rack to + the counter. He is nearly to the OPEN WINDOW. + + He scrambles up onto a copper pot toward it, but the lid + slips and he falls inside. He LOOKS UP. + + REMY’S POV: OUT FROM UNDER THE POT LID + 25. + + + -- the window is MOVING AWAY. What’s happening?! + + WIDEN TO REVEAL-- + + -- the POT is being carried away by one of the COOKS. The + chef sets the pot down near a stove and exits. As Remy + heads back toward the window, a wonderful SCENT hits his + nose. He SNIFFS, following it to a PAN filled with + vegetables. + + Enticed, he crawls inside, and it is only then that he + notices the LARGE TURKEY, moments before a COOK picks up + the pan and slides it into the oven! + + Remy barely escapes before the oven door CLOSES, SPRINGING + from the oven to another passing trolley, which bursts + into-- + + +30 INT. THE DINING ROOM - CONTINUOUS 30 + + Remy is wheeled into the plush hush of the restaurant, and + pulls up to a table of well-dressed DINERS. A WAITERS HAND + reaches down for a peppermill, grabbing REMY instead which + startles both of them. The HAND instantly RELEASES Remy, + who quickly leaps on to another passing trolley, the one + heading back to the kitchen. + + +31 INT. GUSTEAU’S KITCHEN - CONTINUOUS 31 + + Remy jumps off the trolley and hides. He looks up at the + window -- + + REMY’S POV + + -- the WINDOW has been CLOSED! Linguini crosses into his + view and tastes the soup. It’s horrible, so horrible that + he runs to the window, opens it, SPITS the soup out into + the alley and exits LEAVING THE WINDOW OPEN. + + RESUME REMY + + He sees his opening and runs for it, climbing a broom + handle to a shelf above the stove that leads to the OPEN + WINDOW. + + Dodging jars of spices he runs through the steam from the + soup bubbling directly below. It’s so disgusting that + without thinking, he grabs a spice from the counter, throws + a dash in. He starts for the window, thinks better of it, + adds some leeks, adds some pepper, starts back to the + window and STOPS. + 26. + + +His gaze returns to the boiling pot. He looks back at the +kitchen: the cooks haven’t noticed him. He looks at the +window: it is still open, and the path to it is clear. + +The GUSTEAU SPRITE APPEARS-- + + GUSTEAU + Remy! What are you waiting for? + + REMY + Is this going to become a regular + thing with you? + + GUSTEAU + You know how to fix it. This is + your chance. + +Remy considers this. Then, filled with purpose, he jumps to +the stove top, turns the burner down, hops up to the spigot +to add water to the soup. + +Quickly losing himself, Remy proceeds to remake the soup, +alternately smelling, tasting and adding ingredients to it. + +He grabs a pawful of spices to toss in and SUDDENLY SEES +LINGUINI, wide-eyed and brandishing a ladle. + +They STARE at each other for a long moment, deer caught in +each others headlights. Remy drops the spices into the +soup. + + SKINNER (OS) + THE SOUP! WHERE IS THE SOUP? + +The two STARTLE; Remy tries to run for the window. Linguini +slams a colander over him, both hiding and trapping him. + + SKINNER + Out of my way, Garbage boy! + +Skinner spots the ladle in Linguini’s hand. He seizes +Linguini by his collar. + + SKINNER + You are COOKING? How dare you cook + in my kitchen! + +Remy starts to push the colander toward the open window. + + SKINNER + 27. + + + Where do you get the gall to even + attempt something so monumentally + idiotic? I should have you drawn + and quartered! I’ll do it! I think + the law is on my side! + (calling out) + LaRousse! Draw and quarter this + man! AFTER you put his head in the + duck press to squeeze the fat out! + + As Skinner berates Linguini, LALO ladles the soup into a + tureen, which he takes to the pass. Linguini watches + helplessly as the waiter MUSTAFA carries his soup out to + the dining room. + + LINGUINI + Oh, no... no no, ohhhh nooo-- + + SKINNER + What are you blathering about?! + + LINGUINI + (points, dumbstruck) + -but don’t let- th-- sou -- soup--! + + SKINNER + Soup? + (suddenly understands) + STOP THAT SOUP! Noooo! + + But Mustafa is gone and it is TOO LATE. Skinner anxiously + looks through the door windows into the dining room-- + + SKINNER’S POV: THE DINING ROOM + + --the soup is served to a WOMAN DINER. She tastes it, + REACTS visibly, and motions for the waiter. + + +32 INT. RESUME KITCHEN - GUSTEAU & SKINNER 32 + + Wilting, Skinner turns his building rage toward Linguini. + + SKINNER + Linguini! You’re FIRED! F-I-R-E-D! + FIRED! + + MUSTAFA, the waiter, sticks his head through the double- + doors, speaking low to Skinner. + + MUSTAFA + She wants to speak to the Chef. + 28. + + + Color drains from Skinner’s face. He sighs, heads out into + the dining room to take his medicine. Linguini creeps + toward the exit, but is collared by the Sous Chef HORST. + + On the counter, Remy inches the colander towards the + window. Colette sticks a spoon into the soup and tastes. + It’s GOOD. + + Mustafa and Skinner re-enter from the dining room, + Skinner’s face a riot of bewilderment. + + COLETTE + What did the customer say? + + MUSTAFA + It wasn’t a customer. It was a + critic. + + COLETTE + (fearful) + Ego?? + + SKINNER + (dazed) + Solene LeClaire. + + COLETTE + LeClaire? What did she say? + + MUSTAFA + She liked the soup. + + +33 INT. UNDER THE COLANDER 33 + + The GUSTEAU SPRITE stops Remy. + + GUSTEAU + Wait-- + + REMY + What do mean “wait’? You’re the + reason I’m in this mess! + + GUSTEAU + Someone is asking about your soup! + + RESUME SCENE + + The bustle of the kitchen has STOPPED DEAD as Skinner + tastes the soup. His eyes betray a truth; the soup is + delicious. And he HATES that. He turns to Linguini, his + face DARK. + 29. + + + SKINNER + What are you playing at? + + LINGUINI + (totally confused) + I, uhm, didn’t-- am I still fired? + + COLETTE + You can’t fire him. + + SKINNER + (wheels on her) + What--!? + + COLETTE + LeClaire likes it. She made a point + of telling you so. If she writes a + review to that effect, and finds + out you fired the cook responsible + -- + + SKINNER + He’s a garbage boy -- + + COLETTE + -- who made something she liked. + How can we claim to represent the + name of Gusteau if we don’t uphold + his most cherished belief? + + SKINNER + What belief is that, Mademoiselle + Tatou? + + COLETTE + Anyone can cook. + + +34 INT. UNDER THE COLANDER 34 + + The Gusteau sprite NUDGES Remy. + + RESUME SCENE + + The other COOKS murmur their assent. The turn of the tide + isn’t lost on Skinner. His face softens into an icy smile. + + SKINNER + 30. + + + Perhaps I’ve been a bit harsh on + our new garbage boy. He has taken a + bold risk, and we should reward + that, as Chef Gusteau would have. + If he wishes to swim in dangerous + waters who are we to deny him? + + +35 INT. UNDER THE COLANDER 35 + + Remy’s totally absorbed in this conflict. A COUGH causes + Remy to looks up: the GUSTEAU SPRITE gestures at the + window. + + GUSTEAU + You were escaping? + + REMY + Oh. Yeah -- + + Remy resumes pushing toward the window. + + BACK TO SCENE + + Skinner turns to Colette, gives her a withering smile. + + SKINNER + Since you have expressed such an + interest in his cooking career, you + should be responsible for it. + + Colette’s face falls. Skinner turns to the other cooks. + + SKINNER + Anyone else? + (they look away) + Then back to work--! + + The cooks resume their work. Skinner wheels on Linguini. + + SKINNER + You are either very lucky or very + Unlucky. You will make the soup + again, and this time I’ll be paying + attention. Very close attention. + + Off to the side, REMY has almost made it to the window. + + SKINNER + They think you might be a cook. But + you know what I think, Linguini? I + think you’re a sneaky, overreaching + little -- + 31. + + + (he SPIES REMY) + -- RAAAAT!!! + + REMY RUNS. The OTHER COOKS come after him. Skinner SWINGS a + MOP at Remy, breaking dishes and blocking his escape. + + SKINNER + Linguini! Get a something to trap + it in!! + + Linguini CLAPS a jar over Remy. Seals it. + + LINGUINI + What should I do now? + + SKINNER + Kill it. + + LINGUINI + Now? + + SKINNER + No! Not in the kitchen, are you + mad?? Do you know what would happen + to us if anyone knew we had a rat + in our kitchen? + + SKINNER + They’d close us down!! Our + reputation is hanging by a thread + as it is. Take it away from here, + far away. Kill it, dispose of it. + Go! + + Linguini nods and quickly EXITS the kitchen’s back door. + + +36 EXT. ALLEY BEHIND GUSTEAU’S KITCHEN - CONTINUOUS - NIGHT 36 + + Linguini hops aboard a bicycle and peddles into the gloom, + carrying Remy in the jar with him. + + +37 EXT. ALONG THE SEINE - NIGHT 37 + + The waterfront, normally so beautiful, seems dark and + foreboding this night. Linguini slows his bicycle and pulls + up under a street lamp near a bridge underpass. He climbs + off the bicycle and prepares to drop the jar into the + water. + + Remy is PETRIFIED. His heart racing, he presses his paws + against the glass, staring at Linguini with terrified eyes. + 32. + + + Linguini HESITATES then PULLS BACK, shouting at Remy. + + LINGUINI + Don’t look at me like that! You + aren’t the only one who’s trapped. + They expect me to cook it again! + (Remy looks up: HUH?) + I’m not ambitious, I wasn’t trying + to cook, I was just trying to stay + out of trouble. You’re the one who + was getting fancy with the spices! + What’d you throw in there? Oregano? + (Remy SHAKES HEAD: “NO”) + No? What, rosemary? + (Again, Remy shakes head) + That’s a spice, isn’t it? Rosemary? + (At this Remy NODS) + You didn’t put rosemary in there? + + Remy shakes his head. Linguini SLUMPS down on the bank, + sets the Remy jar next to him. + + LINGUINI + I need this job. I’ve lost so many. + I don’t know how to cook and now + I’m talking to a rat as if you + actually understand what I’m say-- + (sudden realization) + --did you NOD?? You UNDERSTAND ME?? + (Remy NODS) + So I’m not crazy. Wait a second, + wait a second. I can’t cook. Can I? + (Remy shakes his head) + But you can. Right? + (Remy thinks uncertainly) + Don’t be so modest, you’re a rat + for Pete’s sake. Whatever you did, + they liked it. + (lost in thought) + Yeah. This could work. Hey, they + liked the soup-- + + With an expansive gesture Linguini accidentally KNOCKS + REMY’S JAR INTO THE SEINE. Horrified, Linguini DIVES IN + after it. + + JUMP CUT TO: + + +38 EXT. ALONG BANKS OF SEINE - MINUTES LATER 38 + + Linguini sits on a bench, soaking wet, the jar with Remy + successfully retrieved and sitting next to him. + 33. + + + LINGUINI + They liked the soup. You think you + could do it again? + (Remy NODS) + I’m gonna let you go. But we’re + together on this. Right? + (Remy NODS again) + Okay. + + Linguini sets the jar down on its side and carefully OPENS + the lid. Remy looks up at him and TAKES OFF, escaping into + the darkness. CACKLING as he runs, Remy LOOKS BACK at -- + + REMY’S POV: PULLING AWAY FROM LINGUINI + + -- who stands forlorn and alone under the bridge. + + WITH REMY + + He slows to a stop, moved by this pitiful sight. + + WITH LINGUINI + + He SIGHS, defeated. Turns sadly to his bicycle. Then a + SOUND: the CLICKING of tiny claws on cement. Linguini looks + up-- + + REMY, very cautiously, is coming toward him, back into the + light. Remy looks at Linguini who SMILES. + + +39 INT. LINGUINI’S FLAT - NIGHT 39 + + Darkness. we hear KEYS fumbling in a lock. Linguini KICKS + the warped door a few times, opening it enough to enter, + and wrestle his bicycle through. He turns on a light, + REVEALING a tiny, odd-shaped room; two doors in the wall; + one a bathroom, the other a closet, both tiny. One window, + a table with two chairs. Hotplate. A miniscule, ancient + refrigerator. + + A ratty couch doubles as a bed, a portable black & white + t.v. rests precariously on one arm. + + LINGUINI + This is it. It’s not much, but it’s + -- + (he looks around) + -- not much. + (to Remy, shrugs) + Could be worse; there’s heat and + light and a couch with a TV. So, + y’know -- what’s mine is yours. + 34. + + + Remy looks over the new digs. He likes them just fine. + + LATER + + Fast asleep on the couch, Linguini is bathed in the + flickering light from an old and very romantic FRENCH MOVIE + on TV. TWO LOVERS stand handsomely in the swirling steam of + a soon to depart locomotive, staring into each other’s eyes + -- + + HER (TV) + Are you-- is this a dream? + + HIM (TV) + The best kind of dream. One we can + share. + + Tucked in to an OVEN MITT near the window sill, REMY gazes + dreamily at the lights of Paris. The romantic MOVIE MUSIC + swells, underscoring his emotions. + + Remy grins, slowly closes his eyes. Dreaming. + + +40 INT. LINGUINI’S FLAT - MORNING 40 + + Linguini AWAKENS with a start. He looks up at the oven mitt + -- + + LINGUINI + Morning, little Chef. Rise and sh - + - + + -- and suddenly realizes REMY IS GONE. + + LINGUINI + Idiot! I knew this would happen! I + let a rat into my place and tell + him what’s mine is his? + + Linguini yanks open the refrigerator door and looks inside. + + LINGUINI + Eggs GONE! STUPID! He’s stolen food + and hit the road! What’d I expect? + That’s what I get for trusting a ra + -- + + As Linguini moves around the tiny alcove HE SEES REMY, + quite pleased with himself as he cooks omelettes on the + hotplate. Two places have been set at the tiny table. + + LINGUINI + 35. + + + Wh--? Hey. What -- is that for me? + + Remy nods and deftly (but with considerable effort) sets + the large omelette onto Linguini’s plate. Linguini sits and + puts a forkful into his mouth. + + LINGUINI + It’s good. What’d you put in this? + (Remy holds up basil + leaf) + Where’d you get that? + + Remy moves to the window and points to the roof garden of a + nearby flat. Linguini looks down at the enterprising rat. + + LINGUINI + Look. It’s delicious. But don’t + steal. I’ll buy some spices, okay? + + Remy shrugs and turns to eat. Linguini glances at his + clock. + + LINGUINI + Oh no. We’re gonna be late, and on + the first day! + + Linguini SHOVES the rest of the eggs into his mouth and + grabs his coat. Famished, Remy opens wide, ready for his + first bite of food, when Linguini snatches him up-- + + LINGUINI + Ca’mon, little Chef! + + -- and runs out of the apartment. + + +41 INT. GUSTEAU’S KITCHEN - MORNING 41 + + The cooks are circled around Colette, listening with + interest as she reads a review aloud from the morning + paper. + + COLETTE + “Though I, like many other critics, + had written off Gusteau’s as + irrelevant since the great Chef’s + death, the soup was a revelation, a + spicy yet subtle taste experience.” + + Skinner has ENTERED, and is now stopped in his tracks. + + SKINNER + (stunned) + 36. + + + LeClaire? + + COLETTE + Yes! + (resumes reading) + ”Against all odds, Gusteau’s has + recaptured our attention. Only time + will tell if they deserve it.” + + +42 EXT. IN ALLEY OUTSIDE GUSTEAU’S 42 + + Linguini waits outside, Remy in palm, staring uncomfortably + at the kitchen entrance, working up the nerve to go inside. + + LINGUINI + Well, uhm -- + + Aware he can’t enter the kitchen carrying a rat, Linguini + looks half heartedly for places to conceal Remy; under his + shirt, up his sleeves, in his sock rejecting each in turn. + + Out of ideas, Linguini slowly opens the top of his pants. + Remy looks up at him, APPALLED. + + LINGUINI + (desperate) + Look, I know it’s weird and stupid, + but neither of us can do this + alone. So we gotta do it together, + right? You with me?? + + Remy gives a reluctant NOD. Linguini glares at the kitchen + entrance, psyching himself up. + + LINGUINI + So -- LET'S DO THIS THING!! + + +43 INT. KITCHEN - GUSTEAU’S 43 + + The back door SLAMS OPEN. All heads swing to a slightly + crazed LINGUINI standing in the doorway. He wilts a bit + with the attention, and attempts to cross inconspicuously + to his station, the hidden rat causing a strangely spastic + lurch. + + The other COOKS watch with bewildered amusement. + + Linguini arrives at his station and looks uneasily at the + new TOQUE resting there: his new toque. He swallows, + placing it on his head, and suddenly notices Skinner + standing there. + 37. + + + SKINNER + Welcome to hell. Now, recreate the + soup. Take as long as you need, all + week if you must. + + Skinner EXITS. Linguini looks at his station with dread, a + blocked writer facing a blank page. + + LINGUINI + Soup. + + +44 INT. LINGUINI’S STATION - MINUTES LATER 44 + + Raw soup stock bubbles at a low boil on the stove. Linguini + stares at the variety carefully prepared of ingredients + herbs, spices, diced vegetables, etc that have been and + laid out at his station. He’s completely unsure of where to + start. + + REMY peeks out from Linguini’s collar and examines the + scene. He scrambles underneath Linguini’s shirt and across + his chest, tickling him. Linguini LAUGHS. + + Remy’s head pops out from Linguini’s SHIRT CUFF, sees + Linguini reaching for a SPICE TIN; the WRONG spice. Remy + signals Linguini to stop, but Linguini pays no attention, + so Remy gives Linguini’s HAND a NIP. + + Linguini YELPS, dropping the entire spice tin INTO THE + SOUP. Appalled, Remy gives Linguini an admonishing bite. + + Linguini YELPS and CURSES, SWATS Remy in retaliation. Remy + scurries to the other arm (GIGGLE) and gives Linguini + another nip (more YELPS & CURSINGS). + + The OTHER COOKS marvel at the strangeness of the spastic, + giggling, yelping Linguini. Visibly panicked, the + giggling/yelping Linguini TURNS, lurching from his station + to the food safe, and closing himself inside. + + +45 INT. INSIDE FOOD VAULT - CONTINUOUS 45 + + Linguini RIPS his shirt open, exposing his chest and arms, + which are covered in angry red BITE MARKS. + + LINGUINI + AAAAAAAAGGGGGGHHHHH!!! + (looks at Remy + accusingly) + AAAAAAAAGGGGGGHHHHH!!! + (gestures at bite marks) + 38. + + + AAAAAAAAGGGGGGHHHHH!!! + + Remy stares at the nearly hysterical Linguini. + + LINGUINI + This is NOT gonna work, little + chef! I am gonna LOSE IT if we do + this anymore. We gotta figure out + something else. Something that + doesn’t involve any biting or + nipping or running up and down my + body with your little rat feet. The + biting; NO. Scampering; NO. No + scampering or scurrying. + Understand, little chef? + (beat) + Little chef? + + Remy’s gaze has drifted away from Linguini, to the shelves + LOADED with premium food. Remy looks weak with longing. + + LINGUINI + Oh, you’re hungry. + + Guilty, Linguini breaks a chunk from a round of cheese and + offers it to Remy, who scarfs it down. Linguini, calmer + now, straightens his clothes as he thinks out loud. + + LINGUINI + Okay, the way I see it; you know + how to cook. And I know how to + appear human. We just need to work + out a system so that I do what you + want in a way that doesn’t look + like I’m being controlled by a tiny + rat chef oh WOULD YOU LISTEN TO ME? + I’M INSANE I’M INSANE I’M INSIDE A + REFRIGERATOR TALKING TO A RAT ABOUT + GOURMET COOKING I WILL NEVER PULL + THIS OFF. + + +46 INT. KITCHEN - OUTSIDE FOOD VAULT 46 + + Passing the food vault Skinner hears a VOICE from within. + + SKINNER + Linguini? + + +47 INT. INSIDE FOOD VAULT 47 + 39. + + + Remy, still eating, listens as Linguini pours his heart + out. + + LINGUINI + -- we gotta communicate! I can’t be + checking for a yes or no head shake + from a rat th -- + + Suddenly the vault door JERKS OPEN. THREE THINGS HAPPEN + FAST: + + 1) Skinner sees a fleeting glimpse of LINGUINI WITH REMY. + + 2) Linguini HITS THE LIGHT SWITCH-- the room GOES DARK. + + 3) Skinner instantly FLICKS THE LIGHTS BACK ON to see + Linguini standing exactly as before. But Remy is GONE. + + SKINNER + The rat! I saw it! + + LINGUINI + No, a rat? + + SKINNER + (searching about + Linguini) + Yes, yes-- a rat! Right next to you + -- + (stops, suspicious) + -- what ARE YOU DOING IN HERE??? + + LINGUINI + I’m just familiarizing myself with + -- y’know, the vegetables and such. + + SKINNER + Get out. + + Linguini makes a hasty exit. Skinner calls out after him. + + SKINNER + ONE CAN GET TOO FAMILIAR WITH + VEGETABLES YOU KNOW! + + +48 INT. KITCHEN - CONTINUOUS 48 + + Linguini speaks to Remy, who he’s hidden under his TOQUE-- + + LINGUINI + That was close. You okay up there? + 40. + + +49 INT. INSIDE LINGUINI’S TOQUE 49 + + Remy’s surroundings are visible through the thin fabric. He + looks up AND SEES they are about to COLLIDE with a WAITER + CARRYING A TRAY PILED WITH DISHES. Remy YANKS BACK + LINGUINI’S HAIR like horses REINS, CAUSING LINGUINI to jerk + backwards in an impossible limbo-arch, pivoting under the + tray of dishes and BACK UP AGAIN, miraculously averting + disaster. + + Linguini blinks in amazement: what just happened? He ducks + into the BATHROOM. + + LINGUINI removes his toque, looks at Remy in the mirror. + + LINGUINI + How did you do that?? + + Still grasping hanks of Linguini’s hair in his paws, Remy + SHRUGS. Linguini’s shoulders SHOOT UP to his ears. + Startled, Remy drops his arms; Linguini’s shoulders drop. + + LINGUINI + Whooaah--! + + A gleam comes into the rats’ eyes. He JERKS the left hank, + causing Linguini’s LEFT ARM to SHOOT UP IN THE AIR. + + LINGUINI + (marveling) + Wow. That’s strangely + involuntaREEE- + + Remy is yanking tufts of Linguini’s hair like a kid with a + new toy. Linguini jerks around like a helpless puppet. + + Remy stops, looks at the panting Linguini in the mirror. + + REMY (V.O.) + One look and I knew, each of us had + the same crazy idea. + + +50 INT. LINGUINI’S FLAT - NIGHT 50 + + MONTAGE: LEARNING TO COOK + + Using hanks of Linguini’s hair to control Linguini’s + actions, Remy pilots Linguini(who is blindfolded to keep + him from cheating) through an increasingly complex series + of cooking tasks, everything from cutting vegetables to + flipping crepes. + 41. + + + During this comic montage we see Remy learning precisely + how to pilot Linguini, and at the same time, Linguini is + learning how to surrender himself to being “piloted”. + + By dawn, Linguini and Remy have meshed into one finely + honed cooking machine. + + DISSOLVE TO: + + +51 INT. KITCHEN - NEXT DAY 51 + + Linguini stands off to the side, fretting as Skinner pulls + a ladle of soup from a Linguini’s pot and tastes it. + + SKINNER + Congratulations. You were able to + repeat your accidental success. But + you will need to know more than + soup, if you are to survive in my + kitchen, boy. Colette -- + + Skinner gestures to COLETTE, who watches with a scowl. + + SKINNER + -- will be responsible for teaching + you how we do things here. + + Skinner grins and EXITS. Linguini crosses to Colette. + + LINGUINI + (a little too smooth) + Listen, I just want you to know how + honored I am to be studying under a + -- + + Colette STABS a knife through Linguini’s shirtsleeve, + pinning it to the table. Her voice is low, intense. + + COLETTE + No, you listen. I just want you to + know exactly who you are dealing + with. How many women do you see in + this kitchen? + + LINGUINI + Well, I hah -- um -- + + She brings a second knife down through Linguini’s sleeve -- + + COLETTE + Only me. Why do you think that is?? + 42. + + + LINGUINI + (spooked, sputtering) + Well -- huh--! I-- hoo-- + + COLETTE + Because Haute Cuisine is an + antiquated hierarchy built upon + rules written by stupid old men, + rules designed to make it + impossible for women to enter this + world. But still I am here. How did + this happen? + + Linguini burbles in a desperate attempt at nonchalance. + + LINGUINI + Because-- you, ah-- hah-- + + Colette SLAMS a third knife through Linguini’s sleeve, + thoroughly pinning it. Linguini is truly frightened. + + COLETTE + Because I’m the toughest cook in + this kitchen. I’ve worked too hard + for too long to get here, and I’m + not going to jeopardize it for some + garbage boy who got lucky. Got it?? + + Linguini NODS pathetically. Colette pulls the knife handles + out with a single JERK and Linguini topples to the floor. + + Colette EXITS. Linguini peeks over the counter, dazzled. + + LINGUINI + Wow -- + + +52 INT. SKINNER’S OFFICE 52 + + Skinner watches as ad man FRANCOIS DUPUIS finishes pitching + his campaign for the latest GUSTEAU’S FROZEN FOOD product. + + The trademark Chef Gusteau art has been re-painted; Gusteau + now sports a kimono, coolie hat, and chopsticks. Behind + this are similar campaigns for GUSTEAU’S FRENCH PIZZA and + GUSTEAU’S MICROWAVE BURRITOS. Skinner is captivated. + + DUPUIS + “Easy to cook, easy to eat, Gusteau + makes Chinese food ‘Chine-Easy!’”. + + SKINNER + Excellent work Francois, as usual. + 43. + + + DUPUIS + It’s good, isn’t it? + + Skinner stands, offering a handshake to signal the end of + the meeting. As Francois packs up his portfolio, preparing + to leave, Skinner straightens the photo of himself with + Gusteau that hangs on the wall. + + SKINNER + I want you to work up something for + my latest frozen food concept: + “Gusteau’s Corn Puppies”. Like corn + dogs, only smaller, bite size! + + DUPUIS + (starts sketching in pad) + What are corn dogs? + + SKINNER + Cheap sausages dipped in batter and + deep fried. You know -- American. + Whip something up, maybe Gusteau in + overalls and Huckleberry Tom hat -- + + DUPUIS + (displaying his sketch) + Or as a giant ear of corn in doggie + makeup? + + SKINNER + Yes, but with dignity. + + Dupuis EXITS. Skinner moves to his desk and the stack of + UNOPENED MAIL there, and begins to shuffle through it; + bill, bill, bill and the PINK ENVELOPE given to him by + Linguini. + + He opens the envelope and reads; his bored eyes growing + wider and wider with each line. He GASPS, seizing the + phone. + + SKINNER + Get my lawyer! + + +53 INT. SKINNER’S OFFICE - AN HOUR LATER 53 + + Skinner’s lawyer TALON LABARTHE is reading GUSTEAU’S WILL. + + TALON + 44. + + + The will stipulates that, if after + a period of two years from the date + of death no heir appears, Gusteau’s + business interests, including the + restaurant and the rights to his + name and image will pass to his + Sous Chef. You. + + SKINNER + I know what the will stipulates! + (brandishing letter) + What I want to know is if this + letter, if this boy, changes + anything! + +Skinner raises the window blinds, revealing a view of the +kitchen and Linguini, who looks unusually awkward among the +practiced cooking staff. Talon looks from Linguini to a +framed photo of GUSTEAU. + + TALON + There’s not much resemblance-- + + SKINNER + (drops blinds) + There’s NO resemblance at all! He’s + not Gusteau’s son! Gusteau had no + children! And what of the timing of + all this? The deadline in the will + expires in less than a month! + +Talon drifts around the office, searching for something. + + SKINNER + Suddenly some boy arrives with a + letter from his “recently deceased” + mother claiming Gusteau as his + father? Highly suspect! + +Talon spies a TOQUE inside a DISPLAY CASE. He turns to +Skinner. + + TALON + This is Gusteau’s? + (Skinner NODS) + May I? + + SKINNER + Of course, of course. + +Talon carefully opens the display case, removes GUSTEAU’S +TOQUE and begins to inspect it. + 45. + + + TALON + But the boy does not know? + + SKINNER + (brandishing the letter) + She claims she never told him OR + Gusteau! And asks that I not tell! + + TALON + Why you? What does she want? + + Talon spies something on the toque: a HAIR. He pulls a pair + of TWEEZERS from his coat, removes the hair, folding it + carefully inside a handkerchief, and pocketing it. + + SKINNER + A job. For the boy. + + TALON + Only a job? + + SKINNER + Well, yes. + + TALON + Then what are you worried about? If + he works here you’ll be able to + keep an eye on him, while I do a + little digging, find out how much + of this is real. + (getting his coat) + I’ll need you to collect some DNA + samples from the boy, hair maybe. + + SKINNER + The whole thing is HIGHLY SUSPECT. + He KNOWS something!! + + TALON + Relax. He’s a garbage boy. I think + you can handle him. + + Talon exits. Skinner stands inert, spooked. + + +54 INT. KITCHEN 54 + + Linguini finishes dicing a red pepper. He sets down his + knife, carefully scoops up the small pile of dicings, walks + over to a giant pot and drops it in, returning to repeat + the procedure. Colette, who has watched this, interrupts-- + + COLETTE + 46. + + + What are you doing? + + LINGUINI + I’m cutting. Vegetables. I’m + cutting the vegetables? + + COLETTE + NO. You waste energy and time! + + Colette slides a chair up to the end of Linguini’s prep + table and slams the pot down on its seat so that the top is + level with the table’s surface. + + COLETTE + You think cooking is a cute job, + huh? Like mommy in the kitchen? + + She snatches Linguini’s KNIFE from him with one hand, + several vegetables with the other. With frightening speed + she dices them; flicking each diced pile into the pot with + the knife; dice, flick, dice, flick. + + COLETTE + Well mommy never had to face the + dinner rush when the orders come + flooding in and every dish is + different and none are simple and + all have different cooking times + but must arrive on the customers + table at exactly the same time, hot + and perfect. Every second counts -- + + In MOMENTS Colette has completed a ten-minute Linguini job. + + COLETTE + -- and you CAN NOT BE MOMMY!!!! + + TIME CUT: + + +55 INT. KITCHEN - ANOTHER DAY 55 + + Linguini is cooking. He takes a pan off the burner and sets + it to one side, which is already cluttered with utensils. + + Colette sees the mess and is outraged. + + COLETTE + What is this??? + + Linguini stammers. Colette quickly clears his station, + pitching it all into a sink full of dishwater. + 47. + + + COLETTE + Keep your station clear. When the + meal rush comes what will happen?? + Messy stations slow things down, + food doesn’t go, orders pile up, + disaster!! I’ll make this easy to + remember; keep your station clear + or I WILL KILL YOU. + + TIME CUT: + + Colette grabs Linguini by the arm and holds up his sleeves, + which are smeared with multi-colored STAINS. + + COLETTE + Your sleeves look like you threw up + on them. Keep your hands and arms + in, close to the body like this -- + (she demonstrates) + -- see? Always return to this + position. Cooks move fast; sharp + utensils, hot metal, keep your arms + in, you will minimize cuts and + burns and keep your sleeves clean. + Mark of a chef; messy apron, clean + sleeves. + + TIME CUT: + + +56 INT. KITCHEN - ANOTHER DAY 56 + + Linguini and Colette shell peas. Colette’s manner is + easier, more collegial. + + COLETTE + I know the Gusteau style cold. In + every dish Chef Gusteau always has + something unexpected. I will show + you, I memorized all his recipes -- + + LINGUINI + (writing it down) + “Always do something unexpected”. + + COLETTE + No. “Follow the recipe”. + + LINGUINI + But you just said -- + + COLETTE + 48. + + + It was his job to be unexpected. It + is our job to -- + + COLETTE & LINGUINI + -- follow the recipe. + + TIME CUT: + + +57 INT. KITCHEN - ANOTHER DAY 57 + + Colette pulls a loaf from a basket of freshly baked bread + and shows it to Linguini. + + COLETTE + How do you tell how good bread is + without tasting it? Not the smell, + not the look, but the sound of the + crust. Listen-- + + She holds the loaf to her ears, Linguini leans in to + listen. + + +58 INT. INSIDE LINGUINI’S TOQUE 58 + + Remy also LEANS IN to listen. Colette gives the bread a + SQUEEZE. The CRACKLE is seductive. + + RESUME SCENE + + She and Linguini SMILE at the pleasing CRUNCH. + + COLETTE + -- a symphony of crackles. Only + great bread sounds this way. + + TIME CUT: + + +59 INT. ANOTHER DAY - EARLY MORNING 59 + + Colette and Linguini have begun their prep. There is a new + relaxation between them. + + COLETTE + The only way to get the best + produce is to have first pick of + the day, and there are only two + ways to get first pick; grow it + yourself or bribe a grower. + 49. + + +She gestures to the back door. Outside a PRODUCE SELLER, +conversing amicably with La Rousse, sets down a crate of +gorgeous fruit and vegetables. La Rousse slips him money. + + COLETTE + Voila! The best restaurants get + first pick. + + TIME CUT: + +Linguini and Colette cook side by side, their manner now as +easy and familiar as old friends. + + COLETTE + People think Haute Cuisine is + snooty, so chefs must also be + snooty. But not so. + +ON LALO, who bobs to radio music as he sautés, cooking with +a efficient, yet theatrical flourish. + + COLETTE (V.O.) + Lalo there, ran away from home at + twelve, got hired by circus people + as an acrobat, got fired for + messing around with the + ringmaster's daughter. + +CAMERA SWINGS to HORST. He glances about with shifty eyes. + + COLETTE (V.O.) + Horst has done time. + + LINGUINI(V.O.) + What for? + + COLETTE (V.O.) + No one knows for sure. He changes + the story every time you ask him. + +JUMP CUTS: HORST explains various reasons for +incarceration. + + HORST + I defrauded a major corporation. + I robbed the second largest bank in + France using only a ballpoint pen. + (CUT) + I created a hole in the ozone over + Avignon. + (CUT) + I killed a man with -- + (he holds it up) + 50. + + + -- this thumb. + +CAMERA MOVES to POMPIDOU. He works dough with expert +precision. + + COLETTE (V.O.) + Don’t ever play cards with + Pompidou. He’s been banned from + both Las Vegas and Monte Carlo. + +CAMERA MOVES to LAROUSSE as he slips into the food safe. + + COLETTE (V.O.) + La Rousse ran guns for the + resistance. + + LINGUINI (V.O.) + Which resistance? + + COLETTE (V.O.) + He won’t say. Apparently they did + not win. + +RESUME COLETTE & LINGUINI + + COLETTE + So you see, we are artists. + Pirates. More than cooks are we. + + LINGUINI + “We”? + + COLETTE + Oui. You are one of us now, oui?. + + LINGUINI + (surprised, touched) + Oui. + +They exchange smiles and resume work. PAUSE. + + LINGUINI + Thank you, by the way, for all the + advice about cooking. + + COLETTE + Thank you, too. + + LINGUINI + For what? + + COLETTE + For taking it. + 51. + + +60 INT. INSIDE SKINNER’S CAR - MOVING - NIGHT 60 + + Skinner listens to the radio. Suddenly he SITS UP-- + + HIS POV THROUGH WINDSHIELD: + + Remy scampers across the alley to the kitchen entrance + behind GUSTEAU’S and into the hands of a kneeling Linguini. + + SKINNER + The rat!! + + RESUME SKINNER + + He JAMS the brakes, throws the car into reverse. As + Linguini is brought back into view we see that REMY IS + GONE. Still kneeling, Linguini holds up a set of KEYS. + + LINGUINI + (to Skinner, chuckles) + I just dropped my keys. + + Skinner is BAFFLED. + + +61 INT. GUSTEAU’S - DINING AREA - NIGHT 61 + + There is noticeably more energy and fewer empty tables in + the dining room. Mustafa arrives at a table of FOOD SNOBS. + + MUSTAFA + Have you decided? + + FOOD SNOB #1 + Well, the new soup is excellent but + -- + + FOOD SNOB #2 + -- but we order it every time. + + FOOD SNOB #3 + What else do you have? + + MUSTAFA + We have a very nice Foie Gras -- + + FOOD SNOB #1 + (impatient) + Yes, the old standby, you used to + be famous for it. What does the + Chef have that’s new? + 52. + + + Mustafa stands there, slack-jawed and blinking. + + +62 INT. KITCHEN 62 + + Mustafa crashes through the swinging doors in a panic. + + SKINNER + This is simple. Just pull out an + old Gusteau recipe, something we + haven’t made in a while and -- + + MUSTAFA + They know about the old stuff. They + like Linguini’s soup -- + + SKINNER + Linguini? They are asking for food + from LINGUINI? + + LALO + A lot of customers like the soup. + That’s all we were saying. + + POMPIDOU + Were we saying that? + + An IDEA comes to Skinner. Dark pleasure blooms on his face. + + SKINNER + Very well. If it’s Linguini they + want -- + + He pulls Horst close and speaks to him quietly. + + SKINNER + -- tell them “Chef” Linguini has + prepared something special for + them, something definitely “off- + menu”. Oh, and don’t forget to + stress its “Linguini-ness”. + + HORST + Oui, Chef. + + Skinner turns to Linguini, a big shark-smile on his face. + + SKINNER + Now is your chance to try something + worthy of your talent, Linguini. A + forgotten favorite of the Chef’s: + “Sweetbread a la Gusteau”! Colette + will help you! + 53. + + + COLETTE + Oui, Chef. + + SKINNER + Now hurry up. Our diners are + hungry! + + Skinner turns to go to his office, a worried La Rousse + rushes up to him, speaking in a low, concerned voice. + + LA ROUSSE + Are you sure? That recipe was a + disaster. Gusteau himself said so. + + SKINNER + Just the sort of challenge a + budding chef needs. + + Skinner disappears inside his office, humming to himself. + + +63 INT. KITCHEN - WITH COLETTE & LINGUINI 63 + + Linguini looking over Colette’s shoulder as she stares at + an old, yellowing recipe card, sizing up it’s ingredients. + + COLETTE + Sweetbread a la Gusteau. Sweetbread + cooked in a salt crust with + cuttlefish tentacles. Drizzled with + --snail porridge -- + (with increasing + distaste) + Douglas fir puree, beetroot mousse + and pollen, dried white fungus and + dipped in anchovy liquorice sauce. + Huh. + + Sounds awful. Colette shrugs it off and turns to Linguini. + + COLETTE + I don’t know this recipe. But it is + Gusteau, so-- + (calling out) + Lalo! We have some veal stomach + soaking, yes?? + + LALO (O.S.) + Yes, the veal stomach, I get that. + + LINGUINI + Uh-- veal stomach? + 54. + + +64 INT. INSIDE LINGUINI’S TOQUE - MINUTES LATER 64 + + Remy pilots Linguini’s hand to lift the small pot of snail + porridge off the burner and up to Linguini’s toque for an + obligatory sniff. Remy looks at the porridge, then at the + rack of fresh spices. Suddenly Remy pilots Linguini to go + for the SPICES, lifting them rapidly one by one up the + toque to SNIFF. Remy selects one that smells right and + dumps it in the pot. + + LINGUINI suddenly LEANS FORWARD, tilting his toque over the + fragrant STEAM from the simmering pot. + + +65 INT. INSIDE LINGUINI’S TOQUE 65 + + Remy takes a WHIFF, likes what he smells. Inspired, he + pilots Linguini out into the kitchen. + + LINGUINI is alarmed by his sudden ramble, completely unsure + of where he’s going, what he’s looking for. + + +66 INT. UNDER THE TOQUE 66 + + Remy maneuvers Linguini spasmodically past the other cooks + stations, wildly sniffing around for the next ingredient, a + composer hunting for the next note in a new symphony. He + catches a pleasing scent in Lalo’s station. + + LINGUINI SNATCHES some SHALLOTS from Lalo, who looks up in + SHOCK, but Linguini is already gone, racing back to his + station to add the new ingredients to a heating pan. + + Linguini JERKS forward, tilting his toque over the pan, + then PEELS OUT of his station, once again on the move. + + +67 INT. KITCHEN - SAME TIME 67 + + Linguini ZIPS about snatching ingredients from the other + cooks stations, a Porche apologizing for its driver. + + LINGUINI + (ad-lib to cooks) + Pardon me, just need to borrow this + real quick, sorry, apparently I + need this, I’ll be right back -- + + To the others, Linguini looks deranged; a man who’s clearly + lost control of both his body and his faculties. + 55. + + + Linguini careens back into his station and DUMPS the + ingredients into his pan, startling Colette. + + COLETTE + What are you doing? We are supposed + to be preparing the Gusteau recipe. + + LINGUINI + (stirring, flipping pan) + I’m, uh, this is the recipe-- + + COLETTE + The recipe doesn’t call for white + truffle oil! What else have you-- + + COLETTE + (she looks in his pan) + You are improvising?? This is no + time to experiment, the customers + are waiting! + + LINGUINI + You’re right -- + (to REMY, nudging toque) + -- I should listen to you! + + Linguini suddenly SLAPS his own face, then LEANS his toque + over the Sweetbread. + + Both Colette and Linguini are working quickly now, but on + separate dishes, giving the appearance of a competition. + + HORST + The special?? + + COLETTE + Come get it! + + +68 INT. UNDER THE TOQUE 68 + + Remy watches anxiously as Colette sets the plate at the + pass to be picked up, a hank of hair in each paw, waiting + for an opening. Colette glances at the recipe. + + COLETTE + Oh-- I forgot to add the liquorice! + + She rushes back to get it. Remy sees his chance. Linguini + finds himself grabbing his pan and hurtling toward Colette. + + +69 INT. AT THE PASS 69 + 56. + + +Colette is about to add the liquorice sauce when Linguini +swoops in and BLOCKS HER HAND. Colette is STUNNED. Her eyes +FLASH at Linguini, who looks petrified, his left hand holds +his pan of saute, which trembles over the Sweetbread. + + COLETTE + Don’t -- you -- dare. + + LINGUINI + I’m not, I’m not, I’m-- + +Linguini dumps his saute over Colette’s dish the moment +before it is swept away by the waiter Mustafa. + + LINGUINI + -- sorry. + +Skinner enters, smiling as he walks up to Horst. + + SKINNER + Is Linguini’s dish done yet? + + HORST + Ya. It’s as bad as we remember. + Just went out. + + SKINNER + (serene) + Did you taste it? + + HORST + Of course before he changed it. + + SKINNER + Good- WHAT? How could he change it? + + HORST + He changed it as it was going out + the door! + +Skinner starts toward the door to the dining room, just as +MUSTAFA busts through it, excited. + + MUSTAFA + They love it! Other diners are + already asking about it, about + Linguini. I have seven more orders! + +Colette is nonplussed. Skinner FLINCHES, then forces a +smile. + + SKINNER + That’s wonderful. + 57. + + +70 INT. INSIDE LINGUINI’S TOQUE 70 + + Remy slaps his paws together, relishing the night ahead. + + MONTAGE + + Crosscut between the dining room and the kitchen: orders + pile up as word of the “special” spreads between diners. + Remy pilots Linguini, preparing plate after plate of their + hit. + + +71 INT. KITCHEN - LATER 71 + + The dinner rush is over. The cooks congratulate their new + comrade Linguini, toasting him glasses of table wine. + + Skinner watches from across the kitchen, STARING at the boy + with a mixture of confusion, envy and resentment. As + Linguini pass in front of a light Skinner SEES IT: a + strange shadow within Linguini’s toque the SILHOUETTE OF A + RAT. Skinner’s EYES going WIDE. + + +72 INT. BACK ENTRANCE - GUSTEAU’S 72 + + After a quick look around to make sure no one’s watching, + Linguini removes his toque and lets Remy out. + + LINGUINI + Take a break little Chef, get some + air. We really did it tonight. + + Linguini unfolds a napkin, revealing a miniature picnic; + fruit, bread, cheeses. Remy pooped but exhilarated beams at + Linguini, who raises his glass in a salute to the rat. + + Linguini smiles and turns back inside. + + +73 INT. KITCHEN - CONTINUOUS 73 + + We follow Linguini as he crosses the kitchen, humming + happily to himself. PANNING INTO FRAME is SKINNER; perched + high atop a tray rack, waiting like a cat ready to pounce. + + He SNATCHES the toque from Linguini’s head and gapes in + confusion when he sees nothing on top of the boy’s head. He + looks at Linguini and SMILES. + + SKINNER + (dangling the toque) + Got your toque! + 58. + + + Skinner hops to the ground, fluffing the toque with his + hand before handing it back to the mystified Linguini. + + SKINNER + Seriously now, I’d love to have a + little talk with you, Linguini in + my office. + + LINGUINI + Am I in trouble? + + SKINNER + Trouble? Noo, a little wine, a + friendly chat. Just us cooks. + + Colette watches Skinner steer Linguini into his office. + + HORST + (to Colette, re: + Linguini) + The Plongeur won’t be coming to you + for advice anymore, eh Colette? + (nods to Skinner’s + office) + He’s gotten all he needs. + + He exits chuckling. Colette slowly turns away, stung. + + +74 INT. INSIDE SKINNER’S OFFICE 74 + + Skinner settles in behind the massive desk that was + formerly Gusteau’s. Linguini sits uneasily at a chair + facing him, still holding his little glass of wine. + + SKINNER + Toasting your success, eh Linguini? + Good for you. + + LINGUINI + I just took it to be polite, they + were being so nice to me, I don’t + really drink, you know -- + + SKINNER + Of course you don’t. I wouldn’t + either if I was drinking that -- + + Skinner plucks the glass from Linguini’s hand, pours it + into a wastebasket, and offers up a newly opened bottle of + wine. + + SKINNER + 59. + + + -- but you would have to be an + idiot of elephantine proportions + not to appreciate this ‘61 Chateau + Latour. And you, M’sieur Linguini, + are no idiot. + (raising his glass) + Let us toast your non-idiocy! A + votre sante! + + They clink and DRINK. + + +75 INT. OUTSIDE KITCHEN - BACK ENTRANCE - GUSTEAU’S 75 + + Remy munches contentedly and stares at the starry sky, + loving his bread, his cheese, his life. He breaks the top + off a grape and holding the stem like a wine glass, slowly + sips it into a raisin. + + Something STIRS behind the trash cans. Remy FREEZES, + suddenly alert. Some kind of CREATURE is eating in the + shadows. Remy grabs the cheese knife and timidly goes to + investigate. + + The creature LOOKS UP, its glowing eyes fix on Remy. Remy + GULPS, raises the knife. The creature LEAPS into the light- + - + + EMILE + REMY! + + REMY + Emile--?? + + They rush to each other, hugging and laughing. + + REMY + And what are you eating?? + + Emile stares at Remy, chewing. He looks down, pondering the + unrecognizable wad in his hands for a long beat. He FROWNS. + + EMILE + I don’t really know. I think it was + some sort of wrapper once. + + REMY + What--? No. + + Remy grabs the wad and throws it away with a flourish. + + REMY + 60. + + + You’re in Paris now, baby. My town. + No brother of mine eats rejecta- + menta in my town! + + Remy turns on his heel and marches back into the kitchen. + + +76 INT. KITCHEN - MOMENTS LATER 76 + + Remy climbs to the pull handle on the FOOD SAFE DOOR and + hesitates there. LAUGHTER emanates from inside of Skinner’s + office. Remy leaps to the handle and with considerable + effort pushes it open, UNLOCKING the massive door. GUSTEAU + appears. + + GUSTEAU SPRITE + Remy, you are stealing? You told + Linguini he could trust you. + + REMY + And he can. It’s for my brother. + + GUSTEAU SPRITE + The boy could lose his job. + + REMY + Which means I would, too. It’s + under control, okay? + + Remy shoves past the Gusteau spite and into the safe. The + sprite VANISHES. + + +77 INT. INSIDE SKINNER’S OFFICE - SAME TIME 77 + + Linguini sits back in his chair, looking a bit tipsy. + + SKINNER + More wine? + + LINGUINI + I shouldn’t. But okay. + + He offers his glass to Skinner, who refills it generously. + + SKINNER + So where did you train, Linguini? + + LINGUINI + (chuckles, drinking) + Train? Alright -- + + SKINNER + 61. + + + Surely you don’t expect me to + believe this is your first time + cooking? + + LINGUINI + It’s not. + + SKINNER + I KNEW IT! + + LINGUINI + It’s my -- + (stops, counts on + fingers) + -- second, third, four -- fifth + time. Monday was my first time. + (Skinner wilts) + But I’ve taken out the garbage lots + of times before this, that’s why I + -- + + SKINNER + (cutting him off, + pouring) + Yes yes yes. Have some more wine. + Tell me about your interests. Do + you like animals? + + LINGUINI + What--? Animals? What kind? + + SKINNER + Oh, the usual. Dogs, cats, horses, + guinea pigs -- + (pointed) + -- rats. + + +78 INT. BACK ENTRANCE - GUSTEAU’S - MINUTES LATER 78 + + Remy carries a small bundle of gourmet foodstuffs from the + kitchen, only to find Emile again munching on garbage. + + REMY + I brought you something to-- AGH!! + No no NO! Spit that out right now! + (Emile does, shamed) + I have GOT to teach you about food! + Close your eyes. + + As Emile closes his eyes, his SURROUNDINGS FADE TO BLACK. + Remy delicately holds a hunk of cheese under Emile’s nose-- + 62. + + + REMY + Now take a bite of thi-- + +Emile INHALES it. Horrified, Remy scolds him like a bad +pet. + + REMY + -- NO NO NO! Don’t just hork it + down! + + EMILE + Too late. + +Annoyed, Remy hands him another piece of cheese. Emile eats +it, this time more carefully. + + REMY + Chew it slowly, think only about + the taste. See? + +A vague, grayish BLOB half-forms above his head. It MOVES +to undefined MUSIC as Emile struggles to experience the +food. + + EMILE + Not really. + + REMY + Creamy, salty sweet. An oaky + nuttiness? You detect that? + +Emile opens his eyes (surroundings reappear), looks at +Remy. + + EMILE + Oh, I’m detecting nuttiness. + + REMY + Close your eyes. Now taste this. + (gives him a strawberry) + Whole different thing, right? + Sweet, crisp, slight tang on the + finish? + +The BLOB reappears, but this time with a hint of color. + + EMILE + Okay. + + REMY + Now try them together. Uh-huh. See? + 63. + + + Emile eats both together and chews, concentrating. Slowly + the weak COLORS become bolder and more complimentary. They + begin to dance and intermingle as a little MELODY takes + shape. + + EMILE + Okay, I think I’m getting a little + something there. It might be the + nuttiness. Could be the tang. + + REMY + That’s it! Now imagine every great + taste in the world being combined + into infinite combinations, tastes + that no one has tried yet!! + Discoveries to be made! + + EMILE + I think -- you lost me again. + + Emile opens his eyes. The SHAPES and SOUND FADE AWAY. + Sensing Remy’s disappointment, Emile reassures him. + + EMILE + But that was interesting. Most + interesting garbage I ever -- HEY! + What are we doing? Dad doesn’t know + you’re alive. We’ve gotta go to the + colony!! Everyone will be thrilled! + + REMY + Yeah, but, uh, thing is, I kinda + have to -- uh -- + + Remy gestures vaguely at the kitchen. Emile frowns. + + EMILE + What? What do you “hafta” more than + family? What’s more important? + + He glares furiously at Remy, whose resolve starts to + crumble. + + REMY + Well, it wouldn’t hurt to visit. + + +79 INT. INSIDE SKINNER’S OFFICE - STILL LATER 79 + + A few EMPTY BOTTLES of wine litter Skinner’s desk. Linguini + is BOMBED, but Skinner’s increasingly desperate inquisition + is getting nowhere. + 64. + + + SKINNER + I KNOW you know something about + RATS! You know you do!! + + LINGUINI + You know who know do whacka do. + Ratta tatta- hey! Why do they call + it that? + + SKINNER + What?! + + LINGUINI + Ratatouille. There’s a dish called + that, it’s like a stew, right? Why + do they call it that? If you’re + gonna name a food you should give + it a name that sounds delicious. + Ratatouille doesn’t sound + delicious. It sounds like rat. And + patooty. Rat patooty! Which does + NOT sound delicious. + + Linguini drinks, finds his glass empty. He smiles, offering + his glass for Skinner to refill. + + SKINNER + (scowling) + Regrettably -- + + He drops the empty bottle into the trash with a loud THUNK. + + SKINNER + -- we are all out of wine. + + +80 INT. INSIDE SEWER - RAT COMMONS - A LITTLE LATER 80 + + Several channels converge into a wide, open area as dreary + and uninviting as any sewer, save for a flotilla of tiny + BOATS illuminated by a scattering of multi-colored lanterns + that answer the gloom with magic. + + Holding their clasped paws up victoriously, Django turns + from Remy to face the assembled crowd of rats. + + DJANGO + MY SON -- HAS RETURNED! + + An enormous CHEER erupts. Emile joins Django and Remy as + the clan crowds around them. Remy’s joy is clouded with + doubt; what about his new life? + 65. + + +81 INT. RAT ENCAMPMENT - LATER 81 + + A PARTY is in full swing. The entire rat clan has come out + to bop to boisterous MUSIC played by a jazzy RAT BAND, + kicking down the jams in a unique gypsy/jitterbug dance + style that takes full advantage of their tails and all four + legs. + + Joined by his sons, Django sits at a prime table. A WAITER + RAT quickly serves a round of drinks in well-worn thimbles + between them. Emile and Django suck theirs down. Remy takes + a discreet whiff and sets it aside. + + DJANGO + And finding someone to replace you + for poison checker has been a + disaster. Nothing’s been poisoned, + thank God, but it hasn’t been easy. + You didn’t make it easy. + + REMY + I know. I am sorry, Dad. + + DJANGO + Well, the important thing is that + you’re home. + + REMY + Yeah -- well, uh, about that -- + + DJANGO + You look thin. Why is that? A + shortage of food or a surplus of + snobbery? + + Emile joins in as Django cracks up at his own joke. + + DJANGO + It’s tough out there in the big + world all alone, isn’t it? + + REMY + Sure but, it’s not like I’m a kid + anymore. + + A well-wisher drops by to say hello to Django. Remy takes + advantage of the distraction to quickly deliver the bad + news. + + REMY + I can take care of myself. I’ve + found a nice spot not far away, so + I’ll be able to visit often. + 66. + + + DJANGO + (resuming conversation) +Nothing like a cold splash of +reality to make you -- + (sudden realization) +-- “visit”? + + REMY +I will, I promise. Often. + + DJANGO +You’re not staying? + + REMY +It’s not a big deal, Dad. + (gently) +You didn’t think I was going to +stay forever, did you? Eventually a +bird’s gotta leave the nest. + + DJANGO +We’re not birds, we’re rats. We +don’t leave nests, we make them +bigger. + + REMY +Maybe I’m different kind of rat. + + DJANGO +Maybe you’re not a rat at all. + + REMY +Maybe that’s a good thing. + + EMILE + (trying to break tension) +Hey, the band’s really on tonight! + + REMY +Rats! All we do is take, Dad. I’m +tired of taking. I want to make +things! I want to add something to +this world. + + DJANGO +You’re talking like a human. + + REMY +Who are not as bad as you say. + + DJANGO +Oh yeah? + 67. + + + EMILE + Oh man -- + + DJANGO + What makes you so sure? + + Remy hesitates for a beat, suddenly careful. + + REMY + I’ve uh, been able to, uh, observe + them at a close-ish sort of range. + + DJANGO + Yeah? How close? + + REMY + Close enough. And they’re, y’know, + not so bad. As you say. They are. + + Django GLARES at Remy, scrutinizing him. + + DJANGO + Come with me, I got something I + want you to see. + + He moves from the table, dropping to all fours and heading + off. Reluctantly, Remy does likewise, leaving Emile alone. + + EMILE + You know, I think I’ll stay here. + + +82 INT. KITCHEN - GUSTEAU’S RESTAURANT - SAME TIME 82 + + The sound of raindrops patter against the skylight. + Skinner, bundled up in a well-tailored overcoat, throws a + scarf around his neck. Linguini tipsily hands him his + beret. + + SKINNER + Make sure the floors and counter- + tops are clean before you lock up. + + LINGUINI + You want me to stay and clean? + + SKINNER + Is that a problem? + + Linguini slumps and drunkenly shakes his head “no”. + + SKINNER + Good boy. See you tomorrow. + 68. + + + Skinner exits, humming. Linguini watches him go with weary + eyes. He turns to face the messy kitchen and wilts. + + +83 EXT. PARIS STREET - NIGHT 83 + + It’s raining harder now. Django and Remy arrive at a drain + opening, through which can be glimpsed the rough + cobblestones of a city street. + + DJANGO + We’re here. + + Django scrambles out the curb-side drain and turns to face + the storefront behind them. Remy sits next to him and looks + up, following his father’s gaze. His jaw drops in horror. + + Displayed in the window of the small shop are a variety of + nasty looking metal traps, RAT TRAPS to be precise, and + along side of those hang row after row of DEAD RATS. + + DJANGO + Take a good, long look, Remy. This + is what happens when a rat gets a + little too comfortable around + humans. + + Remy looks away. Django’s tone is tender, but firm. + + DJANGO + The world we live in belongs to the + enemy. We must live carefully. We + look out for our own kind, Remy. + When all is said and done, we’re + all we’ve got. + + His point made, Django turns to go. Remy stares up at the + horrible window, then softly says-- + + REMY + No. + + DJANGO + (stops in his tracks) + What? + + REMY + No, Dad. I don’t believe it. You’re + telling me that the future is -- + can ONLY be -- + (points at window) + -- more of this? + 69. + + + DJANGO + This is the way things are. You + can’t change nature. + + REMY + Change IS nature, Dad. The part + that we can influence. And it + starts when we decide. + + With that, Remy turns and walking upright on two legs + starts back to Gusteau’s. Django calls after him. + + DJANGO + Where you goin’? + + REMY + With luck forward. + + +84 EXT. OUTSIDE BACK KITCHEN ENTRANCE - GUSTEAU’S - MORNING 84 + + The storm has passed and the sky is cloudless and clear. As + a weary Remy exits the sewer, the fresh air hits his + nostrils and he draws it in like a sweet memory. + + He exhales, renewed and happy to be back in his brave new + world. Forgetting himself, he trots for the kitchen + entrance on two legs, throwing a reckless wave at a passing + CYCLIST. + + The cyclist DOUBLE-TAKES, craning his neck to look at the + bizarre sight and collides with a parked car. + + +85 INT. KITCHEN - GUSTEAU’S RESTAURANT 85 + + Remy enters and looks around. No one has arrived yet. Remy + steps on to the counter top and surveys the kitchen, + savoring the day ahead. And then he hears the sound. + SNORING. + + He TAKES COVER and peers out. No one is there, but the + SNORING persists. He peers cautiously over the edge-- + + REMY’S POV + + -- as Remy walks forward, REVEALING: + + LINGUINI curled up on the floor and slumbering like a + vagrant. Remy looks at the clock, realizing with horror + that the others are about to arrive. + 70. + + + Remy jumps onto Linguini’s head like a rough rider on a + fallen horse and expertly TUGGING hanks of Linguini’s hair, + manages to get the boy up on his feet. + + But Linguini remains FAST ASLEEP. Remy lifts one of + Linguini’s heavy EYELIDS and waves frantically at a staring + eye but Linguini is OUT COLD. + + The SOUND of a motorcycle arriving at the rear entrance + causes Remy to looks around in desperation. He spies a pair + of SUNGLASSES near the cook’s lockers. + + Colette ENTERS, unpleasantly surprised to find LINGUINI + already at work. She crosses to their station and starts + prep. Remy has hidden Linguini’s shut eyes behind + sunglasses, unintentionally giving him the air of a smug + ROCK STAR. + + Though Linguini remains fast ASLEEP, Remy pulls his hair to + keep the boy’s limbs working somewhat convincingly. + + COLETTE + (cool, formal) + Good morning. + + INTERCUT: + + UNDER LINGUINI’S TOQUE/ COLETTE & LINGUINI + + Remy pulls hair, nervously puppeting the sleeping Linguini. + + How can he make Linguini answer? He PULLS a side hair hank + causing Linguini’s head to loll to Colette, give her a lazy + nod, then turn back to his work. + + COLETTE + So. The Chef. He invited you in for + a drink? That’s big, that’s big. + What did he say? + + +86 INT. UNDER LINGUINI’S TOQUE 86 + + Remy hesitates. There’s no hair he can pull for speech! + Desperate, he pulls the head-turn hair again. + + RESUME SCENE + + Linguini’s head lolls lazily back to Colette, the effect + being a smug “What do you think he said, babe?” + + COLETTE + What-- you can’t tell me? + 71. + + + Linguini is silent. He resumes cutting. Colette goes cold. + + COLETTE + Oh. Forgive me for intruding on + your deep, personal relationship + with the Chef. I see how it is. You + get me to teach you a few kitchen + tricks to dazzle the boss, and then + you blow past me? + + +87 INT. UNDER LINGUINI’S TOQUE 87 + + Things are going bad fast. Remy keeps Linguini chopping, + hoping desperately for an idea to salvage the situation. + + REMY + Ca’mon. Wake up, wake up--! + + RESUME SCENE + + Linguini keeps chopping vegetables like a hip zombie. His + smirking face rolls in Colette’s direction. + + COLETTE + (small, hurt) + I thought you were different. I + thought you thought I was + different. I thought-- + + Now, seemingly looking straight at her, Linguini SNORES. + + Colette GASPS and delivers a roundhouse SLAP to Linguini’s + face. Linguini CORKSCREWS and CRASHES to the floor. + + Linguini now completely awake and utterly confused at the + crucial chunk of his life he’s somehow missed, looks up at + the furious Colette with wide eyes. + + COLETTE + I didn’t have to help you. If I + looked out only for myself, I could + have let you drown. But -- + (this is hard for her) + -- I wanted you to succeed. I liked + you. My mistake. + + Colette turns, storming out the kitchen’s back door. Both + Linguini and Remy- who peers out of Linguini’s fallen + toque, watch he go. Linguini turns to Remy. + + LINGUINI + 72. + + + It’s over, Little Chef. I can’t do + it anymore. + + He grabs the toque with Remy inside and runs after Colette. + + +88 EXT. OUTSIDE GUSTEAU’S - ALLEY BEHIND KITCHEN - CONTINUOUS 88 + + Colette is already on her motorcycle. Linguini runs to her. + + LINGUINI + Stop--! Don’t motorcycle away-- + (She atops, looks at him) + Look. I’m no good with words. I’m + no good with food, either. At least + not without your help. + + COLETTE + I hate false modesty. It’s just + another way to lie. You have talent + -- + + LINGUINI + But I don’t! Really! It’s not me! + + +89 INT. UNDER LINGUINI’S TOQUE 89 + + Remy eyes widen: this can’t be happening. + + RESUME LINGUINI & COLETTE + + LINGUINI + And when I added those extra + ingredients instead of following + the recipe like you said-- that + wasn’t me either! + + COLETTE + What do you mean? + + LINGUINI + I mean I wouldn’t have done that. I + would’ve followed the recipe, I + would’ve followed your advice. I + would’ve followed your advice to + the ends of the earth because I + love -- your advice. + + COLETTE + But? + + LINGUINI + 73. + + + But, I have a secret. + + +90 INT. UNDER LINGUINI’S TOQUE 90 + + Remy’s really getting worried now. + + REMY + (softly) + Don’t do it -- + + RESUME SCENE + + Colette’s eyes narrow. She’s not liking the sound of this. + + LINGUINI + It’s sort of disturbing. + + Linguini chuckles sheepishly, then straightens as if to + make an announcement, taking a deep breath. + + LINGUINI + I have a rr -- aah--uht -- + + COLETTE + What? + + LINGUINI + I have a rahh -- tsh- + + COLETTE + You have a rash? + + LINGUINI + NO! No -- I have this tiny, a + little, uh, little, a-- + (quickly blurts it out) + -- tiny chef who tells me what to + do. + + COLETTE + A tiny chef. + + LINGUINI + Yes, yes, he’s, uh, uhhhmmn -- + (points to toque) + -- he’s up here-- + + COLETTE + In your brain. + + LINGUINI + Why is it so hard to talk to you?? + 74. + + + (gathering courage) + Okay. Here we go. You -- inspire + me. I’m going to risk it all. I’m + going to risk looking like the + biggest idiot psycho you’ve ever + seen. + + Colette is starting to get scared. We follow her HAND as it + drops discreetly into her BAG and emerges clutching a tiny + cannister of PEPPER SPRAY. Linguini continues, impassioned. + + LINGUINI + You wanna know why I’m such a fast + learner? Why I’m such a great cook? + Don’t laugh! I’m going to show you- + - + + Colette looks WORRIED. With great resolve and trembling + hands, Linguini slowly reaches up to remove his toque-- + + +91 INT. INSIDE LINGUINI’S TOQUE 91 + + Through the cloth Remy watches LINGUINI’S HANDS CLOSING IN + about to expose him and ruin it all! He YANKS on Linguini’s + hair, thrusting Linguini forward toward Colette’s face-- + + ON LINGUINI + + -- as he plants a big KISS on Colette’s lips. Colette is + frozen, pepper spray in hand, her shock and surprise + surpassed only by Linguini’s own. + + +92 INT. INSIDE LINGUINI’S TOQUE 92 + + With furrowed brows and gritted teeth, Remy maintains + Linguini’s forward thrust kiss. This could go either way. + + INTERCUT LINGUINI & COLETTE + + -- as they continue their startled kiss, their eyes flash + through a myriad of emotions; surprise, fear, anger, + vulnerability, happiness, and finally surrender. Their arms + wrap around each other. + + +93 INT. INSIDE LINGUINI’S TOQUE 93 + + Remy COLLAPSES with relief. For the moment anyway, the + fragile charade survives. + 75. + + +94 INT. INSIDE EGO’S OFFICE - LATE AFTERNOON 94 + + A very tall, very narrow room, simultaneously grand and + claustrophobic. Its soaring windows are framed by heavy + velvet drapes pulled nearly shut, allowing in only a thin + sliver of pale light. + + The few pieces of antique furniture in the room are equally + tall, narrow, straight-backed and uncomfortable looking. + + The faded burgundy walls are decorated with framed + photographs and magazine covers, precisely arranged around + a massive PORTRAIT PAINTING. Their single subject, a tall, + cadaverous man dressed in an expensive suit; ANTON EGO the + same Anton Ego who now sits at a desk that is the rooms + focal point, looming over an ancient typewriter like a + vulture with better posture. + + The rooms lone door opens, and a short, pudgy man in his + mid-thirties enters. This is Ego’s assistant, AMBRISTER + MINION. + + EGO + What is it, Ambrister? + + MINION + Gusteau’s. + + EGO + Finally closing is it? + + MINION + No. + + Linguini AWAKENS. Someone is POUNDING is at his office + door. + + EGO + More financial trouble? + + MINION + No, it’s -- + + EGO + (losing patience) + -- announced a new line of + microwave eggroles, what? Spit it + out. + + MINION + -- it’s come back. It’s -- + (bewildered) + -- popular. + 76. + + + Ego looks up, eyes flashing. + + EGO + I haven’t reviewed Gusteau’s in + years. + + MINION + No, Sir. + + Ego pulls open his files, deftly riffling through folders. + + EGO + My last review condemned it to the + tourist trade. + + MINION + Yes, Sir -- + + Ego locates the review and plucks it from the files, + reading it aloud as if it were divinely inspired. + + EGO + I said-- + (reading) + “Gusteau has finally found his + rightful place in history, right + alongside another, equally famous + Chef-- Monsieur ‘Boyardee’”. + + MINION + Touche’ -- + + Rising from his desk, Ego moves menacingly toward Minion. + + EGO + That is where I left it. That was + my last word. THE last word. + + MINION + Yes. + + EGO + Then tell me, Ambrister -- + + Ego now LOOMS over the cowering Minion. + + EGO + -- how could it be -- “popular”? + + +95 INT. SKINNER’S OFFICE - DAY 95 + 77. + + +Skinner is seated at his desk, his head in his hands. Talon +sits in a chair across from him, sipping an espresso. + + SKINNER + No no no NO NO NOOO! + + TALON + (matter of fact) + The DNA matches, the timing works, + everything checks out. He is + Gusteau’s son. + + SKINNER + This can’t just happen! The whole + thing is a set-up! The boy knows! + +Skinner goes to his window, parts the blinds to the +kitchen. + + SKINNER + Look at him out there, pretending + to be an idiot! He’s toying with my + mind, like a cat with a ball! Of + something! + + TALON + String? + + SKINNER + Yes! Playing dumb! Taunting me with + that rat! + + TALON + Rat? + + SKINNER + Yes! He’s consorting with it! + Deliberately trying to make me + think it’s important! + + TALON + The rat. + + SKINNER + Exactly. + +The lawyer is watching Skinner now, eyes wide with worry. + + TALON + (delicately) + Is the rat “important”? + + SKINNER + 78. + + + Of course not! He just wants me to + think that it is! Oh, I see the + theatricality of it; a rat appears + on the boy’s first night, I order + him to kill it and now he wants me + to see it everywhere -- woooooooo - + - + (snaps fingers wildly) + -- it’s here, no it isn’t, it’s + HERE! Am I seeing things, am I + crazy, is there a phantom rat or is + there not? But ohhh no! I refuse to + be sucked into his little game of - + - + + Skinner is suddenly aware that Talon is staring at him. + + TALON + Should I be concerned about this? + (pointedly) + About you? + + +96 INT. KITCHEN 96 + + Linguini/Remy are cooking. As Colette walks by, Linguini’s + eyes, then head start to follow her -- + + +97 INT. INSIDE LINGUINI’S TOQUE 97 + + Remy wonders why Linguini’s head has drifted away from the + task at hand. He looks up: sees Colette. Rolling his eyes + at Linguini’s limited concentration, he pulls Linguini’s + hair -- + + RESUME SCENE + + Linguini’s head jerks face forward. He frowns, annoyed at + Remy’s correction. Colette is cooking at the oven behind + him now. And Linguini’s eyes have drifted back to her + following the curves of her legs slowly up to her FACE. + + She turns, catching him and SMILES. He smiles back. + + +98 INT. INSIDE LINGUINI’S TOQUE 98 + + With waning patience, Remy again JERKS Remy back on task. + + +99 INT. SKINNER’S OFFICE - SAME TIME 99 + 79. + + + Skinner PACES back and forth in front of Talon. + + SKINNER + I can’t fire him! He’s getting + attention! If I fire him now + everyone will wonder why and the + last thing I want is people looking + into this! + + TALON + What are you so worried about? + Isn’t it good to have the press? + Isn’t it good to have Gusteau’s + name getting headlines? + + SKINNER + (points at Linguini + photo) + Not if they’re over HIS face!! + Gusteau’s already has a face, and + it’s fat and lovable and familiar! + And it sells burritos! Millions and + millions of burritos! + + TALON + The deadline passes in three days, + then you can fire him whenever he + ceases to be a valuable. You’re + still in charge, and no one will + ever know. + + Talon prepares to leave, hesitates at the door-- + + TALON + You know, I was worried about the + hair sample you gave me. I had to + send it back to the lab. + + SKINNER + Why? + + TALON + Because the first time it came back + identified as “rodent hair”. + + Talon shrugs, chuckles and EXITS. Skinner stares, HAUNTED. + + +100 INT. KITCHEN 100 + + Under Remy’s direction, Linguini reaches for a spice. + Colette interrupts, handing him another one. + 80. + + + COLETTE + No, no. Try this. It’s better. + + +101 INT. UNDER THE TOQUE 101 + + Remy looks at the offered spice, and scowls; he begs to + differ. As Linguini reaches to take the spice, Remy pulls + back on his hair-- + + INTERCUT: + + LINGUINI & COLETTE WITH REMY + + Linguini FLINCHES, his hand HESITATING; withdrawing then + reaching forward-back-forward-back. + + Colette watches this odd display, still holding the spice + out. Linguini grabs the wrist of his reaching hand, forcing + it toward the spices, as REMY TUGS at Linguini’s hair, + directing him just as hard in the opposite direction. + + It’s a battle for control that Linguini WINS; his hand + finally grabs the spice tin. He smiles at Colette. + + Underneath the toque, Remy GRIMACES. + + +102 EXT. ALLEYWAY BEHIND KITCHEN - LATER 102 + + The dinner rush finished, Linguini and Colette exit the + kitchen laughing and holding hands. She pulls him aboard + her motorcycle and they peel out into the young Paris + night. + + +103 EXT. PARIS STREETS - TRAVELING - NIGHT 103 + + Linguini and Colette laugh and scream as the wind rips by, + Linguini barely able to hang on to his toque and we realize + REMY IS STILL INSIDE, HOLDING ON FOR DEAR LIFE! + + As Colette takes a sharp turn, Linguini drops his arms to + steady himself and his TOQUE (WITH REMY INSIDE) FLIES OFF + HIS HEAD and tumbles to the street! + + Dazed, Remy emerges from the battered toque to see + Colette’s cycle disappear over the horizon! + 81. + + + Car horns BLARE. Remy turns to see a massive WALL OF + TRAFFIC barreling toward him. He dives clear as CARS roar + past, wheels screech and lights flash in all directions as + he madly scrambles out of their way, finally making it to + the curb. + + Remy looks up as a young woman recoils, jumping back into + her sweethearts arms. + + WOMAN + A RAT! + + Her escort swats at Remy with his coat. Remy runs, jumping + into a nearby STORM DRAIN. + + +104 INT. INSIDE THE STORM DRAIN 104 + + Remy tumbles to the cement floor, his heart pounding. + Through the grate he sees the legs of the WOMAN and her + ESCORT. + + WOMAN (O.S.) + Disgusting little creatures -- + + Remy listens, pained. He spies his reflection in a pool of + water at this feet. He turns, slowly disappearing into the + sewer’s darkness. + + REMY (V.O.) + I was reminded how fragile it all + was. How the world really saw me. + And it just kept getting better -- + + +105 EXT. OUTSIDE BACK ENTRANCE - GUSTEAU’S - DAWN 105 + + Remy emerges from the curb drain, turns into the alley + behind GUSTEAU’S and heads up the back steps. + + EMILE (O.S.) + Psst! Remy -- + + Remy turns. EMILE peeks out from behind the trash cans, + where he waits with a GROUP OF RATS, including GIT, the lab + rat. + + EMILE + Hey little brother! We were afraid + you weren’t gonna show up! + + GIT + Hey Remy. Howya doin’? + 82. + + + OTHER RATS + (assorted greetings) + + Remy takes Emile aside, speaking in an angry whisper. + + REMY + You told them? Emile, that’s + exactly what I said not to do! + + EMILE + But they’re my friends. I didn’t + think you meant-- I was telling ‘em + about tasting, about the nutty tang + and look, I’m sorry. I’m sorry + + REMY + Don’t tell me you’re sorry, tell + them you’re sorry. + + GIT has approached. + + GIT + There a problem over here? + + REMY + No. + (SCOWLS at Emile) + No, there is not. Wait here. + + +106 INT. KITCHEN - MOMENTS LATER 106 + + Assured the kitchen is empty, Remy hops to door handle of + the food safe and grabs it with both arms, plants his feet + on the door and pulls. The handle doesn’t budge, the door + is LOCKED. Remy is puzzled. He looks toward SKINNER’S + OFFICE. + + +107 INT. SKINNER’S OFFICE 107 + + Remy enters, a little nervous, and scampers up to Skinner’s + desk. A framed black and white PHOTO of Gusteau speaks. + + GUSTEAU PHOTO + Remy, what are you doing in here? + + REMY + Emile shows up-- I said not to, but + he goes and blabs- it’s a disaster. + Anyway, they’re hungry, the food + safe is locked, I need the key. + 83. + + + GUSTEAU PHOTO + They want you to steal food? + + REMY + Yes. No -- it’s complicated. It’s + family. They don’t have your + ideals. + +The collection of cardboard GUSTEAU STANDEES come to life: + + TEXAN GUSTEAU + Ideals? If Chef Fancy Pants had any + ideals you think I’d be hawkin’ + barbecue over here? + + MEXICAN GUSTEAU + Or Microwave burritos? + + COLONEL GUSTEAU + Or tooth- I say, toothpickin’ + Chicken? S’about as French as a + Corn Dawg! + +The SKETCH of Gusteau as a dog-like ear of corn BARKS. + + CORN DOG GUSTEAU + (waves COMING SOON sign) + Woof! Rumming Roon! + + TEXAN GUSTEAU + HAH! We’re inventin’ new ways to + sell out over here! + + SCOTTISH GUSTEAU + Will ye’ be wantin’ some HAGGIS + BITES, then? + + GUSTEAU PHOTO + I cannot control how they use my + image Remy, I am dead! + + REMY + Will you guys SHUT UP?? + (they do, instantly) + I’ve gotta think! + +Remy climbs over the edge of Skinner’s desk, pushes open +the drawer, and begins to rummage through its contents. + + REMY + 84. + + + Word’s getting out and if I can’t + keep them quiet, the entire clan’s + going to be after me with their + mouths open and -- + (he finds the key) + --ah! Here it is. Hey -- + +Remy notices a FILE labeled “Gusteau: Last Will & +Testament”. He turns to the Gusteau portrait. + + REMY + -- your will --! + + GUSTEAU PHOTO + This used to be my office. + +Remy pulls the file from the drawer and lays it on the +desk. + + REMY + This is interesting. Mind if I --? + + GUSTEAU PHOTO + Not at all. + +Remy flips open the file. There, alongside Gusteau’s will, +are recent press clippings featuring LINGUINI, and the +letter to Skinner from Linguini’s mother. + + REMY + “Linguini”? Why would Linguini be + filed with your will? + +MUSIC BUILDS as Remy reads; his eyes jumping between the +LETTER and the WILL, his eyes getting BIGGER until -- + + REMY + HE’S YOUR SON??? + + GUSTEAU + I -- have a -- SON? + + REMY + YES. How could you not know this?? + + GUSTEAU + (defensive) + I am a figment of your imagination! + You did not know! How could I?? + + REMY + Well, YOUR SON is the rightful + owner of this restaurant! + 85. + + + SKINNER OPENS the office door and FREEZES, stunned by the + + bizarre sight of a RAT on his desk top. Remy SNATCHES the + + DOCUMENTS in his mouth and RUNS. + + +108 EXT. OUTSIDE BACK KITCHEN ENTRANCE - MORNING - CONTINUOUS 108 + + Remy races out into the street. Hot on his heels, Skinner + runs smack into LALO on a moped. Before the mortified Lalo + can apologize Skinner is back on his feet. + + SKINNER + No -- NO --! The rat! It’s stolen + my documents! It’s getting away!! + + With an crazed shriek, Skinner pushes Lalo off the scooter, + jumps on and roars off down the street. + + +109 EXT. PARIS STREETS - CONTINUOUS 109 + + Skinner screeches to a stop at the INTERSECTION, looks + around wildly for Remy. He sights the DOCUMENTS scampering + through traffic and guns the motor, recklessly giving + chase. + + +110 EXT. NEAR THE SEINE - MOVING WITH SKINNER 110 + + Closing in on Remy, Skinner reaches down to snatch the + documents when the rat suddenly VEERS. Skinner’s Moped + plunges down a flight of steps to the river, where it lays + in a heap at the bottom. + + Skinner looks up, sees REMY looking down at him from the + balustrade, documents still clutched in his mouth. Remy + LAUGHS. A gust from a passing BUS sweeps the WILL from + Remy’s open jaws and high into the air, where it flutters + out over the river’s edge. + + +111 EXT. MOVING ALONG THE BANKS - CONTINUOUS 111 + + SKINNER sees his chance. He clambers aboard the Moped and + takes off after the will, dodging obstacles and passers-by + to pursue from the banks below. Remy chases it from the + balustrade above, the letter still in his mouth. + + THE WILL begins to descend, flitting toward Skinner below, + who reaches for it, his fingers spreading wide. + 86. + + + Remy makes two desperate LEAPS; from the balustrade to a + tree, from the tree into the air just above Skinner where + he-- + + INTERCEPTS the will sailing toward the water and landing + with a FWOP on the canvas roof of a Bateux Mouche. Remy + can’t believe he’s got both documents again. + + Neither can Skinner. He ditches the Moped and LEAPS to the + deck of the Seine boat. + + +112 EXT. ON THE SEINE - MOVING BETWEEN THE BOATS 112 + + Remy, documents in mouth, leaps to another passing boat, + Skinner still hot on his tail. + + A jam of water traffic keeps this game alive, the two + leaping from boat to boat, but the last leap, to a DINING + BOAT is too far. Remy tries anyway; launching into the air, + the documents in his mouth sweep back like WINGS and he + catches an updraft! + + He SAILS across the gulf, landing miraculously on the deck. + + Skinner crazily follows, making the leap of his life as he + stretches out for the dining boats’ railing and falls + short, grasping instead the tablecloth of a couple dining + near the railing, which he yanks out from under their + breakfast like an inept magician as he plunges into the + river. + + Skinner sputters in the middle of the Seine as Remy hops up + to a bridge passing overhead, scampering safely away with + Skinner’s papers. + + +113 INT. GUSTEAU’S - SKINNER’S OFFICE - AN HOUR LATER 113 + + Skinner returns to his office, soaked and furious, only to + find LINGUINI sitting at his desk. + + SKINNER + You?? Get out of my office. + + COLETTE + He’s not in your office. You are in + his. + + Colette holds up GUSTEAU’S WILL. Skinner’s jaw drops. He + looks at Linguini, who can only shrug with embarrassment. + + THE FRONT PAGE OF A NEWSPAPER + 87. + + + -- spins into a close up. Above a PHOTO OF LINGUINI, a + deer-in headlights look on his face, a HEADLINE reads: + + RISING STAR CHEF DECLARED LEGAL OWNER OF GUSTEAU’S + + +114 INT. SKINNER’S - NOW LINGUINI’S OFFICE - DAY 114 + + Linguini is surrounded by the other COOKS, who raise flutes + of champagne in a toast to their new owner. Laughing, + Colette and Linguini hug. Watching from the shadows, REMY + smiles. + + MONTAGE + + SERIES OF SHOTS, to music, illustrating (A) Linguini’s + rise,(B) Skinner’s fall, and (C) the happy changes to + GUSTEAU’S. + + INTERCUT: + + (A) Various NEWSPAPER headlines: “LINGUINI CANCELS FROZEN + FOOD” “GUSTEAU’S REGAINS A LOST STAR”. Linguini shows Remy + their new, larger apartment. + + (B) A disheveled Skinner alternates between spying on + Gusteau’s (looking for the rat in the kitchen) and stewing + (over the loss of his little empire, and the glowing press + coverage of Linguini). + + (C) Linguini and Colette raise the blinds in Skinner’s old + office, opening it to light and a clear view of the + Kitchen. + + In the alley behind the kitchen, the COOKS symbolically + burn the GUSTEAU STANDEES created to promote Skinner’s + hated FROZEN FOOD line. All cheer as the FLAMES rise + higher. + + +115 INT. DINING AREA - GUSTEAU’S - EARLY EVENING - DAYS LATER 115 + + FLASHES POP. Linguini sits at a table, posing for photos. + Several JOURNALISTS hover nearby shouting questions. + + REPORTER #1 + Chef Linguini! Chef Linguini! Your + rise has been meteoric, and yet you + have no formal training. What is + the secret to your genius? + + +116 INT. INSIDE LINGUINI’S TOQUE 116 + 88. + + + Remy reacts to the question, looking down at the head + beneath him as if to say: ”Yeah smart guy, what is your + secret?” + + RESUME SCENE + + LINGUINI + I’m Auguste Gusteau’s son. It’s in + my blood, I guess. + + REPORTER #3 + But you weren’t aware of that fact + until very recently -- + + LINGUINI + No -- + + REPORTER #3 + -- and it resulted in your taking + ownership of this restaurant. How + did you find out? + + ON REMY: His face says “Because I risked my neck”. + + WITH LINGUINI + + LINGUINI + Some part of me just knew -- + (lamely, trying it out) + -- the Gusteau part? + + +117 INT. UNDER THE TOQUE 117 + + Remy tugs a hair tuft, causing Linguini to bop himself in + the head with his frying pan. + + REPORTER #1 + Where do you get your inspiration? + + LINGUINI + Inspiration? + + Again, Remy pricks up his ears. + + LINGUINI + Inspiration has many names. Mine is + named Colette. + + REMY + WHAT?!! + + WITH LINGUINI + 89. + + + An outraged SQUEAK erupts from inside Linguini’s toque. + Linguini quickly muffles Remy’s squeaks with both hands as + he sets his toque down on the table. Linguini sucks on his + teeth, making a squeaking sound. + + LINGUINI + Something stuck in my teeth. + + +118 INT. OFFICES - MINISTRY OF HEALTH - DAY 118 + + Drab and cluttered. A battered telephone rings at the desk + of NADAR LESSARD, a bored bureaucrat. He turns from a pile + of paperwork and answers. + + LESSARD + Health Inspector. + + +119 INT. PHONE BOOTH - ACROSS FROM GUSTEAU’S - SAME TIME 119 + + Anxious, unshaven, and wrapped in a trench coat that makes + him look vaguely like a pervert, Skinner speaks into a pay + phone as he stares at the line of dinner customers across + the street, waiting to enter Gusteau’s. INTERCUT as needed. + + SKINNER + I wish to report a rat infestation. + It’s taken over my restauran -- er + -- Gusteau’s restaurant --! + + LESSARD + Gusteau’s, eh? I can drop by. + (consults appointment + log) + First opening is -- three months. + + SKINNER + It must happen now! + + LESSARD + Monsieur, I have the information, + if someone cancels I’ll slot you + in. + + SKINNER + But -- but the rat, it-- + + Lessard hangs up. Skinner listens to the dial tone, + deflated. + + SKINNER + -- stole my documents -- + 90. + + +120 INT. KITCHEN - GUSTEAU’S RESTAURANT 120 + + Horst looks at the clock, scowls, and turns to Colette. + + HORST + It’s past opening time. + + COLETTE + He should’ve finished an hour ago. + + She heaves an annoyed sigh and heads out to the dining + area. + + +121 INT. DINING AREA 121 + + Colette enters the swirl of activity to confront Linguini. + He shoots her a cocky smile, offering her a glass of + champagne. + + LINGUINI + Bon jour, Mon Cherie. Join us. We + were talking about my inspiration. + + COLETTE + (to journalists) + Yes, he calls it his “tiny Chef.” + + Linguini muffles another SQUEAK of protest from under his + toque. He shoots Colette a reprimanding look, leans in and + says in a low, tight voice. + + LINGUINI + Not that, dearest, I meant you. + + Just then the front door swings open, spilling cold light + and air into the warmth of the restaurant. The press swings + its attention to the tall, backlit spectre at the entrance, + whispering his legendary name: “Ego”. He glides through + them without acknowledging their presence, and stops in + front of Linguini, who is still seated. + + EGO + You are Monsieur Linguini? + + LINGUINI + Uh, hello. + + EGO + 91. + + + Pardon me for interrupting your + premature celebration. But I + thought it only fair to give you a + sporting chance as you are new to + this game. + + +122 INT. UNDER THE TOQUE 122 + + Remy watches with fear and awe. + + LINGUINI + Uh, game? + + EGO + Yes. And you’ve been playing + without an opponent. Which is, as + you may have guessed, against the + rules. + + RESUME SCENE + + LINGUINI + You’re Anton Ego. + + Ego chuckles, turning to the gallery, a lion almost + sympathetic toward the sacrificial lamb. + + EGO + You’re slow for someone in the fast + lane. + + LINGUINI + And you’re thin for someone who + likes food. + + The lamb bites back. A murmur of surprised delight ripples + through the assembled. Ego’s eyes FLASH. + + EGO + I don’t “like” food, I love it. If + I don’t love it, I don’t -- + swallow. + + Linguini SWALLOWS. Upper hand regained, Ego sniffs-- + + EGO + I will return tomorrow night with + high expectations. Pray you don’t + disappoint me. + + Ego turns and sweeps out of the restaurant. There is a + heavy PAUSE. Colette turns to the assembled press. + 92. + + + COLETTE + Listen, we hate to be rude, but, + we’re French. And it’s dinner time. + + She pulls Linguini from the table and heads to the kitchen. + He calls back to the press in apology-- + + LINGUINI + She meant to say “it’s dinner time, + and we’re French”--! + + +123 INT. HEAD CHEF’S OFFICE - MOMENTS LATER 123 + + Remy stands on the desk top, glowering at Linguini. + + LINGUINI + Don’t give me that look. You were + distracting me in front of the + press. How am I supposed to + concentrate with you yanking my + hair all the time? + + Linguini sticks out his hand, offering Remy a now familiar + ramp to his post atop Linguini’s head. Remy shoots Linguini + an “about time” look, climbs up his arm and under his + toque. + + LINGUINI + And that’s another thing. Your + opinion isn’t the only one that + matters here. Colette knows how to + cook too, you know-- + + +124 INT. UNDER THE TOQUE 124 + + The last straw. Remy grabs a hair hank and pulls too hard. + + LINGUINI + -- OW!! Alright that’s it!! + + +125 EXT. OUTSIDE BACK KITCHEN ENTRANCE - DUSK 125 + + The door bangs open, Linguini storms out, mashing his toque + against his head, angrily shuts the door behind him. He + yanks his toque off and gets in Remy’s tiny face-- + + LINGUINI + You take a break, little chef. I’m + not your puppet, and you’re not my + uh, puppet -- controlling -- guy. + 93. + + +126 EXT. FROM THE ROOF ABOVE 126 + + SKINNER watches this strange scene, his jaw hanging open. + + SKINNER + The rat is the cook! + + LINGUINI + You cool off and get your mind + right, little chef. Ego is coming + and I’ve gotta focus! + + Skinner watches as Linguini storms back into the kitchen. + He EXITS, ducking down the fire escape. + + RESUME REMY + + He’s FURIOUS. In a pint-sized fit of rage he kicks a can, + then, tottering under its weight, picks up a bottle to + throw against the wall and suddenly finds himself face to + face with EMILE and his RAT PALS. + + EMILE + Wow. I’ve never seen that before. + + GIT + Yeah, it’s like you’re his fluffy + bunny or something. + + The other rats laugh. Remy’s face goes hard. + + EMILE + I’m sorry about all the guys, Remy. + I tried to limit them, but-- + + REMY + You know what? It’s okay. + (To group) + I’ve been selfish. You guys hungry? + (RATS respond eagerly) + Dinner’s on me. We’ll go after + closing time. In fact -- + (to Emile, evil grin) + -- tell Dad to bring the whole + clan. + + +127 INT. LINGUINI’S APARTMENT - NIGHT 127 + + Linguini returns, calling out in the darkened apartment. + + LINGUINI + Little chef? + 94. + + + He looks in Remy’s little sleeping area, finding it EMPTY. + + +128 INT. KITCHEN - GUSTEAU’S - NIGHT 128 + + Horst puts the kitchen to bed. He pulls on his coat and + turns the LIGHTS OUT. Beat. A metal GRATE in the floor + lifts up, Remy and Django peek out. + + DJANGO + This is great, son. An inside job. + (too loudly) + I see the appeal--! + + REMY + Shhh! + + Remy climbs out, looks around, signals the coast is clear. + An army of RATS- a crack FOOD THEFT UNIT pour in after him, + mobilizing effectively to raid the vault as he opens the + + door, when all of a sudden LINGUINI RETURNS to the kitchen. + + LINGUINI + Little Chef? Little Chef? + + The CLAN RATS instantly freeze, camouflaging themselves. It + is both amazing and precarious, any close look will betray + the deception. Remy steps out, revealing himself to + Linguini. + + LINGUINI + Hey, Little Chef. I thought you + went back to the apartment. Then + when you weren’t there, I don’t + know, it didn’t seem right -- + + As Linguini opens up to Remy, we cut to QUICK SHOTS: visual + gags of the rat clan hiding in plain sight, desperate to + avoid discovery. Remy listens, distracted. + + LINGUINI + -- to leave things the way we did + so I came back, hoping you’d be + here. And here you are. + + Linguini is so absorbed in his own feelings that he’s + utterly blind to the fact that the food safe door is ajar, + and that he’s caught the rats MID-HEIST. + + LINGUINI + 95. + + + Look. I don’t want to fight. I’ve + been under a lot of- you know, + pressure. A lot has changed in not + very much time, you know. I’m + suddenly a Gusteau and I gotta be a + Gusteau or you know, people will be + disappointed. It’s weird -- + + INSIDE THE FOOD SAFE: MORE QUICK SHOTS + + RATS HIDE; up on the shelves, in EGG CARTONS, inside the + holes in a wedge of SWISS CHEESE, submerged in an open sack + of COFFEE BEANS, leaving only their tiny NOSES visible. + + EMILE hides in the center of an ASPARAGUS BUNCH held + together by a rubber band. His eyes latch on to a juicy + BUNCH OF GRAPES, which hang literally in front of his face. + + Enticed, he leans forward just enough to get his lips + around the end of a single grape, and s-l-o-w-l-y SUCKS IT + OFF THE STEM into his mouth, swallowing it whole. Mmmnn. + + He glances up: another grape beckons. Emile leans for it-- + + LINGUINI + -- I’ve never disappointed anyone + before because nobody’s ever + expected anything of me. And the + only reason anyone expects anything + from me now is because of you. + + REMY listens to Linguini, shamed by his kind words. + + LINGUINI + I haven’t been fair to you. You’ve + never failed me, and I should never + forget that. + + +129 INT. INSIDE THE FOOD SAFE 129 + + Emile, now stuffed and lumpy with grapes, eyes the last + REMAINING GRAPE on the stem. Balancing on a CHEESE WHEEL, + he lashes the asparagus rubber band to the shelf and leans + out + + over the edge, straining to reach the lone grape. + + LINGUINI + The most honorable friend a guy + could ever ask-- + 96. + + + The cheese wheel SHIFTS. Emile loses his balance and falls, + hits the floor spread-eagled. The CHEESE lands on top of + him, causing his bellyful of GRAPES to machine gun from his + mouth and hit the back of Linguini’s neck. + + He TURNS sees that the food safe door is OPEN. + + LINGUINI (CONT'D) + What is this? What’s going on-- + + He pulls open the door and flips the light on. The RATS + FLEE spilling from the shelves in a squeaking, fur covered + WAVE that rushes past Linguini’s feet and out the open + door. + + LINGUINI + (to Remy, betrayed) + You’re stealing from me?? + How could you? I thought you were + my friend, I trusted you! + + +130 EXT. OUTSIDE KITCHEN - REAR ENTRANCE - CONTINUOUS 130 + + The door bursts open and a flood of rats pour out the rear + door into the alley, Linguini behind them brandishing a + mop. + + LINGUINI + Get out! You and all your rat + buddies! And don’t come back! Or + I’ll treat you the way restaurants + are supposed to treat pests! + + Linguini ducks back inside, SLAMMING the door behind him. + Remy stares in silence, devastated by what he’s done. + DJANGO and the rest of the RAT CLAN emerges from the + shadows, gathering around the group including Remy and + Emile. + + REMY + You’re right, Dad. Who am I + kidding? We are what we are. And + we’re rats. + + Remy turns, unconsciously drops to four legs and walks + slowly away, his voice distant and sad. + + REMY + Well, he’ll leave soon, and now you + know how to get in. Steal all you + want. + 97. + + + DJANGO + You’re not coming? + + REMY + I’ve lost my appetite. + + +131 INT. DINING ROOM - GUSTEAU’S RESTAURANT - NIGHT 131 + + Strangely, Linguini is dressed as a WAITER. He waits on a + lone DINER, whose face is hidden behind a menu. + + LINGUINI + Do you know what you’d like, sir? + + The MENU lowers, revealing EGO. He GRINS, ravenous. + + EGO + Yes; I’d like your heart, roasted + on a spit--! + + Linguini is frozen in fear, his heart pounding as Ego’s + cold + + chuckle turns into a ROAR. + + +132 INT. INSIDE HEAD CHEF’S OFFICE - MORNING - CONTINUOUS 132 + + Linguini AWAKENS. Someone is POUNDING is at his office + door. + + LINGUINI + C--come, COME IN!! + + The door opens and Colette leans in, speaking tenderly. + + COLETTE + Today is a big day. You should say + something to them. + + LINGUINI + Like what? + + COLETTE + You are the boss. Inspire them. + + +133 INT. KITCHEN - MINUTES LATER 133 + + Linguini places a step ladder at the front of the kitchen + and stands on the top step. He clears his throat. + 98. + + + LINGUINI + Attention. Attention everyone. + + The staff pauses and turns their attentions to Linguini. + + LINGUINI + Tonight is a big night. Appetite is + coming and he’s going to have a big + Ego. + (stops, corrects himself) + I mean Ego. He’s coming. The + critic? And he’s going to order. + Something. Something from our menu. + And we’ll have to cook it. Unless + he orders something cold. Like a + salad. + + The COOKS exchange confused glances. Colette wilts. This is + not the inspiration she had in mind. + + +134 EXT. OUTSIDE REAR KITCHEN ENTRANCE - GUSTEAU’S - SAME 134 + MOMENT + + Remy is watching this through the kitchen window. He sighs. + + EMILE + Just can’t leave it alone, can ya’? + + Emile is by the trash. Remy HOPS DOWN and walks over to + him. + + REMY + You really shouldn’t be here during + restaurant hours, it’s not safe. + + EMILE + I’m hungry. And I don’t need the + inside food to be happy. The key, + my friend, is to not be picky. + Observe. + + Emile lifts the corner of a toppled-over BOX, exposing a + chunk of CHEESE. Emile chuckles, reaching for the cheese.. + + REMY + No-- WAIT-- + + Remy grabs Emile’s tail and pulls him clear. A HINGE DROPS, + trapping Remy inside a CAGE. Emile rushes to Remy, + panicked. + + EMILE + 99. + + + Oh no! What’ll we do?! I’ll go get + Dad! + + A SHADOW looms over them. Emile quickly hides. SKINNER + picks up the trap/cage, grinning ear to ear. + + SKINNER + You may think you are a chef, but + you are still only a rat. + + +135 INT. KITCHEN - SAME TIME 135 + + The cooks are sitting now, bored out of their minds. + Linguini is still talking. + + LINGUINI + -- sure he took away a star last + time he reviewed this place. Sure, + it probably killed Gust -- Dad. + + LALO + (softly to himself) + Oh, this is very bad juju here-o. + + LINGUINI + But I’ll tell you one thing-- + + Mustafa bursts through the dining room door, interrupting-- + + MUSTAFA + Ego is here. + + The air is suddenly sucked from the room. The cooks stand + alert, frightened. Sensing what is needed, Colette steps + up. + + COLETTE + Arnot Ego is just another customer. + Let’s cook! + + An intent look sweeps the faces of the staff. With a burst + of grunts, cries and hand claps they return to work. + + LINGUINI + (a beat too late) + Yeah--! Let’s-- okay -- + + +136 EXT. STREET NEAR GUSTEAU’S - MOMENTS LATER 136 + + Remy’s cage is set down inside the trunk of SKINNER’S CAR. + Remy looks up at Skinner. + 100. + + + SKINNER + So! I have in mind a simple + arrangement; you will create for me + a new line of Chef Skinner frozen + foods, and I, in return, will not + kill you. + + Remy STARTLES, looks aghast. Laughing, Skinner SLAMS SHUT + the trunk and EXITS toward the restaurant. Nearby, EMILE + watches cautiously. + + SKINNER + Au revoir, rat! + + +137 INT. GUSTEAU’S RESTAURANT - DINING AREA - NIGHT 137 + + Mustafa draws a deep breath, gathering courage. He turns + and approaches Ego’s table. + + MUSTAFA + Do you know what you’d like this + evening, sir? + + Ego lifts his gaze to Mustafa. + + EGO + Yes, I think I do. After reading a + lot of overheated puffery about + your new cook, you know what I’m + craving? A little perspective. + + Ego SNAPS his menu shut and hands it to Mustafa. + + EGO + That’s it. I’d like some fresh, + clear, well-seasoned perspective. + Can you suggest a good wine to go + with that? + + MUSTAFA + (baffled) + With what, sir? + + EGO + Perspective. Fresh out, I take it? + + MUSTAFA + Uh -- I’m sorry? + + MUSTAFA + 101. + + + Very well. Since you’re all out of + perspective and no one else seems + to have it in this bloody town, + I’ll make you a deal; you provide + the food, I’ll provide the + perspective. Which would go nicely + with a bottle of Cheval Blanc 1947. + + MUSTAFA + Uhm, I’m afraid I -- I didn’t -- + your dinner selection? + + Ego jumps to his feet, suddenly eye to eye with Mustafa. + + EGO + Tell your “Chef Linguini” that I + want whatever he dares to serve to + me. Tell him to “hit me with his + best shot”. + + Mustafa scurries off. Seated at a nearby table (and + disguised in a trenchcoat, sunglasses and beret), SKINNER + jerks his head toward Ego and speaks to his waiter-- + + SKINNER + (deep voice) + I will have whatever he is having. + + +138 INT. INSIDE SKINNER’S CAR TRUNK 138 + + Remy sits in the corner of his cage, alone and defeated. + The GUSTEAU SPRITE appears. He studies Remy, speaking + quietly. + + GUSTEAU + So, we’ve given up. + + REMY + Why do you say that? + + GUSTEAU + (looks around, shrugs) + We are in a cage. Inside a car + trunk. Awaiting a future in frozen + food products. + + REMY + No, I’m the one in a cage. I’ve + given up. You are free. + + GUSTEAU + 102. + + + I am only as free as you imagine me + to be. As you are. + + REMY + Oh please. I’m sick of pretending. + I pretend to be a rat for my + father. I pretend to be a human + through Linguini. I pretend you + exist so I have someone to talk to! + You only tell me stuff I already + know! I know who I am! Why do I + need you to tell me? Why do I need + to pretend? + + Gusteau smiles with affection and relief. + + GUSTEAU + Ah, but you don’t, Remy -- + + He floats to Remy, puts his hands squarely on the rat’s + shoulders + + GUSTEAU + -- you never did. + + And with that, Gusteau FADES AWAY. A loud THUNK as + something hits the street pavement outside. + + +139 INT. CATHEDRAL ACROSS FROM GUSTEAU’S - DUSK 139 + + A STONE GARGOYLE has just missed the trunk of Skinner’s car + and SHATTERED on the pavement. DJANGO, clearly annoyed, + calls to GIT the muscle bound lab rat, who’s perched on the + one gargoyle-less balustrade above. + + DJANGO + No. My OTHER left! + + Git grunts, moves to the next gargoyle and PUSHES. + + +140 INT. INSIDE SKINNER’S CAR TRUNK 140 + + Remy, alert and excited now, calls out. + + REMY + Dad?!! + + WHAM! --the top of the trunk suddenly CAVES IN from the + second GARGOYLE’s impact. Light streams in as EMILE + appears. + 103. + + + REMY + Emile! + + Django joins Emile as he grabs the cage latch from the + outside. Straining with all their might, the three rats pop + it open. Remy jumps out, gives Django and Emile quick hugs + -- + + REMY + I love you guys. + + -- then scrambles out the trunk and takes off toward + GUSTEAU’S. + + DJANGO + Where you going?? + + REMY + (calling back) + Back to the restaurant! They’ll + fail without me! + + DJANGO + WHY DO YOU CARE?? + + REMY + BECAUSE I’M A COOK!! + + +141 INT. INSIDE KITCHEN - GUSTEAU’S - SAME TIME 141 + + CHAOS. Tempers are flaring, orders are piling up and the + kitchen is dissolving under Linguini’s leadership. Holding + a pan filled with grey glop, Horst confronts Linguini. + + HORST + It’s your recipe! How can you not + know your own recipe?? + + LINGUINI + I didn’t write it down, it just + came to me! + + HORST + Well make it come to you again, + because we can’t serve this!! + + MUSTAFA + Where’s my order?? + + LINGUINI + Can’t we serve them something + else?? Something I didn’t invent?? + 104. + + + LA ROUSSE + This is what they’re ordering!! + + LINGUINI + Make them order something else!! + Tell them we’re all out! + + POMPIDOU + We can’t be all out, we just opened + + LA ROUSSE + I have another idea; what if we + served them what they order?? + + COLETTE + We will make it. Just tell us what + you did! + + LINGUINI + I don’t know what I did! + + HORST + We need to tell the customers + something! + + LINGUINI + (hysteria building) + Then tell them-- tell them-- AUGH!! + + Linguini runs into his office and slams the door closed. + + LA ROUSSE + (to Lalo, beat) + “Augh”? + + +142 EXT. OUTSIDE BACK KITCHEN ENTRANCE - GUSTEAU’S - SAME TIME 142 + + Django and Emile rush to stop Remy as he heads toward the + kitchen door -- + + DJANGO + Remy! + + EMILE + They’ll see you! STOP! + + -- but Remy pushes them away long enough to get inside the + doorway, exposing himself to two COOKS. The other rats + HIDE. + + COLETTE + 105. + + + He’s come far too fast! Could you + do more with as little experience?? + + HORST + We are not talking about me! We’re + talking about what to do right n--! + +Horst suddenly FREEZES, his gaze fixed on the back +entrance. There, smack dab in the middle of the doorway, +sits REMY, as brash as a tiny gunslinger entering a saloon. + + COLETTE + RAAAAT!! + +Instantly the other COOKS seize dangerous utencils and +CHARGE at Remy. But REMY DOESN’T MOVE. Suddenly, a voice +SHOUTS -- + + LINGUINI + DON’T TOUCH HIM!! + +Miraculously, everyone STOPS, their weapons raised, their +gaze shifting to LINGUINI, who rushes in front of the +group. + + LINGUINI + I know this sounds insane. But + well, the truth sounds insane + sometimes, but that doesn’t mean + it’s not. The truth. + +The COOKS exchange confused glances. + + LINGUINI + And the truth is I have no talent + at all. But this Rat, he’s the one + behind these recipes. He’s the + cook. The real cook. Little Chef? + +The COOKS watch in amazement as Remy hops onto his lowered +palm. Linguini lifts Remy up to his head to demonstrate. + + LINGUINI (CONT’D) + He’s been hiding under my toque. He + chooses the ingredients, the + spices. + +Linguini picks up some spices lifting them to Remy’s nose. +The other cooks react; this strange and familiar action of +Linguini’s is suddenly stranger than ever. + + LINGUINI + 106. + + + -- he’s been controlling my + actions. + + Remy gives Linguini’s hair a few tugs to demonstrate, + Linguini’s limbs move correspondingly. + + LINGUINI + He’s the reason I can cook the food + that’s exciting everyone, the + reason Ego is outside that door. + You’ve been giving me credit for + his gift. I know it’s a hard thing + to believe, but hey, you believed I + could cook, right? + + Linguini laughs. The cooks stare. He looks at them, + earnest. + + LINGUINI + Look. This works. It’s crazy, but + it works. We can be the greatest + restaurant in Paris. And this rat, + this brilliant little Chef can lead + us there. Whaddya say? You with me? + + For a moment no one moves. Then HORST, tears welling up in + his eyes, crosses to a grateful, moved Linguini and hands + him his apron and toque EXITING silently out the back door. + + Linguini watches stunned as, one by one, the rest of the + STAFF exits with him, leaving only COLETTE. + + Colette locks eyes with Linguini, both anger and tears + welling up. Her hand comes up to slap him but doesn’t. + + Her hand just trembles, and finally drops to her side. She + pushes past Linguini and out the door. + + Linguini looks out at Dining room: Ego WAITS, drumming his + fingers. Soon the customers will get restless. Linguini + exchanges a sad look with Remy, shrinks into his office, + closes the door behind him. + + +143 EXT. PARIS STREETS - MOVING WITH COLETTE - NIGHT 143 + + COLETTE speeds her motorcycle recklessly through the + streets, crying. A car horn BLASTS. She STARTLES, hits the + brakes and skids TO A STOP, nearly running the red light. + + She exhales, her heart racing at the close call. She looks + up. A familiar COOKBOOK beckons from the display window of + a used book store: Gusteau’s “ANYONE CAN COOK”. + 107. + + +Colette stares at it, feeling a pang of emotion. + +CLOSE ON THE COOKBOOK. + +CLOSE ON COLETTE. Behind her the traffic light TURNS green. + +WIDE SHOT: The traffic on either side of her begins to go. +Colette sits atop her motorcycle motionless. + +RESUME GUSTEAU’S KITCHEN + +Alone in the empty kitchen, Remy faces the dining room +door, feeling Ego on the other side, waiting. Remy slowly +turns away then realizes that DJANGO is also there. + + REMY + Dad--! + (he goes to Django) + Dad, I-- I don’t know what to say. + + DJANGO + I was wrong about your friend. And + about you. + + REMY + Dad, I don’t want you to think I’m + choosing this over family. I can’t + choose between two halves of + myself. + + DJANGO + I’m not talking about cooking. I’m + talking about guts. This really + means that much to you? + +Almost apologetically, Remy NODS. Django sighs, then lets +out a loud whistle. The RAT CLAN emerges from the shadows, +quickly surrounding them. + + DJANGO + We’re not cooks, but we are family. + You tell us what to do and we’ll + get it done. + +A DOOR CREAK turns the rats attention to the back door +where-THE HEALTH INSPECTOR has just entered. + +His eyes bug at the surreal sight: the KITCHEN IS FILLED +WITH RATS. Slowly, he backs toward the EXIT and BOLTS! + + REMY + STOP THAT HEALTH INSPECTOR! + 108. + + + Immediately DJANGO leads half the RAT CLAN after the + inspector, yelling as he exits out the door. + + DJANGO + DELTA TEAM FOLLOW ME! THE REST OF + YOU STAY AND HELP REMY! + + +144 EXT. ALLEY BEHIND GUSTEAU’S - INSIDE INSPECTOR’S CAR 144 + + The inspector JAMS his keys into the ignition and turns. + The ENGINE won’t turn over. He glances at the rear view + mirror and sees: a ground-level STAMPEDE OF RATS moving out + from the kitchen TOWARD HIM. + + The RATS engulf the car, covering it like a blanket. The + ENGINE comes to life. Tires SQUEAL, smoking as the car + roars from the alley in reverse and pulls a 180 into the + street, the rats covering it like a grey moss. + + +145 INT. KITCHEN - SAME TIME 145 + + The dishwasher opens with a WHOOSH of steam: DOZENS OF RATS + EMERGE, their fur clean and fluffy. They disperse with Swat + Team precision as Remy barks orders. + + REMY + TEAM THREE WILL BE HANDLING FISH, + TEAM FOUR: ROASTED ITEMS, TEAM + FIVE: GRILL, TEAM SIX: SAUCES! GET + TO YOUR STATIONS! LET’S GO GO GO! + + LINGUINI + + Emerges from his office and is astonished by the sight. + Remy and the rats see this is suddenly PAUSE. Linguini + walks up to Remy, suddenly filled with purpose. + + LINGUINI + We need someone to wait tables. + + Remy NODS. + + CUT TO: + + +146 INT. CHEFS OFFICE 146 + + Linguini turns his backpack upside down. A pair of ROLLER + BLADES hit his desk with a CLUNK. + 109. + + +147 INT. DINING AREA 147 + + Linguini, wearing the blades and a WAITERS OUTFIT, explodes + through the double doors and sweeps into the dining room, + distributing MENUS to the diners with economical precision, + followed miraculously by DRINKS, BREAD, WATER. + + He arrives at Skinner’s table to refill his water. + + LINGUINI + No, I’m sorry for any delay, but + we’re a little short tonight. + + Skinner glances at EGO, who is scowling as he scribbles in + a note pad. A big smile stretches across Skinner’s face. + + SKINNER + Please. Take all the time you need. + + +148 INT. KITCHEN 148 + + The kitchen is going like blazes; RATS are sauteing, + spicing, grilling, cooking up a storm. Remy, nearly + overwhelmed with the scale of production, is miraculously + handling it. + + Stationed at the pass, EMILE wipes the sauce of the edges + of the plates with a cloth, the last crucial bit of quality + control. Tempted by the sauce, he tries to sneak a lick. + + REMY (O.S.) + EMILE! + + EMILE + (stopping himself) + Sorry! + + +149 INT. DINING AREA - SAME TIME 149 + + Ego looks impatiently at his watch, scribbles in his + notepad. Then his eyes fall to the soup. He pulls the bowl + to him, dips a spoon in, TASTING IT. Not bad -- + + +150 INT. KITCHEN 150 + + The RATS are functioning like a well-oiled machine; the + perfectly prepared meals hit the pass as quickly as + Linguini can grab them. The back door pushes open to + REVEAL: + 110. + + + COLETTE staggered by the bizarre spectacle. Looking like + she may vomit, she wheels back to the exit, when Linguini + rushes in, throwing his arms around her. + + LINGUINI + Colette! You came back. Colette, I- + - + + COLETTE + DON’T say a word. If I think about + it I might change my mind. Just + tell me what the rat wants to cook. + + MOMENTS LATER + + Remy flips through Gusteau’s recipe box, finds a certain + card and pulls it, showing it to Colette. She frowns. + + COLETTE + Ratatouille? It’s a peasant dish. + Are you sure you want to serve this + to Ego? + + Remy NODS. Colette shrugs and starts to prepare the dish. + + A TIRE SCREECH is followed by a LOUD CRASH outside. COLETTE + looks up as the back door bangs open: the HEALTH INSPECTOR, + bound and gagged, floats across the floor on a cushion of + RATS, who quickly dump him in the food safe. + + Colette shrugs, going with the strange night, and goes to + add the first spice to the ratatouille, but is blocked by a + WOODEN SPOON. She looks up: sees it’s held by Remy. + + COLETTE + What. I’m making the ratatouille -- + + He looks at the her ingredients and makes a face. + + COLETTE + Well, how would you prepare it? + + Remy PAUSES, considering this. + + +151 INT. KITCHEN - DINING AREA 151 + + INTERCUT: + + (1) Remy REIMAGINING the ratatouille; re-inventing it step + by step and demonstrating what he wants to Colette, who + expertly follows through. + 111. + + + WITH (2) LINGUINI skating around the dining room, a ONE-MAN + WAIT STAFF. + + MUSIC CRESCENDOS as LINGUINI delivers the meal to EGO’S + TABLE. Linguini then serves the identical meal to Skinner, + who’s appalled and amused to find that Ego has been served- + - + + SKINNER + Ratatouille? They must be joking -- + + He looks over at Ego, who seems equally unimpressed. + + ON EGO + + He pokes a fork into the vegetables, examines them for a + moment, then brings the food to his lips. + + Linguini watches, withering. + + As Ego’s lips close around the ratatouille, the sound, the + restaurant around him is WHISKED AWAY. + + FLASHBACK: + + +152 EXT. FRENCH COUNTRYSIDE - A LIFETIME AGO 152 + + We are inside a cozy cottage on a golden summer day. The + front door is open, a newly crashed BICYCLE lays on the + ground outside. Next to it stands a five year old ANTON EGO + with a skinned knee, valiantly holding back tears. + + His young mother turns from her cooking, and gives him a + sympathetic smile. Like all mothers, she knows what to do. + + MOMENTS LATER + + Young EGO, already feeling better, is at a table. His + mother touches his cheek and sets a freshly made bowl of + ratatouille before him, warm and inviting. The boy takes a + spoonful into his mouth-- + + --AND THE PRESENT RUSHES BACK-- + + Ego is frozen. Astounded. His PEN slips from his hand. It + CLATTERS to the floor, breaking the spell. + + Ego blinks. His eyes fall to his empty fork, which he holds + suspended near his mouth. Slowly a long-lost feeling blooms + inside him. He smiles. And has another forkful. + 112. + + + Skinner has seen this. He looks at his ratatouille and + tastes it. He’s stunned; loving and hating it all at once-- + + SKINNER + (as he eats) + No -- no, it can’t be -- + + +153 INT. KITCHEN 153 + + Skinner BURSTS through the double doors. + + SKINNER + Who cooked the ratatouille?! I + demand to know! + + A kitchen full of RATS all stop and LOOK UP AT HIM. + + CUT TO: + + +154 INT. INSIDE FOOD SAFE 154 + + Skinner, bound and gagged, is tossed roughly into the + corner, where he lands next to the equally bound and gagged + HEALTH INSPECTOR. They yell muffled protests as the door + slams shut. + + +155 INT. DINING AREA 155 + + A long FINGER dabs the last smear of remaining sauce from + the plate of ratatouille. We follow it to Ego’s smiling + lips. He kisses the sauce off his finger tip and turns to + Linguini. + + EGO + I can’t remember the last time I + asked a waiter to give my + compliments to the Chef. And now I + find myself in the extraordinary + position of having my waiter be the + Chef. + + LINGUINI + I’m just your waiter tonight. + + EGO + Then who do I thank for the meal? + + Linguini stares for a moment, wondering how to respond. + + LINGUINI + 113. + + + Excuse me a minute. + + Linguini skates to the kitchen doors, where Colette has + been watching from a distance. Ego squints; Linguini and + Colette are visible through the window panels in a heated + discussion. Linguini returns to Ego’s table, this time with + Colette. + + EGO + Ah, you must be the Ch-- + + COLETTE + (interrupts) + If you wish to meet the Chef you + will have to wait until all the + other customers have gone. + + Taken aback by the unprecedented demand, Ego acquiesces. + + EGO + So be it. + + Colette and Linguini exchange a look. + + DISSOLVE TO: + + LATER. + + The restaurant has cleared, save for Ego, who waits with + grim patience. Linguini and Colette emerge from the kitchen + and silently cross to Ego’s table, Linguini holding a toque + upright on the flat of and outstretched hand. + + Ego stares, his curiosity piqued by this strange sight. + Linguini takes a breath and lifts up the toque, revealing + REMY sitting up on the palm of his hand. + + REMY (V.O.) + At first, Ego thinks it’s a joke, + but as Linguini explains, Ego’s + smile disappears. + + A SERIES OF SHOTS: Inside the rat-filled kitchen, Linguini + and Remy demonstrate their unique working style to Ego, + first together, then with Remy alone. Colette withers as + Ego STARES at this in grim deadpan. + + REMY (V.O.) + He doesn’t react beyond asking an + occasional question. + + +156 INT. DINING AREA 156 + 114. + + + Linguini and Colette are now seated at a table opposite + Ego. Remy sits on the table facing Ego, who occasionally + glances down at him. Finally Ego gets up, and bows + slightly. + + REMY (V.O.) + And when the story is done, Ego + stands, thanks us for the meal-- + + EGO + Thank you for the meal. + + REMY (V.O., CONT’) + -- and leaves without another word. + + +157 INT. EGO’S OFFICE - NIGHT 157 + + In a SERIES OF SHOTS Ego is seen pacing, brooding, staring + out one of the enormous picture windows flanking his + portrait into the night, visibly unsettled. + + REMY (V.O.) + The following day his review + appears -- + + EGO (V.O.) + In many ways the work of a critic + is easy. We risk very little, yet + enjoy a position over those who + offer up their work and their + selves to our judgement. We thrive + on negative criticism, which is fun + to write and to read. + + -- until finally, he sits down at his desk and begins to + write. + + EGO (V.O.) + But, the bitter truth we critics + must face is that, in the grand + scheme of things, the average piece + of junk is probably more meaningful + than our criticism designating it + so. But there are times when a + critic truly risks something and + that is in the discovery and + defense of the new. + + MONTAGE: AFTER CLOSING - NIGHT (TO DAWN) + 115. + + + Linguini and Colette emerge from Gusteau’s kitchen into the + brisk night air, Remy with them, walking upright. No one + knows what to think. Colette and Linguini HUG anyway. + + EGO (V.O.) + The world is often unkind to new + talent, new creations. The new + needs friends. + + In the alley behind the kitchen, the strange human/rat + alliance amicably part ways and head to their respective + homes above and below the streets of Paris. Only Remy stays + behind, electing to take in the night and think. + + EGO (V.O.) + Last night I experienced something + new, an extraordinary meal from an + singularly unexpected source. To + say that both the meal and its + maker have challenged my + preconceptions about fine cooking, + is a gross understatement, they + have rocked me to my core. + + EGO’S V.O. CONTINUES as we DISSOLVE between LINGUINI, + COLETTE, EMILE and DJANGO, and see that no one, rat or + human is able to sleep this night. + + EGO (V.O., CONT’D) + In the past I have made no secret + of my disdain for Chef Gusteau’s + famous motto: “Anyone Can Cook”. + But I realize only now do I truly + understand what he meant. Not + everyone can become a great artist, + but a great artist can come from + anywhere. + + MONTAGE CONCLUDES with REMY staring at the Eiffel Tower as + the sky creeps into dawn. + + EGO (V.O.,CONT’D) + It is difficult to imagine more + humble origins than those of the + genius now cooking at Gusteau’s, + who is, in this critic’s opinion, + nothing less than the finest Chef + in France. + + +158 INT. KITCHEN - GUSTEAU’S - MORNING 158 + + V.O. CONTINUES as a Colette & Linguini read EGO’S REVIEW-- + 116. + + + EGO (V.O.,CONT’D) + I will be returning to Gusteau’s + soon, hungry for more. + + Colette and Linguini HUG. Gathered with them in Gusteau’s + kitchen, Remy & the rat clan CHEER. + + REMY (V.O.) + It was a great night. The happiest + of my life. But the only thing + predictable about life is its-- + + SHOT: A bored worker for the MINISTRY OF HEALTH pastes + “CLOSED” notices over the front door of GUSTEAU’S. + + REMY (V.O., CONT) + -- unpredictability. We had to let + Skinner and the health inspector + loose, and of course they squealed. + The food didn’t matter. Once it got + out there were rats in the kitchen, + the restaurant was closed and Ego + lost his job and his credibility. + + But don’t feel too bad for him. + + +159 INT. A BISTRO - DAY - THE PRESENT 159 + + In a tiny, warmly lit room, a GROUP OF RATS (including + DJANGO & EMILE) are seated around a basket, which has been + overturned and covered with a napkin to function as a + table, listening as REMY finishes his story. + + REMY + -- he’s doing very well as a small + business investor. He seems very + happy. + + Seated next to Remy, a teenage rat frowns, skeptical. + + TEEN RAT + How do you know? + + Remy smiles and points through the small window into the + main dining room. There ANTON EGO, whose face now has color + and a few new pounds, dines happily at a prime table. + + A small BELL rings. Remy glances down into the kitchen. + Colette is looking up at him, tapping her wristwatch. + + REMY + (to other rats) + 117. + + + Gotta go. Dinner rush. + + He takes off, jumping into a counter-weighted BASKET made + especially for him. He’s quickly dropped into the kitchen. + + +160 INT. BISTRO KITCHEN - CONTINUOUS 160 + + The BASKET with Remy drops to the counter and Remy hops + off. Colette sets down a plate of Remy’s now-famous + Ratatouille, leaving the finish to Remy. + + COLETTE + You know how he likes it. + + Remy nods and quickly, expertly finishes the presentation. + WE FOLLOW LINGUINI, now the Maitre ‘d, as he takes the + plate into the dining room and delivers it to Ego. + + LINGUINI + Can I interest you in a dessert + this evening? + + EGO + Don’t you always? + + LINGUINI + Which one would you like? + + Ego grins, turns toward the window in the kitchen door + where Remy is watching, and calls out-- + + EGO + Surprise me! + + Remy signals Ego in the affirmative and goes off to create + something delicious. + + CAMERA pulls away from this happy scene to reveal a BISTRO + jammed with open-minded foodies; a hip, cultured mixture of + bohemians of all ages, all there to enjoy good food and + life. + + CAMERA CONTINUES out the window and we are -- + + +161 EXT. OUTSIDE THE BISTRO - PARIS - DUSK 161 + + A long line of customers has formed outside, waiting to get + in. An elegant METAL SIGN comes into view, featuring a rat + wearing a CHEF’S TOQUE, along with the bistro’s name LA + Ratatouille. + 118. + + + FADE OUT: + +THE END + \ No newline at end of file diff --git a/scripts/Rear Window.txt b/scripts/Rear Window.txt new file mode 100644 index 0000000000000000000000000000000000000000..93c3a98b5bb10fba22e7b3527879aa1becfcf352 --- /dev/null +++ b/scripts/Rear Window.txt @@ -0,0 +1,9314 @@ + 1. + + + + FADE IN: + + +1 INT. JEFFERIES' APARTMENT - (DAY) - LONG SHOT 1 + + Although we do not see the foreground window frame, we see + the whole background of a Greenwich Village street. + + We can see the rear of a number of assorted houses and + small apartment buildings whose fronts face on the next + crosstown street, sharply etched by the morning sun. + + Some are two stories high; others three; some have peaked + roofs, others are flat. There is a mixture of brick and + wood and wrought iron in the construction. + + The apartment buildings have fire escapes, the others do + not. + + The neighborhood is not a prosperous one, but neither is it + poor. It is a practical, conventional dwelling place for + people living on marginal incomes, luck - or hope and + careful planning. + + The summer air is motionless and heavy with humid heat. + + It has opened windows wide, pushed back curtains, lifted + blinds and generally brought the neighborhood life into a + sweltering intimacy. Yet, people born and bred to life + within earshot and eyeglance of a score of neighbors have + learned to preserve their own private worlds by uniformly + ignoring each other, except on direct invitation. + + THE CAMERA PULLS BACK until a large sleeping profile of a + man fills the screen. It is so large that we do not see any + features, but merely the temple and side of the cheek down + which a stream of sweat is running. + + THE CAMERA PANS OFF this to the right hand side of the + window, and MOVES TO a thermometer which is hanging on the + wall just outside the window. It registers 84. + + THE CAMERA MOVES ON into the open, and brings nearer to us + a room with a large studio window. We are able to see + inside this room. A short, balding man is standing near the + window, shaving, using a small bowl of water and a portable + mirror which he has set up on a shelf. + + To the right of him is a battered upright piano. On top of + the piano is a radio. The music selection coming from the + radio stops, and the announcer is heard. + 2. + + + ANNOUNCER + The time - 7:15 A.M., WOR, New + York. The temperature, outside, 84 + --- Friends - is your life worth + one dollar? + +The man shaving quickly puts down his razor, hurries to the +radio, and changes the station, moving past a number of +commercial voices until he again finds some music. + +Contented, he returns to his shaving. + +THE CAMERA MOVES ON AND OVER to a far building. It passes +over the face of this building until it comes to fire +escapes. It goes up and near enough to one which has become +the outdoor bedroom of a couple. We are near enough to see +an alarm clock hanging from the rail which is now ringing +vigorously. A man rises lazily to a sitting position. He +gropes to switch the alarm off. + +We see that his pajamas are stained with sweat. In his +sitting position he leans forward and shakes somebody +beside him. To our surprise, the head of this other person +- a woman - rises where his feet are. They have been +sleeping in opposite directions. They sit limply looking at +each other with bedraggled and weary expressions which show +they enjoyed very little sleep in the heat of the night. + +THE CAMERA NOW MOVES DOWN toward the left onto another low +building. It MOVES IN A LITTLE to a living room window. +Just inside the windowsill, a small fan is oscillating. The +fan sits on the right side of the table, and to the left of +it is an automatic toaster. + +Behind the toaster stands a full-bodied young woman, +apparently wearing only a pair of black panties. Her +stomach, navel, and the lower part of her chest are naked. +Just below her breasts, the curtain, partly drawn, has +thrown a deep shadow which extends upward, hiding her +breasts, shoulders and head. Two pieces of toast pop up in +the toaster. She takes them out, butters them. Then she +turns around and bends over another table on which stands +an automatic coffee-maker. + +She picks up the coffee-maker, and swings back to the table +to sit down. She does this so deftly that her breasts are +never exposed, but hidden by the fan as she sits down. The +fan moves back and forth as she pours coffee, far enough to +reveal that she wears no bra, but not far enough to fulfill +the exciting promise of her lack of clothes. + 3. + + +THE CAMERA MOVES ON to a distant street corner seen between +two buildings. The traffic is very light at this hour, but +a Sanitation Department truck moves through the +intersection spraying water out behind it to cool the +pavement and keep the dust down. Three little kids in +bathing suits run behind the truck, playing in the water. + +THE CAMERA MOVES OFF and around to some buildings at the +side. As it skims this building, we see a hand emerge from +one of the windows, and remove the cover from a birdcage +which is hanging from a hook on the wall outside. In the +cage are two lovebirds - arguing. + +THE CAMERA NOW PULLS BACK SWIFTLY and retreats through the +open window back into Jefferies' apartment. We now see more +of the sleeping man. THE CAMERA GOES IN far enough to show +a head and shoulders of him. + +He is L. B. JEFFERIES. A tall, lean, energetic thirtyfive, +his face long and serious-looking at rest, is in other +circumstances capable of humor, passion, naive wonder and +the kind of intensity that bespeaks inner convictions of +moral strength and basic honesty. + +He is sitting in an Everest and Jennings wheelchair. + +THE CAMERA PANS along his right leg. It is encased in a +plaster of Paris spica from his waistline to the base of +his toes. Along the white cast someone has written "Here +lie the broken bones of L. B. Jefferies." + +THE CAMERA PANS to a nearby table on which rests a +shattered and twisted Speed Graphic Camera, the kind used +by fast-action news photographers. + +On the same table, the CAMERA PANS to an eight by ten +glossy photo print. It shows a dirt track auto racing +speedway, taken from a point dangerously near the center of +the track. A racing car is skidding toward the camera, out +of control, spewing a cloud of dust behind it. A rear wheel +has come off the car, and the wheel is bounding at top +speed directly into the camera lens. + +THE CAMERA MOVES UP to a framed photograph on the wall. + 4. + + + It is a fourteen by ten print, an essay in violence, having + caught on film the exploding semi-second when a heavy + artillery shell arches into a front-line Korean battle + outpost. Men and equipment erupt into the air suspended in + a solution of blasted rock, dust and screeching shrapnel. + That the photographer was not a casualty is evident, but + surprising when the short distance between the camera and + the explosion is estimated. A signature in the lower right + hand corner of the picture reads -- "L. B. Jefferies." + + THE CAMERA PANS to a second photograph of a picket line at + an aircraft plant strike. Strikers, non-strikers and police + are embroiled in a bitter and confused riot. + + Clubs, fists and truncheons swing, blood flows, faces twist + with emotion and fallen victims struggle to regain their + feet. The picture represents no distant, cautions + photographic observation, but rather an intimate report, so + immediate and real that the viewer has the nervous feeling + the fight surrounds him and he had best defend himself. The + same signature, "L. B. Jefferies," is in the corner. + + THE CAMERA PANS TO another framed picture, this one a + beautiful and awesome shot of an atomic explosion at + Frenchman's Flat, Nevada. It is the cul-de-sac of violence. + The picture taken at a distant observation point, shows + some spectators in the foreground watching the explosion + through binoculars. + + THE CAMERA MOVES ON to a shelf containing a number of + cameras, photographic film, etc. It then PAN ACROSS a large + viewer on which is resting a negative of a woman's head. + + From this, THE CAMERA MOVES ON to a magazine cover, and + although we do not see the name of the magazine, we can see + the head on the cover is the positive of the negative we + have just passed. + + THE CAMERA FINALLY COMES TO REST ON a pile of magazines - + perhaps a hundred or so. They are all of the same + publication. + + LAP DISSOLVE TO: + + +2 INT. GUNNISON'S OFFICE - (DAY) - CLOSE UP 2 + 5. + + +The screen is filled with the top of a desk. In addition to +the usual telephones, blotting pad, etc., the most +prominent feature is the number of glossy photo prints, and +even larger-sized mat prints. Some of them have slips +pasted over with descriptions. The center of the desk is +occupied by a large layout of photographs on one magazine +page. Behind this we hear the murmur of two voices of men +who can be vaguely seen beyond the desk. + +THE CAMERA PANS UP and we are now face to face with IVAR +GUNNISON and JACK BRYCE. Gunnison is sitting on a window- +ledge, and beyond him we realize we are high above the New +York streets. Bryce leans against a wall at right angles to +him. + +Gunnison is holding a cablegram in his hand. Bryce has a +cigarette in his mouth. He scratches a match, and is about +to light it, when he notices that Gunnison, still reading +the cable, has reached into an inside shirt pocket, and +produced a cigarette. Quickly, Bryce moves over to light +Gunnison's cigarette. Then he settles back to light his +own. Gunnison doesn't even bother to thank him. + + GUNNISON + (Looks up) + Indo-China - Jeff predicted it + would go sky-high. + + BRYCE + From the looks of Davidson's cable, + it might even go higher than that. + And we haven't even got a camera + over there. + + GUNNISON + (Stands) + This could go off in a month - or + an hour. + + BRYCE + I'll pull somebody out of Japan. + + GUNNISON + (Heads for his phone) + Bryce, the only man for this job is + sitting right here in town. + (Picks up phone) + Get me L. B. Jefferies. + + BRYCE + (Puzzled) + Jefferies? + 6. + + + GUNNISON + (To Bryce; still holding + phone) + Name me a better photographer. + + BRYCE + (He can't) + But his leg! + + GUNNISON + Don't worry - it comes off today. + + Bryce gives Gunnison a startled look. + + GUNNISON + I mean the cast. + (To phone) + + +3 INT. JEFF'S APARTMENT - DAY - SEMI CLOSEUP 3 + + Shooting through the open window, onto Jeff. He is shaving + himself with an electric razor as the phone rings. He shuts + off the shaver, picks up the phone. + + JEFF + Jefferies. + + GUNNISON + (On filter) + Congratulations, Jeff. + + JEFF + For what? + + GUNNISON + For getting rid of that cast. + + JEFF + Who said I was getting rid of it? + + At this moment, his attention is drawn to something across + the way. He looks up, expectantly. There is almost a touch + of eagerness in his expression. + + +4 EXT. NEIGHBORHOOD - (DAY) - LONG SHOT 4 + 7. + + + While Jeff is continuing his phone conversation, we see the + object of his look. Two pretty girls have appeared on the + distant roof. They are smiling and talking, although we + cannot hear their dialogue. Each wears a terrycloth robe. + With their backs to the CAMERA, they take off the robes, + slipping them down over their shoulders slowly. Then, + seductively, they turn - revealing the full beauty of their + tanned and bathing-suited bodies. It is almost as if they + want to be noticed, the center of neighborhood attention. + They at least have all of Jeff's attention. Then they + spread the robes in front of them, and lie down on the + roof, and out of sight. Jeff seems a little disappointed. + + +5 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 5 + + During the whole of this previous action, the conversation + between Jeff and Gunnison has gone on as follows: + + GUNNISON + (With logical proof) + This is Wednesday. + + JEFF + Gunnison - how did you get to be + such a big editor - with such a + small memory? + + GUNNISON + Wrong day? + + JEFF + Wrong week. Next Wednesday I emerge + from this plaster cocoon. + + GUNNISON + That's too bad, Jeff. Well, I guess + I can't be lucky every day. Forget + I called. + + JEFF + Yeah. I sure feel sorry for you, + Gunnison. Must be rough on you + thinking of me wearing this cast + another whole week. + + +6 INT. GUNNISON'S OFFICE - DAY - SEMI-CLOSEUP 6 + + Gunnison is now seated at his desk, with the phone receiver + to his ear. His assistant, Bryce, can be seen vaguely in + the background. + 8. + + + GUNNISON + That one week is going to cost me + my best photographer - and you a + big assignment. + + +7 INT. JEFF'S APARTMENT - DAY - CLOSE-UP 7 + + Jeff asks, eagerly and alertly. + + JEFF + Where? + + We hear Gunnison's reply. + + GUNNISON + There's no point in even talking + about it. + + Jeff's eyes become set upon something else in the + neighborhood he sees. + + +8 EXT. NEIGHBORHOOD - DAY - LONG SHOT 8 + + Jeff's attention is now drawn to another feature of his + backyard entertainment. THE CAMERA IS NOW FOCUSED on the + window of the small building where we earlier saw the girl + behind the oscillating fan. Loud ballet music is pouring + from her open window. The girl, now dressed + + in dark and revealing leotard, and ballet slippers, has + just turned away from a portable record player. She begins + the first graceful movement of a modern ballet + interpretation. + + She gracefully moves across the room to the rhythm of the + music and dance, toward the ice box. With her feet still + moving, she throws open the door, and then rhythmically + moving back to the center of the room, gnaws the chicken + bone, occasionally waving it in the air as part of the + choreography. She now twirls over toward a table at the + other side of the room on which is an open package of bread + slices, some butter nearby. + + With swaying body, she puts down the chicken leg, and + gracefully and rhythmically butters a slice of bread. + + She picks up both bread and chicken leg and continues her + interpretive dance, alternately munching the bread and + butter and chicken leg. + 9. + + +9 INT. APARTMENT - DAY - CLOSEUP 9 + + Jeff's eyes drop from the ballet dancer's room to the one + underneath. + + +10 EXT. NEIGHBORHOOD - DAY - LONG SHOT 10 + + THE CAMERA PANS from the window of the dancing girl, to the + window below. Someone is reading the New York Harald + Tribune. The paper lowers, and we see an elderly lady, in + her late sixties. She is a faded, refined type. She looks + up in the direction of the music and in a calm routine + fashion adjusts the volume of her hearing aid. She resumes + her reading. + + +11 INT. JEFF'S APARTMENT - DAY - CLOSEUP 11 + + Jeff is amused by what he sees, but continues his + conversation with Gunnison, which has gone on through all + the scenes with the ballet dancer. + + JEFF + (Insistent) + Where? + + GUNNISON + (Filter) + Indo-China. Got a code tip from the + bureau chief this morning. The + place is about to go up in smoke. + + JEFF + (Pleased; excited) + Didn't I tell you! Didn't I tell + you it was the next place to watch? + + GUNNISON + You did. + + JEFF + (On filter) + Okay. When do I leave? Half-hour? + An hour? + + GUNNISON + With that cast on - you don't. + + JEFF + (On filter) + 10. + + + Stop sounding stuffy. I'll take + pictures from a jeep. From a water + buffalo if necessary. + + GUNNISON + You're too valuable to the magazine + for us to play around with. I'll + send Morgan or Lambert. + + JEFF + Swell. I get myself half-killed for + you - and you reward me by stealing + my assignments. + + GUNNISON + I didn't ask you to stand in the + middle of that automobile race + track. + + JEFF + (A little angry) + You asked for something + dramatically different! You got it! + + GUNNISON + (Quietly) + So did you. Goodbye, Jeff. + + JEFF + (Won't let him hang up) + You've got to get me out of here! + Six weeks - sitting in a two-room + apartment with nothing to do but + look out the window at the + neighbors! + + At this moment we hear the sounds of a piano playing. + + It is a simple, but broken, melody as if someone was + + just learning to play the piano, or carefully composing a + song. It clashes abruptly with the music from the ballet + dancer's apartment. It irritates Jeff as he looks in the + direction of the new music. + + JEFF + It's worse than the Chinese water + torture. + + +12 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 12 + 11. + + + We now see the source of the piano music. It comes from the + apartment with the studio window which we saw earlier where + the man was shaving and listening to the radio. The short, + balding man sits at the piano playing a few notes, then + transferring them by pencil to notepaper on the piano rack. + He continues this process, fighting the interference of the + ballet music. The opening bars of his melody are beautiful + and ear-catching. It is slow, hard work, and the ballet + music finally becomes such an interference that he gives up + and walks to the window to look down toward the dancer's + apartment. + + He stands by a table at the window which is littered with + records, the morning coffee cup, unwashed, the remains of + breakfast, old newspapers, song sheets, etc. + + He takes a cigarette out of his mouth, looks for an ash + tray, and ends up putting it out in the coffee cup. He then + returns to the piano and begins picking out the melody the + dancer is playing on her record player. + + +13 INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP 13 + + Jeff frowns at the double sound, and raises his voice a + little. He continues the conversation which has been heard + all through the previous scene. + + GUNNISON + Read some good books. + + JEFF + I've been taking pictures so long I + don't know how to read anymore. + + GUNNISON + I'll send you some comic books. + + JEFF + (Low, tense) + Listen - if you don't pull me out + of this swamp of boredom - I'll do + something drastic. + + GUNNISON + Like what? + + JEFF + (On filter) + I'll - I'll get married. Then I'll + never be able to go anywhere. + + GUNNISON + 12. + + + It's about time you got married - + before you turn into a lonesome and + bitter old man. + + JEFF + Can you see me - rushing home to a + hot apartment every night to listen + to the automatic laundry, the + electric dishwasher, the garbage + disposal and a nagging wife. + + GUNNISON + Jeff - wives don't nag anymore -- + they discuss. + + Jefferies glances out across to the other apartments as he + sees: + + +14 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 14 + + We see a three-storied, flat-roofed apartment house. + + The brick is weatherworn and faded. Each apartment has + three windows facing the back, one showing a hallway, one a + living room, and the window on the right opening into a + bedroom. + + On the second floor, a man has entered the living room from + a hallway door. He carries a large aluminum sample case + common to salesmen. He sets down the case heavily, removes + his hat, and slowly wipes his brow with the back of his + right hand. He takes off his coat and tie. His shirt is + stained with sweat underneath. He rolls up his sleeves, and + his well-muscled arms heavy with hair confirm his dark, + husky build. + + +15 INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP 15 + + With his eyes still focused on the distant apartments, Jeff + continues talking with Gunnison. + + JEFF + Yeah? Maybe in the high rent + districts they discuss - but in my + neighborhood, they still nag. + + GUNNISON + Well - you know best. Call you + later, Jeff. + + JEFF + 13. + + + Next time, have some good news. + + He hangs up and resumes his attention on the apartment of + the salesman. + + +16 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 16 + + The salesman looks toward the bedroom door, hesitates, then + reluctantly walks toward it. For a moment he is hidden by + the wall. + + +17 INT. JEFF'S APARTMENT - DAY - CLOSEUP 17 + + Jeff shifts his look more to the right. + + +18 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 18 + + The man enters the bedroom. We can see a woman lying on the + far bed. Near her, a small table is covered with medicine + bottles, spoons, boxes of pills, a water pitcher and the + other impedimenta of the chronically ill. The woman sits up + as the man enters. She takes a wet cloth off her forehead. + Before the man even reaches her, she begins talking, + somewhat vigorously. Pointing to a wristwatch, she seems to + be saying something such as "You should have been home two + hours ago! I could be lying here dying for all you'd know - + or care!" The man stops short of the bed, makes gestures of + trying to placate her, but she goes on scolding. His + attitude changes to weary patience, then irritation, then + anger. + + He shouts back at her, turns and goes out of the room. + + Back in the living room, he picks up his hat, throws it + against the wall in anger, and leaves the apartment, + slamming the door behind him. + + +19 INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT 19 + + Jeff's attention is suddenly diverted to himself. His leg, + under the cast, begins itching. He squirms, tries + 14. + + + to move the leg a little. It gives no relief. He scratches + the outside of the cast, but the itch gets worse. He + reaches for a long, Chinese back-scratcher lying on the + windowsill. Carefully, and with considerable ingenuity, he + works it under the cast. He scratches, and a look of + sublime relief comes over his face. Satisfied, he takes the + scratcher out. As he replaces it on the windowsill, his + attention is drawn back to the scene outside the window. + + +20 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 20 + + We see the man who left his apartment in anger come out of + the doorway into the backyard. He is easy to identify + through the color of his garish necktie. In one hand the + man carries a small garden hoe and rake, and in the other a + pair of trimming shears. He goes to a small patch of + flowers, perhaps three feet square. + + They are beautiful, multi-colored three foot high zinnias. + He kneels down, inspects them, touches them affectionately + and with some pride. His anger seems to have left him, + replaced by the kind of peace that flowers bring many + people. He stands up, carefully hoes the ground, them rakes + it. Then he snips a few leaves off the lower parts of the + plant. Finally, he waters them. + + +21 INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP 21 + + Jeff's attention is turned to something else of interest. + + +22 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 22 + + Into the next door yard we see emerging from the apartment + below the ballet dancer, the elderly lady. + + She wear a broad sun hat, dark glasses, and a sunsuit + consisting of pink shorts and halter. She carries a copy of + the Herald Tribune, and still wears her hearing aid. She + settles into a folding, canvas deck chair. + + Her skin is dead white, and her body is thin to the point + of emaciation. No sooner has she settled into her chair, + than she is attracted by the sound of the salesman working + in his garden. She gets up, walks to the fence, and looks + over. He notices her, but doesn't speak. She begins + gesturing to him how to take care of his flowers. He + listens for a moment, then looks directly at her. The + strong movements of his mouth show us that he objects + vigorously to the annoyance of her comments. She moves away + from the fence, started and a little shocked. + 15. + + +23 INT. JEFF'S APARTMENT - (DAY) - MEDIUM SHOT 23 + + Jeff is seated in the foreground, in a waist shot. + + Behind him, the entrance door to his apartment opens. + + STELLA McGAFFERY comes in. She is a husky, unhandsome, + dark-haired woman who is dressed like a district nurse, + with dark coat, dark felt hat, with a white uniform showing + underneath the coat. She carries a small black bag. + + Stella pauses on the landing to watch Jeff. He doesn't + appear to notice her entrance. + + STELLA + (Loud) + The New York State sentence for a + peeping Tom is six months in the + workhouse! + + He doesn't turn. + + JEFF + Hello Stella. + + As she comes down the stairs of the landing, holding on the + wrought iron railing with one hand: + + STELLA + And there aren't any windows in the + workhouse. + + She puts her bag down on a table. It is worn, and looks as + if it belongs more to a fighter than a nurse. She takes off + her hat coat, and hangs them on a chair. + + STELLA + Years ago, they used to put out + your eyes with a hot poker. Is one + of those bikini bombshells you + always watch worth a hot poker? + + He doesn't answer. She opens the bag, takes out some + medical supplies: a thermometer, a stop watch, a bottle of + rubbing oil, a can of powder, a towel. She talks as she + works. + + STELLA + We've grown to be a race of peeping + Toms. What people should do is + stand outside their own houses and + look in once in a while. + 16. + + + STELLA + (She looks up at him) + What do you think of that for + homespun philosophy? + + A look at his face shows he doesn't think much of it. + + JEFF + Readers' Digest, April, 1939. + + STELLA + Well, I only quote from the best. + + She takes the thermometer out of its case, shakes it down. + Looks at it. Satisfied, she walks to Jeff. + + She swings the wheelchair around abruptly to face her. + + +24 INT. JEFF'S APARTMENT - (DAY) - MEDIUM SHOT 24 + + Jeff starts to protest. + + JEFF + Now look, Stella -- + + She shoves the thermometer into his mouth. + + STELLA + See it you can break a hundred. + + As she leaves him holding the thermometer THE CAMERA PULLS + BACK as she crosses to a divan. She takes a sheet from + underneath, and covers the divan with it. Talking, all the + time. + + STELLA + I shoulda been a Gypsy fortune + teller, instead of an insurance + company nurse. I got a nose for + trouble - can smell it ten miles + away. + (Stops, looks at him) + You heard of the stock market crash + in '29? + + Jeff nods a bored "yes." + + STELLA + I predicted it. + + JEFF + (Around thermometer) + 17. + + + How? + + +25 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 25 + + Stella stops for a moment, and looks at Jeff challengingly. + + STELLA + Simple. I was nursing a director of + General Motors. Kidney ailment they + said. Nerves, I said. Then I asked + myself - what's General Motors got + to be nervous about? + (Snaps her fingers) + Overproduction. Collapse, I + answered. When General Motors has + to go to the bathroom ten times a + day - the whole country's ready to + let go. + + +26 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 26 + + A patient, suffering look comes over his face. He takes out + the thermometer. + + JEFF + Stella - in economics, a kidney + ailment has no relationship to the + stock market. Absolutely none. + + STELLA + It crashed, didn't it? + + Jeff has no answer. Defeated, he puts the thermometer back + into his mouth. + + +27 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 27 + + Stella goes on with her work. + + STELLA + 18. + + + I can smell trouble right in this + apartment. You broke your leg. You + look out the window. You see things + you shouldn't. Trouble. I can see + you now, in front of the judge, + flanked by lawyers in blue double- + breasted suits. You're pleading, + "Judge, it was only innocent fun. I + love my neighbors like a father." - + The Judge answers, + "Congratulations. You just gave + birth to three years in Dannemora." + + THE CAMERA PANS HER over to him. She takes out the + thermometer, looks at it. + + JEFF + Right now I'd even welcome trouble. + + STELLA + (Flatly) + You've got a hormone deficiency. + + JEFF + How can you tell that from a + thermometer! + + STELLA + Those sultry sun-worshipers you + watch haven't raised your + temperature one degree in four + weeks. + + She gets down the thermometer. Sterilizes it with a piece + of alcohol-soaked cotton in her other hand. + + She gets behind the wheelchair the CAMERA PULLS back as she + pushes it over to the divan. She puts the thermometer away + in its case. Then she helps him off with his pajama top. + She helps him stand on one foot. + + He hops one step, then she lowers him, face down, on the + divan. She gets a bottle of rubbing oil. + + +28 INT. JEFF'S APARTMENT - (DAY) - CLOSE SHOT 28 + + The CAMERA is very low at one end of the divan. Jeff's + head, half-buried in the sheet, is large in the fore- + ground. Beyond him Stella looms large and powerful-looking. + + JEFF + 19. + + + I think you're right. There is + going to be some trouble around + here. + +Stella takes a handful of oil, slaps it on his back. He +winces. + + STELLA + I knew it! + + JEFF + Don't you ever heat that stuff up. + + STELLA + Gives your circulation something to + fight. + + STELLA + (Begins massaging his + back) + What kind of trouble? + + JEFF + Lisa Fremont. + + STELLA + You must be kidding. A beautiful + young woman, and you a reasonably + healthy specimen of manhood. + + JEFF + She expects me to marry her. + + STELLA + That's normal. + + JEFF + I don't want to. + + STELLA + (Slaps cold oils on him) + That's abnormal. + + JEFF + (Wincing) + I'm not ready for marriage. + + STELLA + Nonsense. A man is always ready for + marriage - with the right girl. And + Lisa Fremont is the right girl for + any man with half a brain, who can + get one eye open. + 20. + + + JEFF + (Indifferent) + She's all right. + +She hits him with some more cold oil. He winces again. + + STELLA + Behind every ridiculous statement + is always hidden the true cause. + (Peers at him) + What is it? You have a fight? + + JEFF + No. + + STELLA + (After a pause) + Her father loading up the shotgun? + + JEFF + Stella! + + STELLA + It's happened before, you know! + Some of the world's happiest + marriage have started 'under the + gun' you might say. + + JEFF + She's just not the girl for me. + + STELLA + She's only perfect. + + JEFF + Too perfect. Too beautiful, too + talented, too sophisticated, too + everything -- but what I want. + + STELLA + (Cautiously) + Is what you want something you can + discuss? + +Jeff gives an exasperated look. + + JEFF + It's very simple. She belongs in + that rarefied atmosphere of Park + Avenue, expensive restaurants, and + literary cocktail parties. + + STELLA + 21. + + + People with sense can belong + wherever they're put. + + JEFF + Can you see her tramping around the + world with a camera bum who never + has more than a week's salary in + the bank? + (Almost to himself) + If only she was ordinary. + +Stella sprinkles powder on his back, spreads it around. + +THE CAMERA PULLS BACK as she helps Jeff to a sitting +position. He buttons on his shirt. + + STELLA + You're never going to marry? + + JEFF + Probably. But when I do, it'll be + to someone who thinks of life as + more than a new dress, a lobster + dinner, and the latest scandal. I + need a woman who'll go anywhere, do + anything, and love it. + +THE CAMERA MOVES IN as she helps him into the wheel-chair, +listening to him with exaggerated attention. He stops as he +notice her attitude. Then he goes on with less conviction: + + JEFF + The only honest thing to do is call + it off. Let her look for somebody + else. + + STELLA + I can just hear you now. "Get out + of here you perfect, wonderful + woman! You're too good for me!" + + JEFF + (After pause) + That's the hard part. + +She swings him around in front of the window. He starts to +look out. + + STELLA + 22. + + + Look, Mr. Jefferies. I'm not + educated. I'm not even + sophisticated. But I can tell you + this - when a man and a woman see + each other, and like each other - + they should come together - wham + like two taxies on Broadway. Not + sit around studying each other like + specimens in at bottle. + + JEFF + There's an intelligent way to + approach marriage. + + STELLA + (Scoffing) + Intelligence! Nothing has caused + the human race more trouble. Modern + marriage! + +Jeff swings his chair back to look at her. + + JEFF + We've progressed emotionally in -- + + STELLA + (Interrupting) + Baloney! Once it was see somebody, + get excited, get married -- Now, + it's read books, fence with four + syllable words, psychoanalyze each + other until you can't tell a + petting party from a civil service + exam + + JEFF + People have different emotional + levels that -- + + STELLA + (Interrupting again) + Ask for trouble and you get it. Why + there's a good boy in my + neighborhood who went with a nice + girl across the street for three + years. Then he refused to marry + her. Why? - Because she only Scored + sixty-one on a Look Magazine + marriage quiz! + +Jeff can't help smiling. + + STELLA + 23. + + + When I married Myles, we were both + maladjusted misfits. We still are. + And we've loved every minute of it. + + JEFF + That's fine, Stella. Now would you + make me a sandwich? + + She relaxes. + + STELLA + Okay -- but I'm going to spread + some common sense on the bread. + Lisa Fremont's loaded to her + fingertips with love for you. I'll + give you two words of advice. Marry + her. + + JEFF + (Smiles) + She pay you much? + + Stella leaves for the kitchen in a huff. Jeff turns his + chair to the window. + + +29 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 29 + + Jeff now looks out to see what has happened to the old + lady, and the man with the flowers. + + +30 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT 30 + + The elderly lady is now asleep in her desk chair, her face + covered with the Herald Tribune. There is no sign of the + man with the flowers. + + +31 INT. JEFF'S APARTMENT - DAY - CLOSEUP 31 + + Jeff's eyes travel up to the ballet dancer's window. + + +32 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 32 + + She is sitting near the window looking into an upright + mirror. Dreamily, and methodically, she is brushing her + long copper-colored hair. + + +33 INT. JEFF'S APARTMENT - DAY - CLOSEUP 33 + 24. + + + His eyes are suddenly turned in another direction, sharply + to his left. + + +34 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 34 + + He is now looking at the windows of the apartments nearest + to him. A shade has gone up, and a man, obviously a + caretaker is raising a window with some effort. Having + accomplished this, he turns back into the room, and we now + see him approach a young man and woman who are standing + just inside the doorway. He hands a key to the young man, + and then obligingly brings in two suitcases which he places + on the floor beside them. He gives them a studied, but + agreeable nod, then departs. We now see that the girl has a + small hat with a veil, and an ornate corsage pinned to her + light blue tailored suit. The boy, who like the girl is + perhaps twenty years old, wears a dark blue serge suit and + a grey felt hat. He takes off the hat, and scales it over + to a nearby chair. Quickly they are in each other's arms, + kissing passionately, crushing the girl's corsage and + pushing her hat back a little. They part, the boy laughs + nervously, and takes a furtive glance out toward the + corridor. He looks back into the room, and beckons her to + come out. She follows him wonderingly. For a moment, both + are lost from sight. When they reappear, he is carrying her + in his arms, over the threshold. He sets her down, closes + the door, and they kiss again. + + They part, still holding hands and looking into each + other's eyes. Then slowly, and significantly, she looks + toward the open window. He releases her hands, goes to the + window and pull down the shade, as she is reaching upward + with both hands to unpin her hat. + + +35 INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP 35 + + There is a soft, understanding look on Jeff's face, and he + gives an involuntary sigh. He is unaware that Stella is now + standing behind him. + + STELLA + (Quietly) + Window shopper + + He freezes, turns slowly to look up at her. + + FADE OUT. + + FADE IN: + 25. + + +36 EXT. NEIGHBORHOOD - NIGHT - SUNSET - LONG SHOT 36 + + The CAMERA makes a short sweep around the neighborhood + showing that some of the rooms are now with heir lights on. + The CAMERA PULLS BACK into Jeff's apartment until his head + fills the screen. He is asleep. A shadow of some other + person creeps over his face. His eyes start to open. He + looks up. + + +37 INT. JEFF'S APARTMENT - SUNSET - CLOSEUP 37 + + The screen is filled with the eyes, nose and mouth of a + woman coming nearer and nearer to the CAMERA to kiss Jeff. + The face is more or less in shadow, a faint light coming + onto the profile from the window. It moves down until the + lips move out of her bottom of her screen, and just the + remain for fill the screen. + + +38 INT. JEFF'S APARTMENT - SUNSET - CLOSEUP 38 + + The two big profiles filling the screen. The girl kisses + Jeff firmly, but not passionately. Then her head moves back + an inch or two. She speaks. + + LISA + (Softly) + How's your leg? + + JEFF + Mmmm - hurts a little. + + LISA + And your stomach? + + JEFF + Empty as a football. + + LISA + And you love life? + + JEFF + Not too active. + + LISA + Anything else bothering you? + + JEFF + Uh-huh. + 26. + + + She gives a low. Warm laugh, and the CAMERA PULLS BACK to + show that Lisa has been bending over Jeff's wheelchair from + the side. As she straightens up, it PANS her swiftly over + to the corner of the room, keeping her in big closeup. She + turns on a low, hanging light. + + We see her full facial beauty for the first time. It is a + warm, intelligent face. + + LISA + (As she moves) + Reading from top to bottom - + (Light on) + Lisa -- + + The CAMERA FOLLOWS HER quickly to another lamp. She gets a + little farther away from us so that we now see her down to + her waist. She turns on the second lamp and the light shows + us that her beauty is not alone in her face. + + LISA + Carol - + + The CAMERA PANS HER over to a third lamp which she turns + on. She is now full figure, beautifully groomed and + flawless. Her dress is high-style fashion and dramatic + evening wear. + + LISA + Fremont. + + +39 INT. JEFF'S APARTMENT - SUNSET - SEMI-CLOSEUP 39 + + Jeff looks across the room at her. + + JEFF + The Lisa Fremont who never wears + the same dress twice? + + +40 INT. JEFF'S APARTMENT - SUNSET - SEMI-LONG SHOT 40 + + LISA + Only because it's expected of her. + + She does a professional model's turn in the dress showing + off its features. + + LISA + Right off the Paris plane. Think it + will sell? + 27. + + +41 INT. JEFF'S APARTMENT - (SUNSET) - SEMI-CLOSEUP 41 + + Jeff replies: + + JEFF + Depends on the quote. Let's see -- + there's the plane tickets over, + import duties, hidden taxes, profit + markups -- + + LISA + -- A steal at eleven hundred + dollars. + + JEFF + (A low whistle) + That dress should be listed on the + stock exchange. + + LISA + We sell a dozen a day in this price + range. + + JEFF + Who buys them? Tax collectors? + + +42 INT. JEFF'S APARTMENT - (SUNSET) - MEDIUM SHOT 42 + + She laughs pleasantly. + + LISA + Even if I had to pay, it would be + worth it - just for the occasion. + + She looks down at the long mahongany table beside her which + is littered with a number of his personal effects. + + Her own handbag is also on the table. As she talks her eyes + scan the table as if she's looking for something specific. + + JEFF + (Off - puzzled) + Something big going on somewhere? + + LISA + (Looking up from the + table) + Going on right here. It's a big + night. + + JEFF + (Off) + 28. + + + It's just a run-of-the-mill Monday. + The calendar's loaded with them. + + Lisa finds what she has been looking for. Picks up an old + and cracked cigarette box, examines it as she talks. + + LISA + It's opening night of the last + depressing week of L. B. Jefferies + in a cast. + + JEFF + (Off) + Hasn't been any big demand for + tickets. + + She turns to look at him, and moves toward him, carrying + the cigarette box. + + LISA + (Smiling) + That's because I bought out the + house. -- This cigarette box has + seen better days. + + +43 INT. JEFF'S APARTMENT - (SUNSET) - MEDIUM SHOT 43 + + Lisa facing Jeff in the chair. + + JEFF + Picked it up in Shangai - which has + also seen better days. + + LISA + It's creaked - and you never use + it. And it's too ornate. I'm + sending up a plain, flat silver one + - with just your initials engraved. + + JEFF + Now that's no way to spend your + hard-earned money! + + LISA + I wanted to, Jeff + (A sudden intake of + breath) + Oh! + 29. + + + She turns around quickly and dashes to the door, dropping + the cigarette box on the table as she passes, THE CAMERA + PANNING with her. She goes up the two steps, stops, turns + back to Jeff. + + LISA + What would you think of starting + off with dinner at the "21"? + + +44 INT. JEFF'S APARTMENT - (SUNSET) - SEMI-CLOSEUP 44 + + JEFF + You have, perhaps, an ambulance + outside? + + +45 INT. JEFF'S APARTMENT - (SUNSET) - SEMI-LONG SHOT 45 + + She reaches for the doorknob, turns it: + + LISA + (Simply) + Better than that. The "21." + + She swings open the door and stands to one side. Framed in + the doorway is middle-aged waiter wearing a white linen pea + jacket with a red collar. He's carrying in one hand a large + portable warming oven, and in the other hand an ice bucket + containing a bottle of wine covered with a napkin. + + +46 INT. JEFF'S APARTMENT - SUNSET - CLOSEUP 46 + + His reaction is one of tender amusement. + + +47 INT. JEFF'S APARTMENT - SUNSET - MEDIUM SHOT 47 + + LISA + Thank you for waiting Carl. + + He smiles, nods enters. He goes down the stairs, as she + follows. THE CAMERA GOES with both of them. + + LISA + Kitchen's on the left. I'll take + the wine. + + He hands her the wine bucket and she places it on the + table. He moves toward the kitchen. + + CARL + 30. + + + Good evening, Mr Jefferies. + + JEFF + Hello. + +Carl goes into the kitchen. + + LISA + (Up, to Carl) + Just put everything right in the + oven Carl. On "low." + + CARL + (Off) + Yes ma'am. + + LISA + (Enthusiastically) + Let's open the wine now. It's a + Montrachet. + + JEFF + (Appreciatively) + A big glassful. + +She moves to a small bar set in the wall cabinet. + +Produces two glasses, hold them up. + + LISA + Big enough? + + JEFF + Fine. Corkscrew's on the right. + +She finds it. Puts the glasses on the table, uncovers the +wine, and begins screwing in the corkscrew. + + LISA + I couldn't think of anything more + boring and tiresome than what + you've been through. And the last + week must be the hardest. + + JEFF + Yeah - I want to get this thing off + and get moving. + + LISA + (Struggling with cork) + Well, I'm going to make this a week + you'll never forget. + 31. + + +Carl comes out of the kitchen carrying the empty warming +oven. He sets it down he sees Lisa struggling with the +corkscrew. + + CARL + Let me, madam. + +She does. He takes out his own professional corkscrew, +quickly inserts it and levers the cork out. He deftly wraps +the napkin around the bottle and pours the wine, replacing +the bottle in the wine bucket. Lisa has opened her purse to +produce some money, in bills. She hands it to the waiter. + + LISA + This will take care of the taxi as + well. + +Carl, without looking at the money, puts it in his pocket. + + CARL + Thank you, Miss Fremont. + +He picks up the warning oven. + + CARL + Have a pleasant dinner, Mr. + Jefferies. + + JEFF + Thank you. + +Carl goes up the stairs and out the door, while THE CAMERA +REMAINS on Lisa and Jeff. She picks up both glasses of wine +and walks toward Jeff. She seats herself on the windowsill +as she hands him his glass. We notice that the outside is +considerably darker by now, and the lights are beginning to +come on in the various apartments outside. They raise their +glasses in a silent toast, and sip the wine. THE CAMERA +CLOSES IN until they are both in a tight TOW SHOT. + + LISA + What a day I've had! + + JEFF + Tired? + + LISA + 32. + + + Not a bit. I was all morning in a + sales meeting. Then over to the + Waldorf for a quick drink with + Madame Dufresne - just over from + Paris. With some spy reports. Back + to the "21" for lunch with the + Harper's Bazaar people - that's + when I ordered dinner. Then two + Fall showings - twenty blocks + apart. Then I had to have a + cocktail with Leland and slim + Hayward - we're trying to get his + next show. + (Softly, looking up to + him) + Then I had to dash back and change. + + JEFF + (Mock seriousness - one + girl to another) + Tell me - what was Slim Hayward + wearing? + + LISA + (Seriously) + She looked very cool. She had on a + mint green--- + +She breaks off with a little laugh, and a slight +reproachful look at Jeff. She sips her drink then says: + + LISA + And to think, I planted three nice + items about you in the columns + today. + +Jeff's opinion of that is a short chuckle. + + LISA + You can't buy that kind of + publicity. + + JEFF + That's good news. + + LISA + Someday you might want to open up + your own studio here. + + JEFF + How could I run it from say -- + Pakistan? + 33. + + +She puts down her glass and slides along the window seat +nearer to him, THE CAMERA CLOSING IN. She looks up at him +with a serious frankness. + + LISA + Jeff -- isn't it time you came + home? You could pick your + assignment. + + JEFF + I wish there was one I wanted. + + LISA + Make the one you want. + + JEFF + (As if he can't believe + her) + You mean leave the magazine? + + LISA + Yes. + + JEFF + For what? + + LISA + For yourself - and me. + (She adds eagerly) + I could get you a dozen assignments + tomorrow...fashion, portraits -- + +Jeff interrupts her with soft laughter. + + LISA + (Offended) + Don't laugh. -- I could do it! + + JEFF + That's what I'm afraid of. + (He gazes into space) + Could you see me - driving down to + the fashion salon in a jeep - + wearing combat boots and a three + day beard? + (He chuckles at the + thought) + + LISA + I could see you looking handsome + and successful in a dark blue + flannel suit. + 34. + + + JEFF + (Looking directly at her) + Let's not talk any more nonsense, + huh? + + She stands up. THE CAMERA PULLS BACK. + + LISA + I'd better start setting up for + dinner. + + She moves away behind him, into the kitchen. + + +48 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 48 + + Jeff gives a sigh of relief, exhaling his breath, then + looks down toward his legs in thought. He holds this + attitude for just a moment, then seems to shake off his + concern to lift his head and turn his attention to what + might be happening in his neighborhood beyond his window. + + Behind him we see the vague form of Lisa bringing in a card + table, which she proceeds to unfold. + + +49 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 49 + + Jeff's attention is concentrated on an apartment we have + not seen before. This belongs to a single woman, about + forty years of age. She lives alone. Her apartment is below + that of the salesman with the invalid wife. + + +50 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 50 + + Jeff leans forward with increased interest. Behind him we + get vague figure of Lisa laying a cloth over the card + table. + + +51 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 51 + + A nearer view show us a more intimate picture of the woman + Jeff is concentrating on. She is thin and unattractive. At + the moment, she is putting on her make-up in front of the + bedroom mirror. She gives a half turn and picks up a pair + of horn-rimmed glasses, which she puts on, and leans nearer + to her mirror. She picks up a lipstick and proceeds to + paint her lips carefully. + 35. + + + Having completed her make-up, she takes off her glasses and + surveys her face in the mirror. She stands up, swings the + skirt of her dress around, admires herself in the mirror. + She is quite flat-chested, and the dress hangs + unattractively. She lifts her chin, gives one last look, + and turns toward her living room. As if she's preparing to + meet someone. + + +52 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 52 + + Without taking his eyes from the scene, Jeff picks up his + wineglass and drinks. As he drinks, his eyes move slightly + over. + + +53 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 53 + + THE CAMERA HAS PANNED slightly to the woman's living room + window. A small, candle-lit table is set up, with dinner + for two. The spinster sweeps into the room, smiling. She + goes to the door, opens it, and in pantomime admits an + imaginary caller. She pretends to kiss him lightly, take + his hat, and place the hat on a chair. Then she shows him + to a seat at the table, disappears into an unseen kitchen + and returns with a bottle and two glasses. She sits down, + pours two drinks. She lifts her drink in a toast to the + imaginary man opposite her. + + +54 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 54 + + Jeff gives a faint, sympathetic smile, and subconsciously + raises his glass in response. In the background, Lisa, + having just placed a pair of candlesticks on the table, is + returning to the kitchen. + + +55 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 55 + + Having finished her drink, the lonesome woman pours herself + another one. Then she starts to take a sip, smiling across + the table at her imaginary guest. She lowers the glass onto + the table. The smile fades from her face as her head drops. + Suddenly she buries her head in her arms over the table and + starts to sob. + + +56 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 56 + + Jeff, his glass in hand, looks out sympathetically. He is + unaware that Lisa is standing behind him, and is also + watching this little drama. + 36. + + + LISA + That's what is know as "manless + melancholia." + + JEFF + (Nods agreement) + Miss Lonely Hearts. -- At least + that's something you'll never have + to worry about. + + LISA + Oh? You can see my apartment all + the way up on 63rd street? + + JEFF + Not exactly - but we have a little + apartment here that's probably + about as popular as yours. + (He points) + You, of course, remember Miss + Torso. + + Both of them swing their eyes a little to the left. + + +57 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 57 + + The kitchen-lining room combination of the ballet dancer's + apartment has now been made more presentable. + + The ice box is now skillfully concealed by a large Chinese + screen. All kitchen utensils have been put away, replaced + by more attractive effects, and lamp light softens the + surroundings. + + Miss Torso is now wearing a cocktail dress, which shows off + her figure to great advantage, especially when she leans + toward tree assorted men to offer them a plate of hors d' + oeuvres. She is the perfect hostess, animated, charming, + and with an added personal touch for each guest. She is + behaving with a sophistication which was not apparent when + we first saw her in the morning. Her every movement is + followed admiringly by the eyes of the three men - one + wearing black tie, with a touch of grey in his hair, a Long + Island socialite - a young rather handsome, actor in grey + flannel suit - and last, a bright, pleasant, young man who + might possibly be from Wall street, wearing a blue-pin- + striped suit. The latter two are engaged in an animated + conversation. The young man in the grey suit is showing the + other young man some newspaper cuttings he's taken from his + pocket. + 37. + + + Miss Torso sees that the cocktail glass of the third man is + empty. She takes it over to the window, and starts to fill + it. The man in the tuxedo follows her over, with a casual + glance toward the other two. He stands beside her as she + makes the drink. He looks at his watch with some + impatience, and makes a side comment to her as to the + lateness of the time. She turns, gives him a light kiss on + his cheek, as if she's telling him to be patient. Instead + of pacifying him, it makes him more amorous, and he puts an + arm around her shoulder an plants a heavy kiss on her + cheek. She turns to face him, they look into each other's + eyes a moment, and she allows herself to be kissed on the + lips - but only long enough so as to attract the attention + of the other two men. With a little admonishing look, she + moves away from him, and makes him rejoin the other two. + + +58 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 58 + + Jeff turns and looks up to Lisa with a grin. + + JEFF + Well, she picked the most + prosperous looking one. + + LISA + She's not in love with him - or any + of them. + + JEFF + How can you tell that - from here? + + LISA + You said it resembled my apartment + didn't you? + + She moves away with a significant look to him. THE CAMERA + MOVES IN until Jeff is in semi-closeup, alone. + + He ponders over her last remark, then changes his look to + another direction. + + +59 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 59 + + The newlyweds's apartment has the shades still drawn. + + Although there's a light burning inside. + + +60 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 60 + 38. + + + There is a slight, but warm, smile on Jeff's face as he + looks at the drawn shade. His eyes move away from the + newlyweds' apartment, and slowly explore the neighborhood + to his right. He finds something of interest, and stops to + stare at it. His face sobers at what he sees. + + +61 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 61 + + The salesman's apartment. We see both the living room and + the bedroom. The salesman has prepared a dinner tray, and + is carrying it from the kitchen, through the lining room, + into the bedroom. He places it on the lap of his wife, + sitting up in bed. He puts a couple of pillows behind her + back to make her more comfortable. + + She doesn't bother to thank him, but is busy examining the + content of the tray. Her attitude shows her + dissatisfaction. Nothing is right. It's not what she + wanted, and it's badly prepared. She begins criticizing + him. He starts to answer her back, but decides better of + it, and instead, leaves the room. He goes to the kitchen + reaches up to a wall cabinet, takes down a bottle and pours + himself a drink. Then he returns to the lining room, + listens a moment. The wife is grudging beginning to eat the + dinner. The husband quietly lifts a phone from the cradle, + and dials a number. + + +62 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 62 + + Jeff becomes completely absorbed with he sees. He leans + forward a little. + + +63 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 63 + + We get a better view of the salesman waiting while his + connection is being made. Whoever he has called answers. + And instantly there is a marked change in his attitude. He + relaxes, smiles, is warm. Ha talks softly, perhaps + guardedly, with an occasional glance at the bedroom door. + In the bedroom, his wife has become aware of the call. + + Quietly she moves the tray, gets out of bed, and goes to + the bedroom door to listen. The wall hides her from our + view. + 39. + + + Then suddenly, she apparently opens the door, because the + living room, we see her arm suddenly appear, pointing at + the man and the telephone. He speaks quickly into the + phone, and hangs up. His face is flushed and angry as he + goes toward the bedroom. In the bedroom his wife appears + walking back to the bed, followed by the husband. She is + laughing, and he is answering her in angry tones. She + climbs in bed laughing. The more she laughs, the more angry + he gets, and the harder she laughs. Finally, he leaves the + room, goes into the living room, back into the kitchen and + has another drink. He stands there, controlling an outburst + of emotion, and seems almost to be crushing the shot glass + in his clenched fist. + + +64 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 64 + + While Jeff has been engaged in watching this little drama, + the SOUND of a piano has started. He now diverts his + attention from the salesman's apartment to the source of + the piano music. He turns his eyes in the direction of the + composer's apartment. + + +65 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 65 + + Through the studio window of the song-writer's apartment we + see the man at work again on his original melody, and he is + farther along the line of the melody than before. + + It is beginning to take some shape, and give promise of tis + full beauty. + + +66 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 66 + + Jeff, listening to the composer. His head turns as Lisa's + voice comes over: + + LISA + (Emerging from kitchen) + Where's that music coming from? + + THE CAMERA QUICKLY PULL BACK as Jeff swings his chair + around. Lisa is emerging from the kitchen, carrying the + serving dish of their lobster thermidor. + + JEFF + Oh... some songwriter. In the + studio apartment. Lives alone. + Probably had an unhappy marriage. + + LISA + 40. + + + (Putting down the food) + I think it's enchanting. + + She pulls up a chair and seats herself at the card table. + We now observe that tow small lit candles adorn the table, + and the rest of the room lights are out. + + LISA + Almost as if it were being written + especially for us. + + JEFF + (Pleasantly) + No wonder he's having so much + trouble with is. + + +67 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 67 + + A faint shade of disappointment is seen on Lisa's face; but + she quickly recovers and looks down at the table. + + LISA + Well, at least you can't say the + dinner isn't right. + + +68 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 68 + + Jeff looks at her soberly. + + JEFF + Lisa, it's perfect + (Looks down at the food, + without enthusiasm) + As always. + + +69 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 69 + + The brightness drains from Lisa's face, and she lowers her + eyes slowly toward the table. + + +70 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 70 + + Lisa slowly helping Jeff to lobster from the main dish. + + LAP DISSOLVE TO: + + +71 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 71 + 41. + + +Shooting over Jeff's shoulder we see beyond him the divan- +bed upon which Lisa is stretched out. There is one light +burning, behind Lisa's head. A fierce discussion is in +progress. Lisa gesticulates with her hands, body and legs. + + LISA + There can't be that much difference + between people and the way they + live! We all eat, talk, drink., + laugh, sleep, wear clothes -- + +Jeff raises both his hands. + + JEFF + Well now, look -- + +Lisa draws back one leg, and points a finger challengingly. + + LISA + If you're saying all this just + because you don't want to tell me + the truth, because you're hiding + something from me, then maybe I can + understand -- + + JEFF + There's nothing I'm hiding. It's + just that -- + + LISA + (Won't let him break in) + It doesn't make sense to me. What's + so different about if here from + over there, or any place you go, + that one person couldn't live in + both places just as easily? + + JEFF + Some people can. Now if you'll let + me explain -- + + LISA + (Ignores him) + What is it but travelling from one + place to another, taking pictures? + It's just like being a tourist on + an endless vacation. + + JEFF + All right. That's your opinion. + You're entitled to it, but -- + + LISA + 42. + + + It's ridiculous for you to say that + it can only be done by a special, + private little group of anointed + people. + + +72 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 72 + + Jeff begin to get desperate. + + JEFF + I made a simple, but true statement + and I'll back it up, if you'll just + shut up for a minute! + + +73 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 73 + + Lisa, stretched out on the divan. She looks at him for a + moment without speaking. Then: + + LISA + If your opinion is as rude as your + manner, I'm not sure I want to hear + it. + + We see Jeff's hand coming to the foreground with a + restraining gesture. + + JEFF + (Soothing her) + Lisa, simmer down - will you? + + LISA + (Something starts her up + again) + You can't fit in here -- I can't + fit in there. According to you, + people should be born, live an die + on the same -- + + JEFF + (Loud, sharp) + Lisa! Shut up! + + Lisa turns on her side, and stares into the room, angrily. + + +74 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 74 + + After a moment of silence, Jeff says earnestly: + + JEFF + 43. + + + Did you ever eat fish heads and + rice? + + LISA + Of course not. + + JEFF + You might have to, if you went with + me. -- Ever try to keep warm in a + C-54, at fifteen thousand feet, at + twenty below zero? + + +75 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 75 + + Lisa, still looking out into the room, and without turning, + says: + + LISA + Oh, I do that all the time. + Whenever I have a few minutes after + lunch. + + JEFF + Ever get shot at, run over, + sandbagged at night because people + got unfavorable publicity from your + camera? + + She doesn't answer, obviously annoyed at the unnecessary + questions. + + JEFF + Those high hells would be a lot of + use in the jungle - and those + nylons and six-ounce lingerie -- + + LISA + (Quickly) + Three. + + JEFF + Well, they'd be very stylish in + Finland - just before you froze to + death. Begin to get the idea? + + She turns at last, and looks across at him. + + LISA + If there's one thing I know, it's + how to wear the proper clothes. + 44. + + +76 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 76 + + SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff + in the chair beyond. Jeff says, as if remembering some old + experience: + + JEFF + Huh? Try and find a raincoat in + Brazil. Even when it isn't raining + (Squints at her) + Lisa, on this job you carry one + suitcase. Your home is the + available transportation. You sleep + rarely bathe even less, and + sometime the food you even look at + when they were alive! + + LISA + Jeff, you don't have to be + deliberately repulsive just to + impress me I'm wrong. + + JEFF + If anything, I'm making it sound + good. + (A thoughtful pause) + Let's face it, Lisa...you aren't + made for that kind of a life. Few + people are. + + +77 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 77 + + Lisa realizes she is getting nowhere. + + LISA + You're too stubborn to argue with. + + +78 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 78 + + Jeff, getting angry. + + JEFF + I'm not stubborn! I'm truthful! + + +79 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 79 + + Lisa, with sarcasm. + + LISA + 45. + + + I know. A lesser men would have + told me it was one long holiday -- + and I would have awakened to a rude + disillusionment. + + +80 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 80 + + Jeff is definitely angry. + + JEFF + Now if you want to get vicious, I'd + be very happy to accommodate you! + + +81 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 81 + + Lisa starts to rise from the divan, THE CAMERA PANNING UP. + She moves away from THE CAMERA into the center of the room, + as she says: + + LISA + (Wearily) + No - I don't particularly want + that. + (She turns, faces him) + So that's it. You won't stay here - + I can't go with you. + + +82 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 82 + + Jeff looks across at her with some concern. + + JEFF + It would be the wrong thing. + + +83 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 83 + + Lisa, from Jeff's viewpoint. + + LISA + You don't think either one of us + could ever change? + + JEFF + Right now, it doesn't seem so. + + Lisa begins to move around the room assembling her + possessions preparatory to leaving. She puts a comb, and + other effects, into a handbag. She gets her stole. + 46. + + + All this as she talks. + + LISA + (Simply) + I'm in love with you. I don't care + what you do for a living. Somehow I + would just like to be part of it. + + +84 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 84 + + Jeff starts to say something then thinks better of it, and + remains silent. + + +85 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 85 + + Lisa pauses in the act of gathering her things together. + + LISA + And it's deflating to find out that + the only way I can be part of it - + is to take out a subscription to + your magazine. -- I guess I'm not + the girl I thought I was. + + JEFF + There's nothing wrong with you, + Lisa. You have the town in the palm + of your hand. + + LISA + (Looks at Jeff) + Not quite - it seems. + (Tosses a stole over her + shoulder) + Goodbye, Jeff. + + +86 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 86 + + JEFF + You mean "goodnight." + + LISA + I mean what I said. + + Jeff's eyes follow her up the steps toward the door. He + calls out to her, impulsively, as we HEAR the SOUND of the + door opening. + + JEFF + Lisa! + 47. + + +87 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-LONG SHOT 87 + + Lisa turns in the half-opened door. + + JEFF + Can't we just sort of keep things + status quo? + + LISA + Without any future? + + +88 INT. JEFF'S APARTMENT - (NIGHT) - SEMI LONG SHOT 88 + + Jeff tries to be pleasant, and offhand. + + JEFF + Well - when'll I see you again? + + +89 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 89 + + Lisa, standing in the open doorway. + + LISA + Not for a long time. Not, at least + until -- + (She begins smiling) + -- tomorrow night. + + Continues smiling as she close the door softly behind her. + + +90 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 90 + + The pleasantness on Jeff's face slowly melts into baffled + discouragement. He reaches for a nearby phone picks up the + receiver, dials. It buzzes on filter. + + Receiver up on filter. + + GUNNISON + (Filter) + Hello. + + JEFF + Gunnison? + + GUNNISON + Yeah. Is that you, Jeff? + + JEFF + 48. + + + It's me. + + GUNNISON + Something wrong? + + JEFF + The word is "everything." Now what + time does my plane leave Tuesday? + + GUNNISON + (Unhappy) + Jeff --- + + JEFF + (Won't give him time to + argue) + I don't care where it goes - just + as long as I'm on it. + + GUNNISON + (Wearily, after pause) + Okay. Indo-China. Tuesday. We'll + pick you up. + + JEFF + That's more like it. Goodnight, old + buddy. + + GUNNISON + Yeah. + + Jeff hangs up, looks up to the door through which Lisa + left. He's not particularly happy. + + +91 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 91 + + Jeff returns to the window. He lights a cigarette and + smokes it peacefully, as he contemplates the neighborhood. + + +92 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 92 + + The CAMERA slowly sweeps over the various apartments with + an odd window lit here and there. In the distant street + there is still some traffic passing, with one or two + pedestrians going by. THE CAMERA completes its sweep, and + starts to move back again. Somewhere a dog howls. The + PANNING CAMERA comes to a sudden halt. + + +93 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 93 + 49. + + + Jeff smiles a little, but as the howl continues, his + expressions sobers. His eyes begin to scan the + neighborhood, as if looking for the source. He fails to + find it, and sits there, puzzled and disturbed. The scene, + and the sound of the dog: + + FADE OUT: + + FADE IN: + + +94 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 94 + + Jeff's chair is turned facing the window so that we see the + darkened room behind him. There is just one side light + burning, which illuminates the side of his face. + + His head nods sleepily as he dozes. He opens his eyes and + looks out, as a slight sound of rain starts. + + +95 EXT. NEIGHBORHOOD - (NIGHT) - LONG SHOT 95 + + From his viewpoint we see the first few drops of rain + starting to fall. It is sort, gentle rain, not a downpour. + There are still some windows lit in the neighborhood. The + apartment house corridors all have small night lights + burning. + + +96 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 96 + + Jeff wakens a little more fully as his attentions is drawn + to: + + +97 EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT 97 + + The couple who sleep on the fire escape. The increasing + rain cause them to hastily gather their things to retreat + inside. The man, hurriedly untying the alarm clock from the + railing of the fire escape, lets it slip through his + fingers. As if falls to the garden below, the CAMERA FANS + SWIFTLY down with it. When the clock hits the ground, the + alarm goes off sending a shrill sound through the + neighborhood. + + +98 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 98 + + Jeff smiles at the incident, and then lowers his eyes + slightly as something else catches his attention. + 50. + + +99 EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT 99 + + Coming out of his apartment into the corridor on the floor + below is the salesman with the nagging wife. The shades are + drawn in his apartment, but a light burns dimly behind + them. The salesman carries a large aluminum suitcase - the + same one we saw him with earlier in the day. The sound of + the alarm startles him. He turns toward the window a moment + listening. Then reassured that is is nothing important, he + turns and moves down the corridor. + + +100 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 100 + + Jeff is puzzled. He looks down a moment in thought. + + Then he forts his eyes and swings them toward the left. + + He looks steadily toward the distant street corner. + + +101 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 101 + + The street corner, lighted by a lamp, is deserted. A moment + later, the salesman, still carrying the suitcase, moves + diagonally across the corner, head down against the rain. + + +102 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 102 + + Jeff looks wonderingly at this nocturnal activity. Then he + looks down at his wristwatch. + + INSERT + + Jeff's watch reads 1:55. + + QUICK FADE OUT: + + QUICK FADE IN: + + INSERT + + The watch now reads 2:35. + + +103 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 103 + + More puzzled, allows his eyes to travel from the street to + the apartment corridor. + 51. + + +104 EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT 104 + + The salesman is see coming down the corridor to his + apartment, still carrying the aluminum case. He quickly + enters his apartment door in a business-like manner. + + +105 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 105 + + Jeff starts to assume a thoughtful air, when he is startled + by a light which falls across his face from the right. He + looks toward the light. + + +106 EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT 106 + + The light comes from the song-writer's apartment. His door + is open, and he is hanging onto the door frame, his hand + still on the light switch. He surveys his apartment. He + appears rather drunk. He comes into the apartment, closes + the door behind him, and sways a little. He wears a hat, + pushed back on his forehead, and no raincoat. His clothes + are quite wet. He might have even fallen. + + He looks disgustedly at the piano, then lurches toward it. + There is no doubt now as the state of his drunkenness. At + the piano he viciously sweeps all the note paper off the + music stand. This seems to give him some satisfaction, but + he loses his balance, twists sideway, and fall into a + nearby chair. He remains there, bleary-eyed and a little + sick. + + +107 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 107 + + What he has observed seems to give Jeff an idea. He moves + his wheelchair backward and to the lift alongside the side + board. Awkwardly, with his left hand, he reaches up for a + bottle of whiskey. He cradles the bottle in his lap, and + reaches for a tumbler. He then wheels back to the window, + and pours himself a good, long drink. He lifts up the + glass, starts to drink, but something happening beyond his + window startles him and he stops in the middle of his + drink, his eyes a little wider then usual. + + +108 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 108 + + The salesman is again leaving his apartment with his + aluminum suitcase. + + +109 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 109 + 52. + + + Jeff's eyes travel down to the street. + + +110 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 110 + + A brief moment or two. Then the salesman, carrying his + aluminum case, crosses the street. + + +111 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 111 + + Jeff's face is expressionless. He just stares. + + FADE OUT. + + FADE IN: + + +112 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 112 + + Jeff's head is nodding and dozing again. The side light + from the song-writer's apartment is no longer on his face. + Jeff's eyes open, then his head comes up quickly, trying to + clear the sleep from his mind, as he remembers the object + of his vigilance. + + +113 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 113 + + The salesman's apartment shows the shades drawn and a dim + light burning behind them. The CAMERA PANS to the empty + corridor. + + +114 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 114 + + Jeff's eyes turn sharply in the direction of the street. + + +115 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 115 + + The street is deserted. At the right hand side of the + screen a light goes on. THE CAMERA PANS OVER and we see + that Miss Torso has returned from her date. She is wearing + a three-quarter length coat over her evening dress. She is + inside, with the door two-thirds closes, but she leans out + to kiss someone goodnight. Then is takes some coaxing to + get the door completely closed. + + She turns the key in the lock. She listens a moment then + comes to the center of the room. She takes her coat off and + drapes it over chair. She removes the screen in front of + the ice box, then opens the ice box. + 53. + + + She searches it for something to eat; finds a big piece of + pumpkin pie. She closes the ice box. She starts to eat the + pie as she moves in the direction of the bathroom. Stopping + a moment, she puts the piece of pie on a table, and + proceeds to take off her dress. Undoing the zippers, she + slides it over her head as she passes into the bathroom. + The dress is thrown on a nearby chair, and the bare arm + picks up a piece of pie. She is now in the bathroom. We see + her slip down the brassiere straps, but the window does not + permit us to see any lower. As she munches on the pie, she + pulls out a few holding up her hair, which she proceeds to + brush rhythmically. She turns and moves down her bare back. + + +116 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 116 + + Jeff's eyes suddenly switch to the street. + + +117 EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT 117 + + We catch a quick glimpse of the salesman, just passing the + alleyway, suitcase in hand. The CAMERA PANS across the + ballet dancer's apartment, over to the salesman's + apartment. It waits, until he appears in the corridor. + + He enters his apartment. + + +118 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 118 + + Jeff sits in his wheelchair, looking quietly out at the + neighborhood, sleep beginning to take hold on him again. + + +119 EXT. NEIGHBORHOOD - NIGHT - LONG SHOT 119 + + THE CAMERA PANS slightly over the whole of the + neighborhood. The lights in Miss Torso's apartment snap + out. Only one light remains. It burns behind the drawn + shades of the salesman's apartment. + + FADE OUT: + + FADE IN: + + +120 INT. JEFF'S APARTMENT - DAWN - CLOSEUP 120 + 54. + + + A big head of Jeff. He is still in his wheelchair, sound + asleep. The CAMERA PANS off his face, out through the + window. The rain has stopped, and the general light of dawn + is coming up. The CAMERA COMES TO REST on the salesman's + apartment and corridor, which is still dimly lit by the + electric lights. We see the salesman emerge into the + corridor, pause a moment to allow a woman to proceed him. + Her back is to the CAMERA and we do not see her face. They + move away, down the corridor. The CAMERA PANS BACK into + Jeff's sleeping face. + + FADE OUT: + + FADE IN: + + +121 EXT. NEIGHBORHOOD - DAY - LONG SHOT 121 + + It is now mid-morning. The sun is shining. Miss Torso is + practicing her dance to the sound of ballet music. + + We can hear the song-writer at work, but the thing that + attracts our attention mostly, is some action that emanates + from the fire escape where the couple sleep at night. On a + long rope, the woman is lowering an open wicker basket in + which sits a small dot. When is reaches the yard below, the + CAMERA PANNING DOWN, the dog steps out and runs off to + explore the yard. The woman pulls up the basket, and leaves + it on the fire escape. The CAMERA PULL BACK into Jeff's + apartment where Stella is busy massaging Jeff's back at he + lies face down on the divan. + + STELLA + You'd think the rain would have + cooled things off. All it did was + make the heat wet. + + Stella hits a sore muscle in Jeff's back. He jumps. + + JEFF + That's a stiff one. + + +122 INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT 122 + + A low camera has Jeff's head on the foreground, with Stella + just behind him, at work on his back. She attacks the sore + muscle vigorously. + + STELLA + The insurance Company would be a + lot happier if you slept in your + bed, not the wheelchair. + 55. + + + JEFF + (Between clenched teeth) + How did you know! + + STELLA + Eyes bloodshot. Must have been + staring out the window for hours. + + JEFF + I was. + + STELLA + (Massaging harder) + What'll you do if one of them + catches you? + + JEFF + Depends one which one. + +She stops massaging, reaches for the oil. + + JEFF + Now Miss Torso, for example -- + +Stella hits his back with a palmful of cold oil. It takes +his breath. + + STELLA + Keep your mind off her. + + JEFF + She's real eat, drink and be merry + girl. + + STELLA + And she'll end up fat, alcoholic + and miserable. + + JEFF + Speaking of misery, Miss Lonely + Hearts drank herself to sleep + again. + + JEFF + Alone. + + STELLA + Poor girl. Someday she'll find her + happiness. + + JEFF + And some man will lose his. + 56. + + + STELLA + Isn't there anyone in the + neighborhood who might cast an eye + in her direction? + + JEFF + Well, the salesman could be + available soon. + + STELLA + (Interested in the + scandal) + He and his wife splitting up? + + JEFF + It's hard to figure. He went out + several time last night, in the + rain carrying his sample case. + + STELLA + (So?) + Isn't he a salesman? + + JEFF + Now what could he sell at three in + the morning? + + STELLA + (Shrugs) + Flashlights. Luminous dials for + watches. House numbers that light + up. + + JEFF + He was taking something out of the + apartment. I'm certain. + +She helps him to a sitting position. + + STELLA + His personal effects. He's probably + running away - the coward. + + JEFF + Sometimes it's worse to stay than + it is to run. + + STELLA + (Looks at him) + But it takes a particularly low + type of man to do it. + 57. + + + Jeff turns his head away for a moment. She helps him into + the chair. Hands him his shirt, which he proceeds to put + on. The back of his chair is to the window. + + STELLA + (Putting oil and power + away) + What about this morning? Any + developments? + + JEFF + No. The shades are still drawn in + their apartment. + + STELLA + (stops) + In this heat? + (Turns, looks over his + shoulder) + They're up now. + + +123 INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP 123 + + He quickly turns his wheelchair around to the window until + he is in profile. + + +124 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 124 + + The salesman, having just raised the shades in the living + room, is now looking out the window. It is not a casual + look, but a long, careful, searching appraisal of all the + apartment house windows in his neighborhood, starting from + his left to his right. His eyes move closer toward Jeff's + apartment. + + +125 INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT 125 + + Jeff in his chair, facing the window, Stella beside him. + Jeff nearly knocks the startled Stella off her feet with + his arm. + + JEFF + Get back! Out of sight! Quick! + + He propels his chair backward quickly, and Stella moves to + the side with surprising agility. They are both in shadow. + + STELLA + (A startled whisper) + What is it? What's the matter? + 58. + + + Jeff keeps his eyes trained on the window. + + JEFF + (Quietly) + The salesman's looking out his + window. + + Stella relaxes, gives Jeff a disgusted look, and starts to + move out of the shadows. + + STELLA + A Federal offense. + + JEFF + (Sharply) + Get back there! He'll see you! + + She moves back into the shadows. + + STELLA + I'm not shy. I've been looked at + before. + + JEFF + (Still peering toward + window) + It's not an ordinary look. It's the + kind of look a man gives when he's + afraid somebody might be watching + him. + + +126 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 126 + + The salesman completes his searching glance at the + neighborhood. Then something directly below his window + catches his attention. He looks sharply downward, his body + visibly tensing. + + +127 INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT 127 + + Jeff, with a restraining hand to Stella, begins to edge his + chair cautiously forward so that he can see what the + salesman is looking at. + + +128 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 128 + + THE CAMERA MOVES FORWARD, and as it reaches the edge of the + window, PANS DOWN and shows us what the salesman is looking + at. The little dog that was lowered in the basket is + sniffing at the salesman's personal flower bed. + 59. + + +129 INT. JEFF'S APARTMENT - DAY - CLOSEUP 129 + + Jeff's eyes move up quickly to look at the salesman. + + +130 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) 130 + + The salesman leans forward and grips the window sill as he + watches the dog. The CAMERA PANS DOWN and we now see that + the old lady with the hearing aid is leaning over the fence + admonishing the dog. We can faintly hear her voice saying + something to the effect that he'll get into trouble. The + dog turns to glance at her and apparently taking heed, + moves away. The old lady is wearing a faded house-robe. + + +131 INT. JEFF'S APARTMENT - CLOSEUP - (DAY) 131 + + Jeff is amused at the dog incident. Behind him, Stella + moves to the center of the room, saying: + + STELLA + Goodbye, Mr. Jefferies. I'll see + you tomorrow. + + JEFF + (Grunts) + Uh-huh. + + She begins putting her equipment back into her black bag. + Jeff's eyes lift to the salesman's apartment, and the + amusement drains from his face. He leans forward a little, + tensely. + + +132 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) 132 + + The salesman has his aluminum case on the table near the + center of the room. He is carefully wiping out the interior + with dust cloth. + + +133 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (DAY) 133 + + Jeff watching intently. Stella putting the last of her + things into her bag. + + STELLA + And don't sleep in the chair again. + + Jeff continues to what the salesman, his face showing a + great concentration of thought. + 60. + + + JEFF + Uh-huh. + + Stella picks up her bag, stares at Jeff's back a moment, + then starts for the door. + + STELLA + Uh-huh. Uh-huh. Great + conversationalist. + + Jeff swings half-way around in his chair just as Stella + reaches the top of the steps. + + JEFF + Stella + + She turns around. Jeff points to a coat-stand near the + door. + + JEFF + (Goes on quickly) + Will you take those binoculars out + of the case and bring them to me. + + She puts down her bag, reaches for the binoculars, takes + them out the case. She comes down the stairs, brings them + to him. He immediately swings to the window, and lifts them + to his eyes. Stella sniffs, then goes to the door, as she + says: + + STELLA + Trouble. I cam smell it. I'll be + glad when they crack that cast, and + I get out of here. + + As Stella goes out the door, the CAMERA MOVES IN until + Jeff's head, and the binoculars, are filling the screen. + + +134 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) 134 + + The salesman has completed his cleaning of the case. He is + in the act of placing it on the floor. He turns and again + glances out of the window. + + +135 INT. JEFF'S APARTMENT - CLOSEUP - (DAY) 135 + + Jeff quickly lowers the binoculars and edges back a few + inches. He watches a moment, then cautiously lifts the + binoculars again. + 61. + + +136 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (DAY) 136 + + The man is now moving out of the living room, and the + binoculars PAN him though to the small kitchen which is + seen through a side window. + + The man starts to busy himself in this kitchen with his + back to us, but the image is very unsatisfactory. + + +137 INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP 137 + + Jeff lowers the binoculars and there is an expression of + exasperation on his face. He throws the binoculars down, + and then looks about him. He backs his chair up quickly + toward the main cabinet on his left. He leans down, opens a + cupboard door and takes out a long-focus lens. Then from a + shelf above he takes a small Exacta camera. He quickly take + off the existing lens and puts on the telephoto lens in its + place. He wheels himself back to the window and raises the + camera to his eye. + + +138 EXT. NEIGHBORHOOD - DAY - CLOSE SHOT 138 + + Through the view-finder of the camera, we are now brought + into close proximity with the salesman in his little + kitchen. His back is still to us. He half-turns and takes a + used newspaper. He spreads it open, along the drainboard. + From the sink he takes out a large butcher's knife, and a + long, narrow saw. They disappear from sight as he lays them + on the newspaper and proceeds to wrap them up. Having + completed his job, he emerges from the kitchen carrying the + newspaper-wrapped parcel. + + For a moment he is lost behind the wall that separates the + kitchen recess from the living room. He does not reappear + for a moment. + + +139 INT. JEFF'S APARTMENT - DAY - CLOSEUP 139 + + Jeff lowers the camera for a moment, and watches tensely. + Suddenly he puts it up to his eye again. + + +140 EXT. NEIGHBORHOOD - DAY - CLOSE SHOT 140 + + Half of a man's body is now seen in the living room. + 62. + + + Then the salesman turns and moves to the center of the + room. He is not carrying anything. He sits down on a couch, + with a display of fatigue. He yawns and stretches out of + sight at full length on the couch. + + +141 INT. JEFF'S APARTMENT - DAY - CLOSEUP 141 + + Jeff lowers the camera. He watches the living room for a + moment. Then his eye travel briefly back to the kitchen; + then return to the living room. His brow knits a little as + we: + + FADE OUT + + FADE IN: + + +142 EXT. NEIGHBORHOOD - (NIGHT) - CLOSEUP 142 + + The thermometer outside of Jeff's window, registering 83 + degrees. The CAMERA PANS OFF to the left until it comes to + rest on the song-writer's studio. He is dressed only in + bathing trunks, and is vigorously cleaning his rug with a + carpet sweeper. In the middle of his sweeping, he stops, + hurries a step or two to the piano. He plays a couple of + notes with one hand, while he stands. + + Listens, plays them again. Decides they are no good, and + returns to his carpet sweeping. + + THE CAMERA PANS FARTHER LEFT to the salesman's apartment. + There are no lights burning behind the drawn shade of the + bedroom, but the living room and the kitchen are lighted. + There is no sign of the salesman. + + THE CAMERA CONTINUES ITS PAN to the left, to include the + couple who sleep on the fire escape in the hot weather. + + We now get an opportunity to examine these people more + closely. The man is balding, and middle-aged. He is wearing + striped pajamas. He is in the act of laying out the + mattress. His wife is slightly younger, peroxided, faded + show girl type. Also wearing pajamas, with a fluffy + handkerchief in the left pocket, the wife is leaning over + the railing holding onto the rope which leads to the dog's + basket now on the floor of the courtyard. Having been a + one-time siffleuse, her call to the dog is clarion and + melodic. + + +143 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 143 + 63. + + + The little dog emerges reluctantly from the shadows, and + steps into the basket. It begins to move upward, and THE + CAMERA FOLLOWS it. When the basket reaches the fire escape, + THE CAMERA PANS ON to the apartment of Miss Torso. She is + in the bathroom brushing her long hair, while she thoughts + seem to be far away. + + THE CAMERA DROPS DOWN to the apartment below, occupied by + the elderly lady with the hearing aid. For the first time + we see something of her activities inside the apartment. + She wears a short smock, although her legs are still bare. + She is hard at work on a piece of abstract sculpture. It + takes the form of a piece of mahogany through which a + simple hole has been carved. + + THE CAMERA MOVES ON much farther to the left, and + eventually comes to rest on the newly-weds' apartment with + the shade still drawn. + + It MOVES ON and at last passes though Jeff's window, and + comes to rest on the two bid heads of Jeff and Lisa. + + Her lips are brushing lightly against his cheek as she + speaks: + + LISA + How far does a girl have to go - + before you notice her? + + Jeff moves his eyes slightly to something outside the + window. + + JEFF + If she's pretty enough, she doesn't + have to go anywhere. She just has + to "be". + + +144 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 144 + + The salesman's apartment, just as we saw it a moment ago. + The shades drawn and lights out in the bedroom, the shade + up and lights on in the living room and kitchen. Still no + one in sight. + + LISA + Well, "ain't I?" -- Pay attention + to me. + + +145 INT. JEFF'S APARTMENT - (NIGHT) - TWO SHOT 145 + 64. + + +We are now able to see that Jeff's apartment is in +darkness, only faintly lit from the distant light of the +neighbors' window. By her position, Lisa is seated on +Jeff's sound knee, her arms around his neck. + + JEFF + I'm not exactly on the other side + of the room. + + LISA + Your mind is. And when I want a + man, I want all of him. + +She starts kissing him. + + JEFF + Don't you ever have any problems? + + LISA + (Murmurs, kissing him) + I have one now. + + JEFF + So do I. + + LISA + (Kissing) + Tell me about it. + + JEFF + (Slight pause) + Why would a man leave his apartment + three times, on a rainy night, with + a suitcase? And come back three + times? + + LISA + He likes the way his wife welcomes + him home. + + JEFF + Not that salesman's wife. And why + didn't he go to work today? + + LISA + Homework. It's more interesting. + + JEFF + What's interesting about a + butcher's knife and a small saw + wrapped up in a newspaper? + + LISA + 65. + + + Nothing, thank heaven. + + JEFF + (Looking again) + Why hasn't he gone into his wife's + bedroom all day? + + LISA + I wouldn't dare answer that. + + JEFF + (After pause) + Lisa - there's something terribly + wrong. + + She gives up trying to interest him in romance, and moves + back from the embrace. THE CAMERA PULL BACK. + + LISA + And I'm afraid it's with me. + + Lisa stands, straightens out her dress, stretches a little + then she turns to the divan, apparently not too interested + in his observation about the salesman's life. + + JEFF + (Looks at Lisa) + What do you think? + + LISA + (Without returning his + look) + Something too frightful to utter. + + Jeff is thoughtful for a moment, then he relaxes and smiles + a little. He turns to the window to look out again. Lisa + exits the picture. + + +146 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 146 + + Lisa stretches herself out on the divan. Her head rest on + the cushion at the far end, and she instinctively falls + into an attractive pose. However, her expression is + disturbed as she watches Jeff. + + +147 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 147 + + He stares intently out the window. + + JEFF + 66. + + + He went out a few minutes ago - in + his undershirt - and he hasn't come + back yet. + + +148 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 148 + + Lisa weighs this information, trying to make some sense out + of it. + + +149 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 149 + + Jeff turns his eyes from the salesman's apartment, and + looks down reflectively. He looks up again, and then his + eyes catches sight of something. He leans forward slightly. + + +150 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 150 + + Miss Torso is lying, face down, on her divan bed. The only + light in the apartment is from a reading lamp. She is + reading a book held in one hand, while eating a sandwich in + another. + + Her back is bare, and all she wears is a pair of brief dark + blue shorts. At one point, she lifts her torso up slightly + to brush crumbs out from beneath her. + + +151 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 151 + + He looks away from Miss Torso, thoughtfully. + + JEFF + You know - that would be terrible + job to tackle. + + +152 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 152 + + Lisa leans forward and looks out the window to see what + Jeff is referring to. She turns back to him with a blank + stare. + + +153 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 153 + + Jeff turns and looks at her, quite unaware of her surprise + at his comment. + + JEFF + 67. + + + How would you begin to cut up a + human body? + + +154 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 154 + + Lisa sits bolt upright on the divan. She reaches back + quickly and pulls on the overhead light. At that moment the + song writer returns to his composing. We can see him over + Lisa's shoulder. He is beginning his song again, and it has + taken on new fullness and melody. + + Although it is not complete, it is farther along then + before, and he plays his theme a number of different ways, + trying to move it note by note to its completion. + + Lisa just stares at Jeff for a moment. + + LISA + Jeff - I'll be honest with you -- + you're beginning to scare me a + little. + + +155 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 155 + + Jeff is staring out of the window again. Over this we hear + Lisa's voice: + + LISA + (Quietly insistent) + Jeff - did you hear what I said? + You're beginning to -- + + Jeff puts out a restraining hand. + + JEFF + (Interrupting) + Be quiet! Shhh! + (Pause) + He's coming back! + + +156 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 156 + + At last the salesman is seen coming along the corridor. + + He does not wear shirt, but only an undershirt. Slung over + one shoulder, with his arm through is, is a large coil of + sturdy rope. He goes through the living room into the + bedroom. He does not put the bedroom lights. + 68. + + +157 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 157 + + Jeff reaches quickly for his binoculars, and trains them on + the salesman's apartment. + + +158 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 158 + + As seen though the binoculars, the salesman comes out of + the bedroom, to the kitchen, where he gets a carving knife. + He turns around and goes back to the bedroom. + + The lights go on behind the draw shades, after a short + moment. The dim shadow of the salesman is seen moving + around the room. + + +159 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 159 + + Lisa, still stretched out on the divan looking at Jeff, + suddenly sits upright and then getting up from the divan, + mover over to Jeff, THE CAMERA GOING WITH her. + + In a sudden surprise move, she swings his chair completely + around so that his back is to the window. He drops the + binoculars into his lap in surprise. THE CAMERA MOVES IN as + Lisa leans over Jeff, gripping both sides of his chair + + LISA + (sharply) + Jeff - if you could only see + yourself. + + JEFF + Now, Lisa -- + + LISA + (Abruptly) + Sitting around, looking out a + window to kill time, is one thing - + - but doing it the way you are -- + (She gestures) + -- with, with binoculars, and with + wild opinions about every little + movement you see - is, is diseased! + + JEFF + Do you think I consider this + recreation? + + LISA + 69. + + + I don't know what you consider it - + but if you don't stop it, I'm + getting out of here. + + JEFF + You'd better before you catch the + disease! + + LISA + (Insistent) + What is it you're looking for? + + JEFF + I want to find out what's wrong + with the salesman's wife. Does that + make me sound like a madman? + + LISA + What makes you think something's + wrong with her? + + LISA + A lot of things. She's an invalid + who needs constant care - and yet + the husband nor anyone else has + been in there all day. + + LISA + Maybe she died. + + JEFF + Where's the doctor - the + undertakers? + + LISA + She could be under sedatives, + sleeping. + (Looks up) + He's in the room now. + +Jeff tries to turn around, but she won't let the chair +move. + + JEFF + Lisa, please! + + LISA + There's nothing to see. + + JEFF + 70. + + +There is - I've seen things through +that window! Bickering, family +fights, mysterious trips at night, +knives, saws, rope - and since last +evening, not a sight or sound of +his wife! + + JEFF +Now you tell me where she is and +what she's doing! + + LISA +Maybe he's leaving his wife. I +don't know, and I don't care. Lots +of people have saws, knives and +robs around their houses. Lots of +men don't speak to their wives all +day. Lots of wives nag, and men +hate them, and trouble stars - but +very, very, very few of them end up +in murder - if that's what you're +thinking. + + JEFF +It's pretty hard to stay away from +that word isn't is? + + LISA +You could see all the things he +did, couldn't you? + + JEFF +What are you getting at? + + LISA +You could see that he did because +he had the shades in his apartment +up, and walked along the corridor, +and the streets and the backyard? + + JEFF +Yeah. + + LISA +Jeff, do you think a murderer would +let you see all that? That he +shouldn't keep his shades down and +hide behind them? + + JEFF +That's where he's being clever. +Acting nonchalant. + 71. + + + LISA + And that's where you're not being + clever. He wouldn't parade his + crime in front of the open shades. + + She turns the wheelchair slightly to her left so that he + can see the newlyweds' apartment. + + LISA + (Pointing) + For all you know - there's + something a lot more sinister going + on behind those shades. + + +160 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 160 + + The drawn shades of the newlyweds' apartment. A dim light + burning behind them. + + +161 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 161 + + Jeff looks, turns back to her, trying to suppress a + chuckle. + + JEFF + No comment. + + LISA + Don't you see how silly you're + being? + + JEFF + Okay, Lisa - probably you're right. + He's probably in the bedroom now, + entertaining his wife with the + indian rope trick. I'll admit to + criminal insanity. Now when do I + start the cure? + + Lisa hal looked up and out the window. She opens her mouth + to answer, but a new look overtakes her face. It is + concern, surprise, and a little shock. Jeff sees the + change, is sobered, and quickly turns the chair around. + + He looks out the window, using his binoculars. + + +162 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 162 + 72. + + + The shades in the bedroom are now up. Both beds are empty, + and stripped of their linen, the mattresses thrown up over + the end of the beds. The salesman, sweating heavily, stands + over a large, square trunk in the center of the room. It is + stoutly bound by the heavy rope we previously saw him bring + into the apartment. He wipes one forearm across his brow, + and then heads for the kitchen. In the kitchen, he produces + a bottle, pours himself two or three straight drinks, then + leans with a display of exhaustion against the kitchen + sink. + + +163 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 163 + + Jeff lowers the glasses. His look is sober. Lisa stands + behind him, one hand on the back of the wheelchair. She, + too, is serious. THE CAMERA MOVES IN until Lisa's head + fills the screen. She says, slowly: + + LISA + Let's start from the beginning + again, Jeff. Tell me everything you + saw -- and what you think it means. + + She is still staring out the window, as the scene + + FADES OUT + + FADE IN: + + +164 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 164 + + Jeff is seated in the dark, his face lit by the faint glow + from the distant street. He is looking out of the window + tensely, as THE CAMERA MOVES IN, until he is in big + profile. + + +165 EXT. NEIGHBORHOOD - (NIGHT) - LONG SHOT 165 + + From Jeff's viewpoint, all the windows are dark. The couple + are sleeping on the fire escape. The salesman's apartment + is dark as well. Suddenly a match flares, and we see the + salesman light a cigar. The flame of the match illuminates + his face for a moment. When is dies out, we see just the + glow of the cigar burning. + + +166 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 166 + 73. + + + The CAMERA is now facing Jeff. We see that his left hand + rests on the telephone receiver which is close to him. The + phone starts to RING, but makes only the slightest sound, + as he instantly picks it up. As he talks, in a low voice, + he keeps his eyes on the salesman's apartment. + + JEFF + Yeah? + + +167 INT. PHONE BOOTH - (NIGHT) - CLOSEUP 167 + + We get an impression of Sixth Avenue behind Lisa at the + phone. Lisa also talks in a low, quiet voice. + + LISA + The name on the second floor rear + mailbox reads Mr. And Mrs. Lars, + that's L-A-R-S, Lars Thorwald. + + JEFF + (Filter) + What's the apartment house number? + + LISA + 125 West Ninth Street. + + +168 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 168 + + Jeff, still looks toward the salesman's apartment. + + JEFF + Thanks, Lisa. + + +169 INT. PHONE BOOTH - (NIGHT) - CLOSEUP 169 + + Lisa smilingly says: + + LISA + Okay, chief. What's my next + assignment. + + JEFF + To get on home. + + LISA + All right -- but what's he doing + now? + + +170 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 170 + 74. + + + Jeff is still looking toward the salesman's apartment. + + JEFF + Just sitting in the living room. In + the dark. And he hasn't gone near + the bedroom. Now get some sleep. + Goodnight. + + He puts the receiver down, and resumes his vigil. + + +171 EXT. NEIGHBORHOOD - (NIGHT) - LONG SHOT 171 + + All we can see is the glow of the salesman's cigar. + + FADE OUT. + + FADE IN: + + +172 INT. JEFF'S APARTMENT - (DAY) - MEDIUM SHOT 172 + + Jeff is seated by the window in his wheelchair. He is + talking on the telephone while his eyes are still on the + neighborhood. There is a touch of urgency in his voice. + + JEFF + Look, Coyne -- it's just one of + those things I can't tell you on + the phone. You have to be here, and + see the whole set-up. + + The CAMERA PULLS BACK slightly as Stella emerges from the + kitchen. She is carrying a tray with breakfast on it. Eggs, + bacon, toast and coffee. + + JEFF + It's probably nothing important -- + just a little neighborhood murder. + That's all. -- As a matter of fact, + I did say "murder". + + Stella squeezes past the right side of Jeff, and places the + food tray on a windowseat in front of him. She peers out + cautiously toward Thorwald's apartment for a moment. Then + she squeezes back, moving to the sideboard against which + leans a small table on an adjustable stand. + + JEFF + My only thought was to throw a + little business your way. A good + detective, I reasoned, wold jump at + the chance to detect. + 75. + + + Stella returns with the table, and sets it up so that it is + across Jess's lap. She gets the tray of food pausing to + look toward Thorwald's apartment. Then she places the + breakfast on the tray table in front of Jeff. He has move + back a little to avoid getting the phone cable tangled in + the food and dishes. + + JEFF + Well, I usually took my best + pictures on my day off. + (Nods) + Okay, Coyne -- soon as you can. + + +173 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 173 + + He hangs up. Stella takes the phone and puts it down for + him. He looks at the breakfast, reaches for a knife and + fork. + + JEFF + Stella, I - I can't tell you what a + welcome sight this is. No wonder + your husband's still in love with + you. + + STELLA + Police? + + JEFF + (Pauses in cutting food) + Huh? + + STELLA + You called the police? + + JEFF + Oh. Well, yes and no. It wasn't an + official call. He's just a friend. + (Almost to himself) + An old, ornery friend. + + He begins eating, appreciatively. She moves behind his + chair, pausing to look toward Thorwald's apartment again. + Jeff is just lifting a piece of bacon to his lips when + Stella speaks. + + STELLA + (Half to herself) + Now just where do you suppose he + cut her up? + 76. + + + The hand carrying the bacon to Jeff's mouth hesitates for a + moment. + + STELLA + (Answering herself) + Oh - of cause! In the bathtub. + That's the only place he could wash + away the blood. + + The hand holding the bacon moves back to the plate. + + Jeff just starts ahead. Stella turns and walks into the + kitchen. Jeff pushes the food away, and picks up the coffee + cup instead. + + +174 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 174 + + Jeff's eyes, over the coffee cup, are staring intently at + the backyard. + + +175 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT 175 + + Thorwald's apartment. The shades up. No one moving. + + The rope-tied trunk still sits in the bedroom. + + To the left we see the casket lowering with the dog in it. + We HEAR the woman WHISTLING an aria. + + +176 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 176 + + His eyes stray in an upward direction as he puts down the + coffee cup. + + +177 EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT 177 + + The CAMERA PANS UP past the woman lowering the dog, up to + the roof where one of the sunbathers can be seen sitting + up, rubbing her body with sun tan oil. + + +178 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 178 + + Jeff's eyes moves down again. Abstractedly his hand strays + toward the piece of bacon. He picks it up. + + +179 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT 179 + 77. + + + Thorwald's apartment. We are now aware that the sales-man + is now in his living room, lying out of sight on the sofa, + because the smoke from a newly lighted cigar is starting to + ascend toward the ceiling of his room. + + Stella's voice is heard calling out from the kitchen: + + STELLA'S VOICE + He'd better get that trunk out of + there before is starts to leak. + + +180 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 180 + + Again the bacon stops before is reaches Jeff's mouth. + + He puts it down on the plate again, as his eyes move + slightly toward the left. + + +181 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT 181 + + Miss Torso, in ballet outfit, is hanging up a small wash on + a clothes line. It consists mostly of lingerie. She is + doing her inevitable leg practice at the same time. + + THE CAMERA PANS OVER SUDDENLY TO Thorwald's apartment, and + except for the smoke rising from the unseen sofa, there is + no activity. + + +182 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 182 + + Jeff seems to be getting a bit listless, or bored, by + constantly watching Thorwald's apartment. His eyes sort of + stray around the neighborhood, and end up looking toward: + + +183 EXT. NEIGHBORHOOD - (DAY) - MEDIUM SHOT 183 + + The newlywed's apartment. Shade down, business as usual. + + +184 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 184 + + Jeff smiles affectionately, and starts to turn his eyes + away; but something startles him, and he looks quickly + back. + + +185 EXT. NEIGHBORHOOD - (DAY) - MEDIUM SHOT 185 + + The shade suddenly going up in the newlywed's apartment. + 78. + + + The young husband leans his hands on the windowsill, and + looks out. He is wearing only his pajama bottoms, because + of the heat, and we see that he is a well-muscled, + attractive young man. He looks around with some + satisfaction. He turns at the sound of a woman's voice + behind him. + + GIRL'S VOICE + H-a-a-r-r-e-e...... + + He turns his head, is thoughtful for a brief moment, then + he pulls down the shade. + + +186 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 186 + + His smile almost becomes a private chuckle. Stella's abrupt + voice breaks in urgently: + + STELLA'S VOICE + Look! Look - Mr. Jefferies! + + Jeff's head snaps toward the center of his window. + + Stella has appeared behind his wheelchair. + + +187 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT 187 + + Two men wearing tan coveralls are standing outside + Thorwald's door. One of them carries a clipboard. + + Suddenly Thorwald is seen sitting up on the living room + sofa. His fair is disheveled and he is unshaved. He stands + up, and moves toward the door. + + He opens it, and after a short exchange of dialogue, he + admits the two men, leaving the door open behind them. + + He leads the two man across the living room to the bedroom. + + +188 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 188 + + Stella and Jeff watching intently. He is feeling down + alongside his wheelchair for his binoculars. + + +189 EXT. NEIGHBORHOOD - (DAY) - BINOCULAR SHOT 189 + + A close view shows the two man carrying the trunk across + the living room toward the corridor. + 79. + + +190 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 190 + + Jeff lowers the binoculars quickly. + + JEFF + (Agitated) + I thought Coyne would get here + before the trunk went - or I'd have + called the police. + (To Stella) + Now we're going to lose it. + + Stella moves toward the door quickly. Jeff turns quickly + over his shoulder to watch her. She is already going up the + steps. + + JEFF + Stella, don't do anything reckless! + + As Stella goes out the door, she calls back: + + STELLA + I'm just going to get the name of + their truck! + + JEFF + (Up) + I'll watch the alleyway - in case + it goes that way. + + We hear nothing from Stella, but the sound of her heavy + tread down the hallway stairs. Jeff returns to Thorwald. He + eases himself back into the shadows a bit and then raises + his binoculars. + + +191 EXT. NEIGHBORHOOD - (DAY) - BINOCULAR SHOT 191 + + Jeff concentrates his attention on the alley-way that leads + to the street. Just normal traffic. The binoculars swing to + Thorwald apartment. The salesman is now at the telephone. + He has picked up the receiver, and proceeds to dial 221. + + +192 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 192 + + The binoculars still up to Jeff's face. Under them his + mouth moves, as if he's talking to himself. + + JEFF + Long Distance. + 80. + + +193 EXT. NEIGHBORHOOD - (DAY) - BINOCULAR SHOT 193 + + The salesman speaks some words to the operator. Placing the + call. As he does this, he reaches with his other hand for a + nearly bottle, and working the cork out with one hand, he + pours a stiff drink into a tumbler. He drinks it as soon as + he finishes talking with the operator. + + +194 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 194 + + Jeff lowers the binoculars a little, and takes a normal eye + sight on the alleyway. + + +195 EXT. NEIGHBORHOOD - (DAY) - LONG SHOT 195 + + Pulling across to the far side of the street we see the + hood and cab of a freight truck. + + +196 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 196 + + Jeff quickly puts the glasses up. + + +197 EXT. NEIGHBORHOOD - (DAY) - BINOCULAR SHOT 197 + + By the time the binoculars are up, another trucks has + crossed from the left. In momentarily blocks out the side + of our freight truck. By the time the two trucks part, we + can only see the back half of the freight truck before it + pulls out of sight. Jeff is only able to read the words + "FREIGHT LINES". The binoculars are held for a moment until + we see a puffing and blowing Stella arrive at the opening + of the alleyway. She looks toward the front of Thorwald's + apartment house. + + And by her attitude we can see that there is no truck + outside. She looks about her for a moment. + + +198 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 198 + + Jeff lowers the binoculars, discouraged. + + +199 EXT. NEIGHBORHOOD - (DAY) - LONG SHOT 199 + + The figure of Stella is seen, looking up toward Jeff's + apartment, and arms outspread in a helpless gesture. + + LAP DISSOLVE TO: + 81. + + +200 INT. JEFF'S APARTMENT - (DAY) - SEMI-LOMG SHOT 200 + + SHOOTING TOWARDS the big window, with the neighborhood + beyond, Jeff is as usual seated in his wheelchair on the + left of the window, but now turned toward a newcomer. + + The second man is standing near the divan looking out the + window with the binoculars. This newcomer is POLICE + DETECTIVE LIEUTENANT THOMAS J. COYNE, the man Jeff phoned + earlier in the day. He is an intelligent-appearing, well- + dressed modern detective. He has a sense of humor. He + lowers the glasses, and turns to Jeff. + + COYNE + You didn't see the killing, or the + body? How do you know there was a + murder? + + JEFF + Because everything that man's done + has been suspicious. Trips at night + in the rain, saws, knives, trunks + with rope, and a wife that isn't + there any more. + + COYNE + I'll admit it all has a mysterious + sound -- but is could mean a number + of different things. Murder is the + least likely. + + JEFF + Go ahead, Coyne -- tell me he's an + unemployed magician -- amusing the + neighborhood with sleight-of-hand. + + Coyne paces a little. + + COYNE + It's too stupid and obvious a way + to murder - in full view of fifty + windows - and then sit over there-- + (He points) + --smoking a cigar -- waiting for + the police to pick him up. + + JEFF + Well, officer - do your duty. + + COYNE + 82. + + + You've got a lot to lean about + homicide, Jeff. Morons have + committed murder so shrewdly that + it took a hundred trained police + minds to catch them. That salesman + wouldn't just knock off his wife + after dinner, toss her in a trunk + and put her in storage. + + JEFF + I'll bet is's been done. + + COYNE + Almost everything's been done - + under panic. But this is a thousand + to one shot. That man's still + sitting around his apartment; he + isn't panicked. + + JEFF + (A pause) + You think I made all this up? + + COYNE + I think you saw something - that + probably has a very simple + explanation. + + JEFF + For instance? + + COYNE + (Shrugs) + His wife took a trip. + + JEFF + She - was - an - invalid! + + COYNE + You told me. + (Look at watch) + I've got to run, Jeff. + + JEFF + All right - you don't believe me. + +Coyne saunters toward steps, picking up his hat on the way. +Stops. + + COYNE + 83. + + + I - uh - won't report it to the + Department. Let me poke into a + little on my own. No point in you + getting any ridiculous publicity. + + JEFF + (Coldly) + Thanks. + + COYNE + We know the wife is gone. I'll see + if I can find out where. + + JEFF + Do that. + + He goes up the steps to the door, putting on his hat. + + He pauses his hand on the door knob. + + COYNE + You have any headaches lately? + + +201 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 201 + + Jeff answers, showing only the slightest irritation. + + JEFF + Not 'til you showed up. + + +202 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 202 + + Coyne, still at the door: + + COYNE + Uh-huh. Well, it'll wear off in + time -- along with the + hallucinations. See you around. + + He starts to go out the door, and closes it behind him. + + +203 INT. JEFF'S APARTMENT - (DAY) - SEMI-LOMG SHOT 203 + + From Coyne's viewpoint. Jeff lifts his hand in a feeble + parting gesture. + + +204 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 204 + 84. + + + Before the door has completely closed, Coyne opens it + again, and looks in. + + COYNE + By the way - what happened to your + leg? + + +205 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 205 + + JEFF + I was jaywalking. + + COYNE'S VOICE + (O.s.) + Where? + + JEFF + (With nonchalance) + The Indianapolis Speedway. + + +206 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 206 + + The door starts to close again, as if Coyne considered + Jeff's answer quite reasonable. Then the door pops open and + Coyne's head comes in, a surprised expression across his + face. + + COYNE + During the race? + + +207 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 207 + + Jeff answers with a straight face. + + JEFF + Yup. It sure stopped traffic. + + We don't see Coyne again, but only HEAR the sharp slam of + the DOOR off. Jeff chuckles. Then he turns back to the + window. + + +208 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 208 + + Jeff's attention is drawn to something in the yard below. + + +209 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT 209 + 85. + + + The little dog is busily scratching away at Thorwald's pet + flower bed. + + +210 INT. JEFF'S APARTMENT - (DAY) - CLOSEUP 210 + + Jeff smiles mischievously. Suddenly his face changes as he + sees: + + +211 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT 211 + + Thorwald coming out of his basement door, carrying a + watering can. He fills it from a nearby faucet. He does not + notice the little dog's destructive activities. + + When the watering can is filled, he straightens up, turns + toward the flower bed. He stops for the briefest moment, + when he sees the dog. He walks to the dog, gently lifts him + out of the garden, and giving him a friendly little pat, + sends him off. He proceeds to patiently brush back the + disturbed earth, and then begins his watering. + + +212 INT. JEFF'S APARTMENT - (DAY) - SEMI-CLOSEUP 212 + + Jeff is frankly puzzled by the salesman's friendly attitude + toward the dog. He looks off in another direction, as he + catches of: + + +213 EXT. NEIGHBORHOOD - (DAY) - LONG SHOT 213 + + Coyne, who has appeared, at the street opening. The + detective is surveying the front of the apartment building + where Thorwald lives. A paper seller behind him offers to + sell him a paper. Coyne isn't interested. + + As Coyne saunters forward toward the salesman house, the + scene: + + LAP DISSOLVES TO: + + +214 INT. JEFF'S APARTMENT - (DAY) - MEDIUM SHOT 214 + + Coyne is nonchalantly leaning up against the side board, + with a highball in one hand. Jeff has turned his chair + around from the window to face him. + + COYNE + 86. + + + He has a six months leases, and has + used up a little over five and a + half months of it. + (Takes a sip of drink) + Quiet. Drinks, but not to + drunkenness. Pays his bill + promptly, with money earned as a + consume jewelry salesman - + wholesale. Kept to himself, and + none of the neighbors got close to + him, or his wife. + + JEFF + I think they missed their chance + with her. + + COYNE + (Studies drink) + She never left the apartment -- + + JEFF + (Interrupting) + Then where is she - in the ice box? + + COYNE + (Continues) + --- until yesterday morning. + + JEFF + (Alert) + What time? + + COYNE + Six ayem. + +Jeff looks thoughtful a moment, and then says, with a touch +of discouragement: + + JEFF + I think that's about the time I + fell asleep. + + COYNE + Too bad. The Thorwalds were just + leaving the apartment house at that + time. + +He puts down his drink, and strolls toward the window, +looking out. THE CAMERA MOVES IN slightly to tighten the +shot. + + COYNE + Feel a little foolish? + 87. + + + JEFF + Not yet. + + Coyne becomes interested in watching something out the + window. Unconsciously he smooths out his coat and tie. + + He even smiles somewhat secretly to himself at what he + sees. + + +215 EXT. NEIGHBORHOOD - (DAY) - SEMI-LONG SHOT 215 + + Miss Torso, in ballet costume, practicing her dance on the + outside balcony. She is exciting and desirable. + + +216 INT. JEFF'S APARTMENT - (DAY) - TIGHT TWO SHOT 216 + + Jeff notices Coyne's interest. + + JEFF + How's your wife? + + Startled at being observed, Coyne moves quickly away from + the window, affecting nonchalance. THE CAMERA MOVES BACK as + Coyne returns to his drink. Jeff smiles at catching Coyne + enjoying Miss Torso. + + COYNE + Oh - oh, she's fine. + (Not too convincing) + Just fine. + + He tosses off the rest of the drink, and his movement is + almost a comment. Jeff's face grows serious. + + JEFF + Who said they left then? + + COYNE + Who left - where? + + JEFF + The Thorwalds - at six in the + morning? + + Coyne quickly collects his thoughts, and gets back to the + case at hand. + + COYNE + 88. + + +The building superintendent, and +two tenants. Flat statements - no +hesitation. And they all jibed to +the letter. The Thorwalds were +leaving for the railroad station. + + JEFF +Now how could anybody guess that? +They had, perhaps, signs on their +luggage, "Grand Central Or Bust!"? + + COYNE + (Sighs) +The superintendent met Thorwald +coming back. He said Thorwald told +him he had just put his wife on the +train for the country. + + JEFF +A very convenient guy - this +superintendent. Have you checked +his bank deposits lately? + + COYNE +Jeff - huh? + + JEFF + (Sharply) +Well - what good is his +information?!! It's a second-hand +version of an unsupported statement +by the murderer himself - Thorwald! +Anybody actually see the wife get +on the train? + + COYNE +I hate to remind you - but this all +started because you said she was +murdered. Now did anyone, including +you, actually see her murdered? + + JEFF +Coyne - are you interested in +solving a case, or making me look +foolish? + + COYNE +If possible - both. + + JEFF + 89. + + +Well then do a good job of it! Get +over there, and search Thorwald's +apartment! It must be knee-deep in +evidence. + + COYNE +I can't do that. + + JEFF +I mean when he goes out for a +paper, or a drink, or something. +What he doesn't know won't hurt +him. + + COYNE +I can't do it even if he's gone. + + JEFF + (With sarcasm) +What's the matter? Does he have a +courtesy card from the police +department? + + COYNE +Now don't get me mad! Even a +detective can't walk in anybody's +apartment and search it. If I were +ever caught in there, I'd lose my +badge inside of ten minutes! + + JEFF +Just make sure you're not caught. +If you find something, you've got a +murderer and nobody will care about +a couple of house rules. If you +find nothing - he's clear. + + COYNE +At the risk of sounding stuffy, +Jeff - I'll remind you of the +Constitution, and the phrase +"search warrant" issued by a judge +who knows the Bill of Rights +verbatim. He must ask for evidence. + + JEFF +Give him evidence. + + COYNE +I can hear myself starting out. +"Your Honor - I have a friend who's +an amateur sleuth, an one night, +after a heavy supper---" + 90. + + + (He shakes his head "no") + He'd throw the New York State Penal + Code right in my face. -- And it's + six volumes. + + JEFF + By morning there might not be + anything left to find in his + apartment. + + COYNE + (Looking out window) + A detective's nightmare. + + JEFF + What do you need before you can + search - bloody footsteps leading + up to the door? + + COYNE + (Looking out window) + One think I don't need is heckling! + You called and asked me for help -- + and now you're acting like a + taxpayer! + + COYNE + (Turns and look at Jeff) + How did we ever stand each other in + that same plane for three years? + + JEFF + You know, every day for three years + I asked myself that same question? + + COYNE + Ever get an answer? + + JEFF + Yeah - frequently - it ran + something like this: "Your request + for transfer turned down --" + +He can't help smiling, and neither can Coyne. + + COYNE + Sorry I had to turn it down. + (He checks his watch) + I'm going over to the railroad + station and check Thorwald's story. + +He moves to the sideboard, picks up a felt hat. + 91. + + + JEFF + Forget the story - find the trunk. + Mrs. Thorwald's in it! + + COYNE + Oh - I almost forgot! + + He pulls a slip of paper out of his pocket. Jeff watches + him intently. + + COYNE + (Looking at Jeff) + There was a postcard in Thorwald's + mailbox + (Refers to paper) + Mailed yesterday afternoon, three- + thirty P.M. from Merritsville - + (Looks up, speaks + pleasantly) + - That eighty miles north of here. + (Back to paper) + The message read "Arrived O.K. + Already feeling better. Love, + Anna." + + He looks at Jeff with some smugness. + + JEFF + (Slowly) + Is -- is Anna - who I think it is? + + COYNE + (Nods "yes") + Mrs. Thorwald. + + He puts on his hat, and goes toward the door. + + COYNE + (Maliciously) + Anything you need? + + +217 INT. JEFF'S APARTMENT - DAY - CLOSEUP 217 + + Jeff is sober. + + JEFF + Yeah. A good detective. + + LAP DISSOLVE TO: + + +218 INT. JEFF'S APARTMENT - DUSK - CLOSEUP 218 + 92. + + + The sun has just set. THE CAMERA is concentrating on the + long-focus lens camera which fills the screen. Just beyond, + there is a plate on which a solitary sandwich. + + Jeff's hand comes in, picks it up. We PAN US with the + sandwich until Jeff's head fills the screen. (Except for a + small light in the kitchen, Jeff's apartment is in + darkness.) As he munches, he keeps his attention on the + neighborhood. + + +219 EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT 219 + + Thorwald's apartment is darkness. THE CAMERA PANS slightly + to the left, as we see the dog being lowered in its basket. + We follow the basket down to the yard which brings Miss + Lonely Heart's apartment into view. She is wearing a kelly + Green suit, and is seated at her dressing table. She seems + to be putting on the final touches of her make-up, prior to + going out. + + +220 INT. JEFF'S APARTMENT - DUSK - CLOSEUP 220 + + Jeff looks down, he smiles to himself. He turns, and we see + him raise the long-focus camera to his eye. + + +221 EXT. NEIGHBORHOOD - DUSK - CAMERA SHOT 221 + + The long-focus lens brings Miss Lonely Hearts into an + enlarged picture which reveals details we have not + previously noticed. + + A pair of ill-fitting, horn-rimmed reading glasses rest + half way down her nose, and she has to tilt her head back + slightly as she applies lip-stick, with their aid. + + Satisfied, she takes off the glasses, and examines her face + as a whole, through squinting eyes. She has faded good + looks, has fairly nice clothes, but is badly in nee of + advice on hair dressing. Her hair-so makes her seem middle- + aged. She reaches for a tall glass of liquor next to her, + and takes a long drink. Putting the glass down, she squints + to see if she has disturbed the lipstick. Unable to see + clearly, she puts on the glasses again, looks, and touches + up her lips slightly. + 93. + + + She puts her glasses in a handbag, then stands to put out + the lights. She walks into the living room, finishing the + drink. The long-focus lens moves with her. She goes + straight for a bottle of liquor, and pours out a final neat + slug, and tosses it off. Then she leaves the apartment, + with a show of determination. + + She turns out the lights behind her. + + +222 INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP 222 + + Jeff lowers the long-focus lens, and turns his head to the + right as he hears the first notes of the song-writer's + melody which we have heard him trying to complete. + + +223 EXT. NEIGHBORHOOD - DUSK - MEDIUM SHOT 223 + + The song writer is at the piano, poking out his melody, + slowly, note by note. He is in black tie, and from the + looks of the apartment he is preparing for guests. An + attractive girl is setting out trays of canapes, glasses, + ice and liquor. She pauses as she crosses the room carrying + a tray of food. She listens a moment to the song-writer's + melody. Her expression shows that it pleases her, and moves + her romantically. She comments on it to the song-writer, + who starts from the beginning again, playing it more fully. + + +224 INT. JEFF'S APARTMENT - DUSK - SEMI-CLOSEUP 224 + + A new source of music comes in to interfere with the piano + playing. It is orchestral ballet music, in a modern style. + Jeff's head turns in this new direction. + + +225 EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT 225 + + Miss Torso, and a male partner whom we have not seen + before, are practicing a pas a deux. He is a tall flowing- + haired young man, lithe and graceful beyond normal + masculine capacity. + + They stop, at one point, to listen to a word of comment + from a woman who is watching. By her gestures, she is + obviously a professional choreographer. + + THE CAMERA PANS from this to the street beyond. + + Standing there, on the sidewalk, looking up and down the + street is a Kelly Green clad figure. + 94. + + +226 INT. JEFF'S APARTMENT - (DUSK) - CLOSEUP 226 + + He quickly raises his long-focus camera to his eye. + + +227 EXT. NEIGHBORHOOD - (DUSK) - CAMERA SHOT 227 + + We are now given a waist-high shot as the focus is + adjustment by Jeff. The figure is that of Miss Lonely + Hearts. She seems to be trying to figure out what to do, or + where to go. She nervously looks at a couple of men passers + by. Getting no reaction, she crosses the street, and seats + herself at an empty table in front of the cafe. She orders + a drink. + + She is suddenly blotted out by a figure of a man who enters + the picture from the left side. He is much nearer the lens, + because he is on this side of the street. He is, therefore, + slightly out of focus. The lens suddenly sharpens. It is + Thorwald, carrying a light-weight cardboard bow under his + arm. THE CAMERA PANS him over to the right until he is lost + behind the building. + + +228 INT. JEFF'S APARTMENT - (DUSK) - SEMI-CLOSEUP 228 + + He lowers the lens, and we see Jeff's eyes travel across + the screen, as he imagines Thorwald's progression. Then + sharpening his look, he picks up the long-focus lens, and + easing himself back cautiously, begins watching Thorwald. + + +229 EXT. NEIGHBORHOOD - (DUSK) - CAMERA SHOT 229 + + Thorwald comes up the corridor, and stands unlocking his + door. As he hesitates, we are able to see the cardboard box + he is carrying has the name of a laundry on it. He enters + the apartment turns on the living room lights. + + He proceeds to the bedroom, and the lights go on there. + + A number of suits and top coats are lying on an orderly + pile on the bed. He takes the laundry out of the box and + puts in on the bed next to the suits. Then he goes to the + dresser, and instead of putting the laundry away, he + proceeds to take out the contents of the drawers - pajamas, + shirts, sox, etc. He piles these on the beds. + + +230 INT. JEFF'S APARTMENT - (DUSK) - SEMI-CLOSEUP 230 + + Jeff lowers the camera quickly. He picks up the phone and + dials a number, still keeping his eyes on Thorwald. + 95. + + +The phone buzzes on filter, then is picked up and answered +by a woman: + + MRS. COYNE + (Filter) + Hello. + + JEFF + Mrs. Coyne? + + MRS. COYNE + Yes. + + JEFF + Jeff again. + (A note of urgency) + Has Tom come in yet? + + MRS. COYNE + Not yet, Jeff. + + JEFF + You haven't even heard from him? + + MRS. COYNE + Not a word. + +For a moment, Jeff looks desperate. He doesn't know what to +say. + + MRS. COYNE + It is something really important, + Jeff? + + JEFF + I'm afraid it is, Tess. + + MRS. COYNE + I'll have him call the moment I + hear from him. + + JEFF + Tell him not to waste time calling. + To get over here soon as he can. I + think Thorwald's pulling out + tonight. + + MRS. COYNE + Who's Thorwald + + JEFF + He knows. + (As an after-thought) + 96. + + + Don't worry, Tess. It's a man. + + MRS. COYNE + (She laughs) + Goodnight, you idiot. + + JEFF + (A slight smile) + Goodnight, Mrs Coyne. + + He hangs up. Then, his brows knit a little, as if he's + puzzled about something he sees across the neighborhood. + + He lifts up the long-focus lens. + + +231 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT 231 + + Early night. In the dresser Thorwald finds an alligator + handbag. He holds it up thoughtfully. We have previously + seen this handbag hanging from the bedpost when Mrs. + Thorwald was in bed. Thorwald takes the bag into the living + room, where he picks up the phone and dials. + + JEFF + Long distance again. + + Thorwald reaches his party. As he talks, thoughtfully, he + takes some jewelry from the handbag - a couple of rings, + diamond wristwatch, brooch, pearls, etc. He discusses each + piece, apparently trying to make some decision. Then, + seemingly satisfied, he replaces them in the bag and hangs + up. + + +232 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 232 + + Jeff lowers his camera lens and edges his chair forward in + an effort to hear what Thorwald is saying. But a sudden + rise in the SOUND coming from the song-writer's apartment, + causes him to turn his head toward the studio with + exasperation. + + +233 EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT 233 + + The first four of the song-writer's guests come through the + door, admitted by the song-writer's girl friend. + + There is a squeal from the woman who great each other, and + hearty "helloes" from the men. The song-writer dashes off a + LOUD VAMP of greeting on the piano, then gets up to offer + drinks. + 97. + + +234 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 234 + + Jeff turns his attention back to Thorwald, but gives up any + attempt at listening. He lift the long-focus lens up to his + eyes again. + + +235 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT 235 + + Having completed his call, Thorwald returns to the bedroom + carrying the handbag. He goes to a pile of coats lying on + the bed. He lifts the top two coats slightly, and slides + the handbag under them and out of sight. + + +236 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 236 + + There is the SOUND of footsteps coming down the corridor to + Jeff's apartment. He lowers the camera lens, and turns his + attention to his door. + + +237 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-LONG SHOT 237 + + The door opens, and Lisa stands silhouetted in the + entrance, black-lighted by the corridor lights. It's an + attractive picture. + + +238 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 238 + + Jeff's head is turned toward her, his back more toward the + neighborhood. + + JEFF + Quick. Take a look. Thorwald's + getting ready to pull out for good! + + +239 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 239 + + Jeff abruptly turns back to the window, as Lisa dashes into + the picture behind him, and looks out. Jeff's expression + changes a little, as they see: + + +240 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 240 + + The lights are out in Thorwald's bedroom, and Thorwald is + in the act of pouring himself out a drink in the living + room. He comes to the window, glass in hand, and looks down + into the garden, nonchalantly. Over this, we HEAR Lisa's + voice, questioningly: + 98. + + + LISA + It doesn't seem to be in any hurry. + + JEFF + (Stares out the window, + exasperated) + He was just laying all his things + out on one of the beds! Coats, + suits, shirts, sox, even his wife's + -- + + +241 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 241 + + He stops, turns to her quickly. + + JEFF + That alligator bag his wife had on + the bedpost -- + + LISA + What about it? + + JEFF + He had it hidden in the dresser! + Well, at least it was in there. He + took it out, went to the phone and + called somebody long distance. -- + His wife's jewelry was in the + handbag. And something about is + worried him. He was asking somebody + advice over the phone. + + LISA + Someone not his wife? + + JEFF + I never saw him ask her for advise + before. + (Smiles) + But she volunteered plenty. + + Jeff turns back to the window. + + +242 EXT. NEIGHBORHOOD - SEMI LONG SHOT - (NIGHT) 242 + + Thorwald is standing at the window with his drink in his + hand. Then he turns, puts his unfinished drink down on a + table, and goes to the door. He puts the light out in the + living room and goes out the door. He walks briskly down + the corridor. + 99. + + + LISA + I wonder where he's going now? + + JEFF + I don't know. + + LISA + Suppose he doesn't come back again? + + JEFF + He will. All his things are still + piled on the bed. + + +243 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 243 + + Lisa moves toward a nearby lamp. + + LISA + Well, I guess it's safe to put on + some lights now. + + JEFF + (Looking to left) + Not yet! + + He picks up the long-focus lens and trains it on the street + intersection, as Lisa moves back to him. + + +244 EXT. NEIGHBORHOOD - CAMERA SHOT - (NIGHT) 244 + + The street intersection. Some traffic, mostly pedestrian. + Miss Lonely Hearts still sitting at the cafe table, alone. + Drinking. There is no sign of Thorwald. + + +245 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 245 + + He lowers the lens. + + JEFF + He must have gone somewhere to the + right. + + The CAMERA PULLS BACK as Lisa starts around the apartment + turning on the lights. As she light increases, we see that + she is wearing another extravagantly beautiful dress. She + seems quite animated, moving gracefully, her skirt and hair + swinging with her movement. Jeff turns around to face the + room. + + LISA + 100. + + + All day long I've tried to keep my + mind on work. + + JEFF + Thinking about Thorwald? + + LISA + (Nods yes) + And you, and you friend Coyne -- + (Stops, to Jeff) + Did you hear from him again - since + he left? + + JEFF + Not a word. He was going to check + on the railroad station, and the + trunk. He must be still on it. + +As he talks, she seems to be thinking something over to +herself. He starts pacing, trying to distill her thoughts. +We see that she has brought an oversized handbag with her, +which lies prominently on the table. + +Jeff watches her. + + JEFF + Something on your mind, Lisa? + + LISA + It doesn't make sense to me. + + JEFF + What doesn't? + + LISA + Women aren't that unpredictable. + + JEFF + (Losing a little + patience) + Lisa -- I can't guess what you're + thinking. + +THE CAMERA CLOSES IN, Lisa stops, faces him. Her eyes +sparkle, and her body is tense with concentration. + + LISA + A woman has a favorite handbag - it + always hangs on her bedpost where + she can get at it. Then she takes a + trip and leaves it behind. Why? + + JEFF + 101. + + + Because she didn't know she was + going on a trip - and where she was + going she wouldn't need a handbag. + +THE CAMERA eases back. + + LISA + But only her husband would know + that. + (Starts to pace again) + And the jewelry! Women don't keep + all their jewelry in a purse, all + tangled, getting scratched and + twisted up. + + JEFF + Do they hide it in their husband's + clothes? + + LISA + They do not! And they don't leave + it behind them. A woman going + anywhere but the hospital would + always take makeup, perfume and + jewelry. + + JEFF + Inside stuff? + + LISA + Basic equipment. You don't leave it + behind in your husband's drawer in + your favorite handbag. + + JEFF + I'm with you, sweetie, but + Detective Thomas J. Coyne has a pat + answer for that. + + LISA + That Mrs. Thorwald left at six ayem + yesterday with her husband? + + JEFF + That's what the witnesses told him. + + LISA + Well, I have a pat rebuttal for Mr. + Coyne - that couldn't have been + Mrs. Thorwald - or I don't know + women. + + JEFF + 102. + + + Still -- those witnesses. + + LISA + We'll agree they saw a woman - but + she wasn't Mrs. Thorwald. - That + is, yet. + +She comes over to Jeff. He reaches up, takes her hand. + + JEFF + Come here. + +He pulls her into his lap. She puts her arms around him. +She is very happy, and kisses Jeff's cheek. + + LISA + I'd like to see your friend's face + when we tell him. He doesn't sound + like much of a detective. + + JEFF + Don't be too hard on him. He's a + steady worker. I wish he'd get + there, though. + + LISA + (Nuzzling Jeff) + Don't rush me. We have all night. + +There's a pause. Then Jeff moves back a little to look her +straight in the eye. + + JEFF + We have all - what + + LISA + Night. I'm going to stay with you. + + JEFF + You'll have to clear that through + my landlord----. + +She cuts him off with a kiss. When she pulls back + + LISA + I have the whole weekend off. + + JEFF + Well that's fine, but I only have + one bed, and --- + +Lisa smothers him with another kiss. She lets up. + 103. + + + LISA + Say anything else, and I'll stay + tomorrow night too. + + JEFF + Lisa, I won't be able to give you + any--- + +She smothers him with still another kiss. Then moves back. + + JEFF + ---pajamas. + +She laughs, gets up. Goes to the large handbag on the +table. Is is a Mark Cross ladies 'attache' case. + + LISA + You said I'd have to live out of + one suitcase + (Picks up case) + I'll bet yours isn't this small? + + JEFF + That's a suitcase? + + LISA + (Starting to open it) + A Mark Cross overnight case, anyway + Compact, but ample enough. + +She has opened it, and surprisingly enough, it is a compact +outfit of pajamas, slippers, toothbrush, toothpaste, and +all the general necessities for a comfortable overnight +stay. She comes to Jeff, sits in his lap again, displaying +the inside of the case + + LISA + I'll trade you - my feminine + intuition for a bed for the night. + + JEFF + (Gives in smiling) + I'd be no better than Thorwald, to + refuse. + +The SOUND from the party in the song-writer's apartment +becomes more noticeable as his party grows. And at this +point he begins playing the song he has been composing for +the past few days. + + LISA + There's that song again. + 104. + + + She gets up from Jeff's lap, and puts the overnight case on + the table. Open. She goes to the window, and looks toward + the song-writers' apartment. Jeff turns with her. + + +246 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 246 + + The party at the song-writer's has grow considerably + larger. An assortment of well-dressed people have now + crowded into the studio. They are drinking, eating, etc. At + the moment, a number of them are crowded around the piano, + listening to the composer's newest song - which isn't quite + completed. However, the melody has become more beautiful + than ever. During the following scene, we HEAR the melody + being played a number of different ways on the piano. + + +247 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 247 + + Lisa stands, listening, entranced. + + LISA + Where does a men get the + inspiration for a song like that? + + Jeff watches her. + + JEFF + From his landlord -- once a month. + + LISA + It's utterly beautiful. + (Turns to Jeff) + I wish I could be creative. + + JEFF + You are. You have a talent for + creating difficult situations. + + LISA + (Happily) + I do? + + JEFF + Staying the night here, uninvited. + + She sits down on the edge of the divan near Jeff. She leans + toward him. + + LISA + Surprise - is the most important + element of attack. + (She smiles) + 105. + + + And beside, you're not up on your + private eye literature. When + they're in trouble, it's always + their Girl Friday who gets them out + of it. + + JEFF + The same girl who keeps him out of + the clutches of seductive show + girls, and over-passionate + daughters of the rich. + + LISA + The same. + + JEFF + But he never ends up marrying her. + Strange. + + LISA + (Stands up; deadpan) + Weird. + (She does a complete + spin, then, ingenuously) + Why don't I slip into something + comfortable? + + JEFF + You mean - like the kitchen? And + make us some coffee? + + LISA + Exactly what I had in mind - along + with some brandy. + + She goes to the kitchen, humming with the song-writer's + melody which we can HER off. Jeff turns back to the window, + looks out. + + +248 EXT. NEIGHBORHOOD - (NIGHT) - MEDIUM SHOT 248 + + The shade is going up in the newlyweds apartment. The young + husband throws up the window an lights a cigarette. He + takes a deep and satisfying drag on the cigarette, glancing + toward the song-writer's party. + + Just as he starts to exhale the smoke, we HEAR his young + wife's voice off: + + GIRL'S VOICE + H-a-a-r-r-e-e-! + 106. + + + He chocks on the smoke, sputtering and coughing. When he + recovers, he throws the cigarette down to the back-yard + with a show of irritation. Then slowly he pulls the shade + down. Behind us is SOUND of a door shutting + + +249 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 249 + + Over Jeff's shoulder we see Coyne coming down the steps + slowly, and seemingly preoccupied. Jeff swings the chair + around so that his back is to us. + + SEMI-CLOSEUP + + Without looking at Jeff, Coyne comes into the apartment + takes off his hat and places it on the table. He runs a + hand over the side of his head and down the back of his + neck, which seems to indicate some fatigue. + + SEMI-CLOSEUP + + Jeff. Looking expectantly at Coyne. + + SEMI CLOSEUP + + Coyne reaches for a cigarette on the table, and puts it to + his lips. While searching his pockets for a match, he HEARS + Lisa humming. His eyes turn upward. + + MEDIUM SHOT + + Over the cabinet which divides the living room from the + kitchen, we can see a glimpse of Lisa's shadow on the + ceiling. + + SEMI-CLOSEUP + + Jeff, has follows Coyne's look. + + SEMI CLOSEUP + + Coyne picks up cigarette lighter from table, and lights his + cigarette. As he is placing the lighter back on the table, + he sees: + + CLOSEUP + + From his viewpoint, Lisa's bag containing her lingerie and + overnight effects. + + CLOSEUP + 107. + + + Jeff. His eyes turn from the lingerie up to Coyne. + + CLOSEUP + + Coyne's look is completely noncommittal. His eyes turn at + the sound of the song-writer's party. He moves forward to + get a better view, as the CAMERA RETREATS in front of him. + He stops to glance out of the window. + + +250 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 250 + + The party is now full progress. The room is overcrowded. + And some people are now sitting on the floor with there + backs to the window. Others are outside. A crowd hides the + piano player, but music can be head competing with the + babble. + + +251 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 251 + + Coyne turns his head away, and looks straight out. His + expression hardens a little, as he sees: + + +252 EXT. NEIGHBORHOOD - NIGHT - SEMI LONG SHOT 252 + + The window of Thorwald's apartment, completely dark. + + +253 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 253 + + He also is looking toward Thorwald's apartment. He turns + his eyes anxiously back to Coyne. He seems to be trying to + penetrate Coyne's mind. + + +254 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 254 + + Coyne turns his head from the window, and looks down at + Jeff. He asks, quietly: + + COYNE + What else do you have on this man + Thorwald? + + Jeff's tension eases off a little, by he is eager to talk. + + JEFF + Enough to scare me that you + wouldn't get here in time, and we'd + lose him. + 108. + + + COYNE + (Soberly) + You think he's getting out of here? + + JEFF + Everything he owns is laid out on + the bedroom, ready for packing. + + Coyne looks back toward Thorwald's bedroom. We see the dark + apartment beyond him. Coyne nods thoughtfully. He turns his + head suddenly at the sound of Lisa coming out of the + kitchen. She holds two large brandy snifters containing + some brandy. They are cupped in her hand, the stem between + her fingers. She is rotating them gently toward the body to + warm the brandy. She is quite beautiful. + + +255 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 255 + + Coyne reacts to her appreciatively. + + +256 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 256 + + She continues rotating the brandy. + + LISA + I'm just warming some brandy. + + She comes forward hands one snifter to Jeff. She offers the + second to Coyne. (NOTE: In the following set of scenes, + whenever anyone holds a brandy sniffer, it is being + rotated- regardless of their attitudes.) + + LISA + Mr. Coyne? - I presume. + + Coyne sort of smiles, and takes the snifter awkwardly. + + JEFF + Tom, this is Miss Lisa Fremont. + + Coyne bows his head slightly, but his eyes remain on her in + a fixed stare. + + COYNE + How do you do? + + Lisa smiles in return. + + LISA + We think Thorwald's guilty. + 109. + + + She turns around, and goes right back into the kitchen. + + +257 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 257 + + Coyne stares after her, ignoring her remark, still not + recovered from the fist sight of her attractiveness. + + Then quickly, his eyes move down and to the left. + + +258 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 258 + + The open overnights case with its displayed lingerie. + + +259 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 259 + + Slowly Coyne's eyes travel back to Jeff. + + +260 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 260 + + Quickly guessing what's on Coyne's mind + + JEFF + (Cautiously) + Careful, Tom. + + +261 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 261 + + Coyne's eyes travel past Jeff to look out the window. + + He still holds the brandy snifter in one hand, and a + cigarette in the other. Absentmindedly he still rotates the + brandy. The SOUND of the phone ringing is heard. + + +262 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 262 + + Jeff picks up the phone. + + JEFF + Hallo? + + He listens, and then looks up to Coyne. + + JEFF + Just a minute, please. + 110. + + +Coyne crosses and stands behind Jeff, as Jeff hands him the +Phone. He juggles the cigarette, the brandy snifter and the +phone all at once. This is all done deadpan. + + COYNE + Coyne speaking. + (He listens) + Uh-huh. - Yeah. Mummmm.- Mmm. Hmm. + - Okay. Thank you, and goodbye. + +He hands the receiver back to Jeff, who hangs up. Lisa +comes back in with her own brandy snifter, rotating it. + + LISA + The coffee will be ready soon. + (Urgent) + Jeff, aren't you going to tell him + about the jewelry? + +Coyne looks suddenly interested. He asks tersely: + + COYNE + Jewelry? + + JEFF + He has his wife's jewelry hidden in + among his clothes over there. + + COYNE + You sure it belongs to his wife? + +He turns his head to Lisa, who answers. + + LISA + It was in her favorite handbag. -- + And, Mr. Coyne, that can lead to + only one conclusion. + + COYNE + Namely? + +His head snaps cask to Jeff, who answers: + + JEFF + That wasn't Mrs. Thorwald who left + with him yesterday morning? + + COYNE + You figured that out, huh? + +His head moves back to Lisa as she answers with a touch of +pride in her voice. + 111. + + + LISA + It's just that women don't leave + jewelry behind when they go on a + trip. + + Before Coyne can comment, Jeff asks impatiently: + + JEFF + Come on, Tom - you don't really + need any of this information, do + you? + + Coyne smiles at Jeff, and then strolls over to the table + where he puts out his cigarette and puts down the brandy + snifter. + + COYNE + As a matter of fact, I don't. + + Coyne goes to the window and looks out, as they watch him, + expectantly. He speaks without looking at them. + + His voice is flat and to the point. + + COYNE + Lars Thorwald is no more a murderer + than I am. + + +263 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 263 + + Jeff and Lisa stare at him in astonishment. Then Jeff + recovers, and answers with some anger: + + JEFF + You mean you can explain everything + that went on over there - and is + still going on? + + +264 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 264 + + He spins around, and his face has lost all its + friendliness. + + COYNE + No! + + He starts to place the room. + + COYNE + And neither can you. + (Points out window) + 112. + + + That's a secret and private world + you're looking into out there. + People do a lot at things in + private that they couldn't explain + in public. + + +265 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 265 + + Lisa and Jeff. She replies with some sarcasm. + + LISA + Like disposing of their wives? + + COYNE + (Off) + Get that idea out of your mind. It + will only lead you in the wrong + direction. + + JEFF + But Tom -- the saw, the knives -- + + +266 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 266 + + Coyne breaks in, takes a step forward. + + COYNE + Did you ever own a saw? + + JEFF + (Off) + Well, in the garage, back home, we + -- + + COYNE + (Interrupts) + And how many people did you cut up + with it? Or with the couple of + hundred knives you've probably + owned in your lifetime? + + +267 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 267 + + Jeff, reasoning: + + JEFF + But I'm not a killer! + + COYNE + (Off) + 113. + + + Your logic is backward. + + Lisa cuts in spiritedly. + + LISA + You can't ignore the wife + disappearing! And the trunk- and + the jewelry -- ! + + +268 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 268 + + Coyne starts to pace up and down, throwing out a hand in + careful explanation. + + COYNE + I checked the railroad station. He + bought a ticket. He put her on the + train ten minutes later. + Destination: Merritsville. + Witnesses. This deep. + (He holds his hand a few + feet off the floor) + + +269 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 269 + + Jeff and Lisa. + + LISA + It might have been a woman -- but + it couldn't have been Mrs. + Thorwald. That jewelry -- + + +270 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 270 + + Coyne comes up to the CAMERA, looking at Lisa. + + COYNE + Look, Miss Fremont. That feminine + intuition sells magazines - but in + real life, it's still a fairy tale. + I don't know how many wasted years + I've spent running down leads based + on women's intuitions. + + +271 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 271 + + Jeff is resentful of Coyne's comments to Lisa. + + JEFF + 114. + + + I take it you didn't find the + trunk. -- And this is just an old + speech you once gave at the + Policeman's Ball. + + +272 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 272 + + Coyne has turned away into the center of the room. He + swings around. + + COYNE + I found the trunk -- a half hour + after I left here. + + +273 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 273 + + Lisa speaks again with continuing sarcasm: + + LISA + Of course, it's normal for a man to + tie his trunk up with a heavy rope. + + COYNE + (Off) + When the look is broken - yes. + + JEFF + What was in the trunk? A surly note + to me? + + +274 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 274 + + Coyne comes toward the CAMERA again. + + COYNE + (Carefully) + Mrs. - Thorwald - 's - clothes. -- + Clean - carefully packed - not too + stylish - but presentable. + + LISA + (Off) + Didn't you take it to the crime + lab? + + Coyne gives her a scathing look. + + COYNE + I sent it on its merry and legal + way. + 115. + + +275 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 275 + + Jeff challenges Coyne: + + JEFF + Why - when a woman only goes on a + simple trip, does she take + everything she owns? + + +276 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 276 + + Coyne, with a studied, gracious gesture, to Lisa. + + COYNE + Let the female psychology + department handle that one. + + +277 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 277 + + Lisa answers, but very coldly: + + LISA + I would say that is looked as if + she wasn't coming back. + + COYNE + (Off) + That's what they call a family + problem. + + JEFF + (Persisting) + If his wife wasn't coming back -- + why didn't he tell his landlord? -- + I'll answer it for you - because he + had something to hide. + + +278 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 278 + + Coyne hesitates a moment, and lets his eyes wander, to: + + +279 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 279 + + The overnight case, with Lisa's lingerie. + + +280 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 280 + + His eyes going back to Jeff. + 116. + + + COYNE + (Blandly) + Do - uh - you tell your landlord + everything? + + +281 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 281 + + Jeff replies, pointedly: + + JEFF + I told you to be careful. + + Lisa looks down at Jeff, not comprehending. + + +282 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 282 + + Coyne points to one of the photographs on the wall. + + COYNE + If I'd been careful piloting that + reconnaissance plane, you wouldn't + have taken the kind of pictures + that got you a medal, a big job, + fame, money -- + + JEFF + (Expressionless) + All the things I hate. + + Coyne has a complete change of manner. He relaxes and + smiles. + + COYNE + Now - what do you say we sit down + to a quiet, friendly drink or two - + - forget all about this, and tell + lies about the old days in the war? + Hmmm? + + He looks from one to the other. + + +283 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 283 + + Neither Jeff or Lisa display even the slightest + friendliness. Their faces are cold and set. Then Lisa + speaks, icily: + + LISA + You're through with the case? + 117. + + +284 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 284 + + Coyne is relaxed. + + COYNE + There isn't any "case" to be + through with, Miss Fremont. Now + let's get down to that friendly + drink. + + +285 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 285 + + Jeff and Lisa remain unmoved. + + +286 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 286 + + A little self-conscious, Coyne checks his watch, and says + with a pleasant laugh: + + COYNE + Maybe you're right. I guess I'd + better get home and get some sleep. + + He waits. No response comes across. His face sobers a + little, he reaches for his unfinished drink of brandy. + + He tries to toss it off like a straight shot of liquor. + + Part of is shoots out of the brandy snifter, down each side + of his face, and into his suit. He sputters a little, and + puts the glass down. + + +287 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 287 + + Jeff and Lisa deadpan. + + +288 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 288 + + Coyne is wiping his coat lapels with a handkerchief. He + looks at them pleasantly. + + COYNE + I'm not much of a snifter. + + He starts away toward the door. + + COYNE + 118. + + + If you need any more help, Jeff - + consult the yellow pages of your + telephone directory. + + +289 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 289 + + Lisa, still burning: + + LISA + I hate funny exit lines. + + JEFF + Who was the trunk addressed to? + + +290 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 290 + + Coyne picks up his hat. + + COYNE + Mrs. Anna Thorwald. + + He starts up the steps to the door. + + +291 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 291 + + Jeff points out a challenging finger. + + JEFF + Let's wait and see who pick it up. + + +292 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-LONG SHOT 292 + + Coyne poises on the step. He snaps his fingers. + + COYNE + Oh - that phone call! + (To Jeff) + I gave them your number - hope you + don't mind. + + JEFF + (Off) + That depends on who "they" were. + + COYNE + (Pleasantly) + 119. + + + The police Department at + Merritsville. They called to + report. The trunk was just picked + up - by Mrs. Anna Thorwald. + + He puts on his hat, smiles, and says. + + COYNE + Don't stay up too late. + + He quietly closes the door behind him. + + +293 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 293 + + Lisa and Jeff. Jeff turns his chair around, and looks out + to the neighborhood. Lisa stands glumly behind him. + + +294 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 294 + + The song-writer's party is now in full swing, and fairly + crowded. It is a happy, gay affair. + + +295 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 295 + + None of the gaiety is reflected in Lisa and Jeff. Some new + music is heard coming across the courtyard and Jeff turns + toward it with some irritation. + + +296 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 296 + + Miss Torso's apartment has the door closed, and all that we + can see of her, as she is lying on the divan, is her legs + swinging in arcs as she exercise to record music. + + +297 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 297 + + Lisa is not looking in the same direction as Jeff. All + during this, she has been staring out at Thorwald's + apartment. Now her eyes are looking at the apartment + underneath. She murmurs to Jeff: + + LISA + Look. + + Jeff turns his eyes in the same direction as hers. + + +298 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 298 + 120. + + + A light has gone on in Miss Lonely Hearts' apartment. They + look. Surprise of surprises, she has returned with a lover + hooked. He is much younger then she, and a little more + keyed up to the promise of an adventure still fresh to him. + Her actions are coy, and over-feminine. She slips away from + his hasty embraces and exploratory kisses with the proper + flush of confusion and nervous giggle that seems to say, + "It's quite a surprise you find me so desirable, but me + mustn't do anything improper, you know. After all, we're + practically strangers - and what would you think of me?" + She pours a drink for each of them with gestures over- + gentell. As she sips her drink and look at him over the rim + of the glass, he tosses his off with nervous dispatch. + + He moves toward her, this time more cautiously. An embrace, + a long kiss. She puts her drink down on the edge of the + chair. It spills over onto the rug. He begins kissing her + cheek, her ear, her neck. + + Suddenly and fiercely she pushes him away. Slaps him across + the face. He moves back with shock as she loudly and + emphatically orders him out, out, out. He flushes with + anger and embarrassment, and his mouth twists into + unpleasant shapes as he slaps degrading words back at her, + telling her what she is. She screams at him to get out. He + leaves, slamming the door behind him. + + She goes back dumbly to the spilled liquor, makes a futile + effort to clean it up, and the collapses onto the rug + sobbing hard enough to shake her whole body. + + +299 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 299 + + Lisa turns away from Jeff's chair to get a cigarette from + the table. She lights is, as Jeff turns his chair back to + the room. + + JEFF + As much as I hate to give Thomas J. + Coyne too much credit, he might + have gotten ahold of something when + he said this was pretty private + stuff going on out there. + + He indicates the outside neighborhood with a movement of + his head. She doesn't answer, but studies the photographs + on the wall of his room. + + JEFF + 121. + + + Do you suppose it's ethical to + watch a man with binoculars, and a + long-focus lens - until you can see + the freckles on the back of his + neck, and almost read his mail - do + you suppose it's ethical even if + you prove he didn't commit a crime? + + LISA + I'm not much on ethics. + + JEFF + Of cause, they have the same + chance. They can look at me like a + bug under glass, if they want to. + + LISA + (Turns to him) + Jeff - if anybody walked in here, I + don't think they'd believe what + they see. + + JEFF + Huh? + + LISA + You and me with long faces - + plunged into despair - because we + find out that a man didn't kill his + wife. We're two of the most + frightening ghouls I've ever known. + +Jeff starts to smile at the realization. + + LISA + You'd think we could be a little + bit happy that the poor woman is + alive and well. + +Jeff smile is broad, and he starts to chuckle. She relaxes +and joins him. She sits on his lap, her arms around his +shoulders. + + LISA + Whatever happened to that old + saying "Love Thy Neighbor." + + JEFF + I think I'll start reviving it + tomorrow, with say - Miss Torso for + a start? + 122. + + + She gets up, goes to the blinds, and proceeds to lower them + one by on. + + LISA + (As she get up) + Not if I have to move into an + apartment across the courtyard and + do the dance of the seven veils + once an hour. + (As she lowers the + blinds) + Show's over for tonight. + + He smiles. She goes to the table, picks up he overnight + case. + + LISA + Preview - of the coming + attractions. + + She goes to the kitchen entrance, pauses. + + LISA + Did Mr. Coyne think I stole this + case. + + JEFF + (Mock seriousness) + No, Lisa -- I don't think he did. + + She shrugs, goes into the kitchen, the CAMERA PANNING her. + + LAP DISSOLVE TO: + + +300 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 300 + + Jeff is sitting on the wheelchair near the bar, a drink in + his hand. He starts to take a sip from the glass, when Lisa + comes out of the kitchen. She is an ethereal beauty, in + sheer peach night grow, covered by a gossamer matching + kimono. She turns gracefully in front of Jeff. + + He lowers his drink. + + LISA + (Softly) + What do you think? + + Jeff puts his drink on the bar. He tries to decide how to + answer her question. He can't. + + LISA + 123. + + + I'll rephrase the question. + + JEFF + Thank you. + + Lisa holds out the folds of her kimono. + + LISA + Do you like it? + + JEFF + (Studying it) + Well, -- if there was one less + thread this way -- + (Motions horizontally) + -- and two less that way -- + (Motions vertically) + -- I might give up bachelorhood. + + Lisa turns playfully toward the kitchen. + + LISA + I'll be right back. + + Blood-curdling scream from the courtyard outside suddenly + cuts through the night. + + Startled, both Jeff and Lisa move quickly for the window - + Lisa lifting the blinds up. The long scream subsides into + near-hysterical sobbing. + + +301 EXT. NEIGHBORHOOD - NIGHT - LONG SHOT 301 + + We get a high comprehensive view of all the apartments. + + Light are going on in some windows, shades are lifted on + others, people are beginning to lean out looking for the + source of the cream and sobbing. The song-writer's party + comes to a sudden halt, as his guest crowd to the window. + + SEMI-LONG SHOT + + Lisa and Jeff at the window, looking out, startled. + + SEMI-LONG SHOT + + The landlord, beneath the newlyweds, looks out. Tilting his + head up toward the center of the yard. + + SEMI-LONG SHOT + 124. + + +A couple comes out on the high balcony to the right. + +Look down. + +MEDIUM SHOT + +The newlywed's blinds come up, and for the first time we +see both of them at the window, the girl looking over the +boy's shoulder. + +SEMI-LONG SHOT + +Some members of the song-writer's party move out to the +patio-balcony, to get a better look down in the yard. + +SEMI-LONG SHOT + +The bird woman comes to the window. Her white face looks +forward toward the center of the courtyard. + +SEMI-LONG SHOT + +Miss Torso, pulling a around her, comes out onto her porch, +and looks to her left. + +SEMI-LONG SHOT + +Miss Hearing aid comes quickly into her backyard. + +SEMI-LONG SHOT + +The couple who own the dog are standing on their fire +escape. They are both looking down, but while the husband +is quiet, the wife is holding her hands to the side of her +head, sobbing loudly. We have heard her sobbing since the +moment of the scream which she uttered. + +SEMI-LONG SHOT + +Lying near the sidewalk in the backyard below the couple's +fire escape, is the silent body of the little dog they own. +Miss Lonely Hearts comes running out of the basement door. +She goes directly to the dog, picks it up in her arms. Then +she slowly turns and looks up at the sobbing woman above +her. + + LONELY HEARTS + (Her voice clear) + It's dead! It's been strangled and + the neck is broken! + +SEMI-LONG SHOT + 125. + + +Instead of increasing her sobbing, this news quiets, +momentarily, the woman who owned the dog. Her hands go down +to the railing of the fire escape, gripping it fiercely. +She lifts her face to the neighborhood, her lips set and +her eyes burning. Her chest moves convulsively from the +crying. + + SIFFLEUSE + Which one of you did it? + (Loud) + Which one of you killed my dog? + (No one answers; her + voice is acid) + You don't know the meaning of the + word "neighbor". Neighbors like + each other - speak to each other - + care if anybody lives or dies. But + none of you do! You don't talk, you + don't help, you - you don't --- + (Fighting tears) + Even see. But I couldn't imagine + any of you being so low that you'd + kill a little helpless, friendly + dog! The only thing in this whole + neighborhood who liked anybody! + +SEMI-LONG SHOT + +The guests at the song-writer's party begin to move +silently back to the studio apartment. + +SEMI-LONG SHOT + +The people move off their balcony into the apartment. + +SEMI-LONG SHOT + +The woman almost screams at the people now, as she looks up +at the apartment. + + SIFFLEUSE + Did you kill him because he liked + you? Just because he liked you? + +She breaks out sobbing anew, and returns to her apartment +and out of sight, the crying growing fainter with her +retreat. The husband leans over the fire-escape, and +motions Mess Lonely Hearts to place the dog in the basket, +which is already lowered. + +SEMI-LONG SHOT + 126. + + + Miss Lonely Hearts puts the dog in the basket, and watches + as the husband draws it slowly up. + + SEMI-LONG SHOT + + The bathing beauties go inside their apartment. + + MEDIUM SHOT + + The newlyweds draw their shades again. + + MEDIUM SHOT + + The landlord moves away from the window. + + SEMI-LONG SHOT + + The dog moves closer to the fire escape, slowly, the + husband pulling the rope in hand over hand. + + SEMI-LONG SHOT + + Miss Torso goes back to her apartment. + + SEMI-LONG SHOT + + Miss Hearing Aid turns down the volume of her hearing aid + and goes back to her apartment. + + SEMI-LONG SHOT + + The dog reaches the fire escape, and the husband tenderly + takes it out of the basket. He turns to carry it's into the + apartment. + + +302 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 302 + + Jeff and Lisa are at the window. He is holding on of hands. + Jeff speaks without looking up. + + JEFF + For a minute, Coyne almost had me + convinced I was wrong. + + LISA + But you're not? + + JEFF + In the whole courtyard, only one + person didn't come to the window. + (He points) + 127. + + +303 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 303 + + Thorwald's apartment. It is dark. The only light that can + be seen in it is the glowing end of a cigar in the center + of the room, back from the window - as if Thorwald was + sitting quietly on his sofa, smoking. + + +304 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 304 + + Lisa looks down at Jeff. + + LISA + Why would Thorwald want to kill a + dog? + (Almost a laugh) + Because it knew too much? + + He nods solemnly and then turns back to the window, as both + he and Lisa look again towards + + +305 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 305 + + Thorwald's apartment. Still dark, and only the unmoving + glow of a cigar showing in the center of the apartment. + + +306 INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT 306 + + Jeff, Stella and Lisa are grouped at the window, looking + out. THE CAMERA is behind them. Jeff holds the long-focus + lens to his eye. + + +307 EXT. JEFF'S APARTMENT - DUSK - CAMERA SHOT 307 + + We wee the upper part of the bedroom window, belonging to + Thorwald. + + The lover part of the window is covered by a wall. In the + bathroom, Thorwald is wiping the enameled wall with a damp + cloth. He rubs at particular spots now and then. + + Over this we hear: + + JEFF + Do you think this was worth waiting + all day to see? + + LISA + Is he cleaning house? + 128. + + + JEFF + He's washing down the bathroom + walls. + + STELLA + Must have splattered a lot. + + +308 INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT 308 + + We now see their faces. Jeff lowers the camera with a long- + focus lens. Neither he nor Lisa make any comment. + + Finally Stella blurts out: + + STELLA + Well, why not? That's what we're + all thinking. He killed her in + there, and he has to wipe up the + stains before he leaves. + + Lisa turns away from the window. + + LISA + Stella, your choice of words -- + + Stella also turns, interrupting her + + STELLA + Nobody's invented polite words yet + for killing. + + +309 INT. JEFF'S APARTMENT - DUSK - CLOSEUP 309 + + Jeff, who is still staring out the window, has a look of + sudden discovery on his face. He calls quickly: + + JEFF + Lisa - Lisa - on the shelf over + there - get me the small yellow box + -- + + He turns halfway around, and points. We see Lisa moving + behind him toward the shelf. He adds: + + JEFF + And that little viewer. + 129. + + + He turns back to the window, holding out his right hand to + the side, waiting for the box and viewer. The CAMERA PULLS + BACK a little as Lisa comes up, and places the box and + viewer in his hand. He opens the box, which contains color + slides, and holds one or two of the slides up to the light. + Lisa looks down at him curiously and Stella comes forward + from the background. + + JEFF + (Half to himself as he + searches slides) + These aren't more than two weeks + old. -- I hope I didn't take all + leg art. + (Discovers the right + slide) + I think this is the one. + + Puts the other slides to one side and puts the selected one + onto the viewer, with sounds of satisfaction. As he lifts + the viewer to his eyes Lisa asks impatiently: + + LISA + Jeff - what are you looking for? + + He squints out through the viewer, then looks away a moment + without it. + + JEFF + Something - that if I'm right - + might solve a murder. + + He looks back through the viewer. + + STELLA + Mrs. Thorwald? + + JEFF + Uh-uh. The dog. I think I know now + why Thorwald killed it. + + He takes the viewer from his eye, hands it to Lisa. + + JEFF + You take a look and tell me what + you see. + + +310 INT. JEFF'S APARTMENT - DUSK - CLOSEUP 310 + + Lisa raises the viewer to her eye. + 130. + + +311 EXT. NEIGHBORHOOD - DUSK - CLOSEUP 311 + + Through the viewer we see the identical view out of the + window. + + JEFF + (Over) + Now take it away. + + The viewer moves away, and we are left with the identical + scene, but not quite so still, a slight breeze stirring the + foliage. + + +312 INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT 312 + + Jeff looks up to a puzzled Lisa. + + JEFF + Well? + + LISA + It's just a picture of the + backyard, that's all. + + JEFF + I know. But there's one important + change. The flowers in Thorwald's + pet flower bed. + + STELLA + You mean the one the dog was + sniffing around? + + JEFF + (To Stella) + And gigging in + (Points out window) + Look at that flower bed. + + They all lean forward to look. + + +313 EXT. NEIGHBORHOOD - DUSK - MEDIUM SHOT 313 + + The flower bed. The flowers have a slight dip in the + center. Jeff speaks off: + + JEFF + There's a dip at this end. And + since when do flowers grow shorter + in two weeks? + 131. + + + STELLA + There's something buried there. + + +314 INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT 314 + + All three ease back in awe. Lisa, still looking out, says: + + LISA + (Breathing it) + Mrs. Thorwald! + + Suddenly Stella begins to chuckle. They look around at her. + Her face sobers as she answers their unasked question: + + STELLA + You haven't spent much time in + cemeteries, have you? + (they don't answer) + Mr. Thorwald could hardly put his + wife into a plot of ground scarcely + one foot square. + + Jeff and Lisa slowly turn their heads to look out at the + garden. + + +315 EXT. NEIGHBORHOOD - DUSK - SEMI-LONG SHOT 315 + + The garden again with its small indentation of flowers over + this we hear the ghoulish voice of Stella: + + STELLA + Unless, he puts in standing on end. + -- which would be very original and + not require the use of either a + knife or a saw. My guess is she's + scattered all over town. A leg in + the East River - an arm -- + + LISA + (Cuts in) + Stella, please. + + +316 INT. JEFF'S APARTMENT - DUSK - MEDIUM SHOT 316 + + Jeff looks at Stella. + + JEFF + Something's in there. Those flowers + have been taken up, and put back + again. + 132. + + + LISA + (Has a hard time saying + it) + It could be -- the knife, and the + saw. + + STELLA + (Quickly) + Call Lieutenant Coyne! + + LISA + No - let's wait. Let's wait until + it gets dark. I'll go over and dig + it up! + + Halfway through Lisa's speech, Jeff begins speaking. + + JEFF + (To Stella) + I'm not going to call Coyne until I + show him the body of Mrs. Thorwald + -- + (To Lisa) + And you're not going to dig up + anything, an get your neck broken + too. + + THE CAMERA EASES BACK to allow Lisa to sit on the divan, + and Jeff turn his chair toward her. Stella still look out + the window, thinking. + + JEFF + What we've got to do is fine some + way to get in there, and -- + + Stella's quiet voice brings him to a halt. + + STELLA + He's starting to pack. + + Jeff whips back to the window; Lisa turns to look. + + +317 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 317 + + Thorwald, in the bedroom, methodically folding a suit into + a suitcase. Another suitcase, unopened, is visible. + + +318 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 318 + 133. + + + Jeff is staring out, gripping his chair tightly. There is a + touch of desperation on his face. He looks down at the + flowers, briefly, then swings around abruptly. He wheels + away from the camera to the wall cabinet. We see him take a + piece of notepaper, a pencil and an envelope. + + He puts a name on the envelope, and then proceeds to write + something on the sheet of paper. Stella and Lisa edge up + behind him, and look down at what he is writing. + INT. JEFF'S APARTMENT - + (NIGHT) + - CLOSEUP + THE CAMERA RUSHES DOWN over Jeff's + shoulder, just in time to catch the + last word as he finishes writing + the message. The envelope is + addressed to "LARS THORWALD." The + massage reads, simply, "WHAT HAVE + YOU DONE WITH HER?" + + FADE OUT. + + FADE IN: + + +319 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 319 + + Jeff at the window, looking through the long-focus lens. + + We get a glimpse of Stella behind him. He is watching: + + +320 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT 320 + + The alleyway and street. Just regular traffic. + + Suddenly Lisa comes into the picture from the left. She is + carrying a white envelope. She stops, waves her hands at + Jeff, smiles, and then hurries on. The lens slowly pans to + the right and stops on Miss Torso's apartment. She is + standing on a small stepladder, nailing curtains above her + window. Her legs are bare, though she wears high-heel + shoes. We do not see more than half-way up her thighs. The + lens takes this in for the briefest split-second of + hesitancy then moves on to await the arrival of Lisa along + Thorwald's corridor. + + She moves not appear yet. The lens moves back to get + another glimpse of Miss Torso, who is now descending the + ladder. She is wearing a leotard. Over this, we hear + Stella's voice: + + STELLA + 134. + + + What are you going back for? + + The lens quickly swings back to Thorwald's corridor. Lisa + is seen turning the corner, and approaching Thorwald's door + on tiptoe. + + +321 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 321 + + Jeff lowers the long-focus lens to get a more comprehensive + view of Thorwald's apartment and corridor outside. + + +322 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 322 + + Lisa approaches the door of Thorwald's apartment. The + salesman comes into the living room. He finds a package of + cigarettes, extracts one, and lights it. Lisa kneels down, + and carefully slides the litter under the door. + + At this moment, Thorwald extinguishes the match, tosses it + into an ashtray, and turns toward the door. He freezes as + he sees the letter on the floor. This momentary hesitation + allows Lisa to straighten up, turn, and walk carefully but + swiftly, away. Thorwald moves rapidly toward the door. He + bends down, scoops up the letter, and examines it briefly. + Lisa is just turning out of sight at the end of the + corridor, as Thorwald throws open the door. He looks sees + no one. He takes a few questioning steps down the corridor, + then stops to examine the letter again. Slowly he turns and + makes his way back to the apartment, tearing open the + envelope. + + +323 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 323 + + Jeff lifts the long-focus lens to his eyes again. His + expression is tense. + + +324 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT 324 + + Thorwald stops in front of his door to read the note. + + There is some curiosity on his face. As he reads, all + movement and emotion drain from his body. He stands there, + frozen. Jeff's voice is heard over: + + JEFF + You did it, Thorwald! You did it! + + Suddenly Thorwald turns and dashes down the corridor. + 135. + + +325 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 325 + + Jeff whips the long-focus lens from his eye. + + +326 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 326 + + As Thorwald dashes down the corridor, we hear Jeff's voice. + He cries out instinctively, but almost to himself: + + JEFF + Lisa! Look out! He's coming! + + +327 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 327 + + Both Stella and Jeff frantic. + + STELLA + (Accusingly) + You shouldn't have let her do that! + If he ever --- + + JEFF + (Interrupting) + Look! + + +328 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 328 + + Lisa suddenly appears at the ground floor door below + Thorwald's. She hides, pressing back against the wall + tensely. In the corridor above, Thorwald returns, + frustrated. He comes out onto the fire escape directly + above Lisa. She is aware of him, and immediately retreats + into the doorway. She disappears down the lower corridor, + as Thorwald searches his fire escape. + + +329 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-CLOSEUP 329 + + There is a sigh of relief from both of them. + + STELLA + Thank heaven that's over! + + JEFF + I have a feeling we've just begun. + + +330 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 330 + 136. + + + Thorwald is now passing through the living room into the + bedroom. He picks up a shirt and puts it on. He then + returns to packing his suitcases, moving unhurriedly. + + +331 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 331 + + Jeff rubs his chin thoughtfully. Stella is scanning the + neighborhood. We hear a radio, or a television show, off; + and there is distant, rhythmic music coming from the cafe + on Thorwald's street. + + JEFF + No doubt of it. He's leaving. The + question is - when? + + Stella's brow knits a little as she sees something. She + reaches for the long focus lens. + + STELLA + Mind if I use the portable keyhole? + + Jeff hands it to her. + + JEFF + Not as long as you tell me what + you're looking at. + + She lifts it to her eye. + + +332 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT 332 + + Miss Lonely Hearts' apartment. She has opened a small brown + bottle, and taken out four red capsules which she places on + the white table cloth of her little table. + + There is a candle burning in a holder, and other lamps also + light the apartment. She is dressed in sedate street + clothes. She sits at the table, and by the light of the + candle proceeds to open a black-covered book, and read it. + The print is fine. She bends over it a moment, looks up at + the capsules, and returns to the book. She seems quite at + peace. Stella and Jeff are heard over: + + STELLA + I wonder. + + JEFF + What? + + STELLA + 137. + + + Miss Lonely Hearts just laid out + something that looks like rodium + tri-eckonal capsules. + + JEFF + You can tell that from here? + + STELLA + I handled enough of those red pills + to put everybody in New Jersey + asleep for the winter. + + JEFF + Would four of them---? + + STELLA + (Breaks in) + No - but it makes the rest easy to + take. And she's reading the Bible. + + JEFF + (After a slight pause) + Then I wouldn't worry too much. But + let's keep an eye on her. + + +333 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 333 + + Stella lowers the long-focus lens. + + STELLA + You know? You might not be too bad + a bargain for Lisa after all. + + JEFF + (You don't say!) + I might just take that compliment + as an insult. + + The door bursts open, and they both turn quickly toward the + entrance. + + +334 INT. JEFF'S APARTMENT - (NIGHT) - SEMI-LONG SHOT 334 + + Lisa comes in, panting and flushed. She stands a second at + the door, catching her breath, but smiling with the + pleasure of sampling danger and escaping unharmed. + + LISA + Wasn't that close? + + JEFF + 138. + + + (Off) + Too close. + + She comes down the stairs. + + LISA + What was his reaction? I mean when + he looked at the note? + + +335 INT. JEFF'S APARTMENT - (NIGHT) - MEDIUM SHOT 335 + + As Lisa comes up to the two of them. + + STELLA + Well, it wasn't the kind of + expression that would get him a + quick loan at the bank. + + Lisa comes close to Jeff, speaks warmly. + + LISA + Jeff - how did I do? + + He takes her hands. + + JEFF + Real professional. Would have made + a great layout for the Bazaar. The + model pressed back against a brick + wall, eyes wild, tense. Low cut + bodice, in new suspicious black, + with a -- + + Some of the pleasure goes out of her face. Stella notices + it. + + STELLA + (Interrupts Jeff) + You'd make a good door prize at a + wake. + + It relieves the slight friction, as both Jeff and Lisa + laugh. Lisa happens to look toward the window, and the + laugh dies. + + LISA + Jeff - the handbag. + + Jeff and Stella turn toward the window. Jeff grabs the + long-focus lens, lifts it up. + 139. + + +336 EXT. NEIGHBORHOOD - (NIGHT) - CAMERA SHOT 336 + + Thorwald has the new alligator bag belonging to his wife, + in his hand. He moves slowly across the bedroom, out of + sight behind the door. He doesn't appear in the living + room. In a moment he reappears, moving back to his packing. + He puts the handbag into one of the suitcases - the one + which he has almost completed filling. He goes on with his + packing. + + +337 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 337 + + Jeff puts down the long-focus lens, and turns around toward + the room. The two women watch him expectantly. + + JEFF + Suppose Mrs. Thorwald's wedding + ring was among the jewelry he has + in the handbag. + (Supporting his + proposition) + During that phone conversation he + held up three rings - one with a + diamond - one with a big stone of + some kind - and one plain gold + band. + + LISA + (Excited) + And the last thing she'd leave + behind would be her wedding ring! - + (To Stella) + Do you ever leave yours at home? + + Stella lifts her left hand, and looks fondly at her ring + finger. + + STELLA + The only way anybody could get that + off would be to chop my finger--- + + STELLA + Let's go down and find out what's + buried in the garden. + + LISA + Why not? I always wanted to meet + Mrs. Thorwald. + + Jeff looks at them aghast. + + JEFF + 140. + + + What are you two talking about? + + STELLA + Got a shovel? + + JEFF + No. + + STELLA + There's probably one in the + basement. + + JEFF + Now wait a minute -- + + LISA + Jeff, if you're squeamish, just + don't look. + + JEFF + Now hold on. I'm not a bit + squeamish about what might be under + those flowers -- but I don't care + to watch two women end up like that + dog -- + +Stella grows a little uneasy. Her eyes drift toward +Thorwald's apartment. + + STELLA + (To Lisa) + You know, Miss Fremont - he might + just have something there. + + JEFF + There's no point in taking + unnecessary chances. + (He points) + Give me the phone book, Lisa. + +Lisa moves for the phone book on the stand near the +kitchen. + + LISA + What for? + + JEFF + maybe I can get Thorwald out of the + apartment. + +Lisa hands him the book. + + STELLA + 141. + + + We only need a few minutes. + + Jeff looks for Thorwald's number in the directory. + + JEFF + I'll try to give you at least + fifteen minutes. + + LISA + How? + + JEFF + (Finds the number) + Chelsea 2-7099. + (He looks up, reaches for + the phone) + We scared him once. Maybe we can + scare him again. + (Picks up receiver; + pauses) + I'm using that word "we" a little + too freely, I guess. I don't take + any of the chances. + + LISA + Shall we vote him in, Stella? + + STELLA + Unanimously. + + The two women smile. Jeff picks up the phone and dials + Chelsea 2-7099. The women watch him tensely. He holds the + receiver away from his ear a little, and the buzzer is + heard sounding on filter. Lisa looks toward Thorwald's + apartment; then Stella; then Jeff. + + +338 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 338 + + Thorwald's apartment. He comes out of the bedroom toward + the phone. He wears a light summer coat and tie, despite + the heat. In the bedroom, everything is packed with the + exception of one open suitcase. We see another suitcase, + his sample case, and a couple of topcoats across the bed. + He approaches the phone hesitantly, undecided whether or + not to answer it. + + JEFF + (Off, half-aloud) + 142. + + + Go ahead, Thorwald - pick it up. + You're curious. You wonder if it's + your girl friend calling. The one + you killed for. Pick it up, + Thorwald! + +Quickly Thorwald does pick it up. + + THORWALD + (Cautiously, on filter) + Hello. + + JEFF + (Off) + Did you get my note? + +There is a pause as Thorwald gropes for an answer. We can +almost hear his breathing. + + JEFF + Well - did you get it, Thorwald? + + THORWALD + Who are you? + + JEFF + I'll give you a chance to find out. + Meet me in the bar at the Brevoort + - and do it right away. + + THORWALD + Why should I? + + JEFF + For a little business meeting - to + settle the estate of your late + wife. + + THORWALD + (After a pause) + I don't know what you mean. + + JEFF + (Firmly) + Now stop wasting time, Thorwald, or + I'll hang up and call the police. + + THORWALD + (Breathing heavily) + I only have a hundred dollars or + so. + + JEFF + 143. + + + That's a start. I'm at the Brevoort + now. I'll be looking for you. + + He hangs up before Thorwald can reply. Thorwald looks at + the receiver a moment, then he slowly hangs up. He stands + at the phone thinking. He doesn't suspect he is being + watched through the window. Then he makes up his mind and + starts for the door. After he goes out he tests the door to + make certain it is locked. + + LISA + (Over) + Let's go, Stella. + + +339 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 339 + + Jeff turns his wheelchair halfway around as Lisa and Stella + start quickly for the door, THE CAMERA PANNING THEM across + the room. They pause at the sound of Jeff's voice. + + +340 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 340 + + Jeff calls after them: + + JEFF + One of you watch this window. If I + see him coming back, I'll signal + with a flashbulb. + + The door slams off and we hear the footsteps of the women + dying down the corridor as Jeff picks up the long-focus + lens and takes a sight on the alleyway. + + +341 EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT 341 + + Thorwald goes past the alley opening. + + +342 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 342 + + Jeff puts down the lens and wheels quickly to the wall + cabinet. He finds a box of flash bulbs and a reflector. + + He puts them in his lap and returns to the window, putting + the chair sideways. He leans out a little and looks down. + + +343 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 343 + + Lisa is in the courtyard directly below Jeff's window. + 144. + + + She has reached the stairway leading up and to the right. + She looks, waves at Jeff as Stella comes up to her carrying + a shovel. The two women hurry up the stairs toward the iron + ladder they will use to climb the wall between Jeff's yard + and that of Thorwald's. + + +344 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT 344 + + Jeff picks up the phone and quickly dials. The buzzer + sounds on filter, then the phone is lifted. A woman's voice + is heard and Jeff seems a little puzzled at the sound of + it. + + BABY SITTER + This is Coyne's house. + + JEFF + This is L. B. Jefferies, a friend + of Tom's. Who am I talking with? + + He squints out the window. + + +345 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 345 + + Lisa has climbed over the wall and is helping Stella down + into Thorwald's yard. The shovel is lying on the ground + beside Lisa. Jeff's conversation continues over the action + of the two women. + + BABY SITTER + This is the baby sitter. + + JEFF + Oh. When are they expected home? + + BABY SITTER + I'm hired 'til one. They went to + dinner and maybe night-clubbing. + + JEFF + Well, if he calls in, tell him to + get in touch with L. B. Jefferies + right away. I might have quite a + surprise for him. + + BABY SITTER + Does he have your number, Mr. + Jefferies? + + JEFF + He has it. Thank you. + 145. + + + BABY SITTER + Goodnight. + + Jeff hangs up. Stella is now beginning to dig, carefully + lifting the flowers off the center of the bed where they + had dipped down. She places the flower plants on the + sidewalk. Lisa stands facing Jeff's window and occasionally + glances over her shoulder uneasily at Stella's work. + + At this moment, the sounds of musical instruments begin to + be heard from the songwriter's apartment. + + +346 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT 346 + + A little annoyed at the interruption, Jeff turns to look at + the studio apartment. + + +347 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 347 + + In the songwriter's apartment, several of his musician + friends have gathered. One plays a guitar, another a + clarinet, and so on. One by one they try out the theme of + the songwriter's new melody, running through it in turn to + become familiar with the notes. We, therefore, hear the + melody played informally in different ways with different + instruments. + + +348 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 348 + + Jeff shifts his eyes from the songwriter's apartment back + to the courtyard. + + +349 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 349 + + Stella is busy, expertly handling the shovel. Lisa has her + back to the nurse, but looks apprehensively over her + shoulder. She then looks up toward Jeff's apartment. + + +350 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 350 + + Jeff gives her an encouraging little gesture with his hand. + Then his eyes lift a little as he looks up. + + +351 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 351 + 146. + + + Miss Lonely Hearts is sitting on the sofa, writing a note + with a pad on her knee. Next to her, on the table, the + pills are still in evidence. + + +352 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 352 + + Jeff picks up the long-focus lens and trains it on the + alleyway. + + +353 EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT 353 + + The alleyway and street intersection, with normal night + traffic, but no sign of Thorwald. THE CAMERA LENS PANS + across and down to the hole being dug by Stella. We get an + impression of Lisa's legs as we go by. The spade comes out + of the hole and rests on the side. THE CAMERA LENS PANS up + just in time to catch Stella turning up to Jeff. She throws + out a helpless hand and shakes her head. "Nothing." + + +354 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 354 + + Jeff lowers the lens and looks down at the two women with + evident disappointment. + + +355 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 355 + + Lisa glances up to Thorwald's apartment. She turns and + gestures some instructions to Stella. Then she looks up at + Jeff and gestures her intention to enter Thorwald's + apartment. She turns and dashes toward Thorwald's fire + escape as Stella makes a fruitless grab to restrain her. + + +356 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 356 + + Jeff, shocked and alarmed, calls out: + + JEFF + Lisa - no! + + He looks quickly toward the intersection and then right + back to Lisa. Apparently no sight of Thorwald. + + +357 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 357 + 147. + + + While Lisa starts up the fire escape, we see Stella running + toward the wall in the foreground to climb over it. Stella + has abandoned the shovel and left the flowers and dirt + strewn over the walk. + + +358 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 358 + + Jeff, tense and wide-eyed, watches Lisa climb the fire + escape. + + +359 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 359 + + Lisa climbs the fire escape to the second floor and the + outside of Thorwald's apartment. + + She tries, unsuccessfully, to get through the window which + opens into the kitchen from the fire escape. And then, with + some difficulty, stretches and succeeds in getting in + through the living room window, which is open. She goes + directly to the bedroom and we see her bending over one of + the suitcases. + + +360 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSE SHOT 360 + + Jeff quickly picks up the long-focus lens and trains it on + the salesman's apartment. + + +361 EXT. NEIGHBORHOOD - NIGHT - CAMERA SHOT 361 + + Lisa turns from the suitcase with the alligator handbag in + her hand. There is an expression of triumph on her face. + She opens it and her expression changes to dismay. She + looks toward Jeff's apartment and, to communicate her + dismay, she turns the handbag upside down. Nothing falls + out. Empty. + + +362 INT. JEFF'S APARTMENT - NIGHT - CLOSEUP 362 + + He lowers the long-focus lens and he is sweating with + anxiety. He mutters, almost to himself: + + JEFF + Come on. Come on! Get out of there! + + His eyes turn quickly to the alleyway and back again to + Lisa. + 148. + + +363 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 363 + + Lisa has dropped the bag on the bed and is now looking + around the bedroom, looking for some place to start + searching for the jewelry. She moves quickly to the dresser + and begins opening the drawers to check them. + + She finds nothing. + + +364 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 364 + + As Jeff watches tensely, the door bursts open behind him + and Stella hurries into the apartment. + + STELLA + Ring Thorwald's phone the second + you see him on the way back! + + Jeff swings toward Stella. He reaches for the phone. + + JEFF + I'm going to ring him now! + + As he picks up the receiver, Stella pushes his hand down + again. + + STELLA + Give her another minute. -- She's + doing this for you. + + Stella looks out the window and her face registers shock. + Jeff turns quickly to the window again, forgetting the + phone for the moment. + + STELLA + Miss Lonely Hearts! + + +365 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 365 + + Miss Lonely Hearts is in the act of popping an envelope up + against the table lamp on the table next to the sofa. + + From the same table, she takes a pill bottle and empties + the contents into her left hand. Replacing the bottle, she + picks up a glass of water. + + STELLA + (Off) + Call the police! + 149. + + + We hear the sound of the receiver picked up, and Jeff + starting to dial New York Police. At this moment, from the + song-writer's apartment which has been quiet for a while, + comes a new burst of melody. It is the melody which the + song-writer has been composing during the past few days. + Now it is rich, and full, and completed, as the musical + group plays it. Miss Lonely Hearts lifts her head to + listen, and slowly lowers the pills and glass of water into + her lap, her whole purpose arrested by the beauty of what + she hears. + + +366 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 366 + + Jeff and Stella turn for a quick glimpse of the song- + writer's apartment. + + +367 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 367 + + A quick flash of the song-writer's apartment, and his + musical group gathered around the piano. + + STELLA + Maybe that music will delay her + taking the pills. + + +368 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 368 + + Jeff and Stella look back to Thorwald's apartment. Jeff has + the receiver to his ear, and the buzzer can be heard on + filter. + + +369 EXT. NEIGHBORHOOD - NIGHT - MEDIUM SHOT 369 + + At the bottom of the picture, Miss Lonely Hearts is still + listening to the music, while in the apartment above Lisa + appears into the living room from behind the doorway that + leads to the bedroom. She looks across to the source of the + music. She is as arrested by the melody as Miss Lonely + Hearts. Then looking across to Jeff, she holds up her hands + triumphantly to show him the jewelry she has discovered. At + this point, Thorwald appears coming along the corridor of + his apartment house! Lisa is completely unaware of his + approach. + + +370 INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT 370 + + Stella is so shocked, she can only gasp for breath. + 150. + + + Jeff, in near panic, shouts in anguish! + + JEFF + Lisa! Lisa! + + At this moment, the phone is picked up on filter, and a + voice speaks: + + POLICE + Precinct Six - Sergeant Allgood. + + Jeff opens his mouth to speak, but no words come out, as + his attention is focused on: + + +371 EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT 371 + + Thorwald at the door, unlocking it with his key. We see + that Lisa has heard the sound, and looks toward the door, + all but frozen with alarm. The Policeman on the phone + repeats with studied irritation: + + POLICE + Precinct Six - Sergeant Allgood. + + Lisa dashes back into the bedroom just in time to avoid + being seen by Thorwald as he opens the door and enters the + apartment. + + +372 INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP 372 + + Jeff, urgently into phone, with a serious and rapid voice: + + JEFF + A man is assaulting a woman at one + two five west ninth street. Second + floor rear. Make it fast. + + POLICE + Your name? + + JEFF + L. B. Jefferies. + + POLICE + Phone number? + + JEFF + (Impatiently) + Chelsea 2-5598. + + POLICE + 151. + + + Two minutes. + + Phone is down on filter, and Jeff replaces his receiver. + + +373 EXT. NEIGHBORHOOD - (NIGHT) - SEMI-LONG SHOT 373 + + Thorwald crosses the living room, and goes into the + bedroom. Suddenly he looks onto the bed. He picks up the + open alligator handbag. He turns, facing the window, + looking down at the bag. He looks up in the direction of + the living room. Then suddenly his whole frame stiffens, + his head turns a little further around to his right. He is + looking directly at Lisa who is out of our sight in the + corner of the bedroom. He holds out the bag, and without + moving, starts to question the unseen Lisa. He takes a + little step forward, and his head begins to turn slightly + to the left as Lisa begins to emerge into the living room, + backing away slowly. By her gestures, and nervous laughter, + she appears to be offering a lame excuse for being found in + his apartment. + + He comes towards her, and enters the living room as well. + Lisa edging toward the door, points to it as she apparently + argues with him as to the way she came in. + + He points to the window. She makes one more step toward the + door, but Thorwald reaches out quickly and grabs her by the + wrist. He twists it brutally, and flings her sideways into + the sofa beneath the window. Her head snaps back against + the head rest. With his right hand he throws the handbag + across the room in anger, and with his left open-palmed he + demands something from Lisa. + + Slowly her right hand comes up and opens. + + He takes the jewelry from her, looks at it for a surprised + moment, puts it into his coat pocket. He reaches down with + both hands, and by the wrists jerks her to her feet. He is + talking viciously to her. We can hear Lisa calling out + faintly: "Jeff! Jeff!" + + Thorwald suddenly looks out at the neighborhood. He + realizes that somebody might be watching him. He drags her + across the room, reaches up with one arm, and the lights go + off. The faint light from the bedroom illuminates their + struggle, but not clearly. + + +374 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 374 + 152. + + + An angry Jeff is staring, and trying to penetrate the semi- + darkness of Thorwald's room. Then he bends his head forward + in despair, and after a brief moment speaks: + + JEFF + (With deep sincerity) + Stella - what can we do? + + +375 INT. JEFF'S APARTMENT - (NIGHT) - CLOSEUP 375 + + Stella staring out, tense, frightened. Then her expression + changes sharply as she looks slightly to the left. + + STELLA + There they are. + + Jeff looks up quickly. + + +376 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 376 + + Two policemen move quickly and professionally up the + corridor toward Thorwald's apartment. They stop at the + door, listen a moment, and then push the buzzer + insistently. Inside the apartment, lights go on, and + Thorwald is in the center of the room looking toward the + door. Lisa staggers away from him, trying to rearrange her + clothes and her hair. She is as surprised at the + interruption as Thorwald. He listens, looks back + questioningly toward Lisa, then goes to the door. He passes + into the kitchen. + + +377 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 377 + + Jeff and Stella visibly relax. Jeff doesn't say anything, + but a gesture of rubbing his eyes with the back of his hand + gives an indication of how deep his tension was. + + +378 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 378 + + After a moment's hesitation, Thorwald goes to the door and + opens it. + + +379 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT) 379 + + Jeff quickly puts a hand out and takes up his long-focus + lens. He looks through the finder. + 153. + + +380 EXT. NEIGHBORHOOD - CAMERA SHOT - (NIGHT) 380 + + Thorwald's head and shoulders fill the screen. For a moment + Thorwald is genuinely frightened by the sight of the + police. We see him listening to the policeman out of the + picture. Thorwald turns slowly and we see him lose much of + his fright and regain some control of his face. He + completes his turn and is looking at the girl a little + puzzled. He then swings back toward the police. + + +381 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (NIGHT) 381 + + A quick flash of Jeff and Stella looking. Jeff still has + the long-focus lens to his eye. + + +382 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 382 + + Thorwald is displaying indignation and complaint to the + police as he nods his head vigorously toward Lisa. At this + the police start to advance into the apartment, going + directly for Lisa. She flashes a quick look toward Jeff's + window. She turns back as the first policeman reaches her. + He starts to question her. + + +383 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (NIGHT) 383 + + Stella turns away and goes quickly to the table for the + binoculars. Jeff still is using the long-focus lens. + + +384 EXT. NEIGHBORHOOD - BINOCULAR SHOT - (NIGHT) 384 + + We see Lisa start to excuse her presence in the same manner + she used with Thorwald previously, as if to say she came + into the apartment by mistake. Thorwald, listening, comes + quickly forward to contradict her, vigorously. He holds out + the jewelry in his hand, and then picks up and shows the + empty handbag. The policeman, impressed, looks back to Lisa + for an explanation. She has none. Over this we hear Stella + frantically asking: + + STELLA + What's she trying to do? Why + doesn't she turn him in? + + JEFF + Smart girl. + + STELLA + Smart? She'll be arrested! + 154. + + + JEFF + That'll get her out of there, won't + it? + + The first policeman indicates that Lisa is to come along + with him. He pauses momentarily to tell the second + policeman to take a statement from Thorwald about the + attempted burglary. The second policeman reaches for the + jewelry in Thorwald's hand, and takes it for examination. + In the brief pause while the two policemen speak to each + other, Lisa starts to wave her left hand behind her back. + + +385 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT) 385 + + Jeff looking through his camera. + + +386 EXT. NEIGHBORHOOD - CAMERA SHOT - (NIGHT) 386 + + We get a closer view of the waving hand. She stops waving + and holds her fingers spread out. With her other hand she + points to the wedding ring on her left hand. + + STELLA + Mrs. Thorwald's ring! + + THE LENS PANS UPWARD AND ACROSS until it brings Thorwald's + profile into the picture. He is looking down directly at + Lisa's hands. His head slowly turns, and he looks right up + - directly into the lens. Suddenly he becomes aware that + Lisa is signalling to someone who is watching him. + + +387 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 387 + + Jeff and Stella. He drops the camera into his lap. + + JEFF + Stella! The lights! He'd seen us! + + Stella hurries from the window, turning off lights, as Jeff + backs his chair into the room. + + +388 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 388 + + As Thorwald's attention is drawn back to the second + policeman to answer further questions, the first policeman + takes Lisa by the arm and leads her out of the apartment. + He goes down the corridor pushing the curious people away + from the door. + 155. + + +389 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 389 + + The last light out, Stella stops to catch her breath, and + turns to Jeff. + + STELLA + When you took your first snapshot - + - did you ever think it would bring + you to this? + + JEFF + (Urgently) + Stella - how long do you think + he'll stay there? + + STELLA + (Squinting out window) + Unless he's dumber than I think, he + won't wait 'til his lease is up. + + Jeff points to a drawer in the wall cabinets. + + JEFF + My billfold! In the right hand + drawer. + + Stella moves to get it. + + STELLA + What do you need money for? + + JEFF + To bail Lisa out of jail. + + She finds a billfold, hands it to Jeff. He takes it, + extracts some bills and begins counting them. As he counts, + Stella comments: + + STELLA + You know - you could just leave her + there until after next Tuesday - so + you could sneak away safely - as + planned. + + He looks up sharply at her, and then without comment goes + back to counting the money. + + JEFF + (With obvious + disappointment) + One hundred and twenty-seven. + + STELLA + 156. + + + How much do you think you'll need? + + JEFF + First offense burglary -- + (He shrugs) + -- probably two-fifty. + (Gets an idea, points) + The piggy bank. + + Stella, following his pointing finger, gets a piggy bank + down from a shelf on the sideboard. He takes it, cracks it + on the knee of his cast. It splits open, and some money + comes out. Mostly bills, a few silver halves. + + What he doesn't get, Stella picks up. + + STELLA + Ten here. + + JEFF + Thirty-three here. Totals one- + ninety. Not enough. + + STELLA + I got twenty or so in my purse. + Give me what you've got. + + Jeff does, as Stella gets her purse. + + JEFF + What about the rest? + + STELLA + When those cops get a look at Miss + Fremont -- they'll even contribute. + + Stella goes up to the door. The phone RINGS. Jeff grabs it, + picks it up. Stella pauses. + + JEFF + (To phone) + Just a minute. + (To Stella) + I'll tell you who it is when you + get back. + + Stella goes quickly out the door. He returns to the phone + call, glancing at the same time toward the courtyard. + + +390 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT) 390 + + JEFF + 157. + + +Jefferies. + + COYNE + (Filter) +This is Coyne, Jeff. + + JEFF + (Urgently) +Tom, I've got something real big +for you. + + COYNE + (Wearily) +Look Jeff, don't louse up my night +with another man killer stuffing a +grisly trunk that turns out to be - +- + + JEFF + (Interrupting harshly) +Listen to me! Lisa's been arrested. + + COYNE + (Slightest pause) +Your Lisa? + + JEFF +My Lisa. She went into Thorwald's +apartment, and he came back. The +only way I could get her out was to +call the police. + + COYNE + (Angry) +I told you that -- + + JEFF + (Interrupting) +I know what you told me! She went +in to get evidence, and she came +out with it. + + COYNE +Like what? + + JEFF +Like Mrs. Thorwald's wedding ring. +If that woman were still alive, +she'd be wearing it. + + COYNE + (Grudgingly) +A possibility. + 158. + + + JEFF + (Talking fast) + A fact! Last night he killed a dog + for pawing in his garden. Why? + Because he had something buried in + there. Something a dog could scent. + + COYNE + Like an old hambone? + + JEFF + (Fast) + I don't know what pet name Thorwald + had for his wife. And that night he + went out half a dozen times with + the metal suitcase. He wasn't + taking his possessions, because + they're up in his apartment now! + + COYNE + You think perhaps it was "old + hambone?" + + JEFF + In sections! And one other thing, + doubting Tom - it just occurred to + me that all the calls Thorwald made + were long distance! If he called + his wife the day she left - after + she arrived in Merritsville - why + did she need to send him a postcard + saying she'd arrived? + + COYNE + (After pause; a + detective) + Where'd they take Lisa? + + JEFF + Precinct Six. I sent a friend over + with bail money. + + COYNE + Maybe you won't need it. I'll run + it down, Jeff. + + +391 EXT. NEIGHBORHOOD - LONG SHOT - (NIGHT) 391 + + We see Thorwald leave his apartment and proceed down the + corridor. + + JEFF + 159. + + + Just don't dally. Thorwald knows + he's being watched. He won't hang + around long. + + COYNE + If that ring checks out, we'll give + him an escort. So long. + + He hangs up, and just as he does, Jeff looks toward + Thorwald's apartment. He rolls forward to the window. + + He seems a little puzzled by what he sees. + + +392 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 392 + + Thorwald's apartment. Completely dark. No movement, or glow + of a cigar. The corridor outside lighted, but empty. + + +393 INT. JEFF'S APARTMENT - SEMI-CLOSE SHOT - (NIGHT) 393 + + Jeff scratches the side of his chin, studies Thorwald's + apartment as if he might see some small clue as to where + the salesman is. He looks toward the intersection to his + left. Apparently he sees nothing. He turns to look down + into the garden. + + +394 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 394 + + Miss Lonely Hearts is standing in the yard outside her + apartment, looking up to the porch of Miss Torso. The + ballet dancer is in high heels and a fresh summer dress. + + MISS TORSO + (Faintly heard) + Have you heard that song he's been + writing? + + She indicates the song-writer's apartment. Miss Lonely + Hearts turns, looks up at the studio apartment a moment, + then looks up at Miss Torso. + + MISS LONELY HEARTS + (Nods yes) + I'm glad I was here when he played + it. + + +395 INT. JEFF'S APARTMENT - CLOSE SHOT - (NIGHT) 395 + 160. + + + He sits quietly a moment, thinking. Suddenly he jumps a + little as the phone rings. He reaches for it, picks up the + receiver. + + JEFF + (Still looks out window) + Hello. + (No answer) + Hello, Coyne? Tom? Tom, I think + Thorwald's left. I don't see + anything of -- + (He looks at receiver, + then:) + Hello. + + Slowly he looks up toward Thorwald's apartment. Then, back + to the receiver. On filter, a receiver can be heard + carefully being replaced. Jeff slowly lowers the phone into + the cradle. He looks once more toward Thorwald's apartment. + Then he turns his chair around quickly and looks toward the + door to his apartment. + + +396 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 396 + + The door. Quiet in the apartment, and in the corridor. + + Light showing beneath the door from the hall light. + + +397 INT. JEFF'S APARTMENT - CLOSE SHOT - (NIGHT) 397 + + Jeff watching, waiting, nervous at first. He reaches for + the phone, changes his mind. He looks around for some kind + of a weapon, finds none to suit him. He hears the slightest + squeak of a floorboard, and looks quickly toward the door + again. + + +398 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 398 + + The door. Another squeak of a floorboard, so light and + quickly passing that at any other time it would have no + significance, even if it could be heard. Then the light + beneath the door disappears. Black. + + +399 INT. JEFF'S APARTMENT - CLOSE SHOT - (NIGHT) 399 + + Jeff squints at the door, blinks, squints again. + + +400 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 400 + 161. + + + The door. No doubt about it, black. + + +401 INT. JEFF'S APARTMENT - SEMI-CLOSE SHOT - (NIGHT) 401 + + He looks again for a weapon, and almost by instinct he + snatches up his flash holder and the small packet of bulbs + he had taken out to signal Lisa earlier. He tries to move + his wheelchair farther into the shadows. His eyes are glued + to the door of his apartment, and his senses are sharp as a + hunting dog's. He scarcely breathes. + + +402 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 402 + + Only the slightest sound is heard as the doorknob turns. + + The door slowly and carefully swings open, but the corridor + is too dark to tell at first who is entering. + + The door closes just as quietly. From the shadowed recess + comes a heavy voice. A threatening voice. + + THORWALD + What do you want from me? + + Jeff doesn't answer. Thorwald steps to the top of the + stairs, and is now somewhat visible. He looks tall and huge + and explosive. + + THORWALD + Your friend - the girl - could have + turned me in. Why didn't she? + + +403 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT) 403 + + Jeff doesn't answer. His eyes watch Thorwald. He licks his + lip with nervous tension and grips the flash holder. + + +404 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 404 + + Thorwald comes down the two steps, pauses at the bottom. + + THORWALD + What is it you want? A lot of + money? I don't have any money. + + Jeff doesn't answer. + + THORWALD + Say something! + 162. + + + He moves forward a couple of steps. + + THORWALD + (Sudden loud anger) + Say something! Tell me what you + want! + + +405 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT) 405 + + Jeff still doesn't speak. He grips the flash holder a + little more tightly, lifts it just the fraction of an inch + as if he is prepared to use it. + + +406 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (NIGHT) 406 + + Thorwald has advanced to the middle of the room, his eyes + on Jeff and his hands clenching with the effort to control + his anger. + + THORWALD + Can you get me that ring back? + + JEFF + (Quietly) + No. + + THORWALD + (Loud) + Tell her to bring it back! + + He advances a step. + + JEFF + I can't. The police have it by now. + + THORWALD + Then if the police get me -- you + won't be around to laugh! + + Thorwald starts to move threateningly for Jeff. + + +407 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (NIGHT) 407 + + From a three-quarter angle toward Thorwald. Jeff lifts the + flash holder to face level and closes his eyes. He explodes + the flash. + + +408 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT) 408 + 163. + + + Thorwald's face fills the screen registering shock, + confusion. He throws up his hands for protection and + recoils, making an involuntary sound of surprise. + + +409 INT. JEFF'S APARTMENT - (NIGHT) 409 + + A vision of Jeff and the apartment as seen by Thorwald. + + It is distorted and out of focus, filled with large + twisting balls of bright yellow color. + + +410 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT) 410 + + Thorwald blinking, trying to regain his sight. + + +411 INT. JEFF'S APARTMENT - SEMI-CLOSEUP - (NIGHT) 411 + + Jeff ejects the used bulb and quickly inserts another. + + He works furiously, sweating. He gets the bulb in the flash + holder just in time to meet Thorwald coming at him. Jeff + closes his eyes and another bulb explodes in Thorwald's + face. + + +412 INT. JEFF'S APARTMENT - CLOSEUP - (NIGHT) 412 + + Thorwald's face, full screen again, as he recoils from the + flash. + + +413 INT. JEFF'S APARTMENT - (NIGHT) 413 + + The apartment as seen by Thorwald again. Big, twisting + balls of blinding yellow. + + +414 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 414 + + Thorwald stumbles back against the side table, knocking + objects off onto the floor, struggling for balance and + sight. Jeff works rapidly to put a fresh bulb in the + holder. + + +415 INT. JEFF'S APARTMENT - SEMI-CLOSE SHOT - (NIGHT) 415 + + Thorwald regains his equilibrium and some of his sight. + 164. + + + Orienting himself, he starts for Jeff again. This time, + when the flash holder goes off, we see it from Jeff's + angle. Thorwald is lighted almost white, shockingly + outlining every detail of his face, clothes, hands. His + rage and frustration are fixed for a brief but terrifying + moment. He stumbles backward again, trying to brush the + light away from his face almost as if it were a solid + enveloping substance. + + +416 INT. JEFF'S APARTMENT - SEMI-CLOSE SHOT - (NIGHT) 416 + + Jeff ejects a bulb, puts his last bulb into the flash + holder. He tries to move the wheelchair a little further + away from Thorwald. Then he raises the flash holder again. + + In b.g. we see: Coyne, Lisa, Stella and the detectives come + to Thorwald's door, try it. Locked. + + One of the men steps forward with a flat steel jimmy and + snaps the lock open. They move quickly into the darkened + apartment. Coyne hits the lights inside the kitchen. The + group goes into the living room. The lights go on. No sign + of Thorwald. Coyne, Lisa and Stella instinctively turn and + look toward Jeff's apartment. + + +417 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 417 + + From Thorwald's apartment shooting at Jeff's window. A + sudden bright flash is seen as the last flash bulb goes + off. And it lights the scene of Jeff in the wheelchair and + Thorwald diving through the air at him. Darkness rushes in, + blacker than before. + + +418 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 418 + + Thorwald has finally reached Jeff, knocking the flash + equipment out of his hands and coming to grips with him. + + It is apparent that he is trying to pull Jeff out of the + wheelchair. Jeff fights him off. + + The wheelchair crashes over, spilling Jeff to the floor. + + Thorwald is on top of him, lifting, dragging him to the + window. Jeff grabs everything he can to keep himself away + from the window, but Thorwald is far too powerful for him. + He strains to raise Jeff to the windowsill. + + THORWALD + 165. + + + I'll give you a good look out the + window. + + Slowly, inexorably, he raises Jeff to the windowsill. + + Jeff frantically grabs for the upright window frame, + wrapping his arms around it. Thorwald shoves the rest of + his body over the windowsill. + + +419 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT) 419 + + Coyne, Lisa, Stella and the two detectives, crossing + Thorwald's yard, see Jeff going out the window. Lisa is + panicked. + + LISA + Jeff! Jeff! + + +420 EXT. NEIGHBORHOOD - MEDIUM LONG SHOT - (NIGHT) 420 + + From Coyne's viewpoint, Jeff hanging out the window and + Thorwald hammering at his hands and arms with bare fists. + + Coyne pushes Lisa to one side and starts to scale the wall, + preceded by the two detectives. + + +421 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 421 + + Thorwald fights to dislodge Jeff's grip. + + +422 EXT. JEFF'S APARTMENT - CLOSE SHOT - (NIGHT) 422 + + Looking down on Jeff's face, showing his strain and the + pain of Thorwald's attack. The brick floor of the patio + seems a hundred feet below. + + +423 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 423 + + Thorwald and Jeff struggling. + + +424 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT) 424 + + Coyne pulling himself to the top of the wall. Lisa, Stella + and the two men below, looking up. Lisa is white-faced and + frightened. + 166. + + +425 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 425 + + Thorwald smashes at Jeff's arms and hands. Jeff's grip + begins to slip. + + +426 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT) 426 + + Coyne reaches the top of the wall, looks up at Jeff. + + +427 EXT. NEIGHBORHOOD - MEDIUM LONG SHOT - (NIGHT) 427 + + Jeff, as seen from Coyne's angle, hanging, somehow + weathering Thorwald's insane attack. + + +428 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT) 428 + + Coyne reaches for his service revolver. He doesn't have it! + He looks down, and calls one of the detectives back. + + COYNE + Creel! Your Thirty-eight! + + +429 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT) 429 + + Looking down at the two detectives from Doyle's point of + view. Creel grabs for his gun expertly. The holster breaks + away. It is in his hand and with a deft movement he tosses + it upward. + + +430 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT) 430 + + Coyne catches it, turns up to Jeff's apartment. + + +431 INT. JEFF'S APARTMENT - MEDIUM SHOT - (NIGHT) 431 + + Thorwald still trying to loosen Jeff's grip. The salesman, + in a complete, wild, sweating rage, is beyond all reason. + His glasses hang from one ear, his coat is torn, his tie + pulled to one side. + + +432 EXT. NEIGHBORHOOD - MEDIUM LONG SHOT - (NIGHT) 432 + + Shooting over Coyne's shoulder as he steadies himself + against the wall, lifting the service revolver up for a + shot at Thorwald. His aim is careful, slow, painfully + deliberate. Jeff seems about to fall. + 167. + + +433 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT) 433 + + The two detectives ahead of Coyne are moving up below the + window. Lisa stand looking up, her hands at the sides of + her head, frozen with panic. + + +434 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 434 + + Two detectives appear behind Thorwald and grab him. The + startled Thorwald stops his attack on Jeff as he looks + wildly around to find the source of his new attack. + + +435 EXT. NEIGHBORHOOD - CLOSEUP - (NIGHT) 435 + + Jeff, hanging from the window frame. He claws desperately + for a hold. + + +436 EXT. NEIGHBORHOOD - COMPREHENSIVE SHOT - (NIGHT) 436 + + People rush to their windows, looking out at the + excitement. Some people on the ground floor come out into + the yard. Coyne and the two detectives come into the patio + beneath Jeff. + + Coyne directs them to improvise something to break Jeff's + fall -- leaves, greenery, their coats, cushions from the + patio furniture -- anything they can find. The four + uniformed policemen rush into the backyard. Lisa and Stella + come over the wall into the patio beneath Jeff. They look + up at Jeff, encouraging him to hold on. + + A detective goes into Jeff's cellar door, trying to reach + his apartment before Jeff loses his grip. + + The siffleuse and her husband are standing on the fire + escape in plain, almost somber clothes. They watch + expressionlessly. Beneath them the empty basket which once + held their dog swings silently in the night air. + + +437 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT) 437 + + Jeff, hanging from his windowsill. He loses his grip and + plunges down into the patio below. Two detectives throw + themselves beneath him. They are knocked to the ground as + Jeff's fall tumbles both of them. After Jeff hits, he lies + still, twisted over to one side. + + Coyne and Lisa rush over to Jeff. There is an audible SOUND + of shock in the neighborhood as Jeff has fallen -- + 168. + + + various oh's, ah's, and possibly a stifled scream or two. + + +438 EXT. NEIGHBORHOOD - SEMI-CLOSE SHOT - (NIGHT) 438 + + Lisa kneels down, cradles Jeff's head in her lap. There are + tears in her eyes. Her clothes are disheveled and her dress + torn. Her hair is disarranged. But withal, her face is as + beautiful as ever, with love. + + LISA + Jeff - Jeff darling! + + He opens his eyes. Winces with pain. + + LISA + (To the detectives) + Get an ambulance. + (Down to Jeff) + Don't move. Try to lie still. + + JEFF + Lisa -- I -- I -- can't tell you + how scared I was that you -- you + might -- + + LISA + (Affectionately) + Shut up. I'm all right. + + JEFF + (To Coyne) + Think you've got enough for a + search warrant now? + + COYNE + Oh sure. Sure. I can make it. + + +439 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 439 + + At that moment, a man appears leaning out of Jeff's window. + He looks down to the patio. + + DETECTIVE + Lieutenant Coyne? + + COYNE (OFF) + (Looking up) + Yeah? + + DETECTIVE + 169. + + + Thorwald's ready to take us on a + tour of the East River. + + +440 EXT. NEIGHBORHOOD - SEMI CLOSEUP - (NIGHT) 440 + + Stella tugs at Coyne's arm and stands on tiptoe to whisper + something into his ear. Coyne then looks up to the + detective. + + COYNE + Did he say what was buried in the + flower bed? + + DETECTIVE + Yeah. It's over in his apartment. + In a hat box. Wanna look? + + Coyne turns quizzically at Stella. + + STELLA + Oh, no thanks -- I don't want any + part of her. + (She pauses, then does a + surprised take back to + Coyne) + What did I say? + + DISSOLVE TO: + + +441 EXT. NEIGHBORHOOD - PAN SHOT - DAY 441 + + Beginning on Jeff's window thermometer, the CAMERA PANS + FROM RIGHT TO LEFT around the neighborhood. + + In the songwriter's apartment we see the songwriter with a + guest -- Miss Lonely Hearts. Both in dress and manner she + seems quite happy and adjusted to life. The songwriter is + placing the first recording of his new song on a record + player for her to hear. It is a full symphonic arrangement + which is heard over. They CONTINUE TO PAN. + + Thorwald's apartment is empty, stripped of its furnishings. + Two painters are repainting the walls. + + The siffleuse and her husband are on their fire escape, + training a new white dog to ride in their basket. + 170. + + + Miss Torso is practicing her ballet again. She wears a + white leotard. The sound of someone at the door interrupts + her. She goes to the door, opens it an inch or two + cautiously. When she sees who is outside, she throws open + the door. An innocuous, unhandsome and somewhat shy army + private enters with a barracks bag slung over one shoulder. + She kisses him fondly after closing the door. He puts down + the barracks bag, tosses his hat into a chair and, with the + attitude of a man who belongs there, goes to the icebox to + see what's to eat. + The newlyweds are arguing. + + The CAMERA PANS past Jeff who is asleep in his wheelchair + facing away from the window. CAMERA MOVES DOWN to the lower + part of his body and we see that both his legs are now in + casts. The CAMERA LIFTS SLIGHTLY to show Lisa sitting on + the sofa nearby. She wears levis and a plaid cotton shirt. + She is reading a book on travel. She looks up briefly at + Jeff. When she realizes he is asleep, she puts down the + travel book and reaches for the latest copy of Harper's + Bazaar. She settles down to study it as we + + FADE OUT. + + THE END + + +442 EXT. NEIGHBORHOOD - SEMI-LONG SHOT - (NIGHT) 442 + + The siffleuse and her husband are standing on the fire + escape in plain, almost somber clothes. They watch + expressionlessly. Beneath them the empty basket which once + held their dog swings silently in the night air. + + +443 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT) 443 + + Miss Torso, behind the wall of her yard, has been unable to + see much of anything. Frustrated, she looks up toward the + composer's apartment. + + MISS TORSO + What happened? + + +444 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT) 444 + + The song-writer, at the edge of his roof, answers: + + SONG-WRITER + Somebody shot the photographer - + and he fell out his window. + Something like that. + 171. + + +445 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT) 445 + + Torso impulsively says: + + MISS TORSO + That music you wrote. It's the most + beautiful thing I ever heard. + + +446 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT) 446 + + The song-writer beams: + + SONG-WRITER + Come on up. + + +447 EXT. NEIGHBORHOOD - MEDIUM SHOT - (NIGHT) 447 + + Coyne turns back to Jeff and Lisa. + + COYNE + How's your stomach? + + JEFF + Bent. + + COYNE + You were right. There was something + in that garden. I just got a signal + -- it's in Thorwald's icebox now. + + Lisa looks away. Jeff smiles at her discomfort. + + JEFF + That reminds me -- two heads are + better than one. + + FADE OUT. + + THE END + \ No newline at end of file diff --git a/scripts/Shawshank Redemption.txt b/scripts/Shawshank Redemption.txt new file mode 100644 index 0000000000000000000000000000000000000000..be8f492f9b75267d09c26751ac96dbacdaf7d658 --- /dev/null +++ b/scripts/Shawshank Redemption.txt @@ -0,0 +1,7279 @@ + 1. + + + + +1 INT -- CABIN -- NIGHT (1946) 1 + + A dark, empty room. + + The door bursts open. A MAN and WOMAN enter, drunk and + giggling, horny as hell. No sooner is the door shut than + they're all over each other, ripping at clothes, pawing at + flesh, mouths locked together. + + He gropes for a lamp, tries to turn it on, knocks it over + instead. Hell with it. He's got more urgent things to do, + like getting her blouse open and his hands on her breasts. + She arches, moaning, fumbling with his fly. He slams her + against the wall, ripping her skirt. We hear fabric tear. + + He enters her right then and there, roughly, up against the + wall. She cries out, hitting her head against the wall but + not caring, grinding against him, clawing his back, + shivering with the sensations running through her. He + carries her across the room with her legs wrapped around + him. They fall onto the bed. + + CAMERA PULLS BACK, exiting through the window, traveling + smoothly outside... + + +2 EXT -- CABIN -- NIGHT (1946) 2 + + ...to reveal the bungalow, remote in a wooded area, the + lovers' cries spilling into the night... + + ...and we drift down a wooded path, the sounds of rutting + passion growing fainter, mingling now with the night sounds + of crickets and hoot owls... + + ...and we begin to hear FAINT MUSIC in the woods, tinny and + incongruous, and still we keep PULLING BACK until... + + ...a car is revealed. A 1946 Plymouth. Parked in a + clearing. + + +3 INT -- PLYMOUTH -- NIGHT (1946) 3 + + ANDY DUFRESNE, mid-20's, wire rim glasses, three-piece + suit. + 2. + + + Under normal circumstances a respectable, solid citizen; + hardly dangerous, perhaps even meek. But these + circumstances are far from normal. He is disheveled, + unshaven, and very drunk. A cigarette smolders in his + mouth. His eyes, flinty and hard, are riveted to the + bungalow up the path. + + He can hear them fucking from here. + + He raises a bottle of bourbon and knocks it back. The radio + plays softly, painfully romantic, taunting him: + + You stepped out of a dream... + + You are too wonderful... + + To be what you seem... + + He opens the glove compartment, pulls out an object wrapped + in a rag. He lays it in his lap and unwraps it carefully -- + + -- revealing a .38 revolver. Oily, black, evil. + + He grabs a box of bullets. Spills them everywhere, all over + the seats and floor. Clumsy. He picks bullets off his lap, + loading them into the gun, one by one, methodical and grim. + + Six in the chamber. His gaze goes back to the bungalow. + + He shuts off the radio. Abrupt silence, except for the + distant lovers' moans. He takes another shot of bourbon + courage, then opens the door and steps from the car. + + +4 EXT -- PLYMOUTH -- NIGHT (1946) 4 + + His wingtip shoes crunch on gravel. Loose bullets scatter + to the ground. The bourbon bottle drops and shatters. + + He starts up the path, unsteady on his feet. The closer he + gets, the louder the lovemaking becomes. Louder and more + frenzied. The lovers are reaching a climax, their sounds of + passion degenerating into rhythmic gasps and grunts. + + WOMAN (O.S.) + Oh god... oh god... oh god... + + Andy lurches to a stop, listening. The woman cries out in + orgasm. The sound slams into Andy's brain like an icepick. + He shuts his eyes tightly, wishing the sound would stop. + 3. + + + It finally does, dying away like a siren until all that’s + left is the shallow gasping and panting of post-coitus. We + hear languorous laughter, moans of satisfaction. + + WOMAN (O.S.) + Oh god...that’s sooo good...you’re + the best...the best I ever had... + + Andy just stands and listens, devastated. He doesn't look + like much of a killer now; he's just a sad little man on a + dirt path in the woods, tears streaming down his face, a + loaded gun held loosely at his side. A pathetic figure, + really. + + FADE TO BLACK: 1ST TITLE UP + + +5 INT -- COURTROOM -- DAY (1946) 5 + + THE 3URY listens like a gallery of mannequins on display, + pale-faced and stupefied. + + D.A. (O.S.) + Mr. Dufresne, describe the + confrontation you had with your + wife the night she was murdered. + + ANDY DUFRESNE + + is on the witness stand, hands folded, suit and tie + pressed, hair meticulously combed. He speaks in soft, + measured tones: + + ANDY + It was very bitter. She said she + was glad I knew, that she hated all + the sneaking around. She said she + wanted a divorce in Reno. + + D.A. + What was your response? + + ANDY + I told her I would not grant one. + + D.A. + (refers to his notes) + I’ll see you in Hell before I see + you in Reno. Those were the words + to the testimony of your neighbors. + + ANDY + 4. + + +If they say so. I really don't +remember. I was upset. + + FADE TO BLACK: 2ND TITLE UP + + D.A. +What happened after you and your +wife argued? + + ANDY +She packed a bag and went to stay +with Mr. Quentin. + + D.A. +Glenn Quentin. The golf pro at the +Falmouth Hills Country Club. The +man you had recently discovered was +her lover. + (Andy nods) +Did you follow her? + + ANDY +I went to a few bars first. Later, +I decided to drive to Mr. Quentin’s +home and confront them. They +weren't there...so I parked my car +in the turnout...and waited. + + D.A. +With what intention? + + ANDY +I'm not sure. I was confused. +Drunk. I think mostly I wanted to +scare them. + + D.A. +You had a gun with you? + + ANDY +Yes. I did. + + FADE TO BLACK: 3RD TITLE UP + + D.A. +When they arrived, you went up to +the house and murdered them? + + ANDY +No. I was sobering up. I realized +she wasn't worth it. I decided to +let her have her quickie divorce. + 5. + + + D.A. +Quickie divorce indeed. A .38 +caliber divorce, wrapped in a +handtowel to muffle the shots, +isn't that what you mean? And then +you shot her lover! + + ANDY +I did not. I got back in the car +and drove home to sleep it off. +Along the way, I stopped and threw +my gun into the Royal River. I feel +I've been very clear on this point. + + D.A. +Yes, you have. Where I get hazy, +though, is the part where the +cleaning woman shows up the next +morning and finds your wife and her +lover in bed, riddled with .38 +caliber bullets. Does that strike +you as a fantastic coincidence, Mr. +Dufresne, or is it just me? + + ANDY + (softly) +Yes. It does. + + D.A. +I'm sorry, Mr. Dufresne, I don't +think the jury heard that. + + ANDY +Yes. It does. + + D.A. +Does what? + + ANDY +Strike me as a fantastic +coincidence. + + D.A. +On that, sir, we are in accord... + + FADE TO BLACK! 4TH TITLE UP + + D.A. +You claim you threw your gun into +the Royal River before the murders +took place. That's rather +convenient. + 6. + + + ANDY + It's the truth. + + D.A. + You recall Lt. Mincher's testimony? + He and his men dragged that river + for three days and nary a gun was + found. So no comparison can be made + between your gun and the bullets + taken from the bloodstained corpses + of the victims. That's also rather + convenient, isn't it, Mr. Dufresne? + + ANDY + (faint, bitter smile) + Since I am innocent of this crime, + sir, I find it decidedly + inconvenient the gun was never + found. + + FADE TO BLACK: STH TITLE UP + + +6 INT -- COURTROOM -- DAY (1946) 6 + + The D.A. holds the jury spellbound with his closing + summation: + + D.A. + Ladies and gentlemen, you've heard + all the evidence, you know all the + facts. We have the accused at the + scene of the crime. We have foot + prints. Tire tracks. Bullets + scattered on the ground which bear + his fingerprints. A broken bourbon + bottle, likewise with fingerprints. + Most of all, we have a beautiful + young woman and her lover lying + dead in each other's arms. They had + sinned. But was their crime so + great as to merit a death sentence? + + He gestures to Andv sitting quietly with his ATTORNEY. + + I suspect Mr. Dufresne's answer to that would be yes. I + further suspect he carried out that sentence on the night + of September 21st, this year of our Lord, 1946, by pumping + four bullets into his wife and another four into Glenn + Quentin. And while you think about that, think about + this... + 7. + + + He picks up a revolver, spins the cylinder before their + eyes like a carnival barker spinning a wheel of fortune. + + D.A. + A revolver holds six bullets, not + eight. I submit to you this was not + a hot-blooded crime of passion! + That could at least be understood, + if not condoned. No, this was + revenge of a much more brutal and + cold-blooded nature. Consider! Four + bullets per victim! Not six shots + fired, but eight! That means he + fired the gun empty...and then + stopped to reload so he could shoot + each of them again! An extra bullet + per lover... right in the head. + (a few JURORS shiver) + I'm done talking. You people are + all decent, God-fearing Christian + folk. You know what to do. + + FADE TO BLACK: 6TH TITLE UP + + +7 INT -- JURY ROOM -- DAY (1946) 7 + + CAMERA TRACKS down a long table, moving from one JUROR to + the next. These decent, God-fearing Christians are chowing + down on a nice fried chicken dinner provided them by the + county, smacking greasy lips and gnawing cobbettes of corn. + + VOICE (O.S.) + Guilty. Guilty. Guilty. Guilty... + + We find the FOREMAN at the head of the table, sorting + votes. + + FADE TO BLACK: 7TH TITLE UP + + +8 INT -- COURTROOM -- DAY (1946) 8 + + Andy stands before the dias. THE JUDGE peers down, framed + by a carved frieze of blind Lady Justice on the wall. + + JUDGE + 8. + + + You strike me as a particularly icy + and remorseless man, Mr. Dufresne. + It chills my blood just to look at + you. By the power vested in me by + the State of Maine, I hereby order + you to serve two life sentences, + back to back, one for each of your + victims. So be it. + + He raps his gavel as we + + CRASH TO BLACK: LAST TITLE UP. + + AN IRON-BARRED DOOR + + slides open with an enormous CLANG. A stark room waits + beyond. + + CAMERA PUSHES through. SEVEN HUMORLESS MEN sit side by side + at a long table. An empty chair faces them. We are now in: + + +9 INT -- SHAWSHANK HEARINGS ROOM -- DAY (1947) 9 + + RED enters, removes his cap and waits by the chair. + + MAN #1 + Sit. + + Red sits, tries not to slouch. The chair is uncomfortable. + + MAN #2 + We see by your file you've served + twenty years of a life sentence. + + MAN #3 + You feel you've been rehabilitated? + + RED + Yes, sir. Absolutely. I've learned + my lesson. I can honestly say I'm a + changed man. I'm no longer a danger + to society. That's the God’s honest + truth. No doubt about it. + + The men just stare at him. One stifles a yawn. + + CLOSEUP -- PAROLE FORM + + A big rubber stamp slams down: "REJECTED” in red ink. + + +10 EXT -- EXERCISE YARD -- SHAWSHANK PRISON -- DUSK (1947) 10 + 9. + + + High stone walls topped with snaky concertina wire, set off + at intervals by looming guard towers. Over a hundred CONS + are in the yard. Playing catch, shooting craps, jawing at + each other, making deals. Exercise period. + + RED emerges into fading daylight, slouches low-key through + the activity, worn cap on his head, exchanging hellos and + doing minor business. He's an important man here. + + RED (V.O.) + There's a con like me in every + prison in America, I guess. I'm the + guy who can get it for you. + Cigarettes, a bag of reefer if + you're partial, a bottle of brandy + to celebrate your kid's high school + graduation. Damn near anything, + within reason. + + He slips somebody a pack of smokes, smooth sleight-of-hand. + + RED (V.O.) + Yes sir, I'm a regular Sears & + Roebuck. + + TWO SHORT SIREN BLASTS issue from the main tower, drawing + everybody's attention to the loading dock. The outer gate + swings open...revealing a gray prison bus outside. + + RED (V.O.) + So when Andy Dufresne came to me in + 1949 and asked me to smuggle Rita + Hayworth into the prison for him, I + told him no problem. And it wasn't. + + CON + Fresh fish! Fresh fish today! + + Red is joined by HEYWOOD, SKEET, FLOYD, JIGGER, ERNIE, + SNOOZE. + + Most cons crowd to the fence to gawk and jeer, but Red and + his + + group mount the bleachers and settle in comfortably. + + +11 INT -- PRISON BUS -- DUSK (1947) 11 + + Andy sits in back, wearing steel collar and chains. + + RED (V.O.) + 10. + + + Andy came to Shawshank Prison in + early 1947 for murdering his wife + and the fella she was bangin'. + +The bus lurches forward, RUMBLES through the gates. Andy +gazes around, swallowed by prison walls. + + RED (V.O.) + On the outside, he’d been vice- + president of a large Portland bank. + Good work for a man as young as he + was, when you consider how + conservative banks were back then. + + TOWER GUARD + All clear! + +GUARDS approach the bus with carbines. The door jerks open. + +The new fish disembark, chained together single-file, +blinking sourly at their surroundings. Andy stumbles +against the MAN in front of him, almost drags him down. + +BYRON HADLEY, captain of the guard, slams his baton into +Andy's back. Andy goes to his knees, gasping in pain. JEERS +and SHOUTS from the spectators. + + IIADLCY + On your feet before I fuck you up + so bad you never walk again. + +ON THE BLEACHERS + + RED + There they are, boys. The Human + Charm Bracelet. + + HEYWOOD + Never seen such a sorry-lookin' + heap of maggot shit in my life. + + JIGGER + Cornin’ from you, Heywood, you + being so pretty and all... + + FLOYD + Takin’ bets today, Red? + + RED + (pulls notepad and + pencil) + 11. + + + Bear Catholic? Pope shit in the + woods? Smokes or coin, bettor's + choice. + + FLOYD + Smokes. Put me down for two. + + RED + High roller. Who's your horse? + + FLOYD + That gangly sack of shit, third + from the front. He'll be the first. + + HEYWOOD + Bullshit. I'll take that action. + + ERNIE + Me too. + +Other hands go up. Red jots the names. + + HEYWOOD + You're out some smokes, son. Take + my word. + + FLOYD + You're so smart, you call it. + + HEYWOOD + I say that chubby fat-ass...let's + see...fifth from the front. Put me + down for a quarter deck. + + RED + That's five cigarettes on Fat-Ass. + Any takers? + +More hands go up. Andy and the others are paraded along, +forced by their chains to take tiny baby steps, flinching +under the barrage of jeers and shouts. The old-timers are +shaking the fence, trying to make the newcomers shit their +pants. Some of the new fish shout back, but mostly they +look terrified. Especially Andy. + + RED (V.O.) + 12. + + + I must admit I didn't think much of + Andy first time I laid eyes on him. + He might've been important on the + outside, but in here he was just a + little turd in prison grays. Looked + like a stiff breeze could blow him + over. That was my first impression + of the man. + + SKEET + What say, Red? + + RED + Little fella on the end. + Definitely. I stake half a pack. + Any takers? + + SNOOZE + Rich bet. + + RED + C'mon, boys, who's gonna prove me + wrong? + (hands go up) + Floyd, Skeet, Joe, Heywood. Four + brave souls, ten smokes apiece. + That's it, gentlemen, this window's + closed. + + Red pockets his notepad. A VOICE comes over the P.A. + speakers: + + VOICE (AMPLIFIED) + Return to your cellblocks for + evening count. + + +12 INT -- ADMITTING AREA -- DUSK (1947) 12 + + The new fish are marched in. Guards unlock the shackles. + The chains drop away, rattling to the stone floor. + + HADLEY + Eyes front. + + WARDEN SAMUEL NORTON strolls forth, a colorless man in a + gray suit and a church pin in his lapel. He looks like he + could piss ice water. He appraises the newcomers with + flinty eyes. + + NORTON + 13. + + + This is Mr. Hadley, captain of the + guard. I am Mr. Norton, the warden. + You are sinners and scum, that's + why they sent you to me. Rule + number one: no blaspheming. I'll + not have the Lord’s name taken in + vain in my prison. The other rules + you'll figure out as you go along. + Any questions? + + CON + When do we eat? + +Cued by Norton’s glance, Hadley steps up to the con and +screams right in his face: + + HADLEY + YOU EAT WHEN WE SAY YOU EAT! YOU + PISS WHEN WE SAY YOU PISS! YOU SHIT + WHEN WE SAY YOU SHIT! YOU SLEEP + WHEN WE SAY YOU SLEEP! YOU MAGGOT- + DICK MOTHERFUCKER! + +Hadley rams the tip of his club into the con's belly. The +man falls to his knees, gasping and clutching himself. + +Hadley takes his place at Norton's side again. Softly: + + NORTON + Any other questions? + (there are none) + I believe in two things. Discipline + and the Bible. Here, you'll receive + both. + (holds up a Bible) + Put your faith in the Lord. Your + ass belongs to me. Welcome to + Shawshank. + + HADLEY + Off with them clothes! And I didn’t + say take all day doing it, did I? + +The men shed their clothes. Within seconds, all stand +naked. + + HADLEY + First man into the shower! + +Hadley shoves the FIRST CON into a steel cage open at the +front. TWO GUARDS open up with a fire hose. The con is +slammed against the back of the cage, sputtering and +hollering. + 14. + + + Seconds later, the water is cut and the con yanked out. + + HADLEY + Delouse that piece of shit! Next + man in! + + The con gets a huge scoop of white delousing powder thrown + all over him. Gasping and coughing, blinking powder from + his eyes, he gets shoved to a trustee’s cage. The TRUSTEE + slides a short stack of items through the slot -- prison + clothes and a Bible. + + All the men are processed quickly --a blast of water, + powder, clothes and a Bible... + + +13 TNT -- TNFTRMARY -- NTGHT (1947) 13 + + A naked CON steps before a DOCTOR and gets a cursory exam. + + A penlight is shined in his eyes, ears, nose, and throat. + + DOCTOR + Bend over. + + The con does. A GUARD with a penlight in his teeth spreads + his cheeks, peers up his ass, and nods. Andy is next up. He + gets the same treatment. + + +14 INT -- PRISON CHAPEL -- NIGHT (1947) 14 + + CAMERA TRACKS the naked newcomers shivering on hard wooden + chairs, clothes on their laps, Bibles open. + + CHAPLAIN (O.S.) + ...maketh me to lie down in green + pastures. He leadeth me beside the + still waters. He restoreth my + soul... + + +15 INT -- CELLBLOCK FIVE -- NIGHT (1947) 15 + + Three tiers to a side, concrete and steel, gray and + imposing. + + Andy and the others are marched in, still naked, carrying + their clothes and Bibles. The CONS in their cells greet + them with TAUNTS, JEERS, and LAUGHTER. One by one, the new + men are shown to their cells and locked in with a CLANG OF + STEEL. + 15. + + + RED (V.O.) + The first night's the toughest, no + doubt about it. They march you in + naked as the day you're born, fresh + from a Bible reading, skin burning + and half-blind from that delousing + shit they throw on you... + + Red watches from his cell, arms slung over the crossbars, + cigarette dangling from his fingers. + + RED (V.O.) + ...and when they put you in that + cell, when those bars slam home, + that's when you know it's for real. + Old life blown away in the blink of + an eye...a long cold season in hell + stretching out ahead...nothing left + but all the time in the world to + think about it. + + Red listens to the CLANGING below. He watches Andy and a + few others being brought up to the 2nd tier. + + RED (V.O.) + Most new fish come close to madness + the first night. Somebody always + breaks down crying. Happens every + time. The only question is, who's + it gonna be? + + Andy is led past and given a cell at the end of the tier. + + RED (V.O.) + It's as good a thing to bet on as + any, I guess. I had my money on + Andy Dufresne... + + +16 INT -- ANDY'S CELL -- NIGHT (1947) 16 + + The bars slam home. Andy is alone in his cell, clutching + his clothes. He gazes around at his new surroundings, + taking it in. He slowly begins to dress himself... + + +17 EXT -- SHAWSHANK PRISON -- NIGHT (1947) 17 + + A malignant stone growth on the Maine landscape. The moon + hangs low and baleful in a dead sky. The headlight of a + PASSING TRAIN cuts through the night. + 16. + + +18 INT -- RED'S CELL -- NIGHT (1947) 18 + + Red lies on his bunk below us, tossing his baseball toward + the ceiling and catching it again. He pauses, listening, + FOOTSTEPS approach below, unhurried, echoing hollowly on + stone. + + +19 INT -- CELLBLOCK FIVE -- NIGHT (1947) 19 + + LOW ANGLE. A CELLBLOCK GUARD strolls into frame. + + GUARD + That's lights out! Good night, + ladies. + + The lights bump off in sequence. The guard exits, footsteps + echoing away. Darkness now. Silence. CAMERA CRANES UP the + tiers toward Red's cell. + + RED (V.O.) + I remember my first night. Seems a + long time ago now. + + Red looms from the darkness, leans on the bars. Listens. + + Waits. From somewhere below comes faint, ghastly tittering. + + VOICES drift through the cellblock, taunting: + + VARIOUS VOICES (O.S.) + Fishee fishee fisheeee. ..You're + gonna like it here, new fish. A + whooole lot...Make you wish your + daddies never dicked your + mommies...You takin’ this down, new + fish? Gonna be a quiz later. + (somebody LAUGHS) + Sshhh. Keep it down. The screws'll + hear...Fishee fishee fisheeee... + + RED (V.O.) + The boys always go fishin' with + first-timers...and they don't quit + till they reel someone in. + + The VOICES keep on, sly and creepy in the dark... + + +20 INT -- VARIOUS CELLS -- NIGHT (1947) 20 + 17. + + + ...while the new cons go quietly crazy in their cells. One + man paces like a caged animal...another sits gnawing his + cuticles bloody...a third is weeping silently...a fourth is + dry-heaving into the toilet... + + +21 INT -- RED'S CELL -- NIGHT (1947) 21 + + Red waits at the bars. Smoking. Listening. He cranes his + head, peers down toward Andy's cell. Nothing. Not a peep. + + HEYWOOD (O.S.) + Fat-Ass...oh, Faaaat-Ass. Talk to + me, boy. I know you're in there. I + can hear you breathin'. Now don’t + you listen to these nitwits, hear? + + +22 INT -- FAT-ASS' CELL -- NIGHT (1947) 22 + + Fat-Ass is crying, trying not to hyperventilate. + + HEYWOOD (O.S.) + This ain't such a bad place. I'll + introduce you around, make you feel + right at home. I know some big ol‘ + bull queers who'd love to make your + acquaintance...especially that big + white mushy butt of yours... + + And that's it. Fat-Ass lets out a LOUD NAIL of despair: + + FAT-ASS + OH GOD! I DON'T BELONG HERE! I + WANNA GO HOME! + + +23 INT -- HEYWOOD'S CELL -- NIGHT (1947) 23 + + HEYWOOD + AND IT'S FAT-ASS BY A NOSE! + + +24 INT -- CELLBLOCK -- NIGHT (1947) 24 + + The place goes nuts. Fat-Ass throws himself screaming + against the bars. The entire block starts CHANTING: + + VOICES + Fresh fish...fresh fish...fresh + fish...fresh fish... + + FAT-ASS + 18. + + + I WANNA GO HOME! I WANT MY MOTHER. + + VOICE (O.S.) + I had your mother! She wasn't that + great! + +The lights bump on. GUARDS pour in, led by Hadley himself. + + HADLEY + What the Christ is this happy shit? + + VOICE (O.S.) + He took the Lord's name in vain! + I'm tellin' the warden! + + HADLEY + (to the unseen wit) + You'll be tellin' him with my baton + up your ass! + +Hadley arrives at Fat-Ass' cell, bellowing through the +bars: + + HADLEY + What's your malfunction you fat + fuckin' barrel of monkey-spunk? + + FAT-ASS + PLEASE! THIS AIN'T RIGHT! I AIN'T + SUPPOSED TO BE HERE! NOT ME! + + HADLEY + I ain’t gonna count to three! Not + even to one! Now shut the fuck up + 'fore I sing you a lullabye! + +Fat-Ass keeps blubbering and wailing. Total freak-out. +Hadley draws his baton, gestures to his men. Open it. + +A GUARD unlocks the cell. Hadley pulls Fat-Ass out and +starts beating him with the baton, brutally raining blows. +Fat-Ass falls, tries to crawl. + +The place goes dead silent. All we hear now is the dull +THWACK-THWACK-THWACK of the baton. Fat-ass passes out. +Hadley gets in a few more licks and finally stops. + + HADLEY + Get this tub of shit down to the + infirmary. + (peers around) + 19. + + + If I hear so much as a mouse fart + in here the rest of the night, by + God and Sonny Jesus, you'll all + visit the infirmary. Every last + motherfucker here. + + The guards wrestle Fat-Ass onto a stretcher and carry him + off. FOOTSTEPS echo away. Lights off. Darkness again. + Silence. + + +25 INT -- RED'S CELL -- NIGHT (1947) 25 + + Red stares through the bars at the main floor below, eyes + riveted to the small puddle of blood where Fat-Ass went + down. + + RED (V.O.) + His first night in the joint, Andy + Dufresne cost me two packs of + cigarettes. He never made a + sound... + + +26 INT -- CELLBLOCK FIVE -- MORNING (1947) 26 + + LOUD BUZZER. The master locks are thrown -- KA-THUMP! The + cons step from their cells, lining the tiers. The GUARDS + holler their head-counts to the HEAD BULL, who jots on a + clipboard. + + Red peers at Andy, checking him out. Andy stands in line, + collar buttoned, hair combed. + + +27 INT -- MESS HALL -- MORNING (1947) 27 + + Andy goes through the breakfast line, gets a scoop of glop + on his tray. WE PAN ANDY through the noise and + confusion...and discover BOGS DIAMOND and ROOSTER MacBRIDE + watching Andy go by. Bogs sizes Andy up with a salacious + gleam in his eye, mutters something to Rooster. Rooster + laughs. + + Andy finds a table occupied by Red and his regulars, + chooses a spot at the end where nobody is sitting. Ignoring + their stares, he picks up his spoon -- and pauses, seeing + something in his food. He carefully fishes it out with his + fingers. + + It's a squirming maggot. Andy grimaces, unsure what to do + with it. BROOKS HATLEN is sitting closest to Andy. At age + 65, he's a senior citizen, a long-standing resident. + 20. + + + BROOKS + You gonna eat that? + + ANDY + Hadn't planned on it. + + BROOKS + You mind? + +Andy passes the maggot to Brooks. Brooks examines it, +rolling it between his fingertips like a man checking out a +fine cigar. Andy is riveted with apprehension. + + BROOKS + Hmm. Nice and ripe. + +Andy can't bear to watch. Brooks opens up his sweater and +feeds the maggot to a baby crow nestled in an inside +pocket. + +Andy breathes a sigh of relief. + + BROOKS + Jake says thanks. Fell out of his + nest over by the plate shop. I'm + lookin' after him till he's old + enough to fly. + +Andy nods, proceeds to eat. Carefully. Heywood approaches. + + JIGGER + Oh, Christ, here he comes. + + HEYWOOD + Hornin', boys. It's a fine mornin’. + You know why it's fine? + +Heywood plops his tray down, sits. The men start pulling +out cigarettes and handing them down. + + HEYWOOD + That's right, send 'em all down. I + wanna see ’em lined up in a row, + pretty as a chorus line. + +An impressive pile forms. Heywood bends down and inhales +deeply, smelling the aroma. Rapture. + + FLOYD + Smell my ass... + + HEYWOOD + 21. + + + Gee, Red. Terrible shame, your + horse cornin' in last and all. + Hell, I sure do love that horse of + mine. I believe I owe that boy a + big sloppy kiss when I see him. + + RED + Give him some'a your cigarettes + instead, cheap bastard. + + HEYWOOD + Say Tyrell, you pull infirmary duty + this week? How's that winnin' horse + of mine, anyway? + + TYRELL + Dead. + (the men fall silent) + Hadley busted his head pretty good. + Doc already went home for the + night. Poor bastard lay there till + this morning. By then... + + He shakes his head, turns back to his food. The silence + mounts. Heywood glances around. Men resume eating. Softly: + + ANDY + What was his name? + + HEYWOOD + What? What'd you say? + + ANDY + I was wondering if anyone knew his + name. + + HEYWOOD + What the fuck you care, new fish? + (resumes eating) + Doesn’t matter what his fuckin' + name was. He's dead. + + +28 INT -- PRISON LAUNDRY -- DAY (1947) 28 + + A DEAFENING NOISE of industrial washers and presses. Andy + works the laundry line. A nightmarish job. He's new at it. + BOB, the con foreman, elbows him aside and shows him how + it's done. + + +29 INT -- SHOWERS -- DAY (1947) 29 + 22. + + + Shower heads mounted in bare concrete. Andy showers with a + dozen or more men. No modesty here. At least the water is + good and hot, soothing his tortured muscles. + + Bogs looms from the billowing steam, smiling, checking Andy + up and down. Rooster and PETE appear from the sides. The + Sisters. + + BOGS + You're some sweet punk. You been + broke in yet? + + Andy tries to step past them. He gets shoved around, + nothing serious, just some slap and tickle. Jackals sizing + up prey. + + BOGS + Hard to get. I like that. + + Andy breaks free, flushed and shaking. He hurries off, + leaving the three Sisters laughing. + + +30 INT -- ANDY'S CELL -- NIGHT (1947) 30 + + Andy lies staring at the darkness, unable to sleep. + + +31 EXT -- EXERCISE YARD -- DAY (1947) 31 + + Exercise period. Red plays catch with Heywood and Jigger, + lazily tossing a baseball around. Red notices Andy off to + the side. Nods hello. Andy takes this as a cue to amble + over. + + Heywood and Jigger pause, watching. + + ANDY + (offers his hand) + Hello. I'm Andy Dufresne. + + Red glances at the hand, ignores it. The game continues. + + RED + The wife-killin' banker. + + ANDY + How do you know that? + + RED + I keep my ear to the ground. Why'd + you do it? + 23. + + + ANDY + I didn't, since you ask. + + RED + Hell, you'll fit right in, then. + (off Andy's look) + Everyone's innocent in here, don't + you know that? Heywood! What are + you in for, boy? + + HEYWOOD + Didn't do it! Lawyer fucked me! + +Red gives Andy a look. See? + + ANDY + What else have you heard? + + RED + People say you're a cold fish. They + say you think your shit smells + sweeter than ordinary. That true? + + ANDY + what do you think? + + RED + Ain't made up my mind yet. + +Heywood nudges Jigger. Watch this. He winds up and throws +the ball hard -- right at Andy's head. Andy sees it coming +out of the corner of his eye, whirls and catches it. Beat. +He sends the ball right back, zinging it into Heywood's +hands. Heywood drops the ball and grimaces, wringing his +stung hands. + + ANDY + I understand you're a man who knows + how to get things. + + RED + I'm known to locate certain things + from time to time. They seem to + fall into my hands. Maybe it's + 'cause I'm Irish. + + ANDY + I wonder if you could get me a + rock-hammer? + + RED + What is it and why? + 24. + + + ANDY + You make your customers' motives a + part of your business? + + RED + If you wanted a toothbrush, I + wouldn't ask questions. I'd just + quote a price. A toothbrush, see, + is a non-lethal sort of object. + + ANDY + Fair enough. A rock-hammer is about + eight or nine inches long. Looks + like a miniature pickaxe, with a + small sharp pick on one end, and a + blunt hammerhead on the other. It's + for rocks. + + RED + Rocks. + +Andy squats, motions Red to join him. Andy grabs a handful +of dirt and sifts it through his hands. He finds a pebble +and rubs it clean. It has a nice milky glow. He tosses it +to Red. + + RED + Quartz? + + ANDY + Quartz, sure. And look. Mica. + Shale. Silted granite. There's some + graded limestone, from when they + cut this place out of the hill. + + RED + So? + + ANDY + I'm a rockhound. At least I was, in + my old life. I'd like to be again, + on a limited scale. + + RED + Yeah, that or maybe plant your toy + in somebody's skull? + + ANDY + I have no enemies here. + + RED + No? Just wait. + 25. + + +Red flicks his gaze past Andy. Bogs is watching them. + + RED + Word gets around. The Sisters have + taken a real shine to you, yes they + have. Especially Bogs. + + ANDY + Tell me something. Would it help if + I explained to them I'm not + homosexual? + + RED + Neither are they. You have to be + human first. They don't qualify. + (off Andy's look) + Bull queers take by force, that's + all they want or understand. I'd + grow eyes in the back of my head if + I were you. + + ANDY + Thanks for the advice. + + RED + That comes free. But you understand + my concern. + + ANDY + ‐ + If there's trouble, I doubt a rock­ + hammer will do me any good. + + RED + Then I guess you wanna escape. + Tunnel under the wall maybe? + (Andy laughs politely) + I miss the joke. What's so funny? + + ANDY + ‐ + You'll know when you see the rock­ + hammer. + + RED + What's this item usually go for? + + ANDY + Seven dollars in any rock and gem + shop. + + RED + 26. + + + My standard mark-up’s twenty + percent, but we're talkin’ about a + special object. Risk goes up, price + goes up. Call it ten bucks even. + + ANDY + Ten it is. + + RED + I'll see what I can do. + (rises, slapping dust) + But it's a waste of money. + + ANDY + Oh? + + RED + Folks who run this place love + surprise inspections. They turn a + blind eye to some things, but not a + gadget like that. They'll find it, + and you'll lose it. Mention my + name, we'll never do business + again. Not for a pair of shoelaces + or a stick of gum. + + ANDY + I understand. Thank you, Mr...? + + RED + Red. The name's Red. + + ANDY + Red. I’m Andy. Pleasure doing + business with you. + + They shake. Andy strolls off. Red watches him go. + + RED (V.O.) + I could see why some of the boys + took him for snobby. He had a quiet + way about him, a walk and a talk + that just wasn't normal around + here. He strolled, like a man in a + park without a care or worry. Like + he had on an invisible coat that + would shield him from this place, + (resumes playing catch) + Yes, I think it would be fair to + say I liked Andy from the start. + + +32 INT -- MESS HALL -- DAY (1947) 32 + 27. + + + Red gets his breakfast and heads for a table. Andy falls in + step, slips him a tightly-folded square of paper. + + +33 INT -- RED'S CELL -- NIGHT (1947) 33 + + Lying on his bunk, Red unfolds the square. A ten dollar + bill. + + RED (V.O.) + He was a man who adapted fast. + + +34 EXT -- LOADING DOCK -- DAY (1947) 34 + + Under watchful supervision, CONS are off-loading bags of + dirty laundry from an "Eliot Nursing Home" truck. + + RED (V.O.) + Years later, I found out he’d + brought in quite a bit more than + just ten dollars... + + A certain bag hits the ground. The TRUCK DRIVER shoots a + look at a black con, LEONARD, then ambles over to a GUARD + to shoot the shit. Leonard loads the bag onto a cart... + + +35 INT -- PRISON LAUNDRY -- DAY (1947) 35 + + Bags are being unloaded. We find Leonard working the line. + + RED (V.O.) + When they check you into this + hotel, one of the bellhops bends + you over and looks up your works, + just to make sure you're not + carrying anything. But a truly + determined man can get an object + quite a ways up there. + + Leonard slips a small paper-wrapped package out of the + laundry bag, hides it under his apron, and keeps sorting... + + +36 INT -- PRISON LAUNDRY EXCHANGE -- DAY (1947) 36 + + Red deposits his dirty bundle and moves down the line to + where the clean sheets are being handed out. + + RED (V.O.) + 28. + + + That's how Andy joined our happy + little Shawshank family with more + than five hundred dollars on his + person. Determination. + + Leonard catches Red's eye, turns and grabs a specific stack + of clean sheets. He hands it across to Red -- + + TIGHT ANGLE + + -- and more than clean laundry changes hands. Two packs of + cigarettes slide out of Red's hand into Leonard's. + + +37 INT -- RED'S CELL -- DAY (1947) 37 + + Red slips the package out of his sheets, carefully checks + to make sure nobody's coming, then rips it open. He pulls + out the rock-hammer. It's just as Andy described. Red + laughs softly. + + RED (V.O.) + Andy was right. I finally got the + joke. It would take a man about six + hundred years to tunnel under the + wall with one of these. + + +38 INT -- CELLBLOCK FIVE -- 2ND TIER -- NIGHT (1947) 38 + + Brooks Hatlen pushes a cart of books from cell to cell. The + rolling library. He finds Red waiting for him. Red slips + the rock-hammer, wrapped in a towel, through the bars and + onto the cart. Next comes six cigarettes to pay for + postage. + + RED + Dufresne. + + Brooks nods, never missing a beat. He rolls his cart to + Andy's cell, mutters through the bars: + + BROOKS + Middle shelf, wrapped in a towel. + + Andy's hand snakes through the bars and makes the object + disappear. The hand comes back and deposits a small slip of + folded paper along with more cigarettes. Brooks turns his + cart around and goes back. He pauses, sorting his books + long enough for Red to snag the slip of paper. Brooks + continues on, scooping the cigarettes off the cart and into + his pocket. + 29. + + +39 INT -- RED'S CELL -- NIGHT (1947) 39 + + Red unfolds the slip of paper. Penciled neatly on it is a + single word: "Thanks." + + +40 INT -- PRISON LAUNDRY -- DAY (1947) 40 + + We are assaulted by the deafening noise of the laundry + line. + + Andy is doing his job, getting good at it. + + BOB + DUFRESNE! WE'RE LOW ON HEXLITE! + HEAD ON BACK AND FETCH US UP SOME! + + Andy nods. He leaves the line, weaving his way through the + laundry room and into -- + + +41 INT -- BACK ROOMS/STOCK AREA -- DAY (1947) 41 + + --a dark, tangled maze of rooms and corridors, boilers and + furnaces, sump pumps, old washing machines, pallets of + cleaning supplies and detergents, you name it. Andy hefts a + cardboard drum of Hexlite off the stack, turns around -- + + -- and finds Bogs Diamond in the aisle, blocking his way. + + Rooster looms from the shadows to his right, Pete Verness + on the left. A frozen beat. Andy slams the Hexlite to the + floor, rips off the top, and scoops out a double handful. + + ANDY + You get this in your eyes, it + blinds you. + + BOGS + Honey, hush. + + Andy backs up, holding them at bay, trying to maneuver + through the maze. The Sisters keep coming, tense and + guarded, eyes riveted and gauging his every move, trying to + outflank him. + + Andy trips on some old gaint sugglies. That's all it takes. + + They're on him in an instant, kicking and stomping. + 30. + + +Andy gets yanked to his feet. Bogs applies a chokehold from +behind. They propel him across the room and slam him +against an old four-pocket machine, bending him over it. +Rooster jams a rag into Andy's mouth and secures it with a +steel pipe, like a horse bit. Andy kicks and struggles, but +Rooster and Pete have his arms firmly pinned. Bogs whispers +in Andy's ear: + + BOGS + That's it, fight. Better that way. + +Andy starts screaming, muffled by the rag. CAMERA PULLS +BACK, SLOWLY WIDENING. The big Washex blocks our view. All +we see is Andy’s screaming face and the men holding him +down... + +...and CAMERA DRIFTS FROM THE ROOM, leaving the dark place +and the dingy act behind...MOVING up empty corridors, past +concrete walls and steel pipes... + + RED (V.O.) + I wish I could tell you that Andy + fought the good fight, and the + Sisters let him be. I wish I could + tell you that, but prison is no + fairy-tale world. + +WE EMERGE into the prison laundry past a guard, WIDENING +for a final view of the line. The giant steel "mangier" is +slapping down in brutal rhythm. The sound is deafening. + + RED (V.O.) + He never said who did it...but we + all knew. + +PRISON MONTAGE: (1947 through 1949) + +ANDY PLODS THROUGH HIS DAYS. WORKING. EATING. CHIPPING AND +47 shaping his rocks after lights-out... + + RED (V.O.) + Things went on like that for a + while. Prison life consists of + routine, and then more routine. + +ANDY WALKS THE YARD, FACE SWOLLEN AND BRUISED. + + RED (V.O.) + Every so often, Andy would show up + with fresh bruises. + +ANDY EATS BREAKFAST. A FEW TABLES OVER, BOGS BLOWS HIM A +KISS. + 31. + + + RED (V.O.) + The Sisters kept at him. Sometimes + he was able to fight them off... + sometimes not. + + ANDY BACKS INTO A CORNER IN SOME DINGY PART OF THE PRISON, + + wildly swinging a rake at his tormentors: + + RED (V.O.) + He always fought, that's what I + remember. He fought because he knew + if he didn't fight, it would make + it that much easier not to fight + the next time. + + The rake connects, snapping off over somebody's skull. They + beat the hell out of him. + + RED (V.O.) + Half the time it landed him in the + infirmary... + + +42 INT -- SOLITARY CONFINEMENT ("THE HOLE") -- NIGHT (1949) 42 + + A stone closet. No bed, sink, or lights. Just a toilet with + no seat. Andy sits on bare concrete, bruised face lit by a + faint ray of light falling through the tiny slit in the + steel door. + + RED (V.O.) + ...the other half, it landed him in + solitary. Warden Norton's "grain & + drain" vacation. Bread, water, and + all the privacy you could want. + + +43 INT -- PRISON LAUNDRY -- DAY (1949) 43 + + Andy is working the line. + + RED (V.O.) + And that's how it went for Andy. + That was his routine. I do believe + those first two years were the + worst for him. And I also believe + if things had gone on that way, + this place would have got the best + of him. But then, in the spring of + 1949, the powers-that-be decided + that... + 32. + + +44 EXT -- PRISON YARD -- DAY (1949) 44 + + Warden Norton addresses the assembled cons via bullhorn: + + NORTON + ...the roof of the license-plate + factory needs resurfacing. I need a + dozen volunteers for a week's work. + We're gonna be taking names in this + steel bucket here... + + Red glances around at his friends. Andy also catches his + eye. + + RED (V.O.) + It was outdoor detail, and May is + one damn fine month to be workin' + outdoors. + + +45 EXT -- PRISON YARD -- DAY (1949) 45 + + Cons shuffle past, dropping slips of paper into a bucket. + + RED (V.O.) + More than a hundred men volunteered + for the job. + + Red saunters to a guard named TIM YOUNGBLOOD, mutters + discreetly in his ear. + + +46 EXT -- PRISON YARD -- DAY (1949) 46 + + Youngblood is pulling names and reading them off. Red + exchanges grins with Andy and the others. + + RED (V.O.) + Wouldn't you know it? Me and some + fellas I know were among the names + called. + + +47 INT -- PRISON CORRIDOR -- NIGHT (1949) 47 + + Red slips Youngblood six packs of cigarettes. + + RED (V.O.) + Only cost us a pack of smokes per + man. I made my usual twenty + percent, of course. + 33. + + +48 EXT -- LICENSE PLATE FACTORY -- DAY (1949) 48 + + A tar-cooker bubbles and smokes. TWO CONS dip up a bucket + of tar and tie a rope to the handle. The rope goes taught. + CAMERA FOLLOWS the bucket of tar up the side of the + building to -- + + THE ROOF + + -- where it is relayed to the work detail, the men are + dipping big Padd brushes and spreading the tar. ANGLZ OVER + to Byron Hadley bitching sourly to his fellow guards: + + HADLEY + ...so this shithead lawyer calls + long distance from Texas, and he + says, Byron Hadley? I say, yeah. He + says, sorry to inform you, but your + brother just died. + + YOUNGBLOOD + Damn, Byron. Sorry to hear that. + + HADLEY + I ain't. He was an asshole. Run off + years ago, family ain't heard of + him since. Figured him for dead + anyway. So this lawyer prick says, + your brother died a rich man. Oil + wells and shit, close to a million + bucks. Jesus, it's frigging + incredible how lucky some assholes + can get. + + TROUT + A million bucks? Jeez-Louise! You + get any of that? + + HADLEY + Thirty five thousand. That’s what + he left me. + + TROUT + Dollars? Holy shit, that's great! + Like winnin' a lottery... + (off Hadley's shitty + look) + ...ain't it? + + HADLEY + 34. + + + Dumbshit. What do you figger the + government's gonna do to me? Take a + big wet bite out of my ass, is + what. + + TROUT + Oh. Hadn't thought of that. + + HADLEY + Maybe leave me enough to buy a new + car with. Then what happens? You + pay tax on the car. Repairs and + maintenance. Goddamn kids pesterin’ + you to take ’em for a ride... + + MERT + And drive it, if they're old + enough. + + HADLEY + That's right, wanting to drive it, + wanting to learn on it, + f'Chrissake! Then at the end of the + year, if you figured the tax wrong, + they make you pay out of your own + pocket. Uncle Sam puts his hand in + your shirt and squeezes your tit + till it's purple. Always get the + short end. That's a fact. + (spits over the side) + Some brother. Shit. + +The prisoners keep spreading tar, eyes on their work. + + HEYWOOD + Poor Byron. What terrible fuckin' + luck. Imagine inheriting thirty + five thousand dollars. + + RED + Crying shame. Some folks got it + awful bad. + +Red glances over -- and is shocked to see Andy standing up, +listening to the guards talk. + + RED + Hey, you nuts? Keep your eyes on + your pail! + +Andy tosses his Padd in the bucket and strolls toward +Hadley. + 35. + + + RED + Andy! Come back! Shit! + + SNOOZE + What's he doing? + + FLOYD + Gettin' himself killed. + + RED + God damn it... + + HEYWOOD + Just keep spreadin’ tar... + +The guards stiffen at Andy’s approach. Youngblood's hand +goes to his holster. The tower guards CLICK-CLACK their +rifle bolts. Hadley turns, stupefied to find Andy there. + + ANDY + Mr. Hadley. Do you trust your wife? + + HADLEY + That's funny. You're gonna look + funnier suckin' my dick with no + fuckin' teeth. + + ANDY + What I mean is, do you think she’d + go behind your back? Try to + hamstring you? + + HADLEY + That's it! Step aside, Mert. This + fucker's havin' hisself an + accident. + +Hadley grabs Andy's collar and propels him violently toward +the edge of the roof. The cons furiously keep spreading +tar. + + HEYWOOD + Oh God, he's gonna do it, he's + gonna throw him off the roof... + + SNOOZE + Oh shit, oh fuck, oh Jesus... + + ANDY + Because if you do trust her, + there's no reason in the world you + can't keep every cent of that + money. + 36. + + +Hadley abruptly jerks Andy to a stop right at the edge. In +fact, Andy's past the edge, beyond his balance, shoetips +scraping the root. The only thing between him and an ugly +drop to the concrete is Hadley's grip on the front of his +shirt. + + HADLEY + You better start making sense. + + ANDY + If you want to keep that money, all + of it, just give it to your wife. + See, the IRS allows you a one-time- + only gift to your spouse. It's good + up to sixty thousand dollars. + + HADLEY + Naw, that ain't right! Tax free? + + ANDY + Tax free. IRS can't touch one cent. + +The cons are pausing work, stunned by this business +discussion. + + HADLEY + You're the smart banker what shot + his wife. Why should I believe a + smart banker like you? So's I can + wind up in here with you? + + ANDY + It's perfectly legal. Go ask the + IRS, they'll say the same thing. + Actually, 1 feel silly telling you + all this. I'm sure you would have + investigated the matter yourself. + + HADLEY + Fuckin'-A. I don't need no smart + wife-killin' banker to show me + where the bear shit in the + buckwheat. + + ANDY + Of course not. But you will need + somebody to set up the tax-free + gift, and that'll cost you. A + lawyer, for example... + + HADLEY + Ambulance-chaaing, highway-robbing + cocksuckers! + 37. + + + ANDY + ...or come to think of it, I + suppose I could set it up for you. + That would save you some money. + I'll write down the forms you need. + you can pick them up, and I'll + prepare them for your signature... + nearly free of charge. + (oft Hadley's look) + I'd only ask three beers apiece for + my co-workers, if that seems fair. + + TROUT + (guffawing) + Co-workers! Get him! That’s rich, + ain't it? Co-workers... + + Hadley freezes him with a look. Andy presses on: + + ANDY + I think a nan working outdoors + feels more like a man if he can + have a bottle of suds. That's only + my opinion. + + The convicts stand gaping, all pretense of work gone. They + look like they've been pole-axed. Hadley shoots them a + look. + + HADLEY + What are you jimmies starin' at? + Back to work, goddamn it! + + +49 EXT -- LICENSE PLATE FACTORY -- DAY (1949) 49 + + As before, an object is hauled up the side of the building + by rope -- only this time, it's a cooler of beer and ice. + + RED (V.O.) + And that's how it came to pass, + that on the second-to-last day of + the job, the convict crew that + tarred the plate factory roof in + the spring of '49... + + +50 EXT -- ROOF -- SHORTLY LATER (1949) 50 + + The cons are taking the sun and drinking beer. + + RED (V.O.) + 38. + + + ...wound up sitting in a row at ten + o'clock in the morning, drinking + icy cold Black Label beer courtesy + of the hardest screw that ever + walked a turn at Shawshank State + Prison. + + HADLEY + Drink up, boys. While it's cold. + + RED (V.O.) + The colossal prick even managed to + sound magnanimous. + + Red knocks back another sip, enjoying the bitter cold on + his tongue and the warm sun on face. + + RED (V.O.) + We sat and drank with the sun on + our shoulders, and felt like free + men. we could'a been tarring the + roof of one of our own houses. We + were the Lords of all Creation. + + He glances over to Andy squatting apart from the others. + + RED (V.O.) + As for Andy, he spent that break + hunkered in the shade, a strange + little smile on his face, watching + us drink his beer. + + HEYWOOD + (approaches with a beer) + Here's a cold one, Andy. + + ANDY + No thanks. I gave up drinking. + + Heywood drifts back to others, giving them a look. + + RED (V.O.) + You could argue he'd done it to + curry favor with the guards. Or + maybe make a few friends among us + cons. Me, I think he did it just to + feel riurnidl again...IT only Tur a + short while. + + +51 EXT -- PRISON YARD -- THE BLEACHERS -- DAY (1949) 51 + + Andy and Red play checkers. Red makes his move. + 39. + + + RED +King me. + + ANDY +Chess. Now there's a game of kings. +Civilized...strategic... + + RED +...and totally fuckin' +inexplicable. Hate that game. + + ANDY +Maybe you'll let me teach you +someday. I've been thinking of +getting a board together. + + RED +You come to the right place. I'm +the man who can get things. + + ANDY +We might do business on a board. +But the pieces, I'd like to carve +those myself. One side done in +quartz... the opposing side in +limestone. + + RED +That'd take you years. + + ANDY +Years I've got. What I don't have +are the rocks. Pickings here in the +exercise yard are pretty slim. + + RED +How's that rock-hammer workin' out +anyway? Scratch your name on your +wall yet? + + ANDY + (smiles) +Not yet. I suppose I should. + + RED +Andy? I guess we're gettin’ to be +friends, ain't we? + + ANDY +I suppose we are. + + RED +I ask a question? Why'd you do it? + 40. + + + ANDY + I'm innocent, remember? lust like + everybody else here. + + Red takes this as a gentle rebuff, keeps playing. + + ANDY + What are you in for, Red? + + RED + Murder. Same as you. + + ANDY + Innocent? + + RED + The only guilty man in Shawshank. + + +52 INT -- ANDY'S CELL -- NIGHT (1949) 52 + + Andy lies in his bunk after lights out, polishing a + fragment of quartz by the light of the moon. He pauses, + glancing at all the names scratched in the wall. He rises, + makes sure the coast is clear, and starts scratching his + name into the cement with his rock-hammer, adding to the + record. + + RAY MILLAND + + fills the screen in glorious (and scratchy) black & white, + suffering a bad case of DT's... + + +53 INT -- PRISON AUDITORIUM -- NIGHT (1949) 53 + + ...while a CONVICT AUDIENCE hoots and catcalls, talking + back to the screen. We find Red slouched in a folding + chair, watching the movie. Andy enters, backlit by the + flickering glare of the projector, and takes a seat next to + him. + + RED + Here’s the good part. Bugs come out + of the walls to get his ass. + + ANDY + I know. I've seen it three times + this month already. + + Ray Milland starts SCREAMING. The entire audience SCREAMS + with him, high-pitched and hysterical. Andy fidgets. + 41. + + + ANDY + Can we talk business? + + RED + Sure. What do you want? + + ANDY + Rita Hayworth. Can you get her? + + RED + No problem. Take a few weeks. + + ANDY + Weeks? + + RED + Don't have her stuffed down my + pants this very moment, sorry to + say. Relax. What are you so nervous + about? She's just a woman. + + Andy nods, embarrassed. He gets up and hurries out. Red + grins, turns back to the movie. + + +54 INT -- AUDITORIUM CORRIDOR -- NIGHT (1949) 54 + + Andy exits the theater and freezes in his tracks. Two dark + figures loom in the corridor, blocking his path. Rooster + and Pete. Andy turns back -- and runs right into Bogs. + Instant bear hug. The Sisters are on him like a flash. They + kick a door open and drag him into -- + + THE PROJECTION BOOTH + + -- where they confront the startled PROJECTIONIST, an old + con blinking at them through thick bifocals. + + BOGS + Take a walk. + + PROJECTIONIST + I have to change reels. + + BOGS + I said fuck off. + + Terrified, the old man darts past and out the door. Pete + slams and locks it. Bogs shoves Andy to the center of the + room. + + ANDY + 42. + + + I know. I've seen it three times + this month already. + + Ray Milland starts SCREAMING. The entire audience SCREAMS + with him, high-pitched and hysterical. Andy fidgets. + + ANDY + Can we talk business? + + RED + Sure. What do you want? + + ANDY + Rita Hayworth. Can you get her? + + RED + No problem. Take a few weeks. + + ANDY + Weeks? + + RED + Don't have her stuffed down my + pants this very moment, sorry to + say. Relax. What are you so nervous + about? She's just a woman. + + Andy nods, embarrassed. He gets up and hurries out. Red + grins, turns back to the movie. + + +55 INT -- AUDITORIUM CORRIDOR -- NIGHT (1949) 55 + + Andy exits the theater and freezes in his tracks. Two dark + figures loom in the corridor, blocking his path. Rooster + and Pete. Andy turns back -- and runs right into Bogs. + Instant bear hug. The Sisters are on him like a flash. They + kick a door open and drag him into -- + + THE PROJECTION BOOTH + + -- where they confront the startled PROJECTIONIST, an old + con blinking at them through thick bifocals. + + BOGS + I said fuck off. + + Terrified, the old man darts past and out the door. Pete + slams and locks it. Bogs shoves Andy to the center of the + room. + + BOGS + Ain't you gonna scream? + 43. + + +Andy sighs, cocks his head at the projector. + + ANDY + They'd never hear me over that. + Let's get this over with. + +Seemingly resigned, Andy turns around, leans on the rewind +bench -- and curls his fingers around a full 1.000 foot +reel of 35mm film. Rooster licks his lips, pushes past the +others. + + ROOSTER + Me first. + + ANDY + Okay. + +Andy whips the reel of film around in a vicious arc, +smashing it into Rooster's face and bouncing him off the +wall. + + ROOSTER + Fuck! Shit! He broke my nose! + +Andy fights like hell, but is soon overpowered and forced +to his knees. Bogs steps to Andy, pulls out an awl with a +vicious eight-inch spike, gives him a good long look at it. + + BOGS + Now I’m gonna open my fly, and + you're gonna swallow what I give + you to swallow. And when you d + mine, you gonna swallow Rooster's. + You done broke his nose, so he + ought to have somethin' to show for + it. + + ANDY + Anything you put in my mouth, + you're going to lose. + + BOGS + You don't understand. You do that, + I'll put all eight inches of this + steel ii your ear. + + ANDY + Okay. But you should know that + sudden serious brain injury causes + the victim to bite down. Hard. + (faint smile) + 44. + + + In fact, I understand the bite- + reflex is so strong the victim's + jaws have to be pried open with a + crowbar. + + The Sisters consider this carefully. The film runs out of + the projector, flapping on the reel. The screen goes white. + + BOGS + You little fuck. + + Andy gets a bootheel in the face. The Sisters start kicking + and beating the living shit out of him with anything they + can get their hands on. In the theater, the convicts are + CHANTING AND CLAPPING for the movie to come back on. + + RED (V.O.) + Bogs didn't put anything in Andy’s + mouth, and neither did his friends. + What they did do is beat him within + an inch of his life... + + +56 INT -- INFIRMARY -- DAY (1949) 56 + + Andy lies wrapped in bandages. + + RED (V.O.) + Andy spent a month in traction. + + +57 INT -- SOLITARY CONFINEMENT -- DAY (1949) 57 + + RED (V.O.) + Bogs spent a week in the hole. + + Bogs sits on bare concrete. The steel door slides open. + + GUARD + Time’s up, Bogs. + + +58 INT -- CELLBLOCK FIVE -- 3RD TIER -- DUSK (1949) 58 + + Bogs comes up the stairs, smoking a cigarette. Not many + cons around; the place is virtually deserted. A VOICE + echoes dimly over the P.A. system: + + VOICE (O.S.) + Return to your cellblocks for + evening count. + 45. + + +Bogs enters his cell. Dark in here. He fumbles for the +light cord, yanks it. The sudden light reveals Captain +Hadley six inches from his face, waiting for him. Mert +steps in behind Bogs, hemming him. + +Before Bogs can even open his mouth to say "what the fuck," +Hadley rams the tip of his baton brutally into his solar +plexus. Bogs doubles over, gagging his wind out. + +GROUND FLOOR + +Ernie comes slowly around the corner, rolling a steel mop +cart loaded with supplies. + +2ND TIER + +Red is darning a sock in his open cell. He pauses, +frowning, hearing strange I humping sounds, what the hell +is that? + +3RD TIER + +It's Hadley and Mert methodically and brutally pulping Bogs +with their batons, and kicking the shit out of him for good +measure. He feebly tries to ward them off. + +2ND TIER + +Puzzled, Red steps from his cell, following the sound. It +dawns on him that it's coming from above. He moves to the +railing and leans out, craning around to look up -- + +RED'S POV + +-- just as Bogs flips over the railing and comes sailing + +directly toward us, eyes bugging out, SCREAMING as he +falls. + +RED (SLOW MOTION) + +jumps back as Bogs plummets past, missing him by inches, +arms swimming and trying to grab the railing (but missing +that too), SCREAMING aaaaalll the way down -- + +GROUND FLOOR + +-- and impacting on Ernie's gassing mop cart in an enormous +eruption of solvents and cleansers. The cart is squashed +flat, shooting out from under Bogs and skidding across the +cellblock floor like a tiddly wink, kicking up sparks for +thirty yards. + 46. + + + Ernie is left gaping in shock at Bogs and all the Bogs- + related wreckage at his feet. + + 2ND TIER + + Red is stunned. He very tentatively leans out and looks up. + + Above him, Hadley and Mert lean on the 3rd tier railing. + + Hadley tilts the cap back on his head, shakes his head. + + MERT + Damn, Byron. Look'a that. + + HADLEY + Poor fella must'a tripped. + + A tiny drop of blood drips off the toe of Hadley’s shoe and + + splashes across Red’s upturned cheek. He wipes it off, then + looks down at Bogs. Cons and guards are racing to the + scene. + + RED (V.O.) + Two things never happened again + after that. The Sisters never laid + a finger on Andy again... + + +59 EXT. PRISON YARD/LOADING DUCK -- DAY (1949) 59 + + Bogs, wheelchair-bound and wearing a neck brace, is loaded + onto an ambulance for transport. Behind the fence stand Red + and his friends, watching. + + RED (V.O.) + ...and Bogs never walked again. + They transferred him to a minimum + security hospital upstate. To my + knowledge, he lived out the rest of + his days drinking his food through + a straw. + + RED + I'm thinkin' Andy could use a nice + welcome back when he gets out of + the infirmary. + + HEYWOOD + Sounds good to us. Figure we owe + him for the beer. + + RED + 47. + + + Han likes to play chess. Let's get + him some rocks. + + +60 EXT -- FIELD -- DAY (1949) 60 + + A HUNDRED CONS at work. Hoes rise and fall in long waves. + + GUARDS patrol on horseback. Heywood turns up a rocky chunk, + quickly shoves it down his pants. He maneuvers to Red and + the others, pulls out the chunk and shows it to them. + + FLOYD + That ain't quartz. Nor limestone. + + HEYWOOD + What are you, fuckin’ geologist? + + SNOOZE + He's right, it ain’t. + + HEYWOOD + What the hell is it then? + + RED + Horse apple. + + HEYWOOD + Bullshit. + + RED + No, horse shit. Petrified. + + Cackling, the men go back to work. Heywood stares at the + rock. + + He crumbles it in his hands. + + RED (V.O.) + Despite a few hitches, the boys + came through in fine style... + + +61 INT -- PRISON LAUNDRY -- BACK ROOM -- DAY (1949) 61 + + A huge detergent box is filled with rocks, hidden in the + shadows behind a boiler furnace. + + RED (V.O.) + ...and by the week Andy was due + back, we had enough rocks saved up + to keep him busy till Rapture. + 48. + + + ANGLE SHIFTS to Red as he plops a bag of "laundry" on the + floor. Leonard and Bob toss a few more down. Red starts + pulling out contraband, giving them their commissions. + + RED (V.O.) + Also got a big shipment in that + week. Cigarettes, chewing gum, + shoelaces, playing cards with naked + ladies on 'em, you name it... + (pulls a cardboard tube) + ...and, of course, the most + important item. + + +62 INT -- CELLBLOCK FIVE -- NIGHT (1949) 62 + + Andy, limping a bit, returns from the infirmary. Red + watches from his cell as Andy is brought up and locked + away. + + +63 INT -- ANDY'S CELL -- NIGHT (1949) 63 + + Andy finds the cardboard tube lying on his bunk. + + GUARD (O.S.) + Lights out! + + The lights go off. Andy opens the tube and pulls out a + large rolled poster. He lets it uncurl to the floor. A + small scrap of paper flutters out, landing at his feet. The + poster is the famous Rita Hayworth pin-up -- one hand + behind her head, eyes half closed, sulky lips parted. Andy + picks up the scrap of paper. It reads: "No charge. Welcome + back." Alone in the dark, Andy smiles. + + +64 INT -- CELLBLOCK FIVE -- MORNING (1949) 64 + + The BUZZER SOUNDS, the cells SLAM OPEN. Cons step from + their cells. Andy catches Red's eye, nods his thanks. As + the men shuffle down to breakfast, Red glances into Andy’s + cell -- + + -- and sees Rita in her new place of honor on Andy's wall. + + Sunlight casts a harsh barred shadow across her lovely + face. + + +65 INT -- CELLBLOCK FIVE -- NIGHT (1949) 65 + 49. + + +Ernie is mopping the floor. He glances back and sees Warden +Norton approach the cellblock with an entourage of a DOZEN +GUARDS. Still mopping, Ernie mutters to the nearest cell: + + ERNIE + Heads up. They're tossin' cells. + +Word travels fast from cell to cell. Cons scramble to tidy +up and hide things. Norton enters, nods to his men. The +guards pair off in all directions, making their choices at +random. + + GUARD + What kind*a contraband you hiding + in there, boy? + +Cells are opened, occupants displaced, items scattered, +mattresses overturned. Whatever contraband is found gets +tossed out onto the cellblock floor. Mostly harmless stuff. + +A GUARD pulls a sharpened screwdriver out of a mattress, +shoots a nasty look at the CON responsible. + + NORTON + Solitary. A week. Make sure he + takes his Bible. + + CON + Too goddamn dark to read down + there. + + NORTON + Add another week for blasphemy. + +The man is taken away. Norton's gaze goes up. + + NORTON + Let's try the second tier. + +2ND TIER + +Norton arrives, makes a thin show of picking a cell at +random. + +He motions at Andy on his bunk, reading his Bible. The door +is unlocked. Norton enters, trailed by his men. Andy rises. + + ANDY + Good evening. + 50. + + +Norton gives a curt nod. Hadley and Trout start tossing the +cell in a thorough search. Norton keeps his eyes on Andy, +looking for a wrong glance or nervous blink. He takes the +Bible out of Andy's hand. + + NORTON + I'm pleased to see you reading + this. Any favorite passages? + + ANDY + Watch ye therefore, for ye know not + when the master of the house + cometh. + + NORTON + (smiles) + Luke. Chapter 13, verse 35. I've + always liked that one. + (strolls the cell) + But I prefer: "I am the light of + the world. He that followeth me + shall not walk in darkness, but + shall have the light of life.” + + ANDY + John. Chapter 8, verse 12. + + NORTON + I hear you're good with numbers. + How nice. A man should have a + skill. + + HADLEY + You wanna explain this? + +Andy glances over. Hadley is holding up a rock blanket, a +polishing cloth roughly the size of an oven mitt. + + ANDY + It's called a rock blanket. It's + for shaping and polishing rocks. + Little hobby of mine. + +Hadley glances at the rocks lining the window sill, turns +to Norton. + + HADLEY + Looks pretty clean. Some contraband + here, nothing to get in a twist + over. + +Norton nods, strolls to the poster of Rita. + 51. + + + NORTON + I can't say I approve of this... + (turns to Andy) + ...but I suppose exceptions can + always be made. + + Norton exits, the guards follow. The cell door is slammed + and locked. Norton pauses, turns back. + + NORTON + I almost forgot. + + He reaches through the bars and returns the Bible to Andy. + + NORTON + I'd hate to deprive you of this. + Salvation lies within. + + Norton and his men walk away. + + RED (V.O.) + Tossin' cells was just an excuse. + Truth is, Norton wanted to size + Andy up. + + +66 INT -- PRISON LAUNDRY -- DAY (1949) 66 + + Andy is working the line. Hadley enters and confers briefly + with Bob. Bob nods, crosses to Andy, taps him. Andy turns, + removes an earplug. Bob shouts over the machine noise: + + BOB + DUFRESNE! YOU'RE OFF THE LINE! + + +67 INT -- WARDEN NORTON'S OFFICE -- DAY (1949) 67 + + Andy is led in. Norton is at his desk doing paperwork. + Andy's eyes go to a framed needle-point sampler on the wall + behind him that reads: "HIS JUDGMENT COMETH AND THAT RIGHT + SOON." + + NORTON + My wife made that in church group. + + ANDY + It's very pretty, sir. + + NORTON + You like working in the laundry? + + ANDY + 52. + + + No, sir. Not especially. + + NORTON + Perhaps we can find something more + befitting a man of your education. + + +68 INT -- MAIN BUILDING -- STORAGE ROOMS -- DAY (1949) 68 + + A series of bleak rooms stacked high with unused filing + cabinets, desks, paint supplies, etc. Andy enters. He hears + a FLUTTER OF WINGS. An adult crow lands on a filing cabinet + and struts back and forth, checking him out. Andy smiles. + + ANDY + Hey, lake. Where's Brooks? + + Brooks Hatlen pokes his head out of the back room. + + BROOKS + Andy! Thought I heard you out here! + + ANDY + I've been reassigned to you. + + BROOKS + I know, they told me. Ain't that a + kick in the ass? Come on in, I'll + give you the dime tour. + + +69 INT -- SHAWSHANK PRISON LIBRARY -- DAY (1949) 69 + + Brooks leads Andy into the bleakest back room of all. Rough + plank shelves are lined with books. Brooks' private domain. + + BROOKS + Here she is, the Shawshank Prison + Library. Along this side, we got + the National Geographies. That + side, the Reader's Digest Condensed + books. Bottom shelf there, some + Louis L'Amours and Erie Stanley + Gardners. Every night I pile the + cart and make my rounds. I write + down the names on this clipboard + here. Well, that's it. Easy, peasy, + Japanesey. Any questions? + + Andy pauses. Something about this doesn't make any sense. + + ANDY + 53. + + + Brooks? How long have you been + librarian? + + BROOKS + Since 1912. Yuh, over 37 years. + + ANDY + In all that time, have you ever had + an assistant? + + BROOKS + Never needed one. Not much to it, + is there? + + ANDY + So why now? Why me? + + BROOKS + I dunno. Be nice to have some + comp'ny down here for a change. + + HADLEY (O.S.) + Dufresne! + +ANDY STEPS BACK INTO THE OUTER ROOMS AND FINDS HADLEY WITH +91 another GUARD, a huge fellow named DEKINS. + + HADLEY + That's him. That's the one. + +Hadley exits. Dekins approaches Andy ominously. Andy stands +his ground, waiting for whatever comes next. Finally: + + DEKINS + I'm Dekins. I been, uh, thinkin' + 'bout maybe settin' up some kinda + trust fund for my kids' educations. + +Andy covers his surprise. Glances at Brooks. Brooks smiles. + + ANDY + I see. Well. Why don't we have a + seat and talk it over? + + BROOKS + Pull down one'a them desks there. + +Andy and Dekins grab a desk standing on end and tilt it to +the floor. They find chairs and settle in. Brooks returns +with a tablet of paper and a pen, slides them before Andy. + + ANDY + 54. + + + What did you have in mind? A weekly + draw on your pay? + + DEKINS + Yuh. I figured just stick it in the + bank, but Captain Hadley said check + with you first. + + ANDY + He was right. You don't want your + money in a bank. + + DEKINS + I don't? + + ANDY + What's that gonna earn you? Two and + a half, three percent a year? We + can do a lot better than that. + (wets his pen) + So tell me, Mr. Dekins. Where do + you want to send your kids? + Harvard? Yale? + + +70 INT -- MESS HALL -- DAY (1949) 70 + + FLOYD + He didn't say that! + + BROOKS + God is my witness. And Dekins, he + just blinks for a second, then + laughs his ass off. Afterward, he + actually shook Andy’s hand. + + HEYWOOD + My ass! + + BROOKS + Shook his fuckin' hand. Just about + shit myself. All Andy needed was a + suit and lie, a jiggly little hula + girl on his desk, he would‘a been + Mister Dufresne, if you please. + + RED + Makin’ yourself some friends, Andy. + + ANDY + 55. + + + I wouldn't say "friends." I'm a + convicted murderer who provides + sound financial planning. That's a + wonderful pet to have. + + RED + Got you out of the laundry, didn’t + + ANDY + Maybe it can do more than that, + (off their looks) + How about expanding the library? + Get some new books in there. + + HEYWOOD + How you 'spect to do that, "Mr. + Dufresne-if-you-please?" + + ANDY + Ask the warden for funds. + + LAUGHTER all around. Andy blinks at them. + + BROOKS + Son, I've had six wardens through + here during my tenure, and I have + learned one great immutable truth + of the universe: ain't one of 'em + been born whose asshole don't + pucker up tight as a snare drum + when you ask for funds. + + +71 INT -- MAIN BUILDING HALLWAY -- DAY (1949) 71 + + DOLLYING Norton and Andy up the hall: + + NORTON + Not a dime. My budget's stretched + thin as it is. + + ANDY + I see. Perhaps I could write to the + State Senate and request funds + directly from them. + + NORTON + Far as them Republican boys in + Augusta are concerned, there's only + three ways to spend the taxpayer’s + hard-earned when it come to + prisons. More walls. More bars. + More guards. + 56. + + + ANDY + Still, I'd like to try, with your + permission. I’ll send a letter a + week. They can't ignore me forever. + + NORTON + They sure can, but you write your + letters if it makes you happy. I'll + even mail ’em for you, how’s that? + + +72 INT -- ANDY'S CELL -- NIGHT (1949) 72 + + Andy is on his bunk, writing a letter. + + RED (V.O.) + So Andy started writing a letter a + week, just like he said. + + +73 INT -- GUARD DESK/NORTON'S OUTER OFFICE -- DAY (1949) 73 + + Andy pops his head in. The GUARD shakes his head. + + RED (V.O.) + And just like Norton said, Andy got + no answers. But still he kept on. + + +74 INT -- PRISON LIBRARY/ANDY’S OFFICE -- DAY (1950) 74 + + Andy is doing taxes. Mert Entwhistle is seated across from + him. Other off-duty guards are waiting their turn. + + RED (V.O.) + The following April, Andy did tax + returns for half the guards at + Shawshank. + + +75 INT -- PRISON LIBRARY -- ONE YEAR LATER (1951) 75 + + Tax time again. Even more guards are waiting. + + RED (V.O.) + Year after that, he did them all... + including the warden's. + + +76 EXT -- BASEBALL DIAMOND -- DAY (1952) 76 + + A BATTER in a "Noresby Marauders" baseball uniform WHACKS + the ball high into left field and races for first. + 57. + + + RED (V.O.) + Year after that, they rescheduled + the start of the intramural season + to coincide with tax season... + + +77 INT -- PRISON LIBRARY/ANDY’S OFFICE -- DAY (1952) 77 + + The Batter sits across from Andy. The line winds out the + door. + + RED (V.O.) + The guards on the opposing teams + all remembered to bring their W- + 2's. + + ANDY + Moresby Prison issued you that gun, + but you actually had to pay for it? + + THE BATTER + Damn right, and the holster too. + + ANDY + See, that's all deductible. You get + to write that off. + + RED (V.O.) + Yes sir, Andy was a regular H&R + Block. In fact, he got so busy at + tax time, he was allowed a staff. + + ANGLE SHIFTS to reveal Red and Brooks doing filing chores. + + ANDY + Say Red, could you hand me a stack + of those 1040s? + + RED (V.O.) + Got me out of the wood shop a month + out of the year, and that was by + me. + + +78 INT -- GUARD DESK/NORTON'S OUTER OFFICE -- DAY (1953) 78 + + Andy enters and drops a letter on the outgoing stack. + + RED (V.O.) + And still he kept sending those + letters... + 58. + + +79 INT -- ANDY'S CELL -- NIGHT (1953) 79 + + Dark. Andy's in his bunk, polishing a four-inch length of + quartz. It's a beautifully-crafted chess piece in the shape + of a horse’s head, poise and nobility captured in gleaming + stone. + + He puts the knight on a chess board by his bed, adding it + to four pieces already there: a king, a queen, and two + bishops. + + He turns to Rita. Moonlight casts bars across her face. + + +80 EXT -- EXERCISE YARD -- DAY (1954) 80 + + Floyd runs into the yard, scared and winded. He finds Andy + and Red on the bleachers. + + FLOYD + Red? Andy? It’s Brooks. + + +81 INT -- PRISON LIBRARY/ANDY’S OFFICE -- DAY (1954) 81 + + Floyd rushes in with Andy and Red at his heels. They find + Jigger and Snooze trying to calm Brooks, who has Heywood in + a chokehold and a knife to his throat. Heywood is + terrified. + + JIGGER + C'mon, Brooksie, why don’t you just + calm the fuck down, okay? + + BROOKS + Goddamn miserable puke-eatin' sons + of whores! + + He kicks a table over. Tax files explode through the air. + + RED + What the hell’s going on? + + SNOOZE + You tell me, man. One second he was + fine, then out came the knife. I + better get the guards. + + RED + No. We’ll handle this. Ain’t that + right, Brooks? Just settle down and + we'll talk about it, okay? + 59. + + + BROOKS + Nothing left to talk about! It's + all talked out! Nothing left now + but to cut his fuckin' throat! + + RED + Why? What's Heywood done to you? + + BROOKS + That's what they want! It's the + price I gotta pay! + +Andy steps forward, rivets Brooks with a gaze. Softly: + + ANDY + Brooks, you're not going to hurt + Heywood, we all know that. Even + Heywood knows it, right Heywood? + + HEYWOOD + (nods, terrified) + Sure. I know that. Sure. + + ANDY + Why? Ask anyone, they'll tell you. + Brooks Hatlen is a reasonable man. + + RED + (cuing nods all around) + Yeah, that's right. That's what + everybody says. + + ANDY + You're not fooling anybody, so just + put the damn knife down and stop + scaring the shit out of people. + + BROOKS + But it's the only way they’ll let + me stay. + +Brooks bursts into tears. The storm is over. Heywood +staggers free, gasping for air. Andy takes the knife, +passes it to Red. + +Brooks dissolves into Andy's arms with great heaving sobs. + + ANDY + Take it easy. You'll be all right. + + HEYWOOD + Him? What about me? Crazy old fool! + Goddamn near slit my throat! + 60. + + + RED + You've had worse from shaving. + What'd you do to set him off? + + HEYWOOD + Nothin’! Just came in to say fare- + thee-well. + (off their looks) + Ain't you heard? His parole came + through! + + Red and Andy exchange a surprised look. Andy wants to + understand. Red just motions to let it be for now. He puts + his arm around Brooks, who sobs inconsolably. Softly: + + RED + Ain't that bad, old hoss. Won’t be + long till you’re squiring pretty + young girls on your arm and telling + ’em lies. + + +82 EXT -- PRISON YARD BLEACHERS -- DUSK (1954) 82 + + ANDY + I just don't understand what + happened in there, that's all. + + HEYWOOD + Old man's crazy as a rat in a tin + shithouse, is what. + + RED + Heywood, enough. Ain’t nothing + wrong with Brooksie. He's just + institutionalized, that's all. + + HEYWOOD + Institutionalized, my ass. + + RED + Han's been here titty years. This + place is all he knows. In here, + he's an important man, an educated + man. A librarian. Out there, he's + nothing but a used-up old con with + arthritis in both hands. Couldn't + even get a library card if he + applied. You see what I'm saying? + + FLOYD + Red, I do believe you're talking + out of your ass. + 61. + + + RED + Believe what you want. These walls + are funny. First you hate 'em, then + you get used to 'em. After long + enough, you get so you depend on + ’em. That's "institutionalized.” + + JIGGER + Shit. I could never get that way. + + ERNIE + (softly) + Say that when you been inside as + long as Brooks has. + + RED + Goddamn right. They send you here + for life, and that's just what they + take. Part that counts, anyway. + + +83 EXT -- SHAWSHANK PRISON -- DAWN (1954) 83 + + The sun rises over gray stone. + + +84 INT -- ANDY'S CELL -- DAWN (1954) 84 + + ANGLE ON RITA POSTER. Sexy as ever. The rising sun sends + fingers of rosy light creeping across her face. + + +85 INT -- LIBRARY -- DAWN (1954) 85 + + Brooks stands on a chair, poised at the bars of a window, + cradling Jake in his hands. + + BROOKS + I can't take care of you no more. + You go on now. You're free. + + He tosses Jake through the bars. The crow flaps away. + + +86 EXT -- SHAWSHANK PRISON -- HAIN GATE -- DAY (1954) 86 + + TWO SHORT SIREN BLASTS herald the opening of the gate. It + swings hugely open, revealing Brooks standing in his cheap + suit, carrying a cheap bag, wearing a cheap hat. + 62. + + + Brooks walks out, tears streaming down his face. He looks + back. Red, Andy, and others stand at the inner fence, + seeing him off. The massive gate closes, wiping them from + view. + + +87 INT -- BUS -- DAY (1954) 87 + + Brooks is riding the bus, clutching the seat before him, + gripped by terror of speed and motion. + + BROOKS (V.O.) + Dear Fellas. I can't believe how + fast things move on the outside. + + +88 EXT -- STREET -- PORTLAND, MAINE -- DAY (1954) 88 + + Brooks looks like a kid trying to cross the street without + his parents. People and traffic a blur. + + BROOKS (V.O.) + I saw an automobile once when I was + young. Now they're everywhere. + + +89 EXT -- BREWSTER HOTEL -- DAY (1954) 89 + + Brooks comes trudging up the sidewalk. He glances up as a + prop-driven airliner streaks in low overhead. + + BROOKS (V.O.) + The world went and got itself in a + big damn hurry. + + He arrives at the Brewster. It ain't much to look at. + + +90 INT -- BREWSTER HOTEL -- DAY (1954) 90 + + A WOMAN leads Brooks up the stairs toward the top floor. He + has trouble climbing so many stairs. + + WOMAN + No music in your room after eight + p.m. No guests after nine. No + cooking except on the hotplate... + + BROOKS (V.O.) + People even talk faster. And + louder. + 63. + + +91 INT -- BROOKS' ROOM -- DAY (1954) 91 + + Brooks enters. The room is small, old, dingy. Heavy wooden + beams cross the ceiling. An arched window affords a view of + Congress Street. Traffic noise drifts in. Brooks sets his + bag down. He doesn't quite know what to do. He just stands + there, like a man waiting for a bus. + + BROOKS (V.O.) + The parole board got me into this + halfway house called the Brewster, + and a job bagging groceries at the + Foodway... + + +92 INT -- FOODWAY MARKET -- DAY (1954) 92 + + Loud. Jangling with PEOPLE and NOISE. Brooks is bagging + groceries. Registers are humming, kids are shrieking. + + WOMAN + Hake sure he double-bags. Last time + your man didn't double-bag and the + bottom near came out. + + MANAGER + You double-bag like the lady says, + understand? + + BROOKS + Yes sir, double-bag, surely will. + + BROOKS (V.O.) + It's hard work. I try to keep up, + but my hands hurt most of the time. + I don't think the store manager + likes me very much. + + +93 EXT -- PARK -- DAY (1954) 93 + + Brooks sits alone on a bench, feeding pigeons. + + BROOKS (V.O.) + Sometimes after work I go to the + park and feed the birds. I keep + thinking lake might show up and say + hello, but he never does. I hope + wherever he is, he's doing okay and + making new friends. + + +94 INT -- BROOKS' ROOM -- NIGHT (1954) 94 + 64. + + + Dark. Traffic outside. Brooks wakes up. Disoriented. + Afraid. + + Somewhere in the night, a LOUD ARGUMENT is taking place. + + BROOKS (V.O.) + I have trouble sleeping at night. + The bed is too big. I have bad + dreams, like I'm falling. I wake up + scared. Sometimes it takes me a + while to remember where I am. + + +95 INT -- FOODWAY -- DAY (1954) 95 + + BROOKS (V.O.) + Maybe I should get me a gun and rob + the Foodway, so they’d send me + home. I could shoot the manager + while I was at it, sort of like a + bonus. + + +96 INT -- BROOKS' ROOM -- DAY (1954) 96 + + Brooks is packing his worldly possessions into the carry + bag. + + Undershirts, socks, etc. + + BROOKS (V.O.) + But I guess I’m too old for that + sort of nonsense anymore. + + +97 INT -- BROOKS’ ROOM -- SHORTLY LATER (1954) 97 + + Brooks is dressed in his suit. He finishes knotting his + tie, puts his hat on his head. The letter lies on the desk, + stampe3 and ready for mailing. His bag is by the door. + + BROOKS (V.O.) + I don't like it here. I'm tired of + being afraid all the time. I've + decided not to stay. + + He takes one last look around. Only one thing left to do. + He steps to a wooden chair in the center of the room, pulls + out s pocketknife, and glances up at the ceiling beam. + + He steps up onto the chair. It wobbles queasily. Now facing + the beam, he carves a message into the wood: "Brooks Hatlen + was here." He smiles with a sort of inner peace. + 65. + + + BROOKS (V.O.) + I doubt they’ll kick up any fuss. + Not for an old crook like me. + + TIGHT ON CHAIR + + His weight shifts on the wobbly chair -- and it goes out + from under him. His feet remain where they are, kicking + feebly in mid-air. His hat falls to the floor. + + ANGLE WIDENS. Brooks has hanged himself. He swings gently, + facing the open window. Traffic noise floats up from below. + + +98 EXT -- EXERCISE YARD -- SHAWSHANK -- DAY (1954) 98 + + Andy reads the letter to Red and the others: + + ANDY + P.S. Tell Heywood I’m sorry I put a + knife to his throat. No hard + feelings. + + A long silence. Andy folds the letter, puts it away. + Softly: + + RED + He should'a died in here, goddamn + it. + + +99 INT -- PRISON LIBRARY -- DAY (1954) 99 + + Andy is sorting books on the cart. He replaces a stack on + the shelf -- and pauses, noticing a line of ants crawling + up the wood. He glances up. The ants disappear over the + top. He pulls a chair over and stands on it, peers + cautiously over. + + ANDY + Red! + + Red steps in with an armload of files. Andy gingerly + reaches in, grabs a black feathered wing, and pulls out a + dead crow. + + RED + (softly) + Is that lake? + + +100 INT -- WOOD SHOP -- DAY (1954) 100 + 66. + + + Red is making something at his bench, sanding and planing. + + RED (V.O.) + It never would have occurred to us, + if not for Andy. It was his idea. + We all agreed it was the right + thing to do... + + +101 EXT -- FIELDS -- DAY (1954) 101 + + Low hilly terrain all around. A HUNDRED CONS are at work in + the fields. GUARDS patrol with carbines, keeping a sharp + eye. + + We find Andy, Red, and the boys working with picks and + shovels. They glance over to the pickup truck. Hadley’s + chewing the fat with Mert and Youngblood. A WHISTLE BLOWS. + + GUARD + Water break! Five minutes! + + The work stops. Cons head for the pickup truck, where water + is dispensed with dipper and pail. Red and the boys look to + Andy. + + Andy nods. Now’s the time. The group moves off through the + confusion, using it as cover. They head up the slope of a + nearby hill and quickly decide on a suitable spot. The + guards haven't noticed. + + Jigger and Floyd start swinging picks into the soft earth, + quickly ripping out a hole. Red reaches into his jacket and + pulls out a beautiful wooden box, carefully stained and + varnished. He shows it around to nods of approval. + + ANDY + That’s real pretty, Red. Nice work. + + HEYWOOD + Shovel man in. Watch the dirt. + + Heywood jumps in and starts spading out the hole. + + BY THE TRUCK + + Youngblood glances up and sees the men on the slope. + + YOUNGBLOOD + What the fuck. + + HADLEY + (follows his gaze) + 67. + + + HEY.' YOU MEN UP THERE.' GET YOUR + ASSES OFF THAT SLOPE! + (works his rifle bolt) + YOU HAPPY ASSHOLES GONE DEAF? YOU + GOT FIVE SECONDS 'FORE I SHOOT + SOMEBODY! + + Suddenly, other cons start breaking away in groups, dozens + of them heading toward the slope. The guards look around. + + HADLEY + What am I, talkin' to myself? + + ON THE SLOPE + + Andy pulls a towel-wrapped bundle from his jacket and + unfolds it. Jake. Andy lays him in the box, followed by + Brook's letter. Red places the casket in the hole. A moment + of silence. Andy gives Red with an encouraging nod. + + RED + Lord. Brooks was a sinner. Jake was + just a crow. Neither was much to + look at. Both got + institutionalized. See what you can + do for 'em. Amen. + + Muttered "amens" all around. The boys shovel dirt onto the + small grave and tamp it down. + + +102 INT -- SHAWSHANK CORRIDORS -- DAY (1955) 102 + + RAPID DOLLY with Hadley. He’s striding, pissed-off, a man + on e mission. He straight-arms a door and emerges onto -- + + +103 EXT -- SHAWSHANK PRISON WALL -- DAY (1955) 103 + + -- the wall overlooking the exercise yard. He leans on the + railing, scans the yard, sees Andy chatting with Red. + + HADLEY + Dufresne! What the fuck did you do? + (Andy looks up) + Your ass, warden's office, now! + + Andy shoots a worried look at Red, then heads off. + + +104 INT -- GUARD DESK/WARDEN'S OUTER OFFICE -- DAY (1955) 104 + 68. + + +Dozens of parcel boxes litter the floor. WILEY, the duty +guard, picks through them. Hadley enters, trailed by Andy. + + ANDY + What is all this? + + HADLEY + You tell me, fuck-stick! They're + addressed to you, every damn one! + +Wiley thrusts an envelope at Andy. Andy just stares at it. + + WILEY + Well, take it. + +Andy takes the envelope, pulls out a letter, reads: + + ANDY + Dear Mr. Dufresne. In response to + your repeated inquiries, the State + Senate has allocated the enclosed + funds for your library project... " + (stunned, examines check) + This is two hundred dollars. + +Wiley grins. Hadley glares at him. The grin vanishes. + + ANDY + In addition, the Library District + has generously responded with a + charitable donation of used books + and sundries. We trust this will + fill your needs. We now consider + the matter closed. Please stop + sending us letters. Yours truly, + the State Comptroller's Office. + +Andy gazes around at the boxes. The riches of the world lay +at his feet. His eyes mist with emotion at the sight. + + HADLEY + I want all this cleared out before + the warden gets back, I shit you + not. + +Hadley exits. Andy touches the boxes like a love-struck man +touching a beautiful woman. Wiley grins. + + WILEY + Good for you, Andy. + + ANDY + Only took six years. + 69. + + + (beat) + From now on, I send two letters a + week instead of one. + + WILEY + (laughs, shakes his head) + I believe you're crazy enough. You + better get this stuff downstairs + like the Captain said. I'm gonna go + pinch a loaf. When I get back, this + is all gone, right? + + Andy nods. Wiley disappears into the toilet, Jughead Comix + in hand. Alone now, Andy starts going through the boxes + like a starving man exploring packages of food. He doesn't + know where to turn first. He gets giddy, ripping boxes open + and pulling out books, touching them, smelling them. + + He rips open another box. This one contains an old + phonograph player, industrial gray and green, the words + "Portland Public School District" stenciled on the side. + The box also contains stacks and stacks of used record + albums. + + Andy reverently slips a stack from the box and starts + flipping through them. Used Nat King Coles, Bing Crosbys, + etc. + + He comes across a certain album -- Mozart's "Le Nozze de + Figaro." He pulls it from the stack, gazing upon it as a + man transfixed. It is a thing of beauty. It is the Grail. + + +105 INT -- BATHROOM -- DAY (1955) 105 + + Wiley sits in one of the stalls, Jughead comic on his + knees. + + +106 INT -- GUARD STATION/OUTER OFFICE -- DAY (1955) 106 + + Andy wrestles the phonograph player onto the guards' desk, + sweeping things onto the floor in his haste. He plugs the + machine in. A red light warms up. The platter starts + spinning. + + He slides the Mozart album from its sleeve, lays it on the + needle HISSES in the groove...and the MUSIC begins, lilting + and gorgeous. Andy sinks into Wiley’s chair, overcome by + its beauty. It is "Deutino: Che soave zeffiretto,” a duet + sung by + + Susanna and the Contessa. + 70. + + +107 INT -- BATHROOM -- DAY (1955) 107 + + Wiley pauses reading, puzzled. He thinks he hears music. + + WILEY + Andy? You hear that? + + +108 INT -- GUARD STATION/OUTER OFFICE -- DAY (1955) 108 + + Andy shoots a look at the bathroom. ..and smiles. Go for + broke. + + He lunges to his feet and barricades the front door, then + the bathroom. He returns to the desk and positions the P.A. + + microphone. He works up his courage, then flicks all the + toggles to "on." A SQUEAL OF FEEDBACK echoes briefly... + + +109 INT/EXT -- VARIOUS P.A. SPEAKERS -- DAY (1955) 109 + + ...and the Mozart is suddenly broadcast all over the + prison. + + +110 INT -- BATHROOM -- DAY (1955) 110 + + Wiley lunges to his feet, pants tangling around his ankles. + + +111 INT/EXT -- SHAWSHANK PRISON -- VARIOUS LOCATIONS -- DAY 111 + (1955) + + Cons all over the prison stop whatever they're doing, + freezing in mid-step to listen, gazing up at the speakers. + + THE STAMPING MACHINES IN THE PLATE SHOP ARE SHUT DOWN... + + THE LAUNDRY LINE GOES SILENT, GRINDING TO A HALT... + + THE WOOD SHOP MACHINES ARE TURNED OFF, BUZZING TO A STOP... + + THE MOTOR POOL...THE KITCHEN...THE LOADING DOCK...THE + EXERCISE + + thru yard...the numbing routine of prison life itself...all + grinds thru + + TO A STUTTERING HALT. NOBODY MOVES, NOBODY SPEAKS. + EVERYBODY + 71. + + + just stands in place, listening to the MUSIC, hypnotized. + + +112 INT -- GUARD STATION -- DAY (1955) 112 + + Andy is reclined in the chair, transported, arms fluidly + conducting the music. Ecstasy and rapture. Shawshank no + longer exists. It has been banished from the mind of men. + + +113 EXT -- EXERCISE YARD -- DAY (1955) 113 + + CAMERA TRACKS along groups of men, all riveted. + + RED (V.O.) + I have no idea to this day what + them two Italian ladies were + singin’ about. Truth is, I don't + want to know. Some things are best + left unsaid. I like to think they + were singin’ about something so + beautiful it can't be expressed in + words, and makes your heart ache + because of it. + + CAMERA brings us to Red. + + RED (V.O.) + I tell you, those voices soared. + Higher and farther than anybody in + a gray place dares to dream. It was + like some beautiful bird flapped + into our drab little cage and made + these walls dissolve away...and for + the briefest of moments -- every + last man at Shawshank felt free. + + +114 INT -- PRISON CORRIDOR -- DAY (1955) 114 + + FAST DOLLY with Norton striding up the hallway with Hadley. + + RED (V.O.) + It pissed the warden off something + terrible. + + +115 INT -- GUARD STATION/OUTER OFFICE -- DAY (1955) 115 + + Norton and Hadley break the door in. Andy looks up with a + sublime smile. We hear Wiley POUNDING on the bathroom door: + + WILEY (O.S.) + 72. + + + LET ME OUUUUT! + + +116 INT -- SOLITARY WING -- DAY (1955) 116 + + LOW ANGLE SLOW PUSH IN on the massive, rust-streaked steel + door. God, this is a terrible place to be. + + RED (V.O.) + Andy got two weeks in the hole for + that little stunt. + + +117 INT -- SOLITARY CONFINEMENT -- DAY (1955) 117 + + Andy doesn't seem to mind. His arms sweep to the music + still playing in his head. We hear a FAINT ECHO of the + soaring duet. + + +118 INT -- HESS HALL -- DAY (1955) 118 + + HEYWOOD + Couldn’t play somethin' good, huh? + Hank Williams? + + ANDY + They broke the door down before I + could take requests. + + FLOYD + Was it worth two weeks in the hole? + + ANDY + Easiest time I ever did. + + HEYWOOD + Shit. No such thing as easy time in + the hole. A week seems like a year. + + ANDY + I had Hr. Mozart to keep me + company. Hardly felt the time at + all. + + RED + Oh, they let you tote that record + player down there, huh? I could'a + swore they confiscated that stuff. + + ANDY + (taps his heart, his + head) + 73. + + + The music was here...and here. + That's the one thing they can't + confiscate, not ever. That’s the + beauty of it. Haven't you ever felt + that way about music, Red? + + RED + Played a mean harmonica as a + younger man. Lost my taste for it. + Didn't make much sense on the + inside. + + ANDY + Here's where it makes most sense. + We need it so we don't forget. + + RED + Forget? + + ANDY + That there are things in this world + not carved out of gray stone. That + there's a small place inside of us + they can never lock away, and that + place is called hope. + + RED + Hope is a dangerous thing. Drive a + man insane. It's got no place here. + Better get used to the idea. + + ANDY + (softly) + Like Brooks did? + + FADE TO BLACK + + AN IRON-BARRED DOOR + + slides open with an enormous CLANG. A stark room beyond. + + CAMERA PUSHES through. SEVEN HUMORLESS MEN sit at a long + table. An empty chair faces them. We are again in: + + +119 INT -- SHAWSHANK HEARINGS ROOM -- DAY (1957) 119 + + Red enters, ten years older than when we first saw him at a + parole hearing. He removes his cap and sits. + + MAN #1 + It says here you've served thirty + years of a life sentence. + 74. + + + MAN #2 + You feel you've been rehabilitated? + + RED + Yes sir, without a doubt. I can say + I'm a changed man. No danger to + society, that’s the God's honest + truth. Absolutely rehabilitated. + + CLOSEUP -- PAROLE FORM + + A big rubber stamp slams down: "REJECTED." + + +120 EXT -- PRISON YARD -- DUSK (1957) 120 + + Red emerges into fading daylight. Andy's waiting for him. + + RED + Same old, same old. Thirty years. + Jesus. When you say it like that... + + ANDY + You wonder where it went. I wonder + where ten years went. + + Red nods, solemn. They settle in on the bleachers. Andy + pulls a small box from his sweater, hands it to Red. + + ANDY + Anniversary gift. Open it. + + Red does. Inside the box, on a thin layer of cotton, is a + shiny new harmonica, bright aluminum and circus-red. + + ANDY + Had to go through one of your + competitors. Hope you don't mind. + Wanted it to be a surprise. + + RED + It's very pretty, Andy. Thank you. + + ANDY + You gonna play something? + + Red considers it, shakes his head. Softly: + + RED + Not today. + + +121 INT -- CELLBLOCK FIVE/ANDY'S CELL -- NIGHT (1957) 121 + 75. + + + Men line the tiers as the evening count is completed. The + convicts step into their cells. The master switch is thrown + and all the doors slam shut -- KA-THUMP! Andy finds a + cardboard tube on his bunk. The note reads: "A new girl for + your 10 year anniversary. From your pal. Red." + + +122 INT -- ANDY'S CELL -- LATER (1957) 122 + + Marilyn Monroe's face fills the screen. SLOW PULL BACK + reveals the new poster: the famous shot from "The Seven + Year Itch," on the subway grate with skirt billowing up. + Andy sits gazing at her as lights-out commences... + + +123 INT -- RED'S CELL -- NIGHT (1957) 123 + + ...and we find Red gazing blankly as darkness takes the + cellblock. Adding up the months, weeks, days... + + He regards the harmonica like a man confronted with a + Martian artifact. He considers trying it out -- even holds + it briefly to his lips, almost embarrassed -- but puts it + back in its box untested. And there the harmonica will + stay... + + FADE TO BLACK + + WE HOLD IN BLACKNESS as THUMPING SOUNDS grow louder... + + RED (V.O.) + Andy was as good as his word. He + kept writing to the State Senate. + Two letters a week instead of one. + + ...and the BLACKNESS disintegrates as a wall tumbles before + our eyes, revealing a WORK CREW with picks and + sledgehammers, faces obscured outlaw-style with kerchiefs + against the dust. + + Behind them are GUARDS overseeing the work. + + Andy yanks his kerchief down, grinning in exhilaration. Red + and the others follow suit. They step through the hole in + the wall, exploring what used to be a sealed-off storage + room. + + RED (V.O.) + 76. + + + In 1959, the folks up Augusta way + finally clued in to the fact they + couldn’t buy him off with just a + 200 dollar check. Appropriations + Committee voted an annual payment + of 500 dollars, just to shut him + up. + + +124 INT -- PRISON LIBRARY -- DAY (1960) 124 + + TRACKING the construction. Walls have been knocked down. + Men are painting, plastering, hammering. Lots of shelves + going up. + + Red is head carpenter. We find him discussing plans with + Andy. + + RED (V.O.) + Those checks came once a year like + clockwork. + + +125 INT -- PRISON LIBRARY -- DAY (1960) 125 + + Red and the boys are opening boxes, pulling out books. + + RED (V.O.) + You'd be amazed how far Andy could + stretch it. He made deals with book + clubs, charity groups...he bought + remaindered books by the pound... + + HEYWOOD + Treasure Island. Robert Louis... + + ANDY + (jotting) + ...Stevenson. Next ? + + RED + I got here an auto repair manual, + and a book on soap carving. + + ANDY + Trade skills and hobbies, those go + under educational. Stack right + behind you. + + HEYWOOD + The Count of Monte Crisco... + + FLOYD + 77. + + + Cristo, you dumbshit. + + HEYWOOD + ...by Alexandree Dumb-ass. + + ANDY + Dumas. You boys'll like that one. + It's about a prison break. + + Floyd tries to take the book. Heywood yanks it back. I saw + it first. Red shoots Andy a look. + + RED + Maybe that should go under + educational too. + + +126 INT -- WOOD SHOP -- DAY (1961) 126 + + Red is making a sign, carefully routing letters into a long + plank of wood. It turns out to be -- + + +127 16© INT -- PRISON LIBRARY -- DAY (1963) 127 + + -- the varnished wood sign over the archway: "Brooks Hatlen + Memorial Library." TILT DOWN to reveal the library in all + its completed glory: shelves lined with books, tables and + chairs, even a few potted plants. Heywood is wearing + headphones, listening to Hank Williams on the record + player. + + RED (V.O.) + By the year Kennedy was shot, Andy + had transformed a broom closet + smelling of turpentine into the + best prison library in New England. + + +128 EXT -- SHAWSHANK PRISON -- DAY (1963) 128 + + FLASHBULBS POP as Norton addresses MEMBERS OF THE PRESS: + + RED (V.O.) + That was also the year Warden + Norton instituted his famous + "Inside-Out" program. You may + remember reading about it. It made + all the papers and got his picture + in LIFE magazine. + + NORTON + 78. + + + ...a genuine, progressive advance + in corrections and rehabilitation. + Our inmates, properly supervised, + will be put to work outside these + walls performing all mariner of + public service. Cutting pulpwood, + repairing bridges and causeways, + digging storm drains... + + ANGLE TO Red and the boys listening from behind the fence. + + NORTON + These men can learn the value of an + honest day's labor while providing + a valuable service to the community + -- and at a bare minimum of expense + to Mr. and Mrs. 3ohn Q. Taxpayer! + + HEYWOOD + Sounds like road-gangin', you ask + me. + + RED + Nobody asked you. + + +129 EXT -- HIGHWAY CONSTRUCTION SITE -- DAY (1963) 129 + + A ROAD-GANG is grading a culvert with picks. There's dust + and the smell of sweat in the air. GUARDS patrol with + sniper rifles, A pushy WOMAN REPORTER in an ugly hat + bustles up the grade, trailed by a PHOTOGRAPHER. + + WW-IAN REPORTER + You there! You men! We're gonna + take your picture now! + + HEYWOOD + Give us a break, lady. + + WOMAN REPORTER + Don't you know who I am? I’m from + LIFE magazine! I was told I’d get + some co-operation out here! You + want me to report you to your + warden? Is that what you want? + + HEYWOOD + (sighs) + No, ma’am. + + WOMAN REPORTER + 79. + + + That’s more like it! Now I want you + all in a row with big bright smiles + on your faces! Grab hold of your + tools and show 'em to me! + + She turns, motioning her photographer up the grade. Heywood + glances around at the other men. + + HEYWOOD + You heard the lady. + + Heywood unzips his pants, reaches inside. The others do + likewise. The woman turns back and is greeted by the sight + of a dozen men displaying their penises and smiling + brightly. Her legs go wobbly and she sits heavily down on + the dirt grade. + + HEYWOOD + C'mon! We're showin’ our tools and + grinnin' like fools! Take the damn + picture! + + +130 INT -- SOLITARY CONFINZMENT -- NIGHT (1963) 130 + + Heywood sits alone in the dark. He sighs. + + RED (V.O.) + None of the inmates were invited to + express their views... + + +131 EXT -- WOODED FIELDS -- DAY (1965) 131 + + A ROAD-GANG is pulling stumps, bogged down in mud. + + RED (V.O.) + 'Course, Norton failed to mention + to the press that "bare minimum of + expense" is a fairly loose term. + There are a hundred different ways + to skim off the top. Men, + materials, you name it. And, oh my + Lord, how the money rolled in... + + Norton strolls into view with NED GRIMES at his heels. + + NED + This keeps up, you’re gonna put me + out of business! With this pool of + slave labor you got, you can + underbid any contractor in town. + 80. + + + NORTON + Ned, we're providing a valuable + community service. + + NED + That's fine for the papers, but I + got a family to feed. The State + don't pay my salary. Sam, we go + back a long way. I need this new + highway contract. I don't get it, I + go under. That's a fact. + (hands him a box) + Now you just have some'a this fine + pie my missus baked specially for + you, and you think about that. + + Norton opens the box. Alongside the pie is an envelope. He + runs his thumb across the thick stack of cash it contains. + + IN THE BACKGROUND, a winch cable SNAPS and whips through + the air, damn near severing a man's leg. He goes down, + screaming in mud and blood, pinned by a fallen tree stump. + Men rush over to help him. Norton barely takes notice. + + NORTON + Ned, I wouldn't worry too much over + this contract. Seems to me I've + already got my boys committed + elsewhere. You be sure and thank + Maisie for this fine pie. + + +132 INT -- NORTON'S OFFICE -- NIGHT (1965) 132 + + ANGLE on Maisie's pie. Several pieces gone. + + RED (V.O.) + And behind every shady deal, behind + every dollar earned... + + TILT UP to Andy at the desk, munching thoughtfully as he + totals up figures on an adding machine. + + RED (V.O.) + ...there was Andy, keeping the + books. + + Andy finishes preparing two bank deposits. Norton hovers + near the desk, keeping a watchful eye. + + ANDY + 81. + + + Two deposits, Casco Bank and New + England First. Night drop, like + always. + + Norton pockets the envelopes. Andy crosses to the wall safe + and shoves the ledger and sundry files inside. Norton locks + the safe, swings his wife's framed sampler back into place. + He cocks his thumb at some laundry and two suits in the + corner. + + NORTON + Get my stuff down t’laundry. Two + suits for dry-clean and a bag of + ‐ + whatnot. Tell 'em if they over­ + starch my shirts again, they're + gonna hear about it from me. + (adjusts his tie) + How do I look? + + ANDY + Very nice. + + NORTON + Big charity to-do up Portland way. + Governor’s gonna be there, + (indicates pie) + Want the rest of that? Woman can’t + bake worth shit. + + +133 INT -- PRISON CORRIDOR -- NIGHT (1965) 133 + + Andy trudges down the corridor with Norton's laundry, the + pie box under his arm. + + +134 INT -- LIBRARY -- DAY (1965) 134 + + TILT UP FROM PIE to find Red munching away as he helps Andy + sort books on the shelves. + + RED + Got his fingers in a lot of pies, + from what I hear. + + ANDY + What you hear isn't half of it. + He's got scams you haven’t dreamed + of. Kickbacks on his kickbacks. + There’s a river of dirty money + flowing through this place. + + RED + 82. + + +Money like that can be a problem. +Sooner or later you gotta explain +where it came from. + + ANDY +That's where I come in. I channel + + ANDY +Cleaner. By the time Norton +retires, I will have made him a +millionaire. + + RED +Jesus. They ever catch on, he's +gonna wind up wearing a number +himself. + + ANDY + (smiles) +I thought you had more faith in me +than that. + + RED +I'm sure you're good, but all that +paper leaves a trail. Anybody gets +too curious -- FBI, IRS, whatever - +- that trail's gonna lead to +somebody. + + ANDY +Sure it will. But not to me, and +certainly not to the warden. + + RED +Who then? + + ANDY +Peter Stevens. + + RED +Who? + + ANDY +The silent, silent partner. He's +the guilty one, your Honor. The man +with the bank accounts. That's +where the filtering process starts. +They trace it back, all they're +gonna find is him. + + RED +Yeah, okay, but who the hell is he? + 83. + + + ANDY + A phantom. An apparition. Second + cousin to Harvey the Rabbit. + (off Red's look) + I conjured him out of thin air. He + doesn’t exist...except on paper. + + RED + You can't just make a person up. + + ANDY + Sure you can, if you know how the + system works, and where the cracks + are. It's amazing what you can + accomplish by mail. Hr. Stevens has + a birth certificate, social + security card, driver's license. + They ever track those accounts, + they'll wind up chasing a figment + of my imagination. + + RED + Jesus. Did I say you were good? + You're Rembrandt. + + ANDY + It's funny. On the outside, I was + an honest man. Straight as an + arrow. I had to come to prison to + be a crook. + + +135 EXT -- PRISON YARD -- DUSK (1965) 135 + + RED + Does it ever bother you? + + ANDY + I don't run the scams, Red, I just + process the profits. That’s a fine + line, maybe. But I've also built + that library, and used it to help a + dozen guys get their high school + diplomas. Why do you think the + warden lets me do all that? + + RED + To keep you happy and doing the + laundry. Money instead of sheets. + + ANDY + I work cheap. That's the trade-off. + 84. + + + TWO SIREN BLASTS draw their attention to the main gate. It + swings open, revealing a prison bus waiting outside. + + +136 INT -- PRISON BUS -- DUSK (1965) 136 + + Among those on board is TOMMY WILLIAMS, a damn good-looking + kid in his mid-20's. The bus RUMBLES through the gate. + + +137 EXT -- PRISON YARD -- DUSK (1965) 137 + + The new fish disembark, chained together single-file. The + old-timers holler and shake the fence. A deafening + gauntlet. + + +138 INT -- CELLBLOCK EIGHT -- NIGHT (1965) 138 + + Tommy and the others are marched in naked and shivering, + covered with delousing powder, greeted by TAUNTS and JEERS. + + +139 INT -- TOMMY'S CELL -- NIGHT (1965) 139 + + The bars slam with a STEEL CLANG. Tommy and his new + CELLMATE take in their new surroundings. + + TOMMY + Well. Ain't this for shit? + + INt -- PRISON CORRIDOR -- DAY (19bb) + + DOLLYING Tommy as he struts along, combing his ducktail, + cigarette behind his ear. (We definitely need The Coasters + or Del Vikings on the soundtrack here. Maybe Jerry Lee + Lewis.) + + RED (V.O.) + Tommy Williams came to Shawshank in + 1965 on a two year stretch for B&E. + Cops caught him sneakin' TV sets + out the back door of a JC Penney. + + +140 INT -- WOOD SHOP -- DAY (1965) 140 + + A SHRIEKING BUZZSAW slices ten-foot lengths of wood. Red + runs the machine while some other OLD-TIMERS feed the wood. + + RED (V.O.) + Young punk, Mr. Rock n' Roll, cocky + as hell... + 85. + + + Tommy is hauling the cut wood off the conveyor and stacking + it It's a ball-busting job, but the kid's a blur. + + TOMMY + (slapping his gloves) + C'mon there, old boys! Movin' like + molasses! Makin' me look bad! + + The old guys just grin and shake their heads. + + RED (V.O.) + We liked him immediately. + + +141 INT -- MESS HALL -- DAY (1965) 141 + + Tommy regales the old boys with his exploits: + + TOMMY + ...so I'm backin' out the door, + right? Had the TV like this... + (mimes his grip) + Big ol’ thing. Couldn't see shit. + Suddenly, here's this voice: Freeze + kid! Hands in the air! Well I just + stand there holdin’ on to that TV, + so the voice says: "You hear what I + said, boy?" And I say, Yes sir, I + sure did! But if I drop this + fuckin’ thing, you got me on + destruction of property too! + + The whole table falls about laughing. + + +142 INT -- LIBRARY -- DAY (1965) 142 + + Poker game in progress. Tommy, Andy, Red and the boys. + + HEYWOOD + You did a stretch in Cashman too? + + TOMMY + Yeah. That was an easy ride, let me + tell you. Work programs, weekend + furloughs. Not like here. + + SNOOZE + Sounds like you done time all over + New England. + + TOMNY + 86. + + + Been in and out since I was 13. + Name the place, chances are I been + there. + + ANDY + Perhaps it's time you considered a + new profession. + (the game stalls) + What I mean is, you don't seem to + be a very good thief. Maybe you + should try something else. + + TOMMY + What the hell you know about it, + Capone? What are you in for? + + ANDY + (wry glance to Red) + Everyone's innocent in here. Don’t + you know that? + + The tension breaks. Everyone laughs. + + +143 INT -- VISITOR'S ROOM -- DAY (1965) 143 + + CAMERA TRAVELS the room. Chaotic. CONS are waiting their + turn or talking to visitors through a thick plexi shield. + + RED (V.O.) + As it turns out, Tommy had himself + a young wife and new baby girl... + + Tommy’s at the end of the row, phone to his ear. Other side + of the glass is BETH, near tears, fussing with a BABY on + her lap. + + BETH + ...said we can stay with them, but + Joey's gettin' out of the service + next month, and they barely got + enough room as it is. Plus they got + Poppa workin' double shifts and the + baby cries half the night. I just + don't know where we're gonna go... + + PUSH IN on Tommy's face as he listens. + + RED (V.O.) + Maybe it was the thought of them on + + the streets...or his child growing + 87. + + + up not knowing her daddy... + + +144 INT -- LIBRARY -- DAY (1965) 144 + + Tommy enters, the strut gone from his step. A little + scared. + + He finds Andy filing library cards. + + RED (V.O.) + Whatever it was, something lit a + fire under that boy's ass. + + TOMMY + I'm thinkin’ maybe I should try for + high school equivalency. Hear you + helped some fellas with that. + + ANDY + I don't waste time on losers, + Tommy. + + TOMNY + (tight) + I ain't no goddamn loser. + + ANDY + That's a good start. If we do this, + we do it all the way. One hundred + percent. Nothing half-assed. + + Tommy thinks about it, nods. + + TOMMY + Thing is, see... + (leans in, mutters) + ...I don't read all that good. + + ANDY + (smiles) + Well. You've come to the right + place then. + + +145 INT -- LIBRARY -- DAY (1965) 145 + + We find Andy giving an impassioned reading: + + ANDY + 88. + + + ...and the lamplight o'er him + streaming throws his shadow on the + floor...and my soul from out that + shadow that lies floating on the + floor, shall be lifted nevermore! + + Andy slaps the book shut, immensely pleased with himself. + + TOMMY + So this raven just sits there and + won't go away? + + ANDY + That's right. + + TOMMY + (beat) + Why don't that fella get hisself a + 12-gauge and dust the fucker? + + +146 INT -- LIBRARY -- DAY (1965) 146 + + Tommy tries to read as Andy looks on: + + TOMMY + The cat sh--The cat shh... + (glances up) + The cat shat on the welcome mat? + + Andy shakes his head. Not exactly. + + +147 INT -- LIBRARY -- DAY (1965) 147 + + Andy chalks the alphabet on a blackboard. + + RED (V.O.) + So Andy took Tommy under his wing. + Started walking him through his + ADCs... + + +148 INT -- MESS HALL -- DAY (1965) 148 + + TRACK the table to Tommy and Andy. Discussing a book. + + RED (V.O.) + Tommy took to it pretty well, too. + Boy found brains he never knew he + had. + 89. + + +149 EXT -- EXERCISE YARD BLEACHERS -- DAY (1965) 149 + + TOMNY + The cat sh--shh--shimmied up the + tree and crept st--stel--stealthily + out on the limb... + + +150 INT -- WOOD SHOP -- DAY (1965) 150 + + Tommy intent on a paperback, mouthing the words. Behind + him, wood is piling up on the conveyor belt. + + RED (V.O.) + After a while, you couldn't pry + those books out of hands. + + RED + Ass in gear, son! You're putting us + behind! + + Tommy shoves the book in his back pocket and hurries over. + + +151 INT -- LIBRARY -- DAY (1965) 151 + + Tommy writes a sentence on the blackboard. Andy steps in, + shows him how to reconstruct it. + + RED (V.O.) + Before long, Andy started him on + his course requirements. He really + liked the kid, that was part of it. + Gave him a thrill to help a + youngster crawl off the shitheap. + But that wasn't the only reason... + + +152 INT -- ANDY'S CELL -- NIGHT (1966) 152 + + TIGHT ANGLE on chessboard. Host of the pieces complete. PAN + TO Andy lying in his bunk, carefully polishing... + + RED (V.O.) + Prison time is slow time. Sometimes + it feels like stop-time. So you do + what you can to keep going... + + ...and we keep going past Andy in a SLOW PAN of the cell. + + Sink. Toilet. Books. Outside the window bars, we hear + another TRAIN passing in the night... + 90. + + + RED (V.O.) + Some fellas collect stamps. Others + build matchstick houses. Andy built + a library. Now he needed a new + project. Tommy was it. It was the + same reason he spent years shaping + and polishing those rocks. The same + reason he hung his fantasy girlies + on the wall... + + ...STILL PANNING, past a chair, a sweater on a hook...and + finally to the place of honor on the wall... + + RED (V.O.) + In prison, a man'll do most + anything to keep his mind occupied. + + ...where the latest poster turns out to be Racquel Welch + ins fur bikini. Gorgeous. "One Million Years, B. C. " SLOW + PUSH IN + + RED (V.O.) + By 1966...right about the time + Tommy was getting ready to take his + exams...it was lovely Racquel. + + +153 INT -- LIBRARY -- DAY (1966) 153 + + Tommy's taking the big test. Andy's monitoring the time. + Deep silence, save for Tommy's pencil-scribbling. A few + old-timers are browsing the shelves, sneaking looks their + way. Tommy tries to ignore them. Concentrate. + + Andy clears his throat. Time’s up. Tommy puts his pencil + down, + + ANDY + Well? + + TOMMY + Well. It's for shit. + (gets up in disgust) + Wasted a whole fuckin' year of my + time with this bullshit! + + ANDY + May not be as bad as you think. + + TOMMY + It's worse! I didn't get a fuckin' + thing right! Hight as well be in + Chinese! + 91. + + + ANDY + We'll see how the score comes out. + + TOMMY + I'll tell you how the goddamn score + comes out... + + Tommy grabs the test, wads it, slam-dunks it into the + trash. + + TOMMY + Two points! Right there! There's + your goddamn score! + (storms out) + Goddamn cats crawlin' up trees, 5 + times 5 is 25, fuck this place, + fuck it! + + Tommy is gone. Red and others stare. Andy gets up, pulls + the test from the trash, smoothes it out on the desk. + + +154 INT -- WOOD SHOP -- DAY (1966) 154 + + Rest break. Tommy and Red sipping Cokes. + + TOMMY + I feel bad. I let him down. + + RED + That's crap, son. He's proud of + you. Proud as a hen. + (off Tommy’s look) + We been friends a long time. I know + him as good as anybody. + + TOMMY + Smart fella, ain't he? + + RED + Smart as they come. Used to be a + banker on the outside. + + TOMMY + What's he in for anyway? + + RED + Murder. + + TOMMY + The hell you say. + + RED + 92. + + + You wouldn't think, lookin' at him. + Caught his wife in bed with some + golf pro. Greased 'em both. C'mon, + boy, back to work... + + SMASH! Red turns back. Tommy’s Coke has slipped from his + hand and shattered on the floor. The kid's gone white as a + sheet. + + TOMMY + (bare whisper) + Oh my God... + + +155 INT -- LIBRARY -- DAY (1966) 155 + + Tommy sits before Andy and Red: + + TOMMY + 'Bout four years ago, I was in + Thomaston on a 2 to 3 stretch. + Stole a car. Dumbfuck thing to do. + (beat) + Few months left to go, I get a new + cellmate in. Elmo Blatch. Big + twitchy fucker. Crazy eyes. Kind of + roomie you pray you don't get, know + what I'm sayin'? 6 to 12 for armed + burglary. Said he done hundreds of + jobs. Hard to believe, high-strung + as he was. Cut a loud fart, he'd go + three feet in the air. Talked all + the time, too, that's the other + thing. Never shut up. Places he'd + been, jobs he pulled, women he + fucked. Even people he killed. + People that gave him shit, that's + how he put it. One night, like a + joke, I say: "Yeah? Who'd you + kill?" So he says... + + BLATCH + ...I got me this job one time + bussin' tables at a country club. + So I could case all the big rich + pricks that come in. I pick out + this guy, go in one night and do + his place. He wakes up and gives me + shit. So I killed him. Him and the + tasty bitch he was with. + (starts laughing) + 93. + + + That's the best part! She's fuckin' + this prick, see, this golf pro, but + she's married to some other guy! + Some hotshot banker. He's the one + they pinned it on! They got him + down-Maine somewhere doin’ time for + the crime! Ain't that choice? + + He throws his head back and ROARS with laughter. + + +156 INT -- PRISON LIBRARY -- DAY (1966) 156 + + Silence. Tommy has finished his story. Red is stunned...but + Andy looks like he's been smacked with a two by four. + + RED + Andy? + + Andy says nothing. Walks stiffly away. Doesn't look back. + + +157 INT -- NORTON'S OFFICE -- DAY (1966) 157 + + NORTON + Well. I have to say, that's the + most amazing story I ever heard. + What amazes me most is you were + taken in by it. + + ANDY + Sir? + + NORTON + It's obvious this fellow Williams + is impressed with you. He hears + your tale of woe and quite + naturally wants to cheer you up. + He's young, not terribly bright. + Not surprising he didn't know what + a state he'd put you in. + + ANDY + I think he's telling the truth. + + NORTON + Let's say for a moment Blatch does + exist. You think he'd just fall to + his knees and cry, "Yes, I did it! + I confess! By all means, please add + a life term to my sentence!" + + ANDY + 94. + + + It wouldn't matter. With Tommy's + testimony, I can get a new trial. + + NORTON + That's assuming Blatch is even + still there. Chances are excellent + he'd be released by now. Excellent. + + ANDY + They'd have his last known address. + Names of relatives... + (Norton shakes his head) + Well it's a chance, isn't it? How + can you be so obtuse? + + NORTON + What? What did you call me? + + ANDY + Obtuse! Is it deliberate? The + country club will have his old time + cards! W-2s with his name on them! + + NORTON + (rises) + Dufresne, if you want to indulge + this fantasy, that’s your business. + Don't make it mine. This meeting's + over. + + ANDY + Look, if it's the squeeze, don't + worry. I'd never say what goes on + in here. I'd be just as indictable + as you for laundering the money! + + NORTON + Don't you ever mention money to me + again, you sorry son of a bitch! + Not in this office, not anywhere! + (slaps intercom) + Get in here! Now! + + ANDY + I was just trying to rest your mind + at ease, that’s all. + + NORTON + (as GUARDS enter) + Solitary! A month! + +Andy gets dragged away, kicking and screaming: + 95. + + + ANDY + What's the matter with you? It's my + chance to get out, don't you see + that? It’s my life! Don't you + understand it's my life? + + +158 EXT -- PRISON YARD -- DAY (1966) 158 + + Mail call. Men crowd around as names are called out. Red + and the boys are parked on the bleachers. + + FLOYD + A month in the hole. Longest damn + stretch I ever heard of. + + TOMMY + It's my fault. + + RED + Like hell. You didn't pull the + trigger, and you didn't convict + him. + + HEYWOOD + Red? You saying Andy’s innocent? I + mean for real innocent? + (Red nods) + Sweet Jesus. How long's he been in + here? + + RED + Since '47. Going on nineteen years. + + MAIL CALLER + Thomas Williams! + + Tommy raises his hand. The envelope gets tossed to him. He + stares at it. Red peers over his shoulder. + + RED + Board of Education. + + TOMMY + The son of a bitch mailed it. + + RED + Looks that way. You gonna open it + or stick your thumb up your butt? + + TOMMY + Thumb up my butt sounds better. + 96. + + + He gets hemmed in by the older men. Red snatches the + letter. + + TOMMY + C'mon, just throw it away. Will you + please? Just throw it away? + + Red rips it open, scans the letter. Expressionless. + + RED + Well, shit. + + +159 INT -- VISITOR'S ROOM -- DAY (1966) 159 + + Tommy makes his way through the chaos, finds Beth and the + baby waiting behind the thick plexi shield. He sits, + doesn’t pick up the phone. Just stares at Beth. She doesn't + know what to make of it. + + He presses a piece of paper against the glass. A high + school diploma. Her face lights up, blinking back tears. + + +160 INT -- SOLITARY WING -- NIGHT (1966) 160 + + LOW ANGLE on steel door. Somewhere behind it, unseen, is + Andy, A rat scurries along the wall. FOOTSTEPS approach + slowly. + + +161 INT -- SOLITARY -- NIGHT (1966) 161 + + Andy listens in darkness. The FOOTSTEPS pause outside his + door. The slot opens. An ELDERLY GUARD peers in. + + ELDERLY GUARD + Kid passed. C-plus average. Thought + you'd like to know. + + The slot closes. The FOOTSTEPS recede. Andy smiles. + + +162 INT -- PRISON CORRIDOR -- NIGHT (1966) 162 + + We find Tommy on evening work detail, mopping the floors + with bucket and pail. Mert Entwhistle comes into view. + + MERT + Warden wants to talk. + + +163 EXT -- PRISON -- NIGHT (1966) 163 + 97. + + +A steel door rattles open. Mert leads Tommy outside to a +gate, unlocks it. Tommy looks around. + + TOMMY + Out here? + + MERT + That's what the man said. + +Mert swings the gate open, sends Tommy through, turns and +heads back inside. Tommy proceeds out across a loading-dock +access for the shops and mills. Some vehicles parked. The +place is deserted. He stops, sensing a presence. + + TOMMY + Warden? + +Norton steps into the light. + + NORTON + Tommy, we've got a situation here. + I think you can appreciate that. + + TOMMY + Yes sir, I sure can. + + NORTON + I tell you, son, this really came + along and knocked my wind out. It's + got me up nights, that's the truth. + +Norton pulls a pack of cigarettes, offers Tommy a smoke. +Tommy takes one. Norton lights both cigarettes, pockets his +lighter. + + NORTON + The right decision. Sometimes it’s + hard to figure out what that is. + You understand? + (Tommy nods) + Think hard, Tommy. If I'm gonna + move on this, there can't be the + least little shred of doubt. I have + to know if you what you told + Dufresne was the truth. + + TOMMY + Yes sir. Absolutely. + + NORTON + 98. + + + Would you be willing to swear + before a judge and jury...having + placed your hand on the Good Book + and taken an oath before Almighty + God Himself? + + TOMMY + Just gimme that chance. + + NORTON + That's what I thought. + + Norton drops his cigarette. Crushes it out with the toe of + his shoe. Glances up toward the plate shop roof as -- + + HIGH ANGLE FROM PLATE SHOP ROOF (SNIPER POV) + + -- a rifle scope pops up into frame, jumping Tommy's image + into startling magnification, framed in the crosshairs. + + THE SNIPER + + rapid-fires a carbine -- BLAM!BLAM!BLAM!BLAM! -- his face + lit up by the muzzle flashes. Captain Hadley. + + TOMMY + + gets chewed to pieces by the gunfire. He smacks the ground + in a twitching, thrashing heap. Eyes wide and staring. + Dead. + + Surprise still stamped on his face. Silence now. Norton + turns, strolls into darkness. + + +164 INT -- SOLITARY WING -- DAY (1966) 164 + + GUARDS approach Andy’s cell. The door is unlocked. Andy + emerges slowly, blinking painfully at the light. + + +165 INT/EXT -- PRISON -- DAY (1966) 165 + + Andy is marched along. Convicts stop to stare. + + +166 INT -- NORTON’S OFFICE -- DAY (1966) 166 + + Andy is led in. The door is closed. Alone with Norton. + Softly, + + NORTON + 99. + + + Terrible thing. Man that young, + less than a year to go, trying to + escape. Broke Captain Hadley's + heart to shoot him, truly it did. + + ANDY + I'm done. It stops right now. Get + H&R Block to declare your income. + + Norton lunges to his feet, eyes sparkling with rage. + + NORTON + Nothing stops! NOTHING! + (tight) + Or you will do the hardest time + there is. No more protection from + the guards. I'll pull you out of + that one-bunk Hilton and put you in + + NORTON + with the biggest bull queer I can + find. You'll think you got fucked + by a train! And the library? Gone! + Sealed off brick by brick! We'll + have us a little book-barbecue in + the yard! They'll see the flames + for miles! We’ll dance around it + like wild Indians! Do you + understand me? Are you catching my + drift? + + SLOW PUSH IN on Andy’s face. Eyes hollow. His beaten + expression says it all... + + +167 EXT -- PRISON YARD -- DAY (1966) 167 + + Red finds Andy sitting in the shadow of the high stone + wall, poking listlessly through the dust for small pebbles. + Red waits for some acknowledgment. Andy doesn't even look + up. + + Red hunkers down and joins him. Nothing is said for the + longest time. And then, softly: + + ANDY + My wife used to say I'm a hard man + to know. Like a closed book. + Complained about it all the time, + (pause) + She was beautiful. I loved her. But + I guess I couldn't show it enough. + (softly) + 100. + + + I killed her, Red. + +Andy finally glances to Red, seeking a reaction. Silence. + + ANDY + I didn’t pull the trigger. But I + drove her away. That’s why she + died. Because of me, the way I am. + + RED + That don't make you a murderer. Bad + husband, maybe. + +Andy smiles faintly in spite of himself. Red gives his + +shoulder a squeeze. + + RED + Feel bad about it if you want. But + you didn't pull the trigger. + + ANDY + No. I didn't. Someone else did, and + I wound up here. Bad luck, I guess. + + RED + Bad luck? Jesus. + + ANDY + It floats around. Has to land on + somebody. Say a storm comes + through. Some folks sit in their + living rooms and enjoy the rain. + The house next door gets torn out + of the ground and smashed flat. It + was my turn, that's all. I was in + the path of the tornado. + (softly) + I just had no idea the storm would + go on as long as it has. + (glances to him) + Think you'll ever get out of here? + + RED + Sure. When I got a long white beard + and about three marbles left + rolling around upstairs. + + ANDY + Tell you where I'd go. Zihuatanejo. + + RED + Zihuatanejo? + 101. + + + ANDY + Mexico. Little place right on the + Pacific. You know what the Mexicans + say about the Pacific? They say it + has no memory. That’s where I’d + like to finish out my life, Red. A + warm place with no memory. Open a + little hotel right on the beach. + Buy some worthless old boat and fix + it up like new. Take my guests out + charter fishing. + (beat) + You know, a place like that, I'd + need a man who can get things. + +Red stares at Andy, laughs. + + RED + Jesus, Andy. I couldn't hack it on + the outside. Been in here too long. + I'm an institutional man now. Like + old Brooks Hatlen was. + + ANDY + You underestimate yourself. + + RED + Bullshit. In here I'm the guy who + can get it for you. Out there, all + you need are Yellow Pages. I + wouldn't know where to begin. + (derisive snort) + Pacific Ocean? Hell. Like to scare + me to death, somethin' that big. + + ANDY + Not me. I didn't shoot my wife arid + I didn't shoot her lover, and + whatever mistakes I made I’ve paid + for and then some. That hotel and + that boat...I don't think it's too + much to want. To look at the stars + just after sunset. Touch the sand. + Wade in the water. Feel free. + + RED + Goddamn it, Andy, stop! Don't do + that to yourself! Talking shitty + pipedreams! Mexico's down there, + and you’re in here, and that's the + way it is! + + ANDY + 102. + + + You're right. It's down there, and + I'm in here. I guess it comes down + to a simple choice, really. Get + busy living or get busy dying. + + Red snaps a look. What the hell does that mean? Andy rises + and walks away. Red lunges to his feet. + + RED + Andy? + + ANDY + (turns back) + Red, if you ever get out of here, + do me a favor. There’s this big + hayfield up near Buxton. You know + where Buxton is? + + RED + (nods) + Lots of hayfields there. + + ANDY + One in particular. Got a long rock + wall with a big oak at the north + end. Like something out of a Robert + Frost poem. It's where I asked my + + ANDY + wife to marry me. We'd gone for a + picnic. We made love under that + tree. I asked and she said yes. + (beat) + Promise me, Red. If you ever get + out, find that spot. In the base of + that wall you'll find a rock that + has no earthly business in a Maine + Hayfield. A piece of black volcanic + glass. You'll find something buried + under it I want you to have. + + RED + What? What's buried there? + + ANDY + You'll just have to pry up that + rock and see. + + Andy turns and walks away. + + +168 INT -- MESS HALL -- DAY (1966) 168 + 103. + + + RED + I tell you, the man was talkin' + crazy. I'm worried, I truly am. + + SKEET + We ought to keep an eye on him. + + JIGGER + That's fine, during the day. But at + night he's got that cell all to + himself. + + HEYWOOD + Oh Lord. Andy come down to the + loading dock today. Asked me for a + length of rope. Six foot long. + + SNOOZE + Shit! You gave it to him? + + HEYWOOD + Sure I did. I mean why wouldn't I? + + FLOYD + Christ! Remember Brooks Hatlen? + + HEYWOOD + How the hell was I s'pose to know? + + JIGGER + Andy'd never do that. Never. + + They all look to Red. + + RED + Every man's got a breaking point. + + +169 EXT -- PRISON YARD -- ANGLE ON P.A. -- DUSK (1966) 169 + + VOICE (OVER P.A.) + Report to your cellblocks for + evening count. + + BOOM DOWN to Red and the boys. Convicts drift past them. + + FLOYD + Where the hell is he? + + HEYWOOD + Probably still up in the warden's. + + TWER GUARD + 104. + + + (via bullhorn) + YOU MEN! YOU HEAR THAT ANNOUNCEMENT + OR ZUST TOO STUPID TO UNDERSTAND? + + SKEET + Christ. What do we do? + + FLOYD + Nothing we can do. Not tonight. + + HEYWOOD + Let's pull him aside tomorrow, all + of us. Have a word with him. Ain't + that right, Red? + + RED + (unconvinced) + Yeah. Sure. That's right. + + +170 INT -- NORTON'S OFFICE -- NIGHT (1966) 170 + + Andy's working away. Norton pokes his head in. + + NORTON + Lickety-split. I wanna get home. + + ANDY + Just about done, sir. + + We follow Norton to his wife’s sampler. He swings it aside, + works the combination dial, opens the wall safe. Andy moves + up, shoves in the black ledger and files. Norton shuts the + safe. + + ANDY + Three deposits tonight. + + Andy hands him the envelopes. Norton heads for the door. + + NORTON + Get my stuff down t’laundry. And + shine my shoes. I want 'em lookin’ + like mirrors. + (pauses at door) + Nice havin' you back, Andy. Place + just wasn't the same without you. + + Norton exits. Andy turns to the laundry. He opens the + shoebox. + + Nice pair of dress shoes inside. He sighs, glances down at + the old ragged pair of work shoes on his own feet. + 105. + + +171 INT -- NORTON'S OFFICE -- NIGHT (1966) 171 + + Andy is diligently shining Norton's shoes. + + +172 INT -- PRISON CORRIDOR -- NIGHT (1966) 172 + + Andy trudges down the hallway, laundry slung over his + shoulder, + + +173 INT -- CELLBLOCK FIVE -- NIGHT (1966) 173 + + Andy nods to the GUARD. The guard BUZZES him through. + + +174 INT -- RED'S CELL -- NIGHT (1966) 174 + + Red hears Andy coming, moves to the bars. He watches Andy + come up to the second tier and pause before his cell. + + GUARD (O.S.) + Open number twelve! + + Andy gazes directly at Red. A beat of eye contact. Red + shakes his head. Don’t do it. Andy smiles, eerily + calm...and enters his cell. The door closes. KA-THUMP! We + hold on Red's face. + + +175 INT -- ANDY'S CELL -- NIGHT (1966) 175 + + Andy is polishing a chess piece. + + VOICE (O.S.) + Lights out! + + The lights bump off. He finishes polishing, holds up the + piece to admire. A pawn. He sets it down with the others -- + and we realize it's the final glance for the board. A full + set. + + He gazes up at Racquel and smiles. Pulls a six foot length + of rope from under his pillow. Lets it uncoil to the floor. + + +176 INT -- RED'S CELL -- NIGHT (1966) 176 + + Red sits in the dark, a bundle of nerves, trying to hold + + himself still. He feels like he might scream or shake to + pieces. The seconds tick by, each an eternity. + 106. + + + RED (V.O.) + I have had some long nights in + stir. Alone in the dark with + nothing but your thoughts, time can + draw out like a blade... + + A FLASH OF LIGHTNING outside his window sends harsh barred + shadows jittering across the cell. A storm breaking. + + RED (V.O.) + That was the longest night of my + life... + + +177 INT -- CELLBLOCK FIVE -- MORNING (1966) 177 + + KA-THUMP! The master lock is thrown. The cons emerge from + their cells and the headcount begins. Red looks back to see + if Andy's in line. He's not. Suddenly the count stalls: + + GUARD + Han missing on tier two! Cell 12! + + The head bull, HAIG, checks his list: + + HAIG + Dufresne? Get your ass out here, + boy! You're holding up the show! + (no answer) + Don't make me come down there now! + I'll thump your skull for you! + + Still no answer. Glaring, Haig stalks down the tier, + clipboard in hand. His men fall in behind. + + HAIG + Dufresne, dammit, you're putting me + behind! You better be sick or dead + in there, I shit you not! + + They arrive at bars. Their faces go slack. Stunned. Softly: + + HAIG + Oh my Holy God. + + REVERSE ANGLE + + reveals the cell is empty. Everything neat and tidy. Even + the bunk is stowed. They wrench the door open and rush in, + tossing the cell in a panic as if Andy might be lurking + under the Kleenex or the toothpaste. CAMERA ROCKETS IN on + Haig as he spins toward us, bellowing at the top of his + lungs: + 107. + + + HAIG + WHAT THE FUCK! + + +178 INT -- NORTON'S OFFICE -- MORNING (1966) 178 + + Norton is kicking back with the morning paper. He notices + ha dingy his shoes are. He glances at the shoebox on the + desk, kicks his shoes off, opens the box -- and gulls out + Andy's o grimy work shoes. He stares blankly. What the fuck + indeed. + + An ALARM STARTS BLARING throughout the prison. He looks up. + + +179 EXT -- PRISON -- DAY (1966) 179 + + Norton and Hadley stride across the grounds, ALARM BLARING. + + NORTON + I want every man on that cellblock + questioned! Start with that friend + of his! + + HADLEY + who? + + +180 INT -- CELLBLOCK FIVE -- RED'S CELL -- DAY (1966) 180 + + Red watches as Norton storms up with an entourage of + guards. + + NORTON + Him. + + Red's eyes widen. Guards yank him from his cell. + + +181 INT -- ANDY'S CELL -- DAY (1966) 181 + + Norton steps to the center of the room, working himself up + into a fine rage: + + NORTON + What do you mean "he just wasn't + here?” Don't say that to me, Haig! + Don't say that to me again! + + HAIG + But sir! He wasn't! He isn't! + + NORTON + 108. + + + I can see that, Haig! You think I'm + blind? Is that what you're saying? + Am I blind, Haig? + + HAIG + No sir! + +Norton grabs the clipboard and thrusts it at Hadley. + + NORTON + What about you? You blind? Tell me + what this is! + + HADLEY + Last night's count. + + NORTON + You see Dufresne's name? I sure do! + Right there, see? "Dufresne." He + was in his cell at lights out! + Stands to reason he'd still be here + this morning! I want him found! Not + tomorrow, not after breakfast! Now! + +Haig scurries out, gathering men. Norton spins to Red. + + NORTON + Well? + + RED + Well what? + + NORTON + I see you two all the time, you're + thick as thieves, you are! He + must'a said something! + + RED + No sir, he didn't! + +Norton spreads his arms evangelist-style, spins slowly +around. + + NORTON + Lord! It's a miracle! Man up and + vanished like a fart in the wind! + Nothin' left but some damn rocks on + the windowsill and that cupcake on + the wall! Let's ask her! Maybe she + knows! What say there, Fuzzy- + Britches? Feel like talking? Guess + not. Why should you be different? + 109. + + + Red exchanges looks with the guards. Even they're nervous. + + Norton scoops a handful rocks off the sill. He hurls them + at the wall one at a time, shattering them, punctuating his + words: + + NORTON + It's a conspiracy! + (SMASH) + That's what this is! + (SMASH) + It’s one big damn conspiracy! + (SMASH) + And everyone's in on it! + (SMASH) + Including her! + + He sends the last rock whizzing right at Racquel. + + No smash. + + It takes a moment for this to sink in. All eyes go to her. + The rock went through her. There’s a small hole in the + poster where her navel used to be. + + You could hear a pin drop. Norton reaches up, sinks his + finger into the hole. He keeps pushing...and his entire + hand disappears into the wall. + + ANGLE FROM BEHIND POSTER + + as Norton rips the poster from before our eyes. Stunned + faces peer in. CAMERA PULLS SLOWLY BACK...to reveal the + long crumbling tunnel in the wall. + + +182 INT -- ANDY'S CELL -- MINUTES LATER (1966) 182 + + RORY TREMONT, a guard barely out of his teens, tries not to + look nervous as they lash a rope around his chest. He’s + getting instructions from six different people at once. + + RED (V.O.) + They got this skinny kid named Rory + Tremont to go in the hole. He + wasn’t much in the brains + department, but he possessed the + one most important qualification + for the job... + (they slap a flashlight + in his hands) + ...he was willing to go. + 110. + + +183 INT -- TUNNEL -- DAY (1966) 183 + + Rory squeezes down the tunnel on his belly. + + RED (V.O.) + Probably thought he'd win a Bronze + Star or something. + + +184 INT -- VERTICAL SHAFT -- DAY (1966) 184 + + Dark as midnight. Concrete walls rise on both sides. If you + imagine them as two huge slices of bread, the meat of this + particular sandwich is about three feet of airspace and a + dark tangle of pipes between the cellblocks. Rory's + appears, shining his flashlight down the shaft. Somewhere, + a rat SQUEAKS. + + RED (V.O.) + It was his third day on the job. + + RORY + Warden? There's a space here + between the walls 'bout three feet + across! Smells pretty damn bad! + + NORTON (O.S.) + I don’t care what it smells like! + + HADLEY (O.S.) + Go on, boy! We got a hold of you! + + Looking none too happy about it, Rory squeezes from the + tunnel and dangles into the shaft. He gets lowered, shining + his light, smothered by darkness. Not having a good time. + + RORY + Hoo-whee! Smell's gettin’ worse! + + NORTON (O.S.) + Never mind, I said! lust keep + going! + + RORY + Smells pretty damn bad, Warden! In + fact, it smells just like shit. + + His feet touch the ground --or what he assumed was the + ground. It's not. In fact, it's just what it smells like. + He sinks in past his ankles. He slips and sits heavily in + it. + + RORY + 111. + + + Oh God, that's what it is, it's + shit, oh my God it's shit, pull me + out 'fore I blow my groceries, oh + shit it's shit, oh my Gawwwwwwd! + + +185 INT -- ANDY'S CELL -- DAY (1966) 185 + + Red and others listen to violent barfing from below. + + RED (V.O.) + And then came the unmistakable + sound of Rory Tremont losing his + last few meals. The whole cellblock + heard it. I mean, it echoed. + + That's it for Red. He starts laughing. Laughing, hell, he’s + bellowing laughter, laughing so hard he has to hold + himself, laughing so hard tears are pouring down his + cheeks. The look of rage on Norton's face makes him laugh + all the harder. + + +186 INT -- SOLITARY WING -- NIGHT (1966) 186 + + Abrupt silence. LOW ANGLE on steel door. + + RED (V.O.) + I laughed myself right into + solitary. Two week stretch. + + +187 INT -- SOLITARY -- NIGHT (1966) 187 + + PER + It's shit, it's shit, oh my God + it's shit... + + He starts laughing all over again, fit to split. + + RED (V.O.) + Andy once talked about doing easy + time in the hole. Now I knew what + he meant. + + +188 EXT -- SHAWSHANK PRISON -- WIDE SHOT -- DAY (1966) 188 + + Virgin landscape. Charming rural road. Suddenly, State + Police cruisers rocket up the road with SIRENS AND LIGHTS. + + RED (V.O.) + 112. + + + In 1966, Andy Dufresne escaped from + Shawshank Prison. + + +189 EXT -- FIELD -- DAY (1966) 189 + + Shawshank is half a mile distant. WE TRACK ALONG a muddy + creel as STATE TROOPERS and PRISON GUARDS scour the brush. + A TROOPEE fishes a prison uniform out of the creek with a + long stick. + + RED (V.O.) + All they found of him was a muddy + set of prison clothes, a bar of + soap, and an old rock-hammer damn + near worn down to the nub. + + TROOPER g2 pulls the rock-hammer from the weeds. SWISH PAN + to a POLICE PHOTOGRAPHER. His FLASHBULB GLARE produces: + + A BLACK AND WHITE STILL PHOTO + + of the hapless cops posing with Andy's reeking uniform and + the worn rock-hammer. PUSH IN on the hammer. + + RED (V.O.) + I remember thinking it would take a + man six hundred years to tunnel + through the wall with it. Andy did + it in less than twenty. + + +190 INT -- ANDY'S CELL -- NIGHT (1949) 190 + + Once again, we see Andy using the rock-hammer to scratch + his + + name into the cement. Suddenly, a palm-sized chunk of + cement pops free and hits the floor. He stares down at it. + + +191 INT -- ANDY'S CELL -- NIGHT (1949) 191 + + Andy lies in the dark, studying the chunk of concrete in + his hands. Considering the possibilities. Wrestling with + hope. + + RED (V.O.) + 113. + + + Andy loved geology. I imagine it + appealed to his meticulous nature. + An ice age here, a million years of + mountain-building there, plates of + bedrock grinding against each other + over a span of millennia... + + +192 INT -- ANDY'S CELL -- NIGHT (1949) 192 + + Andy stands peering at the small hole left by the fallen + chunk. Carefully runs his fingertip over it. + + RED (V.O.) + Geology is the study of pressure + and time. That's all it takes, + really. Pressure and time. + + +193 INT -- ANDY'S CELL -- NIGHT (1951) 193 + + Rita is now on the wall, hanging down over Andy's back. + + RED (V.O.) + That and a big damn poster. + + TRACK IN to reveal Andy scraping patiently at the concrete. + + RED (V.O.) + Like I said. In prison, a man'll do + most anything to keep his mind + occupied. + + He hears FOOTSTEPS approaching. He smoothes the poster down + and dives into bed. A GUARD strolls by a moment later, + shining his flashlight into the cell. + + +194 EXT -- PRISON YARD -- DAY (1953) 194 + + Andy strolls along, whistling softly, hands in both + pockets. + + TILT DOWN to his pantleg. Concrete grit trickles out. + + RED (V.O.) + It turns out Andy's favorite hobby + was totin' his wall out into the + exercise yard a handful at a + time... + + +195 INT -- 2ND TIER -- NIGHT (1962) 195 + 114. + + + A GUARD strolls the tier, shining his flashlight into the + cells. He pauses at Andy's bars, playing the beam over the + sleeping form huddled under the blankets. + + REVERSE ANGLE (FROM INSIDE ANDY'S CELL) + + We see what the guard doesn’t: instead of Andy's head under + the blanket, it's a wadded-up pillow. The flashlight plays + across the cell, pinning Marilyn Monroe in a circle of + light. + + ANGLE FROM BEHIND POSTER + + The light illuminates her face through the paper. WIDEN to + reveal Andy lying in his tunnel, holding his breath. The + light clicks off. The FOOTSTEPS move on. He gets back to + work. + + RED (V.O.) + While the rest of us slept, Andy + spent years workin' the + nightshift... + + +196 INT -- SHAFT -- NIGHT (1965) 196 + + BOOMING SLOWLY UP the shaft. Rats scurry the pipes. + Suddenly, r piece of concrete the size of a quarter jumps + free and plummets down the shaft as the rock-hammer pushes + through. The pick withdraws, replaced by Andy's peering + eye. + + A SERIES OF DISSOLVES (1965 through 1966) takes us through + the widening of the hole. First as big as a tea cup. Then a + saucer. Then a dinner plate. + + RED (V.O.) + Probably took him most of a year + just to get his head through. + + Andy finally gets his head through, scraping his ears. He's + got a penlight clenched in his teeth. He peers down into + the shaft. At the very bottom, maybe 20 feet down, a big + ceramic pipe runs the length of the cellblock. Beneath its + coat of grime and dust, the word "SEWER” is stenciled. + + +197 EXT -- LOADING DOCK ACCESS -- NIGHT (1966) 197 + + ANGLE LOOKING STRAIGHT DOWN. Below us. Tommy Williams lies + facedown at Norton's feet. Blood is spreading, tanning out + of the pavement. Norton turns, strolls out of frame. + 115. + + + RED (V.O.) + I guess after Tommy was killed, + Andy decided he'd been here just + about long enough. + + Again we see: Andy working. Norton pokes his head in. + + NORTON + Lickety-split. I wanna get home. + + ANDY + Just about done, sir. + + Norton crosses to the wall safe and works the dial, his + back turned. This time, though, we stay on Andy: + + He pulls up his sweater, yanks out a large black book and a + stack of files, lays them on the desk. He then grabs the + real ledger and files, jams them down his pants and + smoothes his sweater down. He picks up the bogus stack, + crosses to Norton, and shoves everything in. + + +198 INT -- HALLWAY -- NIGHT (1966) 198 + + Norton exits his office and strolls off whistling. PUSH IN + on the open door. We see Andy at the guard's desk, pulling + Norton’s dress shoes from their box. + + RED (V.O.) + Andy did like he was told. Buffed + those shoes to a high mirror shine. + + +199 INT -- NORTON'S OFFICE -- MINUTES LATER (1966) 199 + + Andy sorts through Norton's three suits. He pauses, + checking the gray pinstripe. Nice. + + +200 INT -- CELLBLOCK FIVE -- NIGHT (1966) 200 + + The guard BUZZES Andy through. Andy walks toward us. + + RED (V.O.) + The guard simply didn't notice. + Neither did I. I mean, seriously, + how often do you really look at a + man's shoes? + + TILT DOWN as he passes by. Yep, he's wearing Norton's + shoes. + 116. + + +201 INT -- ANDY'S CELL -- NIGHT (1966) 201 + + The lights go out. Andy places the last chess piece. Gazes + up at Racquel. Smiles. Pulls the rope from under his + pillow. + + He stands and unbuttons his prison shirt, revealing + Norton's gray pinstripe suit underneath. A FLASH OF + LIGHTNING floods the cell, throwing wild shadows. + + +202 INT -- ANDY'S CELL -- NIGHT (1966) 202 + + The storm rages. Andy, naked, carefully slips Norton's + folded suit into a large industrial Zip-Lock bag. Next to + go in are the shoes, chess pieces (already in a smaller + bag), black ledger and files. Last but not least, a bar of + soap wrapped in a towel. + + +203 INT -- TUNNEL -- NIGHT (1966) 203 + + Andy, again wearing prison clothes, inches down the tunnel. + + +204 INT -- SHAFT -- NIGHT (1966) 204 + + Andy squeezes through the hole head-first, emerges to the + waist, He reaches for the opposite wall, manages to snag a + steel conduit with his fingers. + + Suddenly, a huge rat darts for his hand. Andy yanks away + and almost plummets head-first down the shaft. He dangles + wildly upside-down for a moment, arms windmilling, then + gets his hands pressed firmly against the opposite wall. + The rat scurries off, pissed. + + Andy snags the conduit again. He contorts out of the hole + and dangles into the shaft. We now see the purpose for the + rope: the plastic bag hangs from his ankle with about two + feet of slack, + + He kicks his legs across the shaft, gets his feet braced. + With his back against one wall and feet against the other, + he starts down the shaft. Sliding dangerously. Using pipes + for handholds. Flinching as rats dart this way and that, + scurrying in the shadows. He drops the last few feet to the + bottom. + + He approaches the ceramic sewer pipe and kneels before it. + + Pulls out the rock-hammer and says a quick silent prayer. + 117. + + + Raises the rock-hammer high and swings it down with all his + might. Once, twice -- third time lucky. An enormous + eruption of sewage cascades into the air as if rocket- + propelled, the Mount St. Helens of shit. Andy is instantly + coated black. He turns away and heaves his guts out. The + shit keeps coming. + + +205 INT -- SEWER PIPE -- NIGHT (1966) 205 + + Andy peers down through the hole, playing his penlight + aroun5, The inside diameter is no more than two feet. Tight + squeeze. + + Coated with crud. It seems to go on for miles. + + No turning back. He wriggles into the pipe and starts + crawling, plastic bag dragging behind. + + RED (V.O.) + Andy crawled to freedom through + five hundred yards of shit-smelling + foulness I can't even imagine. Or + maybe I just don't want to. + + +206 EXT -- FIELD -- NIGHT (1966) 206 + + Rain is falling in solid sheets. Shawshank is half a mile + distant. BOOM DOWN to reveal the creek...and PUSH IN toward + the mouth of the sewer pipe that feeds into it. + + RED (V.O.) + Five hundred yards. The length of + five football fields. Just shy of + half a mile. + + Fingers appear, thrusting through the heavy-gauge wire mesh + covering the mouth of the pipe. Andy's face looms from the + darkness, peering out at freedom. He wrenches the mesh + loose, pushes himself out, and plunges head-first into the + creek. He comes up sputtering for breath. The water is + waist-deep. + + He wades upstream, ripping his clothes from his body. He + gets his shirt off, spins it through the air over his head, + flings the shirt away. He raises his arms to the sky, + turning slowly, feeling the rain washing him clean. + Exultant. Triumphant. A FLASH OF LIGHTNING arcs from + horizon to horizon. + + +207 INT -- ANDY'S TUNNEL -- DAY (1966) 207 + 118. + + + Once again, we see stunned faces as CAMERA PULLS BACK. + + RED (V.O.) + The next morning, right about the + time Racquel was spilling her + little secret... + + +208 INT -- CASCO BANK OF PORTLAND -- MORNING (1966) 208 + + The door opens. Spit-shined shoes enter. DOLLY the shoes to + the counter. + + RED (V.O.) + ...a man nobody ever laid eyes on + before strolled into the Casco Bank + of Portland. Until that moment, he + didn't exist -- except on paper. + + FEMALE TELLER (O.S.) + May I help you? + + TILT UP to Andy. Smiling in Norton’s gray pinstripe suit. + + ANDY + My name is Peter Stevens. I've come + to close out some accounts. + + +209 INT -- BANK -- SHORTLY LATER (1966) 209 + + The teller is cutting a cashier's check while the MANAGER + + carefully examines Mr. Stevens' various I.D.s. + + RED (V.O.) + He had all the proper I.D. Driver's + license, birth certificate, social + security card. The signature was a + spot-on match. + + MANAGER + I must say I'm sorry to be losing + your business. I hope you'll enjoy + living abroad. + + ANDY + Thank you. I'm sure I will. + + TELLER + Here’s your cashier's check, sir. + Will there be anything else? + 119. + + + ANDY + Please. Would you add this to your + outgoing mail? + + He hands her a package, stamped and addressed. Gives them a + pleasant smile. Turns and strolls from the bank. + + RED (V.O.) + Mr. Stevens visited nearly a dozen + banks in the Portland area that + morning. All told, he blew town + with better than 370 thousand + dollars of Warden Norton’s money. + Severance pay for nineteen years. + + +210 INT -- OFFICE -- DAY (1966) 210 + + A MAN in shirtsleeves is going through the mail on his + desk. + + He finds Andy's package, rips it open. Pulls out the black + ledger and files. Scans a cover letter. Holy shit. He + dashes to his door and yanks it open, revealing the words + on the glass: "PORTLAND DAILY BUGLE -- Editor In Chief." + + MAN + Hal! Dave! Get your butts in here! + + +211 INT -- SHAWSHANK PRISON -- DAY (1966) 211 + + Norton walks slowly toward his office. Dazed. The morning + paper in his hand. He goes wordlessly past the DUTY GUARD + into his office. Shuts the door. Lays the paper on his + desk. + + The headline reads: "CORRUPTION AND MURDER AT SHAWSHANK." + + Below that, the sub-headline: "D.A. Has Ledger. Indictments + Expected." Norton looks up as SIRENS SWELL in the distance. + + +212 EXT -- SHAWSHANK PRISON -- WIDE SHOT -- DAY (1966) 212 + + For the second time, State Police cruisers go rocketing up + the road with SIRENS AND LIGHTS. + + +213 INT -- NORTON’S OFFICE -- DAY (1966) 213 + 120. + + + Norton opens his safe and pulls out the "ledger" -- it's + Andy's Bible. The title page is inscribed by hand: "Dear + Warden. You were right. Salvation lay within." Norton flips + to the center of the book -- and finds the pages hollowed + out in the shape of a rock-hammer. + + +214 EXT -- PRISON -- DAY (1966) 214 + + Police cruisers everywhere. A media circus. REPORTERS + jostle for position. A colorless DISTRICT ATTORNEY steps + forward into CLOSEUP, flanked by a contingent of S.ATE + TROOPERS. + + D.A. + Byron Hadley? + + ANGLE SHIFTS to reveal Captain Hadley. Staring. Waiting. + + D.A. + You have the right to remain + silent. If you give up that right, + anything you say will be used + against you in court... + + TROOPERS move in, cuffing Hadley’s hands behind his back. + The D.A. drones on. FLASHBULBS POP. Hadley says nothing. + His face scrunches up. He begins to cry. + + RED (V.O.) + I wasn't there to see it, but I + hear Byron Hadley was sobbing like + a little girl when they took him + away. + + Hadley sobs all the way to the car. The D.A. snaps a gaze + up toward Norton’s window, motions his men to follow. + + +215 INT -- NORTON’S OFFICE -- DAY (1966) 215 + + Norton is staring out the window as they approach the + building. He goes to his desk, opens a drawer. Inside lies + a revolver and a box of shells. + + RED (V.O.) + Norton had no intention of goin' + that quietly. + + +216 INT -- PRISON CORRIDORS -- DAY (1966) 216 + + The D.A. marches along amidst a phalanx of TROOPERS. + 121. + + +217 INT -- NORTON’S OFFICE -- DAY (1966) 217 + + Norton sits blankly at his desk, revolver before him. The + doorknob rattles, a VOICE is heard: + + D.A. (O.S.) + Troopers hustle the hapless duty + guard to Norton’s door as he + fumbles nervously with a huge key + ring. + + DUTY GUARD + I'm not sure which one it is... + + He starts trying keys in the lock. And as the keys go + sliding in one after another... + + +218 INT -- NORTON’S OFFICE -- DAY (1966) 218 + + ...so do the bullets. Norton is riveted to the door. For + every key, he loads another bullet. Methodical and grim. He + gets the final bullet in just as the right key slams home. + The door bursts open. Men muscle in. Somebody SHOUTS. + Troopers dive in all directions as Norton raises the gun -- + + -- and jams it under his chin, his head snaps back as the + wall goes red. His swivel chair does a slow half-turn and + creaks to a final stop. Troopers rise slowly, gazing in + horror. + + RED (V.O.) + I like to think the last thing that + went through his head...other than + that bullet...was to wonder how the + hell Andy Dufresne ever got the + best of him. + + PUSH SLOWLY to the wall to reveal Mrs. Norton's framed + sampler trickling blood and brains...and we get our final + Bible lesson for today: "HIS JUDGMENT COMETH AND THAT RIGHT + SOON." + + +219 EXT -- PRISON YARD -- DAY (1966) 219 + + Mail call. Red hears his name. They pass him a postcard. + + RED (V.O.) + Not long after the warden deprived + us of his company, I got a postcard + in the mail. It was blank. But the + postmark said, "McNary, Texas." + 122. + + +220 INT -- LIBRARY -- DAY (1966) 220 + + Red sits with an atlas, tracing his finger down the page. + + RED (V.O.) + McNary. Right on the border. That’s + where Andy crossed. + (shuts the book) + When I picture him heading south in + his own car with the top down, it + makes me laugh all over again... + + +221 EXT -- MEXICO -- HIGHWAY -- DAY (1966) 221 + + A red convertible rips along with Andy at the wheel, cigar + jutting from his grin, warm wind fluttering his tie. + + RED (V.O.) + Andy Dufresne, who crawled through + a river of shit and came out clean + on the other side. Andy Dufresne, + headed for the Pacific. + + +222 INT -- MESS HALL -- DAY (1966) 222 + + Heywood is regaling the table with some anecdote about + Andy. + + RED (V.O.) + Those of us who knew him best talk + about him often. I swear, the stuff + he pulled. It always makes us + laugh. + + A wild burst of laughter. PUSH IN on Red. Feeling + melancholy. + + RED (V.O.) + Sometimes it makes me sad, though, + Andy being gone. I have to remind + myself that some birds aren’t meant + to be caged, that's all. Their + feathers are just too bright... + + +223 EXT -- FIELDS -- LATE DAY (1966) 223 + + Convicts hoe the fields. Guards patrol on horseback. + + RED (V.O.) + 123. + + + ...and when they fly away, the part + of you that knows it was a sin to + lock them up does rejoice...but + still, the place you live is that + much more drab and empty that + they’re gone. + + A DISTANT RUMBLE OF THUNDER. Red pauses, gazes off. Storm + clouds coming in, backlit by the sun. A light drizzle + begins. + + RED (V.O.) + I guess I just miss my friend. + + +224 INT -- PRISON CELL -- NIGHT (1966) 224 + + Red is sleeping. He wakes with a start. + + RED (V.O.) + But there are times I curse him for + the dreams he left behind... + + He senses a presence, looks over his shoulder. There's a + Rita Hayworth poster on his wall. He gets out of bed. Rita + just + + keeps smiling, inscrutable. As Red watches, a brilliant + round glow builds behind the poster, shining from the + tunnel. The poster rips free, charred to ash in the blink + of an eye as a shaft of holy white light stabs into the + cell. Sunlight. Red staggers back against the glare. + + A whirlwind kicks up, whipping everything into the air. The + hole in the wall is like a giant vacuum cleaner -- papers, + book, toiletries, bedding -- if it ain't nailed down, it + gets sucked down the hole toward the light. Red fights it, + but the suction drags him closer and closer... + + RED'S POV + + ...and CAMERA rockets into the hole, getting sucked down an + endless tunnel at impossible speed, the ROAR of air mixing + with his drawn-out SCREAM, closer and closer to the + light... + + ...and erupting out the other side into total silence and a + beautiful white beach. The Pacific Ocean before us. + Enormous. + + Mind-blowing. Beautiful beyond description. All we hear now + are the gentle sound of waves. + 124. + + + RED (V.O.) + ...dreams where I am lost in a warm + place with no memory. + + A lone figure stands at water's edge. CAMERA KEEPS MOVING, + coming up behind him and TRACKING AROUND to reveal -- Red. + + RED (V.O.) + An ocean so big it strikes me dumb. + Waves so quiet they strike me deaf. + Sunshine so bright it strikes me + blind. It is a place that is blue + beyond reason. Bluer than can + possibly exist. Bluer than my mind + can possibly grasp. + + AERIAL SHOT + + Nothing for a million miles but beach, sky, and water. Red + is a tiny speck at water’s edge. Just another grain of + sand. + + RED (V.O.) + I am terrified. There is no way + home. + + +225 INT -- RED’S CELL -- NIGHT (1966) 225 + + Red wakes from the nightmare. He gets out of bed. Moves to + the barred window of his cell. Peers up at the stars. + + RED (V.O.) + Andy. I know you're in that place. + Look at the stars for me just after + sunset. Touch the sand...wade in + the water...and feel free. + + FADE TO BLACK + + AN IRON-BARRED DOOR + + slides open with an enormous CLANG. A stark room beyond. + + CAMERA PUSHES through. SIX HEN AND ONE WHAN sit at a long + table. An empty chair faces them. We are again in: + + +226 INT -- SHAWSHANK HEARINGS ROOM -- DAY (1967) 226 + + Red enters, sits. 20 years older than when we first saw + him. + 125. + + + MAN #1 + Your file says you've served forty + years of a life sentence. You feel + you've been rehabilitated? + +Red doesn't answer. Just stares off. Seconds tick by. The +parole board exchanges glances. Somebody clears his throat. + + MAN #1 + Shall I repeat the question? + + RED + I heard you. Rehabilitated. Let's + see now. You know, come to think of + it, I have no idea what that means. + + MAN #2 + Well, it means you're ready to + rejoin society as a-- + + RED + I know what you think it means. Me, + I think it's a made-up word, a + tician's word. A word so young + poli­ + fellas like you can wear a suit and + tie and have a job. What do you + really want to know? Am I sorry for + what I did? + + MAN G2 + Well...are you? + + RED + Not a day goes by I don't feel + regret, and not because I'm in here + or because you think I should. I + look back on myself the way I + was...stupid kid who did that + terrible crime...wish I could talk + sense to him. Tell him how things + are. But I can't. That kid's long + gone, this old man is all that's + left, and I have to live with that. + (beat) + Rehabilitated? That’s a bullshit + word, so you just go on ahead and + stamp that form there, sonny, and + stop wasting my damn time. Truth + is, I don't give a shit. + +The parole board just stares. Red sits drumming his +fingers. + 126. + + + CLOSEUP -- PAROLE FORM + + A big rubber stamp SLAMS down -- and lifts away to reveal + the word "APPROVED" in red ink. + + +227 EXT -- SHAWSHANK PRISON -- DAY 227 + + TWO SHORT SIREN BLASTS herald the opening of the main gate. + It swings hugely open, revealing Red standing in his cheap + suit, carrying a cheap bag, wearing a cheap hat. He walks + out, still looking stunned. + + +228 INT -- BUS -- DAY 228 + + Red rides the bus, clutching the seat before him, gripped + by terror of speed and motion. + + +229 EXT -- BREWSTER HOTEL -- LATE AFTERNOON 229 + + Red arrives at the Brewster, three stories high and even + less to look at than it used to be. + + +230 INT -- BREWSTER -- LATE DAY 230 + + A BLACK WOMAN leads Red up the stairs toward the top floor. + + +231 INT -- RED'S ROOM -- LATE DAY 231 + + Small, old, dingy. An arched window with a view of Congress + Street. Traffic noise floats up. Red enters and pauses, + staring up at the ceiling beam. Carved into the wood are + the words: "Brooks Hatlen was here." + + +232 INT -- FOODWAY MARKET -- DAY 232 + + Loud. Jangling with PEOPLE and NOISE. We find Red bagging + groceries. Registers are humming, kids are shrieking. Red + calls to the STORE MANAGER: + + RED + Sir? Restroom break sir? + + MANAGER + (motions him over) + You don't need to ask me every time + you go take a piss. Just go. + Understand? + 127. + + +233 INT -- EMPLOYEE RESTROOM -- DAY 233 + + Red steps to the urinal, stares at himself in the wall + mirror. + + RED (V.O.) + Thirty years I've been asking + permission to piss. I can’t squeeze + a drop without say-so. + + A strange east Indian guitar-whine begins. The Beatles. + George Harrison's "Within You Without You..." + + +234 EXT -- STREET -- DAY 234 + + ...which carries through as Red walks. People and traffic. + He keeps looking at the women. An alien species. + + RED (V.O.) + Women, too, that's the other thing. + I forgot they were half the human + race. There’s women everywhere, + every shape and size. I find myself + semi-hard most of the time, cursing + myself for a dirty old man. + + TWO YOUNG WOMEN stroll by in cut-offs and t-shirts. + + RED (V.O.) + Not a brassiere to be seen, nipples + poking out at the world. Teezus, + pleeze-us. Back in my day, a woman + out in public like that would have + been arrested and given a sanity + hearing. + + +235 EXT -- PARK -- DUSK 235 + + Red finds the park filled with HIPPIES. Hanging out. + + Happening. Here's the source of the music: a radio. A + HIPPIE GIRL gyrates to the Beatles, stoned, in her own + world. + + RED (V.O.) + They're calling this the Summer of + Love. Summer of Loonies, you ask + me. + + +236 INT -- PAROLE OFFICE -- DAY 236 + 128. + + + Red sits across from his PAROLE OFFICER. The P.O. is + filling out his report. + + P.O. + You staying out of the bars, Red? + + RED + Yes sir. That I am. + + P.O. + How you doing otherwise? Adjusting + okay? + + RED + Things got different out here. + + P.O. + Tell me about it. Young punks + protesting the war. You imagine? + Even my own kid. Oughtta bust his + fuckin' skull. + + RED + Guess the world moved on. + + +237 INT -- FOODWAY -- DAY 237 + + Bagging groceries. CHILDREN underfoot. One points a toy gun + at Red, pumping the trigger. Red focuses on the gun, + listening to it CLICKETY-CLACK. Sparky wheel grinding. + + The kids get swept off by MOM. Red starts bagging the next + customer. SLOW PUSH IN on Red. Surrounded by MOTION and + NOISE. + + Feeling like the eye of a hurricane. People everywhere, + whipping around him like a gale. Strange. Loud. Dizzying. + It gets distorted and weird, slow and thick, pressing in on + him from all sides. The noise level intensifies. The + hollering of children deepens and distends into LOW EERIE + HOWLS. + + He's in the grip of a major anxiety attack. Tries to shake + himself out of it. Can't. Fumbles the final items into the + bag. Walks away. Trying not to panic. Trying not to run. + + He makes his way through the store. Blinking sweat. He + bumps into a lady's cart, mumbles an apology, keeps going. + Breaks into a trot. Down the aisle, cut to the left, + through the door into the back rooms, faster and faster, + running now, slamming through a door marked "Employees + Only" into -- + 129. + + +238 INT -- EMPLOYEE RESTROOM -- DAY 238 + + -- where he slams the door and leans heavily against it, + shutting everything out, breathing heavily. Alone now. + + He goes to the sink, splashes his face, tries to calm down. + + He can still hear them out there. They won't go away. He + glances around the restroom. Small. Not small enough. + + He enters a stall. Locks the door. Puts the toilet lid down + and sits on the john. Better. He can actually reach out and + touch the walls now. They're close. Safe. Almost small + enough. + + He draws his feet up so he can't be seen if somebody walks + in. + + He'll just sit here for a while. Until he calms down. + + +239 EXT -- STREET -- DUSK 239 + + Red is walking home. + + RED (V.O.) + There is a harsh truth to face. No + way I'm gonna make it on the + outside. + + He pauses at a pawnshop window. An array of handguns. + + RED (V.O.) + All I do anymore is think of ways + to break my parole. + + The SHOPKEEPER appears at the glass, locking the door and + flipping the sign: CLOSED. + + +240 INT -- RED’S ROOM -- NIGHT 240 + + Red lies smoking in bed. Unable to sleep. + + RED (V.O.) + Terrible thing, to live in fear. + Brooks Hatlen knew it. Knew it all + too well. All I want is to be back + where things make sense. Where I + won't have to be afraid all the + time. + 130. + + + He glances up at the ceiling beam. "Brooks Hatlen was + here." + + RED (V.O.) + Only one thing stops me. A promise + I made to Andy. + + +241 EXT -- COUNTRY ROAD -- MORNING 241 + + A pickup truck rattles up the road trailing dust and pulls + to a stop. Red hops off the back, waves his thanks. The + truck + + drives on. Red starts walking. PAN TO a roadside sign: + BUXTON. + + +242 EXT -- MAINE COUNTRYSIDE -- DAY 242 + + High white clouds in a blazing blue sky. The trees fiery + with autumn color. Red walks the fields and back-roads, + cheap + + compass in hand. Looking tor a certain haytield. + + +243 EXT -- COUNTRYSIDE -- DAY 243 + + Walking. Searching. The day turning late. Red finds himself + staring at a distant field. There’s a long rock wall, like + something out o f a Robert Frost poem. Big oak tree. Red + checks his compass. North end. He crosses a dirt road into + the field. + + +244 EXT -- HAYFIELD -- DAY 244 + + Red walks the long rock wall, nearing the tree. A squirrel + scolds him from a low branch, scurries up higher. Red + studies the base of the wall. Nothing unusual here. Just a + bunch of rocks set in stone. He sighs. Fool's errand. Turns + to go. + + Something catches his eye. He walks back, squats, peering + closer. Wets a fingertip and rubs a stone. A layer of dust + comes off. Volcanic glass. Gleaming black. He tries to get + the rock out, anticipation growing. It won't come; it's too + smooth. He pulls a pocketknife and levers the rock free. It + tumbles at his feet, leaving a ragged hole. + 131. + + + Red leans down and solves the mystery at last, staring at + the object buried under the rock. Stunned. It's an envelope + wrapped in plastic. Written on it is a single word: "Red." + + Red pulls the envelope out and rises. He just stares at it + for a while, almost afraid to open it. But open it he does. + Inside is a smaller envelope and a letter. Red begins to + read: + + ANDY (V.O.) + Dear Red. If you're reading this, + you've gotten out. And if you've + come this far, maybe you're willing + to come a little further. You + remember the name of the town, + don't you? I could use a good man + to help me get my project on + wheels. I'll keep an eye out for + you and the chessboard ready. + (beat) + Remember, Red. Hope is a good + thing, maybe the best of things, + and no good thing ever dies. I will + be hoping that this letter finds + you, and finds you well. Your + friend. Andy. + + By now, tears are spilling silently down Red's cheeks. He + opens the other envelope and fans out a stack of new fifty- + dollar bills. Twenty of them. A thousand dollars. + + +245 INT -- RED'S ROOM -- DAY (1967) 245 + + Red is dressed in his suit. He finishes knotting his tie, + puts his hat on. His bag is by the door. He takes one last + look around. Only one thing left to do. He pulls a wooden + chair to the center of the room and gazes up at the ceiling + beam. + + RED (V.O.) + Get busy living or get busy dying. + That is goddamn right. + + He steps up on the chair. It wobbles under his weight. + + +246 INT -- BREWSTER -- RED'S DOOR -- DAY (1967) 246 + + The door opens. Red exits with his bag and heads down the + stairs, leaving the door open. CAMERA PUSHES through, + BOOMING UP to the ceiling beam which reads: "Brooks Hatlen + was here." + 132. + + + A new message has been carved alongside the old: "So was + Red." + + +247 INT -- GREYHOUND BUS STATION -- DAY (1967) 247 + + TRACKING SHOT reveals a long line of people at the counter. + + RED (V.O.) + For the second time in my life, I + am guilty of committing a crime. + + CAMERA brings us to Red, next in line, bag by his feet. + + RED (V.O.) + Parole violation. I doubt they'll + toss up any roadblocks for that. + Not for an old crook like me. + + RED + (steps up) + McNary, Texas? + + +248 EXT -- TRAVELING SHOT -- DAY (1967) 248 + + A gorgeous New England landscape whizzes by, fields and + trees a blur of motion. ANGLE SHIFTS to reveal a Greyhound + Sceni-Cruiser barreling up the road, pulling abreast of us. + CAMERA TRAVELS from window to window, passing faces. We + finally come to Red gazing out at the passing landscape. + + RED (V.O.) + I find I am so excited I can barely + sit still or hold a thought in my + head. I think it is the excitement + only a free man can feel, a free + man at the start of a long journey + whose conclusion is uncertain... + 297 THE BUS 297 + + ROARS past camera, dwindling to a mere speck on the + horizon. + + RED (V.O.) + I hope I can make it across the + border. I hope to see my friend and + shake his hand. I hope the Pacific + is as blue as it has been in my + dreams. + (beat) + I hope. + 133. + + +249 EXT -- BEACH -- WIDE PANORAMIC SHOT -- DAY (1967) 249 + + A distant boat lies on its side in the sand like an old + wreck that's been left to rot in the sun. There's someone + out there. + + CLOSER ON BOAT + + A MAN is meticulously stripping the old paint and varnish + by hand, face hidden with goggles and kerchief mask. + + Red appears b.g., a distant figure walking out across the + sand, wearing his cheap suit and carrying his cheap bag. + + The man on the boat pauses. Turns slowly around. Red + arrives with a smile as wide as the horizon. The other man + raises his goggles and pulls down his mask. Andy, of + course. + + ANDY + You look like a man who knows how + to get things. + + RED + I'm known to locate certain things + from time to time. + + Red shrugs off his jacket and picks up a sander. Together, + + THE END + \ No newline at end of file diff --git a/scripts/Speed.txt b/scripts/Speed.txt new file mode 100644 index 0000000000000000000000000000000000000000..c2b3c39ea91b331f4196b57fcab5b4896456a86c --- /dev/null +++ b/scripts/Speed.txt @@ -0,0 +1,6228 @@ + 1. + + + + FADE IN: + + +1 EXT. OFFICE BUILDING - TWILIGHT 1 + + A high-rise in downtown L.A., framed tall against the + mountains. People stream out of the front door, leaving + work. + + CUT TO: + + +2 INT. BASEMENT 2 + + In the near darkness of basement, a security guard makes + his way into an inner cellar. His flashlight finds a man in + work clothes bent over a panel, his back to the light. + + GUARD + Hey. This area's restricted. + + The man doesn't look around. We can just almost see his + face as he talks. + + MAN + Yeah, I, uh, got called in -- some + of this wiring got screwed up. + + GUARD + Nobody called it down to me. I'm + gonna have to see a work order. + + MAN + Yeah -- Just one second -- + + CLOSEUP ON HIS HAND reaches into his toolbox. + + He rises, turning, and A KNIFE IS SHOVED THROUGH HIS EAR. + It is pulled back out with calm efficiency. The man turns, + wide-eyed, hand to his ear. Mouth open in silent protest. + Out of his hand drops the work order. He slumps over. Dies. + + HOWARD FISK takes off the guard's hat. Dripping knife + aside, he is an ordinary-looking man. His face is dead + calm, only his eyes betraying the sea of hate behind it. + + He drags the body into a dark corner, grabbing a duffle bag + from out of the shadows. Then checking his watch, he goes + to the panel and begins making adjustments of his own. WE + PAN over to the door of the panel. It reads: ELEVATORS. + + CUT TO: + 2. + + +3 INT. OFFICE TOWER - ELEVATOR BANK - 42ND FLOOR 3 + + It's the end of the day and people are waiting for the + elevator. The doors open, it's already crowded inside. + People groan, shuttle on. A YOUNG EXEC moos. A few people + laugh. + + +4 INT. ELEVATOR 4 + + The young exec's FRIEND presses the LOBBY button, even + though it's already lit. The young exec nods. + + YOUNG EXEC + Thanks for pushing that, Bob. You + never know -- the light's on, but + maybe it's really broken. + + FRIEND + Oh shut up. + + A SWEATY MAN, 50s, overweight, presses tighter into the + corner beside his SECRETARY. Pats at his brow with a + hankie. + + +5 INT. ELEVATOR SHAFT 5 + + The elevator descends quickly. + + ELEVATOR CABLES + + Something wired to the cables, just above the elevator car, + a slab of white putty, a black box, wires. A small red + light flashes on the black box a split second before it + EXPLODES. + + THE CABLES + + Whip and snap up the shaft like retreating snakes. + + +6 INT. ELEVATOR SHAFT 6 + + Blackout. + + VOICES + What the hell? + + +7 INT. ELEVATOR SHAFT 7 + 3. + + + The elevator drops fast. The voices yell. + + EMERGENCY BREAKS + + Pop out, dig into ratchets in the shaft walls. Sparks shoot + out. The elevator shudders to a halt. + + YOUNG EXEC + Jesus, Bob. What button did you + push? + + SMASH CUT TO: + + +8 EXT. OUTSIDE BUILDING - EVENING 8 + + A car comes SCREECHING to a halt near the front of the + building, a red and blue light flashing on top. The door is + thrown open and SWAT officer JACK TRAVEN steps out from + behind the wheel almost before the car has stopped. Jack + heads straight for the entrance as HARRY TEMPLE, his older + partner gets out the other side and follows, tossing Jack + his flak jacket. Jack puts it on without ever taking his + eyes off the entrance as they make their way through police + cars, fire trucks and various uniforms. WE SEE these two + are a team, and that when they move, Jack takes the lead. + + We are still TRACKING with Jack and Harry as WE SEE two + more SWAT guys emerge from another car, fall into step. + Another team joins them as they enter the: + + +9 INT. LOBBY 9 + + Just as another pair burst in through another set of doors + finally eight SWAT members all wordlessly sync, walking + with Jack and Harry until the whole unit stands in front + of: + + CAPTAIN HERB MCMAHON, 40s, on the PHONE. NORWOOD, his + technical assistant, looks at BLUEPRINTS with BAGWELL, a + middle-aged guy with "building maintenance supervisor" on + his worksuit. + + Then McMahon hangs up the phone, addresses the group. + + MCMAHON + What we have is fifteen people on + the express elevator just below + floor thirty. Included among them + is Louis Tremain, chairman of Nu- + Tech and owner of this building. + 4. + + + MCMAHON +Bomb took out the cables. Bomber +wants three million dollars, or he +blows the emergency brakes. + + HARRY +What's our clock? + + NORWOOD +He gave one hour, which leaves us +with twenty-three minutes exactly. + + A COP +Anything else that'll stop the +elevator from falling? + + JACK +The basement. + + BAGWELL +That's the truth. + + MCMAHON +The city is looking to avoid that +event. They're gonna release the +money. + + HARRY + (not really asking) +We can't just unload the +passengers. + + MCMAHON +Bomber's wired the elevator doors +and the hatch to trigger the bomb. +Which seats him in the crazy but +not stupid section. + + JACK + (raises his hand, smiles) +Harry volunteers to examine the +device. + + HARRY + (glaring at Jack) +Right. + + MCMAHON +Fine. You two check it out. + + OTIS +Nearest access panel's on the 32nd +floor, in the hall by storage. + 5. + + + MCMAHON + I want reports only. We're in a + holding pattern. + (to two others) + Worthy, Briggs. Secure the base + area. No one in or out the back. + (to others) + The rest of you confirm building + evac. Move. + + HARRY + (to Otis, as McMahon is + still giving orders) + What about the other elevators? + + BAGWELL + In an emergency, all passengers + cars go to the nearest floor and + shut down. + + JACK + (smiles) + Looks like we're walking. + + CUT TO: + + +10 INT. STAIRWELL 10 + + COMBAT BOOTS thunder up a metal staircase. Jack and Harry + sprint up the stairs. + + CUT TO: + + +11 INT. ELEVATOR SHAFT 11 + + Blackness. Sounds of a power drill, muffled, through a + wall. A three-by-three foot metal access panel is lifted + away; light enters the shaft. + + Jack and Harry crawl through and stand on top of the + elevator, Jack addressing the passengers while Harry checks + out the bomb. Jack has to raise his voice to be heard. + + JACK + Ladies and gentleman, this is the + L.A.P.D. + (reactions; relief, + confusion) + 6. + + + There's been an elevator + malfunction. Just relax and we'll + have you out of there as soon as + possible. + +Harry stands, gives Jack a significant look. + + JACK + (smiling) + Am I lying? + + HARRY + (into a mike at his chin) + Confirm on the secondary device. + C4, molded to the brakes. + (to Jack) + What do you think? + + JACK + You're the expert. I just work + here. + + HARRY + It's pretty solid. + + JACK + Anyone we know? + + HARRY + I don't recognize the work. But + he's a pro. + + MCMAHON + (voice over) + Traven, Temple. Hold position. + We're waiting to hear back from + him. Stay on idle. + +Jack looks at his watch. + + JACK + Shit. + + HARRY + They're cutting it close. + + JACK + I don't like it. + + HARRY + What's to like? Mac said hold. We + hold. + 7. + + +But Jack is getting real fidgety now. He looks at his +watch. + + HARRY + (to distract him) + Okay. Pop quiz, hot shot. Uh -- + terrorist in a crowded room, five + pounds of dynamite. He's got a + deadman's stick; he lets go, it + blows. + + JACK + How close am I? + + HARRY + Twenty feet. + + JACK + Taser. Put enough volts in him, he + won't let go for an hour. + + HARRY + -- uh, fifty feet. + + JACK + Nice try. + (Alternate) + Blow me! + + HARRY + Okay. Airport. Gunman with one + hostage, using her for cover. + + HARRY + He's almost on a plane, you're a + hundred feet away. + (a moment) + Jack? + +Jack is looking at the access panel. There is a moment +before he comes back to Harry's train of thought: Then: + + JACK + Shoot the hostage. + + HARRY + What? + + JACK + Take her out of the equation. Go + for the good wound and he can't get + to the plane with her. Clear shot. + 8. + + + HARRY + You're deeply nuts, Jack. Shoot the + hostage -- + + JACK + (enough already) + This is wrong. He's gonna blow it + anyway. + + HARRY + Why? + + JACK + I don't know. Gut feeling. + + HARRY + Well, right now Mac still outranks + your gut, so we sit. + + JACK + How much do you think that elevator + weighs? + + HARRY + (he's at it again) + Christ, Jack... + + Jack starts out of the shaft. Harry follows. + + JACK + Maybe we can do something about + those hostages. + + HARRY + We're not gonna shoot 'em, right? + + CUT TO: + + +12 EXT. ROOF - DUSK 12 + + Jack bursts out of a roof access door and starts looking + for something. Harry follows him. Jack runs over to the + edge of the roof where there is a WINCH used by window- + washers. Large, heavy-duty. + + JACK + No, we just take 'em out of the + equation. + + CUT TO: + 9. + + +13 INT. ELEVATOR - SAME TIME 13 + + The passengers, white with terror, fidget. + + CUT TO: + + +14 INT. ELEVATOR HOUSING SHED 14 + + Jack and Harry lug cable from the winch into the elevator + housing on the roof. + + HARRY + You sure it'll hold? + + JACK + (confident) + It'll hold. + (to convince himself.) + It'll hold. + + Harry looks at his watch. + + HARRY + Six minutes. + + CUT TO: + + +15 INT. LOBBY - SAME TIME 15 + + Captain McMahon paces with his walkie talkie, talking to + the brass at city hall. + + MCMAHON + We can't GET any more time! He's + not talking. We need goddamn money + NOW. + + CUT TO: + + +16 INT. ANOTHER PLACE - SAME TIME 16 + + Fisk has a radio set-up, is listening in on the various + police exchanges. He suddenly hears sounds of Harry and + Jack echoing down the elevator shaft. + + HARRY + Pop quiz, hot shot. Psycho rigs an + elevator to drop thirty stories -- + 10. + + + CUT TO: + + +17 INT. ELEVATOR SHAFT 17 + + Jack is being lowered headfirst on a rope down the center + of the shaft. He holds the window-washing cable with a hook + on its end. He and Harry are speaking through their + microphones. + + HARRY + -- What do you do? + + JACK + Something else, right? + + He continues down. The elevator approaches. Jack comes to + the elevator car. He signals and Harry stops. + + Jack looks leery at the C4 by his feet. Quietly secures the + hook to part of the elevator's frame. + + JACK + Tell me again, Harry: why did I + take this job? + + HARRY + Come on. Thirty more years of this + and you get a tiny pension and a + cheap gold watch. + + JACK + (excited) + Cool. + + ANOTHER PLACE + + Fisk listens. What are they up to? + + HOUSING SHED + + Harry looks down the shaft one more time and runs out to: + + +18 EXT. ROOF 18 + + Harry runs over to the window washing winch. He flips a + switch and the winch starts pulling in the cable. + + +19 INT. SHAFT 19 + 11. + + + Jack watches as the extra cable starts unspooling, pulled + up. He starts climbing for the access panel. + + +20 EXT. ROOF 20 + + The winch spools in cable. + + +21 INT. HOUSING SHED 21 + + Harry looks down at the elevator. + + ANOTHER PLACE + + Fisk listens, hears the winch faintly. He fingers a small + box with a plastic button and a timer counting down. Three + minutes left. We notice that the hand fingering the box is + missing its thumb. + + The hand starts moving more agitatedly. Fisk's face + registers growing concern. Two minutes fifty-three seconds. + + With sudden violence, he jabs the button. + + +22 INT. ELEVATOR 22 + + Jack takes one final look down. There is still a bunch of + slack cable lying on the elevator. On the bomb, a tiny red + light comes one. + + Without hesitation Jack HURLS himself through the access + panel as the bomb BLOWS. + + +23 INT. ELEVATOR 23 + + The passengers SCREAM as the elevator shakes, begins to + drop. + + +24 EXT. ROOF 24 + + The cable snaps tight -- + + +25 INT. HOUSING SHED 25 + + -- nearly slicing Harry in two. He dives to the floor. + 12. + + +26 INT. THE ELEVATOR 26 + + Plummets. Comes to an abrupt stop. Springs slightly on the + cable. + + +27 INT. LOBBY - NEAR THE ELEVATOR BANK 27 + + Everyone listening to the TWANGING of the cable echo down + the shaft. + + BAGWELL + Usually they fall down now. + + +28 INT. HALL 28 + + Harry bursts in from the stairs. + + HARRY + He's early! + + JACK + Let's get them off. + + +29 EXT. ROOF - THE WINDOW-WASHING WINCH 29 + + The weight on the cable is starting to pull it from its + foundation. It groans and starts to crack, can't bear this + weight for long. The wheels start to come off the track. + Then with a loud bang, the winch breaks free, flies across + the roof and comes to a stop at the door to the elevator + machine room. + + +30 INT. HALL 30 + + Jack and Harry look at each other. And BOLT. + + ANOTHER FLOOR - JACK AND HARRY + + Emerge from the stairs, race over to the elevator access + panel. + + HARRY + (into mike) + Mac! We need people on 28 now! + + THE WINDOW WASHING WINCH + + Gives a bit more under the strain of the cable. + 13. + + +THE ELEVATOR + +It drops a few inches. People yell, gasp, cry. + +JACK AND HARRY + +Get the last screw out of another access panel. They can +see the bottom two feet of the elevator doors. With a grunt +they pry open the doors. People's feet and the sounds of +panic. + + JACK/HARRY + On the floor! Hands and knees! + Let's move it! + +A WOMAN lies down. Jack and Harry grab her hands, pull her +out. Then another. They pull out the CEO. + + CEO + What the hell is all this? + +Two more SWAT guys arrive and help pull. + +THE WINCH + +About to break free. + +JACK AND HARRY + +Pull out two more people. + +THE WINDOW WASHING WINCH + +Rips through the door frame, wedges against an ENGINE. + +THE ELEVATOR + +Drops sharply. Oh God. But then it stops, now with only the +top three feet of the elevator showing. + +THE CABLE + +Is being held by what's left of the platform, some slats of +splintering wood and lengths of bending metal. It's giving +way slowly, an inch at a time. + +JACK AND HARRY + +Now pull people up to get them out. They see the elevator +sinking, the opening closing. Two and a half feet. Two +feet. They have one woman to pull out. She's halfway, her +legs still in. + 14. + + + THE CABLE + + Pulls free as the mass of wood and metal finally gives way. + + THE ELEVATOR + + Drops. + + JACK AND HARRY + + Pull the woman as hard as they can as the huge metal box + flies down, shooting out sparks. + + HER LEGS + + Sliding out as the top of the car races down on them, she's + not gonna make it. + + ELEVATOR SHAFT + + The elevator drops like a rock, trailing cable. It drops so + far that it disappears from sight. A huge sound when it + hits bottom. + + +31 INT. MAIN LOBBY 31 + + McMahon and the other SWAT and bomb guys are almost knocked + off their feet by the impact reverberating throughout the + building. + + ELEVATOR DOORS + + In the lobby buckle out from the air concussion. + + +32 INT. HALL 32 + + The woman, terrified, looks down at her legs. The elevator + just clipped off her high heel. Jack and Harry exchange a + look. + + The other SWAT guys usher the rescued passengers to the + stairwell as Jack and Harry lean against the wall, a little + out of breath. + + JACK + Is your watch slow? + + HARRY + (shaking his head) + 15. + + + He jumped the gun. We had three + minutes. + + JACK + Why does he do that? He's blowing + three million. + + HARRY + Maybe he couldn't hold his wad long + enough. It's a common problem among + middle-aged men, although I myself + -- + + JACK + He's here. + + HARRY + He could've blown that thing from + Pacoima. + + JACK + No, he knew we were up to + something. He's close by. + + HARRY + He's not gonna corner himself in + the building. We evacuated anyway. + + Jack does not reply, and Harry sees he's convinced. So he + thinks. + + HARRY + So he'd want to be here, but he'd + want to be mobile. + (click) + The elevators. + + JACK + Passenger cars were stopped, right? + They checked 'em out. + + HARRY + What about the freight elevators? + + +33 INT. BY FREIGHT ELEVATOR 33 + + They get to the freight elevator doors, pry them open. They + look down. + + The freight elevator is stopped five floors below them. + They can hear movement in the elevator. + 16. + + + JACK + Will the mystery guest please sign + in -- + + jack slides down the elevator cable. + + HARRY + Jack, we don't even know if -- + + But he's gone. After a moment's hesitation, Harry follows, + climbing down rungs. + + +34 INT. ELEVATOR SHAFT 34 + + Jack and Harry move down the shaft. + + THE FREIGHT CAR + + -- as Jack arrives. Pulls his 9mm Glock and steps from the + rungs lightly onto the car. HARRY right behind him. The car + sinks slightly from their weight. + + Jack points at the hatch cover on the elevator roof. Harry + nods and pulls his Glock. He and Jack kneel by the hatch + cover. Jack grabs the handle. Harry makes the countdown + hand signals. Three, two -- + + A shotgun BLAST nearly takes their heads off, splintering + part of the hatch cover. Both men jump back. A second shot + right by Harry's foot sends him jumping away, he steps on + the hatch cover and it gives away. He falls into the + elevator, hitting his head badly. + + JACK + Harry! + + We HEAR Harry being knocked out by the butt end of a rifle. + + +36 INT. ELEVATOR 36 + + Fisk's finger pushes a button on a control panel. + + JACK + + Sprawled out as the elevator starts to rise. Another + shotgun blast takes out a plate-sized chunk right next to + him. + 17. + + + Jack wants to return fire, but hears Harry yelling in pain + and doesn't know where to shoot. Another blast right next + to him keeps him prone in the corner. He senses something + and looks up. + + HIS P.O.V. + + The elevator barrels toward the ceiling of the shaft. + + JACK + + With no other choice, jumps feet first through the pen + hatch. + + +37 INT. ELEVATOR 37 + + Jack comes crashing down into the elevator, lands hard. The + air is thick with shotgun smoke. The few lights not shot + out flicker. Jack looks up and is transfixed. He's looking + into -- + + THE BARREL OF A SHOTGUN + + He hears a voice out of the smoke. + + FISK + I don't suppose anybody would pay + three million just for you. + + Fisk chuckles. Then a loud, dull click. Another click. The + shotgun is empty. + + JACK + + Brings his gun up fast. + + JACK + Drop it! + + The gun drops. Through smoke and flickering light, Jack + gets a good look at Howard Fisk. Fisk is calm, his arm + around the still groggy Harry. In his hand is a deadman's + stick. His coat opens enough for us to see he has sticks of + dynamite roped around his chest. + + FISK + Pop quiz, hotshot. Terrorist + holding a police hostage. He's got + enough dynamite strapped to his + chest to blow the building in half. + What do you do? + 18. + + +38 INT. LOBBY 38 + + McMahon screams into his walkie talkie. + + MCMAHON + I want location on those goddamn + shots! Briggs! Where is Jack and + Harry? + + NORWOOD + Sir, we got movement in the freight + elevator. + + McMahon looks at him, puzzled. + + +39 INT. ELEVATOR 39 + + Jack keeps steady aim at Fisk. + + JACK + There's gonna be fifty cops waiting + for us in the basement. + + FISK + Standard flanking deployment, + right? + + Fisk opens the elevator control panel. Wires feed into a + small box Fisk has hooked up. Fisk hits a couple of + buttons. + + FISK + Maybe we'll just get off on the + third floor. + + +40 INT. LOBBY 40 + + The elevator indicator light stops at the third floor. + + MCMAHON + Third floor! Let's move it! + + The SWAT cops run. + + +41 INT. ELEVATOR 41 + + Ding! The elevator reaches P1. + + FISK + 19. + + + Well, end of the line. This day has + been a real disappointment, I don't + mind saying. + + JACK + Why, 'cause you didn't get to kill + everyone? + +True hatred flashes in Fisk's eyes. + + FISK + There'll come a time, boy, you'll + wish you never met me. + + JACK + I'm pretty much there already. + +Fisk starts to back up, dragging Harry with him. + + FISK + See, I'm in charge here! I drop + this stick, they pick up your + friend with a sponge. + +ANGLE ON HARRY + +The Deadman's stick right before his eyes. + + FISK + (to Harry) + Are you ready to die, friend? + + HARRY + Fuck you. + + FISK + (warily) + In two hundred years we've gone + from 'I regret that I have but one + life to give for my country' to + 'fuck you.' + + HARRY + Go ahead! Drop the stick! + + JACK + (to Harry) + Shut up! + + FISK + Man, we got all the balls in the + world right here! + 20. + + + JACK + Give it up! + + Fisk drags Harry out. Jack doesn't know what to do. + + Harry looks at Jack. He barely mouthes the words. + + HARRY + Shoot the hostage. + + Jack can't move. Fisk and Harry head toward swinging doors + that lead to the garage. Jack watches, gun trained on Fisk. + + HARRY + Do it. + + He shifts aim and BLASTS Harry in the leg. Harry goes down + and Fisk can't take him anywhere. Almost laughing with + disbelief, Fisk lets go, starts running. + + Jack starts shooting through the pipes and crates. One of + the shots grazes Fisk in the neck, spins him back to face + Jack. Even then, Fisk has this strange grin on his face. + + FISK + + STUMBLES through the doors. + + JACK + + Runs after him, reloading as he does -- + + THE DOORS + + -- Swing back and forth. They slow. Stop. + + A HUGE EXPLOSION + + Blasts out from the garage. Rips the doors from their + hinges. Lights go out. Plaster and cement flies. + + JACK + + Is knocked fifteen feet back into the far wall. He lies + still. + + FADE TO BLACK + + +42 INT. CITY HALL MEDAL CEREMONY - DAY 42 + 21. + + + The elevator hostages and cops in attendance. Jack and + Harry stand to one side of the podium in full dress uniform + as the Mayor gives a droning speech. Harry has a cane. + + MAYOR + -- the dedication and bravery that + make L.A.'s finest truly her + finest. Fifteen citizens owe their + lives to this team, and + particularly the two officers we + are here to honor -- Thanks to + them, the only life taken by a + terrorist's bomb was his own -- + + ANGLE ON JACK AND HARRY + + Eyes front. Harry quietly fumes. + + HARRY + You shot me -- I can't believe it - + - they're giving you a medal for + shooting me, you little prick -- + + The Commissioner pins on Harry's medal. There is applause. + The Commissioner moves to pin on Jack's medal and we: + + CUT TO: + + +43 INT. FISK'S GARAGE - CONTINUOUS 43 + + WE SEE the ceremony on TV, a close-up of Jack's face as the + audience applauds again, somewhat louder. PULL OUT TO + REVEAL a bank of four TVs, all showing the same shot of + Jack. The TVs are all fairly old, not fancy. + + Fisk sits before the screens, stone faced. Slowly, loudly, + he applauds. + + CLOSE UP ON HIS HANDS + + Again WE SEE it; no left thumb. + + +44 EXT. FISK'S HOUSE 44 + + We hear the clapping as WE SEE his house in the twilight. A + completely unremarkable suburban home, flanked by two more + just like it. + + CUT TO: + 22. + + +45 INT. BAR - THAT NIGHT 45 + + The local cop dive. The cops sit clustered at a few tables, + celebrating. McMahon is standing, making a toast. + + MCMAHON + Okay. Okay. Here's to harry, for + his quick thinking, his grace under + pressure and his brave and selfless + act -- + + Many "Here here"s. + + MCMAHON + -- and to Jack, for shooting Harry, + which God knows we've all wanted to + do for some time. + + Laughs. McMahon quiets them. + + MCMAHON + No. Okay. You know what it is: To + the guys, for doing your job and + not getting dead. Mazeltov. + + Everyone drinks. McMahon sits as Jack is called upon to + speak. + + COPS + Speech! Jack, a toast! Come on. + + He doesn't want to, but he stands. + + JACK + Okay. Um, I'd like to thank all the + little people -- + + Many boos. + + JACK + -- I'm fuzzy on names, but I know + you're all very tiny. Harry, you're + a god -- Uh, I don't know -- here's + to -- tiny pension and a cheap gold + watch. + + "Here Here"s. Everyone drinks. + + DISSOLVE TO: + + +46 INT. BAR - LATER 46 + 23. + + +The dregs of the occasion. The few that are left are fairly +soused. McMahon and Jack are at the bar, talking. The +bartender, SANDY, pours them each a shot. + + SANDY + Here you go. Thirty-fifth round is + on the house. + + JACK + (to Mac) + Nobody wanted me to be a cop. My + dad said if I wanted to prove + myself as a man I should sell tires + like him. + (to Sandy, re: shots) + His is bigger than mine. + +Harry sits at the table with a few cops, including ROBIN, a +female cop. He vaguely paws at her as she stands. + + HARRY + Come here. Come on, hey, sit on my + lap. Sit on my lap and do a dance. + +She fends off his hands. + + ROBIN + (good naturedly) + Piss off, Harry. You're married. + + HARRY + I am? + +ANGLE ON JACK AND MCMAHON + + MCMAHON + That's what this job is. It's those + moments when everything compresses + and it's just you and him. That + moment. Other jobs are just typing. + And that's what real people don't + understand about cops. + + JACK + That we're psychotic. + + MCMAHON + Yes. Well put. That was your + problem with what's-her-name. What + was her name? + + JACK + (thinks a moment) + 24. + + + Debbie. + + MCMAHON + Debbie. + (remembering) + Donna! + + JACK + Oh. Right. + +ANGLE ON HARRY + +Is looking at a picture of his wife in his wallet. + + HARRY + This is my wife? She's gorgeous! + I'm going home! I'm gonna get some. + +He staggers up and over to Jack as McMahon heads for the +john. + + HARRY + Jaaaaaack. + + JACK + (imitating him) + Haaaaarry. Druuuuuunk. + + HARRY + (puts his arm around him) + Jack -- You know what we are? We're + the two luckiest guys in the world. + Got the bad guy and didn't lose any + civilians. + + JACK + We're good. + + HARRY + (dead serious, in his + face) + We're lucky. Understand it, Jack. + We were dealing with a total + psycho; he could have blown us up + anytime. I got a bullet in me -- + six inches off the mark and they + give the medal to my wife. + + JACK + Harry, man, we won. We got him. + + HARRY + 25. + + + Do you listen? I'm not gonna be + backing you up for a long while, so + you gotta start thinking. Guts'll + get you so far, and then they'll + get you killed. Luck runs out, + Jack. Sooner or later. + + A moment, as Harry's words sink in. Harry's said his piece: + he pulls himself up, swaying. Jack helps him. + + HARRY + I'm gonna go home and have some + sex. + + JACK + Harry, you're gonna go home and + throw up. + + HARRY + Well, that'll be fun too. + + As they EXIT FRAME we: + + CUT TO: + + +47 INT. JACK'S APARTMENT - MORNING 47 + + Jack's airy Venice loft apartment. Very clean, slightly + industrial in look. A large model of a sailing boat proudly + displayed in one corner, the other corner holds a complete + entertainment center. Sports equipment is carefully placed + along one wall. + + Jack wakes up lying on top of his covers, wearing shorts + and a tee shirt. He looks much the worse for wear. The TV + is on by the bed, the Today show blaring at Jack. He sits + slowly up and regards the TV with a bleary eye. + + JACK + Katie -- Love me, Katie. Bryant + will never respect you the way I + do. + + Wincing from a hangover, he pulls on his sneakers. Gets up, + grabs some aspirin that he chews like candy, going for the + door and the CAMERA TRACKS ALONG, leading him as he heads + out -- + + +48 EXT. JACK'S HOUSE 48 + 26. + + + -- the door and starts slowly down the street, jogging, + picking up speed, the bleariness leaving his face and we + are still leading him along as he starts sprinting, running + flat out down the sun-baked street. + + CUT TO: + + +49 INT. JACK'S BATHROOM - LATER 49 + + Jack stands under a steaming hot shower, face to the water. + + CUT TO: + + +50 EXT. STARBUCKS - A LITTLE LATER 50 + + Jack is exiting with a cup off coffee as BOB parks his bus + across the street and runs to the cafe. + + BOB + Hey, Jack. You look like a side + order of hash. + + JACK + Thanks, Bob. + + VINCE + The boy was up late celebrating. + + VINCE has Bob's coffee ready; they make the exchange like + clockwork. + + Jack heads for his car as Bob crosses back to his bus. + + BOB + Wild party, huh? + + JACK + I don't remember that well. Can't + have been too great; I woke up + alone. + + BOB + Yeah, well, last time I partied + like that I woke up married. + + Bob hops in the bus and takes off. Jack puts his breakfast + on the top of his car as he digs for his keys. + + THE BUS explodes. + 27. + + + JACK half-turns as the shock wave knocks him off his feet. + Car alarms wail. People run. The bus carcass burns, twisted + metal and flaming plastic where Bob was. Jack moves forward + on instinct, but there's nothing he can do and the flames + force him back. + + As Jack stares in shock, we notice a PHONE RINGING, getting + louder as it filters into Jack's consciousness. Suddenly it + dawns on him and he turns, dreamlike, and walks to the + phone. Picks up the receiver. + + FISK + What do you think, Jack? You think + if you can find all the driver's + teeth they'll give you another + medal? + + JACK + Jesus -- + + INTERCUT WITH: + + +51 INT. FISK'S CAR 51 + + A big old American car. He has it parked a block or two + away. He speaks on a cellular. + + FISK + Twenty second delay on the + Deadman's stick. I'm in the airduct + when it blows. Did you think I + wouldn't have prepared? I spent two + years setting up my elevator job. + Two years. I invested myself in it. + You couldn't understand the + commitment I have. A child, Jack, + you're a child. You ruin a man's + life's work, and then you think you + can walk away? You got blinders on, + to the world. But I got your + attention now. Didn't I, Jack? + + JACK + Why didn't you just come after me? + + FISK + 28. + + + Oh, now you're getting a swelled + head. This is about my money, the + money I'm due, which I will get. + Three point seven million dollars. + That's was my original sum, plus + interest compounded quarterly and + expenses. None of this had to + happen, Jack. I hope you realize + that. That bus driver could have + gone home to his wife and children + tonight. + + FISK + How long do you think it'll be + before they start worrying about + him? He's so late coming home -- + + JACK + (nearly losing it) + When I find you, man, I'm gonna + kill you all over. + + FISK + Pop quiz, hotshot. There's a bomb + on a bus. Once the bus hits fifty + miles an hour, the bomb is armed. + If the bus drops below fifty, it + blows up. What do you do? + +Jack is still lost. + + FISK + What do you do? + +Jack pauses, accepting the challenge. + + JACK + I'd want to know what bus it was. + + FISK + You think I'm going to tell you + that? + + JACK + Yes. + + FISK + (smiles) + Very good. + (smile vanishes) + 29. + + + Now there's rules, Jack; we have to + do this right. No one gets off the + bus. If you take any of the + passengers off, I will detonate it. + If I don't get my money by 11:00 + a.m., there is also a timer. + + Jack looks at his watch. It's 8:05 + + JACK + We can't pull that money in time -- + + ANGLE ON FISK + + FISK + Focus, Jack! Your concern is the + bus. Don't try to call, you'll find + their radio is down. It's Number + 2525, running downtown from Venice. + It's at the corner of Lincoln and + Pico. Should be heading onto the + freeway right about -- + + ANGLE ON THE PHONE + + Swinging on the line. Jack's already gone. + + FISK + -- now. + + SMASH CUT TO: + + JACK'S CAR + + Tires squeal as Jack pulls out. + + CUT TO: + + +53 EXT. BUS STOP 53 + + The bus is pulling away. ANNIE, an attractive + twentysomething in an Arizona tee shirt and casual clothes, + bolts after it. It is a good half block away by the time + she reaches it. She runs alongside, yelling at the driver, + mimes begging, smiling, praying. + + SAM, the driver, finally relents. He stops and opens the + door. + + SAM + This look like a stop to you? + 30. + + + ANNIE + (hopping on) + You're a saint, Sam. You're a good, + kind man and people will write + songs about you one day. + + She smiles at him, chewing on a wad of gum. He starts up + again as she digs in her pockets for fare. She comes up + with bills. + + ANNIE + Do you have any change? + + He rolls his eyes as: + + ANGLE ON THE BUS + + It pulls onto the freeway. + + +54 INT. THE BUS 54 + + Annie is exchanging money with MRS. KAMINO, an Asian office + worker. + + ANNIE + Thanks. I have all this change at + home, but I always forget -- + + MRS. KAMINO + That's okay. + + She deposits the change and makes her way to the middle of + the bus. She waves to ORTIZ, a large repairman. + + ANNIE + Hey, Ortiz. + + ORTIZ + Annie. + + She plops herself down in front of DOUG STEPHENS, an + obvious tourist. + + STEPHENS + First time in L.A.? + + ANNIE + No, I live here. + + STEPHENS + 31. + + + No, I mean mine. Well, that's just + funny -- you heard me wrong. I'm + sightseeing. I hate to use the word + 'tourist', but -- + (holds up his map and + camera) + -- It's not like I can hide it! + + ANNIE + Not really. + + STEPHENS + You know, it took me three hours + just to get here from the airport. + I got so lost. L.A. is one large + place. But you live here, you + probably don't notice. I'm such a + yokel. There; I said it. + + While he is saying it, Annie quickly sticks her gum on her + seat. + + ANNIE + Oh! There's gum on my seat! Oh, + eew. + + She stands, points. + + ANNIE + (as if teaching him the + word) + Gum. + + Thus excused, she makes her way back to the front. She sits + by HELEN, a middle-aged secretary. Smiles vaguely at her. + + ANNIE + Morning. + + HELEN + You're lucky, you know. Sam + wouldn't stop for just anyone. + + ANNIE + Yeah, well, if he'd be late once I + wouldn't have to catch him. + + HELEN + Not out Sam. + + +55 EXT. SANTA MONICA STREETS - DAY 55 + 32. + + + Frustrated, Jack weaves in and out of traffic, honking, + yelling. Turns onto Lincoln in a controlled four-wheel + skid. + + +56 EXT. BUS - MOVING - FREEWAY 56 + + The bus is picking up speed. + + +57 EXT. FREEWAY ON-RAMP 57 + + Jack speeds up the on-ramp almost sideswiping a new Black + XJ-12 Jaguar convertible. The DRIVER screams at Jack. + + +58 INT/EXT. BUS - MOVING - FREEWAY 58 + + The bus in traffic, picking up speed. The speedometer reads + 45 and climbing. + + A few passengers are talking; others are reading, a day + like any other day. Annie looks at her watch, addresses + Helen. + + HELEN + Oh I just couldn't drive on the + freeways anymore. I would get so + tense. This way I can just relax + all the way to work. + + ANNIE + Well, I love my car. I miss my car. + + HELEN + In the shop? + + ANNIE + Nnnhyyeah. + + HELEN + Do you work downtown? + + ANNIE + Uh-huh. + (off Helen's expectant + pause) + I'm a graphic designer. + + HELEN + Really? Where do you work? + + ANNIE + 33. + + + Uncle Salty's Seafood Hut. + + Helen nods understandingly. + + ANNIE + (as a perky waitress) + Try the shrimp fries, only fifty + cents extra. + (as a human) + Anyway it's only temporary, till I + can get enough money together to + shoot myself. + + +59 EXT. FREEWAY 59 + + Jack is frantic, weaving in and out of traffic. + + INSERT - BUS SPEEDOMETER almost touches 50 then eases off. + + There's a traffic jam ahead and the bus slows down. + + Passengers groan. + + ANNIE + (to Sam, re: cars) + Can't you go over them? + + +60 EXT. FREEWAY 60 + + Jack grins. It's going to be okay. + + +61 EXT. THE FREEWAY 61 + + A half-mile ahead, there's an accident blocking the three + right lanes. There are flames on the road and a POLICEMAN + is trying to direct traffic. + + Traffic is backed-up a hundred yards from the accident and + is tunneling through the one open lane -- the far left + lane. + + Jack sees the bus. It is mired in the jam as well. But it's + all the way over to the left, fifty yards from Jack. + + Jack pulls his car over onto the right shoulder, stops and + gets out. He hurries for the bus. It's a race against time, + as the bus is heading for the choke point, building speed + as the cars funnel through ahead of it. + 34. + + +Jack gets to the bus, just as it's about to go past the +accident. He runs along beside it, knocking on the bus +door. + + JACK + Stop! Open up! + + MRS. KAMINO + That guy really wants to get on the + bus. + + ANNIE + (dryly) + Can you blame him? + + SAM + Get off the doors, man! Wait for + the next one. + + JACK + L.A.P.D.! Stop the bus! + +But he is barely audible from inside. He pulls his badge +out of his back pocket, but is bumped by a passing car in +the right lane, and drops it. + + HELEN + Maybe you should let him on, Sam. + +Annie gives a concerned look. + +Sam speeds up to get away from Jack as Jack retrieves the +badge. + +A young Hispanic, RAY, watches Jack chasing the bus. He +looks around at everyone nervously. Says nothing. + +Jack tries to get in front of the bus, but Sam doesn't slow +down, so Jack has to get out of the way. + +The bus is getting away. He's running as fast as he can. He +tries to pull the rear doors. No go. The doors slip from +his grasp. He pounds futilely on the last plastic side +panel, and the bus is gone. + +Jack staggers, doubles over, exhausted. + +Cars honk at him, swerve around him. + +Jack looks back. His car is a half mile back, still in +thick traffic, not an issue. Jack stops out in front of the +oncoming cars. + 35. + + + JACK + Stop! + + We hear brakes screeching and a man yelling. + + JAGUAR OWNER + What the fuck? + + THE JAGUAR OWNER, late 20s, curses Jack from behind the + wheel of his brand new XJ-12 CONVERTIBLE. Jack flashes a + badge. + + JACK + LAPD. Get out of the car. + + JAGUAR OWNER + Oh, Jesus, not again. + (to Jack, pissed) + This is my car, okay? I own this + car. It is not stolen. + + Jack pulls his gun. + + JACK + It is now. + + Jack opens the door. + + JACK + Move over. + + The man hesitates a second, then gets up and climbs over + the center console into the passenger seat. Jack holsters + his gun, jumps in and steps on it. + + JAGUAR OWNER + You scratch this puppy, we're gonna + have words. + + +62 INT. THE BUS 62 + + Sam accelerates. We hear the automatic transmission + downshift. + + INSERT - SPEEDOMETER + + 45 and climbing. + + JACK + 36. + + +Chasing the bus, weaving in and out of traffic honking, +flashing the Jag's lights. The car's owner holds on with +white knuckles and eyes closed. + +INSERT - BUS SPEEDOMETER + +46, 47. + +JACK + +Catches up to the bus. He lays his hand on the horn. + +SAM + +Looks down from the bus at Jack. Double takes. It's the +same guy who was running after the bus! And he's yelling +something. + + ORTIZ + Man definitely has a hard-on for + this bus. + +Ray watches the car with growing unease. He gets up and +goes to the rear of the bus, slumps way down. + +JACK + +Trying to be heard above the engine noise. + + JACK + I'm a cop! + +Sam's eyes narrow. He opens the window. + + SAM + What? + +Jack flashes his badge. + + JACK + L-A-P-D. There's a bomb on your + bus! + + JAGUAR OWNER + (shocked) + There's a -- fuck! + + SAM + I can't hear you. + + JACK + There's a bomb on the bus. + 37. + + +Sam shakes his head, he can't hear Jack. + +Jack looks around. Sees sheet music on the back seat. + + JACK + Grab that, willya? I need something + to write on. + +The Jaguar Owner hesitates a beat, then grabs the sheet +music. + + JACK + I want you to write on the back in + big letters. Bomb on bus. + + JAGUAR OWNER + Is this for real? + + JACK + Just write it. + +The Jaguar Owner starts to write. Jack accelerates sharply, +snapping the Jaguar Owner's head back. The Jaguar pulls in +front of the bus. + +ON THE BUS + +Sam and the passengers are looking out at Jack, wondering +what the hell is going on. + +INSERT - SPEEDOMETER + +48, 49. + +JAGUAR + +The Jaguar Owner holds the sheet music up. The wind RIPS it +from his hands. + +SAM looks up as the sheet music PLASTERS against his +windshield: BOMB ON BUS. Sam stunned. Then the wind WHIPS +it away. Sam breaks into a cold sweat. + +INSERT - SPEEDOMETER + +48, 49, 50. + +UNDER THE BUS + +A mass of slabs of white putty wired to a black box. A red +light comes on, blinks. The explosives are armed. + 38. + + + TWO OTHER SMALLER BOMBS + + Also under the bus, are armed. We don't see exactly where + they are. They are just one cake of C-4 apiece. + + +64 INT. THE BUS 64 + + Sam's eyes go wide. + + SAM'S FOOT + + Instinctively eases off the gas. + + BUS SPEEDOMETER + + Dropping 55, 54, 53. + + JACK + + Sees the bus slow. He looks down at the Jag's speedometer. + It reads 55. + + JACK + No! + + Sam looks at Jack, the bus continuing to slow. Jack motions + for him to speed up. + + JACK + Speed up! + + SAM'S FOOT + + Holds the pedal steady. + + THE BUS + + The speed levels off. Sam looks questioningly at Jack. Jack + yells as loud as he can. + + JACK + FIFTY! STAY ABOVE FIFTY! + + Sam hears him. He looks at Jack, does he mean what he + thinks he mean? Jack nods. Sam trembles a little. + + SAM'S FOOT + + Presses down on the gas pedal, accelerating. + + JACK + 39. + + + Driving intently. The owner has his cellular phone out. + + JACK + 470-8000. Ask for Detective Harry + Temple. + + JAGUAR OWNER + Harry Temple. It's urgent. + + He listens a moment, then hands the phone to Jack. + + JACK + Harry. + + INTERCUT WITH: + + +66 INT. POLICE STATION 66 + + Harry at his desk; a sleepy morning. Robin and SWAT Cop #1 + are working in the b.g. + + HARRY + You better not be calling in sick, + 'cause I dragged my ass out of -- + + JACK + He's alive. + + HARRY + What? + + JACK + The bomber, Harry. He's back. + + McMahon and Norwood burst in, in mid-conversation. + + NORWOOD + He hit one in Venice already. Fire + chief says there's nothing left. + + MCMAHON + Temple! We just got a ransom demand + from your dead terrorist! Says he + rigged a city bus. Where's Jack? + + HARRY + Where do you think? + + +67 EXT. FREEWAY - JACK 67 + 40. + + +Is driving like a maniac. The Jaguar fishtails on the +shoulder, car horns blaring at him. Jack gets back +alongside the bus, now on the bus's right, by the door. +He's worried. The traffic is already thickening. + +ON THE BUS + +Sam hears a honk and looks out the passenger door. + +Jack has pulled the Jag around to that side. He's driving +on the shoulder, yelling at him. He can't make him out. + +Sam flips the door control. + + JACK + Drive straight. Stay in this lane. + + SAM + What? + +JACK + +Looks around. How to do this? He looks at the Jag's door, +it's a problem. So he speeds ahead of the bus, opens the +door, swings it wide. The wind tries to push it shut but he +holds it. + + JAGUAR OWNER + What are you doing? + + JACK + Are you insured? + + JAGUAR OWNER + (panicked) + Why? + +But Jack is already slamming on the brakes. + + JAGUAR OWNER + Shit! + +THE JAGUAR'S WHEELS + +Smoke. + +THE BUS + +Comes up fast, smashes into the door, rips it off. + +ON THE BUS + 41. + + + Everyone looks in amazement as the Jaguar, minus the door, + slows beside the bus. + + JACK + Keep straight! + + JAGUAR + + JACK + Take the wheel! + + He stands on the edge of the seat as the owner scrambles to + get into it. Jack prepares to jump. He's just about to. + + But -- + + SAM + + Some YAHOO in front of him is going forty. He has to + swerve. + + JACK + + Yells, leaps from his car. It doesn't look like he's going + to make it. His right hand grabs the bottom of the handrail + at the front of the bus. Jack howls. His shoulder is + wrenched. + + HIS FEET + + Are dragging over the pavement. + + THE JAGUAR + + The owner is struggling to get control of the car. He can't + do it in time. The Jag plows into the big yellow water- + filled collision barrels at an off-ramp. + + The driver, unhurt, cranes to see if Jack made it okay. + + JACK + + Pulls himself with one arm, up onto the bus steps. + + +68 INT. BUS 68 + + Jack catches his breath, looks up. Dusts himself off. + + Everyone on the bus is staring at him. Jack holds up his + badge. Ray looks around him, concerned. + 42. + + + JACK + Everyone, I'm Jack Traven, L.A.P.D. + We got a slight -- situation on the + bus here -- + +Annie rises from her seat. + + ANNIE + What's going on? Are you crazy? + + JACK + Ma'am, if you'll please sit down, + we can deal with this in an orderly + -- + + ANNIE + But what are you -- + + JACK + Ma'am. + +His tone is so stern she sits right down. Jack makes his +way down the bus, looking at everyone. + +In the back, Ray starts sweating as Jack approaches. + +His hands reach for something under his coat. + + JACK + -- If everyone will just stay in + your seats and remain calm and + quiet, then we'll be able to defuse + the -- problem. So, sit tight. + +Ray suddenly leaps out of his seat. + + RAY + Get away from me! + +He levels a gun at Jack. Instinctively Jack whips his own +out, and the two are at close range stand-off. Ray looks +more scared than anything. There are a few screams. + + JACK + I don't know you, man. I'm not here + for you. Let's not do this. + + RAY + (to Sam) + Stop the bus! + + JACK + He can't. + 43. + + + RAY + Shut up! + +He moves forward. Jack backs up, slowly. + + TERRY + (to Ray) + Stay cool, man. + + RAY + (to Sam) + Stop the bus! + +Sam looks around, unsure what to do. + + JACK + Look. I'm putting my gun away. + (he does, slowly) + Okay? Okay? Listen. I don't care + about your crime. Whatever you did, + I'm sure -- that you're sorry, and + so it's cool now. It's over. + (he drops his badge on + the ground) + And I'm not a cop right now. See? + We're just two cool guys. Just + hanging on the bus. + +Despite the fumbling manner of Jack's speech, his tone does +have a hypnotic lull. Ray looks like he might lower the +gun. + +Ortiz jumps him. + + JACK + NO!!! + +He rushes forward as Ortiz and Ray struggle. A SHOT goes +off, everyone ducking and screaming. A second shot. + +The driver's partition SHATTERS. Sam lurches to one side, +hit in the back. + + HELEN + Sam!!! + +The bus swerves sickeningly as Sam slumps over. Annie dives +for the wheel, Helen to help Sam. + +Jack moves in and with two crunching blows disarms and +subdues Ray. Simultaneously: + + ANNIE + 44. + + + (to Helen) + Move him! + + HELEN + He's bleeding! + + ANNIE + I've got to stop this thing! + +Jack spins around. + + JACK + NO! Stay above fifty! + + ANNIE + We've got a wounded -- + + JACK + You slow down and this bus'll + explode! + +Silence. Annie looks briefly back at Jack, sees he's not +kidding. She looks back at the speedometer, which is almost +under 51. Pushes her foot on the accelerator. Jack +addresses everyone as he handcuffs Ray to a pole. + + JACK + There is a bomb on this bus. If we + slow down, it'll blow. + + JACK + (clicks on one cuff) + If anyone tries to get off, it'll + blow. + (clicks on the other) + Wide eyes, some quiet tears. Terry + stands up. + + TERRY + Oh, this is bullshit! Nobody's + gonna -- This is some joke! + + JACK + (in his face) + Are we gonna have a problem now? + +A moment. Terry backs down. + + HELEN + He's bleeding bad! I don't know + what to do. There's all this + blood... + 45. + + +Mrs. Kamino pulls off her sweater, going over and wrapping +it around Sam's shoulder. + + JACK + We're only gonna make it through + this if everyone stays calm and + sits down. + (to Ortiz) + That means you, Gigantor. + +Terry moves to help lay Sam out more comfortably. Jack goes +over to Annie. She is staring straight ahead, death grip on +the wheel: she's terrified. + + ANNIE + This is great. A bomb on wheels. + + JACK + Ma'am, can you handle this bus? + + ANNIE + Sure. Sure, I can do this. It's + just like driving a really big + Pinto. + + JACK + (not amused) + Can you handle it? + + ANNIE + (bridles) + I'm fine. What's the plan, is there + a plan? + + JACK + (taking the cellular from + his back pocket) + Just for you to drive. We're okay + for now. Just stay above fifty. + +She takes a breath. Calms herself. He dials. + + ANNIE + You're a cop, right? + + JACK + That's right. + + ANNIE + Then I should probably tell you: + I'm just taking the bus 'cause I + had my driver's license revoked. + 46. + + + JACK + What for? + + ANNIE + Speeding. + + He allows himself a grin as he dials. + + +69 EXT. HELIPAD 69 + + Norwood and McMahon board a police chopper. It lifts off. + + +70 EXT. FREEWAY 70 + + The bus races along. High above it we see the local news + helicopters, cameras trained on it. + + +71 INT. FISK'S ROOM 71 + + All four TVs are on, playing all the different newscasts. + Fisk sits, watching the various helicopter shots of the + bus. + + We focus in on channel 7, the newscaster's voice rising + from the general cacophony. + + CHANNEL 7 ANCHOR + Apparently a member of the L.A.P.D. + SWAT team boarded the bus just + minutes ago -- + + FISK + Would that be you, Jack? + + CUT TO: + + +72 INT. BUS 72 + + Jack on the phone. + + JACK + Where do we start? + + INTERCUT WITH: + + +73 INT. POLICE STATION 73 + 47. + + +Harry at his desk. Robin and SWAT Cop #1. + + HARRY + Okay -- Check the speedometer. Has + it been fucked with, loosened -- + any wires? + +Jack checks. + + JACK + No, it's clean. + + HARRY + Then it's gonna be under the bus. + Probably rigged to one of the + axles. + + JACK + I can't get under the bus right + now, Harry. It's kind of in motion. + +Sam makes a grunting sound in Jack's direction. + + HELEN + Officer? Hey, Officer Traven. + +She beckons to Jack, who kneels by Sam. + + SAM + There's -- access panel -- in the + floor. + +He points to the center of the bus. + + JACK + (into phone) + Hold on. + +He goes over and unscrews the panel, pulls it aside. +Pavement rushes beneath him. He hands the phone to +Stephens. + + JACK + Hold on to this, please. Tell him + what I see. + +Stephens takes the phone nervously as Jack sticks his head +down through the hole. It is dark and cramped down there. + + JACK + Okay, there's a wad right here, + pretty big -- + 48. + + + STEPHENS + (into phone) + There's a pretty big wad -- + + JACK + Brass fittings -- I think I can + reach the circuit wire. + + STEPHENS + He can reach the circuit wire. + + HARRY + Don't. That'll be a decoy. + + HARRY + What else? + + JACK + Hold on -- + +It's hard to see very far with tanks and pipes. Jack lowers +his head even further down. From his P.O.V., the +undercarriage closer to the front comes into view. + + JACK + Fuck me -- + +There is an obscene mass of plastique stuck to the front. +Detonators, wires, a jerry-rigged timer built around a +gutted gold wristwatch. A lot of the gold plating has +flaked off, dull grey beneath. + + STEPHENS + (translating) + Oh darn -- + +Jack pulls himself out of the hole, grabs the phone. + + JACK + Harry, there's enough C4 on this + thing to put a hole in the world. + + HARRY + (worried) + All right, be calm like me. What + else? + + JACK + Three triggers. One on the axle I + can't really see. Cellular remote + and a timer, running off a + wristwatch. + 49. + + +Something about that bothers Harry. + + HARRY + What kind of watch? + + JACK + Too far to see. Gold band, fairly + cheesy. + + ANNIE + Officer -- + + JACK + What's on your mind, Harry? + + ANNIE + Traven, NOW! + +Jack races to the front, looks out the window with Annie. + +THEIR P.O.V. + +Ahead, a domino tide of red brake lights washes back. + + JACK + Get on the shoulder. + +Annie nods, veers onto the right shoulder, blasting past +the slowing traffic. But then they see -- + +THEIR P.O.V. + +A half-mile ahead, there's a STALLED CAR being rolled onto +the back of a TOW TRUCK on the shoulder. Behind it, there's +an OFF-RAMP. + + ANNIE + Get off or stay on? + + JACK + (thinks) + Shit. + +Annie tries to squeeze the bus between the tow truck and +the slow lane. She hits the car on back, sends it FLYING +over the front of the truck. She keeps going, sideswiping +several cars. + + ANNIE + Jack -- What now? + + JACK + 50. + + + Off. OFF! + + Annie steers off the freeway at the last second, onto the + exit ramp. + + +74 EXT. THE BUS 74 + + Roars down the off-ramp, slamming into the water barrels. + Far ahead, cars are stopped at the light. The ramp is a + single lane. The bus jumps the curb, taking out roadway + signs, reflectors and car mirrors. + + +75 INT. THE BUS 75 + + For the next few minutes, whenever she doesn't need to use + both hands to drive, her hand is on the horn. + + JACK + Everybody hold on! + + Annie's hands and feet are in constant motion. + + The passengers are knocked about, yelling. + + Jack and Annie's faces, uh-oh. They see -- + + A RED LIGHT + + At the bottom of the ramp. Cross traffic. + + ANNIE'S FOOT + + Hesitates over the brake, then -- + + JACK'S FOOT + + Stomps on the gas. + + THE BUS + + Rockets through the intersection. Cars fishtail, nearly + colliding. + + +76 INT. THE BUS 76 + + Sam winces. Helen holds his hand. + + Jack and Annie stare at -- + 51. + + + INSERT - SPEEDOMETER + + It dips close to 50, rises. + + JACK AND ANNIE + + Share a look of relief, look ahead. + + The street is clear for a half-mile. + + +77 EXT. STREET - FAR AHEAD 77 + + Unbeknownst to them, a WOMAN, 30s, pushes a BABY CARRIAGE + along the sidewalk. She is talking to another woman. + + +78 INT. THE BUS 78 + + A moment's respite. The cellular rings. + + JACK + Yeah...Mac, where've you been? We + had to bail on the freeway, we're + in the city! + + INTERCUT WITH: + + +79 INT. CHOPPER 79 + + McMahon is looking out the window. He has a map of the city + on his lap. + + MCMAHON + I can see you, Jack. + + ANGLE ON MCMAHON'S P.O.V. + + The bus charges through the maze of streets. + + MCMAHON + Keep going straight. We're trying + to clear the roads for you. We'll + get you out, Jack. + + He consults the map closely, trying to pinpoint the bus's + location. + + THE BUS + + Barrels down the streets. + 52. + + +80 INT. FISK'S ROOM 80 + + As Fisk watches, eating a baloney sandwich on white bread + and a glass of milk. WE SEE that three of the TV's have the + bus on them, but the fourth one is turned to a football + game. + + +81 INT. POLICE STATION 81 + + Harry looks at the things on his desk; evidence from Fisk's + last job, lined up and tagged. Robin is standing nearby + with SWAT Cop #1. + + ROBIN + I don't get it. + + HARRY + A watch is a shitty timer. Why use + it? What's he saying? + + ROBIN + Lots of people have watches, Harry. + + ROBIN + This guy has no M.O. Bombers fall + in love with one kind of bomb and + they're very monogamous. This guy + uses C4, dynamite, different + trigger every time, now he throws + in this watch. + + ROBIN + He's an encyclopedia. Knows every + kind of bomb. + + HARRY + (slow realization) + And everything we do to dismantle + them. Robin, I want to look at + files from the last, say, ten + years. + + ROBIN + We did the mug shots, Harry -- + + HARRY + No. I wanna look at cops. + + +82 EXT. A STREET NEAR THE BUS 82 + 53. + + + Cars cruising to an intersection are overtaken by a + screaming black & white. It reaches the intersection and + turns, screeching, halting in front of traffic and blocking + the intersection. + + The cars slam on their brakes, nearly hitting the patrol + car. The passengers barely have time to curse before the + enormous bus ROARS by, going the other way. + + +83 INT. THE BUS 83 + + The passengers watch the city streets fly by, panic volume + turned high. + + ANNIE + + SEES a GARBAGE TRUCK back out in front of the bus. + + ANNIE + + Pulls the wheel hard left. + + THE BUS + + Swerves into oncoming traffic. The bus dodges oncoming + cars, trucks and other buses, bumping a few. A Lincoln + peels off the side of the bus, goes flying. + + +84 EXT. THE STREET 84 + + The two women wave goodbye. Woman #1 pushes the baby + carriage toward the curb. + + +85 INT. HELICOPTER 85 + + Mac still looks at his map. + + MCMAHON + You got about -- ten more blocks + and there'll be some units waiting. + Follow them straight, then there's + a left at the T. You'll head onto + the 105 freeway. It's not in use + yet; it'll be empty. + + +86 INT. THE BUS 86 + + JACK + Right. + 54. + + +87 EXT. STREET - THE BUS 87 + + Continues on. + + THE WOMAN AND THE BABY CARRIAGE + + Steps out from behind a van right in front of the bus. + + ANNIE AND JACK + + Horror. It's too late. Annie shuts her eyes. + + THE BUS + + Smashes into the baby carriage as the woman pushing it + jumps clear. + + JACK AND ANNIE + + Her eyes are shut. She screams. Jack can't help but look. + + JACK'S P.O.V. + + SLOW MOTION. The baby carriage is knocked seventy feet in + front and to the side of the bus, sailing through the air. + + JACK + + His eyes following. He grimaces as -- + + THE BABY CARRIAGE + + Hits the pavement. But then -- a hundred empty soda and + beer cans explode out of it. + + +88 INT. THE BUS 88 + + Jack smiles. + + JACK + There's your baby. + + Annie opens her eyes, looks in the sideview mirror. + + HER P.O.V. + + The woman is running after the bus, shaking her fist, + stopping to pick up the cans. + + Annie sighs with relief. + 55. + + + ANNIE + Looks just like you, honey. + + THEIR P.O.V. + + Here at last are the patrol cars, which start up, leading + the way. + + +89 INT. THE BUS 89 + + Everyone watches the streets. After a few blocks -- + + THE PATROL CARS + + Come to the on-ramp. The bus follows when -- + + A GROUP OF SCHOOL KIDS + + Walk blithely in front of it, Annie is forced to SWERVE and + continue on the street parallel to the freeway. + + ANNIE + (panicked and pissed) + Why aren't they in school? + + JACK + (into phone) + Mac, we're boned! + + +90 INT. CHOPPER 90 + + MCMAHON + I saw. Keep straight. + + He consults the map. + + +91 INT. BUS 91 + + Patrol cars pull in front of it again, leading it. + + +92 INT. CHOPPER 92 + + MCMAHON + Jack, there's another entrance in + about two miles. You've gotta make + an ugly turn, though. + + JACK + 56. + + + How ugly? + + ANNIE + (worried) + What's ugly? + +Jack listens a moment more on the phone. + + JACK + (to Annie) + We got a hard right coming up. At + the construction site. + +Annie looks out the window. The construction site is far +away but visible. Annie can't even see the road to turn on. + + ANNIE + This is a dead end. + + JACK + (staring out, not + convinced) + There's a turn -- + +There is a turn. Way ahead, the first patrol car takes it +and nearly wipes out. Another follows, with all attendant +screeching. + + ANNIE + I can't make that! + + JACK + Keep left. + + ANNIE + But it's -- + + JACK + Keep left! You take it wide! + + ANNIE + We're gonna tip over! + +A beat. + + JACK + Everyone on this side of the bus! + +The passengers hesitate. + + JACK + Now! + 57. + + + The passengers all scramble, squeeze in by each other. They + look at each other, scared. Ray strains to get over, + cuffed. + + JACK + Move! Move! As far over as you can! + Hurry! + + Annie eases the accelerator off as far as it is safe. The + turn is fifty yards away. + + JACK + (quietly, into the phone) + Mac, you better clear the site. + + He turns back to Annie. + + Annie arcs out to flatten the turn as much as possible. + + ANNIE + Hold on! + + She turns the wheel and dives into the turn. The passengers + are thrown. Most hold on. + + The bus tires screech on the pavement. One wheel lifts off + the ground for a second. + + Some passengers scream, most hold their breath. + + Annie strains against the steering wheel to hold it steady. + + She's losing it. + + Jack grabs the wheel and pulls it with her, holding the + turn. The bus wheel comes back down onto the pavement. + + Annie and Jack bring the bus back into line. They made it. + Jack turns back to the passengers, smiling. + + JACK + As you were. + + +93 INT. BUS 93 + + As the passengers untangle themselves, Helen looks white as + a sheet. + + HARRY + Good lord, we might have -- I can't + think -- + 58. + + + STEPHENS + (helping her sit) + It's okay. If you need to, you go + right ahead and vomit. + + +94 EXT. THE BUS 94 + + Reaches the on-ramp, shoots up through the saw-horses and + they're on. + + THE CHOPPER + + Touches down nearby. Mac gets out, talking to Norwood as he + tries to fold the map. + + MCMAHON + I want choppers up ahead, make sure + there's nothing obstructing the + freeway. We got a window here; + let's keep it open. + + +95 INT. THE BUS 95 + + A moment of respite. + + ANGLE ON ANNIE AND JACK + + JACK + Ma'am, you did very well. + + He looks at her. Drops the hostage talk, smiles. + + JACK + Actually, you were incredible. I've + never seen driving like that. + + ANNIE + Annie. + + JACK + What? + + ANNIE + -- is my name. Annie. As opposed to + ma'am. + + They smile at each other for a moment. Annie looks back at + the road. + + JACK + I'm sorry? + 59. + + + ANNIE + Why is all this happening? Did we + bomb this guy's country or + something? + + JACK + It's just a guy that wants money. + + Annie looks at Jack. + + ANNIE + No -- I don't buy it. This is not a + good way to make money. Odds are, + we should be dead already. What's + this guy's deal? + + JACK + (after a beat) + A while back this guy held some + people for ransom. It went sour, + and now he's a little pissed at me. + + ANNIE + Then what does this -- + + JACK + It's a game. If he gets the money, + he wins. If the bus blows up, he + wins. + + ANNIE + So what happens if you win? + + JACK + Then tomorrow we'll play another + one. + + CUT TO: + + +96 INT. POLICE STATION 96 + + Harry and Robin lean over a computer worked by SWAT Cop #1. + On the screen, a series of faces flash by. + + SWAT COP #1 + We got no match for that + description. No one's lost a thumb, + at least for the last ten years. + + RAY + He could be from anywhere. + 60. + + + SWAT COP #1 + I can't access all that -- + + HARRY + Forget the files. + (to Robin) + I want you to go through the + pension fund. This guys drawing + disability. He may not be L.A.P.D. + But he's living here now. + + She goes. + + HARRY + (calls out) + I want pictures! + (to himself) + I've seen this asshole. + + CUT TO: + + +97 EXT. THE BUS 97 + + McMahon pulls up next to it on the back of a flat bed. Jack + comes out on the steps to talk to him. + + MCMAHON + Let's start unloading the + passengers. + + JACK + Can't do it, sir. + + MCMAHON + No time for stunts, Traven. We get + those people out of harm's way -- + + JACK + I got orders. + (indicates news choppers) + We move these people, he'll see. + Crazy not stupid, remember? + + Mac accepts it, scowling. + + MCMAHON + Harry's working on finding this + guy. We think he may be a police. + + Norwood leans out of the cab of the truck. + + NORWOOD + 61. + + + It's him. He wants to talk to Jack. + + JACK + Give him the number. + +He steps into the bus, look at Sam. + + JACK + How is he doing? + + MRS. KAMINO + The bleeding is less, but -- + +Her look tells him Sam doesn't have much time. + + HELEN + Are they going to help us? + + STEPHENS + Sure they are. They're the police. + Hey, your taxes are paying their + salary. If we die they gotta take a + pay cut! + +Helen blanches. + + STEPHENS + I mean -- + +The phone rings. Jack puts it to his ear. + + INTERCUT WITH: + +FISK + + JACK + Yeah. + + FISK + Jack, I think we have trust, but it + looks on the TV like you're trying + to get those passengers off the + bus. + + JACK + You gotta let me have one. + + FISK + Now, we went over the rules -- + + JACK + 62. + + + Come on, as an act of faith. We got + an injured man here. The driver's + been shot. + + FISK + (chuckling) + Jack! Tell me you haven't been + shooting the passengers. I thought + it was customary for a police + officer to shoot the bad men? + + JACK + Hey, get in range. + + FISK + No one gets off. + + JACK + Come on! This guy has no time. + It'll grease the wheels with the + money men if you show a little + charity. There's still gonna be + plenty of us to kill. + + FISK + Okay, son. You can try unload the + driver. Tell the wildcat behind the + wheel not to slow down, though, or + he won't get the chance to bleed to + death. And Jack -- + + JACK + Yeah? + + FISK + Don't slip. + + +98 INT. BUS 98 + + They hang up. Jack crosses to the passengers. + + JACK + We're gonna get the driver off. + + HELEN + Just him? + + JACK + For now. + (to Ortiz) + Gigantor. + 63. + + + ORTIZ + (standing) + Ortiz. + + JACK + Ortiz, I'm gonna need your help. + + ORTIZ + Okay. + + HELEN + (no one is listening) + What about the rest of us? + + MRS. KAMINO + You have to keep him straight or I + think the wound will tear. + + JACK + (into walkie talkie) + McMahon, he's letting us unload the + driver. Pull up alongside us. + +He bends over to grab Sam's feet. + + JACK + (to Sam) + How're you feeling? + + SAM + Like I've been shot. + +Jack lifts, so does Ortiz at the head. Sam groans with pain +and Ray rushes in to support his middle. He and Ortiz +exchange a look. They walk him to the doorway. + +McMahon's truck is right next to them. Jack stands on the +bottom step, yells to the SWAT guy on the truck. + + JACK + We gotta keep him straight! + +The SWAT guy nods. Jack inches out farther. He holds Sam's +legs with one hand and the railing with the other, leaning +out toward the truck. The pavement rushes by underneath +him. The SWAT guy grab Sam and slowly, the exchange is +made. + +Jack steps back into the bus, where Mrs. Kamino is wiping +up blood. + + JACK + I think he's gonna be -- + 64. + + + HELEN + Wait! + + Helen suddenly leaps out of her seat and rushes to the + door. Her face is etched in panic. She comes to the last + step, hesitates. + + JACK + No! + + He rushes to the front. + + Helen stands. The SWAT guy waves for her to jump. + + +99 INT. FISK'S ROOM 99 + + Fisk sees this on TV. He punches a button on his cellular. + + UNDER THE BUS + + The small bomb directly below Helen. Red light comes on. + + THE FRONT STEPS + + Explode. SWAT guys are knocked off their feet, Jack is + knocked into Annie and the bus swerves. Helen falls. Jack + grabs at her too late, the bus bumps sickeningly, as Jack + almost falls, grabbed by the lady in Catwoman's glasses. + + For a moment, nothing. Jack sits back on the floor of the + bus at Annie's feet, staring at the hole that was steps. + Annie is nearly hyperventilating, her eyes locked on the + road. + + FISK + + Watches on the TV. Smiles. + + FISK + Interactive TV, Jack. Wave of the + future. + + THE BUS + + More silence. + + ANGLE ON ORTIZ + + Completely shocked. This guy ain't fuckin' around. + + A woman starts crying, quietly. + 65. + + +Finally: + + JACK + (into the walkie talkie) + McMahon, get those fucking choppers + off my ass! + +Ortiz takes his jacket off, puts it around Mrs. Kamino's +shoulders. + + ORTIZ + Here. + + MRS. KAMINO + Thanks you. I'm a little cold. + + STEPHENS + (quietly and politely + hysterical) + Jesus. I can't be here. I can't -- + this bus is -- this is the wrong + bus... for me to... I can't die + here. + + ORTIZ + Hey, shut up, man! I got a wife! + + STEPHENS + (in his own world) + You do? + + TERRY + (curious, but with a + little attitude) + So if you have a wife and I don't, + does that mean that I'm expendable? + + ORTIZ + What are you talking about? The + guy's just talkin' crazy, gets on + my nerves! + +And then all at once: + + STEPHENS + I think I have the right to be a + little upset after all we've -- + + ORTIZ + (to Ortiz) + What are you staring at everybody + for, poking your nose in, let us + die in peace, you -- + 66. + + + RAY + Let's stop all this bullshit, we're + just making more trouble -- + + TERRY + (to Ortiz) + I'm interested to see how long + before the mighty caveman comes to + the surface and starts throwing + rocks at people's heads -- + +As the din rises: + + JACK + Hey, can that shit! Jesus, it's + like a school bus! + +He looks at Annie. She is shaking with the effort not to +cry. + + JACK + (kneeling by her) + Are you okay? + + ANNIE + No. + + JACK + What do you need? + +She takes a moment. Jack brushes hair from her face. + + ANNIE + When that bomb went off -- + + JACK + I know. + +She shakes her head. + + ANNIE + When it blew, I thought that was + it, I thought that was the bomb and + I was dead, and -- when I saw her + fall under the bus, I was -- + +This is not an easy thing to say. + + JACK + You were glad you were still alive. + + ANNIE + (it's true) + 67. + + + Oh God, I'm sorry. + + JACK + Don't be. You should be glad. We + all are. That doesn't mean you + don't care. It means you're a human + being. + + ANNIE + She looked so scared -- + + JACK + She was scared. She was a nice lady + who didn't deserve to get killed. + But Annie, if she'd gotten off he + would have killed us all. He's the + asshole, Annie, the guy who put us + here. Remember that. Okay? + + She nods, shakily. + + ANNIE + (a little embarrassed) + Do they teach you how to talk nice + to hysterical hostages in cop + school? + + JACK + No, it's mostly tying square knots + and how to build fires, stuff like + that. + + She smiles a little. + + JACK + We should be okay for a while. + + +100 INT. THE TRUCK 100 + + Listening on a headset, Norwood's face goes dazzling white. + + NORWOOD + Oh my God. Are you sure? How far? + (to McMahon) + Sir, we have a serious problem. + + MCMAHON + What? + + NORWOOD + This freeway isn't finished. + 68. + + + MCMAHON + What are you talking about? + + NORWOOD + The choppers caught is about three + miles ahead. There's a section + missing. + + MCMAHON + But -- It's on the map! It's + finished on the goddamn map! + + NORWOOD + I guess they fell behind. + + MCMAHON + Fuck! You're fired, everybody's + fucking fired. How big a section? + + NORWOOD + Fifty feet, at least. + + MCMAHON + (to Norwood) + Get me closer. + + He gestures for Jack to come to the door. + + The flatbed truck. + + VEERS right next to the bus. + + MCMAHON + Jack, there's a gap in the road. + It's big. + + +101 INT. THE BUS 101 + + JACK + You're kidding. + + MCMAHON + Fifty feet, it's in the + interchange, somewhere after the + next turn. + + JACK + What do we do? + + MCMAHON + We gotta get them off someway. + 69. + + + JACK + There's a gap in the road. Couple + of miles up. + +Various reactions. Groans, fear, tears. People look at each +other, realizing these are the last faces they're going to +see. No one knows what to say, except maybe Ortiz. + + ORTIZ + You can always count on the cops, + man -- + +ANGLE ON JACK AND ANNIE + + ANNIE + Oh God, oh no...well, what if I, + uh, shift to neutral and keep the + engine revving high? + + JACK + He'd've thought of that. + + ANNIE + Well, what, then? + +They're waiting for his answer, which he doesn't have. He +thinks. + + JACK + Floor it. + + ANNIE + No. + + JACK + Yes! It's an overpass, there might + be an incline. Floor it! + +She nods. The bus starts picking up speed. + +The speedometer climbs above sixty. + +Jack starts toward the back of the bus. The passengers are +silent, terrified. He looks at their faces as he passes. + + JACK + I want everybody to hold onto the + seat in front of them, or + whatever's nearest. Heads down. + (to the lady with + presents) + Put that stuff under your seat. + 70. + + + STEPHENS + (scared) + Is this really gonna work? + + Jack looks at him a second. What do you say? + + JACK + Definitely. + + He comes to Ray, unlocks his cuffs. Ray looks pretty small. + + RAY + I didn't mean to shoot that guy. + + JACK + (not unkindly) + Keep hold of the seat in front of + you. + + Which means, for now, apology accepted. Jack moves back to + the front. + + Jack looks out the window, the signs and barriers are + approaching. + + JACK + Everybody hold on! + + People grab rails, cling to them, heads in their laps. + Ortiz takes a cross from under his shirt, palms it. + + MCMAHON + + Watches from the truck, stopped on the empty freeway, along + with the other SWAT cops. Some mumble prayers -- + + THE GAP IN THE FREEWAY + + The bus is coming in fast, getting faster. + + INSERT - THE BUS SPEEDOMETER + + 66, 67, 68. + + +102 INT. THE BUS 102 + + Terry is sitting by Ray. + + RAY + I never shot nobody before -- Jesus + I hope that guy doesn't die -- + 71. + + + Terry looks like he's going to throw up. Mrs. Kamino is + quietly crying. We hear various mumbled prayers. + + Stephens is in a near fetal position, clutching his map + like a religious icon. + + ANNIE'S P.O.V. + + They screaming at the gap. + + INSERT - BUS SPEEDOMETER + + -- 70, 71 -- + + ANNIE + + Yells, shuts her eyes. + + JACK + + Pushes Annie down, covers her body with his, and puts his + hands over hers on the steering wheel trying to hold the + bus straight. + + +103 EXT. THE BUS 103 + + Hits the gap going 73. It's airborne. The front end starts + to dive. The font wheels hit the concrete edge of the far + side of the gap hard. + + +104 INT. THE BUS 104 + + Jack, Annie, the passengers, all thrown forward. + + +105 EXT. THE BUS 105 + + The tires don't burst. The wheels roll up onto the freeway + surface, keep moving. The tail end of the bus is still in + mid-air, dropping fast. The undercarriage hits the + concrete, scrapes, sheets of sparks and horrible grinding. + + INSERT - SPEEDOMETER + + 60, 59, 58. dropping fast. + + THE BUS + + The rear wheels hit the edge of the gap very hard. + 72. + + +ON THE BUS + +Passengers near the back are tossed into the air. Windows +shatter. A seat is ripped from its mooring. + +THE BUS + +Keeps on rolling. + +MCMAHON AND THE SWAT COPS + +All cheering, whooping it up. + + JACK + (to Annie) + Are you okay? + + ANNIE + I'm okay. I'm all right. + +Jack stands, addresses the passengers. + + JACK + Is everybody okay? + +They're bruised, dazed, bleeding but whole. A muted chorus +of "yeahs", followed by some boisterous whoops and even +applause. People laugh, hug, high five. People who were +crying are now laughing and crying. Terry kisses Mrs. +Kamino (but only if they're sitting by each other). + + ORTIZ + You're the man, Annie, you are the + man. + + TERRY + (beaming) + We are way out of control. + + ORTIZ + Goddamn! Yes! + +He high fives (or some such display) the person next to +him. + +Only Stephens hasn't moved, still in his fetal position. He +slowly opens his eyes. Smiles wanly as he looks around him. + + STEPHENS + I felt we would make it. + 73. + + + Jack smiles, big. He looks at Annie. A trickle of blood is + running from her forehead. He kneels by her, beaming at her + with honest admiration. + + JACK + I think you missed your calling -- + (dabbing at the blood + with his sleeve) + -- You should have been a pilot. + + She smiles, too. Jack sees something ahead. Gets an idea. + He has to act fast. + + JACK + Get off! Now! Get off this -- + + ANNIE + What? + + She hesitates a second too long for his liking, so he grabs + the wheel, pulls it hard right. + + Passengers yell as they are tossed to the side. + + THE BUS + + Swerves over sharply onto an exit ramp. + + FREEWAY GAP + + McMahon gets into the SWAT police van with Norwood. + + MCMAHON + (to Norwood) + Where the hell's he going? + + TIME CUT TO: + + +106 EXT. AIRPORT ROAD 106 + + A sign reads "LAX cargo entrance." Annie drives the bus + toward the airport gate. The helicopters veer off, away + from the air traffic. + + JACK + Head there. + + She is, but a patrol car appears, partially blocking the + entrance she's headed for. She swerves to miss it, heads + toward an exit with tire shredding spikes. + 74. + + + ANNIE + + Turns hard. Passengers are thrown off their feet. + + THE BUS + + Swerves back for the entrance. + + ONE OUTSIDE REAR TIRE + + Nicks the last of the spikes, but doesn't burst. + + ANNIE + Never a dull moment. + (to herself) + Please God, send me a dull moment - + - + + +107 EXT. AIRPORT 107 + + The bus turns onto a taxiway adjacent to a runway as a 747 + thunders overhead. + + +108 INT. GMS SUBURBAN 108 + + On the freeway. + + COP + He's at the airport. + + NORWOOD + The airport? There's thousands of + people -- + + MCMAHON + That's my boy, Jack. He should be + able to circle around the runways. + Buy us some time. + + NORWOOD + We can't fly in there. + + MCMAHON + Neither can the news boys. + (to the driver) + Let's move! Back to the exit! + + The GMC Suburban pulls out. Norwood points out the airport + on the map. Mac looks. + 75. + + + NORWOOD + Tell him to head here. There's a + road there circles the freight + terminals. Should be perfect. + + MCMAHON + Let's hope they built it. + + +109 INT. THE BUS 109 + + Stephens looks out the window. + + STEPHENS + (unhappy) + We're at the airport. + + TERRY + Yeah, so? + + STEPHENS + I've already seen the airport. + + +110 EXT. AIRPORT 110 + + Mac's van follows where the bus went. + + ANGLE ON CHOPPERS + + Hovering near the airport, they give up and fly away. + + +111 INT. BUS 111 + + The phone rings. Jack picks it up. + + JACK + Hello. + + GMC SUBURBAN + + Enters airport through the same gate as the bus. Flies by + the gate guard who points out the direction the bus went. + + INTERCUT WITH: + + FISK + + FISK + 76. + + +Very exciting, Jack. Some close +calls, but you've done all right +for yourself. + + JACK +What do you want? + + FISK +Money, Jack. I wish I had some +loftier purpose, but in the end I'm +just like you and me. I'd like +large nonsequential bills in two +clear plastic bags. Unmarked. Can +you remember all that? + + JACK +What are you telling me for? + + FISK +I want you to help me get it before +it gets too late. I don't like +negotiators, Jack. They talk to you +like they're your best friend, and +they don't know you. Why do they +mess with me, do they think I'm +doing this for fun? + + JACK +Aren't you? + + FISK +Oh, that's not fair, Jack. You +don't know how I feel about this. +You don't know about me. + + FISK + (after a moment) +They don't think that. + + JACK + (voice raised) +Do you want this money? Come on, +show me your commitment. Let me get +on the ground. + (a beat) +Just me. That's not against the +rules. + + FISK +All right. I'd like you back in ten +minutes or less. + + JACK + 77. + + + Fine. + + FISK + Jack, nothing tricky, now. You know + I'm on the top of you. Do not + attempt to grow a brain. + +Jack hangs up. Annie has heard the bulk of the +conversation. A GMC Suburban pulls up next to the bus, +McMahon, Norwood and SWAT Driver ride alongside. + + ANNIE + There's a plan now, right? + + JACK + Could be. + (to the group) + Everybody sit tight. I'm getting + off for a minute. + +Some conversation. + + TERRY + What for? + + MRS. KAMINO + (over him) + Do you think that's a good idea? + + STEPHENS + Are you just gonna leave us here? + + ORTIZ + (reasonably) + I would. + + JACK + Don't worry -- I won't go far. + (to Annie) + Just keep circling. You'll be fine. + +Annie looks at him. She knows she may not see him again, +but she's gonna be brave. + + ANNIE + (a little weakly) + Don't forget about us, okay? + +They look at each other for a moment. Jack tenderly brushes +her hair from her face. He's never gonna forget her. + +Jack turns to the doorway. He motions for the truck to come +in close. + 78. + + + He jumps. For a moment everyone is silent on the bus. The + host has left the party. + + JACK AND MCMAHON talk as the GMC Suburban veers off the + road and the bus charges off in the distance behind them. + They pass a news van, cops keeping the news people from + filming. + + MCMAHON + The choppers are gone, Jack; let's + dump the passengers now. + + JACK + No way. He's ready for that. + + MCMAHON + But how is he -- + + JACK + I don't know how. I just know he + is. He's been a step ahead of me + every time. If we unload he'll take + them out, I guarantee. + + MCMAHON + Where does that put us? + + JACK + I got to try to dismantle that + bomb. + + MCMAHON + That's not an option. + + JACK + What would you do if the bus was + standing still? + + MCMAHON + Jack, it's not. + + +112 INT. THE BUS - ANGLE ON TERRY AND RAY - MINUTES LATER 112 + + They sit near the back. + + TERRY + So, what'd you do, man? + + RAY + What? + + TERRY + 79. + + + Why'd you go apeshit before? What'd + you do? + + RAY + Nothing, man. Leave me alone. + + TERRY + Come on! Was it a gang thing, what? + + RAY + Nothing! + (after a moment) + I stole the gun, man. You know. + From my cousin. + + TERRY + What for? + +Ray looks sidelong at Terry. He's either being defensive or +lying. + + RAY + Home protection. + +ANGLE ON THE FRONT + +Ortiz and Stephens are standing at the front with Annie. + + ORTIZ + I'm telling you, Annie, the guy's + somewhere jerking off. + + ANNIE + He didn't have to get on in the + first place, Ortiz. And get your + ass behind the yellow line. I have + faith. + (to herself) + I have faith. + + STEPHENS + What's that? + +They all look out at something pulling in front of them. +Their eyes go wide. + + ANNIE + Oh my good he is insane. + +ANGLE ON THEIR P.O.V. + 80. + + +A truck has pulled in front of them. Attached to the back +is a low wooden dolly. Jack is standing on it in his SWAT +gear, with a headset and a bunch of tools. + +ON THE TRUCK + +McMahon is on the back of the truck. He has a headset as +well. + + MCMAHON + We're not gonna be able to keep + this steady for long. + + JACK + I just need a few minutes. If I + can't do it by then I can't do it + at all. + + MCMAHON + All right. + + JACK + (into headset) + Harry. You with me? + + HARRY + (o.s.) + All the way. + + MCMAHON + Okay, this is it. Don't get dead. + +Barely a moment between them, and then Jack is lying down +on the dolly. + +ANGLE ON ANNIE + +Watching the dolly inch closer. + + ANNIE + (slowly, as it sinks in) + This is a really bad plan. + + STEPHENS + Have faith, sister. + +Jack smiles at Annie, gives her the thumbs up. + + ANNIE + Oh, Christ. + + ORTIZ + Just keep it steady. + 81. + + + ANNIE + Gee, thanks for the tip. + + The truck slows a bit and the dolly inches closer to the + bus. Jack lies completely flat as the bus approaches. + + He starts to disappear under the bus. Annie squints with + concentration. McMahon looks on, concerned. Jack looks + straight up, keeping as calm as possible as the bus covers + his head. + + UNDER THE BUS + + Jack inches under the bomb. He speaks (always into the + headset, until stated otherwise) to McMahon. + + JACK + Okay, tell them to hold here. + + He looks up at the bomb. From his P.O.V. the bomb is so + close it fills our line of vision. There are wires running + from the timer to various detonators. Also a few covered + wires of different colors sticking in one end of the timer + and out the other. + + +113 INT. POLICE STATION 113 + + HARRY + What do you see? + + JACK + It's pretty standard. Timer's + looped to the remote, then feeds + out. + + HARRY + Then we gotta try to bypass the + remote current with the battery. + Can you find the trip wire for the + remote? + + JACK + I don't know. I got a few choices + here. + + HARRY + Black and red? + + JACK + And green. + + HARRY + 82. + + + Okay. Listen. I'm guessing he's not + going to use standard copper for + the remote. Too weak. I'd use a + fiber alloy. I need you to look at + the wire. + + JACK + It's covered. + + HARRY + I know. You gotta cut off the + sheath. But don't cut the wire. + + JACK + Right. + + HARRY + Start with the green. + +He has to work slowly. He's so close to the bus he can't +look at his tools; he feels for them and brings them up to +his chest. + +He palms an exacto and carefully starts scraping away at +the green plastic covering. + +The bus hits a tiny -- + +BUMP and Jack SLIPS, goes stock still as sweat drips down +his forehead. He looks at the knife. It has gone halfway +through the wire. Very, very slowly, he pulls it out. + +He scrapes some more at the sheath, revealing a silverish +wire: not copper. + + JACK + Bullseye. + + HARRY + Great. Clip on the battery and run + it to the lead wire. + +He palms the battery, clips one end to the silver wire with +the alligator clip. He searches out the lead wire. He finds +it, a cloud crossing his expression. + + JACK + I can't bypass. It'll fire. + + HARRY + Collapsible circuit. + + JACK + 83. + + + Yeah. Shit! This thing is airtight. + +Harry is thinking when Robin enters, moves toward him with +a printout, speaking. + + ROBIN + Howard Fisk, Atlanta P.D., bomb + squad, retired to Sun Valley in + 1989 when a small charge left him + with fingers numbering nine. + +And on that last word she reaches Harry, turning the +printout for him to see and Fisk's picture stares us in the +face. + + HARRY + That's out scumbag. + (into walkie talkie) + Jack, we found him! + + ROBIN + We can get to his place inside of + fifteen minutes. + + HARRY + Jack! Get out of there and sit + tight! We're going after the + source. + + JACK + Watch your back. + +Harry jumps up and they move out. + + JACK + Mac! Pull me out! + + MCMAHON + (o.s.) + Roger that, kid. Hold on. + +ANGLE ON THE TIRE + +That was scraped by the claw, a piece of outer rubber peels +off and flies into the: + +DOLLY WHEEL which catches, stops. + +JACK + +As the dolly is almost pulled out from under him. + +THE CABLE + 84. + + + Is running past him now, skittling over the pavement, + sparking, whipping around. And it's heading for a rear + wheel. If the cable gets pulled under the tire. + + JACK + + Reaches for the cable, to pull it back. Too late. + + THE CABLE + + Hits the wheel and is sucked under in a flash. + + JACK AND THE DOLLY + + Are snapped toward the wheel. + + +114 INT. THE BUS 114 + + ANNIE + God! + + STEPHENS + Did we hit him? What happened? + + RAY + He's not behind us! + + Annie and Ortiz look at each other. They're dragging him. + + Ortiz RACES for the center panel, starts unscrewing it. + + MCMAHON'S AIRPORT VEHICLE + + moves alongside the bus. McMahon tries to see what's + happening to Jack. He looks pretty concerned. + + UNDER THE BUS + + Jack tries to get a grip on the undercarriage, but his + fingers can't find purchase. So he grabs the screwdriver + and stabs it up into the undercarriage. It digs in. He + stops, and the dolly is yanked out from under him. + + THE DOLLY + + Hits the rear wheel, is pulled under and destroyed. + 85. + + + JACK holds onto the screwdriver. Liquid sprays down on him. + He coughs, reaches out, grabs a hydraulic line and pulls + himself away from the spray. His shoes skid over pavement + at 50 m.p.h. Jack looks around, sees light coming from the + hole in the floor, three feet away. He reaches for the + hole. He can't make it. + + JACK + Hey! + + Ortiz sticks his head down. + + ORTIZ + Man, can you reach me? + + He reaches for Jack, but there's no way. + + ORTIZ + Hold my legs! + + +115 INT. THE BUS 115 + + Terry and Ray grab Ortiz's legs. Stephens and Mrs. Kamino + grab them. + + UNDER THE BUS + + Ortiz is halfway through the hole. He reaches for Jack. + + ORTIZ + Come on! + + He grabs him. Jack lets go the screwdriver, grabs Ortiz's + shoulder. + + +116 INT. THE BUS 116 + + Slowly, painfully, Jack is pulled in. He hunches over, in + pain. + + JACK + Thanks. + + TERRY + Are you okay? + + He nods. + + STEPHENS + Any luck with the bomb? + 86. + + + JACK + Yeah, it didn't go off. + + Ortiz dusts him off. Oddly enough, he is smiling. + + ORTIZ + You may be a psycho, man, but you + got some big round balls. + + JACK + That's very -- gross, Ortiz. + + He goes over to Annie. + + ORTIZ + Can't even pay the guy a + compliment. + + JACK + How you doing? + + ANNIE + You scared the shit out of me, + Jack. Other than that, I'm pretty + lousy. What's that smell? + + JACK + (realizing) + It's gas. + + ANNIE + We're leaking gas? + + JACK + We are now. + + ANNIE + What, you needed a challenge? + + ANGLE ON GAS GAUGE + + It starts dropping, barely perceptibly. + + MCMAHON + + on the back of the airport vehicle, is relieved when he + sees Jack surface inside the bus. He gives a thunmbs-up + sign to Jack and his vehicle falls back. + + +117 EXT. STREET 117 + 87. + + + Harry's car and another unmarked fire up the street with + much attendant screeching. + + +118 INT. BUS 118 + + Jack and Annie nervously regard the gas gauge. + + JACK + (into walkie talkie) + Mac? Can you get a fuel truck to + pace us here? We're losing gas. + + MCMAHON + I'll see what I can find. How much + time? + + JACK + I don't know. Ten minutes. It's not + good. + + ANNIE + Is that gonna work? + + JACK + I don't know. + (to himself) + Come on, Harry. Save my life. + + CUT TO: + + +119 EXT. SUBURBAN HOUSE 119 + + Harry and the others pull up quietly across the street. He + and Robin emerge from his car, two other SWAT guys from the + second car. One is SWAT Cop#1. They go to the front of the + house in standard formation. They stop at the windows by + the garage. The venetian blinds are still down, can't see + in. + + Harry motions for two to go around the back. He takes Robin + around the side. + + There is a door here. Robin is about to try the knob but + Harry GRABS her hand, shakes his head. He motions for her + to go around the back, which she does. + + He tries the window and it gives. It's clean, no wires. + Harry goes in first. He climbs slowly, pulling his wounded + leg in. He gets in. + 88. + + +120 INT. HOUSE 120 + + Harry is in the living room, heading for the garage. WE SEE + Robin come silently in through a back window, motion for + the other two to wait outside. She and Harry both start + converging on the garage, looking around them, guns raised. + + Harry looks down at his leg just as it trips an electric + eye in the doorway. + + THE ELECTRIC EYE is wired to something. A red light goes + on. + + Harry and Robin look at each other, knowing it's the last + thing they will ever see. + + +121 EXT. HOUSE 121 + + The explosion blasts out the windows, sending the other two + flying, wounded. The last thing WE SEE are the venetian + blinds as they are shredded when that window is also blown + out. + + CUT TO: + + +122 INT. BUS - ANGLE ON JACK'S PHONE 122 + + Rings. + + JACK + Harry! Tell me good news, man. + + There is a pause. And Jack knows. + + FISK + I'm sorry, Jack. He didn't make it. + + JACK + You FUCK! + + INTERCUT WITH: + + +123 INT. FISK'S ROOM 123 + + FISK + 89. + + + It was the watch that led him to + me, wasn't it? It felt a little + hammy to me, building the bomb from + my previous retirement gift. But I + figured a sign that said 'I'm + Howard Fisk' would be pushing it. + + As he speaks, he opens the venetian blinds. We look out on + Pershing Square: he was never in the house at all. + + JACK + I'm gonna rip your fucking spine + out, I swear to God. + + FISK + You'll do as you're told! Now + Harry's gone. Just accept it. + + FISK + Jack, we both know he was the + brains of your particular + operation. You're not gonna beat + me. You're gonna pay me all of my + dollars. Otherwise you, the wildcat + and every innocent soul on that bus + is gonna end up just like your + friend. Now pay attention! Are you + listening? + + JACK + (softly) + Yes. + + FISK + Good. Tell them the drop point is + Pershing Square. There's a garbage + can on the northeast corner. Dump + the bags and leave. I don't show up + until your people are gone and I + don't disarm until I'm clear. + Getting on toward 11:00, Jack. I + think it's gonna be a pretty day. + + +124 INT. THE BUS 124 + + He hangs up. Jack SMASHES the phone against a pole, + furious. Everybody stares at him. He leans against the + front window., seething. + + ANNIE + Jack? + 90. + + +He throws the remains of the phone to the floor, unable to +respond. + + ANNIE + Goddamnit, Jack, don't you fold on + me now! + +He whips his head around, stares at her. + + ANNIE + You just cool it, okay? We're + scared. We need you. + + ANNIE + I need you, with a clear head. I + know this guy's hurting you and I'm + sorry, but we still have a problem + here so stop doing the asshole + dance and be part of the solution. + +He still stares, but she's drawn the fire out. Everybody is +staring at him. He smiles winningly at Annie. + + JACK + We're gonna die. + + ANNIE + We got this far. + +He falls silent again. His gaze goes from her face to her +shirt, the Arizona tee shirt. For a moment he looks almost +puzzled. + +ANGLE ON THE SHIRT + +Beneath the Arizona is a picture of a wildcat. + + JACK + I'll be damned. + +Jack kneels by her, daubing her brow, speaking softly. + + JACK + You go to University of Arizona? + + ANNIE + (puzzled) + Yeah. + + JACK + Good football team. + + ANNIE + 91. + + + Yeah -- + + JACK + Arizona Wildcats. They went nine + straight wins last year. + + ANNIE + (completely lost) + Right. + + Jack smiles. + + JACK + He can see you. + + She starts to ask but he shushes her, standing and leaning + again on the windshield. Slowly he looks around at the + front of the bus. His P.O.V. searches for it, and there it + is, behind the big convex mirror with a view of the whole + bus. The thin wires, the red light. A camera. We push in on + it -- + + +125 INT. FISK'S ROOM 125 + + -- and pull out, looking at the camera's P.O.V. on a small + black and white screen next to Fisk's other TVs. We pull + out further to see Fisk as his eyes flit from screen to + screen, resting on the black and white image. + + On the screen, Jack kneels once again by Annie. + + +126 INT. BUS 126 + + JACK + He called you a wildcat before. I + didn't even pick up on it. Bastard + has a camera right in your face. He + can see the whole bus. He's been + playing me from minute one. + + ANNIE + He's looking at me? Can he hear me? + + JACK + Doesn't look like. He's just + watching. + + ANNIE + What do I do? + + JACK + 92. + + + Nothing. Act scared. + + ANNIE + (plenty scared) + What's my motivation? + + Jack strides to the back of the bus, talking into his + throat mike. + + JACK + Mac, Mac -- are you there? + + MRS. KAMINO + Jack, how much longer can we + circle? + + He holds up a finger to shush her as McMahon gets on the + line. + + +127 EXT. AIRPORT 127 + + McMahon arrives at the base camp. + + MCMAHON + Yeah, go ahead, Jack. + + +128 INT. BUS 128 + + JACK + Mac, I know about Harry. Listen, + there's no time. Is that news van + still around? Good. It's time for a + little turnabout. + + CUT TO: + + +129 EXT. BY NEWS VAN - A MINUTE LATER 129 + + McMahon and a few other cops rush to the van. + + MCMAHON + L.A.P.D. We need this shit. + (to a crew guy) + Can you broadcast on a UHF + frequency? + + CREW GUY + Sure. + + MCMAHON + 93. + + + Good. There's a signal coming from + that bus. Find it. + + The crew guy starts turning dials. After some snow, the + shot of the bus appears on one of his screens. + + MCMAHON + Good. Tape off this. + + The crew guy sticks in a tape, hits "record." An angry + reporter steps in. + + REPORTER + Hey, this is private property! You + can't just take it! + + MCMAHON + Yeah, why don't you call a cop? + + +130 INT. THE BUS 130 + + Jack is sitting near the front. Everyone is sitting, + looking tense. + + JACK + (quietly, but to + everyone) + Remember, no big movements. Just + look whipped. + + ORTIZ + That's not gonna be too hard. + + And WE PAN along the bus, picking up everyone's face as + they try to appear casually despondent. We pass Jack and + Annie and close in on the fuel gauge, is it picking up + speed? + + UNDER THE BUS + + WE SEE as the screwdriver is jolted looser and looser, and + the leak grows. + + THE NEWS VAN + + McMahon and the others watch the bus on screen. + + +131 INT. THE BUS 131 + + Annie notices the fuel gauge as it drops below a quarter + tank. + 94. + + + ANNIE + (quietly) + Jack -- + + JACK + What? + + ANNIE + Our leak has sprung a leak. We + gotta get off. + + Slowly, Jack brings the walkie talkie to his face. + + JACK + McMahon? Fuel? + + MCMAHON + Five minutes. + + Mrs. Kamino drops her purse, nervous. She doesn't know if + she should pick it up. Sits nervously. + + JACK + Not enough time. Run the tape. We + have to unload. + + MCMAHON + We only got a minute of -- + + JACK + Do it! + + MCMAHON + (to the crew guy) + Run it. Run it on a loop. + + He starts pressing buttons and -- + + +132 INT. FISK'S LOFT 132 + + The image plays on the TV. Sounds of Fisk FLUSHING inside. + A slight JUMP in the image just before Fisk sits down, + watches. The tape is now playing. + + +133 INT. THE BUS 133 + + Jack looks back and forth between his watch and the gas + gauge. + + JACK + Come on. + 95. + + + Then he looks over and sees -- + + AN AIRPORT TRUCK + + Pulls alongside the bus. McMahon and SWAT cops. + + THE LEFT REAR WHEEL OF THE BUS + + The outside wheel. More rubber is peeling off: it's gonna + pop any second. + + +135 INT. THE BUS 135 + + Jack strides to the back doors. + + JACK + Okay, Annie. + + Annie flips a switch. The back emergency door opens. + + McMahon tosses a length of 2-by-4 and some rope to Jack. + + MCMAHON + Rig the gas pedal and steering + wheel. + + JACK + Gotcha. + + INSERT - FISK'S TV + + The taped image of the inside of the bus. Quiet and calm. + + +136 INT. THE BUS 136 + + Intense activity as the passengers line up to get off. + + THE LEFT REAR TIRE + + Rubber is peeling off, flapping on the pavement. + + +137 INT. THE BUS 137 + + Jack stands on the back steps. The first passenger to get + off is Mrs. Kamino. Jack ushers her off into the arms of + Norwood. Annie is steering and trying to tie off the wheel. + + JACK + 96. + + + Next! Let's go! Annie, how're you + doing? + + ANNIE + I'm doing! + + BUS AND TRUCK + + More women get off the buss, followed by Terry and Ortiz. + + THE LEFT REAR TIRE + + Big strips are peeling off. Seconds from a blowout. + + INSERT - FISK'S TV MONITOR + + Shows the bus as calm, quiet. + + +138 INT. THE BUS 138 + + Jack helps Terry off. Stephens is about to step across... + + THE LEFT REAR TIRE + + The tread peels off completely. + + ANNIE + + Gasps as the steering wheel spins, wrenched from her grip. + + THE BUS + + Swerves hard away from the truck. + + STEPHENS + + In the stairwell, doesn't know what to do. Panics and jumps + for the truck. + + JACK + Stephens! + + Jack grabs for him, misses. + + BUS AND TRUCK + + Stephens' upper body reaches the truck. He swings under, is + slipping. + + ORTIZ + 97. + + + is the closest to him. He grabs for Stephens' hand, gets + it. + + STEPHENS' FEET + + Are skidding on the pavement, dangerously close to the rear + wheels. + + STEPHENS AND ORTIZ + + A look between them. Stephens grins with relief. + + ORTIZ + Okay, man, pull! + + They just pull him up in time. They smile at their victory + all except Stephens himself, who looks like he has vomit on + his mind. + + ON THE BUS + + Annie fights to regain control of the steering. + + THE BUS + + Veers toward the airline terminals. + + ON THE BUS + + Annie and Jack look ahead. + + ANNIE + Oh, no, Jack. + + THEIR P.O.V. + + The terminals. + + ANNIE is able to steer back onto the runway. + + ON THE TRUCK + + The passengers watch in horror as the bus angles off. + + MRS. KAMINO + Please, God, no. + + RAY + Come on, man, you can do it -- + + +139 INT. THE BUS 139 + 98. + + + JACK + Wedge down the pedal! Hurry! + + Jack goes back and picks up the 3x5 floor panel he took out + of the floor. + + THE BUS + + Tears along the runway. + + ON THE BUS + + Jack maneuvers the floor panel down onto the hole, letting + it out on a length of rope. The other end of the rope is + tied to a seat support. + + UNDER THE BUS + + The edge of the panel touches the speeding pavement, + bounces and splinters. + + +140 INT. THE BUS 140 + + Annie finishes tying off the steering wheel and wedging + down the gas pedal. + + ANNIE + Done. + + They hear an eerie choking sound. Then silence. Out of gas. + + INSERT - SPEEDOMETER + + Is dropping. 58, 57. + + JACK + Go! + + Annie gets out of the driver's seat, hurries to Jack. He + helps her down into the hole. + + THE BUS + + Is headed for a small jet whose engines have been stripped + for repair. + + UNDER THE BUS + + The wood panel is skidding over the pavement, sparks are + flying off. Annie gets down onto it. + 99. + + +141 INT. THE BUS 141 + + The rope and 2x4 are holding. Jack takes one last look + ahead. + + HIS P.O.V. + + The wing of the small jet comes SMASHING through the + windshield and rips through one side of the bus, coming + right at us, nearly decapitating Jack and he jumps down + through the hole + + UNDER THE BUS + + and crouches on the sled, he and Annie holding onto each + other and -- + + BACK ON THE BUS + + -- Jack and Annie blast out from underneath the bus in a + shower of sparks. + + +142 INT. THE BUS 142 + + The rope starts to loosen on the steering wheel. + + +143 EXT. THE BUS 143 + + starts to veer off toward an airplane hangar and Jack and + Annie slide to a stop against a large blinking runway sign. + They look up. + + The bus toward the huge open door of the AIRPLANE HANGAR + and disappears inside. + + +144 INT. HANGAR 144 + + The bus rolls under the wings of a parked 747, between + other jumbos and careens out the other side of the hangar. + + AN EMPTY DC10 CARGO PLANE + + Is towed along the runway by a tow truck. + + INSERT - SPEEDOMETER + + Plunges to 50. + + THE BOMB + 100. + + +The red light goes out. + +The bus EXPLODES while still rolling at a healthy 49 miles +an hour. + +Whatever part of it can still roll PLOWS into the DC10 +which explodes. A huge fireball and a shower of metal. + +JACK AND ANNIE + +Cover their heads as debris rains down. He is on top of +her. It finally stops. + +Annie looks at the flaming carcass. Jack looks at Annie. +After a moment, she looks back at him. + + JACK + Are you all right? + + ANNIE + Yes. + +Another moment. He still hasn't gotten off her. The moment +between them is intimate, Annie is about to burst into +tears. + + ANNIE + You're not gonna say something + mushy, are you? + + JACK + What? No. + +He gets off her and they stand. For a moment she falls +against him, but she rights herself. They head for the +ambulance. + + ANNIE + Relationships based on intense + experiences never last. I've read + extensively on this. + + JACK + You thought that was intense? I do + this everyday. + (after a moment) + I think I broke my spleen. + + CUT TO: + +ANGLE ON AMBULANCE as it races up to Jack and Annie. Medics +pop out, start patching them up. Annie is still talking to +Jack. + 101. + + + McMahon comes up to them. + + MCMAHON + How're you doing? + + Jack and Annie look at each other, almost laughing. They + look back at Mac as if to say, "Eh." + + MCMAHON + Well maybe I'll let you have the + rest of the day off. + + JACK + Oh. Mac, this is Annie. Annie, + Captain McMahon. + + MCMAHON + Hi. + + ANNIE + Nice to meet you. + + It's a slight awkward moment, feels like introducing your + girlfriend to your dad. + + Norwood runs up to Mac with a phone. + + NORWOOD + It's him. He wants to know when + he's gonna get his money. + + MCMAHON + (grabbing the phone) + That son of a bitch, I'll tell him + what he can do with -- + + Realization blooms in Jack's face. He puts his hand over + Mac's. + + JACK + He doesn't know it blew up. + + McMahon pauses, stonefaced. He brings the phone to his ear. + + MCMAHON + Twenty minutes. + + CUT TO: + + +146 EXT. PERSHING SQUARE 146 + 102. + + + The cops finalize their preparations. UNDERCOVER COPS move + here and there, signal to each other -- + + +147 EXT. ROOF OF THE BILTMORE HOTEL 147 + + -- Snipers take position. + + +148 EXT. NEAR PERSHING SQUARE - DAY 148 + + The ambulance pulls up, no lights or sirens. Jack gets out. + Other undercover police cars are nearby and cops rush + quietly to and fro. + + +149 INT. BARBERSHOP 149 + + McMahon is setting up his command post in a barbershop. + + +150 INT. THE AMBULANCE 150 + + Annie is just finished being patched up. She steps out of + the ambulance to watch Jack's receding figure, her face + etched with concern. + + +151 INT. FISK'S ROOM 151 + + He looks down on Pershing Square. + + HIS P.O.V. + + On the street, a garbage truck pulls up next to the can on + the northwest corner. A cop dressed as a garbageman gets + out, deposits two bags in the garbage, and drives on. + + Fisk looks more carefully around the square. Again from his + P.O.V., WE CAN SEE: + + A cop running behind a doorway a block away. + + A sniper crouching low on a roof. + + Fisk smiles, heads for the door. He stops at the TV that + shows Jack and the others on the still circling bus. + + FISK + It's too bad, Jack. You probably + would have made a good cop. + 103. + + + On the screen, Mrs. Kamino drops her purse. + + There is a glitch. The purse is in her hands. + + Fisk stares at the TV, eyes wide. A scream rises in his + throat but before it comes out we: + + CUT TO: + + +152 EXT. PERSHING SQUARE 152 + + Jack, McMahon and Norwood look out from a storefront. + + +153 EXT. NEAR PERSHING SQUARE 153 + + Annie is standing by the ambulance, still looking in Jack's + general direction. Cops run to and fro, some keeping + pedestrians back. + + A SWAT cop comes up to Annie. + + COP + Miss, we can't have you this close, + we need you to move back. + + ANNIE + But Jack -- + + COP + Officer Traven asked for you to be + brought out of harm's way. Let's + just move back. + + Relenting, she turns to the cop. It's Howard Fisk. She + smiles as he leads her away. + + +154 EXT. PERSHING SQUARE - LATE 154 + + The can stands alone on the northeast corner. + + +155 INT. THE STOREFRONT 155 + + Jack is becoming increasingly agitated. + + NORWOOD + He's running a little late. + + Jack looks at his watch. 11:02. + 104. + + + JACK + He's not late. + + MCMAHON + What? + + JACK + He's never late. + + NORWOOD + That money hasn't moved. We've got + two hundred eyes on that can. We've + got a homing beacon in the bags. + He's covered. + + JACK + Turn it on. + + NORWOOD + What for? He's not -- + + JACK + Do it! + + Norwood does, looks down. + + ANGLE ON THE HOMING DEVICE + + The bags are moving. + + NORWOOD + Shit -- + + Jack bolts for the can. + + MCMAHON + Jack! + + CUT TO: + + +156 EXT. PERSHING SQUARE 156 + + Jack DASHES across the street. He runs to the garbage cans, + pushes them over. Below where the garbage can stood, + there's a jagged hole in the concrete, opening up into a + utility access tunnel. + + JACK + Son of a bitch -- + 105. + + +157 INT. TUNNEL 157 + + Jack hang-drops down into the tunnel. He hears the sound of + hurrying footsteps down the tunnel. Jack pulls the gun from + his waistband and takes off after the sound. + + FARTHER DOWN THE TUNNEL SOMEONE runs, holding the bags of + money. Jack pulls out his Glock, draws a bead. + + JACK + FREEZE! Turn around! + + The person stops. + + JACK + Pop quiz, asshole. I got a hair + trigger aimed at your brain and I'm + in a really shitty mood. What do + you do? + + The person turns, face coming into the light. It's -- + + ANNIE + + And she is very scared. + + JACK + + Incredulous. + + ANNIE opens up the jacket she's wearing to reveal TEN + POUNDS OF C-4 strapped to her chest. + + JACK + Christ. + + An EMERGENCY DOOR on the side of the tunnel opens. + + FISK + + Steps out, holding a deadman stick. + + FISK + Be prepared. That's the boy scouts + marching song. + + ANNIE + I'm sorry, Jack. + + FISK + What do you do, Jack. Can't shoot + her. + 106. + + + JACK + Let her go. + + FISK + I don't think I'm gonna do that. + + He has a bag, which he drops at Annie's feet. + + FISK + Fill it. + (to Jack) + I think Harry would be + disappointed, finding us right back + where we started. + + JACK + Let her go! You got the money! Take + it and walk! You don't need her! + + FISK + You still don't understand, Jack. + The beauty of it. A bomb is made to + explode; that's its meaning, its + purpose. Your life is empty because + you spend it trying to stop the + bomb from becoming. And for what? + For who? You know what a bomb is, + Jack, that doesn't explode? It's a + cheap gold watch. + + JACK + You're crazy. + + Annie finishes filling the bag. Fisk takes it. + + FISK + Poor people are crazy, Jack. + (hoisting the bag of + money) + I'm eccentric. + + JACK + (one last time) + Let her go! + + Fisk looks at Jack, almost fondly. Then he bolts through a + door with Annie, slamming it shut behind him. + + Jack runs up to the door. + + +158 INT. THE TUNNEL 158 + 107. + + + Jack tries the door. It's locked. he aims his gun and blows + the door handle to pieces. He tugs the door open and light + floods in. + + Jack steps through the door and is very surprised to find + himself in -- + + +159 EXT. A SUBWAY STATION 159 + + He's on the upper level. Not many people around. Someone + runs up the stairs, looking frightened. jack down the + stairs. + + +160 INT. THE SUBWAY PLATFORM 160 + + People are shying away from Fisk and Annie as they make + their way along the platform. He has his gun out and she's + wearing bombs. People start getting off the subway, heading + for the stairs. Fisk pulls Annie onto the first car. + + +161 INT. FIRST CAR 161 + + Three people, sitting. Smiles at one of them. + + FISK + Is this seat taken? + + Everyone clears off. All the cars are empty now as the + doors close and the train starts moving. + + +162 INT. PLATFORM 162 + + Jack runs down the stairs, yelling. Sprints along the + platform as the train starts pulling out of the station. He + jumps, just grabs the end of the fourth car. + + +163 INT. THE SUBWAY TRAIN 163 + + Fisk handcuffs Annie to a vertical handpole. He hands her + the deadman stick. + + FISK + You don't want to drop this. I'm + counting on you. + + He moves to the front of the car as the driver starts out + of the compartment. + 108. + + + DRIVER + What the hell is going -- + + Fisk SHOOTS four times at point blank, sends him flying + back into the compartment. Two of the shots blast the + control panel. Annie cries out. + + +164 INT. THE SECOND CAR 164 + + Crouching, Jack is making his way to the first car, leaving + the connecting doors open as he goes. He peers into the + first car as Fisk finishes shooting, just in time to see + him retrieve the deadman's stick. + + FISK + + Smiles at Annie as he takes it. + + FISK + Maybe I better hold this after all. + I'm afraid you're a little + hysterical and might let go a mite + early. It's not 'cause you're a + woman. + + He heads for the back and almost sees Jack. With nowhere to + go, Jack climbs on the top of the car. Fisk looks out at + the other cars. + + FISK + Looks like we're all alone. Nobody + wanted this train. + + ANNIE + You can let me go. You won, you + beat Jack, you beat everyone. Throw + me off the train, I don't care. + Only let me go. + + He speaks to her softly. + + FISK + This stick works on a remote. See, + when you explode, that's where + they'll come. But it's not where + I'll be. Mess like that, they don't + even count the body parts. Gives me + time. + + He brushes hair from her face. + + FISK + 109. + + + It's not gonna hurt, Annie. + + ON TOP OF TRAIN + + Pipes and concrete ceiling whips by Jack's head. He checks + his gun and a red conduit pipe RIPS it from his fingers. + + +165 INT. THE CAR 165 + + Fisk and Annie HEAR the gun bouncing off the top of the + car. Fisk looks up, smiles a little wildly. + + FISK + Is that you, Jack? + (to Annie) + He's persistent. He always gets his + man. + + He grabs the bag of money, opens it. Looks up again. + + FISK + Don't suppose you'd be interested + in a bribe, would you? + (chuckles) + Got plenty to go around -- + + Inside the bag, a dye pack explodes. + + Fisk looks down at his now useless money, some of the dye + dripping like blue shadows on his face. He SCREAMS. + + Still roaring, Fisk whips out his gun and pumps a round + into the ceiling. + + TOP OF THE TRAIN + + Fisk's bullets come up all around Jack, the last one + ripping into his arm. He clutches it, in agony. + + IN THE TRAIN + + Fisk keeps firing until the gun clicks repeatedly. Even + then, it's hard for him to stop. + + ON TOP OF THE TRAIN + + No more shots, Fisk must be out of bullets. Jack starts + inching for the back of the car. + + Fisk is right behind him. + 110. + + + Unchecked fury mars his face more than the eerie dye. All + semblance of control is gone. Roaring, he SLAMS his fist + into Jack's face. + + He practically foaming at the mouth, hitting Jack with the + hand that holds the deadman's stick. Jack is helpless; he's + wounded and Fisk has the stick. He feebly tries to defend + himself. + + Fisk is on his knees over Jack. He starts hitting Jack in + his arm wound. Jack nearly blacks out from pain. + + FISK + What do you do, Jack? What do you + do? You're so smart! Right, Jack? + You little piece of shit! I got the + plan! I'm smarter than you! I'm + smarter than you! + + JACK'S P.O.V. + + Blurred, shifting. There is light on the ceiling. They're + tearing through another station. + + Jack suddenly pulls back his leg and SLAMS it into Fisk's + solar plexus. Fisk flies back, standing straight up on his + knees and: + + A RED CONDUIT PIPE meets his face. + + SOMETHING ROUND + + Bounces along the top of the train like a tin can discarded + along a freeway. + + FISK'S HAND clenched in a literal death grip over the + stick, it starts to loosen, and Jack GRABS the hand at the + last second, closing it, taking the stick before Fisk's + body even hits the top of the train. Jack holds the stick, + out of breath. + + JACK + Yeah, well, I'm taller. + + +166 INT. TRAIN 166 + + Annie turns warily at the sound of a door sliding open. + Relief. It's Jack. + + ANNIE + Fisk? + 111. + + + By way of reply, he holds the deadman's stick up, almost + smiling. Annie looks very relieved. + + JACK + I ripped his head off. + + He takes off her vest and defuses the C-4 and neutralizes + the deadman stick. Goes to the driver's compartment. + + +167 INT. DRIVER'S COMPARTMENT 167 + + Sparks. The equipment was shot to shit. Jack sees the + braking controls, flips the switches. Nothing. Grabs the + speed dial/lever and tries to pull it back toward the left, + but it won't budge. It's jammed up. Pushes it forward, the + train goes FASTER. Tries the radio mike, DEAD. + + JACK + + RUNS back into the passenger compartment. + + JACK + C'mon, we gotta jump. + + She shows him her handcuffs. + + JACK + Shit! + + ANNIE + You can't stop it? + + He pulls at the hand cuffs, pulls at her wrists, tries to + unscrew the pole with a knife, nothing. + + THE TRAIN barrels down the tunnel. + + JACK + + Goes apeshit. He kicks the pole, screaming with effort. + Again. Again. Pulls at it. Pulls at her till her wrists + bleed. + + ANNIE + NoooooOOOWW! + + He stops. Her eyes are wet. + + ANNIE + Jack, you have to get off. + 112. + + + No way. He looks up at the map. There's a big curve, then + dead end. + + ANNIE + Jack, listen to me...the end of + this line is solid rock. You have + to jump. Goddamnit, I'm ordering + you! Go! + + He looks at her. + + JACK + Faster. + + ANNIE + Jack -- + + Going to the driver's compartment. + + JACK + The only way to stop this thing is + to make it go faster. There's a + curve up ahead. We go fast enough + we might jump the track, hit + something besides a dead end. + + +168 INT. THE DRIVER'S COMPARTMENT 168 + + Turns the knob hard right, comes back out -- + + ANNIE + This is bullshit, Jack. You have to + get off this train, Jack! Jack! + + He says nothing. Comes up to the pole she's at, holds on. + Braces himself. She falls silent as well. Drops her cuffs + around him. Holds him tight. They wait. + + The train ROARS along the track -- + + +169 INT. HIGHLAND STATION 169 + + Still under construction. At the end of the station the + track dead-ends into a ROCKFACE. + + JACK AND ANNIE brace themselves. + + JACK + C'mon -- Let's go -- + 113. + + +170 EXT. THE TRAIN 170 + + Barreling through the station, it's going way too fast, but + it's holding the tracks. + + JACK AND ANNIE + + Jarred by the rough ride. The lights flicker on and off. + Smoke from overheated engines rises into the car. + + +171 INT. TUNNEL 171 + + The construction crews are fleeing. A truck speeds off up + the ramp, hauling dirt out. + + THE TRAIN + + Hits the curve. The train wheels SPARK on the rails, + SCREECH. + + JACK AND ANNIE + + Eyes shut, holding tight. + + THE TRAIN + + With Jack and Annie skids sideways up the ramp. Steel + SHEARS the car in half. The front half continues to skid + and roll up the ramp and -- + + +172 EXT. HOLLYWOOD BOULEVARD - THE TRAIN 172 + + -- appears. Above ground, like a breaching whale, skidding + and crashing and finally resting on its side in front of + the Chinese Theater, to the amazement of dazzled onlookers. + Jack and Annie visible through the now-open back of the + car. + + CUT TO: + + +173 INT. TRAIN 173 + + Jack and Annie sit up, find they are all right. The pole + has been wrenched from the ceiling and Jack pulls Annie's + hands free. They suddenly kiss, desperately alive. + + ANNIE + You didn't leave me -- + (looks him in the eye) + 114. + + + You didn't leave. + (holds him again) + My God -- + + JACK + I didn't have to be anywhere just + then. + + ANNIE + How boring? + + JACK + What? + + ANNIE + How boring are you? I mean, is it + really scary? + + JACK + (thinks a moment) + I watch bowling on TV. + + ANNIE + Okay. + + JACK + Sometimes when I watch bowling, I + get excited and I cheer. + + ANNIE + Ooh. Well -- + + JACK + Annie, it's over. You can walk + away. + +SHE TAKES HIS HAND, QUICKLY AND GENTLE CLICKS THE OTHER +CUFF ON HIM, JOINING THEM. + + JACK + Whatever you say, Ma'am -- + +And they sit awhile. + +TOURISTS WITH CAMERAS arrive on the scene. Train their +cameras on the kissing pair. + + FADE OUT. + +THE END + \ No newline at end of file diff --git a/scripts/Spider Man.txt b/scripts/Spider Man.txt new file mode 100644 index 0000000000000000000000000000000000000000..dde629e35060633636c77f8edb868f8d5020bb32 --- /dev/null +++ b/scripts/Spider Man.txt @@ -0,0 +1,7866 @@ + 1. + + + + A BLACK SCREEN + + SPIDER-MAN (V.O.) + Who am I? You sure you wanna know? + The story of my life is not for the + faint of heart. + + +1 EXT. PARKER HOUSE - DAY (1987) 1 + + A cab pulls up to an average house in Queens. + + SPIDER-MAN (V.O.) + If somebody said it was a happy + little tale, if somebody told you I + was just your average, ordinary + guy, not a care in the world... + + A SOCIAL WORKER, gets out, holding the hand of PETER PARKER + (4). Tears streaming down his face, he lugs a small + suitcase. The cab motors away showing Peter— + + —his new home. AUNT MAY and UNCLE BEN stand on the porch, + smiling. The Social Worker leads Peter up the steps. Uncle + Ben extends his hand. Peter looks up at the Social Worker, + she nods. Peter looks back at the loving hauid before him, + takes it. Uncle Ben and Aunt May lead Peter inside. Peter + turns, looks at the Social Worker. The door closes. + + SPIDER-MAN (V.O.) + ... somebody lied. + + +2 EXT. A SCHOOL BUS - DAY 2 + + A yellow school bus roars through Queens. + + SPIDER-MAN (V.O.) + Mine is a tale of pain and sorrow, + longing and heartache, anger and + betrayal. And that just covers the + high school years. + + +3 INT. A SCHOOL BUS - DAY 3 + + A bus full of teenagers. We float down the center isle, + drifting from face to face— + + SPIDER-MAN + 2. + + + But let me assure you — this, like + any story worth telling, is all + about a girl... + +—holding on MERRY JANE WATSON, knockout pretty but sad +eyes, too sad for seventeen, looking out the window of the +bus. + + SPIDER-MAN (V.O.) + That girl. Mary Jane Watson. M. J., + to her friends. The woman I’ve + loved since before I even liked + girls. + +An arm drapes around M.J.'s shoulders, FLASH THOMPSON, +self- assured, handsome, the high school Big Name. He's +looking across the bus, out the window, HOWLING with +laughter. + + SPIDER-MAN (V.O.) + I'd like to tell you that1 s me + next to her. + +We pull back, toward the front of the bus. Another KID. + + SPIDER-MAN (V.O.) + Or even that. + +Further back. Another KID, messily eating a jelly doughnut. + + SPIDER-MAN (V.O.) + Heck, I’d even take him. + +We turn, look out the window, see what they're laughing +about. + +PETER PARKER, 17, bespectacled and book-bagged, chasing +after the school bus, to the derision of everyone aboard. + +M.J. can't take it anymore. She jumps up, hurries to the +front of the bus and SHOUTS over the laughter, to the +DRIVER. + + M.J. + Stop the bus?! He's been chasing us + since Woodhaven Boulevard! + +There is a collective AWWWW as the bus slows down. + +AT THE FRONT + +Peter climbs onto the bus, breathless, limping. + 3. + + + PETER + Thanks... sorry... sorry... + thanks... + + He eyes an open seat next to a GEEKY GIRL with a mouthful + of braces. She makes eye contact with Peter, moves her + books to occupy the vacant space. + + GEEKY GIRL + Don't even think about it. + + Peter moves on. As he makes his way down the aisle, M.J. + sits down next to Plash again, next to the window this + time. When she's not looking, Flash slides his foot out in + front of Peter's beat up sneakers. Peter trips and falls, + hard, face down in the aisle. More laughter. M.J. looks + sharply at Flash — did you do that? + + FLASH + (outraged innocence) + What? + + On the floor, Peter lifts his head, looks up at Flash and + M.J. Flash is grinning, M.J. is staring down at him with + pity. Peter looks up at her, helpless, glasses dangling + from one ear. + + SPIDER-MAN (V.O.) + That's me. Peter Parker. + + +4 EXT. QUEENSBORO BRIDGE - DAY 4 + + The yellow bus crosses the Queensboro Bridge and heads for + the spectacular skyline of Manhattan. + + +5 EXT. COLUMBIA UNIVERSITY - DAY 5 + + A stressed out TEACHER, with a clipboard, enters frame. The + students are gathered around the steps. Teen energy. Peter, + his camera hanging around his neck, stands alone. M.J. is + with her girlfriends. + + TEACHER + Okay, people, no wandering! Proceed + directly up to the KNOCK IT THE + HEEL OFF! Up the steps and into the + building. + + They all move slowly to steps. They turn to see: + + A CHAUFFEUR-DRIVEN BENTLEY - PULLING TO THE CURB + 4. + + + Inside is HARRY OSBORN, seventeen, sits in the back 3eat, + next to NORMAN OSBORN, mid-forties. Norman exudes power and + anger. Harry is slowly acquiring both. + + +6 INT. BENTLEY - DAY 6 + + HARRY + Dad, could you drive around the + corner. + + OSBORN + Why? The door’s right here. + + HARRY + These are public school kids. I'm + not showing up to school in a + Bentley. + + OSBORN + What? You want me to trade in my + car for a Jetta because you flunked + out of every private school I sent + you to? + + HARRY + They were not for me. I told you + that. It wasn't me. + + OSBORN + Of course it was! + (reaches for Harry's + door) + Don't ever be ashamed of who you + are. + + HARRY + Dad, I'm not ashamed, I'm just not + what you... + + OSBORN + What, Harry? + + HARRY + Forget it, dad. + + Harry gets out of the Bentley. + + +7 EXT. COLUMBIA UNIVERSITY - DAY 7 + + PETER + (big lovely grin) + 5. + + + Hi ya, Harry. + + HARRY + Hey, Peter. + +Behind them the car door opens. Norman emerges holding +Harry's book bag. + + OSBORN + Won't you be needing this? + +Osborn hands Harry the bag. + + HARRY + (moving around car to + sidewalk) + Peter, this is my father, Norman + Osborn. + + PETER + Great honor to meet you. + +Harry is looking off at M.J. who is making conversation +with her girlfriends about the arrival of the Bentley. + + OSBORN + I've heard a lot about you. Harry + tells me you' re quite the science + whiz. + + PETER + Well, I don't know about that. + + HARRY + He's being modest. I told you, he's + won all the prizes. + + OSBORN + Anyone who can get Harry to pass + Chemistry shouldn't be modest. + + PETER + Harry's really smart. He didn't + really need my help. + + HARRY + We have to go, Dad. + +Norman lays his paternal hand on Harry's shoulder, squeezes +too hard. + + OSBORN + 6. + + + I'm something of a scientist + myself, you know. + + PETER + I know. I know all about OsCorp. + You guys are designing the guidance + and re­entry systems for the first + shuttle mission to Mars. Really + brilliant. + + OSBORN + Impressive. Your parents must be + proud. + + PETER + I live with my aunt and uncle, + they're proud. + + OSBORN + What about your folks? + + PETER + My parents died when I was little. + + OSBORN + I lost my parents as a young boy as + well. + + HARRY + Which no doubt strengthened your + iron will to succeed, huh, dad? + + TEACHER + HEY, YOU TWO, I'M CLOSING THE DOOR! + + PETER + (moving away) + Nice to meet you, Mr. Osborn. + + OSBORN + See you again. + + HARRY + (moving fast up steps, + passes M.J., smiles) + Hi. + +They walk in. Harry smiles at M.J., now in front of Flash. + + PETER + He doesn't seem so bad. + + HARRY + 7. + + + Not if you're a genius. I think he + wants to adopt you. + + Harry discretely calls Peter's attention to M.J., primes + him to say something. + + HARRY + Hey. + (nods to M.J.) + Say something. + + They approach. M.J. waits, feels the energy. Nothing comes. + Harry steps in to fill the awkward moment. + + HARRY + Hi. How ya doing? + + M.J. smiles. + + M.J. + Hey. + + Peter doesnothing, they continue on. + + HARRY + Why didn't you say something? + + PETER + I was about to. It wasn't the right + moment. + + Peter manages to look back over his shoulder to where + Harry's father still stands beside his car. + + CLOSER SHOT OF NORMAN + + Looking off. He seems a lonely figure. Over him, we hear: + + TOUR GUIDE (O.S.) + There are more than 32,000 known + species of spider in the world. + + +8 INT. COLUMBIA GENETIC RESEARCH INSTITUTE - DAY 8 + + Thirty-odd students and their teacher are led around a + cavernous laboratory by a TOUR GUIDE. They pass a number of + large spider exhibits. + + TOUR GUIDE + 8. + + + They are in the order Aranae, which + is divided into three sub-orders — + Mesothelea, Orthognatha, and + Labidognatha. All spiders are + carnivorous, ravenous eaters who + feed on massive quantities of + protein, in liquid form, usually + the juices of their prey. Arachnids + from each of the three groups + possess varying strengths which + help them in their constant search + for food. + +Peter, the camera around his neck, keeps an eye on M.J. who +is joking around with her friends. Flash moves to M.J., +puts his arm around her, nuzzles her neck. Peter winces and +turns away, back to the tour. M.J. sees Peter's reaction. +She pulls away from Flash, embarrassed. + + TOUR GUIDE (CONT'D) + For example, the jumping spider — + family Salticidae, genus Salticus — + + TEACHER + Excuse me. Is anyone paying + attention to the genus Salticus? + (to Guide) + I apologize, go on. + + TOUR GUIDE + The genus Salticus can leap tip to + forty times its body length, thanks + to a proportionate muscular + strength vastly greater than that + of a human being. + +Peter catches the eye of the Tour Guide and gestures to his +camera — okay to take a few pictures? + + PETER + For the school paper? + +The Tour Guide nods. A few STUDENTS around Peter roll their +eyes, one or two mutter "geek." Peter ignores them, raises +the camera. Behind him, one of Flash’s CRONIES bumps +Peter's elbow on purpose, ruins the picture. Other kids +laugh. + + TOUR GUIDE + 9. + + + The funnel web spider — family + Hexathelidae, genus Atrax — one of + the deadliest spiders in the world, + spins an intricate, funnel-shaped + web whose strands have a tensile + strength proportionately equal to + the type of high-tension wire used + in bridge building. + +Peter raises the camera again, gets bumped again. He turns. +Flash's Crony steps forward, threatening. A VOICE mutters +from nearby. + + HARRY + Leave him alone. + +Flash’s Crony turns, sees Harry Osborn staring at him. + + FLASH'S CRONY + Or what? + + BOY . HARRY (ALT.) + Or his father will fire your/ + Or my father will fire your father. + father. + +Laughter. + + TEACHER + (loud & clear) + The next person who talks is going + to fail this course. I kid you not. + + TOUR GUIDE + The crab spider family Thomisidae, + genus Misumena — spins no web to + catch its prey, but hunts instead, + using a set of reflexes with nerve + conduction velocities so fast some + researchers believe it almost + borders on precognition, an early + awareness of danger, a "spider + sense." + +WIDER SHOT + +They reach the center of the rotunda floor, where +RESEARCHERS work at computers surrounding an electron +microscope. Large video screens around the room display +giant images of the microscope's area of scrutiny — spider +DNA. + + TOUR GUIDE + 10. + + + Over five painstaking years, + Columbia's genetic research + facility has fully mapped the + genetic codes of each of these + spiders. + +UP ABOVE THEM, in the high arch of the rotunda, a single +spider sits at the center of a magnificent web, glistening +in the light. + + TOUR GUIDE (O.S.) (CONT'D) + Armed with these DNA blueprints, we + have now begun what was once + thought impossible — inter-species + genetic transmutation. + +DOWN BELOW, + + TOUR GUIDE (CONT'D) + In this Recombination Lab, we use + synthesized transfer-RNA to encode + an entirely new genome, combining + genetic information from all three + spiders into these fifteen + genetically designed super-spiders, + the first mankind has ever + produced. + +The class checks it out. Creepy-looking mutant spiders +crawl about in a glass tank. + + M. J. + (wide-eyed, loving it) + Disgusting. + + HARRY + Hateful little thing. + + M. J. + I love it. + + HARRY + Really? Me, too. + + TOUR GUIDE + 11. + + + Just imagine — if one day we can + isolate the strengths, powers, and + immunities in human beings and + transfer that DNA code among + ourselves. All known disease could + be wiped out. Of course, we're + nowhere near ready to start + experimenting with humans, so for + the moment we' re concentrating on + these fifteen spiders. Any + questions? + + PETER + (whispering) + Fourteen. + + HARRY + Fourteen? + + TOUR GUIDE + I beg your pardon? + + PETER + There's only fourteen spiders. + + TOUR GUIDE + No, there's fifteen. Aren't there? + +As he and the others turn their attention to the tank and +start counting the spiders, we drift up to the ceiling. + +UP IN THE ROTUNDA ARCH, + +A spider's web. The mutant spider is on the move, fingering +its way across its web. It begins to drop. + +DOWN BELOW, + +the tour group has given up on the mystery of the missing +spider and is following the Tour Guide. M.J. lingers for a +moment, to check out her reflection in the glass of one of +the tanks. By herself, looking particularly beautiful in +her light. Peter stares, mesmerized, snaps up the +opportunity. + + PETER + Can I take your picture? + (she turns, surprised) + I need one with a student in it. + +She hides a smile. Poses, having fun. She loves the camera. + + M.J. + 12. + + + Don't make me ugly! + + PETER + Impossible. Right there. Good! + + Above him the spider descends. He snaps the picture of M.J. + + PETER + And one more. + + He snaps again but she has turned away moving to her + waiting friends. + + PETER + Thanks. + + The spider continues to drop, straight down upon Peter's + right hand. + + PETER + Ow! + + He shakes his hand, hard, flips the spider off of him. + + Peter looks at his hand. There are two tiny red marks where + the spider sank its fangs into his skin. Peter bends down, + looks at the spider on the floor. It's dead. + + Peter stands again, rubbing his hand. From across the lab, + we see him, silhouetted before the huge electron microscope + display screens, where swirling strands of DNA molecules + combine, detach, and recombine. + + +9 EXT. OSCORP INDUSTRIES - DAY 9 + + A gigantic industrial complex out on Long Island. + Smokestacks belch black nastiness into the air. Huge red + neon letters that spell OSCORP tower over the gate. A VOICE + comes over: + + SIMKINS (O.S.) + General Slocum and the others have + already started — + + +A10 INT. ENTRANCEWAY TO SUBTERRANEAN LABORATORY - DAY A10 + + An elevator door opens to the OsCorp R&D headquarters, a + sprawling lab complex hundreds of feet below ground level. + Norman Osborn quickly strides across a massive catwalk as + he is briefed by SIMKINS, his aide, whose voice continues + from outside: + 13. + + + SIMKINS + — the inspection. Mr. Balkan and + Mr. Fargas are with them. + + OSBORN + Why wasn't I told about this? + + SIMKINS + I don't think they wanted you to + know sir. + + +11 INT. LAB - DAY 11 + + — a work area where a strange object is mounted on a servo- + pole, being worked on by TECHNICIANS. It looks like an + aerodynamically perfected boogie board, with upturned fins + on each side, footholds carved into the wings, and a center + tube that looks like a jet engine. + + Next to the device, a TECHNICIAN wears a lightweight, super + tight-fitting electronic suit. As he moves his head, arms + and legs, the boogie board, pivots on the pole—up, down, + left bank, right bank. + + The Pentagon delegation, a group of UNIFORMED OFFICERS and + several MEN and WOMEN IN SUITS observe the device with DR. + MENDEL STRGMM, the project director. BALKAN and FARGAS, two + exceedingly grumpy septuagenarians, look on. Fargas is in a + wheelchair. + + STRGMM + Individual Personnel Transports are + moving along splendidly. + + GENERAL SLOCUM + I've seen your glider. That's not + why I'm here. + + Norman Osborn and Simkins enter. + + OSBORN + General Slocum, good to see you + again. Mr. Balkan, Mr. Fargas, + always a pleasure to have our board + of directors pay us a visit. + + Slocum nods to Osborn, keeps talking to the delegation. + + GENERAL SLOCUM + I want a progress report on Human + Performance Enhancers. + 14. + + +ACROSS THE LAB, + +they stand next to a glass-walled isolation chamber, within +which several SCIENTISTS work on a bank of equipment. + + STROMM + We tried vapor inhalation with + rodent subjects, they showed an 800 + percent increase in strength. + +Fargas rolls forward. + + FARGAS + 800 percent? That's excellent. + + GENERAL SLOCUM + Any side effects? + + STROMM + In one trial, yes, the- + + OSBORN + (cutting him off) + It was an aberration. All the tests + since then have been successful. + + GENERAL SLOCUM + (still to Stromm) + In the test that went wrong, what + happened? What were the side + effects? + + STROMM + Violence, aggression and + eventually, insanity. + + GENERAL SLOCUM + What's your recommendation? + + OSBORN + With the exception of Dr. Stromm, + our entire staff has certified the + product ready for human, testing. + + STROOM + We need to take the whole line back + to formula. + + OSBORN + Back to formula?! + +Back to Stromm. He could kill him with his bare hands. + 15. + + + GENERAL SLOCUM + Mr. Osborn, this department has + missed seven consecutive delivery + dates. After five and a half years + of R&D the United States government + has a right to expect the super- + soldier you were contracted to + deliver. + + OSBORN + These are quantum leaps in science, + gentlemen. We are unlocking the + secrets of human evolution. I never + said it would be cheap or fast, + only groundbreaking. + + GENERAL SLOCUM + I'll be frank with you, I never + supported your program. We have my + predecessor to thank for that. + + BALKAN + The General has given the go-ahead + to Quest Aerospace to build a + prototype of their exoskeleton + design. They test in two weeks. + + GENERAL SLOCUM + If your so-called Performance + Enhancers haven't had a successful + human trial by that time, I will + pull your funding and give it to + them. + + FARGAS + Norman, we are not going to lose + this contract. + + All eyes turn to Osborn. So what are you going to do about + that? + + +12 EXT. PARKER HOUSE LATE - DAY 12 + + The Parker house sits indistinguishable among other lower + middle income houses on a cozy Franklin street. + + +13 INT. PARKER HOUSE - LIVING ROOM/KITCHEN AREA LATE - DAY 13 + 16. + + +BEN PARKER, a kindly man in his sixties, is changing a +light bulb, standing on a chair, reaching high, stretching +precariously. MAY PARKER, a frail woman the same age as +Ben, moves into the doorway to the kitchen. + + AUNT MAY + Why aren't you using a ladder, + you'll fall and break your neck. + Wait for Peter to do that. + + UNCLE BEN + (the light bulb in, the + light comes on) + "God said let there be light." + Voila, 80 soft glowin' watts of it. + +Starts getting down, still holding burned out bulb. + + AUNT MAY + Good boy. God'll be thrilled, just + don't fall on your ass. + + UNCLE BEN + I'm already on my ass. When the + plant senior electrician is laid + off after 35 years, what else would + you call it... Of course I’m on my + ass. + + AUNT MAY + Hand me that bowl. The green one. + +Ben hands her a pot, looks at classified page open on the +table. + + UNCLE BEN + Corporations, firin' people left + and right so they can have a few + billion more. What do they know + about standing on a stool, screwin' + in a light bulb? + + AUNT MAY + Ben, you'll get another job + somewhere. + + UNCLE BEN + (gesturing to paper - + moves to dining room, + sits) + Well, lets see. + (reading from paper) + 17. + + + Computer analyst, computer + designer, computer engineer, + computer... + (he sighs) + I'm 68 damn years old. I have to + provide for my family. + + AUNT MAY + (moves to him, embraces + him, kisses his cheek) + I love you. And Peter loves you. + You're the most responsible man + I've ever known. We've been down + and out before but somehow we + survive. Where is Peter, anyway? + He's late. + +Aunt May starts for the kitchen as the front door opens. +Uncle Ben quickly flips the paper away from the want ads. + + UNCLE BEN + Here he is. + + AUNT MAY + Just in time for dinner. + + UNCLE BEN + How was the field trip? + + PETER + ... don't feel well... gonna go to + sleep... + + AUNT MAY + (moves to table) + You won't have a bite? + +Peter looks at her, surprised, is she psychic? + + PETER + (staggering upstairs) + ... no thanks... had a bite. + + UNCLE BEN + Did you get some good pictures + Peter? + + PETER + ... gotta crash... everything's + fine... + +His bedroom door SLAMS. + 18. + + + UNCLE BEN + What1s that all about? + + AUNT MAY + (moving toward the base + of the stairs) + He's a teenager. + + UNCLE BEN + He's depressed. + + AUNT MAY + He's a teenager. + + UNCLE BEN + I better go up. + + AUNT MAY + Stay put. He’ll let us know if he + needs help. + + +14 INT. PETER'S BEDROOM LATE - DAY 14 + + Peter drops to his knees in his bedroom and clutches his + abdomen in pain. + + PETER + (gasping) + Help... + + He falls to the floor, writhing in agony. He looks at the + spot the spider bit, which is now completely red and + swollen. + + Drenched in sweat, he starts to shake uncontrollably with + chills, trembling violently, face pale, eyes black and + sunken, teeth chattering. His eyes roll up into the back of + his head and he passes out. Under the lids, his eyes + flicker crazily. + + +15 EXT. PARKER HOUSE - DAY 15 + + Morning of a new day. A very new day. + + +16 INT. PETER'S BEDROOM - DAY 16 + 19. + + +Peter wakes up, morning sunlight streaming through his +window. He hasn't moved from the position he collapsed into +on the floor. But as he orients himself, he seems to feel +better. Carefully, he stretches his legs, takes a few deep +breaths. + +Definitely better. He sees the alarm clock. He's late. He +grabs his glasses. Puts them on — + +— and walks right into his chair, stumbling to the floor. + +He gets up, puts his glasses on again. Looks into a mirror +on the wall. He squints, everything's fuzzy now. He takes +them off, it's 20/20. He tries once more — on, off. He can +see. + + PETER + Weird. + +He shrugs and takes off his tee shirt. He walks away from +the mirror. Hold on the empty mirror, then: + +Peter jumps back in front of it, aghast. His chest is that +of a Greek god. Nothing overdone, not a body builder's +chest, just a perfect one. Peter tries something, flexes +his pecs. They jump like cheerleaders. + +Peter SCREAMS. + +He checks out his body. Incredible. Puny Parker no more. +There's a KNOCK at his bedroom door. + + AUNT MAY (O.S.) + Peter? Are you alright? + + PETER + Fine! I'm fine. Just fine! + + AUNT MAY (O.S.) + Any better this morning? Any + change? + +Peter tosses his glasses in the trash can. + + PETER + Change! Yes! Yes... big change! + +He turns to grab his clothes. Through the window sees M.J. +in her bedroom finishing brushing her hair. She picks up a +purse and darts out of view. + +Peter throws on his shirt and moves quickly out his door. + 20. + + +17 INT. KITCHEN - DAY 17 + + Peter comes bounding down the stairs and leaps over the + bannister, landing with acrobatic grace behind Uncle Ben. + He sees the breakfast Aunt May has prepared on the table, + goes for it, eats what he can get as he grabs his backpack. + + PETER + Hi. Gotta go. + + UNCLE BEN + We thought you were sick. + + PETER + (mouthful of food) + I was. I got better. + + AUNT MAY + Sit down dear. + + PETER + Can't. See you later. + + UNCLE BEN + Don't forget, we're painting the + kitchen today. Home right after + school, right? + + PETER + Sure thing. Uncle Ben, don't start + without me. + + He's out the door, full of energy, hoping to meet up with + M.J. + + AUNT MAY + What was that about? + + UNCLE BEN + He ate my bacon. + + +18 EXT. M.J.'S HOUSE - DAY 18 + + Peter comes out his front door just as M.J. leaves hers. + Her father, MR. WATSON, a hungover guy of forty or so, + SHOUTS after her. Mrs. Watson behind him. + + MR. WATSON + I don't care what your mother said. + It's not okay with me. You're + trash. You'll always be trash. Just + like her. + 21. + + + M. J. + I have to go to school. + + MR. WATSON + Who’s stopping ya? + + MRS. WATSON + Leave her alone. + + M.J. runs to the sidewalk, holding back tears. + + Peter hurries after M.J. + + +19 EXT. ANOTHER STREET - DAY 19 + + Peter paces her, on the opposite side of the street. She + doesn't see him. + + PETER + Talk to her... talk to her... + + But he doesn't, because he notices M.J. is wiping away + tears. + + A HORN honks and a car full of her girlfriends pulls up + next to her. Peter watches as M.J.'s face transforms, she + puts on a mask of happiness and jumps in. + + Peter watches as the car ROARS away. She eludes him again. + + Peter runs, top speed, chasing the bus again. He reaches + out, to the side of it, to pound on it, get them to stop. + + His hand touches a "GO WILDCATS!" school banner that's + pinned on the side of the bus. But as the bus accelerates, + his hand sticks, tears the banner right off the bus. + + What the hell? He tries to unstick his hand from the + banner, but every time he frees one hand it sticks to the + other. He tries everything. Wrestles with it, wads it into + a ball to throw it. Nothing doing. Frustrated, he bends + down, puts a foot on the banner and stands, thus freeing + his hands. + + He looks at his hands, confused but happy to be free of the + banner. He takes a step and quickly learns otherwise. The + banner is stuck to his foot. He tries to shake it free, but + his feet get tangled in the banner and he crashes to the + ground-- + + +20 EXT. MIDTOWN HIGH - DAY 20 + 22. + + + KIDS hang out. The BUZZER continues, they move inside. + + +21 INT. CAFETERIA - DAY 21 + + Peter approaches a table with an absurdly overladen tray of + food. He sits. M.J. moves past him on her way to her group. + As she passes, she slips, her feet fly out under her. She’s + about to crash hard. + + Peter's spider-reflexes are at work and he moves - + lightning speed - up and out in front of her, catching her + tray with his left hand, and dropping his right shoulder + just enough for her to grab onto. It's one of the most + graceful moves we've ever seen. + + She regains her balance, looks at him, impressed. + + M.J. + Wow. Great reflexes! + + Peter shrugs, freaked out, he can't believe he did it + either. She takes her tray back from him. + + M.J. + Thanks. + + PETER + No problem. + + M.J. + Hey, you have blue eyes. I never + noticed without your glasses. You + just get contacts? + + PETER + Uh-huh. + + She waits for more. Nothing comes. + + M.J. + Well, see ya. + + He blew it again. + + She turns and walks off, across the cafeteria. She looks + back over her shoulder, smiles— + + —and then sits at a crowded, popular table, right next to + Flash Thompson and her girlfriends. + 23. + + + Peter sits back at his table. He begins to eat. Actually he + begins to chow. Thirsty, he sets his fork down. But it + sticks to his hand. + + He tries to pull it free with the other hand, but a long- + gooey strand stretches from his hand to the fork. It + dangles. Peter tries to separate fork from strand. Nothing + doing. + + He tries harder. ANOTHER STRAND shoots out, from his other + hand. This one flies out, to the table across from him, and + SMACKS onto a GIRL'S tray. She doesn't notice, as she's + talking to the FRIEND on her right, and wouldn't touch that + gross food anyway. + + Shocked, Peter stands tip and backs away, whipping his arm + back, trying to pull free of the strand. But his movement + yanks the girl's tray off the table, sending it flying + toward Peter, who ducks, and it sails over his head. + + Finally, the strand comes free. Relieved, Peter turns — + + — and sees Flash Thompson wearing the girl's lunch. M.J. is + covering her mouth, laughing at Flash, but trying to hide + it. Peter swallows, and it's one of those swallows you can + actually hear. + + FLASH + Parker?! + (have you gone insane?) + + Horrified, Peter turns and hurries out of the cafeteria. + + +22 INT. HALLWAY - DAY 22 + + Just outside the door of the cafeteria, Peter stops next to + a row of lockers, breathing hard, surreptitiously checking + out the undersides of his wrists, trying to figure out + what's going on. + + For the first time, he notices two almost' invisible slits + in his skin, one on each wrist. Those were not there + yesterday. He drops his arms and pulls his shirt sleeves + down over his wrists as far as he can. + + Suddenly, his features jolt as he's slammed with the + strangest feeling he's ever had. He doesn't know it yet, + but — + + PETER'S SPIDER-SENSE + 24. + + +has kicked in. Everything and everyone surrounding him +slows to a crawl and it is as if he is suddenly seeing +outside himself — 360 degree peripheral vision. + +And what he sees in back of him is a FIST, Flash Thompson's +fist, closing in on the back of Peter's head in slow +motion. As quickly as it turned on the Spider-Sense +switches off and + +BACK. IN REAL TIME, + +Peter whips around and darts to the side, a split-second +ahead of Flash Thompson's thrown punch, which BANGS into a +locker where Peter was standing. + + FLASH + Think you're pretty funny, don't + you, Freak?! + + M.J. + (running in) + It was an accident! + + PETER + I'm sorry. It really was. + + FLASH + My fist breaking your teeth, that's + the accident. + +Two of Flash's cronies close the classroom doors on either +side of the hall, to block the view of the teachers within. + + PETER + I don't want to fight you, Flash. + + FLASH + I wouldn't want to fight me + neither. + +A crowd forms around them. Flash takes two more swings, but +again Peter evades them — and fast. Flash is puzzled. + +Sensing an attack from behind, Peter suddenly ducks. One of +Flash's cronies, who was sneaking up on him, is left +grabbing air. Peter stands, flips the guy off his back. + +A crowd forms to watch. Harry Osborn, coming down the hall +from the other direction, joins them. + +Enraged, Flash ROARS and lunges at Peter. Peter ducks one, +two, three, four punches, never even moving his feet, just +darting his torso around so fast he creates a motion blur. + 25. + + + Harry, impressed, gives a look to the person standing next + to him, who happens to be M.J. Harry turns back to the + fight, then does a double take back at M.J. She returns the + look. + + M.J. + Harry, please help him. + + HARRY + Which one? + + Flash lunges at Peter. Peter throws a punch that lands + solidly on Flash’s jaw and sends him sailing back against + the lockers, hard. He slumps to the floor, unconscious. + + CRONY + Jesus Parker, you knocked him out! + + Peter GASPS, shocked at his own strength, but thrilled. A + STUDENT arrives on the scene, steps forward for a better + view. + + STUDENT - + (motioning toward + unconscious Flash) + Parker did that? Yeah right. + + Flash MOANS, lifts his head up revealing a face covered in + blood. The crowd GROANS. A few kids go to Flash, suddenly a + sympathetic figure. + + Peter looks at Flash’s battered face, then to his hands. He + starts to back away, aware and terrified of his newfound + strength. He turns on his heels and takes off, down the + hall. + + +23 EXT. STREET - DAY 23 + + Peter is walking along, looking down at the fading spider + bite. What1s happening to me? + + +24 EXT. ALLEY - DAY 24 + + He turns, sees — + + — a glorious spiderweb that's been spun between a dumpster + and the alley wall, the sun glinting off its fresh strands. + + Peter looks around. He's alone. He reaches out to the alley + wall and as his fingers draw close + 26. + + + WE GO IN SUPERTIGHT ON HIS FINGERTIPS + + as tiny, microscopic hairs leap out of his pores and cling + to the wall. + + Slowly, tentatively, Peter begins to walk up the wall, his + hands clinging like suction cups. + + +25 EXT. ROOFTOPS - DAY 25 + + Peter leaps with abandonment over alleyways from rooftop to + rooftop. + + +26 EXT. ROOFTOPS - DAY 26 + + Peter leaps with abandonment, over alleyways from rooftop + to rooftop. + + +27 EXT. ROOFTOP - DAY 27 + + He pulls up short at one rooftop. It is too far to the next + one. He looks down at his wrist, sees the narrow slits. + Gets an idea. He turns, points his wrist at a taller + building across the alley. + + He wiggles his wrist, tries to get the goop to spray out. + But it doesn't come. He makes a fist. Nothing. He closes + his thumb and little finger together. Nothing. He rotates + his hand so the palm faces up, extends all five fingers, + and brings his ring and middle fingers toward his palm, + together. + + THWIP! + + A single strand of webbing shoots out from his wrist, + straight up. Peter frowns, tries to direct it more. This + fr-imo the webbing flies across the alley and sticks to the + side of the other building. + + Peter tugs on it. It's tough. He pulls harder. Can't break + it. He wraps one hand around it, double strength, closes + his eyes, mutters a prayer — + + — and jumps off the roof. He sails through the air, comes + in for a landing on the side of the other building — SPLAT! + + He clings there with his hands and feet, face crushed + against the brick. Learning hurts. + 27. + + +28 INT. PARKER KITCHEN - NIGHT 28 + + Peter comes into the kitchen at home, late, exhausted, + confused. He sniffs the air, smells something funny. + + He touches the wall, comes up with paint on his fingers, + and notices the buckets and drop cloth folded in the comer + of the room. He sees a note on the ladder: + + "Meatloaf and vegetables in the oven. Cherry pie on the + shelf. We've gone to play bridge at the Anderson's. " + + PETER + Ah, shoot... + + A SHOUT from next door distracts him. He goes to the + window. + + THROUGH THE WINDOW, + + he can see M.J.'s house, just across the narrow driveway. + He can see silhouettes moving in their windows, a man, a + woman, and a teenager, SHOUTING at one another. + + +29 EXT. M.J.'S HOUSE - NIGHT 29 + + Outside, M.J. BANGS through her screen door and walks into + her postage-stamp back yard, trying to ignore the chaos + inside that house. Inside hex house. + + She's angry, ready to cry, yet able to hold it back. She + turns and SEES Peter standing in his yard, other side of + the fence. He’s caught watching her. + + PETER + (embarrassed) + Oh. Hi. + + M.J. + Were you listening to that? + + PETER + (rattled) + No! Yeah! I heard something, but + wasn't listening. To what? + + M.J. + I guess you can always hear us. + + PETER + No. I was just taking out the + trash. + 28. + + + M.J. +You always do your chores, don't +you Peter? + + PETER +Well... + + M.J. +I' m sorry we do that all the time. +Your aunt and uncle never scream. + + PETER +Oh, they can scream pretty good, +y'know. + + M.J. +So... where to after you graduate? + + PETER +I thought I'd go into the city, get +a job as a' photographer, work my +way through college. What about +you? + + M. J. +Headed for the city, too. I can't +wait to get out of here. I thought +I'd.... Oh, I don't know... + + PETER +Try me. + + M. J. +I want to... act... on stage. Be an +actress. + + PETER +Hey, that's great, you were really +awesome in all the school plays, +Mary Jane. + + M.J. +Really? + + PETER +Yeah. I cried like a baby when you +played Cinderella. + + M.J. +Peter, that was in first grade. + + PETER + 29. + + + Well, even so, you know how + sometimes you can know something, + like what's going to be. Like feel + what's around you, what's coming? + + M.J. + Sometimes. + + PETER + And you can just see things coming + that aren't exactly there, but you + just believe. + + M.J. + What do you see coming for you? + + PETER + I'm not sure, but it feels like + something I never felt before, + whatever it is. + + M.J. + And what for me? + + PETER + You? You're...why, you're gonna... + light up Broadway. + +Silence between them. + + M. J. + Y’know, you're taller than you + look. + + PETER + I hunch. + +She reaches out, puts her hands on his biceps. Wow! She +straightens him up. + + M. J. + Don't. Hunch. + +His heart is going a million miles an hour. + +Suddenly we're interrupted by loud shouting again from +M.J.'s house. A horn honks. + +In the driveway, Flash in his new car. M.J. peers around +the comer of the house. + + FLASH + 30. + + + Hey M.J. Come take a ride in my + birthday present? + + She's torn, turns back to Peter. + + M.J. + Thanks, Pete. I gotta go. + + She grins, waves and goes. + + Peter watches as Flash shows the car to M.J., oohs and + aahs. Flash puts down the top. They hop inside and SQUEAL + away, she laughs, her hair blowing in the wind. + + Peter watches the car disappear. Looks downcast. He thinks + a moment, then raises his arm and makes a muscle. A GREAT, + BIG MUSCLE. Lowers his arm. So what? + + +30 INT. PETER'S BEDROOM - NIGHT 30 + + His bulletin board with snapshots h e 1 s taken at school + events and of his Aunt and Uncle. A framed PHOTO OF HIM AS + A 4 YEAR OLD WITH HIS MOTHER AND FATHER. + + A newspaper CRINKLES open to a big ad for used cars. Peter + looks at them wistfully. He turns the page, sees another + ad: + + Attention Amateur Wrestlers! + + THREE THOUSAND DOLLARS + + For just three minutes in the ring! Colorful Characters a + MUST! + + Peter RIPS the ad from the paper. He has a plan. As he + contemplates it, we FEATURE behind him two other snapshots: + M.J. at the museum - one posing, the other of her walking + away. + + +31 INT. PETER'S BEDROOM - NIGHT 31 + + On a sketch pad, Peter's hand draws the outline of a human + figure and various costume possibilities. + + He draws a pair of wings on the figure. + + PETER + A spider with wings? + 31. + + + He crumples it up, starts over. He tries antennae, hates + it, crumples that up too. + + He draws some web-type lines over the face and arms, draws + the eyes. Large, jack o'lantern ovals, with upturned edges. + + +32 INT. PETER'S BEDROOM - NIGHT 32 + + Two empty glass bottles stand on a bookcase on the far side + of Peter's bedroom. SPLAT! A web strand fires toward them, + misses by a mile. + + Peter, sitting on the opposite side of the room, frowns and + tries again. SPLAT! Another wild miss. He looks down at his + wrists, thinking. + + +33 INT. HALLWAY - NIGHT 33 + + Aunt May at his door with a bunch of laundry. She knocks + + AUNT MAY + Peter? What's going on there? + + PETER + (opens door a crack, + peeks out) + Exercising... not dressed. Aunt + May. + + AUNT MAY + Well, don't catch a cold. + + +B34 INT. PETER'S BEDROOM - NIGHT B34 + + He closes the door revealing the room is full of webs. He + decides to make the web shooter. Takes a pad, sketches it. + + ANOTHER DAY + + Sparks fly. Peter has dismantled several Zippo lighters, + watches, and assorted old jewelry and is silver-soldering + back together in a new way. He picks one up, blows on the + solder. Happens to glance out the window — sees M.J.'s + silhouette. She's dancing, acting, being free. + + LATER - IN THE BEDROOM - NIGHT + + Peter picks up the finished contraption and puts it around + his wrist, right over his biological spinnerets. + 32. + + + He turns his chair, aims his wrist across the room, now + with the bracelet. He takes aim and — + + — SPLAT! Scores a direct hit on a can of Jolt Cola on the + nightstand. He spins around, fast, in the chair, and fires + a web under his arm, as if snuck up on from behind. + + SMACK! Hits a plaster lamp, snags it. Yanks it towards him, + he ducks. It hits the wall. SHATTERS! + + He spins again, fires a double-barreled blast at those two + glass bottles. Both of them hit, sending the bottles flying + against the wall, where they SHATTER noisily. + + Peter is thrilled. But there's a POUNDING on the wall. + + UNCLE BEN (O.S.) + What are you doing in there?! + + PETER + Studying! Hard. + + +35 EXT. OSCORP INDUSTRIES - NIGHT 35 + + Even at night, OsCorp’s stacks spew foulness into the air. + + +36 INT. OSCORP LAB - NIGHT 36 + + — the OsCorp lab, deserted, dark at this hour, except for + one area. It's the glass-walled, isolation chamber we saw + earlier, glowing ominously in the middle of the floor. + Inside it, we see a man moving furtively, anxiously, + preparing for a test. + + Stromm and Norman Osborn making preparations for something + — an experiment. + + STRGMM + Mr. Osborn, please, I'm asking you + for the last time... + + OSBORN + Don't be a coward. Risks are part + of laboratory science. + + STROMM + Let me reschedule this with a + proper medical staff and a + volunteer. If you just give me two + weeks... + 33. + + + OSBORN + In two weeks this project, this + company, will be dead. Sometimes + you have to do things yourself. + Give me the barium phosphate. + + STRCMM + Sir? + + OSBORN + Decreases nausea when the vapor + hits the bloodstream. + +Stromm sighs, gives him the phosphate. + + OSBORN + Forty thousand years of human + evolution and we've barely even + tapped the vastness of human + potential. + (he drinks) + To the final realization of man's + true physical and intellectual + capability. + (nods to Stromm) + +Osborn lies on the gurney. + +ZIP! A restraining strap is tightened across his leg. + +CLICK! A restraining buckle SNAPS across his waist. + +Dr. Mendel Stromm hits switches, a motor HUMS, and the +steel gurney slides into the tank and is rotated up to +vertical. + +Mendel Stromm pops switches and levers on the vast console +outside the glass tank, making last second checks on the +battery of monitors in front of him. + +He grabs hold of a set of controls. + +A thick, noxious green gas rises up from the petri dish. +Heavy, but still lighter than air, the gas creeps up, +swirling around Osborn's feet. Over his legs. Over his +groin. + +Creeping up his chest. Tickling over his chin. + +In spite of himself, Osborn holds his breath. + +The green cloud envelopes his head and he forces himself to +open his mouth. He draws just a tiny bit of air — + 34. + + +— and the gas seems to leap into his mouth, as if it had a +mind of its own. Osborn panics, chokes on it for a moment. + +But then he calms, lets himself breathe normally. The gas +flows, in and out of his nostrils, we can see it move. + +Stromm peers through the glass, monitoring every second. + + OSBORN (CONT'D) + I- + +And suddenly, his entire body begins to convulse, seized by +spasms, his fingertips, his teeth, his eyes show only +whites. + +ON THE MONITORS, + +his body functions go crazy. Stromm works the controls +frantically. Flat line. All across the monitors. Stromm +SLAMS a hand down on a red button and — + +IN THE TANK, + +— giant vacuum vents in the ceiling ROAR to life, sucking +the green gas up and out of the room. + +Stromm races to the door, as soon as the gas is gone the +security latches CLUNK open, he shoves hi3 way inside, goes +to Osborn, unstraps him, rips open his shirt and +frantically begins emergency procedures. + +Suddenly, behind him, he hears a SHRIEKING sound. Stromm +turns as go crazy, heart rate leaping up to 226, blood +pressure BANG, respiration, POW, every single graph and +scale and chart registers at or near its peak BEEPING AND +WHOOPING. + +INSIDE THE TANK, + +Osborn's eyes pop open and he leaps to his feet, terrified. +He RIPS the sensors off his chest, Stromm tries to restrain +him, Osborn ROARS — + +— and bats Stromm across the chamber with just one arm. + +But not just across the chamber, he hurls him through the +glass wall of the chamber, which explodes in a shower of +glass as Stromm's body hits it. Stromm keeps flying, +sailing across the lab and SMASHING into a pillar on the +far 3ide, some fifty feet away. + +He sags to the floor, blood pooling tinder his head. + 35. + + + Osborn staggers through the broken wall of the tank, steps + across the rubble, and towers over Stromm's lifeless body. + + FAR AWAY ACROSS THE LAB, + + we see Osborn's hulking figure standing over Stromm. We + keep pulling away until we see something in the foreground, + two items sitting patiently, waiting for someone to finish + them, to make use of them. Mounted atop two poles— + + — that strange single-winged flying platform and the remote + control suit that controls it. + + In the distance, Norman Osborn throws his head back and + HOWLS in pain, confusion, transformation. His primitive cry + echoes over — + + +37 EXT. OSBORN'S APARTMENT - DAY 37 + + — an opulent Tudor Hill apartment building, crowned by an + imperious townhouse. Inside — + + +38 INT. OSBORN’S DEN - DAY 38 + + This room in Osborn1 s lavish apartment. A collection of + masks of all kinds. Ancient, tribal, hideous, garish masks. + The essence of violent warfare. Norman 3its bedraggled, + dressed in yesterday's clothes. Disoriented. Dazed. + + Harry, ready for school, a backpack over his shoulder walks + past the room, looks in, stops and enters. + + HARRY + Dad? What is it, Dad? + + OSBORN + (blurry) + Harry. + + HARRY + You look sick. What's happened? + + OSBORN + (sincere) + I don't know... + + HARRY + (kneels before him) + Where were you last night, I didn't + hear you come in. + 36. + + + OSBORN + I was... last night I was... + + HARRY + What? + + OSBORN + I don't remember. + + Voices come from the hallway. + + +39 INT. HALLWAY - DAY 39 + + Simkins briskly walks down the hallway, argues with + Osborn's HOUSEMAN. + + SIMKINS + I have to see him. + + HOUSEMAN + He can't be disturbed now. + + +40 INT. OSBORN'S DEN - DAY 40 + + OSBORN + Who's there? + + SIMKINS (O.S.) + This can't wait. + (calls) + Mr. Osborn! + + Simkins enters the room. + + HARRY + My father's not well, Mr. Simkins. + + SIMKINS + Mr. Osborn. Dr. Stromm is dead. + + OSBORN + What? + + SIMKINS + His body was found this morning in + the laboratory. He was murdered, + sir. + + HARRY + Murdered? + 37. + + + OSBORN + (on his feet) + What are you talking about? + + SIMKINS + And the flying wing prototype, + sir... + + OSBORN + What about it? + + SIMKINS + It's missing. It's been stolen. + + Silence. Osborn shocked. He moves quickly out of the room. + + OSBORN + Take me there. + + He exits. Harry remains behind for a moment, then after + them. We're in the empty room. Camera lands on one of the + masks. + + +41 INT. PARKER HOUSE LATE - AFTERNOON 41 + + Peter moves quickly down the stairs into + + LIVING ROOM + + Uncle Ben and Aunt May are there. Peter holds his shoulder + bag, moves quickly to the door. Starts to open it. + + PETER + (fast) + Goingtothedowntownlibraryseeyoulate + r. + + UNCLE BEN + Hold on! I'll drive you. + + PETER + It's OK. I'll take the train. + + As Uncle Ben grabs a jacket and his keys. + + UNCLE BEN + I said, I'll drive you. Get in. the + car. + + Peter moves out. Ben follows, turning to wink at Aunt May. + 38. + + +42 EXT. NEW YORK PUBLIC LIBRARY - DUSK 42 + + An Oldsmobile Delta 188 pulls over at the curb in front of + the New York Public Library. + + HUT OLDSMOBILE DELTA - DUSK + + Uncle Ben is at the wheel, Peter beside him, moves to get + out. + + PETER + Thanks for the ride. + + UNCLE BEN + Hold on a minute... We need to + talk. + + PETER + Talk about what? + + UNCLE BEN + You' re not the same guy lately. + Fights in school, shirking your- + chores, you barely say a word to me + or your aunt — what's the story? + + Peter unconsciously pulls his sleeves down over his wrists. + He just can't tell him. + + PETER + There's no story. + + UNCLE BEN + You're changing, and that's normal. + This is the age when a man becomes + the man he's going to be for the + rest of his life. Just be careful + who you change into. Okay? + + PETER + I feel all this, all this power, + but I don’t know what it means, or + how to control it, or what I'm + supposed to do with it, even. + + UNCLE BEN + You'll figure it out. You're one + smart cookie, always have been. + But knowledge is power. And with + great power comes great + responsibility. Don't ever forget + that. + 39. + + + PETER + Yeah, yeah, I know all that, it's + not what I'm talking about. You + wouldn't understand. + + UNCLE BEN + Wanna bet? When I was your age I + went through exactly the same + things. + + PETER + No you didn't, that's my whole + point. It's just possible that + something unique is happening to + me, isn't it? + + UNCLE BEN + Believe it or not, it passes. You + grow out of it. + + PETER + I'm not gonna grow... just drop it, + I'11 figure it out myself. + + UNCLE BEN + Look, if you won't give me so much + as a clue, I can't help you. + + PETER + I didn't ask for help. + + UNCLE BEN + I know I'm not your father, + Peter... + + PETER + Then stop pretending to be. + +There are some things you say that you wish you could pluck +right back out of the air. This is one of them. And it's +too late. + +Uncle Ben's feelings are deeply hurt. He looks away. + + UNCLE BEN + I'll pick you up on this corner at + nine o'clock. + +Peter wants to say something. But can't. + +ON THE STREET, + 40. + + + Peter climbs out of the car, holding a brown paper bag. and + closes the door. He starts up the steps of the library and + watches as the Oldsmobile pulls out into traffic. + + PETER + (to the disappearing car) + I' m sorry. + + He turns around, goes back Aown the steps of the library + and heads off in the other direction. A deafening ROAR + comes over and — + + +43 INT. ARENA - NIGHT 43 + + — we see a costumed AMATEUR WRESTLER, CONTESTANT #1, SLAM's + into the floor of a wrestling ring in the middle of a + small, hot, dusty arena. The crowd goes wild as BONE SAW + McGRAW, six feet nine if he's an inch, three hundred pounds + of pure muscle, climbs to the top turnbuckle. He leaps and + delivers a a crushing flying elbow to his opponent's chest. + + Peter grimaces. + + +44 INT. ARENA HALLWAY - NIGHT 44 + + A line of colorfully dressed wrestlers. A spunky CHECK-IN + LADY sits behind a table taking information. A wrestler, + clad in Robin-Hoodesque garb, stands before her. + + CHECK-IN LADY + Down the hall to the ramp... and + lose the hat. + + "Robin Hood" removes his hat, gives the lady a dirty look. + + CHECK-IN LADY + Yeah, yeah, nice tights tough guy. + Next + + Peter Parker steps forward. She gives him the once over. + + CHECK-IN LADY + There's no feather-weight division + here small fry. Next. + + PETER + No, no, I know. + + CHECK-IN LAD + 41. + + + Okay.... you understand the NYWL is + not responsible for any injuries + you may... (looking him over) ... + and probably will sustain while + participating in said event and + that you are, at sub 150 pounds, + indeed participating under your own + free will. + + PETER + Yes. + + CHECK-IN LADY + Down the hall and up the ramp. May + God be with you. + + Peter turns exits. A male wrestler dressed as "Xena", steps + up. + + CHECK-IN LADY + (taking it in) + Let's go princess. + + +45 INT. ARENA - NIGHT 45 + + Bonesaw pulverizes a new victim, CONTESTANT #2. He hurls + him into the ropes, sending him careening back to the + middle of the ring. Bonesaw grabs him, chucks him into the + stands. + + The crowd goes nuts. Bonesaw ROARS with rage. A HECKLER + rises in his seat. + + HECKLER + Hey Bonesaw! You big fake! You + suck! + + Bonesaw's eyes zero on the Heckler. He balls up his fists, + GROWLS, leaps from the ring. + + Bonesaw pushes his way through the crowd. The Heckler's + eyes go wide as Bonesaw bears down on him, grabs him by the + throat, pops him one. + + Bonesaw grabs his folding chair, starts to make his way + back to the ring, mumbling as he goes. + + BONESAW + Fake my ass. + 42. + + +Bonesaw drags the chair toward the ring, finds CONTESTANT +#2 trying to crawl away. CONTESTANT #2 looks up just as +Bonesaw rears back, WHACKS him across the face with +thechair. + +That's it for #2. He's out. The crowd howls. + + RING ANNOUNCER (O.S.) + "Are you ready for more?" + +The crowd demands more. + +Bonesaw climbs back into the ring, sits on a stool in his +corner. His bikini clad ring maidens, THE BONETTES, are +quick to sponge him off, give him water, massage him. + + RING ANNOUNCER + (louder) + "I said, are we ready for more?!" + + CROWD + MORE, MORE, MORE!!!!! + +Bonesaw's had enough pampering, rises, flexes, whips the +crowd into a frenzy. + + BONESAW + Bonesaw's ready! + + RING ANNOUNCER (O.S.) + Will the next victim please enter + the ring at this time! If he can + withstand just three minutes in the + cage with Bone Saw McGraw... + +Two pendulously-breasted CARD GIRLS strut around the ring +with a banner reading "3:00 for $3,000". + + RING ANNOUNCER (O.S.) + ...the sum of three thousand + dollars will be paid to... + +We find the RING ANNOUNCER standing behind a curtain on a +ramp leading to the ring. He covers his microphone with his +hand, turns to someone off screen. + + RING ANNOUNCER + The Human Spider? That's it? That's + the best you got? + + SPIDER-MAN (O.S.) + Yeah. + 43. + + +The Ring Announcer huffs. + + RING ANNOUNCER + Nah, you gotta jazz it up a little. + (back into microphone) + ...the sum of three thousand + dollars will be paid to... + +The curtain opens, spotlights search through the crowd, +swing to the top of the ramp where we find Spider-Man +partially hidden by a black scrim. + + RING ANNOUNCER + ...the terrifying...the + deadly!...THE AMAZING! ! . . . + +The scrim starts to rise. + + RING ANNOUNCER + ...SPIDER-MAN!!! + +The scrim is gone, revealing Spider-Man, clad in a baggy, +homemade costume made from old sweatpants, sweatshirts and +a Balaclava. + + SPIDER-MAN + (to Ring Announcer) + That's "The Human Spider." + + RING ANNOUNCER + Get out there dipstick. + +A PA gives Spider-Man a shove. He takes in the arena, the +crowd for the first time. He's frozen, paralyzed by the +spectacle before him. + +Spider-Man cautiously makes his way toward the ring. The +Bonettes wait like hungry wolves on the ramp. They +mercilessly heckle him as he goes, feel his muscles, taunt +him, egg on the crowd to do the same. + +A gurney with CONTEST #2, groaning in agony, wheels by. + + CONTESTANT #2 + I can't feel my legs...I can't feel + my legs... + +Spider-Man watches them wheel him away, cautiously +continues. He crawls into the ring, looks around. All of a +sudden— + + CROWD + CAGE! CAGE! CAGE! + 44. + + +Spider-Man scans the crowd. Cage? + +WIDE SHOT + +A flat structure with metal bars drops from the ceiling. +Its sides fold in, form a cage which sets down on the ring. + + RING ANNOUNCER (O.S.) + Will the guards please lock the + cage doors! + +CLANG!! Stage Hands wrap huge metal chains around the +corners of the cage, lock in the combatants. + + SPIDER-MAN + Hey, wait a minute... + +Spider-Man tests the cage. + + SPIDER-MAN (CONT'D) + This thing's locked. + + BONESAW (O.S.) + Freak show! + +Spider-Man turns around, sees Bonesaw standing center ring. + + BONESAW + You're going nowhere! I've got you + for three minutes...three minutes + of playtime with Bonesaw. + +Spider-Man flattens himself against the bars. + + SPIDER-MAN + What am I doing here? + +Bonesaw rushes Spider-Man, lunges at him. Spider-Man leaps +out of frame. Bonesaw crashes into the cage wall, bounces +off, crumples to the ground. He looks up, sees Spider-Man +clinging to the top of the cage. + +The Heckler, bloody faced and back in hischair, is shocked. + +Bonesaw gets up, looks at Spider-Man. + + BONESAW + What do you think you' re doing? + + SPIDER-MAN + Staying away from you for three + minutes. + 45. + + +Bonesaw's furious, leaps— + +—but so does Spider-Man, across the cage, somersaulting to +the opposite side. He clings there, drops to the ground. + + CROWD + Yeahhhhhhh!!! Go Spider-Man!!!! + +Go Spider-Man? He looks around, scans the cheeringcrowd. +Turns back in time to see Bonesaw about to grab him. +Heleaps— + +—does a one-handed hand stand on Bonesaw's head. He grins, +confidence growing, fast. + + SPIDER-MAN + Not a bad costume, what is that, + Spandex? I used Lycra for mine and + it itches like crazy. + +Bonesaw swats him down, grabs his leg. + + BONE SAW + I got you now insect! + +Bonesaw thrashes him about, pitches him against the cage. +Spider-Man falls to the ground. + + SPIDER-MAN + Owwww. + +Bonesaw drags him out of frame. + + SPIDER-MAN + You know, technically it's + arachnid. + +A shadow falls upon Spider-Man. He looks up, sees Bonesaw +flying at him, prostrate, with a flying elbow. Spider-Man's +eyes go wide. He flips his feet up, just in time to place +them on Bonesaw's chest, kicking him into the cage. + +Bonesaw slumps to the map, knocked cold. The crowd freaks +out. Flashbulbs pop. + + CROWD + Spider-Man! Spider-Man! Spider-Man! + +Spider-Man, looks around the arena, raises his arms, +triumphant. + + SPIDER-MAN + Ahhhh... show biz. + 46. + + +46 INT. ARENA OFFICES - NIGHT 46 + + The administrative offices, upstairs at the arena. The + PROMOTER puts a single hundred dollar bill into Spider- + Man's palm (Peter is still wearing the costume). + + PROMOTER + Now get outta here. + + SPIDER-MAN + A hundred bucks? The ad 3aid three + thousand! + + PROMOTER + Check it again, webhead. It said + three grand for three minutes. You + pinned him in two. For that I'll + give you a hundred, and you're + lucky to get it. You made my best + fighter look like a girl out there. + + Enraged, Spider-Man grabs the guy by the shirt and pulls + him closer. A side of Peter Parker we've never seen before. + + SPIDER-MAN + I need that money! + + PROMOTER + I missed the part where this is ay + problem. + + Spider-Man stares at him for a long moment, burning with + rage, he wants to bust this guy right in the nose — + + — but he turns and leaves instead, passing a squirrelly- + looking GUY on the way in, his hair dyed platinum blonde. + + +47 INT. HALLWAY - NIGHT 47 + + Spider-Man walks away down the corridor, clutching the + lousy hundred dollar bill, muttering under his breath. He's + nearly to the elevator when he hears a SHOUT from behind + him. + + PROMOTER + Hey! What the hell do you- + + He turns, as the door to the Promoter' s office BANGS open + hard, shattering the glass, and the squirrelly-looking guy + races out, clutching a canvas bag. He is a THIEF. + + PROMOTER + 47. + + + Help! That guy stole the gate, he's + got my money! + + A SECURITY GUARD approaches from one end of the corridor. + The elevator behind Spider-Man DINGS, its doors start to + open, and the Thief takes off down the hallway toward it. + + SECURITY GUARD + Hey, you! Stop that guy! + + Spider-Man looks up, at the Thief racing straight at him, + at the Security Guard giving chase, at the opening elevator + behind him. He thinks, debates — + + — and takes a step back. The Thief races right past him and + into the elevator. + + THIEF + Thanks, pal. + + The doors close and he gets away. The Security Guard + arrives, SLAMS his fist on the elevator doors. + + SECURITY GUARD + What the hell's the matter with + you?! You just let him go! + + The Promoter comes rushing up out of the office, a large + red welt growing on his cheek. + + PROMOTER + You coulda taken that guy apart! + Now he's gonna get away with my + money! + + SPIDER-MAN + I missed the part where this is my + problem. + + He turns and walks away, down the corridor. + + +48 EXT. NEW YORK PUBLIC LIBRARY - NIGHT 48 + + As night falls, Peter walks down the street toward the + library, dressed in street clothes again. He looks around + for Uncle Ben's car. + + Peter stands on the comer where Ben said he'd pick him up. + Looks to the left, to the right. Not there yet. + + A POLICE CAR races by him, SIREN wailing, and heads for the + far comer. We hear an AMBULANCE'S SIREN in the BG. + 48. + + +He takes an interest, moves across the street. As he walks, +his brow furrows, two and two coming, together in his mind +in a bad way. + +He walks faster. And faster. He elbows his way through the +back of the swelling crowd. Then the middle. As a desperate +conviction grows in his mind, he thrashes, breaking through +the front of the crowd and looking down at the ground — + +— where police officers stand over a body. It's Uncle Ben! + + PETER + UNCLE BEN!! + +He lunges forward, but COPS stop him, pulling him back. + + COP 1 + Hang on, hang on! + + PETER + My uncle! That's my uncle! + + COP 2 + That's not gonna help him! + + PETER + What happened?! + + COP 1 + Carjacker. He's been shot. + +Frantic, Peter tries to reach his uncle. + + COP 2 + Hold on, kid! You can't help the + guy. + + PETER + The guy? He's not the guy! He's my + uncle. + +He pushes in, moves to Ben, kneels, takes his head into his +lap. + + PETER (CONT'D) + Uncle Ben! Uncle Ben! It's me, + Peter! + +Ben opens his eyes, his mouth forms a smile, then the word +"Pete." He dies. Peter cries, holding him. Sirens continue +in the BG. + 49. + + + Behind him, a THIRD COP turns around suddenly, radio in + hand. + + COP 3 + They got the shooter! He's headed + south on Fifth Avenue! + + Very close on Peter — listens intently, stoney-faced. + + +49 EXT. A DARK ALLEY - NIGHT 49 + + An exaggerated shadow falls on the brick wall of an alley. + A man tears off his clothes, violently. The shadow grows + bigger as the man starts to run, suddenly the shadow leaps, + high into the air, sailing toward the building right in + front of us. + + The costume's still not right and he's not wearing a mask + (or face paint), but make no mistake, this is truly THE + AMAZING SPIDER-MAN. He climbs straight up the building. We + climb with him, rising higher and higher until we burst out + over the roof's edge. + + Spider-Man jumps backwards, grabbing a flag pole, swinging + on it, allowing his momentum to hurl him to the next + building, which he scales quickly. + + ON THE ROOF, + + he scans the horizon. He sees a cluster of police lights, + screaming down Fifth Avenue in pursuit. Spider-Man's right + arm rises, palm up. + + THWIP! + + A silver strand of web fluid shoots out across the street. + Spider-Man wraps his hands around it and leaps. + + We leap with him, swinging out over the city, held aloft by + the tensile strength of the web. We plummet down, in a + graceful, terrifying arc, and as the ground races up toward + us, Spider-Man's left hand rises — THWIP! + + Another web strand rockets out into the night, the web- + slinger shifts his weight to the second strand, abandoning + the first, pulling himself back up in a graceful arc that + leads him out into the avenue. + + Well, above the avenue anyway, he's now swinging along + directly above the chase, which is below him. + + DOWN ON THE STREET, + 50. + + + Uncle Ben's Oldsmobile SCREECHES around a corner and + SMASHES through a row of newspaper boxes. Three police cars + follow, not far behind. + + Above, Spider-Man follows, unseen. He webs — left, right, + left, moving faster than the police cars, and THUMPS onto + the roof of the Oldsmobile. + + INSIDE THE CAR, + + Spider-Man's fist SLAMS through the roof of the car and + grabs hold of the Carjacker's face. + + ON THE STREET, + + the car swerves, bumps, scrapes through traffic. Cars SMASH + into one another as it careens through an intersection. + + GUNSHOTS erupt through the roof of the car, fired from + within, missing Spider-Man by inches. He leaps off the + roof, on top of a speeding truck. + + ON TOP OF THE TRUCK, + + Spider-Man stands up. Eyes on the Oldsmobile, he sees + something else. + + A low bridge! Stretching straight across the street, right + about at chest level for Spidey. + + He triple somersaults, up, over the bridge, and lands on + the roof of the truck again. The truck starts to slow, so + he leaps again, onto the roof of the Oldsmobile. + + INSIDE THE OLDSMOBILE, + + Spidey lands right in front of us, staring through the + windshield and then smashing a fist through the windshield, + spiderwebbing it. + + +50 EXT. MARINE BATTERY BUILDING - NIGHT 50 + + The Carjacker loses vision and control, the Oldsmobile + SMASHES through the gates of a creepy-looking building near + the East River, Spider-Man still on its hood. + + The car SCREECHES toward the front door of the building, + Spidey sees it coming, knows he'll be crushed, so he leaps, + Tip, out of sight. + + FROM UP HIGH, + 51. + + + we see the Oldsmobile crash through and barrel into the + building. A second later, the police cars race up, radios + SQUAWKING. + + The camera tilts tip to reveal Spider-Man on the wall above + them, clinging there. The police cars pulsating light + reveals him, fades and Spider-Man is lost in the darkness. + When the light again sweeps by, he is gone. + + +51 INT. MARINE BATTERY BUILDING - NIGHT 51 + + In a far comer of the building floor, the Carjacker cowers + with his gun. The sweeping search light from the police + boat, through the dirty, leaded windows, reveals only his + outline. + + Spider-Man descends, upside-down, from a web strand. He + rotates, lands softly on his feet behind the Carjacker. + + The Carjacker whirls around, BLASTS a shot at Spider-Man. + Sensing it, Spidey leaps, onto the nearest wall. The shot + SMACKS into the wall where he was. + + The Carjacker, whom Spider-Man sees only as a silhouette, + starts BLASTING at him, as Spidey leaps from wall to + ceiling to wall to floor, just inches ahead of the bullets. + + IN THE STREET, + + the Copa hear the shots. Weapons are drawn, rifles + steadied. They can see figures moving inside the building. + + IN THE MARINE BATTERY BUILDING, + + Spider-Man does an acrobatic leap and lands on the + Carjacker's arm, kicking the gun free. It SKITTERS across + the cement floor as Spidey holds the guy up, curls a fist — + + SPIDER-MAN + This is for the man you killed. + + — and punches the Carjacker in the jaw. The blow lifts the + man right off his feet, knocks his stocking cap off, and + sends him sailing into one of the unbroken windows, which + SHATTERS. Spider-Man leaps into the window frame, grabs the + Car jacker, pulls him to his feet. + + Spotlights from outside swing around to frame the pair of + combatants in the window. + + CARJACKER + 52. + + + Don't hurt me! Give me a chance, + man, give me a chance! + + PETER + DID YOU GIVE HIM A CHANCE?! THE MAN + YOU KILLED? ! DID YOU?! ANSWER ME! + + Suddenly, the Carjacker's face is revealed, brightly lit. + His squirrelly face. And his platinum blonde hair. + + It is, God help him, the Thief who stole the money at the + arena. The one Spider-Man stepped aside for. + + PETER + No! No, not YOU! + + Yes. Yes, him. Peter hurls him aside, the Thief CRASHES + against a wall and falls to the floor. Peter starts to + hyperventilate, trembling in horror, realizes the ghastly + truth: + + He failed to stop the very man who murdered his uncle. + + Images flood back at him, fast: + + +52 INT. ARENA OFFICES - NIGHT (FLASHBACK) 52 + + The Security Guard, yelling at him: + + SECURITY GUARD + Stop that guy! + + +53 INT. ELEVATOR NIGHT (FLASHBACK) 53 + + The Thief, standing in the elevator, looking at him evilly + as the doors close on his escape. + + +54 EXT. ARENA - NIGHT (FLASHBACK) 54 + + Uncle Ben's body, lying in the street. + + +55 INT. MARINE BATTERY BUILDING - NIGHT 55 + + Back in the building, the Thief stands up, not ten feet + away from Peter. The Thief aims the gun at him. Blind with + rage, Peter walks toward him. The Thief backs up. Peter + advances. The Thief pulls the trigger and — + 53. + + + — CLICK. Empty. The Thief backs up even further, trips — + + — and CRASHES through a window. Peter lunges forward, tries + to grab him but misses, and the Thief falls fifty feet, + SMASHING into a wooden dock below. Dead. The money flutters + down around the body from the canvas bag. + + OUT ON THE RIVER, + + a police patrol boat CHUGS into view, swings a spotlight + around toward Peter. They get just a glimpse of him. + + COP + YOU, FREEZE! DON'T MOVE! WE'VE GOT + THE PLACE COMPLETELY SURROUNDED! + + The Cops raise their guns to fire, but Peter disappears + from the window, headed up — + + IN THE MARINE BATTERY BUILDING, + + — and by the time the rest of the lights hit the window + Peter is gone. Across the building floor, a DOZEN COPS + SMASH through the door, shine flashlights everywhere. + + The building is empty. + + +56 EXT. A ROOFTOP - NIGHT 56 + + Peter, still wearing the suit but not the mask, drops his + head in his hands on top of a building nearby, alone. All + sound drains away, all sound except Peter's soft voice — + + PETER + Uncle Ben... + + Still with his mask off, tears run down his face. + + PETER (CONT'D) + Oh God, I’m so sorry... + + Pulling away, we see he's sitting on a stone gargoyle, + jutting out from the roof of a lonely building, silhouetted + by the full moon of the night he will never forget. + + +57 INT. PARKER HOUSE - NIGHT 57 + + Peter at the front door. Opens it. Enters. Through the + window, we SEE Aunt May in her bathrobe (she's been waiting + up). We watch Peter tell her the bad news. Her reaction. He + moves to her, holds her. + 54. + + +58 EXT. QUEST AEROSPACE TESTING GROUNDS - NIGHT 58 + + An angled concrete surface fades up out of darkness. + Headlights sweep slowly across bold letters painted there, + BUNKER 6 QUEST AEROSPACE PROVING GROUNDS. A car arrives and + General Slocum gets out and is met by Quest Aerospace's + PROJECT COORDINATOR. They walk along the back of the + bunker. + + PROJECT COORDINATOR + Our exoskeleton's got real + firepower General Slocum. + + GENERAL SLOCUM + If it does what you say it can, + I'll sign the contract tomorrow. + + As the men exit frame they reveal the Badger, Quest' s + military exoskeleton design, some distance from the bunker. + + CLOSER SHOT + + Technicians unplug and scurry away from the war machine. + + +59 EXT. BUNKER - NIGHT 59 + + Through a set of observation slits we see General Slocum + peering out. The Project Coordinator slides up beside him. + + PROJECT COORDINATOR + And what about your commitment to + OsCorp? + + GENERAL SLOCUM + Nothing would please me more than + to put Norman Osborn out of + business. + (Okay, let's see if this + dog'll hunt.) + + CLOSE UP ON TEST PILOT + + The TEST PILOT adjusts some knobs on the control panel. + + TEST PILOT + Beginning mission profile, + and...mark. + + The Badger begins to rise as billowing smoke covers the + frame. + 55. + + +60 EXT. BUNKER - NIGHT 60 + + Slocum and the rest of the delegation observe the action + through the slits. + + BUNKER P.O.V. + + We see the BADGER lift off in a cloud of exhaust, rotate. + + CLOSE UP OF TEST PILOT + + A green glow reflects off his visor. + + TEST PILOT + What the hell is that? + + He looks down at his control panel, makes adjustments. + + The Test Pilot's eyes go wide. + + TEST PILOT + Oh my God...What is that!!! + NOOOOOOO! + + BUNKER P.O.V. + + The Badger explodes in a massive ball of flame. + + +61 EXT. BUNKER - NIGHT 61 + + Through the slits we see Slocum and the other inhabitants + go pale, their faces illuminated by the explosion. + + BUNKER P.O.V. + + The silhouette of the Goblin emerges through the fireball + of the exploding Badger and a missile WHIZZES beneath + camera. + + ROCKET P.O.V. + + The rocket races toward the observation slit in the bunker. + Slocum's face fills with fear, realizes his fate. + + +F62 EXT. BUNKER - NIGHT F62 + + There is a massive explosion in the bunker. Fire and debris + shoot through the observation slits. + + A hideous CACKLE is heard disappearing into the night. + 56. + + + OMIT + + +63 EXT. OUTDOOR AMPHITHEATER - DAY 63 + + Hundreds of mortarboards fly into the air and a great CHEER + rises up from the bare-headed HIGH SCHOOL STUDENTS. + Graduation day. + + IN THE CROWD, + + the GRADUATES swarm everywhere, hooking up with their + jubilant PARENTS. Norman Osborn and Aunt May, separate from + one another, searching for their kids. + + Favor Peter looking for Aunt May. He sees Harry. + + PETER + We made it buddy! + + HARRY + Good news. My father owns a + building downtown with an empty + loft he said we could have. Why not + move in with me when you get to the + city. + + PETER + I'm not sure I can afford the rent. + + HARRY + We'll work something out. + + PETER + (crossing his fingers) + Gotta get a job first. + + ANOTHER ANGLE + + Favor Aunt May and Norman Osborn still searching. Aunt May + spots Norman. + + AUNT MAY + Mr. Osborn... I’m May Parker, + Peter's aunt. I’ve heard about you. + + OSBORN + Aunt May. How do you do? Can't find + my boy. + + AUNT MAY + (spotting him) + There's Harry. + 57. + + +Harry appears with his diploma. Norman looks at him, a +tight smile. + + HARRY + Hey, dad. + + OSBORN + You made it. It's not the first + time I've been proven wrong. + Congratulations. + +He holds out a hand. Harry takes it, accepts the firm +handshake. + + HARRY + Thanks. + + AUNT MAY + (hugging him) + Congratulations, Harry. + +Osborn's face suddenly lights up, noticing something over +Harry’s shoulder. + + OSBORN + Ah hah! The winner of the science + award. + +Peter appears, carries his diploma and science award. + + AUNT MAY + Here's our graduate + (she hugs him) + You two looked so handsome up + there. + +o Osborn puts his arm around Peter. + + OSBORN + I know this has been a hard time + for you, but try to enjoy this day. + Commencement: the end of something. + The start of something new. + + PETER + Thanks Mr. Osborn. + + OSBORN + And if you ever need anything... + +Favor Harry watching his father and Peter. Harry spots M.J. +with Flash and her crowd. He moves toward her. + 58. + + + Flash puts his arms around M.J.'s waist, she pulls away. A + few words between them. We see her remove something from + one of her fingers, hands it to Flash. Flash is stunned, + angry, he hurls it over the crowd and stalks off. Harry + sees this, looks back over at Peter, still next to his + father. Harry moves to console M.J. + + +64 INT. THE PARKER HOUSE - DAY (LATE AFTERNOON) 64 + + Aunt May and Peter have just come in. Peter carrying his + gown, moves slowly to the stairs. Aunt May holds his + diploma and his science prize. She watches him start up. + + AUNT MAY + May I fix you something? + + PETER + No thanks. + + She watches himr recognizes the sadness. + + +65 INT. PETER'S BEDROOM - NIGHT 65 + + Peter sits on the side of his bed. His door left ajar. In a + moment Aunt May appears at the door, knocks. Enters. She + looks at him, then puts his diploma on his desk and his + science prize on a shelf along with a few other awards. + + She moves to the bed and sits beside him. Finally: + + PETER + I missed him a lot today. + + AUNT MAY + I know. I miss him too. + (takes his hand) + But he was there. + + PETER + I just wish I hadn't — + + AUNT MAY + Peter, don't start that again. + + PETER + I can' t help thinking about the + last thing I said to him. + + AUNT MAY + Stop it. + 59. + + + PETER + He tried to tell me something + important and I threw it in his + face. + + AUNT MAY + You loved him. And he loved you. He + never doubted the man you would + grow into. How you were meant for + great things. You won't disappoint + him. Or me. + + She waits another moment, then squeezes his hand and gets + up Moves to the door. + + She leaves quietly closing the door all the way. Peter gets + up, opens a dresser drawer, moves some sweaters out of the + way, digs all the way to the bottom of the drawer... + + ...where his Spider-Man costume is crumpled, the red + sweatshirt lying on top of it. The spider outline, sketched + on its front. + + UNCLE BEN (V.O.) + Remember... with great power comes + great responsibility. + + We HEAR the approach of what will become a GREAT ROAR. + + DISSOLVE TO: + + +66 EXT. MANHATTAN - DAY 66 + + A train ROARS out of a tunnel. + + +67 INT. TRAIN - DAY 67 + + Peter sits in the train, staring at the skyline, a pile of + college textbooks in his lap. + + +68 EXT. MANHATTAN - DAY 68 + + Manhattan is in the background as the train heads into the + heart of the city. + + +69 EXT. DELI - DAY 69 + 60. + + + A ROBBER races out of a Korean deli, gun in one hand, sack + of money in the other. The GROCER chases him out, carrying + a baseball bat, the Robber turns, to shoot him, when + suddenly — + + — THWIP! A web-strand wraps around the gun and yanks it + sharply out of the Robber's hand. Stunned, both Robber and + Grocer turn. + + A shadow disappears into the night, barely seen. + + +70 EXT. STREET - DAY 70 + + A CABBIE leans against his cab, talking to a couple other + CABBIES. + + CABBIE + (heavy accent) + This is not a man. My brother saw + it building a nest in the Lincoln + Center fountain. + + +71 EXT. JEWELRY STORE - NIGHT 71 + + A POLICE CAR SCREECHES to a halt in front of a jewelry + store, siren SCREAMING. TWO COPS race up to the glass + doors, which have been smashed, the store's alarm WAILING. + + The Cops suddenly look up, over the door, where they see + THREE JEWELRY THIEVES and their bag of loot caught in a + web-net, dangling from a lamppost, tied up neatly for them. + + +72 EXT. CONSTRUCTION SITE - DAY 72 + + TWO CONSTRUCTION WORKERS dangle their feet off a beam while + eating lunch. + + CONSTRUCTION WORKER + Have you ever seen his face? + Neither have I. Wait until his wife + figures out he's running around in + tights. + + +73 EXT. DARK STREET - NIGHT 73 + + A WOMAN holds out her purse, huddling before a MUGGER, + who's holding a gun on her — + 61. + + + — until he's suddenly gone, swept up into the air by the + red and blue blur that flashes through the frame. + + Her purse falls back into frame. She scoops it up. A Note + attached reads, "COURTESY, YOUR FRIENDLY NEIGHBORHOOD + SPIDER- MAN." + + +74 EXT. POLICE STATION - DAY 74 + + A UNIFORM COP talks excitedly with a couple other Cops. + + COP + Never mind the vigilante thing, you + seen all those webs he leaves all + over the city, I'm gonna site the + guy for littering. + + +75 INT. DAILY BUGLE - DAY 75 + + WHO IS SPIDER-MAN? Costumed Figure Saves Fire Victims + + It's the headline of a tabloid newspaper, the Daily Bugle. + There's also a large photograph, of a burning building, and + a fuzzy, indistinct figure crawling up the side of it. + + JAMESON (O.S.) + He's a criminal, that's who he is! + + The paper lowers with a crumple, revealing the face of J. + JONAH JAMESON, owner of the last flattop haircut in + America. + + JAMESON (CONT'D) + A vigilante! A public menace! + What's he doing on my front page? + + HOFFMAN, an employee of The Bugle enters the office, + interrupting the meeting Jameson is having with his city + editor, ROBBIE ROBERTSON. + + HOFFMAN + Mr. Jameson, we have a page + problem. + + JAMESON + We have a page problem. Shut up! + + ROBBIE + He's news. + + HOFFMAN + 62. + + + They're a major account, it can't + wait. + + JAMESON + It's about to. + + ROBBIE + (ignoring Hoffman) + He saved six people from burning to + death. + + JAMESON + - in a fire he probably started! + Something goes wrong and this + creepy crawler's there, what's that + tell ya? + + ROBBIE + Boss, he's a hero. + + JAMESON + Then why does he wear a mask? What1 + s he got to hide? + + HOFEMAN + We double sold page 6. Both Conway + and Macy's bought three quarters of + it. + + ROBBIE + We sold out all four printings, + Jonah. + + JAMESON + Sold out?! + + ROBBIE + Every copy. + + JAMESON + Spider-Man, page one, tomorrow! + With a decent picture this time! + +Jameson turns to Hoffman. + + JAMESON + Move Conway to page 7. + + HOFEMAN + There's a problem with page 7. + + JAMESON + 63. + + + Then move them to page 8 and tell + 'em we'll give 'em an extra column + inch. Get out of here! + + ROBBIE + Can't get a picture. I've had Eddie + on it for weeks, nobody ever gets + more than a glimpse of him. + + JAMESON + What is he, shy?! If we can get a + picture of Julia Roberts in a + thong, we can certainly get a + picture of this nut. Put an ad on + the front page! "Cash, money for a + picture of Spider- Man!" Doesn't + want to be famous?! + + +76 EXT. DAILY BUGLE - DAY 76 + + His voice continues over the exterior of the building: + + JAMESON (O.S.) + Then I’ll make him INFAMOUS! + + +77 EXT. CHELSEA STREET - DAY 77 + + We're looking through the glass doors of MOONDANCE, a + seedy- looking diner downtown. Inside, we see Mary Jane + Watson, wearing a hideous orange waitress uniform, being + berated by a SURLY COOK. She punches a time clock, grabs a + raincoat, and stalks out of there. + + As the doors open, a blast of NOISE and grease washes out + after her. She makes her way down the street. The guy + passing her stops, checks her out. It turns out to be + Peter. + + PETER + Hey! + + M. J. + (doesn't look up) + Buzz off! + (keeps walking) + + PETER + Mary Jane Watson? + + She freezes. As if hearing her own name frightens her. + 64. + + + PETER (CONT'D) + (continuing) + M.J. It's me. Peter. + + M. J. + (turns, lights up, pulls + her raincoat closed) + Peter! + + PETER + Hi. How have you been? What are you + doing around here? + + M.J. + I live around the corner. I was... + headed to an audition. + + PETER + An audition. So you're an actress k + now. + + M.J. + Working steady. In fact I just got + off a job. + + PETER + That's great M.J. + + M.J. + Yeah, I've never been happier. It's + like they say, it's all about the + work, y'know, the work is + everything... But how about you? + How's the photography? + + PETER + Great. + (beat) + Actually... I haven't done much + with it. I've been kind of busy... + + PETER + Going to college... + (holds up the + classifieds) + looking for a job, saving the + world. But you! Look at you. You're + actually living the life you + dreamed about. + +Suddenly, the door to the diner opens and the Surly Cook +steps out, clutching a pile of restaurant checks in his +meaty fist. + 65. + + + SURLY COOK + Hey, glamour girl! Your drawer's + off by six bucks! + Next time I take it out of your + check, you'll get me? + (she ignores him.) + Excuse me. Miss Watson, I am + speaking words to you. You get me? + + M. J. + Yes, Enrique, okay? I "get you," + Enrique. + +He goes back inside, BANGING the door shut behind him. M.J. +looks down, can’t look Peter in the face. By way of an +explanation, she opens her raincoat, flashes him the +uniform. + + M.J. + Some dream, huh? But it’s just + temporary. Few extra dollars. + + PETER + Well that’s nothing to be + embarrassed about. (You think they + need a waiter?) + + M.J. + Don’t tell Harry. + + PETER + ...Harry? + + M.J. + (sees his look) + Aren't you guys living together? + We've been going out. Didn’t he + tell you? + + PETER + (recovering) + Oh, yeah... right. + + M.J. + I think he'd hate the idea of my + waiting on tables. He'd think it + was low. + + PETER + Well, Harry never has lived on a + little planet I like to call earth. + +M.J. laughs. + 66. + + + PETER + Probably half the people starring + on Broadway were waiters or even + dishwashers. + + M.J. + How come you always make me feel + better? + + He smiles. Shrugs. An awkward moment. + + M.J. + Well... + (she turns to go) + It's good to see you Peter. + (calls after her) + Maybe I’ll come down and have a cup + of your Moondance coffee some day. + (quickly) + And I won’t tell Harry. + + M. J. + (looks back) + No, don't tell Harry. + + PETER + (to himself) + No, I won't. I won't tell Harry. + + Finally, he turns and starts off in the other_direction. He + walks alone. + + PETER + Harry and Mary Jane. Wow. + (keeps walking, sad) + Don't tell Peter. + + Walks on. + + +78 EXT. HARRY’S APARTMENT - DAY 78 + + A cool place in Tribeca. + + +79 INT. HARRY’S APARTMENT - DAY 79 + + The door opens. Peter enters, downhearted. He spots Norman + pacing around, speaking on a cell phone. Norman nods to + him, Peter nods back. He SEES Harry at the dining room + table. College textbooks open. Harry turns, out of sorts. + + HARRY + 67. + + + Stormin' Norman making his weekly + inspection. Spends half of it on + the phone. + (re: open books) + Man, am I glad you're here. I need + your help, I'm hopelessly lost. + What's wrong with you? Somebody run + over your dog? + + PETER + No. I, uh... I was late and Dr. + Connors fired me. + + HARRY + Late again? What is it with you? + Where d'you go all the time? + + PETER + Around. + + HARRY + For a completely responsible guy, + you're completely irresponsible. + +Osborn hangs up his phone. + + OSBORN + Peter Parker. + +He turns. Norman Osborn is walking toward him, all smiles. + + OSBORN (CONT'D) + Maybe you can tell me who she is. + + PETER + Who? + + OSBORN + This mystery girl Harry's been + dating. + + HARRY + Dad... + + OSBORN + I think he wants me to meet this + one, and believe me, it's the first + time that's hap- + + HARRY + (sharply) + Dad. + 68. + + +Osborn stops, looks at Harry — what? Peter looks at Harry +too, but Harry avoids his gaze. + + PETER + Sorry. Harry hasn't mentioned her. + + HARRY + (to change the subject) + Hey, Pete you're probably looking + for work now. Dad, maybe you can + help him find a job? + +Peter shakes his head, makes his way toward the kitchen. + + PETER + Oh, no. I appreciate it, but I'll + be fine. + + OSBORN + It's no problem. I'll make some + phone calls. + + PETER + No. I couldn't accept it. I like to + earn what I get. I can find work. + + OSBORN + I respect that. + (making his way over to + Harry) + You want to make it on your own + steam. That's great. + (to Harry) + Interesting, isn't it, Peter is + looking for work. As in, actively + seeking, as opposed to strenuously + avoiding. + + HARRY + What do you want from me? I'm + trying to keep my grades up. + +Peter notices a copy of the Daily Bugle on the kitchen +counter. He picks it up, looks at the front page. + + OSBORN + What other skills do you have + Parker? + +Peter looks up from the front page of the Daily Bugle, +which he's been studying intently. + + PETER + 69. + + + I'm thinking of something in + photography. + + He tosses the Bugle back on the counter, where we see the + front page. ThereT s a crude sketch of Spider-Man ’ s face, + under the headline: + + WANTED: PHOTOGRAPHIC PROOF + + Bugle Offers Reward! + + +80 EXT. BANK - NIGHT 80 + + A 35MM camera is suspended in the cornice on the third + floor of a building. Peering in through the lens, we see a + red light flashing. + + THROUGH THE CAMERA LENS, + + the words "Auto Shutter" flash in red in the lower right + corner of the frame. + + We're looking through the viewfinder now, watching as THREE + BANK ROBBERS emerge from a bank, guns drawn, hostage in + tow. + + A dark figure swings into view and does battle with the + bank robbers. The camera on the cornice suddenly FLASHES, + and in that flash-instance, we get our first good look at — + + — THE AMAZING SPIDER-MAN, in his new, improved, extremely + snazzy costume. The image freezes, changes to — + + +81 INT. DAILY BUGLE - NEWSROOM - DAY 81 + + — the resultant still photograph. A hand flips past it, to + more pictures of Spider-Man, all good shots, swinging, + flying, web-shooting. Robbie Robertson looks up, in the + newsroom of the Daily Bugle. + + ROBBIE + They're good. Very good. How'd you + get 'am? + + PETER + If I tell you, you'll send your own + photographer. Am I hired? + + ROBBIE + It's not up to me. Mr. Jameson + hires all staff personally. + 70. + + + They hear SHOUTS from the office across the hall. + + JAMESON (O.S.) + IS THAT WHAT I SAID?! IS THAT WHAT + I ASKED?! I SAID A PICTURE, EDDIE, + NOT AN INK BLOT! WHY THE HELL CAN'T + ANYBODY BRING ME DECENT ART ON THAT + FREAK?! GET THE HELL, OUT OF HERE! + + ROBBIE + He fires 'em that way, too. + + EDDIE BROCK, another young photographer, comes out of + Jameson's office. Brock is shabbily dressed. + + EDDIE + (locks eyes with Peter) + What're you looking at greenhorn? + + Brock walks away. Jonah Jameson appears in the doorway + shouts after him. + + JAMESON AND BROCK! WOULD IT KILL YOU TO GET A DECENT SUIT?! + + He turns, sees Peter, inexplicably continues in shouting + mode. + + JAMESON + WHAT?! + + +82 INT. JAMESON'S OFFICE - DAY 82 + + Jameson sits behind his desk, flipping through the + photographs. Peter is across from him, nervous, but Robbie + gives him a wink — hang in there. + + JAMESON + They're crap. + (flip) + Crap. + (flip) + Crap. Megacrap. I'll give you three + hundred for all of 'em. + + PETER + That seems a little low. + + JAMESON + Then take 'em somewhere else. + + Peter rises, starts to collect the photographs. + 71. + + + JAMESON (CONT'D) + Sit down. Alright... I'll give you + five hundred. That's the standard + freelance fee. + + Jameson takes the photographs back and hands them to Robbie + muttering as he points to one in particular. + + JAMESON (CONT'D) + Tear up page one, run that shot + instead. + + Peter does a double take — page one?! + + ROBBIE + Headline? + + JAMESON + Spider-Man, Hero or Menace? + Exclusive Daily Bugle photos! + + PETER + Menace? Sir, he was protecting that + bank from those- + + JAMESON + Tell you what, Atticus, you take + the pictures, I make up the + headlines, okay, that alright with + you? + + PETER + Yes, sir. — I would like a job, + sir. + + JAMESON + No jobs! Freelance. Best thing in + the world for a kid your age. Bring + me more shots of that newspaper + selling clown and I might take 'em + off your hands. Come on, get out of + here, I got deadlines. + + + MONTAGE: + + +83 EXT. NONDESCRIPT BUILDING - NIGHT 83 + + We see a web. A camera flashes. + + +84 INT. BUGLE - DAY (LATE AFTERNOON) 84 + 72. + + + Jameson, Robbie and Peter in Jameson's office. Robbie hands + Jameson a front page mock-up with a photo of Spider-Man in + action. The Headline reads: + + NY CHEERS COSTUME HERO + + Jameson frowns. Crosses out "CHEERS" writes in "ETARS," + crosses out "HERO" writes in "COWARD." Holds up the paper. + Headline now reads: + + Peter sees it. NY FEARS COSTUME COWARD + + +85 INT. JAMESON'S OFFICE - DAY 85 + + Peter brings in an envelope, hands it to Jameson who opens + it. More Spider-Man photos. + + +86 INT. BUGLE - ANOTHER DAY 86 + + Robbie hands Jameson another newspaper mock-up with a + Spider- Man photo on the front page and no headline.. + + ROBBIE + Headline? + + JAMESON + (thinking) + "Spider-Man: Super-Hero or Super- + Zero?" + + Peter reacts. + + +87 INT. BUGLE - ANOTHER DAY 87 + + Robbie, Peter, Jameson. A newspaper is lowered to his desk. + + Close shot - The headline shouts: + + "BIG APPLE FEARS SPIDER BITE!" + + Pull back — all. + + PETER + Why are you so hard on him? He's on + the side of the law. + + JAMESON + 73. + + + He thinks he is the law. There's no + place in this society for vigilante + justice. Once one person takes the + law in his own hands, it's anarchy. + + PETER + (growing dissatisfaction + of Spider-Man photos & + headlines) + Mr. Jameson. How about an + assignment. I'd like to shoot + something other than Spider-Man. + + JAMESON + No, you just keep doing what you're + doing. + + ROBBIE + J. J., we need someone to cover the + World Unity Festival. Let's send + Peter. + + JAMESON + World Unity Festival! Another epic + display of OsCorp self- + aggrandizement. Fine, send him, but + I never said you have a job! Meat! + I'll give you a box of Christmas + meat! Best I can do! NOW GET ME + MORE PICTURES! + + +88 EXT. OSCORP CORPORATE HEADQUARTERS - DAY 88 + + A sprawling high-rise adorning the Manhattan skyline. + + +89 INT. OSCORP BOARD ROOM - DAY 89 + + Norman Osborn sits at the head of a long table in the + OsCorp board room, concluding a meeting. The cat who ate + the canary. + + OSBORN In addition, we've secured three major new + government contracts and I' m pleased to announce that as + of today, OsCorp Industries has surpassed Quest Aerospace + as the principal supplier to the United States military. + Ixi short, ladies and gentlemen of the board, costs are + down, revenue is up, and our stock has never been higher. + + Simultaneously, they all close the leather-bound folders + that were open in front of them. Balkan sits forward. + 74. + + + BALKAN + That's wonderful news, Norman. + (clears his throat) + In fact, it's the reason we're + selling the company. + + OSBORN + What?! + + BALKAN + It took us ALL by surprise, but + Quest Aerospace is recapitalizing + in the wake of the bombing. + + OSBORN + Fargas, what the hell's going on + here? + +Fargas doesn't respond. + + BALKAN + Quest is expanding and they've made + a tender offer we can't ignore. + + OSBORN + Why wasn't I told about this? + + BALKAN + The last thing they want is a power + struggle with entrenched + management... + + FARGAS + They want you out, Norman. The deal + is off if you come with it. The + board expects your resignation in + thirty days. + + OSBORN + You... can't do this to me, I built + this company. + (to Fargas) + Max... please... + +Norman quickly scans the faces of the hostile board +members. + + FARGAS + The board is unanimous. I’m sorry. + We're announcing the sale right + after the World Unity Festival. + + BALKAN + 75. + + + You're out, Norman. + + OSBORN + (Oh, yeah?) + Am I. + + +90 EXT. TIMES SQUARE - DAY 90 + + An enormous, multi-colored globe stands over Times Square, + today the site of World Unity Festival, a festival of + healing and unification. + + ON THE STAGE + + Macy Gray entertains the crowd with a soulful renditiSfc- + 'of "Why Didn't You Call Me." + + IN THE STREET + + Peter Parker works his way through the crowd taking + pictures. Through the lens he spots a YOUNG MfiN reading + the Daily Bugle. Peter focuses on the headline which reads— + + "Big Apple Dreads Spider Bite!" + + Peter lowers his camera, shakes his head. + + He takes in the spectacle before him, continues working his + way through the crowd taking pictures. + + Giant balloons float in the air. Thousands are in + attendance here, the vibe is sweetness and light. + + A MOTHER buys her seven year old boy, BILLY, some cotton + candy. Five stories up, a balcony on one building has been + converted into + + A REVIEWING STAND, + + buttressed by two Hercules statues, one at each corner, + which appear to be holding the reviewing stand aloft. + + All this under a large banner which reads "OSBORN + INDUSTRIES WELCOMES YOU TO THE 3RD ANNUAL World Unity + Festival." + + NINE ANGRY MEN AND WOMEN, the OsCorp board of directors, + sit in a row in suits and ties, chatting up other + DIGNITARIES. Balkan and Fargas are smiling, but it's sorta + gruesome. + 76. + + +Harry is fixing a UNITY DAY pin to M.J. He stands back to +study her. + + HARRY + Perfect. Except how come you didn't + wear the black dress? I wanted to + impress my father. He loves black. + + M.J. + Maybe he'll be impressed, no matter + what? You think I'm pretty. + + HARRY + Of course I do. You're beautiful. + +ANGLE ON PETER IN THE STREET, + +Peter raises his camera, squeezes off a few shots. + +THROUGH HIS LENS, + +Peter scans the balloons, the floating streamers, comes to +a Hercules statue. He tilts his camera up the statue'a +torso, rising up, to the balcony's edge, up past Harry and +M.J., up further... + +He sees Harry put his arm around M.J., leans in for a kiss. +Time slows down, Harry's mouth approaches M.J.'s, the worst +is about to happen, but at the last second — + +— M.J. turns, giving Harry cheek when he wanted lips. + +ON THE STREET, + +Peter whips the camera down, pumps a fist in the air. Hope! + +Harry, his cheek turned, is looking down at the street. He +sees Peter, who looks back up and sees Harry. They each see +each other seeing each other. Harry, caught in the act. + +ON THE REVIEWING STAND + +Harry averts his gaze from Peter, puts his arm around M.J., +ushers her away. + +ON THE STREET + +Peter's expression suddenly changes, completely, his eyes +widen. We leap outside him as — + +HIS SPIDER-SENSE + 77. + + +goes off, slowing everything to a crawl. Spidey P.O.V. +races all around him., searching the crowd for any sign of +danger, but finding nothing. + +BACK ON THE STREET, + +things return to normal speed. Peter looks around, puzzled. + +ON THE REVIEWING STAND, + +Harry leads M.J. through the balcony crowd, spots Balkan +and Fargas, walks up to them. + + HARRY (CONT'D) + Have you seen my father? + +The two board members share an uncomfortable look. + + FARGAS + I'm not sure he'll be joining us. + +Balkan and Fargas turn, hear something. So do the others +around them. It's a high-pitched WHINING sound. Harry and +M.J. look for the noise, make their way to the balcony +edge. + +ON THE STREET, + +Peter is really going crazy, certain there's a problem +somewhere, but not sure what it is. He looks up. + +IN THE SKY, + +something darts in and out of the clouds, something small +and very, very fast. + +ON THE REVIEWING STAND, + +Fargas is squinting up into the sky, at the source of the +whining. + + FARGAS (CONT'D) + What is that? + +Balkan joins him. + + BALKAN + Must be new this yeax. + +He raises a pair of binoculars. + + BALKAN (CONT'D) + 78. + + + What the devil! Is that our wing? + +IN MID-AIR, + +we're flying, a first-person shot. A deranged CACKLE echoes +over the whine of a jet-engine turbine. + +ON THE STREET, + +whatever-it-is comes through for another pass, lower this +time. But it passes so fast, zigzagging through the floats, +that we can't really get a handle on it. + +ON THE REVIEWING STAND, + +Balkan and Fargas look troubled. But the crowd APPLAUDS, +all smiles. They like this bit. + +IN MID-AIR, + +whatever-it-is curls up into the sky, banks and hovers, +turning right toward the reviewing stand. + +From behind it, we see that it's a figure atop a flying +thing, and the figure reaches down to his belt and detaches +some kind of device, the size of a softball, with vertical +bulges like those on a pumpkin. As he raises the device, we +get our first look at... + +THE GREEN GOBLIN! + +He's clad in a form-fitting dark green suit densely layered +with complicated circuitry, a suit we have seen before, in +the OsCorp lab. Over his face he wears a grotesque, green +demonic mask, and he has both legs astride a small flat +flying wing, big enough for one — also the one we saw in +the lab. + +The Goblin CACKLES, a hideous laugh that echoes over the +street. + +ON THE STAGE + +Macy Gray, her background singers and dancers stop +performing, look around. Weren' t informed regarding this +part of the "show." + +And the crowd CHEERS! They love this guy! + +The Goblin twitches and banking and plummeting — the Glider +responds immediately, — straight down toward the reviewing +stand. + 79. + + +The Goblin detonates the device he holds (a pumpkin bomb) +and hurls it toward one of the Hercules statues. + +KA-BOCM! Hercules crumbles. The reviewing stand begins to +collapse, lurches lower, sways, V.I.P.s topple, M.J. is +thrown forward, Harry backwards. + +Debris showers the pavement below, nearly crushing +terrorized CITIZENS. + +ON THE STAGE + +Ms. Gray' s security guards rush in, cover her, escort her +to safety. + +ON THE STREET, + +Peter elbows his way through the crowd and takes off toward +the mouth of an alley. + +ON THE REVIEWING STAND, + +there is a shudder, a CRACK and the entire stand drops a +few feet. M.J. is splayed precariously on the dangling +balcony balustrades. + +Harry gets to his feet, goes to her. But his weight causes +the balcony to shift. + +Hercules CRACKS yet again. M.J. is tossed further to the +outer edge of the balcony. + +THE GREEN GOBLIN + +soars upward. Takes another pumpkin bomb from his pouch and +hurls it. + +ON THE REVIEWING STAND, + +the bomb lands with a THUNK, bounces to a stop right in +front of the members of the OsCorp board. The bomb WHIRS a +few feet into the air, and then — + +ZAP-FLASH! + +It explodes in a brilliant orange, so bright and searing it +irradiates half a dozen members of the board, turning them +into X-ray images. + +SCREAMS everywhere. They don't love this guy anymo£e| + 80. + + +The blast's concussion causes the balcony to again. Now +M.J. is really in trouble. + +o Harry crawls over to her... blinking to get the spots +from his eyes, he reaches out his hand. + +M.J. reaches out her hand to him, when — + +THE GREEN GOBLIN + +rises up behind her, on his Glider. Malefic grin. M.J. +turns to him, SHRIEKS. + +The Goblin lets out a blood-curdling CACKLE , revels in the +mayhem unfolding, but cuts it short, hesitates, hearing +something. He turns and + +THE AMAZING SPIDER-MAN! + +swings down from a building above and (ROW!) smacks right +into the Goblin, knocking the villain clean off his Glider. + +The Goblin plummets, from six stories up, except that he +lands on one of the passing floats, bounces off it, makes a +nifty mid-air twist — + +And crashes feet first into a large tent below, which +breaks his fall. + +IN MID-AIR, + +the Glider comes sailing down after the Goblin, as with a +homing device. It SMASHES through the globe replica, which +is knocked off its perch, and comes out the other side, +heading for the Goblin. + +SPIDER-MAN + +clings to the side of a building, overlooking the chaos. +His eyes zip over to — + +THE REVIEWING STAND, + +where M.J. is in big trouble. But then there are SCREAMS, +and his eyes zip over the other way, to where the globe +replica has begun to roll — + +ON THE STREET + +— crushing everything in its wake. And headed straight for +Little Billy, who stares in frozen shock as it heads right +for him. His Mother SCREAMS. + 81. + + +ON THE BUILDING, + +Spider-Man fires a web at a billboard high atop a nearby +building. + +AND SWINGS + +in a huge arc. Straight for Billy. He sweeps the child up, +just as the globe rolls past, stamping out parking meters +like matchsticks. + +THE GREEN GOBLIN + +is on the ground, stuck in the tangle of the collapsed tent +and surrounded by COPS, whose guns are raised. + + GREEN GOBLIN (CONT'D) + I surrender! I surrender! Media + violence made me do it! + +The Cops hesitate, and in that moment the Goblin leaps, +inhumanly, into the thick of them. They go after him, +piling on, in a blizzard of flashing nightsticks. + +NEARBY, + +Spider-Man swings to the ground, depositing Billy in the +arms of his Mother. He looks over, to where the Cops have +blanketed the Goblin, fists flying. + +But with a shocking burst of strength, the Goblin hurls the +Cops off him, and they go flying in all directions. + +Spider-Man makes a leaping run, he hand-springs, +somersaults, vaults himself in the air, and lands on his +feet in front of the Goblin. + + GREEN GOBLIN (CONT'D) + How dare you interfere with me! + What do you want?! + + SPIDER-MAN + World peace. But I’ll settle for + your chin. + +And he sends a FIST into the Goblin's chin. + +The Goblin flies across the street, crashing into a brick +wall. Spider-Man comes at him again, with another haymaker +— + +— which the Goblin catches in one gloved hand. Stopping it. + 82. + + + GREEN GOBLIN + See what I did there? + +And now it's his turn to throw a massive punch. + +Spider-Man goes ass over cart and into a lamppost, elbows +smashing through an ice cream. + +The Goblin touches something on his wrist and a moment +later his Glider comes whizzing down, right behind Spider- +Man, who leaps and over it at the last second. + +The Goblin jumps on the Glider, CLICKS his boots into the +wings, and he's off, into the sky. + +IN MID-AIR, + +the Goblin banks left, turns back. He hits a button and +small machine guns appear from the Glider's tips. + +ON THE REVIEWING STAND, + +Harry reaches for M.J. but she's out of reach, still +trapped on the reviewing stand. She tries to climb to +safety as it sways, CRACKS like ice in springtime. Rivets +POE. + +IN MID-AIR, + +the Goblin FIRES at Spider-Man, raking the ground around +him with bullets. + +Spider-Man fires a web up to an enormous Rasta Man float. +And he swings up, out of the gunfire’s path, up and over +the top of the float as the Goblin disappears into the sky. + +FROM SPIDER-MAN’S P.O.V. + +we see M.J. on the crumbling balcony, imperiled. A +procession of floats hover between her and Spidey. + +So Spider-Man leaps. A super junp, a tuck and roll, and he +leap frogs from float to float, one, two, three. He makes +his final leap for the balcony when— + +IN MID-AIR, + +The Goblin zooms in behind Spider-Man, wraps him in a bear +hug and drives him into the building above the balcony. +Glass and debris rain down. + +ON THE BALCONY + 83. + + + Harry is struck in the head by a chunk of debris. His knees + buckle and he crashes to the floor, unconscious. + + IN MID-AIR + + The combatants trade blows. The Goblin rears back, delivers + a crushing elbow to Spidey’s jaw, sending him plummeting + toward the balcony. + + ON THE BALCONY + + Spider-Man, glass and chunks of the building come crashing + down near M.J. causing her to roll out, to the very edge. + She is saved by the balustrades, which break her fall. M.J. + watches as debris crumbles, falls five stories. + + Spider-Man is just about to move toward M.J. when the + Goblin appears, rising up out of nowhere, HOVERING right + over them. + + He whirls toward Spider-Man. A weapon HUMS up out of the + Glider, points at Spider-Man. + + Spidey shoots a web, it SPLATS over the Goblin's face, + obscuring his vision. A laser beam BLASTS into the wall + next to Spidey. + + Spider-Man reaches up into the Glider and pulls out a + handful of wiring from underneath the wing. + + The Goblin takes off, clawing the webbing out of his face, + the Glider smoking and sputtering. Safe! + + No, not safe! The building ledge finally crumbles and she + falls, SCREAMING! + + IN MID-AIR, + + Spider-Man dives down after her, straight down, trailing a + web behind him. He catches M.J. just short of the street, + the web pulls taut, and they bounce back up just before + hitting the pavement, like at the end of a bungee jump. + + They sail back up into the air, just as the balcony finally + collapses behind them. + + +91 EXT. COLLAPSING BALCONY 91 + + Harry wakes. He's at the edge of the balcony and just then + he sees Spider-Man swinging away with M.J. + 84. + + +92 EXT. STREET -NDAY 92 + + They SWOOSH by overhead. A CABBIE exits his cab, points, + watches the duo swing away. + + CABBIE CABBIE (ALT.) + What the hell’s that? Look, it's + Superman. + + IN MID-AIR + + Spidey and M.J. swing through the spectacular canyon of + skyscrapers, she works up the nerve to ask him: + + M.J. + Who are you? + + SPIDER-MAN + You know. + + M.J. + I do? + + SPIDER-MAN + Your friendly neighborhood Spider- + Man. + + +93 EXT. ATOP ROCKEFELLER CENTER - THE GARDENS 93 + + Spider-Man lands gracefully, deposits her gently on the + grass, where two YOUNG LOVERS are making out on a bench. + + SPIDER-MAN + Don't mind us. She needs to use the + elevator? + + Jaws drop. Spider-Man turns and leaps off the edge of the + building, throwing in a double somersault before shooting + out a web. Breathless, M.J. watches him swing away into the + city. + + M.J. + Spider-Man... + + OMIT + + +94 EXT. HARRY'S APARTMENT - NIGHT 94 + + A tenant walks out, hails a cab. + 85. + + +95 INT. HARRY APARTMENT - NIGHT 95 + + The door opens. Harry enters with cell in hand. He's in a + panic. Peter at window drinking a glass of milk. + + HARRY + Pick up! Pick up! If somehow you + get this, call me right away. + (hangs up, sees Peter - + he's manic) + Pete! Oh, man, I'm glad you're + here. Any word? Has she called? + + PETER + Not yet. She will. + + HARRY + She will? How do you know, you + don't know that. + + PETER + Feeling I have. You okay? How's + your head? + + HARRY + They patched it up, it's nothing. + Where did. he take her? What would + he do to her? Thank God my father + wasn't there. That whole scene, + where'd that thing come from? What + was it? + (re Peter’s glass) + What is that? Milk? + + PETER + Uh huh, got milk. + + HARRY + Why aren't you worried? + + PETER + (remembering) + Oh. Right. I am worried. + + HARRY + I've put it together. Spider-Man + knows she's my girlfriend. He'll + want a ransom from my father. + + PETER + (cocks his head) + Really? What could he get? + 86. + + +The PHONE RINGS. Harry picks it up. + + HARRY + Hello? + + M.J. (V.O.) + (in a state of bliss) + Hi ya. + + HARRY + Oh, thank God! + (to Peter) + It's her. + (to phone) + Where are you? Are you alright? Did + he hurt you? + + M.J. (V.O.) + Ohh, noo. He was incredible, + + HARRY + He was what? What do you mean he + was incredible? + +Peter reacts. Smiles. + + M.J. (V.O.) + Oh, I don't know. You know. + + HARRY + Are you sure you're alright? Are + you drugged? Where did he take you? + + M.J. (V.O.) + To a beautiful roof garden. + + HARRY + To a roof garden? + + M.J. (V.O.) + Have you ever been there? You + should go. + + HARRY + No, I've never beenthere, listen, + I’m coming over. + + M.J. (V.O.) + Why? + + HARRY + 87. + + + Because you need to tell me + everything, that’s why. And what + did you mean by incredible? + + M.J. (V.O.) + I’m going to sleep now. + + HARRY + Well, then, call me in the morning. + Are you sure you're feeling + alright? + + M.J. (V.O.) + (still blissed) + Incredible. + + HARRY + STOP SAYING THAT! Call me when you + wake up, we'll go for breakfast and + I'll buy you something beautiful... + + M.J. (V.O.) + Why? + + HARRY + Because I want to, it'll make you + feel better. + + M.J. (V.O.) + G'night. + + HARRY + Alright, g'night, get some sleep, + uh, sleep tight, don't let the----- + - + +She hangs up. One of those sloppy hang ups, a good three +seconds for the receiver to set down. + + HARRY + (he hangs up) + She’s still a little rattled. + +Peter tips his glass of milk back, head back, finishes it +to the last drop. Milk on his lip. + + PETER + At least she’s alright. + + HARRY + Look...about M.J. I know that was a + picture you didn’t want to take. + 88. + + + PETER + I didn’t take it. + + HARRY + I know I should've told you about + us, but you have to understand, I'm + crazy about her. + + PETER + We're friends . You didn't have to + lie. + + HARRY + I always knew you wanted her for + yourself, but you never made a + move. + + PETER + I guess I didn't. + + HARRY + Look, I’m going to get some sleep. + How about you? + + PETER + I think I’ll look out at the + skyline. I’d like to pray for those + people who died. + + HARRY + What was that thing that killed + them? It happened so fast. + + PETER + I don’t know. But somebody has to + stop it. + + HARRY + Right. Well... I'll pray in the + bedroom. + +He hesitates, then moves into another room. Peter moves to +the window and looks out at the night sky, the skyline. The +terror that lurks. + +THE DAILY BUGLE + +has a front page picture of Spider-Man and the Green +Goblin, doing battle atop the Goblin Glider, next to the +headline: + +TIMES SCARE! Spider-Man, Green Goblin Terrorize City! + 89. + + + We tilt up from the paper to see — + + +96 INT. OSBORN'S APARTMENT - ENTRY HALL - DAY 96 + + — Norman Osborn, who's been staring at the front page, + standing in the still-open doorway of his apartment. + + He's dressed in rumpled clothes from last night, he must + have slept in them. He's disheveled, bags under his eyes, + looks like hell. + + And there1 s this headline. He looks back down at it, + uncomprehending, searching for meaning. + + ON THE FRONT PAGE, + + we zip down to a box at the bottom of the page, where + there's another, less prominent headline: + + OsCozp Board Members Killed + + IN THE APARTMENT, + + Osborn rubs his head, trying to make sense of it. He's + starting to sweat. He SLAMS the door — + + +97 INT. ENTRY HALL - DAY 97 + + — and staggers away, across the entry hall. Somewhere, far + in the distance, he hears a faint CACKLE. + + He stops, looks around. Where the hell did that come from? + Frightened now, he lurches across the foyer and up the + stairs. + + +98 INT. NORMAN'S STUDY (MASK ROOM) - DAY 98 + + Osborn enters his study, paper in hand. + + OSBORN + Somebody there? + (looks around room, to + balcony, silence) + Of course not. + + He moves to a small table, whisky decanters. Hands shaking, + pours a shot, raises it to his mouth. + + GREEN GOBLIN (O.S.) + 90. + + + Stop pretending, Norman... + +He turns around, looks up sharply, the wobbling glass still +in his hand, his face dripping, terrified. The VOICE — +mirthful, other-worldly, we've heard before, it's The +Goblin. Osborn stumbles to the middle of the room. + + OSBORN + Who said that? + + GREEN GOBLIN (O.S.) + (his demonic monotone) + Don't play the innocent with me. + You rve known all along. + + OSBORN + Who are you? + + GREEN GOBLIN + Follow the cold shiver that's + running down your spine. Look, I'm + right here. + +Norman turns to the mirror. + + OSBORN + I don't understand. + + GREEN GOBLIN + Did you think it was coincidence? + So many good things... all + happening for you... all for you, + Norman. + + OSBORN + What do you want?! + + GREEN GOBLIN (O.S.) + Tb say what you won't... to do what + you can't— + (shows Osborn paper in + mirror) + —to remove those in your way. + + OSBORN + (holds paper, studies it) + The board members! YOU killed + them?! + + GREEN GOBLIN (O.S.) + ME killed them... + + OSBORN + 91. + + + Oh, God! My God! + + GREEN GOBLIN (O.S.) + Stop mewling... You sicken me... + you ooze weakness... + + OSBORN + I'm not a murderer, I'm a + scientist, a respectable + businessman. The police. + +Norman scurries over to the phone, reaches for it— + +—but The Goblin beats him to it. + + GREEN GOBLIN (O.S.) + (shrieking) + HYPOCRITE! LIAR! + +The Goblin rears back, heaves the phone toward the balcony. +Norman watches it fly through the air, sees The Goblin, now +standing on the balcony, duck as it zips past his head. The +Goblin stands there, looking down on Osborn. + + GREEN GOBLIN (CONT'D) + Now shut up and listen! Try to + understand the beauty of all this. + YOU are now in full control of + OsCorp Industries. Your greatest + wish, granted by me. Say thank you. + +Osborn thinks, takes everything in. + + OSBORN + Hnnnm. And then what? + + GREEN GOBLIN (O.S.) + We'll eliminate your rivals. OsCorp + will become the most powerful + military supplier in history. + You'llhave limitless wealth. + Presidents and Kings will court + your favor. So don't be shy. Take + what you've always wanted. Power. + The weak will serve you. The world + will be yours and mine. Yes. You + and I, we can have a hell of a + time. + +Osborn lurches to his chair. + + OSBORN + 92. + + + I suppose the damagehas been done, + right? + + GREEN GOBLIN + Yeah. + + OSBORN + Can we do it alone? + + GREEN GOBLIN (O.S.) + There's only one who could stop us. + + OSBORN + (a better thought) + Or... be our greatest ally. + + GREEN GOBLIN + Exactly! We need to have a little + chat with you know who. + + OSBORN + But how do we find him? + + With that he snatches up the Bugle from the table top, + looks at the front page picture of Spider-Man and the + Goblin. + + +99 INT. JAMESON'S OFFICE LATE - DAY 99 + + JAMESON + (finishing the sentence) + "The Green Goblin." + + Jonah Jameson is in his office, chewing a cigar and + admiring the front page of his newspaper. Peter Parker + stands opposite. (On the wall behind Jameson is a framed + photograph of a handsome astronaut.) + + JAMESON (CONT'D) + You like that? Made it up myself. + Ever since Spider-Man, they all + gotta have a name. HOFFMAN! + Call the patent office and + copyright the name Green Goblin! I + want a quarter every time somebody + says it! + + PETER + Spider-Man wasn’t terrorizing the + city, he was trying to save it! + It’s slander! + 93. + + + JAMESON + I resent that! Slander is spoken! + In print it's libel. + + He tosses his cigar over his shoulder, out the window + behind him. + + PETER + You don't trust anybody, that's + your problem, Mr. Jameson. + + Peter walks out of his office. Jameson yells after him. + + JAMESON + I trust my barber! What are you, + his lawyer? Let him sue me and get + rich like a normal person! That's + what makes this country- + + His cigar flies back through the window and lands on his + desk. Jameson looks at it, puzzled, turns around — + + — and THE GREEN GOBLIN SMASHES through the window frame. He + grabs Jameson by the throat with one hand and scoops him up + off his feet, his glider hovering over the floor of the + office. + + +100 INT. NEWSPAPER OFFICE OUTSIDE JAMESON'S OFFICE - LATE DAY 100 + + Peter' s eyes pop wide as he looks into Jameson's office. + Secretaries, reporters and other Bugle employees scurry + about to escape the mayhem. Peter quickly ducks into the + hallway. + + +101 INT. JAMESON'S OFFICE LATE - DAY 101 + + The Goblin's grip remains firm on Jameson's throat. + + GREEN GOBLIN + Who's the photographer who takes + the pictures of Spider-Man?! I need + to talk to him about his favorite + subject. Where is he? + + JAMESON + He's a free-lancer, I don't know + who he is! His stuff comes in the + mail. + + GREEN GOBLIN + You're lying. + 94. + + + JAMESON + (choking) + I swear! + + GREEN GOBLIN + This is your last chance! + + JAMESON + Please... air... stop... + + SPIDER-MAN (O.S.) + Hey. + + The Goblin whirls. Spider-Man hangs upside-down in the + window. + + SPIDER-MAN + I wear the tights in this town. + + GREEN GOBLIN + Speak of the devil. + + He lets go of Jameson, who drops to the floor in a heap, + gasping for air. + + JAMESON + I knew it! You and Spider-Man are + in this together! I knew that creep + was- + + THWIP! A bunch of webbing SPLATS across Jameson's mouth, + shutting him up. + + SPIDER-MAN + Hey Kiddo, let Mom and Dad talk for + a minute, will you? + + The Goblin points his glove at Spider-Man and sprays gas + directly from it, into Spidey's face. Everything goes + black. + + +102 EXT. DAILY BUGLE - LATE DAY 102 + + Spider-Man, unconscious, tumbles from what used to be + Jameson's window and plummets toward the ground below. + + Right before he meets his demise, The Green Goblin 3woops + in, catches Spider-Man and zooms away. + + +103 EXT. MIDTOWN ROOFTOP - NIGHT 103 + 95. + + +Spider-Man is regaining consciousness on the roof of a tall +building in midtown. The Goblin Glider nearby, the Goblin +standing next to it in the shadows. Spidey tries to move. + + GREEN GOBLIN + Relax. + +Spider-Man struggles, drags himself to a sitting position, +against an abutment. Feels like he weighs a thousand +pounds. + + GREEN GOBLIN (CONT'D) + My hallucigen gas slowed your + central nervous system to a crawl, + just for a few minutes. Long enough + for us to have a talk. Don't worry, + I didn1t remove your mask. I'll + respect your + privacy, for the moment anyway. + Because I respect you. + + SPIDER-MAN + (fighting to be alert) + Who are you? + + GREEN GOBLIN + A kindred spirit. A fellow + traveler... You've changed and now + you want someone to tell you what + to do, who to be. And there's no + one who could possibly + understand... + (leans in) + ...except me. + +Spider-Man looks down, at his hand. He can raise a few +fingers, but they’re trembling. + + GREEN GOBLIN + They call us freaks. But we're not + less them human, we are more than + human. + + SPIDER-MAN + I’m not like you. You're a + murderer. + + GREEN GOBLIN + 96. + + + Well... to each his own. I chose my + path. You chose the way of the + hero. And they found you amusing + for a while... the people of this + city. But the one thing they love + more them a hero is to see the hero + fail, fall, die trying. The truth + is people don't like heroes. Who + wants an example you can never live + up to? Take my word for it... in + spite of all you've done for them, + eventually they will hate you. Read + the headlines. + +In spite of himself, Spider-Man is listening. + + GREEN GOBLIN + We are who we choose to be, but a + day will come when you must ask + yourself, did I choose wisely — why + am I risking my life for ungrateful + fools? + + SPIDER-MAN + Because it’s right. + +The Goblin circles Spider-Man. + + GREEN GOBLIN + Right? Wrong? Capital R, capital W? + You're young, aren't you? You + believe in truth, beauty, + professional athletes as role + models. Well here's the real truth. + There are fourteen million people + in this city, and those teeming + masses exist for the sole purpose + of lifting a few exceptional people + onto their shoulders. You, me, we + are exceptional. I had problems, + but I used my God given powers and + poof, those problems vanished. + +Spider-Man stares. He's thinking... + + GREEN GOBLIN + Imagine what we could accomplish + together. What we could create. + (loving this) + OR... we could destroy, cause the + deaths of countless innocents in + selfish battle, again and again. + And again, until we both are dead. + 97. + + + He summons his glider. Hops aboard. Looks at Spider-Man. + + GREEN GOBLIN + Think about it, hero. + + He cackles and shoots off into the night. + + +104 EXT. MANHATTAN - DAY 104 + + The sun rises over the Manhattan skyline. + + +105 EXT. STREET CORNER - DAY 105 + + A Daily Bugle truck motors tip to a newspaper stand. A + bundled stack of papers tumbles to a stop at the feet of + the newsstand proprietor. Citizens gather around, fish out + their money. The proprietor bends down, cuts the twine + bundling the papers revealing the headline— + + Spider-Man, Green Goblin Terrorize City! + + +106 EXT. MIDTOWN BUILDING - NIGHT 106 + + Peter leans against the wall of a midtown television + studio. He' s glum. He's staring at a line of newspaper + vending machines across the sidewalk. Each displays the + headline: "Spider-Man, Time for a Bug-Free City!" + + Mary Jane Watson comes out the side door of a television + studio. As it SLAMS behind her, a little too hard, she + turns and looks at it, notices the sign that says "ARTISTS + ONLY." She laughs bitterly to herself, starts walking away. + Peter1s been waiting. + + PETER + Hey! + + M. J. + (turns) + Hey. + + PETER + How was the audition? + + M. J. + How'd you know?! + + PETER + 98. + + + The hotline. Your mom told my aunt + told me. We have no secrets from + each other. + + M. J. + So you just came by? + + PETER + I was in the neighborhood. I needed + to see a friendly face. Took two + buses and a cab to get in the + neighborhood, but... + + M. J. + They told me I need acting lessons. + A soap opera told me I need acting + lessons. + +A light rain starts to fall. + + PETER + I'll buy you a cheeseburger. Sky1s + the limit, up to seven dollars and + eighty-four cents. + +She laughs. She smiles. But: + + M. J + I'd like a cheeseburger, but I'm + going to dinner with Harry. Come + with us. + + PETER + No thanks. + (a beat) + So how's it going? I mean, with you + and, nevermind, none of my + business. It's not? Why so + interested? + + PETER + I'm not, am I interested? + + M.J. + You're not? + + PETER + Well... why would I be? + + M. J. + I don't know. Why would you be? + + PETER + 99. + + + Y'know... just... I don't know. + + She smiles. + + M. J. + Sorry you won't come with us. + + It's raining harder. + + M.J. (CONT'D) + Gotta run. + (runs) + Disappointed yet again, confused. + Did she want him to confess his + love? + + But he's suddenly jostled by FOUR PUNKS, walking past him + from behind, bumping into him. + + PETER + 'Scuse me. + + They ignore him, keep walking in M.J.'s direction. Peter + turns, walks away. Then turns back, furrows his brow. + + +107 EXT. DARK STREET - NIGHT 107 + + From high above, we see M.J. turn a corner onto a dark + street. The Four Punks catch up, surround her. They stop to + admire her, heckle her, she says something to them... Now + they're pissed. And Punk #1 goes for her purse. + + DOWN ON THE STREET, + + M.J.'s no pushover, she’s mixing it rip with them. She + shin- kicks Punk #1, elbow-jabs Punk #2, punches Punk #3 + and maces Punk #4 with the cannister that dangles from her + keychain. + + M.J. + What are you guys, from out of town + or something? + + Now they're really pissed. And bigger. And there's four of + them. M.J. is shoved into a wall, and Punk #1 SNICKS open a + knife. It looks bleak. + + Suddenly, THWIP-WRAP! all four Punks are slammed together + as if lassoed, and they go flying up, out of frame. + + M.J. stands, slack-jawed, staring in wonder at something we + can't see. Then, suddenly, she leaps out of the way as — + 100. + + +— Punk #1 comes flying back and SMASHES through a window +next to where she was standing. Punk #2 SMACKS up against a +brick wall, Punk #3 flies through another window and Punk +#4 goes barreling into a trash can. They lie about on the +ground, either unconscious or with the good sense to fake +it. + +M.J. walks forward, staggered, and as we come around behind +her, we see what she sees. + +Spider-Man stands in the shadows, breathing hard after his +exertions. She looks at him, can't make him out in the inky +darkness. But we get closer to him — and he's not wearing +his mask! Didn't have time to put it on. + +Peter fumbles for it, pulls it from his waistband. But +hesitates, knowing she can't see him fully. + + PETER + You have a knack for getting in + trouble. + + M.J. + You have a knack for saving my ass. + I think I have a superhero stalker. + +She walks closer. He retreats, further into the shadows, +still no mask. + + PETER + I was in the neighborhood. + +She stops, squints at him. She's heard that before, and +recently. Does she suspect? + + M.J. + You are amazing... + +She's almost to him now — so Peter pulls the mask on. + + SPIDER-MAN + Some people don't think so. + + M. J. + But you are. + + SPIDER-MAN + Thank you. + +He leaps up, onto the wall above her, clinging there +upside- down. She steps up underneath him. He's right at +lip height. + 101. + + + M. J. + Do I get to say thank you this + time? + + She puts her hands on his mask... and starts to lift it. + Spider-Man is paralyzed, can't stop her. + + SPIDER-MAN + Wait... + + But she doesn't lift it all the way up. Just so his mouth + is exposed. And she kisses him. That is, she kisses him, + rain streaming down both their faces and over their parted + lips. She pulls back. Touches his lips with her fingertips. + + M.J. + That's so you'll remember where + your mouth is... + + She replaces the mask, tenderly. Spider-Man hesitates, then + scampers up the wall and out of sight. She watches him go, + eyes shining. + + M.J. + Yowza. + + +108 EXT. CITY SCAPE - DAY 108 + + "YOWZA" is HEARD again. But it’s being DISTORTED into the + SOUNDS of the sirens of fire trucks and police cars and + ambulances. + + +109 EXT. CITY - DAY 109 + + Spider-Man swings through a city corridor. + + SPIDER-MAN + Help is on the way! Yowza! Yowza! + + CAMERA COUNTERS Spider-Man as he swings past lens and he + heads towards a burning apartment house surrounded by fire + trucks, police cars, ambulances. A crowd is there, + including some people who have been rescued. + + +110 EXT. APARTMENT BUILDING - DAY 110 + + FEATURE a MOTHER, her two young sons holding on to her + skirt, as she, against her will, is being forced out of the + building by two FIREMEN. She fights to get back in: + 102. + + + MOTHER + Let me go, my baby's in there, + somebody save my baby, let me go! + + FIREMAN + It's too late, lady, the roof's + ready to collapse. + +The woman continues to struggle and scream. + +ANOTHER FIREMAN reacts to something above. + + FIREMAN #2 + Hey! Up there! Look! It's him! + +Above the crowd we SEE Spider-Man swinging his way to the +burning building. He disappears inside. We BOOM DOWN to— + + FIREMAN + What's he doing? + + FIREMAN #2 + He's crazy, he hasn't a chance. + + MOTHER + Save my baby, please, please! + +They wait. The building continues to bum. There is a loud +CREAKING noise as the roof starts to collapse. + + MOTHER + NOOOOOOOOO!!!!! + +THROUGH A SMOKY, FIRE-ENCASED WINDOW, Spider-Man swings +out, cradling a web-encased parcel. Behind him, a +tremendous fireball. He descends towards CAMERA. + + VOICES + He's alive! He's got the kid! I + don't believe it! + +The crowd applauds. Spider-Man drops into view, landing at +the feet of the mother and her two boys. He still holds the +parcel. + + SPIDER-MAN + (extends baby) + Here's your baby. + + MOTHER + (takes it) + Oh, God Bless you, Spider-Man. + Bless you, bless you. + 103. + + + SPIDER-MAN + (to the boys) + You children be good. Stop playing + with matches. Don't start something + you can't put out. + + COP (O.S.) + Don't let him get away! + + A COP bursts through the crowd, draws his gun, levels it on + Spider-Man. + + COP (CONT'D) + Hold it right there. You're wanted + in connection— + + OLD WOMAN (O.S.) + Hellllpppp!! Helllppppp!! + + Behind the COP, a YOUNG MAN raises a finger toward the + building. + + YOUNG MAN + Look! There's somebody else! + + The crowd turns, sees an OLD WOMAN barely visible through a + window dancing with fire. + + The COP looks at Spider-Man, Spider-Man to the COP. + + COP + I'll be here when you get back. + + The COP lowers his revolver. Spider-Man leaps away. + + +111 INT. NEARBY SMOKY ROOM - DAY 111 + + Spider-Man flips through a window, lands, scans the smoky + room, fire leaping about. He sees what appears to be an OLD + WOMAN, draped in a shawl, huddled in the corner. + + SPIDER-MAN + Everything's going to be okay + ma'am. + + OLD WOMAN (V.O.) + Oh. Thank you sonny. You're my + hero. + + SUDDENLY WE HEAR: + + The CACKLE! + 104. + + + GREEN GOBLIN (O.S.) + What' s wrong with lighting up now + and then? + (another CACKLE) + +The "OLD WOMAN" lets the shawl fall to the ground, turns. + + SPIDER-MAN + (sees Goblin through + licking flame) + Goblin! YOU? You started this fire. + + GREEN GOBLIN + (moving closer) + You're pathetically predictable, + Like a moth to a flame. + (then super serious) + What about my generous proposal? + Are you in, or are you out? + + SPIDER-MAN + It's you who's out, Gobby. + (preparing to attack) + Out for good!! + +The Goblin reaches to his belt, hurls a razor bat at +Spider- Man who deflects it with his left arm. SNICK! + + SPIDER-MAN + (pain) + AHHH! + +Spider-Man looks down at his arm. A deep gash oozes blood. +He raises his arms, shoots a web to a burning beam above +Goblin's head. Spider-Man tugs on the webs sending the beam +and debris raining down on The Goblin, obstructing his +view. + +The Goblin throws the beams and debris aside, looks around. +Spider-Man is gone. A trail of blood leads out the window. +The Goblin' s body tenses, he howls with anger. + + GREEN GOBLIN GREEN GOBLIN (ALT.) + I don't forgive and I don't + forget. It breaks ray heart. + We could have been so good + together. + + SPIDER-MAN + (pain) + AHHH! + +Spider-Man looks down at his arm. A deep gash oozes blood. + 105. + + + He shoots a "web ball," about the size of a softball, into + The Goblin's face, sending him ass over elbows back into + the wall. + + The Goblin rises, determined, pissed, flicking gooey web + from his face. When his eyes clear, Spider-Man is gone. A + trail of blood leads out the window. The Goblin's body + tenses, he howls with anger. + + +112 INT. HARRY'S APARTMENT - DAY 112 + + A browning turkey is pulled out of the oven by a pot- + holder. + + Aunt May forks the turkey to test it. M.J., in her black + dress and apron, helps. The signs of a full Thanksgiving + meal are on the counter all around them, and the dining + room table in Harry' s apartment is set for five. + + Harry is fastidiously checking the table, plumping pillows, + straightening chairs. The doorbell RINGS. + + HARRY + Okay... he's here. + + Mary Jane comes out of the kitchen, takes off apron. + + HARRY + You look great. + + Harry opens the door. Norman Osborn stands in the hallway + in a very nice suit, dabbing sweat off his forehead with a + handkerchief. He carries a small, ribboned pastry box. Mary + Jane comes out of the kitchen. + + OSBORN + Sorry I'm late. Work was murder. + Here's a fruitcake. Who's this + young lady? + + HARRY + M.J., I'd like you to meet my + father, Norman Osborn. Dad, I'd + like you to meet Mary Jane Watson. + M.J. + + She flashes a radiant smile. Osborn steps closer, holding + out a hand but also, unmistakably, narrowing his eyes. + Studying her. + + OSBORN + 106. + + + How do you do? I've been looking + forward to meeting you. + + M.J. + (senses badness) + Happy Thanksgiving, sir. + + AUNT MAY + (moves in) + Hello Norman. We're so pleased + you're here. Where's Peter? He + better have remembered the + cranberry sauce. + + Behind them, a red and blue costumed figure WHOOSHES past + the living room window, unnoticed, and lands — + + +113 EXT. APARTMENT BUILDING - DAY 113 + + — on the side of the apartment building. Spider-Man pivots + and crawls down a few floors, to his window, opens it. + + IN THE LIVING ROOM, they hear the SMALL THUD, and all turn + toward his room. + + HARRY + That's weird, I didn't know he was + here. + + AUNT MAY + Peter? + + +114 INT. PETER'S BEDROOM - DAY 114 + + Peter crawls across the ceiling and drops onto the floor in + his bedroom. + + IN THE LIVING ROOM, + + They hear a BIG THUD. + + AUNT MAY + My goodness. + + IN PETER'S BEDROOM, + + He pulls off his mask and immediately tends to his injured, + bleeding arm. He whips around and looks at the door, wild­ + eyed. He sees shapes moving through the frosted glass of + his bedroom door, hears Aunt May's voice calling to him. + 107. + + +He still has his mask off, holding a bundle of street +clothes. + +IN THE LIVING ROOM, + +Aunt May is nearly to the door, Norman, Harry, and M.J. +just behind her. She turns the handle, opens it, and they +see — + +IN PETER'S BEDROOM, + +— nothing. The room is empty. + + HARRY + Pete? + + AUNT MAY + But there's nobody here... + +Osborn comes in and glances around the room. Kind of a +mess, clothes and books and science equipment scattered +everywhere. But no Peter. + +We look up. Peter, maskless, clings to the ceiling not +three feet over their heads. A big, fat drop of blood is +oozing from the cuts on his arm, right over Osborn's head. + + OSBORN + Bit of a slob, isn't he? + + AUNT MAY + All brilliant men are. + +Osborn smiles, loves that Aunt May, they turn to walk out — + +— and the drop of blood falls. It hits the light-colored +carpet, right where he was standing. Osborn, the last in +the doorway, freezes, tilts his head at the sound. Good +hearing, man. Human Performance Enhancers will do that for +you. + +The others leave, but Osborn turns and walks back to where +he was standing. + +On the ceiling, Spidey's eyes widen — oh no. Osborn is +directly below him. + +Osborn bends down, studies the carpet. He sees the drop of +blood. Quickly, he looks up at the ceiling above him. + +There's nobody there. + 108. + + + He turns, looks at the open window. He walks to it. + + FROM OUTSIDE THE WINDOW, + + Osborn leans outside and looks in both directions. Camera + pulls back to reveal Spider-Man clinging to the underside + of the ledge. + + Apparently satisfied, Osborn turns and goes back inside. + + +115 INT. HARRY'S APARTMENT - DAY 115 + + The front door to Harry's apartment opens again. Peter + attempts a casual entrance, now dressed in street clothes + and carrying a brown paper bag. + + PETER + Hey everyone. + (kisses Aunt May) + Sorry I took so long, it's a jungle + out there. I had to hit an o.ld + lady with a stick to get these + cranberries. + + AUNT MAY + Oh, Peter. Come on everyone, let's + sit down and say a prayer. + + They all move for the table. Norman reaches for the jellied + cranberry log. Aunt May slaps his hand. + + AUNT MAY (CONT'D) + ...and Norman... + (indicates turkey and + carving knife) + ...will you do the honors? + + Norman picks up the knife. Aunt May reacts to blood on + Peter's arm. + + AUNT MAY + Peter, you're bleeding! + + PETER + Yeah, I stepped off a curb and got + clipped by one of those bike + messengers. + + AUNT MAY + Let me see. + 109. + + +She pushes his sleeves up, exposing the X-shaped slashes in +his forearm. + + AUNT MAY + What in the name of heavenly + glory?! + +Norman Osborn's eyes widen. He recognizes those slashes! + + AUNT MAY + You've got to be more careful out + there! This city has a lunatic on + every corner. + +We move in on Norman, holding the carving knife, his eyes +focusing in like laser beams, staring at the distinctive +cuts on Peter's arms. + + AUNT MAY + Everyone sit down. I’ll go and get + the First Aid kit. And then we’ll + say grace. This is the boys' first + Thanksgiving in this apartment and + we're going to do things properly. + + OSBORN + (to Peter) + How did you say that happened? + + PETER + ... Bike messenger. + +As Peter turns to Norman, his breathing sharpens, his eyes +widen and fill with fear, suddenly and inexplicably + +HIS SPIDER-SENSE + +kicks in like crazy. Everybody around him slows to a crawl, +and his P.O.V. pivots around the room, rapidly scanning +every nook and cranny for the source of the danger that +must surely be nearby. He flips from frozen face to frozen +face — Aunt May, M. J., Norman, Harry — all friends, right? + +BACK IN THE APARTMENT, + +Peter pops out of his Spider-Sense, confused, drops of +sweat on his forehead, to find Osborn still staring at him. + + PETER + (finishing) + ... knocked me down. + + OSBORN + 110. + + + You111 have to excuse me, I’m + afraid I’ve got to go. + + HARRY + What? Why? + + OSBORN + Something... has come to my + attention. + + HARRY + Are you all right? + + OSBORN + Fine, I’m fine. Thank you. Mrs. + Parker. Everyone. + + AUNT MAY + What happened? + +He strides out of the apartment, throwing one last look +back at Peter Parker. + + HARRY + Dad! + +IN THE HALLWAY, + +Osborn leans against the wall in the hallway, eyes darting, +thinking a mile a minute. Harry comes out behind him, +leaving the door ajar. + + HARRY + What are you doing? I planned this + whole thing so you could meet M.J. + and you barely even looked at her! + + OSBORN + I've got to go. + +He turns, starts down the hall. Harry grabs him by the arm. +turns him around. + + HARRY + Hey, I like this girl, this is + important to me! + + OSBORN + Harry, please. Look at her. You + think a woman like that's sniffing + around because she likes your + personality? + 111. + + + HARRY + What are you saying. Dad? + + OSBORN + Your mother was beautiful, too. + They're all beautiful, till they're + snarling after your trust fund like + ravening wolves. + + HARRY + Dad... This girl's not... + + OSBORN + (interrupts him) + A word to the not-so-wise about + your little girlfriend. Do what you + need to with her and broom her + fast. + +Osborn leaves. + + HARRY + What? + +IN THE APARTMENT, + +M.J. stands on this side of the door. Listening. Everyone +else is in the living room or kitchen. They can all hear. + +M.J. turns away and grabs her coat. Harry comes back in. +M.J. storms past him. + + HARRY + Where are you going? + + M.J. + Thanks for sticking up for me, + Harry. + + HARRY + You heard? + + M.J. + Everyone could hear that creep. + + HARRY + (suddenly angry) + That "creep" is my father! + Alright?! If I'm lucky. I’ve got + the brains and the guts to become + half of what he is, so you keep + your goddamn mouth shut about + things you don't understand. + 112. + + + AUNT MAY + Harry Osborn! + + M. J. + You're acting like somebody's + father — mine! + (as she goes) + I’m sorry. Aunt May. + + She storms out of the apartment, SLAMMING the door behind + her. + + PETER + Harry, go after her! + + HARRY + I don't think so. + + PETER + Harry, come on! + + HARRY + No. I can't. + (to Aunt May) + Welcome to an Osborn Thanksgiving. + + He storms into his bedroom and SLAMS the door. + + PETER + Sorry, Aunt May. It looked great. + + He jumps up, gives her a kiss, and hurries out of the + apartment. Aunt May, shocked at all the discord, sits at + the table alone. + + AUNT MAY + We didn't even get to say grace. + + +116 EXT. STREET - DAY 116 + + Peter hurries out of the building. Looks for M.J., sees her + sitting on a nearby step. She's crying. The chauffeur- + driven Bentley drives past. M.J. gives it the finger. + + Peter stands by her. She looks up at him, mascara dripping. + She needs a hanky. He has one. Holds it out to her. + + PETER + Take it. + + She hesitates, takes it. + 113. + + + PETER + Keep it, it's yours. Got a million + of ’em. Aunt May, a dozen every + Christmas. + +She laughs through her tears. She blows her nose. "Honnnk." +She laughs harder. Then starts to cry harder. He sits next +to her. + + PETER + That's okay. Good cry. + + M.J. + I'm sorry I acted like that, but I + couldn't stay there. Being treated + that way brings back bad stuff. I + hate being thought of as if I'm not + worth anything. + + PETER + I understand. + + M.J. + I know you do. Your poor Aunt May. + But I can't go back in there. + + PETER + She'll be okay. She's tough. I've + never seen Mr. Osborn act like + that. I've never seen either of + them act like that. + (a beat) + But I know Harry really loves you. + + M.J. + Sometimes I wonder why I ever went + out with him in the first place. I + guess because he asked me. Dumb, + black dress. + + PETER + However, you do look extremely + beautiful in it. + +She looks at him, smiles at him. + + M.J. + Thank you. You look very handsome + yourself tonight. + +An opportunity. He could kiss her now, but he doesn't make +a move. He's more in love than ever. She puts her arm +around his shoulder. Looks off. No move. + 114. + + + CAMERA angles up to SEE HARRY at the window looking down. + + +117 EXT. OSBORN'S APARTMENT - NIGHT 117 + + Norman Osborn's apartment building. Nighttime, drifting + toward it. We hear a VOICE from inside. The Goblin. + + GREEN GOBLIN (O.S.) + This changes everything... + + +118 INT. OSBORN STUDY - NIGHT 118 + + We see Osborn, huddled on the floor, cowering in a pool of + light at the end of the hall. He's got something in his + hand. + + GREEN GOBLIN (O.S.) + Spider-Man is all hut invincible... + but Parker. .. Parker is flesh and + blood... We can destroy him... + + OSBORN + I can't! I've been like a father to + that boy. He the good son. + + GREEN GOBLIN (O.S.) + Which is exactly what he wanted! He + came to you, the greedy, open- + mouthed, scheming little orphan... + + OSBORN + He did... + + GREEN GOBLIN + Plucked your heartstrings like a + master... Connived his way into + your heart, leaving no room for + Harry, your TRUE son and heir... + + Closer to him now, we see what he's got in his hand. It's + the mask he has worn as the Green Goblin. He's clutching it + in two hands, talking to it. + + OSBORN + It's true... oh God... + + GREEN GOBLIN (O.S.) + And now, after everything you've + done for Peter Parker, after + everything you 've taught him, THIS + is how he repays you?! + 115. + + + OSBORN + What have I done to Harry? What + have I done to my own son? + + GREEN GOBLIN (O.S.) + Betrayal must not be + countenanced.... Parker must be... + educated. + + OSBORN + What do I do? + + GREEN GOBLIN (O.S.) + Instruct him in the matters of loss + and pain... Make him suffer, make + him wish he were dead... + + OSBORN + Yes! + + GREEN GOBLIN (O.S.) + And then grant his wish. + + OSBORN + But how? + + GREEN GOBLIN (O.S.) + The cunning warrior attacks neither + body nor mind... + + We drift down, to the mask, which doesn't speak, of course, + that's all in Norman's head. But we continue to hear his + thoughts as we drift into its ghastly yellow eyes — + + OSBORN + TELL ME HOW! + + GREEN GOBLIN (O.S.) + The heart, Osborn... first we + attack his heart. + + — and the screen turns yellow. + + +119 EXT. PARKER HOUSE - NIGHT 119 + + The Parker house sits silent. + + +120 INT. AUNT MAY'S BEDROOM - NIGHT 120 + 116. + + + Aunt May is getting ready for bed dressed in flannel + pajamas. She moves to a photograph of Uncle Ben on the + bedside table, touches it affectionately. Aunt May kneels + by the bed. Her knees CREAK, it's painful for her. She + rests her elbows on her bed, which is turned down for the + night, folds her hands, and closes her eyes in prayer. + + AUNT MAY + Our Father, who art in heaven, + hallowed be thy name. Thy kingdom + come, thy will be done, on earth as + it is in heaven. Give us this day + our daily bread, and forgive us our + trespasses as we forgive those who + trespass against us. Lead us not + into temptation, but... + + Suddenly the wall behind her EXPLODES, SHATTERED glass + flying in all directions. + + Aunt May spins around, horrified, and falls to the floor. + The Goblin hovers over her and the room slowly fills with + green vapor and the horrible BUZZ of the Glider's turbine + engine. + + AUNT MAY + ... but... but... but... + + Aunt May pales as she stares into the Goblin1 s inhuman + eyes. + + GREEN GOBLIN + FINISH IT! FINISH IT! + + o Her hands clutch her chest, she GASPS: + + AUNT MAY + ... DELIVER US FROM EVIL !! + + Her body arches, tenses, then goes limp. Her eyes close. + + GREEN GOBLIN + AMEN, SISTER! + + +121 EXT. PARKER HOUSE - NIGHT 121 + + From across the street, the Green Goblin's horrible CACKLE + fills the neighborhood night. + + +122 INT. HOSPITAL CORRIDOR - NIGHT 122 + 117. + + + Peter races down a hospital corridor, frantic. He reaches + the last room on the right, ducks inside, and sees — + + +123 INT. HOSPITAL ROOM - NIGHT 123 + + — Aunt May, in a hospital bed, hooked up to a variety of + urgently BEEPING machines. DOCTORS and NURSES swarm around + her, treating her. Peter rushes forward, to her bedside. + + PETER + Aunt May! + + She looks up at him, still conscious, but barely so. + + PETER (CONT' D) + What happened?! Is she going to be + okay?! + + NURSE + Sir, please! Let the doctors work! + + The nurse leads Peter to the door. The doors start to close + when Peter hears — + + AUNT MAY + Those eyes... those horrible yellow + eyes. + + A Doctor hurriedly puts.an oxygen mask over Aunt May1s + face. The door shuts in Peter's face. + + +124 INT. HOSPITAL CORRIDOR - NIGHT 124 + + Peter's own eyes widen as he realizes who she means. + + PETER + The Goblin. He knows... oh God, he + knows who I am... + + +125 INT. HOSPITAL ROOM - NIGHT 125 + + The middle of the night. Peter sits a lonely vigil in Aunt + May's hospital room. He's brought a picture for her + bedside, a framed shot of May, Ben, and himself. + + He looks at the picture, at Uncle Ben. Gone. Back at Aunt + May. Nearly killed, because of me. He leans down, kisses + her forehead as he blinks back tears. + + PETER + 118. + + + I'm sorry. + + +126 INT. HOSPITAL HALLWAY - DAY 126 + + M.J. caxries a bouquet of flowers, checks room numbers as + she passes. She comes across Aunt May's room, peeks in. + + Peter sits in a chair next to Aunt May's bed, his head in + his hands. Open text books and fast food sacks lie + scattered about. Aunt May is asleep. If it wasn't for the + surroundings and the circumstances, it would be a beautiful + sight. + + M.J. takes this in, moved. + + +127 INT. HOSPITAL ROOM - DAY 127 + + FAVOR PETER. There's a soft TAPPING from the door behind + him. He turns. It's M.J. He lights up. + + M.J. + Can I come in? + + Peter nods. M.J. looks at Aunt May. She comes to Peter, + still holding the flowers, puts her arms around his neck, + gives him a hug. He closes his eyes, almost can't bear it. + + M.J. (CONT'D) + (with arms around him) + I'm so sorry. I just heard about + it. + + She turns to the bed, moves closer to Aunt May. She lays + the flowers on the bedside table, gently touches Aunt May's + forehead. + + M.J. + Will she be okay? + + PETER + We think so. She finally woke up + this morning. For a while. Thanks + for coming. + + M.J. + Who would do this to her? Your Aunt + May. She's so loving, so giving. + Why would anyone want to hurt her? + Do you know who did it? + + PETER + 119. + + + It was the Green Goblin. + + M.J. + But why? Why would he need to + attack her? I'm sorry, Peter, I + know you've asked yourself these + questions. + + PETER + It's okay, how about you? Are you + alright about the other night? + + M.J. + I'm sorry about that. Makes things + worse for everybody. + + PETER + You were fine. Have you talked to + Harry? + + M.J. + He called me. I haven't called him + back. + +She turns away from Peter, looks at sleeping Aunt May. She +takes the time to tuck in her bed sheet. + + M.J. (CONT'D) + (without facing Peter) + The fact is, I'm in love with + somebody else. + + PETER + You are? + + M.J. + At least I think I am. + (turns to Peter) + This isn't the time to talk about + this. + + PETER + No, go on. Would I know his name? + This guy. + + M. J. + You'll think I'm a stupid little + girl with a crush. + + PETER + Trust me. + + M.J. + 120. + + +I'm like head over heals, it's +whacked... + + PETER +Who is he? + + M.J. +It's funny. He saved my life twice, +and I've never seen his face. + + PETER + (pleased) +Oh. Him. + + M.J. +You're laughing at me. + + PETER +No, I understand, he is extremely +cool. + + M.J. +But do you think it's true, the +terrible things they say about him? + + PETER +No way. That isn't Spider-Man, not +a chance in the world. I know him a +little bit. I'm sort of his +unofficial photographer. + + M.J. +How do you always manage to find +him? + + PETER +Wrong place, right time, I guess. + + M.J. +You ever talk to him? + + PETER +Sometimes. + + M.J. +Does he ever talk about me? + + PETER +Uh...yeah...once. Once he asked +what I thought of you. + + M.J. +What did you say? + 121. + + + PETER + (searching for the words) + I said... I said, Spider-Man, I + said the great thing about M.J. is + when... when you look in her eyes + and she's looking back in yours and + smiling, well, everything + feels...not quite normal because + you feel...stronger. And weaker at + the same time and you feel excited + and at the same time terrified. The + truth is, Spidey, I call him Spidey + sometimes, the truth is you don't + know what you feel, except you know + the kind of man you want to be and + what it is, is, it's as if when + you1 re with her, it's as if you1ve + reached...the unreachable...and you + weren't ready for it. + + And he looks up, because these inner thoughts were said out + loud, and M.J. is staring at him, tears welling in her + eyes. + + M.J. + You said that? + + PETER + Uh...umm...ssssomething like that. + + Aunt May opens her eyes...looks at them, unbeknownst tlhem. + + Peter is embarrassed, he's said too much. To his surprise, + M.J. reaches out and takes his hand. Which, of course, is + exactly when — + + — Harry Osborn comes in the door, carrying a bouquet of + flowers. His eyes go immediately to M.J. and Peter, + standing, so close, holding hands, looking at each other in + That Way. + + HARRY + Hello. + + And they confirm it all by hastily withdrawing their hands, + Harry's face hardens. + + +128 EXT. OSBORN'S BUILDING - NIGHT 128 + + That night. We drift toward the rooftop colonnades of + Norman Osborn's spooky apartment building. + 122. + + +129 INT. FIRST FLOOR - NIGHT 129 + + Harry comes in the front door. + + HARRY + Dad? + + No answer. But light spills from the staircase that leads + up. + + +130 INT. UPSTAIRS HALL - NIGHT 130 + + Harry stands at the bottom of the stairs, he can faintly + hear voices, ANGRY MURMURING. But he can't make out the + words. + + HARRY + Dad? Is that you? + + The voices abruptly stop. A moment later, his father + appears at the top of the stairs. They talk, from this + great distance. Osborn is just a dark shadow. + + OSBORN + What is it? + + HARRY + You were right about M.J. You were + right about everything. She's in + love with Peter. + + OSBORN + (pause) + Parker? + + Osborn begins to move down the stairs toward Harry. + + HARRY + Yeah. + + OSBORN + And... how does he feel about her? + + HARRY + Are you kidding? He's loved her + since the fourth grade. He just + acts like he doesn't. But there's + nobody Peter cares more about. + + Osborn's eyes light up at this information. + + OSBORN + 123. + + + I’m sorry... + (pause) + I haven't always been there for + you, have I? + + HARRY + Well... you're busy... you're an + important man, I understand that. + + OSBORN + It's no excuse. I'm proud of you. + And I lost sight of that somewhere. + But I'm going to make it up to you. + I'm going to rectify certain... + inequities. + + He comes into the light, slips an arm around his son. Hugs + him. It'd be nice, if it weren't so creepy. + + OSBORN + I love you son. + + +131 INT. HOSPITAL ROOM - NIGHT 131 + + FAVOR PETER, his eyes closed, homework on his lap. Then, as + if from a horrible dream, he opens his eyes, startled, + looks around, trying to come awake. + + WIDER SHOT + + Aunt May, in her bed, looking at him. (M.J.'s flowers, now + in a vase on the bedside table.) + + AUNT MAY + Peter. Pete? + + PETER + (suddenly aware, sees + her) + Huh? + (he stands quickly, his + homework falls to the + floor) + You're awake. That's good. Good. + You okay? + + AUNT MAY + I’m okay, but I think you should go + home and get some sleep. + + PETER + I don11 like to leave you. + 124. + + + AUNT MAY + I'm safe here. + + PETER + I should have been there. + + AUNT MAY + You didn't know. + +Peter shakes his head, is beating himself up inside. Aunt +May reaches out, takes his hand. + + AUNT- MAY (COAT'D) + Peter, the struggles we face in + life are not ours to question, + they're God's will. + + PETER + I know, but I could've done + something. + + AUNT MAY + Done something? + +She gives a light-hearted chuckle. + + AUNT MAY (CONT'D) + You do too much. College, a job, + all this time with me — you're not + Superman, you know. + (Peter can't help but + find that funny) + A smile, finally. Haven't seen one + of those on your face since Mary + Jane was here. + + PETER + Hey, you were supposed to be + asleep. What did you hear? + + AUNT MAY + (an enigmatic smile) + You know, you were about six years + old when M.J.'s family moved in + next door. And when she got out of + the car and you saw her for the + first time, you grabbed me and said + "Aunt May, Aunt May! Is that an + angel?" + + PETER + Gee, Aunt May, did I say that? + 125. + + + AUNT MAY + You sure did, Peter. + + PETER + Harry's in love with her. She's + still his girl. + + AUNT MAY + Isn't that up to her? + + PETER + She doesn't really know me. + + AUNT MAY + Because you won't let her. You're + so mysterious all the time. Tell + me, would it be so dangerous to let + Mary Jane know how much you care? + Everyone else knows. + + Peter considers this for a beat, the full meaning coming to + him. A concerned look spreads across his face. + + PETER + I'll be right back. + + Peter rises, races out of the room— + + +132 INT. HOSPITAL CORRIDOR - NIGHT 132 + + — and snatches -up a pay phone in the corridor of the . + hospital. He puts a quarter in, dials, waits while it + rings. + + +133 INT. HOSPITAL CORRIDOR - NIGHT 133 + + Peter snatches up a pay phone in the corridor of the + hospital. He puts a quarter in and dials. It rings. And + rings. + + PETER + Come on, pick up. + + M.J.'s answering machine picks up, her recorded voice: + + M.J. (O.S.) + Hi it's me, sing your song at the + beep. + + PETER + 126. + + + M.J., it's Peter, you there? Hello? + Alright, well, I’m calling to check + up on you, so call me when you get + in...Uh...don't go up any dark + alleys. + + There is a CLICK as the phone picks up at the other end. + + PETER + Hello? + + No answer. Then, a sound. No... a CACKLE. + + Peter's face pales. + + The CACKLE grows louder. Finally, the Goblin'3 VOICE: + + GREEN GOBLIN (O.S.) + Can Spider-Man come out to play? + + PETER + Where is she? + + We move in on Peter's face as he hears the most terrifying + words of his life. + + GREEN GOBLIN + Be of love, a little more careful, + Spider-Man. + + +134 EXT. DARK PLACE - NIGHT 134 + + M.J. opens her eyes, regaining consciousness. + + o She pulls herself to her feet, disoriented, holding her + head in pain. She takes a step backward but stops, + suddenly, windmilling her arms for balance. Looking down, + she sees — + + — the roadway of a bridge, hundreds of feet below her! + + She GASPS, takes a step back, horrified as she figures out + where she is. Camera leaps back to reveal that she stands — + + — ATOP THE WESTERN TOWER OF THE QUEENSBORO BRIDGE! + + +135 EXT. NEARBY BUILDING - NIGHT 135 + 127. + + + Spider-Man lands on the side of a building. He sees the + Goblin Glider soaring past, toward the top of the west + tower of the Queensboro Bridge, where M.J. is still + stranded. + + +136 EXT. QUEENSBORO BRIDGE - NIGHT 136 + + M.J. hears a WHINING sound and turns, just in time to duck + as The Goblin zooms overhead. She watches as he rockets + toward the Roosevelt Island Tram Station. + + +137 INT. TRAM - NIGHT 137 + + o A red tram with ten EIGHT YEAR OLDS wearing New York + Giants paraphernalia watch in awe as The Goblin zips by. + They rush to the windows, as do the THREE DADS who are + chaperoning them, for a better view. + + +138 EXT. ROOSEVELT ISLAND TRAM STATION - NIGHT 138 + + The Goblin CACKLES with glee as he races toward the tram + station. A rocket launhcer emerges from the glider. WHOOSH! + The rocket launches, headed toward the station. + + The Goblin peels off just as the rocket barrels into the + tram station, obliterating it in a massive ball of flame + and smoke. + + +139 EXT. QUEENSBORO BRIDGE - NIGHT 139 + + M.J. lit from the fireball, takes in the carnage. + + +140 EXT. NEARBY ROOFTOP - NIGHT 140 + + Spider-Man watches as flame and smoke bellow out of what + remains of the tram station. He leaps off the building + toward the bridge. + + +141 EXT. QUEENSBORO BRIDGE - NIGHT 141 + + M.J. watches in horror as huge chunks of debris from the + tram station rain down on the roadway below her. + + +142 EXT. QUEENSBORO BRIDGE ROADWAY - NIGHT 142 + 128. + + + Cars come to a screeching halt, others crash into one + another, as flaming chunks of the tram station plummet from + the sky. + + +143 EXT. QUEENSBORO BRIDGE - NIGHT 143 + + Spider-Man zips toward the bridge, sliding across a web he + has shot. + + +144 EXT. 2ND AVENUE TRAM STATION - NIGHT 144 + + From inside of what remains of the tram station, a cable + SNAPS, WHIPS LIKE A SNAKE, rockets past camera. + + +145 INT. TRAM - NIGHT 145 + + The EIGHT YEAR OLDS and the THREE DADS, suspended several + hundred feet above the river, watch as the snaking cable + whips toward them. The tram suddenly drops. + + +146 EXT. TRAM - NIGHT 146 + + SCREAMS are heard as the tram plummets toward the water + below. + + The Goblin rockets into frame, grabs the dancing cable and + zooms away, halting the trams' descent. + + +147 EXT. QUEENSBORO BRIDGE - NIGHT 147 + + Spider-Man drops onto the vertical high-tension wires that + hold the bridge aloft, takes a giant leap and lands on the + bridge. + + GREEN GOBLIN + Spider-Man! + + Spider-Man looks up, sees— + + —The Goblin, standing at the edge of the bridge tower, + clutching M.J. in one hand, the cable holding aloft the + tram full of kids in the other. + + GREEN GOBLIN + This is why only fools are heroes! + + Spider-Man freezes. + 129. + + + GREEN GOBLIN + Because you never know when some + lunatic will come along with a + sadistic choice... + +He shoves M.J. further out, so her toes are actually over +the edge. She looks down, almost loses her balance. Cars +race over the bridge platform, two hundred feet down. + + GREEN GOBLIN + Let die the woman you love... + +The Goblin loosens his grip on the cable, lets it slip +through his hands causing the tram to drop, a sickening +dip. The children SCREAM. + +ATOP THE BRIDGE + +The Goblin watches with glee, tightens his grip on the +cable. + + GREEN GOBLIN + ... or suffer the little children. + +Spider-Man watches as the tram sways horribly, sees the +pleading faces of the Children and their Fathers as they +POUND on the glass, begging for help. + +He looks back up, sees J.J. teetering over the edge, the +Goblin's hand in her back. + + GREEN GOBLIN + Make your choice, Spider-Man, and + see how a hero is rewarded! + +Spider-Man is momentarily paralyzed, torn in half. + +The tram quivers. + +M.J. teeters. + + GREEN GOBLIN + This is your doing! You caused + this! This is the life you have + chosen! + +Spider-Man looks, left, right, left, right, agonizes over +his choice. + + GREEN GOBLIN + Choose! + 130. + + + The Green Goblin lets go of M.J. and the cable at the same + time, sending them to their deaths below. + + Spider-Man watches as the tram falls before him, M.J. + behind him. He looks back and forth, turns, sprints along + the bridge toward M.J. and leaps— + + —grabbing M.J. in mid-air. He shoots a web to the + undercarriage of the bridge, swings underneath with M.J. + + SPIDER-MAN + Hold on! + + He releases his web, grabs the cable to the tram dancing + before him. The weight of the tram yanks Spider-Man and + M.J. down, out of frame. + + IN MID-AIR + + Spider-Man, the cable in one hand, M.J. on his back, falls + with the tram to the water below. + + Spider-Man uses his free hand to shoot out a web toward the + underside of the bridge. The web sticks. + + +148 INT. TRAM - NIGHT 148 + + The tram comes to a halt, bounces up and down. KIDS, DADS + equipment tumble about. + + +149 EXT. BRIDGE ROADWAY - NIGHT 149 + + A crowd has formed atop the bridge. Some cheer at Spider- + Man's heroics. + + +150 EXT. QUEENSBORO BRIDGE - NIGHT 150 + + Spider-Man's body is stretched to the limit with one hand + holding on to the cable, the other the web. + + +151 EXT. QUEENSBORO BRIDGE - NIGHT 151 + + Spider-Man looks at M.J. + + SPIDER-MAN + Climb down. + + M.J. turns, looks at him, confused. + 131. + + + SPIDER-MAN + The cable to the tram, climb down. + + M.J. + (voice quivering) + I can't. + + SPIDER-MAN + M.J., just do it. + + M.J. + I'm scared. + + SPIDER-MAN + Trust me. + + M.J. looks him in the eyesr down to the water below, then + back to his eyes. + + SPIDER-MAN + Trust me. + + She climbs down his body, then the cable. + + Spider-Man watches M.J. descend the cable. He hears a WHINE + from behind and turns to see just as— + + —The Goblin hauls off and cold cocks him in the jaw, zooms + away. + + The force of the blow causes Spider-Man to sway back and + forth as he struggles to remain conscious. + + ON THE CABLE + + M.J. barely manages to hang on as she is thrown 3ide to + side. + + HIT TRAM - NIGHT + + The tram dips again, causing bodies to go flying. + + +152 EXT. QUEENSBOR BRIDGE - NIGHT 152 + + The Goblin swings around for another assault. He CACKLES as + he extends his arm, exposing the razor sharp blades which + adorn it. Spider-Man watches, helpless as The Goblin + delivers a crushing blow to his stomach. Pieces of flesh + and Spidey suit go flying. He loses his grip on the cable. + + WIDE SHOT OF TRAM & M.J. PLUNGING TOWARD THE WATER BELOW + 132. + + + Spider-Man dangles from the web grasping for the cable + snaking past him. As the last of the cable whizzes by he + lunges for it, catches it. Spider-Man SCREAMS out in agony, + blood gushing from his hand. + + The cable goes taunt causing M.J. to lose her grip. She + falls, landing on the tram below. She raises her head and + sees Spider-Man, head to the side, out of energy, holding + on to cable and web. She hears the glider's engine and sees + The Goblin circling in for a final blow— + + —but he stops. Looks at Spider-Man before him, his body + stretched to the limit, looking like a rag doll with his + head to the side. He almost looks as if he feels sorry for + Spider- Man. His hovering engine emits a light HUM. + + Spider-Man raises his head, looks at the Goblin. + + Sorry for? Naah! The Goblin gives an evil grin and the + glider races toward Spider-Man full throttle. + + Spider-Man braces for the blow. The Goblin zeros in on his + prey, cocks back a fist— + + —but a huge chunk of asphalt clocks him in the side of the + head, sending him spiraling out of control, past Spider- + Man. + + The Goblin regains control, looks around. Where the hell'd + that come from? He raises his head just as he is pelted + with more asphalt, bottles, shoes, etc. + + We PULL BACK to reveal a bridge full of New Yorkers hurling + anything and everything they can get their hands on. + + GREEN GOBLIN + (covering his face) + AAHHHHHHHHHHHHHHH! + + He zooms out of sight to avoid the raining debris. + + +153 EXT. BRIDGE - NIGHT 153 + + Spider-Man looks downf see3 a massive mound of rock that + spreads from the support piling. He eyes the cheering crowd + and with newfound strength starts to lower the tram to the + piling. + + +154 EXT. SUPPORT PILING - NIGHT 154 + 133. + + + The tram touches down gently on the rocks. M.J. stands, + looks up. We push in on her face looking adoringly at + Spider-Man. + + +155 EXT. BRIDGE - NIGHT 155 + + Suddenly, a line wraps around Spider-Man's waist. + + The Goblin zooms by, holding the rope. It goes taunt and + yanks Spider-Man out of frame. + + Spider-Man thrashes about as he spins out of control behind + the glider. + + +156 EXT. SUPPORT PILING - NIGHT 156 + + M.J. reacts in horror as she sees Spider-Man being dragged + away. + + +157 EXT. APPROACHING ROOSEVELT ISLAND - NIGHT 157 + + The Goblin turns around and CACKLES, getting a kick out of + watching Spider-Man struggle. + + He's seen enough, holds out his arm, once again exposing + the blades on it, and SNICKS through the rope. Spider-Man + goes crashing into the abandoned hulking ruin of a + condemned small pox hospital on Roosevelt Island below. + + The razor bats fail to heed their master's call, continue + slicing and dicing. + + GREEN GOBLIN (O.S.) + I SAID, ENOUGH! + + The razor bats stop their destruction, meekly fly away. + + Spider-Man rolls over in a daze, an outline of blood + marking his previous spot. He looks up at The Goblin + hovering over him, tries to stand. His lags turn to jelly + and he crashes to the ground. The Goblin laughs, reaches + down onto his glider and pulls out a rod. He presses a + button and three blades pop out giving the weapon a + pitchfork/spear appearance. + + GREEN GOBLIN + 134. + + + Ahhh, misery, misery, misery. Again + and again I've tried to make my + case, but you won't oblige. Had you + not been so determined, your + sweetheart's death would have been + quick and painless, but now, now + that you've really pissed me off. + I'll see to it that it's slow + and... painful. + (moving in for the kill) + ...just...like...yours. + +The Goblin rears back with the spear, brings it down on +Spider-Man’s chest. At the last moment Spider-Man catches +it, looks at The Goblin, his strength returning. He yanks +the spear from The Goblin, SMASHES it against his head so +hard it sends The Goblin flying back ten feet crashing to +the ground. + +Spider-Man rises, pissed, full of adrenaline, furry. He +breaks the pitchfork over his knee, tosses the parts to the +side. He grabs The Goblin by the chest, pulls him up from +the ground, throws a haymaker to The Goblin's jaw. + +The Goblin goes flying through a nearby wall. The Goblin +rises, manages to advance. SMACK! Spider-Man delivers +another devastating blow. The Goblin crumples against a +nearby stone wall. + + GREEN GOBLIN + Please... + +Spider-Man picks him up yet again, his rage is barely +controlled. He pulls his fist back for another blow, and +knowing this one will put him down for the count. Goblin, +to save himself, pulls off his mask to reveal Norman +Osborn. + +The razor bats fail to heed their master's call, continue +slicing and dicing. + + GREEN GOBLIN (O.S.) + I SAID, ENOUGH! + +The razor bats stop their destruction, meekly fly away. + +Spider-Man rolls over in a daze, an outline of blood +marking his previous spot. He looks up at The Goblin +hovering over him, tries to stand. His legs turn to jelly +and he crashes to the ground. The Goblin laughs, reaches +down onto his glider and pulls out a rod. He presses a +button and three blades pop out giving the weapon a +pitchfork/spear appearance. + 135. + + + GREEN GOBLIN + Ahhh, misery, misery, misery. Again + and again I've tried to make my + case, but you won't oblige. How + frustrating. There's only so much + even a Goblin can endure. You've + spun your last web, and here's + something to season you're final + breath: I'm a very thorough + fellow... so, among others, I will + finish off that foolish, little + girlfriend of yours. + Had you not been so determined, + your sweetheart's death would have + been quick and painless, but now, + now that you've really pissed me + off, I'll see to it that it's slow + and... painful + (moving in for the kill) + ...just...like...yours. + +The Goblin rears back with the spear, brings it down on +Spider-Man’s chest. At the last moment Spider-Man catches +it, looks at The Goblin, his strength returning. He yanks +the spear from The Goblin, SMASHES it against his head so +hard it sends The Goblin flying back ten feet crashing to +the ground. + +Spider-Man rises, pissed, full of adrenaline, furry. He +breaks the pitchfork over his knee, tosses the parts to the +side. He grabs The Goblin by the chest, pulls him up from +the ground, throws a haymaker to The Goblin's jaw. + +The Goblin goes flying through a nearby wall. The Goblin +rises, manages to advance. SMACK! Spider-Man delivers +another devastating blow. The Goblin crumples against a +nearby stone wall. + + GREEN GOBLIN + Please... + +Spider-Man picks him up yet again, his rage is barely +controlled. He pulls his fist back for another blow, and +knowing this one will put him down for the count, Goblin, +to save himself, pulls off his mask to reveal Norman +Osborn. + + GREEN GOBLIN + Peter... + +Spider-Man, his fist still in the air, ready to deliver the +final blow, stares in the face of his best friend's father. + 136. + + +Shock. Disbelief. He rips off pieces of his own mask to +make sure he's seeing right. He is. He lets go of Osborn +who slumps to the floor, looking up at Peter, pathetically. + + OSBORN + (small voice) + Peter...thank God for you. + +Peter, his hands covered in blood, trembles, still with +rage, shaken by the violence he feels inside. + + PETER + Can't be...you're a monster. + + OSBORN + Please, Peter, don't let it take me + back. I need your help. I'm not a + monster. + + PETER + You killed those people on the + balcony, you could have killed your + son. + + OSBORN + "IT" killed. The Goblin killed. I + had nothing to do with it. Please, + don't let it have me again. Protect + me, I beg you. Talk to me about + this— + +Surreptitiously, Osborn brings his right hand around in +front of him, unseen by Peter. On his wrist, the TOUCH PAD +CONTROLS of the Goblin Glider flash patiently. + + PETER + You tried to kill Aunt May. You + wanted to kill Mary Jane. + + OSBORN + But not you, I would never hurt + you. + +Osborn presses the RED BUTTON on the pad. Peter doesn't +see. Behind Peter, the Glider rises up into the air without +a sound. Osborn keeps talking, to keep him distracted. + + OSBORN + I knew from the beginning if + anything happened to me, you were + the one I could count on, you Peter + Parker, would save me, and so you + have. Thank God for you. + 137. + + + During this, Osborn pushes himself to his feet. With his + back against the wall, holds out a hand in pathetic + supplication. + + OSBORN + Give me your hand. Believe in me as + I believed in you. I was like a + father to you. Be a son to me now. + + PETER + I have a father. His name was Ben + Parker. + + Suddenly a look crosses Peter's face. Osborn begins to + cackle. It grows louder, crazier, totally, happily insane. + + HIS SPIDER-SENSE KICKS IN + + OSBORN + God's speed, Spider-Man. + + Spider-Man's perception leaps outside his body and whips + around, giving him a look behind him, just as — + + — the Goblin Glider's SPEAR rotates into position on the + front of the moving Glider, in ultra-slow motion, just a + few feet behind Peter, headed straight for his back! + + In sudden real time, Peter hurls himself to the side, + twisting and bending in a near-impossible contortion — + + — the Glider's turbine SCREAMS as it whistles just past him + — + + — terror creases Osborn's face — + + — and his own Glider rockets right through him. + + Norman Osborn slumps over, impaled by his own contraption, + pinned to the wall. Peter rushes forward, but it's too + late. + + So dies Spider-Man's first, and most heinous, archfoe. + + In the distance, Peter hears SIRENS, headed for the hulking + ruin. He looks back at the body of Norman Osborn. Steps + forward. He cradles him in his arms, lifts him — + + +158 INT. OSBORN'S APARTMENT - NIGHT 158 + 138. + + + — and sets the body down again, this time on the floor of + Osborn's apartment, beside wide-open French doors, curtains + wafting in the breeze. Osborn' s body is dressed again, no + trace of the incriminating Green Goblin costume. Blood + soaks through Osborn's shirt, he looks like the victim of a + murder. + + Spider-Man takes a few steps away, toward the open French + doors, then hears a nearly-silent GASP from the door to the + apartment. He whirls around. + + Harry Osborn stands in the doorway, looking from his dead + father to Spider-Man, aghast. + + HARRY + You... + + Spider-Man raises his hands to protest his innocence. He + takes a step forward — but Harry takes a step back in fear. + + SPIDER-MAN + No... + + Harry lunges toward a table nearby, opens the top drawer, + grabs a gun and turns. + + But Spider-Man is gone. The curtains blow in the wind. + + +159 EXT. CEMETERY - DAY 159 + + Track a line of expensive cars parked along .the narrow + winding road. In BG, a fresh grave, a few people from the + service, including Pentagon generals, are dispersing. Aunt + May and M.J. stand talking. + + Harry and Peter walk toward the Osborn Bentley. Silent. + Then. + + PETER + I'm so sorry, Harry. I know what + it's like to lose a father. + + HARRY + I didn't lose him, he was stolen + from me. And one day Spider-Man + will pay. + (into Peter's eyes) + I swear on my father's grave, + Spider-Man will pay. + + They reach the Bentley. Norman' s chauffeur opens the door + for Harry and moves off. + 139. + + + HARRY + Look. . . about M. J. I was just + trying to please my dad. I thought + he'd be impressed, me, with such a + beautiful woman. I know she was + never right for me. I wanted to + make him proud, that's all. Now + I'll never be able to. Thank God + for you my friend. You're all the + family I have left. + + Harry gives Peter a hug, then gets in the car. Closes the + door. The Bentley drives off. Peter turns and looks toward + M. J. and Aunt May on the hill by Norman's gravesite. As he + turns, M.J. locks eyes with Peter. Smiles at him. + + VERY CLOSE ON PETER - V.O. — THE VOICE FROM THE OPENING + SCENE + + PETER (V.O.) + No matter what I do, no matter how + hard I try. The ones I love are + always the ones who pay. + + +160 EXT. CEMETERY - ANOTHER HILLTOP - DAY 160 + + Peter is walking towards another tombstone. + + VERY CLOSE SHOT - M.J. + + Her bright smile. It fills and lights up the screen. + + M.J. + (looking past camera - + shouts) + HEY! + + NEW SHOT - PETER + + He turns. PULL BACK to show we are at Uncle Ben' s + gravesite. M.J. enters frame. + + M.J. + Your aunt thought I'd find you + here. + + PETER + (to "Ben") + M.J.'s here, Uncle Ben. + + FAVOR THE TOMBSTONE - It reads: + 140. + + +BEN PARKER BELOVED HUSBAND AND UNCLE + +M.J. moves closer to Peter. + + M.J. + You must miss him so much. + + PETER + He was a beautiful guy. + +A pause. They begin to walk, heading up a small knoll. The +skyline of New York in the background. M.J. stops. + + M.J. + ThereT s something I've been + wanting to tell you. + (M.J. pauses a beat, + Peter stops, waits) + When I was up there and I was sure + I was going to die, there was only + one person I was thinking of, and + it wasn't who I thought it would + be. It was you. I kept thinking, I + hope I make it through this, so I + can see Peter Parker's face one + more time. + + PETER + My face? + + M.J. + (she nods) + Sometimes what you want... you have + to go to the edge of your life to + find out it was right next door. + +This is blowing his mind. + + M.J. + I've been so stupid for so long. + There' s only one man who was ever + there for me, who has always been + there for me...who makes me believe + that I'm... more than I ever + thought I was. That I'm just... me, + and it's okay... The truth is... I + love you. I really love you Peter. + +During the last speech, CAMERA has moved slowly in for a +TIGHT SHOT of Peter. + + SPIDER-MAN (V.O.) + 141. + + + Tell her you love her. Tell her who + you are. + + PETER + I... can t... + + M. J. + You can't what? + + PETER + Tell you everything. I mean there's + so much to tell. + + M. J. + Yes. So much to tell. + + PETER + To tell the girl next door. + + M.J. + But is that all I am? + + PETER + Oh, no, no, you're the amazing girl + next door, Mary Jane, the amazing, + amazing girl, and I want you to + know that I will always be there + for you, I will always be there to + take care of you. I promise you + that. I wish I could give you more + than that, but you must know... + that you will always be safe. + +She looks at him. She moves to him. Embraces him. He's +about to be captured. + +She kisses him. A gentle, little kiss. But full of magic. + + PETER + (dazed) + ... can't. + +Too late. The kiss is deeper. More passionate, and he can +no longer control himself, brings her closer, kisses her as +she's never been kissed before... except by the kiss she +experienced with Spider-Man. + +And when that extraordinary kiss is over, she moves her +head back, breathless, looking into his eyes. She has just +experienced that kiss again. Spider-Man. Her ayes wide +open. + 142. + + + She wants more, so does he, but... he " can't". The music + rises. + + CLOSE ON M.J. in love. + + BACK TO PETER, he forces himself to turn. WE STAY CLOSE ON + HIM as he walks away, M.J. receding in the BG. + + SPIDER-MAN (V.O.) + (sadder, wiser) + Can't say I didn't warn you. The + story of my life is not for the + faint of heart. + + A wind kicks up. Peter pulls his coat tighter. + + SPIDER-MAN (V.O.) + Like the man said, it's hard to be + a saint in the city. But whatever + life holds in store for me, I now + accept. I will never forget these + words again: + + Peter looks over his shoulder at M.J., still standing by + the gravesito. + + SPIDER-MAN (V.O.) + "With great power comes great + responsibility." + + He continues on. We move in closer on his face. + + SPIDER-MAN (V.O.) + This is my gift. It is my curse. + Who am I? + + Peter cracks a little smile. + + SPIDER-MAN (V.O.) + Baby, I'm Spider-Man. + + +161 INT. JAMESON'S OFFICE - DAY 161 + + JAMESON + Spider-Man, I don1t get it. First + the town thinks he’s trash, now + he’s a glamour boy. + + ROBBIE + He’s a hero, J.J. + + JAMESON + 143. + + + Don't give me that line again, I + don't trust heroes, they're nothing + but criminals in disguise. HOFFMAN, + where's Parker, I want some + pictures. + + HOFFMAN + He just left. + + JAMESON + Left? He's always leaving. + + HOFFMAN + He went to cover the hostage story. + + JAMESON + Sure! Another hostage story. But + where is he when The Green Goblin + busted through my window? The + Goblin and Spider-Man, in front of + our noses! A golden opportunity and + the photographer when to lunch. + (looking off) + And what's that? + +He' s looking at an OFFICE BOY holding up a pair of +trousers. + + OFFICE BOY + Peter Parker's pants, J.J. + + JAMESON + What? + + OFFICE BOY + They were in the closet. + + JAMESON + Parker's pants? + + OFFICE BOY + With his shirt and tie and shoes + and socks. + + JAMESON + What's going on here, who's he + think he is, Tarzan? Where is he, + manning around the town naked? And + who put flowers on my desk? + + MISS BRANT + I did, sir, it's your birthday. + 144. + + + JAMESON + What're you looking for, a raise? I + don't want flowers, I want Peter + Parker, not his pants, I want + pictures, I wanta sell papers, I + want Spider-Man! + (He continues on as:) + + +162 EXT. CITY - DAY 162 + + Spider-Man swings away, shimmering into the glass and stone + canyons of his city. + + FADE OUT. + \ No newline at end of file diff --git a/scripts/Star Wars A New Hope.txt b/scripts/Star Wars A New Hope.txt new file mode 100644 index 0000000000000000000000000000000000000000..93345b731fcff78c0ef0902f4313f81e9652157f --- /dev/null +++ b/scripts/Star Wars A New Hope.txt @@ -0,0 +1,9165 @@ + 1. + + + + A long time ago, in a galaxy far, far, away... + + A vast sea of stars serves as the backdrop for the main + title. War drums echo through the heavens as a rollup + slowly crawls into infinity. + + It is a period of civil war. Rebel spaceships, striking + from a hidden base, have won their first victory against + the evil Galactic Empire. + + During the battle, Rebel spies managed to steal secret + plans to the Empire's ultimate weapon, the Death Star, an + armored space station with enough power to destroy an + entire planet. + + Pursued by the Empire's sinister agents, Princess Leia + races home aboard her starship, custodian of the stolen + plans that can save her people and restore freedom to the + galaxy... + + The awesome yellow planet of Tatooine emerges from a total + eclipse, her two moons glowing against the darkness. A tiny + silver spacecraft, a Rebel Blockade Runner firing lasers + from the back of the ship, races through space. It is + pursed by a giant Imperial Star Destroyer. Hundreds of + deadly laserbolts streak from the Imperial Star Destroyer, + causing the main solar fin of the Rebel craft to + disintegrate. + + +1 INT. REBEL BLOCKADE RUNNER - MAIN PASSAGEWAY 1 + + An explosion rocks the ship as two robots, Artoo-Detoo (R2- + D2) and See-Threepio (C-3PO) struggle to make their way + through the shaking, bouncing passageway. Both robots are + old and battered. Artoo is a short, claw-armed tripod. His + face is a mass of computer lights surrounding a radar eye. + Threepio, on the other hand, is a tall, slender robot of + human proportions. He has a gleaming bronze-like metallic + surface of an Art Deco design. + + Another blast shakes them as they struggle along their way. + + THREEPIO + Did you hear that? They've shut + down the main reactor. We'll be + destroyed for sure. This is + madness! + + Rebel troopers rush past the robots and take up positions + in the main passageway. They aim their weapons toward the + door. + 2. + + + THREEPIO (CONT’D) + We're doomed! + + The little R2 unit makes a series of electronic sounds that + only another robot could understand. + + THREEPIO (CONT’D) + There'll be no escape for the + Princess this time. + + Artoo continues making beeping sounds. Tension mounts as + loud metallic latches clank and the scream of heavy + equipment are heard moving around the outside hull of the + ship. + + THREEPIO (CONT’D) + What's that? + + +2 EXT. SPACECRAFT IN SPACE 2 + + The Imperial craft has easily overtaken the Rebel Blockade + Runner. The smaller Rebel ship is being drawn into the + underside dock of the giant Imperial starship. + + +3 INT. REBEL BLOCKADE RUNNER 3 + + The nervous Rebel troopers aim their weapons. Suddenly a + tremendous blast opens up a hole in the main passageway and + a score of fearsome armored spacesuited stormtroopers make + their way into the smoke-filled corridor. + + In a few minutes the entire passageway is ablaze with + laserfire. The deadly bolts ricochet in wild random + patterns creating huge explosions. Stormtroopers scatter + and duck behind storage lockers. Laserbolts hit several + Rebel soldiers who scream and stagger through the smoke, + holding shattered arms and faces. + + An explosion hits near the robots. + + THREEPIO + I should have known better than to + trust the logic of a half-sized + thermocapsulary dehousing + assister... + + Artoo counters with an angry rebuttal as the battle rages + around the two hapless robots. + + +4 EXT. TATOOINE - DESERT WASTELAND - DAY 4 + 3. + + + A death-white wasteland stretches from horizon to horizon. + The tremendous heat of two huge twin suns settle on a lone + figure, Luke Skywalker, a farm boy with heroic aspirations + who looks much younger than his eighteen years. His shaggy + hair and baggy tunic give him the air of a simple but + lovable lad with a prize-winning smile. + + A light wind whips at him as he adjusts several valves on a + large battered moisture vaporator which sticks out of the + desert floor much like an oil pipe with valves. He is aided + by a beatup tread-robot with six claw arms. The little + robot appears to be barely functioning and moves with jerky + motions. A bright sparkle in the morning sky catches Luke's + eye and he instinctively grabs a pair of electrobinoculars + from his utility belt. He stands transfixed for a few + moments studying the heavens, then dashed toward his + dented, crudely repaired Landspeeder (an auto-like + transport that travels a few feet above the ground on a + magnetic-field). He motions for the tiny robot to follow + him. + + LUKE + Hurry up! Come with me! What are + you waiting for?! Get in gear! + + The robot scoots around in a tight circle, stops short, and + smoke begins to pour out of every joint. Luke throws his + arms up in disgust. Exasperated, the young farm boy jumps + into his Landspeeder leaving the smoldering robot to hum + madly. + + +5 INT. REBEL BLOCKADE RUNNER - MAIN HALLWAY 5 + + The awesome, seven-foot-tall Dark Lord of the Sith makes + his way into the blinding light of the main passageway. + This is Darth Vader, right hand of the Emperor. His face is + obscured by his flowing black robes and grotesque breath + mask, which stands out next to the fascist white armored + suits of the Imperial stormtroopers. Everyone instinctively + backs away from the imposing warrior and a deathly quiet + sweeps through the Rebel troops. Several of the Rebel + troops break and run in a frenzied panic. + + +6 INT. REBEL BLOCKADE RUNNER 6 + + A woman's hand puts a card into an opening in Artoo's dome. + Artoo makes beeping sounds. + + +7 INT. REBEL BLOCKADE RUNNER 7 + 4. + + + Threepio stands in a hallway, somewhat bewildered. Artoo is + nowhere in sight. The pitiful screams of the doomed Rebel + soldiers can be heard in the distance. + + THREEPIO + Artoo! Artoo-Detoo, where are you? + + A familiar clanking sound attacks Threepio's attention and + he spots little Artoo at the end of the hallway in a smoke- + filled alcove. A beautiful young girl (about sixteen years + old) stands in front of Artoo. + + Surreal and out of place, dreamlike and half hidden in the + smoke, she finishes adjusting something on Artoo's computer + face, then watches as the little robot joins his companion. + + THREEPIO (CONT’D) + At last! Where have you been? + + Stormtroopers can be heard battling in the distance. + + THREEPIO (CONT’D) + They're heading in this direction. + What are we going to do? We'll be + sent to the spice mine of Kessel or + smashed into who knows what! + + Artoo scoots past his bronze friend and races down the + subhallway. Threepio chases after him. + + THREEPIO (CONT’D) + Wait a minute, where are you going? + + Artoo responds with electronic beeps. + + +8 INT. REBEL BLOCKADE RUNNER - CORRIDOR 8 + + The evil Darth Vader stands amid the broken and twisted + bodies of his foes. He grabs a wounded Rebel Officer by the + neck as an Imperial Officer rushes up to the Dark Lord. + + IMPERIAL OFFICER + The Death Star plans are not in the + main computer. + + Vader squeezes the neck of the Rebel Officer, who struggles + in vain. + + VADER + Where are those transmissions you + intercepted? + 5. + + + Vader lifts the Rebel off his feet by his throat. + + VADER (CONT’D) + What have you done with those + plans? + + REBEL OFFICER + We intercepted no transmissions. + Aaah... This is a consular ship. + Were on a diplomatic mission. + + VADER + If this is a consular ship... were + is the Ambassador? + + The Rebel refuses to speak but eventually cries out as the + Dark Lord begins to squeeze the officer's throat, creating + a gruesome snapping and choking, until the soldier goes + limp. Vader tosses the dead soldier against the wall and + turns to his troops. + + VADER (CONT’D) + Commander, tear this ship apart + until you've found those plans and + bring me the Ambassador. I want her + alive! + + The stormtroopers scurry into the subhallways. + + +9 INT. REBEL BLOCKADE RUNNER - SUBHALLWAY 9 + + The lovely young girl huddles in a small alcove as the + stormtroopers search through the ship. She is Princess Leia + Organa, a member of the Alderaan Senate. The fear in her + eyes slowly gives way to anger as the muted crushing sounds + of the approaching stormtroopers grow louder. One of the + troopers spots her. + + TROOPER + There she is! Set for stun! + + Leia steps from her hiding place and blasts a trooper with + her laser pistol. She starts to run but is felled by a + paralyzing ray. The troopers inspect her inert body. + + TROOPER (CONT’D) + She'll be all right. Inform Lord + Vader we have a prisoner. + + +10 INT. REBEL BLOCKADE RUNNER - SUBHALLWAY 10 + 6. + + + Artoo stops before the small hatch of an emergency lifepod. + He snaps the seal on the main latch and a red warning light + begins to flash. The stubby astro-robot works his way into + the cramped four-man pod. + + THREEPIO + Hey, you're not permitted in there. + It's restricted. You'll be + deactivated for sure.. + + Artoo beeps something to him. + + THREEPIO (CONT’D) + Don't call me a mindless + philosopher, you overweight glob of + grease! Now come out before + somebody sees you. + + Artoo whistles something at his reluctant friend regarding + the mission he is about to perform. + + THREEPIO (CONT’D) + Secret mission? What plans? What + are you talking about? I'm not + getting in there! + + Artoo isn't happy with Threepio's stubbornness, and he + beeps and twangs angrily. + + A new explosion, this time very close, sends dust and + debris through the narrow subhallway. Flames lick at + Threepio and, after a flurry of electronic swearing from + Artoo, the lanky robot jumps into the lifepod. + + THREEPIO (CONT’D) + I'm going to regret this. + + +11 INT. IMPERIAL STARDESTROYER 11 + + On the main viewscreen, the lifepod carrying the two + terrified robots speeds away from the stricken Rebel + spacecraft. + + CHIEF PILOT + There goes another one. + + CAPTAIN + Hold your fire. There are no life + forms. It must have been short- + circuited. + 7. + + +12 INT. LIFEPOD 12 + + Artoo and Threepio look out at the receding Imperial + starship. Stars circle as the pod rotates through the + galaxy. + + THREEPIO + That's funny, the damage doesn't + look as bad from out here. + + Artoo beeps an assuring response. + + THREEPIO (CONT’D) + Are you sure this things safe? + + 13 13 + + +12A EXT. TATOOINE - ANCHORHEAD SETTLEMENT - POWER STATION - DAY 12A + + Heat waves radiate from the dozen or so bleached white + buildings. Luke pilots his Landspeeder through the dusty + empty street of the tiny settlement. + + An old woman runs to get out of the way of the speeding + vehicle, shaking her fist at Luke as he flies past. + + WOMAN + I've told you kids to slow down! + + +14 INT. POWER STATION - DAY 14 + + Luke bursts into the power station, waking The Fixer, a + rugged mechanic and Camie, a sexy, disheveled girl who has + been asleep in his lap. They grumbled as he races through + the office, yelling wildly. + + FIXER + Did I hear a young noise blast + through here? + + CAMIE + It was just wormie on another + rampage. + + Luke bounces into a small room behind the office where Deak + and Windy, two tough boys about the same age as Luke, are + playing a computer pool-like game with Biggs, a burly, + handsome boy a few years older than the rest. His flashy + city attire is a sharp contrast to the loose-fitting tunics + of the farm boys. A robot repairs some equipment in the + background. + 8. + + + LUKE + Shape it up you guys!... Biggs? + + Luke's surprise at the appearance of Biggs gives way to + great joy and emotion. They give each other a great bear + hug. + + LUKE (CONT’D) + I didn't know you were back! When + did you get in? + + BIGGS + Just now. I wanted to surprise you, + hot shot. I thought you'd be + here... certainly didn't expect you + to be out working. + (he laughs) + + LUKE + The Academy didn't change you + much...but you're back so soon? + Hey, what happened, didn't you get + your commission? + + Biggs has an air of cool that seems slightly phony. + + BIGGS + Of course I got it. Signed aboard + The Rand Ecliptic last week. First + mate Biggs Darklighter at your + service... + (he salutes) + ...I just came to say good-bye to + all you unfortunate landlocked + simpletons. + + Everyone laughs. The dazzling spectacle of his dashing + friend is almost too much for Luke, but suddenly he snaps + out of it. + + LUKE + I almost forgot. There's a battle + going on! Right here in our system. + Come and look! + + DEAK + Not again! Forget it. + + +15 EXT. TATOOINE - ANCHORHEAD - SETTLEMENT - POWER STATION - 15 + + DAY + 9. + + + The group stumbles out into the + stifling desert sun. Camie and The + Fixer complain and are forced to + shade their eyes. Luke has his + binoculars out scanning the + heavens. + + LUKE + There they are! + + Biggs takes the binoculars from Luke as the others strain + to see something with the naked eye. Through the binoculars + Biggs sees two small silver specks. + + BIGGS + That's no battle, hot shot... + they're just sitting there! + Probably a freighter-tanker + refueling. + + LUKE + But there was a lot of firing + earlier... + + Camie grabs the binoculars away banging them against the + building in the process. Luke grabs them. + + LUKE (CONT’D) + Hey, easy with those... + + CAMIE + Don't worry about it, Wormie. + + The Fixer gives Luke a hard look and the young farm boy + shrugs his shoulders in resignation. + + FIXER + I keep telling you, the Rebellion + is a long way from here. I doubt if + the Empire would even fight to keep + this system. Believe me Luke, this + planet is a big hunk of nothing... + + Luke agrees, although it's obvious he isn't sure why. The + group stumbles back into the power station, grumbling about + Luke's ineptitude. + + +16 INT. REBEL BLOCKADE RUNNER - HALLWAY 16 + 10. + + +Princess Leia is led down a low-ceilinged hallway by a +squad of armored stormtroopers. Her hands are bound and she +is brutally shoved when she is unable to keep up with the +briskly marching troops. They stop in a smoky hallway as +Darth Vader emerges from the shadows. The sinister Dark +Lord stares hard at the frail young senator, but she +doesn't move. + + LEIA + Lord Vader, I should have known. + Only you could be so bold. The + Imperial Senate will not sit for + this, when they hear you've + attacked a diplomatic... + + VADER + Don't play games with me, Your + Highness. You weren't on any mercy + mission this time. You passed + directly through a restricted + system. Several transmissions were + beamed to this ship by Rebel spies. + I want to know what happened to the + plans they sent you. + + LEIA + I don't know what you're talking + about. I'm a member of the Imperial + Senate on a diplomatic mission to + Alderaan... + + VADER + You're a part of the Rebel + Alliance... and a traitor. Take her + away! + +Leia is marched away down the hallway and into the +smoldering hole blasted in the side of the ship. An +Imperial Commander turns to Vader. + + COMMANDER + Holding her is dangerous. If word + of this gets out, it could generate + sympathy for the Rebellion in the + senate. + + VADER + I have traced the Rebel spies to + her. Now she is my only link to + find their secret base! + + COMMANDER + 11. + + + She'll die before she tells you + anything. + + VADER + Leave that to me. Send a distress + signal and then inform the senate + that all aboard were killed! + + Another Imperial Officer approaches Vader and the + Commander. They stop and snap to attention. + + SECOND OFFICER + Lord Vader, the battle station + plans are not aboard this ship! And + no transmissions were made. An + escape pod was jettisoned during + the fighting, but no life forms + were aboard. + + Vader turns to the Commander. + + VADER + She must have hidden the plans in + the escape pod. Send a detachment + down to retrieve them. See to it + personally, Commander. There'll be + no one to stop us this time. + + COMMANDER + Yes, sir. + + +17 EXT. SPACE 17 + + The Imperial Stardestroyer comes over the surface of the + planet Tatooine. + + +18 EXT. TATOOINE - DESERT 18 + + Jundland, or "No Man's Land", where the rugged desert mesas + meet the foreboding dune sea. The two helpless astro-droids + kick up clouds of sand as they leave the lifepod and + clumsily work their way across the desert wasteland. The + lifepod in the distance rests half buried in the sand. + + THREEPIO + How did I get into this mess? I + really don't know how. We seem to + be made to suffer. It's our lot in + life. + + Artoo answers with beeping sounds. + 12. + + + THREEPIO (CONT’D) + I've got to rest before I fall + apart. My joints are almost frozen. + +Artoo continues to respond with beeping sounds. + + THREEPIO (CONT’D) + What a desolate place this is. + +Suddenly Artoo whistles, makes a sharp right turn and +starts off in the direction of the rocky desert mesas. +Threepio stops and yells at him. + + THREEPIO (CONT’D) + Where are you going? + +A stream of electronic noises pours forth from the small +robot. + + THREEPIO (CONT’D) + Well, I'm not going that way. It's + much too rocky. This way is much + easier. + +Artoo counters with a long whistle. + + THREEPIO (CONT’D) + What makes you think there are + settlements over there? + +Artoo continues to make beeping sounds. + + THREEPIO (CONT’D) + Don't get technical with me. + +Artoo continues to make beeping sounds. + + THREEPIO (CONT’D) + What mission? What are you talking + about? I've had just about enough + of you! Go that way! You'll be + malfunctioning within a day, you + nearsighted scrap pile! + +Threepio gives the little robot a kick and starts off in +the direction of the vast dune sea. + + THREEPIO (CONT’D) + And don't let me catch you + following me begging for help, + because you won't get it. + 13. + + + Artoo's reply is a rather rude sound. He turns and trudges + off in the direction of the towering mesas. + + THREEPIO (CONT’D) + No more adventures. I'm not going + that way. + + Artoo beeps to himself as he makes his way toward the + distant mountains. + + +19 EXT. TATOOINE - DUNE SEA 19 + + Threepio, hot and tired, struggles up over the ridge of a + dune; only to find more dunes, which seem to go on for + endless miles. He looks back in the direction of the now + distant rock mesas. + + THREEPIO + That malfunctioning little twerp. + This is all his fault! He tricked + me into going this way, but he'll + do no better. + + In a huff of anger and frustration, Threepio knocks the + sand from his joints. His plight seems hopeless, when a + glint of reflected light in the distance reveals an object + moving towards him. + + THREEPIO (CONT’D) + Wait, what's that? A transport! I'm + saved! + + The bronze android waves frantically and yells at the + approaching transport. + + THREEPIO (CONT’D) + Over here! Help! Please, help! + + 20 20 + + +19A EXT. TATOOINE - ANCHORHEAD SETTLEMENT - POWER STATION - DAY 19A + + Luke and Biggs are walking and drinking a malt brew. Fixer + and the others can be heard working inside. + + LUKE + (Very animated) + 14. + + + ...so I cut off my power, shut down + the afterburners and came in low on + Deak's trail. I was so close I + thought I was going to fry my + instruments. As it was I busted up + the Skyhopper pretty bad. Uncle + Owen was pretty upset. He grounded + me for the rest of the season. You + should have been there... it was + fantastic. + + BIGGS + You ought to take it easy Luke. You + may be the hottest bushpilot this + side of Mos Eisley, but those + little Skyhoppers are dangerous. + Keep it up, and one day, whammo, + you're going to be nothing more + than a dark spot on the down side + of a canyon wall. + + LUKE + Look who's talking. Now that you've + been around those giant starships + you're beginning to sound like my + uncle. You've gotten soft in the + city... + + BIGGS + I've missed you kid. + + LUKE + Well, things haven't been the same + since you left, Biggs. It's been + so... quiet. + +Biggs looks around then leans close to Luke. + + BIGGS + Luke, I didn't come back just to + say good-bye... I shouldn't tell + you this, but you're the only one I + can trust... and if I don't come + back, I want somebody to know. + +Luke's eyes are wide with Biggs' seriousness and loyalty. + + LUKE + What are you talking about? + + BIGGS + I made some friends at the Academy. + (he whispers) + 15. + + + ...when our frigate goes to one of + the central systems, we're going to + jump ship and join the Alliance... + +Luke, amazed and stunned, is almost speechless. + + LUKE + Join the Rebellion?! Are you + kidding! How? + + BIGGS + Quiet down will ya! You got a mouth + bigger than a meteor crater! + + LUKE + I'm sorry. I'm quiet. + (he whispers) + Listen how quiet I am. You can + barely hear me... + +Biggs shakes his head angrily and then continues. + + BIGGS + My friend has a friend on Bestine + who might help us make contact. + + LUKE + You're crazy! You could wander + around forever trying to find them. + + BIGGS + I know it's a long shot, but if I + don't find them I'll do what I can + on my own... It's what we always + talked about. Luke, I'm not going + to wait for the Empire to draft me + into service. The Rebellion is + spreading and I want to be on the + right side -- the side I believe + in. + + LUKE + And I'm stuck here... + + BIGGS + I thought you were going to the + Academy next term. You'll get your + chance to get off this rock. + +LUKE Not likely! I had to cancel my application. There has +been a lot of unrest among the Sandpeople since you left... +they've even raided the outskirts of Anchorhead. + 16. + + + BIGGS Your uncle could hold off a whole colony of + Sandpeople with one blaster. + + LUKE I know, but he's got enough vaporators going to make + the place pay off. He needs me for just one more season. I + can't leave him now. + + BIGGS I feel for you, Luke, you're going to have to learn + what seems to be important or what really is important. + What good is all your uncle's work if it's taken over by + the Empire?... You know they're starting to nationalize + commerce in the central systems... it won't be long before + your uncle is merely a tenant, slaving for the greater + glory of the Empire. + + LUKE It couldn't happen here. You said it yourself. The + Empire won't bother with this rock. + + BIGGS Things always change. + + LUKE I wish I was going... Are you going to be around long? + + BIGGS No, I'm leaving in the morning... + + LUKE Then I guess I won't see you. + + BIGGS Maybe someday... I'll keep a lookout. + + LUKE + Well, I'll be at the Academy next + season... after that who knows. I + won't be drafted into the Imperial + Starfleet that's for sure... Take + care of yourself, you'll always be + the best friend I've got. + + BIGGS + So long, Luke. + + Biggs turns away from his old friend and heads towards the + power station. + + +21 EXT. TATOOINE - ROCK CANYON - SUNSET 21 + + The gargantuan rock formations are shrouded in a strange + foreboding mist and the onimous sounds of unearthly + creatures fill the air. Artoo moves cautiously through the + creepy rock canyon, inadvertently making a loud clicking + noise as he goes. He hears a distant, hard, metallic sound + and stops for a moment. Convinced he is alone, he continues + on his way. + 17. + + + In the distance, a pebble tumbles down the steep canyon + wall and a small dark figure darts into the shadows. A + little further up the canyon a slight flicker of light + reveals a pair of eyes in the dark recesses only a few feet + from the narrow path. + + The unsuspecting robot waddles along the rugged trail until + suddenly, out of nowhere, a powerful magnetic ray shoots + out of the rocks and engulfs him in an eerie glow. He + manages one short electronic squeak before he topples over + onto his back. His bright computer lights flicker off, then + on, then off again. Out of the rocks scurry three Jawas, no + taller than Artoo. They holster strange and complex weapons + as they cautiously approach the robot. They wear grubby + cloaks and their faces are shrouded so only their glowing + eyes can be seen. They hiss and make odd guttural sounds as + they heave the heavy robot onto their shoulders and carry + him off down the trail. + + +22 EXT. TATOOINE - ROCK CANYON - SANDCRAWLER - SUNSET 22 + + The eight Jawas carry Artoo out of the canyon to a huge + tank- like vehicle the size of a four-story house. They + weld a small disk on the side of Artoo and then put him + under a large tube on the side of the vehicle and the + little robot is sucked into the giant machine. + + The filthy little Jawas scurry like rats up small ladders + and enter the main cabin of the behemoth transport. + + +23 INT. SANDCRAWLER - HOLD AREA 23 + + It is dim inside the hold area of the Sandcrawler. Artoo + switches on a small floodlight on his forehead and stumbles + around the scrap heap. The narrow beam swings across rusty + metal rocket parts and an array of grotesquely twisted and + maimed astro-robots. He lets out a pathetic electronic + whimper and stumbles off toward what appears to be a door + at the end of the chamber. + + +24 INT. SANDCRAWLER - PRISON AREA 24 + + Artoo enters a wide room with a four-foot ceiling. In the + middle of the scrap heap sit a dozen or so robots of + various shapes and sizes. Some are engaged in electronic + conversation, while others simply mill about. A voice of + recognition calls out from the gloom. + + THREEPIO + Artoo-Detoo! It's you! It's you! + 18. + + + A battered Threepio scrambles up to Artoo and embraces him. + + +25 EXT. TATOOINE - ROCK CANYON - SANDCRAWLER - SUNSET 25 + + The enormous Sandcrawler lumbers off toward the magnificent + twin suns, which are slowly setting over a distant mountain + ridge. + + +26 EXT. TATOOINE - DESERT - DAY 26 + + Four Imperial stormtroopers mill about in front of the + half- buried lifepod that brought Artoo and Threepio to + Tatooine. A trooper yells to an officer some distance away. + + FIRST TROOPER + Someone was in the pod. The tracks + go off in this direction. + + A second trooper picks a small bit of metal out of the sand + and gives it to the first trooper. + + SECOND TROOPER + Look, sir -- droids. + + +27 EXT. TATOOINE - DUNES 27 + + The Sandcrawler moves slowly down a great sand dune. + + +28 INT. SANDCRAWLER 28 + + Threepio and Artoo noisily bounce along inside the cramped + prison chamber. Artoo appears to be shut off. + + THREEPIO + Wake up! Wake up! + + Suddenly the shaking and bouncing of the Sandcrawler stops, + creating quite a commotion among the mechanical men. + Threepio's fist bangs the head of Artoo whose computer + lights pop on as he begins beeping. At the far end of the + long chamber a hatch opens, filling the chamber with + blinding white light. a dozen or so Jawas make their way + through the odd assortment of robots. + + THREEPIO (CONT’D) + We're doomed. + + A Jawa starts moving toward them. + 19. + + + THREEPIO (CONT’D) + Do you think they'll melt us down? + + Artoo responds, making beeping sounds. + + THREEPIO (CONT’D) + Don't shoot! Don't shoot! Will this + never end? + + +29 EXT. TATOOINE - DESERT - LARS HOMESTEAD - AFTERNOON 29 + + The Jawas mutter gibberish as they busily line up their + battered captives, including Artoo and Threepio, in front + of the enormous Sandcrawler, which is parked beside a small + homestead consisting of three large holes in the ground + surrounded by several tall moisture vaporators and one + small adobe block house. + + The Jawas scurry around fussing over the robots, + straightening them up or brushing some dust from a dented + metallic elbow. The shrouded little creatures smell + horribly, attracting small insects to the dark areas when + their mouths and nostrils should be. + + Out of the shadows of a dingy side-building limps Owen + Lars, a large burly man in his mid-fifties. His reddish + eyes are sunken in a dust-covered face. As the farmer + carefully inspects each robot, he is closely followed by + his slump- shouldered nephew, Luke Skywalker. One of the + vile little Jawas walks ahead of the farmer spouting an + animated sales pitch in a queer, unintelligible language. + + A voice calls out from one of the huge holes that form the + homestead. Luke goes over to the edge and sees his Aunt + Beru standing in the main courtyard. + + BERU + Luke, tell Owen that if he gets a + translator to be sure it speaks + Bocce. + + LUKE + It looks like we don't have much of + a choice but I'll remind him. + + Luke returns to his uncle as they look over the equipment + for sale with the Jawa leader. + + OWEN + I have no need for a protocol + droid. + 20. + + + THREEPIO + (quickly) +Sir -- not in an environment such +as this -- that's why I've also +been programmed for over thirty +secondary functions that... + + OWEN +What I really need is a droid that +understands the binary language of +moisture vaporators. + + THREEPIO +Vaporators! Sir -- My first job was +programming binary load lifter... +very similar to your vaporators. +You could say... + + OWEN +Do you speak Bocce? + + THREEPIO +Of course I can, sir. It's like a +second language for me... I'm as +fluent in Bocce... + + OWEN +All right shut up! + (turning to Jawa) +I'll take this one. + + THREEPIO +Shutting up, sir. + + OWEN +Luke, take these two over to the +garage, will you? + (MORE) + + OWEN (CONT'D) +I want you to have both of them +cleaned up before dinner. + + LUKE +But I was going into Toshi Station +to pick up some power converters... + + OWEN +You can waste time with your +friends when your chores are done. +Now come on, get to it! + + LUKE + 21. + + + All right, come on! And the red + one, come on. Well, come on, Red, + let's go. + +As the Jawas start to lead the three remaining robots back +into the Sandcrawler, Artoo lets out a pathetic little beep +and starts after his old friend Threepio. He is restrained +by a slimy Jawa, who zaps him with a control box. + +Owen is negotiating with the head Jawa. Luke and the two +robots start off for the garage when a plate pops off the +head of the red astro-droid's head plate and it sparks +wildly. + + LUKE (CONT’D) + Uncle Owen... + + OWEN + Yeah? + + LUKE + This R2 unit has a bad motivator. + Look! + + OWEN + (to the head Jawa) + Hey, what're you trying to push on + us? + +The Jawa goes into a loud spiel. Meanwhile, Artoo has +sneaked out of line and is moving up and down trying to +attract attention. He lets out with a low whistle. Threepio +taps Luke on the shoulder. + + THREEPIO + (pointing to Artoo) + Excuse me, sir, but that R2 unit is + in prime condition. A real bargain. + + LUKE + Uncle Owen... + + OWEN + Yeah? + + LUKE + What about that one? + + OWEN + (to Jawa) + What about that blue one? We'll + take that one. + 22. + + + With a little reluctance the scruffy dwarf trades the + damaged astro-droid for Artoo. + + LUKE + Yeah, take it away. + + THREEPIO + Uh, I'm quite sure you'll be very + pleased with that one, sir. He + really is in first-class condition. + I've worked with him before. Here + he comes. + + Owen pays off the whining Jawa as Luke and the two robots + trudge off toward a grimy homestead entry. + + LUKE + Okay, let's go. + + THREEPIO + (to Artoo) + Now, don't you forget this! Why I + should stick my neck out for you is + quite beyond my capacity! + + +30 INT. LARS HOMESTEAD - GARAGE AREA - LATE AFTERNOON 30 + + The garage is cluttered and worn, but a friendly peaceful + atmosphere permeates the low grey chamber. Threepio lowers + himself into a large tub filled with warm oil. Near the + battered Landspeeder little Artoo rests on a large battery + with a cord to his face. + + THREEPIO + Thank the maker! This oil bath is + going to feel so good. I've got + such a bad case of dust + contamination, I can barely move! + + Artoo beeps a muffled reply. Luke seems to be lost in + thought as he runs his hand over the damaged fin of a small + two-man Skyhopper spaceship resting in a low hangar off the + garage. Finally Luke's frustrations get the better of him + and he slams a wrench across the workbench. + + LUKE + It just isn't fair. Oh, Biggs is + right. I'm never gonna get out of + here! + + THREEPIO + 23. + + + Is there anything I might do to + help? + +Luke glances at the battered robot. A bit of his anger +drains and a tiny smile creeps across his face. + + LUKE + Well, not unless you can alter + time, speed up the harvest, or + teleport me off this rock! + + THREEPIO + I don't think so, sir. I'm only a + droid and not very knowledgeable + about such things. Not on this + planet, anyways. As a matter of + fact, I'm not even sure which + planet I'm on. + + LUKE + Well, if there's a bright center to + the universe, you're on the planet + that it's farthest from. + + THREEPIO + I see, sir. + + LUKE + Uh, you can call me Luke. + + THREEPIO + I see, sir Luke. + + LUKE + (laughing) + Just Luke. + + THREEPIO + And I am See-Threepio, human-cyborg + relations, and this is my + counterpart, Artoo-Detoo. + + LUKE + Hello. + +Artoo beeps in response. Luke unplugs Artoo and begins to +scrape several connectors on the robot's head with a chrome +pick. Threepio climbs out of the oil tub and begins wiping +oil from his bronze body. + + LUKE (CONT’D) + 24. + + + You got a lot of carbon scoring + here. It looks like you boys have + seen a lot of action. + + THREEPIO + With all we've been through, + sometimes I'm amazed we're in as + good condition as we are, what with + the Rebellion and all. + + LUKE + You know of the Rebellion against + the Empire? + + THREEPIO + That's how we came to be in your + service, if you take my meaning, + sir. + + LUKE + Have you been in many battles? + + THREEPIO + Several, I think. Actually, there's + not much to tell. I'm not much more + than an interpreter, and not very + good at telling stories. Well, not + at making them interesting, + anyways. + +Luke struggles to remove a small metal fragment from +Artoo's neck joint. He uses a larger pick. + + LUKE + Well, my little friend, you've got + something jammed in here real good. + Were you on a cruiser or... + +The fragment breaks loose with a snap, sending Luke +tumbling head over heels. He sits up and sees a twelve-inch +three- dimensional hologram of Leia Organa, the Rebel +senator, being projected from the face of little Artoo. The +image is a rainbow of colors as it flickers and jiggles in +the dimly lit garage. Luke's mouth hangs open in awe. + + LEIA + Help me, Obi-Wan Kenobi. You're my + only hope. + + LUKE + What's this? + 25. + + +Artoo looks around and sheepishly beeps an answer for +Threepio to translate. Leia continues to repeat the +sentence fragment over and over. + + THREEPIO + What is what?!? He asked you a + question... + (pointing to Leia) + What is that? + +Artoo whistles his surprise as he pretends to just notice +the hologram. He looks around and sheepishly beeps an +answer for Threepio to translate. Leia continues to repeat +the sentence fragment over and over. + + LEIA + Help me, Obi-Wan Kenobi. You're my + only hope. Help me, Obi-Wan Kenobi. + You're my only hope. + + THREEPIO + Oh, he says it's nothing, sir. + Merely a malfunction. Old data. Pay + it no mind. + +Luke becomes intrigued by the beautiful girl. + + LUKE + Who is she? She's beautiful. + + THREEPIO + I'm afraid I'm not quite sure, sir. + + LEIA + Help me, Obi-Wan Kenobi... + + THREEPIO + I think she was a passenger on our + last voyage. A person of some + importance, sir -- I believe. Our + captain was attached to... + + LUKE + Is there more to this recording? + +Luke reaches out for Artoo but he lets out several frantic +squeaks and a whistle. + + THREEPIO + Behave yourself, Artoo. You're + going to get us in trouble. It's + all right, you can trust him. He's + our new master. + 26. + + +Artoo whistles and beeps a long message to Threepio. + + THREEPIO (CONT’D) + He says he's the property of Obi- + Wan Kenobi, a resident of these + parts. And it's a private message + for him. Quite frankly, sir I don't + know what he's talking about. Our + last master was Captain Antilles, + but with what we've been through, + this little R2 unit has become a + bit eccentric. + + LUKE + Obi-Wan Kenobi? I wonder if he + means old Ben Kenobi? + + THREEPIO + I beg your pardon, sir, but do you + know what he's talking about? + + LUKE + Well, I don't know anyone named + Obi- Wan, but old Ben lives out + beyond the dune sea. He's kind of a + strange old hermit. + +Luke's gazes at the beautiful young princess for a few +moments. + + LUKE (CONT’D) + I wonder who she is. It sounds like + she's in trouble. I'd better play + back the whole thing. + +Artoo beeps something to Threepio. + + THREEPIO + He says the restraining bolt has + short circuited his recording + system. He suggests that if you + remove the bolt, he might be able + to play back the entire recording. + +Luke looks longingly at the lovely, little princess and +hasn't really heard what Threepio has been saying. + + LUKE + H'm? Oh, yeah, well, I guess you're + too small to run away on me if I + take this off! Okay. + 27. + + +Luke takes a wedged bar and pops the restraining bolt off +Artoo's side. + + LUKE (CONT’D) + There you go. + +The princess immediately disappears... + + LUKE (CONT’D) + Well, wait a minute. Where'd she + go? Bring her back! Play back the + entire message. + +Artoo beeps an innocent reply as Threepio sits up in +embarrassment. + + THREEPIO + What message? The one you're + carrying inside your rusty innards! + +A women's voice calls out from another room. + + AUNT BERU + Luke? Luke! Come to dinner! + +Luke stands up and shakes his head at the malfunctioning +robot. + + LUKE + All right, I'll be right there, + Aunt Beru. + + THREEPIO + I'm sorry, sir, but he appears to + have picked up a slight flutter. + +Luke tosses Artoo's restraining bolt on the workbench and +hurries out of the room. + + LUKE + Well, see what you can do with him. + I'll be right back. + + THREEPIO + (to Artoo) + Just you reconsider playing that + message for him. + +Artoo beeps in response. + + THREEPIO (CONT’D) + No, I don't think he likes you at + all. + 28. + + + Artoo beeps. + + THREEPIO (CONT’D) + No, I don't like you either. + + +31 INT. LARS HOMESTEAD - DINING AREA 31 + + Luke's Aunt Beru, a warm, motherly woman, fills a pitcher + with blue fluid from a refrigerated container in the well- + used kitchen. She puts the pitcher on a tray with some + bowls of food and starts for the dining area. + + Luke sits with his Uncle Owen before a table covered with + steaming bowls of food as Aunt Beru carries in a bowl of + red grain. + + LUKE + You know, I think that R2 unit we + bought might have been stolen. + + OWEN + What makes you think that? + + LUKE + Well, I stumbled across a recording + while I was cleaning him. He says + he belongs to someone called Obi- + Wan Kenobi. + + Owen is greatly alarmed at the mention of his name, but + manages to control himself. + + LUKE (CONT’D) + I thought he might have meant old + Ben. Do you know what he's talking + about? Well, I wonder if he's + related to Ben. + + Owen breaks loose with a fit of uncontrolled anger. + + OWEN + That old man's just a crazy old + wizard. Tomorrow I want you to take + that R2 unit into Anchorhead and + have its memory flushed. That'll be + the end of it. It belongs to us + now. + + LUKE + But what if this Obi-Wan comes + looking for him? + 29. + + + OWEN + He won't, I don't think he exists + any more. He died about the same + time as your father. + + LUKE + He knew my father? + + OWEN + I told you to forget it. Your only + concern is to prepare the new + droids for tomorrow. In the morning + I want them on the south ridge + working out those condensers. + + LUKE + Yes, sir. I think those new droids + are going to work out fine. In + fact, I, uh, was also thinking + about our agreement about my + staying on another season. And if + these new droids do work out, I + want to transmit my application to + the Academy this year. + +Owen's face becomes a scowl, although he tries to suppress +it. + + OWEN + You mean the next semester before + harvest? + + LUKE + Sure, there're more than enough + droids. + + OWEN + Harvest is when I need you the + most. Only one more season. This + year we'll make enough on the + harvest so I'll be able to hire + some more hands. And then you can + go to the Academy next year. + +Luke continues to toy with his food, not looking at his +uncle. + + OWEN (CONT’D) + You must understand I need you + here, Luke. + + LUKE + But it's a whole 'nother year. + 30. + + + OWEN + Look, it's only one more season. + + Luke pushes his half-eaten plate of food aside and stands. + + LUKE + Yeah, that's what you said last + year when Biggs and Tank left. + + AUNT BERU + Where are you going? + + LUKE + It looks like I'm going nowhere. I + have to finish cleaning those + droids. + + Resigned to his fate, Luke paddles out of the room. Owen + mechanically finishes his dinner. + + AUNT BERU + Owen, he can't stay here forever. + Most of his friends have gone. It + means so much to him. + + OWEN + I'll make it up to him next year. I + promise. + + AUNT BERU + Luke's just not a farmer, Owen. He + has too much of his father in him. + + OWEN + That's what I'm afraid of. + + +32 EXT. TATOOINE - LARS HOMESTEAD 32 + + The giant twin suns of Tatooine slowly disappear behind a + distant dune range. Luke stands watching them for a few + moments, then reluctantly enters the doomed entrance to the + homestead. + + +33 INT. LARS HOMESTEAD - GARAGE 33 + + Luke enters the garage to discover the robots nowhere in + sight. He takes a small control box from his utility belt + similar to the one the Jawas were carrying. He activates + the box, which creates a low hum, and Threepio, letting out + a short yell, pops up from behind the Skyhopper spaceship. + 31. + + + LUKE + What are you doing hiding there? + + Threepio stumbles forward, but Artoo is still nowhere in + sight. + + THREEPIO + It wasn't my fault, sir. Please + don't deactivate me. I told him not + to go, but he's faulty, + malfunctioning; kept babbling on + about his mission. + + LUKE + Oh, no! + + Luke races out of the garage followed by Threepio. + + +34 EXT. TATOOINE - LARS HOMESTEAD 34 + + Luke rushes out of the small doomed entry to the homestead + and searches the darkening horizon for the small triped + astro- robot. Threepio struggles out of the homestead and + on the salt flat as Luke scans the landscape with his + electrobinoculars. + + THREEPIO + That R2 unit has always been a + problem. These astro-droids are + getting quite out of hand. Even I + can't understand their logic at + times. + + LUKE + How could I be so stupid? He's + nowhere in sight. Blast it! + + THREEPIO + Pardon me, sir, but couldn't we go + after him? + + LUKE + It's too dangerous with all the + Sandpeople around. We'll have to + wait until morning. + + Owen yells up from the homestead plaza. + + OWEN + Luke, I'm shutting the power down + for the night. + 32. + + + LUKE + All right, I'll be there in a few + minutes. Boy, am I gonna get it. + + He takes one final look across the dim horizon. + + LUKE (CONT’D) + You know that little droid is going + to cause me a lot of trouble. + + THREEPIO + Oh, he excels at that, sir. + + +35 INT. LARS HOMESTEAD - PLAZA 35 + + Morning slowly creeps into the sparse but sparkling oasis + of the open courtyard. The idyll is broken be the yelling + of Uncle Owen, his voice echoing throughout the homestead. + + OWEN + Luke? Luke? Luke? Where could he be + loafing now! + + +36 INT. LARS HOMESTEAD - KITCHEN 36 + + The interior of the kitchen is a worm glow as Aunt Beru + prepares the morning breakfast. Owen enters in a huff. + + OWEN + Have you seen Luke this morning? + + AUNT BERU + He said he had some things to do + before he started today, so he left + early. + + OWEN + Uh? Did he take those two new + droids with him? + + AUNT BERU + I think so. + + OWEN + Well, he'd better have those units + in the south range repaired be + midday or there'll be hell to pay! + + +37 EXT. TATOOINE - DESERT WASTELAND - LUKE'S SPEEDER - DAY 37 + 33. + + + The rock and sand of the desert floor are a blur as + Threepio pilots the sleek Landspeeder gracefully across the + vast wasteland. + + +38 INT./EXT. LUKE'S SPEEDER - DESERT WASTELAND - TRAVELING - 38 + + DAY + Luke leans over the back of the + speeder and adjusts something in + the motor compartment. + + LUKE + (yelling) + How's that. + + Threepio signals that is fine and Luke turns back into the + wind-whipped cockpit and pops the canopy shut. + + LUKE (CONT’D) + Old Ben Kenobi lives out in this + direction somewhere, but I don't + see how that R2 unit could have + come this far. We must have missed + him. Uncle Owen isn't going to take + this very well. + + THREEPIO + Sir, would it help if you told him + it was my fault. + + LUKE + (brightening) + Sure. He needs you. He'd probably + only deactivate you for a day or + so... + + THREEPIO + Deactivate! Well, on the other hand + if you hadn't removed his + restraining bolt... + + LUKE + Wait, there's something dead ahead + on the scanner. It looks like our + droid... hit the accelerator. + + +39 EXT. TATOOINE - ROCK MESA - DUNE SEA - COASTLINE - DAY 39 + 34. + + + From high on a rock mesa, the tiny Landspeeder can be seen + gliding across the desert floor. Suddenly in the foreground + two weather-beaten Sandpeople shrouded in their grimy + desert cloaks peer over the edge of the rock mesa. One of + the marginally human creatures raises a long ominous laser + rifle and points it at the speeder but the second creature + grabs the gun before it can be fired. + + The Sandpeople, or Tusken Raiders as they're sometimes + called, speak in a coarse barbaric language as they get + into an animated argument. The second Tusken Raider seems + to get in the final word and the nomads scurry over the + rocky terrain. + + +40 EXT. TATOOINE - ROCK MESA - CANYON 40 + + The Tusken Raider approaches two large Banthas standing + tied to a rock. The monstrous, bear-like creatures are as + large as elephants, with huge red eyes, tremendous looped + horns, and long, furry, dinosaur-like tails. The Tusken + Raiders mount saddles strapped to the huge creatures' + shaggy backs and ride off down the rugged bluff. + + +41 EXT. TATOOINE - ROCK CANYON - FLOOR 41 + + The speeder is parked on the floor of a massive canyon. + Luke, with his long laser rifle slung over his shoulder, + stands before little Artoo. + + LUKE + Hey, whoa, just where do you think + you're going? + + The little droid whistles a feeble reply, as Threepio poses + menacingly behind the little runaway. + + THREEPIO + Master Luke here is your rightful + owner. We'll have no more of this + Obi-Wan Kenobi jibberish... and + don't talk to me about your + mission, either. You're fortunate + he doesn't blast you into a million + pieces right here. + + LUKE + Well, come on. It's getting late. I + only hope we can get back before + Uncle Owen really blows up. + + THREEPIO + 35. + + + If you don't mind my saying so, + sir, I think you should deactivate + the little fugitive until you've + gotten him back to your workshop. + + LUKE + No, he's not going to try anything. + + Suddenly the little robot jumps to life with a mass of + frantic whistles and screams. + + LUKE (CONT’D) + What's wrong with him now? + + THREEPIO + Oh my... sir, he says there are + several creatures approaching from + the southeast. + + Luke swings his rifle into position and looks to the south. + + LUKE + Sandpeople! Or worst! Come on, + let's have a look. Come on. + + +42 EXT. TATOOINE - ROCK CANYON - RIDGE - DAY 42 + + Luke carefully makes his way to the top of a rock ridge and + scans the canyon with his electrobinoculars. He spots the + two riderless Banthas. Threepio struggles up behind the + young adventurer. + + LUKE + There are two Banthas down there + but I don't see any... wait a + second, they're Sandpeople all + right. I can see one of them now. + + Luke watches the distant Tusken Raider through his + electrobinoculars. Suddenly something huge moves in front + of his field of view. Before Luke or Threepio can react, a + large, gruesome Tusken Raider looms over them. Threepio is + startled and backs away, right off the side if the cliff. + He can be heard for several moments as he clangs, bangs and + rattles down the side of the mountain. + 36. + + + The towering creature brings down his curved, double- + pointed gaderffii -- the dreaded axe blade that has struck + terror in the heart of the local settlers. But Luke manages + to block the blow with his laser rifle, which is smashed to + pieces. The terrified farm boy scrambles backward until he + is forced to the edge of a deep crevice. The sinister + Raider stands over him with his weapon raised and lets out + a horrible shrieking laugh. + + +43 EXT. TATOOINE - ROCK CANYON - FLOOR - DAY 43 + + Artoo forces himself into the shadows of a small alcove in + the rocks as the vicious Sandpeople walk past carrying the + inert Luke Skywalker, who is dropped in a heap before the + speeder. The Sandpeople ransack the speeder, throwing parts + and supplies in all directions. Suddenly they stop. Then + everything is quiet for a few moments. A great howling moan + is heard echoing throughout the canyon which sends the + Sandpeople fleeing in terror. + + Artoo moves even tighter into the shadows as the slight + swishing sound that frightened off the Sandpeople grows + even closer, until a shabby old desert-rat-of-a-man appears + and leans over Luke. His ancient leathery face, cracked and + weathered by exotic climates is set off by dark, + penetrating eyes and a scraggly white beard. Ben Kenobi + squints his eyes as he scrutinizes the unconscious farm + boy. Artoo makes a slight sound and Ben turns and looks + right at him. + + BEN + Hello there! Come here my little + friend. Don't be afraid. + + Artoo waddles over to were Luke lies crumpled in a heap and + begins to whistle and beep his concern. Ben puts his hand + on Luke's forehead and he begins to come around. + + BEN (CONT’D) + Don't worry, he'll be all right. + + LUKE + What happened? + + BEN + Rest easy, son, you've had a busy + day. You're fortunate you're still + in one piece. + + LUKE + Ben? Ben Kenobi! Boy, am I glad to + see you! + 37. + + + BEN + The Jundland wastes are not to be + traveled lightly. Tell me young + Luke, what brings you out this far? + + LUKE + Oh, this little droid! I think he's + searching for his former master... + I've never seen such devotion in a + droid before... there seems to be + no stopping him. He claims to be + the property of an Obi-Wan Kenobi. + Is he a relative of yours? Do you + know who he's talking about? + +Ben ponders this for a moment, scratching his scruffy +beard. + + BEN + Obi-Wan Kenobi... Obi-Wan? Now + thats a name I haven't heard in a + long time... a long time. + + LUKE + I think my uncle knew him. He said + he was dead. + + BEN + Oh, he's not dead, not... not yet. + + LUKE + You know him! + + BEN + Well of course, of course I know + him. He's me! I haven't gone by the + name Obi-Wan since oh, before you + were born. + + LUKE + Then the droid does belong to you. + + BEN + Don't seem to remember ever owning + a droid. Very interesting... + +He suddenly looks up at the overhanging cliffs. + + BEN (CONT’D) + I think we better get indoors. The + Sandpeople are easily startled but + they will soon be back and in + greater numbers. + 38. + + + Luke sits up and rubs his head. Artoo lets out a pathetic + beep causing Luke to remember something. He looks around. + + LUKE + Threepio! + + +44 EXT. TATOOINE - SAND PIT - ROCK MESA - DAY 44 + + Little Artoo stands at the edge of a large sand pit and + begins to chatter away in electronic whistles and beeps. + Luke and Ben stand over a very dented and tangled Threepio + lying half buried in the sand. One of his arms has broken + off. + + Luke tries to revive the inert robot by shaking him and + then flips a hidden switch on his back several times until + finally the mechanical man's systems turn on. + + THREEPIO + Where am I? I must have taken a bad + step... + + LUKE + Can you stand? We've got to get out + of here before the Sandpeople + return. + + THREEPIO + I don't think I can make it. You go + on, Master Luke. There's no sense + in you risking yourself on my + account. I'm done for. + + Artoo makes a beeping sound. + + LUKE + No, you're not. What kind of talk + is that? + + Luke and Ben help the battered robot to his feet. Little + Artoo watches from the top of the pit. Ben glances around + suspiciously. Sensing something, he stands up and sniffs + the air. + + BEN + Quickly, son... they're on the + move. + + +45 INT. KENOBI'S DWELLING 45 + 39. + + +The small, spartan hovel is cluttered with desert junk but +still manages to radiate an air of time-worn comfort and +security. Luke is in one corner repairing Threepio's arm, +as old Ben sits thinking. + + LUKE + No, my father didn't fight in the + wars. He was a navigator on a spice + freighter. + + BEN + That's what your uncle told you. He + didn't hold with your father's + ideals. Thought he should have + stayed here and not gotten + involved. + + LUKE + You fought in the Clone Wars? + + BEN + Yes, I was once a Jedi Knight the + same as your father. + + LUKE + I wish I'd known him. + + BEN + He was the best star-pilot in the + galaxy, and a cunning warrior. I + understand you've become quite a + good pilot yourself. And he was a + good friend. Which reminds me... + +Ben gets up and goes to a chest where he rummages around. +As Luke finishes repairing Threepio and starts to fit the +restraining bolt back on, Threepio looks at him nervously. +Luke thinks about the bolt for a moment then puts it on the +table. Ben shuffles up and presents Luke with a short +handle with several electronic gadgets attached to it. + + BEN (CONT’D) + I have something here for you. Your + father wanted you to have this when + you were old enough, but your uncle + wouldn't allow it. He feared you + might follow old Obi-Wan on some + damned-fool idealistic crusade like + your father did. + + THREEPIO + Sir, if you'll not be needing me, + I'll close down for awhile. + 40. + + + LUKE + Sure, go ahead. + +Ben hands Luke the saber. + + LUKE (CONT’D) + What is it? + + BEN + Your fathers lightsaber. This is + the weapon of a Jedi Knight. Not as + clumsy or as random as a blaster. + +Luke pushes a button on the handle. A long beam shoots out +about four feet and flickers there. The light plays across +the ceiling. + + BEN (CONT’D) + An elegant weapon for a more + civilized time. For over a thousand + generations the Jedi Knights were + the guardians of peace and justice + in the Old Republic. Before the + dark times, before the Empire. + +Luke hasn't really been listening. + + LUKE + How did my father die? + + BEN + A young Jedi named Darth Vader, who + was a pupil of mine until he turned + to evil, helped the Empire hunt + down and destroy the Jedi Knights. + He betrayed and murdered your + father. Now the Jedi are all but + extinct. Vader was seduced by the + dark side of the Force. + + LUKE + The Force? + + BEN + Well, the Force is what gives a + Jedi his power. It's an energy + field created by all living things. + It surrounds us and penetrates us. + It binds the galaxy together. + +Artoo makes beeping sounds. + + BEN (CONT’D) + 41. + + + Now, let's see if we can't figure + out what you are, my little friend. + And where you come from. + + LUKE + I saw part of the message he was... + +Luke is cut short as the recorded image of the beautiful +young Rebel princess is projected from Artoo's face. + + BEN + I seem to have found it. + +Luke stops his work as the lovely girl's image flickers +before his eyes. + + LEIA + General Kenobi, years ago you + served my father in the Clone Wars. + Now he begs you to help him in his + struggle against the Empire. I + regret that I am unable to present + my father's request to you in + person, but my ship has fallen + under attack and I'm afraid my + mission to bring you to Alderaan + has failed. + (MORE) + + LEIA (CONT'D) + I have placed information vital to + the survival of the Rebellion into + the memory systems of this R2 unit. + My father will know how to retrieve + it. You must see this droid safely + delivered to him on Alderaan. This + is our most desperate hour. Help + me, Obi-Wan Kenobi, you're my only + hope. + +There is a little static and the transmission is cut short. +Old Ben leans back and scratches his head. He silently +puffs on a tarnished chrome water pipe. Luke has stars in +his eyes. + + BEN + You must learn the ways of the + Force if you're to come with me to + Alderaan. + + LUKE + (laughing) + 42. + + + Alderaan? I'm not going to + Alderaan. I've got to go home. It's + late, I'm in for it as it is. + + BEN + I need your help, Luke. She needs + your help. I'm getting too old for + this sort of thing. + + LUKE + I can't get involved! I've got work + to do! It's not that I like the + Empire. I hate it! But there's + nothing I can do about it right + now. It's such a long way from + here. + + BEN + That's your uncle talking. + + LUKE + (sighing) + Oh, God, my uncle. How am I ever + going to explain this? + + BEN + Learn about the Force, Luke. + + LUKE + Look, I can take you as far as + Anchorhead. + (MORE) + + LUKE (CONT'D) + You can get a transport there to + Mos Eisley or wherever you're + going. + + BEN + You must do what you feel is right, + of course. + + +46 EXT. SPACE. 46 + + An Imperial Stardestroyer heads toward the evil planet-like + battle station: the Death Star! + + +47 INT. DEATH STAR - CONFERENCE ROOM 47 + 43. + + +Eight Imperial senators and generals sit around a black +conference table. Imperial stormtroopers stand guard around +the room. Commander Tagge, a young, slimy-looking general, +is speaking. + + TAGGE + Until this battle station is fully + operational we are vulnerable. The + Rebel Alliance is too well + equipped. They're more dangerous + than you realize. + +The bitter Admiral Motti twists nervously in his chair. + + MOTTI + Dangerous to your starfleet, + Commander, not to this battle + station! + + TAGGE + The Rebellion will continue to gain + a support in the Imperial Senate as + long as.... + +Suddenly all heads turn as Commander Tagge's speech is cut +short and the Grand Moff Tarkin, governor of the Imperial +outland regions, enters. He is followed by his powerful +ally, The Sith Lord, Darth Vader. All of the generals stand +and bow before the thin, evil-looking governor as he takes +his place at the head of the table. The Dark Lord stands +behind him. + + TARKIN + The Imperial Senate will no longer + be of any concern to us. I've just + received word that the Emperor has + dissolved the council permanently. + The last remnants of the Old + Republic have been swept away. + + TAGGE + That's impossible! How will the + Emperor maintain control without + the bureaucracy? + + TARKIN + The regional governors now have + direct control over territories. + Fear will keep the local systems in + line. Fear of this battle station. + + TAGGE + 44. + + + And what of the Rebellion? If the + Rebels have obtained a complete + technical readout of this station, + it is possible, however unlikely, + that they might find a weakness and + exploit it. + + VADER + The plans you refer to will soon be + back in our hands. + + MOTTI + Any attack made by the Rebels + against this station would be a + useless gesture, no matter what + technical data they've obtained. + This station is now the ultimate + power in the universe. I suggest we + use it! + + VADER + Don't be too proud of this + technological terror you've + constructed. The ability to destroy + a planet is insignificant next to + the power of the Force. + + MOTTI + Don't try to frighten us with your + sorcerer's ways, Lord Vader. Your + sad devotion to that ancient + religion has not helped you conjure + up the stolen data tapes, or given + you clairvoyance enough to find the + Rebel's hidden fort... + +Suddenly Motti chokes and starts to turn blue under Vader's +spell. + + VADER + I find your lack of faith + disturbing. + + TARKIN + Enough of this! Vader, release him! + + VADER + As you wish. + + TARKIN + 45. + + + This bickering is pointless. Lord + Vader will provide us with the + location of the Rebel fortress by + the time this station is + operational. We will then crush the + Rebellion with one swift stroke. + + +48 EXT. TATOOINE - WASTELAND 48 + + The speeder stops before what remains of the huge Jawas + Sandcrawler. Luke and Ben walk among the smoldering rubble + and scattered bodies. + + LUKE + It looks like Sandpeople did this, + all right. Look, here are Gaffi + sticks, Bantha tracks. It's just... + I never heard of them hitting + anything this big before. + + Ben is crouching in the sand studying the tracks. + + BEN + They didn't. But we are meant to + think they did. These tracks are + side by side. Sandpeople always + ride single file to hide there + numbers. + + LUKE + These are the same Jawas that sold + us Artoo and Threepio. + + BEN + And these blast points, too + accurate for Sandpeople. Only + Imperial stormtroopers are so + precise. + + LUKE + Why would Imperial troops want to + slaughter Jawas? + + Luke looks back at the speeder where Artoo and Threepio are + inspecting the dead Jawas, and put two and two together. + + LUKE (CONT’D) + If they traced the robots here, + they may have learned who they sold + them to. And that would lead them + home! + 46. + + + Luke reaches a sudden horrible realization, then races for + the speeder and jumps it. + + BEN + Wait, Luke! It's too dangerous. + + Luke races off leaving Ben and the two robots alone with + the burning Sandcrawler. + + +49 EXT. TATOOINE - WASTELAND 49 + + Luke races across the wasteland in his battered + Landspeeder. + + +50 EXT. TATOOINE - LARS HOMESTEAD 50 + + The speeder roars up to the burning homestead. Luke jumps + out and runs to the smoking holes that were once his home. + Debris is scattered everywhere and it looks as if a great + battle has taken place. + + LUKE + Uncle Owen! Aunt Beru! Uncle Owen! + + Luke stumbles around in a daze looking for his aunt and + uncle. Suddenly he comes upon their smoldering remains. He + is stunned, and cannot speak. Hate replaces fear and a new + resolve comes over him. + + +51 EXT. SPACE 51 + + Imperial TIE fighter races toward the Death Star. + + +52 INT. DEATH STAR - DETENTION CORRIDOR 52 + + Two stormtroopers open an electronic cell door and allow + several Imperial guards to enter. Princess Leia's face is + filled with defiance, which slowly gives way to fear as a + giant black torture robot enters, followed by Darth Vader. + + VADER + And, now Your Highness, we will + discuss the location of your hidden + Rebel base. + + The torture robot gives off a steady beeping sound as it + approaches Princess Leia and extends one of its mechanical + arms bearing a large hypodermic needle. + 47. + + + The door slides shut and the long cell block hallway + appears peaceful. The muffled screams of the Rebel princess + are barely heard. + + +53 EXT. TATOOINE - WASTELAND 53 + + There is a large bonfire of Jawa bodies blazing in front of + the Sandcrawler as Ben and the robots finish burning the + dead. Luke drives up in the speeder and Ben walks over to + him. + + BEN + There's nothing you could have + done, Luke, had you been there. + You'd have been killed, too, and + the droids would be in the hands of + the Empire. + + LUKE + I want to come with you to + Alderaan. There's nothing here for + me now. I want to learn the ways of + the Force and become a Jedi like my + father. + + +54 EXT. TATOOINE - WASTELAND 54 + + The Landspeeder with Luke, Artoo, Threepio, and Ben in it + zooms across the desert. The speeder stops on a bluff + overlooking the spaceport at Mos Eisley. It is a haphazard + array of low, grey, concrete structures and semi-domes. A + harsh gale blows across the stark canyon floor. Luke + adjusts his goggles and walks to the edge of the craggy + bluff where Ben is standing. + + BEN + Mos Eisley Spaceport. You will + never find a more wretched hive of + scum and villainy. We must be + cautious. + + Ben looks over at Luke, who gives the old Jedi a determined + smile. + + +55 EXT. TATOOINE - MOS EISLEY - STREET 55 + + The speeder is stopped on a crowded street by several + combat- hardend stormtroopers who look over the two robots. + A Trooper questions Luke. + 48. + + + TROOPER + How long have you had these droids? + + LUKE + About three or four seasons. + + BEN + They're for sale if you want them. + + TROOPER + Let me see your identification. + + Luke becomes very nervous as he fumbles to find his ID + while Ben speaks to the Trooper in a very controlled voice. + + BEN + You don't need to see his + identification. + + TROOPER + We don't need to see his + identification. + + BEN + These are not the droids your + looking for. + + TROOPER + These are not the droids we're + looking for. + + BEN + He can go about his business. + + TROOPER + You can go about your business. + + BEN + (to Luke) + Move along. + + TROOPER + Move along. Move along. + + +56 EXT. TATOOINE - MOS EISLEY - STREET 56 + + The speeder pulls up in front of a rundown blockhouse + cantina on the outskirts of the spaceport. Various strange + forms of transport, including several unusual beasts of + burden, are parked outside the bar. A Jawa runs up and + begins to fondle the speeder. + 49. + + + THREEPIO + I can't abide these Jawas. + Disgusting creatures. + + As Luke gets out of the speeder he tries to shoo the Jawa + away. + + LUKE + Go on, go on. I can't understand + how we got by those troopers. I + thought we were dead. + + BEN + The Force can have a strong + influence on the weak-minded. You + will find it a powerful ally. + + LUKE + Do you really think we're going to + find a pilot here that'll take us + to Alderaan? + + BEN + Well, most of the best freighter + pilots can be found here. Only + watch your step. This place can be + a little rough. + + LUKE + I'm ready for anything. + + THREEPIO + Come along, Artoo. + + +57 INT. TATOOINE - MOS EISLEY - CANTINA 57 + + The young adventurer and his two mechanical servants follow + Ben Kenobi into the smoke-filled cantina. The murky, moldy + den is filled with a startling array of weird and exotic + alien creatures and monsters at the long metallic bar. At + first the sight is horrifying. One-eyed, thousand-eyed, + slimy, furry, scaly, tentacled, and clawed creatures huddle + over drinks. Ben moves to an empty spot at the bar near a + group of repulsive but human scum. A huge, rough-looking + Bartender stops Luke and the robots. + + BARTENDER + We don't serve their kind here! + + Luke still recovering from the shock of seeing so many + outlandish creatures, doesn't quite catch the bartender's + drift. + 50. + + + LUKE + What? + + BARTENDER + Your droids. They'll have to wait + outside. We don't want them here. + +Luke looks at old Ben, who is busy talking to one of the +Galactic pirates. He notices several of the gruesome +creatures along the bar are giving him a very unfriendly +glare. + +Luke pats Threepio on the shoulder. + + LUKE + Listen, why don't you wait out by + the speeder. We don't want any + trouble. + + THREEPIO + I heartily agree with you sir. + +Threepio and his stubby partner go outside and most of the +creatures at the bar go back to their drinks. + +Ben is standing next to Chewbacca, an eight-foot-tall +savage- looking creature resembling a huge grey bushbaby +monkey with fierce baboon-like fangs. His large blue eyes +dominate a fur- covered face and soften his otherwise +awesome appearance. Over his matted, furry body he wears +two chrome bandoliers, and little else. He is a two- +hundred-year-old Wookiee and a sight to behold. + +Ben speaks to the Wookiee, pointing to Luke several times +during his conversation and the huge creature suddenly lets +out a horrifying laugh. Luke is more than a little bit +disconcerted and pretends not to hear the conversation +between Ben and the giant Wookiee. + +Luke is terrified but tries not to show it. He quietly sips +his drink, looking over the crowd for a more sympathetic +ear or whatever. + +A large, multiple-eyed Creature gives Luke a rough shove. + + CREATURE + Negola dewaghi wooldugger?!? + +The hideous freak is obviously drunk. Luke tries to ignore +the creature and turns back on his drink. A short, grubby +Human and an even smaller rodent-like beast join the +belligerent monstrosity. + 51. + + + HUMAN + He doesn't like you. + + LUKE + I'm sorry. + + HUMAN + I don't like you either. + +The big creature is getting agitated and yells out some +unintelligible gibberish at the now rather nervous, young +adventurer. + + HUMAN (CONT’D) + Don't insult us. You just watch + yourself. We're wanted men. I have + the death sentence in twelve + systems. + + LUKE + I'll be careful than. + + HUMAN + You'll be dead. + +The rodent lets out a loud grunt and everything at the bar +moves away. Luke tries to remain cool but it isn't easy. +His three adversaries ready their weapons. Old Ben moves in +behind Luke. + + BEN + This little one isn't worth the + effort. Come let me buy you + something... + +A powerful blow from the unpleasant creature sends the +young would-be Jedi sailing across the room, crashing +through tables and breaking a large jug filled with a foul- +looking liquid. With a blood curdling shriek, the monster +draws a wicked chrome laser pistol from his belt and levels +it at old Ben. The bartender panics. + + BARTENDER + No blasters! No blaster! + 52. + + + With astounding agility old Ben's laser sword sparks to + life and in a flash an arm lies on the floor. The rodent is + cut in two and the giant multiple-eyed creature lies + doubled, cut from chin to groin. Ben carefully and + precisely turns off his laser sword and replaces it on his + utility belt. Luke, shaking and totally amazed at the old + man's abilities, attempts to stand. The entire fight has + lasted only a matter of seconds. The cantina goes back to + normal, although Ben is given a respectable amount of room + at the bar. Luke, rubbing his bruised head, approaches the + old man with new awe. Ben points the the Wookiee. + + BEN + This is Chewbacca. He's first-mate + on a ship that might suit our + needs. + + +58 EXT. TATOOINE - MOS EISLEY - STREET 58 + + Threepio paces in front of the cantina as Artoo carries on + an electronic conversation with another little red astro- + droid. A creature comes out of the cantina and approaches + two stormtroopers in the street. + + THREEPIO + I don't like the look of this. + + +59 INT. TATOOINE - MOS EISLEY - CANTINA 59 + + Strange creatures play exotic big band music on odd-looking + instruments as Luke, still giddy, downs a fresh drink and + follows Ben and Chewbacca to a booth where Han Solo is + sitting. Han is a tough, roguish starpilot about thirty + years old. A mercenary on a starship, he is simple, + sentimental, and cocksure. + + HAN + Han Solo. I'm captain of the + Millennium Falcon. Chewie here + tells me you're looking for passage + to the Alderaan system. + + BEN + Yes, indeed. If it's a fast ship. + + HAN + Fast ship? You've never heard of + the Millennium Falcon? + + BEN + Should I have? + 53. + + + HAN + It's the ship that made the Kessel + run in less than twelve parsecs! + +Ben reacts to Solo's stupid attempt to impress them with +obvious misinformation. + + HAN (CONT’D) + I've outrun Imperial starships, not + the local bulk-cruisers, mind you. + I'm talking about the big Corellian + ships now. She's fast enough for + you, old man. What's the cargo? + + BEN + Only passengers. Myself, the boy, + two droids, and no questions asked. + + HAN + What is it? Some kind of local + trouble? + + BEN + Let's just say we'd like to avoid + any Imperial entanglements. + + HAN + Well, that's the trick, isn't it? + And it's going to cost you + something extra. Ten thousand in + advance. + + LUKE + Ten thousand? We could almost buy + our own ship for that! + + HAN + But who's going to fly it, kid! + You? + + LUKE + You bet I could. I'm not such a bad + pilot myself! We don't have to sit + here and listen... + + BEN + We haven't that much with us. But + we could pay you two thousand now, + plus fifteen when we reach + Alderaan. + + HAN + Seventeen, huh! + 54. + + + Han ponders this for a few moments. + + HAN (CONT’D) + Okay. You guys got yourself a ship. + We'll leave as soon as you're + ready. Docking bay Ninety-four. + + BEN + Ninety-four. + + HAN + Looks like somebody's beginning to + take an interest in your handiwork. + + Ben and Luke turn around to see four Imperial stormtroopers + looking at the dead bodies and asking the bartenders some + questions. The bartender points to the booth. + + TROOPER + All right, we'll check it out. + + The stormtroopers look over at the booth but Luke and Ben + are gone. The bartender shrugs his shoulders in puzzlement. + + HAN + Seventeen thousand! Those guys must + really be desperate. This could + really save my neck. Get back to + the ship and get her ready. + + +60 EXT. TATOOINE - MOS EISLEY - STREET 60 + + BEN + You'll have to sell your speeder. + + LUKE + That's okay. I'm never coming back + to this planet again. + + +61 INT. MOS EISLEY - CANTINA 61 + + As Han is about to leave, Greedo, a slimy green-faced alien + with a short trunk-nose, pokes a gun in his side. The + creature speaks in a foreign tongue translated into English + subtitles. + + GREEDO + Going somewhere, Solo? + + HAN + 55. + + + Yes, Greedo. As a matter of fact, I + was just going to see your boss. + Tell Jabba that I've got his money. + +Han sits down and the alien sits across from him holding +the gun on him. + + GREEDO + It's too late. You should have paid + him when you had the chance. + Jabba's put a price on your head, + so large that every bounty hunter + in the galaxy will be looking for + you. I'm lucky I found you first. + + HAN + Yeah, but this time I got the + money. + + GREEDO + If you give it to me, I might + forget I found you. + + HAN + I don't have it with me. Tell + Jabba... + + GREEDO + Jabba's through with you. He has no + time for smugglers who drop their + shipments at the first sign of an + Imperial cruiser. + + HAN + Even I get boarded sometimes. Do + you think I had a choice? + +Han Solo slowly reaches for his gun under the table. + + GREEDO + You can tell that to Jabba. He may + only take your ship. + + HAN + Over my dead body. + + GREEDO + That's the idea. I've been looking + forward to killing you for a long + time. + + HAN + Yes, I'll bet you have. + 56. + + + Suddenly the slimy alien disappears in a blinding flash of + light. Han pulls his smoking gun from beneath the table as + the other patron look on in bemused amazement. Han gets up + and starts out of the cantina, flipping the bartender some + coins as he leaves. + + HAN (CONT’D) + Sorry about the mess. + + +62 EXT. SPACE 62 + + Several TIE fighters approach the Death Star. + + +63 INT. DEATH STAR - CONTROL ROOM 63 + + VADER + Her resistance to the mind probe is + considerable. + (MORE) + + VADER (CONT'D) + It will be some time before we can + extract any information from her. + + An Imperial Officer interrupts the meeting. + + IMPERIAL OFFICER + The final check-out is complete. + All systems are operational. What + course shall we set? + + TARKIN + Perhaps she would respond to an + alternative form of persuasion. + + VADER + What do you mean? + + TARKIN + I think it is time we demonstrate + the full power of this station. + (to soldier) + Set your course for Princess Leia's + home planet of Alderaan. + + TROOPER + With pleasure. + + +64 EXT. TATOOINE - MOS EISLEY - STREET 64 + 57. + + + Four heavily-armed stormtroopers move menacingly along a + narrow slum alleyway crowed with darkly clad creatures + hawking exotic goods in the dingy little stalls. Men, + monsters, and robots crouch in the waste-filled doorways, + whispering and hiding from the hot winds. + + THREEPIO + Lock the door, Artoo. + + One of the troopers checks a tightly locked door and moves + on down the alleyway. The door slides open a crack and + Threepio peeks out. Artoo is barely visible in the + background. + + TROOPER + All right, check that side of the + street. It's secure. Move on to the + next door. + + The door opens, Threepio moves into the doorway. + + THREEPIO + I would much rather have gone with + Master Luke than stay here with + you. + (MORE) + + THREEPIO (CONT'D) + I don't know what all the trouble + is about, but I'm sure it must be + your fault. + + Artoo makes beeping sounds. + + THREEPIO (CONT’D) + You watch your language! + + +65 EXT. TATOOINE - MOS EISLEY - STREET - ALLEYWAY - USED 65 + + SPEEDER LOT + Ben and Luke are standing in a + sleazy used speeder lot, talking + with a tall, grotesque, insect-like + used speeder dealer. Strange exotic + bodies and spindly-legged beasts + pass + + by as the insect concludes the sale by giving Luke some + coins. + + LUKE + 58. + + + He says it's the best he can do. + Since the XP-38 came out, they're + just not in demand. + + BEN + It will be enough. + + Ben and Luke leave the speeder lot and walk down the dusty + alleyway past a small robot herding a bunch of anteater- + like creatures. Luke turns and gives one last forlorn look + at his faithful speeder as he rounds a corner. A darkly + clad creature moves out of the shadows as they pass and + watches them as they disappear down another alley. + + BEN (CONT’D) + If the ship's as fast as he's + boasting, we ought to do well. + + +66 INT. DOCKING BAY 94 - DAY 66 + + Jabba the Hut and a half-dozen grisly alien pirates and + purple creatures stand in the middle of the docking bay. + Jabba is the grossest of the slavering hulks and his + scarred face is a grim testimonial to his prowess as a + vicious killer. He is a fat, slug-like creature with eyes + on extended feelers and a huge ugly mouth. + + JABBA + Come on out, Solo! + + A voice from directly behind the pirates startles them and + they turn around to see Han Solo and the giant Wookiee, + Chewbacca, standing behind them with no weapons in sight. + + HAN + I've been waiting for you, Jabba. + + JABBA + I expected you would be. + + HAN + I'm not the type to run. + + JABBA + (fatherly-smooth) + Han, my boy, there are times when + you disappoint me... why haven't + you paid me? And why did you have + to fry poor Greedo like that... + after all we've been through + together. + 59. + + + HAN +You sent Greedo to blast me. + + JABBA + (mock surprise) +Han, why you're the best smuggler +in the business. You're too +valuable to fry. He was only +relaying my concern at your delays. +He wasn't going to blast you. + + HAN +I think he thought he was. Next +time don't send one of those +twerps. If you've got something to +say to me, come see me yourself. + + JABBA +Han, Han! If only you hadn't had to +dump that shipment of spice... you +understand I just can't make an +exception. Where would I be if +every pilot who smuggled for me +dumped their shipment at the first +sign of an Imperial starship? It's +not good business. + + HAN +You know, even I get boarded +sometimes, Jabba. + (MORE) + + HAN (CONT'D) +I had no choice, but I've got a +charter now and I can pay you back, +plus a little extra. I just need +some more time. + + JABBA + (to his men) +Put your blasters away. Han, my +boy, I'm only doing this because +you're the best and I need you. So, +for an extra, say twenty percent +I'll give you a little more time... +but this is it. If you disappoint +me again, I'll put a price on your +head so large you won't be able to +go near a civilized system for the +rest of your short life. + + HAN + 60. + + + Jabba, I'll pay you because it's my + pleasure. + + +67 EXT. DOCKING PORT ENTRY - ALLEYWAY 67 + + Chewbacca waits restlessly at the entrance to Docking Bay + Ben, Luke, and the robots make their way up the street. + Chewbacca jabbers excitedly and signals for them to hurry. + The darkly clad creature has followed them from the speeder + lot. He stops in a nearby doorway and speaks into a small + transmitter. + + +68 INT. MOS EISLEY SPACEPORT - DOCKING BAY 94 68 + + Chewbacca leads the group into a giant dirt pit that is + Docking Bay 94. Resting in the middle of the huge hole is a + large, round, beat-up, pieced-together hunk of junk that + could only loosely be called a starship. + + LUKE + What a piece of junk. + + The tall figure of Han Solo comes down the boarding ramp. + + HAN + She'll make point five beyond the + speed of light. She may not look + like much, but she's got it where + it counts, kid. I've added some + special modifications myself. + + Luke scratches his head. It's obvious he isn't sure about + all this. Chewbacca rushes up the ramp and urges the others + to follow. + + HAN (CONT’D) + We're a little rushed, so if you'll + hurry aboard we'll get out of here. + + The group rushes up the gang plank, passing a grinning Han + Solo. + + +69 INT. MILLENNIUM FALCON 69 + + Chewbacca settles into the pilot's chair and starts the + mighty engines of the starship. + + +70 INT. MOS EISLEY SPACEPORT - DOCKING BAY 94 70 + 61. + + + Luke, Ben, Threepio, and Artoo move toward the Millennium + Falcon passing Solo. + + THREEPIO + Hello, sir. + + +71 EXT. TATOOINE - MOS EISLEY - STREET 71 + + Eight Imperial stormtroopers rush up to the darkly clad + creature. + + TROOPER + Which way? + + The darkly clad creature points to the door of the docking + bay. + + TROOPER (CONT’D) + All right, men. Load your weapons! + + +72 INT. MOS EISLEY SPACEPORT - DOCKING BAY 94] 72 + + The troops hold their guns at the ready and charge down the + docking bay entrance. + + TROOPER + Stop that ship! + + Han Solo looks up and sees the Imperial stormtroopers + rushing into the docking bay. Several of the troopers fire + at Han as he ducks into the spaceship. + + TROOPER (CONT’D) + Blast 'em! + + Han draws his laser pistol and pops off a couple of shots + which force the stormtroopers to dive for safety. The + pirateship engines whine as Han hits the release button + that slams the overhead entry shut. + + +73 INT. MILLENNIUM FALCON 73 + + HAN + Chewie, get us out of here! + + The group straps in for take off. + + THREEPIO + Oh, my. I'd forgotten how much I + hate space travel. + 62. + + +74 EXT. TATOOINE - MOS EISLEY - STREETS 74 + + The half-dozen stormtroopers at a check point hear the + general alarm and look to the sky as the huge starship + rises above the dingy slum dwellings and quickly disappears + into the morning sky. + + +75 INT. MILLENNIUM FALCON - COCKPIT 75 + + Han climbs into the pilot's chair next to Chewbacca, who + chatters away as he points to something on the radar scope. + + +76 EXT. SPACE - PLANET TATOOINE 76 + + The Corellian pirateship zooms from Tatooine into space. + + +77 INT. MILLENNIUM FALCON - COCKPIT 77 + + Han frantically types information into the ship's computer. + Little Artoo appears momentarily at the cockpit doorway, + makes a few beeping remarks, then scurries away. + + HAN + It looks like an Imperial cruiser. + Our passengers must be hotter than + I thought. Try and hold them off. + Angle the deflector shield while I + make the calculations for the jump + to light speed. + + +78 EXT. SPACE - PLANET TATOOINE 78 + + The Millennium Falcon pirateship races away from the yellow + planet, Tatooine. It is followed by two huge Imperial + stardestroyers. + + +79 INT. MILLENNIUM FALCON - COCKPIT 79 + + Over the shoulders of Chewbacca and Han, we can see the + galaxy spread before them. Luke and Ben make their way into + the cramped cockpit where Han continues his calculation. + + HAN + Stay sharp! There are two more + coming in; they're going to try to + cut us off. + + LUKE + 63. + + + Why don't you outrun them? I + thought you said this thing was + fast. + + HAN + Watch your mouth, kid, or you're + going to find yourself floating + home. We'll be safe enough once we + make the jump to hyperspace. + Besides, I know a few maneuvers. + We'll lose them! + + +80 EXT. SPACE - PLANET TATOOINE 80 + + Imperial cruisers fire at the pirateship. + + +81 INT. MILLENNIUM FALCON - COCKPIT 81 + + The ship shudders as an explosion flashes outside the + window. + + HAN + Here's where the fun begins! + + BEN + How long before you can make the + jump to light speed? + + HAN + It'll take a few moments to get the + coordinates from the navi-computer. + + The ship begins to rock violently as lasers hit it. + + LUKE + Are you kidding? At the rate + they're gaining... + + HAN + Traveling through hyperspace isn't + like dusting crops, boy! Without + precise calculations we could fly + right through a star or bounce too + close to a supernova and that'd end + your trip real quick, wouldn't it? + + The ship is now constantly battered with laserfire as a red + warning light begins to flash. + + LUKE + What's that flashing? + 64. + + + HAN + We're losing our deflector shield. + Go strap yourself in, I'm going to + make the jump to light speed. + + The galaxy brightens and they move faster, almost as if + crashing a barrier. Stars become streaks as the pirateship + makes the jump to hyperspace. + + +82 EXT. SPACE 82 + + The Millennium Falcon zooms into infinity in less than a + second. + + +83 EXT. DEATH STAR 83 + + Alderaan looms behind the Death Star battlestation. + + +84 INT. DEATH STAR - CONTROL ROOM 84 + + Admiral Motti enters the quiet control room and bows before + Governor Tarkin, who stands before the huge wall screen + displaying a small green planet. + + MOTTI + We've entered the Alderaan system. + + Vader and two stormtroopers enter with Princess Leia. Her + hands are bound. + + LEIA + Governor Tarkin, I should have + expected to find you holding + Vader's leash. I recognized your + foul stench when I was brought on + board. + + TARKIN + Charming to the last. You don't + know how hard I found it signing + the order to terminate your life! + + LEIA + I surprised you had the courage to + take the responsibility yourself! + + TARKIN + 65. + + + Princess Leia, before your + execution I would like you to be my + guest at a ceremony that will make + this battle station operational. + (MORE) + + TARKIN (CONT'D) + No star system will dare oppose the + Emperor now. + + LEIA + The more you tighten your grip, + Tarkin, the more star systems will + slip through your fingers. + + TARKIN + Not after we demonstrate the power + of this station. In a way, you have + determined the choice of the planet + that'll be destroyed first. Since + you are reluctant to provide us + with the location of the Rebel + base, I have chosen to test this + station's destructive power... on + your home planet of Alderaan. + + LEIA + No! Alderaan is peaceful. We have + no weapons. You can't possibly... + + TARKIN + You would prefer another target? A + military target? Then name the + system! + +Tarkin waves menacingly toward Leia. + + TARKIN (CONT’D) + I grow tired of asking this. So + it'll be the last time. Where is + the Rebel base? + +Leia overhears an intercom voice announcing the approach to +Alderaan. + + LEIA + (softly) + Dantooine. + +Leia lowers her head. + + LEIA (CONT’D) + They're on Dantooine. + 66. + + + TARKIN + There. You see Lord Vader, she can + be reasonable. + (addressing Motti) + Continue with the operation. You + may fire when ready. + + LEIA + What? + + TARKIN + You're far too trusting. Dantooine + is too remote to make an effective + demonstration. But don't worry. We + will deal with your Rebel friends + soon enough. + + LEIA + No! + + +85 INT. DEATH STAR - BLAST CHAMBER 85 + + VADER + Commence primary ignition. + + A button is pressed which switches on a panel of lights. A + hooded Imperial soldier reaches overhead and pulls a lever. + Another lever is pulled. Vader reaches for still another + lever and a bank of lights on a panel and wall light up. A + huge beam of light emanates from within a cone-shaped area + and converges into a single laser beam out toward Alderaan. + The small green planet of Alderaan is blown into space + dust. + + +86 INT. MILLENNIUM FALCON - CENTRAL HOLD AREA 86 + + Ben watches Luke practice the lightsaber with a small + "seeker" robot. Ben suddenly turns away and sits down. He + falters, seems almost faint. + + LUKE + Are you all right? What's wrong? + + BEN + I felt a great disturbance in the + Force... as if millions of voices + suddenly cried out in terror and + were suddenly silenced. I fear + something terrible has happened. + 67. + + +Ben rubs his forehead. He seems to drift into a trance. +Then he fixes his gaze on Luke. + + BEN (CONT’D) + You'd better get on with your + exercises. + +Han Solo enters the room. + + HAN + Well, you can forget your troubles + with those Imperial slugs. I told + you I'd outrun 'em. + +Luke is once again practicing with the lightsaber. + + HAN (CONT’D) + Don't everyone thank me at once. + +Threepio watches Chewbacca and Artoo who are engrossed in a +game in which three-dimensional holographic figures move +along a chess-type board. + + HAN (CONT’D) + Anyway, we should be at Alderaan + about oh-two-hundred hours. + +Chewbacca and the two robots sit around the lighted table +covered with small holographic monsters. Each side of the +table has a small computer monitor embedded in it. +Chewbacca seems very pleased with himself as he rests his +lanky fur- covered arms over his head. + + THREEPIO + Now be careful, Artoo. + +Artoo immediately reaches up and taps the computer with his +stubby claw hand, causing one of the holographic creatures +to walk to the new square. A sudden frown crosses +Chewbacca's face and he begins yelling gibberish at the +tiny robot. Threepio intercedes on behalf of his small +companion and begins to argue with the huge Wookiee. + + THREEPIO (CONT’D) + He made a fair move. Screaming + about it won't help you. + + HAN + (interrupting) + Let him have it. It's not wise to + upset a Wookiee. + + THREEPIO + 68. + + + But sir, nobody worries about + upsetting a droid. + + HAN + That's 'cause droids don't pull + people's arms out of their socket + when they lose. Wookiees are known + to do that. + + THREEPIO + I see your point, sir. I suggest a + new strategy, Artoo. Let the + Wookiee win. + +Luke stands in the middle of the small hold area; he seems +frozen in place. A humming lightsaber is held high over his +head. Ben watches him from the corner, studying his +movements. Han watches with a bit of smugness. + + BEN + Remember, a Jedi can feel the Force + flowing through him. + + LUKE + You mean it controls your actions? + + BEN + Partially. But it also obeys your + commands. + +Suspended at eye level, about ten feet in front of Luke, a +"seeker", a chrome baseball-like robot covered with +antennae, hovers slowly in a wide arc. The ball floats to +one side of the youth then the other. Suddenly it makes a +lightning-swift lunge and stops within a few feet of Luke's +face. Luke doesn't move and the ball backs off. It slowly +moves behind the boy, then makes another quick lunge, this +time emitting a blood red laser beam as it attacks. It hits +Luke in the leg causing him to tumble over. Han lets loose +with a burst of laughter. + + HAN + Hokey religions and ancient weapons + are no match for a good blaster at + your side, kid. + + LUKE + You don't believe in the Force, do + you? + + HAN + 69. + + + Kid, I've flown from one side of + this galaxy to the other. I've seen + a lot of strange stuff, but I've + never seen anything to make me + believe there's one all-powerful + force controlling everything. + There's no mystical energy field + that controls my destiny. + +Ben smiles quietly. + + HAN (CONT’D) + It's all a lot of simple tricks and + nonsense. + + BEN + I suggest you try it again, Luke. + +Ben places a large helmet on Luke's head which covers his +eyes. + + BEN (CONT’D) + This time, let go your conscious + self and act on instinct. + + LUKE + (laughing) + With the blast shield down, I can't + even see. How am I supposed to + fight? + + BEN + Your eyes can deceive you. Don't + trust them. + +Han skeptically shakes his head as Ben throws the seeker +into the air. The ball shoots straight up in the air, then +drops like a rock. Luke swings the lightsaber around +blindly missing the seeker, which fires off a laserbolt +which hits Luke square on the seat of the pants. He lets +out a painful yell and attempts to hit the seeker. + + BEN (CONT’D) + Stretch out with your feelings. + +Luke stands in one place, seemingly frozen. The seeker +makes a dive at Luke and, incredibly, he managed to deflect +the bolt. The ball ceases fire and moves back to its +original position. + + BEN (CONT’D) + You see, you can do it. + 70. + + + HAN + I call it luck. + + BEN + In my experience, there's no such + thing as luck. + + HAN + Look, going good against remotes is + one thing. Going good against the + living? That's something else. + + Solo notices a small light flashing on the far side of the + control panel. + + HAN (CONT’D) + Looks like we're coming up on + Alderaan. + + Han and Chewbacca head back to the cockpit. + + LUKE + You know, I did feel something. I + could almost see the remote. + + BEN + That's good. You have taken your + first step into a larger world. + + +87 INT. DEATH STAR - CONFERENCE ROOM 87 + + Imperial Officer Cass stands before Governor Tarkin and the + evil Dark Lord Darth Vader. + + TARKIN + Yes. + + OFFICER CASS + Our scout ships have reached + Dantooine. They found the remains + of a Rebel base, but they estimate + that it has been deserted for some + time. They are now conducting an + extensive search of the surrounding + systems. + + TARKIN + She lied! She lied to us! + + VADER + I told you she would never + consciously betray the Rebellion. + 71. + + + TARKIN + Terminate her... immediately! + + +88 EXT. HYPERSPACE 88 + + The pirateship is just coming out of hyperspace; a strange + surreal light show surrounds the ship. + + +89 INT. MILLENNIUM FALCON - COCKPIT 89 + + HAN + Stand by, Chewie, here we go. Cut + in the sublight engines. + + Han pulls back on a control lever. Outside the cockpit + window stars begin streaking past, seem to decrease in + speed, then stop. Suddenly the starship begins to shudder + and violently shake about. Asteroids begin to race toward + them, battering the sides of the ship. + + HAN (CONT’D) + What the...? Aw, we've come out of + hyperspace into a meteor shower. + Some kind of asteroid collision. + It's not on any of the charts. + + The Wookiee flips off several controls and seems very cool + in the emergency. Luke makes his way into the bouncing + cockpit. + + LUKE + What's going on? + + HAN + Our position is correct, except... + no, Alderaan! + + LUKE + What do you mean? Where is it? + + HAN + Thats what I'm trying to tell you, + kid. It ain't there. It's been + totally blown away. + + LUKE + What? How? + + Ben moves into the cockpit behind Luke as the ship begins + to settle down. + 72. + + + BEN + Destroyed... by the Empire! + + HAN + The entire starfleet couldn't + destroy the whole planet. It'd take + a thousand ships with more fire + power than I've... + + A signal starts flashing on the control panel and a muffled + alarm starts humming. + + HAN (CONT’D) + There's another ship coming in. + + LUKE + Maybe they know what happened. + + BEN + It's an Imperial fighter. + + Chewbacca barks his concern. A huge explosion bursts + outside the cockpit window, shaking the ship violently. A + tiny, finned Imperial TIE fighter races past the cockpit + window. + + LUKE + It followed us! + + BEN + No. It's a short range fighter. + + HAN + There aren't any bases around here. + Where did it come from? + + +90 EXT. SPACE 90 + + The fighter races past the Corellian pirateship. + + +91 INT. MILLENNIUM FALCON - COCKPIT 91 + + LUKE + It sure is leaving in a big hurry. + If they identify us, we're in big + trouble. + + HAN + Not if I can help it. Chewie...jam + it's transmissions. + 73. + + + BEN + It'd be as well to let it go. It's + too far out of range. + + HAN + Not for long... + + +92 EXT. SPACE 92 + + The pirateship zooms over the camera and away into the + vastness of space after the Imperial TIE fighter. + + +93 INT. MILLENNIUM FALCON - COCKPIT 93 + + The tension mounts as the pirateship gains on the tiny + fighter. In the distance, one of the stars becomes brighter + until it is obvious that the TIE ship is heading for it. + Ben stands behind Chewbacca. + + BEN + A fighter that size couldn't get + this deep into space on its own. + + LUKE + It must have gotten lost, been part + of a convoy or something. + + HAN + Well, he ain't going to be around + long enough to tell anyone about + us. + + +94 EXT. SPACE 94 + + The TIE fighter is losing ground to the larger pirateship + as they race toward camera and disappear over head. + + +95 INT. MILLENNIUM FALCON - COCKPIT 95 + + The distant star can be distinguished as a small moon or + planet. + + LUKE + Look at him. He's headed for that + small moon. + + HAN + I think I can get him before he + gets there... he's almost in range. + 74. + + + The small moon begins to take on the appearance of a + monstrous spherical battle station. + + BEN + That's no moon! It's a space + station. + + HAN + It's too big to be a space station. + + LUKE + I have a very bad feeling about + this. + + HAN + Yeah, I think your right. Full + reverse! Chewie, lock in the + auxiliary power. + + The pirateship shudders and the TIE fighter accelerates + away toward the gargantuan battle station. + + LUKE + Why are we still moving towards it? + + HAN + We're caught in a tractor beam! + It's pulling us in! + + LUKE + But there's gotta be something you + can do! + + HAN + There's nothin' I can do about it, + kid. I'm in full power. I'm going + to have to shut down. But they're + not going to get me without a + fight! + + Ben Kenobi puts a hand on his shoulder. + + BEN + You can't win. But there are + alternatives to fighting. + + +96 INT. MILLENNIUM FALCON - DEATH STAR 96 + 75. + + + As the battered pirate starship is towed closer to the + awesome metal moon, the immense size of the massive battle + station becomes staggering. Running along the equator of + the gigantic sphere is a mile-high band of huge docking + ports into which the helpless pirateship is dragged. + + +97 EXT. DEATH STAR - HUGE PORT DOORS 97 + + The helpless Millennium Falcon is pulled past a docking + port control room and huge laser turret cannons. + + 98 VOICE OVER DEATH STAR INTERCOM 98 + + Clear Bay twenty-three-seven. We are opening the magnetic + field. + + +99 INT. DEATH STAR - DOCKING BAY 2037 99 + + The pirateship is pulled in through port doors of the Death + Star, coming to rest in a huge hangar. Thirty stormtroopers + stand at attention in a central assembly area. + + OFFICER + To you stations! + (to another officer) + Come with me. + + +100 INT. DEATH STAR - HALLWAY 100 + + Stormtroopers run to their posts. + + +101 INT. DEATH STAR - HANGAR 2037 101 + + A line of stormtroopers march toward the pirateship in + readiness to board it, while other troopers stand with + weapons ready to fire. + + OFFICER + Close all outboard shields! Close + all outboard shields! + + +102 INT. DEATH STAR - CONFERENCE ROOM 102 + + Tarkin pushes a button and responds to the intercom buzz. + + TARKIN + Yes. + 76. + + + VOICE + (over intercom) + We've captured a freighter entering + the remains of the Alderaan system. + It's markings match those of a ship + that blasted its way out of Mos + Eisley. + + VADER + They must be trying to return the + stolen plans to the princess. She + may yet be of some use to us. + + +103 INT. DEATH STAR - DOCKING BAY 2037 103 + + Vader and a commander approach the troops as an Officer and + several heavily armed troops exit the spacecraft. + + VOICE + (over intercom) + Unlock one-five-seven and nine. + Release charges. + + OFFICER + (to Vader) + There's no one on board, sir. + According to the log, the crew + abandoned ship right after takeoff. + It must be a decoy, sir. Several of + the escape pods have been + jettisoned. + + VADER + Did you find any droids? + + OFFICER + No, sir. If there were any on + board, they must also have + jettisoned. + + VADER + Send a scanning crew on board. I + want every part of this ship + checked. + + OFFICER + Yes, sir. + + VADER + I sense something... a presence I + haven't felt since... + 77. + + + Vader turns quickly and exits the hangar. + + OFFICER + Get me a scanning crew in here on + the double. I want every part of + this ship checked! + + +104 INT. MILLENNIUM FALCON - HALLWAY 104 + + A trooper runs through the hallway heading for the exit. In + a few moments all is quiet. The muffled sounds of a distant + officer giving orders finally fade. Two floor panels + suddenly pop up revealing Han Solo and Luke. Ben Kenobi + sticks his head out of a third locker. + + LUKE + Boy, it's lucky you had these + compartments. + + HAN + I use them for smuggling. I never + thought I'd be smuggling myself in + them. This is ridiculous. Even if I + could take off, I'd never get past + the tractor beam. + + BEN + Leave that to me! + + HAN + Damn fool. I knew that you were + going to say that! + + BEN + Who's the more foolish... the fool + or the fool who follows him? + + Han shakes his head, muttering to himself. Chewbacca + agrees. + + +105 INT. DEATH STAR - MAIN FORWARD BAY 105 + + The crewmen carry a heavy box on board the ship, past the + two stormtroopers guarding either side of the ramp. + + TROOPER + The ship's all yours. If the + scanners pick up anything, report + it immediately. All right, let's + go. + 78. + + + The crewmen enter the pirateship and a loud crashing sound + is followed by a voice calling to the guard below. + + HAN'S VOICE + Hey down there, could you give us a + hand with this? + + The stormtroopers enter the ship and a quick round of + gunfire is heard. + + +106 INT. DEATH STAR - FORWARD BAY - COMMAND OFFICE 106 + + In a very small command office near the entrance to the + pirateship, a Gantry Officer looks out his window and + notices the guards are missing. He speaks into the comlink. + + GANTRY OFFICER + TX-four-one-two. Why aren't you at + your post? TX-four-one-two, do you + copy? + + A stormtrooper comes down the ramp of the pirateship and + waves to the gantry officer, pointing to his ear indicating + his comlink is not working. The gantry officer shakes his + head in disgust and heads for the door, giving his aide an + annoyed look. + + GANTRY OFFICER (CONT’D) + Take over. We've got a bad + transmitter. I'll see what I can + do. + + As the officer approaches the door, it slides open + revealing the towering Chewbacca. The gantry officer, in a + momentary state of shock, stumbles backward. With a bone- + chilling howl, the giant Wookiee flattens the officer with + one blow. The aide immediately reaches for his pistol, but + is blasted by Han, dressed as an Imperial stormtrooper. Ben + and the robots enter the room quickly followed by Luke, + also dressed as a stormtrooper. Luke quickly removes his + helmet. + + LUKE + You know, between his howling and + your blasting everything in sight, + it's a wonder the whole station + doesn't know we're here. + + HAN + Bring them on! I prefer a straight + fight to all this sneaking around. + 79. + + + THREEPIO + We found the computer outlet, sir. + +Ben feeds some information into the computer and a map of +the city appears on the monitor. He begins to inspect it +carefully. Threepio and Artoo look over the control panel. +Artoo finds something that makes him whistle wildly. + + BEN + Plug in. He should be able to + interpret the entire Imperial + computer network. + +Artoo punches his claw arm into the computer socket and the +vast Imperial brain network comes to life, feeding +information to the little robot. After a few moments, he +beeps something. + + THREEPIO + He says he's found the main + computer to power the tractor beam + that's holding the ship here. He'll + try to make the precise location + appear on the monitor. + +The computer monitor flashes readouts. + + THREEPIO (CONT’D) + The tractor beam is coupled to the + main reactor in seven locations. A + power loss at one of the terminals + will allow the ship to leave. + +Ben studies the data on the monitor readout. + + BEN + I don't think you boys can help. I + must go alone. + + HAN + Whatever you say. I've done more + that I bargained for on this trip + already. + + LUKE + I want to go with you. + + BEN + Be patient, Luke. Stay and watch + over the droids. + + LUKE + But he can... + 80. + + + BEN + They must be delivered safely or + other star systems will suffer the + same fate as Alderaan. Your destiny + lies along a different path than + mine. The Force will be with you... + always! + +Ben adjusts the lightsaber on his belt and silently steps +out of the command office, then disappears down a long grey +hallway. Chewbacca barks a comment and Han shakes his head +in agreement. + + HAN + Boy you said it, Chewie. + +Han looks at Luke. + + HAN (CONT’D) + Where did you dig up that old + fossil? + + LUKE + Ben is a great man. + + HAN + Yeah, great at getting us into + trouble. + + LUKE + I didn't hear you give any ideas... + + HAN + Well, anything would be better than + just hanging around waiting for him + to pick us up... + + LUKE + Who do you think... + +Suddenly Artoo begins to whistle and beep a blue streak. +Luke goes over to him. + + LUKE (CONT’D) + What is it? + + THREEPIO + I'm afraid I'm not quite sure, sir. + He says "I found her", and keeps + repeating, "She's here." + + LUKE + Well, who... who has he found? + 81. + + +Artoo whistles a frantic reply. + + THREEPIO + Princess Leia. + + LUKE + The princess? She's here? + + HAN + Princess? What's going on? + + THREEPIO + Level five. Detention block A A- + twenty- three. I'm afraid she's + scheduled to be terminated. + + LUKE + Oh, no! We've got to do something. + + HAN + What are you talking about? + + LUKE + The droid belongs to her. She's the + one in the message... We've got to + help her. + + HAN + Now, look, don't get any funny + ideas. The old man wants us to wait + right here. + + LUKE + But he didn't know she was here. + Look, will you just find a way back + into the detention block? + + HAN + I'm not going anywhere. + + LUKE + They're going to execute her. Look, + a few minutes ago you said you + didn't want to just wait here to be + captured. Now all you want to do is + stay. + + HAN + Marching into the detention area is + not what I had in mind. + + LUKE + But they're going to kill her! + 82. + + + HAN + Better her than me... + + LUKE + She's rich. + +Chewbacca growls. + + HAN + Rich? + + LUKE + Yes. Rich, powerful! Listen, if you + were to rescue her, the reward + would be... + + HAN + What? + + LUKE + Well more wealth that you can + imagine. + + HAN + I don't know, I can imagine quite a + bit! + + LUKE + You'll get it! + + HAN + I better! + + LUKE + You will... + + HAN + All right, kid. But you'd better be + right about this. + +Han looks at Chewie, who grunts a short grunt. + + LUKE + All right. + + HAN + What's your plan? + + LUKE + Uh... Threepio, hand me those + binders there will you? + +Luke moves toward Chewbacca with electronic cuffs. + 83. + + + LUKE (CONT’D) + Okay. Now, I'm going to put these + on you. + + Chewie lets out a hideous growl. + + LUKE (CONT’D) + Okay. Han, you put these on. + + Luke sheepishly hands the binders to Han. + + HAN + Don't worry, Chewie. I think I know + what he has in mind. + + The Wookiee has a worried and frightened look on his face + as Han binds him with the electronic cuffs. + + THREEPIO + Master Luke, sir! Pardon me for + asking... but, ah... what should + Artoo and I do if we're discovered + here? + + LUKE + Lock the door! + + HAN + And hope they don't have blasters. + + THREEPIO + That isn't very reassuring. + + Luke and Han put on their armored stormtrooper helmets and + start off into the giant Imperial Death Star. + + +107 INT. DEATH STAR - DETENTION AREA - ELEVATOR TUBE 107 + + Han and Luke try to look inconspicuous in their armored + suits as they wait for a vacuum elevator to arrive. + + Troops, bureaucrats, and robots bustle about, ignoring the + trio completely. Only a few give the giant Wookiee a + curious glance. + + Finally a small elevator arrives and the trio enters. + + LUKE + I can't see a thing in this helmet. + 84. + + + A bureaucrat races to get aboard also, but is signaled away + by Han. The door to the pod-like vehicle slides closed and + the elevator car takes off through a vacuum tube. + + +108 INT. DEATH STAR - MAIN HALLWAY 108 + + Several Imperial officers walk through the wide main + passageway. They pass several stormtroopers and a robot + similar to Threepio but with an insect face. At the far end + of the hallway, a passing flash of Ben Kenobi appears, then + disappears down a small hallway. His appearance is so + fleeting that it is hard to tell if he is real or just an + illusion. No one in the hallway seems to notice him. + + +109 INT. DEATH STAR - INTERIOR ELEVATOR - DETENTION SECURITY 109 + + AREA + Luke and Han step forward to exit + the elevator, but the door slides + open behind them. The giant Wookiee + and his two guards enter the old + grey security station. Guards and + laser gates are everywhere. Han + whispers to Luke under his breath. + + HAN + This is not going to work. + + LUKE + Why didn't you say so before? + + HAN + I did say so before! + + +110 INT. DETENTION AREA 110 + + Elevator doors open. A tall, grim looking Officer + approaches the trio. + + OFFICER + Where are you taking this... thing? + + Chewie growls a bit at the remark but Han nudges him to + shut up. + + LUKE + Prisoner transfer from Block one- + one- three-eight. + + OFFICER + 85. + + + I wasn't notified. I'll have to + clear it. + +The officer goes back to his console and begins to punch in +the information. There are only three other troopers in the +area. Luke and Han survey the situation, checking all of +the alarms, laser gates, and camera eyes. Han unfastens one +of Chewbacca's electronic cuffs and shrugs to Luke. + +Suddenly Chewbacca throws up his hands and lets out with +one of his ear-piercing howls. He grabs Han's laser rifle. + + HAN + Look out! He's loose! + + LUKE + He's going to pull us all apart. + + HAN + Go get him! + +The startled guards are momentarily dumbfounded. Luke and +Han have already pulled out their laser pistols and are +blasting away at the terrifying Wookiee. Their barrage of +laserfire misses Chewbacca, but hits the camera eyes, laser +gate controls, and the Imperial guards. The officer is the +last of the guards to fall under the laserfire just as he +is about to push the alarm system. Han rushes to the +comlink system, which is screeching questions about what is +going on. He quickly checks the computer readout. + + HAN (CONT’D) + We've got to find out which cell + this princess of yours is in. Here + it is... cell twenty-one-eight- + seven. You go get her. I'll hold + them here. + +Luke races down one of the cell corridors. Han speaks into +the buzzing comlink. + + HAN (CONT’D) + (sounding official) + Everything is under control. + Situation normal. + + INTERCOM VOICE + What happened? + + HAN + (getting nervous) + 86. + + + Uh... had a slight weapons + malfunction. But, uh, everything's + perfectly all right now. We're + fine. We're all fine here, now, + thank you. How are you? + + INTERCOM VOICE + We're sending a squad up. + + HAN + Uh, uh, negative. We had a reactor + leak here now. Give us a few + minutes to lock it down. Large + leak... very dangerous. + + INTERCOM VOICE + Who is this? What's your operating + number? + + Han blasts the comlink and it explodes. + + HAN + Boring conversation anyway. + (yelling down the hall) + Luke! We're going to have company! + + +111 INT. DEATH STAR - CELL ROW 111 + + Luke stops in front of one of the cells and blasts the door + away with a laser pistol. When the smoke clears, Luke sees + the dazzling young princess-senator. She had been sleeping + and is now looking at him with an uncomprehending look on + her face. Luke is stunned by her incredible beauty and + stands staring at her with his mouth hanging open. + + LEIA + (finally) + Aren't you a little short to be a + stormtrooper? + + Luke takes off his helmet, coming out of it. + + LUKE + What? Oh... the uniform. I'm Luke + Skywalker. I'm here to rescue you. + + LEIA + You're who? + + LUKE + 87. + + + I'm here to rescue you. I've got + your R2 unit. I'm here with Ben + Kenobi. + + LEIA + Ben Kenobi is here! Where is he? + + LUKE + Come on! + + +112 INT. DEATH STAR - CONFERENCE ROOM 112 + + Darth Vader paces the room as Governor Tarkin sits at the + far end of the conference table. + + VADER + He is here... + + TARKIN + Obi-Wan Kenobi! What makes you + think so? + + VADER + A tremor in the Force. The last + time I felt it was in the presence + of my old master. + + TARKIN + Surely he must be dead by now. + + VADER + Don't underestimate the power of + the Force. + + TARKIN + The Jedi are extinct, their fire + has gone out of the universe. You, + my friend, are all that's left of + their religion. + + There is a quiet buzz on the comlink. + + TARKIN (CONT’D) + Yes. + + INTERCOM VOICE + Governor Tarkin, we have an + emergency alert in detention block + A A-twenty- three. + + TARKIN + 88. + + + The princess! Put all sections on + alert! + + VADER + Obi-Wan is here. The Force is with + him. + + TARKIN + If you're right, he must not be + allowed to escape. + + VADER + Escape is not his plan. I must face + him alone. + + +113 INT. DEATH STAR - DETENTION AREA - HALLWAY 113 + + An ominous buzzing sound is heard on the other side of the + elevator door. + + HAN + Chewie! + + Chewbacca responds with a growling noise. + + HAN (CONT’D) + Get behind me! Get behind me! + + A series of explosions knock a hole in the elevator door + through which several Imperial troops begin to emerge. + + Han and Chewie fire laser pistols at them through the smoke + and flame. They turn and run down the cell hallway, meeting + up with Luke and Leia rushing toward them. + + HAN (CONT’D) + Can't get out that way. + + LEIA + Looks like you managed to cut off + our only escape route. + + HAN + (sarcastically) + Maybe you'd like it back in your + cell, Your Highness. + + Luke takes a small comlink transmitter from his belt as + they continue to exchange fire with stormtroopers making + their way down the corridor. + + LUKE + 89. + + + See-Threepio! See-Threepio! + + THREEPIO + (over comlink) + Yes sir? + + LUKE + We've been cut off! Are there any + other ways out of the cell bay?... + What was that? I didn't copy! + + +114 INT. DEATH STAR - MAIN BAY GANTRY - CONTROL TOWER 114 + + Threepio paces the control center as little Artoo beeps and + whistles a blue streak. Threepio yells into the small + comlink transmitter. + + THREEPIO + I said, all systems have been + alerted to your presence, sir. The + main entrance seems to be the only + way in or out; all other + information on your level is + restricted. + + Someone begins banging on the door. + + TROOPER VOICE + Open up in there! + + THREEPIO + Oh, no! + + +115 INT. DEATH STAR - DETENTION CORRIDOR 115 + + Luke and Leia crouch together in an alcove for protection + as they continue to exchange fire with troops. Han and + Chewbacca are barely able to keep the stormtroopers at bay + at the far and of the hallway. The laserfire is very + intense, and smoke fills the narrow cell corridor. + + LUKE + There isn't any other way out. + + HAN + I can't hold them off forever! Now + what? + + LEIA + 90. + + + This is some rescue. When you came + in here, didn't you have a plan for + getting out? + + HAN + (pointing to Luke) + He's the brains, sweetheart. + + Luke manages a sheepish grin and shrugs his shoulders. + + LUKE + Well, I didn't... + + The princess grabs Luke's gun and fires at a small grate in + the wall next to Han, almost frying him. + + HAN + What the hell are you doing? + + LEIA + Somebody has to save our skins. + Into the garbage chute, wise guy. + + She jumps through the narrow opening as Han and Chewbacca + look on in amazement. Chewbacca sniffs the garbage chute + and says something. + + HAN + Get in there you big furry oaf! I + don't care what you smell! Get in + there and don't worry about it. + + Han gives him a kick and the Wookiee disappears into the + tiny opening. Luke and Han continue firing as they work + their way toward the opening. + + HAN (CONT’D) + Wonderful girl! Either I'm going to + kill her or I'm beginning to like + her. Get in there! + + Luke ducks laserfire as he jumps into the darkness. Han + fires off a couple of quick blasts creating a smokey cover, + then slides into the chute himself and is gone. + + +116 INT. DEATH STAR - GARBAGE ROOM 116 + + Han tumbles into the large room filled with garbage and + muck. Luke is already stumbling around looking for an exit. + He finds a small hatchway and struggles to get it open. It + won't budge. + 91. + + + HAN + (sarcastically) + Oh! The garbage chute was a really + wonderful idea. What an incredible + smell you've discovered! Let's get + out of here! Get away from there... + + LUKE + No! wait! + +Han draws his laser pistol and fires at the hatch. The +laserbolt ricochets wildly around the small metal room. + +Everyone dives for cover in the garbage as the bolt +explodes almost on top of them. Leia climbs out of the +garbage with a rather grim look on her face. + + LUKE (CONT’D) + Will you forget it? I already tried + it. It's magnetically sealed! + + LEIA + Put that thing away! You're going + to get us all killed. + + HAN + Absolutely, Your Worship. Look, I + had everything under control until + you led us down here. You know, + it's not going to take them long to + figure out what happened to us. + + LEIA + It could be worse... + +A loud, horrible, inhuman moan works its way up from the +murky depths. Chewbacca lets out a terrified howl and +begins to back away. Han and Luke stand fast with their +laser pistols drawn. The Wookiee is cowering near one of +the walls. + + HAN + It's worse. + + LUKE + There's something alive in here! + + HAN + That's your imagination. + + LUKE + Something just moves past my leg! + Look! Did you see that? + 92. + + + HAN + What? + + LUKE + Help! + +Suddenly Luke is yanked under the garbage. + + HAN + Luke! Luke! Luke! + +Solo tries to get to Luke. Luke surfaces with a gasp of air +and thrashing of limbs. A membrane tentacle is wrapped +around his throat. + + LEIA + Luke! + +Leia extends a long pipe toward him. + + LEIA (CONT’D) + Luke, Luke, grab a hold of this. + + LUKE + Blast it, will you! My gun's + jammed. + + HAN + Where? + + LUKE + Anywhere! Oh!! + +Solo fires his gun downward. Luke is pulled back into the +muck by the slimy tentacle. + + HAN + Luke! Luke! + +Suddenly the walls of the garbage receptacle shudder and +move in a couple of inches. Then everything is deathly +quiet. Han and Leia give each other a worried look as +Chewbacca howls in the corner. With a rush of bubbles and +muck Luke suddenly bobs to the surface. + + LEIA + Grab him! + +Luke seems to be released by the thing. + + LEIA (CONT’D) + What happened? + 93. + + + LUKE + I don't know, it just let go of me + and disappeared... + + HAN + I've got a very bad feeling about + this. + + Before anyone can say anything the walls begin to rumble + and edge toward the Rebels. + + LUKE + The walls are moving! + + LEIA + Don't just stand there. Try to + brace it with something. + + They place poles and long metal beams between the closing + walls, but they are simply snapped and bent as the giant + trashmasher rumbles on. The situation doesn't look too + good. + + LUKE + Wait a minute! + + Luke pulls out his comlink. + + LUKE (CONT’D) + Threepio! Come in Threepio! + Threepio! Where could he be? + + +117 INT. DEATH STAR - MAIN GANTRY - COMMAND OFFICE 117 + + A soft buzzer and the muted voice of Luke calling out for + See-Threepio can be heard on Threepio's hand comlink, which + is sitting on the deserted computer console. Artoo and + Threepio are nowhere in sight. Suddenly there is a great + explosion and the door of the control tower flies across + the floor. Four armed stormtroopers enter the chamber. + + FIRST TROOPER + Take over! + (pointing to the dead + officer) + See to him! Look there! + + A trooper pushes a button and the supply cabinet door + slides open. See-Threepio and Artoo-Detoo are inside. Artoo + follows his bronze companion out into the office. + + THREEPIO + 94. + + + They're madmen! They're heading for + the prison level. If you hurry, you + might catch them. + + FIRST OFFICER + (to his troops) + Follow me! You stand guard. + + The troops hustle off down the hallway, leaving a guard to + watch over the command office. + + THREEPIO + (to Artoo) + Come on! + + The guard aims a blaster at them. + + THREEPIO (CONT’D) + Oh! All this excitement has overrun + the circuits of my counterpart + here. If you don't mind, I'd like + to take him down to maintenance. + + TROOPER + All right. + + The guard nods and Threepio, with little Artoo in tow, + hurries out the door. + + +118 INT. DEATH STAR - GARBAGE ROOM 118 + + As the walls rumble closed, the room gets smaller and + smaller. Chewie is whining and trying to hold a wall back + with his giant paws. + + Han is leaning back against the other wall. Garbage is + snapping and popping. Luke is trying to reach Threepio. + + LUKE + Threepio! Come in, Threepio! + Threepio! + + Han and Leia try to brace the contracting walls with a + pole. Leia begins to sink into the trash. + + HAN + Get to the top! + + LEIA + I can't + + LUKE + 95. + + + Where could he be? Threepio! + Threepio, will you come in? + + +119 INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL 119 + + THREEPIO + They aren't here! Something must + have happened to them. See if + they've been captured. + + Little Artoo carefully plugs his claw arm into a new wall + socket and a complex array of electronic sounds spew from + the tiny robot. + + THREEPIO (CONT’D) + Hurry! + + +120 INT. DEATH STAR - GARBAGE ROOM 120 + + The walls are only feet apart. Leia and Han are braced + against the walls. The princess is frightened. They look at + each other. Leia reaches out and takes Han's hand and she + holds it tightly. She's terrified and suddenly groans as + she feels the first crushing pressure against her body. + + HAN + One thing's for sure. We're all + going to be a lot thinner! + (to Leia) + Get on top of it! + + LEIA + I'm trying! + + +121 INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL 121 + + THREEPIO + (to Artoo) + Thank goodness, they haven't found + them! Where could they be? + + Artoo frantically beeps something to See-Threepio. + + THREEPIO (CONT’D) + Use the comlink? Oh, my! I forgot I + turned it off! + + +122 INT. DEATH STAR - GARBAGE ROOM 122 + 96. + + + Meanwhile, Luke is lying on his side, trying to keep his + head above the rising ooze. Luke's comlink begins to buzz + and he rips it off his belt. + + +123 INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL 123 + + Muffled sounds of Luke's voice over the comlink can be + heard, but not distinctly. + + THREEPIO + Are you there, sir? + + +124 INT. DEATH STAR - GARBAGE ROOM 124 + + LUKE + Threepio! + + +125 INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL 125 + + THREEPIO + We've had some problems... + + LUKE + (over comlink) + Will you shut up and listen to me? + Shut down all garbage mashers on + the detention level, will you? Do + you copy? + + +126 INT. DEATH STAR - GARBAGE ROOM 126 + + LUKE + Shut down all the garbage mashers + on the detention level. + + +127 INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL 127 + + LUKE + (over comlink) + Shut down all the garbage mashers + on the detention level. + + THREEPIO + (to Artoo) + No. Shut them all down! Hurry! + + Threepio holds his head in agony as he hears the incredible + screaming and hollering from Luke's comlink. + 97. + + + THREEPIO (CONT’D) + Listen to them! They're dying, + Artoo! Curse my metal body! I + wasn't fast enough. It's all my + fault! My poor master! + + LUKE + (over comlink) + Threepio, we're all right! + + +128 INT. DEATH STAR - GARBAGE ROOM 128 + + The screaming and hollering is the sound of joyous relief. + The walls have stopped moving. Han, Chewie and Leia embrace + in the background. + + LUKE + We're all right. You did great. + + Luke moves to the pressure sensitive hatch, looking for a + number. + + LUKE (CONT’D) + Hey... hey, open the pressure + maintenance hatch on unit number... + where are we? + + +129 INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL 129 + + HAN + (over comlink) + Three-two-six-eight-two-seven. + + +130 INT. DEATH STAR - TRACTOR BEAM - POWER GENERATOR TRENCH 130 + + Ben enters a humming service trench that powers the huge + tractor beam. The trench seems to be a hundred miles deep. + The clacking sound of huge switching devices can be heard. + The old Jedi edges his his way along a narrow ledge leading + to a control panel that connects two large cables. He + carefully makes several adjustments in the computer + terminal, and several lights on the board go from red to + blue. + + +131 INT. DEATH STAR - UNUSED HALLWAY 131 + + The group exits the garbage room into a dusty, unused + hallway. Han and Luke remove the trooper suits and strap on + the blaster belts. + 98. + + + HAN + If we can just avoid any more + female advice, we ought to be able + to get out of here. + +Luke smiles and scratches his head as he takes a blaster +from Solo. + + LUKE + Well, let's get moving! + +Chewie begins growling and points to the hatch to the +garbage room, as he runs away and then stops howling. + + HAN + (to Chewie) + Where are you going? + +The Dia Nogu bangs against the hatch and a long, slimy +tentacle works its way out of the doorway searching for a +victim. Han aims his pistol. + + LEIA + No, wait. They'll hear! + +Han fires at the doorway. The noise of the blast echoes +relentlessly throughout the empty passageway. Luke simply +shakes his head in disgust. + + HAN + (to Chewie) + Come here, you big coward! + +Chewie shakes his head "no." + + HAN (CONT’D) + Chewie! Come here! + + LEIA + Listen. I don't know who you are, + or where you came from, but from + now on, you do as I tell you. Okay? + +Han is stunned at the command of the petite young girl. + + HAN + Look, Your Worshipfulness, let's + get one thing straight! I take + orders from one person! Me! + + LEIA + It's a wonder you're still alive. + (looking at Chewie) + 99. + + + Will somebody get this big walking + carpet out of my way? + + Han watches her start away. He looks at Luke. + + HAN + No reward is worth this. + + They follow her, moving swiftly down the deserted corridor. + + +132 INT. DEATH STAR - POWER TRENCH 132 + + Suddenly a door behind Ben slides open and a detachment of + stormtroopers marches to the power trench. Ben instantly + slips into the shadows as an Officer moves to within a few + feet of him. + + OFFICER + Secure this area until the alert is + canceled. + + FIRST TROOPER + Give me regular reports. + + All but two of the stormtroopers leave. + + FIRST TROOPER (CONT’D) + Do you know what's going on? + + SECOND TROOPER + Maybe it's another drill. + + Ben moves around the tractor beam, watching the + stormtroopers as they turn their backs to him. Ben gestures + with his hand toward them, as the troops think they hear + something in the other hallway. With the help of the Force, + Ben deftly slips past the troopers and into the main + hallway. + + SECOND TROOPER (CONT’D) + What was that? + + FIRST TROOPER + Oh, it's nothing. Don't worry about + it. + + +133 INT. DEATH STAR - HALLWAY 133 + 100. + + +Luke, Han, Chewbacca, and Leia run down an empty hallway +and stop before a bay window overlooking the pirateship. +Troopers are milling about the ship. Luke takes out his +pocket comlink. + + HAN + (looking at his ship) + There she is. + + LUKE + See-Threepio, do you copy? + + THREEPIO + (voice) + For the moment. Uh, we're in the + main hangar across from the ship. + + LUKE + We're right above you. Stand by. + +Han is watching the dozen or so troops moving in and out of +the pirateship. Leia moves towards Han, touches his arm and +points out the window to the ship. + + LEIA + You came in that thing? You're + braver that I thought. + + HAN + Nice! Come on! + +Han gives her a dirty look, and they start off down the +hallway. They round a corner and run right into twenty +Imperial stormtroopers heading toward them. Both groups are +taken by surprise and stop in their tracks. + + FIRST TROOPER + It's them! Blast them! + +Before even thinking, Han draws his laser pistol and +charges the troops, firing. His blaster knocks one of the +stormtroopers into the air. Chewie follows his captain down +the corridor, stepping over the fallen trooper on the +floor. + + HAN + (to Luke and Leia) + Get back to the ship! + + LUKE + Where are you going? Come back! + +Han has already rounded a corner and does not hear. + 101. + + + LEIA + He certainly has courage. + + LUKE + What good will it do us if he gets + himself killed? Come on! + + Luke is furious but doesn't have time to think about it for + muted alarms begin to go off down on the hangar deck. Luke + and Leia start off toward the starship hangar. + + +134 INT. DEATH STAR - SUBHALLWAY 134 + + Han chases the stormtroopers down a long subhallway. He is + yelling and brandishing his laser pistol. The troops reach + a dead end and are forced to turn and fight. Han stops a + few feet from them and assumes a defensive position. The + troops begin to raise their laser guns. Soon all ten + troopers are moving into an attack position in front of the + lone starpirate. Han's determined look begins to fade as + the troops begin to advance. Solo jumps backward as they + fire at him. + + +135 INT. DEATH STAR - SUBHALLWAY 135 + + Chewbacca runs down the subhallway in a last-ditch attempt + to save his bold captain. Suddenly he hears the firing of + laser guns and yelling. Around the corner shoots Han, + pirate extraordinaire, running for his life, followed by a + host of furious stormtroopers. Chewbacca turns and starts + running the other way also. + + +136 INT. DEATH STAR - SUBHALLWAY 136 + + Luke fires his laser pistol wildly as he and Leia rush down + a narrow subhallway, chased by several stormtroopers. + + They quickly reach the end of the subhallway and race + through an open hatchway. + + +137 INT. DEATH STAR - CENTRAL CORE SHAFT 137 + + Luke and Leia race through the hatch onto a narrow bridge + that spans a huge, deep shaft that seems to go into + infinity. The bridge has been retracted into the wall of + the shaft, and Luke almost rushes into the abyss. He loses + his balance off the end of the bridge as Leia, behind him, + takes hold of his arm and pulls him back. + 102. + + + LUKE + (gasping) + I think we took a wrong turn. + +Blasts from the stormtroopers' laser guns explode nearby +reminding them of the oncoming danger. Luke fires back at +the advancing troops. Leia reaches over and hits a switch +that pops the hatch door shut with a resounding boom, +leaving them precariously perched on a short piece of +bridge overhang. Laserfire from the troopers continues to +hit the steel door. + + LEIA + There's no lock! + +Luke blasts the controls with his laser pistol. + + LUKE + That oughta hold it for a while. + + LEIA + Quick, we've got to get across. + Find the control that extends the + bridge. + + LUKE + Oh, I think I just blasted it. + +Luke looks at the blasted bridge control while the +stormtroopers on the opposite side of the door begin making +ominous drilling and pounding sounds. + + LEIA + They're coming through! + +Luke notices something on his stormtrooper belt, when +laserfire hits the wall behind him. Luke aims his laser +pistol at a stormtrooper perched on a higher bridge +overhang across the abyss from them. They exchange fire. +Two more troops appear on another overhang, also firing. A +trooper is hit, and grabs at his chest. + +Another trooper standing on the bridge overhang is hit by +Luke's laserfire, and plummets down the shaft. Troopers +move back off the bridge; Luke hands the gun to Leia. + + LUKE + Here, hold this. + 103. + + + Luke pulls a thin nylon cable from his trooper utility + belt. It has a grappler hook on it. A trooper appears on a + bridge overhang and fires at Luke and Leia. As Luke works + with the rope, Leia returns the laser volley. Another + trooper appears and fires at them, as Leia returns his fire + as well. Suddenly, the hatch door begins to open, revealing + the feet of more troops. + + LEIA + Here they come! + + Leia hits one of the stormtroopers on the bridge above, and + he falls into the abyss. Luke tosses the rope across the + gorge and it wraps itself around an outcropping of pipes. + He tugs on the rope to make sure it is secure, then grabs + the princess in his arms. Leia looks at Luke, then kisses + him quickly on the lips. Luke is very surprised. + + LEIA (CONT’D) + For luck! + + Luke pushes off and they swing across the treacherous abyss + to the corresponding hatchway on the opposite side. Just as + Luke and Leia reach the far side of the canyon, the + stormtroopers break through the hatch and begin to fire at + the escaping duo. Luke returns the fire before ducking into + the tiny subhallway. + + +138 INT. DEATH STAR - NARROW PASSAGEWAY 138 + + Ben hides in the shadows of the narrow passageway as + several stormtroopers rush past him in the main hallway. He + checks to make sure they're gone, then runs down the + hallway in the opposite direction. Darth Vader appears at + the far end of the hallway and starts after the old Jedi. + + +139 INT. DEATH STAR - MAIN FORWARD BAY 139 + + Threepio looks around at the troops milling about the + pirateship entry ramp. + + THREEPIO + Where could they be? + + Artoo, plugged into the computer socket, turns his dome + left and right, beeping a response. + + +140 INT. DEATH STAR - CORRIDOR - BLAST SHIELDS DOOR 140 + 104. + + + Han and Chewbacca run down a long corridor with several + troopers hot on their trail. + + TROOPER + Close the blast doors! + + At the end of the hallway, blast doors begin to close in + front of them. The young starpilot and his furry companion + race past the huge doors just as they are closing, and + manage to get off a couple off laserblasts at the pursuing + troops before the doors slam shut. + + TROOPER (CONT’D) + Open the blast doors! Open the + blast doors! + + +141 INT. DEATH STAR - HALLWAY LEADING TO MAIN FORWARD BAY 141 + + Ben hurries along one of the tunnels leading to the hangar + where the pirateship waits. Just before he reaches the + hangar, Darth Vader steps into view at the end of the + tunnel, not ten feet away. Vader lights his saber. Ben also + ignites his and steps slowly forward. + + VADER + I've been waiting for you, Obi-Wan. + We meet again, at last. The circle + is now complete. + + Ben Kenobi moves with elegant ease into a classical + offensive position. The fearsome Dark Knight takes a + defensive stance. + + VADER (CONT’D) + When I left you, I was but the + learner; now I am the master. + + BEN + Only a master of evil, Darth. + + The two Galactic warriors stand perfectly still for a few + moments, sizing each other up and waiting for the right + moment. Ben seems to be under increasing pressure and + strain, as if an invisible weight were being placed upon + him. He shakes his head and, blinking, tries to clear his + eyes. + + Ben makes a sudden lunge at the huge warrior but is checked + by a lightning movement of The Sith. A masterful slash + stroke by Vader is blocked by the old Jedi. Another of the + Jedi's blows is blocked, then countered. + 105. + + + Ben moves around the Dark Lord and starts backing into the + massive starship hangar. The two powerful warriors stand + motionless for a few moments with laser swords locked in + mid- air, creating a low buzzing sound. + + VADER + Your powers are weak, old man. + + BEN + You can't win, Darth. If you strike + me down, I shall become more + powerful than you can possibly + imagine. + + Their lightsabers continue to meet in combat. + + +142 INT. DEATH STAR - MAIN FORWARD BAY 142 + + Han Solo and Chewbacca, their weapons in hand, lean back + against the wall surveying the forward bay, watching the + Imperial stormtroopers make their rounds of the hangar. + + HAN + Didn't we just leave this party? + + Chewbacca growls a reply, as Luke and the princess join + them. + + HAN (CONT’D) + What kept you? + + LEIA + We ran into some old friends. + + LUKE + Is the ship all right? + + HAN + Seems okay, if we can get to it. + Just hope the old man got the + tractor beam out of commission. + + +143 INT. DEATH STAR - HALLWAY 143 + + Vader and Ben Kenobi continue their powerful duel. As they + hit their lightsabers together, lightning flashes on + impact. Troopers look on in interest as the old Jedi and + Dark Lord of The Sith fight. Suddenly Luke spots the battle + from his group's vantage point. + + LUKE + 106. + + + Look! + + Luke, Leia, Han, and Chewie look up and see Ben and Vader + emerging from the hallways on the far side of the docking + bay. + + +144 INT. DEATH STAR - DOCKING BAY 144 + + Threepio and Artoo-Detoo are in the center of the Death + Star's Imperial docking bay. + + THREEPIO + Come on, Artoo, we're going! + + Threepio ducks out of sight as the seven stormtroopers who + were guarding the starship rush past them heading towards + Ben and The Sith Knight. He pulls on Artoo. + + +145 INT. DEATH STAR - HALLWAY 145 + + Solo, Chewie, Luke, and Leia tensely watch the duel. The + troops rush toward the battling knights. + + HAN + Now's our chance! Go! + + They start for the Millennium Falcon. Ben sees the troops + charging toward him and realizes that he is trapped. Vader + takes advantage of Ben's momentary distraction and brings + his mighty lightsaber down on the old man. Ben manages to + deflect the blow and swiftly turns around. + + The old Jedi Knight looks over his shoulder at Luke, lifts + his sword from Vader's then watches his opponent with a + serene look on his face. + + Vader brings his sword down, cutting old Ben in half. Ben's + cloak falls to the floor in two parts, but Ben is not in + it. Vader is puzzled at Ben's disappearance and pokes at + the empty cloak. As the guards are distracted, the + adventurers and the robots reach the starship. Luke sees + Ben cut in two and starts for him. Aghast, he yells out. + + LUKE + No! + 107. + + + The stormtroopers turn toward Luke and begin firing at him. + The robots are already moving up the ramp into the + Millennium Falcon, while Luke, transfixed by anger and awe, + returns their fire. Solo joins in the laserfire. Vader + looks up and advances toward them, as one of his troopers + is struck down. + + HAN + (to Luke) + Come on! + + LEIA + Come on! Luke, its too late! + + HAN + Blast the door! Kid! + + Luke fires his pistol at the door control panel, and it + explodes. The door begins to slide shut. Three troopers + charge forward firing laser bolts, as the door slides to a + close behind them, shutting Vader and the other troops out + of the docking bay. A stormtrooper lies dead at the feet of + his onrushing compatriots. Luke starts for the advancing + troops, as Solo and Leia move up the ramp into the + pirateship. He fires, hitting a stormtrooper, who crumbles + to the floor. + + BEN'S VOICE + Run, Luke! Run! + + Luke looks around to see where the voice came from. He + turns toward the pirateship, ducking Imperial gunfire from + the troopers and races into the ship. + + +146 INT. MILLENNIUM FALCON - COCKPIT 146 + + Han pulls back on the controls and the ship begins to move. + The dull thud of laser bolts bouncing off the outside of + the ship as Chewie adjusts his controls. + + HAN + I hope the old man got that tractor + beam out if commission, or this is + going to be a real short trip. + Okay, hit it! + + Chewbacca growls in agreement. + + +147 EXT. MILLENNIUM FALCON 147 + 108. + + + The Millennium Falcon powers away from the Death Star + docking bay, makes a spectacular turn and disappears into + the vastness of space. + + +148 INT. MILLENNIUM FALCON - CENTRAL HOLD AREA 148 + + Luke, saddened by the loss of Obi-Wan Kenobi, stares off + blankly as the robots look on. Leia puts a blanket around + him protectively, and Luke turns and looks up at her. She + sits down beside him. + + +149 INT. MILLENNIUM FALCON - COCKPIT 149 + + Solo spots approaching enemy ships. + + HAN + (to Chewie) + We're coming up on the sentry + ships. Hold 'em off! Angle the + deflector shields while I charge up + the main guns! + + +150 INT. MILLENNIUM FALCON - CENTRAL HOLD AREA 150 + + Luke looks downward sadly, shaking his head back and forth, + as the princess smiles comfortingly at him. + + LUKE + I can't believe he's gone. + + Artoo-Detoo beeps a reply. + + LEIA + There wasn't anything you could + have done. + + Han rushes into the hold area where Luke is sitting with + the princess. + + HAN + (to Luke) + Come on, buddy, we're not out of + this yet! + + +151 INT. MILLENNIUM FALCON - GUNPORTS - COCKPIT 151 + + Solo climbs into his attack position in the topside + gunport. + 109. + + +152 INT. MILLENNIUM FALCON - HOLD AREA 152 + + Luke gets up and moves out toward the gunports as Leia + heads for the cockpit. + + +153 INT. MILLENNIUM FALCON - GUNPORTS - COCKPIT 153 + + Luke climbs down the ladder into the gunport cockpit, + settling into one of the two main laser cannons mounted in + large rotating turrets on either side of the ship. + + +154 INT. MILLENNIUM FALCON - SOLO'S GUNPORT 154 + + Han adjusts his headset as he sits before the controls of + his laser cannon, then speaks into the attached microphone. + + HAN + (to Luke) + You in, kid? Okay, stay sharp! + + +155 INT. MILLENNIUM FALCON - GUNPORTS - COCKPIT 155 + + Chewbacca and Princess Leia search the heavens for + attacking TIE fighters. The Wookiee pulls back on the speed + controls as the ship bounces slightly. + + +156 INT. MILLENNIUM FALCON - SOLO'S GUNPORT - COCKPIT 156 + + Computer graphic readouts form on Solo's target screen, as + Han reaches for controls. + + +157 INT. MILLENNIUM FALCON - GUNPORT - COCKPIT 157 + + Luke sits in readiness for the attack, his hand on the + laser cannon's control button. + + +158 INT. MILLENNIUM FALCON - COCKPIT. 158 + + Chewbacca spots the enemy ships and barks. + + LEIA + (into intercom) + Here they come! + + +159 INT. MILLENNIUM FALCON - COCKPIT - POV (POINT OF VIEW) - 159 + 110. + + + SPACE + The Imperial TIE fighters move + towards the Millennium Falcon, one + each veering off to the left and + right of the pirateship. + + +160 INT. TIE FIGHTER - COCKPIT 160 + + The stars whip past behind the Imperial pilot as he adjusts + his maneuvering joy stick. + + +161 EXT. MILLENNIUM FALCON - IN SPACE 161 + + The TIE fighter races past the Falcon, firing laser beams + as it passes. + + +162 INT. MILLENNIUM FALCON - HOLD AREA 162 + + Threepio is seated in the hold area, next to Artoo-Detoo. + The pirateship bounces and vibrates as the power goes out + in the room and then comes back on. + + +163 INT. MILLENNIUM FALCON - COCKPIT - GUNPORTS 163 + + A TIE fighter maneuvers in front of Han, who follows it and + fires at it with the laser cannon. Luke does likewise, as + the fighter streaks into view. The ship has suffered a + minor hit, and bounces slightly. + + +164 EXT. SPACE 164 + + Two TIE fighters dive down toward the pirateship. + + +165 INT. MILLENNIUM FALCON - GUNPORTS 165 + + Luke fires at an unseen fighter. + + LUKE + They're coming in too fast! + + +166 EXT. SPACE - MILLENNIUM FALCON/TIE FIGHTERS 166 + + Pan with pirateship as two TIE fighters charge through the + background. Laserbolts streak from all the craft. + 111. + + +167 INT. MILLENNIUM FALCON - CHEWBACCA 167 + + The ship shudders as a laserbolt hits very close to the + cockpit. The Wookiee chatters something to Leia. + + +168 EXT. TIE FIGHTER - SPACE 168 + + Full shot of a TIE fighter as it moves fast through the + frame, firing on the pirate starship. + + +169 EXT. SPACE - TIE FIGHTERS 169 + + The two TIE fighters fire a barrage of laserbeams at the + pirateship. + + +170 INT. MILLENNIUM FALCON - MAIN PASSAGEWAY 170 + + A laserbolt streaks into the side of the pirateship. The + ship lurches violently, throwing poor Threepio into a + cabinet fill of small computer chips. + + THREEPIO + Oooh! + + +171 INT. MILLENNIUM FALCON - COCKPIT - GUNPORTS 171 + + Leia watches the computer readout as Chewbacca manipulates + the ship's controls. + + LEIA + We've lost lateral controls. + + HAN + Don't worry, she'll hold together. + + An enemy laserbolt hits the pirateship's control panel, + causing it to blow out in a shower of sparks. + + HAN (CONT’D) + (to ship) + You hear me, baby? Hold together! + + Artoo-Detoo advances toward the smoking sparking control + panel, dousing the inferno by spraying it with fire + retardant beeping all the while. + + +172 INT. MILLENNIUM FALCON - GUNPORT 172 + 112. + + + Luke swivels in his gun mount, following the TIE fighter + with his laser cannon. + + +173 INT. MILLENNIUM FALCON - GUNPORT 173 + + Solo aims his laser cannon at the enemy fighter. + + +174 EXT. SPACE 174 + + A TIE fighter streaks in front of the starship. + + +175 INT. MILLENNIUM FALCON - COCKPIT 175 + + Leia watches the TIE fighter ship fly over. + + +176 EXT. SPACE 176 + + A TIE fighter heads right for the pirateship, then zooms + overhead. + + +177 INT. MILLENNIUM FALCON - GUNPORTS 177 + + Luke follows the TIE fighter across his field of view, + firing laserbeams from his cannon. + + +178 EXT. TIE FIGHTER 178 + + A TIE fighter dives past the pirateship. + + +179 INT. MILLENNIUM FALCON - GUNPORTS 179 + + Luke fires at a TIE fighter. At his port, Han follows a + fighter in his sights, releasing a blast of laserfire. He + connects, and the fighter explodes into fiery dust. Han + laughs victoriously. + + +180 EXT. SPACE 180 + + Two TIE fighters move toward and over the Millennium + Falcon, unleashing a barrage of laserbolts at the ship. + + +181 INT. MILLENNIUM FALCON - GUNPORTS 181 + 113. + + + Another TIE fighter moves in on the pirateship and Luke, + smiling, fires the laser cannon at it, scoring a + spectacular direct hit. + + LUKE + Got him! I got him! + + Han turns and gives Luke a victory wave which Luke + gleefully returns. + + HAN + Great kid! Don't get cocky. + + Han turns back to his laser cannon. + + +182 EXT. SPACE 182 + + Two more TIE fighters cross in front of the pirateship. + + +183 INT. MILLENNIUM FALCON - COCKPIT 183 + + While Chewbacca manipulates the controls, Leia turns, + looking over her shoulder out the ports. + + LEIA + There are still two more of them + out there! + + +184 EXT. SPACE 184 + + A TIE fighter moves up over the pirateship, firing + laserblasts at it. + + +185 INT. MILLENNIUM FALCON - GUNPORTS 185 + + Luke and Han look into their respective projected target + screens. An Imperial fighter crosses Solo's port, and Han + swivels in his chair, following it with blasts from his + laser cannon. Another fighter crosses Luke's port, and he + reacts in a like manner, the glow of his target screen + lighting his face. + + +186 EXT. SPACE 186 + + The TIE fighter zooms toward the pirateship, firing + destructive blasts at it. + 114. + + +187 INT. MILLENNIUM FALCON - GUNPORTS 187 + + Luke fires a laserblast at the approaching enemy fighter, + and it bursts into a spectacular explosion. + + Luke's projected screen gives a readout of the hit. The + pirateship bounces slightly as it is struck by the enemy + fire. + + +188 EXT. SPACE - TIE FIGHTER 188 + + The last of the attacking Imperial TIE fighters looms in, + firing upon the Falcon. + + +189 INT. MILLENNIUM FALCON - GUNPORT 189 + + Solo swivels behind his cannon, his aim describing the arc + of the TIE fighter. The fighter comes closer, firing at the + pirateship, but a well-aimed blast from Solo's laser cannon + hits the attacker, which blows up in a small atomic shower + of burning fragments. + + LUKE + (laughing) + That's it! We did it! + + The princess jumps up and gives Chewie a congratulatory + hug. + + LEIA + We did it! + + +190 INT. MILLENNIUM FALCON - PASSAGEWAY 190 + + Threepio lies on the floor of the ship, completely tangled + in the smoking, sparking wires. + + THREEPIO + Help! I think I'm melting! + (to Artoo) + This is all your fault. + + Artoo turns his dome from side to side, beeping in + response. + + +191 EXT. SPACE - MILLENNIUM FALCON 191 + + The victorious Millennium Falcon moves off majestically + through space. + 115. + + +192 INT. DEATH STAR - CONTROL ROOM 192 + + Darth Vader strides into the control room, where Tarkin is + watching the huge view screen. A sea of stars is before + him. + + TARKIN + Are they away? + + VADER + They have just made the jump into + hyperspace. + + TARKIN + You're sure the homing beacon is + secure aboard their ship? I'm + taking an awful risk, Vader. This + had better work. + + +193 INT. MILLENNIUM FALCON - COCKPIT 193 + + Han, removes his gloves and smiling, is at the controls of + the ship. Chewie moves into the aft section to check the + damage. Leia is seated near Han. + + HAN + Not a bad bit of rescuing, huh? You + know, sometimes I even amaze + myself. + + LEIA + That doesn't sound too hard. + Besides, they let us go. It's the + only explanation for the ease of + our escape. + + HAN + Easy... you call that easy? + + LEIA + Their tracking us! + + HAN + Not this ship, sister. + + Frustrated, Leia shakes her head. + + LEIA + At least the information in Artoo + is still intact. + + HAN + 116. + + + What's so important? What's he + carrying? + + LEIA + The technical readouts of that + battle station. I only hope that + when the data is analyzed, a + weakness can be found. It's not + over yet! + + HAN + It is for me, sister! Look, I ain't + in this for your revolution, and + I'm not in it for you, Princess. + (MORE) + + HAN (CONT'D) + I expect to be well paid. I'm in it + for the money! + + LEIA + You needn't worry about your + reward. If money is all that you + love, then that's what you'll + receive! + +She angrily turns, and as she starts out of the cockpit, +passes Luke coming in. + + LEIA (CONT’D) + Your friend is quite a mercenary. I + wonder if he really cares about + anything... or anyone. + + LUKE + I care! + +Luke, shaking his head, sits in the copilot seat. He and +Han stare out at the vast blackness of space. + + LUKE (CONT’D) + So... what do you think of her, + Han? + + HAN + I'm trying not to, kid! + + LUKE + (under his breath) + Good... + + HAN + 117. + + + Still, she's got a lot of spirit. I + don't know, what do you think? Do + you think a princess and a guy like + me... + + LUKE + No! + + Luke says it with finality and looks away. Han smiles at + young Luke's jealousy. + + +194 EXT. SPACE AROUND FOURTH MOON OF YAVIN 194 + + The battered pirateship drifts into orbit around the planet + Yavin and proceeds to one of its tiny green moons. + + +195 EXT. FOURTH MOON OF YAVIN 195 + + The pirateship soars over the dense jungle. + + +196 EXT. MASSASSI OUTPOST 196 + + An alert guard, his laser gun in hand, scans the + countryside. He sets the gun down and looks toward the + temple, barely visible in the foliage. + + +197 EXT. MASSASSI OUTPOST - JUNGLE TEMPLE 197 + + Rotting in a forest of gargantuan trees, an ancient temple + lies shrouded in an eerie mist. The air is heavy with the + fantastic cries of unimaginable creatures. Han, Luke and + the others are greeted by the Rebel troops. + + Luke and the group ride into the massive temple on an + armored military speeder. + + +198 INT. MASSASSI - MAIN HANGAR DECK 198 + + The military speeder stops in a huge spaceship hangar, set + up in the interior of the crumbling temple. Willard, the + commander of the Rebel forces, rushes up to the group and + gives Leia a big hug. Every one is pleased to see her. + + WILLARD + (holding Leia) + You're safe! We had feared the + worst. + 118. + + + Willard composes himself, steps back and bows formally. + + WILLARD (CONT’D) + When we heard about Alderaan, we + were afraid that you were... lost + along with your father. + + LEIA + We don't have time for our sorrows, + Commander. The battle station has + surely tracked us here. + (looking pointedly to + Han) + It's the only explanation for the + ease of our escape. You must use + the information in this R2 unit to + plan the attack. It is our only + hope. + + +199 EXT. SPACE 199 + + The surface of the Death Star ominously approaches the red + planet Yavin. + + +200 INT. DEATH STAR - CONTROL ROOM 200 + + Grand Moff Tarkin and Lord Vader are interrupted in their + discussion by the buzz of the comlink. Tarkin moves to + answer the call. + + TARKIN + Yes. + + 201 DEATH STAR INTERCOM VOICE 201 + + We are approaching the planet Yavin. The Rebel base is on a + moon on the far side. We are preparing to orbit the planet. + + +202 EXT. YAVIN - JUNGLE 202 + + A lone guard stands in a tower high above the Yavin + landscape, surveying the countryside. A mist hangs over the + jungle of twisted green. + + +203 INT. MASSASSI - WAR ROOM BRIEFING AREA 203 + 119. + + +Dodonna stands before a large electronic wall display. Leia +and several other senators are to one side of the giant +readout. The low-ceilinged room is filled with starpilots, +navigators, and a sprinkling of R2-type robots. Everyone is +listening intently to what Dodonna is saying. Han and +Chewbacca are standing near the back. + + DODONNA + The battle station is heavily + shielded and carries a firepower + greater than half the star fleet. + It's defenses are designed around a + direct large- scale assault. A + small one-man fighter should be + able to penetrate the outer + defense. + +Gold Leader, a rough looking man in his early thirties, +stands and addresses Dodonna. + + GOLD LEADER + Pardon me for asking, sir, but what + good are snub fighters going to be + against that? + + DODONNA + Well, the Empire doesn't consider a + small one-man fighter to be any + threat, or they'd have a tighter + defense. + (MORE) + + DODONNA (CONT'D) + An analysis of the plans provided + by Princess Leia has demonstrated a + weakness in the battle station. + +Artoo-Detoo stands next to a similar robot, makes beeping +sounds, and turns his head from right to left. + + DODONNA (CONT’D) + The approach will not be easy. You + are required to maneuver straight + down this trench and skim the + surface to this point. The target + area is only two meters wide. It's + a small thermal exhaust port, right + below the main port. The shaft + leads directly to the reactor + system. A precise hit will start a + chain reaction which should destroy + the station. + 120. + + + A murmer of disbelief runs through the room. + + DODONNA (CONT’D) + Only a precise hit will set up a + chain reaction. The shaft is ray- + shielded, so you'll have to use + proton torpedoes. + + Luke is sitting next to Wedge Antilles, a hotshot pilot + about sixteen years old. + + WEDGE + That's impossible, even for a + computer. + + LUKE + It's not impossible. I used to + bull's- eye womp rats in my T- + sixteen back home. They're not much + bigger than two meters. + + DODONNA + Man your ships! And may the Force + be with you! + + The group rises and begins to leave. + + +204 EXT. SPACE 204 + + The Death Star begins to move around the planet toward the + tiny green moon. + + +205 INT. DEATH STAR 205 + + Tarkin and Vader watch the computer projected screen with + interest, as a circle of lights intertwines around one + another on the screen showing it's position in relation to + Yavin and the forth moon. + + 206 DEATH STAR INTERCOM VOICE 206 + + Orbiting the planet at maximum velocity. The moon with the + Rebel base will be in range in thirty minutes. + + VADER + This will be a day long remembered. + It has seen the end of Kenobi and + it will soon see the end of the + Rebellion. + 121. + + +207 INT. MASSASSI OUTPOST - MAIN HANGAR DECK 207 + + Luke, Threepio and little Artoo enter the huge spaceship + hangar and hurry along a long line of gleaming + spacefighters. Flight crews rush around loading last-minute + armaments and unlocking power couplings. In an area + isolated from this activity Luke finds Han and Chewbacca + loading small boxes onto an armored speeder. + + MAN'S VOICE + (over loudspeaker) + All flight trooper, man your + stations. All flight troops, man + your stations. + + Han is deliberately ignoring the activity of the fighter + pilots' preparation. Luke is quite saddened at the sight of + his friend's departure. + + LUKE + So... you got your reward and + you're just leaving then? + + HAN + That's right, yeah! I got some old + debts I've got to pay off with this + stuff. Even if I didn't, you don't + think I'd be fool enough to stick + around here, do you? Why don't you + come with us? You're pretty good in + a fight. I could use you. + + LUKE + (getting angry) + Come on! Why don't you take a look + around? + (MORE) + + LUKE (CONT'D) + You know what's about to happen, + what they're up against. They could + use a good pilot like you. You're + turning your back on them. + + HAN + What good's a reward if you ain't + around to use it? Besides, + attacking that battle station ain't + my idea of courage. It's more like + suicide. + + LUKE + 122. + + + All right. Well, take care of + yourself, Han. I guess that's what + you're best at, isn't it? + + Luke goes off and Han hesitates, then calls to him. + + HAN + Hey, Luke... may the Force be with + you! + + Luke turns and sees Han wink at him. Luke lifts his hand in + a small wave and then goes off. + + Han turns to Chewie who growls at his captain, + + HAN (CONT’D) + What're you lookin' at? I know what + I'm doing. + + +208 INT. MAIN HANGAR DECK - LUKE'S SHIP 208 + + Luke, Leia, and Dodonna meet under a huge space fighter. + + LEIA + What's wrong? + + LUKE + Oh, it's Han! I don't know, I + really thought he'd change his + mind. + + LEIA + He's got to follow his own path. No + one can choose it for him. + + LUKE + I only wish Ben were here. + + Leia gives Luke a little kiss, turns, and goes off. As Luke + heads for his ship, another pilot rushes up to him and + grabs his arm. + + BIGGS + Luke! I don't believe it! How'd you + get here... are you going out with + us?! + + LUKE + Biggs! Of course, I'll be up there + with you! Listen, have I got some + stories to tell... + 123. + + +Red Leader, a rugged handsome man in his forties, comes up +behind Luke and Biggs. He has the confident smile of a born +leader. + + RED LEADER + Are you... Luke Skywalker? Have you + been checked out on the Incom T- + sixty- five? + + BIGGS + Sir, Luke is the best bushpilot in + the outer rim territories. + +Red Leader pats Luke on the back as they stop in front of +his fighter. + + RED LEADER + I met your father once when I was + just a boy, he was a great pilot. + You'll do all right. If you've got + half of your father's skill, you'll + do better than all right. + + LUKE + Thank you, sir. I'll try. + +Red Leader hurries to his own ship. + + BIGGS + I've got to get aboard. Listen, + you'll tell me your stories when we + come back. All right? + + LUKE + I told you I'd make it someday, + Biggs. + + BIGGS + (going off) + You did, all right. It's going to + be like old times, Luke. We're a + couple of shooting stars that'll + never be stopped! + +Luke laughs and shakes his head in agreement. He heads for +his ship. + +As Luke begins to climb up the ladder into his sleek, +deadly spaceship, the crew chief, who is working on the +craft, points to little Artoo, who is being hoisted into a +socket on the back of the fighter. + + CHIEF + 124. + + + This R2 unit of your seems a bit + beat up. Do you want a new one? + + LUKE + Not on your life! That little droid + and I have been through a lot + together. + (to Artoo) + You okay, Artoo? + + The crewmen lower Artoo-Detoo into the craft. Now a part of + the exterior shell of the starship, the little droid beeps + that he is fine. + + Luke climbs up into the cockpit of his fighter and puts an + his helmet. Threepio looks on from the floor of the massive + hangar as the crewmen secure his little electronic partner + into Luke's X-wing. It's an emotional-filled moment as + Artoo beeps good-bye. + + CHIEF + Okay, easy she goes! + + THREEPIO + Hang on tight,Artoo, you've got to + come back. + + Artoo beeps in agreement. + + THREEPIO (CONT’D) + You wouldn't want my life to get + boring, would you? + + Artoo whistles his reply. + + All final preparations are made for the approaching battle. + The hangar is buzzing with the last minute activity as the + pilots and crewmen alike make their final adjustments. The + hum of activity is occasionally trespassed by the distorted + voice of the loudspeaker issuing commands. Coupling hoses + are disconnected from the ships as they are fueled. Cockpit + shields roll smoothly into place over each pilot. A + signalman, holding red guiding lights, directs the ships. + Luke, a trace of a smile gracing his lips, peers about + through his goggles. + + BEN'S VOICE + Luke, the Force will be with you. + + Luke is confused at the voice and taps his headphones. + + +209 EXT. MASSASSI OUTPOST - JUNGLE 209 + 125. + + + All that can be seen of the fortress is a lone guard + standing on a small pedestal jutting out above the dense + jungle. The muted gruesome crying sounds that naturally + permeate this eerie purgatory are overwhelmed by the + thundering din of ion rockets as four silver starships + catapult from the foliage in a tight formation and + disappears into the morning cloud cover. + + +210 INT. MASSASSI OUTPOST - WAR ROOM 210 + + The princess, Threepio, and a field commander sit quietly + before the giant display showing the planet Yavin and its + four moons. The red dot that represents the Death Star + moves ever closer to the system. A series of green dots + appear around the fourth moon. A din of indistinct chatter + fills the war room. + + MASSASSI INTERCOM VOICE + Stand-by alert. Death Star + approaching. Estimated time to + firing range, fifteen minutes. + + +211 EXT. SPACE 211 + + The Death Star slowly moves behind the massive yellow + surface of Yavin in the foreground, as many X-wing fighters + flying in formation zoom toward us and out of the frame. + + +212 EXT. SPACE - ANOTHER ANGLE 212 + + Light from a distant sun creates an eerie atmospheric glow + around a huge planet, Yavin. Rebel fighters flying in + formation settle ominously in the foreground and very + slowly pull away. + + +213 INT. RED LEADER STARSHIP - COCKPIT 213 + + Red Leader lowers his visor and adjusts his gun sights, + looking to each side at his wing men. + + RED LEADER + All wings report in. + + +214 INT. ANOTHER COCKPIT 214 + + One of the Rebel fighters checks in through his mike. + + RED TEN + 126. + + + Red Ten standing by. + + +215 INT. BIGGS' COCKPIT 215 + + Biggs checks his fighter's controls, alert and ready for + combat. + + RED SEVEN + (over Biggs' headset) + Red Seven standing by. + + BIGGS + Red Three standing by. + + +216 INT. PORKINS' COCKPIT 216 + + PORKINS + Red Six standing by. + + RED NINE + (over headset) + Red Nine standing by. + + +217 INT. WEDGE'S FIGHTER - COCKPIT 217 + + WEDGE + Red Two standing by. + + +218 INT. LUKE'S X-WING FIGHTER - COCKPIT 218 + + RED ELEVEN + (over headset) + Red Eleven standing by. + + LUKE + Red Five standing by. + + +219 EXT. LUKE'S X-WING FIGHTER 219 + + Artoo-Detoo, in position outside of the fighter, turns his + head from side to side and makes beeping sounds. + + +220 INT. RED LEADER'S FIGHTER - COCKPIT 220 + + RED LEADER + Lock S-foils in attack position. + 127. + + +221 EXT. SPACE 221 + + The group of X-wing fighters move in formation toward the + Death Star, unfolding the wings and locking them in the "X" + position. + + +222 INT. BIGGS' COCKPIT 222 + + READ LEADER + (over headset) + We're passing through their + magnetic field. + + +223 INT. RED LEADER'S COCKPIT 223 + + RED LEADER + Hold tight! + + +224 INT. LUKE'S X-WING FIGHTER - COCKPIT 224 + + Luke adjusts his controls as he concentrates on the + approaching Death Star. The ship begins to be buffeted + slightly. + + RED LEADER + (over headset) + Switch your deflectors on. + + +225 INT. ANOTHER COCKPIT 225 + + RED LEADER + (over headset) + Double front! + + +226 EXT. SPACE 226 + + The fighters, now X-shaped darts, move in formation. The + Death Star now appears to be a small moon growing rapidly + in size as the Rebel fighters approach. Complex patterns on + the metallic surface begin to become visible. A large dish + antenna is built into the surface on one side. + + +227 INT. WEDGE'S COCKPIT 227 + + Wedge is amazed and slightly frightened at the awesome + spectacle. + 128. + + + WEDGE + Look at the size of that thing! + + RED LEADER + (over headset) + Cut the chatter, Red Two. + + +228 INT. RED LEADER'S COCKPIT 228 + + RED LEADER + Accelerate to attack speed. This is + it, boys! + + +229 EXT. SPACE 229 + + As the fighters move closer to the Death Star, the awesome + size of the gargantuan Imperial fortress is revealed. Half + of the deadly space station is in shadow and this area + sparkles with thousands of small lights running in thin + lines and occasionally grouped in large clusters; somewhat + like a city at night as seen from a weather satellite. + + +230 INT. GOLD LEADER'S COCKPIT 230 + + GOLD LEADER + Red Leader, this is Gold Leader. + + RED LEADER + (over headset) + I copy, Gold Leader. + + GOLD LEADER + We're starting for the target shaft + now. + + +231 INT. RED LEADER'S COCKPIT 231 + + Red Leader looks around at his wingmen; the Death Star + looming in from behind. Two Y-wing fighters bob back and + forth in the background. He moves his computer targeting + device into position. + + RED LEADER + We're in position. I'm going to cut + across the axis and try and draw + their fire. + + +232 EXT. SPACE 232 + 129. + + + Two squads of Rebel fighters peel off. The X-wings dive + towards the Death Star surface. A thousand lights glow + across the dark grey expanse of the huge station. + + +233 INT. DEATH STAR 233 + + Alarm sirens scream as soldiers scramble to large turbo- + powered laser gun emplacements. Electronic drivers rotate + the huge guns into position as crew adjust their targeting + devices. + + +234 EXT. SPACE AROUND THE DEATH STAR 234 + + Laserbolts streak through the star-filled night. The Rebel + X- wing fighters move in toward the Imperial base, as the + Death Star aims its massive laser guns at the Rebel forces + and fires. + + +235 INT. MASSASSI OUTPOST - WAR ROOM 235 + + Princess Leia listens to the battle over the intercom. + Threepio is at her side. + + WEDGE + (over war room speaker + system) + Heavy fire, boss! Twenty-degrees. + + RED LEADER + (over speaker) + I see it. Stay low. + + +236 EXT. SPACE 236 + + An X-wing zooms across the surface of the Death Star. + + +237 INT. DEATH STAR 237 + + Technical crews scurry here and there loading last-minute + armaments and unlocking power cables. + + +238 INT. WEDGE'S COCKPIT 238 + + Wedge maneuvers his fighter toward the menacing Death Star. + + +239 EXT. SPACE 239 + 130. + + + X-wings continue in their attack course on the Death Star. + + +240 INT. LUKE'S X-WING FIGHTER - COCKPIT 240 + + Luke nosedives radically, starting his attack on the + monstrous fortress. The Death Star surface streaks past the + cockpit window. + + LUKE + This is Red Five; I'm going in! + + +241 EXT. SPACE 241 + + Luke's X-wing races toward the Death Star. Laserbolts + streak from Luke's weapons, creating a huge fireball + explosion on the dim surface. + + +242 INT. LUKE'S X-WING FIGHTER - COCKPIT 242 + + Terror crosses Luke's face as he realizes he won't be able + to pull out in time to avoid the fireball. + + BIGGS + (over headset) + Luke, pull up! + + +243 EXT. SURFACE OF DEATH STAR 243 + + Luke's ship emerges from the fireball, with the leading + edges of his wings slightly scorched. + + +244 INT. BIGGS' COCKPIT 244 + + BIGGS + Are you all right? + + +245 INT. LUKE'S X-WING FIGHTER - COCKPIT 245 + + Luke adjusts his controls and breathes a sigh of relief. + Flak bursts outside the cockpit window. + + LUKE + I got a little cooked, but I'm + okay. + + +246 EXT. SURFACE OF THE DEATH STAR 246 + 131. + + + Rebel fighters continue to strafe the Death Star's surface + with laserbolts. + + +247 INT. DEATH STAR 247 + + Walls buckle and cave in. Troops and equipment are blown in + all directions. Stormtroopers stagger out of the rubble. + Standing in the middle of the chaos, a vision of calm and + foreboding, is Darth Vader. One of his Astro-Officers + rushes up to him. + + ASTRO-OFFICER + We count thirty Rebel ships, Lord + Vader. But they're so small they're + evading our turbo-lasers! + + VADER + We'll have to destroy them ship to + ship. Get the crews to their + fighters. + + +248 INT. DEATH STAR 248 + + Smoke belches from the giant laser guns as they wind up + their turbine generators to create sufficient power. The + crew rushes about preparing for another blast. Even the + troopers head gear is not adequate to protect them from the + overwhelming noise of the monstrous weapon. One troopers + bangs his helmet with his hand in an attempt to stop the + ringing. + + +249 INT. READ LEADER'S X-WING FIGHTER - COCKPIT - TRAVELING 249 + + Red Leader flies through a heavy hail of flak. + + RED LEADER + Luke, let me know when you're going + in. + + +250 INT. LUKE'S X-WING - COCKPIT - TRAVELING 250 + + The Red Leader's X-wing flies past Luke as he puts his nose + down and starts his attack dive. + + LUKE + I'm on my way in now... + + RED LEADER + 132. + + + Watch yourself! There's a lot of + fire coming from the right side of + that deflection tower. + + LUKE + I'm on it. + + +251 EXT. SURFACE OF THE DEATH STAR 251 + + Luke flings his X-wing into a twisting dive across the + horizon and down onto the dim grey surface. + + +252 EXT. LUKE'S X-WING TRAVELING 252 + + A shot hurls from Luke's guns. Laserbolts streak toward the + onrushing Death Star surface. Several small radar + emplacements erupt in flame. Laserfire erupts from a + protruding tower on the surface. + + +253 INT. LUKE'S X-WING - COCKPIT - TRAVELING 253 + + The blurry Death Star surface races past the cockpit window + as a big smile sweeps across Luke's face at the success of + his run. Flak thunders on all sides of him. + + +254 EXT. SURFACE OF THE DEATH STAR 254 + + The Death Star superstructure races past Luke as he + maneuvers his craft through a wall of laserfire and peels + away from the surface towards the heavens. + + +255 INT. DEATH STAR 255 + + The thunder and smoke of the big guns reverberate + throughout the massive structure. Many soldiers rush about + in the smoke and chaos, silhouetted by the almost continual + flash of explosions. + + +256 INT. BIGGS' COCKPIT - TRAVELING 256 + + Biggs dives through a forest of radar domes, antennae, and + gun towers as he shoots low across the Death Star surface. + A dense barrage of laserfire streaks by on all sides. + + +257 INT. DEATH STAR 257 + 133. + + + Imperial star pilots dash in unison to a line of small + auxiliary hatches that lead to Imperial TIE fighters. + + +258 INT. MASSASSI OUTPOST - WAR ROOM 258 + + Princess Leia, surrounded by her generals and aides, paces + nervously before a lighted computer table. On all sides + technicians work in front of many lighted glass walls. + Dodonna watches quietly from one corner. One of the + officers working over a screen speaks into his headset. + + CONTROL OFFICER + Squad leaders, we've picked up a + new group of signals. Enemy + fighters coming your way. + + +259 INT. LUKE'S X-WING - COCKPIT - TRAVELING 259 + + Luke looks around to see if he can spot the approaching + Imperial fighters. + + LUKE + My scope's negative. I don't see + anything. + + +260 INT. RED LEADER'S X-WING - COCKPIT - TRAVELING 260 + + The Death Star's surface sweeps past as Red Leader searches + the sky for the Imperial fighters. Flak pounds at his ship. + + RED LEADER + Keep up your visual scanning. With + all this jamming, they'll be on top + of you before your scope can pick + them up. + + +261 EXT. SURFACE OF THE DEATH STAR 261 + + Silhouetted against the rim lights of the Death Star + horizon, four ferocious Imperial TIE ships dive on the + Rebel fighters. Two of the TIE fighters peel off and drop + out of frame. Pan with the remaining two TIE ships. + + +262 INT. BIGGS' COCKPIT - TRAVELING 262 + + Biggs panics when he discovers a TIE ship on his tail. The + horizon in the background twists around as he peels off, + hoping to lose the Imperial fighter. + 134. + + +263 INT. RED LEADER'S COCKPIT 263 + + RED LEADER + Biggs! You've picked one up... + watch it! + + BIGGS + I can't see it! Where is he?! + + +264 EXT. SPACE AROUND THE DEATH STAR 264 + + Biggs zooms off the surface and into space, closely + followed by an Imperial TIE fighter. The TIE ship fires + several laserbolts at Biggs, but misses. + + +265 INT. BIGGS' COCKPIT - TRAVELING 265 + + Biggs see the TIE ship behind him and swings around, trying + to avoid him. + + BIGGS + He's on me tight, I can't shake + him... I can't shake him. + + +266 EXT. SPACE AROUND THE DEATH STAR 266 + + Biggs, flying at high altitude, peels off and dives toward + the Death Star surface, but he is unable to lose the TIE + fighter, who sticks close to his tail. + + +267 INT. X-WING FIGHTER - COCKPIT - TRAVELING 267 + + Luke is flying upside down. He rotates his ship around to + normal attitude as he comes out of his dive. + + LUKE + Hang on, Biggs, I'm coming in. + + +268 EXT. SPACE AROUND THE DEATH STAR 268 + + Biggs and the tailing TIE ship dive for the surface, now + followed by a fast-gaining Luke. After Biggs dives out of + sight, Luke chases the Imperial fighter. + + +269 EXT. SURFACE AROUND THE DEATH STAR 269 + 135. + + + In the foreground, the Imperial fighter races across the + Death Star's surface, closely followed by Luke in the + background. + + +270 INT. LUKE'S X-WING FIGHTER - COCKPIT - TRAVELING 270 + + There is a shot from Luke's X-wing of the TIE ship + exploding in a mass of flames. + + LUKE + Got him! + + +271 INT. DEATH STAR 271 + + Darth Vader strides purposefully down a Death Star + corridor, flanked by Imperial stormtroopers. + + VADER + Several fighters have broken off + from the main group. Come with me! + + +272 INT. MASSASSI OUTPOST - WAR ROOM 272 + + A concerned Princess Leia, Threepio, Dodonna, and other + officers of the Rebellion stand around the huge round + readout screen, listening to the ship-to-ship communication + on the room's loudspeaker. + + BIGGS + (over speaker) + Pull in! Luke... pull in! + + WEDGE + (over speaker) + Watch your back, Luke! + + +273 INT. LUKE'S X-WING FIGHTER - COCKPIT 273 + + WEDGE + (over headset) + Watch your back! Fighter's above + you, coming in! + + +274 EXT. SPACE 274 + + Luke's ship soars away from the Death Star's surface as he + spots the tailing TIE fighter. + 136. + + +275 INT. TIE FIGHTER'S COCKPIT 275 + + The TIE pilot takes aim at Luke's X-wing. + + +276 EXT. SPACE 276 + + The Imperial TIE fighter pilot scores a hit on Luke's ship. + Fire breaks out on the right side of the X-wing. + + +277 INT. LUKE'S X-WING FIGHTER - COCKPIT 277 + + Luke looks out of his cockpit at the flames on his ship. + + LUKE + I'm hit, but not bad. + + +278 EXT. LUKE'S X-WING FIGHTER 278 + + Smoke pours out from behind Artoo-Detoo. + + LUKE'S VOICE + Artoo, see what you can do with it. + Hang on back there. + + Green laserfire moves past the beeping little robot as his + head turns. + + +279 INT. LUKE'S X-WING - COCKPIT 279 + + Luke nervously works his controls. + + RED LEADER + (over headset) + Red Six... + + +280 INT. MASSASSI OUTPOST - WAR ROOM 280 + + In the war room, Leia stands frozen as she listens and + worries about Luke. + + RED LEADER + (over speaker) + Can you see Red Five? + + RED TEN + (over speaker) + 137. + + + There's a heavy fire zone on this + side. Red Five, where are you? + + +281 INT. LUKE'S X-WING - COCKPIT 281 + + Luke spots the TIE fighter behind him and soars away from + the Death Star surface. + + LUKE + I can't shake him! + + +282 EXT. SURFACE OF THE DEATH STAR 282 + + Luke's ship soars closer to the surface of the Death Star, + an Imperial TIE fighter closing in on him in hot pursuit. + + +283 INT. WEDGE'S COCKPIT 283 + + The Death Star whips below Wedge. + + WEDGE + I'm on him, Luke! + + +284 INT. LUKE'S X-WING - COCKPIT 284 + + WEDGE + (over headset) + Hold on! + + +285 EXT. SURFACE OF THE DEATH STAR 285 + + Wedge dives across the horizon toward Luke and the TIE + fighter. + + +286 INT. WEDGE'S COCKPIT 286 + + Wedge moves his X-wing in rapidly. + + +287 INT. LUKE'S X-WING - COCKPIT 287 + + Luke reacts frantically. + + LUKE + Blast it! Wedge where are you? + 138. + + +288 INT. TIE FIGHTER - COCKPIT 288 + + The fighter pilot watches Wedge's X-wing approach. Another + X- wing joins him, and both unleash a volley of laserfire + on the Imperial fighter. + + +289 EXT. SPACE 289 + + The TIE fighter explodes, filling the screen with white + light. Luke's ship can be seen far in the distance. + + +290 INT. LUKE'S X-WING - COCKPIT 290 + + Luke looks about in relief. + + LUKE + Thanks, Wedge. + + +291 INT. MASSASSI OUTPOST - WAR ROOM 291 + + Leia, Threepio, Dodonna and other Rebel officers are + listening to the Rebel Fighter's radio transmissions over + the war room intercom. + + BIGGS + (over speaker) + Good shooting, Wedge! + + GOLD LEADER + (over speaker) + Red Leader... + + +292 INT. GOLD LEADER'S Y-WING - COCKPIT 292 + + Gold Leader peels off and starts toward the long trenches + at the Death Star surface pole. + + GOLD LEADER + This is Gold Leader. We're starting + out attack run. + + +293 EXT. SPACE AROUND THE DEATH STAR 293 + + Three Y-wing fighters of the Gold group dive out of the + stars toward the Death Star surface. + + +294 INT. MASSASSI OUTPOST - WAR ROOM 294 + 139. + + + Leia and the others are grouped around the screen, as + technicians move about attending to their duties. + + RED LEADER + (over speaker) + I copy, Gold Leader. Move into + position. + + +295 EXT. SPACE AROUND THE DEATH STAR 295 + + Three Imperial TIE ships in precise formation dive toward + the Death Star surface. + + +296 INT. DARTH VADER'S COCKPIT 296 + + Darth Vader calmly adjusts his control stick as the stars + whip past in the window above his head. + + VADER + Stay in attack formation! + + +297 INT. MASSASSI OUTPOST - WAR ROOM 297 + + Technicians are seated at the computer readout table. + + GOLD LEADER + (over speaker) + The exhaust post is... + + +298 INT. GOLD LEADER'S Y-WING - COCKPIT 298 + + GOLD LEADER + ...marked and locked in! + + +299 EXT. SPACE AROUND THE DEATH STAR 299 + + Gold Leader approaches the surface and pulls out to skim + the surface of the huge station. The ship moves into a deep + trench, firing laserbolts. The surface streaks past as + laserfire is returned by the Death Star. + + +300 INT. GOLD FIVE'S Y-WING - COCKPIT - TRAVELING 300 + + Gold Five is a pilot in his early fifties with a very + battered helmet that looks like it's been through many + battles. He looks around to see if enemy ships are near. + His fighter is buffeted by Imperial flak. + 140. + + +301 INT. GOLD LEADER'S Y-WING - COCKPIT 301 + + Gold Leader races down the enormous trench that leads to + the exhaust port. Laserbolts blast toward him in increasing + numbers, occasionally exploding near the ship causing it to + bounce about. + + GOLD LEADER + Switch power to front deflector + screens. + + +302 EXT. SURFACE OF THE DEATH STAR 302 + + Three Y-wing skim the Death Star surface deep in the + trench, as laserbolts streak past on all sides. + + +303 EXT. DEATH STAR SURFACE - GUN EMPLACEMENTS 303 + + An exterior surface gun blazes away at the oncoming Rebel + fighters. + + +304 INT. GOLD LEADER'S Y-WING - COCKPIT 304 + + GOLD LEADER + How many guns do you think, Gold + Five. + + +305 INT. MASSASSI OUTPOST - WAR ROOM 305 + + GOLD FIVE + (over speaker) + I'd say about twenty guns. Some on + the surface, some on the towers. + + Leia, Threepio, and the technicians view the projected + target screen, as red and blue target lights glow. The red + target near the center blinks on and off. + + MASSASSI INTERCOM VOICE + (over speaker) + Death Star will be in range in five + minutes. + + +306 EXT. SURFACE OF THE DEATH STAR 306 + + The three Y-wing fighters race toward camera and zoom + overhead through a hail of laserfire. + 141. + + +307 INT. GOLD LEADER'S Y-WING - COCKPIT 307 + + Gold Leader pulls his computer targeting device down in + front of his eye. Laserbolts continue to batter the Rebel + craft. + + GOLD LEADER + Switching to targeting computer. + + +308 INT. GOLD TWO'S Y-WING - COCKPIT 308 + + Gold Two, a younger pilot about Luke's age, pulls down his + targeting eye viewer and adjusts it. His ship shudders + under intense laser barrage. + + GOLD TWO + Computer's locked. Getting a + signal. + + As the fighters begin to approach the target area, suddenly + all the laserfire stops. An eerie clam clings over the + trench as the surface whips past in a blur. + + GOLD TWO (CONT’D) + The guns... they've stopped! + + +309 EXT. GOLD FIVE'S COCKPIT 309 + + Gold Five looks behind him. + + GOLD FIVE + Stabilize your read deflectors. + Watch for enemy fighters. + + +310 INT. GOLD LEADER'S Y-WING - COCKPIT 310 + + GOLD LEADER + They've coming in! Three marks at + two ten. + + +311 EXT. SPACE AROUND THE DEATH STAR 311 + + Three Imperial TIE ships, Darth Vader in the center flanked + by two wingmen, dive in precise formation almost vertically + toward the Death Star surface. + + +312 INT. DARTH VADER'S COCKPIT 312 + 142. + + + Darth Vader calmly adjusts his control stick as the stars + zoom by. + + VADER + I'll take them myself! Cover me! + + WINGMAN'S VOICE + (over speaker) + Yes, sir. + + +313 EXT. SPACE AROUND THE DEATH STAR 313 + + Three TIE fighters zoom across the surface of the Death + Star. + + +314 INT. DARTH VADER'S COCKPIT 314 + + Vader lines up Gold Two in his targeting computer. Vader's + hands grip the control stick as he presses the button. + + +315 INT. GOLD LEADER'S Y-WING - COCKPIT 315 + + The cockpit explodes around Gold Two. His head falls + forward. + + +316 EXT. SPACE AROUND THE DEATH STAR 316 + + As Gold Two's ship explodes, debris is flung out into + space. + + +317 INT. GOLD LEADER'S Y-WING - COCKPIT 317 + + Gold Leader looks over his shoulder at the scene. + + +318 EXT. DEATH STAR TRENCH 318 + + The three TIE fighters race along in the trench in a tight + formation. + + +319 INT. GOLD LEADER'S Y-WING - COCKPIT 319 + + Gold Leader panics. + + GOLD LEADER + (into mike) + 143. + + + I can't maneuver! + + +320 INT. GOLD FIVE'S Y-WING - COCKPIT 320 + + Gold Five, the old veteran, trys to calm Gold Leader. + + GOLD FIVE + Stay on target. + + +321 INT. GOLD LEADER'S Y-WING - COCKPIT 321 + + The Death Star races by outside the cockpit window as he + adjusts his targeting device. + + GOLD LEADER + We're too close. + + +322 INT. GOLD FIVE'S Y-WING - COCKPIT 322 + + The older pilot remains calm. + + GOLD FIVE + Stay on target! + + +323 INT. GOLD LEADER'S Y-WING - COCKPIT 323 + + Now he's really panicked. + + GOLD LEADER + Loosen up! + + +324 INT. DARTH VADER'S COCKPIT 324 + + Vader calmly adjusts his targeting computer and pushes the + fire button. + + +325 INT. GOLD LEADER'S Y-WING - COCKPIT 325 + + Gold Leader's ship is hit by Vader's laser. + + +326 EXT. SURFACE OF THE DEATH STAR 326 + + Gold Leader explodes in a ball of flames, throwing debris + in all directions. + 144. + + +327 INT. GOLD FIVE'S Y-WING - COCKPIT 327 + + Gold Five moves in on the exhaust port. + + GOLD FIVE + Gold Five to Red Leader... + + +328 INT. LUKE'S X-WING FIGHTER - COCKPIT 328 + + Luke looks over his shoulder at the action outside of his + cockpit. + + GOLD FIVE + (over headset) + Lost Tiree, lost Dutch. + + +329 INT. RED LEADER'S COCKPIT 329 + + RED LEADER + I copy, Gold Five. + + +330 INT. GOLD FIVE'S Y-WING - COCKPIT 330 + + GOLD FIVE + They came from behind... + + +331 EXT. SURFACE OF THE DEATH STAR 331 + + One of the engines explodes on Gold Five's Y-wing fighter, + blazing out of control. He dives past the horizon toward + the Death Star's surface, passing a TIE fighter during his + descent. Gold Five, a veteran of countless campaigns, spins + toward his death. + + +332 INT. LUKE'S X-WING FIGHTER - COCKPIT 332 + + Luke looks nervously about him at the explosive battle. + + +333 INT. DEATH STAR - CONTROL ROOM 333 + + Grant Moff Tarkin and a Chief Officer stand in the Death + Star's control room. + + OFFICER + We've analyzed their attack, sir, + and there is a danger. Should I + have your ship standing by? + 145. + + + TARKIN + Evacuate? In out moment of triumph? + I think you overestimate their + chances! + + Tarkin turns to the computer readout screen. Flames move + around the green disk at the center of the screen, as + numbers read across the bottom. + + VOICE + (over speaker) + Rebel base, three minutes and + closing. + + +334 INT. READ LEADER'S COCKPIT 334 + + Red Leader looks over at his wingmen. + + RED LEADER + Red Group, this is Red Leader. + + +335 INT. MASSASSI OUTPOST - WAR ROOM 335 + + Dodonna moves to the intercom as he fiddles with the + computer keys. + + RED LEADER + (over speaker) + Rendezvous at mark six point one. + + WEDGE + (over speaker) + This is Red Two. Flying toward you. + + BIGGS + (over speaker) + Red Three, standing by. + + +336 INT. RED LEADER'S COCKPIT 336 + + DODONNA + (over headset) + Red Leader, this is Base One. Keep + half your group out of range for + the next run. + + +337 INT. LUKE'S X-WING FIGHTER - COCKPIT 337 + + RED LEADER'S VOICE + 146. + + + (over headset) + Copy, Base One. Luke, take Red Two + and Three. Hold up here and wait + for my signal... to start your run. + + Luke nods his head. + + +338 EXT. SPACE AROUND THE DEATH STAR 338 + + The X-wing fighters of Luke, Biggs, and Wedge fly in + formation high above the Death Star's surface. + + +339 INT. LUKE'S X-WING FIGHTER - COCKPIT 339 + + Luke peers out from his cockpit. + + +340 EXT. SURFACE OF THE DEATH STAR 340 + + Two X-wings move across the surface of the Death Star. Red + Leader's X-wing drops down to the surface leading to the + exhaust port. + + +341 INT. RED LEADER'S COCKPIT 341 + + Red Leader looks around to watch for the TIE fighters. He + begins to perspire. + + RED LEADER + This is it! + + +342 EXT. SPACE 342 + + Red Leader roams down the trench of the Death Star as + lasers streak across the black heavens. + + +343 EXT. DEATH STAR SURFACE - GUN EMPLACEMENTS 343 + + A huge remote-control laser cannon fires at the approaching + Rebel fighters. + + +344 EXT. DEATH STAR TRENCH 344 + + The Rebel fighters evade the Imperial laser blasts. + 147. + + +345 INT. RED TEN'S COCKPIT 345 + + Red Ten looks around for the Imperial fighters. + + RED TEN + We should be able to see it by now. + + +346 EXT. DEATH STAR TRENCH 346 + + From the cockpits of the Rebel pilots, the surface of the + Death Star streaks by, with Imperial laserfire shooting + toward them. + + +347 INT. RED LEADER'S COCKPIT 347 + + RED LEADER + Keep your eyes open for those + fighters! + + +348 INT. RED TEN'S COCKPIT 348 + + RED TEN + There's too much interference! + + +349 EXT. SPACE - DEATH STAR TRENCH 349 + + Three X-wing fighters move in formation down the Death Star + trench. + + RED TEN'S VOICE + Red Five, can you see them from + where you are? + + +350 INT. LUKE'S X-WING FIGHTER - COCKPIT 350 + + Luke looks down at the Death Star surface below. + + LUKE + No sign of any... wait! + + +351 INT. RED TEN'S COCKPIT 351 + + Red Ten looks up and sees the Imperial fighters. + + LUKE + (over headset) + 148. + + + Coming in point three five. + + RED TEN + I see them. + + +352 EXT. SURFACE OF THE DEATH STAR 352 + + Three TIE fighters, Vader flanked by two wingmen, dive in a + tight formation. The sun reflects off their dominate solar + fins as they loop toward the Death Star's surface. + + +353 INT. RED LEADER'S COCKPIT 353 + + Red Leader pulls his targeting device in front of his eyes + and makes several adjustments. + + RED LEADER + I'm in range. + + +354 EXT. SURFACE OF THE DEATH STAR 354 + + Red Leader's X-wing moves up the Death Star trench. + + +355 INT. RED LEADER'S COCKPIT 355 + + RED LEADER + Target's coming up! + + Red Leader looks at his computer target readout screen. He + then looks into his targeting device. + + RED LEADER (CONT’D) + Just hold them off for a few + seconds. + + +356 INT. DARTH VADER'S COCKPIT 356 + + Vader adjusts his control lever and dives on the X-wing + fighters. + + VADER + Close up formation. + + +357 EXT. DEATH STAR TRENCH 357 + 149. + + + The three TIE fighters move in formation across the Death + Star surface. + + +358 INT. RED LEADER'S COCKPIT 358 + + Red Leader lines up his target on the targeting device + cross hairs. + + +359 EXT. SURFACE OF THE DEATH STAR 359 + + Vader and his wingmen zoom down the trench. + + +360 INT. DARTH VADER'S COCKPIT 360 + + Vader rapidly approaches the two X-wings of Red Ten and Red + Twelve. Vader's laser cannon flashes below the view of the + front porthole. the X-wings show in the center of Vader's + computer screen. + + +361 EXT. SPACE 361 + + Red Twelve's X-wing fighter is hit by Vader's laserfire, + and it explodes into flames against the trench. + + +362 INT. RED TEN'S COCKPIT 362 + + Red Ten works at his controls furiously, trying to avoid + Vader's fighter behind him. + + RED TEN: You'd better let her loose. + + +363 INT. RED LEADER'S COCKPIT 363 + + Red Leader is concentrating on his targeting device. + + RED LEADER + Almost there! + + +364 INT. RED TEN'S COCKPIT. 364 + + Red Ten panics. + + RED TEN + I can't hold them! + 150. + + +365 EXT. SURFACE OF THE DEATH STAR 365 + + Vader and his wingmen whip through the trench in pursuit of + the Rebel fighters. + + +366 INT. DARTH VADER'S COCKPIT 366 + + Vader cooly pushes the fire button on his control stick. + + +367 INT. RED TEN'S COCKPIT 367 + + Darth Vader's well-aimed laserfire proves to be + unavoidable, and strikes Red Ten's ship. Red Ten screams in + anguish and pain. + + +368 EXT. SPACE AROUND THE DEATH STAR 368 + + Red Ten's ship explodes and bursts into flames. + + +369 INT. RED LEADER'S COCKPIT 369 + + Grimly, Red Leader takes careful aim and watches his + computer targeting device, which shows the target lined up + in the cross hairs, and fires. + + +370 INT. RED LEADER'S COCKPIT 370 + + RED LEADER + It's away! + + +371 INT. DEATH STAR 371 + + An armed Imperial stormtrooper is knocked to the floor from + the attack explosion. Other troopers scurrying about the + corridors are knocked against the wall and lose their + balance. + + +372 INT. MASSASSI OUTPOST - WAR ROOM 372 + + Leia and the others stare at the computer screen. + + RED NINE'S VOICE + (over speaker) + It's a hit! + 151. + + + RED LEADER + (over speaker) + Negative. + + +373 INT. RED LEADER'S COCKPIT 373 + + Red Leader looks back at the receding Death Star. Tiny + explosions are visible in the distance. + + RED LEADER + Negative! It didn't go in. It just + impacted on the surface. + + +374 EXT. SPACE AROUND THE DEATH STAR - TIE FIGHTER 374 + + Darth Vader peels off in pursuit as Red Leader's X-wing + passes the Death Star horizon. + + +375 INT. DARTH VADER'S COCKPIT 375 + + Vader swings his ship around for the next kill. + + +376 INT. RED LEADER'S COCKPIT 376 + + LUKE + (over headset) + Red Leader, we're right above you. + Turn to point... + + +377 INT. LUKE'S X-WING FIGHTER - COCKPIT 377 + + Luke tries to spot Red Leader. He looks down at the Death + Star surface. + + LUKE + ...oh-five; we'll cover for you. + + RED LEADER + (over headset) + Stay there... + + +378 INT. RED LEADER'S COCKPIT 378 + + A wary Red Leader looks about nervously. + + RED LEADER + ...I just lost my starboard engine. + 152. + + +379 INT. LUKE'S X-WING FIGHTER - COCKPIT 379 + + Luke looks excitedly toward Red Leader's X-wing. + + RED LEADER + (over headset) + Get set to make your attack run. + + +380 INT. DARTH VADER'S COCKPIT 380 + + Vader's gloved hands make contact with the control sticks, + and he presses their firing buttons. + + +381 INT. RED LEADER'S COCKPIT 381 + + Red Leader fights to gain control of his ship. + + +382 EXT. SPACE AROUND THE DEATH STAR 382 + + Laserbolts are flung from Vader's TIE fighter, connecting + with Red Leader's Rebel X-wing fighter. Red Leader buys it, + creating a tremendous explosion far below. He screams and + is destroyed. + + +383 INT. LUKE'S X-WING FIGHTER - COCKPIT 383 + + Luke looks out the window of his X-wing at the explosion + far below. For the first time, he feels the helplessness of + his situation. + + +384 INT. DEATH STAR 384 + + Grand Moff Tarkin casts a sinister eye at the computer + screen. + + DEATH STAR INTERCOM VOICE + Rebel base, one minute and closing. + + +385 INT. MASSASSI OUTPOST - WAR ROOM 385 + + Dodonna and Princess Leia, with Threepio beside them, + listen intently to the talk between the pilots. The room is + grim after Red Leader's death. Princess Leia nervously + paces the room. + + LUKE + (over speaker) + 153. + + + Biggs, Wedge, let's close it up. + We're going in. We're going in full + throttle. + + +386 INT. WEDGE'S COCKPIT 386 + + The horizon twists as Wedge begins to pull out. + + WEDGE + Right with you, boss. + + +387 EXT. SPACE AROUND THE DEATH STAR 387 + + The two X-wings peel off against a background of stars and + dive toward the Death Star. + + +388 INT. BIGGS' COCKPIT 388 + + BIGGS + Luke, at that speed will you be + able to pull out in time? + + +389 INT. LUKE'S X-WING FIGHTER - COCKPIT 389 + + LUKE + It'll be just like Beggar's Canyon + back home. + + +390 EXT. SPACE AROUND THE DEATH STAR 390 + + The three X-wings move in, unleashing a barrage of + laserfire. Laserbolts are returned from the Death Star. + + +391 INT. BIGGS' COCKPIT 391 + + Luke's lifelong friend struggles with his controls. + + BIGGS + We'll stay back far enough to cover + you. + + +392 INT. LUKE'S COCKPIT 392 + + Flak and laserbolts flash outside Luke's cockpit window. + 154. + + + WEDGE + (over headset) + My scope shows the tower, but I + can't see the exhaust port! Are you + sure the computer can hit it? + + +393 EXT. DEATH STAR - GUN EMPLACEMENTS 393 + + The Death Star laser cannon slowly rotates as it shoots + laserbolts. + + +394 INT. LUKE'S X-WING FIGHTER - COCKPIT 394 + + Luke looks around for the Imperial TIE fighters. He thinks + for a moment and then moves his targeting device into + position. + + LUKE + Watch yourself! Increase speed full + throttle! + + +395 INT. WEDGE'S COCKPIT 395 + + Wedge looks excitedly about for any sign of the TIE + fighters. + + WEDGE + What about the tower? + + +396 INT. LUKE'S X-WING FIGHTER - COCKPIT 396 + + LUKE + You worry about those fighters! + I'll worry about the tower! + + +397 EXT. DEATH STAR SURFACE 397 + + Luke's X-wing streaks through the trench, firing lasers. + + +398 INT. LUKE'S X-WING FIGHTER - COCKPIT 398 + + Luke breaks into a nervous sweat as the laserfire is + returned, knicking one of his wings close to the engine. + + LUKE + (to Artoo) + 155. + + + Artoo... that, that stabilizer's + broken loose again! See if you + can't lock it down! + + +399 EXT. LUKE'S X-WING FIGHTER 399 + + Artoo works to repair the damages. The canyon wall rushes + by in the background, making his delicate task seem even + more precarious. + + +400 EXT. DEATH STAR 400 + + Two laser cannons are firing on the Rebel fighters. + + +401 INT. WEDGE'S COCKPIT 401 + + Wedge looks up and sees the TIE ships. + + +402 INT. LUKE'S X-WING FIGHTER - COCKPIT 402 + + Luke's targeting device marks off the distance to the + target. + + +403 EXT. SPACE AROUND THE DEATH STAR 403 + + Vader and his wingmen zoom closer. + + +404 INT. DARTH VADER'S COCKPIT 404 + + Vader adjusts his controls and fires laserbolts at two X- + wings flying down the trench. He scores a direct hit on + Wedge. + + +405 INT. MASSASSI OUTPOST - WAR ROOM 405 + + Leia and the others are grouped around the computer board. + + WEDGE + (over speaker) + I'm hit! I can't stay with you. + + LUKE + (over speaker) + Get clear, Wedge. + 156. + + +406 INT. LUKE'S X-WING FIGHTER - COCKPIT 406 + + LUKE + You can't do any more good back + there! + + +407 INT. WEDGE'S COCKPIT 407 + + WEDGE + Sorry! + + +408 EXT. SPACE AROUND THE DEATH STAR 408 + + Wedge pulls his crippled X-wing back away from the battle. + + +409 INT. DARTH VADER'S COCKPIT 409 + + Vader watches the escape but issues a command to his + wingmen. + + VADER + Let him go! Stay on the leader! + + +410 EXT. SPACE AROUND THE DEATH STAR 410 + + Luke's X-wing speeds down the trench; the three TIE + fighters, still in perfect unbroken formation, tail close + behind. + + +411 INT. BIGGS' COCKPIT 411 + + Biggs looks around at the TIE fighters. He is worried. + + BIGGS + Hurry, Luke, they're coming in much + faster this time. I can't hold + them! + + +412 EXT. SPACE AROUND THE DEATH STAR 412 + + The three TIE fighters move ever closer, closing in on Luke + and Biggs. + + +413 INT. LUKE'S X-WING FIGHTER - COCKPIT 413 + 157. + + + Luke looks back anxiously at little Artoo. + + LUKE + Artoo, try and increase the power! + + +414 EXT. LUKE'S X-WING FIGHTER 414 + + Ignoring the bumpy ride, flak, and lasers, a beeping Artoo- + Detoo struggles to increase the power, his dome turning + from side to side. + + +415 EXT. SPACE AROUND THE DEATH STAR 415 + + Stealthily, the TIE formation creeps closer. + + +416 INT. DARTH VADER'S COCKPIT 416 + + Vader adjusts his control stick. + + +417 INT. BIGGS' COCKPIT 417 + + Biggs looks around at the TIE fighters. + + +418 INT. LUKE'S X-WING FIGHTER 418 + + Luke looks into his targeting device. He moves it away for + a moment and ponders its use. He looks back into the + computer targeter. + + BIGGS + (over headset) + Hurry up, Luke! + + +419 EXT. SPACE AROUND THE DEATH STAR 419 + + Vader and his wingmen race through the Death Star trench. + Biggs moves in to cover for Luke, but Vader gains on him. + + +420 INT. BIGGS' COCKPIT 420 + + Biggs sees the TIE fighter aiming at him. + + BIGGS + Wait! + 158. + + +421 INT. DARTH VADER'S COCKPIT 421 + + Vader squeezes the fire button on his controls. + + +422 INT. BIGGS' COCKPIT 422 + + Biggs' cockpit explodes around him, lighting him in red. + + +423 EXT. SURFACE OF THE DEATH STAR 423 + + Biggs' ship bursts into a million flaming bits and scatters + across the surface. + + +424 INT. MASSASSI OUTPOST - WAR ROOM 424 + + Leia and the others stare at the computer board. + + +425 INT. LUKE'S X-WING COCKPIT 425 + + Luke is stunned by Biggs' death. His eyes are watering, but + his anger is also growing. + + +426 INT. DEATH STAR - CONTROL ROOM 426 + + Grand Moff Tarkin watches the projected target screen with + satisfaction. + + DEATH STAR INTERCOM VOICE + Rebel base, thirty seconds and + closing. + + +427 INT. DARTH VADER'S COCKPIT 427 + + Vader takes aim on Luke and talks to the wingmen. + + VADER + I'm on the leader. + + +428 EXT. SURFACE OF THE DEATH STAR - LUKE'S SHIP 428 + + Luke's ship streaks through the trench of the Death Star. + + +429 INT. MASSASSI OUTPOST - WAR ROOM 429 + 159. + + + Princess Leia returns her general's worried and doubtful + glances with solid, grim determination. Threepio seems + nervous. + + THREEPIO + Hang on, Artoo! + + +430 INT. LUKE'S X-WING - COCKPIT 430 + + Luke concentrates on his targeting device. + + +431 EXT. SURFACE OF THE DEATH STAR 431 + + Three TIE fighters charge away down the trench toward Luke. + + +432 INT. DARTH VADER'S COCKPIT 432 + + Vader's finger's curls around the control stick. + + +433 INT. LUKE'S X-WING - COCKPIT 433 + + Luke adjusts the lens of his targeting device. + + +434 EXT. SURFACE OF THE DEATH STAR 434 + + Luke's ship charges down the trench. + + +435 INT. LUKE'S X-WING - COCKPIT 435 + + Luke lines up the yellow cross-hair lines of the targeting + device's screen. He looks into the targeting device, then + starts at a voice he hears. + + BEN'S VOICE + Use the Force, Luke. + + +436 EXT. SURFACE OF THE DEATH STAR 436 + + The Death Star trench zooms by. + + +437 INT. LUKE'S X-WING - COCKPIT 437 + + Luke looks up, then starts to look back into the targeting + device. He has second thoughts. + 160. + + + BEN'S VOICE + Let go, Luke. + + A grim determination sweeps across Luke's face as he closes + his eyes and starts to mumble Ben's training to himself. + + +438 EXT. SURFACE OF THE DEATH STAR 438 + + Luke's fighter streaks through the trench. + + +439 INT. DARTH VADER'S COCKPIT 439 + + VADER + The Force is strong with this one! + + +440 EXT. SURFACE OF THE DEATH STAR 440 + + Vader follows Luke's X-wing down the trench. + + +441 INT. LUKE'S X-WING - COCKPIT 441 + + Luke looks to the targeting device, then away as he hears + Ben's voice. + + BEN'S VOICE + Luke, trust me. + + Luke's hand reaches for the control panel and presses the + button. The targeting device moves away. + + +442 INT. MASSASSI OUTPOST - WAR ROOM 442 + + Leia and the others stand watching the projected screen. + + BASE VOICE + (over speaker) + His computer's off. Luke, you + switched off your targeting + computer. What's wrong? + + LUKE + (over speaker) + Nothing. I'm all right. + + +443 EXT. SURFACE OF THE DEATH STAR 443 + 161. + + + Luke's ship streaks ever close to the exhaust port. + + +444 INT. LUKE'S X-WING - COCKPIT 444 + + Luke looks at the Death Star surface streaking by. + + +445 EXT. LUKE'S X-WING FIGHTER 445 + + Artoo-Detoo turns his head from side to side, beeping in + anticipation. + + +446 EXT. SURFACE OF THE DEATH STAR 446 + + The three TIE fighters, manned by Vader and his two + wingmen, follow Luke's X-wing down the trench. + + +447 INT. DARTH VADER'S COCKPIT 447 + + Vader maneuvers his controls as he looks at his doomed + target. He presses the fire buttons on his control sticks. + Laserfire shoots toward Luke's X-wing fighter. + + +448 EXT. LUKE'S X-WING FIGHTER 448 + + A large burst of Vader's laserfire engulfs Artoo. The arms + go limp on the smoking little droid as he makes a high- + pitched sound. + + +449 INT. LUKE'S X-WING FIGHTER - COCKPIT 449 + + Luke looks frantically back over his shoulder at Artoo. + + +450 EXT. LUKE'S X-WING FIGHTER 450 + + Smoke billows out around little Artoo and sparks begin to + fly. + + LUKE + I've lost Artoo! + + Artoo's beeping sounds die out. + + +451 INT. MASSASSI OUTPOST - WAR ROOM 451 + 162. + + + Leia and the others stare intently at the projected screen, + while Threepio watches the Princess. Lights representing + the Death Star and targets glow brightly. + + MASSASSI INTERCOM VOICE + The Death Star has cleared the + planet. The Death Star has cleared + the planet. + + +452 INT. DEATH STAR - CONTROL ROOM 452 + + Tarkin glares at the projected target screen. + + DEATH STAR INTERCOM VOICE + Rebel base, in range. + + TARKIN + You may fire when ready. + + DEATH STAR INTERCOM VOICE + Commence primary ignition. + + An officer reaches up and pushes buttons on the control + panel, as green lighted buttons turn to red. + + +453 EXT. SURFACE OF THE DEATH STAR 453 + + The three TIE fighters zoom down the Death Star trench in + pursuit of Luke, never breaking formation. + + +454 INT. LUKE'S COCKPIT 454 + + Luke looks anxiously at the exhaust port. + + +455 INT. DARTH VADER'S COCKPIT 455 + + Vader adjusts his control sticks, checking his projected + targeting screen. + + +456 EXT. SURFACE OF THE DEATH STAR 456 + + Luke's ship barrels down the trench. + + +457 INT. DARTH VADER'S COCKPIT 457 + 163. + + + Vader's targeting computer swings around into position. + Vader takes careful aim on Luke's X-wing fighter. + + VADER + I have you now. + + He pushes the fire buttons. + + +458 EXT. SURFACE OF THE DEATH STAR 458 + + The three TIE fighters move in on Luke. As Vader's center + fighter unleashes a volley of laserfire, one of the TIE + ships at his side is hit and explodes into flame. The two + remaining ships continue to move in. + + +459 INT. LUKE'S X-WING FIGHTER - COCKPIT 459 + + Luke looks about, wondering whose laserfire destroyed + Vader's wingman. + + +460 INT. DARTH VADER'S COCKPIT 460 + + Vader is taken by surprise, and looks out from his cockpit. + + VADER + What? + + +461 INT. DARTH VADER'S WINGMAN - COCKPIT 461 + + Vader's wingman searches around him trying to locate the + unknown attacker. + + +462 INT. MILLENNIUM FALCON - COCKPIT 462 + + Han and Chewbacca grin from ear to ear. + + HAN + (yelling) + Yahoo! + + +463 EXT. SPACE AROUND THE DEATH STAR 463 + + The Millennium Falcon heads right at the two TIE fighters. + It's a collision course. + 164. + + +464 INT. WINGMAN'S COCKPIT 464 + + The wingman spots the pirateship coming at him and warns + the Dark Lord. + + WINGMAN + Look out! + + +465 EXT. DEATH STAR TRENCH 465 + + Vader's wingman panics at the sight of the oncoming pirate + starship and veers radically to one side, colliding with + Vader's TIE fighter in the process. Vader's wingman crashes + into the side wall of the trench and explodes. Vader's + damaged ship spins out of the trench with a damaged wing. + + +466 EXT. SPACE AROUND THE DEATH STAR 466 + + Vader's ship spins out of control with a bent solar fin, + heading for deep space. + + +467 INT. DARTH VADER'S COCKPIT 467 + + Vader turns round and round in circles as his ship spins + into space. + + +468 EXT. SURFACE OF THE DEATH STAR 468 + + Solo's ship moves in toward the Death Star trench. + + +469 INT. MILLENNIUM FALCON - COCKPIT 469 + + Solo, smiling, speaks to Luke over his headset mike. + + HAN + (into mike) + You're all clear, kid. + + +470 INT. MASSASSI OUTPOST - WAR ROOM 470 + + Leia and the others listen to Solo's transmission. + + HAN + (over speaker) + Now let's blow this thing and go + home! + 165. + + +471 INT. LUKE'S X-WING FIGHTER - COCKPIT 471 + + Luke looks up and smiles. He concentrates on the exhaust + port, then fires his laser torpedoes. + + +472 EXT. SURFACE OF THE DEATH STAR 472 + + Luke's torpedoes shoot toward the port and seems to simply + disappear into the surface and not explode. But the shots + do find their mark and have gone into the exhaust port and + are heading for the main reactor. + + +473 INT. LUKE'S X-WING FIGHTER - COCKPIT 473 + + Luke throws his head back in relief. + + +474 INT. DEATH STAR 474 + + An Imperial soldier runs to the control panel board and + pulls the attack lever as the board behind him lights up. + + INTERCOM VOICE + Stand by to fire at Rebel base. + + +475 EXT. SPACE AROUND THE DEATH STAR 475 + + Two X-wings, a Y-wing, and the pirateship race toward Yavin + in the distance. + + +476 INT. DEATH STAR 476 + + Several Imperial soldiers, flanking a pensive Grand Moff + Tarkin, busily push control levers and buttons. + + INTERCOM VOICE + Standing by. + + The rumble of a distant explosion begins. + + +477 EXT. SPACE AROUND THE DEATH STAR 477 + + The Rebel ships race out of sight, leaving the moon-like + Death Star alone against a blanket of stars. Several small + flashes appear on the surface. The Death Star bursts into a + supernova, creating a spectacular heavenly display. + 166. + + +478 INT. MILLENNIUM FALCON - COCKPIT 478 + + HAN + Great shot, kid. That was one in a + million. + + +479 INT. LUKE'S X-WING FIGHTER - COCKPIT 479 + + Luke is at ease, and his eyes are closed. + + BEN'S VOICE + Remember, the Force will be with + you... always. + + The ship rocks back and forth. + + +480 EXT. DARTH VADER'S TIE FIGHTER 480 + + Vader's ship spins off into space. + + +481 EXT. SPACE 481 + + The Rebel ships race toward the fourth moon of Yavin. + + +482 INT. MASSASSI OUTPOST - MAIN HANGAR 482 + + Luke climbs out of his starship fighter and is cheered by a + throng of ground crew and pilots. Luke climbs down the + ladder as they all welcome him with laughter, cheers, and + shouting. Princess Leia rushes toward him. + + LEIA + Luke! Luke! Luke! + + She throws her arms around Luke and hugs him as they dance + around in a circle. Solo runs in toward Luke and they + embrace one another, slapping each other on the back. + + HAN + (laughing) + Hey! Hey! + + LUKE + (laughing) + I knew you'd come back! I just knew + it! + + HAN + 167. + + + Well, I wasn't gonna let you get + all the credit and take all the + reward. + + Luke and Han look at one another, as Solo playfully shoves + at Luke's face. Leia moves in between them. + + LEIA + (laughing) + Hey, I knew there was more to you + than money. + + Luke looks toward the ship. + + LUKE + Oh, no! + + The fried little Artoo-Detoo is lifted off the back of the + fighter and carried off under the worried eyes of Threepio. + + THREEPIO + Oh, my! Artoo! Can you hear me? Say + something! + (to mechanic) + You can repair him, can't you? + + TECHNICIAN + We'll get to work on him right + away. + + THREEPIO + You must repair him! Sir, if any of + my circuits or gears will help, + I'll gladly donate them. + + LUKE + He'll be all right. + + +483 INT. MASSASSI OUTPOST - MAIN THRONE ROOM 483 + 168. + + +Luke, Han, and Chewbacca enter the huge ruins of the main +temple. Hundreds of troops are lined up in neat rows. +Banners are flying and at the far end stands a vision in +white, the beautiful young Senator Leia. Luke and the +others solemnly march up the long aisle and kneel before +Senator Leia. From one side of the temple marches a shined- +up and fully repaired Artoo-Detoo. He waddles up to the +group and stands next to an equally pristine Threepio, who +is rather awestruck by the whole event. Chewbacca is +confused. Dodonna and several other dignitaries sit on the +left of the Princess Leia. Leia is dressed in a long white +dress and is staggeringly beautiful. She rises and places a +gold medallion around Han's neck. He winks at her. She then +repeats the ceremony with Luke, who is moved by the event. +They turn and face the assembled troops, who all bow before +them. Chewbacca growls and Artoo beeps with happiness. + + FADE OUT: + +484 END CREDITS OVER STARS 484 + +485 THE END 485 + \ No newline at end of file diff --git a/scripts/Star Wars Episode 3 Revenge of the Sith.txt b/scripts/Star Wars Episode 3 Revenge of the Sith.txt new file mode 100644 index 0000000000000000000000000000000000000000..1d091d87cda5e59b18ca4c85d7546b650dcf8512 --- /dev/null +++ b/scripts/Star Wars Episode 3 Revenge of the Sith.txt @@ -0,0 +1,8471 @@ + 1. + + + + +1 EXT. SPACE 1 + + A long time ago in a galaxy far, far away. + + A vast sea of stars serves as the backdrop for the Main + Title, followed by a rollup, which crawls into infinity. + + War! The Republic is crumbling under attacks by the + ruthless Sith Lord, Count Dooku. There are heroes on both + sides. Evil is everywhere. + + In a stunning move, the fiendish droid leader, General + Grievous, has swept into the Republic capital and kidnapped + Chancellor Palpatine, leader of the Galactic Senate. + + As the Separatist Droid Army attempts to flee the besieged + capital with their valuable hostage, two Jedi Knights lead + a desperate mission to rescue the captive Chancellor... + + PAN DOWN to reveal a REPUBLIC ATTACK CRUISER. Continue to + PAN with the Cruiser as TWO JEDI STARFIGHTERS enter and + head toward an enemy Battle Cruiser. TRUCK with the Jedi + Fighters as they maneuver in unison, dodging flack and + enemy laser fire. R2-D2 is on Anakin's ship. R4-P17 is on + Obi-Wan's ship. A giant space battle is revealed as the + tiny Jedi ships continue their assault in a synchronous + ballet. + + +2 INT. OBI-WAN'S STARFIGHTER COCKPIT - SPACE 2 + + OBI-WAN bounces through the flack with a frown. His ship + rocks violently. + + +3 INT. ANAKINS STARFIGHTER COCKPIT - SPACE 3 + + ANAKIN smiles as he blasts a TRADE FEDERATION DROID DROP + FIGHTER. + + ANAKIN + There isn't a droid made that can + out fly you, Master, and no other + way to get to the Chancellor... + + OBI-WAN + Look out, four droids inbound... + + +4 EXT. CORUSCANT - SPACE BATTLE 4 + 2. + + + The TWO JEDI FIGHTERS swerve in unison as FOUR TRADE + FEDERATION DROID DROP FIGHTERS attack. After several clever + moves by the Jedi, two of the FEDERATION DROID DROP + FIGHTERS collide with each other in a ball of flame. + + +5 INT. OBI-WAN'S STARFIGHTER COCKPIT - SPACE 5 + + OBI-WAN struggles to maintain control of his ship. + + OBI-WAN + We've got to split them up. + + ANAKIN + Break left, fly through the guns on + that tower. + + OBI-WAN flies to the left of a huge tower on a REPUBLIC + CRUISER. The TWO DROID DROP FIGHTERS follow. + + OBI-WAN + Easy for you to say... why am I + always the bait? + + ANAKIN + Don't worry. I'm coming around + behind you. + + OBI-WAN deftly maneuvers around a large Starship's + superstructure, but the TWO DROID FIGHTERS stay on his + tail, BLASTING him with intense laser fire. + + OBI-WAN + Anakin, they're all over me! + + ANAKIN + Dead ahead! Closing... lock onto + him, Artoo... + + ARTOO BEEPS his reply as ANAKIN swoops in for the kill. + + ANAKIN BLASTS one of the DROID DROP FIGHTERS. It EXPLODES. + + ANAKIN + (continuing, laughs) + We got him, Artoo! + + ANAKIN BLASTS away at the second DROID DROP FIGHTER as + ARTOO BEEPS an angry warning. + + ANAKIN + I copy, Artoo. + 3. + + + OBI-WAN + I'm going down on the deck. + + ANAKIN + Good idea... I need some room to + maneuver. + +OBI-WAN dives toward the surface of one of the larger TRADE +FEDERATION BATTLESHIPS and is forced to fly through a +maelstrom of laser flack. He skims the surface, followed by +the DROID DROP FIGHTER, which is followed by ANAKIN. + + ANAKIN + (continuing) + Cut right. Do you hear me?! Cut + right. Don't let him get a handle + on you. Come on, Artoo, lock on! + Lock on! + +ARTOO BEEPS. The crosshairs merge on the DROID DROP +FIGHTER. + + OBI-WAN + Hurry up! I don't like this! + +OBI-WAN flies through a narrow gap between two towers on a +Battleship. The DROID DROP FIGHTER hits one of Obi-Wan's +wings with a laser blast, and parts of the ship go flying +around Obi-Wan's Astro Droid, ARFOUR. + + OBI-WAN + (continuing) + Ouch! + +R-4 BEEPS a blue streak. + + OBI-WAN + (continuing) + Don't even try to fix it, Arfour. + I've shut it down. + + ANAKIN + We're locked on... we've got him... + +ANAKIN drops in behind the DROID DROP FIGHTER and blows him +apart. ARTOO SQUEALS with delight. + + ANAKIN + (continuing)) + Yeah! We got him... good going, + Artoo. + + OBI-WAN + 4. + + + Next time you're the bait... Now + let's find the Command Ship and get + on with it... + + R-4 BEEPS a blue streak. + + ANAKIN + Lock onto them, Artoo. Master, + General Grievous's ship is directly + ahead. + + ARTOO BEEPS a reply, and it reads out in Anakin's cockpit. + + ANAKIN + (continuing) + The one crawling with vulture + droids. + + +6 INT. OBI-WAN'S STARFIGHTER COCKPIT - SPACE 6 + + OBI-WAN + I see it. Oh, this is going to be + easy. + + Ahead is a TRADE FEDERATION CRUISER with batlike DROID + VULTURE FIGHTERS stalking around on the hull. The VULTURE + FIGHTERS transform into flight configuration, lift off the + CRUISER, and attack the JEDI STARFIGHTERS. + + ANAKIN + Come on, Master. + + OBI-WAN + Not this time. There's too much at + stake. We need help. Odd Ball, do + you copy? + + ODD BALL (OS) + COPY, RED LEADER. + + OBI-WAN + Mark my position and form your + squad up behind me... + + +7 INT. ODD BALL'S FIGHTER COCKPIT - SPACE 7 + + ODD BALL + We're on your tail, General Kenobi. + Set S-foils in attack position. + 5. + + + The protective ray shield lowers on the main hangar of the + TRADE FEDERATION CRUISER, and six new DROID TRI-FIGHTERS + emerge and join the DROID VULTURE FIGHTERS heading toward + the Jedi. The JEDI STARFIGHTERS extend the stability foils + on the ends of their wings. + + +8 INT. ANAKIN'S FIGHTER COCKPIT - SPACE 8 + + ANAKIN + This is where the fun begins. Ten + Vulture Droids straight ahead, + coming down the left side. + + ARTOO BEEPS a worried message. + + OBI-WAN + Add five Tri-fighters on the + right... + + ANAKIN + I'm going head to head. See you. + + OBI-WAN + Take it easy, Anakin. + + Four Clone Fighters move into formation behind the Jedi. + + ODD BALL + I'm on your right, Red Leader. + + ANAKIN + Incoming!! + + ARTOO SQUEALS as five DROID TRI-FIGHTERS pass by at high + speed on the right. + + OBI-WAN + Five more on the right! + + Four more VULTURE DROID FIGHTERS pass at high speed from + the left. All hell breaks loose. OBI-WAN and ANAKIN + continue to fly in unison, backing up each other. ARTOO + SQUEALS. + + ANAKIN + Here we go. + + The Jedi ships split up and make a quick loop around the + DROID TRI-FIGHTERS, ending up behind them. BLASTING away. + The DROID TRI-FIGHTERS EXPLODE. + + OBI-WAN + 6. + + + I'm going high and right. + + ANAKIN + Hang on. There are four more of + them. + + OBI-WAN + Stay with me... swing back and + right... help me engage. Back off + ... Let them pass between us. + + ANAKIN + I'm coming around. I'm coming + around on your tail. + + OBI-WAN + All right, engage... and hurry. + These droids are all over me like a + rash. + +In one incredible move, ANAKIN swings in behind the DROID +TRI-FIGHTERS, blowing them away one by one until there is +only one left. ARTOO CHIRPS. + +ARTOO lets out a HOWL as ANAKIN accelerates past the last +DROID TRI-FIGHTER, slams on his brakes, flips the Fighter +around, and BLASTS the Fighter from the front. ARTOO BEEPS +frantically as they fly through the debris of the destroyed +ships. ANAKIN looks behind him. + + ANAKIN + How many back there. Artoo? + (Artoo beeps) + Three... + (continuing) + Four... that's not good. + + OBI-WAN + Anakin, you have four on your tail. + + ANAKIN + I know. I know! + + OBI-WAN + Four more closing from your left. + + ANAKIN + I know. I know! + + OBI-WAN + Break right and go high. + + ANAKIN + 7. + + + I'm going low and left. + +Obi-Wan shakes his head. + + OBI-WAN + (to himself) + He still has much to learn. + +ANAKIN swoops low and skims across a TRADE FEDERATION +BATTLESHIP, dodging flack as ARTOO bounces along, trying to +get out a sentence. + + ANAKIN + Hang on, Artoo. Obi-Wan, do you + copy? I'm going to pull them + through the needle... + + OBI-WAN + Too dangerous. First Jedi rule: + "Survive." + + ANAKIN + Sorry, no choice. Come down here + and thin them out a little. + +OBI-WAN drops in behind the DROID VULTURE FIGHTERS chasing +Anakin. ARFOUR BEEPS to OBI-WAN. + + OBI-WAN + Just keep me steady... hold on... + not yet... now break left. + +OBI-WAN fires as he swings across the back of the VULTURE +DROIDS, BLASTING four of them away. ANAKIN heads for a +trench along the surface of one of the Trade Federation +Battleships. He flies into the trench, which ends in a +conning tower with a small slit between two main struts. + + OBI-WAN + (continuing) + You'll never get through there, + Anakin. It's too tight. + +ARTOO BEEPS nervously. + + ANAKIN + Easy, Artoo... we've done this + before. + + OBI-WAN + Use the Force, think yourself + through, the ship will follow. + 8. + + +ARTOO SQUEALS in a panic. On the view screen Artoo's squeal +reads out, "WE'RE NOT GOING TO MAKE IT." + + ANAKIN + Wrong thought, Artoo. + +ANAKIN slips through the narrow gap. The trailing VULTURE +DROID FIGHTERS CRASH. + + ANAKIN + (continuing) + I'm through. + +OBI-WAN continues to fire on the VULTURE DROID FIGHTERS, +driving them into the EXPLOSION. A CLONE fighter is hit and +explodes, spewing debris. The CLONE PILOT spins off into +space. Finally, OBI-WAN peels off and swings around, +pulling up alongside ANAKIN. CLONE FIGHT SQUAD SEVEN +battles the DROIDS. + + ODD BALL + There are too many of them. + + CLONE PILOT 2 + I'm on your wing. Break left. Break + left. They're all over me. Get them + off my... + + ANAKIN + I'm going to go help them out! + + OBI-WAN + No, no! They are doing their job so + we can do ours. Head for the + Command Ship! + +Another CLONE fighter is hit, bursts into flames, and spins +off into space. A VULTURE DROID FIGHTER raises its head to +locate its target and fires missiles at them. + + ANAKIN + Missiles! Pull up! + +ANAKIN and OBI-WAN break right and left, and the missiles +follow them. ANAKIN does a barrel roll spin, causing the +missiles following him to collide and EXPLODE. Two missiles +continue to chase OBI-WAN. He banks sharply to the right, +then to the left, causing one of the missiles to overshoot. + + OBI-WAN + They overshot us... + 9. + + +The second missile streaks next to Obi-Wan’s Fighter and +EXPLODES. Obi-Wan's ship rocks, and R-4, SCREAMS as the +Starfighter rips through the explosion. Debris flies all +around them. ANAKIN: They're coming around! + + OBI-WAN + All right, Arfour. No, no. Nothing + too fancy. + + ANAKIN + Surge all power units. Artoo! Stand + by the reverse thrusters. + +ANAKIN spins his starfighter. The missiles spin and +collide. + + ANAKIN + We got 'em. Artoo! + +Two missiles continue to track Obi-Wan. + + OBI-WAN + Flying is for droids. + +Suddenly, OBI-WAN shudders, and his ship starts to plummet +toward the surface of the Trade Federation Cruiser. The +trailing missiles fly into what looks like debris, and +detonate. Five silver balls fly out of the debris and +attach themselves to the ship. The balls pop open, +revealing SMALL BUZZDROIDS that begin to crawl across the +surface like spiders. + + OBI-WAN + (continuing) + I'm hit! Anakin? + + ANAKIN + I see them... Buzz Droids. + +The BUZZ DROIDS crawl across Obi-Wan's ship and start to +tear it apart. + +SPARKS ERUPT where the BUZZ DROIDS break into the wiring. +One of the BUZZ DROIDS goes after ARFOUR. + + OBI-WAN + Arfour, be careful. You have one... + +ARFOUR's head gets ripped off and flies away. + + OBI-WAN + Oh dear. They're shutting down all + the controls. + 10. + + + ANAKIN + Move to the right so I can get a + clear shot at them. + + OBI-WAN + The mission. Get to the Command + Ship. Get the Chancellor! I'm + running out of tricks here. + +ANAKIN moves into position just off Obi-Wan's left side and +angles his ship so his guns are pointing at the DROIDS +crawling over Obi-Wan’s Starfighter. ANAKIN fires and +vaporizes the TWO BUZZ DROIDS, along with the left wing of +Obi-Wan's ship. + + OBI-WAN + (continuing) + In the name of... + + ANAKIN + Steady... steady... + + OBI-WAN + Anakin, hold your fire... hold your + fire. You're not helping here. + + ANAKIN + I agree, bad idea. Swing right... + ease over... steady... + + OBI-WAN + Wait... wait... I can't see a + thing! My cockpit's fogging. + They're all over me, Anakin. + + ANAKIN + Move to the right. + + OBI-WAN + Hold on, Anakin. You're going to + get us both killed! Get out of + here. There's nothing more you can + do. + + ANAKIN + I'm not leaving without you, + Master. + 11. + + +ANAKIN moves his ship next to OBI-WAN's and tries to +physically knock the BUZZ DROIDS off. There are five left. +He manages to get one off, but badly dents OBI-WAN's ship +in the process. One of the BUZZ DROIDS tears apiece off of +the front of Obi-Wan's ship. Flames burst out, and more +smoke billows out, obscuring the Jedi's view. + +ANAKIN knocks off three of the BUZZ DROIDS and the fourth +crawls out onto Anakin's ship and starts attacking ARTOO. +ARTOO fights the BUZZ DROID. + + OBI-WAN + Blast it... I can't see... my + controls are gone. + + ANAKIN + Get 'em, Artoo. Watch out! + + OBI-WAN + Artoo, hit the buzz droid's center + eye. + +ARTOO extends an arm and aims a stream of electricity at +the swerving BUZZ DROID. The BUZZ DROID is hit squarely in +the eye and falls off the ship. + + ANAKIN + Yeah, you got him! + + OBI-WAN + Great, Artoo. + + ANAKIN + Stay on my wing... the General's + Command Ship is dead ahead. Easy... + pull up... Head for the hangar. + + OBI-WAN + Have you noticed the shields are + still up? + + ANAKIN + Oh?!? Sorry, Master. + +ANAKIN streaks ahead of OBI-WAN's disintegrating Jedi +Fighter and blasts the shield generator. It SPARKS and +EXPLODES. + + OBI-WAN + Oh, I have a bad feeling about + this. + 12. + + +9 INT. MAIN HANGAR - TRADE FEDERATION CRUISER 9 + + The shield door drops away, and OBI-WAN crashes on the deck + of the hangar bay, engulfed in a FANTAIL OF SPARKS. A set + of blast doors starts SLAMMING shut across the hangar + opening, as material is sucked into space. + + ANAKIN maneuvers around the oncoming junk and flies into + the hangar just as the blast doors SLAM shut. + + OBI-WAN ignites his light saber and cuts his way out of the + cockpit. He jumps dear just as his ship EXPLODES. BATTLE + DROIDS rush at him from all directions. + + ANAKIN jumps out of his ship and cuts his way through the + BATTLE DROIDS to where OBI-WAN is fighting. ARTOO pops out + of the ship and follows ANAKIN. + + OBI-WAN + Artoo, locate the Chancellor. + + ANAKIN + Tap into the ship's computers. + + They cut down the last of the droids and follow ARTOO over + to a computer wall socket. The two JEDI fight off FOUR MORE + DROIDS as ARTOO tries to find the Chancellor. Finally, a + HOLOGRAM of the Trade Federation ship appears. + + OBI-WAN + The Chancellor's signal is coming + from right there. The observation + platform at the top of that spire. + + ANAKIN + I sense Count Dooku... + + OBI-WAN + I sense a trap. + + ANAKIN + Next move? + + OBI-WAN + Spring the trap. + + The JEDI start to leave; ARTOO follows. The JEDI stop and + turn to ARTOO. + + ANAKIN + Artoo, go back. I need you to stay + with the ship. + 13. + + + OBI-WAN + Here, take this, and wait for + orders. + + OBI-WAN tosses the comlink to ARTOO. + + +10 INT. BRIDGE - TRADE FEDERATION CRUISER 10 + + GENERAL GRIEVOUS enters the bridge of the TRADE FEDERATION + cruiser followed by his TWO BODYGUARDS. He walks to the + front of the bridge and stands in front of the NEIMOIDIAN + CAPTAIN. + + GENERAL GRIEVOUS + What's the situation, Captain? + + CAPTAIN + TWO Jedi have landed in the main + hangar bay. + + GENERAL GRIEVOUS + Just as Count Dooku predicted. + + +11 INT. HANGAR - TRADE FEDERATION CRUISER 11 + + ANAKIN and OBI-WAN head for the elevator. A door opens in + the hallway and two of GENERAL GRIEVOUS's BODYGUARDS + confront the JEDI. + + BODYGUARD I + General Kenobi, Anakin Skywalker. + We've been waiting for you. + + OBI-WAN + We are here to relieve you of + Chancellor Palpatine, not join him. + + As a dozen more droids join the group, the JEDI ignite + their lightsabers and stand back-to-back. + + OBI-WAN + Anakin... + + ANAKIN + Ready. + + ANAKIN and OBI-WAN use their lightsabers and cut a large + circle in the floor. + + +12 INT. GENERATOR ROOM - TRADE FEDERATION CRUISER 12 + 14. + + +The TWO JEDI cut their way down several floors into a large +generator room. + +Huge EXPLOSIONS outside the ship have caused several large +pipes overhead to break, and fluid is spewing everywhere. +The Jedi get up and turn off their light sabers. ANAKIN +dips his hand into the fluid and sniffs it. + + OBI-WAN + ... fuel. The slightest charge from + our sabers will send this ship into + oblivion. That's why they've + stopped shooting. + + ANAKIN + Well then, we're safe for the time + being. + + OBI-WAN + Your idea of safe is not the same + as mine. + +They run, EXPLOSIONS rattle the ship, and pipes continue to +burst around them, spilling more fuel into the hallway. At +the far end, SIX SUPER BATTLE DROIDS drop into the fuel. +The SOUNDS OF SHIELD DOORS CLOSING + +AND LOCKING ECHO throughout the hallway. They pass several +large power generators, which are topped with SPARKING +excess power dischargers. + + ANAKIN + They're sealing this section off. + + OBI-WAN + Six droids coming our way! + +The last of the DOORS CAN BE HEARD CLOSING in the distance. + + ANAKIN + Keep moving. There must be vents... + This way. + +They move along a wall. ANAKIN climbs up the side to a +small vent. The fuel gets closer to the SPARKING +dischargers. + + OBI-WAN + We'll never get through that. It's + too small! + 15. + + + They move toward a second vent. OBI-WAN is swimming in the + fuel as it reaches to within a couple yards of the ceiling. + ANAKIN feels along the ceiling and finds another smaller + vent. He closes his eyes and tries to sense an opening, + then he moves on. OBI-WAN is forced into hand-to-hand + combat with one of the SUPER BATTLE DROIDS. It pulls the + Jedi under the fuel. Just before he is about to drown, OBI- + WAN disables the SUPER BATTLE DROID by pushing him into an + exhaust pipe. + + The fuel is up to the Jedi's chins. ANAKIN finds a very, + very small metal grate, then pounds on it until the tiny + grate breaks loose. + + ANAKIN + I found our escape vent. + + OBI-WAN + Anakin, this is no time for jokes. + We're in serious trouble here. + + ANAKIN + Only in your mind. My Master. Look, + no structure... + + ANAKIN grabs the side of the tiny hole and gives it a big + yank, ripping a large panel loose revealing a "man-sized" + work shaft. They scramble through it as the DROIDS swim + closer. + + +13 INT. VENT SHAFT - TRADE FEDERATION CRUISER 13 + + The TWO JEDI pull themselves through the narrow vent shaft + until they reach a small hatch in the side of the tube. + + ANAKIN + Here's a way out. + + As the SUPER BATTLE DROIDS reach the opening in the ceiling + and the fuel gets to within a few feet of the power + generator sparks, the JEDI work the keyboard on the + pressure lock, opening the latch. + + +14 INT. SMALL PASSAGEWAY - TRADE FEDERATION CRUISER 14 + + The TWO JEDI climb into a small passageway and slam the + hatch shut. They make their way through the ever-shrinking + shaft until they reach the end. + + +15 INT. HALLWAY - TRADE FEDERATION CRUISER 15 + 16. + + + A hatch opens in one of the main hallways of the Trade + Federation Cruiser, and the JEDI squeeze out, SLAMMING the + hatch. Behind them, ANAKIN seals the hatch with his laser + sword. + + OBI-WAN + That won't hold when the fuel hits + those power dischargers. + + ANAKIN + The blast will break the hull. This + side's pressurized. + + OBI-WAN + You still have much to learn, + Anakin. + + +16 INT. VENT SHAFT - TRADE FEDERATION CRUISER 16 + + The SUPER BATTLE DROIDS climb up the vent shaft. SUPER + BATTLE DROID R77 and SEVERAL OTHER DROIDS wait in the + generator room as the fuel continues to rise toward the + power discharger. + + SUPER BATTLE DROID R77 + I have a bad feeling about this. + + +17 INT. GENERATOR ROOM - TRADE FEDERATION CRUISER 17 + + The fuel hits the SPARKING power discharger, and there is a + HUGE EXPLOSION. + + +18 EXT. TRADE FEDERATION CRUISER - BATTLE 18 + + A GREAT EXPLOSION and a flaming gas cloud spray out of the + side of the Federation Cruiser. + + +19 INT. HALLWAY - TRADE FEDERATION CRUISER 19 + + A large bulge appears in the wall around the sealed hatch + as the EXPLOSION hits. OBI-WAN jumps back, then stands + amazed. + + OBI-WAN + All right, you win. I have much to + learn. Let's go! + + ANAKIN grins at OBI-WAN, and they run down the hallway. + 17. + + +20 INT. WIDE HALLWAY - TRADE FEDERATION CRUISER 20 + + The two JEDI wait for an elevator to arrive. They turn + around and see they are face to face with THREE DESTROYER + DROIDS. The DROIDS start blasting away. Anakin deflects the + bolts. OBI-WAN frantically pushes the elevator button + several more times. + + ANAKIN + Destroyers!! + + Finally the door opens, and they rush inside under a hail + of laser bolts. The elevator door slides shut. The JEDI + turn to see BATTLE DROIDS standing behind them. + + BATTLE DROID + Drop your weapons! I said drop 'em. + + The JEDI activate their light sabers and destroy all the + BATTLE DROIDS. + + +21 INT HANGAR - TRADE FEDERATION CRUISER 21 + + R2-D2 notices two SUPER BATTLE DROIDS entering the hangar. + He moves and hides behind a Jedi Starfighter. + + +22 INT. ELEVATOR - TRADE FEDERATION CRUISER 22 + + The elevator begins to move and screeches to a stop. + + OBI-WAN + Did you press the stop button? + + ANAKIN + No, did you? + + OBI-WAN + No! + + ANAKIN + Well, there's more than one way out + of here. + + ANAKIN ignites his laser sword. + + OBI-WAN + We don't want to get out, we want + to get moving. Artoo... Artoo. Do + you copy? Activate elevator... + (looks at control panel) + ... 31174... + 18. + + + ANAKIN cuts a hole in the elevator ceiling. + + +23 INT MAIN HANGAR - TRADE FEDERATION CRUISER 23 + + TWO SUPER BATTLE DROIDS are inspecting the Jedi + starfighters. They overhear Obi-Wan's voice over the + comlink and are distracted. + + SUPER BATTLE DROID 1 + What's that? + + SUPER BATTLE DROID 2 + Get back to work. It's nothing. + + +24 INT. ELEVATOR - TRADE FEDERATION CRUISER 24 + + OBI-WAN + Artoo? + + ANAKIN climbs through the hole in the ceiling of the + elevator. + + OBI-WAN + (continuing) + Always on the move. + + OBI-WAN continues to talk on the comlink. Artoo quietly + beeps a reply. + + +25 INT MAIN HANGAR - TRADE FEDERATION CRUISER 25 + + ARTOO tries to muffle the comlink as the TWO SUPER BATTLE + DROIDS try to figure out where the voices are coming from. + ARTOO extends an arm and plugs into a computer interface. + + OBI-WAN (O.S.) + Artoo, switch on the comlink. + Artoo, do you hear me? Artoo, we + gave you a job to do! Artoo. + + +26 INT. ELEVATOR SHAFT - TRADE FEDERATION CRUISER 26 + + Suddenly, the elevator plummets down the shaft. ANAKIN + quickly jumps and grabs onto the hallway entry door. He + watches as the elevator recedes down the shaft and + disappears. ANAKIN struggles to keep his grip on the closed + door as SPARKING wires rain down on him. + 19. + + +27 INT. ELEVATOR - TRADE FEDERATION CRUISER 27 + + The elevator starts to descend rapidly. + + OBI-WAN + Stop, stop! Artoo, we need to be + going up. + + +28 INT. ELEVATOR SHAFT - TRADE FEDERATION CRUISER 28 + + Anakin struggles to hang on to the narrow edge of the + elevator shaft. The door to the elevator shaft is pried + open, and TWO BATTLE DROIDS appear in the doorway and look + down at ANAKIN. They point their guns at him. + + DROID 1 + Hands up, Jedi! Don't move. + + DROID 2 + Roger, roger. + + +29 INT. MAIN HANGAR - TRADE FEDERATION CRUISER 29 + + The TWO SUPER BATTLE DROIDS overhear OBI-WAN's comlink + messages to ARTOO. + + SUPER BATTLE DROID 1 + There it is again. + + OBI-WAN (O.S.) + Artoo, do you copy? Artoo, do you + hear me? Artoo, we need to be going + up, not down. + + +30 INT. ELEVATOR - TRADE FEDERATION CRUISER 30 + + The elevator races down as OBI-WAN holds on. + + OBI-WAN + Stop. Artoo! We need to go up! + Stop, stop! + + The elevator stops with a jolt. OBI-WAN falls to the floor. + + +31 INT. MAIN HANGAR - TRADE FEDERATION CRUISER 31 + + The TWO SUPER BATTLE DROIDS see ARTOO and walk toward the + little droid. + 20. + + + SUPER BATTLE DROID 1 + Hey you! + + ARTOO plugs into the interface again and the elevator + shoots up. + + +32 INT. ELEVATOR - TRADE FEDERATION CRUISER 32 + + OBI-WAN stands up after having fallen in the elevator. + + OBI-WAN + Now, that's better... + + +33 INT. MAIN HANGAR - TRADE FEDERATION CRUISER 33 + + ARTOO is held up by TWO SUPER BATTLE DROIDS, who chuckle as + the little Astro Droid curses and swings at them. + + SUPER BATTLE DROID 1 + You stupid little astro droid! + + +34 INT. ELEVATOR SHAFT - TRADE FEDERATION CRUISER 34 + + ANAKIN looks down and sees the elevator heading toward him + at a high rate of speed. He looks at the BATTLE DROIDS + leaning over him with their guns pointed at him. He + calculates for a moment, then gives himself a push and + flips himself up into the elevator shaft. + + Before ANAKIN can arc into a descent down the shaft, the + elevator races up through the shaft, cutting the DROIDS in + two. ANAKIN lands on the elevator and quickly drops back + through the hole in the ceiling. OBI-WAN is startled and + ignites his lightsaber. + + OBI-WAN + Oh, it's you... + + +35 INT. MAIN HANGAR - TRADE FEDERATION CRUISER 35 + + ARTOO activates his oil hose and sprays the SUPER BATTLE + DROIDS. The SUPER BATTLE DROIDS slip on the oil. + + +36 INT. ELEVATOR SHAFT - TRADE FEDERATION CRUISER 36 + + ANAKIN + What was that all about? + 21. + + + OBI-WAN + Well, Artoo has been... + + ANAKIN + No loose wire jokes... He's doing + the best he can. + + OBI-WAN + Did I say anything? + + ANAKIN + He's trying! + + OBI-WAN + I didn't say anything! + + +37 INT. MAIN HANGAR - TRADE FEDERATION CRUISER 37 + + ARTOO ignites his arm rockets and shoots out of their grip, + spraying them both with oil and setting them on fire. The + SUPER BATTLE DROIDS slip and slide until they fall, + smoldering. ARTOO rolls away. + + +38 INT. GENERAL'S QUARTER'S - TRADE FEDERATION CRUISER 38 + + The elevator door opens and the TWO JEDI carefully make + their way into the main room of the General's Quarters. + + At the far end sits SUPREME CHANCELLOR PALPATINE. ANAKIN + and OBI-WAN move toward the CHANCELLOR. + + As they get closer to PALPATINE, they see a very distressed + look on the Chancellor's face. + + OBI-WAN + (bows) + Chancellor. + + ANAKIN + Are you all right? + + PALPATINE + (quietly) + Count Dooku. + + PALPATINE makes a small gesture with his hand. OBI-WAN and + ANAKIN turn around. The elevator DOORS CAN BE HEARD OPENING + AND CLOSING as COUNT DOOKU strides into the room. He is + above the Jedi, standing on a balcony, with two SUPER + BATTLE DROIDS. The Jedi turn to see him. He looks down on + the Jedi. + 22. + + + OBI-WAN + (quietly to Anakin) + This time we will do it together. + + ANAKIN + I was about to say that. + +COUNT DOOKU jumps down to the main level. + + PALPATINE + Get help! You're no match for him. + He's a Sith Lord. + + OBI-WAN + Chancellor Palpatine, Sith Lords + are our specialty. + +OBI-WAN and ANAKIN throw off their cloaks and ignite their +lightsabers. + + COUNT DOOKU + Your swords, please, Master Jedi. + We don't want to make a mess of + things in front of the Chancellor. + +OBI-WAN and ANAKIN move toward DOOKU. + + OBI-WAN + You won't get away this time, + Dooku. + +OBI-WAN and ANAKIN charge COUNT DOOKU. A great sword fight +ensues. + + COUNT DOOKU + I've been looking forward to this. + + ANAKIN + My powers have doubled since the + last time we met, Count. + + COUNT DOOKU + Good. Twice the pride, double the + fall. + +DOOKU lunges at the JEDI and they fall back... + + COUNT DOOKU + (continuing) + Your moves are clumsy, Kenobi... + too predictable. You'll have to do + better. + 23. + + + As the battle proceeds, OBI-WAN and COUNT DOOKU are tired. + ANAKIN is stronger as he becomes angry. ANAKIN continues to + drive the attack on DOOKU. COUNT DOOKU throws OBI-WAN back + using the Force. + + ANAKIN and COUNT DOOKU move up the stairs. As they reach + the upper landing of the General's Quarters, ANAKIN leaps + over COUNT DOOKU. OBI-WAN reaches the top of the stairs, + destroying TWO SUPER BATTLE DROIDS. COUNT DOOKU holds OBI- + WAN in the air using the Force as he turns and kicks ANAKIN + out of frame. OBI-WAN is choking. + + ANAKIN hits the archway. + + DOOKU sends OBI-WAN flying. The Jedi tumbles to the lower + level unconscious. COUNT DOOKU spins around again and, + using the Force, causes a section of the balcony to drop + onto OBI-WAN. ANAKIN spins and kicks COUNT DOOKU, sending + him over the balcony. ANAKIN Jumps, following him down to + the main floor. COUNT DOOKU and ANAKIN continue the fight. + + COUNT DOOKU + (continuing) + I sense great fear in you, + Skywalker. You have hate, you have + anger, but you don’t use them. + + Anakin regains his composure and attacks COUNT DOOKU as the + Dark Lord continues his spin to meet him head on. Their + fighting becomes even more intense. + + Anakin attacks COUNT DOOKU with a new ferociousness. + + +39 INT. GENERAL'S QUARTERS - TRADE FEDERATION CRUISER 39 + + Anakin and Dooku continue their fight. It is intense! + Finally, in one last energized charge, ANAKIN cuts off + COUNT DOOKU's hands. The Jedi catches the lightsaber as it + drops from the severed Sith Lord's hand. COUNT DOOKU + stumbles to the floor as ANAKIN puts the two lightsabers to + his neck. PALPATINE is grinning as he watches COUNT DOOKU's + defeat. + + PALPATINE + Good, Anakin, good. I knew you + could do it. Kill him. Kill him + now! + + ANAKIN + I shouldn't... + + PALPATINE + 24. + + + Do it!! + +ANAKIN cuts off COUNT DOOKU's head. A huge EXPLOSION +somewhere deep in the ship rattles everything. + + ANAKIN + ... I couldn't stop myself. + + PALPATINE + You did well, Anakin. He was too + dangerous to be kept alive. + +ANAKIN drops COUNT DOOKU's lightsaber, moving to PALPATINE. + + ANAKIN + Yes, but he was an unarmed + prisoner. + +ANAKIN raises his hands toward PALPATINE, who is strapped +in the Admiral's Chair. The Chancellor's restraints pop +loose. + + ANAKIN + I shouldn't have done that, + Chancellor. It's not the Jedi way. + +PALPATINE stands up, rubbing his wrists. + + PALPATINE + It is only natural. He cut off your + arm, and you wanted revenge. It + wasn't the first time, Anakin. + Remember what you told me about + your mother and the Sand People. + Now, we must leave before more + security droids arrive. + +The ship begins to list to one side. ANAKIN rushes over to +OBI-WAN, lifts the control console from on top of him, and +pulls him free. He kneels down and checks out his +unconscious friend. PALPATINE heads for the elevators. + + PALPATINE + (continuing) + Anakin, there is no time. We must + get off the ship before it's too + late. + + ANAKIN + He seems to be all right. No broken + bones, breathing's all right. + + PALPATINE + 25. + + + Leave him, or we'll never make it. + + ANAKIN + His fate will be the same as ours. + + ANAKIN picks up OBI-WAN, slings him over his shoulder, and + heads for the elevators. + + +40 INT. BRIDGE - TRADE FEDERATION CRUISER 40 + + GENERAL GRIEVOUS + Prepare for attack. + + PILOT + All batteries fire! Fire! + + +41 INT. BATTLESTATIONS - REPUBLIC CRUISER 41 + + Clone gunners fire on the Trade Federation cruiser and take + fire in return. Gun emplacements are destroyed. Clone + troopers go flying. + + +42 INT. ELEVATOR LOBBY - GENERAL'S QUARTERS - TRADE FEDERATION 42 + CRUISER + + ANAKIN carries OBI-WAN to the elevator doors and hits the + button. + + PALPATINE joins him. + + ANAKIN + The elevator's not working, + (into his comlink) + Artoo... + + ARTOO BEEPS a response to ANAKIN. + + ANAKIN + ... Activate Elevator 3224. + + Suddenly the ship shifts to its side as the elevator doors + open. PALPATINE is thrown to the ground. ANAKIN jumps to + the door frame of the elevator. + + ANAKIN looks into the elevator shaft. + + ANAKIN + Artoo... do you copy? Artoo, come + in! + 26. + + +43 INT. BRIDGE - TRADE FEDERATION CRUISER 43 + + Windows are blown out, droids and equipment are sucked into + space. + + PILOT + Reverse stabilizers. + + +44 INT. MAIN HANGAR - TRADE FEDERATION CRUISER 44 + + As the ship rolls, spacecraft and equipment CRASH from one + side of the ship to the other. + + Several objects break through the metal blast doors, + causing objects to be sucked into space. ARTOO starts to + slide toward one of the small holes. + + +45 INT. ELEVATOR LOBBY - GENERAL'S QUARTERS - TRADE FEDERATION 45 + CRUISER + + As the elevator shaft rotates, it has become a long + hallway. + + ANAKIN clings to the doorframe with OBI-WAN on his + shoulder, as the Chancellor struggles to join him. + + +46 INT. MAIN HANGAR - TRADE FEDERATION CRUISER 46 + + ARTOO continues to skid and slide toward open space. He + swerves around boxes and wrecked fighters. One of the + BATTLE DROIDS stumbles and is consumed by the electronic + shield in a zap. ARTOO BEEPS a reply as he dodges the laser + blasts of the BATTLE DROIDS. One bolt hits very near him, + and he SCREAMS in terror. + + +47 INT. BRIDGE - TRADE FEDERATION CRUISER 47 + + PILOT + Magnetize! Magnetize! + + +48 INT. MAIN HANGAR - TRADE FEDERATION CRUISER 48 + + ARTOO is about to be overtaken by a starfighter sliding + behind him. He falls into a heap of broken battle droid + parts and the fighter bounces over him. + + +49 EXT. SPACE - CORUSCANT 49 + 27. + + + The TRADE FEDERATION CRUISER heads straight down toward the + planet. + + +50 INT. ELEVATOR LOBBY - GENERAL'S QUARTERS - TRADE FEDERATION 50 + CRUISER + + ANAKIN jumps into the horizontal elevator shaft with OBI- + WAN still on his shoulder. + + ANAKIN + We can't wait. Come on, we have to + be fast. + + PALPATINE climbs into the elevator shaft also. They start + running. The ship begins to roll again, and the Jedi and + the Chancellor are forced to jump from one side of the + elevator to the other. + + +51 INT. BRIDGE - TRADE FEDERATION CRUISER 51 + + GENERAL GRIEVOUS + Fire the emergency booster engines. + + PILOT + Leveling out, sir. + + +52 INT. ELEVATOR SHAFT ON SIDE - TRADE FEDERATION CRUISER 52 + + ANAKIN still carrying OBI-WAN on his back, and PALPATINE + run down the elevator shaft as it starts to move upright. + ANAKIN cuts a control box on one of the doors, but before + the doors can open, the ship moves to an angle, causing + ANAKIN and PALPATINE to start sliding down the shaft. + ANAKIN grabs some wires in the control box with one hand. + PALPATINE grabs onto the Jedi's leg. As the ship rights + itself, they are left hanging in the bottomless elevator + shaft. + + +53 INT. ELEVATOR SHAFT - VERTICAL - TRADE FEDERATION CRUISER 53 + + ANAKIN, OBI-WAN, and PALPATINE hang precariously on the + side of the bottomless elevator shaft. OBI-WAN regains + consciousness and tries to look around. + + ANAKIN + Easy... We're in a bit of a + situation. + + OBI-WAN + 28. + + + Did I miss something? + + OBI-WAN looks down and sees PALPATINE and the bottomless + pit. They hear ARTOO BEEPING on Obi-Wan's comlink. The ship + begins to roll, causing the vertical shaft to move into a + forty-five-degree angle. They hear the elevator brakes + release and look up to see the elevator heading toward + them. + + ANAKIN + Hold on. + + OBI-WAN + What is that? + + OBI-WAN and ANAKIN look up to watch the elevator approach + them at high speed, then OBI-WAN turns to ANAKIN. + + OBI-WAN + (continuing) + Oops. + + ANAKIN + Artoo, Artoo, shut down the + elevator! + + OBI-WAN + Too late! Jump! + + They fall about three hundred feet before the tilt of the + ship catches up with them, and they hit the side of the + shaft and slide at great speed just ahead of the elevator. + The shaft continues to rotate until it is completely + horizontal. + + ANAKIN and OBI-WAN take out and throw grappling hooks. The + hooks catch and they continue to fall. All the doors in the + elevator shaft open up, and the group swings through the + open door into a hallway. The elevator roars by. + + +54 INT. ELEVATOR LOBBY - TRADE FEDERATION CRUISER 54 + + ANAKIN, OBI-WAN, and PALPATINE fly through the elevator + door and land. + + OBI-WAN + Let's see if we can find something + in the hangar bay that's still + flyable. Come on. + + ANAKIN + 29. + + + Artoo, get down here. Artoo, do you + copy? + + +55 INT. MAIN HANGAR - TRADE FEDERATION CRUISER 55 + + As the Federation Cruiser continues to rotate, ARTOO + SQUEALS and pokes a periscope out of a pile of broken + BATTLE DROID PARTS. He looks around then rockets up out of + the debris. + + +56 INT. HALLWAY TO HANGAR BAY - TRADE FEDERATION CRUISER 56 + + OBI-WAN and ANAKIN lead PALPATINE down a hallway toward the + hangar bay. + + +57 INT. DOORWAY TO HANGAR BAY - TRADE FEDERATION CRUISER 57 + + It is extremely windy as bits and pieces are continually + sucked into space. The hangar bay doors are closed, but + great stresses are being exerted as the ship twists, re- + entering the atmosphere of Coruscant. They stop in a + doorway leading into the hangar bay. + + OBI-WAN + None of those ships will get us + anywhere. + + ANAKIN + I agree. + + PALPATINE + What are we going to do? + + ANAKIN + I don't know. + + OBI-WAN + Don't look at me. I don't know. + + ANAKIN and PALPATINE both look to OBI-WAN. He shrugs his + shoulders. + + Anakin's Fighter has been sucked out of the hangar bay and + is totaled. Suddenly, the ship turns on its side. + + ANAKIN + Here, Chancellor, lock this around + your waist, and hold on. + + OBI-WAN + 30. + + + We'll head toward the bridge and + see if we can find an escape pod. + + ANAKIN hands PALPATINE the end of a cable that is attached + to his utility belt. PALPATINE attaches it around his + waist. ANAKIN and OBI-WAN throw their utility cables to + some pipes in the ceiling and swing to a second set of + pipes. + + +58 INT. MAIN HANGAR - TRADE FEDERATION CRUISER 58 + + OBI-WAN grabs onto the pipes that run along what was the + ceiling and is now the wall. As he moves out into the + hangar, TWO SUPER BATTLE DROIDS start firing at him. The + Jedi ignites his lightsaber and deflects the bolts back at + the DROIDS, blowing them up. + + ANAKIN and PALPATINE follow OBI-WAN along the pipes running + along the ceiling of the hangar. PALPATINE struggles + against the escaping air of the pressurized hangar. + + PALPATINE loses his grip as a pipe breaks, causing a rush + of steam, but ANAKIN manages to maintain his grasp on the + pipe as the CHANCELLOR dangles on the other end of the + utility cable. They are surrounded by SPARKS and EXPLOSIONS + as the ship twists and tries to break apart. + + ANAKIN moves out of the steam and struggles to pull + PALPATINE back to safety. ANAKIN is almost pulled loose in + the buffeting winds. The ceiling behind them buckles, + causing pipes to break, creating geysers of steam. Some + bits of pipe go hurling into the blast doors and out into + space. They make it through a hangar doorway and close it + behind them. + + +59 INT. HANGAR DOORWAY - TRADE FEDERATION CRUISER 59 + + OBI-WAN, ANAKIN and PALPATINE are out of breath. + + ANAKIN/OBI-WAN + Well, that was close. + + They laugh. + + +60 INT. BRIDGE - TRADE FEDERATION CRUISER 60 + + BODYGUARD + General, we found the Jedi. They're + in hallway 328. + 31. + + + GENERAL GRIEVOUS + Activate ray shields. + + +61 INT. HALLWAY - TRADE FEDERATION CRUISER 61 + + They run down the hallway. Suddenly, ray shields drop + around them, putting them in an electronic box in the + middle of the hallway. + + ANAKIN + Ray shields! + + OBI-WAN takes a deep breath to express his total + disappointment. + + OBI-WAN + Wait a minute, how'd this happen! + We're smarter than this. + + ANAKIN + Apparently not, Master. This is the + oldest trap in the book... Well... + I was distracted. + + OBI-WAN + Oh, so all of a sudden it's my + fault. + + ANAKIN + You're the Master. I'm just a hero. + + OBI-WAN + I'm open to suggestions here. + + PALPATINE + Why don't we let them take us to + General Grievous. Perhaps with + Count Dooku's demise, we can + negotiate our release. + + The Jedi look at each other in disbelief. + + ANAKIN + I say... patience. + + OBI-WAN + Patience! That's your plan, is it? + + ANAKIN + Yes, Artoo will be along in a few + moments and he'll release the ray + shields... + 32. + + + ARTOO comes skidding across the hallway and bashes into the + opposite wall. + + He takes a moment to compose himself. + + ANAKIN + (continuing) + See! No problem. + + Suddenly several doorways open, revealing TWO DESTROYER + DROIDS. + + SIXTEEN SUPER BATTLE DROIDS emerge from behind the + DESTROYER DROIDS. + + ARTOO turns and zaps one of the SUPER BATTLE DROIDS who + then kicks ARTOO over. + + SUPER BATTLE DROID + Don't move, dummy. Ouch! Zap this. + + OBI-WAN + Do you have a plan B? + + +62 EXT. BRIDGE - TRADE FEDERATION CRUISER 62 + + OBI-WAN, ANAKIN PALPATINE, and ARTOO are captured by + GENERAL GRIEVOUS. They stand before the ALIEN DROID + GENERAL. + + GENERAL GRIEVOUS + Oh yes. General Kenobi, the + Negotiator. We've been waiting for + you. That wasn't much of a rescue. + + A BATTLE DROID walks to GENERAL GRIEVOUS and hands him the + JEDI'S lightsabers. + + OBI-WAN + That depends upon your point of + view. Hah! + + GENERAL GRIEVOUS + And Anakin Skywalker... I was + expecting someone with your + reputation to be a little older. + + ANAKIN + General Grievous... Supreme + Commander of the Droid Armies. + You're shorter than I expected. + 33. + + + GENERAL GRIEVOUS + Ahhhh, Jedi scum... + + OBI-WAN + Anakin, try not to upset him. We + have a job to do. + + GENERAL GRIEVOUS + Your lightsabers will make a fine + addition to my collection. + + OBI-WAN + Not this time. And this time you + won't escape. + + ANAKIN + Artoo. + +ARTOO creates a distraction by extending all his arms, +shooting out electrical pulses, and bouncing around. + +OBI-WAN, hands restrained with electrobonds, spins around, +reaches out and, using the Force, yanks his lightsaber out +of the General's hand, ignites it, and cuts his bonds. He +continues to spin around and cuts Anakin free. + + GENERAL GRIEVOUS + Crush them! Make them suffer! + +ANAKIN uses the Force to yank his lightsaber out of the +General's hand. + +The DROIDS that surround them begin to FIRE. OBI-WAN and +ANAKIN jump into the line of fire. The bridge degenerates +into chaos. OBI-WAN and ANAKIN are locked in a pitched +battle between electro staffs and laser swords with GENERAL +GRIEVOUS's TWO BODYGUARDS. + +CHANCELLOR PALPATINE is taken away by two BATTLE DROIDS. + +GENERAL GRIEVOUS walks around the bridge directing the +BATTLE DROIDS. + + GENERAL GRIEVOUS + Stay and watch your stations. + +OBI-WAN fights one of General Grievous's BODYGUARDS. The +BODYGUARD carries an electrified staff about five feet +long. When the laser sword hits it, electrical bolts fly +everywhere and surround the laser sword. OBI-WAN is unable +to cut the staff. The Jedi gets whacked pretty good a +couple of times and is knocked halfway across the bridge. + 34. + + +OBI-WAN pulls himself together and attacks again, cutting +off the DROID BODYGUARD'S head. The DROID BODYGUARD keeps +attacking. ANAKIN struggles to defend himself against the +other manic DROID BODYGUARD. He cuts the DROID BODYGUARD in +half. TWO BATTLE DROIDS try to take the CHANCELLOR away. + +ANAKIN follows them down the hallway and cuts them down, +rescuing the Chancellor. + +OBI-WAN finishes off the headless BODYGUARD. It crumbles to +the floor in pieces. + +ALARMS SOUND as the giant spacecraft begins to list and +fall out of orbit. A PILOT yells at GENERAL GRIEVOUS. + + PILOT + Sir, we are falling out of orbit. + All aft control cells are dead. + + GENERAL GRIEVOUS + Stay on course... Don't bother with + them. Keep the ship in orbit. + +OBI-WAN and ANAKIN destroy the remaining DROIDS. GENERAL +GRIEVOUS retrieves one of the BODYGUARD'S staffs and faces +OBI-WAN. + +ANAKIN leaps over a console and lands behind GENERAL +GRIEVOUS. + + GENERAL GRIEVOUS + You lose, General Kenobi. + +One of the PILOTS stands next to the General. + + PILOT + The ship is breaking up! + + GENERAL GRIEVOUS + We've run out of time. + +OBI-WAN tries to get at GENERAL GRIEVOUS. ANAKIN runs at +the General from the opposing side. GENERAL GRIEVOUS turns +and throws his electrified staff at the window. It breaks, +causing chaos as everything that is not nailed down is +sucked into space. GENERAL GRIEVOUS is the first one sucked +out into space. He fires a cable from his arm that attaches +to the ship. He swings in and lands firmly on the side of +the ship. + +OBI-WAN, ANAKIN, and PALPATINE hold on for dear life. A +blast shield closes around where the window used to be. + 35. + + +63 INT. BRIDGE - TRADE FEDERATION CRUISER 63 + + OBI-WAN continues to fight the BATTLE DROIDS. The DROIDS + have backed him into a corner. OBI-WAN hides behind a + control panel as the DROIDS blast away at him. He jumps up + and over the DROIDS, cutting most of them down before he + lands. He destroys the DROIDS and joins ANAKIN. + + ANAKIN and OBI-WAN cut through the rest of the DROIDS as if + they were made of butter. PALPATINE stands in shock as he + watches the carnage. Droid parts are firing everywhere. + OBI-WAN and ANAKIN stand back to back and cut down the last + of the DROIDS just as there is a huge shudder, followed by + more alarms. SPARKS begin to fly outside the windows. + + PALPATINE + The hull is burning up! + + +64 EXT. HULL - TRADE FEDERATION CRUISER-SPACE 64 + + GENERAL GRIEVOUS detaches his cable and crawls along the + exterior hull of the Federation Cruiser, using his + magnetized hands and feet. He reaches a row of escape pods + and enters an airlock. + + +65 INT. POD BAY - TRADE FEDERATION CRUISER-SPACE 65 + + GENERAL GRIEVOUS enters the escape pod bay through the + hatch. The Droid General goes to a control panel and opens + an escape pod. + + GENERAL GRIEVOUS + Time to abandon ship. + + GENERAL GRIEVOUS pulls a row of switches, and one by one + the escape pods are jettisoned. + + +66 INT. ESCAPE POD - SPACE 66 + + He gets in one, the hatch closes, and the escape pod blasts + away from the damaged Cruiser. + + +67 INT. BRIDGE - TRADE FEDERATION CRUISER 67 + + OBI-WAN and ANAKIN go over to the navigator's chair. + + ANAKIN + All the escape pods have been + launched. + 36. + + + OBI-WAN + Grievous. Can you fly a cruiser + like this? + + ANAKIN + You mean, do I know how to land + what's left of this thing? + +ANAKIN sits in the pilot's chair and sees on a screen the +back half of the ship break away. There is a great jolt, +and the ship tilts forward. + + OBI-WAN + Well? + + ANAKIN + Under the circumstances, I'd say + the ability to pilot this thing is + irrelevant. Strap yourselves in. + +OBI-WAN and PALPATINE strap themselves into chairs. ANAKIN +struggles with the controls of the ship. The ship starts to +glow, and pieces break off. ARTOO moves in on Palpatine 's +controls and assists in flying the cruiser. + + OBI-WAN + Steady... Attitude... eighteen + degrees. + +ARTOO beeps. + + ANAKIN + Pressure rising. We've got to slow + this wreck down. Open all hatches, + extend all flaps, and drag fins. + + OBI-WAN + Temp steady. Hatches open, flaps + extended, drag fins... + +A large part of the ship breaks away. + + ANAKIN + We lost something. + + OBI-WAN + Not to worry, we're still flying + half the ship. + + ANAKIN + 37. + + + Now we're really picking up + speed... I'm going to shift a few + degrees and see if I can slow us + down. + + OBI-WAN + Careful... we're heating up-twelve + thousand... thirteen thousand... + + ANAKIN + What's our speed? + + OBI-WAN + Eight plus sixty-forty. Eight plus + sixty-twenty. Eight plus sixty. + Temp ten thousand, nine thousand... + we're in the atmosphere... + +ANAKIN points to one of the controls. ARTOO beeps madly. + + ANAKIN + Grab that... Keep us level. + + OBI-WAN + Steady. Steady. + + ANAKIN + Easy, Artoo. Hang on, this may get + a little rough. We lost our heat + shields. + + OBI-WAN + Five thousand. Three thousand... + two thousand. Fireships on the left + and the right. + + FLRESHIP PILOT + We'll take you in. + + OBI-WAN + Copy that. Landing strip's straight + ahead. + + ANAKIN + We're coming in too hot. + + OBI-WAN + Easy-easy. + +The ship leaves a contrail as it streaks across the +Coruscant skyline. + 38. + + + PALPATINE and OBI-WAN hold on for dear life as the ship + shakes and rattles toward an industrial landing platform. + + +68 EXT. CORUSCANT - INDUSTRIAL LANDING PLATFORM - AFTERNOON 68 + + A large landing platform in the industrial part of the city + is surrounded by Emergency Fire Speeders. The smoking ship + approaches as five Fireships spray it with foam. The ship + finally makes a rather hard landing. + + OBI-WAN + Another happy landing. + + +69 EXT. CORUSCANT - SENATE OFFICE BUILDING - LANDING PLATFORM 69 + -LATE AFTERNOON + + The small Jedi Shuttle carrying PALPATINE and the JEDI + arrives at the landing platform. There are a DOZEN + SENATORS, including BAIL ORGANA, JAR JAR BINKS, and C-3PO, + waiting for them. PALPATINE, R2-D2, and ANAKIN get out. + OBI-WAN and MACE stay in the doorway of the Jedi Shuttle. + + ANAKIN + (to Obi-Wan) + Are you coming, Master? + + OBI-WAN + Oh no. I'm not brave enough for + politics. I have to report to the + Council. Besides, someone needs to + be the poster boy. + + ANAKIN + Hold on, this whole operation was + your idea. You planned it. You led + the rescue operation. You have to + be the one to take the bows this + time. + + OBI-WAN + Sorry, old friend. Let us not + forget that you rescued me from the + Buzz Droids. And you killed Count + Dooku. And you rescued the + Chancellor, carrying me unconscious + on your back, and you managed to + land that bucket of bolts safely... + + ANAKIN + 39. + + + All because of your training, + Master. You deserve all those + speeches of your greatness. + + OBI-WAN + ... the endless speeches... Anakin, + let's be fair. Today, you are the + hero and you deserve your glorious + day with the politicians. + + ANAKIN + All right. But you owe me... and + not for saving your skin for the + tenth time... + + OBI-WAN + Ninth time... that business on Cato + Nemoidia doesn't count. I'll see + you at the briefing. + +ANAKIN smiles and walks away from OBI-WAN. + +The CHANCELLOR and his entourage approach MACE. + + MACE WLNDU + Chancellor Palpatine, what a + welcome sight! Are you all right? + + PALPATINE + Yes, thanks to your two Jedi + Knights. They killed Count Dooku, + but General Grievous has escaped + once again. + + MACE WLNDU + General Grievous will run and hide + as he always does. He is a coward. + + PALPATINE + That maybe true, but with Count + Dooku dead, he is the leader of the + Droid Army, and I assure you, the + Senate will vote to continue the + war as long as Grievous is alive. + + MACE WLNDU + Then the Jedi Council will make + finding Grievous our highest + priority. + +BAIL, ANAKIN, and the crowd walk away from the platform +toward the Senate Building Grand Hallway. + 40. + + + BAIL ORGANA + Skywalker, the Republic cannot + praise you enough. + + ANAKIN and BAIL ORGANA, walking in the hallway. + + ANAKIN + Thank you, Senator Organa. The + kidnapping was a bold move by the + Separatists, but it was a mistake + that Obi-Wan and I were able to + take advantage of. + + ARTOO and THREEPIO follow behind the crowd. + + C-3PO + It couldn't possibly be as bad as + all that. + + ARTOO beeps. + + C-3PO + (continuing) + Well, there, I agree with you. In + fact, I could do with a tune-up + myself. + + +70 INT. CORUSCANT - SENATE OFFICE BUILDING - MAIN HALLWAY - 70 + LATE AFTERNOON + + ANAKIN is at the back of the crowd of SENATORS, talking + with BAIL ORGANA. R2-D2 and C-3PO scoot along ahead of + them. + + BAIL ORGANA + The end of Count Dooku will surely + bring an end to this war, and an + end to the Chancellor's draconian + security measures. + + ANAKIN + I wish that were so, but the + fighting is going to continue until + General Grievous is spare parts... + The Chancellor is very clear about + that. + + Behind a row of large columns, a SHADOWY FIGURE follows the + JEDI and the SENATOR. ANAKIN senses the figure. + + BAIL ORGANA + 41. + + + I'll do everything I can with the + Senate. + + ANAKIN + Excuse me. + + BAIL ORGANA + Certainly. + +ANAKIN stops, and BAIL goes off after PALPATINE and the +others. ANAKIN goes behind one of the giant columns to meet +up with the SHADOWY FIGURE, who is revealed to be SENATOR +PADME AMDALA. They embrace and kiss. + + PADME + Oh, Anakin! Thank goodness, you're + back. + + ANAKIN + I missed you, Padme. I've missed + you so. + + PADME + There were whispers... that you'd + been killed. I've been living with + unbearable dread. + + ANAKIN + I'm back, I'm all right. It feels + like we've been apart for a + lifetime. And it might have been... + If the Chancellor hadn't been + kidnapped. I don't think they would + have ever brought us back from the + Outer Rim sieges. + +ANAKIN starts to give her another kiss. She steps back. + + PADME + Wait, not here... + +He grabs her again. + + ANAKIN + Yes, here! I'm tired of all this + deception. I don't care if they + know we're married. + + PADME + 42. + + + Anakin, don't say things like that. + You're important to the Republic... + to ending this war. I love you more + than anything, but I won't let you + give up your life as a Jedi for + me... + + ANAKIN + I've given my life to the Jedi + order, but I'd only give up my + life, for you. + + PADME + (playfully) + I wouldn't like that. I wouldn't + like that one bit. Patience, my + handsome Jedi... Come to me later. + +ANAKIN embraces her, then looks at her. + + ANAKIN + Are you all right? You're + trembling. What's going on? + + PADME + I'm just excited to see you. + + ANAKIN + That's not it. I sense more... what + is it? + + PADME + Nothing... nothing... + + ANAKIN + You're frightened. + (a little angry) + Tell me what's going on! + +PADME begins to cry. + + PADME + You've been gone five months... + it's been very hard for me. I've + never felt so alone. There's... + + ANAKIN + ... Is there someone else? + + PADME + (peeved, angry) + 43. + + + No! Why do you think that? Your + jealousy upsets me so much, Anakin. + I do nothing to betray you, yet you + still don't trust me. Nothing has + changed. + + ANAKIN + (sheepish) + I'm afraid of losing you, Padme... + that's all. + + PADME + I will never stop loving you, + Anakin. My only fear is losing you. + + ANAKIN + It's just that I've never seen you + like this... + + PADME + Something wonderful has happened. + + They look at each other for a long moment. + + PADME + (continuing) + I'm... Annie, I'm pregnant. + + ANAKIN is stunned. He thinks through all of the + ramifications of this. He takes her in his arms. + + ANAKIN + That's... that's wonderful. + + PADME + What are we going to do? + + ANAKIN + We're not going to worry about + anything right now, all right? This + is a happy moment. The happiest + moment of my life. + + +71 EXT. UTAPAU - LANDING PLATFORM - DAY 71 + + A small NEIMOIDIAN SHUTTLE lands. BATTLE DROIDS surround + the ramp as GENERAL GRIEVOUS descends onto the platform. + SUPER BATTLE DROID G21 approaches. + + SUPER BATTLE DROID G21: The planet is secure, sir. The + population is under control. + 44. + + + GENERAL GRIEVOUS + Good. Where is the Separatist + Council? + + SUPER BATTLE DROID G21 + This way, sir ... + + GENERAL GRIEVOUS takes the elevator to an upper level. He + enters a conference room and presses a series of buttons on + the table, and bows. + + +72 INT. UTAPAU - CONFERENCE ROOM - GRAND CHAMBER - DAY 72 + + A hologram of Darth Sidious appears. + + GENERAL GRIEVOUS + Yes, Lord Sidious. + + DARTH SLDIOUS + General Grievous, I suggest you + move the Separatist leaders to + Mustafar. + + GENERAL GRIEVOUS + It will be done, My Lord. + + DARTH SLDIOUS + The end of the war is near, + General, and I promise you, victory + is assured. + + The hologram of Sidious talks to GRIEVOUS about the death + of Count Dooku. + + GENERAL GRIEVOUS + But the loss of Count Dooku? + + DARTH SLDIOUS + His death was a necessary loss, + which will ensure our victory. Soon + I will have a new apprentice... one + far younger and more powerful than + Lord Tyranus. + + +73 INT. CORUSCANT - PADME'S APARTMENT - TWILIGHT 73 + + PADME stands in the balcony brushing her hair. ANAKIN leans + against the wall, watching her lovingly. + + ANAKIN + 45. + + + ... every second I was thinking of + you. Protecting the endless, + nameless Outer Rim settlements + became a torture... the battles + were easy, the longing became + unbearable... I've never been so + happy as I am at this moment. + + PADME + Annie, I want to have our baby back + home on Naboo. We could go to the + lake country where no one would + know... where we would be safe. I + could go early-and fix up the + baby's room. I know the perfect + spot, right by the gardens. + + ANAKIN + You are so beautiful! + + PADME + It's only because I'm so in love... + + ANAKIN + No, it's because I'm so in love + with you. + + PADME + So love has blinded you? + + ANAKIN + Well, that's not exactly what I + meant... + + PADME + But it's probably true! + + They laugh. + + ANAKIN + I haven't laughed in so long... + + PADME + Neither have I. + + +74 INT. POLIS MASSA - MEDICAL CENTER - DREAM 74 + + The view is strangely distorted and disorienting. PADME is + on a table in an alien medical chamber. She is giving birth + and is screaming. + + PADME + 46. + + + Anakin, help me! Help, Anakin! + Anakin, I love you. I love you. + + She screams and dies. + + +75 INT. CORUSCANT - PADME'S APARTMENT - BEDROOM - NIGHT 75 + + ANAKIN awakens in a panic. He is covered in sweat. He looks + over in the bed and sees PADME sound asleep next to him. + ANAKIN gets out from under the sheets and sits on the side + of the bed. He is breathing heavily. He puts his head in + his hands and weeps. He regains his composure and leaves + the room down a set of stairs. PADME awakens, realizes + Anakin is gone. + + PADME + Anakin?? + + She gets out of bed and goes downstairs to look for him. + + +76 EXT. CORUSCANT - PADME'S APARTMENT - VERANDA - NIGHT 76 + + ANAKIN walks down a flight of stairs onto a large veranda. + The vast city planet of Coruscant, smoldering from the + battle, is spread out before him. He is distraught. PADME + descends the stairs and joins ANAKIN on the veranda. She + takes his hand. He doesn't look at her. + + PADME + What's bothering you? + + ANAKIN + Nothing... + + ANAKIN touches the japor snippet around PADME'S neck, that + Anakin gave her when he was a small boy. + + ANAKIN + (continuing) + I remember when I gave this to you. + + PADME + Anakin, how long is it going to + take for us to be honest with each + other? + + ANAKIN + It was a dream. + + PADME + Bad? + 47. + + + ANAKIN + Like the ones I used to have about + my mother just before she died. + + PADME + And? + + ANAKIN + It was about you. + +They look at each other. A moment of concern passes between +them. + + PADME + Tell me. + + ANAKIN + It was only a dream. + +PADME gives him a long, worried look. ANAKIN takes a deep +breath. + + ANAKIN + (continuing) + You die in childbirth... + + PADME + And the baby? + + ANAKIN + I don't know. + + PADME + It was only a dream. + +ANAKIN takes PADME in his arms. + + ANAKIN + ... I won't let this one become + real, Padme. + +They embrace, then part. + + PADME + Anakin, this baby will change our + lives. I doubt the Queen will + continue to allow me to serve in + the Senate, and if the Council + discovers you are the father, you + will be expelled from the Jedi + Order. + + ANAKIN + 48. + + + I know …. + + PADME + Anakin, do you think Obi-Wan might + be able to help us? + + ANAKIN + (suspicious) + Have you told him anything? + + PADME + No, but he's your mentor, your best + friend... he must suspect + something. + + ANAKIN + He's been a father to me, but he's + still on the Council. Don't tell + him anything! + + PADME + I won't, Anakin. + + ANAKIN + I don't need his help... Our baby + is a blessing, not a problem. + + +77 INT. CORUSCANT - JEDI TEMPLE - YODAS QUARTERS - DAY 77 + + YODA and ANAKIN sit in Yoda 's room, deep in thought. + + YODA + Premonitions... premonitions... + Hmmmm... these visions you have... + + ANAKIN + They are of pain, suffering, + death... + + YODA + Yourself you speak of, or someone + you know? + + ANAKIN + Someone... + + YODA + ... close to you? + + ANAKIN + Yes. + 49. + + + YODA + Careful you must be when sensing + the future, Anakin. The fear of + loss is a path to the dark side. + + ANAKIN + I won't let these visions come + true, Master Yoda. + + YODA + Death is a natural part of life. + Rejoice for those around you who + transform into the Force. Mourn + them, do not. Miss them, do not. + Attachment leads to jealousy. The + shadow of greed, that is. + + ANAKIN + What must I do, Master Yoda? + + YODA + Train yourself to let go of + everything you fear to lose. + + +78 INT. CORUSCANT - JEDI TEMPLE - HALLWAY - DAY 78 + + ANAKIN hurries down a temple hallway, heading toward a Jedi + Briefing Room. SEVERAL JEDI are exiting. + + +79 INT. CORUSCANT - JEDI TEMPLE - BRIEFING ROOM - DAY 79 + + ANAKIN rushes into the Briefing Room. By the time he + reaches the Chamber, the last of the Jedi are leaving. Only + OBI-WAN remains at the front of the lecture hall. He is + shutting off some holograms and electronic charts and maps. + + OBI-WAN + You missed the report on the Outer + Rim sieges. + + ANAKIN + I'm sorry, I was held up. I have no + excuse. + + OBI-WAN + In short, they are going very well. + Saleucami has fallen, and Master + Vos has moved his troops to Boz + Pity. + + ANAKIN + 50. + + +What's wrong then? + + OBI-WAN +The Senate is expected to vote more +executive powers to the Chancellor +today. + + ANAKIN +Well, that can only mean less +deliberating and more action. Is +that bad? It will make it easier +for us to end this war. + + OBI-WAN +Anakin, be careful of your friend +Palpatine. + + ANAKIN +Be careful of what? + + OBI-WAN +He has requested your presence. + + ANAKIN +What for? + + OBI-WAN +He would not say. + + ANAKIN +He didn't inform the Jedi Council? +That's unusual, isn't it? + + OBI-WAN +All of this is unusual, and it's +making me feel uneasy. You're +probably aware that relations +between the Council and the +Chancellor are stressed. + + ANAKIN +I know the Council has grown wary +of the Chancellor's power, mine +also for that matter. Aren't we all +working together to save the +Republic? Why all this distrust? + + OBI-WAN +The Force grows dark, Anakin, and +we are all affected by it. Be wary +of your feelings. + 51. + + +80 INT. CORUSCANT - CHANCELLOR'S OFFICE - DAY 80 + + ANAKIN stands with PALPATINE at his window overlooking the + vastness of Coruscant. Several buildings have been + destroyed. A brown haze hangs over the landscape. + + PALPATINE + Anakin, this afternoon the Senate + is going to call on me to take + direct control of the Jedi Council. + + ANAKIN + The Jedi will no longer report to + the Senate? + + PALPATINE + They will report to me... + personally. The Senate is too + unfocused to conduct a war. This + will bring a quick end to things. + + ANAKIN + I agree, but the Jedi Council may + not see it that way. + + PALPATINE + There are times when we must all + endure adjustments to the + constitution in the name of + security. + + ANAKIN + With all due respect, sir, the + Council is in no mood for more + constitutional amendments. + + PALPATINE + Thank you, my friend, but in this + case I have no choice... this war + must be won. + + ANAKIN + Everyone will agree on that. + + PALPATINE + Anakin, I've known you since you + were a small boy. I have advised + you over the years when I could... + I am very proud of your + accomplishments. You have won many + battles the Jedi Council thought + were lost... and you saved my life. + I hope you trust me, Anakin. + 52. + + + ANAKIN + Of course. + + PALPATINE + I need your help, son. + + ANAKIN + What do you mean? + + PALPATINE + I fear the Jedi. The Council keeps + pushing for more control. They're + shrouded in secrecy and obsessed + with maintaining their autonomy... + ideals. I find simply + incomprehensible in a democracy. + + ANAKIN + I can assure you that the Jedi are + dedicated to the values of the + Republic, sir. + + PALPATINE + Nevertheless, their actions will + speak more loudly than their words. + I'm depending on you. + + ANAKIN + For what? I don't understand. + + PALPATINE + To be the eyes, ears, and voice of + the Republic... + +ANAKIN thinks about this. + + PALPATINE + (continuing) + Anakin... I'm appointing you to be + my personal representative on the + Jedi Council. + + ANAKIN + Me? A Master? I am overwhelmed, + sir, but the Council elects its own + members. They will never accept + this. + + PALPATINE + I think they will... they need you + more than you know. + 53. + + +81 INT. CORUSCANT - BAIL ORGANA'S OFFICE - DAY 81 + + PADME, BAIL ORGANA, and SENATORS MON MOTHMA, FANG ZAR, TERR + TANEEL, and GIDDEAN DANU sit in Senator Organa 's office. + + BAIL ORGANA + Now that he has control of the Jedi + Council, the Chancellor has + appointed Governors to oversee all + star systems in the Republic. + + FANG ZAR + When did this happen? + + BAIL ORGANA + The decree was posted this morning. + + PADME + Do you think he will dismantle the + Senate? + + MON MOTHMA + Why bother? As a practical matter, + the Senate no longer exists. + + GIDDEAN DANU + The constitution is in shreds. + Amendment after amendment executive + directives, sometimes a dozen in + one day. + + BAIL ORGANA + We can't let a thousand years of + democracy disappear without a + fight. + + EVERYONE looks at each other, a little worried at the + implications of what was just said. + + TERR TANEEL + What are you suggesting? + + BAIL ORGANA + I apologize. I didn't mean to sound + like a Separatist. + + MON MOTHMA + We are not Separatists trying to + leave the Republic. We are + loyalists, trying to preserve + democracy in the Republic. + + BAIL ORGANA + 54. + + + It has become increasingly clear to + many of us that the Chancellor has + become an enemy of democracy. + + PADME + I can't believe it has come to + this! Chancellor Palpatine is one + of my oldest advisors. He served as + my Ambassador when I was Queen. + + GLDDEAN DANU + Senator, I fear you underestimate + the amount of corruption that has + taken hold in the Senate. + + MON MOTHMA + The Chancellor has played the + Senators well. They know where the + power lies, and they will do + whatever it takes to share in it. + Palpatine has become a dictator and + we have helped him to do it. + + BAIL ORGANA + We can't sit around debating any + longer, we have decided to do what + we can to stop it. Senator Mon + Mothma and I are putting together + an organization... + + PADME + Say no more. Senator Organa. I + understand. At this point, it's + better to leave some things unsaid. + + BAIL ORGANA + Yes. I agree and we must not + discuss this with anyone, without + everyone in this group agreeing. + + MON MOTHMA + That means those closest to you... + even family... no one can be told. + + They ALL nod their heads. PADME considers this for a + moment. + + PADME + Agreed. + + +82 INT. CORUSCANT - JEDI TEMPLE - HALLWAY OUTSIDE COUNCIL 82 + CHAMBERS - DAY + 55. + + + ANAKIN stands pensively in front of the Jedi Council + Chambers. The door opens. + + +83 INT. CORUSCANT - JEDI TEMPLE - COUNCIL CHAMBERS - DAY 83 + + ANAKIN enters and stands in the middle of the room. He is + surrounded by the Jedi Council MACE WINDU, EETH KOTH OBI- + WAN, YODA, the HOLOGRAMS of PLO KOON and KI-ADI-MUNDI. + + MACE + Anakin Skywalker, we have approved + your appointment to the Council as + the Chancellor's personal + representative. + + ANAKIN + I will do my best to uphold the + principles of the Jedi Order. + + YODA + Allow this appointment lightly, the + Council does not. Disturbing is + this move by Chancellor Palpatine. + + ANAKIN + I understand. + + MACE + You are on this Council, but we do + not grant you the rank of Master. + + Anakin reacts with anger. + + ANAKIN + What? ! How can you do this?? This + is outrageous, it's unfair... I'm + more powerful than any of you. How + can you be on the Council and not + be a Master? + + MACE + Take a seat, young Skywalker. + + ANAKIN + Forgive me, Master. + + ANAKIN goes and sits in one of the empty chairs. Everyone + is embarrassed. KI-ADI-MUNDI WHO APPEARS AS A HOLOGRAM, + speaks. + + KL-ADI-MUNDI + 56. + + +We have surveyed all systems in the +Republic, and have found no sign of +General Grievous. + + YODA +Hiding in the Outer Rim, Grievous +is. The outlying systems, you must +sweep. + + OBI-WAN +It may take some time... we do not +have many ships to spare. + + MACE +We cannot take ships from the front +line. + + OBI-WAN +And yet, it would be fatal for us +to allow the droid armies to +regroup. + + YODA +Master Kenobi, our spies contact, +you must, and then wait. + + KL-ADI-MUNDI +What about the droid attack on the +Wookiees? + + MACE +It is critical we send an attack +group there, immediately! + + OBI-WAN +He's right, that is a system we +cannot afford to lose. It's the +main navigation route for the +southwestern quadrant. + + ANAKIN +I know that system well. It would +take us little time to drive the +droids off that planet. + + MACE +Skywalker, your assignment is here +with the Chancellor, and Kenobi +must find General Grievous. + + YODA +Go, I will. Good relations with the +Wookiees, I have. + 57. + + + MACE + It is settled then. Yoda will take + a battalion of clones to reinforce + the Wookiees on Kashyyyk. May the + Force be with us all. + + ANAKIN is disappointed. + + +84 INT. CORUSCANT - JEDI TEMPLE - MASSIVE MAIN HALLWAY AND 84 + ALCOVE - LATE AFTERNOON + + ANAKIN and OBI-WAN walk through one of the massive Jedi + Temple hallways. ANAKIN is furious. + + ANAKIN + What kind of nonsense is this, put + me on the Council and not make me a + Master!?? That's never been done in + the history of the Jedi. It's + insulting! + + OBI-WAN + Calm down, Anakin. You have been + given a great honor. To be on the + Council at your age... It's never + happened before. Listen to me, + Anakin. The fact of the matter is + you're too close to the Chancellor. + The Council doesn't like it when he + interferes in Jedi affairs. + + ANAKIN + I swear to you, I didn't ask to be + put on the Council... + + OBI-WAN + But it's what you wanted! Your + friendship with Chancellor + Palpatine seems to have paid off. + + ANAKIN + That has nothing to do with this. + + OBI-WAN + Anakin, regardless of how it + happened, you find yourself in a + delicate situation. + + ANAKIN + You mean divided loyalties. + + OBI-WAN + 58. + + +I warned you there was tension +between the Council and the +Chancellor. I was very clear. Why +didn't you listen? You walked right +into it. + + ANAKIN +The Council is upset I'm the +youngest to ever serve. + + OBI-WAN +No, it is not. Anakin, I worry when +you speak of jealousy and pride. +Those are not Jedi thoughts. +They're dangerous, dark thoughts. + + ANAKIN +Master, you of all people should +have confidence in my abilities. I +know where my loyalties lie. + + OBI-WAN +I hope so... + + ANAKIN +I sense there's more to this talk +than you're saying. + + OBI-WAN +Anakin, the only reason the Council +has approved your appointment is +because the Chancellor trusts you. + + ANAKIN +And? + + OBI-WAN +Anakin, look, I am on your side. I +didn't want to see you put in this +situation. + + ANAKIN +What situation? + + OBI-WAN + (takes a deep breath) +The Council wants you to report on +all of the Chancellor's dealings. +They want to know what he's up to. + + ANAKIN +They want me to spy on the +Chancellor? That's treason! + 59. + + + OBI-WAN + We are at war, Anakin. The Jedi + Council is sworn to uphold the + principles of the Republic, even if + the Chancellor does not. + + ANAKIN + Why didn't the Council give me this + assignment when we were in session? + + OBI-WAN + This assignment is not to be on + record. The Council asked me to + approach you on this personally. + + ANAKIN + The Chancellor is not a bad man, + Obi-Wan. He befriended me. He's + watched out for me ever since I + arrived here. + + OBI-WAN + That is why you must help us, + Anakin. Our allegiance is to the + Senate, not to its leader who has + managed to stay in office long + after his term has expired. + + ANAKIN + Master, the Senate demanded that he + stay longer. OBI-WAN: Yes, but use + your feelings, Anakin. Something is + out of place. You're asking me to + do something against the Jedi Code. + Against the Republic. Against a + mentor... and a friend. That's + what's out of place here. Why are + you asking this of me? + + OBI-WAN + The Council is asking you. + + +85 EXT. CORUSCANT - CLONE LANDING PLATFORM - DAY 85 + + A JEDI GUNSHIP heads for the huge Clone landing platform. + + +86 INT. CORUSCANT - JEDI GUNSHIP - DAY 86 + + YODA, MACE, and OBI-WAN ride in the GUNSHIP as it heads for + the Clone landing platform. Mace and Obi-Wan are sitting. + 60. + + + OBI-WAN + Anakin did not take to his + assignment with much enthusiasm. + + YODA + Too much under the sway of the + Chancellor, he is. Much anger there + is in him. Too much pride in his + powers. + + MACE + It's very dangerous, putting them + together. I don't think the boy can + handle it. I don't trust him. + + OBI-WAN + He'll be all right. I trust him + with my life. + + MACE + I wish I did. + + OBI-WAN + With all due respect, Master, is he + not the Chosen One? Is he not to + destroy the Sith and bring balance + to the Force? + + MACE + So the prophecy says. + + YODA + A prophecy... that misread could + have been. + + OBI-WAN + He will not let me down. He never + has. + + YODA + I hope right you are. And now + destroy the Droid armies on + Kashyyyk, I will. May the Force be + with you. + + The GUNSHIP lands and the ramp lowers. YODA exits the + GUNSHIP. MACE and OBI-WAN stand and give him a brief bow + then take off in the GUNSHIP. + + +87 EXT. CORUSCANT - PADME'S APARTMENT - VERANDA - SUNSET 87 + 61. + + +Padme's Speeder pulls up to the landing platform. CAPTAIN +TYPHO escorts PADME onto the veranda, where TWO HANDMAIDENS +(ELLE and MOTEE) are waiting. PADME turns to CAPTAIN TYPHO. + + PADME + Thank you, Captain. + + CAPTAIN TYPHO + Rest well. My Lady. + +CAPTAIN TYPHO gets back into the Speeder, and it disappears +into the cityscape. The HANDMAIDENS, Motee and Elle, +approach PADME as the SHADOW OF A FIGURE moves in the +background. C-3PO is standing nearby. + + PADME + I'll be up in a while. + + MOTEE + Yes, my lady. + +C-3PO stands, confused, as the HANDMAIDENS turn and exit. + + C-3PO + Is there anything I might do for + you, my lady? + + PADME + Yes, make sure all the security + droids are working. Thank you, + Threepio. + +The golden droid turns and exits. + +PADME stands and watches the sunset. The SHADOWY FIGURE +moves toward her. She senses something. + + ANAKIN + Beautiful, isn't it? + +PADME jumps and turns around. + + PADME + You startled me. + +He sits next to her on the bench. + + ANAKIN + How are you feeling? + + PADME + He keeps kicking. + 62. + + + ANAKIN + He?! Why do you think it's a boy? + + PADME + (laughs) + My motherly intuition. + +She puts his hand on her belly. + + ANAKIN + Whoa! With a kick that strong, it's + got to be a girl. + +They laugh. + + PADME + I heard about your appointment. + Anakin. I'm so proud of you. + + ANAKIN + I may be on the Council, but... + they refused to accept me as a Jedi + Master. + + PADME + Patience. In time, they will + recognize your skills. + + ANAKIN + They still treat me as if I were a + Padawan learner... they fear my + power, that's the problem. + + PADME + Anakin... + + ANAKIN + Sometimes, I wonder what's + happening to the Jedi Order... I + think this war is destroying the + principles of the Republic. + + PADME + Have you ever considered that we + may be on the wrong side? + + ANAKIN + (suspicious) + What do you mean? + + PADME + 63. + + + What if the democracy we thought we + were serving no longer exists, and + the Republic has become the very + evil we have been fighting to + destroy? + + ANAKIN + I don't believe that. And you're + sounding like a Separatist! + + PADME + Anakin, this war represents a + failure to listen... Now, you're + closer to the Chancellor than + anyone. Please, please ask him to + stop the fighting and let diplomacy + resume. + + ANAKIN + (growing angry) + Don't ask me to do that, Padme. + Make a motion in the Senate, where + that kind of a request belongs. I'm + not your errand boy. I'm not + anyone's errand boy! + + PADME + What is it? + + ANAKIN + Nothing. + + PADME + Don't do this... don't shut me out. + Let me help you. + + ANAKIN + You can't help me... I'm trying to + help you. + +They look in each other's eyes. + + ANAKIN + (continuing) + I sense... there are things you are + not telling me. + +PADME is startled at this. + + PADME + I sense there are things you are + not telling me. + 64. + + + PADME smiles. ANAKIN is a little embarrassed. + + PADME + (continuing) + Hold me... like you did by the lake + on Naboo, so long ago... when there + was nothing but our love... No + politics, no plotting... no war. + + +88 INT. CORUSCANT - GALAXIES OPERA HOUSE - NIGHT 88 + + ANAKIN lands his speeder and exits. + + ANAKIN runs up the stairs at the Galaxies Opera House. + + ANAKIN runs through the hallway and enters Palpatine's box, + where the CHANCELLOR is sitting with Mas Amedda and Sly- + Moore, watching the Man Calamari Ballet doing "Squid Lake." + + ANAKIN + You wanted to see me, Chancellor. + + PALPATINE + Yes, Anakin! Come closer. I have + good news. Our Clone Intelligence + Units have discovered the location + of General Grievous. He is hiding + in the Utapau system. + + ANAKIN + At last, we'll be able to capture + that monster and end this war. + + PALPATINE + I would worry about the collective + wisdom of the Council if they + didn't select you for this + assignment. You are the best choice + by far … but, they can't always be + trusted to do the right thing. + + ANAKIN + They try. + + PALPATINE + Sit down, + (to his aides) + Leave us. + + ANAKIN sits next to PALPATINE. The Chancellor leans over to + him. + 65. + + + PALPATINE + (continuing) + Anakin, you know I'm not able to + rely on the Jedi Council. If they + haven't included you in their plot, + they soon will. + + ANAKIN + I'm not sure I understand. + + PALPATINE + You must sense what I have come to + suspect... the Jedi Council want + control of the Republic... they're + planning to betray me. + + ANAKIN + I don't think... + + PALPATINE + Anakin, search your feelings. You + know, don't you? + + ANAKIN + I know they don't trust you... + + PALPATINE + Or the Senate... or the Republic... + or democracy for that matter. + + ANAKIN + I have to admit my trust in them + has been shaken. + + PALPATINE + Why? They asked you to do something + that made you feel dishonest, + didn't they? + +ANAKIN doesn't say anything. He simply looks down. + + PALPATINE + (continuing) + They asked you to spy on me, didn't + they? + + ANAKIN + I don't know... I don't know what + to say. + + PALPATINE + 66. + + + Remember back to your early + teachings. Anakin. "All those who + gain power are afraid to lose it." + Even the Jedi. + + ANAKIN + The Jedi use their power for good. + + PALPATINE + Good is a point of view, Anakin. + And the Jedi point of view is not + the only valid one. The Dark Lords + of the Sith believe in security and + justice also, yet they are + considered by the Jedi to be... + + ANAKIN + ... evil. + + PALPATINE + ... from a Jedi's point of view. + The Sith and the Jedi are similar + in almost every way, including + their quest for greater power. The + difference between the two is the + Sith are not afraid of the dark + side of the Force. That is why they + are more powerful. + + ANAKIN + The Sith rely on their passion for + their strength. They think inward, + only about themselves. + + PALPATINE + And the Jedi don't? + + ANAKIN + The Jedi are selfless... they only + care about others. + +PALPATINE smiles. + + PALPATINE + Or so you've been trained to + believe. Why is it, then, that they + have asked you to do something you + feel is wrong? + + ANAKIN + I'm not sure it's wrong. + + PALPATINE + 67. + + + Have they asked you to betray the + Jedi code? The Constitution? A + friendship? Your own values? Think. + Consider their motives. Keep your + mind clear of assumptions. The fear + of losing power is a weakness of + both the Jedi and the Sith. + +ANAKIN is deep in thought. + + PALPATINE + (continuing) + Did you ever hear the tragedy of + Darth Plagueis "the wise"? + + ANAKIN + No. + + PALPATINE + I thought not. It's not a story the + Jedi would tell you. It's a Sith + legend. Darth Plagueis was a Dark + Lord of the Sith, so powerful and + so wise he could use the Force to + influence the midi-chlorians to + create life... He had such a + knowledge of the dark side that he + could even keep the ones he cared + about from dying. + + ANAKIN + He could actually save people from + death? + + PALPATINE + The dark side of the Force is a + pathway to many abilities some + consider to be unnatural. + + ANAKIN + What happened to him? + + PALPATINE + He became so powerful... the only + thing he was afraid of was losing + his power, which eventually, of + course, he did. Unfortunately, he + taught his apprentice everything he + knew, then his apprentice killed + him in his sleep. + (smiles) + 68. + + + Plagueis never saw it coming. It's + ironic he could save others from + death, but not himself. + + ANAKIN + Is it possible to learn this power? + + PALPATINE + Not from a Jedi. + + +89 EXT. KASHYYYK - DAY 89 + + A WOOKIEE CATAMARAN flanked by WOOKIEE HELICOPTERS + approaches the tree housing the HOLOGRAM AREA. + + +90 INT. KASHYYYK - HOLOGRAM AREA - DAY 90 + + YODA and various JEDI speak via hologram. The discussion + includes OBI-WAN, MACE, AGEN KOLAR, YODA- KI-ADI-MUNDI and + PLO KOON. + + KL-ADI-MUNDI + (holo) + Palpatine thinks General Grievous + is on Utapau. We have had no + reports of this from our agents. + + MACE + (holo) + How could the Chancellor have come + by this information and we know + nothing about it? We have had + contact with Baron Papanoida and he + said no one was there. + + ANAKIN + A partial message was intercepted + in a diplomatic packet from the + Chairman of Utapau. + + YODA + Act on this, we must. The capture + of General Grievous will end this + war. Quickly and decisively we + should proceed. + + OBI-WAN + Does everyone agree? + + All the JEDI concur. + 69. + + + ANAKIN + The Chancellor has requested that I + lead the campaign. + +They all look at ANAKIN a bit disturbed. + + MACE + (a little peeved) + The Council will make up its own + mind who is to go, not the + Chancellor. + + KL-ADI-MUNDI + Yes, this decision is ours to make. + +ANAKIN is embarrassed and becomes sullen. + + YODA + A Master is needed, with more + experience. + + MACE + Given our resources, I recommend we + send only one Jedi... Master + Kenobi. + + ANAKIN + He was not so successful the last + time he met Grievous. + +OBI-WAN throws ANAKIN a dirty look. + + ANAKIN + (continuing) + No offense, my Master, but I'm only + stating a fact. + + OBI-WAN + Oh no, you're quite right, but I do + have the most experience with his + ways of combat. + + YODA + Obi-Wan, my choice is. + + KL-ADI-MUNDI + I concur. Master Kenobi should go. + + YODA + I agree. + +All the JEDI concur. + 70. + + + MACE + Very well. Council is adjourned. + + ANAKIN is angry. + + MACE + (continuing) + Obi-Wan, prepare two clone brigades + as quickly as you can. If this + report is true, there's no telling + how many battle droids he may have + with him. + + +91 INT. KASHYYYK - HOLOGRAM AREA - DAY 91 + + YODA gets out of his chair and walks to the edge of the + platform. + + CLONE COMMANDER GREE + The droids have started up their + main power generators. + + YODA + Then now the time is, Commander. + + CLONE COMMANDER GREE + Yes, sir. + + The battle begins. + + +92 EXT. KASHYYYK - BEACH HEAD - DAY 92 + + A WOOKIEE CHIEFTAIN lets out a roar as the Wookiee army + rushes to face the DROID ARMY. CORPORATE ALLIANCE TANK + DROIDS race across the water against the WOOKIEES and CLONE + TROOPERS on the beach. + + DROID GUNSHIPS provide air support, while a SPIDER DROID + emerges from the watery depths. A brave WOOKIEE places an + explosive on a SEPARATIST TANK and jumps off just before + the TANK EXPLODES. From the Hologram Area, Yoda observes + the ongoing battle. + + +93 EXT. CORUSCANT - PADME'S APARTMENT - EARLY MORNING 93 + + Padme's apartment building is surrounded by the smog- + shrouded city of Coruscant. + 71. + + +94 INT. CORUSCANT - PADME'S APARTMENT - LIVING ROOM - EARLY 94 + MORNING + + PADME and OBI-WAN sit on one of the couches. + + OBI-WAN + Has Anakin been to see you? + + PADME + Several times... I was so happy to + hear he was accepted on the Jedi + Council. + + OBI-WAN + I know... he deserves it. He is + impatient, strong willed, very + opinionated, but truly gifted. + + They laugh. + + PADME + You're not just here to say hello. + Something is wrong, isn't it? + + OBI-WAN + You should be a Jedi, Padme. + + PADME + You're not very good at hiding your + feelings. + + OBI-WAN + It's Anakin... He's becoming moody + and detached. He's been put in a + difficult position as the + Chancellor's representative... but + I think it's more than that. I was + hoping he may have talked to you. + + PADME + Why would he talk to me about his + work? + + OBI-WAN studies her. + + OBI-WAN + Neither of you is very good at + hiding your feelings either. + + PADME + Don't give me that look. + + OBI-WAN + 72. + + + I know how he feels about you. + + PADME + (nervous) + What did he say? + + OBI-WAN + Nothing. He didn't have to. + + PADME is a little flustered. She stands and Obi-Wan + follows. She walks to the balcony. + + PADME + I don't know what you're talking + about. + + OBI-WAN + I know you both too well. I can see + you two are in love. Padme, I'm + worried about him. + + PADME looks down and doesn't answer. + + OBI-WAN + (continuing) + I fear your relationship has + confused him. He's changed + considerably since we returned... + + They stand on the balcony and look off at the early morning + city. OBI-WAN starts to leave. PADME stays looking off into + the distant city. + + OBI-WAN + (continuing) + Padme, I'm not telling the Council + about any of this. I ... I hope I + didn't upset you. We're all + friends, I care about both of + you... + + PADME + Thank you, Obi-Wan. + + OBI-WAN + Please do what you can to help him. + + +95 INT. CORUSCANT - PADME'S APARTMENT - DAY 95 + + PADME, MON MOTHMA, and five other Senators (BANA BREEMU, + FANG ZAR. CHI EEKWAY, GIDDEAN DANU, BAIL ORGANA) sit in + Padme's living room. C-3PO serves drinks to the guests. + 73. + + + PADME +We cannot let this turn into +another war. + + BAIL ORGANA +Absolutely, that is the last thing +we want. + + MON MOTHMA +We are hoping to form an alliance +in the Senate to stop the +Chancellor from further subverting +the constitution, that's all. + + PADME +I know a Jedi I feel it would be +wise to consult. + + BANA BREEMU +That would be dangerous. + + MON MOTHMA +We don't know where the Jedi stand +in all this. + + PADME +I only wish to discuss this with +one... one I trust. + + GIDDEAN DANU +Going against the Chancellor +without the support of the Jedi is +risky. + + PADME +The Jedi aren't any happier with +the situation than we are... + + CHI EEKWAY +Patience, Senator. + + FANG ZAR +We have so many Senators on our +side, surely that will pursuade the +Chancellor. + + BANA BREEMU +When you present the "petition of +the two thousand" to the +Chancellor, things may change. + + BAIL ORGANA + 74. + + + Let us see what we can accomplish + in the Senate, before we include + the Jedi. + + PADME takes a deep breath in frustration and + disappointment. + + +96 EXT. CORUSCANT - CLONE LANDING PLATFORM - DAY 96 + + ANAKIN and OBI-WAN walk onto a landing platform overlooking + a docking bay where THOUSANDS OF CLONE TROOPS and armored + weapons, tanks, etc., are being loaded onto a massive + REPUBLIC ASSAULT SHIP. + + ANAKIN + You're going to need me on this + one, Master. + + OBI-WAN + Oh, I agree. However it may turn + out just to be a wild bantha chase. + + OBI-WAN starts to turn and leave. + + ANAKIN + Master! + + OBI-WAN stops and ANAKIN walks over to him. + + ANAKIN + (continuing) + Master, I've disappointed you. I + have not been very appreciative of + your training... I have been + arrogant and I apologize... I've + just been so frustrated with the + Council. Your friendship means + everything to me. + + OBI-WAN + You are strong and wise, Anakin, + and I am very proud of you. I have + trained you since you were a small + boy. I have taught you everything I + know. And you have become a far + greater Jedi than I could ever hope + to be, and you have saved my life + more times than I can remember. But + be patient, Anakin. It won't be + long before the Council makes you a + Jedi Master. + 75. + + + OBI-WAN starts down the ramp, then turns back. + + OBI-WAN + (continuing) + Don't worry. I have enough clones + with me to take three systems the + size of Utapau. I think I'll be + able to handle the situation... + even without your help. + + ANAKIN + Well, there's always a first time. + + OBI-WAN laughs. + + They talk for a few more minutes before ANAKIN watches OBI- + WAN depart. + + ANAKIN + Obi-Wan, may the Force be with you. + + OBI-WAN + Good-bye, old friend. May the Force + be with you. + + OBI-WAN heads down a ramp toward the waiting Republic + cruiser. + + +97 EXT. CORUSCANT - CLONE LANDING PLATFORM - DAY 97 + + The Republic cruiser lifts off and heads for space. + + +98 INT. REPUBLIC BATTLE CRUISER - HANGAR - SPACE 98 + + CLONE TROOPERS stand at attention in rows on the floor of + the hangar deck, waiting to board landing craft. OBI-WAN + stands next to his BLUE JEDI FIGHTER- talking to SEVERAL + CLONE COMMANDERS with their helmets off. A hologram of the + planet Utapau is projected by R4-G9 into the middle of the + hangar. + + CLONE COMMANDER CODY + Fortunately, most of the cities are + concentrated on this small + continent here... on the far side. + + OBI-WAN + I'll keep them distracted until you + get there. Just don't take too + long. + 76. + + + CLONE COMMANDER CODY + Come on, boss, when have I ever let + you down? + + They laugh. + + OBI-WAN + (laughing) + Cato Nemoidia... for starters. + + OBI-WAN climbs into his Jedi Fighter. + + CLONE COMMANDER CODY + That was Anakin who was late. I + believe. + + OBI-WAN + Very well, the burden is on me not + to destroy all the droids before + you get there. + + CLONE COMMANDER CODY + I'm counting on you. + + +99 EXT. JEDI FIGHTER - SPACE 99 + + OBI-WAN blasts the BLUE JEDI FIGHTER out of the Republic + Battle Cruiser and into the hyperspace ring. He heads for + the planet Utapau. + + +100 EXT. CORUSCANT - CITYSCAPE - CHANCELLOR'S TRANSPORT - DAY 100 + + The Chancellor's Transport races through the city and heads + for the Senate Office Building landing platform. Waiting on + the landing platform is a LONE JEDI. The Transport lands, + and CHANCELLOR PALPATINE emerges with FOUR ROYAL GUARDS and + MAS AMEDDA. The FOUR ROYAL GUARDS move off in another + direction as PALPATINE greets ANAKIN, who has been waiting + for him. + + PALPATINE + Well, Anakin, did you see your + friend off? + + ANAKIN + He will soon have Grievous's head. + + PALPATINE + We can only hope the Council didn't + make a mistake. + 77. + + + ANAKIN + The Council was very sure in its + decision. + + They exit the landing platform. + + +101 INT. CORUSCANT - SENATE OFFICE BUILDING - MAIN HALLWAY - 101 + DAY + + They enter the main hallway of the Senate Office Building. + They pass SEVERAL SENATORS, including REPRESENTATIVE JAR + JAR BINKS from Naboo. + + JAR JAR + Helloo Annie. Good en to see yousa + ... + + The Gungan waves to Anakin. + + ANAKIN + Hi, Jar Jar. + + JAR JAR + Oopsin da Chancellor!! So sorry, + Your Highness, sir. + + Anakin turns back to the Chancellor. + + PALPATINE + There are rumors in the Senate + about Master Kenobi. Many believe + he is not fit for this assignment. + + ANAKIN + Not fit? Why would anyone think + that? + + PALPATINE + They say his mind has become fogged + by the influence of a certain + female Senator. + + ANAKIN + That's ridiculous. Who?!? + + PALPATINE + (slyly) + No one knows who she is... only + that she is a Senator. + + ANAKIN + That's impossible. I would know. + 78. + + + PALPATINE: Sometimes the closest are the ones who cannot + see. + + ANAKIN becomes worried. + + PALPATINE + (continuing) + Idle Senate gossip is rarely true + and never accurate. I'm sure your + Master will do fine. + + +102 INT. POLIS MASSA - MEDICAL CENTER - DREAM 102 + + PADME calls out in pain. OBI-WAN is near her and softly + speaks to her. + + OBI-WAN + Save your energy. + + PADME + I can't! + + OBI-WAN + Don't give up, Padme. Don't give + up... + + +103 INT. CORUSCANT - PADME'S APARTMENT - LANDING ROOM - DAY 103 + + ANAKIN is in the living room, working. He sits on the couch + where Obi-Wan was sitting. PADME enters and crosses behind + him. + + ANAKIN + I sense someone familiar... Obi- + Wan's been here, hasn't he? + + PADME + He came by this morning. + + ANAKIN + What did he want? + + PADME looks at him for a moment. ANAKIN seems tense. + + PADME + He's worried about you. + + ANAKIN + You told him about us, didn't you? + + She continues to walk to the bedroom, he follows. + 79. + + + PADME + He's your best friend, Anakin. He + says you're under a lot of stress. + + ANAKIN + And he's not? + + PADME + You have been moody lately. + + ANAKIN + I'm not moody... + + PADME + Anakin! Don't do this again. + + ANAKIN + I don't know... I feel... lost. + + PADME + Lost? What do you mean? You're + always so sure of yourself. I don't + understand. + + ANAKIN + Obi-Wan and the Council don't trust + me. + + PADME + They trust you with their lives. + Obi-Wan loves you as a son. + + ANAKIN + Something's happening... I'm not + the Jedi I should be. I am one of + the most powerful Jedi, but I'm not + satisfied... I want more, and I + know I shouldn't. + + PADME + You expect too much of yourself. + +They stop in front of the window in the bedroom. ANAKIN +puts his hand on her belly. + + ANAKIN + I have found a way to save you. + + PADME + Save me? + + ANAKIN + From my nightmares. + 80. + + + PADME + Is that what's bothering you? + + ANAKIN + I won't lose you, Padme. + + PADME + I'm not going to die in childbirth, + Annie. I promise you. + + ANAKIN + No, I promise you! I am becoming so + powerful with my new knowledge of + the Force, I will be able to keep + you from dying. + + PADME looks ANAKIN in the eye. + + PADME + You don't need more power, Anakin. + I believe you can protect me + against anything, just as you are. + + They embrace and kiss. + + +104 EXT. UTAPAU - SPACE 104 + + OBI-WAN blasts out of the BLUE JEDI FIGHTER's hyperspace + ring and heads for the planet Utapau. The BLUE FIGHTER + skims over the planet's surface, flat except for a few + giant sinkholes. + + +105 INT. UTAPAU - LANDING PLATFORM - DAY 105 + + OBI-WAN lands his ship on a Platform projecting out of the + side of a giant sinkhole. All is quiet. A local + administrator, TION MEDON, comes out to greet the ship. + OBI-WAN climbs out of his Fighter as a SHORT GROUND CREW + looks over his ship. On a ledge above the landing platform, + GRIEVOUS's BODYGUARDS watch as OBI-WAN talks to TION MEDON. + + TION MEDON + Greetings, young Jedi. What brings + you to our remote sanctuary? + + OBI-WAN + Unfortunately, the war. + + TION MEDON + There is no war here unless you've + brought it with you. + 81. + + + OBI-WAN + With your kind permission, I should + like some fuel and to use your city + as a base as I search nearby + systems for General Grievous. + + A GROUND CREW rushes out and refuels Obi-Wan’s Fighter. + TION MEDON leans close to OBI-WAN and speaks quietly. + + TION MEDON + He is here! We are being held + hostage. They are watching us. + + OBI-WAN + I understand. + + TION MEDON + The tenth level... thousands of + Battle Droids... + + OBI-WAN + Tell your people to take shelter. + If you have warriors, now is the + time. + + OBI-WAN starts back toward his Starfighter as TION MEDON + leaves the Landing Platform. GRIEVOUS's BODYGUARDS retreat + from the overhead platform. OBI-WAN climbs back into his + BLUE JEDI FIGHTER. His Astro Unit (R4-G9) turns to him: + + OBI-WAN + (continuing) + Geenine, take the Fighter back to + the ship. I'm staying here. Tell + Cody I've made contact. + + The little Astro Droid BEEPS a reply. + + +106 EXT. UTAPAU - OBSERVATION DECK - DAY 106 + + On a high balcony, TION MEDON looks down on the landing + platform. A few steps behind him stands one of GENERAL + GRIEVOUS's BODYGUARDS. + + They watch the canopy lower. + + TION MEDON + I told you, all he wanted was fuel. + + BODYGUARD + What was his name? + 82. + + + TION MEDON + He didn't say. + + They watch as the BLUE JEDI FIGHTER takes off. + + +107 INT. UTAPAU - LANDING PLATFORM - HALLWAY - DAY 107 + + OBI-WAN also watches his ship take off. He is hiding in the + hallway. He quietly moves farther into the city. + + +108 EXT. UTAPAU STAIRWAY - SINKHOLE RIM - DAY 108 + + OBI-WAN quickly rushes up a stairway cut into the side of + the sinkhole. It's hard to see him. In an alcove, he + carefully surveys the city, then quickly moves on. + + +109 INT. UTAPAU-CITY - DRAGON CORRAL - DAY 109 + + OBI-WAN makes his way through the city, looking up at the + tenth level with electro-binoculars from his utility belt. + He tries to figure out how he is going to get up there. He + hears strange bellowing cries and he investigates. + + He comes across a corral filled with about half a dozen + DRAGON-LIKE LIZARDS. SEVERAL WRANGLERS are standing around. + + OBI-WAN walks up to the WRANGLERS and uses the Force with + his slight hand movements. + + OBI-WAN + I need transportation. + + WRANGLER + (subtitled, in native + tongue) + You need transportation. + + OBI-WAN + Get it for me. + + WRANGLER + (subtitled, in native + tongue) + I will get it for you. + + One of the WRANGLERS turns to the others and chatters away + in his strange tongue. OBI-WAN walks along the line of + DRAGON/LIZARDS, checking out each one. He looks at their + teeth, legs, etc. Finally he pats one on the neck. + 83. + + + OBI-WAN + This one. + + The WRANGLER brings the chosen one over to him. + + WRANGLER + Boga. She answers to Boga. + + OBI-WAN + Good girl, Boga. + + OBI-WAN swings onto the back of the LIZARD. The beast rears + up and scurries outside to the edge of the sinkhole. + + +110 EXT. UTAPAU - SINKHOLE WALL - LIZARD - DAY 110 + + The LIZARD BOGA rears up on her hind legs again, then + climbs the wall of the sheer cliff and starts moving up + toward the tenth level. The city appears to be deserted. + OBI-WAN is alert to any movement. + + +111 INT. UTAPAU - CONFERENCE ROOM - GRAND CHAMBER - DAY 111 + + GENERAL GRIEVOUS stands before the COUNCIL OF SEPARATISTS, + including NUTE GUNRAY, RUNE HAAKO. POGGLE THE LESSER, SHU + MAI, SAN HILL PO NUDO, WAT TAMBOR, and PASSEL ARGENTE. OBI- + WAN hides above the assembly and watches intently. + + GENERAL GRIEVOUS: It won't be long before the armies of the + Republic track us here. I am sending you to the Mustafar + system in the Outer Rim. It is a volcanic planet which + generates a great deal of scanning interference. You will + be safe there. + + NUTE GUNRAY: Safe? Chancellor Palpatine managed to escape + your grip, General, without Count Dooku. I have doubts + about your ability to keep us safe. + + GENERAL GRIEVOUS + Be thankful, Viceroy, you have not + found yourself in my grip... Your + ship is waiting. + + OBI-WAN is deep in thought. + + +112 INT. UTAPAU - TENTH LEVEL - CONTROL CENTER - DAY 112 + + The JEDI removes his cloak and jumps down behind the + GENERAL. + 84. + + + OBI-WAN + Hello, there! + + GENERAL GRIEVOUS + General Kenobi, you are a bold one. + I find your behavior bewildering... + Surely you realize you're doomed, + (to droids) + Kill him! + +About a HUNDRED BATTLE DROIDS surround OBI-WAN, GENERAL +GRIEVOUS, and his BODYGUARDS. OBI-WAN looks around, then +walks right up to GENERAL GRIEVOUS. + +They stare at each other for a moment. + + GENERAL GRIEVOUS + Enough of this. + +The BODYGUARDS raise their power staffs to knock OBI-WAN +away, but OBI-WAN ducks as the deadly staffs whistle over +his head. The Jedi's lightsaber ignites, and OBI-WAN deftly +cuts one BODYGUARD in two. His staff flies into the air and +is caught by GENERAL GRIEVOUS. The other THREE BODYGUARDS +attack OBI-WAN with an intense fury. + +OBI-WAN uses the Force to release apiece of equipment from +the ceiling. It drops on the BODYGUARDS, smashing them. +OBI-WAN walks toward GRIEVOUS, slashing the last BODYGUARD +to pieces. BATTLE DROIDS move toward OBI-WAN. + + GENERAL GRIEVOUS + Back away. I will deal with this + Jedi slime myself. + + OBI-WAN + Your move. + + GENERAL GRIEVOUS + You fool. I have been trained in + your Jedi arts by Count Dooku + himself. Attack, Kenobi. + +His arms separate and grab all four lightsabers on his +belt. His four arms create a flashing display of +swordsmanship. + + OBI-WAN + You forget I trained the Jedi that + defeated Count Dooku! + 85. + + + OBI-WAN is hard-pressed to defend himself against the + deadly onslaught. They fight across the control room as the + BATTLE DROID SHARPSHOOTERS try to pick off the Jedi. OBI- + WAN mounts a ferocious counterattack and cuts off one of + GRIEVOUS's hands. A loud EXPLOSION is heard echoing + throughout the sinkhole. GENERAL GRIEVOUS and OBI-WAN + glance to the entrance of the control center and see CLONE + TROOPS in the distance, attacking DROIDS in the sinkhole. + On the far wall of the sinkhole, CLONES can be seen + rappelling onto balconies. + + OBI-WAN + I may not defeat your droids, but + my troops certainly will. + + GENERAL GRIEVOUS + Army or not, you must realize you + are doomed. + + OBI-WAN + I don't think so. + + TWENTY CLONES suddenly rappel into the entrance of the + control center, ray guns blazing. Chaos. Laser bolts fly + everywhere as the DROIDS return fire. OBI-WAN attacks + GENERAL GRIEVOUS, who defends himself rigorously with one + of his bodyguard's electro-staffs. OBI-WAN uses the Force + to hurl GENERAL GRIEVOUS backwards. He falls onto a lower + platform and OBI-WAN jumps down after him. + + +113 INT. UTAPAU - TENTH LEVEL - CONTROL CENTER - DAY 113 + + More CLONES rappel into the control center and blast away + at the remaining DROIDS. + + The JEDI cuts down several DROIDS as he races to the + entrance of the control center. OBI-WAN spots GENERAL + GRIEVOUS racing toward one of the landing platforms in the + midst of the battle. GENERAL GRIEVOUS jumps onto a WHEEL + SCOOTER and takes off down the wall of the sinkhole. OBI- + WAN whistles for his LIZARD BOGA, who runs to him. OBI-WAN + jumps on. + + +114 EXT. UTAPAU - CLIFF AND LANDING PLATFORM - DAY 114 + + The chase begins. Obi-Wan drops his lightsaber while riding + Boga. + + +115 EXT. CORUSCANT - SENATE OFFICE BUILDING - SUNSET 115 + 86. + + + The sun is setting as the lights come on in the massive + Senate Office Building. + + The sky is red. + + +116 INT. CORUSCANT - CHANCELLOR'S OFFICE - SUNSET 116 + + PALPATINE listens to a delegation from the Senate, which + includes PADME and five other Senators: NEE ALAVAR, FANG + ZAR, MALEDEE, SWEITT CONCORKILL, and MON CALAMARI. ANAKIN + stands to one side of PALPATINE. + + PALPATINE + I understand your reservations + completely, Senator, and I assure + you the appointment of Governors + will in no way compete with the + duties of the Senate. + + PADME + May I take it then, that there will + be no further amendments to the + Constitution? + + PALPATINE + I want this terrible conflict to + end as much as you do, My Lady, and + when it does I guarantee an + immediate return to democracy... + + PADME + You are pursuing a diplomatic + solution to the war, then. + + PALPATINE + You must trust me to do the right + things, Senator. That is why I am + here. + + FANGZAR + But surely... + + The Chancellor turns on FANG ZAR. + + PALPATINE + I have said I will do what is + right, that should be enough for + your... committee. + + PADME + On behalf of the "delegation of two + thousand," I thank you, Chancellor. + 87. + + + PALPATINE + I thank you for bringing this to my + attention, Senator. + +PADME gives ANAKIN a frustrated look, then turns and exits +with the other FIVE SENATORS. PALPATINE turns to ANAKIN. + + PALPATINE + (continuing) + Their sincerity is to be admired, + although I sense there is more to + their request than they are telling + us. + + ANAKIN + What do you mean? + + PALPATINE + They are not to be trusted. + + ANAKIN + Surely Senator Amidala can be + trusted... + + PALPATINE + These are unstable times for the + Republic, Anakin. Some see + instability as an opportunity. + Senator Amidala is hiding + something. I can see it in her + eyes. + + ANAKIN + I'm sure you're mistaken. + + PALPATINE + I'm surprised your Jedi insights + are not more sensitive to such + things. + + ANAKIN + I simply don't sense betrayal in + Senator Amidala. + +PALPATINE studies ANAKIN carefully and gives him a +skeptical look. + + PALPATINE + Yes, you do, but you don't seem to + want to admit it. There is much + conflict in you, Anakin. + 88. + + +117 INT. CORUSCANT - JEDI WAR ROOM - EARLY EVENING 117 + + KI-ADI-MUNDI, ANAKIN, YODA, MACE, CLONE COMMANDER CODY, and + AAYLA SECURA talk via holograms. + + CLONE COMMANDER CODY + Master Windu, may I interrupt? + General Kenobi has made contact + with General Grievous, and we have + begun our attack. + + MACE WLNDU + Thank you, Commander. Anakin, + deliver this report to the + Chancellor. His reaction will give + us a clue to his intentions. + + ANAKIN + Yes, Master. + + ANAKIN leaves the room. COMMANDER CODY's hologram + disappears. + + MACE WINDU + I sense a plot to destroy the Jedi. + The dark side of the Force + surrounds the Chancellor. + + KL-ADI-MUNDI + If he does not give up his + emergency powers after the + destruction of Grievous, then he + should be removed from office. + + MACE WINDU + That could be a dangerous move... + the Jedi Council would have to take + control of the Senate in order to + secure a peaceful transition... + + KL-ADI-MUNDI + ... and replace the Congress with + Senators who are not filled with + greed and corruption. + + YODA + To a dark place this line of + thought will carry us. Hmmmmm... + great care we must take. + + +118 INT. CORUSCANT - CHANCELLOR'S OFFICE - EARLY EVENING 118 + 89. + + +ANAKIN brings news to PALPATINE. + + ANAKIN + Chancellor, we have just received a + report from Master Kenobi. He has + engaged General Grievous. + + PALPATINE + We can only hope that Master Kenobi + is up to the challenge. + + ANAKIN + I should be there with him. + + PALPATINE + It is upsetting to me to see that + the Council doesn't seem to fully + appreciate your talents. Don't you + wonder why they won't make you a + Jedi Master? + + ANAKIN + I wish I knew. More and more I get + the feeling that I am being + excluded from the Council. I know + there are things about the Force + that they are not telling me. + + PALPATINE + They don't trust you, Anakin. They + see your future. They know your + power will be too strong to + control. Anakin, you must break + through the fog of lies the Jedi + have created around you. Let me + help you to know the subtleties of + the Force. + +They walk into the hallway. + + ANAKIN + How do you know the ways of the + Force? + + PALPATINE + My mentor taught me everything + about the Force... even the nature + of the dark side. + +They stop. + + ANAKIN + You know the dark side?!? + 90. + + + PALPATINE + Anakin, if one is to understand the + great mystery, one must study all + its aspects, not just the dogmatic, + narrow view of the Jedi. If you + wish to become a complete and wise + leader, you must embrace a larger + view of the Force. Be careful of + the Jedi, Anakin. + (pausing) + They fear you. In time they will + destroy you. Let me train you. + + ANAKIN + I won't be a pawn in your political + game. The Jedi are my family. + + PALPATINE + Only through me can you achieve a + power greater than any Jedi. Learn + to know the dark side of the Force, + Anakin, and you will be able to + save your wife from certain death. + + ANAKIN + What did you say? + + PALPATINE + Use my knowledge, I beg you... + + ANAKIN + You're a Sith Lord! + +ANAKIN ignites his lightsaber. + + PALPATINE + I know what has been troubling + you... Listen to me. Don't continue + to be a pawn of the Jedi Council! + Ever since I've known you, you've + been searching for a life greater + than that of an ordinary Jedi... a + life of significance, of + conscience. + + ANAKIN + You're wrong! + + PALPATINE + Are you going to kill me? + + ANAKIN + I would certainly like to. + 91. + + + PALPATINE + I know you would. I can feel your + anger. It gives you focus, makes + you stronger. + + ANAKIN raises his lightsaber to PALPATINE's throat. There + is a tense moment, then ANAKIN relaxes, and then turns off + his lightsaber. + + ANAKIN + I am going to turn you over to the + Jedi Council. + + PALPATINE + Of course you should. But you're + not sure of their intentions, are + you? What if I am right and they + are plotting to take over the + Republic? + + ANAKIN + I will quickly discover the truth + of all this. + + PALPATINE + You have great wisdom, Anakin. Know + the power of the dark side. The + power to save Padme. + + ANAKIN stares at him for a moment. + + PALPATINE turns and moves to his office. + + PALPATINE + (continuing) + I am not going anywhere. You have + time to decide my fate. Perhaps + you'll reconsider and help me rule + the galaxy for the good of all... + + PALPATINE sits behind his desk. + + +119 EXT. UTAPAU - CLIFF AND LANDING PLATFORM - DAY 119 + + OBI-WAN gives the LIZARD a swift kick with the heel of his + boot, and they take off down the vertical side of the sheer + cliff. + 92. + + + As GENERAL GRIEVOUS reaches the landing platform where his + shuttle is waiting. OBI-WAN drops onto the top of the + starship with his LIZARD. GENERAL GRIEVOUS spins his + scooter around and takes off up the vertical cliff face + with OBI-WAN and his LIZARD in hot pursuit. The sinkhole is + engulfed in a great battle between CLONES and DROIDS. The + PEOPLE OF UTAPAU cower in whatever shelter they can find. + + +120 EXT. UTAPAU - MAIN CITY PLAZA - DAY 120 + + A LARGE GROUP OF UTAPAUAN TROOPS on LIZARDS attack the + DROID ARMY. + + OBI-WAN and GENERAL GRIEVOUS race through the city at + breakneck speed. Passing through battle zones, narrowly + escaping EXPLOSIONS, laser bolts, and TROOPS from both + sides. + + GENERAL GRIEVOUS lays the Scooter down as he goes around + sharp turns. Obi-Wan's LIZARD breathes hard as she tries to + keep up. They destroy droids, equipment, and clone troops + as the JEDI and the GENERAL cut a swath of destruction + through the city. + + +121 EXT. UTAPAU - WINDMILLS - DAY 121 + + GENERAL GRIEVOUS works his way out onto the rim of the + sinkhole, passing some wind blades. The evil Droid General + releases the brakes on the lethal blades, and they begin to + spin, cutting off Obi-Wan's access to the General. Obi- + Wan's LIZARD pulls up short in front of the blades. GENERAL + GRIEVOUS laughs and talks into a comlink. + + GENERAL GRIEVOUS + Prepare to move out of orbit. I + will be up in a few moments. + + OBI-WAN sizes up the situation, looking for a way to get to + GENERAL GRIEVOUS. + + The GENERAL accelerates off the edge, activating his claws, + drops, and clings to another nearby grouping of windmills. + Obi-Wan's LIZARD attempts to jump to follow and barely + makes it, almost falling into the precipice below. + + +122 INT. UTAPAU - CITY TUNNEL SYSTEM - DAY 122 + 93. + + + GENERAL GRIEVOUS roars through the stone block tunnel + system, riding up on the curved walls as he goes around + corners or passes oncoming traffic. OBI-WAN races after the + Droid, his LIZARD moving onto the ceiling as they pass + traffic. OBI-WAN catches up with GENERAL GRIEVOUS, and they + charge through the tunnel, side by side. OBI-WAN grabs the + Droid's electronic staff. + + +123 EXT. UTAPAU - SECRET LANDING PLATFORM - DAY 123 + + Extending from the wall of a small sinkhole is a secret + landing platform with a small Federation Fighter sitting in + the middle of it. OBI-WAN and GENERAL GRIEVOUS race out of + the tunnel system and onto the landing platform. + + OBI-WAN yanks on the staff, then jumps off his LIZARD onto + the General's scooter, knocking both warriors to the + ground. GENERAL GRIEVOUS pulls out a laser pistol and fires + at OBI-WAN. The Jedi reaches out his hand, grabs the + General's electro-staff and spins the staff, blocking the + laser bolts. + + OBI-WAN charges GENERAL GRIEVOUS, swinging the staff and + hitting the Droid in the stomach, knocking the gun away. + GENERAL GRIEVOUS is hit by the staff, and the Force bends + his forearm. He pulls OBI-WAN close to him, and they engage + in a furious fight. The electro-staff is knocked away. The + two engage in hand-to-hand combat. OBI-WAN struggles to + avoid the deadly blows of the brutal, unstoppable Droid. + + GENERAL GRIEVOUS's stomachplate is loose. OBI-WAN grabs it + and rips it off, revealing the alien life form's guts + encased in a bag in the Droid's chest. + + GENERAL GRIEVOUS grabs OBI-WAN, hoists him over his head, + and tosses him across the platform. OBI-WAN dangles off the + edge of the platform. He clutches the rim, trying to hold + on. The DROID then grabs the staff and charges OBI-WAN. At + the last second, OBI-WAN reaches out his hand and uses the + Force to retrieve the Droid's laser pistol. + + The JEDI fires several blasts in the stomach area of the + alien Droid, and he EXPLODES from the inside out. The + smoldering Droid falls to the ground. + + OBI-WAN has killed GENERAL GRIEVOUS. He pulls himself up + onto the platform and walks by the destroyed carcass. + + OBI-WAN + So uncivilized... + 94. + + + OBI-WAN brushes himself off. He throws the pistol onto the + platform, picks up the electro-staff, and jumps on BOGA. + The trusty beast rears up and takes off into the tunnel + system. + + +124 INT. JEDI GUNSHIP - LANDING PLATFORM - EARLY EVENING 124 + + MACE and the JEDI (AGEN KOLAR, KIT FISTO, AND SAESEE TIIN) + are preparing to board a JEDI GUNSHIP to the CHANCELLOR's + office. ANAKIN enters the hangar. + + ANAKIN + Master Windu, I must talk to you. + + MACE WINDU + What is it, Skywalker? We are in a + hurry. We have just received word + that Obi-Wan has destroyed General + Grievous. We are on our way to make + sure the Chancellor returns + emergency powers back to the + Senate. + + ANAKIN + He won't give up his power. I've + just learned a terrible truth. I + think Chancellor Palpatine is a + Sith Lord. + + MACE WINDU + A Sith Lord? + + ANAKIN + Yes. The one we have been looking + for. + + MACE WINDU + How do you know this? + + ANAKIN + He knows the ways of the Force. He + has been trained to use the dark + side. + + MACE WINDU + Are you sure? + + ANAKIN + Absolutely. + + MACE WINDU + 95. + + + Then our worst fears have been + realized. We must move quickly if + the Jedi Order is to survive. + + ANAKIN + Master, the Chancellor is very + powerful. You will need my help if + you are going to arrest him. + + MACE WINDU + For your own good, stay out of this + affair. I sense a great deal of + confusion in you, young Skywalker. + There is much fear that clouds your + judgment. + + ANAKIN + I must go, Master. + + MACE WINDU + No. If what you told me is true, + you will have gained my trust, but + for now remain here. + + ANAKIN + Yes, Master. + + MACE WINDU + Wait for us in the Council Chamber + until we return. + + ANAKIN + Yes, Master. + + ANAKIN watches as the JEDI leave in their ship. + + +125 INT. CORUSCANT - JEDI COUNCIL - PADME'S APARTMENT - EARLY 125 + EVENING + + PADME is alone in her apartment, thinking of Anakin. ANAKIN + sits alone in the Jedi Council Chamber thinking of PADME. + + PALPATINE (V.O.) + You do know, don't you, if the Jedi + destroy me, any chance of saving + her will be lost. + + PADME + I truly, deeply love you. Before I + die. I want you to know. + + C-3PO + 96. + + + My Lady, are you... Are you all + right? + + ANAKIN + I can't do this ... I can't let her + die. + + ANAKIN rushes out of the Council Chamber and to his + speeder. The hangar door opens and he lifts off. + + +126 EXT. CORUSCANT - SENATE OFFICE BUILDING - LANDING PLATFORM 126 + -EARLY EVENING + + The sky is still blue as a JEDI GUNSHIP lands on the Senate + Office Building landing platform. + + FOUR JEDI exit the SHUTTLE and enter the Senate Office + Building. MACE WINDU, AGEN KOLAR, KIT FISTO, and SAESEE + TIIN, like gunfighters out of the Old West, walk through + the massive hallway, four across. + + +127 INT. CORUSCANT - LOBBY TO CHANCELLOR'S OFFICE - EARLY 127 + EVENING + + The FOUR JEDI enter the lobby, raising their arms, and send + the Chancellor's aide, DAR WAC, flying against the wall, + along with TWO REPUBLIC GUARDS. They storm into the + Chancellor's office. + + +128 INT. CORUSCANT - CHANCELLOR’S OFFICE - EARLY EVENING 128 + + MACE arrives with THREE JEDI to arrest PALPATINE. + + PALPATINE + Master Windu. I take it General + Grievous has been destroyed then. I + must say, you're here sooner than + expected. + + MACE WINDU + In the name of the Galactic Senate + of the Republic, you are under + arrest, Chancellor. + + MACE WINDU and the other JEDI ignite their lightsabers. + + PALPATINE + Are you threatening me, Master + Jedi? + 97. + + + MACE + The Senate will decide your fate. + + PALPATINE + (burst of anger) + I am the Senate! + + MACE + Not yet! + +PALPATINE stands, a laser sword appears out of his cloak +sleeve, and he spins toward the JEDI. + + PALPATINE + It's treason, then. + +A close shot of PALPATINE as the fight begins. Close shots +of THREE JEDI getting cut down by PALPATINE. PALPATINE and +MACE continue to fight. + +Jedi Master MACE WINDU and the Sith Lord fight their way +down the hallway and into the main office area. PALPATINE +is able to use the Force to slam MACE against the wall, but +he recovers before the Chancellor can cut him down. + +ANAKIN lands his speeder, jumps out, and runs down a long +corridor toward the Chancellor's office. + +In the heat of battle, MACE cuts the window behind the +Chancellor's desk, and it crashes away. MACE is forced out +onto the ledge, which is twenty stories up. They fight over +the precipice. ANAKIN arrives to see PALPATINE and MACE +fighting. + +They stop as MACE forces PALPATINE to drop his sword. +PALPATINE and MACE start yelling at each other. + + MACE WINDU + You are under arrest, My Lord. + + PALPATINE + Anakin! I told you it would come to + this. I was right. The Jedi are + taking over. + + MACE WLNDU + You old fool. The oppression of the + Sith will never return. Your plot + to regain control of the Republic + is over... you have lost... + + PALPATINE + No! No! You will die! + 98. + + +PALPATINE raises his hands, and lightning bolts shoot out. +They are blocked by MACE's lightsaber. PALPATINE is pushed +back against the window sill. + + PALPATINE + He is a traitor, Anakin. + + MACE WLNDU + He's the traitor. Stop him! + + PALPATINE + Come to your senses, boy. The Jedi + are in revolt. They will betray + you, just as they betrayed me. + + MACE WLNDU + Aarrrrggghhhhh... + + PALPATINE + You are not one of them, Anakin. + Don't let him kill me. + + MACE WLNDU + Aarrrrggghhhhh... + + PALPATINE + I am your pathway to power. I have + the power to save the one you love. + You must choose. You must stop him. + + MACE WLNDU + Don't listen to him, Anakin. + + PALPATINE + Help me! Don't let him kill me. I + can't hold on any longer. Ahhhhhhh + ... ahhhhhhh ... ahhhhhhh ... + +MACE pushes PALPATINE out to the edge of the ledge. As the +Jedi moves closer, the bolts from Palpatine's hands begin +to arch back on him. The Chancellor's face begins to twist +and distort. His eyes become yellow as he struggles to +intensify his powers. + + PALPATINE + I can't ... I give up. Help me. I + am weak ... I am too weak. Don't + kill me. I give up. I'm dying. I + can't hold on any longer. + + MACE WLNDU + You Sith disease. I am going to end + this once and for all. + 99. + + + ANAKIN + You can't kill him, Master. He must + stand trial. + + MACE WLNDU + He has too much control of the + Senate and the Courts. He is too + dangerous to be kept alive. + + PALPATINE + I'm too weak. Don't kill me. + Please. + + ANAKIN + It is not the Jedi way... + +MACE raises his sword to kill the CHANCELLOR. + + ANAKIN + (continuing) + He must live... + + PALPATINE + Please don't, please don't... + + ANAKIN + I need him ... + + PALPATINE + Please don't ... + + ANAKIN + NO!!! + +Just as MACE is about to slash PALPATINE, ANAKIN steps in +and cuts off the Jedi's hand holding the lightsaber. + +As MACE stares at ANAKIN in shock, PALPATINE springs to +life. + +The full force of Palpatine's powerful Bolts blasts MACE. +He attempts to deflect them with his one good hand, but the +force is too great. As blue rays engulf his body, he is +flung out the window and falls twenty stories to his death. + +No more screams. No more moans. PALPATINE lowers his arm. + + PALPATINE + Power! Unlimited power! + +His face has changed into a horrible mask of evil. ANAKIN +looks on in horror. + 100. + + + PALPATINE cackles. + + ANAKIN + What have I done? + + ANAKIN sits. + + PALPATINE + You are fulfilling your destiny, + Anakin. Become my apprentice. Learn + to use the dark side of the Force. + + ANAKIN + I will do whatever you ask. + + PALPATINE + Good. + + ANAKIN + Just help me save Padme's life. I + can't live without her. I won't let + her die. I want the power to stop + death. + + PALPATINE + To cheat death is a power only one + has achieved, but if we work + together, I know we can discover + the secret. + + ANAKIN kneels before PALPATINE. + + ANAKIN + I pledge myself to your teachings. + To the ways of the Sith. + + PALPATINE + Good. Good. The Force is strong + with you. A powerful Sith you will + become. Henceforth, you shall be + known as Darth ... Vader. + + ANAKIN + Thank you. my Master. + + PALPATINE + Rise, Darth Vader. + + Palpatine moves over to his desk. + + +129 EXT. KASHYYYK - MEETING HALL - DAY 129 + 101. + + + YODA winces, closes his eyes, and holds his head. He feels + a disturbance in the Force. + + +130 INT. CORUSCANT - CHANCELLOR'S OFFICE - EVENING 130 + + PALPATINE is putting on his dark cloak: he is now fully + DARTH SIDIOUS. + + PALPATINE + Because the Council did not trust + you, my young apprentice, I believe + you are the only Jedi with no + knowledge of this plot. When the + Jedi learn what has transpired + here, they will kill us, along with + all the Senators. + + ANAKIN + I agree. The Jedi's next move will + be against the Senate. + + PALPATINE + Every single Jedi, including your + friend Obi-Wan Kenobi, is now an + enemy of the Republic. You + understand that, don't you? + + ANAKIN + I understand, Master. + + PALPATINE + We must move quickly. The Jedi are + relentless; if they are not all + destroyed, it will be civil war + without end. First, I want you to + go to the Jedi Temple. We will + catch them off balance. Do what + must be done, Lord Vader. Do not + hesitate. Show no mercy. Only then + will you be strong enough with the + dark side to save Padme. + + ANAKIN + What about the other Jedi spread + across the galaxy? + + PALPATINE + 102. + + + Their betrayal will be dealt with. + After you have killed all the Jedi + in the Temple, go to the Mustafar + system. Wipe out Viceroy Gunray and + the other Separatist leaders. Once + more, the Sith will rule the + galaxy, and we shall have peace. + + +131 INT. CORUSCANT - JEDI TEMPLE ENTRY - NIGHT 131 + + ANAKIN goes to the Jedi Temple with a battalion of Clone + Troopers. + + +132 EXT. UTAPAU - TENTH LEVEL - LANDIXG PLATFORM - DAY 132 + + The battle between the CLONES and the DROIDS rages + throughout the sinkhole. OBI-WAN rides up to CLONE + COMMANDER CODY. + + OBI-WAN + Commander, contact your troops. + Tell them to move to the higher + levels. + + CLONE COMMANDER CODY + Very good, sir. + + CLONE COMMANDER CODY starts to move away, then remembers + something and returns to OBI-WAN. + + CLONE COMMANDER CODY + (continuing) + Oh, by the way, I think you'll be + needing this. + + He hands OBI-WAN his lightsaber, and the LIZARD rears up. + + OBI-WAN + Thank you, Cody, + (smiling) + Now let's get a move on. We've got + a battle to win here. + + CLONE COMMANDER CODY + Yes, sir! + + OBI-WAN and the LIZARD ride off down the wall of the giant + sinkhole. + 103. + + + The battle rages throughout the city. CLONE COMMANDER CODY + (2224,) takes out his comlink and listens to the HOLOGRAM + OF DARTH SIDIOUS as, far below, OBI-WAN can been seen + battling DROIDS on a landing platform. + + DARTH SIDIOUS + Commander Cody, the time has come. + Execute Order Sixty-Six. + + CLONE COMMANDER CODY + It will be done, My Lord. + + The HOLOGRAM disappears, and CLONE COMMANDER CODY gestures + to a nearby Clone Trooper. + + CLONE COMMANDER CODY + Blast him! + + The battle rages all around OBI-WAN. DROIDS and CLONES are + everywhere. + + OBI-WAN is riding on a LIZARD, cutting down DROIDS as he + races across the battlefield. Suddenly a volley of laser + blasts from behind him knocks him and his LIZARD off the + wall of the sinkhole. He looks around just in time to see + his CLONE TROOPS are firing on him. + + OBI-WAN falls hundreds of feet to the bottom of the water- + filled sinkhole. + + +133 EXT. MYGEETO - DAWN 133 + + The sky slowly awakens on the crystal world of Mygeeto. A + battle rages. Clone troops battle the droid armies across a + long bridge. KI-ADI-MUNDi uses his light saber to deflect + enemy fire. + + CLONE COMMANDER BACARA (1138) exits a Gunship near the + entrance to the city. He rallies his TROOPS to attack the + city, then gets a message on his comlink. He stops and + moves to one side as a HOLOGRAM OF DARTH SIDIOUS appears on + the comlink in the palm of his hand. He moves further into + the shadows. + + DARTH SLDIOUS + Commander 1138... + + CLONE COMMANDER BACARA + Yes, sir. + + DARTH SLDIOUS + 104. + + + The time has come. Execute Order + Sixty-Six. + + CLONE COMMANDER BACARA + It will be done, My Lord. + + DARTH SIDIOUS fades, and the CLONE COMMANDER snaps the + comlink closed and looks to the main plaza of the city, + where KI-ADI-MUNDI is leading the charge. The clones stop. + KI-ADI-MUNDI turns around and is blasted by clone fire. + He's killed before he can defend himself. + + +134 EXT. FELUCIA - FOREST - DAY 134 + + A column of CLONE WALKERS marches across the forest floor. + The STRANGE CALLS of the alien forest creatures of FELUCIA + suddenly stop. + + The Jedi AAYLA SECURA and her CLONE TROOPS brace for an + ambush. + + AAYLA + Steady... steady... + + They all look around for signs of the enemy. CLONE + COMMANDER BLY moves up behind the Jedi. + + AAYLA + (continuing) + Bly, do you think they're Droids? + + BLY + No. + + BLY blasts AAYLA in the back. The OTHER CLONES fire on her + as she hits the ground. + + Another Jedi, BARRISS OFFEE, is cutting down a patrol of + DROIDS when a CLONE WALKING TANK and SEVEN CLONE TROOPERS + round a corner and blast the Jedi away. + + +135 EXT. KASHYYYK - MEETING HALL - DAY 135 + + YODA drops his gimer stick, clutches his chest, and rests + against a wall. + + +136 EXT. KASHYYYK - EDGE OF VILIAGE - DAY 136 + 105. + + + The battle appears to be over. WOOKIEES stack destroyed + Droids while CLONES assess the damage to their equipment. A + Jedi, LUMINARA UNDULI, talks with EIGHT CLONE OFFICERS + standing in a circle around her. Suddenly they reveal their + hidden pistols and blast her before she can react. + + The Jedi QUINLAN VOS is riding on top of a CLONE TURBO + TANK. The main cannon of a second tank slowly swings to + point right at him and a COUPLE OF CLONES. + + The cannon fires, and QUINLAN VOS and the CLONES disappear + in a huge EXPLOSION. + + +137 INT. CATO NEIMOIDIA - COCKPIT CLONE FIGHTER - DAY 137 + + The CLONE PILOT watches a hologram of DARTH SIDIOUS. + + DARTH SIDIOUS + Execute Order Sixty-Six. + + CLONE PILOT + It will be done, My Lord. + + +138 INT. CATO NEIMOIDIA - JEDI STARFIGHTER - DAY 138 + + PLO KOON heads his ship toward a battle on a landing + platform. + + PLO KOON + There they are. Land on the nearest + platform. + + +139 EXT. CATO XEIMOIDIA - JEDI STARFIGHTER - DAY 139 + + The FOUR CLONE PILOTS with PLO KOON drop back and blast him + out of the sky. + + +140 EXT. SALEUCAMI - FOREST 140 + + Three Speeder Bikes race through the forest. A Jedi, STASS + ALLIE is in the lead. The TWO CLONES following her drop + back and blast her, causing her to crash in a huge + EXPLOSION. + + +141 INT. CORUSCANT - CHANCELLOR'S OFFICE - NIGHT 141 + 106. + + + DARTH SIDIOUS stands alone in his private office, + illuminated only from a hologram projector beam from above. + A small HOLOGRAM OF COMMANDER GREE stands in front of him. + + CLONE COMMANDER GREE + Yes, My Lord. + + DABTH SIDIOUS + The time has come. Execute Order + Sixty-Six. + + +142 EXT. KASHYYYK - MEETING HALL BALCONY - DAY 142 + + A vista of waterways, high green mesas, and giant tree + cities serves as a backdrop for the fierce battle, CLONES + AND WOOKIEES against TRADE FEDERATION DROID ARMIES, with + treaded tank-like vehicles. CLONE COMMANDER GREE holds his + comlink. + + CLONE COMMANDER GREE + It will be done, My Lord. + + CLONE COMMANDER GREE snaps his comlink shut. + + YODA watches from the balcony. The battle rages as CLONES + and WOOKIEES attack DROIDS coming across the water on + CORPORATE ALLIANCE TANK DROIDS. CHEWBACCA and TARFFUL stand + on either side of the Jedi Master as he watches the battle + below. CLONE COMMANDER GREE and ONE OFFICER walk onto the + balcony toward YODA. YODA stands looking over the + battlefield below. When they are close enough, the CLONES + reveal their weapons and fire. + + But faster than the CLONES can reveal their weapons, YODA + ignites his lightsaber, leaps in the air, and beheads both + CLONES. CHEWBACCA and TARFFUL fire their weapons as more + CLONES enter the hall. The Wookiees call out to YODA to + follow them. CHEWBACCA picks YODA up and carries him away. + + +143 EXT. CORUSCANT - JEDI TEMPLE - NIGHT 143 + + A JEDI is surrounded and gunned down by CLONE TROOPERS. + + +144 INT. CORUSCANT - JEDI TEMPLE - NIGHT 144 + + ANAKIN walks through the Jedi Temple, where he finds and + kills SHAAK TI. + + He exits Shaak Ti's room and enters a hallway, where the + battle is taking place. + 107. + + +145 INT. CORUSCANT - JEDI TEMPLE - BATTLE - NIGHT 145 + + ANAKIN enters a room full of YOUNGLINGS huddled in a + corner. + + YOUNGLINGS + Master Skywalker, there are too + many of them. What are we going to + do? + + ANAKIN looks back at them with a stern expression on his + face and ignites his lightsaber. + + +146 INT. CORUSCANT - PADME'S APARTMENT - PRE-DAWN 146 + + C-3PO and PADME look out the apartment window. + + C-3PO + The Chancellor's office indicated + Master Anakin returned to the Jedi + Temple. Don't worry, My Lady. I am + sure he will be all right. + + PADME bursts into tears. + + +147 EXT. CORUSCANT - CITYSCAPE - PRE-DAWN 147 + + The city planet is covered in a hazy glow. A column of + black smoke can be seen rising in the distance. BAIL + ORGANA's Speeder flies overhead, straight toward the smoke. + + +148 EXT. CORUSCANT - JEDI TEMPLE - LANDING PLATFORM - PRE-DAWN 148 + + The Jedi Temple is on fire. Large plumes of smoke billow + toward the sky as BAIL ORGANA lands his Speeder on a Jedi + Temple platform. FOUR CLONE TROOPERS stand guard at the + entrance to the Temple. They lower their guns as BAIL gets + out of his Speeder and walks toward them. + + BAIL ORGANA + What's going on here?!? + + CLONE SERGEANT + There's been a rebellion. Don't + worry, sir, the situation is under + control. + + The CLONES bar the Senator from entering the Temple. + + CLONE SERGEANT + 108. + + + (continuing) + I'm sorry, sir. No one is allowed + entry. + + The CLONES point their guns at BAIL and cock them. + + CLONE SERGEANT + (continuing) + It's time for you to leave, sir. + + BAIL ORGANA + And so it is. + + BAIL reluctantly heads hack toward his Speeder. Suddenly, + several SHOTS RING OUT. BAIL turns and sees a ten-year-old + Jedi, ZETT JUKASSA, fighting the CLONES. Several more + CLONES join in the fight, followed by CLONE COMMANDER APPO + (1119), who points at BAIL. + + CLONE COMMANDER APPO + Get him! Shoot him! + + SEVERAL CLONES start firing at BAIL. The Senator jumps for + cover behind his Speeder, starting the engines and pulling + out his laser pistol. + + The YOUNG JEDI cuts down several CLONES, including APPO, + before he is overrun and shot. + + The Speeder takes off with BAIL clinging to the side. The + CLONES fire at it as it disappears into the cityscape. + + +149 EXT. CORUSCANT - CITYSCAPE - PRE-DAWN 149 + + BAIL ORGANA struggles to pull himself into the Speeder as + it races along through the cityscape. Finally, he climbs + in, just as the Speeder is about to hit a building. BAIL + steers clear of the building and races away. + + +150 EXT. UTAPAU - UNDERWATER SINKHOLE - DAY 150 + + The Jedi dives below the surface amid a barrage of laser + fire. He dives deeper under the water, fumbling in his + utility belt for a breathing device. He finds it and puts + it in his mouth. He swims underwater until the CLONE TROOPS + give up and stop filing. + + +151 EXT. UTAPAU - UNDERWATER CAVES - DAY 151 + 109. + + + OBI-WAN removes the breathing apparatus after coming up + from underwater. + + He starts to climb the rock wall. + + OBI-WAN climbs the wall to the second cave just as TWO + LITTLE SEEKER DRONES pop out of the water with their + searchlights glowing. OBI-WAN presses himself against the + wall of the smaller cave as the TWO SEEKER DRONES search + the grotto. One of the SEEKERS begins to enter the cave in + which OBI-WAN is hiding. OBI-WAN presses further into the + wall. + + The light shines on the opposite wall and moves to the back + of the cave, illuminating a huge NOS MONSTER. OBI-WAN holds + his breath. The SEEKER is confused for a moment, then the + NOS MONSTER lunges at the SMALL DROID and consumes it in + one bite. + + The NOS MONSTER'S lunge takes him past OBI-WAN, out of the + cave, and into the water. + + The SECOND SEEKER shines its light on the NOS MONSTER as + the evil creature tries to grab the LITTLE DRONE. OBI-WAN + slinks off toward the back of the cave. He comes upon a + nest of BABY NOS MONSTERS. They SCREECH and make horrible + sounds. OBI-WAN jumps over them and continues on his way + through the tunnel system. + + +152 EXT. KASHYYYK - LAKE ON VILLAGE EDGE - DUSK 152 + + CLONES in modified one-man AT-ST's and Swamp Speeders flash + their searchlights across the gloomy lake. The light of one + of the AT-ST's spots something floating in the water. It is + what's left of a Wookiee catamaran. The body of a dead + Wookiee (TARFFUL) is lying across the stern of the wreckage + of the flying boat. There is some movement on the boat. The + CLONE SERGEANT on the AT-ST fires a warning shot past the + boat. + + AT-ST CLONE SERGEANT + Everyone out of there! + + A CRAZY LITTLE CREATURE about two feet high pops its head + over the rail. The creature is covered with mud. His long + hair is frizzed out in all directions. + + CREATURE + Wookiee good... eat Wookiee. + (crazy little laugh) + + CLONE SERGEANT + 110. + + + Did you find something? + + CREATURE + It's nothing, nothing. + (laughs) + + CLONE SERGEANT + It's nothing, nothing. All these + Wookiees are dead. Move to the + east. + + CLONE TROOPER + Yes, sir. + + Suddenly, CHEWBACCA climbs up behind the AT-ST CLONE, + dripping wet, and throws the CLONE SERGEANT into the water. + CHEWIE BARKS. + + CREATURE + Right you are, Chewbacca. Faster + that will be. + + TARFFUL jumps up in the boat, and the CREATURE takes off + his hair. It is Yoda. + + YODA + Stink, this mud does. A moment to + bathe, give me. + + YODA, covered with mud, jumps into the water. TARFFUL + climbs onto the AT-ST with CHEWBACCA. YODA is out of the + water and putting his robes back on. + + YODA + (continuing) + Not far, are we, from the emergency + ship. Quickly... + + YODA whistles and a large ALIEN FLYING INSECT called CAN- + CELL appears. YODA jumps on the insect's back and they take + off. The WOOKIEES follow on the AT-ST. The CLONES continue + to search the swamp. + + +153 EXT. KASHYYYK - HILLS OVERLOOKING LAKE - DUSK 153 + + The AT-ST marches up the hill and stops. The WOOKIEES jump + down. YODA lands on CAN-CELL nearby. CHEWBACCA goes to a + tree and pulls down one of its branches. + + The ground opens up, and a small WOOKIEE ESCAPE POD rises + into the field. YODA opens the door of the pod. + 111. + + + YODA + Good-bye. Chewbacca and Tarfful, + miss you I will. Good friends you + are. For your help, much gratitude + and respect, I have. + + The Wookiees BARK as the Jedi climbs into the WOOKIEE POD + and takes off into the dusk sky. + + +154 EXT. CORUSCANT - SENATE OFFICE BUILDING - UNDERGROUND 154 + STARSHIP LANDING PLATFORM - DAY + + BAIL ORGANA walks out of a tunnel onto a huge underground + platform with two of his AIDES. He is stopped by TWO ROYAL + GUARDS. + + ROYAL GUARD + Identification... + + BAIL ORGANA + Senator Bail Organa of Alderaan. + + BAIL and his AIDES hand them their ID cards. The ROYAL + GUARDS check them over and give them back, then BAIL and + his CREW walk on board his Starship. + + +155 EXT. CORUSCANT - SENATE OFFICE BUILDING - UNDERGROUND 155 + LANDING PLATFORM - DAY + + The platform rises to the surface of the Office Building. + The ALDERAAN STARCRUISER takes off and disappears into the + crisp morning sky. + + +156 INT ALDERAAN - STARCRUISER - HALLWAY - DAY 156 + + BAIL ORGANA is greeted by CAPTAIN ANTILLES and TWO ALDERAAN + TROOPERS. + + BAIL ORGANA + Were you able to get hold of a Jedi + homing beacon? + + CAPTAIN ANTILLES + Yes, sir. We've encountered no + opposition. The clones are still a + bit confused. It appears no one is + in command. + + BAIL ORGANA + 112. + + + That will change soon. Hopefully we + will be able to intercept a few + Jedi before they walk into this + catastrophe. + + +157 EXT. UTAPAU - SINKHOLE WALL - LATE DAY 157 + + OBI-WAN hides from a group of CLONE TROOPERS. + + CLONE CAPTAIN + Did you find Kenobi? + + CLONE TROOPER + No one could have survived that + fall. + + He watches them pass. + + CLONE CAPTAIN + Start loading your men on the ship. + + CLONE TROOPER + Yes, sir. + + OBI-WAN tries to sneak back to the secret platform, down a + flight of stairs. + + +158 EXT. UTAPAU - SECRET LANDING PLATFORM - LATE DAY 158 + + OBI-WAN makes his way out of the cave and onto General + Grievous's secret landing platform. He runs to the + Starfighter and climbs into the one-man ship. + + The Starfighter takes off and disappears into the sky. + + +159 EXT. UTAPAU - SPACE 159 + + OBI-WAN flies away from the planet Utapau in General + Grievous's tiny Starfighter. + + +160 INT. GENERAL GRIEVOUS'S STARFIGHTER - SPACE 160 + + OBI-WAN activates the controls on the Starfighter. He + punches in several coordinates and codes. A BEEPING SOUND + is heard. It quickly speeds up until it is a steady tone. + OBI-WAN speaks into his comlink. + + OBI-WAN + 113. + + + Emergency Code Nine Thirteen... I + have no contact on any frequency. + Are there any Jedi out there?... + anywhere... + + A BURST OF STATIC is heard and a FUZZY HOLOGRAM image + appears. + + BAIL + (hologram) + ... Kenobi ... + + OBI-WAN + (continuing) + I've locked on. Repeat. + + The FUZZY HOLOGRAM image comes into focus, and it is BAIL + ORGANA. + + BAIL ORGANA + Master Kenobi?? + + OBI-WAN + Senator Organa! My Clone Troops + turned on me... I need help. + + BAIL ORGANA: We have just rescued Master Yoda. It appears + this ambush has happened everywhere. We're sending you our + coordinates. + + +161 INT. CORUSCANT - PADME’SAPARTMENT - PRE-DAWN 161 + + PADME stands before the window of her living room, watching + the plume of smoke from the Jedi Temple. C-3PO enters from + the bedroom. + + C-3PO + My Lady, there's a Jedi fighter + docking on the veranda. + + PADME turns and rushes to the bedroom. + + +162 EXT. CORUSCANT - PADME'S APARTMENT - VERANDA - PRE-DAWN 162 + + THREEPIO walks out to ANAKIN's ship and talks with ARTOO. + ARTOO beeps. + + THREEPIO + Hush! Not so loud! + 114. + + +PADME rushes onto the veranda as ANAKIN exits his GREEN +JEDI FIGHTER. They embrace. + + PADME + Are you all right? I heard there + was an attack on the Jedi Temple... + you can see the smoke from here. + + ANAKIN + I'm fine. I'm fine. I came to see + if you and the baby are safe. + + PADME + Captain Typho's here, we're safe. + What's happening? + +C-3PO continues to talk to R2-D2 on the GREEN FIGHTER. + + C-3PO + What is going on? + +ARTOO SQUEAKS and BEEPS. + + C-3PO + (continuing) + You can't be anymore confused than + I am. + + ANAKIN + The situation is not good. The Jedi + have tried to overthrow the + Republic... + + PADME + I can't believe that! + + ANAKIN + I couldn't either at first, but + it's true. I saw Master Windu + attempt to assassinate the + Chancellor myself. + +C-3PO leans over and whispers to ARTOO. + + C-3PO + Something important is going on! I + heard a rumor they are going to + banish all droids. + +ARTOO BEEPS rather loudly. C-3PO puts his fingers to his +lips. + + C-3PO + 115. + + + (continuing) + Shhhhhh... not so loud. + +ARTOO BEEPS quietly. + + C-3PO + (continuing) + Whatever it is, we'll be the last + to know. + + PADME + Anakin, what are you going to do? + +ANAKIN looks down for a moment and then walks away from +Padme. + + ANAKIN + I will not betray the Republic... + my loyalties lie with the + Chancellor and with the Senate... + and with you. + +ANAKIN turns and walks back to Padme. + + PADME + What about Obi-Wan? + + ANAKIN + I don't know... Many Jedi have been + killed. We can only hope that he's + remained loyal to the Chancellor. + + PADME + How could this have happened? + + ANAKIN + The Republic is unstable, Padme. + The Jedi aren't the only ones + trying to take advantage of the + situation. There are also traitors + in the Senate. + +PADME stands and reacts ever so slightly. + + PADME + What are you saying? + + ANAKIN + You need to distance yourself from + your friends in the Senate. The + Chancellor said they will be dealt + with when this conflict is over. + 116. + + + PADME + What if they start an inquisition? + I've opposed this war. What will + you do if I become a suspect? + + ANAKIN + That won't happen. I won't let it. + + PADME + Oh, Anakin, I'm afraid. + +ANAKIN takes PADME in his arms. + + ANAKIN + Have faith, my love. Everything + will soon be set right. The + Chancellor has given me a very + important mission. The Separatists + have gathered in the Mustafar + system. I'm going there to end this + war. Wait for me until I return... + things will be different, I + promise. + +They kiss. + + ANAKIN + (continuing) + Please, wait for me. + + PADME + I will. + +ANAKIN gets into his Fighter as THREEPIO backs away. + + C-3PO + (to Artoo) + Well, he is under a lot of stress, + Artoo. + +ARTOO beeps. + + C-3PO + (continuing) + Take care, my little friend. + +ARTOO BEEPS a good-bye, and the fighter takes off. PADME is +left alone on the veranda. She starts to cry. THREEPIO +comes up to her. + + C-3PO + (continuing) + 117. + + + My Lady, is there anything I might + do? + + PADME + No thank you, Threepio. + + G-3PO + A snack, perhaps? + + PADME + No. + + THREEPIO starts to move off. + + C-3PO + I feel so helpless. + + +163 EXT. ALDERAAN - STARCRUISER - SPACE 163 + + OBI-WAN's ship docks with Bail Organa's Starcruiser. + + +164 INT. ALDERAAN - STARCRUISER - HALLWAY - DAY 164 + + The door to the main hallway slides open. OBI-WAN enters + and is greeted by YODA and BAIL ORGANA. The three walk down + the hallway. + + BAIL ORGANA + You made it. + + YODA + Master Kenobi, dark times are + these. Good to see you. it is. + + OBI-WAN + You were attacked by your Clones, + also? + + YODA + With the help of the Wookiees, + barely escape, I did. + + OBI-WAN + How many other Jedi managed to + survive? + + YODA + Heard from no one, have we. + + BAIL ORGANA + 118. + + + I saw thousands of troops attack + the Jedi Temple. That's why I went + looking for Yoda. + + OBI-WAN + Have we had any contact from the + Temple? + + YODA + Received a coded retreat message, + we have. + + BAIL ORGANA + It requests all Jedi to return to + the Temple. It says that the war is + over... + + OBI-WAN + Well, then we must go back! If + there are other stragglers, they + will fall into the trap and be + killed. + + BAIL ORGANA + It's too dangerous to return. + + YODA + Suggest dismantling the coded + signal, do you? + + OBI-WAN + Yes, Master. There is too much at + stake here, and we need a clearer + picture of what has happened. + + YODA + I agree. In a dark place we find + ourselves... a little more + knowledge might light our way. + + +165 EXT. MUSTAFAR - LAVA FIELDS - DAY 165 + + Workers move across the lava beds, gathering the magma. A + column of aliens riding giant MUSTAFAR FLEAS marches + forward. + + +166 INT. MUSTAFAR - MAIN CONTROL CENTER - DAY 166 + + A HOLOGRAM of DARTH SIDIOUS is in the center of the room. + NUTE GUNRAY and the REST OF THE SEPARATIST COALITION watch + SIDIOUS. + 119. + + + NUTE GUNRAY + The plan has gone as you had + promised, My Lord. + + DARTH SIDIOUS + You have done well, Viceroy. When + my new apprentice, Darth Vader, + arrives, he will take care of you. + + The hologram disappears. + + +167 INT. CRUISER - COCKPIT 167 + + The Republic Cruiser heads toward Coruscant. OBI-WAN, BAIL, + YODA, and TWO PILOTS sit in the cockpit. + + PILOT + We are receiving a message from the + Chancellor's office, sir. + + BAIL ORGANA + Send it through. + + PILOT + Yes, sir. + + The PILOT pushes some buttons. MAS AMEDDA appears on + screen. + + MAS AMEDDA + Senator Organa... the Supreme + Chancellor of the Republic requests + your presence at a special session + of Congress. + + BAIL ORGANA + Tell the Chancellor I will be + there. + + MAS AMEDDA + Very well. He will be expecting + you. + + MAS AMEDDA's image disappears from the screen. + + BAIL ORGANA + It could be a trap. + + OBI-WAN + 120. + + + No, I don't think so. The + Chancellor will not be able to + control the thousands of star + systems without keeping the Senate + intact. + + YODA + If a special session of Congress + there is, easier for us to enter + the Jedi Temple it will be. + + +168 EXT. CORUSCANT - SENATE LANDING PLATFORM - LATE DAY 168 + + OBI-WAN, BAIL, and YODA land on Coruscant. The elevator + door opens, and they step out. + + GUARD + Welcome back, Senator. May I see + your clearance? + + BAIL ORGANA + Certainly. + + GUARD + Thank you, you may proceed. We will + take custody of the Jedi. + + OBI-WAN + It would be better if we stayed + with the Senator. + + GUARD + It would be better if they stayed + with you. + + BAIL and his AIDES go into the Senate. YODA and OBI-WAN + head for the Jedi Temple. + + +169 EXT. MUSTAFAR - JEDI STARFIGHTER - SPACE 169 + + ANAKIN's Jedi Starfighter heads for the hazy blood-red + planet of Mustafar. + + +170 EXT. MUSTAFAR - LANDING PLATFORM - DAY 170 + + ANAKIN flies over the volcanoes of Mustafar and lands his + Jedi Starfighter on a complex of Landing Platforms. His + cockpit opens as R2-D2 pops from the ship with a happy + BEEP. + 121. + + + ANAKIN + Artoo... stay with the ship. + + ARTOO lets out a sad little BEEP and moves back toward the + ship. + + +171 EXT. MUSTAFAR - LANDING PLATFORM - DAY 171 + + ANAKIN, putting on his hood, walks across a walkway upon + arriving on Mustafar. + + +172 INT. MUSTAFAR - MAIN CONTROL CENTER - DAY 172 + + ANAKIN appears in the doorway of the control center. + + NUTE GUNRAY + Welcome, Lord Vader. We've been + expecting you. + + Everyone in the room looks to him as he raises his hand + toward a control panel, and all the exits close. The + confused SEPARATISTS look around in bewilderment. + + +173 EXT. CORUSCANT - JEDI TEMPLE - LATE DAY 173 + + Smoke from the smoldering shell of the Jedi Temple fills + the air with a brown haze. + + +174 INT. CORUSCANT - JEDI TEMPLE - MAIN ENTRANCE - LATE DAY 174 + + A DOZEN CLONE TROOPERS stand guard at the entrance of the + Jedi Temple. + + Suddenly there is a flash of a lightsaber, a flurry of + confusion, and all of the Clone Troopers are dead on the + floor. YODA and OBI-WAN stand in the middle of the carnage. + + OBI-WAN + There are several battalions of + Clone Troopers on every level. Many + are dressed as Jedi. + + YODA + Dismantle the coded signal quickly. + That group back there, soon + discovered will be. + + +175 EXT. CORUSCANT - SENATE BUILDING - SUNSET 175 + 122. + + + The awesome Senate Building looms over the city. The + endless traffic continues to clutter the skyline. + + +176 INT. CORUSCANT - SENATE CHAMBER - SUNSET 176 + + The Chancellor is in the podium in the center of the vast + arena giving a speech. + + MAS AMEDDA stands to the right of SIDIOUS. BAIL ORGANA + walks through the hallway of the Main Senate Chamber. He + enters the Senate Pod of Naboo and sits next to PADME. JAR + JAR, CAPTAIN TYPHO and TWO HANDMAIDENS are in the pod also. + + PALPATINE + ... and the Jedi Rebellion has been + foiled. + + BAIL ORGANA + I was held up. What's happening? + + PADME + The Chancellor has been elaborating + on a plot by the Jedi, to overthrow + the Senate. + + BAIL ORGANA + That's not true! + + PADME + He's been presenting evidence all + afternoon. + + BAIL ORGANA + And the Senate will go along with + it, just like they always do. + + PALPATINE + The remaining Jedi will be hunted + down and defeated. + (applause) + Any collaborators will suffer the + same fate. + (applause) + These have been trying times, but + we have passed the test. + + +177 INT. CORUSCANT - JEDI TEMPLE - HALLWAY - SUNSET 177 + + YODA and OBI-WAN make their way through the Temple, + avoiding the HUNDREDS OF CLONE TROOPERS. They use the Force + to distract the CLONES when they can. + 123. + + + YODA and OBI-WAN walk through the ruins of the Temple until + they come across the bodies of some students. + + OBI-WAN + Not even the younglings survived. + + YODA + Killed not by clones, this Padawan. + By a lightsaber, he was. + + OBI-WAN + ...Who?? Who could have done this? + + +178 INT. MUSTAFAR - MAIN CONTROL CENTER - DAY 178 + + ANAKIN ignites his lightsaber, NUTE and the OTHERS panic. + The DROIDS at the controls and the GUARDS grab their + weapons, but it is too late. They are cut down in a flash. + The Separatists bang on the doors, and NUTE and RUNE HAAKO + flee under a table. + + ANAKIN, stone-faced, moves through the room like the grim + reaper. Bodies drop everywhere. SCREAMS are cut short as + the head of the Banking Clan dies. + + Then POGGLE THE LESSER loses his head; WAT TAMBOR, SHU MAI, + and the REST OF THE SEPARATISTS run into the conference + room. + + +179 INT. CORUSCANT - SENATE CHAMBER - SUNSET 179 + + PALPATINE + The attempt on my life has left me + scarred and deformed, but I assure + you my resolve has never been + stronger. + + Applause. + + +180 INT. MUSTAFAR - MAIN CONTROL CENTER - DAY 180 + + In the hallway, ANAKIN cuts down DROIDS and SEPARATISTS + alike. He is unstoppable. ANAKIN turns his head-his eyes + are yellow. + + +181 INT. CORUSCANT - SENATE CHAMBER - SUNSET 181 + + PALPATINE continues his speech at the podium. + 124. + + + PALPATINE + The war is over. + (applause) + The Separatists have been defeated, + (applause) + and the Jedi rebellion has been + foiled. We stand on the threshold + of a new beginning. + +There is a long period of APPLAUSE. + + PADME + Well, this is the moment we + discover if he intends to return + the Republic to a democracy. + + PALPATINE + In order to ensure our security and + continuing stability, the Republic + will be reorganized into the first + Galactic Empire, for a safe and + secure society which I assure you + will last for ten thousand years. + +There is a loud, sustained CHEER from the Senate. BAIL +ORGANA and PADME sit, dumbfounded. + + PALPATINE + (continuing) + An empire that will continue to be + ruled by this august body, and a + sovereign ruler chosen for life... + +The Senate CHEERS again. BAIL and PADME are devastated. +PADME begins to cry. + + PALPATINE + (continuing) + An empire ruled by the majority... + Ruled by a new constitution... + +The Senate APPLAUDS. + + PADME + So this is how liberty dies, with + thunderous applause... + + BAIL ORGANA + We cannot let this happen. + +He starts to stand up. PADME stops him. + + PADME + 125. + + + Not now! There will be a time. + + +182 INT. MUSTAFAR - MAIN CONTROL CENTER - CONFERENCE ROOM - DAY 182 + + After everyone in the Main Control Room is dead, ANAKIN + moves to the small conference room where WAT TAMBOR. SHU + MAI, and some OTHER SEPARATISTS are hiding. RUNE HAAKO + tries to run but is trapped by a dead-end as ANAKIN + advances. + + RUNE HAAKO + Stop! Enough, this is not right! + + RUNE is cut down. NUTE GUNRAY crawls out from under the + table and opens the Main Door, allowing DESTROYER DROIDS to + enter. WAT TAMBOR is cut down, along with SHU MAI. + DESTROYER DROIDS appear in the doorway and blast away, + causing total destruction. When the firing is over, ANAKIN + is gone. Blown away? No. ANAKIN drops from the ceiling + behind the TWO DROIDS and cuts them to pieces before they + know what hit them. + + +183 INT. MUSTAFAR - MAIN CONTROL CENTER - HALLWAY - DAY 183 + + NUTE GUNRAY is the last Separatist leader alive. ANAKIN + moves on to find NUTE GUNRAY hiding in an alcove. + + NUTE GUNRAY + The war is over. Lord Sidious + promised us peace... we only + want... + + NUTE GUNRAY is cut down in midsentence. + + +184 INT. CORUSCANT - JEDI TEMPLE - COMPUTER ROOM - NIGHT 184 + + OBI-WAN stands in a large computer area as YODA looks on, + in the hatchway to the Main Control Center. + + OBI-WAN + I've recalibrated the code warning + all surviving Jedi to stay away. + + YODA + Good... For the Clones to discover + the recalibration, a long time it + will take. To change it back, + longer still. Hurry. + 126. + + +185 INT. CORUSCANT - JEDI TEMPLE - CONTROL CENTER - NIGHT 185 + + OBI-WAN enters the Main Control Center with YODA and heads + for the hologram area. + + OBI-WAN + Wait, Master. There is something I + must know... + + YODA + If into the security recordings you + go, only pain will you find. + + OBI-WAN + I must know the truth, Master. + + OBI-WAN moves to a panel and flips some switches. He sees a + HOLOGRAM of ANAKIN slaughtering JEDI, including the YOUNG + ONES. OBI-WAN and YODA react. + + OBI-WAN + (continuing) + It can't be... It can't be... + + As ANAKIN surveys the carnage, a DARK-ROBED SITH LORD + enters. + + ANAKIN turns to DARTH SIDIOUS and kneels before him. + + ANAKIN + The traitors have been taken care + of, Lord Sidious. + + DARTH SLDIOUS + Good... good... You have done well, + my new apprentice. Do you feel your + power growing? + + ANAKIN + Yes, My Master. + + DARTH SLDIOUS + Now, Lord Vader, now go and bring + peace to the Empire. + + OBI-WAN watches in horror. Tears well up in his eyes. + + OBI-WAN + I can't watch any more. + + OBI-WAN switches off the hologram. The TWO JEDI stand in + silence for a few moments. + 127. + + + YODA + Destroy the Sith, we must. + + OBI-WAN + Send me to kill the Emperor. I will + not kill Anakin. + + YODA + To fight this Lord Sidious, strong + enough, you are not. + + OBI-WAN + He is like my brother ... I cannot + do it. + + YODA + Twisted by the dark side, young + Skywalker has become. The boy you + trained, gone he is... Consumed by + Darth Vader. + + OBI-WAN + How could it have come to this? + + YODA + To question, no time there is. + + OBI-WAN + I do not know where the Emperor has + sent him. I don't know where to + look. + + YODA + Use your feelings, Obi-Wan, and + find him, you will. Visit the new + Emperor, my task is. May the Force + be with you. + + OBI-WAN + May the Force be with you, Master + Yoda. + + +186 INT. CORUSCANT - PADME'S APARTMENT - AFTERNOON 186 + + A DC0052 Intergalactic Speeder pulls up to the veranda + landing of Padme's apartment. + + +187 EXT. CORUSCANT - PADME'S APARTMENT - VERANDA - AFTERNOON 187 + 128. + + +The cockpit of the sleek yellow Galactic Speeder opens, and +a HOODED FIGURE emerges and walks onto the veranda. An +ALARM GOES OFF deep in the apartment. The FIGURE stops +before a security curtain that protects the veranda. C-3PO +enters the veranda and approaches the FIGURE. + + C-3PO + Hello, might I help you... Oh, it's + you, Master Kenobi. Come in, + quickly. + +The security curtain disappears, and the FIGURE lifts his +hood. It is OBI-WAN. + +The alarm stops sounding. + + OBI-WAN + Has Anakin been here... ? + + C-3PO + Yes... right after the attack on + the Jedi Temple. + +PADME comes down the stairs in a robe. THREEPIO leaves. + + PADME + Master Kenobi... + +She embraces Obi-Wan. + + PADME + (continuing) + Oh, Obi-Wan, thank goodness... + you're alive. + + OBI-WAN + The Republic has fallen. Padme... + The Jedi Order is no more... + + PADME + I know, it's hard to believe + everything to which we've dedicated + our lives is gone. + + OBI-WAN + I believe we have been part of a + plot hundreds of years in the + making. + + PADME + The Senate is still intact, there + is some hope. + 129. + + + OBI-WAN +No. Padme... It's over... The Sith +now rule the galaxy as they did +before the Republic. + + PADME +The Sith!?! + + OBI-WAN +I'm here looking for Anakin... When +was the last time you saw him? + + PADME +Yesterday. + + OBI-WAN +And do you know where he is now? + + PADME + (looks down) +No. + + OBI-WAN +Padme, I need your help. He's in +great danger. + + PADME +From the Sith? + + OBI-WAN +From himself... Padme, Anakin has +turned to the dark side. + + PADME +You're wrong! How could you even +say that? + + OBI-WAN +I have seen a security hologram of +him killing younglings. + + PADME +Not Anakin! He couldn't! + + OBI-WAN +He was deceived by a lie. We all +were. It appears that the +Chancellor is behind everything, +including the war. Palpatine is the +Sith Lord we've been looking for. +After the death of Count Dooku, +Anakin became his new apprentice. + 130. + + + PADME + I don't believe you ... I can't. + + OBI-WAN + Padme, I must find him. + + PADME + You're going to kill him, aren't + you? + + OBI-WAN + He has become a very great threat. + + As PADME moves to sit down, she reveals her pregnancy. + + PADME + I can't... + + OBI-WAN + Anakin is the father, isn't he? + + PADME looks away. + + OBI-WAN + (continuing) + I'm so sorry. + + OBI-WAN turns and leaves as PADME stares transfixed, not + knowing what to do. She is worried and tormented. OBI-WAN + takes off in the Speeder. She studies the japor snippet + that is hanging around her neck. + + +188 INT. MUSTAFAR - LANDING PLATFORM - DAY 188 + + R2-D2 waits forlornly for his Master in front of the Jedi + Starfighter. + + +189 INT. MUSTAFAR - MAIN CONTROL CENTER - DAY 189 + + ANAKIN surveys the slaughter with a crazed look in his + eyes. + + +190 INT. MUSTAFAR - CONTROL CENTER - BALCONY - DAY 190 + + ANAKIN stares out at Mustafar, standing on the control room + balcony. + + +191 EXT. CORUSCANT - LANDING PLATFORM - SUNSET 191 + 131. + + + A small Naboo Skiff rests on a landing platform in the vast + congestion of Coruscant. PADME gets out of her Speeder, + followed by CAPTAIN TYPHO and C-3PO. + + CAPTAIN TYPHO + My Lady, let me come with you. + + PADME + There is no danger. The fighting is + over, and... this is personal. + + TYPHO bows. + + CAPTAIN TYPHO + As you wish, My Lady... but I + strongly disagree. + + PADME + I'll be all right, Captain. + + He goes to the speeder and gets in. + + PADME + (continuing) + This is something I must do myself. + Besides, Threepio will look after + me. + + C-3PO + Oh, dear. + + TYPHO takes off and PADME and THREEPIO board the small + NABOO SKIFF. A shadow moves out from under the SKIFF. It is + OBI-WAN. He quickly jumps on the retracting ramp as the + SKIFF takes off. + + +192 INT. NABOO SKIFF 192 + + THREEPIO chatters away as PADME breaks down in tears, the + painful reality sinking in. + + C-3PO + Green light. Do you know that I + think I'm beginning to get the hang + of this flying business. + + OBI-WAN stows away on Padme's ship. The ship lifts from the + landing platform and heads into the traffic lanes. + + +193 INT. CORUSCANT - SENATE ARENA - CHANCELLOR'S HOLDING OFFICE 193 + -SUNSET + 132. + + + A HOLOGRAM OF ANAKIN appears before PALPATINE in his office + at the bottom of the Senate Arena. + + DARTH VADER + The Separatists are taken care of, + My Master. + + DARTH SIDIOUS + It is finished, then. You have + restored peace and justice to the + galaxy. You have done well, Lord + Vader. + + DARTH VADER + Thank you, My Master. + + +194 INT. MUSTAFAR - CONFERENCE ROOM - DAY 194 + + A Hologram of Sidious speaks with Anakin in the Mustafar + control room. + + DARTH SLDIOUS + Send a message to the ships of the + Trade Federation. Tell them the + Separatist leaders have been wiped + out. Grievous and Dooku have been + destroyed. All droid units must + shut down immediately. + + DARTH VADER + Very good, My Lord. + + ANAKIN sees Padme's ship arriving on the screen and goes + out to meet her. + + +195 EXT. MUSTAFAR - LANDING PLATFORM - DAY 195 + + The sleek NABOO SKIFF lands on the Mustafar landing + platform near Anakin's GREEN STARFIGHTER. ANAKIN runs up to + the SKIFF as the ramp lowers. + + PADME runs to him. + + ANAKIN + Padme, I saw your ship... + + They embrace. + + PADME + Oh, Anakin! + 133. + + + ANAKIN +It's all right, you're safe now. +What are you doing out here? + + PADME +I was so worried about you. Obi-Wan +told me terrible things. + + ANAKIN +What things? + + PADME +He said you have turned to the dark +side... that you killed younglings. + + ANAKIN +Obi-Wan is trying to turn you +against me. + + PADME +He cares about us. + + ANAKIN +Us??! + + PADME +He knows... He wants to help you. + + ANAKIN +Is Obi-Wan going to protect you? He +can't ... he can't help you. He's +not strong enough. + + PADME +Anakin, all I want is your love. + + ANAKIN +Love won't save you, Padme. Only my +new powers can do that. + + PADME +At what cost? You are a good +person. Don't do this. + + ANAKIN +I won't lose you the way I lost my +mother! I've become more powerful +than any Jedi has ever dreamed of +and I've done it for you. To +protect you. + + PADME + 134. + + + Come away with me. Help me raise + our child. Leave everything else + behind while we still can. + + ANAKIN + Don't you see, we don't have to run + away anymore. I have brought peace + to the Republic. I am more powerful + than the Chancellor. I can + overthrow him, and together you and + I can rule the galaxy. Make things + the way we want them to be. + + PADME + I don't believe what I'm hearing... + Obi-Wan was right. You've changed. + + ANAKIN + I don't want to hear any more about + Obi-Wan. The Jedi turned against + me. Don't you turn against me. + + PADME + I don't know you anymore. Anakin, + you're breaking my heart. I'll + never stop loving you, but you are + going down a path I can't follow. + + ANAKIN + Because of Obi-Wan? + + PADME + Because of what you've done... what + you plan to do. Stop, stop now. + Come back! I love you. + + ANAKIN + (seeing Obi-Wan) + Liar! + +PADME turns around and. sees OBI-WAN standing in the +doorway of the Naboo Cruiser. + + PADME + No! + + ANAKIN + You're with him. You've betrayed + me! You brought him here to kill + me! + + PADME + NO! Anakin. I swear ... I ... + 135. + + +ANAKIN reaches out, and PADME grabs her throat as she +starts to choke. + + OBI-WAN + Let her go, Anakin. + + ANAKIN + What have you and she been up to? + + OBI-WAN + Let her go! + +ANAKIN releases his grip on the unconscious PADME and she +crumples to the ground. + + ANAKIN + You turned her against me. + + OBI-WAN + You have done that yourself. + + ANAKIN + You will not take her from me. + +ANAKIN throws off his cloak. + + OBI-WAN + Your anger and your lust for power + have already done that. + +OBI-WAN flings off his cloak. + + OBI-WAN + (continuing) + You have allowed this Dark Lord to + twist your mind until now... until + now you have become the very thing + you swore to destroy. + +They circle each other until OBI-WAN is near PADME. He +places his hand on her. + + ANAKIN + Don't lecture me, Obi-Wan. I see + through the lies of the Jedi. I do + not fear the dark side as you do. I + have brought peace, justice, + freedom, and security to my new + Empire. + + OBI-WAN + Your new Empire? + 136. + + + ANAKIN + Don't make me kill you. + + OBI-WAN + Anakin, my allegiance is to the + Republic ... to democracy. + + ANAKIN + If you're not with me, you're my + enemy. + + OBI-WAN + Only a Sith Lord deals in + absolutes. I will do what I must. + (ignites his lightsaber) + + ANAKIN + You will try. + + ANAKIN ignites his lightsaber. + + ANAKIN lashes out at OBI-WAN, and they begin a ferocious + sword fight. + + ANAKIN throws CONTAINERS at OBI-WAN using the Force. + + They work their way off the landing platform and into the + main entry hallway. + + ANAKIN kicks OBI-WAN, and OBI-WAN drops to a lower level. + + ARTOO BEEPS his concern and rushes to the unconscious + PADME's aid. + + +196 INT. CORRIDOR - SENATE ARENA - CHANCELLOR'S HOLDING OFFICE 196 + - NIGHT + + YODA enters, using the Force to throw two RED GUARDS + against the wall, knocking them unconscious. DARTH SIDIOUS + turns his chair toward YODA. + + MAS AMEDDA stands behind SIDIOUS's desk. + + YODA + I hear a new apprentice, you have. + Emperor, or should I call you Darth + Sidious. + + DARTH SLDIOUS + Master Yoda, you survived. + + YODA + 137. + + + Surprised? + + DARTH SLDIOUS + Your arrogance blinds you, Master + Yoda. Now you will experience the + full power of the dark side. + + The Dark Lord raises his arms, and LIGHTNING BOLTS shoot + out, surrounding YODA. + + YODA is picked up and thrown across the room, hitting the + wall and sliding down in a crumpled heap. DARTH SIDIOUS + chuckles. + + +197 INT. MUSTAFAR - PASSAGES TO MAIN CONTROL CENTER - DAY 197 + + ANAKIN and OBI-WAN move their fight toward the main control + center. As the laser swords fly, bits of the hallway are + cut up. OBI-WAN and ANAKIN jump and use every trick in the + Jedi book. + + +198 EXT. MUSTAFAR - LANDING PLATFORM - NABOO CRUISER - DAY 198 + + R2-D2, tries to drag PADME on board the Naboo Cruiser. C- + 3PO pokes his head out of the ship's doorway. + + C-3PO + What are you doing? You're going to + hurt her. Wait!! + + C-3PO starts down the ramp. + + +199 INT. CORRIDOR - SENATE ARENA - CHANCELLOR'S HOLDING OFFICE 199 + -NIGHT + + MAS AMEDDA leaves the room. PALPATINE approaches a stunned + YODA. + + DARTH SIDIOUS + I have waited a long time for this + moment, my little green friend. At + last, the Jedi are no more. + + YODA + Not if anything I have to say about + it, Lord Sidious. + + YODA uses the Force to throw DARTH SIDIOUS back, knocking + him clear over his desk and onto the floor in a heap. + 138. + + + YODA + (continuing) + At an end your rule is and not + short enough it was, I must say. + + DARTH SIDIOUS flies through the air, cape flapping, heading + toward the exit. + + At the last second, YODA flies into the exit and stops the + Dark Lord. + + YODA + (continuing) + If so powerful you are, why leave?? + + YODA ignites his lightsaber. + + DARTH SLDIOUS + You will not stop me. Darth Vader + will become more powerful than + either of us. + + DARTH SIDIOUS ignites his lightsaber. + + YODA + Faith in your new apprentice, + misplaced may be, as is your faith + in the dark side of the Force. + + Their swords CLASH. The battle is extremely fast and + furious. + + +200 INT. MUSTAFAR - MAIN CONTROL CENTER - DAY 200 + + View screens EXPLODE around ANAKIN and OBI-WAN as they work + their way into the Control Room. The fighting is intense. + OBI-WAN is on the defensive as he jumps up on the table + view screen in the center of the room. + + ANAKIN + Don't make me destroy you, Master. + You're no match for the dark side. + + OBI-WAN + I've heard that before, Anakin... + but I never thought I'd hear it + from you. + 139. + + + ANAKIN forces OBI-WAN back into the Conference Room where + the quarters are much closer. Sparks fly everywhere. ANAKIN + jumps onto the conference table. OBI-WAN slides across the + table, knocking ANAKIN over. OBI-WAN grabs ANAKIN’s + lightsaber as he falls. OBI-WAN uses the Force to summon + his dropped lightsaber. ANAKIN does the same. + + +201 INT. CORUSCANT - SENATE CHAMBER - MAIN ARENA - NIGHT 201 + + PALPATINE seeks refuge in the vast Senate Chamber. He gets + into the Chancellor's Podium and it starts to rise up into + the Arena. YODA makes a giant leap into the control pod. + The sword fighting is intense in the confined space. + + +202 INT. MUSTAFAR - MAIN CONTROL CENTER - DAY 202 + + The battle intensifies. + + OBI-WAN + (continuing) + The flaw of power is arrogance. + + OBI-WAN stands looking at his former apprentice for a + moment. + + ANAKIN + You hesitate... the flaw of + compassion. + + OBI-WAN and ANAKIN lock sabers. OBI-WAN puts out his hand + to use the Force to push ANAKIN away. ANAKIN puts out his + hand to block OBI-WAN. + + Both combatants are blasted backwards onto the control + panels. + + They regain their footing and the battle continues. ANAKIN + kicks OBI-WAN away. + + They battle around the room, and eventually the door to the + exterior is knocked open. They continue battling out onto + the balcony. + + +203 INT. CORUSCANT - SENATE CHAMRER - MAIN ARENA - NIGHT 203 + + YODA unleashes a ferocious assault on PALPATINE, causing + him to almost go over the edge. The Dark Lord drops his + lightsaber but recovers with a BLAST OF ENERGY from his + hands that surrounds YODA. YODA is deflecting the Sith + Lord's lightning bolts. + 140. + + + The energy bolts begin to arc back on the Emperor. It looks + as if the Dark Lord is doomed. + + YODA + Destroy you I will, just as Master + Kenobi, your apprentice will + destroy. + + YODA jumps to a lower Senate Pod. PALPATINE reaches out + with one hand, and a Senate pod is released from its + mooring and heads toward the Podium. + + PALPATINE uses the Force to hurl pod after pod at YODA, who + ducks and jumps from one flying pod to another. + + YODA leaps away from the pods. He uses the Force to hold + one pod suspended in the air. The pod spins and YODA throws + it back at PALPATINE, who leaps away at the last moment. + + YODA leaps after him, but PALPATINE quickly turns and aims + the full force of his energy bolts at the tiny green Jedi, + catching him in mid-air and throwing him back hard against + the Podium. The force causes YODA to drop his lightsaber. + YODA blocks the lightning and throws PALPATINE backwards + off the podium. YODA is knocked off the Podium and falls + several hundred feet to the base of the Podium. PALPATINE + follows in his pod, searching for YODA. + + +204 EXT. MUSTAFAR - MAIN CONTROL CENTER BALCONY - DAY 204 + + ANAKIN forces OBI-WAN down a narrow balcony outside the + Control Room. + + He rips objects off the wall and throws them at OBI-WAN as + he pushes him further and further along the walkway. + + The balcony ends, and OBI-WAN is trapped. He looks over the + balcony and into a river of lava. + + ANAKIN cuts apiece of the balcony railing off, along with a + control panel. + + ALARMS SOUND, and a protective ray shield around the + superstructure disappears. It tumbles into the molten + abyss, disappearing in a puff of smoke. A small pipe + connects the Control Center to the Main Collection Plant. + OBI-WAN has no choice but to tightrope-walk out across the + lava river while fighting ANAKIN. + + +205 EXT. MUSTAFAR - MAIN CONTROL CENTER BALCONY - PIPE ACROSS 205 + LAVA RIVER - MAIN COLLECTION PLANT - DAY + 141. + + + ANAKIN, following OBI-WAN, jumps down onto the flexing + pipe, lands, and resumes fighting. + + +206 INT. MUSTAFAR - PIPE ACROSS LAVA RIVER - DAY 206 + + OBI-WAN and ANAKIN work their way across the small pipe, + fighting ferociously as they go. OBI-WAN slips, throws his + lightsaber up in the air, grabs on to the pipe, swings + around, grabs on to an upper pipe, retrieves his + lightsaber, and lands back on the original pipe. They + continue to fight across the pipe until they reach the Main + Collection Plant. + + +207 INT. CORUSCANT - SENATE OFFICE BUILDING - WIRING CHUTE - 207 + NIGHT + + YODA squishes his way through a mass of wires in a small + chute. He talks on his comlink. + + YODA + Hurry. Careful timing we will need. + + BAIL ORGANA + (in speeder) + There aren't many troops on this + side. Activate your homing beacon + when you're ready. + + +208 INT. CORUSCANT - SENATE CHAMBER - MAIN ARENA - NIGHT 208 + + A Senate pod with COMMANDER THIRE (4477) and SEVERAL OTHER + CLONE TROOPERS climb up to where MAS AMEDDA and PALPATINE + are waiting. Beneath the Main Podium, TWENTY CLONE TROOPERS + search for Yoda 's body. + + CLONE COMMANDER THIRE + There is no sign of his body, sir. + + MAS AMEDDA + Then he is not dead. + + PALPATINE + Double your search. + + CLONE COMMANDER THIRE + Yes sir. Right away, sir. + + PALPATINE + (to Mas Amedda) + 142. + + + Tell Captain Kagi to prepare my + shuttle for immediate takeoff. + + MAS AMEDDA + Yes, Master. + + PALPATINE + I sense Lord Vader is in danger. + + PALPATINE walks into the Arena hallway. COMMANDER THIRE + descends down to the floor of the Arena, where an intense + search is taking place. + + SEVERAL CURIOUS SENATORS rubberneck in scattered pods. + + +209 EXT. MUSTAFAR - COLLECTION PANELS - DAY 209 + + OBI-WAN and ANAKIN battle on the top of the multispired + collection panels, jumping from one to the other. At the + end of the collection cluster, a huge spray of lava covers + the attachments that hold up the collectors. The frame + begins to melt. It's raining lava. Both ANAKIN and OBI-WAN + run for cover under the collection cluster. They continue + to fight in the lava rain, darting from cover to attack, + then quickly retreating to cover. + + Support for the entire structure begins to fall away, and + the collection cluster + + falls into the lava river. The Jedi continue their fight, + climbing to the highest point on the tower as the rest + begins to melt away as it rides the swift current down the + river. + + It bends toward the lava as they get out toward the end. + The fighting gets fierce. + + OBI-WAN gets to the end and is trapped. The tower slowly + starts to sink under the lava. + + +210 EXT. CORUSCANT - SENATE OFFICE BUILDING - NIGHT 210 + + BAIL ORGANA, in his open Cockpit Speeder, flies along next + to the roof eave of the huge Senate Building. He slows and + moves closer to a long row of recessed lights. Suddenly + YODA falls out of one of the light recesses and lands in + the Speeder. BAIL guns it and heads away from the Senate + Building. + + +211 INT. CORUSCANT - BAIL ORGANA'S SPEEDER - NIGHT 211 + 143. + + + YODA straightens himself out. + + YODA + Into exile I must go. Failed, I + have. + + YODA and BAIL fly into the traffic of the city. + + +212 EXT. MUSTAFAR - COLLECTION PANELS - DAY 212 + + OBI-WAN realizes he is getting very close to the edge of + the lava falls. He grabs a rope and leaps from the + collection arm. ANAKIN follows. + + ANAKIN and OBI-WAN continue their sword fight hanging from + cables as they swing past each other. + + +213 EXT. MUSTAFAR - LANDING PLATFORM - NABOO SKIFF - DAY 213 + + C-3PO carefully lifts PADME into his arms. R2-D2 nervously + looks on. + + BEEPING. + + C-3PO + I am being careful. I've got a good + hold on her, but... I'm worried + about my back. I hope it's able to + hold up under this weight. + + C-3PO carries PADME into the Naboo Skiff. + + +214 EXT. MUSTAFAR - COLLECTION PANELS- DAY 214 + + From their cables, ANAKIN and OBI-WAN both spot something + that causes them to stop fighting. The lava river ahead + drops off in a tremendous lava fall. + + SNAPPING AND METAL GROANS are heard as the main part of the + collector starts to break away and move toward the lava + fall. OBI-WAN looks around and sees a small floating + platform making its way toward the tower. + + OBI-WAN does a double hack-flip and lands squarely on the + floating platform. + + He immediately leans to one side and moves away from the + tower. + 144. + + +ANAKIN realizes he is doomed as the entire tower heads for +the falls. In the distance he sees some CONSTRUCTION +DROIDS. He swings back to the tower, climbs up and makes a +running leap and miraculously lands on A WORKER DROID. The +DROID is confused and chatters to his CO-WORKER. + +The giant collector goes over the lava flow and disappears +in the mist of sparks below. + +OBI-WAN heads for the bank of the lava river, but Anakin's +DROID is faster. + +He catches up with his old Master. + +OBI-WAN and ANAKIN continue the swordfight. They battle +away, balancing on the tiny platform and puzzled DROID. +ANAKIN, standing on the Droid, approaches OBI-WAN on the +work platform. + + OBI-WAN + I have failed you, Anakin. I was + never able to teach you to think. + +ANAKIN and OBI-WAN confront each other on the lava river. + + ANAKIN + I should have known the Jedi were + plotting to take over... + + OBI-WAN + From the Sith!!! Anakin, Chancellor + Palpatine is evil. + + ANAKIN + From the Jedi point of view! From + my point of view, the Jedi are + evil. + + OBI-WAN + Well, then you are lost! + + ANAKIN + This is the end for you, My Master. + I wish it were otherwise. + +ANAKIN jumps and flips onto OBI- WAN's platform. The +fighting continues again until OBI-WAN jumps toward the +safety of the black sandy edge of the lava river. He yells +at Anakin. + + OBI-WAN + It's over, Anakin. I have the high + ground. + 145. + + + ANAKIN + You underestimate my power! + + OBI-WAN + Don't try it. + + ANAKIN follows, and OBI-WAN cuts his young apprentice at + the knees, then cuts off his left arm in the blink of an + eye. ANAKIN tumbles down the embankment and rolls to a stop + near the edge of the lava. + + ANAKIN struggles to pull himself up the embankment with his + mechanical hand. His thin leather glove has been burned + off. He keeps sliding down in the black sand. + + OBI-WAN + (continuing) + ...You were the Chosen One! It was + said that you would, destroy the + Sith, not join them. It was you who + would bring balance to the Force, + not leave it in Darkness. + + OBI-WAN picks up Anakin's light saber and begins to walk + away. He stops and looks back. + + ANAKIN + I hate you! + + OBI-WAN + You were my brother, Anakin. I + loved you. + + ANAKIN'S clothing blows into the lava river and ignites. + Suddenly ANAKIN bursts into flames and starts SCREAMING. + + +215 INT. MUSTAFAR - VOLCANO EDGE - DAY 215 + + OBI-WAN looks in horror as ANAKIN becomes engulfed in + flames. OBI-WAN can't watch him as he struggles to climb + the embankment, covered in flames. + + He runs back to Padme's ship as ANAKIN drops, smoldering, + near the top of the lava pit. + + +216 EXT. MUSTAFAR - LANDING PLATFORM - NABOO SKIFF - DAY 216 + + OBI-WAN makes his way to the SKIFF. He looks for Padme. + THREEPIO sticks his head out the door of the SKIFF. + + C-3PO + 146. + + + Master Kenobi! We have Miss Padme + on board. Please, please hurry. + + We should leave this dreadful place. + + OBI-WAN runs on board the Naboo Skiff. + + +217 EXT. MUSTAFAR - LANDING PLATFORM - NABOO SKIFF - DAY 217 + + PADME lies on a cot or bed inside the ship. OBI-WAN walks + over and checks on her. + + PADME + Obi-Wan? Is Anakin all right? + + OBI-WAN looks at her sadly and does not answer. He brushes + her hair back. + + Padme drops back into unconsciousness. ARTOO watches over + her. + + OBI-WAN rides in the co-pilot's station. He sits looking + pensive. THREEPIO drives. + + +218 EXT. MUSTAFAR - VOLCANO EDGE - DAY 218 + + ANAKIN crawls up the bank, his body smoking. A shuttle + flies overhead and lands. + + +219 EXT. MUSTAFAR - LANDING PLATFORM - IMPERIAL SHUTTLE - DAY 219 + + An Imperial Shuttle closes its wings and settles on the + highest of the Mustafar Landing Platforms. A PLATOON OF + CLONE TROOPERS exits the craft, followed by DARTH SIDIOUS. + + +220 INT. MUSTAFAR - VOLCANO PIT - DAY 220 + + DARTH SIDIOUS walks in front of the CLONE TROOPERS on his + way to get to Anakin at the edge of the lava pit. + + +221 EXT. MUSTAFAR - VOLCANO PIT - DAY 221 + + DARTH SIDIOUS discovers what remains of ANAKIN and checks + him out. He turns to the CLONES. + + DARTH SIDIOUS + 147. + + + Anakin! Anakin! There he is. He's + still alive. Get a medical capsule, + immediately. + + CLONE CAPTAIN + Yes sir. Right away. + + Several of the CLONES rush off as DARTH SIDlOUS puts his + hand on ANAKIN's forehead. + + +222 INT. POLIS MASSA - OBSERVATION DOME - NIGHT 222 + + On the isolated asteroid of Polis Massa, YODA meditates. + + YODA + Failed to stop the Sith Lord, I + have. Still much to learn, there is + ... + + QUI-GON (V.O.) + Patience. You will have time. I did + not. When I became one with the + Force I made a great discovery. + With my training, you will be able + to merge with the Force at will. + Your physical self will fade away, + but you will still retain your + consciousness. You will become more + powerful than any Sith. + + YODA + Eternal consciousness. + + QUI-GON (V.O.) + The ability to defy oblivion can be + achieved, but only for oneself. It + was accomplished by a Shaman of the + Whills. It is a state acquired + through compassion, not greed. + + YODA + ... to become one with the Force, + and influence still have... A power + greater than all, it is. + + QUI-GON (V.O.) + You will learn to let go of + everything. No attachment, no + thought of self. No physical self. + + YODA + 148. + + + A great Jedi Master, you have + become, Qui-Gon Jinn. Your + apprentice I gratefully become. + + YODA thinks about this for a minute, then BAIL ORGANA + enters the room and breaks his meditation. + + BAIL ORGANA + Excuse me, Master Yoda. Obi-Wan + Kenobi has made contact. + + +223 EXT. MUSTAFAR - LANDING PLATFORM - DAY 223 + + The CLONES have placed ANAKIN in a medical capsule. They + float the wounded Sith Lord into the belly of the IMPERIAL + CRUISER. DARTH SIDIOUS follows the capsule into the ship. + The ship takes off. + + +224 EXT. POLIS MASSA - LANDING PLATFORM - NIGHT 224 + + OBI-WAN lands the Naboo Cruiser on the landing platform of + the isolated post of Polis Massa. YODA and BAIL ORGANA, + along with a FEW GROUND CREW, are waiting as the ramp + lowers and OBI-WAN emerges, carrying the unconscious PADME + in his arms, followed by ARTOO and THREEPIO. + + BAIL ORGANA + We'll take her to the medical + center, quickly. + + +225 EXT. LANDING PLATFORM - CORUSCANT - IMPERIAL REHAB CENTER - 225 + DAY + + The shuttle lands. DARTH SIDIOUS and CLONE TROOPERS leave + the shuttle. ANAKIN's body is carried along in a floating + medical capsule. + + +226 INT. POLIS MASSA - MEDICAL CENTER - NIGHT 226 + + POLIS MEDICS work, on PADME in an operating theater. OBI- + WAN and one of the MEDICAL DROIDS enter an observation room + where BAIL and YODA are waiting. + + MEDICAL DROID + Medically, she is completely + healthy. For reasons we can't + explain, we are losing her. + + OBI-WAN + 149. + + + She's dying? + + MEDICAL DROID + We don't know why. She has lost the + will to live. We need to operate + quickly if we are to save the + babies. + + BAIL ORGANA + Babies??!! + + MEDICAL DROID + She's carrying twins. + + YODA + Save them, we must. They are our + last hope. + + The MEDICAL DROID rushes back to the operating room. ARTOO + and THREEPIO watch, greatly puzzled. ARTOO BEEPS. + + C-3PO + It s some kind of reproductive + process, I think. + + +227 INT. CORUSCANT - IMPERIAL REHAB CENTER - DAY 227 + + ANAKIN, in the medical capsule, is lifted onto a table in + the Rehab Center. + + DROIDS go to work on him. ANAKIN has new legs and a new + arm. + + +228 INT. POLIS MASSA - MEDICAL CENTER - NIGHT 228 + + The TWINS are being delivered as BAIL ORGANA, YODA, ARTOO, + and THREEPIO watch. OBI-WAN is in the operating theater + with PADME. He takes her hand. + + OBI-WAN + Don't give up, Padme. + + PADME winces from the pain. The MEDICAL DROID is holding + the BABY. + + MEDICAL DROID + It's a boy. + + PADME + Luke... + 150. + + + PADME can only offer up a faint smile. She struggles to + touch the baby on the forehead. + + MEDICAL DROID + ... and a girl. + + PADME + ... Leia. + + R2-D2, THREEPIO and BAIL ORGANA watch from an adjoining + space. + + +229 INT. CORUSCANT - IMPERIAL REHAB CENTER - DAY 229 + + VADER, dressed in his black body armor, lies on the table. + Nose plugs are inserted and the mask drops from above, + sealing tightly. The helmet is fitted and VADER begins + breathing. + + +230 INT. POLIS MASSA - MEDICAL CENTER - NIGHT 230 + + OBI WAN leans over PADME and softly speaks to her. + + OBI-WAN + You have twins, Padme They need + you... hang on. + + PADME + I can't... + + PADME winces again and takes OBI-WAN's hand. She is holding + Anakin's japor snippet. + + OBI-WAN + Save your energy. + + PADME + Obi-Wan... there... is good in him. + I know there is... still... + + A last gasp, and she dies. Obi-Wan studies the necklace. + + +231 INT. CORUSCANT - IMPERIAL REHAB CENTER - DAY 231 + + DARTH SIDIOUS hovers around the periphery of a group of + MEDICAL DROIDS who are working on ANAKIN. DARTH SIDIOUS + paces in the foreground. A DROID approaches the Dark Lord. + + MEDICAL DROID + 151. + + + My Lord, the construction is + finished ... he lives. + + DARTH SIDIOUS + Good. Good. + + The DROID moves back to the table where DARTH VADER lies. + The table begins to move upright. DARTH SIDIOUS moves in + next to DARTH VADER. + + DARTH SIDIOUS + (continuing) + Lord Vader, can you hear me? + + DARTH VADER, with his dark mask and helmet, moves up into + the frame until he is in a CLOSEUP. + + DARTH VADER + Yes, My Master. + + DARTH VADER looks around the room. + + DARTH VADER + (continuing) + Where is Padme? Is she safe, is she + all right? + + DARTH SIDIOUS moves closer to the half droid/half man. + + DARTH SIDIOUS + I'm afraid she died. ... it seems + in your anger, you killed her. + + A LOW GROAN emanates from Vader's mask. Suddenly everything + in the room begins to implode, including some of the + DROIDS. + + DARTH VADER + I couldn't have! She was alive! I + felt her! She was alive! It's + impossible! No!!! + + VADER SCREAMS, breaks his bonds to the table, and steps + forward, waving his hands, causing objects to fly around + the room. SIDIOUS deflects the objects, but some of the + DROIDS aren't so lucky. VADER'S PAINFUL SCREAMS echo + throughout the Center. + + +232 EXT. NABOO - ALDERAAN STARCRUISER 232 + + BAIL ORGANA's Starcruiser approaches the city of Theed. + 152. + + +233 INT. ALDERAAN CRUISER - CONFERENCE ROOM 233 + + BAIL ORGANA, YODA, and OBI-WAN sit around a conference + table. + + YODA + Pregnant, she must still appear. + Hidden, safe, the children must be + kept. + + OBI-WAN + We must take them somewhere the + Sith will not sense their presence. + + YODA + Split up, they should be. + + BAIL ORGANA + My wife and I will take the girl. + We've always talked of adopting a + baby girl. She will be loved with + us. + + OBI-WAN + And what of the boy? + + YODA + To Tatooine. To his family, send + him. + + OBI-WAN + I will take the child and watch + over him. Master Yoda, do you think + Anakin's twins will be able to + defeat Darth Sidious? + + YODA + Strong the Force runs, in the + Skywalker line. Hope, we can... + Done, it is. Until the time is + right, disappear we will. + + BAIL leaves the conference room. YODA stops OBI-WAN. + + YODA + (continuing) + Master Kenobi, wait a moment. In + your solitude on Tatooine, training + I have for you. + + OBI-WAN + Training?? + 153. + + + YODA + An old friend has learned the path + to immortality. + + OBI-WAN + Who? + + YODA + One who has returned from the + netherworld of the Force to train + me... your old Master, Qui-Gon + Jinn. + + OBI-WAN + Qui-Gon? But, how could he + accomplish this? + + YODA + The secret of the Ancient Order of + the Whills, he studied. How to + commune with him. I will teach you. + + OBI-WAN + I will be able to talk with him? + + YODA + How to join the Force, he will + train you. Your consciousness you + will retain, when one with the + Force. Even your physical self, + perhaps. + + +234 INT. ALDERAAN STARCRUISER - HALLWAY - SPACE 234 + + BAIL ORGANA, followed by ARTOO and THREEPIO, approaches + CAPTAIN ANTILLES and TWO CREW MEMBERS. + + BAIL ORGANA + Captain Antilles. + + CAPTAIN ANTILLE + SYes, Your Highness. + + BAIL ORGANA + I'm placing these droids in your + care. Treat them well. Clean them + up. Have the Protocol Droid's mind + wiped. + + C-3PO + Oh, no. + 154. + + +235 EXT. NABOO - MAIN SQUARE - DAWN 235 + + SIO BIBBLE walks with other MOURNERS. + + LARGE CROWDS line the street as a flowered, covered coffin + is drawn by SIX BEAUTIFUL WHITE BEASTS. SOLDIERS AND FAMILY + + ATO DIGNITARIES follow the casket. + + PADME's hand clutches the japor snippet. + + +236 EXT. DAGOBAH - DAY 236 + + A small escape pod hurls toward the swamp planet and + disappears in the mist. + + The pod has landed, and YODA descends the ramp, surveying + the unfamiliar terrain. + + +237 EXT. IMPERIAL STAR DESTROYER - SPACE 237 + + A Star Destroyer is surrounded by ATTACK CRUISERS. On the + bridge of the Star Destroyer stands the EMPEROR and + GOVERNOR TARKIN. + + DARTH VADER walks along the bridge to join the EMPEROR and + GOVERNOR TARKIN. The camera PANS to reveal the huge frame + structure which is the beginning of the DEATH STAR. + + +238 EXT. ALDERAAN - STARCRUISER - SPACE 238 + + The ship approaches the surface of Alderaan. + + +239 EXT. ALDERAAN - LATE AFTERNOON 239 + + The QUEEN OF ALDERAAN sits on a balcony looking out over + the awesome mountains of Alderaan. BAIL ORGANA brings a + small baby to her. She takes her and rocks her. + + +240 EXT. TATOOINE - SUNSET 240 + 155. + + +OBI-WAN rides up to the moisture farm homestead on an +EOPIE. He dismounts, takes the BABY out of a papoose on his +back, and walks toward AUNT BERU, who walks over to greet +him. They talk for a moment, and OBI-WAN turns the baby +over to the young homesteader. AUNT BERU walks to UNCLE +OWEN who is standing on the ridge near the homestead. OBI- +WAN leaves as OWEN, BERU, and the BABY watch the twin suns +set. + +IRIS OUT. END TITLES. + \ No newline at end of file diff --git a/scripts/Star Wars Episode V The Empire Strikes Back.txt b/scripts/Star Wars Episode V The Empire Strikes Back.txt new file mode 100644 index 0000000000000000000000000000000000000000..0c8f7095fed9566491fe2040f4a10d3ecbdb00e8 --- /dev/null +++ b/scripts/Star Wars Episode V The Empire Strikes Back.txt @@ -0,0 +1,7275 @@ + 1. + + + + STAR WARS + + EPISODE V + + THE EMPIRE STRIKES BACK + + Written by + + Lawrence Kasdan and Leigh Brackett + + From a story by George Lucas + + +1 EXT. GALAXY - PLANET HOTH 1 + + A Star Destroyer moves through space, releasing Imperial + probe robots from its underside. + + One of these probes zooms toward the planet Hoth and lands + on its ice- covered surface. An explosion marks the point + of impact. + + +2 EXT. HOTH - METEORITE CRATER - SNOW PLAIN - DAY 2 + + A weird mechanical sound rises above the whining of the + wind. A strange probe robot, with several extended sensors, + emerges from the smoke-shrouded crater. The ominous + mechanical probe floats across the snow plain and + disappears into the distance. + + +3 EXT. PLAIN OF HOTH - DAY 3 + + A small figure gallops across the windswept ice slope. The + bundled rider is mounted on a large gray snow lizard, a + Tauntaun. Curving plumes of snow rise from beneath the + speeding paws of the two-legged beast. + + The rider gallops up a slope and reins his lizard to a + stop. Pulling off his protective goggles, Luke Skywalker + notices something in the sky. He takes a pair of + electrobinoculars from his utility belt and through them + sees smoke rising from where the probe robot has crashed. + + The wind whips at Luke's fur-lined cap and he activates a + comlink transmitter. His Tauntaun shifts and moans + nervously beneath him. + + LUKE + (into comlink) + 2. + + + Echo Three to Echo Seven. Han, old + buddy, do you read me? + + After a little static a familiar voice is heard. + + HAN + (over comlink) + Loud and clear, kid. What's up? + + LUKE + (into comlink) + Well, I finished my circle. I don't + pick up any life readings. + + HAN + (over comlink) + There isn't enough life on this ice + cube to fill a space cruiser. The + sensors are placed, I'm going back. + + LUKE + (into comlink) + Right. I'll see you shortly. + There's a meteorite that hit the + ground near here. I want to check + it out. It won't take long. + + Luke clicks off his transmitter and reins back on his + nervous lizard. He pats the beast on the head to calm it. + + LUKE (CONT’D) + Hey, steady girl. What's the + matter? You smell something? + + Luke takes a small device from his belt and starts to + adjust it when suddenly a large shadow falls over him from + behind. He hears a monstrous howl and turns to see an + eleven-foot- tall shape towering over him. It is a Wampa + Ice Creature, lunging at him ferociously. + + LUKE (CONT’D) + Aaargh! + + Luke grabs for his pistol, but is hit flat in the face by a + huge white claw. He falls unconscious into the snow and in + a moment the terrified screams of the Tauntaun are cut + short by the horrible snap of a neck being broken. + + The Wampa Ice Creature grabs Luke by one ankle and drags + him away across the frozen plain. + + +4 EXT. HOTH - REBEL BASE ENTRANCE - DAY 4 + 3. + + + A stalwart figure rides his Tauntaun up to the entrance of + an enormous ice cave. + + +5 INT. HOTH - REBEL BASE - MAIN HANGAR DECK 5 + + Rebel troopers rush about unloading supplies and otherwise + securing their new base. The rider, Han Solo, swings off + his lizard and pulls off his goggles. + + He walks into the main hangar deck toward the Millennium + Falcon, which is parked among several fighters. Mechanics, + R2 units, and various other droids hurry about. Han stops + at the Millennium Falcon where his Wookiee copilot, + Chewbacca, is welding on a central lifter. + + Chewie stops his work and lifts his face shield, growling + an irritated greeting to his boss. + + HAN + Chewie! + + The Wookiee grumbles a reply. + + HAN (CONT’D) + All right, don't lose your temper. + I'll come right back and give you a + hand. + + Chewbacca puts his mask back on and returns to his welding + as Han leaves. + + +6 INT. HOTH - REBEL BASE - COMMAND CENTER 6 + + A makeshift command center has been set up in a blasted + area of thick ice. The low-ceilinged room is a beehive of + activity. Controllers, troops, and droids move about + setting up electronic equipment and monitoring radar + signals. + + General Rieekan straightens up from a console at Han's + approach. + + RIEEKAN + Solo? + + HAN + No sign of life out there, General. + The sensors are in place. You'll + know if anything comes around. + + RIEEKAN + 4. + + + Commander Skywalker reported in + yet? + + HAN + No. He's checking out a meteorite + that hit near him. + + RIEEKAN + (indicates radar screen) + With all the meteor activity in + this system, it's going to be + difficult to spot approaching + ships. + +Taking a deep breath, Han blurts out what is on his mind. + + HAN + General, I've got to leave. I can't + stay anymore. + +Princess Leia, standing at a console nearby, is dressed in +a short white combat jacket and pants. Her hair is braided +across her head in a Nordic fashion. She overhears their +conversation and seems somewhat distressed. + + RIEEKAN + I'm sorry to hear that. + + HAN + Well, there's a price on my head. + If I don't pay off Jabba the Hut, + I'm a dead man. + + RIEEKAN + A death mark's not an easy thing to + live with. You're a good fighter, + Solo. I hate to lose you. + + HAN + Thank you, General. + +He turns to Leia as Rieekan moves away. + + HAN (CONT’D) + (with feeling) + Well, Your Highness, I guess this + is it. + + LEIA + That's right. + +Leia is angry. Han sees she has no warmth to offer him. He +shakes his head and adopts a sarcastic tone. + 5. + + + HAN + (cooly) + Well, don't get all mushy on me. So + long, Princess. + + Han walks away into the quiet corridor adjoining the + command center. Leia stews a moment, then hurries after + him. + + +7 INT. HOTH - REBEL BASE - ICE CORRIDOR 7 + + LEIA + Han! + + Han stops in the corridor and turns to face Leia. + + HAN + Yes, Your Highnessness? + + LEIA + I thought you decided to stay. + + HAN + Well, the bounty hunter we ran into + on Ord Mantell changed my mind. + + LEIA + Han, we need you! + + HAN + We? + + LEIA + Yes. + + HAN + Oh, what about you need? + + LEIA + (mystified) + I need? I don't know what you're + talking about. + + HAN + (shakes his head, fed up) + You probably don't. + + LEIA + And what precisely am I supposed to + know? + + HAN + 6. + + + Come on! You want me to stay + because of the way you feel about + me. + + LEIA + Yes. You're a great help to us. + You're a natural leader... + + HAN + No! That's not it. Come on. Aahhh - + uh huh! Come on. + + Leia stares at him, understanding, then laughs. + + LEIA + You're imagining things. + + HAN + Am I? Then why are you following + me? Afraid I was going to leave + without giving you a goodbye kiss? + + LEIA + I'd just as soon kiss a Wookiee. + + HAN + I can arrange that. You could use a + good kiss! + + Angrily, Han strides down the corridor as Leia stares after + him. + + +8 INT. HOTH - REBEL BASE - ANOTHER ICE CORRIDOR 8 + + A familiar stream of beeps and whistles herald the approach + of Artoo- Detoo and See-Threepio, who appear around a + corner and move along an ice wall toward the main hangar. + + THREEPIO + Don't try to blame me. I didn't ask + you to turn on the thermal heater. + I merely commented that it was + freezing in the princess' chamber. + But it's supposed to be freezing. + How are we going to dry out all her + clothes? I really don't know. + + Artoo beeps a stream of protesting whistles. + + THREEPIO (CONT’D) + Oh, switch off. + 7. + + +9 INT. HOTH - REBEL BASE - MAIN HANGAR DECK 9 + + The two robots stop at Han Solo's space freighter. Han and + Chewie are struggling with their central lifters. + + HAN + (to Chewie) + Why do you take this apart now? I'm + trying to get us out of here and + you pull both of these. + + Chewie grumbles in irritation. + + THREEPIO + Excuse me, sir. + + HAN + (to Chewie) + Put them back together right now. + + THREEPIO + Might I have a word with you, + please? + + HAN + What do you want? + + THREEPIO + Well, it's Princess Leia, sir. + She's been trying to get you on the + communicator. + + HAN + I turned it off. I don't want to + talk to her. + + THREEPIO + Oh. Well, Princess Leia is + wondering about Master Luke. He + hasn't come back yet. She doesn't + know where he is. + + HAN + I don't know where he is. + + THREEPIO + Nobody knows where he is. + + HAN + What do you mean, "nobody knows"? + + Han glances at the fading light at the entrance of the ice + cave as night slowly begins to fall on the planet. + 8. + + + THREEPIO + Well, uh, you see... + + Han jumps down off the lift, as Threepio follows him. + + HAN + Deck Officer. Deck Officer! + + THREEPIO + Excuse me, sir. Might I inqu... + + Han abruptly puts his hand over Threepio's mouth as the + deck officer approaches. + + DECK OFFICER + Yes, sir? + + HAN + Do you know where Commander + Skywalker is? + + DECK OFFICER + I haven't seen him. It's possible + he came in through the south + entrance. + + HAN + It's possible? Why don't you go + find out? It's getting dark out + there. + + DECK OFFICER + Yes, sir. + + The deck officer leaves hurriedly, as Han takes his hand + off Threepio's mouth. + + THREEPIO + Excuse me, sir. Might I inquire + what's going on? + + HAN + Why not? + + THREEPIO + Impossible man. Come along, Artoo, + let's find Princess Leia. Between + ourselves, I think Master Luke is + in considerable danger. + + +10 INT. HOTH - REBEL BASE - MAIN ICE TUNNEL 10 + 9. + + + The deck officer and his assistant hurry toward Han as he + enters the tunnel. + + DECK OFFICER + Sir, Commander Skywalker hasn't + come in through the south entrance. + He might have forgotten to check + in. + + HAN + Not likely. Are the speeders ready? + + DECK OFFICER + Not yet. We're having some trouble + adapting them to the cold. + + HAN + Then we'll have to go out on + Tauntauns. + + DECK OFFICER + Sir, the temperature's dropping too + rapidly. + + HAN + That's right. And my friends out in + it. + + ASSISTANT OFFICER + I'll cover sector twelve. Have com- + control set screen alpha. + + Han pushes through the troops and mounts a Tauntaun. + + DECK OFFICER + Your Tauntaun'll freeze before you + reach the first marker. + + HAN + Then I'll see you in hell! + + Han maneuvers his mount out of the cave and races into the + dark bitter night. + + +11 EXT. HOTH - ICE GORGE - DUSK 11 + 10. + + + The jagged face of a huge ice wall sits gloomily in the dim + twilight of a Hoth day. Luke hangs upside down, ankles + frozen into icy stalactites, his extended arms within a + foot of the snow floor. One side of his face is covered in + a dried mask of frozen blood. He opens his eyes as a + chilling moan of the hideous ice creature echoes off the + gorge walls. Luke pulls himself up, grabs hold of his + ankles, and futilely tries to unfasten the throngs. + + Exhausted, he drops back into his hanging position. As he + hangs there, he spies his lightsaber lying near a pile of + his discarded gear, about three feet out of reach. + + He focuses on the saber and, as his hand strains toward the + weapon, he squeezes his eyes tight in concentration. + + Just as the ice creature looms over Luke, the lightsaber + jumps into Luke's hand. + + The young warrior instantly ignites his sword, swinging up, + and cuts himself loose from the ice. He flops to the snow + in a heap. The startled creature moves back, his giant + yellow eyes blinking. Luke scrambles to his feet. He swings + his lightsaber and the beast screams in pain. + + +12 EXT. HOTH - ENTRANCE TO ICE GORGE - DUSK 12 + + Luke staggers out of the gorge into the dark and snowy + twilight. Weak and exhausted, he stumbles down a snow bank. + + +13 EXT. HOTH - SNOW PLAIN - DUSK 13 + + A small, lone figure riding a Tauntaun races through the + hostile vastness of snow and cold. As it runs, the + Tauntaun's legs kick up large clouds of snow and ice into + the snowy air. + + +14 EXT. HOTH - OUTSIDE ICE HANGAR - DUSK 14 + + Artoo stands in the falling snow, beeping worriedly. + Threepio moves stiffly over to him. + + THREEPIO + You must come along now, Artoo. + There's really nothing more we can + do. And my joints are freezing up. + + Artoo beeps, long and low. + + THREEPIO (CONT’D) + 11. + + + Don't say thing like that! Of + course we'll see Master Luke again. + He'll be quite all right, you'll + see. + (to himself) + Stupid little short-circuit. He'll + be quite all right. + + Threepio turns to go back inside the main hangar as Artoo + mournfully keeps his vigil. + + +15 EXT. HOTH - SNOW DRIFT - DUSK 15 + + The wind is blowing quite strong now. Luke struggles to + stay upright, but a blast of freezing snow knocks him over. + He struggles to get up, but he can't. The young warrior + from Tatooine drags himself a couple of feet and then + collapses. + + +16 INT. REBEL BASE - MAIN HANGAR DECK - ENTRANCE - NIGHT 16 + + Princess Leia stands inside the dark entrance to the Rebel + base, waiting for a sign of the two Rebel heroes. She + shivers in the cold wind as, nearby, Chewie sits with his + head in his hands. In the background, Artoo and Threepio + move through the doors. + + A Rebel lieutenant moves to Major Derlin, an officer + keeping watch with the princess. + + LIEUTENANT + Sir, all the patrols are in. + There's still no contact from + Skywalker or Solo. + + THREEPIO + Mistress Leia, Artoo says he's been + quite unable to pick up any + signals, although he does admit + that his own range is far too weak + to abandon all hope. + + Leia nods an acknowledgment, but she is lost in thought. + + DERLIN + Your Highness, there's nothing more + we can do tonight. The shield doors + must be closed. + + He turns to the lieutenant. + 12. + + + DERLIN (CONT’D) + Close the doors. + + LIEUTENANT + Yes, sir. + + The lieutenant walks away. Chewie lets out a long, mournful + howl, somewhat like a coyote. At the same moment, Artoo + begins a complex series of efficient beeps. + + THREEPIO + Artoo says the chances of survival + are seven hundred seventy-five... + to one. + + Leia stands praying to herself as the huge metal doors slam + across the entrance of the ice cave. The loud booms echo + throughout the huge cavern. Chewie lets out another + suffering howl. + + THREEPIO (CONT’D) + Actually, Artoo has been known to + make mistakes... from time to time. + Oh, dear, oh, dear. Don't worry + about Master Luke. I'm sure he'll + be all right. He's quite clever, + you know... for a human being. + + +17 EXT. HOTH - SNOW DRIFT - DUSK 17 + + Luke lies face down in the snow, nearly unconscious. Slowly + he looks up and sees Ben Kenobi, barely visible through the + blowing snow. It is hard to tell if Kenobi is real or a + hallucination. + + BEN + Luke... Luke. + + LUKE + (weakly) + Ben? + + BEN + You will go to the Dagobah system. + + LUKE + Dagobah system? + + BEN + There you will learn from Yoda, the + Jedi Master who instructed me. + 13. + + +The image of Ben fades, revealing a lone Tauntaun rider +approaching from the windswept horizon. + + LUKE + (groaning faintly) + Ben... Ben. + +Luke drops into unconsciousness. + +Han pulls up and leaps off his mount. He hurries to his +snow-covered friend, cradling him in his arms. Han's +Tauntaun lets out a low, pitiful bellow. But Han's concern +is with Luke, and he shakes him urgently. + + HAN + Luke! Luke! Don't do this, Luke. + Come on, give me a sign here. + +Luke doesn't respond. Han begins frantically rubbing and +slapping Luke's unconscious face. As he starts to lift the +youth, Han hears a rasping sound behind him. He turns, just +in time to see his Tauntaun stagger and then fall over into +the snow. + +Han carries Luke to the moaning beast. Then, with a final +groan, the Tauntaun expires. + + HAN (CONT’D) + Not much time. + +He pushes Luke's inert form against the belly of the dead +beast. + + LUKE + (moaning) + Ben... Ben... + + HAN + Hang on, kid. + + LUKE + Dagobah system... + +Han ignites Luke's saber and cuts the beast from head to +toe. He quickly tosses it's steaming innards into the snow, +then lifts Luke's inert form and stuffs him inside the +carcass. + + HAN + (reeling from the odor) + Whew... + + LUKE + 14. + + + Dagobah... + + HAN + This may smell bad, kid... + + LUKE + (moaning) + Yoda... + + HAN + ...but it will keep you warm... til + I get the shelter built. + (struggling to get Luke + inside the carcass) + Ooh... I thought they smelled bad + on the outside! + + The wind has picked up considerably, making it difficult to + move. Han removes a pack from the dead creature's back, + taking out a shelter container. He begins to set up what + can only be a pitiful protection against a bitter Hoth + night. + + +18 EXT. HOTH - SNOWDRIFT - DAWN 18 + + Four snub-nosed armored snowspeeders race across the white + landscape. + + +19 INT. SNOWSPEEDER COCKPIT 19 + + There is only one pilot, Zev, in the enclosed two-man + craft. He concentrates on the scopes which ring his + cockpit. He hears a low beep from one of his monitors. + + ZEV + (into transmitter) + Echo Base... I've got something! + Not much, but it could be a life + form. + + +20 EXT. HOTH - SNOWDRIFT 20 + + The small craft banks and makes a slow arc, then races off + in a new direction. + + +21 INT. SNOWSPEEDER - COCKPIT 21 + + The pilot switches over to a new transmitter. + 15. + + + ZEV + (into transmitter) + This is Rogue Two. this is Rogue + Two. Captain Solo, so you copy? + Commander Skywalker, do you copy? + This is Rogue Two. + + There is a sharp crackle of static, then a faint voice. + + HAN + (filtered over Zev's + receiver) + Good morning. Nice of you guys to + drop by. + + ZEV + (switching transmitters) + Echo Base... this is Rogue Two. I + found them. Repeat, I found them. + + +22 EXT. HOTH - SNOWDRIFT - DAY 22 + + The small shelter Han set up is covered with snow on the + windward side. A makeshift antenna rests gingerly on top + the snowdrift. Han spots Zev's snowspeeder approaching in + the distance, and begins waving his arms frantically at the + tiny craft. + + +23 INT. REBEL BASE - MEDICAL CENTER 23 + + Strange robot surgeons adjust a mass of electronic + equipment. A switch is thrown and a sudden blinding flash + obscures Luke in a bacta tank filled with a thick, + gelatinous slime. He begins to thrash about, raving in + delirium. + + +24 INT. REBEL BASE - MEDICAL CENTER - RECOVERY ROOM 24 + + Luke sits up in a recovery-room bed, weak but smiling. His + face shows terrible wounds from the Wampa's attack. + Threepio and Artoo enter the room. + + THREEPIO + Master Luke, sir, it's so good to + see you fully functional again. + + Artoo beeps his good wishes. + + THREEPIO (CONT’D) + Artoo expresses his relief, also. + 16. + + +Han and Chewie make their entrance. The Wookiee growls a +greeting. + + HAN + How are you feeling, kid? You don't + look so bad to me. In fact, you + look strong enough to pull the ears + off a Gundark. + + LUKE + Thanks to you. + + HAN + That's two you owe me, junior. + +Han turns as Leia enters the room. He looks at her with a +big, devilish grin. + + HAN (CONT’D) + Well your Worship, looks like you + managed to keep me around for a + little while longer. + + LEIA + (haughtily) + I had nothing to do with it. + General Rieekan thinks it's + dangerous for any ships to leave + the system until we've activated + the energy shield. + + HAN + That's a good story. I think you + just can't bear to let a gorgeous + guy like me out of your sight. + + LEIA + I don't know where you get your + delusions, laser brain. + +Chewie is amused; he laughs in his manner. Han, enjoying +himself, regards Chewie good-humoredly. + + HAN + Laugh it up, fuzzball. But you + didn't see us alone in the south + passage. + +Luke sparks to this; he looks at Leia. + + HAN (CONT’D) + She expressed her true feelings for + me. + 17. + + + Leia is flushed, eyes darting between Luke and Han. + + LEIA + My...! Why, you stuck up,... half- + witted... scruffy-looking ...nerf- + herder! + + HAN + Who's scruffy-looking? + (to Luke) + I must have hit pretty close to the + mark to get her all riled up like + that, huh, kid? + + Leia looks vulnerable for a moment, then the mask falls + again, and she focuses on Luke. + + LEIA + Why, I guess you don't know + everything about women yet? + + With that she leans over and kisses Luke on the lips. Then + she turns on her heel and walks out, leaving everyone in + the room slightly dumbstruck. With some smugness, Luke puts + his hands behind his head and grins. + + Suddenly, in the distance, the muffled sound of an alarm is + heard. + + ANNOUNCER + (over loudspeaker) + Headquarters personnel, report to + command center. + + The voice repeats the order and Han, Chewie, Artoo, and + Threepio hurry out of the room, bidding farewell to Luke. + + HAN + Take it easy. + + THREEPIO + Excuse us, please. + + +25 INT. HOTH - REBEL BASE - COMMAND CENTER 25 + + Rieekan looks up grimly from a console screen. He calls + over to Leia and Han. + + RIEEKAN + Princess... we have a visitor. + + The group hurries over to Rieekan. + 18. + + + RIEEKAN (CONT’D) + We've picked up something outside + the base in zone twelve, moving + east. + + SENIOR CONTROLLER + It's metal. + + LEIA + Then it couldn't be one of those + creatures that attacked Luke. + + HAN + It could be a speeder, one of ours. + + SENIOR CONTROLLER + No. Wait - there's something very + weak coming through. + + Threepio steps up to the control panel and listens intently + to the strange signal. + + THREEPIO + Sir, I am fluent in six million + forms of communication. This signal + is not used by the Alliance. It + could be an Imperial code. + + The transmission ends in static. + + HAN + It isn't friendly, whatever it is. + Come on, Chewie, let's check it + out. + + RIEEKAN + Send Rogues Ten and Eleven to + station three-eight. + + +26 EXT. HOTH - SNOW PLAIN - DAY 26 + + The dark probe robot moves past the smoldering ruins of + station three- eight and down a ridge toward the Rebel + base. It raises a large antenna from the top of its head + and begins to send out a piercing signal. + + The probe droid has spotted Chewbacca who, not thirty feet + away, has popped his head over a snow bank. Instantly, the + probe robot swings around, its deadly ray ready to fire. + But before it can get a shot off, it is hit from behind by + a laser bolt, and explodes in a million pieces. + 19. + + + Han Solo replaces his blaster in its holster and peers + intently at the smoldering remains of the Imperial probe. + + +27 INT. HOTH - REBEL BASE - COMMAND CENTER 27 + + Leia and Rieekan listen to Han on the comlink. + + HAN + (over comlink) + Afraid there's not much left. + + LEIA + (into comlink) + What was it? + + HAN + (over comlink) + Droid of some kind. I didn't hit it + that hard. It must have had a self- + destruct. + + LEIA + (into comlink) + An Imperial probe droid. + + HAN + (over comlink) + It's a good bet the Empire knows + we're here. + + RIEEKAN + We'd better start the evacuation. + + +28 EXT. SPACE - IMPERIAL FLEET 28 + + Darth Vader's Star Destroyer, larger and more awesome than + the five Imperial Star Destroyers that surround it, sits in + the vastness of space. The six huge ships are surrounded by + a convoy of smaller spacecraft. TIE fighters dart to and + fro. + + +29 INT. DARTH VADER'S STAR DESTROYER - BRIDGE - MAIN CONTROL 29 + + DECK + 20. + + +Controllers working the vast complex of electronic controls +hear ominous approaching footsteps and look up from their +controls. The squat, evil-looking Admiral Ozzel and the +young, powerfully built General Veers, who have been +conferring near the front, also feel the approaching +presence and turn toward it. Darth Vader, Lord of the Sith, +enters like a chill wind. As Vader moves across the wide +bridge, Captain Piett hurries up to Ozzel. + + PIETT + Admiral. + + OZZEL + Yes, Captain + + PIETT + I think we've got something, sir. + The report is only a fragment from + a probe droid in the Hoth system, + but it's the best lead we've had. + + OZZEL + (irritated) + We have thousands of probe droids + searching the galaxy. I want proof, + not leads! + + PIETT + The visuals indicate life readings. + + OZZEL + It could mean anything. If we + followed every lead... + + PIETT + But, sir, the Hoth system is + supposed to be devoid of human + forms. + +Vader moves to a large screen showing an image of the Rebel +snow base. Rebel speeders can be seen approaching the base +in the distance. + + VADER + You found something? + + PIETT + Yes, my lord. + + VADER + (studying the image on + the console screen) + That's it. The Rebels are there. + 21. + + + OZZEL + My lord, there are so many + uncharted settlements. It could be + smugglers, it could be... + + VADER + That is the system. And I'm sure + Skywalker is with them. Set your + course for the Hoth system. General + Veers, prepare you men. + + +30 INT. HOTH - REBEL BASE - TRANSPORT BAY 30 + + A captain issues instructions to two of his men at the + entrance to the main transport bay. Several Rebel + transports behind them are being loaded by men carrying + heavy boxes and moving quickly, but not in panic. + + REBEL CAPTAIN + Groups seven and ten will stay + behind to fly the speeders. As soon + as each transport is loaded, + evacuation control will give + clearance for immediate launch. + + REBEL FIGHTER + Right, sir. + + +31 INT. HOTH - REBEL BASE - MAIN HANGAR DECK 31 + + Alarms sound. Troops, ground crews, and droids rush to + their alert stations. Armored snowspeeders are lined up in + attack formation near the main entrance. + + In the midst of all this activity, Han does some frantic + welding on the lifters of the Millennium Falcon. + + Han finishes his work and hops down to the hangar floor. He + pulls out his comlink, all the while eyeing problematic + lifters. + + HAN + (into comlink, to Chewie) + Okay, that's it. Try it... Off! + Turn it off! Turn it off! Off! + + Smoke rises from a minor explosion on the lifter. + Exasperated, Han surveys the new damage. + + +32 INT. REBEL BASE - MEDICAL CENTER 32 + 22. + + + Luke dresses in readiness for the evacuation as his + attending medical droid stands by. + + MEDICAL DROID + Sir, it will take quite a while to + evacuate the T-forty- sevens. + + LUKE + Well, forget the heavy equipment. + There's plenty of time to get the + smaller modules on the transports. + + MEDICAL DROID + Take care, sir. + + LUKE + Thanks. + + +33 INT. REBEL BASE - MAIN HANGAR DECK 33 + + Pilots, gunners, and R2 units scurry about. Luke, pulling + on his heavy-weather jacket, is headed toward a row of + armored speeders. He stops at the rear of the Millennium + Falcon, where Han and Chewie are trying to repair the right + lifter with even more haste than before. + + LUKE + Chewie, take care of yourself, + okay? + + As Luke pats Chewie on the arm, Chewie puts his arms around + Luke and gives him a tight hug. Han is discussing the + lifter with a repair droid when he sees Luke. + + HAN + Hi, kid. + (to droid) + There's got to be a reason for it. + Check it at the other end. Wait a + second. + (to Luke) + You all right? + + LUKE + Yeah. + + HAN + Be careful. + + LUKE + You, too. + 23. + + + Luke smiles, then waves at his friend and walks on. After a + few steps, he stops and looks back. Han glances up and the + two exchange a silent communication, each wishing the other + safety, happiness - many things, all difficult to + verbalize. + + +34 INT. REBEL BASE - CONTROL ROOM. 34 + + Alarms sound throughout the hidden Rebel base. In the + control room, a controller urgently gestures for General + Rieekan to check a computer scan. + + CONTROLLER + General, there's a fleet of Star + Destroyers coming out of hyperspace + in sector four. + + RIEEKAN + Reroute all power to the energy + shield. We've got to hold them till + all transports are away. Prepare + for ground assault. + + Rieekan exits hurriedly. + + 35 35 + + +34A INT. VADER'S STAR DESTROYER - VADER'S CHAMBER - MEDITATION 34A + + CUBICLE + + The dark cubicle is illuminated by a single shaft of light + which falls on the brooding Dark Lord as he sits on a + raised meditation cube. General Veers enters the room and + approaches the silent, unmoving Vader. Although seemingly + very sure of himself, Veers is still not bold enough to + interrupt the meditating lord. The younger general stands + quietly at attention until the evil presence speaks. + + VADER + What is it, General? + + VEERS + My lord, the fleet has moves out of + light-speed. Com-Scan has detected + an energy field protecting an area + around the sixth planet of the Hoth + system. The field is strong enough + to deflect any bombardment. + + VADER + 24. + + + (angrily) + The Rebels are alerted to our + presence. Admiral Ozzel came out of + light-speed too close to the + system. + + VEERS + He felt surprise was wiser... + + VADER + He is as clumsy as he is stupid. + General, prepare your troops for a + surface attack. + + VEERS + Yes, my lord. + +Veers turns smartly and leaves as Vader activates a large +viewscreen showing the bridge of his mighty ship. Admiral +Ozzel appears on the viewscreen, standing slightly in front +of Captain Piett. + + OZZEL + Lord Vader, the fleet has moved out + of light-speed, and we're preparing + to... Aaagh! + + VADER + You have failed me for the last + time, Admiral. Captain Piett. + +Piett steps forward, as the admiral moves away, slightly +confused, touching his throat as it begins to constrict +painfully. + + PIETT + Yes, my lord. + + VADER + Make ready to land out troops + beyond the energy shield and deploy + the fleet so that nothing gets off + that system. You are in command + now, Admiral Piett. + + PIETT + Thank you, Lord Vader. + +Piett's pleasure about his unexpected promotion is not an +unmixed emotion. He glances warily at the struggling +Admiral Ozzel who, with a final choke, stumbles and falls +in a lifeless heap before him. + 25. + + +36 INT. REBEL BASE - MAIN HANGAR DECK 36 + + With a sense of urgency, Leia quickly briefs a group of + pilots gathered in the center of the hangar. + + LEIA + All troop carriers will assemble at + the north entrance. The heavy + transport ships will leave as soon + as they're loaded. Only two fighter + escorts per ship. The energy shield + can only be opened for a short + time, so you'll have to stay very + close to your transports. + + HOBBIE + Two fighters against a Star + Destroyer? + + LEIA + The ion cannon will fire several + shots to make sure that any enemy + ships will be out of your flight + path. When you've gotten past the + energy shield, proceed directly to + the rendezvous point. Understood? + + PILOTS + (in unison) + Right. Okay. + + LEIA + Good luck. + + DERLIN + Okay. Everyone to your stations. + Let's go! + + The pilots hurry away. + + +37 EXT. HOTH - ICE PLAIN - SNOW TRENCH - DAY 37 + + Rebel troops carry heavy bazooka-type weapons and position + them along the snow trench. Men hurriedly respond to their + officers' yelled orders and brace themselves against the + rhythmic gusts of bitter-cold wind. + + Other troops load power packs into a gun turret and swing + its guns into position. + + +38 EXT. HOTH - ICE PLAIN - POWER GENERATORS 38 + 26. + + + Near the base power generators, troops rush to set up their + heavy battle equipment. Buzzing loudly, the generators send + along, sparking fingers of energy into the bitter Hoth + wind. + + +39 INT. REBEL BASE - COMMAND CENTER 39 + + The long line of Rebel controllers is tense, as are + Princess Leia and General Rieekan, who are trying very hard + not to show any fear. + + RIEEKAN + Their primary target will be the + power generators. Prepare to open + the shield. + + +40 EXT. ICE PLAIN 40 + + The Rebel transport and two escort fighters begin their + departure from the ice planet. + + +41 EXT. SPACE - IMPERIAL STAR DESTROYER 41 + + A huge Imperial Star Destroyer rest against a sea of stars, + far above the white surface of the planet Hoth. + + +42 INT. IMPERIAL STAR DESTROYER - BRIDGE 42 + + An Imperial controller approaches his commander. + + CONTROLLER + Sir, Rebel ships are coming into + our sector. + + CAPTAIN + Good. Our first catch of the day. + + +43 INT. REBEL BASE - COMMAND CENTER 43 + + WOMAN CONTROLLER + Stand by, ion control... Fire! + + +44 EXT. REBEL BASE ICE CAVE - ION CANNON 44 + + The giant ball-shaped ion cannon rotates into position and + blasts two red energy beams skyward. + 27. + + +45 EXT. SPACE - HOTH - REBEL TRANSPORT 45 + + The Rebel transport and its escort race away from the white + planet, closely followed by the two red energy beams. + + As the Rebel transport races toward the waiting Imperial + Star Destroyer, it is overtaken by the two scarlet energy + bolts. The Imperial Star Destroyer is hit in the conning + tower by the powerful bolts, which set up fiery explosions + on its metal hull. + + The big Star Destroyer veers, then spins wildly out of + control. As the Imperial ship careers into deep space, the + Rebel transport races away to safety. + + +46 INT. REBEL BASE - MAIN HANGAR DECK 46 + + Pilots, gunners, and troopers hurry to their stations and + their vehicles. + + ANNOUNCER + (over loudspeaker) + The first transport is away. + + Everyone cheers at the announcement, which echoes through + the hangar. Luke turns and walks on, heading toward his + snowspeeder. His gunner, Dack, a fresh-faced, eager kid, is + glad to see him. They climb in. + + DACK + Feeling all right, sir? + + LUKE + Just like new, Dack. How about you? + + DACK + Right now I feel like I could take + on the whole Empire myself. + + LUKE + (quietly, strapping in) + I know what you mean. + + +47 EXT. HOTH - ICE PLAIN 47 + + A thin horizon line cuts across the bleak landscape. Small + dot-size objects begin to appear on the horizon, moving in + the direction of the Rebel base. + + +48 EXT. HOTH - ICE PLAIN - SNOW TRENCH 48 + 28. + + + A Rebel officer lifts a pair of electrobinoculars to his + eyes. Through the lens he sees a very close view of a giant + Imperial snow walker. He adjusts the view which then zooms + back to reveal three more of the ominous battle machines. + Small flashes of yellow fire billow from the guns of the + lumbering snow walkers. + + The officer lowers his binoculars as the regular rhythmic + pounding begins to make the ground vibrate. The pounding + grows louder and is accompanied by a high-pitched, metallic + rattling. The officer speaks into his comlink. + + TRENCH OFFICER + Echo Station Three-T-Eight. + + +49 INT. REBEL BASE - CORRIDOR 49 + + Pilots and gunners race to their waiting snowspeeders. Ice + and snow begin falling from the walls of the corridor, + shaken by the pounding Imperial snow walker as they draw + ever nearer. + + TRENCH OFFICER + (over comlink) + We have spotted Imperial walkers! + + CONTROLLER + Imperial walkers on the north + ridge. + + +50 EXT. HOTH - ICE PLAIN - SNOW TRENCH 50 + + The Rebel troops aim their weapons at the horizon as + explosions erupt all around them. They are nervous and + their grip on their weapons tightens from the cold and from + fear. + + Behind the troops a dozen snowspeeders race through the + sky. + + +51 INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT 51 + + LUKE + (into comlink) + Echo station Five-Seven. We're on + our way. + + +52 EXT. HOTH - ICE PLAIN - BATTLEFIELD 52 + 29. + + + The fleet of snowspeeders races above the ice field at full + throttle. They accelerate away from the base and head + toward the distant walkers. + + +53 INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT 53 + + LUKE + (into comlink) + All right, boys, keep tight now. + + DACK + Luke, I have no approach vector. + I'm not set. + + LUKE + Steady, Dack. Attack pattern delta. + Go now! + + +54 EXT. HOTH - ICE PLAIN - BATTLEFIELD 54 + + The cannons mounted on the walker head fire at the + speeders. Other walkers loom in the background. Two + speeders race away past two of the enormous walkers and + bank to the right. + + +55 INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT 55 + + LUKE + All right, I'm coming in. + + He turns his speeder and heads directly at one of the + walkers, flying toward its towering legs. The horizon + twists as the speeder banks between the legs. + + LUKE (CONT’D) + (into comlink) + Hobbie, you still with me? + + +56 EXT. HOTH - ICE PLAIN - BATTLEFIELD 56 + + Two speeders race directly at the head of a walker, then + split and fly past it. + + Three other walkers march onward, firing all cannons. + + +57 EXT. HOTH - ICE PLAIN - SNOWTRENCH 57 + 30. + + + Rebel troops fire on the approaching walkers, as the snow + and ice explode all around them. + + +58 EXT. HOTH - ICE PLAIN - BATTLEFIELD 58 + + A speeder banks through and away from the legs of a walker. + Two other speeders pass the first speeder from the opposite + direction. Other Rebel craft race just above the icy plain. + + A giant walker head swivels and fires, striking a + snowspeeder and sending it crashing in a ball of flames. + + +59 INT. IMPERIAL SNOW WALKER - COCKPIT 59 + + General Veers and two walker pilots keep a careful eye on + the racing Rebel snowspeeders as they maneuver their + lumbering war machine forward. + + Luke's speeder banks in from the side of Veers's walker and + heads straight for its viewport, blasting away. An + explosion hits the walker window, but dissipates, doing no + harm. The speeder roars up and over the impregnable war + machine. + + +60 INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT 60 + + Luke looks back at the walker as it grows smaller in the + distance. + + LUKE + That armor's too strong for + blasters. + + On the horizon, another walker moves up past Luke's cockpit + window, twisting out of sight as Luke banks and starts + another run. + + LUKE (CONT’D) + (into comlink) + Rogue Group, use your harpoons and + tow cables. Go for the legs. It + might be our only chance of + stopping them. + (to Dack) + All right, stand by, Dack. + + Dack is at the gunner's controls. + + DACK + 31. + + + Luke, we've got a malfunction in + fire control. I'll have to cut in + the auxiliary. + + LUKE + Just hang on. Hang on, Dack. Get + ready to fire that tow cable. + + Barely keeping his seat in the tumbling ship, Dack + struggles to set up his harpoon gun. + + Luke swings his speeder around and heads toward an oncoming + walker. Laser bolts and flak fill the air, creating a + deadly obstacle course for the tiny craft. + + +61 EXT. HOTH - ICE PLAIN - BATTLEFIELD 61 + + Rogue Leader and another snowspeeder fly in tight formation + toward the walker as explosions burst all around them. + + +62 INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT 62 + + After sustaining a heavy volley of fire, Luke turns around + to see if Dack is all right. + + LUKE + Dack? Dack! + + Dack is lost. Blood streams down his forehead, which rests + on his smoldering controls. Out the back window, an + Imperial walker recedes in the distance. + + +63 EXT. HOTH - ICE PLAIN - SNOW TRENCH AREA 63 + + Rebel troops fire the dishlike ray gun while explosions + erupt around them. + + +64 EXT. HOTH - ICE PLAIN - BATTLEFIELD 64 + + Two walkers lumber toward the Rebel base as a speeder + between them explodes in a ball of flames. + + +65 EXT. HOTH - ICE PLAIN - SNOW TRENCH 65 + + The dislike ray gun is hit by a laser bolt and instantly + explodes. + 32. + + +66 INT. IMPERIAL SNOW WALKER - COCKPIT 66 + + Through the cockpit window, Veers and his pilot can see the + Rebel power generators in the distance. + + A hologram of Darth Vader appears on a control panel + screen. + + VEERS + Yes, Lord Vader. I've reached the + main power generator. The shield + will be down in moments. You may + start your landing. + + +67 INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT 67 + + LUKE + (into comlink) + Rogue Three. + + +68 INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT 68 + + WEDGE + (into comlink) + Copy, Rogue Leader + + LUKE + (over comlink) + Wedge, I've lost my gunner. You'll + have to make this shot. I'll cover + for you. Set your harpoon. Follow + me on the next pass. + + WEDGE + (into comlink) + Coming around, Rogue Leader. + + +69 INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT 69 + + LUKE + (into comlink) + Steady, Rogue Two + + +70 EXT. HOTH - BATTLEFIELD 70 + + Wedge's speeder races through the legs of one of the + monstrous walkers. + 33. + + +71 INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT 71 + + WEDGE + (to gunner) + Activate harpoon. + + Wedge's gunner reaches for a firing switch to activate the + harpoon. The harpoon flashes out, and speeds toward the + receding legs of the walker. + + +72 EXT. HOTH - BATTLEFIELD 72 + + The harpoon hurtles toward the walker, In an instant it is + embedded in one of the walker's legs. + + +73 INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT 73 + + WEDGE + (to gunner) + Good shot, Janson. + + +74 EXT. HOTH - BATTLEFIELD 74 + + The speeder Rogue Three races around one of the giant + walker's feet, trailing the cable behind it. Continuing + around the back foot, Rogue Three then circles the walker + around the tail end. + + +75 INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT 75 + + Wedge checks his controls and banks around the front of the + walker. + + WEDGE + One more pass. + + JANSON + Coming around. Once more. + + +76 EXT. HOTH - BATTLEFIELD 76 + + The speeder sweeps left to right in front of the giant + legs, towing the cable behind it. + + +77 INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT 77 + + JANSON + 34. + + + Once more. + + Wedge swings the speeder between the legs of the giant + walker. + + JANSON (CONT’D) + Cable out! Let her go! + + WEDGE + Detach cable. + + +78 EXT. WEDGE'S SNOWSPEEDER, ROGUE THREE 78 + + The cable release on the back of the speeder snaps loose + and the cable drops away. + + +79 INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT 79 + + JANSON + Cable detached. + + +80 EXT. HOTH - BATTLEFIELD 80 + + The speeder zooms away into the distance. The tangled legs + of the enormous war machine attempt a step, but as they do + the giant Imperial walker begins to topple. It teeters for + a moment, and then crashes onto the icy ground, sending + snow and metal pieces flying. + + +81 EXT. HOTH - ICE PLAIN - SNOW TRENCH 81 + + The troops in the trenches cheer at the sight of the + crashing walker. + + An officer gives a signal to his men and Rebel troops + charge the fallen war machine. + + TRENCH OFFICER + Come on! + + The troops run toward the downed walker, followed by two + Rebel speeders flying overhead. Just as they reach the + walker, it explodes, the impact throwing some of the men + onto the frozen ground. + + +82 INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT 82 + 35. + + + Wedge lets out a triumphant yell, banking his speeder away + from the fallen walker. + + WEDGE + (into comlink) + Whooha! That got him! + + +83 INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT 83 + + LUKE + (into comlink) + I see it, Wedge. Good work. + + +84 INT. REBEL BASE - COMMAND CENTER 84 + + Large chunks of ice tumble into the command center as Leia + and General Rieekan monitor computer screens. + + RIEEKAN + I don't think we can protect two + transports at a time. + + LEIA + It's risky, but we can't hold out + much longer. We have no choice. + + RIEEKAN + (into comlink) + Launch patrols. + + LEIA + (to an aide) + Evacuate remaining ground staff. + + +85 INT. REBEL BASE - MAIN HANGAR 85 + + Muffled distant explosions create widening cracks in the + ice roof of the hangar. Trying to ignore the noise and + falling bits of snow, Han works on one of the Falcon's + lifters while Chewie works on one of the wings. Noticing + Chewie attach a wrong part, Han grows impatient. + + HAN + No, no! No! This one goes there, + that one goes there. Right? + + In another area of the hangar, Threepio watches as Artoo is + raised up into Luke's X-wing fighter. + + THREEPIO + 36. + + + Artoo, you take good care of Master + Luke now, understand? And ... do + take good care of yourself. Oh, + dear, oh, dear. + + +86 EXT. HOTH - BATTLEFIELD 86 + + The fierce battle on the vast snow plains of Hoth rages on. + The Imperial walkers continue their slow, steady assault on + the Rebel base, firing lasers as they lumber ever onward. + In the snow trench, Rebel troops fire large bazookalike + guns and dishlike ray guns as explosions erupt around them. + A gun tower is hit by a laser bolt and instantly explodes. + Another blast destroys a ray gun. + + +87 INT. IMPERIAL SNOW WALKER - COCKPIT 87 + + General Veers studies various readouts on his control + panel. + + VEERS + All troops will debark for ground + assault. Prepare to target the main + generator. + + +88 EXT. HOTH - BATTLEFIELD 88 + + Luke's speeder and Rogue Two fly in formation, banking from + right to left and flying above the erupting battlefield. + Flak bursts all around them. + + +89 INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT 89 + + Luke, glancing over, sees Rogue Two on his left. His ship + shudders as flak bursts nearby. + + LUKE + (into comlink) + Rogue Two, are you all right? + + +90 INT. ZEV'S SNOWSPEEDER, ROGUE TWO - COCKPIT 90 + + ZEV + (into comlink) + Yeah. I'm with you, Rogue Leader. + + +91 INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT 91 + 37. + + + LUKE + (into comlink) + We'll set harpoon. I'll cover for + you. + + +92 EXT. HOTH - BATTLEFIELD 92 + + The two speeders race across the horizon toward the giant + walkers. + + +93 INT. ZEV'S SNOWSPEEDER, ROGUE TWO - COCKPIT 93 + + ZEV + (into comlink) + Coming around. + + +94 INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT 94 + + LUKE + (into comlink) + Watch that cross fire, boys. + + +95 INT. ZEV'S SNOWSPEEDER, ROGUE TWO - COCKPIT 95 + + ZEV + (into comlink) + Set for position three. + (to gunner) + Steady. + + LUKE + (over comlink) + Stay tight and low. + + +96 EXT. ZEV'S SNOWSPEEDER, ROGUE TWO 96 + + Luke's speeder moves in formation with Rogue Two, when + suddenly Zev's speeder is hit by a laser bolt. His ship + bucks violently under the impact and the cockpit explodes + in a ball of flame. + + Spewing smoke, the speeder hurtles toward a looming walker. + Before they collide. Rogue Two explodes in a million + flaming pieces. + + +97 INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT 97 + 38. + + + Desperately, Luke works the controls of his flak-buffeted + ship. Suddenly, the speeder is rocked by a huge explosion. + Luke struggles with the controls with a look of terror on + his face. The speeder fills with smoke, and electrical + sparks jump about the cockpit. + + LUKE + (into comlink) + Hobbie, I've been hit! + + +98 INT. REBEL BASE - COMMAND CENTER 98 + + Apart from the distant thunder of laser blasts, the + corridor is strangely quiet and empty. Running footsteps + echo through the freezing hallway, then Han appears. Cracks + have appeared in some of the walls and some pipes have + broken, sending hot steam billowing into the underground + hallways. Han hurries into the command center. It is a + shambles, but some people are still at their posts. As he + enters, a gigantic cave-in almost obliterates the room. He + finds Leia and Threepio near one of the control boards. + + HAN + You all right? + + Leia nods. She is surprised to see him. + + LEIA + Why are you still here? + + HAN + I heard the command center had been + hit. + + LEIA + You got your clearance to leave. + + HAN + Don't worry. I'll leave. First I'm + going to get you to your ship. + + THREEPIO + Your Highness, we must take this + last transport. It's our only hope. + + LEIA + (to controller) + Send all troops in sector twelve to + the south slope to protect the + fighters. + 39. + + + A blast rocks the command center, throwing Threepio + backward into Han's arms. + + ANNOUNCER + (over loudspeaker) + Imperial troops have entered the + base. + + HAN + Come on... that's it. + + LEIA + (to head controller) + Give the evacuation code signal. + And get to your transports! + + Leia looks exhausted. Han grabs her and starts to lead her + out. + + As Han, Leia, and Threepio run out of the command center, + the code signal can be heard echoing off the corridor + walls. + + HEAD CONTROLLER + K-one-zero... all troops disengage. + + THREEPIO + (to Han and Leia) + Oh! Wait for me! + + +99 EXT. BATTLEFIELD - SNOW TRENCH 99 + + Rebel troops retreat under the awesome Imperial onslaught. + + OFFICER + Begin retreat! + + SECOND OFFICER + Fall back! + + Troops flee from the battle, the ground exploding around + them. + + +100 EXT. HOTH - BATTLEFIELD 100 + + Three of the giant walkers, firing lasers, advance toward + the Rebel headquarters. + + +101 EXT. HOTH - SNOW TRENCH 101 + 40. + + + Continuing their retreat, the Rebels see the walkers + looming ever nearer. + + +102 EXT. HOTH - BATTLEFIELD - ICE PLAIN 102 + + On the battlefield, Luke watches as a walker foot rises and + moves over him. He looks up at the underbelly of the huge + walker, passing overhead. + + Running beneath the monstrous machine, Luke fires his + harpoon gun at the walker's underside. A thin cable follows + the projectile from the gun. The magnetic head and cable + attach firmly to the metal hull. + + Still running under the walker, Luke attaches the cable + drum to his belt buckle. Soon he is pulled up the cable and + hangs dangling underneath the walker. + + The walker's giant feet continue to pound onward across the + frozen snow. Stray laser bolts whistle by Luke as he climbs + up the cable to the walker's hull, reaching a small hatch. + Hanging precariously, Luke cuts the solid metal hatch with + his laser sword. + + He takes a landmine from around his neck and throws it + inside the Imperial machine. Quickly, Luke starts down the + cable and crashes onto the icy ground far below. He lies + unconscious as a giant rear leg passes by - and just misses + him. + + The giant walker stops in mid-step. A muffled explosion + comes from within - and then the walker's mechanical + insides are spewed out every conceivable opening. The + machine sits dead in its tracks, smoking like a locomotive + on stilts. + + +103 EXT. HOTH - BATTLEFIELD 103 + + Veers's walker continues to advance toward the Rebel base. + The smoldering walker that Luke exploded stands smoking + just to the right of Veers's path. + + +104 INT. IMPERIAL SNOW WALKER - COCKPIT 104 + + Inside his walker, General Veers prepares to fire on the + Rebel power generators. + + VEERS + Distance to power generators? + 41. + + + PILOT + One-seven, decimal two-eight. + + Veers reaches for the electrorangefinder and lines up the + main generator. + + VEERS + Target. Maximum fire power. + + +105 EXT. HOTH - BATTLEFIELD 105 + + The Rebel troops continue their desperate retreat, pushed + back by the relentless Imperial assault. + + +106 INT. HOTH - REBEL BASE - ICE CORRIDORS 106 + + With Threepio lagging behind, Han and Leia race through the + crumbling ice corridors. Suddenly, there is an explosion. + Han turns, grabs the princess, and pulls her to the wall as + a tremendous cave-in blacks their path. + + He takes the comlink from his pocket. + + HAN + (into comlink) + Transport, this is Solo. Better + take off - I can't get to you. I'll + get the princess out on the Falcon. + + Han and Leia turn and race down the corridor. + + THREEPIO + But... but... but... where are you + going? Uh... come back!! + + +107 INT. HOTH - REBEL BASE - COMMAND CENTER 107 + + Imperial troops have reached the base. As they push through + the blocked passageway, Darth Vader strides behind them. + + +108 INT. HOTH - REBEL BASE - ICE CORRIDOR 108 + + Han and Leia run toward the entrance of the main hangar + where the Millennium Falcon is docked. Threepio still lags + behind. + + THREEPIO + Wait! Wait for me! Wait! Stop! + 42. + + + The door to the hangar closes in his face. + + THREEPIO (CONT’D) + (exasperated) + How typical. + + Quickly, the door reopens as Han reaches out and pulls the + golden droid through. + + HAN + Come on. + + +109 INT. HOTH - REBEL BASE - MAIN HANGAR 109 + + Chewie paces under the shelter of the Millennium Falcon's + landing gear. The giant Wookiee pats the underbelly of his + beloved ship and barks a few reassuring words. As he + searches worriedly for his captain, something at last + catches his eye. + + Chewie lets out a relieved shriek at seeing Han and Leia + running toward the ship. The Wookiee runs out into the + falling ice, lets out a howl, then runs up the ship's ramp. + Han and Leia run up the ramp after him, closely followed by + Threepio. + + HAN + Hurry up, goldenrod, or you're + going to be a permanent resident! + + THREEPIO + Wait! Wait! + + +110 INT. HOTH - REBEL BASE - ICE CORRIDOR 110 + + Imperial troops run through the base corridors. Vader + surveys the place. A huge chunk falls, almost hitting him, + but he calmly, purposefully, continues around it. + + +111 INT. REBEL BASE - MAIN HANGER - MILLENNIUM FALCON 111 + + A distant, huge, explosion rocks the hangar deck. Ice cakes + come crashing down on the Millennium Falcon. + + +112 INT. MAIN HANGAR - MILLENNIUM FALCON - MAIN HOLD 112 + + Han, standing before a control panel, is busy flipping + switches as Chewie watches a troublesome gauge. A worried + Leia observes their efforts. + 43. + + + HAN + (to Chewie) + How's this? + + The Wookiee barks a negative reply. + + LEIA + Would it helped if I got out and + pushed? + + HAN + It might. + + Threepio clanks into the hold. + + THREEPIO + Captain Solo, Captain Solo... sir, + might I suggest that you... + + Han gives the gold robot a devastating look. + + THREEPIO (CONT’D) + It can wait. + + +113 INT. MAIN HANGAR - MILLENNIUM FALCON - COCKPIT 113 + + They move to the cockpit where Han flips some more + switches. Leia watches him, impatient, disbelieving. + + LEIA + This bucket of bolts is never going + to get us past that blockade. + + HAN + This baby's got a few surprises + left in her, sweetheart. + + Han and Leia look out the cockpit window and see a squad of + stormtroopers rushing into the far side of the hangar. + + Quickly, Han straps himself into the pilot's seat and Leia + into the navigator's chair. + + +114 INT. HOTH - REBEL BASE - MAIN HANGAR 114 + + Stormtroopers hurriedly set up a large bazookalike weapon. + Behind them the giant hangar doors open slowly. + + +115 EXT. MAIN HANGAR - MILLENNIUM FALCON 115 + 44. + + + A laser gun appears on the Falcon and swings around to aim + at the Imperial troops. + + The stormtroopers, preparing to fire their bazooka cannon, + are hit by the Falcon's fire and are thrown about in all + directions. + + +116 INT. MAIN HANGAR - MILLENNIUM FALCON - COCKPIT 116 + + Chewie rushes into the cockpit. + + HAN + Come on! Come on! Switch over. + Let's hope we don't have a burnout. + + A laser hits the window near Chewie as he is settling into + his chair. Letting out a loud whelp, Chewie quickly pulls + back on the controls and the first stage of engine fire can + be heard. Han flashes a big grin at Leia. + + HAN (CONT’D) + See? + + LEIA + Someday you're going to be wrong, + and I hope I'm there to see it. + + Han looks at Chewie. + + HAN + Punch it! + + The roar of the Falcon's main engines blasts out everything + as the ice- cave wall rushes by outside the cockpit window. + + +117 INT. REBEL BASE - MAIN HANGAR 117 + + More stormtroopers run into the hangar, closely followed by + Vader. Hearing the loud roar of the Millennium Falcon's + engines, Vader looks toward the main hangar doors just in + time to see the Falcon lift up and disappear outside the + cave. + + +118 EXT. HOTH - ICE SLOPE - DAY 118 + + Luke and two other pilots look up as the Millennium Falcon + races above them, flying very close to the ground. + 45. + + + The three pilots turn then, and trudge onward toward their + X- wing fighters, each going to his own ship. Luke waves + farewell, then heads toward his own fighter. + + Artoo, seated on his cubbyhole, chirps an excited greeting + as Luke climbs aboard the spacecraft. + + LUKE + Artoo! Get her ready for takeoff. + + From his ship, Luke sees Wedge in his own X-wing, preparing + for takeoff. + + WEDGE + Good luck, Luke. See you at the + rendezvous. + + Luke smiles and nods at Wedge, then lowers himself into the + cockpit of his X-wing while Artoo waits in the cubbyhole, + beeping impatiently. + + LUKE + Don't worry, Artoo. We're going, + we're going. + + The canopy over the X-wing lowers and snaps shut. + + +119 EXT. SPACE - LUKE'S X-WING 119 + + Luke's fighter, its wings closed, speeds away from the icy + planet. Soon it disappears into the stars. + + +120 INT. LUKE'S X-WING - COCKPIT 120 + + Luke, looking thoughtful, suddenly makes a decision. He + flips several switches. The stars shift as he takes his + fighter into a steep turn. The X-wing banks sharply and + flies away in a new direction. + + The monitor screen on Luke's control panel prints out a + question from the concerned Artoo. + + LUKE + (into comlink) + There's nothing wrong, Artoo. I'm + just setting a new course. + + Artoo beeps once again. + + LUKE (CONT’D) + (into comlink) + 46. + + + We're not going to regroup with the + others. + + Artoo begins a protest, whistling an unbelieving, "What?!" + + Luke reads Artoo's exclamation on his control panel. + + LUKE (CONT’D) + (into comlink) + We're going to the Dagobah system. + + Luke checks his readouts and makes a few adjustments. He + rides along with only the soft hum of the instruments to + break the silence. Finally, Artoo chirps up. + + LUKE (CONT’D) + (into comlink) + Yes, Artoo? + + Artoo utters a soft, carefully phrased steam of whistles. + + LUKE (CONT’D) + (into comlink, chuckling) + That's all right. I'd like to keep + it on manual control for a while. + + The little droid lets out a defeated whimper. Luke smiles, + and continues on his course. + + +121 EXT. SPACE - MILLENNIUM FALCON 121 + + The Millennium Falcon speeds away from Hoth, closely + followed by one huge Star Destroyer and four tiny TIE + fighters. + + As it is pursued, the Falcon races toward two very bright + star-sized objects. + + +122 INT. MILLENNIUM FALCON - COCKPIT 122 + + Inside the cockpit, Chewie lets out a loud howl. Han checks + as the ship is buffeted by exploding flak. He appears to be + doing six things at once. + + HAN + (harried) + I saw them! I saw them! + + LEIA + Saw what? + 47. + + + HAN + Star Destroyers, two of them, + coming right at us. + + Threepio bumps and bangs his way into the cockpit. + + THREEPIO + Sir, sir! Might I suggest... + + HAN + (to Leia) + Shut him up or shut him down! + (to Chewie) + Check the deflector shield! + + Chewie barks a reply as he readjusts an overhead switch. + + HAN (CONT’D) + Oh, great. Well, we can still + outmaneuver them. + + +123 EXT. SPACE - MILLENNIUM FALCON - STAR DESTROYERS 123 + + The Millennium Falcon races toward one of the huge oncoming + Star Destroyers. Suddenly, the Falcon starts into a deep + dive straight down, closely followed by four TIE fighters. + The underside of the Star Destroyer continues on a + collision course with two oncoming Star Destroyers. Slowly, + it starts to veer to the left. + + +124 INT. STAR DESTROYER - BRIDGE 124 + + Out the front window, the two approaching Star Destroyers + can be seen veering to the left. + + IMPERIAL OFFICER + Take evasive action! + + Alarms sound all over the huge ship. The two other Star + Destroyers get closer, one of them moving over the bridge + so close that it makes brushing contact with it. + + +125 EXT. SPACE - MILLENNIUM FALCON - TIE FIGHTERS 125 + + The Millennium Falcon races away from the colliding Star + Destroyers, still followed by four TIE fighters. Laser + bolts spark the pitch-black skies. + + +126 INT. MILLENNIUM FALCON - COCKPIT 126 + 48. + + + Things have calmed down a bit, but the race isn't over yet. + Chewie barks at Han. Leia is still trying to recover from + the steep dive. The ship is buffeted by laser blasts. + + HAN + Prepare to make the jump to light- + speed. + + THREEPIO + But, sir! + + The buffeting of lasers becomes louder and stronger. + + LEIA + They're getting closer! + + HAN + (with a gleam in his eye) + Oh yeah? Watch this. + + Expectantly, they look out the cockpit window as stars do + not go into hyperspace, but just sit there. + + Han and Chewie look at each other and are thrown into an + acute state of concern. + + LEIA + Watch what? + + Han tries again. Still nothing. + + HAN + I think we're in trouble. + + THREEPIO + If I may say so, sir, I noticed + earlier that the hyperdrive + motivator has been damaged. It's + impossible to go to light-speed! + + HAN + We're in trouble! + + The explosions become heavier. + + +127 EXT. SPACE - MILLENNIUM FALCON - TIE FIGHTERS - STAR 127 + + DESTROYER + + The Falcon races into the starry vastness, followed by the + four Imperial TIE fighters and an Imperial Star Destroyer. + 49. + + +128 INT. MILLENNIUM FALCON - COCKPIT 128 + + Stars race by as flak bursts outside the Falcon's window. + + +129 INT. MILLENNIUM FALCON - HOLD 129 + + Han works furiously at some control panels while giving + various orders to Chewie. + + HAN + Horizontal boosters...! + (Chewie barks) + Alluvial dampers...! Well that's + not it. + (Chewie barks) + Bring me the hydrospanners! + + Chewie hurries over to the pit and places the tools on the + edge. + + HAN (CONT’D) + I don't know how we're going to get + out of this one. + + Suddenly, a loud thump hits the side of the Falcon, causing + it to lurch radically. Chewie barks. The tools fall into + the pit on top of Han. + + HAN (CONT’D) + Oww! Chewie! + + More turbulence rocks the ship. + + HAN (CONT’D) + That was no laser blast! Something + hit us. + + LEIA + (over comlink) + Han, get up here! + + HAN + Come on, Chewie! + + Han climbs out of the hold like a shot. Both he and Chewie + run out of the hold and toward the cockpit. + + +130 INT. MILLENNIUM FALCON - COCKPIT 130 + + Out the front cockpit window, they see hundreds of + asteroids racing by. + 50. + + + LEIA + Asteroids! + + Han changes places with Leia who has been at the controls, + and Chewie gets into his chair. Han works his controls as a + chunk of rock crosses in front of the ship. + + HAN + Oh, no! Chewie, set two-seven- one. + + LEIA + What are you doing? You're not + actually going into an asteroid + field? + + HAN + They'd be crazy to follow us, + wouldn't they? + + Another asteroid thumps against the ship and Leia winces at + the jolt. + + LEIA + You don't have to do this to + impress me. + + THREEPIO + Sir, the possibility of + successfully navigating an asteroid + field is approximately three + thousand, seven hundred and twenty + to one. + + HAN + Never tell me the odds! + + +131 EXT. ASTEROID BELT - MILLENNIUM FALCON 131 + + The Falcon turns into the asteroid storm and as the ship + completes its turn, asteroids start coming straight at the + cockpit windows. + + A large asteroid tumbles away from the Falcon's path at top + speed. Several smaller asteroids crash into the big one, + creating small explosions on its surface. Other asteroids + of all sizes pass by in every direction, some colliding and + exploding. The tiny Millennium Falcon veers around the big + asteroid and races past it through the rain of rocks, + followed by four TIE fighters, which bob and weave around + the asteroids. + 51. + + + One of the pursuing TIE fighters connects with an asteroid + and explodes. The other fighters are pelted with a steady + stream of smaller explosions. + + Two huge asteroids tumble toward the Millennium Falcon, + which quickly banks around both of them. The three TIE + fighters follow in hot pursuit until one of the fighters + scrapes an asteroid and tumbles out of control into deep + space. + + +132 EXT. SPACE - STAR DESTROYER - ASTEROID BELT 132 + + The massive Star Destroyer blasts oncoming asteroids as it + follows the Falcon. Smaller asteroids explode across its + vast surface. + + +133 EXT. MILLENNIUM FALCON - TIE FIGHTERS - ASTEROID BELT 133 + + The Falcon twists on its side as it races around an + oncoming asteroid. Two TIE fighters follow in the distance, + coming from either side. + + +134 INT. MILLENNIUM FALCON - COCKPIT 134 + + Asteroids race by the cockpit window as Han pilots his + trusty craft through the dangerous field. + + Looking out the cockpit window, the Falcon crew sees a big + asteroid drop past the window, narrowly missing their ship. + + Chewie barks in terror as a slightly smaller asteroid comes + especially close - to close - and bounces off the Falcon + with a loud crunch. Threepio's hands cover his eyes. He + manages a short peek at the cockpit window. Princess Leia + sits stone-faced, staring at the action. Han gives her a + quick look. + + HAN + You said you wanted to be around + when I made a mistake; well, this + could be it, sweetheart. + + LEIA + I take it back. We're going to get + pulverized if we stay out here much + longer. + + The group watches as more asteroids race by outside the + window. + 52. + + + HAN + I'm not going to argue with that. + + THREEPIO + Pulverized? + + HAN + I'm going in closer to one of those + big ones. + + LEIA + Closer? + + THREEPIO + Closer?! + + Chewbacca barks the same word, only louder. + + +135 EXT. MILLENNIUM FALCON - ASTEROID BELT 135 + + The Millennium Falcon dives toward the surface of one of + the moon-sized asteroids. There is a continued display of + explosions against the starry void as smaller asteroids + collide with larger chunks of rock. The two remaining TIE + fighters follow the Falcon to the large asteroid. The + Falcon skims the surface of the giant asteroid as, all the + while, small asteroids explode on the surface of the ship. + + The TIE fighters approach the Falcon, but a giant asteroid + hurtles directly into their path. As the asteroid continues + on its way, it leaves remains of the two exploded TIE + fighters to tumble into deep space. + + +136 INT. MILLENNIUM FALCON - COCKPIT 136 + + Rattled by the violent rocking of the starship, Threepio is + nearly in hysterics. + + THREEPIO + Oh, this is suicide! + + Han notices something on his main scope and nudges his + faithful Wookiee, pointing. + + HAN + There. That looks pretty good. + + LEIA + What looks pretty good? + + HAN + 53. + + + Yeah. That'll do nicely. + + THREEPIO + (to Leia) + Excuse me, ma'am, but where are we + going? + + Out the cockpit window, they see that they are skimming the + surface of the enormous asteroid and nearing a large + crater. + + +137 EXT. MILLENNIUM FALCON - GIANT ASTEROID CRATER 137 + + The Millennium Falcon dives into the huge crater and + disappears. + + +138 INT. MILLENNIUM FALCON - COCKPIT 138 + + LEIA + I hope you know what you're doing. + + HAN + Yeah, me too. + + +139 INT. GIANT ASTEROID CRATER 139 + + The Falcon races down into the crater. The walls are barely + visible as the ship speed through the tunnellike opening. A + small cave appears on one side of the crater, and the + Falcon turns, slows, and scoots into it. + + +140 EXT. SPACE - LUKE'S X-WING 140 + + The tiny X-wing speeds toward the cloud cover of Dagobah. + Artoo, riding on the back of the fighter, turns his head + back and forth with some anxiety. + + +141 INT. LUKE'S X-WING - COCKPIT 141 + + Luke watches Artoo's words as they are translated and + screened on the computer scope. + + LUKE + (into comlink) + Yes, that's it. Dagobah. + + Artoo beeps a hopeful inquiry. + 54. + + + LUKE (CONT’D) + (into comlink) + No, I'm not going to change my mind + about this. + (getting a little + nervous) + I'm not picking up any cities or + technology. Massive life-form + readings, though. There's something + alive down there... + + Artoo beeps, this time a slightly worried question. + + LUKE (CONT’D) + (into comlink) + Yes, I'm sure it's perfectly safe + for droids. + + +142 EXT. SPACE - DAGOBAH - LUKE'S X-WING 142 + + The X-wing continues its flight through the twilight above + the cloud- covered planet. + + +143 INT. LUKE'S X-WING - COCKPIT 143 + + Luke sees the cloud race by as he takes his craft closer to + the planet. He must operate his controls carefully since + the cloud cover has completely obscured his vision. An + alarm buzzes in the background, Artoo beeps and whistles + frantically. + + LUKE + (into comlink) + I know, I know! All the scopes are + dead. I can't see a thing! Just + hang on, I'm going to start the + landing cycle... + + The blast of the retrorockets is deafening, drowning out + Artoo's electronic squeals. Suddenly, there is a cracking + sound as if limbs were being broken off trees and then a + tremendous jolt as the spacecraft stops. Luke pulls a + switch and his canopy pops open. + + +144 EXT. DAGOBAH - DUSK 144 + 55. + + +The mist-shrouded X-wing fighter is almost invisible in the +thick fog. Luke climbs out onto the long nose of the +spacecraft as Artoo pops out of his cubbyhole on the back. +The young warrior surveys the fog, which is barely pierced +by the ship's landing lights. About all he can make out are +some giant, twisted trees nearby. Artoo whistles anxiously. + + LUKE + No, Artoo, you stay put. I'll have + a look around. + +Artoo lets out a short beep. As Luke moves along the nose, +Artoo loses his balance and disappears with a splash into +the boggy lake. + + LUKE (CONT’D) + Artoo? + +Luke kneels and leans over the plane looking for Artoo, but +the water is still and reveals no sign of the little droid. + + LUKE (CONT’D) + Artoo! Where are you? + +A small periscope breaks the surface of the water and a +gurgly beep is heard. The periscope starts to move to +shore. Relieved, Luke starts running along the nose of the +fighter to its tip. + + LUKE (CONT’D) + Artoo! You be more careful. + +The outline of the shore is now more than ten feet away. + +Luke jumps off the plane into the water, scrambles up to +the shore, and turns to look for Artoo. The periscope still +steadily moves toward shore. + + LUKE (CONT’D) + Artoo - that way! + +Suddenly, through the thick fog layer, a dark shape +appears, moving toward the little droid. The dark, sinuous +bog beast dives beneath the swampy water, making a loud +clunk against Artoo's metal hull. The droid disappears from +sight, uttering a pathetic electronic scream. + +Holding his ignited lightsaber before him, Luke wades a few +feet into the murky pool, looking for any sign of his +little friend. + + LUKE (CONT’D) + Artoo! + 56. + + + The black surface is still as death itself... until a few + bubbles begin to appear. Then, phheewaat!! The runt-size + robot is spit out of the water, makes a graceful arc, and + comes crashing down into a patch of soft gray moss. + + LUKE (CONT’D) + Oh, no! Are you all right? Come on. + You're lucky you don't taste very + good. Anything broken? + + Luke helps Artoo to his feet and begins wiping the mud and + roots from his round metal body. Artoo responds with + feeble, soggy beeps. + + LUKE (CONT’D) + If you're saying coming here was a + bad idea, I'm beginning to agree + with you. Oh, Artoo, what are we + doing here? It's like... something + out of a dream, or, I don't know. + Maybe I'm just going crazy. + + As Luke glances around at the spooky swamp jungle that + surrounds him, Artoo ejects a stream of muddy water from + one of his cranial ports. + + +145 EXT. VADER'S STAR DESTROYER - VADER'S CHAMBER 145 + + Admiral Piett hesitates in the entryway to Vader's private + cubicle. + + After a moment, he steps into the room and pauses at the + surprising sight before him. + + Darth Vader, his back turned, is silhouetted in the gloom + on the far side of the chamber. A black, insectlike droid + attends him. Among the various apparatuses surrounding + them, a respirator tube now retracts from Vader's uncovered + head. The head is bald with a mass of ugly scar tissue + covering it. The black droid then lowers the mask and + helmet onto Vader's head. When it is in place, the Dark + Lord turns to face Piett. + + VADER + Yes, Admiral? + + PIETT + Our ships have sighted the + Millennium Falcon, lord. But... it + has entered an asteroid field and + we cannot risk... + 57. + + + VADER + (interrupting) + Asteroids do not concern me, + Admiral. I want that ship and not + excuses. + + PIETT + Yes, lord. + + +146 EXT. ASTEROID CAVE - MILLENNIUM FALCON 146 + + The pirate starship rests in a dark, dripping asteroid + cave. It is so dark that the cave's exact dimensions are + impossible to determine. + + +147 INT. MILLENNIUM FALCON - COCKPIT 147 + + Han and Chewie busily shut down the engine and all + electronic systems. Threepio and Leia watch worriedly. + + HAN + I'm going to shut down everything + but the emergency power systems. + + THREEPIO + Sir, I'm almost afraid to ask, + but... does that include shutting + me down, too? + + Chewie barks "yes". But Han thinks otherwise. + + HAN + No, I need you to talk to the + Falcon, find out what's wrong with + the hyperdrive. + + Suddenly, the ship lurches, causing all the loose items in + the cockpit to go flying. Chewie howls. + + THREEPIO + Sir, it's quite possible this + asteroid is not entirely stable. + + HAN + Not entirely stable? I'm glad + you're here to tell us these + things. Chewie, take the professor + in the back and plug him into the + hyperdrive. + + THREEPIO + 58. + + + Oh! Sometimes I just don't + understand human behavior. + (MORE) + + THREEPIO (CONT'D) + After all, I'm only trying to do my + job in the most... + + The sliding door closes behind the indignant Threepio as + Chewie and he move back to the hold. Suddenly, the ship + lurches again, throwing Leia across the cabin into Han's + arms. Then, abruptly, the motion stops as suddenly as it + started. With some surprise, Han and Leia realize they are + in each other's arms. + + LEIA + Let go. + + HAN + Sshh! + + LEIA + Let go, please. + + Leia flushes, averting her eyes. She's not exactly fighting + to get free. But, of course, Han blows it... + + HAN + Don't get excited. + + The anger rises in Leia. + + LEIA + Captain, being held by you isn't + quite enough to get me excited. + + HAN + Sorry, sweetheart. We haven't got + time for anything else. + + Han grins quickly wickedly at Leia as he turns and exits + through the door. Leia's confused emotions show clearly on + her lovely face. + + +148 EXT. DAGOBAH - BOG CLEARING - DUSK 148 + + The mist has dispersed a bit, but it is still a very + gloomy- looking swamp. + 59. + + +Luke pulls an equipment box from the shore to the clearing. +He ignites a little fusion furnace and warms his hands +before it. Taking a power cable, he plugs it into Artoo's +noselike socket. + + LUKE + Ready for some power? Okay. Let's + see now. Put that in there. There + you go. + +The droid whistles his appreciation. Luke then opens a +container of processed food and sits before the thermal +heater. + + LUKE (CONT’D) + (sighs) + Now all I have to do is find this + Yoda... if he even exists. + +Nervously, he looks around at the foreboding jungle. + + LUKE (CONT’D) + Still... there's something familiar + about this place. I feel like... I + don't know... + + STRANGE VOICE + Feel like what? + +Luke jumps out of his skin. Artoo screeches in terror. The +young warrior grabs for his lightsaber as he spins around, +looking for the speaker. Mysteriously standing right in +front of Luke is a strange, bluish creature, not more than +two feet tall. The wizened little thing is dressed in rags. +It motions toward Luke's sword. + + LUKE + (looking at the creature) + Like we're being watched! + + CREATURE + Away with your weapon! I mean you + no harm. + +After some hesitation, Luke puts away his weapon, although +he really doesn't understand why. Artoo watches with +interest. + + CREATURE (CONT’D) + I am wondering, why are you here? + + LUKE + I'm looking for someone. + 60. + + + CREATURE + Looking? Found someone, you have, I + would say, hmmm? + +The little creature laughs. + + LUKE + (Trying to keep from + smiling) + Right. + + CREATURE + Help you I can. Yes, mmmm. + + LUKE + I don't think so. I'm looking for a + great warrior. + + CREATURE + Ahhh! A great warrior. + (laughs and shakes his + head) + Wars not make one great. + +With the aid of a walking stick, the tiny stranger moves +over to one of the cases of supplies. He begins to rummage +around. + +Artoo moves to the edge of the case - standing almost eye +level to the creature who is carelessly handling the +supplies - and squeaks his disapproval. + +Their tiny visitor pick up the container of food Luke was +eating from and takes a bite. + + LUKE + Put that down. Hey! That's my + dinner! + +The creature spits out the bite he has taken. He makes a +face. + + CREATURE + How you get so big, eating food of + this kind? + +He flips the container in Luke's direction and reaches into +one of Luke's supply cases. + + LUKE + 61. + + + Listen, friend, we didn't mean to + land in that puddle, and if we + could get our ship out, we would, + but we can't, so why don't you + just... + + CREATURE + (teasing) + Aww, cannot get your ship out? + +The creature spots something of interest in Luke's case. +Luke loses patience and grabs the case away. The creature +retains his prize - a tiny power lamp - and examines it +with delight. + + LUKE + Hey, you could have broken this. + Don't do that. Ohhh... you're + making a mess. Hey, give me that! + + CREATURE + (retreating with the + lamp) + Mine! Or I will help you not. + +Clutching its treasure, the creature backs away from Luke, +drawing closer to Artoo. As Luke and the creature argue, +one of Artoo's little arms slowly moves out toward the +power lamp, completely unnoticed by the creature. + + LUKE + I don't want your help. I want my + lamp back. I'll need it to get out + of this slimy mudhole. + + CREATURE + Mudhole? Slimy? My home this is. + +Artoo grabs hold of the lamp and the two little figures are +immediately engaged in a tug-of-war over it. + +Artoo beeps a few angry, "Give me thats." + + CREATURE (CONT’D) + Ah, ah, ah! + + LUKE + Oh, Artoo, let him have it! + + CREATURE + Mine! Mine! + + LUKE + 62. + + + Artoo! + + CREATURE + Mine! + +The creature lets go with one hand and pokes Artoo lightly +with one finger. Artoo reacts with a startled squeal, and +lets go. + + CREATURE (CONT’D) + Mine! + + LUKE + (fed up) + Now will you move along, little + fella? We're got a lot of work to + do. + + CREATURE + No! No, no! Stay and help you, I + will. + (laughs) + Find your friend, hmm? + + LUKE + I'm not looking for a friend. I'm + looking for a Jedi Master. + + CREATURE + Oohhh. Jedi Master. Yoda. You seek + Yoda. + + LUKE + You know him? + + CREATURE + Mmm. Take you to him, I will. + (laughs) + Yes, yes. But now, we must eat. + Come. Good food. Come. + +With that, the creature scurries out of the clearing, +laughing merrily. Luke stares after him. All he sees is the +faint light from the small power lamp moving through the +fog. Luke makes his decision and starts after the creature. + + CREATURE (CONT’D) + (in the distance) + Come, come. + +Artoo, very upset, whistles a blue streak of protest. + + LUKE + 63. + + + Stay here and watch after the camp, + Artoo. + + Artoo beeps even more frantically. But as Luke disappears + from view, the worried little droid grows quieter, and + utters a soft electronic sigh. + + +149 INT. MILLENNIUM FALCON - MAIN HOLD AREA 149 + + Threepio whistles and beeps a strange dialect into the + control panel in front of him. The control panel whistles + back a few mystifying beeps. + + THREEPIO + Oh, where is Artoo when I need him? + + Han enters the hold area and kneels on the floor near the + control box. + + THREEPIO (CONT’D) + Sir, I don't know where your ship + learned to communicate, but it has + the most peculiar dialect. I + believe, sir, it says that the + power coupling on the negative axis + has been polarized. I'm afraid + you'll have to replace it. + + HAN + Well, of course I'll have to + replace it. + + He hands a wire coil up to Chewie who is working near the + ceiling. + + HAN (CONT’D) + Here! And Chewie... + + Chewie brings his head back through the trap door in the + ceiling and whines. Han glances back at Threepio, then + speaks quietly to Chewie so only he can hear. + + HAN (CONT’D) + (continuing) + ... I think we'd better replace the + negative power coupling. + + Leia finishes welding the valves she has been working on + and attempts to reengage the system by pulling a lever + attached to the valve. It doesn't budge. Han notices her + struggle, and moves to help her. She rebuffs him. + 64. + + + HAN (CONT’D) + Hey, Your Worship, I'm only trying + to help. + + LEIA + (still struggling) + Would you please stop calling me + that? + +Han hears a new tone in her voice. He watches her pull on +the lever. + + HAN + Sure, Leia. + + LEIA + Oh, you make it so difficult + sometimes. + + HAN + I do, I really do. You could be a + little nicer, though. + (he watches her reaction) + Come on, admit it. Sometimes you + think I'm all right. + +She lets go of the lever and rubs her sore hand. + + LEIA + Occasionally... + (a little smile, + haltingly) + ... when you aren't acting like a + scoundrel. + + HAN + (laughs) + Scoundrel? Scoundrel? I like the + sound of that. + +With that, Han takes her hand and starts to massage it. + + LEIA + Stop that. + + HAN + Stop what? + +Leia is flushes, confused. + + LEIA + Stop that! My hands are dirty. + 65. + + + HAN + My hands are dirty, too. What are + you afraid of? + + LEIA + (looking right into his + eyes) + Afraid? + +Han looks at her with a piercing look. He's never looked +more handsome, more dashing, more confident. He reaches out +slowly and takes Leia's hand again from where it is resting +on a console. He draws it toward him. + + HAN + You're trembling. + + LEIA + I'm not trembling. + +Then with an irresistible combination of physical strength +and emotional power, the space pirate begins to draw Leia +toward him... very slowly. + + HAN + You like me because I'm a + scoundrel. There aren't enough + scoundrels in your life. + +Leia is now very close to Han and as she speaks, her voice +becomes an excited whisper, a tone completely in opposition +to her words. + + LEIA + I happen to like nice men. + + HAN + I'm a nice man. + + LEIA + No, you're not. You're... + +He kisses her now, with slow, hot lips. He takes his time, +as though he had forever, bending her body backward. She +has never been kissed like this before, and it almost makes +her faint. When he stops, she regains her breath and tries +to work up some indignation, but finds it hard to talk. + +Suddenly, Threepio appears in the doorway, speaking +excitedly. + + THREEPIO + 66. + + + Sir, sir! I've isolated the reverse + power flux coupling. + + Han turns slowly, icily, from their embrace. + + HAN + Thank you. Thank you very much. + + THREEPIO + Oh, you're perfectly welcome, sir. + + The moment spoiled, Han marches out after Threepio. + + +150 EXT. SPACE - ASTEROID FIELD 150 + + The Imperial fleet moves through the asteroid-filled void, + intently seeking its prey. + + +151 INT. VADER'S STAR DESTROYER - BRIDGE 151 + + Asteroids collide, creating a fireworks display outside the + bridge window. Darth Vader stands, staring out the window + above the control deck. Then slowly turns toward the + bridge. Before him are the hologram images of twenty + battleship commanders. One of these images, the commander + of a ship that has just exploded, is fading away quickly. + Another image, in the center and a little apart from the + others, is faded and continually disrupted by static. It is + the image of Captain Needa, commander of the Star Destroyer + most hotly on the tail of the Millennium Falcon. Admiral + Piett and an aide stand behind the Dark Lord. + + NEEDA + (in hologram) + ... and that, Lord Vader, was the + last time they appeared in any of + our scopes. Considering the amount + of damage we've sustained, they + must have been destroyed. + + VADER + No, Captain, they're alive. I want + every ship available to sweep the + asteroid field until they are + found. + + The Imperial star captains fade out one by one as Vader + turns to Admiral Piett. + + PIETT + Lord Vader. + 67. + + + VADER + Yes, Admiral, what is it? + + The admiral is scared, his face white as a sheet. + + PIETT + The Emperor commands you make + contact with him. + + VADER + Move the ship out of the asteroid + field so that we can send a clear + transmission. + + PIETT + Yes, my lord. + + +152 EXT. ASTEROID FIELD - VADER'S STAR DESTROYER 152 + + Vader's Imperial Star Destroyer moves against the vast sea + of stars away from the rest of the fleet. + + +153 INT. VADER'S STAR DESTROYER - VADER'S CHAMBER 153 + + The Dark Lord, Darth Vader, is alone in his chamber. A + strange sound enters the room and a light begins to play + across Vader's black figure. He looks up and bows quickly. + + A twelve-foot hologram of the Galactic Emperor materializes + before Vader. The Emperor's dark robes and monk's hood are + reminiscent of the cloak worn by Ben Kenobi. His voice is + even deeper and more frightening than Vader's. + + VADER + What is thy bidding, my master? + + EMPEROR + There is a great disturbance in the + Force. + + VADER + I have felt it. + + EMPEROR + We have a new enemy - Luke + Skywalker. + + VADER + Yes, my master. + + EMPEROR + 68. + + + He could destroy us. + + VADER + He's just a boy. Obi-Wan can no + longer help him. + + EMPEROR + The Force is strong with him. The + son of Skywalker must not become a + Jedi. + + VADER + If he could be turned, he would + become a powerful ally. + + EMPEROR + Yes. Yes. He would be a great + asset. Can it be done? + + VADER + He will join us or die, my master. + + Vader kneels. The supreme Emperor passes a hand over the + crouched Lord of the Sith and fades away. + + +154 EXT. DAGOBAH - CREATURE'S HOUSE - NIGHT 154 + + A heavy downpour of rain pounds through the gnarled trees. + A strange baroque mud house sits on a moss-covered knoll on + the edge of a small lagoon. The small, gnomish structure + radiates a warm glow from its thick glass windows. As rain + tap-dances a merry tune on Artoo's head, the stubby little + droid rises up on his tip-toes to peek into one of the + glowing portals. + + +155 INT. CREATURE'S HOUSE 155 + + Artoo, peeking in the window, sees the inside of the house + - a very plain, but cozy dwelling. Everything is in the + same small scale as the creature. The only thing out of + place in the miniature room is Luke, whose height makes the + four-foot ceiling seem even lower. He sits cross-legged on + the floor of the living room. + + The creature is in an adjoining area - his little kitchen - + cooking up an incredible meal. The stove is a steaming + hodgepodge of pots and pans. The wizened little host + scurries about chopping this, shredding that, and showering + everything with exotic herbs and spices. He rushes back and + forth putting platters on the table in front of Luke, who + watches the creature impatiently. + 69. + + + LUKE + Look, I'm sure it's delicious. I + just don't understand why we can't + see Yoda now. + + CREATURE + Patience! For the Jedi it is time + to eat as well. Eat, eat. Hot. Good + food, hm? Good, hmm? + +Moving with some difficulty in the cramped quarters, Luke +sits down near the fire and serves himself from the pot. +Tasting the unfamiliar concoction, he is pleasantly +surprised. + + LUKE + How far away is Yoda? Will it take + us long to get there? + + CREATURE + Not far. Yoda not far. Patience. + Soon you will be with him. + (tasting food from the + pot) + Rootleaf, I cook. Why wish you + become Jedi? Hm? + + LUKE + Mostly because of my father, I + guess. + + CREATURE + Ah, your father. Powerful Jedi was + he, powerful Jedi, mmm. + + LUKE + (a little angry) + Oh, come on. How could you know my + father? You don't even know who I + am. + (fed up) + Oh, I don't know what I'm doing + here. We're wasting our time. + +The creature turns away from Luke and speaks to a third +party. + + CREATURE + (irritated) + I cannot teach him. The boy has no + patience. + 70. + + +Luke's head spins in the direction the creature faces. But +there is no one there. The boy is bewildered, but it +gradually dawns on him that the little creature is Yoda, +the Jedi Master, and that he is speaking with Ben. + + BEN'S VOICE + He will learn patience. + + YODA + Hmmm. Much anger in him, like his + father. + + BEN'S VOICE + Was I any different when you taught + me? + + YODA + Hah. He is not ready. + + LUKE + Yoda! I am ready. I... Ben! I can + be a Jedi. Ben, tell him I'm ready. + +Trying to see Ben, Luke starts to get up but hits his head +on the low ceiling. + + YODA + Ready, are you? What know you of + ready? For eight hundred years have + I trained Jedi. My own counsel will + I keep on who is to be trained! A + Jedi must have the deepest + commitment, the most serious mind. + (to the invisible Ben, + indicating Luke) + This one a long time have I + watched. All his life has he looked + away... to the future, to the + horizon. Never his mind on where he + was. Hmm? What he was doing. Hmph. + Adventure. Heh! Excitement. Heh! A + Jedi craves not these things. + (turning to Luke) + You are reckless! + +Luke looks down. He knows it is true. + + BEN'S VOICE + So was I, if you'll remember. + + YODA + He is too old. Yes, too old to + begin the training. + 71. + + + Luke thinks he detects a subtle softening in Yoda's voice. + + LUKE + But I've learned so much. + + Yoda turns his piercing gaze on Luke, as though the Jedi + Master's huge eyes could somehow determine how much the boy + had learned. After a long moment, the little Jedi turns + toward where he alone sees Ben. + + YODA + (sighs) + Will he finished what he begins? + + LUKE + I won't fail you - I'm not afraid. + + YODA + (turns slowly toward him) + Oh, you will be. You will be. + + +156 EXT. SPACE - STAR DESTROYERS - ASTEROID FIELD 156 + + The Imperial fleet around Vader's ship is surrounded by the + asteroid storm. Asteroids big and small pelt the vast + exteriors of the menacing ships. One of the smaller + Imperial vessels is hit by a huge asteroid and explodes in + a brilliant flash of light. + + +157 INT. ASTEROID CAVE - MILLENNIUM FALCON - COCKPIT 157 + + The cockpit is quiet and lit only by the indicator lights + on the control panel. Princess Leia sits in the pilot's + seat. + + She runs her hand across the control panel as she thinks of + Han and the confusion he has created within her. Suddenly, + something outside the cockpit window catches her eye. The + reflection of the panel lights obscures her vision until a + soft suctionlike cup attaches itself to the windscreen. + Leia moves closer to see what it might be. Large, yellow + eyes flash open and stare back at her. Startled, she jumps + back into her seat, her heart pounding. There is a scurry + of feet and a loud screech, and in an instant the eyes are + gone. The young princess catches her breath, jumps out of + her chair, and races from the cockpit. + + +158 INT. ASTEROID CAVE - MILLENNIUM FALCON - HOLD AREA 158 + 72. + + +The lights go bright for a second then out again. Threepio +and Chewbacca watch as Han finishes with some wires. + + THREEPIO + Sir, if I may venture an opinion... + + HAN + I'm not really interested in your + opinion, Threepio. + +Leia rushes into the cabin just as Han drops the final +floor panel into place. + + LEIA + (out of breath) + There's something out there. + + HAN + Where? + + LEIA + Outside, in the cave. + +As she speaks, there comes a sharp banging on the hull. +Chewie looks up and barks anxiously. + + THREEPIO + There it is. Listen! Listen! + + HAN + I'm going out there. + + LEIA + Are you crazy?! + + HAN + I just got this bucket back + together. I'm not going to let + something tear it apart. + +He and Chewie grab their breath masks off a rack and hurry +out. Leia follows. + + LEIA + Then I'm going with you. + + THREEPIO + I think it might be better if I + stay here and guard the ship. + (hears another mysterious + noise) + Oh, no. + 73. + + +159 EXT. ASTEROID CAVE - MILLENNIUM FALCON 159 + + It is very dark inside the huge asteroid cave, too dark to + see what is attacking the ship. + + Leia stamps her foot on the floor of the cave. + + LEIA + This ground sure feels strange. It + doesn't feel like rock at all. + + Han kneels and studies the ground, then attempts to study + the outline of the cave. + + HAN + There's an awful lot of moisture in + here. + + LEIA + I don't know. I have a bad feeling + about this. + + HAN + Yeah. + + Chewie barks through his face mask, and points toward the + ship's cockpit. A five-foot-long shape can be seen moving + across the top of the Falcon. The leathery creature lets + out a screech as Han blasts it with a laser bolt. + + HAN (CONT’D) + (to Leia) + Watch out! + + The black shape tumbles off the spaceship and onto the + ground in front of the princess. Han bends down to + investigate the dead creature. + + HAN (CONT’D) + Yeah, that's what I thought. + Mynock. Chewie, check the rest of + the ship, make sure there aren't + any more attached. They're chewing + on the power cables. + + LEIA + Mynocks? + + HAN + Go on inside. We'll clean them off + if there are any more. + 74. + + + Just then, a swarm of the ugly creatures swoops through the + air. Leia puts her arms over her head to protect herself as + she runs toward the ship. Chewie shoos another Mynock away + with his blaster. Several of the batlike creatures flap + their wings loudly against the cockpit window of the + Falcon. Inside, Threepio shudders at their presence. + + THREEPIO + Ohhh! Go away! Go away! Beastly + little thing. Shoo! Shoo! + + Han looks around the strange, dripping cave. + + HAN + Wait a minute... + + He unholsters his blaster and fires at the far side of the + huge cave. The cavern begins to shake and the ground starts + to buckle. + + Chewie barks and moves for the ship, followed closely by + Leia and Han. The large wings of the Mynocks flap past them + as they protect their faces and run up the platform. + + +160 INT. ASTEROID CAVE - MILLENNIUM FALCON - ENTRY AREA 160 + + As soon as Han and Leia are on board, Chewie closes the + main hatch. The ship continues to shake and heave. + + HAN + All right, Chewie, let's get out of + here! + + The Wookiee heads for the cockpit as Han, followed by + Threepio, rushes to the hold area and checks the scopes on + the control panel. Leia hurries after. + + LEIA + The Empire is still out there. I + don't think it's wise to... + + Han rushes past her and heads for the cockpit. + + HAN + (interrupting) + No time to discuss this in + committee. + + And with that he is gone. The main engines of the Falcon + begin to whine. Leia races after him, bouncing around in + the shaking ship. + 75. + + + LEIA + (angry) + I am not a committee! + + +161 INT. ASTEROID CAVE - MILLENNIUM FALCON - COCKPIT 161 + + Han is already in the pilot's seat pulling back on the + throttle. The cave-quake has greatly diminished. + + LEIA + You can't make the jump to light- + speed in this asteroid field... + + HAN + Sit down, sweetheart. We're taking + off! + + As the ship begins to move forward, Chewie barks. He + notices something out the window ahead. Threepio sees it + too. + + THREEPIO + Look! + + HAN + I see it, I see it. + + Suddenly, a row of jagged white stalagmites and stalactites + can be seen surrounding the entrance. And as the Falcon + moves forward, the entrance to the cave grows ever smaller. + Han pulls hard on the throttle, sending his ship surging + forward. + + THREEPIO + We're doomed! + + LEIA + The cave is collapsing. + + HAN + This is no cave. + + LEIA + What? + + Leia's mouth drops open . She sees that the rocks of the + cave entrance are not rocks at all, but giant teeth, + quickly closing around the tiny ship. Chewie howls. + + +162 INT. SPACE SLUG MOUTH 162 + 76. + + + The Millennium Falcon, zooming through the monster's mouth, + rolls on its side and barely makes it between two of the + gigantic white teeth before the huge jaws slams closed. + + +163 EXT. CAVE ENTRANCE - GIANT ASTEROID 163 + + The enormous space slug moves its head out of the cave as + the Falcon flies out of its mouth. The monster tilts its + head, watching the starship fly away. + + +164 EXT. MILLENNIUM FALCON - GIANT ASTEROID 164 + + The Falcon races out of the asteroid crater and into the + deadly rain of the asteroid storm. + + +165 EXT. DAGOBAH - DAY 165 + + With Yoda strapped to his back, Luke climbs up one of the + many thick vines that grow in the swamp. Panting heavily, + he continues his course - climbing, flipping through the + air, jumping over roots, and racing in and out of the heavy + ground fog. + + YODA + Run! Yes. A Jedi's strength flows + from the Force. But beware of the + dark side. Anger... fear... + aggression. The dark side of the + Force are they. Easily they flow, + quick to join you in a fight. + (MORE) + + YODA (CONT'D) + If once you start down the dark + path, forever will it dominate your + destiny, consume you it will, as it + did Obi-Wan's apprentice. + + LUKE + Vader. Is the dark side stronger? + + YODA + No... no... no. Quicker, easier, + more seductive. + + LUKE + But how am I to know the good side + from the bad? + + YODA + 77. + + + You will know. When you are calm, + at peace. Passive. A Jedi uses the + Force for knowledge and defense, + never for attack. + + LUKE + But tell me why I can't... + + YODA + (interrupting) + No, no, there is no why. Nothing + more will I teach you today. Clear + your mind of questions. Mmm. + Mmmmmmmm. + +Artoo beeps in the distance as Luke lets Yoda down to the +ground. Breathing heavily, he takes his shirt from a nearby +tree branch and pulls it on. + +He turns to see a huge, dead, black tree, its base +surrounded by a few feet of water. Giant, twisted roots +form a dark and sinister cave on one side. Luke stares at +the tree, trembling. + + LUKE + There's something not right here. + +Yoda sits on a large root, poking his Gimer Stick into the +dirt. + + LUKE (CONT’D) + I feel cold, death. + + YODA + That place... is strong with the + dark side of the Force. A domain of + evil it is. In you must go. + + LUKE + What's in there? + + YODA + Only what you take with you. + +Luke looks warily between the tree and Yoda. He starts to +strap on his weapon belt. + + YODA (CONT’D) + Your weapons... you will not need + them. + 78. + + + Luke gives the tree a long look, than shakes his head "no." + Yoda shrugs. Luke reaches up to brush aside some hanging + vines and enters the tree. + + +166 INT. DAGOBAH - TREE CAVE 166 + + Luke moves into the almost total darkness of the wet and + slimy cave. The youth can barely make out the edge of the + passage. Holding his lit saber before him, he sees a lizard + crawling up the side of the cave and a snake wrapped around + the branches of a tree. Luke draws a deep breath, then + pushes deeper into the cave. + + The space widens around him, but he feels that rather than + sees it. His sword casts the only light as he peers into + the darkness. It is very quiet here. + + Then, a loud HISS! Darth Vader appears across the + blackness, illuminated by his own just-ignited laser sword. + Immediately, he charges Luke, saber held high. He is upon + the youth in seconds, but Luke sidesteps perfectly and + slashes at Vader with his sword. + + Vader is decapitated. His helmet-encased head flies from + his shoulders as his body disappears into the darkness. The + metallic banging of the helmet fills the cave as Vader's + head spins and bounces, smashes on the floor, and finally + stops. For an instant it rests on the floor, then it cracks + vertically. The black helmet and breath mask fall away to + reveal... Luke's head. + + Across the space, the standing Luke gasps at the sight, + wide- eyed in terror. + + The decapitated head fades away, as in a vision. + + +167 EXT. DAGOBAH - CAVE - DUSK 167 + + Meanwhile, Yoda sits on the root, calmly leaning on his + Gimer Stick. + + +168 EXT. SPACE - VADER'S STAR DESTROYER 168 + + Vader's Imperial Star Destroyer moves through space, + guarded by its convoy of TIE fighters. + + +169 INT. VADER'S STAR DESTROYER - BRIDGE - CONTROL DECK 169 + 79. + + + Vader stands in the back control area of his ship's bridge + with a motley group of men and creatures. Admiral Piett and + two controllers stand at the front of the bridge and watch + the group with scorn. + + PIETT + Bounty hunters. We don't need that + scum. + + FIRST CONTROLLER + Yes, sir. + + PIETT + Those Rebels won't escape us. + + A second controller interrupts. + + SECOND CONTROLLER + Sir, we have a priority signal from + the Star Destroyer Avenger. + + PIETT + Right. + + The group standing before Vader is a bizarre array of + galactic fortune hunters There is Bossk, a slimy, tentacled + monster with two huge, bloodshot eyes in a soft baggy face; + Zuckuss and Dengar, two battle- scarred, mangy human types; + IG-88, a battered, tarnished chrome war droid; and Boba + Fett, a man in a weapon-covered armored space suit. + + VADER + ... there will be a substantial + reward for the one who finds the + Millennium Falcon. You are free to + use any methods necessary, but I + want them alive. No + disintegrations. + + BOBA FETT + As you wish. + + At that moment, Admiral Piett approaches Vader in a rush of + excitement. + + PIETT + Lord Vader! My lord, we have them. + + +170 EXT. IMPERIAL STAR DESTROYER, AVENGER - ASTEROID BELT 170 + 80. + + + The Millennium Falcon speeds through deep space, closely + followed by a firing Imperial Star Destroyer. A large + asteroid about the same size as the Falcon tumbles rapidly + toward the starship. The tiny Falcon banks to avoid the + giant asteroid as smaller rocks pelt its surface. Then the + small craft roars under the asteroid which explodes + harmlessly on the hull of the vast Star Destroyer. + + +171 INT. MILLENNIUM FALCON - COCKPIT 171 + + The ship shudders as flak explodes near the cockpit window. + Threepio checks a tracking scope an the side control panel + while Leia watches tensely out the window. + + THREEPIO + Oh, thank goodness we're coming out + of the asteroid field. + + Chewie barks excitedly as the rain of asteroids begins to + subside. A bolt from the Star Destroyer sets up a fiery + explosion on the back side of the Falcon, causing it to + lurch to one side. + + 172 172 + + +171A EXT. MILLENNIUM FALCON - STAR DESTROYER, AVENGER - ASTEROID 171A + + FIELD + + The Falcon is hit hard by another bolt from the Star + Destroyer which creates a huge explosion near the cockpit + of the smaller ship. The Falcon tilts steeply, then rights + itself. + + +173 INT. MILLENNIUM FALCON - COCKPIT 173 + + Han corrects the angle of his ship. + + HAN + Let's get out of here. Ready for + light-speed? One... two... three! + + Han pulls back on the hyperspace throttle and - nothing + happens. Flak bursts continue to rock the ship. + + HAN (CONT’D) + (frantic) + It's not fair! + 81. + + + Chewie is very angry and starts to growl and bark at his + friend and captain. Again, Han desperately pulls back on + the throttle. + + HAN (CONT’D) + The transfer circuits are working. + It's not my fault! + + Chewie puts his head in his hands, whining. + + LEIA + (almost expecting it) + No light-speed? + + HAN + It's not my fault. + + THREEPIO + Sir, we just lost the main rear + deflector shield. One more direct + hit on the back quarter and we're + done for. + + Han pauses for a moment, makes a decision, and pulls back + on a lever. + + HAN + Turn her around. + + Chewie barks in puzzlement. + + HAN (CONT’D) + I said turn her around! I'm going + to put all power in the front + shield. + + LEIA + You're going to attack them?! + + THREEPIO + Sir, the odds of surviving a direct + assault on an Imperial Star + Destroyer... + + LEIA + Shut up! + + +174 EXT. SPACE - MILLENNIUM FALCON - ASTEROID FIELD 174 + 82. + + + The Falcon banks, makes a steep, twisting turn. In the next + moment it is racing toward the Star Destroyer, looking very + small against the massive surface of the Imperial ship. As + it moves across the surface of the Star Destroyer, the + Falcon bobs and weaves to avoid the numerous flak bursts. + + +175 INT. STAR DESTROYER, AVENGER - BRIDGE 175 + + The tiny Falcon heads directly for the Avenger's bridge. + The Imperials stationed there are stunned to see the small + spaceship racing low across the hull, headed directly at + the huge windows of the bridge area. Alarms go off + everywhere. The Destroyer's commander, Captain Needa, can + scarcely believe his eyes. + + NEEDA + They're moving to attack position! + Shields up! + + Needa and his men duck as the Falcon nears the bridge + window. At the last minute, the Falcon veers off and out of + sight. All is quiet. + + NEEDA (CONT’D) + Track them. They may come around + for another pass. + + TRACKING OFFICER + Captain Needa, the ship no longer + appears on our scopes. + + NEEDA + They can't have disappeared. No + ship that small has a cloaking + device. + + TRACKING OFFICER + Well, there's no trace of them, + sir. + + COMMUNICATIONS OFFICER + Captain, Lord Vader demands an + update on the pursuit. + + NEEDA + (drawing a breath) + Get a shuttle ready. I shall assume + full responsibility for losing + them, and apologize to Lord Vader. + Meanwhile, continue to scan the + area. + 83. + + + COMMUNICATIONS OFFICER + Yes, Captain Needa. + + +176 EXT. DAGOBAH - BOG - DAY 176 + + Luke's face is upside-down and showing enormous strain. He + stands on his hands, with Yoda perched on his feet. + + Opposite Luke and Yoda are two rocks the size of bowling + balls. Luke stares at the rocks and concentrates. One of + the rocks lifts from the ground and floats up to rest on + the other. + + YODA + Use the Force. Yes... + + Yoda taps Luke's leg. Quickly, Luke lifts one hand from the + ground. His body wavers, but he maintains his balance. + Artoo, standing nearby, is whistling and beeping + frantically. + + YODA (CONT’D) + Now... the stone. Feel it. + + Luke concentrates on trying to lift the top rock. It rises + a few feet, shaking under the strain. But, distracted by + Artoo's frantic beeping, Luke loses his balance and finally + collapses. Yoda jumps clear. + + YODA (CONT’D) + Concentrate! + + Annoyed at the disturbance, Luke looks over at Artoo, who + is rocking urgently back and forth in front of him. + + Artoo waddles closer to Luke, chirping wildly, then scoots + over the edge of the swamp. Catching on, Luke rushes to the + water's edge. The X-wing fighter has sunk, and only the tip + of its nose shows above the lake's surface. + + LUKE + Oh, no. We'll never get it out now. + + Yoda stamps his foot in irritation. + + YODA + So certain are you. Always with you + it cannot be done. Hear you nothing + that I say? + + Luke looks uncertainly out at the ship. + 84. + + + LUKE + Master, moving stones around is one + thing. This is totally different. + + YODA + No! No different! Only different in + your mind. You must unlearn what + you have learned. + + LUKE + (focusing, quietly) + All right, I'll give it a try. + + YODA + No! Try not. Do. Or do not. There + is no try. + +Luke closes his eyes and concentrates on thinking the ship +out. + +Slowly, the X-wing's nose begins to rise above the water. +It hovers for a moment and then slides back, disappearing +once again. + + LUKE + (panting heavily) + I can't. It's too big. + + YODA + Size matters not. Look at me. Judge + me by my size, do you? Hm? Mmmm. + +Luke shakes his head. + + YODA (CONT’D) + And well you should not. For my + ally in the Force. And a powerful + ally it is. Life creates it, makes + it grow. Its energy surrounds us + and binds us. Luminous beings are + we... + (Yoda pinches Luke's + shoulder) + ... not this crude matter. + (a sweeping gesture) + You must feel the Force around you. + (gesturing) + Here, between you... me... the + tree... the rock... everywhere! + Yes, even between this land and + that ship! + + LUKE + 85. + + + (discouraged) + You want the impossible. + + Quietly Yoda turns toward the X-wing fighter. With his eyes + closed and his head bowed, he raises his arm and points at + the ship. + + Soon, the fighter rises above the water and moves forward + as Artoo beeps in terror and scoots away. + + The entire X-wing moves majestically, surely, toward the + shore. Yoda stands on a tree root and guides the fighter + carefully down toward the beach. + + Luke stares in astonishment as the fighter settles down + onto the shore. He walks toward Yoda. + + LUKE (CONT’D) + I don't... I don't believe it. + + YODA + That is why you fail. + + Luke shakes his head, bewildered. + + +177 EXT. SPACE - IMPERIAL FLEET 177 + + The fleet around Vader's Star Destroyer now includes + Needa's Star Destroyer, the Avenger. + + +178 INT. VADER'S STAR DESTROYER - BRIDGE 178 + + VADER + Apology accepted, Captain Needa. + + Clutching desperately at his throat, Captain Needa slumps + down, then falls over on his back, at the feet of Darth + Vader. Two stormtroopers pick up the lifeless body and + carry it quickly away as Admiral Piett and two of his + captains hurry up to the Dark Lord. + + PIETT + Lord Vader, our ships have + completed their scan of the area + and found nothing. If the + Millennium Falcon went into light- + speed, it'll be on the other side + of the galaxy by now. + + VADER + 86. + + + Alert all commands. Calculate every + possible destination along their + last know trajectory. + + PIETT + Yes, my lord. We'll find them. + + VADER + Don't fail me again, Admiral. + + Vader exits as the admiral turns to an aide, a little more + uneasy than when he arrived. + + PIETT + Alert all commands. Deploy the + fleet. + + +179 EXT. SPACE - IMPERIAL FLEET 179 + + Vader's ship moves away, flanked by its fleet of smaller + ships. the Avenger glides off into space in the opposite + direction. No one on that ship or on Vader's is aware that, + clinging to the side of the Avenger, is the pirateship, the + Millennium Falcon. + + +180 INT. MILLENNIUM FALCON - COCKPIT 180 + + THREEPIO + Captain Solo, this time you have + gone too far. + (Chewie growls) + No, I will not be quiet, Chewbacca. + Why doesn't anyone listen to me? + + HAN + (to Chewie) + The fleet is beginning to break up. + Go back and stand by the manual + release for the landing claw. + + Chewie barks, struggles from his seat, and climbs out of + the cabin. + + THREEPIO + I really don't see how that is + going to help. Surrender is a + perfectly acceptable alternative in + extreme circumstances. The Empire + may be gracious enough... + + Leia reaches over and shuts off Threepio, mid-sentence. + 87. + + + HAN + Thank you. + + LEIA + What did you have in mind for your + next move? + + HAN + Well, if they follow standard + Imperial procedure, they'll dump + their garbage before they go to + light-speed, then we just float + away. + + LEIA + With the rest of the garbage. Then + what? + + HAN + Then we've got to find a safe port + somewhere around here. Got any + ideas? + + LEIA + No. Where are we? + + HAN + The Anoat system. + + LEIA + Anoat system. There's not much + there. + + HAN + No. Well, wait. This is + interesting. Lando. + +He points to a computer mapscreen on the control panel. +Leia slips out of her chair and moves next to the handsome +pilot. Small light points representing several systems +flash by on the computer screen. + + LEIA + Lando system? + + HAN + Lando's not a system, he's a man. + Lando Calrissian. He's a card + player, gambler, scoundrel. You'd + like him. + + LEIA + Thanks. + 88. + + + HAN + Bespin. It's pretty far, but I + think we can make it. + + LEIA + (reading from the + computer) + A mining colony? + + HAN + Yeah, a Tibanna gas mine. Lando + conned somebody out of it. We go + back a long way, Lando and me. + + LEIA + Can you trust him? + + HAN + No. But he has no love for the + Empire, I can tell you that. + + Chewie barks over the intercom. Han quickly changes his + readouts and stretches to look out the cockpit window. + + HAN (CONT’D) + (into intercom) + Here we go, Chewie. Stand by. + Detach! + + Han leans back in his chair and gives Leia an invisible + smile. She thinks for a moment, shakes her head; a grin + creeps across her face and she gives him a quick kiss. + + LEIA + You do have your moments. Not many, + but you have them. + + +181 EXT. SPACE - IMPERIAL STAR DESTROYER 181 + + As the Avenger Star Destroyer moves slowly into space, the + hatch on its underbelly opens, sending a trail of junk + behind it. Hidden among the refuse, the Falcon tumbles + away. In the next moment, the Avenger roars off into + hyperspace. The Falcon's engines are ignited, and it races + off into the distance. Amidst the slowly drifting junk, + Boba Fett's ship appears and moves after the Falcon. + + +182 EXT. DAGOBAH - BOG - CLEARING - DAY 182 + 89. + + +In the clearing behind Yoda's house, Luke again stands +upside-down, but his face shows less strain and more +concentration than before. Yoda sits on the ground below +the young warrior. On the other side of the clearing, two +equipment cases slowly rise into the air. Nearby Artoo +watches, humming to himself, when suddenly he, too, rises +into the air. His little legs kick desperately and his head +turns frantically, looking for help. + + YODA + Concentrate... feel the Force flow. + Yes. Good. Calm, yes. Through the + Force, things you will see. Other + places. The future... the past. Old + friends long gone. + +Luke suddenly becomes distressed. + + LUKE + Han! Leia! + +The two packing boxes and Artoo fall to the ground with a +crash, then Luke himself tumbles over. + + YODA + (shaking his head) + Hmm. Control, control. You must + learn control. + + LUKE + I saw... I saw a city in the + clouds. + + YODA + Mmm. Friends you have there. + + LUKE + They were in pain. + + YODA + It is the future you see. + + LUKE + Future? Will they die? + +Yoda closes his eyes and lowers his head. + + YODA + Difficult to see. Always in motion + is the future. + + LUKE + I've got to go to them. + 90. + + + YODA + Decide you must how to serve them + best. If you leave now, help them + you could. But you would destroy + all for which they have fought and + suffered. + + Luke is stopped cold by Yoda's words. Gloom shrouds him as + he nods his head sadly. + + +183 EXT. BESPIN SYSTEM - MILLENNIUM FALCON - DAWN 183 + + The powerful pirate starship blasts through space as it + heads toward the soft pink planet of Bespin. + + +184 EXT. BESPIN SURFACE - MILLENNIUM FALCON 184 + + It is down on the gaseous planet. Huge billowing clouds + form a canyon as the ship banks around them, heading toward + the system's Cloud City. + + Suddenly, two twin-pod cloud cars appear and move toward + the Falcon. The cloud cars draw up alongside the starship. + + +185 INT. MILLENNIUM FALCON - COCKPIT 185 + + One of the cloud cars opens fire on the Falcon, its flak + rocking the ship. Chewie barks his concern. + + HAN + (into transmitter) + No, I don't have a landing permit. + I'm trying to reach Lando + Calrissian. + + More flak bursts outside the cockpit window and rattles the + ship's interior. Leia looks worried. + + HAN (CONT’D) + (into transmitter) + Whoa! Wait a minute! Let me + explain. + + INTERCOM VOICE + You will not deviate from your + present course. + + THREEPIO + Rather touchy, aren't they? + 91. + + + LEIA + I thought you knew this person. + + Chewie barks and growls at his boss. + + HAN + (to Chewie) + Well, that was a long time ago. I'm + sure he's forgotten about that. + + INTERCOM VOICE + Permission granted to land on + Platform Three-two-seven. + + HAN + (into transmitter) + Thank you. + + Angry, Han snaps off the intercom. Chewie looks at him and + grunts. Han turns to the worried princess and her droid. + + HAN (CONT’D) + There's nothing to worry about. We + go way back, Lando and me. + + Leia doesn't look convinced. + + LEIA + Who's worried? + + +186 EXT. CLOUD CITY - MILLENNIUM FALCON - CLOUD CARS 186 + + The clouds part to reveal a full view of the city as it + bobs in and out of the cloud surface. The cloud cars and + the Falcon head for the gleaming white metropolis. + + +187 EXT. CLOUD CITY - LANDING PLATFORM - MILLENNIUM FALCON 187 + + With the cloud cars still guarding it, the Falcon lands on + one of the Cloud City's platforms. + + +188 EXT. LANDING PLATFORM - DOOR OF MILLENNIUM FALCON 188 + + Han and Leia stand at the open door, armed. Behind them, + Chewie, also armed, surveys the scene warily. + + THREEPIO + Oh. No one to meet us. + + LEIA + 92. + + + I don't like this. + + HAN + Well, what would you like? + + THREEPIO + Well, they did let us land. + + HAN + Look, don't worry. Everything's + going to be fine. Trust me. + + +189 INT. CLOUD CITY - CORRIDOR - DAY 189 + + Lando Calrissian, a suave, dashing black man in his + thirties, leads a group of aides and some Cloud City guard + rapidly toward the landing platform. + + The group, like the other citizens of the city, is a motley + collection of aliens, droids, and humans of all + descriptions. Lando has a grim expression on his face as he + moves onto the landing platform. + + +190 EXT. LANDING PLATFORM - DOOR OF MILLENNIUM FALCON 190 + + HAN + See? My friend. + (to Chewie) + Keep your eyes open, okay? + + Chewie growls as Han walks down the ramp. Lando and his men + head across the bridge to meet the space pirate. + + +191 EXT. CLOUD CITY - LANDING PLATFORM 191 + + Lando stops ten feet from Han. The two men eye each other + carefully. Lando shakes his head. + + LANDO + Why, you slimy, double-crossing, + no- good swindler! You've got a lot + of guts coming here, after what you + pulled. + + Han points to himself innocently, mouthing, "Me?" + + Lando moves threateningly toward Han. Suddenly, he throws + his arms around his startled, long-lost friend and embraces + him. + 93. + + + LANDO (CONT’D) + (laughs) + How you doing, you old pirate? So + good to see you! I never thought + I'd catch up with you again. Where + you been? + + The two old friends embrace, laughing and chuckling. + + +192 EXT. LANDING PLATFORM - DOOR OF MILLENNIUM FALCON. 192 + + THREEPIO + Well, he seems very friendly. + + LEIA + (wary) + Yes... very friendly. + + +193 EXT. CLOUD CITY - LANDING PLATFORM 193 + + LANDO + What are you doing here? + + HAN + (gestures toward the + Falcon) + (MORE) + + HAN (CONT'D) + Ahh... repairs. I thought you could + help me out. + + LANDO + (in mock panic) + What have you done to my ship? + + HAN + Your ship? Hey, remember, you lost + her to me fair and square. + + Chewie growls a reserved greeting. Lando suddenly notices + the princess and smiles. + + LANDO + Hello. What have we here? Welcome. + I'm Lando Calrissian. I'm the + administrator of this facility. And + who might you be? + + LEIA + Leia. + 94. + + + LANDO + Welcome, Leia. + + Lando bows before Leia and kisses her hand. + + HAN + All right, all right, you old + smoothie. + + Han takes Leia by the hand and steers her away from Lando. + + THREEPIO + Hello, sir. I am See-Threepio, + human-cyborg relations. My + facilities are at your... + + Before Threepio can finish his self-introduction, Lando has + turned to follow Han and Leia, who are walking toward the + city. + + THREEPIO (CONT’D) + Well, really! + + Lando, his aide, Lobot, and Han lead the way across the + bridge, followed by Threepio, Chewie and Leia. + + LANDO + What's wrong with the Falcon? + + HAN + Hyperdrive. + + LANDO + I'll get my people to work on it. + + HAN + Good. + + Lando turns to Leia. + + LANDO + You know, that ship saved my life + quite a few times. She's the + fastest hunk of junk in the galaxy. + + +194 INT. CLOUD CITY - CORRIDOR 194 + + The group has crossed the narrow bridge and entered the + city. They walk down the lovely Art Deco passageway, + rounding several corners and passing many small plazas as + they go. Threepio lags a bit behind. + 95. + + + HAN + How's the gas mine? Is it paying + off for you? + + LANDO + Oh, not as well as I'd like. We're + a small outpost and not very self- + sufficient. And I've had supply + problems of every kind. I've had + labor difficulties... + (catches Han grinning at + him) + What's so funny? + + HAN + You. Listen to you - you sound like + a businessman, a responsible + leader. Who'd have thought that, + huh? + +Lando is reflective. He looks at Han a moment. + + LANDO + You know, seeing you sure brings + back a few things. + + HAN + Yeah. + + LANDO + (shakes his head) + Yeah. I'm responsible these days. + It's the price you pay for being + successful. + +Han and Lando laugh together, and the group moves on +through the corridor. + +The lagging Threepio passes a Threepio-type silver droid +who is coming out of a door. + + THREEPIO + Oh! Nice to see a familiar face. + + SECOND THREEPIO + (mumbles) + E chu ta! + + THREEPIO + How rude! + 96. + + + Threepio stops, watching the silver droid move away. Then + he hears the muffled beeping and whistling of an R2 unit + coming from within the room. + + +195 INT. CLOUD CITY - ANTEROOM 195 + + Curious, Threepio enters the room. + + THREEPIO + That sounds like an R2 unit in + there. I wonder if... + + Threepio walks through the doorway to the main room. He + looks in. + + THREEPIO (CONT’D) + Hello? How interesting. Oh, my. + + MAN'S VOICE + (from within) + Who are you? + + THREEPIO + Oh, I'm terribly sorry. I... I + didn't mean to intrude. No, no, + please don't get up. No! + + A laser bolt to Threepio's chest sends him flying in twenty + directions. Smoldering mechanical arms and legs bounce off + the walls as the door whooshes closed behind him. + + +196 INT. CLOUD CITY - CORRIDOR 196 + + Lando, Han, and Leia continue down the corridor unaware of + Threepio's dreadful accident. Chewbacca glances around, + sniffs the air, but shrugs his shoulders and follows the + group. + + +197 EXT. DAGOBAH - BOG - DUSK 197 + + In the bright lights of the fighter, Luke loads a heavy + case into the belly of the ship. Artoo sits on top of the + X- wing, settling down into his cubbyhole. Yoda stands + nearby on a log. + + YODA + Luke! You must complete the + training. + + LUKE + 97. + + + I can't keep the vision out of my + head. They're my friends. I've got + to help them. + + YODA + You must not go! + + LUKE + But Han and Leia will die if I + don't. + + BEN'S VOICE + You don't know that. + +Luke looks toward the voice in amazement. Ben has +materialized as a real, slightly shimmering image near +Yoda. The power of his presence stops Luke. + + BEN + Even Yoda cannot see their fate. + + LUKE + But I can help them! I feel the + Force! + + BEN + But you cannot control it. This is + a dangerous time for you, when you + will be tempted by the dark side of + the Force. + + YODA + Yes, yes. To Obi-Wan you listen. + The cave. Remember your failure at + the cave! + + LUKE + But I've learned so much since + then. Master Yoda, I promise to + return and finish what I've begun. + You have my word. + + BEN + It is you and your abilities the + Emperor wants. that is why your + friends are made to suffer. + + LUKE + And that is why I have to go. + + BEN + Luke, I don't want to lose you to + the Emperor the way I lost Vader. + 98. + + + LUKE + You won't. + + YODA + Stopped they must be. On this all + depends. Only a fully trained Jedi + Knight with the Force as his ally + will conquer Vader and his Emperor. + If you end your training now, if + you choose the quick and easy path, + as Vader did, you will become an + agent of evil. + + BEN + Patience. + + LUKE + And sacrifice Han and Leia? + + YODA + If you honor what they fight for + ... yes! + +Luke is in great anguish. He struggles with the dilemma, a +battle raging in his mind. + + BEN + If you choose to face Vader, you + will do it alone. I cannot + interfere. + + LUKE + I understand. + (he moves to his X-wing) + Artoo, fire up the converters. + +Artoo whistles a happy reply. + + BEN + Luke, don't give in to hate - that + leads to the dark side. + +Luke nods and climbs into his ship. + + YODA + Strong is Vader. Mind what you have + learned. Save you it can. + + LUKE + I will. And I'll return. I promise. + +Artoo closes the cockpit. Ben and Yoda stand watching as +the roar of the engines and the wind engulf them. + 99. + + + YODA + (sighs) + Told you, I did. Reckless is he. + Now matters are worse. + + BEN + That boy is our last hope. + + YODA + (looks up) + No. There is another. + + +198 EXT. SPACE - PLANET DAGOBAH 198 + + Luke's tiny X-wing rockets away from the green planet of + Dagobah and off into space. + + +199 INT. CLOUD CITY - LIVING QUARTERS - DAY 199 + + Within the quarters assigned her on Cloud City, Leia paces + in agitation. She has changed from her cold-weather pants + and jacket to a lovely dress. Her hair is down, tied back + with ribbons. She moves from a large, open window and turns + to see Han entering through the doorway. + + HAN + The ship is almost finished. Two or + Three more things and we're in + great shape. + + LEIA + The sooner the better. Something's + wrong here. No one has seen or + knows anything about Threepio. He's + been gone too long to have gotten + lost. + + Han takes Leia by the shoulders and gently kisses her + forehead. + + HAN + Relax. I'll talk to Lando and see + what I can find out. + + LEIA + I don't trust Lando. + + HAN + Well, I don't trust him, either. + But he is my friend. Besides, we'll + soon be gone. + 100. + + + LEIA + And then you're as good as gone, + aren't you? + + Not speaking, Han considers her words and gazes at her + troubled face. + + +200 INT. CLOUD CITY - JUNK ROOM 200 + + The room is piled high with broken and discarded machine + parts. Four Ugnaughts, small hoglike creatures, separate + the junk and throw some pieces onto a conveyer belt which + moves briskly toward a pit of molten metal. Pieces of + Threepio's golden body move down the belt. Chewie enters + the room and spots an Ugnaught picking up and inspecting + Threepio's head. The Wookiee barks a command, startling the + Ugnaught, then reaches to grab the head. But the Ugnaught + tosses it away from him to another Ugnaught. This game of + keep-away goes on until Threepio's head falls from their + grip and bounces with a clang onto the ground. + + +201 INT. CLOUD CITY - LIVING QUARTERS - DAY 201 + + The door zaps open. Chewbacca walks in, carrying a packing + case of Threepio, arms and legs hanging over the edge. + + LEIA + What happened? + + Chewie sets the case on a table, grunting and groaning an + explanation. + + HAN + Where? Found him in a junk pile? + + LEIA + Oh, what a mess. Chewie, do you + think you can repair him? + + The giant Wookiee studies the array of robot parts. He + looks at the princess and shrugs sadly. + + HAN + Lando's got people who can fix him. + + LEIA + No, thanks. + + There is a buzz and the door slides open, revealing Lando. + + LANDO + 101. + + + I'm sorry. Am I interrupting + anything? + + LEIA + Not really. + + LANDO + You look absolutely beautiful. You + truly belong here with us among the + clouds. + + LEIA + (coolly) + Thank you. + + LANDO + Will you join me for a little + refreshment? + + Han looks at Lando suspiciously, but Chewie barks at the + mention of food and licks his lips. + + LANDO (CONT’D) + Everyone's invited, of course. + + Leia takes Lando's proffered arm, and the group turns to + go. Lando spots Threepio's remains. + + LANDO (CONT’D) + Having trouble with you droid? + + Han and Leia exchange a quick glance. + + HAN + No. No problem. Why? + + Han and Leia move arm-in-arm through the door, followed by + Lando and Chewie. The door slides closed behind them. + + +202 INT. CLOUD CITY - CORRIDOR - DAY 202 + + Leia walks between Han and Lando as Chewie follows a short + distance behind. Long shafts of light pour across the + corridor between tall, pure-white columns. + + LANDO + So you see, since we're a small + operation, we don't fall into + the... uh... jurisdiction of the + Empire. + + LEIA + 102. + + + So you're part of the mining guild + then? + + LANDO + No, not actually. Our operation is + small enough not to be noticed... + which is advantageous for everybody + since our customers are anxious to + avoid attracting attention to + themselves. + + The group walks into another corridor and heads for a huge + doorway at the far end. + + HAN + Aren't you afraid the Empire's + going to find out about this little + operation and shut you down? + + LANDO + That's always been a danger looming + like a shadow over everything we've + built here. But things have + developed that will insure + security. I've just made a deal + that will keep the Empire out of + here forever. + + +203 INT. CLOUD CITY - DINING ROOM 203 + + The mighty doors to the dining room slide open and the + group enters the dining room. At the far end of a huge + banquet table sits Darth Vader. Standing at his side and + slightly behind him is Boba Fett, the bounty hunter. + + Faster than the wink of an eye, Han draws his blaster and + pops off a couple of shots directly at Vader. The Dark Lord + quickly raises his hand, deflecting the bolts into one of + the side walls, where they explode harmlessly. Just as + quickly, Han's weapon zips into Vader's hand. The evil + presence calmly places the gun on the table in front of + him. + + VADER + We would be honored if you would + join us. + + Han gives Lando a mean look. + + LANDO + I had no choice. They arrived right + before you did. I'm sorry. + 103. + + + HAN + I'm sorry, too. + + +204 EXT. LUKE'S X-WING - BESPIN SYSTEM 204 + + Luke's X-wing races through thick clouds toward Cloud City. + + +205 INT. LUKE'S X-WING - COCKPIT 205 + + Luke is grim-faced as he pilots his course toward Bespin's + shining city. Artoo's beeps and whistles are transmitted + onto the scope. + + LUKE + (into comlink) + No, Threepio's with them. + + Artoo whistles another worried inquiry. + + LUKE + (into comlink) + Just hang on. We're almost there. + + +206 INT. CLOUD CITY - LARGE CELL 206 + + Chewbacca is in a Cloud City prison cell. The stark room is + flooded with hot light. To add to Chewie's misery, a high- + pitched whistle screeches loudly. Chewie is going mad. He + hits the wall with giant fists as he paces back and forth + across the cell floor. The upper lights go off abruptly. + The prisoner rubs his eyes and moves to a wall, where he + listens for a moment. Then, moaning to himself, he moves to + a platform where the disassembled pieces of Threepio lie. + He picks up the golden droid's head and meditates on it for + a moment, barking a few philosophical remarks. Chewie + sticks the robot's head on its torso and starts adjusting + wires and circuits. + + Suddenly, the lights in Threepio's eyes spark to life as + Chewie touches two connectors together. Threepio + immediately begins to speak, but his voice is so slow and + so low as to be nearly unintelligible. + + THREEPIO + Mmmm. Oh, my. Uh, I, uh - Take this + off! I, uh, don't mean to intrude + here. I, don't, no, no, no... + Please don't get up. No! + 104. + + + Chewie looks at Threepio in bewilderment, then scratches + his furry head. He gets an idea and adjusts some + connections, whereupon Threepio immediately begins speaking + normally. + + THREEPIO (CONT’D) + Stormtroopers? Here? We're in + danger. I must tell the others. Oh, + no! I've been shot! + + +207 INT. CLOUD CITY - PRISON ENTRY AREA 207 + + Darth Vader strides through the room as two stormtroopers + prepare an elaborate torture mechanism. Han is strapped to + a rack which tilts forward onto the torture device. Vader + activates the mechanism, creating two bursts of sparks, one + of which strikes Han's face. + + The door opens, and Vader leaves the torture room just as + Han screams a sharp, piercing cry of agony. Darth Vader + moves to the holding chamber, where Lando and Boba Fett + await him. + + +208 INT. CLOUD CITY - HOLDING CHAMBER 208 + + LANDO + Lord Vader. + + VADER + (to Fett) + You may take Captain Solo to Jabba + the Hut after I have Skywalker. + + Han's screams filter through the torture room door. + + BOBA FETT + He's no good to me dead. + + VADER + He will not be permanently damaged. + + LANDO + Lord Vader, what about Leia and the + Wookiee? + + VADER + They must never again leave this + city. + + LANDO + 105. + + + That was never a condition of our + agreement, nor was giving Han to + this bounty hunter! + + VADER + Perhaps you think you're being + treated unfairly. + + LANDO + No. + + VADER + Good. It would be unfortunate if I + had to leave a garrison here. + + Vader turns and sweeps into the elevator with Boba Fett. + Lando walks swiftly down another corridor, muttering to + himself. + + LANDO + This deal's getting worse all the + time. + + +209 INT. CLOUD CITY - LARGE CELL 209 + + Chewie now has a little more of Threepio back together. One + arm is connected, but the legs are yet to be attached. + There is one small problem, however. It seems the Wookiee + has managed to put the droid's head on backwards. + + THREEPIO + Oh, yes, that's very good. I like + that. Oh! Something's not right + because now I can't see. Wait. + Wait! Oh, my! what have you done? + I'm backwards, you stupid furball. + Only an overgrown mophead like you + would be stupid enough... + + Threepio is cut off in mid-sentence as Chewie angrily + deactivates a circuit and the droid shuts down. The Wookiee + smells something and sits up. The door to the chamber + slides open and a ragged Han Solo is shoved into the room + by two stormtroopers. Barking his concern, the huge Wookiee + gives Han a big hug. Han is very pale, with dark circles + under his eyes. + + HAN + I feel terrible. + 106. + + +Chewie helps Han to a platform and then turns as the door +slides open revealing Leia. She, too, looks a little worse +for wear. The troopers push her into the cell, and the door +slides closed. She moves to Han, who is lying on the +platform, and kneels next to him, gently stroking his head. + + LEIA + Why are they doing this? + + HAN + They never even asked me any + questions. + +The cell door slides open. Lando and two of his guards +enter. + + LEIA + Lando. + + HAN + Get out of here, Lando! + + LANDO + Shut up and listen! Vader has + agreed to turn Leia and Chewie over + to me. + + HAN + Over to you? + + LANDO + They'll have to stay here, but at + least they'll be safe. + + LEIA + What about Han? + + LANDO + Vader's giving him to the bounty + hunter. + + LEIA + Vader wants us all dead. + + LANDO + He doesn't want you at all. He's + after somebody called Skywalker. + + HAN + Luke? + + LANDO + Lord Vader has set a trap for him. + 107. + + + Leia's mind is racing. + + LEIA + And we're the bait. + + LANDO + Well, he's on his way. + + Han's rage peaks. + + HAN + Perfect. You fixed us all pretty + good, didn't you? + (spits it out) + My friend! + + Han hauls off and punches Lando. The two friends are + instantly engaged in a frantic close-quarters fight. The + guards hit Han with their rifle butts and he flies across + the room. Chewie growls and starts for the guards. They + point their laser weapons at the giant Wookiee, but Lando + stops them. + + LANDO + Stop! I've done all I can. I'm + sorry I couldn't do better, but I + have my own problems. + + HAN + Yeah, you're a real hero. + + Lando and the guards leave. Han wipes the blood from his + chin as Leia and Chewie help him up. + + LEIA + (dabs at his wound) + You certainly have a way with + people. + + +210 INT. CLOUD CITY - CARBON-FREEZING CHAMBER 210 + + Four armor-suited stormtroopers stand at the ready in the + large chamber, which is filled with pipes and chemical + tanks. In the middle of the room is a round pit housing a + hydraulic platform. Darth Vader and Lando stand near the + platform. + + VADER + This facility is crude, but it + should be adequate to freeze + Skywalker for his journey to the + Emperor. + 108. + + + An Imperial soldier appears. + + IMPERIAL SOLDIER + Lord Vader, ship approaching. X- + wing class. + + VADER + Good. Monitor Skywalker and allow + him to land. + + The soldier bows and leaves the chamber. + + LANDO + Lord Vader, we only use this + facility for carbon freezing. If + you put him in there, it might kill + him. + + VADER + I do not want the Emperor's prize + damaged. We will test it... on + Captain Solo. + + Lando's face registers dismay. + + +211 EXT. SPACE - BESPIN SYSTEM - LUKE'S X-WING 211 + + Luke's X-wing moves through the clouds as it nears the + city. + + +212 INT. LUKE'S X-WING - COCKPIT 212 + + Encountering no city guards, Luke scans the display panel + with concern. + + +213 INT. CLOUD CITY - CARBON-FREEZING CHAMBER 213 + + There is a great activity on the carbon-freezing platform. + Six Ugnaughts frantically prepare the chamber for use. A + special coffinlike container is put in place. With Boba + Fett in the lead, a squad of six stormtroopers brings in + Han, Leia and Chewie. Strapped to Chewie's back, with only + his head, torso, and one arm assembled, is Threepio. + Threepio's head faces the opposite direction from Chewie's + and the droid is constantly twisting around in a vain + effort to see what is happening. His one attached arm is + animate and expressive, intermittently pointing, gesturing, + and covering his eyes. The remaining pieces of his body are + randomly bundled to the Wookiee's back so that his legs and + other arm stick out at odd angles from the pack. + 109. + + + THREEPIO + If only you had attached my legs, I + wouldn't be in this ridiculous + position. Now, remember, Chewbacca, + you have a responsibility to me, so + don't do anything foolish. + + HAN + (to Lando) + What's going on... buddy? + + LANDO + You're being put into carbon + freeze. + +Boba Fett moves away from the group to Darth Vader. + + BOBA FETT + What if he doesn't survive? He's + worth a lot to me. + + VADER + The Empire will compensate you if + he dies. Put him in! + +Realizing what is about to happen, Chewie lets out a wild +howl and attacks the stormtroopers surrounding Han. Within +seconds, other Imperial reinforcements join the scuffle, +clubbing the giant Wookiee with their laser weapons. + +From the instant of Chewie's first move, Threepio begins to +scream in panic while he tries to protect himself with his +one arm. + + THREEPIO + Oh, no! No, no, no! Stop, + Chewbacca, stop...! + +The stormtroopers are about to bash Chewie in the face. + + HAN + Stop, Chewie, stop! Do you hear me? + Stop! + + THREEPIO + Yes, stop, please! I'm not ready to + die. + +Han breaks away from his captors. Vader nods to the guards +to let him go and the pirate breaks up the fight. + + HAN + 110. + + + Chewie! Chewie, this won't help me. + Hey! + +Han gives the Wookiee a stern look. + + HAN (CONT’D) + Save your strength. There'll be + another time. The princess - you + have to take care of her. You hear + me? + +Han winks at the Wookiee, who wails a doleful farewell. + +In a flash the guards have slipped binders on Chewbacca, +who is too distraught to protest. Han turns to Princess +Leia. They look sorrowfully at one another, then Han moves +toward her and gives her a final, passionate kiss. + + LEIA + I love you! + + HAN + I know. + +Tears roll down Leia's face as she watches the dashing +pirate walk to the hydraulic platform. Han looks one final +time at his friends - and then, suddenly, the platform +drops. Chewie howls. Leia turns away in agony. + +Lando winces in sorrow; it makes a life-changing impression +on him. + +Instantly, fiery liquid begins to pour down in a shower of +sparks and fluid as great as any steel furnace. Holding +Leia, Chewie half-turns away from the sight, giving +Threepio a view of the procedure. + + THREEPIO + What... what's going on? Turn + round, Chewbacca, I can't see. + Oh... they've encased him in + carbonite. He should be quite well- + protected - if he survives the + freezing process, that is. + +Chewie is in no mood for technical discussion; he gives the +droid an angry glance and bark. + 111. + + + A huge mechanical tong lifts the steaming metal-encased + space pirate out of the vat and stands him on the platform. + Some Ugnaughts rush over and push the block over onto the + platform. They slide the coffinlike structure to the block + and lift the metal block, placing it inside. They then + attach an electronic box onto the structure and step away. + Lando kneels and adjusts some knobs, measuring the heat. He + shakes his head in relief. + + VADER + Well, Calrissian, did he survive? + + LANDO + Yes, he's alive. And in perfect + hibernation. + + Vader turns to Boba Fett. + + VADER + He's all yours bounty hunter. Reset + the chamber for Skywalker. + + IMPERIAL OFFICER + Skywalker has just landed, my lord. + + VADER + Good. See to it that he finds his + way here. Calrissian, take the + princess and the Wookiee to my + ship. + + LANDO + You said they'd be left in the city + under my supervision. + + VADER + I am altering the deal. Pray I + don't alter it any further. + + Lando's hand instinctively goes to his throat as he turns + to Leia, Chewie, and Threepio. + + +214 INT. CLOUD CITY - CORRIDOR - DAY 214 + + As Luke and Artoo move carefully down a deserted corridor, + they hear a group of people coming down a side hallway. + Artoo lets out an excited series of beeps and whistles. + Luke glares at the tiny droid, who stops in his tracks with + a feeble squeak. + 112. + + + Boba Fett enters from a side hallway followed by two guards + pushing the floating, encased body of Han Solo. Two + stormtroopers, who follow, immediately spot Luke and open + fire on him. The youth draws his weapon and blasts the two + troopers before they can get off a second shot. The two + guards whisk Han into another hallway as Fett lowers his + arm and fires a deadly laser at Luke, which explodes to one + side and tears up a huge chunk of wall. + + Luke rushes to a side hallway, but by the time he reaches + it, Fett, Han, and the guards are gone. A think metal door + blocks the passage. Luke turns to see Leia, Chewie, + Threepio, and Lando being herded down a second hallway by + several other stormtroopers. Leia turns just in time to see + Luke. + + LEIA + Luke! Luke, don't - it's a trap! + It's a trap! + + Before she can finish, she is pulled through a doorway and + disappears from sight. Luke races after the group, leaving + little Artoo trailing behind. + + +215 INT. CLOUD CITY - ANTEROOM 215 + + Luke runs into an anteroom and stops to get his bearings. + Leia and the others are nowhere to be seen. + + Behind Luke, Artoo scoots down the corridor toward the + anteroom when suddenly a giant metal door comes slamming + down, cutting off Luke's exit. Several more doors clang + shut, echoing through the chamber. + + +216 INT. CLOUD CITY - HALLWAY LEADING TO ANTEROOM 216 + + Artoo stands with his nose pressed against the giant metal + door. He whistles a long sigh of relief and, a little + dazed, wanders off in the other direction. + + +217 INT. CLOUD CITY - CARBON-FREEZING CHAMBER - ANTEROOM 217 + + Luke cautiously walks forward among hissing pipes and + steam. Seeing an opening above him, he stops to look up. As + he does, the platform he stands on begins to move. + + +218 INT. CLOUD CITY - CARBON-FREEZING CHAMBER 218 + 113. + + + Luke rises into the chamber, borne by the platform. The + room is deathly quiet. Very little steam escapes the pipes + and no one else seems to be in the large room. Warily, Luke + walks toward the stairway. + + Steam begins to build up in the chamber. Looking up through + the steam, Luke sees a dark figure standing on a walkway + above him. Luke holsters his gun and moves up the stairs to + face Vader. He feels confident, eager to engage his enemy. + + VADER + The Force is with you, young + Skywalker. But you are not a Jedi + yet. + + Luke ignites his sword in answer. In an instant, Vader's + own sword is lit. Luke lunges, but Vader repels the blow. + Again Luke attacks, and the swords of the two combatants + clash in battle. + + +219 INT. CLOUD CITY - CORRIDOR 219 + + Leia, Lando, and Chewie, with Threepio on his back, march + along, guarded by six stormtroopers. The group reaches an + intersection where Lobot and a dozen of Lando's guards + stand at attention. + + The guards immediately aim their weapons at the startled + stormtroopers. Taking the stormtroopers' weapons from them, + Lobot hands one to Leia and one to Lando. + + LANDO + Well done. Hold them in the + security tower - and keep it quiet. + Move. + + As Lando's guards quickly march the stormtroopers away, + Lando begins to undo Chewie's binding. + + LEIA + What do you think you're doing? + + LANDO + We're getting out of here. + + THREEPIO + I knew all along it had to be a + mistake. + + Chewie turns on Lando and starts to choke him. + + LEIA + 114. + + + Do you think that after what you + did to Han we're going to trust + you? + +Lando tries to free himself from Chewie. + + LANDO + (choking) + I had no choice... + +Chewie barks ferociously. + + THREEPIO + (to Chewie) + What are you doing? Trust him, + trust him! + + LEIA + Oh, so we understand, don't we, + Chewie? He had no choice. + + LANDO + I'm just trying to help... + + LEIA + We don't need any of your help. + + LANDO + (choking) + H-a-a-a... + + LEIA + What? + + THREEPIO + It sounds like Han. + + LANDO + There's still a chance to save + Han... I mean, at the East + Platform... + + LEIA + Chewie. + +Chewie finally releases Lando, who fights to get his breath +back. + + THREEPIO + (to Lando) + I'm terribly sorry about all this. + After all, he's only a Wookiee. + 115. + + + 220 220 + + +219A EXT. CLOUD CITY - EAST LANDING PLATFORM - BOBA FETT'S SHIP 219A + + The two guards slide Han's encased body into an opening in + the side of the bounty hunter's ship. Boba Fett climb + aboard on a ladder next to the cargo hold. + + BOBA FETT + Put Captain Solo in the cargo hold. + + And with that, the door slams shut. + + +221 INT. CLOUD CITY - CORRIDOR 221 + + Lando, Leia, and Chewie run down a Cloud City corridor when + suddenly they spot Artoo who rushes toward them, beeping + wildly. + + THREEPIO + Artoo! Artoo! Where have you been? + + Chewie turns around to see the stubby droid, causing + Threepio to be spun out of sight of his friend. + + THREEPIO + Turn around, you wooly...! + (to Artoo) + Hurry, hurry! We're trying to save + Han from the bounty hunter! + + Whistling frantically to Threepio, Artoo scoots along with + the racing group. + + THREEPIO + Well, at least your still in one + piece! Look what happened to me! + + +222 EXT. EAST LANDING PLATFORM - SIDE BAY 222 + + An elevator door slides open and Lando, Leia, and Chewbacca + race for a large bay overlooking the East Landing Platform. + + Just as they arrive, Boba Fett's ship takes off against a + cloudy sunset sky. + + In wild anguish, Chewie howls and starts firing at the + ship. + + THREEPIO + 116. + + + Oh, no! Chewie, they're behind you! + + A laser bolt explodes near the princess. Everyone turns to + see what Threepio has already spotted coming from the other + direction; a squad of stormtroopers running toward them. + Artoo peeks out from the elevator. + + Leia and Chewbacca start firing at the troopers as Lando + makes a break for the elevator. Laser bolts continue to + explode around the princess and the Wookiee, but they + refuse to budge. Lando sticks his head out of the elevator + and motions for the pair to run, but they barely notice. + They seem possessed, transported, as all the frustration of + captivity and anger of loss pour through their death- + dealing weapons. + + But after a few moments, they begin to move through the + rain of laser fire toward the elevator. Once they are + inside, the door slams shut and the stormtroopers race + forward. + + +223 INT. CLOUD CITY - CARBON-FREEZING CHAMBER 223 + + Luke and Vader are locked in combat on the platform + overlooking the chamber. Their swords clash, the platform + sways. Luke aggressively drives Vader back, forcing Vader + to use defensive tactics. + + VADER + You have learned much, young one. + + LUKE + You'll find I'm full of surprises. + + Vader makes two quick moves, hooking Luke's sword out of + his hand and sending it flying. Another lightning move at + Luke's feet forces the youth to jump back to protect + himself. Losing his balance, Luke rolls down the stairs to + the circular carbon-freezing platform. There he sprawls on + the floor, surprised and shaken. Just in time he looks up + to see Vader, like a giant black bird, flying right at him. + Luke rolls away as Vader lands. Crouching, Luke keeps his + gaze steadily on his enemy. + + VADER + Your destiny lies with me, + Skywalker. Obi-Wan knew this to be + true. + + LUKE + No! + 117. + + +Behind Luke the hydraulic elevator cover has opened +noiselessly. All the while, Luke slowly, cautiously moves +back, away from the Dark Lord. + +Suddenly, Vader attacks so forcefully that Luke loses his +balance and falls back into the opening. There is a rumble, +and in an instant freezing steam rises to obscure Vader's +vision. Vader turns aside and deactivates his sword. + + VADER + All to easy. Perhaps you are not as + strong as the Emperor thought. + +Through the steam behind Vader something blurs upward. +Liquid metal begins to pour into the pit. + +Vader turns around - and then looks up. He sees Luke, who +has leaped fifteen feet straight up and who now hangs from +some hoses on the carbonite outlet. + + VADER (CONT’D) + Impressive... most impressive. + +Luke jumps down to the platform where he is separated from +Vader by the steaming carbonite pit. He raises his hand. +His sword, which had fallen on another part of the +platform, swiftly jumps into his outstretched hand and is +instantly ignited. Vader immediately lights his sword as +well. + + VADER (CONT’D) + Obi-Wan has taught you well. You + have controlled your fear... now + release your anger. + +Luke is more cautious, controlling his anger. He begins to +retreat as Vader goads him on. As Luke takes a defensive +position, he realizes he has been foolhardy. A quick sword +exchange and Luke forces Vader back. Another exchange and +Vader retreats. Luke presses forward. + + VADER (CONT’D) + Only your hatred can destroy me. + +Breathing hard, Luke jumps in the air, turning a somersault +over Vader. He lands on the floor and slashes at Vader as +the room continues to fill up with steam. + 118. + + + Vader retreats before Luke's skillful sword. Vader blocks + the sword, but looses his balance and falls into the outer + rim of pipes. The energy Luke has used to stop Vader has + brought him to the point of collapse. Luke moves to the + edge and looks down, but sees no sign of Vader. He then + deactivates his sword, hooks it on his belt, and lowers + himself into the pit. + + +224 INT. CLOUD CITY - TUNNEL AND REACTOR CONTROL ROOM 224 + + Moving through a tunnellike entrance, Luke cautiously + approaches the reactor room. He ignites his sword and moves + into the room and toward a large window as Vader enters. + + Luke raises his sword and moves forward to attack. + + Behind Luke a large piece of machinery detaches itself from + the wall and comes smashing forward toward his back. Luke + turns and cuts it in half just as another machine comes + hurtling at him. Using the Force, Luke manages to deflect + it and send it flying as if it had hit an invisible shield. + + A large pipe detaches and comes flying at Luke. He deflects + it. Sparking wires pull out of the wall and begin to whip + at the youth. Small tools and equipment come flying at him. + Bombardment from all sides, Luke does his best to deflect + everything, but soon he is bloodied and bruised. Finally, + one machine glances off his and goes flying out the large + window. A fierce wind blows into the room, unmoving, stands + the dark, rocklike figure of Vader. + + A piece of machinery hits Luke and he is knocked out of the + window. + + +225 INT. GANTRY - OUTSIDE CONTROL ROOM - REACTOR SHAFT 225 + + Luke falls onto the gantry, rolls, and hangs over the edge, + holding his deactivated sword in hand. He puts the sword on + his belt and begins to scramble up. + + +226 INT. CLOUD CITY - CORRIDOR LEADING TO LANDING PLATFORM 226 + + Leia, Lando, Chewie and the droids come round a corner and + head for the door to the landing platform. They glimpse the + Millennium Falcon for a moment before the door slams shut. + The group ducks into an alcove as stormtroopers arrive at + the end of the corridor. The troopers send a rain of laser + bolts at the group. Chewie returns their fire as Lando + punches desperately at the door's control panel. + 119. + + + LANDO + The security codes has been + changed! + + THREEPIO + Artoo, you can tell the computer to + override the security system. + + Threepio points to a computer socket on the control panel. + Artoo beeps and scoots toward it. Lando meanwhile has + connected up to the panel's intercom. + + LANDO + Attention! This is Lando + Calrissian. The Empire has takes + control of the city. I advise + everyone to leave before more + Imperial troops arrive. + + Artoo takes off a computer cover and sticks his computer + arm into the socket. Suddenly, a short beep turns into a + wild scream. Artoo's circuits light up, his head spins + wildly, and smoke begins to seep out underneath him. + Quickly, Chewie pulls him away. + + LANDO (CONT’D) + This way. + + Lando, Leia, Artoo, and Chewie flee down the corridor. As + he scoots along with them, Artoo sends some angry beeps + Threepio's way. + + THREEPIO + Don't blame me. I'm an interpreter. + I'm not supposed to know a power + socket from a computer terminal. + + +227 INT. CLOUD CITY - CORRIDOR 227 + + In a panic, Cloud City residents are trying to get out of + the city. Some carry boxes, others packages. They run, then + change direction. Some are shooting at stormtroopers, + others simply try to hide. + + Other stormtroopers pursue Lando, Leia, and Chewie who are + firing back at them. Artoo works on another door to the + landing platform while Threepio berates him for his seeming + ineptitude. + + THREEPIO + 120. + + + What are you talking about? We're + not interested in the hyperdrive on + the Millennium Falcon. It's fixed! + Just open the door, you stupid + lump. + + Chewie, Leia, and Lando retreat along the corridor. A + triumphant beep from Artoo - and the door snaps open. + + THREEPIO (CONT’D) + (to Artoo) + I never doubted you for a second. + Wonderful! + + Artoo lays a cloud fog, obscuring everything, as the group + dashes outside. + + +228 EXT. LANDING PLATFORM - CLOUD CITY - DUSK 228 + + They race for the Millennium Falcon as a battalion of + stormtroopers reaches the main door. Lando and Leia hold + off the troops as the droids get on board with Chewie. As + Chewie bounds to the ship the Threepio on his back, + Threepio hits his head on the top of the ramp. + + THREEPIO + Ouch! Oh! Ah! That hurt. Bend down, + you thoughtless... Ow! + + Chewie starts up the ship. The giant engines begin to whine + as Lando and Leia race up the ramp under a hail of laser + fire. + + LANDO + Leia! Go! + + +229 INT. MILLENNIUM FALCON - CORRIDOR 229 + + Artoo drags the partially assembled Threepio down the + corridor of the Falcon. + + THREEPIO + I thought that hairy beast would be + the end of me. Of course, I've + looked better. + + Artoo beeps understandingly. + + +230 INT. MILLENNIUM FALCON - COCKPIT 230 + 121. + + + Chewie works the controls as Leia sits in Han's seat and + Lando watches over their shoulders. As Chewie pulls back on + the throttle, the ship begins to move. + + +231 EXT. CLOUD CITY - LANDING PLATFORM - DUSK 231 + + The Millennium Falcon lifts gracefully into the twilight + sky and roars away from the city. Troops fire after it and + TIE fighters take off in pursuit. + + +232 INT. GANTRY - OUTSIDE CONTROL ROOM - REACTOR SHAFT 232 + + Luke moves along the railing and up to the control room. + + Vader lunges at him and Luke immediately raises his lit + sword to meet Vader's. Sparks fly as they duel, Vader + gradually forcing Luke backward toward the gantry. + + VADER + You are beaten. It is useless to + resist. Don't let yourself be + destroyed as Obi-Wan did. + + Luke answers by rolling sideways and thrusting his sword at + Vader so viciously that he nicks Vader on the shoulder. The + black armor sparks and smokes and Vader seems to be hurt, + but immediately recovers. + + Luke backs off along the narrow end of the gantry as Vader + comes at him, slashing at the young Jedi with his sword. + Luke makes a quick move around the instrument complex + attached to the end of the gantry. Vader's sword comes + slashing down, cutting the complex loose; it begins to + fall, then is caught by the rising wind and blown upward. + + Luke glances at the instrument complex floating away. At + that instant, Vader's sword comes down across Luke's right + forearm, cutting off his hand and sending his sword flying. + In great pain, Luke squeezes his forearm under his left + armpit and moves back along the gantry to its extreme end. + Vader follows. The wind subsides. Luke holds on. There is + nowhere else to go. + + VADER (CONT’D) + 122. + + + There is no escape. Don't make me + destroy you. You do not yet realize + your importance. You have only + begun to discover your power. Join + me and I will complete your + training. With our combined + strength, we can end this + destructive conflict and bring + order to the galaxy. + + LUKE + I'll never join you! + + VADER + If you only knew the power of the + dark side. Obi-Wan never told you + what happened to your father. + + LUKE + He told me enough! It was you who + killed him. + + VADER + No. I am your father. + +Shocked, Luke looks at Vader in utter disbelief. + + LUKE + No. No. That's not true! That's + impossible! + + VADER + Search your feelings. You know it + to be true. + + LUKE + No! No! No! + + VADER + Luke. You can destroy the Emperor. + He has foreseen this. It is your + destiny. Join me, and together we + can rule the galaxy as father and + son. Come with me. It is the only + way. + +Vader puts away his sword and holds his hand out to Luke. + 123. + + + A calm comes over Luke, and he makes a decision. In the + next instant he steps off the gantry platform into space. + The Dark Lord looks over the platform and sees Luke falling + far below. The wind begins to blow at Vader's cape and the + torrent finally forces him back, away from the edge. The + wind soon fades and the wounded Jedi begins to drop fast, + unable to grab onto anything to break his fall. + + +233 INT. REACTOR SHAFT 233 + + Suddenly Luke is sucked into an exhaust pipe in the side of + the shaft. When Vader sees this, he turns and hurries off + the platform. + + +234 INT. EXHAUST PIPE 234 + + Luke tumbles through the exhaust pipe. + + He slides to the end of the slickly polished pipe and stops + as his feet hit a circular grill and knock it open. Luke + claws at the surface of the pipe, trying to keep from + sliding out into space. + + +235 EXT. BOTTOM OF CLOUD CITY - WEATHER VANE - DUSK 235 + + Unable to hang onto the pipe, Luke tumbles out, emerging at + the undermost part of Cloud City. Reaching out desperately, + he manages to grab onto on electronic weather vane. + + LUKE + Ben... Ben, please! + + Luke tries to pull himself up on the weather vane but slips + back down. He hooks one of his legs around the fragile + instruments. All the while, a powerful current of air + rushes out at him from the exhaust pipe. + + LUKE (CONT’D) + Ben. Leia! + + There is an ominous cracking sound from the base of the + weather vane and a piece breaks off, falling into the + clouds far below. + + LUKE (CONT’D) + Hear me! Leia! + + +236 INT. MILLENNIUM FALCON - COCKPIT 236 + 124. + + + Leia seems to be lost in a fog, her expression troubled. + Chewie is busy operating the ship. Lando stands next to the + Wookiee, watching a readout on the control panel. + + LEIA + Luke... We've got to go back. + + Chewie growls in surprise. + + LANDO + What? + + LEIA + I know where Luke is. + + LANDO + But what about those fighter? + + Chewie barks in agreement with Lando. + + LEIA + Chewie, just do it. + + LANDO + But what about Vader? + + Chewie turns on Lando, the newcomer, with an ominous growl. + + LANDO (CONT’D) + All right, all right, all right. + + +237 EXT. CLOUD CITY - MILLENNIUM FALCON - DUSK 237 + + The Falcon makes a graceful banking turn back toward Cloud + City. + + +238 EXT. CLOUD CITY - LANDING PLATFORM 238 + + Vader enters the landing platform and watches as the speck + that is the Falcon disappears. The wind blows at his cape. + + He turns to two aides who are standing near the entrance to + the landing platform. + + VADER + Bring my shuttle. + + +239 EXT. BOTTOM OF CLOUD CITY - WEATHER VANE 239 + 125. + + + Nearly unconscious, Luke hangs upside-down on the weather + vane as his body shifts in the wind. + + +240 EXT. MILLENNIUM FALCON - BOTTOM OF CLOUD CITY 240 + + The Falcon dives to the underside of the floating city. + Three TIE fighter close in on the starship. + + +241 INT. MILLENNIUM FALCON 241 + + Leia tries to remain calm. + + LANDO + (pointing out the cockpit + window) + Look, someone's up there. + + LEIA + It's Luke. Chewie, slow down. Slow + down and we'll get under him. + Lando, open the top hatch. + + Lando rushes out of the cockpit. + + +242 EXT. BOTTOM OF CLOUD CITY - WEATHER VANE 242 + + Luke hangs by one arm from the crossbar of the weather + vane. He slips from the bar and grabs onto the pole of the + vane as the Falcon banks toward him. The Falcon positions + itself under Luke as Lando moves up through the opening of + the hatch. Luke begins to slide and finally falls from the + vane into space. + + +243 INT. MILLENNIUM FALCON - COCKPIT 243 + + Out the cockpit window, Leia sees Luke falling from the + bottom of the city. The ship gains on him. + + LEIA + Okay. Easy, Chewie. + + The Falcon closes in on Luke. + + +244 EXT. BOTTOM OF CLOUD CITY 244 + + Three TIE fighters race toward the Falcon, firing away. + 126. + + +245 INT. MILLENNIUM FALCON - HATCH 245 + + The hatch pops open with a hiss of pressure. Lando reaches + out to help the battered warrior inside the ship. + + +246 INT. MILLENNIUM FALCON - COCKPIT 246 + + Flak bursts all around it as the Falcon banks away from the + city. Leia and Chewie struggle with the controls. + + LEIA + (into intercom) + Lando? + + LANDO + (over intercom) + Okay, let's go. + + +247 EXT. BOTTOM OF CLOUD CITY 247 + + The Falcon races away. It is closely followed by three TIE + fighters, all of which keep up a heavy laser assault on the + fleeing starship. + + +248 INT. MILLENNIUM FALCON - COCKPIT 248 + + Explosions erupt all around the cockpit, buffeting the ship + wildly. Chewie howls as he frantically tries to control the + ship. + + Leia and Chewie turns to see Luke, bloody and battered, + enter the cockpit supported by Lando. Leia jumps up and + hugs him while Chewie barks in joyous relief. + + LUKE + Oh, Leia. + + LANDO + All right, Chewie. Let's go. + + Leia helps Luke from the cockpit as another huge blast + rocks the ship. + + +249 EXT. SPACE - CLOUD CITY - DAY 249 + + The Falcon, still followed by the three TIE fighters, races + away from the cloud-covered city. + 127. + + +250 INT. MILLENNIUM FALCON - SLEEPING QUARTERS 250 + + Luke rests on a cot, his injured arm wrapped in a + protective cuff. Leia gently wipes his face. The ship + lurches again. + + LEIA + I'll be back. + + She kisses him, then leaves the quarters. + + +251 INT. MILLENNIUM FALCON - COCKPIT 251 + + All over the ship muted alarm buzzers sound. Lando + anxiously watches the flashing lights on the control panel + and hurriedly adjusts some switches. Seated next to him, + Chewie points out a new blip appearing on the panel. Leia, + watching over their shoulders, recognizes the shape. + + LEIA + Star Destroyer. + + LANDO + All right, Chewie. Ready for light- + speed. + + LEIA + If your people fixed the + hyperdrive. + + Another explosion rocks the ship. Leia notices as a green + light on the panel next to her flashes on. + + LEIA (CONT’D) + All the coordinates are set. It's + now or never. + + Chewie barks in agreement. + + LANDO + Punch it! + + The Wookiee shrugs and pulls back on the light-speed + throttle. The sound of the ion engine changes...it is + winding up. Faces are tense, expectant. But nothing + happens, and the engine goes off. Chewie lets out a + frustrated howl. The flak still violently rocks the ship. + + LANDO (CONT’D) + They told me they fixed it. I + trusted them to fix it. It's not my + fault! + 128. + + + Chewie gets up from his chair and starts out of the + cockpit. He gives Lando and angry shove as he storms past + him. + + +252 EXT. SPACE 252 + + In the distance the TIE fighters continue their chase, + still shooting lasers. Vader's Star Destroyer moves behind + them, determinedly following the Falcon. + + +253 INT. VADER'S STAR DESTROYER - BRIDGE 253 + + Vader stands on the bridge looking out the window as + Admiral Piett approaches him. + + PIETT + They'll be in range of our tractor + beam in moments, my lord. + + VADER + Did your men deactivate the + hyperdrive on the Millennium + Falcon? + + PIETT + Yes, my lord. + + VADER + Good. Prepare the boarding party + and set your weapons for stun. + + PIETT + Yes, my lord. + + +254 INT. MILLENNIUM FALCON 254 + + Beeping while he works, Artoo is busy connecting some wires + to Threepio who now has one leg attached. + + Chewie enters through the doorway, grunting to himself. + + THREEPIO + Noisy brute. Why don't we just go + into light-speed? + + Artoo beeps in response. + + THREEPIO (CONT’D) + We can't? How would you know the + hyperdrive is deactivated? + 129. + + + Artoo whistles knowingly. + + THREEPIO (CONT’D) + The city's central computer told + you? Artoo-Detoo, you know better + than to trust a strange computer. + Ouch! Pay attention to what you're + doing! + + Chewie is in the pit. He is trying to loosen something with + an enormous wrench. Frustrated, he uses the wrench like a + club and hits the panel... + + +255 INT. MILLENNIUM FALCON - COCKPIT 255 + + Leia and Lando, seated in front of the control panel, are + suddenly sprayed by a shower of sparks. + + +256 INT. VADER'S STAR DESTROYER - BRIDGE 256 + + Vader stands on the bridge, watching as the Millennium + Falcon is chased by the TIE fighters. As his Destroyer + draws nearer, Vader's breathing gets slightly faster. + + VADER + Luke. + + +257 INT. MILLENNIUM FALCON - SLEEPING QUARTERS 257 + + Luke realizes that Vader's ship is very near. He feels + resigned to his fate. He senses that he is beaten, more + emotionally than physically. + + LUKE + Father. + + +258 INT. VADER'S STAR DESTROYER - BRIDGE 258 + + VADER + Son, come with me. + + +259 INT. MILLENNIUM FALCON - SLEEPING QUARTERS 259 + + LUKE + (moaning) + Ben, why didn't you tell me? + 130. + + +260 INT. MILLENNIUM FALCON - COCKPIT 260 + + Lando and Leia are at the controls of the Falcon. + Meanwhile, in the ship's hold, Chewie continues to work + frantically on the hyperdrive mechanism. + + LANDO + (into intercom) + Chewie! + + +261 EXT. SPACE 261 + + The Falcon races through space followed very closely by the + TIE fighters and the huge Imperial Star Destroyer. + + +262 INT. MILLENNIUM FALCON - COCKPIT 262 + + Luke enters the cockpit and looks out the window. He is + almost unconscious with pain and depression. + + LUKE + It's Vader. + + +263 INT. VADER'S STAR DESTROYER - BRIDGE 263 + + VADER + Luke... it is your destiny. + + +264 INT. MILLENNIUM FALCON - COCKPIT 264 + + LUKE + Ben, why didn't you tell me? + + +265 INT. VADER'S STAR DESTROYER - BRIDGE 265 + + PIETT + Alert all commands. Ready for the + tractor beam. + + +266 INT. MILLENNIUM FALCON - HOLD 266 + + Artoo races to a control panel and starts working on a + circuit board. Furious, Threepio stands on one leg, + yelling. + + THREEPIO + 131. + + + Artoo, come back at once! You + haven't finished with me yet! You + don't know how to fix the + hyperdrive. Chewbacca can do it. + I'm standing here in pieces, and + you're having delusions of + grandeur! + + Artoo moves a circuit on a control panel. Suddenly, the + control panel lights up. + + +267 INT. MILLENNIUM FALCON - COCKPIT 267 + + Leia and Lando are thrown into their seats as the + Millennium Falcon unexpectedly shoot into hyperspace. + + +268 INT. MILLENNIUM FALCON - HOLD 268 + + The ship tilts up and Artoo topples into the pit on top of + Chewie. + + THREEPIO + Oh, you did it! + + +269 EXT. SPACE 269 + + The Falcon soars into infinity and away from the huge Star + Destroyer which seems, by contrast, to stand still. + + +270 INT. VADER'S STAR DESTROYER - BRIDGE 270 + + Admiral Piett and another captain glance at Vader in + terror. Vader turns slowly and walks off the bridge, his + hands held behind his back in a contemplative gesture. + + +271 EXT. SPACE - REBEL CRUISER 271 + + The Millennium Falcon is attached to a huge Rebel cruiser + by a docking tube. Rebel fighters move about the giant + cruiser, and a Rebel transport ship hovers near the fleet. + + +272 INT. MILLENNIUM FALCON - COCKPIT 272 + + Lando sits in the pilot's seat as he talks into the + comlink. Chewie busily throws a variety of switches in + preparation for takeoff. + 132. + + + LANDO + (into comlink) + Luke, we're ready for takeoff. + + LUKE + (over comlink) + Good luck, Lando + + LANDO + (into comlink) + When we find Jabba the Hut and that + bounty hunter, we'll contact you. + + +273 INT. STAR CRUISER - MEDICAL CENTER 273 + + Luke speaking into the comlink as a medical droid works on + his hand. Leia stands near him while Threepio and Artoo + look out the window. + + LUKE + (into comlink) + I'll meet you at the rendezvous + point on Tatooine. + + +274 INT. MILLENNIUM FALCON - COCKPIT 274 + + LANDO + (into comlink) + Princess, we'll find Han. I + promise. + + +275 INT. STAR CRUISER - MEDICAL CENTER 275 + + LUKE + (into comlink) + Chewie, I'll be waiting for your + signal. + + Chewie's wail comes over the comlink. + + LUKE (CONT’D) + (into comlink) + Take care, you two. May the Force + be with you. + + Luke looks down at his hand. A metalized type of bandage + has been wrapped around his wrist. The medical droid makes + some adjustments in a tiny electronic unit, then pricks + each one of Luke's fingers. + 133. + + + LUKE (CONT’D) + Ow! + + Luke wriggles his fingers, makes a fist, and relaxes it. + His hand is completely functional. + + He gets up and walks over to Leia. There is a new bond + between them, a new understanding. Leia is thinking about + Han; Luke is thinking about his uncertain and newly + complicated future. Together they stand at the large window + of the medical center looking out on the Rebel Star Cruiser + and a dense, luminous galaxy swirling in space. + + Luke puts his arm around Leia. The droids stand next to + them, and Threepio moves closer to Artoo putting his arm on + him. The group watches as the Millennium Falcon moves into + view, makes a turn, and zooms away into space. + + +276 EXT. SPACE - REBEL STAR CRUISER 276 + + While Luke, Leia, and the droids stand, looking out the + window of the star cruiser, two escort fighters join the + large ship. Slowly, the cruiser turns and moves away into + space. + + DISSOLVE TO + + +277 EXT. GALAXY - SPACE 277 + + 278 END CREDITS FADE IN AND OUT OVER BACKGROUND 278 + + 279 THE END 279 + \ No newline at end of file diff --git a/scripts/Star Wars The Force Awakens.txt b/scripts/Star Wars The Force Awakens.txt new file mode 100644 index 0000000000000000000000000000000000000000..ea57019d885533edd8f587256f51fa9ca8a74ccc --- /dev/null +++ b/scripts/Star Wars The Force Awakens.txt @@ -0,0 +1,7000 @@ + 1. + + + + FADE IN: + + ON BLACK OF SPACE: + + A long time ago in a galaxy far, far away... + + STAR WARS + EPISODE VII THE FORCE AWAKENS + Luke Skywalker has vanished. In his + absence, the sinister FIRST ORDER + has risen from the ashes of the + Empire and will not rest until + Skywalker, the last Jedi, has been + destroyed. With the support of the + REPUBLIC, General Leia Organa leads + a brave RESISTANCE. She is + desperate to find her brother Luke + and gain his help in restoring + peace and justice to the galaxy. + Leia has sent her most daring pilot + on a secret mission to Jakku, where + an old ally has discovered a clue + to Luke's whereabouts.... + + PAN across the star field to a bright moon. A RUMBLING is + FELT. A VAST STAR DESTROYER unlike any we have seen HURTLES + PAST US, of seemingly endless length, eclipsing the moon. + + After a long beat, FOUR TRANSPORT SHIPS fly from a hangar. + We HOLD ON THEM NOW, as they fly off toward a distant + planet. + + Jakku. MUSIC BUILDS AND WE-- + + CUT TO BLACK. + + A GROWING ROAR of MEAN ENGINES, gnarled RADIO CALLS, the + SHUDDERING of a ship's hull. + + Then FLASHES OF LIGHT: for an instant we see a STORMTROOPER + then BLACKNESS. + + Then ANOTHER STORMTROOPER, then it's gone. + + The FLICKERING CONTINUES until the LIGHTS ARE CONSTANT. + + We are in: + + +1 INT. TROOP TRANSPORT VEHICLE - NIGHT 1 + 2. + + + TWENTY STORMTROOPERS. Holding on at attention, moving to + the ship's rhythm, in the tense moments before a raid. A + FILTERED COMMAND and they LOCK AND LOAD their heavy blaster + rifles. + + The BRUTAL NOISE is replaced by SUDDEN, SHOCKING QUIET: + + +2 EXT. JAKKU VILLAGE - NIGHT 2 + + WIDE SHOT of a small, peaceful village. Distant sounds of + native animals. A single wind chime. Suddenly a DROID RISES + INTO FRAME, CLOSE: ROUND and SKITTERY, orange and white, + this is BB-8. + + Focuses on something past camera. He BEEPS, FAST, MORSE + CODE-LIKE SOUNDS, clearly worried. Moves EVEN CLOSER TO + CAMERA -- + + is MORE worried, BEEPS more, then TURNS AND ROLLS OFF FAST. + + +3 INT. LARGE HUT - NIGHT 3 + + CLOSE ON A HAND: a small LEATHER SACK is placed in the + palm. + + The hand closes. Another OLDER HAND covers it. In a + primitive HUT, an old explorer, LOR SAN TEKKA, (rugged, + kind) has handed the mysterious sack to POE DAMERON (32, in + a pilot's jacket). Poe has charisma, a natural spark: + + LOR SAN TEKKA + This will begin to make things + right. I've traveled too far, and + seen too much, to ignore the + despair in the galaxy. Without the + Jedi, there can be no balance in + the Force. + + POE + Well, because of you now we have a + chance. The General's been after + this for a long time. + + LOR SAN TEKKA + "The General." To me, she's + royalty. Well, she certainly is + that. + + BB-8 ENTERS FRANTIC, BEEPS. Concerned, Poe turns to Lor San + Tekka. + 3. + + + POE + We've got company. + + +4 EXT. LARGE HUT - NIGHT 4 + + The men exit fast. Poe moves TO CAMERA, raises + QUADNOCULARS. + + POE'S POV: LIGHTS on the horizon approaching ENEMY SHIPS. + POE lowers the quadnocs, PUSH IN ON HIS UNNERVED EYES. A + GROWING, FRIGHTENING THUNDER. + + POE + You have to hide. + + LOR SAN TEKKA + You have to leave. Go! + + Poe turns to him. Conflicted. Finally nods, hurries off. + BB-8 follows. + + +5 EXT. JAKKU VILLAGE - NIGHT 5 + + TRACK FAST with Poe as he and BB-8 hurry through the + village, various ARMED VILLAGERS taking position, prepared + to defend. + + +6 EXT. JAKKU VILLAGE - NIGHT 6 + + A ROAR of WIND and DUST: the TRANSPORTS LAND. Stormtroopers + come out FIRING BLASTERS, the VILLAGERS FIRE BACK, many are + HIT! + + +7 EXT. RISE ADJACENT TO VILLAGE - NIGHT 7 + + Poe runs to an X-WING fighter, parked at a distance from + the village, hidden behind a ROCK OUTCROPPING. + + POE + Come on, BB-8! Hurry! + + Poe sends BB-8 into the droid socket / co-pilot seat, he + moves to the cockpit, the CONTROLS COME TO LIFE. + + As the CANOPY CLOSES, Poe shoots a quick look back: the + ENEMY ARRIVES IN THE DISTANCE. Poe urgently works the + controls, BB-8 BEEPS. The X-WING LANDING LIGHTS COME ON, + ENGINES WHINE TO LIFE! + 4. + + + But just then: Poe's ship is suddenly HIT BY BLASTERFIRE! + + Poe turns to look: two STORMTROOPERS CHARGE HIS WAY, + FIRING! + + POE + I see 'em! + + BB-8 BEEPS nervously as Poe GRABS HIS CONTROLS and FIRES AT + THEM, using the X-wing's drop-down antipersonnel blaster! + The two Troopers are BLOWN AWAY in the large BLAST HITS! + + Poe tries to start the ship now, but the ENGINES SPUTTER. + + Concerned, he opens his canopy, jumps down, moves to the + back of his ship: BAD DAMAGE ON THE REAR ENGINE PANEL. + They're in trouble. + + +8 EXT. JAKKU VILLAGE - NIGHT 8 + + Lor San Tekka moves sadly through the village as + STORMTROOPERS wielding FLAMETHROWERS destroy structures. + + Surrendering Villagers are ROUNDED UP. Penned ANIMALS + panic. + + +9 EXT. RISE ADJACENT TO THE VILLAGE - NIGHT 9 + + Back at the X-wing, Poe kneels beneath his ship, pulls from + the leather sack a SMALL, OLD ARTIFACT which he inserts + into BB-8, the droid's MULTI-READER ENVELOPS it. + + POE + You take this. It's safer with you + than it is with me. You get as far + away from here as you can. Do you + hear me? + (BB-8 BEEPS, hesitates) + I'll come back for you! It will be + alright. + + BB-8 watches Poe run off. BEEP-WHINES nervously, then turns + and heads off. Turns back once to look at Poe, then ROLLS + AWAY. Poe uses his blaster rifle to fire at incoming + troopers from cover. + + +10 EXT. JAKKU VILLAGE - NIGHT 10 + 5. + + +The Troopers and villagers in battle, as one Trooper is HIT +and goes down. Another, OUR TROOPER, KNEELS to help. The +hit trooper raises a torn, bloody glove, his HUMAN HAND +visible and MARKS OUR STORMTROOPER MASK WITH BLOOD just +before he dies. + +Our Trooper, stands overwhelmed by the battle. AN IMPOSING +SHUTTLE CRAFT, VERTICAL WINGSPAN 90 FEET TALL, LANDS NEAR +THE TRANSPORT VEHICLES. The shuttle craft door OPENS +through the wind and smoke, KYLO REN exits the ship: a +TALL, DARK FIGURE, he strides through the chaos toward San +Tekka. A senior Trooper moves to our blood-marked Trooper, +and orders him: + + SENIOR TROOPER + Stay here. + +Our Trooper nods. Kylo Ren stops before the outraged Lor +San Tekka, dwarfing him. Only now does it become apparent +that Kylo Ren wears a DARK MASK, marked by battle. Inset +metal lines reflect FIRE. + + KYLO REN + Look how old you've become. + + LOR SAN TEKKA + Something far worse has happened to + you. + +Our blood-marked TROOPER is placed in line with other +stormtroopers. + + KYLO REN + You know what I've come for. + + LOR SAN TEKKA + I know where you come from. Before + you called yourself Kylo Ren. + + KYLO REN + The map to Skywalker. We know + you've found it, and now you're + going to give it to the First + Order. + +Adjacent to the village, Poe enters frame, sees the Ren/San +Tekka exchange continue. + + LOR SAN TEKKA + The First Order rose from the dark + side-- you did not. + + KYLO REN + 6. + + + I'll show you the dark side. + + LOR SAN TEKKA + You may try, but you cannot deny + the truth that is your family. + +Suddenly Kylo Ren raises his LIGHTSABER, IGNITES IT, +PERPENDICULAR SMALLER BLADES AT THE HILT, A UNIQUE BUZZ, +YELLOW/RED ENERGY, SPITTING SPARKS AND SMOKE. + + KYLO REN + You're so right. + +And as he RIPS IT DOWN ACROSS SAN TEKKA! + +Poe, RUNNING, SEES THIS AND YELLS, AIMS HIS BLASTER AND +FIRES AT KYLO REN! + +Instantly: Kylo Ren RAISES HIS HAND, POE'S BLAST FREEZES, +THE BOLT OF ENERGY STRAINING AND VIBRATING IN MID AIR! Kylo +Ren sees Poe, who suddenly CANNOT MOVE, but strains to. He +is grabbed by Stormtroopers who drag him past the +VIBRATING, FROZEN BLAST, to Kylo Ren. A Stormtrooper begins +a brutal PAT DOWN. Kylo Ren moves closer. Poe just glares. +The Stormtrooper KICKS OUT Poe's legs, he lands hard on his +knees. Kylo Ren kneels to look at Poe. + + POE + So who talks first? You talk first? + + KYLO REN + The old man gave it to you. + + POE + (indicates Kylo's mask) + It's just very hard to understand + you with all the-- + + KYLO REN + (to troopers) + Search him. + + POE + --Apparatus. + +The Troopers roughly pull Poe away. A Stormtrooper begins a +brutal PAT DOWN. Kylo Ren moves closer. Poe just glares as +the pat down ends. + + STORMTROOPER #1 + Nothing, sir. + KYLO REN + Put him on board. + 7. + + + Kylo Ren regards the Stormtroopers with the rounded up + Villagers, then turns to the CHROME-SKINNED, FEMALE BLACK- + CAPED HEAD STORMTROOPER, CAPTAIN PHASMA. + + CAPTAIN PHASMA + Sir, the villagers. + KYLO REN + Kill them all. + + Phasma nods, steps forward: + + CAPTAIN PHASMA + On my command! + + The Troopers, including OURS, aim at the Villagers. + + CAPTAIN PHASMA + Fire! + + Poe is roughly PULLED into a transport ship, the ramp + LIFTS. + + All around our Trooper BLASTER FIRE ERUPTS, but we're WIDE + ENOUGH to see he ISN'T FIRING. PUSH IN until the FIRING + STOPS. + + All the Stormtroopers SPREAD OUT TO SEARCH, except ours. + Kylo Ren heads back toward his ship. But then he STOPS. + Feels something. TURNS AND LOOKS AT OUR STORMTROOPER for a + LONG MOMENT. + + Our Trooper can barely meet his gaze; knows he's doomed. + Kylo Ren then heads off, passes the FROZEN BLAST, which, + after a beat, GOES FREE AND SLAMS INTO A NEARBY STRUCTURE, + scaring the hell out of our Stormtrooper. + + +11 EXT. EDGE OF JAKKU VILLAGE - NIGHT 11 + + A Stormtrooper climbs down from the cockpit of Poe's X- + wing, backs away: + + STORMTROOPER #2 + Nothing here. Go ahead! + + Three other Stormtroopers FIRE LASER CANNONS at the X-wing, + destroying the ship in a LARGE EXPLOSION. + + +12 EXT. OUTSKIRTS OF JAKKU VILLAGE - NIGHT 12 + + BB-8 rolls across the sand, looks back: the X-wing + FIREBALL. + 8. + + + BB-8, afraid, continues on his own in a mysterious, dark + desert. We see a FORM, an animal, its RED EYES LIFTING from + the sand, watching the rolling droid, who just keeps going. + + In a WIDE SHOT, we HEAR HIM BEEPING to himself, lonely and + frightened. + + +13 EXT. SPACE - NIGHT 13 + + With the SANDY PLANET OF JAKKU as backdrop, Troop + Transports and Kylo Ren's Shuttle approach a massive STAR + DESTROYER. + + +14 INT. STAR DESTROYER HANGAR - NIGHT 14 + + Poe, shackled, is ushered from the transport through the + hangar. He is awed by the imposing space. + + POE + All right. All right! + + Our Stormtrooper passes, moves fast: + + +15 INT. TROOP TRANSPORT VEHICLE - NIGHT 15 + + Our Stormtrooper enters the dark, vehicle. He removes his + helmet. His head comes up and we PUSH IN ON HIS FACE FOR + THE FIRST TIME. This is FN-2187. He is 23, likable. But in + this moment, terrified, desperate. After a beat, behind + him, CAPTAIN PHASMA enters. FN-2187 knows he's in trouble. + + CAPTAIN PHASMA + FN-2187. Submit your blaster for + inspection. + FN-2187 + Yes, Captain. + CAPTAIN PHASMA + And who gave you permission to + remove that helmet? + FN-2187 + I'm sorry, Captain. + CAPTAIN PHASMA + Report to my division at once. + + Phasma heads off. Shattered, FN-2187 replaces his helmet. + + CUT TO: + + +16 INT. JUNKED VESSEL CORRIDOR - DAY 16 + 9. + + + A metal sheet is pulled open to reveal the wrapped up face + of A SCAVENGER, perhaps alien, in GOGGLES, FACE MASK and + GLOVES. + + Backpack with a STAFF strapped to it. Uses TOOLS to remove + various MECHANISMS from inside the wall. + + We are in an upside-down, canted CORRIDOR. The Scavenger + finds a valuable piece, drops it in a SATCHEL. Swings the + bag back and begins CLIMBING DOWN on a cable, between + treacherous WALLS OF MACHINERY, headed to: + + +17 INT. JUNKED VESSEL - LARGER SPACE - LATER 17 + + Alone and tiny in this massive, sideways wreck, the + Scavenger descends, climbing down a two-hundred foot-long + cable. LANDS HARD onto rusty metal. + + +18 INT. JUNKED VESSEL - ENGINES - DAY 18 + + The Scavenger carries the satchel and another large, found + piece, over enormous pipes in the vast space, heads through + the dust toward a distant SLIT OF SUNLIGHT. + + +19 EXT. JUNKED VESSEL ENGINE - DAY 19 + + The Scavenger arrives from the darkness and pulls off + goggles and gear, revealing the grimy face of a beautiful, + young WOMAN. This is REY, 19. She opens her canteen, shakes + out the two final drops into her mouth. HITS THE SIDE of + the canteen again and again for whatever she can get. + + CUT WIDE: Rey is rendered minuscule, standing at the bottom + of an EPIC ENGINE OF A DECAYING, CRASHED STAR DESTROYER -- + + DISTANT SOUND of her canteen-hitting. She sets her things + on a piece of sheet metal and sits next to it, sliding down + the sand dune. + + She RIDES DOWN THE MOUNTAIN OF SAND. WE HOLD FOR A LONG + TIME, looking down, as she recedes from us, toward the + distant SALT FLATS below. Random SCATTERED DEBRIS. Her + SPEEDER, tiny from here. Rey moves to her junker SPEEDER, + jumps on, fires the sputtery engine and DRIVES OFF. + + +20 EXT. DESERT - SPACESHIP GRAVEYARD - DAY 20 + + Rey races along the desert floor: a GRAVEYARD OF CRASHED + SPACESHIPS. + 10. + + +21 EXT. NIIMA OUTPOST - DAY 21 + + Rey's speeder PASSES us, heading for a dusty, desert town. + + Refueling, small trade, scavengers. + + CRASH! Rey's sack carrying her heavy FOUND OBJECTS hits the + sand. Working like a tough seaman, Rey hauls the sack from + her speeder toward the town. + + +22 EXT. NIIMA OUTPOST - CLEANING TABLE - DAY 22 + + TIGHT ON REY'S HANDS as she SCRUBS CLEAN her day's salvage. + + Rey glances up: she looks at an old woman, also cleaning + some salvage. Rey watches her, gets lost in the simple + moment. A small, passing alien UNDERLING barks something to + her in another language. She returns to work. + + +23 INT. NIIMA TRADING STRUCTURE - DAY 23 + + Rey looks up to a SERVICE WINDOW: two feet above her, + behind a protective screen, is her boss, UNKAR PLUTT (50, + blobfish, unclean). He examines her pieces. Then he offers: + + UNKAR + What you've brought me today is + worth-- Hmmm-- One quarter portion. + + Though disappointed, Rey barely shows it. She nods thanks. + + Unkar pushes through his transfer drawer a SEALED PACKET: + DRIED GREEN MEAT in one section, BEIGE POWDER in another. + She takes it. She swallows her resentment and heads off. + + +24 EXT. NIIMA OUTPOST - DAY 24 + + The IMMENSE SETTING SUN against the FLAT TERRAIN. Rey's + SPEEDER races, almost insignificant, across frame. + + +25 INT. REY'S DWELLING - DAY 25 + + She SCRATCHES MARKS into the rusty wall. Another MARK; + another DAY. And there are THOUSANDS of marks. A SIZZLING + SOUND over: A DRIED DESERT FLOWER in a rusty ENGINE PIECE. + A rough, stuffed HANDMADE DOLL, made from what looks like + orange Rebellion flight suit material and twine. Rey's + lonely, ramshackle dwelling. Everything reclaimed. + 11. + + + She cooks for one. Does everything for one. She opens the + POWDER, moves to the makeshift WOK, where the GREEN MEAT + SIZZLES. Pours the powder into milky WATER in a tin. Stirs + it. It GROWS INTO A LOAF as she puts the meat on an old + plate. Grabs the loaf. + + +26 EXT. REY'S DWELLING - DUSK 26 + + Rey sits, eats like a starving child. Every last drop. + Licks the metal plate. Looks out at the horizon. A single + silent ship heads off, a shimmering, thin contrail. She + wipes her mouth. Picks up an old, broken REBELLION HELMET. + + Puts it on, just 'cause. WIDE SHOT of Rey sitting, alone + and isolated, on the leg of an ANCIENT, FALLEN AT-AT in + which she + + lives. Then, a distant ELECTRONIC SQUEAL -- instantly she's + up, helmet too big, she rips it off. Hears ANOTHER BEEPING + SQUEAL. She hurries to her QUARTERSTAFF and runs off. + + Rey climbs a dune. RISE WITH HER, revealing BB-8, caught in + a NET but fighting back, being held by a TEEDO (a small, + brutish desert tyrant), who rides a LUGGABEAST. The teedo + YELLS at BB-8, who BEEPS madly, struggling to free himself. + + Rey watches this injustice for a beat, finally YELLING OUT: + + REY + Tal'ama parqual! + + The Teedo and BB-8 STOP, GO SILENT, turn to her. + + REY + Parqual zatana! + + A half beat and the Teedo YELLS SOMETHING BACK, + threatening. + + BB-8's head swivels to him, then back to Rey, like watching + a tennis match. Rey angrily moves to them, pulling a knife + from her pouch. + + Rey starts CUTTING BB-8 out of the netting. The Teedo + freaks out, YELLING. Rey suddenly stands, turns to the + Teedo and says, fiercely: + + REY + NOMA. + 12. + + + The Teedo barks a sort of "AHHHHH!" (As if to say, "GO TO + HELL!"), Then heads off on his beast. This prompts BB-8 to + start BEEP-YELLING at the departing bully, provocatively. + + REY + Shhhh. + + BB-8 quiets instantly. The two watch the Teedo head off. + + Finally, BB-8 BEEPS a question. She KNEELS to him. + + REY + That's just Teedo. Wants you for + parts. He has no respect for + anyone. Your antenna's bent. + (considers BB-8 for) + the first time, straightens the + antenna) Where do you come from? + (BB-8 BEEPS) + Classified. Really? Me too. Big + secret. + (points to horizon) + Niima Outpost is that way, stay off + Kelvin Ridge. Keep away from the + Sinking Fields in the north, you'll + drown in the sand. + (stands, heads off) + + BB-8 starts after her, BEEPS. She turns sharply, he stops. + + REY + Don't follow me. Town is that way. + (he BEEPS again) + No! + + She heads off again. Finally he BEEPS to her, something + SWEET this time. That he is alone, scared, has no one else. + This makes her stop. She turns and looks at him. Not liking + him. + + But a gesture of her head says, reluctantly, "Come on." BB- + 8 quickly moves to her. They head off together. + + REY + In the morning, you go. + (he BEEPS) + You're welcome. + + The two disappear behind a dune. + + +27 EXT. STAR DESTROYER - DAY 27 + 13. + + + Three TIE fighters head to the massive ship high above + Jakku. + + +28 INT. STAR DESTROYER HOLDING CELL - DAY 28 + + POE, shackled to a chair, BEATEN, wakes up. + + KYLO REN + I had no idea we had the best pilot + in the Resistance on board. + Comfortable? + + Through battered lips: + + POE + Not really. + + KYLO REN + I'm impressed. No one has been able + to get out of you what you did with + the map. + + POE + Might wanna rethink your technique. + + Kylo Ren says nothing, reaches out to him. Poe flinches in + the chair as Kylo Ren reaches for his face, not touching + him. + + Poe is soon in agony, remains in horrible silence -- + + KYLO REN + Where is it? + + POE + The Resistance will not be + intimidated by you. + + KYLO REN + Where-- is it? + + Poe can't take it -- he BEGINS TO SCREAM and we + + CUT TO: + + +29 INT. STAR DESTROYER CORRIDOR - DAY 29 + + WHOOOSH! The cell door SLIDES UP. Kylo Ren exits, fierce, + confronts GENERAL HUX (34, scary) who awaits him: + 14. + + + KYLO REN + It's in a droid. A BB unit. + + GENERAL HUX + Well then. If it's on Jakku, we'll + soon have it. + + KYLO REN + I leave that to you. + + +30 EXT. NIIMA OUTPOST - DAY 30 + + BB-8 is dropped to the sand. + + REY + Don't give up. He still might show + up. Whoever it is you're waiting + for. Classified. I know all about + waiting. + + BB-8 BEEP TALKS a question. + + REY + For my family. They'll be back. One + day. Come on. + + She tries to force a smile, but can't, really. She heads + off. + + BB-8 BEEPS-- then heads after her. + + +31 INT. NIIMA TRADING STRUCTURE - DAY 31 + + Rey stands with BB-8 in front of Unkar Plutt, at his + window. + + He reviews her goods. He glances quickly at BB-8. + + UNKAR + These five pieces are worth-- Let + me see here-- One half portion. + + REY + (objects) + Last week they were a half portion + each. + + She hates him. He leans forward. + + UNKAR + What about the droid? + 15. + + + REY + What about him? + + UNKAR + I'll pay for him. + + BB-8 doesn't like this at all. Rey is awkward, but curious. + + UNKAR + Sixty portions. + + CLOSE ON HER. Stunned. Literally hungry for this amount of + food, her stomach practically rumbles. BB-8 sees her + interest and BEEPS furiously, not liking this conversation + at all. She looks at Unkar. Looks down at BB-8. Considers + it all. + + Finally, she hears herself say: + + REY + Actually-- the droid's not for + sale. + (to BB-8) + Come on. + + Unkar furious. Rey, then BB-8, head out. Recovering, Unkar + watches her go with dark eyes. He picks up a communicator: + + UNKAR + Follow the girl and get that droid. + + He SLAMS the service window door SHUT. + + +32 INT. STAR DESTROYER HOLDING CELL - DAY 32 + + The cell door WHOOSHES OPEN, a STORMTROOPER enters. Poe + remains shackled, worse for wear. A TROOPER GUARD here. + + STORMTROOPER + Ren wants the prisoner. + + TIGHT ON POE, in pain, drained, as the Guard unshackles + him. + + +33 INT. STAR DESTROYER CORRIDOR - DAY 33 + + An exhausted, handcuffed Poe is walked down the corridor by + the Stormtrooper, who holds a blaster at Poe's body. + + STORMTROOPER + Turn here. + 16. + + + Poe turns into a narrow passageway -- + + +34 INT. STAR DESTROYER NARROW PASSAGEWAY - DAY 34 + + Heading down the narrow hall the Stormtrooper stops Poe. + + STORMTROOPER + Listen carefully: you do exactly as + I say, I can get you out of here. + + POE + (coming to) + If -- what--? + + The Stormtrooper pulls off his helmet: IT IS FN-2187. + + FN-2187 + This is a rescue, I'm helping you + escape. Can you fly a TIE fighter? + + POE + You with the Resistance--?! + + FN-2187 + What? + (that's crazy) + No no no! I'm breaking you out. Can + you fly a TIE fighter? + + POE + I can fly anything. Why, why are + you helping me? + + FN-2187 + Because it's the right thing to do. + + POE + (it hits him) + You need a pilot. + + FN-2187 + I need a pilot. + + And Poe, seeing this is for real, smiles a hero's smile. + + POE + We're gonna do this. + + FN-2187 + (unsure but hopeful) + -- Yeah? + 17. + + +35 INT. STAR DESTROYER HANGAR - DAY 35 + + WIDE SHOT ESTABLISHING the hangar. Find FN-2187, again + masked, walking with Poe. By all appearances he's escorting + a prisoner. A group of OFFICERS passes in the opposite + direction. + + FN-2187 + Okay, stay calm, stay calm. + + POE + I am calm. + + FN-2187 + I'm talking to myself. + (beat) + Not yet. Okay, go. This way. + + FN-2187 walks quickly toward the far wall, Poe follows, up + the stairs to a two-man SPECIAL FORCES TIE FIGHTER. + + +36 INT. TIE FIGHTER - DAY 36 + + FN-2187 and Poe (wincing, sore) drop into the back-to-back + cockpit. FN-2187 pulls off his helmet as Poe removes his + cuffs and jacket, fires up the ship with excitement. + + POE + I always wanted to fly one of these + things. Can ya shoot? + + FN-2187 + Blasters, I can! + + POE + Okay, same principal! Use the + toggle on the left to switch + between missiles, cannons, and mag + pulse, use the site on the right to + aim, triggers to fire! + + FN-2187 + This is very complicated + + FWOOOOOOM! The TIE FIGHTER LURCHES FORWARD -- + + POE + I can fix this. + + +37 INT. HANGAR SIX CONTROL ROOM - DAY 37 + 18. + + + WIDE: see the ship STRUGGLE TO RISE, CABLES connected to it + - - PULL BACK FAST to REVEAL we're inside the main control + room. + + STAR DESTROYER TECHNICIAN + We have an unsanctioned departure + from bay two. + + WHIP TO a FIRST ORDER COLONEL, who responds: + + FIRST ORDER COLONEL + Alert General Hux and stop that + fighter. + + +38 INT. STAR DESTROYER HANGAR - DAY 38 + + The TIE Fighter LIFTS OFF from the bay, rips CHARGING + cables! + + Stormtroopers UNPACK and aim MEGABLASTERS. + + +39 INT. TIE FIGHTER - DAY 39 + + FN-2187 opens fire. + + +40 INT. STAR DESTROYER HANGAR - DAY 40 + + FN-2187 TEARS UP PARKED TIE FIGHTERS and GUN EMPLACEMENTS + WITH WELL-AIMED, STRATEGIC LASER BLASTS! Hits the CONTROL + ROOM! + + +41 INT. HANGAR SIX CONTROL ROOM - DAY 41 + + THE WINDOWS ARE BLOWN IN BY LASER BLASTS! + + +42 INT. TIE FIGHTER COCKPIT - DAY 42 + + POE + I got it! + + +43 EXT. STAR DESTROYER - DAY 43 + + The TIE Fighter blasts from the ship -- + + +44 INT. TIE FIGHTER - DAY 44 + 19. + + + Poe pilots -- amazed, almost enjoying it. + + POE + Woooahhh! This thing really moves. + All right, we gotta take out as + many cannons as we can or we're not + gonna get very far! + + FN-2187 + All right! + + POE + I'm gonna get us in position, just + stay sharp! + + +45 EXT. STAR DESTROYER - DAY 45 + + The TIE Fighter ARCS BACK, DIVES THROUGH THE OPENING + BETWEEN THE LEVELS OF THE MASSIVE SHIP, then FLIES DOWN AND + BACK, along the ship's belly -- + + +46 INT. TIE FIGHTER - DAY 46 + + Poe flies toward the CANONS -- + + POE + Up ahead! Up ahead! You see it? + I've got us dead centered. It's a + clean shot. + + FN-2187 + Okay, got it. + + FN-2187 gets a target, FIRES! + + +47 EXT. STAR DESTROYER - DAY 47 + + LASERS BLAST from the TIE Fighter, A SERIES OF CANNONS + EXPLODE! Our TIE Fighter SLICES THROUGH the debris! + + +48 INT. TIE FIGHTER - DAY 48 + + FN-2187 YELLS in celebration: + + FN-2187 + YES! You see that?! DID YOU SEE + THAT? + + POE + 20. + + + I saw it! Hey, what's your name? + + FN-2187 + FN-2187! + + Poe reacts, this tells him volumes about FN-2187's history. + + POE + FN-whaa? + + FN-2187 + That's the only name they ever gave + me! + + POE + Well I ain't using it! FN, huh? + Finn. I'm gonna call you Finn! That + all right? + + Even in the madness, Finn can't suppress his smile. + + FINN + "Finn." Yeah, "Finn", I like that! + I like that! + + POE + I'm Poe. Poe Dameron. + + FINN + Good to meet you, Poe! + + POE + Good to meet you too, Finn! + + +49 INT. STAR DESTROYER MAIN BRIDGE - DAY 49 + + General Hux looks over the shoulder of LIEUTENANT MITAKA, + at a console. + + LIEUTENANT MITAKA + Sir, they've taken out our + turbolasers-- + + GENERAL HUX + Use the ventral cannons. + + LIEUTENANT MITAKA + Yes, sir. Bringing them online -- + + KYLO REN (O.S.) + General Hux. Is it the Resistance + pilot? + 21. + + + Hux turns: Kylo Ren enters fast, looms large, angry. + + GENERAL HUX + Yes, and he had help. + (vexed) + From one of our own. + + PUSH IN ON REN as Hux says: + + GENERAL HUX + We're checking the registers now to + identify which Stormtrooper it was. + + KYLO REN + -- The one from the village. FN- + 2187. + + Hux is unnerved that Ren knows, he chalks it up to Ren's + Force ability. Kylo Ren heads off. + + LIEUTENANT MITAKA + Sir. Ventral cannons hot. + + GENERAL HUX + Fire. + + +50 EXT. STAR DESTROYER - DAY 50 + + Massive WARHEAD LAUNCHERS SPIN and FIRE BLASTS toward the + TIE fighter, which flies EVASIVE MANEUVERS, most blasts hit + the DEBRIS from the TURBOLASER DESTRUCTION. + + The TIE fighter then PULLS A BIG TURN, BACK TOWARD JAKKU, + THE SANDY PLANET WHERE POE LEFT BB-8. + + +51 INT. TIE FIGHTER - DAY 51 + + POE + One's coming towards you. My right, + your left. Do you see it? + + FINN + Hold on! I see it! + + POE + Nice shot. + + Finn looks up suddenly in alarm -- + + FINN + Where are you going? + 22. + + + POE + We're going back to Jakku. That's + where. + + FINN + No no no! We can't go back to + Jakku! We need to get outta this + system! + + NEAR-MISS LASER BLASTS as Poe pilots aggressively. + + POE + I got to get to my droid before the + First Order does! + + FINN + What - a droid?! + + POE + That's right. He's a BB unit! range + and white: one of a kind. + + FINN + I don't care what color he is! No + droid can be that important! + + POE + This one is, pal. + + FINN + We need to get as far away from the + First Order as we can! We go back + to Jakku, we die! + + POE + That droid`s got a map that leads + straight to Luke Skywalker! + + FINN + Oh, you gotta be kidding me!!! I-- + + Suddenly BAM! THEY ARE HIT! + + +52 EXT. TIE FIGHTER - DAY 52 + + The TIE FIGHTER SPARKS AND SMOKES, SPIRALING out of control + toward the surface of Jakku! + + +53 INT. STAR DESTROYER MAIN BRIDGE - DAY 53 + 23. + + + Captain Phasma and General Hux stand before a holographic + projection detailing FN-2187's service records. + + CAPTAIN PHASMA + FN-2187 reported to my division, + was evaluated and sent to + Reconditioning. + + GENERAL HUX + No prior signs of non-conformity? + + CAPTAIN PHASMA + This was his first offense. + + A technician checks her readings, reports to General Hux. + + TECHNICIAN #1 + General. They've been hit. + + GENERAL HUX + Destroyed? + + TECHNICIAN #1 + (getting readings) + Disabled. They were headed back to + Jakku -- the fighter's projected to + crash in the Goazon badlands. + + GENERAL HUX + They were going back for the droid + - - send a squad to the wreckage. + + +54 EXT. JAKKU DESERT - DAY 54 + + TIGHT ON FINN'S FACE: His EYES OPEN. He goes from + unconscious to terrified, fast. He sits up, looks around. + + CUT BACK WIDE: he sits in the middle of an EPIC DESERT, + DUNES FOREVER. A BLACK CHUTE blows in the wind behind him, + scattered debris. Then he sees, over distant dunes, RISING + BLACK SMOKE. He gets up, moves toward it, calling out: + + FINN + Poe! Poe! + + Finn scrambles over the massive dune to the TIE FIGHTER, + SMOKING AND ON FIRE, small debris around it. He thinks he + sees POE'S ARM, he pulls on it, but it's JUST POE'S JACKET. + + He throws that off and tries to find a way in, even a way + to LOOK INSIDE, but the smoke and heat make it impossible. + 24. + + + FINN + Poe!!! POE! + + Suddenly the ship BEGINS TO SINK, like it's being CONSUMED + INTO QUICKSAND, Finn is slipping in too. + + FINN + POE!!! POE!!! + + It becomes clear fast: if Finn doesn't get away, he's gonna + get sucked in too! So Finn scampers away from the TIE + FIGHTER as it SINKS INTO THE SAND! We're in the Sinking + Fields. A few moments and IT'S GONE. Finn's out of breath. + Horrified. + + Then A GIANT EXPLOSION ERUPTS FROM below, SENDING SAND AND + DEBRIS EVERYWHERE! Finn sees this, disoriented, scared, + exhausted and defeated. And all alone. + + +55 EXT. DESERT - DAY 55 + + ENDLESS DUNES BEHIND HIM, Finn walks, removing pieces of + his Stormtrooper gear, using Poe's FLIGHT JACKET for shade. + + +56 EXT. DESERT - DAY 56 + + Exhausted, Finn continues his trek across the endless, + sandy nothingness. + + +57 EXT. DESERT - DAY 57 + + Finn, parched and losing hope, he walks to the edge of a + massive dune, looks out into the epic valley below. Miles + ahead: NIIMA OUTPOST. + + +58 INT. STAR DESTROYER - BRIDGE - DAY 58 + + General Hux and Kylo Ren walk the length of the bridge. + + GENERAL HUX + Supreme Leader Snoke was explicit. + Capture the droid if we can, but + destroy it if we must. + + KYLO REN + How capable are your soldiers, + General? + + GENERAL HUX + 25. + + + (with vitriol) + I won't have you question my + methods. + + KYLO REN + They're obviously skilled at + committing high treason. Perhaps + Leader Snoke should consider using + a clone army. + + GENERAL HUX + (you son-of-a-bitch) + My men are exceptionally trained -- + programmed from birth-- + + KYLO REN + Then they should have no problem + retrieving the droid. Unharmed. + + GENERAL HUX + Careful, Ren. That your "personal + interests" not interfere with + orders from Leader Snoke. + + KYLO REN + I want that map. For your sake, I + suggest you get it. + + Ren heads off. Hux hates him. + + +59 EXT. NIIMA OUTPOST - DAY 59 + + Sun-scorched and exhausted, Finn stumbles out of the desert + into the Outpost. In a heatstroke daze he moves past + enormous old SHIP PARTS, MERCHANTS, SCAVENGERS and TENTED + STALLS. + + FINN + Water-- water-- water-- + + He sees a WATER TROUGH where a filthy, slobbering hippo- + like creature (a HAPPABORE) DRINKS. Finn moves to it, uses + his hands to desperately DRINK the filthy water. After a + couple swallows he SPITS IT OUT, disgusted. + + FINN + -- Awgh, GAH! + + But he's parched and immediately RETURNS FOR MORE. ACROSS + THE MARKETPLACE, REY kneels with an emphatically BEEPING + BB-8. + 26. + + +Just then, TWO of UNKAR'S THUGS approach and stop her. One +clearly tells her that they're taking the droid. BB-8 +reacts nervously as Rey resists them, one pulls a SACK over +BB-8 while the other grabs Rey's arm, in the tussle, Rey +KNOCKS OVER METAL URNS for sale, Finn, still drinking, is +PUSHED OVER by the happabore. + +He falls to the ground, then turns to look when he HEARS +CRASHING. He sees, through the tents, REY FIGHTING. He +moves + +UP CLOSER to help this young woman being accosted, but he +STOPS when Rey begins to FIGHT BACK, scrappy and feral, she +KICKS, BITES and HITS. + +Finn is taken aback as she DEFEATS the attackers, who hit +the sand, hard. Finn just watches, stunned. Rey moves to +the COVERED BB-8, PULLS THE SACK OFF OF HIM. Finn cannot +believe his eyes. IT'S POE'S DROID! Rey talks to BB-8, who, +nervous now, looks around and-- SEES FINN! BB-8 STARTS +BEEPING like crazy. Then something insane happens: REY +LOOKS AT FINN. + + REY + (To BB-8) + Who? Him? + +Finn is confused. Rey stands, staring at Finn, defiant. +Finn can feel trouble coming and Rey begins CHARGING AT +HIM, quarterstaff in hand. Realizing he's the target, Finn +begins to RUN away from her, through the tent marketplace. +Rey goes after him, he turns a corner, then another, then +BAM! + +She's got ahead of him and SLAMS HIM TO THE GROUND WITH HER +STAFF! Finn is on his back, out of breath and freaked out. + +She holds the staff on him threateningly: + + REY + What's your hurry, thief? + + FINN + What--?! Thief? + +BB-8 ROLLS UP FAST, MOVES TO FINN, a WELDING ARM TELESCOPES +FROM HIS BODY AND SHOCKS FINN! + + FINN + OW! HEY! What?! + + REY + 27. + + + The jacket! This droid says you + stole it! + + FINN + I've had a pretty messed up day, + alright?! So I'd appreciate it you + stop accusing me -- OW!!! + (BB-8 has ZAPPED him + again) + STOP IT! + + REY + Where'd you get it? It belongs to + his master. + +Finn looks at her, then the agitated droid, Finn's mind +racing. He puts it all together. Frustrated, but sighs +heavily, needing to respond somehow. So he makes a hard +decision: to tell the truth. + + FINN + It belonged to Poe Dameron. That + was his name, right? + +Rey and BB-8 react, surprised and wanting more. + + FINN + He was captured-- by the First + Order! I helped him escape but our + ship crashed. + (reliving it) + Poe didn't make it. + (sees BB-8 is sad, rolls + off) + Look, I tried to help him. I'm + sorry-- + +BB-8 heads off to the side, depressed. Rey watches BB-8, +then considers Finn again. Says, a bit impressed: + + REY + So you're with the Resistance? + +Finn's mind races again. He makes an easy decision: to lie. + + FINN + Obviously. Yes. I am. I'm with the + Resistance, yeah. + (whispers) + I'm with the Resistance. + +Rey lowers her staff, Finn stands. Rey studies him: + 28. + + + REY + I've never met a Resistance fighter + before. + + FINN + Well, this is what we look like. + Some of us. Others look different. + + REY + BB-8 says he's on a secret mission, + he has to get back to your base. + + FINN + Apparently he's carrying a map that + leads to Luke Skywalker, and + everyone's after it. + + She turns to him, concerned, curious. And asks: + + REY + Luke Skywalker? I thought he was a + myth. + + Just then BB-8 BEEPS MADLY at something he sees. + + REY + What is it? + + Rey moves to him, peeks around a tent corner. Now Finn + moves to see: at a distance, TWO STORMTROOPERS TALKING TO + UNKAR'S THUGS, who POINT THEIR WAY! Finn urgently grabs her + hand and heads for the tents: + + REY + (re: her hand) + What are you doing?! + + FINN + Come on! + + Suddenly LASER BLASTS RIP PAST THEM, HIT THE CLEANING UNIT, + SPEWING STEAM! Rey SCREAMS, MORE BLASTS as they run! + + +60 EXT. NIIMA OUTPOST - DAY 60 + + Finn and Rey holding hands, the three race, ZIGZAGGING + through a maze of tents: + + FINN + Come on, BB-8! + + REY + 29. + + + Let go of me! + + FINN + No, we gotta move! + + REY + (pulls her hand back) + I know how to run without you + holding my hand! BB-8 stay close! + This way! + + Now Finn and BB-8 follow Rey, ANOTHER BLAST just missing + them! They disappear through a tent. TRACK FAST WITH + STORMTROOPERS, through the tent maze. They come out of a + tent, HAVING MOMENTARILY LOST THEIR TARGET. + + STORMTROOPER + Call in the air strike! + + REY, FINN AND BB-8 duck into another tent: + + +61 INT. NIIMA OUTPOST - TENT - DAY 61 + + Rey, Finn and BB-8 move through RUSTY WARES and take cover. + + Quiet, urgent: + + REY + They're shooting at both of us! + + FINN + Yeah, they saw you with me! You're + marked! + + REY + Well, thanks for that! + + FINN + I'm not the one who chased you down + with a stick! Does anyone have + blasters around here?! + + REY + (to BB-8) + Are you okay? + + Finn QUIETS HER WITH A GESTURE, HEARING SOMETHING. PUSH IN + ON FINN, whatever he hears alarms him greatly, he GRABS HER + HAND AGAIN, PULLS HER AWAY. + + REY + Stop taking my hand! + 30. + + +62 EXT. NIIMA OUTPOST - TENT - DAY 62 + + Finn pulls Rey from the tent, BB-8 FOLLOWS. + + As they race from the tent a TIE FIGHTER SCREAMS INTO VIEW + FROM BEHIND THE TENTS! A SECOND FOLLOWS CLOSE BEHIND. IT + FIRES AT THEM, A MASSIVE BLAST SENDS REY AND FINN FLYING, + BB-8 ROLLING! + + WIDE SHOT: TWO TIE FIGHTERS SCREAM OVER the town, the + EXPLOSION throws sand and debris fifty feet into the air. + Rey is thrown HARD to the ground, she is rattled, truly + afraid. + + Then she turns: FINN lies nearby, unconscious. Suddenly + afraid, she scrambles to him, rolls him over. BB-8 ROLLS + OVER, BEEPING in concern. + + REY + Hey! + + As Finn comes to, he sees her. Through his fog: + + FINN + -- Are you okay? + + And that very question touches her, having never in her + life been asked it. + + REY + Yeah. + (extends her hand) + Follow me. + + Grateful, Finn takes it. They're off. LOCALS run amok as + TIE fighters DIVE BOMB. REY, Finn and BB-8 SPRINT, BLASTER + EXPLOSIONS GET CLOSER AND CLOSER! + + +63 EXT. NIIMA OUTPOST - SPACEPORT - DAY 63 + + Rey, STAFF strapped to her back, leads the way as she, Finn + and BB-8 race into the spaceport. Finn glances back: TWO + TIE FIGHTERS BANK their return. They YELL: + + FINN + We can't outrun them! + + Rey POINTS to a parked, four-engine SHIP ahead: + + REY + We might in that quad-jumper! + 31. + + + FINN + We need a pilot! + + REY + We've got one! + + FINN + You?! + (then, indicates one OFF- + CAMERA) + What about that ship? + + REY + That one's garbage! + + They run for the JUMPER but the passing TIE FIGHTERS FIRE + AT IT, BLOWING IT APART IN A HUGE FLAME BALL! Rey, coming + to a quick stop, RIGHT UP TO CAMERA: + + REY + The garbage'll do! + + She turns and runs back, Finn and BB-8 follow as they all + run toward the piece of junk and we see it for the first + time: THE MILLENNIUM FALCON! + + TIE fighters BANK AROUND AGAIN. Finn, Rey and BB-8 run up + the ramp of the semi-tarped Falcon. + + +64 INT. MILLENNIUM FALCON - DAY 64 + + Finn, Rey and BB-8 enter the ship, she hits a control and + the door DESCENDS CLOSED as she races to the cockpit: + + REY + Gunner position's down there! + + FINN + (climbs down) + Y'ever fly this thing? + + +65 INT. MILLENNIUM FALCON - COCKPIT - DAY 65 + + Rey tosses her staff aside, jumps into the pilot's seat, + frantically flips switches. BB-8 rolls in behind her as the + ENGINES WHINE to life: + + REY + No! This ship hasn't been flown in + years! + 32. + + +66 INT. MILLENNIUM FALCON - GUNNER POSITION - DAY 66 + + Finn buckles into the gunner seat, to his shock the SEAT + WHIPS TO THE LEFT, startling him, he grabs the controls to + steady himself. + + FINN + Great. + (reacts to seat) + Whoa! I can do this, I can do this- + - + + +67 INT. MILLENNIUM FALCON - COCKPIT - DAY 67 + + Rey bucks herself up. Doesn't believe her quick words: + + REY + I can do this, I can do this-- + + Rey pulls the yoke: THE FALCON ENGINES LIGHT UP BRIGHT! + + +68 EXT. NIIMA OUTPOST - SPACEPORT - DAY 68 + + The FALCON RISES, WILDLY, ITS TARPS FLY OFF, THE SHIP SPINS + AND TILTS, SLAMS INTO AND CRUMBLES THE TOWN'S ARCHWAY! From + the tents, Unkar Plutt runs out, SCREAMS: + + UNKAR + HEY!!!! THAT'S MIIIIIIINE!!! + + The Falcon BLASTS AWAY, two TIE FIGHTERS chase it, fast! + + +69 INT. MILLENNIUM FALCON - DAY 69 + + Rey pilots, headed for the sky! Finn SWINGS into frame, + trying to work the GUNS. + + FINN + Whoa! Hey! Oh! Stay low! Stay low! + + REY + WHAT? + + FINN + Stay low! It confuses their + tracking! + + For a crazy instant Rey LETS GO OF THE YOKE, stretches to + the co-pilot controls, THE FALCON CANTS! + 33. + + + REY + BB-8, hold on! + + Rey finally REACHES the switches, returns to the yoke, + stabilizing the ship, afraid of this next move. + + REY + I'M GOING LOW!!! + + +70 EXT. DESERT - DAY 70 + + BEHIND THE FALCON as it DRAMATICALLY BANKS AT AN UPWARD + ARC, UPSIDE-DOWN, then SWOOPS PERILOUSLY LOW across the + sand. Two TIE FIGHTERS SCREAM past us! + + +71 INT. MILLENNIUM FALCON - DAY 71 + + In the cylindrical corridor, BB-8 ROLLS TO THE CEILING! Rey + looks back for a flash as the TIE Fighters pass. + + They are ROCKED BY A BLAST! + + REY + What are you doing back there? Are + you ever gonna fire back?! + + Finn flicks switches. The GUN TARGETING LIGHTS UP: + + FINN + I'm working on it! Are the shields + up? + + Rey strains, reaching for something in the co-pilot seat. + + REY + Not so easy without a co-pilot! + + Finn struggles with the gun controls and SWEEPING CHAIR: + + FINN + Try sitting in this thing! + + Finn finally FIRES BACK at the two TIE FIGHTERS! + + +72 EXT. DESERT - DAY 72 + + Finn's shots MISS. The TIE FIGHTERS ARC BACK IN PURSUIT and + SCREAM PAST US toward the Falcon! Both TIES FIRING! + 34. + + +73 INT. TIE FIGHTER COCKPIT - DAY 73 + + The BLACK-SUITED PILOT FIRES at the Falcon. + + +74 INT. MILLENNIUM FALCON - GUNNER POSITION - DAY 74 + + The Falcon is ROCKED by another BLAST! + + FINN + We need cover, quick! + + +75 INT. MILLENNIUM FALCON - COCKPIT - DAY 75 + + Rey HITS SWITCHES, pilots the best she can: + + REY + We're about to get some! + (to herself) + I hope. + + +76 EXT. DESERT - DAY 76 + + The Falcon speeds through a ROCK FORMATION, GRAZING THE + ROCK, TAKING OUT A CHUNK the two TIE Fighters in pursuit, + FIRING! + + The Falcon BANKS SO HARD, the edge of the ship RIPS A LINE + IN THE SAND as it turns, REVEALING THE SHIP GRAVEYARD + AHEAD. + + +77 INT. MILLENNIUM FALCON - DAY 77 + + BB-8 EXTENDS MAGNETIC CABLES to brace himself in a + corridor. + + Finn continues to fire at the TIE fighters, narrowly + missing them. + + FINN + Damn it! + + Rey maneuvers the ship deeper into the graveyard. + + +78 INT. MILLENNIUM FALCON - GUNNER POSITION - DAY 78 + + Finn SWOOPS into frame, FIRES -- + 35. + + + FINN + Come on-- come on-- + + -- HITS AND SHATTERS the TIE FIGHTER! + + REY + Nice shot! + + FINN + I'm getting pretty good at this! + + +79 EXT. DESERT - SPACESHIP GRAVEYARD - DAY 79 + + The TIE FIGHTER CRASHES amid the DEBRIS, THREE SCAVENGERS + instantly there to consume the new bounty. + + The Falcon, pursued by the ONE REMAINING TIE FIGHTER, + slaloms through the MASSIVE WRECKAGE, GRAZING THE OLD SHIPS + as she goes, pieces flying. The TIE FIGHTER FIRES, HITTING + THE FALCON'S LOWER TURRET, SPINNING IT, JAMMING IT INTO + FORWARD POSITION! + + +80 INT. MILLENNIUM FALCON - GUNNER POSITION - DAY 80 + + ALARMS BLARE -- + + FINN + The cannon's stuck in forward + position, I can't move it! You + gotta lose 'em! + + +81 INT. MILLENNIUM FALCON - COCKPIT - DAY 81 + + The ship is HIT AGAIN, afraid, Rey's mind races as she + scans the area and gets an idea. + + REY + Get ready! + + FINN + Okay! For what? + + +82 EXT. DESERT - SPACESHIP GRAVEYARD - DAY 82 + + Rey pilots the ship up AND INTO THE REAR OF A CRASHED SUPER + STAR DESTROYER! The final TIE FIGHTER FOLLOWS! + + +83 INT. MILLENNIUM FALCON - DAY 83 + 36. + + + Finn peers out the window, realizing where they are: + + FINN + ARE WE REALLY DOING THIS?! + + +84 INT. WRECKED SUPER STAR DESTROYER - DAY 84 + + The two ships slalom debris inside the giant ship, the + Falcon GRAZING ONE SIDE, THEN THE OTHER, SPITTING SPARKS! + + +85 INT. MILLENNIUM FALCON - DAY 85 + + Rey, scared, girds herself as she quickly runs out of space + in the wreck. + + REY + Oh no! + + Just as the TIE PILOT GETS A LOCK, Rey YANKS THE YOKE -- + + +86 EXT. DESERT - SPACESHIP GRAVEYARD - DAY 86 + + The Falcon makes a HARD RIGHT TURN out of the Destroyer. + Rey then CUTS POWER AND FLIPS THE SHIP SO BACK FACES FRONT! + FINN CAN NOW SEE THE PURSUING TIE FIGHTER! He FIRES, + DESTROYING IT! REY GUNS THE ENGINES again, FLIPS THE FALCON + and FLIES AWAY as the TIE FIGHTER CRASHES! + + FINN + Whooo! + + The Falcon ROARS OFF, victorious, leaving the ship + graveyard and disappearing into the clouds. + + +87 EXT. SPACE - DAY 87 + + The Falcon ROARS from Jakku off to space. + + +88 INT. MILLENNIUM FALCON - COCKPIT - DAY 88 + + Rey excitedly unbuckles her seatbelt and hurries back. + + +89 INT. MILLENNIUM FALCON - CORRIDOR - DAY 89 + + Rey races past BB-8, who is RETRACTING his safety + restraints. + 37. + + +Finn, adrenalized, climbs from the turret, meets Rey in the +corridor, the LOUNGE in the b.g.. + + FINN + Now that was some Good shooting! + + REY + Thanks! I-- flying! + + FINN + How did you? + + REY + I don't know! -- I've do that?! + +They're just staring at each other now, seeing something +odd and weird and wonderful, two people totally +inexperienced in joy and camaraderie. Bb-8 BEEPS something +urgent, she turns to the droid, kneels. + + REY + You're ok. He's with the + Resistance. He's going to get you + home. We both will. + (to Finn) + I don't know your name. + + FINN + Finn. What's yours. + + REY + I'm Rey. + +BB-8 looks at him: really? Finn is reminded: HE'S LIED TO +HER. She looks at Finn with a sweet smile. + + FINN + Rey-- + +But before Finn can say anything they JUMP: across the +lounge, STEAM BURSTS from under the grating. + + REY + Help me with this! Quick! + +They hurry to the grating, PULL IT UP together. BB-8 rolls +over, watches. + + FINN + Whoa! What's going on? + +She goes below as BB-8 BEEPS concern. + 38. + + +90 EXT. SPACE - DAY 90 + + The First Order Star Destroyer above Jakku. + + +91 INT. STAR DESTROYER BRIDGE - DAY 91 + + Lieutenant Mitaka moves to Ren, who looks out across the + star field. Mitaka swallows, uneasy with his task. + + LIEUTENANT MITAKA + Sir. We were unable to acquire the + droid on Jakku. + + Ren turns to look at him, he says nothing. + + LIEUTENANT MITAKA + It escaped capture aboard a stolen + Corellian YT model freighter. + + KYLO REN + The droid-- stole a freighter? + + LIEUTENANT MITAKA + Not exactly, sir. It had help. + + Ren says nothing. Which says everything. Mitaka sweats. + + LIEUTENANT MITAKA + We have no confirmation, but we + believe FN-2187 may have been + helped in the escape-- + + Ren IGNITES HIS LIGHTSABER, TURNS AND SLASHES AT THE + CONSOLE BEHIND HIM! HOLD ON Mitaka, who reacts, looks away + winces. + + The horrible SOUNDS of Ren's rage continues. Finally Mitaka + looks up. The metallic wall behind Ren is RIPPED with + glowing scars. + + KYLO REN + Anything else? + + Mitaka hates to say the following, but: + + LIEUTENANT MITAKA + The two were accompanied by a girl. + + Ren reaches out, Mitaka is suddenly, violently PULLED + TOWARD REN, into his black glove: + 39. + + + KYLO REN + What girl? + + +92 INT. MILLENNIUM FALCON - LOUNGE AREA - DAY 92 + + Rey's head POPS up from under the grating, surrounded by + STEAM. An EMERGENCY ALARM BLARES. + + REY + It's the motivator! Grab me a + Harris wrench -- check in there! + + As he checks a storage box, she disappears down below, + overwhelmed by the technical issues -- + + FINN + How bad is it?! + + REY + If we wanna live, not good! + + BB-8 watches as Finn searches A SELECTION OF TOOLS: + + FINN + They're hunting for us now, we + gotta get outta this system! + + Rey re-emerges, Finn hands her the wrench. + + REY + BB-8 said the location of the + Resistance Base is "need to know" - + - if I'm taking you there, I need + to know! + + FINN + (Throws a tool) + This? + + She catches it and goes under again, leaving Finn and BB-8 + alone. He contemplates telling her the truth. This is his + moment. But instead he knees to BB-8, says quietly, + urgently: + + FINN + You gotta tell us where the base + is. + (BB-8 BEEPS) + I don't speak that. Alright, + between us, I'm not with the + Resistance, okay? + (BB-8 backs up) + 40. + + + -- I'm just trying to get away from + the First Order -- but you tell us + where your base is, I'll get there + first -- deal?! + (BB-8 COCKS his head) + Droid, please. + +Rey pops up again: + + REY + Pilex driver, hurry! + +Finn moves for the tool. + + REY + So where's your base? + + FINN + (searching, to BB-8) + Go on BB-8, tell her. + (quietly) + Please! + +She and Finn look to BB-8, who considers the whole +situation, then BEEPS. + + REY + The Ileenium system? + +Finn hands her the tool, surprised but thrilled, Rey +disappears below again. + + FINN + Yeah, the Ileenium system, that's + the one -- get us there as fast as + you can. + +A smiling Finn gives BB-8 a THUMBS UP. BB-8 quickly extends +his WELDING TORCH and TURNS IT UPWARD, then retracts it. + + REY + I'll drop you two at Ponemah + Terminal. I need the bonding tape, + hurry! + + FINN + (searching for tape) + What about you? + + REY + I gotta get back to Jakku! + + FINN + 41. + + + (loses his mind) + BACK TO JAK--?! Why does everyone + always wanna go back to Jakku?! ! + + REY + No, that one! No. No. The one I'm + pointing to! No. NO. NO. If we + don't patch it up, the propulsion + tank will overflow and flood the + ship with poisonous gas! + + Bb-8 has moved to Finn, TIPS HIS HEAD, shows him the tool. + He throws her the tape, she disappears below: + + FINN + This? + + REY + Yes! + + FINN + Hey. Rey. You're a pilot, you can + fly anywhere! Why go back?! You got + a family? You got a boyfriend? Cute + boyfriend? + + The STEAM and ALARM STOP as Rey pops up, annoyed: + + REY + None of your business, THAT'S WHY! + + But then: ALL THE SHIP POWER GOES OUT. BB-8 is nervous. + + FINN + -- That can't be good. + + REY + (heads off) + -- No it can't be -- + + FINN FOLLOWS REY TO: + + +93 INT. MILLENNIUM FALCON - COCKPIT - DAY 93 + + They plop into the seats, in a panic. She checks the dead + instrumentation panel: + + REY + Someone's locked onto us -- all + controls are overridden. + + Finn quickly, awkwardly climbs up, looks out. + 42. + + + REY + Get off. Get off! See anything? + + FINN + -- Oh no. + + +94 EXT. SPACE - DAY 94 + + The Millennium Falcon, powerless, is a sitting duck. + + SOMETHING EPIC appears from ABOVE: THE ANTENNA ARRAY IS THE + FIRST WE SEE OF A MASSIVE FREIGHTER, ITS GIANT HANGAR OPEN + LIKE A HUGE MOUTH WHICH SWALLOWS THE FALCON LIKE A WHALE! + + +95 INT. MILLENNIUM FALCON - COCKPIT - DAY 95 + + Finn PLOPS into his seat, horrified. + + FINN + It's the First Order. + + REY + What do we do-- there must be + something -- + + Finn's mind races -- then: + + FINN + You said poisonous gas -- + + REY + -- Yeah, but I fixed that -- + + FINN + Can you unfix it? + + Rey stares at him and gets his plan! They head off -- + + +96 INT. MILLENNIUM FALCON - LOUNGE AREA - DAY 96 + + The GAS MASKS hanging in the lounge are GRABBED. + + Finn and Rey, gas masks on, quickly climb into the open + grating area. + + REY + C'mon BB-8. + 43. + + +They help BB-8 down, too: they both struggle like crazy, he +weighs a TON. + + FINN + I got it. + + REY + Oooh-- + + FINN + I'm okay. BB-8 get off me-- + +UNDER THE GRATING Finn pulls the grating over them as Rey +works on the controls. + + REY + You think this'll work on the + Stormtroopers? + + FINN + Yeah. Their masks filter out smoke, + not toxins. + +LIGHTS COME ON! SOUND of the SHIP RAMP LOWERING! Finn PULLS +THE GRATING CLOSED as he says: + + FINN + Hurry! + + REY + I'm hurrying! + +Suddenly the FALCON DOOR OPENS AND HAN SOLO AND CHEWBACCA +BOARD THE FALCON, weapons at the ready. PUSH IN ON THEM, +ready for combat, operating silently, with hand signals +only. + + HAN + Chewie, we're home. + +Han gives Chewie a nod to check out the ship. Chewie heads +off one way, Han in another. The grating above LIFTS OFF, +hands in surrender, they look up at Han, who's training his +blaster on them, threatening. They're SCARED. + + HAN + Where are the others? Where's the + pilot? + + REY + --I'm the pilot-- + + HAN + 44. + + + You? + +Chewie MOAN-TALKS. Rey responds to him -- + + REY + No, it's true: we're the only ones + on board. + + FINN + You can understand that thing? + + HAN + And "that thing" can understand you + too, so watch it. Come on outta + there. + +They climb up, BB-8 uses his magnetic arm to quickly pull +himself out. + + HAN + Where'd you get this ship? + + REY + Niima Outpost. + + HAN + Jakku?! That junkyard? + + FINN + Thank you! Junkyard! + + HAN + (to Chewie) + Told ya we should've double-checked + the Western Reaches! + (to Rey) + Who had it, Ducain? + + REY + I stole it from Unkar Plutt. He + stole it from the Irving Boys, who + stole it from Ducain. + + HAN + Who stole it from me! Well, you + tell him Han Solo just stole back + the Millennium Falcon for good. + +Han walks away, takes in the ship: it's his again. Doesn't +see that Rey is awed. His back to all of them, he smiles. + +Chewie responds as Han heads toward the cockpit. + 45. + + + REY + This is the Millennium Falcon? + You're Han Solo? + + HAN + I used to be. + + FINN + Han Solo? The Rebellion General? + + REY + No, the smuggler! + + FINN + (to Chewie) + Wasn't he a war hero?! + + Chewie replies: "Yeah, I guess, kinda--" Rey calls out: + + REY + This is the ship that made the + Kessel Run in fourteen parsecs--! + + +97 INT. MILLENNIUM FALCON - COCKPIT - SAME 97 + + Han enters the cockpit. + + HAN + Twelve! Fourteen. + + A moment of private joy. Then he sees something that ANNOYS + him: + + HAN + Hey! Some moof-milker put a + compressor on the ignition line! + + Han moves to the corridor. + + +98 INT. MILLENNIUM FALCON - LOUNGE AREA - DAY 98 + + REY + Unkar Plutt did. I thought it was a + mistake too, puts too much stress + on the hyperdrive-- + + HAN + (overlapping her) + -- Stress on the hyperdrive-- + (who is she?) + 46. + + + Then Chewie, throw 'em in a pod, + we'll drop them at the nearest + inhabited planet. + + REY + Wait! No -- we need your help! + + HAN + My help? + + REY + This droid has to get to the + Resistance base as soon as + possible! + + FINN + He's carrying a map to Luke + Skywalker. + + Yup: Han stops in his tracks. + + FINN + You are the Han Solo that fought + with the Rebellion. You knew him. + + The mention of Luke has really hit Han. He turns to Finn. + + HAN + Yeah, I knew him. I knew Luke. + + Suddenly: a distant, METALLIC KA-CHUNK! + + HAN + Don't tell me a Rathtar's gotten + loose-- + + Han hurries out, they all follow, (Chewie, Rey, Finn, then + BB-8), Finn with WILD CONCERN: + + FINN + Wait -- a what?! Did you just say + Rathtars? Hey! + + +99 INT. CARGO SHIP - HANGAR - DAY 99 + + The Falcon is parked in this giant freighter's hangar. Han + moves to a CONTROL PANEL, they all follow him. + + FINN + You're not hauling Rathtars on this + freighter, are you? + 47. + + + HAN + I'm hauling Rathtars. + + On the CONTROL PANEL: IMAGES ON SCREENS FROM ALL AROUND THE + SHIP. Including the EXTERIOR, where a TRANSPORT SHIP is + LANDING ON THE FREIGHTER. Han is fearful. + + HAN + Oh great. It's the Guavian Death + Gang -- they must've tracked us + from Nantoon. + + Han heads off as: + + REY + What's a Rathtar? + + +100 INT. CARGO SHIP - CARGO CONTAINER CORRIDOR - DAY 100 + + Han leads our group down a LONG NARROW HALL lined with + cargo containers. + + HAN + They're big and dangerous-- + + FINN + Y'ever heard of the Trillia + Massacre?! + + REY + No. + + FINN + Good. + + They turn a corner: + + HAN + I got three of 'em going to King + Prana. + + FINN + THREE?! How'd you get them on + board? + + HAN + I used to have a bigger crew. + + Chewie GROAN-TALKS, concurring. + + CUT TO: LOOKING UP AS A HATCH OPENS IN THE FLOOR. HAN AND + CO. ARE THERE. + 48. + + + HAN + Get below deck and stay there until + I say so -- don't even think about + taking the Falcon. + + REY + What about BB-8? + + HAN + He stays with me -- until I get rid + of the gang, then you can have him + back and be on your way. + + FINN + What about the Rathtars-- where are + you keeping them? + + A TERRIFYING BAM: a GROTESQUE RATHTAR GIANT TONGUE SLAMS + into the CARGO CONTAINER window behind Finn, whose heart + stops. + + HAN + There's one. + + REY + What are you gonna do? + + HAN + Same thing I always do: talk my way + out of it. + (Chewie MOAN-TALKS) + Yes, I do. Every time. + + +101 INT. CARGO SHIP - NARROW CORRIDOR - DAY 101 + + A PORTAL opens. The GUAVIAN DEATH GANG enters. One man in a + SUIT (BALA-TIK), and five SECURITY SOLDIERS in badass + UNIFORMS with ROUND-FACE HELMETS. They turn into and stop + at one end of the corridor. Han, Chewie and BB-8 forty feet + away in the middle of the long hall. + + BALA-TIK + Han Solo. You are a dead man. + + Han smiles innocently, friendly. BB-8 nervously looks back + and forth at the gang, and Han. + + HAN + Bala-Tik. What's the problem? + + BALA-TIK + 49. + + + The problem is we loaned you fifty + thousand for this job. + + INTERCUT WITH: + + +102 INT. CARGO SHIP - BELOW FLOOR GRATING - DAY 102 + + They look up, trying to get a view. + + REY + Can you see them? + + FINN + No. + + They start crawling down the crawl space. + + BALA-TIK + I heard you also borrowed fifty + thousand from Kanjiklub. + + HAN + You know you can't trust those + little freaks! How long've we known + each other? + + Rey and Finn arrive under the gang. They WHISPER: + + REY + They have blasters-- + + FINN + A lot of 'em. + + We RISE THROUGH THE FLOOR to see the GANG and Han and + company in the distance. + + BALA-TIK + The question is how much longer + will we know each other? Not long. + We want our money back now. + + HAN + Ya think hunting Rathtars is cheap? + I spent that money. + + BALA-TIK + Kanjiklub wants their investment + back, too. + + HAN + I never made a deal with Kanjiklub! + 50. + + + BALA-TIK + Tell that to Kanjiklub. + +The SOUND of a PORTAL OPENING. Han's face GOES WHITE as he +turns to the OTHER END OF THE CORRIDOR, where KANJIKLUB +MEMBERS APPEAR. A GANG in a MEDIEVAL BANDITO style. Han +smiles uncomfortably at the Kanjiklub members. Its LEADER, +TASU LEECH, out front. Han tries to play it off: + + HAN + Tasu Leech. Good to see you. + +Tasu speaks an alien language, we SUBTITLE: + + TASU LEECH + Wrong again, Solo. It's over for + you. + +Tasu COCKS HIS WEAPON, there for blood. BB-8 is nervous. +Finn and Rey react to the sounds of the new gang, start +CRAWLING BACK the other way to see them. + + HAN + Boys. You're both gonna get what I + promised! Have I ever not delivered + for you before? + + BALA-TIK + Yeah. + + TASU LEECH + Twice! + +Han realizes he's right. + + HAN + What was the second time? + + BALA-TIK + Your game is old. There's no one in + the galaxy left for you to swindle. + + TASU LEECH + Nowhere left for you to hide. + + BALA-TIK + That BB unit-- the First Order is + looking for one just like it. And + two fugitives. + +Finn and Rey SUDDENLY STOP CRAWLING, tense. BB-8 hides +behind Han's leg. PUSH IN ON Han as he realizes: Finn and +Rey are in real trouble. + 51. + + + HAN + First I've heard of it. + +Below the grating, Finn and Rey look at each other, afraid. + +Above, another Kanjiklubber (RAZOO QIN-FEE) says +(SUBTITLED): + + RAZOO QIN-FEE + Search the freighter. + +One of the Kanjiklubbers begins moving down the corridor, +AIMING A FLASHLIGHT DOWN BELOW, searching for: FINN AND +REY, in a QUIET PANIC BELOW: THEY START CRAWLING FAST in +the opposite direction they came. Rey crawls off fast, Finn +follows. They quickly arrive at a JUNCTION BOX AREA, Rey +looking at the controls. + + REY + Wait wait wait wait. If we close + the blast doors in that corridor, + we can trap both gangs! + + FINN + Close the blast doors from here? + + REY + Resetting the fuses should do it. + +Rey begins RESETTING the FUSES, SPARKS shooting from them +as they do. Finn quickly joins in. Rey and Finn FINISH +resetting the fuses boxes. Rey smiles optimistically. Finn +looks hopeful too. + +DOWN AN EMPTY ROW OF LARGE CONTAINERS, which OPEN, and a +GIANT RATHTAR, an ENORMOUS, FIERCE AND RAVENOUS LAND +OCTOPUS, SLITHERS OUT OF ITS CAGE! BACK UP TOP as BANKS OF +LIGHTS BEGIN GOING OFF, ONE BY ONE. The GANGS look around. +Han's eyes go wide, he gets it and it's bad. QUIETLY: + + HAN + -- I got a bad feeling about this-- + +Suddenly all the LIGHTS COME ON AGAIN, even down below, + +where Rey realizes it hasn't gone as planned. + + REY + Oh no. + + FINN + Oh no, what? + 52. + + + REY + (pale) + Wrong fuses. + + IN ANOTHER CORRIDOR, BACK WITH THE GANGS: + + BALA-TIK + Kill them! And take the droid! + + The gangs AIM THEIR WEAPONS JUST AS A RATHTAR APPEARS + BEHIND THE GUAVIAN DEATH GANG, GRABBING TWO MEMBERS! THE + OTHERS SCREAM AND RUN! The gang FIRES BACK, BLASTS FLY! Han + and Chewie react, flinching, then turn to Kanjiklub as a + RATHTAR APPEARS BEHIND THEM, ROARING DEAFENINGLY! The Gang + turns others run, FIRE AT IT. + + +103 INT. CARGO SHIP CORRIDOR A - DAY 103 + + Han, Chewie and BB-8 race down the hall, A MEMBER OF THE + KANJIKLUB GANG comes around the corner. Han PUNCHES him + with one blow, throws him toward the Rathtar. They keep + steppin-- + + +104 INT. CARGO SHIP - BELOW FLOOR GRATING - DAY 104 + + Rey and Finn hurriedly crawl through the space below decks. + + FINN + This was a mistake! + + REY + Huge! + + +105 INT. CARGO SHIP CORRIDOR A - DAY 105 + + Two Guavian Death Gang members run through the ship, + passing Tasu Leech, who sees another Kanjiklub member down + the corridor, who gets GRABBED BY A TENTACLE! + + Tasu tries to help him, but he gets PULLED UP AND AWAY! + Tasu hears a distant terror-scream of a Rathtar, and runs + the other way. Other Kanjiklub members YELL at him to avoid + that direction, they all turn a corner, a RATHTAR IS THERE + AND GRABS THE TWO OTHERS! + + Tasu FIRES at the beast and RUNS OFF and we land on a FLOOR + HATCH, which opens. Rey and Finn climb out, quickly. + + They turn a corridor -- + 53. + + + REY + What do they look like? + + Another corner and GANG MEMBERS ARE BATTLING A HORRIBLE + RATHTAR! Rey COVERS HER MOUTH. + + FINN + They look like that. + + Finn yanks her away. They race around another corner, a + RATHTAR IS THERE! + + FINN + This way! + + REY + Are you sure? + + They scream and run off, but Finn is GRABBED, PULLED AWAY + FAST! + + REY + FINN! + + But the Rathtar's fast and TURNS A CORNER, losing Rey -- + + FINN + REY! + + +106 INT. CARGO SHIP CORRIDOR E - DAY 106 + + TIGHT ON FINN as he's being yanked down the hall, SCREAMING + as he struggles to get loose! Rey turns the corner, Finn is + gone, nowhere to be seen. + + REY + FINN!!!! + + Without Finn, she is instantly distraught, then she + realizes: SHE'S JUST PASSED A CONTROL PANEL! Her eyes light + up as she moves to it: a BANK OF VIDEO MONITORS OF THE SHIP + and there's Finn, being dragged by a Rathtar toward an OPEN + BLAST DOOR. + + Rey's hand on the button, she waits then SLAMS THE BUTTON! + + +107 INT. CARGO SHIP CORRIDOR B - DAY 107 + 54. + + + The BLAST DOOR INSTANTLY CLOSES ON ONE OF THE RATHTAR'S + TENTACLES! It SCREAMS IN PAIN, ITS SEVERED TENTACLE STILL + WRAPPED AROUND FINN'S LEG! Finn scrambles up, desperately + shaking the sticky tentacle off his leg! Rey arrives, runs + to Finn, beaming to see him alive, he is adrenaline-rushed, + in shock: + + REY + Finn! + + FINN + It had me! But the door--! + + REY + That was lucky! + + ANOTHER CORRIDOR - Finn and Rey run towards the Falcon. + + +108 INT. CARGO SHIP CORRIDOR D - DAY 108 + + Han, Chewie and BB-8 take cover, Han exchanging BLASTER + FIRE with GANG MEMBERS AT THE OTHER END OF THE HALL. + + HAN + I got the door. Cover us! + + Chewie GROAN-AGREES. Chewie FIRES DOWN THE HALL as Han + CROSSES THE CORRIDOR, BB-8 following nervously. + + As Chewie exchanges blaster fire, Han works the controls. + THE HATCH OPENS (FALCON in the distance) just as CHEWIE IS + HIT IN THE SHOULDER BY ENEMY FIRE! He goes down with a LOUD + GROAN! + + HAN + Chewie! You okay? + + Han GRABS CHEWIE'S BOWCASTER, FIRES at the DOOR CONTROLS, + BADASS! + + HAN + (looks at bowcaster) + Wow. Come on! Come on! + + +109 INT. CARGO SHIP HANGAR - DAY 109 + + Run with Finn and Rey as they turn into the hangar, toward + the Falcon. Han helps WOUNDED CHEWIE up the ramp, sees + them. + + REY + 55. + + + Han! + + Finn and Rey race past BB-8 as they go up the ramp, Han + says to Rey: + + HAN + You, close the door behind us! + (to Finn) + You take care of Chewie! + + Han and Rey race up the ramp as Finn heads up with Chewie, + who SCREAMS WILDLY IN PAIN! + + +110 INT. MILLENNIUM FALCON - COCKPIT - DAY 110 + + Han stands at the navicomputer, hitting switches. Rey + enters fast, moves past him to Chewie's seat. + + HAN + Hey, where are you going? + + REY + Unkar Plutt installed a fuel pump + too, if we don't prime that we're + not going anywhere. + + HAN + I hate that guy. + + Han sits as, Rey hitting buttons: + + REY + And you could use a co-pilot. + + HAN + I got one, he's back there. + + IN THE LOUNGE, CHEWIE IS IN PAIN -- + + +111 INT. MILLENNIUM FALCON - COCKPIT - DAY 111 + + Han and Rey in the seats: + + HAN + Watch the thrust, we're goin' out + of here at lightspeed -- + + REY + (shocked) + From inside the hangar? Is that + even possible? + 56. + + + HAN + I never ask that question until + after I've done it. + + A RATHTAR JUMPS ONTO THE WINDSHIELD, REY SCREAMS! Its GIANT + MOUTH CHEWING AT THE GLASS! Han works the controls: + + HAN + This is not how I thought this day + was gonna go -- angle the shields - + - Hang on back there! + + IN THE LOUNGE, Chewie is in pain, Finn going through a + first aid kit, the ship is HIT again + + FINN + (huge problem) + No problem! + + +112 INT. CARGO SHIP - HANGAR - DAY 112 + + Three GANG MEMBERS race out here and FIRE AT THE FALCON, + hitting FUEL LINES, BLASTING THE SHIP HARD! The ship is + hit. + + +113 INT. MILLENNIUM FALCON - COCKPIT - DAY 113 + + HAN + Come on baby, don't let me down! + + He hits a switch, but NOTHING. + + HAN + What?! + + But Rey reaches over, hits a switch, matter-of-factly. + + REY + Compressor. + + Han doesn't like it but she's right, he hits the switch + again and the HYPERDRIVE FIRES! The hangar is FILLED WITH + LIGHTSPEED BLAST as the ATTACKING GANG MEMBERS ARE BLASTED + BACK LIKE DRY LEAVES. In the cockpit the RATHTAR RIPS AWAY + as THE STARS STRETCH LIKE ELASTIC and we + + CUT TO: + + +114 EXT. CARGO SHIP - DAY 114 + 57. + + + Camera ROTATES as the Falcon DISAPPEARS IN A STREAK, + leaving the cargo ship behind. + + +115 INT. CARGO SHIP - DAY 115 + + PUSH IN on a HANGAR DOOR where Bala-Tik arrives at the + window, SEETHING. Makes a CALL: + + BALA-TIK + Inform the First Order that Han + Solo has the droid they want. And + it's aboard the Millennium Falcon. + + +116 EXT. STARKILLER BASE - DAY 116 + + A pair of TIE fighters roar towards a magnificent PLANET, + frozen WHITE. This is the STARKILLER BASE, a natural planet + that has been hacked and modified into something sinister. + + Over this we HEAR a DEEP, almost SOOTHING VOICE. A voice + very much in control, of power: + + SNOKE (V.O.) + The droid will soon be delivered to + the Resistance-- + + +117 INT. STARKILLER PLANET - ASSEMBLY ROOM - NIGHT 117 + + KYLO REN and General Hux in a dark space, looking UPWARD at + someone addressing them. We're in a massive and dark + ASSEMBLY ROOM. Hundreds of DESKS in a stadium arc, focused + on a platform where we see SUPREME LEADER SNOKE. Not + entirely human, at nearly twenty-five feet tall. All of him + a STONY GREY. Old, wounded, fragile and powerful, all at + the same time. + + SNOKE + -- Leading them to the last Jedi. + If Skywalker returns, the new Jedi + will rise. + + GENERAL HUX + Supreme Leader, I take full + responsibility for th-- + + SNOKE + General! Our strategy must now + change. + + GENERAL HUX + 58. + + + The weapon. It is ready. I believe + the time has come to use it. We + shall destroy the government that + supports the Resistance, the + Republic. Without their friends to + protect them, the Resistance will + be vulnerable, and we will stop + them before they reach Skywalker. + +Snoke considers. Almost seems to die for a moment. Then: + + SNOKE + Go. Oversee preparations. + + GENERAL HUX + Yes, Supreme Leader. + +General Hux, proud, cocksure, exits. Kylo Ren watches him +go. + +Snoke SITS. A new intimacy in his voice. + + SNOKE + There's been an awakening. Have you + felt it? + + KYLO REN + Yes. + + SNOKE + There's something more. The droid + we seek is aboard the Millennium + Falcon. In the hands of your + father, Han Solo. + +Kylo Ren reacts with subtle, but real, surprise. + + KYLO REN + He means nothing to me. + + SNOKE + Even you, master of the Knights of + Ren, have never faced such a test. + + KYLO REN + (steely resolve) + By the grace of your training, I + will not be seduced. + + SNOKE + We shall see. We shall see. + 59. + + + A gentle, satisfied nod from Snoke, and Kylo Ren, obsessed, + filled up, exits. Snoke watches him disappear, a grotesque + evil SMILE growing, as he DISINTEGRATES, Snoke has been a + HOLOGRAM all along. + + +118 EXT. LIGHTSPEED SPACE - DAY 118 + + RACING with the Falcon through the STRING LIGHT of + lightspeed. + + +119 INT. MILLENNIUM FALCON - DAY 119 + + CHAOS: INTERCUT between the COCKPIT where Han and Rey + pilot, ALARMS SOUNDING, problems everywhere, and the LOUNGE + where CHEWIE YELPS as Finn nervously works to BANDAGE HIS + SHOULDER. + + SPARKS! + + HAN + Electrical overload! + + REY + I can fix that! + + HAN + The coolant's leaking! + + REY + Try transferring auxiliary power to + the secondary tank-- + + HAN + -- Secondary tank, I got it! + + +120 INT. LOUNGE 120 + + CHEWIE HOWLS IN PAIN! Finn hangs in there, wraps a bandage + on Chewie's shoulder: Chewie ROARS. BB-8 scurries off. + + FINN + Chewie, come on! I need help with + this giant hairy thing! Stop + moving! Chewie! + + +121 INT. FALCON COCKPIT: 121 + + HAN + 60. + + + You hurt Chewie, you're gonna deal + with me! + + +122 INT. LOUNGE: 122 + + As Finn struggles to bandage the Wookiee: + + FINN + Hurt him?! He almost killed me six + times! + (Chewie GRABS HIM by the + collar, ROARS) + Which is fine. + + +123 INT. FALCON COCKPIT: 123 + + HAN + This hyperdrive blows there's gonna + be pieces of us in three different + systems. + + Han at the controls when all the alarms STOP. Rey, + satisfied, sits in the co-pilot seat. Han is confused. + + HAN + What'd you do? + + REY + I by-passed the compressor. + + He looks at her. A little, appreciative laugh. Han exits, + walking past BB-8. + + HAN + Move, Ball. + + +124 INT. MILLENNIUM FALCON - LOUNGE AREA - DAY 124 + + Han kneels at Chewie, who lies awake but recovering. Han + checks his friend's wound with care. Chewie MOAN-TALKS. + + HAN + Nah, don't say that, you did great. + Just rest. + + Han turns to Finn, who sits at the HOLOCHESS set, BB-8 + beside him. This is awkward for Han, but damn, he means it: + + HAN + Good job, kid. And thanks. + 61. + + + FINN + You're welcome. + +Finn has accidentally hit a button on the chess set, and +the PIECES appear, looking up at Finn, curiously. The +pieces start to FIGHT as Finn fiddles with the controls, +trying to turn it off. + + HAN + So, fugitives, huh? + + REY + The First Order wants the map. + (re: Finn and BB-8) + Finn is with the Resistance-- + (shrugs) + -- I'm just a scavenger. + +Han gives Finn a skeptical once-over as Finn finally +manages to TURN THE CHESS SET OFF as Rey enters. Han looks +to BB-8. + + HAN + Let's see whatcha got. + + REY + (To BB-8) + Go ahead. + +BB-8 rolls forward and suddenly PROJECTS A HOLOGRAPHIC MAP, +FILLING THE ROOM. PLANETS, STARS, SYSTEMS. They all react. + +Chewie sits to look up. Han moves through stars, becomes +reflective. + + HAN + This map's not complete. It's just + a piece. Ever since Luke + disappeared, people have been + looking for him. + + REY + Why'd he leave? + + HAN + He was training a new generation of + Jedi. One boy, an apprentice turned + against him, destroyed it all. Luke + felt responsible-- He walked away + from everything. + + FINN + Do you know what happened to him? + 62. + + + HAN + There're a lot of rumors. Stories. + The people who knew him the best + think he went looking for the first + Jedi temple. + + REY + The Jedi were real? + + HAN + I used to wonder that myself. + Thought it was a bunch of mumbo- + jumbo -- magical power holding + together good, evil, the dark side + and the light. + (beat) + 'Crazy thing is, it's true. The + Force, the Jedi, all of it. It's + all true. + + An alarm rings on the control station, prompting Han to + toggle some switches. BB-8 cuts off the hologram. Chewie + rises and moans to Han, but Han motions for Chewie to lay + back down: + + HAN + No, you rest. + (To Rey and Finn) + You want my help? You're getting + it. Gonna see an old friend. She'll + get your droid home. This is our + stop. + + Han leaves towards the cockpit, Rey and Finn following. + + +125 EXT. LIGHTSPEED TO SPACE - DAY 125 + + BEHIND THE FALCON as it DROPS OUT OF LIGHTSPEED, revealing + a BEAUTIFUL GREEN PLANET ahead, TAKODANA. + + +126 INT. MILLENNIUM FALCON - COCKPIT - DAY 126 + + Han pilots. Finn and BB-8 beside him, Rey as co-pilot. Han + notices Rey looking out the windshield, almost in tears. + + REY + (quietly) + -- I didn't know there was this + much green in the whole galaxy-- + + Han watches her, sees a vulnerability that touches him. + 63. + + +127 EXT. TAKODANA PLANET - DAY 127 + + The Falcon CRESTS OVER an ENDLESS GREEN FOREST TO REVEAL a + CASTLE on a picturesque LAKE. The Falcon lands near the + castle, among dozens of WORN, smallish freighters. + + +128 EXT. LANDING PAD - NEAR MAZ'S CASTLE - DAY 128 + + Rey steps off the Falcon, UP TO CAMERA, BB-8 at her side. + She takes in the towering stone CASTLE, FOREST to one side, + LAKE to the other. Serene, beautiful, all new to her. + + +129 INT. MILLENNIUM FALCON - LOUNGE AREA - DAY 129 + + From BLACKNESS: a storage unit opens. Han rummages, + retrieving old BLASTERS. Finn arrives behind him, + concerned. + + FINN + Hey, Solo -- I'm not sure what + we're walking into here -- + + HAN + D'you just call me "Solo"? + + FINN + Sorry. Han-- Mr. Solo. You should + know, I'm a big deal in the + Resistance. Which puts a real + target on my back. Are there any + conspirators here? First Order + sympathizers? + + HAN + Listen big deal, you've got another + problem. Women always figure out + the truth. + + Hands him a BLASTER. + + HAN + Always. + + Han walks off. Finn watches him go, wracked with guilt. + + +130 EXT. MAZ'S CASTLE - DAY 130 + + Han hands Rey a blaster pistol as she stands at looks at + the castle. + 64. + + + HAN + You might need this. + + REY + I think I can handle myself. + + HAN + I know you do. That's why I'm + giving it to you. Take it. + +Rey picks it up. Grips it. + + HAN + You know how to use one of these? + + REY + Yeah, you pull the trigger. + + HAN + There's a little bit more to it + than that. You got a lot to learn. + You got a name? + + REY + Rey. + + HAN + Rey. I've been thinkin' about + bringing on some more crew, Rey. A + second mate. Someone to help out. + Someone who can keep up with Chewie + and me, appreciates the Falcon. + + REY + Are you offering me a job? + + HAN + I wouldn't be nice to you. It + doesn't pay much. + + REY + You're offering me a job. + + HAN + I'm thinking about it. + +Rey wants to say yes. But something stops her. A line she +can't cross. + + HAN + Well? + + REY + 65. + + + If you were, I'd be flattered. But + I have to get home. + + Han looks at her, questioningly. + + HAN + Jakku? + + Rey looks off, in thought. Yeah, Jakku. + + REY + (beat) + I've already been away too long. + + HAN + (to Chewie) + Chewie, check out the ship as best + you can. + + HAN + It's too bad. Chewie kind of likes + you. + + Han heads off. HOLD on Rey. + + +131 EXT. MAZ'S CASTLE - DAY 131 + + Han walks them to the castle. + + FINN + Solo, why are we here again? + + HAN + To get your droid on a clean ship. + + REY + Clean? + + HAN + Do you think it was luck that + Chewie and I found the Falcon? If + we can find it on our scanners, the + First Order's not far behind. Want + to get BB-8 to the Resistance? Maz + Kanata is our best bet. + + FINN + We can trust her, right? + + HAN + 66. + + + Relax, kid. She's run this watering + hole for a thousand years. Maz is a + bit of an acquired taste, so let me + do the talking. And whatever you + do, don't stare-- + + REY AND FINN + At what? + + HAN + Any of it. + + The door opens. Music. Madness. And-- + + +132 INT. MAZ'S CASTLE - MAIN ROOM - DAY 132 + + We ENTER THE LOUD, CROWDED MESS of a hall, PUSHING PAST a + room full of rough and odd ALIENS AND HUMANS, who gamble, + drink, scheme, negotiate, argue, until we end up on the + BACK of a tiny, thousand year-old, four foot tall ALIEN, + who suddenly STARTS, as if SENSING something, the Alien + TURNS TO US: she is FEMALE, wearing large ADJUSTABLE + GOGGLES. This is MAZ KANATA. + + MAZ + Han Solo! + + Everyone turns to look. It's ALL QUIET in here. + + HAN + Sotto, oh boy. + (louder, waving) + Hey, Maz! + + NOISE returns. Maz walks to them, pushes someone away. + + MAZ + Where's my boyfriend? + + HAN + Chewie's working on the Falcon. + + MAZ + I like that Wookiee. I assume you + need something. Desperately. Let's + get to it. + + Maz walks off, gesturing for them to follow. Finn and Rey + are confused. Han indicates for them to follow. They do + passing the enormous GRUMMGAR, who sits with vixen BAZINE + NETAL, who watches them suspiciously. + 67. + + + A SMALL DROID (GA-97), who turns its head to see BB-8 + following Rey across the room. GA-97, now animated, makes a + small TRANSMITTING SOUND, which is subtitled. + + GA-97 + Alert the Resistance. Their missing + droid is here! + + AND WE CUT TO: + + +133 INT. A DARK ALCOVE - MOMENTS LATER 133 + + Bazine enters a shadowy space, stealthily makes a call on a + communicator. Clearly, BAZINE IS A SPY. Subtitled: + + BAZINE + Inform the First Order-- I've found + the droid. + + +134 EXT. STARKILLER BASE - DAY 134 + + A massive Star Destroyer hovers over the hacked ice planet. + + +135 INT. STAR DESTROYER - KYLO REN'S CHAMBERS - DAY 135 + + A dark space. Kylo Ren, CLOSE TO CAMERA, addresses someone + OFF-CAMERA whom we do not see. + + KYLO REN + Forgive me. I feel it again. The + pull to the light. Supreme Leader + senses it. Show me again, the power + of the darkness, and I will let + nothing stand in our way. Show me, + Grandfather, and I will finish what + you started. + + As his emotion builds, he stands and heads off, we FOLLOW + HIM, PIVOTING TO REVEAL who he was talking to: THE BURNT, + ASHEN, GHOSTLY DEFORMED MASK OF DARTH VADER. + + CUT TO: + + +136 INT. MAZ'S CASTLE - TABLE - DAY 136 + + Maz is putting together some FOOD as she says: + + MAZ + 68. + + + A map to Skywalker himself? You're + right back in the mess. + + HAN + Maz, I need you to get this droid + to Leia. + + MAZ + Hmm. No. You've been running away + from this fight for too long. Han, + nyakee nago wadda. Go home! + + HAN + Leia doesn't want to see me. + + FINN + Please, we came here for your help. + + REY + What fight? + + MAZ + The only fight: against the dark + side. Through the ages, I've seen + evil take many forms. The Sith. The + Empire. Today, it is the First + Order. Their shadow is spreading + across the galaxy. We must face + them. Fight them. All of us. + + FINN + There is no fight against the First + Order! Not one we can win. Look + around. There's no chance we + haven't been recognized already. I + bet you the First Order is on their + way right-- + +Finn stops, seeing Maz adjusting her goggles, scrutinizing +him, her eyes get HUGE. + + FINN + What's this? What are you doing? + +Maz adjusts the goggles again. Her eyes get impossibly +BIGGER. She grunts recognition. She hoists herself on the +tabletop, knocking over food and plates, crawling towards +Finn. + + FINN + Solo, what is she doing? + + HAN + 69. + + + I don't know, but it ain't good. + + MAZ + If you live long enough you see the + same eyes in different people. I'm + looking at the eyes of a man who + wants to run. + + FINN + (eyes on Maz) + You don't know a thing about me. + Where I'm from. What I've seen. You + don't know the First Order like I + do. They'll slaughter us. We all + need to run. + +Rey is stunned. Maz, not so much. She crawls back to her +chair. She points to some pirates in the corner. + + MAZ + You see those two? They'll trade + work for transportation to the + Outer Rim. There, you can + disappear. + +Finn sees them. Considers. + + REY + Finn! + + FINN + Come with me. + + REY + What about BB-8? We're not done + yet. We have to get him back to + your base. + + FINN + I can't. + +Finn stands to leave. He offers the gun back to Han. + + HAN + Keep it, kid. + +Finn heads off. Rey gets up to follow. Maz dials her lenses +back to normal, and turns to Han. + + MAZ + Who's the girl? + 70. + + +ON FINN Who has arrived at the table with the ALIEN +SMUGGLERS. + + FINN + I was told you could get me to the + Outer Rim. + +Rey barges into the conversation, interrupting. + + REY + What are you doing? + +Finn gets up to talk to her. + + FINN + (to Big Head) + Don't leave without me. + +Embarrassed, Finn moves her away. + + REY + You can't just go. I won't let you. + + FINN + I'm not who you think I am. + + REY + Finn, what are you talking about? + + FINN + I'm not Resistance. I'm not a hero. + I'm a Stormtrooper. + (stops her) + Like all of them, I was taken from + a family I'll never know. And + raised to do one thing-- + (emotional) + But my first battle, I made a + choice. I wasn't going to kill for + them. So I ran. Right into you. And + you looked at me like no one ever + had. I was ashamed of what I was. + But I'm done with the First Order. + I'm never going back. Rey, come + with me. + + REY + Don't go. + + FINN + Take care of yourself. Please. + 71. + + + Rey looks at him, crushed. With quiet resignation, Rey + watches Finn return to the aliens and all three head off. + He gets to the front door and walks through it. Rey is + heartsick, but she turns as she hears the sound of a young + girl in anguish, crying. She follows the sound into the + castle, turning so she can't see that Finn has looked back + at her one last time. + + +137 INT. MAZ' CASTLE - BASEMENT CORRIDOR - DAY 137 + + Rey steps down into the basement corridor. BB-8 follows + her. + + Walking carefully and confused, she is not sure why she's + down here. She can hear the echoing sounds of a young girl + crying. She heads down the hall-- to the very end, where + there is a door. It is almost as if a SOULFUL VIBRATION + draws her closer. She looks at the door lock AND THE DOOR + OPENS. + + Hesitant, Rey enters. + + +138 INT. MAZ'S CASTLE - CRYPT ROOM - DAY 138 + + Rey moves into the dark, small, vaulted storage room. Old + treasures line the floors and walls, but there is something + specific Rey is drawn to: on a table, an old wooden BOX. + + She moves to it, unsure, afraid, as if an energy from + inside the box has been calling her here. BB-8 nervously + follows. + + Rey reaches out, very slowly, to touch the box. A moment + heavy with tension. + + Rey OPENS THE BOX and sees inside Luke Skywalker's original + lightsaber. With hesitation, she reaches towards it, but + she cannot resist. + + As her hand makes contact with it, there is the piercing + sound of a lightsaber igniting. She moves her hand away, as + REY HEARS A MECHANICAL BREATHING sound. The CAMERA MOVES, + LIGHTING CHANGES and we see behind her something + impossible: a HALLWAY OF FROM DEEP INSIDE CLOUD CITY. + Disembodied voices fill the air. + + YOUNG GIRL + NO! + + She stands, looks around, confused by all she sees and + hears. + 72. + + + Turns and sees, through a DOORWAY. We follow Rey and she + runs down the corridor, but it all TILTS, TURNS and she + lands on the WALL which is now the GROUND, dried GRASS. + + She turns to look, we PIVOT and see a BURNING TEMPLE AT + NIGHT. + + We PAN to: R2-D2, who watches the flames and a MAN appears + (LUKE, whose face we do not see). He falls to his knees, + reaches out to the droid with a MECHANICAL RIGHT HAND. + + We PUSH IN ON REY as RAIN BEGINS and DAY TURNS TO NIGHT and + she LOOKS UP, we TILT UP to see we're LOOKING UP AT A + WARRIOR as he is STABBED BY A FIERY LIGHTSABER! + + He screams and falls to the ground, we FOLLOW HIM, + revealing Rey again, now in a nighttime battlefield. She + gets to her feet, frightened by what she sees. We PIVOT + AROUND HER to REVEAL KYLO REN, and the six other KNIGHTS OF + REN, who flank him! Come back around to Rey, soaking now, + as the RAIN STOPS and SUNLIGHT illuminates her, she turns + to look, we PIVOT and see-- A little girl. Rey as a child. + She is sobbing, hysterical. Unkar Plutt's meaty hand holds + her thin arm. She is on Jakku, watching a starship fly into + the sky, abandoning her. + + YOUNG GIRL + No, come back! + + UNKAR PLUTT + Quiet, girl! + + The ship flies towards the desert sun, which is strangely + eclipsed, as if being eaten by darkness. Rey looks around + her to see she is-- + + In a NIGHTTIME, BARREN, SNOWY WOODS. She's losing her mind, + confounded and lost and she gets to her feet, her breath + seen in the frigid air and then: THE SOUND OF CLASHING + LIGHTSABERS! + + She moves through the woods, toward the sound. Rey runs, + heart pounding, when KYLO REN EMERGES FROM BEHIND A TREE! + She stops, SCREAMS, FALLS BACK and LANDS IN: + + +139 INT. MAZ' CASTLE - BASEMENT CORRIDOR - DAY 139 + + She falls back, out of the room, suddenly sitting in the + hall, out of breath, alarmed and perplexed. She HEARS + something and turns to look. Maz stands at the end of the + corridor, realizing what has just happened. + 73. + + + REY + What was that? I shouldn't have + gone in there. + + MAZ + That lightsaber was Luke's. And his + father's before him and now, it + calls to you! + + Rey stands, fast. Still overwhelmed, emotional, speechless. + + REY + I have to get back to Jakku. + + MAZ + Han told me. + (reaches out, hold Rey's + hand) + Dear child. I see your eyes. You + already know the truth. Whomever + you're waiting for on Jakku, + they're never coming back. But-- + there's someone who still could. + + REY + Luke. + + MAZ + The belonging you seek is not + behind you. It is ahead. I am no + Jedi, but I know the Force. It + moves through and surrounds every + living thing. Close your eyes. Feel + it. The light. It's always been + there. It will guide you. The + saber. Take it. + + Rey suddenly stands. + + REY + I'm never touching that again. I + don't want any part of this. + + And Rey runs off, passing Maz. Rey's mind is spinning, she + can't take it, she turns and heads off, fast. BB-8 follows + her. TIGHT ON MAZ, watching her go. Maz SIGHS, feeling for + the young girl. + + +140 EXT. MAZ'S CASTLE - DAY 140 + + Rey exits the castle, needs to run, but doesn't know where. + 74. + + + Heads toward the woods. + + +141 EXT. FOREST - DAY 141 + + Rey moves through the foliage, heart racing. Over this, we + HEAR a RUMBLING, intense, an OMEN of something horrible to + come. + + +142 EXT. MAZ'S CASTLE - DAY 142 + + Rey exits the castle, needs to run, but doesn't know where. + + Heads toward the woods. + + +143 EXT. FOREST - DAY 143 + + Rey moves through the foliage, heart racing. Over this, we + HEAR a RUMBLING intense, an OMEN of something horrible to + come. + + +144 EXT. STARKILLER BASE - ASSEMBLY AREA - DAY 144 + + A massive rally: a thousand STORMTROOPERS, TIE FIGHTERS, + OFFICERS and VEHICLES. BRUTALIST STRUCTURES, mountainous + SNOWY LANDSCAPE. Addressing them at a podium, flanked by + RED FIRST ORDER BANNERS, is HUX. His voice ECHOES: + + GENERAL HUX + Today is the end of the Republic! + The end of a regime that acquiesces + to disorder! At this very moment, + in a system far from here the New + Republic LIES to the GALAXY while + secretly supporting the treachery + of the loathsome Resistance. This + fierce machine which you have + built, upon which we stand, will + bring an end to the Senate! To + their cherished fleet! All + remaining systems will bow to the + First Order! And will remember + this-- as the last day of the + Republic! + + +145 INT. STARKILLER BASE - CONTROL ROOM - DAY 145 + + ENGINEERS perform FINAL FIRING PROTOCOL. There's a sense of + nervousness -- WILL THIS MASSIVE WEAPON ACTUALLY WORK? + 75. + + +146 EXT. STARKILLER BASE - ASSEMBLY AREA - DAY 146 + + GENERAL HUX + FIRE! + + And Hux TURNS to give the signal as we CUT BACK WIDE a ROAR + OF BOOTS ON PAVEMENT as the thousand Stormtroopers TURN to + face an endless snowy landscape. WHAT IS ABOUT TO HAPPEN?! + + +147 EXT. STARKILLER BASE - DAY 147 + + A view PAST THE RALLY. For a moment, nothing. Then, eerily + SILENT, AN IMPOSSIBLE BLAST OF FIRE LIGHT, LIKE AN ATOMIC + BOMB TEST TIMES A ZILLION, BLASTS FROM MILES AWAY, INTO THE + SKY! + + Seconds later, a TERRIBLE EXPLOSIVE ROAR! The Troopers, + everyone is nearly PUSHED BACK by the FORCE of it, the + magnitude! Many have to COVER THEIR EYES! For MILES around + the FIREBEAM, ICE AND SNOW MELTS INSTANTLY! Runoff tunnels + FLOODED with AN OCEAN OF FRESH WATER. AIRBORNE CREATURES by + the thousands burst from trees and take flight. Hux + watches, his eyes WILD WITH POWER AND EVIL. From HIS eye`s + + CUT TO: + + +148 INT. STAR DESTROYER BRIDGE - DAY 148 + + TIGHT ON KYLO REN as he watches the Starkiller firing. + + +149 EXT. MAZ' CASTLE - DAY 149 + + Finn boards the Alien Freighter. The SOUND FROM THE SKY + makes him turn back. He sees the PATH OF FIRE and his blood + runs cold, his heart sinks. + + +150 EXT. REPUBLIC SYSTEM - NIGHT 150 + + At a massive distance we see PLANETS THE REPUBLIC CAPITAL + SYSTEM, INCREASINGLY LIT, THEN POWERFULLY HIT BY THE VAST + FIREBLAST WHICH OBLITERATES IT ALL! + + +151 EXT. REPUBLIC CITY - NIGHT 151 + + The galaxy CENTER OF GOVERNMENT at NIGHT. Impressive + structures. Senators and dignitaries look in + uncomprehending horror to the night sky. + 76. + + + LIGHT GROWING, FROM A GREAT DISTANCE a CIRCLE OF FIRE , + LIKE A SMALL SUN APPEARING FROM NOWHERE AND GROWING CLOSE + AND MASSIVE, TURNING NIGHT TO DAY! And in seconds THE FIRE + BLOCKS OUT EVERYTHING ELSE, AND THE ENTIRE PLANET OF + HOSNIAN PRIME IS INCINERATED! + + +152 EXT. MAZ'S CASTLE - DAY 152 + + A crowd of ALIENS files out from inside, all eyes on the + FIRE IN THE SKY. Dozens of LANGUAGES exclaiming fear and + horror. + + Find Han and Chewie moving out, looking up. + + FINN (O.S.) + It was the Republic. + + Han and Chewie turn as Finn arrives, moving quickly through + the crowd. With dread: + + FINN + The First Order, they've done it. + Where's Rey? + + +153 EXT. FOREST - DAY 153 + + Rey races through the forest and finally comes to a stop, + overwhelmed and exhausted. At an emotional breaking point, + she has no idea where to go, who to turn to. Then she HEARS + A BEEP, turns to see BB-8, catching up with her. + + REY + What are you doing? + (he BEEPS) + You have to go back. + (he BEEPS again) + BB-8. No, you can't -- you have to + go back, you're too important. + They'll help you. + + Then, ANOTHER SOUND, LOUDER NOW, they LOOK UP AGAIN: in + front of the system attack, A FLEET OF FIRST ORDER SHIPS + ROAR OVERHEAD, TOWARD THE CASTLE! Rey's heart sinks: HER + FRIENDS ARE IN DANGER! + + +154 INT. MAZ'S CASTLE - BASEMENT CORRIDOR - DAY 154 + + Maz leads Han, Finn and Chewie down the hall, fast: + + MAZ + 77. + + + I've had this for ages-- + + +155 INT. MAZ'S CASTLE - TREASURE ROOM - DAY 155 + + Maz opens the box, holds out the lightsaber to Finn: + + MAZ + Kept it locked away. + + HAN + Where'd you get that? + + MAZ + A good question for another time. + (to Finn) + Take it! Find your friend! + + Finn grabs it as the room is SHAKEN by an above ground + attack. + + MAZ + Those beasts! They're here! + + +156 EXT. FOREST - DAY 156 + + Rey and BB-8 race fast back toward the castle, EXPLOSION + SOUNDS can be HEARD from the direction they're headed! + + +157 EXT. FOREST - DAY 157 + + Rey races through the trees, sees Maz' castle, BEING + DESTROYED BY FIRST ORDER SHIPS! Aliens RUNNING, GETTING + OBLITERATED by SCREAMING TIE FIGHTERS! + + Other TIE FIGHTERS and TRANSPORTERS LAND, STORMTROOPERS in + attack. Just then, filtered RADIO CALLS get Rey's + attention: nearby STORMTROOPERS have spotted her, AND FIRE! + + STORMTROOPER + FN-417, hold position! + + Rey takes cover, grabs her BLASTER, but IT WON'T FIRE! She + panics, then realizes: + + REY + Safety! + + SHE SWITCHES OFF THE SAFETY and FIRES BACK! HITS TWO + TROOPERS and retreats, calls to BB-8: BB-8 follows Rey AWAY + FROM THE CASTLE, firing back at more chasing Troopers! + 78. + + +158 EXT. MAZ' CASTLE RUINS - DAY 158 + + Kylo Ren moves through the DEBRIS. A Stormtrooper + approaches: + + STORMTROOPER #4 + Sir, the droid was spotted heading + west, with a girl. + + Kylo Ren LOOKS BACK SHARPLY, in Rey's direction -- + + +159 EXT. FOREST - DAY 159 + + Rey and BB-8 move swiftly, terrified, she stops them: + + REY + You have to keep going, stay out of + sight, I'll try to fight 'em off. + (BB-8 BEEPS; bravely + through her fear) + I hope so, too. + + BB-8 BEEPS and heads off, Rey RUNS and TAKES COVER behind a + massive, mossy tree. TIGHT on her TERRIFIED FACE -- + + +160 EXT. CASTLE DEBRIS - DAY 160 + + Han, Chewie, Finn and Maz, exhausted, CLIMB UP, peek + through debris. + + HAN + Come on, Chewie! + + Maz turns to Finn: + + MAZ + Rey and BB-8, they need you. Now + go. + + FINN + I need a weapon. + + Maz grabs his wrist, holds up his hand, THE SABER. + + MAZ + You have one! + + He looks at her questioningly, he's supposed to use the + lightsaber?! He TURNS IT ON. HAN AND CHEWIE RUN, TAKE COVER + from BLASTS, FIRING BACK at Stormtroopers, taking some out! + 79. + + + HAN + Hey, can I try that? + +Han borrows Chewbacca's bowcaster, fires on Stormtroopers +and sends them flying. + + HAN + (to Chewbacca) + I like this thing. + +FINN SURPRISES A STORMTROOPER WITH THE LIGHTSABER, then +another! Untrained, he's athletic, brave, impressive. One +Stormtrooper has a MACE -- + + STORMTROOPER + Traitor! + +FINN and the TROOPER WITH THE MACE battle. The Mace Trooper +KNOCKS FINN DOWN! The Stormtrooper is about to end him, +when THE STORMTROOPER IS SHOT AND FALLS! Wide-eyed Finn +sees Han run over, having fired the blast! Han helps him +up. + + HAN + You okay, Big deal? + + FINN + Thanks! + +But TEN STORMTROOPERS come over a RISE, BLASTERS AIMED. + + STORMTROOPER + Don't move! TK-338, we have targets + in custody! + +No way out, they DROP THEIR WEAPONS: TIGHT on the +LIGHTSABER as it HITS THE GROUND. A STORMTROOPER HAND picks +it up. Han's MIND RACES as a SQUAD OF TROOPERS appears +behind them. + +Finn, Han and Chewie are MARCHED by Stormtroopers back +toward a transport, hands on their heads. + +But then A FAMILIAR ROAR RIPPING ACROSS THE LAKE. + +Han turns, they all do: coming toward them across the +water, X-WINGS AND RESISTANCE SPACECRAFT APPEAR, BEGIN +FIRING AT THE FIRST ORDER SHIPS! + +PUSH IN ON HAN, HOPE SURGING, CHEWIE TALKS. + + STORMTROOPER + 80. + + + We have incoming at two-eight- + point-six! Move! Dispatch! Move! + Scramble all squads! Repeat, + scramble all squads! Anti-air cover + en route to our position! + + HAN + It's the Resistance. + + One X-WING in particular, MARKED IN BLACK, SWOOPS DOWN and + takes out the parked TIE FIGHTERS and Troopers! + + +161 INT. POE'S X-WING - DAY 161 + + It's Poe Dameron at the stick of his X-wing. + + POE + Go straight ahead and don't let + these dogs scare you! + + JESS (V.O.) + Copy that! + + SNAP (V.O.) + We're with you, Poe! + + The Stormtroopers around Finn, Han and Chewie SCATTER, + TOSSED in EXPLOSIONS! The LIGHTSABER LANDS AGAIN, FINN + PICKS IT UP. + + HAN + Quick! + + Chewie picks up his Bowcaster, Han takes the blaster. + Shoots a Trooper. + + FINN + Woohoo! YEAH! That's one helluva + pilot! + + +162 INT. POE'S X-WING - DAY 162 + + POE + WOOHOO! + + +163 EXT. FOREST - DAY 163 + + In the darkened woods, Rey, terrified, keeps her blaster + aimed. Her eyes dart around for her pursuer. + 81. + + + And then: THE UNIQUE SOUND OF KYLO REN'S RASPING LIGHTSABER + COMING TO LIFE, A SOUND she's HEARD BEFORE in the + FORCEBACK. + + Rey's heart skips a beat: she's even more scared now. Kylo + Ren appears from behind a tree, Rey FIRES again and again. + + Kylo Ren moves toward her, USING HIS LIGHTSABER TO DEFLECT + EVERY BLAST. She FIRES ferociously, but Kylo Ren keeps + coming! His hand rises, Rey suddenly STOPS, GASPS, UNABLE + TO MOVE. + + KYLO REN + The girl I've heard so much about. + + He walks AROUND HER, slowly, she won't let herself cry. + + KYLO REN + The droid. + + He comes around to see her face. After a scary beat he + WHIPS HIS SABER UP TO HER EYES, ILLUMINATING HER FACE. + + KYLO REN + Where is it? + + WIDE SHOT: THE EPIC BATTLE BETWEEN RESISTANCE AND FIRST + ORDER TROOPS, REFLECTED IN THE STILL LAKE. + + STORMTROOPER + Request air support! + + +164 EXT. FOREST - DAY 164 + + Kylo Ren TURNS OFF HIS SABER, reaches up-- and REACHES + TOWARDS REY'S FACE. She can't move, strains in agony. After + a beat, surprised by what he finds, he removes his hand. + She is relieved but still afraid. + + KYLO REN + The map. You've seen it. + + Rey is horrified. He TOUCHES HER FACE again: the pain, + tears stream. Kylo Ren, taking more from her mind-- She + stares at him, TERRIFIED, straining in agony, Kylo Ren, + mid-interrogation, TURNS TOWARD THE SOUND OF THE + EXPLOSIONS. + + Stormtroopers APPROACH through the woods. + + STORMTROOPER #5 + 82. + + + Sir, Resistance fighters! We need + more troops. + + Kylo Ren TURNS BACK TO Rey, his hand still on her face. + + KYLO REN + Pull the division out. Forget the + droid. We have what we need. + + A GESTURE from Kylo Ren and REY LOSES CONSCIOUSNESS, FALLS + FROM FRAME! + + +165 EXT. CASTLE DEBRIS - DAY 165 + + The BLACK-MARKED X-WING SWOOPS DOWN again, FIRING, + EXPLODING another TIE Fighter! On the ground: + + STORMTROOPER + Pull back the tree line! + + Han and Chewie dodge debris, FIRING and TAKING OUT + TROOPERS. + + FINN takes out 2 TROOPERS with the blaster, then, out of + breath, turns to see: Kylo Ren in the forest, CARRYING REY + IN HIS ARMS, INTO HIS SHUTTLE! + + Finn's heart SHATTERS, Han stops, turns, sees Kylo Ren + entering his shuttle. Han is ROCKED. + + FINN + NO!! REY!!! + + Heroically, Finn runs toward the shuttle through LASER + BLASTS AND EXPLOSIONS, but the shuttle TAKES OFF, Finn + irrationally CHASES IT, SCREAMS DESPERATELY: + + FINN + No, no, no, no-- REY!! + + In crazed frustration, Finn stops running, watches the + receding First Order ships, Rey their captive. + + +166 EXT. FOREST - DAY 166 + + BB-8 moves fast, then stops and looks up as the First Order + ships RETREAT, OFF PLANET. A considered beat, and BB-8 + heads BACK FOR THE CASTLE. + + +167 EXT. MAZ'S CASTLE RUINS - DAY 167 + 83. + + + Post battle. Finn runs to Han: + + FINN + He took her! Did you see that? He + took her. She's gone! + + HAN + (walks past) + Yeah, yeah, I know-- + + And he and Chewie head off. + + +168 EXT. MAZ'S CASTLE RUINS - DAY 168 + + Han moves toward a RESISTANCE TRANSPORT landing in the + debris. BB-8 rolls up beside him, in wait for the + transport. + + ON HAN'S FACE, knowing exactly what's about to happen. + + Finally, the transport door opens. And standing there is + LEIA. She sees Han and is stunned. A silent beat, husband + and wife reunited for the first time in years. In the smoke + and embers, no one says a word. Then C-3PO walks out from + the transport, into the field: + + C-3PO + Goodness! Han Solo! It is I, See- + Threepio! + (sees Han, stops) + You probably don't recognize me + because of the red arm. + (sees Leia, increasingly + awkward) + Look who it is! Did you see who? + Oh. Excuse me, Prin-- uh, General. + Sorry. Come along, BB-8. Quickly. + (BB-8 beeps) + Yes, I must get my proper arm + reinstalled. + + He hurries off. Finally, alone again. + + HAN + You changed your hair. + + LEIA + Same jacket. + + HAN + No, new jacket. + 84. + + + Chewie glad to see Leia, greets her with a hug. Chewie + MOANS a few words, looks at Han then boards the ship. It is + complicated and loving and painful. Han says, quietly: + + HAN + -- I saw him. Leia, I saw our son. + He was here. + + Leia hears this. Maz watches through the smoke. + + +169 EXT. SPACE - DAY 169 + + The FALCON and surviving X-WINGS ROAR past camera toward a + PLANET WITH GREEN FLORA AND A RING OF ASTEROIDS. + + This is D'QAR. + + +170 EXT. D'QAR - DAY 170 + + The SHIPS DESCENDING among grassy mounds and sunken + structures. + + +171 EXT. RESISTANCE BASE - DAY 171 + + LARGE GRASS MOUNDS cover HANGARS, beneath the odd, giant + trees. BOOM DOWN as RESISTANCE GROUND CREW direct an X-WING + to a LANDING. In the FOREGROUND, another X-wing canopy + OPENS, a PILOT climbs out. + + PAN TO REVEAL the landed Millennium Falcon. Finn runs down + the ramp, UP TO CAMERA, desperate, searching. Then BB-8 + + SPEEDS RIGHT PAST HIM, almost knocking him down, Finn + watches as BB-8 rolls over to the PILOT GETTING OUT OF THE + BLACK-MARKED X-WING. + + The Pilot's helmet comes off. IT IS POE! + + Finn can't believe what he's seeing. And Poe, kneeling in + WARM REUNION with BB-8, listens and reacts to something the + droid tells him. Poe looks up and sees Finn and he can't + believe it either! Poe smiles, points at Finn. From a + distance, Finn gestures in sheer amazement that Poe is + alive. + + FINN + Poe. Poe Dameron. + + They move to each other and embrace. + 85. + + + FINN + You're alive! + + POE + So are you! + + FINN + What happened to you? + + POE + What happened? I got thrown from + the crash, woke up at night -- no + you, no ship, nothing-- + + BB-8 BEEPS, Poe listens, turns to Finn. + + POE + BB-8 says that you saved him. + + FINN + No, no, no. It wasn't just me. + + POE + You completed my mission, Finn. + That's my jacket? + + FINN + Oh here. + + POE + No, no, no. Keep it. It suits you. + You're a good man, Finn. + + FINN + Poe -- I need your help. + + +172 INT. RESISTANCE BASE - DAY 172 + + MOVE FAST with Finn and Poe. Finn takes in this makeshift + command center, buried deep among vines and roots. They + arrive at Leia, who stands with a group of Resistance + Officers, including ADMIRALS ACKBAR and STATURA: + + POE + General Organa. Sorry to interrupt, + this is Finn, he needs to talk to + you -- + + LEIA + (takes Finn's hand) + 86. + + + And I need to talk to him. That was + incredibly brave, what you did. + Renouncing the First Order, saving + this man's life -- + + FINN + (surprised she knows) + Thank you, ma'am -- but a friend of + mine was taken prisoner-- + + LEIA + Han told me about the girl, I'm + sorry. + + Finn is startled, Poe jumps in: + + POE + Finn's familiar with the weapon + that destroyed the Hosnian system. + He worked on the base. + + LEIA + We're desperate for anything you + can tell us. + + FINN + That's where my friend was taken -- + I've got to get there, fast. + + LEIA + And I will do everything I can to + help, but first you must tell us + all you know. + + +173 INT. RESISTANCE BASE - DAY 173 + + Chewbacca sits on a bed in the med bay. DR. KALONIA uses a + device to help heal his shoulder. Chewie TALKS. + + DR. KALONIA + (Chewie TALKS) + That sounds very scary. + (Chewie TALKS) + You must be so brave. + + Chewie agrees. + + +174 INT. RESISTANCE BASE - DAY 174 + 87. + + + C-3PO takes the DATA DEVICE from BB-8 and inserts it into a + BASE COMPUTER. THE PROJECTED MAP APPEARS in HOLOGRAM. Leia + enters, studying it, dispirited. PAN as she moves, + REVEALING HAN. C-3PO is here and some others. + + C-3PO + General, I regret to inform you, + but this map recovered from BB-8 is + only partially complete. And even + worse, it matches uncharted system + on record. We simply do not have + enough information to locate Master + Luke. + + LEIA + I can't believe I was so foolish to + think that I could just find Luke + and bring him home. + + HAN + Leia-- + + LEIA + Don't do that. + + HAN + Do what? + + She heads off. + + LEIA + Anything. + + Flummoxed, Han follows looking at C-3PO. C-3PO Princesses. + + Han follows Leia across the base floor: + + HAN + I'm trying to be helpful! + + LEIA + When did that ever help? And don't + say the Death Star. + + HAN + (sighs) + + +175 INT. RESISTANCE BASE - DAY 175 + + LOW WITH BB-8 as he rolls over and finds, under a dark and + dusty tarp in a corner, R2-D2. BB-8 BEEPS at R2, pulls off + the tarp and tries to start a conversation. + 88. + + + But R2 DOESN'T RESPOND AT ALL. BB-8 tries again. Nothing. + BB-8 NUDGES R2. Nothing. Then: + + C-3PO (O.S.) + BB-8. You're wasting your time. + + BB-8 looks up at C-3PO, who stands there. C-3PO SIGHS. + + C-3PO + It is very doubtful that R2 would + have the rest of the map in his + backup data. + (BB-8 beeps) + I am afraid not. R2-D2 has been in + low power mode ever since Master + Luke went away. Sadly, he may never + be his old self again. + + +176 INT. RESISTANCE BASE - DAY 176 + + Leia hears the change in Han's voice and softens. She + turns. + + HAN + Listen to me, will you? I know + every time you-- every time you + look at me, you're reminded of him. + + LEIA + You think I want to forget him? I + want him back! + + Han looks at her with sympathy. + + HAN + There was nothing we could've done. + (hard for him to say) + There was too much Vader in him. + + LEIA + That's why I wanted him to train + with Luke. I just never should have + sent him away. That's when I lost + him. That's when I lost you both. + + HAN + We both had to deal with it in our + own way. I went back to the only + thing I was ever good at. + + LEIA + We both did. + 89. + + + HAN + We lost our son, forever. + + LEIA + No. + (long beat) + It was Snoke. + + Han takes this in. + + LEIA + He seduced our son to the dark + side. But we can still save him. + Me. You. + + HAN + If Luke couldn't reach him, how + could I? + + LEIA + Luke is a Jedi-- you're his father. + There's still light in him. I know + it. + + GENERAL STATURA + General, the reconnaissance report + on the enemy base is coming. + + +177 INT. STARKILLER BASE - HOLDING CELL - DAY 177 + + Rey wakes, disoriented. She is in an angled, upright + restraining rig. Looks over, startled to see Kylo Ren, mask + in place, standing there. + + REY + Where am I? + + KYLO REN + (long beat) + You're my guest. + + REY + Where are the others? + + KYLO REN + You mean the murderers, traitors + and thieves you call friends? + (Rey stares at him) + You'll be relieved to hear that I + have no idea. + + Rey studies him. She's fearful-- but curious. + 90. + + + KYLO REN + You still want to kill me. + + REY + That happens when you're being + hunted by a creature in a mask. + +Kylo Ren stops, considers her-- then reaches up, unlatches +and REMOVES HIS MASK. Rey reacts, stunned. It takes a +moment before she regains her own mask of defiance. + + KYLO REN + Tell me about the droid. + + REY + (a nervous beat) + He's a BB unit with a selenium + drive and a thermal hyperscan + vindicator - - + + KYLO REN + He's carrying a section of a + navigational chart. We have the + rest, recovered from archives of + the Empire. We need the last piece. + And somehow, you convinced the + droid to show it to you. You. A + scavenger -- + +Rey reacts, afraid, how does he know? + + KYLO REN + You know I can take whatever I + want. + +Trepidation flashes across Rey's eyes. Kylo Ren moves +closer, his hand rising toward her. She recoils, but has +nowhere to go. Kylo Ren nearly TOUCHES HER FACE, THEY'RE +BOTH SURPRISED: they react to a feeling that passes between +them, AN ENERGY THEY RECOGNIZE IN EACH OTHER. + +And then it's gone. Adversaries again. Rey can't move, +quietly strains in agony, trying to resist Ren's probing. + + KYLO REN + -- You're so lonely-- so afraid to + leave-- + (then, slight smile) + At night, desperate to sleep-- you + imagine an ocean. I see it -- I see + the island-- + 91. + + +Tears stream down her face as she resists. She tries to +break free, but can't budge. + + KYLO REN + And Han Solo. You feel like he's + the father you never had. He + would've disappointed you. + +His hand still on her face, her eyes fierce through the +agony: + + REY + -- Get out of my head -- + +But this just makes Kylo lean closer. + + KYLO REN + I know you've seen the map. It's in + there-- and now you'll give it to + me. Don't be afraid. I feel it too. + +Where her strength comes from, she doesn't know, but: + + REY + I'm not giving you anything. + + KYLO REN + We'll see. + +He peers into her eyes intensely. She meets his gaze, +DESPITE THE PAIN SHE IS STRONG. On Ren's face as HIS +CONFIDENCE BEGINS TO MELT AWAY. + +He has slammed up against a barrier in her mind. He looks +less certain by the moment as Rey seems to GROW IN +STRENGTH. + +The FEROCITY of confrontation builds until it hits critical +mass AND REY DOES THE UNTHINKABLE! + +SHE ENTERS HIS HEAD, AMAZED AT WHAT SHE IS SEEING! + + REY + -- You-- you're afraid-- that you + will never be as strong as-- Darth + Vader! + +KYLO REN SUDDENLY WITHDRAWS HIS HAND, as if her face were +FIRE HOT. TAKES A STEP BACK, CONFUSED, RATTLED. + +Rey's body is released, she breathes deeply, her powerful +eyes still on Kylo Ren, who starts to leave. And we PRELAP: + 92. + + + SNOKE (V.O.) + This scavenger, resisted you? + + +178 INT. STARKILLER PLANET - ASSEMBLY ROOM - NIGHT 178 + + Kylo Ren, mask off, stands before Snoke. + + KYLO REN + She's strong with the Force, + untrained but, stronger than she + knows. + + And while Ren's mind no doubt goes to Luke: + + SNOKE + And the droid? + + Kylo Ren hesitates to reveal the truth. Then: + + GENERAL HUX (O.S.) + Ren believed it was no longer + valuable to us. + + Ren turns back, Hux enters the large space, moves to the + platform beside Ren. + + GENERAL HUX + That the girl was all we needed. As + a result, the droid has most likely + been returned to the hands of the + enemy. They may have the map + already. + + Snoke is visibly furious. + + SNOKE + Then the Resistance must be + destroyed before they get to + Skywalker. + + GENERAL HUX + We have their location. We tracked + their reconnaissance ship to the + Ileenium system. + + SNOKE + Good. Then we will crush them once + and for all. Prepare the weapon. + + Kylo Ren is stunned by the moment that isn't what he meant + at all. + 93. + + + KYLO REN + Supreme Leader. I can get the map + from the girl. I just need your + guidance. + + SNOKE + If what you say about this girl is + true, bring her to me. + + +179 INT. STARKILLER BASE - HOLDING CELL - DAY 179 + + SLOW PUSH IN ON REY, shackled, mind still racing over + what's happened between her and Kylo Ren. She is flooded + with emotions, feeling her potential, her strength, that in + this moment of being restrained, perhaps anything is + possible. She turns to the Stormtrooper Guard. Studies him + for an intense beat. Then says: + + REY + You will remove these restraints. + And leave this cell, with the door + open. + + The Stormtrooper Guard looks at her. A beat. + + TROOPER GUARD #2 + What did you say? + + Rey's eyes stay trained on him. She shifts in her seat, her + confidence wavering, but she repeats, with authority: + + REY + You will remove these restraints. + And leave this cell, with the door + open. + + The Stormtrooper Guard, rifle aimed, MOVES FOR HER. Rey's + heart pounds is she about to be killed, freed, or laughed + at? + + The tension unbearable when the Guard says: + + TROOPER GUARD #2 + I'll tighten those restraints, + scavenger scum! + + +180 INT. STARKILLER BASE - CORRIDOR 1 - DAY 180 + + LOW ANGLE: Kylo Ren, masked, rounds a corner, PASSES US. + 94. + + +181 INT. STARKILLER BASE - HOLDING CELL - DAY 181 + + Rey stares intently at the trooper. Calms herself. And + tries again. + + REY + You will remove these restraints. + And leave this cell, with the door + open. + + TROOPER GUARD #2 + I will remove these restraints. And + leave this cell, with the door + open. + + He reaches down and UNLATCHES THE RESTRAINTS. HE THEN TURNS + AND STARTS TO HEAD OUT, her back to him as he exits. SHE IS + IN SHOCK. Then tries, quickly: + + REY + And you will drop your weapon. + + TROOPER GUARD #2 + And I'll drop my weapon. + + The Trooper Guard DROPS HIS WEAPON without turning back, + Rey HEARS the gun fall. She's incredulous. The guard has + LEFT THE CELL, ITS DOOR OPEN. REY, in ABSOLUTE DISBELIEF, + MOVES QUICKLY OUT OF FRAME! + + +182 INT. STARKILLER BASE - HOLDING CELL - DAY 182 + + Kylo Ren enters the cell, we PUSH IN ON HIM as he takes in + the empty cell AND IMMEDIATELY UNDERSTANDS WHAT HAS + HAPPENED. + + KYLO REN + NO! + + Enraged, he RIPS OUT HIS SABER and -- + + +183 EXT. STARKILLER BASE - CORRIDOR 1 - DAY 183 + + WIDE ANGLE, empty corridor, toward the cell: we only HEAR + the horrible SOUNDS. DESTRUCTION. YELLING. A few pieces of + red hot DEBRIS BOUNCES into the corridor. + + Two STORMTROOPERS, crossing at the far end of the hall, + STOP TO WATCH this display of pure FURY. They retreat, and + fast. + 95. + + +184 INT. STARKILLER BASE - CONTROL ROOM - DAY 184 + + Workers at their controls. Vast snowy landscape seen + outside. + + Their GAUGES RISE, THE WEAPON CHARGING SLOWLY. + + GENERAL HUX + Begin charging the weapon! + + STARKILLER TECHNICIAN + Yes, sir. Weapon charging. + + +185 EXT. STARKILLER BASE PLANET - DAY 185 + + A vast view of the planet a MASSIVE SOLARVAC ARRAY + surrounds a port TEN MILES IN DIAMETER. + + MILLIONS OF PANELS turn on the ARRAY, a wave of BRILLIANT + REFLECTIONS. Suddenly, like a planetary-scale TESLA COIL + LINE OF ENERGY, THE POWER OF THE SUN begins to TRAVEL DOWN + to the Starkiller Base planet. + + +186 INT. RESISTANCE BASE - DAY 186 + + Finn, now a member of the inner circle of the Resistance, + is huddled with the group around the MAP TABLE, which + displays a WIREFRAME HOLOGRAM of a ROLLING VIEW OF THE + SURFACE OF STARKILLER BASE. With Finn are Han, Leia, Poe, + C-3PO, Statura, Ackbar, Brance, SNAP, MAJOR EMATT (60), + NIEN NUNB, and others. An urgent, messy strategy session -- + + POE + The scan data from Snap's + reconnaissance flight confirms + Finn's report. + + SNAP + They've somehow created a hyper + lightspeed weapon built within the + planet itself. + + BRANCE + A laser cannon? + + SNAP + We're not sure how to describe a + weapon of this scale. + + MAJOR EMATT + (horrible memories) + 96. + + + It's another Death Star. + + POE + I wish that were the case, Major. + +Poe hits a control. A WIREFRAME OF THE DEATH STAR APPEARS. + + POE + This was the Death Star. + +Poe hits another control, the Death Star SHRINKS AND +SHRINKS AND SHRINKS, as the SURFACE AREA OF THE STARKILLER +BASE IS DRAWN INTO A LARGER IMAGE, REVEALING THE ENTIRE +BASE PLANET. + +The Death Star is a minuscule SATELLITE in comparison. + + POE + This is Starkiller Base. + +This is news to many here, and they're stunned. + + HAN + So it's big. + + ADMIRAL ACKBAR + How is it possible to power a + weapon of this size? + + FINN + It uses the power of the sun. As + the weapon is charged, the sun is + drained until it disappears. + +An OFFICER runs up, hands Leia a DATACARD. + + LEIA + (eyes on datacard) + The First Order: they're charging + the weapon again, now. + (then, heart sinking) + Our system is the next target. C- + 3PO Oh my. Without the Republic + fleet, we're doomed. + +They all react to this horrible news. + + HAN + Okay, how do we blow it up? + (all eyes on him) + There's always a way to do that. + 97. + + +But no one has anything. Leia watches the silence, +frustrated. Finally, rallying them: + + LEIA + Han's right. + +Han is surprised. + + ADMIRAL STATURA + (at first hesitant) + In order for that amount of power + to be contained, that base would + need some kind of thermal + oscillator-- + + FINN + There is one. + +All eyes on Finn as he moves around the hologram to a +location on the Starkiller Base it is ZOOMED IN: A GIANT +BLACK HEXAGONAL STRUCTURE. + + FINN + Precinct 47. Here. + + ADMIRAL STATURA + (hypothesizing) + If we can destroy that oscillator, + it might de-stabilize the core and + cripple the weapon. + + MAJOR EMATT + -- Maybe the planet. + +Poe then tries to bolster spirits, looking at the BIG +HEXAGONAL STRUCTURE: the Oscillator. + + POE + We'll go in there and we'll hit + that oscillator with everything we + got. + + ADMIRAL ACKBAR + They have defensive shields that + our ships cannot penetrate. + + HAN + We disable the shields. + (to Finn) + Kid, you worked there, what do you + got? + + FINN + 98. + + + (beat, then:) + I can do it. + + HAN + I like this guy. + + FINN + I can disable the shields. But I + have to be there, on the planet-- + + HAN + We'll get you there. + + LEIA + Han, how? + + HAN + If I told you, you wouldn't like + it. + + POE + So we disable the shields, take out + the oscillator and we blow up their + big gun. All right. Let's go! + + And everyone splits. + + +187 EXT. HANGARS, RESISTANCE BASE - DAY 187 + + SERIES OF SHOTS: THE RESISTANCE FLEET PREPARES FOR ITS + MISSION. Pilots inspect crafts, including Snap, Nien Nunb, + and Poe at his black-marked X-wing. Mechanics make + adjustments as Crews fuel the jets. + + Ground controllers move ships into takeoff formation. + Pilots prep their ships, including BB-8, who is PULLED INTO + Poe's black X-wing. Finn approaches Poe wearing the jacket. + Poe slaps Finn's shoulder as he heads off. Finn watches + Poe, despite it all, a little laugh. Over this: + + +188 EXT. RESISTANCE BASE - DAY 188 + + Chewie and Finn follow Han's orders as they prepare the + Falcon for one more daring run, maybe its last: + + HAN + Chewie, check that donal capitator. + Come on. Let's go. -- Finn, be + careful with those - they're + explosives. + 99. + + + FINN + Now you tell me? + + LEIA + No matter how much we fought, I've + always hated watching you leave. + + Han looks over, there's Leia. + + HAN + That's what I did it. So you'd miss + me. + + She laughs, moves up close to him. + + LEIA + I did miss you. + + He looks at her, says sweetly, out of the blue: + + HAN + It wasn't all bad, was it? Huh? + Some of it was--good. + + LEIA + -- Pretty good. + + HAN + Some things never change. + + LEIA + (smiles) + True. You still drive me crazy. + + Han places his hands on her shoulders. It could be thirty + years ago. They both know there's a good chance he won't + make it back. They pull each other tight, holding for dear + life. + + Quietly, longingly: + + LEIA + If you see our son again, bring him + home. + + +189 INT. STARKILLER BASE - DAY 189 + + STORMTROOPER + Sir, sensors triggered in hangar + 718. We're searching the area. + + KYLO REN + 100. + + + She's just beginning to test her + powers. The longer it takes to find + her, the more dangerous she + becomes. + + Kylo exits. + + +190 INT. STARKILLER BASE - ATRIUM AREA - DAY 190 + + TIGHT ON REY'S FACE as she peers nervously around a corner. + + Rey runs down a long, glossy hall, taking cover in an + alcove, the Trooper Guard's rifle HELD TIGHT. + + +191 EXT. LIGHTSPEED SPACE - DAY 191 + + The Falcon SCREAMS PAST -- + + +192 INT. MILLENNIUM FALCON - COCKPIT - DAY 192 + + Flying at LIGHTSPEED, Finn, with Han and Chewie. + + FINN + How are we getting in? + + HAN + Their shields have a fractional + refresh rate. Keeps anything + traveling slower than lightspeed + from getting through. + + Finn is suddenly filled with dread. + + FINN + We're gonna make our landing + approach at lightspeed?! + + Chewie, thinking it's crazy too, says: HELL YES WE ARE! + + HAN + Alright, Chewie, get ready. + + Chewie GROANS: he's ready. Han studies the PANEL + INDICATORS. + + HAN + And Now! + + Chewie and Han hit switches -- + 101. + + +193 EXT. LIGHTSPEED SPACE - STARKILLER BASE - DAY 193 + + The Falcon's ENVIRONMENT SHIFTS INSTANTLY FROM LIGHTSPEED + TO PLANET ATMOSPHERE, it's suddenly FLYING 100 FEET ABOVE + THE SNOWY, ROCKY GROUND, HEADED FOR A THICK FOREST! + + +194 INT. MILLENNIUM FALCON - COCKPIT - DAY 194 + + Chewie GROANS: + + HAN + I AM PULLING UP!!! + + +195 EXT. STARKILLER BASE - DAY 195 + + But the Falcon has no time, it PLOWS through the trees! It + then RISES -- + + +196 INT. MILLENNIUM FALCON - COCKPIT - DAY 196 + + ALARMS BLARE as the ship SLAMS THROUGH BRANCHES, SHOOTS + TOWARD SKY! Han does his best to steer, Chewie GROANS, in + the madness Han YELLS: + + HAN + I get any higher, they'll see us! + + And the ship DIVES again, back into the trees! + + +197 EXT. STARKILLER BASE - CLEARING - DAY 197 + + A quiet CLEARING on the forest TREELINE. + + Suddenly the MILLENNIUM FALCON HURTLES OUT OF THE FOREST! + + From an eruption of BRANCHES and PINE, the ship DIVES, + SLAMS INTO THE SNOW! It DIGS THROUGH A THOUSAND YARDS OF + WHITE until it finally comes to a canted stop, half buried + in the snow! + + +198 INT. STARKILLER BASE - DAY 198 + + OFFICER + Sir, she was not found in hangar + 718 but all troops are on alert. + + KYLO REN + 102. + + + Put every hangar on lock-down. + She's going to try to steal a ship + to-- + + Suddenly, Kylo senses something. Something familiar. + + KYLO REN + Han Solo-- + + +199 EXT. STARKILLER BASE - DAY 199 + + MASSIVE WIDE SHOT of an EPIC SNOWSCAPE. Han, Finn and + Chewie cross the terrain. WALKERS appears on the horizon. + Han, Finn and Chewie take cover behind a base structure. + Chewie carries a BLACK DUFFEL of EXPLOSIVES. + + FINN + The flooding tunnels are over that + ridge. We'll get in that way. + + HAN + What was your job when you were + based here? + + FINN + Sanitation. + + HAN + Sanitation? Then how do you know + how to disable the shields? + + FINN + I don't. I'm just here to get Rey. + + HAN + People are counting on us! The + galaxy is counting on us--! + + FINN + Solo, we'll figure it out! We'll + use the Force! + + HAN + That's not how the Force works--! + + Chewie MOANTALKS. + + HAN + Oh really, you're cold? + + FINN + Come on! + 103. + + + They follow Finn on the snowy hike. On the horizon, THE + LASER SIPHON SHOOTING INTO THE SKY, SLOWLY SUCKING THE SUN + DRY. + + +200 INT. STARKILLER BASE - CONTROL ROOM - DAY 200 + + Technicians at work, the SUN SUCKING seen in the window + behind him. + + GENERAL HUX + Report. + + FIRST ORDER OFFICER + Weapon charged in fifteen minutes, + sir. + + +201 INT. STARKILLER BASE - CORRIDOR 4 - DAY 201 + + A STORMTROOPER waits to board a Transport Compartment. The + door WHOOSHES open, HAN, FINN and CHEWIE are there! + + STORMTROOPER FN-9330 + Hey! + + He fumbles for his blaster but Chewie shoots first. WIDE + ANGLE of the corridor as the Trooper flies back, dead. + Chewie drags him out of sight. Han and Finn peer around a + corner, wary. + + HAN + The longer we're here, less luck + we're going to have. The shields? + FINN I have an idea about that. + + Han and Chewie follow Finn. + + +202 INT. STARKILLER BASE - CORRIDOR - DAY 202 + + Captain Phasma heads down a corridor, distant + Stormtroopers. + + Suddenly Phasma is T-BONED HARD AND FAST, SHOVED OUT OF + FRAME BY CHEWIE! And now we're in a NARROW CROSS-CORRIDOR, + CHEWIE WITH HIS ARMS AROUND PHASMA, FORCED TO FACE FINN, + WHO HOLDS HIS BLASTER ON HIS FORMER CAPTAIN. Han stands + behind Finn. + + FINN + Remember me? + 104. + + + CAPTAIN PHASMA + FN-2187. + + FINN + Not anymore. The name's Finn, and + I'm in charge. I'm in charge now, + Phasma. I'm in charge. + + HAN + Bring it down. Bring it down. + + FINN + Follow me. + + FINN SMILES AS WE + + CUT TO: + + +203 INT. STARKILLER BASE - ATRIUM AREA - DAY 203 + + TIGHT ON REY'S FACE as she peers nervously around a corner. + + Rey runs down a long, glossy hall, taking cover in an + alcove, the Trooper Guard's rifle HELD TIGHT. + + From this alcove, she can see down another LONG, + PERPENDICULAR WALKWAY, on one side, a STONE AND STEEL WALL. + + On the other side, a VAST ATRIUM, with a railing-free DROP + OFF, the white pill-light design descending HUNDREDS OF + FEET. + + At the end of this walkway is an OPEN HANGAR DOOR, + revealing HUNDREDS OF TIE FIGHTERS parked outside. + + TIGHT on Rey's face as her plan is clear. But the problem: + between her and the ship she wants to steal, is a GROUP OF + STORMTROOPERS. Guards, in conversation. As she tries to + think about what to do next, we see, FAR BEHIND HER in the + + perpendicular hall, ANOTHER GROUP OF STORM and SNOWTROOPERS + headed her way! + + Rey's mind races, another peek out and she RUNS FAST, + across the walkway, and CLIMBS DOWN, her fingertips + disappearing over the edge just as the Troopers approach + and continue. + + WIDE SHOT as Rey holds on carefully as the guards walk off, + not seeing her over the edge, a death drop below her. + 105. + + + But then she SEES SOMETHING and has a brainstorm. She + strenuously cross-climbs to an invisible SERVICE HATCH, + which She opens, and climbs INSIDE THE WALL, closing the + hatch behind her. + + +204 INT. STARKILLER BASE - INSIDE THE WALLS - DAY 204 + + A REMARKABLE IMAGE, inside the inner workings of the base. + + Tiny by comparison, Rey climbs amid the incredible + infrastructure, a drop to infinity beneath her. She is + between the LIGHT SOURCE and the WHITE PILL SHAPES, as she + makes her way ACROSS. + + +205 INT. STARKILLER BASE - ATRIUM AREA - DAY 205 + + WIDE SHOT of the Stormtrooper GUARDS, above the drop off + into the atrium. What they cannot see is a SHADOWED + SILHOUETTE OF REY against the ENDLESS WHITE PILL LIGHTS as + she climbs across the space, beneath them, toward her exit! + + +206 INT. STARKILLER BASE - CONTROL ACCESS POINT - DAY 206 + + CLOSE AS PHASMA SITS INTO FRAME in front of a WORKSTATION, + Finn, Han and Chewie, blasters aimed. Phasma reluctantly + works controls on the workstation. + + FINN + You want me to blast that bucket + off your head? Lower the shields. + + CAPTAIN PHASMA + You're making a big mistake. + + FINN + Do it. + + Chewie MOAN/TALKS. Phasma hits a few more buttons, the + controls BEEP-CLICK. "SHIELDS DISABLE INITIATE". Eyes on + the workstation: + + FINN + Solo, if this works, we're not + going to have a lot of time to find + Rey. + + HAN + Don't worry kid, we won't leave + here without her. + 106. + + + The controls BEEP-CLICK. "SHIELDS DISABLED". + + CAPTAIN PHASMA + (to Finn, cruel) + You can't be so stupid as to think + this will be easy. My troops will + storm this block and kill you all. + + FINN + I disagree. What do we do with her? + + HAN + Is there a garbage chute? Trash + compactor? + + FINN + Yeah, there is-- + + +207 INT. RESISTANCE BASE - DAY 207 + + An ALERT: OFFICERS at their consoles, OVERLAPPING, urgent. + + OFFICER + General, their shields are down! + + C-3PO + Thank the Maker! + + LEIA + Han did it! Send them in! + + ADMIRAL STATURA + Give Poe full authorization to + attack. + + REAR ADMIRAL GULCH + Black Leader, go to sub-lights. On + your call. + + +208 INT. X-WING - DAY 208 + + At LIGHTSPEED, Poe pilots: + + POE + Roger, base -- red squad, blue + squad, take my lead. + + +209 INT. X-WING - DAY 209 + + Nien Nunb pilots, acknowledges order in alien language. + 107. + + +210 INT. X-WING - DAY 210 + + Another pilot, ZOLO ZIFF. + + YOLO ZIFF + Dropping out of lightspeed. + + +211 EXT. SPACE - STARKILLER BASE - DAY 211 + + With CONCUSSIVE BLASTS, the X-WINGS APPEAR and ROAR PAST + CAMERA toward the Starkiller Base planet! + + +212 EXT. STARKILLER BASE - CLEARING - DAY 212 + + The CRASHED FALCON, two parked TIE FIGHTERS and a TROOP + TRANSPORT VEHICLE beside it. + + +213 EXT. STARKILLER BASE - CLEARING - DAY 213 + + At a distance, the X-WINGS DROP FROM THE SKY, TOWARD THE + HEXAGONAL OSCILLATOR STRUCTURE IN THE DISTANCE! + + +214 EXT. STARKILLER BASE - ABOVE OSCILLATOR - DAY 214 + + The squad of X-wings DIVE BOMBS the Oscillator, the Black + Falcon leads. INTERCUT BETWEEN THIS AND VARIOUS X-WINGS. + + +215 INT. X-WING - DAY 215 + + Poe pilots: + + POE + Almost in range! Hit the target + dead center, as many runs as we can + get! + + +216 INT. X-WING - DAY 216 + + Snap pilots. + + SNAP + Approaching target. + + +217 INT. X-WING - DAY 217 + 108. + + + Nien Nunb acknowledges. + + +218 INT. STARKILLER BASE - CONTROL ROOM - DAY 218 + + LARGE EXPLOSIONS atop the DISTANT OSCILLATOR, seen through + the large windows! ALARMS BLARE in here, we PULL BACK as + Hux moves quickly to see the damage, he turns sharply to a + First Order Officer: + + GENERAL HUX + Dispatch all squadrons-- + + COLONEL DATOO + Yes, General. + + +219 INT. X-WING - DAY 219 + + POE + Let's light it up! + + DIVE BOMBING THE OSCILLATOR, HITTING IT DEAD CENTER IN + QUICK SUCCESSION! + + +220 INT. X-WING - DAY 220 + + LT. BASTIAN + Direct hit! + + ELLO ASTY + But no damage! + + Jess reacts. + + POE + Yeah, we gotta keep hitting it! + Another bombing run! Remember, when + that sun is gone, that weapon will + be ready to fire! But as long as + there's light, we got a chance. + + +221 INT. X-WING - DAY 221 + + A BEEPING from BB-8, riding in the back of his X-wing, and + Poe looks out, can't believe what he's seeing: DOZENS OF + TIE + + +222 FIGHTERS! 222 + 109. + + + POE + Guys, we got a lot of company! + + +223 INT. STARKILLER BASE - JUNCTION AREA - DAY 223 + + Finn, Han and Chewie take cover, Chewie pulling some + EXPLOSIVES out of the duffel. Blast doors nearby. + + FINN + We'll use the charges to blow that + blast door. I'll go in and draw + fire, but I'm gonna need cover. + + HAN + You sure you're up for this? + + FINN + Hell no -- I'll go in find and try + to find Rey -- + (improvising, fast) + -- The troopers'll be on our tail. + We have to be ready for that. + There's an access tunnel that'll + leads -- + (Han starts pointing) + with his chin to something behind + Finn) Why are you doing that? Why + are you doing -- this? I'm trying + to come up with a plan. + + Finn turns AND SEES REY, CLIMBING OUT FROM INSIDE THE WALL, + carefully climbing back up to the main level! He can't + believe it! Chewie MURMURS his relief. Han is maybe more + grateful than anyone. + + +224 INT. RESISTANCE BASE - DAY 224 + + A Resistance Technician turns to Leia: + + ADMIRAL ACKBAR + The Oscillator's still standing. + OFFICER X-wings coming back for + another round of attacks! + + +225 INT. STARKILLER BASE - CORRIDOR 6 - DAY 225 + + Rey climbs up to the corridor, vigilant. She hears a SOUND, + SWOOPS her rifle at Finn, Han and Chewie! She cannot + believe it! All Finn wants to do is hug her and she him. + 110. + + + HAN + Are you all right? + + REY + Yeah. + + HAN + Good. + + FINN + What happened -- did he hurt you? + + REY + Finn. What are you doing here?! + + FINN + We came back for you. + + She is speechless, this is all she's ever wanted anyone to + do. Chewie TALKS and Rey's eyes nearly tear up. + + FINN + What'd he say? + + REY + (shrugs, smiles, though + nearly in tears) + -- That it was your idea. + + Finn awkwardly smiles. It's his nature. They embrace. + + REY + Thank you. + + FINN + How did you get away? + + REY + I can't explain it. And you + wouldn't believe it. + + HAN + Escape now. Hug later. + + +226 EXT. STARKILLER BASE - DAY 226 + + The X-Wings DOGFIGHT with the TIE Fighters on the surface + of the snowy planet. INTERCUT BETWEEN the ships SCREAMING + past each other, and the COCKPITS of the Resistance and + First Order fighters. Poe's fighter NEARLY COLLIDES with a + close-passing TIE Fighter! + 111. + + + SNAP + I got one behind me. See it? + + JESS + Yeah, I'm on it! + + A heavy cannon emplacement launches a missile that shreds + an X-wing fighter. + + JESS + Furillo's been hit! + + SNAP + Watch out for ground fire! + + +227 EXT. STARKILLER BASE - DAY 227 + + The X-wings ROAR across the sky, BLASTING and DODGING the + TIE Fighters and missiles. PULL BACK TO REVEAL Han, Finn, + Rey and Chewie, who run out here, into the snow, stopping, + eyes on the sky, watching the lop-sided battle. THE FOUR + HEROES TURN TO EACH OTHER, RESOLVE IN THEIR EYES. A long + moment of communication. + + HAN + They're in trouble. We can't leave. + (to Finn, re: Chewie) + My friend here has a bag full of + explosives. Let's use 'em. + + +228 INT. RESISTANCE BASE - DAY 228 + + A Resistance Technician turns to Leia: + + KAYDEL KO CONNIX + General, are you seeing this? + + VOBER DAND + Two more X-wings down. That's half + our fleet destroyed. C-3PO And + their weapon will be fully charged + in 10 minutes! It would take a + miracle to save us now. + + +229 INT. STARKILLER BASE - OSCILLATOR STRUCTURE - NEAR DARKNESS 229 + 112. + + + Han and Chewie arrive here to find THREE SECURITY + STORMTROOPERS approaching a Maintenance Hatch. Instantly, + Chewie takes out the middle one with his Bowcaster. Han and + the other two Stormtroopers OPEN FIRE, but Han's aim is + true. + + ALARMS START BLARING! + + +230 INT. JUNCTION STATION - NEAR DARKNESS 230 + + Running inside from a parked snowspeeder, Rey opens a + service hatch. Finn behind her, as she reaches into the + mechanics of the place, very much like the very first shot + we saw of Rey. + + And she YANKS a piece of TECH from the machinery and: + + +231 INT. STARKILLER BASE - OSCILLATOR STRUCTURE - NEAR DARKNESS 231 + + The HATCH OPENS! Han and Chewie, having been on the + lookout, step inside, weapons poised. Chewie MOANS. + + HAN + That girl knows her stuff. + + +232 INT. STARKILLER BASE - OSCILLATOR STRUCTURE - NEAR DARKNESS 232 + + Han and Chewie divide the explosives. Talk in hushed tones. + + HAN + We'll set the charges at every + other column. + + He GROAN/TALKS to Han, who looks around, reconsiders. + + HAN + You're right. That's a better idea. + (checks his detonator) + You take the top. + (Chewie does) + I'll go down below. Detonator. + We'll meet back here. + + They head off in opposite directions. + + +233 INT. OSCILLATOR STRUCTURE - NEAR DARKNESS 233 + 113. + + + Han finishes placing an explosive. Checks he's all-clear + and hurries down to the next level. Chewie climbs up a + level. + + +234 INT. OSCILLATOR STRUCTURE - MAIN ENTRANCE - NEAR DARKNESS 234 + + A SQUAD of Stormtroopers SNAP to alert as Kylo Ren + approaches. CONTROLS ARE HIT and the huge DOOR OPENS. + Without hesitation, Kylo walks INTO THE OSCILLATOR. + + +235 INT. OSCILLATOR STRUCTURE - NEAR DARKNESS 235 + + A COLOSSAL CYLINDRICAL STRUCTURE. DARK CORRIDORS and + CATWALKS. Kylo Ren comes to a stop. Scans the structure. + + SENSING SOMETHING, he motions the Stormtrooper Squad + upwards. + + KYLO REN + Find them. + + They rush past him. Kylo Ren turns slowly, and HEADS DOWN. + + +236 INT. STARKILLER BASE - OSCILLATOR STRUCTURE - NEAR DARKNESS 236 + + The Stormtroopers move up the ramp, weapons ready, checking + carefully where blind corners intersect from the perimeter. + + They come round to the next higher level and PASS CLOSE TO + CAMERA. When they've passed, TILT to find CHEWIE, in the + shadows of the grillwork. + + Once they're gone, he plants another charge. + + +237 EXT. STARKILLER BASE - OSCILLATOR STRUCTURE - NEAR DARKNESS 237 + + The Snowspeeder comes to a stop outside the structure. Finn + and Rey stop for a moment, look to the sky: THE SUN IS + NEARLY GONE. + + +238 INT. OSCILLATOR STRUCTURE - LOWER LEVEL - NIGHT 238 + + Han finishes setting a charge and is about to move on when + he HEARS SOMETHING and conceals himself behind a wide, + vertical support. He peaks around the edge and his whole + demeanor changes HAN'S POV: Kylo Ren appears and stops at + the railing, looking down into the filter. + 114. + + +Han looks at his son with a tortured storm of feelings. +WE'RE WITH KYLO REN as he resumes his hunt. He heads +directly toward WHERE HAN IS HIDING! + +Kylo Ren has an INCREASING SENSE OF HAN'S PRESENCE as he +moves closer. He comes to where Han was hiding, but HAN IS +NOWHERE TO BE SEEN. + +From his hiding place in a narrow, POWER CHAMBER in the +wall, HAN WATCHES HIS SON PASS ONLY A FEW FEET IN FRONT OF +HIM. Han SHIFTS HIS POSITION in the tight compartment, so +he can watch Ren's progress. + +Kylo Ren turns onto a FLAT BRIDGE THAT BISECTS the open +space. Unaware of his father, Kylo Ren walks purposefully +across to the opposite side. Han watches his son walk off, +the CLANK-CLANK of Kylo Ren's boots receding. + +This is Han's opportunity to escape but Leia's words echo +through his mind. He makes a decision and moves out, to the +edge of the catwalk. He calls out, strongly: + + HAN + Ben! + +The name ECHOES as Kylo Ren STOPS, far across the vast +catwalk. He turns. + + KYLO REN + Han Solo. I've been waiting for + this day for a long time. + +Finn and Rey make their way into the space, opening a HATCH +that allows A BEAM OF PRECIOUS SUNLIGHT to stream down like +a spotlight on Han and his son. Finn and Rey get to a +railing and look down. They can SEE and HEAR Han and Kylo +Ren on the catwalk below. + + HAN + Take off that mask. You don't need + it. + + KYLO REN + What do you think you'll see if I + do? + +Han moves toward Kylo Ren. + + HAN + The face of my son. + +Kylo TAKES OFF HIS MASK. Han is JOLTED, seeing the face of +his son for the first time as a man. + 115. + + + KYLO REN + Your son is gone. He was weak and + foolish, like his father. So I + destroyed him. + + HAN + That's what Snoke wants you to + believe but it's not true. My son + is alive. + + SEVERAL LEVELS BELOW them, CHEWIE comes to the rail to + watch. + + +239 INT. OSCILLATOR STRUCTURE - LOWER LEVEL - NEAR DARKNESS 239 + + Kylo flares. + + KYLO REN + No. The Supreme Leader is wise. + + UP ABOVE, Finn, Chewie and Rey watch, rapt. Stormtroopers + dot the perimeter of the structure, watching the scene. ON + THE BRIDGE, Han moves closer, stern: + + HAN + Snoke is using you for your power. + When he gets what he wants, he'll + crush you -- you know it's true. + + Kylo hesitates. Somehow, he does know it. + + KYLO REN + It's too late. + + HAN + No it's not. Leave here with me. + Come home. We miss you. + + For the first time, Kylo Ren seems truly conflicted. Tears + flood his stoic eyes-- + + KYLO REN + I'm being torn apart. I want to be + free of this pain. + + +240 INT. OSCILLATOR STRUCTURE - DARKNESS FALLS 240 + + Han takes one step toward his son, but stops himself. + + KYLO REN + 116. + + + I know what I have to do, but I + don't know if I have the strength + to do it. Will you help me? + + Han hears his son's voice again, pained and vulnerable. + + HAN + Yes. Anything. + + Kylo Ren unholsters his lightsaber and SLOWLY EXTENDS IT to + Han, within a foot of Han's chest. Han almost can't believe + it. The moment seems to last forever. + + And just then, the LAST BEAM OF SUNLIGHT streaming through + the open hatch VANISHES. Han actually smiles and reaches + out for the dark weapon, but with the light now gone, KYLO + REN'S EYES FILL WITH DARKNESS, HE IGNITES THE LIGHTSABER, + THE FIERY BLADE SHOOTS OUT, RIGHT THROUGH HAN'S CHEST AND + BACK! + + KYLO REN + Thank you. + + ABOVE, Finn and Rey GASP, SCREAM. + + FINN + (Panting) + Solo. REY + (also panting) + No, no. + + Han's last moment is looking into his son's face. + + HAN'S KNEES BUCKLE. The blade tilts down with him-- until + KYLO REN EXTINGUISHES IT AND HAN HOLDS onto the catwalk, + his life slipping away. + + Finally Han FALLS BACK, OFF THE CATWALK, INTO THE DEPTHS OF + THE STRUCTURE! + + +241 INT. RESISTANCE BASE - DAY 241 + + Leia, feeling it instantly knowing, drops into a seat, + DEVASTATED. + + +242 INT. OSCILLATOR STRUCTURE - NIGHT 242 + + Kylo Ren is somehow WEAKENED by this wicked act. Himself + horrified. + + His SHOCK is broken only when CHEWIE CRIES OUT IN AGONY! + 117. + + + Chewie furiously FIRES AT KYLO REN, HITTING HIM IN THE + SIDE! + + Kylo Ren falls back, stunned. + + Our MUSIC TAKES OVER, EPIC AND HEARTBREAKING as + Stormtroopers FIRE AT CHEWIE, who is forced to retreat down + a corridor, where he holds the EXPLOSIVE REMOTE, he PUSHES + THE BUTTON! + + Hearing ONLY OUR SCORE, FIRST ONE, then TWO, then FOUR, + then SIX EXPLOSIONS rock the structure CATWALKS FALL as the + walls CAVE IN! + + Kylo Ren SEES REY AND FINN, WATCHING THE EXPLOSIONS IN + SHOCK, then they SEE KYLO REN, WHO RECOGNIZES THEM BOTH, + WITH ASTONISHMENT. + + He rises to his full height and heads for them with long + strides. Stormtroopers begin to BLAST AWAY AT REY AND FINN! + + CRAZED, REY FIRES BACK AS BLASTS HIT AROUND HER. FINN WRAPS + AN ARM AROUND HER AND DRAGS - CARRIES HER OUT OF SIGHT! + + +243 INT. RESISTANCE BASE - DAY 243 + + ADMIRAL ACKBAR + The Oscillator's been damaged but + is still functional. + + COMMODORE META reacts. + + OFFICER TABALA ZO + Admiral, their weapon will fire in + two minutes. + + +244 EXT. FOREST - NIGHT 244 + + From a distance the oscillator is ablaze and fractured from + the explosives. Then Rey and Finn appear, coming over a + rising, running into a bare-tree snowy forest. + + FINN + The Falcon's this way. + + Finn and Rey, overcome with emotion, race through the snowy + forest until Finn SLOWS AND STOPS. Rey stops too, both out + of breath. They look at each other. They both know: they + can't run. + 118. + + +245 EXT. STARKILLER BASE - FOREST - NIGHT 245 + + Kylo Ren moves through the trees until he STOPS. Takes out + the saber, ignites it. A still figure amidst the gusts of + wind and snow. STANDING THIRTY FEET AWAY, FACING HIM, ARE + FINN AND REY. Finn holds LUKE'S LIGHTSABER, Rey the + Stormtrooper BLASTER. + + KYLO REN + We're not done yet. + + REY + You're a monster! + + KYLO REN + It's just us now. Han Solo can't + save you. + + After a beat, Rey moves forward with the blaster AIMS IT! + + Kylo Ren RAISES A HAND, Rey struggles under his FORCE + POWER, she can't fire, he strains too, especially with the + WOUND Chewie inflicted. + + Kylo Ren GESTURES POWERFULLY, Rey's BLASTER FLIES OUT OF + HER HAND, another GESTURE and Rey FLIES BACK and SLAMS INTO + A TREE thirty feet away! + + She drops LANDS HARD in the snow. Dazed, hurt. + + FINN + Rey! Rey! Rey-- Rey-- Oh no. Oh no + no no-- + + Finn turns to her, afraid and concerned. But the SOUND OF + KYLO REN'S LIGHTSABER moving makes Finn TURN BACK TO KYLO + REN, lit by the glowing YELLOW AND RED BLADE. + + KYLO REN + TRAITOR! + + In reply, Finn TURNS ON LUKE'S LIGHTSABER upon seeing the + weapon, Kylo Ren REACTS IN SHOCK. + + KYLO REN + That lightsaber. It belongs to me! + + FINN + Come get it. + + Despite his fear, Finn raises his blade in welcome. Kylo + Ren CHARGES at him, Finn terrified, Kylo Ren LUNGES but + Finn DEFLECTS Ren's SPARK-SPITTING blade! + 119. + + + Kylo Ren TURNS, ATTACKS, CUTS, amazingly Finn BLOCKS, + COUNTER-ATTACKS, clearly IMPRESSES KYLO REN, who only + enjoys this challenge more! + + Rey RECOVERS, gets her bearings. Her eyes focus on the two + men fighting, through the trees. Kylo Ren is obviously + hampered by his wound, yet he attacks with a primal + SAVAGERY. + + Finn BLOCKS, turning DEFENSIVE moves into OFFENSIVE ones. + And he ACTUALLY GETS A HIT IN! LUKE'S SABER GRAZING KYLO + REN'S ARM! + + Kylo MOVES BACK wounded, but more enraged than weakened. + Kylo Ren CHARGES AGAIN, their WEAPONS POUND, SPARKS FLY, + their blades LOCK, the men are CLOSE, LIT BY the powerful, + CRASHING sabers: And Kylo Ren PUSHES FINN BACK, attacks + with pure ferocity, Finn is stunned, unprepared for this + fierceness. + + Rey sees this, Kylo Ren unleashes a MERCILESS SERIES OF + BLOWS, pushing Finn further and further back until he loses + balance. + + That's when KYLO REN STRIKES: HE LANDS A BLOW TO FINN'S + TORSO, LUKE'S LIGHTSABER FLIES FROM FINN'S HAND, THROWN + TWENTY FEET! + + Kylo Ren TURNS OFF HIS LIGHTSABER and REACHES FOR LUKE'S + LIGHTSABER, BECKONING IT WITH THE FORCE. LUKE'S LIGHTSABER + VIBRATES IN THE SNOW. + + Kylo Ren GESTURES, INCREASES HIS POWER, LUKE'S LIGHTSABER + FINALLY FLIES OUT OF THE SNOW, BULLETS TOWARD KYLO REN AND + SPEEDS PAST HIM! + + KYLO REN TURNS TO SEE LUKE'S LIGHTSABER LAND IN THE HAND OF + REY, WHO STANDS, FACING HIM, HAVING REACHED FOR IT HERSELF, + BUT UTTERLY STUNNED THAT IT LANDED IN HER HAND! SHE IS + SHOCKED AND SO IS KYLO REN! + + Holding it with both hands, SHE IGNITES LUKE'S LIGHTSABER + FOR THE FIRST TIME, HER EYES BLAZING. Kylo Ren IGNITES HIS + SABER. + + It's REY who charges now, Kylo Ren immediately on the + defensive. They BATTLE POWERFULLY, he is clearly rocked by + her raw, innate skill. + + +246 INT. X-WING - NIGHT 246 + + NIV LEK + 120. + + + We just lost R-1! + + JESS + We're overwhelmed! What do we do? + It isn't working! + + Another pilot looks down, SEES THE EXPLOSION, coming from + the OSCILLATOR. Relatively small, it's an opening: + + YOLO ZIFF + Black Leader, there's a brand new + hole in that oscillator. Looks like + our friends got in! + + POE + Red Four! Red Six! Cover us! + + LT. BASTIAN + I'm on it! + + ELLO ASTY + Roger! + + POE + Everybody else, hit the target + hard! Give it everything you got! + + And the X-WINGS DIVE and BLAST the OSCILLATOR. + + +247 EXT. STARKILLER BASE - OSCILLATOR - NIGHT 247 + + Another two X-wings, including Poe's, soar through the + trench leading to the oscillator structure! + + POE + I need some help here! I need some + help! + + LT. BASTIAN + I'm coming in! + + JESS + Watch out! + + ELLO ASTY + I'm hit! + + The alien pilot's X-wing is blasted to pieces. + + POE + All teams - I'm going in! Pull up + and cover me! + 121. + + + NIV LEK + Copy that, Black Leader! Good luck, + Poe! + + The trailing X-wings peel off as Poe's black fighter darts + into the fiery breach. + + +248 INT. STARKILLER BASE - CONTROL ROOM - NEAR DARKNESS 248 + + Outside, the SUN ALMOST COMPLETELY GONE, PULL BACK THROUGH + THE WINDOW TO REVEAL A STARKILLER TECHNICIAN: + + STARKILLER TECHNICIAN + Weapon at full capacity in thirty + seconds. + + GENERAL HUX + Prepare to fire. + + +249 EXT. STARKILLER BASE - OSCILLATOR - NIGHT 249 + + Poe's X-wing weaves through the breach. A pursuing TIE + fighter does not clear the gap, leaving Poe to circle the + interior of the unguarded structure, firing volley after + volley of torpedoes. + + +250 EXT. STARKILLER BASE - OSCILLATOR - NIGHT 250 + + The remaining X-Wings including Poe's, BLAST the place and + the structure begins to CRATER, deep underground + EXPLOSIONS! + + +251 EXT. FOREST - NIGHT 251 + + Amid the BARE WHITE TREES, ONLY TWO LIGHTSABERS, LUKE'S + BLUE AND REN'S YELLOW-RED ILLUMINATE the FLURRIES OF SNOW + as Rey and Kylo Ren BATTLE HARD. + + She seems to be, impossibly, STRONGER THAN HE IS for half a + dozen blows until he FINDS HIS STRENGTH and FIGHTS BACK, + MOVING FORWARD and PUSHING REY BACK, into the forest. + + Suddenly a COLOSSAL CHUNK OF THE FOREST RIGHT BEHIND REY + DROPS AWAY! Rey is suddenly fighting on the EDGE OF A + MASSIVE, BRAND NEW CLIFF! + + KYLO REN + You need a teacher! I can show you + the ways of the Force! + 122. + + + REY + The Force. + + Rey closes her eyes for a long beat. When Rey opens them, + she is centered, fortified, and she POUNDS BACK, SINGLE + HANDED SWIPES, hitting Ren's gnarly, spitting saber with + incredible FORCE. + + It's so fast now, so furious, that Kylo Ren FALLS BACK. + + She ATTACKS HARDER! Ren gets up again but she HITS HIS + SABER'S HILT, HIS BLADE GOES FLYING OFF, TUMBLING INTO THE + SNOW and she SLASHES AGAIN AND AGAIN AND HITS KYLO REN + SQUARE IN THE HEAD AND CHEST. + + HE GOES DOWN, SUDDENLY A FEARFUL MAN, A LARGE BURN SCAR + SLASHED ACROSS HIS FACE! He still reaches for his saber. + And she could kill him, right now, with ONE VICIOUS STRIKE! + But she stops. Realizing she stands on a greater edge than + even the cliff, the edge of the dark side. The earth + SHAKES. The earth splits. A gully forms. + + +252 INT. STARKILLER BASE - CONTROL ROOM - NIGHT 252 + + The area where the RALLY was held is now COLLAPSING into a + giant sinkhole! We WHIP PAN to a YOUNG TECHNICIAN, who + watches this out the control room window in horror. He + hurries off, passing COLONEL DATOO, who admonishes: + + COLONEL DATOO + Lieutenant, get back to your + station! + + YOUNG TECHNICIAN + (stops, fleetingly) + Just look. We won't survive -- even + Hux has gone! + + As he hurries off, WE HEAR: + + GENERAL HUX (V.O.) + Supreme Leader. + + +253 INT. STARKILLER BASE - ASSEMBLY ROOM - NIGHT 253 + + Hux stands before SNOKE'S IMAGE. Relative quiet here, but + distant SOUNDS OF DESTRUCTION. Hux tries to keep it + together but is horrified, heartsick: + + GENERAL HUX + 123. + + + The fuel cells have ruptured. The + collapse of the planet has begun. + + Snoke takes this in. Furious, desolate-- knowing. + + SNOKE + Leave the base at once and come to + me with Kylo Ren. + (grim) + It is time to complete his + training. + + +254 EXT. FOREST - NIGHT 254 + + Rey turns, runs a hundred feet through the forest to: FINN, + who lies, near death, not far from where the GROUND FELL + AWAY. Rey falls to her knees near him, turns him over, sees + his cauterized but possibly fatal wound. + + REY + Finn! Finn-- + + Tears come to her eyes as she lifts him, holds his lifeless + body in her arms. Snow flurries around them as she cries, + holding this boy who she just met, who she already adores. + + They are left here to die, nearby MORE TREES DROP as the + planet continues to COLLAPSE. And just as it seems like all + is lost-- + + Her wet eyes look up to see: LIGHTS RISE FROM THE NEWLY- + FORMED CANYON, IT'S A SHIP WE KNOW, IT'S THE MILLENNIUM + FALCON and its lights ILLUMINATE REY, WHOSE FACE FILLS WITH + HOPE! CHEWIE IS AT THE CONTROLS. He ROARS to them! + + +255 EXT. FALCON - NIGHT 255 + + Chewie exits the ship. MOMENTS LATER Chewie CARRIES FINN up + the ramp. Rey hurries with them back into the ship -- + + +256 INT. FALCON - NIGHT 256 + + Chewie carries Finn inside, followed by Rey. + + +257 EXT. SPACE - NIGHT 257 + + And we FLY WITH THE FALCON as it leaves the planet, we can + see CHEWIE AND REY PILOTING, the COLLAPSING PLANET BEHIND + US. + 124. + + + The Resistance X-wings, led by Poe, follow the Falcon. + + +258 INT. X-WING - NIGHT 258 + + POE + All teams! I got eyes on them! + + SNAP + Yes! + + The X-wings ROAR OFF, skyward as the MUSIC SOARS, the + PLANET IMPLODES, THE SUNLIGHT IT CONTAINS BURSTS FORTH, and + as we get further and further distance from what was + Starkiller Base, we witness the REBIRTH OF A SUN. Light + restored to a corner of the galaxy. The Millennium Falcon + and the X-wings RIP THROUGH SPACE, headed home. + + POE + Our job's done here. Let's go home! + + +259 EXT. D'QAR - DAY 259 + + ESTABLISHING SHOT as the Falcon on the landing strip. + + +260 EXT. RESISTANCE BASE - DAY 260 + + The Falcon has landed among the remaining Resistance ships. + + Poe is there, watching as Chewie scuttles down the ramp + carrying an unconscious Finn. Medical Personnel and + Officers, meet them, usher them inside. + + MEDIC + Easy, easy. He's hurt. We've got a + heartbeat. + + Rey walks down the ramp and sees, for the first time, Leia. + + C-3PO and BB-8 behind her. The crowds are cheering. Rey is + so sad for Leia, so sorry. The two women move for each + other. + + And Leia takes Rey's face in her hands. Despite her + heartbreak, she is grateful. She embraces Rey. A mother's + embrace. Rey cries, too, in this emotional first meeting. + + +261 INT. RESISTANCE BASE - DAY 261 + 125. + + + Chewbacca sits quietly, as do many in the base, mourning + their losses. As BB-8 approaches R2-D2, the long dormant + droid suddenly stirs. The droids beep at each other. + + C-3PO + R2-D2! You've come back! You found + what? How dare you call me that! + (he swats R2-D2, who + continues beeping) + Find Master Luke how? Come, R2! We + must go tell the others at once! + + +262 INT. RESISTANCE BASE - DAY 262 + + Leia stands alone and in silence, heartbroken. + + C-3PO (O.S.) + General? Excuse me, General? + + Leia turns to see droids. + + C-3PO + R2-D2 may contain some much needed + good news. + + LEIA + Tell me. + + Rey stands with Leia, Poe C-3PO, BB-8 and a handful of + Resistance Officers. Suddenly R2-D2 PROJECTS A HOLOGRAM! A + LARGE NAVIGATIONAL MAP WITH A SPECIFIC MISSING CHUNK! BB-8 + BEEPS, Poe turns to him. + + POE + Yeah, all right, buddy, hold on -- + + Poe runs over, removes the ancient data device that Lor San + Tekka had given him from a base computer. He inserts it + back inside BB-8, who then PROJECTS HIS MAP which he + SHRINKS DOWN TO SIZE and the two droids MOVE SLIGHTLY + TOGETHER, THE TWO HOLOGRAMS UNITE, BB-8'S PIECE FILLING IN + R2-D2'S PERFECTLY! + + Everyone REACTS amazed -- + + C-3PO + Oh! The map! It is complete! + + LEIA + (hand on her heart) + -- Luke -- + 126. + + + Suddenly there are CHEERS AND EMBRACES. C-3PO leans down to + R2-D2 and says, quietly, sweetly: + + C-3PO + (to R2-D2) + Oh my dear friend. How I've missed + you. + + +263 INT. RESISTANCE BASE - I.C.U. - DAY 263 + + A NEW DAY. Finn, unconscious in an I.C.U. POD. His fate + uncertain. Rey sits with him. Deeply worried. Finally she + leans in, close to him. She kisses him and says, quietly, + despite her fear: + + REY + We'll see each other again. I + believe that. Thank you, my friend. + + +264 EXT. D'QAR - DAY 264 + + Chewie does last minute checks of the Falcon. Rey stands + with Leia a beat and then turns to head to the Falcon. As + Rey walks off, she hears Leia call out: + + LEIA + Rey. + + Rey turns around. + + LEIA + May the Force be with you. + + This fills Rey up. She smiles gratefully. Rey crosses to + the Falcon. + + +265 INT. MILLENNIUM FALCON - COCKPIT - DAY 265 + + Rey sits in the pilot seat, Chewie as co-pilot. Rey looks + at him compassionately. Rey FLICKS SWITCHES and -- + + +266 EXT. D'QAR - DAY 266 + + The Millennium Falcon RISES. Leia, with Poe, BB-8, and C- + 3PO (with his proper arm replaced), watches the next + generation of Jedi begin her journey. + + +267 EXT. SPACE - DAY 267 + 127. + + + The Falcon FLIES through space and BLASTS to LIGHTSPEED. + + +268 EXT. AHCH-TO - DAY 268 + + A pristine and mighty OCEAN. Endless BLUE, dotted with + random, beautiful, mountainous BLACK ROCK ISLANDS, dotted + with countless GREEN TREES. The Millennium Falcon FLIES + INTO VIEW, BANKS toward one of the ISLANDS. + + +269 EXT. AHCH-TO ISLAND - DAY 269 + + Rey, her staff strapped to her back, begins her hike up the + considerable mountain, glancing back at Chewie and R2-D2, + who watch her from the bottom of the ramp. A deep breath + and Rey continues her journey. + + +270 EXT. AHCH-TO ISLAND - STONE STAIRS - DAY 270 + + Built within the rock and foliage of this idyllic island + are seemingly endless ANCIENT STONE STEPS. Rey continues to + climb them, determined, despite her fatigue. + + +271 EXT. AHCH-TO ISLAND - STONE STRUCTURES - DAY 271 + + Rey arrives at a clearing. Small, modest, primitive stone + structures. But no one around. Rey walks past them, sees, + senses no one. And then she stops. Feels something. She + turns. Standing forty feet away from her, his back to us, + is a MAN, in a CLOAK AND ROBE. Rey stares, knowing exactly + who it is. But she just stares for what seems like forever. + + Until he finally TURNS, SLOWLY, to her. Pulls back his + hood. + + IT IS LUKE SKYWALKER. Older now, white hair, bearded. He + looks at Rey. A kindness in his eyes, but there's something + tortured, too. He doesn't need to ask her who she is, or + what she is doing here. His look says it all. In response, + Rey pulls something from the pack. LUKE'S LIGHTSABER. And + she holds it out to him. An offer. A plea. The galaxy's + only hope. + + HOLD ON LUKE SKYWALKER'S INCREDIBLE FACE, amazed and + conflicted at what he sees, as our MUSIC BUILDS, the + promise of an adventure, just beginning-- + + THE END + \ No newline at end of file diff --git a/scripts/Straight Outta Compton.txt b/scripts/Straight Outta Compton.txt new file mode 100644 index 0000000000000000000000000000000000000000..2b84d5e227667ec10fb33185a0d392bfd78fa9c8 --- /dev/null +++ b/scripts/Straight Outta Compton.txt @@ -0,0 +1,8174 @@ + 1. + + + + TITLE/CREDIT SEQUENCE: + + An AVALANCHE of SOUNDBITES, colliding and overlapping. + Coming so fast, we can barely process them. A virtual sound + book... + + WAR ON DRUGS. NANCY REAGAN. CRACK. DARYL GATES. CRIPS & + BLOODS. Everything from KNIVES to PISTOLS to ASSAULT + RIFLES. All these images add up to a minute and a half + recap of not just black history but American history. As + soon as they’re done, we find ourselves plunged into -- + + TOTAL DARKNESS: + + FADE UP: ON; + + +1 EXT. BROWN HOUSE - COMPTON - NIGHT 1 + + A bucket pulls up in front of a shitty-looking BROWN HOUSE + with ugly bars on the windows and doors. A rusted swing-set + leans sideways on the dirt/grass they call a front lawn. + + SUPERIMPOSE: COMPTON, CA 1986 + + Inside the car is ERIC WRIGHT, 21, but you know him as -- + + SUPERIMPOSE: ERIC WRIGHT AKA EAZY-E + + A man who is completely in his element -- comfortable and + poised, ready for anything. + + He hops out of the car, moves quickly to the TRUNK -- pops + it open and reaches inside. With an electric screwdriver, + Eazy unscrews a CERWIN-VEGA sub-woofer. Grabs a bulging + BROWN BAG out of the speaker... and a 9mm -- SLAMS the + trunk. + + ON THE ROOF, a LOOKOUT clocks Eazy as he walks up to the + front door of the decrepit house... + + Eazy KNOCKS BY CODE. A dude, TONE (20s), opens a slat in + the door. Gauges Eazy, EYES SKEPTICAL. + + TONE + Who is it? + + EAZY + Eric! Man, we been through this + shit a thousand times. + 2. + + + Multiple DEADBOLTS UNLOCK and an irritated Eazy enters -- + + EAZY (CONT’D) + What’s the use to having this dumb + ass knock if I gotta tell you my + name anyway? + + +2 INT. BROWN HOUSE - MINUTES LATER 2 + + It’s not what you’d call “cozy.” The carpet is torn up, + stained, cigarette-burnt. Walls covered in TAGS. A PITBULL + stares menacingly from the kitchen. + + In addition to Eazy and Tone, there are THREE other people + spread around the room: one GIRL lounges on a vinyl couch, + eyes glazed; another girl, TASHA, loudly SCRAPES soul food + onto the pitbull’s plate; and a JITTERY DUDE steady keeps + an EYE out the WINDOW, tense, occasionally clocking -- + + EAZY spreads the CONTENTS of the BROWN BAG before them on a + long TABLE: three FREEZER BAGS each containing 10 ounces. + He looks up, ALL BUSINESS. + + EAZY + Now where the money at? + + TONE + Man, you heard what happen? My best + runner got cracked. They sent his + young ass to Y.A. -- + + EAZY + The fuck that got to do with me? + + Tone turns to Tasha in the kitchen, nods. + + TONE + Tasha, get this dude a 40. + + TASHA opens the fridge, grabs a 40oz. -- + + EAZY + Do I look thirsty to you? + (beat) + Where my ends at? + + -- hands it to Tone who CRACKS it open. Drinks... + + TONE + Why you so ruthless, Eric, damn! + You don’t want nothin’ to drink? + What you want -- + 3. + + + (re: the girls) + -- you want some pussy? + + EAZY + Yep. But not from these strawberry + bitches you got right here. + + TONE + So you just gonna disrespect my + house like that, Cuz? + + EAZY + Dumb ass, this a dope house! It's + already disrespected. + + JITTERY DUDE + (re: Eazy’s drugs) + Well fuck it then -- You gonna have + to let us hold on to that right + there. + +ON THE COUCH, the GIRL grabs a SAWED-OFF SHOTGUN FROM UNDER +A PILLOW. Levels it at Eazy, face grimaced, hard, strung +out. + + EAZY + Yeah, do what you gotta do -- + ‘Cause I got my homies parked + across the street from your momma's + house. I don't show up. They show + out... + +Eazy just stares right back at them. The tension’s like a +pressure cooker about to burst. Until -- + +A WHISTLE echoes in from outside (THE LOOKOUT) -- + +Suddenly, everyone notices a deep RUMBLING coming from +outside. Jittery Dude steps back from the window, eyes wide +-- + + JITTERY DUDE + Oh, shit -- + +Because there’s a MASSIVE ARMORED VEHICLE rolling down the +street toward them. 6 TONS of steel, with a 14-foot +BATTERING RAM mounted on the front. LAPD emblazoned on the +side. + + JITTERY DUDE (CONT’D) + Fuckin’ Batter-Ram! + 4. + + + Everyone in the room FLIES into action, STASHING the + WEAPONS and the MONEY into hidden STASH SPOTS all over the + HOUSE: Behind fake-panel LIGHT SWITCHES, hidden HATCHES + beneath the FLOORBOARDS, in a fake-panel inside the FRIDGE. + It’s some serious MACGYVER SHIT. + + Eazy grabs his ROCKS, BEE-LINES for the BACK of the HOUSE, + eyes wide, amped on adrenaline as the RUMBLING ESCALATES to + an almost UNBEARABLE LEVEL -- + + CRASH!!! The 14-foot BATTERING RAM PUNCHES THROUGH THE + WALL. DEBRIS FLIES EVERYWHERE. The RAM keeps coming until - + - + + The GIRLS SCREAM! The ARMORED VEHICLE REVERSES, the + BATTERING RAM POLE YANKING THE ENTIRE WALL OUT WITH IT, + leaving a MASSIVE RAGGED HOLE where we can see -- + + SQUAD CARS SWARMING INTO THE AREA, + COPS FLOODING TOWARD THE HOUSE -- + lots of YELLING as they PIN + everyone to the floor, it's too + late, nobody can escape; nobody but + -- + + EAZY-E kicks out a KITCHEN window, squeezes through, hits + the dirt on the side of the house. Sprints past -- + + A PITBULL! The GROWLING DOG hustles for Eazy as a + FLASHLIGHT hits Eazy’s back, a COP giving chase! + + As they race across the back yard, the Pitbull diverts to + the cop, who panics. He’s about to get mauled until -- + + ANOTHER COP pops around the corner! Blasts the dog with a + FIRE EXTINGUISHER, filling the air with a dense cloud of + expellant, as -- + + Eazy hops on a fence, hits the garage roof and jumps in a + neighbor’s yard. Gone. He lives to slang another day... + + FADE TO BLACK. + + But the SOUNDS OF CHAOS carry over, infiltrate the inky + black: SIRENS HOWLING. PEOPLE SHOUTING. HELICOPTERS + BUZZING. DOGS BARKING. A mad medley that continues into -- + + +3 INT. VERNA’S HOUSE - BEDROOM - COMPTON - DAY 3 + + A PAIR OF OVERSIZED HEADPHONES, worn by ANDRE YOUNG. Better + known as –- + 5. + + +SUPERIMPOSE: ANDRE YOUNG AKA DR. DRE + +Eyes closed, lying on his bed, slight smile pursing his +lips, he bobs his head as -- + +WE HEAR WHAT HE HEARS, treated to the beautiful mind of +Dre. THE SOUNDS OF CHAOS are evaporated, seemingly +synthesized into the dope melody Dre’s peacefully bobbing +his head to... + +WE HEAR the multi-tracks of the song -- levels go up and +down based on Dre’s subtle FACIAL REACTIONS to the various +sounds. He singles out INDIVIDUAL ELEMENTS, and as he does, +WE HEAR them, highlighting some sounds, decreasing others: +BASS, DRUMS, PIANO, VOICE... It’s pure instinct, pure joy. +Until -- + +BAM-BAM! A fist on a locked door. The music stops as Dre +removes his headphones. We now see -- + +DRE’S ROOM, populated with turn tables -- one side spinning +the record he’s listening to -- DJ station and a vast sea +of LPs (sure there’s Parliament, but also Duke Ellington) +scattered around the room. A music junkie’s paradise. + +On the other bed, his brother TYREE (17) chills as Dre +opens the door to find -- + + VERNA + What happened? + +VERNA GRIFFIN, 36, his Mother, and she can smell bullshit a +mile away. He flashes his smooth, easy, magnetic Dre-smile. + + DRE + What happened with what? + + VERNA + Andre, boy, don’t play with me. Do + you even care how it makes me look? + Call in favors to get your + thoughtless ass an interview? And + you can’t even show up? + + DRE + (sighs, realizing) + Sorry, I just been so focused on + this DJing that I forgot -- + +She frowns, shakes her head. + + VERNA + 6. + + + You have a child, Andre. And + spinning records ain't payin’ none + of the bills around here right now. + + DRE + That ain’t even true, momma. I get + paid -- + +He pulls out a sad little wad of bills, waves it in her +face. Quick as lightning, she SNATCHES it away from him -- + + VERNA + Fifty dollars? Damn, you a + billionaire! + +-- THROWS it back at his chest. + + DRE + It’s a start -- + + VERNA + Andre, you know the rules around + here. In this house, you gonna work + or go to school. I don’t care if + you gonna be a janitor -- + + DRE + -- long as I own the company. Yeah, + I know. + +Dre fumes, gather the bills off the floor, heads for the +kitchen -- + + VERNA + But you don’t own the company. + Lonzo does. + +-- but Verna stays hot on his heels -- + + VERNA (CONT’D) + Oh, you think we’re done here? + +Dre keeps going, MUTTERS under his breath -- She grabs his +shoulder, SPINS him around, strong. Gets in his face. + + VERNA (CONT’D) + You got somethin’ to say to me!? + + DRE + (explodes) + You don’t care what I’m fighting + for. + 7. + + + I already know what I wanna do with my life, and it + definitely ain’t sittin in a cubicle takin’ orders on some + stupid ass job. + + Verna’s eyes FLASH -- WHAP! She SLAPS HIM IN THE FACE -- + + Dre steps back, puts his hand to his cheek. Verna’s reeling + as much as he is. She tries to compose herself. + + VERNA + People used to tell me I was too + young when I had you -- Said I + wouldn’t be shit, said you wouldn’t + be shit. Now I been workin’ my ass + off to get us here and I refuse to + let you throw it all away. + + Dre holds Verna’s gaze a moment longer, then turns and + calmly walks back past her, into his room. He picks up his + headphones, pull-out car stereo. Heads for the door, opens + it... + + VERNA (CONT’D) + (regret) + Andre -- + + But he’s already closed the door behind him. + + +4 INT/EXT. VERNA’S HOUSE - DRIVEWAY - DAY 4 + + Dre bounds over to a battered BLUE & WHITE DATSUN B-210 + parked in the DRIVEWAY, regret settling in. He looks up to + see Tyree ambling closer, carrying a bundle of errantly- + selected clothes, a crate of records. + + TYREE + Grabbed some of your stuff, man. + + DRE + Good lookin’ out. + + Dre takes the clothes. Tosses them in the back. + + TYREE + When you comin’ back? + + DRE + I don’t know. Gotta figure some + things out. + + TYREE + Can I come with you? + 8. + + + DRE + You been fightin’ for your own room + this whole time and now you wanna + come with me? + + They share a CHUCKLE. Then -- + + TYREE + You know she’s just want the best + for you. + + DRE + I know, T. I want the best for me + too -- that's way I gotta go. + + Him and Dre have special brother-to-brother embrace. Then + Dre hops into his car. + + DRE (CONT’D) + When I get set up right, I'mma have + you come with me. Don't worry about + it. It's gonna be sooner then you + think. + + Tyree sullenly nods. + + Dre triggers the ignition, MUSIC BLASTING, and PEELS away - + - + + DRE (CONT’D) + Call you later. + + +5 INT/EXT. DRE’S CAR - COMPTON - MINUTES LATER 5 + + Dre rolls along in that ugly-ass Datsun. It’s still early, + but the STREETS are starting to FILL UP. Dudes in doorways, + on the corners, clocking him as he passes. An LA SHERIFF’S + DEPT. SQUAD CAR slides past, disappears around a corner. + + WE HEAR a HELICOPTER SOUND, as WE GO WIDE -- + + +6 EXT. LOS ANGELES - WAY UP IN THE SKY - DAY 6 + + Flying high over the city, it’s quiet up here, only the + sound of WIND. BELOW, we see the tight grids of SOUTH LOS + ANGELES, and the densely-packed TRAFFIC heading north along + the 110 FREEWAY, as it angles toward the SKYSCRAPERS of + DOWNTOWN L.A. + 9. + + + We move NORTH and there’s DODGER STADIUM plunked at the + southern tip of ELYSIAN PARK, and the LA RIVER twisting + snakelike up into GRIFFITH PARK -- + + And NORTHWEST past the mountains of Griffith, descending + into the VALLEY, where we suddenly DIVE DOWN into WOODLAND + HILLS and settle upon the low-slung sprawl of -- + + +7 INT./EXT. YELLOW BUS - TAFT HIGH SCHOOL - DAY 7 + + We track backward through a school bus full of STUDENTS. + Almost exclusively black and Latino kids. Late 80’s + fashions. All the way in the BACK ROW we settle on O’SHEA + JACKSON, who we now know as -- + + SUPERIMPOSE: O’SHEA JACKSON AKA ICE CUBE + + Raiders cap pulled low over a shoulder-length Jheri curl. + Hunched over, wearing a soon-to-be-iconic FROWN of + concentration, he SCRIBBLES LYRICS into a NOTEBOOK: + + “BORED AS HELL AND I WANNA GET ILL. SO I + WENT TO THE SPOT + WHERE MY HOMEBOYS CHILL --” + + The ROAR of a powerful sports car snaps Cube’s + concentration. He gazes out the school bus window to see + that -- + + In stark contrast to those on the bus, just beyond the + glass is a sea of WHITE STUDENTS. They hang out, shoot the + shit in their nice clothes, hop into their nice cars. It’s + a club that Cube isn’t a part of and it’s clear that he can + feel it. + + He frowns, looks back down at his notebook as the bus pulls + away from Taft High... + + +8 INT/EXT. YELLOW BUS - LATER 8 + + The BUS cruises Southbound on Crenshaw. And compared to the + Valley, it looks like BEIRUT out there: Graffiti tags, + liquor stores everywhere, boarded-up shops, DUDES + loitering, drinking, slanging. Crip throws a rock and hits + the bus. + + FIND CUBE sitting halfway back, still doing his thing, + writing rhymes, minding his own. + + NEAR HIM, a few KIDS goof around, flash GANG SIGNS out the + window at the passing CARS, PEDESTRIANS, not noticing -- + 10. + + +9 INT/EXT. TRUCK - CONTINUOUS 9 + + Pulling out of a side street onto Crenshaw, we see two + hard- looking O.G. BLOODS. As the bus passes, they CLOCK + THE KIDS flashing SIGNS. They can't believe it. Driver + Grits his teeth. SPEEDS OUT after the bus -- + + +10 INT/EXT. YELLOW BUS - MOMENTS LATER 10 + + The bus rolls to a stop. Before any KIDS can get off -- the + O.G. Bloods' truck pulls in front of the bus, blocking the + road. Passenger hops out. + + Noticing, the BUS DRIVER goes to shut the doors, but he’s + too late -- O.G. Blood gets on, strides past the BUS DRIVER + -- glock 9mm in hand. + + BUS DRIVER + Hey what's going on? -- + + O.G. BLOOD + Shut the fuck up, Blood! + (Addresses the whole bus) + You young muthafuckas wanna die + today?! + + Everyone on the bus falls SILENT. By the shocked expression + on the kids’ faces, they have no clue how or if they’re + gonna get out of this alive. + + O.G. BLOOD (CONT’D) + HUH!? + + He makes his way back to the WANNABE KIDS near the + expressionless Cube. Sensing shit is about to jump off, + Cube slowly reaches for the WINDOW next to him, starts + SLIDING IT OPEN. He edges closer to the window, grabs his + NOTEBOOK, fully prepared to jump the fuck out that window. + + O.G. BLOOD (CONT’D) + You little Crab ass niggas could've + got this whole bus shot the fuck + up! We saw that bullshit you was + throwing up out the window! Hit me + up now! + + WANNABE KID 1 + Didn’t mean nothin’ by it -- just + playing around. + + O.G. BLOOD + 11. + + + That's yo muthafuckin problem, + Blood! This shit ain't nuthin' ta + play wit! It's real in the field, + nigga! Shit’s life and death! I + kill Crips for breakfast, Blood! So + keep yo' mothafuckin hand down when + you see me, Understand?! + + WANNABE KID 1 + Yes. + + The O.G. Blood looks over his shoulder, scowls at all the + terrified faces staring back at him. + + O.G. BLOOD + What you little muthafuckas need to + do is start gangbang them got damn + books! Learn some shit better then + what we doing! If not, I might be + the one that kill yo' dumb ass! + Remember me! This that Crenshaw + Mafia, Blood! + + And with that, the O.G. Blood tucks his gun, and calmly + exits the bus -- leaving behind the stunned kids. + + Their truck pulls away into traffic. + + Cube grab his books, get up to exit the bus along with a + few others, but not before glancing over at the kids, who + sit there sweating, shell-shocked. + + Cube shakes his head at the wannabes. No way he’s going out + like that. + + +11 EXT. SOUTH CENTRAL - DAY 11 + + Cube walks along the streets, Pee Chee folder and notebooks + in hand, books under his arm as -- + + We’re given tour of the sights and sounds of South Central. + The pervasive shudder of LAPD CHOPPERS TAUNT OVERHEAD, DOGS + BARKING, as an LAPD SQUAD CAR CRUISES MENACINGLY PAST like + a shark in festive waters. + + Up ahead, BLOCK DUDES loiter on a neighbor’s untended + grass. + + BLOCK DUDE 1 + Aw shit, here come Doug E. Fresh! + + BLOCK DUDE 2 + 12. + + + Hell naw, that's Kurtis mothafuckin + Blow. Only rapper with a Jheri + curl. + + ICE CUBE + Fuck you niggas. I'm about to go + write a rap about yo’ drunk ass + Momma. That bitch looks like The + Egyptian Lover. + + They smile, give Cube a pound as he passes. Yell after him. + + BLOCK DUDE 1 + Why you never hang out no more? + + BLOCK DUDE 2 + I think it’s that Valley school. + Nigga too good for us. + + But Cube just smiles, looks back at them -- + + CUBE + Nah, I already know how to + gangbang. I'm just tryin’ to learn + how to make some of this white + people money. + + BLOCK DUDE 2 + I feel you, Cuz. I need some white + people money too. + + ICE CUBE + Well take yo’ ass to school + sometimes. + + The Dudes laugh as Cube continues on. Keeps moving. + + UP AHEAD, he sees Dre’s DATSUN parked across the street. No + question where Cube’s headed. + + +12 INT. JINX’S HOUSE - EVENING 12 + + Cube walks through the LIVING ROOM, where Dre’s girlfriend, + LAVETTA, is feeding their baby TYRA (2) -- + + CUBE + Where Dre at? + + She points to the back room. + + +13 INT. JINX’S HOUSE - JINX’S ROOM - NIGHT 13 + 13. + + +JINX’S ROOM, dirty but very hip-hop. JINX, 17, is digging +through a crate of RECORDS, and offering them up to DRE, +who waves most of them away because -- + +DRE’S IN THE ZONE, doing his thing on the turntables, +mixing, SCRATCHING. And whatever it is sounds DOPE. Next- +level shit. + +Cube enters -- Lets the SONIC ACROBATICS BOOMING from Dre’s +turntables marinate on him a minute. + + CUBE + What you mixin’? + +Dre, lost in the music, doesn’t respond -- Jinx holds up +two ALBUM COVERS: The Ohio Players’ FUNKY WORM and The +Headhunters’ GOD MADE ME FUNKY. Doesn’t make sense, yet -- + + CUBE (CONT’D) + (blown away) + Ohio Players and the Headhunters..? + (to Dre) + That’s the shit! + + JINX + Crazy, right! + +Dre finally notices Cube’s in front of him -- + + DRE + Wuddup, Cube! Got them rhymes? + + CUBE + You know it. + +Cube flashes the SHEET OF LYRICS from school at Dre, +notices the trash bag full of clothes on the floor. + + CUBE (CONT’D) + Stayin’ a while? + + JINX + Yup. His momma kicked him out for + that mouth. + + CUBE + Man that mouth always gettin’ you + in trouble. We got that in common. + + DRE + Think you ready for Doo-to’s? + + CUBE + 14. + + + Damn straight. + + DRE + ‘Cause you know that’s Compton, + right? They got bodybags at the + door. + + CUBE + Ain’t worried about all that. I’mma + come with it. + + DRE + Yeah, you better, ‘cause if your + shit ain’t tight, you might end up + in one. + + Laughs all around as we -- + + +14 EXT. JINX’S HOUSE - NIGHT 14 + + A Chevy Caprice cop car, light-bar strobing, has pulled + aggressively onto the curb, all four doors open. CRASH + OFFICERS roughly frisk the Block Dudes, as -- + + School shit in hand, Cube walks past, inconspicuous as + possible. Can’t help but glance at the scene -- + + CRASH COP 1 + The fuck you lookin’ at? + + CUBE + Nothin’. Just goin’ home -- + + CRASH COP 1 + Get over here! Now! + + Hesitant, Cube complies. Used to getting jacked by the + police, he assumes the same position the other Block Dudes + are in: hands on the hood, legs back. + + One of the other Crash Cops pulls out his WALKIE -- + + CRASH COP 2 + (into walkie-talkie) + Requesting backup on Van Wick + Street. Gang related -- + + CUBE + How you figure we in a gang? ‘Cause + we black? + 15. + + +BAM! Crash Cop 1 shoves Cube against the car, kicking his +legs apart, a hand on the back of his head. Cube’s +NOTEBOOKS hit the pavement -- Get trampled. + + CUBE (CONT’D) + Yo watch my notebooks! + + CRASH COP 1 + Where the rocks at, Cuz? + + BLOCK DUDE 1 + Ain’t no rocks! Y’all muthafuckas + just fishin’! + +WHAM! Crash Cop 2 SLAMS Block Dude 1. Forces him to +interlock his fingers behind his head -- + + CUBE + Officer, can you please explain why + you jackin’ us? + + CRASH COP 2 + We don’t have to explain shit! + +Block Dude 1 HOWLS in pain as Crash Cop 2 viciously +SQUEEZES his interlocked knuckles. Crash Cop 1 shoots a +look to Uniform Cop 2: Settle down, dude! + +TWO MORE SQUAD CARS SCREECH onto the scene. Four UNIFORMED +POLICE climb out, to make an even bigger deal out of +nothing. + +Cube’s Dad, HOSIE, appears up on the porch, pissed. + + HOSIE JACKSON + Hey! What the hell’s goin’ on out + here? Those boys all live on this + block! + +The Cops ignore him as Cube’s mother, DORIS, appears beside +Hosie, shocked to see her son getting assaulted -- + + DORIS JACKSON + (re: Cube) + Officer, that’s my son! + + UNIFORM COP 2 + Get back inside, ma’am! + +But she starts coming down the steps toward the Cop -- He +UNSNAPS his holster, hand grasping his pistol. + + DORIS JACKSON + 16. + + + I just wanna know what's going on - + - + + The COP jams a FINGER inches away from Doris’ face! + + UNIFORM COP 2 + Get the FUCK BACK INSIDE, Lady, or + I promise I will ruin your night! + + Doris’ mouth drops open. The disrespect is incredible. + + ICE CUBE + You ain't gotta talk to my moms + like that, man! + + Uniform Cop 1 leans down, WHISPERS to Cube -- + + UNIFORM COP 1 + You think we give a fuck? This + LAPD, boy! Crash Unit! We the only + gangstas around here! + + WIDE SHOT: Cube, his parents, and the Block Dudes helpless, + held hostage in their own neighborhood. After every pocket + is turned out, body patted down and rights violated -- + + UNIFORM COP 2 + All right, they check out. We got + cards on all of ‘em already. + (to Cube and Co.) + Stay out of trouble. + + The cops pile back into their cars leaving behind the + stunned neighborhood. Cube grabs his NOTEBOOKS, cleans them + off as -- + + A CHOPPER ABOVE DEAFENS ALL SOUND in a PRIMORDIAL ROAR. + + OMITTED + + +15 INT. DOO-TO’S CLUB - ENTRYWAY - MOMENTS LATER 15 + + Muffled MUSIC seeps into the area as SECURITY GUARDS + thoroughly SEARCH everyone. One of them stares Eazy down. + + SECURITY GUARD + You really wanna be here? This club + is full of Pirus. + + REN + We straight. + 17. + + +Eazy LAUGHS, doesn’t give a fuck. + + EAZY + Thanks for the tip, homie. + +The Security Guard frowns as he allows them into -- + +THE MAIN FLOOR + +MUSIC PUMPING, we FOLLOW EAZY and REN into the CLUB, which +is PACKED, people partying their asses off. Everyone’s +here: REGULAR FOLKS, BLOODS, SKINNY GIRLS, BIG GIRLS, +DEALERS, ATHLETES. A true hood cross-section. + +AS WE MOVE through the place, we see CUBE, JINX and TYREE +standing near the wall: JINX and TYREE are busy clocking +the GIRLS, but CUBE is studying a ripped-out page of +LYRICS. + +ON STAGE, wearing purple satin jackets with WORLD CLASS +WRECKIN CRU on the back, DRE spins some ‘80s R&B while his +boy, YELLA, leans down, hollers at a GIRL in the crowd. + +Dre spots someone moving through the mass of people -- + + DRE + Yo, Yella, man -- Lonzo comin’! + +Yella quickly moves to the record crate, starts sifting +through them to look like he’s busy as -- + +LONZO WILLIAMS, club PROMOTER and Dre’s BOSS approaches. He +leans over to Dre: + + LONZO + Gonna make sure nothin’s poppin’ + off outside. Keep them fat asses + shakin’. None of that rap bullshit, + you hear? I want people thinkin’ + ‘bout pussy not pistols. + (then) + And Yella, I saw you talkin to my + lady. Keep your fuckin hands to + yourself. + +Lonzo shoots Yella a look, then disappears from the stage. + + DRE + Why you fuckin with that nigga’s + girl, man? + + YELLA + Why not? + 18. + + + Dre chuckles, immediately searches the crowd, locking eyes + with CUBE. Dre gives him a NOD, and Cube takes a breath, + heads toward the Stage -- Moment of truth. + + IN THE BACK, EAZY and REN are surrounded by ladies. But + Eazy’s attention is clearly -- + + ON STAGE. Cube appears next to Dre, who’s cuing up a new + record. He stops the music, grabs the mic: + + DRE + Compton! I got my homie -- he's + about to get his rhyme on for + y’all! Give it up for Ice + muthafuckin' Cube! + + Dre hands the mic to Cube as the crowd eyeballs him with + suspicion and restraint. They’re clearly not gonna give him + respect til he earns it. Cube steels himself, clenches his + jaw, puffs out his chest. And time turns eternal before -- + + DRE drops the needle on Steve Arrington’s funked-out WEAK + AT THE KNEES (hardcore NWA fans will recognize this track + as the original sample for GANGSTA GANGSTA). + + Cube starts rapping, his voice powerful, thick with + attitude: + + ICE CUBE + Here's a little somethin’ about a + nigga like me. Never shoulda been + let out the penitentiary. Ice Cube + would like to say, That I'm a crazy + muthafucka from around the way. + Since I was a youth, I smoked weed + out, Now I'm the muthafucka that ya + read about. Takin a life or two, + that's what the hell I do. Don't + like how I'm livin’, well fuck you! + + After only a few lines, the crowd’s CHEERING. HOLLERING. + Dancing. An infectious vibe. + + And we DRIFT back to Eazy, standing with Ren, feeling the + fuck out of this music, pensive look on his face. Something + crystallizing as we -- + + +16 INT. DOO-TO’S CLUB - LATER 16 + + Yella spins a number for the crowd, who seem less energized + now that Cube’s off stage. To the side, LONZO chews out Dre + -- + 19. + + + LONZO + I'm this close to firin’ your + monkey ass! You tryin’ to start a + riot up in here?! You know I don’t + want that hardcore shit played in + my club, but I turn my back and you + do that shit anyway..? + + DRE + I’m just tryin’ to keep you in + business. Open your eyes. They went + crazy to that shit -- + + LONZO + You’re up on that stage ‘cause I + put you there. You're a bad ass DJ, + I’ll give you that, but you don't + listen and I'm gettin’ real tired + of arguing all the time. You know + it’s plenty DJs out there who'll + play what I want ‘em to play. Guys + that don’t bite the hand that feeds + 'em. Now you take a backseat to + that shit. + +He glares at Dre before taking leave. Dre watches him go, +body coiled tight. Jaw clenched. + + YELLA + Don’t trip off him, homie. + + DRE + Man, Lonzo ain’t got no vision. + +Dre nods, yeah-yeah, but his eyes have landed on EAZY +across the room -- + + DRE (CONT’D) + Oh shit -- Check out this nigga. + Yo, take over for a minute. + +Yella nods, commands the decks. Watches as Dre heads to -- + +THE BACK OF THE CLUB + +EAZY’s kicking it with REN, talking up several GIRLS. But +when Eazy sees Dre approaching, he smoothly shoos them +away. + + EAZY + Dr. Dre, how you been doin’? + + DRE + 20. + + + What up, E? Been a minute. + + EAZY + You know. Out here on the grind -- + Nice jacket. + +Dre looks down at the purple satin. + + DRE + It's the uniform. I make it work. + + EAZY + You remember Ren from Kelly Park, + right? + +Ren and Dre give each other a respectful nod. + + REN + Wuddup, Dre. + + EAZY + Heard you been spendin’ a lot of + time at your auntie’s house. How’s + the couch life? + + DRE + It’s fucked up. I’m too tall for + that shit. Plus I got my woman and + baby livin’ there. It's hard. But + everybody can't do what you do. + + EAZY + Yeah, but what I do is playin’ out, + fast. Muthafuckas are gettin’ + locked up and laid down out here + left and right. Time to make a few + changes. + + DRE + Yeah. Change ain't bad. Shit, I’m + tryin’ to make a few changes my + self. + + EAZY + What you mean? + +Dre pauses, considering how to proceed... + + DRE + Man, you should think about dumpin’ + some money into this music shit. I + got some ideas -- + 21. + + + YELLA (ON THE MIC) + Yo! + + Dre turns to find Yella up on stage in the DJ booth, + mouthing “LONZO,” as he points into the crowd. Dre follows + Yella’s finger, spots Lonzo slowly moving through, greeting + people as he goes. + + DRE + Shit I gotta get back up there. + Let’s talk about this later. Think + about it... + + Eazy just smiles, nods, as Dre heads off... + + +17 EXT. DOO-TO'S CLUB - LATE AT NIGHT 17 + + Dre exits the club, usual crate of records in hand -- + + TYREE (O.S.) + Do I know you!? + + DUDE (O.S.) + What!? + + Dre turns to find -- + + TYREE, all up in the face of some DUDE. + + TYREE + Nigga, you heard me! + + Tyree shoves the dude -- Dre’s eyes light up! That’s my + brother! He drops his crate of records, bumrushes the Dude + and COLD-COCKS HIM. The Dude just drops, dazed. + + Dre turns to Tyree, adrenaline pumping. + + DRE + What he do!? + + TYREE + Muthafucka over here lookin’ at me + like he know me! + + Dre can’t believe it -- That’s it? + + DRE + Tyree, you gotta stop doin’ this + shit, man! + 22. + + + The down Dude slowly gets onto his knees, stumbles to his + feet just as -- + + WHOOP! WHOOP! An L.A. Sheriff’s Dept. SQUAD CAR rolls into + the lot, lights on Dre, Tyree and the Dude. In a hurry, the + two OFFICERS are out of the car, approaching the guys -- + + OFFICER 1 + We told everybody to clear this + parking lot! What’s going on!? + + DRE + We got this, Officer -- + + OFFICER 1 + I didn't ask you what you got! Get + the fuck home! + + DRE + I am home. + + Officer 1 gets right in Dre’s face, nose to nose. + + OFFICER 1 + If you don't start walking -- + + But Dre just stands his ground, head cocked to the side, + defying the Officer. In a flash -- + + BAM! Dre finds his face planted into the hood of the squad + car! Cuffs slapped on! Same for Tyree and the Dude as we -- + + +18 EXT. COMPTON POLICE STATION - EARLY MORNING 18 + + DRE emerges from the Police Station, police property bag in + hand, to find EAZY waiting for him beside a fresh ‘63 + IMPALA LOWRIDER. + + EAZY + They got you for carrying records? + That’s some gangsta shit, Dre. + + Dre smiles, chuckles -- He’s clearly beyond exhausted. + + DRE + Cops will throw a nigga in jail for + anything. + + At Eazy’s car, Dre and Eazy pound hug. + + EAZY + Lonzo just left you here, huh? + 23. + + + DRE + Guess he’s sick of bailing my ass + out. + +Dre kneels down on the pavement, takes his shoelaces from +the police property bag and casually starts lacing his +sneakers. But Eazy clocks a couple POLICE OFFICERS +eyeballing him and Dre. Clearly, he’s not comfortable here. +Hops into the car. + + EAZY + Mind gettin’ your funny lookin’ ass + in the car before they arrest you + for some other dumb shit? + +Eazy gestures like, we in front of the police station! Dre +realizes. My bad. Hops in. Keeps lacing his sneakers... + + EAZY (CONT’D) + Man, I was thinkin’ about what you + said last night. + + DRE + Yeah, and..? + + EAZY + It’s interestin’ -- + + DRE + Interestin’? Tell me this, how long + you think that shit you doin’ gonna + last, huh? You ever heard of a + happy ending in that game? + + EAZY + Shit, man, this all comin’ from the + nigga I just bailed out. + + DRE + Listen, if you can slang dope, you + can slang records. You got a mind + for this shit, E. + + EAZY + Okay so what then -- That nigga + last night? Is that what we doin’? + + DRE + 24. + + + What, Cube? Nah, he in a group + right now, got some other business + goin’ on. But I got this group + called H.B.O. from the east coast. + Dope voices, and Cube wrote a song + for ‘em that’s crazy. + + Eazy considers for a long moment as we -- + + +19 INT. LONZO’S STUDIO - DAY 19 + + Dre sits in front of a huge MIXING BOARD, adjusting the + levels on a hard-driving BEAT. + + A small CREW of Kangol-wearing RAPPERS (HOME BOYS ONLY, aka + HBO) are gathered around, reading pages we recognize as + CUBE’S LYRICS with befuddled expressions. + + HBO 1 + What the fuck is “Gankin”? And + what’s a “6-4”? + + CUBE (O.S.) + It’s a car. A ‘64 Impala. + + Everyone turns to look at CUBE, off to the side, annoyed. + + CUBE (CONT’D) + Gankin’s when somebody jacks you. + Ain’t a big deal. Just sounds + better that way. + + Another HBO dude chimes in -- + + HBO 2 + I dunno, too much cussin’ to get + radio play. And honestly, nobody + gives a fuck about Compton -- + + Dre interrupts from the board, no back down in him. + + DRE + Y’all got somethin’ to say about + Compton? Cause we might have a + problem up in this bitch. + + Nobody says a thing. Deafening silence. Then: + + DRE (CONT’D) + Then do the lyrics. We losin’ time + and I’m losin’ patience. + 25. + + +The vibe is tense, unpleasant. Finally: + + HBO 1 + This ain’t us. I ain’t fuckin’ with + this Jheri curl bullshit -- + + CUBE + Fuck you then. Wearing a Kangol + don't make you L.L. Cool J nigga, + remember that. + +HBO 1 CRUMPLES the Lyrics sheet into a ball. + + HBO 2 + Yeah. Now what? + + CUBE + What you wanna do, mark ass nigga? + +Cube and the HBO dudes square up, swelling and huffing -- +Without hesitation, Eazy gets up, stands beside Cube. Dre +whips off his headphones and flanks Cube from the other +side. These dudes have each other’s back, ready to throw +down. + +The HBO clowns start exiting, talking shit. + +Eazy wanders back over to the couch, plops down, sighs: + + EAZY + Well there goes the talent. Don’t + know a whole lot about the music + game, but we can’t start a label + without talent. + +The three of them chuckle. Eazy sighs, shakes his head. + + EAZY (CONT’D) + Okay, I put up my money -- I held + up my side of the deal, Dre. When + you gonna deliver your side? + + DRE + Well shit, why don’t you get on the + mic and try it? + + EAZY + What? Fool, I ain’t no rapper. + +Off Eazy’s unsure look -- + + DRE + 26. + + + You already spent the money. Don’t + you get it? Man, this song is all + about you! This song is about Eazy- + muthafuckin'-E! Now get in the + booth. Let me deliver my side of + this shit. + + +20 INT. LONZO’S STUDIO - LATER 20 + + ON EAZY, self-conscious in the booth, light beaming on him. + + Dre gets up from the board, DIMS THE LIGHTS way down low -- + + EAZY + Fuck you doin’? + + DRE + Just lemme produce. Get + comfortable, man. + + Eazy takes a breath, huddles over the mic. He puts his Locs + sunglasses on, pulls his baseball cap low -- so low you can + barely see him (which is exactly the point). + + Dre sits behind the board with Cube. STARTS UP THE BEAT and + cues Eazy -- + + EAZY + (dry, flat) + Cruisin’ down the street in my 6-4 + - - + + Cube winces. Dre STOPS the track. + + DRE + Hit that first beat hard. CRUISE-in + down the street. CRUISE-in. + + When Eazy tries it again, it almost sounds worse -- + + EAZY + Cruisin’ down the street in my 6-4 + - - + + CUBE + That ain’t it... + + EAZY + Get that dry-ass Jheri curl outta + here, maybe I can concentrate. + + CUBE + 27. + + + You kickin’ me out? + +Dre looks at Cube. Nods. Go. + + CUBE (CONT’D) + Aiight. I'm just sayin’... + +Cube exits. Then -- + + DRE + Just gimme the words. + + EAZY + Nigga what? + + DRE + Say that shit with me -- CRUISE-in + - - + + EAZY + (animated) + Dre, you know this shit is + hopeless, right? + + DRE + That! See how you just said that + shit? Like you believe it! + + EAZY + ‘Cause I do. + + DRE + So say this shit like you believe + it. Like it’s muthafuckin’ Sunday + and you cruisin’ down the street in + that dope-ass 6-4. Feel that shit, + like its ya own words. + +The frustration on Eazy’s face is apparent. + + EAZY + You really gonna make me do this, + huh? + +Yup. Eazy frowns. Takes a moment to compose himself... + + EAZY (CONT’D) + Aiight, fuck it. Let’s do this. + +Dre starts the track again -- ONLY THIS TIME, HE DOES SO +ONE. COMPONENT. AT A TIME. BUILDING THE SONG AS IF FROM +SCRATCH. + 28. + + + EAZY vibes with it. Can’t fuckin’ help it. Shit is dope. + Finally, once THE BEAT IS FULLY REALIZED, Dre CUES him -- + + EAZY (CONT’D) + Cruisin’ down the street in my 6-4. + + Dre grins. Much better. Stops the track. + + DRE + Hell yeah! That shit was tight. + Only 59 more lines, E. But we gonna + get through it. Hit that next line + - - + + Eazy groans, pulls his hat even lower, as we -- + + +21 INT. LONZO’S STUDIO - MANY HOURS LATER 21 + + There’s a sense of ceremony here. Cube, Eazy, YELLA, REN, + Jinx, DOC and few girls wait with palpable anticipation as + -- + + DRE PUSHES PLAY on the freshly completed TRACK. It starts + THUMPING from the speakers: It’s BOYZ N THA HOOD. + + Pride and a sense of purpose swell in each and every one of + them as LONZO POPS IN. Listens, skeptical. + + The song stops and no one says a word. They know this is + something special. Finally: + + YELLA + Lonzo, what you think? + + LONZO + That some waste of time shit right + there and trust me, it ain’t gonna + work. Won’t get no radio play. + + DRE + You never know-- We might do a + radio version and take it up to + KDAY and see what happens. + + LONZO + This reality rap is never going to + work, Dre. You need to hurry up and + rap this shit up and finish that + slow jam I had you working on. I'm + serious, Dre! Hurry up with this... + + DRE + 29. + + + Yo, I don’t know about working on + this slow stuff anymore. After this + I’m going to work on songs with + DOC. + + Reveal DOC in the background. + + LONZO + It’s not a request, Dre. + + Lonzo scowls at Dre, exits in a huff. Yella goes to Dre, + eyes wide with excitement -- + + DRE + Yo, if Lonzo don’t like it, you + know that shit is dope. + + They pound. Everyone LAUGHS. Truth. + + REN + Damn, Dre -- You just turned a + hustler into a rapper. + + EAZY + Now this right here..? This some + ruthless shit for real. Dre, you a + muthafuckin’ genius. And Cube, you + got more of them stories to tell? + + CUBE + Homie, I got rhymes for days. But I + got to hear this one more + gen...Dre, hit that shit. + + Laughter as Dre cues it up, the SONG RESUMING, as we -- + + +22 INT. MACOLA RECORDS - LOS ANGELES - DAY 22 + + BOYZ IN THA HOOD is PLAYING OVER -- + + A STACK of VINYL RECORDS moves through a PRESS. A machine + STAMPS a RED LABEL onto the MIDDLE. CLOSE ON the RED + RUTHLESS LABEL -- BOYZ N THA HOOD. + + IN THE RECEIVING AREA, EAZY picks up a couple BOXES of + RECORDS. He PAYS for them, and hauls them away. + + +23 INT. RECORD STORE - CENTRAL AVE - COMPTON - DAY 23 + + BOYZ keeps on THUMPING -- + 30. + + + DRE and TYREE stand at the counter of a RECORD STORE, with + a BOX OF RECORDS. The CLERK takes about SIX RECORDS -- + + +24 EXT. RUN-DOWN HOUSE - COMPTON - DAY 24 + + BOYZ continues OVER -- + + Eazy emerges from a RUN-DOWN HOUSE, jogs across the street + to his BUCKET, climbs inside, opens his STASH SPOT, stuffs + a large WAD of CASH inside. A hustler is always hustlin -- + + +25 EXT. BACK YARD HOUSE PARTY - SOUTH CENTRAL - DAY 25 + + Some local TEENAGERS are partying, drinking and listening + to BOYZ N THE HOOD wax. And that shit has the party + bumpin’. + + A sense that this song is going VIRAL, in a contagious, + pre- internet sort of way -- + + +26 EXT. ROADIUM SWAP MEET - LOS ANGELES - DAY 26 + + BOYZ continues as Eazy brings TWO BOXES of RECORDS to a + SWAP MEET BOOTH operated by STEVE YANO. Yano excitedly + collects the two boxes, hands over some cash. Deal done. + Before Eazy can even bounce, some KIDS bumrush Yano for + copies -- + + +27 INT. K-DAY RADIO STATION - LOS ANGELES - DAY 27 + + BOYZ slowly fades, iconic KDAY Disc Jockey GREG MACK + spinning the TRACK over the airwaves of Los Angeles. He + grins, bobbing his head, digging this shit for real. + + GREG MACK + 1580 KDAY, this is Greg Mack -- + Mack Attack. That was “Boyz n tha + Hood” by Eazy-E, local rapper out + of Compton. Sounds like he's about + 15 years old -- + + He glances over to the TELEPHONE SWITCHBOARD, which + suddenly LIGHTS UP like crazy, with dozens of CALLERS. + + GREG MACK (CONT’D) + -- I know you like it. It's been + the most requested record on this + station ever since I played it. The + freshest song of 1986 -- + 31. + + +28 INT. MACOLA RECORDS - RECEIVING AREA - DAY 28 + + Eazy pays for another couple boxes of records. Grabs them - + - + + JERRY HELLER (O.S.) + I heard your record. + + Eazy turns to find -- + + JERRY HELLER, a middle-aged guy in a velvet track suit. His + face is craggy, seasoned, wise. He’s got terrible posture, + but lively, hyper-alert eyes. He extends his hand to Eazy. + + JERRY + Jerry Heller. + + EAZY + Eric Wright. + + JERRY + Pleasure to meet you. Would it be + possible to have a word with you, + Eric? + + EAZY + About what? + + +29 INT. MACOLA RECORDS - OFFICE - MOMENTS LATER 29 + + Jerry at his desk, Eazy on the ratty couch. Eazy lets his + eyes wander around the shabby office. The sad furniture, + the old and irrelevant posters on the walls. + + JERRY + I thought your record was good. + + EAZY + Just good? Why you call me in here + then -- + + Eazy gets up and heads for the door -- + + JERRY + No-no-no, hang on. + (beat) + I thought it was exceptional. + Please, sit back down. + + Eazy indulges Jerry. Sits back down and stares, cold, + unreadable. Jerry rubs his eyes, frustrated, his regular + spiel isn’t having its usual effect. + 32. + + + JERRY (CONT’D) + Let’s try this again. As a music + manager, let me tell you what I can + do for you, Eric -- + + EAZY + Maybe I’m the one who can do + somethin’ for you. + + JERRY + You think because I don’t have some + flashy office, that means I don’t + know what I’m talking about? Elton + John, War, Styx, REO Speedwagon -- + + EAZY + You manage anybody this decade? + +Jerry leans on his elbows on the desk, cocks his head at +Eazy. The balls on this kid. + + JERRY + Let me tell you what I see. Lotta + raw talent. Lotta braggadoccio. But + if you think anyone’s gonna talk to + you, if you think anyone’s gonna + let you into the building where you + might talk to somebody -- somebody + who matters -- you’re crazy. + +Eazy frowns, looks away -- + + JERRY (CONT’D) + That’s what I do for you. I will + make you legit. I will take you + into that building. I will protect + you. I will block out all the noise + of this business and we can build + something big. + +But you’re gonna have to believe in me like I believe in +you. If you don’t think you can do that... + +Eazy doesn’t budge. Satisfied, Jerry continues -- + + JERRY (CONT’D) + You got more music for me? + + EAZY + I got everything you need. + + JERRY + 33. + + + Good, cause you're gonna have to + follow this up. So what does N.W.A. + stand for anyway? + (with a smile) + No Whites Allowed? + + Eazy looks at Jerry. Cold as ice. + + EAZY + “Niggas With Attitudes.” + + The smile is wiped off Jerry's face immediately. + + +30 EXT. SKATELAND RINK - COMPTON - NIGHT 30 + + 200 or so people lined up outside, waiting to get in. NWA + POSTERS are stapled to walls in testament to guerilla + marketing. Notice the profusion of PEOPLE present as -- + + Eazy and Ren pull into the lot, exit the car and heads + inside, intoxicated by the sea of people. + + +31 INT. SKATELAND RINK - MAKESHIFT DRESSING ROOM - NIGHT 31 + + Eazy addresses the guys, all business. + + EAZY + I asked everybody to wear something + black today, ‘cause if we gonna be + an All-Star group, we gotta look + like an All-Star group. + + WE PULL BACK to reveal the GUYS -- Cube, Dre and Ren -- + gathered around Eazy. A whole crew is there with them, too, + including DOC, Tyree and Jinx. And everybody’s dressed in + some type of BLACK L.A. RAIDERS GEAR, except Yella who + approaches from the side wearing an old school purple & + gold L.A. KINGS jersey. + + EAZY (CONT’D) + Damn Yella! What happened? + + YELLA + Man, kiss my ass, I ain't got no + Raider gear.-- Are we gettin’ paid + to wear that shit? + + Eazy hits him in the face with a black t-shirt. + + EAZY + Put this on. + 34. + + +As YELLA starts to change shirts, Jerry Heller comes around +the corner talking to the promoter, nothing hip-hop about +him at all. + + CUBE + Aww damn-- here come The White + Shadow. + (no smiles) + + REN + Nah, Mr. Furley from “Three's + Company.” + + EAZY + (irritated) + Man, shut the fuck up? This dude + knows the game inside out. He been + out there shopping our shit around. + Gonna find distribution for + Ruthless, get us on tour and bring + a whole lot of money to the table. + + DRE + And then what-- How he get paid? + + EAZY + Just takes 20::percent:: off the + top. That’s it. We cut up 80. + That's how managers work. + + DOC + (drink in hand) + All managers don't get 20 + mothafuckin' percent! + + EAZY + Doc, shut yo drunk ass up. You + don't know the music business. + +DOC take another sip. + +Jerry joins the group. + + JERRY HELLER + Hey fellas, sorry I'm running late. + I’ll be honest. We’ve had a lot of + passes. People are scared of you + guys big time. They think you’re + dangerous. But I think that’s a + good thing. And we’ve had a couple + nibbles, from a couple labels. + Epic, Capitol, Priority... + 35. + + + REN + “Nibbles”..? What’s that mean? + +Jerry pauses a beat, finding the best response. + + JERRY HELLER + Here’s the thing. You guys can make + a real record. Sell it nationwide. + But we’re not there yet. These + labels, they’re still gonna need + some... convincing. So I invited a + few of them to your show. So you + have to kick ass tonight. Can you + do that? + +The guys stare back at Jerry, with the fire in their eyes. +Goddamn right they can do it -- "Hell yeah!" + + JERRY HELLER (CONT’D) + Let me go and make sure they're all + here. + +Jerry peels away and goes inside. Cube looks at Eazy. + + CUBE + And you trust this dude? Cause he + looks like a one of my old + muthafuckin' history teachers. + +Eazy cocks his head at Cube. + + EAZY + You trust me? + + CUBE + Yeah, I trust you. But that ain't + what we talking about -- + + EAZY + Just leave it up to me. I'll make + sure everything is straight. Just + have them raps cocked and loaded. + +Dre throws his arm around Eazy, puts a stop to it-- + + DRE + Come on now. Cube has never failed + to deliver. He always comes + correct, ready to work. That ain’t + gonna change. Aiight? + +Cube and Eazy soften, smile at each other, it’s all good. + 36. + + + YELLA + Can this muthafucka Jerry Heller + bring in more pussy? That's worth + 20 percent! + + Everyone LAUGHS as we -- + + +32 INT. SKATELAND RINK - MAIN FLOOR - CONTINUOUS 32 + + We see the PACKED MASS of the CROWD, crammed together, + hands in the air, SCREAMING, even though nothing’s happened + yet. The stage is pitch black as we see the silhouettes of + NWA members manning their battle stations. More screams and + anticipation from the crowd. + + At the BACK of the room, we see JERRY HELLER beside THREE + nervous-looking RECORD EXECS. One of them -- BRYAN TURNER - + - glances around warily at the inner-city CROWD. + + BRYAN TURNER + You sure this is... safe for us..? + + JERRY + Try not to look so scared, Bryan. + They smell it on ya, you’re + finished. + + Turner FREEZES and his eyes go wide -- Jerry LAUGHS. + + JERRY (CONT’D) + Relax. You’re in for a real treat! + + Just then, the STAGE LIGHTS come on, and NWA IS ON STAGE, + spread out in FORMATION, in their BLACK RAIDERS GEAR. DRE + and YELLA man FOUR TURNTABLES and 2 mixers -- + + CUBE + Yo Dre, kick in the bass! + + The bass-heavy ASSAULT of DOPEMAN kicks in. The crowd goes + APESHIT. Jumping up and down. Crushed against each other -- + + ON STAGE, CUBE stalks to the edge, lets loose -- + + CUBE (CONT’D) + It was once said by a man who + couldn’t quit -- + + And and CROWD SCREAMS BACK, because THEY KNOW EVERY LYRIC! + + THE CROWD + 37. + + + DOPE MAN PLEASE CAN I HAVE ANOTHER + HIT??? + + CUBE + The Dopeman said Cluck I don’t give + a shit, if your girl kneels down -- + + THE CROWD + AND SUCKS MY DICK!!! + + with each other, like, Oh my God, this is sick! + + IN THE CROWD, we find JERRY and the RECORD EXECS. One of + the EXECS looks disgusted, WALKS OUT. Jerry watches him + go... + + JERRY + So what do ya think? + + RECORD EXEC + Jerry, we’re friends, but Compton? + (laughs) + I don't think so. Queens..? Maybe. + But. If you find another Bon Jovi, + you call me. + + The Exec brushes past Jerry and WALKS OUT. Jerry turns and + sees that BRYAN TURNER is the only Exec still there. And + he’s WATCHING with wide eyes, overwhelmed while -- + + UP ON STAGE, EAZY tears into his verse -- + + EAZY + Yeah high-rollin’, big money I’m + foldin, Bitch on my tip for the + dick I’m holdin’. Strung + strawberry, jockin’ me so early. Ho + you want a hit -- + + CROWD + YOU GOTTA GET YOUR KNEES DIRTY!!! + + IN THE BACK OF THE CLUB, from a corner, a big man is + watching, mind going, This is SUGE KNIGHT. + + +33 INT. SKATELAND RINK - LATER 33 + + The last raucous PARTY-GOERS exit, leaving behind some + CLEANING CREW and OUR GUYS, still riding the high of + performing. + + DOC + 38. + + + Damn Dre, ya'll wrecked these + mothafuckas tonight! + + DRE + I know. Stage was shaking so much-- + thought my needles was about to + jump off the record! + + CUBE + I’m still trippin’ that they knew + all the words! That's Crazy... + + REN + Compton is definitely on the map my + nigga! + + YELLA + Did you see all the freaks that was + out there? Lord, thank God for + biker shorts! + +Everybody shoots YELLA a look. + + CUBE + We talkin’ about the power of + N.W.A. and all you saw tonight was + pussy? + + YELLA + Man, pussy is power. + +They chuckle at Yella in disbelief as SUGE KNIGHT +approaches. + + SUGE + (surprisingly friendly) + Man, I had a feelin’ y’all was + gonna represent tonight. Good shit. + + EAZY + Wuddup, Suge -- What you been up + to, homie? Still out in Vegas? + + SUGE + Back and forth. Doing some + bodyguard work among other things. + If ya'll need my services, just let + me know. + + EAZY + Aight. But we don't need no body + guards. + 39. + + + SUGE + You never know what you need until + you need it. + +Somewhat of an uncomfortable pause of dead air. + +JERRY rounds the corner, sweating through his misshapen +suit, along with BRYAN TURNER. + + SUGE (CONT’D) + I just came back here to give ya'll + your props. I got my people out + here waiting on me. But I'll be + around. + +Suge exits... as DOC clocks his flavor-- our attend goes to +Jerry and Bryan. + + JERRY + That was quite a show, gentlemen. + Nice job. Very, very nice. + +They all keep STARING at him, waiting. Jerry grins, +enjoying stretching out this moment. + + JERRY (CONT’D) + This is Eazy E and NWA. Guys, this + is Bryan Turner. + + CUBE + (brazenly) + Ice Cube, ‘Sup? + + JERRY + Uh, Bryan runs Priority Records. He + wants to sign you. + + BRYAN TURNER + Immediately. Fellas, I loved the + show. You really had the crowd on + their feet. I think you’ll fit + perfectly with our label. + + DRE + That'll work. Priority Records? I'm + not familiar with your label. What + artist do you got over there? + +Bryan looks at Jerry, who folds his arms, chin on his +chest. + + BRYAN TURNER + Nothing big. Just an R&B group. + 40. + + + REN + Who dat? + + Bryan hesitates, almost ashamed to say -- + + BRYAN TURNER + Uh-- The California Raisins. + + Everyone in NWA grimaces -- + + CUBE + Them little-ass raisins on the + commercial? Singin’, "I Heard it + Through the Grapevine"? + + Yep. They all LAUGH in Bryan's face. He smiles too. + + BRYAN TURNER + Laugh all you want. Those little + fuckers went gold last year. + + The laughing stops -- This gets their attention and + respect. + + EAZY + Gold? + + JERRY + Yep, almost platinum. Bryan has a + great distribution platform. + + This is the perfect time for Jerry Heller to seal the deal. + + BRYAN TURNER + So what do ya say? Wanna go make a + record? + + It takes a second for it to sink in. But they are as ready + as they ever could be. Jerry watches, pleased as punch -- + + +34 EXT. AUDIO ACHIEVEMENTS - TORRANCE - ESTABLISHING - DAY 34 + + Cars zip past as we move inside -- + + +35 INT. AUDIO ACHIEVEMENTS STUDIO - DAY 35 + + Dre runs his fingers on the knobs and levels of the mixing + board. There’s nowhere that he feels more at home. Eazy, + Cube, Ren, Yella and Jerry are gather in the studio. Dre + Inspired: + 41. + + + DRE + Aiight! If your rhymes ain't tight, + you ain't makin’ the record. So you + better have your shit together. + Yella Boy -- Rewind that shit! + + Yella rewinds the tape. + + Cube and Eazy look at each other as the speech hits home + as... + + We begin a MEDLEY OF IN-PROGRESS AND ICONIC SONGS. + + +36 INT. AUDIO ACHIEVEMENTS - BOOTH 36 + + Cube in the studio writing EXPRESS YOURSELF. Dre is on the + mic doing EXPRESS YOURSELF. Yella is at board as everyone + watches Dre. + + DRE + I'm expressin' with my full + capabilities, And now I'm livin' in + correctional facilities... + + NOTE: IN BETWEEN THIS SEQUENCE, we cut back to CATCH + GLIMPSES of Dre in the studio CREATING -- FUCK THA POLICE, + starting with the bones and building: first the DRUM + MACHINE... then the SCRATCH... the BASS... an on and on. We + will see Dre building this track throughout the sequence. + In the back, Cube, Ren and DOC on the couch writing. + + IN THE BOOTH - LATER + + Cube writes than spits the lyrics to A BITCH IZ A BITCH. + + AT THE BOARD, Dre HOWLS with excitement, adjusts the + levels, then cuts the beat. Beside him, Eazy and Yella are + all smiles. + + IN THE BOOTH, Ren spits fire on the final bars of PARENTAL + DISCRETION IZ ADVISED -- + + -- EAZY spitting STRAIGHT OUTTA COMPTON as -- + + +37 INT. AUDIO ACHIEVEMENTS STUDIO - DAY 37 + + Dre’s at the soundboard, chopping up the beasts from what + will become “Fuck Tha Police”. Cube, Ren, DOC and Jinx are + listening while writing and eating fast food. + + DRE + 42. + + + Now this is what I’m talkin’ about. + You hear the difference? + + YELLA + Yeah, no doubt. + +Jerry and Eazy are discussing business. + + JERRY + Our deal with Priority is done. I + have the contracts for you to sign. + +Cube takes notice of Jerry and Eazy, looking up from +another beat-up notebook. + + JERRY (CONT’D) + (to Dre) + If this music keeps sounding like + this. This album is going to be + amazing. + + DRE + Thanks, Jerry. + + JERRY + The lyrics you’re writing is really + good, Cube. + + CUBE + I appreciate that, man. + (to Eazy) + Eazy what’s up with our deal. + + EAZY + Jerry handles that. + +Cube looks at Jerry. + + JERRY + The lawyers just started drawing + them up. + +Before Cube can respond, Tyree enters the room as Jerry +exits the room. + +Tyree pulls Dre aside. + + TYREE + Yo Dre, there’s something outside + you need to take care of. Trust me. + +Concerned, Dre heeds Tyree’s advice and exits. + 43. + + +38 EXT. AUDIO ACHIEVEMENTS STUDIO - CONTINUOUS 38 + + Parked along the curb, Dre’s girl LaVetta sits in what we + thought was Dre’s DATSUN. It’s filled to the brim with + clothes and baby gear, hatchback tied down with bungee + chord. + + Dre leans down to her window -- + + DRE + So let me get this straight -- You + gonna do this right here, right + now? + + LAVETTA + What am I supposed to do? We’re + sleepin’ on a twin bed, at your + auntie’s house. We have a baby, + Andre. You expect me to wait for + what you’re doin’ in there? And you + in the streets, fuckin’ around? Are + you crazy? + + Dre doesn’t notice a TORRANCE P.D. CRUISER drift past... + + DRE + What? I’m out here day and night + bustin’ my ass, tryin’ to create + something, and you gonna come up in + here talkin’ about some bitches? + Are you crazy? + + LAVETTA + You don’t get it. + + DRE + Nah, you don’t get it. + + LAVETTA + Bye, Andre. + + LaVetta puts the car in gear, PEELS away just as the whole + gang comes out, having caught the tail end of the argument. + + YELLA + You cool? + + DRE + Fuck no. I’m far from cool. + + TYREE + What happened, Dre? What she say? + 44. + + + CUBE + Aww shit, here we go again... + +The TORRANCE P.D. CRUISER pulls up fast, two COPS popping +out. One black the other white. Weapons drawn. + + TORRANCE COP 1 (BLACK) + Everybody down on the ground now! + +The guys are confused. Food in hand. + + REN + What we do?! + +These cops aren't playing and they don't want to be +questioned. + + TORRANCE COP 2 (WHITE) + (Shoving Ren to the + ground) + Get your fuckin ass on the ground + before I shoot you! That's what you + did! + +After peeping out the cops overly aggressive posture. The +guys start to comply. Mexican food hits the ground first +then all the guys go face down-- spread eagle. + + DRE + Why you got on the ground like + this, officer? + + TORRANCE COP 1 + For our protection. It's 6 of you, + only two of us. So just sit there + and shut up. + (to his partner) + Call for back up. + +Torrance Cop 2 starts to call it in. + +Torrance Cop 1 starts to roughly frisk the guys. + + TORRANCE COP 1 (CONT’D) + This is Torrance. You niggas + supposed to be somewhere? + + EAZY + Yeah. Here. We workin’. + + TORRANCE COP 1 + Working? Yeah, I bet. + 45. + + + DRE + What we do? + + TORRANCE COP 2 + We'll find out what you did in a + minute. + +Within seconds, the Cop has Dre legs spread, frisking him +roughly, hyper-extending his arms -- + + DRE + What the fuck -- + + TORRANCE COP 1 + Shut your hole! + +The whole group is getting frisked one by one. Until Jerry +Heller comes to the rescue. + + JERRY + Excuse me officer, what's going on + out here?! + + TORRANCE COP 1 + Step back sir! Just making sure + these thugs are clean! + +Jerry keeps coming. + + JERRY + These are not thugs, they're + artists! + +As Jerry gets into the officers face, we see the contrast +of the black guys face down on the ground with the Cops and +Jerry's shoes standing over them talking. + + TORRANCE COP 1 + Artists? What kind of artists? + + JERRY + They're rappers working in the + studio right here. + + TORRANCE COP 2 + Rappers? Rap is not art. It’s + jungle music. And who are you + supposed to be? + + JERRY + I'm the manager. + + TORRANCE COP 1 + 46. + + + Well you’re wasting your time, Mr. + Manager, ‘cause your rappers look + like typical gang bangers to me. + + As the insults continue-- We LINGER ON CUBE, consuming his + incendiary eyes, his flared nostrils. He’s just about had + enough of this shit. + + TORRANCE COP 2 + Why don't you spend your time + managing real music like Lynyrd + Skynyrd! + + TORRANCE COP 1 + Or Con-Funk-Shun! Real instruments. + Real music! Not this bullshit rap! + + TORRANCE COP 2 + Fuckin' fad. + + TORRANCE COP 1 + (laughing) + Tell me about it. + + +39 INT. AUDIO ACHIEVEMENTS STUDIO - EMPTY OFFICE - LATER 39 + + Dimly lit, Cube sits hunkered over a desk, writing + furiously in his notebook. As if he’s possessed. He slaps a + page aside, scribbling on the back. WE CATCH GLIMPSES of + ICONIC WORDS ON THE PAGE -- + + GOT IT BAD CAUSE I'M BROWN... SEARCHIN’ + MY CAR, LOOKIN’ FOR + THE PRODUCT... THINKIN’ EVERY NIGGA + IS SELLIN’ NARCOTICS. + + +40 INT. AUDIO ACHIEVEMENTS STUDIO - CONTINUOUS 40 + + Dre is at the mixing board working on the instruental track + for FUCK THA POLICE. The instrumental is playing without + any lyrics or the hook on it. + + CUBE (O.S.) + Yo! + + CUBE enters the studio -- Hands the open notebook over to + Eazy, who scans it, hands it over to Dre for a look. + + EAZY + (sly smile) + This gonna start some shit, Cube. + 47. + + + CUBE + (a grunt) + Yeah, fuck the police. + + Dre smiles as we cut to -- + + Dre is scratching in the iconic hook. FUCK THA POLICE-- + FUCK, FUCK, FUCK THA POLICE. He continues to scratch... + + Ice Cube on the mic spitting the venomous lyrics of Fuck + Tha + + 38pt2 38pt2 + + Police. + + +41 EXT. RUTHLESS RECORDS - LOS ANGELES - ESTABLISHING - DAY 41 + + STRAIGHT OUTTA COMPTON continues over -- + + EAZY and JERRY walk into the new RUTHLESS OFFICES... + + +42 EXT. CRENSHAW BLVD - NIGHT 42 + + A LOWRIDER cruises the packed boulevard, STRAIGHT OUTTA + COMPTON SCREAMING out the windows as it passes by -- + + A HOOPTIE that’s got EXPRESS YOURSELF ON BLAST. And we + quickly realize that -- + + THE ENTIRE ALBUM’S FLOATING ON THE AIR, + DIFFERENT TRACKS + THUMPING from DIFFERENT CARS + flossing on the ‘Shaw. Literally, + every car. + + LOW-RIDERS bounce their hydraulics in approval. PEDESTRIANS + HOLLER at the RIDERS and Riders holler back. It’s like the + entire hood is partying. And in the thick of it all -- + + Eazy, Dre, and Cube creep down Crenshaw in Eazy’s ‘64 + Impala, Ren and Yella just behind them in Yella’s Porche. + They can’t believe their eyes, their hood now worshipping + their music. Some full circle shit... + + +43 INT. RUTHLESS RECORDS - JERRY’S OFFICE - CONTINUOUS 43 + + STRAIGHT OUTTA COMPTON FADES OUT as -- + 48. + + + CLOSE ON the album cover to STRAIGHT OUTTA COMPTON as it’s + slid across the desk to... THE WHOLE GANG. They pass around + the record, in awe, as if it were the Holy Grail. + + JERRY + This is only the tip of the + iceberg, fellas. The days of + selling records out of your trunk + are a thing of the past, Eric. + + EAZY + My days of selling anything out the + trunk is over. + + +44 EXT. LEIMERT PARK - LOS ANGELES - DAY 44 + + All the GROUP MEMBERS saying goodbye to their FAMILY, + FRIENDS. JERRY’s there, too, along with Bryan Turner. + + BRYAN TURNER + So, are you going out with them? + + JERRY + Are you crazy? Had a enough of that + shit in the 70's. I'll fly out a + couple of times and check on'em. + + BRYAN TURNER + Well make sure everything goes + smooth, okay? I have enough bad + press with Tipper Gore and P.M.R.C. + on my ass. I'm gonna have to put + Parental Advisory stickers on all + the records from now on -- + + JERRY HELLER + What’s wrong with that? Bryan, + controversy’s good -- It’s gonna + help us sell more records. + + But Jerry’s distracted by Eazy carrying a big duffel bag. + + JERRY + Excuse me. + + Jerry sidles up to EAZY, who is carrying a big, heavy, + clattering DUFFEL. + + JERRY (CONT’D) + What ya got in there, Mr. Wright? + 49. + + + Eric grins, sets down the duffel -- CLUNK -- and unzips it. + Jerry’s eyes bug. The duffel is full of GUNS, big and + small, a Kevlar vest, a hockey mask. All things trouble. + + JERRY (CONT’D) + Have you lost your mind? You are + not taking that on the bus. + + EAZY + Yeah we are. How we supposed to + protect ourselves out there, Jerry? + In fuckin’ Texas? And Tennessee? + They lynch niggas down there -- + + JERRY + I’m not gonna let you take that + arsenal on tour, Eric! + + Eazy squares off, crosses his arms. + + EAZY + Let me? Jerry, you take care of the + business, I’ll take care of the + rest. + + +45 EXT. HOUSTON ARENA - HOUSTON - NIGHT 45 + + Out front of the arena, a mass of PROTESTORS have + accumulated a large pile of NWA RECORDS as -- + + SUPERIMPOSE: HOUSTON, TX + + ON THE BUS + + The guys watch on as a MAN drives a STEAMROLLER RIGHT OVER + THE RECORDS, crushing them to pieces! The Protestors CHEER! + + CUBE + Ain’t that some shit... Talk some + truth and people lose they minds. + + EAZY + They had to buy all those albums to + do that! More money in our pockets. + + +46 EXT. HOUSTON ARENA - BACKSTAGE PARKING - HOUSTON - NIGHT 46 + + The TOUR BUS pulls up inside the SECURITY AREA behind the + VENUE. Houston P.D., POLICE HORSES, FANS and PROTESTERS are + watching as -- + 50. + + + The bus DOOR HISSES open, and we watch expectantly for our + heroes... BUT NO ONE APPEARS. All we can see is the black + void inside the tour bus, its ENGINE IDLING. Finally, when + we can hardly stand it any longer... NWA BURSTS OUT ONTO + THE -- + + +47 INT. HOUSTON ARENA - STAGE - LATER THAT NIGHT 47 + + -- And god damn they look cool. Still dressed in all-black, + but now their shit looks cleaner, more expensive. They’re + all rocking a lot of GOLD -- rings and thick-rope chains. + + HUGE BASS SLAMS DOWN as the mock street LIGHTS blind our + eyes. The stage looks like the hood with chain link fences + and yellow police tape. + + We hear the SOUNDS of STRAIGHT OUTTA COMPTON (”YOU ARE NOW + ABOUT TO WITNESS THE STRENGTH OF STREET KNOWLEDGE.”) and + find DRE on the ONES AND TWOS, which sit on upside-down + glowing trash cans, while the rest of the group rocks the + stage. + + CUBE + Straight outta Compton, crazy + muthafucka named Ice Cube, from a + gang called Niggaz With Attitudes. + When I'm called off, I got a sawed + off, squeeze the trigger, and + bodies are hauled off -- + + We see CUBE REACT to the fact that here in Middle America, + the majority of the audience is WHITE. Never expected that. + + IN THE BACK, we see a row of UNIFORMED COPS, stone-faced, + their presence alone transmitting hostility -- + + MONTAGE OF THE ROAD + + +48 INT. ARENA - STAGE 48 + + 46pt1 46pt1 + + -- Eazy blows the roof off with WE WANT EAZY, all hands in + the air as a sea of people vibe with him all singing: EAZY, + WE WANT EAZY -- EAZY, WE WANT EAZY! + + DRE, REN AND EAZY RIP THROUGH THE FIRST VERSE-- As the + crowd sings the hook again. We can hear Eazy say-- + + EAZY + (to the crowd) + 51. + + + Where the fuck y’all at, + Cincinnati!? + + +49 INT/EXT. TOUR BUS 49 + + 46pt2 46pt2 + + -- The guys watch on as the TOUR BUS rolls past a PROTEST. + DEMONSTRATORS SHOUT at the bus, hold up SIGNS: BAN GANGSTA + RAP, STOP DISRESPECTING WOMEN, GANGSTAS BELONG BEHIND BARS + -- + + +50 INT. ARENA - STAGE 50 + + 46pt3 46pt3 + + -- Dre and Ren rhyme fierce on COMPTON’S N THE HOUSE. + Standing room only, as usual... + + DRE + To the people over here -- + + REN + To the People over there -- + + DRE/REN + To the people, the people, the + people, people, the people, the + people, people from Kansas City, + watchin’ the show -- + + +51 INT. ARENA - STAGE 51 + + 46pt4 46pt4 + + -- Another ARENA. Another angry PROTEST. By now, the guys + aren’t even paying attention anymore... + + +52 INT. ARENA - STAGE 52 + + 46pt5 46pt5 + + -- Cube destroys GANGSTA, GANGSTA, nostrils flared, giving + it his all. As the CHORUS KICKS IN -- + + CUBE + Indianapolis in the muthafuckin’ + house! + 52. + + +53 INT. HOTEL ROOM - NIGHT 53 + + 47pt1 47pt1 + + Muffled MUSIC, LAUGHTER THUMPS through the WALLS as we find + DRE sitting on a bed in an empty hotel room, talking to -- + + DRE (INTO PHONE) + I can’t do it, T. + + INTERCUT WITH: + + +54 EXT. VERNA’S HOUSE - PORCH - CONTINUOUS 54 + + 47pt2 47pt2 + + TYREE, who’s chillin’ in a chair, surveying the street, all + smiles talking to his cool-ass big brother. + + TYREE (INTO PHONE) + Come on. I could meet up with y’all + in Dallas or -- Yo, you gotta let + me come fuck with you in Miami! + + Dre laughs. Misses his baby brother. + + DRE (INTO PHONE) + Oh, you wanna partake in some of + those fat asses, huh. + + TYREE (INTO PHONE) + You know it! + + DRE (INTO PHONE) + So what you think moms will say + about you comin’ on tour? + + Tyree’s silence is telling. + + DRE (INTO PHONE)(CONT’D) + Exactly. ‘Cause you got school and + you know she won’t let you miss + that many days. + + TYREE (INTO PHONE) + You did. + + DRE (INTO PHONE) + Exactly my point. + + TYREE (INTO PHONE) + 53. + + + So I’m paying for your shit? + + DRE (INTO PHONE) + How it is, T. Youngest always do. + +Tyree deflates... + + DRE (INTO PHONE) (CONT’D) + How moms doin’? Is she there? + + TYREE (INTO PHONE) + She good, but nah, you know her, + constantly workin’. + + DRE (INTO PHONE) + Well make sure you take care of + her, aiight? I’ll tell you what, + you stay your ass outta trouble and + I’ll call you when I’m on the way + to Miami-- we'll see about getting + you on a flight. + + TYREE (INTO PHONE) + (perks up) + Aiight, man... You promise, Dre! + + DRE (INTO PHONE) + I got you. Just bring a lot of + rubbers. + +Dre and Tyree have a nice laugh together. + +Suddenly there’s a BANGING at Dre’s FRONT DOOR -- + + DRE (INTO PHONE) (CONT’D) + Hold on a second, somebody at the - + - + +CLICK. TYREE’S GONE. Dre sets the phone down. Walks to the +door. OPENS it to find -- + +A BIG DUDE, standing outside, looking PISSED! + + BIG DUDE + Yeah nigga, I'm looking for my girl + Felicia. Heard she was up here in + one of these rooms. + + DRE + No Felicia in here, man. + +Dre starts closing the door, and the DUDE jams his BOOT in, +stopping Dre from closing the door. + 54. + + + BIG DUDE + Mind if I take a look? + + DRE + Get your foot out my door -- + +Big Dude pulls up his SHIRT, PISTOL poking out of his +waistband -- Dre SHOVES him back and SLAMS the door! +Quickly OPENS the DOOR to the adjacent room where -- + +ON THE OTHER SIDE + +47pt3 47pt3 + +There’s a PARTY going on. EAZY, CUBE and REN are all +partying with GIRLS, most of whom aren’t wearing any +shirts. Titties are everywhere, booze flowing freely. + +YELLA’s in the middle, FUCKING A GIRL on one of the beds. + + DRE + Yo! Any of y’all named Felicia? + +All the GIRLS shake their heads. + + YELLA + (to the girl under him) + Hey baby. You Felicia? + + GIRL + You forgot my name, muthafucka? + +She looks pissed, but they keep on fucking anyway. + + DRE + I think her man’s outside. And that + nigga strapped. + +Eyes wide, Eazy quickly pulls the GUN DUFFEL out from under +one of the beds, unzips it, fishes through and pulls out an +AK. + + YELLA + Whoa! Eazy, you can’t be blastin + inside the hotel -- + +But Eazy just grins, heads for the door. Opens it, PEEPS +out through the crack -- + + EAZY + Hey, you lookin’ for Felicia? + 55. + + + BIG DUDE is still out there, standing about 15 feet away, + with TWO OTHER similarly-large DUDES. + + BIG DUDE + She in there or what? + + EAZY + Yeah, she's in here. Problem is, my + homeboy’s got his dick in her + mouth. + + Big Dude scowls, rests his hand on the butt of his pistol. + + BIG DUDE + What the fuck did you say? + + BACK INSIDE, Ren overhears this. Tosses a GIRL off his lap, + grabs his 9mm from the table, COCKS it -- + + IN THE HALLWAY, Eazy steps FULLY out of his room -- RACKS + the AK and AIMS IT RIGHT AT THE 3 DUDES -- + + EAZY + How bad you want Felicia now? + + The DUDES gape at Eazy a moment, then SCATTER, disappearing + down the hallway. Eazy LAUGHS his ass off as Ren bolts out, + 9mm in hand, ready for anything -- + + REN + Where they go? + + But the coast is clear. Eazy keeps laughing. Heads back + inside as we -- + + OMITTED + + +55 INT. HOTEL - LOBBY - DAY 55 + + Cube, Dre, Yella, Ren and D.O.C. stroll through, carrying + bags of McDonalds. Cube’s eyes drift over to the fancy + FOUR- STAR RESTAURANT across from the lobby where he can + see Jerry and Eazy at a table inside, enjoying a lavish + meal. + + CUBE + Meet y’all upstairs. + + Cube heads for the restaurant -- + + +56 INT. HOTEL - RESTAURANT - CONTINUOUS 56 + 56. + + +ON THE BAR TV, NANCY REAGAN’s concerned face fills the +screen. + + NANCY REAGAN + For the sake of our children, I + implore each of you to be + unyielding and inflexible in your + opposition to drugs. Our young + people are helping us lead the way. + Not long ago in Oakland, + California, I was asked by a group + of children what to do if they were + offered drugs. And I answered, just + say no. + +AT A TABLE NEARBY, Jerry and Eazy devour steaks and +lobster, sipping champagne. + + JERRY + (concerned) + Another one called-- said she was + pregnant by you too. Eric, you + gotta slow down. You can't fuck'em + all... + + EAZY + Yeah, I know. + (Deep breathe) + All these chicks want is money. If + I was broke, they're wouldn't even + be calling. + + JERRY + Yeah well, you start making a + little money, problems come with + it. + + EAZY + White people problems? + + JERRY + Money problems are race neutral. + But I’ll help you through all of + it. I’ll put you in touch with -- + +Jerry’s distracted by the sight of Cube marching towards +the table, bag of McDonald’s still in hand. Smiles up at +him. Eazy doesn’t make eye contact. + + JERRY (CONT’D) + Evening, Cube... + + CUBE + 57. + + + What's the deal on them contracts, + Jerry? I'm still waitin’ on 'em... + + EAZY + Man, stop asking about them fuckin' + contract. They're coming -- + + JERRY + It’s all right, Eric. Cube’s right + to ask, and I’m remiss in not + updating you guys. + (to Cube) + Contracts are being finalized as we + speak. Truth is, attorneys will + bleed you dry going over ‘em. Wish + I was paid by the hour... + + CUBE + Yeah me too. I just like to know + what’s goin’ on. Since I wrote a + lot of lyrics on this record. + + JERRY + Everybody knows how important you + are, Cube. Just give us a little + more time. + + Cube glances at Eazy, who’s like a statue. Cube picks up + Eazy’s champagne glass, drains it, sets it back down. + + CUBE + Shit’s pretty good. Someday, huh? + + With that, he turns and walks out. Jerry watches him go. + Then, to no one in particular: + + JERRY + He wants to be you so freaking bad. + This kid has issues. At some point, + you gotta trust somebody... + + But Eazy’s not paying attention. Waving to a passing + waiter: + + EAZY + Waiter! Another round over here... + + +57 EXT. OPEN ROAD - NIGHT 57 + + The NWA tour bus blurs by, a prism of light and speed -- + 58. + + +58 INT. TOUR BUS - MIDDLE OF NOWHERE - USA - NIGHT 58 + + Cube and Dre speak in hushed tones, everyone else asleep. + + DRE + Nah, I think you over reacting. + Eazy’s one of us, Cube. What you + thinking don't even make sense -- + + CUBE + Know what don’t make sense? Eazy + chillin’ with Jerry eatin’ steak + and lobster while we at Mickey D’s. + That shit don’t make sense. + + DRE + Look, I hear that, but I think we + should ride this wave. Don’t be + jumpin’ to conclusions until you + know for sure, + + WE HEAR a FAINT VIBRATING SOUND. Dre realizes it’s his + PAGER. Grabs it off his bed. Sees that he’s missed TWELVE + PAGES. AND EVERY SINGLE ONE IS LABELED “9-1-1.” Instinct in + overdrive, he hurries to the FRONT of the bus, tells the + DRIVER -- + + DRE (CONT’D) + We gotta stop. Gotta get somewhere + with a phone -- + + DRIVER + But we’re in the middle of nowh -- + + DRE + Stop the fuckin’ bus, man! + + +59 EXT. GAS STATION - MIDDLE OF NOWHERE - USA - MOMENTS LATER 59 + + The BUS is parked in a nearly-empty PARKING LOT outside of + a lonesome, isolated GAS STATION. It’s a dark, starless + night. + + Dre shuffles slowly out of the station, in a daze, like he + just awoke from a fucked-up dream. He walks over to the + BUS. But instead of getting on, he SITS DOWN on the + pavement, eyes filled with shock and disbelief. + + The sound of FOOTSTEPS as Ren, Yella, Cube, and Eazy exit + the bus, surround Dre. They can tell something is very + wrong. + 59. + + + YELLA + Yo, Dre. What’s goin’ on? + +ON DRE as he forces back the tears that wanna come, his +voice barely a whisper: + + DRE + My Moms called. Tyree. He’s dead. + Somebody killed my little + brother... + +Shocked: "What?" "Hell naw!" "What happen?" are heard +amongst Cube, Eazy, Yella and Ren-- they crouch down next +to Dre. Not sure what else to say or do. They wait for Dre +to say more... + + DRE (CONT’D) + He got into a fight near Leimert + Park. A big mothafucka fell on top + of him -- broke his neck. He killed + Tyree. I can't believe this shit. + +Face buried in his hands, Dre quietly weeps. + +Jinx, Laylaw and DJ Speed gather in the front window of the +bus. Not wanting to interrupt the group's moment. + +Cube rests a hand on Dre's shoulder as the others tighten +the circle. There’s silence... until: + + CUBE + Never told y’all, but when I was + twelve, my sister got murdered by + her own husband-- A fuckin' wanna + be cop who couldn't make it in the + academy. Life changed for me that + day. Everything became serious-- + + EAZY + Dope game took my cousin's life. I + remember when they found him. + + DRE + He shoulda been out here with me. + If he was out here-- It never + woulda happened... + + REN + 60. + + + Or it could've happened in another + way. Can't blame yourself, Dre... + Life has to end for all of us, but + love don’t. Feel me? Tyree is + always gonna be with you. No matter + what. + + Eazy moves closer. Slowly, he places a hand on Dre’s head. + Rubs it. It’s a bit startling -- Eazy’s not one for + tenderness. But it’s clear he feels Dre’s pain. + + EAZY + Gonna be aiight, Dre... We with + you. + + PULL BACK as the guys remain clustered around Dre. Looking + so small, so vulnerable, crouched in front of the Bus, + alone in the parking lot. NWA against the world. + + FADE TO BLACK: + + FADE UP: ON; + + +60 INT. MAUSOLEUM - LOS ANGELES - DAY 60 + + In a suit, Dre stands beside Tyree’s MEMORIAL WALL, his arm + draped around his heartbroken mother, Verna. She cries + without end or apology, surrounded by family, including his + other brother, WARREN G, plus Eazy, Cube, Ren and Yella. + + It’s solemn and quiet. Dre remains stoic, staring hard, + trying his best to remain strong for his mother. All + members of the band keep a close eye on him, as the pastor + wraps up his eulogy. + + PASTOR + Death is a threshold we all have to + pass through. No one is exempt. + Tyree will set a place for us on + the other side and we will see him + again. The flesh will always return + to the earth. But our spirits will + live on forever. Amen! + + The congregation repeats the pastor with a follow up + "Amen." + + +61 INT. MAUSOLEUM - LATER 61 + + A shattered Dre slumps out with his mom, Verna. + 61. + + + DRE + If I brung him out on tour with me, + like he wanted -- + + VERNA + This is not on you, Andre. + + Dre doesn’t say anything. Keeps his head bowed. + + VERNA (CONT’D) + Andre. + + DRE + We was supposed to kick it... Next + chance I got -- + + VERNA + This is not your fault. Understand + me? Stop this nonsense. Stop it + now. + + He looks at his momma. This strong woman. + + VERNA (CONT’D) + Your brother looked up to you. And + you took great care of him. We both + did. It’s time to let someone else + take care of him now. + + With that, she can no longer hold back the tears. Dre hugs + her, mother and son comforting each other. + + VERNA (CONT’D) + I’m proud of you... So proud of + you, baby... + + Dre fights back tears of his own, the words he’s longed to + hear. As Verna slowly turns and walks away, Cube, Eazy, Ren + and Yella surround him, brothers in arms. They walk out the + Mausoleum. + + TOUR BUS MONTAGE: + + -- Rural farmland. Flyover-ville. Where the fuck are we? + + -- Dre stares out the window, despondent, lost in + thought... + + +62 INT/EXT. TOUR BUS 62 + + -- Cube and Ren jot lyrics on notepads as the bus passes by + more PROTESTORS... + 62. + + + CUBE + Check this out -- + + PROTESTOR 1 PROTESTOR 2 PROTESTOR 3 + Ban gangsta rap! NWA is filth! Get + the hell out of here! + + THUD! An egg smacks into the window OBSCURING OUR VIEW. + + REN + We should get out and beat his ass. + + +63 INT. TOUR BUS 63 + + -- Yella watches porn next to Eazy who’s grown bored... + + EAZY + Man shut that off. Put on my shit. + + Disgruntled, Yella obliges. Puts on SCARFACE. Eazy smiles. + + +64 INT. TOUR BUS 64 + + -- Eazy and Jerry mastermind backstage at a concert. Jerry + HANDS a BILLBOARD MAGAZINE to Eazy. + + JERRY + Moving up on the Billboard 200 + albums chart, Holding our bullet + the R&B, Hip-Hop chart. I mean, you + have any idea how many records + we’re selling? Ruthless has + arrived. Eric, we are huge! + + Eazy scans the magazine. Drinks it in, sly smile as we -- + + +65 EXT. HOTEL - POOL SIDE - NIGHT 65 + + Surrounded by GROUPIES, living the life, the GANG hangs by + the pool. Odd looks are sent their way from snobby HOTEL + GUESTS, a school of fish out of water as -- + + JERRY looks worried as he makes a bee-line toward the pool + in his trademark velvet sweat suit, LETTER in hand. He + officiously hands it to Eazy, who scans it. Growls: + + EAZY + The muthafuckin’ FBI? + 63. + + +These words catch everybody's attention. We catch a GLIMPSE +OF THE LETTER on FBI stationary -- Dre snatches it from +Eazy. + + DRE + Damn, they comin’ after us, too? + +Now Cube leans over -- reads aloud: + + CUBE + “... advocating violence and + assault is wrong and we in the law + enforcement community take + exception to such action.” Have + they ever heard of freedom of + speech? What the fuck can they do + to us? + + JERRY + It’s a warning. A message to our + record label about “Fuck the + Police”. We should really think + about not performing that song for + a while. + +That doesn't sit well with the group. Moans and growns are +heard. + + JERRY + (over their PROTESTS) + Relax. RELAX. No need to worry-- + All I’m saying is, we should be + aware of this threat... + + CUBE + If it was from the LAPD, then I’d + be worried. + + EAZY + We should all be happy, not + worried. This is a gift, man. More + free publicity for NWA. + (waves letter) + That’s why we gonna send this to + the press. Let everybody know about + this kind of harassment and + intimidation by the government. + Right, Jerry? + +Jerry does not think this is the best idea ever but... + + JERRY + 64. + + + Well, uh. If that’s what you wanna + do, then maybe we -- + + EAZY + Do it, Jerry. Let everybody see + this bullshit. + +Eazy gives the letter back to Jerry, who walks off, leaving +the boys all hanging pool side. After a deliberative beat: + + CUBE + I guess freedom of speech don't + mean shit. + + REN + Not if you a nigga wit an attitude. + +All they guys look at each other. Eazy ain't worried about +nothing-- he puts on his Locs and continues to kick it. + +QUICK CUTS: + +Of different POLICE OFFICERS from DIFFERENT CITIES across +the U.S., each reciting their city’s obscenity ordinance, +one line bleeding into the next: + +-- A Macon, GA OFFICER... + + GA OFFICER + No person shall disturb the peace + by -- + +-- A Montgomery, AL OFFICER... + + AL OFFICER + -- Participating or abetting in any + rude, indecent, riotous, drunken or + violent conduct -- + +-- A Louisville, KY OFFICER... + + KY OFFICER + -- Using any vulgar, obscene or + abusive language in a public place + - - + +-- A St. Louis, MO OFFICER... + + MO OFFICER + -- Inciting any other person to + commit any breach of the peace, or + -- + 65. + + +66 INT. JOE LOUIS ARENA - BACK STAGE - DETROIT - NIGHT 66 + + SUPERIMPOSE: AUGUST 6, 1989 - DETROIT, MI. + + We catch a serious and quiet Cube along with the rest of + NWA - - and Jerry Heller -- gathered as a local POLICE + OFFICER reads to them from a piece of PAPER -- Eazy has on + his ski mask. + + POLICE OFFICER + -- committing any obscene, indecent + or immoral act in a public place. + Note also that performance of the + song “F The Police” will not be + permitted. Refusal to abide by all + Detroit City Ordinances will result + in immediate arrest and forfeiture. + + CUBE + Are we finished, man? We got a show + to do. + + The Cop sneers at Cube, walks off, throws another shot -- + + POLICE OFFICER + Just watch yourselves. + + REN + Yeah-- You watch yourselves too. + + He stares back at Ren one more time -- before leaving. + + Eazy takes off his hockey mask. All the GUYS are looking at + each other. Eazy and Jerry head off across the room for a + private chat -- + + Ren looks at Cube -- Cube looks at Dre -- Yella looks at + the perfect ass of a passing FEMALE OFFICER. + + YELLA + (to himself) + Yeah man, fuck the po-lice for + real. + + He laughs and sticks his tongue out. + + +67 INT. JOE LOUIS ARENA - STAGE - LATER 67 + + With Dre spinning, Cube, Ren and Yella hype the crowd as + Eazy tears up the final bars of STRAIGHT OUTTA COMPTON -- + + EAZY + 66. + + + This is the auto-biography of the + E, and if you ever fuck with me + you'll get taken, by a stupid dope + brotha who will smother, word to + the motherfucka, straight outta + Compton. + +The CROWD goes insane as the CHORUS PLAYS OUT. Like a God, +Eazy pimp strides off stage where Jerry awaits, all smiles, +arms open as -- + +BACK ON STAGE, Cube, Dre, Yella and Ren are feeling +defiant. CUBE addresses the amped CROWD: + + CUBE + Yo hold up, hold up -- Y’all know + what the muthafuckin’ po-lice just + told us back stage? They tired to + tell us-- what the fuck we can’t + say-- what the fuck we can’t play! + +The CROWD HOLLERS and BOOS their disapproval. + + CUBE (CONT’D) + Put ya middle finger in the air! + +Cube raises his hand in the air, quickly SNAPS HIS MIDDLE +FINGER to attention. Ren does the same with BOTH HANDS -- + +The CROWD RESPONDS by getting LOUDER THAN WE’VE EVER HEARD, +and RETURNING the gesture. + +We’re talking THOUSANDS of people, all with BOTH MIDDLE +FINGERS RAISED -- this is the real shit, this is what they +came here for -- + + CUBE (CONT’D) + This NWA -- We do what the fuck we + wanna do! We say what the fuck we + wanna say! So, all I wanna tell + that cop talking shit back stage is + -- Yo Dre, I got something to say! + +Dre DROPS IT. Cube jumps right into it, pure adrenaline -- + + CUBE (CONT’D) + FUCK THE POLICE COMIN’ STRAIGHT + FROM THE UNDERGROUND. A YOUNG NIGGA + GOT IT BAD CAUSE I’M BROWN -- + +The crowd goes ape-shit! BOUNCING and THRASHING like a MOSH +PIT. Pure ELECTRICITY-- + 67. + + + Jerry Heller is suddenly alarmed by the song selection. + + As Cube slices throughout the first verse -- + + Cops are getting agitated -- Waiting for the order to + pounce. After their CAPTAIN has seen enough-- He gives the + order. + + At that moment, the PLAINCLOTHES COPS in the crowd pull out + their BADGES and start MOVING FORWARD through the sea of + people, trying to make their way to the STAGE -- + + Cube keeps SPITTING -- lyrics are approaching that mighty + hook. + + The UNDERCOVER COPS are causing a lot of commotion in the + crowd... When CUBE hits the hook the CROWD JOINS IN, + because they know all the lyrics -- + + CUBE & CROWD + FUCK THA POLICE! -- FUCK! FUCK! + FUCK THA POLICE!-- FUCK THAT + POLICE! + + POP-POP-POP -- Cube stops rapping -- the CROWD is + momentarily STUNNED! What the hell was THAT? Gunfire? A + fucking BOMB? Whatever it was, TOTAL CHAOS BREAKS OUT -- + + The CROWD starts SURGING for the EXITS. Suddenly, DOZENS + MORE COPS have MATERIALIZED OUT OF NOWHERE -- + + All the members of NWA DROP their mics and rush off stage, + while the Arena descends into mayhem behind them -- + + +68 INT. JOE LOUIS ARENA - BACK STAGE - CONTINUOUS 68 + + It’s CHAOTIC. Tons of COPS, both UNIFORMED and UNDERCOVER, + SWARM as the Guys RACE past a LIVID Eazy and Jerry -- + + EAZY + What the fuck did you DO!? + + No time for answers, THEY RUN TOO. Jerry can’t believe the + cops are on their tails. + + +69 EXT. JOE LOUIS ARENA - LOADING AREA - CONTINUOUS 69 + + All the GUYS try to make their way to an idling VAN which + is waiting to whisk them away to safety, but -- + + REN + 68. + + + Aw fuck... + + Because they all just noticed TWO THINGS: 1) there are + DOZENS of rabid FANS gathered outside, and 2) there are + also A SHIT- LOAD OF POLICE, holding back the FANS. The + GROUP is spotted by some COPS, who peel off and head + STRAIGHT FOR THEM -- + + ICE CUBE + Here we go y'all... + + The COPS are immediately ON them, grabbing, frisking, + CUFFING, and DRAGGING them all toward a PADDY WAGON which + has materialized outside. + + And as soon as the CROWD sees their beloved NWA being + hauled away, they go NUTS, and start throwing BOTTLES and + ROCKS at the COPS, who DUCK and SWERVE to avoid the + projectiles. + + The CROWD starts CHANTING, at a deafening volume -- + + CROWD + FUCK THE POLICE. FUCK THE POLICE. + FUCK THE POLICE. FUCK THE POLICE -- + + Before it gets any hairier, the COPS start PILING NWA into + the PADDY WAGON. JERRY HELLER tries to shove his way over - + - + + JERRY + You have no right! This is illegal! + You can’t do this -- + + But the Detroit Cops don’t give a shit, they SLAM Jerry up + against a wall, hold him there. + + COP + Stay fucking put, old man! + + Jerry watches helplessly as the Paddy Wagon PEELS AWAY into + the night, taking our heroes away -- + + OMITTED + + +70 INT/EXT. TOUR BUS - OPEN ROAD - THE NEXT DAY 70 + + The bus cruises along as we PUSH INSIDE to the sound of -- + + +71 INT. TOUR BUS - MOVING 71 + 69. + + + Silence, save the rumble of the road. Everyone sits by + himself, semi-secluded. Nobody talks. They all just stare + out the windows, embroiled in thought. Exhausted. Shell- + shocked. + + Jerry watches a NEWS REPORT on the riot at the Detroit + show. + + JERRY + What the fuck were you guys + thinking? They can hold us libel + for inciting a riot! No one cares + that the police started it... + + Dre, Ren and Yella start paying attention as Eazy switches + channels. Finds another report about the riot. And another. + And another. Images blurring by of the concert. + + JERRY (CONT’D) + Whether you like it or not, you are + a political group. Never give these + assholes a reason to hurt you. Next + time they might take it. + + The guys watch, realizing that they’re becoming a part of + the zeitgeist. No longer in the news, they are the news. + + KURT LODER (PRE-LAP) + The explosive Compton rap group, + N.W.A. -- + + HARD CUT TO: + + CLOSE ON MTV NEWS REPORT (STOCK FOOTAGE) + + KURT LODER + -- aka Niggers With Attitudes, + officially had their video banned + here at MTV due to gang-like images + that could incite violence. This is + not the first scrape with + controversy for the band -- + + +72 INT. HOTEL - CONFERENCE ROOM - CONTINUOUS 72 + + CLICK! CLICK! CLICK! NWA sit at a long table being + interviewed for a PRESS JUNKET, dozens of microphones + thrust in their faces, cameras flashing. All the members + are engaged, leaning forward, elbows on the table. They got + each other’s back as WE PARACHUTE IN: + + JOURNALIST 1 + 70. + + +How do you explain insighting a +riot in Detroit? What do you have +to say about that? + + EAZ +We didn’t insight shit. + + DRE +You just got a snapshot of how +Americans honestly feel. + + REN +We didn’t create that. + + JOURNALIST 2 +Your songs glamorize the lifestyle +of gangs, guns and drugs. + + CUBE +My art is the reflection of my +reality. What do you see when you +go outside of your door. I know +what i see. + + YELLA +And it ain’t glamorous. + + CUBE +And by the way, the hood gets AKs +from Russia and cocaine from +Columbia. + + EAZY +We don’t even have passports. Check +the source. + + REN +Who is responsible for that? + + JOURNALIST 3 +You are experiencing a metoric +rise. How can you explain that +artits like Axl Rose from Guns and +Roses are wearing your tshirts and +hats? + + DRE +Isn’t it obvious. Real recongnize +real. + + CUBE +WE must of struck a nerve. + 71. + + + Journalist 4 quickly interjects -- + + The guys let that lie a moment as other JOURNALISTS speak + up. + + JOURNALIST 4 + Will you be more careful about what + you say, and how you say it? + + REN + Nope. + + Everyone LAUGHS. + + CUBE + Hell no. Last I heard, this is + America and we got Freedom of + Speech. Pretty sure that includes + rap music. Exercisin’ our Free + Speech across this whole damn + country, openin’ people’s eyes. Far + as I’m concerned that’s our job. + + The Journalists take that in, impressed by Cube’s media + savvy and forthright demeanor. Cube points to another + JOURNALIST. + + JOURNALIST 4 + So Cube, what’s a guy from Compton + do when he starts making real money + like this? + + Laughter from the assembled. Not from Cube. Silence. Then: + + JOURNALIST 4 (CONT’D) + Cube..? + + +73 EXT. DOUBLETREE SUITES - PHOENIX - ESTABLISHING - NIGHT 73 + + The typical cookie-cutter hotel blights the beautiful + desert landscape as the band exits the tour bus, enters -- + + +74 INT. DOUBLETREE SUITES - PHOENIX - NIGHT 74 + + CUBE walks down the hotel hallway, stops in front of a + door. He KNOCKS, but there’s no answer. He notices the door + is PROPPED open with the dead-bolt, so he pushes inside -- + + +75 INT. DOUBLETREE SUITES - JERRY’S SUITE - CONTINUOUS 75 + 72. + + +Cube enters the dark room. At the far end of the room, +there’s a DESK, with a lone LAMP illuminated, casting +weird, creepy shadows across the room. + +And JERRY HELLER sits behind the desk, his face mostly +obscured in shadow. Cube grins, bemused, because this +tableau is clearly deliberate, a dramatic show of power. + + JERRY + It’s nice to see you, Cube. + + CUBE + Well I can barely see you, Jerry. + What’s with all this Godfather + shit? + +Jerry ignores the comment, rises from behind the desk, +carefully places a stapled sheaf of PAPERS on the desk. + + JERRY + I know you’ve been very eager to + sign a contract with Eric’s + company, Ruthless Records. + + CUBE + It’s your company too, right? You + and Eric. All for one, one for all. + +Jerry sighs, shakes his head. + + JERRY + That’s incorrect. It’s not my + company. I work for you. I’ve made + that clear from the beginning. + +Cube just nods, like, yeah right. Picks up the thick +contract, pages through it. It’s full of dense legalese. + + CUBE + Alright, cool. So I can take this + one, show it to a lawyer or + somethin’? + +Jerry stares at him for a beat. Places his hands on the +desk. + + JERRY + Cube, lawyers get paid to make + trouble. That's what they do -- + create problems where problems + don't exist. + + CUBE + 73. + + + But I have no idea what it says. At + least let me take it to show my + family. + + JERRY + I can assure you, it’s all + standard. You can read it now, if + you like. + +Cube’s expression darkens. He clenches his jaw. + + CUBE + Jerry, you know I can’t understand + this legal shit. None of us can. + That’s why we need to show it to a + lawyer-- + + JERRY + Cube, I thought you knew? Everyone + else signed already. You’re the + only one who hasn’t. + +Cube flips to the last page. The Signatory page. Sure +enough, there’s EAZY’s signature, DRE’s, YELLA’s, and +REN’s. Cube can only shake his head with confusion, +disappointment. + + CUBE + What the fuck..? + + JERRY + Look. Cube. This is a great thing. + This is what you always wanted your + whole life. And there’s also this. + +Jerry lays a CHECK on the desk in front of Cube, made out +to O'SHEA JACKSON. And it’s for $75,000. Cube can’t help +it, his eyes go wide. It’s more money than he ever dreamed +of. + + CUBE + Damn. + (beat) + Thanks, man. + +He reaches for the check, but Jerry pulls it back. + + JERRY + Soon as you sign this contract, the + money is all yours. + +Cube freezes. Realizes he’s being shaken down. + 74. + + + CUBE + That’s my money anyway, Jerry. I + earned it. I wrote a lot of hit + songs. I been on tour for months. + +Performing. Gettin’ arrested and shit. And you gonna try to +gank me? + + JERRY + That’s ridiculous. + + CUBE + Give me my money, Jerry. + + JERRY + You’re kidding me, right? Who do + you think pays for everything? All + the hotel rooms, the parties, the + transpo? You think that’s free? + +Cube closes his eyes. Takes a deep breath. He must +literally will himself to not implant his fist in Jerry’s +face. + + CUBE + Why all this now, Jerry? Back in + the beginning, if you thought we + were so good, why didn’t you just + give us contracts then? + + JERRY + Nothing’s a sure thing, Cube. Even + a great talent can crash and burn. + Too much ego, too much excess, too + many expectations -- it tends to + ruin things. You oughta keep that + in mind. + +Cube stares hard. Knows exactly what Jerry’s implying. + + CUBE + I’m gonna ask one more time. Are + you sayin’ I can’t have the money I + earned, unless I sign this + contract, right now, without + showin’ it to anybody? + +Jerry just crosses his arms, looks at Cube, says nothing. + + CUBE (CONT’D) + Bye, Jerry. + +He turns and walks out of the room -- + 75. + + +76 INT. DOUBLETREE SUITES - LOBBY - DAY 76 + + Dre, Ren and Yella lounge on the lobby couch, packed bags + beside them. And they couldn’t be happier. + + CUBE (CONT'D) + + REN + I’mma get me a El Camino with some + gold Daytons and a Phantom top. + + YELLA + I can't wait to get out of that + "po- man's Porsche" and get me some + real shit -- + + Face crumpled with anger, Cube approaches. Drops his bags. + + CUBE + Y’all signed that Ruthless contract + without a lawyer? + + REN + Yeah -- And we got paaaaaid! + + YELLA + For $75,000 dollars, I don't give a + fuck what's in that contract! + + Dre and Ren chuckle at Yella’s candor. + + DRE + You ain’t signed? + + CUBE + Hell naw I ain’t signin’ that + bullshit. Don’t y’all think it’s a + little fucked up that Jerry won’t + let us show it to nobody? That seem + honest to y’all? If he offered us + seventy-five thousand, he probably + owes us double that. + (to Ren) + Thought we talked about this, dude? + + REN + It is what it is... I don't trust + Jerry but I trust Eric. + + Cube's disgusted by their ignorance. Only Dre seems to be + considering Cube’s words -- + + CUBE + 76. + + + At this point, Eric and Jerry in + this thing together. Believe dat! + + +77 EXT. LEIMERT PARK - LATE AFTERNOON 77 + + The bus is parked back where the tour began. Exhausted, + D.O.C. + + exits the bus and heads toward a BURGUNDY CHEVY BLAZER, + where SUGE KNIGHT waits to pick him up. D.O.C. throws his + bags in the back. Kicks it with Suge for a minute as -- + + Eazy exits the bus with Yella. They watch D.O.C. and Suge. + + EAZY + What up with Doc and Suge? + + YELLA + Guess that dude's “managing” him + now. One day you Bobby Brown’s + bodyguard, next day you reppin’ + talent. Everybody wanna get into + the act... + + Dre exits, looking discouraged. And we understand why when + an equally despondent Cube exits the bus and begins to move + away from the crew. Dre catches up to him -- + + DRE + Yo Cube-- You can’t just sign that + shit, homie..? Keep making + history..? + + CUBE + Naw man, not like this. I'd rather + be broke then get fucked -- Why did + you sign that shit, Dre? + + DRE + Nigga, I got bills to pay -- and I + need to put some money in my + Momma's hands after Tyree passed. + + CUBE + Yo, I get it. Everybody gotta do + what they gotta do. They're gonna + take care you. You they're bread + and butter. + + DRE + Cube, we Ruthless. + 77. + + + CUBE + Nah, we NWA. They Ruthless. + + T-BONE (O.S.) + You comin’, Cube? + + Cube turns to find T-BONE from the Lench Mob and Jinx, + waiting for him in his CAR. He looks back at Dre -- I’m + out. They pound hug and Cube heads off. Hops into T-Bone’s + ride. + + BACK WITH DRE, considering the scene as everyone drives + away, going in separate directions: + + Cube leaves with T-Bone... Yella leaves with Ren... Eazy + leaves with Jerry... And D.O.C. leaves with Suge... + + Dre finds himself all alone, confronting a new reality. + + +78 INT/EXT. T-BONES CAR - MOMENTS LATER 78 + + Cube rides in the passenger seat, pretty low at this point. + No money, no group. JINX MOUTH IS RUNNING, but Cube’s in a + daze -- doesn't hear a word he's saying. + + JINX + Can't believe you left the group, + man. What you gonna do now? Guess + we gotta start working on some solo + stuff, huh? Cube? Cube?! + + As the car pulls up to a stop light, Cube looks over, spots + a beautiful YOUNG LADY in a nice jeep on rims. She's looks + back over at him, their eyes locked. Is this love at first + sight? After a few magical moments. Cube finally speaks. + + CUBE + How you doing? My name O'Shea. + What's yours? + + KIM + Kim. + + CUBE + Hey Kim-- You the best thing I've + seen all day. + + She smiles. + + CUBE (CONT’D) + You believe in love at first sight? + 78. + + + KIM + What you think? + + She is the only one that can get Cube to smile at this + point. + + DISSOLVE TO: + + +79 INT. PRIORITY RECORDS - BRYAN TURNER’S OFFICE - DAY 79 + + Cube, Kim by his side, is seated opposite Bryan Turner -- + who's floored by the news. + + BRYAN + Wow, you’re really leaving the + group... + + CUBE + Yeah, I’m tired of the games. Eazy + puts everything on Jerry and Jerry + puts everything on Eazy. They can + have it. + + BRYAN + How do you feel about that Kim? Is + he making a big mistake? + + KIM + I don't think so-- after hearing + everything that happened, I + would've left too. Now he has the + chance to showcase all his talents. + + BRYAN + Well, I believe in you Cube, so + I’ll tell ya what: there’s not a + lot of money in this right now, but + if this first record hits, I’ll + make it up to you on the next one. + + Cube gets up and shakes Bryan’s hand. + + CUBE + Well get ready-- ‘cause these + albums are gonna be comin’ real + fast. I'm hungry and I got a lot to + say that's gonna fuck the world up. + + BRYAN TURNER + 79. + + + Who’re you gonna get to produce? + Ruthless is probably gonna veto Dre + working on the project. So what's + your plan? + + CUBE + If I can't get the best producer in + the in the west. I gotta go get the + best in the east. + + Off Cube's determined look-- + + HARD CUT TO: + + SUPERIMPOSE: SIX MONTHS LATER - NEW YORK CITY + + +80 INT. GREENE STREET STUDIO - NEW YORK CITY - DAY 80 + + CUBE, rocking a LENCH MOB JACKET, spitting new lyrics into + the mic with crazy energy, a stack of notebooks on the + chair beside him. It’s the creation of NIGGA YA LOVE TO + HATE -- + + CUBE + Kickin’ shit called street + knowledge. Why more niggas in the + pen than in college? Now cause of + that line I might be your cellmate. + That’s from the nigga ya love to + hate. + + IN THE MIXING BOOTH: CHUCK D -- Pittsburgh Pirates hat, + brim low, PUBLIC ENEMY on his jacket -- along with the + SHOCKLEES, JINX and DA LENCH MOB plus 2 members of the + FRUIT OF ISLAM, Security and KIM. Everyone exchanging + looks, impressed. + + ON A SUSPENDED TV in the corner, we see LOUIS FARRAKHAN + preaching to a crowd of F.O.I. It’s clear this is a very + different world than the one Cube left behind in L.A. + + +81 INT/EXT. DRE’S LOW RIDER - EAZY’S HOUSE - DAY 81 + + The completed version of NIGGA YA LOVE TO HATE POUNDS out + of the SPEAKERS in DRE’s ride as he pulls up to Eazy’s + crib. + + CUBE TRACK + (FUCK YOU ICE CUBE!) + Yeah, HA-HA! I’m the nigga ya love + to hate -- + 80. + + + Dre chuckles to himself in disbelief. Shit is dope. On the + SEAT beside him, a CD with the plastic freshly torn off -- + It’s Ice Cube’s AMERIKKKA’S MOST WANTED. + + +82 EXT. EAZY’S HOUSE - CALABASAS - DAY 82 + + There’s a PARTY going on at Eazy’s huge new mansion, + reminiscent of Scarface’s estate. And the gang’s all here, + everyone we know... except for Cube. Over by the poolside + gazebo, JERRY talks with a troubled EAZY. + + EAZY + Cube’s record’s in the Billboard + top 20! Our shit never even came + close to that. He’s blowin’ the + fuck up -- + + JERRY + It’s gonna be fine, Eric. It’s not + just NWA anymore, it’s our whole + Ruthless roster. + + We’ve got D.O.C., we’ve got Michel’le, we’ve got Above the + Law. We’re moving up to the next level. + + EAZY + We gotta keep Dre happy. Keep him + motivated. + + Eazy looks over at DRE, across the pool -- He’s DANCING + with three drop-dead BEAUTIFUL GIRLS. Dre’s smile is + massive. He clearly loves this sweet life. + + JERRY + Look at him. You think he needs + anymore motivation than that? + + EAZY + Yeah I get it. He drownin’ in + pussy. But that don’t mean -- + + JERRY + You gotta stop worrying so much. + Let me do the worrying for you. + Fact is, Ren can write just as good + as Cube. Maybe even better. Come + over here a minute -- + + Eazy follows Jerry to a TABLE where he’s set up a bunch of + CHECKS and PAPERS, and he hands Eazy a PEN. + + JERRY (CONT’D) + 81. + + + Need your autograph on these checks + and a few other things. Just sign + right here -- + +Eazy starts SIGNING, even though his eyes keep drifting +over to the many WOMEN partying. Jerry GRINS, noticing how +quickly Eazy gets distracted. + + EAZY + We done with this shit now? + + JERRY + We’re done. + + EAZY + Thanks, Jerry. I’mma go fuck now. + +Jerry laughs, slaps Eazy on the back as he walks off, and +stands there enjoying the sunshine, the pretty girls, the +party vibe. His eyes wander to the PORCH, where -- + +SUGE KNIGHT is standing, smoking a cigar. And Suge is +STARING at Jerry, his expression blank. Almost like he’s +studying Jerry. The old man stops smiling, deeply +unsettled. Luckily -- + +DRE APPROACHES SUGE, breaking the big dawg’s gaze. + + DRE + Wuddup, Suge -- You good? + + SUGE + Are you? + +Off Dre’s confused look -- + + SUGE (CONT’D) + Just figured you might be a bit + fucked up after hearin’ Cube’s + shit. + + DRE + Fucked up about what? I been + bangin’ that shit. + +D.O.C. Interrupts -- + + D.O.C. + Wuddup, Dre. There’s some bitches + up in here, right? + (to Suge) + Yo, you take care of that shit for + me? + 82. + + + SUGE + I’m on it. + + Dre takes notice of the exchange as we -- + + +83 INT. PRIORITY RECORDS - BRYAN TURNER’S OFFICE - DAY 83 + + Cube is standing in Bryan Turner’s office, and we can tell, + right off, things are tense. + + CUBE + I’m just tellin’ you what you told + me. If Amerikkka’s Most blew up, + you’d advance me for the follow-up. + That’s what you said. + + BRYAN TURNER + It’s more complicated than that, + Cube, there’s metrics -- + + CUBE + Come on, Bryan. I don’t even know + what that means. + + Man, I got a kid on the way -- and I just bought a house on + the strength of what you told me. You gave me your word. + + Bryan stands up, holds his hands out, tries to soothe -- + + BRYAN TURNER + Cube. Relax. We’re on the same team + here. I’m your biggest fan -- + + CUBE + It’s like this shit keeps happenin’ + to me, no matter what I do. When + people do the work, they should get + paid. Why you making it seem like + I’m begging for some shit that's + technically mine? + + BRYAN TURNER + Of course your not begging -- and + I'm not trying to be difficult. + + Cube glances around at all the GOLD and PLATINUM records + adorning the walls in Bryan’s office. + + CUBE + But you can’t help me. That’s what + you’re sayin’. + 83. + + + Bryan puts his hands in his pockets, hangs his head. The + answer is obvious. Cube stares at him a beat, then turns + his back, heads out the door -- + + BRYAN TURNER + Cube, wait, Cube, come back -- + + +84 INT. PRIORITY RECORDS - BRYAN’S OFFICE - LATER 84 + + Bryan’s still in his office, grinding through some work. + + CUBE (O.S.) + Shoulda kept your word, Bryan. + + CUBE and THE LENCH MOB (same dudes we saw at Greene Street) + enter, Cube holding a METAL BASEBALL BAT! IN A FLASH, he’s + SMASHING THE FUCK OUT OF THE OFFICE. His boys split up, + block Bryan, block the doorway -- no one in, no one out. + + BRYAN TURNER + STOP! STOP! WHAT THE FUCK, CUBE!??! + + Cube SMASHES the GOLD and PLATINUM RECORDS on the WALLS, + the ARTWORK, the GLASS COFFEE TABLE. Pretty much everything + else that’s breakable. + + BRYAN TURNER (CONT’D) + FINE! FINE, I’LL GET YOU YOUR + MONEY! JUST STOP! + + But Cube keeps on SMASHING, until there’s nothing left to + smash. THE OFFICE IS COMPLETELY DESTROYED. + + Cube’s out of breath, but he looks pretty exhilarated. He + drops the bat on the floor, walks out of the decimated + office, followed by the other guys. + + Bryan remains standing there, speechless, in shock -- + + +85 INT. AUDIO ACHIEVEMENTS STUDIO - LATER 85 + + Dre, Eazy, Ren and Yella work on their follow-up album. + D.O.C.’s here, too, drinking gin, straight, buzzing. + + IN THE BOOTH, Ren’s recording REAL NIGGAZ... + + REN + 84. + + + ... Prisoner like a hostage. You + shoulda covered your muthafuckin’ + head like an ostrich. Deep in the + dirt cause you a sucka. And your + ass up high so I can kick the + muthafucka -- + + Dre watches from the board, uncharacteristically detached. + + EAZY + That’s what I’m talkin’ about. Cube + ain’t shit. + + DRE + How you figure? That record’s still + the hottest shit out there. + + YELLA + For real. Cube killed it -- + + EAZY + That’s why we gotta go hard at him. + We gonna look like some bitches if + we just take that shit. + + D.O.C. + Take what? + (beat) + I don’t know what the fuck you + talkin’ about. I like that shit. + + Yella nods, but Dre doesn’t even respond. Just keeps + plodding away on the board as D.O.C. proceeds unsteadily + toward the door, bumping into Eazy on the way -- + + EAZY + Man, why you gotta be drunk all the + time? Get your shit together. + + D.O.C. keeps on walking, barking back: + + D.O.C. + Get your own shit together, lil + nigga -- + + As he exits we focus back on the studio. One thing’s clear: + no one’s enjoying themselves anymore. + + +86 INT. FANCY RESTAURANT - LOS ANGELES - NIGHT 86 + + Eazy enjoys dinner with a lovely, put-together young woman, + TOMICA. She’s nobody’s groupie. She’s serious, and smart. + 85. + + + TOMICA + This place is nice. Wow, I didn't + realize this was a real "date" + date. I thought we were just going + out to eat. You bring all your + females here? + + EAZY + Only the special ones. + (beat) + Actually I’ve never been here + before, but I heard it’s good. + (Jokingly) + High as it is, it better be. + + He smiles. She laughs affably, shakes her head. + + TOMICA + You know I have a job, right? + + EAZY + Excuse me, Miss Record Executive. + + TOMICA + Executive Assistant. Ya know, you + don’t have to impress me. We + could’ve went to Fat Burgers. I + just like hangin with you. You make + me laugh. That’s good enough for + me, you know? We can just chill. + + Eazy nods, knows she’s right. His eyes catch a SEXY WOMAN + sashaying past. He SMILES at her, and she SMILES back. + + He turns back to Tomica, who just saw the whole thing... + but she’s not mad. She’s grinning confidently, seen it + before, doesn’t sweat stuff like this. + + TOMICA (CONT’D) + Yeah, she had a nice ass. But she + might wanna fix those teeth. + + Eazy laughs. He knows a lot of women, but it’s no wonder + Tomica’s his favorite. + + +87 INT. DRE’S CAR - COMPTON, CA - NIGHT 87 + + Dre’s bobbing his head to something dope -- HIS CAR PHONE + RINGS. He turns down the music. Answers. + + DRE (INTO PHONE) + Wuddup. + 86. + + + In an instant, his face sinks -- He SLAMS the breaks, bangs + a U-Turn and SPEEDS TOWARD -- + + +88 EXT. HOSPITAL - NIGHT 88 + + Dre’s CAR jumps up to the curb, in a red zone. He doesn’t + care. He hops out and runs through the sliding front doors. + + +89 INT. HOSPITAL ROOM - MOMENTS LATER 89 + + Dre stands at the bottom edge of the bed, looking down at + D.O.C, unconscious, head bandaged, tubes in his face. SUGE + stands a few steps away, looking somber, but still filling + the room with his bulk. + + SUGE + Doc shouldn’t even be alive. He got + thrown from the car-- hit a tree. + + DRE + Goddamn. Is he paralyzed? + + SUGE + Nah. His throat got crushed. Doctor + said he’ll never talk right again. + + DRE + Vocal chords? + + SUGE + All fucked up. Career could be in + jeopardy + (beat) + Where’s Eazy and Jerry? + + Dre takes the moment in. He’s honest about it. + + DRE + I don’t know. + + SUGE + Them niggas ain't loyal. Taking + they're fuckin' time to come see + the man. That’s why I got my people + looking into his contracts at + Ruthless. Gotta protect what he got + left. + + Suge looks at Dre, clocking his expression. + + SUGE (CONT’D) + 87. + + + What do you think about Jerry? + + DRE + He aiight. I guess. + + Suge nods. Contemplative. + + SUGE + What about your paperwork? Is it + cool? + + DRE + I dunno. I just focus on the music. + (beat) + Maybe your people could look into + my shit too? + + SUGE + Most definitely. I can arrange + that. + + D.O.C. groans and turns in his sleep. Both of his friends + look down at him, quietly watching with concern. + + +92 INT. PRIORITY RECORDS - CONFERENCE ROOM - DAY 92 + + CUBE sits at the head of a long conference table beside + Kim. He looks DIFFERENT now -- shaved head, no more Jheri + curls. + + Bryan Turner emerges from outside the office, CD in hand. + He's trying to keep the mood upbeat, though clearly the + power dynamic between them has shifted toward Cube’s + advantage. + + BRYAN TURNER + Cube, Kim -- Great to see you guys. + How’s that new house treating you? + + KIM + The new house is great. Thanks for + asking. How's the new office? + + BRYAN TURNER + (making light of it) + Great. I never did like the design + of the old one anyway. + + Bryan chuckles and looks over at Cube-- who doesn't seem in + the mood for small talk. Cube notices the CD in Bryan's + hand. + 88. + + + CUBE + What you got, Bryan? I know you + called me up here for somethin’. + + BRYAN TURNER + It’s the new NWA record. I wanted + to play it for you first, before + you heard it anywhere else -- + + Cube looks at Bryan, confused: Snatches the CD and he's at + the CD player before Bryan can blink. + + BRYAN TURNER (CONT’D) + About one minute in -- + + Cube hits PLAY -- Tracks forward. Then he, Kim and Bryan + listen to REAL NIGGAZ on the conference room’s stereo + system. + + DRE (ON TRACK) + ... We started out with too much + cargo. So I’m glad we got rid of + Benedict Arnold. + + Cube doesn’t say anything, but his face shows his anger. + + CUBE + Benedict Arnold. + + KIM + They're trying to call you some + kind of a traitor. + + CUBE + I’m a traitor!? I didn’t say shit + about NWA on Amerikkka's Most + Wanted! But now they're trying to + diss. Okay. + + CLOSE ON Cube’s eyes, full of fire -- Kim notices Cube + building tension. She gently rubs his arm and leans in + close to whispers-- + + KIM + Baby, tell me what you're thinking. + + CUBE + I can't wait to get to the + mothafuckin' studio! + + +93 INT. RECORDING STUDIO - LOS ANGELES - DAY 93 + 89. + + + CUBE at the mic, spitting with the most audacious fury + we’ve ever seen on the most brutal diss track ever: NO + VASELINE. + + CUBE + God DAMN I’m glad y’all set it off. + Used to be hard, now you’re just + wet and soft. First you was down + with the AK. And now I see you on a + video with Michel’le. Lookin’ like + straight Bozos. I saw it comin’, + that’s why I went solo. + + At the BOARD, JINX looks to THE LENCH MOB in the room -- + Oh, shit, this is getting real -- + + +94 INT OR EXT. SOMEWHERE IN THE CITY - DAY 94 + + Dre and D.O.C. sit and listen to NO VASELINE-- with every + line D.O.C. makes a different "dunk face" indicating how + embarrassed he is for his homie Dre. + + CUBE (ON TRACK) + Yella Boy’s on your team so you’re + LOSIN’! And yo, Dre? Stick to + producin’. Callin’ me Arnold, but + you Been-A-Dick. Eazy saw your ass, + and went in it QUICK. + + As we pan over to Dre, we can see that he kind of digs the + creativity and lyrics. He confirms it with a slight smirk + and chuckle. Clearly blowing the song off. + + +95 INT. JERRY’S LIVING ROOM - DAY 95 + + Jerry and N.W.A., minus Dre and D.O.C., listen to the + track, faces grimaced: + + CUBE (ON TRACK) + Y’all disgrace the C-P-T. ‘Cause + you gettin’ fucked out your green + by a white boy, with No Vaseline. + + Ren and Yella slouch in the corner, looking very unhappy. + + CUBE (ON TRACK) (CONT’D) + ... So don’t believe what Ren say, + cause he goin out like Kunta Kinte. + But I got a whip for ya, Toby; used + to be my homie, now you act like + you don’t know me -- + 90. + + +But Cube has saved the best for last. He unleashes upon +EAZY and JERRY, who LISTEN intently, jaws dropped. + + CUBE (ON TRACK) (CONT’D) + You little maggot, Eazy E turned + faggot. With your manager, fella, + fuckin’ MC Ren, Dr. Dre, and Yella. + But if they were smart as me, Eazy + E would be hangin’ from a tree. + With no vaseline, just a match and + a little bit of gasoline. Light 'em + up, burn 'em up, flame on. Til that + Jheri curl is gone. On a permanent + vacation, off the Massa plantation. + Heard you both got the same bank + account -- Dumb nigga, what you + thinkin’ about? Get rid of that + Devil real simple: put a bullet in + his temple. Cuz you can't be the + Nigga 4 Life crew with a white Jew + tellin’ you what to do -- + +Jerry looks absolutely livid, while Eazy just looks caught +off guard. Jerry gets up and TURNS OFF the music -- + + YELLA + That shit’s kinda funny. + +Everybody gives YELLA the look. + + REN + Mothafucka got us! What we gonna + do? I got my pen ready to serve + that fool. Just say the word. + +Eazy is still trying to digest the track. + + JERRY + We’ll sue that worthless fuck. + Defamation, libel... That anti- + Semitic piece of shit, I’m gonna + call up my friends at the J.D.L. + and we’ll see how he likes that, + little bastard. + (off Eazy’s despondent + look) + Eric, come on, we gotta get + organized here, we gotta fight -- + + EAZY + Stop it, Jerry. Relax man. Niggas + don't know what anti-Semitic means + - - It's just a battle rap. + 91. + + + JERRY + (still hopping mad) + I always knew Cube was a rotten + human being. And people are gonna + know the facts. I’ll make sure of + it. I can’t believe you’re not as + angry as I am, what’s wrong with + you? Didn’t you hear what he said? + + EAZY + I heard it, Jerry. You deal with it + your way, I’ll deal with it mine. + All we got to do is hit the studio + and end this boy career. + + YELLA + I don't know about all that. + + JERRY + Well call Dre and you guys go do + it! + + And Jerry storms out, leaving the crew behind -- + + REN + Damn, E. Who work for who? + + EAZY + Who you see sitting in the big + chair mothafucka?! + + Eazy re-establishes that he's the top dog at Ruthless. + + +96 EXT. JERRY’S HOUSE - FRONT - NIGHT 96 + + Jerry pulls into his driveway, gets out of the car, + carrying a bag of groceries, starts walking toward the + door. He hears a CAR DOOR SLAM, and he TURNS, sees a + gleaming-new EL CAMINO parked across the street. A very + large BLACK MAN we haven’t seen before has emerged, and is + walking toward him. + + The Man STOPS about fifteen feet away from Jerry, and + stands there, just staring, patiently, ominously. + + JERRY + Help you with something? + + LARGE MAN + This your house? + 92. + + + Jerry looks at the Man. Glances up and down the street. + There’s nobody around. It couldn’t be quieter. + + JERRY + Who’s asking? + + LARGE MAN + It’s a real nice house. + + Jerry glances at the front door of the house. Seems to be + gauging, in his mind, how long it will take to get there. + + JERRY + Who are you? Are you with Suge + Knight? Someone else? Ice Cube? + + The Man doesn’t answer. Instead, he just gazes upon the + house, the lush surrounding lawn, the trees. + + LARGE MAN + Have yourself a good night, Jerry. + + He makes a hat-tipping gesture to Jerry. Except he’s not + wearing a hat. Then he walks back to the car, climbs + inside. Jerry watches him go, alarmed -- + + +97 INT. HOTEL - LOBBY - NEW YORK CITY - DAY 97 + + We are in a HALLWAY adjacent to the AUDITORIUM where a RAP + PANEL is about to take place. + + Find CUBE drifting down the escalator along with THE LENCH + MOB, and they’re all decked out in their Lench Mob Gear. + + Coming up the escalator on the other side, is the rap group + ABOVE THE LAW (ATL), all wearing gear blazing the RUTHLESS + RECORDS logo. + + As the two groups approach each other, they both get QUIET, + and their faces pull into angry sneers. The animosity + between the two groups is tense, palpable, dangerous. + + Just as they’re about to PASS each other -- + + ATL GUY 1 + (under his breath) + Fuckin' traitor... + + But Cube and his boys heard that shit. + + CUBE + Fuck’d y’all say!? + 93. + + + ATL GUY 2 + Ruthless, muthafuckas! + + AND THEN IT POPS OFF! Some of the ATL CREW hop the + escalator divider, others sprint down the other side to + attack -- + + THE LENCH MOB CREW, at the foot of the escalator, they all + start BRAWLING like crazy. PUNCHING each other in the face, + grappling, cursing -- + + There’s so many FISTS flying -- such a tangle of BODIES -- + it’s hard to tell who’s hitting who. It’s fucking CHAOTIC + and UGLY, and it culminates in -- + + The moving violent mass SMASHING INTO A LARGE GLASS + DISPLAY, SHATTERING it. Just then -- + + A LENCH MOB GUY runs up to a downed an ATL GUY, winds back + to kick him while he’s down, but before the kick lands, we + -- + + HARD CUT TO: + + ARCHIVAL FOOTAGE + + An OFFICER KICKS the downed RODNEY KING while three other + L.A.P.D. OFFICERS (known as the L.A. Four) mercilessly beat + the man. We all recognize this as the RODNEY KING BEATING. + Raw, gritty, horrific. WE PULL BACK to reveal -- + + +98 INT. AUDIO ACHIEVEMENTS STUDIO - DAY 98 + + The members of NWA (minus Cube, of course) watch the NEWS + FOOTAGE while in the studio, finishing up some new TRACKS + for their follow-up album NIGGAZ 4 LIFE. + + DRE + Still can’t believe it. It’s like + they’re enjoying themselves. + + EAZY + Least they got it on video. LAPD + gonna have a real good time on that + level 3 prison yard, know what I + mean? + + DRE + Yep, we got they asses this time. + Tape don't lie. + 94. + + + The room is over-crowded -- because everyone has an + ENTOURAGE. JERRY is also there and he doesn’t look thrilled + about it, nor is he happy to see -- + + SUGE KNIGHT in the room, hovering behind DRE at the Board, + accompanied by a very large GERMAN SHEPHERD. + + Jerry tries to make his way over to Dre, but SUGE blocks + his path, and the HUGE DOG stares at Jerry. + + JERRY + Just need a word with Dre -- + + SUGE + It can wait. Let the man work. + + Jerry looks at the dog, the dog looks back. Stymied, Jerry + turns and exits the studio, jaw clenched. + + After he leaves, Dre sighs. He looks tired, depressed. + Totally over it. He PLAYS BACK the track he’s been working + on, listens. Tries to feel it. But something’s missing. + + Irritated, Dre gets up, exits the studio. Suge follows -- + + +99 EXT. AUDIO ACHIEVEMENTS STUDIO - PATIO - MOMENTS LATER 99 + + Suge comes out the back door just behind Dre -- + + SUGE + Yo Dre. Hold up. + + -- gestures for Dre to sit with him at a nearby table. + + SUGE (CONT’D) + I did what you asked. Had my people + look into your contracts. + + Dre’s interest is piqued. + + SUGE (CONT’D) + It ain’t good. Not that I’m + surprised or anything. Gotta watch + yourself. + + DRE + What you mean by that? + + Suge pulls out a thick FILE. Places it on the table. + + SUGE + 95. + + + Everything you need to know. It’s + all in there. + + (off Dre’s sober look) You know I can help you with this. + + Dre considers a moment... + + DRE + Nah. I got this. + + +100 INT. AUDIO ACHIEVEMENTS STUDIO - THE NEXT NIGHT 100 + + Eazy sits alone in the studio, listening to some NEW + TRACKS. It’s late, and there’s nobody else around as -- + + Dre comes in through the door, holding the FILE from Suge. + Eazy notices the file, along with Dre’s nervous energy. + + EAZY + So, what’d you wanna see me about? + Sounded all worked up on the phone. + + Dre sits down across from him, full of purpose, fired up. + + DRE + I know you don’t like hearin’ this + shit. But it’s about Jerry. We + gotta get rid of that muthafuck -- + + EAZY + Is that seriously the reason you + wanted to talk? I thought we were + past all that -- + + DRE + I found out some information, Eric. + Real shit. I had some people look + at this, and I ain’t gettin’ my + fair share. + + Eazy finally turns and looks Dre in the eyes. + + EAZY + You know why you rich, Dre? You + know why you live in a big ass + house and don't sleep on a couch no + more? Do you know why you fuck the + finest bitches? That’s Jerry, dude. + He broke us through the door. He + made this shit happen, and you + wanna turn on him just like Cube -- + 96. + + + DRE + Cube was right, fool! You gotta + look at these papers, E. Just look + and you’ll see. + + We made it because our shit is dope, Eric, not because of + Jerry. We can keep going and own the goddamn world, we just + can’t be fuckin’ with him no more. + + Eazy just shakes his head, turns back to the Board. Dre + looks pained. Can’t believe he can’t get through. + + DRE (CONT’D) + Dude. We go back a long, long way. + You and me. We started this NWA + shit. I just want it to be right. + + EAZY + You think that’s right, turning + your back on somebody? After all + he’s done for us? + + DRE + You mean all he’s done for you. + + Eazy doesn’t say anything. Dre stands up -- + + DRE (CONT’D) + Look at me, man. Why won’t you look + at me? It’s like I don’t mean shit + to you. Like I never meant shit. + + Eazy won’t look at Dre, shrugs. Cruelest shrug you ever + saw. Dre looks hollowed out by it. + + DRE (CONT’D) + Thought you were my brother. + + EAZY + Thought you were mine, too. + + Dre walks out the door -- SLAMS it so hard, the walls + shake. A platinum NWA record slides off the wall, breaks on + the floor. Eazy FLINCHES, even though he wishes he didn’t. + + OMITTED + + +101 INT. AUDIO ACHIEVEMENTS STUDIO - DAY 101 + + Ren and Yella enter to find Eazy on the mixing board, more + than a little out of his element. They look at one another, + confused -- Clearly, something’s up. + 97. + + + REN + Everything cool, E? + + DRE (CONT'D) + + No response. Eazy just keeps poking around on the board... + + YELLA + Yo where Dre at anyway -- + + EAZY + Man, fuck Dre. + + They’ve finally got Eazy’s undivided but heated attention. + + YELLA + Whatchu mean? + + EAZY + Why don’t y’all ask him. + + REN + Fuck you talkin’ about? He comin’ + or not -- + + EAZY + That nigga quit. So nah, he ain’t + comin’. But fuck it, we gonna keep + this shit movin’. Don’t need that + punk anyway... + + Disbelief washes across Ren and Yella’s faces as we -- + + +102 INT. CAN AM STUDIOS - DAY 102 + + Suge grits on a cigar sitting next to Dre who’s at the + mixing board working on the track to “Deep Cover”. + + SUGE + This shit sounds good. + + DRE + None of this means anything, while + I'm under contract with Ruthless. + + SUGE + Don’t worry about that. I promise + you that I’ll get you out of your + contracts. + + Dre gets back to the work at hand as -- + 98. + + + Warren G and SNOOP DOGG burst into the studio. Snoop Dog is + dressed head to toe in blue. + + SNOOP + What’s up, Cuz. + + Snoop greets everyone around the room pounding each and + every person. To the surprise and dismay to the room full + of bloods especially Suge Knight. + + SUGE + Yo who the fuck’s this, Warren? + + WARREN G + My bad. + + SNOOP + Snoop Doggy Dog, Cuz. Who are you? + + The Bloods around the room are tripping on Snoop. Before it + escalates, Dre gets up, greets Snoop properly. + + DRE + Glad y’all came by. Your demo was + tight. + + SNOOP + Thanks, Dre. + + DRE + Well listen, I’m workin’ on a track + for this movie called “Deep Cover.” + I want you to get down on it. + + SNOOP + For real? + + Dre smiles back at Snoop: Yup, for real. + + SNOOP (CONT’D) + Oh hell yeah... + + Snoop walks into the booth, puts on some headphone’s as we + -- + + +103 INT. EAZY’S HOUSE - NIGHT 103 + + The PHONE RINGS. Eazy answers -- + + EAZY + Hello? + 99. + + + SUGE (FILTERED) + We need to talk about them + contracts. + + EAZY + Talk to Jerry. + + SUGE (FILTERED) + Don’t wanna talk to Jerry. It’s + your company. You’re the man. + + Eazy doesn’t say a word, considering, deeply conflicted. + + SUGE (FILTERED) (CONT’D) + Come by the studio. We’ll be here + all night. Just workin’. We just + wanna squash this. Make it right + for you. + + +104 EXT. S.O.L.A.R. STUDIOS - LOS ANGELES - LATE NIGHT 104 + + Parked across the street, Eazy looks at the building, not + happy about it. Enemy territory. He opens up his STASH BOX + in a hidden panel below the radio. There’s a PISTOL inside. + He reaches in, puts his hand around it. Hesitates, hearing + -- + + A DISTANT POLICE SIREN. Pulls his hand away, leaves the + piece. He hops out of the car, walks toward -- + + +105 INT. S.O.L.A.R. STUDIOS - STUDIO - MINUTES LATER 105 + + Eazy enters the Studio, sees only SUGE sitting there, + smoking a cigar, petting his DOG. He comes further into the + room, peeks around, looking for -- + + EAZY + Where the hell is Dre? You said + he’d be here -- + + SUGE + Don’t worry about Dre. + (beat) + Truth be told, he ain’t got nothing + to do with this right here. + + Suge pulls out a sheaf of papers, and a pen. + + SUGE (CONT’D) + 100. + + + Here’s what’s gonna happen. You’re + gonna sign these. Releasing Dre and + The D.O.C. from Ruthless. + + EAZY + Whatever homie. You think I’m + signing that shit, you crazier then + I thought. I’m out -- + +Eazy just laughs, heads for the door. But before he gets +there, it OPENS, revealing -- + +A LARGE DUDE wearing Blood-Red. He enters the studio, +crosses his arms. A massive barrier. + + SUGE + Naw. I think you gonna stay awhile. + +SLAM! Eazy SPINS to see TWO MORE BLOODS entering through a +side door. One of them holds a metal BASEBALL BAT. The +other has a SHOTGUN dangling at his side. + +Eazy now realizes he’s just walked into a straight-up buzz- +saw. But he shows no fear. He puffs his chest out. + + EAZY + Fuck you, Suge. I ain't scared of + none you niggas, cuzz! + +Suge just stares at Eazy a long uncomfortable while. + + SUGE + You can talk tough all you want-- + but this ain't no record. + (heart attack serious) + Don’t make me change you, Eric + Wright. + + EAZY + The fuck is that supposed to mean? + + SUGE + These niggas will take something + from you that you can't get back. + + BLOOD + Just let me murder this Crab, Suge. + +Suge stands, eyes cold, black, as the THUGS moves behind +Eazy. + + SUGE + Naw. That's too easy. + 101. + + + (to Eazy) + I got a whole night planned for you + if you don't sign them release + forms. + + Eazy’s eyes shoot to the Blood, back to Suge. + + SUGE (CONT’D) + It could happen quick, Eric. Or it + could take a long, long time. You + better choose right. Because you + know where I come from. This + Bompton nigga! + + EAZY’S FACE can’t hide his fear anymore. Or his anger. + + EAZY + (so quiet, to himself) + Dirty mothafucka... + + WHAP! A large HAND falls on Eazy’s SHOULDER -- pushing him + hard down in a chair. + + +106 EXT. JERRY’S HOUSE - BACK YARD - LATER 106 + + Eazy sits slumped in a chair, drinking a beer next to the + pool. His eyes look hard, flat, broken somehow -- + + CLICK! THERE’S A GUN TO HIS HEAD, revealing -- + + JERRY, in his BATHROBE looking freaked out, holding the + gun. He immediately LOWERS it. + + JERRY + Jesus Christ, Eric. You can’t + just... I thought you were -- + + But Eazy isn’t rattled at all. He just sits there, blank. + + JERRY (CONT’D) + Are yo okay? Eric. Why don’t we go + inside? All right? Come on... + + Jerry helps Eazy out of the chair, ushering him into -- + + +107 INT. JERRY’S HOUSE - KITCHEN - MOMENTS LATER 107 + 102. + + +Eazy follows Jerry into the kitchen as Jerry pulls some +leftovers from the fridge. Slides them over to Eazy. But +Eazy isn’t interested. Instead, he pulls out a bag of weed. +Rolls a joint, lights it. Takes a long drag -- Exhales a +lot more than just smoke... + + JERRY + Hey. You gotta tell me what’s going + on. I can tell when something’s -- + +Eazy leans on the counter. Finally looks at Jerry. + + EAZY + I gotta kill that mothafucka, Suge. + I just wanted you to know that + shit’s about to get thick around + here. + + JERRY + You’re not gonna do that. + + EAZY + I didn't come over here to ask you + - - I came to tell you. + +You the one that wanted to be down with this gangsta shit. +So here we go. + + JERRY + You do that, it’s gonna ruin + everything we’ve built -- + +Eazy suddenly SNAPS into intense anger -- + + EAZY + I have to do it! This is the + streets, muthafucka! I don’t have a + choice! He came at me! He came at + us. We don’t hit back, it’s over! + Done! Put a fork in this shit! + +Jerry closes his eyes, takes a breath. Tries to keep his +tone relaxed, so that he can, in turn, relax Eazy. + + JERRY + Eric. Listen to me. I never said we + won’t hit back. But this isn’t + Compton. We don’t hit back with + bullets. We do it with lawyers. We + drain those assholes. + +Eazy calms down a little bit. + 103. + + + EAZY + I don’t care about the money, + Jerry. Ain’t about the money. + + Jerry puts a fatherly hand on Eazy’s shoulder. Looks at + him. + + JERRY + Of course it is. You’re smarter + than those criminals. You wanna + kill somebody? Then you’ll be in + prison, forever. No more family. No + more Ruthless. No more anything. + + Eazy stares back at Jerry. + + JERRY (CONT’D) + If you kill this man. His problems + are over and yours are just + beginning -- Lets hit 'em where it + really hurts. + + Eazy is more conflicted then ever before -- + + +108 INT. EAZY’S HOUSE - STAIRS TO BEDROOM - NIGHT 108 + + Through the darkness we see movement. It’s Eazy. He moves + in a slow and laborious fashion as he enters -- + + THE BEDROOM where Tomica sleeps in their bed, safely + tangled in sheets. Eazy doesn’t even bother shedding his + clothes. Simply slumps closer, sliding quietly under the + covers. Without a word, she wraps Eazy in an embrace. + + +109 EXT. CUBE’S HOUSE - BACK YARD/POOL - DAY 109 + + Kim looks on as the CNN CREW's CAMERAS FILM CUBE in the + midst of a tense INTERVIEW -- A JOURNALIST peppers him with + questions: + + JOURNALIST + Are you Anti-Semitic? + + CUBE + What? I thought this interview was + about the Rodney King trial? + + JOURNALIST + 104. + + + The J.D.L. has recently gotten + involved, saying that the lyrics + regarding your former manager Jerry + Heller -- + +But Cube’s too smart to fall for this crap. + + CUBE + I’m not Anti-Semitic. I'm Anti- + Jerry Heller. Let me ask you a + question -- do they condone Jerry's + behavior when it comes to my + situation? Him trying to get me to + sign a contract without legal + representation? + + JOURNALIST + I have no idea. + + CUBE + Well, you get me that answer and + then we can continue on this topic. + Until then, let's talk about the + beating of an unarmed motorist -- + Rodney King and the trial of 4 + guilty L.A.P.D. Officers who seem + to be Darryl Gates' standard issue + - - + + JOURNALIST + But it isn’t just the Jewish + community. The Korean grocer + community have also accused you of + racism, mostly because of your song + “Black Korea” -- + + CUBE + Come on, man. That don’t even make + no sense. Black Korea is just a + warning. That's it. I’m a + journalist, just like you! + Reporting on what’s going on in the + hood. But the difference is that + I’m brutally honest about it. Cause + sugar coating will get you + diabetes. + +A couple of members of the Nation of Islam are quietly seen +in the background as the journalist struggles, tries to +gain a foothold -- + + JOURNALIST + 105. + + + What’s your relationship with the + Nation of Islam? + + Cube just smiles, shakes his head. + + CUBE + There my brothers. That question + alone just proves how unprepared of + a "sandbag reporter" you really + are. You wanna talk about Anti- + Semitism? Then it’s “Black Korea,” + and now you wanna talk about the + Nation of Islam? Seriously, man. + What's your agenda? You can't focus + on one thing? Ask me something + interesting. I'm not an elected + official. I'm an artist. You + haven't asked me one damn question + about music. I'm America's + conscience. I represent the good, + the bad and the ugly. What you + represent? + + +110 INT. DRE’S HOUSE - LIVING ROOM - DAY 110 + + The massive room’s focal point is a BASIC STUDIO SETUP: + SSL, some turntables, a mic, some keyboards, a tower of + speakers. + + SUPERIMPOSE: SIX MONTHS LATER + + Dre sits in the epicenter of it all, motionless, lost. It’s + the first time we’ve seen him anywhere near a soundboard + and not creating on it. He just stares into the nothingness + -- + + A TAP ON GLASS alerts us to SNOOP, Warren G and DOC (small + scare on DOC's neck) outside. Dre stands. Opens the window. + + DRE + What you fools doin’ out here? + + WARREN G + Watching you daydream for the last + five minutes. + + DOC + (raspy voice) + Looking stupid as a mothafucka. + + SNOOP + 106. + + + Come take a ride with us Dr. Dre. + You gotta get out this house, Cuz + and get your mind right. + + +111 INT. DRE’S CAR - LOS ANGELES - MINUTES LATER 111 + + Snoop at the wheel, they ride listening to ATOMIC DOG by + George Clinton. Snoop’s at the wheel, smoking a JOINT + (surprise), Dre shotgun, Warren G and D.O.C. in the back. + + SNOOP + What you so tense for, Cuz? + + DRE + I’m cool. + + WARREN G + No you not. You been up in that + house for a month now, and not one + track? Wassup, what’s wrong? + + DRE + First time in my life, I feel like + I’m forcin’ it. + + WARREN G + Why? + + DRE + Too much outside interference -- + Eazy and Jerry tryin’ to starve me + out. Playin’ games with my money. + Tryin’ to get me back in there on + my hands and knees -- + + SNOOP + Is that why you ain’t got no + furniture? + + Snoop holds out the jay. + + SNOOP (CONT’D) + This shit’ll chill you out. + + DRE + Nah, that ain’t me. I'm good. + + WARREN G + Come on, big bro. Loosen up. + + DRE + (reconsidering) + 107. + + + Fuck it, gimme that shit. + + Dre takes a deep pull, holding it in before COUGHING out a + massive cloud. They all laugh. And Dre takes another hit. + An even bigger one. + + DRE (CONT’D) + Wow. What is in this shit? + + SNOOP + That shit right there? That’s the + Chronic. + + Dre TURNS UP the music. + + SNOOP (CONT’D) + You never smoked before? + + DRE + No. I can feel it in my nuts, man. + Is that normal? + + Dre finds himself laughing with the guys as they cruise + on... + + +112 INT. DRE’S HOUSE - LIVING ROOM - DAY 112 + + Dre’s behind the SSL, listening to a rhythm based on Leon + Heywood’s I’M GONNA DO SOMETHING FREAKY TO YOU. Warren G, + Snoop, and D.O.C are in different corners of the room. + Smoke floats over Snoop’s head like a halo. + + The vibe is positive and laid back, but as we look at Dre’s + face we can tell what he’s thinking: something’s missing. + + Dre turns to the MOOG Keyboard situated on the side of the + board and starts noodling with a melody. It’s almost + familiar. But not quite. + + Then he hits it: Da do dee dah dee dah dah dee do deee... + + Just like that, we’ve witnessed the birth of AIN’T NUTHIN’ + BUT A G THANG. + + SNOOP + Oh shit. Keep playing that. + + Dre does the same ten notes -- That’s it! It’s G THANG. + + SNOOP (CONT’D) + (freestyling) + 108. + + + One. Two. Three into the Four. + Snoop Doggy Dogg and Dr. Dre is at + the door... + (rap continues) + + Just like that, musical history is being created. + + +113 EXT. JERRY’S HOUSE - BACK YARD - DAY 113 + + Tapdancing for a slightly fatigued Eazy, Jerry tries hard + to convince him that -- + + JERRY + We’re about to get back into the + game in a big way, Eric -- + + EAZY + Yeah? How you figure? + + JERRY + Are you just trying to insult me? + + Eazy stares back at Jerry, like indulge me. + + JERRY (CONT’D) + Did you forget about Ren’s album? + Or the fact that you’re working on + an album that I believe is gonna be + bigger than anything NWA ever -- + + EAZY + Do you really believe that + bullshit? All I know is Cube’s + doin’ big things, makin’ movies and + shit. And I keep hearin’ about this + album Dre workin’ on -- + + JERRY + Dre’s a fuckin’ producer, Eric! + Producer’s don’t rap! It’s never + gonna work! Period! + + +114 I/E. DRE’S HOUSE - BEDROOM TO BACKYARD - DAY 114 + + The MUSIC IS BUMPIN'! There’s a party going on somewhere in + this house, but not in this room. We're close up on a pair + of blue Chuck Taylors with a pair Dickies and boxers draped + on them. As we pull back, we realize that some LUCKY + BASTARD is GETTING HEAD from a SEXY WOMAN with nice curves. + 109. + + +As we pull back further, we can't even see who the Lucky +Bastard is because another AMAZING FEMALE is sitting on his +face, MOANING and smoking a blunt. Just as we attempt to +register what's going on -- + +We track another SPECTACULAR FEMALE in a two-piece bikini. +She grabs the blunt from her, hits it and walks out to the +balcony. She blows out the smoke and passes it to one of +the HOMIES who's already rolling up more blunts from the +pound of weed sitting on the table in front of him. + +From there we crane down, passing the DJ rig on the second +floor balcony. Even the DJ has GIRLS around him, a blunt in +his mouth, and a drink in his hand. + +We crane down further to the bottom floor where MORE GIRLS +in BIKINIS get sprayed by GUYS with SUPER SOAKERS and +CHAMPAGNE BOTTLES. It’s an impromptu "wet T-shirt" contest. + +As we pull back across the pool, a few more TOPLESS GIRLS +jump in and we realize we're at one of those famous Dr. +Dre/Death Row pool parties. People everywhere. Sex in the +air. Freezer-bags stuffed with high-grade weed are being +passed out to everybody by Snoop Dogg himself. + +We catch a glimpse of two nice looking LADIES walking over +to the bar. We will come to know one of them as NICOLE. But +first-- + +IN THE GAZEBO, we find Dre smoking a blunt and playing +DOMINOES with D.O.C., laughing, blowing off some much- +needed steam. Until -- + +Dre’s eyes settle on Nicole, who’s different from the rest. +She’s not drunk, or dancing, or flirting. She’s beautiful, +but in an understated way. When her friend gets up and +walks away, Nicole turns, like she senses Dre’s gaze. Looks +right at him, with clear, bright, but wary eyes. He heads +over -- + + DRE + You look like you're ready to go. + + NICOLE + (smiles) + I'm just waiting on my friend. I + knew I should've drove. + + DRE + You're not having fun? + + NICOLE + 110. + + + Oh no, it was fun. I had a lot of + fun. But now it's starting to get a + little wild. + + DRE + Yeah, it does get crazy around here + sometimes. + (extending his hand) + Hi, I’m Andre. + + WOMAN (NICOLE) + I know. + (shaking his hand) + I’m Nicole. + + DRE + Hey Nicole, why don’t you come over + here with me and kick it for a + while til your friend gets back. + +She considers a moment. Then -- + + NICOLE + I don't know, maybe another time + and another place. But not now. + +And with that, a visibly tipsy Warren G walks over, trying +to dump some USED COALS out of a kettle-style GRILL -- + + WARREN G + Yo Dre, we're can I dump this shit? + + DRE + Do it look like I give a fuck right + now? Can't you see I'm tryin’ to + make a Love Connection? + + NICOLE + No, he's trying make a friend + connection. + + WARREN G + Aiight, regulate that shit! + +Warren G staggers off with the hot coals. They smile at +Warren's walk off. + + DRE + A friend connection? + + NICOLE + Speaking of friends, I need to go + find mine before she gets too lost. + 111. + + + DRE + You want me to help you? + + NICOLE + No, seems like you need to get back + to your game. I'll talk to you + later. + +She gets up and heads off leaving Dre with a big smile on +his face. As she goes -- + + DRE + I'mma find you, Nicole! + +She turns. Smiles back. Disappears into the party. But it’s +clear he’s crushing hard on this girl. + +PATIO - MOMENTS LATER + +The PARTY is still going strong but we see some underlying +tension developing. + +On one side, we have SNOOP’S CREW -- many of them straight- +up Long Beach Rollin 20's CRIPS. While Suge’s crew, on the +other side, are various Compton BLOODS. + +SNOOP is FREESTYLING for a small GROUP gathered around him, +blowing all their minds -- + + SNOOP + FREESTYLE TBD... + +Snoop STOPS mid-flow, and STARES, wide-eyed, at the HOUSE - +- + + SNOOP (CONT’D) + What the fuhhhh -- + +Everyone TURNS! GIRLS IMMEDIATELY START SCREAMING because - +- + +DRE’S HOUSE IS ON FIRE! Huge orange FLAMES lick up the +siding, spreading quickly. BLACK SMOKE pours into the sky! + +Everybody SCATTERS, tripping over each other, falling on +the lawn, because let’s not forget everyone is WASTED. + +Find DRE, watching the flames, almost hypnotized by them, +because it doesn’t seem real. Warren G staggers up beside +him, watching on, eyes like saucers. + + WARREN G + Your house is on fire. + 112. + + + DRE + Yeah. + (beat) + Shit’s crazy, right. + + WARREN G + Maybe I shouldn't have thrown them + coals in the trash. + + Dre suddenly snaps out of it. Because -- + + DRE + MY FUCKIN’ MASTERS! + + Against all logic, Dre storms INTO THE BURNING HOUSE as the + SOUNDS of DISTANT SIRENS ring out -- + + +115 INT. CAN AM STUDIOS - OFFICE - DAY 115 + + Dre and Suge talk in a corner of the studio. Voices low. + + DRE + What do you mean that everyone is + passing on this record? + + SUGE + What do you think? + + Dre shakes his head. + + SUGE (CONT’D) + They all turned it down. “Too many + live instruments. It’s not hip- + hop.” + + DRE + It’s not hip-hop? Shit, it's the + future. Ain't no more money in + sampling everythang. + + SUGE + This guy has a lot of money. This + is the only shot we got. + + DRE + Okay, shoot. + + As they walk to the other side of the studio we WIDEN TO + REVEAL JIMMY IOVINE. He’s older and white, wearing glasses + with a baseball cap pulled low over his eyes. + + JIMMY + 113. + + + (extends his hand) + Jimmy Iovine. Interscope Records. + It’s nice to meet you. Dre or Dr + Dre. What should I call you? + + DRE + Dre’s cool. How are you doing? I + heard John McClain gave you my + album. What did you think? + +Jimmy smiles. + + JIMMY IOVINE + I think it was great. + (beat) + So, you’re the artist on this + record. Who produced it? + + DRE + I did. + + JIMMY IOVINE + Who engineered it? + + DRE + I did. + + JIMMY IOVINE + Listen. I don’t know anything about + hip hop. And to be honest with you, + I don’t necessarily care for it. + But I know this is special. + +The word special resonates with Dre. He nods. + + DRE + Thank you. + + SUGE + We'd love to bring it to + Interscope. But there’s a problem. + + JIMMY IOVINE + What’s the problem? + + SUGE + Ruthless. Lawsuits. + (beat) + Contracts. + + JIMMY IOVINE + 114. + + + How about this. Give me three + weeks. But I don’t want to hear any + bullshit about you shopping it + anywhere else. If you do that. I + believe I can get you out of this + mess. Sound good? + + Suge smiles. + + +116 EXT. LOS ANGELES - DAY 116 + + A sprawling city of orphans, calm before the storm. + + SUPERIMPOSE: APRIL 29, 1992 + + JERRY (PRE-LAP) + Eazy. You may wanna see this. + + +117 INT. JERRY’S HOUSE - LIVING ROOM - CONTINUOUS 117 + + Jerry turns the volume up as Eazy plops down on the couch + beside him -- + + TOM BROKAW (V.O.) + ... a stunning verdict of “not + guilty” for the L.A. Four today in + Simi Valley... + + PUSH IN CLOSE ON EAZY, seeing the verdict. + + JERRY (O.S.) + Sorry... + + EAZY + Sorry? We all ought to be sorry... + (then) + We had them on tape -- we had their + asses on tape. + + Eazy continues to watch, pained and perplexed, as we see -- + + +118 EXT. SOUTH CENTRAL - STREETS - DAY 118 + + Cube drives through SOUTH CENTRAL in the epicenter of the + unfolding RIOTS. Looting stores. Burning buildings. + + He drives by GRAFFITI TAGS, many of which say FUCK THA + POLICE. He sees a CRIP and a BLOOD, tying their RED and + BLUE bandanas together in front of one such tag: a SYMBOL + of the GANG TRUCE. + 115. + + + NEARBY, crowds of young people CHANT: + + CROWD + No justice, no peace! Everybody + say, fuck the police! No justice, + no peace! Everybody say, fuck the + police! + + A very proud Cube watches. His own words turned into a + unifying slogan for the riots. And we see -- + + ARCHIVAL NEWS FOOTAGE + + Of the riots -- angry, violent. Years upon years worth of + rage unleashed in a three day period. Marshall Law. Police + brutality. Race hatred. The worst of humanity. + + +119 EXT. SOUTH CENTRAL - CRENSHAW BOULEVARD - DAY 119 + + Calm now, we behold a virtual wasteland of smoldering cars + and buildings. Shell-shocked, CITIZENS wander around, + trying to make their neighborhood livable again as -- + + A ‘64 IMPALA rolls down the boulevard. Dre, Snoop, D.O.C. + and Warren G silently observe the damage, shell-shocked. + + +120 EXT. SUNSET BLVD - NIGHT 120 + + Eazy cruises down Sunset. He looks older, more anguished. + + SUPERIMPOSE: ONE YEAR LATER + + He passes by TOWER RECORDS where a massive mural of THE + CHRONIC cover art fills up the entire side of the building. + Eazy beholds it with a confluence of admiration and envy. + As the bite of that really starts to sting, Eazy looks -- + + ACROSS THE STREET, he spots a BILLBOARD for Cube’s movie, + BOYZ N THA HOOD. Cube is front and center, alongside CUBA + GOODING JR. Eazy can’t believe it as we -- + + +121 INT. EAZY’S HOUSE - LIVING ROOM - NIGHT 121 + + Times are hard. Eazy’s not ballin’ like he was. Surrounded + by MOVING BOXES and basic studio equipment, a few HOMIES do + their thing on the board, the makings of NEIGHBORHOOD + SNIPER playing, as Eazy, Ren and Yella huddle over -- + + THREE HUGE, ONE-POUND BAGS OF WEED sit on the coffee table. + They divide them into smaller BAGS. + 116. + + + YELLA + So all this weed. It’s for your + Ruthless artists? + + EAZY + Havin’ some cash flow problems. + They can smoke it, they can sell + it, I don’t care. As long as it + keeps 'em off my back for a minute. + + YELLA + Maybe you should think about + diversifying into my kinda shit. + There’s money in there, too. + +Eazy laughs, shakes his head. + + EAZY + What, makin’ pornos? No thanks, + man. That’s your thing. I’ll stick + with this music shit. Once my new + album right here’s done, I’mma be + fine -- + +Eazy starts COUGHING. It doesn’t sound great. + + REN + You all right, man? + + EAZY + Yeah. Just tired. All this shit, + downsizin’ to a new crib, just + weighin’ on me. I’ll figure it out + though. I always do. + + JERRY (O.S.) + Eric -- + +Jerry enters. Approaches Eazy. + + JERRY (CONT’D) + Can you come by my office? I need + you to sign some checks -- + +But Eazy doesn’t even look up at Jerry. + + EAZY + I’ll come when I can, Jerry. + + JERRY + Eric -- + +But Eazy just keeps ignoring him. Annoyed, Jerry exits -- + 117. + + +122 EXT. DEATH ROW RECORDS - LOS ANGELES - DAY 122 + + Death Row’s a thriving office space, especially in contrast + to Ruthless. A few DOPE CARS sit parked out front as -- + + Dre SCREECHES up in his brand-new, WHITE FERRARI TESTAROSA + -- Suge’s just behind him in a RED MERCEDES SL AMG + CONVERTIBLE. A car is parked in Suge’s parking space. Suge + blocks the car in. Suge’s Goons wait for him to exit his + car. Dre and Suge hop out, ALL EYES ON THEM -- + + DRE + Man, this is just the beginning... + We’re building an empire. + + Dre LAUGHS as.. + + Suge storms off, flanked by his GOONS, bee-lining for the + EMPLOYEE’S. He grabs the Employee by the collar and hauls + him out of his car to his feet. + + SUGE + You’re in my spot! + + The Employee just gapes at Suge, speechless... + + DRE + Suge, it’s cool -- + + Suge shakes the Employee like a rag doll... + + SUGE + Did you park in my muthafuckin' + parking space or not? + + EMPLOYEE + I didn’t know, I -- + + Suge pulls out a PISTOL and CRACKS the Employee across the + face with it, blood gushing from his nose -- + + Startled, Dre shoots to a stand. What the fuck!? Even more + so when Suge drags the bleeding Employee across the parking + lot before tossing him against a car. Suge give the guy his + keys. + + SUGE + Now move yo' piece of shit and park + my car. + + Wow... The guy is scared and confused at Suge's "power + drunk" request. He slowly takes the keys. + 118. + + + SUGE (CONT’D) + -- And I bet not see one drop of + blood in that mothafucka. + + And everyone watches in utter silence as Suge spins and + struts into Death Row Records brand new offices. LOUD + SILENCE. + + Off Dre, disturbed by Suge’s violent display. + + +123 INT. CUBE’S HOUSE - LOS ANGELES - NIGHT 123 + + Cube sits in the living room, watching basketball, and + doing something we haven’t seen before: WRITING A + SCREENPLAY. + + Kim walks through, visibly PREGNANT, holding SHEA (1). + Hands Cube a beer. He reaches for her, kisses her belly as + their toddler, DARRELL (3), runs in. Hops up on Cube’s lap. + + CUBE + Hey Darrell. What you been doing? - + - playin’ with Shea? + + Darrell nods as Kim picks up the remote, starts FLIPPING + channels. She STOPS when it lands on THE BOX, which just + happens to be playing NWA’s STRAIGHT OUTTA COMPTON. Cube + watches for a bit, lost in thought -- + + KIM + Look how young you guys look. + + Cube looks for a moment -- shakes his head, in disbelief. + + CUBE + Damn... We left some good records + on the table... + + Kim walks closer-- rubs his shoulders lovingly... + + KIM + Well-- ain't nobody burnt down the + table did they? Ever thought about + getting back together? + + CUBE + All the time. But we've been + feuding for so long. It might be + "ON" on sight when we see each + other. I really don't know. + + KIM + 119. + + + That's a shame. It's terrible how + money tears us apart. + + CUBE + Yeah-- When it should be bring us + together. Somebody always wants + more then they're suppose to get. + As that's when shit get funky. + + She nods in agreement -- as he continues working on his + script. A movie called "FRIDAY". + + +124 INT. NICE RESTAURANT - LOS ANGELES - NIGHT 124 + + Dre’s having dinner with NICOLE -- the woman who rejected + him at his party. Even though they’re both clearly feeling + this. + + DRE + Aren’t you glad I tracked you down? + + NICOLE + I wasn’t exactly hiding. + + They both chuckle. + + DRE + So wassup, you been havin’ good + time? + + NICOLE + Yeah... Why? + + DRE + Well I mean, I like comin’ over + your place, but you know, your + neighbors be complainin’ about “the + noise” -- + + Nicole smiles, shoos Dre. He smiles at her, mesmerized. God + damn this girl is special. He fills up their champagne. + + DRE (CONT’D) + I think a little more privacy would + be better. + + NICOLE + So what, you want me to move? + + DRE + 120. + + + Yeah, maybe. I know of a perfect + spot. Plenty of room, and I know + the owner. + +Nicole finally gets what Dre’s saying. Smiles. + + NICOLE + After a few months, you sure you’re + ready for that, Andre? + + DRE + Yeah. I’m really feelin’ you like + that. + + NICOLE + I’m feelin’ you too, but... + +Nicole considers, conflicted. Dre can’t stand it any +longer. + + DRE + Hey you know what, don’t worry + about it right now. Was just a + thought... + +Dre drinks his glass of champagne down. + + DRE (CONT’D) + Listen, I don’t mean to change the + temperature in here. But it had to + be crazy, bein’ married to a Laker. + + NICOLE + Wasn’t what I’d call a good fit. It + got crazy once we moved to L.A. I + definitely went through some + unnecessary shit when he started + acting like an asshole. But I have + a beautiful son and all that other + nonsense is behind me now. + + DRE + Look, no offense, but I’m a little + glad he was an asshole. + (raising his glass) + His loss is my gain. To assholes. + + NICOLE + (playfully) + Chin-chin. + +They share a laugh as Nicole raises her glass -- CLINK. Dre +downs his glass as we -- + 121. + + +125 EXT. NICOLE’S APARTMENT - WESTWOOD - LATER 125 + + Dre walks Nicole to her door, and pretty soon they’re + kissing. It’s nice, but after a bit, she pulls away. + + NICOLE + All right -- Good night. + + Dre looks surprised. + + DRE + Really? Good night? + + NICOLE + Are you okay to drive? + + DRE + No. + + They both laugh. + + NICOLE + Good night, Andre. + + DRE + See, I can’t help thinkin’, maybe + you want me to come inside... + + NICOLE + Of course I do. + + DRE + So what’s different now? + + NICOLE + I got a lot of things to think + about. + (beat) + You’re asking me to move in... + That’s a big step. I like you, + Andre. But there’s a lot going on + around you. + + DRE + What do you mean? + + NICOLE + I read the papers. I’m not stupid. + I know about the whole Death Row + business, the assault charges, the + shooting... Just seems dangerous. + My son’s my world. + 122. + + + DRE + But I thought we been havin fun. + + NICOLE + Fun is fun, Andre. But I refuse to + walk away from one crazy life into + another. + + She kisses him on the cheek. + + NICOLE (CONT’D) + I’ll a call you. + + Nicole turns, walks into the building, leaving Dre standing + there, embarrassed, angered. + + Head full of steam, he stumbles back, hops into his -- + + +126 INT. DEATH ROW RECORDS - HALLWAY - NIGHT 126 + + Dre walks into Death Row feeling the sting of Nicole’s + words still reverberating in his head as -- + + We reveal two pitbulls snarling and lunging at each other + being restrained by heavy duty chains. The screams and + yells of a betting crowd of Bloods permeate the hallway as + we see the Death Row signature electric chair squarely at + the end. A guy walking a pitbull on a hain moves pass the + screaming Bloods and howling dogs runs into Dre. + + GUY WITH DOG + Dre, you want to put some money on + this red nose? + + DRE + (A little dazed and + confused) + Nah man, I’m good. + + The rowdy circle of betters grow more and more boisterous + as the pitbulls are about to get it on. + + DRE (CONT’D) + Where's Pac at? + + GUY WITH DOG + Studio A... + + +127 INT. DEATH ROW RECORDS STUDIO A - CONTINUOUS 127 + 123. + + +We hear 2Pac's iconic verse from "Hail Mary" as Dre enters +the studio as the dog fight starts back in the hallway to +reveal -- + +The control room of Studio A is in complete chaos. Bottles +everywhere along with blunt smoke, Homies and Hoodrats. +TUPAC is in the recording booth spitting out lyrics. + +He's made an alter around him with lyric sheet stands -- +each stand has 2 to 3 notebooks full of raps on it. When +they notice Dre, the engineer stops the track. + +Dre pushes the talk-back button and looks at Tupac through +the glass. + + DRE + Wha’up Pac? + + TUPAC + Oh shit! Wha’up Dre... I’m about to + hit niggas in the mouth with this + new album. Suge said you got some + heat for a nigga. + + DRE + Nigga what? I do...guess who I + worked with last night. + + TUPAC + Who dat? + +Dre hands a CD to the engineer --- + + DRE + Roger fuckin’ Troutman. Man this + shit is fire. Wait til you hear it. + + TUPAC + Oh! OK what you thinking about + calling it? + + DRE + I’m thinking about calling it + California love. + +Dre looks at the engineer --- + + DRE (CONT’D) + Press play + +California Love screams out the speakers... we hear the +iconic first few bars with Roger Troutman’s signature voice +singing, California Love. + 124. + + + We hear the sound of what seems like muffled gunshots + coming from another room. Pop. Pop. Pop. Everyone is like + what the fuck. + + This doesn't sit well with Dre. He exits to see what’s up. + + +128 INT. DEATH ROW CONFERENCE ROOM - NIGHT 128 + + We reveal a pitbull snarling at an emasculated poor bastard + that is on the floor all bloody, in his underwear holding a + glass of champagne. The pitbull continues to lunge at his + face looking to rip his soul out. WE REVEAL Suge smoking a + big cigar and laughing. He's at the center of a room full + of Bloods and hoodrats plus Blood #1, Goon Girl and Goon + #1, all intently watching the last moments of this + emasculated homeboys toast. + + Dre opens the door at the far end of the room not expecting + to see this spectacle. There's several blown holes in the + wall where the gun shots were fired just above the cowering + man’s head. + + DRE + What the fuck y’all doin? + + SUGE + (drunk with power) + Yo Dre, you just in time. Watch + this. Get up! + (To the Poor Bastard) + You know what to do. + + Bruised and bloody with one eye closed shut, the Poor + Bastard raises the glass with a shaky hand and a quivering + voice. Pit bull continues to stand at attention. + + POOR BASTARD + I'd like to make a toast... + + Everyone in the room holds up their champagne glasses. Dre + can't believe his eyes. There's even two (plain clothes) + off duty COPS there with badges and gun holsters -- glasses + raised high. + + POOR BASTARD (CONT’D) + ...to Death Row Records... + + ROOM + To Death Row... + + GOON GIRL + (clowning him) + 125. + + + May the west coast reign forever. + + POOR BASTARD + (scared) + May the west coast reign forever. + + BLOOD#1 + What else!? + + POOR BASTARD + I'd like to make a toast to Suge. + For making this all happen. + + SUGE + Don't forget to toast Dr. Dre. you + little bitch ass mothafucka! + +The Poor Bastard looks over at Dre. + + DRE + (frustrated) + Hold the fuck up! Put cha' glasses + down. Put your fuckin clothes on. + What the fuck is going on around + here?! Seriously, what's going on?! + +Suge approaches Dre puts his hand on his shoulder. + + DRE (CONT’D) + (to Suge) + Nah Nah... + (to Room) + What the fuck is this shit. Is this + why we got money? To act like we + ain't got no god damn sense?! We + could of did all this kind of dumb + shit back in Compton! + (to the room) + This what you muthafuckas turned + into!? Seriously! + + SUGE + Its okay, Dre. + +The Cop #2 is on the couch with some street girls holding a +champagne glass in her hand looks at Dre then over to Suge, +who's laughing. + + DRE + This shit is stupid! Do ya'll know + what it took for us to get here. Do + y’all know what you doin’? Y’all + fuckin' it up! Y’all fucking it up! + 126. + + + (to off duty cops) + And what the fuck ya’ll doing + here?! + +Cop raises the glass. + + DRE (CONT’D) + Really, ok... + + SUGE + (laughing) + Who fuckin' shit up! You trippin. + We can do anything we want to do. + We started this shit. This is us. + + DRE + Nah, Nigga. Death Row is us. + (pointing around) + This other shit -- is you! + +Suge’s Goons get in position. + + GOON #1 + Better watch ya mouth, Blood. + + DRE + ’Tha fuck you talking too? + + GOON #2 + (dismissive) + Nigga, you ain't nothing but a + producer around here. + + DRE + What the fuck?!!! + +This sends Dre into orbit. He goes after Blood #1. The +whole conference room jumps in between them -- keeping +these two human pit bulls from scrappin'. Everybody jumps +but Suge who amused by the whole thing -- puffs on his +cigar. Dre is being held back by the Off Duties. While Goon +#1 is being held back by Goon #2 and a few others. World +War III averted for now. + + DRE (CONT’D) + Get the fuck off me. + +Dre breaks free and storms out. + + SUGE + Man don’t even trip off this + muthafucka. What he going to do? + Where he going to go? + 127. + + + And just sits there, seething. Reaches in the back seat, + grabs a bottle of Hennessey. Takes a swig... Then -- + + A sudden look of determination washes over him. He TEARS + out into the street, tires SQUEALING -- ERRRR! + + PASSING CARS, swerving, Dre punches the gas, RPMs maxed + out. Shifts, flying through an intersection -- the needle + passes 100mph. Keeps going, loving the release, the + control... + + A POLICE CRUISER, coming the opposite direction, spots + Dre’s Testarosa -- In a flash, they bang a U-turn, peeling + so fast, smoke clouds the night air -- + + ON DRE, distant police lights now strobing off of his face + from the rear view mirror. Fuck! Thinking fast, he switches + off his headlights. Hits the gas, needle bottoming-out! + + As he reaches the next intersection, Dre makes a hard left + -- SCREECHES to a stop, tucking into a spot along the side + of the road. Shuts off his car. Waits, breathing fast, as - + - + + DRE (TO HIMSELF) + Come on, come on, come -- + + THE POLICE CRUISER barrels around the corner -- SLAMS THE + BRAKES! Two LAPD OFFICERS fling open their doors, guns + leveled at Dre’s car! + + Eyes wide, adrenaline coursing through his veins, chest + heaving, Dre grits his teeth. He’s stuck... and he knows + it. + + LAPD OFFICER 1 (VIA LOUDSPEAKER) + Driver! Put your hands out of your + window where we can see them! Now! + + Dre complies, reaches his hands out of his window. + + The two officers carefully approach, guns at the ready. + OFFICER 2 slaps the cuffs on Dre, regret immediately + registering on his face as we -- + + SMASH CUT TO: + + +129 EXT. JAIL - PASADENA - ESTABLISHING - DAY 129 + + Nicole hops out of her car and hurries into -- + 128. + + +130 INT. JAIL - VISITING AREA - DAY 130 + + Dre and NICOLE sit across from each other, Plexiglas + between them, talking via phone receivers. + + NICOLE + Anybody else been here to see you, + your so-called friends at Death + Row? + + DRE + Nope. You’re the only one I wanna + see anyway. + + She surveys him, pain in his eyes. + + NICOLE + 112 days? That doesn’t even make + sense. + + DRE + Yeah, well... That’s what happens + when you violate your probation. + + They sit there, just being in the awkward, contrived + moment. + + NICOLE + You got one phone call and you + called me? + + DRE + ‘Cause you were right. Only other + person that tells it to me like it + is-- is my moms. So I know you + care. + + She looks at him, nods, dabs at her wet eyes. + + DRE (CONT’D) + I fucked up. But I’ve had a lot of + time to think in here, and I + promise you, things are gonna be + different from now on. + + That lies there a minute. Then -- + + NICOLE + You take care of yourself, Andre. + + She stands, heads away... And we see the reflexive + disappointment on Dre’s face before... + 129. + + +131 INT. EAZY’S NORWALK HOUSE - BEDROOM - NIGHT 131 + + Tomica and Eazy lie in bed together. He stares at the + ceiling, and she runs her hand soothingly down his arm. + + EAZY + I feel like I don’t know what I’m + doin’ anymore. I don’t even know + where the money’s going. + + Tomica props herself up on her elbow, looks at him. + + TOMICA + I can help, you know. Show me the + files, the bills, the contracts. I + know the business, I know how it + all works. Let me look. Baby, if + you’re feelin’ this way, Jerry’s + not doin’ right by you. + + Eazy puts his arm around her, pulls her close. They both + lie there a little longer, just breathing. + + EAZY + Okay. After New York. Workin’ on + that International Distribution + with Sony. Jerry don’t know about + that. I wanna keep it that way. + + Tomica nods, smiles. Encouraged he has a plan again. + + +132 EXT. NEW YORK CITY - CHELSEA - NIGHT 132 + + Establish MANHATTAN, in winter, after hours. Dirty snow on + the sidewalks. Cold-as-shit wind blowing off the Hudson. A + line of CLUB KIDS on the 12th Avenue sidewalk, in front of + the massive brick edifice of the legendary -- + + +133 INT. TUNNEL NIGHTCLUB - VIP - NIGHT 133 + + ICE CUBE sits in a BOOTH, surrounded by friends, label- + execs, and hangers-on. It’s pretty clear that Cube is a + huge celebrity at this point. He even has some big, + unsmiling THUGS (The Lench Mob) standing close. + + Cube, mid-conversation, suddenly STOPS talking... Because + he SEES that EAZY-E is entering the VIP with 2 HUGE + SAMOANS, making his way over. + + CUBE + (to his crew) + 130. + + + Heads up y'all. This lil nigga + might wanna do something. + +Cube stands up -- ready for whatever. + +Eazy and his Bodyguards arrives at the booth. There’s a +tense silence -- almost a stand off before anyone speaks. +Everybody looks to them, seeing how they're gonna react. +After all, these two have dissed each other, ferociously +and publicly, for years. Still, Eazy gives Cube a friendly, +vaguely submissive smile. + + EAZY + Relax everybody. Just came in the + club-- heard you were over here. + + CUBE + (Still ready) + Yeah. I'm over here. + (beat) + What you need? + + EAZY + I don't need shit. Out here with + Bone Thugs-- Was just in the + neighborhood. Wanted to say wassup. + +The tension between the sides eases up a bit, but not +completely. They both stand there, neither sure what to say +to the other. + + EAZY (CONT’D) + Saw your movie. It was good. + +Cube slowly smiles. Knows that wasn’t easy for Eazy. + + CUBE + Thought you said it was an after- + school special. + +They both smile, laugh. Give each other a pound. In truth, +they missed each other. Homie hug. + + EAZY + Missed you, boy. + + CUBE + Missed you too, E. Wish we could've + work shit out. + + EAZY + 131. + + + Guess it all happened like it was + supposed to. You a movie star-- I'm + a music mogul. Dre. Well Dre is + tripping right now, but he's doing + his thang. Just wanted to come over + here and put something on your + mind.. + + Cube is curious. + + +134 INT. TUNNEL NIGHTCLUB - VIP - AFTER HOURS 134 + + The club has mostly emptied out. Only a few die-hards + remain as we find Cube and Eazy slumped over their table, + loose with alcohol. The vibe is cool, friendly, like the + old days. But we notice Eazy has a subtle, persistent + COUGH... + + EAZY + I wish all that bullshit never + happen between us. + + Definitely never wanted it to get physical-- we should've + kept it on wax. + + CUBE + Never should've dissed each other + in the first place. Made our fans + choice between us. That ain't cool. + + EAZY + Yeah you right. + (After a few beats) + Ever though we was going to be this + big? + + CUBE + Nope. I was reminiscing with my + wife the other day. What it felt + like-- In the beginning. We were so + young and ferocious. Doing music + straight for the hood. Trying to be + ghetto stars... I thought I knew + everything back then -- But I + didn’t know shit. + + EAZY + Me neither. I'm still trying to + figure this stuff out. One minute + I'm slangin' in a crack house -- + next thing I know, they invite me + to the White House. + 132. + + +Cube laughs, shakes his head. + + CUBE + Yeah. I get it. Everything changes + so fast. Feels like it was 20 years + ago. If we were still together do + you know how large we'd be? + +They both sit there, thinking about that shit, amazed. + + EAZY + You ever think about fuckin’ with + some new NWA shit? + +Cube frowns, contemplates for a moment. + + CUBE + I’d be lyin’ if I said I never + thought about it. + +Eazy’s eyes flash. That’s what he was hoping to hear. + +EAZY (CONT'D) + + EAZY + Me too, Cube. Been thinkin’ about + it a lot. + (beat) + Be like 1989 again. We changed the + world forever. Mothafuckas can + never go back to that fake shit + after us. It gets no realer then + NWA. No matter what... + +After a quick thought. + + CUBE + If you can get Dre to do it, I’m + in. But check this out homie-- I + ain’t doin’ it if Jerry’s around. + He done made enough off us. + + EAZY + I hear you. + +An EMPLOYEE walks by, pushing a broom, glaring at them. +It’s time to go. They both stand up. + + CUBE + Cool. We done talked til the damn + club closed -- I got a car coming. + You need a ride back to your hotel? + 133. + + + EAZY + Naw, I’m cool. I wanna walk. + + CUBE + (really?) + Walk? It's cold as fuck Eric, this + ain't L.A. + + EAZY + I'm good. Hit me up later. + + Another HUG, this one last a little longer then normal. + Eazy doesn’t say anything else. Just heads for the exit, + without looking back. Cube watches him go off into the cold + night... + + +135 EXT. NEW YORK STREETS - NIGHT 135 + + Eazy walks back to his hotel in the freezing cold, his + hands jammed in his pockets. The wind blows mercilessly. + Eazy is shivering like crazy. But he keeps walking. + + It’s a longer walk than he thought. He tries to hail a cab, + but of course, none stop. He keeps trudging along, his + breath making clouds, through the lonesome pre-dawn City -- + + +136 EXT. JAIL - DAY 136 + + Dre emerges from the JAIL, shielding his eyes from the + suddenly-blinding SUNSHINE. Interestingly, this is the + SECOND TIME we’ve seen him get picked up from jail. + + NICOLE is there, waiting by her car. He wraps her in his + arms, and they stand that way, together, for a long time. + + +137 INT. JERRY’S HOUSE - KITCHEN - DAY 137 + + Jerry has the PAPERS on the counter for Eazy’s signature. + But something’s different this time. Eazy doesn’t just + sign. Instead, he starts GATHERING the papers into a pile. + + JERRY + Wait, aren’t you gonna sign -- + + EAZY + I’mma take these home with me. I’ll + sign 'em. Get'em back to you in a + couple days. + + Jerry looks alarmed. + 134. + + + JERRY + But this is how we’ve always done + it. You have a lot on your plate + Eric, there’s no need to add to it + -- + + EAZY + It’s cool, Jerry. They’re my bills, + my checks. I mean look, my name’s + right there. + + Eazy grins at Jerry, points to his name on the checks. + + JERRY + I just wish we could do it here. I + don’t want anything to get + misplaced or lost -- + + EAZY + Don’t worry so much, Jerry. I can + handle it. + + Eazy picks up the pile of papers and heads for the door. + Jerry stares after him, visibly shaken -- + + +138 INT. EAZY’S NORWALK HOUSE - NIGHT 138 + + Tomica watches on as Eazy finishes READING the + immaculately- organized PAPERS she’s laid out for him. He + puts them down. + + TOMICA + You had to know the truth sometime. + Now you do. + + EAZY + Cube tried to warn me. So did Dre. + And I didn’t listen. I fucked up. + + And we stay with Eazy a moment, reeling, pissed.... + + +139 INT. JERRY’S HOUSE - KITCHEN - LATER 139 + + Eazy walks into their familiar meeting place to find Jerry + slumped at the table. + + JERRY + Where the fuck have you been? I’ve + been calling you -- + 135. + + +Jerry glances down at the PAPERS in Eazy’s hand, sees the +flat look on Eazy’s face... and gets it. + + JERRY (CONT’D) + So what was it, the groupie? The + executive assistant? Did she even + go to college? Come on. You’re + smarter than that, Eric -- + + EAZY + This ain’t about Tomica, Jerry. + It’s about you. And you really + gotta stop acting like you never + did anything wrong. + + JERRY + Look, I know you’re upset. But I’d + strongly advise you to take a + breath, let me look at the + paperwork -- + +Eric lets out a low, rumbling laugh. + + EAZY + Jerry, for real? You can stop + givin’ me advice. As of, like, now. + I’m getting NWA back together. It’s + happening. But you ain’t gonna have + nothing to do with it this time. + +Jerry’s voice starts to RAISE in volume, desperation +growing. + + JERRY + Why would you say something like + that? You’re not thinking straight. + +I know what’s best for you, and for Ruthless, and we’ve +built a trust over years of hard work. That trust is our +foundation, Eric. + +Eazy laughs again, but this time... the laugh deteriorates +into a ragged, hacking COUGH. Jerry watches, concerned -- + + JERRY (CONT’D) + Are you okay? You don’t look -- + + EAZY + Trust. God damn, that’s a word. Let + me tell you somethin’, Jerry. Trust + is a muthafucka. + +Jerry is now full-on YELLING at Eric, who remains calm. + 136. + + + JERRY + Look, if what I’ve done is so + illegal, why have I never been + sued? I’m such a thief, such a + liar, such a motherfucker, how come + nobody’s come to collect? This is + business. This is how it works. + It’s not always pretty, but all of + it, everything I’ve put into this + company, my whole LIFE for all + these years, it’s for you, Eric. + + Eazy absorbs this. Then -- + + EAZY + You’re fired, Jerry. + + Jerry, who is now beet-red, starts to BELLOW with rage -- + + JERRY + Goddammit, Eric! This is not how we + do things! This is a business and I + won’t let you -- + + But Eazy’s already out the door. Enraged, Jerry wipes his + arm across the table sending everything SMASHING onto the + floor! + + +140 INT. DRE’S HOUSE - BACK YARD - DAY 140 + + Long gone are the days of the infamous Dr. Dre pool parties + as Dre and Nicole relax by the pool. Dre’s huge, early- + model CELL PHONE rings from a table beside him. He picks it + up -- + + DRE + Hello? + + After a short pause, a familiar, gravelly voice comes on. + JERRY (CONT'D) + + EAZY’S VOICE + Wassup Andre, it’s Eric. + + Dre’s eyes widen. Eazy’s the last person he ever expected + to hear from. + + DRE + Yeah? Wassup wit you? + + INTERCUT WITH: + 137. + + +141 INT. EAZY’S NORWALK HOUSE - BACK YARD - CONTINUOUS 141 + + Chilling by his modest pool, Eazy looks worn but + determined. + + EAZY + Just felt like callin’ -- + + Dre is still vaguely mystified, at a loss. + + DRE + Yeah. Okay. + (beat) + Wassup? + + EAZY + You know. Doin’ my thing. Makin + records. Killin’ all that pussy out + there. + + Seated a few feet away from Eazy, Tomica rolls her eyes. + + EAZY (CONT’D) + How about you? + + DRE + Just makin’ tracks. + + EAZY + That Snoop record you did was big. + 850,000 copies in the first week?! + Congratulations on the success of + that. + + DRE + Good lookin’ out. + + EAZY + Well look, I know you’re busy, but + I talked to Cube, and we were, + like, talkin’ about some... + possibilities. + + Dre gets up, walks around the edge of his pool, processing. + + EAZY (CONT’D) + And by the way, if you ain't heard- + - I ain’t fuckin’ with Jerry Heller + no more. Nigga's fired. + + Something in those words causes Dre to soften... a bit. + + DRE + 138. + + + Really. Well it’s about time. He's + the reason why we broke up. + + EAZY + Listen man, I know everything got + messed up and went the wrong way. I + wish it didn’t. I wish we can go + back to the days of Skateland when + we were all just young, hungry and + ferocious. The world's most + dangerous group. Before all the + money and fame got between us. + + DRE + Yeah me too-- cause I’m not proud + of all the shit I did, either. + + Eazy looks vaguely relieved Dre said that. + + EAZY + So you think maybe, we can make + somethin’ happen? + + DRE + Yeah, that’s sounds cool -- Let’s + stay in touch. + + EAZY + Fair enough. + + They both hang up. Eazy turns to Tomica, big smile. + + EAZY (CONT’D) + Everybody's all in. NWA is back! + + +142 INT. EAZY’S NORWALK HOUSE - MAKESHIFT STUDIO - CONTINUOUS 142 + + Ren and Yella work the kinks out of a dope new beat -- + Tomica enters, Eazy in tow, looking a bit sluggish. + + SUPERIMPOSE: TWO MONTHS LATER + + REN + Wuddup, y’all. + + YELLA + Hey so, when are Dre and Cube gonna + roll in here? + + REN + Yeah, you know -- Gettin’ kinda + anxious to get this new shit goin’. + 139. + + + EAZY + I don’t know. Hopefully soon. Let’s + just get ready. New NWA gonna + change the game, just like back in + the day -- + + REN + No doubt. I got books of new shit - + - + + Eazy’s legs buckle. He leans on the Board, winded -- + + YELLA + Yo, you alright, Eazy? + + EAZY + Yeah. Just. Like. Need some fresh + air, somethin’ -- + + PANIC flashes in his eyes as he moves toward the door, + suddenly CRUMPLES TO THE FLOOR, out cold -- + + TOMICA + Eric! + + They all hurry over to him -- + + +143 EXT. LOS ANGELES STREET - DAY 143 + + An AMBULANCE blares through the night, running red lights, + hurtling toward the hulking edifice of CEDARS SINAI -- + + +144 INT. CEDARS - EAZY’S ROOM - DAY 144 + + Eazy lies in a propped-up hospital bed, watching TV. He + doesn’t look ill, just annoyed with the situation. Tomica + sits in a chair beside him, flipping through a magazine. + + A young DOCTOR walks in, carrying a chart. He looks + troubled, preoccupied. His eyes dart from Tomica... to + Eazy. + + TOMICA + You gonna say something? Is it a + respiratory infection -- pneumonia? + + DOCTOR + Yes, well, it is those things... + and more, I’m afraid... We ran a + full blood battery and -- + (beat) + 140. + + + Mr. Wright, I’m sorry but you’ve + tested positive for the HIV virus. + +Tomica reflexively stands, her hand over her mouth. Eazy +squints, smiles, looks at the Doctor like he’s crazy. + + EAZY + Get the fuck outta here. + + DOCTOR + The normal T-cell count is anywhere + between 500 and 1500. Right now, + your T-cell count is... 14. + +Tomica just stands there, mouth agape, speechless. Eazy’s +smile slowly fades to a look of pure dread. + + EAZY + But I ain’t no faggot. + + DOCTOR + Mr. Wright, there are actually + quite a few ways that the virus can + be transmitted -- + + EAZY + It’s wrong. No way. Test me again. + Test my shit again -- + + DOCTOR + We’ve actually run the test five + times, with five different + samples... and the results remain - + - + +Tomica suddenly lets out a choked CRY, runs from the room. +Eazy watches her go, overwhelmed, confused... and then, all +at once, he gets it. Voice trembles a little. + + EAZY + Tomica. She’s pregnant. Oh fuck. + Does that mean she -- + + DOCTOR + No. Not necessarily. But we’ll need + to test her, too. + + EAZY + So what do we do? What’s the + treatment? Let’s get started. + +I got work to do. How long’s it gonna take to get me +healthy again? + 141. + + + The Doctor looks at Eazy, struggles a bit. He pulls up a + chair, sits down next to the bed. + + DOCTOR + Mr. Wright. You need to understand. + You’re very, very sick -- + + EAZY + But I don’t even feel that bad... + + DOCTOR + With treatment, and palliative + care, we can probably keep you + comfortable for... maybe six + months. At the very most. + + Panic washes over Eazy in a flood -- + + EAZY + Comfortable? What you mean + comfortable? Six months!? + + DOCTOR + I’m truly sorry, Mr. Wright. + + Eazy realizes that he's dying. + + HARD CUT TO: + + B-ROLL OF A CROWD OUTSIDE OF CEDARS SINAI (STOCK FOOTAGE) + + REPORTER (V.O.) + Last week, the rap world was + stunned to learn in a press + conference held by his lawyer, that + Eazy-E had been admitted to Cedars + Sinai Hospital in Los Angeles and + diagnosed as suffering from full- + blown AIDS. + + +145 INT. CUBE’S HOUSE - CONTINUOUS 145 + + At home, sitting on the couch with Kim and their KIDS, Cube + watches on, stunned. Kim kisses him, leans on his shoulder + as they try to process the shock -- + + RON SWEENEY (ON TV) + 142. + + + Eazy started getting sick about a + month ago but hadn’t shown signs of + improvement, so he checked into the + hospital. They ran extensive tests + and as a result we found out + that... he has what he has... + + +146 EXT. CEDARS - COURTYARD - DAY 146 + + Outside the hospital, we see PEOPLE have started to GATHER. + About a dozen or so. They stand there quietly, shuffling + around, staring up at the Hospital -- + + +147 INT. CEDARS - EAZY’S ROOM - THE NEXT DAY 147 + + Tomica sits in a chair pulled right beside Eazy’s bed. They + hold hands, look at each other. They’ve both been crying. + + EAZY + Just glad you’re okay. You and the + baby. + + Tomica takes his hand, kisses it, cries. + + TOMICA + No. We can beat this. Together. + + Eazy nods reassuringly, but you can see in his eyes he + doesn’t believe it. Eazy’s PHONE rings. He answers it. + + EAZY + Yo. + + REN’S VOICE + (filtered) + Eazy! What the fuck, cuz? People + been sayin’ some crazy shit. Like + you got AIDS or somethin’? Can you + believe that? Muthafuckin’ Eazy-E + got AIDS? Niggas be starting too + many rumors, huh? + + SILENCE. Ren is hit with the reality as Eazy TURNS OFF the + phone -- Sticks it in the bedside table drawer. It’s pretty + clear he’s never gonna turn it on again. + + TOMICA + Who was that? + + Eazy doesn’t respond, just lies there, despondent. + 143. + + +148 EXT. SOUNDSTAGE - VIDEO SHOOT - DAY 148 + + Dre’s chilling on a couch as NICOLE appears from around the + corner holding a wireless phone -- + + NICOLE + It’s for you. + + He grabs the phone, leans it on his shoulder. + + DRE + What up. + + Dre’s face contorts with confusion as he listens... + + +149 INT. CEDARS - EAZY’S ROOM - NIGHT 149 + + Tomica and Yella stand by Eazy’s bedside. Eazy looks + drained, depressed. Various members of Eazy’s FAMILY are + also present. Yella holds a CASSETTE in his hand. + + YELLA + It’s Bone Thugs’ new LP. It’s good, + Eric. It’s gonna be huge when it + drops. Everybody thinks so. Want me + to play it for you? + + EAZY + Put it on the table. I’ll listen + later. Thanks for stoppin’ through. + Hit you when I get outta here. + + Yella nods sadly, places the cassette on the bedside table + and exits. Handwritten on the cover, it says BONE. + + +150 INT. CEDARS - EAZY’S ROOM - THE NEXT DAY 150 + + Tomica sits holding Eazy’s hand, staring at him with + haunted eyes. RON SWEENEY stands in the background, along + with Eazy’s Family. Someone else is there now, too. A + PASTOR. + + TOMICA + I can’t. That’s not the way it + should happen. It’s not right -- + + EAZY + Please. It’s gotta happen, baby. + I’m having my surgery tomorrow, so + it has to happen now. Because I + might not. Wake up. + 144. + + +Eazy’s clearly struggling to come to terms with this. + + TOMICA + Don’t say that. + + EAZY + It’s true, Tomica. I gotta make + this right. Ron says it’s the only + way to protect everything I built. + +Tomica looks to Ron, who nods. She stares off into space, +slowly shaking her head. Her life has become a nightmare. + + TOMICA + It’s so... fucked up -- + + EAZY + Hey. Listen to me. It doesn’t + matter what people think. They + don’t know. They don’t understand. + There’s no other way. Please. I + know it’s not the way you pictured + it. You deserve better. + +He reaches out, puts his hand on her stomach. + + EAZY (CONT’D) + But if we don’t do this, I won’t be + able to protect either of you. + +After looking deep into Eazy's eyes -- He needs her. + + TOMICA + Okay. I love you, Eric. + +Ron steps forward, followed by the FAMILY, who gather +around Eazy’s bed. Finally, the PASTOR, who smiles kindly +at them. + + PASTOR + Are we ready? + +Tomica and Eazy nod their heads yes. The Pastor reaches +out, holds Tomica’s hand in one hand, Eazy’s hand in the +other. + + PASTOR (CONT’D) + Tomica Woods, do you take Eric + Wright to be your lawfully wedded + husband, to have and to hold... + 145. + + + Tomica tries not to cry, but it’s impossible. The tears + flow, and all she can do is wipe them away. Eazy won’t stop + looking at Tomica. Like she’s the last thing he’ll ever + see. + + +151 EXT. CEDARS - COURTYARD - NIGHT 151 + + Outside the Hospital, the VIGIL has grown in size. There’s + now about a HUNDRED PEOPLE standing outside. Holding + candles. Many of them are crying. Holding pictures of Eazy. + + +152 INT. CEDARS - EAZY’S ROOM - LATER 152 + + DRE quietly enters the room, nobody in there except him and + Eazy. He walks to the bed. Looks down at his friend, whom + he hasn’t seen in four years: Eazy’s eyes are closed, a + RESPIRATOR doing his breathing for him. + + NOTE: The BONE TAPE is still sitting, untouched, on the + bedside table. Eazy never got a chance to listen to it. + + Dre stands there, staring down, in this extended, surreal + moment. He bends down, so his mouth is close to Eazy’s ear. + + DRE + (softly) + Yo, Eazy. Wanna tell you somethin’. + I know you can hear me. I know + you’re still in there -- + + We PULL BACK, so WE CAN’T HEAR WHAT DRE IS SAYING. And we + won’t hear it, because that’s between Dre & Eazy. + + After a few moments, Dre stands up straight. Whatever he + had to say to Eazy, he’s finished now. He walks to the door + -- + + On his way out, he passes TOMICA as she’s coming in. He + looks at her. Then he looks at the ring on her finger. + Walks away, without saying a word... + + +153 INT. CEDARS - OUTSIDE EAZY’S ROOM - A SHORT TIME LATER 153 + + A phalanx of POLICE guards the front entrance, preventing + the MOB OUTSIDE from getting in. + + OUTSIDE EAZY’S DOOR, find CUBE sitting in a chair. He spots + DRE walking out, looking glazed. Cube gets up. They stand + there looking at each other. + 146. + + + CUBE + S'up Dre? + + DRE + Good to see you, Cube. + + It’s been awhile. Lot of water under the bridge. They + finally step to each other, and hug quickly, intensely. + + CUBE + You see him? How he look? + + DRE + He looks the same -- like Eric just + sleeping. But he's in a coma. Got a + machine breathing for him -- + + Cube frowns, looks at the ground, pained. + + CUBE + Can’t see him like that, man. This + is bad. I asked one of his homies + to call me when he wakes up. + + Dre nods, doesn’t push it. He understands. As they exit + together, they pass the Police Guards, in tight formation + by the door, protecting the Hospital. Protecting Eazy. + + +154 EXT. CEDARS - COURTYARD - LATER 154 + + MORE PEOPLE keep arriving to the VIGIL. A steady flow. They + all stare up at the Hospital, watching, waiting. The crowd + STRETCHES far in all directions, clogging the street -- + + +155 INT. CUBE’S HOUSE - BEDROOM - DAY 155 + + Cube lies on the bed with Kim, watching TV. The PHONE RINGS + on the bedside table. Cube stares at it -- + + +156 EXT. DRE’S HOUSE - PORCH - DAY 156 + + Phone to his ear, Dre listens a while, nods, face desolate. + Seated beside him, Nicole rubs his back, consoling her man. + + DRE + Okay. + + Dre hangs up. Looks over to Nicole. + + DRE (CONT’D) + 147. + + + He’s gone. + + She hugs him tight as we -- + + +157 EXT. LOS ANGELES - EVERYWHERE - DAY INTO NIGHT 157 + + A moment of quiet beauty. A TIME-LAPSE of the magnificent + City of Los Angeles. From hazy, sun-blasted MORNING, to an + explosively-hued SUNSET, into the electricity of NIGHT. + + We hear EAZY’S VOICE, one last time, through some of the + final words he released to his fans. + + The TIDES on the beach rise and fall. Endless VEHICLES + swarm the FREEWAYS like teeming blood vessels in veins. + Clouds race across the sky like an avalanche, a river -- + + +158 INT. DEATH ROW RECORDS - DAY 158 + + Dre strides down the lipstick red hallway, lined with + platinum records, a determined look on his face. Enters -- + + THE CONFERENCE ROOM + + To find Suge, looking confused, sitting at the end of the + long conference table. He’s wearing another absurd Red- + Devil suit, fedora, gold watch on a chain, flanked by a + couple of jacked-up BLOODS. And his DOG is still by his + side. + + SUGE + What’s the urgency, Dre? + + DRE + I’m out, man. I’m out of Death Row. + + SUGE + You’re not making any sense. Death + Row and Dr. Dre are one in the + same. You can’t just up and go. + + Dre does not avoid Suge’s gaze. He looks right at him. + + DRE + Gonna do my own thing now. Start + fresh. Nobody to answer to but + myself. It’s time, Suge. + + SUGE + 148. + + + You’re one stupid muthafucka. You + just gonna throw away all this + money? ‘Cause if you leave, + everything we created is mine. + +Suge starts to breathe hard through his nose. He’s pissed. + + DRE + What we created? Ha -- Well you can + have it. + + SUGE + You ain’t takin nobody with you. + Death Row stays Death Row. And if + you even think about touching my + money? You know how I handle shit. + + DRE + Do what you gotta do. I’m still + out. + + SUGE + You’re not gettin none of it. + + DRE + I don't give a fuck-- You can't put + a price on peace of mind. So you + can keep the artists, the money, + the masters and the bullshit. I’m + startin’ my own thing. + +Suge stands there, huge, scary. He stares cold daggers into +Dre’s eyes, but Dre refuses to look away. + +Suge finally nods. Something softens in him. + + SUGE + What you gonna call it? + +Dre grins. + + DRE + Aftermath. + +Dre walks away, smiling as -- + +STRAIGHT OUTTA COMPTON kicks in and we see the people and +things that have been impacted by NWA. We begin with all +the things that made NWA possible. We’ll end with all the +things that NWA made possible. A little something we like +to call... + +NWA HISTORY: + 149. + + +BEFORE FINAL CREDITS... + +We’ll see the actual real life members of N.W.A. in all of +their glory back in the day, chronicling what they went on +to do, and culminating with a PICTURE OF NWA, staring +menacingly at the camera. + +The most dangerous band in the world. + + FADE OUT. + \ No newline at end of file diff --git a/scripts/Superbad.txt b/scripts/Superbad.txt new file mode 100644 index 0000000000000000000000000000000000000000..b37473b6d4e80a14f67a5934c55fde2977b6e581 --- /dev/null +++ b/scripts/Superbad.txt @@ -0,0 +1,8906 @@ + 1. + + + + FADE IN: + + +1 OPENING CREDITS OVER SUPER-FUNKY BLAXPLOITATION-STYLE MUSIC 1 + + Builds to an exciting crescendo filling us with the + expectation of a thrilling, action-packed opening sequence. + + Instead we get: + + +2 INT. SETH’S CAR - MORNING 2 + + Seth, seventeen, a bit heavyset, in the midst of a sad + attempt at growing a goatee and clearly a terrible driver, + cruises along while fiddling with the CD player. He pulls + out his cell and dials. + + SETH + Yo. + + INTERCUT WITH: + + +3 INT. EVAN’S HOUSE - KITCHEN - CONTINUOUS 3 + + Evan, seventeen, a little too tall and slim, a boy who + clearly never figured out how to style his hair, is + finishing off a bowl of cereal. He is on his cell phone. + + EVAN + What’s up? + + SETH + I was doing research last night, + for next year, and I think I’m + gonna go with Bang Bus. + + + + EVAN + Which one’s Bang Bus? + + + + SETH + The one where they bang the chicks + on the bus. Thirteen bucks a month. + Total access, live Webcam feed. The + works. It’ll be like I’m on the + bus, banging them myself. + 2. + + + + + EVAN + That stuff’s bullshit, they’re all + faking it. And plus, your parents + are gonna look at the bill. + + + + SETH + It shows up under a different name. + (beat) + I hope. Bang Bus. + That wouldn’t look good. Maybe I + should just pick the one with the + least dirty sounding name. + + + + EVAN + Weapons of Ass Destruction’s out + then. + + + + Seth pulls up in front of a house. + + SETH + I could tell my parents I’m doing a + project on Rome and I have to + research orgies. + + + + +4 EXT. EVAN’S HOUSE - CONTINUOUS 4 + + Evan walks out his front door. WE REVEAL he is walking + towards Seth’s car. + + EVAN + (still into phone) + Yeah. Just tell them you'reae + taking a class on blow jobs. + + + + They both hang up and Evan gets in the car. Seth is about + to pull away, when EVAN’S MOTHER comes out the front door. + + EVAN’S MOM + Thanks for taking him, Seth. + 3. + + + + +Evan changes the radio station. Seth slaps his hand. + + SETH + Don’t touch that! + + + + EVAN’S MOM + You two are so funny. I can’t + imagine what you’ll do without each + other next year. Evan told me you + didn’t get into State. + + + + SETH + Yeah, you know. I got some other + places. Good places. I think we’ll + be fine. + + + + EVAN’S MOM + Are you going to miss each other? + + + + EVAN + Miss each other? No! + + + + SETH + That’s disgusting. + + + + MOM + Bye, boys. + + + +Seth and Evan drive off. + + SETH + I am truly, truly jealous that you + got to suck on those tits when you + were a baby. + 4. + + + EVAN + Fuck you, man. + + + + +5 EXT. CLARK SECONDARY- SOON AFTER 5 + + They drive up to Clark Secondary. There is a giant sign + that reads “Seniors - Two Glorious Weeks Until Graduation”. + Seth turns into the STAFF parking lot. + + + + +6 INT/EXT. 7-11 STORE - MOMENTS LATER 6 + + Seth and Evan walk past a group of smokers, towards the 7- + 11. + + EVAN + You’re being an idiot, man. You + really shouldn’t park there. + + + + SETH + Fuck it. I’m a senior about to + graduate. They should be suckin’ my + balls. It’s the least they can do + for stealing three years of my + life. + + + + They walk past DIMITRI (18, big Native American guy) as + they enter the store. Dimitri aggressively bumps his + shoulder into Seth. + + EVAN + What the hell’s wrong with Dimitri? + + + + SETH + Oh, yeah dude, I forgot to tell + you. I knocked the fuckin’ shit out + of him in capture the flag last + week. + + + + EVAN + 5. + + + Good! 9th Grade Camp he gave me + whiplash in “King of the Ring.” I + fucking hate that guy. + + + +They go to the magazine rack and stare at a Maxim cover. + + EVAN (CONT’D) + Look at those nipples. + + + + SETH + They’re like baby toes. + + + + EVAN + It’s not fair. I have to hide every + erection I get. + + + + SETH + Sometimes I get boners so big I + can’t hide them. And then I get + nervous and my heart starts + pounding, and it all just, like, + feeds my boner. It just becomes + this-- thing-- that’s attached to + me. And it won’t go away. + + + + EVAN + Just imagine if girls weren’t + weirded out by our boners and they + actually wanted to see ‘em, like + this shit. + + + + SETH + You know it’s been, like, a year + and a half since I’ve seen an + actual human female nipple. Besides + my mom’s. I saw it last month, and + it was sick. + + + + EVAN + 6. + + +Holy shit. Liat was two years ago? +I guess so. She was insanely hot, +though. + + + + SETH +Exactly. Too hot. That’s what +sucks. + + + + EVAN +How can that possibly suck? I’d be +fuckin’ psyched if I’d gotten with +a girl that hot. You got, like, two +dozen handjobs! + + + + SETH +And three quarters of a blowjob, +But that was fuckin’ it. It was the +peak of my ass- gettin’ career, and +it happened way, way, way too +early. + + + + EVAN +You’re like Orson Welles. + + + + SETH +Exactly! If I’d built up to it, I’d +probably at least be having steady +sex with a mediocre-looking girl at +this point. I honestly now see why +Orson Welles ate his fat ass to +death. + + + + EVAN +You’ll have sex in college. +Everyone does. And if not, you’ll +have the Bang Bus. + + + + SETH + 7. + + + But the key is to be good at sex by + the time you’re in college. You + don’t want girls to think you suck + dick at fucking. + + + + EVAN + I still think you’ve got a chance + with Jules. She got mad hot over + last summer, and clearly hasn’t + realized it, ‘cause she still + flirts with you. + + + + SETH + Are you joking, man? Let’s see + here-- she dated Dan Remick, Matt + Muir, Josh Corber and what’s-his- + face. All of those were cool guys. + She’s been hot way longer than you + think. Why would she end her high + school career with me? + + + + EVAN + Well, Helen got with Ariel Shafir. + + + + SETH + Yeah, and he was a complete fucking + loser. You’re a step up from that. + Which is why you should stop being + a pussy and do her! You could nail + the shit out of her for, like, two + months before you leave. That bitch + looks like a good fucker. + + + + EVAN + Hey! I’m sick of you talking about + her like that, man! + + + +Evan starts to walk out. Seth follows. + + SETH + 8. + + + What, you can talk about that bitch + all day every single day, but I + can’t say one thing about her? + + + + EVAN + I don’t constantly insult her. + + + + SETH + I didn’t insult her! I said she + looks like a good fucker! She looks + like she can take a dick. That’s a + good thing. Some women pride + themselves on their dick- taking + abilities. + + + + +7 EXT. 7-11 - CONTINUOUS 7 + + Seth and Evan come out the front doors. TERRY, one of the + rough-looking smokers, calls out. + + TERRY + Yo. Seth. Did you hear I’m having + the big grad party? + + + + Evan, a little scared, keeps his distance. + + SETH + No. + + + + TERRY + Yeah. + + + + Terry spits on Seth’s shirt. + + TERRY (CONT’D) + And you’re not coming. Tell your + fucking faggot friend he can’t come + either. + 9. + + + + + Seth wipes the spit off. He looks at Terry and seems as + though he’s about to say something, but is interrupted when + Terry starts hocking up more spit. Seth runs away as Terry + and his friends laugh. He catches up to Evan and they head + back to school. + + EVAN + Wow. You really bitched out on that + one. + + + + SETH + I bitched out? You bitched out! You + were across the street before I + even realized what was going on. + (beat) + That guy’s such a douche bag. + + + + +8 EXT. CLARK SECONDARY OVAL RUNNING TRACK - DAY 8 + + BIRD’S EYE VIEW OF A P.E. CLASS + + There are 30 guys standing behind the starting line of the + school’s track. We hear a TEACHER yell “Go!” and the boys + start running. + + We FOLLOW them from above. All the boys keep pretty much + the same pace except for one runner who slowly lags behind. + The group gets so far ahead of the him that he is alone in + the frame. He stops. + + CLOSE UP OF THE RUNNER: + + Kneeling on the track breathing heavily. It’s Seth. + + SETH + (panting) + This-- is-- bullshit. + + + + A moment later a KID with prosthetic leg jogs by. + + KID + (as he passes Seth) + Poo-say. + 10. + + + + +9 INT. CLARK SECONDARY CLASSROOM - DAY 9 + + Evan is sitting in math class staring at HELEN’S breasts. + She‘s a very tall girl and is athletic in a sexy way, + wearing volleyball team sweat pants and a tank top. He + looks up from her breasts to her face: she is staring right + at him. He immediately looks to the front of the class, + embarrassed. + + The bell rings and everyone leaves. Helen walks up to Evan + as they enter the hallway. He’s really nervous. She offers + him a pen. + + HELEN + Hey Evan, thanks for the pen. + + + + EVAN + Oh, don’t worry, no worries. Just + keep it. Then you’ll just have it, + and you won’t have to borrow + another pen. + + + + HELEN + Thanks-- uh-- I was going to ask + you, did you hear about Terry’s + grad party? It’s going to be so + insane. + + + + EVAN + Yeah, it’s a maybe. But, you know, + I gotta, I got my-- there’s so much + other fun shit that is going to be + going on that night-- so, you know- + - + + + + HELEN + Fun shit? But I, like, never see + you at any parties or anything. + + + + EVAN + 11. + + + Because of all the other fun shit + I’m off doing. + + + + HELEN + (playful) + Okay. So why weren’t you at + Dimitri’s party on Saturday? + + + + EVAN + Dimitri’s? I uh-- didn’t want to + go, because, well, I did other + stuff. Saturday-- + (nervous, he desperately + thinks) + Oh yeah! Saturday night was + awesome! + + + + (The real version of Evan’s story is shown through a + montage of quick flashbacks.) + + EVAN (CONT’D) (V.O) + First my parents went out to a + double feature, so a bunch of + people came over-- + + + + +10 INT. EVAN’S HOUSE - NIGHT 10 + + Seth is there. Evan and him are surfing the Bang Bus web + site. FOGELL arrives with a bottle of Sambuca. Fogell is + one of those seniors who looks like he’s thirteen years + old. + + EVAN + --and we had a couple drinks in my + basement-- + + + + An empty bottle of Sambuca in front of them and empty beer + cans at their feet, the three boys each shotgun a beer. + + EVAN (CONT’D) (V.O) + 12. + + + --and Seth’s parents were having + this cocktail party, and we went + over there to, like, mingle-- + + + + +11 INT SETH’S HOUSE - NIGHT 11 + + Seth’s parents are having a fancy cocktail party. The boys + are drunk as hell. + + EVAN + --and there were actually some + really interesting and, like, + entertaining people there-- + + + + The boys laugh hysterically as they each shake Tobassco + Sauce onto their tongues. They writhe around in agony as + several adults look at them like they are morons. + + EVAN (CONT’D) (V.O.) + --and, uh, then we saw some, uh, + live music. + + + + +12 INT. SETH’S HOUSE - BASEMENT - NIGHT 12 + + In Seth’s basement, the boys violently wrestle. Evan gives + Fogell a bloody nose, but they all can’t help but laugh. + + EVAN + --then we went to a club downtown-- + + + + +13 EXT. STRIP CLUB - NIGHT 13 + + The bouncer of a dirty strip club rejects them. + + EVAN + --and then we pretty much called it + a night and went home-- + 13. + + +14 INT. TBD HOUSE - NIGHT 14 + + Evan pukes all over Seth. Evan and Fogell laugh + hysterically as Seth yells at them. + + + + +15 INT. CLARK SECONDARY HALLWAY - DAY 15 + + We return to Evan talking to Helen in the halls. + + EVAN + --you would’ve loved it. + + + + HELEN + That sounds so fun. I would love to + go do something like that. + + + + EVAN + Yeah-- well, you know, me and Seth + are always cooking up-- uh-- fun + little-- events. + + + + Helen is disappointed in his response. + + HELEN + So, are you guys going to the same + school next year? + + + + EVAN + Nah. We were going to but, uh, we + got into different ones. + + + + HELEN + What are you going to do without + him? + + + + EVAN + 14. + + + Same shit I’ve always been doing. + It’ll be fine. Don’t worry about + it. I’m not. + + + + +16 INT. FOODS AND NUTRITION ROOM - NEXT PERIOD 16 + + Students file into the home economics room. The blackboard + reads, TODAY: TIRAMISU. The ingredients are listed below. + + Seth is talking to the cooking teacher. + + SETH + Mrs. Grier, I joined this class + because I thought I’d be cooking + with a partner. It’s not fair. + She’s never here. I don’t get twice + the marks for doing all the work. + + + + MRS. GREIR + I didn’t invent odd numbers, Seth. + + + + SETH + Look at Evan. + + + + Evan is playfully throwing flour at a tiny Japanese boy. + They both laugh hard. + + SETH (CONT’D) + While I’m over in my unit, isolated + and alone, eating my terrible- + tasting food because I can’t even + properly mix ingredients by myself, + I gotta look over at that. + + + + The Japanese boy ties Evan’s apron. Evan then turns around + and ties the boy’s apron. They both look happy. + + SETH (CONT’D) + I wash and dry. And that is B.S. + I’m like a single mother. + 15. + + + MRS. GREIR + Well, save it for next week. Today + Jules’ partner isn’t here either. + Pair up with her. Station four. + + + + SETH + Jules? + + + +The teacher walks away. Seth looks over to station four, +nervous as hell. + +ANGLE ON: Jules, well-dressed and “popular” looking. She +stands alone at station four, laying out utensils. + +Seth musters his courage and walks towards Jules. He stops, +unsure of what to say. + + JULES + Hey Seth, your partner didn’t come + again? + + + + SETH + That’s kind of a personal question. + + + + JULES + What? + + + + SETH + (nervous) + Nothing. It was my attempt at + humour. + + + + JULES + Well, uh, maybe I kidnapped her so + you’d be forced to work with me. + There’s my attempt at humour. + + + + SETH + 16. + + + Well, I would call that a success. + (reading recipe sheet) + Marscampone-- scamponee cheese? Is + that some kind of new cheese or + something? + + + + JULES + All cheese tastes the same to me + anyway. + + + + SETH + Except blue cheese. That stuff is + sick. + + + + JULES + Thank you! Yes! My older brother + always eats blue cheese. You know + that stuff is actually moldy. Like, + they tell you it’s moldy, then they + tell you to eat it anyway. + + + + SETH + Well whoever “they” are, they can + eat my dick. + + + + +17 INT. FOODS AND NUTRITION ROOM - LATER 17 + + Jules watches as Seth awkwardly removes the tiramisu from + the oven and places it on the table. + + JULES + What are you doing tonight? + + + + SETH + I don’t know, probably nothing. + Why? + + + + JULES + 17. + + + My parents are out of town and I’m + thinking of having a party. I don’t + know how big it’ll be, but you + should come anyways. + + + + SETH + Yeah. Sure. That sounds fun. I love + parties. + + + + JULES + Really? I don’t usually see you at + them. + + + + SETH + Oh, uh. It’s more of, like, a love- + hate thing. Right now I love them, + though. Uh...how do I do this? + + + + JULES + I’ll write down my address and + number. + + + +ANGLE ON: Evan. + +Evan is standing by the sink scrubbing a tray. Behind him, +at the table, is the small Japanese boy eating the +tiramisu. + + EVAN + That’s good shit. Huh, Miroki? + + + +Seth walks up to Evan. + + SETH + (whispering) + Dude! She’s havin’ a fuckin’ party. + + + +ANGLE ON: Fogell entering the room + 18. + + + SETH (CONT’D) + (whispering) + Don’t tell Fogell about the party. + + + + FOGELL + Hey guys, I was walking here, and + on the way, I saw Nicola, and she + was wearing these tight white pants + and a black g- string and you could + see it right through the pants. + + + + +18 INT. HALLWAY - FLASHBACK 18 + + We see Fogell, looking at the ass of NICOLA, an incredibly + hot girl who exudes sexual vibes and looks a little skanky; + you can see her black g-string through her tight white + pants. She turns and notices Fogell. He gives an awkward + look. + + FOGELL + It’s nine thirty. + + + + NICOLA + What? + + + + +19 INT. FOODS AND NUTRITION ROOM - PRESENT - CONTINUOUS 19 + + Back to Fogell, Seth and Evan. + + FOGELL + I told her what time it was. It was + awesome. She’s got the nicest ass. + + + + SETH + Like you’d know what to do with it. + + + + FOGELL + 19. + + +Ha ha. I’m really gonna miss your +knee- slappers when me and Evan are +at State. + + + + SETH + (pissed) +Yeah, well I’ll be at Junior +college where the girls are half as +smart, and thus twice as likely to +blow me. + + + + FOGELL +What are you guys doing tonight? + + + + SETH +Nothing. Sorry. You’ll just have to +fingerbang yourself. + + + + EVAN + (to Fogell) +What you doing? + + + + FOGELL +Well, Seth always said I was too +much of a pussy, but he was wrong. +It’s been arranged. At lunch, I’m +going to the same place Mike Snider +went to pick up my brand new false +identification card. + + + + SETH +Dude! That’s perfect, ‘cause, Evan, +didn’t you just say that you heard +about a party? + + + + FOGELL + (to Evan) +Why didn’t you tell me? + 20. + + + + + SETH + Shut up. Who cares? Just be happy + he told. And hey! Now you can buy + the booze. + + + + FOGELL + Sounds cool. Cool. + + + + MRS. GREIR (O.S.) + If you’re not in this class, leave + this class! + + + + EVAN + Well done, man. We’ll see you after + class. + + + +Fogell leaves. + + SETH + Did you tell that nimrod you’re not + going to room with him? + + + + EVAN + Uh-- no, not yet. + + + + SETH + You better, man. That guy is a + poon-tang repellent. + + + +Seth sees Jules coming. + + JULES + Seth, dishes time. What’s the hold + up? + 21. + + + SETH + We’re getting a fake ID. + + + + JULES + Well, you two have four more years + to cuddle, so let’s get to work. + + + + EVAN + Actually, we’re going to different + schools. + + + + JULES + Really? You’re cutting the cord? + What’s going to happen? + + + + SETH + Nothing! Jesus. + + + + EVAN + Yeah? What do people think is gonna + happen? That’s what I don’t get. + + + + SETH + We’re not, like, dependent on each + other. + + + + EVAN + We met when we were 8, we were fine + before then. It’s not like we do + everything together. + + + + +20 INT. CLARK SECONDARY CAFETERIA - DAY 20 + + Seth and Evan are eating together. + 22. + + + EVAN + So it looks like we get a little + graduation party after all. + + + + SETH + I would do terrible things to get + with Jules tonight. Terrible + things. + + + + EVAN + No shit. I’d give my left foot to + start dating Helen. She’s killin’ + me. + + + + SETH + Ah, Helen’s a bitch. + + + +Evan slams his fist on the table. + + EVAN + I’m fuckin’ sick of this shit, man! + Seriously. Why do you hate her? Is + there even an actual reason? + Because seriously, I’m beginning + you think you like her. + + + + SETH + Hell no! I hate her. + + + + EVAN + Why? + + + + SETH + 23. + + + I was never going to tell you this + story, because I knew that if you + heard it you would never want to + get with Helen, but over the last + few weeks I’ve been having a hard + time thinking of a reason not to. + So, here it is. Helen and I went to + elementary school together, right? + (beat) + Well, in the third grade, I had-- + like-- an odd problem. For some + reason, I don’t know why, I used to + have this thing-- where I would-- + like, kinda-- sit around all day + and draw pictures of dicks. + + + + EVAN + What? + + + + +21 INT/EXT VARIOUS LOCATIONS 21 + + A MONTAGE of FLASHBACKS of YOUNG SETH (Age 10) drawing + pictures of dicks in various places. A PARK, AT HOME, IN A + SANDBOX, and finally, in a SCHOOL CLASSROOM. + + SETH (V.O.) + I’d just sit there for hours on end + drawing dicks. I don’t know what it + was. I couldn’t touch the pen to + paper without it drawing a penis. + + + + EVAN (V.O.) + That’s fucked. + + + + SETH (V.O.) + No shit that’s fucked up. Here I am + this little kid who can’t stop + drawing dicks to save his life. + + + + +22 INT. CLARK SECONDARY CAFETERIA - PRESENT 22 + 24. + + + EVAN + What does that have to do with + Helen? + + + + SETH + Just listen. + + + + +23 INT. RANDOLPH ELEMENTARY CLASSROOM - FLASHBACK 23 + + Young Seth is still sitting at his desk drawing penises. + + SETH (V.O.) + I was very secretive about this + dick thing I had going, after all, + even I thought I was a loon, lord + knows what other people would have + thought. So I would take all my + dick drawings and stick them in + this Muppet lunch-box I had. + + + + We see Young Seth sticking a picture of a penis in a lunch- + box filled with pieces of paper. + + + + +24 INT. RANDOLPH ELEMENTARY CLASSROOM - DAY 24 + + Young Seth is drawing, however it is a different day. + + SETH (V.O.) + So one day I was finishing up a + picture of a real big and veiny + bastard, when all of a sudden... + + + + Young Seth drops the picture of the dick off his desk. It + floats down and hits the feet of a cute little girl, YOUNG + HELEN. + + + + +25 INT. CLARK SECONDARY CAFETERIA - PRESENT 25 + 25. + + + EVAN + You hit Helen’s foot with your + dick? + + + + +26 INT. RANDOLPH ELEMENTARY CLASSROOM - MOMENTS LATER 26 + + The little girl picks up the picture and looks at it with a + truly disturbed look on her face. Young Seth grabs the + picture from her and shoves it into his lunch-box. + + + + +27 INT. CLARK SECONDARY CAFETERIA - PRESENT 27 + + SETH + Well she fucking flipped. She + started crying and shit. Ratted me + out. The principle finds my cock- + Muppet lunch- box, and he fucking + flips. + + + + +28 INT. RANDOLPH ELEMENTARY PRINCIPLE’S OFFICE - DAY 28 + + A FLASHBACK of Young Seth sitting in the principle's + office. The Muppet lunch-box is open and the penis drawings + are completely covering his desk. + + SETH (V.O.) + It turns out the principle was some + crazy religious guy and he thought + I was possessed by some dick devil + or something. + + + + The principal puts his hand on Seth’s head and begins + praying for his soul. + + + + +29 INT. CLARK SECONDARY CAFETERIA - PRESENT 29 + + SETH + 26. + + + So, he calls my parents and they + make me go to a psychologist who + kept asking me all these dick + questions. My parents wouldn’t even + let me eat dick-shaped foods for, + like, months! No carrots, no + Popsicles, no hot-dogs. You know + how many fucking foods are shaped + like dick? + + + + EVAN + (half amazed, half + amused) + Wow. That’s really messed up. + + + + SETH + I can’t even stand to look at her + punk face. + (beat) + I’m going to go take a piss. Peace. + + + + +30 INT. CLARK SECONDARY BATHROOM - LATER 30 + + Seth finishes his piss. He goes over to the sink, looks at + it for a moment, then walks out of the bathroom. + + + + +31 INT. CLARK SECONDARY HALLWAY - CONTINUOUS 31 + + Just as Seth turns the corner he sees Jules, Nicola, and + SHIRLEY standing by their lockers. Jules spots Seth. + + JULES + Seth. There you are. + + + + Jules turns and says goodbye to Nicola, who walks away. + Jules and Shirley turn to meet Seth. + + SETH + Hey. Here I am. + 27. + + + JULES + So you’re coming to my party, + right? It’s fully on. + + + + SETH + Yeah. Why? Should I not? + + + + JULES + No, no, no. I really want you to + come. But...uh, you did say you + were getting a fake ID or + something, is that right? + + + + SETH + Very right. Right. I’m getting + that. + + + + SHIRLEY + Can you get us drinks? + + SETH + Ummm-- I don’t know. I-- think-- + maybe. + + JULES + (half joking) + Come on, you scratch our backs, + we’ll scratch yours. + + SETH + Well, funny thing about my back. + It’s located on my cock. + +Shirley is offended. Jules laughs a little. Seth laughs too +hard. + + SETH (CONT’D) + Ha! Alright, sure. I can do that. + What do you guys want? + + JULES + 28. + + + Well, this is actually, like, a big + favor, but, well, my parents gave + me like a hundred bucks to feed + myself for the week, but the house + if full of food, so I figure I + should just spend all of it on + extra drinks for the party. + + + + SETH + Wow. I would never even think of + doing something that nice. + + + +Jules hands Seth a hundred dollars. + + JULES + Well, this is really nice of you. I + mean, I really appreciate this. + + + +Seth can’t believe what he’s hearing. He can barely contain +his smile. + + SETH + Should I just get, like, a shitload + of different shit? + + + + JULES + Whatever shit you think people + would like, I don’t really know. + + + + SHIRLEY + I want Mike’s Hard Lemonade. + + + + JULES + Okay. I’ll see you tonight. + + + + SETH + Yeah! I’ll see you! + 29. + + + + + The girls walk off, leaving Seth lost in thought. He + suddenly runs down the hall. + + + + +32 EXT. SCHOOL FIELD - MOMENTS LATER 32 + + Evan is standing alone amidst the rest of his gym class as + they play soccer. + + GYM TEACHER + Evan, get into the game. + + + + Evan says nothing and the teacher soon redirects his + attention elsewhere. Evan sees Seth jogging towards him. + + SETH + (out of breath, worked + up) + Man, just - Evan, listen to me. You + know Jules? You know what she just + did? She came up to me and asked me + if I would buy her alcohol. Not + just her, her whole party. Do you + know what that means? It means that + by some miracle, we were paired up, + we talked, and she actually thought + of me afterwards. Thought of me + enough to decide that I was the guy + that she was going to trust the + fun-ness of her party with. She + wants me! She fucking wants my + dick! + + + + EVAN + Did you ever think maybe she’s just + using you to get her alcohol? + + + + SETH + Of course I thought of that! LISTEN + TO THIS! + 30. + + +33 INT. FOODS AND NUTRITION ROOM - FLASHBACK 33 + + The same scene as before with Seth and Jules in class. + + JULES + Yeah! My older brother always eats + blue cheese. You know that stuff is + actually moldy. + + + + +34 EXT. SCHOOL FIELD - PRESENT 34 + + SETH + She has an older brother! She could + have asked him, but she asked me! + She looked me straight in the face + and asked me. She wants to fuck me, + man. Do you understand that? + Fucking! Today is the day that + fucking has become possible. + + + + EVAN + Are you stupid? You’re not going to + be able to sleep with her tonight. + + + + SETH + She’s going to be at the party, + she’s gonna be drunk, and she likes + me at least a little, so I can get + with her. Then, I make her my + girlfriend, and then I fuck her all + summer long! Then, by the time + college rolls around, I’m the + fuckin’ fucking master, man! + + + + EVAN + Make her your girlfriend? Of + course! That’s good. So, hypnosis, + love potion, or mind-control + helmet? + + + + SETH + 31. + + + Once I’ve gotten with her, I write + her love letters, flowers, I’ll do + anything - I’ll be the most pussy- + whipped guy in the universe - what + chick wouldn’t go out with a guy + like that? + + + +The soccer ball rolls towards them. They both watch as it +rolls by. + + CLASSMATE + What the hell, Evan? + + + +Evan shrugs back. + + CLASSMATE (CONT’D) + Fuck you, man. + + + + SETH + Fuck off, Greg. Why don’t you piss + your pants again? + + + + CLASSMATE + That was, like, eight years ago, + asshole! + + + +He runs off. + + SETH + (to Evan) + Wanna hear the best part? + + + + EVAN + (sarcastic) + Oh, I haven’t? + + + + SETH + Helen! + 32. + + + + + Evan looks upset, assuming that Seth is about to trash-talk + Helen, as usual. + + SETH (CONT’D) + You do the same thing, man! Buy + Helen her alcohol. Then, tonight, + when you guys are both drunk, get + with her! This is the last party + we’re ever going to go to as high + school people! I’ve fully ignored + my hatred for Helen in coming up + with this, which is a big ass deal. + We need to stop being pussy and for + once just goes balls out, man! + + + + Evan seems to be swayed. + + EVAN + I should get Helen alcohol? + + + + SETH + Of course! It’ll be pimp, and then + you know she’ll be drunk. + + + + EVAN + Have you talked to Fogell? + + + + SETH + You talk to Helen, I’ll find that + retard Fogell. + + + + +35 INT. HALLWAY - LATER 35 + + Everyone is rushing to class. Evan hurries through the + halls and finds Helen at her locker. + + EVAN + Hey Helen! Hold up. Did you hear + about the party tonight? + 33. + + + + + HELEN + Yeah, I just heard. It sounds + sweet. You’re not coming, are you? + + + + EVAN + No, no, I am. That’s why I came + looking for you. Me and some guys + are going to the liquor store after + class, so I was thinking I could + buy you yours, if you needed + someone to. + + + + HELEN + Yeah! That’d be great, that’d save + me such a hassle, cause I was going + to beg my sister, but yeah, could + you get me, like, a bottle of + Goldschlager? I’ll pay you back + tonight. + + + + EVAN + You will absolutely not. It’s my + treat. + + + + HELEN + Wow. Thanks, Evan. + + + +Evan swings a friendly little punch at Helen’s shoulder, +but someone walks into him, causing him to nail her in +directly in the tit! + + HELEN (CONT’D) + Hey! You punched my tit! + + + + EVAN + (mortified) + 34. + + + I’m sorry! Shit, shit. I’m so + sorry! I just wanted to give you a + friendly nudge in the arm, you + know? I’m so sorry. + + + + HELEN + (giggling) + Don’t worry about it. So I’ll see + you at the party? + + + + EVAN + Yeah. I’ll see you then. I’m so + sorry about that. + + + + +36 EXT. CLARK SECONDARY - CONTINUOUS 36 + + Seth is waiting angrily in front of the school. Evan comes + out the front doors. + + SETH + That douche bag isn’t back yet, + I’ve been standing here with my + thumb up my ass. + + + + EVAN + I did it, dude. I even offered to + pay for it. It was pimp. + + + + SETH + Whoa. That is fucking pimp. Why + didn’t I do that? Shit. + + + + The bell rings. + + + + +37 INT. WOODSHOP CLASS - CONTINUOUS 37 + 35. + + + Seth and Evan work side by side in the woodshop. + + SETH + (yelling over the + machines) + That’s what we get for trusting a + mental midget! He’s fucking it all + up! I bet he pussied out, just like + I said he would! + + + + +38 EXT. CLARK SECONDARY - AFTER SCHOOL 38 + + Seth and Evan walk out the front door. + + SETH + I mean, what are we going to tell + the girls? “Sorry, we couldn’t do + what we promised because we’re + dickless incompetents!” We’ll never + get laid because of that little + ass-fuck. How did he get in to + State?! He’s got shit for brains! + Shit! How else can we get liquor? + + + + FOGELL (O.S.) + Hey guys! + + + + Seth and Evan turn around to see Fogell running after them. + + EVAN + Where have you been? + + + + SETH + Yeah! You almost gave me a goddamn + heart attack! You better fucking + have it, where is it? + + + + FOGELL + I got it. It’s flawless! It’s + great, man, look. + 36. + + +Fogell reaches into his pocket and pulls out the fake ID. +Evan grabs it. + + EVAN + (reading the card) + Okay Mr-- ”McLovin”? What kind of a + stupid name is that? What are you + trying to be, an Irish R&B singer? + + + + FOGELL + Well, they let you pick any name + you want when you get there. + + + + SETH + So you picked McLovin? + + + + FOGELL + It was between that or Muhammad. + + + + SETH + Why was it between that or + Muhammad? Why didn’t you just pick + a common name? + + + + FOGELL + Actually, Seth, Muhammad is the + most commonly used name on earth. + + + + EVAN + Have you ever actually met a guy + named Muhammad? + + + + FOGELL + Have you actually ever met a guy + named McLovin? + 37. + + + SETH +No! That’s why you picked a bad +name. + + + + EVAN +You probably have federal agents +tracking you for even considering +the name Muhammad on a fake ID! + + + + SETH +Look at this shit man, you don’t +even have a first name. It just +says “NAME: MCLOVIN” + + + + EVAN +One name? + + + + FOGELL +I just thought McLovin sounded old, +and the chicks would dig it. + + + + EVAN +Under what circumstances would you +ever have to show a chick your ID? + + + + FOGELL +She could ask. Or, I could just +show it to her. + + + + SETH +Holy shit! I don’t believe this. +This says you’re fucking 25! Why +didn’t you just put 21? + + + + FOGELL + 38. + + + I knew you would ask that. Look, + every day, dozens of kids roll into + the liquor store with fake ID’s + trying to act like Joe Casual. Each + and every one of these kids just so + happens to be 21 years old. Just + how many 21 year-olds do you think + there are? + + + + SETH + Fool! + + + + EVAN + Calm down! It’s not terrible! This + might work, but it’s up to you, + Fogell. They’ll either think, “Oh, + it’s another punk kid with a fake + ID.” Or, “Look, it’s McLovin, the + twenty five year-old organ donor”. + What’s it gonna be? + + + +Fogell takes a deep breath. + + FOGELL + I am McLovin. + + + + SETH + You’re not McLovin. No one’s + McLovin and this is never going to + work. We need a new way to get + alcohol. Could we drive to Canada + or something? + + + + FOGELL + I still think it’s going to work. + + + +They walk into the staff parking lot. Seth stops. + + SETH + What the fuck? Where’s my car? + 39. + + + + + EVAN + I told you, man! What did I say? I + told you that was a dumb idea. + + + + FOGELL + Why would you park in the staff- + + + + SETH + Shut up, Fogell. + + + + FOGELL + ‘Cause you’re not staff. + + + + SETH + I am aware of that, Fagell. + + + + Seth storms off. Evan follows him. + + FOGELL + (yelling) + Will you still pick me up from + work? + + + + Evan and Seth round the corner, leaving Fogell behind. + + SETH + Let’s go to your house. + + + + +39 INT. EVAN’S BEDROOM - SOON AFTER 39 + + Seth puts on a shirt that is way too small and he’s wearing + pants that are too tight. Evan is playing the video game + Grand Theft Auto. + + SETH + 40. + + +Now we wait for your Mom to piss +off and steal your parents’ booze +like your brother always does. Take +a bit from every bottle. Piece of +cake. It’s not exactly what Jules +wanted, but it’ll do, right? + + + + EVAN +Come on! Just wear what you wore to +school. + + + + SETH +I told you I can’t do that. I can’t +let Jules see me in the same shit I +wore at school. It’s completely +unbecoming. + + + + EVAN +Why don’t you just go to your house +and get your own clothes? ‘Cause +this is stupid. + + + + SETH +You’re stupid! I can’t go home. +Then my mom will know the car got +towed and I’ll be grounded tonight. +I’ll just stay here all weekend and +pick it up on Monday. + + + + EVAN + (RE: video game) +Where the fuck is the dirt bike? + (beat) +Ah, screw it. I’m just gonna kill +everyone. Boom! Die, piggies!!! + + + + SETH +Don’t you have bigger clothes? + 41. + + + EVAN + See what my dad’s got. + + + + +40 INT. EVAN’S HOUSE - PARENTS ROOM - SOON AFTER 40 + + Seth is wearing Evan’s Dad’s clothes: a 70s style cowboy + shirt, just barely pulling it off, as well as slacks. + + SETH + Not bad, eh? + + + + EVAN + It’s, like, 7:30 and my Mom’s still + here. + + + + SETH + Alright, here’s what we’ll do. I’ll + fuck your Mom in the basement while + you steal the liquor. + + + + EVAN + Fuck you, asshole. Let’s just sneak + down there and grab it. + + + + +41 INT. EVAN’S HOUSE - LATER 41 + + Evan and Seth, carrying an empty two liter bottle of Coke, + cautiously descend the creaking staircase. Their eyes watch + the TV room, where Evan’s mom is on the phone. The boys + enter the dining room and cautiously open the liquor + cabinet. Seth enthusiastically reaches for a bottle. + + SETH + (whispering) + Alright, dude. Get ready to + receive. + 42. + + +Evan begins unscrewing his bottle, when he notices a little +black line marking where the liquor bottle is filled to. +Then, he realizes that every bottle has it. + + EVAN + (whispering) + I can’t believe it. They marked + them. + + + + SETH + (whispering) + What do you mean they-- oh, man! + Your parents are fuckers. What do + we do now? + + + + EVAN + (whispering) + Shh!!! We-- we-- take some and fill + it back up with water. Get ready, + I’ll get water. + + + +Evan hurries off. Seth looks at the liquor cabinet, trying +to choose the best booze. He grabs a massive bottle of gin. +Evan reappears. + + EVAN (CONT’D) + (whispering) + Gin? That stuff is literally + undrinkable. + + + + SETH + (whispering) + It’s the biggest bottle, you + douche. Just do it! She’s right in + the other room! + + + +Evan reluctantly holds an empty Coke bottle as Seth shakily +pours the gin in. Evan starts refilling the gin bottle with +water, when suddenly they both hear his mom coming. + + EVAN + (whispering) + Run! + 43. + + + + + SETH + (whispering) + But, the booze? + + + + EVAN + (whispering) + Take it! + + + + Seth runs off with the gin and Coke bottle. Evan quickly + closes the cabinet and sneaks off right before his mom + enters. Through the window she see’s that Seth is already + on the front lawn and thinks nothing of it. + + EVAN (CONT’D) + Bye, Mom! Love you. + + + + EVAN’S MOM + Love you, sweety. + + + + Evan leaves. + + + + +42 EXT. EVAN’S HOUSE - FRONT LAWN 42 + + Evan and Seth triumphantly walk away. Seth holds up the + gin. + + SETH + Look at this mother. Smell it’s + glory. + + + + He opens it up and takes a whiff. + + SETH (CONT’D) + Mmm. It’s good. Barely a scent. + 44. + + + He takes a crazy big swig. + + SETH (CONT’D) + See that? I always said I had the + highest alcohol tolerance. I’m like + Superman. + + + + Seth taste another swig, but makes a strange face. Evan + grabs the bottle and takes a swig. + + EVAN + It’s fucking water! + + + + SETH + Water? + (drinks again) + Fuck. Your brother beat us to the + punch. We have to go back! + + + + EVAN + We can’t go back! She totally knew, + she’ll bust us for sure, and we + have to meet Fogell. + + + + SETH + Well, fuck-- fine. Text your + brother he’s a stupid piece of + crap. + + + + Evan pulls out his cell and chuckles as he types. + + + + +43 EXT. SHOPWELLS - DUSK 43 + + Evan and Seth walk off the bus. They see Fogell walking + towards them. He’s in his uniform holding a hanger with a + shirt and a vest. + + SETH + What the hell is that? + 45. + + + + + FOGELL +A vest. + + + + SETH +You’re gonna look like a Pinocchio. + + + + EVAN +What? It’s just a vest. + + + + FOGELL +Yeah. How many high schoolers you +see in vests? + + + + SETH + (eyeing Shopwell’s) +You know, they got a ton of liquor +right in there. If we get it now we +can get to the party faster with +all of Jules’ shit. + + + + FOGELL +No way! I work there. They know I’m +not twenty-five. + + + + SETH +Nobody said anything about you, +dick- mouth. You have one name on +your ID. It’s out of the equation! +And now I’m gonna have to take +drastic measures. I’m gonna steal +the booze. + + + + FOGELL +What?! No! Hell no! You can’t do +that! + 46. + + + EVAN + (mocking) + Yeah, right! + + + + SETH + That’s right. And that way I give + Jules back her money, like you did + with Helen. That was good thinking, + that’s fucking pimp. That’s how you + seal a deal. It won’t be hard. + Remember Dan Vertlieb stole a keg + from here and he’s got, like, + really bad scoliosis! + + + + EVAN + You’re not gonna steal it. Fogell, + he’s not going to steal it. + + + + FOGELL + Please. Don’t do this! I promise. + I’ll get the liquor later. + + + + SETH + I’m stepping up. And once I’m up, I + don’t step back down. Maybe you + “State” boys don’t understand that. + + + + Seth walks to the store. + + + + +44 INT. SHOPWELL’S - CONTINUOUS 44 + + Seth enters the store, looking determined. He spots a + SECURITY GUARD standing by one of the registers. + + SETH + (to himself) + Hope piggy can run. + 47. + + + He walks past the registers, which brings him in front of + the long liquor aisle. He surveys the scene. There is an + OLD WOMAN browsing the shelves. Seth looks over to the + registers. + + + + +45 INT. SHOPWELL’S FANTASY - EVENING 45 + + Seth is at the cash register. He has a huge amount of booze + in the conveyor belt. + + CASHIER + How old are you? + + + + SETH + Twenty two. + + + + CASHIER + You certainly are. That’ll be + eighty dollars. + + + + Seth hands the cashier a big EIGHTY DOLLAR BILL. + + SETH + Thank you kindly. + + + + CASHIER + You’re welcome, Seth. + + + + +46 INT. SHOPWELL’S - CONTINUOUS 46 + + Seth, still standing in front of the liquor aisle, shakes + his head. He eyeballs the old lady. + + + + +47 INT. SHOPWELL’S FANTASY - EVENING 47 + 48. + + + The old lady is browsing. She drops her big purse. A hand + reaches down and picks it up. It’s Seth. + + SETH + Excuse me, ma’am. You dropped your + purse. Would you like me to help + you to your car? + + + + OLD LADY + That would be lovely, young man. + Would you like me to buy you + alcohol? + + + + SETH + That would be lovely! + + + + +48 EXT. SHOPWELL’S FANTASY - MOMENTS LATER 48 + + Seth, holding two huge bags of liquor, waves to the Old + Lady as she drives away. + + SETH + Enjoy your remaining years! + + + + OLD LADY + I will. Enjoy fucking Jules! + + + + +49 INT. SHOPWELL’S FANTASY - CONTINUOUS 49 + + Seth shakes his head. He looks down the aisle again, takes + a breath and starts walking. + + He arrives at a fancy looking bottle. He takes it and looks + down at it in his hands. A big golden label reads, + “GOLDSCHLAGER.” + + SECURITY GUARD (O.S.) + Don’t do it kid. + 49. + + + We see that the Security Guard is right behind him. Seth + doesn’t look up, he just stares at the bottle dramatically. + + SETH + I never had a choice. + + + + He throws the bottle at the guards face. The guard blocks + it with his billy club, grabs another bottle, and hurls it + at Seth. Seth dodges it by an inch; the bottle hits the OLD + LADY in the head. + + OLD LADY + (in agony) + AAAHHHHH!!! + + + + Before Seth can do anything, the guard smashes a 40-ounce + bottle of beer across his face. The guard SWINGS the broken + end of the bottle and cuts Seth’s throat. Blood spurts out. + Seth drops his bottles and falls to the ground. + + + + +50 EXT. SHOPWELL’S - CONTINUOUS 50 + + Evan and Fogell are talking. + + FOGELL + Oh, and, uh, my Mom said we can + have the TV from her basement and + I’ve got, like, three lava-lamps + and one strobe light, so like, we + can have that in the room- + + + + Evan sees Seth coming out of Shopwell’s. + + EVAN + Shh. Seth’s coming. + + + + FOGELL + You still didn’t tell him we’re + rooming- + 50. + + + EVAN + No. Shut up. + + + + FOGELL + (to Seth) + So, where’s all the stolen liquor? + + + + SETH + Fuck you! I was gonna do it, but + security was tight as shit. I was + gonna do it though, don’t think I + wasn’t. Let’s go to the liquor + store and try your stupid ID. + + + + Seth heads towards the bus stop. + + FOGELL + Wait! I’m gonna put my vest back in + my locker! + + + + +51 INT. BUS - MOMENTS LATER 51 + + MORE MIND-BLOWINGLY BADASS FUNK MUSIC OVER Seth, Evan and + Fogell sitting on the bus amidst a bunch of gloomy, + unpleasant looking strangers. Nothing happens whatsoever. + + + + +52 EXT. LIQUOR STORE - EVENING 52 + + The bus stops in front of the liquor store and the guys get + out. + + EVAN + Well, here we are. Fogell, are you + ready? + + + + SETH + Here’s the list. + 51. + + + + + FOGELL + A list? Why? + + + + SETH + We’re getting girls their booze so + they’ll get with us. I put a lot of + thought into that list. It’s the + perfect party bar, so don’t mess it + up and get Sambuca again. + + + +Fogell reads the list. A worried look sweeps across his +face. + + FOGELL + Ouzo, Drambuie, Jager, Gold-shlay- + ger- + + + + EVAN + Goldschlager. That’s for Helen, so + do not forget it. + + + + FOGELL + -Alize, Captain Morgan Rum, + Smirnoff Rasberry and a big ass + bottle of Popov- + + + + SETH + Oh yeah, and Mike’s Hard Lemonade. + + + + FOGELL + This is too much. I can’t get away + with this much! + + + + EVAN + What’s the difference? + 52. + + + + +Seth hands Fogell the money. + + FOGELL + I don’t know, man. I’m getting, + like, really nervous. + + + +Fogell starts breathing very hard and making an ODD NOISE +while doing so. + + EVAN + Are you okay? + + + + SETH + What the hell are you doing? + + + + FOGELL + I don’t know if I want to do this. + + + + SETH + What are you talking about? You + just promised you would. What is + this shit? + + + + FOGELL + What if they turn me down? + + + + SETH + Then we’re in the same place that + we’re in right now! + + + + FOGELL + It’s fucking humiliating! Everyone + in the store sees them kicking me + out. What if they make me put all + the liquor back on the shelf? I + can’t do that! + 53. + + + + + SETH + This whole thing is bigger than + you, asshead! Just go in there and + buy the damn alcohol! + + + + FOGELL + What if I don’t feel like it + anymore? + + + + SETH + Then I will kill you! How’s that? + If you don’t buy the alcohol, I + will kill you! + + + + FOGELL + Killing me won’t get you any + alcohol, jerk off! I’m the one with + the ID! + + + + SETH + Then I will kill you, cut off your + ugly face, put it over mine, and + buy it my fucking self. + + + + FOGELL + You don’t have the technology or + the steady hands to pull off a + procedure like that! + + + +Seth stands for a moment, then suddenly rushes Fogell. Evan +stands between them and breaks it up. + + EVAN + Seth, calm down! Fogell, stop being + a baby and go buy the alcohol! You + said you’d do it, so do it. It’s + why you bought the ID, so just go + do it. + 54. + + + + + FOGELL + (beat) + I’ll try. + + + + Fogell walks into the store. + + + + +53 INT. LIQUOR STORE - CONTINUOUS 53 + + At first it all seems overwhelming. Fogell is confused, + dizzy, and sweating. He steps behind a large beer display + and takes a few deep breaths. + + CLERK + Hi there. + + + + Fogell flinches, shocked someone spoke to him. He keeps + walking. He nears a mother and her 17 year old SON. As + Fogell passes them, the son seems to recognize him. Fogell + clearly recognizes the son. Their eyes meet. Fogell looks + in the opposite direction. + + SON + Fogell? + + + + FOGELL + (weird voice, covering + his face) + No. + + + + SON + Yo, Fogell. ‘Sup man. What’re you + doing here? + + + + FOGELL + (weird voice) + Uh-- nothing. Not Fogell-- + (whisper) + 55. + + + Shut up, Moscovitch. You don’t know + me. + + + + MOSCOVITCH + (knowingly) + Oh, oh. Cool, cool. Good luck. + + + +He puts his head down and quickly walks away. He arrives at +the beer and cooler section. Clearly intimidated, he slowly +opens a beer fridge. He grabs one beer attached to a six- +pack and pulls it forward. The beer comes loose in his hand +as the other five fall to the ground, cracking on impact, +and spraying beer all over the place. Fogell scrambles to +stop the beers from spraying, but soon finds that it is +impossible. + + FOGELL + Fuck. + + + +A CLERK approaches Fogell. + + CLERK + Is there a problem, sir? + + + + FOGELL + Umm, nope, no problem whatsoever. + + + + CLERK + (pointing to the beer on + the floor) + Sir, did you do this? On the floor? + + + + FOGELL + (beat) + No. + (beat) + I think it happened before. + 56. + + + Fogell is standing in a puddle of beer with beer sprayed + all over his legs, holding a can of beer. + + CLERK + Are you sure? + + + + FOGELL + I think I would know, thank you. + + + + Fogell walks away. + + + + +54 INT. LIQUOR STORE - LATER 54 + + Fogell has a shopping cart filled with booze. He gets in + line to pay. He looks ahead to the OLD-LOOKING GUY (35) who + is currently at the CASHIER (woman) paying. + + CASHIER + Um, yes, may I please see some ID? + + + + OLD-LOOKING GUY + No problem. Heh. I haven’t been ID- + ed in years. + + + + CASHIER + Anyone who looks under thirty-five. + + + + The guy looks through his wallet. Fogell nervously watches. + + + + +55 EXT. LIQUOR STORE - CONTINUOUS 55 + + Seth and Evan peek through one of the store’s front + windows. + + SETH + 57. + + + It’s a good ID, right? Mike Snider + never had a problem. It’s fine. + Right? + + + + EVAN + Calm down. + (beat) + Did you remember a condom? + + + + SETH + You brought a condom? + + + + EVAN + Yeah, I figured, you know, might as + well. I brought one of those little + things of spermicidal lube too. + + + +He takes them out of his pocket. + + SETH + You asshole! You laughed in my face + when I said we’d be having sex + tonight. + + + + EVAN + It doesn’t mean you shouldn’t be + prepared. You didn’t even bring + one? + + + + SETH + No. That wasn’t the plan! We had a + plan! I can’t believe you did that + without even consulting me about + it! + + + + EVAN + I don’t really even understand what + your plan is. + 58. + + + + + SETH + I’m gonna go down on her for, like, + hours. She’ll love that. She’ll + want to go out with that. + + + + EVAN + Yeah, but I figured there’s no harm + in bringing just one little condom. + + + + SETH + And one little bottle of + spermicidal lube. That’s nuts. You + can’t let her know you brought + that! These girls are 18, not dried + up old ladies. They’re ready to go. + + + + EVAN + Fine. I won’t bring the lube. + + + + +56 INT. LIQUOR STORE - CONTINUOUS 56 + + Fogell pushes his stuff up to the Cashier. She looks at him + kind of funny. + + FOGELL + Hello-- + (reading name tag) + Mindy. + + + + She rings up a six pack of Budweiser. + + FOGELL (CONT'D) + Oh, I love that stuff. Been + drinking it for years. I heard they + recently decided to start adding + more hops. + 59. + + + Fogell just nods kind of proud of himself. She stops + ringing stuff up and looks at him. + + CASHIER + Umm, okay sir, I’m gonna need to + see some ID. + + + + FOGELL + Identification? + + + + +57 EXT. LIQUOR STORE - CONTINUOUS 57 + + Seth and Evan are still leaning against the window. + + EVAN + Do you think I could get Helen to + do some kind of long distance + thing? + + + + Seth looks as if he sees something in the distance. He + stands upright. + + SETH + Holy Shit! It’s Cary Hutchins! + + + + EVAN + I haven’t seen her since she + switched schools. + + + + SETH + She had the biggest tits in the + universe. + + + + Down the block there is a girl walking a dog. + + EVAN + I heard she had breast-reduction + surgery. Her tits must be crazy + perfect now. + 60. + + + + + SETH + I gotta see these bastards. Let’s + check ‘em out. + + + + Seth and Evan run off towards the girl. + + SETH (CONT’D) + Man, I’m gonna pretend to trip and + grab ‘em. + (beat) + I hope they’ve healed. + + + + CUT BACK TO: + + +58 INT. LIQUOR STORE - CONTINUOUS 58 + + The cashier is still examining the card. She hands it back + to Fogell. + + CASHIER + That comes to a total of $123.59 + + + + A huge smile forms on Fogell’s face as he pulls out a wad + of money and hands it to the cashier. She starts to gather + his change when, SUDDENLY, a BIG GUY runs up and PUNCHES + Fogell right in the side of the head!!! Fogell falls to the + ground. The dude sticks his hand in the open register, + grabs a handful of money and runs! + + The whole thing is over in a matter of seconds. Fogell is + on the ground, dazed and confused. + + FOGELL + What the hell happened?! + + + + Fogell sees the distressed cashier frantically dialing the + police. + + CASHIER + (breathing hard) + I don’t believe it--I don’t believe + it-- + 61. + + + + +59 EXT. UP THE STREET FROM THE LIQUOR STORE - MOMENTS LATER 59 + + Seth and Evan walk down the street towards the liquor + store. + + EVAN + That was a waste. + + + + SETH + But she fully looked way better + before. I thought when they reduced + them, they just kind of reshaped + them nicer. Made them more supple. + + + + EVAN + I can’t even begin to imagine the + justification for making breasts + smaller. + + + + SETH + It’s like me making my nuts + saggier. + + + + Evan sees something in the distance. + + EVAN + Whoa. What’s this? + + + + SETH + What? + + + + EVAN + Check it out! The cops! + 62. + + + They see a cop car with the lights flashing parked outside + the liquor store. Seth and Evan cautiously approach the + liquor store and look inside. They see two POLICE talking + with the Cashier, and Fogell is standing right beside them! + + EVAN (CONT’D) + Shit! They busted Fogell! + + + + +60 INT. LIQUOR STORE - CONTINUOUS 60 + + The two police, OFFICER SLATER, 30 and experienced, and + OFFICER MICHAELS, 25 and learning, are talking to the + Cashier. Fogell stands beside them, nervous and afraid. + + OFFICER SLATER + (to cashier) + So, did he punch anyone else? + + + + CASHIER + (losing it completely) + I can’t do this, okay!?! I told + you, I have an exam tomorrow! Can + you understand that? A goddamn + exam! + + + + The cashier breaks down crying and walks off to the back of + the store. The officers look at each other. + + OFFICER MICHAELS + Apparently, she has an exam. + + + + They chuckle. Then they turn to Fogell. + + OFFICER SLATER + (turn to Fogell) + So then, son, you’re the one that + got punched? + + + + Fogell looks down to his bags of liquor at his feet. Then + back at the cops. He nods. + + OFFICER MICHAELS + 63. + + + We’d like to ask you a couple + questions. + + + +The officers each take out a note pad and a pencil. + + OFFICER MICHAELS (CONT’D) + Okay, first things first. What’s + your name? + + + +Fogell looks like his heart is about to explode out of his +chest. + + FOGELL + My name, it’s--it’s-- + (tripping over his own + words) + Mc--mac--laddle-- + + + + OFFICER SLATER + MicMac what? + + + + FOGELL + No, no I said, “McLovin”. + + + + OFFICER MICHAELS + McLovin? + + + + FOGELL + McLovin. + + + +The officers both write down some information. + + OFFICER SLATER + Cool name. And your first name? + + + +Fogell looks twice as scared. + 64. + + + FOGELL + Oh--that’s uh--a good one--it’s a-- + an interesting--uh--event-- + + + + Fogell trails off mumbling and starts to breathe heavily, + making an ODD NOISE. Behind him, in the window of the + store, we see Seth and Evan peeking through. + + + + +61 EXT. LIQUOR STORE - CONTINUOUS 61 + + Shocked, Seth and Evan walk away from the window. Seth + starts to pace in anger. + + SETH + I don’t believe this bullshit! I + can’t-- this isn’t happening! I + didn’t even know you could get + arrested for this shit! WE NEED + THAT FUCKING LIQUOR! + + + + EVAN + Oh my god. Are they gonna take him + downtown? + + + + SETH + Fuck Fogell! He got arrested! We’re + on our own. We need a new way of + getting liquor. + (realizing) + AAAHHH!! The money! Fuck! Fuck! + Fuck! How much money can you get? + + + + EVAN + What are you talking about? Money? + What about Fogell? + + + + SETH + That doesn’t matter anymore. I just + lost a hundred dollars of Jules’ + money! + 65. + + + + + EVAN + We have to help him! + + + + SETH + Help him? What are we gonna do? + Bust him out of jail? I don’t even + know where jail is! What we need is + the alcohol, which is impossible + because we don’t have any fucking + money! + + + + Seth steps into the driveway leading to the parking lot. + + EVAN + Fine. Just--calm down. We need to + think. We need to think. + + + + SETH + Fuck thinking! We need to act! + + + + Suddenly, a car pulls out of the lot going 10 mph and + knocks Seth down!!! + + + + +62 INT. LIQUOR STORE - CONTINUOUS 62 + + The cops are still talking to Fogell. He looks completely + flustered. He’s lost his composure. + + OFFICER SLATER + Okay, your name is just McLovin, + there’s no need to get irrational. + + + + In the BACKGROUND (not in the view of Fogell and the cops) + we see DRIVER of the car, a shady-looking guy in a hockey + jersey, gets out of his car and walks over to where Seth is + lying, apologizing frantically. + 66. + + + OFFICER MICHAELS + A lot of people have strange names + these days. + + + + OFFICER SLATER + I once arrested a man-lady who was + legally named “Pearl Necklace.” + + + + FOGELL + It’s just-- I changed my name. I + was going to be a singer. R&B. + + + + OFFICER MICHAELS + Fine. That’s not illegal. + + + + OFFICER SLATER + And, how old are you McLovin? + + + +Fogell looks down at the bags of booze again. + + FOGELL + Old enough. + + + + OFFICER SLATER + Old enough for what? + + + + OFFICER MICHAELS + Can I see your ID? + + + + FOGELL + Um--okay-- + 67. + + +Fogell takes his shaking, sweaty hand, sticks it in his +pocket, and pulls out his fake ID. He slowly hands it over +to Officer Slater. The cops both look at it, then Fogell. +Beads of sweat are running down Fogell’s face. + +In the background, Seth pops up and starts kicking the +guy’s car out of anger. Evan and the driver both restrain +Seth. + + OFFICER SLATER + You’re an organ donor? + + + + FOGELL + What? + + + + OFFICER SLATER + I didn’t want to be one but my wife + insisted. + + + + OFFICER MICHAELS + Just like a woman. Even after + you’re dead, they want to tear your + heart out. + + + +The officers start laughing. Fogell is shocked. They hand +back the ID. + + FOGELL + Look. I’m really sorry, but I don’t + really have any information. I + didn’t really see him. His fist hit + here. + + + +Fogell points at his giant black eye. + + OFFICER MICHAELS + Are you in a hurry or something? + + + + FOGELL + Uh, yeah-- kinda. I kinda had to + catch a bus. + 68. + + + + + OFFICER SLATER + Where were you going? + + + + FOGELL + Umm-- near thirteenth and + Granville. + + + + OFFICER SLATER + We’ll take you there, get your + information on the way. Sit tight. + + + + Fogell is completely dumbfounded. + + + + +63 EXT. LIQUOR STORE - CONTINUOUS 63 + + The driver is pleading with Seth and Evan. + + DRIVER + I’m so sorry, man! I’m so sorry! I + didn’t see you at all. Are you + okay? Are you okay? I’m sorry, man. + Look, what can I do? Are you okay? + + + + The driver glances at the cop car. + + DRIVER (CONT’D) + I mean, please don’t report me, we + can figure this out, okay? + + + + SETH + Why wouldn’t I report you? + + + + DRIVER + Because I’ll do anything! Please! + Anything! What can I do? + 69. + + + + + SETH + You have any money? + + + + EVAN + (quietly to Seth) + What are you doing? + + + + DRIVER + (beat) + Fine. Just take it. + + + +The driver reaches into his pocket and hands Seth some +money. Seth looks at it. It’s seven dollars. + + SETH + What is this? This isn’t enough. + + + +Seth stuffs the money in his pocket. + + DRIVER + It’s all I have. + + + + SETH + Well, you just came from the liquor + store, give us your liquor. + + + + DRIVER + I didn’t get any. They’re not + letting anyone in. They’re + arresting someone or something. + + + + SETH + Well, they’ll be arresting somebody + else if you don’t do something + quick. Ow! My shoulder! It’s + killing me. + 70. + + + + +Seth, acting poorly, pretends he’s way more hurt than he +is. + + DRIVER + No! Wait! Okay, you want alcohol? I + can get you alcohol. I’m on my way + to this party right now. There’s + gonna be tons of liquor. I will + definitely get you plenty. + + + + SETH + You better. + + + + EVAN + Whoa, whoa, whoa. Hold on. Come + here. + + + +Seth goes over to Evan. + + EVAN (CONT’D) + What are you doing? + + + + SETH + What? Jules’ money is gone, + Fogell’s out, we’ve got no other + option. Let’s go. + + + + EVAN + I don’t-- I don’t like this idea at + all. I’m just not feeling it. That + guy’s fucking creepy. Just look at + him. + + + +They look at the Driver, who is staring at Evan with a dumb +expression on his face. + + DRIVER + (to Evan) + 71. + + + You know a guy named Jimmy, + perchance? Cause you totally look + like his brother. + + + + SETH + He’s an idiot. And he’s our only + hope. Come on, don’t break your + promise to Helen. + + + + +64 EXT. LIQUOR STORE - MOMENTS LATER 64 + + The Driver’s car pulls away with Seth and Evan sitting in + the back seat. A few moments later, the cops walk out with + Fogell right behind them carrying the bags of liquor. + + OFFICER SLATER + (to Fogell) + Man, that lady just wouldn’t stop + crying, huh? And you’re the one + that got punched. Did you hear her + say she has an exam tomorrow? Boo- + fuckin’-hoo. Am I right? + + + + FOGELL + (afraid) + Heh. Good one. + + + + OFFICER MICHEALS + Could we have taken her in? Just to + scare the shit out of her? + + + + OFFICER SLATER + Hah. Probably could have found a + way. But a good general rule is + only take people in you want to + ride with. And whiny bitches don’t + make that cut. + + + + The cops chuckle as they all get in the cop car. + 72. + + + + +65 INT. DRIVER’S CAR - CONTINUOUS 65 + + Seth and Evan sit in the back seat. The Driver is in the + front. + + DRIVER + One of you bros could have sat up + here with me. + + + + There is an awkward silence, when suddenly Seth starts to + wriggle in discomfort. + + SETH + Aaah! + + + + Seth fishes his cell phone out of his pocket and looks at + it. + + SETH(CONT’D) + 875-6611? + (thinking) + Holy shit-- + + + + Seth answers the phone. + + SETH (CONT’D) + Jules! What’s the haps? + + + + DRIVER + Who is it? + + + + INTERCUT WITH: + + + + +66 INT. JULES HOUSE - CONTINUOUS 66 + 73. + + +There are six girls passing two beers in a circle while +dancing blissfully to crappy 80s music. + + JULES + Seth! Where are you? + + + + SETH + Jules! I just got in a cab and I’m + going to the liquor store as we + speak. + + + + JULES + Awesome. I can’t wait for you to + get here. + + + +A huge smile sweeps across Seth’s face. + + SETH + Really? + + + + JULES + Yeah. It looks like it could + actually be a great party. I think, + like, tons of people might show up. + I hope they don’t trash my house. + + + + SETH + Well, if they want to do that + they’re going to have to get + through me. + + + + JULES + So I guess I don’t have to worry + then. I’ll see you soon. + + + +Seth hangs up the phone, completely elated. + + SETH + 74. + + + She called, man! That’s insane! + She’s practically begging for it. + She said, “I can’t wait for you to + get here.” + + + + DRIVER + That sounds like she fully wants + it. Where’s she gonna get it from, + huh, my man? + + + + Seth and Evan are very weirded out. + + + + +67 EXT. STREET IN FRONT OF PARTY HOUSE - NIGHT 67 + + The Driver’s car pulls up in front of a house. The three + get out. + + EVAN + Hey, are you sure that it’s cool + we’re here? + + + + DRIVER + Oh, definitely. I’m essentially + best friends with this guy. A whole + bunch of my buddies are coming. + Come on! + + + + The Driver runs into the house happily, Seth and Evan + following closely behind. + + + + +68 INT. HOUSE PARTY - CONTINUOUS 68 + + The boys enter the house and stand by the front door of the + huge party. It’s in full swing with all sorts of random- + looking people. Nobody is under the age of 25. + + EVAN + This is weird. + 75. + + + + + SETH + Whatever. Just act casual. And old. + All we gotta do is find the booze + and haul ass out of here. + + + + As they make their way down a hallway, a few people give + them looks. + + + + +69 INT. HOUSE PARTY - KITCHEN 69 + + They enter the kitchen, where Seth spots what they’ve been + looking for. There are big buckets of ice filled with beer, + coolers, wine, vodka, everything. + + SETH + Holy shit! Let’s grab one of these + buckets and go. + + + + MARK (O.S.) + What the fuck do you think you’re + doing? + + + + DRIVER (O.S.) + What, man? It’s nothing. + + + + The guys turn and see that in corner of the kitchen, the + Driver, holding a phone, is being yelled at by a massive + brute, MARK. + + MARK + You calling more of your stupid + friends again? Ya prick. + + + + DRIVER + Mark, calm down, okay? Just relax. + 76. + + + MARK + Get the fuck out of my house. + + + + DRIVER + Mark, come on. What the heck? Don’t + be a dick. + + + + Suddenly, Mark grabs the Driver by the back of the neck and + drags him out of the kitchen, down the front hall and out + the door. A group of people follow, including Seth and + Evan. + + + + +70 EXT. HOUSE PARTY - CONTINUOUS 70 + + The Driver get pushed out of the door and lands on the + front lawn. Seth and Evan watch from the doorway of the + house, a group of people in front of them. + + DRIVER + Mark! Dude! This is bullshit! Just + chi- + + + + Mark steps on the Driver’s hand. + + DRIVER (CONT’D) + Ahhhh! Fuck! + + + + The Driver takes his hand out from under Mark’s foot. He + stands up. + + DRIVER (CONT'D) + Fuck you, man. I’ll fucking do + this! + + + + Suddenly, Mark becomes enraged. He takes a big step forward + and brutally KICKS the Driver square in the nuts! + + The Driver clutches his nuts and falls to the ground. + 77. + + + MARK + Francis, you and your idiot friends + stay the away from me and mine or + I’ll flipping shiv your ass! + + + + Mark and his buddies head back in, leading them towards + Seth and Evan, who quickly duck back into the party. + + + + +71 INT. HOUSE PARTY - CONTINUOUS 71 + + The frightened boys walk into one of the first rooms and + hide in the corner. They have a hushed discussion. + + EVAN + Dude, let’s slip out the back. + + + + SETH + Why? Come on, we’re here. Let’s + just hurry up and do this. + + + + EVAN + You want to end up like that guy? + Not me, I need my nuts. + + + + SETH + We need this liquor! + + + + EVAN + You need it! I don’t need it. I’m + going to tell Helen I like her, and + then maybe she’ll get with me; not + after I get her stinking drunk. + + + + SETH + Then why haven’t you ever made a + move, you pussy? + 78. + + + + + EVAN + Because I respect her! I’m not + going to put that kind of unfair + pressure on her. + + + + SETH + These aren’t girls, they’re women! + They need our dicks as much as we + need their poons - and we all love + liquor, so where’s the fucking + beef?! + + + + EVAN + We’re leaving, okay? These guys + could kill us. You want to get + killed for liquor? + + + + SETH + You’re really gonna bail on me?! + + + + EVAN + (rolls eyes) + Jesus-- + + + + Evan walks out the door. + + SETH + Okay, okay-- if that’s how you’re + going to be, then I’ll get the + booze on my own. And you’re not + getting any. And neither is Helen! + + + + Seth storms off. + + + + +72 INT. COP CAR - CONTINUOUS 72 + 79. + + +Fogell sits in the backseat. The cops are in the front. +There is silence for a few beats. + + FOGELL + Um-- hey-- uh, officers. I could + answer those, uh, questions now if + you want. + + + + OFFICER SLATER + We get the gist of it. You were + buying some beer, some guys came in + and robbed the place. I don’t think + we’re gonna find ‘em this time. + + + +The officers start to chuckle. + + FOGELL + It was only one guy. + + + + OFFICER SLATER + Only one guy? Well, fuck that. We + could never catch one guy. + + + + OFFICER MICHAELS + You see, McLovin, if it was two + guys, we’d have twice the chance of + catching one of them. But just one + guy? I mean, how are we supposed to + find one guy in this whole city? + + + + OFFICER SLATER + Yeah, McLovin. You know how many + people there are in this city? I + have trouble finding people I know. + + + + FOGELL + Aren’t you guys supposed to be + trained or something? Don’t you + have a computer? + 80. + + + OFFICER SLATER + Yeah, that stuff can help, but if + someone walks up to me on the + street, and is like, “Hey, find + Bob.” Well, how the hell am I + supposed to do that? + + + + FOGELL + Who’s Bob? + + + + OFFICER SLATER + Exactly. If I don’t know who he is, + then how am I supposed to know + where he is? + + + + OFFICER MICHAELS + When you’re new to the force, like + I am- + + + + OFFICER SLATER + Only six months in. + (proudly) + I got two and a half years under my + belt. + + + + OFFICER MICHAELS + You learn a lot of crazy stuff. For + example- + + + +The car radio goes off. + + RADIO + We have a 245 at East 24 and + Montgomery. It’s Bailey’s Bar and + Grill. Car 43, respond please. + + + +Slater picks up the receiver. + + OFFICER SLATER + 81. + + + Ten-four. + (hangs up) + Nice. Ya see, Michaels, when ever + there’s a call for a bar, you take + it. + + + + OFFICER MICHAELS + Good fucking call, sir. + + + + They chuckle. + + OFFICER SLATER + Hey, McLovin. We got a situation at + Bailey’s. We have to see to that, + but we’ll drop you off right after. + Okay? + + + + FOGELL + Um--okay-- + + + + Michael’s hits the siren and they drive off. + + + + +73 INT. HOUSE PARTY- KITCHEN. - CONTINUOUS 73 + + Seth is looking in the fridge, which is full of beer. An + ENORMOUS GUY nudges Seth aside and sticks his arm in. + + ENORMOUS GUY + Hey Mark, you want another beer? + + + + Seth quickly walks away from the fridge and goes down the + hall. + + + + +74 INT HOUSE PARTY - DANCING ROOM 74 + 82. + + + Seth enters a room of people dancing to hip-hop. He notices + all the girls are drinking Mike’s Hard Lemonade, and then + locates a cooler full of it across the dance area. + + He tries to make his way through the sea of dancing. A hot, + sorority-type WOMAN drunk out off her ass dances over to + him and starts grinding against his leg. He doesn’t know + how to react so he just goes with it, bumpin’ and grindin’ + with the girl. + + + + +75 EXT. ALLEY - CONTINUOUS 75 + + Evan is walking down an alley, mad as hell, when, suddenly, + he jumps up and starts squirming. + + EVAN + Whaa! What the--oh-- + + + + He takes out his vibrating cell phone and looks at the + callers name--it’s Helen. + + EVAN (CONT’D) + Oh dude. Oh dude. Oh dude. + + + + He looks intensely at the cell as it continues vibrating. + + EVAN (CONT’D) + Okay. Okay. Here we go-- + + + + He presses talk. + + HELEN (O.S.) + (through the phone with + horrible static) + Eva--lo------ + + + + EVAN + Helen? Helen?!? + 83. + + + The phone cuts out. Evan sees that he has no reception. He + looks back at the party, then at his cell phone. He shakes + his head and turns back towards the party. + + + + +76 EXT. BAILEY’S BAR AND GRILL - CONTINUOUS 76 + + The cops and Fogell get out of the car and walk towards the + Bailey’s. They stop before they enter. + + OFFICER SLATER + Alright McLovin, this will only + take a few minutes. Just grab a + beer at the bar and we’ll be done + before you know it. + + + + FOGELL + (a little scared) + Well-- what’s goin’ on in there? + + + + The Officers chuckle as they lead Fogell into the bar. + + + + +77 INT. BAILEY’S BAR AND GRILL - CONTINUOUS 77 + + As they enter the bar they immediately see a drunken, + crazed HOMELESS GUY screaming at a bar tender. + + HOMELESS GUY + Everywhere?!? You didn’t see me + pissin’ anywhere!!! + + + + Fogell quickly sits at the bar by the entrance to the + kitchen. + + OFFICER SLATER + Alright, Michaels. I’ve got your + back. Show this rummy how we roll. + + + + Officer Michaels walks up to the Homeless Guy. + 84. + + + OFFICER MICHAELS + Excuse me! Sir! + + + +The Homeless Guy turns and sees the cops. + + HOMELESS GUY + AAAHHHHH!!! + + + +He runs for the front door! + + OFFICER MICHAELS + Resisting! + + + +Michaels blocks the door and the Homeless Guy rams into +him, knocking him to the ground. + + OFFICER SLATER + (sarcastic) + Good one, Michaels! + + + +Slater runs at the Homeless Guy and chases him into the +dining area. The Homeless Guy knocks over a table, which +Slater trips over. + + OFFICER SLATER (CONT’D) + Fuck! + + + + OFFICER MICHAELS + (nervous) + Should I shoot him?!? + + + + OFFICER SLATER + NO!!! + + + +The Homeless Guy makes a mad dash for the kitchen, and +Fogell is the only one in his way! + + OFFICER MICHAELS + 85. + + + Stop him, McLovin!!! + + + + FOGELL + AHHH!!! + + + + The Homeless Guy RAMS straight into him and knocks both of + them onto the kitchen floor!!! + + + + +78 INT. BAILEY’S BAR AND GRILL - KITCHEN - CONTINUOUS 78 + + The kitchen staff watch in awe as the Homeless Guy wrestles + Fogell on the ground. + + FOGELL + Ow!!! Please! Stop, you fucking + bum!!! + + + + The Homeless Guy gets up, grabs Fogell and HURLS him into a + rack of trays! He then turns to run, but SLIPS on a wet + spot and SLAMS his head against the ground! The cops burst + into the room to find Fogell panting on his knees with the + Homeless Guy unconscious on the floor. + + OFFICER MICHAELS + McLovin! Nice! + + + + OFFICER SLATER + I am buying you a beer, McLovin! + + + + +79 INT. HOUSE PARTY - DANCING ROOM - CONTINUOUS 79 + + An R&B slow jam plays as an exuberant Seth, a Mike’s Hard + Lemonade in one hand and the Woman’s ass in the other as + the dancing becomes increasingly sexual. As the song ends, + the Woman moves on. + 86. + + + Seth glances at the cooler and sees one more Mike’s hard. + He grabs it and puts it in his pocket. The bulge is + apparent. + + Extremely pleased with himself, + + + + +80 INT. HOUSE PARTY - ADJACENT ROOM 80 + + Seth walks into the adjacent room. There are a bunch of + GUYS chilling on the couch, who all look at Seth oddly as + he enters. + + SETH + Hey, wut up? + + + + The guys just nod at Seth and continue to look at him + strangely. + + GUY 1 + What is that? Is that red wine? + + + + Thinking he’s busted, Seth quickly covers the bulge in his + pocket. + + SETH + Uh-- no. What? I don’t know what + you’re talking about. + + + + GUY 1 + That shit you spilled all over + yourself, idiot. + + + + SETH + (sincere) + I didn’t spill anything on myself. + + + + Seth checks himself to see what the guy is referring to. + + SETH (CONT’D) + 87. + + + Oh shit. + + + +On Seth’s upper thigh there is a red splotch about the size +of a palm of a hand. + + SETH (CONT’D) + What the hell is this? + + + + GUY 1 + Oh my lord. You were just dancing + in there, right? + + + + SETH + Yeah, so? + + + +The guys all burst out laughing. + + GUY 1 + It’s fucking blood. + + + + SETH + Why would I get blood on my leg + from--- + (beat of realization) + OH SHIT! + + + +The guys start laughing even harder. + + SETH (CONT’D) + Some girl perioded on my fucking + leg! + + + + GUY 2 + I’ve never seen that before in my + life. + 88. + + + Seth pokes at the splotch. + + SETH + That is disgusting. + + + + Guy 1 gets up as Seth tries to cover up the mess with his + shirt. + + GUY 1 + I gotta show this to Bill. + + + + SETH + Who’s Bill? Don’t show Bill! No! I + can’t believe this is happening! + + + + GUY 2 + We should find who did it. + + + + SETH + This is un-fucking-believable. I + have to look good tonight! + + + + GUY 2 + Who’d you dance with? + + + + SETH + Who gives a shit? Fuck! These + aren’t even my pants! + + + + +81 INT. HOUSE PARTY- ANOTHER ROOM 81 + + Guy 1 brings six more guys, including the Enormous Guy, + into the room. He points out the stain Seth’s pants. All + the guys burst out laughing. Embarrassed and fearful of the + attention, Seth starts making his way out of the room. + + SETH + 89. + + + Yeah. It’s really funny, huh? Yuk + it up, assholes. + + + + Seth works his way through another room full of people, + shielding the splotch as best as he can. + + PARTY DUDE + Dude! Check it out! That guy’s + having his period! + + + + Another group of people turn and laugh. + + PARTY GIRL + He looks about the right age! + + + + SETH + (to himself) + I gotta clean this shit. + + + + He sees a long line of people standing if front of the + bathroom door. He spots a staircase and runs down into the + basement. + + + + +82 INT. HOUSE PARTY - BASEMENT - CONTINUOUS 82 + + Seth enters the empty basement. He sees a sink and runs + over to it and turns on the water. + + + + +83 EXT. HOUSE PARTY - CONTINUOUS 83 + + Evan nervously walks back into the house to look for a + telephone. + + + + +84 INT. BAILEY’S BAR AND GRILL - CONTINUOUS 84 + 90. + + +The cops, Fogell, and the unconscious Homeless Guy each sit +at the bar with a Corona in front of them. Slater’s radio +goes off. + + RADIO + Calling all units, armed and + dangerous man in the vicinity of- + + + +Click. Slater turns his radio down, ignoring the calls. + + OFFICER MICHAELS + So anyways, we leave the bar, I’m + charmin’ her pants off telling her + stories of shoot-outs and shit. + + + + FOGELL + You’ve been in shoot-outs! + + + + OFFICER MICHAELS + Nope. + + + + OFFICER SLATER + McLovin, all we do is bonk homeless + people on the head. You’re + practically a cop now. + + + + OFFICER MICHAELS + So I pull up in front of her house + and she asks me to come inside for + some coffee. Of course, I say yes. + + + + OFFICER SLATER + Oh shit. + + + + OFFICER MICHAELS + 91. + + + Oh shit. So we go into the kitchen. + I start taking off my clothes, she + fucking flips, starts screaming at + me, and I’m like “Can’t have coffee + without cream.” Oh!!! Right? I + fucking said that. Then, she slaps + me, throws me out. I’m telling you + McLovin, stay out of bars. + + + + FOGELL + Hey, you don’t need to tell me. + + + + OFFICER MICHAELS + So, yeah, you gotta look in + different places. The gym, an art + class, you know, shit like that. + + + + OFFICER SLATER + I met the Missus at paint ball. Can + you believe that? I shot her in the + neck, and we just hit it off. And + my first wife -- who is a whore -- + where do you think we met? A bar. + + + + FOGELL + I don’t know. I find they’re always + good for a little quick ass. + + + +The cops laugh. + + OFFICER SLATER + I bet I know your trick, McLovin. + You do the whole mysterious guy + thing, right? + + + + OFFICER MICHAELS + Yeah McLovin, how’s it going with + the ladies? + 92. + + +Fogell thinks for a moment, he is feeling rather +comfortable. + + FOGELL + Well, officers, it’s not the going + with the ladies I care about, it’s + the coming. + + + +The cops and Fogell burst out laughing. + + OFFICER SLATER + Oh! McLovin in the house! + + + +He sees that the cops clearly like him; his confidence +level increased, he takes a chance. + + FOGELL + So-- you guys got guns, huh? + + + +The officers glance at each other as sinister smiles creep +across their faces. + + OFFICER SLATER + Yeah. We got guns. + + + + OFFICER MICHAELS + I haven’t had one for long, but, + man, let me tell you - it’s like + having two dicks. + + + + FOGELL + Can I-- can I hold one? Your gun? + + + +Michaels and Slater look to each other. + + OFFICER MICHAELS + I mean, if we took the bullets out? + 93. + + + OFFICER SLATER + Yeah. Why not? + + + + Slater pulls out his gun and takes out the clip. + + OFFICER SLATER (CONT’D) + Here. + + + + Fogell takes the unloaded gun and flops it back and forth + in his hands, a huge smile gleaming. + + FOGELL + Wow. I’ve never held one. Are they + hard to shoot? + + + + OFFICER SLATER + If you’re Michaels they are. He + can’t shoot worth dick. + + + + OFFICER MICHAELS + Fuck you, old man. I could out- + shoot you with my sack tucked + between my legs. + + + + OFFICER SLATER + Only one way to settle this. + + + + FOGELL + (incredibly excited) + You guys are going to shoot + something, right? + + + + +85 INT. HOUSE PARTY BASEMENT - CONTINUOUS 85 + + Seth is scrubbing at the mark on his thigh, but it’s not + doing much. He stops for a moment to take a breather as he + looks around the basement. + 94. + + + He spots a fridge in the corner and walks over to it. As he + opens it, a look of awe sweeps across his face. Every shelf + is completely filled with beer. + + SETH + Jesus’s tits! + + + + He grabs as many bottles as he can and starts sticking them + in his pockets, when he notices two large jugs of detergent + next to the washer. He thinks for a moment, then begins to + empty out the detergent jugs. + + + + +86 INT. HOUSE PARTY - CONTINUOUS 86 + + Evan peers into a vacant room and sees a telephone. He + nervously enters and picks up the phone. He dials. + + INTERCUT WITH: + + + + +87 INT. CAB - CONTINUOUS 87 + + Helen is in a cab with BECCA, her best-friend, and two + other girls. They’re a little done up and really giggly. + Helen’s cell phone starts ringing. She hushes the other + girls as she answers her phone. + + HELEN + Hello? + + + + BECCA + Is it him? + + + + HELEN + (whispering to the girls) + Shut up. + + + + EVAN + 95. + + + Hey! Helen. Hi. I had bad + reception. Are you at the party? + + + + HELEN + No, I’m in a cab. I’ll be there + soon. Are you still coming? + + + + EVAN + Yeah, definitely. Um, about your + Goldschlager-- + + + +Evan can hear all the girls goofing around and giggling. + + HELEN + (whispering to the girls) + Shut up. + + + + EVAN + What’s going on there? + + + + HELEN + Oh, nothing, I just wanted to make + sure you were still coming, you + know, and that you didn’t get + caught up at a cocktail party or + some club. + + + + EVAN + Nope. I’m gonna be there. + + + + HELEN + Well, I can’t wait to see you. + + + + EVAN + I think it’s going to be a real + fun-- event. + 96. + + + + + HELEN + Okay. Bye. + + + + +88 INT. HOUSE PARTY VACANT ROOM - CONTINUOUS 88 + + Evan hangs up the phone. A huge smile crosses his face. As + he turns around to exit, five older, unbelievably drunk + DUDES wander into the room. + + DUDE 1 + They’re going to kill that guy, + man. That bitch’s boyfriend is so + pissed. + + + + DUDE 2 + Yeah. And he’s a beast. + + + + They start pouring a baggy of coke on the table when one of + them notices Evan standing in the corner. + + DUDE 3 + Hey! Was it you? Are you the guy? + The kid with the splotch on his + crotch? + + + + Evan glances down at his crotch. He is confused and + horrified. + + EVAN + No. What splotch- + + + + DUDE 2 + I know you! Guys! I know that guy, + he was at that party with me. + + + + DUDE 4 + Who’s he? + 97. + + + + + DUDE 2 + He’s Jimmy’s brother. The dude with + the crazy raps, the one I told you + about! + + + + They draw the coke into lines as Evan slowly heads for the + door. + + EVAN + Oh no, that’s not me either. Wrong + guy, man. Sorry. + + + + Dude 3 gets up and blocks the door. + + DUDE 3 + No. No, that’s you, man. You are + fully Jimmy’s brother! You were + just so messed up you can’t + remember. + + + + EVAN + Trust me, man. That wasn’t me. I + don’t even listen to rap. + + + + DUDE 3 + It was you! I know it! Come on! + Rap! I’ve been telling these guys + about you. Just give them one rap. + Come on. Rap. Rap. + + + + They start doing the lines of coke. Evan is very afraid. + + + + +89 INT. HOUSE PARTY BASEMENT - MOMENTS LATER 89 + + Seth is finishing pouring the beer bottles into the second + detergent jug. There are about thirty empty beer bottles + laying around Seth. He tightens the cap, picks up the two + detergent jugs, and heads upstairs. + 98. + + + + +90 INT. HOUSE PARTY - LIVING ROOM - CONTINUOUS 90 + + Seth emerges from the basement and heads towards the front + door. + + SETH + I did it man. Peace out-tro. + + + + He’s inches away from the front door, when suddenly- + + GUY 1 + There! That’s the guy! + + + + Seth turns and sees Mark, the guy who assaulted the Driver, + walking towards him. He notices Mark has a splotch on his + leg, too. + + SETH + Hey! You got one, too! We’re blood + brothers. + + + + MARK + Shut it, you little shitter! What + the hell were you doing dancing + with Jacinda? + + + + Horrified, Seth scrambles for excuses. + + SETH + I-- I didn’t dance with her! I + don’t even dance! Never even tried + it! + + + + MARK + (point at Seth’s splotch) + Then where did that come from, + asshole? + 99. + + + SETH + I don’t know. Maybe me and you + rubbed up against each other at + some point. How am I supposed to + know? + + + + +91 INT. HOUSE PARTY - VACANT ROOM - CONTINUOUS 91 + + The coked-up dudes are watching Evan intensely. They are + completely loving his rapping, completely into it. Evan is + struggling. + + EVAN + --cause, yo! Bitches and gats, + bitches and gats, what do all of + we’s got? + + + + DUDES + Bitches and gats! + + + + EVAN + When we steal all the money? + + + + DUDES + Bitches and gats! + + + + EVAN + Yo! I kill the whores of Vice City + with my magnum 9/Take out the punk + pigs with my Glok design/ Drink a + fifth of Hennessy and get + benign/Fuck all the bitches with + their asses fine + + + + THE DUDES + (cheering) + Oh!!! + 100. + + + SOME GUY bursts into the room. + + SOME GUY + Dudes! Looks like a fight! + + + + Dude 3 does a line of coke and they all get up together and + charge out of the room. + + + + +92 INT. HOUSE PARTY - LIVING ROOM - CONTINUOUS 92 + + There is a crowd gathered around Seth and Mark. The + Enormous Guy and Mark’s friends are gathered beside Mark. + + SETH + I swear to God it wasn’t me! + + + + Evan and the four dudes who were doing coke walk into the + room. Evan is shocked to see Seth at the center of so much + commotion. Mark notices the detergent bottle in Seth’s + hands. + + MARK + And what the fuck is this? + + + + SETH + It’s nothing. It’s detergent. + + + + MARK + Yeah. And what are you doing with + it? + + + + SETH + I-- uh, I got blood on my pants. + + + + Mark sees the bottle of MIKE’S HARD LEMONADE in Seth’s + pocket and takes it out. He looks at it, then looks at Seth + with a look of death. + 101. + + + SETH (CONT’D) + I brought them from home. + + + +Suddenly, Mark violently SHOVES Seth and throws the beer +bottle at his face!!! Seth holds up a detergent jug and +deflects the beer bottle. + +It flies towards Evan, who ducks, and nails Dude 1 in the +head, glass exploding everywhere!!! + + DUDE 1 + AAAHHHHHHH!!! FUCK!!! + + + +Dude 1 clutches his bloody head as the other Dudes charge +at Mark! A full on brawl breaks out! Everyone starts +fighting! Two of the Dudes beat on the Enormous Guy. They +throw him into Evan. + + DUDE 3 + Hold him! + + + + EVAN + What? + + + + DUDE 2 + HOLD HIM!!! + + + +Evan reluctantly holds the Enormous Guy up as the two Dudes +pound on him. + +ANGLE ON: Seth, cowering in the corner + +Mark runs at Seth and is about to punch him, when suddenly +Dude 1 tackles him onto the kitchen island! Seth turns and +faces Mark’s girlfriend, JACINDA. + + JACINDA + You motherfucker! + 102. + + + She grabs a lamp, still plugged in, and swings it at Seth. + She hits him square in the chest and the light bulb + explodes! + + SETH + AHH!!! + + + + JACINDA + You ruined my birthday!!! You + humiliated me!!! + + + + SETH + You’re the one who used my leg as a + tampon! + + + + She charges at him again, arms flailing. Seth scurries + around the room, shielding the blows with the detergent + bottles. + + Evan throws the Enormous Guy to the ground and runs. Evan + backs off, spots Seth, and follows him out of the party. + + + + +93 EXT HOUSE PARTY 93 + + As Seth and Evan run up the block together, Jacinda talks + into her cell phone. + + JACINDA + Yeah, Fifth and Paysview, please + hurry! + + + + +94 EXT. DARK STREET - CONTINUOUS 94 + + The cops and Fogell stand beside the car. The Homeless Guy + is sleeping in the back. Michaels has his gun drawn and is + carefully aiming at a distant stop sign. + + OFFICER SLATER + You’ve been saying some bold words, + my friend. Better not mess up. + 103. + + + + + FOGELL + You can do it, officer. + + + +BLAM!!! Michaels blasts off a round, which punches a hole +right through the center of the “O” in the stop sign. + + OFFICER MICHAELS + Boo-yaka-sha!!! Suck it, Slater. + Suck my nuts. Long, but gentle. + + + + FOGELL + Yeah! And eat his ass! + + + +They all laugh hysterically. + + FOGELL (CONT’D) + Can I shoot one? + + + +The cops look at each other and shrug. + + OFFICER SLATER + Yeah. Sure. Here. Go nuts. + + + +Slater hands Fogell the gun, when suddenly a SIREN can be +heard in the distance getting closer. + + OFFICER MICHAELS + Fuck. The cops! + + + + OFFICER SLATER + Let’s bail! Shotgun! + + + +Slater grabs the gun out of the disappointed Fogell’s hand +and holsters it. They all hop into the car. + 104. + + +95 INT. COP CAR - CONTINUOUS 95 + + Michaels kicks it into drive and they peel out. Fogell + shoves the unconscious Homeless Guy over. + + OFFICER MICHAELS + Hah, hah! Eat it. So, dudes, what + do we do now? + + + + Suddenly, the car radio goes off. + + RADIO + We got a 257 at Fifth and Paysview, + all units in the area report to + Fifth and Paysview. Car 98. That’s + you. Do it. Seriously. + + + + The cops stop and listen. + + OFFICER MICHAELS + Son-of-a-bitch. + (picks up radio) + Car 98, ten-four. + (hangs up) + Ya dumb whore. Ha! + + + + FOGELL + What does that mean? We gonna get + to shoot anyone? + + + + OFFICER SLATER + I wish. Probably some lame house + party. We’ll drop you off after. + Cool? + + + + FOGELL + Yeah, man. Let’s show these fuckers + how we roll. + + + + +96 EXT. NEIGHBORHOOD STREET - MOMENTS LATER 96 + 105. + + +Seth and Evan are running down the sidewalk. They both slow +to a stop to catch their breath. The party is nowhere in +sight. + + SETH + (wheezing heavily) + --huff--hufff--you fuckin’ prick-- + + + + EVAN + What? + + + + SETH + You--huff--bailed on me--huff--man. + + + + EVAN + No I didn’t! + + + + SETH + Of course you did! We were supposed + to do something and you left + instead of doing it! That’s the + definition of bailing! + + + + EVAN + If you said we should burn our + dicks off and I didn’t, that’s not + bailing! + + + + SETH + It is bailing, if you promised to + burn your dick off! + + + + EVAN + What?! + + + + SETH + 106. + + + The bottom line is you’re a bailer. + You just bailed on me, you bailed + on me this morning when Terry spat + on me, and you’re bailing on me + next year! + + + + EVAN + Oh! Okay! There it is! It finally + comes out! + + + + SETH + We were supposed to go to college + together! Since elementary school! + What ever happened to that! + + + + EVAN + What happened to that, is that + you’re too stupid to get into the + schools I did! + + + + SETH + I was not too stupid, I was too + lazy! + + + + EVAN + You’ve wasted all my time, you + selfish bastard!!! Instead of + chasing girls and making friends, I + threw away the last three years + talking bullshit with you! And now, + because of you, I’m going to + college a fucking friendless + virgin! + + + +Seth can’t believe it. He’s extremely hurt. + + SETH + Getting with a girl won’t make you + any less of a loser next year! + 107. + + + EVAN + You talking to me or yourself? You + fucking loser! + + + + Seth drops one of the tide bottles and shoves Evan hard. + Evan shoves him back. + + + + +97 INT. COP CAR - CONTINUOUS 97 + + Michaels pounds on the keypad of the little cop computer + with his fist. + + OFFICER MICHAELS + How do they expect us to work these + things while we’re driving? I can’t + even work my iMac while I’m sitting + at my desk. + + + + FOGELL + So, like, what does that computer + do? + + + + OFFICER SLATER + Pretty much anything, if you’re + smart enough to figure it out. + Like, who do you really hate? Gimme + a name. + + + + FOGELL + Um...my French teacher. Mrs. + Graham. Susette Graham. + + + + OFFICER MICHAELS + Can I do it? + + + + Slater nods. Michaels bring her file up, then punches a few + buttons and smiles. + 108. + + + FOGELL + What did you do? + + + + OFFICER MICHAELS + Tomorrow, Mrs. Graham will have a + boot on her car. + + + + Fogell laughs his ass off. + + FOGELL + I hate my dad, too! + + + + OFFICER MICHAELS + Okay. The place should be around + here somewhere. McLovin, are the + numbers on that side odd or even? + + + + FOGELL + It’s too dark out. + + + + OFFICER SLATER + We got flashlights. + + + + Slater gets his flashlight and points it out the window. + + OFFICER MICHAELS + I wasn’t even sure light came out + of those things. I thought they + were just cool looking clubs. + + + + Michaels and Slater start making light saber noises and + pretend to fight with their flashlights. + + + + +98 EXT. NEIGHBORHOOD STREET - CONTINUOUS 98 + 109. + + + We see the COP CAR going down the street. Evan and Seth are + a block down, shoving each other. + + + + +99 INT. COP CAR - CONTINUOUS 99 + + Slater turns and points his flashlight out Michaels window, + accidentally shining the light into his eyes. + + OFFICER MICHAELS + My eyes! + + + + He jerks the wheel. + + + + +100 EXT. SIDEWALK - CONTINUOUS 100 + + Seth swings at Evan with the giant detergent jug. Evan + dodges it and shoves Seth hard. Seth stumbles onto the road + and gets HIT by the COP CAR!!! Seth flies up onto the hood, + SMASHING the windshield. The car screeches to a halt and + Seth slides off the front of the car. + + Seth lies motionless, still holding one of the detergent + jugs. The cap is knocked loose and beer is spilling all + over the place. + + + + +101 INT. COP CAR - CONTINUOUS 101 + + Everyone in the car is looking forward, stunned. They can’t + see out the front window, as it is shattered. Fogell has no + clue who the victim was. + + OFFICER MICHAELS + Oh shit. Shit, shit, SHIT! + + + + OFFICER SLATER + I don’t believe this is happening + again. + 110. + + + FOGELL + (frightened) + Oh my god-- is he-- are you gonna + make sure he’s alright? + + + + OFFICER SLATER + Okay, okay, we’re gonna get out of + the car now. McLovin, you stay + right there. + + + + OFFICER MICHAELS + That guy better not be dead. + + +102 EXT. NEIGHBORHOOD STREET - CONTINUOUS 102 + + The cops get out of the car and walk over to a now sitting + up Seth. He’s dazed, but okay. + + EVAN + I’m sorry! You pushed me first. + + + + SETH + I didn’t push you into fucking + oncoming traffic! + + + + The boys notice the cops. + + OFFICER MICHAELS + Is everyone alright? + + + + SETH + (sarcastic) + We’re great. + + + + OFFICER SLATER + Well, you should be careful boys. + That’s how accidents happen. + 111. + + + SETH + What, when cops drive like maniacs + and hop the fucking curb? + + + + OFFICER SLATER + (intimidating) + Pardon? + + + + EVAN + Nothing. + + + +Evan looks like he’s about to shit himself. The cops notice +one of the detergent jugs in the middle of a puddle of +beer. Slater dips his finger in rubs it against his gums +like it was cocaine. + + OFFICER SLATER + Pabst. You boys been doing a bit of + drinking? + + + + EVAN + No officer. Not at all. + + + + OFFICER SLATER + (pointing to the other + jug) + Is that more beer you got over + there? + + + + SETH + Umm, no sir, detergent. + + + + OFFICER MICHAELS + Detergent? + + + + SETH + 112. + + + My clothes are dirty. + + + + The cops look at each other, then at the boys. + + OFFICER MICHAELS + You boys stay right here. + + + + +103 INT. COP CAR - CONTINUOUS 103 + + Fogell anxiously sits in the cop car. He can’t see what’s + going on through the shattered windshield. + + + + +104 EXT. NEIGHBORHOOD STREET - CONTINUOUS 104 + + The cops turn away and start to whisper to one another. + Seth and Evan look on, nervous. + + OFFICER SLATER + Alright, Michaels. The car is + completely fucked, and you’re the + one who fucked it up, so you’ve got + to fix it. + + + + OFFICER MICHAELS + What do I do? + + + + OFFICER SLATER + We arrest these little crap stains + and dump it on them, I’ll take care + of that. You go make sure McLovin + is good to play ball. This is it, + Michaels. You wanna hang with the + big boys, you gotta get your hands + dirty. You cool? + + + + OFFICER MICHAELS + Yeah, I’m cool. + 113. + + + + + The cops nod to each other. Michaels goes back to the car + and gets in. Slater walks back over to the boys. He puts + his hand on his gun and pulls out his club, scaring the + shit out of Evan and Seth. + + OFFICER SLATER + Get on the ground. Now! Spread your + shit! + + + + Evan and Seth lie down on their stomachs and spread their + arms and legs out, terrified. + + EVAN + Puh-- please don’t shoot. + + + + OFFICER SLATER + (mocking) + Puh- Puh- Please shut the fuck up! + + + + +105 INT. COP CAR - CONTINUOUS 105 + + Officer Michaels is sitting in the driver’s seat. + + FOGELL + Was the guy alright? + + + + OFFICER MICHAELS + What? Oh, yeah, the guy was fine. + + + + Michaels looks back at the Homeless Guy, who looks a little + bit more awake than before. + + OFFICER MICHAELS (CONT'D) + Are you awake, sir? + 114. + + +The guy starts to open his eyes a little. Michaels grabs +the guy’s face and slams it back, knocking him out again. +Fogell jumps a little. + + OFFICER MICHEALS + I’m sorry, McLovin. But I really + need this to be a private thing. + + + +Officer Michaels takes out two cigarettes, and gives one to +Fogell, who accepts, quivering in fear. Michaels lights +his, then passes the lighter to Fogell. + + OFFICER MICHEALS (CONT’D) + Listen McLovin, you-- like-- + Officer Slater and myself, don’t + you? + + + +Fogell tries to light his cigarette. It takes a few tries +and he starts hacking after the first pull. + + FOGELL + (coughing) + Umm, yeah, sure. You guys are + great. + + + + OFFICER MICHAELS + Yeah, well, we’re also on + probation. You see, we’ve actually + trashed two other cars. The first + time wasn’t our fault, and the + second time a bee flew in and I + freaked out. Point is, we trash + another car, without a good reason, + we’re fucked. Know what I’m saying? + + + +Fogell continues to painfully suck back on the cigarette. + + FOGELL + Sure. + + + + OFFICER MICHAELS + 115. + + + Now, we’re going to arrest these + guys, and if you don’t mind, which + you shouldn’t, we’d like you to + write a fake witness report saying + they jumped out in front of our + car. Cool, McLovin? + + + + Fogell nods his head, getting some of his cigarette smoke + in his eyes. He winces and starts to blink in discomfort. + + + + +106 EXT. NEIGHBORHOOD STREET - CONTINUOUS 106 + + Slater stands above the boys. + + OFFICER SLATER + How tall are you? + + + + EVAN + Uh-- I don’t know, five-foot-ten, + eleven? + + + + OFFICER SLATER + And you said those were “Pumas?” + + + + Seth nods. Officer Michaels and Fogell get out of the car. + Seth and Evan see Fogell and stare in shock as he takes a + drag of a cigarette and then flicks it aside. + + Michaels pulls Slater aside and mumbles into his ear. + Fogell turns and sees Seth and Evan - he’s completely + dumbfounded! + + Evan starts to look really nervous, like he might literally + explode. He starts to stand up. + + The cops are still talking when suddenly, Evan BOLTS! + + OFFICER MICHAELS + Shit! + 116. + + + The cops run after Evan! Seth and Fogell look at each + other. Seth grabs the remaining detergent jug and runs off + in the opposite direction of Evan! Fogell reaches into the + cop car, grabs the bags of booze, and follows Seth. + + FOGELL + Seth! Wait up! + + + + Officer Slater looks back to see Seth and Fogell running. + + OFFICER SLATER + Shit! Shit! McLovin bailed! + + + + The cops run back into their car. + + + + +107 INT. COP CAR - CONTINUOUS 107 + + They can’t see out of the shattered windshield. + + OFFICER SLATER + Fuck! + + + + +108 EXT. STREET WITH COP CAR - CONTINUOUS 108 + + The cops get out of the car and run off after Seth and + Fogell. As they run, we see the Homeless Guy slump out of + the car, landing on his face with a muffled groan. He + stands up, grabs the jug of detergent that was left on the + ground, and runs off. + + + + +109 EXT. NEIGHBORHOOD STREET - CONTINUOUS 109 + + Fogell and an exhausted Seth are running together. Seth + grabs Fogell and takes him around a house and towards a + backyard. A second later, the cops run by the house and + continue up the block. + 117. + + +110 EXT. BACKYARD - MOMENTS LATER 110 + + Seth and Fogell sprint across a big, dark backyard. Seth + looks back to see if they are being followed...BOOM! + + He runs smack into a little red tent and trips onto it! + KIDS inside the tent start screaming as flashlights turn + on. + + KIDS + (hysterical) + Help/ It’s a monster!/ Daddy! + + + + Fogell helps Seth get up. They try to run, but Seth is + caught on the tent! He drags it a couple feet as the kids + start clawing to get out. + + KIDS (CONT’D) + AAAHHHHHH!!!!!!!!!! + + + + The zipper opens and a KID hops out. The Kid looks at Seth. + + KID + AHHH!!! NO!!! DADDY!!!! + + + + FOGELL + Holy shit! Little kids!!! + + + + A little GIRL runs out and books it into the house. From + inside the tent, another kid starts kicking at Seth. + + SETH + Ow! + + + + Seth manages to free himself from the tent and he and + Fogell fall to the ground. The kids continue to scream. + + FATHER(O.S.) + Get away from my children! + 118. + + + The guys turn and see a crazed, slightly overweight FATHER + in his underwear running at them with a baseball bat. + Fogell and Seth scramble to their feet as the Dad takes a + swing at them, narrowly missing them. + + FATHER(CONT’D) + You sick sons-of-bitches! + + + + Fogell throws his shoulder into the guy, knocking him down. + Seth and Fogell run to the backyard gate and try to open + it. They can’t. + + FOGELL + Help! + + + + Fogell starts banging as Seth looks back to see the Dad + coming for them. Seth swings the detergent jug at the + Father, knocking him on his ass. He quickly gets up and + charges, enraged. + + FOGELL (CONT’D) + Aaaahhh!!!! + + + + Fogell gets the door open and the two boys run into the + alley. + + CUT TO: + + + + +111 EXT. ALLEY - CONTINUOUS 111 + + They sprint down the alley. Seth coughs and wheezes, + slowing down as he lugs the detergent. The Father enters + the alley and sees the boys running. He throws his baseball + bat. It sails through the air and nails Seth in the back! + He falls. + + SETH + ARGGG! + + + + He gets up and the keeps running. + 119. + + + + +112 EXT. STREET CORNER - CONTINUOUS 112 + + Slater and Michaels, completely out of breath, desperately + scan the area for the boys. + + OFFICER SLATER + Stupid little bastards. + + + + OFFICER MICHAELS + Maybe I should fire a shot? Scare + ‘em out? + + + + +113 EXT. INSIDE SOME BUSHES - CONTINUOUS 113 + + Evan is nestled inside a large bush, frantically trying to + reverse his clothes so as to disguise himself. He keeps + looking out for the cops, when suddenly he hears a gunshot + - BLAM!!! + + EVAN + (to himself, mumbling) + Oh god. Oh god. Fuck. Fuck. + + + + As he fumbles to turn his jacket inside out and get it on, + he sees Seth and Fogell running towards him. He pops out of + the bush, scaring Fogell and Seth. + + SETH + Ahh! Jesus! + + + + EVAN (CONT’D) + Should I run!?! + + + + SETH + Fucking run! + 120. + + + They all run off down the street. + + + + +114 EXT. MAIN STREET 114 + + They turn a corner at the end of the block and continue + running. + + They turn onto a main street and are exuberant at the sight + of an oncoming bus. It stops at a nearby stop. They haul + ass and make it on. + + + + +115 INT. BUS - CONTINUOUS 115 + + Out of breath, the boys dig up change and put it in the + toll box, then walk towards the back of the bus. + + HOMELESS GUY (O.S.) + Hey! It’s you! + + + + Fogell looks up and sees the Homeless Guy stumbling towards + them, sucking back the bottom of the lost detergent bottle. + The Homeless Guy sees they have bags full of booze. + + HOMELESS GUY (CONT’D) + You got booze in the bag? Can you + gimme some? + + + + SETH + No! Fuck off! You already drank our + detergent beer! + + + + HOMELESS GUY + That was beer?! + (to Fogell) + Well, you little shit--ain’t got no + cop people to help you keep your + booze--gimme it-- + 121. + + +The Homeless Nutcase reaches for the booze. Seth steps in +front of him. + + SETH + Back off, or we’ll kick the shit + out of you! + + + + EVAN + We can’t do that. He’s homeless. + + + + SETH + So? Who cares? Just because he + doesn’t have a home doesn’t mean he + can be a lunatic! + + + + HOMELESS GUY + Give me the booze! + + + +The guy shoves Seth aside and dives at Fogell. + +WE GO INTO VERY SLOW MOTION: + +- Helen’s bottle of Goldschlager gets knocked from the bag. +It VERY SLOWLY falls towards the ground. + +- Seth reaches for it, but doesn’t quite grab it. + +- WE LOUDLY HEAR the bottle as it slams against the bus +floor but doesn’t break! It slowly rises back up into the +air and begins sailing towards the front of the bus. + +- Evan LEAPS through the air, sailing towards the precious +Goldschlager with his arms extended. + + EVAN + (in slo-mo voice) + GOOOOOOOLDSCHLLLAAAAAAAGERRRRRRRRRR + !!!!! + + + +- He is inches away from grabbing it, when it suddenly +smashes into a pole, SHATTERING, sending little gold flakes +everywhere. + 122. + + + BACK TO NORMAL. + + The Homeless Guy sees the gold flakes. + + HOMELESS GUY + Shit!!! Gold!!! + + + + He starts frantically picking up the flakes as Evan stares + at the remains, shocked. Fogell walks over. + + FOGELL + What the hell is going on? Where + did you come from? + + + + BUS DRIVER + (calling from front) + Get the fuck off the bus or I’m + calling the cops!!! + + + + The boys look at each other terrified, and get off the bus. + + + + +116 EXT. BUS - CONTINUOUS 116 + + Seth and Evan are looking at one another coldly as the bus + pulls away. Fogell looks at some nearby street signs. + + FOGELL + (ecstatic) + Holy shit! We’re like three blocks + away! Best luck ever! + + + + +117 EXT. STREET NEAR JULES' PARTY - A LITTLE LATER 117 + + The are walking up the street as Evan puts his clothes back + on right-side out. + + + + +118 EXT. JULES’ PARTY - MOMENTS LATER 118 + 123. + + +The guys walk up the front steps of Jules’ house. They +stand in front of the door. + + FOGELL + Fuck yeah, guys. We made it. + Together and safe. + + + + EVAN + I can’t believe Helen’s bottle + broke. + + + + FOGELL + I’m sure it’ll be fine. + + + + SETH + (sarcastic) + What’s the difference? I thought + you didn’t need it anyways. I + thought you were just going to tell + her how you feel, you fucking + pussy. + + + + EVAN + Yeah? Well, good luck getting + Jule’s drunk enough to have sex + with you. + + + + FOGELL + What’s wrong with you guys? + + + + SETH + Shut up, Fogell. Never mind. + Evan’ll tell you next year. + + + + FOGELL + (to Evan) + You told him? + 124. + + +Evan stares Fogell down. + + SETH + Told me what? + + + + FOGELL + Well we have to tell him now. + + + + EVAN + Fuck, Fogell! You’re a goddamn + idiot. + + + + FOGELL + Well, he knows something’s up. + + + + SETH + Just say it! + + + + EVAN + Shit. + (beat) + Seth, me and Fogell are rooming + together next year. + + + + FOGELL + I don’t even get what the big deal + is, to be honest. + + + + EVAN + I didn’t tell you because- + + + + SETH + Save that shit for later. We’ve got + shit to do. + 125. + + + Seth just goes into the house with the booze, leaving + Fogell and Evan. + + FOGELL + We never should have had to hide + our arrangement. + + + + +119 INT. JULES’ HOUSE - KITCHEN - CONTINUOUS 119 + + The party is in full swing. There is loud music blaring and + nearly a hundred people talking, dancing, and smoking. + + JULES + Seth! Everyone, he’s here! He’s got + it! + + + + Everyone turns around and sees the Seth holding all the + liquor. + + RANDOM GUY + He’s got a shit load of booze!!! + + + + Everyone starts cheering! Seth sets it out on the kitchen + table; it is an impressive array of inebriates. + + SETH + The bar is open! + + + + EVERYONE + (ecstatically cheering) + Yeah Seth!/Clutch!/Nice!/I can’t + believe it!/Seth did that?!/ Who + the fuck is Seth? + + + + In the background, we see Evan and Fogell wander into the + party as Jules approaches Seth. + + JULES + This is awesome. Thank you so much. + 126. + + + SETH + Sorry it was late. + + + + JULES + Yeah. To be honest, people were + starting to get seriously pissed + off. Listen, I’ve got to go tell + everyone the drinks are here. Don’t + go anywhere. Promise? + + + + SETH + I’ll be right here. + + + + Jules walks off. + + + + +120 INT. JULES’ KITCHEN - MOMENTS LATER 120 + + Tons of kids pour themselves drinks. Seth and about six + other kids all have overflowing shots of Jaeger. + + SETH + To Jules! + + + + Everyone drinks and recoils from the taste. A random guy + refills everyone’s shot glasses. + + RANDOM GUY + (pointing to Seth) + Another one, but to you, man! + Everyone, to this guy! Who the fuck + are you, man? + + + + SETH + (exuberant) + Seth! + + + + RANDOM GUY + 127. + + + To Seth! + + + + EVERYONE + To Seth! + + + + They all drink. + + SETH + Hey! Let’s do another one to me! + + + + Everyone laughs as Seth, very pleased with himself, starts + refilling shot glasses. + + + + +121 EXT. JULES BACKPORCH - CONTINUOUS 121 + + Evan walks out onto the back porch, looking for Helen. He + sees Becca. + + EVAN + Becca! Hey. + + + + BECCA + Where have you been, you almost + blew it. + + + + EVAN + What? + + + + BECCA + Helen. She’s been waiting for you. + She’s right over there. She’s been + yammering about you all night. + + + + EVAN + 128. + + + What? What did she say? Does she + think I’m a good guy? What did she + say? + + + + BECCA + It was something like, “I’ll fully + blow him tonight.” + + + + EVAN + What?!? + + + +Evan looks over and sees Helen standing on the balcony with +a big group of people. He gets really nervous. + + EVAN (CONT’D) + Oh man. This is too much. Oh god. + What do I do? I lost the + Goldschlager I was supposed to + bring her! + + + + BECCA + Well, Jordana stole a bottle of + tequila from her parents and her + and Helen have been going at it. I + think she’ll be fine in that + department. I’d just go over there + and invite her upstairs, pronto. + + + + EVAN + What? Oh man-- + (so nervous) + But-- she’s totally hammered. If I + get with her, and I’m not drunk, + isn’t that, like, date rape? + + + + BECCA + It’s not date rape if you’re drunk, + too. + 129. + + + EVAN + I guess. + + + + Evan looks at Helen and takes a deep breath. + + + + +122 INT. JULES BATHROOM - MOMENTS LATER 122 + + Evan enters the bathroom and slams the door shut, a bottle + of Ouzo in one hand and a beer in the other. He looks at + himself in the mirror, seeming as though he’s on the verge + of a full- on panic attack. + + EVAN + (panting) + Calm down, Evan. She likes you. She + wants to suck on your penis. That’s + a good thing. + + + + He opens the Ouzo and smells it, recoiling in disgust. + + EVAN (CONT’D) + Down the hatch. + + + + Evan takes a mighty swig, then gags and spits it out, + spraying it everywhere. + + + + +123 INT. JULES’ DEN - DINING ROOM - CONTINUOUS 123 + + Fogell sits bored in front of the TV, drinking a beer. He + watches a bunch of girls flirt with some boys. Everyone is + talking and laughing while he sits alone. + + He walks over to the doorway of a room filled with girls + dancing. In the corner dancing is Nicola. He stares at her + for a moment, then goes back and sits in front of the TV. + + He changes the channel and “COPS” comes on the screen. It + shows two cops chasing a crack head, tackling him and knee + dropping him. Fogell ponders as he watches “COPS.” He + throws back the rest of his beer and marches into the room + Nicola is dancing in. + 130. + + + He walks up to Nicola, who is by far the best-looking girl + in the room, and starts dancing with her. She looks a bit + thrown at first, but after a few beats, she seems to like + it. + + FOGELL + They call you Nicola, right? + + + + NICOLA + And they call you Fogell. + + + + FOGELL + Some do. + + + + They continue dancing. + + + + +124 INT. JULE’S KITCHEN - BATHROOM - CONTINUOUS 124 + + MONTAGE INTERCUTTING SETH AND EVAN DRINKING: + + + + +125 INT. JULES KITCHEN 125 + + - Seth taking shot after shot in the kitchen with everyone + else, glancing over at Jules every now and then as she + walks around the party, sending more people to drink with + him. + + + + +126 INT. JULES BATHROOM 126 + + - Evan in the bathroom, forcing himself to brutally suck + back a disgusting amount of Ouzo. He sips from his beer, + takes a deep breath, and then starts again. + + + + +127 INT. JULES HOUSE 127 + 131. + + + - Seth dances jokingly with a few people and tells the + story of that evening, showing them the detergent jug full + of beer and acting out the car hitting him. + + + + +128 INT. JULES BATHROOM 128 + + - Evan, who has drank about half the bottle and is pretty + drunk, stands up, arms reached out, and tries to walk in a + straight line. He does it fairly well. Frustrated, he sits + back down and takes another disgusting swig of Ouzo. + + + + +129 INT. JULES HOUSE 129 + + - Jules throws Seth a smile when she sees him making + everyone laugh as he re-fills their cups with very foamy, + slightly blue-tinted beer from the detergent jug. + + + + +130 INT. JULES BATHROOM 130 + + - Evan can’t keep his balance as he tries to touch his nose + while standing on one foot. He’s drunk. He drinks from the + tap thirstily, eats some toothpaste, fixes his collar and + hair, and then gathers his courage, takes a deep breath, + and steps out of the bathroom. + + + + +131 EXT. BACKYARD - CONTINUOUS 131 + + Evan walks out on the balcony. He spots the circle of + people Helen was standing in, only now Helen is laying on + the ground, laughing hysterically. Everyone in the circle + is looking at her and laughing as well. Evan is extremely + nervous. Helen looks up and spots him. + + HELEN + (laughing) + Evan!!! Hey! Come here!!! + + + + Evan takes a deep breath walks up to where she’s laying. + She extends her arms. + 132. + + + HELEN (CONT’D) + Help me up! None of these people + will help me up! + + + +Evan notices that she seems a little drunk. He helps her up +and she collapses onto him, forcing him to hold her up. + + EVAN + Hey, Helen. Sorry I was- + + + +Helen laughs hysterically as she latches onto Evan. He +smells her breath. It reeks of alcohol. + +Evan’s drunk, but Helen is completely fucking shit-faced! + + HELEN + Evan! Oh my god! You are so fucking + hilarious! + (to the group) + Do you goes know how fucking + hilarious Evan is? + (to Evan) + Tell them how hilarious you are! + + + +The group looks over to Evan. + + EVAN + Uh-- well-- uh-- + + + + HELEN + Listen to him! + + + +Helen starts laughing hysterically. + + HELEN (CONT’D) + See?!! He is so cute! + + + +The group chuckles a little. Helen puts her arms around +Evan. + 133. + + + HELEN (CONT’D) + I’ve been waiting for you for, + like, ever. What took you so long? + Do you have my Goldschlager? + + + + EVAN + Oh man, it’s a crazy story- + + + +Helen picks up a bottle of tequila and shoves it into +Evan’s hand. + + HELEN + Here! Don’t worry, we can drink + this. + + + + EVAN + I’m already pretty wasted. But-- + uh-- here’s to you. + + + +Evan takes a much-unwanted drink and gags. + + HELEN + Light-weight! + + + +Everyone laughs. + + HELEN (CONT’D) + Hey-- me and you should go upstairs + now. I really want to-- tell you + something. + + + + EVAN + (confused and drunk) + Uh-- uh-- uh-- you could just tell + me right here- + + + + HELEN + (laughing) + 134. + + + No! Let’s go upstairs, come on! + + + + Evan hears everyone giggle as Helen pulls him towards the + house. Helen trips, just managing not to fall. + + HELEN (CONT’D) + Careful-- + + + + +132 INT. JULES’ DINING ROOM WITH DANCING PEOPLE - CONTINUOUS 132 + + Nicola and Fogell are standing in the corner of the room. + Nicola is looking at Fogell’s ID. + + NICOLA + McLovin! That’s the funniest thing + I’ve ever seen! + + + + FOGELL + Yeah, I just thought it sounded + old. + + + + They both laugh and their eyes meet. + + + + +133 INT. JULES KITCHEN - CONTINUOUS 133 + + The party is in full swing and everyone is getting good and + drunk. Jules walks up to Seth, who is clearly piss drunk. + + JULES + Hey, I’m back. I had to thank the + peeps for comin’ out. + + + + SETH + (really, really, drunk) + Jules! The hostess with the most- + est! The woman of the hour! + 135. + + + Seth takes a swig of a beer. + + SETH (CONT’D) + This party’s blowin’ my ass off! I + want you to have a drink with me. + + + + Seth offers her a beer. + + JULES + No, thanks. I’m good. But, + seriously, thanks for getting all + the drinks. It really made the + night. + + + + SETH + It’s just how I roll, Jules. No + problems, no problems. + + + + Jules laughs and Seth sees that his charm is working. + + SETH (CONT’D) + Uh-- you know-- I love talking, and + conversing with you, you’re so good + at it, but I can’t hear you. Could + we just go on the-- uh-- balcony or + something? + + + + Jules eyes Seth suspiciously. Seth just looks at her, + smiling drunkenly. + + JULES + Why not? I haven’t conversed in + ages. Let’s do it. + + + + Jules walks out of the kitchen. He finishes off his beer + and then, happy as shit, drunkenly dances out of the + kitchen and after Jules. + + + + +134 INT. JULES’ BEDROOM - CONTINUOUS 134 + 136. + + +Evan practically holds Helen up, almost dropping her +several times, as they stumble into Jules’ bedroom. Helen +puts down the tequila and starts kissing Evan, but it’s not +nice kissing, it’s sloppy porno kissing with way too much +tongue. After a few moments Evan pulls away and looks at +the remarkably drunk Helen. + + EVAN + Are you okay? + + + + HELEN + I so flirt with you in Math. + + + + EVAN + Oh man. Helen-- I want to tell you, + I mean, I’ve wanted to tell you, + for a long time- + + + + HELEN + I know. I’ve wanted to get with you + so hard. + + + +Helen kisses him. + + HELEN (CONT’D) + Like-- so hard. + + + +Helen yanks him onto the bed and starts sloppily kissing +him again. Evan doesn’t know what to do. She tries to take +off Evan’s shirt, but is way too inebriated to undo the +buttons. Evan yanks it off. + + HELEN (CONT’D) + Good-- + + + +Helen stands up and starts to waver back and forth. She +looks like she’s about to tip over, but she catches herself +and sloppily tries to strike a sexy pose like a model. + +Evan watches in dread as she starts to strip, pulling her +shirt over her head, completely failing to look sexual. + 137. + + + As Evan watches the tragedy unfold, he grabs the bottle of + tequila and takes a big swig. Helen sits on the floor and + concentrates on untying her shoes. + + HELEN (CONT’D) + What the fuck-- stupid shoe-- + + + + Evan moves over to help her. He can’t do it either. + + EVAN + Shit. Can you, like, slip out? + + + + Helen tries to squeeze her feet out, but she can’t. She + grabs a pair of scissors off a desk. + + EVAN (CONT’D) + Whoa. Fuckin’--careful. + + + + She snips off the knot and slips her shoe off. + + HELEN + You-- take off your pants-- + (drunkenly waving the + scissors) + Or I’ll cut ‘em off. + + + + Helen laughs as she staggers to her feet and start kissing + Evan. He starts taking off his pants. + + + + +135 INT. JULES’ STAIRCASE - MOMENTS LATER 135 + + Nicola leads Fogell up the stairs. + + NICOLA + I can’t believe I’m about to get + with “Fogell”. + + + + FOGELL + Why? + 138. + + + + + NICOLA + I don’t know. You’re like, the most + mysterious guy in the grade. Like, + nobody knows anything about you. + + + + FOGELL + Well, you’re about to learn a few + things. + + + + +136 EXT. JULES’ FRONT PORCH - CONTINUOUS 136 + + Jules and Seth step out onto the front porch. There is no + one else out there. The moment the door closes behind them, + Seth turns to Jules and puts his hands on her hips. He + stares into her eyes and moves in for the kiss. + + Jules instantly pulls back. + + JULES + Whoa! Whoa! Slow down. + + + + SETH + What? What’s wrong? + + + + JULES + I’d-- uh-- prefer if we did this at + some other time. + + + + SETH + (confused) + But-- there is no other time. + School’s up! This is the only time- + - what’s wrong with now? + + + + JULES + Well, you’re drunk. Like, really, + really drunk. + 139. + + + + + SETH + So? So are you. + + + + JULES + I’m not drunk at all. I don’t even + drink. + + + +Seth is absolutely shocked. It takes his remarkably drunk +mind a moment to process this information. + + SETH + You don’t drink? But-- but, you + told me to get the liquor! + + + + JULES + Yeah, I’m-- uh-- throwin’ a party, + remember? + + + + SETH + You don’t drink!?! + + + + JULES + No. I don’t drink. + + + + SETH + And you, don’t want to-- uh, you + know-- + + + + JULES + Uh, no. Not right now, thank you + very much. + + + +Seth looks at Jules and realizes that he’s screwed up. His +eyes start to water. + 140. + + + SETH + Ahhh-- man-- fuck-- + + + +Seth starts to cry. + + JULES + Are you crying? + + + + SETH + No! Yeah, so what if I am? I’m a + fucking idiot and it was my last + chance! So I should be crying. + + + + JULES + Last chance to do what? + + + + SETH + To make you my girlfriend for the + summer, okay? There! You’re, like, + the coolest person that’s ever + talked to me, and I thought we’d + both be drunk, but-- + + + + JULES + What would me be drunk have + anything to do with it? + + + + SETH + ‘Cause you’d never get with me in + your right mind! Look at me! + (beat) + And now look at you! + + + +Suddenly, the front door opens, and a RANDOM GIRL walks +out. + + RANDOM GIRL + (yelling into the house) + 141. + + + Hey, Ricky! Was it a quarter, or an + eighth you want? + + + + RICKY (O.S.) + A fat eighth! + + + + The Random Girl notices Seth and Jules. + + RANDOM GIRL + Whoa. Sorry. + + + + The girl hops down the stairs and walks off as Jules stares + at the sobbing Seth. + + + + +137 INT. JULES’ ROOM - CONTINUOUS 137 + + Evan sitting on the bed in only his boxers, and Helen is + just getting her pants off, leaving her only in her + lingerie. Evan’s eyes widen. She looks at Evan and rubs her + breasts in a very un-sexy way. + + HELEN + I wore this for you. Here we go-- + + + + Helen crawls onto the bed, pushes Evan down, and starts + seriously making out with him, drunker and sloppier than + ever. + + HELEN (CONT’D) + Evan, I’m so wet. + + + + EVAN + (still nervous) + You’re so beautiful. + + + + Helen shoves her hand down Evan’s boxers. Evan jolts, + terrified! + 142. + + + HELEN + You’ve got such a smooth cock. + + + + EVAN + Um-- thank you. I’ve thought you + were a really incredible person for + a really long time. + + + +Evan looks really nervous as Helen’s hand starts moving up +and down. + + HELEN + You’ve got to get hard for me-- + real hard. + + + + EVAN + I’m-- I’m-- I’m about to. But first + I just want to tell you exactly how + I- + + + + HELEN + I’m gonna suck your dick so good. + + + +Evan is taken aback. + + EVAN + You don’t have to do that, you + know, we can start this + relationship on something more than + just that. + + + + HELEN + Yeah, Evan. I know. + (in a sultry, whispery + voice) + I need you to eat my hairy love + crack. + + + + EVAN + 143. + + + Jesus Christ. + + + +Evan sits up. + + HELEN + What’s wrong? + + + +Beat. + + EVAN + You don’t want to do this. + + + + HELEN + Yeah I do, I want to fuck you. + + + + EVAN + Look, you know I really like you, + Helen, but this is-- it’s just too + intense. And I’m so drunk I don’t + even know how to, like, process- + + + + HELEN + You’re just being a pussy. + + + + EVAN + What? Did you just call me a-- + pussy? + + + + HELEN + Yeah-- a scared little pussy- + + + +PUKE! Evan watches in horror as Helen vomits all over +Jules’ bed. + + EVAN + Oh god! Oh-- + 144. + + + + + HELEN + I need Becca-- Becca-- + + + + EVAN + I’ll-- uh-- I’ll go get her. Are + you going to be okay? + + + + HELEN + Oh God, oh God, oh-- I’m puking-- + + + + PUKE! Evan winces as she throws up again. + + + + +138 INT. JULES PARENT’S BEDROOM - CONTINUOUS 138 + + Fogell is laying on his back on the bed and Nicola is + straddling him. They are kissing. Nicola sits up and takes + Fogell’s hand and starts sucking his fingers. + + FOGELL + I’ve got a boner. + + + + NICOLA + Good. Do you have a condom? + + + + He pulls a condom out. + + FOGELL + And lube. + + + + He pulls out a little bottle of lube. + + + + +139 EXT. JULES’ FRONT PORCH 139 + 145. + + +Seth and Jules are both seated on the stairs. Seth has his +face in his hands. Jules is patting him on the back, but +clearly feels awkward. + + JULES + Seth, you-- uh-- + + + +Seth looks up at her, drunk as hell, his eyes half-open. + + JULES (CONT’D) + You didn’t blow it, you’re a- + + + +Seth blanks out and falls forward. BAM! He head-butts Jules +in the face! + + JULES (CONT’D) + AAAHHH! + + + +Jules clutches her eye as Seth slumps onto the patio floor, +unconscious. She gets up, yelling in pain, as Seth opens +his eyes. + + JULES (CONT’D) + Seth! What the fuck! + + + + SETH + --help me-- + + + +Jules storms into the house, leaving Seth lying on the +front porch. He wiggles around a bit. + + SETH (CONT’D) + --sorry-- + + + +Seth passes out again. A few moments go by, when SUDDENLY a +cop car pulls up in front of the house. Seth opens his eyes +and sees the cops. + + SETH (CONT’D) + Oh no. + 146. + + + + + Two cops get out and start harassing two kids smoking a + joint on the front lawn. One of them turns on their + flashlight and Seth sees - it’s OFFICER SLATER and + MICHAELS!!! + + SETH (CONT’D) + --Evan-- + + + + +140 INT. JULES’ HOUSE - CONTINUOUS 140 + + Evan, sitting on the couch next to Miroki (Evan’s partner + from cooking class), drinking a bottle of tequila. He’s + absolutely smashed. + + EVAN + Life’s bullshit, huh, Miroki? + + + + Suddenly, Seth bursts into the room and grabs Evan’s shirt. + + EVAN (CONT’D) + Fuckin’ wax off, asshole! + + + + SETH + No-- I’m helping you, man! Just + listen-- + + + + Seth grabs Evan’s wrists and tries to pull him to his feet. + + EVAN + Fuck off, jerk! You’re hurting my + shoulders! + + + + Just then, Terry (the guy who spat on Seth in the + beginning) walks by. + + TERRY + Hey! Look, it’s Christina and + Britney. Have fun boning each other + on grad night! + 147. + + + + +Terry and his buddies laugh their asses off when, suddenly- + +KNOCK! KNOCK! KNOCK! The loud authoritative knocking echoes +through the party and everyone looks to the door, knowing +it can only mean one thing. Someone opens the door, +revealing Officer Slater and Officer Michaels! They talk to +whoever answered the door, oblivious of Evan and Seth. + + OFFICER SLATER + We had a complaint about the noise. + It looks like you’re having a nice + little party here. + + + + OFFICER MICHAELS + A nice little underage drinking + party. + + + +Evan points at the cops. + + EVAN + Dude! Seth! It’s the cops! The + cops. + + + + SETH + That’s what I’ve been--! Here-- + + + +Seth pulls Evan up and the two drunkenly make their way out +of the living room just as the cops step into it. + + OFFICER SLATER + Okay, everyone out. Party’s over. + Get out of here. + + + +Michaels turns to Slater. + + OFFICER SLATER(CONT’D) + I’ll go upstairs. I told you this + would release some anger. + 148. + + + OFFICER MICHAELS + I’ll tell you what would release + some anger, if one of these little + fuckers touched me and I got to + club his face in. + + + + +141 EXT. JULES’ BACKYARD - CONTINUOUS 141 + + Seth and Evan run through the back yard. Seth stumbles and + falls, but quickly gets up. With great difficulty, The boys + drunkenly lift themselves up and over the fence. + + + + +142 INT. JULES PARENTS’S BEDROOM - CONTINUOUS 142 + + Fogell is on top of Nicola in the missionary position. + + NICOLA + Oh-- uh-- oh-- + + + + FOGELL + It’s-- it’s in. + (beat) + It’s in. + + + + Fogell wears the greatest look of accomplishment one could + possibly imagine. + + SUDDENLY, Officer Michaels bursts into the room and flicks + on the lights. + + FOGELL (CONT’D) + What the hell? + + + + Nicola screams, grabs her clothes, and runs into the + bathroom. + + OFFICER SLATER + McLovin? What the fuck? + 149. + + + FOGELL + Officer Slater? + + + + OFFICER SLATER + You ran away from us! + (turns to the door) + Michaels! Get up here! + + + + FOGELL + No! I hit my head when we crashed. + I was all disoriented and I just + wandered off, confused. Seriously! + + + + OFFICER MICHAELS + Shut the fuck up! Wait a minute. + How old was that girl? 16, 17? You + sick bastard, that’s statutory + rape, McLovin. + + + +Officer Slater appears in the doorway. + + OFFICER SLATER + McLovin! + + + + OFFICER MICHAELS + He was violating a sixteen year-old + girl! + + + + FOGELL + What? No! No! + + + +Fogell covers himself with the blanket and starts to get +up. + + FOGELL (CONT’D) + I didn’t break the law! I’m not + really even- + 150. + + + + + OFFICER MICHAELS + Sit your ass down and keep it down. + + + + OFFICER SLATER + You’re going to jail, fucko. + + + + Nicola, now dressed, emerges from the bathroom. She screams + and runs out. They take Fogell’s arms and handcuff him. + + OFFICER SLATER (CONT’D) + (to Fogell) + They don’t take kindly to your type + in jail, McLovin. + + + + +143 EXT. ALLEY - CONTINUOUS 143 + + Drunk, joyful, and out of breath, the boys stop running. + + EVAN + Dude. You saved me! + + + + SETH + I totally did! I wanted to! + + + + EVAN + Wanna sleep at my house, man? + You’re my best friend! + + + + SETH + Yeah! Sleepover! Fuckin-- you got + pizza bagels still? + + + + EVAN + Yeah!!!! Look what else I gots! + 151. + + + + + Evan pulls a half bottle of tequila. + + SETH + Nice! + + + + They start to drink it together. + + + + +144 EXT. JULES’ FRONT YARD - CONTINUOUS 144 + + All the kids from the party have congregated in the front + yard. The cop car is parked right in front. We see the + Officers dragging Fogell through the crowd of kids. + + TERRY (O.S.) + Stupid pigs. + + + + SUDDENLY, a WAD OF SPIT hits Slater in the shoulder! He + turns and sees Terry, the guy who spat on Seth. Slater + walks over and bashes the kid in the face with his + nightstick. The kid drops. + + OFFICER SLATER + There you go. + + + + OFFICER MICHAELS + That does feel better. + + + + They throw Fogell into the back of the cop car. + + + + +145 INT. COP CAR - CONTINUOUS 145 + + The cops both get in and slam their doors. They just stare + forward. + + FOGELL + So-- am I going to jail? + 152. + + + + +The two cops burst out laughing hysterically. + + OFFICER SLATER + (laughing his ass off) + Yeah!! You’re going to fuckin’ + Azkaban!!! + + + + FOGELL + What? + + + + OFFICER MICHAELS + You are the funniest fuckin’ kid I + have ever met! + + + + OFFICER SLATER + We’ve been fuckin’ with you! Jesus! + I love this kid! + + + + FOGELL + I don’t understand! + + + + OFFICER SLATER + We know you’re not twenty five! + What are we, morons? My god! What + are you? Sixteen? + + + + FOGELL + Seventeen. + + + + OFFICER MICHAELS + Seventeen! Ha! We had you going, + McLovin! + 153. + + +146 EXT. BUS - SOON AFTER 146 + + Seth and Evan sit at the back of the empty bus together. + + EVAN + Is the bang bus anything like this? + + + + Seth cracks up laughing. + + + + +147 EXT. SHOPWELL’S - PARKING LOT - CONTINUOUS 147 + + The cop car is spinning donuts in the middle of the empty + lot. It stops. Fogell and Officer Michaels get out, both + smiling. The driver side window rolls down, reveal Slater. + + OFFICER SLATER + Alright, boys. What I’m about to + show you is pretty much the + greatest move in donut- spinning + history. Behold: the reverse + figure-eight. + + + + Slater drives to the other side of the lot. + + FOGELL + So, like, what’s your official + position? + + + + OFFICER MICHAELS + If you were in, you were in. You + are no longer a virgin, end of + story. Screw cumming. + + + + Suddenly, Slater guns it and speeds across the lot, + slamming the breaks, spinning wildly in several erratic + donuts backward donuts. + + Slater completely loses control of the car. He smashes + through a bunch of shopping carts and slams into a light + post, completely fucking up the cruiser. + 154. + + + Slater tries to open his door, but it won’t budge. He + crawls out the missing windshield, slumping onto the + ground. + + OFFICER SLATER + Alright. I think that’s all the fun + we’re gettin’ out of this one. + + + + +148 EXT. CLIFFSIDE - LATER 148 + + Slater hands Fogell his notepad. + + OFFICER SLATER + --and by signing this you are + officially saying that as we + stopped you from being mugged, a + crackhead stole our cruiser and did + God knows what with it. + + + + FOGELL + Of course. That mugger had nothing + but murder in his eyes. I owe you + my life. + + + + Fogell signs the pad. + + OFFICER MICHAELS + Can we do this already? + + + + The cops and Fogell push the cruiser towards a small, but + steep, hill. They shove it over the edge and watch it roll. + It gains speed and smashes into a tree, shattering the + windows and crushing the front of the car. + + OFFICER MICHAELS (CONT’D) + Can we shoot at it? + + + + OFFICER SLATER + I don’t know, can you? + 155. + + + They whip out their guns. + + OFFICER SLATER (CONT’D) + I’m throwin’ down the gauntlet. 50 + bucks. Whoever hits the gas tank. + + + + OFFICER MICHAELS + You are so fucking on. + + + + FOGELL + Can I get a shot? + + + + Slater hands Fogell his gun. With a huge smile, Fogell + raises the gun, aims it at the police cruiser, and BLASTS + off round after round. + + + + +149 INT. EVAN’S BASEMENT - NIGHT 149 + + Seth and Evan are lying in sleeping bags beside one + another. The now empty bottle of Tequila lies between them. + They are laughing very hard, still drunk off their asses. + + SETH + I can’t believe she said that shit. + + + + EVAN + Oh my lord. You have no idea! + + + + They laugh harder. + + EVAN (CONT’D) + And then you saved me, man! I + fucking love you! + + + + SETH + I fucking love you, too, man! I’m + not embarrassed, I just love you! + 156. + + + + + EVAN + Why don’t we say that more? It + feels good! I love you more than my + brother, man. Like, when you went + away for Easter last year, I, like, + missed you. You know? + + + + SETH + I missed you, too. Come here, man. + + + +Seth grabs Evan and they hug. + + SETH (CONT’D) + We’ll always be friends. ‘Cause we + love each other. + + + +They stop hugging and sit back down. They’re laughter slows +down and there is a moment of silence. + + SETH (CONT’D) + Like, three weeks ago I was in you + room and, like, you were taking a + dump and-- I saw your residence + placement thingy. I totally saw + you’re living with Fogell. So, + like- + + + + EVAN + I’m sorry, man. + + + + SETH + Don’t be! Don’t be! I’m sorry. I + was being a bitch. + + + + EVAN + I need you to know that it’s not + like I even want to live with + Fogell; it’s just that I’m really + afraid of living with strangers. + 157. + + + + + There is a moment of silence. + + SETH + You know-- I was pissed off I + didn’t get with Jules, but, like-- + we really got through a lot of our + shit, you know? + + + + EVAN + Yeah, me too. Like, yeah-- at least + we kind of came together, again. + + + + Beat. + + EVAN (CONT’D) + Good night, Seth. I love you. + + + + SETH + Night, Evan. Love you, man. + + + + +150 INT. EVAN’S HOUSE - BASEMENT - THE NEXT MORNING 150 + + Evan wakes up and looks over at Seth, who is also waking. + They look at each other extremely awkwardly, almost as + though they drunkenly had sex with each other last night. + + EVAN + Oh-- uh-- hey. Morning. + + + + SETH + Uh-- morning. + + + + They stare at each other, uncomfortable. + + EVAN + You sleep good? + 158. + + + + + SETH + Yeah. This is a really good pillow. + + + + EVAN + Um-- + + + + Seth looks at his watch. + + SETH + Maybe I should get going. + + + + EVAN + You don’t have to. I’m not, like, + doing anything. + + + + Beat. + + SETH + Oh-- do you want to hang out? I + was-- gonna go to the mall, + actually. + + + + EVAN + Oh. Cool, well, can I come? I need + a comforter. For college. + + + + SETH + Yeah. That’d be nice. I’d really + like that. + + + + +151 INT. DEPARTMENT STORE - NEXT DAY 151 + + Evan is standing in the pants section of a department + store. Seth walks out of the dressing room wearing jeans + that are way too small. + 159. + + + EVAN + Don’t ask me. I don’t give a shit + if your pants look good. + + + + SETH + Well, I need someone’s opinion. + + + + EVAN + Fine. They’re way too small. + + + + SETH + Yeah, but when I was wearing your + dad’s pants last night I realized + that if I buy pants that are too + small it’ll encourage me to lose + weight. And in tight pants + chicks’ll kind of see my dick a + little. + + + + EVAN + Yeah, the male camel toe look is + really big this year. + + + + Seth goes back into the dressing room and wriggles out of + the pants. He walks out. + + SETH + These pants suck. Let’s the get the + fuck out of here. + + + + +152 INT. DEPARTMENT STORE 152 + + They walk through the department store, when suddenly, Evan + sees Helen and Jules looking at comforters. + + ANGLE ON: Helen and Jules + + HELEN + Again, I’m so sorry. I can’t + believe I actually did that. + 160. + + + + + JULES + I feel sorry that I’m making you + buy me a new one. + + + + HELEN + I have to. It’s puke. + + + +ANGLE ON: Seth and Evan + + EVAN + Holy shit! + + + +Helen looks like hell and Jules has a horrible black eye. + + SETH + Is that them? + + + +They stare at the two girls from afar. + + EVAN + Should we hide? + + + +Helen looks and notices them. She waves and points them out +to Jules. Seth and Evan wave back. The girls get up and +start to walk over. + + SETH + (pretending to smile) + Fuck that, man. I can’t talk to + her, look what I did to her! + + + + EVAN + (pretending to smile) + Helen called me a pussy to my face! + What am I going to say to her? + 161. + + +The girls walk up to them. + + HELEN + Hi Evan, Seth. + + + + JULES + Hey guys. + + + + EVAN + Hi Helen, Hi Jules. + + + + SETH + Jules. Helen. Hi. + + + +Everyone looks very embarrassed. + + SETH + Oh my god. I’m so sorry, Jules. + + + + JULES + It’s okay. + + + + EVAN + (to Helen) + How are you feeling? + + + + HELEN + Not bad, but not great, how about + you? + + + + SETH + (to Jules) + That looks terrible. No! I mean, it + doesn't look terrible, it looks- + 162. + + + JULES + Don’t worry about it, Seth. It was + an accident. + + + + EVAN + (to Helen) + Did you have fun last night? + + + + JULES + (to Seth) + Do you remember much? + + + + HELEN + (to Evan) + I really don’t remember much. + + + + SETH + (to Jules) + Not really. I remember looking up, + and you screaming at me. That’s + about it. + + + +Jules laughs. + + HELEN + (to Evan) + I didn’t puke on you, did I? + + + +Evan laughs. + + EVAN + No, I dodged it. Whizzed right by + me. + + + + SETH + (to Jules) + 163. + + + But seriously, I acted like a + fuckin’ idiot last night. I’m + really sorry, you didn’t deserve + that. + + + + HELEN + (to Evan) + Yeah, I-- um-- I’m sorry, about all + that. Thanks for being such a + gentleman. + + + +There is a moment of silence. + + SETH + You look good with a black eye. + + + +They all chuckle a little. + + JULES + Thanks, smart guy. That’s why I’m + here. I have to go to Macy’s to get + a shitload of cover-up for the grad + photo. + + + + SETH + (mortified) + Oh man-- + + + + HELEN + Yeah, and I’m going to Linen + Brothers to buy Jules a new + comforter. + + + + EVAN + Oh! I have to get a comforter too, + for college. + + + + JULES + (flirtatiously, joking) + 164. + + + So, you gonna come with me to + Macy’s and buy me my cover-up, or + what? + + + + SETH + Yes! Definitely. I’d love to. I had + such bad acne last year, I became + an expert on the stuff. + + + + EVAN + You could get your college pants + there. + + + + SETH + Yeah, but wait-- you drove me here, + Evan drove me here, how do we- + + + + JULES + I’ve got my dad’s car. I’ll take + you home, and Evan can give Helen a + lift. + + + + HELEN + That sounds good. + + + + EVAN + Maybe we can go eat after? + + + + HELEN + Sweet. + + + +Seth and Evan look at each other, odd smiles on both their +faces. They didn’t blow it. + + SETH + So, uh, I’ll call you later. + 165. + + + + + EVAN + Yeah man, have a good one. + + + + JULES + Come on, Seth. Let’s go. + + + + Jules pulls Seth away. Evan and Helen start walking in the + opposite direction. + + As they walk away from one another, Seth and Evan look back + and give each other a small and yet emotionally-charged + wave. A SLOW, GUT WRENCHING SOUL SONG STARTS TO PLAY. They + look as though they’re never going to see each other again. + + + + +153 INT. MACY’S ESCALATOR 153 + + As Jules and Seth walk into Macy’s and Helen and Evan + descend an escalator, the music swells to a mind-fuckingly + awesome crescendo, and we humbly fade to black... + + THE END + + END CREDIT SEQUENCE: + + We flip through Seth’s seemingly endless penis drawings + from childhood. They are hilarious. + + FADE OUT: + \ No newline at end of file diff --git a/scripts/Tenet.txt b/scripts/Tenet.txt new file mode 100644 index 0000000000000000000000000000000000000000..20af688ab4a80cbdb47034fe6464f081f8e57cc9 --- /dev/null +++ b/scripts/Tenet.txt @@ -0,0 +1,8914 @@ + 1. + + + + ORCHESTRA TUNING, audience settling. High officials in + glassed-in boxes toast each other. Doors closing... + + BAM – from behind the orchestra – TERRORISTS with MACHINE + GUNS BURST in... The audience SCREAMS... The terrorists + cover the ordinary people – the HIGH OFFICIALS are held in + the BOXES... + + +1 INT/EXT. VAN, PLAZA, DOWNTOWN KIEV, UKRAINE – DAY 1 + + As POLICE FLOOD THE PLAZA, the DRIVER turns to the + PASSENGER – + + DRIVER + (in Ukrainian) + – Wake up the Americans. – + + The Passenger turns to the back where four BLACK-CLAD YOUNG + MEN SIT, WAITING. The nearest one seems to be SLEEPING... + + PASSENGER + Hey – + + EYES CLOSED, the young man COCKS his weapon, chambering a + round, POPS it out of the slide, CATCHES it, opens his eyes + – this is THE PROTAGONIST... + + The Passenger nods, ‘okay’. The Driver looks down at a + VARIETY OF UNIFORM PATCHES... + + SIRENS. The Americans shoulder WEAPONS, pull on HELMETS... + + A UKRAINIAN SWAT VAN SCREECHES to a halt outside the + theatre – + + The Passenger spots its markings – TOSSES the corresponding + patches to the Americans, who slap them onto their + shoulders. + + Ukrainian SWATs pour out of the SWAT van – + + The Americans JUMP out of the back of their van, SLIPPING + UNNOTICED INTO THE STREAM OF SWATS pouring into the + lobby... + + +2 INT. LOBBY, CONCERT HALL – CONTINUOUS 2 + + SWATs mass at each entrance... the Protagonist watches GAS + CANISTERS brought in TO THE AIR-CONDITIONING SYSTEM. The + SWATs pull on GAS MASKS... + 2. + + +3 INT. BOX, CONCERT HALL – CONTINUOUS 3 + + A WELL-DRESSED MAN sitting next to a UNIFORMED OFFICIAL + looks down into the stalls – people SLUMP, UNCONSCIOUS, IN + A WAVE... + + He turns to the Official – who motions calm, draws a + SIDEARM... + + +4 INT. THEATRE, CONCERT HALL – CONTINUOUS 4 + + A Terrorist wets a rag in a drinking fountain, ties it + around his nose and mouth. Others have WORKMAN’S + RESPIRATORS AND FACE MASKS. They COCK THEIR WEAPONS, + preparing... + + +5 INT. LOBBY, CONCERT HALL – CONTINUOUS 5 + + THE SWATS BREACH – POURING into the theatre – exchange + GUNFIRE with the TERRORISTS... + + +6 INT. CURVING CORRIDOR – DAY 6 + + RUNNING. Fast but silent... + + FOLLOW the four Americans – they hit a junction – hand + signals – they SPLIT two ways – + + FOLLOW two of them – one of them PEELS OFF up a staircase – + FOLLOW the last, the Protagonist – checking each box... + + +7 INT. BOX, CONCERT HALL – CONTINUOUS 7 + + The Protagonist BURSTS in – takes out the Official beside + the Well-Dressed Man – + + PROTAGONIST + We live in a twilight world... + + The Well-Dressed Man stares, shocked – + + PROTAGONIST + We live in a twilight world... + + WELL-DRESSED MAN + (focuses) + And there are no friends at dusk. + 3. + + + PROTAGONIST + You’ve been made. This siege is a + blind for them to vanish you. + + WELL-DRESSED MAN + But I’ve established contact – + + PROTAGONIST + Bring you in or kill you – I have + two minutes. Make up your mind. + + The Well-Dressed Man nods, climbs to his feet... + + PROTAGONIST + Where’s the package? + + WELL-DRESSED MAN + Coat check. + + He hands the Protagonist a numbered ticket. + + +8 INT. CORRIDOR, CONCERT HALL – CONTINUOUS 8 + + The battle between SWATs and Terrorists rages... SWATS move + down the corridor, checking the boxes one by one... + + +9 INT. BOX, CONCERT HALL – CONTINUOUS 9 + + The Protagonist SMASHES the glass – checks the drop to the + stalls, pulls out a black rope, ties it to a column... + + As they DROP, Terrorist gunfire rings out – they LAND – + hiding amongst the UNCONSCIOUS AUDIENCE. The Well-Dressed + Man takes a seat, FEIGNS SLEEP – the Protagonist ROLLS + under the seats – + + BLAM! Terrorists near the stage open fire – SHOTS ring out + – hitting two sleeping audience members, nearby – the Well- + Dressed Man TWITCHES – the Protagonist holds his ankle – + urging him to keep still – + + BLAM! A third sleeping audience member is shot – the + Protagonist jumps up, DRAWING THE TERRORISTS’ fire away + from the Well-Dressed Man – + + The Protagonist races towards two REAL UKRAINIAN SWATS who + cover him from the Terrorists – one of them goes down. + 4. + + + The Protagonist takes cover beside the real UKRAINIAN SWAT + – WHO IS PLANTING A BOMB UNDER THE SEATS... he gestures to + the dead SWAT’s pack... the Protagonist unzips the bag to + find a BOMB, COUNTING DOWN IN SYNC WITH THE OTHER BOMB – + + UKRAINIAN SWAT + (in Ukrainian, impatient) + – What’re you doing? – + + The Ukrainian SWAT uses his gun to PROD the Velcro patch on + the Protagonist’s shoulder. It FALLS OFF... + + UKRAINIAN SWAT + (in Ukrainian) + – Who are you? – + + The Protagonist is at a loss... BAM! The Ukrainian SWAT is + taken out by another ‘SWAT’ – + + ‘SWAT’ + No friends at dusk, huh? + + PROTAGONIST + You’ll do. + + The Protagonist GRABS the bombs, points at the Well-Dressed + Man – + + PROTAGONIST + (to the ‘SWAT’) + Get him to the rally point. + + The ‘SWAT’ leads the Well-Dressed Man down a fire exit – + + +10 INT. LOBBY, CONCERT HALL – CONTINUOUS 10 + + The Protagonist RACES across the lobby, gunfire RINGING OUT + – LEAPS over the counter into the COAT-CHECK AREA... + + Landing on the floor next to an unconscious coat-check + girl. + + He spots another bomb – ‘4:23’, ‘4:22’... the Protagonist + checks the number on the coat-check ticket and efficiently + moves across numbered racks until he finds a SPORTS BAG. + + He unzips it to find a BLACK METALLIC OBJECT the size of a + softball. + + He stuffs it into his pack and SCRAMBLES over the + counter... + 5. + + +11 INT. SERVICE CORRIDOR – CONTINUOUS 11 + + – the Protagonist RUNS, checking numbers on doors... he + STOPS at a door, THROWS it open, JUMPS in low – + + +12 INT. UTILITY ROOM – CONTINUOUS 12 + + THREE ‘SWATS’, guns trained, and the Well-Dressed Man. The + Protagonist throws a bomb to SWAT 2, then shows the OBJECT + to the Well-Dressed Man – + + PROTAGONIST + I’ve never seen encapsulation like + this. + + WELL-DRESSED MAN + We don’t know how old it is. It’s + the real deal. + + PROTAGONIST + Did you have an out? + + WELL-DRESSED MAN + Service tunnels to sewers. + + PROTAGONIST + Swap clothes. + + The ‘SWAT’ and the Well-Dressed Man start changing. The + Protagonist hands SWAT 3 the object – + + PROTAGONIST + Take this, take him, take his exit. + I don’t trust ours any more. + (to SWAT 2) + Can you defuse it? + + SWAT 2 + (shakes head) + Centrally synchronized. Are there + more? + + The Protagonist nods, STUFFS the bomb in his pack – + + PROTAGONIST + Covering their tracks. + + SWAT 2 + Taking out the audience? + + PROTAGONIST + Just the cheap seats. + 6. + + + SWAT 3 + Not our mission – + + PROTAGONIST + Mine, now. + + The newly dressed ‘TARGET’ steps up – + + ‘TARGET’ + I’m with you – the Ukrainians are + expecting a passenger. + + +13 INT. THEATRE, CONCERT HALL – CONTINUOUS 13 + + The Protagonist and the ‘Target’ race through the SLEEPING + AUDIENCE COLLECTING BOMBS – the TIMERS tick down – ‘1:58’, + ‘1:57’. + + Crouched at a bomb, the Protagonist notices a BULLET HOLE + in the side of the chair – a TINY WHIFF OF SMOKE + GATHERING... + + CLICK – a gun is to his head – he spins around to see a + SWAT... ‘0:34’, ‘0:33’... The ‘Target’ has his own gun on + the SWAT – A STAND-OFF – all around them, UNCONSCIOUS + CIVILIANS... + + PROTAGONIST + Walk away – you don’t need to kill + these people. + + The Protagonist turns back to the bomb... ‘0:32’, ‘0:31’. + At the bullet hole the PUFF OF SMOKE THICKENS... + + the Protagonist, confused, REACHES towards it... the SWAT + COCKS his weapon... + + BLAM! With EXPLOSIVE FORCE THE BULLET HOLE DISAPPEARS – A + NICK HAS APPEARED IN THE PROTAGONIST’S UNIFORM – he SPINS – + the SWAT is SHOT THROUGH THE CHEST AND DROPS... revealing a + FIGURE, also in a gas mask and tactical gear... + + The Figure TURNS – the Protagonist sees, on the Figure’s + pack, a small TALISMAN – a COIN with a hole tied to a zip + by ORANGE AND YELLOW THREAD – the Protagonist turns back to + grab the bomb – + + ‘TARGET’ + That wasn’t one of us. + + PROTAGONIST + I’ll take the help. + 7. + + + The Protagonist GRABS the last bomb: ‘0:03’... he looks up + to the boxes, where REAL SWATS EVACUATE THE HIGH + OFFICIALS... THE PROTAGONIST LOBS THE BOMBS UP INTO THE + BOXES... + + +14 EXT. PLAZA, DOWNTOWN KIEV – CONTINUOUS 14 + + The Protagonist and ‘Target’ emerge – an EXPLOSION above + them - + + +15 INT. THEATRE, CONCERT HALL – CONTINUOUS 15 + + INNOCENT CIVILIANS STIR under the EXPLOSION IN THE BOXES – + + +16 EXT. PLAZA, DOWNTOWN KIEV – CONTINUOUS 16 + + The van PULLS UP – rear door open – they JUMP INSIDE – + + +17 INT. VAN – MOMENTS LATER 17 + + The Protagonist pulls off his mask. BREATHING. The + Passenger turns – grabs the ‘Target’s face, SOMETHING + WRONG... the Protagonist turns to the Driver – WHO HAS A + GUN POINTED AT HIM ... + + BLACK SCREEN: + + SCREAMING. The Protagonist’s screaming. Close on his eyes – + FLICKERING, SWEATING, PLEADING, DEFIANT... and we are – + + +18 EXT. RAIL YARDS – DAY 18 + + The Protagonist, tied to a chair, in a windswept rail yard. + + In front of him, the ‘Target’, also tied to a chair, back + to us. The Driver steps back, SWEATING. BLOODY PLIERS in + hand. + + DRIVER + (breathless) + A man can be trained to hold out + for about eighteen hours. + + The Driver gestures at a CLOCK on a table – + + DRIVER + So your colleagues will clear by 7. + 8. + + +The Driver PUSHES the ‘Target’s chair over. The ‘Target’ +lands hard on his side on the gravel. Groaning. + + DRIVER + He didn’t last eighteen minutes. + +The Driver pulls out a KNIFE. Leans in to the Protagonist – + + DRIVER + But he didn’t have anything to + hide. You were smuggling a nobody. + +The knife moves towards the Protagonist’s throat... + + DRIVER + Risky. + +...then to his collar – which he CUTS – + + DRIVER + Or were you counting on this? + +...pulling out a SILVER CAPSULE. The Protagonist stares. + + DRIVER + Death, CIA issue. + +The Driver TOSSES the pill, WAVES the pliers at the clock – + + DRIVER + Spare yourself once they’re clear. + +The Protagonist looks at the clock – ‘5:38’. A FREIGHT +TRAIN RUMBLES PAST, CLOSE... As we close in on the clock, +THE PROTAGONIST’S SCREAMS ARE DROWNED OUT BY THE FREIGHT +TRAIN... + +The Driver steps back. The Protagonist breathes heavy, +blood dribbling... the Driver follows his gaze to the clock +– ‘6:53’ – then checks his watch. Frowns theatrically, +picks up the clock, SHAKES it – + + DRIVER + Running fast... + +The Driver SETS THE HANDS BACK ONE HOUR. The Protagonist +watches, DESPAIRING... as the Driver puts the clock back on +the table, the Protagonist notices the ‘Target’s FINGERS +WIGGLING... in them is a SILVER PILL... + +Freight trains rumble past in opposite directions, sound +BUILDING... The Driver approaches, bloody pliers in hand – + 9. + + + PROTAGONIST + We were alone. + + DRIVER + I didn’t ask. Which means we’re + finally getting somewhere. + + The Protagonist HURLS himself onto the ‘Target’s hands – + face SMASHING – gets the PILL into his mouth – BITES DOWN – + DEAFENING TRAIN NOISE... + + Arms GRAB at him – HANDS PRY his jaw as he SEIZES, MOUTH + FOAMING... the Protagonist’s EYES GLAZE and we – + + CUT TO: + + Black screen. + + Supertitle: + + TENET + + FADE IN: + + The Protagonist opens his eyes. A man stands beside his + bed. + + SWAYING gently. This is FAY. + + FAY + Welcome to the afterlife. + + The Protagonist lifts his head and we are – + + +19 INT. BOAT AT SEA – DAY 19 + + The Protagonist sees the STEELY OCEAN SWELL... + + FAY + You’ve been in a medically induced + coma while we got you out of + Ukraine and rebuilt your mouth. + + PROTAGONIST + The pills are fake? + + FAY + We swapped yours for a sedative. + + PROTAGONIST + Why? + 10. + + + FAY + A test. + + The Protagonist runs a finger around his mouth. REALIZING. + + PROTAGONIST + Test? They pulled my teeth out. + + Fay lets that dissipate. The Protagonist closes his eyes. + + PROTAGONIST + Did the team get clear? + + FAY + No. Private Russians, we think. + + PROTAGONIST + Somebody talked. + + FAY + Not you. You chose to die instead + of giving up your colleagues. + + +20 EXT. DECK OF THE BOAT – LATER 20 + + The Protagonist stands in the wind, contemplating the + horizon. + + FAY (O.S.) + We all believe we’d run into the + burning building, but until we feel + that heat... we can never know. You + do. + + PROTAGONIST + I resign. + + FAY + You don’t work for us – you’re + dead. + + The Protagonist turns to Fay, confused. + + FAY + Your duty transcends national + interests. This is about survival. + + PROTAGONIST + Whose? + + FAY + 11. + + + Everyone’s. There’s a cold war. + Cold as ice. To even know its true + nature is to lose. This is + knowledge divided – all I have for + you is a gesture – + (interlaces his fingers) + – in combination with a word – + ‘tenet’. Use it carefully, it’ll + open the right doors, but some of + the wrong ones, too. + + PROTAGONIST + That’s all they’ve told you? + + FAY + The test you passed? + (beat) + Not everybody does. + + Fay breaks eye contact with the Protagonist. The boat + continues to nose into the swell. + + +21 EXT. LAUNCH, WIND FARM AT SEA – DUSK 21 + + The Protagonist is driven away from the boat on a launch, + towards the GIANT WHITE TURBINES of the ocean wind farm. + + The launch SLIPS amongst them, seeking the ladder of a + particular one... + + The Protagonist climbs the ladder to a door. He tries it – + it’s open. He turns to see the launch move off into the + gathering dark. The Protagonist ENTERS the wind turbine. + + +22 INT. WIND TURBINE – CONTINUOUS 22 + + In the bare space, the Protagonist finds a SPORTS BAG, a + COT, a pallet of WATER and PROTEIN BARS. He opens the + sports bag to find passports, cash, credit cards and a HI- + VIZ VEST. + + Under the vest is a small black cylinder. He unscrews the + top to find three SILVER SUICIDE PILLS. The Protagonist + shakes his head as he tosses them back into the bag. + + +23 INT. WIND TURBINE – LATER 23 + + The Protagonist EATS, DRINKS and EXERCISES by CLIMBING the + endless interior ladder of the turbine. The stash of food + and water SHRINKS... + 12. + + + The Protagonist does PULL-UPS at the very top of the + ladder, FEET DANGLING over the VERTIGINOUS DROP... + + +24 INT. WIND TURBINE – MORNING 24 + + The Protagonist is woken by a repeated AIR HORN. He pulls + himself off the cot, opens the door to find – + + +25 EXT. WIND TURBINE – CONTINUOUS 25 + + A large CATAMARAN nosed up to the windmill, ladder in + place, MAINTENANCE CREW in HI-VIZ VESTS moving on and off + the turbine. Other boats service other turbines. The + Protagonist pulls on his VEST and CLIMBS down onto the + catamaran. + + +26 EXT. EUROPEAN PORT – DAY 26 + + The Protagonist disembarks with the rest of the wind-farm + crew. As they file past a car the driver, also in hi-viz, + steps out into line, leaving the door open, engine running. + + The Protagonist gets in. The GPS is already set... + + +27 EXT. OFFICE COMPLEX – LATER 27 + + A bland suburban office park. The Protagonist gets out of + the car, wearing his hi-viz and carrying a clipboard. Heads + inside, passing numerous STAFF coming out... + + +28 INT. LOBBY, OFFICE COMPLEX – CONTINUOUS 28 + + The Protagonist moves through the lobby unimpeded. Checking + the tenant listings he sees – ‘WINDFARM TRANSITIONS – B-2’. + + +29 INT. CORRIDOR – CONTINUOUS 29 + + The Protagonist walks up to B-2. + + FEMALE VOICE (O.S.) + With a hi-viz vest and a clipboard, + you can get almost anywhere. + Almost. + + The Protagonist turns to find a brusque young woman. This + is BARBARA. He joins his hands, interlacing the fingers... + 13. + + + PROTAGONIST + A pretty obscure tenet. + + Using a key card, she ushers him through a door into – + + +30 INT. OFFICE, LABORATORY – CONTINUOUS 30 + + Barbara hands the Protagonist a cup of tea. + + BARBARA + No small talk, nothing that might + reveal who we are, or what we do. + + PROTAGONIST + I thought I was here to find out + what we do. + + BARBARA + You’re not here for ‘what’, you’re + here for ‘how’. ‘What’ is your + department. And not my business. + + PROTAGONIST + Well, to do what I do, I need some + idea of the threat we face. + + Barbara considers the Protagonist. Sips her tea. + + BARBARA + As I understand it, we’re trying to + prevent World War Three. + + PROTAGONIST + Nuclear holocaust? + + BARBARA + No. Something worse. + + +31 INT. SHOOTING RANGE – MOMENTS LATER 31 + + Barbara hands the Protagonist a semi-automatic. He + reflexively checks the chamber and magazine – EMPTY. + + BARBARA + Aim it and pull the trigger. + + The Protagonist SHRUGS, lifts the empty pistol, sights a + target 25m away with several holes in it... + + He squeezes the trigger – BAM! – a shot. He is CONFUSED... + 14. + + + BARBARA + Check the magazine. + +The Protagonist checks the clip – THERE IS A ROUND IN IT. + + PROTAGONIST + How? + +Barbara pulls on PROTECTIVE GLOVES and removes the round +from the clip, placing it next to an identical one on a +table. + + BARBARA + One of these bullets is, like us, + travelling forwards through time. + The other one’s going backwards. + Can you tell which is which? + +The Protagonist shakes his head. Barbara reaches forward – + + BARBARA + How about now? – + +One of the rounds FLIES UP INTO HER HAND, FALLING IN +REVERSE. + +The Protagonist is taken aback. Barbara holds the round +towards him so he can inspect it – + + BARBARA + It’s inverted – its entropy runs + backwards. So, to our eyes, its + movement is reversed. We think it’s + a type of inverse radiation, + triggered by nuclear fission. + + PROTAGONIST + You didn’t make it? + + BARBARA + We don’t know how. Yet. + + PROTAGONIST + So where’d it come from? + + BARBARA + Someone’s manufacturing them in the + future. They’re streaming back at + us. + +Barbara places the round on the table, in front of a +CAMERA. + 15. + + + BARBARA + Try it. + +He puts on a glove – moves his hand over it, nothing. + + BARBARA + You have to have dropped it. + +The Protagonist reaches out again – it LEAPS UP INTO HIS +HAND. + + PROTAGONIST + How can it move before I touch it? + +She cues up the recording of what he just did – + + BARBARA + From your point of view you caught + it, but from the bullet’s point of + view... + +She plays it BACKWARDS – + + BARBARA + ...you dropped it. + +ON THE SCREEN: the round FALLS from his hand. + + PROTAGONIST + But cause has to come before + effect. + + BARBARA + No. That’s just how we see time. + +She PULLS the round towards herself using one finger – the +round follows her finger as if MAGNETIZED... + + PROTAGONIST + What about free will? + + BARBARA + That bullet wouldn’t have moved if + you hadn’t put your hand there. + Either way we run the tape, you + made it happen. + +She LAUNCHES it up into her other hand – + + BARBARA + Don’t try to understand it. Feel + it. + 16. + + +Barbara PLAYS with the round in increasingly IMPROBABLE, +BEAUTIFUL MOVEMENTS... The round SHOOTS AWAY FROM HER – the +Protagonist CATCHES IT... + + PROTAGONIST + Instinct. Got it. + +Barbara smiles, swaps him the round for the pistol. She +then places a TRAY COVERED IN SHELL CASINGS beside him. + +The Protagonist aims at the target – a shell casing LEAPS +into the gun – he FIRES, and a bullet hole near the +bullseye VANISHES – + + PROTAGONIST + Why does it feel so strange? + + BARBARA + You’re not shooting the bullet, + you’re catching it. + + PROTAGONIST + Whoa. + +The Protagonist examines the target – no bullet holes. + + PROTAGONIST + I’ve seen this type of ammunition + before. + + BARBARA + In the field? + + PROTAGONIST + I was almost hit. + + BARBARA + Then you are exceedingly lucky... + +The Protagonist turns to her... + + BARBARA + An inverted bullet passing through + your body would be devastating. The + inverse radiation would spread + through your body. Like polonium + poisoning. Not pretty. + +The Protagonist examines the rounds... + + PROTAGONIST + These look like today’s. + 17. + + + BARBARA + They may have been made today, then + inverted years from now. + + PROTAGONIST + Where did you get them? + + BARBARA + They came with the wall. I was + assigned it, like all the material + I’m studying here. + + PROTAGONIST + Do you have an analysis of the + metals? + + BARBARA + Sure. Why? + + PROTAGONIST + The mixture of alloys can tell me + where they might have been made. + Look, I know you said that ‘what’ + is my business – + + BARBARA + Let’s not go off-topic. + + PROTAGONIST + I’m not seeing Armageddon here. + + Barbara takes the round from him, and beckons him to follow + – + + +32 INT. ARCHIVE – CONTINUOUS 32 + + Between tall sets of DRAWERS... + + BARBARA + A bullet may not seem like much, + but it’s a simple machine – lead + bullet, brass casing, gunpowder. If + they can invert this – I see no + reason they couldn’t invert pretty + much anything. Even a nuclear + weapon can only affect our future. + + BARBARA + An inverted weapon might be able to + affect our past as well. + + Barbara stops at a drawer. Gestures around herself – + 18. + + + BARBARA + Now that we know what to look for, + we’re finding more and more + inverted material... + + She opens a drawer, revealing a VARIETY OF RUSTED BITS AND + PIECES – SCREWS, CRACKED LENSES, METAL RODS, BUTTONS... + + BARBARA + ...remnants of complex objects. + + The Protagonist reaches out and lets a RUSTED BUCKLE leap + into his hand. + + PROTAGONIST + So what do you think we’re seeing? + + BARBARA + The detritus of a coming war. + + The Protagonist looks around at the MULTITUDE of DRAWERS. + + +33 EXT. CROWDED STREET, MUMBAI – DAY 33 + + The Protagonist walks out of an electronics store, opening + a new phone, and slips into the throng. He dials – + + MALE VOICE + (over phone) + Yup? + + PROTAGONIST + We live in a twilight world. + + MALE VOICE + (over phone) + No friends at dusk. I was told + you’d left the building. + + PROTAGONIST + Even the dead need allies. + + MALE VOICE + (over phone) + Specifically? + + PROTAGONIST + An assist in Mumbai. To get to + Sanjay Singh. + + MALE VOICE + (over phone) + 19. + + + Singh? He never leaves his house, + and his house... well, it’s – + + PROTAGONIST + Yes, it is – I’m looking right at + it. + + Above the bustling street, a HIGH-RISE HOUSE, at least + twenty storeys tall, with two large balconies, towers + over... + + MALE VOICE + (over phone) + I’ll see who’s on deck. Bombay + Yacht Club, two hours. + + As the Protagonist hangs up, he spots a figure, on the top + balcony. A WOMAN IN A SARI, standing high above the city. + + +34 INT. BOMBAY YACHT CLUB – EVENING 34 + + The Protagonist enters the quiet ex-colonial establishment. + + Takes a seat. A BUSINESSMAN sits down next to him. + + BUSINESSMAN + It seems you need an introduction + to a prominent Mumbai local on + short notice. I’m Neil. + + Neil offers his hand. The Protagonist takes it – + + PROTAGONIST + I need an audience with Sanjay + Singh. + + NEIL + Not possible. + + PROTAGONIST + Ten minutes, tops. + + NEIL + Time isn’t the problem. Getting out + alive’s the problem. + (thinks) + Would you take a child hostage? + + The Protagonist shakes his head. + + NEIL + A woman? + 20. + + + PROTAGONIST + If I had to. I’m not looking to + make much noise here. + +Neil keeps thinking. Signals a waiter – + + NEIL + Vodka tonic. + (gestures at the + Protagonist) + Diet Coke. + +The Protagonist stares at Neil. Neil looks up, confused. + + NEIL + What? You never drink on the job. + + PROTAGONIST + You’re well informed. + + NEIL + It pays to be in our profession. + + PROTAGONIST + Well, I prefer club soda. + + NEIL + (grins) + No, you don’t. + +Neil raps his knuckles on the table, thinking. + + NEIL + How’s your parachuting? + + PROTAGONIST + Broke an ankle in basic training. + Singh’s house isn’t tall enough to + parachute off of. + + NEIL + (thinks) + But it’s bungee-jumpable. + + PROTAGONIST + I don’t think ‘bungee-jumpable’ is + a word. + + NEIL + It may not be a word, but it may be + your only way out of that place. + (a thought occurs) + Or into it, for that matter. + 21. + + +35 EXT. HIGH-RISE HOUSE – EVENING 35 + + ARMED GUARDS patrol the balconies. + + +36 INT. HIGH-RISE HOUSE – CONTINUOUS 36 + + Inside one of the magnificent rooms, a middle-aged Indian + man mixes drinks. This is SANJAY SINGH. + + +37 EXT. LOW ROOFTOP NEXT DOOR TO HIGH-RISE HOUSE – CONTINUOUS 37 + + Neil and the Protagonist race across the roof carrying a + sports bag. Neil pulls out a WINCH, the Protagonist pulls + out a large CATAPULT, loops it around two pipes, glancing + down into the WALLED YARD at the foot of the high-rise + house. + + Neil BOLTS the winch to the roof, the Protagonist sights + the upper balcony of the high-rise house, FIRES a ball with + a line up and over the balcony railing... + + +38 EXT. HIGH-RISE HOUSE – CONTINUOUS 38 + + The Protagonist and Neil lie next to each other as the + WINCH RUNS, TENSIONING THEIR ELASTIC LINES... they LAUNCH + themselves, FLYING UP to land against the side of the + building – + + They RUN SILENTLY UP THE BUILDING, onto the UPPER TERRACES, + SHOOTING TWO GUARDS with silenced pistols... + + +39 INT/EXT. HIGH-RISE HOUSE – CONTINUOUS 39 + + Sanjay Singh hands a drink to the Woman in the sari. They + move out onto the balcony – + + +40 EXT. BALCONY – CONTINUOUS 40 + + The Protagonist surprises Sanjay, holds him at gunpoint – + + PROTAGONIST + (to the Woman) + Stay back. + (to Sanjay) + I was almost taken out by a very + unusual type of ammunition in + Ukraine. I want to know who + supplied it. + 22. + + + SANJAY + My name’s Sanjay. And you are? + (silence) + No chit-chat? + + The Woman pushes a RED BUTTON on the wall – + + PROTAGONIST + There’s no one at the other end. No + one who’s going to help you, + anyway. + + +41 INT. SECURITY STATION, HIGH-RISE HOUSE – CONTINUOUS 41 + + An alarm buzzes, the Security Guards are frozen, Neil has a + gun on them, a finger to his lips... + + +42 EXT. BALCONY, HIGH-RISE HOUSE – CONTINUOUS 42 + + Sanjay tries to turn to see the Protagonist – + + SANJAY + Why would I know who supplied it? + + The Protagonist pushes his head back around with the gun – + + PROTAGONIST + The combination of metals is unique + to India. If it’s from India, it’s + from you. + + SANJAY + A fair assumption – + + PROTAGONIST + Deduction. + + SANJAY + Deduction, then. Look, my friend, + guns are never conducive to a + productive negotiation. + + PROTAGONIST + I’m not the man they send to + negotiate... + + He COCKS his weapon – puts the gun to Sanjay’s head – + + PROTAGONIST + But I am the man people talk to. + 23. + + + SANJAY + (charm curdles) + I can’t. I can’t tell you. + + PROTAGONIST + You’re an arms dealer, friend – + this may be the easiest trigger + I’ve ever had to pull. + + WOMAN (O.S.) + To say anything about a client + would violate the tenets he lives + by... + + The Protagonist GLANCES at the Woman... whose fingers are + casually INTERTWINED. The Protagonist brings his free hand + up to hold the gun in both hands, fingers INTERLACED... + + PROTAGONIST + If tenets are important to you, + then you can tell me. Everything. + + WOMAN + Not while you have a gun to my + husband’s head. + + The Protagonist releases him. + + WOMAN + Sanjay, make us a drink. + + +43 INT. TERRACE OVERLOOKING MUMBAI, SANJAY’S HOUSE – LATER 43 + + Overlooking the extraordinary bustle of the city. Sanjay + has left. His wife hands the Protagonist his drink – + + PRIYA + I’m Priya Singh. + + PROTAGONIST + This is your operation? + + PRIYA + A masculine front in a man’s world + has its uses. The dealer you’re + looking for is Andrei Sator. + + PROTAGONIST + The Russian oligarch? + + PRIYA + You know him? + 24. + + + PROTAGONIST + Not personally. Made his billions + in gas, moved to London and married + an English girl. Said to be on the + outs with Moscow. + + PRIYA + Very good. Except the ‘gas’ he made + his billions from was actually + plutonium, and he’s said to be on + the outs so he can feed British + Intelligence whatever the Russians + want them to think they know. + + PROTAGONIST + None of which explains how or why + you sold him inverted munitions. + + PRIYA + When I sold him the rounds, they + were perfectly ordinary. + + PROTAGONIST + So how did he get them inverted? + + PRIYA + We believe he’s functioning as some + kind of broker between our time and + the future. + + PROTAGONIST + He can communicate with the future? + + PRIYA + We all do. Credit cards, email, + text – anything that goes into the + record speaks directly to the + future. The question is – can the + future speak back? And, if so, what + are they saying? + + PROTAGONIST + And I’m supposed to find out? + + PRIYA + To get anywhere near Sator would + take a fresh-faced protagonist... + +She reaches up to touch his cheek. + + PRIYA + Fresh as a daisy. Get close, find + out what he’s receiving and how. + 25. + + + PROTAGONIST + Is it safe to involve British + Intelligence? + + PRIYA + I have a contact who’s out of + Sator’s reach. + + PROTAGONIST + One of us? + + PRIYA + No, he thinks we’re chasing + plutonium. + +SIRENS. BANGS! Priya looks over to see POLICE CARS arriving +far below, in the WALLED YARD at the foot of her house... + + PRIYA + You’d better get out of here. + + PROTAGONIST + Can’t you explain things? + + PRIYA + You have to start looking at the + world in a new way – this conflict + runs backwards and forwards + simultaneously. Your name on a + police report reveals your identity + to the future – they pass it back + to Sator – + + PROTAGONIST + My cover’s blown before I get near + him. + + PRIYA + You got in – you must’ve had a plan + for getting out. + +The Protagonist pulls a CLIP and cord from his harness – + + PROTAGONIST + Not one I loved. + +Priya watches him clip onto the balcony rail. Neil FLIES +PAST, dropping from the balcony above. + +The Protagonist JUMPS, SLOWING as he DROPS BEHIND THE WALL, +OUT OF REACH OF THE POLICE, into a MARKET STREET and +RELEASES his harness – disappearing into the crowd... + 26. + + +44 EXT. MEMBER’S CLUB, LONDON – DAY 44 + + The Protagonist walks down the busy Mall, and up the + steps... + + +45 INT. MEMBER’S CLUB, LONDON – DAY 45 + + The Protagonist enters, is approached by a STEWARD. + + STEWARD + Can I help you, sir? + + PROTAGONIST + I’m Mr Crosby’s lunch. + + STEWARD + I presume you mean Sir Michael + Crosby’s lunch? + + PROTAGONIST + Presume away. + + STEWARD + If you’ll follow me. + + +46 INT. LOUNGE, MEMBER’S CLUB – CONTINUOUS 46 + + The Protagonist is shown to a table where a distinguished + middle-aged man is already eating. CROSBY. + + CROSBY + Started without you, hope you don’t + mind. + + PROTAGONIST + I’ll catch up. + (to the Steward) + Same for me. + + STEWARD + I’ll send the waiter. + + PROTAGONIST + No, just pass on the order. + + Crosby smiles at the Protagonist’s handling of the Steward. + + CROSBY + I gather you’ve an interest in a + certain Russian national. + 27. + + + PROTAGONIST +Anglo-Russian. So I’ll have to +watch my step. + + CROSBY +Indeed. He’s tapped into the +intelligence services – I’ve warned +them he’s feeding them rubbish, but +they don’t seem to care. + + PROTAGONIST +Tell me about him. + + CROSBY +I assume you’re familiar with the +Soviet-era secret cities? + + PROTAGONIST +Closed cities, not shown on maps, +built up around sensitive +industries. Most of them have been +opened up and renamed as regular +towns. + + CROSBY +Not the one Sator grew up in. +Stalsk-12. + + CROSBY +In the seventies our people +estimated its population at almost +200,000. Unacknowledged to this +day. Thought to be abandoned. + + PROTAGONIST +Abandoned? + + CROSBY +Some kind of accident. After which +we think it became a site for +underground tests. Just two weeks +ago, same day as the Kiev Opera +siege, our satellites detected a +detonation in north-west Siberia, +about where we think Stalsk-12 was. + + PROTAGONIST +Nuclear? + + CROSBY + 28. + + + Big enough to be noticed. Sator + emerged from this blank spot on the + map with an ambition that + eventually led him here, to buy his + way into the British establishment. + + PROTAGONIST + Through his wife? + + CROSBY + Katherine Barton, eldest niece of + Sir Frederick Barton. She works at + Shipley’s, met Sator at an auction. + + PROTAGONIST + He’s into art? + + CROSBY + Like a lot of wealthy criminals, he + thinks if he covers his walls with + tasteful, expensive things it’ll + distract from the bloodshed. + Judging by the lovely girl he + married, there might be something + in it. + + PROTAGONIST + Happy marriage? + + CROSBY + No. Practically estranged. + + PROTAGONIST + How do I get to Sator? + + CROSBY + Through her, of course. + + PROTAGONIST + You may have an inflated idea of my + powers of seduction. + + CROSBY + Hardly. We have an ace in the + hole... + +Crosby slides a SHOPPING BAG over to the Protagonist’s +feet. + +The Protagonist looks inside: a small FRAMED DRAWING. + + PROTAGONIST + 29. + + + You’re carrying a Goya in a Harrods + bag? + + CROSBY + It’s a fake, by a Spaniard named + Arepo. One of two we confiscated + from an embezzler in Bern. We hung + on to this one for a rainy day – I + felt the first drops when India + called. + + PROTAGONIST + What happened to the other one? + + CROSBY + A Rubens. It turned up at + Shipley’s, where it was + authenticated by Katherine Barton + before going under the hammer. And + who do you suppose bought it? + + PROTAGONIST + Her husband? Does she know it’s a + forgery? + + CROSBY + Hard to say. Rumour had it that she + and Arepo were close. + +Crosby looks the Protagonist over – + + CROSBY + Look, no offence, but this is a + world where someone claiming to be + a billionaire gets asked if they’re + just a dollar billionaire. + + PROTAGONIST + And? + + CROSBY + Brooks Brothers won’t cut it. + + PROTAGONIST + I’m assuming I have a budget. + + CROSBY + (tosses him a credit + card) + Save the world, then we’ll balance + the books. Can I recommend a + tailor? + 30. + + + PROTAGONIST + I’ll manage. You British don’t have + a monopoly on snobbery, you know. + + CROSBY + Not a monopoly. More of a + controlling interest. + + The Protagonist rises, taking the credit card and the bag. + + PROTAGONIST + Thanks for this. By the way, is she + a Kate or a Kathy? + + CROSBY + A Kat, I believe. + + The waiter arrives, bearing food, supervised by the + Steward. + + PROTAGONIST + Could you box that for me? + + STEWARD + Certainly not. + + The Protagonist smiles at Crosby, who nods goodbye. + + PROTAGONIST + Goodbye, Sir Michael. + + +47 EXT. WEST LONDON PRIVATE SCHOOL – DAY 47 + + Mothers stand at the railings waiting for their kids. One + of them, a smart YOUNG WOMAN, stands a little apart from + the group. SCHOOLKIDS pile out of the school... + + +48 INT/EXT. CAR – CONTINUOUS 48 + + The Protagonist watches from across the road as the Young + Woman SPOTS her son. She offers him her hand, but he + reaches up to take his NANNY’S. She moves her hand to pick + something off his jumper before he is put into the back of + a BLACK RANGE ROVER with tinted windows. + + The Protagonist watches the Young Woman wave at the + departing car carrying her child. Utterly alone. + + +49 EXT. SHIPLEY’S, LONDON – DAY 49 + 31. + + + A BENTLEY pulls up – a DOORMAN opens the rear door, the + Protagonist emerges, IMMACULATELY TAILORED, holding a + beautiful leather briefcase. + + +50 INT. SHIPLEY’S – CONTINUOUS 50 + + The Protagonist is approached by a REPRESENTATIVE – + + REPRESENTATIVE + How can I help, sir? + + PROTAGONIST + I have an appraisal with Ms Barton. + + REPRESENTATIVE + (to receptionist) + Tell Kat her client is in the + Fallow Room. + + +51 INT. APPRAISAL ROOM – MOMENTS LATER 51 + + The Protagonist admires the paintings on the walls. The + door opens and the Young Woman from the school gates comes + in, dressed for business. This is KAT BARTON. She looks + bemused, but gives him a genuine and friendly smile – + + KAT + I’m sorry, I wasn’t notified of any + appointments, Mr... + + PROTAGONIST + Goya? + + KAT + Mr Goya? + + The Protagonist opens his briefcase... + + PROTAGONIST + No, I’m told you’re the person to + see about... + + Offers the drawing to her... + + PROTAGONIST + ...Goya. + + She takes it, suddenly interested... + + KAT + Wow. It’s extraordinary. + 32. + + + She lays the drawing on the table and grabs a loupe – + + PROTAGONIST + What’s it worth? + + KAT + Let’s not get ahead of ourselves. + There’s a lot of work before any + kind of valuation – provenance, + microscopic examination, X-rays... + + She is bent over the table, peering through the loupe. + + The Protagonist studies her reaction as he – + + PROTAGONIST + But what does your heart tell you? + + She steps back. Something about the drawing BOTHERS her... + + KAT + I’m sorry, where did you say you + acquired this drawing? + + PROTAGONIST + Tomas Arepo. + + Kat rises and turns to face the Protagonist. Cold. + + KAT + What do you want? + + PROTAGONIST + What I want is complicated. + + KAT + Do you work for my husband? + + PROTAGONIST + I’ve never met your husband. That’s + the reason I’m here. Is there + somewhere we can talk? + + KAT + In London? Not really. + + +52 INT. RESTAURANT – NIGHT 52 + + The Protagonist and Kat sit at a corner table. + + PROTAGONIST + 33. + + + I bought my Goya for cents on the + dollar from an irate Swiss banker. + Traced it to Arepo, and realized + I’d scored a bargain when he told + me who’d paid top dollar for + another one of his pictures. Your + husband. + + KAT + Where’s the bargain? Your drawing’s + an obvious fake. + + PROTAGONIST + My drawing’s a very good fake – you + know that better than anyone. The + information’s the bargain. + + KAT + The information that I helped + defraud my own husband? + + PROTAGONIST + He and I are in related businesses, + but he’s a hard man to meet. If you + and I were to make an arrangement – + + KAT + Arrangement? You mean blackmail. + Don’t be afraid of the word – my + husband isn’t. And I’m sorry to + tell you he got there first. + + PROTAGONIST + He knows? And he’s never done + anything about it? + + KAT + Why would he? + + PROTAGONIST + He paid nine million dollars – + + KAT + Which would barely cover the + holiday he just forced us on. + + PROTAGONIST + Where’d you go – Mars? + + KAT + Viet Nam. On our yacht. His yacht. + +Kat looks the Protagonist up and down... + 34. + + + KAT + You’ve got the suit. The shoes, the + watch. But I think you’re a little + out of your depth. + + PROTAGONIST + (sharp) + People who’ve amassed fortunes like + your husband’s aren’t generally + okay with being cheated out of any + of it. + +Kat sips her wine. Wanting to talk. Knowing she shouldn’t. + + KAT + The drawing is his hold over me. He + threatened me with the police, + prison, the works. He controls me, + my contact with my son, everything. + Leaving him would never have been + easy, now it’s impossible. My life, + now... You can’t fight. Just beg. + Or worse. In Viet Nam I tried to + love him again. If there were still + love, he might give me my son. We + sat on that bloody boat and watched + the sunsets, imitating an earlier + time. He seemed happy, so I asked. + And he made me an offer. To let me + go if I agreed to never see my son + again. I expressed myself – + +INSERT CUT: a CRYSTAL BOWL of RASPBERRIES SMASHES onto the +polished wood of a yacht’s deck – + + KAT + Then took Max ashore. He called us, + contrite. But when we came back... + +INSERT CUT: Kat and Max on a launch – Kat follows Max’s +gaze to see a FEMALE FIGURE SLIDE into the water... + + KAT + I glimpsed some other woman diving + off the boat. And he’d vanished. + I’ve never felt such envy. + + PROTAGONIST + You don’t seem the jealous type. + + KAT + 35. + + + Of her. You know how I dream of + just diving off that boat? Of + freedom? + + PROTAGONIST + But you share a son. + + KAT + And that’s my life. + + PROTAGONIST + Did you know the drawing was a + fake? + + KAT + The authentication took months – + Arepo and I became close, maybe too + close. Maybe my judgement was + clouded. I failed. + + KAT + But Andrei can’t conceive of + failure, only betrayal. I didn’t + betray my husband. In retrospect, + maybe I missed my chance. + + PROTAGONIST + And he let Arepo walk free? + + KAT + If you’d actually met Arepo, as you + claimed, you’d understand that he + no longer walks anywhere. + + PROTAGONIST + We spoke on the phone – + + KAT + He can’t do that, either. + +The Protagonist considers this. + + PROTAGONIST + Where’s the drawing? + + KAT + Why? + + PROTAGONIST + Get me the introduction, I’ll take + the drawing out of the equation. No + picture, no prosecution. No hold + over you. + 36. + + +Kat looks at the Protagonist. Not daring to hope. + + PROTAGONIST + I might just be your second chance + – + + KAT + (snaps) + I don’t need redemption. + + PROTAGONIST + At betrayal. + +A LARGE, WELL-DRESSED THUG sits down at the table. He takes +a green bean from the Protagonist’s plate and chews it +vacantly. This is VOLKOV. The Protagonist looks at Kat – + + PROTAGONIST + Friend of your husband? + (she nods) + You knew this would happen? + + KAT + They won’t kill you. Andrei + dislikes tangling with local law + enforcement on that level. + + PROTAGONIST + You must really not have liked the + look of me. + + KAT + (rising) + The look of you is fine. It’s + better to get to the nasty part + before I care one way or the other. + +He takes her hand, pulls her forward to kiss her cheek. + + PROTAGONIST + (whispers) + There’s a number in your left coat + pocket. Don’t call from home. + +A Thug puts a MEATY HAND on the Protagonist’s shoulder. + + KAT + You won’t be taking my call. + + PROTAGONIST + I might surprise you. + 37. + + + She leaves, BREEZING out through the kitchen... at Volkov’s + nod, two Thugs escort the Protagonist from his chair, + heading towards the kitchen – a WAITER moves to object – + Volkov, eating the Protagonist’s leftovers, pulls the + Waiter up short, shaking his head. + + +53 EXT. ALLEY BEHIND RESTAURANT – MOMENTS LATER 53 + + Kat exits the restaurant, DISTRAUGHT, walking past a + waiting THUG, then sliding into the back seat of a + MERCEDES. + + +54 INT/EXT. MERCEDES – CONTINUOUS 54 + + The driver is a GAUNT RUSSIAN. + + KAT + Please, let’s go. + + The Gaunt Russian does not react, but watches through the + rear-view mirror as a THUG enters the kitchen – + + KAT + Can we get going? + + +55 INT. RESTAURANT KITCHEN – CONTINUOUS 55 + + The Protagonist enters the kitchen, followed by the two + thugs. CHEFS and BUSBOYS retreat as the other thug + approaches... + + +56 INT/EXT. ALLEY BEHIND RESTAURANT – CONTINUOUS 56 + + Kat turns from the window – + + KAT + Please! + + GAUNT RUSSIAN + He wants you to see... + + +57 INT. RESTAURANT KITCHEN – CONTINUOUS 57 + + The Protagonist JACKKNIFES HIS LOWER LEG UP into the crotch + of the thug behind him – SPINS him into the Thug next to + him – POTS and Pans flying – + 38. + + +58 INT. RESTAURANT – CONTINUOUS 58 + + Volkov wipes sauce with bread, enjoying noises from the + kitchen... + + +59 INT. RESTAURANT KITCHEN – CONTINUOUS 59 + + The Third Thug SWINGS – the Protagonist DODGES, takes the + blow on the shoulder – SLAMS his head into the Third Thug’s + neck, leaving him GASPING – the Protagonist GRABS the Third + Thug, RACING for the WINDOW... + + +60 INT/EXT. MERCEDES – CONTINUOUS 60 + + Kat FLINCHES as, with a CRASH of plates, a body TUMBLES + down the stairs... + + GAUNT RUSSIAN + And he gets what he wants. + + Then she sees something else... the Protagonist exits. + + KAT + Not always, apparently. + + +61 EXT. ALLEY BEHIND RESTAURANT – CONTINUOUS 61 + + The Protagonist brushes himself clean, SPOTS the Mercedes, + starts moving towards it – + + +62 INT/EXT. MERCEDES – CONTINUOUS 62 + + The Gaunt Russian SCRAMBLES to get the car moving. Kat + looks back at the Protagonist as the car ROARS away... + + +63 EXT. SCHOOL GATES – DAY 63 + + Kat is crouched, talking to her son, MAX. The Nanny hovers + – + + MAX + Anna says we’re going to Pompeii + and see lava. + + KAT + We’ll go together. I’ll be there, + too. + 39. + + + Max looks up at the Nanny. Kat hugs him, tight. The Nanny + TAPS Kat on the shoulder. Kat smiles at her son, tears in + her eyes, as the car pulls away. She pulls out her phone, + dials... hears a RINGTONE behind her – + + The Protagonist is there. + + PROTAGONIST + I said I’d surprise you. He’s a + cute kid. + + KAT + Max. He’s everything. + + PROTAGONIST + Where’s the drawing? + + KAT + Oslo. At the airport. + + PROTAGONIST + The airport? + + INSERT CUT: a Rotas car drives across an airport apron, and + down a ramp... + + KAT + Do you know what a freeport is? + + PROTAGONIST + A storage facility for art that’s + been acquired – + + ...into a SLEEK facility – the OSLO FREEPORT – as a STAFF + MEMBER stands ready to greet a new CLIENT... + + KAT (V.O.) + But not yet taxed. We started a + network – Rotas, his construction + company, built them, I brought in + clients. The facilities are tax + havens... + + The client is NEIL... he takes in the security + arrangements... + + PROTAGONIST (V.O.) + The clients can view their + investments – + + +64 EXT. OSLO OPERA HOUSE – DAY 64 + 40. + + +The Protagonist is standing on the roof of the Oslo Opera +House, briefing Neil... + + PROTAGONIST (V.O.) + – without importing them, so they + avoid paying tax. + + NEIL + Sort of a transit lounge for art? + +We go back to Kat, on the street, briefing the +Protagonist... + + KAT + Art, antiques, anything of value, + really. + + PROTAGONIST + Anything? + + KAT + Anything legal... + +Then back to the Protagonist briefing Neil... + + PROTAGONIST + But it’s not unlike the Swiss + banking system. Opaque. + +Back to Kat – + + KAT + Rotas has assets in the Oslo + Freeport. I’m guessing it’s there. + + PROTAGONIST + Guessing? + +Back to Oslo – + + NEIL + Guessing? + +Back to Kat – + + KAT + We make trips there four or five + times a year. + + PROTAGONIST + To view art? + 41. + + + KAT + And whatever he does – it turns out + art is of no importance to Andrei. + + PROTAGONIST + But the freeports are. + + Kat nods. + + +65 INT. FREEPORT – DAY 65 + + A STAFF MEMBER brings Neil into a LUXURIOUS GALLERY – + + STAFF MEMBER + Some freeports are just warehouses + – here, you can actually enjoy your + possessions... + + Then through doors into an ANGLED INNER CORRIDOR... + + STAFF MEMBER + The structure of the vaults is + based on The Pentagon – each vault + a separate structure within the + others. Damage to one structure + won’t compromise the others. + + They arrive at a door in the corridor. The Staff Member + uses his thumb to unlock a door – + + STAFF MEMBER + Clients have biometric access + straight in off the tarmac. + + NEIL + From the terminal? + + STAFF MEMBER + (confused) + From their private planes. + + NEIL + Of course. + + Neil checks the locks as the Staff Member opens the door + into – + + +66 INT. FREEPORT SHIPPING AREA – CONTINUOUS 66 + + A VAST SHIPPING AREA filled with SHIPPING CONTAINERS – + 42. + + + STAFF MEMBER + Our logistics department ships to + and from other freeports without + customs inspection... + + Neil notices ROTAS containers marked for delivery to + TALLINN. + + NEIL (V.O.) + What’re you hoping to find? + + +67 EXT. OSLO OPERA HOUSE – DAY 67 + + PROTAGONIST + You really want to know? + + NEIL + I’m not sure. + + PROTAGONIST + Bring some lead-lined gloves. + + NEIL + Jesus. Nuclear? + + PROTAGONIST + When you’re on the tour – + + +68 INT. FREEPORT – DAY 68 + + Neil is shown back into one of the vaults... + + PROTAGONIST (V.O.) + Pay attention to the fire + precautions. + + NEIL + Documents are vulnerable to – + + STAFF MEMBER + Fire. Absolutely – + + NEIL + I was going to say, water damage + from sprinkler systems. + + STAFF MEMBER + We don’t use sprinklers. + (points to vents) + 43. + + + The facility is flooded with halide + gas, displacing all the air within + seconds. + + NEIL + Can you show me? + + STAFF MEMBER + If I did, we’d suffocate. + + NEIL + What about the staff in here? + + STAFF MEMBER + Halide only fills the vaults – they + just have to get into the corridor. + There’s a ten-second warning. + + NEIL + You only give them ten seconds? + + STAFF MEMBER + Our clients use us because we have + no priorities above their property. + + NEIL + Blimey. + + STAFF MEMBER + Well, sir, you asked. + + +69 INT. OSLO AIRPORT – DAY 69 + + The Protagonist and Neil walk through the terminal. + + NEIL + Vault doors are fireproof, + hydraulic closers, simple key and + electronic triggers. Surprisingly + easy, once there’s a lockdown. + + PROTAGONIST + Why a lockdown? + + NEIL + Power switches to fail-safe, + sealing outer doors, but inner + doors revert to factory settings + and pickable locks. Child’s play, + really. + + PROTAGONIST + 44. + + + Child’s play? They’re inside + airport security. They have to + worry about climate control, not + armed raids. + + NEIL + So how do we get fire power through + the perimeter to trigger a + lockdown? + + +70 EXT. CROWDED AIRPORT BUS, OSLO AIRPORT – DAY 70 + + The Protagonist and Neil look across the tarmac to the + freeport structure. + + NEIL + Back wall of the freeport... + + The Protagonist notices Neil start to smile... + + PROTAGONIST + You’ve got something? + + NEIL + You’re not going to like it. + + +71 EXT. OSLO STREET – DAY 71 + + The Protagonist looks at Neil in disbelief. + + PROTAGONIST + You want to crash a plane? + + NEIL + Not from the air, don’t be so + dramatic. I want to run a jet off + the taxiway, breach the rear wall, + start a fire. + + PROTAGONIST + How big a plane? + + NEIL + Well, that part is a little + dramatic. + + They approach a MAN sitting on a harbour-front bench. + + NEIL + This is Mahir. His team will work + the plane. + 45. + + + PROTAGONIST +There can’t be passengers – + + MAHIR +Norskfreight. They use the hangar +on the west side of the freeport. + + PROTAGONIST +You want to crash a transport +plane? What about the crew? + + MAHIR +We’ll pop the slides, chuck ’em off +– + + PROTAGONIST +On the move? + + MAHIR +What’s the problem? They’ll be +fine. + + PROTAGONIST +It seems... bold. + + MAHIR + (smiles) +‘Bold’ I’m fine with – I thought +you were going to say nuts. + + PROTAGONIST +And if you get caught? + + MAHIR +We won’t. + + PROTAGONIST +If you do? + + MAHIR +Everyone assumes terrorism, but no +one’s died. Swift extradition, then +lost in the system. It’ll barely +make the news. + + NEIL +That may depend on the size of your +explosion. + + MAHIR +Actually, the gold bars might get +some play. + 46. + + + PROTAGONIST + Gold bars? + + NEIL + Norskfreight ships treasury gold + once a month. + + MAHIR + We blow the back, drop the gold out + on the runway. + + NEIL + No one’s going to be looking at + your building, I guarantee you. + + +72 INT. HOTEL ROOM, OSLO – DAY 72 + + Neil takes LUNGFULS of air, hyperventilating – Mahir starts + a stopwatch. The Protagonist studies some plans... + + PROTAGONIST + The space at the centre of the + pentagon’s too big... there’s + something there, not marked. + + Neil runs out of air. Mahir checks his watch. + + NEIL + A vault within a vault? + + PROTAGONIST + Maybe. + + MAHIR + Eighty-five seconds. + + NEIL + Ample. + + MAHIR + Won’t you be running? + (turns to the + Protagonist) + Start packing. + + The Protagonist starts BREATHING HARD... + + +73 EXT. FREEPORT – NIGHT 73 + + The Protagonist and Neil, carrying BRIEFCASES, head inside. + 47. + + +74 EXT. APRON, OSLO AIRPORT – CONTINUOUS 74 + + Two WORKERS (Mahir and his associate, ROHAN) back up a MEAL + TRUCK to a TRANSPORT PLANE. They LIFT the cargo until it is + level with the front side door... + + +75 INT. FREEPORT – CONTINUOUS 75 + + The Protagonist follows Neil through security. Their + briefcases are examined, finding FRAMED DOCUMENTS... + + +76 INT. TRANSPORT PLANE – CONTINUOUS 76 + + Mahir and Rohan carry crew meals through the door and into + the galley, where they stack them into the catering units, + supervised by a GUARD... + + +77 INT. GALLERY SPACE/LOUNGE, FREEPORT – CONTINUOUS 77 + + The Staff Member brings Neil an espresso. The Protagonist + subtly checks his watch... + + +78 INT. TRANSPORT PLANE – CONTINUOUS 78 + + Mahir points past the Guard – + + MAHIR + You gonna eat that? + + The Guard turns – Mahir GRABS him from behind, Rohan stuffs + a COTTON PAD over the Guard’s face, rendering him + unconscious. + + They ROLL him into the catering-truck lift... Mahir pops + out and signals ANOTHER GUARD... + + THREE GUARDS have been dumped into the truck lift – Rohan + sends it DOWN, SEALS the plane door. Mahir approaches the + cockpit as the PILOTS perform checks – SHOWS THEM HIS + GUN... + + MAHIR + Alright, lads? + + +79 INT. CORRIDOR, FREEPORT – CONTINUOUS 79 + + The Staff Member leads Neil and the Protagonist into the + vaults... + 48. + + +80 INT. TRANSPORT PLANE – CONTINUOUS 80 + + At gunpoint, the Pilots nervously pull back from the + hangar. + + Rohan checks the stacks of GOLD BARS secured in the rear. + + +81 EXT. APRON, OSLO AIRPORT – CONTINUOUS 81 + + The plane is TOWED back onto the taxiway and lifts its + engines, easing forward... + + +82 INT. TRANSPORT PLANE – CONTINUOUS 82 + + Rohan SLASHES the restraining straps – CROUCHES behind the + pile of gold – pulls out a GRENADE – GRABS the nearest gold + bar and STUFFS it into his waistband before PULLING THE + PIN... + + +83 INT. VAULTS, FREEPORT – CONTINUOUS 83 + + The Staff Member shows Neil and the Protagonist into a + vault. + + Neil puts down his briefcase – pulls out the framed + documents. + + +84 EXT. TAXIWAY, OSLO AIRPORT – CONTINUOUS 84 + + The transport plane BARRELS down the taxiway... + + +85 INT. TRANSPORT PLANE – CONTINUOUS 85 + + Rohan TOSSES the grenade behind the gold at the tail of the + plane and DUCKS as it BLOWS – + + +86 EXT. TAXIWAY, OSLO AIRPORT – CONTINUOUS 86 + + BLASTING a hole in the rear of the plane... GOLD BARS POUR + OUT, CLATTERING ACROSS THE TARMAC... + + +87 INT. VAULTS, FREEPORT – CONTINUOUS 87 + 49. + + + Hearing the distant explosion, the Protagonist and Neil + start PACKING AIR... the Staff Member stares at them, + quizzical – + + NEIL + (between breaths) + Yoga. + + +88 INT. COCKPIT, TRANSPORT PLANE – CONTINUOUS 88 + + Mahir forces the Pilots from their seats – + + +89 EXT. TAXIWAY, OSLO AIRPORT – CONTINUOUS 89 + + The INFLATABLE SLIDE BURSTS OPEN, DRAGGING on the asphalt, + as the Pilots roll onto it, SCRAMBLING DOWN to the ground, + ROLLING AWAY from the giant plane... + + +90 INT. COCKPIT, TRANSPORT PLANE – CONTINUOUS 90 + + Mahir TURNS the stick HARD LEFT, AIMING AT THE REAR WALL OF + THE FREEPORT – + + +91 INT. TRANSPORT PLANE – CONTINUOUS 91 + + Rohan lowers a ladder behind the forward landing gear – he + and Mahir climb down – + + +92 EXT. TAXIWAY, OSLO AIRPORT – CONTINUOUS 92 + + Mahir and Rohan jump down onto the asphalt, racing back + between the wheels as the giant plane SMASHES INTO THE + BRICK WALL OF THE FREEPORT, ERUPTING IN A MASSIVE + EXPLOSION... + + +93 INT. VAULTS, FREEPORT – CONTINUOUS 93 + + The vault is ROCKED by the explosion – ALARMS SCREAM – + DOORS START CLOSING – Neil looks, panicked, at the Staff + Member – + + NEIL + Ten seconds, right?! + 50. + + + The Staff Member BOLTS – PUSHING PAST THEM – they take a + last gulp of air – GAS HISSES IN. They pull apart the + frames of the documents, BREAKING THEM INTO LOCK-PICKING + APPARATUS – lockpicks, small crowbar – they go to work on + the INNER DOOR, PRYING open a panel – HOT-WIRING it – the + door SLIDES UP – + + +94 INT. CORRIDOR, FREEPORT – CONTINUOUS 94 + + They BURST into the corridor, GASPING – the door SLAMS DOWN + behind them – they HUSTLE down to the next vault door – get + to work. The door opens, they GULP AIR, then RACE inside – + + +95 INT. VAULT 2, FREEPORT – CONTINUOUS 95 + + – round the corner past RACKS, CRATES, some BROKEN – stop + at the next door, the Protagonist picks the lock – his PICK + BREAKS – Neil BOLTS back to where they entered – the + Protagonist STRUGGLES, pulling out pieces of the pick – + Neil gets to the first door – + + NO HANDLE – the Protagonist uses a different tool – Neil + SMASHES the door, full-blown PANIC – he looks to the end of + the vault where the ROLLER DOOR is BROKEN at the bottom, + halide gas HISSING OUT – + + Neil races towards it – the Protagonist gets his door OPEN + – Neil STUMBLES past – the Protagonist DRAGS him through + the door – + + +96 INT. INNER CORRIDOR – CONTINUOUS 96 + + They lie GASPING. Neil hears something, looks around – + + NEIL + (urgent whisper) + There’s someone in here with us! + + The Protagonist is up, moving down the corridor... + + They arrive at two doors, side by side: the Rotas vault. + They each work on a door. Neil’s OPENS – + + NEIL + Need a hand? + + The Protagonist works his door... nothing. + + PROTAGONIST + Actually, yes. + 51. + + + Neil leans over, hits ‘ENTER’, the door OPENS. + + +97 INT. ROTAS VAULT – CONTINUOUS 97 + + The Protagonist enters a room, one side of which is a LONG + GLASS WINDOW. Neil is on the other side of the glass, in an + IDENTICAL ROOM. There are BULLET HOLES in the glass. At the + end of each room is a tube, like a sealed in REVOLVING + DOOR. + + The Protagonist’s feet crunch BROKEN GLASS... + + Neil examines BULLET HOLES in the wall opposite the glass. + + WISPS of SMOKE gather near the holes – Neil reaches up – + + PROTAGONIST + Don’t touch them – + + NEIL + What the hell happened here? + + The Protagonist sees a STRIPPED AUTOMATIC PISTOL on the + floor. He picks it up, thinking – + + PROTAGONIST + It hasn’t happened, yet. + + Neil looks at the Protagonist, quizzical – A LOUD HUM + STARTS UP from the revolving door... the Protagonist looks + down – MOVEMENT beneath his feet – the DEBRIS – SMOKE + GATHERS – the revolving doors ROTATE, OPENING – a BLACK- + CLAD FIGURE in a GAS MASK LEAPS BACKWARDS from the tube – + reaching behind itself to GRAB the stripped automatic in + the Protagonist’s hand – + + On Neil’s side an identical BLACK-CLAD FIGURE LEAPS out + FORWARDS – knocks Neil over, moving for the vault door – + + A SLIDE jumps into the Backwards Figure’s hand – he + REASSEMBLES the gun in the Protagonist’s hand – a MAGAZINE + jumping up to LOAD IT – BLAM! + + A bullet is SUCKED OUT OF THE WALL – THROUGH THE GLASS – + ‘HEALING’ THE BULLET HOLES – the Protagonist STRUGGLES with + the Backwards Figure – whose REVERSE MOVEMENTS seem ALIEN + and IMPOSSIBLE – + + Neil gives chase – RACING out of the vault door – + 52. + + + The Backwards Figure pulls the Protagonist sideways, lining + up his head with the next bullet hole – BLAM! GLASS FLIES + UP as the shot JUST MISSES the Protagonist’s head – + + +98 INT. CORRIDOR, FREEPORT – CONTINUOUS 98 + + Neil CHASES the Forwards Figure down the corridor – + + +99 INT. ROTAS VAULT – CONTINUOUS 99 + + The Protagonist STRUGGLES – the Backwards Figure PUSHES him + towards the next bullet hole, STRANGE REVERSE GROANING + building in its throat, behind the black gas mask, the + GROAN PEAKING AS the Protagonist takes his PICK and STABS + the Backwards Figure in the arm and SMACKS the Figure’s gun + out of its hand – it BOUNCES out the door – + + The Figure RISES into the Protagonist’s arms – PULLS him + backwards – we can’t tell if it’s PUSHING or the + Protagonist is PULLING as they move backwards through the + door – + + +100 INT. CORRIDOR, VAULT – CONTINUOUS 100 + + The Figure PUSHES/PULLS the Protagonist down the corridor – + + +101 INT. CORRIDOR, FREEPORT – CONTINUOUS 101 + + Neil RACES around a corner, GRABS the Figure’s MASK, which + COMES OFF – he looks, SURPRISED, at the Figure’s face, + WHICH WE CANNOT SEE, then TURNS, RACING back the way he + came... + + +102 INT. CORRIDOR, FREEPORT – CONTINUOUS 102 + + The Protagonist and the Backwards Figure struggle into – + + +103 INT. VAULT 2, FREEPORT – CONTINUOUS 103 + + They SMASH into the racks and crates – the Protagonist + GRABS the gun – raises it to the Figure’s head – + + NEIL (O.S.) + NO! Don’t kill him! + + The Protagonist freezes – Neil steps up, DESPERATE – + 53. + + + NEIL + We need to know if you’re + compromised. + + The Protagonist THROWS the Figure to the ground – + + PROTAGONIST + Why are you here?! + + The Protagonist tries to rip off the gas mask, but it is + strapped tight – the REVERSE KEENING gets LOUDER and + LOUDER. + + The Protagonist STEPS onto the Figure’s injured arm... + + PROTAGONIST + Who sent you?! + + The Figure’s reverse screaming gets louder – the + Protagonist KICKS its arm, HARD, AGAIN AND AGAIN – + + PROTAGONIST + HOW DID YOU KNOW WE’D BE HERE! + + A BOOM! from outside – AIR starts BLOWING ACROSS the + Backwards Figure, SUCKING underneath the broken roller door + – the Backwards Figure SLIDES impossibly across the floor + and underneath the door which SLAMS shut, unbroken behind + him. + + The Protagonist and Neil look at each other... + + NEIL + We have to go. + + +104 EXT. APRON, OSLO AIRPORT – CONTINUOUS 104 + + One of the plane’s JET ENGINES has come loose, STILL + THRUSTING, SWINGING AROUND, wreaking HAVOC for the + EMERGENCY SERVICES – an AMBULANCE SKIDS SIDEWAYS, avoiding + the THRUST... + + Mahir and Rohan stand at a distance, watching the MAYHEM + along with DOZENS of other UNIFORMED AIRPORT WORKERS... + + +105 INT/EXT. FREEPORT – CONTINUOUS 105 + + EMTS race in past the Staff Member... + + +106 INT. VAULTS, FREEPORT – CONTINUOUS 106 + 54. + + + Neil moves to the other door – works the lock – SIRENS + sound – + + PROTAGONIST + What happened to the other guy? + + NEIL + I took care of him. + + The door opens – they slip into the outer vault – + + +107 INT. OUTER VAULT, FREEPORT – MOMENTS LATER 107 + + They reassemble the document frames, then LIE DOWN, + ‘unconscious’ – EMERGENCY SERVICES BURSTS IN... + + +108 INT. HOTEL ROOM, OSLO – DAWN 108 + + Neil hangs up his phone – + + NEIL + Mahir and Rohan slipped out clean. + (turns to the + Protagonist) + I’ve seen too much and I’m still + alive. Which means you’ve decided + to trust me. + + PROTAGONIST + Or I’ve lost my edge. + + NEIL + Oh, your edge is intact. + + The Protagonist looks at Neil. + + PROTAGONIST + There’s a cold war. + + NEIL + Nuclear? + + PROTAGONIST + Temporal. + + NEIL + (skeptical) + Time travel? + + PROTAGONIST + 55. + + + No. Technology that can invert an + object’s entropy. + + NEIL + You mean reverse chronology. Like + Feynman and Wheeler’s notion that a + positron is an electron moving + backwards in time. + + PROTAGONIST + Sure, that’s exactly what I meant. + + NEIL + I’ve a master’s in physics. + + PROTAGONIST + Well, try to keep up. + + NEIL + The implications of this are – + + PROTAGONIST + Beyond secret. + + NEIL + Then why’d you take me in? + + PROTAGONIST + I thought we’d find the drawing and + a couple boxes of bullets. + + NEIL + You were as surprised as I was. + + PROTAGONIST + I’m going back to Mumbai for + answers. I’ll set you up as go- + between. But remember – to you, all + this is about plutonium. Or when + we’re done, they’ll kill you. + + NEIL + Won’t you have to anyway? + + PROTAGONIST + I’d rather it was my decision. + + NEIL + So would I. I think. + + +109 INT/EXT. FERRY BOAT, MUMBAI – DAY 109 + 56. + + +The Protagonist boards, approaching Priya at the rail. + + PRIYA + I don’t like to leave my house. + + PROTAGONIST + And I don’t like bungee jumping. + But we need to talk. + + PRIYA + What about? + + PROTAGONIST + Inversion. + + PRIYA + We spoke about it – + + PROTAGONIST + I don’t remember anything about + people being inverted – + + PRIYA + We’re trying to do with inversion + what we couldn’t do with the atomic + bomb – uninvent it. Divide and + contain the knowledge. Ignorance is + our ammunition – the more any one + of us knows, the greater the risk + that we’re actually making the + situation worse. + + PROTAGONIST + Risk more. + +Priya gestures at the paper. A headline: ‘OSLO GOLD FREIGHT +CRASH – TERRORISM? ROBBERY? BOTH?’ + + PRIYA + Your work? + +The Protagonist nods. + + PRIYA + What did you find in the vaults? + + PROTAGONIST + Two antagonists, one inverted. We + took out the regular one, the + inverted one got away. + + PRIYA + Both emerged at the same moment? + 57. + + + PROTAGONIST + Yeah. + + PRIYA + They were the same person. You saw + someone re-inverting. Sator’s built + a turnstile in that vault. + + PROTAGONIST + Turnstile? + + PRIYA + A machine for inverting. + + PROTAGONIST + You told me the technology hasn’t + been invented, yet. + + PRIYA + It hasn’t. He’s been given it by + the future. + + PROTAGONIST + For what? + + PRIYA + You’ve the best chance of finding + out. + + +110 EXT. MUMBAI STREET – MOMENTS LATER 110 + + They walk, BODYGUARDS at a discreet distance. + + PRIYA + Have you met him? + + PROTAGONIST + I was close. + + PRIYA + Get closer. + + PROTAGONIST + I’ve been compromised. Unless that + antagonist was a coincidence. + + PRIYA + The wife set you up? + + PROTAGONIST + Maybe. There’s a good chance I get + killed as soon as I go back in. + 58. + + + PRIYA + This was always a suicide mission – + that’s why they recruited a corpse. + + PROTAGONIST + Who did? Who are we working for? + + PRIYA + Everyone. Survival. You need more, + consider yourself working for me. + + PROTAGONIST + Well, Boss, I need a way to + succeed. + +Priya thinks. Looks at the Protagonist. Deciding. + + PRIYA + What if you have something he + needs? + + PROTAGONIST + Such as? + + PRIYA + Plutonium 241. Sator tried to lift + the only loose 241 from under a CIA + team at the opera siege in Kiev. He + got the team, but not the 241. + + PROTAGONIST + Who did? + + PRIYA + Ukrainian security services. It’s + moving through Tallinn in a week. + + PROTAGONIST + Helping an arms dealer steal + weapons-grade plutonium is + unacceptable. I’m just gonna take + him out. + + PRIYA + No. Sator has to stay alive until + we know his part in things. + Leverage the situation without + losing control of the 241. + + PROTAGONIST + It’s too dangerous. + + PRIYA + 59. + + + A terrorist bomb, even one that + kills millions, is nothing compared + with what happens if we don’t stop + Sator. + + PROTAGONIST + From. Doing. What? + + Priya looks up the road at the cars STREAMING past... + + PRIYA + We’re being attacked. Not by + terrorists or rogue states... + + PROTAGONIST + Who, then? + + PRIYA + We’re being attacked by the future. + And we’re fighting over time. + + PROTAGONIST + Time? + + PRIYA + Theirs is running out, so they’re + coming for ours. And Sator is + helping. You have to find out how. + + +111 EXT. TERRACE, AMALFI COAST – DAY 111 + + The Protagonist leaves the tourists behind, heading down a + leafy path to emerge at a terrace overlooking the sea. Kat + stands there, alone. The Protagonist falls in beside her. + + KAT + I saw the news from Oslo. Do you + have the drawing? + + PROTAGONIST + You don’t have to worry about it + any more. + + KAT + You destroyed it? + + PROTAGONIST + I didn’t think you’d want it back. + + KAT + Does he know? + 60. + + + PROTAGONIST + Not yet, so sit tight. + + KAT + Sit tight? Why? Every day my son + spends with that monster, he thinks + a little less of me. + + PROTAGONIST + It won’t be long. In the meantime, + introduce me. + + KAT + As what? + + PROTAGONIST + I’m a former First Secretary from + the American Embassy in Riyadh, we + met at a party last June – + + KAT + We were at a party in Riyadh, but I + don’t think it was June – + + PROTAGONIST + June 29th. 7 for 7:30, salmon on + the printed menu swapped for sea + bass on the night. Sator left + early, that’s when we met. Don’t + offer any of this, it’s there if he + asks. I came into Shipley’s in + London, you ran into me here and + want to show me the yacht. + + KAT + He’ll think we’re having an affair. + + PROTAGONIST + And he’ll want to meet me. + + KAT + Or have you killed. + + PROTAGONIST + Let me worry about that. + + KAT + Did I look worried? + + +112 EXT. DOCK, AMALFI – DAY 112 + + The Protagonist and Kat look out at an enormous yacht. + 61. + + + KAT + Sleeps 70, with crew. Four tenders, + two helicopters, missile defences – + + PROTAGONIST + Jesus. Worried about pirates? + + KAT + Andrei loves playing one government + off another. The day they turn, + that’s his refuge. + + PROTAGONIST + What if I joined you? + + She nods at Volkov, holding the launch’s line. + + KAT + I’m not sure Volkov’s taking + passengers just now. + + PROTAGONIST + Then let’s take mine. + + The Protagonist nods at Volkov as they walk past. + + +113 EXT. HARBOUR, AMALFI – MOMENTS LATER 113 + + The Protagonist GUNS his boat hard, carving a GLITTERING + PATH across the calm harbour. Kat sits, enjoying the speed. + + The Protagonist pulls up alongside the yacht, CREW MEMBERS + SCRAMBLE, unaccustomed to unauthorized approaches. The + Protagonist follows Kat’s gaze to a FIGURE above, but the + sun is behind it. Kat steps onto the yacht. + + The Protagonist gives the figure a JAUNTY SALUTE. No + response. The Protagonist ZIPS back towards shore, passing + the yacht’s launch. He waves at Volkov. + + +114 INT/EXT. YACHT – MOMENTS LATER 114 + + Follow Kat into the enormous lounge. She drops her bags – + + MALE VOICE (O.S.) + Who’s the American? + + She turns. A middle-aged man with cold eyes and a thin + beard stands in the doorway. THIS IS SATOR. + + KAT + 62. + + + A friend. + + SATOR + The man from Shipley’s? + + KAT + Who you tried to have beaten up? + + SATOR + I ask again. Who is he? + + KAT + We met in Riyadh. In June at the + American Embassy. + + SATOR + Good with fists for a diplomat... + + KAT + Paranoia’s your department. He + seems nice, I invited him to the + dinner. + (turns away) + Max?... Max?!... + + SATOR + He’s visiting Pompeii and + Herculaneum. + + KAT + Overnight? You just sent him off?! + + SATOR + He’s my son. + + KAT + Our son. I told him I’d go with him + – + + SATOR + I explained you were busy. With + your friend. + + He turns, walks away. She watches him leave. + + +115 INT. RESTAURANT, AMALFI COAST – EVENING 115 + + The Protagonist walks towards a table where Sator, holding + court, attacks some crabs. Volkov stops the Protagonist and + FRISKS him, in full view of the diners. + + PROTAGONIST + 63. + + + Where I’m from, you buy me dinner + first. + +Without looking, Sator gestures at a seat, Volkov lets the +Protagonist pass. He sits. + + PROTAGONIST + Mr Sator? I’m – + + SATOR + (quiet) + Don’t bother. Just tell me if + you’ve slept with my wife, yet. + +The Protagonist glances up at Kat, opposite, chatting. + + PROTAGONIST + No. Not yet. + +A glance from Sator between buttery mouthfuls of crab. + + SATOR + How would you like to die? + + PROTAGONIST + Old. + + SATOR + You chose the wrong profession. + +Sator returns a toast from a grinning guest. Reaches a +greasy palm to the Protagonist’s cheek, as if in +friendliness... + + SATOR + There’s a walled garden up the + road. We’re going to take you + there, cut your throat, not across, + in the middle, like a hole. Then we + take your balls, stuff them in the + cut, block the windpipe. + + PROTAGONIST + Complex. + + SATOR + It’s gratifying to watch a man you + don’t like try to pull his own + balls out of his throat before he + chokes. + + PROTAGONIST + 64. + + + Is this how you treat all your + guests? + + SATOR + The ones using my family to get to + me. + + PROTAGONIST + How else is someone supposed to get + to you? + + SATOR + Only a fool wants to be near me. + + PROTAGONIST + Or someone who has something worth + delaying your gratification for... + + Sator signals Volkov – Kat glances over as Volkov RISES – + + SATOR + We’re finished. + + PROTAGONIST + Do you like opera? + + At this, Sator pauses. Waves off Volkov. + + SATOR + Not here. You sail? + + PROTAGONIST + I’ve messed around on boats. + + SATOR + Be on the dock at eight. Ready to + do more than mess around. + + Kat, relieved, watches the Protagonist leave. + + +116 EXT. DINING ROOM, YACHT – MORNING 116 + + Kat enters, dressed in sailing gear. Sator is already + seated, similarly dressed, reading his phone, with a cup of + coffee. + + KAT + Max has missed too much school this + year. I’m taking him back to + England. + + SATOR + 65. + + + No, you’re not. He has a tutor + here. + + KAT + The school won’t be okay with – + + SATOR + Yes, they will. + + KAT + Can I finish?! + + SATOR + Look around you – he has everything + he needs here. + +A SERVANT places a plate with a silver cover in front of +Kat, then pours her coffee. + + KAT + You don’t care what he needs. You + bought the trappings of a king, but + we both know you’re a grubby little + man playing power games with a wife + who doesn’t love him any more. + +Sator looks at her. + + SATOR + You seem spirited today. + + KAT + (defiant) + Do I? + +Sator barely nods at the servant, who pulls off the lid... + + SATOR + Yes. You do. + +On the plate, instead of breakfast, is a small drawing. A +‘Rubens’. Kat freezes. + + SATOR + Were you worried it had been + destroyed? Rest assured, instinct + told me to remove it from the + vault. I’ve always had instincts + about the future. That’s how I + built this life you no longer + value. + +Kat looks up at him, not knowing what to say or do. + 66. + + +117 EXT. DOCK, AMALFI – MORNING 117 + + The Protagonist stands on the dock, dressed for sailing, + watching the launch approach... + + PROTAGONIST + Morning. + + As he gets on, Kat ignores him. Sator enjoys this. + + +118 EXT. OPEN OCEAN, AMALFI – MOMENTS LATER 118 + + The Protagonist tries to catch Kat’s eye, but she will not + look his way. + + Sator hands the Protagonist a HARNESS and a HELMET... he + looks at them, taken aback, then looks ahead – towards TWO + GRAPHITE DARK, HIGHEST TECH AMERICA’S CUP SAILING YACHTS, + trimmed and ready. + + PROTAGONIST + (impressed) + When you said sailing... + + +119 EXT. SAILING YACHT DECK – MOMENTS LATER 119 + + Kat gets on, followed by Sator and the Protagonist. The + rigging crew departs. Kat checks the sheets and winches. + + Sator indicates the harness. + + SATOR + You know how? + + PROTAGONIST + Aye, Captain. + + Sator gestures at Kat. + + SATOR + She’s captain. + + +120 EXT. OPEN OCEAN, AMALFI – LATER 120 + + The boats FLY, SKIMMING THE WATER ON THEIR HYDROFOILS... + Sator and the Protagonist are next to each other, standing + on one pontoon, LEANING OUT IN THEIR HARNESSES... Kat is at + the wheel, concentrating... + 67. + + + SATOR + What do you know about opera? + + PROTAGONIST + In 2008 a remote Russian missile + station was overwhelmed and held + for a week. When the station was + retaken, the plutonium 241 on one + warhead was three quarters of a + kilo lighter. The missing 241 + surfaced at the opera-house siege + in Kiev on the 14th. + + SATOR + You’re well informed. But that + doesn’t mean you have the + plutonium. + + PROTAGONIST + I didn’t say I had it. I’m saying I + know how to get it – + + KAT (O.S.) + COMING ABOUT! + +Kat SWINGS the boat into the wind, SAIL FLAPPING FURIOUSLY +as the wind catches it on the other side, and Sator and the +Protagonist DUCK under the boom, RACING to the other side, +their harnesses SNAPPING TAUT as they lean out... + + SATOR + What do you propose? + + PROTAGONIST + Partnership. + + SATOR + I wouldn’t partner with you. + +Kat works the wheel, tracking the other boat. Her look is +one of BOTTLED RAGE... + + PROTAGONIST + What’s wrong with me? + + SATOR + You know how to handle yourself, + you have no record. + + PROTAGONIST + Someone in the arms trade with + training who covers his tracks? Not + that shocking. + 68. + + + SATOR + For an intelligence agent. + + Sator holds the Protagonist’s gaze... + + KAT + Secure your jib line. + + The Protagonist turns – Kat leans in to Sator – + + KAT + Burn in hell, Andrei – + + – and YANKS HIS QUICK-RELEASE – he FLIES off the boat, + SMASHING HEAD-FIRST into the waves – + + The Protagonist sees Sator FACE-DOWN, UNCONSCIOUS – he + UNCLIPS, JUMPS to the wheel, SPINNING the boat OFF THE WIND + – + + KAT + YOU CAN’T JIBE A BOAT LIKE THIS – ! + + The Protagonist STEERS the boat across the wind, SNAPPING + THE BOOM ACROSS, ALMOST LOSING THE MAST – + + PROTAGONIST + You can if you have to – + + He RELEASES THE SHEETS, SPILLING WIND, LOSING SPEED – as + they pass Sator he DIVES into the water – GRABS the + oligarch – PULLS his face out of the water... Sator starts + COUGHING... + + +121 INT. STATEROOM, SATOR’S YACHT – DAY 121 + + The Protagonist dries himself – the door opens – Kat BURSTS + in – + + KAT + WHY DIDN’T YOU LET HIM DROWN?! + + She is on him, smashing her fists into his chest – + + PROTAGONIST + I need him. + + KAT + To sell guns?! + + PROTAGONIST + 69. + + + I’m not who you think I am. + + KAT + That, I know – he showed me the + drawing. + + PROTAGONIST + I’m sorry. + + KAT + Do you have any idea what you’ve + done? + + PROTAGONIST + I had to get close to him. I don’t + know what you think your husband is + – + + KAT + We both know he’s an arms dealer. + + PROTAGONIST + He’s so much more. + + KAT + What, then? + + PROTAGONIST + Andrei Sator holds all our lives in + his hands. Not just yours. + +She looks bemused. A KNOCK at the door – she hides behind +it – + + VOLKOV + Mr Sator wants to see you. + +The Protagonist nods – pushes the door – Volkov stops it – + + VOLKOV + Now. + + PROTAGONIST + He wants to see me without pants? + +Volkov lets the door shut. The Protagonist turns to Kat – + + PROTAGONIST + Trust me. + + KAT + Save it. I’m not falling for it + twice. + 70. + + + The Protagonist looks at Kat. Sighs. + + PROTAGONIST + You have a better option? + + She looks into the Protagonist’s eyes. Assessing. + + KAT + Whatever it takes to get what you + want. Just like him. Not a second’s + thought about me. My son. What do + you think he’s going to do to me + now? + + He pulls a gun from his bag. Offers it to her. + + PROTAGONIST + Try not to use this – + + She takes it – lets it point at him. + + PROTAGONIST + On anyone. + + +122 INT. STUDY, SATOR’S YACHT – EVENING 122 + + The Protagonist is shown in. Sator is sitting behind his + desk. A DOCTOR is taking his blood pressure. + + SATOR + Enough – + + Sator RIPS the cuff off his arm, sending the doctor out – + checks a fitness tracker on his wrist. + + SATOR + See? Pulse of a man half my age. + Drink with me. + + Sator pours them both tumblers of vodka. + + SATOR + It seems I now owe you my life. + + PROTAGONIST + It’s nothing. + + Sator fixes his black gaze on the Protagonist. + + SATOR + 71. + + + My life is not nothing. And I don’t + like to be in debt. + + PROTAGONIST + Then pay me. No retribution against + your wife. + +A dangerous beat. Then Sator GRINS – + + SATOR + You think she released my harness? + (laughs) + It was my own mistake. + + PROTAGONIST + Then help me steal the 241. I need + resources. It’s weapons-grade + plutonium – that means special + handling, containment facilities – + + SATOR + I know what it means. You lecture + me about radiation. Andrei Sator, + digging plutonium from the rubble + of my city as a teenager? + + PROTAGONIST + Where? + + SATOR + Stalsk-12. My home. + +Sator sips his drink. Looks the Protagonist in the eye. + + SATOR + One pod of a warhead exploded at + ground level, scattering the + others. They needed people to find + the plutonium... + +INSERT CUT: + +IN A DESOLATE STREET, SNOW FALLS ON A HAZMAT-SUITED +SCAVENGER – A YOUNG SATOR WALKING IN FRONT OF A MASSIVE +MINING MACHINE, CARRYING A GIANT CROWBAR AND A GEIGER +COUNTER... + + SATOR + It became my first contract – + nobody else even bid. They thought + it was a death sentence. + 72. + + + INSERT CUT: YOUNG SATOR SPOTS THE MACHINE UNEARTHING A + LARGE METAL CAPSULE. A FELLOW WORKER SEES THE SAME THING... + + SATOR + But one man’s probability of death + is another man’s possibility for a + life... + + INSERT CUT: YOUNG SATOR OPENS THE CAPSULE. HE LIFTS OUT + SOME PAPERS, WHICH HAVE HIS NAME ON THEM, REVEALING GOLD + BARS UNDERNEATH. THE FELLOW WORKER LEANS IN, STUDYING THE + GOLD. THEY MAKE EYE CONTACT... SATOR STRIKES THE FELLOW + WORKER WITH HIS CROWBAR, KILLING HIM... + + SATOR + I staked my claim in the new + Russia. Even now, my company is the + only one to operate in the ruins. + + PROTAGONIST + The 241’s being transported through + Northern Europe on its way to the + long-term nuclear storage depot at + Trieste. I’m told you have + resources in Tallinn. + + Sator downs his vodka. + + SATOR + Stay with us tonight. I insist. + + +123 INT. KAT’S STATEROOM, SATOR’S YACHT – NIGHT 123 + + Kat slips the gun under her mattress, feels the lump – + pulls it out – moves to the desk, puts it in her jewellery + case – hearing a noise she jumps onto the bed, picks up a + book. The door opens. Sator. He locks the door. + + KAT + What do you want, Andrei? + + SATOR + We’re going to talk about today. + + KAT + No, we’re not. + + He removes a DIAMOND CUFFLINK... + + SATOR + No? + 73. + + +Kat starts to get off the bed – + + KAT + Don’t think for a minute you can + treat me the way you treat your + other women. + +Sator shifts to lean on the desk, cutting her off from the +jewellery box. She sits back down. He removes his belt... + + SATOR + And how do you imagine I treat + these other women? + +Sator slips the cufflink through a belt hole... + + SATOR + You think I force them into + conversation? + +Sator tests the diamond studded belt against his palm. + + SATOR + You want to be quiet? Fine... + +He tosses her a pillow. + + SATOR + Bite down on that... + +Sator moves towards her – she looks at the jewellery box on +the desk – no way around him – Sator looks down at her. She +looks up at his cold eyes... + + KAT + Even a soul as blank and brittle as + yours needs a response. Is fear and + pain enough? Because that’s all I + have to offer. + + SATOR + Then it’ll have to do. + + KAT + Why didn’t you just throw me out? + + SATOR + If I can’t have you, no one can. + + KAT + At what point do you give up and + kill me? + 74. + + + Sator shrugs, wraps the belt a turn around his fist... + + SATOR + Turn over. + + KAT + Touch me, I scream so loud he + hears. + + SATOR + You think I’d let him interfere? + + KAT + If he tried you’d have to kill him. + End of deal. So leave me the fuck + alone. + + A KNOCK at the door. + + SATOR + NOT NOW! + + But he hears a RUMBLING... Sator, without a word, exits – + + +124 EXT. SATOR’S YACHT, AMALFI COAST – NIGHT 124 + + Sator GRABS binoculars from one of his men, peering out – + + A helicopter EMERGES from the darkness, THUNDERING IN... + + +125 INT. GUEST STATEROOM, SATOR’S YACHT – CONTINUOUS 125 + + The Protagonist listens to the incoming chopper – pulls on + a black Windbreaker – quietly opens his door... + + +126 INT. PASSAGE, BELOW DECKS, SATOR’S YACHT – CONTINUOUS 126 + + The Protagonist makes his way, looking for an exit... + + +127 EXT. SATOR’S YACHT, AMALFI COAST – CONTINUOUS 127 + + The chopper descends to the landing pad – rotors turning as + Sator signals his men to head in... + + +128 EXT. SATOR’S YACHT – CONTINUOUS 128 + + The Protagonist is on a roof overlooking the helipad... + 75. + + + He watches Sator’s men remove a LARGE, GRUBBY CAPSULE and + take it below as the chopper LIFTS OFF... + + +129 INT. STORAGE AREA, SATOR’S YACHT – CONTINUOUS 129 + + The Protagonist makes his way through the storage area. + + Peering through a window, he sees – + + +130 INT. ENGINE ROOM, SATOR’S YACHT – CONTINUOUS 130 + + Crew gathered around the capsule. Sator enters, wipes dirt + from the latches and opens it. Sator puts his hand over the + open capsule, letting small, flat GOLD BARS leap from the + capsule into his hand... he looks up, expectantly... + + The Crew SHOVES a CREW MEMBER forwards, onto his knees... + eyes downcast, he reaches behind – pulls a gold bar from + his rear pocket. He offers it to Sator with TREMBLING + hands. + + Sator takes it, eyes never leaving the Crew Member... who + finally, tentatively looks up – + + BAM! Sator JABS him in the mouth with the gold bar, then + SMASHES him over the head – + + +131 INT. STORAGE AREA, SATOR’S YACHT – CONTINUOUS 131 + + The Protagonist is REPULSED by what he sees... + + +132 INT. ENGINE ROOM, SATOR’S YACHT – CONTINUOUS 132 + + Sator steps back, breathless, from the Small Crew Member, + who lies motionless on the ground. + + As Sator raises his wrist to check his fitness tracker, + BLOOD drips from the gold bar in his hand. + + SATOR + Ninety-eight. Not bad for such + exertion. + + +133 EXT. STORAGE AREA, SATOR’S YACHT – CONTINUOUS 133 + + The Protagonist SENSES, TURNS – CRACK! Volkov smashes his + jaw – KICKS him in the ribs – pistol-whips him... + 76. + + +134 INT. ENGINE ROOM, SATOR’S YACHT – MOMENTS LATER 134 + + The Protagonist, bleeding, is SHOVED into the room – + + VOLKOV + He was at the window. + + Sator looks at the Protagonist, who nods at the capsule – + + PROTAGONIST + I was curious. + + SATOR + My property shouldn’t concern you. + Who are you? How do you come by + your information about the opera? + + PROTAGONIST + Do I work for intelligence + services? Several, just like you. + You wouldn’t do business with + someone who wasn’t savvy enough to + be recruited. Hell, the CIA + provides two-thirds of the market + for fissile material. + + SATOR + They’re usually buying, not + selling. But we do live in a + twilight world... + + PROTAGONIST + Is that Whitman? It’s pretty. + + SATOR + Next warning’s a bullet in your + brain. + + PROTAGONIST + No balls in my throat? + + SATOR + There’ll be no time for such things + in Tallinn. + + Sator gestures to his men – they lift the capsule. The + Protagonist spots DRIED MUD from the latches on the + table... + + SATOR + Make your way there. I want Volkov + on the team. + 77. + + + The Protagonist struggles to his feet. + + PROTAGONIST + No. I spring the materials, you pay + me off. Your wife does the + exchange. + + SATOR + I never involve her in my business. + + PROTAGONIST + That’s why I trust her. + + SATOR + (to Volkov) + Put him ashore. + + PROTAGONIST + How do I contact you? + + SATOR + You don’t. + + PROTAGONIST + How do you advance me funds? + + Sator TOSSES the Protagonist the BLOODY GOLD BAR – the + Protagonist FUMBLES it onto the table. Volkov SNEERS – + + SATOR + Handle the plutonium better than + that. + + The Protagonist, looking Volkov in the eye, picks up the + gold bar, scooping DRIED MUD into his hand, unseen. + + +135 EXT. DOWNTOWN STREETS, TALLINN – DAY 135 + + The Protagonist walks the crowded streets with Neil. + + PROTAGONIST + What did you find on the gold? + + NEIL + Three hundred thousand at today’s + price, no franks, mould marks. + Nothing. Like it came from outer + space. + + PROTAGONIST + Or the future. + 78. + + + NEIL + How? + + PROTAGONIST + Dead drops. He buries his time + capsule, transmits the location, + then digs it up to collect whatever + inverted material they’ve sent. + + NEIL + Instantaneous. Where’s he bury it? + + PROTAGONIST + Someplace that won’t be disturbed + for centuries. What did the soil + sample show? + + NEIL + Northern Europe or Asia, + radioactive. Dried blood was + European. + + PROTAGONIST + Pretty broad. + + NEIL + This is the start of the run. + +The Protagonist looks back where they came. Then up ahead. + + PROTAGONIST + When does the material arrive? + + NEIL + Thursday. When does Sator arrive? + + PROTAGONIST + I don’t know. But he’ll be here. + + NEIL + Cargo’s in a reinforced truck. + Nuclear police front and back – + SUVs with serious armour – you + can’t break in through the windows. + + PROTAGONIST + And they can’t break out. + + NEIL + I don’t follow. + + PROTAGONIST + 79. + + + You will. So, light convoy through + downtown, what’s the thinking? + + NEIL + A crowded, unpredictable traffic + pattern makes planning an ambush + almost impossible. + + The Protagonist looks around at the congestion. + + PROTAGONIST + They have a point. Is the convoy + monitored from the air? + + NEIL + No, tracked by GPS – a wrong turn + or an unscheduled stop, in comes + the cavalry. + + Neil and the Protagonist hop a tram. The Protagonist + studies the journey along the multi-lane road out of town. + + PROTAGONIST + We need big guns, guns that make + the point without being fired. We + need a fast car that doesn’t look + fast and four heavy vehicles, all + different – bus, coach, eighteen- + wheeler... + + Neil nods. + + PROTAGONIST + One of them has to be a fire truck. + + Neil looks up, interested. + + PROTAGONIST + Most of all, we need to set this up + with nothing in the record – + nothing electronic, nothing paper – + I don’t want Sator ambushing us the + second we spring the material. His + ignorance is our only protection. + + +136 INT/EXT. MERCEDES ON TALLINN STREETS – DAY 136 + + Kat sits beside Sator in the back, staring out the window. + + SATOR + Everything salvaged from Oslo’s + been shipped here. + 80. + + + KAT + Why am I here? + + SATOR + I don’t trust anyone else to assess + the pieces. + + +137 EXT. FREEPORT, DOCKSIDE AREA, EDGE OF TALLINN – DAY 137 + + The MERCEDES pulls into the Tallinn Freeport. Several + BODYGUARDS emerge, Sator heads inside. Kat follows, looking + through a metal fence – an AUDI sits there, idling. Its + driver is wearing an OXYGEN MASK... + + +138 INT. STORAGE FACILITY, TALLINN FREEPORT – MOMENTS LATER 138 + + Kat enters. Sator is at a table covered in WEAPONS. + + SATOR + See, Kat? Some of my favourites... + + He picks up a MACHINE GUN. + + SATOR + Singed but salvageable, wouldn’t + you say? + + She stares at the weaponry as if she’s never seen anything + like it before... + + KAT + It’s not my area of expertise. + + SATOR + That’s right. You’d never have + anything to do with such things. + But this is where our worlds + collide. + + KAT + Andrei, what is this? + + SATOR + You know perfectly well what it is, + Kat – the filthy business that put + those clothes on your back and our + boy in his school. That you thought + you could negotiate your way + around. + + VOLKOV + 81. + + + (in Russian, subtitled) + The convoy’s due downtown in ten. + + Sator checks his watch. Nods at Volkov. Turns to Kat. + + SATOR + It’s time to go. + + KAT + I’m not going anywhere with you. + + Sator SLAMS the machine gun back down on the table. Kat + FLINCHES. Sator TURNS, enraged... + + SATOR + Look at me and understand – you + don’t negotiate with a tiger – you + admire a tiger, until it turns on + you and you feel its TRUE. FUCKING. + NATURE! + + Sator moves towards her – Kat pulls out a gun. + + KAT + Don’t... + + +139 EXT. TALLINN STREET – DAY 139 + + A LARGE UNMARKED TRUCK, with an ESCORT FRONT AND BACK, + makes its stop and-start way through the downtown traffic. + + +140 INT/EXT. BMW, TALLINN STREET – CONTINUOUS 140 + + The Protagonist and Neil watch the convoy cross an + intersection, then pull forward, squeezing through traffic + to get ahead. Neil raises a walkie-talkie – + + YELLOW CO-PILOT + (into radio) + Green? Two minutes. + + +141 INT/EXT. GREEN TRUCK, TALLINN STREET – CONTINUOUS 141 + + The GREEN DRIVER nods at the GREEN CO-PILOT who holds the + radio. + + GREEN CO-PILOT + Check. + 82. + + + He puts the radio down and pulls out a LARGE AUTOMATIC + RIFLE. + + +142 INT/EXT. BMW, TALLINN STREET – CONTINUOUS 142 + + The Protagonist checks his watch – Neil speaks into the + radio – + + NEIL + Yellow? Sixty seconds. + + YELLOW CO-PILOT + (over radio) + Sixty. Check. + + NEIL + Blue? Forty-five seconds. + + BLUE CO-PILOT + (over radio) + Forty-five. Check. + + NEIL + Red? On our way to you. + + +143 INT/EXT. FIRE ENGINE – CONTINUOUS 143 + + RED DRIVER and RED CO-PILOT are dressed as FIREFIGHTERS. + + +144 INT/EXT. BMW, TALLINN STREET – CONTINUOUS 144 + + The BMW pulls out, running behind the nuclear convoy. As + the convoy passes the cross street where the green truck, a + FLATBED TRUCK, is sitting, it pulls out beside them, + settling in to the right of the convoy. + + +145 INT. STORAGE FACILITY – DAY 145 + + Sator steps towards Kat – + + KAT + Stay right there! + + She lifts the gun, intent – + + SATOR + You wouldn’t kill me. + 83. + + + KAT + I already tried. + + SATOR + You pushed me off a boat. You’re + not going to shoot me in cold blood + – + + KAT + My blood’s not cold, Andrei. + + SATOR + No, but you’re not angry enough. + +Sator edges towards Kat... + + SATOR + Because anger scars over into + despair. I look in your eyes... + +He casually GESTURES at her – + + SATOR + I see despair. + +He SMACKS the gun out of her hands – PUNCHES her – she +DROPS – + + SATOR + Vengeful bitch. Living off me, + pretending to be better... + +With a primal, animal viciousness, Sator SPITS at Kat. + + SATOR + ENOUGH! + +Sator KICKS her once, in the side. + + SATOR + You wanted to know when it’s better + to kill you? You’ll have your + answer. + +He motions to Volkov, who, with a guard, lifts Kat and +carries her towards the door. Sator puts an earpiece in his +ear... + + SATOR + Tell me everything as it happens. + +Volkov nods, leaving – Sator walks through a large door. + 84. + + + SATOR + Seal us this side! + + As the door shuts behind him, he walks towards a RED DOOR + WITH A SMALL PORTHOLE, finding a spot in the shadows + nearby... + + +146 EXT. TALLINN STREET – CONTINUOUS 146 + + The BMW watches the yellow truck, a BROADCAST TRUCK, which + pulls out just ahead of the nuclear convoy... the + Protagonist looks back through the BMW’s side mirror, which + is CRACKED... + + The BMW sees the blue truck, a WRECKER, which pulls out + onto the larger street, just behind the convoy, which is + now SURROUNDED ON THREE SIDES by the coloured trucks. + + +147 INT. MERCEDES – CONTINUOUS 147 + + Volkov follows the convoy... + + VOLKOV + (into radio) + Three trucks in place... + + SATOR + (over radio) + Watch everything, give me all the + details... + + +148 INT. STORAGE FACILITY, TALLINN FREEPORT – CONTINUOUS 148 + + Sator sits in the shadows, listening intently... + + +149 EXT. TALLINN STREETS – CONTINUOUS 149 + + The BMW ZIPS ahead, weaving through traffic, pulls + alongside the fire truck. + + The Protagonist, DRESSED AS A FIREFIGHTER, jumps out of the + BMW and grabs onto the side of the fire truck, BANGING the + side to signal the driver. The fire truck pulls out onto + the three-lane highway... + + +150 INT/EXT. FIRE TRUCK – CONTINUOUS 150 + 85. + + + The fire truck pulls alongside the nuclear convoy, slotting + in on the left, so that the convoy is now SURROUNDED... the + Protagonist CLIMBS onto the roof beside the ladder, puts on + a pair of heavy-duty gloves, pulls a diagonal backpack + around onto his front, checking his tools. + + Blue Co-pilot and Yellow Co-pilot COUNT DOWN in unison – + + BLUE CO-PILOT + (over radio) + Five, four, three, two, one, go... + + Blue truck, behind the convoy, GUNS THE ACCELERATOR, as + yellow truck, in front of the convoy, SLAMS ON THE + BRAKES... + + The two SUVS are ACCORDIONED against the nuclear truck, + then CARRIED FORWARD WITH THE NUCLEAR TRUCK as the coloured + trucks CLOSE FORMATION and PULL FORWARD, maintaining pace – + + BLUE CO-PILOT + Go yellow! + + The YELLOW CO-PILOT in the broadcast truck sends out STATIC + – + + +151 INT/EXT. SECURITY SUV – CONTINUOUS 151 + + The SECURITY DRIVER is trying the radio – STATIC... + + +152 INT. CONTROL CENTRE, TALLINN POLICE – CONTINUOUS 152 + + A POLICE OPERATOR is frowning, trying the radio. He calls + to his SUPERVISOR – + + POLICE OPERATOR + (in Estonian, subtitled) + – Radio’s down. – + + SUPERVISOR + (in Estonian, subtitled) + – Are they still moving? – + + The Police Operator checks his screen – NODS... + + +153 EXT. TALLINN STREET – CONTINUOUS 153 + 86. + + + TYRES HOWLING, the convoy GRINDS forward – Blue Co-pilot + tosses a DYE PACK onto the windshield of the SUV – it + BLASTS across the glass, obscuring the view – Yellow Co- + pilot does the same in the front – the Guards are now + BLIND, CANNOT OPEN THEIR DOORS OR SHOOT OUT THROUGH THE + BULLET-PROOF VEHICLES... + + The Protagonist CLIMBS ONTO THE LADDER, lying on top... + + Inside, the Red Co-pilot operates the ladder controls... + + The ladder SWINGS OUT AT NINETY DEGREES, hanging the + Protagonist DIRECTLY OVER THE NUCLEAR TRUCK... he PULLS a + frame from his pack, unfolds it – fixes it to the roof. The + ladder SWINGS him away – the frame EXPLODES – he SWINGS + back through the smoke to find an OPENING and climbs into – + + +154 INT. NUCLEAR TRANSPORTATION TRUCK – CONTINUOUS 154 + + The Protagonist lands, gets his bearings, finds the SAFE. + He reaches into his pack... + + +155 EXT. TALLINN STREET – CONTINUOUS 155 + + An Estonian POLICE CAR pulls up behind the fire truck – the + POLICEMEN spot SPARKS from the dragging bumper of the SUV – + the Policeman Passenger tries his radio... STATIC... + + +156 INT. NUCLEAR TRANSPORTATION TRUCK – CONTINUOUS 156 + + The Protagonist affixes a CHARGE to the safe – he runs a + wire, pushing back into the farthest corner – BLASTS the + door open – + + +157 INT/EXT. FIRE ENGINE – CONTINUOUS 157 + + Watching the Police through his mirror, Red Passenger rolls + down his window and props his ASSAULT RIFLE on the sill... + + +158 INT. NUCLEAR TRANSPORTATION TRUCK – CONTINUOUS 158 + + The Protagonist reaches into the safe... PULLS OUT an + ORANGE PLASTIC CASE... reaches up to climb through the + roof... + + +159 INT/EXT. FIRE TRUCK – CONTINUOUS 159 + 87. + + + The Protagonist, orange case in hand, CLIMBS onto the + ladder – Red Passenger SWINGS his rear-opening door out and + SHOOTS OUT the engine block of the police car which DROPS + BACK as – + + The fire-truck ladder SWINGS the Protagonist back onto the + fire truck – he climbs down onto the side – the BMW pulls + alongside – he JUMPS into the car, which SPEEDS away... + + +160 INT/EXT. BMW, TALLINN STREET – CONTINUOUS 160 + + Neil, driving, glances at the orange case – + + NEIL + We got it! + + The Protagonist opens the latches, flips open the lid... + revealing the BLACK METAL SHAPE the size of a softball. + + PROTAGONIST + I’ve seen samples of encapsulation + in every weapons class – this is + not one of them. + + Neil looks back at the Protagonist. Serious. + + NEIL + It’s what he’s after. + + The Protagonist looks around at the surrounding traffic... + + PROTAGONIST + Check the radio chatter. + + Neil clicks on the radio – EMPHATIC GIBBERISH... + + NEIL + I can’t understand – + + PROTAGONIST + You said you spoke Estonian – + + NEIL + It’s not Estonian, it’s... + backwards – + + Up ahead, an Audi is weaving through traffic, towards them, + BACKWARDS... Neil STARES... + + NEIL + The hell? + 88. + + +The BACKWARDS-RUNNING AUDI flies at them, CLIPPING the wing +mirror, ‘HEALING’ its crack. Behind them it SPINS AROUND, +to CHASE them, still running BACKWARDS... + +The BMW DODGES around traffic, trying to lose the backwards +Audi, which pulls up to the back bumper – then ALONGSIDE – +in the back is Sator, black eyes peering over a RESPIRATOR, +a gun to Kat’s head. She is BOUND and GAGGED, eyes +TERRIFIED – + +Sator rolls the rear window down, holds up his hand, +FINGERS EXTENDED. He COCKS the gun at Kat’s head then +starts COUNTING DOWN on his fingers... the Protagonist +looks down at the BLACK METAL SHAPE in the case... + + NEIL + You can’t give it to him! + +The Protagonist LIFTS the closed case, LOWERS the window... + + PROTAGONIST + This isn’t plutonium. + +Sator is down to TWO FINGERS... Ahead of them in the road, +the Protagonist sees a CRASHED, SMOKING, UPSIDE-DOWN +SAAB... + + NEIL + It’s worse, goddammit! + +Both cars race towards the crashed Saab, which starts +SHAKING as they approach – as they pass, THE CRASHED SAAB +ROLLS VIOLENTLY OVER AND OVER between them until it is on +its wheels, RACING BACKWARDS ahead of them, UNDAMAGED – + +Neil regains his line, looks over at Sator who holds up his +LAST FINGER... the Protagonist looks ahead to the Saab, +STRUCK BY AN IDEA... the Protagonist looks at Sator – + +Then TOSSES the orange case at him – + +The Saab brakes, CUTTING BETWEEN THE TWO CARS... + +THE ORANGE CASE GLANCES OFF ITS WINDSHIELD, INTO SATOR’S +HANDS... + +A forwards-driving Mercedes pulls up alongside the +backwards-driving Audi. Sator opens the rear door – he and +the Audi driver climb BACKWARDS into the Mercedes – LEAVING +KAT IN THE ACCELERATING BACKWARDS AUDI – the Mercedes DROPS +FAR BEHIND the BMW, Neil WATCHES – + + NEIL + 89. + + + He’s getting away! + + PROTAGONIST + He left her in the car! + + Neil looks forward to the backwards Audi, SPEEDING AWAY – + + +161 INT/EXT. BACKWARDS AUDI – CONTINUOUS 161 + + NO ONE IS AT THE WHEEL as the car continues to accelerate – + Kat lies in the back, breathing, groaning, but + unconscious... + + +162 INT/EXT. BMW, TALLINN STREET – CONTINUOUS 162 + + The Protagonist stares ahead at the backwards Audi – + + PROTAGONIST + Pull up alongside... + + Neil looks back at the receding Mercedes, followed by the + BACKWARDS SAAB... he turns – RACING to pull alongside the + runaway backwards Audi, the Protagonist OPENS his door... + + – Ahead, a LOGJAM of traffic... + + The Protagonist FUMBLES to open the Audi door. + + PROTAGONIST + Kat! Kat! + + In the back, Kat swings her bound legs around – + + – The LOGJAM of cars and buses LOOMS CLOSER... The + Protagonist OPENS the Audi door, but his own door hits it + and SLAMS IT CLOSED AGAIN... + + – The LOGJAM is DANGEROUSLY CLOSE... + + The Protagonist OPENS it again, Kat JAMS it open with her + feet – the Protagonist CLIMBS ACROSS and PUSHES THE BRAKE + WITH HIS HAND... + + The Audi SKIDS to a halt, the BMW ZOOMING PAST... + + The Protagonist starts to untie Kat, fumbling with his + radio – + 90. + + + The BMW SKIDS to a halt, Neil JUMPS OUT – a CAR SKIDS to a + halt between the BMW and the Audi – BLAM, BLAM! Neil DUCKS, + avoiding GUNFIRE – + + NEIL + (over radio) + Sit tight – I’m calling in the + cavalry. + + PROTAGONIST + What cavalry?! + + SMASH!!! The Protagonist and Kat are THROWN LIKE RAG DOLLS + across the car – the Mercedes has SWIPED the nose of the + Audi – + + Volkov lays down COVER FIRE, pinning Neil as Sator’s men + descend on the CRASHED Audi and pull the PROTAGONIST out of + the car – shoving him around the back of the Mercedes. Kat + is pulled from the wreck and put into the Mercedes – + + As they put the Protagonist INTO THE TRUNK, he sees Sator + MOVING BACKWARDS behind the line of cars, from the BMW... + + +163 EXT. DOCKSIDE AREA, EDGE OF TALLINN – MOMENTS LATER 163 + + The TRUNK OPENS – the Protagonist is PULLED OUT. Marched + towards an entrance, he sees, through a steel fence + dividing the yard in two, SATOR, IN RESPIRATOR, WALKING + BACKWARDS, PULLING KAT, FORWARDS, TOWARDS A DIFFERENT + ENTRANCE... + + The Protagonist passes a stack of SHIPPING CONTAINERS, + several of which are marked OSLO FREEPORT... + + +164 INT. STORAGE FACILITY, TALLINN FREEPORT – CONTINUOUS 164 + + The Protagonist is taken past the table of weapons, through + a large door, and through RED DOORS with a PORTHOLE... + + +165 INT. TURNSTILE, TALLINN FREEPORT – CONTINUOUS 165 + + Into A LONG CHAMBER DIVIDED IN TWO BY A GLASS WINDOW – A + MUCH BIGGER VERSION OF THE ROTAS VAULT. The Russians push + the Protagonist into a chair. This side is lit by RED + LIGHT. + 91. + + +On the other side of the glass, lit by BLUE LIGHT, Sator +‘ENTERS’ BACKWARDS, ‘PULLING’ Kat, who is now in a +respirator. Sator ‘SHOVES’ her hard into a chair, removes +his own respirator, ‘FLIPPING’ it up onto a hook on the +wall. + +The Protagonist looks into Kat’s frightened eyes... between +them, embedded in a whirl of cracked glass, is a BULLET... +Sator TURNS to meet the Protagonist’s gaze – his movements +have the surreal edge of backwards motion as he places his +GUN AGAINST KAT’S HEAD and pulls out his phone... + +He holds his PHONE up and plays a recording IN REVERSE – + + SATOR + (via recording) + If you’re not telling the truth, + she dies. + +Sator moves the phone to his lips, SPEAKING IN REVERSE... +the Protagonist stares at him, bemused. + + PROTAGONIST + I don’t know what you’re talking + about. + +Sator listens to this played backwards... + + SATOR + (via recording) + You left it in the car not the fire + truck, right? + + PROTAGONIST + Who told you that? + + SATOR + (via recording) + Tell me, now! Is it really in the + BMW? + + PROTAGONIST + I don’t know! + + SATOR + (via recording) + Tell me or I’ll shoot her again! + +The Protagonist looks at Kat, who is TERRIFIED – + + KAT + (pleading) + Tell him! + 92. + + +– then at Sator – + + PROTAGONIST + Leave her alone! + + SATOR + (via recording) + I don’t have time to negotiate. + +The Protagonist looks at the bullet hole in the glass – +WISPS OF SMOKE are gathering... + + PROTAGONIST + Listen to me! I can help you! + + SATOR + (via recording) + Three... + + PROTAGONIST + Don’t! + + KAT + Help me! + + SATOR + (via recording) + Two... + + KAT + PLEASE! + +A FAINT TRICKLE of glass dust rises to where the bullet is +lodged in the window... + + PROTAGONIST + Wait! + + SATOR + (via recording) + One... + +Sator LIFTS Kat – PUSHES her up against the glass... + + KAT + PLEASE! + + PROTAGONIST + NO! + +The SMOKE COALESCES as BANG! The bullet RIPS THROUGH KAT’S +SIDE on its inevitable journey to Sator’s gun. Kat SCREAMS +– + 93. + + + SATOR + (via recording) + Next one’s a bullet to the head... + +He holds up a finger – Kat is SCREAMING – + + SATOR + (via recording) + One... + + PROTAGONIST + Please! + + SATOR + (via recording) + Two... + + PROTAGONIST + No! + + SATOR + (via recording) + Three... + + PROTAGONIST + Okay! Okay! The car! The BMW! I + left it in the BMW! + +Kat’s screams subside to moans as she PASSES OUT... + + SATOR + (via recording) + We’re going to check this is real. + + PROTAGONIST + It’s in the glove box! + +The door OPENS behind the Protagonist – + + SATOR (O.S.) + Where did you leave it? + +The Protagonist spins around – Sator, BEHIND HIM, SMASHES +his gun into the Protagonist’s cheek – THIS SATOR IS +FORWARDS – + + SATOR + Car or truck – which one?! + +Sator HITS him again – the Protagonist falls near the glass +– looks up through the glass to see ‘backwards’ Sator, on +the blue side, staring at him dispassionately... + 94. + + + SATOR + Which vehicle did you leave it in?! + I need to know before I go out + there! + + PROTAGONIST + I already told you! + + Forwards Sator looks through the window at his inverse self + – then turns back to the Protagonist – + + SATOR + I believe you... + + Sator puts his GUN to the Protagonist’s forehead – + + SATOR + (indicates Kat) + You wanted her here. I hope you’ll + be happy together – + + Sator COCKS his weapon – BLAMBLAMBLAM! – the double doors + behind the Protagonist SMASH open – PARAMILITARIES BURST + IN, GUNS BLAZING – the two guards are SHOT – Sator JUMPS + FOR THE VAULT – HITS A BUTTON – + + On the other side of the glass, INVERTED SATOR runs + backwards towards the other vault door – + + BOTH SATORS JUMP INSIDE AND ARE GONE – + + A Paramilitary SERGEANT enters, gun drawn – + + PARAMILITARY SERGEANT + Clear! + + The Protagonist looks at the empty vault – + + PROTAGONIST + Where’d he go? + + PARAMILITARY SERGEANT + The past. + + +166 INT. TURNSTILE, TALLINN FREEPORT – MOMENTS EARLIER 166 + + Sator runs out of the turnstile – into the blue side of the + room – on the other side he sees the paramilitary AMBUSH IN + REVERSE... for a few seconds he watches his older self + interrogate the Protagonist, then fires up his phone, steps + up to the glass – the Protagonist SHOUTS PASSIONATELY – + 95. + + + PROTAGONIST + (via recording) + It’s in the glove box! + + SATOR + We’re going to check this is real. + + PROTAGONIST + (via recording) + Okay! Okay! The car! The BMW! I + left it in the BMW! + +The sound of Kat’s MOANING is BUILDING and BUILDING. Sator +holds up one finger – + + SATOR + Three... + + PROTAGONIST + (via recording) + No! + +Adds a second finger – Kat is SCREAMING now – + + SATOR + Two... + + PROTAGONIST + (via recording) + Please! + +And a third – + + SATOR + One. Next one’s a bullet to the + head. + +Kat’s SCREAM CRESCENDOS as Sator GRABS her and pushes her +up against the glass, PULLS HIS TRIGGER, ‘HEALING’ her +wound – + + SATOR + One... + + PROTAGONIST + (via recording) + Wait! + +Holds up two fingers – + + SATOR + Two... + 96. + + + PROTAGONIST + (via recording) + Don’t! + +Sator holds up three fingers – + + SATOR + Three – + + PROTAGONIST + (via recording) + Listen to me! I can help you! + + SATOR + I don’t have time to negotiate. + +The Protagonist looks confused – + + PROTAGONIST + (via recording) + Leave her alone! + + SATOR + Tell me or I’ll shoot her again! + + PROTAGONIST + (via recording) + I don’t know! + + SATOR + Tell me now! Is it really in the + BMW! + + PROTAGONIST + (via recording) + Who told you that? + + SATOR + You left it in the car not the fire + truck, right? + + PROTAGONIST + (via recording) + I don’t know what you’re talking + about. + + SATOR + If you’re not telling the truth, + she dies. + 97. + + + Sator GRABS his respirator from the hook, PULLS Kat to her + feet – DRAGS her backwards through the door, down a + corridor into an AIRLOCK, pulls off her respirator, puts + his on... + + +167 INT. TURNSTILE, TALLINN FREEPORT – THE PRESENT 167 + + The Protagonist looks through the glass at Kat – + + FEMALE PARAMILITARY + She’s been shot! + + PARAMILITARY SERGEANT + Get her this side! + + Respirator-clad Paramilitaries pull Kat out of the room. + The Paramilitary Sergeant turns to the Protagonist. + + PARAMILITARY SERGEANT + Was she shot with an inverted + round? + + The Protagonist NODS. Neil enters – gestures to the + Sergeant – + + NEIL + This is Ives. He’s one of us – + + The Protagonist GRABS Neil, THROWS him up against the wall + – + + PROTAGONIST + Us?! Who are these guys? + + NEIL + Priya’s. Ours. + + The Paramilitaries bring Kat into the room – the MEDIC, + moving SWIFTLY, examines Kat’s wound. + + The Protagonist puts his arm AGAINST NEIL’S THROAT – + + PROTAGONIST + How did Sator know about the + ambush? + + NEIL + Posterity. An ambush on the streets + can’t stay out of the record – + + PROTAGONIST + 98. + + + Bullshit – he knew every move we + made! Somebody talked – was it + you?! + + NEIL + No. + + PROTAGONIST + At every stage, you’ve known more + than you should. I’m asking you one + more time. Did you talk? + + IVES (O.S.) + Nobody talked. They’re running a + temporal pincer movement. + +Ives is next to the Protagonist, ready to help Neil... + + PROTAGONIST + A what? + + IVES + A pincer movement. But not in space + – in time. Half his team moves + forwards through the event – he + monitors them, then attacks from + the end, moving backwards. Knowing + everything. + + PROTAGONIST + Except where I stashed the + plutonium. + +The Protagonist lets Neil go... + + PROTAGONIST + Which is not plutonium, is it? + + NEIL + I told you – it’s what he’s after. + And you just told him where it is. + + PROTAGONIST + I lied. + +Neil looks at Kat, bleeding out on the gurney. + + NEIL + Jesus. + + PROTAGONIST + 99. + + + He couldn’t verify from inside the + room, he’d have shot her anyway. + Lying is standard operating + procedure. + +The Medic steps away from Kat, shakes his head. + + MEDIC + It’s spread too far. + + PROTAGONIST + Meaning what? + + IVES + She’s going to die. + + NEIL + (to Protagonist) + Standard operating procedure? + + NEIL + (to Ives) + Can’t you stabilize inverse + radiation by inverting the patient? + + IVES + That takes days – + +The Protagonist points at the turnstile – + + PROTAGONIST + Let’s go. + + IVES + We took control of this machine + minutes ago – before that it’s + Sator’s. + + PROTAGONIST + How long will she live on this + side? + + MEDIC + Three hours, tops. + +The Protagonist thinks. He looks at Kat, who is dying. + + PROTAGONIST + I’m taking her through. I’m not + going to let her die, I’ll take my + chances out there. + + IVES + 100. + + + Chances of what? We’ve got no way + to bring you back. + + PROTAGONIST + We find another machine. + + IVES + A week ago? Where? + +The Protagonist looks at Neil – they have the same idea – + + NEIL + Oslo. + + IVES + That facility’s impregnable. It’s + inside an airport security + perimeter. + + PROTAGONIST + Not last week, it wasn’t. We’re + going in. You might as well help. + +Ives, shaking his head, joins in. As they carry Kat towards +the vault door, Ives points at the glass partition – + + IVES + This is the proving window... as + you approach the turnstile if you + don’t see yourself through the + proving window, do not enter the + machine. + + PROTAGONIST + Why not? + + IVES + If you haven’t seen yourself + reverse-exit the machine, you won’t + be getting out. Okay, first in, + last out. Get into the turnstile, + pass through – I’ll already be + there with her. + + PROTAGONIST + Is that gonna work? + +Ives pauses, watching activity on the other side of the +window – + + IVES + (points) + Yeah... + 101. + + +The Protagonist turns to see HIMSELF on the other side of +the glass, MOVING IN REVERSE, wheeling KAT ‘TOWARDS’ THE +VAULT DOOR – + + IVES + Let’s go! + +Ives OPENS the door – the Protagonist takes one last look +at his backwards self ‘entering’ the machine, then STEPS +INSIDE – + +We follow him in as the door SHUTS behind him – he puts his +back to the wall – the machine starts CLANKING like an MRI +– the door opens on the other side – he STEPS OUT... + +To see Ives struggling with Kat – he moves to help – Neil +is already there (first in, last out). + +The Protagonist looks through the glass to where he and +Ives now appear to be moving backwards... + +The Medic tends to Kat. + + MEDIC + She’s stabilizing slowly. I’ll + clean and close, the rest is time. + + PROTAGONIST + How long does she need? + + MEDIC + 4 or 5 days. A week to be sure. + + PROTAGONIST + (to Neil) + Figure out how to get us to Oslo – + I’ve got to get back out there – + + NEIL + To do what? + + PROTAGONIST + To stop Sator getting away with the + whatever it is I just gave him. + + NEIL + You didn’t – you lied about where + it was. Wait, you’re going out + there for her. + + PROTAGONIST + 102. + + + He threatened to kill her in the + past... if he does, what happens to + her here? + + NEIL + It’s unknowable. If you’re there to + make a change, you’re not here to + observe its effect. + + PROTAGONIST + What do you believe? + + NEIL + What’s happened’s happened. We have + to save her here and now. And if + you go back out there you might + hand him exactly what he’s after. + + PROTAGONIST + Don’t let them take her back + through – + + NEIL + I won’t. + + IVES + You can’t stay here. + + NEIL + And we don’t have much time – so + find us a nice cosy shipping + container that just came off a ship + from Oslo... + +The Protagonist moves towards the door. Ives steps up – + + IVES + This is cowboy shit. You have no + idea what you’re getting into if + you go through that door. + + PROTAGONIST + Well, I’m going, so any tips would + be welcome. + +Ives sees determination. Shakes his head. + + IVES + Wheeler, brief him. + +The female Paramilitary, WHEELER, hands the Protagonist a +respirator – + 103. + + + WHEELER + You need your own air – regular air + won’t pass through the membranes of + inverted lungs. The number-one rule + – don’t come into contact with your + forwards self – that’s the whole + point of these barriers – + +Wheeler BANGS on the proving window – + + WHEELER + And protective suits – if any of + your particles came into contact – + +The Protagonist is putting on the respirator – + + PROTAGONIST + What? + + WHEELER + Annihilation. + + PROTAGONIST + That’s bad, right? + +The Protagonist follows Wheeler into a corridor lined with +RESPIRATORS and HAZARD SUITS... at the end is an AIRLOCK... + + WHEELER + When you exit the airlock, take a + moment to orient yourself – things + will feel strange. When you run, + the wind will be at your back. If + you encounter fire, ice will form + on your suit, as the transfer of + heat is reversed. Gravity will feel + normal, but appear reversed for the + world around you. Don’t worry about + things falling, so much as rising. + + WHEELER + If you see an object demonstrating + unprompted instability, stay clear, + it may be about to leap into the + air. You may experience distortions + to your vision and hearing – this + is normal – light waves and sound + waves are propagating away from + you. This should clear as your + brain adjusts. + + PROTAGONIST + Can I drive a car? + 104. + + + IVES + Cowboy shit. + + Ives and Neil are grabbing respirators... + + WHEELER + I can’t vouch for the handling, + friction and wind resistance are + reversed. You’re inverted, the + world is not. You can’t fight the + prevailing wind of entropy. Don’t + try flying a plane – it’d fall out + of the sky. Once again, you’re + inverted, the world is not – and + those forces will be pushing back + on you continuously. + + The Protagonist turns to Neil – + + PROTAGONIST + Was there a transponder on the + case? + + NEIL + He’ll have tossed the case – + + PROTAGONIST + I’m going backwards – that’s the + ball I have to follow. Give me the + reader. + + Neil hands him a phone. The Protagonist sticks a Bluetooth + earpiece in his ear, passes into the airlock – Wheeler + shuts it behind him. Then opens the OUTER DOOR... + + +168 EXT. YARD, TALLINN FREEPORT – CONTINUOUS 168 + + The Protagonist emerges into a strange world – the air + feels different, the friction of his feet on the asphalt + feels different. He looks up at birds flying backwards... + at steam contracting... at a pile of dust sucking itself + bigger... + + In the yard he spots the SAAB... he runs over, finds the + keys sitting on the front tyre – + + +169 INT/EXT. SAAB – CONTINUOUS 169 + 105. + + + The Protagonist LOOKS in the glove box – NOTHING – LOOKS in + the wheel well – NOTHING – the back seat – NOTHING. He + gives up – starts the engine... pulls out, gently, feeling + out the strange handling of the vehicle... + + +170 INT/EXT. SAAB, TALLINN STREETS – MOMENTS LATER 170 + + The Protagonist steers the car around BACKWARDS-MOVING + TRAFFIC and BACKWARDS-WALKING PEDESTRIANS, MARVELLING... + + People STARE at the car as it approaches, as if they + already know a backwards-driven car is heading their way + (which, of course, they do). + + He checks the phone – a blinking dot half a mile away – he + GUNS it, FISHTAILING unexpectedly... + + +171 EXT. HIGHWAY – CONTINUOUS 171 + + We see the fire fight from before IN REVERSE – Neil laying + down fire from between cars, Kat carried ‘back’ to the + Audi... + + Behind Neil, Sator, MOVING FORWARDS, checks the glove + compartment of the BMW... NOTHING. FUMING, he heads back to + the Mercedes, DUCKING behind cars, bullets FLYING... + + +172 INT/EXT. SAAB – CONTINUOUS 172 + + The Protagonist pulls onto a busy highway where the cars + are FACING HIM, BUT MOVING IN HIS DIRECTION... + + The Saab races along, the only normal-looking car on a road + full of cars SPEEDING BACKWARDS... + + On the phone, the flashing dot is CLOSER... + + Slowing, the Protagonist spots the ORANGE CASE lying empty + by the side of the road. He PULLS OVER some distance away – + JUMPS out of the car – pulls out his BLUETOOTH EARPIECE and + WEDGES it between the foam padding and the orange + plastic... + + The Protagonist heads back to his car, checks the signal + from his phone... PEERS at the case... + + The case SHUDDERS TO LIFE – LEAPS INTO THE WINDOW OF A + PASSING CAR – THE MERCEDES – + 106. + + + The Protagonist PEELS OUT, DUST FLIES UP IN CLOUDS THAT + DON’T FULLY BLOSSOM as expected, but CONTRACT... + + The Protagonist STRUGGLES with the wheel, trying to keep + the car on the road with its unaccustomed handling... + + PROTAGONIST + Christ! + + He can see the Mercedes up ahead, weaving through + traffic... + + +173 EXT. HIGHWAY, TALLINN – CONTINUOUS 173 + + The Mercedes races back up the off-ramp – the Saab follows, + weaving through traffic which faces him, but travels + backwards – + + As the Saab gets within a couple car lengths, his phone + cuts in with audio from his Bluetooth bug in the Mercedes – + + SATOR + (over radio) + – the material’s not in the case – + + Sound cuts in and out – FRAGMENTS of voices – he struggles + to keep pace with the Mercedes – he listens hard – + + SATOR + (over radio) + –Get the other sections of the + algorithm to the hypocentre– –He + was lying– –it wasn’t in the BMW– + + INVERTED DRIVER + (over radio) + So where is it? + + +174 INT/EXT. SAAB – CONTINUOUS 174 + + The Protagonist finds a clear lane and guns the engine, + tracking the Mercedes as it pulls alongside the Audi, + racing ‘forwards’, and Sator, orange case in hand, climbs + from the Mercedes into the Audi... + + The Audi pulls alongside the BMW – the Protagonist, sensing + the moment, LOWERS HIS WINDOW... Sator lifts the orange + case, BUT HIS EYES ARE ELSEWHERE – + 107. + + + Inside the Saab, the Protagonist hears BANGING – the BLACK + METAL SHAPE ‘unwedges’ from where it’s been stuck down the + side of a seat – ‘BOUNCING’ around the interior – + + The Saab CUTS between the Audi and the BMW – + + The orange case FLIES OUT OF SATOR’S HANDS – BOUNCES OFF + THE SAAB’S WINDSHIELD, ‘LANDING’ IN THE BMW – + + JUST AS THE BLACK METAL SHAPE JUMPS OUT OF THE SAAB AND + INTO THE (FORWARD) PROTAGONIST’S LOWER HAND... + + Sator, SEEING THIS, YANKS the wheel – CLIPS the Saab – the + Protagonist STRUGGLES for control – but the Saab SPINS AND + ROLLS DOWN THE HIGHWAY, COMING TO REST ON ITS ROOF. + + The Protagonist, upside down in the car, regains + consciousness... fuel leaks, pooling outside the window... + he sees expensive shoes approach, then Sator’s face peering + in at him. In his hand is a LIGHTER. + + SATOR + I saw the hand-off. You made me + shoot her for nothing. + + Sator tips his lighter to read his fitness tracker... + + SATOR + You did get my pulse above 130. No + one’s done that before. Not even my + wife. + + Backing away, Sator DROPS the lighter, the fuel EXPLODES, + THROWING THE CAR SIDEWAYS – BUT INSTEAD OF FULLY BLOOMING, + THE FLAMES CONTRACT, SPARING THE PROTAGONIST WHO LIES + THERE, FREEZING. HE PASSES OUT. + + FADE IN: + + +175 INT. SHIPPING CONTAINER – LATER 175 + + The Protagonist comes to on a stretcher. Kat is on a + stretcher next to him. Neil sits between them. The + Protagonist looks at his hands, feels his face, confused. + + NEIL + The heat transfer was reversed – + you may be the first case of + hypothermia from a gasoline + explosion in history. + + PROTAGONIST + 108. + + + At this point, nothing surprises. + +The Protagonist looks around the shipping container. + + NEIL + You left Ives and his team one hell + of a clean-up. + + PROTAGONIST + We’re on our way back to Oslo? + + NEIL + In a Rotas shipping container. + + PROTAGONIST + He’s got the material, Neil. I + handed it to him on a plate. + + NEIL + I warned you – + + PROTAGONIST + ‘What’s happened’s happened.’ I get + it, now. But it’s tough to take + things on trust from people + speaking half-truths. + + NEIL + That’s not fair – + + PROTAGONIST + You were part of this before we + met. Were you working for Priya? + + NEIL + No. + + PROTAGONIST + Who recruited you, Neil? + + NEIL + It can’t possibly do you any good + to know that right now. When this + is over, if we’re still standing + and you still care, you can hear my + life story, okay? + +Kat GROANS, her eyes flicker open to see the Protagonist. + + PROTAGONIST + I’m sorry I involved you. + + KAT + 109. + + + You need to tell me what’s going + on. + + PROTAGONIST + Apparently, Neil here knows more + about it than I do. + (to Neil) + Good luck, pal. + + NEIL + By telling Kat anything we’re + compromising her in Priya’s eyes. + + PROTAGONIST + In Priya’s eyes she’s already + compromised. And she has a right to + know why she might die. + + KAT + I’m going to die? + + PROTAGONIST + Not if we have anything to say + about it. + + NEIL + And we do. + + KAT + Who are you? + + NEIL + Let me start with the simple stuff. + Every law of physics operates the + same forwards and backwards, except + one. Entropy... + +The Protagonist moves to the back of the container, pulls +out his phone, checks Neil’s attention is on Kat... + + SATOR + (via recording) + –bring– –final section– –directly + to the hypocentre– –with the other + parts– –the algorithm– + +The recording breaks up. The Protagonist puts the phone +away, FLEXES his elbow, feeling out some pain... He rolls +up his sleeve – there is a DARK PATCH of skin forming – + + NEIL + Are you injured? + 110. + + + PROTAGONIST + What’s the ‘algorithm’, Neil? + + NEIL + The 241 is one section of it. One + out of nine. It’s a formula + rendered into physical form so it + can’t be copied or communicated. A + black box with one function. + + PROTAGONIST + Which is? + + NEIL + Inversion. But not objects or + people. The world around us. + + KAT + I don’t understand. + + NEIL + As they invert the entropy of more + and more objects... + +Neil holds his hands, fingers spread, pointing at each +other – + + NEIL + The two directions of time are + becoming more intertwined... + +He slowly brings his fingers together, into the ‘Tenet’ +gesture – + + NEIL + But because the environment’s + entropy flows in our direction... + +He pushes one hand back with the other – + + NEIL + ...we dominate. They’re always + swimming upstream. It’s what saved + your life – the inverted explosion + was pushing against the + environment. + + PROTAGONIST + Pissing in the wind. + + NEIL + 111. + + + But the algorithm can change the + direction of that wind. It can + invert the entropy of the world. + + KAT + And if that happens? + + NEIL + Oh, end of play. + + PROTAGONIST + ‘End of play’? Can you be a little + more precise? + + NEIL + Our present wiped out, our past + obliterated. Everyone and + everything who ever lived destroyed + instantly. Precise enough? + + KAT + Including my son. + + Neil nods, gravely. Kat winces, clearly in pain. + + NEIL + Let me sedate you – the more you + sleep the faster you’ll heal. + + Neil injects Kat in the arm. Her eyes close. + + +176 EXT. CARGO SHIP – LATER 176 + + Close on the hull, we see the water UNSPLASHING at the bow + and SUCKING UNDERNEATH the stern as the ship steams + majestically backwards through the cold North Sea... + + +177 INT. SHIPPING CONTAINER – LATER 177 + + BANGING wakes the Protagonist – Neil is at a peephole. + + NEIL + We’re on a truck. Shouldn’t be too + long now. + + +178 INT. SHIPPING CONTAINER – LATER 178 + + Neil is awake. He looks over at the Protagonist, who is + examining a LESION on his right arm... + 112. + + + NEIL +You in pain? + + PROTAGONIST +Must’ve got nicked in Tallinn. + (rolls down sleeve) +I’ve been thinking... we’re their +ancestors. If they destroy us, +won’t that destroy them? + + NEIL +Bringing us to the grandfather +paradox. + + PROTAGONIST +The what? + + NEIL +The classic thought experiment – if +you went back in time and killed +your own grandfather, how could you +have been born to commit the act? + + PROTAGONIST +What’s the answer? + + NEIL +There is no answer, it’s a paradox. +But in the future, those in power +clearly believe that you can kick +Grandpa down the stairs, gouge his +eyes and slit his throat without +consequence. + + PROTAGONIST +Could they be right? + + NEIL +It doesn’t matter. They believe it, +so they’re willing to destroy us. +Can I go back to sleep? + + PROTAGONIST +No. I thought of something else. + + NEIL +Great. + + PROTAGONIST +This reversing the flow of time... +doesn’t us being here now mean it +never happens? That we stop them? + 113. + + + NEIL + Optimistically, I’d say that’s + right. + + PROTAGONIST + Pessimistically? + + NEIL + In a parallel-worlds theory, we + can’t know the relationship between + consciousness and multiple + realities. Does your head hurt yet? + + PROTAGONIST + Yes. + + NEIL + Try sleep. + + +179 INT. SAME – LATER 179 + + A final THUD, then STILLNESS. The Protagonist moves to the + peephole, unplugs it and peers out: + + The WRECKED PLANE, FLOODLIT, sitting outside the COLLAPSED + WALL which has been sealed with STEEL FENCING. + + PROTAGONIST + Shit. They didn’t take us inside. + + NEIL + What do we do? + + PROTAGONIST + We use the breach. The chaos right + after impact. Get ready. + + They both turn to look at the unconscious Kat. + + PROTAGONIST + Is she healed enough? + + NEIL + I don’t know. I’ve never done this + before. + + +180 INT. SAME – NIGHT 180 + + The Protagonist is at the peephole – the ground is WET. + CLEAN-UP CREWS and INVESTIGATORS swarm backwards over the + scene. + 114. + + + SIRENS start... Water FLOWS UP ONTO THE PLANE’S WINGS. FIRE + CREWS ‘unpack’ their equipment around the wreck... + + PROTAGONIST + Fire crew’s there... + + The Protagonist WINCES as he pulls his arm into its + sleeve... + + PROTAGONIST + We get Kat through the breach, I + take care of Sator’s man and secure + the vault. Then you bring her in. + + NEIL + How’s the arm? + + PROTAGONIST + Not good. + + The Protagonist spots a HOLE in the fabric of his black + suit – directly over the lesion on his arm... + + Neil straps a respirator to the gurney – puts the mask over + Kat’s face, then puts another on himself. He gives Kat a + sedative. + + PROTAGONIST + We move the second we hear the + engines. + + Neil looks at Kat, unconscious on the gurney. He TIGHTENS + the straps – throws a reflective blanket over her... + + The SIRENS are DEAFENING – the Protagonist flexes his arm, + clearly in a lot of pain. Neil spots BLOOD dripping from + the Protagonist’s wrist – + + NEIL + You’re bleeding. Let me take a look + – + + SUDDENLY THEY HEAR THE BUILDING WHINE OF JET ENGINES. The + Protagonist YANKS up the handle, THROWS OPEN THE DOOR – + + +181 EXT. APRON, OSLO AIRPORT – CONTINUOUS 181 + + Onto PANDEMONIUM – FIRE CREWS BATTLE the blaze, chunks of + metal on the ground IGNITE, SHUDDER and LEAP ONTO THE + AIRFRAME... STREAMS of water RISE up onto the plane – + 115. + + + The Protagonist HURRIES BACKWARDS, PULLING THE GURNEY + towards the plane, steering around debris that might + suddenly – + + A SHEET OF FLAMING METAL SPINS off the ground, shearing + into them, KNOCKING the GURNEY – they duck, HOLDING ON TO + THE GURNEY, the metal FLIES into the air, SLAMS into its + hole on the side of the plane... the Protagonist spots a + line under the fuselage, between flames, towards the + breach... + + PROTAGONIST + Come on! + + Neil looks up as BLACK SMOKE GATHERS, FORMING A MASSIVE + CLOUD OVER THE PLANE... a SHOCK WAVE starts to BUILD in the + air around them – the Protagonist PULLS Kat and Neil under + the fuselage as CURTAINS of FIRE start GATHERING around the + wings, CENTRED on a HALF-DESTROYED JET ENGINE – + + They pass through the hole in the wall LICKED AT BY FLAMES + WHICH LEAVE FROST ON THEIR CLOTHES – + + As they clear into the building, DEBRIS in front of them + start SHAKING – they DUCK as the MASSIVE BUILD OF ENERGY + CLIMAXES in a CACOPHONOUS REVERSE EXPLOSION as THE JET + ENGINE REASSEMBLES – LOOSELY ATTACHED TO THE WING, + THRUSTING – + + +182 INT/EXT. FREEPORT SHIPPING AREA – CONTINUOUS 182 + + The Protagonist draws his gun – turns to Neil – + + PROTAGONIST + I’m going in. Wait here. + + The Protagonist turns, rushing up onto the loading dock – + + The LOOSE JET ENGINE, under FULL THRUST, ATTACHED to the + wing, SWINGS BACK AND FORTH, wreaking REVERSE HAVOC... + + The Protagonist pauses, LISTENING – he can hear BACKWARDS + VOICES on the other side of a ROLLER DOOR – the loose jet + engine TURNS, BLASTING AIR at the Protagonist with its + INVERTED THRUST – the Protagonist is SMASHED through the + bottom of the roller door – + + +183 INT. VAULT, FREEPORT – CONTINUOUS 183 + 116. + + +INTO HIMSELF AND NEIL, DRESSED AS BUSINESSMEN AS IN THEIR +EARLIER VISIT TO THE ROTAS VAULT – the Protagonist (wearing +black clothes and gas mask) TACKLES the EARLIER PROTAGONIST +(wearing business suit), the Earlier Protagonist THROWS the +Protagonist onto the ground, getting his gun – + +SHOUTING at him INCOMPREHENSIBLY – KICKING his INJURED ARM +AGAIN AND AGAIN – the Protagonist SCREAMS... The Earlier +Protagonist puts his GUN TO THE PROTAGONIST’S HEAD... +EARLIER NEIL GRABS HIS ARM, RESTRAINING him... + +The Protagonist and Earlier Protagonist STRUGGLE, ROLLING +across the floor with the unique physics of forward action +merged with backwards action... + +They STRUGGLE through the BLUE DOOR of the Rotas vault. The +Protagonist gets his gun – the Earlier Protagonist STABS +him in the arm with his lockpick – ‘HEALING’ his wound – +ENERGIZING him – + +He FLIPS the Earlier Protagonist up against the glass, +LIFTS his gun – SHOOTS past the Earlier Protagonist’s head, +putting a BULLET HOLE through the glass – + +Glancing at the OPEN TURNSTILE DOOR, the Protagonist FIRES +again, forcing the Earlier Protagonist TOWARDS the door... +he looks through the proving window – no one there... + + PROTAGONIST + Come on, come on... + +The Protagonist FIRES AGAIN AND AGAIN, forcing the Earlier +Protagonist closer and closer to the open turnstile... + +The Earlier Protagonist takes hold of the gun – the barrel +coming around onto the Protagonist who instinctively EJECTS +the magazine, REMOVES the SLIDE, tossing it aside, leaving +the Earlier Protagonist with a useless STRIPPED AUTOMATIC – + +Earlier Neil RACES backwards into the other half of the +room – Through the bullet-riddled glass the Protagonist +sees HIMSELF (GAS MASK, BLACK CLOTHES) RUN BACKWARDS into +the room – + +The Protagonist LEAPS INTO THE TURNSTILE – we FOLLOW the +Protagonist through the machine – BURSTING OUT on the other +side – straight into Earlier Neil, who now MOVES FORWARDS +as the Protagonist PUSHES past – + +As the confrontation on the other side of the glass plays +out again, FORWARDS... the Protagonist RACES for the RED +DOOR, Neil in PURSUIT – + 117. + + +184 INT. VAULT CORRIDOR – CONTINUOUS 184 + + The Protagonist runs, pursued by Earlier Neil, skidding + around the corners of the vault corridor – + + Earlier Neil gets a hand on the Protagonist’s GAS MASK and + YANKS – it comes off in his hands... this time we see that + Neil is looking at the UNMASKED PROTAGONIST. Neil, + surprised, turns and BOLTS back the way he came – the + Protagonist watches him go, then TURNS – + + +185 INT. VAULT CORRIDOR – CONTINUOUS 185 + + The Protagonist races down the angled corridor – + + The Protagonist SKIDS through the doorway leading out of + the corridor and into the SMOKE-FILLED cargo area where he + left... + + +186 INT. VAULT 2, FREEPORT – CONTINUOUS 186 + + Neil races up to the Earlier Protagonist, grab his arm – + + NEIL + NO! Don’t kill him! + + +187 INT/EXT. FREEPORT SHIPPING AREA – CONTINUOUS 187 + + ...Neil (respirator on) guarding Kat, STRAPPED to the + gurney. + + Behind them, the fire crew battle the blazing plane. Neil + is already looking up at the Protagonist who POINTS right – + The Protagonist DUCKS THROUGH the breach, into the chaos... + Neil moves BACKWARDS towards the outside... + + +188 EXT. BREACH – CONTINUOUS 188 + + The Protagonist RUNS THROUGH THE SMOKE AND FLAME, DODGING + DEBRIS FALLING FROM THE PLANE... heading towards the + EMERGENCY SERVICES... + + The Protagonist CREEPS along the side of an AMBULANCE... + the AMBULANCE DRIVER spots him in the mirror – the + Protagonist DARTS in, HITTING the driver in the face – + + +189 INT. VAULT CORRIDOR – CONTINUOUS 189 + 118. + + + Neil (moving FORWARDS) ducks back behind the corner as + Earlier Protagonist (business suit) and Earlier Neil + (business suit) walk backwards away from the Rotas vault. + + Neil pushes Kat towards the broken roller door and pushes + her inside... + + +190 EXT. APRON, OSLO AIRPORT – MOMENTS LATER 190 + + The Protagonist SWERVES the ambulance, trying to get close + to the breach – the Protagonist SPINS the ambulance around + as close to the breach as possible. He JUMPS out – opens + the back – PEERS into the smoke and water... waiting... + + Neil EMERGES, pushing the gurney with Kat on – + + +191 INT/EXT. AMBULANCE – MOMENTS LATER 191 + + The Protagonist DRIVES, sirens blaring. + + PROTAGONIST + You knew it was me coming out of + that vault. Why didn’t you say? + + NEIL + That’s a lot of explaining when + someone’s about to put a bullet in + their own brain. + + PROTAGONIST + But afterwards – + + NEIL + With things the same, I knew you’d + be okay. What’s happened happened. + If I’d told you and you acted + differently... who knows? The + policy is to suppress. + + PROTAGONIST + Whose policy? + + Neil GRINS, offering his hand – + + NEIL + Ours, my friend. We’re the people + saving the world from what might + have been... + + +192 INT./EXT. PARKED AMBULANCE – NIGHT 192 + 119. + + + Neil and the Protagonist are in the back, checking on + Kat... whose eyes OPEN. + + PROTAGONIST + Kat? + + KAT + I’m here. + + Neil checks the dressing on her wound – + + NEIL + Be quite a scar, but you’re okay. + We did it. + + KAT + Did what? Andrei’s got the + algorithm. You don’t know where he + is – + + Neil looks at the Protagonist – + + NEIL + Or when. + + PROTAGONIST + Get Priya here to Oslo. + + NEIL + Why? + + PROTAGONIST + If I don’t do something now, in two + days she’ll tell me about the 241. + + NEIL + Nothing can change that. + + PROTAGONIST + We’ll see. Just get her here. + + +193 EXT. OSLO WAR MEMORIAL – DAY 193 + + The Protagonist makes his way through the crowd, following + an elegantly dressed lady... Priya. He takes her by the + arm, away from the crowd... + + PROTAGONIST + Hello, Priya. + + PRIYA + What’s going on? Where’s Neil? + 120. + + + PROTAGONIST + Nursing Katherine Barton. Who + almost died because of you. + + PRIYA + What did I do? + + PROTAGONIST + It’s what you’re going to do. In + two days you’re going to have me + dangle plutonium 241 in front of + the world’s most dangerous arms + dealer... I want to know why. + + PRIYA + You let him get hold of 241? + + PROTAGONIST + No. I let him get hold of the + algorithm. + +Priya looks at the Protagonist, surprised he knows the +term. + + PROTAGONIST + Tell me about it, Priya. + + PRIYA + It’s unique. The scientist who + built it took her own life so she + couldn’t be forced to make another. + + PROTAGONIST + A scientist in the future? + + PRIYA + Generations from now. + + PROTAGONIST + Why did she have to kill herself? + + PRIYA + You’re familiar with the Manhattan + Project? As they approached the + first atomic test, Oppenheimer + became concerned the detonation + might produce a chain reaction, + engulfing the world. + + PROTAGONIST + They went ahead anyway, and got + lucky. + 121. + + + PRIYA +Think of our scientist as her +generation’s Oppenheimer – she +devises a method for inverting the +world, but becomes convinced that +by destroying us, they destroy +themselves. + + PROTAGONIST +The grandfather paradox. + + PRIYA +Unlike Oppenheimer, she rebels, +splitting the algorithm into nine +sections and hiding them the best +place she can think of... + + PROTAGONIST +The past. Here. Now. + + PRIYA +There are nine nuclear powers. Nine +bombs. Nine sets of the most +closely guarded materials in the +history of the world. The best +hiding places possible. + + PROTAGONIST +Nuclear containment facilities. + + PRIYA +Sator’s lifelong mission, financed +and guided by the future, has been +to find and reassemble the +algorithm. + + PROTAGONIST +Why did they choose him? + + PRIYA +The necessary combination of greed +and ambition. But mostly, he was in +the right place at the right time. + + PROTAGONIST +The collapse of the Soviet Union. + + PRIYA +The most insecure moment in the +history of nuclear weapons. + + PROTAGONIST + 122. + + +And there he was. How many of the +sections does he have? + + PRIYA +After the 241? All nine. + + PROTAGONIST +Christ. And that’s why you’re going +to do it differently this time. + + PRIYA +To change things? So Katherine +won’t get hurt? + + PROTAGONIST +So Sator won’t get the algorithm. + + PRIYA +If that universe can exist, we +don’t live in it. + + PROTAGONIST +Let’s try. You’re going to warn me. + + PRIYA +No. I’m not. Ignorance is our +ammunition. If you’d known what the +algorithm was, would you have let +it fall into Sator’s hands? + + PROTAGONIST +You want him to get the last +section? + + PRIYA +It’s the only way he’ll bring +together the other eight. + + PROTAGONIST +I was supposed to steal it, then +lose it? + + PRIYA + (smiles) +Mission accomplished. + + PROTAGONIST +You used me. + + PRIYA +As you used Katherine. Standard +operating procedure. You’ve done +your part. + 123. + + + PROTAGONIST +My part? I’m the protagonist of +this operation – + + PRIYA +You’re a protagonist. + (off look) +What? You thought you were the only +person capable of saving the world? + + PROTAGONIST +No. But I am. Because I haven’t +told you where he’s assembling the +algorithm, or when. + + PRIYA +You’re about to. + + PROTAGONIST +No, I’m not. So deal us in. + + PRIYA +Why would you involve her again? + + PROTAGONIST +She can get close to him. + + PRIYA +Does he still trust her? + + PROTAGONIST +He thinks she’s dead. But he used +to. + + PRIYA +You have started looking at the +world in a new way. + + PROTAGONIST +And now it’s your turn. Assuming +she makes it out alive, whether or +not you feel she knows too much... + + PRIYA +I can’t. + + PROTAGONIST +If you don’t have the authority, +talk to whoever’s in charge of +loose ends. I need your word that +she and her son will be safe. + + PRIYA + 124. + + + (frustrated) + What good is someone’s word in our + line of business? + + The Protagonist just looks at her. She NODS. + + PRIYA + They’ll be safe. There’s a rally + point offshore at Trondheim. Get + yourselves up there... + + +194 EXT. WIND FARM, NORWAY – DAY 194 + + Chinooks cross BACKWARDS through WHITE TURBINES. Service + boats pull people off ladders. A large ICEBREAKER sits + nearby – + + +195 EXT. ICEBREAKER, BARENTS SEA – CONTINUOUS 195 + + The Protagonist, IN RESPIRATOR, does PULL-UPS on deck, the + movement ‘shaking’ snow back up onto the pipe... + + PRIYA (V.O.) + Ives has a team ready to invert. + + CUT BACK TO THE PROTAGONIST IN OSLO – + + PROTAGONIST + You have a turnstile? The exact + technology we’re trying to + suppress? + + +196 EXT. ICEBREAKER – DAY 196 + + The Protagonist watches a CHINOOK long-line a container... + + PRIYA (V.O.) + Fighting fire with fire is a + treacherous business, but there are + people in the future who need us to + continue the algorithm’s journey + into the past. You see... + + Taking a look at the sea CHURNING BACKWARDS into the stern + as the inverted ship ‘progresses’, he heads below deck... + + CUT BACK TO PRIYA IN OSLO – + + PRIYA + 125. + + + ...Tenet wasn’t founded in the past + – it will be founded in the future. + + +197 INT. HOLD, ICEBREAKER – CONTINUOUS 197 + + Coming out of an AIRLOCK, he removes his respirator. Walks + past Wheeler drilling TENET SOLDIERS – non-inverted + soldiers in respirators SPAR with inverted soldiers. Neil + is amongst troops practising ‘LIFTING’ weapons from the + floor. + + +198 INT. CABIN, ICEBREAKER – CONTINUOUS 198 + + The Protagonist enters. Kat sits at a window. + + KAT + I can’t get over the birds... + + The Protagonist follows her look to a bird flying + backwards. + + PROTAGONIST + How are you feeling? + + She lifts her shirt to reveal a LARGE, JAGGED, ANGRY SCAR. + + KAT + Tell me you’re going to kill him. + + PROTAGONIST + I can’t. + + Neil enters without interrupting. Kat rises. Steady. + + KAT + Why not? I think you’ve probably + killed a lot of people – + + NEIL + Not with a dead man’s switch. + + KAT + A what? + + PROTAGONIST + That fitness tracker he wears... + + KAT + He’s obsessive about his health. + 126. + + + NEIL + It’ll be linked to a switch. + Probably a simple email burst, + revealing the location of the dead + drop, set to fire if his heart + stops. + + PROTAGONIST + In effect, his death activates the + algorithm. He dies, the world ends + – no one dares kill him. + +Kat realizes... + + KAT + No, you’ve missed the point. He’s + intending to end his life. + + PROTAGONIST + Why? + + KAT + He’s dying. Inoperable pancreatic + cancer. + + PROTAGONIST + And he’s taking the world with him. + + KAT + If he can’t have her, no one can. + + PROTAGONIST + What? + + KAT + Something he said, once. He has a + child, for God’s sake. + + NEIL + Kat, he gets to choose the time and + place for the end of the world. + What moment? What does he choose? + + PROTAGONIST + You told me about a holiday, where + you let him feel loved... + + KAT + Viet Nam. On our yacht. His yacht. + + PROTAGONIST + You said he vanished – what day? + 127. + + + KAT +I went ashore with Max, he flew +off. I don’t know what date it +was... + + NEIL +The 14th. Ten days ago. He was in +Ukraine, stealing a section of the +algorithm from an American team. + + PROTAGONIST +At the Kiev Opera siege. How do you +know about that? + + NEIL +The point is – he wasn’t on the +yacht, so that’s his window. + + KAT +To come back to that golden moment +and have it be his last. + + PROTAGONIST +Everyone’s last. We have to lift +the algorithm from the dead drop +without Sator knowing. If he +believes it’s in there, he kills +himself. + + NEIL +And not the rest of us. Where’s the +dead drop? + + PROTAGONIST +Knowledge divided, friend. + + NEIL +You’re not going to tell me? + + PROTAGONIST +Ignorance is our ammunition. + (turns to her) +But I need you back on that boat. + + KAT +Why? + + PROTAGONIST +You have to stop him killing +himself until we know that +algorithm is out of the dead drop. + + KAT + 128. + + + But if I’m caught there... and my + son sees... I don’t want those + moments full of anguish if they’re + going to be his last. + + PROTAGONIST + They’re not. + + +199 INT. ICEBREAKER, BARENTS SEA – DAY 199 + + The Protagonist watches the troops prepare. + + IVES (O.S.) + Cough it up. It’s time. + + The Protagonist turns to face Ives. + + IVES + We’re working our way back to the + 14th. But without knowing where the + dead drop is, there’s only so much + I can prepare. + (no response) + You need me to get you there. + + PROTAGONIST + Know what a hypocentre is? + + Ives shakes his head. + + PROTAGONIST + Ground zero for an underground + nuclear test. Sir Michael Crosby + told me about a detonation at + Stalsk-12 on the 14th – the dead + drop is at the bottom of the + hypocentre. That explosion seals up + the algorithm. + + IVES + Then we’d better pull it out of + that hole before the bomb goes off. + + +200 INT. TURNSTILE, ICEBREAKER – DAY 200 + + Soldiers in respirators file into the turnstile. Through + the proving window we see them ‘back’ into the exit... The + Protagonist checks his gear at the back of the line. He + sees Kat watching from the airlock. He goes to her. + 129. + + +201 INT. AIRLOCK – CONTINUOUS 201 + + The Protagonist pulls off his respirator. + + KAT + Where’s Neil? + + PROTAGONIST + He must’ve already gone through... + + KAT + I didn’t get to say goodbye – this + is goodbye, isn’t it? + + PROTAGONIST + Today’s the 14th. Offshore of + Siberia – time for us to go. You + keep going back another day, give + you time to make it to Viet Nam. + + KAT + Who gets me back on the yacht? + + PROTAGONIST + I’ve got somebody good lined up. + I’d like to say you don’t have to + do this, but... + + KAT + I once told you I didn’t need + redemption. But the chance to save + my child? You can’t know what that + means to a mother. + + PROTAGONIST + No. + + KAT + The worst thing Andrei ever did to + me was that offer – to let me go if + I never saw my son again. I + shouted, swore – + + INSERT CUT: Kat FLINGS a crystal BOWL OF RASPBERRIES, + SMASHING it on a wooden deck... + + KAT + But he’d seen it on my face – just + for an instant. + + Kat looks at the Protagonist. Who says nothing. + + KAT + 130. + + + I don’t know if I hate him more for + the things he’s done, or because he + knows that about me. You’ve killed + people you hated before? + + PROTAGONIST + It’s not usually personal. + + KAT + He’s dying, anyway. It might not + even count – + + PROTAGONIST + It always counts. You’re not there + to kill him – you’re the backstop. + If we haven’t lifted that algorithm + and he kills himself, he takes us + all with him, instantly. + + Kat moves to the Protagonist, in close – + + KAT + Just keep up your end, okay? + + The Protagonist nods. She kisses him. + + PROTAGONIST + When it’s over, and you’re raising + your boy. Carry this – + + The Protagonist hands her a DUMB PHONE. + + PROTAGONIST + There may be a time and place you + feel threatened. Hit talk, state + your location, hang up. + + KAT + Who gets the message? + + PROTAGONIST + Posterity. + + +202 INT/EXT. CHINOOK – LATER 202 + + The Protagonist watches the icebreaker recede... + + +203 EXT. VAST BARREN PLAIN, DUSTED WITH SNOW – DAY 203 + 131. + + + Three CHINOOKS zoom low across the barren landscape, + followed by another three CHINOOKS long-lining SHIPPING + CONTAINERS... + + +204 INT. CHINOOK – CONTINUOUS 204 + + The Protagonist sits amongst a DOZEN SOLDIERS. They watch + the endless northern plain unroll beneath them... + + +205 EXT. TENET CAMP – CONTINUOUS 205 + + The Protagonist gets off the Chinook, watching another + Chinook gently set down a container. He follows the others + to a tent. + + +206 INT. BRIEFING TENT – CONTINUOUS 206 + + Soldiers in folding chairs facing a screen. The Protagonist + looks around – still no Neil. Ives steps up, signals for + the projector: a devastated CITY, grey CONCRETE and + ABANDONED industry amongst terraced strip mines... + + IVES + Stalsk-12. Hidden from the world. A + city where anything can happen, and + today, gentlemen, for ten minutes, + it most assuredly does. + + Ives switches to a GRAPHIC: a childishly simple diagram of + a LANDING AREA, BUILDINGS, then an UNDERGROUND CAVERN... + + IVES + You were divided into two teams for + a temporal pincer movement. We are + Red team, moving forwards. Our + friends out there – + (gestures at containers) + – Blue team, led by Commander + Wheeler, are inverted. One hour + from now, they had this briefing... + + INSERT CUT: Neil, in RESPIRATOR, in the front row of + Commander Wheeler’s briefing of BLUE TEAM. All are in + respirators... + + BACK TO RED-TEAM BRIEFING – + + IVES + 132. + + + Then were dropped on the ridge + above the hypocentre as close in + time to the detonation as possible. + Their objectives were clearance and + clarification. This briefing has + the benefit of their experience – + and yes, some of you specialists + are on both teams. + + The Protagonist overhears – + + RED SOLDIER 1 + Why don’t they let us see them? + + RED SOLDIER 2 + Maybe we won’t like what happened. + + +207 EXT. COAST OF VIET NAM – DAY 207 + + A SPEEDBOAT bounces through the chop, Mahir (from the + freeport heist) at the helm. Kat, beside him, shields her + eyes from the glare as they head towards Sator’s yacht. + They pull up some way off. A chopper sits on the yacht. + + Mahir hands Kat binoculars – Kat watches her EARLIER SELF + and HER SON board the tender and head for shore... + + +208 INT. BRIEFING TENT – DAY 208 + + Ives gestures across the whole area on the schematic – + + IVES + The entire area is radioactive, so + both teams wear full protection. To + distinguish teams, wear these – + + A soldier starts passing out RED ARMBANDS... + + INSERT CUT: Neil, in respirator, takes a BLUE ARMBAND, and, + like the rest of the team, puts it on... + + BACK TO RED-TEAM BRIEFING – + + Ives points to each of the three elements in turn: + + IVES + 133. + + + Landing zone, LZ, well defended, + including ground-to-air ordinance. + We drop in, clear the LZ for Blue + team’s evacuation... We make our + way into the city proper... these + buildings are abandoned, but we + learned they have a turnstile in + this one... so expect a bi-temporal + response. + + RED SOLDIER 1 + They’ll have inverse ordinance? + + IVES + Inverse, conventional, forwards + antagonists, inverted antagonists – + they have it all, and it can all + end you. Got it? + +Ives goes back to the diagram – + + IVES + On the other side of the city, the + ground rises to the ridge above the + hypocentre. + + IVES + Most of you will proceed up the + hill – a splinter unit will take a + tunnel from the city to the floor + of the hypocentre. Blue team + located an entrance here – + +Ives points to the city’s edge. Then to the CAVERN. + + IVES + The bomb is in the rock high above + to trigger a collapse, sealing the + cavern. + + RED SOLDIER 2 + How do we defuse the bomb up there? + + IVES + We don’t. The explosion takes place + as planned, exactly ten minutes + after our landing. Everything is + synchronized to that explosion. + Both teams have countdown watches – + ours counts down from ten at + landing, to zero at the explosion. + +He holds up his wrist to display a BLOOD-RED ‘10’ – + 134. + + + IVES + Blue team is the reverse – + +INSERT CUT: a PREVIOUS BRIEFING (BLUE TEAM). NEIL watches +as Wheeler holds up her wrist to show a VIVID-BLUE ‘10’ – + + WHEELER + Ten at the explosion, to zero at + our extraction. If you are not at + the LZ by zero, you are not + leaving. + +BACK TO RED-TEAM BRIEFING – + + IVES + Our job is to fail to defuse the + bomb, while the splinter unit + achieves its task undetected. + + RED SOLDIER 1 + Which is? + + IVES + Need to know. And you don’t. Any + other stupid questions? Right, + let’s get ready. + +Everybody RISES. The Protagonist approaches Ives. + + PROTAGONIST + I wanted to be on the first wave. + + IVES + There is no first wave – Red team + and Blue team operate + simultaneously. Do not get on the + chopper if you can’t stop thinking + in linear terms. You want to be on + the team who lifts the contents of + that capsule? + + PROTAGONIST + Absolutely. + + IVES + That’s us. We’re the splinter unit. + + PROTAGONIST + Just us? + + IVES + 135. + + + No one who knows the contents of + that capsule can leave the field. I + thought we’d manage ourselves. + + +209 EXT. COAST OF VIET NAM – DAY 209 + + Mahir shows Kat how to use a small pistol. Kat wears a two- + piece bathing suit with a shirt over. He puts the pistol in + a diver’s bag, loops the lanyard round Kat’s bare ankle. + + MAHIR + It’s forty feet from the private + deck to the water. Can you jump it? + + KAT + I can dive it. + + They hear the chopper SPIN UP. Mahir shows her a FLARE GUN + – + + MAHIR + Until you see my signal, you don’t + let him die. + + Kat nods. The chopper lifts off and ZOOMS overhead. Mahir + guns the powerboat, STREAKING towards the yacht... + + +210 EXT. TENET CAMP – DAY 210 + + The Soldiers head for the Chinooks. As they pass the + containers, some stare at them... the Chinooks lift off, + some Chinooks rise, LIFTING the containers... + + +211 EXT. COAST OF VIET NAM – DAY 211 + + Mahir pulls up fifty yards from the stern of Sator’s + yacht... Kat grabs the pistol bag and slips into the + water... + + +212 INT/EXT. NORTHERN PLAIN – DAY 212 + + The Chinooks BEAT LOW over the windswept plain. Stalsk-12 + appears on the horizon – terraced strip-mined land leading + to a set of CONCRETESTRUCTURES FUSED TO THE EARTH... + + +213 EXT. SATOR’S YACHT, COAST OF VIET NAM – DAY 213 + 136. + + + Kat quietly pulls herself out of the water and onto a rear + platform. She STEALTHILY makes her way up through the + boat... + + +214 EXT. LZ, STALSK-12 – CONTINUOUS 214 + + The Chinooks long-lining containers RISE, slowing, as the + other Chinooks BARREL in towards a large flat area – ANTI- + AIRCRAFT GUNS start FIRING... + + The Protagonist grabs his gun and LEAPS from the Chinook as + it hovers close to the ground... + + +215 EXT. HYPOCENTRE RIDGE, STALSK-12 – DAY 215 + + The Chinooks long-lining containers fly BACKWARDS towards a + giant DEPRESSION... + + +216 INT. CONTAINER – CONTINUOUS 216 + + Neil looks out a peephole – + + WHEELER + We’re coming in on the shock + wave... hang on, people! – + + Neil GRABS his belts as WHUMMMMM!!!! The container SHUDDERS + – + + +217 EXT. HYPOCENTRE RIDGE, STALSK-12 – CONTINUOUS 217 + + The SHOCK WAVE CONTRACTS – the Chinook ‘SURFING’ backwards + in on the shock as it approaches the hypocentre... ENERGY + BUILDING... GROUND LIFTING AND FLATTENING... + + +218 EXT. LZ, STALSK-12 – DAY 218 + + The Protagonist joins a unit of Red team soldiers who + CHARGE an antiaircraft emplacement TAKING IT OUT BEFORE IT + CAN FIRE ON THE SLOW-MOVING CHINOOKS... + + The Protagonist uses his assault rifle to take out a + gunemplacement. Ives uses an inverse grenade to violently + ‘reassemble’ an enemy gun emplacement out of existence, + shredding the enemy with reverse shrapnel... + + IVES + 137. + + + Draw them back into the city, away + from Blue team... + + The Chinooks drop down, land the containers – the + Protagonist looks back to see, a hundred metres away, the + containers OPEN – Blue team ‘SCRAMBLING’ BACKWARDS from the + containers... SOME CARRY INJURED COMRADES, ALL SEEM + EXHAUSTED... + + The Protagonist and Red team press forward, blasting at the + remaining enemy troops who run for the cover of the city... + the Protagonist checks his watch – a BRIGHT-RED ‘9:59’, + ‘9:58’... + + +219 EXT. HYPOCENTRE RIDGE, STALSK-12 – DAY 219 + + The reverse explosion PEAKS. SUDDEN CALM as the Chinooks + place the containers down – they open and Blue team runs + out, ‘FORWARDS’, Neil at + + the head, guns raised, BLASTING at the ENEMY SOLDIERS on + the ridge... Neil checks his watch – a BRIGHT-BLUE ‘9:57’, + ‘9:56’... he turns to see a GREY TRUCK ‘REVERSING’ towards + the hole, tyres sucking up dust... a rope from its rear + hitch TAUT into the hole... + + BANG! BANG! SHOTS are sucked out of the ground around him – + Blue team FORCES the enemy away from the hole, towards Red + team (whose members fight ‘backwards’) – Neil shouts to + Wheeler – + + NEIL + Draw their fire! Pull them away... + + He RACES down the ridge, following Wheeler... + + +220 EXT. PRIVATE DECK, SATOR’S YACHT – CONTINUOUS 220 + + Kat comes out to find a JUNIOR CREW MEMBER cleaning up a + SMASHED BOWL OF RASPBERRIES. He looks up at her, surprised. + + JUNIOR CREW MEMBER + Ma’am? We thought you’d gone + ashore. + + KAT + I snuck back to surprise Andrei. + + JUNIOR CREW MEMBER + The Boss left... + 138. + + + He trails off – they hear an INCOMING CHOPPER. + + KAT + I’ll get the mess. Have Mr Sator + find me here. Don’t tell the + others. + + The Junior Crew Member nods, leaves – Kat moves to the + RAIL, checks Mahir in the distance, the DAYBED, the water + HOSE... + + +221 EXT. LZ, STALSK-12 – DAY 221 + + The Protagonist, Ives and Red team head towards the large + concrete turnstile building on the outskirts of the city – + + The Protagonist sees Wheeler running backwards towards a + BUNKER on their right which UNEXPLODES – + + – GUNFIRE CRACKLES around them, pinning them down... + + They hit the bunker with an RPG, then race around the left + of the turnstile building... + + +222 EXT. HYPOCENTRE RIDGE, STALSK-12 – DAY 222 + + Wheeler leads Blue team down the hill – ‘chasing’ the enemy + who run BACKWARDS – a BLUE TEAM member TRIGGERS A LANDMINE + – another triggers an INVERSE LANDMINE – + + WHEELER + Hit the deck! Mines! + + As Blue team goes to the ground, Neil sees mines start to + EXPLODE/IMPLODE in a wave towards him as the GREY TRUCK + RACES BACKWARDS down the hill through the minefield, + REVERSE-TRIGGERING THE MINES – Neil DIVES out of the way, + almost run over... + + Then gets up to follow the ‘path’ of the grey truck... + + +223 EXT. PRIVATE DECK, SATOR’S YACHT – LATE AFTERNOON 223 + + Kat unzips the diver’s bag, feels the handle of the gun, + then slides the bag under the daybed, checking she can + reach. She moves to the rail, crouches to UNCLIP the bottom + safety cable. She looks at Mahir’s boat across the water... + + +224 EXT. CITY STREETS, STALSK-12 – DAY 224 + 139. + + + Ives leads Red team into the deserted concrete structures + via an efficient cover-and-move formation... the + Protagonist shelters behind LARGE CONCRETE CHUNKS. Which + VIBRATE... GATHERING ENERGY... + + The Protagonist JUMPS AWAY as the chunks RIP FROM THE + GROUND, BOUNCING VIOLENTLY, DUSTILY OFF EACH OTHER AND + FLYING UP INTO A GAP IN THE SIDE OF A BUILDING as an + INVERSE RPG ZIPS back up into a WINDOW – + + Ives has spotted the window and calls for an RPG to + ‘follow’ the inverse one, BLASTING the building... the + Protagonist checks his watch – ‘8:10’, ‘8:09’... + + +225 EXT. HYPOCENTRE RIDGE, STALSK-12 – DAY 225 + + Neil checks his watch – ‘8:08’, ‘8:07’... he heads + downhill, towards the city, where the rest of Blue team + BEAT BACK the enemy... + + +226 EXT. PRIVATE DECK, SATOR’S YACHT – LATE AFTERNOON 226 + + Kat hoses the raspberries and glass from the deck... Sator + appears, watching as she turns the water on herself. + + SATOR + They told me you’d gone ashore. + + KAT + They told me you’d flown off. + + SATOR + I came back. To see you and Max. + + KAT + Max is on shore with Anna. We need + time, just you and me. After what - + + SATOR + I was joking. A stupid joke – + + KAT + You think I’m a terrible mother. + + SATOR + We both know my opinion of you is + higher than yours of me. + + KAT + I want things to be better, Andrei. + 140. + + + She moves towards him. Sator nods. Picks up the phone – + + SATOR + Have the captain turn the boat so + we’ll see the sunset from here. + + +227 EXT. CITY STREETS, STALSK-12 – DAY 227 + + The Protagonist RUNS across the street, FIRING at the + enemy... he SPOTS the TUNNEL ENTRANCE between two + buildings. + + PROTAGONIST + Ives! Splinter unit here! + + Ives nods. RACES over, drawing fire the whole way... + + +228 EXT. HYPOCENTRE RIDGE, STALSK-12 228 + + Neil races into the city streets... he sees Commander + Wheeler and a BLUE SOLDIER take shelter in a large jagged + BREACH in the ground-floor wall of a massive structure. + + Neil is FORCED to hit the deck, ducking INVERTED fire all + around... he looks over at Wheeler, and sees DUST GATHERING + AROUND THE BREACH... + + NEIL + Wheeler! Get out of there! Wheeler! + + Wheeler hears him – tries to grab the Blue Soldier – + MASSIVE CHUNKS OF CONCRETE SCRAPE OVER NEIL’S HEAD, FLYING + TOWARDS WHEELER, who DIVES CLEAR – the wall REASSEMBLES ON + TOP OF the Blue Soldier, CRUSHING HIM... + + Neil winces. Starts crawling for better cover... checks his + watch – ‘6:24’,‘6:23’... + + +229 EXT. PRIVATE DECK, SATOR’S YACHT – LATE AFTERNOON 229 + + Sator looks past Kat to the lowering sun. + + SATOR + It’s going to be a beautiful + sunset. I’ll get Max brought back – + we should share the moment with + him. + + Sator picks up the phone. Kat looks at the shore, uneasy... + 141. + + +230 EXT. CITY STREETS, STALSK-12 – DAY 230 + + Ives and the Protagonist shelter as Red team exchanges fire + with the Enemy further up the street. The Protagonist + checks his watch – ‘5:15’, ‘5:14’... + + PROTAGONIST + Let’s go. We’re running out of + time. + + IVES + If they see us, it’s all for + nothing. + + PROTAGONIST + We need a distraction. + + Ives looks ahead to the LEANING RUIN OF A BUILDING TOP... + + IVES + Don’t worry about that... + + +231 EXT. CITY STREETS – DAY 231 + + Neil checks his watch – ‘5:10’, ‘5:09’... frustrated, + pinned down, he looks around for a way to break cover... + + Commander Wheeler, with the rest of Blue team, SHELTERS in + the shadow of the RUINED BASE of a building, pinned by + ENEMY FIRE from the base of the building... + + WHEELER + RPG! Take out the base – on my mark + – + + She checks her watch – ‘5:04’, ‘5:03’... + + The BLUE RPG SOLDIER takes aim... + + +232 EXT. CITY STREETS, STALSK-12 – DAY 232 + + The Protagonist spots SMALL DEBRIS ROLLING across the + street... GATHERING MOMENTUM... + + PROTAGONIST + Ives! + + Ives sees LARGER and LARGER debris is ROLLING down the + street towards the LEANING RUIN OF A BUILDING TOP... + 142. + + + IVES + It’s about to get distracting... + + He signals a RED RPG SOLDIER... + + IVES + On my mark! + + He looks at his watch – ‘5:01’, ‘5:00’ – + + IVES + Fire! + + The leaning ruin THRUSTS UPWARDS – + + +233 EXT. CITY STREETS, STALSK-12 – DAY 233 + + Wheeler watches as the Leaning Ruin’s UPPER STOREYS + REASSEMBLE, as its BASE EXPLODES... + + +234 EXT. CITY STREETS, STALSK-12 – DAY 234 + + The Protagonist takes cover as the Leaning Ruin’s BASE + REASSEMBLES as its UPPER STOREYS EXPLODE... the Protagonist + and Ives race at the tunnel entrance – the GREY TRUCK RACES + at them as they dive for the tunnel... + + +235 EXT. CITY STREETS, STALSK-12 – DAY 235 + + Wheeler ducks as the weight of the upper storeys COLLAPSES + the building... + + Neil lifts his head after the EXPLO/IMPLOSION. Clear. He + gets up and starts RUNNING... + + +236 EXT. TUNNEL ENTRANCE, STALSK-12 – DAY 236 + + The Protagonist and Ives RACE into the tunnel, HITTING A + TRIPWIRE WHICH BLOWS THE TUNNEL ENTRANCE DOWN BEHIND THEM + AS THEY JUMP INSIDE... + + +237 EXT. PRIVATE DECK, SATOR’S YACHT – LATE AFTERNOON 237 + + Sator hangs up. He holds a SILVER PILL in the sunlight, + studying it... + + KAT + 143. + + + What’s that? + + SATOR + I borrowed it from the CIA. + + KAT + But what is it? + + SATOR + The way the world ends, not with a + bang but a whimper. + + KAT + I don’t understand. + + SATOR + When I take this, it’s all over. + + KAT + Then don’t take it, yet. + + Sator looks at her, needing her to care. + + SATOR + Why not? + + KAT + We’ve got the sunset coming and a + little vodka left... + + SATOR + And Max will be here soon... they + thought it was you, not Anna, on + shore with Max. + + Kat steps up in front of Sator, seductive... + + KAT + As long as you can tell the + difference... + + Sator smiles appreciatively, but pulls out his phone – + + SATOR + A moment’s business, my love... + + +238 EXT. MAHIR’S BOAT – CONTINUOUS 238 + + Mahir checks his radio – + + IVES + 144. + + + (over radio) + Not clear. Repeat, not clear... + + +239 INT. TUNNEL, STALSK-12 – DAY 239 + + The Protagonist and Ives look back at the COLLAPSED + ENTRANCE – + + PROTAGONIST + We’re committed now. + + They turn and RACE through the mining tunnel... + + IVES + (into radio) + Just hold tight – we’re almost + there... + + +240 EXT. CITY STREETS, STALSK-12 – DAY 240 + + Neil spots SATOR’S GREY MI8 OVERHEAD, a rope hanging down. + + Across the street he sees VOLKOV REVERSE-EXIT the tunnel + mouth, CROUCHING to ‘DERIG’ a tripwired booby trap, + carrying it towards the chopper, then LEAPING up onto the + line – RISING from the streets... + + Neil STARES. CONCERNED. Checks his watch – ‘4:10’, + ‘4:09’... Then TAKES OFF, SPRINTING – + + WHEELER + Neil! + + She watches him go ahead, then signals Blue team to keep + pushing forward... + + +241 INT. TUNNEL, STALSK-12 – DAY 241 + + The Protagonist and Ives run down the tunnel... they slow + as they see a BODY, blue armband, lying on the ground on + the opposite side of a SET OF BARS at the end of the + tunnel. + + They can see into the hypocentre, the GIANT ATOMIC-HEWN + CAVERN, daylight above, CAPSULE on the rock floor next to + the mouth of a BORE HOLE. The Protagonist checks his watch + – ‘4:06’, ‘4:05’ ... Ives checks the ELECTRONIC LOCK – + + IVES + 145. + + + We don’t have anything big enough + to blow this. Try him – + + The Protagonist reaches through the bars and checks the + body – FREEZES: attached to a zip, a TALISMAN – A COIN WITH + A HOLE HANGING FROM A SMALL LENGTH OF ORANGE AND YELLOW + STRING... + + The Protagonist looks at it, quizzical, rises – + + PROTAGONIST + Nothing. Can you pick it? + + SATOR (O.S.) + I hope not. I paid a lot for that + lock... + + WHAM! Ives goes down – SHOT BY VOLKOV, bullet SPARKING off + his helmet – on the other side of the bars – gun pointed at + the Protagonist, FIELD RADIO held out... Sator’s voice + ECHOES through the tunnel – + + SATOR + (over phone) + How do you like where my journey + began, and yours ends? + + Volkov takes the Protagonist’s gun. Forces him to push + Ives’s gun through the bars. + + PROTAGONIST + A little radioactive for my taste. + + Volkov drops the guns into the water, places the radio by + the bars... + + +242 EXT. PRIVATE DECK, SATOR’S YACHT – LATE AFTERNOON 242 + + Sator steps away from Kat as he speaks quietly into the + phone. + + SATOR + My fate was always bound up with + radiation. We’d work where no one + else would. We made a devil’s + bargain – money for time. We sold + our futures. + + Kat looks at Mahir’s boat. Nothing. She looks to the shore. + + Far in the distance, she can see the TENDER APPROACHING... + 146. + + +243 INT. TUNNEL, STALSK-12 – DAY 243 + + The Protagonist looks at Volkov. At the bars between him + and the capsule... + + PROTAGONIST + Now you’re making the same mistake + for the entire world. + + SATOR + (over phone) + It wasn’t a mistake. I made the + bargain I could. What was yours? + You fight for a cause you barely + understand. With people you trust + so little you’ve told them nothing + about what you’re doing. When I die + the world dies with me. And your + knowledge dies with you. Buried in + the tomb like an anonymous Egyptian + builder sealed in the pyramid to + keep his secret... + + +244 INT. TURNSTILE BUILDING, STALSK-12 – DAY 244 + + Neil comes into the turnstile room... he watches ENEMY + TROOPS enter/exit the machine, inverting to join the + battle. He waits for his chance... the room is empty... he + sees himself through the proving window, and RUNS at the + machine... + + +245 EXT. PRIVATE DECK, SATOR’S YACHT – EVENING 245 + + Sator speaks into his phone – + + SATOR + Your faith is blind. You’re a + fanatic. + + PROTAGONIST + (over phone) + What’s more fanatical than trying + to destroy the world? + + Kat moves towards Sator, but he raises a finger... + + SATOR + 147. + + + I’m not. I’m creating a new one. + Somewhere, sometime, a man in a + crystalline tower throws a switch + and Armageddon is both triggered + and avoided. Entropy inverts the + same way the magnetic poles have + switched 183 times over the + millennia. Now time itself switches + direction. + + Sator looks out at the lowering sun... + + SATOR + The same sunshine we’ve basked in + will warm the faces of our + descendants generations from now. + + Kat looks at Mahir’s boat. Nothing. She looks to shore, + watching the TENDER APPROACHING... + + +246 INT. TUNNEL, STALSK-12 – DAY 246 + + The Protagonist looks at his watch – ‘2:12’, ‘2:11’... + + PROTAGONIST + How can they want to destroy us? + + SATOR + (over phone) + Because their oceans rose and their + rivers ran dry. Don’t you see –? + Their world shrivelled because of + us. They have no choice but to turn + back, there’s no life ahead of + them. And we’re responsible. + Knowing this, do you still want me + to stop? + + PROTAGONIST + Yes. Each generation looks out for + its own survival. + + +247 EXT. PRIVATE DECK, SATOR’S YACHT – CONTINUOUS 247 + + Sator looks out at the glittering water – + + SATOR + That’s exactly what they’re doing. + + PROTAGONIST + (over phone) + 148. + + + Sure, but not you. You’re a + traitor. Bringing death to all + because you have no life of your + own left. + + SATOR + When I’m done, life continues. + + PROTAGONIST + (over phone) + Not your son’s. + + SATOR + My greatest sin was to bring a son + into a world I knew was ending... + do you think God will forgive me? + + PROTAGONIST + (over phone) + For killing your son? No. + + SATOR + He should understand – he killed + his own. + + +248 EXT. CITY STREETS, STALSK-12 – DAY 248 + + Neil, FORWARDS NOW, spots a GREY TRUCK outside the + turnstile building – he jumps in, FIRING IT UP – + + +249 RACING THROUGH THE STREETS, PAST THE IMPLODING/ EXPLODING 249 + + BUILDING, racing for the tunnel mouth, trying to head off + the Protagonist and Ives – + + NEIL + Wait! Wait! + + They dive into the tunnel, which COLLAPSES. Neil sets his + sights on the hypocentre ridge above, GUNS the engine... + + +250 EXT. LZ, STALSK-12 – DAY 250 + + Wheeler leads Blue team towards the CHINOOKS LOWERING + CONTAINERS... as they carry their wounded and lurch towards + the containers, they see Red team ‘REASSEMBLING’ the anti- + aircraft guns... + + +251 INT. TUNNEL, STALSK-12 – CONTINUOUS 251 + 149. + + + The Protagonist watches Volkov pick up a BLACK, METAL, + GEOMETRICALLY COMPLEX BAR... the algorithm. + + PROTAGONIST + You don’t believe in God. Or a new + future. Or anything outside your + own experience. + + SATOR + (over phone) + That’s all any of us knows. The + rest is belief, and I don’t have + it. + + PROTAGONIST + Without it you’re not human. You’re + a madman. + + SATOR + (over phone) + Or a god of sorts. + + PROTAGONIST + Like I said. + + Volkov slowly backs towards the capsule with the + algorithm... The Protagonist looks down at Ives – whose + hand is MOVING... + + +252 EXT. PRIVATE DECK, SATOR’S YACHT – CONTINUOUS 252 + + A BEEP. Sator checks his watch. + + SATOR + Our time is up. + + He looks across at Kat standing by the rail. + + SATOR + I’ll give my wife your love. + + PROTAGONIST + (over phone) + You’re forgetting, I haven’t met + her, yet. + + SATOR + That’s right, after you meet her, + she dies. I’ll just give her my + love, instead. + 150. + + +253 INT. HYPOCENTRE, STALSK-12 – DAY 253 + + Volkov seals the capsule – hooks it to a winch... the + Protagonist watches Ives’s hand emerge with a SIDEARM... + Volkov raises the capsule up over the mouth of the DEEP + BORE HOLE, then steps back, preparing to release the winch + and drop the capsule into the well... + + +254 EXT. PRIVATE DECK, SATOR’S YACHT – SUNSET 254 + + Sator goes to hang up, pauses... an afterthought – + + SATOR + Volkov? + + +255 INT. TUNNEL, STALSK-12 – CONTINUOUS 255 + + Volkov RUSHES FORWARD with his gun... + + SATOR + (over phone; in Russian, + subtitled) + – Shoot him in the head. – + + Volkov PULLS HIS TRIGGER – but the Dead Tenet Soldier has + ‘RISEN’ to be in front of the gun ‘ABSORBING’ the bullet – + then LEAPING to one side, ALIVE – + + +256 EXT. PRIVATE DECK, SATOR’S YACHT – CONTINUOUS 256 + + Sator hears the shot, SATISFIED – Kat pulls the phone away + – + + KAT + Enough business, Andrei... + + +257 INT. TUNNEL, STALSK-12 – CONTINUOUS 257 + + The Protagonist DIVES to where Ives is lying, GRABS his gun + – Volkov TURNS, RUNNING FOR the winch-release – + + PROTAGONIST + WAIT! WAIT! + + He FIRES at Volkov, who goes down just short of the + winch... + + Ives struggles to his feet, checking his watch – ‘1:07’, + ‘1:06’... + 151. + + + Hearing BEEPS, Ives looks up. THE LOCK is open – + + +258 EXT. HYPOCENTRE RIDGE, STALSK-12 – CONTINUOUS 258 + + Neil RACES up the slope to the ridge – through the + MINEFIELD, setting off personnel mines in his wake, + NARROWLY AVOIDING RUNNING HIMSELF OVER... + + +259 EXT. PRIVATE DECK, SATOR’S YACHT – EVENING 259 + + As Kat pours him a drink, Sator looks out at the glowing + horizon, fiddling with the silver pill... he POINTS – + + SATOR + Tomorrow the sun will rise in that + same spot. For the first time in + history. Because I’ve told it to. + (looks at her like she’s + a loyal dog) + You have no idea what I’m talking + about, do you? + + She looks at him, smiles sweetly. + + KAT + It sounds terribly important, + Andrei. + + He reaches for her – she gets up, moves to the rail – + + SATOR + Where’re you going? + + She grabs the hose, starts spraying herself – + + KAT + Aren’t you hot? + + Kat sprays the deck in front of the rail – + + SATOR + What’re you doing, now? + + KAT + I spilled sunscreen. + + SATOR + So what? + + KAT + It’s slippery. + 152. + + + SATOR + Just come here... + + She looks at Sator lying on the daybed like an appalling + emperor. Moves towards him. Grabs the sunscreen. + + KAT + Turn over. + + SATOR + The sun’s almost gone. + + KAT + You’ll like it. + + He rolls over, obedient. She squirts a large dollop across + his back. Looks up at Mahir’s boat, hopeful. Nothing. + + She checks her watch as she lazily smears the sunscreen + across Sator’s back. He groans. Kat watches the TENDER + APPROACHING, she can just make out HERSELF AND HER SON... + + +260 INT. TUNNEL, STALSK-12 – DAY 260 + + The Protagonist watches the Dead Tenet Soldier RACING + BACKWARDS from the gate, out of the tunnel – + + IVES + COME ON! + + The Protagonist TURNS – Ives swings the gate open – they + RACE through, just before it closes, SLAMMING SHUT behind + them – + + IVES + Tunnel’s sealed! + + The Protagonist steps over Volkov, STRUGGLES with the + capsule, it swings, HANGING precariously over the well... + + IVES + (into radio) + Mahir, do you copy? + + +261 EXT. MAHIR’S BOAT – EVENING 261 + + Mahir looks through binoculars, FRUSTRATED, flare gun ready + – + + IVES + (over radio) + 153. + + + Hold! Repeat, hold! + + +262 EXT. HYPOCENTRE RIDGE, STALSK-12 – DAY 262 + + Neil REVERSES towards the hole – jumps out, pulling a line + from the rear winch... + + +263 EXT. PRIVATE DECK, SATOR’S YACHT – SUNSET 263 + + Kat looks at Mahir’s boat. Nothing. She checks her watch... + looks down at the tender approaching – it’s close enough + she can clearly see HERSELF CHATTING AND LAUGHING WITH + MAX... she jumps up from the daybed, holding the diver’s + bag. Sator looks up at her, surprised. + + KAT + I can’t do this. + + SATOR + Don’t spoil this moment, Kat. + + KAT + I can’t let you think you’ve won... + + Sator looks at her, suddenly wary... + + SATOR + What are you talking about, + Katherine? + + KAT + I’m not letting you go to your + grave thinking we’re all coming + with you. I can’t give you that – + + She pulls out the SILENCED PISTOL. He is UTTERLY UNAFRAID. + + KAT + You’re dying alone, Andrei. + + SATOR + (contemptuous) + No, I’m not. + + KAT + Andrei, look in my eyes. Which do + you see, despair... or anger? + + SATOR + What? + 154. + + + KAT + I’m not the woman who could find + love for you even though you’d + scarred her on the inside... + + Kat pulls up her shirt to reveal the MASSIVE, ANGRY SCAR – + + KAT + I’m the vengeful bitch you scarred + on the outside. + + Sator realizes he’s been conned – LUNGES FOR HER – + + SATOR + You –! + + KAT SHOOTS HIM IN THE UPPER CHEST – his hands go to his + chest – he GASPS, air leaking from his lungs... Kat ROLLS + Sator off the daybed onto his back – he GURGLES – she GRABS + his legs – SLIDES HIM AT THE GAP BELOW THE RAIL – + + Sator SHOOTS off the deck, TUMBLING DOWN to the sea – his + head CRACKS on the rear platform as he HITS the water – + + +264 EXT. MAHIR’S BOAT – CONTINUOUS 264 + + Mahir lowers his binoculars, STARTLED, as he sees Sator’s + body pitch into the sea – + + MAHIR + (into radio) + She’s killed him! She’s killed him! + + Mahir GUNS the engine, racing towards the yacht... + + +265 INT. HYPOCENTRE, STALSK-12 – DAY 265 + + The Protagonist opens the capsule, revealing the algorithm + – + + IVES + She jumped the gun – she killed + him! + + The Protagonist looks at Ives, ashen – A LINE DROPS BETWEEN + THEM – + + +266 EXT. HYPOCENTRE RIDGE, STALSK-12 – CONTINUOUS 266 + 155. + + + Neil is at the wheel of the truck. Through the rear-view + mirror he looks at his line running into the hole. Through + the windshield he watches Red and Blue soldiers finish + loading and LIFT OFF. He checks his watch – ‘00:09’, + ‘00:08’... + + NEIL + Fuck it – + + He GUNS it, PULLING AWAY FROM THE HOLE – + + +267 INT. HYPOCENTRE, STALSK-12 – CONTINUOUS 267 + + The Protagonist and Ives are YANKED into the air, the + Protagonist CLUTCHING the algorithm – as they approach the + rocky edge of the hole, Ives raises his boots to cushion + the – IMPACT! They BOUNCE PAINFULLY over the lip – + + +268 EXT. HYPOCENTRE RIDGE, STALSK-12 – CONTINUOUS 268 + + The truck DRAGS them along the rocky ground, away from the + hole as... BOOOOM!!!! THE ROCKY GROUND BUCKLES WITH FORCE – + + SMOKE and FLAMES BLAST up out of the hole in an ANGRY PLUME + – + + The ground around the hole COLLAPSES IN AN EVER-GROWING + RADIUS – + + The line SNAPS, leaving the Protagonist and Ives TUMBLING + to a stop... The SUBSIDENCE approaches, SLOWING, SLOWING... + the ground OPENS UP under the Protagonist – Ives GRABS HIM + – the Protagonist has the algorithm in his hands, Ives + PULLS him back onto solid ground... + + +269 EXT. LZ, STALSK-12 – DAY 269 + + Wheeler PULLS a last Blue team soldier into the container + as her watch hits ZERO – the container door SLAMS shut – + + BLUE TEAM SOLDIER + Do you think they made it? + + +270 EXT. PRIVATE DECK, SATOR’S YACHT – SUNSET 270 + + Kat picks up the shell casing, drops it in the diver’s bag, + zips it up, attaches the lanyard to her ankle, sprays down + the deck, WASHING away BLOOD and SUNSCREEN... + 156. + + + Kat steps up to the railing. Watches Mahir, down below, + getting a line on Sator’s body. Kat glances over at the + TENDER ARRIVING WITH HER EARLIER SELF AND HER SON... Kat + DIVES, ARCING GRACEFULLY THROUGH THE SUNSET... + + Kat’s earlier self, stepping onto the yacht, catches a + glimpse of a graceful form SLICING into the water. She + looks, CURIOUS, but Max TUGS her sleeve and she turns. + + +271 EXT. COAST OF VIET NAM – CONTINUOUS 271 + + On Mahir’s SPEEDING boat, Kat hands Mahir the diver’s bag + and looks up ahead to the last light of day... + + PROTAGONIST + (over radio) + Kat, you jumped the gun! + + Mahir hands her the radio – + + KAT + I couldn’t do it, I couldn’t let + him die thinking he’d won. And I + knew you’d find a way. + + Silence. She glances Mahir, suddenly concerned – + + KAT + Wait, you found a way? We’re okay, + right? + + PROTAGONIST + (over radio) + Yeah. We found a way. Be safe. + + Mahir’s boat SPEEDS AWAY through the twilight... + + ...DRAGGING Sator’s body behind. + + +272 EXT. WINDSWEPT PLAIN OUTSIDE STALSK-12 – EVENING 272 + + A Chinook swirls snow around the blasted ruins... Ives and + the Protagonist slump, bruised, exhausted, gas masks off, + breathing hard. On the ground between them – the matte- + black algorithm... Neil approaches, removing his gas + mask... + + PROTAGONIST + I thought you were inverted. + + NEIL + 157. + + + Changed gears halfway – you needed + help here. + + IVES + We needed help down there. + (to Protagonist) + How’d you get that lock open? + + PROTAGONIST + It wasn’t me. + (to Neil) + Didn’t your team need you? + + NEIL + I’ll get them on the next pass. + Right, Ives? + + IVES + Once I’ve caught my breath. + +The Protagonist reaches for the algorithm – Ives PULLS it +out of his reach – his gun laying casually across his leg. +As Neil and the Protagonist watch, Ives takes his weapon in +hand, gets to his feet... He lifts the algorithm... looks +around at the deserted plain above Stalsk-12... + + IVES + Nice and private. + +Ives SEPARATES the algorithm into THREE COMPONENTS – + + PROTAGONIST + No one who’s seen this leaves the + field... + + IVES + We hide it, we end our lives. It’s + the only way to be sure. + +Ives TOSSES them each one component... + + IVES + But as to when... + +Ives HOLSTERS his sidearm. + + IVES + Maybe that’s every man’s decision + to make for himself. + + NEIL + You’re not going to kill us? + 158. + + + IVES + If I ever find you I will. + + NEIL + But you won’t look too hard. + + IVES + Yes, I will. + +Neil shakes his head, smiling at this. Ives heads towards +the Chinook. Neil and the Protagonist watch him go... + + NEIL + You’re not heading back to London + to check on Kat, are you? + + PROTAGONIST + Of course not. That would be too + dangerous. + + NEIL + Even from afar. + + PROTAGONIST + Even from afar. + +Neil thinks of something. Looks at Ives – + + NEIL + Ives, wait! + +Neil takes his section of the algorithm, REATTACHES it to +the Protagonist’s. + + PROTAGONIST + You’re really going back in? + + NEIL + I’m the only one who could’ve got + that door open in time, right Ives? + +Ives looks at Neil, sizing him up. + + IVES + I don’t have any locksmiths as good + as you. + +Neil turns to the Protagonist, grabs his BACKPACK... + + NEIL + See? That’s me in there, again. + Weaving another pass in the fabric + of this mission. + 159. + + +Neil SWINGS his pack onto his back, revealing a TALISMAN – +A COIN WITH A HOLE TIED to the zip WITH ORANGE AND YELLOW +THREAD – + + PROTAGONIST + Neil, wait. + + NEIL + We just saved the world – we can’t + leave anything to chance. + +The Protagonist thinks. Struggles. + + PROTAGONIST + But can we change things? If we do + it differently...? + +Neil looks back at the Protagonist. Sees his struggle... + + NEIL + What’s happened’s happened. + (smiles) + Which is an expression of faith in + the mechanics of the world, not an + excuse to do nothing. + + PROTAGONIST + Fate? + + NEIL + Call it what you want. + + PROTAGONIST + What do you call it? + + NEIL + Reality. Now let me go. + +The Protagonist lets him walk, tears welling up... CALLS +OUT – + + PROTAGONIST + Hey! + (Neil turns) + You never did tell me who recruited + you. + + NEIL + (smiles) + Haven’t you guessed by now? You + did. Just not when you thought. You + have a future in the past. Years + ago for me. Years from now for you. + 160. + + + PROTAGONIST + You’ve known me for years? + + NEIL + (nods) + For me, I think this is the end of + a beautiful friendship. + + PROTAGONIST + But for me it’s just the beginning? + + NEIL + And we get up to some stuff. You’re + gonna love it. You’ll see. This + whole operation is a temporal + pincer. + + PROTAGONIST + Whose? + + NEIL + Yours. You’re only halfway there. + I’ll see you at the beginning, + friend. + + Neil turns. Follows Ives to board the Chinook. The + Protagonist watches him go... + + NEIL (V.O.) + We’re the people saving the world + from what might have been... + + The Protagonist looks down at the algorithm in his hands. + + NEIL (V.O.) + The world will never know what + could’ve happened... + + He pulls up his collar and walks into the snow... + + +273 EXT. SCHOOL GATES – AFTERNOON 273 + + Kat is walking up the road to the school gates. + + NEIL (V.O.) + ...and even if they did they + wouldn’t care... + + She feels something wrong. Looking across the road, she + sees a car with tinted windows shadowing her. + + NEIL (V.O.) + 161. + + + ...because no one cares about the + bomb that didn’t go off... + + She gets out the dumb phone the Protagonist had given + her... + + NEIL (V.O.) + ...just the one that did... + + +274 INT/EXT. CAR – CONTINUOUS 274 + + Priya is in the front passenger seat. The DRIVER next to + her has a GUN and SILENCER sitting on his knee... + + PRIYA + Do it before the boy comes out. + + The rear door opens – a dull thud – the Driver is SHOT by a + silenced pistol – + + PROTAGONIST (O.S.) + That’s your idea of mercy? + + Priya turns – the Protagonist has a gun to the back of her + seat. + + PROTAGONIST + You gave me your word. + + PRIYA + And I told you what it would be + worth. Here. Today. How did you + know? + + He holds up a dumb phone, plays a voicemail – + + KAT + (via recording) + Cannon Place, 3 o’clock, it’s – + + PROTAGONIST + Posterity. + + +275 EXT. SCHOOL GATES – CONTINUOUS 275 + + Kat hits send, speaks into the phone – + + KAT + Cannon Place, 3 o’clock, it’s + probably nothing... + 162. + + +276 INT/EXT. CAR – CONTINUOUS 276 + + The Protagonist watches Kat. + + PROTAGONIST + I told you you’d have to start + looking differently at the world. + + PRIYA + I have to tie up the loose ends. + + PROTAGONIST + That was never your job. + + PRIYA + Then whose was it? + + The Protagonist brings his focus back to Priya. + + PROTAGONIST + Mine. I realized I wasn’t working + for you. We’ve both been working + for me... I’m the protagonist. + + PRIYA + Then you’d better tie up those + loose ends. + + He shoots her through the seat back. She slumps forward. + + PROTAGONIST + Mission accomplished. + + The Protagonist looks across the road. The kids stream + out... Kat sees Max coming, takes one last look at the dark + car... + + NEIL (V.O.) + ...but it’s the bomb that didn’t go + off... + + Kat shakes her head, smiling at her own folly, looks at the + phone like it’s silly – + + NEIL (V.O.) + ...the danger no one knew was + real... + + She tosses the phone carelessly into her bag. + + NEIL (V.O.) + That’s the bomb with the real power + to change the world. + 163. + + +The Protagonist watches Kat and Max walk away. Max offers +Kat his hand and we – + + FADE OUT. + +CREDITS. + +END. + \ No newline at end of file diff --git a/scripts/Terminator 2 Judgment Day.txt b/scripts/Terminator 2 Judgment Day.txt new file mode 100644 index 0000000000000000000000000000000000000000..e7ccd1f6c869e701df67e35850f4ee55cf5dc1a4 --- /dev/null +++ b/scripts/Terminator 2 Judgment Day.txt @@ -0,0 +1,7129 @@ + 1. + + + + +1 EXT. CITY STREET - DAY 1 + + Downtown L.A. Noon on a hot summer day. On an EXTREME LONG + LENS the lunchtime crowd stacks up into a wall of humanity. + In SLOW MOTION they move in herds among the glittering rows + of cars jammed bumper to bumper. Heat ripples distort the + torrent of faces. The image is surreal, dreamy... and like + a dream it begins very slowly to + + DISSOLVE TO: + + +2 EXT. CITY RUINS - NIGHT 2 + + Same spot as the last shot, but now it is a landscape in + Hell. The cars are stopped in rusted rows, still bumper to + bumper. The skyline of buildings beyond has been shattered + by some unimaginable force like a row of kicked-down + sandcastles. Wind blows through the desolation, keening + with the sound of ten million dead souls. It scurries the + ashes into drifts, stark white in the moonlight against the + charred rubble. + + A TITLE CARD FADES IN: + + LOS ANGELES, July 11, 2029 + + ANGLE ON a heap of fire-blackened human bones. Beyond the + mound is a vast tundra of skulls and shattered concrete. + The rush hour crowd burned down in their tracks. + + WE DISSOLVE TO a playground... where intense heat has half- + melted the jungle gym, the blast has warped the swing set, + the merry-go-round has sagged in the firestorm. Small + skulls look accusingly from the ash-drifts. WE HEAR the + distant echo of children's voices... playing and laughing + in the sun. A silly, sing-songy rhyme as WE TRACKS SLOWLY + over seared asphalt where the faint hieroglyphs of + hopscotch lines are still visible. + + CAMERA comes to rest on a burnt and rusted tricycle... next + to the tiny skull of its owner. HOLD ON THIS IMAGE as a + female VOICE speaks: + + VOICE + 3 billion human lives ended on + August 29th, 1997. The survivors of + the nuclear fire called the war + Judgment Day. They lived only to + face a new nightmare, the war + against the Machines... + 2. + + + A metal foot crushes the skull like china. + + TILT UP, revealing a humanoid machine holding a massive + battle rifle. It looks like a CHROME SKELETON... a high- + tech Death figure. It is the endoskeleton of a Series 800 + terminator. Its glowing red eyes compassionlessly sweep the + dead terrain, hunting. + + The SOUNDS of ROARING TURBINES. Searchlights blaze down as + a formation of flying HK (Hunter-Killer) patrol machines + passes overhead. PAN WITH THEM toward the jagged horizon, + beyond which we see flashes, and hear the distant thunder + of a pitched battle in progress. + + +5 EXT. BATTLEFIELD - NIGHT 5 + + THE BATTLE. Human troops is desperate combat with the + machines for possession of the dead Earth. The humans are a + ragtag guerrilla army. Skynet's weapons consist of Ground + HKs (tank-like robot gun-platforms), flying Aerial HKs, + four-legged gun-pods called Centurions, and the humanoid + terminators in various forms. + + SEQUENCE OF RAPID CUTS: 5A Explosions! Beam-weapons firing + like searing strobe-light. 5B A gunner is an armored + personnel carrier fires a LAW rocket at a pursuing Aerial + HK, bringing it down in a fiery explosion. 5C Another APC + is crushed under the treads of a massive Ground HK. + + 5D A TEAM OF GUERRILLAS in a intense fire-fight with + terminator 5E endoskeletons in the ruins of a building. + Three terminator 5F endoskeletons advance, firing rapidly. + Another (complete cyborg), with flesh ripped open and back + broken, gropes for a rifle on the ground. + + 5G A Centurion overruns a human firing position. Soldiers + are cut down as they run. Fiery explosions light the ranks + of advancing machines. + + 6 IN A BLASTED GUN EMPLACEMENT at the edge of battle, a man + watches the combat with night-vision binoculars. He wears + the uniform of a guerrilla general, and a black beret. He + is still amid running, shouting techs and officers. + + C.U. MAN, pushing slowly in as the battle rages O.S. He + lowers the binoculars. He is forty-five years old. Features + severe. The left side of his face is heavily scarred. A + patch covers that eye. An impressive man, forged in the + furnace of a lifetime of war. The name stitched on the band + of his beret is CONNOR. We push in until his eyes fill + frame, then... + 3. + + + DISSOLVE TO: + + FIRE. SLOW, BOILING, ENORMOUS. FILLING FRAME. + + VOICE (SARAH CONNOR) + Skynet, the computer which + controlled the machines, sent two + terminators back through time. + Their mission: to destroy the + leader of the human Resistance... + John Connor. My son. + + The first terminator was programmed to strike at me, in the + year 1984... before John was born. It failed. + + The second was set to strike at John himself, when he was + still a child. As before, the Resistance was able to send a + lone warrior. A protector for John. It was just a question + of which one of them would reach him first... + + DISSOLVE TO: + + +7 EXT. TRUCKSTOP - NIGHT 7 + + Wild fingers of BLUE-WHITE ELECTRIC ARCS dance in a steel + canyon formed by two TRACTOR TRAILERS, parked side by side + in the back lot of an all-night truck stop. Then... + + The strange lightning forms a circular opening in mid-air, + and in the sudden flare of light we see a FIGURE in a + SPHERE OF ENERGY. Then the FRAME WHITES OUT with an + explosive THUNDERCLAP! + + Through the clearing vapor we see the figure clearly... a + naked man. TERMINATOR has come through. Physique: massive, + perfect. Face: devoid of emotion. Terminator stands and + impassively surveys its surroundings. + + +8 INT. TRUCK STOP DINER - NIGHT 8 + + On a back route to north L.A. A handful of local TRUCKERS + hunch over chili-sizes, CAT hats pushed back on their + heads. Three BIKERS are playing a game of pool in the back, + their Miller empties lining the table's rail. The dive's + owner, LLOYD, a fat, aging biker-type in a soiled apron, + stands behind the bar. Nothing much going on... + 4. + + +Then the front door opens and a big naked guy strolls in -- +that doesn't happen every night. All eyes simultaneously +swivel toward Terminator. Its emotionless gaze passes over +the customers as it walks calmly through the room. Everyone +frozen, not sure how to react. + +8A TERMINATOR POV. A digitized electronic scan of the room, +overlaid with alphanumeric readouts which change faster +than the human eye can follow. In POV we move past the +staring truckers, past the owner and the awestruck +WAITRESS, and approach a large nasty-looking biker puffing +on a cigar. His body is outlined, or "selected", and +thousands of estimated measurements appear. His clothing +has been analyzed and deemed suitable... + +8B TERMINATOR I need your clothes, your boots, and your +motorcycle. + +The big biker's eyes narrow. He takes a long draw on this +cigar, the tip cherry-red hot. + + CIGAR BIKER + You forgot to say please. + +He grinds the cigar out on Terminator's chest. Which +produces not the slight reaction of pain. Terminator +calmly, and without expression, grabs Cigar by his meaty +upper arm... Cigar screams from the hydraulic grip. + +Terminator doesn't see Cigar's friend, behind him, holding +his pool cue by the narrow end like a Louisville Slugger. +The heavy send whistles in a powerful swing and CRACKS IN +TWO across the back of Terminator's head. + +Terminator seems not to notice. Doesn't even blink. Without +releasing his grip on Cigar, he snaps his arm straight back +and grabs Pool Cue by the front of his jacket. Suddenly the +heavyset biker finds himself flying through the nearest +window. CRAASSH! + +Terminator hurls Cigar, all 230 pounds of him, clear over +the bar, through the serving window into the kitchen, where +he lands on the big flat GRILL. We hear a SOUND like +SIZZLING BACON as Cigar screams, flopping jerking. He rolls +off in a smoking heap. + +The third biker whips out a knife with a eight-inch blade +and slashes at Terminator's face. + 5. + + + Terminator grabs the arcing blade with his bare hand. + Holding it by the razor-sharp blade he jerks is from the + guy's hand. Ultra-fast here: He flips it. Grabs the handle + like you're supposed to hold a knife. Grabs the biker and + slams him face-down over the bar. Then brings the knife + whistling down, pinning the biker's shoulder to the bar top + with his own steel. + + +9 INT. KITCHEN 9 + + The doors BANGS OPEN and Terminator strides in. The Mexican + cook does a fast fade as Terminator walks toward Cigar, who + is cursing in pain on the floor. + + With his deep-fried fingers he struggles to get out the .45 + auto tucked under his leather jacket. But he can't even + hold onto it. Terminator takes it from him. Instead of + pointing it at him, Terminator carefully examines weapon, + analyzing its caliber and operating condition. Terminator + never threatens... that's a human thing. He just takes. + + Cigar senses what he must do when the emotionless eyes come + back to him. He slides the keys to his bike across the + floor to Terminator's foot. Then painfully starts getting + out of his jacket. + + +10 INT. TRUCK STOP 10 + + Terminator strides from the kitchen, fully clothed now in a + black leather jacket, leather riding pants, and heavy, + clean boots. He moves toward the moaning biker pinned to + the pool table. Without slowing his stride he jerks the + knife out. The guy slumps to the floor, groaning, behind + him. + + Terminator continues toward the front of the diner, passing + Lloyd, the owner. At the door, he comes abreast of two + truckers who sit frozen like a snapshot in mid-bite. One of + the truckers finally nods. + + TRUCKER + Evening... + + Terminator impassively stares back. Then moves on out the + door. + + +11 EXT. TRUCK STOP 11 + 6. + + + Terminator walks out, surveying the parked Harleys. Sticks + the .45 in his belt and swings one leg over a massive + CUSTOM ELECTRO-GLIDE. He slips the dagger in his boot and + the key in the ignition. Kicks over the engine. It catches + with a roar and he slams the heavy iron into gear with a + KLUNK. + + Lloyd appears at the diner's door with a sawed-off 10-GAUGE + WINCHESTER LEVER-ACTION SHOTGUN. He fires into the air and + jacks around round in fast, aiming at Terminator's back. + + LLOYD + I can't let you take the man's + wheels, son. Now get off or I'll + put you down. + + Terminator turns and considers by coldly. He eases the + shifter up into neutral. Rocks the bike onto its kickstand. + Swings him leg over and walks calmly toward the guy. + + Terminator strides right up to Lloyd, staring straight into + the shotgun's muzzle. Lloyd starts sweating, trying to + decide is he's going to kill a man in cold blood. He's + still trying to decide when Terminator's hand blurs out + like a striking cobra and is somehow suddenly holding the + shotgun. + + Lloyd gapes, knowing he's screwed. Then... Terminator + reaches toward him. Oh shit... And slips the sunglasses out + of Lloyd's shirt pocket. Puts them on. Strides back to the + Harley and roars off in a shower of gravel. + + +12 EXT. FREEWAY - NIGHT 12 + + Terminator roars down the freeway, heading for L.A. Cold + neon flares across the chrome of the big bike. The 10-gauge + is jammed through the clutch and brake cables, across the + handlebars. The lights flow over Terminator's wrap-around + sunglasses like the tracks of tracer rounds. + + CUT TO: + + +13 EXT. OVERPASS - NIGHT 13 + + The First Street Bridge. Rusting chain-link fence and + graffiti- covered walls. An L.A.P.D. BLACK-AND-WHITE + cruises the empty street. + 7. + + + A TREMENDOUS BLUE-WHITE GLARE suddenly spills out between + the columns of the overpass. The young UNIFORMED COP in the + car whips his head around at the source of the light. He + pulls over quickly, in time to see... + + 13A The powerfully arcing electrical discharge reaches its + peak between the columns. Lightning climbs the chain-link + fence and light standards, lighting up the night, and + papers swirl in a blasting whirlwind. + + 13B The cop climbs from his cruiser as the glow fades. He + sees vapor dissipating as he approaches the spot where he + saw the + + strange light. He draws his revolver and cautiously moves + into the shadows between the rows of pillars. + + A NAKED MAN glides from a shadowed doorway behind the cop. + Nothing special about him. Certainly not built like a + terminator. The flash of light and fact that he is naked + are pretty good clues that he just arrived from the future. + His features are handsome bordering on severe. His eyes are + gray ice. Penetrating. Intelligent. + + THE COP spins at a sound. Too late. Mr. X is already on + him. The blow is lighting fast and the cop drops like a bag + of sand. + + LOW ANGLE as the unconscious cop hits the deck, his BERETTA + 9mm AUTOMATIC clattering next to him. A hand ENTERS FRAME + and picks up this pistol. + + CUT TO: + + 13C HIGHLY POLISHED BLACK SHOES rounding the rear tire of + the police cruiser. FOLLOW THE SHOES to the cruiser's door + then MOVE UP as Mr. X, dressed now in LAPD blue, climbs + behind the wheel. He looks and acts exactly like a cop. + Cool, alert, confident in his power, his expression + emotionless and judgmental. Mr. X, now Officer X, puts the + car in gear and drives into the night. + + CUT TO: + + +14 INT. SUBURBAN HOUSE/GARAGE - DAY 14 + + TIGHT ON YOUNG JOHN CONNOR, who at his moment is ten years + old and busy reassembling the carburetor on his Honda 125 + dirtbike. He has ripped Levi's and long stringy hair. A + sullen mouth. Eyes which reveal an intelligence as sharp as + a scalpel. The Ramones' "I Wanna Be Sedated" blasts from a + boom box next to him. + 8. + + + A WOMAN, JANELLA VOIGHT, stands in the doorway of the + garage, yelling over the music. + + WOMAN + ...John? John! Get in here right + now and clean up that pigsty of + yours. + + John's friend TIM, a thirteen-year-old Hispanic kid, + watches as John replies by turning up the volume on the + boom box. Janelle gives up with a SLAM of the house's back + door. + + TIM + Your foster parents are kinda + dicks, right? + + JOHN + Gimme that Phillips right there. + + +15 INT. HOUSE - LIVING ROOM 15 + + Janelle storms into the room. TOD VOIGHT, her husband, + watches sports on the TV. They're both in their thirties. + Middle-class working stiffs. + + JANELLE I swear I've had it with that goddamn kid. He won't + even answer me. + + (NEITHER DOES HE) + Todd? Are you gonna sit there or + are you gonna do something? + + He sighs. Throws down the TV's remote and heads for the + garage. + + +16 INT. GARAGE 16 + + John hops on the bike. Kick-starts it. Tim picks up John's + nylon bag, then climbs on the back. Todd ENTERS and shouts + over the engine, which John revs louder and louder. + + TODD + John! Get your ass inside right now + and do what your mother says! + + John pins Todd with a defiant glare. + + JOHN + She's not my mother, Todd! + 9. + + + He revs the engine and peels out of the garage, with Tim + almost falling off the back. They take off down the street. + + +17 EXT. VACANT LOT - DRAINAGE CANAL 17 + + John cuts through a vacant lot to a trail running beside a + fenced-in drainage canal. He guns the bike through a hole + in the retaining fence. Tim's eyes go wide as they roar + down the concrete embankment. + + 17A IN THE DRAINAGE CANAL John zig-zags along, throwing up + a roostertail of muddy water. Tim shouts, pretending he + didn't just see his life flash before his eyes. He slaps + John on the back. + + TIM + Major moves, homes! So... where is + your real mom, anyway? + (John doesn't answer) + She dead or something? + + It's hard to read John's expression. + + JOHN + She might as well be. + + John twists the throttle angrily and the bike lunges + forward. + + CUT TO: + + +18 EXT. PESCADERO STATE HOSPITAL - DAY 18 + + A SIGN on a chain link fence topped with concertina wire + reads: PESCADERO STATE HOSPITAL FOR THE CRIMINALLY INSANE. + Beyond it + + squats an imposing four-story building. Institutional + brick. Barred windows. About as inviting as KGB + headquarters. Security guards patrol the manicured grass. + + +19 INT. HOSPITAL - MAXIMUM SECURITY WING 19 + + Sunlight is a barred slash on the bare institutional wall. + The room is empty of all furnishings save the bed, a + stainless steel sink, toilet, and a dented metal mirror. WE + HEAR a rhythmic grunting, small explosions of breath in + perfectly-metered time. + 10. + + + PAN TO a bedframe leaned upright against the wall, legs + facing outward. A pair of sweaty hands grip one leg. + Tendons knot and release as SOMEONE does pull-ups. A man of + tangled hair hides the face that comes INTO FRAME, dips + out, comes back. + + WIDER. A WOMAN in a tank top and hospital pants in hanging + from the top leg of the vertical bedframe. Her body is + straight and taut. Knees bent so the feet clear the ground. + The arms are lean and muscular. The inmate, face hidden, + pulls up, dips, pulls up. Like a machine. No change in + rhythm. + + +20 INT. HOSPITAL - CORRIDOR 20 + + FIGURES MOVE TOWARD US down a corridor of polished tile and + two- tone walls. DR. PETER SILBERMAN, a smug criminal + psychologist, leads a group of young INTERNS. Following + laconically, are THREE BURLY ATTENDANTS. + + SILBERMAN + The next patient is a 29-year old + female diagnosed as acute schizo- + affective disorder. The usual + indicators... depression, anxiety, + violent acting-out, delusions of + persecution. + (the interns nod + judiciously) + Here we are. + + Silberman stops at one of the SOUNDPROOF STEEL DOORS. There + is a two- way speaker beneath a tiny window. Silberman + flips the intercom switch. + + +21 INT. CELL 21 + + Silberman's scrubbed and cheerful face at cell window. HIS + VOICE comes over the tinny speaker. + + SILBERMAN + 'Morning, Sarah. + + REVERSE ANGLE as she turns slowly into CLOSE UP. SARAH + CONNOR is not the same woman we remember from last time. + Her eyes peer out through a wild tangle of hair like those + of a cornered animal. Defiant and intense, but skittering + around looking for escape at the same time. Fight or + flight. Down one cheek is a long scar, from just below the + eye to her upper lip. Her VOICE is a low and chilling + monotone. + 11. + + + SARAH + Good morning, Dr. Silberman. How's + the knee? + + +22 INT. CORRIDOR 22 + + Silberman's smug composure drops a second. Then returns. + + SILBERMAN + Fine, Sarah. + (he switches off, speaks + to the interns) + She, uh... stabbed me in the + kneecap with a screwdriver a few + weeks ago. + + Sarah watches them talking about her through the glass, but + can't hear them. She feels like a lab animal. The interns + look in at her through the glass as Silberman talks. With + her face drawn, eyes haggard and hair wild, she looks like + she belongs where she is. + + SILBERMAN + The delusional architecture is + interesting. She believes a machine + called a "terminator", which looks + human of course, was sent back + though time to kill her. And also + that the father of her child was a + soldier, sent to protect her... he + was from the future too... + (he smiles) + The year 2029, if I remember + correctly. + (the interns chuckle) + Let's move on, shall we? + + As the interns walk on, Silberman steps close to DOUGLAS, + the head attendant, and speaks low. + + SILBERMAN + Douglas, I don't like seeing the + patients disturbing their rooms + like this. See that she takes her + thorazine, would you? + + DOUGLAS is 6'4", 250 pounds and warm-hearted at a + rattlesnake. He nods, catching Silberman's meaning, and + gestures for the other attendants to hang back as Silberman + moves on in his rounds. + 12. + + +23 INT. CELL 23 + + Sarah looks up as the cell door opens. Douglas walks in + slowly, idly tapping his POLICE BATON against the door in a + ominous rhythm. The other two orderlies ease in behind him. + One of them carries a STUN BATON (like a sawed-off cattle + prod). The other has a tray with cups of red liquid- + thorazine. + + DOUGLAS + Time to take you meds, Connor. + + Sarah faces him, weight centered. Feral eyes darting from + one to the other. + + SARAH + You take it. + + Douglas grins, casual -- + + DOUGLAS + Now you know you got to be good + 'cause you up for review this + afternoon... + + SARAH + I'm not taking it. Now I don't want + any trouble... + + DOUGLAS + Ain't no trouble at all -- + + He whips the baton in a whistling backhand, which -- WHAP! + Takes her square in the stomach. She doubles over and drops + to her knees, unable to breathe. Douglas tips the bed and + it slams down with a crash, right new to her. He takes her + stun wand from the other attendant and walks forward. + + TIGHT ON SARAH, grimacing and struggling to breathe. + + SARAH + You... son of a... AAARRGH!! + + The stun wand hits her between shoulder blades as she tries + to rise. It drives her to the floor, pinning her like a + bug. Little ELECTRIC ARCS CRACKLE as the baton makes her + writhe in pain. Douglas grabs her by the hair and jerks her + up to her knees. Holds the cup of thorazine in front of her + lips. + + DOUGLAS + Last call, sugar. + 13. + + + Gasping, she chokes the zombie juice down. + + CUT TO: + + +24 EXT. BANK PARKING LOT - DAY 24 + + John furtively hunches before a Ready-Teller machine at the + rear of a local bank while his friend Tim stands lookout. + John slips a stolen ATM card into the machine slot. It is + something he's rigged up, because trailing from the card is + ribbon-wire which goes to some kind of black-box + electronics unit he's got in his ever-present knapsack. He + holds the pack between his knees and pulls out a little + lap-top keyboard, which is also connected to the black-box. + + John enters a few commands and the plasma-screen displays + the PIN number for that account. He quickly enters the + number on the Ready- Teller's keypad and asks it for 300 + bucks. The machine whirs then begins dispensing twenty- + dollar bills. Tim looks back over his shoulder amazed. + + JOHN + Easy money! + + TIM + Where'd you learn all this stuff? + + John collects the twenties as the machine kicks them out. A + cool and professional electronic-age thief at ten years + old. + + JOHN + From my mom. My real mom, I mean. + Come on baby... + (he grabs the last bills) + Let's go! + + They sprint around the corner to an -- + + +25 EXT. ALLEY BEHIND BANK 25 + + They huddle behind the building as John counts out Tim's + share. He folds five twenties and palms them to the other + kid. When John opens his wallet to put in his money, Tim + notices a picture in a plastic sleeve. + + TIM + That her? + 14. + + + John reluctantly shows his friend the Polaroid. It is a + shot of Sarah. Pregnant, in a jeep near the Mexican border. + John doesn't know it now, but he will carry the photo with + him for over 30 years, and give it to a young man named + Kyle Reese, who will travel back in time to become his + father. Yes, that photo. + + TIM + So she's pretty cool, huh? + + JOHN + Actually, no, she's a complete + psycho. That's why she's up at + Pescedero. She tries to blow up a + computer factory, but she got shot + and arrested. + + TIM + No shit? + + JOHN + Yeah, she's a total loser. C'mon, + let's check out the 7-Eleven, + whatya say? + + John has tried to sound casual, but we see in his eyes that + is really hurts. He slaps Tim on the shoulder and they jump + onto his Honda. John fires up and they whine off down the + alley. + + CUT TO: + + +26 INT. POLICE CRUISER - DAY 26 + + CLOSE ON COMPUTER TERMINAL, attached to the dash. A + Juvenile Division file. Subject: John Connor. Below his + ARREST RECORD are his vital stats. Mother: Sarah Connor. + Legal Guardians: Todd and Janelle Voight. And below their + names, an address: 523 S. Almond. Reseda, Ca. + + OFFICER X stares at the screen for a moment. Then gets out + the car. + + +27 INT./EXT. VOIGHT HOUSE - DAY 27 + + TIGHT ON FRONT DOOR as Todd Voight opens it, revealing the + unsmiling face of Officer X beyond the screen door. Todd + greets him with a weary sigh. + + OFFICER X + 15. + + + Are you the legal guardian of John + Connor? + + TODD + That's right, officer. What's he + done now? + + Officer X ignores the question. He casually scans the + living room. + + OFFICER X + Could I speak with him, please? + + Todd shrugs, showing the cop he's past his patience with + the boy. + + TODD + Well, you could if he was here. Be + he took off on his bike this + morning. Could be anywhere. You + gonna tell me what his is about? + + OFFICER X + I just need to ask him a few + questions. + + Janelle appears in the doorway behind Todd, concerned. + + JANELLE + There was a guy here this morning + asking about him, too. + + TODD + Yeah, big guy. On a bike. Has that + got something to do with it? + + Officer X registers the significance of that. He realizes + who the big guy must be. He smiles. Reassuringly shakes his + head no. + + OFFICER X + I wouldn't worry. Do you have a + photograph of John? + + Todd stares unhappily at the cop. Turns to Janelle. + + TODD + Get the album, Janelle. + + CUT TO: + + +28 EXT. STREET 28 + 16. + + + ANGLE THROUGH AN ALLEY from the main street. We see John + and Tim flash by on the Honda a block away. Hold a beat. + Then... + + A BIG CHROME WHEEL ENTERS FRAME. BOOM UP a leather-clad leg + to Terminator's implacable face. It surveys the area slowly + as the bike idles, then kicks it into gear and moves on, + scanning in a slow shark-like manner, not aware that it + missed its prey by seconds. + + CUT TO: + + +29 INT. SARAH'S CELL - DAY 29 + + CLOSE ON SARAH. She is shackled, hands and feet, to the + bed. Sunlight falls across her pale face. A hand enter + frame, gently stroking her cheek. She wakes up to see -- + + KYLE REESE. Sitting on the edge of her bed, looking exactly + the same as we last saw him in 1984. Scruffy blonde hair + and a long raincoat. + + SARAH + Kyle..? You're dead. + + He gives her a gentle smile. + + REESE + I know. This is a dream, Sarah. + + SARAH + Oh. Yeah. They... make me take this + stuff... + + He puts a finger to her lips. Then silently unfastens her + restraints. They gaze into each other's eyes. And in the + look that his death and the horror she has been through + since hasn't touched their love at all. + + SARAH + Hold me. + + She melts into Reese's arms. Pulls him to her. + + REESE + I love you. I always will. + + SARAH + Oh, God... Kyle. I need you so + much. + 17. + + + She kisses him passionately. They are locked together in a + timeless moment. PUSH IN TIGHT on Sarah as she buries her + face in his shoulder. She shuts her eyes tight. Stay on + Sarah as Reese speaks. He voice is strangely cold. + + REESE (O.S.) + Where's John, Sarah? + + Sarah opens her eyes and he is no longer in her arms. He is + standing across the room. Pinning her with an accusing + gaze. + + SARAH + They took him from me. + + REESE It's John who's the target now. You have to protect + him. He's wide open. + + SARAH + I know! + + REESE + Don't quit, Sarah. Our son need + you. + + SARAH + (struggling not to cry) + I know, but I'm not as strong as + I'm supposed to be. I can't do it. + I'm screwing up the mission. + + REESE + Remember the message... the future + is not set. There is not fate but + what we make for ourselves. + + He turns toward the door. + + SARAH + Kyle, don't go! + + REESE + (turning back to her) + There's not much time left in the + world, Sarah. + + Reese goes out the door. Sarah jumps from the bed, frantic. + Yanks the door open. Follow her out. + + +30 INT. CORRIDOR 30 + 18. + + +Sarah staggers from her cell. Reese is already, impossibly, +a hundred feet away, striding down the dim corridor. A +silhouette in a long coat, disappearing around a corner. + +Sarah runs after him, her bare feet slapping the cold +linoleum. Her hospital gown floats out behind her as she +dream-runs along the seemingly infinite corridor. She +reaches the corner, slides around it, and... + +Slams right into the arms of Douglas and his three helpers. +They grab her as she struggles and screams. The Silberman +is there, smiling soothingly. They force her down and she +is pinned to the floor, screaming. A new figure +approaches... one even more menacing. + +TERMINATOR walks toward her, with heavy measured steps. +Backlit, eyes concealed by the sunglasses, it stands over +her like the angel of death itself. It reaches down and... +Takes her hand. Lifts her up. Leads her to a door. They go +through together. Emerging into... + +A BEAUTIFUL SUNLIGHT MORNING. CHILDREN are playing +nearby... sliding down slides, clambering through a jungle +gym. Sarah knows this dream know... it's is the worst of +all her nightmares. She starts to scream but no sound comes +out. + +THE SKY EXPLODES into WHITE LIGHT. Everything is seared by +the unholy glare, hotter than a thousand suns. The children +ignite like match heads. Sarah is burning, screaming +silently, everything silent and overexposed. Terminator's +flesh and clothing are burning, silently. It grips her +hand, Virgil to her Dante in this tour of the nuclear-age +Inferno. + +THE BLAST WAVE HITS... a near-solid wall of compressed air +followed by 250-mph winds. The children, charcoal statues +frozen in positions of play, explode into black leaves of +ash and swirl away. SOUND hit now, with a thunderous roar. +Sarah's scream merges with the howl of the wind as the +blast hits her, exploding the flesh from her bones. Beside +her, Terminator is stripped of its burnt flesh, becoming a +smoking skeleton of steel. + +Then she wake up... in her cell, shackled to the bed. +Sunlight hurts her eyes. She looks desperate and defeated. +She knows the war is coming. It visits her every time she +closes her eyes. Lost and alone, Sarah feels all hope +recede for herself and for humanity. + + CUT TO: + 19. + + +31 INT. PESCADERO STATE HOSPITAL - INTERVIEW ROOM 31 + + TIGHT ON VIDEO SCREEN, playing a previously-recorded + session. Sarah is in a strait-jacket, talking softly. + + VIDEO SARAH + ... it's... like a giant strobe + light, burning right through my + eyes... but somehow I can still + see. Look, you know the dream's the + same every night, why do I have to + -- + + VIDEO SILBERMAN + Please continue... + + The REAL SARAH dispassionately watches herself on the + screen. Her expression is controlled. Silberman watches her + watching. They are in a brightly-lit interview room. TWO + ATTENDANTS stands nearby. + + VIDEO SARAH The children look like burnt paper... black, + not moving. Then the blast wave hits them and they fly + apart like leaves..." + + Video Sarah can't go on. Real Sarah watches herself cry on + tape, her expression cold. We hear Silberman speak on the + tape. + + VIDEO SILBERMAN + Dreams about cataclysm, or the end + of the world, are very common, + Sarah... + + Video Sarah cuts him off, her mood shifting to sudden rage. + + VIDEO SARAH It's not just a dream. It's real, you moron! I + know the date is happens!! + + VIDEO SILBERMAN + I'm sure it feels very real to you + -- + + VIDEO SARAH + On August 29th 1997 it's going to + feel pretty fucking real to you, + too! Anybody not wearing number two + million sunblock in gonna have a + real bad day, get it? + + VIDEO SILBERMAN + Relax now, Sarah -- + 20. + + + VIDEO SARAH + You think you're alive and safe, + but you're already dead. Everybody, + you, him... + (she gestures are the + attendant) + everybody... you're all fucking + dead! + +She is raving, half out of her chair. The orderly moves to +inject her with something. + + VIDEO SARAH + You're the one living in a dream, + Silberman, not me! Because I know + it happens. It happens! + +Silberman pauses the tape... freezing Sarah's contorted +face. Real Sarah turns away from the screen, he expression +stony. + + SARAH + I was afraid... and confused. I + feel much better, now. Clearer. + +Silberman gives a calculated paternal smile. + + SILBERMAN + Yes. Your attitude have been very + positive lately. + +Sarah looks up at him. Her voice is hopeful. + + SARAH + It has helped me a lot to have a + goal, something to look forward to. + + SILBERMAN + And what it that? + +As she answers, WE PULL BACK, revealing that we have been +looking through a one-way mirror from an adjacent +OBSERVATION ROOM. In the shadows of the observation room we +see that interns from the earlier rounds, and a couple of +STAFF PSYCHOLOGISTS. They smoke and make the occasional +note. + + SARAH + 21. + + + You said I could be transferred to + the minimum security wing and have + visitors if I showed improvement in + six months. Well, it's been six + months, and I was looking forward + to seeing my son. + + SILBERMAN + I see. Let's go back to what you + were saying about these terminator + machines. Now you think they don't + exist? + + CLOSE ON SARAH. Her voice sounds hollow. + + SARAH + They don't exist. I see that now. + + Silberman leans back, studying her. Toying with her. + + SILBERMAN + But you've told me on many + occasions about how you crushed one + in a hydraulic press. + + SARAH + If I had, there would have been + some evidence. They would have + found something at the factory. + + SILBERMAN + I see. So you don't believe anymore + that the company covered it up? + + Sarah shakes her head no. + + CUT TO: + + +32 EXT. CYBERDYNE SYSTEMS - DAY 32 + + The corporate headquarters of a mega-electronic + corporation. As imposing cubist castle of black glass. + + +33 INT. SECOND FLOOR - ELEVATORS 33 + + The elevator doors slide open with a whisper and MILES + DYSON strides out. Black. In his early thirties. The star + of the Special Projects Division. He's brilliant, + aggressive, driven. Dyson walks down the corridor, swinging + his arms... a man in a hurry. A man with much to do. + 22. + + + He reaches a solid security door and zips his ELECTRONIC + KEY-CARD through the scanner. The door unlocks with a + clunk. The sign next to the door reads: SPECIAL PROJECTS + DIVISION: AUTHORIZED PERSONNEL ONLY. + + +34 INT. SECURITY STATION 34 + + He nods to the guards as he passes through the security + checkpoint. They can see all activities on the floor on + their bank of monitors. He unlocks another service door + with his card and enters -- + + +35 INT. ARTIFICIAL INTELLIGENCE (A.I.) LAB 35 + + The lab is quite large, comprising banks of processors, + disk drives, test bays, prototype assembly areas. Extremely + high tech. + + DYSON + Greetings, troops. + + He is jokingly saluted by fellow members. Not a lab coat in + sight. This is strictly jeans and sneakers crowd. All young + and bright. They sit at their consoles drinking Coke and + changing technology as we know it. A young LAB ASSISTANT + rushes over to Dyson. Name tag says he's BRYANT. + + BRYANT + Mr. Dyson? The material teams wants + to run another test on the uh... on + it. + + DYSON + Yup. Come on. I'll get it. + + Dyson produces an unusual-looking KEY from his pocket as + they stride through the lab. Bryant has to hustle to keep + up. + + BRYANT + Listen, Mr. Dyson, I know I haven't + been here that long, but I was + wondering if you could tell me... I + mean, if you know... + + DYSON + Know what? + + BRYANT + Well... where it came from. + 23. + + + DYSON + I asked them that question once. + Know what they told me? Don't ask. + + +36 INT. VAULT ROOM 36 + + Dyson enters with Bryant. Dyson and a GUARD stand together + before what looks like a high-tech bank vault. It requires + two keys to open, like the launch controls in a nuclear + silo. The guard and Dyson insert their keys and turn them + simultaneously. Dyson then enters a passcode at a console + and the vault unlocks itself with a sequence of clunks. The + door swings open and Dyson enters. Bryant stays outside + with the guard, who notes Dyson's name and item on a + clipboard. + + +37 INT. VAULT 37 + + Dyson walks to a stainless steel cabinet and opens it. + Inside is a small artifact in a sealed container of inert + gas. IT -- a ceramic rectangle, about the size of a domino, + the color of liver. It has been shattered, painstakingly + reconstructed and mounted on a metal frame. + + Dyson removes the artifact, it its insert-gas, and sets it + on a specially-designed cart. He handles it like the Turin + Shroud. Dyson closes the cabinet. Turns to the one next to + it. Opens its door. In this cabinet is a larger object... + an intricate METAL HAND AND FOREARM. + + At the elbow, the metal is twisted and crushed. But the + forearm and hand are intact. Its metal surface scorched and + discolored, it stands upright in a vacuum flask, as if + saluting. This is all that remains of the terminator Sarah + destroyed. Dyson stares at it, lost in thought. The he + closes the cabinet, BLACKING OUT FRAME. + + CUT TO: + + +38 INT. INTERVIEW ROOM - OBSERVATION ROOM 38 + + We can see through the one-way mirror into the interview + room where Sarah is still talking with Silberman. The OTHER + PSYCHOLOGISTS are still watching through the mirror. + Reviewing Sarah's condition. + + SARAH + So what do you think, Doctor? I've + shown a lot of improvement, haven't + I? + 24. + + + SILBERMAN + You see, Sarah... here's the + problem. I know how smart you are, + and I think you're just telling me + what I want to hear. I don't think + you really believe who you've been + telling me today. + + We go tight on Sarah's reaction. And we see that Silberman + is right. She was playing him and it didn't work. And she + knows she's fucked. Her tone becomes quite pleading. + + SARAH + You have to let me see my son. + Please. It's very important. He's + in danger. At least let me call him + -- + + Silberman pins her with his sweet reptilian gaze. + + SILBERMAN + I'm afraid not. Not for a while. I + don't see any choice but to + recommend to the review board that + you stay here another six months. + + Sarah's eyes turn cold and lethal in one second. She knows + she's lost. She knows this guy is just playing with her, + and she -- LEAPS ACROSS THE TABLE AT HIM. + + SARAH + YOU SON OF A BITCH!! + + Silberman jumps back and the attendants dive on her. She is + writhing and twisting like a bobcat. Silberman whips open a + drawer and pulls out a syringe. He jabs it into her and she + yells -- + + SARAH Goddammit. Let me go!! Silberman! You don't know what + you're doing! You fuck! You're dead! You hear me!! + + Silberman signals and the attendants drag her out. He looks + at the doctors behind the glass. Shrugs. + + SILBERMAN + Model citizen. + + CUT TO: + + +39 EXT. 7-ELEVEN STORE - DAY 39 + 25. + + + Officer X has stopped two young girls in front of a 7- + Eleven. He is leaning out the cruiser window and showing + them the picture of John. The first girl nods. + + FIRST GIRL + Yeah, he was here about fifteen + minutes ago. I think he said he was + going to the Galleria. + + OFFICER X + The what? + + The second girl points toward a massive complex visible + about the houses several blocks away. Officer X stares at + it. + + +40 EXT. STREET 40 + + Terminator cruises slowly on the bike. Scanning. He crosses + an overpass above a drainage canal and whips his head + around at the sound of a dirt-bike engine. + + TERMINATOR POV -- OF TWO KIDS ON A BIKE DOWN IN THE CANAL. + THE IMAGE SNAP-ZOOMS IN. FREEZES ON THE DRIVER'S FACE. + "IDENT POS" FLASHES NEXT TO THE BLURRY IMAGE OF JOHN. + + Terminator wheel the Harley around, cutting onto a street + which runs parallel to the canal. Terminator hauls ass at + keep John in sight. He catches glimpses of the kid through + trees and houses. Loses him. Catches one last glimpse of + him heading into the parking lot of a large SHOPPING MALL. + + +41 INT. GALLERIA - DAY 41 + + John works his way through a crowded video arcade. Sees + some guys he knows. Stops to talk, striking a pose. Mall + rats in the element. We don't hear the dialogue. + + +42 INT. GALLERIA PARKING LOT 42 + + TERMINATOR'S idling Harley shakes the parking garage walls. + He stops at a row of bikes near the escalators. John's + little Honda sits proudly with the big street bikes. + Terminator parks. + + +43 INT. GALLERIA 43 + 26. + + +OFFICER X is moving through the flow of shoppers. The place +is a zoo. He stops some kids and shows them the picture. +They shrug. + +IN A CROWDED VIDEO ARCADE JOHN is lost in an intense +battle, going for a new high score at "Missile Command". He +parries deftly at the enemy ICBMs deploy their MIRVs... the +warheads stream down... it's more than he can deal with. +The world gets nuked. Game over. He slouches away from the +game, looking for another. Bored. + +RACK FOCUS to Officer X passing the entrance of the store +behind him. The cop moves on, down the concourse, out of +sight. John gets in an "Afterburner" simulator game. + +ON TERMINATOR, walking through the crowd in slow motion. +Scanning. He moves with methodical purpose, knowing the +target is close. We see that he is, incredibly, carrying a +box of LONG-STEM ROSES. Like some hopeful guy with a hot +date. + +THE COP is pointed toward the arcade by come kids hanging +out at the multi-cinema. He walks into the maze of kids +engaged in synthesized combat. Cheap electronic effects +blare above the crowd noise. + +JOHN is shooting down MiGs at Mach 2. His friend Tim slides +up next to him. Taps him on the shoulder, trying to play it +cool. + + TIM + Some cop is scoping for you, dude. + +John looks around the corner of the "Afterburner" ride. +Sees the cop showing a picture to some of the kids. The +kids point his way. + +John ducks just as the cop glances over. He slinks out the +other side of the ride and heads for the back of the store, +instinctively retreating. Sarah has taught him that cops +are bad news. + +THE COP scans the crowded arcade. Glimpses John, looking +back as he moves around a row of machines. Starts toward +him. + +JOHN sees the cop homing in and starts walking fast. Looks +back. THE COP is shoving through clots of kids. One of them +is slammed to the floor. As eddy of outrage behind the cop +as he gains speed. John breaks into run. So does the cop. +Kids scatter like ten-pins as the cop charges after John. +John sprints through the arcade's back officer and store- +rooms. + 27. + + +44 INT. SERVICE CORRIDOR 44 + + John emerges through a firedoor into a long corridor with + connects to the parking garage. He's running full out, when + around the corner ahead of him comes... + + TERMINATOR. Time stretches to nightmarish crawl as John + tries to brake to a stop. Terminator reaches into the box + of roses. + + SLOW MOTION. The cold back steel of the SHOTGUN emerges at + the box falls open, the roses spilling to the floor. + TERMINATOR'S BOOT crushes the flowers as it moves forward. + + JOHN, transfixed by terror, is trapped in the narrow + featureless shooting gallery of the corridor. THE SHOTGUN + COMES UP. Terminator expressionlessly strides forward. + Jacks a round into the chamber, slow and fluid. + + John looks behind him for a place to run. Sees the cop + coming toward him, pulling his Beretta pistol. Incredibly, + John realizes the cop is aiming his gun at him! John looks + back at Terminator. He is starting into the black muzzle of + the 10-gauge now. Aimed right at his head. He realizes he's + screwed. Then something crazy happens... + + TERMINATOR + Get down. + + John instinctively ducks. Terminator pulls the trigger. + KABOOM! + + THE COP catches the SHOTGUN'S BLAST square in the chest + just as he fires the pistol. The pistol's shot goes wild. + + TERMINATOR pumps another round into him. The another. And + another. Advancing a step each time he fires, he empties + the shotgun into the cop, blowing his backward down the + corridor. The sound is DEAFENING. Then silence. + + THE COP lies still on his back. + + Terminator is now standing right over John. They both watch + as the cop, incredibly, sits up unharmed and gets to his + feet. Terminator grabs John roughly by his jacket. Clutches + the kid to his chest then spins around at the cop opens + fire with the Beretta. + + The "cop", who not only isn't a cop, he clearly isn't even + human, pulls the trigger so fast it almost seems like a + machine-pistol. + 28. + + +ON TERMINATOR'S BACK, as the 9mm slugs slam into it, +punching bloody holes in the motorcycle jacket. + +JOHN is bug-eyed with fear, but completely unscratched. +Terminator's body has blocked the bullets. + +The Beretta CLACKS empty. Terminator turns at the sound. +Shoves John behind a Coke machine. Drops the empty shotgun. +Starts walking toward the "cop". The empty magazine +clatters to the floor. The cop inserts another one. Snaps +back the slide. Terminator still has twenty feet to go. He +doesn't break his purposeful stride. + +The cop opens fire. Bullets rake Terminator's chest. He +doesn't even flinch. Ten feet to go. BLAM BLAM BLAM BLAM! +Neither the cop nor Terminator show the slightest change in +expression as the gun rips Terminator's wardrobe to shreds. + +CLACK. The pistol empties again. Terminator stops two feet +in front of the cop. The appraise each other for a second. + +We realize now that the cop is a terminator too. We don't +know the details yet, but let's call him the T-1000 (since +that's what he is). A newer model than the one we've come +to know so well (the 800 Series "Arnold"). This guy's a +prototype... and he's got quite a few surprises. + +T-1000 AND TERMINATOR size each other up. Terminator moves +first. He grabs T-1000 in his massive hands but the T-1000 +snaps back with a counter-grip. After about two seconds of +intense slamming, the walls on both sides of the corridor +have all the plaster smashed in, and the two battling +machines have blasted through the wall and disappeared. + +JOHN, totally stunned by all this, remembers to move. He +staggers to his feet. Stumble-runs toward the parking +garage. + +THIRD LEVEL CONCOURSE. A plate glass window EXPLODES and +Terminator crashes through to the tile floor like a sack of +cement amid the screaming crowd. + +T-1000 turns without a word and heads back through the +store after John, accelerating slowly into a loping, +predatory run. + +Terminator is totally still. A JAPANESE TOURIST cautiously +steps forward and takes a picture of the body. Suddenly, +Terminator's eyes snap open. The stunned tourist backs +away. + 29. + + + He sits up and looks around. Gets his bearings. Rises + smoothly to his feet. All servos seem to be working fine. + The tourist's camera whirs as the motor-drive runs on by + itself, taking shot after show. The owner isn't even + looking through the eyepiece, he's so shocked. + + +45 INT. PARKING GARAGE 45 + + John is frantically pumping the kick-start of his bike, + scared shitless and the damned thing won't start. His hands + are shaking so badly he can't find the choke. He looks up + to see -- The T-1000 running down the corridor toward him. + John fumbles with the choke. The bike catches. He slams it + in gear and spins the bike out into the main aisle of the + garage. + + John looks back... the T-1000 is behind him, running. He + twists the throttle and guns the little bike forward. + Incredibly, the T-1000 is gaining. This nightmare isn't + happening. John races out the exit ramp, and charges right + into the street. + + +46 EXT. STREET 46 + + John shoots into the busy traffic. Cuts off a BIG-RIG TOW + TRUCK. The DRIVER swears. Hits his air horn. What the + driver doesn't see is the cop, running faster than O.J. + Simpson at the airport, who emerges onto the street and + runs back at his truck. + + IN THE TRUCK. The driver hears a thump as something slams + against his door, then feels himself pulled right out. T- + 1000 slides in and + + takes his place. The truck is still rolling along about 25 + mph. T-1000 accelerates after John without missing a beat. + It can see him, up ahead, weaving through traffic. + + Out of the garage entrance, Terminator roars onto the + street on the Harley. He accelerates after the others. + + +47 EXT. FLOOD CONTROL CHANNEL 47 + + John slides his bike down the service ramp faster than he's + ever done it before. He races along the bottom of the + canal, turning into a narrower tributary which has vertical + sides. + 30. + + +He looks back. No sign of pursuit. Suddenly he sees the sun +blocked out by a great shadow. The Kenworth tow-truck... +big as a house, all chrome and roaring diesel engine... +crashes through the fence and launches itself right into +the center of the canal. + +It crashes down, 15 feet to the ground, going about 60, +hits at an angle and tears into the concrete wall with a +hideous grinding of metal. It ricochets back and forth +between the walls then, bellowing like a gunshot +stegosaurus, it just keep on plowing forward, gathering +speed. + +John looks back and sees this wall of metal almost filling +the narrow concrete canal and he milks every last bit of +throttle the little bike has. The Kenworth is all muscle, +tearing along the canal like a train in a tunnel. Its big +tires send up huge sheets of muddy spray, backlit in the +setting sun. It looks like some kind of demon. And... it's +gaining. + +ABOVE THEM, on the service road running parallel, +Terminator is fighting to overtake them. He looks down and +sees John with the tow- truck from Hell catching up to him. +It is only about twenty feet behind him and still gaining. + +ANGLE IN THE CANAL, looking back past a desperate John, at +the wall of metal filling frame behind him. + +ABOVE, Terminator cuts the bike suddenly hard to the left, +leaving the road. Hitting an earth embankment just right, +he jumps the bike into the air like Steve McQueen in "The +Great Escape" and vaults the fence bordering the canal. It +slams down at the edge of the canal and tears along, inches +from the drop-off on a dirt path, accelerating past the +truck in the canal below. + +John hits some water and slews momentarily, loosing speed. +The massive push-plate on the front of the truck slams into +his back fender. Panicked, he pulls a little ahead. All +this is happening at about sixty miles and hour. Top speed +for the little dirt bike. + +SLOW MOTION as Terminator jumps the bike again. This time +the 700- pound Harley sails out into space and drops into +the canal. It arcs down between the truck and John, hitting +on its wheels. It bottoms out, an explosion of sparks under +the frame. Only the ultra-fast reflexes of a machine could +keep the bike upright. Terminator fights for control. + 31. + + +He guns the throttle and the powerful bike roars up beside +John's tiny Honda. Terminator sweeps the kid off his +machine with one arm and swings him onto the Harley, in +front of him. John's Honda weaves and falls, smashing +instantly under thundering tires. + +The Harley roars ahead. It hits eighty. Ahead is an +overpass, and supporting it is an abutment which bisects +the canal into two channels. The Harley thunders into one +channel, which is essentially a short tunnel. + +The truck can't fit on either side. Neither can it stop, at +that speed. Tires locked, it slides on the muddy concrete +and piles into the concrete abutment at seventy. + +Terminator and John emerge from the tunnel, looking back to +see a fireball blasting through behind them as the truck's +side-tanks explode. + +Terminator stops the Harley. John peers around his body to +see the destruction. A burning wheel wobbles out of the +tunnel and flops in the mud. Terminator revs the bike and +they roar away, down the canal, disappearing around a bend. + +ANGLE ON THE FIRE, as a column of black smoke rises from +the overpass. Smoke boils from the tunnel as well, and +inside it is a solid wall of flame. A figure appears in the +fire. Just an outline. Walking slowly... calmly. The figure +emerges from the flames. + +It is human-shaped but far from human. A smooth chrome man. +Not a servo-mechanism like Terminator is underneath, with +its complex hydraulics and cables... this thing is a +featureless, liquid chrome surface, bending seamlessly at +knees and elbows as it walks. It reminds us of mercury. A +mercury man. Its face is simple, unformed. Unruffled by +thousand-degree heat, it walks toward us. + +With each step detail returns. First the shape and lines of +its clothing emerge from the liquid chrome surface, then +finer details... buttons, facial features, ears... + +But it's still al chrome. With its last step, the color +returns to everything. It is the cop again... handsome +young face, blond hair, mustache. Icy eyes. It stops and +looks around. + +It is a perfect chameleon. A liquid metal robot. A killing +machine with the ultimate skills of mimicry for +infiltration of human society. + 32. + + + ANGLE NEARBY, as several police cruisers and a fire truck + pull up. T-1000 climbs out of the canal behind them. More + cops arrive. T-1000 + + blends in perfectly. There are always cops at diasters and + scenes of violence. We now see why its choice of protective + mimicry is so perfect. + + It walks among the other cops unnoticed. Gets into one of + the squad cars. Starts it and drives away. + + +48 EXT. SIDE STREET - NIGHT 48 + + Terminator, with John in front of him on the Harley, roars + down the empty street. John cranes his neck around to get a + look at the person/thing he is riding with. The image is + strangely reminiscent of father/son, out for an evening + ride. + + John is still in shock from the experience of what just + happened and he's just a ten-year kid, but he's also John + Connor who will someday rise to greatness, and we see a bit + of that in him even know. + + JOHN + Whoa... time out. Stop the bike! + + Terminator immediately complies. He leans the bike into a + turn. They head into a nearby alley. + + +49 EXT. ALLEY 49 + + Terminator and John rolls into the alley and come to a + stop. John slides off the gas tank. Terminator impassively + stares at him. John checks him out. Tentatively speaks. + + JOHN + Now don't take this the wrong way, + but you are a terminator, right? + + TERMINATOR + Yes. Cyberdyne Systems, Model 101. + + JOHN + No way! + + John touches Terminator's skin. Then the blood on his + jacket. His mind overloads as the reality of it hits him. + + JOHN + 33. + + + Holy shit... you're really real! I + mean... whoah! + (stepping back) + You're, uh... like a machine + underneath, right... but sort of + alive outside? + + TERMINATOR + I'm a cybernetic organism. Living + tissue over a metal endoskeleton. + + JOHN + This in intense. Get a grip, John. + Okay, uh... you're not here to kill + me... I figured that part out for + myself. So what's the deal? + + TERMINATOR + My mission is to protect you. + + JOHN + Yeah? Who sent you? + + TERMINATOR + You did. Thirty years from now you + reprogrammed me to be your + protector here, in this time. + + John gives him an amazed look. + + JOHN + This is deep. + + +50 EXT. STREET - NIGHT 50 + + John and Terminator on the bike again, weaving through the + side streets. They blend into the evening traffic. In the + darkness, Terminator's wounds are not readily visible. John + cranes his head up and back. + + JOHN + So this other guy? He's a + terminator too, right, like you? + + TERMINATOR + Not like me. A T-1000. Advanced + prototype. A mimetic polyalloy. + + JOHN + What does that mean? + + TERMINATOR + 34. + + + Liquid metal. + + JOHN + Radical. + + TERMINATOR + You are targeted for termination. + The T-1000 will not stop until it + complete its mission. Ever. + + John mulls that over. + + JOHN + Where we going? + + TERMINATOR + We have to leave the city, + immediately. And avoid the + authorities. + + JOHN + Can I stop by my house? + + TERMINATOR + Negative. The T-1000 will + definitely try to reacquire you + there. + + JOHN + You sure? + + TERMINATOR + I would. + + CUT TO: + + +51 EXT. PAYPHONE 51 + + John is quickly going through his pockets for change. He + has plenty of bills but no quarters. + + JOHN + Look, Todd and Janelle are dicks + but I gotta warn them. Shit! You + got a quarter? + + Terminator reaches past John and smashes the cover plate + off the phone's cash box with the heel of his hand. A + shower of change tumbles out. Terminator hands one to John. + John dials. + 35. + + +52 INT. VOIGHT HOUSE - KITCHEN - NIGHT 52 + + Janelle Voight picks up the kitchen phone and cradles it + with her shoulder which she continues to chop vegetables + with a large knife. She answers sweetly. + + JANELLE + Hello? + + JOHN + (filtered through phone) + Janelle? It's me. + + In the backyard, John's German Shepherd is going bonkers, + barking at something. + + JANELLE + John? Where are you, honey? It's + late. You should come home, dear. + I'm making a casserole. + + AT THE PAYPHONE. John listens, an odd look on his face. He + covers the phone's mouthpiece and turns to Terminator. + + JOHN + (whispering) + Something's wrong. She's never this + nice. + + IN THE VOIGHTS' KITCHEN. Todd comes through the kitchen's + back door. Just home from work. He ignores Janelle and + opens the fridge. Grabs a carton of milk. Takes a sip. + Frowns at the dog's barking. + + TODD + What the hell's the goddamn dog + barking at? SHUT UP, YOU MUTT! + + TIGHT ON JANELLE as Todd growls around the kitchen behind + her. He passes OUT OF FRAME next to her. Janelle switches + the phone to her other hand then... THUNK! Her free hand + seems to do something out of frame. There is a gurgling, + and the sound of liquid dribbling onto the floor. (Don't go + away. We'll find out what happened in a moment) + + AT THE PAYPHONE + + JOHN + The dog's really barking. Maybe + it's already there. What should I + do? + 36. + + + Terminator takes the phone from John's hand. Janelle's + voice is floating through the receiver. + + JANELLE + (filtered) + John? John, are you okay? + + Terminator speaks into the phone in a perfect imitation of + John's voice... + + TERMINATOR + (in John's voice) + I'm right here. I'm fine. + (to John, a whisper) + What's the dog's name? + + JOHN + Max. + + Terminator nods. Speaks into the phone. + + TERMINATOR + Hey, Janelle, what's wrong with + Wolfy? I can hear him barking. Is + he okay? + + JANELLE + (filtered) + Wolfy's fine, honey. Where are you? + + Terminator unceremoniously hangs up the phone. Turns to + John. + + TERMINATOR + Your foster parents are dead. Let's + go. + + Terminator heads for the bike. John, shocked, stares after + him. + + +53 INT. VOIGHT HOUSE - KITCHEN 53 + + Janelle hangs up the phone. Her expression is neutral. + Calm. + 37. + + + PAN OVER along her arm, which is stretched out straight + from the shoulder. Partway along its length her arm has + turned smoothly into something else... a metal cylinder + which tapers into a sword-like spike. Now we see Todd + Voight PINNED TO A KITCHEN CABINET by the spike which has + punched through his milk carton, through his mouth and + exits the back of his head into the cabinet door. His eyes + are glassy and lifeless. + + The spike is withdrawn -- SWIISHHTT! -- so rapidly, Todd is + actually standing there a second before he slumps out of + sight. THUMP. + + Janelle doesn't bat an eye as the spike smoothly changes + shape and color, transforming back into a hand, and then... + + JANELLE CHANGES rapidly into the COP we now know as the T- + 1000. The change has liquid quality. T-1000 opens the back + door. + + +54 EXT. VOIGHT HOUSE - BACKYARD - NIGHT 54 + + T-1000 approaches the big German Shepherd, which slinks + away from it, barking in fear. T-1000 walk right into CLOSE + UP. Reaches down, OUT OF FRAME. We hear that sickening + THUNK followed by a shrill YELP. Then T-1000's hand snaps + up INTO FRAME holding a bloody dog collar. The tag reads + "MAX". T-1000 nods thoughtfully. Heads back to the house. + + +55 EXT. PARKING LOT - NIGHT 55 + + Dark. Off a quiet street. Terminator stands near the + Harley, watching John pace before him. John's brain is + calling time-out. This is all too weird. + + JOHN + I need a minute here, okay? You're + telling me it can imitate anything + it touches? + + TERMINATOR + Anything it samples by physical + contact. + + John thinks about that, trying to grasp their opponent's + parameters. + + JOHN + Like it could disguise itself as + anything... a pack of cigarettes? + 38. + + + TERMINATOR + No. Only an object of equal size. + + John's still reeling from meeting one terminator, which now + seems downright conventional next to the exotic new model. + + JOHN + Well, why doesn't become a bomb or + something to get me? + + TERMINATOR + It can't form complex machines. + Guns and explosives have chemicals, + moving parts. It doesn't work that + way. But it can form solid metal + shapes. + + +56 INT. VOIGHT HOUSE - NIGHT 56 + + T-1000 walks down the dark hall. It passes the bathroom and + we see the real Janelle's legs through the half-open door. + The shower is running. Her blood mixes with water on the + white tile floor. + + In John's bedroom the T-1000 begins searching methodically + in the dark. Calmly and dispassionately ripping the room + apart for any clues that could lead it to its target. T- + 1000 finds a box of audio cassettes marked "Messages from + Mom". In it are some letters, and envelopes filled with + snapshots. It begins looking through some of the photos... + + SHOT OF JOHN AND SARAH during the missing years. Sarah in + olive cammos with an RPG 7 grenade launcher, teaching John + how to aim. Sarah with a group of military-clad Guatemalan + men, standing next to cases of Stinger missiles. John and + Sarah in a Contra camp, deep in the mountains. + + +57 EXT. PARKING LOT - NIGHT 57 + + John is now sitting on the curb, lost in stunned thought. + Terminator stands above him, watching the street like a + Doberman. He glances down at John. + + JOHN + 39. + + + We spent a lot of time in + Nicaragua... places like that. For + a while she was with this crazy ex- + Green Beret guy, running guns. Then + there were some other guys. She'd + shack up with anybody she could + learn from. So then she could teach + me how to be this great military + leader. Then she gets busted and + it's like... sorry kid, your mom's + a psycho. Didn't you know? It's + like... everything I'd been brought + up to believe was just made-up + fantasy, right? I hated her for + that. + (he looks up) + But everything she said was true. + (he stands) + We gotta get her out of there. + + TERMINATOR + Negative. The T-1000's highest + probability for success now would + be to copy Sarah Connor and wait + for you to make contact with her. + + JOHN + Oh, great. And what happens to her? + +Terminator's reply is matter-of-fact. + + TERMINATOR + Typically, the subject being copied + is terminated. + + JOHN + TERMINATED!? Shit! Why didn't you + tell me? We gotta right now! + + TERMINATOR + Negative. She is not a mission + priority. + + JOHN + Yeah, well fuck you, she's a + priority to me! + +John strides away. Terminator goes after him and grabs him +arm. John struggles against the grip. Which doesn't do him +much good. + + JOHN + 40. + + + Hey, goddammit! What's your + problem? + +Starts dragging John back to the bike. John spots a couple +of collage-age slab-o-meat JOCK-TYPES across the street and +starts yelling to them. + + JOHN + Help! HELP!! I'm being kidnapped! + Get this psycho off of me! + +The TWO JOCKS start toward him. John yells in outrage to +Terminator. + + JOHN + Let go of me!! + +To his surprise, Terminator's hand opens so fast John falls +right on his butt. He looks up at the open hand. + + JOHN + Oww! Why'd you do that? + + TERMINATOR + You told me to. + +John stares at him in amazement as he realizes... + + JOHN + You have to do what I say?! + + TERMINATOR + That is one of my mission + parameters. + + JOHN + Prove it... stand on one foot. + +Terminator expressionlessly lifts one leg. John grins. He's +the first on his block... + + JOHN + Cool! My own terminator. This is + great! + +The two guys get there and look at Terminator standing +there calmly with one leg up in the air. This big guy in +black leather and dark glasses, standing like a statue. + + FIRST JOCK + Hey, kid. You okay? + +John turns to him. No longer needing to be rescued. + 41. + + + JOHN + Take a hike, bozo. + + FIRST JOCK + Yeah? Fuck you, you little dipshit. + + JOHN + Dipshit? Did you say dipshit?! + (to Terminator) + Grab this guy. + +Terminator complies instantly, hoisting him one-handed by +the collar. the guy's legs are pinwheeling. + + JOHN + Now who's the dipshit, you jock + douchebag? + +Immediately, things get out of hand. The guy's friend jumps +behind Terminator and tries to grab him in a full nelson -- +Terminator throws the first guy across the hood of a car -- +Grabs the second by the hair, whips out his .45 in a quick +blur, and aims the muzzle at the guy's forehead. John grabs +Terminator's arm with a yell as he pulls the trigger -- +John's weight is just enough to deflect the gun a few +inches. The guy flinches, stunned by the K-BOOM next to his +ear. He stares, shocked. Pissing himself. John is freaking +out, too. He screams at Terminator. + + JOHN + Put the gun down! NOW!! + +Terminator sets the .45 on the sidewalk. John scoops it up +fast then turns to the shocked civilians, who can't believe +what just happened. + + JOHN + Walk away. + +They do. Fast. John grabs Terminator by the arm and tugs +him toward the bike. John still holds the gun, reluctant to +give it back. + + JOHN + Jesus... you were gonna kill that + guy! + + TERMINATOR + Of course. I'm a terminator. + +John stares at him. Having your own terminator just became +a little bit less fun to him. + 42. + + + JOHN Listen to me, very carefully, okay? You're not a + terminator any more. Alright? You got that? You can't just + go around killing people! + + TERMINATOR + Why? + + JOHN + Whattaya mean, why? 'Cause you + can't! + + TERMINATOR + Why? + + JOHN + You just can't, okay? Trust me on + this. + + Terminator doesn't get it. John just stares at him. + Frightened at what just almost happened. He gets a glimpse + of the responsibility that comes with power. Finally he + hands the .45 back to Terminator, who puts it away. + + JOHN + Look, I'm gonna go get my mom. You + wanna come along, that's fine with + me. + + CUT TO: + + +58 INT. VOIGHT HOUSE - BEDROOM - NIGHT 58 + + T-1000 finds an envelope... a letter from Sarah to John + sent since she's been at Pescadero State Hospital. It reads + the return address on the envelope. It has what it needs. + It picks up a tape player and the battered shoebox full of + Sarah's tapes and exits. + + CUT TO: + + CLOSE ON A BLACK & WHITE PHOTOGRAPH. The image is a + nightmare from the past. It is a surveillance camera still- + frame from the L.A. police station where the first + terminator made such an impression in 1984. We see the + blurry forms of the cop frozen in the emergency lights of a + burning corridor. + 43. + + + A black-clad figure stands at the end of the corridor. The + guy has short-cropped hair and dark glasses. An AR-80 + assault rifle in one hand, and a 12-gauge in the other -- + holding them both like toy pistols. ANOTHER PHOTO is + slapped on top of the first. Another still-frame blow-up is + placed over the last. Terminator looms in CLOSEUP. + + DETECTIVE WEATHERSBY (O.S.) + These were taken at the West + Highland police station in 1984. + You were there. + + WIDER. We're in -- + + +59A INT. INTERVIEW ROOM - PESCADERO - NIGHT 59A + + The photos are lying on the table in front of Sarah, placed + there by DETECTIVE WEATHERSBY. His partner DET. MOSSBERG, + and Dr. Silberman, sit at the table as well. Two uniformed + cops, plus Douglas, stand by the door. Sarah stares + listlessly at the top photo. She's withdrawn, haggard... + drugged-looking. + + MOSSBERG + He killed seventeen police officers + that night. Recognize him? + + Weathersby slaps another black-and-white eight-by-ten on + the table. A closeup of Terminator taken by the Japanese + tourist at the mall. It's the same face. + + MOSSBERG + This one was taken by a Japanese + tourist today. + + Sarah doesn't react. It's hard to tell she's thinking. + Whether she's up hope or is just in a drugged stupor. + + WEATHERSBY + Ms. Connor, you've been told that + your son's missing. His foster + parents have been murdered, and we + know this guy's involved. Talk to + us. Don't you care? + + Sarah stares up at him. A cold and empty stare. He glances + at Silberman. Then at his partner. + + MOSSBERG + We're wasting out time. + 44. + + + One of the uniformed cops opens the door and Mossberg + strides into the hall. Weathersby and the two uniforms + follow him out, with Silberman right behind. + + SILBERMAN + Sorry, gentleman... + + TIGHT ON SARAH, slumped under the bright lights. Totally + out of it. Then we see her hand, creeping along the edge of + the table toward the stack of photos. She slips off the + paper clip binding the stills together, and hides it + between her fingers. Douglas jerks her up by the arms and + leads her out. + + CUT TO: + + +60 INT. SARAH'S CELL 60 + + Douglas inches up the last of Sarah's restraints. Then her + leans over her... looking down. Even wrecked as she is, we + see the beauty in her face. He bends down. We think he's + going to kiss her. Instead he runs his tongue across her + face like a dog would. She seems not to even see him. Her + dull eyes past him. He can't provoke a reaction. Even here, + strapped down, the two of them alone, + + she give him no superiority. He smirks and leaves. We hear + the sound of his night-stick tapping its way down the + corridor, growing fainter. + + Sarah's eyes snap suddenly alert. There is intensity and + resolve in them. She slips the paper clip out from between + her fingers and awkwardly spreads it open into a straight + piece of wire. With slow, painful concentration she moves + it toward the lock of the restraints that bind her wrists + to the bed at her sides. + + CUT TO: + + +61 EXT. ROAD - NIGHT 61 + + Terminator and John charge through the night on the Harley. + Streetlights flare past them like comets. Two serious guys + with a mission. One a ten-year old kid, the other a half- + man/half-machine cyborg from the post-Apocalyptic future. + + CUT TO: + + +62 INT. SARAH'S CELL 62 + 45. + + + TIGHT ON RESTRAINT LOCK as it unlatches... successfully + picked by Sarah's paper clip. This is not an easy thing to + do. But Sarah taught herself a lot of things in her years + of hiding. + + SARAH, her hands free, sits up and releases the Velcro + straps on her feet. She rolls off the bed and we see her in + a whole new light. She is totally alert, almost feral in + her movements. + + CUT TO: + + +63 EXT. HOSPITAL ENTRANCE 63 + + GUARD SHACK. A bored security guard glances up as an LAPD + black-and- white pulls up. He raises the barricade and nods + at the T-1000/cop as it passes. + + THE CRUISER pulls in next to the other police vehicles. The + T-1000 walks toward the main entrance. + + CUT TO: + + +64 INT. SARAH'S CELL - CORRIDOR 64 + + Sarah is using the paper clip on the door lock. She hears + an echoing tapping sound. It's getting louder, coming her + way. She goes back to work on the lock. + + IN THE CORRIDOR. Douglas the attendant is tapping his stick + along the wall like he does every night on his rounds. He + shines a little mag-light in the windows of the cells as he + passes, barely slowing. + + He rounds the corner. His footsteps echo in the dark + hallway. The tip of the stick hits the wall. Tap, tap, + tap... getting closer to Sarah's cell. He stops at the + door. He is about to shine his light in when he notices + that a utility closet across the hall is open. He goes to + shut it, absently flicking his light into the dark closet. + He notices something strange among the buckets and cleaning + supplies. A mop lies on the floor, with its handle snapped + off about halfway up. The other half is missing. + + Douglas ponders this for half a second, then hears a SOUND + behind him and spins around. The sound he heard was Sarah's + cell door. The missing two feet of MOP HANDLE fill his + vision as it CRACKS viciously across the bridge of his + nose. + 46. + + + 250 pounds of doughy attendant hit the floor like a sack of + cement. Sarah slams the makeshift baton down expertly + across the back of his head, bouncing him off the linoleum. + Lights out, Douglas. She drags him into her cell and locks + him in with his own keys. Then swaps her mop-handle for his + nice heavy night-stick. + + Sarah moves down the dark corridor, cat-stepping in her + bare feet. She holds the baton like a pro, laid back along + the forearm, police- style. She looks dangerous. + + CUT TO: + + +66 INT. HOSPITAL ENTRANCE - CORRIDOR 66 + + A long corridor ends at a reception area, which is closed, + and a NIGHT RECEIVING DESK, which is a glass window where + they can buzz you in through a heavy door. A NIGHT NURSE + types at a desk nearby. She looks up at the sound of + footsteps and sees a young cop (T-1000) walking toward her. + + T-1000 + You have a Sarah Connor here? + + She assumes he's with the other cops. Smiles. + + NIGHT NURSE + Running late, aren't you? + + She turns to the inner door to buzz him in and sees + Silberman and the cops coming toward the door from the + other side. + + NIGHT NURSE + Your friends are on their way out + now... + + When she turns back to the window, T-1000's no longer + there. She goes to the counter and leans out to see if he's + at the drinking fountain or someplace. No. Reception is + empty. And so is the long corridor beyond. She frowns. Too + weird. + + Silberman comes through the solenoid door with Mossberg and + Weathersby, the two uniformed cops, and the hospital + security guard. The guard retrieves his 9mm pistol from a + lock-out box behind the night desk. Silberman faces him. + + SILBERMAN + Lewis, see these gentleman out and + them lock up for the night. + 47. + + +The security guard nods. Silberman goes back into the +secure area of the hospital and the cops walk down the long +corridor to the main doors. No sign of T-1000. Mossberg and +the other cops exit, and the guard locks the door behind +them. + +The guard walks slowly back along the long corridor. The +hall is dark, with the light at the night desk far ahead +like a sanctuary. His footsteps ring hollowly on the tile +floor. His keys jingle. + +ANGLE ON FLOOR as the guard's feet pass through FRAME. An +instant later the floor starts to move. It shivers and +bulges upward like a liquid mass, still retaining the two- +tone checkerboard of the tile. It hunches up silently into +a quivering shadow in the darkness past the guard. + +Up ahead we hear typing. The night nurse has her back to +us, working. The guard stops as the drinking fountain. +Bends to take a sip. Behind him the fluid mass as reaches +six feet of height and begins to resolve rapidly into a +human figure. It loses the color and texture of the tile +and becomes... THE GUARD. + +T-1000's mass has been spread out a quarter of an inch +thick over several square yards of floor. The guard walked +over the T-1000, and his structure was sampled that +instant. Now we see it drawing in and pulling up to form +the figure of the guard. + +The T-1000/Guard's feet are the last to form, the last of +the "liquid floor" pulling in to form shiny black guard +shoes. The shoes detach with a faint sucking sound from the +real floor as the T-1000/Guard takes its first step. + +The real guard spins at the sound of footsteps to see... +himself. He has one deeply disturbing moment to consider +the ramifications of that. Then he sees his double calmly +raise its hand and, inexplicably, points his right index +finger directly at the real guard's face, about a foot +away. In a split second, the finger spears out, elongating +into a thin steel rod which snaps out like a stiletto, +slamming into the guard's eye. It punches into the corner +of the eye, past the eyeball like a trans- orbital lobotomy +tool, and emerges from the back of the guard's skull. + +Life quietly empties from the guard's face. He is dead +weight, hanging from the rod/finger with suddenly reacts -- +SNICK. As the guard slumps, the T-1000 takes his weight +easily with one hand and walks him, like it's carrying a +suit on a hanger, back toward the night desk. The wounds +are so tiny, no blood drips onto the floor. + 48. + + + ON THE NIGHT NURSE, glancing up as the T-1000/Guard walks + past, dragging something casually which she can't see + because it's below the countertop. + + NIGHT NURSE + Whatcha got, Lewis? + + T-1000/GUARD + Just some trash. + + She nods, uninterested. Keeps typing. T-1000 moves past, + dragging the unseen guard toward a closet down the hall + from the night receiving station. T-1000/Guard removes the + Browning High-Power pistol and the keys from the real + guard's belt, then stuffs the body into the utility closet. + + +66G INT. CORRIDOR - NIGHT RECEIVING DESK 66G + + T-1000/Guard comes back out and glances at the nurse. + + T-1000/GUARD + All set. + + She glances toward it. Sees the Beretta in its holster. + + NIGHT NURSE + Gotta check the gun first, Lewis. + + T-1000/GUARD + Yeah, sorry. + + T-1000 opens the locker and blocks it from her view with + its body as it mimes putting the gun in. + + CLOSE ANGLE ON T-1000'S CHEST, from inside the locker. + Instead of setting the gun in the locker, it inserts the + pistol into it own chest, where is disappears inside like + it was dropped into a pot of hot fudge. It withdraws its + hand. The chest is once again a surface that looks like + cloth, buttons, name-tag etc. You'd ever guess it was + really an intelligent liquid metal. + + T-1000 slams the locker door and waits as the nurse hits + the button unlocking the door with a BUZZ-CLACK. T- + 1000/Guard goes through. + + CUT TO: + + +67 INT. ISOLATION SECURITY CHECKPOINT 67 + 49. + + +A small room before a short SALLY-PORT corridor designed to +prevent violent inmates from making a run for it. There are +doors at each end. The first one is barred like a jail-cell +door, and the second is a steel fire door. The attendants +have a video monitor with which they can see the corridor +on the other side of the doors. + +The two bored attendants barely notice the T-1000/Guard as +it approaches. Looks briefly at a chart next to the door, +seeing SARAH CONNOR is in #19. + +IN THE ISOLATION WARD, the T-1000 passes a nurses' station +which looks a cage, walled in by heavy metal mesh. +Silberman, leaning in the open doorway, is talking to an +attendant in the cage. He doesn't glance twice at Lewis the +Guard passing by. + +SARAH, moving like a ghost in the darkened corridor, hears +footsteps coming and quietly but quickly unlocks a cell +next to her with Douglas' master key. + +She slips into the cell and waits as the footsteps pass. We +glimpse the T-1000/Guard pass the window. She waits as the +footsteps fade away. She looks over. A female inmate, +strapped to a bed, watches her with bird-like eyes. She +puts a finger to her lips -- SSHHH. The inmate nods. Sarah +exits. + +POV MOVING TOWARD nurse's station. We hear Silberman's +voice, reviewing medication with the night attendant. + +ON SILBERMAN, yawning, looking at his watch. He turns to +go... Sarah is there. She slams into him, hurling him +through the door into the cage and follows him in. The +orderly jumps up, going for his stunner, but she nails him +with Douglas' baton. WHAP-WHAP-WHAP! You can barely see the +thing she's swinging it so fast. The guys goes down. + +Silberman lunges for the alarm button and she cracks down +hard on his arm. He cries out and grabs his wrist. She +grabs him by the hair and slams him face down on the desk, +smacking him behind the knees expertly with the baton. His +legs buckle and he drops to his knees with his chin on the +desk. She pins him with one hand. He face is full of +outraged disbelief. + + SILBERMAN + You broke my arm! + + SARAH + There's 215 bones in the human + body, motherfucker. That's one. Now + don't move! + 50. + + + Moving rapidly, she whips open a medication drawer and + grabs a syringe. They keep a few of these handy for + tranking unruly patients. She jams it into the orderly's + butt and fires the whole shot. Still holding the empty + syringe, she sees what she need next. They keep the toxic + cleaning supplies in here to keep the inmates from drinking + Drano. She grabs a plastic jug of LIQUID PLUM'R and slams + it down on the desk inches from Silberman's eyes. + + She jams the empty syringe into the plastic jug. Draws back + the plunger. The syringe fills with blue liquid. She whips + it out of the jug and jams the needle into Silberman's + neck. His horrified eyes rack toward it. 10 cc's of blue + death fill the cylinder. Her thumb hovers over the plunger. + She jerks him to his feet by the collar and gets a tight + grip on him, then hauls him through the door. + + IN THE CORRIDOR outside cell #19 the T-1000 stops and looks + in the window. Douglas, his face a bloody mess, yells to be + heard. + + DOUGLAS + Open the door! The goddamn bitch is + loose in the halls! + + To Douglas' amazement, Lewis the Guard turns impassively + and walks away, leaving him shouting soundlessly at the + window. + + CUT TO: + + +70 EXT. HOSPITAL 70 + + Terminator and John are approaching the guard gate on the + Harley. They can see the guard inside looks up at the sound + of the engine. + + JOHN + Now remember, you're not gonna kill + anyone, right? + + TERMINATOR + Right. + + John looks at him. He's not convinced. + + JOHN + Swear. + + TERMINATOR + What? + 51. + + + JOHN + Just say "I swear I won't kill + anyone." + + John holds his hand up, like he's being sworn in. + Terminator stares at John a beat. Then mimics the gesture. + + TERMINATOR + I swear I will not kill anyone. + + Terminator stops the bike and gets off. The guard, sensing + trouble, has his gun drawn as he comes out of the shack. + Terminator walks toward him drawing his .45 smoothly. BLAM! + He shoots the guard accurately in the thigh. The guy drops, + screaming and clutching his leg. Terminator kicks the + guard's gun away, then smashes the phone in the shack with + his fist. He pushes the button to raise the gate and walks + back to the bike. + + TERMINATOR + He'll live. + + Terminator climbs onto the bike. They drive toward the + hospital, heading down an ambulance ramp to an underground + receiving area. + + +71 INT. ISOLATION FLOOR 71 + + The attendants at the security checkpoint look up at the + monitor as someone enters the corridor. They see Sarah, + holding Silberman at syringe-point. Sarah speaks to them + through an intercom on the wall. Her voice comes through + the speaker. + + SARAH + Open it or he'll be dead before he + hits the floor. + + The attendants' adrenaline levels just went off the scale. + The first attendant shakes him head no. The amperage here + is really high. The second attendant keys the intercom + switch. + + 2ND ATTENDANT + There's no way, Connor. Let him go. + + Silberman's face is the color of suet. + + SILBERMAN + It won't work, Sarah. You're no + killer. I don't believe you'd do + it. + 52. + + +Her voice is a deadly cold hiss. + + SARAH + You're already dead, Silberman. + Everybody here dies. You know I + believe that. So don't fuck with + me! + + SILBERMAN + Open the goddamn door! + +The attendants looks at one another. One of them hits the +solenoid button. The far door unlocks. + +IN THE LOCKOUT CORRIDOR. Sarah pushes Silberman ahead of +her. The nearer, barred door must be unlocked manually. One +of the attendants cautiously approaches. Nervously unlocks +it. + + SARAH + Step back! + +He does. She faces both of them. + + SARAH + Down on the floor! Now! + +They comply. She comes through with Silberman, giving them +a wide berth. Starts backing down the hall away from them, +still holding her hostage. She's actually pulling this off. + +ANGLE FROM BEHIND HER. What we can see, but she can't see, +it a third orderly waiting just around the corner. He's +poised, ready to jump her when she comes abreast of him. + +ON SARAH backing up. She reaches the corner. The third +attendant lunges, grabbing her syringe-hand. Sarah spins on +the orderly and catches him across the throat with the +nightstick. He loses interest fast, dropping to his knees +and gagging. Silberman pulls away, screaming at the top of +his lungs + + SILBERMAN + Get her! + +They scramble up as Sarah takes off like a shot around the +corner. One of them hits the panic button and ALARMS begin +to sound. + +IN THE ISOLATION WARD, the T-1000 is looking in at a very +stoned attendant inside the nurses' station when the alarms +shriek through the halls. It reaches into its chest and +pulls out the 9mm pistol. Heads for the security entrance. + 53. + + +IN ANOTHER CORRIDOR in the maze of the vast hospital, Sarah +flies past us, her bare feet slapping on the cold tiles. +The orderlies charge after her. She's like an animal in a +maze. She turns the corner, glancing off the wall, and +sprints on without slowing. She reaches a steel door. Tries +it. Locked. Footsteps like a drum solo behind her. + +She fumbles with Douglas' keys, breathing hard. Jams the +master in. The orderlies are bearing down on her at full +tilt. Sarah gets the door open. Dives through. Slams it. +She turns a deadbolt knob just as the first orderly grabs +the latch on the other side. He's too late. + +Sarah sees them beyond the window, fumbling with their +keys. + +Sarah is in another sally-port corridor. A jail-cell type +barred door is between her and the corridors of the ward +beyond. She sprints to the walls of bars, jams her key into +the door. She unlocks and pulls open this door just as she +hears the latch of the one she just came through being +unlocked. + +She flings herself frantically through the barred door as +the first orderly comes through behind her. She slams the +bars shut. CLANG. Her keys are dangling from the lock on +the other side from her. The orderly is racing at her, +white-lipped with rage. + +She reaches back through the bars, turns the key, and +purposefully snaps it off in the lock. An instant later the +big orderly slams against the door, grabbing through the +bars for her as she dances back just out of reach. He +lunges against the steel bars, unbelievably pissed off. + +Sarah takes off running, looking back at the frustrated +orderlies. They're shouting at each other, unable to fit +their keys into the lock -- The broken-off key tip makes it +impossible to get their keys in. Silberman shouts at them. + + SILBERMAN + Go around, goddamnit! Go around!! + +The orderlies run back the way they came, and along a +cross-corridor to another set of doors. + +ON SARAH as she rounds a corner and sees the elevators +ahead. Now she's home-free. At a full-tilt sprint, she's +nearly there when the elevator doors part... + +TERMINATOR steps out... his head swivels to face her. Sarah +reacts, stricken by the image from her worst nightmares. +Her eyes go wide as momentum carries her forward. + 54. + + +Her bare feet slip on the slick tile. She slams to the +floor, staring up at the leather-clad figure with the +shotgun. + +She loses all semblance of courage and some of her sanity. +She's not even aware that she is screaming, or what would +be screaming if she could get the breath to do it. In +slowed-down dream-time, Sarah scrambles back along the +floor like a crab, spinning and clawing her way to her feet +along the wall. + +She runs like the wind, like in her nightmare. If she +looked back she would have seen John step warily out of the +corridor behind Terminator. John, however, catches a +glimpse of the fleeing Sarah and figures out instantly what +happened. + + JOHN + Mom!! Wait! + +Sarah doesn't hear. She has clicked fully into her own +nightmare. They take off running after Sarah. + +She is pelting down the long corridor, back the way she +came. As she reaches an intersection with a cross-corridor +a white-clad figure blurs from that corridor. The orderly +hits her in a flying tackle. She skids across the floor, +shrieking and struggling. The other two orderlies leap into +the fray. + + SARAH + No! Help me! Goddamnit, it's gonna + kill us all!!! + +She is shouting, pleading, trying to get them to understand +what is coming. They grab her thrashing arms and legs. They +don't even look where the out-of-control woman is +pointing... back along the corridor. + +They have pinned her to the cold tiles, a ring of faces +above her. Silberman leans down to her, holding a syringe +with a heavy dose of trank. Sarah cranes her neck and sees +the dark silhouette of Terminator coming up behind them. It +is exactly her nightmare. She screams in utter +hopelessness. + 55. + + +Terminator, holding the shotgun in one hand, reaches down +and grabs one of the orderlies with his other hand. He +hurls the 200-pound guys against the far wall of the +corridor. SMACK! He drops to the floor. The other two +orderlies react instantly, leaping onto the intruder. +Terminator seems to disappear for a moment under the two +big guys. Then there is an explosion of white-clad figures, +as the orderlies are flung outward like they stepped on a +land mine. One crashes through a window of safety glass and +is caught before a two-story fall by the outer steel bars. +The other crashes through an office door, splintering it +into kindling. + +Silberman has jumped to hold Sarah. He is grabbed by a roll +of skin at the back of his neck and lifted like a cat. The +doctor feel his feet pedaling above the ground. He looks +into the expressionless face. And it hit him. Sarah was +right... this guy isn't human. He feels the fabric of +reality crumbling. Then he feels himself flying through the +air. The wall smacks him, + +then the floor kicks him in the face. He decides to lie +there a second. + +Sarah blinks, staring up at the figure looming over her. +John kneels next to her. + + JOHN + Mom, are you okay? + +She looks from Terminator to John. Back to Terminator. Is +this a nightmare? Or has she finally gone truly bad? + +Incredibly, Terminator politely reaches his hand down to +her, offering to help her up. The last thing she ever +expected to see. + + TERMINATOR + Come with me if you want to live. + +The orderlies are stirring. + + JOHN + It's all right, Mom. He's here to + help. + +Sarah, is a daze, takes the huge hand in her shaking +fingers. Terminator lifts her to her feet. + 56. + + +John sees a GUARD standing thirty feet away, on the other +side of the walls of bars. John doesn't know what we know, +but he knows something's not right with this guy. +Terminator turns to follow John's gaze. The T-1000 had its +pistol in its hand, at its side. Terminator pushes John +behind him. They start backing up. + +The T-1000 walks forward, reaching the bars. It doesn't +stop. Its body divides like jello around the bars. As it +squeezes itself through like metal playdough, its surface +reforms perfectly on our side. We see it deform and squeeze +through like a viscous paste forced past an obstacle. +Silberman has recovered enough to be sitting up and +watching this. That faint snapping sound is his mind. There +is a CLANK and we see that the guard's gun has caught +against the bars... the only solid object. The T-1000 turns +its wrist and tries again, slipping the gun end wise +through the gap. + +Sarah is agape. Not reacting. It's been a heavy day for +her. Terminator grabs John by the seat of his pants and +hooks him up onto his back. John grabs him around the neck. +Terminator raises the shotgun and starts backing up. + + TERMINATOR + Go! Run! + +Sarah doesn't need to be told twice. T-1000 walks toward +them, opening fire with the Browning Hi-Power. Terminator +straight-arms the 12-guage like a pistol and FIRES. The +stunned orderlies flop face down on the floor as the +corridor is filled with high-velocity lead. One of them, +stupidly running for the cross-corridor, gets hit by the T- +1000. + +Terminator is hammered by several slugs, and the T-1000 is +cratered by two buckshots hits. It staggers, but comes on. +In the craters we see bright mercury before they close and +reseal, disappearing in a second. + +Terminator makes it around the corner and breaks into a +run. Ahead, Sarah is already at the elevator. Terminator +and John pile in and John slaps the button for "Garage +Level". + +The doors start to close. T-1000 clears the corner. +Terminator slams John and Sarah back against the side walls +as the T-1000 charges at them, rapid firing the Browning. +The rounds hit the steel doors as they close. T-1000 keeps +pumping them at the closing gap. 73H Inside, they see the +backside of the doors denting with the hits that are +punching holes in the other side. + 57. + + +The Browning locks open, empty. T-1000 drops it without a +glance back. The doors close. K-WHAM! The T-1000 hits them +a split second later. The elevator hasn't moved yet. +SSWWIKK! + +A sword-like blade rams through in between the doors, +forcing them open. Terminator jams the shotgun through the +widening gap. Punches the muzzle right INTO T-1000's face - +- BOOM!! We get a glimpse of the T-1000's head blown apart +by the blast. It is hurtled back. The doors close. The car +descends. + +ON THE T-1000, outside the elevator. Its head, which is +blown apart into two doughy masses lying on the shoulders, +reforms quickly. There is no trace of the injury. It sees +the closed door and jams its hands between them, its +fingertips becoming pry-bars. It pulls the doors apart with +inhuman strength and LEAPS INTO THE OPEN SHAFT. It falls +two floors and... + +IN THE ELEVATOR. Out trio hears a loud THUMP on the roof. +Terminator, reloading the shotgun, looks up. Sarah grabs +the .45 from his waistband and aims it at the ceiling. +BEAT... Then CLANGG!! a swordlike shaft punches through the +ceiling and spears down four feet into the elevator car. It +is inches from Sarah's face. She opens fire, BAM-BAM-BAM -- +right through the roof. Lighting-fast the lance withdraws +and thrusts down again, slashing Terminator's jacket, and +missing John by inches. Terminator chambers a round and K- +BOOM! the 12-guage opens a hole in the ceiling. Terminator +rocks out in a fury of firing/cocking/firing as the metal +shafts slash down again and again. Sarah yells in pain as +one of them slices open her upper arm. + +The doors open. Sarah pulls John out as soon as the gap is +wide enough. They emerge into the basement. We see the +Harley parked nearby. + +Terminator, in a rearguard action, fires another blast +through the ceiling and runs out. He throws his leg over +the Harley, kicks it to life with one powerful stroke and +then whips something out of the inner pocket of his jacket. +He throws it to John. A road flare!? + +In the elevator, the T-1000 has bashed a hole in the +ceiling big enough to... Pour itself through. A massive +blob of mercury extrudes from the opening. The mass drops +through the hole, down out of frame, then comes back up +into frame as Officer X. + +It seems to need just a second to get its mental act +together after doing this king of taffy-pull with itself. +It opens its eyes and sees -- + 58. + + +TERMINATOR, the shot gun held in his teeth, astride the +roaring Harley twenty feet away. Terminator twists the +throttle and pops the clutch. The back tire screams on the +concrete. The front wheel lifts off the ground and the +heavy bike launches in a thundering wheelie. + +Terminator gets off just before the bike hurtles into the +elevator. The Harley slams the T-1000 square and smashes it +right through the back wall of the elevator. Terminator +rolls to his feet. Johns strikes the flare on the concrete. +Tosses it. Terminator catches the life flare with one hand. +Levels the shotgun with the other. With his last round he +blows a big hole in the bike's gas tank. Gas splashes +everywhere, covering the struggling T-1000. Terminator +tosses the flare. KA-VOOOM! + +The explosion knocks Terminator backward off his feet, +enveloping him in the fireball. He gets up, smoking, and +runs after John and Sarah toward the exit ramp. + +78 AT THE EXIT RAMP. They are partway up when a blue-and- +white hospital security car comes screeching down the other +way. Without breaking stride Sarah runs right at the car. +It skids to a shrieking halt. She's in the guy's face with +the .45 in both hands. + + SARAH + Out of the car!! + +The patrol guy is thinking what he can try when BLAM! she +puts a round through the glass next to his head. + + SARAH + RIGHT NOW! + +The door opens and the guy is coming out with his hands up +as Terminator arrives. The cyborg flings the rent-a-cop out +of the way and slides behind the wheel. Sarah gets John +into the back seat and dives into the front passenger seat +as -- + +Terminator slams the car into reverse and punches it, +lighting up the tires on the slick ramp. + +Terminator hands the shotgun over his shoulder to John and +tells him to reload. John pulls some shells from the pocket +of his army jacket and starts feeding them in. Terminator +power backward up the ramp, scraping along one wall, barely +in control. Because... + 59. + + +The T-1000 is running at them out of the inferno below. +This guy won't quit. Shifting from chrome mode to cop-form +as it runs. It sprints up the ramp after the retreating +car. T-1000 is gaining. + +Terminator hands Sarah another magazine for the .45. She +snatches it, drops the other out, and slaps in the new one. +Cocks the slide. The car backs along the service driveway +toward the security gate. John hands the shot gun back to +Terminator. He leans out the window and takes aim at the +pursuer. The T-1000's face is right in the headlights. 80A +Terminator fires, blowing a hole in its shoulder. Shiny +liquid metal visible in the hole, which then closes. 80B +Sarah, half out the passenger window, opens fire. The car +crashes backward through the security barricade. + + TERMINATOR + (calmly) + Hang on. + +He cuts the wheel hard. The car slews into a reverse 180, +swapping ends with a screech. T-1000 is almost on them. +Terminator punches it. The car accelerates forward. + +T-1000 leaps. Lands on the trunk. Its hand is a metal +crowbar slammed down through the trunk lid. Feet dragging +on the pavement, it slams its other hand down, punching +another metal hook into the trunk lid, pulling itself up. +Terminator turns to Sarah. + + TERMINATOR + Drive. + +Terminator heaves himself half out the driver's window. +Sarah slaps her foot down on the throttle and steers from +the passenger side. + +T-1000, fully on the car now, holds on with one hook-hand +while it slams the other into the back window, sweeping +away the glass and missing John by inches as he ducks. It +draws back for another swing, lunging forward as -- + +Terminator whips the shotgun over the roof of the car. +Fires point-blank. Hits the T-1000's arm just above the +"hand" which anchors it to the car. The 12-guage blows the +arm apart, severing the hook-hand. + +T-1000 tumbles backward off the accelerating car. John +looks out the back window, his eyes wide. He sees the T- +1000 roll to his feet and continue running. But he's +dropping way behind now. Sarah has the car floored and the +liquid-metal killer won't catch them on foot. + 60. + + + John watches, in awe, as the "crowbar hand", stuck into the + trunk right in front of him, reverts to the neutral + polyalloy... a kind of think mercury. The gray metal slides + off the trunk of the car and falls onto the road to lie + there in a quivering blob. + + The car speeds off into the night. REVERSE on the T-1000, + walking now, coming right up into closeup, watching the + tail lights recede. It looks down. + + ANGLE ON BLACKTOP, tight on the liquid metal blob. Next to + it is the T-1000's shiny cop shoe. The mercury blob crawls + and rejoins the main mass, disappearing into the "shoe". + + +81 INT/EXT. SECURITY CAR 81 + + A GHOST CAR blasts out of the darkness on a long stretch of + moonlight highway. Headlights off, the hospital security + car punches a hole in the wind. + + INSIDE THE SPEEDING CAR the energy is still high. The air + is blowing in the shattered windows as Terminator drives + the car easily by electronic night-vision. His eyes glow + faintly red. + + JOHN + Can you see anything? + + TERMINATOR'S POV. A monochrome image of the highway lit + bright as day. + + Terminator replies in a matter-of-fact tone. + + TERMINATOR + Everything. + + JOHN + Cool. + + Sarah looks at Terminator, still not quite believing this + is happening. But this is a different Sarah than the + waitress of 1984. She spends only a second or two dealing + with the unbelievable. Then she turns to John in the back + seat. + + SARAH + You okay? + + He nods. She reaches for John and we think she's going to + hug him. She starts to rub her hands over him and we + realize she's checking for injuries, very clinically the + way a vet checks a dog for broken bones. + 61. + + +He pulls away from her. He hates her always checking him, +treating him like he might break, like some piece of rare +china. + + JOHN + I said I was okay. + +Sarah looks at him, exasperated and stern. + + SARAH + It was stupid of you to go there. + +John stares at her, surprised. + + SARAH + Goddamnit, John, you have to be + smarter than that. You're too + important! You can't risk yourself, + not even for me, do you understand? + I can take care of myself. I was + doing fine. Jesus, John. You almost + got yourself killed. + +We see his chin quiver. He's a tough kid, but all he really +wants is for her to love him. He hasn't had enough years on +the planet yet to be the man of steel she demands. + + JOHN + I... had to get you out of the + place... I'm sorry, I... + +His face crumples. He starts to cry. Sarah gives him a cold +stare. + + SARAH + Stop it! Right now! You can't cry, + John. Other kids can afford to cry. + You can't. + +He's trying to be brave, he really is. Terminator turns and +sees the water leaking from his eyes. It doesn't make and +sense to him. + + TERMINATOR + What is wrong with your eyes? + +John turns away, ashamed. Sarah lets her breath out, +realizing how keyed up she is. She turns to Terminator, +giving him a wary once- over. + + SARAH + So what's your story? + 62. + + + CUT TO: + + +82 EXT. MENTAL HOSPITAL 82 + + The cops have shown up, as they always do. There are black- + and-whites everywhere, and ambulances are arriving. Two + cops and an orderly are required to subdue poor Doctor + Silberman, who is raving at the top of his lungs. + + SILBERMAN + ... it was all true and we're all + going to die and the changed, I saw + him change!! + + It's quite pathetic. A nurse shoots him up with a sedative. + They lead him away. + + T-1000 walks unperturbed among the milling cops. No one + notices him. It slips into its cruiser and drives off into + the night. + + +83 INT. CAR 83 + + Terminator drives steadily into the black night. + + SARAH + This T-1000... what happens when + you shoot it? + + TERMINATOR + Ballistic penetration shocks it, + but only for a few seconds. + + Sarah thinks about that. Then: + + SARAH + Can it be destroyed? + + TERMINATOR + Unknown. + + They ride along in silence for a few seconds. Sarah sees + something up ahead, some lonely neon in the blackness. + + SARAH + Pull in here. We have to ditch this + car. + + +84 EXT. SERVICE STATION - NIGHT 84 + 63. + + + A rundown gas station with a buzzing neon sign and no one + around. They pull into the drive and slowly cruise past the + empty office. A sign in the window says CLOSED SUNDAYS. + They continue around the building to the garage's back + door. + + AT THE GARAGE DOOR. Terminator breaks the lock on the roll- + up door and raises it. Sarah pulls the security car in out + of sight. Terminator rolls the door down behind them. + + +85 INT. GAS STATION 85 + + Dark. Sarah switches on the single drop-light. She and + Terminator look at each other. Terminator is shot-up and + bleeding, and Sarah has a vicious slash in her upper arm + which was soaked her sleeve with blood. + + SARAH + You look like handmade shit. + + TERMINATOR + So do you. + + CUT TO: + + TIGHT ON FIRST-AID KIT from the office, plus some not-so- + oily rags, a bottle of rubbing alcohol, a few small tools, + and other makeshift odds and ends. Terminator's hand comes + into shot. Sets down a bloody rag. Picks up a clean one. + + WIDER. Sarah sits on an empty crate. Terminator's is beside + her, suturing her wound with some fine wire from the + winding of an alternator. Using a pair of needlenose pliers + he draws the wire through her pale skin with a delicate + hand. + + TERMINATOR + I have detailed files on human + anatomy. + + Sarah stares into his face, inches away, fighting the pain. + She doesn't like him being this close to her to begin with, + let alone carving on her. + + SARAH + I'll bet. Makes you a more + efficient killer, right? + + TERMINATOR + Correct. + + CUT TO: + 64. + + +TIGHT ON TERMINATOR'S BACK. The leather jacket is riddled +with bullet holes. Sarah and John help pull it off, +revealing Terminator's broad, muscular back beneath. + +WIDER. John and Sarah stare in amazement. There are at +least twenty bullet holes in him. Back. Arms. Legs. +Fortunately they're all 9mm. The holes are small and the +damage cosmetic. + + JOHN + Does it hurt? + + TERMINATOR + I sense injuries. The data could be + called pain. + +TIGHT ON SARAH AND TERMINATOR. Sarah starts washing the +bullet holes in his broad back with alcohol. + + SARAH + Will these heal up? + +Terminator nods. She reaches into the bloody wounds with +pliers and finds the copper-jacketed bullets, flattening +against the armored endoskeleton. Pulls them out. They +CLINK one by one into a glass. + + SARAH + That's good. Because if you can't + pass for human, you won't be much + good to us. + +She concentrates on removing the slugs. CLINK. CLINK. + + JOHN + How long do you live? I mean, last? + + TERMINATOR + A hundred and twenty years on my + existing power cell. + +Sarah nods, pulling out another slug. CLINK. The glass +nearly full of flattened bullets. She begins to sew the +holes closed with a few wire sutures. John watches in quiet +amazement, the two warriors calmly fixing each other. + + JOHN + Can you learn? So you can be... you + know. More human. Not such a dork + all the time. + +Terminator turns towards him. + 65. + + + TERMINATOR + My CPU is a neural-net processor... + a learning computer. But Skynet + presets the switch to "read-only" + when we are sent out alone. + + SARAH + (cynical) + Doesn't want you thinking too much, + huh? + + TERMINATOR + No. + + JOHN + Can we reset the switch? + + CUT TO: + +E.C.U. OF AN X-ACTO KNIFE cutting into Terminator's scalp +at the base of his skull. His voice calmly directs Sarah as +she spreads the bloody incision and locates the maintenance +port for the CPU in the chrome skull beneath. + + TERMINATOR + Now open the port cover. + +She wipes away the blood and uses the garage-mechanic's air +tools to unscrew the port cover. + +TERMINATOR POV (DIGITIZED) as he watches her work in a +mirror they've taken from the washroom. Sarah and John are +standing behind him. Her hands are covered with blood, like +a surgeon's. + + TERMINATOR + Hold the CPU by its base tab. Pull. + +Following the instructions, she reaches in with a pair of +tweezers and PULLS -- there is a BURST OF STATIC and the +screen goes BLACK. + + CUT TO: + +TIGHT ON JOHN AND SARAH looking at what she has removed. A +reddish- brown ceramic rectangle with a connector on one +end. About the size and shape of a domino. On close +inspection it appears to be made up of small cubes +connected together. It is identical to the shattered one in +the vault at Cyberdyne Systems. Now we know it is that that +Miles Dyson values so highly. The brain of a terminator. + 66. + + +WIDER. John walks around Terminator and looks at his face. +Eyes open, he is completely inert. Dead. + +John lifts his huge hand. The dead servos whine sullenly as +he forces them. It's like rigor mortis. He releases the +hand and it stays in the lifted position. Sarah examines +the CPU chip. + + JOHN + Can you see the pin switch? + +She ignores him. See looks at Terminator. The back at the +chip. Then she sets it on the work table and picks up a +small sledge hammer. John realizes what she is about to do. +Dives at her as the sledge is whistling down. + + JOHN + No!!!! + +He slaps his hand down over the chip. Sarah barely stops +the sledge before smashing his fingers. + + SARAH + Out of the way, John! + + JOHN + No! Don't kill him! + + SARAH + It, John. Not him. It. + + JOHN + Alright, it! We need it! + +John keeps his hand right where it is. + + SARAH + We're better off by ourselves. + + JOHN + But it's the only proof we have to + the future... about the war and all + that. + + SARAH + I don't trust it! These things are + hard to kill, John, believe me, I + know. We may never have this + opportunity again. + + JOHN + 67. + + + Look, Mom, if I'm supposed to ever + be this great leader, you should + start listening to my leadership + ideas once in a while. 'Cause if + you won't, nobody else will. + +Smart kid. He's got her. She nods, reluctantly. He palms +the chip and studies it minutely. + +John takes a pin and moves the almost invisible switch to +the other position. + +It is now in "write" mode. Then he grimaces as he inserts +the wafer back into the slot in Terminator's skull. + +TERMINATOR VISION flares back to life in a burst of static. +The image forms. Sarah and John stands behind him in the +mirror. + + TERMINATOR + Was there a problem? + +John glances sheepishly at Sarah, Then smiles at +Terminator. + + JOHN + No problem. None whatsoever. + + CUT TO: + +JOHN SLEEPING, lying on a pile of rags next to a stack of +tires. The lights are off. Sarah sits nearby, cross-legged, +he back against the wall. + +The .45 is cradles in her lap. She looks weary, but she +won't allow herself to sleep with Terminator present. + +By the office windows, in a slash of moonlight, is +Terminator. He stands silent and still, watching the night. +Only his eyes move, tracking with the occasional car +passing on the road. He figure silhouetted and still. + + DISSOLVE TO: + +SAME IMAGE. Now DAYLIGHT streams in the dusty windows. +Terminator has not moved. Faithful machine sentinel. He +turns at a sound. John stirs, waking up. He squints into +the sunlight. Sarah is still awake. She gets up, wincing at +the pain in her arm. + + CUT TO: + 68. + + +92 EXT. GAS STATION - DAY - LATER 92 + + John and Terminator walks to an old Chevy pickup parked + behind the garage. The day is clear but windy. Dust devils + chase themselves behind the place. The pickup is locked but + Terminator breaks the side window with his fist and opens + the door. He and John climb in. + + IN THE PICKUP. Terminator has this trick (which you could + do too if you had servo-driven steel fingers) where he + smashes the cowl around a steering column with one blow + from the palm of his hand. When it shatters he strips it + away with a single move, and then turns the stub of the + lock-mechanism with his fingertips. This starts the + vehicle. It takes about three seconds. + + In fact, he does it so quickly, the truck is running by the + time John flips down the sun visor. A set of keys drops out + and John catches them. Dangles them in front of + Terminator's eyes. + + JOHN + Are we learning yet? + + Sarah comes out. She's found a mechanic's coverall inside, + used but fairly clean. It doesn't fit her too well, but + it's better than the stuff from the hospital. She's still + barefoot. The sun, which she hasn't seen in months, hurts + her eyes, Terminator and John pull up in the pickup. She + gets in. + + TERMINATOR + We need to get as far from the city + as possible. + + SARAH + Just head south. + + CUT TO: + + +93 INT/EXT. PICKUP TRUCK - HIGHWAY - DAY 93 + + THE OPEN ROAD. The pickup roars through light traffic down + a long stretch of highway. They set three abreast on the + bench seat, John in between, like some improbable family on + a car trip. Sarah leans over to get a look at the + speedometer. + + SARAH + Keep it under sixty-five. We can't + afford to be pulled over. + 69. + + + Terminator backs off the throttle slightly. + + TERMINATOR + Affirmative. + + JOHN + No, no, no. You gotta listen to the + way people talk. See, you don't say + like "Affirmative" or some shit + like that. You say... no problemo. + + Terminator nods, filing away the information. Sarah is + ignoring the lesson, lost in thought. + + JOHN + It someone comes off to you with an + attitude, you say "eat me"... if + you wanna shine them on, it's + "Hasta la vista, baby". + + TERMINATOR + "Hasta la vista, baby"? + + JOHN + Yeah, or "later, dickwad." Or if + someone gets upset you say "chill + out." Like that. Or you can do + combinations. + + TERMINATOR + Chill out, dickwad. + + JOHN That's great! See, you're getting it. + + TERMINATOR + No problemo. + + CUT TO: + + +96 EXT. ROADSIDE STAND - GAS STATION - DAY 96 + + There's a gas pump and a sleazy fast-food stand. Picnic + tables are set up at the side of the food stand. A family + sits at one, children playing and running about. 96A The + pickup truck pulls into the lot. Stops at the gas pump. + Sarah turns to John. + + SARAH + You got any cash? + + John pulls what's left of his Ready-Teller money from his + pocket. + 70. + + + JOHN + Only a couple hundred bucks. I'll + give you half. + +Sarah grabs all of it. Peels off a twenty, hands it to +John. + + SARAH + Get some food. + +She opens the truck door and steps out. John turns to +Terminator. + + JOHN + No sense of humor. + +THE ORDERING WINDOW as John and Terminator approach. + + JOHN + And that's another thing. You could + lighten up a bit, yourself. This + severe routine is getting old. + Smile once in a while. + + TERMINATOR + Smile? + + JOHN + Yeah. Smile. You know. People + smile, right? Watch. + +Goes to the order window. + + JOHN + (smiling broadly) + Hi. Nice place you got here. How's + business? + + WINDOW WOMAN + (stone-faced) + Gimme a break. + + JOHN + (to Terminator) + Okay. Bad example. Over there, + look. + +John points at THREE TEENAGE GUYS standing at a drinking +fountain nearby. One of them has said something funny and +the others are laughing, grinning. + + JOHN + Like that. + 71. + + + TERMINATOR POV (DIGITIZED) The real-time image continues + while a replay of one of the guys grinning runs in a + window. It expands, so that the guy's mouth fills the + window. Replays again in slow motion. A vector-graphic of + the lips smiling appears, along with an array of symbolic + data. + + Terminator tries it. The result is dismal. A rictus-like + curling of the lip. Terminator's next effort is a marginal + improvement. + + JOHN + I don't know, maybe you could + practice in front of a mirror or + something. + + CUT TO: + + +98 EXT. REST STOP - PICKUP TRUCK - DAY - LATER 98 + + Sarah and John are eating cheeseburgers and fries, sitting + in the truck and on the curb respectively. They are parked + away from the other families, at the end of the gravel + parking area. Terminator is pouring coolant into the + radiator. Sarah is deep in through, turning and turning the + whole thing in her brain. John, unable to deal with her + silence, goes around to where Terminator is working. + + John sees two kids playing with machine-gun water pistols + nearby, viciously squirting each other. + + FIRST KID + You're dead! + + SECOND KID + Am not! + + FIRST KID + Are so! + + John and Terminator watch them rolling on the ground in a + fight to the death. Sarah rounds the front of the truck, + and sees the kids. John sighs, solemn. He looks up at the + cyborg. + + JOHN + We're not gonna make it, are we? + People, I mean. + + TERMINATOR + It is in your nature to destroy + yourselves. + 72. + + +John nods, depressed. + + JOHN + Yeah. Drag, huh? + + SARAH + I need to know how Skynet get + built. Who's responsible? + + TERMINATOR + The man most directly responsible + is Miles Bennet Dyson, Director of + Special Projects at Cyberdyne + Systems Corporation. + + SARAH + Why him? + + TERMINATOR + In a few months he creates a + revolutionary type of + mircoprocessor. + + SARAH + Then what? + +Terminator closes the hood and gets into the truck as he +speaks. + + TERMINATOR + In three years Cyberdyne will + become the largest supplier of + military computer systems. All + stealth bombers are upgraded with + Cyberdyne computers, becoming fully + unmanned, Afterward, the fly with a + perfect operational record. + + SARAH + (getting behind John) + Uh huh, great. Then those fat fucks + in Washington figure, what the + hell, let a computer run the whole + show, right? + + TERMINATOR + Basically. + (starting the engine, + backing out) + 73. + + + The Skynet funding bill is passed. + The system goes on-line August 4th, + 1997. Human decisions are removed + from strategic defense. Skynet + begins to learn, at a geometric + rate. It becomes self-aware at 2:14 + a.m. eastern time, August 29. In a + panic, they try to pull the plug. + + SARAH + And Skynet fights back. + + They accelerate back onto the highway. + + TERMINATOR + Yes. It launches its ICBMs against + their targets in Russia. + + SARAH + Why attack Russia? + + TERMINATOR + Because Skynet knows the Russian + counter-strike will remove its + enemies here. + + SARAH + Jesus. + (beat, then) + How much do you know about Dyson? + + TERMINATOR + I have detailed files. + + SARAH + I want to know everything. What he + looks like. Where he lives. + Everything. + + +99 INT. DYSON HOUSE - DAY 99 + + Miles Dyson sits at the huge desk in his study. He is deep + in thought, tapping away at the keyboard of his home + computer terminal. Next to desk are racks of sophisticated + gear. On a Sunday morning, when most men are relaxing, + spending time with their families, Dyson is hard at work. + + IN A PROFILE CLOSEUP we see him in deep concentration, his + mind prowling the labyrinth of his new microprocessor. + 74. + + +A WOMAN'S FACE ENTERS FRAME soundlessly behind him. He +doesn't hear her. His wife, TARISSA, extends her tongue and +traces it down the back of his neck. He smiles and turns to +kiss her good morning. She's still in her bathrobe, holding +coffee. He's been up for hours. He turns and goes back to +work, forgetting instantly that she is standing there. + +She watches him work, the arcane symbols moving across the +screen. We see her frustration, her inability to truly +enter the magic box of his world. + + TARISSA + You going to work all day? + + DYSON + I'm sorry, baby. This thing is just + kicking my ass. I thought we had it + with this one... + +He points to a metal box on his desk, about two feet long. +As assembly of small cubes. It looks like a dinosaur +version of Terminator's CPU. + + DYSON + ... but the output went to shit + after three seconds. I'm thinking + now it's the way I'm matrixing the + command hierarchies... + + TARISSA + You need a break. You'll see it + clear when you come back. + + DYSON + I can't + + TARISSA + Miles, it's Sunday. You promised to + take the kids to Raging Waters + today. + + DYSON + Oh. I can't, honey. I'm on a roll + here. + +He takes her hands. We see a childlike excitement in his +face. He wants so badly to share the almost orgasmic thrill +of discovery, the satisfaction of creation. + + DYSON + Baby, this thing is going to blow + 'em all away. It's a neural-net + process -- + 75. + + + TARISSA + I know. You told me. It's a neural- + net processor. It thinks and learns + like we do. It's superconducting at + room temperature. Other computer + are pocket calculators by + comparison. + (she pulls away from him) + But why is that so goddamn + important, Miles? I really need to + know, 'cause I feel like I'm going + crazy here, sometimes. + + DYSON + I'm sorry, honey, it's just that + I'm thiiis close. + +He holds up his thumb and index finger... a fraction of an +inch apart. She picks up the prototype. It doesn't look +like much. + + DYSON + Imagine a jetline with a pilot that + never makes a mistake, never gets + tired, never shows up to work with + a hangover. + (he taps the prototype) + Meet the pilot. + + TARISSA + Why did you marry me, Miles? Why + did we have these two children? You + don't need us. Your heart and your + mind are in here. + (she stares at the metal + box in her hands) + But it doesn't love you like we do. + +He takes the anodized box from her hands and sets it down. +Then he puts his hands on her shoulders and kisses her +gently. She acquiesces to his kiss. + + DYSON + I'm sorry. + +Tarissa glances over his shoulder. She nods her head toward +the doorway to the study. Dyson turns and sees their two +kids standing there. Danny (6) and Blythe (4) look rumpled +and adorable in their PJs. Dyson wilts at their hopeful +expressions. + + TARISSA + 76. + + + How about spending some time with + your other babies? + + Dyson grins. The forces of darkness have lost this round. + He holds out his hands and his kids run to him, cheering. + + CUT TO: + + +A100 EXT. DESERT - COMPOUND - DAY A100 + + The desert northwest of Calexico. Burning under the sun + like a hallucination. Heat shimmers the image, mirage-like. + Terminator turns the pickup off the paved road and barrels + along a roadbed a sand and gravel, trailing a huge plume of + dust. A sign at the turnoff says: CHARON MESA 2 MI CALEXICO + 15 MI + + AHEAD is a pathetic oasis of humanity in the vast + wasteland, a couple of aging house-trailers, surrounded by + assorted junk vehicles and desert-style trash. There is a + dirt airstrip behind the trailers, and a stripped Huey + helicopter sitting on block nearby. + + The truck rolls to a stop in a cloud of dust. The place + looks deserted. The door to the nearest trailer bangs in + the wind. + + SARAH + (to Terminator and John) + Stay in the truck. + + ANGLE FROM INSIDE ANOTHER TRAILER, NEARBY. A DARK FIGURE in + the F.G. has an AK-47 trained on the pickup as Sarah gets + out. + + ON SARAH peering through the backlit dust. The sound of + wind. She approaches the trailer. + + SARAH + (in Spanish) + Enrique? You here? + + She hears KACHANK! behind her and spins, whipping out her + .45 in one motion. + + ENRIQUE SALCEDA stands behind a rusting jeep, a 12-gauge + pump trained on her. He is mid-forties, a tough Guatemalan + with a weathered face and heavy mustache. He wears cowboy + boots and a flak vest, no shirt. + + SALCEDA + You pretty jumpy, Connor. + 77. + + +His fierce face breaks into a broad grin. The shotgun drops +to his side as he walks toward her. When he reaches her he +hugs her, then steps back. + + SALCEDA + (in Spanish) + Good to see you, Connor. I knew + you'd make it back here sooner or + later. + +He grins at John as he steps from the truck, and then +clocks Terminator getting out. + + SALCEDA + Oye, Big John! Que pasa? Who's your + very large friend? + + JOHN + (perfect Spanish) + He's cool, Enrique. He's... uh... + this is my Uncle Bob. + (to Terminator, in + English) + Uncle Bob, this is Enrique. + +Terminator smiles. Sort of. Salceda squints at him, + + SALCEDA + Hmmm. Uncle Bob, huh? Okay. + (yelling) + Yolanda. Get out here, we got + company. And bring some fucking + tequila! + +A thin Guatemalan KID, FRANCO, eighteen or so, comes out of +the trailer with the AK-47, followed by Salceda's wife, +YOLANDA. She has THREE younger children with her, from a +five-year-old GIRL, JUANITA, to a year-and-half-old BOY. +She waves at John. They exchange greetings in Spanish. They +seem like nice people. Terminator looks down at John, next +to him. He says quietly... + + TERMINATOR + Uncle Bob? + + SALCEDA + (to Sarah) + So, Sarahlita, you getting famous, + you know that? All over the goddamn + TV. + 78. + + + Salceda rips the cap off the tequila bottle. The two-year- + old toddles to Terminator and grabs his pants, sliming them + with drool. Terminator looks down at the tiny kid, + fascinated. What is it? He picks up the child with one huge + hand. Looks at it. Turns it different ways. Studying it. + Then sets it down. The kid waddles off, a little dizzy. + + SALCEDA + Honey, take Pacolito. Thanks, baby. + + She hands him the tequila and takes the child. Salceda + takes a long pull from the Cuervo bottle. + + SALCEDA + (to Terminator) + Drink? + + Terminator gestures "no" at the proffered bottle, but Sarah + grabs it and takes a long pull. She lowers it without + expression. Her eyes don't even water. + + SARAH + I just came for my stuff. And I + need clothes, food, and one of your + trucks. + + SALCEDA + (grinning) + Hey, how about the fillings out of + my fucking teeth while you're at + it? + + SARAH + Now, Enrique. + (turns to Terminator and + John) + You two are on weapons detail. + + CUT TO: + + +A103 EXT. COMPOUND - BEHIND THE TRAILERS A103 + + There is an aging and rusted Caterpillar sitting behind one + of the trailers. John expertly backs it toward Terminator + who is holding one end of a piece of heavy chain which + disappears into the sand. + + JOHN + Hook it on. + 79. + + + Terminator hooks the chain onto the towhook on the back of + the tractor. John hits the throttle and the Cat churns its + treads, pulling some massive load. A six-by-eight foot + sheet of steel plate moves slowly under six inches of sand. + + John drags it far enough to reveal... a rectangular hole in + the ground. Like the mouth of a tomb. The kid drops down + from the tractor and walks to the hole. + + JOHN + One thing about my mom... she + always plans ahead. + + +A104 INT. WEAPONS CACHE A104 + + From inside the "tomb". Sunlight slashes down into a + cinder-block room, less than six feet wide but over twenty + long. Sand spills down the steps. The walls are lined with + guns. + + John precedes Terminator into Sarah's weapons cache. + Rifles, pistols, rocket launchers, mortars, RPGs, radio + gear. At the far end, boxes containing ammo, grenades, etc. + are stacked to the ceiling. Terminator gets real alert. + Scanning, wondering where to begin. He picks up a MAC-10 + machine pistol. Racks the bolt. + + TERMINATOR + Excellent. + + JOHN + Yeah, I thought you'd like this + place. + + +A105 EXT. COMPOUND - NEARBY A105 + + Sarah emerges from a trailer. She has changed. Boots, black + fatigue pants, T-shirt. Shades. She looks hard. Salceda is + nearby, packing food and other survival equipment with + Yolanda. He looks up as Sarah approaches, and slaps the + side of a BIG FOUR-BY BRONCO next to him, + + SALCEDA + This is the best truck, but the + water pump is blown. You got the + time to change it out? + + SARAH + Yeah. I'm gonna wait till dark to + cross the border. + 80. + + + (she pulls him away from + Yolanda) + Enrique, it's dangerous for you + here. You get out tonight, too, + okay? + + SALCEDA + Yeah, Saralita. Sure. + (he grins) + Just drop by any time and totally + fuck up my life. + + She slaps him on the shoulder. + + CUT TO: + + +A106 INT. WEAPONS CACHE A106 + + Terminator returns from carrying out several cases of ammo. + John is selecting rifles from a long rack. + + JOHN + See, I grew up in places like this, + so I just thought it was how people + lived... riding around in + helicopters. Learning how to blow + shit up. + + John grabs an AK-47 and racks the bolt with a practiced + action. Inspects the receiver for wear. Doesn't like what + he sees. Puts is back. His movement are efficient. + Professional. Uninterested. + + JOHN + Then, when Mom got busted I got put + in a regular school. The other kids + were, like, into Nintendo. + + Terminator has found a Vietnam-era "blooper" M-79 grenade + launcher. A very crude but effective weapon. He opens the + breech and inspects the bore. + + JOHN + Are you ever afraid? + + Terminator pauses for a second. The thought never occurred + to him. He searches him mind for the answer... + + TERMINATOR + No. + 81. + + + Terminator slings the M-79 and starts looking for the + grenades. + + JOHN + Not even of dying? + + TERMINATOR + No. + + JOHN + You don't feel any emotion about it + one way or the other? + + TERMINATOR + No. I have to stay functional until + my mission is complete. Then it + doesn't matter. + + John is idly spinning a Sig Saur 9mm pistol on his + finger... backwards and forwards like Bat Masteron. + + JOHN + Yeah. I have to stay functional + too. + (sing-songy) + "I'm too important". + + Terminator pulls back a canvas tarp, revealing a squat, + heavy weapon with six barrels clustered in a blunt + cylinder. Chain-ammo is fed from a canister sitting next to + it. A G.E. MINI-GUN. The most fearsome anti-personnel + weapon of the Vietnam era. Terminator hefts it. Looks at + John as if to say "Can I? Please?" + + JOHN + It's definitely you. + + CUT TO: + + +A107 EXT. COMPOUND - DAY - LATER A107 + + Sarah and John have their weapons and supply selections + laided out on two battered picnic tables for cleaning and + packing. Maps, radios, documents, explosives, detonators... + just the basics. Sarah is field- stripping and cleaning + guns, very methodical. There is no wasted motion. + + Not far away, John and Terminator are working on the + Bronco. They're greasy up to their elbows, lying on their + backs under the engine compartment, ratcheting bolts into + places on the new water pump. + 82. + + + JOHN + There was this one guy that was + kinda cool. He taught me engines. + Hold this a second. Mom screwed it + up, of course. Sooner or later + she'd always tell them about + Judgment Day and me being this + world leader and that's be all she + wrote. + +John thinks he's being causal, but his longing for some +kind of parental connection is obvious. + + TERMINATOR + Torque wrench please. + + JOHN + Here. I wish I coulda met my real + dad. + + TERMINATOR + You will. + + JOHN + Yeah. I guess so. My mom says when + I'm, like, 45, I think, I send him + back through time to 1984. But + right now he hasn't even been born + yet. Man, is messes with your head. + Where's that other bolt? + (Terminator hands it to + him) + Thanks. Mom and him were only + together for one night, but she + still loves him, I guess. I see her + crying sometimes. She denies it + totally, of course. Like she says + she got something in her eye. + +They crawl out from under the truck into the bright +sunlight. + + TERMINATOR + Why do you cry? + + JOHN + You mean people? I don't know. We + just cry. You know. When it hurts. + + TERMINATOR + Pain causes it? + + JOHN + 83. + + + Uh-unh, no, it's different... It's + when there's nothing wrong with you + but you hurt anyway. You get it? + + TERMINATOR + No. + +Terminator gets into the Bronco and turns the ignition key +and the engine catches with a roar. + + JOHN + Alriight!! My man! + + TERMINATOR + No problemo. + +John grins and does a victorious thumbs up. Terminator +imitates the gesture awkwardly. John laughs and makes him +get out of the truck, to try the move again. + +SARAH, across the compound, pauses in her work to watch +John and Terminator. + +SARAH'S POV... we don't hear what John and Terminator are +saying. It is a soundless pantomime as John is trying to +show some other gestures to the cyborg. Trying to get him +to walk more casually. John walks, then Terminator tries +it, then John gestures wildly, talking very fast... +explaining the fundamental principles of cool. They try it +again. Continued ad lib as we hear: + + SARAH (V.O.) + Watching John with the machine, it + was suddenly so clear. The + Terminator would never stop, it + would never leave him... it would + always be there. And it would never + hurt him, never shout at him or get + drunk and hit him, or say it + couldn't spend time with him + because it was too busy. And it + would die to protect him. Of all + the would-be fathers who came and + went over the years, this thing, + this machine, was the only one who + measured up. In an insane world, it + was the sanest choice. + +Sarah clenches her jaw and goes grimly back to work... a +strong woman made hard and cold by years of hard choices. + + CUT TO: + 84. + + +A110 EXT. ROAD - DAY A110 + + A police cruiser is parked off the side of a quiet, empty + road on the outskirts of Los Angeles. A ribbon of traffic + moves steadily by on a freeway in the distance. Nothing + stirs around the cruiser except some pump-jacks sucking the + earth on the hill behind it. + + IN THE CRUISER. The T-1000 sits inside. John's notes and + letters are spread out on the seat beside it. Sarah's voice + speaks from a cassette deck. John's tapes. Her voices mixes + with the static filled chatter of the radio that T-1000 + monitors for any signs of its targets. + + SARAH + ... if we are ever separated, and + can't make contact, go to Enrique's + airstrip. I'll rendezvous with you + there. + + T-1000 whips around and rewinds the tape, replaying the + last section. It then snaps up the envelope of photos we + saw earlier. + + ECU on envelope. We see the postmark: "Charon Mesa, Calif." + + TIGHT ON T-1000 staring at the postmark on the envelope. It + glances up at the sound of crunching gravel. In the rear- + view it sees a BIKE COP pulling onto the shoulder behind + it. The big KAWASAKI 1100 idles up next to the T-1000, + still seated in the cruiser. + + BIKE COP + Howdy. I saw you pulled over here + earlier. Everything okay? + + T-1000 + Everything's fine. Thanks for + checking. + (it gets slowly out of + the car) + Since you're here, though, can I + talk to you a second... + + CUT TO: + + +A112 EXT. HIGHWAY - DAY - MINUTES LATER A112 + + The T-1000 thunders along on the Kawasaki 1100, doing about + a hundred and twenty. PAN WITH IT until it recedes toward + the horizon. + 85. + + + CUT TO: + + +A113 EXT. COMPOUND - DAY - LATE AFTERNOON A113 + + Sarah sits at the picnic table. The weapons are cleaned and + her work is done. She hasn't slept in twenty-four hours and + she seems to have the weight of the whole world on her + shoulder. She draws her knife from its belt sheath. Idly + starts to carve something on the table top... the letter + "N". + + NOT FAR AWAY, John and Terminator are packing the Bronco + for the trip. + + ON SARAH, AT THE TABLE as she looks up from her carving, + thinking. She watches Salceda's kids playing nearby... + wrestling with a mutty dog and loving it. Sarah watches + Yolanda walking her toddler by her hands. Backlit, + stylized. She looks over at John. Loading guns and + supplies. + + ANGLE ON kids playing. + + SARAH'S HEAD droops. She closes her eyes. + + TIGHT ON small children playing. Different ones. Wider now, + to reveal a playground in a park. Very idyllic. A dream + playground, crowded with laughing children playing on + swings, slides, and a jungle gym. It could be the + playground we saw melted and frozen in the post-nuclear + desolation of 2029. But here the grass is vibrant green and + the sun is shining. + + Sarah, short-haired, looking drab and paramilitary, stands + outside the playground. An outsider. Her fingers are hooked + in a chain-link fence and she is staring through the fence + at the young mothers playing with their kids. A grim-faced + harbinger. + + Some girls play skip-rope. Their sing-song weaves through + the random burbling laughter of the kids. One of the young + mothers walks her two-year-old son by the hands. She is + wearing a pink waitress uniform. She turns to us, laughing. + It is Sarah. Beautiful. Radiant. Sarah from another life, + uncontaminated by the dark future. She glances at the + strange woman beyond the fence. + 86. + + +Grim-faced Sarah presses against the fence. She starts +shouting at them in SLOW MOTION. No sound comes from her +mouth. She grabs the fence in frustration, shaking it. +Screaming soundlessly. Waitress Sarah's smile falls. Then +returns as her little boy throws some sand at her. She +laughs, turns away, as if the woman at the fence were a +shadow, a trick of light. + +THE SKY EXPLODES. The children ignite like match heads. +Sarah is burning, screaming silently, everything silent and +overexposed. + +THE BLAST WAVE HITS... devouring the cowering mothers and +children. Sarah's scream merges with the howl of the wind +as the shockwave rips into her, blasting her apart and +she... + +Wakes up. All is quiet and normal. The children are still +playing nearby. Less than fifteen minutes have gone by. + +Bathed in sweat, Sarah sits hunched over the table. Every +muscle is shaking. She is gasping. Sarah struggles to +breathe, running her hand through her hair which is soaked +with sweat, She can escape from the hospital, but she can't +escape from the madness which haunts her. + +She looks down at the words she has carved on the table, +amid the scrawled hearts and bird-droppings. They are: "NO +FATE." Something changes in her eyes. She slams her knife +down in the table top, embedding it deeply in the words. +Then gets up suddenly and we -- + + CUT TO: + +LONG LENS on Sarah walking toward us, striding across the +compound with grim purpose. She carries a small nylon pack +and a CAR-15 assault rifle. Her face is an impassive mask. +She has become a terminator. + +JOHN LOOKS UP from his work in time to see Sarah throw the +rifle behind the seat of their stolen pickup, jump in and +start it. She slams it in gear. Salceda walks up to John. + + SALCEDA + She said you go south with him... + (he points at Terminator) + ... tonight, like you planned. She + will meet you tomorrow in... + +But John is moving, running after her. + + JOHN + Mommm!! Wait!! + 87. + + + MOVING WITH SARAH as she leaves the compound. We see John + running after her... yelling. Can't hear his words. She + looks in the rear- view mirror but doesn't slow down. + + CUT TO: + + +A121 EXT. COMPOUND - DUSK - MINUTES LATER A121 + + John and Terminator ponders the message carved into the top + of the picnic table. Sarah's knife is still embedded there. + + JOHN + "No fate." No fate but what we + make. My father told her this... I + mean I made him memorize it, up in + the future, as a message to her -- + Never mind. Okay, the whole thing + goes "The future is not set. There + is no fate but what we make for + ourselves." + + TERMINATOR + She intends to change the future + somehow. + + JOHN + I guess, yeah -- + (snaps his fingers as it + hit him) + Oh shit!! + + TERMINATOR + Dyson. + + JOHN + Yeah, gotta be! Miles Dyson! She's + gonna blow him away! + + John motions to Terminator and breaks into a run. + + JOHN + Come on. Let's go. LET'S GO!! + + CUT TO: + + +A122 INT/EXT. SARAH'S JEEP - DUSK A122 + + Sarah speeds through the darkening desert. Expressionless. + In her dark glasses, she looks as pitiless as an insect. + + DISSOLVE TO: + 88. + + +A123 EXT. HIGHWAY - NIGHT A123 + + TRACKING WITH THE BRONCO, Terminator and John heading + toward L.A. + + TERMINATOR + This is tactically dangerous. + + JOHN + Drive faster. + + TERMINATOR + The T-1000 has the same files that + I do. It could anticipate this move + and reacquire you at Dyson's house. + + JOHN + I don't care. We've gotta stop her. + + TERMINATOR + Killing Dyson might actually + prevent the war. + + JOHN + I don't care!! There's gotta be + another way. Haven't you learned + anything?! Haven't you figured out + why you can't kill people? + + Terminator is still stumped. + + JOHN + Look, maybe you don't care if you + live or die. But everybody's not + like that! Okay?! We have feelings. + We hurt. We're afraid. You gotta + learn this stuff, man, I'm not + kidding. It's important. + + PANNING as they pass, revealing the lights of the city + ahead. + + CUT TO: + + +123A EXT. DYSON’S HOUSE - NIGHT 123A + + The house is high-tech and luxurious. Lots of glass. + Dyson's study is lit bluish with the glow of his computer + monitors. He is at the terminal, working. Where else? We + see him clearly in a long shot from an embankment behind + the house. + 89. + + + A DARK FIGURE moves into the foreground. Rack focus to + Sarah as she turns into profile. She raises the CAR-15 + rifle and begins screwing the long heavy cylinder of a + sound-suppresser onto the end of the barrel. + + CUT TO: + + +129A INT. DYSON HOUSE 129A + + Dyson's kids, Danny and Blythe, are playing in the halls + with a radio- controlled off-road truck. Danny drives and + Blythe scampers after it, trying to catch it. They stop in + the hall outside Dyson's study and sees him working at his + terminal. Danny puts a finger to his lips, shushing Blythe. + His expression is mischievous. + + With the silencer in place, Sarah eases back the bolt and + then slips it forward, chambering a .223 round. Then she + lies down on the embankment. He cheek pressed against the + cool rifle-stock, she slides one hand slowly forward to + brace the weapon, taking the weight on her elbow. Her other + hand slips knowingly to the trigger. + + Her expression is cold, impassive. She looks through the + scope at the man in the house. She feels nothing as she + raises the rifle. + + +130A INT. DYSON'S HOUSE 130A + + DYSON, in deep thought. The rhythmic sounds of keys as he + works. Symbols on the screen shift. + + ON HIS BACK we see the glowing red dot appear. It is the + target dot of Sarah's laser designator. It moves silently + up his back toward his head. + + +131 EXT. DYSON HOUSE - EMBANKMENT 131 + + IN EXTREME CLOSEUP we see Sarah's eye at the night-scope. + TIGHT INSERT on her finger as it tightens on the trigger, + taking out the slack. She takes a deep breath and holds it. + Adjusts her position minutely. + + +132 INT. DYSON HOUSE 132 + + The laser dot jiggles on the back of Dyson's neck and then + rises, centering on the back of his skull. + 90. + + +LOW ANGLE as Danny's Bigfoot truck roars toward us -- +FILLING FRAME. Thump. It hits Dyson's foot. He jerks, +startled, and looks down as -- POP!! + +His monitor screen is BLOWN OUT spraying his with glass. He +jerks back, utterly shocked... and spins to see the huge +hole blown through the window behind him. This saves him as +K-THUMP! -- the second shot blows the top of his high- +backed chain into an explosion of stuffing an inch from his +head. Instinctively he dives to the carpet as -- + +BLAM BLAM BLAM -- rounds blast through the window, tearing +into his desk and computer, blowing his keyboard into +shrapnel. + +With the monitor screen blown out, the room is in darkness. +Sarah can't see Dyson now, down behind his desk. She puts +round after round into the heavy desk, blasting one side of +it into kindling. + +Dyson, scared out of his mind, has his face jammed against +the carpet, terrified to move. He sees his kids in the +hall. + + DYSON + Run, kids! Go! Run! + +IN THE HALL, TARISSA rounds the corner at a dead run. She +sees the kids running toward her and grabs them in her +arms. Down the hall, in the dark study, she sees Dyson on +the floor amid the splinters and shrapnel of the continuing +fusillade. + + TARISSA + Miles! Oh my God!! + + MILES + Stay back!! + +ON THE FLOOR, Dyson flinches as chucks of wood and +shattered computer components shower down on him. He looks +desperately toward the door, but knows he'd be totally +exposed. He'd never make it. + +SARAH's rifle empties with a final CLACK! She throws it +down and draws her .45 smoothly from a shoulder base. She +starts toward the house, snapping back the slide on the +pistol, chambering a round. She is in a fast, purposeful +walk, keeping her eyes fixed on the target. She is utterly +determined to kill this man. + 91. + + + FROM UNDER THE DESK Dyson can see a sliver in the backyard. + He sees Sarah's feet as she strides toward him. He tenses + to make a break for the door. + + Sarah raises the pistol, eyes riveted ahead, controlling + her breathing. Dyson springs up in a full-tilt sprint. She + tracks him. He hooks a foot on the cord of a toppled disk + drive. BOOM! Her shot blows apart a lamp where his head + was. He hits the floor hard, but keeps moving, scrambling + forward. + + Crunch of glass behind his as Sarah's dark form is framed + in the blown-out floor-to-ceiling window. Dyson leaps + toward the hall. + + BOOM! Her second shot spins him. He hits the floor in the + hallway. Tarissa is screaming. Dyson struggles forward, + stunned. There is a .45-caliber hole clean through his left + shoulder. He smears the wall with blood as he staggers up. + Looking back, he sees the implacable figure behind him, + coming on. + + He topples through a doorway as -- BOOM! BOOM! Shots + blowing away the molding where he just was. + + +135 EXT. DYSON HOUSE - STREET 135 + + Terminator and John leap from the jeep, sprinting toward + the house. The shots sound muffles from outside. + + JOHN + Shit, we're too late! + + +136 INT. HOUSE 136 + + Advancing with Sarah we enter the living area. Tarissa has + Blythe and she's screaming at Danny, who has run back to + his collapsed father. + + TARISSA + Danny! DANNY! + + DANNY + Daaaaddddeeee! + + Danny is pulling at Dyson, crying and screaming, as his + father tries to stagger forward. Tarissa drops Blythe and + runs back for Dyson, grabbing him. Sarah looms behind them + with the pistol aimed. + + SARAH + 92. + + + Don't fucking move! Don't FUCKING + MOVE!! + (she swings the gun on + Tarissa) + Get on the floor, bitch! Now!! + Fucking down! NOW!! + +Sarah is crazy-eyed now, shaking with the intensity of the +moment. The kill has gone bad, with screaming kids and the +wife involved... things she never figured on. Tarissa drops +to the knees, terrified as she looks into the muzzle of the +gun. Blythe runs to Dyson and hugs him, wailing. + + BLYTHE + Don't hurt my father! + + SARAH + (screaming) + Shut up, kid! Get out of the way!! + +Dyson looks up, through his pain and incomprehension. Why +is this nightmare happening? The black gun muzzle is a foot +from his face. + + DYSON + (gasping) + Please... let... the kids... go... + + SARAH + Shut up! SHUT UP!! Motherfucker! + It's all your fault! IT'S YOUR + FAULT!! + +We see her psyching herself to pull the trigger... needing +now to hate this man she doesn't know. It's a lot harder +face-to-face. She is bathed in sweat, and it runs into her +eyes. Blinking, she wipes it fast with one hand, then gets +it back on the gun. The .45 is trembling. + +TIGHT ON SARAH as we see the forces at war behind her eyes. +She looks into the faces of Dyson, Tarissa, Blythe, Danny. +Sarah takes a sharp breath and all the muscles in her arms +contract as she tenses to fire. But her finger won't do it. +She lowers the gun very slowly. It drops to her side in one +hand. + 93. + + +All the breath and energy seems to go out of her. She +weakly raises her other hand in a strange gesture, like +"Stay where you are, don't move". As if, should they move, +the fragile balance might tip back the other way. She backs +away from them slowly, panting. It's as if she's backing +away in terror from what she almost did. She reaches a wall +and slumps against it. Slides down to her knees. The gun +falls limply from her fingers. She rests her cheek against +the wall. + +The front door is kicked in. Terminator steps inside. John +grabs his sleeve and pushes past him. He scopes out the +situation in two seconds... Sarah, the gun, the sobbing +family. John moves to Sarah while Terminator checks Dyson. + +John kneels in front of his mother. She raises her head to +look at him. He sees the tears spilling down her cheeks, + + JOHN + Mom? You okay? + + SARAH + I couldn't... oh, God. + (she seems to she him for + the first time) + You... came here... to stop me? + + JOHN + Uh huh. + +She reaches out and takes his shoulder suddenly, surprising +him... drawing him to her. She hugs him and a great sob +wells up deep inside her, from a spring she had thought +long dry. She hugs him fiercely as the sobs wrack her. + +John clutches her shoulders. It is all he ever wanted. + + JOHN + It's okay. It'll by okay. We'll + figure it out. + + SARAH + I love you, John. I always have. + + JOHN + I know, Mom. I know. + +TARISSA looks around at the bizarre tableau. Terminator has +wordlessly ripped open Dyson's shirt and examined the +wound. + + TERMINATOR + 94. + + + Clean penetration. No shattered + bone. Compression should control + the loss of blood. + +He takes Tarissa's hands and presses them firmly over the +entrance and exit wounds. + + TERMINATOR + Do you have bandages? + + DYSON + In the bathroom. Danny, can you get + them for us? + +Danny nods and runs down the hall. John disengages from +Sarah. She wipes her tears, the instinct to toughen up +taking over again. But the healing moment has had its +effect, nevertheless. + +John walks toward Dyson and Terminator. + + DYSON + Who are you people? + +John draws the Biker's knife from Terminator's boot. Hands +it to him. + + JOHN + Show him. + +Terminator takes off his jacket to reveal bare arms. John +takes Blythe by the hands and leads her down the hall, away +from what is about to happen. + +TIGHT ON TERMINATOR'S left forearm as the knife makes a +deep cut just below the elbow. In one smooth motion, +Terminator cuts all the way around his arm. With a second +cut, he splits the skin of the forearm from elbow to wrist. + +TERMINATOR grasps the skin and strips is off his forearm +like a surgeon rips off a rubber glove. It comes off with a +sucking rip, leaving a bloody skeleton. + +But the skeleton is made of bright metal, and is laced with +hydraulic actuators. The fingers are as finely crafted as +watch parts... they flex into a fist and extend. Terminator +holds it up, palm out, in almost the exact position of the +one in the vault at Cyberdyne, + +HOLD ON DYSON reacting to the servo-hand in front of him. +He's seen one of these before. + +Tarissa is screaming now, but he doesn't hear her. + 95. + + + DYSON + My God. + + TERMINATOR + Now listen to me very carefully. + + +137 INT. HOUSE - KITCHEN - LATER 137 + + Sarah puts out her fifth cigarette. She's sitting on the + counter. John, Terminator, Dyson, and Tarissa are at the + kitchen table, under a single overhead light. + + Dyson looks like that guy on the Sistine Chapel wall, the + damned soul... eyes fixed and staring with terrifying + knowledge. His shoulder is bandaged. Terminator's arm is + wrapped with a blood-soaked bandage below the elbow. + + The steel forearm and hand gleam in the harsh kitchen + light. TRACKING AROUND THE TABLE as Terminator speaks... we + don't hear the words. + + SARAH (V.O.) + Dyson listened while the Terminator + laid it all down. Skynet. Judgment + Day... the history of things to + come. It's not every day you find + out you're responsible for 3 + billion deaths. He took it pretty + well, considering... + + Terminator finishes speaking. + + DYSON + I feel like I'M gonna throw up. + + He looks around at them, clutching the table like he's + about to blow away. His face, his posture, his ragged voice + express soul-wrenching terror. This is a man ripped out of + normal life into their grim world. His voice is pleading. + + DYSON + You're judging me on thing's I + haven't even done yet. Jesus. How + were we supposed to know? + + Sarah speaks from the shadows behind them. Dyson turns to + find her looking right at him. + + SARAH + 96. + + + Yeah. Right. How were you supposed + to know? Fucking men... all you + know how to do is thrust into the + world with your... fucking ideas + and your weapons. Did you know that + every gun in the world is named + after a man? Colt, Browning, Smith, + Thompson, Kalashnikov... all men. + Men built the hydrogen bomb, not + women... men like you thought it + up. You're so creative. You don't + know what it's like to really + create something... to create a + life. To feel it growing inside + you. All you know how to create is + death... you fucking bastards. + + JOHN + Mom, Mom, we need to be more + constructive here. I don't see this + as a gender-related issue. + (to the Dysons) + She's still tense. + (to Sarah) + We still have to figure out how to + stop it all from happening. Right? + + TARISSA + But I thought... aren't we changing + things? I mean... right now? + Changing the way it goes? + + DYSON + (seizing on that) + That's right! There's no way I'm + going to finish the new processor + now. Forget it. I'm out of it. I'm + quitting Cyberdyne tomorrow... I'll + sell real estate, I don't care,,, + + SARAH + (coldly) + That's not good enough. + +Dyson's voice is pitiful. + + DYSON + Look, whatever you want me to do, + I'll do. I just want my kids to + have a chance to grow up, okay? + + TERMINATOR + No one must follow your work. + 97. + + + DYSON + (thoughts racing) + Alright, yeah. You're right. We + have to destroy the stuff at the + lab, the files, disk drive... and + everything I have here. Everything! + I don't care. + + CUT TO: + + FIRE ROARING IN A METAL TRASH BARREL. Stacks of files are + dumped onto it. WIDER reveals we are in -- + + +137A EXT. DYSON’S BACKYARD - NIGHT 137A + + Terminator dumps lighter fluid liberally over the fire, + which flares up, lighting his face demonically. Sarah, + Dyson, Tarissa, and John return from his office with more + stuff -- files, notes, optical disks. Even his kids are + carrying stuff. It all goes into the fire. Dyson drops the + prototype onto the fire... his eyes hollow and distant. + + He stares into the fire, watching his world burning. The + has a sudden thought. + + DYSON + Do you know about the chip? + + SARAH + What chip? + + DYSON + They have it in a vault at + Cyberdyne... + (to Terminator) + It's gotta be from the other one + like you. + + TERMINATOR + (to Sarah) + The CPU from the first terminator. + + SARAH + Son of a bitch, I knew it! + + DYSON + They told us not to ask where they + got it. I thought... Japan... hell, + I don't know. I didn't want to + know. + + SARAH + 98. + + + Those lying motherfuckers! + + DYSON + I was scary stuff, radically + advanced. It was shattered... + didn't work. But it gave us ideas, + It took us in new directions... + things we would never have thought + of. All this work is based on it. + + TERMINATOR + I must be destroyed. + + SARAH + (to Dyson) + Can you get us in there, past + security? + + DYSON + I think so, yeah. When? + +Dyson looks at her, Terminator, then John. Sees his answer. + + DYSON + Now? + (he takes a breath) + Yeah, right. + +He turns to his wife. Her face is streaked with tears, but +her eyes are strong and clear. Tarissa puts her hands on +his arm. She is stunned by what she's heard, but dealing +with it. She believe them. + + TARISSA + Miles, I'm scared. Okay. But the + only thing that scares me more than + you going... is you not going. + +He nods. She's right. + + SARAH + (to Terminator) + Is it safe for them here? + + TERMINATOR + (to Tarissa) + Take your kids. Go to a hotel. + Right now. Don't pack. + (to the others) + Let's go. + + CUT TO: + 99. + + +137B EXT. HIGHWAY - NIGHT 137B + + Pavement rushing at us, lit by headlights. Beyond, + darkness. + + SARAH (V.O.) + The future, always so clear to me, + has become like a black highway at + night. We were in uncharted + territory now... making up history + as we went along. + + TILT UP to reveal a rectangle of light ahead. The Cyberdyne + Building... + + +139 INT. CYBERDYNE SYSTEMS BUILDING - LOBBY - NIGHT 139 + + TIGHT ON A CARD-KEY SCANNER as Dyson's hand zips his + security card through a slot in one motion. There is the + sound of a servo-lock, and -- + + DYSON enter the spacious lobby, followed by Sarah, John, + and Terminator last of all. In a frontal angle, the others + block Terminator from view. + + THE GUARD at the front desk, GIBBONS, looks up as Dyson + moves toward him. Dyson is pale and sweaty, but smiles + warmly at the guard, speaking well before he reaches the + desk. + + DYSON + Evening, Paul. These are friends of + mine from out of town, I just + thought I'd take them up and show + them around. + + GIBBONS + I'm sorry, Mr. Dyson. You know the + rules about visitors in the lab. I + need written authoriz -- + + K-CHAK! Gibbons is staring down the barrels of Sarah's .45 + and Terminator's MAC-10. + + TERMINATOR + I insist. + + The guard is too stunned to move. We see that Terminator is + wearing his jacket and one black glove. Gibbon's eyes go to + the silent alarm button on the console. + + SARAH + 100. + + + Don't even think about it. + + Gibbons nods. He stays frozen. Terminator circles quickly + and gets the guard out of the chair. John pulls a roll of + duct-tape from his knapsack and tears off a piece. + + +140 INT. SECOND FLOOR CORRIDOR 140 + + ELEVATOR DOORS OPEN and Terminator leads the group warily + into the corridor. They have a cart piled high with gear in + nylon bags. Dyson motions down the corridor to the right. + As they walk, he continues to fill them in -- + + DYSON + The vault needs two keys to open. + Mine... + (holds up key) + ... and one from the security + station. It's in a locker but my + card should access it. Here we go. + + They stand in front of a wide security door. A sign above + reads SPECIAL PROJECTS DIVISION: AUTHORIZED PERSONNEL ONLY. + Dyson zips his key-card through the scanner and the door + unlatches. + + +142 INT. FIRST FLOOR CORRIDOR - LOBBY 142 + + A ROVING GUARD, MOSHIER, strolls down the long corridor + from the first-floor office block. A punch clock swings at + his hip, and he's just completed his circuit of the + building. He passes the back of elevators and rounds the + corner to the front desk, calling out -- + + MOSHIER + Honey, I'm home... + + He sees the desk is deserted and frowns. Figures Gibbons + must be in the can, so checks that first before getting + alarmed. + + TRACKING WITH HIM to the restroom around the corner, + + MOSHIER + Hey, man, you shouldn't leave the - + - + + OVER HIS SHOULDER we see past the door as he pushes it + open, revealing Gibbons handcuffed to the urinal. Moshier + spins on a dime and sprints to the desk where he slams down + on the silent alarm button. + 101. + + +153 INT. SECURITY STATION 153 + + The security station is a pass-through area with a counter, + behind which are desks and a bank of monitors, showing + boring movies about empty corridors. Dyson crosses quickly + to a locker behind the monitor area. He swished his card + repeatedly through the scanner on the locker. Nothing + happens. The light on the locker is blinking red. Sarah + notices Dyson's alarmed expression. + + DYSON + What? WHAT IS IT? + + Dyson whips around, staring at a light flashing on the + console behind him. + + DYSON + Silent alarm's been tripped. It + neutralizes the codes throughout + the building. Nothing'll open now. + + We see his nerve snapping. + + DYSON + We should abort. + + SARAH + NO!! We're going all the way! You + got that, Dyson? + + She's right in his face. Somehow, it works for him. He + nods, getting some resolve from somewhere. + + +144 INT. LOBBY 144 + + Moshier's gotten Gibbons loose. He's on the phone to the + cops. + + GIBBONS + ... multiple armed subjects. Look, + I think it's the guy from that mall + shootout, and the woman... yeah, + her. Pretty sure. Just send + everything you've got in the area - + - + + +145 INT. SECURITY STATION - LAB 145 + 102. + + +John jumps up on the desk next to the wall-mounted locker. +Dyson stares in amazement as John starts pulling his +counter-electronics gear out of his knapsack. It's just +another Ready-Teller to him. + + JOHN + You guys get started on the lab... + I can open this. + +Dyson leads Terminator and Sarah to the main lab doors. +Another servo-lock. He tries his card. Nothing. + + DYSON + No good. + + TERMINATOR + Let me try mine. + +He unslings the M-79, pulling it over his shoulder in one +motion. Sarah grabs Dyson and drags him back down the hall. +Terminator opens the breach and slide in one of the fat +40mm H.E. grenades. He flips the thing closed with a snap +of the wrist. + + SARAH + (yelling as she runs) + John! Fire-in-the-hole! + +John drops what he is doing, and covers his ears. +Terminator fires at inhumanely close range. 145B The door +EXPLODES into kindling. The concussion blow his jacket +open, and flying shrapnel whizzes all around him. Before +the thunderclap has faded Terminator walks into the fire +and smoke. John goes back to work without missing a beat. +Sarah and a stunned Dyson walk through the burning +doorframe into the Artificial Intelligence Lab. + +A SIREN is sounding. The HALON FIRE-CONTROL SYSTEM has been +triggered. The invisible gas roars in, putting out the +flames. + + DYSON + Fire's set off the halo system! + Here... hurry! + +Dyson runs to a wall cabinet and pulls out some BREATHING +MASKS. He hands one to Sarah and dons the other. Then he +reaches out to hand one to Terminator. + + DYSON + Here! + 103. + + + Terminator doesn't need a mask, since is oxygen + requirements are so low. He ignores Dyson as he removes his + massive backpack and opens it. Dyson shrugs and tosses the + mask on a desk. He turns to Sarah. + + DYSON + (yelling through the + mask) + We'll have to keep these on a + couple minutes, till the gas + clears. + + Terminator pulls two five-gallon jerry-cans of gasoline + from his pack. + + Sarah starts pulling out book-sized, olive-grab CLAYMORE + MINES, stacking them next to the gasoline. Dyson stares. + Part of him can't believe they're really doing this. + + CUT TO: + + +146 INT. DYSON HOUSE - NIGHT 146 + + The T-1000 moves slowly though the ravaged office, + analyzing what has happened here. It walks down the dark + hallway. The place is deserted. The police-walkie clipped + on its belt (real, not simulated) blares to life. + + DISPATCHER (V.O.) + All units, all units. 211 in + progress at 2144 Kramer Street, the + Cyberdyne building. Multiple + suspects, armed with automatic + weapons and explosives. SWAT unit + is en route... + + +147 EXT. HOUSE - STREET 147 + + The T-1000 sprints up and throws its leg over the big + C.H.P. Kawasaki. Fires it up. It smokes an arcing scorch- + mark on the pavement as it spins around and roars away. + + CUT TO: + + +148 INT. CYBERDYNE BUILDING - LAB 148 + + TIGHT ON A LARGE DISK DRIVE. State-of-the-art. Very + expensive. A FIRE AXE smashes down through the housing, + shattering the disk. + 104. + + + WIDER, revealing a scene of high-tech pillage. Terminator + beats the disk drive into junk and steps to another. WHAM. + Same routine. He's already demolished half a dozen. Sarah + topples a file cabinet, scattering files. Dyson staggers up + with an armload of heavy M-O (magnetic-optical) disks and + drops them on a growing stack in the middle of the floor. + He and Sarah have their breathing masks hanging down around + their necks, since the halon gas has dissipated. + + DYSON + (to Sarah, panting) + Yeah, all that stuff! And all the + disks in those offices. Especially + my office... everything in my + office! + (to Terminator) + These, too! This is important. + (SMASH!) + And all this here... that's it. + + Sarah goes into Dyson's office and starts hurling + everything out the door onto the central junkpile... books, + files, everything on the desk. + + A FRAMED PHOTO of Dyson's wife and kids lands on top of the + heap. Tarissa, hugging Danny and Blythe, all grinning. The + glass is shattered. + + Terminator cuts a swath, under Dyson's direction, exploding + equipment into fragments with his inhuman swings. SMASH! + It's carnage. Millions in hardware, and all irreplaceable + fruits of their years of research... shattered, broken, + dumped in a heap for the big bonfire of destiny. Dyson + stops a second, panting. + + DYSON + Give me that thing a second. + + Terminator hands him the axe. Dyson hefts it one-handed. He + turns to a lab table... on it is another prototype + processor. + + DYSON + I've worked for years on this + thing. + + Swinging awkwardly but with great force he smashes the axe + down onto the processor prototype, exploding it into + fragments. His shoulder is agony, but he looks satisfied. + + +149 INT. SECOND FLOOR SECURITY STATION 149 + 105. + + + John taps away at his little lap-top, which is running code + combinations into the card-key lock. Suddenly, the green + light on the lock goes on and it unlocks with a clunk. + + JOHN + Easy money. + + He whips it open, revealing a rack of keys. But the VAULT- + KEY is distinctive, a long steel rectangle on a neck-chain. + John grabs it and runs toward the lab. + + +150 INT. LAB 150 + + Sarah and Terminator are working like a crack team, rigging + the explosives. She is taping the claymores to the gas cans + with duct tape to create powerful incendiary bombs. + Terminator is attaching claymores and blocks of C-4 plastic + explosive to the large MAINFRAME COMPUTER cabinets nearby. + All the claymores are wired back to one detonator with has + a RADIO-CONTROL RELAY switch. + + DYSON + How do you set them off? + + Terminator shows him a REMOTE DETONATOR, a small + transmitter with a red plunger. + + TERMINATOR + Radio remote. + + He makes a plunger-pushing motion with his thumb and an + accompanying "click" sound. Dyson nods. Just then John + comes running in, holding up the key. + + JOHN + I got it. Piece of cake. + + SARAH + (to Dyson and Terminator) + Go! I'll finish here. + + They run out as the SOUND OF SIRENS grow louder outside. + + TERMINATOR + I'll deal with the police. + + JOHN + Remember what I said, you can't... + + TERMINATOR + Trust me. + 106. + + +151 EXT. CYBERDYNE BUILDING 151 + + The security duo of Moshier and Gibbons cowers behind cars + in the parking lot in front of the building. They turns as + L.A.P.D. BLACK- AND-WHITES pour into the lot, turn the area + into a disco of whirling blue and red lights. + + +153 EXT. CYBERDYNE BUILDING 153 + + The cops are jumping from their cars and ducking behind + them. Emphasis on small arms here. Behind them an ugly + BLACK SWAT VAN screeches into the lot. + + We hear the THUMP OF ROTORS as a POLICE CHOPPER arrives and + swings in close to the building. It rakes its XENON + SPOTLIGHT through the second floor offices. + + +154 INT/EXT. SECOND FLOOR OFFICE 154 + + Terminator crosses the office toward the floor-to-ceiling + windows. He is outlines starkly by the spotlight as it + rakes through the dark offices. Without breaking stride he + kicks an executive desk toward the window. + + Glass explodes outward and the desk topples, falling to the + sidewalk below. + + Terminator, standing at the edge, FIRES A LONG BURST with + strafes the police cars lines up below. Cops duck as glass + flies. Terminator, with his superb aim, hits no one. But + noticed is served. + + The cops (surprise) FIRE BACK. Terminator turns and is + walking calmly from the window as glass, office furniture, + drapes etc. are riddled by return fire. A few rounds hit + his back, but he doesn't notice. He reloads as he walks. + + +155 INT. VAULT ANTECHAMBER 155 + + TIGHT ON A KEY inserted into one of the vault locks. + + WIDER as John and Dyson stand poised, hands on keys. + + JOHN + And let's see what's behind door + number one. + + Dyson nods and they turns the keys together. The vault + grumbles to itself, withdrawing it locking bolts with a + final KLONK! Together Dyson and John swing the door open. + 107. + + +156 EXT/INT. LOBBY 156 + + The varsity takes the field as the SWAT TROOPERS sprint + forward by squads. They flank the lobby and work their way + inside, deploying rapidly. They move and freeze, behind + cover, quivering with adrenaline. They have all that great + SWAT equipment: body armor, gas-masks, M-16s, tear-gas + launchers, ropes. The works. They make a lot of hand + signals and keep their mouths shut. They're well- trained + and deadly. + + OUTSIDE we see cops firing TEAR GAS grenades through the + broken windows into second-floor offices. + + +158 INT. VAULT 158 + + John and Dyson are isolated from the world in this silent + steel womb. Dyson opens the cabinet containing the + terminator relics. It's John turn to stare with uneasy + deja-vu as he sees the terminator hand and CPU. + + Then in one vicious move he sweeps his arm behind the + inert-gas flasks and hurls them to the floor. They SHATTER. + John snatches the CPU and the metal hand out of the broken + glass. + + JOHN + Got ol' Skynet by the ball now, + Miles. Come on, let's book! + + Clutching the steel hand and pocketing the chip like it's a + Mars bar he just bought, John runs out. Dyson follows. + + +159 INT. FIRST FLOOR CORRIDOR - STAIRWELL 159 + + We see the advance squad of SWATs make it to one of the + stairwells. They start up, two at a time, covering each + other ritualistically by the numbers. + + +160 INT. LAB - HALL 160 + + John pelts into the lab with Dyson stumbling along behind + him. Sarah is just finished wiring all the charges to the + central detonator. + + JOHN + Ready to rock? + + SARAH + Ready. + 108. + + +John tosses her the metal hand. She catches it and bends to +put the hand in her empty back-pack. Sarah zips the pack +and starts to shuck into it. + +Dyson's running out of steam. The bandages at his shoulder +are soaked with seeping blood. He stands in the middle of +the lab, saying goodbye in his mind, looking weak and +empty. Terminator strides into the lab. + + TERMINATOR + Time to go. Right now. + +He and John head back the way they came, through security. +Sarah sees that in her work, she has set the detonator down +twenty feet away, near where Dyson is standing. + + SARAH + Dyson, hand me the detonator. Let's + go -- + +He gingerly picks up the detonator. Starts toward her. Then +-- CRASH!! THE DOORS AT THE BACK END OF THE LAB ARE KICKED +OPEN. SWAT LEADER and two others OPEN FIRE. Their M-16s +rake the room. Sarah dives behind a computer cabinet. Dyson +is HIT. He is slammed to the floor by the impacts. + +IN THE HALL, John hears the firing and spins to run back. + + JOHN + Mommm!!! + +Terminator grabs him as bullets slam into his broad back. +He makes it around the corner with John, out of the line of +fire. + +IN THE LAB, bullets rake over Sarah's head, smacking all +around her, clanging into the machine protecting her. She +can see Dyson, slumped on the floor. Debris and flying +glass rain on her as the SWATs pour on the fire. The +detonator is clutched in his hand. He rolls to face her, +his eyes bulging from the pain of his torn-up guts. + + DYSON + Go. + +Sarah hesitates a split second. Then she snap-rolls and +fast-crawls through broken glass and debris into the hall +where -- + 109. + + + TERMINATOR grabs her by the jacket and hauls her roughly to + her feet. Bullets rake the walls behind them as they sprint + forward. They round the corner. John does a fast take that + she's not hit and they run together through the security + checkpoint. + + +163 INT. SECURITY STATION - CORRIDOR 163 + + John reaches the first door, and tries it. Locked. + Terminator unslings the M-79 blooper smoothly, opening the + breach. + + TERMINATOR + Get back. + + He pulls a grenade from the bandolier over his shoulder, + and slides it into the bore. Flick his wrist. The breech + snaps shut. Sarah and John have a split second to duck and + cover. + + TERMINATOR + Cover you ears and open you mouth. + + They do. KABOOM!!! Twenty feet away the door, and half the + wall around it, EXPLODES outward. The backblast hits + Terminator full force, but he strides through the smoking + hole before the debris has even hit the floor. + + +165 INT. LAB 165 + + SWAT LEADER moves cautiously through the lab. Cat-stepping, + he circles around a desk which block Dyson's body from his + view. His M-16 is leveled crisply. We look over his + shoulder as he rounds the desk, revealing -- + + MILES DYSON is not dead. He will be very soon, but at this + moment he is conscious. He has propped himself up against + the desk, and holds a BOOK in one hand. A heavy technical + manual. + + Below the book is the detonator, upright on the tile floor. + The message is clear. "Shoot me, the book drops on the + plunger. Adios." Dyson wheezes, trying to draw enough + breath to talk. + + DYSON + I don't know... how much longer... + I can... hold this thing... + 110. + + + SWAT Leader seems to see the wires, the claymores, the gas + cans all around him for the first time. His eyes, visible + through his gas- mask, go very wide. He spins and motions + his squad back. + + LEADER + Fall back!! Everybody out! Move it! + OUT NOW! + + They retreat so fast they crash into the next group coming + up the stairs. + + +166 INT. CORRIDOR 166 + + Terminator reaches the main elevators. Hits the button. + Sarah and John are coughing and stumbling in the choking + darkness, buddy- breathing with the single mask. The doors + open. They get in the elevator and head down. + + +167 INT. LAB 167 + + Dyson is lying amid the ruins of his dreams. Sprawled on + the floor, he has his back propped up against the desk. He + is bathed in his own + + blood, which runs out in long fingers across the tiles. His + breathing is shallow and raspy. He still holds the book, + trembling, above the switch. + + In his lap is the picture from his desk. He has pulled it + from the debris next to him. A tear trickles from his eye. + His wife and children smile up at him through broken glass. + + CUT TO THE PUPIL OF HIS EYE, at the moment of death, the + instant the light fade from his eyes and he is gone -- His + arm drops and the book his the switch -- + + +170 EXT. BUILDING 170 + + As the face of the building EXPLODES in an eruption of + glass and fire. Remains of the second-floor windows shower + the parking lot and a huge fireball rolls out, leaping into + the sky. The cops look up, stunned. The helicopter banks + away from the heat. Burning debris falls among the cop cars + and a number of officers break ranks, pulling back. + + ONLY ONE OF THEM seems to be moving with purpose. A BIKE + COP who has just arrived drives through the disorganized + crowd, directly toward the building. + 111. + + + T-1000 guns the bike up a ramp to a pedestrian bridge which + crosses from a parking structure to the Cyberdyne building. + It enters on the second floor, which is now a burning maze. + + +172 INT. SECOND FLOOR - OFFICE - CORRIDOR 172 + + T-1000 drives into the smoky wreckage. It draws a Hoechler + and Koch MPK machine pistol and cruises slowly into the + firelit offices, scanning. + + IN THE CORRIDOR the bike skirts flaming wreckage as it + idles forward. T-1000 scans the leaping shadows for its + prey. + + +173 INT. GROUND FLOOR - ELEVATOR - LOBBY 173 + + The elevator doors part and Terminator eases a look out + into the corridor. The walls on either side of him ERUPT + WITH BULLET HITS. The SWATs have the lobby end of the + corridor blocked off. They're totally trapped, cut off and + screwed. + + JOHN + (to Sarah) + Don't forget. It's always darkness + right before... you're totally + fucked. + + The SWATs fire a tear-gas grenade toward the elevators. It + spews the vicious CS gas out in a swirling cloud which + envelops Sarah and John, who are pressed against the back + wall of the elevator. + + TERMINATOR + Keep your eyes closed. Don't move. + (they nod, eyes squeezed + shut) + I'll be back. + + He slings the grenade launcher over his shoulder and walks + out into the corridor. + + BLAM. A tear-gas grenade ricochets from wall to wall as it + flies down the corridor. It skids to rest in front of + Terminator, throwing out a white cloud which quickly fills + the corridor. + + In the elevator, Sarah and John are choking, handing the + breathing mask back and forth desperately. They're scarred. + This looks like it. + 112. + + +ANGLE ON THE SWAT TEAM, gripping their weapons at the mouth +of the corridor. They watch the boiling cloud, waiting. + +THEIR POV -- on the wall of boiling smoke. A FIGURE +APPEARS. Walking Totally unaffected. Terminator emerges +from the smoke. Not even misty-eyed. Not what they +expected. + + LEADER + (through megaphone) + Stop where you are. Lie down on the + floor, face down. Down on floor, + now! + +He continues to stride toward them. The SWATs tense up. +They've never seen anything like this. They're not sure +what to do. Closer and closer. + + LEADER + Drop him. + +They OPEN FIRE. The corridor is filled with CRACKING +THUNDER. The rounds tear into Terminator's chest. Stomach. +Face. Thighs. His leather jacket leaps and jerks as the +rounds hit him. The SWATs think the guy's wearing body +armor or something. They keep firing. The rounds tear into +him, staggering him slightly, but he keeps moving. + + LEADER + You're not hitting him! + + SWAT #1 + (getting scared) + Yes I am! + +Terminator draws his .45 smoothly. Unhurried. He shoots the +nearest man in the left thigh. As he screams and drops, +Terminator shoots him in the right thigh. Terminator bends +down and picks up the shrieking man's weapon... the TEAR- +GAS LAUNCHER. + +It is one of those new rotary jobs that hold 12 rounds in a +big drum. Terminator shoots the next SWAT in the chest with +the tear-gas launcher. The gas canister hits the guy's body +armor and doesn't penetrate. But it's like getting slugged +in the stomach with a full- swing from a baseball bat. The +SWAT fold double and hits the tiles, gasping. + 113. + + + Terminator is an image from Hell, a tall figure in shredded + black leather, streaked with blood. One eye is a bloody + socket, the metal eye-servo glistening. The flesh of one + cheek hangs down in tatters, revealing the chrome cheekbone + beneath. The whole front of his jacket is blown open, + revealing his metal armor chest. + + The remaining SWATs start to fall back. One turns to run + and -- KPOW! A gas canister nail him in the back, sending + him sprawling. + + Terminator fires three gas canisters into the lobby. It + fills rapidly with the white gas, cutting the visibility to + a few feet. It is total pandemonium. SWAT LEADER crouches + in the fog, white- knuckling the rifle. Terminator looms + suddenly out of the mist right in front of him. POOM! + Terminator drills him in the leg with the .45. As the guy + screams and drops rifle to clutch his leg, Terminator rips + his gas mask off. The SWAT leader drops writhing to the + floor, choking and gagging, clutching his bleeding thigh. + + Terminator walks up to two SWATs at the front doors. POW- + POW. Leg and leg. He snatches their masks as they fall. The + gunfire has stopped. Nobody an see anything. Screams and + whimpers echo in the smoke. + + +174 EXT. BUILDING 174 + + Smoke boils out of the front door as a figure emerges. + Firing the tear-gas launcher with one hand, Terminator + launches all remaining rounds among the cop vehicles. + Unprotected officers run, choking and half-blind, slamming + into cars and tripping over each other. It is a total rout. + + AT THE SWAT VAN on of the SWATs is rapidly handing out the + remaining masks to unprotected cops. A FIGURE appears out + of the smoke beside him. He looks up. His mask is ripped + off and he is handed the empty launcher. Instinctively he + catches it. Terminator grabs his flak vest with one hand + and sails him out into the mist. + + +175A INT. SWAT VAN 175A + + Terminator strides the length of the van and climbs into + the driver's seat. No keys in the ignition. He flips down + the sun visor. The keys fall into his hand. He starts the + van and slams it into gear. + + +176 INT/EXT. LOBBY 176 + 114. + + + The tear gas has cleared to a thin haze. The uninjured + SWATs are tending their wounded. They look up at the sound + of shouts and a roaring engine. + + THE SWAT VAN CRASHES INTO THE LOBBY in an explosion of + glass and debris. Cops scatter as the van screeches across + the lobby in a smoking one-eighty, sliding to a stop across + the corridor which leads to the bank of elevators. + Terminator backs up until -- crunch -- he seals the + corridor with the back of the van. + + Sarah and John stumble along the corridor, coughing. They + leap into the back of the van and Terminator hits the + throttle. The van roars across the lobby and exits through + blown-out windows. + + CUT TO: + + +177 INT/EXT. SECOND FLOOR 177 + + T-1000, astride the Kawasaki, looks down from a second- + floor office and sees the van tearing across the parking + lot with the remaining cops firing at it. It knows. It + looks around. Analyzing options. It sees the helicopter + hovering outside the building at the end of this corner + office block... It twists full throttle on the powerful + bike. Roars through the office, accelerating fast, straight + at the windows -- + + T-1000 BLASTS OUT THROUGH THE GLASS, airborne on the + motorcycle. It rockets across the gap to the hovering + chopper and -- 178A SLAMS into the canopy. The impact of + bike and rider pitches the chopper radically. The startled + PILOT fights to regain control as the bike tumbles to the + pavement below. 178B The T-1000 doesn't. It clings to the + shattered canopy. Nightmarishly, the pilot watches as the + T-1000 smashes its head through the plexiglass canopy and + rapidly POURS ITSELF through the jagged hole. It reforms + instantly into its previous self on the passenger seat. + + It hurls the pilot out of the chopper and slides into the + driver's seat. The chopper is auto-rotating, spinning out + of control. It drops toward the parking lot. T-1000 + recovers control ten feet above the ground. + + Cops hits the deck as the tail-boom swings around, going + over them by inches. The chopper lifts out in a power + climb, roaring away across the parking lot toward the + fleeing SWAT van. + + OKAY, BUCKLE YOUR SEATBELTS, HERE IT COMES... + 115. + + +179 INT/EXT. SWAT VAN - HIGHWAY - NIGHT 179 + + Terminator looks back at his two passengers as he turns the + boxy van onto a divided highway. Sarah and John are + catching their breath, still coughing from the CS gas. + Terminator look to the rear-view mirror. He sees the xenon + searchlight of the chopper behind them, gaining. + + Sarah looks around the inside of the SWAT van. It is a + rolling armory. There are rifles, ballistic vests, all + manner of equipment. + + SARAH + John, get under these. Hurry! + + He sits against the front bulkhead of the van and she pile + bullet- proof vests on top of him, completely covering him. + Then she grabs two M-16s from the wall-rack and loads them. + She starts on a shotgun as -- + + The SWAT van weaves through sparse traffic at high speed. + Terminator slews the unstable van around cars and trucks + which seem to be crawling. The van hits it top speed of + eighty. They swerve to miss the back end of A WHITE 18- + WHEEL TANKER. + + The chopper swings in behind them, closing fast. + + T-1000 reaches through the shattered canopy with the MPK + machine pistol and FIRES. The back of the can CLANGS WITH + HITS. The door windows are BLOWN IN. + + Terminator weaves the van, trying to throw off the T-1000's + aim. The unstable vehicle screeches and wobbles on the edge + of control. One of the doors is kicked open. Sarah, wearing + a ballistic vest, crouches in the doorway, whipping up the + M-16. SHE OPENS FIRE. + + Bullets riddle what's left of the chopper's canopy as the + T-1000 returns fire. The van is stitched with hits. + + INSIDE THE VAN holes are punched through the thin sheet- + metal walls, ripping up the interior. The vests covering + John are hit repeatedly. We see that Sarah has hung two + Kevlar vests on the inside of the back door and she ducks + behind these as bullets hit around her. She pops back out + and fires in controlled bursts. The M-16 empties and she + grabs another. + + Terminator serves around a car which is changing lanes, + hitting it and knocking it skidding. + 116. + + +Sarah reloads and keeps firing. The van swerves around a +Toyota. A moment later the helicopter passes it, the rotor +just clearing the top of the car. + +T-1000 FIRES the machine pistol. 181C Sarah has popped out +to fire. She takes a HIT in the thigh, and several rounds +hammer into her Kevlar vest. She is thrown back onto the +floor of the van. She lies there, an exposed target... + +Terminator sees the T-1000 preparing to fire again. He +locks up the van's brakes. Tires scream as the vehicle +shimmies. Sarah is thrown forward, sliding up to the +bulkhead next to John. 182 And the helicopter SLAMS RIGHT +INTO THE BACK OF THE VAN. + +The rotor disintegrates. The back doors of the van are +crushed in as the canopy, the whole front of the fuselage +is HAMMERED INTO JUNK, trapping the T-1000 inside the +twisted metal. The chopper hits the pavement, flips, +sideways, and cartwheels... smashing itself into a +shapeless mass of twisted metal. It falls away behind the +van, tumbling end over end. + +Terminator fights to control the van, which is fishtailing +violently from the impact. It smashes up against the center +divider, screeching along the concrete, and then pulls +away. Terminator puts the hammer down and the van +accelerates. He swerves to avoid an UGLY PICKUP crawling +like a snail ahead. + +THE RIGHT FRONT FENDER of the van, crumpled by slamming the +wall, is sawing into the tire. The tire blows and peels off +the clean rim. + +The steel wheel grinds across the pavement, striking trails +of sparks, and the van slides sideways and topples -- STEEL +SCREAMS on pavement as the van grinds to a stop on its +side. + +INSIDE THE VAN, John crawls to Sarah, who is groaning and +holding her bleeding leg. She is white and shocky. +Terminator starts to extricate himself from the crumpled +driver's seat. + +BACK DOWN THE ROAD, THE HELICOPTER wreckage is a crumpled +ball of junk metal, unrecognizable. Behind it, the TANKER +TRUCK brakes hard, shuddering and groaning, trying to stop. +The big tires lock up in clouds of tire-smoke. The rig +comes to a shuddering stop just short of the wrecked +chopper. + +The shaken DRIVER jumps down. The behind the wreckage a cop +emerges, walking toward him. + 117. + + + DRIVER + Goddamn, are you alri -- + + SSSHHCK! T-1000 drives a blade through the man's abdomen + and walks on past without slowing, or even looking at him. + + It climbs into the open cab of the tanker. Releases the + brake. As the truck bellows are rolls forward we see the + large blue letters on the side which say "CRYOCO INC. + LIQUID NITROGEN SUPPLY'. + + AT THE SWAT VAN John and Terminator are carrying Sarah out + of the wreck. Terminator has the M-79 slung over his + shoulder, the bandolier of grenades, and his .45 stuck in + his waistband. John has borrowed a 12-GAUGE RIOT GUN from + the SWATs. + + The pickup they passes seconds earlier pulls up to them. + The DRIVER, A Hispanic guy in his 50's, is getting out to + help them. Terminator and John hear a CRASH and look back + as the helicopter wreckage is knocked aside by the + accelerating tanker truck. + + JOHN + Holy shit. Come on, Mom... we gotta + keep moving... come on -- + + TERMINATOR + (to the pickup owner) + We need your truck. + + The guy seems to know better than to try and stop him as + Terminator slides Sarah into the front seat and climbs in + behind the wheel. John runs to the passenger side. + + THE TANKER ROARS, spewing smoke from its chrome stacks as + it shifts up through the gears. + + Terminator slams the pickup in gear, checking the rear- + view. The tanker is a hundred feet behind them now, and + really moving. Terminator puts the throttle down, but the + pickup is and old slug loaded down by a heavy home-made + wooden camper-shell. It accelerates slowly. + + THE TANKER slams into one end of the SWAT van, spinning it + out of the way with a roar and screech of twisting metal. + The 18-wheeler shifts to a higher gear, still accelerating. + + +190 INT/EXT. PICKUP TRUCK 190 + 118. + + + With the tanker right behind them, Terminator cuts the + wheel, swerving the pickup back and forth across the lanes. + The big rig stays right on them, it tanker whiplashing + violently. + + JOHN + Faster! He's right on us! + + Terminator doesn't reply. He rapidly unslings the blooper, + still around his neck, and reaches for a grenade. + + LOW ANGLE ON THE TRACTOR-TRAILER as it roars right up to + the lens, filling frame with chrome and lights. + + K-WHAM!! It rams the backs of the pickup, sending it + skidding. + + Then the T-1000 pulls the tractor trailer up alongside the + pickup and crabs over, sandwiching it against the center + divider. The spinning chrome hubs tear into the passenger + side door and the guard rail screeches along the other + side. + + The pickup bucks and shakes insanely. It ricochets + violently between the big-rig and the divider Horrible + SCREECH of tortured steel. Sparks pour in sheets of fire + from both sides. The windshield shatters as the door-posts + buckle in. Metal and glass shower in through the side + windows. The frame twists and buckles. John feels like the + fillings are being shaken right out of his teeth. The + wooden camper disintegrates, falling away as kindling + behind them. + + +191C INT. TANKER CAB 191C + + T-1000 holds the wheel hard over, mercilessly grinding the + pickup. The whole rig jerks and shakes with the violence of + the sustained hammering. + + +191D INT/EXT. PICKUP 191D + + Terminator slides toward the passenger side. Keeping his + foot on the gas he lifts John over him and puts him in the + driver's seat. + + TERMINATOR + Drive for a minute. + + JOHN + Where you going?! + 119. + + + Terminator slams the shattered windshield with the palm of + his hand. Held together by the plastic laminate, the + windshield flops out of its frame. It flies over the top of + the truck. + + Terminator pushes his upper body out over the dashboard and + stands up. He turns and aims the M-79 one-handed. POOM! The + grenade misses the T-1000 by less than a foot. It EXPLODES + against the front bulkhead of the tanker, almost at the + top. Liquid nitrogen pours from the opening, swept back by + the 60-mph windstream. + + The big-rig swerves as T-1000 regains control. The tanker + swings like a pendulum behind the cab. + + The pickup accelerates, getting back out in front by a few + yards. Behind it the big-rig is trailing a swirling comet- + tail of nitrogen vapor. It is gaining again. + + Terminator, still standing, opens the breech and starts to + reload. John cuts across the highway and takes an OFF RAMP. + + T-1000 swerves the smoking behemoth across the lanes and + down the ramp after him, still accelerating. It is twenty + feet behind them and closing when Terminator closes the + breech and FIRES. + + The grenade hits the front grill and EXPLODES. The radiator + is destroyed, along with half the hood. Steam blasts out, + obscuring the whole front of the truck. + + The semi rams the back of the pickup again. Spewing smoke + and vapor like some demon locomotive, the tractor-trailer + pounds into the back of the pickup. Driving it right + through the intersection at the bottom of the ramp, and + straight toward -- + + +191E EXT. STEEL MILL 191E + + The chase has led them to an area of heavy industry. + + THE GATES are blasted off their hinges as the semi rams the + pickup right through them. Terminator struggles to reload + amid the chaos and impacts. He has THREE GRENADES LEFT on + the bandolier. + + John isn't even steering. They are just being pushed. + There's nothing he can do. They are rocketing down the + broad thoroughfare which leads directly to the MAIN + BUILDING of the plant. + 120. + + + Terminator pulls himself onto the roof of the pickup. He + leaps to the bed, takes two powerful strides and -- Leaps + onto the semi. He climbs rapidly onto the hood. And FIRES + POINT BLANK THROUGH THE WINDSHIELD. + + Right into T-1000's face. The EXPLOSION blows out all the + glass and fills the cab with smoke and fire Terminator + grabs onto the air-horn as the truck starts to SHUDDER AND + SCREAM. IT IS JACK-KNIFING. Almost dream-slow the cab + begins to swing sideways, until its tires are shrieking + over the pavement. The tractor is smashed back at right- + angles to the tanker-trailer which begins to slide + broadside. + + The juggernaut bucks and shudders as the tires and smoke + sideways across the pavement. It begins to topple. + Terminator hold on as the side of cab becomes the top. + + With an unholy scream, like the unoiled hubs of Hell, the + whole rig slides on its side at 60 mph toward the steel + mill. A sheet of sparks sixty feet wide trails behind it on + the pavement. + + John sees what's behind him, then snaps around to see the + building looming right in front. The huge rolling doors are + partly open. No choice. He steers right through them into + the mill, as -- + + Terminator, with one second to go, leaps from the cab -- He + flies through the open doors as -- The tanker hits the + building and -- + + +193 INT. STEEL MILL - MAIN AISLE 193 + + Terminator slams to the floor of the mill and rolls, as -- + The tanker-trailer smashed into a massive concrete support + at one side of the doors. Thunderous carnage of twisting + metal.It splits wide open. A river of liquid nitrogen pours + out at -230. + + John hits the brakes, sliding out of control. He slows + almost to a stop but hits a steel support column head-on. + He and Sarah are slammed forward, hard. + + Terminator, still clutching the M-79 blooper, rolls and + slides across the floor. He smashes through a railing and + slams up against the base of a massive machine. + 121. + + +The semi cab swings about the trailer wreckage, into the +building, and shudders to a stop. Liquid nitrogen sprays +over the cab, flooding out around it in a HISSING WAVEFRONT +OF ULTRACOLD. Freezing vapor swirls everywhere, obscuring +the wreck. + +TERMINATOR lies still. A beat. Then he rolls weakly, rising +on one elbow to survey the scene. + +IN THE WRECKED PICKUP, John stirs. He is stunned, and blood +runs from his nose. Dazed, he realizes he is in a steel +mill. There are sirens, and he can see men running... +shouting. He turns and sees what they are running from... + +The wall of nitrogen vapor spreads from the demolished +tanker. It is a strange vista of fire and ice. The huge +SMELTERS pour out orange light and fire from the sides of +the huge galley, while the freezing vapor rolls down the +center. + +TIGHT ON THE WRECK. A billowing gray cloud. Deep inside, +the shape of the cab in visible. A FIGURE emerges, pulling +itself out. It drops to the floor. The hissing, boiling +river of liquid nitrogen flows around its feet. + +The T-1000 staggers, moving slowly, painfully. It has +finally been affected by something. Its feet are freezing +to the ground as it walks... + +CLINK! One of its feet breaks off at a glassy angle. It +stumbles forward, and -- + +Its other foot snaps off. As it catches its balance on the +stump of its other ankle, the whole lower leg shatters at +the impact. It topples forward to its knees. Catches itself +on one hand. Liquid nitrogen flows around the hand. + +Now the hand is stuck to the pavement. The T-1000 pulls +and... CLINK! The hand snaps off at the wrist. It looks +stupidly at the glassy stump of a wrist. For the first time +we see an expression on its face we know to be a true +one... The expression is pain. Agony. Its mouth opens in a +soundless scream as the hoar-frost races up its legs, +across its body. And that's the position it freezes in. It +has become a statue, kneeling in the frozen vapor, that +surprised look of agony frozen on its face. + +The liquid nitrogen stops flowing and begins to evaporate. +Terminator, just beyond the boundary of the cold, can see +the T-1000 clearly. He draws his .45 and aims. + + TERMINATOR + Hasta la vista, baby. + 122. + + +K-POW! The single shot blows the T-1000 into a million +diamonds spraying up into the air. They shimmer across the +ground for twenty feet in all directions. Terminator lowers +the gun, satisfied. He looks like he needs a vacation. + +JOHN AND SARAH have seen it from the pickup. She is in bad +shape. Conscious but very weak. He tries the door. It's +jammed. He kicks it open. + + JOHN + Okay, Mom, we gotta get out now, + come on. That's it. + +He helps her slide down from the seat of the truck. Her +knees give way. John has to take a lot of her weight. He +reaches in and picks up the riot gun off the seat. They +hobble toward -- + +TERMINATOR. On his knees, he looks into the dissipating +cloud of vapor. The heat of the furnaces has evaporated all +the liquid nitrogen. + +INSERT, TIGHT ON THE FLOOR - the T-1000 shards are melting, +liquefying. Hundreds of drops of mercury, spattered across +the floor. Orange light of the enormous black-furnaces +dances on liquid metal. + +TERMINATOR struggles to rise. One arm is shattered, the +hand smashed and useless. And some leg-servos are damaged. +He can barely stand. John and Sarah arrive. + + TERMINATOR + We don't have much time. + + JOHN + What? + +Terminator points. John and Sarah watch as -- + +INSERT, T-1000 DROPLETS are creeping together. Fusing into +larger blobs. These pools shiver and run together, soon +forming a central mass. + +ON JOHN AND SARAH, realizing it's not over. + + JOHN + Come on! Let's go! + +Terminator gets one of Sarah's arms over his shoulder and +they go. BEHIND THEM, something is moving. 200 A HEAD is +forming up out of a pool mercury. it rises, as shoulders +form. hunching up from the liquid mass. Half-formed, it +turns to look straight at them. + 123. + + + John looks back in new terror as -- + + The T-1000 rises to man-height. It is still in mercury + form, but its features are forming rapidly. It takes its + first step after them. Sarah stumbles and they pull her up. + 201 Terminator himself has a pronounces limp, dragging one + leg with a shattered ankle joint. John's the one pulling, + straining, driving them forward. They round a corner into - + - + + +202 INT. AISLE BETWEEN FURNACES 202 + + It is a maze of monstrous machinery. The heat is + tremendous. The air shivers with a pounding roar. Sarah + cries out in pain and stumbles again. + + JOHN + Come on, Mom, you can do it! Come + on!! + + They drag her up, and stagger on. Her leg is bathed in + blood and she is deathly pale. He looks back. + + +202A INT. MAIN GALLERY 202A + + The T-1000 steps INTO FRAME. Fully formed. The hell-fire + light glints on its impassive cop face. It walks forward. + At first it seems unaffected by its crystallization but -- + + ANGLE ON ITS HAND as it touches a railing in passing. The + railing is covered with O.S.H.A. yellow-and-black safety + tape. The hand turns yellow and black, the color fading to + normal by about the elbow. It rips the hand from the + railing with difficulty. There is a sound like adhesive + tape ripping off a surface. + + The T-1000 looks at its yellow-and-black striped hand. It + wills the hand back to normal. We see ripples of "static" + or system noise moving subtly over the surface of its body. + It's starting to "glitch". + + TRACKING WITH THE T-1000'S FEET. With each step, the + pattern on the tile floor "invades" its lower legs. Fades + as the foot is lifted. Returns as it is set down. The foot + is trying to meld with the floor. The chameleonic function + is out of control. The T-1000 is losing it. It moves + forward, searching. It rounds the corner, entering the + aisle between the furnaces. + + +204 INT. AISLE 204 + 124. + + +Terminator sees the SILHOUETTE closing on them through the +smoky gleam. The T-1000 breaks into loping run when it sees +them, Terminator turns to Sarah over John. + + TERMINATOR + Keep going. + +John shakes his head no. The T-1000 is almost on them. + + TERMINATOR + RUN! + +John runs, dragging, half-carrying Sarah as best he can. +She can barely stay conscious. Half-running, delirious, she +stumbles and drops to her knees. John pulls but she can't +rise. + + JOHN + (crying, shouting) + Come on, you gotta try... please, + Mom. Get up! + +John looks back to see -- + +TERMINATOR trying to load the M-79. With his shattered +hand, he can barely maneuver is last grenade into the +breech. T-1000 smacks the weapon out of his hands. It +clatters to the floor. + +The grenade spins across the floor, rolling under some +machinery. Terminator lunges, slamming the T-1000 against a +wall with all his weight. The battle is joined. + +JOHN AND SARAH have reached the back of the aisle. It is a +cul-de- sac, blocked on the end by the base of an IMMENSE +SMELTER CRUCIBLE. They turn to watch the titans battle in +silhouette, backlit by the molten sparks falling from the +furnaces above. The battle which will decide their fate. + +Terminator grabs the T-1000 and hurls it with awesome force +against the opposite wall of the narrow alley. In less time +than it would take to turn, the T-1000 morphs trough +itself, front to back... face emerging from the back of its +head. It comes off the wall straight at Terminator, who +smashes his good fist into its face. The pile-driver blow +buries Terminator's fist almost to the elbow. + 125. + + + But the T-1000's head morphs in a split-second into a hand + which grips Terminator's wrist, and the head "emerges" + somewhere else, the geometry shifting faster than we can + follow. The T-1000 slams Terminator into a large machine, + jamming his arm into the moving works. A massive sliding + bar SCISSORS HIS ARM, smashing it into junk at the elbow, + pinning him in the machine. + + Terminator strains against the machine pinning him. We hear + his servos whining with overload. The T-1000 turns and + lopes toward Sarah and John. + + Sarah screams and hurls John into a gap between the + machines. He falls into a maze of pipes and girders. + + +205 INT. MAZE OF MACHINES 205 + + JOHN turns to see her in the entrance of the narrow gap. + She could follow him but she doesn't. SUDDENLY a dark mass + moves toward him. John gasps as a huge steel counterweight, + driven by a chain 6 inches thick, slides toward him. He + rolls out of the way. When he looks back, he cannot see the + opening. + + JOHN + Mom! MOMMM!! + + +206 INT. AISLE BETWEEN FURNACES 206 + + TERMINATOR strains to reach a 6-foot steel bar lying near + him. Steel workers use them to move the red-hot ingots + around. He gets hold of the end and uses it as a lever. + With titanic effort he spreads the massive components which + are holding him, and withdraws him arm, which is severed at + the elbow. Dangling junk hands from the crushed joint. + + SARAH has lost sight of John. It is much of a goodbye as + they will have. She turns as the T-1000 closes on her. She + is half-slumped against the sooty machines, looking barely + conscious. She struggles to load a shell into the empty + weapon. At the last instant she whips up the RIOT GUN and + FIRES. + + T-1000's face is blown open, but quickly reforms as it + closes on her. She fumbles to get another shell into the + magazine but -- THUNK! A steel needle slams through her + shoulder, pinning her. The polymorphic killer cocks back + its other hand. The index finger extends as a gleaming + needle, toward her eye -- + + T-1000 + 126. + + + Call to John. Now. + +WHAM!! SOMETHING whistles down on the T-1000 with such +force that is cleaves it head and body in two down to the +naval. The 6-foot steel bar is imbedded in its body. +Terminator hurls the killer off Sarah. + +The T-1000 pulls the steel shaft out of itself and attacks +him with fury. Swinging again and again. Hammering +Terminator back. Terminator falls back against the wall. + +Behind the T-1000 is an enormous I-beam, hanging from two +chains. It is used to lift ingots into the smelters, and it +runs on a linear track. + +The T-1000 grabs the I-beam and rolls it down the track. +Straight at Terminator. The two-ton girder smashes into his +chest, crushing the armor. The T-1000 pulls the I-beam +back, and then heaves it forward again. Terminator turns +and takes the second blow on the shoulder. We hear metal +crush and break inside him. He sags, turning to grip the +wall... The third blow slams into his back, smashing his +spine and pelvis. We hear servos ratcheting and failing. He +drops to his knees, crucified on a wall of machinery. The +fourth blow is centered between his shoulder blades. Sound +of crushing metal. His skull is partially caved in. He +slides to the floor. + +ON THE T-1000, emotionless as it walks forward. + +TERMINATOR is a pathetic shape on the floor. He is trying +to crawl, feebly. Dragging his malfunctioning legs behind +the crushed spine. His arm stump screeches on the tile +floor as he inches himself forward. His exposed machine eye +burns red with determination. + +We see his prize. He has the M-79, with the breech still +open, cradled in the crook of his ruined arm. He good hand, +the exposed steel one, is reaching for the last grenade, +which is visible under the skirt of the massive smelter +base. His metal fingers reach out for it as -- + +The T-1000 raises the heavy steel bar over his head and +stabs it down with unbelievable force. It punches into +Terminator's back, through a gap in the shattered armor. +The T-1000 levers it back and forth, widening the hole. +Then is raises the pointed bar again and slams it down. It +punches right through. Emerging from Terminator's chest. +And into the floor. He is pinioned. The cyborg sags face +down and stop moving. The light goes out of his eye. + + CUT TO: + 127. + + +208 INT. MAZE OF MACHINERY 208 + + John scuttles like a rat through the gut of the smelter. + Above him, vast machines churn untended. He hears a + voice... SARAH'S Calling low and urgent to him. + + SARAH + John? John? Can you hear me? Where + are you? + + He crawls out of the shadows. Onto a landing next to one of + the SMELTER CRUCIBLES. Molten steel glows bright orange in + the crucible of the furnace. Heat shimmers the air, giving + everything a hallucinatory quality. + + John sees Sarah nearby, limping toward him. She can barely + move, her leg bathed in blood. He runs toward her. + + SARAH + (gasping) + Help me, honey... + + TIGHT ON SARAH, her stoic face, as she hobbles forward, + reaching out to him. Something rises behind her, OUT OF + FOCUS. + + ANOTHER, IDENTICAL, SARAH... but this one has a shotgun. + Aimed right at us. + + JOHN freezes. Which is which? He looks down. The first + Sarah's feet are melded with the floor, sucking and fusing + with the tiles as she walks. They have the color and + pattern of the tiles up to the knee. + + SARAH + John, get out of the way!! + + JOHN + (screaming) + SHOOT!!!! + + John dives aside. The Sarah-form spins, changing into you- + know-who. Sarah starts unloading the shotgun into it. BOOM! + It staggers back. K-CHAK. She chambers another round. BOOM! + It staggers again. K-CHAK. BOOM! And again. And again. + + The T-1000 is blown back a step and Sarah advances with + each shot. The craters in the T-1000's body "heal" slowly. + Its power is waning. She FIRES again. And again. Her eyes + blazing with feral intensity. She walks it back, right to + the edge of the pit of MOLTEN STEEL. + 128. + + +K-CHAK... CLICK. She's empty. The T-1000 is right at the +edge. In a second it will recover its composure, as its +crater hits close slowly. She has failed. Now it will kill +them both, Except... + +CLOSEUP TERMINATOR, as the chain drive brings it into view. +Half human flesh, half chrome steel. His red eye gazes +right at us as he -- FIRES. + +The T-1000 takes the round in the belly. The grenade +EXPLODES inside its body. A huge hole is blown clean +through it, and it is ripped open and peeled back, half +inside-out. It topples into the molten steel and -- + +The T-1000's head and upper body reappear above the molten +steel. It is screaming. A terrifying, inhuman siren of a +scream. It is changing, morphing, transforming into +anything and everything it's ever been so rapidly the eye +can barely follow it -- We catch a glimpse of Janelle +Voight checkered with the linoleum tile colors, Lewis the +Guard with knives exploding from his face, other faces, +switching at a stroboscopic rate now... a face every two +frames until they merge into one face -- + +The T-1000 screams and slips beneath the surface of the +molten steel. We see liquid silver running in dissipating +whorls over the superheated surface... until it vanishes, +swirling into nothing. + +JOHN runs to Sarah. She stands staring into the pit. The +empty shotgun slips from her fingers. Clatters to the +floor. He sees that she's okay and he runs to the fallen +Terminator. + +The crippled cyborg is trying to rise. Its servos whine and +stutter. It pathetically lifts itself to a kneeling +position, collapses... tries again. John lifts for all he's +worth. Sarah joins them, helping. The help the crippled +machine get on its feet. It can barely stand. + + TERMINATOR + I need a vacation. + +They walk to the edge of the pit. Terminator looks down and +sees that it is over. + + JOHN + (to Terminator) + Is it dead? + + TERMINATOR + Terminated. + 129. + + +John unzips Sarah's backpack and takes out the hand of the +first terminator. + + JOHN + Will it melt in there? + + TERMINATOR + Yes. Throw it in. + +He does. It sinks into the lava. Vanishes. + + TERMINATOR + And the chip. + +John takes it out of his pocket. Looks at it. Tosses it +into the smelter. + + SARAH + It's finally over. + + TERMINATOR + No. There is another chip. + +He touches a metal finger to the side of his head. + + TERMINATOR + And it must be destroyed also. + +John suddenly understands what he means. Terminator looks +at Sarah. They both know what must be done. John shakes his +head. + + JOHN + No! + + TERMINATOR + I'm sorry, John. + + JOHN + No, no no!! It'll be okay. Stay + with us! + + TERMINATOR + I have to go away, John. + + JOHN + Don't do it. Please... don't go -- + +Tears are streaming down his face. + 130. + + +TIGHT CLOSEUP TERMINATOR, turning toward John. The human +side of his face is in shadow, so we see mostly the chrome +skull and the red eye. + + TERMINATOR + It must end here... or I am the + future. + + JOHN + I order you not to! + +Terminator puts his hand on John's shoulder. He moves +slightly and the human side of his face comes into the +light. He reaches toward John's face. His metal finger +touches the tear trickling down his cheek. + + TERMINATOR + I know now why you cry. But it is + something I can never do. + (to both of them) + Goodbye. + +Sarah looks at Terminator. Reaches out her hand to shake +it. They lock eyes. Warriors. Comrades. + + SARAH + Are you afraid? + + TERMINATOR + Yes. + +He turns and steps off the edge. 213 They watch him sink +into the lava. He disappears... the metal hand sinking +last... at the last second it forms into a fist with the +thumb extended... a final thumbs up. Then it is gone. + +HOLD ON JOHN AND SARAH, watching through the heat ripples +as we -- + + DISSOLVE TO: + +THE SUN, PURE IN A CLOUDLESS SKY + +Tilting down reveal that we are in a park, very green. +People are casually dressed, having fun. Cycling, +reading... children are playing in a playground. + +Beyond the line of tree we see the skyline of Washington, +D.C., with the Capital Building and the Washington +Monument. The skyline is subtly changed, with a lot of new +buildings, advanced high-rises. A CARD APPEARS + +July 11, 2029 + 131. + + +WE BOOM DOWN AND TRACK LATERALLY through a playground in +the foreground. Children swinging on swings. Sliding down +slides. Timeless things that 4 decades of technical +advancement will not change. As we track we hear: + + SARAH (V.O.) + August 29th 1997 came and went. + Nothing much happened. Michael + Jackson turned forty. There was no + Judgment Day. People went to work + as they always do, laughed, + complained, watched TV, made love. + +We pass a jungle gym, neither melted nor burned, but full +of kids swinging and yelling raucously. Past it we drop +down to see a boy pumping the pedals of a tricycle. + + SARAH (V.O.) + I wanted to run down the street + yelling... to grab them all and say + "Every day form this day is a gift. + Use it well!" Instead I got drunk. + +STILL TRACKING we come to rest on an elderly woman seated +on a bench. It is SARAH, now 64 years old. The world has +aged her, but she seems at peace in this moment. She speaks +into a microcassette recorder. + + SARAH (V.O.) + That was thirty years ago. But the + dark future which never came still + exists for me, and it always will, + like the traces of a dream + lingering in the morning light. And + the war against the machines goes + on. Or, to be more precise, the war + against those who build the wrong + machines. + +There is a man in is forties playing with two small +children nearby. He turns. It is John Connor. Through he +has the same stern features in adulthood, there is no eye- +patch, no scarring. He is far from the haggard man on grim +destiny we saw in the world that might have been. But there +is still penetrating intelligence, even wisdom, in his +eyes. + + SARAH (V.O.) + John fights the war differently + than it was foretold. Here, on the + battlefield of the Senate, the + weapons are common sense... and + hope. + 132. + + +A FOUR-YEAR-OLD GIRL runs to her to have her shoelace tied. + + GIRL + Tie me, grandma. + +Grandma Sarah smiles. It is the only time we have seen her +smile so far. She bends as the little girls puts her foot +up on the bench. She ties as we hear: + + SARAH (V.O.) + The luxury of hope was given to me + by the Terminator. Because if a + machine can learn the value of + human life... maybe we can too. + +Sarah ruffles the kids's hair as she runs off to play with +her dad. + +FADE OUT + \ No newline at end of file diff --git a/scripts/The Addams Family.txt b/scripts/The Addams Family.txt new file mode 100644 index 0000000000000000000000000000000000000000..87a3a0d2e9d48f26d84052e3fa34a0608af4aab2 --- /dev/null +++ b/scripts/The Addams Family.txt @@ -0,0 +1,7282 @@ + 1. + + + + FADE IN: + + +1 EXT. ADDAMS MANSION FRONT STEPS - CHRISTMAS EVE 1 + + A GROUP OF CAROLERS, their eager faces upturned, SINGS an + endless and cloying roundelay of "Little Drummer Boy." They + sing with self-righteous good cheer. As they pompously + begin their umpteenth verse, + + THE CAMERA SLOWLY PANS UP THE ADDAMS MANSION, past the + black wreath on the front door, past broken windows, + weather-beaten shingles, a creaking shutter. + + THE CAMERA CONTINUES TO PAN TO THE ROOF + + where the Addams Family members, GOMEZ, MORTICIA, GRANNY, + PUGSLEY, WEDNESDAY, and LURCH, their faithful butler, + gleefully POUR a CAULDRON OF BUBBLING, STEAMING PITCH over + the edge. + + AS THE CAULDRON TIPS, THE CAMERA PUSHES INSIDE, THE + BLACKNESS OF THE PITCH FILLS THE SCREEN. TITLES BEGIN. + + DISSOLVE TO: + + +2 INT. DIM HALLWAY - SEVEN O'CLOCK A.M. 2 + + C.U. AN OVER-SIZED "CUCKOO" CLOCK. + + The clock is a perfect REPLICA OF THE ADDAMS FAMILY HOUSE, + down to the creaking shutter. It chimes the hour. + + In ONE WINDOW, a LITTLE MECHANICAL GOMEZ bends a MECHANICAL + MORTICIA back until she's almost off her feet and plants a + kiss between her clockwork decolletage. One, two, three + mechanical kisses, counting toward seven o'clock. + + IN ANOTHER WINDOW, A MECHANICAL PUGSLEY hangs a MECHANICAL + WEDNESDAY from a noose on a gallows, up and down. + + Meanwhile, little BURSTS OF FOG float off the rooftop where + a little MECHANICAL GRANNY cranks her fog machine. + + The front door of the house pops open, and a MECHANICAL + LURCH appears and begins sweeping. + + Just then, THING, the disembodied hand with the full-bodied + personality, CLIMBS into view over the back of the clock. + 2. + + + Thing leaps to the floor and SCAMPERS down the hall. + + LOW TRACKING SHOT + + follows Thing along the hallway. + + He runs past a couple of doors, past a pair of LEGS in + pajamas, feet in bedroom slippers. He skids to a halt and + BACK TRACKS to the legs. He pulls on the cuff of the pajama + bottoms. They belong to GOMEZ, who stands in the doorway to + + +3 INT. FESTER'S ROOM 3 + + Gomez wears a fez and a smoking jacket over his pajamas. + Even at this early hour, he puffs on his trademark cigar. + Gomez is all enthusiasm or all despair. At the moment, he + radiates unfathomable woe. + + GOMEZ + Think of it, Thing. He's been gone + for twenty-five years. For twenty- + five years we've attempted to + contact Fester in the great beyond- + - + + The room is a dusty, cobweb-filled, long-unoccupied shrine + to Gomez's lost brother, Fester. Gomez drifts in from the + doorway. + + The room has remained untouched since Fester's + disappearance as a teenager. The thick coating of dust and + cobwebs adorns the mementoes of a rapscallion's youth, a + football pennant from Alcatraz, headless sports trophies, a + high school photo with all the other students keeping as + much distance from Fester as possible. + + As he lovingly and morosely surveys the room: + + GOMEZ + -- And for twenty-five years, + nothing. Not a whisper, not a clue. + I'm beginning to think my my + brother truly is lost. + + Gomez sighs. Thing TUGS at his cuff, pulling him towards + the + + +4 INT. HALLWAY - SAME TIME 4 + + Galloping ahead of Gomez, Thing leaps onto an old-fashioned + door latch and the door swings open INTO + 3. + + +5 INT. GOMEZ AND MORTICIA'S BEDROOM - SAME TIME 5 + + Gomez approaches the bed. Asleep on scarlet satin sheets is + MORTICIA + + GOMEZ + (gazing at Morticia) + Look at her. I would die for her. I + would kill for her. Either way, + what bliss. + + Low-voiced, incisive, and subtle, with Morticia, smiles are + rare. The ghostly whiteness of her complexion is offset by + the red of the pillowcase upon which her hair is spread + like a diabolic halo. A dark Garbo, sultry and remote, + she's a ruined beauty. + + Morticia OPENS HER EYES. + + GOMEZ + (adoringly) + Unhappy, darling? + + MORTICIA + (passionately) + Oh, yes, yes. Completely. + + CUT TO: + + +6 INT. PUGSLEY'S ROOM - SAME TIME 6 + + Pugsley crouches on the floor, playing with his kid-sized + chemistry set. + + The walls of his room are covered with road signs he's + collected "Bridge Out!", "Detour! Excavation Ahead!", + "Dangerous Undertow!", "Keep Clear! High Voltage!" SAWED- + OFF STOP SIGNS, still on their poles, are stacked in the + corner. + + In another corner stands a CYLINDRICAL FLOOR-TO-CEILING + FISH TANK, FILLED WITH PIRANHA. + + This tubby energetic monster of a nine-year-old boy has + every chance of growing up to be the public monster his + parents would be proud of. + + He MIXES chemicals in a beaker. The brew steams. Grinning + wickedly, Pugsley SWALLOWS it down. + 4. + + + He contorts, undergoing the beginnings of a transformation, + then SHRINKS to the size of a mouse. Laughing, he crawls + out of his human-size pajamas. + + CUT TO: + + +7 INT. ATTIC - SAME TIME 7 + + Solemn and mournful, ten-year-old Wednesday has black hair + and white skin like her mother. She sits on a stool among + the stored Addams' family objects, ONE END OF A STRING TIED + TO HER TOOTH, THE OTHER TIED TO A TRAP DOOR. + + The trap door is flung open, GRANNY pokes her head through. + She's a giggly hag who looks like she was in the bathtub + when the hair dryer fell in. + + Wednesday's pulled tooth swings at the end of the string. + + WEDNESDAY + Thank you, Grandmama. + + In a foul mood, Granny tromps up into the attic. + + GRANNY + You kids are going to have to kill + your own breakfast this morning. + + Wednesday opens a cigar box. Inside the box are assorted + human and animal teeth, fangs and dentures, along with a + collection of glass eyes. Wednesday drops her tooth in the + box. + + CUT TO: + + +8 INT. GOMEZ AND MORTICIA'S BEDROOM - SAME TIME 8 + + Gomez takes Morticia in his arms. As she languidly drapes + herself across his chest, she is caught in a sudden shaft + of sunlight. She squints. On the bedside table beside her, + Morticia's OVERSIZED CARNIVOROUS ORCHID WILTS. + + MORTICIA + Gomez, the sun, il me perce comme + un poignard. + + GOMEZ + (wildly aroused) + Tish-- that's French! + + MORTICIA + 5. + + + (nonchalant) + Oui. + + GOMEZ + Cara mia! + + He kisses his way up to her neck, then, suddenly bursting + with enthusiasm and a sense of purpose, LEAPS from the bed, + drawing his bedside saber from its sheath and BRANDISHING + it at the offending beam. + + GOMEZ + En garde monsieur sole! + + He thrusts and parries, pantomiming a duel with the shaft + of light. + + MORTICIA + Gomez? + + GOMEZ + Querida? + + MORTICIA + Last night, you were-- unhinged. + You were like some desperate, + howling demon. You frightened me. + Do it again. + + Gomez, instantly aflame. + + CUT TO: + + +9 EXT. ROOFTOP - SAME TIME 9 + + Granny delivers a swift kick to her fog machine. + + GRANNY + Lousy bucket of bolts! + + The FOG MACHINE, straight out of a Jules Verne nightmare, + is malfunctioning this morning, struggling to churn out its + patches of fog. + + CUT TO: + + +10 INT/EXT. MORTICIA AND GOMEZ'S BEDROOM - SAME TIME 10 + + At the window, Gomez pokes his head out. In the background, + Morticia brushes her hair with a silver filigree brush. + 6. + + + GOMEZ + (disturbed) + Granny, where's your fog? + + FROM ABOVE + + the fog machine hurtles downwards, missing decapitating + Gomez by millimeters. It crashes below, smashing through + the front porch roof. + + CUT TO: + + +11 INT. ENTRANCE HALL - LATER 11 + + Standing beside the front door is LURCH, the gigantic + family butler, a reanimated stitched-together behemoth. He + holds two brown paper lunch bags in his enormous hands. The + bags' contents wriggle, eager to escape. + + WEDNESDAY + (taking her bag) + Thank you, Lurch. + + Pugsley takes his bag, opens it, and peers inside. Lurch + GROWLS, and Pugsley closes the bag. + + CUT TO: + + +12 EXT. BALCONY OUTSIDE GOMEZ AND MORTICIA'S BEDROOM - SAME 12 + TIME + + Gomez is HITTING GOLF BALLS. Thing serving as his tee while + Morticia sips tea. + + ONE OF THE GOLF BALLS + + flies with incredible speed THROUGH THE WINDOW of the + ADDAMS' ONLY NEIGHBOR. + + This well-tended HOME sits on the hill overlooking the + Addams' Mansion like some Republican sentinel. + + CUT TO: + + +13 INT. NEIGHBOR'S HOME - SAME TIME 13 + + JUDGE WOMACK, the Addams' CRUSTY PATRICIAN NEIGHBOR, is + having his breakfast when Gomez's golf ball lands in his + cornflakes, shattering the bowl, covering him with milk. + 7. + + + Judge Womack hurries to his broken window, shaking his + fist: + + JUDGE WOMACK + Damn you, Addams! + + CUT TO: + + +14 EXT. GOMEZ AND MORTICIA'S BALCONY - SAME TIME 14 + + FROM THEIR VANTAGE POINT it appears to Gomez and Morticia + that Judge Womack is waving to them. Gomez waves back. + + GOMEZ + (calls) + Sorry about the window, Judge! Keep + the ball! I have a whole bucketful. + + He holds up a bucket of golf balls. He tosses his golfclub + to Thing, who DEPOSITS IT in the golf bag. + + Gomez joins Morticia watching + + THE DEPARTING SCHOOL BUS + + MORTICIA + The little ones, off to school. + Bless them. + + GOMEZ + They grow up so fast, don't they? + + MORTICIA + Too fast. + + THEIR POV + + Tires smoking, the school bus strains to chug down the + road. Gleefully hanging from the rear bumper is Pugsley, + dragging his heels. + + CUT TO: + + +15 INT. THE CONSERVATORY - LATER THAT MORNING 15 + + Morticia, wearing gardening gloves, is snipping the + blossoms off her roses. + + Gomez sits at a table, playing CHESS with Thing. + 8. + + + GOMEZ + It's a milestone, Tish. This very + evening, our twenty-fifth seance. + All those years, gnawed by guilt, + undone by woe, burning with + uncertainty-- + + MORTICIA + (yearningly) + Oh Gomez, don't torture yourself. + That's my job. + + GOMEZ + (lustfully) + Tish-- + + MORTICIA + Imagine, Darling, if Fester did + come back. Half-alive, barely + human, a rotting shell-- + + GOMEZ + Don't tease. + + CUT TO: + + +16 EXT. JUST OUTSIDE THE ADDAMS' GROUNDS - SAME TIME 16 + + TULLY ALFORD, the family attorney, and his wife, MARGARET, + approach "GATE," a wrought-iron monstrosity that opens of + its own accord. Though Tully comes here often and Margaret + has been here before, they never cease to be startled by + "Gate." + + Tully has a puffy, once handsome face, and an embittered + grey aura that is the mark of a middle-age misspent. High- + strung and superficial, Margaret is more disappointed in + Tully than he is in himself. + + Margaret passes through Gate first. Then, as Tully passes + through, Gate slams on him, clipping him and catching the + end of his coat. Tully fights Gate for his coat. + + TULLY + Let me go! + + Ignoring Tully, Margaret continues stiffly up the walk. + + TULLY + (to Gate) + Gimme that! Stop it! I'm warning + you! It's not a good day! + 9. + + + CUT TO: + + +17 INT. CONSERVATORY - SAME TIME 17 + + Gomez moves a chess piece. Thing gestures out the window. + Gomez and Morticia both look out. As they do, Thing moves + two chess pieces, cheating. + + MORTICIA + (looking out) + Tully is here, darling. + + GOMEZ + Ha! That Tully. + + MORTICIA + Romping with Gate. + + GOMEZ + (moving a piece) + Check. + + Thing moves another piece and gestures in triumph. + + MORTICIA + (impressed) + Checkmate. + + CUT TO: + + +18 EXT. GATE - SAME TIME 18 + + MARGARET + Tully! Can't you keep up? + + TULLY + I'm trying-- + + Tully rips his coat to get it away from Gate. + + MARGARET + These are your last paying clients, + may I remind you! + + TULLY + If it gives you pleasure-- + + MARGARET + Something has to. Like a decent + coat - something dressy, for + evening. Ask-for a loan. Beg. + 10. + + + TULLY + No loans! I'm not a bum. + (before Margaret can + reply) + Don't say it. I'll get the money, + I've got a plan. + + MARGARET + This is all so humiliating. Why did + I marry you? + + TULLY + Because I said yes. + + Margaret marches on toward the front door, skirting the fog + machine as if it had every reason to be there. It hisses at + Tully as he passes, splattering his trousers with fog. + + CUT TO: + + +19 INT. ENTRY HALL - A LITTLE LATER 19 + + Tully hands his hat to Lurch and marches off toward Gomez's + study. Finding herself alone with Lurch, Margaret is more + nervous and intimidated than she would ever admit. + + MARGARET + I'm here to see Mrs. Addams. About + the charity auction. + + Growling, Lurch heads for the stairs. Screwing up her + courage, Margaret resolutely follows. + + CUT TO: + + +20 INT. ADDAMS FAMILY PORTRAIT GALLERY - A LITTLE LATER 20 + + Tully stalks glumly along the hall and past the family + portraits, generations of Addams grotesques in elaborate + gilt frames heading toward the imposing doors of Gomez's + study. + + ON THE FLOOR lies a BEAR RUG eyes and mouth open. + + Tully, preoccupied, strides toward the rug. There's a + sudden FEROCIOUS GROWL as he steps on it. + + TULLY + Damn! + 11. + + + He kicks at the rug. It BITES him, clamping its jaws onto + his trouser cuff. He flails, dancing around, finally + managing to shake it off. He finds himself FACE-TO-FACE + with one of the paintings. + + A PORTRAIT OF THE TEENAGE FESTER ADDAMS draped in black + crepe and HOLDING A LIT CANDLE, though how it is holding a + lit candle is an utter mystery. At fifteen, Fester was + utterly hairless with a dead white complexion and eyes + rimmed in black like a raccoon's. The identifying plaque + reads "Fester Addams, 1947 - ?" + + TULLY regards the portrait intently, almost as if having a + premonition. + + THE INTRICATELY CARVED DOORS TO GOMEZ'S STUDY creak open, + interrupting the reverie. Girding himself, Tully proceeds + inside. + + CUT TO: + + +21 INT. GOMEZ'S STUDY - SAME TIME 21 + + A SABER slices through the air, its blade glinting. + + TULLY'S HAND grabs for the hilt of the sword. He misses. + + THE BLADE embeds in the wall with a thunk. It SHUDDERS. + + GOMEZ + Missed. + + He leaps into frame, brandishing a saber. + + Tully BACK-PEDALS and, as he PULLS the sword from the wall, + POINTS TO something behind Gomez. + + TULLY + What's that?! + + Gomez turns to see and Tully CHARGES, wielding the sword as + if he means to decapitate Gomez. But Gomez easily PARRIES + the blow. + + GOMEZ + Dirty pool, old man! I like it! + + Gomez counters, driving Tully back. He shreds Tully's + jacket. + + TULLY + Had enough? + 12. + + + They continue to fence. Gomez flips Tully's briefcase open + and a sheaf of legal looking papers spills out. + + GOMEZ + Where's my pen? Never mind, I'll + use yours. + + His blade finds the pen in Tully's inside jacket pocket. He + does HANDSPRINGS back to his desk, landing gracefully in + his chair. + + GOMEZ + First, the old business! + + He swivels, warding off another blow, then cavalierly + continues the duel as he signs the LEGAL DOCUMENTS + scattered before him. + + CUT TO: + + +22 INT. ADDAMS ATTIC - SAME TIME 22 + + Morticia, Granny, and Margaret sort through Addams' + possessions. In trunks. Boxed. Stacked. Covered with + shrouds. Morticia opens a gigantic, elaborately carved + armoire. + + MORTICIA + Perhaps it's in here. + + GRANNY + (mischievously) + I don't think so-- + + In the front of the armoire is an overstuffed GARMENT BAG + LABELLED 'UNCLE NIKNAK'S WINTER CLOTHES.' + + MORTICIA + (full of fond memories) + Uncle Niknak's winter wardrobe. + + She carefully passes the garment bag to Granny who chucks + it aside. + + The next garment bag is marked 'UNCLE NIKNAK'S SUMMER + CLOTHES.' + + MORTICIA + Uncle Niknak's summer wardrobe. + + She passes this garment bag to Granny who chucks it aside + also. + 13. + + + Next in the armoire is a BODY BAG. + + MORTICIA + (fonder still) + Uncle Niknak. + + Morticia continues going through the armoire. + + CUT TO: + + +23 INT. GOMEZ'S STUDY - SAME TIME 23 + + Gomez and Tully are still duelling. Still signing. Gomez + hasn't even broken a sweat. + + GOMEZ + I wish you'd drop by more often. + + Tully doggedly fights on. His jacket has suffered more + shredding from Gomez's blade. + + TULLY + I'm like to, but-- + + GOMEZ + But what, old sport? + + TULLY + Oh, you know-- + + GOMEZ + You know what? + + TULLY + I'm a bleeder. + + Gomez STOPS DEAD at a document. Deftly, he DISARMS Tully, + sending his saber flying up and out of view. + + GOMEZ + What's this? A new proposal? "The + Fester Addams Off-Shore Retirement + Fund?" What would they do? + + TULLY + What wouldn't they do? It's a very + worthy cause and a great addition + to the other Fester Addams Funds. + + GOMEZ + (rhapsodizes) + 14. + + + Fester - all tribute to thee. Some + called him inhumanly evil. + + TULLY + (protesting) + No! + + GOMEZ + Only our parents. I called him - + brother. + + TULLY + And his memory must live on, + forever. Through money. We'll + deposit the funds under my name, + for tax purposes. + + GOMEZ + Really? That's inspired! + + TULLY + He would have wanted it that way. + Beloved Fester. + +The sword tumbles back into his hand. They resume duelling. + + GOMEZ + Indeed! For Fester! + + TULLY + For Fester! A brother! + + GOMEZ + My brother! + + TULLY + One of a kind! + + GOMEZ + The doctors all said! + + TULLY + Kind to animals! So good with + children! + + GOMEZ + They never proved anything. + + TULLY + One million dollars. The perfect + amount. + + GOMEZ + 15. + + + It's brilliant! + + TULLY + It's untraceable. + + GOMEZ + But, Tully, it's not old business. + It's going to have to wait. You + know the rules better than that. + + TULLY + (taken aback) + What? But this is different! It's + in my name! Make an exception! + + GOMEZ + Old business is old business and + new business is new business and + this-- + +Gomez holds up the proposal. + + GOMEZ + -- is new business and we don't + discuss new business again until-- + +With one finger, he rifles through a desk calendar, +flipping endless pages. He lands on a distant date-- + + GOMEZ + Next quarter! Next quarter!? + +Tully has gone white. + + TULLY + Next quarter!? + +Tully goes to attack like an enraged bull. + +Gomez does a KUNG FU BACKFLIP out of his chair, just +missing being run through by Tully's saber. The saber +skewers the overstuffed chair, and carried by the momentum +of the charge, Tully SOMERSAULTS over the desk, colliding +with the chair, landing on the floor. + + GOMEZ + Fine lunge, but your riposte, a tad + rusty. + +Gomez carelessly flings away his sword. + +Thing, perched on a decorative Samurai helmet, plucks the +sword from the air and resheathes it. + 16. + + + GOMEZ + Make yourself comfortable, old man, + while I get the money for the + monthly expenses. + + Tully lies, ruined, on the floor. + + Gomez GRABS TULLY'S BRIEFCASE and makes a brisk exit, + closing the office doors behind him. + + Tully crawls to the doors and slides them open a crack, + intent on spying on Gomez. He PEEKS INTO: + + +24 INT. DEN - SAME TIME 24 + + At one of the floor-to-ceiling bookshelves, Gomez reaches + for A BOOK, pulling it partway from the shelf. We see the + book's title - GREED. The entire shelf, a secret panel, + revolves and deposits Gomez on the other side of the wall. + Then it turns back to its original position. + + Tully gets to his feet, goes through the doors, and + staggers for the bookcase. + + FROM BEHIND THE BOOKCASE COME THE SOUNDS OF GOMEZ MAKING + HIS DESCENT INTO THE VAULT. CREAKING, GROANING, THE SOUNDS + OF CHAINS AND PULLEYS, VAGUE ANIMAL HOWLS, SPLASHING WATER. + + CUT TO: + + +25 INT. ATTIC - SAME TIME 25 + + The armoire has been totally emptied. Morticia looks over + the contents of a nearby shelf. Thing sits on the shelf, + offering a BEJEWELED TREASURE. + + MORTICIA + There it is. Just what we've been + searching for. + (takes the treasure from + Thing) + Thank you, Thing. + + Morticia passes Margaret the JEWEL-ENCRUSTED CYLINDER OF + WEBBED GOLD, dragons' heads with gaping jaws at either end. + Margaret is at first afraid to touch it, but greed helps + her get over it. + + MARGARET + (awed) + My God, what is it? + 17. + + + MORTICIA + A family heirloom. A finger trap + from the court of Emperor Wu. + + MARGARET + It must be worth a fortune. Look at + those emeralds. + (superciliously) + Oh, Morticia, this is too + extravagant! Even for the auction! + + GRANNY + Let's keep it. + + MORTICIA + Hush - it's for charity. Widows and + orphans. We need more of them. + Margaret? + + Enchanted by the object, Margaret isn't listening. She + inserts her fingers and they're instantly stuck. + + MARGARET + (struggling) + Mmm? + + MORTICIA + The seance - tonight. Won't you + come? It's Gomez, I'm terribly + worried. He won't eat, he can't + sleep, he's been coughing up blood- + - + + MARGARET + (aghast) + He coughs up blood? + + MORTICIA + (sadly) + Well, not like he used to-- + + CUT TO: + + +26 INT. DEN - SAME TIME 26 + + At the bookshelf, Tully reaches for a book, approximately + in the same place where Gomez unlocked the secret panel but + Tully's book comes out of its place on the shelf and + nothing happens. + 18. + + + Biting back his frustration, Tully reads the title, "GONE + WITH THE WIND." He opens the cover. A HURRICANE BLAST OF + WIND GUSTS from the open book, blowing Tully's hair + straight up, rippling his facial muscles. He manages to + close the book and, heart pounding, returns it to the + shelf. + + He grins sheepishly at LURCH who's been watching him from + where he dusts in the hall, a feather duster in his + gigantic hands. + + CUT TO: + + +27 INT. GOMEZ'S STUDY - LATER 27 + + C.U. TULLY'S BRIEFCASE + + Now filled with greenish DOUBLOONS. + + Gomez, wearing a green accountant's eyeshade, weighs a + final handful of coins on an old-fashioned measuring scale, + then tosses them into Tully's briefcase. + + GOMEZ + There the monthly expenses. + + Tully snaps the briefcase shut and hoists it from Gomez's + desk. It's dead weight in his hand, another hateful ordeal. + + TULLY + (trying to phrase it) + I don't suppose you have any paper + money in that vault. Gomez, it's + time. For the new fund. A + checkbook. + + GOMEZ + Never! The banks, I don't trust + them. + (confidentially) + Strange people, Tully. + + TULLY + Really? + + GOMEZ + (his arm around Tully) + Not like you and me. Or Fester. The + seanc, I need you here. For him. + + TULLY + Seance? + 19. + + + Tully lugs the briefcase toward the door. + + GOMEZ + Eight o'clock. By the way -- + + Tully turns back. + + Gomez flips an extra DOUBLOON across the room. It lands + expertly in Tully's vest pocket. + + GOMEZ + I broke another of Judge Womack's + windows this morning. + + Tully resumes his put-upon march to the door. + + CUT TO: + + +28 EXT. JUDGE WOMACK'S HOUSE - A LITTLE LATER 28 + + Tully is on the front steps, (Judge Womack won't let him + inside), searching his pockets for the doubloon, helplessly + enduring another of the Judge's tongue lashings. + + JUDGE WOMACK + (to Tully) + Still working for Addams-- + (to Margaret) + Mother warned you, Margaret. I can + still hear her voice, clear as a + bell, she'd always say, day in and + day out, "Marry Tully Alford" + + TULLY + "And you'll hear Satan laugh." + Here's your doubloon. + + MARGARET + (still wearing the + fingertrap) + I'm stuck! + + JUDGE WOMACK + (to Tully) + You lowlife. + (to Margaret) + Are those emeralds? + + CUT TO: + + +29 INT. TULLY'S LAW OFFICE - LATER 29 + 20. + + + Tully enters the secretary's alcove, still lugging his + impossibly heavy briefcase. His offices were once quite + elegant, but now the leather on the chairs is starting to + crack and a repainting is long overdue. + + Tully looks around for his secretary. + + TULLY + Miss Bradbury -- + (annoyed) + Miss Bradbury! + + ABIGAIL (O.S.) + She's at lunch, Mr. Alford. + + Alarmed, Tully steps into + + +30 INT. TULLY'S OFFICE - SAME TIME 30 + + Sitting in a chair on the client's side of Tully's desk is + ABIGAIL CRAVEN, an arrogant, aristocratic-seeming 60ish + doyenne. Her steely will and conniving manipulativeness are + barely veiled by a thin layer of polish and good manners. + + Instantly obsequious, Tully sets his heavy briefcase on his + desk and shakes her hand. + + TULLY + Mrs. Craven, I was just about to + call you. + + ABIGAIL + I'm certain you were. + (she gestures) + You haven't met my son, Gordon, + have have you, Mr. Alford? + + Tully turns amiably, but his face falls at the sight of: + + GORDON CRAVEN - + + Fleshy and round, in his 40's, impeccably if eccentrically + dressed, his dark hair plastered with pomade. With his + barrel chest and his kamikaze demeanor, he is IMMEDIATELY + THREATENING. + + Tully blanches. + + GORDON + Is this the one, Mother? The + deadbeat you mentioned? + 21. + + +Before Tully can react, Gordon has him by the throat, +hanging him upside down from the wall like an oil painting. + + TULLY + (choking) + Wait a minute, hold on! You have to + listen to me! + + ABIGAIL + We do, Mr. Alford? And why? + + TULLY + Please-- Just hear me out-- + + GORDON + Mother-- your call. + + ABIGAIL + (to Tully) + Gordon and I enjoy a very-- special + relationship. I'm wild about him. + + GORDON + (infatuated) + She's a pip. + + ABIGAIL + Refreshing, no? + (after a beat) + Down, Gordon. + + GORDON + Mother-- + + ABIGAIL + (sternly) + Gordon. + + TULLY + Gordon! + +Gordon lets go, dropping him on his head. Whimpering, Tully +crawls toward his desk. + + ABIGAIL + And how is your wife, Mr. Alford? + I've heard so much about her. Still + charming? Still spending? + + TULLY + I don't have the money to repay + you-- I've tried everything-- + 22. + + + ABIGAIL + We've lent you a considerable sum. + Many thousands of dollars. Payment + due. + + TULLY + Soon, I promise. + + ABIGAIL + Oh, Gordon, I want to believe him-- + + GORDON + So do I-- + + ABIGAIL + (re: Gordon) + He's so terribly trusting. + + GORDON + She's a saint. + + ABIGAIL + (to Gordon) + Silly boy, make me proud. + +Gordon grabs Tully and sweeps him onto his desk. + +TULLY'S BRIEFCASE pops open as it hits the floor. The +Addams' doubloons SPILL OUT. + +Abigail and Gordon light up at the sight of the gold. They +share a malicious smile. Gordon leers down at the battered +Tully. + + GORDON + He lied to us, Mother. + + TULLY + (babbling hysterically) + It's not what you think! Those are + doubloons! For the Addams account! + + ABIGAIL + Addams? + + TULLY + There's more, there's a fortune, + but no one can get to it! Don't you + think I've tried? + + ABIGAIL + Have you? Have you tried hard + enough? Ask him, Sweetheart. + 23. + + + Gordon descends on Tully, menacingly. + + TULLY + No! Sweetheart! Don't ask! + + TULLY'S CRINGING POV + + Gordon's face hovers inches from his own. The glare from + the lightbulb hanging overhead whites out Gordon's hair, + making Gordon look as bald as a cue-ball. + + It's like a sudden vision. The inspiration is obviously + born of terror. Gordon is the SPITTING IMAGE OF THE LONG- + LOST FESTER, as he would appear twenty-five years later. + + TULLY, disbelieving, comes nose-to-nose with Gordon. + + TULLY + (in a shocked, croaky + whisper) + Fester? + + Gordon makes a face at his mother. + + CUT TO: + + +31 INT. ADDAMS MANSION DEN - EVENING 31 + + Morticia stands at the open window. Gomez stands behind + her, his arms around her waist. + + GOMEZ + (passionately) + Hailstones-- + + MORTICIA + And lightning-- + + GOMEZ + (nuzzling her) + It's a miserable night. + + MORTICIA + (aroused) + I know, darling. Seance weather. + + Morticia leans out the window. + + MORTICIA + (festively) + Children, we're starting! + (amused) + 24. + + + Put down that antenna! + + Another LIGHTNING FLASH. + + CUT TO: + + +32 INT. MOTEL ROOM - SAME TIME 32 + + A typical, rundown, highway-style motel room, with stained + fiberglass curtains and a splotchy oil painting. Gordon is + seated on the bed, facing a cracked mirror. Abigail stands + behind him, consulting a picture of FESTER that Tully has + lent them. + + ABIGAIL + (staring at the picture) + It's uncanny. My little boy, and + this hideous creature. + + GORDON + (hurt) + Mother-- + + ABIGAIL + (correcting herself) + Handsome creation. + (putting a towel on + Gordon's shoulders) + Think of it, my angel, no more + grubby store-front scams. No more + loansharking to scum like Tully + Alford. All that delicious money, I + can feel it, right in my + fingertips. + + GORDON + So can I-- + + ABIGAIL + (in his ear) + Just one week and out. You locate + the vault and then we're gone-- + poof! Before they notice what's + missing. + + GORDON + And Alford? + + ABIGAIL + We need him, for now. And later, + we'll be miles away, and he'll take + the rap. + 25. + + + GORDON + (intensely) + You're so good. + + Abigail holds up a shaving brush, covered with foam. + + ABIGAIL + (seductively) + Shave and a haircut, Mister? + + GORDON + (breathing heavily) + Two bits. + + Gordon moans orgasmically as Abigail begins to shave him. + + CUT TO: + + +33 INT. ENTRYWAY - A FEW MINUTES LATER 33 + + Lurch peels off Margaret's and Tully's wet overcoats. + Margaret wears the same clothes she wore on her earlier + visit, the finger trap has made it impossible for her to + change. + + MARGARET + What a miserable evening. + + TULLY + Don't add to it. + + Wednesday has come to escort them. Tully tries to make + conversation. + + TULLY + Big night for you guys! Hey, small + fry. + + Tully reaches out to pat Wednesday's head. She moves away. + + MARGARET + Hello, sweetheart. + (holding up her trapped + hands) + Could you? + + Wednesday deftly releases the trap from Margaret's fingers. + + Margaret is amazed. She tries to straighten her disheveled + clothes. + + MARGARET + 26. + + + Thank God. Call me a cab, Tully-- + + TULLY + Get it yourself-- + + MARGARET + Give me the car keys-- + + TULLY + Give it a rest-- + + Morticia appears. + + MORTICIA + Welcome, honored guests. + + Lurch presents a tray of vile-looking canapes. Morticia + motions to the tray. + + MORTICIA + Entrails? + + CUT TO: + + LURCH AT HIS ORGAN + + He plays a CRASHING CHORD. + + MORTICIA (O.S.) + Let us gather, in this house of + yearning, on this day of heartsick + loss, at this table of woe. Is + everyone comfortable? + + CUT TO: + + +34 INT. DEN - SAME TIME 34 + + The family and Tully and Margaret sit at a round table, the + crystal ball in the center. In the background, Lurch + continues to play mood music on the organ. Morticia holds a + tarnished gold CANDLEHOLDER in the shape of a RAVEN. The + candle is in its belly and the beams of light glow from its + eyes. + + MORTICIA + Sing, O spirits! Harken, all souls! + Every year on this date, we offer a + clarion call to Fester Addams. + + WEDNESDAY + (to Pugsley) + 27. + + + Stop it! + + GOMEZ + (scolding, playfully) + Pugsley-- + +Pugsley has a meat cleaver aimed at his sister. + +Reluctantly, he hands it to Gomez. + + GOMEZ + (bemused, to Tully) + Kids. + + MORTICIA + (raising the raven) + From generations, to generation, + our beacon to the beyond. + (passing the raven to + Wednesday) + Do you accept the glorious burden? + + WEDNESDAY + (taking the raven) + May it weigh me down through all my + melancholy years. + + MORTICIA + All close eyes and join hands. + +They do. Granny takes a squeamish Margaret's hand. + + GRANNY + Ow! What a grip! + +Granny pulls away, leaving her "hand" behind, her sleeve +apparently empty. + + GRANNY + My hand! She's got my hand! + +Left holding Thing, Margaret shrieks. + +Pugsley laughs appreciatively. + +Margaret tries to shake Thing off, but he hangs on tightly. +Granny cackles. + + MARGARET + Excuse me-- + +Ashen, Margaret tries to escape. Tully pulls her back to +her seat. + 28. + + + TULLY + Sit down, Pumpkin. Join the fun. + + MORTICIA + (affectionately) + Mama, you should know better. Thing + - you're a handful. + + Thing lets go and runs off. + + Margaret sits, stiff as a corpse. Still chuckling, Granny + takes a hold of Margaret's now-rigid hand with her own real + hand. Margaret shudders. + + With a last look around the table to insure that everyone + has settled down, Morticia resumes the seance. + + MORTICIA + Wednesday-- + + WEDNESDAY + (intones) + "Let us ransom you from the power + of the grave. Tonight, O Death, Let + us be your plague." + + MORTICIA + Mama-- + + GRANNY + I feel that he's near. Fester + Addams, gather your strength and + knock three times. + + CUT TO: + + +35 EXT. THE FRONT DOOR - SAME TIME 35 + + We see Gordon's hand on the DOOR KNOCKER, just his hand. He + pounds THREE TIMES, the heavy hollow sound reverberating. + + CUT TO: + + +36 INT. DEN - SAME TIME 36 + + Granny's eyes pop open. + + GRANNY + Did you hear that?! + + MORTICIA + 29. + + + Ask again, Mama. Quickly. + + Lurch's organ music perfectly underscores and punctuates + the scene. + + TULLY + By all means! + + Tully smirks, barely able to contain his smug enthusiasm. + + GOMEZ + (urgently) + Ask! Ask! + + GRANNY + Fester Addams - I demand that you + knock again! + + CUT TO: + + +37 EXT. THE FRONT DOOR - SAME TIME 37 + + Waiting for someone to answer, Gordon's hand again KNOCKS + THREE TIMES, this time even harder. + + CUT TO: + + +38 INT. DEN - SAME TIME 38 + + The knocking reverberates through the room. Jubilant, Gomez + springs to his feet. Lurch hits a crescendo on the organ. + + GOMEZ + He's at the door! + + He runs out and through the house to the + + +39 INT/EXT. ENTRYWAY - FRONT STOOP - SAME TIME 39 + + His family at his heels, Gomez eagerly pulls open the front + door. + + There on the front steps stands GORDON FESTER FROM BEYOND. + Gordon's head is completely shaved, and his clothing and + pallor are pure Fester. The exact resemblance is shocking. + It seems a miracle. + + Gomez and Fester stare at each other. Fester's eyes have a + hard, I-dare-you-to-question-me look in them. + 30. + + + Neither man says a word. + + MORTICIA + Could it be? + + GRANNY + Is that him? + + TULLY + (innocently) + Is it possible? + + MARGARET + Oh my God-- + + Morticia looks to Gomez for confirmation. Gomez and Fester + continue their face-off. + + Gomez breaks the stalemate. + + GOMEZ + Fester! + + FESTER + Gomez! + + Gomez throws open his arms. He smothers Fester in an + embrace. Fester endures it. Abigail steps forward; she now + wears a plain, dowdy suit, and her hair is in braided + coils. She now speaks in a German/Austrian accent. + + ABIGAIL + Gut evenink. I am Dr. Pinder- + Schloss. + + +40 INT. DRAWING ROOM - A SHORT WHILE LATER 40 + + Fester stands by the tall, baronial fireplace where an + enormous fire burns. Steam rises off his wet greatcoat, + enveloping him. He seems immobile, a pair of shining black + ferret eyes, calculating. + + Pugsley stands nearby, beside Fester's steamer trunk, + studying the exotic decals. + + ABIGAIL + 31. + + + How did zis happen? How did it come + to be. Ze story it is most amazink, + and also beautiful. He vas found in + Miami, tangled in ze tuna net! It + vas just last month, during ze + Hurricane Helga. Ze sky, it vas + black like pitch. Ze vaves, zay + vere valls of doom. Can you + imagine? Zen zey drag him from ze + ocean, from ze very jaws of + oblivion. I'm tellink you! Zere are + tests, so many tests, and a + complete psychological profile. At + long last, ze Florida Department of + Fish unt ze Game, ze say, low unt + beholdt, my oh my go tell it on ze + mountaintop, he is-- your bruzzer! + Boom! Zey gif him to me, at Human + Services, and I am bringink him, + after all zese years, after who + knows vat heartache, after ze naked + unt ze dead, I am bringink him home + to you! + + MARGARET + That's preposterous. + + TULLY + Margaret-- + +Tully nudges her in the ribs to shut up. + + MARGARET + But don't you think that's absurd? + + TULLY + Honey-- + + MARGARET + Isn't that the most ridiculous + thing you've ever heard? + + TULLY + (through gritted teeth) + Blossom-- + + GOMEZ + It certainly is. + +Gomez slaps Fester companionably. Fester hates being +touched. + + GOMEZ + 32. + + + And now you're back. + + TULLY + Back to share your joys, back to + share your sorrows, back to share, + well, hey everything! + + MARGARET + Well, I just don't know-- + +Tully hands Margaret the fingertrap to distract her. + + TULLY + Darling, how does this work again? + + MARGARET + An infant would understand-- + +Margaret, disgusted with Tully, demonstrates the +fingertrap. Her fingers are instantly stuck again. + + MORTICIA + Fester Addams, home at long last. + + FESTER + Well, at least for a week. + + MORTICIA + A week? + + GOMEZ + Don't be ridiculous! You're home! + + FESTER + Sorry, but I have to get back. I've + got a lot of things cooking in the + Bermuda Triangle. + + MORTICIA + (aglow with romance) + Oh, Gomez. The Bermuda Triangle. + + GOMEZ + (fondly) + Devil's Island-- + + MORTICIA + (dreamy) + The Black Hole of Calcutta. + + GOMEZ + (to the group) + Excuse us. + 33. + + + MORTICIA + Second honeymoon. + + At the steamer trunk, Pugsley is disintegrating the lock + with a beakerful of acid and an eyedropper. + + MORTICIA + (to Abigail) + Dr. Pinder-Schloss, will you be + staying too? + + ABIGAIL + No, no, I really must be goink. But + I vill be back, you can bet. To be + checkink on Fester's adjustment. + + The acid has eaten away the lock on Fester's trunk. Pugsley + opens the trunk a crack. He fishes among the contents, his + arm inside up to the shoulder. Something snaps. He grins, + then pulls out his hand. His fingers are crushed in a + rusty, ferocious-looking BEAR TRAP. + + PUGSLEY + Cool. + + Wednesday alone stands apart in her mournful fashion. She + is instinctively SUSPICIOUS of this new Fester. + + WEDNESDAY + Nobody gets out of the Bermuda + Triangle. Not even for a vacation. + Everyone knows that. + + ABIGAIL + (to Wednesday) + Oh, my little vun. Zere is zo much + you do not understandt. Ze human + spirit - it is - a hard tink to + kill. + + GRANNY + (agreeing) + Even with a chainsaw. + + Abigail pinches Wednesday's cheek, hard. Wednesday + continues to stare at Fester. + + CUT TO: + + +41 INT. FESTER'S ROOM - LATER 41 + 34. + + +Morticia has shown Fester to his room. As she speaks, the +camera lingers on the following photographs atop the +bureau: + +A PICTURE OF FESTER AND GOMEZ AS YOUNG BOYS, EACH IN A +DOGGY CARRYING CAGE, BEING HELD BY THEIR FATHER. FATHER +STANDS BESIDE A CRUDE WOODEN SIGN WITH "CAMP CUSTER" +BRANDED INTO IT. + +GOMEZ AND FESTER AS BOYS, PROUDLY SITTING ON THE LAP OF A +BOUND-AND-GAGGED SANTA CLAUS. + +Morticia begins to open Fester's trunk and go through it. + + MORTICIA + Unpacking, you must be exhausted. + Let me. + + FESTER + (alarmed at what she + might find) + No-- um-- that's all right-- you + don't have to-- + +Morticia begins removing Fester's burglary equipment from +the trunk. + + MORTICIA + A crowbar-- dynamite-- cyanide-- + Fester. As if we'd run out. + (she turns to go) + Good night. + +She exits. Fester examines two photographs in a hand-tooled +leather frame on the bureau. Imprinted below the FACE OF +THE BEAUTIFUL GIRL ON THE LEFT is the name FLORA, below the +BEAUTIFUL GIRL ON THE RIGHT is FAUNA. + +It's clear that they are identical twins. + +The CLOCK in the hall STRIKES MIDNIGHT. + +It's time to go to work. He opens the door to his room and +peeks out. He sees WEDNESDAY in her doorway across the +hallway, staring back at him. + +He whips back into his room. + + FESTER + Nosy little brat-- + +Frustrated, he looks out again. Wednesday's door is shut. +He looks both ways. + 35. + + + CUT TO: + + +42 INT. ATTIC - A FEW MINUTES LATER 42 + + The TRAP DOOR RISES in the attic floor. Fester's head + appears. + + Fester climbs into the attic. As he does, the camera PANS + around the room, taking in the piles of odd objects and + memorabilia. + + Fester approaches a set of GLASS CASES. + + ANGLE on the FIRST CASE. The case contains a set of mounted + BUTTERFLIES, pinned in place. + + ANGLE on the second, LARGER CASE. In this case there are + several STUFFED VAMPIRE BATS. + + ANGLE on the third, STILL LARGER CASE. This case is about + three feet high, and fairly wide. It is empty. + + WEDNESDAY (O.S.) + It's reserved. + + The camera PULLS BACK. Wednesday stands near the trap door; + staring at Fester, who stands by the empty case. Fester is + startled, but tries to act calm. + + FESTER + It's reserved? For what? + + WEDNESDAY + For Skipper. + + FESTER + For Skipper? Is he a dog? + + WEDNESDAY + No. Skipper isn't a dog. That would + be cruel. + + FESTER + (gruffly) + Of course not. I'm sorry. + + WEDNESDAY + He's a bully. + + Fester stares at Wednesday. He backs away from her. + 36. + + + CUT TO: + + +43 INT. FESTER'S ROOM - A FEW MINUTES LATER 43 + + Fester runs back into his room and shuts the door. + Wednesday has obviously unnerved him. + + He sits on the edge of the bed. A cloud of dust billows + around him. Yawning, he lies down, sinking into the + mattress so deeply that he's almost buried alive. + + Getting comfortable, he burrows deeper. + + CLOSE UP - FESTER'S EYES. Who knows what terrors they've + seen? But now they lose their coldness, getting dreamy, + then he hears the creak of his door opening-- + + FESTER + Who's there? + + He sees -- + + A SHADOW thrown huge on the wall. A SINISTER HAND WITH + WRIGGLING FINGERS. + + FESTER goes for the knife he keeps in his boot, which is + next to the bed, on the floor. The door slams. Veins in his + forehead bulge. + + THE WINDOW EXPLODES OPEN. + + The wet wind snuffs the candelabra light. There's only the + sound of Fester's animal panting, then LIGHTNING + ILLUMINATES A HAND GRIPPING THE BEDSPREAD. + + THERE'S A VAGUE FLICKERING FROM ONE OF THE CANDLES. Fester + seizes it and nurses the flame, using it to re-light the + rest of the candles. As the room fills with candlelight + Fester sees THING sitting on one of his legs. + + Fester jumps with fear, pushing against the backboard. He + shakes his leg, violently throwing Thing off. He SCREAMS. + + CUT TO: + + +44 INT. MORTICIA AND GOMEZ'S BEDROOM - SAME TIME 44 + + Gomez and Morticia snuggle in bed in the afterglow of their + celebration, her head resting dreamily on his shoulder, + Gomez enjoying a post-coital cigar. Fester's SCREAM is + heard distinctly from down the hall. + 37. + + + GOMEZ + My own dear brother. I've got + goosebumps. + + MORTICIA + (flirtatiously) + I know. + + GOMEZ + Screams in the night. It can only + mean one thing. + + They wait, listening. Fester SCREAMS again. + + MORTICIA + (smiling) + He's home. + + They gaze together out into the torrential downpour as + Fester continues to scream. They both smile. + + CUT TO: + + +45 INT. FESTER'S ROOM - MORNING 45 + + Obviously moved, Gomez stands in Fester's room, watching + him sleep. + + Thing snoozes on Fester's chest like a kitty cat. Gomez + gently lifts him and tucks him into the pocket of his + smoking jacket. + + Instantly awake, certain that Gomez is about to attack him, + Fester leaps from the bed, jumps Gomez, and pins him to the + floor. Pulling the knife from his boot, he presses the + blade against his throat. + + GOMEZ + (very cheerful) + Breakfast? + + Gomez JUDO-FLIPS Fester off his chest, then springs to his + feet. + + GOMEZ + Damn, it's good to have you back! + Let's go! + + He leads the way out. He pauses, and turns. + + GOMEZ + Two out of three? + 38. + + + CUT TO: + + +46 INT. THE ADDAMS KITCHEN - LATER 46 + + The family eats breakfast in the subterranean kitchen. Only + Pugsley is missing. The walls sweat and smoke crawls along + the floor. + + Granny works at a stove that's a coal burning monstrosity. + Flames belch out of the oven. The top is a gigantic grill + where innards and various unidentifiable somethings sizzle. + Throughout, Granny flips these offals onto family members' + plates. Lurch assists her. + + Morticia has seated Fester between Gomez and herself. She's + given him an elaborate pewter place setting with a dragon + motif, obviously saved for honored guests. + + WEDNESDAY + May I have the salt? + + MORTICIA + What do we say? + + WEDNESDAY + (dutifully) + Now. + + Morticia smiles approvingly and passes Wednesday the salt. + + FESTER + (staring at the food on + his plate) + What is this? + + MORTICIA + Mama's specialite' de la maison. + + GRANNY + Start with the eyes. + + MORTICIA + (to Fester) + Sleep well? + + FESTER + Like the dead. + + GOMEZ + 39. + + + Really? Who knew the Bermuda + Triangle could change a man so + much? You used to toss and turn all + night. We had to chain you to the + bedposts. + + WEDNESDAY + (gazes levelly at Fester) + It doesn't make sense. + +Fester had no idea a simple exchange could be so fraught +with pitfalls. He already feels cornered. + + FESTER + (condescendingly to + Wednesday) + The Bermuda Triangle is such a + large and mysterious place. You'd + be surprised at all the things you + don't know. + + MORTICIA + She certainly would. Wednesday + adores the Bermuda Triangle. She + studies it. Death at sea - she's + hooked. + + WEDNESDAY + Ask me anything. + +Fester turns his back on Wednesday and addresses Gomez. + + FESTER + Being in my old room sure brings + back memories. Remember Camp + Custer? + + GOMEZ + (aglow) + For pre-teen offenders? + + FESTER + And I was thinking about Christmas- + - + + GOMEZ + Waiting for Santa to come down the + chimney-- + + FESTER + (guessing) + Hanging our stockings-- + 40. + + + GOMEZ + Building a fire. + + Gomez and Fester laugh mischievously. + + FESTER + Aren't memories precious? I'd like + to spend today wandering through + the house, remembering. + + GOMEZ + No, no, no. Sorry, old man, no + wandering today. Today we're going + straight to the vault. + + Pugsley runs into the room, dragging a freshly-stolen STOP + SIGN, still on its pole. Gomez holds up a finger, shushing + everyone. + + Just then, the (O.S.) SCREECHING SOUND OF CARS heading for + a collision is heard. Finally, the CARS COLLIDE. There is a + satisfying crunch of metal. Everyone beams. + + GRANNY + Who wants seconds? + + Something in Granny's soup tureen YELPS. Granny, keeping + her eyes on Fester, jabs her ladle into the tureen. + + GRANNY + Don't be shy. + + CUT TO: + + +47 INT. DEN - LATER 47 + + Gomez and Fester are in front of the bookcase THAT'S THE + ENTRANCE TO THE VAULT. + + Gomez reaches for a book. Fester is right there with him, + his hand on Gomez's hand as he goes to pull out the old + volume. Fester reads the title. + + FESTER + "Greed." + + They share a smile. THE BOOKCASE SWINGS OPEN. Fester + eagerly follows Gomez inside. + + CUT TO: + 41. + + +48 INT. THE SECRET CHAMBER - MOMENTS LATER 48 + + Gomez runs gleefully down a flight of STEPS. + + GOMEZ + I feel like, we're children again. + + Gomez reaches a SMALL CIRCULAR ROOM. + + Gomez looks up. Over his head hang HUNDREDS OF RUSTY + CHAINS. + + Gomez grabs one of the chains. As he does so, he punches + Fester on the shoulder. + + GOMEZ + Tag, you're it! + + Gomez pulls the chain, and he and Fester DROP OUT OF VIEW, + through a trapdoor. + + +49 INT. BENEATH THE SECRET CHAMBER - SECONDS LATER 49 + + Gomez and Fester are SLIDING DOWN A TWISTING SLIDE. Gomez + is gleeful; Fester is petrified. + + CUT TO: + + +50 INT. UNDERGROUND RIVER 50 + + The slide deposits Gomez and Fester on a dock, leading to + the underground river. Gomez is all high spirits, while + Fester is wobbly. + + GOMEZ + (inhaling deeply, as if + in a meadow) + Smell that air, Fester! + + Fester inhales dutifully. He gags. + + GOMEZ + Like a tomb! + + Gomez strides to the end of the dock. Waiting there is a + VENETIAN GONDOLA, rundown but still magnificent. Gomez does + a running leap to board the gondola. He puts on a straw + gondolier's hat and calls out to Fester-- + + GOMEZ + 42. + + + Tutti a bordo, fratello mio! + (gesturing to the water) + The sea, your second home. + + Fester boards the gondola gingerly, looking queasy. + + FESTER + Ship ahoy-- + + Gomez winds an old Victrola as he sorts through a pile of + 78's. He puts the needle down on a record and begins to + sing along in a bellowing basso profundo. He sets sail, + poling down the UNDERGROUND RIVER. + + CUT TO: + + +51 INT. ATTIC - SAME TIME 51 + + A49 + + Wednesday and Pugsley are exploring the attic, + investigating various items. + + PUGSLEY + Do you think that's really Uncle + Fester? + + WEDNESDAY + Father says so, but I think Mother + isn't sure. + + Wednesday stands in front of an ELECTRIC CHAIR. + + WEDNESDAY + Pugsley, sit in the chair. + + PUGSLEY + Why? + + WEDNESDAY + So we can play a game. + + PUGSLEY + (climbing into the chair) + What game? + + WEDNESDAY + It's called-- + (she thinks) + "Is there a God?" + + CUT TO: + 43. + + +52 INT. ENTRANCE TO THE VAULT - SAME TIME 52 + + Still singing, Gomez poles toward A MASSIVE METAL DOOR, SIX + FEET ACROSS AND TEN FEET HIGH, set right into the ROCK OF + THE GROTTO. Gomez docks at the narrow ledge in front of the + door. + + Gomez leaps onto the ledge and Fester follows. He's getting + excited now, wondering what treasures exist behind this + door. + + FESTER + The vault-- + + Gomez goes to work on the oversized combination lock. + + GOMEZ + (knowingly, to Fester) + Two to the right, ten to the left, + and then around to--? + + FESTER + (guessing) + Five? + + GOMEZ + (surprised) + Eleven. Two, ten, eleven. Eyes, + fingers, toes. + + Fester licks his lips in anticipation. + + GOMEZ + So many years-- + + FESTER + Long, barren years-- + + GOMEZ + Years that we wasted-- + + FESTER + Years we'll bring back-- + + GOMEZ + We enter together, a triumphant + return! + + FESTER + We enter as brothers, we enter-- + + GOMEZ + As one! + 44. + + + Gomez slowly opens the door, revealing-- + + +53 INT. VAULT - SAME TIME 53 + + Rather than a treasure trove, it looks like A DECREPIT + NINETEENTH CENTURY MEN'S CLUB, torn red leather chairs and + settees, an assortment of TORTURE DEVICES and HUNTING + TROPHIES. An elaborate bar with a cracked mirror. + + GOMEZ + Welcome back! + + FESTER + (very disappointed) + Thanks. + + GOMEZ + Our secret place. Sanctus + sanctorum. If these walls could + talk, eh, old man? + + FESTER + (looking around, unsure) + What-- what would they say? + + GOMEZ + (assumes that Fester is + joking) + You tell me. + + FESTER + You go first. + + GOMEZ + (gesturing to Fester, out + of respect) + Senior partner-- + + FESTER + (desperately) + Junior spaceman. + + GOMEZ + First a brandy! + (indicating the bar) + Do the honors. + (opening a large wooden + box) + I've got a real treat in store. + + FESTER + 45. + + + (grumbling to himself, as + he chooses a bottle from + the bar) + Where is it, you ridiculous + imbecile-- + + There are a half-dozen excellent brandies on the well- + stocked shelf. Fester pockets a silver jigger, then chooses + a bottle AND THE BAR SPINS AROUND with Fester, revealing + THE INTERIOR TREASURE ROOM. + + A STONE CAVERN stacked high with ADDAMS TREASURE, gold, + jewels, bizarre but priceless statuary from around the + world. + + Fester gets one slack-jawed glimpse and THE BAR SPINS + AGAIN, depositing him back in the OUTER ROOM. + + Gomez has been too busy digging through the box to have + noticed Fester's carousel ride. He turns, his arms over- + flowing with FILM CANS. + + GOMEZ + Showtime! + + And, with shaking hands, Fester pours himself a stiff drink + and replaces the bottle on the shelf. + + CUT TO: + + +54 INT. ATTIC - SAME TIME 54 + + Wednesday is strapping Pugsley's arms and legs into the + electric chair. + + PUGSLEY + But if he's not Uncle Fester, then + who is he? + + WEDNESDAY + Somebody else. + + Wednesday pushes a button, and the lights on the chair go + on. The entire mechanism hums and vibrates. + + WEDNESDAY + It has to warm up. + + PUGSLEY + Why? + + WEDNESDAY + 46. + + + So it can kill you. + + PUGSLEY + (after a beat) + I knew that. + + CUT TO: + + +55 INT. OUTER TREASURE ROOM - SAME TIME 55 + + Gomez is running home movies. He and Fester sit in side-by- + side armchairs with the stuffing coming out. They smoke + cigars and drink brandy from extra-large snifters. + + ON THE HOME-MOVIE SCREEN the young Gomez and Fester, shark + fins strapped to their backs, sneak around a corner toward + a swimming pool crowded with kids. The film then JUMP CUTS + to: + + Young Gomez has buried young Fester in the sand at the + beach. Only Fester's head appears from beneath a mound. A + few yards away, a single hand struggles out of the sand, + clearly another person. The film JUMP CUTS to: + + A hand-held 16mm camera weaves its way through a group of + ball-goers, finally focussing on a head and shoulders shot + of Gomez and Fester, now in their teens. The Addams boys + look both sinister and dashing in their tuxedos and Gomez + is already smoking his trademark cigar. + + GOMEZ + Here! The debutante ball! Remember + that fateful night? + + FESTER + (guessing) + Of course-- your first cigar-- + + GOMEZ + What? Come on, old man, I've smoked + since I was five. Mother insisted. + + ON THE SCREEN the boys flank their dates, the TWINS from + the pictures on Fester's bureau, BEAUTIFUL RED-HEADS with + dementia in their eyes. Throughout the twins are seen only + from the waist up. + + FESTER + (covering his tracks) + Flora and Fauna. Quite the pair, + eh, Gomez? + 47. + + +Gomez sighs, and then becomes extremely dramatic. + + GOMEZ + Can you ever forgive me? + + FESTER + What? + + GOMEZ + I didn't love them. Yet, I wooed + them, both, out of foolish pride. + You were so dashing, you could have + any woman you wanted, dead or + alive. I was jealous, insanely + jealous. I admit that now. But I + never meant to drive you off, not + to the Bermuda Triangle. + + FESTER + (holding up a hand, very + gracious) + Water under the bridge. Forgiven. + Forgotten. + +Gomez holds out his arms. Fester endures the hug. Gomez +turns the hug into a painful headlock. Fester gasps for +breath. + + GOMEZ + (playfully) + Say it! Say the password! + + FESTER + (choking) + The password? I-- I-- + + GOMEZ + (continuing to choke him) + Come on, stop fooling, you + remember-- + + FESTER + (turning blue) + Please-- I'm choking-- please-- + +Gomez, perplexed, releases Fester. + + GOMEZ + You forgot our secret password? The + word we used one hundred times a + day? Our special private name for + each other? + 48. + + + FESTER + (rubbing his neck, still + gasping) + That was a long time ago, we were + children-- you almost killed me, + you demented freak-- + + GOMEZ + (shocked) + Did you say demented freak? + + FESTER + Yes, you demented freak! + + Fester has accidentally hit on the password. Gomez lights + up; he flings open his arms. + + GOMEZ + (joyously) + Demented freak! + + CUT TO: + + +56 INT. ATTIC - SAME TIME 56 + + The electric chair is really humming. Pugsley now has the + chair's helmet on as well. Wednesday is about to throw the + huge master SWITCH. + + PUGSLEY + But why would Dr. Pinder-Schloss + tell a lie? + + WEDNESDAY + Because she wants something. Do you + have a last request? + + PUGSLEY + Can I have ice cream? + + WEDNESDAY + No. + + PUGSLEY + (sighing) + Then just do it. + + As Wednesday is about to throw the switch, Morticia's head + appears from the trap door. + + MORTICIA + Children, what are you doing? + 49. + + + Morticia climbs up into the attic. + + WEDNESDAY + I'm going to electrocute him. + + MORTICIA + But we're late for the charity + auction. + + WEDNESDAY + (pleading) + Mother-- + + Morticia pretends to be stern. + + MORTICIA + I said no. + + PUGSLEY + (pleading) + Please-- + + MORTICIA + (a beat) + Oh, all right. + + She smiles and flips the switch. + + ANGLE on Wednesday's face, as we hear the sound of high + voltage sizzling Pugsley. Wednesday is very solemn, her + usual impassive self, then a smile breaks through. + + CUT TO: + + +57 INT. BAYSHORE WOMEN'S CLUB - LATER 57 + + C.U. on the FINGERTRAP, jewels glittering then MARGARET + ALFORD, who blushes, standing on the auction block as if + she were the item up for auction. She holds her hands + aloft, fingers still ensnared in the ancient finger trap. + She wears the same disheveled dress, unable to disguise its + sleeped-in look. + + On the stage beside her, JUDGE WOMACK acts as the event's + auctioneer. He reads into the mike from the catalogue: + + JUDGE WOMACK + -- encrusted with rubies, and + fifteen emerald chips. It was + donated by Morticia and Gomez + Addams. + 50. + + +Gomez and Morticia sit with their family. They look around, +modestly. + +REACTION SHOTS of various people in the crowd, staring at +the Addams family in horror and disbelief. + + JUDGE WOMACK + Remember, the money we raise goes + to help those less fortunate. This + year, over half our proceeds will + benefit the elderly and the + mentally disabled. + +All the Addamses look at Granny proudly. She beams. + + JUDGE WOMACK + I open the bidding at five thousand + dollars. + + GOMEZ + Bah! Not enough! + +He thrusts up his arm. + + GOMEZ + Twenty thousand! + + MORTICIA + For the elderly and the insane -- + (gazing fondly at Granny) + They've earned it. + +JUDGE WOMACK is surprised at the bid. Next to him, Margaret +looks confused. + + MARGARET + What are they doing? It's theirs. + +Judge Womack gives her a look that says shut up. + +ANGLE on Pugsley. He has a PEASHOOTER in his mouth, aimed +at Judge Womack. Wednesday glares at her brother, and holds +out her hand. He sheepishly passes her the peashooter. + + JUDGE WOMACK + I have twenty -- + + GOMEZ + (interrupts) + Twenty-five! + (to Morticia) + Cara mia-- + 51. + + + Fester takes Morticia's opera glasses and peers + appraisingly at the glittering finger trap. He smiles + greedily. + + JUDGE WOMACK + Twenty-five -- + + MORTICIA bashfully raises her hand. + + MORTICIA + Thirty-- + (to Gomez) + Mon sauvage-- + + MARGARET pesters the Judge Womack. + + MARGARET + (to Judge Womack) + What are they doing? + + Judge Womack shushes her. + + ANGLE on Wednesday. She now has the PEASHOOTER in her + mouth, aimed at Judge Womack. Granny gives her a stern + look; Wednesday sheepishly hands Granny the peashooter. + + GOMEZ raises his hand. + + GOMEZ + Thirty-five! + (to Morticia) + Eres divina! + + MARGARET is increasingly agitated. + + MARGARET + (to Judge Womack) + But I don't understand-- + + +58 MORTICIA RAISES HER HAND. 58 + + MORTICIA + Fifty! + + Morticia has raised her arm. She lowers it, but keeps it + extended for Gomez to kiss. He does so, passionately. + + THE FLABBERGASTED JUDGE WOMACK repeats breathlessly-- + + JUDGE WOMACK + I have fifty thousand dollars-- + 52. + + + MORTICIA + Your turn, my ecstacy. + + GOMEZ + It's yours, amore mio. + + MORTICIA + You spoil me, mon amour. + + Gomez utters a little cry of wild passion. + + Judge Womack hammers his gavel, as Margaret's jaw drops. + + JUDGE WOMACK + Sold to Morticia Addams for fifty + thousand dollars! + + Judge Womack shakes his head, in disgust. As he does so, a + projectile HITS HIS NECK. He YELPS, and grabs his neck. + + ANGLE on Granny, with the peashooter in her mouth; she has + clearly just scored the hit on Judge Womack. She and the + children share a conspiratorial smile. + + CUT TO: + + +59 INT. DUESENBERG - DUSK 59 + + CLOSEUP ON THE FINGER TRAP. + + The jewels glinting in the passing lights. + + FESTER has his fingers TRAPPED in it. He stares at it, + almost as if he were hypnotized. Morticia, beside him, + admires it also. + + MORTICIA + Isn't it too enchanting? + + Fester pulls his fingers, trying to free them. + + FESTER + How do you take it off? + + Morticia releases it for him. + + MORTICIA + There's a trick to it. Of course. + 53. + + + Gomez shares a look with Wednesday, then leans forward from + his place on the other side of Morticia and, eyebrows + knitted, frowns at Fester. + + CUT TO: + + +60 EXT. ADDAMS MANSION - NIGHT 60 + + Several windows are lit. + + CUT TO: + + +61 INT. DUESENBERG - DUSK 61 + + CLOSEUP ON THE FINGER TRAP the jewels glinting in the + passing lights. + + FESTER has his fingers TRAPPED in it. He stares at it, + almost as if hypnotized. + + MORTICIA + Gomez, you shouldn't have. You + bought the fingertrap. + + GOMEZ + It's for charity. And it belongs in + the family. + + Fester pulls his fingers, trying to free them. + + FESTER + How do you take it off? + + Morticia releases it for him. + + MORTICIA + There's a trick to it. Of course. + + Gomez shares a look with Wednesday, then leans forward from + his place on the other side of Morticia and, eye-brows + knitted, frowns at Fester. + + CUT TO: + + +62 INT. DINING ROOM - LATER 62 + + Gomez's elaborate MODEL TRAIN LAYOUT fills the room. The + LIONEL TRAIN races through the remains of a strip mined + mountain terrace. + 54. + + + Thing gallops into view around one of the mountains, then + paces back and forth in front of Gomez's transformers. + + GOMEZ + (ranting to Thing) + 'How do you take it off?' That's + absurd! That finger trap was a + party favor at his tenth birthday! + + Gomez demonically starts his SECOND TRAIN, setting it on a + sure collision course with the first. + + CUT TO: + + +63 INT. FESTER'S ROOM - BEDTIME 63 + + Preparing to go to the vault, Fester, with cool + professionalism, slips his safe-cracking tools into the + bandoliers strapped across his chest. + + He reaches into the drawer for the nitro-glycerine and + comes up with the photo of the young Fester and Gomez being + brought home from Camp Custer by the U.P.S. man. He stares + at the picture, then tosses it aside as if touching it + burned him. He picks up the nitro, and proceeds with his + preparations. + + CUT TO: + + +64 INT. DINING ROOM - SAME TIME 64 + + Puffing black smoke, the model trains race toward one + another, toward the inevitable. His emotions churning like + the locomotive wheels, Gomez rants to Thing. + + GOMEZ + He wore that finger trap for two + years! Mother had to teach him how + to eat with his feet! And the + combination, and the password, and + my cigar and he slept so well! + + Thing paces furiously. + + CUT TO: + + +65 INT. KITCHEN - SAME TIME 65 + 55. + + + Granny sits at the kitchen table, reading cookbooks. There + is a stack of books on the table. Two books are propped up. + Granny reads from the first book; we see the title - The + Joy of Cooking. She turns to the second book; we see the + title - Gray's Anatomy. + + The sound of Gomez's trains has begun to RESOUND throughout + the house. As Granny reads, a TRAIN WHISTLE pierces the + night, and the kitchen table shakes. Granny looks up from + her reading. + + CUT TO: + + +66 INT. PUGSLEY'S ROOM - SAME TIME 66 + + Morticia is seated on the bed; she has a family photo album + on her lap. Wednesday and Pugsley, in pajamas, sit beside + her, looking at the album. + + PUGSLEY + (pointing at a picture) + Is that Father, when he was little? + + MORTICIA + (also pointing) + Yes. And that's Uncle Fester. + + WEDNESDAY + Where are they? + + MORTICIA + At a birthday party. See the fire + trucks? + + From Gomez's train room, we hear a voice howl "ALL + ABOARD!", followed by another WHISTLE BLAST. + + MORTICIA + (worried) + Oh, no. + + PUGSLEY + Father's playing with his trains. + + WEDNESDAY + He must be upset. + + MORTICIA + It's always a bad sign -- hobbies. + + CUT TO: + 56. + + +67 INT. ADDAMS LIBRARY - SAME TIME 67 + + Grimly determined, Fester removes the well-worn copy of + "Greed" from the shelf and the secret panel opens. He's + headed for the vault. + + CUT TO: + + +68 INT. DINING ROOM - SAME TIME 68 + + The model trains WHISTLE AT FULL BLAST, shrieking in + warning as they round Dead Man's Curve, heading for each + other. + + FROM INSIDE ONE OF THE TRAINS A LITTLE PASSENGER LOOKS OUT. + He passes Gomez still raving, almost to the boiling point. + + GOMEZ + These thoughts! I'm in torment! + What is truth? What is fiction? + + Thing pounds the table in frustration. + + CUT TO: + + +69 INT. LURCH'S BEDROOM - SAME TIME 69 + + Lurch is sitting up in his too-small bed, wearing his + nightshirt and cap. He is sewing a button on a shirt a + gentle giant. + + The CHUG of the trains now SHAKES the entire house. Lurch's + needle slips from the noise, and he pricks his finger. He + sucks on his finger, looking troubled. + + CUT TO: + + +70 INT. THE SECRET CHAMBER - SAME TIME 70 + + Fester is at the INTERIOR WALL. He pushes against it, + seeing if that will make it turn. Then he remembers. He + looks above and there hang. + + THE COUNTLESS CHAINS each with a rusted metal grip on the + end. Which chain to pull? + + From far above in the house, Fester hears the distant train + whistle. He randomly yanks one of the chains. + 57. + + + The CHAIN YANKS BACK, pulling Fester straight upwards. With + a screech of pulleys and gears, the chain rockets him, + hanging on for dear life, toward a NARROW GAP IN WHAT MAY + OR MAY NOT BE A CEILING. Fester disappears into the gap. + + CUT TO: + + +71 INT. PUGSLEY'S ROOM - SAME TIME 71 + + Morticia and the children are listening to the sounds of + the trains, now a CHUGGING, WHISTLING CACOPHONY. + + PUGSLEY + (listening) + He's using the diesel-- + + A SHRILL BLAST is heard. + + WEDNESDAY + The covered bridge-- + + ANOTHER BLAST. + + MORTICIA + (very concerned) + Dead Man's Curve-- + + WEDNESDAY + I know what he's worried about. + + MORTICIA + So do I, darling. + (trying to hide her + anxiety) + But let's get to bed. Now, have you + brushed your teeth and washed + behind your ears? + + PUGSLEY + I did. I'm sorry. + + Another BLAST. + + WEDNESDAY + Is that man really Uncle Fester? + + Uncle Fester WHOOSHES through the floor-to-ceiling piranha + tank. Only Morticia sees this. + + CUT TO: + 58. + + +72 INT. DINING ROOM - SAME TIME 72 + + The TRAIN CRASH is imminent. + + GOMEZ + (falling to his knees) + Spirits above me, give me a sign! + Shall I be joyous? Or shall I be + damned? + + The TRAINS COLLIDE! + + Metal rends. Smoke and flames. + + CUT TO: + + +73 EXT. YARD - MIDDLE OF THE NIGHT 73 + + A COAL CHUTE set in the side of the house DROPS open + depositing the soaked, disoriented Fester + + AT THE FEET OF MORTICIA silhouetted by the full moon, she + stands regally above him, waiting for him, her velvet cloak + covering her night clothes. + + MORTICIA + (pointedly) + Sleepless night? Walk with me, + Fester. + + She turns and glides away. Fester has no choice but to + follow. + + CUT TO: + + +74 EXT. BACK OF HOUSE - THE CEMETERY - MIDDLE OF THE NIGHT 74 + + Morticia leads Fester into the chill of the cemetery. + + They follow a path that winds among the ELABORATE + TOMBSTONES of the Addams dead. Gomez's golf balls are + everywhere, on the ground, in statues' upturned hands, in + their open mouths. + + As they pass them, Morticia points out various monuments. + The marble statues look so real they could be alive. + + MORTICIA + 59. + + + Aunt Laborgia executed by a firing + squad. Cousin Fledge torn limb from + limb by four wild horses. And + darling Uncle Eimar-- + +Uncle Eimar is a hooded executioner with an upraised ax. +There is an UNEARTHLY MOAN, seeming to come from the tomb. + + MORTICIA + Buried alive. Psychopaths, fiends, + mad-dog killers, roots, Fester. + Pioneers. Lest we forget. + +Among the statuary is a MARBLE VULTURE, posed with the +dignity of an eagle on a flagpole, but the flagpole is +actually a replica of Fester's bald head. + + MORTICIA + Your beloved Muerto. After you + left, he was simply a different + vulture. He wouldn't circle. He + wouldn't peck. That's how much you + mean to this family. + +They reach the MAUSOLEUM where MOTHER AND FATHER ADDAMS +lie. It stands on a knoll, the HIGHEST POINT IN THE +CEMETERY. + +Poison ivy covers the dilapidated Greco-Roman tomb. Mother +and Father Addams have been depicted as a god and a +goddess, charioteers driving their steeds to the +netherworld. Father Addams smokes the ubiquitous Addams +cigar. + +Morticia gazes up at the likenesses of Mother and Father +Addams. But Fester averts his eyes, the faces seem to be +STARING DIRECTLY AT HIM. + + MORTICIA + Mother and Father Addams-- Imagine + what we owe them. Oh, Fester, how I + wish the children could have known + them better. But tell that to an + angry mob. + +She turns to trace the FAMILY CREST, carved into the +mausoleum. THE TOP OF THE CREST IS A VULTURE. THE +BACKGROUND IS COMPOSED OF THREE LION'S HEADS, IN ONE PANEL, +A HUNTSMAN HOLDS OPEN THE LION'S HEAD; IN ANOTHER PANEL, +THE LION HAS SWALLOWED HIM UP TO HIS TORSO; IN THE LAST +PANEL, THE LION HAS SWALLOWED THE HUNTSMAN COMPLETELY BUT +FOR ONE DANGLING FOOT. ON A BANNER AT THE BOTTOM IS THE +FAMILY MOTTO IN LATIN. + 60. + + + MORTICIA + Three lions rampant. The vulture + ascendant. And our credo "Sic + gorgiamus allos subjectatos nunc." + "We gladly feast on those who would + subdue us." + (reflective) + Not just pretty words. As an + Addams, you understand completely, + don't you? + + She stares levelly at him. + + FESTER + As an Addams, yes, I do. + + MORTICIA + (after another beat) + Good night, Fester. + + She heads toward the house. She turns. + + MORTICIA + Rest in peace. + + CUT TO: + + +75 INT. HALLWAY - EARLY MORNING 75 + + Fester is on the phone hunched over, his eyes darting to + make sure no one overhears. + + FESTER + (into phone) + They're on to me, Mother! I'm + almost sure! Of course, I've tried, + I still can't find it, you've got + to get over here. + + Wednesday is bound and gagged on a chair in the background. + + Pugsley runs up to Fester with two bottles of poison. + + Fester, vaguely impatient, points to one. Pugsley nods and + runs off. + + FESTER + (into phone) + -- Don't say that-- + (tenderly) + -- You know that I do-- + 61. + + + CUT TO: + + +76 INT. ADDAMS KITCHEN - A FEW MINUTES LATER 76 + + Granny and Lurch are doing the dishes; Granny rinses and + Lurch dries. Lurch then hands each dish to Thing, who + stacks them. + + Morticia sits at the kitchen table, sipping a cup of tea. + + Wednesday stands before Morticia, holding up a large, + nasty-looking carving knife. + + MORTICIA + (to Wednesday) + Is that for your brother? + + Wednesday nods. + + MORTICIA + (taking the knife) + I don't think so. + + Morticia hands Wednesday a much larger, even nastier- + looking knife. Wednesday takes the knife and exits. + + MORTICIA + (worried) + His trains are everywhere, the + children are beside themselves, + this can't go on. How can I help + him? Tell me, Mama. + + GRANNY + Well, let's look it up. + + Granny wipes her hands and opens a large, ragged leather- + bound book. She starts thumbing through the pages. + + GRANNY + Troubled husbands, troubled + husbands-- adultery-- + + MORTICIA + Oh, no. + + GRANNY + (still looking) + Financial, money troubles-- + + MORTICIA + No. + 62. + + + GRANNY + (still looking) + Turned into a toad or reptile-- + + MORTICIA + Is there an index? + + GRANNY + Here it is suspicion and anxiety, + in husbands. + + MORTICIA + (eagerly) + What does it say? + + GRANNY + (reading) + Drain all his blood, replace it + with vinegar overnight. Leave a + headless rooster beneath his + pillow. Smear his forehead, palms + and feet with the tears of a + stillborn monkey. Add milk. + + MORTICIA + (offended) + I can't do that. It's barbaric. + Really, Mama. I'm surprised at you. + (a beat, then + disdainfully) + Milk. + + Lurch growls in agreement. + + CUT TO: + + +77 INT. UNCLE FESTER'S BEDROOM - SAME TIME 77 + + Fester is sitting on the bed, kneading his hands, very + upset. Abigail is calmly inspecting the room, studying + various objects with disdain. + + FESTER + They know I'm a fraud! The whole + bunch! It's not going to work! + + ABIGAIL + Who knows? Gomez, that overheated + moron? + + FESTER + 63. + + + He's no moron! He's Fester's + brother, they had some awful fight, + years ago. He's suspicious, they + all are, I can tell. + + ABIGAIL + Really? Well, thank God I came + over. I can counsel the troubled + family. Ease their distress. It's + my calling. Remember, Gordon-- + + FESTER + What? + + ABIGAIL + (smiling) + I'm a doctor. + + CUT TO: + + +78 INT. ADDAMS DRAWING ROOM - A FEW MINUTES LATER 78 + + Gomez and Morticia sit with Abigail. + + MORTICIA + (to Gomez) + Dr. Pinder-Schloss is here to help. + (to Abigail) + Should Gomez speak with Fester? + He's right outside the door. + + GOMEZ + I would speak with Fester-- + + Gomez gets up and stalks toward the door, talking louder + and louder. + + GOMEZ + -- if that were Fester, but that's + not! That's an impostor! An + impostore! + + OUTSIDE THE DOOR Fester hears and STORMS OFF. + + +79 INT. UPSTAIRS HALLWAY - SAME TIME 79 + + Fester is marching toward his room, when he hears-- + + WEDNESDAY (O.S.) + O villain, villain, smiling, damned + villain! + 64. + + + PUGSLEY (O.S.) + Who calls me a villain? Breaks my + pate across? Plucks off my beard + and blows it in my face? + + WEDNESDAY (O.S.) + If I must strike you dead, I will! + + Fester gets a genuine gleam in his eye. + + FESTER + Bloodshed! + + He hurries back to the TOP OF THE STAIRCASE and looks down + into the FRONT HALL where, SWORDS DRAWN, DUELLING, + Wednesday backs Pugsley in. + + Pugsley and Wednesday thrust and parry, hack and slice. + Pugsley runs Wednesday through. She staggers, then falls + dead. + + FESTER + No! No! Gimme that sword. + + Pugsley hands him the sword. + + FESTER + Haven't you ever slaughtered + anyone? + + WEDNESDAY + (referring to Pugsley, + solemnly) + He's only a child. + + FESTER + No excuse. + (pointing the sword at + Wednesday's throat) + Aim for a major artery. The + jugular. + + WEDNESDAY + (agreeing, the sword + still to her throat) + That's what I said. + + CUT TO: + + +80 INT. DRAWING ROOM - SAME TIME 80 + + Gomez is still raving-- + 65. + + + GOMEZ + --A faker! A phony! An utter fraud! + A base, deceitful-- + + ABIGAIL + (interrupting) + Mr. Addams, I beleef I am under- + standink. I vill help. Jais? Ze + theory of displacement - is zis + familiar? + + GOMEZ + (impressed) + No. Tish? + +Morticia shakes her head. + + ABIGAIL + Ha! It is too exciting. I vill + explain. + + GOMEZ + (excited) + Is it unpleasant? + + ABIGAIL + Deeply. + +Gomez sits beside Morticia; he takes her hand. They are +both fascinated. + + ABIGAIL + Your very own bruzzer, you drive + him avay. Go! Off viz you! But zen, + you are feelink ze little black + monster. + + GOMEZ + Pugsley? + + ABIGAIL + Guilt. Jais! Your bruzzer returns, + you feel guilty - you displace. + + GOMEZ + I do? + + MORTICIA + (impressed) + Of course-- + + ABIGAIL + 66. + + + Ze feelinks in your brain cells, ze + bubble and ze collide. You suspect + tinks. You luff him, but you resent + him. Luff, hate, hate, luff. Like + for Mama, no? + + GOMEZ + But, I didn't hate my mother. It + was an accident. + + ABIGAIL + It is a very common psychosis. I am + seeink it every day. + + MORTICIA + (sincerely) + Lucky doctor. + + GOMEZ + Displacement! How bizarre and here, + I imagined Fester was the problem. + He's sullen-- + + MORTICIA + (egging him on) + He's furtive-- + + GOMEZ + (excited) + He's backstabbing-- + + MORTICIA + He sulks-- + + GOMEZ + I suspect him-- + + MORTICIA + You're unbalanced-- + + GOMEZ + And I hate him-- + + MORTICIA + (decisively) + But that's love! + + GOMEZ + (jumping to his feet) + By God, you're right! He is Fester! + +Gomez is suddenly jubilant again. + 67. + + + MORTICIA + Thank you, Dr. Pinder-Schloss. + + ABIGAIL + I do vat I can. + + CUT TO: + + +81 INT. WEDNESDAY'S ROOM - SAME TIME 81 + + Fester is seated on a leather couch; Pugsley and Wednesday + are snuggled up on either side. They are all looking at an + enormous, ancient BOOK which Fester holds open in his lap. + + C.U. on the book's cover. The title reads WOUNDS, SCARS AND + GOUGES. + + FESTER + You see, children? There's a lot to + learn. + (turning the page) + Gangrene. + + PUGSLEY + Uncle Fester, how do you know so + much? + + FESTER + I've been around. I pick things up. + + WEDNESDAY + (still suspicious) + In the Bermuda Triangle? + + FESTER + (ignoring her, turning + another page) + Look, children - a new chapter! + + PUGSLEY + Oh, boy! + + FESTER, PUGSLEY AND WEDNESDAY + (enthralled) + Scabs. + + CUT TO: + + An EXPLOSION fills the screen, as dirt and debris go + flying. As the smoke clears ANGLE ON Fester, crouched over + a detonator, he has clearly just caused the explosion. + Wednesday and Pugsley stand or crouch beside him. + 68. + + + FEATER + Three parts dynamite, with a + nitroglycerin cap. It's perfect for + small homes, carports and tool + sheds. + + WEDNESDAY + What about picnics? + + Fester smiles approvingly. He reaches into a crate and + holds up a HAND GRENADE. The children's eyes sparkle, as if + it were Christmas Day. + + ANGLE on the window of FESTER'S ROOM, high above Fester and + the children. Abigail stands at the window, looking out. + She is not pleased. + + CUT TO: + + +82 INT. FESTER'S ROOM - A FEW MINUTES LATER 82 + + ABIGAIL + (in her real voice) + Everyone will be at the children's + play tonight, correct? + + FESTER + Oh, yes. I've been working with + them. It's going to be fun! + + ABIGAIL + (livid) + Fun? Fun? Is that what we're here + for? FUN? + + She SLAPS Fester. Then she immediately grabs him and hugs + him. + + ABIGAIL + Darling, I'm sorry! You see what + they've driven me to? I've raised a + hand to my child, my reason to + live. You can't go to the play. + + FESTER + But-- the kids-- + + ABIGAIL + The house will be deserted! The + vault will be ours! + + FESTER + 69. + + + But-- + + Abigail hugs Fester's head to her bosom. + + ABIGAIL + Can you hear it, my treasure? My + heartbeat? It beats only for you. + Listen closely, it says, "Gordon, I + love you-- Gordon, the vault--" + + FESTER + I do hear it-- + + ABIGAIL + Soon we'll have the money, and + we'll be far from here-- Loving + mother, grateful son-- this is no + time for theatre-- + (she gives his head a + twist and becomes quite + fierce) + Understood? + + CUT TO: + + +83 EXT. ROOF - EVENING 83 + + Fester stands alone on the roof, looking out over the + cemetery, brooding. + + GOMEZ (O.S.) + There you are! At last! + + Gomez joins Fester at the railing. + + GOMEZ + What a fool I was to doubt you! Dr. + Pinder-Schloss explained + everything. What a lovely woman, so + chilly. Displacement, it's a common + psychosis. Isn't that grand? + + FESTER + Is it? + + Gomez slaps an arm around him. + + GOMEZ + Look at it, Fester. + 70. + + + Beaming, Gomez gazes down into the cemetery. It is morbid + and magnificent in the moonlight. The swamp bubbles. + Patches of fog crawl. Unidentified beasties gambol. + + GOMEZ + The primeval ooze. Quicksand. + Fumes. Toxic waste. It's all ours, + Fester. You belong here, old man. + + FESTER + You don't know what you're asking. + You have a beautiful wife. + Wonderful kids. + (gesturing to the swamp) + A wasteland. I'm-- in the way. + + GOMEZ + In the way? A brother? + + FESTER + Gomez, take care. For you, life is + all fun and games. A dance in a + graveyard. Stench and decay. But, + things change. + + GOMEZ + Precisely, you're back! Those years + apart, Fester. We can't do that + again. You're home. + + Gomez holds out his hand. Thing is there with a golf club. + Gomez passes the club to Fester. Thing supplies Gomez with + another club. + + The two men hit golfballs off the roof, and over the + cemetery, into the darkness. In the distance, OS, we hear + the sound of a WINDOW BREAKING. + + GOMEZ + Fore! + + CUT TO: + + +84 INT. FESTER'S ROOM - LATER 84 + + Fester sits on the edge of his bed, brooding. + + Wednesday and Pugsley appear in the doorway. + + PUGSLEY + Come on, Uncle Fester. Come to the + play. + 71. + + + FESTER + I said I was busy! + + WEDNESDAY + But you said you'd help us. With + the Shakespeare. And the pus. + + FESTER + I changed my mind! + + CUT TO: + + +85 EXT. SCHOOL - NIGHT 85 + + The Duesenberg pulls up in front of the school building. + By-standers eye the strange and wondrous automobile. Lurch + steps out of the car, and opens the rear door, with great + ceremony. As the by-standers gape, the Addams family steps + out of the car, as if attending the Academy Awards. + + CUT TO: + + +86 INT. SCHOOL AUDITORIUM LOBBY - NIGHT 86 + + The lobby is crowed with the families of students. As the + Addamses enter, a young woman, SUSAN FIRKINS, approaches + Morticia. Susan is Wednesday's teacher; she's wholesome, + frazzled and a little too eager. + + SUSAN + Mrs. Addams? + + MORTICIA + Yes? + + SUSAN + Could I see you for a moment? I'm + Susan Firkins, Wednesday's teacher. + + MORTICIA + Oh, of course. Ms. Furkins - + Wednesday's told us so much about + you. Have you ever heard from your + husband? + + CUT TO: + + +87 INT. FESTER'S ROOM - SAME TIME 87 + 72. + + + At his desk now, Fester works with great concentrations. He + appears to be building a bomb. He looks at the clock. He + hurries. + + CUT TO: + + +88 INT. SCHOOL AUDITORIUM LOBBY - A MINUTE LATER 88 + + Susan Firkins is showing Morticia a bulletin board hanging + on one side of the lobby. + + SUSAN + Wednesday is an excellent student, + but frankly, I'm concerned. This is + our class bulletin board. This + month our theme is "Our Heroes", + people we love and admire. You see, + Susan Ringo has chosen the + President. + (she points to a magazine + cover of President Bush, + hanging next to a child's + essay) + Isn't that sweet? And Harmony Feld + has picked Diane Sawyer. + (she pints to a photo of + Diane Sawyer, hanging + next to Harmony's essay) + + MORTICIA + (concerned) + Have you spoken to her parents? + + SUSAN + (not comprehending) + But Wednesday brought in this + picture - "Calpurnia Addams." + (she points to a photo of + an oil painting of an + evil-looking crone.) + + MORTICIA + (touched and very proud) + Wednesday's Great Aunt Calpurnia. + She was burned as a witch in 1706. + They say she danced naked in the + town square, and enslaved a + minister. + + SUSAN + (shocked) + Really? + 73. + + + MORTICIA + Oh, yes. But don't worry, we've + told Wednesday - college first. + + ANGLE on Susan, with her mouth hanging open. + + CUT TO: + + +89 INT. SCHOOL AUDITORIUM LOBBY - NIGHT 89 + + Tully and Margaret are chatting with the Addamses. The + Alford's son, TULLY JR., is wearing a felt ELF COSTUME. + + MARGARET + (holding her son's + shoulders) + Isn't he adorable? I made this + myself. + + MORTICIA + It's charming. What is he, a + lizard? + + MARGARET + An elf. + (she kneels and wipes + Tully Jr.'s face with a + Kleenex) + Look at you - that's better. You + are just too precious for words. + Why, I could just eat you alive! + + MORTICIA + No, Margaret. Too young. + + TULLY + So Gomez, um, where's Fester this + evening? + + GOMEZ + Moody, as usual. We're all out on a + jaunt, and he's home alone, in that + big empty house. + + TULLY + (his eyes gleaming) + What a shame. + + Granny and Lurch appear, hawking another of Granny's + "delicacies." + + GRANNY + 74. + + + Toad on a stick! Get your red hot + toad on a stick! Can't enjoy the + show without your toad on a stick! + + +90 INT. FESTER'S ROOM - SAME TIME 90 + + At his desk now, Fester works with great concentration. He + appears to be building a bomb. He looks at the clock. He + hurries. + + CUT TO: + + +91 INT. SCHOOL AUDITORIUM - SAME TIME 91 + + Gomez attempts to schmooze Judge Womack. + + GOMEZ + I was hoping you'd come over and + play a round of golf. Not to brag + but I've got a beautiful little + nine hole pitch-and-putt-set up in + my cemetery. + + JUDGE WOMACK + I'd rather rot in hell. + + GOMEZ + Ahhh-- a previous engagement. + + He tucks one of his cigars in Judge Womack's breast pocket + and heads off to join his family. + + CUT TO: + + +92 INT. VARIETY SHOW STAGE - LATER 92 + + A HALF DOZEN ADORABLE SEVEN YEAR OLDS are on stage singing + "We Are The World." They finish to the enthusiastic + applause of the AUDITORIUM FULL OF PARENTS. + + Morticia and Gomez politely join in while Lurch fidgets and + Granny slumps, bored, in her chair. + + MORTICIA + The children are next. + + Lurch stops fidgeting and Granny sits up straight. + + CUT TO: + 75. + + +93 INT. BACKSTAGE - SAME TIME 93 + + Sitting at the make-up mirror, Wednesday and Pugsley are + putting on their armor. Fester is suddenly behind them, + reflected in the mirror. + + FESTER + I changed my mind. + + He thrusts a package toward them. + + CUT TO: + + +94 EXT. ADDAMS HOUSE - SAME TIME 94 + + Abigail is hammering on the door with the knocker. + + ABIGAIL + (whispering, sweetly) + Gordon-- Gordon-- it's Mother-- + (very harsh, banging the + knocker) + Dammit, where are you! I should + never have used him! + + She clomps down the porch steps and heads around the side + of the house, peering in windows. + + CUT TO: + + +95 INT. AUDITORIUM - SAME TIME 95 + + Pushing people aside, Fester forces his way to where his + family is seated. They're happy to see him. + + GOMEZ + (whispers) + I knew you couldn't stay away, old + man. + + CUT TO: + + +96 EXT. ADDAMS MANSION - SAME TIME 96 + + Standing on tiptoes, Virginia tries yet another window. + + AT HER ANKLES VINES snake out from a window well. They wrap + firmly around her ankles. + 76. + + + She gapes down at them and screams. There's no one to hear + her and no escape. + + The vines go taut, preparing to pull her under. + + CUT TO: + + +97 INT. VARIETY SHOW STAGE - A SHORT WHILE LATER 97 + + Pugsley and Wednesday in their elaborate costumes are + drawing to the climax of their scene from "Hamlet." As they + duel, they act their little Addams' hearts out. + + WEDNESDAY + How all occasions do inform against + me, and spur my dull revenge! O, + from this time forth, my thoughts + be bloody or be nothing worth! If I + must strike you dead, I will! + + Pugsley lands the first blow, slashing Wednesday's arm. HER + SLEEVE RENDS AND BLOOD SPURTS. + + PUGSLEY + A hit, a very palpable hit. + + They both press the attack, drawing blood. In a fatal blow, + Pugsley SLASHES WEDNESDAY'S JUGULAR. She makes horrible + GURGLING NOISES. BLOOD SPURTS in arterial squirts. + + WEDNESDAY + O proud death! What feast is toward + in thine eternal cell? + + In a final vengeful moment, Wednesday HACKS AT PUGSLEY'S + LEFT ARM, CUTTING IT OFF, SENDING A GUSHER OF BLOOD OUT OF + HIS STUMP. THE ARM DROPS TO THE STAGE AND BOUNCES OFF, + LANDING IN JUDGE WOMACK'S LAP. + + ONSTAGE Wednesday clutches her bleeding throat. + + WEDNESDAY + (gurgles) + Sweet oblivion, open your arms. + + Wednesday falls dead. + + THE AUDIENCE sits perfectly still, jaws agape, deep in + shock. An oil painting. Then-- + + THE ADDAMS FAMILY leaps as one to their feet, applauding + wildly. + 77. + + + GOMEZ + Bravo! + + THE LIGHTS ON STAGE COME UP and Pugsley and Wednesday bow + deeply, accepting their family's applause. + + Fester applauds louder than anybody. + + CUT TO: + + +98 INT. WEDNESDAY'S BEDROOM - LATER THAT NIGHT 98 + + Fester is tucking Wednesday into bed. They are now devoted + friends. + + FESTER + --there were sailors and pirates, + and an airplane full of tourists + from Miami Beach. All lost in the + triangle. + + WEDNESDAY + (thrilled) + Uncle Fester, someday will you take + me there? + + FESTER + It's a promise. Goodnight, + Wednesday. You were terrific. + + He kisses her on her forehead. She holds out her headless + doll. Fester kisses the doll's empty neck. Wednesday holds + out the doll's severed head. Fester kisses it. + + CUT TO: + + +99 INT. CEMETERY - SAME TIME 99 + + Morticia is standing in the moonlight. Gomez sits on a + bench nearby. + + MORTICIA + What a sublime evening. A + theatrical triumph-- + + GOMEZ + A Shakespearean delight! All hail + Fester! + + MORTICIA + 78. + + + It's like a dream. When we first + met, years ago, it was an evening + much like this. Magic in the air. A + boy-- + + GOMEZ + A girl-- + + MORTICIA + (nostalgically sitting + beside Gomez) + An open grave. It was my first + funeral. + + GOMEZ + You were so beautiful, pale, and + mysterious. No one even looked at + the corpse. + + MORTICIA + Your cousin, Balthazar. You were + still a suspect. I couldn't stop + staring, all during the eulogy. + Your eyes. Your moustache. Your + laugh. + + GOMEZ + (aglow with romance) + You bewitched me. I proposed that + very night. + + MORTICIA + (gazing at the cemetery) + Just think, someday we'll be buried + here. Side by side, six feet under. + In matching coffins. Our lifeless + bodies, rotting together, for all + eternity. + + GOMEZ + (aroused by all this) + Cara mia! + + MORTICIA + (passionately) + Mon sauvage! + +They embrace in the moonlight. As they do, the camera PANS +above their heads: we see the headstone featuring UNCLE +FESTER. + + CUT TO: + 79. + + +100 INT. CONSERVATORY - MORNING 100 + + LURCH is sweeping up. Among the plants, he comes upon + ABIGAIL, tightly wrapped in a plant cocoon. + + Lurch growls. + + CUT TO: + + +101 INT. KITCHEN - LATER 101 + + The cheerful Addams breakfast is underway. Fester is at the + table with the family. + + PUGSLEY + (to Fester) + Did you like the blood? + + FESTER + Perfect, a full bucket. I was so + proud. + + MORTICIA + Weren't we all. Wednesday, play + with your food. + + Wednesday has SOMETHING MOVING in her cereal bowl. She + teases it with her fork. + + Granny SCREAMS, at the sideboard. + + MORTICIA + Mama? + + Granny pulls a SKELETON OF A SHIN AND FOOT out of one of + the serving dishes. + + GRANNY + Who put this in here? + + Pugsley and Fester exchange a conspiratorial glance and + giggle. + + GRANNY + (referring to the + skeleton) + That's for company! + + GOMEZ + (shaking his head, + amused) + Rascals. + 80. + + +Abigail enters, peeling off bits of the vines that had +encased her. + + GOMEZ + Doctor! You were so right! What an + evening! + + MORTICIA + Fester fit right in. + + GOMEZ + The displacement is over! + + ABIGAIL + (glaring at Fester) + Vell, isn't zat-- nice. + + WEDNESDAY + Does he really have to go. + + ABIGAIL + Jais, he does. + + GOMEZ + Well, if he insists upon leaving, + we shall mark the occasion. Tish? + + MORTICIA + (to Fester) + We've planned a farewell party. + + GOMEZ + We've invited the whole clan. + +Amazed by the gesture, Fester looks over at Gomez and +Morticia. + + ABIGAIL + Vat a luffly gesture. + + MORTICIA + (gazing at her family) + Bloodshed-- anguish-- breakfast-- + We're a family again. And we owe it + all to you, Dr. Pinder-Schloss. + + ABIGAIL + Please, Greta. + + MORTICIA + Greta. + + ABIGAIL + 81. + + + Fester, valk me out. + + CUT TO: + + +102 EXT. FRONT WALK - A LITTLE LATER. 102 + + Fester is escorting Abigail through the yard. + + FESTER + I'm fine, Mother. I'm completely in + control. + + ABIGAIL + (grabbing him) + They're not your family, Gordon. I + am. They don't love you. I do. + They're evil and corrupt and + degraded. I can give you that. + + FESTER + I'm fine. Really. + + ABIGAIL + We'll see. + + They reach Gate. + + ABIGAIL + (bellowing) + Open up. + + Even Gate is intimidated and swings open. + + CUT TO: + + +103 INT. MORTICIA'S CONSERVATORY - EVENING 103 + + Fester is cutting the blooms off Morticia's roses. + + MORTICIA + We're opening the ballroom now. + + Fester hesitates, then follows Morticia. + + CUT TO: + + +104 INT. HALLWAY OUTSIDE BALLROOM - A SHORT TIME LATER 104 + 82. + + + Each carrying a lighted candelabra, Morticia, Gomez, + Fester, Granny, Lurch, Pugsley, and Wednesday stand in + front of the tall, elaborately carved, oaken double doors. + Gomez unlatches them. Together they push them open and STEP + into the BALLROOM. + + Moonlight streams in through the floor-to-ceiling windows, + revealing the true enormity of the ballroom. + + It's straight out of a ROCOCO palace. A lofty unsupported + dome ceiling is DECORATED with figures worthy of Dante. The + black marble floor glistens. The furniture and banquet + tables are FUNEREALLY SHROUDED. Like some primeval sea, the + shrouds undulate in the breeze admitted through the open + doors. + + Gomez steps up to Morticia and embraces her. They begin to + dance. + + Fester remains frozen in the center of the ballroom, + overwhelmed by the grandeur. + + FESTER + A party-- for me-- here-- + + As Gomez and Morticia waltz past-- + + MORTICIA + All for you! + + GOMEZ + Tish, how long has it been since + we've waltzed? + + MORTICIA + (ruefully) + Oh, Gomez-- hours. + + He dips Morticia. As she bends back, she reaches for one of + the shrouds and WHIPS IT OFF -- IT FILLS THE SCREEN. + + BLACK. + + CUT TO: + + +105 INT. THE BALLROOM 105 + + When the shroud comes down THE PARTY IS IN FULL SWING. + + Gomez and Morticia, resplendent now in their party clothes, + Morticia in a formal version of her black sheath, and Gomez + in black velvet lounging pajamas, smoking jacket and fez. + 83. + + + A SMALL ORCHESTRA plays a FRACTURED WALTZ. Thing is a third + hand on the bass. + + Gomez and Morticia dance among the ADDAMS FAMILY RELATIVES, + that portrait gallery of GROTESQUES come to life. Among + them are: + + DEXTER AND DONALD ADDAMS, the two-headed cousin in matching + turtlenecks. + + COUSIN OPHELIA ADDAMS who looks like a Tennessee Williams + heroine who's just been fished out of the Mississippi. + + SLOSH ADDAMS. If a man could look like a toad and still be + a man, this is he. He's made many a killing on Wall Street. + With him is his child-sized wife, LOIS. + + DIGIT ADDAMS, all four arms embrace his date, an over-age + Heidi, with thick blonde braids. + + COUSIN LUMPY ADDAMS, a teenage hunchback in a loud blazer. + + Dexter and Donald dance Ophelia over to Gomez and Morticia. + + DEXTER AND DONALD + (they echo one another) + I wonder-- I wonder-- what + happened-- what happened-- to + Fester-- to Fester. + + GOMEZ + Still primping, I suppose. + + Her mind water-logged and bleary, Ophelia addresses + Morticia, with a spacy Thorazine smile. + + OPHELIA + Where is Fester? + + MORTICIA + Soon, Ophelia. Soon. + + OPHELIA + Where am I? + + CUT TO: + + +106 INT. FESTER'S BEDROOM 106 + + Fester is in his robe, or his underwear; he is considering + various pieces of clothing, on hangers or placed on the + bed. Abigail stands nearby, her arms folded. + 84. + + + FESTER + What would look best? A tuxedo? + + ABIGAIL + A nice dark suit is perfectly + acceptable. + + FESTER + But the whole family's coming! I + want to look terrific! + + ABIGAIL + Gordon, may I remind you - you're + not really an Addams. + + FESTER + I know, I know - but the party's + for me! + (he holds an outfit up in + front of the mirror) + I love this. + + CUT TO: + + +107 EXT. ADDAMS MANSION 107 + + The front door opens, and Lurch appears; he has obviously + been summoned. He looks out; his face lights up as he sees + a new arrival. + + ANGLE on COUSIN IT, driving up in his bubble-topped It- + mobile. He parks the car and flips open the top. Cousin It + is a hairball in a homburg, who gleeps and squeaks in a + language the Addams have no trouble understanding. He + pauses for a moment, to survey the house. + + CUT TO: + + +108 INT. BALLROOM - A LITTLE LATER 108 + + Lurch escorts COUSIN IT into the ballroom. Gomez and + Morticia come over to greet him. + + GOMEZ + It, old man! + + COUSIN IT + Bleep gibber, ooot, ooot. + + MORTICIA + You're right. Far too long. + 85. + + + Cousin It looks around, obviously checking out the women. + + He SEES MARGARET on the dance floor with Tully. + + It runs a hand through his hair, slicking it back, then + excuses himself. + + COUSIN IT + Ooot gibber bleep. + + MARGARET clings stiffly to Tully in the midst of all this + Addams' weirdness. + + MARGARET + The first time we've been dancing + in ages, and you take me here-- + + TULLY + It's a formal occasion-- + + MARGARET + Don't let me out of your sight-- + + TULLY + Don't threaten me-- + + There's a TAP on Margaret's shoulder. She turns. Before her + is Cousin It, hat in hand, eager to cut in. + + COUSIN IT + Oot, ooot, ooot. + + He takes her in his arms and spins away with her. + + CUT TO: + + +109 INT. FESTER'S BATHROOM - SAME TIME 109 + + The pipes groan loudly as scalding water floods the sink. + Abigail shaves the back of Fester's head with a straight + razor. The room is filled with steam. + + ABIGAIL + You'll make your appearance, then + slip away from the party -- + + FESTER + How? I'm the guest of honor. + + CUT TO: + 86. + + +110 INT. BALLROOM - SAME TIME 110 + + Wednesday is dancing with Lumpy Addams, the teenage + hunchback. Morticia approaches them. + + MORTICIA + Wednesday? + + WEDNESDAY + Yes, Mother? + + MORTICIA + Could you run upstairs and check on + your uncle? + (as Wednesday runs off) + Thank you, dear. + (to Lumpy) + Why, Lumpy Addams. Look at you. All + grown up. + + CUT TO: + + +111 INT. FESTER'S ROOM - A MINUTE LATER 111 + + The door opens and Wednesday peeks inside-- + + WEDNESDAY + Uncle Fester? + + She hears the water running in Fester's bathroom, the sound + of voices beneath it. + + INSIDE THE BATHROOM Fester turns off the water. The pipes + make a final clang, then there's silence. + + FESTER + Yes, Mother, I understand. I hear + you. + + ABIGAIL + I hope so, Gordon. I'm counting on + you. Don't buckle. + + FESTER + It's not going to be easy. There + are people everywhere. + + ABIGAIL + You can do it, if you just stop + whining. No one likes that, it's + unattractive. + 87. + + + FESTER + All right, fine. I will try and + reach the vault tonight. But if I + can't, well-- + (screwing up his courage) + Then that's it. Okay, Mother? + + Wednesday stands frozen in the doorway. + + WEDNESDAY + You are a fake! I knew it! + + Abigail and Fester wheel around on her. The straight razor + catches the light and GLINTS MENACINGLY. + + ABIGAIL + Come here, little vun. Ve von't + hurt you. + + Fester can't believe this is happening. He is genuinely + torn and it shows. + + FESTER + Wednesday! + + Abigail's facade disintegrates and she bellows. + + ABIGAIL + Get her! + + Abigail pushes him toward Wednesday, who suddenly scared, + takes off running. She runs through FESTER'S ROOM and + ACROSS + + +112 INT. HALL - SAME TIME 112 + + into her own room. She slams her bedroom door behind her. + + Galvanized into action by the hold his mother still has on + him, Fester KICKS the door open just in time to SEE: + + +113 INT. WEDNESDAY'S ROOM - SAME TIME 113 + + Wednesday throws open a TRAPDOOR IN THE FLOOR and + DISAPPEARS DOWN IT, pulling the door closed behind her. + Fester tries to find it but, the door is seamless. He + pounds the floor in frustration. + + CUT TO: + 88. + + +114 EXT. HOUSE - SAME TIME 114 + + Next to the coal chute where Abigail was grabbed by the + vines, ARE TWO SMALLER CHUTES, one marked Pugsley and one + marked Wednesday. Wednesday SLIDES OUT of her chute. She + takes off toward the cemetery. + + +115 EXT. GRAVEYARD - NIGHT 115 + + Wednesday runs through the graveyard, and into the darkness + of the night. + + +116 INT. BALLROOM - SAME TIME 116 + + Lurch escorts FLORA AND FAUNA AMOR, the twins from the home + movies, into the ballroom. + + He takes their wraps revealing that they are, in fact, a + pair of SIAMESE TWINS. Twenty-five years later, they still + look quite beautiful and quite mad. + + GOMEZ (O.S.) + Flora and Fauna Amor! + + Gomez approaches, shielding his eyes. + + GOMEZ + I cannot see! I'm blinded by + beauty! + + FLORA + Gomez Addams-- + + FAUNA + -- you terrible flirt-- + + FLORA + -- always was-- + + FAUNA + -- at least with me-- + + FLORA + Copycat! + + FAUNA + Tag-along! + + Morticia appears. + 89. + + + MORTICIA + Why, Gomez. The Amor twins. I've + heard so much about you. + + FLORA + Morticia! I hate you! + + FAUNA + -- you nabbed him, this darling + man-- + + FLORA + -- he was mine-- + + FAUNA + -- he was mine-- + + MORTICIA + Flora, Fauna, how can I compete? + You're twice the woman I am. + +Gomez grabs Tully, who is striding by in search of +Margaret. + + GOMEZ + Tully, the Amor twins. They're + waiting for Fester. Amuse them. + + FLORA + (flirting) + Hello, Tully-- + + FAUNA + I saw him first-- + + FLORA + (to Tully) + Ignore her-- + + FAUNA + (to Tully) + She's nothing-- + + MORTICIA + (calling after them) + Bon chance! + +The girls now have their four arms all over Tully, leading +him onto the dance floor. + + TULLY + Oh my God-- + 90. + + + CUT TO: + + +117 INT. FESTER'S BEDROOM - SAME TIME 117 + + Abigail is in the room alone. At that moment, Fester comes + climbing back through the open window. + + FESTER + I couldn't find her anywhere. Let's + just leave, out the back. + + ABIGAIL + Pull yourself together. She'll turn + up the little cockroach. Now get to + the party or they'll suspect + something. I'll be down soon. + (using her accent) + Ja? + + CUT TO: + + +118 INT. KITCHEN - SAME TIME 118 + + Morticia watches as Granny garnishes a ROAST PIG set on + silver tray. It is beautifully glazed, deliciously plump + and has an apple in its mouth. + + MORTICIA + Mama, you've outdone yourself. + + Granny turns the roast pig slightly to arrange the garnish + and reveals its SECOND HEAD. This one too has an apple in + its mouth. + + GRANNY + Hey, it's a party. + + Satisfied, she covers it with a lid. Lurch then lifts the + tray onto a serving cart, and rolls the cart out. + + CUT TO: + + +119 INT. BALLROOM - SAME TIME 119 + + Flora and Fauna, now on the dance floor with Tully, chatter + giddily as he tries to maneuver them through a box-step. + + FLORA + 91. + + +You can't imagine how surprised we +were when Gomez called and told us +Fester was back-- + + FAUNA +Especially considering-- + + FLORA + (rolls her eyes + heavenward) +Fauna-- + + TULLY +Especially considering what? + + FLORA +It makes no difference now. It's +obvious that Fester and Gomez are +devoted. + + TULLY +Why wouldn't they be devoted? + + FAUNA +Well, now that Fester's back, he's +the king of the castle again, isn't +he? + + FLORA +Fester's the older brother. So he +gets it all. The house, the money - +you name it. + + FAUNA +I'd like to-- + + FLORA +Gomez be damned. + + FAUNA +Fester's still single, isn't he? + + FLORA + (flirting) +Are you, Mr. Alford? + + TULLY +Why, Fauna-- + + FAUNA +I'm Fauna! + + FLORA + 92. + + + I'm Flora! + + TULLY + I'm flattered. Excuse me, ladies? + + Tully winks at Flora and blows a kiss to Fauna; they giggle + madly. Tully hurries off, grinning like the cat who + swallowed the canary. + + CUT TO: + + +120 INT. BALLROOM - SAME TIME 120 + + Morticia and Fester have appeared at the door to the + ballroom. + + MORTICIA + Everyone. Your attention please. + + The music stops, and the guests fall silent. + + MORTICIA + When he was lost, our family + grieved. And how it became them. + Now he is found, and our + celebration begins. Our treasured + guest of honor -- Fester Addams. + + She takes him by the hand as if to lead him toward the + assembled guests but instead ABRUPTLY SPINS HIM BY THE ARM, + sending him whirling like a top into the CENTER OF THE + DANCE FLOOR where he suddenly STOPS, NOSE-TO-NOSE WITH + GOMEZ. + + Gomez has changed clothes, he's dressed now like a + Hollywood Cossack. He carries FIVE GLEAMING SCIMITARS. + + Morticia, Granny, and all the Addams women rap out a + stirring martial beat on tambourines. + + GOMEZ + The Mamushka! + + Gomez begins to CIRCLE around Fester. + + The other family members form a ring, CIRCLING COUNTER- + CLOCKWISE to Gomez. + + Gomez then throws the scimitars straight up, high into the + air, and begins juggling them. + 93. + + +Baffled, Fester stands in the center, the eye of this +dizzying hurricane. + + GOMEZ + Taught to us by our Cossack + cousins, the Mamushka has been an + Addams family tradition since God- + knows-when-- + +Gomez hurls the scimitars to Fester. They begin JUGGLING +THEM BACK AND FORTH MUCH TO FESTER'S SHOCK AND SURPRISE. + + GOMEZ + --We danced the Mamushka while Nero + fiddled! We danced the Mamushka at + Waterloo! We danced the Mamushka + for Jack the Ripper, and now, + Fester Addams, this Mamushka's for + you! + +The juggling continues. The MOVES GET MORE AND MORE +INTRICATE. It's an ELABORATE, CAREFULLY CHOREOGRAPHED +ROUTINE. Fester, petrified, manages to somehow bungle his +way through. + +They launch into a TONGUE-TWISTING PATTER SONG. Fester +stumbles his way through. During an instrumental passage of +the song, Gomez admires his brother. + + GOMEZ + After all this time Fester hasn't + forgotten a step, hasn't forgotten + a word! + +Fester STOPS DEAD. + + FESTER + (astonished) + Not a step, not a word-- + +Fester has missed a beat and looks up to SEE ALL FIVE +SCIMITARS DROPPING FAST, coming straight at him. + +Panicking, he CATCHES ONE, TWO, THREE, FOUR with two in +each hand, his hands are full. What's he going to do with +THE FIFTH SCIMITAR? + +HE OPENS HIS MOUTH TO SCREAM. IT DROPS STRAIGHT IN. HE +SWALLOWS IT TO THE HILT. + +The Addams mob CHEERS LUSTILY and launches into the finale +of the song. + 94. + + + Amazed, Fester drops the scimitars he holds and pulls the + one from his mouth. + + FESTER + How did I do that? + + Gomez slaps him on the back. Fester burps. The Addams cheer + again. They close in on Fester. + + CUT TO: + + +121 INT. A REMOTE CORNER OF THE BALLROOM - SAME TIME 121 + + Cousin It and Margaret are waltzing in an out-of-the-way + nook; they are somewhat involved. + + MARGARET + We've been married for almost + twenty years, sometimes it seems + like more-- + + COUSIN IT + Ooot oot blipper. + + MARGARET + Of course, people grow, people + change-- + + COUSIN IT + Glibber gleep gleep. + + CUT TO: + + +122 INT. FRONT HALL - A LITTLE LATER. 122 + + Tully is heading for the front door, in his coat. Abigail + stops him. + + ABIGAIL + Where are you going? There's + trouble. + + TULLY + Hey, not to worry. Plan B. + + ABIGAIL + But that hideous little girl-- + + TULLY + (interrupts) + 95. + + + I'm in charge. Ten minutes, I'll be + back. + + Tully slips out the door. Abigail turns, frustrated, + throwing up her hands. Upstairs, on the dance floor, a + reprise of the Mamushka has begun. In the rear of the hall, + Cousin It passes across, leading a trembling Margaret. + + CUT TO: + + +123 EXT. JUDGE WOMACK'S HOME - A SHORT WHILE LATER 123 + + Judge Womack is on the front porch with Tully. He's + apoplectic. The raucous sounds of the Mamushka reverberate + from the Addams mansion. + + JUDGE WOMACK + What the hell's going on over + there? + + TULLY + How would you like to be rid of the + Addamses for good? I'm serious. + + JUDGE WOMACK + (smiling) + What can I do for you? + + CUT TO: + + +124 EXT. ADDAMS MANSION - TWO O'CLOCK A.M. 124 + + Gomez and Morticia stand on the front steps waving good-bye + to their departing guests. + + Cousin It leans out the window of his limousine, sharing a + romantic last moment with Margaret. + + MARGARET + You're a marvelous dancer. It's + been such fun. + + COUSIN IT + Ooot ooot gibber. + + MARGARET + (torn) + I can't. We musn't. + (a beat) + Call me? + 96. + + + The limo drives off, as Margaret waves a fond farewell. The + limo passes. + + Morticia appears. She puts her arm around Margaret as It + drives off. + + MORTICIA + Oh, Margaret, he's very special, + isn't he? + + MARGARET + (sighing) + He's perfect. + + MORTICIA + He's It. + + Flora and Fauna giving goodbye kisses to Fester, covering + him with lipstick; they hang on him with all four arms. He + is enjoying himself. + + FLORA + You'll come see me before you + leave, won't you, Fester? + + FAUNA + (to Fester, + confidentially) + I'll call, once I'm alone. + + An AMBULANCE pulls up. White-jacketed ATTENDANTS step out, + with a straight-jacket built for two. + + FESTER + There's your ride! Good-bye, girls! + + CUT TO: + + +125 INT. UPSTAIRS HALLWAY - A BIT LATER 125 + + Fester skips down the hall, still practicing bits of the + Mamushka, the Amor Twins' kisses still fresh on his cheeks. + He opens the door and strides into -- + + +126 INT. FESTER'S ROOM - SAME TIME 126 + + Fester dances into the room. He grabs Abigail and starts + dancing with her, swinging her around and singing bits of + the patter song. + + ABIGAIL + 97. + + + Gordon? + +Fester keeps singing and dancing. + + ABIGAIL + Gordon! Stop it! This instant! + +Fester lets her go. + + ABIGAIL + Gordon, is that lipstick? All over + your face? + + FESTER + (still giddy) + From the twins! The beauteous Amor + twins! + + ABIGAIL + The twins? Gordon, I don't + understand this. Let me get this + clear. Have you, have you been + having a good time? + + FESTER + (jubilant) + Yes, I have! It was marvelous, I + sang up a storm! And I danced 'till + I dropped! The Mamushka! + +He begins to dance again. Abigail, breathing fire, sits on +the bed, turning away from him. + + FESTER + Mother? + + ABIGAIL + Mother? Mother? Who is that? I + don't think I recall. + + FESTER + Mother-- + + ABIGAIL + I'm perfectly fine. I'm dandy. + Don't concern yourself with me, + Gordon. Please, return to your + depraved orgy. Sometimes I think + you're not even my son. + + FESTER + Don't say that! + 98. + + + ABIGAIL + I'm just your mother. You only owe + me your entire existence on this + planet. Please, Gordon, by all + means - go. Sing. Dance. Date. + + FESTER + (coming to his senses) + Mother, I'm-- I'm so terribly + sorry-- + (he kneels at her side) + It was just a party. It's over. It + means nothing. Those Siamese twins, + that hunchback, Cousin It, they're + not you. + + ABIGAIL + (clutching him savagely) + Say it, Gordon. Make me believe it. + + FESTER + I love you. And I want money. + + ABIGAIL + (very no-nonsense) + We've got to find Tully. + + CUT TO: + + +127 INT. BALLROOM - SAME TIME 127 + + Morticia is looking for her children. She discovers Pugsley + ASLEEP, curled up on the SILVER PLATTER WHERE THE TWO- + HEADED PIG LAY. She finds this enchanting. + + Gomez enters. Morticia shushes him; she points to the + platter. + + MORTICIA + (whispering) + Look, our little boy. + + GOMEZ + (whispering) + All tuckered out. + + MORTICIA + (whispering) + So sweet. He looks just-- like a + little entree. + + Pugsley wakes up; he looks around. + 99. + + + PUGSLEY + (sleepy) + Where-- where's the party? + + MORTICIA + It's over, darling, have you seen + your sister? + + PUGSLEY + Not since before the Mamushka. + + MORTICIA + Gomez? + + GOMEZ + Don't fret, we'll find her. + + CUT TO: + + +128 EXT. ADDAMS YARD - LATER 128 + + Gomez rallies the family for the search. Morticia wears a + black cloak. Granny has grabbed her divining rod. Lurch + distributes torches, then stands aside, awaiting + instructions. Pugsley helps Gomez unroll an ancient map of + the area. + + GOMEZ + Fan out. Pugsley, head for the dung + heap. Mama and Morticia, the + shallow graves. I'll take the + abyss, and Lurch, check the + bottomless pit. + + MORTICIA + (worried) + Her favorite-- + + GOMEZ + (calls out) + Fester!! + + FESTER (O.S.) + Up here. + + They look up at Fester, looking down at them from + Wednesday's window. + + GOMEZ + Fester! You take the ravine! And + the unmarked, abandoned well! + 100. + + + FESTER + Somebody should stay behind, in + case she comes back. + + GOMEZ + Good man! Good thinking! + + GRANNY + Then who'll take the swamp? + + Thing tugs at the cuff of Gomez's pants. Gomez nods. + + GOMEZ + That's the spirit, Thing, lend a + hand! Let's go! + + They all sweep off, with Gomez in the lead. + + +129 INT. WEDNESDAY'S ROOM - A SHORT WHILE LATER 129 + + Fester is still at the window. Abigail joins him. + + THEIR POV + + Spread far and wide over the grounds, the various members + of the family search for Wednesday, tiny lights aloft, + calling. + + ABIGAIL + Where the hell is Tully? + + They head out. + + CUT TO: + + +130 INT. DEN - A LITTLE LATER 130 + + Fester and Virginia find TULLY sitting in an armchair, + basking in the rays of sunshine that beam from a copy of + "The Sun Also Rises." Tully smiles at them. + + ABIGAIL + What are you doing? + + TULLY + Relaxing. Taking a little sun. + + ABIGAIL + Have you gone mad? + 101. + + + TULLY + Au contraire. + + Tully closes the book and smugly unfurls a LEGAL DOCUMENT. + + CUT TO: + + +131 EXT. SWAMP - MIDDLE OF THE NIGHT 131 + + Thing hops lily pads, stopping occasionally to quest the + air for his mistress. + + CUT TO: + + +132 EXT. PRIMEVAL FOREST ADJACENT TO CEMETERY - MIDDLE OF THE 132 + NIGHT + + Torch aloft, Pugsley searches through the primeval forest. + + CUT TO: + + +133 EXT. NEIGHBORHOOD - MIDDLE OF THE NIGHT 133 + + Lurch picks up a car, looking for Wednesday. + + CUT TO: + + +134 EXT. UNDERGROUND GROTTO - MIDDLE OF THE NIGHT 134 + + Morticia and Granny stand in the middle of the dripping + dankness. Stalagmites. Stalactites. + + Granny's torch casts scary shadows on the cave walls. + + GRANNY + (calling out) + Wednesday! Wednesday! + + MORTICIA + Oh, Mama, I was sure we'd find her + here. + + CUT TO: + + +135 EXT. CEMETERY - DARK 135 + 102. + + + Gomez reaches a stately mausoleum at the far end of the + cemetery. Two proud marble vultures guard the entryway. + Gomez lowers the uplifted claw of one of the vultures and + the stone doors slide open. He steps into -- + + +136 INT. MAUSOLEUM - SAME TIME 136 + + Inside it is catacomb-like, filled with the bleached bones + of the Addams dead. Gomez's torch casts shadows, one of + which belongs to Wednesday, curled asleep on a stone + sarcophagus. Relieved to find her, Gomez approaches + quietly. He doesn't want to wake her up. He lifts her + tenderly in his arms. + + CUT TO: + + +137 EXT. GATE - DARKNESS BEFORE DAWN 137 + + Gate can't open. He rattles miserably on his hinges locked + tight with heavy chains and yellow police tape - large "NO + TRESPASSING!! COURT ORDER!! ADDAMS FAMILY - KEEP OUT!!" + signs are posted on Gate's rusty bars. + + PULL BACK TO REVEAL the family, appalled at the sight of + Gate. Lurch carries the sleeping Wednesday and Pugsley. + + GOMEZ + What's all this? + + TULLY hurries down the walkway, waving his legal document. + + TULLY + This is a restraining order, Gomez. + + GOMEZ + A restraining order? + + TULLY + It requires you to keep a distance + of one thousand yards from this + house. You've got about nine + hundred and ninety-nine yards to go + catch my drift? + + GOMEZ + (in disbelief) + I am restrained - from my own + house!? + + TULLY + 103. + + + Not your house, moustache! Not any + more! It belongs to the eldest + living descendant, the older of the + brothers, Fester Addams! + + GOMEZ + But, this is lunacy! + + MORTICIA + Fester adores Gomez! + + TULLY + He's afraid of him. Seeing the + twins brought it all back. + (to Gomez) + You're bitter rivals, Gomez, always + were, always will be! + + GOMEZ + It's not so! Those girls meant + nothing, he knows that! I demand to + see Fester! + + TULLY + Sorry, no can do. He's very hurt, + it's not a good time. Leave it + alone. Or better yet just leave. + + Wednesday comes forward, rubbing the sleep from her eyes. + + WEDNESDAY + But he isn't even Uncle Fester. + + Gomez and Morticia turn to look at her. + + GOMEZ + (to his family) + Do not fear justice shall prevail. + The courts will decide! + (fervently) + They say a man who represents + himself has a fool for a client. + Well, with God as my witness, I am + that fool! + + CUT TO: + + +138 INT. COURTROOM - DAY 138 + + C.U. GAVEL hammers on the Judge's bench. + 104. + + + PULL BACK to reveal JUDGE WOMACK is the presiding judge. He + hammers the bench again, then reads his decision. + + JUDGE WOMACK + Given applicable standards of + proof, the attempts to impugn this + man's character or question his + identity have been woefully + inadequate. It is with no small + amount of personal satisfaction + that I declare Fester Addams legal + executor of the Addams estate and + rightful owner of all properties + and possessions contained herein. + Gomez Addams-- + (He holds up a golf ball) + I believe this is yours. + + CUT TO: + + +139 EXT. ADDAMS MANSION - DAY 139 + + The family members TROOP to the car with their few + possessions. + + GOMEZ already sits in the passenger seat of the Duesenberg, + his coat draped over his shoulders as if he were an + invalid, his head thrown back. + + Morticia carries out Cleo, her carnivorous plant. Granny + carries her favorite cauldron, Wednesday one of her Marie + Antoinette dolls, Pugsley his chemistry set. Lurch uproots + his favorite tree and joins the procession. Thing follows, + dragging a toy wagon packed with his rings, his glove. + + CUT TO: + + +140 EXT. ADDAMS OVERGROWN DRIVEWAY - LATER 140 + + The Duesenberg eases out of the driveway and onto the + street, WEIGHED DOWN by Lurch's tree, sticking out of the + trunk. + + FESTER standing at a second story window, watches the car + drive off. + + CUT TO: + + +141 EXT. WAMPUM COURT - LATER 141 + 105. + + + A two-story NEON ARROW points the way to this bungalow + court. Bright and awful ersatz western. LOG CABINS OF + SIMULATED WOOD surround the TEEPEE-SHAPED OFFICE. + + The Addams' Duesenberg is parked in front of the furthest + cabin. The asphalt has been ripped up in big chunks and + Lurch's tree is parked next to the Addams' new home. + + CUT TO: + + +142 INT. BUNGALOW - SAME TIME 142 + + C.U. DRESSING TABLE MIRROR + + Morticia leans into frame. With an icepick and a hammer, + she deftly makes a large spidery CRACK in the round mirror. + Sighing deeply, she stands back to admire her handiwork. + Granny joins her. + + GRANNY + I like it. + + Her mother pats her consolingly. + + MORTICIA + Just as long as we're together, + n'est pas, mon cher? + + As she turns to Gomez, we see the interior of the bungalow, + all ersatz cowboy and Indian mixed with chrome-plated + plastic and orange shag carpet. + + GOMEZ sits slumped in a chair made from wagon wheel and + naugahyde. It's as if all of his insane, vibrant energy has + been leached from him. He's a broken man. He looks back at + her as if he's never heard French. + + GOMEZ + Huh? + + Wednesday tends to him. She and her mother exchange a + worried look. + + PUGSLEY comes from the bathroom, nibbling a wrapped bar of + motel soap. + + PUGSLEY + This place isn't so bad. They even + put candy in the bathroom. + + MORTICIA + That's the soap, dear. + 106. + + + PUGSLEY + Oh. + + He takes another greedy bite. + + Wednesday pats her father's arm. + + WEDNESDAY + Do you want a cigar, Father? + + GOMEZ + (in a monotone) + They're very bad for you. + + WEDNESDAY + (very worried) + Father? + + Wednesday exchanges a panic-stricken look with Morticia. + The family moves closer to Gomez. + + GOMEZ + But maybe I'll have one of those-- + + He takes a bar of soap from Pugsley. Gomez unwraps it and + morosely eats. + + CUT TO: + + +143 INT. ADDAMS MANSION - MIDWAY TO THE VAULT 143 + + C.U. on three hands, as they reach up to pull three of the + countless chains. + + CUT TO: + + +144 EXT. ADDAMS YARD - MIDNIGHT 144 + + THE COAL CHUTE ON THE SIDE OF THE HOUSE drops open, dumping + out Fester, Abigail, and Tully, all of them wet and + bedraggled and gasping for air. + + ABIGAIL + (to Fester) + You're doing this on purpose. + + They all struggle to their feet and march grimly back + toward the door. + + CUT TO: + 107. + + +145 INT. WAMPUM COURT BUNGALOW - MORNING 145 + + Gomez is STRETCHED OUT on the naked box springs of his bed, + the mattress pushed aside. A damp cloth covers his eyes. + Thing MASSAGES his aching head. A bowl of MOTEL SOAPS is + beside him. + + In contrast, Morticia squarely faces the crisis. She + addresses the family from the head of the breakfast table, + the want ads open on the table before her. + + MORTICIA + We are Addamses, and we will not + submit. Who recalls the fable of + the tortoise and the hare? The + swift, yet lazy little cottontail, + and his slow but determined + companion? What does that story + teach us, as Addamses? + + GRANNY + Kill the hare. Skin it. Boil it. + + WEDNESDAY + Put the tortoise on the highway. + + PUGSLEY + During rush hour. + + MORTICIA + Yes! We will survive! Poison us, + strangle us, break our bones - we + will come back for more. And why? + + GRANNY + Because we like it! + + PUGSLEY + Because we're Addamses! + + Gomez tries to rouse himself. + + GOMEZ + (out of it) + We're Addamses-- + + He burps, soap bubbles floating from his mouth. + + CUT TO: + + +146 EXT. SIDEWALK IN FRONT OF THE WAMPUM COURT - DAY 146 + 108. + + + Wednesday and Pugsley have set up a LEMONADE STAND, their + contribution to the Addams' financial well-being. An array + of POISONS are lined up on their rickety table. They've + slashed their prices to a nickel per cup. The pitcher on + the table before them steams. + + Cars speed by. + + Carrying a SAMPLE VACUUM CLEANER and a bucket, Lurch comes + out of the motel courtyard. Pugsley offers him a cup of + punch. + + PUGSLEY + Here, Lurch. On the house. + + Lurch downs it in a gulp and heads off. + + Feeling the effects of the lemonade, Lurch BURPS, a tongue + of flame shoots from his mouth and INCINERATES A WOODEN + INDIAN advertising the Wampum Court. + + CUT TO: + + +147 INT. EMPLOYMENT AGENCY 147 + + Morticia is being interviewed by a PERSONNEL OFFICER, a + relentlessly perky gal with a clipboard. + + PERSONNEL OFFICER + We have so many homemakers + reentering the workforce, your + domestic skills can be very + valuable. College? + + MORTICIA + Private tutors. + + PERSONNEL OFFICER + Major? + + MORTICIA + Spells and Hexes. + + PERSONNEL OFFICER + (knowingly) + Liberal Arts. Have you been a + volunteer, PTA, service + organizations? + + MORTICIA + 109. + + + Well, one day each week I visit + Death Row at our local prison, with + my children. + + PERSONNEL OFFICER + (perplexed) + With your children? + + MORTICIA + Autographs. + + PERSONNEL OFFICER + Well, what about your husband? Is + he currently employed? + + MORTICIA + He's-- he's going through a bad + patch at the moment. But it's not + his fault. + + PERSONNEL OFFICER + (with some bitterness) + Of course not. What is he, A + loafer? A hopeless layabout? A + shiftless dreamer? + + MORTICIA + (wistfully) + Not anymore. + + The Personnel Officer shoots Morticia a doubtful glance, + and begins rifling through her card file. + + CUT TO: + + +148 INT. ADDAMS LIVING ROOM - DAY 148 + + Abigail and Fester are seated at opposite ends of the + couch. Fester stares off into space. Abigail is going + through a stack of colorful travel brochures. + + ABIGAIL + The Mediterranean, the Riviera, + once we find the money, we'll go + everywhere. We'll try again, right + after lunch. Gordon, where should + we go first? + + FESTER + (sadly) + I don't know-- + 110. + + + ABIGAIL + Acapulco? Cancun? + (she snaps her fingers in + the air, castanet-style, + trying to be festive) + Ariba! Ariba! + + FESTER + You choose. + + CUT TO: + + +149 EXT. WAMPUM COURT - LATER THAT DAY 149 + + Wednesday and Pugsley are at their lemonade stand. They are + negotiating with a PRISSY LITTLE GIRL IN A GIRL SCOUT + UNIFORM. The girl scout carries several boxes of Girl Scout + cookies. + + GIRL SCOUT + (with grave doubts) + Is this made from real lemons? + + WEDNESDAY + Yes. + + GIRL SCOUT + I only like all-natural foods and + beverages. Organically grown, with + no preservatives. Are you sure + they're real lemons? + + PUGSLEY + Yes. + + GIRL SCOUT + Well-- I tell you what. I'll buy a + cup, if you buy a box of my + delicious girl scout cookies. Do we + have a deal? + + WEDNESDAY + Are they made from real girl + scouts? + + CUT TO: + + +150 EXT. SUBURBAN HOUSE - DAY 150 + + White clapboard. Geraniums in the flower boxes. Surrounded + by a white picket fence. + 111. + + + Carrying his SAMPLE VACUUM CLEANER AND BUCKET, the tools of + his new trade, Lurch carefully opens the little white gate. + + AT THE DOOR, he rings the doorbell, afraid he might break + something. + + A BLONDE HOUSEWIFE in tennis whites, obviously in a hurry, + opens the door, only to be greeted by a BUCKETFUL OF SLOP + thrown past her, onto her peach Oriental rug. She SCREAMS + in horror, turns to challenge the perpetrator of this + atrocity and, seeing Lurch, SCREAMS again. + + In a panic, she tries to slam the door on Lurch, but, like + the salesman's manual undoubtedly advised, he STICKS his + foot in the way. The door partially RIPS off its hinges. + + Lurch steps inside and shuts the door as best he can. + + A moment passes. The door swings open and Lurch exits, + jauntily waving a check. + + CUT TO: + + +151 INT. DAYCARE CENTER - DAY 151 + + Morticia is telling a story to a group of TODDLERS, who + have gathered in a circle around her, sitting on carpet + squares. The room is sunny and cheerful, with crayon + drawings taped to the walls. + + MORTICIA + -- and so the witch lured Hansel + and Gretel into the candy house, by + promising them more sweets. And she + told them to look in the oven, and + she was about to push them in, + when, low and behold, Hansel pushed + the poor, defenseless witch into + the oven instead. Where she was + burned alive, writhing in agony. + Now, boys and girls, what do you + think that feels like? + + After a beat, all the toddlers begin to CRY and WAIL. + + CUT TO: + + +152 EXT. WAMPUM BUNGALOW - DAY 152 + + Granny holds a club behind her back as she stalks + something. + 112. + + + GRANNY + Here kitty, kitty, kitty-- + + CUT TO: + + +153 INT. WAMPUM BUNGALOW - SAME TIME 153 + + Eating compulsively form a box of Mallomars, Gomez is still + stretched out on the naked box springs. He stares vacantly + at a game show on TV. "Jeopardy" is on. + + ALEX TREBEK + (reading from the card) + Monsters Of History for $200. "He + was known as the Butcher of + Bavaria." + + GOMEZ + (shouts) + Grandfather Addams! + (smacks his forehead, + hard) + Damn! Not in the form of a + question! + + CUT TO: + + +154 EXT. BUNGALOW - SAME TIME 154 + + Granny, running now, club raised, hurries past the open + window of the bungalow. + + She stops at the sight of Gomez inside, standing on the + bed, staring at the television. + + C.U. on the TV set - Gomez is now watching Geraldo Rivera, + hosting his tabloid style show. + + GERALDO + Voodoo zombies, the stuff of + legend, or a living nightmare? Do + zombies really exist? How are they + made? Where can we find them? Call + in with your comments. + + A CALL-IN NUMBER is flashed on the screen. Gomez reaches + for the phone. + + CUT TO: + 113. + + +155 INT. ADDAMS MANSION DINING ROOM - DAY 155 + + Abigail and Gordon are seated at opposite ends of the + table, having lunch. It is very quiet. + + ABIGAIL + After lunch, we'll try again. + + FESTER + (very flat) + Yes, Mother. + + ABIGAIL + We'll find the money. And + meanwhile, we have this little + nest. Quiet and cozy. Without that + dreadful family. + + FESTER + Yes, Mother. + + ABIGAIL + Just the two of us, away from the + world. Our dream come true. + + FESTER + Yes, Mother. + + As Fester repeats "Yes, Mother", in his drone, Abigail + mimics him, silently. + + CUT TO: + + +156 INT. BUNGALOW - AN HOUR LATER 156 + + C.U. on the TV screen. Geraldo is talking to a woman in the + studio audience. + + GERALDO + So your son was brainwashed by + voodoo slave masters and forced to + recruit others. Let's take a call. + + GOMEZ + (on the studio PA system) + Geraldo-- + + GERALDO + (cutting him off) + Mr. Addams, please stop calling. We + don't know where they meet. + 114. + + + PULL BACK to the motel room. Gomez lets the phone drop. + Morticia, seated on the edge of the box spring, tries to + comfort him. Pugsley, Wednesday and Lurch are seated + nearby, very worried about Gomez, as at a death watch. + + Gomez is now surrounded by junk food, and a mountain of + junk food wrappers, bags and styrofoam containers. + + Ritually, as handmaidens, Morticia brings Gomez the remote + control for the TV, and Wednesday brings him a copy of TV + Guide. + + Pugsley brings Gomez a bag of "Doritos", and Lurch brings + him a canister of "Pringles". + + Gomez uses the remote to switch channels. An episode of + "The Cosby Show" comes on. + + GOMEZ + Re-run. + + He switches off the set and stares at the blank screen. + + PUGSLEY + I don't understand. All he does is + watch TV and eat. + + MORTICIA + I know, Gomez, let's go for a + drive. The whole family. + + GOMEZ + (not even turning) + A drive? And miss "Matlock"? + + Granny opens the door and sticks her head in. + + GRANNY + Dinner's going to be late. + + She slams the door. We hear her whistling. + + GRANNY (O.S.) + Here, boy. Here, boy. + + CUT TO: + + +157 INT. WAMPUM COURT - LATER 157 + + Morticia is putting Wednesday to bed. + 115. + + + WEDNESDAY + If that man isn't Uncle Fester, + then who is he, mother? + + MORTICIA + I don't know, darling. I wish I + did. + + WEDNESDAY + Why is that lady doing all this? + + MORTICIA + It's hard to say. Sometimes people + have had terrible childhoods. And + sometimes they just haven't found + their special place in life. And + sometimes they're dogs from hell + and must be destroyed. + + Morticia kisses Wednesday and she closes her eyes to go to + sleep. + + CUT TO: + + +158 INT. WAMPUM - MIDDLE OF THE NIGHT 158 + + The family sleeps all but Morticia. She sits up in bed + beside Gomez. She looks around at her family. + + Wednesday sleeps in the same bed as Granny. Lurch is flat + out on the floor. Pugsley uses him for a mattress, and + Thing uses Pugsley. Pugsley snores the inhale part of a + snore, Lurch groans the exhale part, and Thing punctuates + by wiggling. + + Morticia stares down at Gomez for a long beat. She strokes + his hair lovingly. Full of resolve, she gets out of bed. + + CUT TO: + + +159 INT. FESTER'S BEDROOM - NIGHT 159 + + Fester is lying in bed, the covers around his chin. Abigail + sits on the bed beside him, tucking him in. + + ABIGAIL + I know why you've been so glum. + It's because it's taking us a + little longer than we'd hoped to + find the gold. Isn't that right? + 116. + + + Fester turns away, depressed. + + ABIGAIL + Of course it is. Well, don't you + worry - we're right on the verge. + Tomorrow, for certain, my darling. + (she kisses him on the + forehead, and stands. She + goes to the door, and + turns) + You know, some people might think + it's strange, for a mother and son + to be so close. I think it's + beautiful. Don't you, Gordon? + + Fester mumbles something, under his breath. + + ABIGAIL + (very stern) + What? + + FESTER + (dutifully) + Yes, mother. It's beautiful. + + ABIGAIL + (instantly very sweet, + dabbing her eye with a + fingertip) + Look, I'm weeping. + + Abigail exits. The minute the door shuts, Fester gets out + of bed. He is fully clothed. He goes to the window, and + begins to climb out. + + CUT TO: + + +160 EXT. BUNGALOW - LATER 160 + + Morticia, fully dressed, wearing her cloak, heads off down + the walk. Unseen by her, Thing trails after. + + CUT TO: + + +161 EXT. GATE - A LITTLE LATER 161 + + Morticia, just outside Gate, struggles to get it open, + Thing clutching the bars, also attempting to block her way. + + MORTICIA + Stop it, you two. + 117. + + + Morticia breaks free of Thing. + + CUT TO: + + +162 EXT. ADDAMS MANSION - A LITTLE LATER 162 + + Tully opens the front door. He smiles maliciously at the + sight of Morticia on the stoop. + + MORTICIA + I would like to speak with Fester. + + Tully steps aside. + + TULLY + We've been expecting you-- + + Morticia crosses the threshold. + + CUT TO: + + +163 EXT. INTERSECTION AT THE FOOT OF THE ADDAMS HILL - NIGHT 163 + 155 + + Thing does his damnedest to flag down any of the few + oncoming cars. He waves to no avail, DANCES AROUND in + frustration, then tries HITCHHIKING, sticking out his + thumb. A passing car splashes him with mud. + + Screwing up his courage, in a kamikaze leap, he GRABS ahold + of the bumper of the next car that comes along and hangs on + for dear life as the car SPEEDS down the street. + + CUT TO: + + +164 INT. STUDY - A LITTLE LATER 164 + + Morticia is now stretched out on the torture RACK. Fester + and Tully are securing her hands and feet, under Abigail's + supervision. Fester seems torn, agitated, upset. + + MORTICIA + (to Abigail, graciously) + You are a desperate woman, consumed + by greed and infinite bitterness. + (a beat) + We could have been such friends. + + ABIGAIL + 118. + + + I don't think so. The vault, Mrs. + Addams, any thoughts? + + MORTICIA + (sweetly, to Abigail) + Despite everything, I don't hate + you. I pity you. Persecution, + fiendish torture, inhuman depravity + sometimes it's just not enough. + + ABIGAIL + Gordon, let's get started. + + FESTER + But, Mother-- + + ABIGAIL + Stop stalling! + + FESTER + I'm not stalling! Stop badgering + me! + + ABIGAIL + (pushing Fester aside) + Tully, take over! Tighten it! + + TULLY + I'd love to, you know that, but + I've got this stomach thing. When I + torture people. It's just me. + + ABIGAIL + (shoving Tully toward the + rack) + Do it! + + TULLY + (to Morticia, politely) + Where's your bathroom? + + ABIGAIL + NOW! + +Tully shuts his eyes and tightens the rack. Morticia's +bones make a horrible POPPING, STRETCHING SOUND. She MOANS, +rather sensually. + + ABIGAIL + Again! + +Tully tightens the rack again. More BONE-POPPING NOISES. +Morticia MOANS again, even more orgasmically. + 119. + + + ABIGAIL + Tighter! + + Tully tightens the rack a third time. BONE-POPPING NOISES. + Morticia MOANS, very voluptuously. She opens her eyes. She + sighs, in afterglow. She glances at Tully. + + MORTICIA + (to Tully, flirtatiously) + You've done this before. + + CUT TO: + + +165 EXT. WAMPUM COURT - NIGHT 165 + + A hand possessed, Thing RACES up the driveway, raising dust + as he goes. + + +166 EXT. BUNGALOW - NIGHT 166 + + Thing leaps dramatically onto the porch, then stops dead to + knock on the cabin door. + + After a beat: + + GOMEZ (O.S.) + Who is it? We're paid through + Thursday. + + He opens the door. Thing rushes in. + + CUT TO: + + +167 INT. BUNGALOW - MINUTES LATER 167 + + Thing skitters on the kitchen counter, frantically signing. + In the background, the rest of the family sleeps. + + GOMEZ + (whispers) + Slow down, Thing! It's terrible + when you stutter! + + Frustrated, Thing grabs a SPOON and begins tapping out + MORSE CODE. + + GOMEZ + Morticia in danger-- stop! Send + help at once -- stop! + 120. + + + Thing flops down in exhausted triumph. Gomez grabs him and + heads off. + + CUT TO: + + +168 INT. GOMEZ'S STUDY - A FEW MINUTES LATER 168 + + Morticia is now lashed to an ENORMOUS TORTURE WHEEL. Tully + and Abigail are tending the stick BRANDING IRONS stuck in + the roaring fire. + + FESTER + (to Abigail) + You can't! Not with red-hot pokers! + + TULLY + (queasy) + Is this gonna smell? + + MORTICIA + (graciously, with + understanding) + Tully Alford, charlatan. Deadbeat. + Parasite. How Gomez adored you. + + TULLY + Well, not enough. + + FESTER + Morticia, please-- + + MORTICIA + Dear Fester or whomever you are. + Which is the real you, the + loathsome, underhanded monster + you've become? Or the loathsome, + underhanded monster we came to + love? + + FESTER + (desperately) + Don't ask me-- + + MORTICIA + Fester, I saw you tonight, at my + window. I know it was you. + + ABIGAIL + (furious) + Gordon? + + FESTER + 121. + + + (very upset) + I was-- restless! I couldn't sleep. + + ABIGAIL + Gordon, I have a thought. Just a + notion, top of my head. Tell me + what you think. Since you and Mrs. + Addams are so very close-- + + Abigail takes a red-hot POKER out of the fire and hands it + to Fester. + + ABIGAIL + -- be my guest. + + CUT TO: + + +169 INT. DUESENBERG - NIGHT 169 + + Gomez cuts the engine. The car glides silently through + Gate, who opens uncharacteristically without a creak. Gomez + stops the car and skulks out. Thing skulks after him. + + Gomez sees the reflections of the roaring fire through the + study window. + + CUT TO: + + +170 INT. STUDY - SAME TIME 170 + + As Fester takes the poker and approaches Morticia. GOMEZ + CRASHES THROUGH THE WINDOW, in a back-flip. + + Thing JUDO-FLIPS in after Gomez. + + GOMEZ + Cara mia! + + MORTICIA + Mon cher! + + ABIGAIL + Addams! + + Thing tosses Gomez a saber off the study wall. + + Tully also grabs a saber, and approaches Gomez from behind. + + MORTICIA + Darling, take care! + 122. + + +Without even looking, Gomez parries Tully's blow from +behind. Then he whirls on Tully. + + GOMEZ + Dirty pool, old man. Never again! + + TULLY + This is for keeps, Gomez! Not just + doubloons! + +Tully feints, then slashes, shredding the front of Gomez's +jacket. + + GOMEZ + One for you, Tully, and-- + +Gomez ATTACKS, HIS BLADE FLASHING LIKE LIGHTNING. In a blur +of action, Tully's sword is knocked from his hand and he's +sent tumbling backwards, finally landing on his knees. + + GOMEZ + -- one for me! + +Tully looks up at Gomez with cowardly, pleading eyes. + + TULLY + Gomez-- it's Tully. I'm your + lawyer. I'm on retainer. + + ABIGAIL (O.S.) + Let him up! + +Gomez turns to see-- + +ABIGAIL who now has a pistol aimed at Morticia. One shot +and Morticia will die horribly. + +Gomez throws aside his sword. Tully scrambles to his feet. + + ABIGAIL + (to Gomez) + That's right! Now get moving, + Addams, take him to the vault. And + if you're not back in one hour-- + (the pistol aimed at + Morticia, and using her + accent) + I displace her. + +Gomez is near enough now to take Morticia's hand, on the +torture wheel. + + GOMEZ + 123. + + + Tish, seeing you like this. My + blood boils. + + MORTICIA + As does mine. + + GOMEZ + (touching the torture + wheel) + This wheel of pain-- + + MORTICIA + Our wheel. + +CU on Fester, confused at watching this emotional display. + + GOMEZ + (to Morticia) + To live without you, only that + would be torture. + + MORTICIA + (to Gomez) + A day alone, only that would be + death. + +Gomez kisses Morticia's hand. + + ABIGAIL + Knock it off! The vault, Addams, + right now! + + FESTER + But, Mother can't we-- + +Gomez reaches for the book that will open the secret panel: + + ABIGAIL + Can it, Gordon! Stop dragging your + feet! You disgust me, you're + nothing but a useless, snivelling + baby! A stone around my neck! What + was I thinking, I should've left + you where I found you! + +At Abigail's final words, Fester suddenly LEAPS FORWARD. + + FESTER + No tricks, Gomez! That's the wrong + book! + +CLOSE UP + 124. + + +Gomez's hand is on the right book, "Greed," but Fester +stops him from pulling it. + + FESTER + Allow me-- + +Gomez looks into Fester's eyes, realizing what he's about +to do. + + GOMEZ + (murmuring) + Good show, old man-- + +Fester reaches for a DIFFERENT BOOK "Hurricane Irene: +Nightmare from Above." + +Seeing the title of the book, Tully suddenly panics: + + TULLY + Put that book down, Gordon! You + don't know what it can do! It's not + just literature! + + FESTER + (advancing on Tully) + Oh, really? + + TULLY + I'm your friend, Gordon, think of + the doubloons! + + FESTER + They're not yours, Tully! Back off! + +ANGLE on Gomez, releasing Morticia from the torture wheel. + + MORTICIA + Quickly, my darling! + +He helps her down from the wheel. + + GOMEZ + Leather straps, red-hot pokers-- + + MORTICIA + Later, my dearest. + +ANGLE on Fester, facing off with Abigail, as Tully cowers. + + ABIGAIL + Keep the book closed, Gordon, + listen to mother! + 125. + + + FESTER + I'll never listen to you, not ever + again! + + ABIGAIL + I had to be strict with you because + I cared! Put it down! + + FESTER + You never really loved me! + +ANGLE on Gomez and Morticia, nearing the bookcase. + + GOMEZ + Come, my love to safety! + + MORTICIA + But what of Fester? + + GOMEZ + (calling out, to Fester) + Old man, this way! + +ANGLE on Abigail and Fester. + + ABIGAIL + Stop whining, you little good-for- + nothing! Be a man! + + FESTER + You're a terrible mother! There, I + said it! + +Fester opens the book, and blasts Tully out of the window. +Then he blasts Abigail out as well. + +ANGLE ON GOMEZ, who has now pulled the right book, "Greed", +to open the bookshelf. Amid the storm, he is leading +Morticia behind the bookshelf. He tries to hold the +bookshelf open for Fester to follow, fighting the gale +force winds. + + GOMEZ + (calling out to Fester) + Old man! This way! + +ANGLE ON THING, across the room, struggling across the +floor toward the bookshelf. Thing fights the wind, which +pelts him with papers and other flying debris. + +Gomez can no longer fight the storm, and the bookshelf +slams shut. Fester desperately tries to close the book to +quell the storm, but a HUGE BOLT OF LIGHTNING ZAPS HIM. + 126. + + + He falls to the floor, with electricity coursing through + him. + + MOVE IN on the storm raging within the pages of the book, + then - + + FADE TO BLACK + + FADE IN ON: + + +171 EXT. ADDAMS MANSION - NEXT OCTOBER - NIGHT 171 + + A group of little CHILDREN approach the front door. There + is a hand-lettered sign on the door reading "HALLOWEEN OPEN + HOUSE." The children are dressed in traditional Halloween + costumes - there's a witch, a ghost, a skeleton, etc., and + they all carry trick-or-treat bags. They giggle and + chatter. One of the children is pushed forward, and he + KNOCKS on the front door. As the door opens, the children + CHANT: + + CHILDREN + Trick or-- + + They freeze in mid-chant. We do not see who has opened the + door, but the children do. After a beat, they SCREAM IN + HORROR and run, terrified, back toward the street. + + CUT TO: + + +172 INT. FRONT HALL - SAME TIME 172 + + Lurch is closing the front door, looking puzzled. + + The family is busily decorating the house for their annual + Halloween festivities. All the decorations are elegant yet + ancient, dusty and faded. The crystal gloves in the + chandeliers have been replaced by miniature jack o- + lanterns. Skeletons, each wearing a top hat, hang from the + sconces by the nooses around their necks. There are + clusters of black and orange balloons, covered with + cobwebs. Uncle Fester and Thing are draping the banisters + and stairway railings with a garland made from crepe paper, + dead branches and spanish moss. Skulls, each holding a + candle, are scattered about, on the stairs and the + furniture. A stuffed, life-size scarecrow leans against the + stairway, with a pitchfork through its throat. A banner on + the wall reads "HAPPY HALLOWEEN", and the letters drip with + blood. + 127. + + +Gomez hangs upside down from the balcony. Morticia hands +him a decoration. + +Granny appears from the kitchen, carrying a tray of food. + + GRANNY + Well, it's their loss. I even made + finger sandwiches. + +Perched on Fester's shoulder, Thing shakes in fear. + + FESTER + (petting Thing) + Oh, calm down. + + PUGSLEY (O.S.) + Here we come! + +Wednesday and Pugsley come down the stairs. Wednesday is +dressed in her usual style, but Pugsley is dressed as a +tiny version of UNCLE FESTER, COMPLETE WITH BALD HEAD AND +GREATCOAT. The adults are delighted. Gomez flips down onto +his feet. + + GOMEZ + Pugsley, old man! + + MORTICIA + (delighted) + Look at you. + + PUGSLEY + (to Uncle Fester) + How do you like it? + +Fester is very touched; he picks Pugsley up. + + FESTER + What can I say? He's going to break + hearts. + + GOMEZ + Let's get a picture! Lurch? + + MORTICIA + Oh yes, in the den. + +Everyone starts to move toward the den. There is a KNOCK on +the door. Everyone turns. Lurch opens the door. + 128. + + + Standing outside are Margaret and Cousin It. Margaret is + dressed as a fairy princess, complete with wand. Cousin It + wears a cowboy hat, a bandanna and a holster. Margaret is + radiant, obviously very much in love. + + MARGARET + Trick or treat! + + COUSIN IT + Ooot oot glibber. + + GOMEZ + Look, everyone! We have guests! + + MORTICIA + Hello, Margaret. Cousin It, I + almost didn't recognize you. + + MARGARET + Isn't he handsome? Everyone keeps + asking where he bought his costume. + + GOMEZ + (admiringly) + It is a wonderful hat. + + MARGARET + (to Wednesday) + And what are you, darling? Where's + your costume? + + WEDNESDAY + (solemnly) + This is my costume. I'm a homicidal + maniac. They look just like + everyone else. + + CUT TO: + + +173 INT. DINING ROOM - A FEW MINUTES LATER 173 + + Fester and Pugsley are posed at one end of the room. Lurch + has set up an easel and canvas; he is painting Fester and + Pugsley's portrait. + + Gomez and Wednesday are sitting on the floor amid + newspapers, carving a pumpkin. + + Morticia is knitting. Margaret and Cousin It sit together, + holding hands. Granny brings people cups of steaming punch, + from a punch bowl. + 129. + + + FESTER +Halloween, it's such a special +time. Ghosts and goblins. Witches +on broomsticks. + + WEDNESDAY +Children begging in the streets. + + FESTER +I'm so glad I can share this night +with my family, my real family. Now +that I've got my memory back. + + MORTICIA +That unfortunate woman. Filled with +evil. + (shaking her head, sadly) +But not enough. + + PUGSLEY + (to Fester) +She wasn't your mother. She just +said that. + + COUSIN IT +Ooot oot gleep. + + GOMEZ + (to It) +You remember, old sport, she really +did find him tangled in a tuna net, +twenty-five years ago. With +amnesia. + + WEDNESDAY +From the Bermuda Triangle. + + COUSIN IT +Ooot oot oot. + + MORTICIA +How true. Stranger things have +happened. + + MARGARET +I'm sorry, and I'm not bitter, but +I blame Tully. + + COUSIN IT +Ooot blipper gleep. + + MARGARET + (the coquette) + 130. + + + Oh, stop. I'm blushing. + + GRANNY + (to Fester) + Thank God for that lightning. + Knocked some sense into you. + + PUGSLEY + Please, Uncle Fester? + + GOMEZ + (jovially) + Pugsley-- + + PUGSLEY + For the picture? + +Fester pops a light bulb into his mouth. It lights. Pugsley +giggles. + +Gomez stands up, having finished the pumpkin. He places it +on a table, and lights the candle inside. The pumpkin +glows. It has ONE EYE IN THE MIDDLE OF ITS FOREHEAD. +Everyone oohs and ahhs. + + FESTER + You know, all the old sayings are + true. There's no place like home. + And blood is thicker than water. + + MORTICIA + And just as refreshing. + + GOMEZ + All right, everybody, time for a + game! What shall it be, bobbing for + apples? + + MARGARET + Charades? + + COUSIN IT + Ooot glibber glip. + + MORTICIA + Of course, "Wake The Dead." + + FESTER + (delighted, to Gomez + remembering this + childhood favorite) + "Wake The Dead"! + 131. + + + GOMEZ + (equally excited) + "Wake The Dead"! Out to the + cemetery! Come on, everyone! + +Everyone starts to exit, chattering happily. + + MARGARET + (to Granny) + I've never played this before - how + does it go? + + GRANNY + Did you bring a shovel? + + PUGSLEY + Uncle Fester, will you be on my + team? + + WEDNESDAY + No, mine! + + FESTER + (to Wednesday) + I tell you what, we'll give you a + head start. Three skulls and a + pelvis, how's that? + +Pugsley and Wednesday cheer and run out. Fester faces +Gomez. + + FESTER + My own dear brother, who could be + more precious? + + GOMEZ + Blood is thicker than water, old + man. + + MORTICIA + (touched by the brothers + devotion) + And just as refreshing. + +Gomez offers his hand. Fester takes it, in a manly +handshake. + + GOMEZ + Let us never be parted. + + FESTER + Let us always be as one. + 132. + + + Fester flips Gomez in a JUDO FLIP. + + Gomez LANDS at the foot of a glass display case. The camera + pans up the case. It contains ABIGAIL AND TULLY, EXPERTLY + MOUNTED AND STUFFED. + + Fester rises, dusting himself off. + + FESTER + (joyfully, to Gomez and + Morticia) + Come on! + + MORTICIA + We'll catch up. + + Fester runs out. + + CUT TO: + + +174 INT. FRONT HALL 174 + + Everyone is gone. Morticia and Gomez have drifted into the + front hall; they are moving toward the front door. + + MORTICIA + (deeply satisfied) + Our family-- what are they? + + GOMEZ + Oh, Tish, what a night. Everyone -- + together at last. What more could + we ask? + + MORTICIA + Gomez? + + Morticia holds up the garment she's been knitting, it's a + BABY JUMPER WITH THREE LEGS. + + GOMEZ + (ecstatic) + Cara mia-- is it true? + + MORTICIA + (shaking her head "yes") + Oui, mon cher-- + + They embrace, as the front door SWINGS OPEN, of its own + accord. + + CUT TO: + 133. + + +175 EXT. ADDAMS MANSION - SAME TIME 175 + + Morticia and Gomez are silhouetted in the doorway. There is + a FULL MOON. In the distance, a wolf HOWLS. Wispy GHOSTS + flit through the night sky. A human SCREAM is heard, + followed by Granny's CACKLE. In the cemetery, torches are + seen, like fireflies. + + FADE OUT. + + THE END + \ No newline at end of file diff --git a/scripts/The Adventures Of Tintin.txt b/scripts/The Adventures Of Tintin.txt new file mode 100644 index 0000000000000000000000000000000000000000..e31a032e58b7004a22e512d661ac4f4370cfd695 --- /dev/null +++ b/scripts/The Adventures Of Tintin.txt @@ -0,0 +1,6623 @@ + 1. + + + + FADE IN: + + ICONIC TINTIN MOVIE CREDIT SEQUENCE + + CREDITS play over a fast-paced mini-ACTION ADVENTURE, + giving a flavor of who TINTIN is, and the exotic places he + finds himself. A sense of the history of the character, + placing him in context for both a long-time READER, and new + MOVIEGOER. + + As the CREDIT SEQUENCE ends, we push in towards a brilliant + ORB, which separates into swirling colors and transforms + into... + + +1 EXT. STREET MARKET - DAY 1 + + The SWIRLING COLOURS of an ARTIST'S PALATE. + + A STREET ARTIST, bearing an uncanny resemblance to HERGE, + is sketching a young man with his back to the camera. They + are in the middle of a busy street market. + + STREET ARTIST + Very nearly there, sir. I have to + say, your face is familiar. Have I + drawn you before? + + TINTIN (O.C.) + Occasionally. + + STREET ARTIST + Of course, I've seen you in the + newspaper. You're a reporter? + + ANGLE ON: A WHITE DOG is sitting, looking a little bored, + at the subject's feet. The DOG whimpers. + + TINTIN + I'm a journalist. Be patient, Snowy + - not much longer. + + Two patent leather shoes enter frame, distracting SNOWY. + + SNOWY leaves to follow the MAN, who deftly picks the + pockets of market patrons as he goes. + + ANGLE ON: SNOWY as he trots through the crowd, keeping his + eyes on the PICKPOCKET. + + The PICKPOCKET bumps into another market patron and + snatches their wallet. + 2. + + + PICKPOCKET + I do beg your pardon. + +ANGLE ON: SNOWY follows the PICKPOCKET as a hand continues +to snatch wallets and handbags from their unsuspecting +owners. + + STREET ARTIST + There. I believe I've captured + something of your likeness. + +The STREET ARTIST hands TINTIN the picture, showing the +CARTOON TINTIN. + +Our fully-dimensional TINTIN admires it. + + TINTIN + Not bad. What do you think, Snowy? + +TINTIN looks around - SNOWY isn't there. + + TINTIN + (exasperated) + Snowy... + +TINTIN hands money to the artist and leaves, in search of +SNOWY. + + TINTIN + There you are, sir. Now, where's he + run off to? + +As TINTIN strolls through the market, he passes two pairs +of eyes (the THOM(P)SONS), peering through holes cut in a +NEWSPAPER. + + THOMPSON + Anything? + + THOMSON + Nothing! + +TINTIN crosses behind them. + + TINTIN + Snowy! + +TINTIN has paused by a stall selling mirrors, which reflect +multiple images of his famous quaff. A DOG BARK. + +SNOWY runs over. + 3. + + + TINTIN + where have you been, heh? Chasing + cats again? + +ANGLE ON: TINTIN, just as something has caught his eye in +the reflection of a stall selling cheap antiques. + + TINTIN + Snowy - look at this! + +CLOSE ON: A magnificent model sailing ship in a glass case. + +TINTIN and SNOWY walk towards it and bend down to take a +closer look. + +TINTIN leans in closer. Intricate detail fills the frame, +as if the boat were real. We can almost hear the sea, the +shouts of sailors, the cry of gulls. + + TINTIN + Triple masted, double decks, fifty + guns. Isn’t she a beauty? + + CRABTREE (O.S.) + That's a very unique specimen, that + is. + +The seller, CRABTREE, is sitting at his stall. + + C RABTREE + From an old sea captain's estate. + + TINTIN + The Unicorn... + + CRABTREE + Unicorn. "Man-o-War" sailing ship. + It's very old, that is sixteenth + century. + + TINTIN + Seventeenth, I would think. + + CRABTREE + Reign of Charles the First! + + TINTIN + Charles the Second. + + CRABTREE + 4. + + + That's what I said, Charles the + Second. As fine a ship as ever + sailed the seven seas. You won't + find another one of these, mate. + And it's only two quid. + + TINTIN + I'll give you a pound. + + CRABTREE + (relieved) + Done! + +CRABTREE stands as TINTIN pays him. + +ANGLE ON: BARNABY, a Large man in a tight blue suit, is +lumbering through the market, distracted and under +pressure. + +CRABTREE lifts the model ship from the case and hands it +over. + + CRABTREE + Gently does it. + +BARNABY continues to shove his way through the crowd. + + MARKET PATRON + Excuse me! + +CRABTREE releases the boat into TINTIN'S hands. + + CRABTREE + There you go, careful! + +SUDDENLY: An AMERICAN VOICE! + + BARNABY (O.S.) + Hey, bud... + +BARNABY arrives at the stall, out of breath. + + BARNABY + ...how much for the boat? + + CRABTREE + I'm sorry, I just sold it to this + young gent. + + BARNABY + Oh yeah? Tell me what you paid and + I'll give you double. + 5. + + + CRABTREE + (appalled) + Double? + + TINTIN + Thanks, but it's not for sale. + + BARNABY + Look, kid, I'm trying to help you + out - I don't think you realize + this, but you're about to walk into + a whole mess of danger. + + TINTIN + What kind of danger? + +BARNABY'S expression changes to a look of alarm. + + BARNABY + I'm warning you - get rid of the + boat and get out while you still + can! These people do not play nice. + +BARNABY moves back into the crowd. + + TINTIN + What people? + + VOICE (O.C.) + Wonderful! + +TINTIN turns around to find a TALL, STOOPED-MAN standing +behind him - this is SAKHARINE. He wears a long Macintosh +and tall bowler, with a coal black beard, fierce bright +eyes and pince-nez. + + SAKHARINE + It's just, wonderful! Don't bother + wrapping it, I'll take it - 'as + is'. Does anybody object if I pay + by cheque? + + CRABTREE + If you want to buy it, you'll have + to talk to the kid! + + SAKHARINE + I see. Well, let the kid name his + price. + + CRABTREE + (quiet despair) + 6. + + + Name his price?? Ten years I've + been flogging bric-a-brac and I + miss "name your price" by one + bleedin' minute! + + TINTIN + I'm sorry. I already explained to + the other gentleman - + +SAKHARINE frowns, looking around. + + CRABTREE + American - he was. All hair oil and + no socks! + + TINTIN + It's not for sale. + + SAKHARINE + Then let me appeal to your better + nature. I have recently acquired + Marlinspike Hall and this ship, as + I'm sure you're aware, was once + part of the estate. + + TINTIN + Of the late sea captain? + + SAKHARINE + The family fell upon hard times, + lost everything. They'd been living + in a cloud of bad luck ever since. + We are talking generations of + drinking and irrational behavior - + + TINTIN + I'm sorry but as I told you before, + it's not for sale. + +SAKHARINE glares at TINTIN. + + TINTIN + Good day to you, sir. + +TINTIN tucks the MODEL SHIP under his arm, nods politely, +and leaves. SNOWY cocks his snout indignantly and follows. + + SAKHARINE + That young man - what's his name? + + CRABTREE + Him? Everybody knows him. That's + Tintin. + 7. + + + CLOSE ON: SAKHARINE as the camera closes in on his + inscrutable face. + + +2 INT. TINTIN'S APARTMENT - DAY 2 + + TINTIN and SNOWY enter. + + TINTIN + what is it about this ship? Why has + it attracted so much attention? + + He sets the model down on his sideboard. + + TINTIN Studies the MODEL SHIP ... + + TINTIN + What secrets do you hold? + + TINTIN hurries to the next room. He takes off his coat and + sets it down on the couch. He enters a small office and + hunts around his desk for his magnifying glass; an old + typewriter sits there in pride of place, surrounded by + artifacts from far-off places. + + TINTIN + Ah! Where is that magnifying glass? + + As TINTIN looks around - we see glimpses of his LIFE: + framed PICTURES and NEWSPAPER STORIES, featuring past + adventures. + + TINTIN posing with familiar CHARACTERS from early travels. + + TINTIN + Could have sworn it was... No. + where could it possibly be? Snowy, + you haven't seen... + + He moves to the large bookcase. + + TINTIN + Where is it? + + SNOWY surprises him, he is holding the magnifying glass in + his jaws. + + TINTIN + Thank you. + + TINTIN takes it. + 8. + + +CLOSE ON: MAGNIFYING GLASS. He turns around to find the cat +standing in the doorway. SNOWY turns and GROWLS! + + TINTIN + No, Snowy! + +ANGLE ON: A WHITE CAT has slipped in through the open +window. + +SNOWY instantly BARKS and chases the CAT, which springs +back up into the living room. + +TINTIN rushes back into the living room, and finds SNOWY +chasing the CAT. + +The CAT swings wildly from a chandelier, climbs up the +drapes and over a bookshelf; SNOWY goes above it. As he +races across the sideboard after the CAT, he knocks over +the UNICORN! + +TINTIN chases the CAT towards the window and slides on the +floor. + +He hears the CRASH! TINTIN spins around the SOUND. + +CLOSE ON: The MODEL SHIP lies on the floor... mast broken +off near the base. + +TINTIN gently picks up the BROKEN MODEL SHIP. + + TINTIN + (annoyed) + Look what you did. You broke it! + Bad dog! + +He turns the ship over, not noticing a SMALL METAL TUBE +that drops onto the FLOOR. + +CLOSE ON; TINTIN moves closer to the sideboard and +unknowingly kicks the tube under the low cabinet. SNOWY +tries to PAW at it, but it rolls away... the more SNOWY +paws at it, the further he pushes it... until it rolls all +the way under the cabinet. + +CLOSE ON: TINTIN examines the damage ... the mast is +hollow, and has snapped near the deck. TINTIN puts the MAST +loosely back in place. + + TINTIN + Something happened on this ship. + And we're going to the one place + that could have the answer ... + 9. + + + TINTIN grabs his coat and heads out of the apartment. + + TINTIN + C'mon, Snowy. + + TINTIN and SNOWY leave the apartment. Someone is watching + through binoculars from outside the window. They focus on + the SHIP. + + +3 INT. LIBRARY - EVENING 3 + + ANGLE ON: TINTIN sits in the gothic library, a tiny figure + dwarfed by towering shelves. + + CLOSE ON: TINTIN is reading a old thick maritime + encyclopedia. He turns the page and whispers to SNOWY. + + TINTIN + (low whisper) + Here it is! "Sir Francis Haddock of + Marlinspike Hall the last Captain + of the ill-fated Unicorn ... + + TINTIN + The ship set sail from Barbados in + 1676 on one of the most ruinous + voyages in maritime history... ship + never reached destination... + + CLOSE ON: An old illustration of the UNICORN under full + sail. + + TINTIN + ...attacked by pirates, all hands + lost except for one survivor. When + Sir Francis was rescued and + returned home, he was convinced his + name had been cursed. The Unicorn's + manifest stated that it was + carrying a cargo of rum and tobacco + bound for Europe, but it was long + claimed the ship was carrying a + secret cargo... + + TINTIN glances at SNOWY, puzzled... + + TINTIN + What was the ship carrying, Snowy? + + TINTIN turns another page and keeps reading... + + TINTIN + 10. + + + Historians have tried and failed to + discover what happened on that + fatal voyage - but Sir Francis's + last words; 'Only a true Haddock + will discover the secret of the + Unicorn.’ + + TINTIN turns the page to continue, then puts the book down + and grabs another, flipping through the pages. + + A familiar blue-suited figure sneaks between the aisles... + TINTIN takes a look behind his shoulder - there is no one. + + CLOSE ON: TINTIN is a little creeped out. A storm is + brewing, and rain beats on the library windows. TINTIN + thinks he's being watched. Lightning strikes outside. + + +4 INT. 26 LABRADOR STREET HALLWAY - EVENING 4 + + ANGLE ON: TINTIN enters the hallway. + + TINTIN + I've missed something, Snowy. We + need to take a closer look at that + model. + + He walks up the stairs. + + +5 INT. TINTIN'S FLAT - EVENING 5 + + TINTIN opens the door and enters. The model ship has + vanished. + + TINTIN + Of course it's gone! How could I be + so stupid? + + +6 EXT. MARLINSPIKE HALL COUNTRYSIDE - NIGHT 6 + + A faded sign indicating "MARLINSPIKE HALL" can still be + read. + + ANGLE ON: TINTIN and SNOWY hurry along in the shadows of a + high brick wall that surrounds a country estate. + + A full moon casts spooky shadows through skeletal trees, + blowing in the wind. With every gust a carpet of dead + leaves lift into the air. + + ANGLE ON: The rusting iron gates, covered with ivy. + 11. + + + TINTIN reaches the gate he tries to open them, to no avail. + + Suddenly, SNOWY appears on the other side. + + TINTIN + How'd you do that? + + SNOWY shows TINTIN a hole in the crumbled wall. + + TINTIN + Clever boy. + + TINTIN squeezes through the hole, with SNOWY close + behind... + + +7 EXT. MARLINSPIKE HALL GROUNDS - NIGHT 7 + + ANGLE ON: TINTIN and SNOWY cross the heavily wooded estate + to a dark mansion. + + ANGLE ON: MARLINSPIKE HALL ... a once-grand chateau-style + COUNTRY HOUSE, now looking very sad and neglected. Empty + and dark. + + TINTIN walks up to the steps. + + ANGLE ON: TINTIN'S flashlight sweeps and settles on a COAT + OF ARMS, carved into stone above the front door. A large + fish dominates the design. + + TINTIN + (whispers) + A coat of arms... why does that + look familiar? + (realizes ) + Hang on a minute... that fish! It's + a Haddock! Of course - Marlinspike + Hall is the old Haddock estate... + + SNOWY quickly heads off on in the wrong direction. + + TINTIN + Snowy! + + A slavering GUARD DOG growls and charges at TINTIN from out + of the shadows! + + ANGLE ON: TINTIN races away from the DOG, leaping fallen + trees and ducking low branches, with the hound snapping at + his heels. + 12. + + + TINTIN approaches a stone wall as the DOG is almost upon + him. + + Suddenly, SNOWY leaps from the bramble and barks angrily at + the GUARD DOG. The larger dog cowers and whines, submitting + to SNOWY'S ferocity. + + TINTIN + Well done, Snowy! Good boy. + + TINTIN pets his head. + + The GUARD DOG playfully runs about SNOWY on the front lawn, + as TINTIN unlatches a broken window and climbs inside. + + +8 INT. MARLINSPIKE HALL - NIGHT 8 + + ANGLE ON: TINTIN slowly pushes open the window inside the + mansion and carefully sweeps his FLASHLIGHT through a + darkened room. Everything is coated in layers of dust and + the furniture is covered in great white sheets. A shadowy + figure stealthily walks alongside him. + + TINTIN moves through a door into a side room, where he sees + a distinctive SHAPE hidden beneath a sheet. In one swift + movement, he sweeps the sheet aside. + + ANGLE ON: The MODEL SHIP sitting in a display case, bathed + in a shaft of ghostly moonlight. + + CLOSE ON: TINTIN can't believe his luck ... he grabs the + MODEL SHIP. He shines the flashlight on the boat before + picking it up. + + TINTIN + (softly) + Well, well, well... it seems we've + caught our thief. + + He starts to back away from the case holding onto the ship. + + He turns to see a tall, SILHOUETTED FIGURE standing in + front of him ... the MAN raises a CANDLESTICK and whacks + TINTIN on his HEAD! + + THUNK! + + TINTIN slumps to the FLOOR, head spinning. The room lights + are turned on. + 13. + + +NESTOR takes the UNICORN from TINTIN as he is lying on the +floor, making sure his head is still attached. SAKHARINE +enters, completely cool and calm. + + SAKHARINE + Welcome to Marlinspike Hall. I see + you let yourself in. + +TINTIN gets up. + + TINTIN + I came to retrieve my property. + + SAKHARINE + I'm sorry - I'm not sure I follow + you? + +TINTIN sits up, rubbing the back on his head. NESTOR is +holding the UNICORN MODEL. + + TINTIN + Oh, I think you do. This ship was + stolen from my apartment less than + an hour ago! + +TINTIN tries to get the MODEL SHIP from NESTOR - as if he's +thinking of making a dash for it. + + SAKHARINE + I'm afraid you're mistaken, Mr. + Tintin. + +NESTOR pulls the ship back from TINTIN. + + TINTIN + There's no mistake. It belongs to + me! + +He pulls back again away from NESTOR. + + SAKHARINE + Are you sure? + +NESTOR begins to pulls the ship away from TINTIN. + + TINTIN + Of course I'm sure. + +TINTIN takes the SHIP. + + TINTIN + 14. + + + I took it home. I put it on a + cabinet in the living room and then + Snowy chased the cat and knocked it + over and it ... + (dawning realization) + ... fell. + +TINTIN'S eye is drawn to the mast. This mast is not broken +and split like that on his own ship. + +TINTIN + + {STUNNED) + This isn't ray ship. + + SAKHARINE + No, indeed. + +NESTOR takes the SHIP back, and goes back to the case and +puts it inside. + + TINTIN + I - I'm sorry. It looks - + identical. + +SAKHARINE takes TINTIN by the arm and leads him out towards +the door. + + SAKHARINE + Well, looks can be deceiving. + + TINTIN + Yes, indeed ... + +TINTIN pulls away from SAKHARINE and walks back to the case +and the ship. + + TINTIN + ... but I don't understand! Why did + Sir Francis make two ships exactly + alike? And you have one already. + Why do you want another? What is it + about this model that would cause + someone to steal it? + + SAKHARINE + Goodness me, why so many questions? + + TINTIN + It's my job. There could be a story + here. It's what I do, you see. + + SAKHARINE + 15. + + + Well, it's no great mystery. Sir + Francis Haddock was a drunkard and + a hopeless reprobate! He was doomed + to fail and he bequeathed that + failure to his sone. + + He starts to walks away from TINTIN, TINTIN follows him. + + TINTIN + So it's true! The Haddock line is + cursed! + + He stops TINTIN with his cane. + + SAKHARINE + What else have you found out? + + TINTIN pushes the cane away. + + TINTIN + What is there to find? + + SAKHARINE swings the cane to TINTIN'S other shoulder. + + SAKHARINE + That depends what you're looking + for. + + TINTIN + I'm looking for answers, Mr. + Sakharine ... + + SAKHARINE + You're looking in the wrong place. + + SAKHARINE offers TINTIN a THIN SMILE. + + SAKHARINE + It's late ... I think you should go + home. + + NESTOR hands the torch to TINTIN. + + NESTOR + This way, Sir. + + NESTOR and TINTIN leave the room. SAKHARINE takes a look at + the ship. + + +9 INT. MARLINSPIKE HALL FOYER - NIGHT 9 + 16. + + + NESTOR escorts a sullen TINTIN out. + + NESTOR + It's a pity, sir. + + TINTIN turns. + + TINTIN + I'm sorry? + + NESTOR + That the mast broke on your model + ship, sir. I hope you found all the + pieces. Things are so easily lost. + + SAKHARINE (O.C.) + Nestor! Where are you?! + + NESTOR + Good night, air. + + NESTOR closes the door. + + +10 EXT. 26 LABRADOR STREET - NIGHT 10 + + ANGLE ON: TINTIN and SNOWY walk down the dark, wet street + to TINTIN'S apartment. + + TINTIN + Some thing's are easily lost. What + did he mean by that, Snowy? what + was he trying to tell me? Some + things are easily lost ... + + +11 INT. LABRADOR STREET STAIRS - EVENING 11 + + TINTIN and SNOWY climb the stairs to their apartment. The + door is ajar. + + TINTIN enters and turns on the lights. + + ANGLE ON; TINTIN'S flat has been RANSACKED!! + + TINTIN + Great snakes! + + Furniture overturned... books thrown off shelves... drawers + pulled and emptied. + + CLOSE ON: SNOWY whimpering and clawing at the CABINET. + 17. + + + TINTIN + What is it, Snowy? + + TINTIN pulls the CABINET aside to reveal the METAL TUBE. + + He squats down and picks up the tiny metal tube from the + broken mast. TINTIN stands and examines the TUBE. + + TINTIN + What's this? A ha! This was in the + mast. + + TINTIN walks over to the table sits down. + + CLOSE ON: TINTIN unscrews the lid and shakes the TUBE... a + small parchment, wrapped in ribbon and sealed with wax, + falls into his palm. + + ANGLE ON: TINTIN at the table ... SNOWY brings the + magnifying glass in hie jaws. + + TINTIN + Good boy, Snowy. + + TINTIN carefully unfurls the PARCHMENT and studies it. + + Written ornately across it in faded quill: + + TINTIN + (reading) + "Three brothers joined. Three + Unicorns in company, sailing in the + new day sun will speak. For tis + from the Light that Light will + dawn, and then shine forth the + Eagle's Cross." + + Beneath that, a few seemingly meaningless strokes and + dashes. + + TINTIN + What are these markings? Some kind + of secret language, or code? It + makes no sense. But it does explain + why they ransacked the flat. They + were looking for this, and they + didn't find it, which means ... + they'll be back. + + The doorbell downstairs JANGLES. + + +12 INT. 26 LABRADOR STREET HALLWAY - NIGHT 12 + 18. + + +CLOSE ON: TINTIN tucking the scroll carefully into hie +wallet as he creeps down the stairs. + + MRS. FINCH + No, I don't know where he is, + Dearie. I think he's gone out. And + anyway, it's after dark and Mr. + Tintin is moat particular about not + admitting visitors after bedtime. I + have to go back to my cocoa. I’ve + got a very good book and a cup of + cocoa. It's really lovely... + +TINTIN steps forward to see MRS. FINCH talking to an unseen +MAN at the door. The chain is still on, the door open only +a crack. + + TINTIN + Thank you, Mrs. Finch. I can look + after this... + +MRS. FINCH shoots TINTIN a sour look, vanishes into her +apartment. + +CLOSE ON: TINTIN approaching the door cautiously, a pistol +in his hand, which he keeps behind his back. A familiar +American voice is heard: + + BARNABY + Hey kid, is that you? Open the + door? + +BARNABY presses his face through the crack. + + TINTIN + What do you want? + + BARNABY + Look, the game is up! He's gonna be + back! + + IS. + + BARNABY + Now, I know he wanted those boats, + but I swear to God, I never thought + he'd kill anyone over it. + + TINTIN + Who? Who are you talking about? + + BARNABY + 19. + + + I'm trying to tell you that your + life is in danger - ! + + TINTIN + Answer me! Who??? + + BANG! BANG! BANG! Bullet holes PUNCH through the door! + + TINTIN throws himself to the floor! + + The last bullet has taken out the chain. The door swings + slowly open to reveal a bloody, unarmed BARNABY! He falls + to the floor. + + TINTIN + (shouting) + Mrs. Finch! A man's been shot on + our doorstep. + + MRS. FINCH + (exasperated) + Not again ... + + TINTIN + Call an ambulance! + + TINTIN rushes into the street as a blue car drives away. + + SNOWY tries to chase after the CAR. + + TINTIN + Snowy! + + SNOWY stops, but BARKS loudly. + + ANGLE ON: BARNABY lies on the doormat clawing desperately + at a newspaper. TINTIN runs back in. + + TINTIN rolls BARNABY over, but he's out cold. + + TINTIN + Can you hear me? Can you... + + TINTIN picks up the newspaper, stares at it. + + +13 INT. TINTIN'S APARTMENT - DAY 13 + + ANGLE ON: TINTIN studying the blook-stained newspaper. + TINTIN lowers the paper, and before him stand the two + plainclothes Interpol Detectives, THOMPSON and THOMSON. + 20. + + + THOMSON + The victim's name was Barnaby + Dawes. + + THOMPSON + He was one of the top agents at + Interpol but we haven't got a clue + what he was working on. + + THOMSON + Quite right, Thompson. We're + completely clueless. + + TINTIN + Interpol doesn't have any other + leads? + + THOMSON + Oh, steady on, Tintin - we're still + filling out the paperwork. + + THOMPSON + Police work's not all glamour and + guns - there's an awful lot of + filing. + + TINTIN + Well, I might have something for + you. Before he lost consciousness, + Dawes tried to tell me something + and I think he was spelling out a + word...BOND... JAN. + +CLOSE ON: TINTIN traces each letter that BARNABY marked +with a BLOODY FINGER PRINT. + + TINTIN + ...KARABOUDJAN. + + THOMSON + Karaboudjan! + + TINTIN + Does that mean anything to you? + +THOMSON snatches the newspaper from TINTIN. + + THOMSON + Great Scotland Yard! That's + extraordinary! + + TINTIN + What is? + 21. + + + THOMSON + Worthington's have a half price + sale on bowler hats! + + THOMPSON snatches the paper. + + THOMPSON + Really, Thomson! This is hardly the + time. + + THOMPSON + Great Scotland Yard! + + THOMSON + What is it? + + THOMPSON + Canes are half price, too! + + TINTIN + Are you going to take charge of + this evidence? + + THOMSON + Positively. Never fear, Tintin. The + evidence is safe with us! + + THOMSON snatches the newspaper back, and hurries out of the + door at speed ... his foot catches the CAT on the landing + and her FALLS from view, followed by SOUNDS of him TRIPPING + and TUMBLING violently down the stairs. + + THOMPSON + Thomson! Where are you? + + THOMSON sits at the bottom of the stairs in a daze. + + THOMSON + Well, I'm already downstairs! Do + try to keep up. + + +14 EXT. 26 LABRADOR STREET - DAY 14 + + ANGLE ON: TINTIN catches up to the THOM(P)SONS at the front + door - he hands THOMSON the NEWSPAPER. + + TINTIN + Wait - + + THOMSON + Oh? + 22. + + + TINTIN + You dropped this. + + THOMPSON + Good heavens, Thomson - look after + the evidence man. + + THOMSON + Sorry, Thompson. My mind is on + other things. + + THOMPSON + Ah, yes. Our Light-fingered + larcenist. + + TINTIN + What? + + THOMPSON + The pickpocket. He has no idea + what's coming. + + THOMSON + Go on, Tintin. Take my wallet. + +THOMSON opens his jacket. TINTIN pulls a wallet out, +discovering it is attached to a piece of sturdy elastic, +sewn into his jacket. + + THOMSON + (proudly) + Yes, industrial strength elastic? + + TINTIN + (impressed) + Very, uh, resourceful. + + THOMSON + Oh, on the contrary, it was + childishly simple. + + THOMPSON + Simply childish, I agree. + +THOM(P)SONS tip their hate in farewell. + + BOTH THOM(P)SONS + Tintin... + + TINTIN + Gentlemen. + +The THOM(P)SONS set off down the STREET. + 23. + + + THOMSON + Mind you, I expect he's miles away + by now. + + THOMPSON + I presume you're referring to the + pickpocket? + + THOMSON + Yes, I mean, knowing we're just a + few steps behind him. + +A gray-haired man walks past TINTIN at the doorway. SNOWY +growls and begins to follow him. + +TINTIN steps out and kneels next to SNOWY holding him. + + TINTIN + Snowy, what is it boy? What do you + see? + + THOMPSON + I don't suppose you'd fancy a cup + of tea. + + THOMSON + You're quite mistaken, I'd love + one. + + THOMPSON + My treat ... + +ANGLE ON: The PICKPOCKET rube his hands, as he walks +briskly towards the THOM(P)SONS... his hand sweeps up, +sliding into THOMSON'S jacket pocket. It is the familiar +routine: a heal spin, straighten the jacket, touch the hat. + +ANGLE ON: The wallet is pulled out, but quickly stretches +at the end of the elastic! + + THOMSON + I've got you now! + +QUICK SHOTS: THOMSON is nearly pulled off his feet, as the +PICKPOCKET tugs at the wallet, stretching the elastic +tight. + +The PICKPOCKET lets the wallet go, and it snaps back into +THOMSON'S FACE! + + THOMPSON + Devil! Stop, in the name of the + law! + 24. + + +THOMPSON gives chase. His cane gets caught in the elastic. + +The elastic snaps back and slams THOMSON to the ground. + +THOMPSON rips the PICKPOCKET'S jacket off, but gets it +stuck on his head, blocking his vision. + + THOMPSON + Got you! + +He crashes into a LAMPPOST. + + TINTIN + What's going on down there? C'mon, + Snowy! + +TINTIN races towards the THOM(P)SONS, nearly knocking down +the PICKPOCKET, ARISTIDES SILK, who's fleeing in panic. + + SILK + (chirpy) + I do beg your pardon!! + + TINTIN + Sorry, sir! + +TINTIN arrives to find the THOMPSON'S dizzy and bewildered. + + THOMPSON + The pickpocket, Tintin! He's + getting away! + + TINTIN + (quiet shock) + My wallet! + +TINTIN looks back up the street... quickly realizing it was +the old man he banged into. + +CLOSE ON: With dawning dread, TINTIN reaches into his +pocket ~ his WALLET has been TAKEN! + + TINTIN + It's gone! + (urgent) + Come on! Snowy, after him! + +TINTIN starts running through the fog to catch the SILK. + + TINTIN + Stop! Wait! + 25. + + +He chases him across the foggy street, but narrowly avoids +getting hit by a CAR. + +For a brief moment, TINTIN is disorientated by CAR +HEADLIGHTS, casting wild beams in the fog and swerving +crazily to avoid hitting him. + +ANGLE ON: Two canes suddenly hook TINTIN'S arms and drag +him and SNOWY to the safety of the footpath... the +THOM(P)SONS have rescued him. + + THOMPSON + Got ya! + + THOMSON + Steady on! + + TINTIN + I've lost him! + +TINTIN turns to the THOM(P)SONS. + + TINTIN + You must find my wallet! It's very + important. I have to get it back. + + THOMPSON + And you will! Leave it to the + professionals. + +ANGLE ON: TINTIN walks back towards his apartment, his pace +quickens as he forms a plan. + + TINTIN + We've lost the scroll, but we + haven't lost the story. + Karaboudjan. That's an Armenian + word. That's our lead, Snowy. What + was Barnaby Dawes trying to tell us + when he said our lives are in + danger? + +ANGLE ON: TINTIN suddenly stops as he reaches the DOOR to +his FLAT. Two workmen are carrying a large wooden crate +from a RED DELIVERY VAN towards TINTIN'S flat. TINTIN is +puzzled to find a DELIVERY MAN in the HALLWAY; this is +ALLAN. + + ALLAN + Mister Tin - tin? Delivery for ya. + + TINTIN + But I didn't order anything? + 26. + + + TINTIN looks at the CRATE, which is being carried towards + the DOORWAY. Before he can react, a handkerchief is clasped + over TINTIN’s mouth. His eyes roll and he collapses into + ALLAN'S arms. + + ALLAN + Well, that's because it’s you + that's getting delivered. + + TINTIN is bundled inside the crate, the lid is slammed + shut. + + Stencilled on the side, the word KARABOUDJAN. + + ALLAN + Quick! Get him in the van. + + SNOWY sinks his teeth into ALLAN’S leg. + + ALLAN + Get off me you confounded mutt! + + He shakes SNOWY off into the hallway and slams the door. + + +15 INT. 26 LABRADOR STREET - DAY 15 + + ANGLE ON: SNOWY races up the STAIRS, towards the STUDY then + leaps on the DESK. + + ALLAN climbs into the RED VAN. + + ALLAN + He bit me! Quick! + + The RED VAN pulls away. + + SNOWY watches from the window sill as the van drives away. + A FIRE TRUCK approaches. + + ANGLE ON: SNOWY flies through the AIR, LANDING on a passing + truck. + + The fire truck, now directly behind the van, slams on its + brakes as the van comes to an abrupt stop and the LADDER + quickly extends, taking SNOWY with it. SNOWY falls onto the + HOOD of the VAN, is thrown off but pursues ALLAN and the + others as fast as his legs will carry him. + + SNOWY hops onto passing BICYCLE and runs through a pen of + COWS before arriving at the docks, and the KARABOUDJAN. + 27. + + + As TINTIN’s crate is loaded aboard a massive ship, SNOWY + sneaks up the ropes tethering the SHIP to the dock. Various + CREWMEN yell orders from the dock. + + CREWMAN (O.S.) + Come on, come on! + + The SHIP heads out of the harbor. + + +16 INT. KARABOUDJAN LOWER HOLD - NIGHT 16 + + WOOZY ANGLE: TINTIN'S POV, coming in and out of FOCUS as we + hear VOICES: + + ALLAN + Eh, not here. Look your side. + + TOM + (grunting) + Hang on. Nothing. + + ALLAN + Well, check that pocket. + + TINTIN is in a cage being searched by ALLAN and TOM, the + workmen who grabbed him at his flat. + + TOM + I've looked at this one already, + I'm sure of it. + + ALLAN + Have a look in his socks. + + SAKHARINE enters the hold at a quick pace. + + SAKHARINE + Have you found it? + + ALLAN + Doesn't have it! + + TOM + It's not on him, boss. It's not + here. + + ANGLE ON: TINTIN sits up groggily, finding himself bound in + a dank ship’s hold. + + SAKHARINE + Not here? Then where is it? + 28. + + + TINTIN + Where's what? + +ANGLE ON: SAKHARINE smacks the cage with his cane. + + SAKHARINE + Oh, I am tired of your games- The + scroll, from the Unicorn. A piece + of paper, like this. + +SAKHARINE produces a SCROLL, which looks very similar to +TINTIN'S. + + TINTIN + You mean the poem. + + SAKHARINE + Yes. + + TINTIN + The poem written in Old English. + + SAKHARINE + Yes. + + TINTIN + It was inside a cylinder. + + SAKHARINE + Yes. + + TINTIN + Concealed in the mast. + + SAKHARINE + Yes! + +SAKHARINE’S FACE, full of anticipation, contorts into an +UGLY SCOWL. + + TINTIN + I don’t have it. + +SAKHARINE lifts his cane towards TOM. TOM takes off the +sheath. SAKHARINE draws a long, thin sword from within. He +presses the tip to TINTIN'S face. + + SAKHARINE + You know the value of that scroll. + Why else would you take it? + + TINTIN + (realization) + 29. + + + Two ships ... two scrolls ... both + part of a puzzle. You have one, you + need the other. But that’s not it. + There's something else. + + SAKHARINE bends down to look TINTIN in the eye. + + SAKHARINE + I will find it, with or without + your help. You need to think about + exactly how useful you are to me... + + ANGLE ON: SAKHARINE leads TOM and ALLAN out of the room. + + SAKHARINE + We'll deal with him on the way. + + TOM + Aye aye, air. + + SAKHARINE + Hold this course. + + As ALLAN closes the door, SNOWY sneaks into the room. ALLAN + SLAMS the heavy, watertight door and locks it. + + TINTIN spots SNOWY as the dog runs across the hold to his + master. + + TINTIN + Snowy! It's good to see you, too. + See if you can chew through these + ropes. + + SNOWY goes to work on the ropes. + + +17 EXT. KARABOUDJAN UPPER STAIRWAY - NIGHT 17 + + ANGLE ON: SAKHARINE CLIMBS the last STAIRS to the BRIDGE + ... he walks to his cabin, he pauses to pass instructions + to ALLAN and TOM. WIND whips his HAIR. + + SAKHARINE + Well, he's lying! He must have the + scroll. The question is - what has + he done with it? + + TOM + We searched him all over, boss. + + SAKHARINE + 30. + + + I want you to go back down there + and make him talk. Break every bone + in his body if you have to. + + TOM + (dismayed) + Oh, that's nasty! + + SAKHARINE + You know the stakes, you know what + we’re playing for. Just do it! + + Another CREW MEMBER, PEDRO, comes running up to them. + + PEDRO + Mister Sakharine! Mister Sakharine! + All hell has broken loose! It's a + disaster! The Captain has come + around - + + ALLAN + What! + + PEDRO + He's conscious! He's accusing you + of mutiny - he says you turned the + crew against him. + + ALLAN + Sounds like he's sobered up again. + + SAKHARINE + Well, don't just stand there, get + him another bottle. + + PEDRO + Si, senor. + + ALLAN AND TOM + Aye, sir. + + WIDE ON: SAKHARINE goes into his cabin ... + + +18 INT. KARABOUDJAN LOWER HOLD - NIGHT 18 + + TINTIN looks around. He grabs a crowbar and takes it to the + door. He jams it into the wheel; the door is now locked + from the INSIDE! + + He moves to a crate and pulls the top off, he takes the top + and covers the window in the door with it. + 31. + + + TINTIN walks back to a large crate, it is filled with live + animals. A GROWL. He opens a PORTHOLE. + + +19 EXT. KARABOUDJAN LOWER HOLD - CONTINUOUS 19 + + ANGLE ON: A lower opens and TINTIN leans out of the small + window. He's on a large CARGO SHIP, which is ploughing + through a rough ocean at speed. There's nowhere to escape + to. + + He looks up and sees another porthole. Loud, unintelligible + SINGING emanates from the open window. + + +20 INT. KARABOUDJAN LOWER CORRIDOR - NIGHT 20 + + ANGLE ON: ALLAN and TOM as they come down the corridor, + + ALLAN attempts to open the door... it's locked! ALLAN and + TOM look at each other. + + TOM + (encouragingly) + Jiggle it a bit - it's just stuck. + + ALLAN + Jiggle? + + TOM + Here ... + + TOM attempts to be helpful by showing ALLAN how to open the + door - ALLAN swats his hands away, angrily. + + ALLAN + What you doing? Geddofff! It's not + stuck, you idiot - he's bolted it + from the inside! + + +21 INT. KARABOUDJAN LOWER HOLD - NIGHT 21 + + TINTIN looks about the room, + + ALLAN (0.S.) + So you want to play it like that + then, do you? Tintin? + + +22 INT. KARABOUDJAN LOWER CORRIDOR - NIGHT 22 + + ALLAN + 32. + + + (to TOM in a grim voice) + Get the TNT. + + +23 INT, KARABOUDJAN LOWER HOLD - NIGHT 23 + + TINTIN turns and looks at the room again: + + CLOSE ON: TINTIN's puzzled FACE, as he studies his + surroundings. + + TINTIN + (thinking) + Broken crates ... rope ... + champagne. What else do we have, + Snowy? + + +24 INT. KARABOUDJAN LOWER CORRIDOR - NIGHT 24 + + ANGLE ON: ALLAN, TOM set up a wicked-looking SHIP'S CLUB. + + They brace it against the door. A COUPLE of OTHER THUGS are + watching nearby. + + ALLAN + There are other ways to open this + door! They’ll be swabbing the decks + with your innards when we're done + with you! + + +25 INT. KARABOUDJAN LOWER HOLD - NIGHT 25 + + TINTIN grabs a CRATE OF CHAMPAGNE and lines it up. He takes + another crowbar and moves to a CRATE. He rips off some + PLANKS. + + +26 INT. KARABOUDJAN LOWER CORRIDOR - NIGHT 26 + + ALLAN quickly sets up the EXPLOSIVE CHARGES against the + DOOR ready to blast it open. + + ALLAN + Hurry up, hurry up! + + +27 INT. KARABOUDJAN LOWER HOLD - NIGHT 27 + + TINTIN grabs the planks and the rope and ties the planks + together. He hurries over to the porthole. + 33. + + +28 INT. KARABOUDJAN LOWER CORRIDOR - NIGHT 28 + + ALLAN takes the fuse line and moves towards TOM, he lights + the match on TOM'S face - + + +29 EXT. KARABOUDJAN - NIGHT 29 + + ANGLE ON: TINTIN leans out of the PORTHOLE as far as he + dares. + + +30 INT. KARABOUDJAN LOWER CORRIDOR - NIGHT 30 + + ALLAN Lights the FUSE. + + +31 EXT. KARABOUDJAN - NIGHT 31 + + TINTIN takes aim and throws the KNOTTED PLANKS as high as + he can, aiming at another OPEN PORTHOLE far above. TINTIN + watches as the PLANKS arc up, hover and then plummet back + down towards him! BONK! The PLANKS bounce off TINTIN'S + HEAD... + + +32 INT. KARABOUDJAN LOWER CORRIDOR - NIGHT 32 + + ANGLE ON: ALLAN, TOM and the THUGS take COVER a safe + distance from TINTIN’S DOOR. + + +33 EXT. KARABOUDJAN - NIGHT 33 + + TINTIN takes aim again. + + +34 INT. KARABOUDJAN LOWER CORRIDOR - NIGHT 34 + + The FUSE LINE continues to burn. + + +35 INT. KARABOUDJAN LOWER CORRIDOR - NIGHT 35 + + ALLAN takes cover next to TOM. He uses TOM as a body + shield. + + ALLAN + Don't move. + + +36 EXT. KARABOUDJAN - NIGHT 36 + 34. + + + TINTIN throws the knotted planks up to the PORTHOLE. + + +37 INT. HADDOCK'S CABIN - NIGHT 37 + + THWACK! TINTIN'S PLANKS fly into the room, walloping + CAPTAIN HADDOCK on the back of the HEAD! HADDOCK slumps + forward on the table, HEAD SPINNING! + + +38 INT. KARABOUDJAN LOWER CORRIDOR - NIGHT 38 + + ANGLE ON: TINTIN'S DOOR is blown CLEAN OFF its hinges! + SMOKE pours into the CORRIDOR. + + ALLAN + Move! Let’s go! + + THUG + Let me at him! + + GUNS in HAND, ALLAN leads the THUGS towards TINTIN’S ROOM. + + SUDDENLY! BANG! BANG! ALLAN and the THUGS retreat from a + VOLLEY OF GUNFIRE, coming from inside the HOLD! + + TOM + He's got a big shooter! + + TOM jumps in front of the door, ready to fire when he is + hit and falls to the ground. + + TOM + Got me! + + A CHAMPAGNE CORK lands on the ground next to him. ALLAN + picks it up. + + +39 INT. KARABOUDJAN LOWER CORRIDOR - NIGHT 39 + + ALLAN picks up a CHAMPAGNE CORK. + + ALLAN + Hold your fire! + + +40 INT. KARABOUDJAN LOWER HOLD - NIGHT 40 + 35. + + + ANGLE ON: ALLAN peers around the corner of the blasted + DOORWAY ... TINTIN has carefully positioned rows of + champagne bottles aimed at the doorway. With each + vibration, several corks pop out, like gunfire. No sign of + TINTIN. + + TOM + He ain't here! He's vanished! + + Another cork POPS, hitting TOM square in the forehead and + knocking him out. + + ALLAN + He's hiding. Search the ship. + Quickly! + + +41 INT. HADDOCK'S CABIN - NIGHT 41 + + HADDOCK rises, stunned by the blow to the head. He looks + around wildly, thinking he has been set upon. + + ANGLE ON: HADDOCK catches eight of SNOWY ... + + HADDOCK + Arghhhh! A giant rat of Sumatra! + + He stands and flinches back, startled, he punches through + the bird cage with his head and gets caught inside it. He + jumps again as TINTIN climbs through the porthole! + + HADDOCK quickly snatches up a LEG from a BROKEN CHAIR ... + he points it at TINTIN, aiming it as if he is on guard. + + HADDOCK + Aha! Thought you could sneak in + here and catch me with me trousers + down, eh? + + TINTIN quickly snatches up the other LEG of the BROKEN + CHAIR brandishing it front of him like a sword ... he + quickly parries a lunge from HADDOCK ... + + TINTIN + I'd rather you kept your trousers + on, if it's all the same to you. + + TINTIN and HADDOCK circle each other warily ... HADDOCK up + ends a TABLE, TINTIN has to jump on to a trunk to escape as + HADDOCK swings wildly at him. + + HADDOCK + 36. + + + I know your game - you're one of + them! + + TINTIN + I'm sorry? + + HADDOCK + They sent you here to kill me, eh? + + TINTIN + (dodging another swipe) + Look - I don't know who you are - + + HADDOCK + That's how he planned to bump me + ‐ + off. Murdered in ray bed by a baby­ + faced assassin! + +SNOWY has HADDOCK'S pant-leg in his teeth. + + TINTIN + Assassin?! Look - you’ve got it all + wrong, I was kidnapped by a gang of + thugs. + + HADDOCK + The filthy swine! He's turned the + whole crew against me! + + TINTIN + Who? + + HADDOCK + A sour-faced man with a sugary + name. He bought them all off - + every last man! + + TINTIN + Sakharine! + +At the mention of SAKHARINE'S name, HADDOCK stops in his +tracks. + + HADDOCK + Nobody takes my ship! + + TINTIN + You're the Captain? + + HADDOCK + (loudly) + Of course I'm the Captain - who + else could I be?! + 37. + + + TINTIN + Shhhh! + + HADDOCK + (slumps) + I've been locked in this room for + days, with only whiskey to sustain + my mortal soul. + + TINTIN tries the door... it opens. NOT LOCKED. + + HADDOCK + Oh. Well, I assumed it was locked. + + TINTIN + Well, it's not. Now you must excuse + me - if they find me here, they'11 + kill me. I have to keep moving... + try and find my way off this + drunken tub. + + TINTIN slips out of the cabin, into the corridor. + + HADDOCK + Tub! Tub!! + + +42 INT. KARABOUDJAN LOWER CORRIDOR - NIGHT 42 + + ANGLE ON: TINTIN steps into the corridor, he closes the + door and comes face-to-face with a SAILOR! + + HADDOCK + Tub? + + The SAILOR goes for TINTIN manages to grab him, and they + wrestle. + + HADDOCK + (angry) + Tub!!!!! + + HADDOCK opens the door. + + CLOSE ON: HADDOCK PUNCHES THE GUARD OUT COLD! + + HADDOCK close the door again. + + The SAILOR starts to come to and moves forward, HADDOCK + slams the door on the SAILOR. + + TINTIN catches the SAILOR and throws him forward onto + HADDOCK'S ARMS. + 38. + + + TINTIN + (impressed) + Thanks. + + HADDOCK + Pleasure. + + TINTIN and HADDOCK pull his UNCONSCIOUS BODY into HADDOCK'S + CABIN. + + TINTIN + I'm Tintin, by the way. + + TINTIN offers his hand, which HADDOCK takes. + + HADDOCK + Haddock, Archibald Haddock. There's + a long boat up on deck - follow me. + + TINTIN does a double-take as HADDOCK slips into the + corridor. + + TINTIN + Hang on a second - did you say + Haddock?! + + But HADDOCK is gone... TINTIN takes off after him. + + +43 INT. KARABOUDJAN BRIDGE - NIGHT 43 + + ANGLE ON: SAKHARINE is ENRAGED! He dresses down ALLAN and + TOM. + + SAKHARINE + How could you let them escape? Find + them, find them both!1 + + ALLAN + Don't worry, we'll kill 'em, sir. + + SAKHARINE + No, you can kill the boy. Not + Haddock. + + TOM is disappointed by this. + + TOM + Oh, he's a just a hopeless old + soak... we should've killed him + long since. + + SAKHARINE swings round on TOM, glowering. + 39. + + + SAKHARINE + You think it's an accident that I + chose Haddock's ship, Haddock's + crew... + (to ALLAN) + Haddock's treacherous first mate? + Nothing is an accident. + + SAKHARINE turns, the wind catching his hair, his eyes + NARROWING. He holds up his arms, and within seconds the + HUNTING FALCON lands on his wrist. + + SAKHARINE + We go back a long way, Captain + Haddock and I. We have unfinished + business and this time I'm going to + make him pay 1 + + +44 INT. KARABOUJDAN UPPER CORRIDOR - NIGHT 44 + + HADDOCK is leading them through the maze of corridors... + they pause to listen to sounds of FOOTSTEPS and SHOUTS. + + HADDOCK + We have to reach a locked door at + the end of this corridor. This is + gonna be tricky! + + TINTIN + (whispers) + You wouldn't happen to be related + to the Haddocks of Marlinspike + Hall, would you? + + HADDOCK + (guarded) + Why do you ask? + + TINTIN + Why, it's for a story I've been + working on .., an old shipwreck + that happened off the coast of + Barbados - a Man o'War; triple­‐ + masted, fifty guns. + + HADDOCK suddenly turns on TINTIN and slams him up against + the wall. + + HADDOCK + What do you know of the Unicorn?! + + TINTIN + 40. + + + Not a lot - that's why I’m asking + you! + + HADDOCK + (low voice) + The secret of that ship is known + only to my family. It has been + passed down from generation to + generation. My Granddaddy himself + with his dying breath told me the + tale. + +HADDOCK stares off into the distance, lost in memories. + + TINTIN + And? + + HADDOCK + Gone. + + TINTIN + What do you mean, gone? + + HADDOCK + I was so upset at when he kicked + the bucket. I had no choice but to + drown my sorrows. When I woke up in + the morning, it was gone. I'd + forgotten it all. + + TINTIN + Everything?! + + HADDOCK + Every last word. + +HADDOCK heads off down the corridor with TINTIN following. + + TINTIN + Well, is there somebody else in + your family, maybe they would know? + + HADDOCK + (shaking his head) + Sir Francis had three sons. All but + my bloodline failed. I am the last + of the Haddocks. + + TINTIN + Did you say 'three' sons?! + 41. + + +A couple of CREW MEMBERS are approaching the stairs. +HADDOCK and TINTIN get down quickly and hide under the +stairs with SNOWY. + +The CREW MEMBERS move down the stairs and out the doorway +SNOWY whimpers, and TINTIN tries to put his hand on SNOWY'S +snout. + +One the crew are gone, HADDOCK heads up the stairs, TINTIN +follows. + +CLOSE ON: TINTIN, realization dawning on his face. + + TINTIN + I know what Sakharine's looking + for! + + HADDOCK + What are you raving on about? + + TINTIN + It was written on the scroll. + (reciting) + “Three brothers joined; three + Unicorns in company sailing in the + noonday sun will speak." + + HADDOCK + Really? + + TINTIN + (excited) + Sir Francis didn't make two models + of the Unicorn - he made three! + Three ships for three sons! + +HADDOCK turns to TINTIN. + + HADDOCK + Excellent. + +HADDOCK heads off, down the corridor. + + TINTIN + Sakharine's after the third model + ship. + +HADDOCK try to wrench open a LOCKED DOOR. + + HADDOCK + Barnacles! Someone's locked the + door! + 42. + + + TINTIN + Well, is there a key? + + HADDOCK + A key? Aah! + + HADDOCK breathes a sigh of ALCOHOL FUMES into TINTIN's + face, who coughs. + + HADDOCK + Yes ... now that would be the + problem! + + HADDOCK returns the way they came, and TINTIN follows. + + +45 INT. KARABOUDJAN SLEEPING QUARTERS - NIGHT 45 + + A door quietly swings OPEN, revealing a gloomy dormitory + full of swaying bunks. Ugly, drunken CREWMEN sprawled in + hammocks, SNORING. + + CLOSE ON: HADDOCK and TINTIN peering round the DOOR. + + HADDOCK + (whispers) + Mr. Jaggerman, top bunk in the + center - keeper of the keys. + Careful mind, he's a restless + sleeper on account of the tragic + loss of his eyelids. + + TINTIN + He lost his eyelids? + + HADDOCK + Aye, now that was a card game to + remember - ah, you really had to be + there. I'd do this myself, Tintin, + but you've a lighter tread and less + chance of waking the boys. + + TINTIN + Are you sure this is a good idea? + + HADDOCK + You've nothing to worry about. + + ANGLE ON: TINTIN sets off, sneaking between the bunks, + towards the sleeping MR. JAGGERMAN - the KEYS are visible + in his hand. + + HADDOCK + 43. + + + (loud whisper) + Provided they all stay asleep. + + TINTIN struggles to keep his balance with the heavy yaw and + roll of the ship. + + HADDOCK + Don't, I wouldn't get too close to + Mr. Hobbs -he's very handy with a + razor. And I'd steer clear of Mr. + Gitch - sacked as shepherd on + account of his 'animal husbandry'! + + TINTIN and SNOWY climb onto the high bunk, reaching for the + KEYS hanging from JAGGERMAN'S HAND. + + ANGLE ON: TINTIN'S FINGERTIPS nearly touch the KEYS. + + He grabs SNOWY and holds him out towards the KEYS, but + SNOWY instead goes for JAGGERMAN'S SANDWICH. + + TINTIN + Not the sandwich! The keys! + + TINTIN falls in a cascade of SNORING SAILORS, DEAD FISH and + a Large SHARK CARCASS. SAILORS from surrounded bunks pile + on top of him. + + CLOSE ON: SNOWY stands on top of the pile of SAILORS. + + TINTIN'S FIST, KEYS included, burst from the pile. HADDOCK + quietly claps. + + +46 INT. KARABOUDJAN UPPER CORRIDOR - NIGHT 46 + + ANGLE ON: TINTIN hands the KEYS to an impressed HADDOCK. + + HADDOCK + You're a brave lad, Tintin - my + heart was in my mouth, I don’t mind + telling you. + + HADDOCK unlocks the rusty door. + + HADDOCK + Well, that is, if it was my heart. + You know, judging by my stomach, it + could've been anything, really. + + TINTIN + Hurry up, Captain. We’ve no time to + lose - + 44. + + + TINTIN freezes in DISBELIEF! The door opens to reveal a + storeroom filled with BOTTLES OF WHISKEY and RUM! + + HADDOCK + Bingo! Just the necessities, of + course 1 + + HADDOCK quickly stuffs a few bottles into various pockets! + He kisses one of the BOTTLES. + + HADDOCK + To the lifeboats. + + TINTIN stands AGHAST for a MOMENT, then follows HADDOCK. + + +47 INT. SHIP CORRIDOR - MOMENTS LATER 47 + + The DECK of the SHIP is covered with SAILORS searching with + FLASHLIGHTS. A group of WELDERS working on a SEAPLANE. + + ALLAN + Keep your eyes peeled! + + SAILOR #1 + I'll go aft! + + SAILOR #2 + Any sign of him, Buster? + + SAILOR #3 + Not yet! Watch yourself, the boss + says he's a handful. + + ANGLE ON: HADDOCK stumbles out a door, onto the DECK and + almost into TOM. TINTIN pulls him back inside at the last + moment. + + TINTIN grabs HADDOCK bottle of WHISKEY, and goes back to + clobber TOM. Just as TINTIN swings his ARM, HADDOCK + snatches the BOTTLE ... TINTIN knocks TOM out with his + FIST, glares and HADDOCK and shakes his sore hand. + + +48 EXT. KARABOUDJAN DECK - NIGHT 48 + + It’s a rough, stormy ocean. HADDOCK, TINTIN and SNOWY move + towards the lifeboat. HADDOCK and TINTIN quickly remove the + ropes from the hooks and start to push the boat out towards + the edge. + + ALLAN + 45. + + + Boss wants us to check the coms. + Come out of it. + +SUDDENLY a door opens, we hear A MORSE CODE noise. ALLAN +and TOM pass by. + + ALLAN + Come on, in here. + +HADDOCK points in their direction. + + HADDOCK + It's Allan! + +ALLAN and TOM walk through a door. + + TINTIN + Is that the bridge? + + HADDOCK + Aye, on the other side of the radio + room. + + TINTIN + Radio room? + +TINTIN gestures for HADDOCK to stay put in the shadows. + + TINTIN + (hushed) + Wait here. Captain. Sound the alarm + if anyone comes. + + HADDOCK + Careful, Tintin! + +TINTIN has already moved towards the stairs ... SNOWY +follows. + + SAILORS SEARCHING SHIP + I said keep searching! There's no + one here! who we looking for, + anyway? + +ANGLE ON: TINTIN sneaks to the RADIO ROOM door. ALLAN is +over TOM'S shoulder as he reads an incoming Morse message: + + TOM + Message just come through, boss. + + ALLAN + What's it say? + 46. + + + TOM + (reading) + "The Milanese Nightingale has + landed. Waiting in the wings for + action." + + TINTIN + (to himself) + Milanese Nightingale. + + TINTIN frowns... AT ALLAN calmly plucks the RADIO MESSAGE + from TOM'S HAND. + + ALLAN + (relieved) + Now pray this cheers him up! + + As they disappear, TINTIN sneaks in. + + +49 INT. KARABOUDJAN RADIO ROOM - NIGHT 49 + + TINTIN enters the room with SNOWY. SNOWY sees a SANDWICHES, + jumps on the desk and begins to eat, fighting a RAT for it. + + ANGLE ON: TINTIN quickly searches for any clues to the + ship's destination. He scans charts, looks at written + messages. He picks up one of the notes and reads it. + + TINTIN + Bagghar. + + TINTIN notices a BROCHURE with a picture of BAGGHAR and BEN + SALAAD. + + TINTIN + What's this? + + He picks it up - and opens it at random. We see a picture + of the town. + + TINTIN + (reading) + The sultanate of Bagghar. + + A second page. A portrait of BEN SALAAD. + + TINTIN + (reading) + Ruled over by Sheik Omar Ben + Salaad, whose love of music and + culture is matched only by his love + of. .. + 47. + + + TINTIN turns the page. He sees something that we don't. + + TINTIN + Great snakes! + + He moves over to nearby wall covered in maps, quickly + scanning for something... + + TINTIN + Bagghar. The port of Bagghar. + Morocco! + + SUDDENLY, TINTIN gets an idea! TINTIN shoves the brochure + into his pocket, quickly puts the headphones on and sits at + the desk, fiddling with the frequency knobs on the old + radio. + + +50 EXT. KARABOUDJAN DECK - NIGHT 50 + + ANGLE ON: HADDOCK holding onto the boat. + + HADDOCK + Tintin! + + ANGLE ON: A sleeping CREW MEMBER, huddled in the lifeboat! + He wakes with a start and is surprised to find CAPTAIN + HADDOCK holding one of the lifeboat ropes... he produces a + PISTOL! + + CREW MEMBER + Hey! Put your hands up! + + ANGLE ON: HADDOCK raises his HANDS, letting go of the ROPE + ... the LIFEBOAT drops into the water, while the CREW + MEMBER gets tangled in the ROPE and swings only a few feet + from the WATER. + + HADDOCK + And let that be a lesson to you! + + HADDOCK moves down to untie the next BOAT. + + CREW MEMBER + Help me! + + +51 INT. KARABOUDJAN RADIO ROOM - NIGHT 51 + + CLOSE ON: MORSE TAPPER ... click ... click ... click ... + TINTIN is BUSY sending a MESSAGE. + 48. + + +52 INT. KARABOUDJAN RADIO ROOM - NIGHT 52 + + SUDDENLY! TOM OPENS THE SIDE DOOR AND SEES TINTIN! + + TOM + (shouting) + In here! He's in here! + + He raises his gun. SNOWY jumps up and grabs his arm, the + gun FIRES, giving TINTIN a valuable second to REACT. + + TINTIN stands and punches TOM. We really see TINTIN'S + ability to look after himself against a THUG. With the + second punch TOM bumps into ALLAN as he is coming out. + + ALLAN gets tangled up with TOM. + + TINTIN grabs TOM’S gun and runs out with SNOWY. + + ALLAN chases TINTIN, TOM follows. + + +53 EXT. KARABOUDJAN DECK - NIGHT 53 + + TINTIN races from the RADIO ROOM as a GUARD spots HADDOCK. + + GUARD + Here! By the lifeboats! + + ALLAN + Get out the way! + + TINTIN runs past with ALLAN right behind him. + + ALLAN + Get him! + + GUARD + Right! + + ALLAN and the GUARD open fire. TINTIN runs among cargo + crates and punches another GUARD to the ground. The GUARD + recovers and fires a spray of bullets at TINTIN. + + GUARD #2 + Why, you little...! + + ANGLE ON: TINTIN and SNOWY races along the deck and down + the stairs onto the deck BELOW, and SPRINT towards HADDOCK + and the LIFEBOAT. + + SAILORS SEARCHING SHIP + 49. + + + Oy! He's up there! Get him, lads! + + TINTIN has TOM'S PISTOL. HADDOCK falls into the LIFEBOAT + where SNOWY is already waiting. The ROPE slips, and the + BOAT dangles precariously. HADDOCK slams into a SEAT, + smashing a number of BOTTLES hidden in his POCKETS; WHISKEY + and BROKEN GLASS fall into the OCEAN below. + + TINTIN returns GUNFIRE, as ALLAN enters and fires at him. + + TINTIN fires at a SPOTLIGHT, hits the "ON" lever and + turning the light on, blinding the CREW pursuing him. + + TINTIN jumps into the boat. + + CLOSE ON: TINTIN raises the PISTOL, takes AIM ... + + BANG! TINTIN shoots the last ROPE, and the LIFEBOAT falls + into the OCEAN with TINTIN, HADDOCK and SNOWY clinging onto + it! A SAILOR is tangled in the ROPE. + + SAILOR + Help me! + + An angry SAKHARINE strolls onto the DECK. + + ANGLE ON: TINTIN and HADDOCK row for their lives. + + ANGLE ON: ALLAN runs onto the BRIDGE. + + ALLAN + Turn the ship 'round! Give me a + flare! + + +54 INT. ROWBOAT/OCEAN - NIGHT 54 + + ANGLE ON: ALLAN runs back onto the DECK and fires a SIGNAL + FLARE into the SKY. + + ANGLE ON: TINTIN lies down in the BOAT. + + TINTIN + Captain! Get down! Get down! + + A CREW MEMBER spots a ROWBOAT using the SEARCHLIGHT. + + CREW MEMBER #2 + There he is! + + ALLAN + Get out of the way! + 50. + + +TOM runs to the BRIDGE. + + TOM + Now full ahead! Full speed! + +The KARABOUDJAN speeds towards the BOAT. + + ALLAN + Got you now! + +ANGLE ON: TINTIN and HADDOCK continue to hide. + + TINTIN + Stay down! + +The ROWBOAT is demolished by the MASSIVE SHIP. + + CREW MEMBER #3 + Look! Down 'ere! + +ANGLE ON: EMPTY BOTTLES float around rowboat debris at it +sinks into the OCEAN. + +ANGLE ON: The second ROWBOAT, TINTIN and HADDOCK'S ROWBOAT. + +TINTIN sits up; they row away from the KARABOUDJAN. + +ANGLE ON: SAKHARINE approaches TOM. He is absolutely +furious. + + SAKHARINE + Idiots! You idiots! What have you + done? + + TOM + We killed them, boss. Like you + wanted! + +SAKHARINE grabs TOM. About to throw him overboard. + + SAKHARINE + No. Not 'like' I wanted. I needed + Haddock alive. + + ALLAN + Wait a minute, boss. There are two + boats missing. + + TOM + So that one must have been a decoy! + 51. + + + SAKHARINE'S EYES suddenly go to the ground beneath his + feet. + + He bends over and he picks up the small piece of paper with + the Morse code and the word "Bagghar" written on it. + + SAKHARINE holds up the piece of paper. + + SAKHARINE + They're on to us, and our + destination. Find them! Make + absolutely certain they never reach + Bagghar! + + TOM + Yes, boss. + + SAKHARINE turns his head and we pan with his turn onto the + SEA PLANE already rigged on a CATAPULT LAUNCHER at the + stern of the KARABOUDJAN. + + +55 EXT. OCEAN/ROW BOAT - DAWN 55 + + We pick up TINTIN, SNOWY and HADDOCK after their escape + from the KARABOUDJAN. TINTIN rowing. They are all alone on + the wide, wide open sea. + + TINTIN + We have to get to Bagghar ahead of + Sakharine. + + HADDOCK + I know! I know! + (beat) + Why? + + TINTIN + Because he has the third model + ship. + + HADDOCK + How do you know? + + TINTIN takes out the BROCHURE that he found in the RADIO + ROOM. + + TINTIN + The sheikh collects old ships and + this is the prize of his + collection. + 52. + + +TINTIN opens the brochure and we see a picture of the third +UNICORN, exhibited in a glass case. The considerable +thickness of the glass is apparent. + + HADDOCK + Blistering blue barnacles, that is + the Unicorn! + + TINTIN + Captain, do you see the distortion + around the model - it means Ben + Salaad exhibits it in a bullet + proof glass case in his palace! + + HADDOCK + And Sakharine is going there to + steal it! + + TINTIN + He has a secret weapon. The + Milanese Nightingale. But that + won't be enough to solve the + mystery, and that is why Sakharine + needs you. That's why he made you + his prisoner! There is something he + needs you to remember. + + HADDOCK + I don't follow you. + + TINTIN + I read it in a book. That only a + true Haddock can discover the + secret of the Unicorn. + +They look at one another. + + HADDOCK + I don't remember anything about + anything 1 + + TINTIN + But you must know about your + ancestor, Sir Francis. It's your + family legacy! + + HADDOCK + My memory isn't what it used to be. + + TINTIN + What did it use to be? + + HADDOCK + 53. + + + I've forgotten. + + +56 EXT. OCEAN/ROW BOAT - DAWN - CONTINUOUS 56 + + TINTIN + Captain, can you get us to Bagghar? + + HADDOCK + What sort of a stupid question is + that? Give me those oars, I’ll show + you some real seamanship, laddie. + + ANGLE ON: HADDOCK stands and moves to TINTIN, snatches up + the oars. + + HADDOCK + I'll not be doubted by some + pipsqueak tuft of ginger and his + irritating dog! I am master and + commander of the seas! + + He swings them expertly over his shoulder, turning his back + on TINTIN. + + CLOSE ON: WHACK! The OAR clunks TINTIN on the side of his + HEAD, knocking him out cold. AS HADDOCK completes his turn + he hits SNOWY out cold too! + + HADDOCK + I know these waters better than the + warts on my mother's face! + + HADDOCK glances back over his shoulder, where TINTIN and + SNOWY are slumped unconscious against the side of the + ROWBOAT. + + HADDOCK + Look at the pair of them - fast + asleep! Typical landlubbers, no + stamina these days! Nevermind. I'll + get ya there, Tintin. + + ANGLE ON: HADDOCK heaves back on the OARS ... + + +57 EXT. SILK'S APARTMENT - DAY 57 + + ANGLE ON: The familiar PATENT SHOES and GLOVED HANDS of the + PICKPOCKET. + 54. + + +THOMSON and THOMPSON stroll down the street, SHOPS and +APARTMENTS behind them. The PICKPOCKET, ARISTIDES SILK, +sees them coining. + + THOMPSON + Look, Thomson! There's the fellow. + + THOMSON + Uh huh! + +He tries to look casual as he reaches for his KEYS. + + SILK + Oh my! + + THOMPSON + Mr. Silk? + + SILK + Yes. + + THOMPSON + My name is Thompson. + + THOMSON + And Thomson. + + THOMPSON/THOMSON + We're police officers! + + SILK + Oh. Oh, crumbs! + +SILK'S first thought is to make a run for it. He turns and +does just that. A CRASH is heard. The THOM(P)SONS run over +to him. + + THOMSON + Goodness gracious! + + THOMPSON + Mr. Silk! + +SILK has slammed into an OLD WOMAN carrying a cage of +CANARIES from a PET SHOP. He is in a heap with three little +YELLOW CANARIES fluttering around his head. + + THOMSON + Are you ok? + + THOMPSON + Poor fella... + 55. + + + THOMSON + Are you all right? + + THOMPSON + Are you all right, sir? + + The little CANARIES are real. A PET SHOP OWNER retrieves + them with a net as a MAN helps the OLD WOMAN. + + THOMSON and THOMPSON together get SILK to his feet. + + THOMPSON + No need to run away, sir. + + THOMSON + No, no. You see. Yesterday, we very + nearly caught the pickpocket who's + been terrorizing the town. + + SILK + (dazed) + Pickpocket. + + THOMPSON + We pulled his jacket off and inside + we found a wallet. + + THOMPSON produces the WALLET. + + THOMSON + A wallet with your name and + address. + + SILK + (dazed) + That's my wallet. + + THOMPSON + It's obviously stolen from you. + + SILK + No, no! That's my wallet! + + THOMSON + Are you all right, sir? + + THOMPSON + We didn't mean to startle you. Let + us help you into your apartment. + + +58 INT, SILK'S APARTMENT - DAY 58 + 56. + + +ANGLE ON: The DOOR to SILK'S APARTMENT bursts open, the +THOM(P)SONS are framed in the doorway ... a battered and +baffled SILK stands between them, attempting to fend them +off. + + SILK + (nervous) + Thank you so much. No need to come + in. I'll be quite alright really. + + THOMSON + No, we insist! + + THOMPSON + Better safe than sorry. It's the + least we can do. + + SILK + Oh, thank you. + + THOMPSON + There we are. + +SILK takes a seat in his ARMCHAIR. + +ANGLE ON: A bookshelf packed with HUNDREDS of WALLETS sits +in the middle of the room. All of WALLETS are nearly +labeled and filed. + +The THOMQPSON's look at it, stunned. SILK looks at them +nervously - figuring the game is up.' + + THOMPSON + Good grief, what's all this? + + SILK + It's my... collection. + + THOMPSON + What a lot of wallets. + + SILK + I can't help it... it started with + coin purses and sort of went on + from there, really... + + THOMPSON + You want to be careful. Haven't you + heard? There's a pickpocket about! + + THOMSON + (looking around the room) + 57. + + + Yes, he'd love this - can you + imagine? + + SILK + (offended) + What do you mean “pickpocket?" + + THOMPSON + ‐ + Oh, a master criminal: a bag­ + ‐ + snatching, purse-pilfering, wallet­ + lifting, sneak thief. + +CLOSE ON: SILK’s lower lip starts to quiver, his composure +goes. + + SILK + (confessing) + I'm not a bad person ... I'm a + kleptomaniac. + +THOMPSON looks confused. + + THOMPSON + A what? + +THOMSON leans over and whispers. + + THOMSON + (whispers) + It's a fear of open spaces. + + THOMPSON + (whispers) + Poor man. No wonder he keeps his + wallets in the living room. + + SILK + (rapture) + Wallets! I just can't resist the + Lovely little things. It's a, it's + a harmless little habit, really. + +THOMPSON takes a WALLET and checks the NAME TAG. + + THOMPSON + Good heavens! Thomson - look at + this! His name's Thompson too! + + THOMSON + Oh, what a coincidence! + +THOMSON takes another WALLET off the shelf. + 58. + + + THOMSON + No, Thompson, this is Thomson + without a 'P' -as in psychic. + + THOMPSON + No, no, no, it's Thompson with a + 'P' - as in psychologist. + + SILK + Look at this one. A green one that + I managed to pick from a pickpocket + actually pickpocketing at the time. + And this one... + + THOMSON + How dare you, air? + + THOMPSON + How dare YOU, sir? + + THOMSON + Good heavens, Thomson - you've got + it all wrong. + +THOMSON brandishes a WALLET at THOMPSON. BOTH THOM(P)SONS +are taking WALLET after WALLET off the shelf, until they +have an armful each! + + THOMPSON + No, you have it all wrong and there + is a 'P' in psychic. + + THOMSON + I'm not your sidekick. You are + mine. + + SILK + Oh, smell it, won't you? Piggy + leather. Oh, I love piggy leather. + + THOMPSON + How dare you? + + THOMSON + How dare you? I met you first. + + THOMPSON + I met you first. + + THOMSON + No, you didn't. + + THOMPSON + 59. + + + Yes, I did. + + THOMSON + No, you did not. + + THOMPSON + Yes, I did. + + THOMSON + Didn't! + + THOMPSON + Did! + + THOMSON + Didn't! + +SILK is talking to himself while the THOMPSON and THOMSON +argue. + + SILK + (breaking down) + Listen! I can't stand it anymore! + Alright, I'll come quietly! + +SILK begins thrusting WALLETS at the THOM(P)SONS. + + SILK + (sobbing) + Take them, take them - + + THOMSON + What are you doing? + + SILK + Take them all! + + THOMSON + Stop it! + + THOMPSON + Pull yourself together, man! We + can't take your wallets,do we look + like thieves?? + + THOMSON + Good Heavens, Thompson! This looks + familiar... it can't be? + +THOMPSON looks at THOMSON’S wallet as he opens it. + + THOMPSON + It is! + 60. + + + BOTH THOM(P)SONS + Tintin! + + +59 EXT. OCEAN/ROW BOAT - DAY 59 + + ANGLE ON: HADDOCK is rowing... cold and exhausted. TINTIN + and SNOWY are huddled asleep in the prow of the boat. + + HADDOCK + (to himself) + Oh, so cold! And thirsty! My throat + is parched! Let's see if there's + any fresh water... + + +60 EXT. OCEAN/ROW BOAT - DAY 60 + + HADDOCK leans over to a hatch in the prow, opens it and + finds... a BOTTLE of RUM! + + HADDOCK + (conflicted) + Ohhh! What have we here? + + +61 EXT. OCEAN/ROW BOAT - DAY 61 + + ANGLE ON: A sleeping TINTIN slowly opens his eyes. + + HADDOCK + Tintin! Tintin! Come and warm + yourself, laddy. + + ANOTHER ANGLE: On a BLAZING FIRE in the middle of the BOAT. + + HADDOCK casually warms himself. + + TINTIN + Captain... ? What have you done? + + HADDOCK + No need to thank me! + + TINTIN + (shocked) + What? + + HADDOCK + Well, you looked a little cold. So + I lit a wee fire. + + TINTIN + 61. + + + In a boat? No, those are our oars! + We need those oars! + + HADDOCK + Yes, but not for much longer! + + TINTIN + Have you gone mad? + +ANGLE ON: TINTIN leans over the side of the boat and begins +to scoop water in his hands, trying to put out the flames, + + TINTIN + Quick, Captain! Help me! Captain, + help me quick! + + HADDOCK + He's right! What have I done? What + have I done? + +HADDOCK picks up the BOTTLE which is still half full of +alcohol. HADDOCK upturns the bottle on the flames which +shoot up - + + TINTIN + No, Captain - not that! + +ANGLE ON: The BOAT, off in the distance, erupts into +FLAMES. + + HADDOCK + Thundering typhoons! + +ANGLE ON: TINTIN and HADDOCK are sitting on the upturned +boat. A small hole in the boat and glowing embers sit +between them. + + TINTIN + Well, this is a fine mesa. + + HADDOCK + I'm weak... + + TINTIN + We're stranded here... + + HADDOCK + Selfish... + + TINTIN + With no hope of rescue. + + HADDOCK + 62. + + + Hopeless! + + TINTIN + While Sakharine and his men are + halfway to Bagghar. + + HADDOCK + Poor, miserable wretch! + +TINTIN finally turns to HADDOCK. + + TINTIN + Yes, all right! That's enough of + that. + + HADDOCK + It was his fault, you see. It was + Sir Francis! + + TINTIN + Tell me, how do you work that one + out? + + HADDOCK + Because he was a figurehead of + great courage and bold exploits! No + one like him has ever existed in my + family! Why do you think I drink? + It's because I know I’ll never be + like him! No, it's far better that + I end it now and put us both out of + our misery. + +He shakes TINTIN'S hand as SNOWY whines; he attracts +TINTIN'S ATTENTION to a DISTANT SPECK in the sky. + + TINTIN + What is it, Snowy? + +ANGLE ON: An approaching AIRPLANE ... TINTIN's concerned. + + HADDOCK + I'm going to lower myself into the + sea... into the cold embrace into + the big blue. + +The SEAPLANE has spotted the upturned boat... it starts to +turn towards them. + + TINTIN + Those are Portuguese markings. + +He turns to HADDOCK. + 63. + + + HADDOCK + Are you even listening? + + TINTIN + Where is the Karaboudjan + registered? + +CLOSE ON: HADDOCK spots the AIRPLANE ... he leaps onto the +hull of the upturned boat and starts waving and jumping +alarmingly! + + HADDOCK + We're saved! We're saved!!! Oh, + it's a sign from above!!! + +SUDDENLY! MACHINE GUN FIRE spits from the SEAPLANE, as it +zooms low over TINTIN and HADDOCK, STRAFING THEM! TINTIN +and HADDOCK nearly fall into the WATER as BULLETS shred the +HULL. + +HE STANDS UP AGAIN. + +ANGLE ON: The SEAPLANE turns for another ATTACK RUN ... +HADDOCK is standing on the HULL, clenching his FISTS, as if +BOXING with air. The UPTURNED BOAT rocks like crazy. + + HADDOCK + Troglodytes! + + TINTIN + Captain, get down! + + HADDOCK + (yelling) + Slave traders/ Mutant malingerers I + Freshwater politicians! + +ANGLE ON: The SEAPLANE starts its attack run. + +TINTIN produces his PISTOL, checks the CLIP. + + TINTIN + Bad news, Captain - we've only got + one bullet! + + HADDOCK + (aghast) + what's the good news? + + TINTIN + We've got one bullet. + 64. + + + ANGLE ON: TINTIN holds his ground as BULLETS ZING around + him. + + TINTIN aims, using BOTH HANDS to steady his PISTOL. + + BANG! He fires! The SEAPLANE roars low over their HEADS... + + HADDOCK falls into the OCEAN. + + ANGLE ON: Black SMOKE spews out of the SEAPLANE'S ENGINE! + The SEAPLANE loses power and is forced to LAND. + + HADDOCK + (joyous) + You got him! + + +62 EXT. SEA PLANE/OCEAN - CONTINUOUS 62 + + HADDOCK + Ah! Well done, my boy. + + TINTIN and SNOWY jump into the water. + + +63 EXT. SEA PLANE/OCEAN - DAY 63 + + ANGLE ON: The PLANE bobs uselessly on the water. TWO PILOTS + jump out onto the FLOATS before it comes to a stop. They + move to the engine and open the hood. As a huge cloud of + smoke comes out, the pilot quickly checks under the + cowling. + + +64 EXT. OCEAN/ROW BOAT - DAY 64 + + TINTIN and HADDOCK hide on the far side of the overturned + ROWBOAT. + + TINTIN + Stay here, Captain. + + TINTIN dives under the water. + + HADDOCK + Tintin! Tintin! + + +65 EXT. SEA PLANE/OCEAN - DAY 65 + + The PILOT continues to inspect the PLANE. + 65. + + + PILOT #1 + Don't take your eyes off of them! + + PILOT #2 + Hurry up! + + PILOT #1 + Just as I thought, the ignition + lead has been cut! Ah! Lucky shot. + + +66 EXT. SEAPLANE/OCEAN - DAY 66 + + TINTIN'S COIF cuts through the water like a SHARK'S FIN. + + PILOT #2 + One more pass and we will finish + them off. + + Suddenly, TINTIN surfaces at the end of the FLOAT... PISTOL + aimed straight at the PILOTS! + + TINTIN + Put your hands in the air! + + THE PILOTS stare at TINTIN, amazed. + + TINTIN + Now! + + +67 INT. SEA PLANE - MOMENTS LATER 67 + + TINTIN reads through the FLIGHT INSTRUCTION MANUAL. HADDOCK + sits behind him. The PILOTS are tied up in the back of the + plane. + + HADDOCK + (worried) + You, you do know what your doing, + eh, Tintin? + + TINTIN + Um, more or less. + + TINTIN flicks a switch. The plane GRUMBLES into life. + + HADDOCK + Well, which is it? More or leas? + + The PLANE taxis along the WATER. + 66. + + + TINTIN + Relax! I interviewed a pilot once. + + +68 EXT. SEAPLANE/SKY -DAY 68 + + The SEAPLANE rises into the SKY. + + TINTIN + Which way to North Africa? + + The SEAPLANE SOARS through the sky, several hundred feet + above the WAVES. + + ANGLE ON! A DARK SPECK below them... TINTIN swoops down for + a CLOSER LOOK: the KARABOUDJAN1 It's ploughing towards + BAGGHAR at high speed. + + TINTIN + Captain! Look! We've caught up with + them! + + HADDOCK + Wonderful! But do you think, we + might find another way to North + Africa that doesn't take us through + that wall of Death? + + +69 EXT./INT. SEAPLANE IN STORM - DAY 69 + + ANGLE ON: The SEAPLANE is flying DIRECTLY towards a + TOWERING WALL of brewing BLACK CLOUD, RAIN SQUALL and HIGH + WIND. + + TINTIN + We can't turn back - not now! + (to himself) + Not now. + + The SEAPLANE starts to buck and shake in the GATHERING + STORM. + + ANGLE ON: The TINY PLANE is tossed around as the STORM + rages around it. Lightening forks FLASH frighteningly + close. The SEAPLANE PITCHES and ROLLS alarmingly. + + HADDOCK Spots MEDICINAL SPIRITS and quietly reaches for the + BOTTLE. TINTIN spots him and swats his hand away. + + TINTIN + 67. + + + No, Captain! Those a surgical + spirits for medicinal purposes + only. + + HADDOCK + Quiet right, laddy, quiet right. + +The STORM outside worsens, and the PLANE does a BARREL +ROLL. + +Once TINTIN rights the PLANE, HADDOCK makes another grab +for the SPIRITS. He unscrews the CAP as the PLANE goes into +a DIVE. The PILOTS float off the floor of the COCKPIT and +the ALCOHOL emerges in the form of large GLOBULES that +hover in front of HADDOCK'S face. + +SNOWY floats into view and SLURPS up the ALCOHOL! TINTIN +pulls the PLANE out of the dive at the last moment and +SNOWY crashes to the FLOOR and BURPS. + +The PLANE goes into another dive and more alcohol emerges +from the BOTTLE. HADDOCK grabs SNOWY'S TONGUE and sucks it +down as quick as he can. + +TINTIN steadies the PLANE again and the PILOTS are knocked +out by the return of gravity. The propeller comes to a +stop. + + TINTIN + No, no, no! + +A RED LIGHT FLASHES next to the FUEL GAUGE. + + TINTIN + Fuel tank! It's almost empty. + Captain! This may sound crazy but + I've got a plan. The alcohol in + that bottle may give us a few more + miles. I need you to climb out of + the plane and pour it into the fuel + tank. + + HADDOCK + Christopher Columbus! + +HADDOCK buckles the belt on his PARACHUTE. + +HADDOCK opens the door for a moment. He quickly pulls it +shut. + + HADDOCK + (defiantly) + 68. + + + There's a terrible storm out there! + And it's raining! + + TINTIN + And you call yourself a Haddock? + +HADDOCK glowers, getting his nerve before again opening the +door. He immediately falls out of view. + + TINTIN + Captain! Captain! Can you hear me? + Captain! Captain! + +HADDOCK'S head slowly appears in TINTIN'S window. + + TINTIN + You're doing fine! Now, pour the + bottle into the tank. We're running + on fumes! + +HADDOCK has an idea. + + HADDOCK + Fumes! + +HADDOCK straddles the plane and opens the FUEL CAP. inside +the cockpit, the empty ALCOHOL BOTTLE hits TINTIN'S foot. + + TINTIN + Oh, no. + +HADDOCK takes a big breath and releases an ENORMOUS BELCH +into the TANK. Inside the ENGINE, PISTONS fire manically +and FLAMES shoot out from the propeller as it spins again. + +HADDOCK sits up and block the WINDSHIELD. + + TINTIN + Captain! I can't see! + +HADDOCK sees something and POINTS. + + HADDOCK + Land, land!!1 + + TINTIN + we can't! We're not there yet! + + HADDOCK + No, LAND!!! + 69. + + + Suddenly, a SAND DUNE appears and the PLANE is headed + straight for it! + + HADDOCK + Turn!! + + TINTIN does his best to avoid a the DUNE. The plane pitches + wildly back and forth. + + The PILOTS have regained consciousness in the back and + shake their heads. + + HADDOCK + Starboard! starboard! Starboard!! + + TINTIN swerves the PLANE again. The PILOTS have freed + themselves from their BINDINGS. + + Still on the nose of the PLANE, HADDOCK is struck by + LIGHTNING, YELLS and flips over the PLANE as his PARACHUTE + deploys! He grabs the RUDDER before being pulled into the + air, SCREAMING. The PILOTS exit the plane door, deploying + their own chutes and drifting into the desert. + + The PLANE hits a dune, catches fire and comes to a stop. + + TINTIN is thrown through the WINDSHIELD and slides down the + nose of the plane, towards the spinning PROPELLER. + + HADDOCK + Hang on, Tintin! I'm coming!! + + SNOWY tries to pull him to safety, but his QUIFF is trimmed + by the ROTORS. + + HADDOCK reaches the PLANE and pulls TINTIN to SAFETY, + before his CHUTE is pulled into the PROPELLER and he is + thrown into the SAND. SNOWY faints as TINTIN gradually + regains consciousness. + + +70 EXT. DESERT - DAY 70 + + LATER... THE ICONIC SHOT + + WIDE ON: SUN BLAZES DOWN mercilessly, as TINTIN, HADDOCK + and SNOWY trudge through the SEA OF SAND, KNOTTED + HANDKERCHIEFS on their HEADS. TINTIN ia deep in thought. + HADDOCK is deep in gloom. + + HADDOCK + The Land of Thirst... the Land of + Thirst! The Land of Thirst! + 70. + + + TINTIN + Will you stop saying that! + + HADDOCK + (gasping) + You don't understand. I've run out, + I've run out. + +ANGLE ON: HADDOCK gets on his knees. + + HADDOCK + You don't know what that means. + +HADDOCK is in bad shape... TINTIN supports him. + + TINTIN + Captain, we have to keep going. One + step at a time. Come on, on your + feet. Lean your weight on me. + + HADDOCK + A man can only hang on for so long + without his vitals. + + TINTIN + Captain, calm down - there are + worse things than sobering up. + +ANGLE ON: HADDOCK suddenly freezes - he is staring into the +distance. + + HADDOCK + (excited) + Look, Tintin! We're saved! Water! + Water! + +ANGLE ON: HADDOCK breaks into a run... SNOWY tries to stop +him by BITING his dangling SUSPENDERS. They snap back into +SNOWY'S FACE! + + TINTIN + Stop, Captain! It's just a mirage! + +ANGLE ON: HADDOCK stumbles forward, ending up DAZED and +CONFUSED, looking around the ROLLING SAND DUNES. + + HADDOCK + (confused) + But it was here... I saw it... + + TINTIN + It was just your mind playing + tricks... it's the heat. + 71. + + +CLOSE ON: HADDOCK, as his EYES fill with EMOTION. + + HADDOCK + I have to go home. + + TINTIN + What... ? + + HADDOCK + I have to go back to the sea. + + TINTIN + Captain, you're hallucinating! + +HADDOCK points towards a dune. + + HADDOCK + Look, did you ever see a more + beautiful sight? + +TINTIN looks towards the dune: nothing but rolling hills of +blistering Ssand. + + HADDOCK + (awestruck) + She's turning into the wind, all + sails set! + +HADDOCK starts to get up. + + HADDOCK + Triple-masted, double decks, fifty + guns... + +CLOSE ON: TINTIN stops in his tracks... + + TINTIN + (softly) + The Unicorn? + + HADDOCK + Isn't she a beauty? + + TINTIN + (encouraging) + Yes, yes she is! Tell me, Captain - + what else can you Bee? + + HADDOCK + 72. + + + She's got the wind behind her! Look + at the pace she's setting! Barely a + day out of Barbados, a hold full of + rum and the finest tobacco and the + hearts of the sailors set for home! + + ANGLE ON : HADDOCK'S POV... three masts in full sail, + flying the KING'S ENSIGN, slides into view in the DESERT - + the SHIP at first hidden by a HIGH SAND DUNE. + + TRANSITION: HADDOCK stumbles towards the SAILS and MUSIC + SWELLS as a desert DUST CLOUD becomes SEA SPRAY, suddenly + the SAND is replaced by OCEAN, and we SWEEP towards the + MAJESTIC SIGHT of the UNICORN in FULL SAIL! + + +71 EXT. OCEAN/THE UNICORN - STORMY DAY 71 + + ANGLE ON: The UNICORN smashes into HIGH WAVES. Towering + STORM CLOUDS reach into the SKY. + + ANGLE ON: SIR FRANCIS HADDOCK, the splitting image of the + HADDOCK we know, resplendent in his purple velvet naval + uniform, and flamboyant feathered HAT! He is watching the + OTHER SHIP through his TELESCOPE. It's a SMALL FRIGATE. + + TELESCOPE POV: The SKULL AND CROSS BONES FLAG unfurls in + the STRONG WIND. A small RED PENNANT flies below it. + + SIR FRANCIS + The red pennant ... + + TRANSITION: SIR FRANCIS'S proud face dissolves into that of + his descendant, a more fearful captain. + + +72 EXT. DESERT - DAY 72 + + HADDOCK turns to face TINTIN. + + HADDOCK (O.S.) + The blood rune cold of every sea + captain who looks upon that flag, + for he knows he's facing a fight to + the death. But Sir Francis is a + Haddock, and Haddock's don't flee. + + TRANSITION: He holds up the empty bottle as a spyglass; the + camera pushes into the bottle and a reflection of the + Unicorn, that becomes the ship itself. We zoom in to pick + up SIR FRANCIS preparing the crew. + 73. + + +73 EXT. OCEAN/THE UNICORN - STORMY DAY 73 + + SIR FRANCIS stares at the PIRATE SHIP. + + SIR FRANCIS + (yelling) + All hands on deck! Gunners to their + stations! Let's unload the King's + shot into these yellow-bellied, + lily livered, sea slugs! + (to his FIRST MATE) + Prepare to bring her about, Mr. + Nichols! + + FIRST MATE + Aye, aye Captain! Prepare to bring + her about! + + ANGLE ON: The UNICORN SMASHES into a VAST WAVE, which + BREAKS across her bow. The PIRATE SHIP crests a wave just + behind them. + + +74 EXT. OCEAN/THE UNICORN - STORMY - DAY 74 + + The CREWS of the UNICORN and PIRATE SHIP trade CANNON FIRE. + A hole is blown in the SAIL of the UNICORN. + + The two SHIPS crash through the waves side-by-side, CANNONS + firing a wild volley between them. + + CANNONBALLS tear into the SAILS of the UNICORN as the JOLLY + ROGER pulls closer. THE MASTS of the two SHIPS become + entwined. + + SIR FRANCIS + Mr. Nichols, secure the cargo! + (to the crew) + Prepare to repel all boarders! + + The keel of the PIRATE SHIP skims the DECK of the UNICORN. + + PIRATES pour onto the deck of the UNICORN. A violent fight + ensues. + + PIRATE + This way, we need more men! + + SIR FRANCIS looks up and sees PIRATES crossing from one + mast to the other. SIR FRANCIS climbs the mast and the + ships apart. The pirate ship sinks and SIR FRANCIS uses the + rigging as a ZIP LINE back to the deck. + 74. + + + As SIR FRANCIS battles wave after wave of PIRATES, a + CLOAKED FIGURE, silhouetted by fire and smoke, approaches + him. + + +75 EXT. DESERT - DAY 75 + + TRANSITION: The silhouette of RED RACKHAM turns into the + shadow of CAPTAIN HADDOCK in the desert. + + HADDOCK + And then he saw him, like a + phantom, rising from the dead. + + TINTIN + (captivated) + Who? + + CLOSE ON: HADDOCK, parched. Thick grime cakes his lips, + sweat runs down his face... he struggles to maintain focus. + + TINTIN + Captain? Captain, who did he see? + + WIDE ON: HADDOCK and TINTIN standing in the desert, + surrounded by endless sand. The silence is odd, after the + mayhem of battle. + + HADDOCK + (bewildered) + It's gone... + + TINTIN + What do you mean gone? What + happened next?! + + HADDOCK is becoming CONFUSED, struggling to remember. + + HADDOCK + By Jupiter, I have a beard! Since + when did I have a beard?! + + TINTIN + Captain, something happened on the + Unicorn! It's the key to + everything! You must try to + remember! + + HADDOCK + The Unicorn? What? I'm so terribly + thirsty. + + HADDOCK sways on his feet. + 75. + + + TINTIN + (alarmed) + Captain! + + HADDOCK + (fearful) + Tintin... What is happening to me? + + CLOSE ON: TINTIN catches HADDOCK as he falls forward, then + lowers him to the ground. + + TINTIN + And to think all it took was a day + in the Sahara. Congratulations, + Captain. You're sober. + + HADDOCK + Sober... + + HADDOCK passes out. + + WIDE ON: The solitary figure of TINTIN holding the inert + body of HADDOCK in his arms... against the vast backdrop of + the SAHARA as the huge ORANGE SUN sinks below the HORIZON. + + +76 EXT. DESERT STORM - NIGHT 76 + + QUICK IMAGES: The swirling sand glows in the FULL MOON. + + SNOWY yowls in a plaintive call. + + Looming SHAPES approach, carrying LANTERNS and FLASHLIGHTS, + GLOWING EERILY, and CASTING DANCING SHADOWS into the + SWIRLING SAND. + + THEY SEE the BODIES of TINTIN, and HADDOCK almost covered + beneath drifts of SAND. A dashing LIEUTENANT DELCOURT leans + over the body of TINTIN. + + DELCOURT + Good dog! This one's alive! Check + the other! + + AFGHAR OUTPOST SOLDIER + Yes sir! + + The other SOLDIER inspects HADDOCK. + + +77 EXT. AFGHAR OUTPOST COURTYARD - DAY 77 + 76. + + + A COLONIAL FOREIGN LEGION FORT. TINTIN and SNOWY are led by + a prim, proper, pipe-smoking BRITISH OFFICER, DELCOURT. + + DELCOURT + Lieutenant Delcourt, welcome to the + Afghar Outpost. + + TINTIN + Thank you, Lieutenant. We owe you + our lives. Did you find my friend? + + DELCOURT + Yes, but he’s not in good shape, + I'm afraid. He's still suffering + the effects of acute dehydration. + He's quite delirious, why don't we + pay him a visit? + + +78 INT. AFGHAR OUTPOST INFIRMARY - DAY 78 + + ANGLE ON: DELCOURT opens a DOOR to reveal a makeshift + infirmary. + + HADDOCK turns towards them as they enter the room. + + DELCOURT + Ah, Haddock - you're awake, good. I + have a visitor for you. + + DELCOURT steps back to reveal TINTIN. + + TINTIN + Captain... + + HADDOCK turns to greet his GUEST ... NO SIGN of + recognition. + + HADDOCK + Hello! I think you've got the wrong + room. + + TINTIN + Captain? It's Tintin. Our plane + crashed in the desert, don't you + remember? + + HADDOCK + Plane? No, no, I'm a naval man, + myself. I never fly if I can help + it. He's got me confused with + someone else. + 77. + + + (looks at the glass he is + holding ) + What is this peculiar liquid? + There's no bouquet, it's completely + transparent. + + DELCOURT + Why, it's water. + + HADDOCK + What will they think of next? + + DELCOURT + Well, we suspect he has a + concussion, heatstroke, delirium. + +SNOWY goes to the table next to the door, he grabs a BOTTLE +of "MEDICINE". + +CLOSE ON: The "MEDICINE" is a BOTTLE of WHISKEY!!!! + + TINTIN + He's sober. + +TINTIN takes the water glass and hands it to DELCOURT. +TINTIN is focused on HADDOCK. + + TINTIN + Now Captain, out in the desert. + + HADDOCK + The desert? + +SNOWY walks back and sets the bottle on the side table next +to HADDOCK. + + TINTIN + Yea, you were talking about Sir + Francis. + +He sits. + + HADDOCK + Sir who? + + TINTIN + Sir Francis, and you were telling + me about what happened on the + Unicorn. + + HADDOCK + The Unicorn? + 78. + + + TINTIN + Yes. + + HADDOCK + The stuff that dreams are made of, + wee children's dreams. + + TINTIN + No, the ship! Oh, please try to + remember, Captain. Lives are at + risk. + + HADDOCK reaches for the glass, SNOWY pushes the bottle in + place, HADDOCK grabs the bottle and drinks the WHISKEY in + one gulp! + + TINTIN looks back in horror. + + TINTIN + Snowy! What have you done? + + HADDOCK + Ahhhhhh! + + TINTIN turns to DELCOURT and the SOLDIERS. + + TINTIN + I'd stand back if I were you. + + HADDOCK starts to get louder. + + TINTIN + (urgent) + Out! Everybody out of the room!!!! + + They all run out; TINTIN grabs SNOWY and closes the door! + + TRANSITION: HADDOCK jumps at the DOOR, sending splinters in + all directions. + + +79 INT. AFGHAR OUTPOST STORE ROOM - DAY 79 + + HADDOCK runs along a wall, LUNGING with his SWORD! + + HADDOCK + Show yourself, Red Rackham! + + +80 EXT. OCEAN/THE UNICORN - STORMY DAY 80 + 79. + + + RED RACKHAM steps out of the shadows and into the light. + SIR FRANCIS sees him, runs forward to engage but is + intercepted by two PIRATES. + + TRANSITION: The two PIRATES become TINTIN and DELCOURT, + circling HADDOCK. + + +81 INT. AFGHAR OUTPOST OFFICE - DAY 81 + + ANGLE ON: HADDOCK leaps on a TABLE, facing off against the + INVISIBLE FOE he sees in his MIND'S EYE. + + HADDOCK + (roaring) + If it's a fight you want - you've + met your match! + + TINTIN + A fight with who? + + TINTIN looks on, SNOWY safely with him. + + HADDOCK + (charging) + To the death... + + +82 EXT. OCEAN/THE UNICORN - STORMY DAY 82 + + SIR FRANCIS + RED RACKHAM! + + ANGLE ON: RED RACKHAM side-steps SIR FRANCIS, takes off his + CAPE and throws it over SIR FRANCIS. He swings SIR FRANCIS + around, sending him crashing into crates and barrels. A + falling piece of the mast turns into a WOODEN CEILING FAN. + + +83 INT. AFGHAN OUTPOST OFFICE - DAY 83 + + ANGLE ON: A HEAVY WOODEN CEILING FAN crashes down on + HADDOCK'S HEAD, knocking him SENSELESS! + + TRANSITION: SOLDIERS run into the office. TINTIN stops + them. + + We swirl around to see the oncoming GUARDS become PIRATES. + + +84 EXT. OCEAN/THE UNICORN - STORMY DAY 84 + + SWORDS surround SIR FRANCIS, who lies on the deck. + 80. + + +85 INT. AFGHAN. OUTPOST OFFICE - DAY 85 + + TINTIN crouches down beside HADDOCK. + + TINTIN + (concerned) + Captain? + + ANGLE ON: HADDOCK sits up, ashen-faced... a desolate light + in his eyes. TINTIN takes his sword and hands it to + DELCOURT. + + HADDOCK + (quiet, reverie) + I remember everything now. + Everything Granddaddy told me. The + Unicorn was taken. The pirates were + now the masters of the ship. + + TINTIN + The crew surrendered? + + HADDOCK + Granddaddy said that Red Rackham + called Sir Francis the King's dog - + a pirate hunter sent to reclaim + their hard won plunder. + + +86 EXT. THE UNICORN - NIGHT 86 + + SIR FRANCIS is lashed to the MAST by RED RACKHAM'S MEN. + + RED RACKHAM + Why would I waste my time on rum, + tobacco, molasses, and dates when + you have a more valuable cargo on + board? Where is it? + + SIR FRANCIS + You'll have to kill me first. + + RED RACKHAM + (smiling evilly) + Not first, no. I will start with + your men. + + TRANSITION: RED RACKHAM raises his sword. We push past to + SIR FRANCIS on the MAST. TINTIN steps behind the MAST and + we transition back to the OUTPOST with the CAPTAIN standing + by his CHAIR. + 81. + + +87 INT. AFGHAR OUTPOST OFFICE - DAY 87 + + HADDOCK is back on his feet; he moves around the room and + TINTIN follows. + + HADDOCK + To save his men, he would give up + the secret cargo. + + TINTIN + And where was it? + + TRANSITION: HADDOCK walks to the BOOKSHELF and slowly + removes one, as though he is pulling a LEVER. + + +88 INT. UNICORN/BELOW DECKS - NIGHT 88 + + SIR FRANCIS pulls a LEVER disguised as BOOK that reveals a + HIDDEN COMPARTMENT on the SHIP. RED RACKHAM makes his way + down a RAMP into the COMPARTMENT. A MOUNTAIN OF TREASURE + fills the COMPARTMENT. + + HADDOCK (V.O.) + 400 weight of gold, jewels, and + treasure. + + We are behind RACKHAM, who steps in the middle of it and + lifts the mask off his face to get a better look, although + we do not see his face. Slowly lowering the mask, he turns, + gesturing with his sword top side. + + RED RACKHAM + Kill his men! + + SIR FRANCIS + No, Rackham, no!!! + + +89 EXT. UNICORN/ABOVE DECK - NIGHT 89 + + FLASHBACK: SIR FRANCIS' MEN being shoved off planks, + falling overboard and being swarmed by SHARKS. + + SIR FRANCIS + Rackham, you gave me your word! + Rackham! Rachkam!! + + TRANSITION: CAPTAIN HADDOCK'S FACE is in each of the + bubbles underwater. All of the bubbles come together to + form one big bubble which pops us back into the present, as + TINTIN holds HADDOCK. + 82. + + +90 INT. AFGHAR OUTPOST OFFICE - DAY 90 + + HADDOCK + Sir Francis knew he was doomed, + that he'd be hung from the highest + yardarm but they didn't reckon on + one thing. Sir Francis was a + Haddock and a Haddock always has a + trick up his sleeve. + + HADDOCK moves around the table, looking at everyone, + delusional, until he spots a QUILL in an INK WELL. He turns + it over, looking at the POINT- + + TRANSITION: Moving into the QUILL, the image dissolves into + the QUILL on SIR FRANCIS'S EAT ... + + +91 EXT. THE UNICORN - NIGHT 91 + + ANGLE ON: SIR FRANCIS, is lashed to the main mast. Slumped + on the deck around him are sleeping, drunken PIRATES... + + He FLIPS off his HAT, catches it in his teeth, shakes it. A + FEATHER in the band falls out, a sharp BLADE glinting on + the end. He catches it and begins to CUT HIS BINDINGS. + + +92 INT. AFGHAR OUTPOST OFFICE - DAY 92 + + HADDOCK + And with that, he hurls himself + forward! + + TINTIN + On the pirates? Like that? Unarmed? + + HADDOCK + No, no, on a bottle of rum rolling + on the deck. And he opens it up and + puts it to his lips, and ... + + TINTIN puts his hands on the BOTTLE and takes it away from + HADDOCK. + + so. + + TINTIN + And then he stops. 'This is not + time for drinking,' he says. I need + all my wits about me. With that, he + puts down the bottle and - + 83. + + + HADDOCK + (dismissively) ) + Yes, yes, he puts down the bottle + and he seizes a cutlass! + + HADDOCK picks up a SWORD and swings wildly! + + +93 INT. THE UNICORN/BELOW DECKS - NIGHT 93 + + SIR FRANCIS sneaks below decks, wielding his CUTLASS. + + HADDOCK (O.S.) + And then he makes his way to the + ship's magazine where they keep all + the gunpowder and the shot 1 + + He lays a trail of gunpowder up a flight of stairs and + right from the gunpowder; on deck, RED RACKHAM'S SWORD + comes into the foreground and SIR FRANCIS turns. + + +94 EXT. THE UNICORN DECK - NIGHT 94 + + RED RACKHAM + You dog... you'd blow us sky high! + + SIR FRANCIS + Come on, then. Let's have you. + + SIR FRANCIS and RED RACKHAM clash SWORDS in a FURIOUS DUEL. + + SIR FRANCIS cuts a ROPE, and sends a BURNING LANTERN + smashing onto the DECK... it instantly IGNITES the + GUNPOWDER TRAIL! + + RED RACKHAM + Not this time! + + RED RACKHAM STAMPS the FIZZING FUSE out, but SIR FRANCIS + fenda him away with a FLURRY of SWORD BLOWS and kicks the + LANTERN back into the trail of GUNPOWDER! + + +95 INT. THE UNICORN GUN DECK - NIGHT 95 + + ANGLE ON: As they continue the fight, RACKHAM heads down + the stairs to the GUN DECK. + + The FUSE BURNS as RACKHAM shoves a DRUNKEN PIRATE and + sweeps away the GUNPOWDER with his FOOT. SIR FRANCIS knocks + over a LANTERN and relights the FUSE! + 84. + + + The FIGHT continues as SIR FRANCIS and RACKHAM moves to the + stairs. The FUSE is continually swept away and more + lanterns are dropped to the floor! + + ANGLE ON: SIR FRANCIS gains the upper hand... RED RACKHAM + becomes DESPERATE... with backward stab of his CUTLASS, SIR + FRANCIS wounds RED RACKHAM! He DROPS his SWORD, clutches a + MAST to steady himself. + + SIR FRANCIS slashes at RED RACKHAM'S HEAD, perfectly + slicing the SILK SCARF... it flutters away, revealing RED + RACKHAM'S FACE! + + CLOSE ON: A long, DEEP SCAR runs from his right cheekbone + to the corner of his lips, causing his mouth to twist in a + slightly deformed manner... nevertheless, his face is + UNMISTAKABLE! + + He is the splitting image of SAKHARINE! + + +96 INT. AFGHAR OUTPOST OFFICE - DAY 96 + + TINTIN is sitting on the floor by the deek. HADDOCK pointe + the SWORD at him. + + HADDOCK + You! + + CLOSE ON: HADDOCK frozen in SHOCK! STANDING, STARING at + somebody. + + TINTIN + (puzzled) + Captain? What is it? + + THE CAMERA PUSHES IN on HADDOCK’S ashen face ... + + HADDOCK + How could I be so blind? + + TINTIN gets up. + + TINTIN + (concerned) + What are you talking about? + + HADDOCK + Thia isn't just about the scrolls + or the treasure that went down with + the ship. It's me J It's me he's + after! + 85. + + +97 EXT. THE UNICORN DECK - NIGHT 97 + + The FUSE continues to BURN towards BARRELS OF GUNPOWDER. + + RED RACKHAM + (quiet hate) + You’ll suffer a curse upon you and + your name, Haddock. + + +98 INT. AFGHAR OUTPOST OFFICE - DAY 98 + + HADDOCK paces the room. + + HADDOCK + He wants vengeance. + + +99 EXT. THE UNICORN DECK - NIGHT 99 + + SIR FRANCIS turns and walks to the PORTHOLE and RED RACKHAM + whips his SWORD into the hull. + + RED RACKHAM + (yelling) + Come back and face me! + + +100 INT. AFGHAR OUTPOST OFFICE - DAY 100 + + ANGLE ON; HADDOCK backs across the ROOM, a look of alarm on + his face! + + HADDOCK + Hurry, Tintin!!! + + HADDOCK leaps towards TINTIN, grabbing his arm! + + HADDOCK + (urgent) + We're out of time! + + TINTIN + (alarmed) + Captain...! + + ANGLE ON: HADDOCK races for the WINDOW, dragging TINTIN + with him! + + +101 EXT. THE UNICORN - NIGHT 101 + 86. + + + SIR FRANCIS jumps out of the CANNON HOLE into the water! + + +102 EXT. AFGHAR OUTPOST COURTYARD - DAY 102 + + ANGLE ON: HADDOCK and TINTIN come flying out of the SECOND + FLOOR WINDOW in a shower of BROKEN GLASS. They LAND on a + wooden cart filled with HAY near the STABLES. + + +103 INT. THE UNICORN - LOWER DECK - NIGHT 103 + + The FUSE arrives at the GUNPOWDER BARREL! + + +104 EXT. THE UNICORN/UNDERWATER - NIGHT 104 + + ANGLE ON: Looking up through the water as SIR FRANCIS lands + in the FOREGROUND. At that moment, the dark hulk of the + UNICORN erupts into FLAMING FRAGMENTS! + + WIDE ON: The UNICORN and all on board are blasted to + pieces... DEBRIS flies in all directions. + + ANGLE ON: SIR FRANCIS surfaces amongst the BURNING + FRAGMENTS of his SHIP. He is almost hit by the FALLING + MAST, then climbs onto it. He holds out his HAT to protect + himself as TREASURE RAINS DOWN, filling it to the brim. + + The UNICORN quickly takes on water. SIR FRANCIS swims away + as RACKHAM, trapped in the sinking ship, curses HADDOCK'S + NAME. + + RED RACKHAM + I curse you - I curse your name and + all who come after! We will meet + again Haddock! In another time!! In + another life!! + + SIR FRANCIS sits on the MAST as another explosion rocks the + UNICORN. Treasure flies into the air and rains down onto + SIR FRANCIS, some landing in his HAT. The SHIP sinks below + the waves. + + +105 EXT. AFGHAR OUTPOST COURTYARD - DAY 105 + + TRANSITION: HADDOCK and TINTIN surface from the HAY PILE. + + HADDOCK + (softly) + It's not over. It was never over! + 87. + + + TINTIN + I don't understand. Who's after + your blood! + + HADDOCK + Sakharine! + + TINTIN + (shocked) + Sakharine. Why? + +HADDOCK is staring into the distance. + + HADDOCK + He's Red Rackham's descendant. He + means to finish it! + +TINTIN digests this information. + + TINTIN + That's why he did it. + + HADDOCK + Did what? + + TINTIN + Sank his own ship! Sir Francis sent + that treasure to the bottom of the + sea. He would be damned before he + let Red Rackham have it. + + HADDOCK + And he was. + + TINTIN + But he couldn't let it lie. + + HADDOCK + No! + + TINTIN + He left a clue! Three clues wrapped + in a riddle, concealing a secret. + But only a true Haddock will be + able to solve it. + + HADDOCK + What secret? + + TINTIN + The location to one of the greatest + sunken treasures in all history. + 88. + + + HADDOCK + + [REALIZING) + The wreck of the Unicorn. He means + to steal it. The third scroll! + Billions of blue-blistering + barnacles, I swear, as the last of + the Haddocks, I’ll find that + treasure before him! + + TINTIN + To Bagghar. + + HADDOCK spits on his hand. + + HADDOCK + To Bagghar! + + They shake on it. + + TRANSITION: The HANDS turn into SAND DUNES... + + +106 EXT. WELLS OF KEFHEIR - DAY 106 + + ANGLE ON: TINTIN, SNOWY and HADDOCK are RIDING CAMELS. As + the crest a SAND DUNE, BAGGHAR is revealed below them. The + KARABOUDJAN is heading into PORT. TINTIN points to the + KARABOUDJAN. + + TINTIN + He's here. + + +107 EXT. BAGGHAR STREETS AND ALLEYS - DAY 107 + + ANGLES ON: Rushing through the narrow streets of BAGGHAR, + TINTIN, SNOWY and HADDOCK look for SAKHARINE and his men. + + The CROWDED STREETS are full of ARABS and BERBERS, many + with HOODS and SCARFS covering their FACES. + + TWO MYSTERIOUS HOODED FIGURES come out and follow them. + + +108 EXT. BAGGHAR SQUARE - DAY 108 + + ANGLE ON: HADDOCK and TINTIN walking through a crowded + MARKETPLACE. + + HADDOCK + It's no good. They could be + anywhere 1 + 89. + + + CLOSE ON: TINTIN whispers to HADDOCK. + + TINTIN + (whisper) + Captain - don't look now, but we're + being followed. + + CLOSE ON: HADDOCK casually glances behind him. + + HADDOCK + (softly) + Ah, so we are. + + ANGLE ON: TINTIN and HADDOCK head toward the PALACE. The + same two MYSTERIOUS ROBED FIGURES come out of the shadows + and follow them into a narrow alley. + + +109 EXT. BAGGHAR MARKET - DAY 109 + + ANGLE ON: Following the TWO HOODED FIGURES... TINTIN and + HADDOCK'S FEET suddenly stick out from a DOORWAY, tripping + them up! + + One sprawls onto the GROUND, causing the next to topple + over as well! + + TINTIN steps forward, FISTS CLENCHED! + + TINTIN + What do you want? Why are you + following us? + + HADDOCK + Who are you working for? + + HADDOCK jumps on them, grabbing them and smashing them into + the ground. + + ANGLE ON: The THOM(P)SONS look up in confusion! Their hoods + fall away to reveal the BOWLER HATS on their heads! + + TINTIN steps in and pulls HADDOCK off them. + + TINTIN + Captain, stop! Stop! Thompson! And + ...Thomson! + + TINTIN helps the THOM(P)SONS stagger to their feet. + + THOMSON + Not 30 loud ... + 90. + + + THOMPSON + We're in disguise. + + TINTIN + So I see - you got the message I + sent from the ship? + + THOMPSON + Yes, well, bit of a long story, + that. + + THOMSON + The upshot is - we caught the + thief, retrieved your wallet, and + then hopped on the next plane to + Bagghar. + + THOMPSON + Yes, that pocket picker has picked + his last pocket. + + With a flourish, THOMPSON produces TINTIN'S WALLET. + + THOMPSON + Don't worry, he didn't take any + money. + + TINTIN + (tense) + It's not the money I'm worried + about. + + CLOSE ON: TINTIN walks and turns away. He hurriedly fishes + into his WALLET and produces the neatly folded SCROLL! + + TINTIN + The odds are even! Now to find the + next two scrolls. + + +110 EXT, BAGGHAR MARKET - CONTINUOUS 110 + + TINTIN’S deep in THOUGHT ... He puts his WALLET and the + SCROLL away. + + ANGLE ON: TINTIN slowly Lifts his gaze to the OPERA BANNER + which hangs across the square. + + TINTIN + (quiet realization) + The Milanese Nightingale. + + TINTIN + 91. + + + (in a soft voice) + That's his secret weapon?! + + ANGLE ON: Tilting down from BIANCA CASTAFIORE'S PORTRAIT to + the slogan written below: The world-famous “Milanese + Nightingale" TINTIN, the THOM(P)SONS and HADDOCK stare at + the banner. + + HADDOCK + Ahh! What a diah. + + +111 INT. SALAAD PALACE GREAT HALL - DAY 111 + + ANGLE ON: PAPARAZZI snapping ... REPORTERS shouting over + each other ... BAGGHAR residents yelling for autographs. + + CLOSE ON: BIANCA CASTAFIORE is all smiles and poses. She's + the very model of bejewelled OPERA STAR. + + BIANCA CASTAFIORE titters, delightedly. Her laugh rises to + a soprano trill. + + ANGLE ON: BEN SALAAD stands before her. He BOWS and KISSES + her hand. + + BEN SALAAD + Enchanted, Signora. Bienvenuto! + Welcome! We are blessed with your + presence. + + CASTAFIORE + Yes, indeed Signore Salad, + (waving to the crowd) + What charming peasants! + (turning back to SALAAD) + May I introduce my escort, Monsieur + Shuggair Addeitiff! + + ANGLE ON: From behind BIANCA CASTAFIORE steps SAKHARINE!!! + He is dressed in a tuxedo. BIANCA theatrically rests her + hand on his arm. + + CASTAFIORE + He's been very... passionate in his + support of this concert. It's my + first visit to the third world. + + SAKHARINE + Please forgive me, I must escort + madame to her dressing room. Excuse + us! + 92. + + + SAKHARINE guides BIANCA CASTAFIORE away from BEN SALAAD. + BEN SALAAD and his SECRETARY applaud as she goes. + + BEN SALAAD + Bravo! + + SECRETARY + Bravo! + + BEN SALAAD + Bravo! + + SECRETARY + Bravo! + + BEN SALAAD + Bravo! + + SAKHARINE + After you. + + His eyes flicking to the UNICORN MODEL as he goes past it. + + ANGLE ON: NEV-R-BREAK BULLET PROOF GLASS logo on the + display containing the THIRD MODEL UNICORN. + + +112 EXT. SALAAD PALACE - DAY 112 + + As TINTIN and HADDOCK stand at the entrance of the palace, + GUESTS arrive for the opera. PALACE GUARDS watch TINTIN; he + makes a decision. He takes out his WALLET, whispers. + + TINTIN + Here, I want you to look after + this, what are you doing? + + TINTIN hands the SECOND SCROLL to a surprised HADDOCK. + + HADDOCK + Me? + + TINTIN + Yes. + + HADDOCK + Are, you sure? + + TINTIN + If I'm caught, I don't want them to + find this on me. Just keep it + hidden. + 93. + + + HADDOCK gets down on one knee. + + HADDOCK + I will guard thia with my life J + + TINTIN + Get up, get up! + + The camera cranes up to reveal the whole of BEN SALAAD'S + PALACE. + + +113 INT. SALAAD PALACE THEATER - DAY 113 + + OPERA-GOERS take their seats aa the ORCHESTRA playa. BEN + SALAAD sits front and center. + + A stir of excitement... BEN SALAAD aits forward eagerly! + + ANGLE ON: CASTAFIORE enters with great fanfare. HADDOCK + nudges TINTIN, excited. + + HADDOCK + It's her! + + Through his opera glasses, TINTIN notices the NEV-R BREAK + LOGO on the UNICORN DISPLAY CASE. + + She steps to the front of the stage and opens her mouth ... + LAUNCHING with great vigor into a well-known aria. + + CLOSE ON: HADDOCK as a Look of horror crosses his face. + + HADDOCK + Blistering barnacles, what's that + noise! My ears - they're bleeding! + + TINTIN + No, they're not! + + HADDOCK hits his head against the chair. SNOWY begins to + whine. + + TINTIN + shut up, Snowy! + + CLOSE ON: CASTAFIORE's hitting high notes, her bosom + heaving. + + HADDOCK + Oh, Columbus! It's every man for + himself! + 94. + + + HADDOCK suddenly stands pushing past annoyed THEATRE + PATRONS. + + HADDOCK + Make way, make way! Medical + emergency! + + HADDOCK staggers for the exit, hands blocking his ears! + + HADDOCK reaches the table with the drinks, he grabs the + tablecloth and yanks it off. The bottles and glasses don't + move. HADDOCK puts the tablecloth around hie head, like + Lawrence of Arabia. + + +114 INT. SALAAD PALACE THEATER LOBBY - DAY 114 + + ANGLE ON: HADDOCK hurries into the calm of the lobby. + + CASTAFIORE's somewhat muted voice can still be heard. + + ANGLE ON: HADDOCK takes out a BOTTLE from his jacket. + + HADDOCK + Ah ha! + + The SECOND SCROLL flutters out + + CLOSE ON: HADDOCK'S hand trying not to loose it. HADDOCK + stares at the SCROLL, folding it tightly. + + HADDOCK + That was close! + + He decides to put the alcohol bottle down. He starts to + walk away... + + A HAND GRABS THE BOTTLE. As HADDOCK walks forward, ALLAN + steps in front of him! + + TOM + (chilling) + Hello, Captain. + + HADDOCK looks at him, shocked! + + HADDOCK + YOU! + + WHACK! ALLAN brings the BOTTLE of ALCOHOL crashing down on + HADDOCK'S HEAD! + 95. + + +115 INT. SALAAD PALACE THEATER - DAY 115 + + The GUARD behind TINTIN moves closer. + + ANGLE ON: TINTIN sees movement in the upper balcony... a + FIGURE sits back in his SEAT, hidden from view. + + CASTAFIORE's reflection appears on his glasses. The FALCON + lands on his ARM. + + ANGLE ON: TINTIN borrows a pair of OPERA GLASSES lying on a + SEAT nearby. He quickly scans for the half-hidden figure in + the balcony. + + TINTIN POV: A brief glimpse of the FIGURE - it is the + SILHOUETTE of SAKHARINE! + + CLOSE ON: CASTAFIORE'S FACE straining as her NOTES lift + HIGHER and HIGHER! + + +116 INT. SALAAD PALACE THEATER - CONTINUOUS 116 + + CLOSE ON: TINTIN, as dawning realization crosses his face! + + TINTIN + Oh, no. + + TINTIN stands and turns to the BALCONY. + + TINTIN + Sakharine! + + CLOSE ON: CASTAFIORE continues SINGING to EAR SPLITTING + NOTES, eyes squeezed TIGHT! + + CRASH! GLASSES and CHAMPAGNE SHATTER! BEN SALAAD's GLASSES + BREAK! + + SAKHARINE leans into the light and reveals his SMILE. + + +117 BIANCA'S VOICE SOARS HIGHER! 117 + + ANGLE ON: The UNICORN MODEL. Its GLASS CASE begins + breaking, long SPIDERY CRACKS racing across the SURFACE, as + if under HUGE PRESSURE. + + ANGLE ON: TINTIN suddenly stands - + + SMASH!! A GLASS CHANDELIER shatters into TINY PIECES! + 96. + + +CASTAFIORE, still singing, turns towards the BALCONY - +raising her arm in a DRAMATIC GESTURE. + +CLOSE ON: CASTAFIORE summons a deep breath, OPENS HER MOUTH +and hits B FLAT over HIGH C! + +The GLASS UNICORN CASE SHATTERS with EXPLOSIVE FORCE! +Broken GLASS flies in all directions. + +ANGLE ON: BEN SALAAD reacts to the SHATTERING CASE! + +SAKHARINE calmly launches his FALCON. + + TINTIN + (yelling) + The falcon! Snowy, after it! + +At that moment HADDOCK bursts into the THEATRE, waving his +arms around madly! + + HADDOCK + (yelling) + Tintin 1 + + SAKHARINE + (from the balcony) + Those two! They're here to steal + your ship! + +BEN SALAAD leaps to his feet, waving his arms at HADDOCK, +screaming ORDERS! + + TINTIN + No, no, no, no, no, we're not! + + BEN SALAAD + Arrest him! The ugly one! + + TINTIN + No wait! + + HADDOCK + (pointing to himself) + Me? + + BEN SALAAD + Yes! Thief! Arrest him! + +BEN SALAAD'S SOLDIERS race towards HADDOCK. + +CASTAFIORE looks around at the sudden mayhem confused by +all the PANIC! + 97. + + + HADDOCK is immediately pounced on by SEVERAL PALACE + GUARDS... HADDOCK ROARS, FISTS FLYING, sending GUARDS + toppling in all directions. + + BEN SALAAD + C'est un voleur! + + TINTIN hurries towards HADDOCK, keeping his EYES on + SAKHARINE in the balcony ... + + The FALCON soars down over the HEADS of the THEATER-GOERS , + flying towards the shattered UNICORN CASE. + + ANGLE ON: the FALCON swoops low, landing on the UNICORN + MODEL... he picks it up in his talons and flies into the + air. + + The UNICORN falls. + + The UNICORN MODEL topples onto the FLOOR. The MAST BREAKS. + WE CAN SEE THE METAL SCROLL CYLINDER + + The FALCON swoops down to pick it up. + + It's a race between SNOWY AND THE FALCON. + + The FALCON snatches up the METAL CYLINDER in his BEAK, and + instantly TAKES TO THE AIR, just avoiding the snapping JAWS + of SNOWY who has raced towards him! + + TINTIN watches helplessly as the FALCON flies back to + SAKHARINE, who catches him, and immediately DISAPPEARS. BEN + SALAAD SCREAMS order in French. + + TINTIN manages to fight his way through to HADDOCK. + + MORE PALACE GUARDS close in on TINTIN and HADDOCK! BEN + SALAAD is SHOUTING ANGRY ORDERS, completely missing + SAKHARINE and the FALCON. + + TINTIN and HADDOCK manage to escape. + + +118 INT. SALAAD PALACE CORRIDORS - DAY 118 + + ANGLE ON: TINTIN and HADDOCK race out of the THEATER! + + TINTIN + Captain, Sakharine's got the + scroll! + + HADDOCK + 98. + + + It's worse than that! + + TINTIN + (horrified) + what do you mean? + + HADDOCK + They took your scroll Tintin - it's + gone! + + TINTIN skids to a HALT... approaching SHOUTS... + + TINTIN + How?! What happened? + + HADDOCK + It was Allan, he, he knobbled me in + the, in the garden. There was a + bottle of alcohol... + + TINTIN cuts him off, disappointment written all over his + face. + + TINTIN + There always is. + + HADDOCK + No, no. No, not like that - + + HADDOCK puts his hands on TINTIN'S shoulders. + + TINTIN + I can smell it on you. + + TINTIN pushes HADDOCK'S hands off, and heads out. + + +119 EXT. BELOW DAM, BAGGHAR STREETS - DAY 119 + + ANGLE ON: SAKHARINE pulls out the THREE SCROLLS from his + JACKET POCKET - it is the first time we have seen all three + together. SAKHARINE'S FALCON sits on the corner of the + windshield of the JEEP! + + SAKHARINE smiles smugly drops the THREE SCROLLS into the + LEATHER WALLET. + + SAKHARINE + Hurry! Back to the boat! + + +120 EXT. SALAAD PALACE - DAY 120 + 99. + + + TINTIN punches a GUARD, who falls to the GROUND. + + +121 EXT. SALAAD PALACE - DAY 121 + + ANGLE ON: HADDOCK desperately runs out of the palace + + HADDOCK + Tintin! + + HADDOCK joins TINTIN... + + HADDOCK {CONT'D) + Where are you going? + + TINTIN + I'm going after Sakharine! + + HADDOCK + Ey yourself? + + TINTIN + Yes. Come on, Snowy. + + HADDOCK considers his options. + + He turns back and grabs the GUARD'S WEAPON: a ROCKET + LAUNCHER, from the ground. + + A GUARD is starting to stand up, as HADDOCK swings the + LAUNCHER over his shoulder and turns, he knocks out the + GUARD back to the ground. + + HADDOCK walks over to the motorcycle, TINTIN kicks in the + engine. BEN SALAAD runs out of the palace. + + BEN SALAAD + Get them, get them! + + ANGLE ON: TINTIN rockets across the BRIDGE, riding a + MOTORCYCLE, with HADDOCK and SNOWY in a SIDECAR. + + +122 EXT. BELOW DAM, BAGGHAR STREETS - DAY 122 + + TINTIN'S reflection is in the rearview mirror of the JEEP. + + TOM looks back. + + ANGLE ON: SAKHARINE glances behind him - his face sets in a + HARD MASK when he sees TINTIN. + 100. + + + SAKHARINE + Lose them! Get him off our tail! + + ANGLE ON: ALLAN begins firing on the MOTORCYCLE. + + SNOWY hides in the SIDECAR from the gunfire. + + HADDOCK swings the ROCKET LAUNCHER onto his SHOULDER ... + + HADDOCK squeezes the TRIGGER... BOOM! The ROCKET LAUNCHER + fires backward ~ straight into the DAM CONTROL STATION! + + ANGLE ON: HADDOCK looks back, trying to SPOT where the + ROCKET HIT... he can sees A CLOUD OF SMOKE rising. + + TINTIN + Did you hit anything? + + HADDOCK + Oh, dear. + + HADDOCK throws down the ROCKET LAUNCHER. + + The WALL of the DAM burets with a THUNDEROUS BOOM! + + ANGLE ON: TINTIN and HADDOCK desperately attempt to outrun + the wall of mud in the motorcycle! + + +123 EXT. BAGGHAR STREETS, MUD SLIDE - DAY 123 + + ANGLE ON: SAKHARINE as he watches the DELUGE behind TINTIN + and HADDOCK. + + SAKHARINE + Faster, you idiot, faster! + + TINTIN skillfully navigates the MOTORCYCLE, as TOM + desperately steers the JEEP down flooded streets. + + ANGLE ON: SAKHARINE looking behind them ... + + SAKHARINE POV: a TORRENT of MUD is BEARING DOWN on them! + + TINTIN'S MOTORCYCLE is getting closer! + + TINTIN and HADDOCK drive past on motorbike with sidecar .,. + + SNOWY LEAPS into the JEEP and tries to grabs the SCROLLS. + 101. + + +SAKHARINE tries to keep them from SNOWY, only to have the +SCROLLS grabbed by TINTIN. SNOWY JUMPS BACK TO THE +MOTORCYCLE. + + SAKHARINE + Devil! + + TINTIN + I'll have those, thank you! + + HADDOCK + Come on, Snowy! Come on! Incoming + falcon at 4 o'clock! + +SAKHARINE's FALCON flies after TINTIN and HADDOCK... he +swoops down! + +The MUDSLIDE slams into the city BUILDINGS, destroying +everything in its path. + +A TANK bursts through the WALL behind them and HADDOCK is +banged on the head by the BARREL. HADDOCK’S COAT is snagged +by the TANK CANNON and he is lifted from the SIDECAR. + + HADDOCK + Tintin, faster! + +The scrolls slip from TINTIN'S hand - HADDOCK grabs two. + + TINTIN + The scrolls! + + HADDOCK + Got one! Two! + +SNOWY grabs the SCROLL before it flutters away. + + TINTIN + And three! + +The MOTORCYCLE breaks in two, and TINTIN and SNOWY sail off +in different directions! + + TINTIN + Snowy! + +HADDOCK hangs from BARREL of TANK... the TANK careens and +slides all over the road, smashing HADDOCK from one wall +into another. + +HADDOCK hangs precariously over the edge of a drop... + 102. + + +HADDOCK falls through lines of washing... + +HADDOCK loses another SCROLL which flutters up into the +air! + +The SCROLL flutters in the air, HADDOCK tries to grab it. + + HADDOCK + Oh, no - oh no! Not again! Come + here, my beauty! + +The FALCON swoops in and snatches the SCROLL... HADDOCK +gives chase, cursing as he goes! + + HADDOCK + Ten thousand thundering typhoons! + Come here, you pilfering parakeet! + +TINTIN collects HADDOCK on the front of his MOTORBIKE. + + TINTIN + Captain, the bird - grab it! + +SNOWY rides atop the MUDSLIDE and manages to capture the +FALCON, pinning him down with the SCROLL still in his BEAK! + +They RACE alongside TINTIN and HADDOCK. + + TINTIN + Nice work, Snowy - don't let him + go! + +HADDOCK launces himself at the FALCON ... he manages to +upset SNOWY and the BIRD - they fly through the air into a +BUILDING, as SNOWY hangs on by his TEETH to the SCROLL the +FALCON holds in his TALONS! + +HADDOCK ends up inside the building ... he swirls around +and around as the MUD RISES HIGHER ... + + HADDOCK + Hang on, Snowy! Snowy, I'm coming! + +HADDOCK grabs SNOWY. Winded, SNOWY lets go of the SCROLL. + +The FALCON snatches the SCROLL ... + +SAKHARINE arrives in the JEEP ... + + SAKHARINE + There he is! There he is, stop! + Stop!! + 103. + + +He raises his arm to the bird. + + SAKHARINE + That's right. That's right, come to + daddy! Come to daddy ... + +TINTIN intercepts the FALCON! + + TINTIN + Got you! + + SAKHARINE + No, wait! + +He grabs the bird and manages to get two of the SCROLLS +before the FALCON escapes! + + TINTIN + No!! + +As SAKHARINE pursues TINTIN, HADDOCK bears down on +SAKHARINE and his HENCHMEN. + + SAKHARINE + Come on, quickly! Quickly! + + HADDOCK + Geronimo! + +HADDOCK lands on the JEEP! + + HADDOCK + You double-dealing, pilfering + parasites! + + SAKHARINE + Keep your eye on the boy! + +HADDOCK thumps ALLAN, ALLAN tries to fight back. + +TINTIN chases the FALCON through the collapsing BUILDING +and nearly manages to capture it after it becomes entangled +in a LOOM. The FALCON breaks free and the chase continues! + + TINTIN + Excuse me! Pardon me! Sorry! + +The MOTORCYCLE is smashed on a bridge, and TINTIN uses the +HANDLEBARS to ride ELECTRICAL WIRES like a ZIPLINE. He runs +along the WALLS of BUILDINGS, SMASHES into POLES and rides +a LANTERN after the FALCON, the THREADS that still entangle +the bird just beyond his grasp! + 104. + + +Just as the FALCON loses TINTIN, he jumps from a BALCONY +and grabs the FALCON. + + TINTIN + Got you! + + ALLAN + There he is! + +TIME SLOWS as TINTIN slowly aligns the SCROLLS, still +locked in the TALONS of the FALCON. The mysterious SYMBOLS +slowly become NUMBERS. + + TINTIN + The scrolls are lining up. These + are hidden numbers. + +SAKHARINE observes TINTIN from nearby. + + TINTIN + What does it say? + +TINTIN's moment of discovery is interrupted by SAKHARINE. + + SAKHARINE + I wouldn't do that if I were you! + +TOM and ALLAN hold HADDOCK over the edge of a nearby +BUILDING. + + SAKHARINE + Let the bird go. What do you value + more, those scrolls or Haddock's + life? + + HADDOCK + Agh! Don't listen to him! You'll + ‐ + never get away with this, you sour­ + faced sassonack! + + SAKHARINE + I will kill him! + +TINTIN refuses to release the FALCON. + + HADDOCK + Don't worry about me, Tintin, I'm + fine! + + SAKHARINE + Let the bird go now or this man + dies! + 105. + + + ALLAN and TOM prepare to throw HADDOCK into the water. + + TINTIN + No, wait! + + HADDOCK + (to SAKHARINE) + You two-timing troglodyte! You + simpering son of a po-face + profiteer. + + SAKHARINE + Perhaps we should put it to the + test. Here's mud in your eye! + + ALLAN and TOM throw HADDOCK into the MUD! + + HADDOCK + Fat head! + + TINTIN releases the FALCON and dives in after him! The + FALCON flies to SAKHARINE'S ARM. + + +124 EXT. BAGGHAR HARBOUR - DAY 124 + + WIDE ON: The TANK finishes dragging the HOTEL BAGGHAR to + the harbor before falling into the water. THOMPSON and + THOMSON emerge on the balcony. + + THOMPSON + We're saved! + + THOMSON + I love the beach. + + THOMPSON + You said you wanted a holiday! + + THOMSON + Quite. + + The MANAGER of the HOTEL comes out and places a STARFISH on + his SIGN to add a fourth star to the hotel's three. + + ANGLE ON: The KARABOUDJAN STEAMS AWAY from the BAY. HADDOCK + is watching it LEAVE. + + HADDOCK + (furious outrage) + Nobody takes my ship! + 106. + + + ANGLE ON: HADDOCK turns to TINTIN for support, but finds + TINTIN just sitting, looking defeated. + + TINTIN + They've already taken it. + + HADDOCK + Nobody takes my ship twice! + + HADDOCK {CONT'D) + (energized) + We'll show them, eh, won't we, + Tintin? Alright then - what's the + plan? + + TINTIN + There is no plan. + + HADDOCK + Of course there's a plan - you + always gotta have a plan. + + TINTIN + Not this time. + + +125 EXT. BAGGHAR HARBOUR - CONTINUOUS 125 + + HADDOCK looks at TINTIN expectantly. + + TINTIN + Sakharine has the scrolls. They'll + lead him to the treasure... it + could be anywhere in the world. + We'll never see him again. + + TINTIN shakes his head. + + TINTIN + It’s over. + + HADDOCK + I thought you were an optimist! + + TINTIN + Well, you were wrong, weren't you? + I'm a realist. + + HADDOCK + That's just another name for a + quitter. + + TINTIN + 107. + + + You can call me what you like. + Don't you get it? We failed. + + HADDOCK + Failed? There are plenty of others + willing to call you a failure, a + fool, a loser, a hopeless souse! + But don't you ever say it of + yourself! + +HADDOCK pokes TINTIN in the chest and he falls back into +his chair. HADDOCK looks at TINTIN a beat. + + HADDOCK + You send out the wrong signal, that + is what people pick up. Do you + understand? You care about + something, you fight for it. You + hit a wall, you push through it. + There's something you need to know + about failure, Tintin... + +HADDOCK turns and walks away from TINTIN. TINTIN looks up +at HADDOCK. HADDOCK turns and looks at the KARABOUDJAN +leaving. + + HADDOCK + You can never let it defeat you. + +TINTIN plays back what he had just heard. He looks up. And +suddenly we know we've reached a TURNING POINT. + + TINTIN + What did you just say? + + HADDOCK + You hit a wall, you push through + it? + + TINTIN + No, no, no, you said something + about sending out a signal! + +TINTIN slaps one hand with the other. + + TINTIN + (explaining) + Of course! Captain, I sent a radio + message from the Karaboudjan. I + know what radio frequency they're + transmitting on. + + HADDOCK + 108. + + + Well, how does that help us? + + TINTIN + All we have to do is send that + information to Interpol. They can + track the signals and figure out + which way they're headed. + + The THOM(P)SONS appear in the distance, walking along the + beach towards them. + + HADDOCK + (delighted) + Here comes Interpol now. + + THOMPSONS + Tintin! + + TINTIN + Any port they enter, we'll know at + once. + + HADDOCK'S eyes sweep round the harbor and settle on the + SEAPLANE that is moored there. + + HADDOCK + We can get there first! + + +126 EXT. DOCKS - NIGHT 126 + + WIDE ON: A BUSY EUROPEAN DOCKLAND. CRANES stand like + skeletal DINOSAURS,RAILWAY TRACKS run up the length of + WHARFS, where many SHIPS are MOORED. + + ANGLE ON: The KARABOUDJAN pulls into DOCK. + + SAKHARINE comes STRIDING down the GANGWAY, TOM and ALLAN + behind him. + + STANDING next to a stately BENTLEY CAR, waiting for them, + is NESTOR in a CHAUFFEUR'S UNIFORM. + + TOM + What are we doing here, boss? I + don't get it. We're right back + where we started. + + SAKHARINE + You're to speak of this to no one. + Keep your mouths shut. + + ALLAN + 109. + + + Don’t worry. As long as we get our + share. + + SAKHARINE + Oh, you'll get your share. Just + guard the ship. + +SAKHARINE brandishes the three SCROLLS. + + TOM + But where are you going? + (beat) + Where's the filthy moulah? + +SAKHARINE exchanges a glance with ALLAN. He understands +ALLAN'S worry. + +SAKHARINE walks toward his waiting CAR, where NESTOR is +standing. + + NESTOR + Good evening, sir. I trust you had + a successful trip abroad? + + SAKHARINE + (rudely) + Do I pay you to talk to me? + + NESTOR + (muttering under his + breath) + You don't pay me at all. + +ANGLE ON: SAKHARINE slides into the CAR. + +SUDDENLY, CHAINS lift on either side of the CAR! + +Before SAKHARINE can react, the car starts rising into the +air! + +WIDE ON: The CAR is being lifted by one of the huge WHARF +CRANES! + + SAKHARINE + What the blazes? Nestor, Nestor! + +ALLAN and TOM come out of the SHIP with their GUNS drawn. + +They look up and see the CAR moving TOWARD THE CRANE! + + SAKHARINE + 110. + + + TOM, ALLAN, YOU BLITHERING IDIOTS, + DON'T JUST STAND THERE, DO + SOMETHING! + +ALLAN and TOM just stand and watch. + +ANGLE ON: HADDOCK in the CAB of the CRANE, pulling LEVERS! + +HADDOCK drives the CRANE forward and SWING THE CAR to the +top of the ROOF of a BUILDING, where TINTIN stands with the +THOM(P)SON TWINS. + + THOMPSON + Caught him like a rat in a trap! + + TINTIN + Congratulations, gentlemen. He's + all yours, + + THOMSON + Yes! We also have an arrest warrant + issued by both Interpol and the + FBI. + + THOMPSON + Your friend who got shot... + + TINTIN + Barnaby!? + + THOMPSON + One of their agents. Hot on + Sakharine'3 trail from the start. + + TINTIN + It still doesn't make any sense. He + has the key to the treasure of the + Unicorn, which is sitting somewhere + on the ocean floor. Why would he + come back home? + +ANGLE ON: The CAR swings over and lands in front of the +waiting group; they approach the CAR. + +ANGLE ON: HADDOCK laughs from his CRANE as they approach. + +THOMPSON steps forward and pulls open the back door... the +back is EMPTY! + + THOMSON + Right. + + THOMPSON + 111. + + + Sakharine? + + THOMSON + Sakharine? + +SILENCE. + +SAKHARINE sits up in the driver seat. + + SAKHARINE + That's Mr. Sakharine to you! + +SAKHARINE pulls a GUN and keeps them at gunpoint; the +others slowly back away. + + SAKHARINE + Hold it! + +ANGLE ON: HADDOCK sees ALLAN'S REFLECTION in the broken +windshield of the crane. + +ALLAN enters with a GUN in HAND; HADDOCK quickly turns the +CRANE, throwing ALLAN off balance. The GUN goes off, the +BULLET shattering a WINDOW. HADDOCK tries to WRESTLE IT +FROM HIS GRIP. + +The CRANE ARM swings wildly, and TINTIN and the THOM(P)SONS +leap for their lives as SAKHARINE'S CAR swings across the +ROOF, slams into a WALL and is lifted INTO THE AIR. + + SAKHARINE + What'0 going... ? + +HADDOCK and ALLAN in the CRANE CAB. ALLAN pushes HADDOCK +out the SIDE DOOR, and he hangs precariously from a +RAILING. + +ALLAN runs to the controls and raises the CRANE, lifting +SAKHARHINE and the CAR into the air. + + SAKHARINE + Allan! Allan! Get me down, get me + down, man! + +ANGLE ON: SAKHARINE in the CAR as it is SWUNG AWAY from the +BUILDING on the PALLET. + + SAKHARINE + Not that way! Not that way, you + fool, the other way! + 112. + + + HADDOCK sneaks in behind ALLAN, throws him from the ROOM, + and ALLAN lands in the BED of a PASSING TRUCK. He takes a + seat at the CRANE CONTROLS. + + SAKHARINE jumps out of the CAR and into the cab of SECOND + CRANE. + + ANGLE ON: SAKHARINE takes a seat in the SECOND CRANE. He + struggles with the CONTROLS. + + +127 EXT. ESTABLISH POSITION OF CRANES 127 + + SAKHARINE and HADDOCK jump into action, and the CRANES + approach each other and COLLIDE! + + HADDOCK and SAKHARINE duel, as the MASSIVE METAL ARMS of + the CRANES violently SLAM into each other. TINTIN and the + THOM(P)SONS dive to safety as SAKHARINE'S CRANE ARM swings + just over their heads. SAKHARINE then uses the arm to throw + a PALETTE of CEMENT BAGS into HADDOCK'S CAB. + + +128 EXT. COLLISION / CRANES DUELING 128 + + HADDOCK fights to clear the CAB of the DUST and DEBRIS; the + ARM of SAKHARINE'S CRANE crashes into the front window of + his CAB. + + ANGLE ON: A POLICE CAR is split in two by a CRANE. + + HADDOCK slams his CRANE ARM onto the SAKHARINE'S CABIN, + ripping away the ROOF! + + SAKHARINE + Close, but no cigar! + + SAKHARINE knocks out the SUPPORTS of HADDOCK’S CRANE with a + PALETTE of BOXES. HADDOCK hits his head on the CABIN ROOF. + + BOXES and CRATES rain down on TINTIN, SNOWY and the TWINS. + + TOM runs at them with a GUN, but is trapped as several + TIRES land on him. A group of THUGS rush to TOM'S aid, but + SNOWY opens a CRATE of CANS that trip them up! + + HADDOCK charges with his CRANE; SAKHARINE and HADDOCK are + face to face. + + HADDOCK + (deadly) + Red Rackham! + 113. + + + SAKHARINE + That's right, my ancestor. Just as + Sir Francis was yours. + + HADDOCK + (grim) + Unfinished business. + + SAKHARINE + I'm glad you know the truth, + Haddock. Until you could remember, + killing you wouldn't have been this + much fun! + +SAKHARINE’S CRANE elides backward, the ARM SWINGS WILDLY +and knocks HADDOCK'S CRANE over! + +ANGLE ON: TINTIN watches as HADDOCK'S CRANE falls. + +HADDOCK'S CRANE lands on the DECK of the KARABOUDJAN; he +tumbles out of the cabin with other debris from the CRANE. + +SAKHARINE walks down the ARM of the CRANE toward HADDOCK. + + HADDOCK + Who gave you permission to board my + ship?! + + SAKHARINE + I don’t need it. + +SAKHARINE pulls a SWORD from his CANE. + + SAKHARINE + I've never needed it. + +As HADDOCK stands, he grabs a METAL LEVER off the GROUND. + +ANGLE ON: HADDOCK and SAKHARINE duel, just like their +ANCESTORS did... and just as RED RACKHAM did, SAKHARINE +fights DIRTY. + +CLANG! The METAL of the SWORD meets the STEEL of the LEVER. + +SAKHARINE kicks HADDOCK to the ground. As HADDOCK tries to +get up, SAKHARINE grabs a FISHNET and throws it at HADDOCK; +it wraps around his neck. SAKHARINE pulls HADDOCK to him +and then spins him around. SAKHARINE lets go on the final +turn, and HADDOCK slams against CRATES filled with WHISKEY +BOTTLES. + +SAKHARINE walks away from HADDOCK. + 114. + + + As HADDOCK starts to get up slowly, a BOTTLE rolls onto his + HAND. HADDOCK looks up at SAKHARINE. + + A BOTTLE slams into SAKHARINE'S BACK. Suddenly, SAKHARINE + is bombarded with BOTTLES - he tries to FEND THEM OFF but + THERE ARE TOO MANY! + + HADDOCK has his arms filled with bottles, throwing them at + SAKHARINE with all his might as he crosses the DECK. + + As SAKHARINE ducks for cover, he falls over the edge onto a + LOWER PLATFORM. + + HADDOCK slowly walks up with one BOTTLE left in his hand. + + SAKHARINE comes up with the SCROLLS in one hand and a + LIGHTER in the other. + + SAKHARINE + The legend says only a Haddock can + discover the secret of the Unicorn + — but it took a Rackham to get the + job done! So you've lost again, + Haddock. That's right, why don't + you have a drink? That's all you’ve + got left, isn't it? Everything that + was rightfully yours is now mine, + including this ship! + + SUDDENLY, TINTIN swings in and retrieves the scrolls from + SAKHARINEI + + HADDOCK + Thundering typhoons. Nobody takes + my ship. + + HADDOCK punches SAKHARINE in the FACE, sending off the + ship's railing! HADDOCK kicks the last BOTTLE of WHISKEY + after him. + + It hits SAKHARINE on the head. + + TINTIN looks up and locks eyes with HADDOCK, he sees a new + man. + + +129 EXT. POLICE LONGBOAT - NIGHT 129 + + THE THOM(P)SON TWINS pull SAKHARINE out of the water, and + throw him down on the DECK of the POLICE LONGBOAT. + + THOMSON + 115. + + + We have you now, you devil. You are + under arrest! + + THOMPSON + To be precise... you are under + arrest. + + SAKHARINE puts his hands up in defeat. + + +130 EXT. KARABOUDJAN DECK - DAWN 130 + + TINTIN holds the SCROLLS up, allowing the SUN to SHINE + through them. + + TINTIN + Do you see? + + CLOSE ON: A row of NUMBERS and LETTERS along the bottom of + the SCROLLS. + + HADDOCK + Blistering barnacles! They're + coordinates! + + TINTIN + It took all three scrolls to form + the numbers. + + HADDOCK + Latitude and longitude ... that is + it! That's the location of the + treasure! + + TINTIN reaches out his hand, but HADDOCK grab him and they + do a celebratory dance. HADDOCK laughs. + + TINTIN + We did it! + + +131 EXT. MARLINSPIKE COUNTRYSIDE - DAY 131 + + CLOSE ON: The WIND rushes through SNOWY'S fur, and then + TINTIN'S COIF. HADDOCK raises a SEXTANT to his eye, + checking location against the position of the sun. Puffy + clouds tower above, and we assume he's at sea. + + HADDOCK + Almost there, Mister Tintin. A + nudge to starboard should do it. + 116. + + + CLOSE ON: TINTIN... low angle, looking up towards the SKY, + WIND blasting his HAIR. + + TINTIN + Are you sure we're on course? + + HADDOCK + Aye, trust me, laddie - I know + these parts like the back of my + hand! + + WIDE ON: HADDOCK is standing on the passenger seat of a + car, TINTIN behind the wheel. + + HADDOCK + Starboard! Quickly! Quickly! + + TINTIN + Aye, Captain - starboard it is... + + They go off the road and drive through hedges. + + +132 EXT. MARLINSPIKE FRONT DOOR - DAY 132 + + They come through the clearing and arrive at the front + steps of MARLINSPIKE HALL. + + HADDOCK + FULL STOP! + + ANGLE ON: TINTIN looking up at the exterior of the large + mansion. + + HADDOCK + Marlinspike Hall! + + TINTIN + Those coordinates lead here. This + is where Sir Francis hid it? + (puzzled) + I thought the treasure went down + with the ship... + + ANGLE ON: NESTOR opens the front door and welcomes HADDOCK + and TINTIN. + + NESTOR + Master Haddock, Mister Tintin, I've + been expecting you. + + +133 INT. MARLINSPIKE HALLWAY - DAY 133 + 117. + + + ANGLE ON: HADDOCK steps inside the GRAND HALL. + + NESTOR + Welcome to Marlinspike Hall. + + HADDOCK + Would you look at this place! I + don't think it's changed at all + since I was a wee boy. + + NESTOR + And may I say, sir, how much I am + looking forward to having a Haddock + back in charge of the estate. + + HADDOCK + You'll be waiting a long time, + Nestor. + (wistful) + There's no way I could afford to + live here. + + TINTIN + Well, Captain, you know the house. + Where do we start? + + HADDOCK thinks a moment ... + + HADDOCK + Is the cellar still here? + + +134 INT. MARLINSPIKE HALL CELLAR - DAY 134 + + ANGLE ON: NESTOR leads HADDOCK and TINTIN down the STAIRS + into a DIM VAULTED CELLAR... HADDOCK looks around in + CONFUSION. + + HADDOCK + No, no, no, no, no, no, this isn't + it. I meant the other cellar. + + NESTOR + I'm sorry, sir - there is no other + cellar. + + HADDOCK + It was bigger than this... + + ANGLE ON: SNOWY runs away and suddenly DISAPPEARS! + + TINTIN + Snowy! Snowy, where are you? + 118. + + + TINTIN moves over to the other side of the room, there ia a + wall with furniture all stacked up. The GUARD DOG is + looking around trying to get to the other side. + + TINTIN looks around and sees an opening. + + TINTIN + Captain, help me. + + HADDOCK AND TINTIN start to remove the furniture. + + ANGLE ON: TINTIN finds a small hole in the brick wall. + + +135 TINTIN AND HADDOCK LOOK AT EACH OTHER. 135 + + SNOWY is on the other side. + + TINTIN + Snowy. Just like you said, Captain. + You hit a wall... + + HADDOCK + ... you push through it. + + +136 INT. SECRET CELLAR, MARLINSPIKE - DAY 136 + + ANGLE ON: BOOM! TINTIN and HADDOCK using an OLD LUMP OF + WOOD as a BATTERING RAM! They SMASH it against the BRICKS, + PUNCHING a larger HOLE in the BRICK WALL. + + ANGLE ON: TINTIN climbs through the wall into a LONG + VAULTED ROOM, lit with filtered LIGHT beaming down from + DUSTY SKYLIGHTS ... the ROOM is FULL of ANTIQUES, old SUITS + of ARMOR, PAINTINGS, STATUES. + + HADDOCK + My Grandfather must've walled it up + before he lost the house. + + TINTIN and HADDOCK hurry along the ROWS of ANTIQUES ... + TINTIN looks to the STATUE of a BEARDED MAN holding a + CROSS. + + TINTIN + And then shines forth, the Eagle's + Cross... + + HADDOCK + I can see the cross but where's the + eagle? + 119. + + + TINTIN + St. John the Evangelist, who was + always depicted with an eagle, and + he’s called the Eagle of Patmos. He + is the eagle. + (at the statue) + But what is he trying to tell us, + Captain? I'm at a loss. + +CLOSE ON: A CARVED, STONE GLOBE. HADDOCK leans close to +study + +The GLOBE has detailed islands and coast loands in raised +relief. HADDOCK traces an ARCHIPELAGO of TINY ISLANDS. + + HADDOCK + That island, the one in the middle, + that doesn't exist. + + TINTIN + How do you know? + + HADDOCK + Because I've sailed those waters + countless times. I've been there. + It's a mistake. + +CLOSE ON: TINTIN; an idea is forming in his mind. + + TINTIN + What if it isn't... ? + +HADDOCK looks at TINTIN, intrigued... + + TINTIN + Sir Francis wanted his inheritance + to go to a man who was worthy of + it... a man like himself, who knows + the seas like the back of his hand. + A man who could look at a globe and + tell if one tiny island was out of + place. + +HADDOCK takes TINTIN’S meaning. He leans forward and slowly +presses the TINY ISLAND that shouldn't be there... + +CLICK!! The top of the GLOBE pops open, like a Lid! + +TINTIN and HADDOCK lean forward, peering into the GLOBE. + + HADDOCK + (quiet awe) + 120. + + + Blistering treasure! It's Red + Rackham's barnacles! + + TINTIN dips his hand in and brings out a HANDFUL of + TREASURE. + + HADDOCK + What's this? + + HADDOCK Lifts out the Lining containing the rest of the + TREASURE and chuckles. He recognizes that it is SIR + FRANCIS'S HAT. He empties the contents of the HAT into + another container, and proudly puts it on. + + TINTIN pulls a SECOND PIECE OF PARCHMENT from the GLOBE. + + +137 INT. SECRET CELLAR, MARLINSPIKE - DAY 137 + + NESTOR arrives, carrying a tray with a BOTTLE OF CHAMPAGNE + and GLASSES. + + HADDOCK + Ah hah! It's gust a wee tipple - a + toast to our good fortune! + (drinks) + Oh, that's better! It's odd + really... you'd would of thought + after all the fuss and bother, + there would've been more ... + + HADDOCK drinks TINTIN'S glass. + + TINTIN + More of what? + + HADDOCK + Red Rackham's treasure! I mean, by + your own account he looted half of + South America! I gust thought... + ach, never mind. There's plenty to + go around. + (sighs) + Oh, it's a funny old life, eh? + Well, you've got your story for + your newspaper. - all's well that + ends well. + + NESTOR leaves. + + TINTIN + It's not ended. + 121. + + +ANGLE ON: TINTIN holds up a PARCHMENT MAP. + + TINTIN + Sir Francis left another clue at + the bottom of the globe. + + HADDOCK + A clue to what? + + TINTIN + Four hundred weight of gold just + lying at the bottom of the sea. + +HADDOCK and TINTIN exchange a look. + + TINTIN + How's your thirst for adventure, + Captain? + + HADDOCK + Unquenchable, Tintin! + +TINTIN and HADDOCK stare at the map together. The CAMERA +ZOOMS in on SNOWY. He BARKS, almost like he is saying, "Oh +no, not again... help!" + +TITLE CARD: AND THE ADVENTURE CONTINUES ... + +END TITLES + \ No newline at end of file diff --git a/scripts/The Apery (sample).txt b/scripts/The Apery (sample).txt new file mode 100644 index 0000000000000000000000000000000000000000..c255e8e04c5caa3f7df8ab657fc6e5dfb82b6789 --- /dev/null +++ b/scripts/The Apery (sample).txt @@ -0,0 +1,62 @@ + + + + + + "THE APERY (sample)" + + + AI screenplay by + + GPT-4 + + + AI direction by + + Clapper + + + AI rendering by + + AiTube.at + + + + REVISED FINAL + + JANUARY, 2024 + + + + + + FADE IN: + +INT. LAVINGTON GALLERY - DAY + + We find LEON REYNOLDS, our mastermind. + + LEON'S INTERNALS (V.O) + In every stroke, a story. In every gallery, + a game. Art and theft, forever entwined. + + This is the moment where their plan teeters on the edge of + becoming reality. + + LEON + (quietly to the group) + Remember, it's not just what you look at. It's + what you see. Be precise. Be bold. + Tonight, we prepare for the greatest performance + of our lives. + + The students disperse, each cloaked in a newfound determination. + + Their clandestine surveillance mission a success, they exit the + gallery unnoticed among the throng of visitors. + + MATCH CUT TO: + +EXT. LAVINGTON GALLERY - CONTINUOUS + + The imposing architecture shrinks away as the STUDENTS move out. \ No newline at end of file diff --git a/scripts/The Apery.txt b/scripts/The Apery.txt new file mode 100644 index 0000000000000000000000000000000000000000..bd352f37361342e2f865f5411beef47418610196 --- /dev/null +++ b/scripts/The Apery.txt @@ -0,0 +1,1635 @@ + + + + + + "THE APERY" + + + AI screenplay by + + GPT-4 + + + AI direction by + + Clapper + + + AI rendering by + + AiTube.at + + + + REVISED FINAL + + JANUARY, 2024 + + + + + + FADE IN: + +INT. LAVINGTON GALLERY - DAY + + Ethereal HEIST MUSIC builds the atmosphere as we are ushered + through the neoclassical facade of the esteemed Lavington + Gallery. + + The high glass ceiling bathes the space in ANGELIC LIGHT. + Patrons stand in hushed reverence, their eyes reflecting the + bold colors of priceless masterpieces. + + We TRACK past tall Greek columns, over the polished concrete + floor, towards a group of COLLEGE STUDENTS. + + They mingle indistinctly in the crowd, feigning interest in the + art. Their eyes, however, tell a different story. + + CUT TO: + + A SECURITY CAMERA panning lazily over the room. + Its RED LIGHT blinks matter-of-factly. + + CUT TO: + + Various CLOSE-UP shots of the students' eyes, each pair + absorbing every inch of the space, calculating, memorizing. + + Among them, we find LEON REYNOLDS, our mastermind. + He stands still, a sentinel amongst moving bodies. + + His eyes scan the artwork before seamlessly darting to the + security measures enveloping them. + + LEON'S INTERNALS (V.O) + In every stroke, a story. In every gallery, + a game. Art and theft, forever entwined. + + As Leon's VOICE whispers, his hands, BARELY VISIBLE to the casual + observer, sketch quick diagrams in a small, leather-bound + JOURNAL. + + His stubble catches the light, a testament to the sleepless + nights he's endured for this. + + CUT TO: + + A discreetly positioned MAYA SANTOS, jots down notes on a gallery + guide, her warm hazelnut eyes flicker with intense focus, + betraying the mischievous gleam hidden within. + + MAYA + (to herself, sotto voce) + Acrylic glaze, non-period canvas... + fascinating. + + She tucks a loose strand of bronze hair behind her ear, revealing + a STUDDED EARRING, each precisely like the security cameras in + design. + + PANNING across the room, we find SASHA HOFFMAN, her platinum hair + an icy contrast to the warmth around her. + + She pensively examines a CLIMATE CONTROL PANEL near a series of + Impressionist paintings. + + SASHA + (under her breath) + Airflow patterns... helpful, very helpful. + (a beat, then to her watch) + And forty-eight hours of continuous recording. + Excellent. + + Her sharp gaze fixes on a passing security guard, unnoticed under + her feigned interest in a canvas brushstroke. + + ROTATING our view, ANTHONY LAMBERT flashes a charming smile to a + TOUR GUIDE while pocketing a folded GALLERY MAP – oblivious, the + guide blushes and giggles, her back to a 'STAFF ONLY' door he's + just surveyed. + + ANTHONY + (in French-accented English) + Your knowledge is as enchanting as the art + itself. + + CUT TO: + + TESS WILLIAMS, at the edge of the crowd, her hoodie shadowing + her face, she surreptitiously plugs a THIN CABLE into a hidden + data port beneath a digital guidepost. + + TESS + (whispering to herself) + You're a beauty, aren't you? Let's see what + secrets you hold. + + Her fingers DANCE over a mini-keyboard tucked in her sleeve as + she reclines against the post. + + CUT TO: + + The STUDENTS reconvene with practiced indifference. Their body + language casual, but their faces severe with intent. + + Leon gazes intensely at his troop. + + This is the moment where their plan teeters on the edge of + becoming reality. + + LEON + (quietly to the group) + Remember, it's not just what you look at. It's + what you see. Be precise. Be bold. + Tonight, we prepare for the greatest performance + of our lives. + + The students disperse, each cloaked in a newfound determination. + + Their clandestine surveillance mission a success, they exit the + gallery unnoticed among the throng of visitors. + + MATCH CUT TO: + +EXT. LAVINGTON GALLERY - CONTINUOUS + + The imposing architecture shrinks away as the STUDENTS move out. + + We linger on the GALLERY EXTERIOR, where the waning sunlight + casts long shadows across the majestic columns, foreshadowing the + dark turn their lives are about to take. + + FADE OUT + + FADE IN: + +EXT. LAVINGTON GALLERY - NIGHT + + The gallery stands silent under the moonlight, the calm before + the storm. We PULL BACK as the last of the workers trickle out, + the grand art sanctuary shuts down for the night. + + CUT TO: + +INT. THE ENCLAVE BAR - NIGHT + + A rustic hideaway contrasted against the elegant gallery we just + left. Edison bulbs cast a warm glow over each surface. + + Faces are relaxed here, conversations muffled by the sound of + JAZZ TRICKLING through the air. + + In a secluded corner, Leon and his team share a large booth + characterized by deep reds and amber tones. + + They sit in hushed tones while ON-SCREEN CAPTIONS indicate their + names next to them as they speak, grounding us in their world. + + LEON + This isn't just another job, it's our future + at stake. Tonight, we need to be more than + thieves... + + SASHA + Und artists? + + The team looks at each other, a silent acknowledgment of their + double lives. + + ANTHONY + (Smiling) + Artists and magicians, mon amis. + + The apparent levity drops at the sight of VICTOR MORETTI's entrance. + He's a silhouette against the dim lighting of the bar, approaching + with a dangerous grace. + + The team's body language shifts, an instinctual reaction to the + predator entering their midst. + + MORETTI + (smiling disarmingly) + I hope I'm not interrupting. + + Leon remains unflinching, locking eyes with Moretti. + + LEON + You are, but we both know you don't care. + + Moretti sits, uninvited. + + A WAITER approaches but is waved off with a subtle gesture by + Moretti – no one is to overhear. + + MORETTI + (leaning forward) + I've got something that belongs to you... + + He reveals a FILE, sliding it across the table. + Leon doesn't touch it, his eyes ice over instead. + + MAYA + (sharply) + Get to the point. + + MORETTI + (savoring the tension) + Each of your fingerprints on relics I now own. + Interpol would love to see this. + + The group tenses. Risk now palpable, the stakes clear. + + A BEAT before Leon responds. + + LEON + And... what do you want? + + MORETTI + Lavington's "Vanishing Vistas" exhibition. + Replace the collection with your charming replicas. + + Tess leans in, her defiant glare unwavering. + + TESS + And if we say no? + + MORETTI + (smirking) + Then your promising careers are vanishing vistas. + + Tess's fists clench, but Leon places a calm hand over hers. + His control over the situation at the forefront. + + LEON + How long do we have? + + MORETTI + Six months. The clock starts now. + + He stands, leaving the file on the table. + His final glance at them is one of certainty. + As he exits, silence settles over their booth. + + ANTHONY + (whispering) + We're in too deep to swim back now. + + MAYA + (lightly touching the file) + So we dive deeper and come out on the other side. + + SASHA + (nods, businesslike) + A heist of this magnitude... it will require + precision, und a perfect execution. + + LEON + (with conviction) + We will turn this gamble into our masterpiece… + A true apery. + + The group nods in silent agreement, resolute despite the + menace lurking in the backgrounds of their fates. + + They disband into the night, shadows embracing equal parts + despair and determination. + + CUT TO: + +EXT. THE ENCLAVE BAR - NIGHT + + The team disperses into the shadows of the city, their + MEASURED FOOTSTEPS a mantra against the cobblestone. + + The gallery looms in the distance - tomorrow it will become + their stage. + + FADE OUT. + + FADE IN: + +INT. LEON'S SECRET WORKSHOP - NIGHT + + A stark contrast to the bar's homeliness, the workshop is an + industrial cavern of secrets. Workbenches, canvases, tools, + and machinery blanket the space - a chaotic order reigns here. + + A PROJECTOR throws blueprints of the Lavington Gallery onto the + wall. + + The team, gathered around a large table strewn with plans and + tech, exude a collective, focused intensity. + + LEON + (points at the blueprint) + Entry points, surveillance patterns, guard + rotations - we need control over each. Tess? + + TESS + Already on it. I've infiltrated their system. + With a few more tweaks, I'll have complete access. + + She reveals her COMPUTER SCREEN showing complex code cascading down. + + It mirrors against her determined eyes. + + SASHA + Und the security systems? + + Tess smirks, tapping a few keys. + + TESS + They'll be seeing what we want them to see. + + LEON + (turning to Maya) + The paintings? + + MAYA + (brush in hand, working on a copy) + Give me four months. They'll be aging like fine wine, + indistinguishable from the real deal. + + She steps back, and we get a glimpse of her work - a near-perfect + replica of a priceless piece. + + Leon shifts his attention to the detailed security schematics. + + LEON + (to Sasha) + Disabling? + + SASHA + (clutching a petite but intricate device) + I'll create something non-invasive, silent. + It will take time, but it will be flawless. + + ANTHONY + (product display on his tablet) + And once they're down, I'm in. + The distraction's all set. + + He shows a CREATIVE PRESENTATION for a forthcoming marketing event + at the gallery that will coincide with their heist. + + LEON + (exhales, pensive) + Then let's begin. This gallery's gonna witness a vanishing + act like no other. + + The team converges over the blueprint, their minds weaving a web of deception + and precision. Each one, a vital thread, now interlaced into the intricate + tapestry of their heist. + + FADE OUT: + + FADE IN: + +EXT. SAN FRANCISCO SKYLINE - NIGHT + + A panoramic view of San Francisco's illuminated skyline; its + twinkling lights casting reflections on the bay. The heist music's + techno-influence throbs with an electric momentum. + +INT. TESS'S WORKSHOP - NIGHT + + We reveal TESS WILLIAMS' digital dominion, a corner of calculated + chaos. + + Surrounding her, a fortress of monitors pulse with the lifeblood + of data streams. + + Heist music plays, the rhythm paralleling Tess's nimble dance + across her keyboard. + + A wire labyrinth feeds into a command center of monitors, + displaying an oscillating frenzy of code. Tess commands the + chaos, focused like a virtuoso at her grand piano of cybernetics. + + TESS + (self-assuring whisper) + Okay, baby... let's show them how the digital world bows to us. + + Her fingers pirouette on the keyboard, a frenetic ballet in the blue monitor glow. + + INSERT – MONITOR SCREEN + + Complex algorithms spiral and converge, yielding ACCESS GRANTED notifications + one after another. + + TESS (CONT'D) + (with a satisfied nod) + That's the chorus I've been composing. + + Tess swivels to a secondary workstation, a cockpit of scribbled code on neon + sticky notes. Each keystroke implants deceptive ghosts into the gallery's network. + + TESS (CONT'D) + A splash of misdirection here, a sprinkle of mirage there… + + A toy dinosaur on her desk WOBBLES, a mechanism triggers, and it ROARS. + Tess glances with mock annoyance. + + TESS (CONT'D) + I'm working, T-Rex. No prehistoric symphonies right now! + + She flicks the dinosaur. It grows silent. Tess laughs, her levity brief in the + night's gravity. + + TESS (CONT'D) + As I prophesied... + + She meticulously crafts the gallery's virtual facsimile, + embroidering her own network beneath the overt digital landscape. + + INSERT – ANOTHER MONITOR SCREEN + + A 3D wireframe maze of Lavington's security architecture morphs, + highlighting Tess's clandestine pathways blossoming like digital flora. + + Her grimace turns to a grin as SCHRODINGER, her code name for + unpredictability, the cat, jumps onto the desk, vying for + attention amidst the high stakes. + + TESS (CONT'D) + Joining the fray, Schro? The more, the merrier. + There's a big fish in the cyber sea tonight. + + She indulges the cat with a scratch, its nose accidentally + toggling a virtual switch on the screen. + + The feeds shimmer and reshape, revealing dummy + footage primed to cloak their movements. + + TESS (CONT'D) + You're officially on the team now, Schro. + Sasha, your toys are cleared for the show. + + CUT TO: + +INT. SASHA'S WORKSHOP - CONTINUOUS + + The scene transitions smoothly to SASHA's domain... + + SASHA HOFFMAN, surrounded by a sleek myriad of her own inventions, + nods at Tess's voice in her earpiece, her gaze never leaving the + tiny automaton in her palm. + + SASHA + Our feline muse has graced us. Well played... + + She meticulously screws the back panel of the device, + her movements methodical and assured. + + CUT BACK TO: + +INT. TESS'S WORKSHOP - CONTINUOUS + + TESS activates the next phase, coding with twice the fervor, + each line riddled with decoys and escape hatches within + the digital landscape. + + TESS (CONT'D) + Now for the sleight of hand... + to disappear without a trace. + + She enters a command; onscreen representation of her digital + footprint fades into the intricate web of her own making. + + TESS (CONT'D) + (with playful arrogance) + The digital cloak of invisibility... + still a classic in my collection. + + Satisfied, TESS leans back, a rare moment of introspection amid + her electronic empire. Screens signal their readiness; + the silence before the digital tempest. + + TESS (CONT'D) + Patience, my digital symphony. + The opera is about to begin. + Make us proud, Leon and comrades. + It's almost showtime. + + She permits herself a smirk as the countdown clock hits zero. + Tess's eyes sparkle – serene amidst the countdown. + + FADE TO BLACK. + CUT TO EXTREME CLOSE UP: + + Sasha's hand assembling the device’s intricate innards, + a canopy of tools laid out with surgical precision. + +INT. SASHA'S WORKSHOP - NIGHT + + Each tool has its place in the sterile temple that is SASHA'S workspace. + Shelves are lined with labeled components, organized to perfection. + + PANNING SHOT reveals Sasha huddled over a glass table, + soldering a circuit on the tiny, spider-like drone she's perfecting. + + SASHA + (muttering with intense focus) + Every gear, a cog in our grand schema... + + She adjusts her magnifying headset, scrutinizing her delicate + creation. Each soldered connection sings with potential. + + INSERT - SASHA'S BLUEPRINTS: + + Expansive schematics detail each invention's role. + Drones, sensors, jammers – a high-tech arsenal at the ready. + + SASHA (CONT'D) + (confidently) + The Sentry's not just a device; + it's the embodiment of deception. + + She tests the drone's mobility, watching it glide over the + mockup of the gallery floorplan spread out before her. + + SASHA (CONT'D) + (into her headset) + Tess, Sentries are about to waltz into their debut... + + She watches as the drone's sensors sync flawlessly with Tess's + virtual constructs. + + CUT BACK TO: + +INT. TESS'S WORKSHOP - CONTINUOUS + + TESS watches the feedback from Sasha's Sentries on her screens, + the simulated signals infiltrating the gallery's defenses + unchallenged. + + TESS + Reception's crystal. + They'll see nothing more than harmless flickers on + their boards. + + She drinks in the conquest, a satisfied lioness surveying + her domain. + + CUT TO: + +INT. LEON'S SECRET WORKSHOP - NIGHT + + The scene is a still life of tension and anticipation. + LEON REYNOLDS, amidst a shadowy array of forgery tools + and half-finished canvases, stands before a sprawling + wall dedicated to the caper. + + LEON + (to himself, pondering Each step) + Not a second more, not a second less... + + INSERT - CLOSE-UP OF LEON'S HAND + + As he traces his finger along the delicately inked timelines + and blueprints that extend across the workshop wall like an + artist's canvas. + + LEON (CONT'D) + In this dance, each second is a brushstroke... + we can't afford to blur the lines. + + He halts, head cocked, listening to the silent rhythm of + invisible clockwork, then proceeds to a desk and flips + open a weathered book – a tome filled with historic heist + accounts. + + LEON (CONT'D) + (contemplatively) + Every masterpiece tells a tale. + Ours will be no different – etched permanently in + the annals of precision and daring. + + He steps to a large, imposing digital timer – its red digits + glare like a challenging beast. + + Leon stares it down with unflinching resolve. + + LEON (CONT'D) + (assertively) + This is it. Our legacy unfolds tonight. + + CUT TO: + +INT. MAYA'S STUDIO - NIGHT + + A solitary bulb dangles above MAYA SANTOS, the soft light + casting her shadow across a masterful reproduction. + + Her hand glides over the canvas with the grace of a musician + plucking at strings. + + MAYA + In your colors, I found my voice... + be joyful, for you will live anew. + + INSERT - DELICATE BRUSHSTROKE: + + Capturing the essence of a painted sky as dusk meets the canvas, + the evening light sanctifying her forgery. + + Maya steps back, head tilted, studying the subtle play of hues + and textures. They reveal their perfection to her knowing gaze. + + MAYA (CONT'D) + (with quiet triumph) + They will admire, yet never discern... + + She exhales a long-held breath, the satisfaction of a creator + basking in the fulfillment of her art. + + CUT TO: + +INT. CAFÉ ADJACENT TO LAVINGTON - DAY + + ANTHONY LAMBERT stands behind the café counter, espresso machine + hissing as he conjures up velvety coffee creations. + His magnetic presence transcends the barista apron – the wolf + cloaked in sheep's clothing. + + ANTHONY + (with a wink) + A cappuccino to enrich your palette – a true masterpiece + begins with the first sip. + + A CUSTOMER, awestruck by Anthony's allure, flutters her eyelashes + admiringly as she accepts the coffee. + + ANTHONY (CONT'D) + (with a slightly conspiratorial lean) + And remember, mademoiselle, each secret has its savor – + tasted best amidst a touch of enigma. + + A coy smile flickers across her lips, his words a sweet melody in + her ear. Anthony peers at the clock through his lashes + he's a maestro waiting for his cue. + + ANTHONY (CONT'D) + (under his breath) + Almost showtime – the subterfuge commences. + + CUT TO: + +EXT. LAVINGTON GALLERY - DAY (SIX MONTHS LATER) + + A morning light washes over the grand facade of the gallery. + A digital clock wipes across the screen declaring the zero + hour – 00:00:00 – the heist day has dawned. + + CUT TO: + +INT. LAVINGTON GALLERY - DAY + + Normalcy masks the impending scheme. Staff go about their + routine; the hum of preservation is unceasing. + + But amidst them, Leon and his team don their new roles. + + Maya, in a CONSERVATIONIST'S COAT, examines a painting up close. + + Sasha, dressed as a TECH ADVISOR, inspects the new security + cameras. + + Anthony, the barista, flashes his charm like a weapon across the + bistro, picking up loose bits of intel. + + Tess, in INTERN ATTIRE, waltzes through the digital nerve center, + her fingers dancing over a tablet, owning the network beneath her + touch. + + The stage is set, pieces moving in harmony. + The crew blends into the gallery's rhythm. + Silent acknowledgments pass between them – an invisible bond made + tangible. + + LEON, the conductor of this intricate ensemble, locks gaze with + his conspirators. + + LEON + The time is now. + Remember, every micro-action is choreographed. + Let's write history. + + With that, they disseminate among the unsuspecting crowd, + their roles as preordained as the art around them. + + The PLAN, motion. + + The STAGE, set. + + FADE OUT. + +INT. ARCHER'S POLICE PRECINCT - DAY + + DETECTIVE ARCHER inhales a morning coffee, his eyes fixated on + a cluster of case files. + + His worn face carries the weight of anticipation. + It's another day, yet his instinct nags at him about a larger play. + + ARCHER + (to himself) + Too quiet... something's brewing. + + He taps a CASE FILE labeled "STOLEN ARTIFACTS" - indirectly + connected to our unseen heist crew. + + CUT BACK TO: + +INT. LAVINGTON GALLERY - CONTINUOUS + + Under the guise of their roles, each member of the crew expertly + plants the seeds of their plan. + + The audience is aware, anticipation mounting as they inch closer + to the heist. + + FADE OUT. + +EXT. LAVINGTON GALLERY - DUSK + + The fading light of dusk bathes the neoclassical facade of the + gallery in a warm, golden hue. + + The majestic columns stand like silent sentinels guarding the + treasures within. + + The bustling crowd of the day has dwindled to a sparse few, + drifting to the exits. + + CUT TO: + +INT. LAVINGTON GALLERY - MAIN EXHIBITION HALL - DUSK + + The hall is cavernous and slowly emptying, allowing the setting + sun to cast long, dramatic shadows across the floor. + + We track past the last ADMIRERS as they leave, their murmurs + and footsteps fading. + + CUT TO: + +INT. LAVINGTON GALLERY - SECURITY HUB - DUSK + + A small room, bathed in the glow of multiple MONITORS showing + various angles of the gallery. + + A SECURITY GUARD, bored and half-asleep, is about to end hi + shift. He barely glances at the screens. + + Suddenly, the feed FLICKERS and goes BLACK for a moment. + The guard sits up, startled, then settles back as the + image restores. + + A coded message is subtly embedded in the glitch – unnoticed by + the guard, but clear to us: "IT'S TIME". + + CUT TO: + +INT. LEON'S SECRET WORKSHOP - DUSK + + The team is in final preparations. + Leon's voice is steady with command as he goes through the + checklist with everyone. + + They are in their action gear – NONDESCRIPT CLOTHING, + gadgets in place, determined. + + LEON + (looking at his team) + Comms check. Confirm when ready. + + TESS + (checking her earpiece) + Tech and comms are go. + + SASHA + (with a confident nod) + My gear's set. + + MAYA + (lifting her chin) + Replicas ready for the switch. + + ANTHONY + (adjusting his earpiece) + Charm is always ready. + + Leon surveys his team, a silent pride in his eyes. + They are a unit, a single entity poised on the edge of history. + + LEON + We are the invisible brushstrokes on the canvas of night. + Let's create our mark. + + CUT TO: + +INT. LAVINGTON GALLERY - MAIN EXHIBITION HALL - NIGHT + + The STAFF EXIT, leaving the paintings alone in the dimly lit room. + The air is thick with anticipation. + + CUT TO: + +INT. LAVINGTON GALLERY - VARIOUS LOCATIONS - NIGHT + + A synchronized ballet begins as each member of the team enters + the gallery from their respective locations, slipping throught + he shadows unnoticed. + + Tess at the SECURITY HUB, her device interfacing with the + control panel, the guard now fast asleep after a cup of drugged + coffee. + + Sasha, in a JANITOR'S UNIFORM, bypassing a SECURITY SENSOR with + a handheld device that emits a silent frequency. + + Maya emerges from an EMPLOYEE CLOAKROOM, dressed in a guard's + uniform, hand-painted to match the others flawlessly. + She moves toward the paintings. + + Anthony, in the BISTRO, ensures no lingering employee sees the + team's movements. A cocktail of charm and tactical diversion. + + Each action is deliberate, their execution flawless. + The tension builds as the pieces of their plan click into place. + + CUT TO: + +INT. LAVINGTON GALLERY - TECH ADVISOR OFFICE - NIGHT + + Leon is nestled amongst the screens and servers, bathed in + the pulse of the technology. + + His hands move with swift precision over the keyboard, entering + sequences, dismantling digital barriers with quiet fervor. + + LEON + (into his comms) + All systems are down. Switch to infrared. + + The GALLERY LIGHTS fall dark, replaced by the otherworldly + glow of infrared cameras – the team now visible as ghostly + figures on Leon's SCREEN. + + They continue, unseen by traditional surveillance. + + CUT TO: + +INT. LAVINGTON GALLERY - MAIN EXHIBITION HALL - NIGHT + + Maya approaches the prized masterpiece, her motions fluid + and quiet. + + Sasha appears beside her, applying a black paste around the + frame that QUICKLY HARDENS into a perfect mold. + + Together, they deftly lift the painting from the wall, + replacing it with an indistinguishable REPLICA, the + aging of the forgery immaculate under the scrutinizing + eye of infrared. + + CUT TO: + +INT. LAVINGTON GALLERY - SECURITY HUB - NIGHT + + TESS, her eyes flicking between monitors, coordinates + the team's movements with almost supernatural foresight. + + TESS + (into her comms) + East wing clear. Move now. + + CUT TO: + +INT. LAVINGTON GALLERY - BACK CORRIDOR - NIGHT + + ANTHONY slips a MICRO CAMERA under the door of the + MAINTENANCE ROOM, watching a paired device. + + He signals an "all clear" snapping on gloves as he prepares + to open the door with a set of expertly crafted KEYS. + + CUT TO: + +INT. LAVINGTON GALLERY - MAIN EXHIBITION HALL - NIGHT + + Maya and Sasha, their task complete, fade back into the shadows. + The replicas hang where originals once did, undetected, the + silence of the room accepting the ruse. + + CUT TO: + +INT. LEON'S SECRET WORKSHOP - NIGHT + + Leon, a sentinel at his desk, his eyes never leaving the screens. + + LEON + (into his comms, whispering) + Stage one complete. Prepare for exfil of the originals. + + CUT TO: + +EXT. LAVINGTON GALLERY - BACK ALLEY - NIGHT + + A nondescript van idles quietly as the driver, + wearing a BASEBALL CAP pulled low, checks their watch. + + It's TESS, ready for the getaway. + + She makes a final check of the back, where CANVASES are securely + hidden in false compartments. + + TESS + (into her comms, softly) + Extraction point is prepped and ready for transport. + + CUT TO: + +INT. LAVINGTON GALLERY - MAIN EXHIBITION HALL - NIGHT + + The hall, now veiled in darkness, is a stage set for deception. + MAYA and SASHA emerge from the shadows, moving briskly but + cautiously as they cross the hall with the genuine + masterpieces rolled in protective tubes. + + SASHA + (into her comms) + Heading to the rendezvous point now. + + CUT TO: + +INT. LAVINGTON GALLERY - CORRIDOR - NIGHT + + Leon trails behind, vigilant. + His eyes scan every corner, his device in hand ready to jam any + unexpected security breaches. + + LEON + (into his comms) + I'm covering your six. Keep moving. + + CUT TO: + +INT. LAVINGTON GALLERY - NORTH WING - NIGHT + + ANTHONY, with a heavy duffel bag slung over his shoulder, + pauses at a corner. + + He peeks around — clear. + + He continues down the hallway, intent on his objective. + + CUT TO: + +EXT. LAVINGTON GALLERY - NIGHT + + The deserted area around the gallery is a stark contrast to + the tension-filled operation unfolding within. + + A CAT slinks by, the only witness to the impending escape. + + CUT TO: + +INT. LAVINGTON GALLERY - BACK EXIT - NIGHT + + Maya and Sasha reach the exit, pausing to check the coast is + clear. The door opens a crack, spilling a sliver of ambient + ight from the alleyway. + + CUT TO: + +EXT. LAVINGTON GALLERY - BACK ALLEY - CONTINUOUS + + The night air is thick as Maya and Sasha step out, + the precious rolls of artwork in hand. + + Tess gestures them into the van with urgent finesse. + + TESS + (whispering) + Come on, come on... + + They slide the paintings into the hidden compartments, + the false bottom emitting a soft click as it seals. + + CUT TO: + +INT. LAVINGTON GALLERY - NORTH WING - NIGHT + + Anthony inserts the final painting into another compartment + within his bag, checking the fake facsimile he's left in + place on the wall.I t matches the others perfectly. + + CUT TO: + +EXT. LAVINGTON GALLERY - ROOFTOP - NIGHT + + Leon watches from above through BINOCULARS, + the perfect vantage point to oversee the heist. + He whispers an update. + + LEON + (into his comms) + Final artworks in transit. Time to disappear. + + CUT TO: + +INT. LAVINGTON GALLERY - BACK EXIT - NIGHT + + The door closes silently behind Maya and Sasha as they + reenter the gallery. + + They retrace their steps, fading back into the structure of + shadows and ghostly infrared outlines. + + CUT TO: + +EXT. LAVINGTON GALLERY - BACK ALLEY - NIGHT + + The van, its precious cargo now aboard, eases out of the + alleyway with Tess at the wheel. + + Its departure is quiet, lights off, as it merges with the + city's sleeping pulse. + + CUT TO: + +INT. LAVINGTON GALLERY - MAIN EXHIBITION HALL - NIGHT + + The replicas are poised on the walls, a deceptive calm in + their place. + + One would never suspect the switch – an illusion resting + beneath silent alarms and the watchful eye of motionless + cameras. + + CUT TO: + +EXT. LAVINGTON GALLERY - VARIOUS ENTRANCES - NIGHT + + One by one, like phantoms at the stroke of midnight, + the team slips out from various nondescript exits. + + Maya, Sasha, Anthony, now divested of their equipment, + meld into the night. + + They vanish as suddenly as they appeared—stealth their ally, + darkness their cloak. + + CUT TO: + +INT. ARCHER'S POLICE PRECINCT - NIGHT + + DETECTIVE ARCHER, at his desk surrounded by dim light and + evidence files, feels a BEAT of intuition, a ripple in the calm. + + He looks up, driven by unspoken urgency. + + ARCHER + (under his breath) + Got a feeling tonight's the night... + + He grabs his coat and keys, exiting the precinct. + His vehicle roars to life, lights cutting through the fog of the + city as he heads towards an unknown destiny, towards the gallery + that rests, unaware, of its newfound void. + + CUT TO: + +INT. LEON'S SECRET WORKSHOP - NIGHT + + Leon, the last to leave his post, takes one final look at the + screens, their luminosity casting his face in stark relief. + + A sense of accomplishment, mixed with the adrenaline of danger, + glows in his eyes. He switches off the equipment, the room + blanketed in darkness. + + Then, he too departs, the silence of the workshop speaking volumes + of the void they've left behind. + +EXT. CITY STREETS - NIGHT + + The haunting hum of the city at NIGHT provides a backdrop as an + UNMARKED SEDAN tails the van from Lavington Gallery. + + Inside, DETECTIVE ARCHER's eyes flick to and from, + reading the streets with a hunter's focus. + + ARCHER'S POV + + We see the van slip through traffic lights and turn down a + narrow side street. + + Archer's hand moves to the radio. + + ARCHER + (into radio, low) + I'm in pursuit of the target. Approaching the east sector. + Keep backup on standby. + + The radio CRACKLES back an affirmation as we: + + CUT TO: + +EXT. VIADUCT UNDERPASS - NIGHT + + The van emerges beneath the underpass, its walls + graffiti-tagged with the city's urban tattoo. + + A SHADOWY FIGURE watches from above, obscured by the darkness. + As the van passes: + + ANGLE ON SHADOWY FIGURE + + The figure steps out to reveal MAYA, her earlier poise + now masked by concentration. + She pulls out a two-way radio. + + MAYA + (into radio) + Hawk is in flight. Keep an eye on the egg. + + She turns and disappears back into the shadows as we: + + CUT TO: + +EXT. CHASING SEQUENCE STREETS - NIGHT + + A maze of BLURRING LIGHTS and PULSATING ENGINES as the + chase intensifies. + + Tess maneuvers the van with agility, swerving past oncoming + vehicles and pedestrians. The CAMERA JERKS and JOSTLES, + mirroring the chase's chaotic energy. + + TESS + (stressed) + Hold on tight, this is gonna get bumpy! + + SASHA, sitting beside her, clutches a remote control with + a RED BUTTON. + + She meets Tess's eyes, a silent query that's answered with + a determined nod. + + SASHA + (hurried) + Ready on your mark! + + Suddenly, the sedan gains ground, its headlights looming + ominously. + + Tess's eyes lock on the road ahead – a barricade of + CONSTRUCTION SIGNS and flashing amber lights. + + She presses down on the accelerator, a surge of power + pushing them onward. + + TESS + (bracing) + Now, Sasha! + + SASHA presses the button, and: + + EXPLOSION + + A pre-set DETONATION goes off behind them, + sending a SHOWER OF SPARKS and DEBRIS into + the path of Archer's pursuing sedan. + + The sedan SCREECHES to a halt. + +EXT. ARCHER'S SEDAN - NIGHT + + Archer slams his hands on the steering wheel, + frustration etched into every line of his face. + + He reaches for his radio again while eyeing the + vanishing tail lights of the van. + + ARCHER + (urgent, into radio) + They've set a trap. + I need aerial support and all units to converge on— + + He cuts off abruptly, as something catches his attention. + A glint of LIGHT reflects off something in the distance, + drawing his gaze. + + ARCHER'S POV - THE SECOND VAN + + Sneaking through an intersecting street, + the SECOND VAN takes a different, SECURER route, + unnoticed by the chaos of the first distraction. + + BACK TO SCENE + + Archer, realizing he's been duped, makes a quick decision. + + ARCHER + (grim realization, into radio) + Forget it. They split up. I'm going after the + secondary target. Stay on the original! + + With swift precision, Archer shifts gears and U-TURNS his sedan, + racing off toward his new objective. The divided pursuit now has + multiple paths converging in the NIGHT. + + CUT TO: + +EXT. BRIDGE OVERLOOKING THE CITY - NIGHT + + LEON stands at the edge of the bridge, his figure enveloped by + the sweeping cityscape. + + The distant SIRENS and chaos are drowned out by the RUSHING WATER + below. + + He pulls out a discreet EARPIECE, speaking with quiet authority. + + LEON + (into Earpiece) + The eagle has left the nest. + I repeat, the eagle has left the nest. + Rendezvous at point delta. + + A SIGH of relief passes his lips, visible in the cold night air. + He turns from the scene, his silhouette receding into the urban + tapestry as he makes his way toward their ultimate meeting place. + + CUT TO: + +INT. MORETTI'S LUXURIOUS DEN - NIGHT + + MORETTI sits at his grand desk, a fortress of power and + indulgence. Around him, henchmen await their orders, the + stillness shattered by the ARRIVAL of one of his trusted + lieutenants, breathless, carrying a RADIO. + + LIEUTENANT + (tense) + Boss, the first van's been hit. There's been an incident. + + MORETTI's eyes narrow into slits, fury barely masked. + He stands slowly, his demeanor calm but deadly. + + MORETTI + (ominous) + Then we play our hand. No one double-crosses Victor Moretti. + + He snatches the radio, barking orders. + His men mobilize, a swarm of precision and ill intent flooding + the room as he stalks toward the PANORAMIC WINDOWS, overlooking + his city of sin. + + CUT TO: + +INT. SECOND VAN - NIGHT + + Inside, the mood is palpably tense. + The van is filled with the REAL ARTWORKS, each one safely + housed in protective casing. + + Maya sits with Leon, sharing a look that speaks volumes of + their shared journey. + + MAYA + (reassuringly) + We did it, Leon. We're almost there. + + LEON + (sober, focused) + Not until every piece is secured, and Archer's out + of the picture. Keep your eyes open; it's not over yet. + + He checks the rear-view mirror, his caution a testament to the + stakes at play. The van heads toward the edge of the city, + where their FREEDOM – or downfall – awaits. + +EXT. ABANDONED INDUSTRIAL DISTRICT - NIGHT + + The SECOND VAN winds through the desolate streets, flanked by + DECAYING WAREHOUSES and FORGOTTEN FACTORIES. + + The pulse of the chase now a distant echo, they pull into a + nondescript building shaded by darkness. + +INT. SECOND VAN - CONTINUOUS + + LEON, behind the wheel, kills the engine. + + The silence is deafening. + + MAYA eyes the rearview mirror, vigilant for any sign of pursuit. + Her fingers intertwine with Leon's, a quiet show of unity. + + MAYA + Just like old times, huh? + + LEON + (softly) + Yeah. Just like old times. + + CUT TO: + +EXT. ABANDONED INDUSTRIAL DISTRICT - NIGHT + + Their exit is swift, the team unloading the REAL ARTWORKS + with practiced ease. Each step resonates with solemnity as + they approach a CONCEALED ENTRANCE. + +INT. LEON'S SECRET WORKSHOP - CONTINUOUS + + The workshop door opens with a HISS, beckoning them into the + belly of creativity and duplicity. The paintings are + carefully carried inside, the tension palpable. + +INT. WORKSHOP - CONTINUOUS + + Surrounded by FORGED ART and TOOLS OF THE TRADE, + the team deposits each piece onto a designated table. + + SASHA examines the locking mechanisms on the SHIPPING CRATES, + ready to secure the precious cargo. + + SASHA + These need to be climate-controlled. + Is the vault prepped? + + LEON + (nodding) + Temperature and humidity are stable. It's time. + + They share a collective breath as LEON leads the way to the HEART + OF THE WORKSHOP – a reinforced steel door, its exterior an + incongruous mural of eclectic street art. + +INT. VAULT ENTRANCE - CONTINUOUS + + Leon approaches a KEYPAD hidden within the mural, entering a + sequence. A CORRECT ENTRY tone sounds, and the steel door + retracts with a ponderous groan. The team moves inside. + +INT. VAULT - CONTINUOUS + + Row upon row of MASTERPIECES, the true spoils of their endeavors, + stand guarded by state-of-the-art security. The CAMERA PANS over + the collection, a silent ode to their triumph. + + ANTHONY + (triumphant) + We've outdone ourselves this time. + + MAYA + (satisfied) + We make quite the team. + + They begin to slot the newly acquired pieces into the COLLECTION, + their movements a ballet of precision. + + TESS + (checking her watch) + We need to sync up with the others and confirm extraction. + + Leon nods, pulling out his PHONE to send a pre-arranged signal, + a green light illuminating his face. It's done. They are now + ghosts, their victory secured. + + CUT TO: + +INT. ARCHER'S SEDAN - MOVING - NIGHT + + DETECTIVE ARCHER, driven by instinct and hard-won experience, + cruises the industrial district. His scowl deepens with every + passing moment of fruitless search. + + ARCHER + (talking to himself) + They're close. I can feel it. + + His hand pauses over the radio before he retracts it, his eyes + catching a fleeting SHADE disappearing around a warehouse + corner. Curiosity piqued, he slows the car. + +EXT. ABANDONED INDUSTRIAL DISTRICT - WAREHOUSE CORNER - CONTINUOUS + + Archer steps out of the vehicle, DRAWING his GUN with deliberate + calm. His FOOTSTEPS echo as he advances towards the corner, the + light from his flashlight cutting swaths through the night. + + ARCHER + (poised) + Come out, come out, wherever you are... + + His beam lands on MAYA'S JACKET, discarded at the corner. + A calculated tell? Or a genuine mistake? + His grip tightens around the pistol, senses heightened. + +INT. MORETTI'S LUXURIOUS DEN - SAME TIME + + MORETTI stands at his grand windows overlooking the night, + his hands clasped behind his back. His face is unreadable, + but his EYES are alight with cold anticipation. + + LIEUTENANT + (entering) + Sir, Archer's on the team's trail. But he's alone. + + MORETTI + (slyly) + Let him play the hero. We'll swoop in at the end and pluck + the fruits. Prepare the men... It's time to end this game. + + His lieutenant nods sharply and exits. + Moretti turns from the window, his silhouette a portrait of + brooding intent. + + CUT TO: + +EXT. ABANDONED INDUSTRIAL DISTRICT - NIGHT + + Archer approaches the warehouse door, pausing to listen. + Somewhere inside is the key to unraveling the night's labyrinth of lies. + + With a swift motion, he KICKS the door open and steps into the + darkness beyond. + + FADE OUT. + + FADE IN: + +INT. WAREHOUSE - CONTINUOUS + + Silence pervades the cavernous space, punctuated only by the + faint hum of the city outside. + + Archer's FOOTSTEPS, heavy and calculated, reverberate against + the concrete. + + He sweeps the BEAM OF HIS FLASHLIGHT across the room, + uncovering nothing but dust and the remnants of previous + occupancy – overturned chairs, rusty machinery. + + ARCHER + (under his breath) + They've got to be here. + + Suddenly, a CRACKING SOUND echoes through the emptiness. + Archer swings around, the Glock ready in his hand. + An elongated shadow stretches across the floor. + + Without warning, ANTHONY steps out from the shadows, his hands + raised in mock surrender, a smirk playing on his lips. + + ANTHONY + Detective Archer, right? + I was hoping we’d run into each other. + + ARCHER + (aiming the gun) + You're a long way from the gala, Mr. Lambert. + (tightens grip) + Where's the rest of your crew? + + Anthony’s smirk never wavers as he inches closer into the light, + his charisma seemingly unperturbed by the tense situation. + + ANTHONY + Oh, you know, around. + (strategic playfulness) + But they're not the company you're looking for. + + Archer's eyes narrow; he senses the game at play. + + ARCHER + (cuttingly) + Don't test me. I’m not in the mood for games. + + ANTHONY + (calmly) + Isn't that exactly why we're here? + A game of cat and mouse, though I'm not sure who's + who anymore. + + Archer's grip on the Glock tightens. He motions with the barrel + for Anthony to turn around and places handcuffs onto his wrists. + + A look of genuine surprise crosses Anthony's face, replaced + quickly by resignation. + + CUT TO: + +INT. LEON'S SECRET WORKSHOP - VAULT - SAME TIME + + Leon stands back, admiring the new additions to their collection. + Maya joins him, her expression a mix of awe and trepidation. + + MAYA + (whispers) + Is it too good to be true? + + LEON + (quiet confidence) + No. We've earned this. + (glancing at Tess) + Everything's in place? + + Tess nods, her eyes locked on her SCREEN, full of lines of code + and surveillance feeds, ensuring their ongoing invisibility. + + TESS + We're clear. Archer’s busy with Anthony. + (beat) + It's only a matter of time, though... + + Leon nods, knowing the gravity of Tess's statement. + They needed to vanish entirely – and soon. + + LEON + Make sure the escape routes are clear. We can't leave anything + to chance. + + MAYA + And what about Anthony? + + Leon turns, his eyes resolute, the weight of leadership apparent. + + LEON + He knows the risks. He’ll hold his own. + We move in fifteen. + (determined) + Prepare for the next phase. + + They exchange solemn nods, each member of the team retreating + to their tasks, the silence once again enveloping the vault. + + CUT TO: + +EXT. WAREHOUSE - CONTINUOUS + + Archer, holding his suspect at gunpoint, walks Anthony toward + his sedan, powerfully illuminated by the streetlights. + + Anthony goes willingly, still managing a brief, knowing glance + back at the warehouse. + + ARCHER + (gruffly) + You're going to talk, one way or another. + + Anthony grins, locks eyes with Archer, his charm unbroken. + + ANTHONY + (disarming) + Detective, I'm an open book. + + Archer opens the rear door of the sedan. Before pushing Anthony + into the car, he takes one last look at the warehouse, a + feeling of unease settling in his stomach. + + ARCHER + (to himself) + It's too easy. + + The door slams shut, muffling Anthony's last comment. + Archer casts a final, lingering glance at the warehouse before + climbing into the driver's seat. + + CUT TO: + +INT. ARCHER'S SEDAN - MOVING - MOMENTS LATER + + Archer drives in silence, the only sound the car's ENGINE and the + occasional crackling of his RADIO. + + Anthony sits in the back, humming a tune, seemingly at peace with + the world. + + ARCHER + (glancing in the rearview mirror) + Quietly confident for a man in your position. + + ANTHONY + (charming) + Confidence and a plan go hand in hand, Detective. + + ARCHER + (voice low) + We'll see about that. + + Anthony stops humming, leans back, and closes his eyes, his + silhouette faintly visible in the glow of passing streetlights. + + FADE OUT. + +THE END. \ No newline at end of file diff --git a/scripts/The Big Short.txt b/scripts/The Big Short.txt new file mode 100644 index 0000000000000000000000000000000000000000..f5e2e840172e336a30f5f6b5d2ac020466cbc709 --- /dev/null +++ b/scripts/The Big Short.txt @@ -0,0 +1,7535 @@ + 1. + + + + The most difficult subjects can be explained to the most + slow-witted man if he has not formed any idea of them + already; but the simplest thing cannot be made clear to the + most intelligent man if he is firmly persuaded that he + knows already, without a shadow of doubt, what is laid + before him. + + Leo Tolstoy, 1897 + + +1 OPEN ON: INT. SOLOMON BROTHERS - 1979 - DAY 1 + + A bunch of FAT BOND TRADERS eat deli sandwiches and smoke + cigarettes on the Solomon Brothers Bond Trading floor. It’s + not exactly Michael Douglas in Wall Street. + + The voice that walks us through this is smart, too the + point and slick. We’ll meet him later. + + MODERN TRADER (V.O.) + In the late seventies banking was + not a job you went into to make + large sums of money. It was a good + stable profession like selling + insurance or accounting. And if + banking was boring then the bond + department at a bank was downright + comatose. We all know about bonds, + give em to your nephew when he + turns 16 and then we he’s thirty he + makes a hundred dollars. Yawn. + Bonds were for losers. That is, + until Lewis Ranieri came on the + scene at Solomon Brothers... + + MUSIC: Some great 70’s ballad like KISS YOU ALL OVER by + EXILE + + We see an even schlubbier version of the other Bond Traders + emerge. His suit is rumpled, he has a mustard stain on his + shirt from a soft pretzel he’s eating and he is easily + seventy pounds over weight. This is LEWIS RENIERI. And + though his world is obscure, he is the shit. + + Our NARRATOR the MODERN TRADER passes through the scene for + a second, dressed in modern clothes... + + Lewis greets his Bond Department with obscenities barked + through his patchy beard and glasses. + + MODERN TRADER (V.O.) + 2. + + + You see Lewis didn’t know it yet, + but he had already changed banking + forever. He had just one simple + idea... + + +2 INT. SOLOMON BROTHERS - CONFERENCE ROOM - 1979 - DAY 2 + + Lewis and HIS TEAM are doing a presentation to a bunch of + STATE PENSION FUND MANAGERS with an old fashioned OVER HEAD + PROJECTOR. + + LEWIS RANIERI + ...The mortgage backed security. Or + the private label M.B.S. + + FUND MANAGER + What is that? + + BOND TRADER + I hope you don’t say that when you + look at your wife’s pussy! + + They all HOWL except the fund manager who looks shocked but + then finally laughs to fit in. + + LEWIS RANIERI + Here’s how it works. You’ve got + your average person’s mortgage. + Fixed rate, 30 years... + + We see A HOUSE on the over head projector. + + LEWIS RANIERI + Boring, safe, small pay off... + Right? But when you have thousands + of them all bundled together... + + We see an illustration of many homes. The next illustration + shows them all “bundled” together with a bow. + + LEWIS RANIERI + Suddenly the yield goes up and the + risk is still low cause it’s a + mortgage and who the hell doesn’t + pay their mortgage? + + BOND TRADER + Dickheads and junkies. + + LEWIS RANIERI + 3. + + + And because the risk is hedged + these bonds allow for people with + not so perfect credit to get homes. + So you’re making money and you’re + doing a good thing. + + BOND TRADER #2 + Lewie is a fucking genius. + + FUND MANAGER + Uhm, what exactly is the credit + rating on this bond? All my pension + fund cares about is triple A rated + risk. + + LEWIS RANIERI + Risk? What risk? The only risk is + that you get paid back too soon! + Plus each of these mortgages is + guaranteed by the U.S. Government. + This bond gentlemen, is AAA rated. + + FUND MANAGER + This is exactly what the Michigan + State pension fund has been looking + for. I’ll buy 20 million... + + BOND TRADER #2 + Come on live a little! + + FUND MANAGER + Twenty five million. + + LEWIS RANIERI + Let’s break out the paper work! + + MUSIC: Something like BOOGIE OOGIE OOGIE by A TASTE OF + HONEY + + +3 INT. STRIP CLUB - 1979 - NIGHT 3 + + The Bond Traders are partying at a strip club throwing + dollars everywhere and boozing. It disgusting and fun as + hell and none of these guys will live past 60. + + MODERN TRADER (V.O.) + 4. + + + Lewis and his band of foul mouthed + bond traders took a sleepy + department and made it the most + profitable on Wall Street. Pretty + soon stocks and savings were almost + inconsequential to the big banks. + They were doing 50, 100, 200 + billion in mortgage bonds and + dozens of other securities a year. + + +4 EXT. SKYLINE OF MANHATTAN - DUSK 4 + + TIME LAPSE: New impressive BANKING BUILDINGS SPRING UP and + dot the Manhattan skyline. Chase, B of A, Morgan Stanley, + Lehman Brothers etc. + + MODERN TRADER (V.O.) + And America barely noticed as it’s + number one industry became boring + old banking. Then one day... almost + thirty years later... in 2008... It + all came crashing down. + + SMASH CUT TO BLACK + + 1010 WINS ANCR (V.O.) + Wall Street has suffered one of + it’s worst days in history as + Lehman Brothers has declared + bankruptcy. + + 1) TRACKING SHOT PAST HOUSING DEVELOPMENT LAWNS WITH + FORECLOSED AND FOR SALE SIGNS ON ALL THEM (STOCK FOOTAGE). + + 2) AND THEN A LONG LINE OF APPLICANTS AT A MCDONALD’S JOB + FAIR. (STOCK FOOTAGE) + + 3) IMAGES OF THE DOW DROPPING. (STOCK FOOTAGE) + + 1010 WINS ANCR (V.O.) + This follows the demise of Bear + Stearns and a plummeting Dow Jones, + down four thousand since January. + + MODERN TRADER (V.O.) + 5. + + + In the end Lewis Ranieri’s Mortgage + Backed Security mutated into a + monstrosity that collapsed the + whole world economy. And none of + the experts or leaders or talking + heads had a clue it was coming. I’m + guessing most of you still don’t + really know what happened. Yeah, + you got a sound bite you repeat so + you don’t sound dumb but come on... + + WE FADE TO BLACK. + + MODERN TRADER (V.O.) + But there were some who saw it + coming... While the whole world was + having a big ol’ party, a few + outsiders and weirdos saw what no + one else could. Not me, I’m not a + weirdo. I’m pretty cool. We’ll meet + later. These outsiders saw the + giant lie at the heart of the + economy. And they saw it by doing + something the rest of the suckers + never thought to do: they looked. + + TITLE: THE BIG SHORT + + +5 EXT. MIDDLE SCHOOL FOOTBALL FIELD - DAY 5 + + GRAPHIC: 1985 + + A MIDDLE SCHOOL football game is in progress. MICHAEL BURRY + age 11 catches a ball and starts running. He’s pretty good. + + His parents and coaches cheer him on. Cute 8th GRADE + CHEERLEADERS wave their pom poms. + + PARENTS/COACH + Thatta way Michael! Go! Go! + + He is TACKLED by a few players and as Michael gets up we + hear an OPPOSING PLAYER scream. + + OPPOSING PLAYER + Ewwww! Look! + + CU of a GLASS EYE on the field. Michael covers his eye with + his hand. + + OPPOSING PLAYERS + 6. + + + Gross! His eye fell out! He’s a + freak! etc. + + Michael picks the eye up and walks back to the side lines + still covering his one eye. Another player runs into + replace him. + + PA ANCR (V.O.) + Replacing Michael Burry at tight + end, number 88, Scott Proffer! + + A CUTE CHEERLEADER looks at Michael with her nose scrunched + up and then looks away. His MOM and DAD meet him. + + MOM + It’s okay Michael. Let’s just wash + it off and put it back in. + + DAD + You were playing so well son. I + heard the coach compliment you. + + 11 YR OLD MICHAEL BURRY + Can we just go home? + + He walks away. + + +6 INT. INDOOR POOL - DAY 6 + + We see from under the water ADULT MICHAEL BURRY swimming + laps. His strokes are clean and strong. + + Michael Burry gets out of the pool. He towels off and walks + immediately to the lockers. + + MICHAEL BURRY (V.O.) + I’ve always been more comfortable + alone. I believe it’s because of my + glass eye. I lost the eye from a + childhood illness. It separates me + from people. Most social + interactions are awkward. For me, + for the person. Even when I try to + compliment someone it comes out + wrong... The compliment, not the + eye. + (quarter beat) + That wasn’t a joke. I’m just being + clear. + + GRAPHIC: MICHAEL BURRY + 7. + + + MICHAEL BURRY (V.O.) + The other night there was a party + with some old college associates. + + +7 INT. WATER FRONT RESTAURANT - NIGHT 7 + + There is a party going on with upper class professionals + drinking white wine and Heinekens. Michael stands alone + between two groups of professionals talking. + + LAWYER + We bought the house two years ago + for 650 and we just sold it for + 950. We put 30 thousand into it + tops... + + +8 EXT. WATER FRONT RESTAURANT - NIGHT 8 + + FLASH to Michael starting his car, a Honda, and leaving. + + MICHAEL BURRY (V.O.) + After ten minutes I left and went + home and researched state by state + mortgage fraud rates until three in + the morning. + + +9 INT. MICHAEL BURRY’S FUND OFFICE - DAY 9 + + Michael is seated behind his desk in a t-shirt and shorts. + + MICHAEL BURRY + Did you know they’re going up? + Highest fraud rates since the + 1930’s. + + We reveal he is talking to a YOUNG EAGER ANALYST in his + office at the center of SCION CAPITAL, Michael Burry’s + fund. + + Michael’s office is at the front enclosed in glass. There + are 20 ANALYSTS working at desks in the main room outside + the glass. + + A big white board shows the quarterly profits from Scion: + +38% + + YOUNG ANALYST + No. I didn’t know that. + + MICHAEL BURRY + 8. + + + I’m sorry if I’m going on and on. + My wife says I need to share more. + + MARCH 2005 + 3 years 6 months until the crash + + YOUNG ANALYST + That seems healthy. + + MICHAEL BURRY + I like your hair. Did you cut it + yourself? + + YOUNG ANALYST + What? No. I uh, paid someone. + + MICHAEL BURRY + Oh. + +Beat. + + YOUNG ANALYST + So, do I get the job? I really + think I could help your fund. + + MICHAEL BURRY + What? Oh sure. Right. Yes...um + + YOUNG ANALYST + David. + (onward) + Great! I guess I’ll find a desk. Is + there anything you want me to work + on for starters? + + MICHAEL BURRY + Yes... + +Another long beat. Michael thinks. This beat keeps going. + +Finally the Young Analyst starts to speak just as Michael +does. + + MICHAEL BURRY + Did you find it strange- + + YOUNG ANALYST + You can let me know later- + I’m sorry. + + MICHAEL BURRY + 9. + + + Did you find it odd that when the + tech bubble burst in 2001 the + housing market in San Jose, the + tech center of the world, went up? + + YOUNG ANALYST + Huh. I guess. I mean, no. It’s + housing. It’s always AAA rated, low + risk. + + MICHAEL BURRY + Yes.... That’s the idea... + (he knows what he needs + now) + I need you to get me the top 20 + selling mortgage bonds. + + YOUNG ANALYST + So you want to know what the top 20 + selling mortgage bonds are? + + MICHAEL BURRY + No. I want to know what mortgages + are in each one. + + YOUNG ANALYST + Wait, aren’t those bonds made up of + thousands and thousands of + mortgages? + + MICHAEL BURRY + Yes. + +The Analyst waits for Burry to complete the thought but he +doesn’t. + + YOUNG ANALYST + Right away Dr. Burry. + +Finally he leaves. Burry sits down at his desk and PUTS EAR +BUDS IN while Googling “SEC mortgage brokerage firm +violations” He gets no hits. + +MUSIC: Some hard-core heavy metal like BLOOD THUNDER by +MASTADON + +An Asian American ASSISTANT walks by Burry’s office window +and LOOKS AT CAMERA. + + ASIAN AMERICAN ASSISTANT + 10. + + + I was Michael’s actual assistant + for years. I know what you’re + thinking, a hedge fund manager with + a glass eye who unwinds by + listening to thrash metal, come on. + But he really did do that. + + +10 INT. SCION CAPITAL - MICHAEL BURRY’S OFFICE - NEXT DAY 10 + + CU of a COMPUTER SCREEN showing THOUSANDS OF COMPLICATED + LINES OF MORTGAGES from a MORTGAGE BACKED SECURITY. The + lines are almost indecipherable but we see Michael Burry is + reading them intently like it’s a page turning mystery + novel. + + MICHAEL BURRY (V.O.) + (his internal thought + process) + 30 days late... Rate adjusts in one + year... Foreclosed... Paid on + time... rate adjusts in one year... + Investment grade mortgage bonds + full of high risk interest only + adjustable rate mortgages... Do + people really understand how an + adjustable rate mortgage works?... + Most of these are no money down + loans... 105 LTV... 540 Fico + score?... Why are the mortgage + companies giving these people + mortgages...? + + Outside Burry’s office we see the Analyst he just hired + David at his desk talking to another ANALYST #2 + + YOUNG ANALYST + What’s he doing? He hasn’t moved + all day. + + ANALYST #2 + He does this every few days. He + hasn’t spoken to me since he hired + me. + + MICHAEL BURRY (V.O.) + 11. + + + 90 days late... 30 days late... + These bonds are one of the banks’ + biggest revenue sources... They + need more mortgages to fill them... + That’s why it’s all adjustable rate + high risk... They’re giving + mortgages to people who can’t + afford mortgages in order to fill + these bonds, in order to earn + fees... + + As he continues to read we TIME LAPSE and see the employees + start to leave at the end of day. Eventually THE MAIN + ANALYST’S OFFICE IS EMPTY and THE SUN IS COMING UP OUTSIDE. + + MICHAEL BURRY (V.O.) + These mortgage bonds might fail... + No one thinks they can fail, but + all that subprime credit risk is + real, no matter how they slice and + dice it... 30 days late, rate will + adjust next year... 60 days late... + These bonds will fail... + + +11 INT. MICHAEL’S OFFICE - THE NEXT AFTERNOON 11 + + Michael is on the phone. He clearly hasn’t slept and his + clothes are rumpled. There are water bottles everywhere. + + Michael brushes his teeth over a garbage can with water. + + MICHAEL BURRY + Lawrence. I found something really + interesting. + + LAWRENCE FIELDS (V.O.) + Great Michael. Whenever you find + something interesting we all tend + to make money. What stock are you + valuing? + + MICHAEL BURRY + No stocks. I want to short the + housing market. + + +12 INT. METRO CAPITAL - LAWRENCE FIELDS’S OFFICE - SAME TIME 12 + + LAWRENCE FIELDS’S office is the opposite of Michael’s. It’s + lavish with Manhattan views as is he. + + LAWRENCE FIELDS + 12. + + + Haha! Really? But the housing + market is rock solid. Greenspan + just said bubbles are regional, + defaults are rare. + +FIELDS motions to his assistant through the open door. + + LAWRENCE FIELDS + Tell them I’ll be there in a + minute... + + MICHAEL BURRY + Greenspan’s wrong. + + LAWRENCE FIELDS + I don’t think you mean to do it but + sometimes you sound very dismissive + and superior Michael. Alan + Greenspan is the greatest Fed + Chairman in history. + + MICHAEL BURRY + It’s a fact. Greenspan’s wrong. + He’s too focused on being right to + realize he’s wrong. I don’t know + how else you want me to say it. + +Burry spits out his coffee gargle into the garbage. + + LAWRENCE FIELDS + Look, Metro Capital backed you four + years ago when you were a doctor + with a dinky web page and some + inheritance money. And we’ve all + done very well. Why don’t you just + stick with stocks? + + MICHAEL BURRY + I look for value whereever it can + be found. And the fact is: mortgage + backed securities are filled with + extremely risky subprime adjustable + rate loans. + + MICHAEL BURRY + Once the majority of adjustable + rates kick in 07’ they will begin + to fail and when they fail above + 15% the whole bond is worthless. + +The scene freezes. + + MODERN TRADER (V.O.) + 13. + + + Mortgage backed securities, + subprime loans, tranches... Pretty + confusing right? Does it make you + feel bored? Or stupid? Well, it’s + supposed to. Wall Street loves to + use confusing terms to make you + think only they can do what they + do. Or even better, for you to + leave them the fuck alone. So + here’s Scarlett Johansson under a + water falls to explain... + + +13 EXT. SMALL WATERFALL - DAY 13 + + SCARLETT JOHANSSON in a white T shirt and cut off jeans + let’s the waterfall run over her while explaining mortgage + backed securities. + + SCARLETT JOHANSSON + Basically Lewis Ranieri’s Mortgage + bonds were amazingly profitable for + the big banks. They made billions + and billions off of their 2% fee on + each of these bonds they sold. But + then they started running out of + mortgages to put in them. After + all, there’s only so many homes and + so many people with good enough + jobs to buy them. So the banks + starting doing something different. + Instead of creating mortgage bonds + that were guaranteed by the US + government, they started creating + their own private mortgage bonds. + No government, no pesky standards + like good credit or minimum income. + And then the big banks were able to + fill the bonds with riskier and + riskier mortgages and keep the + profit machine churning. By the + way, the risky mortgages are called + “subprime.” Anytime you hear + subprime, think shit. + + SCARLETT JOHANSSON + Michael Burry found out these + mortgage bonds that we supposedly + 65% AAA were actually mostly full + of shit, so now he’s going to + “short” the bonds, which means to + “bet against.” Got it? Good. + 14. + + +14 INT. MICHAEL BURRY’S FUND OFFICE - CONTINUOUS 14 + + Back to the scene. + + MICHAEL BURRY + It’s only a matter of time before + someone else sees this investment. + We have to act now. + + LAWRENCE FIELDS + And how do you know the bonds are + built on subprime crap? Aren’t they + filled with hundreds of pages of + mortgages? + + MICHAEL BURRY + I read them. + + LAWRENCE FIELDS + You read them? No one reads them. + Only the lawyers who put them + together read them. + + MICHAEL BURRY + I don’t think they even know what + they made. The whole housing market + is propped up on these bad loans. + It’s a time bomb. And I want to + short it. + + LAWRENCE FIELDS + Through what instrument Michael? + There are no insurance contracts or + options for mortgage bonds. The + bonds are too stable. No one would + buy them. + + MICHAEL BURRY + I’m going to get a bank to make me + one. Then I’m going to buy a ton of + them. + + CUT TO: + + +15 EXT. GOLDMAN SACHS - MANHATTAN - DAY 15 + + We push in on Goldman Sachs. We see FINANCIAL NEWS on a + monitor outside playing Jim Cramer’s Mad Money show. + + JIM CRAMER + 15. + + + Folks, this market ain't dropping! + It’s like the running of the bulls + in Pamplona. Either get out of the + way or invest, invest, invest! + + THE FEMALE SALES REP (V.O.) + So, Dr. Burry, tell us about this + trade. + + +16 INT. CONFERENCE ROOM - GOLDMAN SACHS - DAY 16 + + A SALES REP (LUCY THALIA), an INDIAN NUMBERS GUY (DEEB + WINSTON) all from Goldman Sachs sit across from Michael + Burry. Michael looks very Men’s Warehouse in a blue blazer + and slacks compared to the Goldman group who looks very GQ + in Prada suits. + + MICHAEL BURRY + I want to buy swaps on mortgage + bonds. A credit default swap that + pays off if the underlying bond + fails. + + SALES REP + You want to bet against the housing + market? + + MICHAEL BURRY + Yes. + + DEEB WINSTON + Why? These bonds only fail if + millions of Americans don’t pay + their mortgages. That’s never + happened in history. If you’ll + excuse me Dr. Burry, it seems like + a foolish investment. + + MICHAEL BURRY + Based on prevailing sentiment of + the market, the big banks and + popular culture, yes, it’s a + foolish investment. But everyone’s + wrong. + + There’s a beat and then everyone laughs except Michael + Burry who wasn’t kidding. + + SALES REP + This is Wall Street, Dr. Burry. If + you offer us free money, we are + going to take it. + 16. + + + MICHAEL BURRY + My one concern is that when the + bonds fail I want to be certain of + payment in case of solvency issues + with your bank. + +They are shocked. + + SALES REP + I’m sorry. Are you for real? You + want to be against the housing + market the most reliable sector of + the American economy and you’re + worried we won’t pay you? + + MICHAEL BURRY + Yes. That’s correct. + +The Goldman people whisper amongst themselves for a beat. + + DEEB WINSTON + We could work out a pay as we go + structure that would pay out if the + bond’s value falls. But it would + also apply to your payments if the + value of the mortgage bond goes up. + You’d have to pay us monthly + premiums. + + SALES REP + Is that acceptable Dr. Burry? + +Mike starts pulling thick DOCUMENTS out of his backpack. He +slides them across the table. + + MICHAEL BURRY + Yes it is. Here are prospectuses on + 6 mortgage-backed securities I want + to short. + +They scan them. They're diligent, they make us wait. + + DEEB WINSTON + These should be fine. + + SALES REP + We are prepared to sell you five + million in credit default swaps on + these mortgage bonds. + + MICHAEL BURRY + Can we do 100 million? + 17. + + +17 EXT. GOLDMAN SACHS HALLWAY - MOMENTS LATER 17 + + Michael Burry leaves the conference room. AS HE CLOSES THE + DOOR HE HEARS THE SALES REPS AND THE NUMBERS GUY LAUGHING + AND CLAPPING. He hesitates, is he hurt? But then pushes on. + + MUSIC: Popular Hip Hop track like GOLD DIGGER by KANYE WEST + + MICHAEL BURRY (V.O.) + Is there any way to buy 200 + million? + + +18 INT. DEUTSCHE BANK - THE NEXT DAY 18 + + Michael is now across from SALES REPS from Deutsche Bank. + + DEUTSCHE SALES REP + I, uh, I don’t see why not. But are + you sure? + + DEUTSCHE SALES REP #2 + (waves off his colleague) + Absolutely. Absolutely we can do + that. + + MICHAEL BURRY + That would be great. Here are the + bonds I would like to bet against. + + He pushes another bundle of papers across the table. + + QUICK CUTS: OF BUNDLES OF HAND PICKED MICHAEL BURRY + MORTGAGE BONDS BEING PUSHED ACROSS TABLES AND SIGNED AT + BANK OF AMERICA, BEAR STEARNS, MORGAN STANLEY, CREDIT + SUISSE ETC. + + +19 INT. FAST FOOD RESTAURANT - DAY 19 + + The MUSIC CUTS OUT and we see Michael Burry through the + front window eating alone at a chain restaurant. His phone + buzzes. + + He answers. It’s a photo of his WIFE, and his 6 year old + son Nicholas. Under it, it reads “We miss you!” + + +20 INT. MANHATTAN NIGHT CLUB - NIGHT 20 + + THE HIP HOP SONG KICKS BACK IN AS SOURCE. AN UPSCALE CLUB + IS PACKED WITH BANKERS dancing and drinking. + 18. + + +We focus in on the DEUTSCHE SALES REP AND COWORKERS WHO +SOLD BURRY THE SWAPS. They are clearly CELEBRATING HARD. + + TRADER + Hey Randall, what’s with the Dom? + Bonuses aren’t for three months. + + DEUTSCHE SALES REP + We just sold 200 million today in + credit swaps for mortgage bonds! + Some fund manager from California! + Fucking crazy right? It’s a whole + new way to make money! + + TRADER + I didn’t know there were swaps on + mortgages! + + DEUTSCHE SALES REP + There are now! We made one for him. + He must have gone off his zoloft! + +More Dom is poured. A male and female sales rep make out. +The Trader steps over to another table and taps a guy on +the shoulder. + + TRADER + Hey Jared! Did you hear about the + deal Randall did with some fund + manager? + +For the first time we see the Modern Trader, JARED VENNETT, +32. He’s smart, a bit slick with a slight Jheri curl and +wears a sharp suit. HE’S OUR NARRATOR. + + JARED VENNETT + Randall’s a foot soldier. It must + be a shit deal. + +GRAPHIC: JARED VENNETT + + TRADER + No, it’s for real. + +Jared LOOKS AT CAMERA. + + JARED VENNETT + I told you I’d come in later. + + TRADER + 19. + + + Apparently this guy wanted 200 mill + in credit default swaps on mortgage + bonds! Randall made the sale. Can + you believe it?! + + JARED VENNETT + Someone shorted 200 mill worth of + mortgage bonds? + + TRADER + That was just with Deutsche. Word + is he hit half the town! + + JARED VENNETT + How much total? + + +21 INT. MICHAEL BURRY’S FUND OFFICE - DAY 21 + + Michael Burry is on the phone with Lawrence Fields. + + MICHAEL BURRY + 1.3 billion. + + LAWRENCE FIELDS + What?! That’s pretty much all of + Scion’s liquidity! Michael this is + highly distressing. + + +22 INT. ACADEMY GALLERIA - FLORENCE 22 + + Lawrence Fields is in Florence with the David behind him. + He steps away to continue the conversation. + + MICHAEL BURRY + It’s not all of our liquidity + Lawrence. I’m not certain you + understand this trade. This is a + certainty. + + LAWRENCE FIELDS + Michael, I consider myself a mentor + to you. But our company is not + comfortable with this investment. + Am I being clear? + + MICHAEL BURRY + I have full autonomy when it comes + to investment strategy. You can + read our agreement- + + LAWRENCE FIELDS + 20. + + + Don’t throw our inception agreement + in my face Michael. There was an + underlying understanding that you + wouldn’t act like a goddamn crazy + man! + + MICHAEL BURRY + This isn’t crazy. It’s all very + logical. + + LAWRENCE FIELDS + So now we pay out premiums on these + swaps against the housing market + until the mortgages fail? In other + words we lose millions until + something that’s never happened + before happens? + + MICHAEL BURRY + That’s correct. + + LAWRENCE FIELDS + And you have no doubts. You’re not + nervous at all? + + MICHAEL BURRY + I have no doubts. But yes, I’m + nervous. It’s a very large position + for me to take. + + LAWRENCE FIELDS + And will you please tell me what + the difference between doubt and + nervousness is? + +Half beat. + + MICHAEL BURRY + That is a very good question. And + I’m sorry but I’ll have to get back + to you on that. Have a nice + vacation Lawrence. + +He hangs up. His computer and phone are dinging. + +QUICK CUTS OF EMAILS FROM MICHAEL BURRY’S INVESTORS: + +1. “Have you lost your mind? I’m seriously worried about +you.” + +2. “What the hell is a credit default swap???” + 21. + + + 3. “I am not comfortable trying to guess what the peak of a + 70 year housing spike is!” + + 4. “So you’re telling me that rather than receiving profits + on stocks I will now be paying premiums on these credit + default swaps you bought? How is this in anyway good news?” + + And finally we push in on one last ominous email: + + “A LOT OF PEOPLE IN NEW YORK ARE TALKING ABOUT WITHDRAWING + THEIR MONEY FROM YOUR FUND.” + + CUT TO: + + +24 EXT. SUNNY ROOFTOP - DAY 24 + + CU of a cell phone on the ground. We hear a voice. + + VOICE (V.O.) + Paul? Are you there Paul? Paul! + + We FLASH out. + + +25 INT. GROUP THERAPY SESSION - MANHATTAN - DAY 25 + + A group of 7 PROFESSIONALS in suits sits in a circle with A + THERAPIST leading the group session. + + BUSINESSMAN + ... I’m a nice guy all day long. + Ask anyone. I’m a pleasure to work + with. But the second my son screws + up I’m yelling at him just like my + Dad did to me- + + MARK BAUM, 40, moppish hair, rumpled suit, will always say + what he thinks, busts into the room. + + MARK BAUM + I’m so sorry I’m late! No cabs! + + He sits down and starts right away. + + MARK BAUM + 22. + + + So, yeah. I met with this retail + banker yesterday and I’m supposed + to be getting him to invest in our + fund but instead I start grilling + him about over draught penalties + and how his bank lets a customer + write ten, twelve checks before + they tell em they’re overdrawn. And + this creep is making billions off + of screwing over people this way- + + THERAPIST + Mark- 22. + + MARK BAUM + And I’m getting madder and madder + and I ask this guy how he sleeps at + night knowing he’s ripping off + working people and he just leaves. + He doesn’t say a word. He just + walks away from the lunch. So am I + fucked up or is he? + +Beat as the room catches up. + + THERAPIST + Mark, we’ve talked about this + numerous times. You can’t come in + late and hijack the entire session. + + MARK BAUM + I didn’t hijack the session. + (to another businessman) + Did I hijack the session. + + BUSINESSMAN #2 + Yes. + + MARK BAUM + What’d you do? + + BUSINESSMAN #2 + I’m in commodities. + + MARK BAUM + Of course you are. + + THERAPIST + Mark, I know you suffered a + terrible loss... Maybe we can talk + about that...? + + MARK BAUM + 23. + + + I don’t talk about that. Hold on! + + Mark’s phone is buzzing. + + MARK BAUM + Oh shit. I have to take this. So + sorry. + + He answers and walks out. + + MARK BAUM + (onto phone) + I don’t care Porter. The guy’s + whole business is built on ripping + people off. How long can that last? + + He leaves. The group is left stunned. + + GRAPHIC: MARK BAUM + + +27 EXT. MANHATTAN STREETS - LATER 27 + + We see GIANT BILLBOARDS: for Movado watches, Mercedes SUVs, + Designer jeans (with a topless woman with her back to us). + + We’re on the streets of Manhattan and Mark’s walking while + talking on his phone. + + MUSIC: Pop song like HIPS DON’T LIE by SHAKIRA plays on + monitors in the window of an electronics store. + + JANUARY 2006 + 2 years 7 months until the collapse + + MARK BAUM + I don’t want that kind of + business... I’m sorry. Money’s not + money... That’s bad money. Other + than Goldman what company lasts + ripping people off like that? + + JARED VENNETT(V.O.) + Mark Baum had built a career on + never assuming anyone or any + company was legit without proving + it. When he was a kid he excelled + at studying the Talmud in Yeshiva. + That was great. But one day the + Rabbi told his Mom why- + + +28 INT. YASHIVA SCHOOL - DAY 28 + 24. + + + 10 YEAR OLD Mark Baum and his 8 YEAR OLD BROTHER PAUL run + around with kids in the hallway of a Yashiva while his MOM, + 35, talks to the RABBI, 52. + + RABBI + Paul is a fine boy. But his brother + Mark... He is the best student of + the Torah and the Talmud... + + MOM + Then what’s the problem Rabbi? + + RABBI + It’s the reason.. He says he + studies so hard because... 23A. + + RABBI + he is looking for inconsistencies + in the word of God. + + Beat. + + MOM + So has he found any? + + BACK TO MANHATTAN STREET + + JARED VENNETT (V.O.) + Later Baum started his own fund on + Wall Street. He had an amazing nose + for bullshit and wasn’t afraid to + let everyone know when and where + the bull had gone number 2. But + then a tragedy happened to Mark + that turned his world view dark and + ready to believe the whole system + was a lie. + + MARK BAUM + (sees he’s got another + call) + I gotta go, it’s Cynthia. I’ll be + in the office in twenty minutes. + + INTERCUT: + + +30 INT. APARTMENT LIBRARY - PARK AVENUE - NEW YORK - DAY 30 + + Mark’s wife, CYNTHIA (35). Their TWIN DAUGHTERS (10) are on + the floor on matching laptops while their SON (7) runs + around. + 25. + + + CYNTHIA + Your therapist called me. You did + it again. + + MARK + There were no cabs. What was I + supposed to do? At least I went. + + CYNTHIA + I worry about you Mark. You run + around like you’ve got to right + every wrong in the world. + Everyone’s a creep or a crook. + + MARK BAUM + Fine. I’m a rude guy. And I’m + pissed off. But it’s a shit storm + out here sweetie. 24A. + + MARK BAUM + You have no idea the crap people + are pulling and the average person + just walks around like they’re in a + goddamn Enya video. + + +31 EXT. MANHATTAN STREETS - CONTINUOUS 31 + + MUSIC: Dreamy new-age song like ENYA’S ONLY TIME + + We see SLO MO people walking down the street. Some + laughing. + + Some stressed about work. Some eating hot dogs. + + MARK BAUM + They’re all getting screwed... + Credit cards, pay day lenders, car + financing, fees, fees, and more + fees. And what do they care about? + The ball game or which actress went + into rehab? + + MUSIC: OUT + + CYNTHIA + I think you should try medication. + + MARK + Nooo. We agreed. If it interfered + with work. + + CYNTHIA + 26. + + + You hate Wall Street. Maybe it's + time to quit. + + Mark is now trying to hail a cab. + + MARK + I love my job. + + CYNTHIA + You hate your job. + + MARK + I love my job! + + CYNTHIA + You're miserable! + (gets quieter) + Mark. I feel sad about what + happened every day. I know you must + feel the same... But you never show + it. + + QUICK FLASH TO THE CELL PHONE ON THE GROUND. + + MARK (V.O.) + Paul? Are you there Paul? Paul! + + WE PULL UP AND SEE A MAN IN A SUIT WALK TOWARDS THE EDGE OF + THE BUILDING... AND STEP OFF. + + WE CUT BACK TO MARK just as the man falls fully out of + frame. + + +33 INT. APARTMENT LIBRARY - PARK AVENUE 33 + + There is silence for a beat before Cynthia speaks. + + CYNTHIA + I know how close you were to your + brother... I keep hoping you’ll + talk about it. But you never do. + And now you’re so distrustful of + everything and everyone. You didn’t + used to be this way... + + +34 EXT. MANHATTAN STREETS 34 + + Mark is quiet. He’s still unconsciously holding his arm up + for a cab. + + MARK + 27. + + + Please don’t. I really can’t do + this now Cynthia. + + A cab stops. + + CYNTHIA + We should talk. Can you just think + about the idea of making a change? + + MARK + I’ll think about anything. I’ll + think about shaving my head and + joining a monastery but I can tell + you the answer is no. + + CYNTHIA + Consider it. Please. I’m not + talking about joining a monastery. + We could just get off the treadmill + and move to Vermont and open a B&B. + It could be that easy. + + MARK + Fine, I’ll consider it. But + honestly, I’m okay Cynthia. I + really am. + (sees a guy try and take + his cab) + No! That’s my cab!! Back off + asshole! + + He grabs the guy and yanks him out of the cab. + + +35 EXT. MORGAN STANLEY BUILDING - LATER 35 + + Everyone walking in and out of the Morgan Stanley building + is on their Blackberries. Mark gets out of his cab while + finishing a conversation with his cab driver. + + MARK + And remember, get out of that + mutual fund you’re in. They’re + going to rape you with fees! + + He walks into the building and passes a Morgan Stanley + higher up KATHY TAO. + + KATHY TAO + Hello Mark Baum! + + MARK + 28. + + + Hey Kathy. You busted me. I had an + afternoon personal thing. + + KATHY TAO + I’m not your baby sitter. If + FrontPoint makes Morgan Stanley + money I’m happy! + + MARK + Hey did I hear you’re expecting? + + KATHY TAO + We’re expecting to be expecting! + The IVFs are cleaning us out but + we’re staying positive! + + +36 INT. FRONTPOINT OFFICE - MORGAN STANLEY NEW YORK - LATER 36 + + Small. Provisional. A tiny SUPPORT STAFF. There are four + desks with Mark’s team working at each. + + Mark enters, pushing open the door that reads “FrontPoint + Partners.” + + MARK + Hey! Cynthia wants me to quit and + open a B&B in Vermont! + + VINNY DANIEL, a Queens city school graduate in a Macy’s + suit turns from his desk. + + VINNY DANIEL + I’d love to see Mark Baum run a + B&B. “Here’s your steel cut oatmeal + asshole!” + + JARED VENNETT (V.O.) + Because he didn’t kiss the ring of + the people with the check books + Mark Baum had to set up his fund + under Morgan Stanley’s umbrella. + His small team reflected Mark’s + distrust of the system. + + MARK + Yeah. She says this job is making + me unhappy. + + VINNY DANIEL + But you’re happy when you’re + unhappy. + 29. + + + JARED VENNETT (V.O.) + Vinny Daniel: Mark’s numbers guy. + Vinny lost his Father to violent + crime when he was young. Just like + Mark he didn’t talk about it. + + VINNY DANIEL + (to camera) + I don’t talk about it. + +An athletic Wasp, PORTER COLLINS, 31. who wears a suit +jacket and polo shirt, covers his blue tooth to chime in. + + PORTER COLLINS + Cynthia doesn’t mess around. She + got me to stop eating gluten. You + want me to check the residential + real estate market in Vermont!? + + JARED VENNETT (V.O.) + Porter Collins: former Olympic + rower who went to Brown. He had + worked with Baum at a previous firm + and couldn’t figure out why no one + listened to Baum, the guy with all + the good ideas. + + MARK + There’s no way I’m moving to + Vermont. Westchester maybe, but not + Vermont... + +DANNY MOSES (31) Southern but moving fast towards New +Yorker, a self-effacing analyst type, though he's actually +their trader. HE’S FINISHING A PHONE CALL. + + DANNY MOSES + ... wait a minute. I think you have + the wrong FrontPoint. There’s + another FrontPoint in this same + building that is bonds. + + JARED VENNETT (V.O.) + And Danny Moses: the optimist of + the bunch. And a hell of a trader, + which is why they tolerated the + optimism. + + DANNY + Okay... No problem. + +He hangs up. + 30. + + + DANNY + That was a weird call. + + PORTER + Why? Did the person actually enjoy + talking to you? + + DANNY + It was this guy from Deutsche who + was talking about shorting housing + bonds. In the middle of the call I + realize he’s got the wrong + FrontPoint. He wanted the one of + the eighth floor. + + VINNY + He wanted to short housing bonds? + Who bets against housing? + (due diligence) + What’s the ABX at? + + PORTER + What’s the ABX? + + VINNY + It tracks sub-prime mortgage bond + value. + +Danny checks his computer. + + DANNY + It’s down... Wow. That’s weird. + It’s down three points since last + year. I haven’t heard a peep about + that. + + MARK + What was this guy’s name again? + + DANNY + Jared Vennett. From Deutsche. He + sounded pretty sketchy. + +One of the ASSISTANTS (the real DANNY MOSES) LOOKS UP TO +CAMERA. + + ASSISTANT + This actually happened. I’m the + real Danny Moses. A wrong number + led us to one of the biggest leads + in investment history. I still work + in New York and I wasn’t that much + of an optimist. + 31. + + + MARK BAUM + Call him back. Tell him we want to + hear his presentation.. + + VINNY + You wanna take advice from a trader + we don't know -- about a market we + don't understand -- cause the idiot + dialed a wrong number? + + MARK BAUM + Yeah. Why not? + + DANNY + If he'd even show up, it'd be to + screw us. + + MARK BAUM + Probably. + + VINNY + Definitely. + + +37 INT. CONFERENCE ROOM - THE NEXT DAY 37 + + Jared Vennett, his Chinese Quantitative Analyst, TED JIANG + and a Deutsche YOUNG SALES REP stand and sit in front of + the room. + + Mark, Porter, Vinny and Danny listen to the bond trader's + spiel, which is condescending and very sharp. + + The Deutsche Rep hands out hard copies. + + MARK BAUM + So how many people have you talked + to about this trade? + + JARED + A few. And there’s definitely some + interest. + + FAST CUTS: A HALF DOZEN PEOPLE THAT HE TALKED TO PREVIOUSLY + SAYING “NO” “GET LOST JARED” “YOU’RE HIGH” ETC. + + +39 INT. CONFERENCE ROOM - CONTINUOUS 39 + + MARK BAUM + (sarcasm) + Which is why you’re here talking to + us, a wrong number. + 32. + + + JARED VENNETT + Look, some people have called me in + to just laugh at me on this deal. + Is that what this is? + + VINNY + That’s not what this is. That’s + just Mark. We wanna hear this. + + JARED VENNETT + Okay, here we go... + +On the table is a JENGA GAME of stacked wooden blocks. On +the side of the blocks is written the ratings of the tiers +AAA, AA, BBB, BB, and B. + + JARED VENNETT + This is a basic mortgage bond. The + original ones were simple, + thousands of AAA mortgages bundled + together and sold with a guarantee + from the US government. But the + modern day ones are private and are + made up of layers of tranches, with + the AAA highest rated getting paid + first and the lowest, B rated + getting paid last and taking on + defaults first. + + JARED VENNETT + Obviously if you’re buying B levels + you can get paid more. Hey, they’re + risky, so sometimes they fail... + +He throws one of the B blocks into a TRASH CAN. + + JARED + But somewhere along the line these + B and BB level tranches went from + risky to dog shit. I’m talking rock + bottom Fico scores, no income + verification, adjustable rates... + Dog shit. Default rates are already + up from 1 to 4 percent. If they + rise to 8 percent, and they will, a + lot of these BBB's are going to + zero. + +Jared chucks another B block and a BB in the garbage. + + JARED + And that, my friends, is an + opportunity. + 33. + + + DANNY + You're sure of the math? + +Jared gestures to his CHINESE QUANT, sitting to his right. + + JARED + Jiang is my quant. Look at him, he + doesn't even speak English. He won + a national math competition in + China. China. Yeah I’m sure of the + math. + +Ted turns to camera. + + TED JIANG + Actually I do speak English. Jared + likes to say I don’t because he + thinks it makes me seem more + authentic. And I finished second in + the national math competition. Some + people at work think Jared’s a dick + but he’s great at his job. + + VINNY + So you’re offering us the chance to + short that pile of blocks? How? + + JARED + With something called a credit + default swap. It’s like insurance + on the bond. And if it goes bust + you can make a 10 to 1, even 20 to + 1 return. And it’s already slowly + going bust. But no one’s paying + attention cause all the banks are + busy getting paid obscene amounts + of fees selling these bonds. + Basically I'm standing in front of + a burning house and offering you + fire insurance on it. + +Danny's trying to get his head around Jared’s numbers. + + DANNY + How can the underlying bonds in + these pools be as bad as you say? + They wouldn't be legal. + + JARED + 34. + + + No one knows what's in these bonds. + I've seen some that are 65% AAA + rated that are actually full of 95 + percent subprime shit with Ficos + below 550. + + VINNY + Get the fuck out of here! + + JARED + And now get ready to really have + your mind blown. I just discovered + this treat... + + TED JIANG + (to camera) + We discovered it. But that’s fine. + He’s on a roll. + + JARED + ...when the market deems some bond + too risky to buy, what do you think + happens to it? We just warehouse + them on our books?! No. They get + repackaged, with a whole bunch of + other shit that didn't sell, into a + CDO. + + MARK + A what? + +Jared takes a bunch of the BBB, BB and B rated blocks and +makes a precarious NEW tower. + + JARED + A collateralized debt obligation. A + C-D-O. We put a bunch of unsold B, + BB or BBB bonds together, when the + pile gets large enough, the whole + thing's considered diversified and + the whores at the ratings agencies + rate it 92, 93% AAA. No questions + asked. + + MARK + Holy hell... Say that again. + +FREEZE: Mark, leaning forward completely engaged. + + JARED (V.O.) + 35. + + + The Collateralized debt obligation. + It’s important to understand + because it’s what allowed a housing + crisis to become a nation wide + economic disaster. So here is world + famous chef Anthony Bourdain to + explain. + + +41 INT. CHEF’S KITCHEN - DAY 41 + + In a high end professional kitchen ANTHONY BOURDAIN opens a + fridge with a bunch of fish in it. + + ANTHONY BOURDAIN + Okay, I’m a chef on a Sunday + afternoon setting the night’s menu + at a big restaurant. I ordered my + fish on Friday which is the + mortgage bond that Michael Burry + shorted. But some of the fresh fish + doesn’t sell. I don’t know why, + maybe it just came out halibut has + the intelligence of a dolphin. So + what am I going to do, throw all + this unsold old fish, which is the + BBB level of the bond, in the + garbage and take the loss? + + Bourdain chops up the old fish and pushes it into the big + pot of “SEAFOOD STEW.” + + ANTHONY BOURDAIN + No way. Being the crafty and + morally onerous chef that I am, + whatever crappy levels of the bond + I don’t sell I throw into a “sea + food stew.” See, it’s not old fish. + It’s a whole new thing! And no one + knows they’re eating three day old + halibut. That is a CDO. + + +42 INT. CONFERENCE ROOM - CONTINUOUS 42 + + BACK TO THE SCENE + + MARK + Wait, wait, so the mortgage bonds + are dog shit but the CDOs are dog + shit wrapped in garbage? + + JARED + 36. + + + Institutions treat these CDOs like + they’re as solid as treasury bonds + and these things are going to zero. + + DANNY + That can’t be right. There were 500 + billion in housing bonds sold last + year alone. + + DANNY + The banks, the ratings agencies, + the government... They wouldn’t let + this happen. + + JARED + They would and they did. My whole + department is long this stuff. The + pricks are calling me Chicken + Little and Bubble boy. But when + reality hits the idiots in my + department won’t be laughing. + + He starts pulling blocks out of the CDO and MBS towers and + throwing them in the garbage. + + JARED + Triple B’s? Zero. Double B's? Zero. + B's? Zero. + + On this last one, the table shakes... both towers + collapses. + + JARED + Then that happens. + + MARK + What's that? + + JARED + That is Aermcia’s housing market. + + +44 INT. FRONTPOINT OFFICE - DAY 44 + + Vinny, Danny and Porter cluster unhappily at their desk. + + They watch Mark say good-bye to the Deutsche Bank team at + the door. He's lost in thought as he returns. + + VINNY + He's playing us. He's dumping his + position. + 37. + + + MARK +What if he's right? + + VINNY +You want him to be right! + + MARK +Yes, I do. When a bank offers a +loan, people take it. Why? Because +they assume banks know more about +money than they do. + + MARK +Banks have spent decades training +us to let them handle our money and +credit. How else do they get away +with credit cards that keep you in +debt for years? Student loan rates +that you never get free of? +Financing, for many Americans, is +just a fancy term for getting +raped. Then this guy walks in my +office... tells me those same banks +got greedy... lost track of the +market ...and I can now profit off +their stupidity? Fuck yeah, I want +him to be right. + + DANNY +Things can't be as bad as he says +out there. + + MARK +Let's find out. That's our job. + + VINNY +Why don't you hate this guy? He's +everything you taught us not to +trust. + + MARK +I can't hate him. He's so +transparent in his self interest I +kind of respect him. Would I buy a +car from him? No way. Is he right +about the mortgage market? Let's +find out. + (the others moan) +Look, it's two very simple +questions. Is there a housing +bubble? And if there is, how +exposed are the banks? + 38. + + + Mark’s team can't resist him when he's in adventure mode. + + DANNY + Yeah, okay. Fine. + + PORTER + Sure. + + Vinny pfiffs his concession. + + MARK + And let’s move fast. If Vennett’s + right, it’s only a matter of time + before every loser with a few + million bucks in a fund jumps on + this. + + +45 INT. HIGH END DANCE CLUB - NIGHT 45 + + MUSIC: A rap song with a great beat and attitude like + GRILLZ by NELLY + + JAMIE SHIPLEY, 30, good looking but earnest and CHARLIE + GELLER, 31, very smart and neurotic are dancing on a dance + floor in a high end Chelsea club. + + WOMEN COME TO HANDSOME Jamie but his horrible dancing soon + chases them away TO Charlie who tries to impress. + + CHARLIE + Hey ladies! I’m Charlie! This is + Jamie! + + The WOMEN move away. + + MOMENTS LATE: Charlie and Jamie approach a table full of + ATTRACTIVE MANHATTAN PROFESSIONAL WOMEN. + + CHARLIE + (yelling over the music) + Hi ladies! I’m Charlie . This is + Jamie! + + JAMIE + Hi! I’m Jamie! + + ATTRACTIVE MANHATTAN PROFESSIONAL + How can we help you? + + CHARLIE + 39. + + + I’ll just be straight with you. No + games. The truth is, you all are + very attractive and we wanted to + get to know you! + + ATTRACTIVE MANHATTAN PROFESSIONAL + Get the fuck away from us! + + CHARLIE + Okay! + + Jamie starts to sit down with them. + + CHARLIE + No! They said fuck off. + + JAMIE + Oh! + + Jamie jumps up and they leave. + + GRAPHIC: CHARLIE GELLER AND JAMIE SHIPLEY + + +47 INT. LOBBY WAITING AREA - JP MORGAN - NEW YORK - DAY 47 + + Charlie and Jamie sit nervous under massive Richter works. + + CHARLIE + JP Morgan. Can you believe it? + + JAMIE + Okay, don’t make me nervous. + They’re just people. + + Finally, they hear... + + YOUNG MAN'S VOICE + Brownfield Fund? + + They stand, straighten their suits. A BOY BANKER hurries + out from behind the reception desk. + + CHARLIE + You must be Ted! + + YOUNG BANKER + No, I'm Chris. I'm on Ted's desk. + + CHARLIE + Oh. I’m Charlie. Charlie Geller. + 40. + + + JAMIE + Jamie Shipley. We’re excited to get + set up on your trading platform. + + YOUNG BANKER + Cool. Here, guys, have a seat a + second. + +He gestures to the chairs they just stood from. Not good. + + YOUNG BANKER + Ted asked me to do some meeting + prep but I couldn't find any + marketing material on you. 39-40. + + CHARLIE + Oh. Sorry. We don't have any. We + recently moved here from Colorado. + + YOUNG BANKER + Got it. Can we see your offering + documents? + + CHARLIE + (sheepish) + Brownfield is all our own money. + + YOUNG BANKER + Well, can you tell us how much you + manage? + + CHARLIE + Sure. It's 30 million, but we + started four years ago with 110 + thousand. So, our returns have been + pretty phenomenal. + + JAMIE + We want to get an ISDA agreement + with JP Morgan so we can deal in + long term options. + + YOUNG BANKER + That's cool. But you're under the + capital requirements for an ISDA. + + CHARLIE + Like, by how much? + + YOUNG BANKER + One billion four hundred seventy + million. + 41. + + +Jamie and Charlie flinch. + + CHARLIE + Does it make us look bad that we + didn’t know what the capital + requirements were? + + YOUNG BANKER + It’s not great. + +Awkward beat. + + YOUNG BANKER + Have a good one guys. + +He walks away. + + JAMIE + B of A and Bear didn’t return our + calls and even Wachovia blew us + off. 30 million means nothing to + these banks. They keep calling us + “high net worth individuals.” + + CHARLIE + Here’s the prospectuses and + brochures of all the other losers + who didn’t get past the lobby. + +There are scattered brochures and folders with names like +“The Nostradamus Fund” and “The Long Short Group.” Under +one is Jared Vennett’s “Shorting the Housing Market.” + + CHARLIE + Look... This guy’s saying the + housing market is a massive + bubble... + +Jamie LOOKS TO CAMERA + + JAMIE + We didn’t really find Jared + Vennett’s housing bubble pitch in + the lobby of a bank that rejected + us. + + JAMIE + The truth is, a friend told Charlie + about it. And I read about it in + Grant’s Interest Rate Observer. But + this is more fun. + + CHARLIE + 42. + + + This guy says there are 10 to 1 + returns on credit default swaps on + mortgage backed securities. He says + they whole housing market will + collapse... + + Freeze. + + JARED VENNETT (V.O.) + For Jamie and Charlie , the housing + market doomsday prediction was + music to their ears. + + +50 EXT. BOULDER COLORADO - GARAGE - SUMMER DAY 50 + + A CRAPPY GARAGE with computer paper on the wall reading + “The Brownfield Fund” It’s hot as Jamie and Charlie work on + their lap tops. Jamie pours water over his head. A + CHOCOLATE LAB sleeps on the floor. + + JARED VENNETT (V.O.) + They had started working out of + Jamie’s garage with 110 thousand + Jamie had saved taking sailboats up + and down the east coast. Their + strategy was simple and + brilliant... + + CHARLIE + People hate to think about bad + things happening so they + underestimate their likelihood. + + JAMIE + Holy shit. That’s like the most + brilliant thing you’ve ever said! + 42A. + + JARED VENNETT (V.O.) + And Jamie and Charlie found banks + will sell options very cheaply on + things they think will never ever + happen. When they were wrong, they + were wrong small. But when they + were right, they were right big. + Within a a few years they had + turned their 110 grand into 30 + million. But then it was time to go + to NYC. And so far, it wasn’t going + well. + 43. + + +51 INT. JP MORGAN LOBBY - CONTINUOUS 51 + + JAMIE + So what if it does seem + interesting. No bank will give us + our ISDA. We’re dead in the water. + + CHARLIE + I think we should call Ben. + + +52 EXT. RESIDENTIAL STREET - DAY 52 + + FREEZE: WE CUT TO BEN RICKERT, 45, and the most neurotic + person we’ve met so far, walking his dog with Jamie on A + RESIDENTIAL STREET or PARK. + + JARED VENNETT (V.O.) + Ben Rickert was a former trader in + Singapore for Chase who had quit + the whole game in disgust. He + happened to be Jamie’s neighbor + when they were in Colorado and they + met walking dogs. But Ben was dark. + He didn’t just think the whole + system would fail, he thought the + whole world was going down. + + +53 INT. SAM’S HOUSE - NIGHT 53 + + We see hands putting down jugs of water next to a dozen + jugs of water in a kitchen. It’s Jamie and Charlie. + + JAMIE + Hey Ben! Do you think you have + enough water? + + BEN (O.C.) + Average precipitation in this + region is down 2% a year for the + past eight years! And Congress just + cut the budget to police loose + nukes! + + CHARLIE + God he’s paranoid. + + Ben enters. + + BEN + Not paranoid. Prepared. + 44. + + + FREEZE + + JARED VENNETT (V.O.) + Ben had real experience in a big + bank. Jamie and Charlie had never + even been in a Manhattan bank + bathroom. But Ben was done with the + banking world. He was very clear. + + +55 INT. JP MORGAN LOBBY - CONTINUOUS 55 + + JAMIE + Look, there really could be + something here. But it’s pretty + bold, so let’s do some digging + before we call Ben. . + + CHARLIE + (Still perusing the + pitch) + . Wow. This is pretty shocking. + It’s like it’s all hidden in plain + sight... + + LOBBY SECURITY GUARD + Seriously guys! I need you out of + here! Now! + + CUT TO: + + CU: The hilarious scowl of the MIAMI DOLPHINS LOGO. + + +56 INT. TERMINAL - MIAMI AIRPORT - DAY 56 + + Porter and Danny pass a shop with the Dolphins logo on + every conceivable domestic item. They're on a mission, one + they're sure is a waste of time. + + PORTER + One time Mark sent me to Indiana + for a week to check out an air + conditioner factory. He thought + they were using inferior materials. + They weren’t. + + DANNY + Come on, it’s not so bad. It’s + Florida. Besides, I never get to + travel. Let’s have fun. + + PORTER + 45. + + + Don’t be chipper in the face of me + being miserable. Please. It makes + me hate you. + + DANNY + I wasn’t being chipper. + + Beat as they walk. + + DANNY + Maybe we can get some Cuban food. I + hear it’s amazing in Miami. + + PORTER + I’m serious Danny. Knock it off. + + DANNY + How is wanting to eat chipper? + + +56 EXT. UNFINISHED SUBDIVISION - DUSK 56 + + Porter and Danny get out of a rental car and consider a + FAILED DEVELOPMENT. Four model houses sit alone, closed for + business, their perfect yards surrounded by cyclone + fencing. + + STREET LIGHTS NOW COME ON ACROSS THE EMPTY AND HALF + FINISHED SUBDIVISION. Danny and Porter are puzzled, and + intrigued. + + DANNY + It’s like they just walked away... + + +58 INT. CONFERENCE HALL - CORPORATE HOTEL - THAT NIGHT 58 + + Two-hundred eager PARTICIPANTS attend a seminar called, + "You Can Be a Real Estate Millionaire!" + + SEMINAR LEADER + Real estate is the only + entrepreneurial activity available + to all Americans. Why? Simple, it + doesn't require capital. That's + right. Let me say that again. You + don't need money to be a real + estate millionaire! + + In the back, Porter sips a hotel takeaway cup, stunned, + appalled. Danny takes notes. An EAGER GREETER spots them. + + She slips out. + 46. + + + GREETER + Hello gentlemen. Are you interested + in the 10 CD set? Only 2999 + dollars! + + PORTER + We’re good! Thank you. + + Porter and Danny slip away. + + +59 EXT. FRONT PORCH - RANCH HOUSE - NEXT DAY 59 + + Danny knocks like someone knocking for the last time. No + answer. He looks in the mail slot... the house is empty. + + +60 EXT. FRONT PORCH - ANOTHER RANCH HOUSE - DAY 60 + + Covered in old newspapers. Porter checks one for a date. + It’s three months old. + + +61 EXT. FRONT PORCH - YET ANOTHER RANCH HOUSE - DAY 61 + + Danny peers in a front window. This time, the door OPENS. A + sleepy MAN WITH A TATTOOED NECK rubs his eyes. + + DANNY + Oh. Hello. I'm surveying mortgage + owners who are over 90 days + delinquent. I'm looking for a... + Harvey Humpsey? + + TATTOOED NECK + You want my landlord's dog? + + DANNY + Your landlord filled out his + mortgage using his dog’s name? + + TATTOOED NECK + I guess so. Hold up, has that + asshole not been paying his + mortgage? Cause I’m paying my rent. + + DANNY + He is 90 days late on his payments, + yes. + + TATTOOED NECK + Seriously, am I going to have to + leave? + 47. + + + There's fear in his eyes, the last thing Danny expected. A + CHILD now appears between the big man's legs. + + TATTOOED NECK + Cause my kid just got settled in + the school. + + DANNY + Um. I don’t know. You should talk + to your landlord. Sorry. Have a + good day! + + The man stays at the door as Danny hurries away. + + +62 INT. FOYER - STILL YET ANOTHER RANCH HOUSE - DAY 62 + + The door opens. Danny and Porter peer in... the place is + abandoned; its few modest furnishings, covered in dust. + + PORTER + Hello?! Anybody here?! Hola?! Yo?! + + +63 INT. LIVING ROOM AND HOME OFFICE - CONTINUOUS 63 + + Porter tries a light switch, dead. + + A CORKBOARD above a desk still has post-its. The carpet is + covered with files, books, a box of old photos. + + PORTER + The only thing they took was their + TV! + + He picks up a dusty TIME MAGAZINE with Greenspan/Summers/ + Rubin on the cover. "The Committee to Save the World". + + DANNY (O.S.) + Come here! + + +64 INT. DEN AND KITCHEN - CONTINUOUS 64 + + White bread molds in the bag. + + At the counter, Porter watches Danny shows the old mortgage + bill: the house's owner used a black marker to circle the + amount due and then wrote... SORRY! + + +65 EXT. BACK YARD - CONTINUOUS 65 + 48. + + + The back yard is over grown and the pool is murky green. + + PORTER + I think I saw three houses in the + whole development with cars in the + driveway. + + Suddenly something swirls in the pool and they see a 10 + FOOT ALLIGATOR emerge and submerge. + + DANNY + Holy... fucking... shit. + + +66 EXT. CUBAN RESTAURANT - DAY 66 + + DANNY IS VISIBLE IN THE WINDOW OF A CUBAN RESTAURANT + EATING. + + Porter is outside on the sidewalk on his phone. + + PORTER + Hey Mark, you might want to get + down here. + + CUT TO: + + +68 INT. SCION OFFICE - DAY 68 + + We pan past Scion’s office which is now littered with empty + desks and land on the WHITE BOARD showing last quarter’s + returns: -9.3%. + + Two ANALYSTS talk to each other from their desks gossiping + while Burry in his office works on his computer. + + ANALYST #2 + I heard he had a breakdown. He’s + letting the fund tank. + + YOUNG ANALYST + A buddy of mine in Manhattan said + Burry left his wife and is moving + to Peru. + + A PHONE RINGS at Burry’s ASSISTANT’S DESK. + + MIKE'S ASSISTANT + (answers the phone) ) + Scion. Dr. Burry's office. ...He + would prefer you email him...I sit + twenty feet away and I email him-- + 49. + + + The FRONT DOOR opens. + + Lawrence Fields and MARTIN BLAINE (45) of Metro Capital + enter. 2 thousand dollar sport coats and polo shirts. + + They stride right for Mike's office. MIKE'S ASSISTANT + starts to email Burry furiously, gives up, stands. + + MIKE'S ASSISTANT + (loudly) + Mr. Fields. Mr. Blaine. Hello. + + They enter Mike's office, shut the door. + + YOUNG ANALYST + Was that Lawrence Fields? Holy + shit. + + +69 INT. SCION OFFICES - MIKE'S OFFICE - DAY 69 + + Lawrence sits. Martin stands. They're angry. Yet, Mike, in + T-shirt, shirts with no shoes, doesn't seem to even + register there's any emotion here at all. + + LAWRENCE FIELDS + Your big mortgage bet concerns us. + We have no confidence in your + ability to identify macroeconomic + trends. + + MIKE + You flew here to tell me that? Why? + I mean, anyone can see there's a + real estate bubble. + + LAWRENCE FIELDS + Actually, no one can see a + bubble... that's what makes it a + bubble. + + MIKE + That's dumb, Lawrence. There are + always markers. Mortgage fraud. + It's quintupled since 2000. Average + take home pay is flat yet home + prices are soaring. That means the + homes are debt not assets. + + MARTIN BLAINE + 50. + + + So, Mike Burry of San Jose, a guy + who gets his hair cut at Super Cuts + and doesn’t wear shoes, knows more + than Alan Greenspan and Hank + Paulson? + + MIKE + Dr. Mike Burry. And, yes. He does. + + LAWRENCE FIELDS + Are you being sarcastic with us, + Michael? + + MIKE + I don't know how to be sarcastic. I + don't know how to be funny. I don't + know how to work people. I know how + to read numbers. + +Okay, let's talk numbers. Lawrence changes tack. + + LAWRENCE FIELDS + How big's your short position? + Right now? + + MIKE + It's 1.3 billion. + + LAWRENCE FIELDS + And the premiums? + + MIKE + We pay roughly 80 to 90 million + every year. + (they wince) + I know it's high but I was the + first one to do this trade. It will + pay. Watch. I may have been early, + but I'm not wrong. + + MARTIN BLAINE + It's the same thing! + +Lawrence raises a finger to ask his partner for restraint. + + LAWRENCE FIELDS + You're managing, what, a fund of + 555 million? + (Mike nods) + In 6 years it'll all be gone. On + one bet. + + MIKE + 51. + + + Second quarter of 07’ the + adjustable rates will kick in and + defaults will sky rocket. + + MARTIN BLAINE + Says you. + + LAWRENCE FIELDS + How much is eligible for withdrawal + before they do, say in the next two + quarters? + (then) + If your investors panic. + + MIKE + It's 302 million. + + LAWRENCE FIELDS + My God, Michael. + + MIKE + No one will pull out! It'd be + suicide! Yeah, I'm down 17 percent + for the year, but if they trust me- + - + + MARTIN BLAINE + No one trusts you. + + MIKE + I’ve written several emails to the + investors letting them know second + quarter of 07’ is when our position + on housing shows returns. I've been + very clear. + +He sounds like a crazy man defending himself to a tree. + + LAWRENCE FIELDS + There will be redemptions. + + MIKE + Well, that would be really stupid. + (angry) + If the fund's capital drops too + much, the swaps contracts are + voided. And the banks get to keep + the collateral! + + MARTIN BLAINE + What? + +They didn't know this, and it seals the deal. + 52. + + + LAWRENCE FIELDS + Give us our money back. + + CLOSE ON: + + BUMPERSTICKER: “Pricing gets traffic, staging gets offers.” + + The sticker's on a brand new... + + +70 INT. MERCEDES SUV - UPSCALE SUBDIVISION - DAY 70 + + Mark gets a house tour from a wealthy REAL ESTATE AGENT. + + MUSIC: A dreamy samba like SO NICE by BEBEL GILBERTO + + REAL ESTATE AGENT + The market's in an itsy-bitsy + little gully right now. It's like + everybody said, "Okay, that was + crazy. Let's all just slow down." + + A YOUNGER AGENT sits in the back between Danny and Porter. + + Mark’s engrossed by the upper-middle-class world out the + window; Every driveway has a new SUV, or odd Prius. Every + garage has a Winnebago, jet ski, speed boat. Complicated + riding mowers. Trampolines. Plundered Ebay and Amazon + boxes. + + And, yet, there are For Sale signs everywhere. + + +71 EXT. TRACT MANSION - DAY 71 + + An attractive brick house, exhaustively landscaped. In + fact, the harried HOMEOWNER is now edging his lawn. + + REAL ESTATE AGENT (O.S.) + I sold it the year it was built for + 350. + + +72 I/E. MERCEDES SUV - DAY 72 + + The SUV has stopped at a discreet distance. + + REAL ESTATE AGENT + Two years later for 480. Then...585 + maybe... only 18 months later. This + couple bought it last year for 650, + he'd let it go for that. + 53. + + + He spots her. Come show it! + + She waves back. Not today! + + REAL ESTATE AGENT + It'll break his heart, but he'll + let it go. + + MARK + Why's he selling? + + REAL ESTATE AGENT + Neither one's working right now. + + YOUNGER AGENT + Marlene, you'd say they're + motivated, right? + + REAL ESTATE AGENT + As much as one can be in this + neighborhood. + + +73 I/E. SUV - TRAVELLING - DAY 73 + + SHOTS of the SUV driving them past big houses for sale. + + REAL ESTATE AGENT + House on the left might be + motivated...That is another quasi- + motivated seller...They're probably + teensy-weensy bit motivated...In + her case I'd say possibly almost + motivated. + + Danny and Porter exchange a look. The market's in trouble. + + MARK + A lot of homeowners seem pretty + motivated. + + REAL ESTATE AGENT + It's the gully. That's all. Just + nerves. + (faces Mark) + So... where are we? + + MARK + Let me talk to my wife. + + YOUNGER AGENT + This market won't last. + 54. + + + MARK + Actually, can I talk with a + mortgage broker? Anyone you like? + + +75 INT. HOTEL BAR - SOUTH BEACH - DAY 75 + + BLACK + Bitch better like me, I sent her to + Cabo. + + The bar's empty save Mark, Danny and Porter sitting with + two overly-groomed MORTGAGE BROKERS -- their ties match + their shirts: the hip one's in BLACK; his friend, MAROON. + + The guy in Maroon has Porter's business card. + + MAROON + Is Morgan Stanley recruiting us? + + PORTER + The bank owns our hedge fund but + we're not really part of it. We + invest in financial service + companies. 53A. + + PORTER + We're here trying to understand the + residential mortgage business. + + The brokers just nod, glad to be part of the conversation. + + MARK + How many loans do you write each + month? + + BLACK + It's about 60. + + Maroon nods. Me, too. Almost. + + MARK + What was it four years ago? + + BLACK + Ten. Maybe 15. + + MAROON + I was a bartender. + + DANNY + How many are adjustable rate + mortgages? + 55. + + + BLACK + Most. Ninety percent. The bonuses + on those sky rocketed a few years + ago. Adjustable is our bread and + honey. + + MARK + These are people buying a primary + residence? + + BLACK + No, they're all cash-out refi's, or + property to flip. A shitload of + condos. A few primaries. + + DANNY + Do mortgage applicants ever get + turned down? + +They laugh. + + BLACK + Dude, if they get rejected I suck + at my job. + + DANNY + Even if they have no money? + + MAROON + Well, my firm offers NINJA loans. + No Income. No Job. I just leave the + income section blank if I want, + corporate doesn't care. And the + people just want a house. So they + go with the flow. + + BLACK + We call those loans “Dorothys” + cause they’re magic. No credit, no + income, no problem: just tap your + shoes together three times and say + “There’s nothing like owning a + home.” + + MARK + Your companies don't verify? + + BLACK + If I write a loan on Friday + afternoon, the big banks buy it by + Monday lunch. + + MAROON + 56. + + + Same here. + + MARK + Can you two hold on a second? + + +76 INT. HOTEL LOBBY - SECONDS LATER 76 + + Eyeing the brokers, Mark whispers with Porter and Danny. + + MARK + I don't get it. Why are they + confessing? + + DANNY + That's not confessing. + + PORTER + They're bragging. + + +77 INT. HOTEL BAR - DAY 77 + + Mark takes an ottoman right in front of the brokers. + + MARK + Do customers ever know what they're + buying? + + MAROON + I focus my business on immigrants. + Once you tell them they’re getting + a home they sign where you tell + them to sign, don't ask questions, + don't really understand the rates. + + Mark starts to say something, then turns to Black. + + MARK + You target immigrants, too? + + MAROON + Ha! Their credit isn't bad enough + for him! + + BLACK + I'm a yield guy. I make 2,000 on + fixed-rate prime loans. I can make + 10,000 on a subprime adjustable. + Trust me, I would not be driving a + Hummer without Strippers. Nobody on + the pole has good credit. And + they're all cash rich. + 57. + + + Porter and Danny watch Mark consider punching this punk. + The last thing they expect is... + + MARK + Can you introduce us? + + +78 INT. ALCOVE - VIP ROOM - STRIP CLUB - NIGHT 78 + + MUSIC: A sexy pop song like SEXYBACK by JUSTIN TIMBERLAKE + + DANCER + I always get option-pay + adjustables. I'm a private + contractor. I need flexibility. + + A DANCER does rote gyrations. Mark’s indifferent to the lap + dance, unashamed, occupied by his agenda. + + MARK + You tell the mortgage company what + you do? + + DANCER + I write therapist. + (and then) + You can touch me. + + MARK + Always? + + DANCER + Only in the VIP. + + MARK + No, you said you always do + adjustables. You have more than one + loan on a property? + + DANCER + Everybody does. At least down here. + That way you only put down like 5 + percent. + + MARK + But prices have leveled off. + + DANCER + Yeah, there's a gully. + + MARK + Can you stop moving? I'll still pay + you. + 58. + + + She peeks out of the alcove, sees a BURLY MAN WITH A HARD + FACE and keeps dancing. + + DANCER + Sorry, + (mouthing it) + we're not alone. + + MARK + Okay, look, if home prices don't + rise you won't be able to + refinance. You'll be stuck with + whatever your monthly payment jumps + to after the teaser rate expires. + Plus any payments you missed. Plus + interest on those payments! Your + monthly could go up 200 or 300 + percent! + + DANCER + Jamie says I can always refinance. + + MARK + He's lying. Actually, in this + particular case, Jamie's probably + just wrong. 57A. + + DANCER + Two hundred percent? On all my + loans? + + MARK + What do you mean all my loans? + We're talking about two loans on + one house, right? + + She stops and gives him a look. + + DANCER + I have five houses. And a condo. + + +79 INT. TICKETING AREA - MIAMI AIRPORT - DAY 79 + + Full of purpose, Mark strides ahead of Porter and Danny. + + MARK + Get the mortgage exposure and + leverage ratio of every bulge + bracket i-bank-- + (into his phone) + --Hey, there's a bubble. + 59. + + + VINNY (O.S.) + How do you know? + + MARK + Trust me. Call Vennett. Buy 50 + million in swaps on the MBS... + + Danny holds out the offering doc. + + MARK + ...Garabaldi IV. Triple B. + + VINNY (O.S.) + You sure, Mark? + + MARK + Yeah. It's time to call bullshit. + + VINNY (O.S.) + Bullshit on what? + + MARK + Everything. + + +80 INT. GYM - DAY 80 + + Jared Vennett is running on a treadmill when the phone + rings. + + 59. + + JARED + (on his cell) + Is this America's angriest hedge + fund? + + VINNY (O.S.) + How are you, JARED? + + Jared steps off the treadmill to take the call. + + JARED + Starting to believe my own hype. + + VINNY (O.S.) + I've got one last question. + + +81 INT. TRADING DESK - FRONTPOINT OFFICE - DAY 81 + + Vinny on the phone. + 60. + + + VINNY + How are you fucking us? + + Jared cackles. + + VINNY + I'm serious. We'll buy your swaps. + But only if you say how you're + fucking us. + + JARED (O.S.) + Hold on. + + +82 INT. GYM - DAY 82 + + Jared steps away from a few guys working out. + + JARED + Swaps are a dark market. That means + I set the price. Whatever price I + want. When you come back for your + pay day I’ll rip your eyes out and + make a fortune. The good news for + you is you’ll make so much you + won’t care. Plus your boss has a + big mouth and I need people to know + about this trade so my superiors + don’t think it’s an esoteric waste + of time and I can keep selling it. + + Static. + + VINNY (O.S.) + Thank you. + + JARED + Anytime. + (then) + What's it gonna be? You want me to + make you a market? + + VINNY (O.S.) + Yeah. We'll take 50 million-- + + He disconnects, punches air. His casual pose evaporates. + + +85 EXT. WIDE SHOT OF BOULDER COLORADO - DAY 85 + + Can be stock footage showing mountains and the town of + Boulder. We hear a phone ringing. + 61. + + +86 INT. BEN RICKERT’S HOME OFFICE - BOULDER COLORADO - DAY 86 + + APRIL 2006 + 2 years 4 months until the collapse + + CU on a cell phone ringing on a desk. A hand fumbles for it + and answers. + + BEN + Hello? + + It’s Ben Rickert. His office has three computer screens + showing the Japanese markets, the Dow, Nasdaq, weather + satellite images and tidal charts. + + JAMIE (V.O.) + Hey Ben. It’s Jamie- + + BEN + I told you not to call this number. + + He hangs up. After a beat a satellite phone rings. Ben + answers. + + BEN + Hey. + + JAMIE (V.O.) + I hate when you do that. No one’s + listening to your calls Ben. You’re + a retired trader. + + BEN + Really? So the NSA has a 52 billion + dollar budget and the ability to + monitor 10’s of millions of calls a + second but they’re not using it? + + JAMIE + Okay fine. We’ll call this number + and I’ll stop saying “Ben Rickert” + and “dirty bomb” in the same + conversation. + + BEN + Seriously don’t do that. That’s not + funny. + + CHARLIE (V.O.) + Did you read what we sent you?! + It’s Charlie! I’m here too! + + BEN + 62. + + + Hey guys. Yeah, I checked out what + you sent me... Hold on... + + Ben picks up a bootleg copy of Jared’s PRESENTATION. + + +87 INT. BROWNFIELD OFFICE - GREENWICH VILLAGE - DAY 87 + + A brick loft. Jamie and Charlie are gathered around a phone + on speaker. We cut back and forth. + + JAMIE + And? + + BEN (V.O) + I’ll be honest gentlemen... It + scared the shit out me. + + CHARLIE + So this guy Vennett’s not wrong? + + BEN (V.O.) + No... he’s not. + + CHARLIE + Yes! + + BEN (V.O) + Tell me more about these CDOs... I + feel like I opened the hood of a + car and instead of an engine saw a + monkey on a bike. + + Ben holds up a report Jamie and Charlie did on CDOs. + + JAMIE + Vennett mentions the CDOs but + they’re way worse than even he + knows. We couldn’t even model them. + + CHARLIE + They don’t make any sense! And + they’re a hundred times larger than + the MBS! + + BEN (V.O.) + And somehow they’re over 90% AAA + rated. The perfect scam. + + FREEZE + + JARED VENNETT (V.O.) + 63. + + + I’ll be honest. I don’t love that + these losers are saying I missed + something but the truth is they’re + right. The CDOs were a hundred + times worse than even I imagined. + Let’s go back to Bourdain’s seafood + stew so we’re all on the same page. + + +89 INT. KICHEN - DAY 89 + + Bourdain stands over the pot of seafood stew. + + BOURDAIN + Alright, remember how I said the + CDOs are seafood stew filled with + old fish stamped AAA? Well Jamie + and Charlie found out the CDOs were + even worse than that. + + BOURDAIN + Turns out they were filled with + shitty mortgages from different + bonds that didn’t even operate by + the same laws. And there were also + swaps and all kinds of other junk + just thrown in there. Millions and + millions of this garbage... So + instead of just old fish our + seafood stew also has... wolverine + meat in it... + + He puts a weird gray meat in. + + BOURDAIN + Possum... skunk... Kimodo dragon + and then a whole lot of stuff the + no one even knows what it is. + + Bourdain reaches into a box marked simply MEAT (?) and + throws a bunch in. + + BOURDAIN + And these CDOs were selling and + selling.... + + Wee pull out and see dozens of pots of stew all around the + kitchen. + + BOURDAIN + Nuts, right? + 64. + + +90 INT. BROWNFIELD OFFICE - GREENWICH VILLAGE - DAY 90 + + BEN (V.O.) + I saw the CDOs you want to short. + The’re brilliant. Worthless, total + crap. + + CHARLIE + Jamie Shipley, Ladies and + Gentlemen. + + JAMIE + I'm good at finding shit. If I can + keep Charlie from trying to sneak + in a little value. + + CHARLIE + Sue me, I'm Jewish. We shorted all + double BBs and triple B’s. The risk + is relatively low and the pay off + is 25 to 1. 61B. + + BEN (V.O.) + So why are you calling me? I don’t + do this anymore. + + Charlie and Jamie share a careful glance. + + CHARLIE + Look, Ben, help us get an ISDA so + we can short this crap. We know you + hate Wall Street but it's not like + you'd be trading, you'd only be + helping us get a place at the + table. + + BEN (V.O.) + That’s an ugly table to be seated + at. + + JAMIE + The system fucked up in a big, big + way here. And somehow we know + before anyone else. + + JAMIE + This is a once in a lifetime trade. + Help us make this deal. Come on, + it’ll be fun. + + BEN (V.O.) + Oh this won’t be fun. + 65. + + + Sam’s tone is less than definite, he's clearly tempted. + + JAMIE + I didn’t mean fun. + + BEN (V.O.) + You said fun. + + Beat. + + BEN (V.O.) + Okay, I'll call Deutsche Bank. + + Charlie and Jamie high five. + + CHARLIE + Thank you. What about Bear? They + have some reprehensible product. + + BEN (V.O.) + Okay. Bear will trade with anybody. + + Silent air pumps. + + JAMIE + How soon can you be out here? + + BEN (V.O.) + I don’t know... I haven’t flown + since they put those Chertoff body + scanners in the airports. I’ve + never been a fan of being strip + searched by radiation. + (takes a breath) + I’ll be there Tuesday. + + Jamie and Charlie celebrate more. + + MUSIC: An popular alternative hip hop song like FEEL GOOD + INC by GORILLAZ plays us into the next scene. + + +91 INT. KENNEDY AIRPORT TERMINAL - DAY 91 + + Ben rides the long airport escalator wearing a flu mask. + And holding a duffle bag. + + He passes an Asian man also wearing a flu mask, salutes his + comrade-in-fear. The man stares back confused. + + At the bottom of the escalator Charlie and Jamie wait with + a sign reading “Ben Rickert” + 66. + + + Ben walks past them with out breaking stride and crumples + up the sign. + + +92 EXT. DEUTSCHE BANK - TWO HOURS LATER 92 + + Establishing. + + +93 INT. LOBBY - DEUTSCHE BANK - DAY 93 + + Charlie and Jamie sign an ISDA CONTRACT in the lobby. + + Ben waits over them. NOAH, 26, Vennett’s assistant takes + the contract. + + NOAH + All right. I'll see if I can push + it through. + + BEN + Thanks, Noah. And thank Jared for + us. + + Charlie and Jamie stand. Noah goes. The boys exchange an + unsure look. What now? Ben gestures to the exit. + + JAMIE + You know, just once in my life, I'd + like to see the inside of an + investment bank. + + CHARLIE + So that’s it Ben? We’re done? + + BEN + That’s it. Between Bear and + Duetsche, you now officially own 12 + million dollars of credit default + swaps on the BBB- tranches of + subprime ABS’. + + CHARLIE + Somehow I thought it would be more + dramatic. + + JAMIE + So what’d we do now? 62B. + + Ben doesn’t break stride. + + BEN + 67. + + + Now we wait for the world to blow + up. + + CUT TO: + + QUOTE COMES UP OVER BLACK: + + “THE TRUTH WILL SET YOU FREE. BUT NOT UNTIL IT IS DONE WITH + YOU.” -DAVID FOSTER WALLACE, INFINITE JEST + + CUT TO: + + +95 EXT. MIDTOWN - MORGAN STANLEY BUILDING - DAY 95 + + An electronic scroll on the side of Morgan Stanley reads: + + Mortgage Delinquencies Hit New High + + JANUARY 11, 2007 + 1 year 7 months until the collapse + + We hear snippets of business news audio: + + SNIPPETS OF BUSINESS NEWS + Ben Bernanke calls the news a + momentary market fluctuation.... + Despite the disappointing housing + news all other market indicators + are very strong.... + + Mark Baum is running down the street while dialing his + phone and trying to hail a cab. + + MARK + Hello! Vinny Daniel please! + + A CAB STOPS, he gets in. + + MARK + The Morgan Stanley building. Fast. + + VINNY + (feint voice on the cell) + Hello? Mark is that you? + + MARK + Vinny! Did you see? + + +96 INT. FRONTPOINT PARTNERS OFFICE - DAY 96 + 68. + + + Vinny is walking through the FrontPoint offices. Danny, + Porter and the rest of the staff are on the phones. + + MARK (V.O.) + Mortgage defaults just went through + the roof! Is anybody jumping off + buildings? + + VINNY + Why would they? Subprime mortgage + bond prices are up. + + We see emails on Vinny’s screen from Duetsche notifying + that the bond’s value is up. “Garabaldi IV: BBB tranche” + + MARK (V.O.) + What?! + + Porter turns over his shoulder from his desk. + + PORTER + Vennett is asking for more + collateral on our swaps! + + MARK (V.O.) + What the hell's going on?! + + VINNY + We don't know. But Deutsche is on + the phone demanding payment. + + MARK (V.O.) + Somebody call Vennett. + (Porter does so) + Subprime loans go bad... but + subprime bonds get more valuable?! + + VINNY + They want another 2 million by + market close. + + MARK (V.O.) + What about the rating’s agencies? + Are Moody’s and S&P downgrading + CDOs or mortgage bonds? + + VINNY + Nope. They’re all still triple A. + 64A. + + +97 INT. CAB - SAME TIME 97 + 69. + + + MARK + Motherfuckers! + + The West African CAB DRIVER looks over his shoulder. + + CAB DRIVER + Is everything okay sir? + + MARK + Yeah, other than the fact America + is a cesspool of corruption and + greed. + + CAB DRIVER + That is very true sir! But I never + hear Americans say it! Haha! + + VINNY (V.O.) + That’s not all Mark... + + +98 INT. TINY SIDE OFFICE - FRONTPOINT - DAY 98 + + Vinny peers into their Conference Room, where there are + THREE RISK MANAGERS. Standing at the head of the table is a + very pregnant, Kathy Tao. + + VINNY + The Frontpoint risk guys are here. + They called in Kathy Tao. They're + trying to convince her to make us + to sell our swaps. Apparently, + tying up 6 years of insurance + payments in hopes of housing + Armageddon is not good investing. + + MARK (O.S.) + What'd Kathy say? + + VINNY + Nothing, yet. She keeps asking if + this is one of your crusades. + + +99 INT. CAB - DAY 99 + + Mark on the phone. + + MARK + When she leaves, go back in and + very calmly, very politely, tell + the risk assessors to fuck off. + 70. + + + MARK + Then meet me over at Standard and + Poors. Let’s go talk to Georgia + Hale. + + He hangs up. + + CAB DRIVER + In my country they just show up and + steal your children for their army. + In America they are very sneaky. + They take your house, your money + and you still think they are your + friends! + + MARK + You want a job? + + CAB DRIVER + No way brother! I am just the + ferryman! Haha! + + He drives crazy fast through traffic. + + +100 INT. CONFERENCE ROOM - FRONTPOINT PARTNERS - DAY 100 + + Vinny enters. The risk managers go silent. + + VINNY + (calmly, politely) + Mark said to fuck off. + + The Risk Managers wait for nuance. None will be coming. + + CUT TO: + + +101 INT. SCION OFFICES - DAY 101 + + Michael Burry writes on the big white board the quarterly + returns: -11.3%. There are now only five working analysts. + + The rest of the desks are empty. + + Michael walks into his office closes the door and yells. + + MICHAEL BURRY + Fuuuuuuuck!!!!! + + Everyone in the office looks up and then after a beat, go + back to working. + 71. + + + WIFE (V.O.) + Michael? + + +102 INT. MICHAEL BURRY’S HOME - LIVING ROOM - DUSK 102 + + Michael is watching Business News on the TV while his WIFE, + pretty and direct, tries to talk to him. + + SOMEONE FROM THE TREASURY OR THE FED BEING INTERVIEWED. + + GOVERNMENT OFFICIAL(SOT) + Yes, there’s been an up tick in + defaults but it’s well within our + models. + + WIFE + Michael. + + GOVERNMENT OFFICIAL (SOT) + So despite these temporary aberrant + numbers we’re quite pleased. + + WIFE + Michael! + + She turns off the TV. + + WIFE + I’m trying to talk to you. + + MICHAEL BURRY + I’m sorry. I was listening. Go on. + + WIFE + The school says Nicholas has been + having issues. He’s not + socializing. He isolates and + doesn’t communicate with the other + kids. + + NICHOLAS his six year old son is playing with a toy crane + on the floor. + + ALEX + (listing parts of the + crane) + Hoist rope, lattice boom, upper + sheave, gantry, harnass... + + MICHAEL BURRY + Well I was never the most social of + kids... Is that such a bad thing? + 72. + + + WIFE + They think we should take him to a + specialist to get an evaluation. + + MICHAEL BURRY + Then yes, of course, let’s do that. + + NICHOLAS + Mom, Dad... + + Nicholas has walked over to them holding his toy crane. + + NICHOLAS + The crane is rotating 260 degrees. + It just needed a circular base and + a catch for the string. + + MICHAEL BURRY + That’s great Nicholas! Good job! + + +105 INT. SMALL OFFICE - RATING AGENCY SURVEILLANCE DEPT - DAY 105 + + GEORGIA + I can't see a damn thing. + + GEORGIA HALE (55) is a pleasant, middle-class woman wearing + EYE EXAM SUNSHADES and fussing with her blinds. + + GEORGIA + My eye doctor's always busy. I end + up taking any appointment they'll + give me and then the whole morning + gets shot to hell. + + She goes to her desk... where Mark and Vinny wait. + + GEORGIA + Alrighty. So. FrontPoint Partners. + How can Standard and Poors help + you? + + VINNY + We don't understand why the ratings + agencies aren't downgrading + subprime bonds, since the + underlying loans are deteriorating. + + GEORGIA + Well, delinquency rates have people + worried, but they're actually + within our models. + 73. + + + MARK + Models that you share with the + banks. Couldn’t they be gaming + them? + + GEORGIA + I highly doubt it. These are very + large banks that care a great deal + about their reputations. + + MARK + They care a lot more about their + bonuses. + + GEORGIA + I'm sure the world's banks have + more nuanced incentives than abject + greed, Mr. Baum. + + MARK + You're wrong. + + GEORGIA + Then they'll go bankrupt. The + marketplace is ruthlessly + efficient. + +Mark considers this old saw a moment. + + MARK + Your convinced the underlying + mortgages in these bonds are solid + loans? + + GEORGIA + That's our opinion, yes. + + MARK + Here's what I don't understand: if + these mortgage bonds are so solid + why are all the stocks for the + mortgage brokerage companies down? + These are companies issuing the + loans that make up the bonds and + they’re tanking. + +She's inscrutable behind her sunshades. But the fact she +doesn't argue tells us he's shaken her confidence. + + GEORGIA + We believe our ratings will prove + accurate. + 74. + + + MARK + Have you ever refused to rate any + of these bonds upper tranches AAA? + Can we see the paper work on those + deals? + + GEORGIA + I’m not under any obligation to + share that information with you. + + MARK + Just answer me Georgia. Can you + name one time in the past year + where you checked the tape and + didn’t give the banks the triple + AAA percentage they wanted? + +Half beat. + + GEORGIA + If we deny them the rating they'll + go to Moody's. + +A stunned beat. She's not supposed to say this. + + GEORGIA + If we don't work with them, they'll + go to our competitors. + + VINNY + Holy shit. They’re selling ratings + for fees. + +Silence. Mark didn't know it was that simple, that cynical. + + MARK + You can afford to make less. Make + less. + + GEORGIA + It’s not my decision. I have a + boss. + + MARK + Really? That’s the angle you’re + taking? So anyone who has a boss + can’t be held responsible for doing + shitty and illegal things? What are + you, nine years old? + +She takes her glasses off. Her eyes are watery, dilated. + + GEORGIA + 75. + + + And what, pray tell, are your + incentives?! Why are you in my + office?! Is it maybe in your + interest to have the ratings + change?! How many credit default + swaps do you own?! + + She's nailed him. + + MARK + (quietly) + That doesn't make me wrong. + + GEORGIA + No, it just makes you a hypocrite. + + +106 INT. CAB - DAY 106 + + Vinny watches Mark as they ride back uptown in a crowd. + He’s rattled. + + VINNY + (checks his blackberry) + Vennett’s coming to the office at + 3. + (then) + You okay? + + Mark nods. + + MARK + Short the rating agencies. All of + them. + + +107 INT. BROWNFIELD OFFICE - NYC LOFT - DAY 107 + + Charlie and Jamie are climbing the walls. Ben is on speaker + phone. + + BEN (V.O.) + Mortgage delinquencies went up and + the CDOs got more valuable!? You + gotta be kidding me! + + JAMIE + We know. It’s completely backwards. + It’s like 2 plus 2 equals 73. + + +108 INT. BEN RICKERT’S OFFICE - SAME TIME 108 + 76. + + + Ben sits at his desk reading the Sixth Great Extinction. We + cut back and forth. + + BEN + I just called an old friend at Bear + and he didn’t even know what a CDO + is. + + JAMIE (V.O.) + I had to transfer Bear and Duetsche + 78 thousand dollars. It’s like I + bought a suit and paid for it with + two suits. 71A. + + CHARLIE (V.O.) + It’s rigged. We bought into a + rigged game. We’re going to lose + hundreds of thousands a year until + it’s all gone and I have to move + back in with my mom. + + BEN + Having fun yet? + + Beat as Charlie catches a thought. + + CHARLIE + Wait a minute... We know the CDOs + are taking losses and yet the price + is frozen or going up. Maybe + they’re frozen because the banks + have no idea how to value them? I + bet they’re so toxic the banks are + just guessing! + (half beat) + I think we should buy more swaps. + + JAMIE + What?! No way! No. + + +109 INT. FRONTPOINT PARTNERS - SAME TIME 109 + + Jared Vennett is seated in the conference room. Mark, + Vinny, Danny and Porter are SCREAMING AT HIM. He is + amazingly calm and even CHECKS HIS PHONE at one point. + + ALL + 77. + + + You fucked us! I knew you’d fuck + us!... What game are you running! + I’m calling the goddamn justice + department! Don’t check your phone! + Don’t you check your fucking + phone!! + +Finally the group is exhausted from yelling and they run +out of gas. + + JARED + You guys done? + + DANNY + Yeah. I think so. + + PORTER + (holding his side) + Jesus. I think I pulled a muscle in + my back from yelling. + + VINNY + Mortgage defaults are way up. Yet + you quote us a higher price on the + bonds. Tell me why we shouldn’t + pull out of this trade right now? + + JARED + Listen, I told you when we did this + deal the ratings agencies, the SEC + and the big banks are clueless. So + now their foot’s on fire and they + think their steak is done and + you’re surprised? + + MARK + This isn’t stupidity, this is + fraud. + + JARED + Hey, if you can tell me the + difference between stupid and + illegal I’ll have my wife’s brother + arrested. + +Danny laughs. Everyone glares at him. + + DANNY + I’m sorry. That was funny. + + JARED + I just don’t think you guys realize + how clueless the system is. 73. + 78. + + + JARED + Yeah, there’s shady shit happening + but trust me, it’s all fueled by + stupidity. Face it, as cynical as + you all are I think you still have + a shred of respect left for the + powers that be. + + VINNY + Not me. + + JARED + Okay, except Vinny. + + +111 INT. BROWNFIELD OFFICE - NYC LOFT - SAME TIME 111 + + Charlie is pleading to his case. + + CHARLIE + Look, either we’re wrong or we’re + right in a giant, giant way! If + we’re right I want to go all in. If + we’re wrong I want someone to tell + us. + + JAMIE + I’m not feeling remotely confident + that we’re right. And if we’re + wrong, who’s going to tell us? + + BEN (V.O.) + Sounds like we need to go to Vegas. + + JAMIE + Vegas? + + +112 INT. FRONTPOINT PARTNERS - SAME TIME 112 + + JARED VENNETT + Yeah, Vegas. The American + Securitization Forum. It’s next + week. Every bond and CDO salesman, + subprime lender and swap trader in + the country will be there. I’m + telling you, your bet is against + dumb money. I think it’s time you + meet that dumb money. + + PORTER + I hate Vegas. + 79. + + + DANNY + I hear the restaurants in Vegas + have gotten really good. They have + a Nobu. + + PORTER + Fucking stop it. + + CUT TO: + + +113 INT. VENETIAN HOTEL - STATUES - DAY 113 + + CU The LIVING STATUES AT THE VENETIAN. The white classical + statues are STILL FOR A BEAT and THEN MOVE AND LOOK INTO + CAMERA. + + MUSIC: A hip hop or rap song that exudes attitude like + TOUCH IT OR NOT by CAM’RON kicks in as soon as the statues + move. + + +114 INT. MAIN CASINO FLOOR OF CAESAR’S PALACE - DAY 114 + + QUICK SERIES OF IMAGES: 1) Cash being exchanged for chips + 2) A SEXY WAITRESS serving drinks with a tattoo of her baby + daughter on her calf 3) A MARINE is playing two slot + machines smoking and drinking. 4) A poster showing happy + good looking people gambling and winning. + + +115 INT. TRADE SHOW FLOOR - CAESAR’S PALACE - DAY 115 + + A sea of sponsored booths. Familiar banks. Lots and lots of + White people. A BANNER tells us it's the: + + American Securitization Forum + + Ben gives Charlie and Jamie the tour. Jamie takes photos + with his cell. Charlie gets schooled. + + BEN + And what's "midprime"? + + CHARLIE + A loan that's between prime and + subprime? + + JAMIE + Midprime's exactly the same as + subprime. + + CHARLIE + 80. + + + That doesn't make sense. + + BEN + And if a bond is “rich” it is...? + + CHARLIE + Loaded with assets? + + JAMIE + Overpriced and you probably lose + all your money. + (how did he know this?) + I can’t sleep on planes so I did my + homework. + +Ben stops, turns to his proteges. + + BEN + Let’s focus up. Now what's our goal + here? + + CHARLIE + To figure out if this is the deal + of a lifetime, or if everybody + knows something we don’t and we’re + about to get royally screwed. + + BEN + Good. Now don’t lose sight of that + when you’re with the guys from Bear + tomorrow morning. I set you up with + a face-to-face. + + JAMIE + Great! + + CHARLIE + Where’s the meeting? + +Mark, Vinny, Danny and Porter enter and cross past the +Brownfield Guys. + + MARK BAUM + Five years ago securitization was a + loser convention. 100, maybe 200 + people would show. 500 billion + dollars a year later and you get + this. + + PORTER + A lot of smug looks in this place. + + VINNY + 81. + + + It’s like someone hit a pinata + filled with white people who suck + at golf. Who are all these clowns? + + MARK BAUM + According to Vennett, this is who + we’re betting against. + + Vennett approaches the group with his young ASSISTANT, who + hands out room keys. + + JARED + Hello gentlemen. My assistant Chris + has your room keys. I trust your + travel was uneventful? + + MARK + So when do we get face time with + these charming folks? + + JARED + They’ll be plenty of face time. But + remember, we’re here to gather + info, not advertise our short + position. We don’t want to spook + anyone. Got it? + + Mark nods. The group still checking out the crowded lobby. + + JARED + Seriously. Mark, you’ve got a very + loud mouth. Can you muzzle it for a + few days? + + MARK + So you don’t want me warning people + that the entire conference is put + on to normalize the buying and + selling of worthless shit? + + JARED + Yes. + + VINNY + Don’t worry. We’ll be good little + boys. + + +116 INT. SHOOTING RANGE - THE GUN STORE - LAS VEGAS - DAY 116 + + RICH GUY and Reps from Bear Stearns in business casual + shoot guns. + 82. + + +Bullets rip into politically incorrect targets...a black +kid attacking a sexy white woman, an Asian gangster, a big +photo of Osama bin Laden. + +|Charlie and Jamie shoot Uzi's, surprised by how much fun +they're having. Clips spent, they remove headgear. + +77. + + CHARLIE + The Beretta's great, but the Uzi... + awesome! + + BEAR REP #2 + Nice shooting, Brown Holers. + + JAMIE + Brownfield. The name of the company + is Brownfield. + + BEAR REP #2 + Yeah, I know. But it’s more fun to + call you Brown Hole. + + CHARLIE + I get it, wow that’s really clever. + +Another Bear Rep #1 is about to shoot. + + CHARLIE + Hey, Matt right? + + BEAR REP #1 + (removes head phones) + What’s going on? + + CHARLIE + We were hoping we could get a + little more insight on the CDO’s + from you we’ve got swaps on. + + JAMIE + SO, what do you think’s gonna + happen to CDO’s in seven years? + + BEAR REP #1 + 7 years? I just need this CDO + machine to keep going for another 2 + years. By then I’ll be rich enough + to get a place in Aspen. + + CHARLIE + 83. + + + Do you have any concerns about the + performance of the underlying + securitizations? It’s easy to see + delinquencies and even default + rates on the rise. + + BEAR REP #1 + Don’t be a buzzkill, dude. We + didn’t bring you guys out here to + talk work, OK? + + JAMIE + Then why did you? + + BEAR REP #1 + We need a client along so we can + expense the ammo. + + Aims machine gun at a poster of thug, and fires. + + RICH BEAR REP + Woooo!! + + CHARLIE + (to Jamie) + Holy shit. These are the guys on + the other side of our trade. They + only care about their fees and + bonuses. And they’re morons. We + need to buy more shorts. + + Jamie checks his cell. + + JAMIE + You hit the main floor and price + some more swaps. My Brother’s ex + girlfriend works at the SEC and + she’s in town. If we’re missing + something she can tell me. + + +117 INT. GIANT BALLROOM - SAME TIME 117 + + TWO HUNDRED OR SO BANKERS AND BOND TRADERS TAKE THEIR SEATS + in a large ball room with a podium at the front. A sign + reads “Option One CEO Paul Dantone: The Mortgage Market is + Strong and Getting Stronger” + + DANNY + Option One is the mortgage company + last year that took a big loss in + their subprime department. + 84. + + + PORTER + I don’t get it. They sell the + mortgages they make. How did they + take losses? + + DANNY + There’s a provision that if the + owner misses the very first payment + the loan goes back to Option One. + + VINNY + Who takes a mortgage if they can’t + make the first payment? + + MARK + The real question is: what company + gives a mortgage to someone who + can’t make the first payment? + +LATER: THE CEO OF OPTION ONE is speaking to the room. + + OPTION ONE CEO + ...Business is good. Profits are + strong and the mortgage continues + to be the bedrock on which this + economy is built. Yes, we did take + some losses in our subprime + department last year. But those + losses will be contained at 5%. + +Mark raises his hand. + + VINNY + (whispers) + Hey Mark, this isn’t a Q and A... + +Mark juts his hand up even higher. + + OPTION ONE CEO + Uh, yes... There’s a question? + + MARK + Would you say it’s a possibility or + a probability that subprime losses + stop at 5%?! + + OPTION ONE CEO + Well... I would say it’s a very + strong probability. + +Mark raises his hand again. But his hand is in the shape of +a ZERO. + 85. + + + MARK + Zero! There is a zero percent + chance your subprime losses stop at + 5%! + + His phone rings. + + MARK + Excuse me, I have to take this! + + He gets up and leaves while answering his phone. + + MARK + Hey honey... You’re just calling to + say hi? Well that’s so sweet. How + are the kids? + + Mark walks past Vennett, patting him on the shoulder. JARED + flips him off and then looks to camera. + + JARED VENNETT + The fucker really did this. + + CUT TO: + + +118 INT. SCION OFFICE - SAN JOSE - DAY 118 + + CU OF EMAILS: + + “Withdrawing money end of the month” + + “I trusted you. And you betrayed that trust. I am done with + Scion” + + “Will be severing ties with Scion next month” + + “When my two year period is over next month I withdraw all + my money from your fund” + + Mike Burry is looking at his emails at his desk. He looks + pale and unhealthy. He now has only THREE EMPLOYEES -- the + other desks have the abandoned look of people laid off + quickly. + + Mike comes out and goes to the company white board. He + writes the latest quarterly returns...-19.3%. + + On his way out, he stops at a ladder where his Assistant is + putting up Valentine’s decorations. + + MIKE + 86. + + + Can you come in early tomorrow? As + you know, we also have big shorts + in AIG and Countrywide, Frauddie + Mac and I need to unload those + positions to ensure we can afford + the insurance premiums on our core + mortgage short. + + ASSISTANT + Sure Dr. Burry. + + Mike starts to leave. + + ASSISTANT + Dr. Burry? What’s going to happen? + If the investors withdraw, are we + done? + + MIKE + Honestly? I don’t know. The bonds + aren’t going down. They won’t move. + It’s possible we are in a + completely fraudulent system. + + ASSISTANT + Or you’re wrong. + + Silence. + + ASSISTANT + I’m sorry. I just meant... + + MIKE + That’s okay Lewis. Yes, it’s + possible I’m wrong. I don’t know + how. But I guess when someone’s + wrong they never know how. + + He leaves. + + +120 INT. BURRY’S BASEMENT - LATER 120 + + MUSIC: BY DEMONS BE DRIVEN + + Michael sits behind drums and furiously plays double kick + drum heavy metal drums to Pantera. Finally he breaks the + sticks from playing so hard. + + MIKE + AAAHHHHH!!!! + + We hear his wife from upstairs. + 87. + + + WIFE (O.C.) + Michael! Is everything okay? + + MIKE + Yes honey! + + +122 INT. TRADE SHOW FLOOR - LATER 122 + + MERRILL REP + We can maybe sell you BBB level + swaps at five-hundred basis points. + Maybe. + + Ben and Charlie are testing the waters for a deal with the + MERRILL REP at the Merrill Lynch Booth. + + CHARLIE + Five-hundred? You want us to pay a + 5% premium on a swap? We paid 2% on + the ones we got two months ago! + + MERRILL REP + Good for you. That was two months + ago. Trust me, you’re not gonna do + any better anywhere else. + + CHARLIE + So you’re pricing the swaps like + the bond is going to collapse but + the bond value has gone up? Really? + How are you not in jail? Or at + least- + + BEN + Charlie, let’s go. Thanks guys! + We’ll consider it. + + He takes Charlie firmly by the arm, marches him away. + + CHARLIE + What the hell is going on? + + BEN + People are starting to wake up. Not + enough for them to adjust the + values on the bonds but enough to + stop giving the swaps away. Cheap + bets are over. + + The Rich Bear Rep passes them. + + BEAR REP #1 + 88. + + + Hey! It’s Brown hole! + + CHARLIE + Fuck off! + + BEN + You have to calm down. + + +123 EXT. CASINO HOTEL - POOL SIDE - SAME TIME 123 + + Jamie in polo shirt and shorts is talking to a bookish but + pretty college friend who works at the SEC, EVIE, 30. + + EVIE + I can’t believe you got into + finance Jamie. I always thought + you’d... I don’t know. Be living + off canned beans on your sailboat + or mooching off older women at the + yachtclub or something... + + JAMIE + Thanks. Actually we’ve been + investing in housing bonds and I + wanted to ask, is the SEC worried + about them? I mean, I know you + can’t tell me specifics.. Just + generally. + + EVIE + Oh we don’t investigate mortgage + bonds. Truth is since we had our + budget cut we don’t investigate + much. + + JAMIE + Really? Then why are you here? I + thought- + + EVIE + I’m not here for the SEC. I’m here + on my own dime. + (she leans in) + I’m floating my resume to some big + banks. How’s your brother by the + way? + + JAMIE + He’s good. + (back to business) + 89. + + + How are you floating your resume to + big banks when you’re supposed to + be the ones policing them? + + EVIE + Grow up Jamie. 90% of the people at + the SEC are just there to get + better jobs. + (she sees someone) + Hey Doug! + (then to Jamie) + He’s at Goldman. + + She gets up and leaves. The guy she’s approaching grabs + her. + + DOUG + Look everyone! It’s regulatory + capture! + + He pulls Evie and himself into the pool. A whole group of + bankers laugh while dance music plays. Jamie looks + sickened. + + +124 INT. CASINO RESTAURANT - LUNCH 124 + + Jamie, Ben and Charlie are eating chopped salads. + + CHARLIE + Even Bear’s doubled their prices. + And they keep calling us Brown + Hole. 82A. + + BEN + Don’t take it personally. You just + don’t have the money or the + reputation. + + CHARLIE + So I’m a broke loser with a bad + reputation but don’t take it + personally? + + BEN + They’re assholes. Let it go. + (to Jamie) + Did your friend from the SEC give + any perspective? + + JAMIE + 90. + + + The SEC isn’t even paying + attention. Their budget has been + gutted and they know zip about the + housing market. It was actually + depressing. + + BEN + People wanted small government, + they got it. + +They eat for a beat, defeated. + + CHARLIE + Wait a minute... We need a deal + that we can afford and they can’t + refuse, right? What if we bet + against the AA rated tranches of + the CDOs? What’s cheaper than AA? + + BEN + Come on Charlie. AA is so safe they + barely even show up on the risk + sheets for the banks. + + CHARLIE + Are they really though? We know if + the bottom tranches fail at over 8% + the double AA tranches are worth + zero. We also know the ratings + agencies and the SEC are asleep at + the wheel. I bet those AAs are more + like Bs. + +Jamie fishes some paper work out of his bag and points to +some numbers. + + JAMIE + Charlie’s right. The pay off is 200 + to 1. But they don’t see it so + they’re charging pennies on the + dollar to bet against the 83A. + + JAMIE + AAs. With that kind of risk/reward + we’d be fools not to do it. + +Ben looks at the returns on AA swaps. + + BEN + 91. + + + Just when I start thinking you guys + are clowns... No one on the planet + is betting against AA. The banks’ll + think we’re high or having a + stroke... And they’ll take every + dime we have. + + Charlie LOOKS TO CAMERA + + CHARLIE + This is the thing we did that no + one else did. Even Burry and Baum + didn’t imagine the AAs could fail. + + MUSIC: A song with a beat like US v THEM by LCD SOUND + SYSTEM MONTAGE OF CHARLIE, JAMIE AND BEN MEETING DIFFERENT + BANKS OVER DRINKS, LUNCH, BLACKJACK TABLE, POOL SIDE. + + GOLDMAN REP + I don’t understand, you want to bet + against AA? + + BEAR REP #1 + Brother, I will sell you as much as + you want. And you can shoot with us + anytime you want. + + MERRIL REP + What’s the angle here? + + BEN + No angle. We want 10 million + against a AA housing CDO. + + LEHMAN BROTHERS REP + Yes. Of course yes. Wow. I thought + this trip might be a waste of time. + Wow. + + MORGAN STANLEY REP + Yes. Yes and yes. + + +126 INT. CASINO - DAY 126 + + As they get AROUND A CORNER, Charlie AND Jamie SILENTLY + CELEBRATE AND EVEN DANCE A BIT. But Ben tells them to cool + it. + + BEN + Do you even know what you just did? + + CHARLIE + 92. + + + Yeah, we made the deal of our + careers. + + BEN + You just bet against the American + economy. If we’re right it means + people lose homes, jobs, retirement + savings, pensions. These aren’t + just numbers. For every point + unemployment goes up, 40 thousand + people die. Did you know that? + + CHARLIE + No... + + Jamie and Charlie look like kids who have been caught + teasing an old person. + + JAMIE + We were just excited... + + BEN + Just don’t fucking dance. Okay? + + He walks off. Exiting through double doors. + + JAMIE + Where are you going? + + BEN + Home! I’ll call you when things get + bad. + + CHARLIE + Alright Ben! Talk soon! + (then to Jamie) + Jesus. I didn’t know it could be + that bad for the country. I guess + this hasn’t really hit me yet. I + just got scared. Are you scared? + + JAMIE + I’m always scared. + + +127 INT. TABEMASU ASIAN RESTAURANT - HOTEL - NIGHT 127 + + MUSIC: Traditional Japanese string version of something + like LIONEL RITCHIE’S EASY. + + A tranquil waterfall out of plate glass windows. Jared + walks in with Mark and his team. + 93. + + + JARED VENNETT + Alight Mark Baum from Frontpoint + Partners... You’re nervous you and + your swaps are being played? Now + you get to meet who you’re betting + against. Try not to get too + righteous and listen for once. + + MARK + Okay, okay. So who is this guy? + +FLASH CUT: Mark sits at a table. His dining partner is MR. +CHAU (50), Chinese-American, an expensive suit. + + MR. CHAU + I'm a CDO manager. At Harding + Advisors. + + MARK + I didn't know there was anything to + manage. + + MR. CHAU + We select the securities that go + into the CDO portfolio, and monitor + the assets. I do most of Merrill + Lynch's CDOs. + +Mark glances through hibachi steam to see Jared... raising +his beer. Meet your counter-party. Meet the sucker. + + MARK + And you represent investors or the + bank? + + MR. CHAU + The investors. + + MARK + But Merrill's only going to send + you buyers if you put Merrill’s + bonds in your CDOs. + + MR. CHAU + Let’s just say Merrill and I have a + good relationship. + +Mark can't tell if Mr. Chau is being naive or just arch. + + MARK + Are you worried about rising + default rates? + 94. + + + MR. CHAU + I assume no risk for these products + myself. + + MARK + Let me get this straight. The bank + calls you up. Gives you bonds they + want to sell. Gives you the + clients. Gives you the money to run + your business. Gives you fat fees + for doing so. But you represent the + investors? + +Mr. Chau finally chuckles -- he’s actually being defiant. + + MR. CHAU + Yes. But my office is not in the + Merrill Lynch building. We’re in + New Jersey. + + MARK + 20 minutes away. + + MR. CHAU + 5 if we use a helicopter. + +MOMENTS LATER: Vinny, Jared and Danny nervously watch Mark +huddle with Mr. Chau. Mark’s animated, speaking too loudly. + + MARK + Say that again! Say that again! + + JARED + Uh-oh. Your boss is about to + explode. + + VINNY + No. He’s too curious to explode. + +Ignoring his food, Mark scribbles furiously on a napkin. + + MARK + CDO A has parts of CDO B and CDO B + has parts CDO A, but then both get + put inside CDO C? + + 88-89. + + MR. CHAU + 95. + + + That one's called a CDO Squared. + And then there are CDOs made up of + the opposite side of the bet you + made with your swaps. We call them + synthetic CDOs. + + MARK + “Synthetic CDOs?” + +LATER: Mark’s completely disheveled now, tie off. Mr. Chau +is as decorous as ever, enjoying his dessert. + +Another paper napkin slaps the counter. + + MARK + Okay. This is a pool of, say, 50 + million in subprime loans. How much + money could be out there betting on + it through these synthetic CDOs and + swaps?! Right now?! Tonight?! + + MR. CHAU + A billion dollars. + + MARK + What?! + +Mr. Chau shrugs. + + MARK + How much bigger is the market for + insuring mortgage bonds than actual + mortgages?! + + MR. CHAU + Twenty times? + +We FREEZE on his disoriented expression. + + JARED VENNETT (V.O.) + 96. + + + If the flawed mortgage bonds that + Michael Burry discovered were the + match. And the CDOs Jamie and + Charlie bet against were the + kerosene soaked rags... Then the + synthetic CDO was the atomic bomb + with a drunk President holding his + finger over the button. At that + moment Mark Baum realized the whole + world economy might collapse. But + I’m sure you’re wondering one + thing: what the hell is a + “synthetic CDO?” Well here is Dr. + Richard Thaler, the father of + Behavioral Economics and + international pop star Selena Gomez + to explain. + + +128 INT. CASINO FLOOR - NIGHT 128 + + SELENA GOMEZ sits at a black jack table with a giant stack + of chips. She wins another hand and rakes in more chips + from the PROFESSIONAL DEALER. A crowd cheers her on around + the table. + + CROWD + She can’t lose! That’s seven hands + in a row! + + SELENA GOMEZ + So here’s how a synthetic CDO + works. Let’s say I make a bet of 10 + million on a black jack hand... + + DR. THALER + 10 million because this hand + represents a simple mortgage bond. + + She is dealt a Jack and an 8 by the dealer. + + DR. THALER + Selena is showing 18 and the dealer + is showing a seven. So the odds are + very much in Selena’s favor. 87% to + be exact. Which are like the great + odds most perceived the housing + market to have. + + SELENA GOMEZ + Did you really create a whole field + of economic study? + 97. + + + DR. THALER + Well is was inspired by the great + work of others, but yes. + + SELENA GOMEZ + I have 30 million twitter + followers. + + DR. THALER + I have 30,000. + + SELENA GOMEZ + (Trying to be + encouraging) + That’s not bad. + (back to the explanation) + So my odds are great. And I am on a + winning streak. Everyone else here + wants in on this. I can’t lose, + right? + + DR. THALER + We have done countless studies that + show that people often make this + error in their thinking. If + something is happening-- like + Selena winning seven hands in a row + + SELENA GOMEZ + Or the housing market going up for + seven years straight... + + DR. THALER + Exactly. They think it will go on + forever. It’s called extrapolation + bias. People see something + happening and they extrapolate that + it will continue to happen. + + SELENA GOMEZ + So the people who are watching and + think I can’t lose will make a side + bet which is the first CDO. + +We see A WOMAN IN GLASSES standing behind SELENA. She turns +* to a BUSINESS MAN. + + WOMAN IN GLASSES + Wow. I love Selena Gomez. And she’s + won seven in a row with a seven + showing for the dealer. I bet you + 50 million she wins and I’ll give + you three to one odds. + 98. + + + BUSINESSMAN + 3 to 1 odds? Okay, I’ll take that + bet. + + DR. THALER + Then someone behind him decides to + bet on their bet with someone else. + That’s synthetic CDO number two. + +There’s a GUY IN A WARRIORS GAME JERSEY talking to a AN OLD +WOMAN. + + GUY IN GAME JERSEY + Hey I bet you 200 million that lady + in the glasses wins that bet. + + OLD WOMAN + She probably will win, she always + does, so I want a great pay off. + + GUY IN GAME JERSEY + How about 20 to 1? + + OLD WOMAN + Deal. + + SELENA GOMEZ + And this goes on and on and on and + on.... With more and more CDOs + betting on the bet on the bet on + the bet... + + DR. THALER + This happens all the time. In the + stock market. In sports. In + basketball, they call the Hot Hand + fallacy. A player hits 3 shots in a + row and everyone thinks he is + definitely going to make that 4th + one. We know, from a lot of + statistical evidence, that there is + no such thing as hot hands, but + people refuse to accept that. + + SELENA GOMEZ + People are cray cray. + + DR. THALER + I don’t know what that means. + 99. + + + We see a LONG LINE OF PAIRS OF PEOPLE making bets of + increasing value and complexity that stretches behind + Selena and Dr. Thaler at the table down the hall and around + the corner and out of the doors of the casino. + + SELENA GOMEZ + And then the dealer plays out his + hand. + + The dealer turns over a 3, giving him 10 and then turns + over a King. DEALER WINS. + + SELENA GOMEZ + No! How could I lose!? + + There is then a long chain reaction of winners and losers’ + reactions. + + LONG CHAIN OF BETTERS + Shit! Pay up! Crap! Wait, I lost? I + want my money! How could Selena + lose! Nooo!!! + + DR. THALER + They all should have known the odds + they could lose. But they got + overconfident. And because of the + synthetic CDOs and all the bets on + bets on bets... The one loss + becomes thousands of losses. + + SELENA GOMEZ + And those losers? Pension funds, + insurance companies. City + governments all over the world. + Crazy shit right? + + DR. THALER + Not crazy, just human. The crazy + part is assuming people will act + logically all the time. + + SELENA GOMEZ + Translation: crazy shit. + + +129 INT. TABEMASU ASIAN RESTAURANT - CONTINUOUS 129 + + UNFREEZE BAUM AND MR. CHAU. All Mark can think to do is + stand and collect his things. + + MARK + 100. + + + I have to go. Honestly I feel a bit + sick. Be careful, Mr. Chau. You'll + make a lot of money... until you + don't. + + MR. CHAU + You think I’m a parasite Mr. Baum? + But apparently, society values me + very much. + (a beat) + In fact, let's do this... I'll tell + you what I'm worth, you tell me + what you're worth. + + Mark looks straight in the face of everything he hates. + + MARK + I don't think you're a parasite, Mr + Chau. + (sincere) + I think you're an idiot. + + Mark walks away and past Jared and the guys. + + MARK + Short everything that guy has + touched. + (he walks away) + I want half a billion more in + swaps! + + JARED + The collateral calls could bankrupt + you. + + MARK + Yup! + + DISSOLVE TO: + + +130 EXT. CAESAR’S PALACE - THE NEXT MORNING 130 + + SLO MO: Hungover and broke people straggle out of the hotel + in the bright morning Vegas sun dragging luggage. They get + into valet’d cars and cabs. + + Charlie and Jamie exit and jump into a Mercedes SUV. They + looked vaguely ashamed and Charlie looks freaked. + + Mr. Chau walks out with a smile on his face, designer + luggage and enters a stretch limo. + 101. + + + A short moment later Mark, Porter, Danny and Vinny walk + out. + + Mark looks particularly far away and haggard. + + Three of the Bear Stearns firing range guys leave with two + BEDRAGGLED PARTY GIRLS. They’re still drunk. They get in a + Humvee Limo. + + And last, we see Evie, from the SEC and the Goldman Sachs + guy, Doug, leaving together. They kiss and then he gets in + a Range Rover and she gets in a cab. + + +131 EXT. UPSCALE CLOTHING BOUTIQUE - "EDIT NEW YORK" - DAY 131 + + Mark struggles to pull his bag out of a taxi's trunk. + + CYNTHIA (PRE-LAP) + Did you eat on the plane? + + +132 INT. UPSCALE CLOTHING BOUTIQUE - DAY 132 + + The Baum’s are in an elegant and isolated seating area in + Cynthia’s upscale clothing boutique. + + MARK + Yeah. + + CYNTHIA + What's wrong? What happened? + + MARK + Things are worse than I thought. I + honestly think the economy might + collapse. + + CYNTHIA + Really? + + MARK + Yeah. + (then) + And we could end up making a + fortune. + + CYNTHIA + Define fortune. + + MARK + The fund could make half a billion, + Cynthia. Maybe a lot more. + 102. + + +She had no idea. A SALES CLERK approaches. + + SALES CLERK + Ms. Baum should I- ? + + CYNTHIA + Not now Paula. You’re my manager. I + trust you. + +They lower their voices, lean closer. + + CYNTHIA + A half a billion on one trade?! How + is that even possible?! + + MARK + Group think. Fraud. Legalized + corruption. Stupidity. + + CYNTHIA + You’ve been saying the whole system + is broken for years Mark. Why are + you shocked? + + MARK + It’s all so much uglier and more + twisted than I ever imagined. And + I’m a banker. I’m a part of this + horrible world. + +A silence between them. Cynthia refuses to break it. + +93A. + + CYNTHIA + And I keep thinking about my + brother. About Paul. And how he... + When he... + + CYNTHIA + When Paul took his own life. + + MARK + ...We can talk about it later. + You’re at your store- + + CYNTHIA + Mark. 94. + + MARK + 103. + + + Before... my brother... committed + suicide... when he told me he was + having bad thoughts... My first + response was... to offer him some + money. My brother was in pain. Real + pain. And I offered him... money. + + CYNTHIA + You tried to help. There’s no + perfect way... + + MARK + All this greed in the world. Maybe + I’m not so above it. Maybe I’m part + of it. And it’s changed me. Changed + me into a person who’s not able to + reach out to someone who’s hurting + without money being a part of it. + (beat) + Does it bother you that I feel that + way? + + CYNTHIA + No. You can’t name a scenario for + how I could have helped him that + doesn’t play in my head every day. + But it bothers me that you’re so + certain you’re right. Because + you’re not. + +His silence means yes. + + CYNTHIA + You love to know more than other + people. To be the virtuous one. You + always have Mark. As though you’re + untainted and we’re al the filthy + masses clawing at Noah’s arch. But + the truth is: you're a banker. A + banker who makes more than he + should. A banker who had a terrible + thing happen to a family member. + And now you’re about to make a lot + of money from another terrible + thing. And even you can’t find a + way to make that virtuous. Because + it’s not. It’s just life. And + sometimes it hurts and it’s sad and + it’s scary. So stop trying to fix + the world and just feel the + feelings like all of us. Because + they’re there. 94A. + 104. + + + CYNTHIA + And when you act like they’re not + it makes me want to scream. + + Mark starts to break. + + MARK + (tears up) + Paul was always there for me... + + MARK + His face was so smashed we couldn’t + even have an open casket... He just + dropped the phone... + + CYNTHIA + He couldn’t hear anyone. That’s why + he’s dead... There’s nothing you + could have done. + + They both sit there holding hands. + + CYNTHIA + Nothing. + + +133 INT. WAITING AREA - PEDIATRIC PSYCH CENTER - DUSK 133 + + Mike's son Nicholas plays alone, talking to himself about + the different parts of a BACKHOE LOADER. Stabilizer + legs...bucket...atriculated arm... + + Mike enters. His Wife's been waiting, annoyed, gestures to + her watch. Where were you? + + MIKE + I’m sorry I’m late. Everything’s + falling apart at work. People want + to remove their money from the + fund. I don’t know what to do. + + His wife doesn’t respond. + + MIKE + What’s wrong. Is Nicholas okay? + + MIKE'S WIFE + (upset, quiet) + They think it's Asperger's + Syndrome. + + MIKE + 105. + + + No. What? What...what's the + symptomology? + + +134 INT. LIVING ROOM - BURRY HOUSE - NIGHT 134 + + Mike has a stack of books: Attwood's The Complete Guide to + Asperger's, Baron-Cohen's Mindblindness, etc. + + Sceptical, he chooses A Parent's Guide and reads... + + MIKE (O.S.) + "The first sign a child is on the + Autism spectrum is often a hobby. + It will be one that is solitary and + idiosyncratic, and it will + completely obsess the child." + + Mike's surprised, this actually resonates. + + JUMP CUTS: A dizzying whirl of TEXT PASSAGES fly at us... + + MIKE (O.S.) + "...few real peer- to-peer + relationships...less eye contact... + ...ability to quickly absorb + complex systems ...love of + computers... math... good with + numbers + + Mike stops reading. Sweating. Thunderstruck. + + A strange truth settles over his face. + + +135 INT. HOSPITAL ROOF - SAN JOSE - DAY 135 + + Mike has sought counsel from a MED SCHOOL FRIEND, a psych + ward doctor currently self-medicating on a joint. + + MED SCHOOL FRIEND + This is good, a diagnosis like + this, as an adult, it's all upside. + You don’t have to feel like there’s + something wrong with you anymore. + Now you know. Mystery is solved. + + MIKE + What's the upside of having + Aspergers? + + MED SCHOOL FRIEND + 106. + + + C'mon, Burry, who else but an Aspie + actually reads entire bond + prospectuses?! Your whole life your + brain's told you one thing and + society another. Now, you get to + stop listening to society. Stop + caring what we think! Don't you get + it? We're normal. We can't keep up. + + CLOSE on Mike, taken with the idea, and its implications. + + MIKE (O.S.) + "To All Investors" + + MUSIC: A heavy metal song like METALLICA’S EYE OF THE + BEHOLDER fades in. + + +136 INT. SCION - MIKE'S OFFICE - DAY 136 + + Mike types an email. He is alone in the office with empty + desks outside. + + MIKE (V.O.) + "As you may know, our agreement + allows me to take extraordinary + measures when markets aren't + functioning properly. I currently + have reason to believe the mortgage + bond market is fraudulent. So in + order to protect investors from + this fraudulent market I've decided + to restrict investors’ withdrawals + until further notice. Sincerely. + Dr. Michael Burry." + + Mike breathes deep, and hits SEND. + + He sits listening to the quiet hum of office outside his + open door. The distant highway. + + A very long beat. + + Slowly at first, isolated, then gathering like an angry + storm, the office PHONES begin to RING and his email box + begins to ding. + + One email stands out: From Lawrence Fields. The subject: + I’M SUING. + + CUT TO: + + OVER BLACK WE SEE THE QUOTE: + 107. + + + “Everyone, deep in their hearts, is waiting for the end of + the world to come.” - Haruki Murakami, 1Q84 + + We DISSOLVE to TV Channels flipping from one to the next. + + 1) SOME SORT OF FLUFFY POP ENTERTAINMENT, a sitcom, game + show, reality show. + + 2) BARRY BONDS defends himself in a press conference. + + 3) Footage celebrating Lance Armstrong. + + +137 INT. BROWNFIELD OFFICE - NYC LOFT - DAY 137 + + Charlie is the one flipping through the TV channels. Jamie + is on his lap top. They’re restless, tense and killing + time. + + April 2, 2007 + + The Crash Begins + + JAMIE + Will you stop changing the + channels? You’re driving me crazy. + Just put the business news on. + + Charlie turns the channel to business news. + + CHARLIE + Fine. + + Jamie stops and watches while Charlie rolls over on the + couch. + + JAMIE + Holy shit. Did you see that? + + CHARLIE + See what? + + JAMIE + On the crawl! + + He grabs the remote and rewinds and freezes the TV. On the + crawl at the bottom of the financial news show we see: + + Nation's second-largest mortgage lender bankrupt. + + JAMIE + It’s starting. + 108. + + + CHARLIE + I’m going to call my Mom. + + +138 INT. FRONTPOINT OFFICE - DAY 138 + + Vinny, Danny and Porter watch Kathy, thin again, yelling at + Mark in the Conference Room. + + ON A WALL TV: The FED CHAIRMAN is speaking to Congress. + + The Dow is down 283 points. + + BERNANKE (ARCHIVE FOOTAGE) + ...We believe the effect of the + troubles in the subprime sector on + the broader housing market will + likely be limited, and we do not + expect significant spillovers from + the subprime market to the rest of + the economy-- + + VINNY + Turn off all the financial news. + They’re in crazy land. We’re trying + to stay in reality. + + An assistant turns off all the TVs in the office. + + Danny Moses, on the phone yells over to Vinny. + + DANNY MOSES + Duetsche says the CDOs still + haven’t lost any value! + + VINNY + The banks are holding the value til + they can dump their position... + They know now. + + The DOOR opens. Kathy and her minions storm off... and out. + + Mark emerges beaten, yet hardened. + + VINNY + Well? + + MARK + Kathy wants us to dump our shorts. + + PORTER + What else is new? + 109. + + + MARK + She says Morgan Stanley will buy + them. + + DANNY + What?! Holy shit. Vinny’s right, + they need our shorts. They know. + + VINNY + The whole time we were wondering + who’s on the other side of this bet + and it’s the big banks themselves. + They believed their own bullshit. + + DANNY + What’d you tell Kathy? + + MARK + I told her we’re not selling shit. + If Morgan needs to lose half a + billion cause they screwed up it’s + not my problem. + + VINNY + So now what’d we do? + + MARK + Hold on. + + +139 INT. BROWNFIELD OFFICE - NYC LOFT - SAME TIME 139 + + Charlie is getting off the phone. + + CHARLIE + You need to understand, mom. This + isn’t just a banking thing. It’s + going to affect real people. All + over the world. Like an enormous + tsunami hitting the global economy + all at once... Yeah, OK. I love + you, too. + + He hangs up and turns to Jamie who’s at his computer. + + CHARLIE + She told me I should go on lithium. + + Jamie shows him an email on his computer. + + JAMIE + 110. + + + Check it out - from Bear Stearns. + They claim the CDOs still haven’t + moved. + + CHARLIE + That’s insane. They’re crooks. Just + look at the ABX: those CDOs should + be at zero! You know what they’re + doing, right? They’re selling off + their worthless CDOs so they don’t + take the loses. That’s fraud. On a + massive scale. + (looks panicked) + Jeez, I can’t catch my breath. I + think I’m having a panic attack. + + JAMIE + We’ve got to tell someone. The + whole world has no idea what’s + about to hit them. + + CHARLIE + Who? The SEC is useless. The + ratings agencies are in on it. + + JAMIE + Let’s go to the press. This is a + giant story. Who wouldn’t publish + it? + + +141 INT. NEWS ROOM - WALL STREET JOURNAL - DAY 141 + + Charlie and Jamie just explained the situation to CASEY, 30 + their college friend, and the junior finance reporter. + + CASEY + So what am I supposed to do? Write + a piece called “We’re all fucked?” + + CHARLIE + Yes! That’s a perfect title. + + JAMIE + Casey, right now every bank in town + is unloading these shit bonds on + unsuspecting customers. They won’t + devalue them until they unload + them. This is the biggest fraud in + banking history. + + CASEY + 111. + + +It took years to build my +relationships on Wall Street! 101A. + + CASEY +No bank or ratings agency is going +to confirm a story like this just +because two guys in a garage-band +hedge-fund thinks it’s the +apocalypse. + + JAMIE +Don’t be a dick Casey. We didn’t +say “apocalypse.” + + CHARLIE +Wow. Wow. + + JAMIE + (tries again) +Look, these banks bought most of +the government. They bought the +ratings agencies. There’s no one +left but you. This story is why +journalism exists. If someone like +you blows this off because they’re +worried about access to the banks +this country is fucked. + + CASEY +Nice speech Kev. You sound like +Oliver Stone. + (he gets up) +Look, I’ve got work to do. So +thanks for stopping by. + + CHARLIE +Wow. + + JAMIE +Stop saying Wow. + (back to Casey) +I thought you were for real Casey. +I really did. + + CASEY +Yeah, well you try being “for real” +with a three year old and a wife +who’s getting her Master’s degree. +I’m not burning my reputation on +your wild hunch. + + CHARLIE +Wow. + 112. + + + He’s holding the door for them. They exit. + + CASEY + Thanks for stopping by. Totally + fucking awesome to see you. + + +142 EXT. HALLWAY - WALL STREET JOURNAL - CONTINUOUS 142 + + CHARLIE + Disgusting. He won’t do his job + because he wants to keep access to + the banks to keep doing the job he + won’t do? 102A. + + JAMIE + I just had a horrible thought. + + CHARLIE + I’m already juggling five or six + horrible thoughts. Don’t tell me. + + JAMIE + If Bear Stearn is freezing the + value of the CDOs it must mean they + own tons of them. + (a breath) + They could go under. And we bought + 80% of our swaps at Bear. We’d lose + everything. + + CHARLIE + Stop it. Bear Stearns has been + around for a hundred years. They’re + not going under. + + JAMIE + We have to at least consider the + possibility. + + +143 INT. SCION OFFICES - DAY 143 + + Mike is at his desk. The headline on the site he’s on is: + + Bear Stearns liquidates mortgage backed securities hedge + funds. Losses at 3.6 Billion. + + The office is completely empty save two LAWYERS who are + wheeling files out on a hand cart. Michael is on the phone + hearing a voice mail. + + WOMAN (SOT) + 113. + + + You’ve reached Lucy Thalia at + Goldman Sachs. I’m not available- + +He hangs up. + +July 31, 2007 + + LAWYER + That should do it Dr. Burry. + + MICHAEL BURRY + If you need any files from 2005- + + LAWYER + Mr. Field’s suit is very specific + to files from the past year. + + MICHAEL BURRY + Well then tell Lawrence I said hi. + +Burry’s PHONE rings. The caller ID is Thalia/Private. + + MIKE + (answering) + You can't get back to me for a + whole week? + + LUCY THALIA (O.S.) + I'm so sorry, Mike. Goldman had a + systems failure. I lost a ton of + messages. + + MIKE + B of A said they had a power + outage. And Morgan Stanley said + their server crashed. + + LUCY THALIA (O.S.) + Huh. That's weird. + + MIKE + I would call it improbable. Where + do you have our position marked? + + LUCY THALIA (O.S.) + It could be the same, Mike. + + MIKE + Can you explain that to me? How's + the value of an insurance contract + in no way affected by the demise of + the thing it insures? + 114. + + + LUCY THALIA (O.S.) + They’re independent markets. + They’re not always correlated. I + know it sounds odd but these are + very complicated products. + + MIKE + They are correlated, and I can + prove it. + + LUCY THALIA (O.S.) + How? + + MIKE + You'd never claim they're + uncorrelated on a hard line -- + those are recorded bank records -- + but you'll say it on your cell + phone. + +Static. + + MIKE + Hello? + + LUCY THALIA (O.S.) + Mike, I need to call you right + back. + +She clicks off. Mike hangs up. + +The phone RINGS again almost immediately. Goldman. + + MIKE + (answers) + I'm listening. + + A DIFFERENT VOICE + Dr. Burry? + + MIKE + Yeah. + + DEEB + Deeb Winston, Goldman Sachs. + Listen, I've been reviewing your + position. I wanted to discuss your + marks, make sure they're fair. + +Mike realizes what's happened. + + MIKE + 115. + + + I think you mean you've secured a + net short position yourselves so + you're free to mark my swaps + accurately for once. Because it's + now in your interest to do so. + + Static. + + DEEB + I'm not sure what you want me to + say. + + MIKE + Nothing. + + Mike hangs up. There. See. Done. + + CUT TO: + + +145 INT. FRONTPOINT OFFICE - DAY 145 + + The trading desk is hopping. We see someone on their + computer on Bloomberg.com. The story: Countrywide Financial + Warns of “Difficult Conditions.” + + The Dow is down 325 points + + Mark has a phone full of blinking red lights, about to pull + up a call, as soon Danny finishes prepping him. + + DANNY + Subprime bonds went off a cliff. + Rumor is default numbers are huge. + + MARK + Who got the remittance data early? + I bet it’s Goldman. + + Mark punches a blinking light. + + MARK + Jared, it's chaos over here. Where + are we? + + +146 INT. DUETSCHE BATHROOM - DEUTSCHE BANK - DAY 146 + + Jared enters a bathroom, pushes a BANKER OUT THE DOOR. + + JARED VENNETT + 116. + + + The gods have spoken. No one’s + buying CDO or mortgage bonds + anymore. + (To the guy he’s pushing + out) + Sorry, important call! + (then back to Mark) + Our secret's out. Swaps are now the + most valuable product on the + street. And I heard from someone + who heard from someone that Bennie + Leibman over at Morgan just took + some heavy losses in Morgan’s bond + department. Your ship might be + taking on water... It might be time + to grab a life jacket. + + Mark hangs up. Everyone's looking his direction. + + VINNY + And? + + MARK + The market's turned. + + A long, weird beat. No one speaks. No one celebrates. + + For good reason... + + RECEPTIONIST + Kathy's office is looking for you. + + +147 INT. MORGAN STANLEY HALLWAY - MOMENTS LATER 147 + + Mark strides for a corner office. A young woman passes in + tears, carrying a personal effects box and crying, newly + fired. + + +148 INT. MORGAN STANLEY - KATHY TAO’S OFFICE - DAY 148 + + A BREAST-PUMP on a credenza. + + Mark’s waiting on Kathy. Considering her Spartan office, he + realizes she has no personal effects, save the pump. + + Kathy Tao enters, frazzled, scared. + + KATHY TAO + 117. + + + Thanks for coming so quickly, Mark. + I’m sure you’ve been hearing + rumblings about some losses Morgan + has suffered. + +He nods. She sits. + + MARK + Congratulations. + + KATHY TAO + What? + +He points to the breast pump. + + KATHY TAO + Oh. Thanks. I just wanted you to + know that yes, Morgan has suffered + some losses but our liquidity is + strong and there’s no cause for + concern. + + MARK + What about Bennie Leibman? Is he + concerned. Word on the street is he + took some heavy losses. + +Half beat. + + MARK + We know each other too well Kathy. + How bad is it? + + KATHY TAO + Okay. Two years ago, Bennie Leibman + in Morgan’s bond department also + started shorting subprime housing. + 2 billion in triple B’s. + + MARK + Bennie's smarter than I thought. + + KATHY TAO + Not smart enough. The premiums on + the swaps ate into his desk's + profit. + + KATHY TAO + To cover his triple B shorts he + sold a lot of A and double A swaps + as protection. A lot. He believed + there was no way they could be + affected. + 118. + + + MARK + Tell me Morgan Stanley doesn’t hold + those contracts. + +Silence. They held them. + + MARK + What’s your exposure. 3 billion? + Don’t tell me it’s over 4. + + KATHY TAO + I can’t answer that. And I’m not + sure there’s even a definitive + answer. + + MARK + Kathy, you bring me in here to say + everything’s fine and you don’t + mention Bennie’s losses. You’ll + have to pardon me if I don’t + believe a word you’re saying right + now. + +Beat. + + KATHY TAO + Our long exposure is somewhere + between 12 and 16 billion. + + MARK + Jesus Christ... Are you fucking + kidding me? + + KATHY TAO + He kept saying defaults over 8 + percent were impossible. There'd be + a million homeless. + + MARK + And how is that a reason it can’t + happen?! + + KATHY TAO + No one thought... Please don’t do + this Mark. Like it or not you’re + part of Morgan. + + MARK + Kathy, given Morgan's leverage, + what are you doing to prevent a run + on this bank? + +We see she’s not just stunned, she’s terrified. + 119. + + +149 INT. MANHATTAN RESTAURANT - LATE NIGHT 149 + + At a window table, Mark and Vinny sit across from Porter + and Danny. + + PORTER + But we have nothing to do with + Morgan Stanley! + + VINNY + Tell the bankruptcy court. Morgan + fails, our accounts go on their + balance sheet. + + DANNY + That’s crazy. Morgan makes the + sucker’s bet and we pay their + gambling debts. + + Mark’s brooding dangerously. + + PORTER + You're saying, we could do + everything right, disciplined, + smart, and still go broke? + + VINNY + That’s right. + + PORTER + What do we do? + + MARK + Short the bank stocks. Then we + wait. + + VINNY + Or... we sell our swaps, when the + market opens. We get our bonuses + and our investors get their + profits. We'd get 30 cents on the + dollar. Not bad. + + MARK + They're worth three times that. + + VINNY + If Morgan goes under it won’t + matter. + + MARK + Forget it. I'm not giving away + lifeboats. + 120. + + + VINNY + Mark, don’t play a game of chicken + on this one. + + MARK + Drop it! Christ, Vin. We sell when + I say we sell. Don't pussy out on + me! + + VINNY + I get that this is what you’ve + dreamed about but we have a + fiduciary responsibility to- + + MARK + No. No we don’t. No one is being + responsible. So fuck + responsibility. We’re going to + shove the knife in to the hilt and + make these assholes at the big + banks- + + WAITRESS + (approaching) + --you boys want-- + + MARK + --we're talking! Excuse us. + + The Waitress is wounded. Goes. A brutal beat. No one can + look at Mark. + + MARK + (quiet) + I’ll say when we sell. + + +150 EXT. STREETS OF CHELSEA - DAY 150 + + Jamie is walking down the street on his cell. + + August 3, 2007 + + JAMIE + So not only do two mortgage hedge + funds backed by Bear Stearns go + belly up but now there’s a class + action law suit against Bear. + + +151 INT. SPIN CLASS - SAME TIME 151 + 121. + + + A SPIN CLASS IS IN PROGRESS WITH LOUD MUSIC PLAYING and 20 + people on bikes. A sweaty Charlie is standing off to the + side on his cell. + + CHARLIE + (yelling over the music) + Holy shit! Bear Stearns could + really collapse? + + JAMIE (V.O.) + I don’t know if Bear will collapse. + But there’s a risk they might. And + it’s a risk we shouldn’t take. + + CHARLIE + How the hell do we sell these + swaps!? I just realized we bought + them but we don’t know how to sell + them. + + JAMIE + We’ll have to get Ben to do it. + + CHARLIE + He’s on vacation with his wife’s + family in England! + + The Spin Class instructor turns to Charlie. + + INSTRUCTOR + Hey brother! Do you mind? + + CHARLIE + Sorry! + + +152 INT. SCION - MIKE'S OFFICE - SAN JOSE - DAY 152 + + CLOSE on Mike's good eye: he's scanning his monitors. + + January 14, 2008 + + He hovers over his terminal, worried. The numbers are not + good. We see default rates above 12%, Dow down 420 points + etc. He picks up the phone and dials a number by heart. + + MIKE + It's Dr. Burry. Looks like the + collapse in the financial sector is + imminent. Let's start to unwind my + position. It's 1.3 Billion. + + We hear disappointment in Mike's voice. + 122. + + +153 INT. SCION OFFICE - NIGHT 153 + + It's been cleared out, even Mike's Assistant is gone. The + light goes off in his inner office. + + Leaving, Mike stops off at his WHITE BOARD, erases -19.3% + with his palm and starts to write +... + + He stops, turns and considers the room full of abandoned + desks, just a telephone on each, all of them silent. + + CUT TO: + + +154 EXT. THE POWDER MONKEY PUB - EXMOUTH, ENGLAND - DAY 154 + + A southern England old world pub on a wet street in a small + country town. + + BEN (V.O.) + I’ve got almost no cell phone or + wifi reception and I’m trying to + sell 200 million dollars worth of + securities. And yes, this pub + smells like wet sheep. + + JAMIE (V.O.) + You can do this Ben ... + + +155 INT. POWDER MONKEY PUB - EXMOUTH, ENGLAND - DAY 155 + + Ben has his Bloomberg terminal set up at a table, wears a + fancy headset, rolls calls in sweatpants. + + BEN + This is The Brownfield Fund... I'm + trying to sell credit default + swaps...20 double A tranches of + CDOs...Absolutely, they're all + complete shit... Face value is 205 + million dollars. + + The PROPRIETRESS and THREE OLD ENGLISH MEN AT THE BAR + pretend not to listen to the strangest conversation they've + ever heard. + + BEN + No, we're looking for at least 100 + million. + + PUB-GOER + 123. + + + 100 million! Hey laddy, are you a + drug dealer or a banker?! If you’re + a banker fuck off! + + Everyone laughs in the pub. Now they’re openly watching. + + BEN + Just give me your best number. + + PUB-GOER #2 + Have em throw in a million for me! + + BEN + Look, if you don’t want this deal + then hang up... + + BEN + (they don’t hang up) + That’s what I thought... + + +156 INT. BROWNFIELD OFFICE - EARLY MORNING 156 + + Charlie and Jamie stand around Charlie’s SPEAKER PHONE. + + CHARLIE + Okay. Eighty million. Okay. That's + good. + + JAMIE + Eighty's great, Ben. Thank you. + Thank you so much. + + BEN (O.S.) + Most of it went to UBS. You're very + lucky. The largest bank in France + froze customers money market + accounts today. This thing's + hitting Europe. I hope I can get + home... + + CHARLIE + You will. Call us when you land. + + JAMIE + Hey Ben, I’m just wondering, why + did you do this with us? I mean, + you didn’t have to.... and thanks. + But why? + + BEN (O.S.) + Because I like you guys. + 124. + + + JAMIE + (thrown) + Wow. You do? That’s so cool... + Okay... Bye Ben. Hello? Oh. + + He hangs up. + + JAMIE + Eighty million in 6 months. From + just 110 thousand 4 years ago. + That's not bad. + + CHARLIE + I’m done. No more. + + JAMIE + Yeah. Yeah, me too. + (half beat) + But we have to short Bear Stearns. + + CHARLIE + You damn straight. + (realizing) + Oh, crap, where are we gonna put + the money we made? + + DISSOLVE TO: + + +158 INT. AUDITORIUM - DEUTSCHE BANK HQ - DAY 158 + + Dark. Elegant. A well-heeled crowd of 200 INVESTORS. + + March 14, 2008 + + JARED VENNETT (V.O.) + 125. + + + As the housing markets and banks + continued to hemorrhage only one of + the big shorts refused to sell: + Mark Baum. So it was beyond perfect + when he was asked to speak at a + conference opposite Bruce Miller, a + famous bullish investor. After he + and Mark had their debate, Alan + Greenspan, one of the architects of + the whole crisis was scheduled to + speak. Everyone in Mark’s office + showed up and even invited + friends.... This was Ali versus + Foreman of the financial world... + The realist versus the fools. If it + seems almost too perfect, trust me, + this happened. And it was + beautiful. + +A podium waits for Greenspan. Beside it are 3 chairs with +THE HOST, BRUCE MILLER, ruddy and confident and a sloppily- +dressed Mark Baum. + +Vinny's in the front row. + + BRUCE MILLER (THE BULL) + As some of you may know, Bear + Stearns just received a loan from + JP Morgan. We'll see how the market + reacts, but I think that lays to + rest concerns about the bank's + health. + + THE HOST + I take it you have no plans to sell + your 200 million in Bear stock? + + BRUCE MILLER + When we're done here, I'll probably + buy more. + + THE HOST + For the opposing view, Mr. Baum. + + MARK + I gotta stand for this. + +Wholly uninvited, Mark takes his mic to the podium. + + MARK + 126. + + + Okay, hi, so my firm's thesis is + simple: Wall Street took a good + idea, Lewis Ranieri’s Mortgage Bond + and turned it into an atomic bomb + of fraud and stupidity that is on + it’s way to decimating the world + economy. + + BRUCE MILLER + How do you really feel? + +The crowd laughs. + + MARK + I’m glad you still have a sense of + humor. I wouldn’t if I were you. + (back to the crowd) + Now, anyone who knows me knows I + have no problem telling someone + they’re wrong. Hell, it’s my + passion. + (beat) + Well for the first time in my life, + it’s not so enjoyable. + +Arriving late, Porter slips in the last row behind Danny. + + PORTER + (whispers) + Bear Stearns issued a press release + denying rumors of liquidity + problems. + + DANNY + (whispers) + They said they had liquidity?! That + always means they don’t. + + MARK + We’re living in an era of fraud in + America. Not just in banking. But + in government, education, food, + religion, journalism, prisons, + baseball... Somehow, American + values became fuck it, let’s grab + what we can for now and the hell + with tomorrow. + +Danny gets a quote, curses, types, Here we go! Bear at 47! + + MARK + 127. + + + And what bothers me isn’t that + fraud is “not nice” or “mean.” It’s + that for fifteen thousand years + fraud and short sighted thinking + has never, ever worked. Not once. + How the hell did we all forget + that? + +Vinny gets a text...Bear at 35 last! + + MARK + I thought we were all better than + this... I really did. And the fact + that we’re not doesn’t make me feel + superior and right... It makes me + feel sad... + +In the back, a man hurries out holding on his cell phone. + + MARK + And as fun as it is seeing pompous + dumb Wall Streeters be wildly + wrong, + (turns to the Bull) + and you are wrong sir. + (back to his wrap up) + I just know that at the end of the + day regular people are going to pay + for all of this. Because they + always, always do. + +Danny's just typed Bear at 29 last!!! as he hears this. + + MARK + That's my two cents. Thank you. + +Mark pats Bruce Miller on the back as he takes his seat. + + THE HOST + Does our bull have a response? + + BRUCE MILLER + Only that in the history of Wall + Street, no investment bank has ever + failed except when caught in + criminal activities. So I stand by + my Bear Stearns optimism. + +A YOUNG BANKER stands, unwilling to wait for the Q & A. + + YOUNG BANKER + Mr. Miller! Sorry. Quick Question. + (re: his Blackberry) + 128. + + + From the time you guys started + talking, Bear Stearns stock has + fallen more than 38 percent. Would + you buy more now? + + BRUCE MILLER + (unsure) + Sure. Yeah. I'd buy more. Why not? + + Awkward silence. + + Mark whispers into his mic... + + MARK + Boom. + + Mark watches the whole room scramble for the aisles. + + +159 INT. BACK HALLWAY TO AUDITORIUM - DAY 159 + + A PR PERSON leads ALAN GREENSPAN (never fully seen) and his + ENTOURAGE toward an auditorium door. + + PR PERSON + This way Mr. Greenspan. We are so + honored to have you here today... + + +160 INT. AUDITORIUM - DAY 160 + + The PR Person leads Greenspan and entourage in up front. + + THERE ARE ONLY SIX AUDIENCE MEMBERS in the vast hall. + + PR PERSON + What the hell? + + CUT TO: + + +161 EXT. TIMES SQUARE - PRE-DAWN 161 + + Empty. The SCROLL is dead. + + Suddenly, it flickers and kicks to life as if re-booted. + + The first message says it all... + + Lehman bankruptcy leaves country in turmoil. + 129. + + +162 EXT. PLAZA - LEHMAN BROTHERS HQ - DAY 162 + + A beautiful day. Charlie stands on a bench watching LEHMAN + EMPLOYEES with effects boxes exit through a PRESS gauntlet. + + September 15, 2008 + + Jamie ends a call below him. + + JAMIE + That was Ben . The Dow has dropped + 1800 points in the last three days. + He thinks the price of gold could + go higher than the Dow. Up is now + officially down. + + Charlie is still watching the chaos at Lehman. + + CHARLIE + I want to see inside. + + JAMIE + How? + + +163 EXT. WEST 49TH STREET - DAY 163 + + His box already in a taxi, a LEHMAN GUY looks from Jamie + and Charlie’s expectant faces to the building. Fuck it. + + The Guy takes off his ID tag and hands it over. + + CHARLIE + Which floor's fixed income? + + +164 INT. FRONTPOINT OFFICE - LATER THAT DAY 164 + + Vinny is on the phone. Danny and Porter work quietly if + feverishly at their desks that are covered in screens. + + VINNY + Mark! Answer your phone! We have to + sell! This whole thing’s blowing + up! + + DANNY + Prices are moving... I can't get a + fix! + + Danny's panicked. + 130. + + + DANNY + We have like 70 positions...I + can't...I don't know what's + happening to anything! Morgan's + lost a third of it's value. + + Vinny and Porter exchange a worried glance. + + VINNY + Is it a run? + + DANNY + I don't know. + + VINNY + Danny, is there a run on Morgan + Stanley?! + + DANNY + I don't know! + + Danny squints at his screens; something's wrong with his + vision. He's soaking wet. Looks down at his chest. + + DANNY + I think I'm having a heart attack. + + PORTER + No, you're not. + + He's extremely pale but doesn't walk from the desk, tries + to regulate his breathing as Porter and Vinny watch. + + PORTER + You're not having a heart attack. + (no response) + You're not having a heart attack. + (no response) + You're not having a heart attack. + + Danny looks as if he can't hear. + + PORTER + All right, maybe you are. + + Vinny picks up the phone to call 911. + + VINNY + Hello, we need an ambulance, now! + + +165 INT. LEHMAN ELEVATOR BANKS - DAY 165 + 131. + + + A DIMINUTIVE EXEC is in the flow of departing Employees. + + DIMINUTIVE EXEC + Go straight to your transportation! + Do not talk to the press! Go + straight to your transportation! Do + not talk to the press! + + Jamie holds up the pass for a Guard, who hurriedly waves he + and Charlie through the turnstile, like two diplomats + slipping back in the embassy as Saigon falls. + + +166 INT. TRADING FLOOR - LEHMAN BROTHERS - DAY 166 + + Abandoned. A few EMPLOYEES pack. Loose paper's everywhere. + + Charlie and Jamie walk through the destruction: plundered + desks; emptied picture frames; sad tchotkes. + + On one desk, someone's made a pyramid of Red Bull cans. + + On one wall, someone's painted a huge...LEH: 0.00. + + CHARLIE + This isn't how I pictured it. + + JAMIE + What'd you think we'd find? + + Charlie considers this question a few seconds. + + CHARLIE + The grown-ups. + + +167 EXT. ST. PATRICK'S CATHEDRAL - DAY 167 + + A BUSINESS CROWD passes. + + On the church steps, Danny is now okay. He, Vinny and + Porter watch the crowd, rushing past, oblivious. + + VINNY + You okay? + + DANNY + Yeah... I think so. It’s + embarrassing. I really thought I + was having a heart attack. + + PORTER + 132. + + + Let’s go to dinner tonight. I hear + there’s a great new Cuban joint in + the lower east side. + + DANNY + Really? I’d like that. + + Vinny paces. His Blackberry RINGS. + + VINNY + Mark, finally! + (answering) + Hey, it's a bloodbath up here. + + +168 EXT. UPPER EAST SIDE APARTMENT ROOF GARDEN - SAME TIME 168 + + Mark sits at a table with his laptop and a coffee, shell + shocked staring off into the building around him. + + Vinny's on Mark’s cell phone speaker. + + VINNY (O.S.) + Word's out. Morgan's stock has lost + half its value. Down to 23.10. + Clients are wanting to talk to you + about pulling their money. + (then) + It's now or never. We gotta sell + Mark. + (silence) + Hello? + (nothing) + Mark?! + + MARK + Yeah. + + CLOSE on MARK. He's staring at nothing. + + VINNY (O.S.) + At least tell me what you're + thinking. + + FADE TO BLACK: + + MICHAEL BURRY (V.O.) + I met my wife on Match.com. My + profile said, quote, I am a medical + student with only one eye, an + awkward social manner, and $145,000 + in student loans, end quote. + 133. + + + MICHAEL BURRY (V.O.) + She wrote back: you're just what + I've been looking for. She meant + honest. So, let me be honest... + + +169 INT. SCION OFFICE - DAY 169 + + Bare feet on corporate carpet. + + MIKE (V.O.) + ...making money is not like I + thought it would be. + + Mike's at the Assistant's Desk sorting through a stack of + his mail. He's also listening to the VOICE MAIL on the + phone's speaker, erasing most messages after they start. + + VOICE MAIL MESSAGE + Oh, Mike, this is Kerry Mann down + at Camelot Capital. Listen, we see + you're jumping back in the equities + market in a big way. In this + environment, we're not sure that's + a wise-- + + He hits ERASE. And keeps sorting. + + MIKE (V.O.) + This business kills the part of + life that is essential: the part + that has nothing to do with + business. + + +170 INT. MINI-MART - DAY 170 + + Burry’s FORMER ASSISTANT is stocking Red Bulls in a + convenience store. + + +171 EXT. UPSCALE MIAMI NEIGHBORHOOD - DAY 171 + + The neighborhood Baum toured with the real estate agent is + now covered with foreclosure signs. + + +172 INT. SEMINAR ROOM - CORPORATE HOTEL - DAY 172 + + With two dozen others, Marlene and the Younger Agent are + taking a seminar, “You Can Be a Real Estate Millionaire”. + + SEMINAR LEADER #2 + 134. + + + (again) + The housing crisis represents the + greatest financial opportunity of + your lifetime! + + +174 EXT. CONVENIENCE STORE - DAY 174 + + The Man with the Tattooed Head comes out of the store and + hurries to his CAR, carrying food. When he gets in, we see + his child, wife and their stuff. They now live in the car. + + MIKE (V.O.) + For the past two years my insides + have felt like they’re eating + themselves. All the people I + respected won’t talk to me anymore + except through lawyers... + + +175 INT. BASKETBALL ARENA - MIAMI UNIVERSITY - DAY 175 + + A large JOB FAIR. + + Maroon waits in a long line for his turn with an ADVISOR, + one of many in a row of folding tables. He looks over to + see his friend, Black, in another line. Nods. Hey. Hey. + + MIKE (V.O.) + People want an authority to tell + them how to value things. But they + chose this authority not based on + facts or results. They chose it + because it seems authoritative and + familiar. And I am not and never + have been... “familiar.” + + +176 INT. CAB - DAY 176 + + The West African Cab Driver that drove Mark looks at his + 401K. It says -43,540 dollars. Leaving only 46k. + + +177 INT. MIKE'S OFFICE - NIGHT 177 + + Mike types the email we've been hearing in VO throughout. + + MIKE (V.O.) + So, I've come to the sullen + realization that I must close down + the fund. + 135. + + +178 INT. SCION OFFICE - NIGHT 178 + + It's the night Mike erased the WHITE BOARD in the empty + office. + + This time, we watch him write his fund's growth...+489%. + + MIKE (V.O.) + I am writing this to inform you + that earlier today I sold off all + positions for Scion Fund. + + He circles it. Then walks out. + + +179 INT. OFFICE - DEUTSCHE BANK - DAY 179 + + Inscrutable, Jared Vennett considers a BONUS LETTER on his + desk. He talks to camera. + + JARED + (to camera) + I can’t really say it to anyone + else, but I’ll say it to you: I was + right. I took a rash of shit for + the past two years but I was right. + + His bonus for 2008 is $47,000,000. + + JARED + Hey I never said I was the hero of + this story. + + He kisses the check. + + JARED + I can feel you judging me... + Remember, I made this bank 20 + billion. My two bosses lost 30 + billion and still got fifty million + in bonuses. You didn’t see that on + your news did you? + + +180 EXT. UPPER EAST SIDE APARTMENT ROOF GARDEN - DAY 180 + + Mark as before, quiet, talking to Vinny via cell phone. + + MUSIC: A piano piece like THE TWINS by MAX RICHTER fades in + slowly + + VINNY (O.S.) + 136. + + + Mark!? At least tell me what you're + thinking. + + MARK + Paulson and Bernanke just left the + White House. There's going to be a + bailout. + +Mark’s voice is full of masked emotion, quiet, resigned. + + VINNY (O.S.) + You're serious?! + + MARK + Yeah... The whole time we were + wondering how the big banks could + be so stupid... They didn’t care. + They knew the tax payers had to + bail em out. + + VINNY (V.O.) + Those fuckers. + (and then) + At least we’ll see some of them go + to jail. And they’re going to have + to break up the banks. + + MARK + I don’t know Vinny. I bet in a few + years we’ll be doing what people + always do when the economy goes + south: blaming immigrants and poor + people. + + JARED (V.O.) + But Mark was wrong. In the years + that followed 100’s of bankers and + rating’s agency executives went to + jail. The SEC was completely + overhauled. + +MONTAGE OF REFORM IMAGERY: 1. HEARINGS AT CONGRESS. 2. THE +DODD/FRANK BANKING REFORM BEING SIGNED, 3. BANKERS BEING +PERP WALKED IN HANDCUFFS. + + JARED (V.O.) + And Congress had no choice but to + break up the big banks and regulate + the mortgage and derivatives + industries. + (Beat) + Just kidding. + 137. + + + SMASH TO: VT. OF 1) PEOPLE SCREAMING AT IMMIGRANT CHILDREN + ON THE BORDER. 2) GOVERNORS AND TALK SHOW HOSTS BLAMING + TEACHERS 3)CONGRESS VOTING DOWN SERIOUS BANKING REFORM. + + JARED (V.O.) + The banks took the money the + American people gave them and used + it to lobby the Congress to kill + big reform. And then America blamed + immigrants and poor people. And + this time... even teachers. + + JARED (V.O.) + And when all was said and done, + only one single banker went to + jail. + + PICTURE OF THE ONE BANKER WHO WENT TO JAIL. + + JARED (V.O.) + This poor schmuck. Kareem + Serageldin from Credit Suisse. He + hid a few billion in mortgage bond + losses. Something most of the big + banks do on a good day. I’m sure it + didn’t hurt that he was of Egyptian + decent... + + +185 EXT. UPPER EAST SIDE APARTMENT ROOF GARDEN - CONTINUOUS 185 + + Mark silently looks off into the distance, still on the + phone with Vinny. + + VINNY (V.O.) + Mark? + (beat) + Can we sell now? The fund’ll make + almost a billion dollars... You’ll + clear 200 mill Mark. + + MARK + You know once we sell we’re just + like all the rest... + + VINNY (V.O.) + No we’re not Mark... We didn’t prey + on people’s dreams of owning a + home... They did. And now we can + kick em in the teeth. + + MARK + A billion dollars... + 138. + + + VINNY + That’s right. But we’ve got to sell + or it could be zero. It’s now or + never. It really is. + +Long beat. + + MARK + Okay... Sell it all. + +The Big Short + +MUSIC: ORCHESTRAL THEME. + +And then over black... + +“When the dust settled from the collapse 5 trillion dollars +in pension money, real estate value, 401k, savings, and +bonds had disappeared. 8 million people lost their jobs, +six million lost their homes. And that was just in the +USA.” + +“Charlie Geller and Jamie Shipley attempted to sue the +ratings agencies but were laughed out of all law offices. + +Jamie still runs Brownfield with Ben Rickert but Charlie +left New York to live in Charlotte and start a family. He +did not go on Lithium.” + +“Cynthia says Mark Baum actually became gracious after the +collapse and never said “I told you so” to anyone. But he +did give large sums of his money to a charity that helps +people escape from cults. Danny, Vinny and Porter all still +run a fund together and are as terrified as ever.” + +“Michael Burry contacted the government several times to +see if anyone wanted to interview him to find out how he +knew the system would collapse years before anyone else. No +one ever returned his calls. But he was audited four times +and questioned by the FBI. The small investing he still +does is all focused on one commodity: water.” + +After a beat... + +“In 2015 several large banks began selling billions in +something called a “bespoke tranche opportunity.” Which +according to the Wall Street Journal is just another name +for a CDO.” + +END. + \ No newline at end of file diff --git a/scripts/The Day The Earth Stood Still.txt b/scripts/The Day The Earth Stood Still.txt new file mode 100644 index 0000000000000000000000000000000000000000..f7f690d14f931343c5eb2a7297ddfa5f66c7fddc --- /dev/null +++ b/scripts/The Day The Earth Stood Still.txt @@ -0,0 +1,6420 @@ + "THE DAY THE EARTH STOOD STILL" + + by + + Edmund H. North + + Revised final draft + + February 21, 1951 + + + + EXT. BEACH - PACIFIC ISLAND - MED. SHOT - DAY + + Backgrounded by palm trees and rolling surf, an American + army radar operator sits at his huge instrument, intently + tracking a target. Without interrupting this, he speaks with + tense excitement into a telephone transmitter strapped to + his chest. (It is 8:00 a.m.) + + (In this and the subsequent scenes, music and cutting build + to an exciting crescendo). + + EXT. FIELD - HONG KONG - MED. SHOT - DAY + + A group of British soldiers, in shorts and tropical gear, + are gathered tensely around a piece of radar equipment, which + is tracking a target. The radar operator says something to + another soldier, who turns and speaks excitedly into a field + telephone. (It is 5:00 a.m.) + + INT. INDIAN RADIO STATION - NIGHT + + The microphone bears the word CALCUTTA. An Indian announcer, + his expression one of excitement and terror, jabbers into + the mike in a native tongue. A clock on the wall indicates + that it is 2:26 + + EXT. RUSSIAN BOMBER IN FLIGHT - (STOCK) - NIGHT + + The plane is identified by a red star on the fuselage. + + INT. RUSSIAN BOMBER - NIGHT + + The radioman is tracking an object on his radar scope. He + points it out excitedly to the pilot. The pilot adjusts his + microphone and starts making a report back to his base in + Russian. + + EXT. FRENCH VILLAGE - STREET CORNER - MED. CLOSE SHOT - + NIGHT + + A group of French farmers is collected around a radio, + listening wide-eyed to the keyed-up voice which is telling + them, in French, of a strange object that has been seen in + the sky. They exchange uneasy glances. One old man crosses + himself. + + SPLIT SCREEN SHOT + + RIGHT SECTION OF SCREEN SHOWS INT. AMERICAN RADIO STATION - + DAY + + A breathless American radio reporter is speaking into his + mike, but we can't hear what he's saying. On the wall behind + him is a clock which reads 3:32. + + LEFT SECTION OF SCREEN SHOWS INT. BRITISH RADIO STATION - + NIGHT + + A clock shows the time to be 8:32. The British announcer + tries to maintain his traditional BBC calm, but finds it + almost impossible to control his excitement. + + BRITISH ANNOUNCER + Reports are coming in from all over + the Empire -- from all over the world. + The Government have not yet issued a + statement, but there seems to be no + question that there actually is a + large, unidentified object circling + the earth at incredible speed. + + This announcer keeps talking, but his voice fades out, and + now we hear the words the American announcer is saying... + + AMERICAN ANNOUNCER + (staccato with + excitement) + We still don't know what it is or + where it's from ?- but we do know + there's something there. It's been + tracked around the world by radar + traveling at a rate of four thousand + miles an hour. + + INT. NEW YORK TAXI - DRIVER AND FARE ? DAY + + The driver and his fare are listening intently to the radio, + as we hear the voice of another radio reporter. + + 2ND RADIO REPORTER + (voice off scene) + This is not another "flying saucer" + scare. Scientists and military men + have already agreed on that. Whatever + this is -- it's something real. + + EXT. SUBURBAN GAS STATION + + The attendant, who is filling a car with gas, leans around + to hear the car's radio, oblivious to the fact that the car's + tank is overflowing. + + 3RD RADIO REPORTER + (voice off scene) + We interrupt this program to give + you a bulletin just received from + one of our naval units at sea. "A + large object, traveling at supersonic + speed, is headed over the North + Atlantic toward the east coast of + the United States." + + Music builds to a climax and ends. + + INT. WASHINGTON RADIO STATION + + 4TH RADIO REPORTER + (with deliberately + controlled calm) + Here in the nation's capital, there + is anxiety and concern, but no outward + sign of panic. As a matter of fact, + there are signs of normalcy that + seem strangely out of place; the + beautiful spring weather, the tourist + crowds at the various monuments and + public buildings... + + EXT. LINCOLN MEMORIAL - LONG SHOT (STOCK) + + A small crowd of tourists is climbing the steps to the + columned entrance. + + EXT. WASHINGTON MONUMENT - LONG SHOT (STOCK) + + Under this shot a barely audible, distant hum is heard. It + grows in volume so imperceptibly in this and the next two + shots that we are unconscious of it. + + EXT. JEFFERSON MEMORIAL - LONG SHOT (STOCK) + + EXT. THE MALL - LONG SHOT + + Crowds are strolling on the Mall and across the well-kept + lawns in front of the Smithsonian Institution with the + leisurely, meandering quality that distinguishes sight-seers. + + MED. SHOT + + Including several small groups of people moving toward the + Smithsonian. Their attention is attracted as the hum off + scene becomes a roar. The sound is unearthly in its intensity + and almost unbearable in its swiftly increasing volume. The + people stop in their tracks and look up in the sky in terror. + + MED. CLOSE SHOT + + Several people on the steps of the Smithsonian have turned + to look. There is cold, frozen fear in their eyes. The awful + sound keeps increasing in volume. + + CLOSE SHOT + + A man, following the progress of a huge object in the sky + with his eyes. He is held terror-stricken. + + LONG SHOT INTO SKY (SERSEN SHOT) + + A giant shape, still at some distance, is approaching the + earth at incredible speed. + + LONG SHOT ON GROUND + + A group of people run wildly across a large expanse of lawn. + A huge shadow cast from above onto the grass seems to be + pursing them. + + LONG SHOT INTO SKY (SERSEN SHOT) + + The great shape is considerably nearer now. + + CLOSE SHOT + + Of a woman, thoroughly shaken, held immobile by what she + sees and hears. + + LONG SHOT + + People scatter madly in all directions as the huge spaceship + comes in for a landing on a smooth, grassy area. The + tremendous roar of its motors is suddenly cut off and the + great ship settles gently to a perfect landing. + + MED. SHOT - THE SHIP + + The gleaming surface of the ship shows no break of any kind -- + no windows, no ports, not even the outline of a hatch. It is + a fearsome, terrifying object, giving no evidence of its + source or its intention. + + LONG SHOT - (FROM PARALLEL) + + Shooting down on a section of lawn, showing the varying + reactions of people to the landing. Some are still running + madly away; others, singly and in little groups, stand as + though rooted, staring at the ship from a respectful distance. + + CLOSE SHOT - MAN + + As he stares at the ship with fascination and horror. He'd + like to run but he can't. His mouth twitches and he emits a + nervous little laugh. + + MED. CLOSE SHOT + + A woman is holding a two-year-old child by the hand as she + watches the ship, awe-struck. Several people run past them. + Suddenly the woman grabs up the child with a little sob, + turns and runs away. + + MED. SHOT + + A middle-aged man runs up to a group of several people, + pointing wildly toward the ship and yelling irrationally: + + MAN + They're here! They're here! + + He runs off toward another group as we-- + + DISSOLVE TO: + + MONTAGE + + A series of short DISSOLVES showing: + + 1. A man dashing up to a crowded Washington street corner + shouting wildly and gesticulating in the direction from which + he came. + + 2. Policemen piling into squad cars, which roar out of their + garage. + + 3. Soldiers rushing out of a barracks at Fort Myer, with + rifles and side arms, to form up on their company street. + + 4. Newspaper presses rolling at high speed. + + 5. Newscasters chattering excitedly into their microphones. + + 6. A large telephone switchboard with the girls in a frenzy + of activity as they try to handle the calls pouring in. + + DISSOLVE TO: + + EXT. BASEBALL STADIUM - LONG SHOT + + The players are standing on the field in the crowded stadium, + but the game has been interrupted and everyone is listening + to the voice on the loudspeaker system. (Actual stock shot + would be coverage of some dedication or ceremonial.) + + DISSOLVE TO: + + INT. PENTAGON OFFICE - CLOSE SHOT + + A Brigadier General speaks in clipped tones into the + telephone. There are a couple of other officers in the room. + + BRIGADIER GENERAL + (into phone) + Get me the Chief of Staff. + + DISSOLVE TO: + + INT. U.S. SENATE OR HOUSE OF REPRESENTATIVES (STOCK) + + A shot, if one is available, of either House listening raptly + as an announcement of great import is read by the Chair. + + DISSOLVE TO: + + INT. OFFICE - CLOSE SHOT + + A distinguished-looking government official speaks into the + phone with a sense of subdued urgency. + + GOVERNMENTAL OFFICIAL + I want to speak to the President. + (listens for a moment) + I'm sorry -- you'll have to interrupt + him. + + DISSOLVE TO: + + INT. RADIO AND TELEVISION STUDIO - MED. SHOT + + A nationally known news commentator -- for purposes of this + script let's say Drew Pearson -- is seated before a radio + mike. He is also being photographed by TV cameras. In a wall + near him is a TV screen which shows what is going out on the + air. During the ensuing speech, a man comes in a hands him a + sheaf of news bulletins. + + PEARSON + Good afternoon, ladies and gentlemen, + this is Drew Pearson. We bring you + this special radio-television + broadcast to give you the latest + information on the landing of the + "space ship" in Washington. + + CLOSE SHOT - PEARSON + + PEARSON + Government and Defense Department + officials are concerned by reports + of panic in several large Eastern + cities. I am authorized to assure + you that so far there is no reasonable + cause for alarm. The rumors of + invading armies and mass destruction + are based on hysteria and are + absolutely false. I repeat -- these + rumors are absolutely false! + + ANOTHER ANGLE + + PEARSON + The ship, designed for travel outside + the earth's atmosphere, landed in + Washington today at 3:47 p.m., Eastern + Standard Time. We still don't know + where it came from, but I can reveal + that military leaders are considering + two possibilities; that it came from + some unfriendly power here on earth -- + or that it actually arrived from + another planet. + + CAMERA PANS to and DOLLIES IN on the TV screen in the wall. + On the screen is a shot of the space ship. + + PEARSON'S VOICE + (over scene) + The ship is resting exactly where it + landed two hours ago, and there has + been no sign of life from inside it. + + OUR CAMERAL HOLDS on the TV screen. The cuts that follow are + inside the frame of the screen: + + EXT. THE MALL - MED. SHOT + + Two platoons of infantry soldiers surround the ship, their + rifles at the ready. + + PEARSON'S VOICE + (over scene) + Troops have been rushed from Fort + Myer and they have formed a cordon + around the ship. + + MED. SHOT + + showing two machine guns, two Sherman tanks and two 75MM + guns. The gun crews are posted for action and all weapons + are trained on the space ship. + + PEARSON'S VOICE + (over scene) + They are supported by machine guns, + tanks and artillery. + + MED. SHOT - POLICE CORDON + + Cops are holding back a section of a large crowd, some + distance away from the ship. The people are wide-eyed and + tense with excitement. + + PEARSON'S VOICE + (over scene) + Behind police lines, there is a large + crowd of curiosity seekers. + + SERIES OF INDIVIDUAL CUTS + + 1. Civilians in the crowd, their eyes and nerves taut with + suspense. + + 2. A young soldier, who grips his rifle and moistens his + lips nervously, his eyes never leaving the ship. + + 3. A tank commander blinks from the tension of staring at an + unmoving object. + + 4. The last cut is of the ship itself. + + PEARSON'S VOICE + (over scene) + As you can see for yourself, the + Army has taken every precaution to + meet whatever the situation may + require. Every eye -- every weapon -- + is trained on the ship. It's been + this way for two hours and the tension-- + + CLOSE SHOT - PEARSON + + as he interrupts himself excitedly, his attention riveted on + the TV screen. + + PEARSON + Just a minute, ladies and gentlemen! + I think I see something moving! + + EXT. THE MALL - MED. LONG SHOT - DAY + + We are at the actual location now, not looking at TV. We see + the ship surrounded by soldiers, two medium tanks, two + artillery pieces, and a couple of machine guns. Some distance + away is a suggestion of the crowd of civilians, held back by + police. Prominent in the scene are newsreel and television + cameras. OUR CAMERA MOVES IN to MED. SHOT. As it does so, we + see a couple of metal objects rising slowly from the top of + the ship. One, which is an oddly-designed coil of wire, slides + up and revolves slowly. The other is a section of vented + pipe with a convex cap on it. + + REVERSE ANGLE + + on the soldiers, their eyes glued to this first sign of + activity from the ship. They shift uneasily, gripping their + rifles more firmly. + + MED. SHOT - THE SHIP + + After a long, tense moment, a ramp appears silently out of + the side of the ship and slides down to the ground. There is + an audible gasp as a man appears at the top of the ramp. He + looks around at the crowd with cool and imperturbable dignity. + This is KLAATU. He is completely human in appearance. The + only unearthly thing about him is his clothing. He wears a + tunic that is very good looking, but at the same time + thoroughly comfortable and practical. On his head is a metal + helmet that obscures most of his face. (It would be impossible + to identify him later.) The design of this helmet gives the + impression that it is more a formal headdress than for + protection. Klaatu is above all an impressive man -- a man + of tremendous dignity and presence. He has the tolerant + superiority that comes with absolute knowledge. + + INDIVIDUAL REACTION CUTS + + of soldiers, people in the crowd, and policemen. The newsreel + and TV men are busy at their cameras. + + MED. CLOSE SHOT - KLAATU + + After an impressive moment, he raises his arms in the + universal gesture of neutrality. Then he speaks, in perfect + English, his voice amplified as though through an enunciator. + + KLAATU + We have come to visit you in peace -- + and with good will. + + Klaatu walks slowly down the ramp toward the soldiers. As he + does so, he draws from inside his tunic a strange looking + object, longish and tubular. It might be a a telescope -- or + it might be some strange kind of weapon. + + MED. SHOT + + shooting from the side, showing Klaatu advancing slowly toward + the line of soldiers. He holds out the mysterious object in + front of him in a gesture that is actually one of offering + but could be misinterpreted as menacing. There is a growing, + uneasy rumble of muttering among the soldiers as Klaatu + advances. They are clearly frightened of what he may do. + + CLOSE SHOT - PLATOON LEADER + + A young second lieutenant, standing in front of his platoon. + As Klaatu advances, the lieutenant unslings his carbine. + + MED. SHOT + + Klaatu starts toward the platoon leader, raising the object + he holds toward the man, trying to make clear his intentions. + Misinterpreting this as a menacing gesture, the platoon leader + raises his carbine to his shoulder. + + MED. CLOSE SHOT + + of one of the tank commanders in the turret of his tank. He + is watching Klaatu advancing toward the platoon leader and + he has drawn his pistol. Convinced that the lieutenant is in + jeopardy, the tank commander aims at Klaatu and fires. + + MED. SHOT + + as Klaatu falls to the ground wounded. The object he was + holding has dropped from his hand and smashed. The soldiers + start to gather around Klaatu excitedly when suddenly there + appears in the entrance to the space ship a huge robot. There + is a gasp of amazement from the crowd and the solders draw + back at sight of him. The robot is ten feet tall, is made in + the almost-perfect image of a man. He is to be played by an + actor and his flesh appears to be made of a greenish metal. + His eyes flash as though lighted internally. His perfectly- + fashioned, muscular body is covered only with a loincloth. + This is GORT. + + There are cries of amazement as Gort walks slowly ponderously, + down the ramp to the ground. As he does so, the ramp closes + behind him. Gort's face is, and always remains, utterly + expressionless. He stops to look at Klaatu, lying on the + ground. Then he looks around at the soldiers, the tanks and + guns. All the guns have been traversing to follow him. + + CLOSE SHOT - GORT + + From inside him there comes an ominous crackling sound, as + though power were being generated within him. His eyes flash + toward the tank from which Klaatu was shot. + + MED. CLOSE SHOT - TANK + + There is a great metallic clatter and the Sherman tank is + suddenly reduced to a pile of junk metal, its parts completely + disintegrated. Only a piece of tank track and twisted gun + barrel emerge from the heap on the ground to identify what + had been there. The tank's crew has remained unharmed. + + CLOSE SHOT - GORT + + The crackling sound continues as his eyes start to sweep in + a semicircle taking in all the troops. + + MED. SHOT - THE TROOPS + + SHOOTING FROM BEHIND Gort, with the back of his head in f.g., + CAMERA PANS to follow Gort's sweeping gaze. In a growing + crash and clatter of metal, every weapon in sight is + destroyed. The two machine guns are little heaps of junk. + The 75's are larger heaps. The second tank, like the first, + is a three-foot pile of scrap. Rifles have dropped from the + soldier's hands and lie on the ground as little mounds of + wood and metal. None of the men has been harmed, but their + faces show the utter terror of what they have experienced. + + ANOTHER ANGLE - THE TROOPS + + as they react to the full shock of what has happened. Most + of them stand rooted to the ground. Several laugh + hysterically. A few break and run wildly. + + MED. SHOT - CROWD OF CIVILIANS + + Sudden pandemonium breaks out. Utterly terrified by what + they have witnessed, the crowd becomes a wild, milling, + screaming mob, concerned only with escape. + + MED. CLOSE SHOT - GORT + + He is walking slowly, deliberately, menacingly toward the + tank commander who fired on Klaatu. Standing by the debris + of his tank, the man is immobilized with terror. The robot + starts to reach out to grab him. + + CLOSE SHOT - KLAATU + + lying on the ground. He speaks to Gort sharply, in a strange + language. + + KLAATU + Gort! Deglet ovrosco! + + MED. CLOSE SHOT - GORT + + He pauses obediently in the act of reaching out for the tank + commander. Dropping his arms, he stands motionless and remains + that way. + + MED. CLOSE SHOT - KLAATU + + He has raised himself to a sitting position on the ground, + his wounded shoulder giving him considerable pain. The two + platoon leaders come into scene hesitantly, badly shaken by + the awesome demonstration of power they have seen. They are + uncertain as to what they should do. The platoon leader eyes + the smashed object on the ground curiously and turns + questioningly to Klaatu. With great dignity, Klaatu picks up + the broken object, which we see well for the first time. It + is a delicately-made tubular telescope, badly smashed. On it + are indications of small electronic gadgets. + + KLAATU + It was a gift. For your President. + (glances at the broken + object ruefully) + With this he could have studied life + on other planets. + + Klaatu lets the object drop with a shrug of mild exasperation. + The two lieutenants exchange a helpless look of bewilderment. + Then Klaatu raises himself to his feet painfully, holding + his wounded shoulder. As he does so, a colonel and a captain + come into scene. + + COLONEL + (to the lieutenants) + Is he all right? + + FIRST PLATOON LEADER + Got hit in the shoulder, sir. + + The three junior officers exchange ineffectual glances and + look to the colonel, who thinks for a moment before making + his decision. + + COLONEL + Send for an ambulance. Get him to + Walter Reed Hospital right away. + + CAPTAIN + Yes, sir. + + DISSOLVE TO: + + INT. SITTING ROOM - WALTER REED HOSPITAL - NIGHT + + There is a door to the corridor and a door to Klaatu's room. + In the small sitting room, talking in tones of hushed concern, + is a group of men. There's a Major General, a likable man + with a chest full of ribbons. There are also a Colonel in + command of the hospital, a high-ranking police officer, a + couple of medical officers and two civilians. The conversation + is interrupted by the entrance from Klaatu's room of a Medical + Corps Major, followed by an Army Nurse. + + GENERAL + (to Major) + How is he? + + MAJOR WHITE + He's all right, General... Blood + pressure's a little high, but it + could be aggravation. + + GENERAL + (wryly) + Can't blame him. I always get mad + when somebody shoots me. + + MAJOR WHITE + He still wants to see the President. + + COLONEL + (to General) + We informed the White House over an + hour ago. + + GENERAL + (to Major) + Didn't drop any hints about where + he's from, did he? + + MAJOR WHITE + No, sir, he didn't. + + The door to the corridor opens and a worried young Captain + enters. + + CAPTAIN + Excuse me. + (to the Colonel) + What about the reporters, Colonel? + They're swarming all over the lobby. + + The Colonel turns, in deference, to the General. + + GENERAL + (quietly) + Tell them there won't be any statement + tonight. + + CAPTAIN + Yes, sir. + (glancing down the + corridor) + Mr. Harley's here from the White + House. + + Harley appears in the doorway, a brief case under his arm. + He's a dignified, intelligent member of the White House + secretariat. He proceeds uninterruptedly into the room, + nodding cordially to the General. + + HARLEY + General -- + + GENERAL + (indicating Klaatu's + room) + Right in there, Mr. Harley. + + Harley proceeds in businesslike fashion to the door. He knocks + and then enters. + + INT. HOSPITAL ROOM - FULL SHOT + + as Harley enters, closing the door behind him. Klaatu no + longer wears his helmet and we see his face clearly for the + first time. Even sitting up in bed, with his shoulder strapped + in bandages, he is a figure of great authority. His face + reflects inner dignity and assurance. Harley, who is a + hardened diplomatist, can't help being impressed by his + present assignment and a little awed by Klaatu. Harley + obviously has been sent by the President to find out what he + can. Klaatu's eyes study him, cool, penetrating, reserved. + + HARLEY + My name is Harley -- Secretary to + the President + (Klaatu continues to + study him silently) + I've been told that you speak our + language -- that your name is Mr. + Klaatu. + + KLAATU + (coolly) + Just Klaatu. + + HARLEY + The President asked me to convey his + deepest apologies for what has + happened. We all feel-- + + KLAATU + (evenly) + Sit down, Mr. Harley. + + Somewhat relieved, Harley seats himself. He speaks with a + half smile, hoping to ease the tension. + + HARLEY + I'm sure I don't have to point out + that your arrival was something of a + surprise. + (getting a little + smile from Klaatu, + he is encouraged to + do some fishing) + Had you been traveling long? + + KLAATU + About five months -- your months. + + HARLEY + You must have come a long way. + + KLAATU + About 250 million of your miles. + + Harley glances at him quickly to be sure he's not joking. + He's not. + + HARLEY + Naturally we're very curious to know + where it is you come from. + + KLAATU + (easily; he's a + diplomat, too) + From another planet. Let's just say + that we're neighbors. + + Harley reacts, as his wildest assumptions are so blandly + corroborated. + + HARLEY + It's rather difficult for us to think + of another planet as a neighbor. + + KLAATU + I'm afraid, in the present situation + you'll have to learn to think that + way. + + HARLEY + (eyebrows raised) + The present situation? + + KLAATU + I mean the reasons for my coming + here. + + HARLEY + (his eagerness apparent) + We're very curious about that, too. + Would you care to talk about it? + + KLAATU + I'd be glad to. + (noticing that Harley + is settling himself + expectantly) + Not now, of course -- with you alone. + + HARLEY + Perhaps you'd rather discuss it + personally with the President-- + + KLAATU + (somewhat sharply) + This is not a personal matter, Mr. + Harley. It concerns all the people + on your planet. + + HARLEY + (Startled by the scope + of this statement) + I -- I'm not sure I understand-- + + KLAATU + I want to meet with representatives + from all the nations of the Earth. + + HARLEY + (shocked and perturbed + by this notion) + I'm afraid that would be a little + awkward. It's -- it's completely + without precedent. And there are + practical considerations -- the time + involved -- the enormous distances. + + KLAATU + (coolly) + I traveled 250 million miles. What + about your United Nations? + + HARLEY + (Surprised and a little + puzzled) + You know about the United Nations? + + KLAATU + We've been monitoring your radio + broadcasts for a good many years. + That's how we learned your languages. + Lately, we've been getting your + television also. + + HARLEY + (wryly) + You must have a rather strange + impression of us. + + KLAATU + (smiling) + The first two years of television we + were convinced that all you did was + wrestle. + + Harley smiles. Then his mind reverts to the seriousness of + the situation and he speaks gravely. + + HARLEY + I'm sure you recognize from our broad- + casts the evil forces that have + produced the tension in our world. + Surely you would agree-- + + KLAATU + (evenly) + I am not concerned, Mr. Harley, with + the internal affairs of your planet. + I consider that to be your business -- + not mine. + + HARLEY + I was only hoping to make you + understand. + + KLAATU + (sternly, impressively) + My mission here is not to solve your + petty squabbles. It concerns the + existence of every last creature who + lives on Earth. + + HARLEY + (uncomfortably) + Perhaps if you could explain a little-- + + KLAATU + I intend to explain. To all the + nations -- simultaneously. + (his manner precludes + opposition) + How do we proceed, Mr. Harley? + + Harley is thoroughly shaken. The tremendous force and power + implicit in Klaatus's manner preclude the possibility of + argument. + + HARLEY + (after a long + thoughtful moment) + We could call a special meeting of + the General Assembly... But of course + the UN doesn't represent all of the + nations. + + KLAATU + Then why not a meeting of all the + Chiefs of State? + + HARLEY + (helplessly, but + patiently) + Believe me, you don't understand. + They wouldn't sit down at the same + table. + + Growing a little impatient with such nonsense, Klaatu eyes + him evenly, speaks with Jovian authority. + + KLAATU + I don't want to resort to threats, + Mr. Harley. I simply tell you bluntly + that the future of your planet is at + stake... I suggest you transmit that + message to the nations of the Earth. + + The eyes of the two men meet for a long, silent moment. Then + Harley rises quietly. + + HARLEY + I will make that recommendation to + the President. + (he picks up his brief + case and hat) + I must tell you in all honesty that + I'm extremely dubious about the + results. + + KLAATU + (with a half-smile) + Apparently I'm not as cynical about + Earth's people as you are. + + HARLEY + I've been dealing in Earth's politics + a good deal longer than you have. + (he bows) + Goodnight, sir. + + He turns and goes out. + + CLOSE SHOT - KLAATU + + He stares after Harley for a moment, puzzled by this strange + and apparently unreasoning world he has come to. He shakes + his head in thoughtful, tolerant bewilderment. + + DISSOLVE TO: + + EXT. SPACE SHIP - LONG SHOT - NIGHT + + Searchlights have lighted up up the eerie shapes of the space + ship and Gort. A circle of soldiers guard the area, while a + crew of men can be seen working around the ship. + + MED. CLOSE SHOT - AT SHIP + + A Master Sergeant of Engineers, dressed in fatigues, is + inspecting the side of the ship carefully. He has an acetylene + torch in his had and a welding helmet over his face. The + Major General, previously seen in the hospital sitting room, + enters and speaks to the Sergeant. + + GENERAL + Getting any place, Sergeant? + + SERGEANT + (raising his helmet) + No, sir. + (shaking his head in + annoyance) + Beats me, General. I saw that ramp + come out of the side of the ship -- + right here. Now I can't even find a + crack! + + A man named Carlson, a civilian metallurgical expert, comes + into scene. The General nods to him. + + GENERAL + What's the report, Carlson? + + CARLSON + (discouraged) + We've tried everything from a + blowtorch to a diamond drill. + + GENERAL + (nodding toward Gort) + What about him? + + CARLSON + He's made out of the same stuff. + + THREE SHOT ? GENERAL, CARLSON AND SERGEANT + + GENERAL + Has he moved? + + SERGEANT + No sir. Not an inch + + CARLSON + This is the toughest material I ever + saw, General. For hardness and + strength, it's out of this world. + + GENERAL + (with a wry half-smile) + I can tell you officially -? that's + where it came from. + + The two men exchange an uneasy glance, then turn to look at + the ship. + + DISSOLVE TO: + + INT. SITTING ROOM ? WALTER REED HOSPITAL + + Two Medical Corps officers, a Captain and a Major are + interestedly studying a series of X-ray films. + + MAJOR + The skeletal structure is completely + normal. + (pointing) + Same for the major organs -? heart, + liver, spleen, kidneys. + + CAPTAIN + And the lungs are the same as ours. + Must mean a similar atmosphere -- + similar pressure. + (nodding, toward + Klaatu's room) + How old do you think he is? + + MAJOR + Oh, I'd say forty-five. + + CAPTAIN + (smiling) + He told me this morning when I + examined him. He's seventy-eight. + + MAJOR + I don't believe it. + + CAPTAIN + Their life expectancy is a hundred + and thirty. + + MAJOR + How does he explain that? + + CAPTAIN + He says their medicine is that much + more advanced. + (the major stares at + him blankly) + He was very nice about it. But he + made me feel like a third-class witch + doctor. + + The door to Klaatu's rooms opens and Major White appears. + He's the man who attended Klaatu the day before. He closes + the door behind him and stands motionless facing the other + two, his face wearing a blank expression. + + MAJOR WHITE + I took a bullet out of that man's + arm yesterday. + + FIRST MAJOR + What about it? + + MAJOR WHITE + (utterly bewildered) + I just examined the wound and it's + all healed. + + FIRST MAJOR + What does he say about it? + + MAJOR WHITE + Said he put some salve on it -- some + stuff he had with him. + (shows them a small, + odd-looking tube in + his hand) + + CAPTAIN + What are you going to do with it? + + MAJOR WHITE + Take it downstairs and have it + analyzed. + (on his way to the + door, shaking his + head) + Then I don't know whether I'll just + get drunk or give up the practice of + medicine. + + As he starts out the door to the corridor, he passes Mr. + Harley, who is on his way in, carrying his ever-present brief + case. Harley is accompanied by an enlisted M.P. + + FIRST MAJOR + Afternoon, Mr. Harley. + + HARLEY + Afternoon, gentlemen. + + Harley goes to the door of Klaatu's room, a businesslike + expression on his face. He knocks on the door, then enters. + The M.P. remains in the sitting room. + + INT. HOSPITAL ROOM - FULL SHOT - DAY + + as Harley enters. Klaatu is up out of bed, walking around in + a Medical Corps robe and pajamas. He appears to be completely + recovered. + + HARLEY + Good afternoon. + (surprised not to + find him in bed) + I'm glad to see you up and around. + + KLAATU + Thank you... Have you any news? + + HARLEY + Not very good news, I'm afraid. + (digs into his + briefcase for some + papers) + The President accepted your suggestion + and cabled the invitations for a + meeting last night. + (grimly) + Let me read you some of the replies. + (he selects a cable + and reads) + "The Premier wishes to inform the + Government of the United States that + it will be impossible for him to + attend the meeting suggested by the + President unless the meeting is held + in Moscow." + (with a grimly-pointed + glance at Klaatu, + Harley reads another + cable) + "The suggestion of the President + regarding the possibility of a meeting + in Moscow would be unacceptable to + Her Majesty's Government at the + present time. Representation could + be sent only if the meeting were + held in Washington." + (he looks up at Klaatu + and shrugs) + Well -- there you have it. + + Harley extends a sheaf of cables for Klaatu's inspection, + but he ignores them. Klaatu has listened to this recital, + first incredulously, then with mounting indignation. Conscious + of his quiet, Olympian wrath, Harley continues uncomfortably. + + HARLEY + I tried to make you understand. The + suspicions -- the jealousies -- the + mistrust-- + (uneasily, under + Klaatu's level gaze) + Surely you realize that my government + has done everything in its power-- + + KLAATU + It's not your government I'm thinking + about. It's your world. + + HARLEY + Now that you understand the situation + more clearly, perhaps you'd like to + discuss the matter with the President + + KLAATU + (sternly) + I will not speak to any one nation + or group of nations. + (sharply, bitterly) + I don't intend to add my contribution + to your childish jealousies and + suspicions. + + HARLEY + Our problems are very complex, Mr. + Klaatu. You mustn't judge us too + harshly. + + KLAATU + I can judge only by what I see. + + HARLEY + Your impatience is quite + understandable. + + KLAATU + (sharply) + I am impatient with stupidity. My + people have learned to live without + it. + + HARLEY + (ruefully) + I'm afraid my people haven't. + (with real sincerity) + I'm very sorry -- I wish it were + otherwise. + + Reluctantly Harley has picked up his hat and brief case. He + finds Klaatu staring out the window. + + CLOSE SHOT - KLAATU + + As he looks out the window thoughtfully. What he sees has + given him an idea. + + MED. SHOT - HOSPITAL GROUNDS + + shooting down, from Klaatu's viewpoint, at people strolling + about the hospital grounds. Most of them are civilian + visitors, but there is a sprinkling of nurses and ambulatory + patients. + + FULL SHOT - HOSPITAL ROOM + + As Klaatu turns back to Harley, he speaks thoughtfully, + incisively. + + KLAATU + Before making any decisions, I think + I should get out among your people -- + become familiar with the basis for + these strange, unreasoning attitudes. + + HARLEY + Under the circumstances I'm afraid + that will be impossible. + + Harley has paused near the door, a little embarrassed by + Klaatu's level gaze. + + HARLEY + I must ask that you don't attempt to + leave the hospital. Our military + people have insisted on this. I'm + sure you'll understand. + + With a polite nod, he goes out. Klaatu stares after him as + he realizes that he is in effect a prisoner. He shakes his + head slowly, thoughtfully. The ways of this planet are strange + indeed. + + INT. SITTING ROOM - MED CLOSE SHOT - AT DOOR + + Harley has paused to watch as the M.P. takes out a key and + inserts it in the lock of Klaatu's door. + + INT. HOSPITAL ROOM - CLOSE SHOT - KLAATU + + As he hears the click of the lock, he turns toward the door. + Realizing they've locked him in, he smiles with tolerant + amusement. + + DISSOLVE TO: + + INT. HOSPITAL SITTING ROOM - MED CLOSE SHOT - NIGHT + + In the dim light of one lamp, the door to the corridor opens + and a nurse enters carrying a tray of medication. She is + accompanied by the same M.P. as previously seen. The nurse + pauses as the M.P. takes out a key and inserts it in the + lock of Klaatu's door. To his surprise he finds that the + door is not locked. He exchanges a glance with the nurse, + then pulls the door open and hurries inside. + + INT. HOSPITAL ROOM + + as the M.P. crosses the unlighted room toward the bed. The + only light cones from the open door to the sitting room. The + M.P.'s eyes go wide as he looks at the bed. It is unmade and + unoccupied. Terrified, the M.P. turns to the nurse, who is + standing in the doorway. + + M.P. He's gone! + + The M.P. dashes out of the room, through the doorway past + the nurse. She turns to follow him as we-- + + DISSOLVE TO: + + MONTAGE - NIGHT + + A series of short DISSOLVES, showing: + + 1. The M.P. excitedly reporting Klaatu's disappearance to + the Officer of the Day. + + 2. The hospital guard detail hurrying out of the guardhouse + to form up in front of the Sergeant of the guard. + + 3. A high-level military conference gathered at a table, + discussing the matter with great concern. + + 4. A street corner newsstand, with people eagerly grabbing + papers. The headline reads: "MAN FROM MARS" ESCAPES FROM + ARMY HOSPITAL! + + 5. Radio announcers chattering excitedly into their + microphones + + 6. A series of close-ups of people listening to the radio. + Their faces reveal their awestruck terror. + + 7. A terrified mother drags her two children in from the + street through the front door, slams the door and bolts it. + + DISSOLVE TO: + + EXT. RESIDENTIAL STREET - MED. CLOSE SHOT - NIGHT + + CAMERA is on the back of a man dressed in a business suit, + who is walking along the sidewalk of a dimly lighted, almost + deserted, middle-class street. He carries a suitcase and he + glances idly at the drab-looking stone facades of the old + two-story houses. As he passes, from the open windows of the + houses come the voices of radio announcers. We get a sentence + or two from one house and then, as the man and our CAMERA + pass on, this voice fades and another is picked up. We get + the impression that everyone is glued to his radio. + + RADIO VOICES + (over scene) + --authorities at Walter Reed Hospital + refused to comment on how he managed + to escape, or what measures might be + taken to apprehend him. + + --these fantastic descriptions of the creature are denounced + as rumor by police Chief Walter Baxter. He is not eight feet + tall, as reported -- nor does he have tentacles in place of + arms-- + + --there's no denying that there is a monster at large -- + that we are dealing with forces beyond our knowledge and + power. The public is urged to take ordinary precautions and + to remain calm, as we await further developments-- + + --three separate reports of people who claim to have seen + the "space man" in the past hour. One from Des Moines, Iowa; + one from a village in northern Florida; and one from Chicago. + + CAMERA OVERTAKES the man as he pauses under the light of a + street lamp, and reveals that it is Klaatu. He has stopped + to look at something out of scene. + + CLOSE SHOT + + from Klaatu's viewpoint, of a sign on one of the houses, + reading: ROOM FOR RENT + + CLOSE SHOT - KLAATU + + He seems to hesitate, debating a plan he has in mind. He + raises his right arm to scratch his head thoughtfully, and + notices for the first time a small tag, or ticket, attached + to the inside of the right forearm of the coat he is wearing. + Puzzled, he pulls off the ticket and looks at it. + + INSERT - TICKET + + It is the sort of tag a cleaning establishment attaches to + clothing. Printed on it is the legend: CAPITOL DRY CLEANING + SERVICE. Scrawled in a penciled hand is the notation: Dr. + Carpenter, Bldg. A - Walter Reed Hospital. Cl. & pr. $1. + + CLOSE SHOT - KLAATU + + He smiles wryly at this reminder of where he got the suit, + and he destroys the ticket. He glances down at the suitcase + beside him. + + CLOSE SHOT - SUITCASE + + It bears the initials L.M.C. Klaatu's hand comes into scene + and lifts up the suitcase. CAMERA HOLDS as Klaatu carries + the bag toward the house and mounts the stone steps to the + entrance. + + INT. BOARDINGHOUSE - LIVING ROOM - NIGHT + + There 's no light in the room except what splashes in from + the hall. Gathered around a television set are five adults + and a little boy, their faces eerie in the reflected light + from the screen. The room is done in average boardinghouse + style -- antimacassars and all. The attention of the people + is riveted on the television screen, where a newscaster is + reading a bulletin. + + TELEVISION COMMENTATOR + --while the President made no effort + to minimize the crisis, he urged + people all over the country to remain + calm. He said the entire facilities + of FBI and other federal agencies + are being bought to bear. He pointed + out, however, that this is no ordinary + man hunt. He warned we may be up + against powers that are beyond our + control. + + FULL SHOT + + The landlady, a stern-faced woman of middle age, named MRS. + CROCKETT, rises nervously and crosses to the television set. + + MRS. CROCKETT + (tensely) + I can't stand any more of this. It's + enough to drive a person crazy. + + She snaps off the set sharply. + + TWO SHOT + + BOBBY BENSON, a bright-eyed, eleven-year-old, is seated beside + his mother, HELEN BENSON, an attractive girl of thirty. + Disappointed that the set has been turned off, Bobby's roving + eye has fallen on something in the doorway to the hall... + Wide-eyed, he nudges his mother and points. + + BOBBY + Hey, Mom -- who's that? + + FULL SHOT + + including the doorway to the hall. Silhouetted motionless + against the light from the hall is the figure of a man. All + eyes follow Hobby's pointed finger, and there is a stifled + gasp as they are startled out of their preoccupation. One of + the men turns on the lights and Klaatu is revealed standing + calmly in the doorway. There is a shocked silence for a + moment, then Mrs. Crockett speaks. + + MRS. CROCKETT + (apologizing nervously + for the tension in + the room) + I -- I'm sorry. What is it you want? + + KLAATU + My name is Carpenter. I'm looking + for a room. + + There is a noticeable letdown in the general tension, during + which Booby has been studying Klaatu, his imagination working + overtime. + + BOBBY + Are you an FBI man? + + KLAATU + No -- I'm afraid not. + + Helen has stepped forward to make Bobby desist. + + BOBBY + Bet he is, Mom. Bet he's out looking + for that space man. + + HELEN + (with an apologetic + smile at Klaatu) + I think we've all been hearing too + much about "space men." + + Mrs. Crockett reverts to her role as landlady. She likes to + think of her house as a home. + + MRS. CROCKETT + (starting the + introductions with + Helen) + This is Mrs. Benson, Mr. Carpenter. + (with a smile that + would split a brick) + And little Bobby. + (indicating a middle- + aged couple and a + younger but more + wizened man) + Mr. and Mrs. Barley -- and Mr. + Krull... I'm Mrs. Crockett. + + There are polite noddings and how-do-you-do's. Mrs. Crockett + is satisfied that she's established a cozy atmosphere. + + MRS. CROCKETT + (pleased to the point + of challenge) + Well -- this is our little family. + (then, getting down + to business) + I have a very nice room on the second + floor. + + She leads the way toward the hall and Klaatu starts to follow, + picking up his suitcase, when he is intercepted by Bobby. + + BOBBY + Can I help you look for the space + man? Can I? + (excitedly) + I know what he looks like! He's got + a square head -- and, three great + big eyes! + + HELEN + (good-naturedly, + calming him down) + That's enough, Bobby. I think it's + time you went to bed. + + MRS. CROCKETT + (to Bobby, with a + prop smile) + We mustn't annoy Mr. Carpenter -- or + he won't want to stay here. She goes + on into the hall, followed by Klaatu, + who has exchanged a polite smile + with Helen. + + INT. HALLWAY + + as Mrs. Crockett leads the way up the stairs. + + MRS. CROCKETT + He's really a dear little boy -- and + quiet as a mouse. + (with a shrewd, chatty + smile) + You're a long way from home, aren't + you, Mr. Carpenter? + + KLAATU + How did you know? + + MRS. CROCKETT + (pleased with her + cleverness) + Oh, I can tell a New England accent + a mile away. + + DISSOLVE TO: + + INT. BOARDINGHOUSE - DINING ROOM - DAY + + Five of the boarders -- Mr. and Mrs. Barley, Mr. Krull, Helen + Benson and Klaatu - are finishing their Sunday morning + breakfast. Mrs. Barley is a middle-class Helen Hokinson lady, + form and unrelenting. Her husband is a born complainer. Mr. + Krull is a shriveled little accountant, precise and finicky. + As they finish their coffee, all except Helen are immersed + in the Sunday papers. Helen seems preoccupied with her own + thoughts. From a portable radio on the table comes Gabriel + Heater's voice. + + GABRIEL HEATER'S VOICE + --and so, this Sunday morning, we + ask the question that's been plaguing; + the entire nation for two days now: + "Where is this creature and what is + he up to?" If he can build a space + ship that can fly to Earth -- and a + robot that can destroy our tanks and + guns -- what other terrors can he + unleash at will? ...Obviously we + must find this monster. We must track + him down like a wild animal and + destroy him. + + INSERT - NEWSPAPER PAGE IN MRS. BARLEY'S HANDS + + It is a full page layout, in the style of the American Weekly, + showing a demented artist's conception of a mass invasion of + space ships. Weird-looking creatures are slaughtering Earth + people with ray guns. The caption at the top of the image + reads: "Are We Long For This World?" (Gabriel Heater's voice + continues uninterruptedly over this and the next two scenes.) + + CLOSE SHOT - KLAATU + + He is reading his paper with considerable interest. + + INSERT - NEWSPAPER STORY + + The third-page story reads: SAVANT CALLS MEETING TO STUDY + SPACE SHIP. Professor Jacob Barnhardt, world-famous scientist + and Nobel Prize winner, has invited fellow scientists from + all over the world to meet with him in Washington and study + the recently landed "Space Ship." + + CLOSE SHOT - KLAATU + + His face is thoughtful as he finishes reading. This story + seems to impress and interest him. Then suddenly he finds + his attention caught at what the Radio Voice is saying. + + GABRIEL HEATER'S VOICE + But where would such a creature hide + himself? Would he disappear into the + north woods? Or would he slither off + into the sewers of some great city? + + Klaatu has a reaction of affronted dignity at this monstrously + distasteful idea. + + GROUP SHOT + + AS THE RADIO VOICE CONTINUES: + + GABRIEL HEATER'S VOICE + There is grave danger -- everyone + agrees to that. The question is what + can we do to protect ourselves? What + measures can we take that will-- + + During the above, Mrs. Barley has turned to her husband in + sharp annoyance. + + MRS. BARLEY + George, I wish you'd turn that radio + off. I'm trying to concentrate. + + Mr. Barley reaches out and snaps off the radio. + + MR. BARLEY + (snorting, he tosses + his paper down) + Why doesn't the Government do + something -- that's what I want to + know. + + MR. KRULL + (mildly) + What can they do? They're only people -- + Just like us. + + MR. BARLEY + People my foot! They're Democrats! + + MR. KRULL + It's enough to give you the shakes. + He's got that robot standing there -- + ten-foot tall -- just waiting for + orders to destroy us. + + HELEN + (thoughtfully) + This space man -- or whatever he is. + We automatically assume he's a + menace... Maybe he isn't at all. + + MR. BARLEY + (glaring at her for + this silly notion) + Then what's he hiding for? Why doesn't + he come out in the open? + + MR. KRULL + Yeah. + (indicating the radio) + Like the fella says: "What's he up + to?" + + HELEN + Maybe he's afraid. + + MRS. BARLEY + (with a derisive snort) + He's afraid! + + HELEN + After all, he was shot the moment he + landed here. + (she pauses for a + moment thoughtfully) + I was just wondering what I would + do. + + KLAATU + (to Helen, helpfully) + Perhaps before deciding on a course + of action, you'd want to know more + about the people here -- to orient + yourself in a strange environment. + + MRS. BARLEY + (sharply) + There's nothing strange about + Washington, Mr. Carpenter. + + KLAATU + (quietly, tongue in + cheek) + A person from another planet might + disagree with you. + + MRS. BARLEY + If you want my opinion, he came from + right here on Earth. + (with significant + emphasis) + And you know where I mean. + + MR. KRULL + They wouldn't come in a space ship. + They'd come in airplanes. + + MRS. BARLEY + (as though with + superior knowledge) + I wouldn't be so sure about that. + + MR. BARLEY + (delivering the final + word) + Stands to reason that fella wants + some thing or he wouldn't be here. + (facing Klaatu) + That make sense, Carpenter? + + Klaatu pauses for a moment, then recites pleasantly. + + KLAATU + I must admit I'm a little confused. + + Mrs. Crockett enters and speaks to Helen. + + MRS. CROCKETT + Mrs. Benson -- Mr. Stevens is here + to see you. + + HELEN + Oh -- thank you. + + She rises and goes out. + + MRS. BARLEY + Finish your coffee, George. I told + the Carsons we'd be there at eleven. + + INT. BOARDINGHOUSE - LIVING ROOM - MED. CLOSE SHOT + + as Helen crosses the room to greet TOM STEVENS. He's a + personable young man with a breezy manner and considerable + charm. There is between them an easy air of Intimacy. + + HELEN + (smiling warmly) + Good morning. + + Tom kisses her. + + TOM + We're all set. I picked up some + sandwiches and put gas in the car. + And the radio's still busted, so me + can forget about the space man for + today. + + HELEN + (a little disturbed) + There's only one thing -- I haven't + been able to arrange for anyone to + stay with Bobby. + (tentatively) + I don't suppose we could take him + with us? + + TOM + (understandably + unenthusiastically) + Well, we could-- + + HELEN + There's always somebody here, but + today of course they've all got plans. + + KLAATU'S VOICE + I haven't any plans. + + Helen and Tom turn in surprise. + + THREE SHOT + + including Klaatu, who has wandered in from the dining room, + unnoticed by Tom and Helen. Klaatu continues, with an air of + wanting to be helpful without wanting to interfere. + + KLAATU + I'd be glad to spend the day with + him -- if you'd let me. + + TOM + (impulsively) + Say, that'll be great! Wouldn't it, + Helen. + + HELEN + (hesitating, a little + confused, by the + offer) + It's awfully nice of you to suggest + it. + (remembering the two + men haven't met) + I'm sorry Mr. Carpenter -- this is + Tom Stevens. + + The two men shake hand's and exchange how-do-you-do's. Then + Klaatu turns back to Helen. + + KLAATU + Bobby and I had a fine time yesterday + afternoon. We talked -- and listened + to the radio. + (smiling at Helen) + I thought today he might show me + around the city. + + Helen is debating the matter in her mind, concerned about + leaving Bobby with a comparative stranger, but tempted because + of her favorable impression of Klaatu. + + KLAATU + (easily) + Suppose I ask Bobby how he feels + about it. + + He turns, with a little smile, and starts out of the room. + Helen, still not quite decided, turns to Tom with a + questioning look. Tom nods. + + DISSOLVE T0: + + INT. LINCOLN MEMORIAL - FULL SHOT - DAY (STOCK) + + The great seated, brooding figure of Lincoln is at the far + end of the impressive main hall. A few tourists are moving + about the place. + + MED. CLOSE SHOT - KLAATU AND BOBBY + + They are in the south hall, on the wall of which is inscribed + the Gettysburg Address. They stand silently, side by side, + reading the inscription. + + INSERT - GETTYSBURG ADDRESS (STOCK) + + Featuring the last part of the Address. It reads: "--and + that government of the people, by the people, for the people, + shall not perish from the earth." + + TWO SHOT - KLAATU AND BOBBY + + KLAATU + (visibly impressed) + Those are great words. + (with an air of + discovery) + He must have been a great man. + + Bobby is impressed by the depth and sincerity of Klaatu's + tribute, but a little confused by his air of having discovered + Lincoln. Hobby watches Klaatu with a puzzled expression, + then follows as Klaatu moves off slowly. + + DISSOLVE TO: + + EXT. LINCOLN MEMORIAL - MED. CLOSE SHOT - DAY + + shooting against one of the huge fluted columns as Klaatu + and Bobby come out of the building. Deeply preoccupied, Klaatu + speaks with impatient urgency. + + KLAATU + That's the kind of man I'd like to + talk to. + + Bobby looks up at him in bewilderment. After a moment Klaatu + speaks slowly, thoughtfully. + + KLAATU + Bobby -- who's the greatest man in + America today? + + BOBBY + (puzzling it over) + Gee -- I don't know... The space + man, I guess. + + KLAATU + (secretly amused) + I was speaking of earth men. I meant + the greatest philosopher -- the + greatest thinker. + + B0BBY + You mean the smartest man in the + whole world? + + KLAATU + Yes -- that would do nicely. + + BOBBY + (after a moments + thought) + Well -- Professor Barnhardt, I guess. + He's the greatest scientist in the + world. + + KLAATU + (he pauses + thoughtfully, speaks + slowly, as he recalls + the newspaper story + he read) + He lives here in Washington, doesn't + he? + + BOBBY + Sure. Right near where my mother + works. + + KLAATU + Where is that? + + BOBBY + Department of Commerce. She's a + secretary. + (Klaatu nods) + They have a man they call the + Secretary, but he isn't at all. My + mother's a real secretary. + (after a moment; + eagerly) + Mr. Carpenter -- now can we go see + the space ship? + + EXT. THE MALL - LONG SHOT - SPACE SHIP AND GORT - DAY + + A crew of Army engineers is in process of erecting a temporary + structure such as a large Quonset hut or B29 hanger to enclose + the space ship and Gort. The walls are partially up and + already have concealed part of the ship. The area is roped + off and there are Army guards to keep the sightseers back. + There is a crowd of people behind the ropes, watching. CAMERA + MOVES IN to reveal the backs of Bobby and Klaatu. + + TWO SHOT - KLAATU AND BOBBY + + Bobby is studying the ship and Gort eagerly, his imagination + thoroughly aroused. Klaatu is watching the men at work with + mild, quiet amusement. + + MED. CLOSE SHOT - GORT + + from Bobby's viewpoint. + + TWO SHOT - BOBBY AND KLAATU + + Bobby's eyes are wide with awe as he watches the giant robot. + + BOBBY + Boy, I'll bet he's strong. I bet he + could knock down a whole building. + + KLAATU + (with a quizzical + smile) + I shouldn't be at all surprised. + + Bobby's attention shifts to the ship. + + MED. SHOT - SPACE SHIP + + From Bobby's viewpoint. + + TWO SHOT - B0BBY AND KLAATU + + BOBBY + (excitedly, indicating + the ship) + Gee, I'd like to get inside and see + how it works. What do you think makes + it go? + + KLAATU + (quietly, after a + glance around) + Well -- atomic power, I would imagine. + + BOBBY + (looking at Klaatu + incredulously) + I thought that was only for bombs. + + KLAATU + No. It's for a lot of other things, + too. + + BOBBY + You think it can go faster than an F- + 36? + + KLAATU + Yes -- I think so. + + MED. CLOSE SHOT KLAATU AND BOBBY + + shooting from a side angle to include a couple of men who + are listening to Klaatu's conversation. They are nudging + each other, amused at the way this man is pretending to + explain things to the little boy. + + BOBBY + About a thousand miles an hour? + + Klaatu has noticed the two men, who have edged a little closer + to listen. He is not perturbed by them, but he lowers his + voice a bit. + + KLAATU + Maybe four thousand miles an hour. + And outside the Earth's atmosphere a + good deal faster. + + BOBBY + (excitedly) + Gee! How could they make a landing? + + KLAATU + Well -- there are several ways to + reduce landing speed. You see, the + velocity-- + + Klaatu interrupts himself as he realizes that he may be going + too far. The two men have moved closer, listening and + grinning. One of them whispers to the other behind the back + of his hand. Then the man realizes that Klaatu has stopped + speaking and is looking at him. + + MAN + (grinning) + Keep goin', Mister. He was fallin' + for it. + + The two men burst out laughing and move off together. Bobby, + who has missed the point of this by-play, looks at Klaatu, + then after the men. As they move out of scene they laugh + loudly at the little boy's confusion. Klaatu takes Bobby's + hand to lead him away from the roped-off area. + + TWO SHOT - KLAATU AND BOBBY + + CAMERA FOLLOWS them as they move away through the crowd. + + As they do so, several newsboys are working their way through + the crowd with newly arrived extras. The boys are calling + out the extras: "Police under fire!" "Army put in charge!" + "Space man still at large!" etc. People are eagerly buying + the papers. Klaatu and Booby watch this as they pass through + the crowd. + + CLOSE SHOT - EXTRA + + In newsboy's hand. The headline reads: SPACE MAN ELUDES POLICE + ARMY PUT IN CHARGE. + + CLOSE SHOT - ANOTHER EXTRA + + In another newsboy's hand. This headline reads: DISTRICT + UNDER MARTIAL LAW. CONGRESS ACTS AS POLICE CHIEF REIGNS. + + TWO SHOT - KLAATU AND BOBBY + + as they move on away from the excited crowd of people. + Klaatu's reaction has been one of mild curiosity. Bobby looks + up at him. + + BOBBY + You think they'll ever find him? + + KLAATU + (alter a moment's + pause) + I don't know, Bobby. I'm inclined to + doubt it. + + BOBBY + (as they continue + walking) + Mr. Carpenter -- what does velocity + mean? + + KLAATU + (preoccupied) + Velocity is the time rate of change + of position. + + This explanation misses Bobby by several light years. He + glances up at Klaatu blankly. + + BOBBY + I'll bet that's the way Professor + Barnhardt talks. + + Pulled out of his reverie, Klaatu glances down at Bobby and + smiles apologetically. Bobby grins back at him. Then, as + they walk on a few more steps, Klaatu stops and speaks + thoughtfully. + + KLAATU + Bobby -- I have an idea. Let's go + see Professor Barnhardt and find out + how he talks. + + BOBBY + (with a half-smile of + accusation) + You're just kidding, aren't you? + + KLAATU + Wouldn't you like to meet him? + + BOBBY + Well, sure I would, but -- + (he's to be not going + taken in) + Aw, I'll bet you'd be scared. + + KLAATU + (with a private smile) + We can scare him more than he can + scare us. + + Bobby stares up at him and his face breaks into a broad + admiring grin. + + BOBBY + I like you, Mr. Carpenter. You're a + real screwball. + + DISSOLVE TO: + + EXT. BARNHARDT'S HOUSE - MED. SHOT - DAY + + The house is an unimposing old-fashioned structure, shouldered + on either side by similar one-family dwellings. There is a + flight of stone steps leading up to the entrance and a large + porch across the front of the house. Klaatu and Bobby walk + into scene and pause, Klaatu glances at Bobby and Bobby nods + toward the house. They move on up the steps to the entrance. + + MED. CHOOSE SHOT - AT FRONT DOOR + + Bobby, all eagerness and excitement, presses the bell. They + wait a moment and there is no answer. + + BOBBY + (disappointed at the + thought) + Gee -- maybe he isn't home. + + Bobby wanders down the porch and looks into a window. + Fascinated by what he sees, he gestures to Klaatu. + + BOBBY + Betcha this is where he works-- + + After a glance at the front door, Klaatu joins Bobby at the + window and looks in. + + FULL SHOT - BARNHARDT'S STUDY + + SHOOTING through the window, over the heads of Klaatu and + Bobby. The room is more of a workroom than a study. It is in + comfortably shabby disarray, with papers and books everywhere. + There's a battered old desk and a day bed. One wall is solid + bookshelves and on the other two are blackboards covered + with a fantastic array of complex equations, graphs and + diagrams. + + CLOSE SHOT - KLAATU + + His attention has been caught by one of the blackboards and + he studies it with great interest and curiosity. + + MED. CLOSE SHOT - SECTION OF BLACKBOARD + + It is covered with a particularly complicated series of + equations in a chalky scrawl, involving angles of vector, + Keplerian ellipses, etc. The final equations are unsolved; + they have no answers after the "equals" sign. Across are + little printed signs tacked to the blackboard reading: "Don't + erase!" and "Don't touch!" + + TWO SHOT - KLAATU AND BOBBY + + Bewildered, Bobby looks from the blackboard up at Klaatu. + Still studying the blackboard, Klaatu is shaking his head + and clucking his tonsure as one might at the attempts of a + child to solve a problem in arithmetic. + + BOBBY + (indicating the + equations) + What does that mean? + + KLAATU + It's a problem in celestial mechanics. + + BOBBY + Bet he's the only one in the world + knows the answer. + + KLAATU + (he shakes his head, + smiling) + He doesn't know the answer. And he'll + never get it that way. + + Bobby moves over to a pair of French doors beyond the window + and tries to peer in through the curtained doors. He absently + tries the doors and finds them locked. Then he turns away + with a disappointed but philosophical shrug. + + BOBBY + We probably couldn't get to see him + even if he was home. + + As Bobby moves away from the doors dejectedly, Klaatu puts + his hand on the knob. + + CLOSE SHOT - BOBBY + + He's watching Klaatu and his eyes widen at what he sees. + + BOBBY + (in complete surprise) + Hey -- where you going? + + CHOOSE SHOT - KLAATU + + He has opened the door and is standing in the doorway, his + hand, still on the knob. He is smiling at Bobby with secret + amusement. He's got an idea. + + KLAATU + If he's that difficult to see, perhaps + we ought to leave a calling card. + + Klaatu disappears into the study. Amazed, Bobby follows. + + INT. BARNHARDT'S STUDY + + Bobby watches as Klaatu walks to the blackboard and picks up + a piece of chalk. As though correcting a schoolboy's work, + he makes large check marks at several points in each equation. + + EXT. PORCH - BARNHARDT'S HOUSE + + An efficient-looking middle-aged woman is mounting the steps + to the entrance, getting her front door key out of her purse, + when her eye falls on the French doors, which are standing + ajar. Puzzled, she starts down the porch toward the doors. + This woman is Barnhardt's secretary and her name is HILDA. + + Bobby is watching as Klaatu writes across the blackboard in + a bold hand: Differentiate the equation ( ). + + Klaatu underlines this comment with a sharp stroke, when a + stern voice is heard off screen. + + HILDA'S VOICE + What are you doing in here? + + FULL SHOT + + as Klaatu and Bobby turn in surprise. Standing in the open + French doors is Hilda, eyeing them with stern suspicion. + + HILDA + (outraged by Klaatu's + desecration of the + sacred blackboard) + How dare you write on that blackboard! + (Klaatu eyes her mildly) + Do you realize the Professor has + been working on that problem for + weeks? + + KLAATU + (pleasantly) + He'll catch on to it in no time now. + + HILDA + (controlling herself + with an effort) + How did you get in here? And what do + you want? + + KLAATU + We came to see Professor Barnhardt. + + HILDA + Well, he's not here. And he won't be + back till this evening. + (sternly) + I think you'd better leave now. + Unruffled, Klaatu turns to the desk + and scribbles something on a scratch + pad. He tears off the piece of paper + and hands it to Hilda. + + KLAATU + You might keep this. + (with easy assurance) + I think the professor will want to + get in touch with me. + + With a polite nod he goes out the French doors, followed by + Bobby. Hilda eyes the door for a moment, then glances down + at the paper in her hand, disturbed and puzzled by this + stranger. Her glance wanders to the blackboard and she picks + up an eraser, debating whether to erase Klaatu's corrections. + At that moment the French door opens and Klaatu sticks his + head in. Startled, Hilda drops the eraser. + + KLAATU + (pointing to the + blackboard) + I wouldn't erase that. The Professor + needs it very badly. + + And he disappears, leaving Hilda to glare after him in + impotent rage. Deciding that this man is either a crackpot + or a menace, she goes to the telephone on the desk and starts + dialing a number. + + EXT. BARNHARDT'S HOUSE - MED. SHOT + + as Klaatu and Bobby come down the steps and turn into the + sidewalk. They are talking and laughing together, but we + can't hear their conversation. CAMERA PANS with them as they + move on up the sidewalk, revealing two kids playing hopscotch. + Klaatu watches, fascinated, as he walks by. Then, having + passed the kids, he tries the one-footed, then two-footed + hop that characterizes the game. + + INT. BARNHARDT'S STUDY + + Hilda is talking on the phone. + + HILDA + --no, Sergeant, there was no + classified material around, but I + have instructions to report anything + unusual to the police... Yes -- I'm + Professor Barnhardt's secretary. + (consulting the paper + in her hand) + The man's name is Carpenter -- and + he lives at 1615 St. Street, N.W... + Yes, that's right-- + + DISSOLVE TO: + + EXT. ARLINGTON NATIONAL CEMETERY - LONG SHOT - DAY + + Bobby and Klaatu come out of a wooded path into a section of + the cemetery where the myriad crosses seem to reach into + infinity. They pause for a moment, then Bobby leads the way + through one of the rows. + + EXT. ARLINGTON CEMETERY - CLOSE SHOT + + in one of the many rows are crosses that extend beyond CAMERA + RANGE. CAMERA MOVES IN on one of the crosses. It bears the + name LT. ROBERT BENSON. + + TWO SHOT - KLAATU AND B0BBY + + as they come into scene and look down at the grave. + + BOBBY + That's my father. + (Klaatu glances at + the boy, then nods + understandingly) + He was killed at a place called Anzio. + + Klaatu's glance roves out thoughtfully to the infinite rows + of crosses, and his eyes are sad as they return to Bobby. + + DISSOLVE TO: + + EXT. ARLINGTON CEMETERY - MED. SHOT - DAY + + Klaatu and Bobby are approaching a bench beside a pathway + overhung with trees. Bobby leads the way to the bench and + they sit down. Klaatu's eyes stray out to the myriad crosses. + + KLAATU + (Reflectively) + Did all these people die in wars? + + BOBBY + (somewhat surprised) + Sure. Didn't you ever hear of + Arlington Cemetery? + + KLAATU + No -- I'm afraid not. + + BOBBY + (very serious) + Mr. Carpenter" -- you don't seem to + know about anything. + + KLAATU + (Amused) + I'll tell you, Bobby -- I've been + away for a long time. Very far away. + + BOBBY + Is it different where you've been? + (indicating the + cemetery) + Don't they have places like this? + + KLAATU + (slowly) + They have cemeteries. But not like + this one... You see, they don't have + any wars. + + Bobby looks at him, puzzled and impressed by this + incomprehensible notion. + + BOBBY + Gee -- that's a good idea. + + His eyes are drawn subconsciously out to the rows of crosses. + Then he turns back to Klaatu with a slow-dawning look of + curiosity, and Klaatu deliberately changes the subject. + + KLAATU + What would you like to do this + afternoon? + + After a moment Bobby's expression changes and he breaks into + a broad grin. + + BOBBY + Go to the movies. + + KLAATU + All right. + + BOBBY + (he didn't dare hope + for this) + No foolin'? Will you? + + KLAATU + Certainly. + (then he hesitates) + Tell me, Bobby -- do you have to + have money to go there? + + Bobby gives him a look of amazement, then grins, assuming + Klaatu was kidding and simply hasn't any money. + + BOBBY + (eagerly) + I've got some money. My mother gave + me two dollars. + + KLAATU + No -- I want to take you to the + movies. + (he takes some objects + out of his pocket) + Do you think they'd accept these? + + CLOSE SHOT - KLAATU'S HAND + + Sparkling in his palm are eight or ten cut diamonds of various + sizes. + + TWO SHOT - KLAATU AND BOBBY + + The boy is staring at the stones in wide-eyed amazement. + + BOBBY + Gee -- those look like diamonds! + + KLAATU + Some places that's what people use + for money. They're easy to carry -- + and they don't wear out. + + BOBBY + (staring at them + fascinated) + Bet they're worth about a million + dollars. + + KLAATU + Would you give me your two dollars + for a couple of them? + + BOBBY + (with a nervous, unsure + smile) + Well, sure, but-- + + The boy studies Klaatu's face to see if he's kidding. + Realizing that he's not, Bobby's face takes on a childishly + shrewd expression -- as though he were about to trade a + jackknife for an ocean liner. + + BOBBY + (slowly) + Okay. + + The boy takes out two dollar bills and offers them almost + challengingly. Klaatu takes the bills and hands Bobby two + good-sized Diamonds. They study their new acquisitions with + interest. Bobby looks up from his diamonds to steal a guilty + glance at Klaatu. + + BOBBY + Let's not say anything to my mother + about this, Mr. Carpenter. + + KLAATU + (mildly curious) + Why not, Bobby? + + BOBBY + (gravely) + She doesn't like me to steal from + people. + + DISSOLVE TO: + + EXT. BOARDINGHOUSE STREET - MED. SHOT - NIGHT + + Shooting toward the curb as a police prowl car drives up and + stops in front of the boardinghouse. A Detective in + plainclothes gets out and gestures to the uniformed Driver + to pull up the street a way and wait. The Driver nods and + the car moves off as the Detective crosses the sidewalk to + the boardinghouse. + + EXT. BOARDINGHOUSE - MED. CLOSE SHOT + + As the Detective mounts the steps he glances through a window + into the living room. Klaatu can be seen reading to Bobby, + who is perched happily on the arm of Klaatu's chair. The + Detective moves to the front door ant rings the bell. There + is the sound of running feet and in a moment the door is + opened and Bobby appears. + + DETECTIVE + Mr. Carpenter come home yet? + + BOBBY + (studying the man + curiously) + Yeah -- he's right inside. + + INT. DOWNSTAIRS - BOARDINGHOUSE + + DETECTIVE + Tell him I'd like to see him. + + BOBBY + (calling out) + Mr. Carpenter--! + (to the Detective) + Come on in. + + The Detective steps inside and Bobby closes the door, as + Klaatu appears from the living room. + + DETECTIVE + Your name Carpenter? + + KLAATU + (puzzled that anyone + should know him) + Yes. + (then recalling, with + a smile of + satisfaction) + Oh -- I suppose Professor Barnhardt's + looking far me. + + DETECTIVE + (dryly, with grim + emphasis) + I been looking for you all afternoon. + + EXT. BOARDINGHOUSE STREET - MED. SHOT - NIGHT + + An inexpensive convertible -- a 1948 Ford, or Chevrolet -- + drives up and stops in front of the house. Helen and Tom are + in it. + + INT. CONVERTABLE - TW0 SHOT - HELEN AND TOM + + You get the feeling that Helen and Ton have spent a very + enjoyable day together and are reluctant to say goodnight. + Tom puts his arm around her and kisses her. + + HELEN + (fondly) + It was a wonderful day. + + TOM + You still haven't answered my + question. + + HELEN + (warmly sincere) + You know how I feel, Tom. I just + want to think it over. + + TOM + The boss is leaving for Chicago + tomorrow. If I could tell him I was + getting married -- with two dependents-- + + HELEN + (smiling) + You're a good salesman -- but I've + got to think about it. + + TOM + A good insurance salesman wouldn't + give you time to think. + + With a smile and, a quick kiss, Helen gets out of the car. + + HELEN + 'Night. + + MED. SHOT + + as Helen turns and hurries across the sidewalk to the house. + In the entrance she turns and waves to Tom. He waves back + and drives off slowly. Helen lets herself in with her key. + + INT. DOWNSTAIRS HALL - BOARDINGHOUSE + + The Detective is putting on his hat and preparing to leave + with Klaatu as Helen enters. There is a moment of awkwardness + and confusion as she glances, puzzled, at the Detective. + Bobby runs to her and greets her excitedly. + + BOBBY + Hi Mom! + + HELEN + Hello, darling. + (she kisses Bobby, + then turns + questioningly to + Klaatu and the + Detective) + Good evening, Mr. Carpenter. + + Klaatu is uneasy but tries not to show it as he smiles in + greeting and introduces the Detective. + + KLAATU + Mrs. Benson -- this is Mr. Brady. + + BOBBY + (Impressively) + Mr. Brady's a cop. + + Helen glances quickly at the Detective, then at Klaatu, + surprised and troubled. She turns to Bobby to cover her + confusion. + + HELEN + (to Bobby) + Did you have a nice day, dear? + + BOBBY + (enthusiastically) + Boy, we had a swell time. Didn't we, + Mr. Carpenter? + + KLAATU + We certainly did. + + BOBBY + We went to the movies -- and we had + ice cream cones -- and we went to + see Daddy-- + + HELEN + (moved and grateful, + she's uneasy and + concerned as she + turns to Klaatu) + I don't know how to thank you. + + KLAATU + I enjoyed every minute of it. + + DETECTIVE + (with quiet insistence) + We better get goin', Mr. Carpenter. + + As Klaatu nods and prepares to follow him, Bobby speaks to + Klaatu. + + BOBBY + Aw, gee -- we didn't finish our story. + + KLAATU + We'll finish it tomorrow... Goodnight, + Bobby. + + BOBBY + (reluctantly) + Goodnight. + + Klaatu and the Detective nod to Helen and they go out. Helen + watches the door close with real concern, wondering why the + police want Klaatu and hoping he hasn't done anything wrong. + Still disturbed, she turns to lead Bobby upstairs. + + HELEN + Come on, Bobby. Time to go to bed. + + BOBBY + (he followers her, + then hesitates) + Mom -- why does Mr. Carpenter have + to go down to the police station? + + HELEN + I -- I don't know, dear... Perhaps + there's some mistake. + + This satisfies him for the moment -- even though it doesn't + satisfy Helen. He is climbing the stairs beside her. + + BOBBY + We sure had fun today. We saw the + space ship and we went to see + Professor Barnhardt -- and-- + + HELEN + (flashing him a + puzzled, incredulous + look) + Professor Barnhardt. + + BOBBY + (almost ignoring the + interruption) + Yeah, sure. Mom, do I have to go to + school tomorrow? + + HELEN + Of course, dear. + + BOBBY + Aw, gee, Mom -- I had plans to play + with Mr. Carpenter. + + DISSOLVE TO: + + INT. POLICE STATION - FULL SHOT - NIGHT + + The place is crowded and there is a feeling of feverish but + well-ordered activity. Unidentified people who have been + picked up in the search for the space man are being screened + by the police. They are all men -- all between forty and + sixty years old -- and they are from all walks of life. A + series of desks have been arranged in a row, with signs over + them reading IDENTIFICATION. At each desk is a team of cops + and before each desk is a line of men waiting to be screened. + At the far end of the room Klaatu can be seen at the desk of + a Police Lieutenant, with the detective who picked him up. + + MED. CLOSE SHOT + + Shooting over the shoulders of two cops at one of the desks, + toward the line of people they are screening. A nondescript, + middle-aged vagrant stands before the desk as one of the + cops flips through a card file. + + FIRST COP + (to the cop beside + him) + B.M. Alberts -- no prior arrests. + + SECOND COP + (to the vagrant) + No identification? + (the man shakes his + head dully) + Send him over to G-2. + + The man is taken out of the line as CAMERA MOVES ON to the + next desk, with another pair of cops and another line. A + rather distinguished-looking business man is placing a sheaf + of identification cards and papers on the desk. + + BUSINESSMAN + My wife just arrived with my + identification. + + One of the cops at the desk glances over the papers and nods + to the man. + + THIRD COP + That'll be all, Mr. Baxter. Sorry to + bother you... Next. + + CAMERA MOVES ON to a third desk where a small, rat-faced man + is standing uneasily before the two cops, one of whom is + flipping through a card file. + + FOURTH COP + Cappo, John C? + (the man nods) + Two priors -- one for petty theft -- + one for shoplifting. + + FIFTH COP + (waving the man away) + Okay, Jonny -- you can go. + + MAN + (with a nervous grin) + Sometimes a record comes in handy. + (and he moves off) + + MED. CLOSE SHOT - AT LIEUTENANT'S DESK + + A Detective Lieutenant in plain clothes is questioning Klaatu, + who stands beside the Detective who brought him in. The + Lieutenant is a rugged but dignified man about fifty, + intelligent and businesslike. + + LIEUTENANT + The Professor's secretary says she + found you in Barnhardt's room, making + marks on his blackboard. + + KLAATU + I was only trying to be helpful. He + was having difficulty with a problem. + + The Lieutenant exchanges a look with the Detective. + + LIEUTENANT + (sardonically) + Oh, I see. He was having trouble and + you were helping him out. + + KLAATU + (pleasantly) + That's right. + + LIEUTENANT + (quietly sharp and + accusing) + I suppose you know that Barnhardt + does a lot of secret work for the + Army. + + KLAATU + In this case the secret wouldn't be + worth much. He doesn't know the answer + himself. + + LIEUTENANT + (growing impatient) + But I suppose you know the answer. + + KLAATU + (with a deprecating + shrug) + It's really quite simple... The three- + body problem, you know. + + The lieutenant shifts in his chair, annoyed that he has to + deal with this madman. He glances at a report on his desk, + trying to control his impatience. + + LIEUTENANT + Your name's Carpenter -- that right? + (Klaatu nods) + Any identification, Mr. Carpenter? + Driver's license -- social security + number? + + KLAATU + No -- I'm afraid not. + + LIEUTENANT + Well, how do I know who you are? + + KLAATU + (secretly amused) + You don't. + + The Lieutenant is turning away in exasperation as a uniformed + cop comes into the scene. + + COP + Excuse me, Lieutenant -- + (pointing offscene) + The Doc says this man needs treatment + right away. + + MED. SHOT + + A man about forty-five, bloodied and badly beaten, is being + supported and half-carried by two policemen. A police doctor + is guiding them to a doorway, near which is a sign INFIRMARY. + The man is almost unconscious, incapable even of holding up + his head. + + MED. CLOSE SHOT - AT LIEUTENANT'S DESK + + LIEUTENANT + What's the story? + + COP + Some fella caught him lookin' in a + window and figured he was the space + man. The whole neighborhood went + crazy and they ganged up on him. + Would have killed him if we hadn't + come along... Turns out he was just + a prowler. + + The Lieutenant grimaces his disgust and impatience with mob + violence. + + LIEUTENANT + Okay -- book him and get him fixed + up. + (the cops nods and + goes, and the + Lieutenant growls as + he turns back to + Klaatu and the + Detective) + Looks like everybody's goin' nuts. + + KLAATU + (appalled by what he + has seen and heard) + They would have killed this man? + + LIEUTENANT + (gruffly) + People get hysterical enough, they + do anything. + (impatiently) + Look, Mr. Carpenter -- if you can't + identify yourself, I got to send you + over to the Army. + + KLAATU + (pretending impatience, + but actually growing + concerned) + How long will that take? + + LIEUTENANT + They can tell right away. They've + got a couple of doctors who saw this + man in the hospital. + (to the Detective) + Take him over to G2. + + Really concerned now, Klaatu tries to find a way out. He + attempts an authoritative air. + + KLAATU + It's very important, Lieutenant, + that I see Professor Barnhardt. + + DETECTIVE + Come on, Mr. Carpenter-- + + Shaking off the Detective's hand, Klaatu speaks to the + Lieutenant. + + KLAATU + May I suggest that you call the + Professor? + + LIEUTENANT + (all patience gone) + Get going, will you, Brady -- before + I get mad! + + The Detective takes Klaatu's arm and leads him toward the + door. As they go they pass a Military Police Captain, who + makes his way straight to the Lieutenant's desk. + + EXT. POLICE STATION - TWO SHOT - KLAATU AND DETECTIVE + + as they come out of the station. Klaatu hesitates a moment, + looks around. His face reveals nothing, but he seems to be + momentarily considering the idea of making a break. The + Detective, sensitive to such a possibility, hooks his arm + under Klaatu's and nods his head toward the sidewalk in silent + command. Klaatu allows himself to be led off. + + MED. SHOT + + as the Detective leads Klaatu across the sidewalk to the + curb, where a police car is standing. Parked just behind it + is an Army staff car. + + MED. CLOSE SHOT - ENTRANCE TO POLICE STATION + + as the M.P. Captain appears in the entrance, accompanied by + the Police Lieutenant. They see Klaatu and the Detective + approaching the police car and hurry out of scene after them. + + MED. CLOSE SHOT - AT POLICE CAR + + LIEUTENANT + (to the Detective) + Wait a minute, Brady-- + (indicating orders in + his hand) + The Captain here's got orders from + General Cutler to take this man over + to Professor Barnhardt. + + M.P. CAPTAIN + (to Klaatu firmly but + respectfully) + Will you come with me, Sir? + + MED. SHOT + + as Klaatu gets out of the police car and the Captain escorts + him toward the staff car. Passing the Lieutenant, Klaatu + speaks with a polite smile, a smile that might be one of + mild triumph. + + KLAATU + Sorry to trouble you, Lieutenant. + + The Lieutenant reacts with impatient exasperation as the + Captain holds the staff car door open for Klaatu, who steps + into the Army vehicle, as we-- + + DISSOLVE TO: + + INT. HALLWAY - BARNHARDT'S HOUSE - NIGHT + + as the M.P. Captain and Klaatu enter the front door, which + is held open for then by Hilda. She gestures them toward the + half-open door of Barnhardt's study, where Barnhardt can be + seen puzzling over the problem on the blackboard. The Captain + knocks on the open door to attract his attention and enters + with Klaatu. + + INT. BARNHARDT'S STUDY + + Barnhardt turns from his deep preoccupation at the blackboard, + chalk in hand. + + M.P. CAPTAIN + This is the man you wanted to see, + Professor. + + BARNHARDT + (studying Klaatu + curiously) + Thank you, Captain. + + M.P. CAPTAIN + I'll wait outside. + + He steps out into the hall, closing the door. Barnhardt + continues to study Klaatu for a moment, then points to the + notations he made on the blackboard. There is a controlled + but anxious excitement in Barnhardt's attitude. + + BARNHARDT + You wrote this? + + KLAATU + (nodding easily) + It was a clumsy way to introduce + myself -- but I understand you're a + difficult man to see. + (glancing at the + blackboard + reproachfully) + I thought you'd have the solution by + this time. + + BARNHARDT + Not yet. That's why I wanted to see + you. + + Klaatu glances at the work Barnhardt has been doing on the + board. Then he points to one of the expressions in an + equation. + + KLAATU + All you have to do now is substitute + this expression-- + (pointing to a specific + place) + --at this point. + + Impressed and interested, Barnhardt tugs at his chin as he + studies and weighs the results. + + BARNHARDT + (slowly, thoughtfully) + Yes -- that will reproduce the first- + order terms. But what about the effect + of the other terms? + + KLAATU + Almost negligible... With variation + of parameters, this is the answer. + + BARNHARDT + How can you be so sure? Have you + tested this theory? + + KLAATU + (with a slight smile) + I find it works well enough to get + me from one planet to another. + (Barnhardt stares at + him blankly) + I understand you've called a meeting + to study our space ship. + + BARNHARDT + As though unsure of what he's heard) + Yes -- yes, I have. + + KLAATU + My name is Klaatu. + (noting that + Barnhardt's expression + is changing from + amazement to + incredulity) + I spent two days at your Walter Reed + Hospital. Room 309. My doctor's name + was Major White -- and I had a very + attractive nurse called Ruth, who's + getting married next Wednesday. + (Klaatu waits for + this to sink in, + then speaks with + quiet authority) + If you are not interested -- or if + you intend to turn me over to your + Army -- we needn't waste any more + time. + + Barnhardt hesitates for a long, thoughtful moment. Then he + goes to the door, opens it and speaks to the Captain outside. + + BARNHARDT + (to the Captain, his + voice a little + unsteady) + You can go now, Captain. Please thank + General Cutler and tell him -- tell + him that I know this gentleman. + + Barnhardt closes the door and turns to find Klaatu watching + him with a faint smile. Barnhardt sinks into a chair, trying + to adjust his mind. + + KLAATU + (dryly) + You have faith, Professor Barnhardt + + BARNHARDT + It isn't faith that makes good + science, Mr. Klaatu. Its curiosity. + (unable to conceal + his interest) + Sit down, please. I have several + thousand questions to ask you. + + KLAATU + (ignoring the + invitation) + I would like to explain something of + my mission here. + + BARNHARDT + That was my first question. + + KLAATU + (with some bitterness) + It was my intention to discuss this + officially -- with all the nations + of the Earth -- but I was not allowed + the Opportunity. I have come to + realize since that your mutual fears + and suspicions are merely the normal + reactions of a primitive society. + (gathering his thoughts) + We know from scientific observation + that you have discovered a rudimentary + kind of atomic energy. We also know + that you are experimenting with + rockets. + + BARNHARDT + Yes -- that is true. + + KLAATU + In the hands of a mature civilization, + these would not be considered weapons + of aggression. But in the hands of + your people-- + (he shrugs and shakes + his head) + We've observed your aggressive + tendencies, and we don't trust you + with such power. + + BARNHARDT + (puzzled) + If you mean that you are afraid of + us-- + + KLAATU + (with cool impressive + emphasis) + We want to be sure you don't make -- + let us say -- an unfortunate mistake. + We know the potentiality of these + developments and we are disturbed to + find them in the hands of children... + You see, we've had atomic energy for + five thousand of your years. + (indicating the + telephone) + We discarded instruments like this + many centuries ago. + (he paces thoughtfully) + So long as you were limited to + fighting among yourselves -- with + your primitive tanks and planes -- + we were unconcerned. But soon you + will apply atomic energy to space + ships -- and then you become a threat + to the peace and security of other + planets. That, of course, we cannot + tolerate. + + BARNHARDT + (thoughtful and + impressed) + These other planets -- do they have + peace and security? + + KLAATU + We had our atomic wars -- thousands + of years ago. + (he smiles wryly) + After that we fought with bows and + arrows. Then, slowly, we learned + that fighting is no solution -- that + aggression leads to chaos. + + BARNHARDT + (with deep conviction) + We scientists understand this. Even + we primitive scientists. + (Straightforwardly) + What exactly is the nature of your + mission, Mr. Klaatu? + + KLAATU + I came here to warn you that, by + threatening danger, your planet faces + danger -- very grave danger. I am + prepared, however, to offer a + solution. + + BARNHARDT + Would you care to be more specific? + + KLAATU + (evenly) + What I have to say must be said to + all concerned. + (with a suggestion of + deference to Barnhardt) + It is too important to be entrusted + to any individual. + + Barnhardt is forced reluctantly to accept Klaatu's refusal + to go any further. After a moment's thought, he speaks + seriously, but with a twinkle in his eye. + + BARNHARDT + I gather that your efforts on the + official level were not entirely + successful. + + KLAATU + (sternly, as this + unpleasant episode + is recalled) + I come to you as a last resort -- + and I confess that my patience is + wearing thin. + (with Jovian annoyance) + Must I take drastic action in order + to get a hearing? + + BARNHARDT + (uneasily) + What -- what sort of action do you + mean? + + KLAATU + Violent action -- since that seems + to be the only thing you people + understand. + (quietly) + Leveling the island of Manhattan, + perhaps -- or dropping the Rock of + Gibraltar into the sea. + + Barnhardt stands staring at him for a moment, passes his + hand across his brow. Then, as Klaatu watches, Barnhardt + paces the floor, trying to digest what he has heard. After a + moment, he turns to Klaatu. + + BARNHARDT + Would you be willing to meet with + the group of scientists I am calling + together?. Perhaps you could explain + your mission to them, and they in + turn could present it to their various + peoples. + + KLAATU + (quietly, evenly) + That's what I came to see you about. + + Barnhardt flings him a glance, then looks momentarily + sheepish. But his own eagerness carries him on. He paces the + floor thoughtfully. + + BARNHARDT + It is not enough to have men of + science. We scientists are too easily + ignored -- or misunderstood. We must + get important men from every field. + Educators -- philosophers -- church + leaders -- men of vision and + imagination -- the finest minds in + the world. + + KLAATU + I leave that in your hands. + + BARNHARDT + You'd have no objection to revealing + yourself at this meeting? + + KLAATU + No -- not at all. + + BARNHARDT + What about your personal safety in + the meantime? What about the Army -- + and the police? + + KLAATU + My name is Carpenter and I'm a very + earthy character living in a + respectable boarding house. + + BARNHARDT + (smiling, but a little + concerned) + I'm afraid I can't offer you any + real protection. I have no influence + in cases of inter-planetary + conspiracy. + + KLAATU + I'm sure I'll be quite safe until + the meeting. + + BARNHARDT + (he suddenly pauses, + thoughtfully) + One thing, Mr. Klaatu. Suppose this + group should reject your proposals. + What is the alternative? + + KLAATU + (with a sense of quiet, + inescapable power) + I'm afraid you have no alternative. + In such, a case the planet Earth + would have to be-- + (he looks for the + right word) + --eliminated. + + The implications of this statement leave Barnhardt speechless, + his keen mind reeling. + + BARNHARDT + Such power exists? + + KLAATU + I assure you such power exists. + + Barnhardt stands silent for a moment, trying to collect his + shattered thoughts. Klaatu watches him as he starts pacing + again. + + BARNHARDT + The people who came to the meeting + must be made to realize this. They + must understand what is at stake. + (after a thoughtful + moment, he looks up) + You mentioned a demonstration of + force-- + + KLAATU + Yes. + + BARNHARDT + Would such, a demonstration be + possible before the meeting? + + KLAATU + Yes -- of course. + + BARNHARDT + Something that would dramatize for + them and for their people the + seriousness of the situation. + Something that would affect the entire + planet. + + KLAATU + (with a nod) + That can easily be arranged. + + BARNHARDT + (frightened by his + easy assumption of + infinite power) + I wouldn't want you to harm anybody -- + or destroy anything. + + KLAATU + (easily) + Why don't you leave it to me? I'll + think of something. + + BARNHARDT + (with a nervous half- + smile) + Maybe a little demonstration. + + KLAATU + (thinking about it) + Something dramatic -- but not + destructive. + (intellectually amused) + It's quite an interesting problem. + (Barnhardt nods vaguely) + Would day after tomorrow be all right? + Say about noon? + + Klaatu's bland manner leaves Barnhardt shaken, almost wishing + he'd never started this business. + + FADE OUT: + + INT. LIVING ROOM - BOARDINGHOUSE - NIGHT + + It is about 3:30 the following evening. Helen is sitting in + a chair leafing through a magazine. She is dressed to go + out. A corner of the dining room can be seen, where Mr. and + Mrs. Barley are playing cards with Mr. Krull. Mrs. Crockett, + the landlady, enters from the hall on her way to the dining + room and notices Helen. + + MRS. CROCKETT + Going out, dear? + + HELEN + Yes, I'm waiting for Tom to pick me + up. + + MRS. CROCKETT + (with a shudder) + Personally, I won't go out after + dark these days. + (with an attempt at + slyness) + But then -- I'm not courting, am I? + + She turns to go on into the dining room and as she does so + almost bumps into Klaatu who is coming out, having been + kibitzing the card game. + + MRS. CROCKETT + (thoroughly startled) + Oh -- Mr. Carpenter--! + + Klaatu steps aside as she hurries nervously into the dining + room. He turns, puzzled, to find Helen watching with a slight + smile. + + KLAATU + Everyone seems so-- + (he shakes his hands + to indicate + nervousness) + + HELEN + Jittery is the word. + + Helen watches him, a little uneasy in his presence. She is + fond of him, and she can't help being curious and concerned + about his brush with the police. + + KLAATU + (with a contemplative + smile) + Bobby's the only person I know who + isn't -- Jittery. + + HELEN + He has his homework to keep him + occupied. + + KLAATU + (fondly, sincerely) + He's a fine boy, Mrs. Benson. + + HELEN + Naturally I think so. + + KLAATU + Warm and friendly and intelligent-- + (thoughtfully) + You know -- he's the only real friend + I've made since I've been here. + + Helen is deeply moved by Klaatu's affection for the boy, She + tried to dismiss her curiosity about him, but she can't. She + decides to face it. + + HELEN + (hesitantly and with + some difficulty) + Mr. Carpenter -- this is none of my + business, but -- why did that + detective come here last night? + + KLAATU + (with easy frankness) + Oh -- they just wanted to ask me a + few questions. Bobby and I tried to + see Professor Barnhardt in the + afternoon, but he wasn't in. + Apparently they thought I was looking + for secrets of some kind. + + Helen has reacted in puzzlement at this second mention of + Barnhardt. They are interrupted by the ringing of the + doorbell. Helen goes to answer it. + + INT. HALLWAY + + as Helen opens the front door to admit Tom. He appears + impatient, anxious to get going. + + HELEN + Hello-- + + TOM + You ready? + + HELEN + I will be in just a minute. + + TOM + (a little annoyed + that she hasn't her + coat on, he consults + his watch) + The picture starts at eight-fifty. + + HELEN + (in explanation) + I was talking to Mr. Carpenter. + + TOM + (lightly, but with + real sarcasm + underneath) + I hope Mr. Carpenter won't think I'm + intruding. + + Helen tries to shush him, to indicate Klaatu is in the next + room, when Klaatu appears in the doorway. He must have heard + Tom's remark, and there is an awkward moment. Klaatu is + completely unperturbed, but Helen is embarrassed. + + KLAATU + Excuse me. I was just going up to my + room. + + HELEN + (guiltily) + Goodnight, Mr. Carpenter. + + Klaatu stops and turns to face them pleasantly. + + KLAATU + Have a good time -- both of you. + + He goes on up the stairs. Helen steers Tom toward the living + room. + + HELEN + Why don't you wait in here while I + get my things? + + INT. LIVING ROOM + + As they enter from the hall, Helen turns to Tom reproachfully. + + HELEN + (quietly) + Oh, Tom, that was awful. + + TOM + (momentary apologetic) + I'm sorry. I guess I'm just tired of + hearing about Mr. Carpenter. + (Helen shushes him) + I don't like the way he's attached + himself to you and Bobby. After all, + what do you know about him? + + This touches on Helen's own private doubts, and she cannot + answer. + + HELEN + I'll go get my things. + + She turns quickly and goes into the hall and hurries up the + stairs. Tom looks after her, dismissing the matter with a + shake of the head and a philosophical sigh. Of such stuff + are women made. + + INT - UPSTAIRS HALLWAY + + Helen reaches the top of the stairs, crosses to her room and + grabs a coat off the bed. She's putting it on as she moves + down the hall to Bobby's room, the door of which is open. + + INT. BOBBY'S ROOM + + Bobby is at a table doing his homework and Klaatu has just + finished explaining an arithmetic problem to him, as Helen + enters, still putting on her coat. + + KLAATU + (about to leave) + All you have to remember is, first + find the common denominator -- then + subtract. + + BOBBY + Thanks, Mr. Carpenter. + + KLAATU + (to Helen, pleasantly) + I'll say goodnight again. + + Helen is embarrassed. She would like to apologize for the + awkwardness downstairs but she doesn't quite know how to go + about it. + + HELEN + Mr. Carpenter, I-- + (it's too complicated; + she can't do it) + Goodnight. + + KLAATU + (with a warm smile of + complete understanding + and appreciation) + Goodnight, my dear. + + He turns and goes out, closing the door. A little distracted, + Helen turns to Bobby. + + HELEN + Go to bed, darling. You can finish + that in the morning. + + BOBBY + Okay. + + Helen watches as he starts to put away his work. She wants + to tell him something, but finds it difficult to say. + + HELEN + (hesitantly, almost + guiltily) + Bobby -- I think it would be better + if we didn't see quite so much of + Mr. Carpenter + + BOBBY + (shocked, and + bewildered) + Gee, why, Mom? He's my best friend... + And he's awful good in arithmetic. + He even helps Professor Barnhardt. + + HELEN + Did you and Mr. Carpenter really go + to see Professor Barnhardt? + + BOBBY + Sure we did! He wasn't there but we + went to see him. And Mr. Carpenter + showed him how to do his arithmetic. + + Helen is surprised to get this corroboration for Klaatu's + story. Sensing his mother's uneasiness, the boy looks for + something intriguing -- some deep, dark secret. + + BOBBY + (shrewdly) + Mom -- is there something wrong with + Mr. Carpenter? + + HELEN + What do you mean, dear? + + BOBBY + I mean -- on account of that policeman + last night. + (his eyes light up + hopefully) + You think he's a bank robber, maybe? + Or a gangster? + + HELEN + No, dear, of course not. He's a very + nice man. I Just think he might prefer + to be left alone. Now you get to bed + and forget about it. + (she kisses him) + 'Night, darling. + + With a reassuring smile, she starts for the door. + + BOBBY + Goodnight. + (stopping her in the + doorway, his + imaginative suspicions + mounting) + Hey Mom -- why would he want to be + alone? + + Not wanting to go into this any further, Helen blows him a + kiss and backs out, closing the door. Bobby stands thinking + for a moment, his mind still speculating on all sorts of + wonderful possibilities. Still preoccupied, he drifts over + to his bed and sits down to take of his shoes. He drops the + first one to the floor and is starting on the other, when + there is a light rap on his door. The door opens and Klaatu + appears. + + KLAATU + Bobby -- have you a flashlight? + + BOBBY + (surprised by his + appearance and his + request) + Yeah -- sure. + (he goes to a drawer + and gets a large + hand flashlight) + It's a real Boy Scout flashlight. + + Bobby hands him the light, studying his face with eager + curiosity. + + BOBBY + What do you want it for, Mr. + Carpenter? + + KLAATU + (evasively) + Why -- the light in my room went + out. + (cutting off further + questions) + Thank you, Bobby. Goodnight. + + Klaatu goes out, closing the door behind him. Bobby hesitates + a moment, puzzled and curious. Then he goes over to the door, + flips off the lights, and slowly, noiselessly opens the door + a crack so he can peer out into the hall. + + MED. SHOT + + shooting down the hall through the crack in Bobby's door. + + Klaatu's door is ajar and through it the lights in his room + can be seen burning brightly. Klaatu goes to his door, reaches + in and flips off the lights and closes the door. He then + scans the hall in both directions. Satisfied he isn't seen, + he moves surreptitiously down the hall toward the stairs, + still carrying the flashlight. + + MED CLOSE SHOT - BOBBY + + as he closes his door carefully, an expression of intense + excitement on his face. What he has seem is certainly, + unmistakably suspicious. Why did Mr. Carpenter lie to him? + What does he want the flashlight for and where is he going? + Bobby decides he's got to find out. Hurriedly he laces on + the shoe he had taken off, and peers out the door to find + the hall clear. He slips out the door, closing it behind + him. + + DISSOLVE TO: + + EXT. STREET - MED. CLOSE SHOT - NIGHT + + Klaatu is walking down the dark, semi-deserted street with + the determined stride of a man with a definite objective. + + MED. CLOSE SHOT - BOBBY + + Half a block behind, he's following Klaatu, eagerly, flushed + with a sense of excitement and adventure. + + DISSOLVE TO: + + EXT. RESIDENTIAL STREET CORNER - NIGHT + + Walking along the sidewalk, Klaatu turns into a side street, + disappearing from view around the corner. In a moment, Bobby + hurries into scene breathlessly. He pulls up for a moment to + rest. Then, getting his breath, he dashes on around the corner + after Klaatu. + + DISSOLVE TO: + + EXT. LARGE TEMPORARY BUILDING - LONG SHOT - NIGHT + + This is a temporary structure that has been erected to enclose + the space ship and Gort. In front of the one small door are + two soldiers, standing guard. Concealed in some foreground + foliage, studying the layout, is Klaatu. Nearby 's a sign + reading: KEEP OUT! This area OFF LIMITS to the public. U.S. + ARMY. + + CLOSE SHOT - BOBBY + + He is a short distance away, watching Klaatu eagerly. + + CLOSE SHOT - KLAATU + + as he studies the situation. + + MED. SHOT + + shooting over Klaatu's shoulder. As he watches, a Jeep filled + with armed soldiers -- apparently regular patrol -- drives + up to the entrance of the building. They stop for a moment + while their Sergeant checks with the guards. Assured that + everything is under control, the Sergeant signals his driver + and the Jeep moves off. + + MED. CLOSE SHOT - KLAATU + + Scanning the side of the building, he sees what he's looking + for. Waiting until the Jeep disappears, he starts toward one + side of the building, keeping himself concealed in the + foliage. + + CLOSE SHOT - BOBBY + + puzzled and interested, as he watches Klaatu. + + MED. CLOSE SHOT + + The two sentries standing in front of the building. + + MED. SHOT + + as Klaatu maneuvers around the side of the building, where + there is a window. It has no glass in it but is heavily + barred. + + MED. CLOSE SHOT - KLAATU + + as he leaves the concealing foliage and crosses the clear, + grassy area surrounding the building. He stops and tries to + see through the window. + + MED. SHOT - GORT + + shooting through the barred window into the building. The + huge robot looms large and eerie in the shadows cast by a + couple of naked work-lights. His head is angled, away from + the window. + + MED. CLOSE SHOT + + as Klaatu approaches the window. Aiming his flashlight at + Gort, he flashes the light intermittently, as though + signaling. (This should not approximate any known code.) + + MED. CLOSE SHOT - GORT + + As we watch, the intermittent flashes of Klaatu's light appear + on the wall ahead of Gort. Slowly, evenly, the robot's head + turns to face the window. + + MED. SHOT + + from Gort's viewpoint, of the window, with Klaatu's light + flashing its signals. + + MED. CLOSE SHOT - KLAATU + + shooting on his back, as he finishes signaling and cuts off + the flashlight. He turns ant starts back for the concealment + of the foliage. + + CLOSE SHOT - BOBBY + + craning his neck to look for Klaatu, who has eluded his view. + Suddenly he sees Klaatu again. + + MED. SHOT - KLAATU + + making his way behind the foliage toward the front of the + building. Arriving at a point opposite the entrance, Klaatu + waits and watches. + + MED. CLOSE SHOT - ENTRANCE TO BUILDING + + The two guards are standing in the doorway in positions of + relaxed alertness. Suddenly, inside the building behind them, + the giant figure of Gort looms silently in the doorway. His + two great arms reach out, grab the two guards and drag then + back inside the building. + + CLOSE SHOT - BOBBY + + He lets out an inaudible gasp as he sees this. Bug-eyed, he + glances quickly to the point where he last saw Klaatu. He is + amazed at what he sees. + + MED. SHOT + + from Bobby's viewpoint. Klaatu has emerged from the + concealment of the tree-lined path and is making his way + calmly toward the entrance of the building. + + CLOSE SHOT - BOBBY + + As he watches Klaatu enter the building, his curiosity + conquers his fear and he starts tremblingly toward the + structure. + + INT. BUILDING - FULL SHOT + + as Klaatu enters. The huge shapes of the space ship and Gort + loom large and eerie. Klaatu starts across the barren + enclosure toward the ship. + + EXT. ENTRANCE TO BUILDING - MED. CLOSE SHOT + + as Bobby approaches the door, fearful but fascinated. He + peers cautiously inside and his eyes grow wide as saucers. + + EXT. BUILDING - MED. SHOT + + In *f.g., near the door, the two guards lie unconscious. As + Klaatu walks toward the ship Gort slowly turns his head to + follow him with him with eyes. Klaatu touches a point on the + unbroken surface of the ship and the ramp silently swings + out and down to the ground. Klaatu mounts the ramp and + disappears inside the ship, whereupon the ramp silently + closes. + + CLOSE SHOT - BOBBY + + as he watches this; his eyes bulging. He can scarcely believe + what he has seen. Suddenly a wave of sheer terror sweeps + over him. Scrambling to his feet, he turns and runs wildly + away. + + INT. SMALL CORRIDOR - SPACE SHIP + + CAMERA FOLLOWS Klaatu as he moves down the tiny, dimly lighted + entrance corridor. He steps into the main cabin of the ship + and flips a switch which bathes the cabin in a diffused, + shadowless light. The walls are lined with a complex of + mysterious gadgetry -- knobs, dials, indicators, etc. All of + this should be as imaginative and unorthodox as possible, + while still retaining a feeling of sound but highly advanced + engineering. + + MED. CLOSE SHOT + + as Klaatu moves to the communications panel, flipping switches + and turning dials. Indicators light up. There are crackling, + whirring and buzzing sounds. Klaatu starts speaking into a + built-in microphone in his own strange language. He speaks + in rapid-fire explanation, continuing to talk, as we-- + + DISSOLVE TO: + + INT. BUILDING - MED. SHOT - NIGHT + + as Klaatu walks calmly away from the ship, past the two + unconscious guards and disappears out of the door. + + MED. CLOSE SHOT THE TWO GUARDS + + as one of them slowly regains consciousness. Looking around, + he sees the great figure of Gort and is terror-stricken. He + shakes his companion frantically in an effort to bring him + to. + + DISSOLVE TO: + + INT. LIVING ROOM BOARDINGHOUSE NIGHT + + Bobby is curled up in a chair waiting for his mother to come + home. He's sleepy, but the excitement of what he has seen + precluded any such possibility. From the hall we hear the + front door opening as Helen and Tom come in. + + HELEN'S VOICE + (off scene) + Why don't you come on in for a minute? + + Helen and Tom appear in the doorway, Helen is startled to + see Bobby, who has Jumped up and run toward her. + + HELEN + Bobby--! What are you doing up at + this hour? + + BOBBY + (excitedly) + I couldn't go to sleep, Mom. I had + to tell you! + + HELEN + Tell me what? + + BOBBY + (the words tadpole + out breathlessly) + I followed Mr. Carpenter -- right + after you left -- and, gee, Mom, + where do you think he went? Right + into the space ship! + + HELEN + (patiently disbelieving) + Now, Bobby, just a minute-- + + BOBBY + Honest, Mom, I saw him. It just opened + up and he walked right in. And that + great big iron man was moving around! + + HELEN + Bobby, you've been dreaming again. + + BOBBY + (desperately) + No, I haven't, Mom. I promise you... + I saw it! + + Helen and Tom exchange a glance of tolerant amusement. + + TOM + Where did you see all this, Bobby? + + BOBBY + On the lawn down at the mall -- in + that place with the soldiers out + front. + + TOM + (trying to trap him) + Where were the soldiers all this + time? + + BOBBY + That robot fella grabbed 'em and + dragged 'em inside! + (his lips trembling) + I like Mr. Carpenter -- but I'm + scared, Mom. + + He rushes into Helen's arms, clutching her desperately, trying + to hold back his tears. + + HELEN + (holding him close to + her sympathetically) + Mustn't be frightened, darling -- It + was just a bad dream. Here -- we'll + prove it to you. + (with a look and a + nod to Tom) + Tom, will you ask Mr. Carpenter if + he'll come down for a minute. + (Tom turns to go) + The room right opposite mine. + + Nodding, Tom disappears into the hall and up the stairs. + Still holding Bobby, Helen tries to dispel his fears by an + appeal to logic. + + HELEN + Now think back hard. You didn't follow + Mr. Carpenter at all, did you? You + haven't even been out of the house. + + BOBBY + Yes, I have! + + HELEN + (determinedly) + You didn't really see the space ship. + You just thought you did. + + Bitterly hurt, Bobby faces his mother gravely, accusingly. + + BOBBY + I'd never call you a liar. + + INT. UPSTAIRS HALLWAY - MED. CLOSE SHOT + + Tom is knocking softly at Klaatu's door. Getting no answer, + he tries the door, pushes it open and peers in. Then he steps + into the darkened room. + + INT. KLAATU'S ROOM - FULL SHOT + + Tom snaps on the light and looks around the empty room. The + bed is still made. Glancing around, Tom's eye is caught by a + flash of something bright on the floor below the dresser. He + stoops down and picks up a fair-sized diamond. Tom studies + the stone curiously, holding it up to the light. Thoroughly + puzzled, he keeps the stone in his hand, switches off the + light and goes out. + + UPSTAIRS HALL - MED. SHOT + + Closing the door, Tom hurries along the hall and down the + stairs + + INT. LIVING ROOM - FULL SHOT + + Through the hall door Tom can be seen coming down the stairs. + Helen and Bobby watch expectantly as he enters. + + TOM + He's not there. + (crossing to Helen) + But look what I found in his room + + HELEN + (takes the stone and + studies it, amazed + by its size) + Is it real? + + TOM + (with the shrug of an + amateur) + Looks real to me. + + BOBBY + Mr. Carpenter's got a lot of diamonds. + (he digs into his + pocket) + He gave me a couple of them. + + Helen takes the two diamonds Bobby holds out in his hand, + looking at them in amazement. + + HELEN + He gave these to you? + + BOBBY + (guilty for his own + sharp dealing) + Well, not exactly. I gave him two + dollars. + + TOM + This doesn't make sense... I think + the guy's a crook. I never did trust + him. + + Helen tries to shush Tom, not wanting to re-stimulate Bobby's + imagination, but it's too late. + + BOBBY + Gee, Mom, do you think maybe he's a + diamond smuggler? + + HELEN + (firmly) + Come on, darling -- we're going up + to bed. + + TOM + I wonder if we ought to-- + + HELEN + (cutting him off with + a look) + Bobby and I have had enough excitement + for tonight. + + TOM + (seriously concerned) + You think it's all right for you to + stay here? + + HELEN + (nods reassuringly) + I've got a good lock on my door. + (smiling at Bobby) + And Bobby's going to sleep in my + room tonight. + + BOBBY + Oh, boy -- can I, Mom? + + HELEN + Yes, dear. Come on now. + (she happens to look + down at his feet. + Puzzled, and + concerned, she feels + his shoes) + Bobby, your shoes are soaking! + + BOBBY + (reluctantly, with + childish guilt) + Yeah -- the grass was kind of wet. + + As the impact of this sinks in, Helen and Tom turn to stare + at each other in questioning consternation. + + FADE OUT: + + FADE IN: + + INT. OFFICE - DEPT. OF COMMERCE BLDG. - MED. CLOSE SHOT DAY + + It is a typical government office, with lots of desks in it. + Helen is at her desk, straightening it up to go to lunch. + This done, she moves briskly to get her coat. CAMERA PANS to + follow her and suddenly, startlingly reveals Klaatu standing + near the clothes rack, as though he had materialized out of + thin air. Helen is thoroughly startled. + + HELEN + (unnerved) + Oh -- hello-- + + KLAATU + May I see you for a minute? + + HELEN + I -- I was Just going to lunch. + + KLAATU + (quietly insistent) + May I walk out with you? + + She is nervous and uneasy but obviously can't refuse. The + telephone on her desk rings and Helen turns to answer it. + + HELEN + (into phone) + Mrs. Benson speaking. + (recognizing the voice, + she glances nervously + at Klaatu) + Oh, hello... + + INT. JEWELRY SHOP - MED. CLOSE SHOT + + It's a rather swank shop. Tom is standing at the counter + phoning. The Jeweler is behind the counter examining a stone + through his eyepiece. + + TOM + (into phone, cheerily) + I'm at Bleeker's getting an appraisal + on that diamond. I thought we might + have lunch together. + + INT. OFFICE - DEPT. OF COMMERCE - MED. CLOSE SHOT + + HELEN + (with a nervous glance + at Klaatu) + I -- I'm afraid I can't -- not right + now. Can I talk to you later?. Yes, + that'll be fine. 'Bye. + + She hangs up and smiles uneasily as she rejoins Klaatu and + leads the way out into the corridor. + + INT. CORRIDOR - TWO SHOT + + CAMERA MOVES with Helen and Klaatu as they go down the + corridor. Klaatu's mood is one of quiet tension. + + KLAATU + (watching Helen's + reaction) + I saw Bobby this morning before he + went to school-- + + HELEN + (glancing at him + apprehensively) + Yes--? + + KLAATU + I want to know what he told you last + night. + + HELEN + (nervous and evasive) + I -- I didn't really pay much + attention-- + (with a nervous little + laugh) + Bobby has such an active imagination. + + KLAATU + (refusing to be put + off) + Did you believe what he told you? + (Helen hesitates, + trapped by uncertainty) + I have a reason for asking this -- a + very important reason. + + MED. SHOT + + They are approaching the elevator at the end of the corridor. + There is a large crowd of lunch-goers milling around the + elevator, which is quickly filled. Half the crowd is left as + the elevator doors close and it descends. + + TWO SHOT - HELEN AND KLAATU + + Nervous and distracted, Helen doesn't want to get caught up + in this jam. + + HELEN + There's another elevator we can use-- + + She nods toward a side corridor and starts for it, Klaatu + following. + + MED. SHOT + + CAMERA FOLLOWS them as they turn into the side corridor. + Helen leads the way to a small, automatic elevator. She + presses the button and the doors open. Klaatu follows her + in. + + INT. ELEVATOR + + As Helen presses the first floor button, the doors close and + the elevator starts down. She turns to face Klaatu. + + HELEN + (her nerves raw and + edgy) + What is it you want? + + KLAATU + Before I ask you to be honest with + me, perhaps I should be completely + honest with you-- + + Without warning the elevator comes to a jolting, jarring + stop as the power is cut off and the lights go out. The car + is illuminated faintly and eerily by light that seeps through + the ventilating grills from a skylight in the shaft. Helen + is terrified. + + HELEN + (gasping with fright) + What happened? + + KLAATU + (a moment's hesitation; + then he remembers) + What time is it? + + Helen fumbles to get her wrist watch into a faint beam of + light. + + HELEN + Just twelve. + + KLAATU + We'll be stuck here for a little + while -- about thirty minutes. + + HELEN + (preoccupied with her + own thinking) + We could try pushing the other + buttons. + (digging in her purse) + I have a flashlight in my purse. + + KLAATU + It won't work. + + Helen has the flashlight out and is snapping it on, but it + doesn't work. She looks up at him blankly. + + HELEN + Why not? + + KLAATU + (after a moment, + quietly) + You see -- the electricity's been + neutralized -- all over the world. + + The impact of this calm, quiet statement is shattering. Helen + stares at him awe-struck. Then she speaks numbly, almost + inaudibly. + + HELEN + Bobby was telling the truth -- wasn't + he? + + Klaatu stares at her evenly, as we-- + + DISSOLVE TO: + + MED. SHOT - STREET + + All vehicular traffic in the street is at a dead stop. + Automobiles, busses, trolley cars -- all are stalled. Drivers + and passengers are climbing out of the vehicles in utter + bewilderment. Except for the people, it is as though the + street had been frozen in motion. + + INT. CITY POWER PLANT + + The great generators and dynamos are silent and motionless + in the dim, unlighted plant. + + INT. FACTORY + + A huge automobile or airplane assembly line, with nothing + moving, no machinery going. + + INT. PRESSROOM - METROPOLITAN NEWSPAPER + + The giant presses are threaded with newsprint, but they are + silent and motionless. + + INT. CONTROL ROOM - RADIO STATION + + A couple of engineers are working feverishly over a huge and + complicated control panel. They are working by the light of + two incongruous and ineffectual candles. + + INT. NEW YORK SUBWAY KIOSK + + People carne pouring up the stairs wildly, feverishly anxious + to escape the darkness below. Their eyes blink weakly in the + unaccustomed sunlight. + + EXT. SHOT - NEW YORK STREET + + Cars, taxis and busses are stalled, their frenzied drivers + unable to figure out what's happened. A junk peddler with a + broken-down horse and wagon moves grandly and leisurely + through the stalled vehicles. The peddler bears a happy grin + of superiority. This is his moment of triumph over modern + civilization. + + LONG SHOT - TIMES SQUARE + + with all traffic stalled. + + MED. CLOSE SHOT - TIMES SQUARE + + of two cab drivers whose taxis have stalled beside each other + in traffic. One has gotten out of his cab. The other is seated + at his wheel, looking around in awe and terror, his tough + Manhattan heart shaken. + + CAB DRIVER + My ol' lady was right. We shoulda + got a place in the country. + + LONG SHOT - PICCADILLY CIRCUS - DAY + + with all traffic stalled. (It is about 5:00 P.M.) + + TWO SHOT - TWO COCKNEYS + + standing on the sidewalk, awe-struck at the weird sight before + them. One of them speaks in terror, hardly daring to + articulate his thoughts. + + COCKNEY + It's that space man -- that's wot it + is. + + LONG SHOT - MOSCOW STREET - DUSK + + with all traffic stalled. (It is about 8:00 P.M.) + + MED. CLOSE SHOT - TWO RUSSIANS + + They are an elderly couple. Staring bug-eyed at the strange + street scene, the woman mutters some terror-stricken comment + in Russian. + + LONG SHOT - PLAZA. DE LA CONCORDE - DAY + + with traffic stalled. (It is about 5:00 P.M.) + + CLOSE SHOT - FRENCH WOMAN + + She is middle-aged and there are tears of fright in her eyes. + She is mumbling a prayer in French. + + DISSOLVE TO: + + INT. BARNHARDT'S STUDY - DAY + + Barnhardt is seated comfortably at his desk with a book on + his lap. He has been interrupted by the entrance of Hilda, + his secretary. At the moment she`s beside herself with + excitement. Barnhardt watches her with a half-smile of secret + amusement. He has already deduced the cause of what's + happening. + + HILDA + You should see it, Professor + Barnhardt! You should go out and see + it for yourself! + + BARNHARDT + Thanks -- I'm enjoying it right here. + + HILDA + The whole city has stopped. People + are running around like ants! + + BARNHARDT + (musing admiringly on + Klaatu's cleverness) + What a brilliant idea. I never would + have thought of it. + + Hilda flings him a questioning look, annoyed that he won't + share her excitement. + + BARNHARDT + What about the people who are coming + to the meeting tonight? Have they + all arrived? + + HILDA + (nodding) + I talked to most of them this + morning... They were all very curious + about the meeting. + + BARNHARDT + Good. Did you speak to our friend + Mr. Carpenter? + + HILDA + (nodding) + He'll be there at 8:30. + + BARNHARDT + (studying her for a + moment) + Tell me, Hilda -- does all this + frighten you -- does it make you + feel insecure? + + HILDA + Yes, sir -- it certainly does! + + BARNHARDT + (nodding with a bland + little smile) + That's good, Hilda. I'm glad. + + The poor woman flings him a look of shocked amazement as we-- + + DISSOLVE TO: + + INT. CONFERENCE ROOM - PENTAGON BLDG. - DAY + + Seated at a conference table are high-ranking officers of + the Army, Navy, Air Force and Marine Corps. There is the + uneasy tension of people dealing with unknown forces. An + Army Major General, who's Chairman of the meeting, is + speaking. + + GENERAL + --as far as we can tell, all power's + been cut off everywhere -- with a + few exceptions: hospitals, planes in + flight -- that sort of thing. I wish + I could be more specific but, as you + now, all communications are out + telephone, radio, cable -- everything. + (gravely) + I can tell you that the President is + prepared to declare a state of + national emergency. + (pausing to let this + sink in) + Before we start discussing plans, I + want a report from Colonel Ryder. + What about the robot, Colonel? + + Ryder is a Colonel of engineers, a man about forty-five. + + COLONEL RYDER + When it was discovered last night + that the robot had moved, I was + directed by the Joint Chiefs to find + a means of immobilizing him. We + accomplished that this morning by + encasing him in a block of KL 93. + (he hands a small + block of plastic to + the General) + It's a new plastic material -- + stronger than steel. + + GENERAL + Is it possible that he's broken out + of this stuff? + + COLONEL + No, sir. I've Just checked on that. + He's locked up tight as a drum. + + GENERAL + All right -- that means we concentrate + on the man. + (to the group with + force and authority) + Up till now we've agreed on the + desirability of capturing this man + alive. We can no longer afford to be + so particular. We'll get him alive, + if possible -- but we must get him! + (eyes the group sternly) + Is that clear? + + DISSOLVE TO: + + INT. JEWELRY SHOP - MED. CLOSE SHOT - TOM AND JEWELER + + The shop and its glittering display cases, which were + brilliantly lighted in the previous scene, are now gloomy + and dim. All artificial light is off. The Jeweler is a bright- + eyed old man of seventy with a middle European accent. He is + completely fascinated as he examines the diamond Tom has + given him, and is annoyed by the lack of light. He speaks + impatiently to one of the girls in the shop who happens to + pass by. + + JEWELER + Eleanor, did you call the electrician? + + GIRL + (she's not too bright) + I tried, Mr. Bleeker. But the phone + doesn't work, either. + + JEWELER + (absently, as he + studies the stone) + Well, call the phone company. + + GIRL + (plaintively) + But the phone doesn't work. + + The Jeweler gives her a preoccupied glance of annoyance and + turns back to the stone. + + TOM + Is it worth anything? + + JEWELER + I have never seen such a stone. Will + you please tell me where it came + from? + + TOM + That's what I wanted you to tell me. + + JEWELER + (overwhelmed and + absorbed by the stone, + he shakes his head, + bewildered) + There are no diamonds like this -- + any place in the world. + + Impressed by the import of what the man is saying, Tom's + mind is racing wildly. + + TOM + You sure about that? + + JEWELER + (eagerly, shrewdly) + Would you like to sell it? + + TOM + (picking up the stone) + No -- no, thanks. + + JEWELER + I'd give you a very good price. + + Preoccupied with his own excited thoughts, Tom has already + started for the door. + + DISSOLVE TO: + + INT. ELEVATOR - TWO SHOT - KLAATU AND HELEN + + In the dim light of the stalled elevator, Klaatu is finishing + explaining to Helen the story of his mission. Overwhelmed by + the staggering import of what he has told her, Helen is + listening with great interest and concern. + + KLAATU + (speaking gravely) + --I've already told you more than I + told Professor Barnhardt, because my + life, in a sense, is in your hands. + I thought if you knew the facts you'd + appreciate the importance of my not + being -- apprehended, -- before the + meeting tonight. + + Helen is staring at him in awe, but also in complete + admiration and sympathy. + + HELEN + Yes, of course. Of course I do. + + Klaatu smiles at her warmly and she manages to return the + smile. Their relationship is further cemented by the sharing + of this vital secret. + + HELEN + (studying his face + anxiously) + You hold great hope for this meeting. + + KLAATU + I can see no other hope for your + planet. If the meeting should fail, + then I'm afraid there is no hope. + + Suddenly and without warning, the elevator starts moving and + the lights go on. Startled, Helen looks at him. + + KLAATU + (calmly) + It must be twelve-thirty. + + HELEN + (looks at her watch, + then back at him, + awe-struck) + Yes -- Just exactly. + + STREET - MED. SHOT - DAY + + Showing a section of street traffic as it comes back to life. + From everywhere comes the sound of self-starters. Trolley + bells start clanging. Then automobile horns. People climb + back into there vehicles and traffic starts to move. + + SERIES OF CUTS + + of other streets, as the strident sounds of traffic build up + and normalcy is regained. + + INT. LOBBY - DEPARTMENT OF COMMERCE BLDG - MED. SHOT - DAY + + as Helen and Klaatu come out of the elevator and start across + the lobby, CAMERA HOLDING ON THEM. Helen is preoccupied with + concern for Klaatu's safety. + + HELEN + Where are you going now? + + KLAATU + Back to the boardinghouse. I'll be + safe there for the afternoon -- and + I can keep an eye on Bobby. He's the + only other person who knows anything + about-- + + This recalls to Helen something she had forgotten and she + stops in sudden concern. + + HELEN + No, wait a minute -- there's someone + else. + + KLAATU + Who? + + HELEN + Tom... He was there last night when + Bobby told me what he saw. + + The look of concern on Klaatu's face heightens Helen's + overwhelming fear and uncertainty. + + HELEN + (worriedly) + Of course, he doesn't know anything + definite. He'd talk to me first, + anyway, before-- + (interrupting herself + in sudden decision) + We can't take that chance. I'll get + in touch with him right away and + make sure. + + Helen turns and starts determinedly for the lobby door, + followed by Klaatu, as we-- + + DISSOLVE TO: + + INT. TELEPHONE BOOTH + + Helen is nervous and worried as she speaks into the phone. + + HELEN + (into phone) + --But I've got to talk to him. It's + terribly important. When is he coming + back? + + INT. TOM'S OUTER OFFICE - CLOSE SHOT - SECRETARY + + Tom's secretary has not yet recovered from the shock of what + has happened to the world. + + SECRETARY + I don't know, Mrs. Benson. He left + before noon -- before that awful + electric business. I'm scared to + death, Mrs. Benson. I -- No, he + wouldn't tell me where he was gong. + Said it was something personal. + + INT. TELEPHONE BOOTH + + HELEN + Tell him I want to see him the minute + he gets in... No, I'll call back. + + Helen hangs up, thoroughly worried and distraught now. + + DISSOLVE TO: + + INSERT - NEWSPAPER HEADLINE + + The headline reads: WORLD-WIDE POWER JAMMED PRESIDENT DECLARES + EMERGENCY STEP UP HUNT FOR SPACE MAN. + + DISSOLVE TO: + + EXT. AIRPORT - MED. SHOT - DAY + + at passenger loading gate. A group of passengers is held + back as soldiers close the gate to the runway, preventing + their boarding their plane. The passengers mill about in + consternation as a voice is heard over a p.a. system. + + VOICE + Attention, please.... All flights + from National Airport have been + canceled until further notice.. All + flights from this airport have been + canceled. + + DISSOLVE TO: + + INT. RAILROAD STATION - MED. SHOT AT TRAIN GATE - DAY + + M.P.'s are blocking the gates leading to trains and ticket + takers are busy explaining matters and remonstrating with + irate ticket holders. + + DISSOLVE TO: + + EXT. BUS DEPOT - MED. SHOT - DAY + + Passengers are being herded off a loaded bus that was + preparing to leave the depot. + + DISSOLVE TO: + + EXT. ROADBLOCK ON HIGHWAY - MED. SHOT + + The Army has thrown a roadblock across a main highway on the + outskirts of the city and is permitting no one to leave. + From the line of halted cars we see and the insistent honking + of horns we hear, we get the impression of hundreds of cars + stacked up. + + DISSOLVE TO: + + INT. TOM'S OUTER OFFICE - FULL SHOT - DUSK + + It is 6:00 P.M. and growing dark outside, but the lights are + not on. The office is small and unpretentious, the business + habitat of a man who works in a big insurance agency. Tom's + secretary is on the phone, reflecting the world-wide terror + of the moment. + + SECRETARY + (into phone, nervous + and jittery) + --Honest, Mary, I'm so scared I can't + sit still. I'd like to run some place, + but I don't know where to go-- + (hearing the door + open, she cuts off) + 'Bye now. + + The corridor door opens and Tom enters with an air of urgency. + + TOM + Call the Pentagon and find out who's + in charge of this space man business. + Whoever it is I want to talk to him. + + The secretary has a reaction of surprise, but she manages to + stop Tom at his door. He has flipped on the lights in passing. + + SECRETARY + Mrs. Benson's been trying to get you + all afternoon. She says it's + important. + + TOM + Get this other call first. + + Tom disappears into his office, closing the door. The + secretary is getting out a telephone directory when the + corridor door opens and Helen enters, tense and nervous. + + SECRETARY + Oh, Mrs. Benson -- He just walked + in. + (misery loves company) + Are you nervous, too? + + HELEN + Yes, I am, Margaret. + + The secretary buzzes the intercom and speaks into it. + + SECRETARY + Mrs. Benson is here. + (turning to Helen) + Go on in. + + Helen is starting for the door when it opens and Tom appears. + + HELEN + Tom -- I've been trying to get you + all afternoon-- + + TOM + (preoccupied with his + own excitement) + Come on in. + + INT. TOM'S PRIVATE OFFICE - FULL SHOT + + as Tom follows Helen inside and closes the door. He turns to + her, his voice tense with excitement. + + TOM + I've got some terrific news about + your friend, Mr. Carpenter. + + HELEN + (trying to appear + calm) + What about him? + + TOM + Helen, he's the man from the space + ship! + (she eyes him evenly, + apprehensively, as + he hurries on) + I had that diamond checked at three + different places. Nobody on earth's + ever seen a stone like that! After + what Bobby told us, that's enough + for me. Why is it nobody knows + anything about him? Why hasn't he + got any money? + + HELEN + (evenly, with quiet + tension) + All right, Tom -- it's true. I know + it's true. + + TOM + How do you know? + + HELEN + Never mind about that. + (urgently, with great + concern) + You've got to promise me you won't + say a word to anybody. + + TOM + Are you crazy? After what happened + today? + + HELEN + You don't understand. You don't + realize how important it is. + + TOM + (impatiently) + Important? Of course it's important. + The point is we can do something + about it. + + HELEN + That's what I'm trying to tell you. + We mustn't do anything about it. + Believe me, Tom, I know what I'm + talking about. + + TOM + (irritated by her + opposition) + He's a menace to the whole world! + It's our duty to turn him in. + + HELEN + (desperately) + But he isn't a menace! He told me + what he came here for. + + TOM + (dismissing this with + annoyed contempt) + He told you... Don't be silly, honey -- + just because you like the guy. + (busy with his own + thoughts) + You realize what this'd mean for us? + I'd be the biggest man in the country. + I could write my own ticket. + + HELEN + (eyeing him coldly) + Is that what you're thinking about? + + TOM + (guiltily, defensive) + Why not? Somebody's got to get rid + of him. + + They are interrupted by the sharp sound of the interoffice + buzzer. + + HELEN + I'm not going to let you do it, Tom. + (with deep personal + urgency) + Believe me, this is literally the + most important thing in the world. + + Tom picks up the phone and answers it. + + TOM + (into phone) + Yes?... What's his name, Margaret? + General Cutler? + (disappointed that + the connection isn't + completed) + All right, I'll hold on. + + Realizing what he's doing, Helen crosses to him, pleading + wildly, desperately. + + HELEN + Tom, you mustn't -- ! You don't know + what you're doing! It isn't just you + and Mr. Carpenter. The rest of the + world, is involved! + + TOM + (exasperated) + I don't care about the rest of the + world! + + It is as though he had slapped her across the face. Suddenly + he has revealed himself, naked and distasteful. Feeling guilty + as he sees the contempt and revulsion in her eyes, he tries + the old charm, holding his hand over the phone. + + TOM + You'll feel different when you see + my picture in the papers. + + HELEN + (staring at him starkly) + I feel different right now. + + TOM + (uneasily) + You wait and see. You're going to + marry a big hero! + + HELEN + I'm not going to marry anybody. + + She turns and runs quickly out of the room. Tom's inclination + is to follow her, when his connection is completed. + + TOM + (into phone) + Hello, General Cutler? + (irritated) + No, I don't want to speak to his + aide. I want to speak to the General. + Tell him it's about the space man... + My name is Tom Stevens. S-t-e-v-e-n- + s. + + DISSOLVE TO: + + EXT. OFFICE BUILDING - MED. SHOT - DUSK + + Helen hurries out of the building, hails a cab, gets into it + and the cab drives off. + + INT. TOM'S OFFICE - CLOSE SHOT - TOM + + Tom now has General Cutler on the phone. + + TOM + (into phone) + That's right, General. That's where + he's staying... Yes, of course I'm + sure. + + INT. GENERAL CUTLER'S OFFICE - PENTAGON BLDG. + + The General is on the phone and is making notes. There are a + couple of officers standing near his desk, a Colonel and a + Lieutenant Colonel. + + GENERAL CUTLER + (after listening for + a moment) + Thank you very much, Mr. Stevens. + I'll want to talk to you further but + I haven't time now. + (hangs up and turns + to Colonel) + Deploy all Zone 5 units according to + Plan B -- immediately. + + The Colonel nods and starts out of the room, as we-- + + DISSOLVE TO: + + INT. TAXI - MED. CLOSE SHOT - HELEN - NIGHT + + The cab is traveling through city traffic. Nervous and edgy, + Helen glances at her watch impatiently. + + EXT. STREET - MED. SHOT + + A jeep filled with armed soldiers is moving down the street + at a fast clip. Behind the jeep is an Army staff car. + + MED. CLOSE- SHOT - STAFF CAR + + shooting from outside into the car. In the front seat beside + the driver is a full Colonel, wearing helmet and side-arms. + The car is moving swiftly through traffic as the Colonel + speaks into the transmitter of a radio. + + MED. CLOSE SHOT - COMMAND AND RECONNAISSANCE CAR + + It is filled with soldiers wearing helmets and carrying rifles + and Tommy guns. It is traveling quite fast. A soldier with a + handy-talkie transmits an order to the driver. + + MED. LONG SHOT - STREET + + The C. and R. car is seen to be at the head of a convoy of + eight Army vehicles which are moving swiftly down the street. + The trucks are filled with armed soldiers. + + MED. LONG SHOT - ANOTHER STREET + + On this street also an armed convoy is racing by, headed by + a Jeep mounting a .30 caliber machine gun. + + MED. LONG SHOT - ANOTHER STREET + + On this street also a convoy rolls by. + + EXT. STREET CORNER - MED. SHOT + + Helen's cab rounds the corner into the boardinghouse street. + CAMERA PANS with cab as it draws up in front of the + boardinghouse. The cab waits as Helen jumps out and runs up + the steps to the front door. A couple of children are playing + jump-rope in the light of a street lamp. + + EXT. MOVING - STAFF CAR - MED. CLOSE SHOT + + shooting in at the Colonel as he issues an order into the + radio. + + MED. SHOT - ARMY CONVOY + + CAMERA FOLLOWS the rear of the convoy as it races down a + main thoroughfare. As the convoy reaches each intersection, + the last vehicle peels off the column and, turns into the + side street. + + MED. SHOT ANOTHER CONVOY + + racing down another street, the rear vehicles peeling off at + the intersections as in previous scene. + + MED. SHOT - INTERSECTION + + Following one of the vehicles after it has peeled off into a + side street. It turns around in the side street and draws up + facing the intersection, its motor still running. We get the + impression of a methodical plan to block off each street.) + + EXT. BOARDINGHOUSE - MED. SHOT + + as Klaatu and Helen come hurrying down the steps and pile + into the waiting taxi. The kids playing Jump-rope stop and + watch as the door is closed and the cab pulls out, + disappearing as it makes a right turn at the end of the + street. + + EXT. STREET CORNER NEAR BOARDINGHOUSE - MED. SHOT + + (This is opposite end of street from last shot.) Barreling + across the intersection into the boardinghouse street is the + jeep followed by the Colonel's staff car. + + EXT. BOARDINGHOUSE STREET - MED. SHOT + + As the Jeep and staff car pull up in front of the boarding + house, the soldiers in the jeep pile out and cover the + entrance to the house. Meanwhile the Colonel, still in the + staff car, is talking to the two kids playing out front. + They chatter excitedly, pointing in the direction taken by + the cab. + + INT. STAFF CAB - CLOSE SHOT - COLONEL + + He speaks into his radio in tones of clipped and quiet + efficiency. The car remains standing at the curb. + + COLONEL + (into radio) + Attention, Zone 5... Yellow cab, + moving north on B from Ninth Street. + Man and woman in back seat. Get the + license number and report. + + INT. TAXI - FULL SHOT + + The cab 's moving through traffic at a normal speed. Klaatu + and Helen are tense and nervous. + + INT. TAXI - FULL SHOT + + The cab's moving through traffic at a normal speed. Klaatu + and Helen are tense and nervous. + + KLAATU + I'm sure Barnhardt can arrange to + hide me until the meeting. + + HELEN + Where is the meeting going to be? + + KLAATU + At the ship. + + CLOSE SHOT - CAB DRIVER + + as he looks out to his left, approaching an intersection. + + From driver's viewpoint. A C. and R. car is parked in the + side street, facing the intersection, its occupants armed + and helmeted. + + CLOSE SHOT - CAB DRIVER + + Abreast of the intersection now, he looks to his right. + + EXT. STREET INTERSECTION - MED. SHOT + + shooting over the rear of a jeep which is halted in a side + street facing the intersection. The cab crosses the + intersection and the jeep driver squints to catch its number. + Then he picks up his radio and speaks into the transmitter. + + INT. STAFF CAR - CLOSE SHOT - COLONEL + + (The car is still in front of the boardinghouse.) The Colonel + listens to his radio for a moment, then speaks into his + transmitter. + + COLONEL + (into radio) + Attention, Zone 5... license number + of target vehicle is W 4936... All + vehicles maintain your positions -- + and hold your fire. + + INT. TAXI - MED. CLOSE SHOT + + shooting at the driver, over the shoulders of Klaatu and + Helen, as he turns and points out the Army vehicles to them + with a shrug of bewilderment. They look ahead at the + intersection they are approaching. + + CLOSE SHOT - HELEN + + looking ahead out of her side of the cab, at the intersection. + + MED. SHOT - INTERSECTION + + from Helen's viewpoint. There is an Army vehicle waiting in + the side street. + + CLOSE SHOT - KLAATU + + as he looks out of his side of the cab. + + MED. SHOT - INTERSECTION + + In this side street, too, an Army vehicle is standing. + + TWO SHOT - HELEN AND KLAATU + + Their eyes meet for a moment, neither willing to conjecture + what this might mean. The very quietness of the operation is + ominous and menacing. Their faces show grave concern. + + INT. STAFF CAR - CLOSE SHOT - COLONEL + + COLONEL + (into radio) + Attention, Zone 5 -- report when + target vehicle passes your position. + + EXT. TAXI MED. CLOSE SHOT + + shooting through the window at Helen and Klaatu, who are + growing more tense and nervous. + + MED. SHOT - INTERSECTION + + shooting over the back of a jeep mounting a machine gun as + the cab passes the intersection. The driver picks up his + radio and reports into it. + + MED. CLOSE SHOT - WEAPONS CARRIER + + shooting through the windshield as the driver reports by + radio, his eyes shifting to follow the moving cab. + + INT. TAXI - TWO SHOT - HELEN AND KLAATU + + Helen is biting her lips nervously. She steals a sidelong + glance at Klaatu to find him staring ahead, deeply preoccupied + and concerned. + + HELEN + (trying to give him + encouragement) + It's only a few blocks to Barnhardt's. + + KLAATU + I'm worried about Gort. I'm afraid + of what he might do -- if anything + should happen to me. + + HELEN + Gort? + (puzzled) + But he's a robot. I mean -- without + you, what could he do? + + KLAATU + (slowly) + There's no limit to what he could + do. He could destroy the Earth. + (with great urgency) + If anything should happen to me, you + must go to Gort. You must give him + this message: "Klaatu barada nikto." + Please repeat that. + + HELEN + (shocked and + bewildered, she + repeats nervously) + "Klaatu barada nikto." + + KLAATU + (gravely) + Remember those words. + + Helen nods, repeating the words soundlessly. + + SERIES OF CUTS + + of vehicle drivers reporting by radio as their eyes follow + the progress of the taxi. (These should be shot so we don't + hear what is said.) + + CLOSE SHOT - COLONEL IN STAFF CAR + + listening to these reports. Then he speaks into his + transmitter with quiet tension. + + COLONEL + (into radio) + Attention, Zone 5... Section number + 2 -- block off Tenth Street at + Massachusetts. All vehicles close + in. + + The Colonel motions to his driver and the staff car pulls + out. + + EXT. STREET - MED. SHOT + + as a convoy of eight vehicles moves down the street going + very fast and swings around a corner. + + SERIES OF CUTS + + of individual vehicles that have been waiting at + intersections, as they pull out and down the main streets to + converge on the taxi. + + MED. SHOT + + at a major intersection, as the convoy of eight vehicles + previously seen dashes through the intersection and stops. + The cars quickly arrange themselves so that they form a + roadblock, completely sealing off the street. + + INT. TAXI + + shooting over the driver's shoulder. The cab is proceeding + down the street. When the road block comes into range of its + headlights. The driver, who has been getting uneasy, turns + to face his fares accusingly. + + DRIVER + Hey, what's this all about? + + As he slows his cab down, Helen leans forward into scene. + Frenzied, she is about to urge the driver on when Klaatu + puts a restraining hand on her shoulder. + + EXT. STREET - MED. SHOT + + shooting down the street from the barricade, as the taxi + stops. Army cars are closing in behind the taxi, so it is + trapped. The cab door ovens and Klaatu steps out, making a + run for the entrance to a pedestrian underpass. + + MED. CLOSE SHOT - JEEP + + It is one of the lead vehicles in the group coming up behind + the taxi. It mounts a .30 caliber machine gun and, with the + Jeep still moving, the gunner fires a burst at Klaatu. + + MED. CLOSE SHOT - RIFLEMAN + + He's on one of the vehicles that form the barricade. He takes + a bead on the running figure of Klaatu and fires. + + CLOSE SHOT - KLAATU + + He has almost reached the underpass. His hand is on the + railing when he slumps to the ground, badly hit. In a moment, + Helen rushes into scene, dropping down to hold Klaatu's head + in her arms. He looks up at her with a feeble smile. Then + his face takes on an expression of urgency. + + KLAATU + (weakly, insistently) + Get that message to Gort. Right away-- + + Klaatu is unable to say any more. He is dead. Helen looks + around wildly, helplessly, with tears and terror in her eyes. + + MED. SHOT + + as the soldiers pile out of their vehicles and close in on + the place where Klaatu lies. He is their first and all- + important concern, and Helen finds herself pushed out of the + way, toward the edge of the growing crowd of soldiers. + + CLOSE SHOT + + Shocked and, staggered by what's happened, she realizes she + must get to Gort. Taking advantage of the milling confusion + in the dark, she edges toward the pedestrian underpass until + she can slip into its entrance without being noticed. And + she disappears. + + DISSOLVE TO: + + INT. BUILDING ENCLOSING SPACE SHIP - MED. SHOT - GORT - + NIGHT + + In the eerie light of the huge building, the great robot + stands encased in a solid block of clear, transparent plastic. + As CAMERA MOVES IN slowly, we hear a low whirring sound, as + of power being generated. A faint glow, visible through the + plastic, emanates from Gort's body. His eyes, which seem to + express rage, shifts as though he were straining to break + out. As the whirring sound and the glow of Gort's body + increase in intensity, the sharp edges at the top of the ice- + like block melt into roundness and the plastic starts to + drip away. (About 150 folding chairs are arranged on the + floor near the space ship for the meeting tonight.) + + EXT. BUILDING - MED. CLOSE SHOT - TWO SOLDIERS + + The whirring sound can be heard faintly from inside. The two + soldiers standing guard at the door hear the sound and listen + apprehensively. The two men exchange an uneasy glance. After + hesitating a moment, one of them decides to investigate. He + turns and goes inside the door. + + INT. BUILDING - MED. CLOSE SHOT - THE SOLDIER + + As he stops and looks up at the robot, his eyes go wide with + terror. + + CLOSE SHOT - GORT + + Gort is an awesome and terrifying sight. His head is free + now and he seems to be straining against the plastic, which + is dripping down the sides of the block. + + CLOSE SHOT - SOLDIER + + He glances around nervously to see that his companion has + entered the building and is staring up at the robot, bug- + eyed. Slowly the second soldier moves up beside the first. + Wordlessly, they bring their rifles up to the ready and click + them off safety. In spite of their terror, they advance slowly + toward the robot. + + CLOSE SHOT - GORT + + The whirring sound is ominous and his body glows brightly. + And his eyes are fixed on the two advancing figures. + + MED. CLOSE SHOT - TWO SOLDIERS + + as they move toward Gort. + + CLOSE SHOT - GORT + + From inside him comes a new and terribly sharp crackling. + sound. And from his eyes two pencils of light dart out. After + a moment the crackling sound stops and the light goes off. + + REVERSE SHOT + + from same angle as scene before last. But the two soldiers + have utterly disappeared. + + FULL SHOT + + as Gort resumes breaking out of the plastic. There is no + sign of the two soldiers. + + EXT. MALL - MED. CLOSE SHOT - HELEN - NIGHT + + Hurrying along a footpath, nervous and distraught, she pauses + for a moment, looking at the entrance of the building. Then + she starts determinedly across the grass toward the entrance. + + MED. SHOT + + PANNING with Helen as she approaches the entrance fearfully. + Rallying all her courage and determination, she forces herself + to step inside. + + INT. BUILDING - MED. CLOSE SHOT - HELEN + + as she enters the huge, weirdly lighted building. She stops + short as her glance falls on the awesome figure of Gort. + Loneliness and terror grip her and she wants to run -- but + she realizes she can't. + + MED. CLOSE SHOT -GORT + + He has seen Helen and his flashing eyes bore into her. His + upper body and arms are free now, and the plastic is rapidly + melting away. + + CLOSE SHOT - HELEN + + She is held fascinated by the robot's staring eyes. For + another moment it looks as if she would, break and run. But + she summons all her courage, and moves slowly toward Gort, + whose legs are still held captive. + + MED. SHOT - HELEN AND GORT + + as she moves slowly, fearfully toward him. + + MED. CLOSE SHOT - GORT + + The plastic is dripping off his legs now. With great effort, + he pulls his legs free and steps out of the stuff. A huge + figure in the heavy shadows, he moves slowly and menacingly + toward Helen. + + MED. CLOSE SHOT - HELEN + + as she stops advancing, rooted to the spot in fear. Then she + starts backing away, keeping her eyes on him. + + MED. SHOT - HELEN AND GORT + + As the great, hulking figure approaches, Helen can't stand + her ground. She turns and runs wildly toward the far end of + the building. Gort follows her with unhurried, inescapable + strides. Unwittingly, Helen has run into a corner, and the + robot is closing in on her. + + MED. CLOSE SHOT - HELEN + + Her eyes go wide with terror as she realizes she's trapped. + In a wild effort to run around him, she stumbles and falls + to the floor. Immobilized with fright, she lies breathless, + looking up at him. Then she gives a piercing scream. + + TWO SHOT - HELEN AND GORT + + as the great robot bends over her menacingly, arms + outstretched as though to grab or smash her. + + CLOSE SHOT - HELEN + + All hope gone, she is blessed with a moment of lucidity, and + she remembers the message Klaatu told her to deliver. + + HELEN + Gort--! + (with desperate clarity) + Klaatu -- barada -- nikto. + + CLOSE SHOT - GORT + + He pauses as he hears the words. His face doesn't change + expression, but the words obviously have an effect on him. + He hesitates thoughtfully for a moment. + + TWO SHOT - HELEN AND GORT + + Helen watches him in an agony of suspense. Then the robot + slowly bends down, picks her up in his arms and starts walking + toward the space ship. + + MED. SHOT + + PANNING with Gort as he carries Helen, speechless with fright, + to the side of the ship. He touches the side, and the ramp + moves slightly out. He mounts the ramp, still carrying Helen, + and disappears into the ship with her. And the ramp closes + silently behind them. + + INT. SMALL CORRIDOR - SPACE SHIP + + CAMERA FOLLOWS as Gort carries Helen through the dimly lighted + corridor into the main cabin, where he flips a switch that + lights up the cabin. The robot proceeds to a small door + leading off the main cabin and disappears with Helen inside + it. + + INT. SMALL CABIN - FULL SHOT + + This is revealed as a weirdly equipped laboratory, the walls + of which are lined with the most complex array of mechanical + and electronic apparatus. Gort sets Helen down on a stool + and indicates for her to stay there. Too terrified to move, + Helen watches as he busies himself with the apparatus. He + starts flipping switches and turning dials. As a result, + lights begin to flash and there's a strange series of + mechanical noises. + + CLOSE SHOT - HELEN + + Unable to guess the reason for these preparations, she is + gripped with a terrible fear. + + FULL SHOT + + Ignoring Helen completely, Gort finishes his work. Then he + moves to the door and goes out, closing the door behind him. + Helen rushes to the door and searches frantically for the + knob -- only to find, to her terror, that there is none. + Frenziedly she beats on the solid metal door. + + EXT. SPACE SHIP - MED. SHOT + + as the ramp comes down and Gort steps out. With grim, + determined strides he starts toward the entrance of the + building as the ramp silently closes. + + DISSOLVE TO: + + INT. POLICE PRECINCT STATION - NIGHT + + The Colonel who was in charge of Klaatu's apprehension is + speaking into a phone at the desk of the Police Sergeant. + Standing by are three or four Army officers, among them a + Captain and a Lieutenant. + + COLONEL + (into phone) + Yes, sir, we've got the body here + now. Downstairs in a cell... No + question about it, General -- he's + dead all right... Yes, sir. Yes -- I + understand. + + The General has apparently hung up and the Colonel does + likewise, turning to the officers in the room. + + COLONEL + General Cutler's coming down here + right away. + (to the Lieutenant) + Take a squad of men, Lieutenant, and + post a guard around that cell. + (to Captain) + Captain, don't let anyone in or out + of the building. + + The two officers mutter their "yes, sirs" and start off about + their business. + + DISSOLVE TO: + + INT. JAIL CORRIDOR - NIGHT + + A squad of armed soldiers, led by the lieutenant, is admitted + to the corridor by a Police guard and they start marching + down the corridor toward a cell at the far end. + + INT. CELL - POLICE STATION + + This is a cell on the ground floor. In the far wall is a + heavily barred window, beyond which is as alley. In f.g. are + Klaatu's feet, stretched out on a crude table. As CAMERA + HOLDS, the huge figure of Gort appears outside the barred + window, Seeing Klaatu, he reaches up and yanks out the steel + bars as though they were chicken wire. With a crushing blow + of his knee he crumbles the brick and mortar below the window + and steps inside the cell. He moves without interruption + toward the body of Klaatu. + + INT. JAIL CORRIDOR + + Hearing the sounds of clattering metal and mortar, the + soldiers race down the corridor toward the cell. + + MED. SHOT + + shooting over the backs of the soldiers as they reach the + cell and look inside. There they see the giant robot picking + up the body of Klaatu and starting deliberately toward the + gaping hole in the side of the building. They raise their + weapons and fire at Gort, but the bullets have no effect on + him. Continuing uninterruptedly, he steps over the debris + and disappears, carrying Klaatu in his arms. + + DISSOLVE TO: + + INT. SPACE SHIP BUILDING - MED. SHOT + + as Gort enters the empty building, still carrying the body + of Klaatu. CAMERA PANS with him as he strides over to the + ship. The ramp opens and Gort goes inside. Then the ramp + closes after him. + + INT. LABORATORY CABIN IN SPACE SHIP + + Alone in the cabin, Helen is still terrified. She looks up, + startled as the door opens and Gort enters, carrying Klaatu's + body over to a long counter. Once again he starts fiddling + with knobs, switches and dials. As Helen watches, speechless, + he starts to fasten strange-looking electrodes to Klaatu's + wrist and ankle. + + EXT. POLICE PRECINCT STATION - NIGHT + + shooting from the outside, near the front entrance to the + building, through a window into the main room where the Police + Sergeant's desk is. The Lieutenant who was ordered to guard + Klaatu's cell is excitedly reporting to the Colonel how Gort + broke in and took Klaatu's body. Considerably agitated, the + Colonel snaps orders to the other officers, glances at his + watch and motions for the Lieutenant to follow him. He and + the Lieutenant cross to the door and CAMERA PANS with them + as they come outside the building, hurry down the steps and + get into a staff car. Several other Army vehicles join the + staff car as it roars away from the curb. + + DISSOLVE TO: + + INT. SPACE SHIP BUILDING - MED. SHOT - NIGHT + + A good many of the 150 chairs are filled, and more guests + are still arriving. There is no one to greet them at the + door, so they wander in and seat themselves. + + INT. LABORATORY IN SPACE SHIP + + Gort is still working over the body of Klaatu. From a socket + in the wall he pulls a strange-looking hypodermic needle on + the end of a cord or tube and gives Klaatu a shot in the + arm. + + CLOSE SHOT - HELEN + + as she watches, fascinated in spite of her terror. + + FULL SHOT + + Gort fiddles with the dials again and there are electrical + cracklings and sputterings. Suddenly he flips a switch and + all sound ceases. Gort removes the electrodes and watches + Klaatu. CAMERA MOVES IN on Klaatu and we see him start to + breathe. In a moment his eyelids flutter. Then his eyes open + and he looks around. + + MED. CLOSE SHOT + + as Klaatu slowly lifts himself to a sitting position. Helen + watches breathlessly as he glances around the room, as though + to orient himself. Then he lowers his feet to the floor and + stands up. He blinks uncertainly, then smiles at them. + + KLAATU + (with a grateful glance + at Gort, he turns to + Helen) + Hello. + + HELEN + (staring at him) + I -- I thought you were-- + + KLAATU + (nodding, with a smile) + I was. + + HELEN + (looking at Gort in + awe) + You mean he has the power of life + and death? + + KLAATU + No -- that is a power reserved to + the Almighty Spirit. + + KLAATU + (indicating the + equipment Gort used) + This technique, in certain cases, + can re-stimulate life for a limited + period. It's a refinement of + scientific principles known to your + own people. + + HELEN + (concerned for him) + But how -- how long--? + + KLAATU + How long will I live? + (he shrugs) + That no one can say. + + Klaatu moves one of the sliding panels and reaches for a + suit of his "other world" clothing from behind the panel. + With a nod of apology, he steps behind the panel to change. + + EXT. BUILDING - MED. SHOT - NIGHT + + shooting from the door. In f.g. Barnhardt, who has just + arrived, is greeting several friends outside the door. In + b.g. a staff car and three or four other Army vehicles are + driving up. + + MED. SHOT - ARMY VEHICLES + + As the convoy pulls up to a halt in front of the building, + the Colonel hurries out of the staff car and moves over to + Barnhardt. Barnhardt is motioning his friends into the + building as the Colonel comes up to him. + + TWO SHOT - COLONEL AND BARNHARDT + + The Colonel speaks to Barnhardt with deference but with + unyielding authority. + + COLONEL + I'm sorry, Professor Barnhardt -- I + have to ask you to call off this + meeting. + + BARNHARDT + Call it off? I... But I had permission + from the Army-- + + COLONEL + I know you did. But the robots on + the loose now and it isn't safe around + here. You'll have to get your friends + out of that building. + + INT. SPACE SHIP - TWO SHOT - KLAATU AND HELEN + + as Klaatu steps out from behind the sliding panel where he + has changed into his "other world" tunic. + + KLAATU + Gort and I will be leaving soon. + + Helen is genuinely upset at the thought of his leaving and + the knowledge that he is to die. There is a compelling warmth + of feeling between these two. + + HELEN + (simply, sincerely) + We'll miss you very much -- Bobby + and I. + (smiling to conceal + her real feelings) + He won't have anyone to play with. + + KLAATU + He'll have you -- and Tom. + + HELEN + (quietly -- definitely) + No. That's all finished. + + KLAATU + I'm sorry. + + HELEN + (she is sensible and + objective, but not + unfeeling) + I think I'm very lucky. You don't + always get a chance to recognize a + mistake before you make it. + + Klaatu looks at her in warm, considered admiration. Then he + moves to one side of the cabin and flips a switch. Suddenly + an entire section of the side wall is made transparent. + Through it, as through a screen, we can see out into the + building. Most of the chairs are already occupied, and + latecomers are still moving in through the door. Facing the + group, on a little dais, is Barnhardt. As Klaatu and Helen + watch, Barnhardt raps for order and begins to speak. His + voice comes in the ship through a speaker. + + BARNHARDT + Ladies and Gentlemen-- + + INT. BUILDING - MED. CLOSE SHOT - BARNHARDT + + He addresses them gravely, with a note of terrible + disappointment in his voice. + + BARNHARDT + I called you from your work and from + your homes all over the world because + we were to meet here tonight with a + man from another planet -- the man + who came here in this ship. + (there are audible + exclamations of + surprise and + disappointment) + As you all know, this is no longer + possible. I can only say that I share + the bitterness of your disappointment. + + INTERCUT with the above are group and individual shots of + the people in the meeting. They are the cream of Earth's + intellectuals -- scientists, churchmen, educators, leaders + of social and political thought. There are several women + among them. There are turbaned Indians, Chinese, Japanese, + several Negroes. All religions are represented. Every + important world power is represented. + + INT. MAIN CABIN - SPACE SHIP + + Klaatu and Helen are watching and listening, as the last + sentence of Barnhardt's speech above comes over the speaker. + Klaatu flips off the switch, which cuts off the view of the + meeting and also Barnhardt's voice. At this moment Gort moves + across the cabin and Klaatu speaks to him. + + KLAATU + Gort -- berengo. + + Gort moves off obediently. + + INT. BUILDING - MED. CLOSE SHOT - BARNHARDT + + Full of chagrin, he continues addressing the meeting. + + BARNHARDT + --under the circumstances, the Army + people have asked us to leave the + building. And, since their concern + is for our safety, I can do nothing + but suggest that we comply-- + + Barnhardt is interrupted by the sudden and unexpected + appearance of the ramp, silently opening out of the side of + the space ship. + + MED. SHOT - BARNHARDT'S AUDIENCE + + as they react in startled amazement to the mysterious + appearance of the ramp. Then, as they watch, there is a sudden + gasp of terror. + + MED. SHOT - AT SHIP + + as Gort appears on the ramp and walks slowly down to the + ground. In a moment, Klaatu and Helen appear at the entrance + of the ship. Helen comes down the ramp to join Barnhardt, + while Klaatu remains at the head of the ramp. + + MED. CLOSE SHOT COLONEL AND SOLDIERS + + The Colonel stands near the door, flanked by a group of + soldiers, their rifles at the ready. The Colonel is startled + by what he sees. His eyes are on the revered figure of Klaatu + and he's debating what he should do. + + MED. CLOSE SHOT - KLAATU + + He is a figure of intense dignity in his impressive otherworld + tunic. He stares with even defiance at the armed soldiers, + as though holding them off by sheer weight of his personality. + He turns to look out at the audience, which is held + spellbound. Then, after a breathless moment, he speaks. + + KLAATU + (straightforwardly, + with almost stern + authority) + I am leaving soon and you will forgive + me if I speak bluntly. + (he pauses, studying + the faces) + The Universe grows smaller every day -- + and the threat of aggression by any + group -- anywhere -- can no longer + be tolerated. + + MED. CLOSE SHOT - IN AUDIENCE + + of three of the delegates, listening intently. (These three + are from Russia, India and France.) + + KLAATU'S VOICE + (over scene) + There must be security for all -- or + no one is secure... This does not + mean giving up any freedom except + the freedom to act irresponsibly. + + CLOSE SHOT - A DELEGATE + + He is an American. + + KLAATU'S VOICE + (over scene) + Your ancestors knew this when they + made laws to govern themselves -- + and hired policemen to enforce them. + + CLOSE SHOT - KLAATU + + KLAATU + We of the other planets have long + accepted this principle. We have an + organization for the mutual protection + of all planets -- and for the complete + elimination of aggression. A sort of + United Nations on the Planetary + level... The test of any such higher + authority, of course, is the police + force that supports it. For our + policemen, we created a race of robots-- + (indicating Gort) + Their function is to patrol the + planets -- in space ships like this + one -- and preserve the peace. In + matters of aggression we have given + them absolute power over us. + + MED. CLOSE SHOT - GORT + + emphasizing his great size and inscrutable expression. The + normal blinking of his piercing eyes as he gazes imperturbably + at the audience is his only movement. + + KLAATU'S VOICE + (over scene) + At the first sign of violence they + act automatically against the + aggressor. And the penalty for + provoking their action is too terrible + to risk. + + CLOSE SHOT - KLAATU + + KLAATU + The result is that we live in peace, + without arms or armies, secure in + the knowledge that we are free from + aggression and war -- free to pursue + more profitable enterprises. + (after a pause) + We do not pretend to have achieved + perfection -- but we do have a system -- + and it works. + (with straightforward + candor) + I came here to give you the facts. + It is no concern of ours how you run + your own planet -- but if you threaten + to extend your violence, this Earth + of yours will be reduced to a burned- + out cinder. + + QUICK REACTION CUTS + + of four delegates, reflecting their stark terror and + bewilderment. And a cut of the Colonel and the soldiers, + impressed and held by what Klaatu is saying. + + MED. CLOSE SHOT - KLAATU + + CAMERA MOVES SLOWLY as he concludes quietly, incisively. + + KLAATU + Your choice is simple. Join us and + live in peace. Or pursue your present + course -- and face obliteration. + (after a pause) + We will be waiting for your answer. + decision rests with you. + + By the time he reads the last line, the CAMERA HAS MOVED + INTO a BIG HEAD CLOSEUP. + + MED. SHOT - THE DELEGATES + + CAMERA MOVES along a row of their faces, stunned and silent, + their minds unable to cope with the enormity of what they + have heard. + + MED. SHOT + + CAMERA MOVES IN on Klaatu as he is saying goodbye to Barnhardt + and Helen. He turns then and speaks to Gort, glancing up at + the building as he does so. + + KLAATU + Gort -- veracto. + + CLOSE SHOT - GORT + + He looks up at the roof of the building, and once again we + hear the peculiar generating sound from within him. + + MED. LONG SHOT + + including the delegates, the space ship, everything that is + inside the building. As we watch, the roof and walls of the + temporary structure suddenly disintegrate as the tanks did + in the opening. The entire layout -- delegates, space ship + and all -- remain exactly as they were except that instead + of being under a roof they are out in the open Mall under a + starry sky. The area is ringed with the debris of the + building. + + MED. SHOT AT SHIP + + Klaatu is standing at the head of the ramp as Gort comes up + the ramp and disappears inside the ship. Klaatu is nodding + goodbye to Barnhardt and Helen. + + TWO SHOT - BARNHARDT AND HELEN + + as they wave to Klaatu. Barnhardt is moved and impressed, + and Helen's face shows her emotions at this strange parting. + + CLOSE SHOT - KLAATU + + He nods and smiles at them with warm affection. Then he turns + and disappears into the ship, and the ramp closes behind + him. + + MED. SHOT - THE SPACE SHIP + + From inside the ship comes the muffled roar of great power + generating -- not the sound of earthly motors, but of a + tremendous dynamo. + + MED. SHOT - THE DELEGATES + + watching breathless, stunned by what they have heard and + seen. + + MED. LONG SHOT - THE SHIP + + As the sound from inside it builds to a climax, the great + ship takes off with a tremendous roar. + + REACTION CUTS OF DELEGATES + + All are deeply moved and impressed. In the mind of each is + the burning question that Klaatu has posed for them. + + LONG SHOT - THE SHIP + + as it soars away into the inky blackness of the outer spaces + from which it came. + + FADE OUT: + + THE END \ No newline at end of file diff --git a/scripts/The Exorcist.txt b/scripts/The Exorcist.txt new file mode 100644 index 0000000000000000000000000000000000000000..8a24be3b9d8e7eb6693a65f2caa78c225dd632e5 --- /dev/null +++ b/scripts/The Exorcist.txt @@ -0,0 +1,7479 @@ + 1. + + + + FADE IN: + + WARNER LOGO FOLLOWED BY MINIMAL OPENING TITLES DONE IN + BLACK LETTERING WHITE BACKGROUND, WE THEN LOSE THE FINAL + TITLE, RETAINING THE WHITE BACKGROUND WHICH QUICKLY GIVES + WAY TO: + + FULL SHOT - BROILING NOON SUM + + +1 EXT. EXCAVATION SITE - NINEVAH - DAWN 1 + + An OLD MAN in khakis works at section of mound with + excavating pick. (In b.g. there may be TWO KURDISH + ASSISTANTS carefully packing the day's finds.) The old man + now makes a find. He extracts it gingerly from the mound, + begins to dust it off then reacts with dismay upon + recognizing a green stone amulet in the figure of the demon + Pazuzu. + + CLOSE SHOT - PERSPIRATION POURING DOWN OLD MAN'S BROW + + CLOSE SHOT - OLD MAN'S HANDS + + Trembling, they reach across rude wooden table and cup + themselves around a steaming glass of hot tea, as if for + warmth. + + CLOSE SHOT - OLD MAN’S FACE + + The eyes staring off, haunted, as if by some chilling + premonition — and some frightening remembrance. + + +2 EXT. LONG SHOT - ROADSIDE CHAYKHANA - ERBIL AREA - DAY 2 + + SUPERIMPOSE: NORTHERN IRAQ. The chaykhana (teahouse) is set + among poppied, green hills and athwart a ragged, rock- + strewn bolt of road. In the background, the beautiful + mound-city of Erbil floats upward, scraping the cloud. The + KURDISH PROPRIETOR is seen leaning in the Chaykhana + doorway. He watches the only other character visible, the + OLD MAN, who sits at an outdoor table, inexplicably cold + beneath the fiery sun. Abstractedly, he sips at his tea. + Nearby, parked off the road, an ancient jeep. LOSE SUPER. + The Proprietor shuffles out, stands beside the Old Man, + speaks to him in Kurdish indistinctly. The Old Man appears + not to hear at first; then comes to, looks up at Kurd, + shakes head mutely, and reaches into shirt pocket, removing + coins to pay for his tea. + + CLOSE SHOT - COINS SLIPPED ONTO TABLE + 2. + + + CLOSE SHOT - IGNITION KEY IN JEEP + + The Old Man's hand reaches into FRAME, starts engine. The + jeep takes off, disappearing down the road. The Kurd comes + into FRAME, and we end CLOSE on him as he watches the jeep. + Mirrored in his face are sadness; love; respect. + + +3 INT. ROOM IN MOSUL - CURATOR OF ANTIQUITIES OFFICE - DAY 3 + + The CAMERA is in notion, SLOHLY PANNING the tagged finds of + a recent archeological dig now spread out in near rows on a + long table. The CAMERA STOPS finally at an Assyrian pendant + as the CURATOR'S HAND reaches INTO FRAME, lifting tag on + pendant so that-the writing on it can be read by him. The + only SOUND is the soft, regular TICKING of an old-fashioned + pendulum CLOCK. + + CLOSE SHOT - LEDGER + + containing entries of the finds. It is clearly headed (in + the Curator's handwriting) "Nineveh Excavation: Merrin." On + a fresh line of the entries, Curator's hand now writes: + "Pendant, Assyrian; Palace of Assurbani -- " Here, the hand + breaks off. + + CLOSE SHOT - ARAB CURATOR + + He is seated at same table on which rest the finds and is + looking up curiously from ledger at someone O.S. + + CLOSE SHOT - OLD MAN + + He is standing over another section of the same table. + + He is staring down at something on it. O.S. + + CLOSE SHOT - AMULET ON TABLE + + Tagged, it is the Pazuzu amulet. + + CLOSE SHOT - CURATOR + + His gaze is now on the amulet. Softly: + + CURATOR + Evil against evil. + + INTERCUT OLD HAM AND CURATOR + + The Old Man does not react, continuing to stare down at + amulet, expression haunted. After a beat: + 3. + + + CURATOR: + Father? + + We are on the Old Man now as, after several beats, the + TICKING of the CLOCK abruptly ceases; and it is this sudden + silence that, after a beat, unconsciously causes the Old + Man to look up at the Curator, who is still staring at the + Old Man. Still no response. Something is worrying the + Curator, but he doesn't know what. + + CURATOR: (ARABIC) + My heart has a wish: That you would + not go, old friend. + + OLD MAN: (ARABIC) + I have an errand. + + AT CURATOR - OLD MAN + + They stand by open door to street, the Old Man leaving. + + Curator has hold of Old Man’s hand in both of his. He is + troubled, as if the Old Nan’s premonition has invaded him. + The Old Man slowly looks up at Curator, searching his face + with great affection. Then, with a squeeze of his hand: + + OLD MAN + Goodbye. + + +4 EXT. CURATOR'S OFFICE - DAY 4 + + The Old Man exits, leaving FRAME as he steps into the + gathering gloom of the streets of Mosul. The Curator + watches him, great love in his expression as: + + P.O.V. THE OLD MAN STREET OUTSIDE CURATOR’S OFFICE + + The Old Man almost collides with a fast-moving droshky. + + CLOSE MOVING SHOT - DROSHKY’S SOLE PASSENGER + + A corpulent, OLD ARAB NOMAN in black, her face a shadow + behind the lace veil draped loosely over her like a shroud. + + AT CURATOR + + His expression darkening at this. + + +5 EXT. LONG SHOT - MOSUL OUTSKIRTS - NINEVEH EXCAVATION - 5 + DUSK + 4. + + + The Old Man is slowly and warily walking amid the ruins of + a former temple area. + + OLD MAN’S P.O.V. + + An Arab watchman approaches, rifle at the ready; but then + stops and waves as he recognizes the Old Man. + + MOVING SHOT + + as the Old Man slowly resumes his walk with the manner of + someone sifting vibrations. He is like one*looking for + something, yet is afraid that he will find it. At last, + upon seeing something O.S., he freezes. + + P.O.V. - FULL SHOT - STATUE OF DEMON PAZUZU IN SITU + + AT OLD MAN + + This is it. He lowers head, closing eyes against a dread + confirmation of his premonition. A SHADOW of the statue + lengthens and creeps onto Old Man’s face as in the distance + we HEAR the Dili YAPPINGS of SAVAGE DOG EACKS. + + ANGLE AT SHADOWS QUICKENING ACROSS THE DESERT + + Still the DOGS, yelping and howling distantly. A breeze + rises up, blowing dust and sand ACROSS THE FRAME. + + AT OLD MAN + + He slowly lifts his head, his gaze on the O.S. statue of + Pazuzu. But in his expression now is acceptance and grim + determination. The shadow on his face has grown longer and + the breeze is whipping gently at his shirt. + + OLD MAN’S P.O.V. - STATUE OF PA2UZU + + HIGH DOWN SHOT - TEMPLE AREA - STATUE - OLD MAN + + They stand motionless like two ancient enemies squared off + in a massive arena. + + ANGLE AT SETTING SUN + + It sinks into darkness. The dog packs. + + +6 EXT. SUNRISE SHOT - WASHINGTON, D.C. 6 + 5. + + + SOUND of savage dogs gives way to DISTANT SOUNDS of + friendly neighborhood dogs; children's voices; a city + waking up. + + SERIES OF MOVING SHOTS - GEORGETOWN AREA - DAWN + + Below us, the Potomac River; the Gothic spires and wooded + walks of Georgetown University; a PRIEST or two walking, + saying their Office; and then, we are on Prospect Street + slowly approaching a house that sits beside a flight of + steep, stone steps plunging precipitately down to "M" + Street below. An upstairs bedroom light is burning. + + +7 INT. CHRIS MACNEIL’S BEDROOM - DAWN 7 + + CHRIS is sitting up in bed. Her lips move silently as she + studies lines from a film script. We HEAR light O.S. + RAPPING SOUNDS, irregular, yet rhythmically clustered. They + sound like alien code tapped out by a dead man. + + Chris HEARS them, listens for a moment, then tries to + ignore them, but she cannot concentrate. She irritably + slams script down and bounces out of bed. She EXITS into: + + SECOND FLOOR HALL - MACNEIL HOUSE - DAWN + + The RAPPINGS are louder. Chris listens for source of sound; + locates it; throws open door to Regan's bedroom. + + +8 INT. REGAN'S BEDROOM - AT DOOR - CHRIS - DAWN 8 + + The RAPPINGS have abruptly ceased. Chris looks baffled. + + P.O.V. - THE ROOM - CAMERA SHIFTING + + to follow Chris' scrutiny. It is a typical child’s bedroom. + A. large bay window; with shutters overlooks the steps + outside the house. REGAN is asleep, her blankets kicked off + and askew. Chris moves to bedside. + + Heavy breathing, regular and deep. Chris considers; then + abruptly notices goose pimples on her arms. She rubs at + them, shivering as if at an icy coldness. She touches the + nearby radiator. Hot. She looks at Regan, frowning in + perplexity, for Regan's brow is wet with perspiration. + Chris squints her eyes in consternation; looks back at her + goose pimples. Now she hears SOUNDS from above, like tiny + claws scratching at the edge of a galaxy. She looks up at + ceiling. The SCRAPINGS cease. + 6. + + + Chris keeps staring a moment, then looks down. She leans + over, adjusts Regan's pillow, then examines her features + with warmth. + + CHRIS + (whisper) + I sure do love you. + + Car lights reflect on ceiling of darkened room. + + +9 INT. MACNEIL HOUSE - KITCHEN - CLOSE AT BACON FRYING - DAY 9 + + CHRIS + (o.s.) + Hi, Willie. Howya doin’? + + FULL SHOT - KITCHEN - CHRIS - WILLIE + + WILLIE, a middle-aged housekeeper, is at stove. Sleepy-eyed + Chris, in bathrobe and carrying script, is entering. Willie + hastily puts down fork, wiping hands on dish towel as: + + WILLIE + (German accent) + Oh, Mrs. MacNeil! Good morning! + + As Willie moves for coffee pot, Chris is ahead of her. + + CHRIS + Never mind, Will, I’ll get it. + + She drops a pack of cigarettes and matches beside her cup + and sits. Crusty-eyed, she picks up copy of Washington Post + by plate and stares at it fuddled until she realizes it is + upside down. She turns it right-side up. A man enters: + KARL. Willie's husband. Very Teutonic. He is carrying a + Spark left's bottle to mount on cooler in exchange for the + empty. + + KARL: + Good morning, Madam. + + CHRIS: + (LIGHTS CIGARETTE) + Mornin'. Hey, Karl, we've got rats + in the attic. Better get us some + traps. + + KARL: + There are rats? + + CHRIS: + 7. + + + I just said that. + + KARL: + But the attic is clean. + + CHRIS: + Well, okay, we've got clean rats. + + KARL: + No rats. + + CHRIS: + Karl, I heard them this morning! + + KARL: + Maybe plumbing. Maybe boards. + + CHRIS: + Maybe rats! Now will you buy the + damn traps and quit arguing? + + KARL: + (leaving quickly) + Yes. I go now. + + CHRIS: + No, not now, Karl! The stores are + all closed. + + KARL: + I will see. + + CHRIS: + Karl -- ! + + He is gone. Chris and Millie exchange exasperated glances, + and then we HEAR FRONT DOOR OREN AND CLOSE, o.s. With a + sigh, Willie turns back to bacon, shaking her head. + + WILLIE: + They are closed. + + +10 EXT. CAMPUS OF GEORGETOWN UNIVERSITY - DAY 10 + + A film is being shot in front the steps of Healy Building. + + The usual equipment, cast and crew are in evidence, as well + as spectators made up of faculty and students. + + Chris, in jeans and sweatshirt, and indicating page in her + script (titled "CRASH COURSE”), calls her director, elfin + British BURNS DENNINGS. He has been drinking. + 8. + + +Swigging from a paper cup, he looks over as, +argumentatively: + + CHRIS: + Hey, Burke? Take a look at damned + thing, will ya? + + DENNINGS: + Oh, how marvelous! You do have a + script, I see! + (he surgically shaves a + narrow strip from edge of + page of her script) + Yes, how nice! I believe I'll just + have a little fiddle. + +As they continue, Burke will nervously fiddle with the +paper, in the meantime: + + CHRIS: + Burke — + + DENNINGS: + Yes, I'm terribly glad that the + star has a script. Now then, tell + me my baby: What is it? What's + wrong? + + CHRIS: + (indicating script) + It just doesn’t make sense. + + DENNINGS: + (lying) + Why, it's perfectly plain. You're a + teacher at the college and you + don't want the building torn down + and — + + CHRIS: + Oh, well, Jesus, Burke; thanks; I + can read. + + DENNINGS: + Then what's wrong? + + CHRIS: + Why the hell should they tear down + the building? + + DENNINGS: + Are you sending me up? + 9. + + + CHRIS: + No, I*m asking 'what for?' + + DENNINGS: + Because it's there! + + CHRIS: + In the script? + + DENNINGS: + (suppressing drunken + giggle) + On the grounds! + + CHRIS: + Well, it doesn’t make sense. They + wouldn’t do that. + + DENNINGS: + They would! + + CHRIS: + No, they wouldn't! + + DENNING: + Shall we summon the writer? I + believe he’s in Paris! + + CHRIS: + Hiding? + + DENNINGS: + Fucking! Now then, shall we get on + with it? + +Chris stares momentarily, then sags onto Burke spurting +laughter. Then she looks worriedly toward a PRIEST (KARRAS) +O.S. among the spectators, afraid he’s heard obscenity. And +now we CUT TO Karras and see that he is smiling slightly +but warmly. The ANGIE then RETURNS to Chris, Burke and the +A.D. + + DENNINGS: + I said, "Shall we get on with it?" + + CHRIS: + Huh? Yeah, okay, Burke. Let’s go. + + DENNINGS: + (at A.D.) + All right, lights, love. + + ASST. DIRECTOR + 10. + + + Let's warm ’em! + + DENNINGS: + (to A.D.) + Now the extras should be ... + +And we HEAR the AD LIB continuation O.S. a bit as CAMERA +now FOLLOWS Chris as she walks, head down, concentrating +while crew sets up. Then she looks over toward Karras. + +He’s gone. She sees him walking slowly away toward the +campus gates like a lone black cloud in search of the rain. +Dennings comes to Chris. + + CHRIS: + Are you ready, ducks? + + CHRIS: + Do it. + + DENNINGS: + Roll the film. + + ASST. DIRECTOR: + Okay, roll 'er. + + TECHNICIAN: + Speed. + + DENNINGS: + Action! + +While extras cheer and boo at her approach, Chris races up +Healy Steps and seizes bullhorn from REEEL STUDENT LEADER. +There is pushing and shoving. POLICE are on the scene. + + CHRIS: + (through bullhorn) + Okay, now, hold it! Hold it a + second! + (as the commotion + continues) + Hey, give me a chance, will *ya, + huh? Just a minute? + +We see now that various of the student factions are holding +up signs and banners. Some read: "KEEP CLASSES OPEN", "FREE +LOGIC!", "SHUT DOWN!", "CLOSE THE SCHOOL" and "BURN IT!?" +Still other placards are blank. Many of the students in one +sector are affecting shrouds and death masks. As the +commotion diminishes; + + CHRIS: + 11. + + + Look, we're all concerned with + human rights, but the kids who pay + tuition have also got a right, the + right to learn, and shutting those + kids out of class solves nothing. + It's answering one kind of tyranny + with another, one kind of cruelty + with another. + + Commotion. At some point during the above speech, we will + hear Chris O. S. while the CAMERA GOES to Dennings as the + director turns a significant and imperious gaze to the + A.D., who dutifully pads over to him and proffers his open + script like an aging altar boy the missal to his priest at + solemn Hass. Burke begins to slice off a strip of page. + + +14 EXT. "O" STREET - CHRIS AT CAMPUS MAIN GATE - DAY 14 + + It has clouded over, threatening rain. Chris, wearing + raincoat, sends limo driver home. + + CHRIS: + I feel like walking, Tommy. Thanks. + + He nods. She starts to walk home, thoughtful and weary. + + As she walks by Holy Trinity Auditorium, a YOUNG PRIEST in + nylon windbreaker passes her. Tense. He takes a right into + an easement leading into a courtyard back of church. Chris + pauses by easement, watching him; curious. + + He heads for white frame cottage from which an OLDER PRIEST + emerges looking glum and nervous. He nods curtly toward the + Younger Priest, and with lowered eyes heads for door to + back of church. Again, cottage door opens from within and + Karras appears. He silently greets the Younger Priest, + putting his arm around his shoulder as he leads him inside, + a gesture that is gentle and somehow parental. Door closes + and they are gene. Chris is pensive, puzzled by the scene. + A RUMBLE OF THUNDER. She looks up at the sky, tugging up + raincoat collar. + + +15 EXT. MACNEIL HOUSE - CHRIS ENTERS - DUSK 15 + + +16 INT. MACNEIL HOUSE KITCHEN - DUSK 16 + + We open on SHARON SPENCER, a pretty young blonde and Chris’ + secretary (and nurse to Regan) sitting at break­fast table, + typing. Stack of mail and messages. Me HEAR front door + close; FOOTSTEPS approaching. Chris enters, weary. + 12. + + + SHARON: + (continuing to type) + Hi, Chris. How’d it go? + + CHRIS: + Oh, well, it was kind of like the + Walt Disney version of the Ho Chi + Minh story, but other than that it + was really terrific. + +Chris has come to table, stands leafing through mail and +messages. Sharon continues to type through: + + CHRIS: + Anything exciting? + + SHARON: + Do you want to have dinner next + week at the White House? + + CHRIS: + Are you kidding? + + SHARON: + No, of course not; it’s Thursday. + + CHRIS: + Big party? + + SHARON: + No, I gather it’s just five or six + people. + + CHRIS: + (back to table, sifting + mail and messages) + No kidding? Where's Rags? + + SHARON + Oh, she’s down in the playroom. + + CHRIS: + What doin'? + + SHARON: + She's sculpting. She’s making you a + bird. + + CHRIS: + How’d the lesson go? + + SHARON: + (frowning) + 13. + + + Bad time with math again. + + CHRIS: + Oh? Gee, that’s funny. + + SHARON: + I know. It's her favorite subject. + + CHRIS + Oh, well, this "new math'." Christ, + I couldn’t make change for the bus + if -- + +She is interrupted by the bounding entrance of REGAN, her +11-year-old daughter. Freckles. Ponytails. Braces on teeth. +Arms outstretched, she is racing for her mother. + + REGAN: + Hi, Mom! + +She is in SCENE not? as Chris catches her in a bear hug. + +'Sharon resumes her typing. + + CHRIS: + Hiya, bearface! + +Chris covers her with smacking kisses. Then, rocking her +back and forth: + + CHRIS: + What ’djya do today? Anything + exciting? + + REGAN: + Oh, stuff. + + CHRIS: + So, what kind of stuff? + + REGAN + Oh, well, I studied, and I painted. + + CHRIS: + Wha'djya paint? + + REGAN: + Oh, well, flowers. Ya' know, + daisies? An' — Oh! Mother! This + horse! + (excited; eyes widening) + 14. + + + This man had a horse, ya know, down + by the river? We were talking, see. + Mom, and then-along came this + horse! He was beautiful! Oh, Mom, + ya should've seen him, and the man + let me sit on him! Really! I mean, + practically a minute! It was a gray + horse! Mother, can't we get a + horse? I mean could we? + + CHRIS: + We’ll see, baby. + + REGAN: + Gee, Mom, I’m starving. + + CHRIS: + Run upstairs and get dressed and + we'll go out for some pizza. + +She races upstairs. + + REGAN: + Can I wear my new dress? + + CHRIS: + Honey, sure. + (at Sharon) + Got a date? + + SHARON: + Yes, I do. + + CHRIS: + You go on, then. + (indicating mail) + We can catch all this stuff in the + morning. + +Sharon rises, but Chris abruptly recollects something. + + CHRIS: + Oh, hey, wait. There's a letter got + to go out tonight. + + SHARON: + (reaching for dictation + pad) + Oh, okay. + +Chris starts to dictate: + + CHRIS: + 15. + + + Dear Mr. Gable... + + Sharon reacts, amused; then Chris dictates in earnest: a + letter to her agent. As she gets into it: + + REGAN: + (o.s.) + Moth-theeeeeerrrr! I can’t find the + dress! + + CHRIS: + (starting out) + Shar, wait’ll I come down. + + SHARON: + (eyeing watch) + Gee, it’s time for me to meditate, + Chris. + + CHRIS: + (after a beat; muted + exasperation) + You really think that kind of stuff + if going to do you any good? + + SHARON: + Well, it gives me peace of mind. + + CHRIS: + (after a long beat) + Right. + + She turns away and starts to exit. + + CHRIS: + Correct. Terrific. + + +18 INT. SECOND FLOOR HALLWAY - MACNEIL HOUSE - DUSK 18 + + Chris heads for Regan’s bedroom and enters. + + +19 INT. REGAN'S BEDROOM - DUSK 19 + + The scene is odd: Regan is standing in the middle of the + room, silently staring up at the ceiling, frowning. + + CHRIS: + What’s doin’? + + REGAN: + Funny noises. + 16. + + + CHRIS: + (moving to clothes + closet- and searching for + dress) + I know. We’ve got friends. + + REGAN: + Huh? + + CHRIS: + Squirrels, honey. Squirrels in the + attic. + + Began looks unconvinced. She looks up at ceiling again; + then moves over to watch her mother’s search for the dress + which now ends in apparent failure. + + REGAN: + See, Mom? It’s not there. + + CHRIS: + Yeah, I see. Maybe Willie picked it + up with the cleaning. + + REGAN: + It’s gone. + + CHRIS: + (taking a dress off rack) + Yeah, well put on the navy. It's + pretty. + + +21 EXT. "C & O” CANAL - DUSK 21 + + Karras and the Georgetown University President (TOM) are + walking. + + KARRAS: + It’s my mother. She’s alone, Ton. I + never should've left her. At least + in New York I’d be close. I could + see her. + + TOM: + I could see about a transfer. + + KARRAS: + I need reassignment. Get me out of + this job, Tom; it’s wrong. It’s no + good. + + TOM: + 17. + + + Are you kidding? You’re the best + that we’ve got. + + They stop. + + KARRAS: + Am I really? It's more than + psychiatry, Tom, and you knew that. + Some of their problems core down to + vocation, to the meaning of their + lives, and I just can't cut it, + Tom. It's too much. I need out. I'm + unfit. + + After a pause. + + KARRAS: + I think I’ve lost my faith. + + +24 INT. BASEMENT PLAYROOM OF MACNEIL HOUSE - EARLY EVENING 24 + + Chris is coming down, calling to Regan. + + CHRIS: + Whatchya doin’ down there? + + REGAN: + Come on down, Mom; I've got a + surprise. + + CHRIS: + Oh, great. + + Regan is standing by a games table in basement made over as + playroom, and hands her a sculpted clay "worry bird” with a + comically long painted nose. Chris oohs and ahhs. + + REGAN: + Do you like it? + + CHRIS: + Oh, honey, I do, I really do. Got a + name for it? + + REGAN: + Uh-uh. + + CHRIS: + What’s a good one? + + REGAN: + (shrugging) + 18. + + + I dunno. + + CHRIS: + (pondering) + Let me see, let me see. I don’t + know. Nhaddya think? Whaddya think + about ’Durbbird?' Huh? Just + 'Dumbbird.' + +Regan is snickering, nodding; hand to mouth to hide the +braces. + + CHRIS: + 'Dumbbird' by a landslide! Super! + (setting bird on table) + Here, I‘ll leave it here to dry for + a ... + +She has noticed an Ouija Board and planchette on table. + + CHRIS: + Hey, where'd you get the Ouija + Board? + + REGAN: + (indicating) + I found it. + + CHRIS: + Found it where? + + REGAN: + (indicating) + In that closet. + + CHRIS: + You been playin' with it? + + REGAN: + Yep. + + CHRIS: + (surprised) + You know how? + + REGAN: + (moving to sit by board) + Oh, well, sure. Here, I'll show + you. + + CHRIS: + Well, I think you need two people, + honey. + 19. + + + REGAN: + No, ya don’t, Mora. I do it all the + time. + + CHRIS: + (pulling up chair + opposite) + Oh, you do? Hell, let’s both play, + okay? + + REGAN: + Well -- okay. + +Regan has her fingertips positioned on the planchette, and +as Chris reaches out to put hers there, planchette makes +sudden, forceful move to the position on board. + + CHRIS: + You don’t want me to play? + + REGAN: + No, I do! Captain Howdy said ”No." + + CHRIS: + Captain who? + + REGAN: + Captain Howdy. + + CHRIS: + Honey, who’s Captain Howdy? + + REGAN: + Oh, ya know. I make questions and + he does the answers. + + CHRIS: + That’s so? + + REGAN: + Oh, he's nice. + + CHRIS: + Oh, well, sure; he’s terrific. + + REGAN: + Here, I’ll show you. + +Regan stares at board, eyes drawn tight in concentration. + + REGAN: + Captain Howdy, do you think my mom + is pretty? + 20. + + + Seconds tick by. nothing happening. Chris turns head at an + odd, o.s. CREAKING SOUND from closet area. She holds the + look for a moment, then looks back at board* Another few + beats of silence. Then: + + REGAN: + Captain Howdy? + (no response) + Captain Howdy, that’s really not + very polite. + + CHRIS: + Honey, maybe he’s sleeping. + + REGAN: + (muttering) + Let him sleep on his own time. + + +28 INT. REGAN'S BEDROOM - NIGHT 28 + + Regan in bed. Chris finishing tucking her in. Sits on bed. + + CHRIS: + Honey, Sunday's your birthday. Want + to do somethin’? + + REGAN: + What? + + CHRIS: + Oh, well, I don't know. Somethin'. + You want to go see the sights? + + REGAN: + Oh, yeah, Mom! + + CHRIS: + And tomorrow night a movie! How’s + that? + + REGAN: + (a hug) + Oh, I love you! + + CHRIS: + Oh, Rags, honey, I love you. + + REGAN: + You can bring Mr. Dennings if you + like. + + CHRIS: + 21. + + +Mr. Dennings? + + REGAN: +Well, I mean, it’s okay. + + CHRIS: + (chuckling) +No, it isn’t okay. Honey, why would +I want to bring Burke? + + REGAN: +Well, you like him. + + CHRIS: +Oh, well, sure I like him, honey. +Don’t you? + (no response) +Baby, what’s going on? + + REGAN: + (a sullen statement) +You’re going to marry him, Mommy, +aren’t you? + + CHRIS: + (amused) +Oh, my baby, of course not! What on +earth are you talking about? Burke +Dennings? Where’s you get that +idea? + + REGAN: +But you like him. + + CHRIS: +I like pizzas but I wouldn’t ever +marry one! Honey, he’s a friend, +just a crazy old friend! + + REGAN: +You don’t like him like Daddy? + + CHRIS: +Rags, I love your daddy. I’ll +always love your daddy. Mr. +Dennings comes by here a lot ’cause +he’s lonely, that’s all; he’s a +friend. + + REGAN: +Well, I heard ... + + CHRIS: + 22. + + + You heard what? Heard from who? + + REGAN: + I don’t know. I just thought. + + CHRIS: + Well, it’s silly, so forget it. + + REGAN: + Okay. + + +31 INT. MCKEIL HOUSE STUDY - AT CHRIS - NIGHT 31 + + Stretched out on rug in front of fire, studying script. + Turns a page. Regan, half asleep, enters. + + CHRIS: + Hi, honey. What’s wrong? + + REGAN: + There's these real funny noises, + Mom. It’s like knocking. I can’t go + to sleep. + + CHRIS: + (struggling up) + Oh, where the heck are those traps! + + REGAN: + Huh? + + Chris takes her hand, leading her out of study. + + CHRIS: + Oh, nothing, hon. Come on. You can + sleep in my bedroom and I’ll see + what it is. + + +32 INT. CHRIS’S BEDROOM - NIGHT 32 + + She Is tucking Regan into her (Chris’s) bed. + + REGAN: + Can I watch TV for a while till I + sleep? + + CHRIS: + Where's your book? + + REGAN: + I can’t find it. Can I watch? + 23. + + + CHRIS: + (turning on bedside TV) + Sure, okay. + (tunes volume control) + Loud enough? + + REGAN: + Yes. + + CHRIS: + (exiting; turning out + light) + Try to sleep. + + +33 EXT. MACNEIL HOUSE - FULL SHOT - NIGHT 33 + + In an upper floor gabled window we SEE candlelight glow. + + +34 INT. MACNEIL HOUSE - DOWN SHOT - NIGHT 34 + + at Chris as she climbs narrow steps to attic with candle. + + +35 INT. ATTIC AT DOOR - NIGHT 35 + + Door is pushed slowly open. Chris ENTERS, tries the light + switch. It doesn't work. She looks about the attic + searching for something while slowly advancing at CAMERA + when the candle flame suddenly and astoundingly disengages + from the candle and shoots up to the ceiling and is + extinguished. Behind Chris, having come upstairs, looms + KARL. Coning up silently behind Chris: + + KARL: + There is nothing. + + On the "Nothing," Chris leaps three feet out of her skin + and emits a YELP of startled fright, spinning around and + practically into Karl's arms. A hand to her fluttering + heart: + + CHRIS: + Oh, good Jesus! Oh, jesus h. + Christ, Karl, don’t do that! + + KARL: + Very sorry. But you see? No rats. + + CHRIS: + Yeah, no rats. Thanks a lot, Karl. + Terrific. + 24. + + + KARL: + (exiting.) + Madam, maybe cat better. + + CHRIS: + What? + + KARL: + Maybe cat better — to catch rats. + + He EXITS. Chris stares a moment, then releases a sigh of + weariness and relief. + + +36 EXT. MACNEIL HOUSE - NIGHT 36 + + Bedroom, light is turned off. All is peaceful. + + +37 EXT. MONTAGE - CHRIS AND REGAN SIGHTSEEING IN D.C. - DAY - 37 + MEMORIAL DRIVE AND LEE MANSION + + GIVING WAY TO: + + CHRIS AMD REGAN AT TOMB OF UNKNOWN SOLDIER + + They stare mutely. Regan has turned sad. After a few beats: + + REGAN: + Mom, why do people have to die? + + Chris looks at her. She doesn’t know how to answer. + + Finally: + + CHRIS: + (tenderly) + Honey, people get tired. + + REGAN: + Why does God let then? + + CHRIS: + (frowning; a few beats) + Who’s been telling you about God, + baby? + + REGAN: + Sharon. + + CHRIS: + Oh. + 25. + + + REGAN: + Mom, why does God let us get tired? + + CHRIS: + (after a beat) + Well, after awhile, God gets + lonesome for us, Rags. He wants us + back. + + +38 INT. CHRIS MACNEIL’S BEDROOM - NIGHT 38 + + Chris is pacing with phone receiver to ear, waiting, and + meantime is talking to Sharon, who is seated on edge of + bed, scribbling shorthand in steno pad. + + CHRIS: + And get hold of that real estate + agent and tell him we’re staying + till June. I want Rags to finish up + the semester at school. And then -- + (halfs to talk into + phone) + Yeah, yeah, I’m here. Yes, I'm + waiting ... + (mouthpiece down; to + Sharon) + Good Christ, do you believe it? + + +39 INT. MACNEIL HOUSE - SECOND FLOOR HALL - FIGHT 39 + + Despondent, Regan stands head down, hand on doorknob to her + bedroom, listening to: + + CHRIS: + (o.s.) + Doesn’t send a card or call his + daughter on her birthday? + + SHARON: + (o.s.) + Well, the circuits might be busy. + + CHRIS: + (o.s.) + My ass, he just doesn’t give a + shit! He’s just -- + + Regan sadly enters her room as: + + CHRIS: + (o.s.j phons) + 26. + + + Yes, goddamit, I’m waiting! + + +39 INT. CHRIS’S BEDROOM - NIGHT 39 + + CHRIS: + (pacing; muttering to + self) + The whole fucking world is still + waiting for the sunrise. + + +40 INT. CHRIS’S BEDROOM - DAWN 40 + + We are on Chris in bed as phone rings. She answers. + + Wake-up call from the A.D. Hangs up; gets out of bed; + discovers Regan is in bed tri.th her, half awake. + + CHRIS: + Well, what in the -- ! + (amused) + What are you doing here? + + REGAN: + My bed was shaking. + + CHRIS: + Oh, you nut. + (kisses her and pulls up + her covers) + Go back to sleep. + + +41 EXT. HOUSE - NIGHT TO DAY TRANSITION FOLLOW NEWSPAPER BOY 41 + ON BIKE TO EOLY TRINITY + + +43 INT. HOLY TRINITY CHURCH - AT REAR SIDE DOOR - DAWN 43 + + We HEAR key in door from other side. The PASTOR of Holy + Trinity sluggishly enters, sets door stop to hold door + open, turns on church lights, blows nose into handkerchief + as he absently shuffles along; then genuflects at altar + railing. He blesses himself, says a silent prayer, and as + he looks up and starts to bless himself he. reacts with + startlement and then shock as he sees before him; + + P.O.V. STATUE OF BLESSED VIRGIN AT SIDE ALTAR + + It has been desecrated, painted over to suggest that the + Virgin is a harlot. A slatternly, dissolute appearance. + 27. + + + And glued to the appropriate spot is a sculpted clay + phallus in erection. + + +44 INT. NEW YORK SUBWAY STATION 44 + + Silence, except for low RUMBLE of distant train. Points of + light stretch down the darkness of the tunnel like guides + to hopelessness. + + ANGLE AT PLATFORM - MAN + + The station appears to be deserted. The MAN stands close to + the edge of the near platform. Black coat, hat and + trousers. Powerfully built. He carries a valise resembling + a doctor’s medical bag and stands with his back to us, head + down, as if in dejection. Hear him, a vending machine on a + pillar. + + WIDE ANGLE - PLATFORM + + DERELICT: + Faddah. + + An old DERELICT lies drunk, his back against station wall. + + DERELICT: + Hey, Faddah! Couldja help an old + altar boy, Faddah? I’m Cat’lic. + + The Man looks up with dismay, disclosing the round Roman + collar at the neck, and the face of Damien Karras, now + filled with an even deeper pain than when we met him. + + He shuts his eyes against this intrusion and clutches at + his coat lapels, nulling them together as if to hide the + collar. The train SOUND is UP FULL NOW, and in ANOTHER + ANGLE the TRAIN rushes across FRAME, blocking our view of + Karras and the Derelict. + + +45 EXT. HIGH SHOT - EAST 21ST STREET IN N.Y.C. - DAY 45 + + Between 1st and 2nd Avenues. Karras walks despondently + along the south side of the street, which is studded with + decrepit tenement buildings. He pauses before one and with + melancholy sees his past in the raggedly clothed, grime- + covered, foul-mouthed urchins pitching pennies against the + stoop. Karras looks up at front door. He starts up the + steps. + + +45A INT. HALL - KARRAS OUTSIDE MOTHER’S APARTMENT DOOR 45A + 28. + + + CUTTING, we find the CAMERA stationed by an apartment front + door, trained on Karras mounting steps at far end of hall. + He approaches and lightly raps. From within we HEAR faint + SOUND of a RADIO tuned to news station. + + Karras waits a moment, then digs out a key from pants + pocket, opens door like an aching wound, and enters. + + +46 INT. TENEMENT APARTMENT - DAY 46 + + The RADIO now more audible. We are in a railroad flat + kitchen. Tiny. Cracking plaster and peeling wallpaper. + Unkempt. Sparse and ancient furnishings. In the kitchen, a + snail tub for bathing. Faded old newspapers spread on the + uncarpeted floor. As Karras enters, he breathes in an + aching sigh as his gaze brushes around at the painful + reminders of his past. Then he glances to right, from which + we HEAR SOUHD of RADIO. He puts down valise and starts into + bedroom. + + KARRAS: + Mama? + + No response. CAMERA FOLLOWS him into squalid living room. + Karras now sees his MOTHER, fully dressed, sleeping on a + torn and grease-stained old sofa. On her right cheek, a + prominent mole. He observes her for a moment; sighs as he + removes raincoat. + + As he drapes it over a chair, his mother awakens with a + slight start; sees him; reacts with surprise and joy. + + Speaking with a thick Mediterranean accent: + + MOTHER: + Dimmy! + + She hastily gets to feet and throws arms around Karras. + + MOTHER: + Oh, Dimmy, I so glad to see you! + + +48 INT. KARRAS' MOTHER'S KITCHEN - DAY 48 + + Me HEAR radio still tuned to news. Karras and mother sit at + tiny table in kitchen. Karras sips at coffee. His mother + drinks in his presence as: + + MOTHER: + Dimmy, you thin. You not eating, + (rising) + 29. + + + I fix for you. + + KARRAS: + No, Mom. + + MOTHER: + I fix. + + CUT TO: + + KARRAS AND MOTHER + + at table. Karras eating. + + KARRAS: + Really great, Mom! Just great! + + MOTHER: + You Uncle John cone by to visit me. + + KARRAS: + (pleased) + Oh really, Ha? When? + + MOTHER: + Last month. + + Karras looks saddened. + + +52 INT. MOTHER’S LIVING ROOM - NIGHT 52 + + Mother (wearing holy medal) sits on sofa, watching as + Karras repairs a broken lamp. The room has been tidied up a + little. In the scene we SEE a broom, a small plastic refuse + container and a dilapidated carpet sweeper. Silence. Then: + + MOTHER: + Dimmy, you worry about something? + + KARRAS: + No, Mama. + + MOTHER: + You not happy. What's the matter, + Dimmy? + + KARRAS: + Nothing, Mama. Really. I’m fine. + + A pause. Then: + 30. + + + MOTHER: + (o.s.) + I wish you was marry Mary McArdle. + + CLOSE SHOT + + silently watching; thinking. + + ANOTHER ANGLE - (TIME PASSAGE) + + Karras is entering living room, pulling on raincoat. He has + valise. He cones to Mother and observes her sadly for a + moment. Regret. He leans over and kisses her cheek + tenderly. He starts to leave, remembers something, tunes + radio to all-news station. + + +54 EXT. FORDHAM UNIVERSITY - (ESTABLISHING) - DAWN 54 + + +55 INT. SMALL CHAPEL - JESUIT RESIDENCE HALL - DAWN 55 + + Karras wears trousers and T-shirt. He vests and prepares + for mass, and then steps back facing altar, blesses + himself, and begins: + + KARRAS: + (with poignant longing) + 'I will go to the Altar of God, + Unto God who gives joy to my + youth.' + + +56 IHT. HALL OF BELLEVUE HOSPITAL - DAY 56 + + The CAMERA is fixed at one end of the hall, and Karras and + his UNCLE are approaching from far down the opposite end; + however, their dialogue is clearly audible at all times, + and their voices metallically reverberant. + + Karras has his head down, sorrowful and displayed, as he + listens to the Uncle, who speaks with a thick, immigrant + accent. Karras is ruefully shaking his head, and the UNCLE + is gesturing helplessly, defensively, as: + + UNCLE: + 31. + + + But, Dimmy, da edema affected her + brain! You understand? She don't + let. any doctor come near her! She + was all da time screwin', even + talkin' to da radio! Listen, + regular hospital not gonna nut up + wit’ dat, Dirnmy! Un'erstan? So we + give her a shot an’ bring her here + ’til da doctors, day fix up her + leg! Den we take her right out, + Dimmy. Two or t’ree month, and + she’s out, good as new. + + ANOTHER ANGLE + + Karras and his Uncle have halted outside locked door above + which is posted the legend: NEURO-PSYCHIATRIC: WARD 3, and + Uncle pushes BUZZER to summon curse. + + UNCLE: + You go in, Dimmy. I wait out here. + + Karras nods. Now the uncle has head down in ironic thought. + + UNCLE: + Cat’s funny. You know, if you + wasn’t be priest, you be famous + psychiatrist now on Park Avenue, + Dimmy. Your mother, she be livin’ + in a penthouse instead of da -- + + +59 INT. WARD 3 AT PADDED ENTRY DOOR 59 + + as a corpulent NURSE waddles INTO FRAME and uses large iron + key to unlock door. O.S., we HEAR the demented SCREAMS, + MOANS and FRAGMENTED STATEMENTS of MENTAL PATIENTS. The + door comes open, disclosing Karras and Uncle. Karras slowly + lifts head at the O.S. SOUNDS. + + +60 INT. WARD 3 INVALIDED PATIENTS’ ROOM 60 + + Karras walks down aisle of an enormous ward containing + eighty beds. The PATIENTS are mostly elderly, and we HEAR + their CRIES of PAIN and DEMENTED CHATTER. Karras stops + before a bedded patient far down the row; Karras' MOTHER. + Gaunt and hollow-eyed, looking confused and helpless; + disoriented; she has spied her son and is gripping at + sidebars of bed, trying to raise herself as CAMERA now + moves forward, again, trained on mother. + 32. + + + By the time Karras halts by her, his mother, looking + frightened and pathetic, eyes wide with pleading, has + raised herself up, pulling weakly, hands trembling. + + MOTHER + Why you do dis, Dimmy? Why? + + +60 INT. BELLEVUE HALL - KARRAS AND UNCLE WALKING 60 + + Behind them, WAPD 3 entry door. Karras is fumbling for his + cigarette pack. His eyes are wet with tears. + + KARRAS: + Couldn’t you have put her someplace + else? + + UNCLE: + Like what? Private hospital? Who + got the money for dat, Dimmy? You? + + +61 INT. GYM 61 + + Karras in boxer shorts and shirt works savagely at a + punching bag of the man-sized, stuffed variety. Eyes wet + with tears, he slams at the bag with a mixture of sorrow, + rage and frustration. + + +61 INT. DR. KLEIN’S OFFICE - BUILDING ROSSLYN - DAY 61 + + Chris sits in reception room. A few other MOTHERS and + CHILDREN are present. + + +62 INT. DR. KLEIN’S EXAMINING ROOM 62 + + BRIEF MONTAGE OF SHOTS + + Klein administering physical to Regan. Should include + ophthalmoscope, tuning fork and simple coordination test. + Also blood sample in centridograph, and urine sample under + microscope. FINAL SHOT has a NURSE leaning with her back + against examining table, her expression partly puttied, + partly disturbed as she observes Regan, who is in her slip + and in constant motion; stepping, twirling, touching, + making nervous movements while aimlessly humming. Klein is + not present. + + +64 INT. DR. KLEIN’S OFFICE - DAY 64 + 33. + + +Chris is seated on edge of chair. Klein is back of desk, +writing a prescription. + + KLEIN: + A disorder of the nerves. At least + we think it is. We don’t know yet + exactly how it works, but it’s + often seen in early adolescence. + She shows all the symptoms: the + hyperactivity; the temper; her + performance in math. + + CHRIS: + Yeah, the math. Why the math? + + KLEIN:­ + It affects concentration. + (he rips the prescription + from the small blue pad + and hands it over) + Now this is for Ritalin. Ten + milligrams a day. + + CHRIS: + (eyes prescription) + What is it? A tranquilizer? + + KLEIN: + A stimulant. + + CHRIS: + Stimulant? She’s higher'n a kite + right now! + + KLEIN: + Her condition isn't quite what it + seems. Nobody knows the cause of + hyperkinetic behavior in a child. + The Ritalin seems to work to + relieve the condition but we really + don’t know how or why, frankly. + Your daughter's symptoms could be + an overreaction to depression -- + but that's out of my field. + + CHRIS: + Depression? + + KLEIN: + Well, you mentioned her father ... + the separation. + + CHRIS: + 34. + + +Do you think I should take her to +see a psychiatrist? + + KLEIN: +Oh, no. I'd wait and see what +happens with the Ritalin. I think +that’s the answer. Wait two or +three weeks. + + CHRIS: +And those lies she's been telling? + + KLEIN: +Lies? + + CHRIS: +Ya know, those things to get +attention, like saying that her bed +shakes and stuff. + + KLEIN: +Have you ever known your daughter +to swear and use obscenities? + + CHRIS: +Never. + + KLEIN: +Well, you see, that’s quite similar +to things like her lying — +uncharacter — + + CHRIS: + (interrupting; perplexed) +Wait a minute. What are you talking +about? + + KLEIN: +Well, she let loose quite a string +while I was examining her, Mrs. +MacNeil. + + CHRIS: +You’re kidding! Like what? + + KLEIN: + (looking evasive) +Well, I’d say her vocabulary's +rather extensive. + + CHRIS: +Well, what, for example? I mean, +give me a for instance! + 35. + + + Klein shrugs. No reply. + + CHRIS: + Hey, come on; I’m grown-up. What’d + she say? I mean specifically, + Doctor. + + KLEIN: + Well, specifically, Mrs. MacNeil, + she advised me to keep my fingers + away from her "goddam cunt." + + CHRIS: + (shocked.) + She used those words? + + KLEIN: + She used those words. Look, I doubt + that she even understood what she + was saying. + + CHRIS: + Yeah, I guess. Maybe not. You don't + think a psychiatrist? + + KLEIN: + The best explanation is always the + simplest one. Let's wait. Let’s + wait and see. + (smiling encouragingly) + In the meantime, try not to worry. + + CHRIS: + How? + + +68 INT. MACNEIL HOME - FULL SHOT - LIVING ROOM - PARTY IN 68 + PROGRESS - NIGHT + + A few Jesuits and some of the cast and crew of the motion + picture are present. Vibrant hum of conversation. Then a + CLOSER ANGLE featuring Burke Dennings. Burke, an empty + glass in hand, stands chatting with silver-maned SENATOR + and SENATOR'S WIFE. Back of them, and to side. Chris is + visible, chatting with the Jesuit DEALT of the college. + + Karl is approaching the latter with drinks tray. Burke + seems irritable and tautly drunk. + + DENNINGS: + 36. + + + Ho, no, her part is finished; all + the parts with the principal + actors, you see; but I’m staying to + finish other scenes. + + SENATOR: + I understand. + +Karl has approached Burke's group. + + DENNINGS: + Oh, how splendid, + (reaching for a fresh + drink) + Let's another for the road. + + CHRIS: + (brief over-the-shoulder + at Dennings) + The Lincoln Highway? + + DENNINGS: + (at Chris) + Oh, now, don’t be so silly. + + SENATOR’S WIFE: + (at Chris) + Fun party. + + CHRIS: + (at wife) + Thanks, Martha. + +And Chris returns to conversation with the Dean. During the +above, the Senator has mutely refused another drink, but +Burke now takes one in his other hand as well as: + + DENNINGS: + (at Karl) + Oh, now tell me, was it Public + Relations you did for the Gestapo, + or Community Relations? + + KARL: + (grimly uptight) + I am Swiss. + + DENNINGS: + Yes, of course. And you never went + bowling with Goebbels, I suppose. + +FRONT TRACKING SHOT - KARL + 37. + + +His face impassive; yet his eyes are angry, as we HEAR: + + DENNINGS: + (at Karl as latter moves + on) + So superior, aren't you? Nazi! + +CAMERA FOLLOWS Karl but holds — as he passes them — on +Sharon and MARY JO FERRIN, who are seated somewhere in the +room. A bubbly personality, Mary Jo is reading Sharon’s +palm. + + PERRIN: + Well yes, your work line is longer + than your heart line. There, you + see? And you've recently broken, up + with a boyfriend. Am I right? + + SHARON: + No. + + PERRIN + I'm really famous for predictions, + not palms. + (dropping Sharon's palm) + Where’s the bathroom? + + SHARON: + (rising) + Upstairs, I’ll go with you. + +As they move, CAMERA FOLLOWS: + + PERRIN: + Oh, by the way, I brought that + witchcraft book you asked for. + + SHARON: + Oh, thanks. + + PERRIN: + And another one on Russian ESP, + They’re in the study. + +They walk out of frame as CAMERA HOLDS on Dennings, the +Senator, and his wife. The Senator is turned away from +Dennings, conversing in low tones with wife. Dennings is +now composed and as he stares down into his gin glass: + + DENNINGS: + There seems to be an alien pubic- + hair in my gin. + 38. + + + SENATOR: + (turning to Dennings, as + his wife splits) + I beg your pardon? + + DENNINGS: + (defensive) + Never seen it before in my life! + + SENATOR + (a murmur) + Yes, I’m sure. + + DENNINGS: + (now accusatory) + Have you? + +ANGLE AT CHRIS, JESUIT DEAN, MARY JO PERRIn + +Mary Jo is seated on sofa with Jesuit Dean. Chris is on +floor in front of coffee table facing then, as all eat +dinner. + + PERRIN: + On, cone on, every family's got one + black sheep. + + DEAN: + Yes, I know, but we were pushing + our quota with the Medici Popes. + + CHRIS: + Say, Father, there's something I've + been meaning to ask you. Do you + know that sort of wing that's in + back of the church over there? The + red brick one, I mean. + (pointing in direction) + + DEAN: + St. Mike's. + + CHRIS: + Yeah, right. St. Mike's. What goes + on in there, Father? + + DEAN + Oh, that's where we say Black Mass. + + CHRIS: + (as Perrin chuckles) + What’s that? + 39. + + + PERRIN: + Oh, he's kidding. + + CHRIS: + I wasn't. I'd still like to know + what it is. + + DEAN + Oh, well basically, I guess, it's a + travesty of the Catholic Mass. It's + connected to witchcraft. Devil + worship cults. + (looking around for + someone) + Gee, where's Joe? He knows all + about this stuff. + +He is indicating Father Dyer, who is standing at buffet, +heaping second helping onto his plate. + + DEAN: + Hey, Joe! + + DYER: + (turning) + You called, Great Dean? + +Dean beckons him over. + + DEAN: + (to Chris) + They had a couple of cases of + desecration in Holy Trinity last + week, and Joe said something about + one of them reminding him of some + things they used to do at Black + Mass, so I expect he knows + something about the subject. + + PERRIN: + What happened at the church? + + DEAN: + Oh, it’s really too disgusting. + + DYER: + Listen, give me just a minute. I + think I've got something going over + there with the Astronaut. + + DEAN: + What? + 40. + + + DYER: + (raising eyebrows) + First missionary on the moon? + +They burst into laughter as he moves off to join ASTRONAUT. + + CHRIS: + He’s fun. + (at Dean) + You haven't told me what goes on + yet in back of St. Mike’s. Big + secret? Who’s that priest I keep + seeing there? You know, sort of + dark? Do you know the one I mean? + + DEAN: + (lowered tone; trace of + regret) + Father Karras. + + CHRIS: + What’s he do? + + DEAN: + He’s our counselor, Chris. A + psychiatrist. The back of St. + Mike’s is our couch. + + CHRIS: + Oh, I see. + + DEAN: + Had a pretty rough knock last + night, poor guy. His mother passed + away. + + CHRIS: + (sensation of grief) + Oh, I’m sorry. + + DEAN: + He seems to be taking it pretty + hard. She was living by herself, + and I guess she was dead for a + couple of days before they found + her. + + PERRIN: + (murmur) + Oh, how awful. + + DEAN: + 41. + + + The superintendent of her apartment + building found her at four in the + morning. They wouldn’t have found + her even then except ... Well, the + next door neighbors complained + about her radio going all the time. + + TWO SHOT - DYER AND ASTRONAUT + + The Astronaut is breaking up as: + + DYER: + No, I’m really not a priest. I’m + actually a terribly avant-garde + rabbi. + + +69 INT. MACNEIL HOUSE - KITCHEN 69 + + Chris is bursting in as Dennings continues to rave at a + stolid, expressionless Karl who stands immobile, arms + akimbo, watching Dennings. + + DENNINGS: + Cunting Hun! You bloody damned + butchering Nazi pig! + + CHRIS: + (over Dennings) + Karl! Will you get out of here! Get + out! + + Sharon enters now and Chris has started pushing Karl out. + The latter, defiant, permits it only reluctantly. + + DENNINGS: + What the hell makes you think + you're so fucking superior? + Goddamned cunting Heinrich Himmler! + Get the hell back to — ! + + Karl is out and now Dennings, in a remarkable performance, + is instantly composed and as Chris turns to him after + shoving Karl out door, Dennings turns to her genially and + rubs his hands together with: + + DENNINGS: + Now, then, what's dessert? + + CHRIS: + Dessert! + + DENNINGS: + 42. + + + (whining) + Well, I'm hungry. + + Chris reacts, incredulous and exasperated, then turns and + exits. Passing Sharon: + + CHRIS: + Feed him! + + +79 INT. REGAN'S BEDROOM - NIGHT 79 + + Regan is in bed. Chris is tucking her bedcovers in. The + room lights are cut and Regan is turned on side. She has + eyes closed. Chris, finished, looks down at her. + + CHRIS: + You okay, hon? + + No response. Chris waits. Regan appears to be asleep. + + Chris leans over, kisses her cheek. + + CHRIS: + (whisper) + Sleep tight. + + +81 INT. MACNEIL HOUSE - ANGLE AT MAIN STAIRCASE - NIGHT 81 + + Dyer and Dean are SINGING and PLAYING, "Oh, Lindberg (What + a Flyin' Fool Was He)." GO TO Chris holding front door open + for Sharon and the Assistant Director with a barely + conscious Dennings being carried between them, heading for + open front door. + + CHRIS: + Nite, Burke. Take it easy. + + DENNINGS: + (eyes still closed; a + mutter) + Fuck it! + + Chris shakes head. Then CAMERA FOLLOWS her to the piano + group, which now includes the Astronaut. Dyer is just + finishing the song. Group applauds. Dyer spots Chris. + + DYER: + Hi, Chris. Great party. + + CHRIS: + Thanks, Father. Keep goin'. + 43. + + + DYER: + (playing chords) + I don't need the encouragement. My + notion of heaven is a solid white + nightclub with me center stage for + all the rest of eternity. + (after amused reaction + from group) + Does anyone else know the words to + "I’ll Bet You’re Sorry Now, Tokyo + Rose." + +Chris starts singing as Dyer delightedly joins her. Then +abruptly he stops, staring expressionlessly at something +O.S. Chris, too, stops as Dyer nods head toward spot O.S. + + DYER: + I believe we have a visitor, Mrs. + MacNeil. + +AT CHRIS AND ASTRONAUT + +Chris looks where Dyer has indicated, and as sudden silence +falls on the group, Chris gasps in shock and dismay, hand +flying to her cheek, a small whimper coming up in her +throat. The CAMERA MOVES TO TIGHT ON ASTRONAUT'S FACE as +he, too, looks down and we HEAR: + + REGAN: + (o.s.) + You're going to die up there. + +As Astronaut’s face turns gray with dismay and chilling +apprehension, we HEAR: + + CHRIS: + (o.s.; anguished) + Oh, my God! Oh, — + +AT REGAN - ASTRONAUT’S P.O.V. + +Regan in nightgown, is staring up at Astronaut (CAMERA), +and is urinating gushingly onto the rug. + + CHRIS: + (o.s.; continuing) + -- my God, Oh my baby! + +THE ANGLE WIDENS OUT + +to disclose Chris rushing up to Regan and leading her away +toward stairs. + 44. + + + CHRIS: + (continuing) + Oh, come on, Rags, come with me, + come upstairs! + (over shoulder to + Astronaut) + Oh, I’m so sorry! She's been sick, + she must be walking in her sleep! + She didn’t know what she was + saying! + + CLOSE AT ASTRONAUT - STARING - SHAKEN + + +86 INT. REGAN’S BATHROOM - NIGHT 86 + + Regan sits in tub like someone in trance while Chris + rapidly bathes her. + + CHRIS: + Honey, why did you say that? Why? + + +87 INT. REGAN’S BEDROOM - NIGHT 87 + + Moonlight streams in through open window. Regan turned + toward wall, is in bed, dully staring at a point in space. + + Chris sits on edge of bed. Through window, from street + below, we HEAR O.S. SOUNDS and VOICES of departing guests. + + CHRIS: + Howya feelin', honey? Better? + + No response. + + CHRIS: + Would you like me to read to you? + + Regan shakes head slightly, still staring at wall. + + CHRIS: + Okay, then. Try to sleep. + + She leans over, kisses Regan, rises. + + CHRIS: + ’Night, my baby. + + Chris leaves and is almost out the door when she is + arrested by Regan calling to her in a low, despairing, + haunted tone: + 45. + + + REGAN: + Mother, what’s wrong with me? + + CHRIS: + Why, honey, it’s nerves. That’s + all. I mean, it’s just like the + doctor said. You keep taking those + pills and you’ll be fine. Just + fine. + (a long wait for + reaction; but Regan + neither moves: nor + speaks) + Okay, Rags? + + Chris waits. Still nothing. Troubled and despondent. + + Chris starts out of room. + + +88 INT. SECOND FLOOR HALL OF MACNEIL HOUSE - NIGHT 88 + + The CAMERA is FIXED at one end of hall, and we see Chris + exit at the other from Regan’s bedroom. Head down, + thoughtful, she starts toward us; then remembers some­thing + and moves back to lean over balustrade railing and observe + something below for a moment or two. We HEAR O.S. SCRAPING + SOUND, like a brush against carpeting; Willie brushing cut + the urine stains. + + CHRIS: + (softly) + Comin’ out, Willie? + + WILLIE: + Yes, madam. I think so. + + CHRIS: + (slight nod) + Good. + + She continues to stare for a moment more, then comes toward + CAMERA again until she reaches door to her bedroom and + enters. She closes door. A beat. Then from O.S., within + Regan’s bedroom, we HEAR METALLIC SOUNDS, like bedsprings + violently quivering. They are tentative at first, then + insistent. Then: + + REGAN: + (o.s.; calling with + burgeoning apprehension + and surmise) + Mother? + 46. + + + Two beats. The bedspring SOUNDS. Then, much louder, and + filled with terror: + + REGAN: + (o.s.) + Mother, come here! Come here! + + Chris' door has already shot open, and she’s burst out into + the hall, racing for Regan's bedroom. + + CHRIS: + Yes, I’m coming! All right, hon! + I’m coming! + + REGAN: + (o.s.) + Mothhheerrrrrrr! + + CHRIS: + Oh, my baby, what’s -- + + +89 INT. REGAN'S BEDROOM AT DOCK - NIGHT 89 + + Chris bursts in, continuing as she reaches for light switch + and we HEAR MASSIVE METALLIC SOUNDS now: + + CHRIS: + — wrong, hon? What is it? What's -- + ? + + The lights are on, and as Chris stares at Regan's bed O.S., + she breaks off, electrified. + + CHRIS: + Jesus! Oh, Jesus! + + P.O.V. AT REGAN + + She lies taut on her back, face stained with tears and + contorted with terror and confusion as she grips at sides + of narrow beet. It is savagely quivering back and forth! + + REGAN: + Mother, why is it shaking? Make it + stop! Oh, I'm scared! Make it stop! + Oh, I'm scared, Mother, please make + it stoooooooooo — + + And on her elongated, fearful cry, we break it off before + the "p" sound as we: + + CUT TO: + 47. + + +90 INT. JESUIT RESIDENCE HALL - DYER ENTERS - NIGHT 90 + + +91 INT. CORRIDOR IN RESIDENCE HALL - NIGHT 91 + + Follow Dyer to Karras' room. + + +92 INT. KARRAS' ROOM - NIGHT 92 + + Dim desk lamp lighting. Dyer sits back of Karras' desk, + wearing a "Snoopy" T-shirt. Karras is sitting on edge of + oot, his eyes fixed low in haunted stare. They are red and + raw from weeping. In his hand is a cup containing a small + amount of scotch, and his eyes and voice are fogged by + heavy drinking and chronic sleeplessness. Dyer is pouring + from a bottle of Chivas Regal Into Karras' cup. + + KARRAS: + Where'd you got the money for + Chevas Regal, Joe? The poorbox? + + DYER: + Don't be an asshole, that would be + breaking my vow of poverty. + + KARRAS: + Where did you get it then? + + DYER: + I stole it. + + KARRAS: + I believe you. + + DYER: + College presidents shouldn't drink. + It tends to set a bad example. I + figure I relieved him of a terrible + temptation. + + Karras is nodding slightly, smiling, when suddenly he + bursts into sobs. + + KARRAS: + Ah, Joe. + + DYER: + (with comforting + gestures) + I know. I know. + + Karras cries it through, the sobbing gradually subsiding. + 48. + + + KARRAS: + (a whisper) + Ah, God. + +Karras at last exhales an enormous sigh, closing his eyes, +outstretched on cot. + + DYER: + Do you think you can sleep new, + Damien? + +Karras nods head along with a throat sound of affirmation. + +Dyer moves to foot of bed, undoes laces and removes +Karras's shoes. + + KARRAS: + Gonna steal my shoes now? + + DYER: + No, I tell fortunes by reading the + creases, Mow shut up and go to + sleep, + + KARRAS: + You’re a Jesuit cat burglar, + + DYER: + Listen? someone’s got to worry + about the bills around this place, + (moving softly to desk) + All you other guys do is just + rattle your beads and pray for the + hippies down on "M” Street. + +Dyer flicks off desk light. + + KARRAS: + Stealing is a sin. + +A beat. Then, tenderly, Dyer touches a hand to Karras’ +shoulder in goodnight, but as he starts to move toward +door, Karras' hand reaches out and grips Dyer's wrist, +squeezing, and giving a little shake in a gesture of +gratitude and deep friendship. At this moment, the CAMERA +is TIGHT on the HANDS, but then goes to Dyer, as he nods in +acknowledgement. Then Dyer stares down and CAMERA FOLLOWS +his gaze to TIGHT at the HANDS again, as healing sleep at +last comes to Karras and his grip slackens and his hand +slowly falls. + + DYER: + (o.s.; whisper) + 49. + + + Goodnight, Damien. + + +95 INT. HOLY TRINITY CHURCH - VERY EARLY MORNING 95 + + Only two or three worshippers in the church. Karras, in his + black vestments, is at main altar saying Mass. While + washing at small table to side of altar: + + KARRAS: + "O Lord, I have loved the beauty of + Thy house and the place where Thy + glory dwelleth. Take not away my + soul, O God, with the wicked, nor + my life with men of blood... + + ANOTHER ANGLE - (TIME LAPSE) + + Now Karras’ eyes are moistening with tears as: + + KARRAS: + "Remember also, O Lord, Thy + servant, Mary Karras ... who has + gone before us with the sign of + faith, and sleeps the sleep of + peace. To her, O Lord, and to — all + — + (he’s fighting tears) + — who rest in Christ, grant her — + we pray Thee, a place of — + refreshment — of light — and ... + (striking his breast) + To us also, Thy sinful servants ... + + ANOTHER ANGLE - (TIME LAPSE) + + KARRAS: + "Peace I leave you; my peace I give + you. Look rot upon my sins but upon + the faith of your church ... " + + ANOTHER ANGLE - (TIME LAPSE) + + KARRAS: + (hands extended) + "O Lord, I am not worthy. Speak but + the word and my soul shall be + healed." + + +100 INT. DR. KLEIN'S EXAMINING ROOM - DAY 100 + 50. + + + While Klein attempts to administer an injection, Chris and + Nurse forcibly restrain a struggling, kicking Regan who is + shrieking as: + + CHRIS: + Please, honey! It’s to help you! + + REGAN: + I don't want it! I don't — ! + + Klein leans over, injects needle. + + REGAN: + Son of a bitch bastard! + + She spits in Klein's face. + + +101 INT. HALL OF KLEIN'S SUITE OF OFFICES - DAY 101 + + KLEIN: + Well, it's sometimes a symptom of a + type of disturbance in the chemico- + electrical activity of the brain. + In the case of your daughter, in + the temporal lobes. + (a hand to side of his + skull) + Up here, in the lateral part of the + brain. Now it's rare, but it does + cause bizarre hallucinations and + usually happens just before a + convulsion. It -- + + CHRIS: + (frowning over the "it") + Convulsion. + + KLEIN: + (faintly evasive) + Well, the shaking of the bed. That + was doubtless due to muscular + spasms. + + CHRIS: + To muscular spasms? Hey, I was on + the bed and it even shook with me + on it. + + KLEIN: + Look, Mrs. MacNeil — your + daughter's problem isn't beds; the + problem is her; it's in her brain. + 51. + + + CHRIS: + Yeah, okay. So what causes this ... + ? + (she can’t find the term) + + KLEIN: + Lesion of the temporal lobe. It’s a + kind of ... well, seizure disorder. + + CHRIS: + Yeah. Look, I’ll tell you the + truth, doc; I don’t understand how + her whole personality could change. + + KLEIN: + In temporal lobe, that’s very + common, and can last in some cases + for several days. It isn’t rare to + find destructive, even criminal + behavior. + + Chris closes her eyes and lowers her forehead onto a fist. + + CHRIS: + (murmuring) + Listen, tell me something good. + + KLEIN: + Nell, now, don’t be alarmed. If + it’s a lesion, in a way, she’s + fortunate. Then all we have to do + is remove the scar. + + +102 INT. RADIOLOGICAL LAB 102 + + SERIES OF SHOTS - REGAN HAVING BRAIN X-RAYED (ARTERIOGRAM) + CHRIS AND RADIOLOGIST PRESENT + + THEN GO TO: + + +104 INT. SMALL MEDICAL LAB AND X-RAY ROOM - DAY 104 + + We begin CLOSE at X-RAY OF REGAN’S SKULL, then disclose + Klein and a consulting neurologist (DR. TANNEY) + thoughtfully studying several of them. + + Tanney, shaking his head, removes his eyeglasses and tucks + them into breast pocket of jacket with: + + TANNEY: + 52. + + + There's just nothing there. No + vascular distortion at all. + + KLEIN: + (frowning, still studying + X-rays) + Doesn’t figure. + + TANNEY: + Want to run another series? + + KLEIN: + (turning away from X- + rays) + I don’t think so. + + We HEAR TELEPHONE BUZZER simultaneous with: + + KLEIN: + (picking up wall phone) + I’d like you to see her again. + (into phone) + Yes. + + RECEPTIONIST’S VOICE: + (FLITER: urgent phone) + Chris MacNeil’s on the line! Says + it’s urgent! + + +106 INT. SECOND FLOOR HALL - MACNEIL HOUSE - DAY 106 + + The CAMERA is by door to Regan’s bedroom, from which + emanates Regan's MOANS of pain and SCREAMS of terror. + + Rushing up from steps on landing is Sharon, followed by + Klein and Tanney. At door, Sharon cracks it open and calls + in: + + SHARON: + Doctors, Chris! + + Chris immediately comes to door, opening it. She is + extremely distraught and bewildered. + + +107 INT. REGAN’S BEDROOM - AT DOOR - DAY 107 + + Karl stands beside door, staring numbly at O.S. SOUNDS, and + as the doctors enter, we HEAR O.S. SOUND OF some­thing + SLAMMING ONTO BEDSPRIHGS REPEATEDLY (in addition to Regan’s + cries). + 53. + + + REGAN: + (o.s.; hysterical) + Mooooootheeeeerrrrr! + +P.O.V. - AT REGAN + +Flailing her arms, her body seems to be flinging itself up +horizontally about a foot into the air above her bed, and +then is slammed down savagely onto mattress, as if by an +unseen person, and causing wrenching of Regan’s breath. It +happens repeatedly and rapidly as: + + REGAN: + Oh, Mother make him stop! Please + stop him! Stop him! He’s trying to + kill me! He's — ! Oh, please stoo + pppppppppp hiwmmmmmmmmm, + Motherrrrrrrrrrrr! + +AT CHRIS AND DOCTORS + + CHRIS: + Doc, what is it? What’s happening? + +He shakes head, gaze fixed on Regan. + +P.O.V. - AT REGAN + +The up and down movements briefly; then they abruptly +cease, and Regan twists feverishly from side to side, her +eyes rolling upwards, into their sockets so that only the +whites are exposed, while her legs keep crossing and +uncrossing rapidly. + + REGAN: + (moaning) + Oh, he’s burning me! I’m burning! + I’m — ! Uhh! + +With this sudden SOUND of pain, Regan has abruptly jerked +her head back, disclosing a bulging, swollen throat, and +she begins to mutter incomprehensively in a strangely +deepened, guttural tone. + +ANOTHER ANGLE + +as the doctors approach. Reaching the bedside, Klein +reaches down to take Regan's pulse. + + KLEIN: + (soothingly) + 54. + + + All right, now, let’s see what the + trouble is, dear. I’m just going to + — + +And abruptly Klein is reeling, stunned and staggering, +across the room from the force of a vicious backward swing +of Regan's arm as she suddenly sits up, her face contorted +with hideous rage. Now, in a coarse and powerful, deep male +voice: + + REGAN: + The sow is mine! Mine! Keep away + from her! + +AT KLEIN + +He stares O.S., stunned, as Karl and Tanney kneel to his +assistance. + + KLEIN: + I'm all right. + +They look toward Regan as we HEAR from O.S. a yelping laugh +gushing up in her throat. + +AT REGAN + +Her head is tilted back. The laugh continues, demonic. + +Then she falls to her back as if someone has pushed her +down. She pulls back her nightgown with: + + REGAN: + Fuck me, fuck — + +AT REGAN + +Sitting up, she begins to caress her own arms sensually as +she croons in that guttural, coarse, male voice: + + REGAN: + Ah, my flower ... my pearl ... + +Abruptly she falls onto back again as if from a shove, and +cries out with a wrench of breath. Then abruptly she is +sitting up again, as if pulled by the hands, and: + + REGAN: + (normal voice) + Oh, mother! Mother — ! + +Another sudden cry, and then she is bending at the waist, +whirling her torso around in rapid, strenuous circles. + 55. + + + REGAN: + (weeping) + Oh, stop him, please stop him! It + hurts! Make him s top! Make him. + stop! I can't breaaaaaath! + +AT CHRIS + + CHRIS + Oh, my God, oh, my — ! + +AT REGAN + +Before she finishes her cry, she again appears to be shoved +savagely onto her back, and as Tanney comes beside bed and +observes, her eyes roll upward into their sockets and again +she begins muttering incomprehensively in that thickened +voice. Tanney leans head closer to try to make it out, +frowning. + +AT KLEIN + +He is by the large window overlooking steps, preparing a +hypodermic injection. + + KLEIN + Sam! + +He beckons Tanney over to him with move of head and +continues preparing hypo. We HEAR the O.S., fevered +gibberish from Regan. Tanney comes INTO FRAME. + + KLEIN: + I’m giving her Librium. You’re + going to have to hold her. + +They look quickly toward: + + REGAN: + (o.s.; terrified) + Oh, no! + + REGAN: + No! Captain Howdy, don’t — ! + +Regan slamming up and down off the bed again. + + REGAN: + Mother! Mother! Motherrrrrrrrr! + + QUICK CUT TO: + +AT CHRIS + 56. + + + over Regan’s prolonged scream of pain and terror, Chris, + with fists to her temples, turns to shriek at doctors: + + CHRIS: + God almighty, will you do + something! Help her! Help — ! + + AT DOCTORS + + Klein is ready. And over: + + CHRIS: + (o.s.; continuing) + — herrrrrrrrrrrrrrrr ... ! + + and Regan’s continuing SCREAM from O.S., Klein grimly nods + to Tanney. And as they start toward bed with both Chris and + Regan’s cries persisting we + + QUICKLY CUT TO: + + +120 INT. MACNEIL HOUSE - SECOND FLOOR - HALL - DAY 120 + + Blessed silence. Chris and Sharon have heads lowered, + waiting by balustrade. Klein and Tanney exit Regan's room + and approach then. Chris dabs at nose with moist balled-up + handkerchief, her eyes red from crying. + + KLEIN: + She’s heavily sedated. She'll + undoubtedly sleep right through + until tomorrow. + + CHRIS: + Doc, how could she jump off the bed + like that? + + DR. TANNEY: + There's a perfectly rational + explanation. Technically speaking, + pathological states can induce + abnormal strength and accelerated + motor performance. More commonly, a + ninety-pound woman sees her child + pinned under the wheel of a truck, + runs out and lifts the wheels half + a foot up off the ground. You've + heard the story. Same thing here. + + CHRIS: + Yeah, okay. + 57. + + + DR. TANNEY: + Same principle, I mean. + + CHRIS: + So what’s wrong with her? What do + you think? + + KLEIN: + Well, we still think it's temporal + lobe, and — + + CHRIS: + (erupting) + What the hell are you talking + about? She's been acting like some + kind of a psycho, like a split + personality! What do you — Guess + I'm all uptight. I'm sorry. You + were saying? + + DR. TANNEY: + There haven’t been more than a + hundred authenticated cases of so- + called dual or split personality, + firs. MacNeil. Now I know the + temptation is to leap to + psychiatry, but any reasonable + psychiatrist would exhaust the + somatic possibilities first. + + CHRIS: + Okay, so what’s next? + + DR. TANNEY: + A pneumoencephalogram, I would + think, to pin down that lesion ... + outline the cavities of her brain. + It will involve another spinal. + + CHRIS: + (dismayed) + Oh, Christ. + + DR. TANNEY: + It’s vital. What we missed in the + EEG and the arteriograms could + conceivably turn up there. At the + least, it would exhaust certain + other possibilities. + + +122 INT. MEDICAL LABORATORY 122 + 58. + + + LAB TECHNICIAN completes check of spinal fluid protein + content. + + +123 INT. KLEIN’S OFFICE 123 + + Klein is looking at lab reports and looks baffled. + + KLEIN: + Dr. Tanney says the X-rays are + negative. In other words, normal. + + Chris sighs, bowing head. + + CHRIS: + Well, —- + (bleak murmur) + here we are again, folks. + + Klein stares down, shaking head and frowning in perplexity. + Then he looks up at Chris: + + KLEIN: + Do you keep any drugs in your + house? + + CHRIS: + Huh? + + KLEIN: + Amphetamines? LSD? + + CHRIS: + Gee, no. Look, I’d tell you. Mo, + there’s nothing like that. + + He nods and stares at his shoes; then looks up again. + + KLEIN: + Are you planning to be home soon? + L.A., I mean. + + CHRIS: + No. No, I’m building a new house + and the old one’s been sold. We + were going to Europe for a while + after Rags finished up with her + school here. Why’d you ask? + + KLEIN: + I think it's time we started + looking for a psychiatrist. + 59. + + +125 EXT. CHRIS' CAR - NIGHT 125 + + as she drives back-across Key Bridge. + + +126 INT. CHRIS' CAR - ANGLE FROM DRIVER’S SEAT - "M" STREET AND 126 + 36TH + + Through the windshield, dead ahead, a CROWD has gathered by + base of the steep steps beside the house, and an AMBULANCE + is pulling out into traffic. White-coated MEDICS are + running around in a panic. Police car lights are flashing. + As Chris rounds off the bridge onto Prospect, the AMBULANCE + nulls out and gets just ahead of her, SIREN VAILING. We + FOLLOW AMBULANCE for two beats, then: + + CUT TO: + + +127 EXT. MACNEIL HOUSE - REGAN’S WINDOW - CURTAINS BLOWING 127 + + +128 INT. MACNEIL HOUSE - AT FRONT DOOR - NIGHT 128 + + Chris enters despondently. Closing door behind her, she + leans back against it, looking down in thought, her hand + still clutching doorknob. A beat. The LIGHTS IN HOUSE BLINK + OUT for a beat. Chris looks up. They ELINK OUT AGAIN, this + time longer. + + CHRIS: + Sharon? + + The lights come back on. + + CHRIS: + Shar? + + Still no response. Chris starts up the staircase, frowning + apprehensively. + + +129 INT. SECOND FLOOR HALL MACNEIL HOUSE - NIGHT 129 + + The CAMERA is FIXED by door to Regan's bedroom. As Chris + reaches lancing, the LIGHTS BLINK OUT AGAIN, BRIEFLY, THEN + OH, Chris has halted, her eyes warily scanning around; then + she continues down the hall toward us, and opens door to + Regan’s bedroom. + + +130 INT. REGAN'S BEDROOM - FULL SHOT - NIGHT 130 + 60. + + + Silence as Chris stands by door a moment; then she goes to + Regan's bedside, and rubs at her arms, as if from extreme + cold. She examines Regan, who is still sound asleep. + + CLOSER ANGLE + + at Chris hugging arms akimbo, shivering. + + CHRIS: + (perplexed; whisper) + Shit! + + Then she looks toward window; frowns in consternation. + + THE ROOM - FULL SHOT + + The window is open. Chris moves to it and stares for a + moment. She closes and looks it. But she still feels cold. + She HEARS FRONT DOOR OPENING from O.S., below, through open + door to Regan's bedroom, and turns toward the SOUND. We + FOLLOW her out into: + + +131 INT. SECOND FLOOR HALL - MACNEIL HOUSE - NIGHT 131 + + As Chris exits and softly closes Regan’s door. She starts + toward stairs. + + CHRIS: + (calling softly) + Sharon? + + +132 INT. FOYER LIVING ROOM AREA - MACNEIL HOUSE - NIGHT 132 + + Sharon enters house with white paper pharmacy bag in hand. + + CHRIS: + Hey, what the hell’s wrong with + you, Sharon? You go out and leave + Rags by herself? Where've you been? + + SHARON: + Oh, didn't he tell you? + + CHRIS: + Oh, didn't who tell me? + + SHARON: + Burke. Isn't he here? Where is he? + + CHRIS: + He was here? + 61. + + + SHARON: + You mean he wasn't when you got + home? + + CHRIS: + Listen, start all over. + + SHARON: + Oh, that nut. I couldn't get the + druggist to deliver. Karl and + Willie are off, so when Burke cane + around, I thought, fine, he can + stay here with Regan while I go get + the Thorazine. Guess I should have- + known. + + CHRIS: + Yeah, you should've. + + SHARON: + What happened with the tests? + + CHRIS: + Not a thing. I'm going to have to + get Regan a shrink. + + +133 XNT. FOYER AREA MACNEIL HOUSE - NIGHT 133 + + Chris is answering the door. It is the Assistant Director + ashen-faced. + + CHRIS: + Oh, Chuck. How ya doin’? Come on + in. + + ASSISTANT DIRECTOR: + (stepping inside gravely) + You haven’t heard? + + CHRIS: + Heard what? + + Sharon enters scene, listening. + + ASSISTANT DIRECTOR: + Well, it's bad. + + CHRIS: + What’s bad? + + ASSISTANT DIRECTOR: + Burke’s dead. + 62. + + + CHRIS: + Oh, no! + + SHARON: + What happened? + + ASSISTANT DIRECTOR: + I guess he was drunk. He fell down + from the top of the steps right + outside. By the time he hit "M" + Street, he’d broken his neck. + +Chris puts a hand to her mouth stifling a sob. + + ASSISTANT DIRECTOR + Yeah, I know. + (exiting) + See you later. + +He closes door behind him, Chris leans against door crying +while Sharon moves despondently to foot of staircase. + + CHRIS: + Oh, Burke! Poor Burke! + + SHARON: + I can’t believe it. + +Chris lowers brow into hand, leaning against door. She +shakes her head, exhales, + + CHRIS: + I guess everything — + +She breaks off, staring with horror at something descending +the stairs behind Sharon. It is Regan on all fours. She is +gliding, spiderlike, noiselessly and swiftly, down the +staircase, her tongue flicking rapidly in and out of her +mouth like a snake. She halts directly beside Sharon. + + CHRIS: + (numbly) + Sharon? + +Sharon stops, as does Regan. Sharon turns and sees nothing; +and then screams as she feels Regan’s tongue snaking out at +her ankle. + + CHRIS: + Call that doctor and get him the + hell over here, Sharon! Get him + now! + 63. + + +135 INI. CHRIS' BEDROOM - DAY 135 + + Shutters are closed and room is dark. Klein stands by + bureau, watching. Chris sits on edge of bed, as does a + PSYCHIATRIST. He is swinging a bauble on a chain back and + forth, hypnotically, in front of Regan. He shines a + penlight on the bauble so that it glows in the dark. He + halts, inclining the penlight beam up, and we SEE Regan’s + eyes are closed and appears to be in trance. + + He turns off penlight. + + PSYCHIATRIST: + Are you comfortable, Regan? + + REGAN: + (voice-soft and whispery) + Yes. + + PSYCHIATRIST: + How old are you? + + REGAN: + Twelve. + + PSYCHIATRIST: + Is there someone inside you? + + REGAN: + Sometimes. + + PSYCHIATRIST: + Who is it? + + REGAN: + I don’t know. + + PSYCHIATRIST: + Captain Howdy? + + REGAN: + I don’t know. + + PSYCHIATRIST: + If I ask him to tell me, will you + let him answer? + + REGAN: + No! + + PSYCHIATRIST: + Why not? + 64. + + + REGAN: + I'm afraid! + + PSYCHIATRIST: + If he talks to ma, I think he will + leave you. Do you want him to leave + you? + + REGAN: + Yes. + + PSYCHIATRIST: + Let him speak, then. Will you let + him speak? + + REGAN: + (a pause; then:) + Yes. + + PSYCHIATRIST + (firmly; new tone) + I am speaking to the person inside + of Regan, now. If you are there you + too are hypnotized and must answer + all my questions. Come forward and + answer me now: Are you there? + +No response, and after three beats, we HEAR Regan’s BREATH +coning loud and raspily, like a rotted, putrid bellows. The +Psychiatrist sniffs, as if at a horrid smell, and then +flicks on laser lamp and shines it up into Regan’s face. +Chris gasps. We do not see Regan’s face, but play off +reactions of Chris and the Psychiatrist. Chris lowers her +head into a hand, the sight too unbearable for her, and she +grips the Psychiatrist’s arm with the other in a tight +vise. + +This causes him to extinguish the laser lamp. + + PSYCHIATRIST + Are you the person inside of Regan? + + REGAN: + (in that coarse and + guttural voice) + Say. + + PSYCHIATRIST: + Did you answer? + + REGAN: + Say. + 65. + + + PSYCHIATRIST: + If that’s yes, nod your head. + +Regan nods. + + PSYCHIATRIST: + Who are you? + + REGAN: + Nowonmai. + + PSYCHIATRIST: + That’s your name? + + REGAN: + Say. + + PSYCHIATRIST + Are you speaking in a foreign + language? + + REGAN: + Say. + + PSYCHIATRIST: + Are you someone whom Regan has + known? + + REGAN: + One. + + PSYCHIATRIST: + That she knows of? + + REGAN: + One. + + PSYCHIATRIST: + Part of Regan? + + REGAN: + One. + + PSYCHIATRIST: + Do you like her? + + REGAN: + One. + + PSYCHIATRIST: + Do you hate her? + 66. + + + REGAN: + Say. + + PSYCHIATRIST: + Are you punishing her? + + REGAN: + Say. + + PSYCHIATRIST: + You wish to harm her? + + REGAN + Say. + + PSYCHIATRIST: + To kill her? + + REGAN: + Say. + + PSYCHIATRIST + But if Regan died, wouldn't you + die, too? + + REGAN: + One. + + PSYCHIATRIST: + Is there something she can do to + make you leave her? + + REGAN: + Say. + + PSYCHIATRIST: + Do you blame her for her parents' + divorce? + +His question elides into a prolonged gasp of startled pain +and horrified incredulity as we go quickly to FULL AT +REGAN, mad, evil glee in the eyes as now the light drops +from the Psychiatrist's hand. + +CLOSE AT PSYCHIATRIST + +In the darkness, we SEE his mouth agape in horrible pain,, +his eyes wide-staring. What has happened is that Regan has +gripped his scrotum in a hand that is squeezing like an +iron talon. + + PSYCHIATRIST: + Marc! Marc, help me! + 67. + + + QUICKLY AT CHRIS + + leaping up and away from Psychiatrist struggling to wrench + Regan's hand away, a hand with incredible strength, + + CHRIS: + Jesus! + + Klein races forward toward bed; Chris is running, panicked, + for the lightswitch: Psychiatrist, in agony, struggling; + Regan "Creature" with head tilted back, is cackling + demoniacally and then howls like a wolf as Chris slaps at + the lightswitch. The lights come on and we see: + + AT BED + + Regan, cackling demoniacally is rolling around on bed in + savage struggle with Klein and Psychiatrist, who are still + attempting to dislodge her hand from its grip. Grimaces, + Gasps. Curses. The bedstead is quivering violently side to + side. + + ANOTHER ANGLE + + Regan jerks upright. Her eyes roll upward into their + sockets and she wrenches up a keening shriek of terror torn + raw and bloody from the base of her spine as her face + becomes her own. Then she falls backwards in a faint. + + VIEW OF BED + + Stillness. Regan unconscious. Two beats. One of the doctors + makes a small move at extricating himself from the tangle. + Chris crumples in a dead faint. + + +145 EXT. OUTDOOR TRACK IN HOLLOW OF GEORGETOWN U. CAMPUS - DAY 145 + + In shorts and T-shirt, Karras is doing laps. A portly + middle-aged man (KINDERMAN) is seated on bench at edge of + track watching him. SOUNDS of baseball practice o.s. KARRAS + passes Kinderman and shortly thereafter stops running, + hands to hips as he walks, head down and panting. Kinderman + rises and moves toward him. + + KINDERMAN + (calling) + Father Karras? + + Karras turns head, squinting into sun, his breath coming in + great gulps, chest heaving. He waits for Kinderman to reach + him, then beckons him to follow as Karras resumes his walk. + 68. + + + KARRAS + Do you mind? I'll cramp. + + KINDERMAN + Yes, of course. + + KARRAS + Have we met? + + KINDERMAN + No, we haven't, but they said I + could tell; that you looked like a + boxer. I'm William F. Kinderman, + Father. + (flashing I.D.) + Homicide. + +GATE OF RUNNING TRACK + +Karras and Kinderman walk toward the path. + + KARRAS: + What's this about? + + KINDERMAN: + It’s true, you do look like a + boxer. Excuse me, that scar, you + know, there by your eye? Like + Brando, it looks like, in + Haterfront. Just exactly Marlon + Brando. People tell you that, + Father? + + KARRAS: + Do people ever tell you that you + look like Paul Newman? + + KINDERMAN: + Always. + +PATH ABOVE FOOTBALL FIELD + +Karras and Kinderman continue walking. + + KINDERMAN: + Look, Father, could we keep this + between us? Confidential? Like a + matter of confession, so to speak? + + KARRAS: + Yes, of course. + + KINDERMAN: + 69. + + + You know that director who was + doing the film here, Father? Burke + Dennings? + + KARRAS: + Well, I’ve seen him. + + KINDERMAN: + You’ve seen him. You're also + familiar with how last week he + died? + + KARRAS: + (shrugging) + Well, the papers ... + + KINDERMAN: + That’s part of it. + + KARRAS: + Oh? + + KINDERMAN: + Only part. Listen, what do you know + on the subject of witchcraft, + Father? From the witching end, + please, not the hunting. + +TENNIS COURT PATH + +Karras and Kinderman continue walking + + KARRAS + (smiling) + Oh, I once did a paper on it. + + KINDERMAN: + Really? + + KARRAS: + From the psychiatric end. + + KINDERMAN: + From whatever. Look, these + desecrations going on in the church + — they remind you of anything to do + with witchcraft? + + KARRAS: + Maybe. Some rituals used in Black + Mass. + + KINDERMAN: + 70. + + + And now Dennings — you read how he + died? + + KARRAS: + In a fall. + + KINDERMAN: + Well, I'll tell you; and please! + Confidential! + +Karras nods. They stop, and continue talking. + + KINDERMAN: + Burke Dennings, good Father, was + found at the bottom of those steps + down to "M" Street with his head + turned completely around and facing + backwards. + + KARRAS: + (after a beat) + It didn't happen in the fall? + + KINDERMAN + Sure, it's possible. Possible. + However ... + + KARRAS: + Unlikely. + + KINDERMAN: + Exactly. + +They start walking again. + + KINDERMAN: + So on the one hand a witchcraft + kind of murder, on the other, Black + Mass type desecrations in the + church. + + KARRAS: + The killer and the desecrator, you + think, then, are the same? + + KINDERMAN: + Maybe somebody crazy, Father + Karras; maybe someone with a spite + against the Church, some + unconscious rebellion perhaps! And + who also has access to the Church + in the middle of the night. + 71. + + + KARRAS: + A sick priest. Is that it? + +PATH SOUTH OF DAHLGREN CHAPEL. TRACKING BEHIND KARRAS AND +KINDERMAN + +As they walk. + + KINDERMAN: + Listen, Father, this is hard for + you — please! — I understand. But + for priests on the campus here, + you're the psychiatrist; you'd know + who was sick at the time, who was + not, I mean, this kind of sickness. + You’d know that. + + KARRAS + I really know of no one who fits + the description. + +They stop and sit on the railing. + + KINDERMAN: + Ah, yes; doctor's ethics. If you + knew, you wouldn't tell. + + KARRAS: + No, I probably wouldn't. + + KINDERMAN: + Incidentally — I mention it only in + passing — but this ethic is + recently considered illegal. Not to + bother you with trivia, but lately + a psychiatrist in sunny California, + no less, was put in jail for not + telling the police what he knew + about a patient. + + KARRAS: + (slight, warm smile) + That a threat? + + KINDERMAN: + Don’t talk paranoid; I mention it + in passing. + + KARRAS: + I could always tell the judge it + was a matter of confession. + + KINDERMAN: + 72. + + + (glancing at him, faintly + gloomy) + Want to go into business, Father? + (he looks away dismally) + 'Father' — what 'Father'? You're a + Jew, I could tell when I met you. + +Karras chuckles. + + KINDERMAN: + Yes, laugh; go ahead; laugh. + +But then Kinderman smiles, looking impishly pleased with +himself, and turns to Karras with beaming eyes. + + KINDERMAN: + That reminds me. The entrance exam + for policemen, Father? When I took + it, one question went something + like: ”What are rabies and what + would you do for then?" Know what + some dumbhead put down for an + answer? Emis? "Rabies," he said, + "are Jew priests and I would do + anything that I could for them.” + +GEORGETOWN UNIVERSITY. QUADRANGLE, NEAR FOUNTAIN AND GAZEBO + +Karras and Kinderman walking. + + KINDERMAN: + Listen, Father. Listen, doctor - + ... Am I crazy, or could there + maybe be a witch coven here in the + District? Right now, I mean. Today. + + KARRAS: + Oh, come on. + + KINDERMAN: + So then what am I looking for. + Father? + + KARRAS: + A madman. Maybe someone on drugs. + +GEORGETOWN UNIVERSITY, QUADRANGLE-WASHINGTON STEPS TRACKING +SHOT - KARRAS AND KINDERNAN WALKING + + KINDERMAN: + You like movies, Father Karras? + + KARRAS: + 73. + + + Very much. + + KINDERMAN: + I get passes for the very best + shows, Mrs. K., she gets tired, + though; never likes to go. + + KARRAS: + That's too bad. + + KINDERMAN: + It's too bad; yes, I hate to go + alone. You know, I love to talk + film; to discuss; to critique. + Would you like to see a film with + me? I've got passes for the Crest. + It's Othello. + + KARRAS: + Who's starring? + + KINDERMAN: + Debbie Reynolds, Desdemona, and + Othello, Groucho Marx. You're + happy? + +Karras smiles. They have halted at entry to Jesuit +residence hall. + + KINDERMAN: + Listen, Father, one more time ~- + you can think of some priest who + fits the bill? + + KARRAS: + Oh, come on, now. + + KINDERMAN: + Just answer the question, please, + Father Paranoia. + + KARRAS: + (leaning closer; looking + grave) + Look, Lieutenant, can I tell you + who I really think did it? + + KINDERMAN: + No, who? + + KARRAS: + Dominicans. + 74. + + + KINDERMAN: + I could have you deported, you know + that? + + KARRAS: + What for? + + KINDERMAN: + A psychiatrist shouldn't piss + people off. + (as Karras chuckles) + Plus also the goyim, plainly + speaking, would love it. Who needs + it? A priest who wears sneakers and + T-shirts! + + Karras turns and walks away toward entry to residence hall. + Calling out after him: + + KINDERMAN: + I lied! You look like Sal Mineo! + + +159 EXT. ESTABLISHING - BARRINGER CLINIC - DAY 159 + + +160 INT. ROOM IN BARRINGER CLINIC - DAY 160 + + (1) Regan in another fit, in bed and restrained by straps. + Clinic Director is in the room with other doctors + observing. They are baffled. + + (2) Hospital corridor. Nurse walking to door to Regan’s + room. Pauses outside as hears curious rapping sound from + within. She enters room. Dim nightlight illumination. The + rappings have ceased. Regan is sleeping. Nurse checks her + pulse, then frowns in wonderment as she spots something on + Regan’s chest. + + She parts Regan’s pajama top to sea better, and as she + leans closer, she looks mystified. We now see that on + Regan’s chest, faintly, the letter "L", followed by a + separation, then the letter "M", having risen up in blood- + red, light bas-relief lettering on her skin. + + +162 INT. CLINIC DIRECTOR'S OFFICE - DAY 162 + + The room is glass enclosed on two sides, so that we have a + view in b.g. or a traffic of DOCTORS AND NURSES. + 75. + + +Clinic Director and two of the Doctors from earlier clinic +scenes are present. Chris sits in chair, taut and drawn. In +the room, A CLOSED CIRCUIT TV MONITOR SHOWING REGAN IN THE +HOSPITAL ROOM, IN A FIT, as: + + CLINIC DIRECTOR: + People with very, very sensitive + skin can just trace with a finger, + and then a little while later it + shows up. Not abnormal. Why an "L" + and an "M", of course, we don’t + understand. In the meantime .... + +ANOTHER ANGLE - (TIME LAPSE) + + CLINIC DIRECTOR: + It looks like a type of disorder + that you rarely ever see any mere, + except among primitive cultures. We + call it somnambuliform posses­sion. + Quite frankly, we don’t know much + about it except that it starts with + some conflict or guilt that + eventually leads to the patinet’s + delusion that his body's been + invaded by an alien intelligence; a + spirit, if you will. In times gone + by, the entity possessing the + victim is supposed to be a so- + called demon, or devil. + +FULL AT TV MONITOR - (TIME LAPSE) + + CHRIS: + Look, I’m telling you again and + you’d better believe it, I’m not + about to put her in a goddamn + asylum! + + CLINIC DIRECTOR: + It’s — + + CHRIS: + I don’t care what you call it! I’m + not going to put her away! + + CLINIC DIRECTOR: + Well, I’m sorry. + + CHRIS: + Yeah, sorry, Christ, eighty-eight + doctors and all you can tell me + with all of your bullshit.... + 76. + + +ANOTHER ANGLE - (TIME LAPSE) + + CLINIC DIRECTOR: + There is one outside chance of a + cure, I think of it as shock + treatment. As I say, it’s a very + outside chance. But then since + you're so opposed to your daughter + being hospitalized — + + CHRIS: + Will you name it, for God’s sake? + What is it? + + CLINIC DIRECTOR: + Have you any religious beliefs? + + CHRIS: + No, I don’t. + + CLINIC DIRECTOR: + And your daughter? + + CHRIS: + Why? + + CLINIC DIRECTOR: + Have you ever heard of exorcism, + Mrs. MacNeil? + + CHRIS: + Come again. + + CLINIC DIRECTOR: + It’s a stylized ritual in which + rabbis and priests try to drive out + a so-called invading spirit. It’s + pretty much discarded these days, + except by the Catholics who keep it + in the closet as a sort of + embarrassment. It has worked, in + fact, although not for the reason + they think, of course. It was + purely the force of suggestion. The + victim's belief in possession + helped cause it; and in just the + same way this belief in the power + of exorcism can make it disappear. + + CHRIS: + Jesus! Are you telling me to take + her to a witch doctor? + 77. + + +168 EXT. STREET IN FRONT OP MACNEIL HOUSE - FULL SHOT - DAY 168 + + A limo has pulled up and Karl is exiting driver's seat and + opening rear door while Sharon exits on right rear side. + Karl reaches in and picks up a small figure (Regan) wrapped + in a blanket from Chris in back seat. + + While Karl carries Regan toward door of MacNeil house where + Willie is standing, anxiously watching, Chris exits car in + deep depression. + + +169 INT. REGAN’S BEDROOM - DAY 169 + + Regan is faced to side. Sharon is adjusting Sustagen flask + used for a naso-gastric feeding. Karl is affixing a set of + restraining straps to bed. Chris enters, standing by door + and observing. Karl lets straps hang loose, nods to Sharon. + Sharon starts out of room, pausing for a moment by door to + look at Chris. + + Chris moves slowly forward to bedside and looks down at + Regan, WE SER now that Regan’s face is torn and bloated + jecting hideously + with numerous scratch marks and scabs. Pro­ + from her nostrils is the naso-gastric tubing. Karl has + finished adjusting straps. He, too, now looks down at + Regan. Two beats. He looks up at Chris. + + KARL: + She is going to be well? + + CHRIS: + (after a beat) + I don’t know. + + ANOTHER ANGLE + + A beat. Then Chris leans and tenderly adjusts Regan’s + pillow. In the process, she discovers a crucifix under it + made of white bone. She lifts it out, examining it, + frowning. Then, at Karl: + + CHRIS: + Who put this crucifix under her + pillow? + + +172 EXT. HOUSE - BEHIND KINDERMAN LOOKING UP TO REGAN’S WINDOW 172 + + +173 INT. KITCHEN MACNEIL HOUSE - DAY 173 + 78. + + + Sharon, her coat still on, listless sorts through a mound + of mail and messages. Willie is slicing carrots for a stew. + Chris enters with crucifix. + + CHRIS: + (to Sharon) + Was it you put this under her + pillow? + + SHARON: + (fuddled) + Whaddya mean? + + CHRIS: + You didn’t? + + SHARON: + Chris, I don’t even know what + you’re talking about. Listen, I + told you ... + + CHRIS: + (interjecting) + Yeah. + + SHARON: + I’ve ever said to Rags is + maybe "God made the world,” and + maybe things about — + + CHRIS: + Fine, Sharon. Fine, I believe you, + but — + + WILLIE: + Me, I don’t put it. + + CHRIS: + This fucking cross didn’t just walk + up there, dammit! Now — + + She is interrupted by the entrance of Karl. + + KARL: + Please, madam, there is man here to + see you. + + CHRIS: + What man? + + +174 INT. ENTRY HALL - MACNEIL HOUSE - DAY 174 + 79. + + + Kinderman stands waiting with hat in hand as Chris + approaches. He shows I.D. + + KINDERMAN: + I’d know that face in any lineup, + Mrs. MacNeil. + + CHRIS: + Am I in one? + + +175 INT. KITCHEN - MACNEIL HOUSE - DAY 175 + + Chris and Kinderman. On the breakfast table sits Regan’s + sculpt of the bird. It is set among the salt and pepper + shakers and is now a decorative piece. + + KINDERMAN: + (at Chris) + Might your daughter remember if + perhaps Mr. Dennings was in her + room that night? + + CHRIS: + (vague apprehensiveness) + Why do you ask? + + KINDERMAN: + Might your daughter remember? + + CHRIS: + Oh, no she was heavily sedated. + + KINDERMAN: + It’s serious? + + CHRIS: + Yes, I’m afraid it is. + + KINDERMAN: + May I ask ... ? + + CHRIS: + We still don’t know. + + KINDERMAN: + Watch out for drafts. A draft in + the fall when a house is hot, is a + magic carpet for bacteria. + + CHRIS: + Why are you asking all this? + 80. + + + KINDERMAN: +Strange ... strange ... so +baffling. The deceased comes to +visit, stays only twenty minutes +without even seeing you, and leaves +all alone here a very sick girl. + ing plainly, Mrs. MacNeil, +And speak­ +as you say, it’s not likely he +would fall from a window. Besides +that, a fall wouldn't do to his +neck what we found except maybe a +chance in a thousand. My hunch? My +opinion? I believe he was killed by + ful man: point one. And the +a power­ +fracturing of his skull — point two +plus the various things I have +mentioned, would make it very +probable — probable, not certain — +the deceased was killed and then +afterwards pushed from your +daughter's window. But no one was +here except your daughter. So how +could this be? It could be one way: +if someone came calling between the +time Miss Spencer left and the tine +you returned. + + CHRIS: + (hoarsely; stunned) +Judas priest, just a second. + + KINDERMAN: +The servants? They have visitors? + + CHRIS: +Never. Not at all. + + KINDERMAN: +You expected a package that day? +Some delivery? + + CHRIS: +Not that I know of. + + KINDERMAN: +Dry cleaning, maybe? Groceries? +Liquor? A package? + + CHRIS: +I really wouldn’t know. Karl +handles all of that. + + KINDERMAN: + 81. + + + Oh, I see. + + CHRIS: + Want to ask him? + + KINDERMAN: + Never mind, it's remote. You've got + a daughter very sick, and — well, + never mind. + + Chris rises. + + CHRIS: + Would you like another cup of + coffee? + + Kinderman acknowledges in the affirmative. They move to + Kitchen. + + +177 INT. MACNEIL KITCHEN 177 + + Kinderman follows Chris toward Sharon’s working area. + + He notices Regan's artwork. + + KINDERMAN: + Cute ... It’s so cute. Your + daughter? She’s the artist? + + Chris nods. Then: + + KINDERMAN: + Incidentally, just a chance in a + Trillion, I know; but your daughter + — you could possibly ask her if she + saw Mr. Dennings in her room that + night? + + CHRIS: + Look, he wouldn’t have a reason to + be up there in the first place. + + KINDERMAN: + I know that; I realize; that’s + true; very true. But if certain + British doctors never asked "What’s + this fungus?", we wouldn’t today + have penicillin. Correct? + + CHRIS: + When she’s well enough. I’ll ask. + 82. + + + KINDERMAN: + Couldn’t hurt. In the meantime ... + (they have come to the + front door and Kinderman + falters, embarrassed) + Look, I really hate to ask you; + however ... + + CHRIS: + (tensing) + What? + + KINDERMAN: + For my daughter ... you could maybe + give an autograph? + +He has reddened, and Chris almost laughs with relief. + + CHRIS: + Oh, of course. Where’s a pencil? + + KINDERMAN: + Right here! + +He has whipped out the stub of a chewed-up pencil from the +pocket of his coat while he dipped his other hand in a +pocket of his jacket and slipped out a calling card. + + KINDERMAN: + She would love it. + + CHRIS: + What’s her name? + +Chris presses the card against the door and poises pencil + tion. +stub to write. There follows a weighty hesita­ + + KINDERMAN: + (eyes desperate and + defiant) + I lied. It's for me. + (fixes gate on card and + blushes) + Write 'To William F. Kinderman' — + it's spelled on the back. + +Chris eyes him with a wan and unexpected affection, checks +the spelling of his name and writes on card as: + + KINDERMAN: + You know that film you made called + “Angel?” I saw that film six times. + 83. + + + CHRIS: + If you were looking for the + murderer, arrest the director. + + KINDERMAN: + You're a very nice lady. + + CHRIS: + You're a very nice man. + + Kinderman exits. Chris leans against the door, thoughtful, + for a moment. Then she moves on. Walking by door to + basement we HEAR washing machine O.S.. Chris halts, then + opens door and calls down: + + CHRIS: + Willie. + + No response. She starts down the stairs. + + +179 INT. BASEMENT PLAYROOM - DAY 179 + + Chris comes down the stairs. Willie is working in the + service area. + + CHRIS: + Willie. + + WILLIE: + Oh, yes, Madam. + + CHRIS: + Look, never mind dinner tonight. + I’m not hungry, and if anyone — + + Her eye has fallen to a book that is lying open, face down, + on top of the dryer. IN AN INSERT WE SEE THE TITLE: "A + HISTORY OF WITCHCRAFT." Picking it up? + + CHRIS: + You reading this? + + WILLIE: + I try, but very difficult. Madam. + + CHRIS: + Some illustrations. + + WILLIE: + I find in Kiss Regan bedroom. + 84. + + + Chris looks up at her. Dryer stops spinning and Willie + turns away to take out the clothes. Chris resumes thumbing + through the book. Abruptly she FREEZES, turning ashen. She + holds gaze on book for a beat; then, numbly: + + CHRIS: + Willie — you found this in Regan’s + bedroom? + + WILLIE + Yes, Madam. Under bed. + + Still numb, Chris runs a finger along edge of right­hand + page, and in an INSERT, we see that a narrow strip — in the + manner of Burke Dennings — has been surgically shaved from + along its length. + + ANOTHER ANGLE + + Willie and Chris look up at SOUND from above, in Regan’s + bedroom, of a blow, of someone staggering across the room, + ing heavily to ground. + of someone crashing to wail and fall­ + This is followed, as Chris races upstairs, by an at first + indistinct altercation between a tearful and terror- + stricken Regan, and someone else — a man — with a powerful + and incredibly deep bass voice. Regan is pleading; the man + commanding in obscene terms. + + ANGLE AT CHRIST FROM TOP OF STEPS (SECOND FLOOR) + + Rushing up, frenzied, while Willie and Sharon stare up from + bottom of steps. We HEAR: + + REGAN: + (o.s.) + No! Oh, no, don't! Don’t — ! + + DEEP BASS VOICE: + (o.s.) + Do it, damned piglet! You'll — I + + REGAN: + (o.s.) + No! Oh, no don't! Please, don’t — + + And in this manner, the VOICES continue — and never + overlapping — while CAMERA TRACKS with Chris to door to + Regan's bedroom. + + +183 INT. REGAN’S BEDROOM - DAY 183 + 85. + + +Chris bursts in, then stands rooted in shock, as we HEAR + tion of +SOUND OF BED SHAKING VIOLENTLY, and the continua­ +dialogue between Regan and the thundering deep MALE VOICE. + + REGAN: + (o.s.) + Please! Oh, please don’t m(-ake) — + ! + + MALE VOICE: + (o.s.) + You’ll do as I tell you, filth! + You’ll — ! + +Chris has turned head to stare at: + +P.O.V. AT KARL + +Blood trickling down from forehead, he lies uncon­scious on +floor near bureau. The CAMERA GOES TO BED disclosing Regan +sitting up in a SIDE VIEW TO CAMERA, her legs propped wide +apart and the bone-white crucifix clutched in rawknuckled +hands that are upraised over her head. She seems to be +exerting a powerful effort to keep the crucifix UP, away +from her vagina, which we cannot (AND WILL NOT) see, her +nightgown pulled up to precisely that point. We see that +her FACE ALTERS EXPRESSION to match each voice in the +argument, BOTH OF WHICH ARE COMING FROM HER! When the deep +male voice speaks through her mouth, the features +instantaneously contort into a demonic grimace of +malevolence and rage. Blood trickles down from Regan’s +nose. The nasogastric tubing has been ripped out. During +the above: + + REGAN: + Oh, no don’t make me! Don’t! + + REGAN-DEMONIC: + You’ll do it! + + REGAN: + No! NO, — ! + + REGAN-DEMONIC: + Do it, stinking bitch! You’ll do + it! You’ll do it or I’m going to + kill you! + + REGAN: + Nooooo! + + REGAN-DEMONIC: + Yes, do it, do it, do- ! + 86. + + + QUICK CUT TO: + +CLOSE DOWN ANGLE - AT REGAN + +showing nothing from the waist down as with eyes wide and +staring she seems to be flinching from the rush of some +hideous finality, her mouth agape and shrieking in terror +as she stares up at the upheld crucifix. + +Then the shriek ends as the demonic face once again takes +over her features, and the piercing cry of terror elides + volent spite and rage +into a yelping, gutteral laugh of male­ +triumphant as the crucifix is plunged down and out of sight +at Regan’s vagina. + +The demonic face looks down, and we HEAR Regan-Demon +roaring in that coarse deafening voice as the crucifix is +repeatedly brought up and plunged down again, blood now +spotting it as: + + DEMON: + ing + Yes, now you’re mine, you stink­ + cow! You're mine, you're mine, + you're — ! + +Chris has raced in, screaming, grappling to take hold of +the crucifix. We see blood on Regan's thighs, but NEVER THE +VAGINA. The Demon first turns on Chris with a look of +mindbending fury. Then: + + DEMON: + Ahhh, little pig mother! + +The Demon pulls Chris* head down, rubbing her face +sensually against pelvic area, then lifts head and smashes +Chris a blow across the chest that sends her reeling across +room and crashing to a wall with stunning force while Demon +laughs with bellowing spite. Chris crumples against wall +near Karl. + +Willie arrives, staring in confusion and horror. + +Chris begins to pick herself up. She stares toward bed, her +head bloodied, and begins to crawl pain­fully toward it. + + DEMON: + Ah, there’s my pearl, my sweet + honey piglet! + +MOVING SHOT - AT BED - CHRIS' P.O.V. + 87. + + + as she crawls closer. Regan now has back to CAMERA, looking + down, and we know the crucifix is being used for + masterbation. + + DEMON: + Ahh! Yes, mine, you are mine, you + are — ! + + It breaks off and the Regan-Demon thing abruptly looks over + shoulder at CAMERA (and Chris), which halts at the sight. + The features of Regan’s face seem to be those of Burke + Dennings. Then it sneaks in the British-accented giggly + VOICE of the dead director. + + REGAN-DENNINGS: + Do you know what she did, your + cunting daughter? + + CLOSE AT CHRIS - SCREAMING IN HORROR + + QUICK CUT TO: + + +190 EXT. 35TH STREET BRIDGE & CANAL AREA - DAY 190 + + Chris. She wears oversized dark glasses and is leaning over + bridge railing. + + ANOTHER ANGLE + + as Chris sees a large, powerfully built wan wearing khakis, + sweater and sturdy, scuffed white tennis shoes approaching + her. She quickly looks away. Though she doesn’t recognize + him, we see it is Karras. Coming up beside her: + + KARRAS: + Are you Chris MacNeil? + + CHRIS: + Keep movin', creep. + + KARRAS: + I'm Father Karras. + + She reddens, jerks swiftly around. + + CHRIS: + Oh, my God! Oh, I’m — ! Jesus! + + She is tugging at her sunglasses, flustered, and + immediately pushing them back as the sad, dark eyes probe + hers. + 88. + + + KARRAS: + I suppose I should have told you + that I wouldn't be in uniform. + + CHRIS: + Yeah, it would've been terrific. + Got a cigarette, Father? + + KARRAS: + (reaching into pocket of + shirt) + Sure. + +She lights up. After a deep exhalation of smokes + + CHRIS: + How'd a shrink ever get to be a + priest? + + KARRAS: + It’s the other way around. The + Society sent me through medical + school and psychiatric training. + + CHRIS: + Where? + + KARRAS: + Oh, well, Harvard; John Hopkins, + Bellevue, then — + + CHRIS: + (over him) + You’re a friend of Father Dyer’s, + that right? + + KARRAS: + Yes, I am. + + CHRIS: + Pretty close? + + KARRAS: + Pretty close. + + CHRIS: + Did he talk about the party? + + KARRAS: + Yes. + + CHRIS: + About my daughter? + 89. + + + KARRAS: +No, I didn’t know you had one. + + CHRIS: +Yeah, she’s twelve. He didn’t +mention her? + + KARRAS: +No. + + CHRIS: +He didn’t tell you what she did? + + KARRAS: +He never mentioned her. + + CHRIS: +Priests keep a pretty tight mouth, +then; that right? + + KARRAS: +That depends. + + CHRIS: +On what? + + KARRAS: +On the priest. + + CHRIS: +I mean, what if a person, let’s +say, was a criminal, like maybe a +murderer or something, you know? If +he came to you for help, would you +have to turn him in? + + KARRAS: +If he came to me for spiritual +help, I’d say, no. + + CHRIS: +You wouldn’t. + + KARRAS: +No, I wouldn’t. But I’d try to +persuade him to turn himself in. + + CHRIS: +And how do you go about getting an +exorcism? + + KARRAS: +Beg pardon? + 90. + + + CHRIS: + If a person’s possessed by some + kind of a demon, how do you go + about getting an exorcism? + + KARRAS: + Well, first you'd have to put him + in a time machine and get him back + to the sixteenth century. + + CHRIS: + (puzzled) + Didn’t get you. + + KARRAS: + Well, it just doesn’t happen + anymore, Miss MacNeil. + + CHRIS: + Since when? + + KARRAS: + Since we learned about mental + illness; about paranoia; dual + personality; all of those things + that they taught meat Harvard. + + CHRIS: + You kidding? + + KARRAS: + Many educated Catholics, Miss + MacNeil, don’t believe in the devil + anymore; and as far as possession + is concerned, since the day I + joined the Jesuits I’ve never met a + priest who’s ever in his life + performed an exorcism. Not one. + + CHRIS: + Oh, really? + (a shaking hand to her + sunglasses) + Well, it happens, Father Karras, + that someone very close to me is + probably possessed. She needs an + exorcism. Will you do it? + +She has slipped off the glasses and Karras feels momentary, +wincing shock at the redness, at the desperate pleading in +the haggard eyes. + + CHRIS: + 91. + + + Father Karras, it’s my daughter! + + KARRAS: + (gently) + Then all the more reason to forget + about exorcism and — + + CHRIS: + (outburst in a cracking + voice) + Why? God, I don’t understand! + +He takes her wrist in a comforting hand. + + KARRAS: + To begin with it could make things + worse. + + CHRIS: + But how? + + KARRAS: + The ritual of exorcism is + dangerously suggestive. And + secondly, Miss MacNeil, before the + church approves an exorcism, it + conducts an investigation to see if + it's warranted. That takes time. In + the meantime, your — + + CHRIS: + Couldn't you do the exorcism + yourself? + + KARRAS: + look, every priest has the power to + exorcise, but he has to have church + approval, and frankly, it’s rarely + ever given, so - + + CHRIS: + Can't you even look at her? + + KARRAS: + Well, as a psychiatrist, yes, I + could, but - + + CHRIS: + She needs a priest! I've taken her + to every goddamn fucking doctor + psychiatrist in the world and they + sent me to you! Now you send me to + them! + 92. + + + KARRAS: + But your - + + CHRIS: + (shrieking) + Jesus Christ, won't somebody help + met + + She crumples against Karras' chest, moaning, with + convulsive sobs. + + CHRIS: + Help her! Help her! Oh, somebody + ... + + The final "help" elides into deep, throaty sobbing. + + +195 INT. MACNEIL HOUSE STAIRCASE - DAY 195 + + Chris and Karras are ascending staircase, Karras frowning + in consternation at O.S. SOUND, from Regan's bedroom, of + the demonic Voice threatening and raging. + + When they reach door to Regan's bedroom, we pick up Karl + leaning against opposite wall, arms folded, head bowed. + + KARL: + It wants no straps, still. + + Karras stares at him; looks at door; exchanges looks with + Chris. Then he grasps doorknob and starts to open door. He + reacts, as to a noxious odor; then steels self. + + +196 INT. REGAN’S BEDROOM - DAY 196 + + Reining back his revulsion, Karras enters slowly, scanning + room; then freezes in horror. Arms held down by double set + of restraining straps, it seems no longer Regan but the + demonic entity that now lies on the bed, turning head to + stare at Karras. The eyes bulge wide in wasted sockets, + shining with mad cunning and burning intelligence, seething + in a face shaped into a hideous mask of evil. The hair is + tangled and thickly matted, and Regan’s legs and arms are + spider-thin, a distended stomach jutting up grotesquely. + Karras reacts, then closes door and strives for an affable, + conversational tone. + + KARRAS: + Hello, Regan. + (fetching a chair to + bedside) + 93. + + + I’m a friend of your mother's. I'd + like to help you. + +Regan tugs up wrists revealing double set of restraining +straps. Her voice is a deep, male bass, thick with menace +and power. + + REGAN-DEMON + You might-loosen these straps, + then. + + KARRAS: + Are they uncomfortable for you? + + REGAN-DEMON + Extremely. + + KARRAS: + I’m afraid you might hurt yourself. + Regan. + + REGAN-DEMON: + I am not Regan. + + KARRAS: + Oh, I see. Well, then, maybe we + should introduce ourselves. I'm + Damien Karras. Who are you? + + REGAN-DEMON: + I'm the devil. New kindly undo + these straps. + + KARRAS: + If you're the devil, why not just + make the straps disappear? + + REGAN-DEMON + That's much too vulgar a display of + power, Karras. + + KARRAS: + Where's Regan? + + REGAN-DEMON + She is in here with us, my friend; + we are Legion. + + KARRAS: + Show me Regan and — + +CLOSE AT REGAN + 94. + + +The features are her own, now, and the eyes are filled with +terror, her mouth gaping open in a soundless, electrifying +shriek for help. But then quickly the Regan identity is +replaced by a remolding of Regan's features into those of +Denning's and we HEAR: + + DENNINGS' VOICE + Won't you take off these straps, + please? They're hurting me! Really! + +And now Regan's face instantaneously is remolded back to +the demonic. + + REGAN-DEMON + (in the VOICE of the + derelict in subway scene) + Couldjya help an old altar boy, + Faddah? I'm Cat'lie. + +AT KARRAS — REACTING + +as we HEAR the O.S. MOCKING LAUGHTER of the demon. + +ANOTHER ANGLE + + REGAN-DEMON + Incidentally, your mother is here + with us, Karras. Do you wish to + leave a message? I will see that + she gets it. + +And Karras is suddenly dodging a projectile stream of +vomit/ leaping out of his chair so that only his hand and +portion of his sweater are hit. The demonic entity laughs +mockingly. + + KARRAS: + If that is true, then you must know + my mother’s maiden name? What is + it? + +Regan hisses at him, mad eyes gleaming/ and her head gently +undulating like a cobra’s. + + KARRAS: + What is it? + +Regan, in an angry bellow that shivers through the walls of +the room, begins to low like a steer. Her eyes then roll +upwards into their sockets, exposing whites only. For a +time, Karras watches, ashen, as the bellowing continues. + 95. + + +201 INT. CHRIS’ BATHROOM AND HALL OFF BEDROOM - LATE DAY 201 + + Karras' sweater is craped over shower pole as he washes + hands at sink. Chris sits on edge of tub, anxiously + fidgeting with towel in lap as she watches Karras, From + down the hall, O.S., we HEAR varied ANIMAL SOUNDS. + + KARRAS: + But your daughter doesn’t say she's + a demon, Mrs. MacNeil; she says + she's the devil himself and if + you've seen as many psychotics as I + have, you'd know that’s like saying + you’re Napoleon Bonaparte. + + CHRIS: + Look, I’ll tell you something. + Father; you show me Regan’s + identical twin: Same face, same + voice, same smell, same everything + down to the way she dots her i’s, + and still I'd know in a second that + it wasn't really her! I’d know it! + I’d know it in my gut and I'm + telling you I know that thing in + there is not my daughter! + (she leans back drained) + Now you tell me what to do. Go + ahead: You tell me that you know + for a fact there’s nothing wrong + with my daughter except in her + head; that you know for a fact that + she doesn’t need an exorcism; that + you know it wouldn't do her any + good. Go ahead! You tell me! You + tell me what to do! + + For long troubled seconds, the priest is still. Then he + answers softly: + + KARRAS: + Well, there’s little in this world + that I knew for a fact. + + Chris stares at him a brief beat, then rises and moves + quickly out of bathroom. Karras frowns, hearing REGAN + howling like a wolf. Chris returns with a framed photo of + Regan and shows it to him. + + CHRIS: + That’s her. That's Regan. That was + taken four months ago. + 96. + + + Karras is deeply affected. + + KARRAS: + Look, I'm only against the chance + of doing your daughter more harm + than good. + + CHRIS: + But you’re talking now strictly as + a psychiatrist, right? + + KARRAS: + No, I’m talking now also as a + priest. If I go to the Chancery + office to get permission to perform + an exorcism, the first thing I’d + have to have is a pretty + substantial indication that your + daughter’s condition isn't a purely + psychiatric problem. After that, + I'd need evidence the Church would + accept as signs of possession. + + CHRIS: + Like what? + + KARRAS: + (continuing) + Well, like her speaking in a + language that she’s never known or + studied. + + CHRIS: + And what else? + + KARRAS: + I don’t know. I’m going to have to + look it up, + + CHRIS: + I thought you were supposed to be + an expert. + + KARRAS: + You probably know more about + demonic possession right now than + most priests. + + +205 EXT. MACNEIL HOUSE - NIGHT 205 + 97. + + + Chris opens door for Karras. He steps out onto stoop + carrying the witchcraft book and a slender box containing a + tape recording. + + KARRAS: + Did your daughter know a priest was + coming over? + + CHRIS: + No, No, nobody knew but me. + + KARRAS: + Did you know that my mother had + died just recently? + + CHRIS: + Yes, I’m very sorry. + + KARRAS: + Is Regan aware of it? + + CHRIS: + Why? + + KARRAS: + Is she aware of it? + + CHRIS: + No, not at all. + + He nods. + + CHRIS: + Why’d you ask? + + KARRAS: + (shrugging) + Not important. I just wondered. + + He studies her for a moment without expression; then + quickly moves away. Chris watches from the doorway. + + Karras crosses the street. At the corner, he drops the book + and stoops quickly to retrieve it, then rounds the corner + and vanishes from sight. Chris closes the door. + + And now the CAMERA DISCLOSES Kinderman observing house from + an unmarked car parked a little down the street, toward + campus library. + + +207 EXT. PROSPECT STREET - NIGHT 207 + 98. + + + Kinderman frowns in puzzlement as he sees something: in the + window of Regan’s bedroom (the shutters are partially + open), a suggestion of a slender figure (Regan?) quickly + ducking away from, sight. We go back to Kinderman, + thoughtful. He does not see the shutter slowly pulled shut. + + +208 EXT. G. U. LANGUAGE LAB - NIGHT 208 + + Karras enters. + + +209 INT. LANGUAGE LAB - NIGHT 209 + + Karras sits before a tape recorder, wearing earphones. + + We HEAR TAPE HISS at first. Then: + + REGAN’S VOICE: + (normal) + Hello ... + + Whining feedback. + + CHRIS VOICE: + (hushed in b.g.) + Not so close to the microphone, + honey. Hold it back. + + REGAN’S VOICE: + Like this? + + CHRIS: VOICE: + No, more. + + REGAN'S VOICE: + Like this? + + CHRIS VOICE: + Yeah, okay. Go ahead, now. Just + talk. + + REGAN’S VOICE: + (muffled giggling; then:) + Hello, Daddy? This is me. + (giggling; then a + whispered aside) + I can't tell what to say. + + CHRIS VOICE: + Oh, just tell him. how you are, + Rags, and what you’ve been doin'. + 99. + + + Karras' look grows more and more haunted as he listens. + + REGAN’S VOICE: + Umm, Daddy — well, ya see; I mean I + hope you can hear me okay and —- + let's see. Umm, well, first we're - + No, wait, now ... See, first we’re + in Washington, Daddy, ya know? It’s + — No, wait, now; I better start + over. See, Daddy, there's ... + + +211 EXT. DAHLGREN CHAPEL ON C. U. CAMPUS - DAWN 211 + + Karras enters. + + +212 INT. DAHLGREN CHAPEL - DAWN 212 + + Karras vests in vestment room. We follow him into church. + + ANOTHER ANGLE - (TIME LAPSE) - KARRAS AT ALTAR + + KARRAS: + "Thou Shalt turn again, O God, and + quicken us. And Thy people shall + rejoice in Thee. Show us Thy mercy, + O Lord, and grant us Thy salvation. + O Lord, hear my prayer. And let my + cry come unto Thee." + + ANOTHER ANGLE - (TIME LAPSE) + + Karras lifts the Communion Host in consecration. It + trembles in his fingers with a hope he dares not hope. + + KARRAS: + "The day before he suffered he took + bread in his sacred hands and + looking up to heaven, to you, his + almighty Father, he gave you thanks + and praise. He broke the bread, + gave it to his disciples, and said: + Take this, all of you, and eat it: + For this is my body." + + Then: + 100. + + + When supper ended, again he gave + you thanks and praise, gave the cup + to his disciples and said: Take + this all of you and drink from it. + This is the cup of my blood, the + blood of the new and everlasting + covenant, the mystery of faith. It + will be shed for you and for all + men so that sins may be forgiven. + Do this in memory of me. + + +213 INT. REGAN’S BEDROOM - DAY 213 + + CLOSE at tape recorder. A full reel is just beginning to + wind onto empty reel. A microphone is propped in position. + + Karras sits at foot of bed. He is in his clerical robes. + + REGAN-DEMON: + Hello, Karras. What an excellent + day for an exorcism. Do begin it + soon. + + KARRAS: + (puzzled) + You would like that? + + REGAN-DEMON: + Intensely. + + KARRAS: + But wouldn’t that drive you out of + Regan? + + REGAN-DEMON: + It would bring us together. + + KARRAS: + You and Regan? + + REGAN-DEMON: + You and us. + + Karras stares and then reacts as he feels something cold + and unseen at his neck. Then he jerks his head around at a + loud, sudden banging sound. O.S. a bureau drawer has popped + open, sliding out its entire length. + + The demon bursts into hysterical, gleeful laughter. + + KARRAS: + You did that? + 101. + + + REGAN-DEMON + Assuredly. + + KARRAS + Do it again. + + REGAN-DEMON + In time, in time. But mirabile + dictu, don't you agree? + + KARRAS: + (startled) + You speak Latin? + + REGAN-DEMON + Ego te absolvo. + +The demon chuckles. + + KARRAS: + (excitedly) + Quod nomen mihi est? + + REGAN-DEMON: + Bon jour. + + KARRAS + (persistent) + Quod nomen mihi est? + + REGAN-DEMON + Bon nuit. La plume de ma tante. + +The demon laughs full and mockingly. Karras holds up a +small vial of water that he has had cupped in his hand. + +The demon abruptly breaks off the laughter. + + REGAN-DEMON: + (warily) + What is that? + + KARRAS: + Holy water. + +Karras has uncapped the vial and now sprinkles its contents +over Regan. Instantly, Regan (Demon) withes to avoid the +spray, howling in pain and terror. + + REGAN-DEMON: + Ahhhhhhhhhhhh! It burns me! It + burns! It burns! Ah, cease, priest, + bastard! Cease! Ahhhhhhhh! + 102. + + + Karras looks disappointed. The howling ceases and Regan's + head falls back onto pillow. Regan's eyes roll upward into + their sockets, exposing the whites. Regan-Demon is now + rolling head feverishly from side to side muttering an + indistinct gibberish: + + REGAN-DEMON: + I‘drehtellteeson. Dobetni tee siti. + Leafy. Tseerpet reef. Emitsuvig. + + Karras is intrigued and moves to side of bed. He turns up + volume on recorder, then lowers his ear to Regan's mouth to + pick it up. He listens. The gibberish ceases and is + replaced by deep and raspy breathing. Karras straightens + up. + + KARRAS: + Who are you? + + REGAN-DEMON + Nowonmai... Nowonmai ... + + KARRAS: + Is that your name? + + The lips move. Fevered syllables, slow and unintelligible. + Then it ceases. + + KARRAS: + Are you able to understand me? + + Silence. Only the eerie sound of breathing. Karras waits a + little; then he shakes head, disappointed. He grips Regan’s + wrist to check her pulse; then he draws back Regan’s + nightgown top and looks with pained expression at the sight + of her skeletal ribs. He shakes his head. + + +217 INT. MACNEIL HOUSE - STUDY 217 + + Chris is at bar. Karras enters. + + KARRAS: + I’m not hopeful I could ever get + permission from the Bishop. + + CHRIS: + Why not? + + He holds up the empty vial. + + KARRAS: + 103. + + +I just told her this was holy +water; when I sprinkled it on her, +she reacted very violently. + + CHRIS: +And so? + + KARRAS: +It’s just ordinary tap water. + + CHRIS: +Christ, who gives a shit! She’s +dying! What's the difference +between holy water and tap water, +anyway? + + KARRAS: +Holy water is blessed. + + CHRIS: +Oh, Christ! + + KARRAS: +Where’s her father? + + CHRIS: +In Europe. + + KARRAS: +Have you told him what's happening? + + CHRIS: +No! + + KARRAS: +Well, I think it would help if he +were here. It’s — + + CHRIS: + (over him) +I've asked you to drive a demon +out, goddammit, not ask another one +in! What the hell good is Howard +right now? What's the good? + + KARRAS: +There's a strong possibility that +Regan's disorder is caused by her +guilt over — + + CHRIS: + (mysterical) +Guilt over what? + 104. + + + KARRAS: + It could — + + CHRIS: + Over the divorce? All that + psychiatric bullshit? + + KARRAS: + It’s — + + CHRIS: + She's guilty 'cause she killed + Burke Dennings! She killed him! She + killed him and they'll put her + away! + + +218 INT. LANGUAGE LAB - NIGHT 218 + + Karras and Language Lab Director FRANK, are listening to + tail-end of recording of Karras' last session with Regan. + Karras is tense. + + KARRAS + Well, all right, is it a language + or not? + + FRANK + Oh, I’d say it was a language all + right. It’s English. + + KARRAS: + It’s what? + + Frank is threading another tape onto the recorder. + + FRANK: + I thought you were putting me on. + It’s just English in reverse. I've + pulled your questions, flipped the + responses, and respliced them in + sequence. + (pushing playback button) + Here, you just play it backwards. + + +220 INT. KARRAS' ROOM - NIGHT 220 + + Karras sits in front of tape recorder listening to an + eerie, unearthly series of various WHISPERED VOICES. + + TAPE RECORDER: + (First Voice) + 105. + + + Let her die! + (Second Voice) + No, no, sweet! It is sweet in the + body! I feel! + (Third Voice) + Fear the priest. + (Second Voice) + Give us time. + (Third Voice) + He is ill. + (Fourth Voice) + No, not this one. The other. The + one who will - + + Second Voice interrupting; + (Second Voice) + Ah, the blood! Feel the blood! How + it sings! + (Karras' Voice) + Who are you? + (First Voice) + I am no one. + (Karras' Voice) + Is that your name? + (Second Voice) + I have no name. + (First Voice) + I am no one. + (Third Voice) + Many. + (Fourth Voice) + Let us be. Let us warm in the body. + (Second Voice) + Leave us. + (Third Voice) + Let us be, Karras. + (First Voice) + Merrin ... Merrin. + + PHONE RINGS. Karras leaps for it. + + KARRAS: + (urgently) + Hello, yes? ... Be right over. + + +222 EXT. PROSPECT STREET - NEAR THE HOUSE - NIGHT 222 + + Very late. No traffic noise. Karras is hastily crossing, + throwing on a sweater. + + +223 INT. ENTRY OF MACNEIL HOUSE - NIGHT 223 + 106. + + + Sharon, wearing sweater and holding a flashlight, has the + door open, waiting as Karras comes up step. At door, she + puts a finger to her lips for quiet. She beckons him in and + closes door silently and carefully. + + SHARON: + (whispering) + I don’t want to wake Chris. I don’t + think she ought to see this. + + She beckons him to follow. + + +225 INT. SECOND FLOOR HALL - BY REGAN’S DOOR - NIGHT 225 + + The house is darkened. Karras and Sharon are silently + approaching. Sharon carefully opens door, enters, and + beckons Karras into room. + + +226 INT. REGAN'S BEDROOM - AT DOOR - NIGHT 226 + + As he enters and Sharon closes door, Karras reacts as if to + extreme cold. His breath, like Sharon's is frostily + condensing in the chill air of the room. He looks at Sharon + with wonder. + + ANOTHER ANGLE + + as Karras and Sharon approach the bedside. The room is dark + except for a night light glow. Sharon has flash­light on + now, trained low. They stop by bed. Regan seems to be in + coma, the whites of her eyes glowing eerily in the dim + light. Heavy breathing. Karras takes her wrist to check her + pulse. The naso-gastric tube is in place, Sustagen seeping + into Regan's motionless body. + + Beads of perspiration on Regan's forehead. Sharon is + bending, gently pulling Regan's pajama tops wide apart, + exposing her chest. Karras wipes a little perspiration off + Regan’s forehead, then stares at it on his fingers, rubbing + them together with deeper consternation. Then he looks up + at Sharon, feeling her gaze upon him. + + SHARON: + (whispering) + I don’t know if it’s stopped. But + watch. Just keep looking at her + chest. + + Karras follows her instruction. One beat. Two. Then, + flipping flashlight beam onto Regan's chest: + 107. + + + SHARON: + (whispering) + There! There, it's coming! + + Karras leans face closer to observe, then halts, shooked + at: + + P.O.V. - REGAN'S CHEST + + Rising up slowly on her skin in blood-red, bas-relief + script are two words: + + help me + + CLOSE AT SHARON AND KARRAS REACTING + + +228 INT. EEALY BUILDING HALLNAY, GROUND FLOOR - DAY 228 + + Karras walks down Hallway toward stairs. + + +229 INT. HEALY BUILDING MAIN STAIRWAY - DAY 229 + + Karras climbs stairs and enters Cardinal's outer office. + + +230 INT. CARDINAL’S OFFICE - DAY 230 + + In the room, Karras and the Cardinal. + + CARDINAL: + You're convinced that it's genuine. + + Karras looks down thinking for a moment. + + KARRAS: + I don't know. No, not really. But + I've made a prudent judgment that + it meets the conditions set forth + in the Ritual. + + CARDINAL: + You would want to do the Exorcism + yourself? + + Karras nods. + + CARDINAL: + How's your health? + + KARRAS: + 108. + + + All right. + + CARDINAL: + Well, we'll see, It might be best + to have a man with experience. + Maybe-someone who's spent time in + the foreign missions. Let's see + who's around. In the meantime I'll + call you as soon as I know. + + +231 INT. GEORGETOWN UNIVERSITY PRESIDENT'S OFFICE - DAY 231 + + PRESIDENT: + Well, ha docs know the background. + I doubt there's any danger in just + having him assist. There should be + a psychiatrist present, anyway. + + CARDINAL: + And what about the exorcist? Any + ideas? I'm blank. + + PRESIDENT: + Well, now, Lankester Merrin*s + around. + + CARDINAL: + Merrin? I had a notion he was over + in Iraq. I think I read he was + working on a dig around Nineveh. + + PRESIDENT: + That’s right. But he finished and + came back around three or four + months ago, Mike. He's at + Woodstock. + + CARDINAL: + What’s he doing there? Teaching? + + PRESIDENT: + No, he’s working on another book. + + CARDINAL: + Don't you think he’s too old, + though, Tom? How's his health? + + PRESIDENT: + Well, it must be all right or he + wouldn't be running around digging + up tombs, don’t you think? + 109. + + + CARDINAL: + Yes, I guess so. + + PRESIDENT: + And besides, he's had experience, + Hike. + + CARDINAL: + I didn't know that. + + PRESIDENT: + Maybe ten or twelve years ago, I + think, in Africa. Supposedly the + exorcism lasted for months. I heard + it damn near killed him. + + +233 EXT. PROSPECT STREET IN FRONT OF HOUSE - NIGHT 233 + + A cab pulls up to house in LONG SHOT. Out from the cab + steps a tall, old priest (MERRIN) , carrying a battered + valise. A hat obscures his face. As the cab pulls away + Merrin stands rooted, staring up at second floor of MacNeil + house like a melancholy traveler frozen in time. + + +234 INT. REGAN'S BEDROOM 234 + + Regan is apparently unconscious, her features recomposed + into her own in the normal state, (as happens whenever + she's unconscious). Sharon is winding sphygmanoneter + wrappings around Regan's arm while Karras pinches Regan's + Achilles tendon, checking her sensitivity to pain. During + this; + + SHARON: + Four hundred milligrams in less + than two hours! That’s enough to + put an army out! + + Karras nods; silently takes Regan’s blood pressure. + + KARRAS: + 90 over 60. + + +235 INT. ENTRY TO MACNEIL HOUSE - NIGHT 235 + + Chris opens doer, disclosing Merrin, face still shaded by + hat, and Roman collar by coat buttoned at top. + + CHRIS: + Yes? + 110. + + + MERRIN: + (reaching for hat) + Mrs. MacNeil? I'm Father Merrin. + +And now we SEE it is the OLD MAN in Khaki from opening +sequence. + + CHRIS: + (flustered) + Oh, my gosh, please come in! Oh + come in! + +Suddenly, Chris flinches at a SOUND from above: the voice +of the Demon, booming, yet muffled, like amplified +premature burial. + + REGAN-DEMON: + (o.s.) + Merriiiinnnnnnnnn! + + CHRIS: + God almighty! + + REGAN-DEMON: + (o.s.) + Merriiinnnnnnn! + +Karl steps incredulous from the study and Karras comes out +from the kitchen. Merrin turns and puts hand out to Karras. + + MERRIN: + (warmly; serene) + Father Karras. + + KARRAS: + Hello, Father. Such an honor to + meet you. + +Merrin takes Karras’ hand in both of his, searching Karras’ +face with a look of gravity and concern while upstairs the +demonic laughter segues into vicious obscenities directed +at Merrin. + + MERRIN: + Are you tired? + + KARRAS: + No, Father. + + MERRIN: + 111. + + + I should like you to go quickly + across to the residence and gather + up a cassock for myself, two + surplices, a purple stole, some + holy water, and your copy of "The + Roman Ritual." The large one. I + believe we should begin. + + KARRAS: + Don’t you want to hear the + background of the case, first? + + MERRIN: + Why? + + +236 EXT. RESIDENCE HALL AREA - NIGHT 236 + + Karras, in his cassock, is crossing swiftly toward house + carrying a cardboard laundry box. + + +237 EXT. MACNEIL HOUSE - NIGHT 237 + + Karras enters. + + +238 INT. STUDY OF MACNEIL HOUSE - NIGHT 238 + + Karras and Merrin are dressing in vestments taken out of + laundry box. + + MERRIN: + Especially important is the warning + to avoid conversations with the + demon. We may ask what is relevant, + but anything beyond that is + dangerous. Extremely. Especially, + do not listen to anything he says. + The demon is a liar. He will lie to + confuse us; but he will also mix + lies with the truth to attack us. + The attack is psychological, + Damien. And powerful. Do not + listen. Remember that. Do not + listen. + (as Karras hands him + surplice) + Is there anything at all you would + like to ask now? + + KARRAS: + 112. + + + No. But I think that it might be + helpful if I gave you some + background on the different + personalities that Regan has + manifested. So far, I'd say there + seem to be three. + + MERRIN: + (haunted expression) + There is only one. + + +239 INT. SECOND FLOOR LANDING - AT STAIRS - NIGHT 239 + + Merrin and Karras, fully vested, Roman Rituals in their + hands, slowly come to stairs and ascend in single file, + Karras back of Merrin. + + ANGLE DOWN HALL FROM OUTSIDE ROOM + + as the priests approach. Chris and Sharon, bundled in + sweaters, watch them. The priests halt by them; look at + them a moment, then: + + MERRIN: + What is your daughter's middle + name? + + CHRIS: + Teresa. + + MERRIN: + What a lovely name. + + He nods; then looks to door. The others follow suit. + + MERRIN: + (continuing; nods to + Karras) + All right. + + Karras opens door, disclosing Karl sitting in corner + wearing a heavy hunting jacket, a look of bewilderment and + fear on his face as he looks toward us. Merrin hangs + motionless for a moment. + + +241 INT. REGAN’S BEDROOM 241 + + Merrin, just outside the door, staring in at: + + REGAN-DEMON + 113. + + +lifting head from pillow, staring at Merrin with burning +eyes. + +ANOTHER ANGLE + +as Merrin steps into the room, followed by Karras, Chris +and Sharon. Karras sees door is open, closes it. + +Merrin goes to side of bed while Karras moves to its foot. +They halt. (NOTE: "The room is freezing. Breath is +condensing throughout.) A beat. Regan licks a wolfish, +blackened tongue across dried lips with a SOUND like +parchment being smoothed over. Then: + + REGAN-DEMON: + Proud scum! This time you are going + to lose! + +Regan tilts back head and laughs gleefully. Merrin traces +the sign of the cross above her, then repeats the gesture +at Karras and Karl, and as he plucks the cap from holy +water vial in his hand, the demonic laughter breaks off. +Merrin begins sprinkling the holy water on Regan, and she +jerks head up, mouth and neck muscles trembling as she +bellows inchoately with hatred and fury. Then: + + MERRIN: + Be silent! + +The words have flung forth like bolts. Karras has flinched +and jerked his head around in wonder at Merrin, who stares +commandingly at Regan. The demon is silent, returning his +stare with eyes now hesitant, blinking and wary. Merrin +caps the holy water vial routinely and returns it to +Karras, who slips it in his pocket and watches as Merrin +kneels down beside the bed and closes his eyes in murmured +prayer: + + MERRIN: + 'Our Father, who art in...' + +Regan spits and hits Merrin in the face with a yellowish +glob of mucus that oozes slowly down the exorcist's cheek. + chief out of +His head still bowed, Merrin plucks a handker­ +his pocket and serenely, unhurriedly wipes away the spittle +as: + + MERRIN: + 114. + + + ' ... heaven, hallowed by Thy name. + Thy kingdom come, Thy will be done, + on earth, as it is in heaven. Give + us this day, our daily bread, and + forgive us our trespasses, as we + forgive those who trespass against + us. And lead us not into + temptation.' + + KARRAS: + 'And deliver us from the evil one.' + +Karras briefly looks up. Regan’s eyes are rolling upwards +into their sockets until only the whites are exposed. +Karras looks uneasy, then returns to his text to follow as +Merrin now stands, praying reverently: + + MERRIN: + ‘God and Father of bur Lord Jesus + Christ, I appeal to your holy name, + humbly begging your kindness, that + you may graciously grant me help + against this unclean spirit now" + tormenting this creature of yours; + through Christ our Lord,' + + KARRAS: + 'Amen.' + +As Merrin continues reading, Karras again glances un as he +hears Regan hissing, sitting erect with the whites of her +eyes exposed while her tongue flicks in and out Karras +doesn’t hear it, a beat. + + MERRIN: + Damien. + +Karras turns to Merrin. We SEE him eyeing Karras serenely +as he motions with his head at copy of the RITUAL in +Karras’ hands. + + MERRIN: + The response, please, Damien. + +Karras, still dumbfounded, glances again to the bed. + +Then he collects himself and looks down at his text. + + KARRAS: + (excited) + "And the son of iniquity be + powerless to harm her.' + 115. + + + MERRIN: + ’Lord, hear my prayer.' + + KARRAS: + ‘And let my cry come unto Thee.' + +Here Merrin reaches up his hand in a workaday manner and +traces the sign of the cross unhurriedly three times on +Regan's brow while: + + MERRIN: + (continuing to read + ALOUD) + '... Almighty Rather, everlasting + God, who sent your only begotten + Son into the world to crush that + roaring lion ...' + +The hissing ceases and from the taut-stretched "O" of +Regan’s mouth comes the nerve-shredding lowing of a steer, +growing shatteringly louder and louder as: + + MERRIN: + (continuing) + '... snatch from ruination and from + the clutches of the noonday devil + this human being made in your + image.' + +Merrin reaches his hand up again (still reading aloud) and +presses a portion of his purple stele to Regan's neck. + +Abruptly, the bellowing ceases and in the ringing silence a +thick and putrid greenish vomit begins to pump from Regan's +mouth in slow and regular, sickening spurts that 002e like +lava ever her lip and flow in waves onto Merrin's hand, +which he does not move as we now HEAR: + + MERRIN: + (continuing) + 'God and Lord of all creation, by + whose might Satan was made to fall + from heaven like lightning, strike + terror into the beast now laying + waste your vineyard. Let your + Mighty hand cast out this cruel + demon from this creature. Drive out + this persecutor of the innocent + ...' + 116. + + +The bed begins to rock lazily, and then to pitch, and then +suddenly is violently dipping and yawing. During this, the +vomit still pumping from Regan’s mouth, Merrin routinely +makes adjustments, keeping the stole firmly to Regan’s +neck. + +During the latter part of the prayer, the bed has ceased +its movements and floated with a cushioned thud to the rug, +and Karras now stares mesmerized at Merrin's hand buried +under the thick and mounded vomit. + + MERRIN: + Damien? + +Karras turns to him blankly. + + MERRIN: + 'Lord, hear my prayer.' + + KARRAS: + (turning to bed) + 'And let my cry come unto Thee.' + +Now Merrin takes a step back and jolts the room with the +lash of his voice as he commands: + + MERRIN: + 'I cast you cut, unclean spirit, + along with every satanic power of + the enemy! Every spectre from hell! + Every savage companion! It is + Christ who commands you, He who + flung you headlong from the heights + of Heaven! You robber of life! You + corrupter of justice! You investor + of every obscenity! + +Regan has ceased vomiting. Karras moves slowly around to +bedside and reaches down, checking Regan's pulse. She is +silent and unmoving. Into icy air, thin mists of vapor waft +upward from the vomit like a reeking offering. And now +Karras lifts his eyes, staring, as with nightmare slowness, +a fraction at a time. Regan's head turns toward him, +swiveling like a mannequin's and creaking with the sound of +a rusted mechanism until the dread and glaring whites of +the eyes are fixed directly on Karras. And now Karras +glances up warily as the lights in the room begin +flickering, dimming, then fade to an eerie, pulsing amber. +Regan turns back toward Merrin, and now a muffled POUNDING +jolts the room; then another; and another, and then +steadily, the splintering sound of throbbing at a ponderous +rate like the beating of a heart that is massive and +diseased. + 117. + + + MERRIN + (o.s.) + 'Why do you stand and resist, + knowing as you must that Christ the + Lord brings your plans to nothing. + He has already stripped you of your + powers and laid waste your kingdom. + He has cast you forth into the + outer darkness. To what purpose do + you brazenly refuse? For you are + guilty before almighty God, whose + laws you have transgressed. You are + guilty before his Son, our Lord + Jesus Christ, whom you dared to + nail to the cross. You are guilty + before the whole human race.' + + MERRIN: + (oblivious) + ‘Depart, you monster! Your place is + in solitude! Your abode is in a + nest of vipers! Get down and crawl + with then! It is God Himself who + commands you ...' + +Merrin continues and now the poundings begin to come +steadily louder, faster, until Sharon cries out, pressing +fists against her ears as the poundings grow deafening and +now suddenly accelerate to a terrifying tempo. And then +abruptly the poundings cease and Merrin's prayer comes +through in the silence. + + MERRIN: + 'Oh, God of Heaven and earth, God + of the angels and arch­angels...’ + +OVER the continued recitation, we HEAR the return of the +demon as the flickering haze grows gradually brighter. + + REGAN-DEMON: + (raging at Merrin) + Hypocrites! + + MERRIN + (o.s.) + 'God who has power to bestow life + after death and rest after toil.' + + REGAN-DEMON + Liar! Proud bastard! Go back to the + mountain top and speak to your only + equal! + 118. + + + MERRIN: + (o.s) + 'I humbly entreat you to deliver + this servant of yours, Regan + Theresa MacNeil, from the unclean + spirit.' + +AT MERRIN + + MERRIN: + 'I adjure you, ancient serpent, by + the judge of the living and the + dead, by your ...' + +ANGLE AT REGAN + +As Merrin continues, O.S. (remainder of material in +appendix), Regan begins to emit various animal noises, and +Karras, a hypodermic syringe in one hand, moves to bedside, +nodding for Chris and Sharon to approach. As he does, the +Dennings personality takes over in Regan, turning to plead +with Karras: + + REGAN-DENNINGS: + What the hell are you doing, + Karras? Can’t you see the littbe + bitch should be in a hospital? She + belongs in a madhouse! It’s — + +The entity breaks off, jerking head toward Chris, as Chris +and Sharon cone to bedside. + + REGAN-DEMON: + Ah, the mother of piglet! Yas, come + see your handiwork, sow! + +While Sharon and Chris pin Regan’s arms, Karras administers +the injection. + + REGAN-DEMON: + (continuing; at Chris) + See the puke! See the murderous + bitch! Are you pleased! It is you + who has done it! Yes, you with your + career before her, before husband, + before — ! + +And now the Demon has jerked its head around to Karras, +eyes bulging with fury. + + REGAN-DEMON: + And you, bastard! You! + 119. + + +Chris has swabbed Regan’s arm and as Karras flicks the +needle into wasted flesh: + + KARRAS: + (at Chris) + Now get out! + +As Chris flees the room we are: + +AT DEMON + + REGAN-DEMON: + Yes, we know of your kindness to + mothers! + +AT KARRAS + +His head is lowered as he extracts the needle, and we HEAR +O.S. mocking LAUGHTER of the Demon. Karras blanches and for +a moment does not move. + +ANOTHER ANGLE + + MERRIN: + (continuing adjuration) + "The mystery of the Cross commands + you! The faith of the saints and + the martyrs commands you! The blood + of Christ commands you! The prayers + of — " + +Merrin breaks off and looks up at hearing the demon cry in +sudden pain, as well as anger. He repeats the line that +produced this effect: + + MERRIN: + "The blood of Christ commands you!" + +Same reaction; greater. + + MERRIN: + "The blood of Christ commands you." + +Midway through the word "command", however, a prolonged +howl of pain and rage from: + + REGAN-DEMON: + Daaaammmm youuuuu, Merrrriiinnnn! + 120. + + + But the cry of "Merrin" gives way to a prolonged exhalation + of breath, almost as in death. And now from Regan comes the + slow, lilting singing — in a sweet clear voice like a + choirboy’s — of a hymn sung at Catholic benediction: + “Tantum Ergo." + + AT REGAN DEMON + + The whites of the eyes are exposed. The singing. + + A FULL ANGLE - REGAN, KARRAS + + as Merrin appears with a towel. He wipes the vomit from + Regan’s face with tender, weary movements. Sharon enters + room and comes to bed. She takes the towel from Merrin’s + hands. + + SHARON: + I’ll finish that, Father. + + Karras checks Regan’s pulse. + + KARRAS: + (at Sharon) + Clean her up, please, and give her + half of a 25 milligram Compazine + suppository. + + +253 INT. HALL OUTSIDE REGAN’S BEDROOM 253 + + In the dimness, Merrin and Karras lean against wall, their + faces numb with shock as they stare at door to Regan's + room. O.S. SINGING continues. + + KARRAS: + Father, what’s going on in there? + What is it? If that’s the Devil, + why this girl? It makes no sense. + + MERRIN: + I think the point is to make us + despair, Damian — to see ourselves + as animal and ugly — to reject our + own humanity — to reject the + possibility that God could ever + love us. + + It has an impact. Karras thinks. Then: + + MERRIN: + Excuse me. + 121. + + + Merrin + + hurries down hall cut of sight of Karras, then takes out a + pill box, extracts a nitro-glycerin tablet and places it + under his tongue. Karras turns to door as Sharon emerges + with bundle of fouled bedding and clothing. + + Karras takes a deep breath and enters. + + +256 INT. REGAN'S BEDROOM - NIGHT 256 + + Regan sleeps but Karras' frosty breath tells us the air in + the room is still icy. He shivers. Then he walks to the + bedside, reaches down and grips Regan’s wrist to take her + pulse. As he stares at sweepsecond hand of wristwatch, we + are CLOSE AT KARRAS and we HEAR THE VOICE OF KARRAS' + MOTHER. + + REGAN-MOTHER: + (o.s.) + You leave me to be priest, Dimmy. + Send me institution. Why? Why you + do dis? + + Karras is almost trembling with the effort to keep from + looking at Regan's face. And now the VOICE grows frightened + and tearfully imploring. + + REGAN-MOTHER: + You always good boy, Dimmy. Please! + I am ’fraid! Please don't chase me + outside, Dimmy! Please! + + KARRAS: + (vehement whisper) + You*re not my mother! + + REGAN-MOTHER: + Dimmy, please! + + KARRAS: + You’re not my — ! + + INTERCUT - REGAN - KARRAS + + as the Demonic entity now returns, raging: + + REGAN-DEMON: + 122. + + + Won't you face the truth! You + believe what Merrin tells you? You + believe him to be holy? Well, he is + not! And I will prove it! I will + prove it by killing the piglet! + (grinning) + Feel her pulse, Karras! Feel it! + + Karras looks down at the wrist still gripped in his hand. + + REGAN-DEMON + Somewhat rapid, Karras? Yes. But + what else? As, yes, feeble. + + As Karras leans quickly to his medical bag and extracts + stethoscope: + + REGAN-DEMON: + (a laugh; then as Karras + puts instrument to chest) + Listen, Karras! Listen! Listen, + well! + + Karras looks very worried. Demon laughs. Then, as Merrin + enters: + + REGAN-DEMON: + I will not let her sleep! + + The Demon puts its head back in prolonged, hideous + laughter, Karras staring numbly. Merrin comes to bedside + and looks at Regan, then at Karras' stunned expression. + + MERRIN: + What is it? + + KARRAS: + Her heart’s begun to work + inefficiently, Father. If she + doesn’t get rest soon, she’ll die + from cardiac exhaustion. + + MERRIN: + (alarmed) + Can’t you give her drugs? + + KARRAS: + No, she might go into coma. If her + blood pressure drops any more ... + + +260 EXT. SUNRISE SHOT AT HOUSE ACROSS POTOMAC 260 + 123. + + +262 INT. REGAN’S BEDROOM 262 + + Merrin is fighting sleep. Regan is grunting like a pig, + whites of eyes exposed. Karras is checking Regan’s + heartbeat, and then her pulse, and then wraps black + sphygmomanometer cloth around Regan’s arm to take a blood + pressure reading. Both priests have blankets draped over + their shoulders. Their breath is condensing in the frosty + air of the room. + + REGAN-MOTHER + I not good to you, Dimmy? Why you + leave me to die all alone? + + Merrin is at his side, clutching at his arm and trying to + draw him away, Karras resisting, his gaze fixed trancelike + on the O.S. face. + + MERRIN: + Damien! + + REGAN-MOTHER: + Why, Dimmy? + + MERRIN: + Go and rest for awhile! + + AT REGAN + + The features and eyes are subtly reminiscent of Karras1 + mother, but vividly evident is the large, circular mole + that the mother had on her right cheek. + + REGAN-MOTHER + Dimmy, please! + + MERRIN: + Go and rest! + + Reluctantly, Karras leaves. Merrin, after a beat, turns to + Regan, the demonic entity reappears. + + REGAN-DEMON: + (seething whisper) + You will lose! + + +265 INT. MACNEIL HOUSE - KITCHEN - LATE DAY 265 + + Chris is sitting at breakfast nook looking at an album of + photographs. She's on the verge of tears. Karras enters + kitchen, pauses as he sees Chris. + 124. + + + CHRIS: + (a sniffle) + There's coffee there, Father. + + Chris moves quickly past Karras with her face averted. + + CHRIS: + Excuse me. + + She exits kitchen. Karras' gaze shifts to album. We see + that these are candid photos of Regan. In one photograph, + she is blowing out candles on a birthday cake. In another, + she is sitting on a lake-front dock in shorts and T-shirt + with "Camp Brown Ledge” stencilled on the front. Karras is + deeply affected, close to a breakdown, he puts a trembling + hand to brow, with a fervently whispered, desperate: + + KARRAS: + God... God help... + + CAMERA FOLLOWS him as he leaves kitchen. Passing the living + room, he HEARS sobbing from within. Looking in, he sees + Chris on sofa convulsively weeping. Sharon, beside her, is + comforting her. + + +267 INT. MACNEIL HOUSE - FOYER 267 + + Chris hears the front door CHIMES. She reacts; waits. + + They RING again. She goes to answer, She opens door, + disclosing Kinderman. + + KINDERMAN: + I’m so sorry to dis — + + He halts, eyeing her bruise. She knows what he’s staring + at. She puts a hand to the bruise. He stares for a beat. + Then: + + KINDERMAN: + Look, I’m sorry to disturb you at + this hour of the night, but I’m + afraid that I’m going to have to + talk to your daughter, Mrs. NacNeil + and I’d like to take a look at her + room, if you don’t mind. + + CHRIS: + Regan's bedroom? + + KINDERMAN: + 125. + + + Yes, immediately, please. I have a + warrant. + + CHRIS: + Oh, please, not now! She's gotten + worse, Lieutenant. Please! Please, + not now: + + +268 INT. SECONF FLOOR HALL - MACNEIL HOUSE - NIGHT 268 + + Karras enters Regan's bedroom and walks wearily to the + chair where he had been sitting beside Merrin. During the + above moves: + + REGAN-DEMON: + (o.s.) + ... would have lost! Would have + lost and you knew it, Merrin! + Bastard! + + REGAN ON BED - MERRIN + + Limp and disjointed, Merrin lies sprawled face-down on + floor on far side of bed and beside it. Regan-Demon cranes + head over side of bed at him, croaking inchoately with rage + and frustration. + + ANOTHER ANGLE + + as Karras rushes to Merrin, kneeling beside him, and + turning him over, disclosing bluish coloration of Merrin's + face. + + REGAN-DEMON: + (o.s.) + Die, will you? Die? Karras, heal + him! Heal him! Bring him back that + we may finishhhhhh itttttt! + + And now inchoate croakings and moans of rage and + frustration from o.s., as Karras feels for Merrin's pulse + and in a wrenching, stabbing instnat of anguish realizes + that Merrin is dead. Groaning in whisper: + + KARRAS: + Ah, God no! + + Karras sags back on his heels, an aching moan of grief + rising up in his throat as he shuts his eyes fiercely and + shakes his head in despair. Then: + + KARRAS: + 126. + + + No! + +Karras' eyes fix on something on the floor around Merrin: +the pill box and a scattering of nitroglycerin pills. + +Karras begins to gently and tenderly place Merrin's hands +on his chest in the form of a cross. An enormous, mucoid +glob of yellowish spittle hits the dead man's eye, + +AT REGAN-DEMON + + REGAN-DEMON: + (mocking) + The last rites! + +Then it puts back its head and laughs long, and wildly +through: + + KARRAS: + You son-of-a-bitch! You murdering + bastard! + +A projectile stream. of VOMIT from O.S. strikes his face +but he is oblivious. + + KARRAS: + Yes, you‘re very good with + children! Well, come on! Let's see + you try something bigger! + +Karras has his hands out like great fleshy hooks, +beckoning, challenging. + + KARRAS: + Come on! Try me! Take me! Come into + me! + +AT REGAN-DEMON + +In the demonic features now, a trembling, wild-eyes rage; a +fearsome struggle over some irresistibly tempting decision +that the Demon is fighting against. + +KARRAS + 127. + + + as he breaks off, his body jerking as if seized suddenly by + some inner force alien to him. Yet his features do not + change as his hands go to his throat and he struggles to + his feet. His actions are those of a man who either has + been possessed by or thinks he has been possessed by the + Demon, but who also is f fighting for control of his own + organism. And now here, suddenly, on a move toward the bed + and Regan (who, if she is In SHOT, is unconscious, her face + in shadow), Karras' features briefly contort into those of + the demon Pazuzu; but then return to normal again on a + backward jerk by Karras as; + + KARRAS: + No! + + The Demon — in Karras' body — had moved to kill Regan; but + Karras has won control now long enough to reach the window, + rip the shutters off their hinges and leap out. + + +274 EXT. KARRAS HURTLING OUT WINDOW - NIGHT 274 + + ANGLE FROM NEAR REGAN’S BEDROOM DOOR + + as Chris, Sharon and Kinderman rush toward us. + + +276 INT. REGAN’S BEDROOM AT DOOR - NIGHT 276 + + Chris, Sharon and Kinderman burst in, halt. Sharon rushes + forward toward window. + + AT MERRIN + + as Chris rushes to him, kneels down by him, then reacts + with shock. + + CHRIS: + Sharon! Cone here! Quick, come — ! + + AT SHARON AND KINDERMAN + + staring down from window. Hands to sides of face, Sharon is + screaming. + + P.O.V. - AT KARRAS IN STREET BELOW. + + ANGLE TO INCLUDE CHRIS AND KINDERMAN + + as Sharon runs toward door. + + CHRIS: + Shar, what is it! + 128. + + + SHARON: + (running out) + Father Karras! + + Chris rises and runs trembling toward the window. + + AT CHRIS AND KIRDERMAN FROM EXTERIOR WINDOW + + Looking down, Chris freezes at what she sees. Then from + behind her, in a small, wan voice calling tearfully: + + REGAN: + (o. s.) + Mother? + (Chris half turns her- + head) + Mother, what’s happening? + + AT CHRIS AND KINDERMAN FROM INTERIOR ROOM + + as they turn toward Regan. + + REGAN + (o.s.) + Oh, please! Please, come here! + + AT REGAN + + The real Regan, weeping in helpless confusion and fear. + + REGAN: + Mother, please! I’m afraid! + + ANOTHER ANGLE + + as Chris rushes forward to Regan, arms outstretched, and + weeping: + + CHRIS: + Rags! Oh, my baby, my baby! + + She is on the bed and embracing her daughter. + + +279 EXT. "HITCHCOCK” STEPS AREA ON "M” STREET - NIGHT - AT 279 + GATHERING OP PASSERSBY + + at an accident scene. Policeman shepherds them back. + + DYER, followed by Sharon, is frantically pushing through + as: + 129. + + + FIRST PASSERBY: + What happened? + + SECOND PASSERBY: + Some guy fell down the steps. + + POLICEMAN: + Come on, now, move it back, folks. + Give him air. Let him breathe. + +Dyer has pushed through almost to Policeman. + + DYER: + Let me through, please! Coming + through! Coming — ! + +P.O.V. - AT KARRAS + +He lies crumpled and twisted in a pool of blood. Dyer +kneels to him. + +AT DYER - KARRAS - LOW ANGLE + + DYER: + Damien ... Can you talk? + +Karras slowly and painfully reaches out his hand to Dyer’s +wrist and grips it, briefly squeezing. Fighting back the +tears, Dyer leans his mouth close to Karras' ear. + + DYER: + Do you want to make your confession + now, Damien? + +Karras squeezes Dyer’s wrist. + + DYER: + Are you sorry for all of the sins + of your life and for having + offended almighty God? + +A squeeze. And now Dyer leans back and slowly traces the +sign of the cross over Karras, reciting the words of +absolution: + + DYER: + Ego te absolve in nomine Patris, et + Filii, et Spiritus Sancti. Amen. + +AT DYER + +as he again leans over with his mouth close to Karras' ear. + 130. + + + DYER: + Are you — ? + + He halts, slightly turning his head toward his wrist. + + CLOSE AT DYER'S WRIST + + gripped by Karras. The grip slackens, the hand slowly + opening, then falling limp. + + ANGLE AT DYER KARRAS + + Slowly and tenderly, Dyer slips the eyelids down as we HEAR + the WAILING SIREN of approaching ambulance. Dyer weeps ... + + SLOWLY FADE OUT: + + FADE IN + + +286 EXT. FULL SHOT PROSPECT STREET FEATURING THE HOUSE - DAY 286 + + Sharon exits house carrying a suitcase which she places in + trunk of limo parked in front of house. + + +287 INT. MACNEIL HOUSE - CHRIS' BEDROOM - DAY 287 + + Chris is folding a final item into a suitcase open on her + bed as Karl stands by. She closes lid. + + CHRIS: + Okay, Karl, that's all of it. + + Sharon enters, something clasped in one hand. + + SHARON: + Chris, what about those stereo + earphones? + + CHRIS: + Storage. + + Karl, who has closed up suitcase, exits. + + SHARON: + Okay, we're all set then. Dulles + Airport's pretty far, Chris. You'd + best allow an hour. + + CHRIS: + Gonna miss you. + 131. + + + SHARON: + Same here, Chris. + + CHRIS: + You won't change your mind? + + SHARON: + (slight shake of head) + People change. + (she unclasps hand, + disclosing Karras* medal + and chain which she holds + up to Chris) + Here, I found this in her room. It + belonged to Father Karras. + + Chris, after a pause, takes it from her. + + SHARON: + (again glancing at watch) + You'd better hurry. + + +288 INT. SECOND FLOOR HALL - MACNEIL HOUSE - DAY 288 + + Chris is coming toward Regan’s bedroom. + + CHRIS: + (calling) + Hey, Rags, how ya comin’? + + +289 INT. REGAN’S BEDROOM 289 + + Looking a little van and gaunt, dark sacs beneath her eyes, + Regan stands by her bed, holding two stuffed animals in her + grip as she stares down with indecision and a child’s + discontent at an over-packed, open suitcase. + + CHRIS: + How ya comin’, hon? We’re late. + + REGAN: + There’s just not enough room in + this thing! + + CHRIS: + Well, ya can’t take it all, now, + sweetheart. Just leave it and + Willie’ll bring it later on. Come + on, babe, we've got to hurry or + we’re going to miss the plane. + 132. + + + DOORCHIME SOUND + + REGAN: + (mildly pouting) + Oh, okay. + + CHRIS: + Atta’ girl. + + Chris exits SCENE, heading for stairs. Regan sighs with + resignation, looking down at the animals. + + +291 INT/EXT. FRONT DOOR AREA - MACNEIL HOUSE - DAY 291 + + Chris is opening door, disclosing Dyer in cassock and Roman + collar saying goodbye to Sharon, latter going to limo at + curb and getting in as Chris steps outside and: + + CHRIS: + Oh, hi, Father. + + DYER: + Hi, Chris. Just came by to say ’so + long,' + + CHRIS: + I was just about to call. We're + just leaving. + + DYER: + Going to miss you. + + CHRIS: + Me too. + + DYER: + How's the girl? + + CHRIS: + Oh, she's great, really great. + + Karl passes between them with two suitcases heading for + Chris' car which is parked in front of house. Dyer nods a + little glumly. + + DYER: + I'm glad. + + CHRIS: + She still can't remember, + + DYER: + 133. + + + Well, that's good. + + CHRIS: + Funny. He never even knew her. + +Dyer looks up, and then so does Chris, their gazes meeting. + + DYER: + What do you think happened. Do you + think she was really possessed? + + CHRIS: + Oh, yeah, you bet I do. I mean, if + you're asking if I believe in the + Devil, the answer is yes — yeah, + that I believe. + + DYER: + But if all of the evil in the world + makes you think that there might be + a Devil — then how do you account + for all of the good? + +Chris' reaction reveals that this is a telling point. + +Then into SCENE comes Regan, dressed to go. + + REGAN: + Okay, I finished. + + CHRIS: + Honey, this is Father Dyer. + + REGAN: + Hi, Father. + + DYER: + Hi. + (tousles her hair) + All set to go. + +Regan, has begun to stare oddly up.at Dyer’s Ronan collar, +some tugging remembrance in her eyes. Willie passes them +with Ragan’s luggage, which she takes to car to load in +trunk. + + KARL: + Ready, Mizzes? + + CHRIS: + Okay, Karl. + (taking Dyer’s hand) + 134. + + + Bye, Father. I’ll call you from + L.A. + + DYER: + Goodbye, Chris. + +Suddenly, impulsively, in a quick and unexpected move, +Regan reaches up to Dyer, pulls his head down and kisses +his cheek; a quick stack. Then, locking puzzled herself at +what she has done: + + REGAN: + Goodbye. + + DYER: + Goodbye, dear. + +Chris remembers the medal still in her hand. She offers it +to him. + + CHRIS: + Oh, I forgot. Here. + +Dyer, who instantly recognizes the medal, stares at it a +moment. Then: + + DYER: + Why don't you keep it? + +A beat. Dyer sees that Chris* eyes are clouding with tears. + + DYER: + It’s all right, Chris. For him, + it's the beginning, + +Chris holds his gaze, then nods. + + CHRIS: + C’mon, Rags. Gotta hurry. + +As Chris and Regan leave FRAME, CAMERA STAYS ON DYER, +turning to watch them. Then: + + CHRIS: + (o.s., calling) + Bye, Father! + +P.O.V. - AT CAR PULLING AWAY + +and moving quickly down Prospect Street. + +AT DYER WATCHING + 135. + + +Willie goes back inside house. O.S. SOUND OF SQUEAL OF CAR +BRAKES. + +P.O.V. - AT SQUAD CAR + +Kinderman is emerging, hurrying toward Dyer. + + KINDERMAN: + I came to say goodbye. + + DYER: + You just missed them, + +Kinderman stops. A beat. Then: + + KINDERMAN: + How's the girl? + + DYER: + She seemed fine. + + KINDERMAN: + Ah, that's good. Very good. Well, + that's all that's important. Back + to business. Back to work. Bye now, + Father. + +He turns and takes a step toward the squad car, then stops +and turns back to stare speculatively at Dyer. + + KINDERMAN: + You go to films, Father Dyer? + + DYER: + Sure. + + KINDERMAN: + I get passes. + (hesitates for a moment) + In fact, I’ve got a pass for the. + ‘Crest' tomorrow night. You'd like + to go? + + DYER: + What’s playing? + + KINDERMAN: + ‘Wuthering Heights.’ + + DYER: + Who’s in it? + + KINDERMAN: + 136. + + + Heathcliffe, Jackie Gleason, and in + the role Catherine Ernshaw, Lucille + Ball. + + DYER: + (expressionless) + I've seen it. + +Kinderman stares limply for a moment, then looks away. + + KINDERMAN: + (murmuring) + Another one. + +Then Kinderman steps up to the sidewalk, hooks an arm +through Dyer's and slowly starts walking him down the +street. CAMERA TRACKING FRONT. + + KINDERMAN: + (fondly) + I’m reminded of a line in the film + Casablanca. At the end Humphrey + Bogart says to Claude Rains, 'Louie + — I think this is the beginning of + a beautiful friendship.' + +FIXED REAR SHOT + +As Kinderman and Dyer walk away from us* + + DYER: + You know, you look a little bit + like Bogart. + + KINDERMAN: + You noticed. + +TO BLACK + +TITLES + +THE END + \ No newline at end of file diff --git a/scripts/The Favourite.txt b/scripts/The Favourite.txt new file mode 100644 index 0000000000000000000000000000000000000000..5d39a7c910385e4369bd22ce10c08ea00770c776 --- /dev/null +++ b/scripts/The Favourite.txt @@ -0,0 +1,6119 @@ + 1. + + + + +1 EXT. COUNTRYSIDE 1 + + A carriage crosses the landscape. + + +2 INT. CARRIAGE - DAY 2 + + A man in a military uniform with one arm. Inside the + carriage,(think overloaded modern taxi) seven or eight + people are crammed in. ABIGAIL, an open, friendly innocent + woman is crushed to the side. She clutches a dirty purse + and a letter in her hands. Two kids, snot streaming from + their noses, cough TB into the air. The military man smiles + at her. She smiles back empathetically, then notices his + other arm jiggling. She looks down. He has his hand inside + his pants and is jerking off. + + ABIGAIL + Must you? + + +3 INT. PALACE COURTYARD - SF GATE - DAY 3 + + A shout and the carriage stops. Abigail gets up. Stands and + yanks the door open, a man grabs her arse. She pulls away + but trips and launches off the edge of the carriage falling + face first into the mud. She grabs her bag. Looks up at the + castle before her. To her right soldiers are standing + around a fire warming themselves, a few amputees. + + +4 EXT. KITCHEN - DAY 4 + + The servant’s entrance to the busy kitchen of the castle. + At the door, SALLY, a young maid, stares at Abigail and + takes the letter she hands her. She closes the door. + Abigail waits. + + +5 EXT. KITCHEN - DAY 5 + + Now MEG, the dour, fat 60ish housekeeper opens the door and + stares at her. She motions her to come in. + + +6 INT. KITCHEN - DAY 6 + + Abigail steps through into the busy basement kitchen. + + MRS MEG + 2. + + + Grab a hunk of bread. Sally will + take you to clean up and then to + her Ladyship. + + Abigail grabs the bread and follows Sally. She tears at the + bread ravenously. + + +7 INT. BACKSTAIRS - WWS - DAY 7 + + They head up the stairs. And through a door. + + +8 INT. HALLWAY - A&E - DAY 8 + + They walk along the hallway, wooden, lined with rugs. + + Beautiful, ornate and opulent. + + Abigail stares at her surroundings. She sniffs herself, + aware of her stench. + + ABIGAIL + This mud stinks. + + SALLY + They shit in the street round here. + Political commentary they call it. + + Sally opens a door. + + SALLY + Go through here. Clean yourself up. + + ABIGAIL + Thank you so much. Abigail goes + through. Sally shuts the door + behind her with a smile. Abigail in + darkness, finds herself behind a + thick curtain. She fumbles her way + and pushes through it to find... + + +9 INT. DRAWING ROOM - DAY 9 + + GODOLPHIN, MARLBOROUGH and SARAH staring at her. + + SARAH + I didn’t know the new sewer ended + in here. + + Godolphin and Marlborough laugh. + 3. + + + ABIGAIL + Lady Marlborough. + +She curtseys. + + ABIGAIL + It is I Abigail. Dear cousin. I had + a letter from our aunt and... I’m + sorry, I did not to mean to present + as a ... I fell out of the + carriage,.. and a man was pulling + his... never mind the man. My + letter from our aunt... + +She holds out the mud soaked letter but stops, flustered, +as two flies arrive to buzz around her. + + SARAH + Friends of yours? + + ABIGAIL + I am sorry... I. + +She shoos at them. + + SARAH + Your name girl. If we are blood, + name it. + + ABIGAIL + Oh. I did not... Abigail Hill. + + SARAH + The Somerset Hills? + + GODOLPHIN + The one who went mad and burnt his + own house down, himself in it. + + MARLBOROUGH + Lost all his money at whist. + + GODOLPHIN + No one bets on whist. + + SARAH + My uncle was one of a kind. + + ABIGAIL + I apologise for my appearance I do. + The staff led me here. A harmless + prank of some sort I suspect. + 4. + + + SARAH + And you want? + + ABIGAIL + I hoped I might be employed here by + you... as something. + + SARAH + A monster for the children to play + with perhaps? + + ABIGAIL + Yes. If you like. She raises her + hands and makes a ‘Gggrrr’ sound. + + They smile at this. Sarah considers her. + + SARAH + Go back to that gouty old slattern + Mrs Meg and tell her I said to give + you quarters, food and something to + do. Take your flies with you. + + Abigail, thrilled, curtsies, turns and fights her way back + through the curtain. They are all amused. + + +10 INT. ANNE’S APARTMENTS - DAY 10 + + Queen Anne stands, crown on her head, regal cape on. From + behind her hands reach up and remove her crown. Another + maid undoes her cape and takes it. Sarah watches on. They + leave. + + Anne limps to a chair. + + ANNE + How was my speech? + + SARAH + You were brilliant. + + ANNE + Did I have a lisp? + + SARAH + You don’t lisp. + + ANNE + I know that’s what was troubling + about it. The thought I suddenly + did. Sarah, you must say hello to + the little ones. + 5. + + + SARAH + No. + + ANNE + Please? + + Sarah looks over at the fenced off hay-filled pen that + contains seventeen white rabbits. + + SARAH + It is macabre. I love you but that + I will not do. + + ANNE + If you love me... + + SARAH + Love has limits. + + ANNE + It should not. + + +11 INT. SECRET PASSAGE - DAY 11 + + ANNE waits. Breathing a little bit fast. Sarah steps in. + + Through the darkness Queen Anne and Sarah walk. Anne puts a + blindfold on Sarah, she starts to bump into walls. Anne + laughs and rights her. + + They get to a door. Anne uses the key which is around + Sarah’s waist. Finds the lock, slides the key in, turns the + lock, the door opens. + + +12 INT. SARAH’S APARTMENTS - DAY 12 + + Sarah stands in front of a model of Blenheim Palace. Anne + watches on excitedly as she removes the blindfold. A model + sits there. Sarah considers the model and walks round it. + + SARAH + You do not lisp but you are mad. + Giving me a palace?! + + ANNE + I’ve been wanting to get you + something for a while. It seemed a + good opportunity. Marlborough + winning. Were the Tories alright + about it? I couldn’t tell. + 6. + + + They stare at each other through the apertures of the + model. + + A moment between them. Sarah shakes her head. + + SARAH + It is a monstrous extravagance Mrs + Morley. We are at war. + + ANNE + We won. + + SARAH + It is not over. We must continue. + + ANNE + Oh... I did not... know that. Well + Mrs Freeman, you will... be clever + as keeper of the privy purse... and + afford it. + + +13 INT. GREAT HALL - EVENING 13 + + The men and women of the court (COURTIERS) and some of the + politicians (WHIGS & TORIES) mill about having drinks. A + man carves bloody slices off a roasting elk (CARVING MAN), + its head still intact. Marlborough addresses the group. + + MARLBOROUGH + Gentleman! Ducks! + + We see a makeshift ring has been fashioned out of chairs + and upturned tables. Godolphin holds a duck, he lets it go + at the same time a tory next to him does the same. Money is + thrust to a CENTRAL BOOKIE (TORY) who holds bets. The ducks + race to cheers. + + Sarah enters, grabs a glass of wine off a FOOTMAN (3) who + is holding a tray of them. Her husband looks over at her. + She nods hello. + + HARLEY walks up beside Sarah. + + HARLEY + A palace! + + SARAH + You seem angry at my good fortune. + And I thought we were friends. + + HARLEY + 7. + + + I really doubt you’ve made that + mistake. + + SARAH + Well I was actually just teasing. I + thought you’d see that. + + HARLEY + It will not stand. + + SARAH + Well it will if I build it using + the best craftsmen in the land. I + hope it will stand for a hundred + years as a symbol of my husband’s + gallant victory. + + HARLEY + And I applaud your husband’s + gallant victory. However + considering the parlous state of + the treasury, it seems something + the Queen should have taken advice + from the loyal opposition on. + + SARAH + But then it would’ve lost that + delightful surprise element. You + know like Christmas morning? If St. + Nicholas bills you first it loses + its frisson. + +He stares at her. Building to something. + + HARLEY + Cunt! + + SARAH + And there I was expecting something + witty that rhymed. + +An ‘Aaah’ goes out from the crowd. Godolphin and +Marlborough approach. Godolphin leading a duck. + + GODOLPHIN + Horatio has done it again. + +Sarah warmly squeezes Marlborough’s hand as he settles +beside her. + + HARLEY + 8. + + +Prime Minister we need to discuss +who will go to the French with the +peace treaty proposal. + + SARAH +We do not need a peace treaty. We +have them on the run. + + HARLEY +So they will give in to us. + + GODOLPHIN +One battle will not win the war. + + HARLEY +I have held my party together, as +we the country landowners have +essentially paid for this entire +war. + + GODOLPHIN +And grateful we are. + + HARLEY +While city merchants have enriched +themselves from it. + + MARLBOROUGH +Yet I do not see your fat tweedy +dead when I look out on the field +of battle. + + HARLEY +We are out of money. My point. + + GODOLPHIN +We will raise taxes again. + + HARLEY +You would be wise to rethink that +Godolphin. I helped unite +parliament for this. I will not do +it again. + + SARAH +The French are chastened but not +defeated Harley. We must destroy +them. Make them sue for peace, with +broken backs and begging hearts. + + HARLEY +What a sweet wife you have +Marlborough. + 9. + + + MARLBOROUGH + Sweet. And right. + + HARLEY + I cannot agree. We must take it to + the Queen. If you would be kind + enough to arrange a time Lady + Marlborough. + + She nods. + + SARAH + Of course. + + +14 INT. SERVANTS’ QUARTERS - NIGHT 14 + + An empty room of stone. A dozen Female Servants are crammed + in. Dressed in sleeping wear, they smoke, drink, some try + and sleep. Abigail enters and looks around for somewhere to + sleep, stepping over people’s feet. + + A servant (GIRL WITH GLASS) pushes her and she falls, + knocking the drink out of Sally’s hand. Abigail crawls + apologetically to some space in the corner. + + Abigail curls up on the floor. Closes her eyes. A splash of + liquid hits her face. The others laugh. She doesn’t even + bother to open her eyes to see what it is. + + +15 INT. SERVANTS’ QUARTERS - DAY 15 + + A row of naked servants including Abigail, all various ages + and shapes. Sally soaps up armpits and crotch, then passes + the soap to the next. Abigail, takes the soap, finding it + utterly distasteful. An old woman with a large bucket + throws water at them. Very cold water. Abigail grimaces. + + +16 INT. GOLDEN HALLWAY - DAY 16 + + A hallway. A FOOTMAN (2) outside a door. Sarah waits. Anne + enters from her rooms, dramatic dark make up around her + eyes. + + ANNE + I am ready for the Russian + ambassador. + + SARAH + Who did your make up? + 10. + + + ANNE + We went for something dramatic. Do + you like it? + + SARAH + You look like a badger. + + ANNE + Oh. Her eyes start to tear. + + SARAH + You’re going to cry? Really? + +She stops her. They look in a mirror. + + SARAH + What do you think you look like? + + ANNE + (sadly) + A badger. + +Sarah smiles ruefully. + + SARAH + And do you really think you can + meet the Russian delegation looking + like that? + +She shakes her head. + + SARAH + I will manage it. Go back to your + rooms. + +She nods sadly. + + ANNE + Thank you. + +Sarah walks off. Anne walks back toward the Footman. He +looks straight ahead. + + ANNE + Did you just look at me! Did you?! + +He shakes his head no. Looks at the ground. + + ANNE + Do not avert your eyes! Shut them! + +He shuts them. She goes back into her rooms. + 11. + + +17 INT. KITCHEN - DAY 17 + + The busy, bustling kitchen. Maids scurry. Cooks cook. In a + corner piles of Dishes and dirty caked on plates in front + of her. Steaming hot water in troughs. Abigail works on the + dishes. Sally comes in carrying a bucket and brush. + + SALLY + Morning. + + ABIGAIL + (bright and friendly) + Oh hello. I was thinking of playing + cards later if you would like to + join me. + + SALLY + Sounds brill. The old bag says you + are to scrub the floor until she + can see her toothless fat face in + it. + + She hands her the bucket full of liquid. + + SALLY + Sorry. + + Abigail shrugs. Gets down on her hands and knees. She + plunges her hand in the bucket. Intense pain shoots through + her hand. + + She pulls it out. + + SALLY + You might need gloves. Lye is + dangerous. It burns bad. + + Abigail writhes in pain. The girls laugh and saunter off as + she sticks her burning hand into a sink of cold water. + + +18 INT. KITCHEN - NIGHT 18 + + The kitchen is quiet. A few servants work but it’s late. + + Abigail works her way through the dishes in the near empty + kitchen, the red raw pain in her hand excruciating. Mrs Meg + rushes in. Sees Abigail. + + MRS MEG + (to Abigail) + You! Get the bandage box! + 12. + + + Abigail looks at her. + + MRS MEG + Hurry! The Queen’s had an attack of + gout. + + Mrs Meg grabs a bucket covered with a white cloth. + + Abigail retrieves the bandage box. + + +19 INT. BACKSTAIRS - WWS NIGHT 19 + + Abigail follows Mrs Meg along a narrow corridor. Abigail + juggles the bandage box and bucket. + + +20 INT. GOLDEN HALLWAY - NIGHT 20 + + They pass Footman (1). The doors open. + + +21 INT. ANNE’S APARTMENTS - NIGHT 21 + + Abigail looks around as she enters the Queen’s rooms for + the first time. Piercing sobs draw Abigail’s attention. + They enter the semi-darkened bedroom. + + +22 INT. ANNE’S APARTMENTS - NIGHT 22 + + Anne is lying on the floor, her leg raised up on a chair. + + Sarah is there, examining Anne’s foot. Anne screams. + Footman 1 brings a bottle of brandy past hurriedly. The + QUEEN’S MAID stands by as the QUEEN’S DOCTOR examines her + leg. + + Mrs. Meg motions to her, Abigail puts the bucket down. + Sarah glances briefly at Abigail, The Doctor, who is laying + a leech on Anne’s leg. She flinches. + + ANNE + Sarah! + + SARAH + I’m here. I’m here. Brandy! + + She pushes a shot of brandy to Anne’s trembling lips. + Abigail watches on. + + ANNE + 13. + + + They hurt. + + SARAH + I know my dearest I know. The beef! + +Mrs Meg uncovers the bucket to reveal thin slices of raw +beef. Abigail starts laying the slices on her leg. Anne +screams. + + SARAH + Gently cousin. + +Abigail nods. The Queen focuses on Abigail for a second, +then a new wave of pain comes on her. Anne closes her eyes +grimacing. + + SARAH + (to Anne) + It’s alright. Tell me a story. + (to Mrs Meg and the + Doctor) + You two may go. + (to Abigail) + You, start wrapping that. + +Mrs Meg and the Doctor nod and exit. Abigail wraps the leg +in bandages. Anne, Sarah and Abigail are left there. But to +Sarah it’s just her and Anne. + + ANNE + I... can’t. I... + + SARAH + How we first met. Tell me that. + Come on. + +Anne struggles to focus, but tries. + + ANNE + The... wretched... Cheever boy had + me down on the ground and was + holding me... dropping spittle in + my face. + + SARAH + He is still a pig. Then what? + +Blood leaks through some pores. She mops it up. + + SARAH + Then what? + + ANNE + 14. + + + I heard footsteps, fast footsteps, + and saw these pink shoes running + towards me... + +Anne gulps brandy down. She is calming. + + ANNE + .. and then they disappeared and I + heard a crack. And then he fell off + me, and I looked over and... ughh. + + SARAH + Remember how his jaw just hung + there? + + ANNE + I do. You took my hand and said + ‘Hello, I’m Sarah. You’re covered + in spittle. Let’s wash you off’. + +They laugh. Abigail is awkward at being present to this +private moment. + + SARAH + You must try to sleep. + +Anne nods. She clasps Sarah’s hand. + + SARAH + (to Abigail) + You may go. + +She goes. + + ANNE + Don’t leave. + + SARAH + I won’t. + +Anne closes her eyes. + + ANNE + Are you still there? + + SARAH + Yes. + +Beat. + + ANNE + Still? + 15. + + + SARAH + Yes. + + Sarah touches Anne’s face, tenderly. + + +23 INT. SERVANTS’ QUARTERS - NIGHT 23 + + It’s dark and cramped. Abigail is lying huddled in the + corner. She raises her hand and unwraps the bandage to see + it, blistered and sore. + + She looks around at the sleeping, farting, snoring bodies. + + She can’t bear it. + + +24 EXT. STABLES - DAWN 24 + + Pre dawn. Abigail passes a sleeping groom by the stable + door. + + +25 EXT. PARK - MORNING 25 + + A forested area. Abigail, one hand on the reins, races + through the dawn light. + + She comes to a halt, breathless and happy for a moment. She + dismounts the horse and scans the forest floor for a + particular plant. Upon finding it, she breaks off some + leaves. She crushes the leaves with a stone on another + stone and then unbandages her hand, places the pulp against + her blisters and redresses her hand. She reaches down and + bundles together some more leaves before getting back on + her horse. + + Through the trees, she spies a handsome Equerry in his + twenties, MASHAM. His eyes are closed and his head rests on + his horse’s neck. He looks peaceful. Abigail watches him, + transfixed. Suddenly his eyes blink open and he looks + straight at her. She kicks her horse and shoots away. + + +26 INT BACKSTAIRS - WWS - DAY 26 + + Abigail walks up the stairs. + + +27 INT. ANNE’S APARTMENTS - DAY 27 + + Abigail walks into the apartment. She sees the Footman 1 + from the night before guarding the door. + 16. + + + ABIGAIL + For the Queen. The doctor has + ordered it immediately. It is a + matter of extreme urgency + + FOOTMAN 1 + She’s sleeping. + + ABIGAIL + Shall I tell the doctor you + imperiled the Queens health and let + you rue the ramifications. + + FOOTMAN 1 + What does ramifi...mean. + + ABIGAIL + It means he will have you whipped. + + He nods, waves a hand to let her through. She goes into the + Queen’s bedroom. + + +28 INT. ANNE’S APARTMENTS - DAY 28 + + Anne lies sleeping, snoring slightly. Abigail examines her + legs. They are still inflamed. She removes the dressing, + pulls out the leaves she found on her ride and places them + gently on her legs. Anne stirs a little. + + Sarah enters. Stares at her. + + SARAH + What are you doing? + + ABIGAIL + I am... I... these are peleatis, + the herb. I cut them this morning. + They remove swelling and + inflammation. I saw them and I + thought it may help the Queen. + + SARAH + You cannot just walk in here! Why + did the footman let you through? + + ABIGAIL + I lied to him. It is not his fault. + I just wanted to help her. She + seemed to suffer so much. + + Sarah sees a group of three military men, Godolphin and + Marlborough enter at the far door. She nods to them. + 17. + + + SARAH + Footman take her downstairs. Tell + Mrs. Meg she is to receive six of + the birch. Go! + + Abigail is stunned. She nods and walks with the footman 1 + out past the entering men. + + Sarah goes to the woozy Anne. + + SARAH + You must focus Anne. Much is at + stake. + + +29 INT. ANNE’S APARTMENTS - DAY 29 + + The maps are laid out across Anne’s legs, she struggles to + focus. Marlborough has a pointer. He hits the map. + + MARLBOROUGH + We gather forces here. The + Austrians mass here. + + Anne focuses on the map. + + ANNE + Is that... which country again? + + SARAH + Listen! She hits the map with the + pointer. + + SARAH + Marlborough. + + MARLBOROUGH + This is the town of Lille, in a + valley. We lure them in by sending + a small force to engage them. They + give chase. We descend in numbers + from above them. + + GODOLPHIN + Hear hear. + + Others concur. + + SARAH + It is a brilliant plan. Queen Anne, + you agree? + + ANNE + 18. + + + The people expect it to be over. + + Sarah takes her hand. + + SARAH + We all want it over, but wishing + does not make it so Anne. We could + sue for peace, but we will not get + it. + + ANNE + It does help. + + They turn. Anne stirs. She sits up woozy, as if slightly + drugged. + + ANNE + Something soothing on my legs, it + takes the burn out. What is it? + + SARAH + Oh. Herbs. Of some sort. + + ANNE + It’s nice. Thank you. + + She closes her eyes. Falls asleep. They stare at her. + + +30 INT. KITCHEN - DAY 30 + + The Footman 1 drags a struggling Abigail in, holding her by + her ear. The whole kitchen stops. Servants turn and watch. + + ABIGAIL + No! Please! + + He takes her to a side bench by the wall. Pushes her over + it. + + MRS MEG + Do her in the barn if that is what + is, not in my kitchen. + + FOOTMAN ONE + Her Ladyship says six of the birch + for this one. + + Mrs Meg shrugs and nods. + + He pulls down the back of Abigail’s dress to reveal her + bare back. + 19. + + + Mrs Meg goes to the corner and gets a hard stick of birch. + + The other girls stand around eating biscuits, excited for + the show. + + Abigail focuses on a smiling Sally. + + Mrs Meg lifts her arm and lashes the birch across her back. + + Abigail flinches. + + SALLY + She really is a lady, look how soft + that skin is. + + Mrs Meg pulls her arm back, strikes her again. + + SARAH OS + Stop! + + Sarah enters. + + SARAH OS + Let her up. + + Abigail stands. + + A welt starts forming across her back. + + SARAH + Follow me. + + +31 INT. KITCHEN HALLWAY - DAY 31 + + Sarah and Abigail in a small hallway off the kitchen. + + SARAH + So you are perhaps too kind for + your own good. + + ABIGAIL + It has been said. + + SARAH + Which leads to stupidity. But the + Queen is soothed somewhat so I + thank you. You shall get me more of + those herbs. And not overstep + again. + + ABIGAIL + 20. + + + Yes Maam. My father always spoke + highly of you. + + SARAH + I liked your father, he had charm + to burn. And then I guess he did. + Abigail nods. + + SARAH + You have fallen far. + + ABIGAIL + Yes. When I was fifteen my father + lost me in a card game. + + SARAH + You are not serious? + + ABIGAIL + Oh he was very upset about it. Took + off into the forest with nothing + but a scullery maid and a dozen + bottles for solace. + + SARAH + And you went? + + ABIGAIL + We honour our debts. They would + have hurt him. + + SARAH + Foolish. A woman should not let + herself be chattel. + + ABIGAIL + I wanted to do right by my father. + The debt was to a balloon shaped + German man with a thin cock. + Thankfully I managed to convince + him a woman has her blood in twenty + eight days a month. + +Sarah considers her, notices her bandage hand. + + SARAH + What happened to your hand? + + ABIGAIL + Some of my colleagues are immune to + my charms. + 21. + + +32 INT. ABIGAIL’S BEDROOM - DAY 32 + + Mrs Meg opens a door. Abigail enters a cell like room + containing a single bed, a small table and a wash basin. + + Abigail puts her battered bag on the floor. She can’t + believe it. She is thrilled and bounces on the bed. Her own + room. + + Mrs Meg leaves with a leer. Abigail goes and shuts the door + and notices there is no lock. + + +33 INT. HALLWAY - CG - DAY 33 + + Abigail, now dressed in a new dress, walks along the halls + with Sarah. Sarah carries a document with the royal seal on + it. A chubby aristocrat, EARL STRATFORD, sees Sarah and + heads toward her. + + SARAH + Earl Stratford, do not come near me + whining today or I will crush your + tiny heart to liver. + + He backs off. + + A French woman elegantly dressed, MADAME TOURNEE. + + SARAH + Madame Tournee. You may have the + tapestry budget you have asked for. + Spend one penny more and I will + take your finger nails in lieu. + + MADAME TOURNEE + Merci. + + SARAH + Abigail, get a platter of oysters + sent to the Dutch Ambassador. + + ABIGAIL + Yes your Ladyship. + + Masham steps into view. + + SARAH + Colonel Masham. + + He looks past Sarah and locks eyes with Abigail. + + MASHAM + 22. + + + Lady Marlborough. + + SARAH + The Queen will ride on Tuesday + morning. + + MASHAM + Yes, Lady Marlborough. + + He loiters. + + SARAH + Would you like a bite of my new + maid before you leave? + + He bows, a small smile exchanged between he and Abigail, + and departs. Sarah sees the smile between them. + + +34 INT. DRAWING ROOM - DAY 34 + + Godolphin and Harley sit on couches smoking. Horatio sits + next to Godolphin. + + HARLEY + Must the duck be here? + + GODOLPHIN + Fastest duck in the city. Horatio + is a prize worth stealing, he does + not leave my side. + + HARLEY + Keep him away from me or I will + pull his liver out and eat it with + a cornichon. + + GODOLPHIN + Charming. + + HARLEY + You should know, I have canvassed + my party. They are waiting for us + to announce an attempt at peace. + + GODOLPHIN + We shall both make our case to the + Queen. + + Harley stabs his pipe out, infuriated. + + HARLEY + 23. + + + Where is the Queen? We have been + waiting an hour. + +Sarah enters with Abigail. + + SARAH + I’m here. + + HARLEY + Might I remind you, you are not the + Queen. + + SARAH + She has sent me to speak for her. + She is unwell. + +Abigail goes to a side table set with cakes. She starts +cutting a piece. + + GODOLPHIN + What says she? + + SARAH + That Harley is a fop and a prat and + smells like a ninety six year old + French whore’s vajuju. + + HARLEY + I really doubt you’re quoting. + + SARAH + She has decided to continue with + the war. She feels another victory + in will put us in a stronger + position for a treaty. Her letters. + +She places a folded document with the royal seal on the +table. + + HARLEY + And how are we to pay for this? + +Abigail delivers the cake. + + SARAH + The Land tax is to be doubled. + + HARLEY + This is madness. The war you will + be fighting will be in our own + countryside. + + SARAH + 24. + + + She relies on you and your love of + England to hold the Tories + together. + + HARLEY + There are limits. + + SARAH + To love of your country? To me + there is no limit on that. Our last + farthing to protect England if we + must. + + HARLEY + And our last man too? The dead pile + up as do the resentments. Or that + does not concern you? + + SARAH + I grieve them all, in my heart a + scar for each, and I send my own + beloved with them, chest bared. So + do not lecture me on the cost. You + do not count the cost in men until + you need something heavy to toss on + the scales with your greed. + + HARLEY + A treaty would save money and + lives. A win for all Englishman. + + GODOLPHIN + We go to them after one victory, + they know we are scared. We bury + more of them. They know we have + them. The Queen has decided Harley. + + HARLEY + I disagree...a lot! I would like an + audience with her where I may state + my case. + + SARAH + State it to me, I love a comedy. Is + there cake? + +Harley stares at her, disbelievingly. + + HARLEY + This is a disgusting distortion of + the system. You have no place in + this! + 25. + + + SARAH + Your mascara is running. If you’d + like to go fix yourself we can + continue this later. + +Harley kicks a small table across the room. He is +exasperated, spittle flying. Abigail is thrilled by the +whole thing. + + SARAH + You will need to pay for the repair + of that. We have a war to finance. + Every penny counts. + + GODOLPHIN + (to Harley) + Come on, old bean. One more + victory. Otherwise they will use + the time it takes for a treaty + negotiation to regroup. Mark my + words. + +Harley ignores him, just staring angrily at Sarah. Suddenly +Harley runs at Sarah, stopping just in front of her. She +doesn’t flinch. His breath is ragged, she breathes calmly. +He breaks and storms from the room. + + GODOLPHIN + Must you rub it in? A man’s dignity + is the thing that holds him back + from running amok. + + SARAH + Sometimes a lady likes to have fun. + +Godolphin eyes Sarah. + + GODOLPHIN + We need to be careful Sarah. He is + a useful ally and a dangerous + enemy. + +Godolphin exits. A wide eyed Abigail. + + ABIGAIL + You are... extraordinary. A woman + like no other. + + SARAH + And you are astute and + perspicacious. And perhaps + something of a flatterer. + 26. + + + ABIGAIL + It is not flattery when it is fact. + You are not scared of anyone. + + SARAH + Of course not. + + +35 INT. GOLDEN HALLWAY - DAY 35 + + Abigail walks the hallway. Sees Masham. She follows him for + a bit. + + He turns around suddenly and looks at her. + + MASHAM + Are you following me? + + Abigail turns on her heel and walks back the way she came. + + He follows. + + MASHAM + I said are you following me? + + ABIGAIL + You seem to be following me, sir, + as I am in front of you. + + MASHAM + That was you on the horse this + morning. + + ABIGAIL + I am a servant, where would I get a + horse? Perhaps you dreamt of me? + + MASHAM + Perhaps it was you and I should + have you stripped and whipped. + + ABIGAIL + I’m waiting. + + She stares at him challengingly. He smiles, but doesn’t + move. + + She suddenly breaks off and heads into the backstairs. + + Harley walks in from another room. Sees Masham. + + HARLEY + 27. + + + Going to ride that one are we? + + MASHAM + She does make my blood hot. She is + Lady Marlborough’s new one. + + HARLEY + Indeed. Interesting. + + +36 INT. SARAH’S QUARTERS - DAY 36 + + Sarah walks and finds Abigail looking at her books. + + SARAH + Borrow anything you want. + + ABIGAIL + Thank you. And thank you for the + job. + + SARAH + I have a thing for the weak. + + Marlborough comes to the door. Sarah turns and looks at + him. + + MARLBOROUGH + It is time. + + She nods. Then rushes to Marlborough and embraces him, + holding him tightly. + + SARAH + You must be safe. You must not be + foolish and brave. Be smart and + safe. I beg you. + + MARLBOROUGH + I will. + + SARAH + Stay with me tonight. + + MARLBOROUGH + I must sleep with my men. It is + only right. + + She nods. He kisses her softly on the lips. + + +37 INT. PALACE COURTYARD - GREAT HALL - AFTERNOON 37 + 28. + + + Anne and Sarah stand at the window looking down on A line + of HIGH RANKING military men on black horses. Marlborough + raises a hand of farewell to them. Abigail stands by the + door. + + SARAH + I had a dream that this very small + Frenchman covered in blood, was + carrying his head around feeding it + brie. + + Anne pinches her hand. They look at each other. + + ANNE + He is a great soldier. + + Sarah composes herself. + + SARAH + He will be fine. We will prevail. + + ANNE + Of course we will Mrs Freeman. + + Anne walks away toward the door. + + Abigail coughs loudly as she reaches her. Attracting a look + from Anne. + + ABIGAIL + I am sorry Your Majesty. I think I + caught a chill picking the herbs + for your leg. + + ANNE + That was you? + + ABIGAIL + Abigail. + + Anne nods. Heads past her and out. + + Sarah watches the horses disappear. Turns around. Sees + Abigail. + + SARAH + Let’s shoot something. + + +38 EXT. PALACE GROUNDS - EG AFTERNOON 38 + + A large cage full of cooing pigeons. Inside it a PIGEON BOY + waits for his cue. + 29. + + + SARAH O/S + Throw! + +He releases a pigeon and it flies through the air. A +gunshot and it drops to the ground. + +Sarah smiles, satisfied. At her feet, a pile of dead birds. + +The dogs retrieve the latest. She looks across at Abigail +who has a gun. + + ABIGAIL + It’s sad really. They are so + pretty. + + SARAH + Learn to fly faster, pretty will + not save you bird. + + ABIGAIL + Throw! + +A bird is released, Abigail raises her weapon and misses +it. + + SARAH + You’re really doing damage to the + sky. + + ABIGAIL + Can I ask you something? + + SARAH + As long as you are aware I have a + gun. + + ABIGAIL + You fought hard for this war and + your husband is at the front of it, + his life at risk. How can you ... + do that? + + SARAH + It is right. If we don’t do it they + will gather force and be over here + cutting us all into chops within + the year. You are of a sweet + disposition and have had some blows + so desire safety and favour above + all else. + + ABIGAIL + If he dies? + 30. + + + SARAH + Did you not sacrifice your cunt to + fatty German to save your father? + + ABIGAIL + ...Yes. + + SARAH + There’s always a price to pay. I am + prepared to pay it. Throw! + + The bird flies, she shoots it down. Stares across at + Abigail. + + SARAH + Just relax and aim. When it crosses + your eye, pull the trigger. + + ABIGAIL + Throw! + + Abigail lines up the shot, shoots and brings it down. She + smiles weakly, pleased yet sad. + + SARAH + Yes! Perfect! I will make a killer + of you yet. + + +39 INT. GREAT HALL - EVENING 39 + + A pair of bandaged legs in gold sequined stockings. Anne is + wheeled into the ballroom by a Footman (4) on a brocaded + throne chair with wheels. The ballroom is thronged with + people. People bow as she enters. She greets them. + + The wheels are chocked with little wooden chocks. Harley + makes a beeline for her. + + HARLEY + Your Majesty. How lovely to see + you. It seems you have allocated + even more money into the abyss that + is this fool’s errand. + + ANNE + Oh. Yes. We... will win. Sarah is + sure we will win. + + HARLEY + This landholders tax. You have no + idea the fire storm of rage you + have set loose in the countryside. + 31. + + + ANNE + Really? They are angry? + +Sarah arrives. + + SARAH + Dearest Queen. + +Anne smiles at Sarah. + + ANNE + How do you like the stockings? + + SARAH + Festive. + + HARLEY + I was just explaining to the Queen + the mistake this tax is, and the + war as well. We should sue for + peace. + + SARAH + Oh Harley, you’re such a bore. That + is for parliament. A ball is for + dancing and eating these venison + and horseradish puffs. Have you + tried these? + + HARLEY + I am having trouble swallowing at + the moment. Your Majesty- + + ANNE + I would like to enjoy the music + now. + + HARLEY + Of course. + +Sarah winks at Harley. He walks away. The orchestra strikes +up. + + SARAH + Oh I love this music. I must dance. + +Sarah leaves Anne and walks to the centre of the room. She +stands scanning the crowd who naturally stop talking and +give her attention. She raises her hand and slowly moves it +over the crowd, finally stopping on Masham. + + SARAH + 32. + + + You. A small smattering of applause + as he heads to her. + + The music begins. The dancing begins. A fast paced waltz. A + little bit idiosyncratic, legs fly. Anne is thrilled, + watching their slick leg work and fast moves. Then she + saddens at the sight of her useless balloon like legs laid + out in front of her, a little new blood seeping through her + sequined stockings. + + ANNE + Stop it. Stop! + + The music stops suddenly. Sarah looks at Anne. + + ANNE + I would like to go back to my room + now! + + SARAH + What has happened? + + ANNE + Now! + + The Footman (3) starts to wheel her away. People are + staring, Anne sees Harley. + + ANNE + Stop! Mr Harley, I agree I went too + far with the tax for the war. + + SARAH + What?! + + ANNE + We shall keep it as it was. + + Sarah’s eyes blaze. Harley smiles and bows. Sarah takes + over pushing from the footman. + + HARLEY + We are your servants my Queen. + + +40 INT. GOLDEN HALLWAY - NIGHT 40 + + Sarah wheels Anne along. + + When they are alone, Sarah spins the wheelchair around. + + SARAH + Anne, I’m sorry. + 33. + + + Anne slaps her hard across the face. + + SARAH + It’s okay. Anne nods. They smile at + each other. + + SARAH + Shall we go fast? + + She runs with the chair, Anne shrieks and squeals. + + +41 INT. SARAH’S QUARTERS - NIGHT 41 + + Abigail climbs the ladder to the bookshelf. She slides a + book in and pulls a new one out. + + Hears the door open. Sees Anne’s wheelchair whiz in and + crash into the wall. Sarah follows behind. Abigail freezes. + + ANNE + Give me your finger. + + Sarah does so. Anne puts it in her mouth. Sucks it for a + second then bites it hard. Abigail’s eyes widen. + + She watches as Anne releases her bite, grabs Sarah, pulls + her face to hers, kissing her hard and passionately on the + mouth. + + Abigail almost falls off the ladder, but stays up. Hangs + on. + + ANNE + Fuck me. + + Sarah nods. She wheels her through to the bedroom. Across + the way, Abigail stands rigid on the ladder. She breathes + out. + + Drops to the floor. Starts to creep out as quietly as + possible. + + +42 INT. HALLWAY - A&E - NIGHT 42 + + Abigail clutching a book, in a daze starts to walk down the + stairway. + + Harley suddenly stands before her. + + HARLEY + 34. + + + Abigail isn’t it? + + ABIGAIL + Yes sir... + + HARLEY + Stole a book I see. Why, one could + be stripped and whipped for that. + + ABIGAIL + My mistress lent it to me. + + HARLEY + Shall we go ask her? + + ABIGAIL + No! + + Harley is satisfied he has something over her. + + HARLEY + Come and take the night air with + me. + + She is a little scared but follows him. + + +43 EXT. PALACE LAWNS - EG - NIGHT 43 + + Harley walks with Abigail across the lawn. The lights of + the castle behind them. + + HARLEY + So you once were a lady and now you + are a nothing, a bit of scullery + scraps. How very sad. + + ABIGAIL + I am still the lady I was. In my + heart. + + HARLEY + No doubt. It is important to make + new friends is it not? + + ABIGAIL + Yes. If that is what is actually + happening here, and not veiled + threats under the guise of + civility. + + Harley laughs. + 35. + + + HARLEY + Am I to understand you are smart? + + ABIGAIL + You want something. To fuck me? + + HARLEY + I will leave that to my friend + Masham, who is completely + cuntstruck by you. So tell me about + Lady Marlborough, Godolphin, the + Queen. Anything going on? I love + gossip. It’s a failing I know. + + ABIGAIL + Lady Marlborough has been good to + me, she has saved me. I will not + breach her confidence. + + HARLEY + Of course. You are in favour. But + favour is a breeze that shifts + direction all the time. Then in an + instant you’re back sleeping with a + bunch of scabrous whores wondering + whose finger’s in your arse. You + cannot have too many friends in + court. I need a friend Abigail, one + with cute ears and wide eyes. I am + often blind-sided by the distorted + situation at court. As Leader of + the Opposition I should not be. + + HARLEY + I would merely like to know of any + plans her Ladyship, Godolphin or + the Queen may have. + + ABIGAIL + I will not betray my mistress’s + trust. + + HARLEY + Oh look a wren. How cute. + +She looks to the trees. Harley trips her and she goes face +first into the stony path. + + HARLEY + Are you alright? Let me help you + up. + 36. + + + He reaches down. She warily reaches out a hand and he pulls + her up a little. + + HARLEY + Thing is if you’re not my friend. + You are.. + + Then suddenly lets her go, she falls back down. + + HARLEY + ... by definition my enemy. Anyway, + think on it. No pressure. + + Harley stalks off. Abigail sees the little wren, lying dead + on the ground beside the path. + + +44 INT. SARAH’S QUARTERS - DAY 44 + + Morning. Abigail pours hot chocolate into two cups on a + tray. + + Anne lying on a sofa. And Sarah on a chair. + + SARAH + You will have to tell Harley you + have changed your mind about the + tax. + + ANNE + Can’t you do that? + + SARAH + I am not the Queen. + + ANNE + ...are the people really angry + about the land tax? + + SARAH + They’ll be angrier when the French + are sodomising their wives and + planting their fields with garlic. + + ANNE + The Tories must not be rode + roughshod over though. And...more + dead if we do it. + + SARAH + 37. + + + It is painful to lose men, but we + cannot be half hearted in this or + they will see our weakness and take + us and we will lose thousands more. + We must be strong Anne. It hangs in + the balance and the tipping point + is courage. + + Abigail approaches with the hot chocolate. + + SARAH + None for the Queen. + + ANNE + What? + + SARAH + You cannot have hot chocolate. Your + stomach, the sugar inflames it. + + ANNE + Abigail hand me the cup. + + SARAH + Do not. + + Abigail is frozen. + + ABIGAIL + I’m sorry, I do not know what + to.... + + SARAH + Fine, give it to her, and then go + get a bucket and a mop for the + aftermath. + + Anne takes it, but does not drink it. Sits with it. Abigail + exits. + + ANNE + Take me back. + + She gets in her chair. Sarah goes across and unlocks the + door panel to the secret passage. + + +45 INT. SECRET PASSAGE - DAY 45 + + Sarah wheels Anne. + + SARAH + 38. + + + You will pronounce the tax in + parliament. I will set the date. + + Anne nods. They stop. Sarah unlocks the door. Rolls Anne + in. + + Shuts the door and heads back up the passage. + + +46 EXT. PALACE GROUNDS - EG - DAY 46 + + A suit of armour. A shot is fired banging into it, an arm + falls to the ground. + + At a distance Sarah and Abigail. Sarah reloads her pistol + using the gun powder funnel. + + ABIGAIL + I must tell you something. + + SARAH + Go on. + + ABIGAIL + Mr Harley came to me. He asked me + to betray your confidences, about + what goes on between you and the + Queen and Godolphin. + + SARAH + I see. And what will you do? + + ABIGAIL + I... am not going to! Obviously. + + SARAH + Not obviously. You may tell me of + his approach to encourage my trust + and still work both sides of the + street. + + ABIGAIL + (outraged) + I am a person of honour even if my + station is not. Even if I were to + be the last one left in this + wretched place, I would remain a + lady! + + Sarah laughs. + + SARAH + 39. + + + You are pretty when outraged. So my + secrets are safe with you? + + ABIGAIL + All of them. + + SARAH + Good. + + ABIGAIL + Even your biggest secret. + + Sarah looks up at Abigail, who smiles knowingly. She closes + her gun. + + SARAH + Abigail. + + Sarah rises her gun. Shoots. + + Abigail falls. Sarah starts laughing. A terrified Abigail + lies on the ground, checking herself for wounds. Sarah’s + smiling face appears suddenly above her. + + SARAH + If you forget to load the pellet + the gun fires, makes the sound, but + releases no shot. It is a great + jape do you agree? + + ABIGAIL + Yes.. great. + + SARAH + Maybe we will think of some use for + it one day. Sometimes it is hard to + remember if you have loaded the + pellet or not. I do fear confusion + and accidents. + + ABIGAIL + I’m sure people will be careful. + + +47 INT. ANNE’S APARTMENTS - DAY 47 + + Anne drops lettuce leaves into the enclosure for her + rabbits. + + She watches them for a moment. She’s bored. + + +48 INT. ANNE’S APARTMENTS - DAY 48 + 40. + + + Anne sits alone, a big cake with blue icing half eaten + beside her as she plays solitaire. She takes another piece + of cake, her lips blue from the icing. She feels ill + suddenly. Makes a noise. + + Lady in waiting is ready with a bucket, she rushes over + with and Anne throws up into it. + + Footman (2) enters with a mop. Lady in waiting dabs at her + lips with a linen. Anne pushes her away. + + +49 INT. SECRET PASSAGE - DAY 49 + + Anne on a crutch limps along the passageway. + + +50 INT. SARAH’S QUARTERS - DAY 50 + + Anne enters but the apartment is empty. + + +51 INT. PRIVY PURSE OFFICE - DAY 51 + + A full office, crammed with people and activity. Sarah is + maintaining order, just. Sarah is at the desk, entering + figures in the ledger. Abigail in the background. + + MRS MEG + Twelve guineas for beef. + + She is rewarded with a nod. Harley watches on, seated to + the right of Sarah. + + SARAH + Madame Tournee. + + Madame Tournee steps forward. + + SARAH + The Winter Ball. Your expenses are + out of control! + + MADAME TOURNEE + Madame is an artiste and art is + like a cloud, it floats and gathers + force as it must before it rains + joy. + + SARAH + Let it rain at the cost of eight + guineas instead of fifty. + 41. + + + MADAME TOURNEE + But... + + Sarah looks to her ledger, ignoring Madame Tournee. + + SARAH + Cream. Mrs Meg your cream bill is + outrageous. Are you bathing in it + to help your hemorrhoids? + + MRS MEG + No your Ladyship. + + HARLEY + May I examine? + + SARAH + Of course. Harley looks down the + ledger. + + He nods reluctantly. + + HARLEY + Perfect Lady Marlborough. As + always. + + SARAH + Shall we sign off? He nods. He + signs the ledger. As does she. + + PAGE BOY 2, a young boy of fifteen, comes in and whispers + to Sarah. + + +52 INT. ANNE’S APARTMENTS - DAY 52 + + Sarah enters to find Anne standing on a window sill. She + leans out dangerously, the wind pulls at her. + + SARAH + Aim for the flagstones. The lawn + may break your fall. + + ANNE + You do not care! + + SARAH + Mrs Morley. Please. + + Sarah goes to her. Grabs her suddenly by the back of the + hair and yanks her inside. She lands on her arse. + + ANNE + 42. + + + Ow! Just stay for a little while! + No! Take the day off. I command it. + + SARAH + Someone must run things! + (plaintively) + I am not food! You cannot just eat + and eat! + + Anne grabs Sarah by the forearm and bites her. + + ANNE + (playfully) + And yet you are tasty. + + And licks her. + + ANNE + And salty. And if I grilled you, + you would make a delightful meal. + + SARAH + You are... incorrigible. + + Beat. + + SARAH + Fine. I will come and play Whist + with you this afternoon. + + Anne smiles and claps her hands. Sarah, resigned, turns and + leaves. + + +53 INT. PARLIAMENT - AFTERNOON 53 + + The Tories stomp their feet heavily drowning out Godolphin + as he tries to speak. + + GODOLPHIN + The opposition asks us to be + halfhearted in this war! We will + not! We must wear our griefs for + England is worth our all, and + suffer we must to save her! Mr + Harley control your rabble! + + Sarah watches on. Sarah scribbles down a note and hands it + to pageboy 2. + + +54 INT. GOLDEN HALLWAY - AFTERNOON 54 + 43. + + + Abigail walks through into the Queen’s apartment. + + She moves past the two Footmen (1-3) into + + +55 INT. ANNE’S APARTMENTS - AFTERNOON 55 + + There stands a table, set up, cards at the ready. A bottle + of champagne and glasses. + + A low growling sound comes from the next room. The Queen + stands at a table and is stretching her leg in a ballet + move and growling in pain. Abigail watches the Queen from + the salon doorway. Anne senses someone coming. + + ANNE + About time Mrs Freeman. This + fucking leg! It is like a monster + attacking me. Cut it off for me + will you? + + ABIGAIL + I do not think so your Majesty. + + Anne turns and looks at Abigail. + + ANNE + Why are you here? + + ABIGAIL + Lady Marlborough sent me as I am an + excellent Whist player and she has + been unavoidably detained with the + business of state, but will be here + post haste. + + ANNE + It’s my state! I am the business of + state. Did she actually send me her + maid?! + + ABIGAIL + As I am standing here I am going to + assume that’s rhetorical. Your + Majesty I wasn’t always a maid. I + am educated, speak French, Latin. + My family fell on hard times. I am + also her cousin. + + ANNE + Very fascinating, but you shall + leave regardless and tell her to + come. + 44. + + +Abigail turns to leave, sees the rabbit enclosure. + + ABIGAIL + Oh! They are gorgeous. + +Anne grimaces, watches her go to them. + + ANNE + My babies. Let them out please. + +Abigail unlatches the door, it swings open and the rabbits +hop out into the bedroom. + + ABIGAIL + How many are there? + + ANNE + Seventeen. It’s Hildebrand’s day + today. + + ABIGAIL + Which one is he? + +Anne points to the small, white rabbit. + + ANNE + That one. Shy, but stubborn. + + ABIGAIL + May I? + +Anne nods. Abigail picks him up. + + ANNE + He likes you. I lost some seventeen + children. Some born as blood, some + without breath, and some just + briefly with me. + +Abigail’s heart instantly goes out to her, tears pop from +her eyes taking Anne by surprise. + + ANNE + Oh my dear. + +Then Anne cries. + + ABIGAIL + Today is Hildebrand’s... day. The + day, you lost him. + +Anne nods. + 45. + + + ANNE + Each one that dies, something of + you goes with them. + + Abigail takes her hand. + + ANNE + Would you like to join me? + + +56 INT. ANNE’S APARTMENTS - EVENING 56 + + At the table, a battered and half torn apart birthday cake. + + On the floor, the rabbits sit with the Queen and Abigail + who feed them handfuls of cake. + + +57 INT. ABIGAIL’S BEDROOM - NIGHT 57 + + Abigail lies on her bed reading one of Sarah’s books. She + finishes and closes it. Suddenly the door swings open. + She’s startled. It’s Masham. Masham is wearing his Cavalry + uniform: a velvet jacket lined in satin, white ruffles on + his shirt, breeches, red stockings and black patent shoes + with heels. + + Make up. + + Abigail calmly stays where she is. + + ABIGAIL + What an outfit. MASHAM Why thank + you. I thought it might be too + much. + + ABIGAIL + Have you come to seduce me or rape + me? + + MASHAM + I am a gentleman. + + ABIGAIL + So rape then. + + MASHAM + No. You are a... You have intrigued + me. + + ABIGAIL + And you, me. I am intrigued by what + you look like under this. + 46. + + + Abigail gets up carefully examines his powdered face. She + smudges his lipstick. + + Abigail whisks the wig off his head. She ruffles his hair. + + Abigail puts the wig on her own head. She takes a wet cloth + and wipes away some of his make up. + + ABIGAIL + You are handsome. No wonder you + cover it up. Women would swoon and + nothing would get done. + + MASHAM + Who are you? No ordinary maid. + + ABIGAIL + It could be said I have fallen far. + + Masham pulls her to him suddenly. + + MASHAM + It could be said I aim to catch + you. + + She leans in to kiss him. Bites his lip suddenly. Breaks. + + ABIGAIL + I might allow it. + + She pushes him in the chest playfully. + + ABIGAIL + Now good night sir. + + He takes his wig back. Puts it back on his head awkwardly, + making her laugh. Bows and leaves. She falls back on the + bed. + + Smiles wryly. + + +58 INT. HALLWAY - WWS - NIGHT 58 + + Masham shuts the door behind him. Harley waits in the + hallway, smoking. + + HARLEY + Progress? + + MASHAM + 47. + + + She bit me. And this wig is + ridiculous. + + HARLEY + A man must look pretty. + + MASHAM + I’m not entirely sure she approves. + + HARLEY + Try again in your own way old boy. + + He nods. + + +59 INT. ANNE’S APARTMENTS - DAY 59 + + Anne sits, dressed in a fine linen body suit. Sarah brings + in a complex contraption, not dissimilar to a Medieval suit + of armour. It has leather straps, buckles, iron plate and a + steel brace. Sarah attaches the leather straps first to one + shoulder and then the other shoulder, passing the straps + under, over, and across Anne’s upper body, pushing her to + raise first one arm and then the other. + + Sarah squeezes Anne’s spare flesh to ensure the straps are + tightly fitted to her body. + + ANNE + Ow. + + Sarah attaches a Breast Plate and Back Plate to the leather + straps. Sarah rocks Anne back and forward as she fits each + plate to a web of smaller leather straps and tightens each + buckle, as if she were screwing Anne into an iron cage. + Sarah moves down to Anne’s bandaged leg. + + Sarah eases the leg into a steel brace which she tightens + with screws. + + The leg brace attaches to a seat that in turn attaches to + the iron and steel cage around Anne’s torso. Sarah steps + back. + + Nods. + + +60 EXT. PARK - DAY 60 + + Anne and Sarah ride on horseback down a wide avenue in the + park. Anne packed into her contraption. + + SARAH + 48. + + + Apologies regarding sending Abigail + in my stead. + + ANNE + She was perfectly darling. + + Hildebrand really took to her. + + SARAH + Is that a rabbit? + + Anne looks at her annoyed. + + SARAH + Anne. You are too sensitive. + + ANNE + And you are too uncaring and mean + some days. + + Sarah turns her horse, she is apologetic, tries to joke her + way out. + + SARAH + Some days I’m quite lovely though. + Let’s think of them. + + Anne kicks her horse on, riding away from her. + + SARAH + Anne! + + Sarah lets her go. + + SARAH + You are such a child! + + +61 INT. HALLWAY - CG - DAY 61 + + Abigail pushes Anne along a long hallway. + + ABIGAIL + I guess all the rapes were the + hardest. Made me feel at their + mercy, that I was nothing. + + ANNE + You are not nothing. You are a dear + person. + + ABIGAIL + 49. + + + Thank you. You are so beautiful. + + ANNE + Stop it. I am... you mock me. + + ABIGAIL + I do not. If I was a man I would + ravish you. Rrrrravish. + + ANNE + Enough! + + ABIGAIL + I am sorry. Oh look. + +Through the glass on a terrace outside, a SMALL QUINTET of +young aristocratic boys play. + +A middle aged man (MUSIC TEACHER) directs them. He has a +riding crop and slaps it into legs and shoulders that are +not doing what they should. But it’s beautiful and fresh, +joyful even. As are they. + +Anne and Abigail watch through the window, entranced. Then +Anne becomes melancholic, a reminder of her own losses. + + ANNE + Make them stop. + + ABIGAIL + What? + +Anne suddenly gets up and starts banging on the window hard +startling the young boys. + + ANNE + Stop! Enough! Stop! + +The music stops, the teacher and boys all freeze and stare +at the Queen. + + ANNE + Enough! + + ABIGAIL + Your Majesty? + + ANNE + Depart! All of you!! + +The teacher and boys, frightened by the Queen’s outburst, +start to leave the terrace. + 50. + + + Anne limps off. Abigail follows her. + + ANNE + I must rest. + + ABIGAIL + Shall I... + + ANNE + Leave me be! + + +62 INT. GOLDEN HALLWAY - CG - DAY 62 + + Anne limps along. + + She sees a woman walking along the hall holding a baby + (COURTIER - WOMAN WITH BABY). + + ANNE + Give me that! + + The woman can see it’s the Queen, but seeing the crazy look + in her eyes, instinctively resists handing the baby over. + + WOMAN + Your Majesty I- + + Anne grabs for it. The woman runs away from her, terrified. + Anne suddenly realises she doesn’t know where she is. + + ANNE + Where am I? Where am I? + + Page Boy 1 steps forward startling Anne. + + PAGE ONE + Your Majesty. You are in the west + hallway. + + She takes a swing at him, cuffing him in the side of the + head. + + ANNE + How dare you speak to me like + that?! + + Abigail suddenly appears beside her. + + ABIGAIL + Your Majesty. + 51. + + + ANNE + Where did you go? Stupid girl. + + She digs her fingers into Abigail’s arm. + + ABIGAIL + I’m sorry. + + ANNE + Take me back. + + +63 INT. ANNE’S APARTMENTS - DAY 63 + + Anne lies on her bed, depressed. + + Abigail watches her. She eyes the crutches leaning on the + wall. + + ABIGAIL + Perhaps we should dance. + + Anne sits bolt upright and stares at her, furious. + + ANNE + You mock me! + + Abigail holds out two crutches. + + ABIGAIL + No. I just believe you can, that it + would be cheering. And I would + dearly like to dance with you. + + Anne stares at her. + + +64 INT. ANNE’S APARTMENTS - DAY 64 + + Anne and Abigail stand next to each other. They both tap + their crutches three times. They twirl. + + Slowly at first, then more and more intensely, following + each other. + + Anne becomes flushed with joy as they whirl and crutch. + + Abigail locks eyes with the Queen. It is intense. They fall + over. They lie there hands clasped, eyes closed. Exhausted + but happy. + + The footman opens the door. Sarah enters. Sees it. + 52. + + +65 EXT. PALACE GROUNDS - EG - DAY 65 + + A shot rings out. A pigeon falls from the sky. A dog runs + to retrieve it. Abigail and Sarah stand shooting. + + SARAH + Twelve. Eleven. You are shooting + exceptionally well Abigail. + + ABIGAIL + You have taught me well. + + SARAH + I hope you have not found your time + with the Queen too tedious. + + ABIGAIL + Not at all. And if it gives you + rest I am happy. Did you sleep + well? + + SARAH + Like a shot badger. + + ABIGAIL + Excellent. + + SARAH + The Queen is... an extraordinary + person, even if it is not readily + apparent. + + She has been stalked by tragedy. Abigail is startled. + + ABIGAIL + She seems quite lovely. + + SARAH + I will not burden you again. + + ABIGAIL + I am quite happy to- + + SARAH + I know you are. She will be angry + if I do not appear soon. Take your + shot. + + Abigail looks at her steely eyed and then glances over to + the boy with the pigeons in the cage. + + ABIGAIL + Throw! + 53. + + + The boy lets go of the bird, and Abigail suddenly turns her + gun and shoots at the bird barely half a foot from the + cage. + + Sarah and the boy are shocked. Sarah’s shoes are sprayed + with the bird’s blood. + + ABIGAIL + Thirteen. + + Sarah looks at her. Abigail shrugs with a laugh. + + ABIGAIL + Don’t know what came over me. + + The Queen’s Page (2) comes running through the field + holding a note. He approaches Sarah and pauses momentarily. + + SARAH + The Queen? I will be there + directly. + + The Page looks at the note, a bit lost. + + SARAH + What? + + PAGE TWO + The Queen... asks for ...her. + + He points to Abigail. + + +66 INT. ANNE’S APARTMENTS - DAY 66 + + The door opens. Anne is excited. + + ANNE + I have brought us up some lobsters, + we will race them and then eat + them! + + SARAH + I hope you have three. + + Anne sees her. + + ANNE + Oh, hello. + + SARAH + 54. + + + Well hello. You sent for Abigail to + try and make me jealous I think. + + ANNE + Perhaps. + + Sarah grabs Anne by the throat and pushes her back. Anne + can barely keep her feet and ends up slammed against the + wall. + + Sarah looks at her, smiling. + + She shoves her hand between Anne’s legs. + + ANNE + They will be in with the lobsters + in a minute. + + SARAH + Scared? + + Footsteps can be heard just outside the door. Neither Anne + or Sarah moves, they just breathe, slightly aroused by the + danger, waiting for the other to give in. + + The doors swing open. Meg and Sally walk in carrying + lobsters in white gloved hands. Meg’s hand has a spot of + blood on it where she’s been nipped. Anne and Sarah pull + their hands away from each other suddenly. + + SARAH + I think a moat is a bad idea. It is + too old fashioned. + + MEG + Maam, three rude and unruly + crustaceans. Best with butter and + lemon than to be played with, but + as you will your majesty. + + They put them on the ground. + + +67 INT. BACKSTAIRS - WWS - NIGHT 67 + + Abigail, carrying a tray with two glasses and a bottle of + champagne, walks into the back stairwell and is tripped. + They smash into tiny pieces. She looks up and sees Harley. + + HARLEY + Hello. Remember me? + + ABIGAIL + 55. + + + Mr Harley. You always unbalance me. + + HARLEY + So what’s been happening? + + ABIGAIL + The Queen and Lady Marlborough are + to race lobsters and then eat them. + + HARLEY + Do you want to get punched? + + ABIGAIL + The Queen will announce the + doubling of the landholders tax to + Parliament. + + HARLEY + Do you jest? + + ABIGAIL + I do not think she is certain of it + though. + + HARLEY + But Lady Marlborough is providing + that certainty. + + ABIGAIL + Yes. + + HARLEY + And? + + ABIGAIL + That is all. + + HARLEY + Why do I feel that is not all? + +Abigail suddenly has tears in her eyes. + + ABIGAIL + I am trying my best, I am. + + HARLEY + Alright, alright, turn off the + tears. Thank you. Have a pleasant + evening. + +He walks off. Abigail instantly smiles wryly to herself. + 56. + + +68 INT. PARLIAMENT - DAY 68 + + Queen Anne stands before Parliament. She is about to speak. + + Sarah watches from the gallery. Harley rises suddenly. + + HARLEY + May I speak a moment, with Her + Majesty’s pleasure? May I exhort + the chamber to roar a mighty hurrah + for Her Majesty in her brilliant + decision to not raise the land tax. + + There is a hurrah from the Tories. Anne is thrown a bit. + + HARLEY + For the doubling of the tax would + have been a disaster, and the + fields would have run with blood as + the countryside rose up against our + city friends. To add to the piling + dead of our sons on the field of + this war. Again to our Queen for + her deep wisdom in knowing where to + draw the line in holding our + country together. For there is no + point winning a war abroad if we + are to start one at home. + + The Tories hurrah. + + Anne blushes. Sarah can’t believe it. Anne looks at her + paper. + + HARLEY + I apologise for the interruption + Your Majesty. The floor is yours of + course. We look forward to hearing + what you have to say. + + Anne looks down at her paper and then at Sarah, who motions + her on. Anne clears her throat. Anne looks back at the + paper. + + Is unsure what to do. Anne suddenly drops to the ground, as + if she’s fainted, silencing them all. + + +69 EXT. WOODS - DAY 69 + + Abigail is collecting flowers in the woods. She hears a + noise, turns, but sees nothing. The wind whistles in the + trees. + 57. + + +Then another sharp scurrying noise. She freezes. Silence. +She scans the heavily wooded trees. + + ABIGAIL + Who’s there? + +More scurrying and a sound like the cry of a wolf. She +drops her basket, panic stricken. + + MASHAM + Boo! + +Abigail falls down, startled and terrified. Masham stands +there laughing. She gets up and cracks him as hard as she +can across the face. He is stunned. It hurt. + + ABIGAIL + Men should not sneak up on women. + +Abigail laughs. + + ABIGAIL + You look scared. + + MASHAM + I am hurt. Look. + + ABIGAIL + I have just now decided to marry + you Masham. + + MASHAM + I cannot marry a servant. I can + enjoy one though. + +He reaches for her. She suddenly knees him in the balls. He +falls to his knees. She drops and kisses his twisted, +pained mouth. + + ABIGAIL + I know it would ruin you to marry + me. I will fix things for us. + + MASHAM + Who says I would marry you? + + ABIGAIL + I am in your blood and you will not + rest until I am pinned underneath + you. But I will decide if and when + that occurs. + +She puts his hand on her breasts. + 58. + + + ABIGAIL + Say it is not so. + + He grabs at her. She pulls away. Stands, her crotch at his + face level. + + ABIGAIL + Don’t you think we are a good + match? + + She runs off, laughing. He chases her, tackles her to the + ground. Is on top of her. They breath heavily. + + MASHAM + I think a very good match. + + He starts to push her dress up. + + ABIGAIL + Wait, kiss me properly first. + + They kiss. She rolls away. + + She runs to a tree, he is in hot pursuit. She moves + suddenly, tripping him as he reaches her. He topples down + the hillock to the other side. + + She looks down at him as he lies in the leaves. + + Masham looks up at her. + + MASHAM + I am enthralled by you. + + ABIGAIL + Of course you are. I am stealing + your horse now. + + She walks off, taking his horse by the reins. + + +70 INT. PARLIAMENT - DAY 70 + + Empty Parliament. Anne sits looking forlorn with Sarah. + + Godolphin is nearby. + + ANNE + I looked like a fool. They were all + staring weren’t they? I can tell + even if I cannot see. And I heard + the word fat. Fat. + 59. + + + SARAH + Anne. + + ANNE + And ugly. + + SARAH + No one but me would dare, and I did + not. I felt for you. He set you up. + It is our fault. + + ANNE + I did not know what else to do. I + could not... go through with it. + + SARAH + It’s fine Anne. It’s fine. + + Footman (5) and (6) bring in her sedan chair and take Anne + out of the chamber as Sarah walks over to Godolphin. + + SARAH + He was ready for us. + + GODOLPHIN + He probably just assumed you would + have been working on the Queen. + + SARAH + A minor hitch. We will reset the + date. + + +71 INT. ANNE’S APARTMENTS - DAY 71 + + Abigail walks around the room, slowly. She is still in her + torn dress, admiring the ornate details of the Queen’s + possessions. She fingers the jewels on Anne’s dressing + table. + + Smiles at the rabbits. Touches the silk bed clothes. + + +72 INT. ANNE’S APARTMENTS - DAY 72 + + The Queen on a crutch limps through her salon and into her + apartment. She stops in her tracks and sees a startled + Abigail’s head in her bed. + + ABIGAIL + Oh Your Majesty. + + ANNE + 60. + + + What are you doing? + + ABIGAIL + Lady Marlborough asked me to wait + for you and I was... and then the + bed looked so beautiful and I was + overcome... with, with foolishness. + I am sorry. + + ANNE + You may get out now. + + Abigail gets out. She is naked. + + She walks slowly over to her clothes. Anne watches as + Abigail leisurely puts her clothes back on, basking in the + attention. + + ABIGAIL + Apologies again Your Majesty. + + ANNE + What happened to your dress? + + ABIGAIL + Wolves. + + Abigail curtsies and exits. + + +73 INT. ABIGAIL’S BEDROOM - NIGHT 73 + + Abigail lies in bed. A banging on Abigail’s door. + + +74 INT. GOLDEN HALLWAY - NIGHT 74 + + Abigail in her nightdress, barefoot, follows a Footman (2). + + Not sure what is happening. + + +75 INT. ANNE’S APARTMENTS - NIGHT 75 + + Abigail is led into the Queen’s apartments. + + FOOTMAN 2 + Her legs. + + Abigail enters. + + ANNE + 61. + + + Rub my legs. + + Abigail starts to massage her legs. + + ABIGAIL + Does it hurt a lot? + + ANNE + (deadpan) + It is agony. + + Abigail starts massaging higher and higher up Anne’s legs. + + Anne doesn’t stop her. + + ANNE + (deadpan) + Oh the pain. + + Abigail’s hands disappear under Anne’s night dress. Anne + tilts her head back, closes her eyes. + + CUT TO: + + +76 INT. SARAH’S QUARTERS - NIGHT 76 + + Godolphin is at the door to Sarah’s apartment. Sarah in her + nightgown. He holds a letter. + + GODOLPHIN + Marlborough has written. He is in + position, the battle will begin any + time. + + Sarah takes and reads the letter quickly. A flicker of fear + on her face. + + GODOLPHIN + He will prevail. + + SARAH + Of course. + + GODOLPHIN + I imagine you will not sleep + tonight. I can stay and sit with + you? I could regale you with witty + tales of my romantic exploits, and + by exploits I mean humiliations, + and some weeping. + + SARAH + 62. + + + You are sweet Godolphin which may + explain the humiliations. I am + alright. + + She shuts the door. + + Alone. Is agitated by the news. + + She goes, opens the panel in the wall, steps through. + + +77 INT. SECRET PASSAGEWAY - NIGHT 77 + + Sarah walks quickly along the passageway. She reaches the + door of the Queen’s salon, takes her key and opens it. + + SARAH + Mrs Morley? + + +78 INT. ANNE’S APARTMENTS - NIGHT 78 + + There is no answer. Sarah gently opens the door to the room + and sees the two women asleep in the bed. + + +79 INT. SECRET PASSAGEWAY - NIGHT 79 + + Sarah walks along the hallway, veers sideways, has to stop + herself, hold herself up by the wall. + + She continues walking in a daze. Stops. A small sob cracks + from her chest. + + +80 INT. SARAH’S QUARTERS - DAY 80 + + Abigail enters carrying a book, she walks happily into + Sarah’s quarters. + + ABIGAIL + Good morning Lady Marlborough + + Sarah is on a ladder examining some books on her bookshelf. + + Sarah drops the heavy book she is holding. It grazes + Abigail’s shoulder. She is knocked to the floor, startled. + + SARAH + Where is that book of poetry from + the Dryden fellow? + 63. + + + ABIGAIL + I do not- + +Sarah starts throwing books off the shelves. They rain down +on Abigail, striking her, one in the face. + + SARAH + No! No! NO! + +A thin line of blood trickles from Abigail’s nose. Sarah +drops from the ladder and lands next to her. Abigail pushes +herself backwards along the floor, away from Sarah. + + ABIGAIL + I do not understand. + + SARAH + Did you take it? My book! + + ABIGAIL + No I- + + SARAH + I think you are a pretty little + liar that I have misjudged. + +Abigail realises what it’s actually about. Sarah grabs her +by the face and squeezes it. + + ABIGAIL + I did not mean for this to happen. + The Queen, she is forceful and - + + SARAH + You are dismissed from my service. + Go back to Mrs Meg tell her to find + you a position in the scullery. If + she asks why, tell her ‘Because I + am a disloyal little bitch’. + +Shocked and upset, Abigail takes a moment to compose +herself. + +She curtsies. + + ABIGAIL + As you wish your Ladyship. It has + been my privilege and honour to - + + SARAH + If you do not go, I will start + kicking you and I will not stop. + 64. + + + Abigail nods, departs hurriedly. We follow her into the + hallway. + + +81 INT. HALLWAY - A&E - DAY 81 + + Abigail stands there, unsure of what to do. She suddenly + hits herself hard in the face with the book she is holding. + The blood starts to run again from her nose. Then tears. + She checks her face in a mirror. + + +82 INT. ANNE’S APARTMENTS - DAY 82 + + Anne is resting on a chaise lounge when she hears crying. + See gets up, walks with her crutch, opens the door and sees + the bloodied and tearful Abigail, standing there. + + +83 INT. PALACE COURTYARD - SF - DAY 83 + + A carriage sits in the driveway. Anne is being carried in + her sedan chair down the steps of the palace. Sarah walks + next to her. + + SARAH + You have become close to Abigail. + + ANNE + She has been a dear. Yes. + + SARAH + It is such a shame but I have + dismissed her for theft. She is a + liar and a thief. + + Beat. + + SARAH + Your tongue seems + uncharacteristically still. + + ANNE + I heard you. + + Abigail walks past Sarah and waits by the door of the + Queen’s carriage. Sarah stares at her, incredulous. + + ANNE + She is my servant, she is not + dismissed. I have made her my Maid + of the Bedchamber. + 65. + + + SARAH + Did you not hear what I said? + + ANNE + You regard her as a liar and a + thief. + + SARAH + Yes! + + ANNE + I do not. Obviously. + + Sarah stares at Anne, pulls her close to her and whispers + in her ear. + + SARAH + You will dismiss her. + + ANNE + (whispers back) + I will not. I like it when she puts + her tongue inside me. + + Sarah stands motionless, shocked by Anne’s comment. Anne + climbs in the carriage assisted by Abigail. Abigail gives + Sarah the slightest hint of a smile. Gets in the carriage. + + ANNE + Go! + + The carriage takes off, leaving Sarah standing there, + stunned. + + +84 INT. CARRIAGE - DAY 84 + + Abigail reads to Anne in the curtained compartment. They + sit together in happy contentment. There is a sudden noise + of banging on the carriage. Startling them. + + CROWD 1 O/S + It’s that fucking bitch! My sons a + cripple you cunt! + + CROWD 2 O/S + Stop the carnage you stuck up + whore! + + A startled Anne looks at Abigail. + + ANNE + Don’t they know who it is? + 66. + + + CROWD 3 O/S + Queen cunt! + + ABIGAIL + I think they do. Anne takes this + in. + + ANNE + Oh. + + CROWD 4 O/S + Warmongering Slag! + + She pulls back the curtain a little, a man with one eye + stares back at her. Screams at her. A dozen other people + run behind him chasing the carriage shouting. She shuts the + curtain fast. Is shaken. Abigail moves quickly beside her. + Holds her hand. + + ANNE + What are they shouting? + + ABIGAIL + Driver! Faster! + (to Anne) + Close your eyes. Sing a song with + me. Will you be my Love? Do you + know it? It is marvellous. + + She cups a hand over one of Anne’s ears, and sings into the + other one distracting Anne from the noise outside. + + Anne calms down a little bit, distracted, charmed, the + noise starts to recede as the carriage speeds up. Anne + curls into her. + + +85 INT. MUD BATHS - DAY 85 + + Anne is up to her neck in a large pool of bubbling mud. + + Abigail sits on a stool next to her. + + ANNE + It is so strange to be in this. + + ABIGAIL + It is good for you. The doctor says + it will leach the toxins. + + ANNE + What if I go to sleep and slip + under? + 67. + + + ABIGAIL + Just imagine it is hot chocolate. + + ANNE + At least I would die happy. + +A door opens. Sarah enters in a robe. She lets it fall to +the floor and enters the bath. + + SARAH + After you left I thought, what a + grand idea to take to the mud. To + get whatever poisons one carries + with one out. + +She settles into the mud opposite Anne. Abigail and her eye +each other. + + SARAH + Abigail could you fetch me some + refreshment? + + ABIGAIL + I would like of course but I must + be at the Queen’s side and behest + at all times. It is my role. + + SARAH + Such loyalty. How delightful it is + when one tries to cultivate a new + trait in one’s character. + + ANNE + Do not scratch at her. + +Beat. They sit there a moment. Sarah takes a finger of mud +and draws a moustache across her lip. + + SARAH + Mr Freeman. + +Anne laughs. Does the same with the mud. + + ANNE + Mr Morley. + + SARAH + How handsome you are. + + ANNE + Oh Mr Freeman, you are handsome. + + SARAH + 68. + + + Oh but I forgot my glasses. + + She draws circles round her eyes. Anne laughs. Abigail + tries to smile, join in, but is unnerved by it. + + +86 INT. CARRIAGE - DAY 86 + + The three of them travel back together. Anne and Sarah on + one side. Abigail on the other. Anne sleeps. Sarah whispers + very quietly, almost to herself. + + SARAH + You will be back in the street. + + Abigail looks out the window. + + +87 INT. GOLDEN HALLWAY - NIGHT 87 + + Sarah and Anne walk. Abigail follows, a step behind them. + + SARAH + Remember when we were young and + were not allowed out in the snow, + and we opened all the windows in + the ballroom and sat there as snow + flurries just wafted in. And when + your governess came in we were + making a snowman and our hands were + blue. + + Anne laughs. Takes Sarah’s hand and presses it. + + ANNE + Oh that was such fun. + + ABIGAIL + (mumbling) + Sounds marvellous. + + SARAH + So many things we have done + together. + + ABIGAIL + (mumbling) + I do love ancient history. + + ANNE + Abigail, did you say something? + + ABIGAIL + 69. + + + I was singing. I cannot get a tune + out of my head. + + SARAH + Well there is so much room for it. + +Abigail laughs uproariously. + + ABIGAIL + Lady Marlborough. You are such a + wit. + + ANNE + You are a dear Abigail. I shall + retire for the evening. + + ABIGAIL + (eagerly) + Shall I prepare your bed Queen + Anne? + + SARAH + Or shall you and I adjourn to your + apartments for sherry? + +A beat. She eyes them both. The moment of choice. + + ANNE + A sherry sounds just the ticket. + +Abigail’s face falls. + + ANNE + Good night Abigail. + + SARAH + Yes, good night dear Abigail. + +Anne and Sarah walk off, hands clasped together. Leaving +Abigail. + + SARAH + You are enjoying all this aren’t + you? + + ANNE + To be beloved. Of course. To see + you trying to win me. Why, what is + not to love my dear? + + SARAH + 70. + + + You will stop this ridiculous + infatuation. You have made your + point. + + ANNE + Perhaps I was not making a point. + They look at each other. Anne + kisses her suddenly. + + +88 INT. ABIGAIL’S BEDROOM - NIGHT 88 + + Abigail sits in a chair, focused but ranting. Masham sits + next to her blithely smoking. + + ABIGAIL + Perhaps because of my past, perhaps + some malformation of my heart... I + blame my father of course... cunt + ..I must take control of my + circumstance. I will need to act in + a way that meets the edges of my + morality. To trust is to risk, and + when I end up living on the street + selling my arsehole to syphilitic + soldiers, steadfast morality will + be a fucking nonsense that will + mock me daily. + + MASHAM + I’m not quite following. + + ABIGAIL + Shhhhh. + + He’s hurt. + + ABIGAIL + I apologise. But... do shhhh when + I’m thinking. + + He nods. + + +89 INT. ANNE’S APARTMENTS - DAY 89 + + Morning. Abigail brushes Anne’s hair. + + ABIGAIL + Your hair is so lustrous. It is + something people in court comment + on. + 71. + + + ANNE + Really. I always thought of it as + nest like. Sarah enters. + + ABIGAIL + (to Anne) + I shall make you tea. + +Abigail goes to a side table where pots and cups are. + + SARAH + What a lovely idea. Thank you + Abigail. + + ABIGAIL + Of course. + + ANNE + (to Sarah) + Pat the kids hello. + +Sarah eyes her, and the rabbits. It is a challenge and she +knows it. She smiles. + + SARAH + Of course. + +She leans over the little temporary rabbit hutch and pats +them, grimacing. Anne smiles. + +Abigail takes some Lily of the Valley flowers from her +apron. + +She pushes them into the pot adding hot water and tea +making sure that the two women don’t notice it. + + SARAH + You will give that speech on the + tax increase in parliament next + week. + + ANNE + I dreamed of the man on the + roadside with one eye. + + SARAH + What man? + + ANNE + When we drove through town. He + stared at me in such a way. I felt + my blood chill. + 72. + + + Abigail takes a cup of tea over to Sarah. + + SARAH + So kind. + + Sarah drinks her tea. Takes a petit four, tosses it in the + air and catches it in her mouth. + + Abigail smiles at Sarah, unnerving her. + + ANNE + Abigail. Do you think people are + angry? + + SARAH + Anne! She does not know. + + ANNE + We should ask people. Bring a group + of people from the villages in and + ask them. + + SARAH + That is not how matters of state + are dealt with. People are led, + they do not lead! Would you leave + Marlborough exposed? He needs + another battalion ready to join + him. And that means money. + + ANNE + Do not yell at me! I am the Queen! + + SARAH + Then for once act like it! + + Sarah walks out. + + +90 EXT. STABLES - DAY 90 + + Sarah walks through the garden. Horses are being prepared + to be ridden. Masham stands there holding two horses. Is + about to speak. + + MASHAM + Is the Queen to- + + SARAH + Do not speak to me. + + Sarah mounts a horse and takes off. + 73. + + + She grimaces as she rides. A slight pain in her stomach. + + +91 EXT. WOODS - DAY 91 + + Sarah is galloping through a wooded area. Sarah suddenly + doubles over with pain, a flop sweat breaking out across + her face. She pulls the horse to a walk. Sarah blinks hard + trying to pull herself together. She suddenly throws up. + + The horse starts to gallop. She pulls listlessly at the + reins. + + Her bowels suddenly open noisily. She topples over. Gets + her foot caught in the stirrup. The horse gallops on as her + head hits the ground and she is dragged, unconscious. + + +92 INT. GOLDEN HALLWAY - DAY 92 + + Abigail walks the hallway determinedly. Shrieking, giggling + and yelling can be heard. A pomegranate comes flying out of + the doorway of a room ahead. It hits the wall and smashes + bloody pink seeds everywhere. + + +93 INT. DRAWING ROOM - DAY 93 + + A group of painted up Tories including Harley have a young + man naked (POMEGRANATE TORY) and are playing dodgeball with + him, using pomegranates as balls. The wall is spattered + bright pink. The young man tries to dodge but gets hit with + one. He goes down and they all slam more pomegranates into + him. Abigail appears in the doorway. + + The men all yell lewd things at her. + + A pomegranate juice spattered Harley comes to her. + + ABIGAIL + I have thought on the terms of our + friendship. + + HARLEY + I thought it was unconditional + love. + + ABIGAIL + I will get you an audience with the + Queen if you ask her a favour for + me. + + HARLEY + 74. + + + Wench. You will- + + ABIGAIL + Harley you do not need me as an + enemy. As it turns out I am capable + of much unpleasantness. + + HARLEY + As am I. + + ABIGAIL + (angrily) + It’s so tiring to be like this! + (calmer) + The Queen has taken a shine to me + and I will drip poison into her ear + regarding you, until she is mad + with hatred for you. Or we will + have a mutually advantageous + friendship. Count of three. Yes or + no? + +He stares at her. + + HARLEY + If you are so close to the Queen, + why not just ask this favour + yourself? + + ABIGAIL + I do not want her to ever think I + want anything from her. + + HARLEY + And have you counselled her for our + side? + + ABIGAIL + No. + + HARLEY + Why not? The country’s future hangs + in the balance. + + ABIGAIL + Uh huh. My thing is what I wish to + talk about. + + HARLEY + You do not care? I thought you were + on our side. + + ABIGAIL + 75. + + + I am on my side. Always. Sometimes + it is a happy coincidence for you. + Like now, you will get a chance to + save the country. + + +94 EXT. WOODS - NIGHT 94 + + The horse walks through the woods. The woods are thicker + now, darker. In the moonlight they pass a man fucking a + woman against a tree. The woman MAE, watches impassively as + the horse drags Sarah past her. The man pulls up his pants + and goes. + + Mae leaves her tree, walks, takes a look at Sarah, then + takes the horse’s lead and leads it away, Sarah dragging + along behind it. + + +95 EXT. PALACE LAWNS - SF - DAY 95 + + Harley walks beside the Queen. + + HARLEY + What tremendous luck to find you in + the garden. + + ANNE + We were taking the air. + + Abigail watches on from a distance. + + HARLEY + You do not like the war. I know + that. + + ANNE + No. I do not. But we must... + fight... for what we fight for. + + HARLEY + Godolphin and Lady Marlborough seem + to have corralled you, so that you + do not get to hear from your loyal + opposition. + + ANNE + I am briefed appropriately. + + HARLEY + Were it in person I’d believe it. + + ANNE + 76. + + + I am often ill. + + HARLEY + True. Sadly true. The war with the + French will bleed us dry even if we + win. We are in our strongest + position now. If Marlborough loses + this next battle we could lose all. + +Anne takes this in for a beat. + + HARLEY + The people hate the war you + realise. They begin to hate you. + +Anne is quiet as she considers what Harley is saying. + + HARLEY + Lady Marlborough has not told you + of the riots in Leeds? + + ANNE + No. But there was a man with one + eye that was...very distressing. + + HARLEY + All I ask is that you search your + heart. + + ANNE + Of course. + + HARLEY + Not Lady Marlborough’s heart. Your + own. I must also talk to you of + your maid. + + ANNE + Abigail. + + HARLEY + I believe that is her name. It + seems Colonel Masham has fallen for + her, he wishes to marry. + + ANNE + But she is a maid. + + HARLEY + It is irregular and inexplicable + but being sentimental I am moved to + help if possible. + 77. + + +96 INT. DRAWING ROOM - DAY 96 + + Anne has gathered with Godolphin, Masham and a few + soldiers. + + Abigail stands nearby. + + ANNE + What do you mean she has not been + seen?! + + MASHAM + She took a horse. It did not come + back and nor did she. + + Anne takes this in, as does Abigail. + + GODOLPHIN + I shall send riders. + + ANNE + I think she means to vex me. Do not + send riders. + + GODOLPHIN + In case she has fallen though. + + ANNE + She is too good a rider too fall. I + know what she is... Do not seek + her. + + +97 INT. BROTHEL BEDROOM - DAY 97 + + Sarah is sweating and feverish, she has an open wound + gouged into her cheek and bruises and abrasions. She comes + to, opens her eyes. A man with his trousers down is fucking + a woman against the wall from behind across from her. Mae + sits beside her sips from a flask of whisky. + + SARAH + Where am I? + + MAE + You’re in heaven. That’s God. + You’ll meet him later. + + SARAH + I must... go. + + Sarah tries to get up but throws up over herself. + 78. + + + MAE + I don’t think that’s happening. Lie + back. + + Mae takes her flask. + + MAE + Stop infection. + + She pours some on Sarah’s wound. Intense pain shoots + through Sarah. She passes out. + + +98 INT. ANNE’S APARTMENTS - NIGHT 98 + + Anne wakes up bathed in sweat, struggling for breath, + clutching at her chest. She rings the bell by her bedside. + + Footman 3 comes in. + + ANNE + Get Lady Marlborough. + + He goes to leave but before he can she screams. + + ANNE + Just take.. me to her! + + +99 INT. GOLDEN HALLWAY - NIGHT 99 + + Footman 3 wheels the Queen in her chair as she writhes in + pain, struggling for breath, panicky. They enter Sarah’s + quarters. No Sarah. + + ANNE + Find her! + + +100 INT. SARAH’S QUARTERS - NIGHT 100 + + The Footman (3) searches vainly, in cupboards, under the + bed. + + He shrugs at Anne. She closes her eyes. + + +101 INT. ANNE’S APARTMENTS - NIGHT 101 + 79. + + + Anne sits up on her bed, her breathing labored. Pails of + hot water steam up the room helping her breathing. Sally + and Mrs Meg bring in more steaming pails set them down and + leave the room. Abigail rubbing a cream into her back as + the doctor takes her pulse. Godolphin stands by. + + ANNE + We must look for her! She could die + out there! There are wolves out + there are there not? + + GODOLPHIN + No Your Majesty. I don’t think so. + There are bandits and... + + ANNE + I think there are wolves! Find her! + + She slumps back in her bed. + + +102 EXT. PALACE GROUNDS - SF - NIGHT 102 + + Ten riders some military, some courtiers head into the + forest with lit torches. Godolphin, in his robe, watches + them depart. + + +103 INT. ANNE’S APARTMENTS - DAY 103 + + Anne sits on a chair in the middle of the room, she is + dressed and her symptoms have passed. Harley and Godolphin + facing her. Abigail sits off to one side, feeding + Godolphin’s duck bits of fruit. + + ANNE + No one knows where she is? + + GODOLPHIN + No one has heard or seen of her. + + ANNE + I thought she was... + + She gets up. Goes to her rabbits. + + ANNE + What if she is- + + ABIGAIL + Perhaps she has gone to Blenheim, + her palace? + 80. + + + GODOLPHIN + There is no palace yet. It is the + woods. + + HARLEY + Well we should check in the trees + just to be sure. + + ANNE + Mr Harley! + + HARLEY + I apologise. I hope we find her, + and she is not dead in a ditch. The + business of state however cannot + stop. The Prime Minister has a + ludicrous and costly idea to- + + GODOLPHIN + Your majesty. There has been no + word from the front in two weeks. + There is no doubt that Marlborough + is in trouble. We need to send a + division immediately to help him. + + HARLEY + (to Godolphin) + Costing a fortune, and built on + your paranoia and walking into God + know what? The messengers could’ve + been killed, found a whore they + liked the taste of. Or it could all + be done and we have lost and they + walk into an ambush. + + GODOLPHIN + Your Majesty I beg of you. + Immediate action is needed. Funds, + men. + +Anne shifts uncomfortably, unused to dealing with things +without Sarah. + + HARLEY + We need to wait. + + ANNE + I... well... I will... think on it + for a- + + GODOLPHIN + This cannot wait. We need to act + now. + 81. + + + Beat. Anne nods, but struggles as to what to do. Abigail + suddenly speaks up from her position seated at the wall. + + ABIGAIL + Is it somewhat like going late to a + party. If the party’s going well, + they did not need you and resent + the intrusion. If it is going + badly, you cannot save it, but tend + to get excruciatingly bored and + regret you ever put on your nice + gown for it. + + They look over at her. + + GODOLPHIN + It is not like a party! + + ABIGAIL + I’m sorry Prime Minister, a passing + thought. + + ANNE + I think it is like a party. + + HARLEY + A perfect analogy. + + ANNE + We will wait. But they should be in + their dresses ready to go at a + moments notice. Shift a division to + the coast and have a boat at the + ready. + + Godolphin, furious, walks to his duck and picks up the + lead. + + +104 INT. BROTHEL BEDROOM - DAY 104 + + Sarah pushes herself upright, she is a bit better, but + still weak. She steadies herself, across the room. The big + man, God, real name Kevin, sits there. + + She picks up a hand mirror and looks at the damage to her + face. The gouge has a couple of rough stitches in it and + has scabbed over. + + SARAH + Boy. Fetch me a carriage. + + He looks at up her. Shrugs. + 82. + + + KEVIN + Mae says no. + + SARAH + I’m leaving. Help me up. + + KEVIN + Shut up. Or I’ll give you something + to do with your mouth. + +Sarah stands up. He stands up. He pulls a hard leather cosh +out of his pocket, lazily smashes the cup that sits on a +table next to him. Stares at her. + + KEVIN + Mae says no. Mae says no. + + SARAH + Why don’t you think for yourself? + + KEVIN + I can hurt you if I have to. She + said. But I get to decide if I have + to. So that is thinking for myself. + +Mae enters the room. + + MAE + Feeling better then? + + SARAH + Is my horse alive or did you eat + it? + + MAE + I sold it. Still didn’t pay for + your upkeep. But you look better. + Don’t worry about the face, some + men like that. Not many, but some. + + SARAH + Thank you for your kindness but I + need to leave. + + MAE + You still owe me though. You can + suck for your supper from now on. + I’ll take twenty percent. You seem + posh, gents will like that. + + SARAH + Have you ever seen ten gold + sovereigns? + 83. + + + MAE + In my dreams. + + SARAH + Go to Hyde Park fountain at nine in + the morning and you’ll see a man + walking a duck. + + +105 INT. ANNE’S APARTMENTS - NIGHT 105 + + Anne lies in bed, a bit feverish. Abigail sits with her. A + cold compress on her head. Anne’s eyes flip open. + + ANNE + Abigail. I worry something has + befallen her. It is night. Out + there alone. + + ABIGAIL + She is strong. She will be fine. + + ANNE + Yes, yes, she will. She saved me my + whole life. Without her I am + nothing. She seems devastated. + + ABIGAIL + That is not true. You are the + Queen. + + ANNE + I am tired. It hurts, everything + hurts. Everyone leaves me. Dies. + Finally her. + + She closes her eyes for a beat. Then suddenly opens them. + An anger in them this time. + + ANNE + If she is not dead, I will cut her + throat. She may be trying to hurt + me, make me dissolve and dissemble + and... I will not! + + ABIGAIL + Sssh. She is fine. They will find + her. + + ANNE + I do not care. You are such a + beautiful person. You glow with... + loveliness. We must marry you. + 84. + + + ABIGAIL + What? + + ANNE + Colonel Masham wishes to marry you. + + ABIGAIL + He does? + + ANNE + Yes. You have captured him. + + ABIGAIL + That is... absurd. I have nothing + to offer. I am a penniless servant. + It would be career suicide. + + ANNE + Your first thought is for him? You + are a darling. + + ABIGAIL + I care for him. Not as I care for + you, but enough to marry. I will + not lie, I would like to be a Lady + again. I am not perfect. + + ANNE + Yes. Yes. + + She gets up. + + ANNE + This is right. While she is gone. + If we wait she will return and yell + and stomp about it. But you must + have this. It is a gift I give you + and I demand you take it. + + ABIGAIL + Of course. When will- + + ANNE + Now! Of course it must be now! + + +106 INT. CHAPEL - NIGHT 106 + + A garland of white flowers sits on Abigail’s head. + Abigail’s face is masked by her veil. Her and Masham stand + in front of a chaplain. + + Anne and Harley are the only guests. Harley is unmade up. + 85. + + + Sleep in his eyes. + + MASHAM + I, Samuel Masham, take thee, + Abigail Hill, to be my lawful + wedded wife. + + ABIGAIL + I, Abigail Hill, take thee, Samuel + Masham, to be my lawful wedded + husband. + + Masham places the ring on Abigail’s finger. + + MASHAM + With this ring I thee wed, with my + body I thee worship, and with all + my worldly goods I thee endow. + + They kiss. Anne applauds, as does Harley. + + +107 INT. PRIVY PURSE OFFICE - NIGHT 107 + + Abigail sits at the table. She enters “2000 Guineas” into a + ledger. Anne, Harley and Masham look on. + + ABIGAIL + It is most generous. I am + overwhelmed. + + ANNE + Shall we say ‘gambling debts’ Mr + Harley? + + HARLEY + Excellent. + + Abigail writes ‘gambling debts’ against the figure. She + turns the ledger around to Harley. Harley signs off on it. + Anne hands Abigail a promissory note with a seal on it. + + ANNE + You are to take apartments on the + east wing. + + MASHAM + Thank you Your Majesty. + + Abigail smiles. Jumps up and down happily. + + ABIGAIL + Thank you! Thank you! + 86. + + + They pop champagne. + + ANNE + It is fun to be Queen sometimes. + + HARLEY + One can only imagine. + + +108 INT. ABIGAIL’S BEDROOM - NIGHT 108 + + Masham lies on the bed, semi naked. Abigail’s at the window + staring out into the darkness. + + MASHAM + You’re looking the wrong way. + + ABIGAIL + Where could she have gone? You rode + through the forest looking for her? + + MASHAM + I have told you before. + + ABIGAIL + She would be sick, for several + days, but she would be near + recovered by now. + + MASHAM + She probably went back to + Southampton. + + ABIGAIL + To do what? To plan what? To get + ready, to- + + MASHAM + I am as hard as a rock and it is + our wedding night! + + She goes and sits on the bed. He reaches for her. She + pushes him away. + + ABIGAIL + Lie still. + + She puts her hand under the sheet and gives him a hand job + as she continues talking. + + ABIGAIL + 87. + + + Now she is gone I find myself more + concerned than when she was here. + For it is like she could strike + from anywhere at anytime, and I + will not see it coming. + + He moans. + + ABIGAIL + Sssh. I must be calm. She is gone, + I am married. But I must be ready + and yet how to be ready when one + does not see the enemy. My life is + a maze I continually think I have + found a way out of, only to find + another corner in front of me. + + He groans loudly. Cums. She stares blankly ahead. + + +109 INT. BROTHEL CORRIDOR - DAY 109 + + A bemused Godolphin leading a duck follows MAE past semi + naked whores and clients. + + +110 INT. BROTHEL - DAY 110 + + Sarah sits on her bed. The door opens, it’s Mae with + Godolphin and his duck. + + Godolphin barks out a laugh. + + GODOLPHIN + What happened, are you alright? + + SARAH + That cunt Abigail poisoned me, Mary + Magdalene found me. + + GODOLPHIN + Did they rape you? + + SARAH + No they didn’t, but gainful + employment is on offer should I + need it. + + GODOLPHIN + Abigail did this? + + SARAH + Yes. How goes the Kingdom? + 88. + + + GODOLPHIN + The Queen is considering a peace + treaty offer to the French. And to + switch two positions in cabinet to + them. + + Harley suddenly has her ear. + + SARAH + Had. Had her ear. Take me home. + + She stands. Nods to Kevin who nods back. She exits. + + +111 INT. DRAWING ROOM - EVENING 111 + + A court tea. A dozen Ladies including Abigail in a new + dress are talking and having tea. + + A young boy sits at a piano playing as a woman accompanies + him in song. She finishes and there is polite applause. The + Ladies go back to talking. + + They are suddenly aware of Sarah walking into the room. + + SARAH + Ladies. + + All the Ladies stop talking and look to her. + + SARAH + Well, I could always silence a + room. + + Abigail stands. + + SARAH + Oh dear, the servant is dressed in + the clothes of a Lady. How + whimsical. Is it a game of some + sort? + + Some of the Ladies titter. + + ABIGAIL + Lady Sarah, my dear friend and + cousin, how good to see you have + returned from...? + + SARAH + Hell. I’m sure you will pass + through it sometime. + 89. + + + ABIGAIL + You have missed a few things. My + marriage. It was a simple affair + but beautifully done. + + SARAH + Everyone leave. + + Abigail stays where she is as the others depart. + + SARAH + If you offer me tea, you’ll forgive + me if I shan’t accept. + + ABIGAIL + I searched my heart and I did not + have trust in it and that is my + shame. I could not just stand by + and let you destroy me. You maybe + taught me that. But it is over now. + I have won, I am safe. We do not + need to fight anymore. Is that not + grand? If you just forgive me, we + can be happy together. + + Sarah slaps her three times across the face. Abigail falls + to the floor. She looks up at Sarah. + + ABIGAIL + Obviously you have some anger to + expiate. I will allow it this once. + + Sarah smiles at her. + + SARAH + Congratulations on your wedded + bliss. + + She walks out. Abigail lies on the floor. Smiles to herself + + +112 INT. ANNE’S APARTMENTS - NIGHT 112 + + Anne is asleep in bed. Sarah unlocks the secured door and + enters. She sits on the bed. Watches Anne for a second. + Leans over and blows air in her face. Anne flickers awake. + Stares at her, stunned. + + ANNE + Your face. + + SARAH + 90. + + + Do I look that bad? If I was a man + it would seem quite dashing, a scar + like this. + + ANNE + Where have you been Sarah? Why did + you leave like that? + + SARAH + I went riding, some bandits + attacked me, it took me a while to + fight them off. + + ANNE + Your poor face. + + SARAH + You should see them. And you have + been well I trust? Well taken care + of. Men were eventually sent to + find me I hear. + + ANNE + I worried for you. I... thought you + were... You did not do it to hurt + me? + + SARAH + I do not play games with you. + + ANNE + I know. I know. + +Anne gets up and moves to her night table puts on a robe. + +Sarah goes to her takes her hand, gently. + + SARAH + Look at me. I will say this plainly + and once my dearest one, you must + send Abigail away. + +Anne stares at her. + + SARAH + From my heart Mrs Morley. Do it. + + ANNE + I do not want to. + + SARAH + She is a viper. + 91. + + + ANNE + You are jealous, it is very sweet. + You always said I needed too much + love from you. Now with you both I + have enough. Please accept that. + Love her as me. You have been + rather mean to her, I would also + like that to change. + + SARAH + You will do as I tell you. + +A loud knock on the door. + + FOOTMAN O/S + The Prime Minister and Mr Harley! + + SARAH + Not - + +A footman opens the door. + +Harley and Godolphin enter. Godolphin clutching a note. + + SARAH + What is it!? + + HARLEY + A thousand pardons your Majesty. + But word from the front. + + SARAH + What has happened? + + GODOLPHIN + Marlborough is ready, he has them + outflanked. He needs a garrison to + attack the coast. + + SARAH + We must prepare quickly. + + HARLEY + The Queen has already readied a + garrison. + + ANNE + Let them go to the party now. + +Sarah is caught off guard. + + SARAH + What...party? + 92. + + + GODOLPHIN + Of course your majesty. + + ANNE + It happened while you were gone. + Thank you gentleman, keep me + informed of all progress. + +Anne is pleased and bolstered by her decision + + SARAH + You may leave. I would like to + speak to the Queen alone. + + ANNE + Yes. Leave us. + +They bow and make their way to the exit. + + HARLEY + It is good to see you home and + looking so well Lady Marlborough. + +They traipse out. Sarah composes herself. The doors shut. + + SARAH + Now, You did very well with the + divisions. + + ANNE + I know I did. + + SARAH + However the two new Cabinet + positions they must stay with the + whigs. + + ANNE + I am the Queen. Do not try to... do + that thing you do. + + SARAH + Do not try to manage this as you + cannot. I know Harley has been in + your ear and Abigail in your - + + ANNE + Enough! You must be as I wish you + to be now. Do you understand? + + SARAH + Anne. + 93. + + + Sarah takes her hand, tries to pull her into a kiss. Anne + pushes her away. + + ANNE + Don’t. + + Sarah pushes her against the wall. + + ANNE + Your face frightens me. Don’t. + + They struggle, Sarah pushing herself on Anne, Anne spinning + her, so that Sarah lands on the ground on her arse. + + ANNE + Good night Lady Marlborough. + + SARAH + You do not do this! You do not! + + Anne leaves and walks away. The door opens, where Sarah + sees Abigail is holding it open. The Queen exits, the door + shuts. + + +113 INT. SARAH’S QUARTERS - NIGHT 113 + + Sarah lies in bed awake, staring at the ceiling. She has a + face plaster over her injury now. She gets up, goes to her + drawer and pulls out bundles of letters. + + +114 INT. ANNE’S APARTMENTS - DAY 114 + + Anne blinks awake. As Sarah throws back the drapes. + + SARAH + Morning. + + ANNE + Morning. + + SARAH + I think I’m becoming quite + sentimental as I get older. + + ANNE + I don’t think you have the capacity + for sentimentality. + + SARAH + 94. + + + I didn’t think so either, but so + much is surprising me lately. I + started looking over some of the + many, many, many letters you’ve + written to me. + + She pulls some out, starts quoting from them. + + SARAH + ‘I long for your embrace’, ‘I long + for the heat from your naked body + on mine.’ Very intense. Very... + explicit. + + ANNE + What are you- + + SARAH + I thought I’d misplaced some of + them the other day. Quite a fright. + What if say that son of a bitch + Jonathan Swift got them? In his + newspaper the next day? You would + be ruined. + + Anne stares at her. + + ANNE + You would never. + + SARAH + You have no idea what I would do + for my country. And for you. + + ANNE + Ruin me? You would do that? + + SARAH + I will use these letters unless you + announce the tax rise, change the + Cabinet as I wish, and get rid of + Abigail. + + She gets up and leaves. + + +115 INT. PARLIAMENT - DAY 115 + + The Whigs and Tories gather on either side of the + Parliament. + + They wait. + 95. + + +116 INT. ANNE’S APARTMENTS - DAY 116 + + Abigail is dressing Anne for the Parliament. Anne sits, + staring out the window. Abigail lifts the crown, briefly + pops it on her head, likes the look of it. She walks over + to Anne. + + ANNE + Do you not wish to know what I have + decided? + + ABIGAIL + I wish to know you are happy and + that your spirit will lighten once + this is done. + + +117 INT. SARAH’S QUARTERS - DAY 117 + + Sarah stands by her desk getting ready. + + She looks at the pile of Anne’s letters, flips one open. + + Reads it. She smiles. Tears well up in her eyes. + + Suddenly takes the letters and throws them in the fire. A + Courtier (SPEAKING COURTIER) enters. + + COURTIER + The Queen requests the return of + your key. You will return it and + vacate Court today. + + SARAH + Where is she? + + COURTIER + You are to hand over the key. The + Queen will not grant you an + audience. + + She takes the key from around her waist and hands it to + him. + + +118 INT. SECRET PASSAGEWAY - DAY 118 + + Sarah walks fast down the secret hallway. She bangs on the + door. + + Sarah peers through the keyhole. She can see Anne sitting + on her bed. + 96. + + + SARAH + Anne! I handed over my key. + +Anne ignores her. + + SARAH + You are angry I know. I am sorry. I + went quite mad for a moment. Just + open the door. + +Anne ignores her. + + SARAH + I burnt the letters. I burnt them. + Do what you will. + +Sarah hears Anne get up and come to the door. She waits. +Anne considers opening the door, but stops herself. + +She presses her forehead on the door. + + SARAH + I will not come back. Do you + understand! I will go and be gone! + Abigail has done this. She does not + love you! + + ANNE + Because how could anyone? She wants + nothing from me! Unlike you. + + SARAH + She wants nothing from you, and yet + somehow she is a Lady with two + thousand a year, and Harley sits on + your knee most nights. + + ANNE + I wish you would love me as she + does. + + SARAH + You wish me to lie to you?! ‘Oh you + look like an angel that fell from + heaven your Majesty’. No! Some days + you look like a badger. And you can + rely on me to tell you. + + ANNE + Why?! + + SARAH + 97. + + + Because I will not lie! That is + love! + + Anne stops a beat. + + ANNE + I must go attend to my duties. + + Walks out of the room. + + +119 INT. SECRET PASSAGEWAY - DAY 119 + + A dazed Sarah walks back along the hallway. + + +120 INT. PARLIAMENT - DAY 120 + + Whigs on one side. Tories on the other. Anne enters. They + all stand. They all bow. She takes her papers out. Looks at + them. + + Godolphin looks for Sarah. Anne clears her throat. + + ANNE + I have. I have over the last + several months been unhappy with + the government. Lord Godolphin has + lost my confidence. Therefore I am + announcing the new Prime Minister + will be Mr. Harley. Godolphin, I + thank you for your service. We will + sue for peace with France + immediately. I have spoken. All + depart. + + A shell-shocked silence. Then all hell breaks loose, as + Anne walks from the stage. Comes out into: + + +121 INT. SARAH’S QUARTERS - DAY 121 + + Servants and Footman (2) are in her apartments, piling + things into boxes. Sarah stares at them. Abigail stands by + supervising. She has the key around her waist. A servant + moves a couch. + + ABIGAIL + Leave that. I like it. + + Abigail smiles at Sarah. + + ABIGAIL + 98. + + + I am moving in. The rug stays too. + + SARAH + Oh my God. You actually think you + have won. + + ABIGAIL + Haven’t I? + + Abigail twirls the key. + + SARAH + We were playing very different + games. + + ABIGAIL + Well, all I know is, your carriage + awaits and my maid’s on her way up + with something called a pineapple. + + +122 INT. ANNE’S APARTMENTS - NIGHT 122 + + Anne stands alone by the window. + + She watches as Sarah walks past outside, servants carrying + her bags. A sadness on her face. + + +123 INT. CARRIAGE - SF - NIGHT 123 + + Sarah sits in the carriage, luggage beside her. She looks + back at the palace. Hoping Anne might come out, for some + reprieve. + + DRIVER + Go? + + Sarah waits a moment longer. Then, sadly. + + SARAH + Go. The carriage pulls away. + + CUT TO + + ONE MONTH LATER + + +124 INT. GREAT HALL - NIGHT 124 + 99. + + + A dinner party is going on. An acrobat performs. Abigail + holds court at the head of the table. She is a bit drunk. A + MAGICIAN makes fire come out his mouth. + + ABIGAIL + Do it again! + + He does. She excitedly picks up a glass and hurls at the + wall. It smashes. Everyone roars with laughter. And follows + suit. She goes and sits on a soldier’s lap. Masham watches + her. A courtier comes to her. + + +125 INT. ANNE’S APARTMENTS - NIGHT 125 + + Anne is at a table, she is trying to work on papers. She + can’t see clearly and uses a magnifying glass. One of her + arms hangs limply at her side. Abigail trips over as she + enters. + + ABIGAIL + Ow... I am here. + + ANNE + Do my legs please. + + ABIGAIL + Of course. + (to the maid) + Hot towels now! + + Abigail goes and gets a silver dish of the paste. She + wobbles a bit as she walks. + + ANNE + Are you drunk? + + ABIGAIL + I have had wine. Very good wine. I + could get you some. It would ease + you. + + ANNE + No. + + Abigail starts massaging the paste into her legs.. + + ANNE + I do not understand these... + papers. + + ABIGAIL + 100. + + + I am feeling unwell. Excuse me a + moment. + + Abigail suddenly gets up, goes and throws up in a nearby + vase. + + ABIGAIL + Sorry. I am unwell. + + ANNE + Lay down and I will fetch the + doctor my love. + + ABIGAIL + Thank you. + + Abigail lays on the couch. Anne winces in pain. Tries to + refocus on the papers. Abigail starts snoring. + + +126 INT. SARAH’S SOUTHAMPTON HOUSE - DAY 126 + + Sarah is sitting, staring at the Blenheim model. Godolphin + is with her. + + GODOLPHIN + How is early retirement? + + SARAH + Dull. What goes on? + + GODOLPHIN + They have brokered a peace with the + French, giving up too much of + course. + + SARAH + Of course. + + GODOLPHIN + Marlborough returns in a week. + + SARAH + Harley will move to have him + replaced. + + GODOLPHIN + ...I hadn’t seen it, but of course. + + SARAH + I will rip his mole from his face. + You must stop it Godolphin. + 101. + + + GODOLPHIN + I only have so much sway without + you there. + + SARAH + I will tell you how, and you must + use my words. + + GODOLPHIN + It would be easier to pull my + strings if you were back at court. + +Beat. + + GODOLPHIN + Obviously you have chosen to keep + the particulars of your dismissal + from me. I shall leave a gap in the + conversation for you to remedy + that. + + GODOLPHIN + I do not know of women and their + feelings. But I know they nurse + their hurts like wailing newborns. + + SARAH + Godolphin, I feel a surge of desire + to see your nose broken. Your + point? + + GODOLPHIN + A letter. An apology of some sort + that facilitates your return. + +Beat. + + SARAH + There are limits to what one can + give. + + GODOLPHIN + You once told me quite the + opposite. + +Beat. + + SARAH + How is Anne? Happy? + + GODOLPHIN + She seems...as mercurial as ever. + Her health suffers however. + 102. + + + Sarah considers this. + + +127 INT. ANNE’S APARTMENTS - DAY 127 + + Anne sits in a chair, a rug on her knees, she is asleep, + her left arm hangs limply be her side. She snaps awake, + focuses and is slightly surprised to see she is surrounded + by a dozen members of the cabinet. Harley holds court. + + HARLEY + Now that the peace with France has + been made- + + A cheer goes up from half the cabinet. Godolphin looks + glum. + + HARLEY + Marlborough’s return back to + England is imminent. I wonder Your + Majesty whether it is right that he + is left as head of our forces? + + Godolphin is outraged. + + GODOLPHIN + He is a hero who won the peace for + us! HARLEY Indeed. But he would + have launched us into a bloody war + that would have ruined us. So + there’s that. + + GODOLPHIN + We have made a poor peace that we + will rue. + + Anne grunts and tries to compose herself, sit up. Sally + comes and picks her arm up and places it on the pillow on + her lap. Harley forges on. + + HARLEY + Well, our people are happy. I + suggest, Queen Anne, that as a + gesture of our graciousness to + France perhaps he should be stood + aside? A new era of peace and + prosperity, a new day, a door to a + new future, metaphors abound. + + GODOLPHIN + 103. + + + It will look like we surrendered + and the palace will be surrounded + with men who lost eyes and arms in + the war angry at this slight on + their leader. + + ANNE + Men with... + + GODOLPHIN + They will stare in at us with rage. + + HARLEY + What a preposterous idea Godolphin. + What are you- + + ANNE + I...a...am tired...I will ponder + it. Thank you all. + +Harley bows. The members of cabinet begin to file out. + +Godolphin lingers. + + GODOLPHIN + Your Majesty, may I broach the + matter of Lady Marlborough? + + ANNE + No. You may not. + + GODOLPHIN + A breach in a dear friendship, + surely this could be healed? + + ANNE + Some wounds will not close. I have + many such. One just walks around + with them. Sometimes one can feel + them filling with blood. + +Beat. + + GODOLPHIN + Quite. Lady Marlborough is a woman + of passion. Perhaps she behaved + rashly and is apologetic for her + behaviors? + + ANNE + You know this? + + GODOLPHIN + 104. + + + I... believe it to be so. + + Anne takes this in. + + GODOLPHIN + Her love and loyalty to you and + this country are her reasons for + living. Perhaps she could write you + and we could attempt to repair at + least one wound in our Queen? + + ANNE + I cannot stop her. I would imagine + it is pointless and I would dash + the letter into the fire. But... I + cannot stop her. + + Godolphin nods with a small smile. + + +128 INT. PRIVY PURSE OFFICE - DAY 128 + + A noisy rabble stand before Abigail, pressing their claims. + + ABIGAIL + Shut up please. SHUT UP! + + Harley enters. The room silences. + + HARLEY + A moment. + + ABIGAIL + We will reconvene with some order + and grace after lunch. + + +129 EXT. GARDENS - DAY 129 + + Abigail walks with Harley. + + ABIGAIL + I cannot control them. Whining for + more. + + HARLEY + Marlborough will return soon. + + ABIGAIL + What is that to me? Your politics + is dreary Harley. I have what I + want, you have what you want. Our + business is done. + 105. + + + HARLEY + If Marlborough remains head of our + forces she has every right to be at + court. Even if she is at odds with + the Queen. + + ABIGAIL + I see. + + HARLEY + I imagined you would. The Queen and + her must not have the opportunity + to repair this wedge between them. + For if they do I pity what Lady + Marlborough will make of you. If + there was some gentle nudge you + might provide to the Queen’s + cogitations on this issue. + + Abigail nods. + + +130 INT. SARAH’S SOUTHAMPTON HOUSE - DAY 130 + + Sarah sits at her desk, she dips a pen in an ink well, puts + it to the paper, but cannot begin. The ink just runs into a + blob. She casts that sheet of paper aside. Starts again. + + ‘You cunt’ + + And starts again... ‘God I miss you’ + + And again... + + ‘I dreamt I stabbed you in the eye’ And again... ‘My + dearest Mrs Morley’ + + She continues writing the letter. + + +131 INT. ANNE’S APARTMENTS - DAY 131 + + A pile of mail, Anne is on the bed surrounded by rabbits. + She is, casting aside letters manically with her good hand. + + Nothing. Abigail has entered and is watching. + + ANNE + (TO FOOTMAN 4) + Are you sure this is all the mail? + + ABIGAIL + You seek something? + 106. + + + ANNE + No. A...fabric piece from my cousin + in Florence. + + ABIGAIL + I’m sure it will come. + +The footman (4) nods. Abigail signals him to leave. She +stands with the privy purse books. + + ABIGAIL + Everyone is on the bed. Shall I + join? + + ANNE + Of course. + +She sits. Takes the Queen’s hand. + + ABIGAIL + I am in a quandary and you are my + dearest one. I do not know whether + to speak of... + + ANNE + What is it? + + ABIGAIL + I will... I am not sure. + + ANNE + I do not like this, you will lodge + this unknowable thing in my brain + and it will eat me with horrible + possibilities. + + ABIGAIL + It is not horrible dear Anne. It is + just money. + + ANNE + Money? + + ABIGAIL + I have found in the books, large + amounts of money that seem to have + flowed to Marlborough. But is not + reflected in the forces receipts of + expenses. + + ANNE + What? + 107. + + + ABIGAIL + It is gone. I did not know who’s + attention to bring it to. Shall I + request it back on his return? + Quietly perhaps? + + ANNE + You are saying Sarah diverted money + to him? + + ABIGAIL + It does seem so. Some seven + thousand. + + Anne looks at her a beat. Utterly certain. + + ANNE + She would not. + + ABIGAIL + It is just- + + ANNE + She would not! + + Anne stares at her, like she sees through her suddenly. + Abigail scrambles. + + ABIGAIL + I am of course, perhaps mistaken in + the bookkeeping. Sometimes all + these numbers are dizzying. And + they often do add up on second or + third attempt. They are as fickle + as humans. A simple explanation I + am not seeing. We shall banish it + from our minds. We should take the + children for a walk in the garden? + + ANNE + No. Thank you. I need to rest. + + Anne lies down stares at the ceiling. + + ANNE + You may go. + + Abigail bows, looks at all the torn mail. + + +132 INT. HALLWAY - RED STAIRS - DAY 132 + + Abigail exits into a hallway knowing she slipped up. + 108. + + + ABIGAIL + Fuck! + + +133 INT. SARAH’S - NOW ABIGAIL’S - QUARTERS - DAY 133 + + Morning. Abigail sits drinking tea. Sally enters she + carries a tray of mail. She puts it before her. + + SALLY + I need to put it back. + + Abigail ignores her. It is all addressed to the Queen. She + leafs through her mail. See’s Sarah’s wax seal on a letter. + Takes it. + + ABIGAIL + Be gone. + + Sally takes the rest of the mail and goes. Abigail opens + the letter. She reads it. + + Is strangely touched. Wipes a tear away. + + She tosses it in a nearby fire. + + +134 INT. ANNE’S APARTMENTS - DAY 134 + + Anne frenetically goes through her mail on the bed. Tosses + letters away. Abigail watches. Anne summons a Footman (4), + he leans toward her. + + ANNE + This cannot be all of it! + + FOOTMAN + It is M’aam. + + She snaps. + + ANNE + Don’t lean at me! + + ABIGAIL + Shall we request another fabric + piece from your cousin in Florence? + Maybe it was lost or eaten by mice + on the long journey. + + ANNE + No. Just. I would like to know all + my mail is here. + 109. + + + ABIGAIL + Of course. Footman go and check + again. Immediately! Incompetent! + + He scurries away. Anne settles back. + + ABIGAIL + They are waiting. + + +135 INT. ANNE’S APARTMENTS - DAY 135 + + Anne is propped up in a chair. She holds her stomach, + grimaces, a tray of hot chocolate and cake half eaten + beside her. Anne is breathing in a labored fashion. The men + swim in and out of focus. They are in the middle of a + cabinet meeting. Harley, Godolphin and a small group of + politicians are arguing. + + HARLEY + Marlborough is at Southampton. We + need a decision. + + GODOLPHIN + Your Majesty if I- + + ANNE + There was very little mail today. + + Godolphin takes this in. Harley not sure what is going on. + + HARLEY + Quite. If I may, the situation with + Marlborough. + + ANNE + He is stealing from me! + + GODOLPHIN + What? Your Majesty that is + preposterous. + + ANNE + Lady Abigail. The privy purse. Is + it not true they have stolen from + me? Damaged us? + + Abigail is stunned. She nods slowly. + + ANNE + 110. + + + It is all there in black and white. + She must be ruined and banished + from their beloved England. They + are not loyal! They would hurt us, + our country, the Queen! + + GODOLPHIN + Your Majesty if I may- + + ANNE + You may not. He will be charged. + They will be banished! I have + spoken. Get out! + + +136 INT. SARAH’S SOUTHAMPTON HOUSE - DAY 136 + + Sarah is drinking tea with Marlborough. She checks out the + window, anxiously. + + A group of armed riders approach the house, a BAILIFF at + the head of them. She takes this in for a shocked moment. + + SARAH + The mail is here. + + He looks up at her. She smiles. + + SARAH + I am suddenly so tired of England + my darling. Perhaps we should go + somewhere else. + + +137 INT. ANNE’S APARTMENTS - DAY 137 + + Anne lies in bed, she opens her eyes. Sees Abigail sitting + in a chair, reading by the window, dropping a madeleine + into her mouth. + + A rabbit wanders near her foot, she lifts a foot and traps + the rabbit under her foot. It struggles for a moment. She + lets it go with a smile. Anne slides herself out of the + bed. + + Lands on the floor, in pain. Abigail hears a grunt. Sees + Anne is on the floor crawling, in pain. + + ABIGAIL + Anne. + + Abigail rushes to her, takes her under the arms to help her + up. + 111. + + + ABIGAIL + Darling Anne. Let’s get you in a + chair. + + ANNE + How dare you touch the Queen like + that. + +Anne leans on the wall. + + ABIGAIL + I’m sorry. I- + + ANNE + I did not ask you to speak. + + ANNE + My leg. Rub it. + + |ABIGAIL + You should lie down. + + ANNE + You will speak when asked to. + +Abigail gets it, drops to her knees starts rubbing. + + ANNE + I am so dizzy...I need to hang on + to... + +She grabs at Abigail’s hair, wraps a hunk around her +fingers, holding it hard. Abigail winces. + + ANNE + Something... + +Abigail rubs, looks over at the cage full of rabbits across +the room sitting staring at her. + +Anne winces in pain stares at the wall. Closes her eyes. + +THE END + \ No newline at end of file diff --git a/scripts/The Fly.txt b/scripts/The Fly.txt new file mode 100644 index 0000000000000000000000000000000000000000..e4fa5bf62aca18d43bfe48c9ecb86cc5bed3f17f --- /dev/null +++ b/scripts/The Fly.txt @@ -0,0 +1,5111 @@ + 1. + + + + +1 INT. HOTEL CONFERENCE ROOM - NIGHT 1 + + We are close on the face of SETH BRUNDLE, aging molecular + physics wunderkind. He is not aging too badly, however, and + looks much younger than his 38 years - playful child face, + slightly heavy - a big kid. Even his arrogance is somehow + engaging, especially now as he talks to someone who is, for + the moment, off camera. Someone he seems eager to impress. + + BRUNDLE + What am I working on? I’m working + on something that will change the + world and human life as we know it. + + The off-camera voice that replies is female and matter-of- + fact, and belongs to VERONICA QUAIFE, who is evidently + someone not likely to be easily impressed. + + VERONICA (OC) + Change it a lot or just a bit? + You’ll have to be more specific. + + Brundle lifts a glass of Scotch to his mouth and takes a + sip. He glances around the room which we have not yet seen. + + BRUNDLE + You want me to be specific here, in + this room, with half the scientific + community of North America + eavesdropping? + + CUT TO VERONICA + + who is a very attractive woman in her mid-twenties. She is + as focused and analytical as Brundle is sloppy and + puppyish. She toys with a drink but does not taste it. + + VERONICA + Is there another way? + + Brundle chews nervously on a fingernail. + + BRUNDLE + You could come back to my lab. I’ll + make you a cappuccino. I have a + Faema of my very own. Not the + dilettante’s plastic kitchen model. + A real restaurant espresso machine. + + Veronica studies Brundle carefully. + 2. + + + VERONICA + Somehow I get the feeling you don’t + get out much. + + BRUNDLE + (AMAZED) + You can tell that? + + VERONICA + Yeah. + + BRUNDLE + Actually I’ve been alone working + for a long time now. + +Veronica picks up her bag - it's big and leathery and full +of notes and books - and starts to move off through the +room. Brundle grabs his drink and follows her. Scotch slops +all over Brundle's hand and cuff, but he doesn't seem to +notice it. + + BRUNDLE + Hey! How about it? Are you coming + with me? + + VERONICA + Sorry, I've got three other + interviews to do before the party's + over. + +We pop back and take a look at the room Brundle and +Veronica are in. It is an enormous HOTEL CONFERENCE ROOM +full of rather eccentric science types. A GAUDY BANNER +running the entire length of the room proclaims: + +BARTOK science industries + +FOURTH ANNUAL + +MEET-THE-PRESS LUNCHEON. + +Brundle has to struggle through the crowd to keep Veronica +within earshot. + + BRUNDLE + Yeah. But they're not working on + something that will change the + world as we know it. + + VERONICA + They say they are. + 3. + + + Brundle manages to wedge himself in front of Veronica and + slow her down. He takes a quick sip of his drink, but + there's almost nothing left: it's all on his sleeve. + + BRUNDLE + Yeah, but they’re lying. + (PAUSE) + I'm not. + + Veronica takes a closer look at Brundle. Despite his soggy + sleeves, he is very convincing. + + +2 INT. VERONICA’S CAR - NIGHT 2 + + Veronica drives through the night in her clapped-out + Renault Le Car. Brundle is turning green. + + VERONICA + Are you sick? + + BRUNDLE + (QUEASY NONCHALANCE) + Oh, sure. + + VERONICA + You’re not a very accomplished + drunk. + + BRUNDLE + I’m always like this. Motion + sickness. When I was a kid I puked + on my tricycle. I hate vehicles. + + VERONICA + Should I drive more slowly? + + BRUNDLE + No, just turn left. We’re almost + there. + + +3 EXT. LAB WAREHOUSE - NIGHT 3 + + Le Car pulls up outside a huge, dilapidated warehouse by + the waterfront under a freeway. Veronica helps Brundle out + of the car. + + VERONICA + This is it? + + BRUNDLE + It's cleaner on the inside. + 4. + + +4 INT. WAREHOUSE STAIRWAY - NIGHT 4 + + Veronica and Brundle climb the warped wooden stairs to the + fourth floor. Brundle is breathing hard, very out of shape. + He uses the ornate railing to haul himself from step to + step. + + VERONICA + Nice rai1ings. + + BRUNDLE + (BREATHING HARD) + Yeah. They’re original. + + VERONICA + You doing marine experiments? + + BRUNDLE + No, why? + + VERONICA + That fishy smell. + + BRUNDLE + Oh, that. Used to be a packing + house for fish. It’s deserted right + now, except for me. I’ve got the + whole fourth floor. The top floor. + + VERONICA + Want me to carry you? + + BRUNDLE + Maybe next time. + + +5 INT. LAB - NIGHT 5 + + Veronica and Brundle enter Brundle’s lab through an ancient + steel-and-rotting-wood sliding door. It is immediately + obvious that the lab is not just a lab: Brundle lives here, + and he lives messy. There is junk everywhere, amongst which + are a couple of mattresses lying on the floor. + + The immense warehouse space is only partially divided by a + couple of brick half-walls and by the square wooden pillars + which soar up to a system of interlocking sky 1ights above. + + Almost unnoticed amid the chaos stand TWO GLASS BOOTHS with + molded plastic bases. They are at opposite ends of the room + and look very much like an Italian designer's version of + hi-tech telephone booths or, possibly, portable shower + stalls. + 5. + + +The whole thing feels completely wrong to Veronica. + + VERONICA + Listen, maybe this is a bad idea. + + BRUNDLE + (JOKING) + Too late. You’ve already seen it. I + can’t let you leave here alive. + + VERONICA + I haven’t seen anything. + +Brundle carefully points out the glass booths. + + BRUNDLE + Those. + + VERONICA + Designer phone booths. Very cute. + I’ll bet you’ve got a really neat + jukebox in here somewhere, too. + Over there, maybe? + +She points to a huge shape in a corner covered by a +tarpaulin. + + BRUNDLE + No, that’s the prototype of these. + First one I had made. It works, but + it’s clunky. + +Brundle pulls a blue bathrobe being used as an impromptu +dust cover off an extremely serious-looking control­module +complete with computer console and monitor. The information +storage system is all laser disc. The module is on wheels, +but is plugged into a heavy-duty wiring loom at the base of +one of the pillars. + +Brundle flips a couple of switches. Lights come on. The +monitor flickers to life. Very bright white interior lights +also come on in the two booths. + + BRUNDLE + I call them telepods. They’re + controlled by this. + + VERONICA + (SARCASTIC) + Thank God for that. + +Veronica takes a careful look at Brundle. + 6. + + + VERONICA + You’re very eccentric. + + BRUNDLE + (GENUINELY PLEASED) + You think so? That would be great. + I’ve always considered myself + invisibly middle-class. + + VERONICA + I don’t think you should worry + about it. OK. So what do they do? + The phone booths? + + BRUNDLE + Telepods. + (PAUSE) + All right. As the magician says, + 'Give me something personal, an + item of clothing or jewelry, + something uniquely you.' + + VERONICA + You’re joking. + + BRUNDLE + (INGENUOUS) + No, I'm serious. + +Veronica studies him once again. Yes, he’s serious. + + VERONICA + OK. Here goes. + +Veronica hikes up her skirt and slips off her panties -an +impulsive act rather than a calculated one. She holds them +out to Brundle. They’re lacy and pretty. Brundle is +shocked. + + BRUNDLE + Ah... well... + + VERONICA + I don’t wear jewelry. + + BRUNDLE + Yeah. OK. + +He takes the panties, gingerly. + + BRUNDLE + Nice. + 7. + + + VERONICA + Thanks. + +Brundle walks over to the nearest telepod and presses a +button on the doorframe. The door unlatches with a click. + +Brundle carefully places the panties on the floor of the +telepod, then closes the door again. + +Brundle returns to the computer, sits down on an old steno +chair, and starts to click away at the computer keys. +Veronica looks over his shoulder. + +The screen fills with techno-babble. This soon makes way +for a three-dimensional graphic of Veronica’s panties which +rotates on the screen. A DATA LIST appears in the corner of +the screen outlining the panties’ vital statistics - +weight, dimensions, density, molecular configuration, etc. + +Satisfied, Brundle smiles, presses the ACCEPT button, and +points to the first telepod. + + BRUNDLE + Watch. + +The first thing that happens is that the automatic door­ +latch on the outside of the telepod slides shut. The latch +is substantial, even massive, suggesting that IT WOULD NOT +BE A GOOD THING FOR THE DOOR TO OPEN ACCIDENTALLY. + +Now, as Veronica watches, the PANTIES BEGIN TO DISINTEGRATE +in the telepod. It’s almost as though we can + +see the atoms breaking off from the cloth itself and begin +to float, swirl, swarm about in the bright cold light of +the telepod. In moments, there is nothing left of the +panties. + +The telepod lights flash once, then go out. + +Brundle turns proudly to Veronica. + + BRUNDLE + Well? + + VERONICA + Great. The world’s largest + microwave oven. I’m glad I didn’t + give you my Rolex. + + BRUNDLE + No, no - you’re missing the point. + Look. + 8. + + +Brundle points to the screen. The words TELEPORTATION +SUCCESSFUL are flashing on and off. + + VERONICA + (CONFUSED) + Teleportation? + +Brundle gets up and takes Veronica by the hand. + + BRUNDLE + Now come with me. + +Brundle marches Veronica across the room to the second +telepod. Inside the telepod are her panties. + + VERONICA + Wait a minute. Is that a hologram? + Where are my panties? + +Brundle press the door button and the door to the second +telepod pops open. + + BRUNDLE + That’s them. The real ones. Go + ahead. Pick them up. + +Veronica hesitates a beat, then reaches into the telepod +and picks up her panties. She crumples them in her hand. +They feel the same. + + BRUNDLE + (NIGHTCLUB MAGICIAN + VOICE) + Examine them carefully for + authenticity. Make sure nothing has + been lost in translation. + +Veronica looks at the label, the lace trim. It all checks +out. + + VERONICA + I don’t think I get it. What + happened? + + BRUNDLE + You get it, all right. You just + can’t handle it. Your panties have + just been teleported from one pod + to another. Disintegrated there, + and reintegrated there. Sort of. + It’ll change the world as we know + it, right? Want me to autograph + them? + 9. + + + VERONICA + This is incredible. How have you + managed to keep this quiet? How + could you do this alone? + + BRUNDLE + I don’t work alone. There’s a lot + of stuff in there I don’t even + understand. I’m really a systems- + management man. I farm bits and + pieces of this stuff out to guys + who are much more brilliant than I + am. But none of them knows what the + project really is. I say - build me + a laser this, design me a molecular + analyzer that - and they do. I just + stick ’em together. + + VERONICA + And the money? Bartok Science + Industries finances this? + + BRUNDLE + They leave me alone. I’m not + expensive. They know they’ll end up + owning it all, whatever it is. + + VERONICA + You haven’t told them? + + BRUNDLE + When I’m ready. + +An insistent little beep begins to sound from somewhere +under Veronica’s chic padded jacket. She drops the panties +onto a coffee table, fumbles around in her jacket and pulls +out a small tape recorder from an inner pocket. + +Brundle is stunned: she’s been taping him. + + BRUNDLE + Oh, no! Not that! + +Veronica deftly flips over the cassette, sets the machine +on RECORD, and drops it back into the pocket. + + VERONICA + Why not? You want me to get the + quotes right, don't you? + + BRUNDLE + Don't do it. If this gets out now, + it'll be a disaster. + 10. + + + VERONICA + Oh, I'm sure you're exaggerating. + + BRUNDLE + But I'm not exaggerating... + + VERONICA + (SUDDENLY ANGRY) + What do you think I'm doing here, + anyway? Don't give me that naïve + bullshit. I'm a journalist. I was + sent to that party by PARTICLE + Magazine. You knew that. + + BRUNDLE + But I thought this was... you know, + personal. I wouldn't tell any of + this stuff to a journalist. + + VERONICA + But you did tell this stuff to a + journalist. And you know what? I + think you did it intentionally. I + think you want me to tell the world + about this. You just haven’t + admitted it to yourself. + (SHE HEADS FOR THE DOOR) + Listen - it’s been real. + + Veronica’s almost out the door. She obviously has no + intention of hanging around to discuss it. Brundle picks up + her panties from the coffee table. + + BRUNDLE + (WITH RISING ANGER) + Hey - you forgot something! + + Veronica pauses, turns. Brundle balls up the panties and + throws them at her. They unfold in midair and flop + harmlessly on the floor between them. + + Veronica shrugs and smiles a "What can I do?" kind of + smile. She leaves. Brundle slides the door closed after her + with a slam. + + +6 EXT. MONOLITH PUBLISHING BUILDING - MORNING 6 + + Establishing shot of sleeko modern office building. + + +7 INT. PARTICLE MAGAZINE EDITORIAL OFFICES - MORNING 7 + 11. + + +We are in the office of STATHIS BORANS, the Editor-in-Chief +of PARTICLE Magazine. The office itself oozes power and +influence - the office of a starmaker in the arcane world +of modern science. Stathis himself seems a bit more like +the editor of a self-consciously chic New York glossy, say +VANITY FAIR. He wears small, round, horn­rimmed glasses and +immaculate classic clothes. Despite his stylistic +pretensions, however, his background is solidly scientific, +and the walls are covered with his degrees, both honorary +and hard-science. + +Veronica is draped comfortably over an art-deco couch - +obviously very much at home. They are listening to her +tape. + + VERONICA (ON TAPE) + You just haven’t admitted it to + yourself. + (PAUSE) + Listen - it's been real. + + BRUNDLE (ON TAPE) + Hey... you forgot something! + +Veronica flicks off the tape recorder. + + VERONICA + That’s it. What do you think? + + STATHIS + I think you’re an opportunistic + slut. + + VERONICA + (IGNORING THE COMMENT) + What do you think about + teleportation? + + STATHIS + It’s a joke. + + VERONICA + What? + + STATHIS + He’s conning you. He’s doing an old + nightclub routine. The two + cabinets. And you fell for it. + + VERONICA + Hey, wait a minute... + + STATHIS + 12. + + + Are we having lunch? + + VERONICA + Listen, that was no nightclub + routine. + +The intercom buzzes. + + STATHIS + (PICKING UP PHONE) + Yes? + (PAUSE) + Sure. Send him in. + +Stathis hangs up. + + STATHIS + You must have made an impression. + + VERONICA + What do you mean? + + STATHIS + Your magician has followed you + here. + +A young woman wearing a brisk business suit shows Brundle +in. Stathis smiles a professional smile and extends his +hand. + + STATHIS + Stathis Borans. I’m the editor of + PARTICLE Magazine.. Nice to meet + you. + + BRUNDLE + Uh... Seth Brundle. + + STATHIS + (KNOWINGLY) + Oh, I know who you are. + +Brundle is about to ask "How?” but doesn’t get the chance. + + STATHIS + Listen... why don’t you two use my + office? I’ve got to run. + (TO BRUNDLE) + If you plan to make anything + disappear, let me know. I have an + assistant editor who’s outlived his + usefulness. + 13. + + + Stathis leaves. + + BRUNDLE + You haven’t wasted any time. + + VERONICA + I’m not getting any younger. + + BRUNDLE + I take it he wasn’t too impressed + by your tape. + + VERONICA + (PACKING UP TAPE MACHINE) + He thinks you’re a con man. + + BRUNDLE + (BRIGHTENING) + Excellent! + + VERONICA + Yeah? Well, let’s see what the + people at Omni think about it. + + BRUNDLE + Hold on, hold on. Look. I’ve come + here to say two magic words to you. + + She stops at the door. + + VERONICA + Yeah? + + BRUNDLE + Cheese-burger. + + Brundle says these words as though they are indeed magical, + irresistible. Veronica shakes her head and laughs. For her, + it’s Brundle himself who’s rapidly becoming irresistible. + + +8 INT. EDITORIAL OFFICES. HALLWAY - MORNING 8 + + Veronica leaves with Brundle. They are showing signs of + liking each other. Stathis watches them through the glass + wall of the conference room. His eyes are laser bright. + + He is not smiling. He picks up the phone. + + STATHIS + 14. + + + Renee? Get me everything you’ve got + on Seth Brundle. Yeah. He’s with + Bartok. Yeah - their stable of + geniuses. He was part of their dog + and pony show two days ago. Yeah. + But I mean, everything, including + personal. Dig deep, darling. + Thanks. + + +9 INT. MACDONALDSESQUE RESTAURANT - DAY 9 + + CU Burgers sliding down a ramp in assembly-line style. + + CU cheese slices being slapped onto each burger by machine. + + Brundle is taking Veronica out to lunch. + + VERONICA + You always eat here? + + BRUNDLE + I hate surprises. Scientists love + things to be repeatable. Every time + you walk in, it’s exactly the same + thing. I love it. Makes me feel + secure. + + Veronica takes a bite of her burger. It is obvious that she + is used to better things. + + VERONICA + It’s a high price to pay for + security. + + BRUNDLE + Let’s talk turkey. + + Veronica is amused at Brundle’s turn of phrase. He hasn't + been on the streets since he was eight years old. + + VERONICA + Sure. Turkey. + + BRUNDLE + You were right. I’ve been working + alone too long. I have a very + strong urge to talk about what I'm + doing. But still... if this gets + out now, it'll kill me. The Bartok + people will kill me, my colleagues + will kill me. It's not ready yet. + 15. + + + VERONICA +Seems to work OK. + + BRUNDLE +No. Something important is missing. + + VERONICA +Yeah? + + BRUNDLE + (HE WON'T TALK) +Yeah. + + VERONICA +"Yeah” what? + + BRUNDLE + (HE DECIDES TO TALK) +I can only teleport inanimate +objects. Dead things. + + VERONICA +Are you criticizing my taste in +underwear? + + BRUNDLE + (BRIGHTENING) +No! I love your taste in underwear! + + VERONICA +What happens when you try to +teleport living things? + + BRUNDLE + (MAKES A FACE, SHAKES HIS + HEAD) +Not while we’re eating. + + VERONICA + (LAUGHS, INDICATES + BURGER) +It can’t be worse than this. + (PAUSE) +You’re not doing a very good job of +convincing me. I think the world +should know about it now, and I +think I should be the one to tell +it. + + BRUNDLE +How about half of that? + + VERONICA + 16. + + + What do you mean? + + BRUNDLE + You should tell it, but not yet. + Look, what have you got so far? + + VERONICA + Just enough to make you nervous. + + BRUNDLE + Why not get more? Let me become + your major project. I’m talking + about a book, not a magazine + article. Follow me and my work day + by day, in as much detail as you + can stand. I don’t have a life - so + there’s nothing for you to + interfere with. Research the + background. Cover the process. + (PAUSE) + You could even move in with me if + you wanted to. I mean... you know, + in a professional context. + + VERONICA + Sure. I know. + + BRUNDLE + (WRITING HER DUST-COVER + BLURB) + "The complete record of the most + earth­shattering invention ever. + The one that ended all concepts of + transport, of time and space, of + borders and frontiers.” + (DRAMATIC PAUSE) + And your book will end with me + transporting myself fifteen feet + through space, from one telepod to + another. That’s what’s really + missing. Wait for me that long. + + Veronica has mustard on her upper lip and her eyes are + bright. Brundle is pushing the right buttons. + + +10 INT. VERONICA’S APARTMENT. LIVING ROOM - DAY 10 + + Veronica opens the door to her apartment - one of those + places in which something stylish has been done with not + really very much. As she dumps the day’s accumulated gear + onto a floppy couch, she hears the shower going in the + bathroom. + 17. + + +11 INT. VERONICA’S BATHROOM - DAY 11 + + Veronica cautiously approaches the bathroom. The door is + open. Veronica approaches the shower and, taking a deep + breath, pulls aside the shower curtain. Stathis is calmly + taking a shower. + + VERONICA + What are you doing in my apartment? + + STATHIS + I happened to be in the + neighborhood, felt a bit scummy. + Rough day. + + Veronica pulls the shower curtain back into place in + disgust and slams the bathroom door on the way out. + + +12 INT. VERONICA’S LIVING ROOM - DAY 12 + + Veronica is drinking coffee and sorting through some papers + when Stathis walks into the room, fully dressed but still + toweling off his hair. + + STATHIS + No coffee for me? + + VERONICA + As far as I’m concerned, you’re not + here. + + STATHIS + The invisible man. + + VERONICA + How did you get in? + + STATHIS + I still have a key. You gave it to + me, remember? + + VERONICA + I knew I should have changed the + locks. + + STATHIS + I knew you wouldn’t. + + VERONICA + Yeah? + + STATHIS + 18. + + +Yeah. That’s because, +unconsciously, you want me to come +back to you, move in again. + + VERONICA +No. That’s because, very +consciously, I’m lazy and +disorganized. + + STATHIS +You new playmate is an interesting +guy. + + VERONICA +What playmate? + + STATHIS +The nightclub act. Brundle. + + VERONICA +Yeah? + + STATHIS +Yeah, I was wrong. He’s really very +brilliant. He was the leader of the +F32 team. Remember that? An inch +away from the Nobel Prize for +physics. He was only twenty at the +time. + + VERONICA +Well, he acts like he’s sixteen +right now. + (PAUSE) +I'm not sure I'm going to do +Brundle. I'm still considering the +Psychology Today gig. + + STATHIS + (SUSPICIOUS) +That's not like you. + + VERONICA + (WRY) +How would you know? We only lived +together for two years. You were +just beginning to not ice me when +we split up. + + STATHIS +Now that is like you. + + VERONICA + 19. + + + Are you getting out or am I? + + STATHIS + (AMIABLE) + I'll go. I've got to put this issue + to bed. Shall I come back later? + + VERONICA + No. + (HOLDS OUT HER HAND) + Key. + + STATHIS + I'll keep it, for old time’s sake. + You want to keep me out, you change + the locks. + + He leaves. + + +13 INT. BRUNDLE’S LAB - NIGHT 13 + + On a video monitor, we are close on a small monkey, the + monkey is in the sending telepod. We pop back to a general + view of Brundle1s lab. He is, indeed, about to transmit a + monkey and is hard at work at his computer keyboard. + + Veronica is also hard at work. + + She’s got the entire place wired now - videotape, still + cameras, sound tapes. Tapes recording his computer screens. + She’s trying to keep track of everything from behind a + small bank of video monitors stacked on a table. + + Brundle plays the keyboard like Glenn Gould at his most + eccentric - he mutters, mumbles, sings to himself. + + Finally, he sits back in satisfaction and presses the + ACCEPT button. + + CU the MASSIVE TELEPOD DOOR LATCH as it slides shut. + + The control monitor diagrams the monkey, the outlined + figure on the screen duplicating the movement of its real- + life counterpart inside the transmitter. The animals vital + satisfies are calculated and appear. Then... + + The light goes on in the transmitter, lancing through the + ape who is frozen in fear. The animal disintegrates. + 20. + + +Brundle dances up from the keyboard and runs over to the +receiving telepod. As he peers through the window, +SOMETHING, presumably the monkey’s body, lurches with a +thump against the window. A RED SPLOTCH smears across the +glass pane. From inside the chamber comes a sickening, +tormented thrashing sound as the bloody, misshapen lump - a +monkey turned inside out - splatters itself all over the +glass of the telepod. + +Veronica turns away from the spectacle, sickened. Brundle +is devastated. + +QUICK DISSOLVE TO: + +Brundle, in CU on monitor and in life. Brundle’s expression +says "despair." We hear Veronica’s voice off-camera as she +interviews him. + + VERONICA (OC) + We’ve got to do this, Brundle. Talk + to the tapes. Get in the habit. The + world will want to know what you’re + thinking. + + BRUNDLE + Fuck! Is what I’m thinking. + + VERONICA (OC) + Good. The world will want to know + that. What else? Why didn’t it + work? + + BRUNDLE + I think it turned the monkey inside + out. + + VERONICA (OC) + Why? + + BRUNDLE + It can’t deal with flesh, with + living things. It only seems to + work with inanimate objects. + Nothing that’s alive. + (THOUGHTFUL PAUSE) + It must be my fault. + + VERONICA + Why? + + BRUNDLE + 21. + + + Computers are dumb. They only know + what you tell them. I must not know + enough about the flesh myself. + Gonna have to learn. + (HEAVY, RAGGED SIGH) + I don’t want to talk now. + + +14 INT. LAB. BEDROOM AREA - NIGHT 14 + + Brundle lies on his mattress, despondent. Veronica sits + nearby. + + VERONICA + Do you ever change your clothes? + + BRUNDLE + Huh? + + VERONICA + Your clothes. You’re always wearing + the same clothes. + + BRUNDLE + No... these are clean. I change my + clothes every day. + + Veronica gets up and goes over to his free-standing closet. + She opens the canvas door. Inside are neatly hung five + versions of exactly the same clothes - sweater, pants, etc. + + VERONICA + Five sets of exactly the same + clothes? + + BRUNDLE + I learned it from Einstein. + + VERONICA + Repeatability? + + BRUNDLE + Yeah. This way, I don’t have to + expend any thought on what I’m + going to wear. I just grab the next + set on the rack. + + Veronica lets the canvas door of the closet swing closed + and drifts back to Brundle. + + VERONICA + I bought some steaks. Can I make + you one? + 22. + + + BRUNDLE + We could go out + + VERONICA + Cheese-burgers? + + BRUNDLE + (NOW SELF-CONSCIOUS ABOUT + IT) + Well, I... + (SHRUGS) + We don’t have to go there... + +Veronica gets on the mattress with him.. + + VERONICA + You’re very cute. + + BRUNDLE + (NERVOUS) + Am I? + + VERONICA + Uh-huh. + +She runs a finger over his lips. He tries to talk while she +does this. + + BRUNDLE + I... I think you’re very beautiful. + +Veronica’s finger ends up stuck in one corner of his mouth. +She laughs. + +Veronica bends close to Brundle and kisses him full on the +lips. It makes Brundle very nervous. + +Brundle tries top roll elegantly out from under Veronica’s +advance but instead rolls half off the mattress and onto +something sharp which has been lying on the floor. He yelps +in pain. + + BRUNDLE + Ouch! + +Brundle detaches himself from Veronica. + + VERONICA + What happened? + + BRUNDLE + I rolled onto something sharp. Take + a look. + 23. + + +Brundle turns his back to Veronica. Stuck to his back at +the end of three tiny streaks of blood staining through his +shirt is an old circuit board. + + VERONICA + Oh, God. Something’s stuck to your + back! + + BRUNDLE + (COOL) + Well, pull it off. + +Veronica is - perhaps surprisingly -squeamish. She grimaces +as she pulls the board away. Three sharp metal connectors +are the culprits. She shows it to Brundle. + + BRUNDLE + Oh, yeah. I was wondering what + happened to this. + +Brundle feels for the scratches and brings back blood on +his finger tips. + + VERONICA + We’d better take a look. + +Veronica begins to unbutton Brundle’s shirt. + + BRUNDLE + (NERVOUS) + Uh... I can do that. + +Veronica brushes his hands away. + + VERONICA + (SEDUCTIVELY) + No, you’ve lost some blood. Better + let me do it. + +Veronica takes Brundle’s shirt off, caressing his shoulders +as she does it. There are three long, deep scratches high +on his back near the shoulder blade. Each scratch ends with +a puncture mark. + + VERONICA + Have you got any disinfectant? + +Brundle hands her a nearby dusty old glass of Scotch. + + BRUNDLE + This oughta do the trick. + +Veronica dabs it on the scratches with her fingers. + 24. + + + Brundle gasps at the sharpness. Veronica gives his shoulder + a gentle bite. + + BRUNDLE + Ah, please. No more pain. + + VERONICA + Sorry. I just suddenly wanted to + eat you up. You know - that’s why + old ladies pinch baby cheeks. It’s + the flesh, it makes them crazy. + + BRUNDLE + (DISTRACTED) + Uh-huh. The flesh. Yes. Wanna try + an experiment? + + VERONICA + (EXCITED) + Sure. + + To her consternation, Brundle jumps out of bed and heads + for the kitchen. + + BRUNDLE + Let’s make a steak. + + DISSOLVE TO: + + +15 INT. LAB. KITCHEN AREA - NIGHT 15 + + CU raw steak as it is cut into two halves. + + We pop back to see Brundle at work in the kitchen. + + MONTAGE SEQUENCE + + as Brundle puts one half of the steak through the + teleporter on a white plate, and keeps the other half on a + brown plate. + + Brundle takes the teleported half out of the receiver and + begins to cook each half in a pan, without seasoning. He is + careful to remember which half is which. + + Brundle pulls the steak halves off the stove. + + Brundle places the teleported half of the steak on a table + in front of Veronica. + + END OF MONTAGE SEQUENCE + 25. + + + BRUNDLE + OK. Eat this. I need an objective + opinion. + + VERONICA + Are you serious? A monkey just came + apart in that booth. + + BRUNDLE + Eat! + +Veronica takes a bite of the steak. + + VERONICA + Hmph. + + BRUNDLE + So? + + VERONICA + It tastes - funny. + + BRUNDLE + Funny how? + + VERONICA + It tastes - synthetic. + + BRUNDLE + Now try this half. + +She takes a bit e of the non-teleported half. + + VERONICA + Ok. It could use some finesse, + but... it tastes like a steak. What + have we proved? + +Brundle begins to free-associate with a passion. + + BRUNDLE + Computers are dumb. They have no + poetry. They do exactly what you + tell them to do. Life is poetry. + Even a good steak is poetry. The + computer is giving us its + interpretation of a steak. It’s + rethinking it for us, translating + it rather than reproducing it. And + something is getting lost in the + translation. + + VERONICA + 26. + + + Me. I'm lost. + + BRUNDLE + The ghost in the machine. The life + essence. Soul. Yeah. So. I know + what you’re gonna say. You’re gonna + say, "But a steak is dead.” Sure, a + steak is dead - but it’s dead life! + + VERONICA + I don’t think I was going to say + that. + + Brundle gets up and starts to back out of the kitchen, + headed more or less for the lab’s work area. + + BRUNDLE + (DISAPPEARING AROUND THE + CORNER) + It's what you've already said. It's + the flesh. It should make the + machine crazy, just like those old + ladies pinching babies. But it + doesn't, not yet. I haven't taught + the machine how to be made crazy by + the flesh, the poetry, the steak. + I'm going to start teaching it now. + + VERONICA + (CALLING AFTER HIM) + What are you going to do, read it + "Naked Lunch?" + + But Brundle is already gone. The sound of the keyboard + clacking away madly floats back to Veronica from the lab + work area. She shrugs and starts to finish off the good + half of the steak. + + +16 EXT. LAB WAREHOUSE - MORNING 16 + + Veronica leaves the lab and walks down the street. She + walks past a nondescript car out of which rises Stathis, + who is unshaven, half-asleep, lurking like a common maniac. + He's obviously been there all night. + + Veronica gets into her car and starts it. Stathis starts + his and follows her down the street. + + +17 EXT. MEN’S CLOTHING STORE - MORNING 17 + 27. + + + Veronica goes into the store. Stathis waits a beat, then + gets out of his car and follows her in. + + +18 INT. MEN’S CLOTHING STORE - MORNING 18 + + Stathis watches her shop - for a man. It’s making him + crazy. He no longer looks cool and powerful, just jealous + and unbalanced. + + Finally, unable to bear it any longer, Stathis intercepts + her amongst the clothes racks just as she’s picked a jacket + out for Brundle. + + STATHIS + I should have known it! + + VERONICA + (SHOCKED) + What are you doing here? I hate + this! + + STATHIS + I followed you. Psychology Today, + my ass. You stayed with Brundle all + night. Why didn’t I believe you? I + wonder. + + Stathis grabs the jacket out of her hand and holds it up to + himself. + + STATHIS + Yeah, I think he’d look great in + this, don’t you? I mean, for your + TIME magazine cover you’ve gotta + look good. + + VERONICA + Listen Stath. Don’t you get it? I’m + finally onto something that’s big. + Huge. + + STATHIS + Oh yeah? His cock? + + VERONICA + Crude, Stath. Very crude. + + Stathis throws the jacket at her - rather viciously. + + STATHIS + 28. + + + It's too perfect to believe! You’re + a goddess. I give thanks to you for + making my most paranoid fantasies + come true! + + He gets on his knees right in the middle of the aisle and + bows down to her. Shoppers and clerks try to ignore them, + hoping it will all just go away soon. + + VERONICA + (FURIOUS) + I don’t have to report to you, you + creep! + + She turns and starts to walk away. + + Stathis struggles to his feet. + + STATHIS + (PATHETIC, GENUINELY + HURT) + Ronnie! You’ve got to talk tome! + + VERONICA + I don’t have to do anything! We’re + finished, remember? I’ll spend the + night anywhere I damn well please! + + She stomps over to the cash, where there is a pile of men's + clothes already assembled. + + VERONICA + (INDICATING JACKET) + I’ll take this too. + + CLERK + Certainly. + + Stathis watches from a distance, glowering. + + +19 INT. LAB - NIGHT 19 + + CLOSE-UP OF RECEIVER + + The screen is filled with GLOWING LIGHT. AS THE CAMERA + PULLS BACK, we realize it's the light of the receiver + chamber. + + INTERCUTTING SHOTS...as the reintegration process completes + its cycle. + 29. + + +ON BRUNDLE...as he bites his nails, nervously waiting for +the 1ight to go out. + +ON VERONICA... behind the stack of video monitors, +recording it all. + +ON COMPUTER MONITOR...there is a computerized diagram of +something forming... + +ON RECEIVING CHAMBER DOOR...inside the same shape forming +in the diagram is forming here. It is some sort of PRIMATE. + +ON MONITOR...the diagram is filling out more. We hear the +machine shut off and the reflected light from the receiver +disappears. The diagram of the ape starts to move, +reflecting the movements of the actual subject in the +telepod. Its statistics are also calculated on screen. + +ON RECEIVER DOOR...as Brundle opens it. Inside a SMALL +MONKEY sits, apparently healthy, happy, and totally whole. + +ANOTHER ANGLE + +Brundle opens the receiver and the monkey playfully +scrambles up his arm, clinging to his neck. Brundle smiles +and strokes him. + +Making a cursory inspection of the monkey, Brundle takes it +over to a table and deposits it in its CAGE. It chatters at +him contentedly. + +Brundle looks up into the lens of the nearest camera. He +can barely suppress his pride and excitement. + + BRUNDLE + I think it’s time for champagne! + +Veronica flicks off the monitors and comes out from behind +the stack to join Brundle. + + VERONICA + (EXCITED) + Oh, God, Brundle! It’s really + happened! You did it! And all + because you get car sick! + + BRUNDLE + (EXUBERANT) + Yeah, I did it! I really... + (CONFUSED) + Car sick? + + VERONICA + 30. + + + I finally figured it out. You came + up with this so you wouldn’t have + to travel in my car. + +They laugh, they kiss. We notice that Brundle is wearing +new clothes, including the jacket that Stathis saw Veronica +buying in the store. + +Brundle takes the bottle of champagne waiting in its cooler +and struggles to pop the cork. He’s not really very good at +it. Veronica gently takes over and does it for him while +they talk. + + VERONICA + What next? + + BRUNDLE + I send the monkey out for tests, + see if he’s really OK. + + VERONICA + How long will that take? + + BRUNDLE + Could be weeks. Why? + + VERONICA + I was thinking - we could take a + holiday. + + BRUNDLE + We could? + + VERONICA + (POPPING THE CHAMPAGNE + CORK) + Yeah. Like an old married couple. + You know - the old man’s got a + coupla weeks off, so they go to + Florida, someplace warm. + + BRUNDLE + Just you and me? + + VERONICA + Why, is there somebody else you + want to bring along? + + BRUNDLE + No, no... it's just... is this a + romance we’re having? Is that what + it is? + 31. + + +Veronica laughs and hugs him. + + VERONICA + Could be a romance. + +She’s about to pour the champagne when she spots a manila +envelope on the table. It has the PARTICLE Magazine logo +stamped on it, and clipped to it is a piece of expensive +PARTICLE notepaper which says "From the Desk of Stathis +Borans, Editor, PARTICLE Magazine." In handwriting, it +says: "Thought you’d like to see this before it went to the +printer. All my love, Stath.” + + VERONICA + What’s that? + + BRUNDLE + Somebody slipped it under the door. + Hand delivered - there’s no + postage. + +Veronica hands the champagne bottle to Brundle and rips +open the envelope. It’s a mockup of the next issue of +PARTICLE. On the cover is Brundle - in his new jacket +(artists’s rendering). He’s been made to look a little +crazed. + +Under his photo it says, TELEPORTATION A REALITY? SETH +BRUNDLE -Youthful Father of a New Age. In the background +are sketched two telepods. The sketch of the telepods is +all wrong - Stathis hasn’t actually seen the telepods - but +the message is clear: Stathis intends to blow the entire +deal. + + VERONICA + Shit! + + BRUNDLE + What is it? + +Veronica slips the magazine back into the envelope. + + VERONICA + It’s...uh... just personal + bullshit... + + BRUNDLE + I thought old married couples + shared all their personal bullshit. + That’s how they stayed old and + married. + + VERONICA + 32. + + + (KISSES HIM WITH REAL + TENDERNESS) + Don’t rush it, Brundle, and it’ll + all happen. I’ve got to go out for + a few hours. + + BRUNDLE + But... right now? The champagne... + + VERONICA + Just a few hours. I've still got + the residue of another life, you + know? I gotta scrape it off my shoe + and get rid of it for once and for + all. + + Veronica leaves. + + Brundle sighs and pours himself a glass of champagne. + + +20 EXT. MONOLITH PUBLISHING BUILDING - NIGHT 20 + + Establishing shot. + + +21 INT. STATHIS’S OFFICES - NIGHT 21 + + The offices are all but deserted. A janitor is polishing + the floors. Veronica walks in on Stathis and throws the + magazine mockup on his desk. + + VERONICA + What’s this supposed to mean? + + STATHIS + It means that I’m your editor and + I’m shaping your material into a + story. + + VERONICA + You’re the one who told me there + was no story. You said Brundle was + a con man. + + STATHIS + I've decided to trust your + journalistic instincts. + + VERONICA + Thanks a lot. But this isn't your + story. It's mine. + 33. + + + STATHIS + Says who? I sent you to the Bartok + party to see what you could find. + Your discovery is my discovery. + + VERONICA + Don't be a bastard. + + STATHIS + Don't be a bitch. + + VERONICA + You don't have anything. + + STATHIS + I have your tape. I have a lot of + background on Brundle. He's been + working on this thing for six + years. There's material out there + to find if you dig deep. I dug + deep. Enough to unearth a cover + story. + + VERONICA + I'll sue you. I'll get an + injunction! + + STATHIS + Great! Let's play. But that's my + game. You know that. + +Veronica flops into a chair with a big sigh. She's going to +have to negotiate. + + VERONICA + What do you want from me? + + STATHIS + I care about you and I worry about + you. I want to know what’s going + on. Everything. + + VERONICA + I don’t want you to know + everything. + + STATHIS + (SUDDENLY FRUSTRATED AND + ANGRY) + You really like this guy. You’re + fucking him. I hate it! + + VERONICA + 34. + + +Yeah, I like him. He’s funny. + + STATHIS +You told me I was funny. + + VERONICA +You were funny. + + STATHIS +Not any more, huh? + + VERONICA +You’re scaring me. + + STATHIS + (YELLING LIKE A + PSYCHOTIC) +I’m not a psychotic! I won’t hurt +you! + + VERONICA +Your gravity scares me. + + STATHIS +I love you. Is that what you mean? + + VERONICA +You’re in pain because of me. That +scares me. I really don’t want that +power. I wish you would take it +back. + + STATHIS +I wish I could. What do we do now? + + VERONICA +Are you gonna wreck me with this +Brundle thing? + + STATHIS +You really think it's the Pulitzer +Prize for little Ronnie Quaife, do +you? + + VERONICA + 35. + + + Stath! It's teleportation! It’s one + of the great dreams - and it's on + the verge of coming true! No more + planes, trains, ships, cars, + roads... Everything to do with + transportation will become + obsolete! And I'm right there in + the middle of it - the only + recorder of the event from the + inside out! + + STATHIS + OK. OK. Look - just keep me + informed, all right? As a friend, + as a professional confidante. And + if you need any help, you come to + me. + + VERONICA + That's all? + + STATHIS + I don't want you to disappear from + my life. + + They kiss, delicately - a friendly kiss. + + VERONICA + OK. + + STATHIS + (PAUSE) + What about sex? I'm not saying love + or affection. Just stress-relieving + sex, you and me. + + Veronica laughs, stands up and heads for the door. + + VERONICA + (LAUGHING) + You're disgusting - as always. + + STATHIS + I wouldn't want to disappoint you. + + +22 INT. LAB - NIGHT 22 + + Brundle is drinking the champagne himself. He has let the + monkey roam free and is playing with it. He’s a little + drunk. + + BRUNDLE + 36. + + + (TO MONKEY) + "From the desk of Stathis Borans.” + Sure. How about, "Under the desk of + Stathis Borans." Is that where she + is right now? Right. It’s the + Ronnie game, and I’m catching on + fast. + +The monkey chatters amiably. A fly buzzes around its face. +Brundle brushes it away. + + BRUNDLE + (TO MONKEY) + I never meant to kill your brother, + you know. It was a mistake. + Manslaughter but not homicide. As + the general said, "There’s nothing + I’d ask you to do that I wouldn’t + do myself, boys. You know that." + +This gives him an idea. + + BRUNDLE + Hey, you’re all right. I’m looking + at you, and I can tell you’re OK. + So - what are we waiting for? Let’s + do it? + +He takes a hefty slug of champagne, then takes off his +clothes. + + BRUNDLE + "All my love," huh? That means he’s + her lover, doesn't it? "From the + desk of your lover, Stathis + Borans." + +Brundle rises and walks up to the transmitter, examining +it. He chews on a fingernail for a moment, then opens the +door. + +ANOTHER ANGLE + +Brundle moves to each of the VIDEO CAMERAS and turns them +on. + +He moves to the control board. He fingers the TIMER +nervously, hesitating...he glances at the transmitter, then +back at the timer. + +The FLY buzzes about Brundle’s head. Brundle distractedly +brushes the insect away. + 37. + + +ON FLY + +THE CAMERA FOLLOWS THE FLY as it alights on the outside of +the transmitter door. + +ON BRUNDLE + +Resets his empty champagne glass down on a table, still +gazing at the control panel timer. He glances once more at +the transmitter, then, heaving a deep sigh, turns once more +to the timer, resolved to action. + +CLOSE ON BRUNDLE’S HAND + +As his fingers set the timer. A DIGITAL READOUT displays: +”00:20”...TWENTY SECONDS, then: ”00:19”. + +ON TRANSMITTER TELEPOD + +Brundle quickly enters it and closes the door. THE CAMERA +MOVES IN CLOSE ON THE GLASS WINDOW OF THE TRANSMITTER DOOR. +THERE WE SEE CRAWLING ACROSS THE PANE... THE FLY — BUT NOW +ON THE INSIDE! + +INTERCUTTING SHOTS...as the Transmission process commences. + +ON TIMER...the display readout has moved to "00:08.” + +ON MASSIVE TELEPOD DOOR LATCH...as it slides shut with +great finality. + +ON BRUNDLE...1ittle droplets of sweat bead his brow as he +stares down at the floor of the chamber...waiting... + +ON FLY...crawling in the corner of the glass door, quite +unnoticed by Brundle. + +ON TIMER...”00:04" + +ON MONKEY... outside the door of the transmitter, pawing at +it, watching Brundle inside -a strange reversal of the +usual routine. + +ON BRUNDLE... noticing the monkey outside. He manages a +nervous smile. + +ON VIDEO EYEPIECE MONITOR... as it dispassionately records +everything. + +ON FLY... its buzzing drowned out by the hum of machinery. + +ON TIMER...as it goes from "00:01 to "00:00". + 38. + + +ON BRUNDLE...waiting... + +ON MONITOR...Brundle’s outline is diagrammed, his vital +statistics computed down to the minutest fraction. But not +only Brundle is charted on the monitor -- so is the fly! + +ON FLY...crawling along the glass. + +ON BRUNDLE...anxious, sweat pouring from his brow. + +ON MONKEY... cavorting outside the door. + +ON BRUNDLE'S EYES...seen only for an instant, before the +ENTIRE SCREEN is filled with BRILLIANT LIGHT. + +ON MONKEY... as it screeches and runs in terror. + +ON TRANSMITTER TELEPOD...its interior bathed in light, +Brundle fading from view... + +ON MONITOR...Brundle’s out line becomes fragmented. THE FLY +has already disappeared! + +ON TRANSMITTER TELEPOD...The 1ight goes off, the chamber is +empty. There is a FLASH OF LIGHT in another part of the +room. + +ON RECEIVER...now full of light, the reintegration process +has commenced. Brundle begins to re-form. + +ON MONITOR...duplicating Brundle’s reintegration in the +receiver. A human outline fragmentedly appears. + +ON BRUNDLE...as the light shuts off abruptly. He shakes +himself as though coming out of a daze. + +Brundle opens the receiver door and steps out. + +THE CAMERA PANS PAST BRUNDLE TO THE INTERIOR OF THE GLASS +WINDOW -- BUT THERE IS NOTHING THERE! + +Brundle looks around for his audience. He sees the monkey +cowering on the sofa. Brundle smiles at it triumphantly. + + BRUNDLE + Now you tell me - am I different + somehow? Is it live, or is it + Memorex? + (LAUGHS, PERHAPS A LITTLE + TOO GIDDY) + Too bad you missed it, Ronnie. Too + bad. + 39. + + + In a mood of righteous anger, Brundle grabs the champagne + bottle and finishes off the champagne. + + DISSOLVE TO: + + +23 EXT. LAB WAREHOUSE - NIGHT 23 + + Veronica’s car pulls up and stops on the desterted street + outside the lab warehouse. She gets out of the car and + looks up. All the lights in the lab are out. + + +24 INT. LAB WAREHOUSE. STAIRWELL - NIGHT 24 + + Veronica makes her way up the stairs. It is spooky there in + the dark, alone with the echo of her footsteps. + + +25 INT. LAB. LIVING ROOM AREA - NIGHT 25 + + Veronica slides open the big front door. No sign of + Brundle. + + +26 INT. LAB. BEDROOM - NIGHT 26 + + Veronica creeps in to Brundle’s bedroom. He’s asleep. She + slips off her clothes and gets into bed with him. She + gently strokes his shoulder. + + Brundle stirs, wakes up, turns sleepily to Veronica. + + BRUNDLE + (SLEEPILY) + I missed you last night. + + VERONICA + It’s still night. I came back. + (PAUSE) + You had to celebrate without me. + I'm sorry. + + BRUNDLE + (PAUSE) + I went through last night. + + VERONICA + You went through? Without testing + the monkey? + + BRUNDLE + I was a bit drunk. I was upset. + 40. + + + VERONICA + (UPSET) +You could have killed yourself! +You’re like a little pouty kid. I +can’t believe it! + + BRUNDLE +Me neither. I keep surprising +myself. + (PAUSE) +Are you sleeping with Stathis +Borans? + + VERONICA +What are you talking about? + + BRUNDLE +I dunno. I just have that +feeling... + + VERONICA + (INCREDULOUS) +That's why you were upset? + + BRUNDLE +I got jealous. + + VERONICA +Oh, God. + (PAUSE) +But... you don't have to be +jealous. He’s an old boyfriend. He +was teaching at college, I was a +science major. He got me started in +journal ism. + + BRUNDLE +Did you manage to scrape him off +your shoe? + + VERONICA +We’re just platonic. We talk +business. + + BRUNDLE +Is he still in love with you? + + VERONICA + (LIGHTLY) +How could he not be? + (PAUSE) +What about our deal? You went +through and I wasn’t there! + 41. + + + BRUNDLE + Don’t worry. I taped it for you. + + VERONICA + You did? + + Brundle nods. + + VERONICA + But why? You were mad at me. + + BRUNDLE + I wanted to hurt you. But I'm + finding that if I don’t share + everything with you, then it's... + as if it hasn’t really happened. + + VERONICA + That sounds like love. + + BRUNDLE + It does? + + VERONICA + Yeah, it does. + + BRUNDLE + Well, you know about these things, + right? + + VERONICA + Yeah, I do. + + She kisses him. They begin to make love. + + The camera finds Veronica's hands as they clasp Brundle, + then follows one of her hands as it moves down Brundle's s + ide. + + There, we see that the skin in the area of the three + scratches has taken on a strange, rough texture. Even more + startling, we see that HAIRS are growing out of the + scratches - three from the top one, one from the middle + scratch. And these hairs are decidedly NOT HUMAN: they are + coarse, strong, and METALLIC-GREEN in color. + + Veronica’s fingers glide past the hairs without quite + touching them. + + DISSOLVE TO: + + +27 INT. LAB. BEDROOM - VERY EARLY MORNING 27 + 42. + + + CU BRUNDLE, asleep, lying on his back. We hear a faint + buzzing. A FLY hovers near Brundle1s cheek, then lands. + + He unconsciously brushes it away. + + The FLY continues to buzz over Brundle1s head. Suddenly, + Brundle makes an instinctive, eyes-closed grab for the + insect. + + With an amazing display of reflexes and speed, Brundle’s + hand sweeps through the air and snatches the fly. We hear + it BUZZING in Brundle’s hand. + + The hand has not moved. Brundle’s arm remains in mid-air. + + His fist clenches. He opens his eyes, now stone-cold awake, + fully realizing what he’s done. + + Brundle stares up at his hand. He slowly opens his fingers, + releasing the fly. It buzzes off. + + Brundle stares up at his hand, wondering about the feat he + just performed. Blind luck? A fluke? Or something more? He + flexes his fingers open and shut several times. + + He smiles. + + Brundle, totally nude, sits up on the edge of the bed, + staring at his hands in curious pleasure. He turns, notices + VERONICA in bed with him. He smiles at her sleeping form, + turns, rubs his hands over his own chest. + + DISSOLVE TO: + + +28 INT. LAB. BEDROOM - MORNING 28 + + CU VERONICA + + Veronica wakes up. She hears noise, motion in the lab. + + She turns to Brundle, but he’s no longer in bed with her. + + Still half asleep, slightly nervous, Veronica gets up out + of bed and follows the sound. + + +29 INT. LAB - MORNING 29 + 43. + + +Veronica peers tentatively around the corner of the half +wall which separates the bedroom from the lab proper and +finds herself looking at a strangely beautiful and +unexpected sight. + +Brundle, nude, bathed in shafts of soft morning light which +highlight the rough textures of the warehouse walls and +floors, is performing a series of slow, complex, highly +controlled gymnastic maneuvers on the pipes and wooden +studs which link the pillars of the lab. + +Veronica is quietly astonished. She walks slowly into the +lab, drawn and hypnotized by the beauty of the moment, not +wanting to disturb it. + +But soon she finds herself reaching out to touch Brundle as +he twists and turns in slow motion. The spell doesn’t +break; it’s as though he expected her. Brundle keeps +performing, now with a sweet, shy smile. + + VERONICA + I didn’t know you could do that + stuff. + + BRUNDLE + When I woke up, I felt like doing + this. And I just started to do it. + (PAUSE) + I always... thought I could do + something like this if I just... + wanted to enough. + +Brundle finally stops his exercises and stands squarely in +front of Veronica. He is sweating, breathing hard. + +He’s the same Brundle, and yet... he seems so much more +physically self-aware, vibrant. + +Veronica studies him carefully. She touches him again, +traces the line of his collarbone with her finger. She +takes his hand in hers and kisses it with great tenderness. + + DISSOLVE TO: + +TV IMAGES. From time to time we cut to the live (film) +version of these same images. When We are live, we also see +reactions from Veronica. + +BRUNDLE is being interviewed in CLOSE-UP; VERONICA speak +OFF-CAMERA. + + VERONICA (OC) + 44. + + +We've just seen the first +teleportation of a human being. Dr. +Seth Brundle, how did it feel going +through? What did it feel like? + + BRUNDLE (ON TAPE) +It feels like a stutter. + + VERONICA (OC) +A what? + + BRUNDLE (ON TAPE) +A stutter. A hiccup. A slight +dislocation of my physical life. +Not unpleasant. Just a title +interruption of rhythm. For a +second I thought it didn't work. I +thought I was in the same telepod I +started out in. + + VERONICA (OC) +And did you feel at all different? + + BRUNDLE (ON TAPE) +A little... unbalanced. That's all. + + VERONICA (OC) +And now? + + BRUNDLE (ON TAPE) +I should feel exactly the same as +before, but I don’t. I’m not +complaining. I feel very - +coordinated. And very energized. I +feel as though I work better, +physically. Everything seems to +just - work together better than it +ever did before. + + VERONICA (OC) +Why should that be? + + BRUNDLE (ON TAPE) +It’s possible that the teleporter +has somehow... improved me. + + VERONICA (OC) +But that's fantastic! How is it +possible? + + BRUNDLE (ON TAPE) + 45. + + + In reassembling me it might have - + this is just a guess - but it might + have just - seen where things could + be improved - theoretically, and it + did it. I told it to be creative, + and I guess it has been. + + VERONICA (OC) + Could this ever be dangerous? + + BRUNDLE (ON TAPE) + Well, it's certainly unexpected. + The monkeys don't seem to exhibit + any changes from their norm at all. + We’ll see when they come back from + testing. + + VERONICA (OC) + But you haven’t really answered me. + Could this be dangerous? + + BRUNDLE (ON TAPE) + It feels too perfect to be + dangerous. + + VERONICA (OS) + You like the way it feels? + + BRUNDLE (ON TAPE) + Yes, I do. + (BIG SMILE) + Want to try it? + + CUT TO: + + CU VERONICA + + live. She shakes her head "No." + + +30 EXT. KENSINGTON OUTDOOR MARKET - DAY 30 + + Lyrical montage as Brundle and Veronica walk the lively, + bustling streets of Kensington Market hand in hand. + + +31 EXT. ITALIAN SIDEWALK CAFE - DAY 31 + + We are CLOSE on a cup of cappuccino. Brundle’s hand comes + into the shot and begins to dump spoonful after spoonful of + sugar into the cup. + + BRUNDLE (OC) + 46. + + + ... so I asked the computer if it + had improved me and it said it + didn’t know what I was talking + about. + +We pull back to see VERONICA sitting across from Brundle, +watching him with some CONCERN. They sit at a table under +an Alfa Romeo umbrella - a small Italian sidewalk café. + +She bites a fingernail - Brundle’s habit - as the FIFTH +TEASPOON OF SUGAR is dumped into the cup, but says nothing. +Brundle, excited, wired-up, doesn’t seem to notice that he +is doing anything odd. He speaks with a rapid fervour. + + BRUNDLE + That made me think very carefully + about what I’m feeling and why. I'm + beginning to think that the sheer + process of being taken apart, atom + by atom, and then put back together + again, why, it's like coffee being + put through a filter. It's somehow + a purifying process, it's purified + me, it's cleansed me, it's allowed + me to realize the personal + potential I've been neglecting all + these years that I've been + obsessively pursuing goal after + goal... + +Brundle has been stirring the sugar into the cappuccino. + +Now he pauses to drain the cup - without the slightest +reaction to the incredible sweetness of the drink. He puts +the cup down. + + VERONICA + Do you normally take coffee with + your sugar? + + BRUNDLE + (DOESN'T GET IT) + What? + +Veronica just shakes her head. Brundle reaches across the +table and takes her hand. He continues to rattle on with +incredible intensity. + + BRUNDLE + 47. + + + I just don't think I've ever given + me a chance to be me. And now that + I’ve achieved what will probably + prove to be my life’s work... I can + be me, the real me, at last. + + For some reason, Veronica finds herself looking away. + + +32 INT. LAB. BEDROOM - LATE DAY 32 + + Veronica and Brundle are in bed making love - but + something’s wrong. Veronica pushes Brundle away and rolls + over in the bed, obviously exhausted. + + VERONICA + I've got to stop. I have to sleep. + + Brundle begins to caress her, kiss her. + + BRUNDLE + Not yet. + + Veronica sits up to get away from him. + + VERONICA + I’ve got to. How can you keep + going? You can't possibly have any + fluid left in your body. We’ve been + doing this for hours. + + Brundle sits up behind her and begins to kiss her shoulder. + + BRUNDLE + I’m not ready to stop. + + Despite her fatigue, Veronica begins to respond. She holds + Brundle, runs her hands down his back. Suddenly, she feels + something that disturbs her. She stops, pulls away, + searches Brundle’s body for whatever it was she felt. + + VERONICA + Hey, what’s this? + + BRUNDLE + It’s an attempt to distract me, + that’s what it is. + + VERONICA + No, I’m serious. Look at these. + 48. + + +Brundle lifts ,his arm and cranes his head around to get a +look. What he sees are the STRANGE, METALLIC-GREEN HAIRS +growing out of the scratches in his back - only now there +are more of them, and they are longer, almost... bristly. + + BRUNDLE + (NOT CONCERNED) + Happens when you get older. Weird + hair configurations. + + VERONICA + They’re very coarse. + + BRUNDLE + I’ve never really been hairy + enough, you know what I mean? + Always too boyish. I’m looking + forward to a hairy body. One of the + compensations of old age. + +Veronica jumps up and grabs a pair of toenail scissors from +the edge of the sink. She flops back down onto the bed and +begins to attack the hairs with the scissors. + +Brundle protests - but not seriously. + + BRUNDLE + Hey - not my new hairs! + + VERONICA + Relax, Brundle. I don’t think you + really want a body covered with + these. God, they’re really tough! + +Veronica is having difficulty getting the scissors to cut +through the hairs. Finally, she gets the first one trimmed +off and starts on the next one* Brundle sits happily on the +bed and begins to speed-rap again. + + BRUNDLE + (SPEEDY BUT HAPPY) + Listen. I want you to go through. I + want to teleport you. As soon as + possible. Right now. You’ll feel + incredible. Ronnie - I hardly need + to sleep any more. And I feel + wonderful. It’s like a drug, but a + perfectly pure and benign drug. The + power I feel surging inside me - + you’ll feel fantastic. And I won’t + be able to wear you out... We’ll be + the perfect couple. The dynamic + duo! C’mon. Right now! + 49. + + +He grabs her by the arm and begins to pull her off the bed. +She pulls back, shrinking away from his craziness. + + VERONICA + Hey, lay off, will you? Don’t give + me that born-again teleportation + rap. I told you I was scared to do + it. What more do I need to say? I’m + not going to do it! + +When he sees that she’s resisting, he lets go. + + BRUNDLE + You're a fucking drag, you know + that? + +Veronica looks at Brundle, wide-eyed. + + VERONICA + (VERY QUIETLY) + Something went wrong, Brundle. When + you went through. Something went + wrong. + +Brundle completely ignores her words. He begins to throw on +an outrageously wrong combination of clothes. + + BRUNDLE + No? Not you? You’re too chicken- + shit to be a member of the dynamic + duo club? OK, then, great, I’ll + find somebody else. Somebody who + can keep up with me! + + VERONICA + Brundle, you’ve got to listen tome! + + BRUNDLE + (ANGRY, SPEEDY) + 50. + + + You’re afraid to dive into the + plasma pool, aren’t you? You’re + afraid to be destroyed and + reconsidered, aren’t you? You might + think you were the one to teach me + about the flesh, but you only know + society’s straight line about the + flesh, you can’t penetrate beyond + society’s sick, gray fear of the + flesh! Drink deep, or taste not the + plasma spring, you see what I’m + sayin’...? I’m not just talking + about sex and penetration, I’m + talking PENETRATION beyond the veil + of the flesh, a deep, penetrating + dive into the plasma pool...! + + Brundle storms out the door, slamming it behind him. + + VERONICA + No! Brundle, please, wait! + + Veronica slides open the heavy door, thinking she might run + after him - but the sound of his footsteps tells her she’ll + never catch him: he’s fast, and he's gone. + + She comes back in, distraught but thinking. She goes back + to the bed and looks for something in the twisted sheets. + + She soon finds what she’s looking for - the FOUR OR FIVE + STRANGE METALLIC-GREEN HAIRS she managed to trim from + Brundle’s back. + + Veronica lays the hairs out on the night table, then picks + up the longest one and studies it in the light of the bed- + lamp. + + CU BRUNDLE’S WEIRD HAIR + + It’s coarse and very animal-like, but also somehow + beautiful in its iridescent greenness. + + Veronica dumps an old telephone bill out of its envelope + and drops all the hairs into the envelope for safe­keeping. + + +33 EXT. DOWNTOWN STREET - NIGHT 33 + + Brundle stalks the neon-lit downtown streets, looking for a + place to put his seething energy. + + +34 EXT. BAR - NIGHT 34 + 51. + + + Brundle spots a bar that looks just about right - three or + four shady women hanging around the entrance, along with an + assortment of hungry men. Brundle pushes through the small + group at the entrance and enters the bar. + + +35 INT. BAR - NIGHT 35 + + Brundle stands alone at the bar. In the garish neon of the + place he no longer looks friendly and cuddly; he is angry, + manic and, somehow... predatory. + + Two large men with tattoos on their arms are arm-wrestling + at a small table, egged on by a VOLUPTUOUSLY SLEAZY WOMAN. + Beer is sloshing everywhere as the men struggle for an + advantage. + + The bartender puts a drink down - a double Scotch - in + front of Brundle, who is in the process of unwrapping an + O’Henry chocolate bar. The bartender winces as Brundle + bites off a piece of chocolate then washes it down with + some Scotch. + + Brundle gets up and, still munching on his bar, begins to + drift over to the table and the sleazy woman, whose name is + TAWNY. + + BRUNDLE + Who’s winning? + + TAWNY + Dunno. Hope it’s Marky. + + BRUNDLE + How come? + + TAWNY + ’Cause the winner wins me, and I + like Marky tonight. + + BRUNDLE + Yeah? Well, I like you tonight. + Maybe I’d better get involved in + this, too. + + The two men ease off their wrestling. The biggest one, + MARKY, grabs Brundle by the lapels. + + MARKY + You’re disturbing us. + + BRUNDLE + 52. + + + I got a hundred bucks says I can + beat either one of you. + +The men laugh. Marky grabs Brundle’s arm and rips his +jacket sleeve right off. He folds Brundle’s arm back and +displays it to Tawny. + + MARKY + Like those biceps, Tawny? + + SECOND MAN + Hey, I know his secret. + (GRABS THE CHOCOLATE BAR + AND SLURPS ALL OVER IT) + He eats chocolates and peanuts for + energy! + +They howl in laughter. Brundle pulls out a hundred-dollar +bill which has been wadded up in his pocket. He slams the +hundred on the table. + + BRUNDLE + A hundred. And I get to take the + lady home for the night if I win. + + TAWNY + Says who? + + MARKY + Hey - an easy hundred, Tawny. + + TAWNY + Yeah, but says who? It’s the idea + of it. I ain’t no hooker. + +Marky ignores her and sits down, ready to rumble. + + MARKY + C’mon, let’s get it over with. + +Having said her piece, Tawny sits down to enjoy the fun. + +Brundle sits down opposite Marky. They spend a few minutes +gripping and re-gripping each other’s hand under the +scrutiny of the second man. A few spectators accumulate +around the table. + +Finally, they’re ready to wrestle. + +ON BRUNDLE, as they start. + +ON MARKY, confident. + 53. + + + ON BRUNDLE, having no trouble. + + ON TAWNY, wondering what’s happening. + + ON MARKY, his confidence turning to mush as he meets the + steel in Brundle’s skinny forearm. + + The tension is building between the two arms: they are + shaking. + + CU BRUNDLE - he’s doing well but it’s an effort. + + CU BRUNDLE’S FINGERTIPS - the hand that’s wrestling. + + Under the pressure of the fight, a STRANGE, PUS-LIKE + SECRETION begins to ooze from under his fingernails and + down the back of Marky’s hand. It goes unnoticed in the + general sweat and beer. + + The strain is enormous. Veins are bulging. Arms are + quivering. Muscles are fibri1lating. Then SUDDENLY, all the + pent-up energy is released with a sickening CRACK! + + as MARKY’S FOREARM SHATTERS! Splintered bone slices out + through the skin of Marky’s wristband glints in the icy + light of the bar. + + Marky shrieks in agony. Brundle lets go. Marky holds his + arm and stares at it as though it belonged to someone else. + His hand dangles at an impossible angle; the piece of + cracked ulna looks white as a tooth. The second man and + Tawny look on in disbelief. + + People begin to gather around. Marky starts to moan as + blood begins to well up in a serious way and spill out of + the wound onto the table top. + + Brundle grabs his hundred dollars in one hand and takes + Tawny by the wrist with the other. She's stunned and she + lets herself be dragged out of the bar. + + +36 EXT. BAR - NIGHT 36 + + Once Brundle and Tawny are out on the street, Tawny + recovers enough to talk. + + TAWNY + ( IN AMAZEMENT) + Jesus! Are you a body-builder or + something? + + BRUNDLE + 54. + + + Yeah, I build bodies. I take ’em + apart and then I put ’em back + together again. + + TAWNY + (IN BREATHLESS + ADMIRATION) + You sure took Marky apart. + + BRUNDLE + Let’s go back to my place. + + TAWNY + Your place? + (COY) + Yeah, well, OK. I live with my + mother anyway. But could we go to a + few more bars first? It’s too early + to quit. + + BRUNDLE + Sure. A few more bars. + + +37 EXT. LAB WAREHOUSE - EARLY MORNING 37 + + A cab pulls up outside. Brundle and Tawny get out, blinking + in the early morning light. + + +38 INT. LAB WAREHOUSE. STAIRWELL - EARLY MORNING 38 + + Confronted with the number of stairs, Tawny sits down + heavily on the steps. + + TAWNY + Oh, no. No elevator. I’ll never + make it. + + BRUNDLE + There is an elevator. + + Brundle picks her up effortlessly. + + BRUNDLE + Don’t you feel elevated? + + He sprints up the ten flights of stairs with Tawny in his + arms. + + TAWNY + You’re sure in good shape for + somebody who only eats candy bars. + 55. + + +39 INT. LAB - MORNING 39 + + MONTAGE SEQUENCE + + as Brundle, naked, teleports himself from one telepod to + the other. + + During this sequence, we watch Tawny’s amazed reactions as + she sits on the mattress watching the process with a drink + in her hand. + + END MONTAGE SEQUENCE + + Brundle steps from the receiving telepod. Tawny is + impressed. + + TAWNY + Wow! Are you a magician? + + BRUNDLE + Yeah. Now it’s your turn. + + TAWNY + I don’t think I want to try it. + + BRUNDLE + Why not? It’ll make you feel sexy. + + TAWNY + I already feel sexy. How about a + nice alcohol rub? + + Tawny pushes Brundle down onto the mattress and starts to + rub the booze over his skin. The instant the stuff hits his + skin, he screams in pain, whipping around to slap the + bottle out of her hand. + + BRUNDLE + (SCREAMS) + Don’t do that! It hurts! + + Tawny doesn’t seem to be the slightest bit intimidated by + Brundle’s violence. + + TAWNY + Sorry, Hun. I didn't realize you + had the skin of a princess. + (SEXY VOICE) + Real sensitive, huh? + + Brundle jumps up from the mattress and begins to pace back + and forth like a maniac. + 56. + + + BRUNDLE + (PACING) + I want you to go through. I think + you’ll like it. + + TAWNY + But I don’t want to. I’m afraid. + + BRUNDLE + Don’t be afraid. + +A voice comes from out of the shadows by the door. + + VERONICA + (TO TAWNY) + No - be afraid. Be very afraid. + +Veronica steps into the light. Tawny is weirded out by +Veronica’s dark tone of voice, by her gravity. + + TAWNY + (WEIRDED OUT) + Who’s this? + + BRUNDLE + I live with my mother, too. Mum, + meet Tawny. + + TAWNY + I think I’d better go. Thanks for + the wonderful time. + +Tawny gets herself together in an amazingly short time - +she's had practice - and is out the door in seconds. She +doesn't look back. + +Now Brundle comes out into the light and we take a close +look at him - as does Veronica. We see that his skin seems +very red and rough, his beard stubble thick, coarse, and +flecked with the same metal 1ic green of the first few +hairs that grew from his side . Hi s cheeks are gaunt, his +eyes seem unnaturally wide-open. + + BRUNDLE + Why did you scare her off? Jealous? + +Brundle’s tone doesn’t bother Veronica. She’s functioning +on a different level altogether. + + VERONICA + You’re changing, Brundle. + Everything about you is changing. + You look bad. You smell bad. + 57. + + + BRUNDLE + I’ve never been much of a bather. + +Veronica throws down the phone bill envelope with the +metallic-green hairs in it. We can see the hairs through +the plastic window in the envelope. + + VERONICA + Those weird hairs that were growing + out of your side - I took them to a + lab, Brundle. Had them analyzed. + +Brundle nervously picks up a candy bar and begins to eat +it. + + BRUNDLE + The hairs? Oh yeah. + (PAUSE) + That’s a strange thing to do. + + VERONICA + Not as strange as the results. The + guy at the lab had trouble + identifying them. He finally came + to the conclusion that they were + definitely not human. + + BRUNDLE + (LAUGHS) + Yeah? + + VERONICA + (DEADLY SERIOUS) + Not human, Brundle. In fact, very + likely insect hairs. + + BRUNDLE + That’s ridiculous. That’s silly. + +She turns Brundle around. More hairs have already sprouted +from the three scratches, thick, coarse, metal 1i c-green. + + VERONICA + Look. + (BRUNDLE LOOKS) + Something happened when you went + through, Brundle. You’ve got to get + help! You’ve got to find out what + went wrong! + +Brundle freaks out. + + BRUNDLE + 58. + + + (FREAKING) + Get out of here! You’re jealous, + jealous! I’ve become free, I’ve + been released and you can’t stand + it! You’ll do anything to bring me + down. Look at me! Does this look + like a sick man? Does this look + sick? + + He begins to PUNCH AWAY chunks of an immense wooden support + beam with his right fist! Shards of wood fly everywhere. He + smashes it and smashes it until Veronica puts her hands + over her ears and screams at him. + + VERONICA + (SCREAMS) + Stop! Stop it! + + BRUNDLE + Do you know any sick old men who + can do that? GET OUT! Get out! + + Brundle actually pushes and shoves her out the door, then + slides it closed behind her. He makes a lot of noise + locking it up, so that she knows he’s serious. + + +40 EXT. LAB WAREHOUSE. STAIRWELL OUTSIDE THE DOOR - DAY 40 + + Veronica bursts into tears. Brundle yells at her through + the door. + + VERONICA + (SOBBING) + Brundle! You’re comnitting suicide! + Please don’t do it! Please don’t! + + BRUNDLE (OC) + Don’t come back. The deal’s off. I + don’t need you any more! + + She runs off down the stairs, crying as she goes. + + +41 INT. LAB - DAY 41 + + Brundle, now very alone, feels his beard, then feels the + hairs on his side. + + +42 INT. LAB. BATHROOM - DAY 42 + 59. + + + Brundle is in the bathroom, studying himself in the mirror. + He does not look well. He looks cancerously gaunt. He picks + up his electric razor and begins to shave the strange hairs + off his face. The razor snags painfully in the hairs and + keeps jamming. Finally it stops working. + + Brundle throws the razor down in anger, then begins to bite + nervously at his fingernail. + + To his (and our) horror, THE NAIL COMES OFF IN HIS MOUTH! + + THE ENTIRE NAIL. Brundle spits it out in disgust. He + examines the tip of his now nail-less finger. It is swollen + and sore-looking, and there is a series of small holes + where there used to be a nail. + + Brundle squeezes his fingertip. A STICKY PUS-LIKE FLUID + SPURTS from the nail onto the mirror, then continues to + ooze for seconds after Brundle has stopped squeezing. + + Brundle takes toilet paper and tries to clean off his + finger, but the paper sticks to the fluid and makes a + complete, gooey mess. + + Brundle now gingerly tests another fingernail. It seems + loose. He squeezes that fingertip and the nail pops off, + goo oozing out from underneath it. The nail next to it + splits open of its own accord, ready to fall off at any + instant. + + Brundle is weak in the knees. He clutches the towel rack + for support and sits on the edge of the tub. + + BRUNDLE + (SUDDENLY VERY AFRAID) + Oh, no. What’s happening? Am I + dying? Is that it? + (YELLS) + Is this how it starts? Am I dying? + + +43 INT. LAB - LATE DAY 43 + + We are tight on the keyboard of the computer. Brundle's + hands - clothed in a mismatched pair of old cloth gardening + gloves - come into the shot and take a disc out of the + disc-holder. The title of the disc is "FIRST TRANSMISSION - + S. BRUNDLE." + + The disc goes into the slot. + + The machine is turned on. + 60. + + + Brundle’s face is sweaty and intense. + + Brundle's gloved fingers dance over the keys. + + MONITOR - we see a flood of figures and tables as the + machine retraces the steps recorded during Brundle's first + tipsy teleportation of himself. + + On the monitor Brundle sees himself outlined and analyzed + and diagrammed. AND THEN he sees something strange: ANOTHER + OUTLINE - THE OUTLINE OF A FLY! It's in CU, complete with + tables, etc. + + Now the screen splits into two and the outlines + disintegrate. A few beats later, the reintegration is + charted, BUT THERE IS ONLY AN OUTLINE OF BRUNDLE! + + Brundle now types into the machine: WHAT HAPPENED TO THE + FLY? by using the code number attached to the outline of + the fly. + + The machine answers: FUSION. + + Brundle asks for clarification. DO YOU MEAN ASSIMILATION? + + DID BRUNDLE ABSORB THE FLY? + + The answer is NO: FUSION OF FLY AND BRUNDLE AT THE + MOLECULAR-GENETIC LEVEL. + + CU BRUNDLE + + He is now very afraid. + + +44 INT. VERONICA’S APT. LIVING ROOM - NIGHT 44 + + Veronica is working late on her mini-word processor. The + small, cheap printer is printing. She’s drinking coffee, + smoking too many cigarettes. There are scientific journals + and reference books spread open everywhere. The phone + rings. + + VERONICA + (ANSWERING PHONE, + DISTRACTED) + Yeah? + + There is a long pause before anyone speaks. Veronica + immediately knows it’s Brundle. + + VERONICA + Brundle? + 61. + + + (NO ANSWER) + Brundle, I’ve been trying to reach + you for five days. Where are you? + + BRUNDLE (PHONE) + (SO DOWN HE’S ALMOST + INAUDIBLE) + I’ve been afraid to see you. Now, + I’m afraid not to. + + VERONICA + Where are you? Are you at home? + + BRUNDLE + Veronica... you... you don’t know + how right you were... Please come + to see me. Please come now. + + +45 INT. LAB - NIGHT 45 + + Veronica slides open the door, which is unlocked. She comes + inside, sliding the door closed behind her. + + She begins to walk from the darkness into the light. As she + walks towards the bedroom, she sees that the place is + littered with candy wrappers, donut boxes, empty soda cans, + half-eaten pastries, chocolate boxes... you name it. + + Brundle is lying slumped on an old sofa. He wears socks on + his feet and gloves on his hands. The gloves and socks are + wet and sticky. + + She approaches him, fearful. He doesn’t seem to know she’s + in the room. + + VERONICA + I’m here, Brundle. + + Brundle looks up, dazed. He’s gotten worse fast. His cheeks + have sunk more, but now his temples have swollen + grotesquely and there are two separate lumps high on his + forehead. The metal 1ic-green hair seems to have grown all + over his face - it’s patchy in spots, but is growing where + hair shouldn't grow - right up to the rims of his eyes and + over his forehead. + + Brundle looks up at Veronica. His eyes finally manage to + focus on her, then well up with tears which stream down his + face and get tangled in his beard. When he speaks, his + voice is scratchy, raspy. + + BRUNDLE + 62. + + + Don't come too close to me. + + VERONICA + Why not? + + BRUNDLE + I’m diseased. You were right. It + could be contagious somehow. I + wouldn’t want to infect you. + +Veronica sits down on the sofa amid all the junk-food +remains. + + VERONICA + What happened? + + BRUNDLE + (IRONIC, TEARFUL LAUGH) + I know an old lady who swallowed a + fly. Perhaps she’ll die. + + VERONICA + (VERY DISTURBED) + Brundle, please... + + BRUNDLE + (HE.CAN’T STOP THE + METAPHYSICAL SPEED-RAP) + Impurity. Lack of integrity. Where + does the body stop and the outside + world begin? + (SUDDENLY INTENSE) + I was not pure. The teleporter + insists on inner purity, and I was + not pure. + + VERONICA + (VERY QUIETLY) + I don’t know what you mean. + + BRUNDLE + A fly got into the transmitter pod + with me. That first time. When I + was alone. The computer got + confused - there weren’t supposed + to be two separate genetic patterns + - and it decided to splice.us + together. + (LAUGHS) + 63. + + +It mated us, me and the fly. We +hadn’t even been properly +introduced. My teleporter turned +into a gene-splicer, and a very +good one. And now I’m not Seth +Brundle any more - I’m the +offspring of Brundle and housefly. + + VERONICA + (HORRIFIED) +Oh, my God. + (PAUSE) +What... what will happen? + + BRUNDLE +I think it’s showing itself as a +bizarre form of cancer. General +cellular chaos and revolution. I’m +just going to disintegrate - in a +novel way, no doubt. And then I’ll +die, and then it’ll be over. + + VERONICA +No! I don’t accept that. There must +be something we can do. There must +be somebody we can go to, tests +that can be done... + + BRUNDLE + (sardonically scratching + at his ear in IRRITATION) +No. I won’t be just another +tumorous bore, talking endlessly +about his hair falling out and his +lost lymph nodes. I know what +that's all about and I won’t go +through it! + + VERONICA + (ANGRY FOR BEING + CHASTISED) +Then what do you want me to do? Why +did you call me? + + BRUNDLE +Keep to your part of the deal. Tape +me, record me. This is, after all, +the continuation of the Pulitzer +prize-winning epic, isn’t it? And +everyone is just as interested to +know what went wrong, as what went +right - maybe more interested. + 64. + + + He leans forward and spills out the contents of a plastic + bag at the foot of the sofa - junk food, all of it sweet. + + He grabs a donut and jams it into his mouth. White goop + instead of saliva drips from his chin. Thicker, more + viscous. He talks while he chews. + + BRUNDLE + It’s disgusting, isn’t it? You’ve + got to get back behind the video + camera. People will want to know... + they’ll want to see with their own + eyes... + + Brundle suddenly begins to scratch and tug again at one of + his ears. IT COMES OFF and drops onto the sofa, looking + like a black, shriveled-up potato chip amongst the junk + food. + + Brundle stops in his tracks and stares at the ear. + + Despite his foray into angry wit, Brundle is now stunned, + broken. He picks the ear up and cradles it in his hand. + + BRUNDLE + (STUNNED, SHOCKED) + My... my ear...! + + Veronica stares on, horrified, paralyzed. Brundle begins to + cry, to wail hopelessly, and Veronica has to go to him, to + hold him, to rock him in her arms. But even as she does so, + she sees that Brundle’s other ear is also turning black + around the edges, shrivel1ing... + + Brundle keeps sobbing. + + BRUNDLE + (SOBBING UNCONTROLLABLY) + Help me, help me. Please... please + help me! + + +46 INT. STATHIS’S OFFICE - DAY 46 + + Veronica and Stathis are talking about Brundle. + + STATHIS + Don’t go back to him. Call the + police, the Public Health + Department. + + VERONICA + That’s your advice? That's it? + 65. + + + STATHIS + But he’s right, don’t you see? It + could be contagious. It could turn + into an epidemic. + + VERONICA + I’ve got to go back to him. He’s + got no one else. If you saw him + Stath... if you saw how scared and + angry and pitiful he is... + + STATHIS + I’m sure Typhoid Mary was a very + nice lady, too. When you met her + socially. + (GRABS HER ARM) + Listen, I don’t want you to... + + VERONICA + (SHAKES HIM OFF) + I don't care what you want! + + STATHIS + (HANDS-OFF GESTURE) + Sure, OK. Just tell me... do I have + your permission to claim your body + after it's all over ? + + Veronica can’t stop a bit of a smile from showing. + + Stathis takes the opportunity to make peace. + + STATHIS + Look... how about this? You say if + I only saw him. OK - show me. Tape + him. He wants you to anyway, right? + Show me, and let me think about + what we might be able to do. But + don’t get close. Please. + + +47 EXT. LAB WAREHOUSE - DAY 47 + + Veronica gets out of her car in front of the lab. She + hesitates just that telltale beat before she slams the car + door and begins to walk towards the front door. + + +48 INT. LAB - DAY 48 + 66. + + +Veronica enters the lab and immediately puts her hand to +her face - the stench is very, very strong, and the litter +on the floor and everywhere else has accumulated at an +alarming rate. + +ANGLE FROM CEILING LOOKING DOWN ON VERONICA + +as she makes her way through the litter, looking for +Brundle. + + VERONICA + Brundle? + + BRUNDLE (OS) + I'm here. + +Veronica’s gaze follows the voice - up to the ceiling. + +VERONICA’S POV + +We realize that a moment ago we were looking at Veronica +from Brundle’s POV FOR HE HANGS UPSIDE DOWN FROM THE +CEILING BY ALL FOURS! + +If this weren’t startling enough, the changes in his +appearance most certainly are. He’s completely naked, and +his torso is beginning to be covered all over with +metallic-green hair. + +And his musculature has changed again - stringy and +powerful, not like a gymnast. Not human. A hernia-like +bulge protruding from his left side is the only suggestion +of weakness in his grotesquely sleek shape. + +Brundle scrambles adroitly across the ceiling, then down +the wall. Veronica watches with her eyes huge. + + VERONICA + Brundle... I... + + BRUNDLE + Gotten pretty good at it, haven’t + I? It’s almost second nature. + (HOLDS UP HIS HANDS) + Stopped biting my nails, too. + +Veronica can only stare at him. He approaches her, still in +shadow. + + BRUNDLE + 67. + + + I seem to be stricken by a disease + with a purpose, wouldn’t you say? + Maybe not such a bad disease after + all. + +She shakes her head in disbelief, then turns to leave. + + VERONICA + (OVERWHELMED) + I can’t stay here. + +Brundle grabs her. His fingers are longer, thinner. They +have no more nails on them, they glisten with the oily +secretion. His palms are forming small, cushion-like pads. +His feet - the same, the toes long and oily. + + BRUNDLE + Why not? Why can’t you? + +Veronica can not bear to look at him. + + VERONICA + (WITH DIFFICULTY) + Can’t take it... Too much. + +Brundle moves out into the light and we can now see how +much more his face has changed. His skull has swollen even +more at the temples and his forehead as well, so that the +entire shape of his skull has altered. And his face is now +covered with the metallic-green hair, so that there is not +a square centimeter of normal flesh showing. + +Brundle’s eyes are almost lost in this new face, but they +are now very bright and piercing. + + BRUNDLE + What's there to take? The disease + has just revealed its purpose. We + don't have to worry about contagion + any more. I know what the disease + wants. + +Veronica looks down at the hand holding her arm, then +forces herself to look Brundle in the face. + + VERONICA + What...what does the disease want? + + BRUNDLE + It wants to turn me into something + else. That's not too terrible, is + it? Most people would give anything + to be turned into something else. + 68. + + + VERONICA + Turned into what? An insect? + + Brundle lets her go - his fingers stick momentarily to the + arm of her blouse - and laughs, a harsh, grating little + laugh. + + BRUNDLE + You mean a fly? Am I turning into a + hundred-and-eighty-pound fly? + + He laughs again. + + BRUNDLE + No, I’m becoming something that + never existed before. I’m + becoming... Brundlefly. + (SLOWLY, STRETCHING IT + OUT) + B-R-U-N-D-L-E-F-L-Y. + (PAUSE) + Don’t you think that’s worth a + Nobel Prize or two? + + Veronica just stands there, defeated by his sarcasm and + defeated by the rapidly accelerating bizarreness of his + condition. + + BRUNDLE + (SUDDEN ENTHUSIASM) + + C’MON, NOW. LET’S GO. + + Brundle begins to take charge, full of enthusiasm. He + gently but firmly places Veronica behind the ever-present + video camera, and then bustles around, his movements + awkward and strange, setting up a chair and table in front + of the camera. + + BRUNDLE + I want to give a demonstration that + I think you’ll want to record for + posterity. Yes, yes. I think you + must chronicle the rise and fall of + Brundlefly, don't you? At the very + least, it should make a fabulous + children’s book. Do they give + Pulitzer Prizes for kiddies' books? + + +49 INT. VERONICA'S APT. LIVING ROOM - DAY 49 + 69. + + +We are tight on the screen of Veronica's TV set, watching +the demonstration that Brundle was just talking about. + +On the tape, Brundle is sitting at a table in his lab with +a pile of his usual junk food in front of him. He is +smiling - a still-recognizable smile, since his jaw and +mouth have not undergone any change in shape, though his +jaw is covered with metallic-green beard. + + BRUNDLE (ON TAPE) + How does Brundlefly eat? Well, he + found out the hard and painful way + that he eats very much the way a + fly eats. His teeth are now + useless, because although he can + chew up solid food, he can’t digest + it. Solid food hurts. So, like a + fly, Brundlefly breaks down solids + with a corrosive enzyme playfully + called "vomit drop.” He + regurgitates on his food, liquefies + it, then sucks it back up. Ready + for a demonstration, kids? Here + goes. + +Brundle now bends close to the food until his face is +almost touching it. + +We pop back to AN ANGLE WHICH EXCLUDES THE TV SCREEN and +see that Stathis is watching alone in the living room. He +is shaken by what he is watching. + + STATHIS + (SHAKEN) + Oh my God, my God. + +From the TV’s speaker we hear hideous, enthusiastic +slurping and sucking sounds, BUT WE DO NOT SEE WHAT STATHIS +SEES. + +Stathis runs his hands through his hair. He leans forward +and switches off the tape machine. His upper lip is beaded +with sweat. He wipes it off with his sleeve. + +Veronica comes in the front door and, without a word, +sweeps past Stathis and down the hall. + + STATHIS + (CALLING OUT TO HER) + Hey, Ronnie? I don’t blame you for + not wanting to watch it. Ronnie? + +No response. + 70. + + + He gets up and leaves the living room, looking for + Veronica. + + +50 INT. VERONICA’S APT. HALLWAY - DAY 50 + + Stathis walks down the hallway, worried. + + STATHIS + Ronnie? Where are you? + + Stathis hears sobbing coming from the direction of the + bathroom. He turns and sprints down the hallway. + + +51 INT. VERONICA’S APT. BATHROOM - DAY 51 + + Stathis appears in the doorway of the bathroom. Veronica is + sobbing her heart out, slumped against the bathroom + counter. She’s still wearing her coat. Stathis steps inside + the bathroom and puts his arm around her. + + STATHIS + (VERY GENTLY) + What is it? + + Veronica tries to answer but can’t, she’s sobbing so + profoundly. She turns to him, barely able to get it out. + + VERONICA + (WITH DIFFICULTY) + I saw a doctor. I’m... I’m + pregnant, Stath. + + STATHIS + Oh, no. Oh, no. + + He holds her tight. + + VERONICA + (RENEWED SOBBING) + I'm pregnant with Brundle’s baby! + + Stathis hugs her again, then holds her at arms length so + that he can look her in the eye. + + STATHIS + What do you want to do? + + Veronica, still racked by sobs, tries to wipe her eyes. + + VERONICA + (TEARFULLY) + 71. + + + I don’t know. I just don’t know. + + +52 INT. LAB - NIGHT 52 + + We are close on Brundle’s fingers as they dance over the + keys of the computer keyboard. Brundle has cut the fingers + off a pair of yellow rubber kitchen gloves and jammed them + down over his fingertips, so that his fingers won’t stick + to the keyboard. + + CU MONITOR + + which reads : + + GENE-SPLICING PROGRAM NOW IN PLACE + + TELEPOD 1: TRANSMITTER POD SUBJECT A + + TELEPOD 2: TRANSMITTER POD SUBJECT B + + TELEPOD 3: RECEIVER POD FOR GENETICALLY FUSED A-B + COMBINATION SUBJECT + + We pull back to see that in front of Brundle and his + keyboard stand not two, but THREE telepods, the third one + of a somewhat older and more handbuilt vintage than the + other two - the original PROTOTYPE TELEPOD which has been + sitting in corner of the lab under a tarpaulin and was + noticed by Veronica on her first visit to the lab. + + In TELEPOD A sits a monkey, in TELEPOD B an alley cat. + TELEPOD C, the old prototype receiver, is empty. + + Brundle operates the machine. The monitor says, + + READY FOR FUSION + + Brundle presses the ACCEPT button. + + The telepods go through their normal disintegration routine + as the animals’ outlines appear on the monitor in split + screen fashion. + + But now, as the reintegration process begins, a stream of + data concerning this new experiment, the fusion of monkey + and cat, floods the screen. The basic message that gets + across to us through all the hi-tech compu-talk is: + + PERENTAGE OF MONKEY - 63 + + PERCENTAGE OF CAT - 37 + 72. + + +These numbers fluctuate as the machine tries to strike a +molecular balance between the two creatures. + +Finally, an outline of the fused creature begins to form on +the screen. Brundle looks up at the old third telepod to +see the actual creature forming, and it is indeed +grotesque: two heads - one monkey, one eat - at odd angles +to each other, six legs which are not quite symmetrically +placed on the monkey torso, cat tail. + +As the creature solidifies and the light goes off, it sits +there in the telepod for a moment, stunned, half­reclining +as though crippled. + +Brundle gets up, goes to the third telepod, and with great +apprehension, opens the door. + +The thing just sits there, slumped for a beat, then +SUDDENLY LEAPS UP AT HIM, its two heads SHRIEKING! It jumps +on his arm, clinging, snarling, then drops to the floor. +The two heads begin to bite each other, blood begins to +flow - the thing now running around in mad floppy circles, +smearing blood everywhere. + +Brundle is horrified. He grabs a metal rod leaning in a +corner and begins to smash at the deformed thing. He keeps +smashing at it until it stops its hideous screeching and +lies dead, mangled on the floor. + +Brundle wraps it up in a towel and throws it into the +refrigerator. He draws the old torn sheet back down over +the third telepod so that he doesn't have to look at it +again. + +Back at the monitor, the screen is flashing the words: + +FUSION SUCCESSFUL + +RECEIVER TELEPOD 3 + +Brundle puts his face in his hands for a few moments, then +pulls himself together. He pulls the rubber fingertips off +his fingers and throws them to the ground. + +Brundle has now developed some insect-like tics and +mannerisms, his head twitching with nervous little jerks +and his long fingers in constant motion. We now see clearly +that all of Brundle’s fly characteristics have been +accentuated even further. The metal 1ic-green hair which +completely covers his face is much thicker than before, and +the hernia-like bulge in his side is more protuberant now, +stretched to the bursting point and obviously causing +Brundle some pain. + 73. + + + Brundle looks up at the skylight. The sky is clear, the + moon is a scimitar. On an impulse, he jumps up on the wall, + sticking there for a beat. Then, with incredible agility, + he ascends the wall, crosses the ceiling towards the + skylight. + + ON THE CEILING + + Brundle glides on all fours, upside down, towards the + skylight. Once there, he crawls into it and opens it up. + + +53 EXT. LAB ROOFTOP - NIGHT 53 + + Brundle clambers out of the skylight onto the roof. The + night is gorgeous, clean and bright, the sky pocked with + stars. Brundle breathes deeply. He is still alive, isn’t + he? He can still respond to the beauty of the night, can’t + he? + + DISSOLVE TO: + + +54 EXT. MONTAGE - BRUNDLE’S TRAVELS - NIGHT 54 + + We follow Brundle on his solitary sojourn in a MONTAGE + SEQUENCE. He climbs walls with amazing ability, leaps from + rooftop to rooftop, hangs upside down from ledges and + lampposts, eavesdropping on the city life around and below + him, the inhabitants unaware of the unusual and shadowy + observer in their midst. + + He scurries along the girder of a bridge, gazing down on + the traffic and the river below him. + + These moments should be poetic, even beautiful, joyous. + + The moon is luminous, the dark night exquisite. Resigned to + his fate and momentarily forgetful of his future, Brundle + seems to be revealing in his unique powers. + + A brief euphoric fling. + + DISSOLVE TO: + + +55 EXT. BUILDING - NIGHT 55 + + Brundle leaps across a narrow alleyway to the wall of the + building opposite him. He smiles with smug satisfaction at + his feat, then suddenly winces, grabbing his side with one + of his hands. + 74. + + +WE HEAR A CRACKING, SPLITTING SOUND. Brundle muffles a +startled cry and, losing his balance, slides several feet +down the wall before regaining hold. + +He looks down at the huge bulge in his side... IT IS +STARTING TO SPLIT OPEN! Brundle is horrified and in pain. + +He starts to quickly move down the side of the building, +but the pain impedes his progress. + +He manages to get down at least another floor before he’s +hit with another sharp pain. He doubles up and his tenuous +grip on the wall causes him to slide another several feet +downward before he regains his grip. + +The side is gaping wide open now and SOMETHING is starting +to protrude. Brundle is in shock. Another ripple of pain +causes him to release his grasp entirely and he falls to +the ground in a dirty narrow alley, where he writhes on his +back in pain, as a STRANGE, HAIRY STICKLIKE APPENDAGE — +ACTUALLY THE BEGINNINGS OF A FLYLIKE LEG -- begins to +unfold awkwardly out of his side. Despite his excruciating +pain, Brundle watches with fixated, wide-eyed terror at his +latest transformation! + +The insect leg now begins to probe around, function like a +real leg, almost with a mind of its own. Grotesque as +Brundle himself has become, he can’t accept the next step +towards real insectness which this new leg represents. He +screams at the leg. + + BRUNDLE + (SCREAMING AT THE LEG) + No I No, I won’t! I won’t, I won’t, + I won’t...! + +Brundle grabs at the leg, holds it, subdues it, and then +begins to gnaw with his teeth at its base, twisting himself +into a agonized ball in order to do it. + +The leg begins to lever at his back, small hooklike +protrusions all along its underside catching in the flesh +of Brundle’s back, tearing it in protest against Brundle’s +attempt at amputation. + +Finally, Brundle has severed the leg with his teeth. The +leg drops off leaving a strand or two of stringy gristle +hanging from the knobby stump in Brundle’s side. The leg +twitches on the ground, tries to extend itself. + 75. + + + Brundle looks at the leg in shock, his eyes crazed, like an + animal who has been caught in a leg-trap and has had to + gnaw the leg off to be free. Brundle tries to steady + himself, then staggers away down the alley. As he goes, he + wipes the insect blood from his lips with his two forearms + - IN EXACTLY THE SAME WAY THAT FLIES CLEAN THEIR FACES! + + +56 EXT. STREET OUTSIDE HOSPITAL - DAY 56 + + A taxi pulls up and Stathis gets out. + + He helps a very pale and fragile-looking Veronica out of + the car. + + +57 INT. HOSPITAL CORRIDOR - DAY 57 + + Stathis holds Veronica’s hand as she is wheeled down the + corridor. She is very nervous, almost in tears. + + VERONICA + Stath...I’m scared! + + STATHIS + It’s going to be all right, Ronnie. + It’s going to be fine. + + VERONICA + (TEARFUL) + I don’t think I want to lose it. Is + there something wrong with me? Why + am I losing it? + + STATHIS + It’s better this way, Ronnie. + You’ll see. It’s the best thing + that could happen. + + +58 INT. HOSPITAL WARD - CLOSE-UP - OPERATING LIGHT 58 + + The dehumanizing blue-white light of an OVERHEAD OPERATING- + ROOM LAMP. WE HEAR VERONICA'S MOANS... AND VOICES. + + VOICE #1 (OS) + She's expelling it. We won’t even + have to go in. + (TO VERONICA) + It’s going to be easy. Don’t worry, + honey. + + VERONICA (OS) + 76. + + + Please, Brundle, please don’t... + + THE CAMERA PANS FROM THE LAMP TO AN OPERATING TABLE BELOW. + Veronica is miscarrying right there on the table. + + A TEAM OF DOCTORS AND NURSES work over her. + + STATHIS stands at the head of the table, still holding + Veronica’s hand. Veronica grimaces and groans. A NURSE mops + her sweaty brow. + + NURSE + OK, that’s it. We’ve got it. + + DOCTOR + No, no. There’s more in there. A + lot more. + + NURSE + (SURPRISED) + There’s more? + + DOCTOR + C’mon, girl. You can help us out. + Give us a push. Push! + (VERONICA DOES) + Thatta girl. We’re getting it. + + VERONICA + (INCOHERENT, IN PAIN) + No, no...wait! Brundle, please, + no...! + + DOCTOR + That’s it. That’s it. It’s coming. + It’s... + (SUDDEN HORROR) + ...Ohh, my God! + + VERONICA'S POV - ON EXPELLED FOETUS + + ...as the doctor lifts it out of the womb. Perhaps there + are some human features about the face, if indeed there is + a face at all on THE HIDEOUS, SQUIRMING GIANT FLY­MAGGOT! + + Stathis registers unutterable HORROR. Veronica SCREAMS. + + QUICK CUT TO: + + +59 INT. VERONICA’S BEDROOM - NIGHT 59 + 77. + + + Veronica wakes up screaming. She’s alone in bed. She’s been + dreaming. Once she realizes she has not given birth to a + fly-maggot baby, she starts to laugh at herself - then, + remembering that she is pregnant by Brundle, she begins to + weep again. + + +60 INT. LAB - NIGHT 60 + + Brundle is working away at the computer keyboard - only now + he has to use pencils, one in each hand, to push the keys: + his fingers are losing their human flexibility. + + The words on the monitor read: + + THE BRUNDLEFLY PROJECT + + PROBLEM: TO REFINE GENETIC FUSION PROGRAM + + GOAL: TO DECREASE TO A MINIMUM THE PERCENTAGE + + OF ”FLY” IN BRUNDLEFLY + + SOLUTION: THE FUSION BY GENE-SPLICING OF BRUNDLEFLY + + WITH ONE OR MORE "PURE” HUMAN BEINGS + + As Brundle thinks about his next step, he begins to chew on + one of the pencils. He is soon distracted by the sound of + several small, hard things dropping onto the keyboard. + Brundle looks down. Five small, white chunks of something + lie partially hidden in the crevices between the plastic + keys, Brundle digs one out with the pencil. It is a tooth, + its jagged root smeared with blood, and it has just fallen + out of Brundle’s mouth. + + Brundle begins to roar with laughter. He clumsily digs the + rest of the teeth out of the keys, then carries them over + to the refrigerator. As he walks, he delivers a little + speech to the teeth which sit attentively in the palm of + what used to be his hand. + + BRUNDLE + (LAUGHING, TALKING TO HIS + TEETH) + 78. + + + You’re relics. Yes, you are. You + can’t deny it. Vestigial, + archaeological, redundant. + Artifacts of a bygone era. Of + historical interest only. How long + will it take for you and all the + other manifestations of the Brundle + Age, the Stone Age, to fall away, + to reveal the Future...? + +He opens the fridge and carefully places the teeth in an +ice cube tray. The fridge is empty except for a few other +barely recognizable lost appendages - Brundle’s shriveled +ears, his fingernails. + +Suddenly, Brundle hears the door to the lab slide noisily +open. He turns, startled. + +Veronica steps warily into the lab - she has kept her keys +to the building. Brundle looks wildly around the room - in +guilt? in shame? - closes the fridge door and walks quickly +over to the computer keyboard. He picks up a pencil with +desperate awkwardness and uses it to press the keyboard's +STORE button. It is obvious that he does not want Veronica +to see what he’s been working on. + +Veronica approaches him but stops some distance away. She +is stunned by the changes in his appearance, struggling for +some kind of emotional equilibrium. They stand frozen for a +beat, then Brundle begins to speak. But even Brundle’s +voice has become a horror: it is scratchy and metallic, and +full of guttural, insect twitters. + + BRUNDLE + (INSECT VOICE) + You’ve missed some good moments. Is + that why you’re here? To catch up? + + VERONICA + (SHAKEN, HESITANT) + I... wanted... What were you + putting in the fridge? + + BRUNDLE + (MATTER-OF FACT) + My teeth. They’ve started to fall + out. The fridge is now the Brundle + Museum of Natural History. Want to + see what else is in it? + + VERONICA + No. + 79. + + + BRUNDLE + (MERCILESS) + Then what do you want? + + VERONICA + (FALTERING) + I came to tell you that... I came + to tell you... I... I just had to + see you... before... + +Tears begin to well up in Veronica’s eyes. + + BRUNDLE + You’ve got to go, now, and never + come back here. + (PAUSE) + Have you ever heard of insect + politics? + +Veronica shakes her head, completely baffled. + + BRUNDLE + Well, neither have I. Insects don’t + have politics. They’re very brutal. + No compassion. No compromise. We + can’t trust the insect. But I'd + like to become the first. .. first + insect politician. I’d like to, but + I’m afraid... + + VERONICA + I don’t... know... what you’re + trying to say... + + BRUNDLE + I’m saying... that I don't... feel + very human any more. I'm saying I'm + an insect who dreamt he was a man, + and loved it, but now the dream is + over, and the insect is awake. + +Veronica bursts out crying. + + VERONICA + (MOVED TO TEARS) + Brundle, please... no... + + BRUNDLE + (SLOW, CAREFUL, + DELIBERATE) + I’m saying, I’ll hurt you if you + stay. + 80. + + + Veronica bursts out crying. Brundle doesn’t move. + + Veronica turns and runs out of the lab. + + Brundle remains motionless, and from a distance seems + completely dispassionate. But when we move close to his + face, we see that he too is crying. + + +61 EXT. LAB - NIGHT 61 + + Veronica bursts out of the lab door and runs across the + street to where Stathis is leaning against her car, + waiting. + + +62 EXT. CAR - NIGHT 62 + + Veronica tries to pull open the door of the car but Stathis + grabs her, puts his arms around her. + + Veronica pulls free, her eyes streaming tears. But despite + the tears, her face is set hard now, determined. + + VERONICA + Let’s go. Let’s do it now. + + STATHIS + Now? Wait a minute. What did he say + when you told him? + + VERONICA + I couldn’t tell him. I couldn’t... + (SHOUTS) + Let's go, dammit! + + STATHIS + I think we should wait a few days. + I don't think you’re in the right + state of mind... + + VERONICA + No! Now! I want it out of my body + now! You should have seen him. + There could be anything in there, + in me, in my body! + + STATHIS + But I don’t know if I can arrange + it now, right now, tonight. Why do + we have to run around in the dark + like ...? + 81. + + + VERONICA + (FREAKING) + Because I don’t want it in my body! + Do you understand? I don’t want it + in my body! + + Veronica gets into the car. She hugs herself tightly and + turns her face away from Stathis. Stathis stares at her for + a beat, then gets into the car himself. + + +63 EXT. LAB ROOFTOP - NIGHT 63 + + From the rooftop of the lab warehouse, BRUNDLE IS WATCHING + as Veronica’s car pulls away from the curb and moves off + down the street. He has heard the whole thing. + + +64 EXT. MEDICAL CLINIC - NIGHT 64 + + Establishing shot of a compact, modern brick five-storey + downtown building. The softly lit sign on the small, neatly + manicured patch of grass in front of it reads: + + COVENTRY COMMUNITY MEDICAL CLINIC + + +65 INT. DR. CHEEVERS' OFFICE - NIGHT 65 + + Doctor Cheevers opens the door to his office and ushers in + Stathis and Veronica. Cheevers is tall and sweet-mannered. + + CHEEVERS + Hi. C’mon in. + + Cheevers shakes hands with Stathis - they obviously know + each other. + + STATHIS + Hi, Brent. Thanks. + (INTRODUCES VERONICA) + Veronica Quaife. + + CHEEVERS + (TO VERONICA) + Hi. + (VERONICA JUST NODS) + Well, OK. What’s the story? + + Although Cheevers has directed this question to Veronica, + it is Stathis who answers. + + STATHIS + 82. + + + She's pregnant and she wants an + abortion. + + CHEEVERS + In the middle of the night? + + STATHIS + We have good reason to think that + this child will be deformed. + + CHEEVERS + Yeah, but... in the middle of the + night? + + STATHIS + Look, Brent... please. + + CHEEVERS + Is it your child? + + STATHIS + No. It 's the child of a man who is + deformed. + + CHEEVERS + Listen, I don't mean to interfere, + but... I detect a certain... + uncertainty here. You know, there + are tests that can be done to + determine whether or not... + + VERONICA + (BARELY CONTROLLED) + I don' t want tests! Tests can't + guarantee anything. The baby could + start off normal and then become a + monster. I want an abortion! I'll + do it myself if I have to! + + Although Veronica speaks quietly, Cheevers can easily see + how disturbed she is, how close to the edge. He seems to be + picturing Veronica trying to abort her own baby. + + CHEEVERS + (PAUSE) + No, I don’t think you should do + that. + + DISSOLVE TO: + + +66 INT. OPERATING ROOM - NIGHT 66 + 83. + + +The clinic operating room is surprisingly simple, spartan - +really not much more than a standard examination room +except for two unusual features. + +The first unusual feature is the immense floor-to-ceiling +window which composes one wall of the room - a legacy from +the building’s history as a small office complex. + +The window has been frosted to provide privacy. + +The second unusual feature is a TV set above the small +operating table. + +Cheevers adjusts the TV set on its swivel so that Veronica +wi11 be able to see it when she lies down on the table. She +is, at the moment, sitting quietly in a chair in the corner +of the room. + + CHEEVERS + I've found TV to be the best + anesthetic. + +He turns it on. &• commercial, for Pampers is on. Adorable +kids toddling everywhere. + + CHEEVERS + (EMBARRASSED) + Oh, shit. + + STATHIS + Uh... maybe no TV... + +To the men's surprise, Veronica, relieved to actually be in +the process of aborting Brundle’s baby, comes out with a +hearty laugh. + + VERONICA + (LAUGHING) + Leave it on. This kid wouldn't look + like them anyway. + +Cheevers, relieved to see that he hasn’t blown a very +delicate moment, smiles and reaches for the door. + + CHEEVERS + (RELIEVED) + Great! OK. I’ll just get you a more + appropriate costume and we’ll be on + our way in no time ... + +Cheevers leaves the room. There is an awkward, silent +moment between Stathis and Veronica. And then... + 84. + + + WITHOUT WARNING, the immense floor-to-Cei1ing WINDOW of the + operating room EXPLODES into the room! Shards of glass and + pieces of window frame fly everywhere. + + BRUNDLE hurtles into the room, the force of his entry + carrying him crashing into the operating table which tips + over and smashes to the floor. + + Stathis stands frozen in the corner of the room, but + Brundle ignores him. He wants Veronica. + + Brundle finds Veronica cowering in the corner, blood + trickling down her left temple from a glass cut, eyes wide + in disbelief. Brundle scrambles to his feet, picks Veronica + up and effortlessly tucks her under his arm. + + Then, without the slightest acknowledgment of Stathis, he + calmly steps out through the broken window and disappears, + taking Veronica, who is too stunned to resist, with him. + + Stathis manages to shake off his paralysis, runs to the + window and tries to look out, but as he leans against a + piece of window frame, he cuts himself on the minute + fragments of jagged glass lodged in it. Stathis recoils + with the pain, but still manages to catch a glimpse of + Brundle, silhouetted in the moonlight, carrying Veronica + over the rooftops. + + Now Cheevers whips open the door, folded hospital gown in + hand. The room is a complete shambles. Stathis turns to + meet his astonished gaze. All he can do is shrug. + + +67 EXT. ROOFTOPS - NIGHT 67 + + We are with Brundle as he carries the terrified Veronica, + over the rooftops. Finally he alights in a cozy little + rooftop nook overlooking a park. + + Brundle lays Veronica down on the slate of the rooftop. + + His eyes are glistening, moist - are they full of tears? + + He speaks with a voice even harsher and more metallic than + before, but there is a strange, rhythmic catch in his voice + which might be weeping. + + BRUNDLE + Why did you want to kill Brundle? + The baby will be all that’s left of + the real Brundle. Please don’t kill + me. Please don’t kill me. + 85. + + + VERONICA + I can’t have it. I’m afraid! + + BRUNDLE + (RELENTLESS) + Have the baby. Let me live long + enough to see the baby. + + VERONICA + I can’t! I can’t! + + BRUNDLE + (FLAT, EXPRESSIONLESS) + Too bad. + (INSCRUTABLE PAUSE) + Too bad. + + +68 INT. LAB - NIGHT 68 + + We are inside the darkened lab. There is a sharp "crack” + from outside the door, which then slides open: someone has + just broken in. + + Stathis enters the lab with a crowbar in one hand and what + looks like an abnormally large, slim attaché case in the + other. A soft bag hangs from his shoulder by a webbed + strap. + + Stathis switches on a small lamp and puts down the bag, the + crowbar, and the case. He now opens the sleek plastic case + to reveal a very expensive Italian over-and-under skeet + shotgun - not really a great weapon but obviously the only + one instantly accessible to him. + + Stathis sits on the couch and calmly assembles the shotgun. + He then breaks out a box of shells from the bag and loads + each barrel of the gun - two shots only. The barrels are + swivelled back into place and locked. The safety is slid to + OFF. + + Stathis gets up from the couch and, shotgun in hand, walks + over to the metal crank which hangs from the main skylight. + He cranks the skylight open wide. + + Stathis now settles down to wait in the nearest chair - + which happens to be the old steno chair in front of the + computer keyboard. It doesn’t take Stathis long to notice + the beige plastic box of discs on the table, and it takes + no time at all for him to generate enough curiosity to open + the box and flick on the computer’s master switch. + + DISSOLVE TO: + 86. + + +69 INT. LAB - NIGHT 69 + + Stathis is deep into Brundle’s computer discs. We are close + on the computer monitor as it plays back for us the + computer-graphics version of the disintegration of the cat + and the monkey and their subsequent reintegration as the + cat-monkey creature. As before, the following final words + flash triumphantly on the screen: + + FUSION SUCCESSFUL + + RECEIVER TELEPOD 3 + + Stathis is confused. + + CU the words "TELEPOD 3” flashing on the computer screen. + + Stathis now switches to another disc whose title is "FUSION + PROGRAM. He punches up "FUSION PROGRAM MENU," and finds + listed: "BRUNDLEFLY PROJECT." + + "BRUNDLEFLY PROJECT" is duly punched up, and it produces + the following: + + THE BRUNDLEFLY PROJECT + + PROBLEM: TO REFINE GENETIC FUSION PROGRAM + + GOAL: TO DECREASE TO A MINIMUM THE PERCENTAGE + + OF "FLY" IN BRUNDLEFLY + + SOLUTION: THE FUSION BY GENE-SPLICING OF BRUNDLEFLY + + WITH ONE OR MORE "PURE” HUMAN BEINGS + + GENE-SPLICING METHODOLOGY + + A. HARDWARE: + + TELEPOD 1: TRANSMITTER OF SUBJECT A + + TELEPOD 2: TRANSMITTER OF SUBJECT B + + TELEPOD 3: RECEIVER FOR GENETICALLY-FUSED A-B COMBINATION + SUBJECT + + CU the words ”TELEPOD 3” on the screen. + 87. + + +Stathis gets up from the chair and takes a quick walk +through the lab - shotgun always in hand - looking for this +mysterious TELEPOD 3. He soon spots the THIRD TELEPOD, once +again covered by the tarpaulin. + +Stathis pulls away the tarp to reveal the third telepod. + +It is clunkier and less tidy than the other two pods, but +it’s basically the same machine. Stathis turns and begins +to walk back to the computer. + +BUT HE DOESN’T GET THERE, because BRUNDLE drops down on top +of him from the skylight! + +Stathis sprawls on the floor, but doesn’t let go of the +shotgun. Brundle lands neatly on his feet and stands +crouched, ready to do battle. Stathis swings the shotgun +around towards Brundle, and Brundle leaps, grabs the barrel +of the gun and holds it away from himself. + +Stathis tries desperately to wrench the gun free, but +Brundle is much too strong. Brundle grabs Stathis by the +wrist with his other hideous hand. He slowly, +contemptuously brings the wrist towards his mouth. As +Stathis watches helplessly, Brundle’s ENTIRE FACE OPENS UP +to reveal HIDEOUS FLY MOUTH PARTS! A HUGE FLY TONGUE +unfolds and spurts milky, viscous vomit onto Stathis’s +clenched fist. + +Stathis screams as his fist dissolves into a dripping, +simmering, bloody pulp. Near fainting, Stathis drops the +shotgun. Brundles tongue retracts AND HIS FACE CLOSES +AGAIN, leaving no trace that it had ever split open! + +Brundle reaches for it but Stathis manages to hook his foot +over it. BRUNDLE’S TERRIBLE MAW OPENS AGAIN and more fluid +spews out over Stathis’s foot. The shoe, the sock, the +flesh, the bone, all bubble and dissolve and drop away, +leaving nothing but a steaming, bloody, cauterized stump. + +Brundle’s movements, his facial expressions, are completely +dispassionate, insect-effective. He methodically begins to +suck the liquifying, pulpy flesh back up into his crop, +mercilessly probing what was Stathis’s foot with his +metallic-green tubular tongue. + +Stathis is past screaming now. He simply nods off, almost +gently, into semi-consciousness. + +Brundle’s face hovers like a bad dream over Stathis’s face. +Stathis’s mouth is open, he is breathing deeply as though +in the deepest kind of sleep; but his eyes are. + 88. + + +open, he seems to be aware on some praeter-conscious level. +Brundle bends closer to Stathis, closer, inches away... + +A voice shatters the moment, a voice which comes from +behind and above Brundle. + + VERONICA + (QUIETLY) + Don't kill him! If there's anything + human left inside you, don't kill + him! + +Brundle turns to see Veronica peering down at him through +the sky 1ight. + + VERONICA + (ALMOST A WHISPER) + Please. + +Brundle turns back to Stathis, who now curls up in the +corner like a spider touched by a lit cigarette. Brundle +hesitates, calculates. Then finally, HIS FACE CLOSES AGAIN +and he leaves Stathis, gets up, swings up a support beam to +the skylight and Veronica. + + BRUNDLE + Help me. Help me. Help me to be + human. + + VERONICA + How? + +Brundle tucks Veronica under one arm and effortlessly +swings back down into the lab with her. He leaves her in a +corner and goes over to the computer. He is not really +surprised to see that the computer has already been +switched on and that the right disc is up. + +Brundle reaches over to the controller and flips some +switches. Operating lights come on in Telepod 1, then +Telepod 2, and then, Veronica notices with a start, in +Telepod 3. + +Brundle gestures towards the appropriate telepods. + + BRUNDLE + I go there. You go there. We come + apart, and then, we come together - + (INDICATING THIRD + TELEPOD) + 89. + + + - there. You, and me, and the baby, + together. We’ll be the ultimate + family. A family of three, joined + together in one body, more human + than I am alone. + +Veronica now realizes exactly what Brundle has in mind. + +She begins to back away, edging towards the door. + + VERONICA + Oh, no. You can't... you can’t mean + that... + +Without hesitation, Brundle leaps across the room and grabs +her. Veronica screams in horror. + + VERONICA + (SCREAMING) + No! No! I won’t do it! + +Brundle starts to drag her towards the second telepod. + +Veronica begins to fight Brundle. She smashes at him with +her fists, she jams her hands up under his chin and pushes +with all her might. AND HIS LOWER JAW COMES RIGHT OFF IN +HER HANDS! Brundle releases her. She stares in disbelief at +the dripping human lower jaw, complete with quivering lip, +which she now holds in her hands. She looks back at +Brundle, stunned, mesmerized. Where his jaw + +was there are now vibrating, twitching insect mouth parts. + +Veronica screams. With one sudden, vicious swipe of his +claw-hand across her face, Brundle drops Veronica as though +she had been pole-axed, severing her scream in mid-air. + +Brundle’s tubular tongue is now completely exposed, and it +stretches outwards and upwards, fusing with the other mouth +and nose parts to form a true fly proboscis. He writhes and +twists like a caterpillar weaving a cocoon as the end of +his transformation is finally triggered off. + 90. + + +The bulges on his forehead split open and short antennae +uncoil and spring erect. At the base of the antennae are +several small, black, simple eyes, deep and unfathomable, +like bullet holes in the skull. The dome-like swellings of +his temples split open to reveal two damp masses of +glistening black spheres, like mounds of caviar, which +rapidly begin to swell and multiply until they have formed +two huge insect compound eyes which swivel on extremely +short stalks. Brundle’s own human eyes burst like raw eggs +and dribble down his face as out of the sockets slide two +clusters of short, bristly hairs. + +There is a witness to Brundle’s transformation: Stathis has +been edging towards his shotgun, inching his way along the +floor, fighting the agony, blacking out for seconds at a +time and recovering. + +Brundle is now a completely non-human thing - yet he seems +bent on completing his fusion project. Whether this is out +of a sti11-1iving desire to regain some kind of humanity, +or out of mere insect momentum, we can’t tell. + +In either case, he picks up the unconscious Veronica and +places her - is it gently or just fastidiously? - into +Telepod 2 and closes the door. + +CU - AUTOMATIC EXTERIOR LATCH OF TELEPOD 2 DOOR SLIDING +HOME. + +He goes back to the computer and sets it to time a +countdown, which we see on the monitor: + +COUNTDOWN TO FUSION + +60 SECONDS + +Now Brundle gets into Telepod 1 and swings the door shut +behind him. + +CU - AUTOMATIC EXTERIOR LATCH OF TELEPOD 1 DOOR SLIDING +HOME. + +This is Stathis’s cue. He glances at the monitor. + +CU MONITOR - which reads: + +COUNTDOWN TO FUSION + +28 SECONDS + 91. + + +Stathis struggles to his knees; then, using the shotgun as +a crutch, he manages to stand erect. He limps over to +Telepod 2, unable to avoid noticing how frail and unreal +Veronica looks, slumped in the corner of the telepod like a +doll under glass. + +Now Stathis props himself up against a support beam and +raises the shotgun, resting the barrel on his truncated +left forearm. + +From inside Telepod 1, Brundle sees Stathis, understands +his intention. Brundle throws himself against the door of +his telepod, but it won’t move. He starts to slam his claw- +hands against the glass like a pair of sledgehammers, but +the glass is immensely strong. + +CU MONITOR - which reads: + +COUNTDOWN TO FUSION + +13 SECONDS + +Stathis is unsteady, has difficulty controlling his weapon. + +Brundle continues to hammer at the glass - NOW WITH SOME +SUCCESS, as the glass is beginning to craze in star­shaped +patterns under Brundle’s blows! + +Stathis has now managed to draw a bead on his target -the +THICK CLUSTER OF CABLES which connect Veronica’s telepod to +the computer and to the lab's power supply. + +CU MONITOR - which reads: + +COUNTDOWN TO FUSION + +5 SECONDS + +STATHIS FIRES! The cables at the foot of Telepod 2 EXPLODE +INTO A BALL OF SPARKS AND FLAME! + +Brundle pounds insanely at the glass of his telepod and the +GLASS FINALLY SHATTERS. Brundle reaches out of the telepod +and slides open the latch. He swings open the door. He +steps out of the telepod... + +CU MONITOR - which flicks from 1 SECOND to: + +COUNTDOWN TO FUSION + +0 SECONDS + 92. + + +An intense white light spills out of the open telepod door, +enveloping Brundle - who has not quite managed to step +completely free - AND THE FRONT THIRD OF THE POD ITSELF! + +Brundle begins to disintegrate, AND SO DOES THE FRONT THIRD +OF THE TELEPOD! Brundle and part of the telepod are +scrupulously analysed and outlined on the monitor, and then +they disappear both from the monitor and from Stathis’s +sight. + +Now ONLY TWO-THIRDS OF THE TELEPOD ARE LEFT STANDING, edges +jagged, wires hanging, as though its front third had been +sliced off by a chain saw. The remains of Telepod 1, +looking like some kind of alien ruin, slump sideways under +their own, now-unsupported weight. + +Stathis turns to Telepod 2 - and releases an audible sigh +of relief when he sees that Veronica still lies there, +untouched. + +Suddenly, TELEPOD 3 IMPLODES, sucked in on itself as though +a complete vacuum has suddenly appeared at its core. + +Warily, apprehensively, Stathis limps over to the smoking +rubble of Telepod 3, once again using the shotgun as a +crutch. Now he stands, swaying unsteadily, in trepidation +before the heap of rubble, searching for signs of Brundle. +A beat, an then... + +OUT OF THE SMOKE AND RUBBLE RISES A THING, a confused mass +of insect and human flesh, metal, circuit boards, wires and +glass - the result of the FUSION OF BRUNDLE AND TELEPOD 1. + +Stathis staggers back.in horror. + +The Brundle-Thing comes after him, dragging parts of its +lower body along the floor, pieces of black insect flesh +fused with electronic circuitry dropping off it as it +comes, a hideous, raging, MORTALLY STRICKEN monstrosity. + +Its claw-hands, which now stick out of its body at Crazy, +asymmetrical angles, reach out for Stathis. Stathis twists +away but falls crashing to the floor. + +Stathis slides himself backwards along the floor with his +good hand, his stump, his chin... anything. THE BRUNDLE- +THING’S MOUTH PARTS - now located somewhere in the middle +of its chest - dribble steaming, corrosive vomit-drop. + 93. + + + Stathis now finds himself jammed into a corner. He has no + place else to go. The Brundle-Thing's CLAW-FINGERS TREMBLE + as it reaches out for Stathis. Is it trying to attack + Stathis or is it reaching out for some kind, any kind of + human contact? There is no way for us to know. + + The Brundle-Thing begins to go into a dying spasm, shaking, + twitching, shuddering. From somewhere deep within its + deformed body comes an unearthly whistling sigh, perhaps + more an expression of release than pain. + + Stathis finds himself sobbing uncontrollably as the + Brundle-Thing gives a last tremor and then is still. + + Stathis crawls his way over to Telepod 2 and unlatches the + hatch door. He works his way halfway into the pod so that + he can stroke the hair of Veronica, who responds to + + his touch and murmurs as she begins to regain + consciousness. + + STATHIS + (SOOTHING) + Ronnie, Ronnie, it’s OK. I'm here. + We came through it. We came through + it. + + SLOW DISSOLVE TO: + + +70 INT. STATHIS'S BEDROOM - NIGHT 70 + + Veronica is murmuring in her sleep. She's in bed. Stathis + is beside her, caressing her. He has an artificial rubber + left hand, which looks quite real at first glance. Their + bedroom is very stylish and sumptuous. + + STATHIS + (SOOTHING) + It's OK, darling. I'm here, + everything's OK. + + Veronica sits up. She is somehow disturbed; maybe it's only + because she's still half in her dream. She looks down at + her stomach. It's big. She's very pregnant. + + VERONICA + (DISORIENTED) + It was that dream again! Brundle... + Brundle’s baby was being born.. + + STATHIS + (PATTING HER TUMMY) + 94. + + + This baby is mine, remember? Yours + and mine. The most horrible thing + that can happen is that it'll look + more like me than you. + + Veronica lies back, dreamily. + + VERONICA + Oh, yeah. Yeah. I'm awake now. It's + OK. + + Stathis smiles and kisses her. Despite what she says, + Veronica is still disoriented, unsettled. She begins to + sink back into her dream. + + +71 INT. VERONICA'S DREAM - DAY 71 + + Veronica dreams about a gorgeous CHRYSALIS - a butterfly’s + cocoon - which resembles that of a Monarch butterfly. The + chrysalis, a translucent jade-green, hangs from a leaf in a + brightly surreal landscape. + + The chrysalis begins to twist and turn as something inside + it struggles to be born. Finally, a BEAUTIFUL HUMAN BABY + WITH GOSSAMER, INSECT WINGS emerges. The baby clings to the + chrysalis for a few moments, fanning its wings slowly until + they dry. + + Then the baby takes flight and disappears, LEAVING THE + BURST AND SHRIVELLED CHRYSALIS BEHIND. + + +72 INT. STATHIS’S BEDROOM - NIGHT 72 + + In her sleep, Veronica is now smiling serenely. + + THE END. + \ No newline at end of file diff --git a/scripts/The Godfather (Part II).txt b/scripts/The Godfather (Part II).txt new file mode 100644 index 0000000000000000000000000000000000000000..2732b8ab75471c29da74df9f17427bf0839213a7 --- /dev/null +++ b/scripts/The Godfather (Part II).txt @@ -0,0 +1,10314 @@ + + + + + + + + + + + + + + THE GODFATHER + + Part Two + + Screenplay by + + Mario Puzo + + and + + Francis Ford Coppola + + + + + + + + + + + + + + + + + + + + +SECOND DRAFT + +September 24, 1973 + + + + + +FADE IN: + +The Paramount Pictures logo is presented over a simple black +background, as a single trumpet plays the familiar theme of +a waltz. White lettering fades in: + + Mario Puzo's THE GODFATHER + +There is a pause, as the trumpet concludes, and there is the +additional title: - Part Two - + +INT. DON CORLEONE'S OLD OFFICE - CLOSE VIEW ON MICHAEL +CORLEONE - DAY + +standing impassively, like a young Prince, recently crowned +King. + +CLOSE VIEW ON Michael's hand. ROCCO LAMPONE kisses his hand. +Then it is taken away. We can SEE only the empty desk and +chair of Michael's father, Vito Corleone. We HEAR, over +this, very faintly a funeral dirge played in the distance, +as THE VIEW MOVES SLOWLY CLOSER to the empty desk and chair. + + DISSOLVE TO: + +EXT. A SICILIAN LANDSCAPE - FULL VIEW - DAY + +We can barely make out the funeral procession passing over +the burnt-brown of a dry river bed. The figures move +slowly, seemingly from out of hundreds of years of the past. + +The MUSICIANS walking unsteadily on the rocky bed, their +instruments harsh and blaring. + +They are followed by six young peasant men, carrying the +crude wooden coffin on their shoulders. Then the widow, a +strong large woman, dressed in black, and not accepting the +arms of those walking with her. + +Behind her, not more than twenty relatives, few children and +paisani continue alone behind the coffin. + +Suddenly, we HEAR the shots of the lupara, and the musicians +stop their playing. The entire procession scatters in odd +directions along the rocky river bed. + +The young men struggle with the burden of the heavy coffin, +throwing it out of balance and nearly crashing to the ground. +We hear a woman SCREAMING: + + WOMAN + (Sicilian) + They've killed young Paolo! They've + killed the boy Paolo! + +EXT. SICILIAN LANDSCAPE - MED. VIEW - DAY + +across the slain body of a fourteen year old boy, lying on +the parched ground. In the distance we see four or five of +the mourning women, the wind blowing their black dresses and +veils, running up to the body of the boy. They begin to +wail, and cry out in anguished Sicilian, as the widow, the +mother of the murdered boy, holds her child in her arms, his +fresh blood wetting her strong hands. + +EXT. BARONIAL ESTATE - TIGHT MOVING VIEW - DAY + +A boy, eight or nine, with wide, frightened eyes, being +pulled quickly by the hand. This is VITO ANDOLINI, who is +to become The Godfather. + +The VIEW ALTERS revealing that he is being pulled along by +his Mother, the Widow, across a field leading to the +ornamental gates of a Baronial Estate of some forgotten Noble. + +At various positions near the gates are men with shotguns, +or lupara. The gates are opened; and the Widow and her boy +are shown before DON FRANCESCO, a man in his sixties. He +wears his trousers with suspenders, and an open white shirt +sloppily tucked in over his enormous belly. He wears a hat +to protect him from the white-hot sun, and proudly displays +a gold watch and chain over his vest. + +He sits in a chair, near a group of his men in the garden, +listening to the Widow, who stands before him with her only +son. + + WIDOW + (Sicilian) + Don Francesco. You murdered my + husband, because he would not bend. + And his oldest son Paolo, because + he swore revenge. But Vitone is + only nine, and dumb-witted. He + never speaks. + + DON FRANCESCO + (Sicilian) + I'm not afraid of his words. + + WIDOW + (Sicilian) + He is weak. + + DON FRANCESCO + (Sicilian) + He will grow strong. + + WIDOW + (Sicilian) + The child cannot harm you. + + DON FRANCESCO + (Sicilian) + He will be a man, and then he will + come for revenge. + +As she pleads, the Widow moves closer to the Don, until she +has practically thrown herself to her knees before him. + + WIDOW + (Sicilian) + I beg you, Don Francesco, spare my + only son. He is all I have. In + the name of the Holy Spirit, I + swear he will never be a danger to + you... + +Suddenly, she reaches under her skirt, where she has hidden +a kitchen knife. + + WIDOW + (continuing) + But I will kill you myself! + (she lunges at the + Mafia chieftain) + Vitone, go! + +The boy runs as fast as he can out through the gates. Then +there is a lupara blast. He turns, and sees his Mother +flung a distance of five feet from the short range of the +terrible blast of the shotgun. Then he sees the men turn +their attention to him. One fires at him; but the boy is +quick, and disappears into a grove of olive trees. + +EXT. STREETS OF CORLEONE - NIGHT + +Two men roam the deserted streets of Corleone, carrying +lupare. Every so often, they stop, and one shouts in a +loud, almost singsong voice, like a fish peddler. Their +names are MOSCA and STROLLO. + + MOSCA + (Sicilian) + Our Friend promises misery to + anyone who harbors the boy Vito + Andolini. + (he turns and shouts + in the other direction) + Our Friend promises misery to + anyone who harbors the boy Vito + Andolini. + +INT. A HOUSE - NIGHT + +A family quietly eats their dinner. The father is the local +policeman, as indicated by his uniform jacket and gun, +hanging nearby. + + STROLLO + (Sicilian, O.S.) + Our Friend will be hard with any + family who gives help to Vito + Andolini. + +One of the children looks up, about to speak. But the +father sternly indicates that nothing must be said. They go +on with their dinner. + +EXT. THE STREETS OF CORLEONE - FULL VIEW - NIGHT + +The men continue walking up and throughout the streets, far +in the distance. + + MOSCA + (Sicilian O.S.) + ...misery to any family who harbors + the boy, Vito... + +INT. A BARN - NIGHT + +Four little girls watch with wide eyes as their mother and +father bind Vito tightly in swaddled cloth, and then lift +him up to the side of a mule; counter-balancing a heavy load +of firewood. The father looks at the boy's almost stoically +calm little face. + + FATHER + (Sicilian) + Vito...We pray for you. + +He pulls the fabric over the boy's face. + + MOSCA + (Sicilian O.S.) + ...Andolini... + + STROLLO + (Sicilian O.S.) + Our Friend promises misery to any + family... + +EXT. THE CHURCH PLAZA - NIGHT + +The men continue on their night-walk, up to the plaza of the +church. + + STROLLO + (Sicilian) + ...who harbors the boy Vitone + Andolini. + +The figure of a single man on a mule passes them. + + MOSCA + (Sicilian) + Let no one give help to the boy + Vito Andolini... + +The man on the mule makes his way out of the village and +disappears into the distance. + +We begin to hear, very quietly, the Waltz repeated once again. + +EXT. STEAMSHIP - CLOSE VIEW ON VITO - DAY + +huddled in blankets, on the deck of the ship in Steerage. +He does not say a word. The Waltz grows louder as the VIEW +ALTERS, revealing the hundreds of immigrant families huddled +together with all their earthly possessions on their way to +America. + +Then, suddenly, the Waltz stops. + +THE NEW YORK HARBOR - DAY + +SILENCE. We glide past the Statue of Liberty. + +VIEW on the IMMIGRANTS standing on shipboard silently; +looking. Vito is standing with them, his eyes wide. + +CAMERA MOVES IN on the statue, then MOVING PAST, on to the +beautiful buildings of Ellis Island. + +EXT. ELLIS ISLAND - DAY + +A tugboat pulls a barge brimming with immigrants into the +Ellis Island harbor. Uniformed officials of the Immigration +Service load them up toward the main building. + +INT. ELLIS PROCESSING HALL - DAY + +The hundreds of immigrant families sit on rows of benches in +the great hall. Various painted lines lead to the steps and +processing rooms above. + +There is the babble of many interviews going on +simultaneously, uncertainly, in different languages. + +Vito is bundled in an old coat, with a large tag pinned on +it: "Vitone Andolini -- Corleone, Sicilia." + +He stands, moves up in the line, when several other immigrant +boys, older than he, rush up an push him back in the line. +Weak from the trip, he falls to the floor. The boys laugh, +derisive in a language he cannot understand. He struggles +to his feet, lifting his makeshift bags; staring at them in +an icy hatred. + +INT. PROCESSING ROOM - DAY + +Three or four interviews are crowded into the small room; +they are conducted in English. From the expression on +Vito's face, and from the fragmented of the English, we +realize that he doesn't understand a word of it. + + OFFICIAL + (English) + What is your name? + +The man waits, impatiently. + + OFFICIAL + Your name? + +Vito doesn't answer. The Official pulls the tag pinned onto +his coat and copies to down on his form, using a typewriter. + + OFFICIAL + (speaking as he types) + Vito...Corleone. Step up, over + there. + +He hands the form to another official. + +CLOSE VIEW on the form. The name has been entered as Vito +Corleone. + +INT. MEDICAL EXAM - DAY + +Vito is stripped to the waist, as other immigrants wait. + +The DOCTOR is just finishing his examination. He shakes his +head, and then writes on the medical form. + + DOCTOR + Can you understand me? + +Vito stares blankly. + + DOCTOR + You understand? Smallpox. Smallpox. + +He doesn't understand. The doctor turns to the Immigration +Official. + + DOCTOR + Quarantine...six months. + +UNDERGROUND PASSAGEWAY - MOVING VIEW - DAY + +Officials move a group of immigrant men, including Vito, to +the quarantine section of the Island. + +INT. QUARANTINE HALLWAY - DAY + +The official stops at each doorway, and reads off a name. + + OFFICIAL + Salvatore Ormenta. + +The man moves into the room, and the group proceeds. + + OFFICIAL + Vito Corleone. + +No one responds. The guard moves to the boy, reads his new +name tag. And then, not unkindly: + + GUARD + That's you. + +He opens the door, and Vito enters the room. + +EXT. THE STATUE OF LIBERTY - DAY + +The VIEW slowly begins to pull back, revealing this to be +the view from inside the quarantine cell, where Vito stands +on his bench, looking out to the statue through the barred +window. + +Then he turns, and sits in the corner. He is silent for a +long time. + +Then, in a sweet, pure voice, he sings to himself in Sicilian. + + DISSOLVE TO: + +INT. CATHOLIC CHURCH - MOVING CLOSE SHOT - DAY + +A nine year old boy, dressed immaculately in white, with a +large white silk bow tied to his shoulder, moving slowly +down the aisle of the church with a group of other children +dressed in white. He has dark black hair, and his face is +unmistakably similar to young Vito's. He moves slowly, his +hands clasped around a golden missal. We HEAR only the pure +voice of Vito in Sicilian, his sad song reaching out from +the past, as ANTHONY CORLEONE, his Grandson, moves on the +way to his First Holy Communion more than fifty years later. + +FULL VIEW + +The little children move in procession down to the Altar, +where the PRIEST raises the Host, and performs the Communion +Mass in Latin. + + PRIEST + Ecce Agnus Dei, ecce qui tollit + peccata mundi. + +MOVING VIEW ON THE PRIEST + +and Altar boys, as he moves along the row of kneeling +children, blessing them, and administering their first +Communion. + +CLOSE MOVING VIEW + +as the innocent faces receive the Host; finally, the Priest +comes to Anthony. + + PRIEST + Corpus Christi. + + ANTHONY + Amen. + +EXT. LAKE TAHOE ESTATE - DAY + +The lawns of this great estate on the shore of Lake Tahoe +are covered with guests of a wonderful party to honor the +First Holy Communion of Anthony Corleone, the son of Mr. and +Mrs. Michael Corleone. A full dance orchestra plays music +of the times on a pavilion bandstand built especially for +the occasion. Speedboats roar through the water, pulling +youthful waterskiers; and the pool and private harbor are +filled with laughing, swimming guests. It is Fall of 1958. + +MED. VIEW + +Anthony, in his Communion suit sits alone at the table, +looking like a lonely young Prince. + + KAY (O.S.) + Smile, Anthony. Smile. + +He does, and a flash goes off. + + PHOTOGRAPHER (O.S.) + Now, one with the whole family. + + KAY (O.S.) + Mr. Corleone can't right now... + +KAY CORLEONE enters from the side, leading her four year old +daughter, MARY, and MAMA CORLEONE to pose with Anthony. + + KAY (O.S.) + ...but we'll get one with the ladies. + + PHOTOGRAPHER + All together now, c'mon, Anthony... + CHEESE and + (flash) + + KAY + Thank you. + +She smiles as she leaves the photographer, and then lets out +a weary sigh to Mama, as she touches the slightly protruding +belly. + + KAY + Do you think it'll show in the + picture? + + MAMA + Two months never shows. Two months + look like you had a big lunch. + + VOICE (O.S.) + Oh, Mrs. Corleone. + +A slender, aristocratic WOMAN in her late forties is waving +to KAY. + + MRS. BARRETT + Hello, Mrs. Corleone. I'm Fran + Barrett, our place is just down the + lake. This is my husband, Marshall. + + KAY + I'm so happy you could come. + + MR. BARRETT + The place is transformed. We've + been watching workmen come and go + all summer. + + MRS. BARRETT + Where is Mr. Corleone? + + KAY + A business meeting ran late...but + he promised he wouldn't be long. + +Kay puts her arm around little Anthony's shoulder. + + KAY + This is our son Anthony Vito + Corleone. Today he made his First + Holy Communion. + +EXT. TAHOE GATE AND KENNELS - DAY + +A confusion of cars; arriving and parking. The squad of +parking attendants are supplemented by a whole team of the +local Police, working as high-class parking valets. + +A very beautiful, statuesque woman, though slightly drunk, +DEANNA DUNN, slams the door of a powder blue Mercedes and +hurries barefoot through the great stone gate. + + DEANNA + I will not shut my mouth, and keep + your Goddamn hands off of me! + +She is followed by a harried, FREDDIE CORLEONE, dressed with +flash in the Hollywood style, and carrying her shoes in his +hands. + + FREDO + Honey! Wait a minute; let's go for + a drive. + + DEANNA + I just had a drive; besides, I want + to see my brother-in-law Michael. + + FREDO + (trying to get her to + put her shoes on) + Yeah, but I don't want him to see + you. + +Deanna pauses reflectively a moment, allowing Fredo to get +her shoes on. + + DEANNA + What beats me, is how you guys + could be brothers. You musta been + your Mother's rotten egg. + +She kicks off the shoes, giggling, and runs toward a waiter. + + DEANNA + (lifting a glass of champagne) + Young man, young man...thank you, + young man. + + WAITER + (impressed) + Excuse me, but aren't you... + + DEANNA + Yes, you saw me in the movies, Good + Humor man, and yes, I had more off + than my shoes! + + FREDO + Goddamn bitch. + + DEANNA + Relax, Freddie honey. Come dance + with me. + +She extends her hand to him. + + FREDO + Listen, Michael's got a lot of nice + people here. Friends of Kay's. + He'll never forgive me if you ruin + his party. + + DEANNA + I hate to see you cringe in front + of him. How come you're so scared + of your own kid brother? + + FREDO + He's the head of the family. + +Disgusted, she turns around, and heads toward the music. + + DEANNA + Don't follow me! + +EXT. TAHOE LAWN AND TABLES - MED. SHOT - DAY + +Rushing through the tables, waving an arm jangling with gold +jewelry, and carrying several gift-wrapped packages, is a +hardened and aging CONNIE CORLEONE. She is followed by a +blond, and wrinkled-handsome escort named MERLE. + + CONNIE + Mama...Mama! Here I am! + +She throws her arms around her Mother, who returns the +affection somewhat reproachfully. + + MAMA + Constanzia. We expected you last + week; we sent the car to pick you + up at the airport last week. + + CONNIE + I know, it was chaos; but anyway, + here I am one week late. + (lifting a shiny + green package out of + Merle's arms) + This is for my Mama. You remember + Merle? + + MAMA + (not giving him a + chance to greet her) + Yes, thank you. + + CONNIE + How are the kids? + + MAMA + Well, thank you, they asked for you + all week. + + CONNIE + I got surprises for everybody! + + MAMA + (glancing at the wrapping) + Bought at the airport. + + CONNIE + (gazing about) + This is swell. Where's Michael? + I've got things to get straight + with him and I can't wait on line. + + MAMA + You go see your children first, and + then you wait to see your brother + like everybody else. + +EXT. THE BOATHOUSE - DAY + +A porch-like foyer of the boathouse, where a group of five +or six men wait, some nervously. Some sit, and some pace. + +MED. CLOSE VIEW + +on one of these men, FRANKIE PENTANGELI, approaching his +sixties, with gray hair (the little of it left). He's a bit +scruffy, this morning's shave of his white beard is not +perfect, and he seems tired. He is accompanied by an +associate-bodyguard, WILLY CICCI; thin and dark, and also +dressed up for the occasion. Frankie tries to get the +attention of one of the waiters; a college-groomed young man +in white sports jacket and black bow-tie. + + PENTANGELI + Hey, kid! You got any red wine? + + WAITER + (offering the tray) + Only champagne and cocktails. + + PENTANGELI + Forget it... + +Finally, he sees someone he recognizes, Fredo, and shouts +out in a husky voice: + + PENTANGELI + Fredo! Sonuvabitch. You look great. + +Fredo squints in his direction; finally recognizes him. + + FREDO + Who's that? Pentangeli? Frankie + "Five-Angels"...thought you were + never coming West. + + PENTANGELI + (affectionately) + Gotta check up on my boys. Hey, + what's with the food? Some kid in + a white jacket brings me a ritz + cracker with some chopped liver. + 'Canapes,' he says. I say, 'Can a + peas, my ass, that's a ritz cracker + with chopped liver.' Go get me a + salami sandwich and a glass of wine + or I'll send you and your white + jacket to the dry cleaners! + +They get a good laugh at this fresh breath of New York. + + FREDO + Gee, Frankie, it's good to see you. + Reminds me of old times. + + PENTANGELI + You remember Willy Cicci, don't + you, Freddie? We was all together + with the old man Clemenza in + Brooklyn... before...uh... + + FREDO + We were all upset about that. + + PENTANGELI + That's what I'm here to talk to + your brother about. What's with + him, I got to get a letter of + introduction to have a 'sitdown'? + + FREDO + (throwing his arm + around him) + C'mon, I see what I can do. + +EXT. TAHOE PAVILION - MED. VIEW - DAY + +The orchestra wears white summer sportcoats and black tuxedo +slacks as they play a tango behind monogrammed music stands. +A professional dance team, probably imported from Vegas, +dance the tango for the excited guests. + +INT. TAHOE BOATHOUSE - DAY + +A large and very beautiful room overlooking the lake. It is +dominated by an enormous bar, behind which stands ALBERT +NERI, discreetly in the background. + +MICHAEL CORLEONE sits on a large sofa, his back to us. +Standing to one side is a tired and somewhat uneasy TOM +HAGEN. Standing before Michael is SANDRA CORLEONE, Sonny's +widow; her daughter, one of the twins, FRANCESCA CORLEONE, +and a handsome young man of twenty, GARDNER SHAW. + + SANDRA + Michael, this is Gardner Shaw. + Francesca and he have been seeing + each other for six months now. + Gardner, this is Francie's Uncle + Michael. + + GARDNER + (a little nervous) + I've heard a lot about you, Mr. + Corleone. + + MICHAEL (O.S.) + Sit down. Francie. + +The couple sit themselves on the sofa opposite Michael. + + SANDRA + They would like to set an engagement + date, and... + + MICHAEL + Let them speak for themselves. + +VIEW ON MICHAEL, calm, thoughtful. One can tell that he has +special affection for his niece. + + FRANCESCA + We love each other, Uncle Michael. + And, we want to be married. I came + to ask for your blessing. + +There is a loud KNOCKING on the door; then Fredo's voice. + + FREDO (O.S.) + Hey, Mike...guess who's here? + +Neri goes to answer it, cracks the door open. + + NERI + Not now, Freddie... + + FREDO + Tell Mike Frankie 'Five-Angels' is + here. + + NERI + Not now... + +Neri closes the door, and Michael looks at the nervous young +man. + + MICHAEL + Francesca is my oldest brother's + daughter. He died many years ago, + and ever since I've felt much more + of a father than an uncle. I love + her very much. I'm pleased and + impressed that you had the thought + to come to me before going on with + your plans. It shows me that + you're a considerate man, and will + be good to her. What are you + studying in college? + + GARDNER + My major is Fine Arts, sir. + + MICHAEL + How will Fine Arts support your new + wife? + + GARDNER + It's embarrassing to say, sir, but + I'm a major stockholder in the + family corporation. + + MICHAEL + (smiling) + Never be embarrassed by your wealth. + This recent contempt for money is + still another trick of the rich to + keep the poor without it. + (warmly) + Of course I give you my blessing. + Let's set the wedding soon...it + will be my pleasure to give the + bride away. + +They all smile, and rise. + + MICHAEL + (continuing) + ...and take a few courses in + Business Administration just to be + on the safe side! + +They laugh; Michael moves toward them. Francesca throws her +arms around him, and kisses her favorite uncle. The flushed +young man shakes his hand heartily. + + FRANCESCA + Thank you, Uncle Michael. + +They all take their leave; Michael turns to Hagen. + + MICHAEL + Make her dowry impressive. He + comes from a family who still + thinks an Italian bride goes + barefoot. + +EXT. TAHOE SWIMMING POOLS AND HARBOR - DAY + +Francesca and Gardner are greeted by her twin sister and +their young friends, who squeal and embrace at the good news. +Someone throws someone in the pool, and life is good. + +MED. CLOSE + +Francesca kisses her Aunt Kay. + + FRANCESCA + Uncle Michael is the greatest man + ever! + +VIEW on Kay - happy for her niece. + +INT. TAHOE BOATHOUSE - DAY + +Michael sits in the darkened boathouse. Tom Hagen paces. +Michael is looking at photographs. Neri stands over him. + +CLOSE ON MICHAEL + +studying the pictures. + + NERI (O.S.) + His name is Fred Vincent. He owns + a small pizza parlor in Buffalo... + +CLOSE ON THE PICTURES + +Snapshots of a middle-aged man, handsome, Italian. There is +something familiar about him. + + NERI (O.S.) + (continuing) + ...American wife and two small kids. + We traced him and found that he's + in the country illegally, from + Sicily... + +Michael looks at another picture. The same man. Only +younger, and dressed in Sicilian shepherd's clothing. We +remember him as FABRIZZIO...Michael's traitorous bodyguard +in Sicily. + + NERI (O.S.) + ...came over around 1956. Sponsored + by the Barzini Family. + +Michael puts the pictures down. + + MICHAEL + It's him. Fabrizzio. + (almost to himself) + Revenge is a dish that tastes best + when it's cold. + + NERI + How do you want me to handle it? + +Michael glances at Hagen, who has been waiting in the room. + + MICHAEL + Later. Tom? + +Hagen brings him a folder; then, as Michael glances through +it: + + HAGEN + I've cleared it through the + Senator's chief aide, a man named + Turnbull. Turnbull's a heavy + gambler, and into us for over a + hundred grand, so I figure his + information is reliable. + +Neri moves to the bar, to prepare Michael a drink. + + HAGEN + The Senator can be set up; but he + thinks of himself as a clean + politician. So it's got to be on + terms he can live with: campaign + contribution, donation to a + charitable cause that he controls, + things like that. If he gets even + the inkling that you think you're + buying him, he'll freeze up. + Nevada's a funny state, they like + things both ways here... All right. + Turnbull says the Senator will be + here at two-thirty, and he's been + primed. He knows you'll want to + meet with him alone, and he knows + it's about the Tropicana's license. + At any rate, he expects to be + introduced around to some of the + influential people here today, and + generally treated as an ordinary + guest. Just go light on him, + Mikey, sometimes the biggest crooks + don't like to think of themselves + as crooks... + +Michael glances at Hagen, as though that last remark was +unnecessary. + + HAGEN + I'm sorry; of course, you know that. + + MICHAEL + Two-thirty. That gives me time to + see my boy. + + HAGEN + Connie's outside. + +Michael doesn't want to see her. + + HAGEN + I promised; she said it was urgent. + +Michael nods. + + MICHAEL + All right. Apologize to Pentangeli. + +Neri opens the door; Hagen exits, and Connie steps in +impatiently, followed by Merle. + + MICHAEL + I said I would see my sister, alone. + + MERLE + I think this concerns me too. + (taking a cigarette + from the dispenser) + You don't, do you? + +Connie steps forward, kisses Michael on the cheek. + + CONNIE + How are you, honey? You've met + Merle, haven't you. He was with me + in Vegas. + + MICHAEL + I saw him with you. + + CONNIE + We're going to Europe next week. I + want to get passage booked on the + Queen. + + MICHAEL + Why do you come to me? Why don't + you go to a travel agent? + + MERLE + We're going to get married first. + +Michael is silent. Then he rises, and moves to the window +overlooking the lake. + + MICHAEL + The ink on your divorce isn't dry. + Your children see you on weekends; + your oldest boy, Michael Francis... + was in some trouble with the Reno + police over some petty theft that + you don't even know about. + + CONNIE + Michael... + + MICHAEL + You fly around the world with lazy + young men who don't have any love + for you, and use you like a whore. + + CONNIE + You're not my father! + + MICHAEL + Then why do you come to me? + + CONNIE + Because I need MONEY! + + MICHAEL + (softly) + Connie, I want to be reasonable + with you. You have a house here, + with us. You can live here with + your kids...and you won't be + deprived of anything. I don't know + much about Merle; I don't know what + he does for a living; what he lives + on. Why don't you tell him marriage + is really out of the question; and + that you can't see him any more. + He'll understand. But if you + disobey me, and marry this pimp...it + would disappoint me. + + CONNIE + It was my father's money; and I'm + entitled to what I need. Where is + Tom Hagen? + +She turns angrily, leaving Michael standing face to face +with Merle. + + MICHAEL + Are you finished? + + MERLE + I think so. + + MICHAEL + Then out. + +Merle puts out his cigarette and leaves, quickly. + +EXT. TAHOE PAVILION - FULL VIEW - DAY + +The orchestra has struck up a "Paul Jones," where two +concentric circles of young people march in opposite +directions, until the music stops. Then they take whomever +is opposite them as their new dance partner. + +VIEW ON THE HARBOR AREA + +Francesca and her twin, Gardner and their elite young +friends roar out of the private harbor, to get up on the +water skis. We notice ROCCO LAMPONE, move along a path +leading to a separate and more private boathouse. A small +covered craft approaches, ties off, and a group of three men +step on to the pathway, shake hands with Lampone - and +follow him to the large boathouse where Michael conducts his +business. + +CLOSE VIEW + +Pentangeli has led Mama up to the dance floor, and is having +some difficulty with the orchestra. + + PENTANGELI + I can't believe that out of thirty + professional musicians, not one of + you is Italian! + (as the musicians laugh) + C'mon, give us a tarantella. + +He waves his hands, conducting, and singing. The piano +starts a vamp, the drums uncertainly join in. A clarinet +starts to play "Pop Goes the Weasel," and soon the rest of +the orchestra is playing that. They look to Pentangeli for +approval. Disgusted, he goes back to his table, eating a +handful of canapes. + +INT. THE BOATHOUSE - DAY + +Rocco ushers an older Italian, bundled up against the cold +and wet of his boatride, to Michael. + +The man shows respect to Michael, who quickly indicates that +Neri should get him a drink. + + MICHAEL + Rocco, his friends must be hungry. + See what you can do, but I'd like + to keep them away from the guests. + +The older man, JOHNNY 'BLUE BOY' OLA, gestures to his +bodyguards, and they follow Lampone. + + MICHAEL + You know my lawyer, Tom Hagen. + Johnny Ola. + + OLA + Sure, I remember Tom from the old + days. + +Tom shakes hands with Ola, remembering him, and his +importance. + + MICHAEL + Tom isn't going to sit in with us, + Johnny. He only handles specific + areas of the family business. Tom? + + HAGEN + Sure, Mikey. + +He gathers up some of his papers, as the three men remain +silent, waiting for him to go before they talk. It's clear +Tom doesn't want to be excluded. + + HAGEN + If you need anything, just... + + MICHAEL + Just tell Rocco I'm waiting. + +Hagen nods and leaves. As soon as the door closes: + + OLA + I just left our friend in Miami. + + MICHAEL + How is his health? + + OLA + Not good. + + MICHAEL + Is there anything I can do; anything + I can send? + + OLA + He appreciates your concern, + Michael, and your respect. + +There's a KNOCK on the door; a moment, and then Rocco +quietly enters and takes his place without disturbing the +conversation. + + OLA + The hotel's registered owners are + one Jacob Lawrence, and Sidney + Barclay, both Beverly Hills + attorneys. In reality it's split + between the Old Lakeville Road + Group from Cleveland, and our + friend in Miami. He takes care of + others outside the country, you + know who I mean. Meyer Klingman + runs the store, and does all right, + but I've been instructed to tell + you, that if you move him out, our + friend in Miami will go along with + you. + + MICHAEL + He's very kind, tell him it's + appreciated. I'm sure it will be + profitable all the way around. + + OLA + He always makes money for his + partners. One by one, our old + friends are gone. Death, natural + or not, prison, deported. Our + friend in Miami is the only one + left, because he always made money + for his partners. + +The door opens suddenly, and standing there in his white +Communion suit, is Michael's boy Anthony. A moment later, +Kay appears, and takes the boy's hand. + + KAY + Anthony, Daddy's busy. + + MICHAEL + (rising) + This is my boy, and my wife. Mr. + John Ola of Miami. + + KAY + I'm sorry, Michael. Senator + Geary's here, and Mr. and Mrs. + Barrett wanted to thank you before + they left. Won't you join us, Mr. + Ola? + + MICHAEL + Mr. Ola's just leaving, Kay. + Please tell the Senator I won't be + a minute. + +Pause; she stands there a moment. + + MICHAEL + (continuing) + Kay. + + KAY + Yes, Michael. + +EXT. THE BOATHOUSE - DAY + +Kay closes the door. It seems as though Michael has violated +some sort of promise to her by having this man here today. +She looks up toward the first boathouse. + +WHAT SHE SEES: + +The covered launch, and Ola's three bodyguards, eating while +they wait. + +MED. VIEW + +Anthony runs away from her, heading toward the house. + + KAY + Anthony! + (she runs after him) + Anthony, where are you going? + +Moodily, the boy stops, turns, and walks back to his table +of honor without answering her. + +EXT. TAHOE TABLES AND PAVILION - VIEW ON THE PAVILION - DAY + +The orchestra has taken its break; now two couples in formal +dress are performing the Quartet from Rigoletto. + +VIEW ON HAGEN + +sitting by himself, a little down, having a drink. He's +waiting for Michael to re-summon him. SANDRA, Sonny's +widow, sits opposite him. + + HAGEN + Where's my wife? + + SANDRA + With Mama, putting the baby to + sleep. Francesca's very happy. + Michael was kind to her. She + idolizes him. + (pause; she looks at + a despondent Hagen) + The children are all out in the + speedboat. I'm going to my house. + +Sandra gets up, still an attractive woman, and walks alone +to the back path that leads to her home on the estate. + +VIEW ON THE PAVILION + +The returned orchestra strikes a big, show-biz chord, +intended to command the guests' attention. + +The orchestra LEADER raises his hands for silence, and makes +an announcement over the P.A. system. + + MAESTRO + Ladies and gentlemen, a most + distinguished guest would like to + say a few words: Senator and Mrs. + Pat Geary of the state of Nevada! + +A big hand, as the smiling SENATOR introduces his WIFE by +holding her arm up to the crowd, and then proceeds alone to +the bandstand. + +MED. VIEW + +Michael stands with Kay and Mrs. Geary. The Senator's +presence seems to be a statement of political and social +status. + +A little distance away, his beautiful son Anthony sits +quietly, in an unmistakably morose mood. + +INT. TAHOE - SANDRA'S HOUSE - DAY + +We HEAR the applause and whistles echoing in the distance. +Sandra stands in her bedroom, looking at the door. We SEE a +photograph of SONNY, and also one of their wedding. + +A moment goes by, and then Tom Hagen enters, closing the +door behind him. + +We begin to HEAR Senator Geary's amplified voice resounding +over the lake. Hagen moves to Sandra. She takes him in her +arms, comforting, holding his head against her full breast. + + HAGEN + (quietly) + He doesn't want my help any more. + He doesn't need it. + + SANDRA + We don't know that's true, he never + said that. + + HAGEN + I can feel it in the way he talks + to me. + +He moves to the dresser; pours himself a drink. + + HAGEN + Just now when Johnny Ola showed up, + he asked me to leave them alone. + Ola is Hyman Roth's Sicilian + contact. I was on the inside of + ten, twenty meetings with him. But + today Mike asked me to leave, like + an outsider. + + SANDRA + Talk to him. Tell him how you feel. + + HAGEN + It's as though he blames me for the + ground the family lost when I was + Consigliere to Sonny. + +Sandra pulls Hagen to her, and kisses him passionately on +the mouth. + + HAGEN + I love Michael, I want to help him, + be close to him. I don't want to + end up a third string lawyer making + property settlements for the hotels. + +Sandra knows he needs her. Slowly she begins to undress. + + SANDRA + We have a little time now. + +EXT. THE PAVILION - VIEW ON SENATOR GEARY - DAY + + SENATOR GEARY + ...my thanks, and the thanks of the + young people of the State of + Nevada, for this most impressive + endowment... + (he holds a check in + his hand) + ...made to the University in the + name of Anthony Vito Corleone. + Thank you, Mr. and Mrs. Michael + Corleone. + +Applause. Senator Geary returns the microphone to the +Maestro who adds: + + MAESTRO + And now, the Nevada Boys' Choir + have prepared a special thank you + for Mr. Michael Corleone. + +He turns to a small Choir Master, who leads the Boys' Choir +in a choral arrangement of "MR. WONDERFUL." + +VIEW ON SENATOR GEARY + +shaking hands with Michael, as Press Photographers snap +pictures, showing the check; showing a special award of +Gratitude from the State; Mrs. Corleone and Mrs. Geary; all +together; Michael and his son; Senator Geary and Michael's +son; and on and on. In the midst of this: + + SENATOR GEARY + Where can we meet alone? + +Michael indicates the boathouse a distance away, where Neri +seems to be waiting for them. Then Michael leans to Rocco: + + MICHAEL + Find Hagen. + +Rocco sets off; as more pictures are taken, and the: + +BOYS' CHOIR + +sings its lovely arrangement of "Mr. Wonderful." + +INT. TAHOE BOATHOUSE - MED. VIEW - DAY + +Michael, the Senator, Neri and Rocco make a group in the +dark, large room. + + MICHAEL + It was very kind of you to come to + my home on this occasion, Senator. + My wife has been very concerned + with making a good impression on + the people who are our neighbors, + and your appearance here has made + her very happy. If I can ever + perform a service for you, you only + have to ask. + +The door opens, and Hagen sheepishly makes his way in. + + MICHAEL + My lawyer, Tom Hagen. He arranged + this all through your man Turnbull. + + SENATOR GEARY + I thought we would meet alone. + + MICHAEL + I trust these men with my life. + They are my right arms; I cannot + insult them by sending them away. + + SENATOR GEARY + (taking out some medication) + Some water. + +He addresses that to Neri, who resentfully goes to fetch the +Senator a glass of water. + + SENATOR GEARY + Alright, Corleone. I'm going to be + very frank with you. Maybe more + frank than any man in my position + has ever spoken to you before. + +Michael nods, indicating that he should do so. + + SENATOR GEARY + The Corleone family controls two + major hotels in Vegas; one in Reno. + The licenses were grandfathered in, + so you had no difficulties with the + Gaming Commission. But I have the + idea from sources... + (takes the water from + Neri and swallows his pills) + ...that you're planning to move in + on the Tropicana. In another week + or so you'll move Klingman out, + which leaves you with only one + technicality. The license, which + is now in Klingman's name. + + MICHAEL + Turnbull is a good man. + + SENATOR GEARY + Let's forget the bullshit, I don't + want to stay here any longer than I + have to. You can have the license + for two hundred and fifty thousand + in cash, plus a monthly fee equal + to five percent of the gross... + +Michael is taken aback; he looks at Hagen. + + SENATOR GEARY + ...of all three Corleone hotels. + +Hagen is frustrated; all his information was wrong. + + MICHAEL + Senator Geary, I speak to you as a + businessman who has made a large + investment in your state. I have + made that state my home; plan to + raise my children here. The + license fee from the Gambling + Commission costs one thousand + dollars; why would I ever consider + paying more? + + SENATOR GEARY + I'm going to squeeze you, Corleone, + because I don't like you; I don't + like the kind of man you are. I + despise your masquerade, and the + dishonest way you pose yourself and + your fucking family. + +VIEW ON HAGEN + +glances at Michael. + +VIEW ON MICHAEL + +makes no outward reaction. + + MICHAEL + (quietly) + We're all part of the same + hypocrisy, Senator. But never + think it applies to my family. + + SENATOR GEARY + All right, then let me say you'll + pay me because it's in your + interests to pay me. + +VIEW ON GEARY + +rising. + + SENATOR GEARY + I'll expect your answer, with + payment, by tomorrow morning. Only + don't contact me...from now on, + deal only through Turnbull. + +He is almost out the door. + + MICHAEL + Senator... + (cold and calm) + ...you can have my answer now if + you'd like. + +Geary turns back. + + MICHAEL + My offer is this. Nothing...not + even the thousand dollars for the + Gaming Commission, which I'd + appreciate if you would put up + personally. + +Geary returns Michael's hard look; then laughs and leaves. +Slowly Michael turns to Hagen. + +VIEW ON HAGEN + +embarrassed at being so off the mark. + + MICHAEL + It's all right, Tom, we'll talk + later. Tell Frankie Pentangeli I'd + like him to have dinner at my + family table before we do business. + +EXT. THE PAVILION - NIGHT + +Now the light has faltered, and the young waiters have put +up the night lights. The tables are all properly set for +dinner, with candles on each one. + +The orchestra is playing quiet, unobtrusive dinner music, +and many of the guests have begun to help themselves to the +impressive buffet, under a party tent. + +MED. VIEW + +Michael sits at a large table with Kay, his son Anthony, +Mama, Hagen and TERESA, Connie and Merle' Fredo and Deanna, +and Frankie Pentangeli. + + MAMA + Cent' Anne. + +This, the table of honor, all raise their glasses and repeat +the toast. + + DEANNA + What's 'cent' Anne?' + + FREDO + A hundred years...it's a toast. + + CONNIE + It means we should all live happily + for one hundred years. The family. + If my Father were alive, it'd be + true. + + MAMA + Connie. + + CONNIE + Merle, have you met my sister-in- + law Deanna? + + DEANNA + What a pleasure, Merle. + (shaking hands) + + + MAMA + (Sicilian) + Those two are perfect for each other. + + MERLE + What's that mean? + + CONNIE + Mama! + + PENTANGELI + (Sicilian) + Michael, in all respect, I didn't + come three thousand miles for dinner. + + MICHAEL + (Sicilian) + I know. + + PENTANGELI + (Sicilian) + When do we talk? + + MICHAEL + (Sicilian) + After dinner. + +By now, the conversation has become exclusively Sicilian, +with Merle and Deanna, looking from side to side like in a +tennis match. Finally, Kay, to be polite: + + KAY + Anthony, you were talking to Mr. + Pentangeli? + + ANTHONY + His name is "Five-Angels." + + PENTANGELI + Yeah, the kid and me talked Sicilian. + A one-way conversation! + +INT. TAHOE BOATHOUSE - NIGHT + +Pentangeli is angry; but because it is Michael he is talking +to, he keeps his voice low and represses his desire to shout. + + PENTANGELI + Sure, Pete Clemenza died of a heart + attack, but the Rosato Brothers + gave it to him. + + MICHAEL + We were all heartbroken at the + news; but that wasn't cause to + start a war. + + PENTANGELI + Okay, now it's my family in + Brooklyn; and I wanna keep up + Clemenza's loyalty to you. But how + can I run my family with you + challenging my every move? You're + too far from the street, Mike, the + only way to reason with the Rosato + Brothers is to whack 'em and whack + 'em fast. + + MICHAEL + You were unfair with them. + + PENTANGELI + Says who? + + MICHAEL + Clemenza promised Rosato three + territories in the Bronx after he + died, and then you took over and + welched. + + PENTANGELI + Clemenza promised them nothing, he + hated the sonsuvbitches. + + MICHAEL + They feel cheated. + + PENTANGELI + Michael, you're sitting up here in + the Sierra Mountains with champagne + cocktails making judgment on the + way I run my family. + + MICHAEL + (suddenly in Sicilian) + Your family still carries the name + Corleone, and you will run it like + a Corleone! + + PENTANGELI + (Sicilian) + And while I feed my family in New + York, you put the knife in my back + in Miami. + + MICHAEL + (firm) + Frankie, you're a good old man, and + you've been loyal to my Father for + years...so I hope you can explain + what you mean. + + PENTANGELI + The Rosatos are running crazy; + taking hostages, spitting in my + face, because they're backed by the + Jew in Miami. + + MICHAEL + I know. That's why I want you to + be fair with them. + + PENTANGELI + How can you be fair with animals? + They recruit niggers and spicks; + they do violence in their own + Grandmother's neighborhoods. And + everything is dope and whores; the + gambling is left to last. Let me + run my family without you on my + back. I want them taken care of. + + MICHAEL + No. There are things that I have + planned with Hyman Roth. I don't + want them disturbed. + + PENTANGELI + You give your loyalty to a Jew over + your own blood. + + MICHAEL + Frankie, you know my father + respected Roth, did business with + him. + + PENTANGELI + He did business...but he never + trusted him. + +Pentangeli takes his hat, and leaves. + + NERI + Should he go? + + MICHAEL + The old man had too much vino + rosso, or he'd never talk openly + that way. Let him go back to New + York; I've already made my plans. + (he checks his watch) + It's late; I've spent so little + time at the party. + +EXT. THE LAWNS AND TABLES - FULL VIEW - NIGHT + +By now the sun has fallen and the lawns of the Corleone +estate are lit by moonlight. Beautifully dressed couples +dance as the orchestra plays a foxtrot of the late fifties. + +VIEW ON THE DANCE FLOOR + +Deanna has been dancing with Fredo; she has gotten drunk and +it teasing her husband by flirting with other men on the +floor. + + DEANNA + I wanta dance...whatsa matter with + that? + + FREDO + Dancing is alright; you're falling + on the floor. + + DEANNA + Whatsamatter, you don't want me to + dance with him 'cause he's a man! + + FREDO + Deanna, I'm going to belt you right + in the mouth! + + DEANNA + These Eye-ties are really crazy + when it comes to their wives. + +By now guests are starting to notice the disturbance; +Michael is with Kay, and some friends; Rocco catches his eye. + + DEANNA (O.S.) + Jesus, never marry a WOP, they + treat their wives like shit. + +VIEW on Kay, listening, embarrassed by her flashy sister-in- +law. + +VIEW ON FREDO AND DEANNA + +Rocco passes by Fredo and whispers: + + ROCCO + Freddie, Mike says take care of it, + or I have to. + + DEANNA + He's a friend of your brother! + +Without another word, Rocco grabs firm hold of her and +whisks her out of the crowd. + + DEANNA + "Shuffle off to Buffa... + Shuffle off to Buffa... + Shuffle off to Buffalooooo..." + +Freddie mops his forehead, and moves to Michael. + + FREDO + Hey Mike, what can I say? + + MICHAEL + Forget it, just go take care of her. + +EXT. THE HARBOR DECK - NIGHT + +A large group of Tahoe teenagers join the Corleone youngsters +sitting around a large fire out by the harbor. Gardner and +Francie, sitting arm in arm. + +EXT. TABLE OF HONOR - MED. VIEW - NIGHT + +Little Anthony, in his white suit, sitting alone. + +EXT. MAIN GATE - NIGHT + +A taxi pulls up, and is signaled over to the gate by a +policeman carrying a torch flashlight. + +Connie and Merle enter; Merle tips the cop, and the cab +drives off. + +EXT. DANCE FLOOR AND PAVILION - MOVING TWO SHOT - NIGHT + +Kay and Michael dancing in the moonlight. + + MICHAEL + How's the baby? + + KAY + Sleeping inside me. + + MICHAEL + Does it feel like a boy? + + KAY + Yes, Michael, it does. + + MICHAEL + I'm sorry about some of the people + I had to see today. It was bad + timing... but it couldn't be helped. + + KAY + It made me think of what you told + me once. In five years, the + Corleone family will be completely + legitimate. That was seven years + ago. + +He has no answer for her; except that he loves and values +her, and holds her tight, as they dance amid their guests, +all dressed elegantly for the social event of the season. + +The VIEW LOOSENS to show the entire, night-lit party. + + DISSOLVE TO: + +EXT. LAS VEGAS CHAPEL - MED. CLOSE VIEW - NIGHT + +A Cadillac limousine waits for some people inside the tacky, +Las Vegas marriage mill. + +INT. THE CHAPEL - NIGHT + +Some quiet, informally dressed couples wait in the rear of +the chapel; some talking, others sitting nervously. + +A single organ plays some standard wedding music. + +The VIEW PANS up to the altar, where Connie and Merle, in +the same clothing they wore to the Tahoe party, are being +married by a Justice of the Peace. + +The Justice goes through the bored, simple ceremony, and we +begin to HEAR an echo of the waltz Connie danced with her +father, when she was married all those years ago in Long +Island. + +EXT. THE TROPICANA - LAS VEGAS - MED. VIEW - DAY + +A dark car pulls up to the glitter of the neon facade. +Albert Neri, alone, leaves it to the parking valets, and +moves quickly through the automatic doors, into the main +casino. We still hear the CORLEONE WALTZ. + +INT. THE TROPICANA - DAY + +Albert Neri enters the room; glances around a moment, and +then heads toward the crap table, where a short, middle-aged +man, KLINGMAN, stands by the pit boss. Several security +guards of the casino, are at their posts. + + NERI + Are you Klingman? + + KLINGMAN + Who's asking? + + NERI + Where can we talk? + + KLINGMAN + Right here. + + NERI + I represent the interests of the + Corleone family. We make the + invitation to you to tie up your + affairs and be out of the hotel by + Monday morning. + + KLINGMAN + Who do you think you're talking to? + + NERI + You said you were Klingman. + + KLINGMAN + You don't come in here, talk to an + owner in Las Vegas like that. + + NERI + You missed my point; you are no + longer an owner. + + KLINGMAN + Get out of my hotel. + +Neri stands in front of him, smiling. + + KLINGMAN + Boys, get him out of here. + +Quickly, Neri moves toward Klingman, and slaps him hard +several times in the face, knocking off his glasses... Red- +faced, Klingman gets down on his knees to pick them up once, +again. Glasses on, he looks to his guards. + +WHAT HE SEES + +They stand, motionless. + +VIEW ON KLINGMAN + +Humiliated, Klingman moves across the casino floor, past a +few interested gamblers, and his own people. Neri slowly +follows. + +INT. SHOWROOM - MED. VIEW - DAY + +A typical, Lido de Paris type of show is in rehearsal, as +Klingman backs into the showroom. + +HIS VIEW + +Neri keeps coming. + +VIEW ON KLINGMAN + +realizes that no one will help him. He finally capitulates. + + KLINGMAN + All right! All right, I'll be out. + +Neri keeps moving, then heads past the terrified man, sits +down at a table, and looks up at the stage. + + NERI + (to the staring performers) + Keep it going. + +EXT. A STREET IN BUFFALO, NEW YORK - NIGHT + +The neon lights that spell out "FRED'S PIZZERIA" go out; +after a moment a man in an overcoat steps out, and turns to +lock the door of his restaurant. The Corleone Waltz +continues over this. He turns. + +MED. CLOSE VIEW + +FRED VINCENT, whom we remember as the Sicilian Fabrizzio. +He moves toward his parked car. Gets in. + +MED. LONG VIEW + +The starter turns, and the automobile blows in a great +explosion. + + DISSOLVE TO: + +EXT. THE TAHOE ESTATE - NIGHT + +The waltz continues over the VIEW of the empty, but still +illuminated pavilion. There is the debris of the great +party spread over the grounds, which a silent crew of +workmen are at work cleaning up, + +MED. VIEW + +Michael walks alone, followed by two of the family dogs, +Irish Setters. + +He walks to the water line, and looks out across the lake. +He picks up a stick, and throws it for the dogs; who go +scampering after it. + +We notice that a respectful distance away, there are +bodyguards watching every move he makes. + +CLOSE VIEW ON MICHAEL + +looking across the lake. There is much on his mind. The +SOUND of the waltz, begins to segue into the echoed music +and laughter of an old Italian Music Hall from the past. + + DISSOLVE TO: + +INT. NEW YORK THEATRE - 1915 - NIGHT + +VITO CORLEONE is a shy young man of 23, holding his hat in +his hand, being led down the crowded aisle of this Italian +Vaudeville theatre by an energetic and fulfilled GENCO +ABBANDANDO, his friend in America. This entire sequence is +played in Sicilian. + + GENCO + Come on, you've got to see her! + +VIEW ON THE STAGE + +A tattered melodrama is in progress in Neapolitan. The sets +are two-dimensional, and flap whenever there's an entrance +or exit. + +The hero, PEPPINO, is weeping as he sings about how he's +left his Mother in Italy, while he is in this new country, +America. + +VIEW ON THE AUDIENCE + +All poor, Italo-Americans. Genco finds a few seats, and +leads Vito to them, stepping on a few shoes in the process. +They have barely come to their seats, when an excited Genco +nudges Vito, and points to the stage. People shout that +they should sit down. + +VIEW ON THE STAGE + +There is a knock on the door, and a young girl enters, +delivering a letter to Peppino in his tenement in America. +The girl is pretty; and obviously the object of Genco's +affection. The letter brings bad news. Peppino's Mother is +dead. He weeps, and sings the final song, which most of the +audience knows: SENZA MAMMA. + +VIEW ON THE AUDIENCE + +Genco is enthralled with the young actress. The people in +the audience are singing along with Peppino. + +VIEW ON THE STAGE + +The actress, object of Genco's affection, makes a dramatic +exit. + +VIEW ON THE AUDIENCE + +Genco pulls on Vito's jacket, indicating that now that his +love is offstage, they should leave. Vito rises with him, +and they make their way all the way down the aisle. + +INT. BACKSTAGE THEATRE - MOVING VIEW - NIGHT + +Genco hurrying down the backstage corridor, hoping to catch +a glimpse of the actress. He is followed by Vito. Suddenly, +Genco stops short. + +GENCO'S VIEW + +A heavy-set, fierce looking Italian wearing an expensive +light-colored suit and a cream colored fedora. This is +FANUCCI. He is discussing a business matter with the +theatre IMPRESARIO; a large, strong looking man, who is +sweating nonetheless. He doesn't seem to be giving in to +Fanucci. He holds a locked strongbox. + +VIEW ON VITO + +watching. The two men argue in Italian. + +MED. VIEW + +The young ACTRESS crosses into the area, unaware of the +difficulties. The impresario sees her, and frightened, +motions that she should keep away. + + IMPRESARIO + Carla! + +But Fanucci grabs her easily by her slender wrist, and with +lightning speed, produces a knife which he holds against her +cheek. The impresario wrings his hands in agony. + + IMPRESARIO + (Sicilian) + No...please, not my daughter. + +Whereupon he begins to unlock the box which holds the +receipts for the night's box-office. + +VIEW ON GENCO AND VITO + +hiding, watching. At first, Genco is enraged, as though he +would rush up to help his enamorata. + + GENCO + (Sicilian) + The Black Hand. + +Then he backs away. Vito looks at him shocked and +disappointed in this cowardly behavior. Genco shakes his +head, and points, as though to say that where Fanucci is +concerned, there is nothing to be done. + + GENCO + (Sicilian) + (whispered) + Let's get out of here. + +VIEW ON FANUCCI + +has released the girl. Her father pulls her away from him, +and slaps her for no reason; then he pays Fanucci. + + FANUCCI + (Sicilian) + Because you protested, it will cost + a hundred more. + +EXT. NEW YORK ALLEY - NIGHT + +Genco and Vito; Genco leans against the wall, breathlessly, +as though he's had a near escape. + + GENCO + (Sicilian) + I know what you are thinking, + Vitone, but you don't understand + yet how things are. Fanucci is of + the Black Hand. Everyone in the + neighborhood pays him, even my + father. + + VITO + (Sicilian) + He's an Italian? + + GENCO + (Sicilian) + A pig of a Neaponitan. + (spits) + + + VITO + (Sicilian) + Why? Why does he bother other + Italians? + + GENCO + (Sicilian) + Because he knows them; he knows + they have no one to protect them. + Vitone? What do you think of my + angel? + + VITO + (Sicilian) + Beautiful. + + GENCO + (Sicilian) + Beautiful. + + VITO + For you, she is beautiful. For me, + there is only my wife! + + GENCO + I know. That's why I brought you + with me! + +Genco embraces his good friend, and they laughingly walk +down the alley. + +The stage door opens, and Fanucci exits, a sinister figure +in white, moving down the alley just in front of them, into +the night. + +The two friends hold their breath, until he disappears. + +EXT. NEW YORK STREETS - MOVING VIEW - DAY + +Vito moves through the street, carrying groceries that he is +to deliver. + +It is cold, and so vendors are huddled around fires they +have lit in old cans and drums. + +He turns up an alleyway, and then stops. + +VIEW UP THE ALLEY + +With great strength, Fanucci lifts one of them up into the +air and throws him down hard to the concrete; but another, +holding onto his back, manages to produce a switchblade +knife and awkwardly reaching around from behind the moving +man, slits Fanucci's throat from one side to the other. + +Fanucci groans like some great hurt animal. Blood pours +from the deep, smile-like slit in his throat. + +He throws the young man off his back. + +VIEW ON VITO + +stepping back in the alley. + +VIEW ON FANUCCI + +He takes off his white fedora, and runs down the alley +toward Vito, catching the flowing blood in his hat. + +The young attackers scurry off in various directions. + +INT. ABBANDANDO GROCERY STORE - DAY + +A tiny shop featuring imported food: trays of cured meats, +prosciutto, copagole, mortadella lies on the counter covered +with netting to keep away the thousands of flies. + +Olive oil is sold in bulk, as well as wine, cheese and bacala. + +Genco works here for his father, and is busy slicing paper +thin prosciutto for a customer, by hand. Vito works in the +back as a stock clerk. + +Finished with his customer, Genco moves to his friend. + + GENCO + (Sicilian) + I bet you can't guess what happened? + + VITO + (Sicilian) + What? + + GENCO + (Sicilian) + Some guys from Ninth Avenue jumped + Fanucci today; slit his throat from + ear to ear. + + VITO + (Sicilian) + No, I didn't know. Is he dead? + + GENCO + (Sicilian) + Nah. Those guys aren't murderers. + They wanted to scare him, that's + all. Make him look bad. + + VITO + (Sicilian) + In Sicily, when you attack a man, + you had better finish him. + + GENCO + (Sicilian) + I wish they had. He takes fifty + dollars a week from my father's + cash drawer. But you can't kill a + man like Fanucci. + + VITO + (Sicilian) + Why? + + GENCO + (Sicilian) + Because he's what we say... + "connected"... You wait, see what + happens to those guys from Ninth + Avenue. + +A customer enters; and Genco moves away to serve him. + +CLOSE VIEW ON VITO + +recalling what he had seen and thought. + +EXT. NEW YORK ALLEYWAY - MED. VIEW - NIGHT + +A young man, one of those who had tried to kill Fanucci, +runs down an alleyway, breathlessly. Then he stops, and +looks behind himself. Whoever was following him is gone. +He turns and walks ahead. Then the mammoth, white-suited +figure of Fanucci leaps down before him from the fire-escape. +He grins at the young man, and then raises his neck, showing +the gruesome wound that marks his throat. + +He takes out his pistol and fires point-blank at his attacker. + +INT. TINY TENEMENT - FULL VIEW - NIGHT + +The very small, railroad type flat where Vito lives with his +new family. + +It is late at night, and he is exhausted. + +He returns home; where his young wife, CARMELLA, goes +through the silent ritual of preparing a simple meal for him. +He sits and eats quietly. + +INT. TENEMENT ROOM - NIGHT + +Vito and Carmella enter the darkened bedroom, and approach a +metal crib. Vito reaches down and takes the small hand of +the baby between his thick peasant fingers. Carmella waits +a respectful distance behind him. + +INT. ABBANDANDO GROCERY - DAY + +The shop bell RINGS; SINGER ABBANDANDO turns to see a +smiling Fanucci tipping his hat, like an old customer. + + FANUCCI + Buon giorno. + +Immediately, Vito turns back to his work, and Signor +Abbandando moves to Fanucci with a sigh. + +Vito notices the two men talking quietly at one side of the +store, while he goes about his work. Genco works his way +closer to his friend. + + GENCO + (Sicilian) + What did I tell you. The one who + cut him was found in an alley. And + the family of the others paid + Fanucci all their savings to make + him forswear his vengeance. + + VITO + (Sicilian) + (surprised) + And he agreed? + + GENCO + (Sicilian) + He took the money. Now he wants + double from everybody in the + neighborhood, including Papa. + +Vito watches the heated, but inevitable transaction. + + VITO + (Sicilian) + (almost to himself) + A real mafioso doesn't sell his + vengeance. + +MED. VIEW + +Signor Abbandando seems to be arguing with Fanucci, and +every so often they turn and relate to where Vito is working. +Then Fanucci leaves, the little bell RINGING; and Signor +Abbandando reluctantly moves to Vito. + + SIG. ABBANDANDO + (Sicilian) + Vitone. How is your son? + + VITO + (Sicilian) + We are all well. + +It is clear that he has something difficult to tell the +young man. + + SIG. ABBANDANDO + Vitone...I...Fanucci has a nephew. + +Vito looks at him a while, as the old man struggles to tell +him. + + VITO + (Sicilian) + And you must give him my job. + +The old man nods, regretfully. + + VITO + (Sicilian) + You have been kind to me since I + was a boy; taken care of me, and + been as a father. I will always be + grateful to you. Thank you. + +Vito takes off his apron, and leaves, passing the youth who +loiters by the counter. + +EXT. THE STREET - DAY + +making his way from the store. + + SIG. ABBANDANDO + (Sicilian o.s.) + Vitone! + +He turns, and Abbandando has followed him out of the shop, +holding a basket of some groceries. + + SIG. ABBANDANDO + Here...for your family. + + VITO + No...please understand...I cannot + accept. + +INT. VITO'S TENEMENT - MED. VIEW - NIGHT + +Vito and his wife sit quietly at the table; the two are +quiet and sad. + +Suddenly, we HEAR a noise, and Vito is astonished to see a +young man, PETER CLEMENZA, leaning out of the window on the +other side of the air shaft which separates their apartments. + + CLEMENZA + Hey Paisan! Hold this for me until + I ask for it. Hurry up! + +Automatically Vito reaches over to the empty space at the +air shaft, and takes the bundle of rags. Clemenza's round +face is strained and urgent, obviously in some kind of +trouble. Suddenly, he closes the window and there is +activity that we cannot see in the other apartment. + +Vito looks to his wife, and then closes the window and +window dressing and takes the bundle into a private part of +his kitchen and begins to unwrap it. + +WHAT HE SEES: + +Five oily guns. He immediately wraps them again, and +carries them to a private closet, and hides it, and returns +to his wife. He sits down back at the table; and she knows +not to ask him what has happened. + +EXT. NEW YORK STREETS - DAY + +Vito is walking through the crowded streets with a group of +workmen; they all wear work clothes, and paper hats on their +heads. + +Vito looks to his left, and realizes that Clemenza is +walking silently with him; by contrast, Clemenza dresses well. + + CLEMENZA + (Sicilian) + (casually) + Do you have my goods still? + +Vito nods. + + CLEMENZA + (Sicilian) + Did you look inside? + +Vito, his face impassive, shakes his head 'no.' + + CLEMENZA + (Sicilian) + I'm not interested in things that + don't concern me. + +INT. DOWNTOWN ITALIAN SOCIAL CLUB - DAY + +Vito and Clemenza drinking wine; they've become friends. + + CLEMENZA + (Sicilian) + I have a friend who has a fine rug. + Maybe your wife would like it. + + VITO + (Sicilian) + We have no money for a rug. + + CLEMENZA + (Sicilian) + No. He would give it away. I know + how to repay a consideration. + +Vito thinks, then nods. + + VITO + (Sicilian) + She would like it. + +INT. HALLWAY WEALTHY APARTMENT BUILDING - DAY + +The two men proceed up the hallway; Vito is impressed with +the opulence. + + VITO + (Sicilian) + Your friend lives in a fine building. + + CLEMENZA + (Sicilian) + Oh yes, the very best. + +Clemenza knocks on the door as though he is well known here; +then rings. No answer. + + CLEMENZA + (Sicilian) + Ah, he's not at home. Oh, well, he + wouldn't mind. + +Quickly and expertly he takes out a tool and pries open the +door. + +INT. WEALTHY APARTMENT - FULL VIEW - DAY + +Vito looks in awe at the luxurious apartment, which features +a fabulous rich red wool rug. + +Clemenza immediately moves some of the furniture away, and +drops to the floor. + + CLEMENZA + A little help. + +Vito joins him, and the two begin rolling the rug. We HEAR +a BUZZER RING. Clemenza immediately drops his side of the +roll, and moves to the window. He pulls a gun from his +jacket. + +VIEW ON Vito watching. He moves so he can see out the window. + +THEIR VIEW + +A Policeman stands at the exterior door, waiting. He rings +the buzzer again. + +VIEW ON CLEMENZA + +cocking his gun. Vito realizes that if the Policeman should +pursue it any further he is a dead man. The Policeman gives +up and leaves. + +Clemenza puts away his gun. + +INT. VITO'S TENEMENT HALLWAY - DAY + +The two men run up the steps, laughing, carrying the fine rug. + +INT. VITO'S TENEMENT - DAY + +They are on their knees cutting the rug to fit the small +room. Carmella watches, holding the baby SANTINO. + +MED. CLOSE ON CLEMENZA + +Like a professional, cutting quickly, with the proper tools. +He sings as he works. + + DISSOLVE TO: + +EXT. DOWNTOWN WAREHOUSE - NIGHT + +Clemenza knocks on the steel door of this downtown building. +Vito waits with him, holding some packages; and another +youth, TESSIO, tall and thin and deadly waits with them. + +The door is lifted, and they are greeted by a bright, +middle-aged Italian named AUGUSTINO who leads them into a +machine shop. + +INT. MACHINE SHOP - NIGHT + + CLEMENZA + (Sicilian) + Good, you waited for us. + +Clemenza looks up on a higher level. + +HIS VIEW + +There is a nine year old boy, operating a drill press. + +MED. VIEW + + TESSIO + (Sicilian) + Who is he? + + AUGUSTINO + (Sicilian) + My son, Carmine...it's all right. + +The men then quickly open the packages they've brought; +revealing gun, including a more sophisticated machine weapon. + +Augustino takes them and expertly begins to clean and +prepare them. + + CLEMENZA + (Sicilian) + (to Vito) + Paisan Augustino was a gunsmith in + the Italian army. We do each other + favors. + + AUGUSTINO + (Sicilian) + (while he works) + My boy is studying the flute. He + plays very well. He helps me at + night so we can buy him a silver + flute someday. Now he has one made + of wood. Carmine...play...play for + my friends. + +VIEW ON THE BOY + +wide-eyed... he shuts off the press; and takes out a shabby +wooden flute. And begins to play a simple and pure melody. + +CLOSE ON VITO + +listening. + +CLOSE ON AUGUSTINO + +proudly smiling, as he prepares the machine gun. + +CLOSE ON TESSIO + +listening, smiling. + +FULL VIEW + +The men listening, as the boy's father prepares their guns. + +EXT. WAREHOUSE AREA - NIGHT + +Tessio and Clemenza quickly load racks of cheap dresses. + +Vito sits behind the wheel of the truck. He seems reserved, +and we get the impression that he is studying every move his +two friends are making. + +INT. TENEMENT STAIRS - DAY + +Clemenza runs up a flight of stairs with an armful of +dresses. He knocks on a door, and a pretty HOUSEWIFE answers. + + CLEMENZA + (Sicilian) + Lady, I got a bargain on these + dresses. Five dollars each. You + gotta pay at least fifteen, maybe + twenty in a store. Look at them, + first class. + +He holds the dresses up and the woman seems interested. She +handles a couple of them and stands aside so Clemenza can +enter her apartment. + + WOMAN + (Sicilian) + I don't know which one I like best. + +She holds the dresses against her body, Clemenza approving +of each one; and then she goes to her purse and takes out +five singles and gives them to him. + + CLEMENZA + (Sicilian) + You'd look beautiful in all of + these. You should buy at least two. + + WOMAN + (Sicilian) + Are you kidding? My husband will + kill me if he knows I paid five + dollars for one dress. + +She holds one up, then another. She is torn. Clemenza +shakes his head and straightens the dress on her body. His +hand brushes her arm; she looks at him smiling. + + CLEMENZA + (Sicilian) + You can have two for five. + +She smiles back. + +EXT. TENEMENT BUILDING - DAY + +Clemenza jumps down the stairs, and out to the middle of the +street, where Vito and Tessio are waiting in the car with +some of the stock. + + TESSIO + (Sicilian) + What took so long? + + CLEMENZA + (Sicilian) + She couldn't decide. + +Tessio and Clemenza each take more armsful of dresses and +divide the neighborhood. + + CLEMENZA + (Sicilian) + Vito, take the rest of the stock + over to Dandine's warehouse; he'll + move it to a wholesaler. + +The three part. Vito drives the truck off. + +MOVING VIEW + +Vito drives the truck through the downtown streets; he turns +a corner and stops for a light. + +Suddenly, to his left, he sees the formidable figure of +Fanucci. + +He grabs young Corleone by the shoulder. + +CLOSE VIEW ON FANUCCI + +frightening, revealing the large circular scar, now healed. + + FANUCCI + (Sicilian) + Ahhh, young fellow. People tell me + you're rich, you and your two + friends. Yet, you don't show + enough respect to send a few + dresses to my home. You know I + have three daughters. + +Vito says nothing. Fanucci thumbs through the stock. + + FANUCCI + (Sicilian) + This is my neighborhood. You and + your friends have to show me a + little respect, ah? This truck you + hijacked was in my neighborhood. + You should let me wet my beak a + little. + +Fanucci takes a few of the dresses. + + FANUCCI + (Sicilian) + I understand each of you cleared + around six hundred dollars. I + expect two hundred dollars for my + protection and I'll forget the + insult. After all, young people + don't know the courtesies due a man + like myself. + +Vito smiles at him and nods. + + FANUCCI + (Sicilian) + Otherwise the police will come to + see you and your wife and children + will be dishonored and destitute. + Of course, if my information as to + your gains is incorrect, I'll dip + my beak just a little. Just a + little, but no less than one + hundred dollars, and don't try to + deceive me, eh paisan? + + VITO + (Sicilian) + (quietly) + My two friends have my share of the + money. I'll have to speak to them + after we deliver these to the + wholesaler. + + FANUCCI + (Sicilian) + You tell your friends I expect them + to let me wet my beak in the same + manner. Don't be afraid to tell + them. Clemenza and I know each + other well, he understands these + things. Let yourself be guided by + him. He has more experience in + these matters. + + VITO + (Sicilian) + (shrugging innocently) + You must understand, this is all + new to me... + + FANUCCI + (Sicilian) + I understand... + + VITO + (Sicilian) + But thank you for speaking to me as + a Godfather. + + FANUCCI + (Sicilian) + (impressed) + You're a good fellow. + +He takes Vito's hands and clasps them in his own. + + FANUCCI + (Sicilian) + You have respect. A fine thing in + the young. Next time, speak to me + first, eh? Perhaps I can help you + make your plans. + +Fanucci turns with the dresses draped over his arms, waving +to Vito. + +Vito throws the truck in gear, and drives off. + +CLOSE VIEW ON VITO + +We know that throughout this encounter he has seethed with +an icy rage. + +INT. VITO'S APARTMENT - MED. VIEW - NIGHT + +He wife serves a dinner for her husband and his two friends. +They discuss Fanucci as they eat. + + TESSIO + (Sicilian) + Do you think he'd be satisfied with + the two hundred dollars? I think + he would. + + CLEMENZA + (Sicilian) + That scar-faced bastard will find + out what we got from the wholesaler. + He won't take a dime less than + three hundred dollars. + + TESSIO + (Sicilian) + What if we don't pay? + + CLEMENZA + (Sicilian) + (gestures, it's hopeless) + You know his friends...real animals. + And his connections with the police. + Sure he'd like us to tell him our + plans so he can set us up for the + cops and earn their gratitude. + Then they would owe him a favor; + that's how he operates. We'll have + to pay. Three hundred, are we + agreed? + + TESSIO + (Sicilian) + What can we do? + +Clemenza doesn't even bother checking for Vito's opinion. + + CLEMENZA + (Sicilian) + They say Fanucci has a license from + Maranzalla himself to work this + neighborhood. + + VITO + (Sicilian) + If you like, why not give me fifty + dollars each to pay Fanucci. I + guarantee he will accept that + amount from me. + + TESSIO + (Sicilian) + When Fanucci says two hundred he + means two hundred. You can't talk + with him. + + VITO + (Sicilian) + I'll reason with him. Leave + everything in my hands. I'll + settle this problem to your + satisfaction. + +Tessio and Clemenza regard him suspiciously. + + VITO + (Sicilian) + I never lie to people I've accepted + as my friends. Speak to Fanucci + yourself tomorrow. Let him ask you + for the money, but don't pay it, + and don't in any way quarrel with + him. Tell him you have to get the + money and will send me as your + messenger. Let him understand that + you're willing to pay what he asks, + don't bargain. I'll go to his + house, and quarrel with him. He + likes me; enjoys explaining how + things are here. He uses ten + sentences when he only needs one, + so while he talks, I'll kill him. + +Clemenza, irritated, makes a large belch, and washes his +food down with wine. + + CLEMENZA + (Sicilian) + Vitone! + (to Tessio) + Our driver has drunk too much wine. + + TESSIO + (Sicilian) + (laughs at himself) + He's going to kill Fanucci. + + CLEMENZA + (Sicilian) + (stern) + Then, after that, what? Joe + 'Little Knife' Pisani; Willie + Bufalino, maybe, Mr. Maranzalla + himself, c'mon! + + VITO + (Sicilian) + Fanucci is not connected; he is + alone. + + CLEMENZA + (Sicilian) + (sarcastically) + What? You read it in the papers? + + VITO + (Sicilian) + This man informs to the police; + this man allows his vengeance to be + bought off... No, he is alone. + + TESSIO + (Sicilian) + If you're wrong... + + VITO + (Sicilian) + If I'm wrong, they will kill me. + +Both Clemenza and Tessio are impressed with their young +friend; his willingness to risk his life on his perception +of the situation. + +EXT. NEW YORK STREET - MED. VIEW - NIGHT + +A ten piece Italian street band plays in front of the church +to commemorate the first night of the Festa di San Gennaro. +People swarm in crowds, delighted by the music, as out of +the church four men carry the statue of San Gennaro down to +the street. + +MOVING VIEW + +Clemenza moves along the booths that have been set up along +the street: sausage cooking on an open fire; pork livers and +sweetbeards. He stops for a sandwich, and makes an irritated +gesture when the vendor expects to be paid. He crosses to a +church-sponsored booth with a great Wheel of Fortune, and +slaps a dollar on a number. Standing next to him is Vito; +they embrace. + + CLEMENZA + (Sicilian) + (quietly) + All three daughters are at church; + he is alone. It's important that + you let his neighbors see you leave. + Tessio has broken the latch on the + skylight of his building. + +The wheel stops; they both lose. + + CLEMENZA + (English) + See, Brother Carmello, even the + church makes numbers. + + PRIEST + (English) + It's only the way we collect that's + different. + +Vito has left while Clemenza jokes with the Priest. + +EXT. FESTA STREET - NIGHT + +Vito passes the booths of food, crossing toward a small and +dark club. + +INT. SOCIAL CLUB - NIGHT + +We can still HEAR the crowds and music of the festa. Vito +enters; the club is empty, except for the large white figure +sitting alone at a small table. Fanucci barely acknowledges +Vito as he joins him. + +Without a word, Vito counts out two hundred dollars on the +table. Fanucci looks, then takes off his fedora and puts it +on the table over the money. + + FANUCCI + (Sicilian) + I think there's only two hundred + dollars under my hat. + (he peeks) + I'm right. Only two hundred dollars. + + VITO + (Sicilian) + I'm a little short. I've been out + of work. Let me owe you the money + for a few weeks. + + FANUCCI + (Sicilian) + Ah, you're a sharp young fellow. + How is it I've never noticed you + before + (he takes the two + hundred and pours + some wine for Vito) + You're too quiet for your own + interest. I could find some work + for you to do that would be very + profitable. + (he rises) + No hard feelings, eh? If I can + ever do you a service let me know. + You've done a good job for yourself + tonight. + +EXT. FESTA STREET - MED. VIEW - NIGHT + +By now the musicians have left, but still families are +walking the street, and stopping at the booths. + +Fanucci stands there a moment; he is known by everyone, and +considers himself highly loved. + +Then Fanucci begins the walk through the festa, on his way +home. + +EXT. ROOFTOPS - MOVING VIEW - NIGHT + +Vito silently moves along the rooftop; paralleling Fanucci's +walk. + +We HEAR the sounds of the festa, and every so often catch a +glimpse of the patterned lights, and the crowds below. + +EXT. FESTA STREETS - MOVING VIEW ON FANUCCI - NIGHT + +walking through the crowded streets. The statue of San +Gennaro is arranged in some midnight religious ceremony. + +The VIEW LIFTS UP, to the rooftops. + +EXT. THE ROOFTOPS - NIGHT + +Vito makes the leap that separates two buildings; then +crosses toward the large skylight in the center of the +building. + +EXT. THE STREETS - NIGHT + +The procession in the streets is preceded by ten altar boys; +and the glittering Monstrance, something of an altar carried +out into the streets. + +The priest begins this nocturnal service, as the crowds in +the street kneel down in prayer. + +INT. FANUCCI'S BUILDING - NIGHT + +Fanucci unlocks the door to his building; we can HEAR the +services in the background. + +EXT. THE ROOFTOP - NIGHT + +Vito tries the trap door on the roof; it is stuck firmly +shut; despite Clemenza's instructions. He struggles with +it, but no luck. + +From the distance, the Choir begins to Latin. Vito moves +around the skylight, to an identical trap, tries this one; +it opens. + +EXT. THE MONSTRANCE - MED. VIEW ON THE PRIEST - NIGHT + +performing the services in Latin. The ten altar boys are in +attendance. + +EXT. THE ROOFTOP - NIGHT + +Vito reaches down into the trap, and pulls out the newly +oiled gun that has been left for him. He slides down into +the building. + +INT. FANUCCI'S HALLWAY - DOWN ANGLE - NIGHT + +Fanucci proceeds up the staircase with loud, heavy steps. +An OLD WOMAN on one of the flights sees him, and immediately +moves to her apartment. + + FANUCCI + (Sicilian) + What's the matter, Signora? You + don't say 'good evening'? + + WOMAN + (Sicilian) + 'Good evening,' Signor Fanucci. + +She quickly disappears behind her door. Fanucci laughs, +continues up, singing to himself. The MASS outside is +always in evidence. + +INT. HALLWAY - NIGHT + +Vito climbs down from the attic, and finds Fanucci's rear +door open. He slips in, and makes his way past the open +windows, out of which pour the music and chanting of the +Mass. Slowly and quietly he pulls them down, shut. + +He moves quietly to a glass door, and peeks out. + +WHAT HE SEES: + +Three young women, Fanucci's DAUGHTERS, laughing and talking. + +VIEW ON VITO + +A slip up. Tessio had said they were out. He steps outside +to the alley where he can look into the apartment. + +ANOTHER VIEW + +Fanucci opens the door of his apartment, and enters. + +CLOSE VIEW ON VITO + +He begins to wrap the gun. + +VIEW ON THE DAUGHTERS + +Their father greets them with a kiss; and a little religious +gift he has bought for each. + +CLOSE ON THE GUN + +wrapped in this primitive method of a silencer. The VIEW +TILTS to Vito, caught in the dilemma of having to kill all +or none of them. Then something catches his eye. + +WHAT HE SEES: + +A small gray alley cat is attracted to the young man, comes +up to him and rubs itself against him. Vito rubs the +animal, speaking softly in Sicilian, then, gaining its +confidence, lifts it up and carefully lets it into Fanucci's +apartment. + +He steps back, holding the gun. We HEAR some Italian +shouted in the house; a loud sound from the cat, and some of +the thumping footsteps of Fanucci. + +VIEW ON VITO + +holding the wrapped gun, waiting. + +WHAT HE SEES: + +The white blob of Fanucci opening the door and cursing in +Italian as he throws the cat out. + +VIEW ON VITO + +squeezing the trigger; the muffled, but still LOUD BLAST +resounding in the building. + +VIEW ON FANUCCI + +He holds onto the door frame, trying to stand erect, trying +to reach for his gun. The force of his struggle has torn +the buttons off his jacket and made it swing loose. His gun +is exposed but so is a spidery vein on the white shirtfront +of his stomach. Carefully, as if plunging a needle into +this vein, Vito Corleone fires a second bullet. + +Fanucci falls to his knees, propping the door open, giving a +terrible groan. We begin to hear the VOICES of girls inside +the apartment. + +Vito quickly opens his wallet, removes the two hundred, +quickly fires one last bullet into Fanucci's sweaty cheek. +Now the towel the gun was wrapped with catches fire, +literally on Vito's hand; quickly he throws it to the +ground, stamps it out...and disappears upward. + +EXT. THE ROOFTOPS - MED. VIEW - NIGHT + +Vito moves like a cat along the rooftops; we HEAR the +conclusion of the Mass down below. + +CLOSE ON VITO + +Pausing; we can SEE the great spectacle of lights and +candles on the streets below. + +He empties the gun of bullets and smashes the barrel against +the side of the roof ledge. He reverses it in his hand, and +breaks the butt into two separate halves against the chimney. +He smashes it again, and the pistol breaks into barrel and +handle, two separate pieces. + +He then moves along the rooftop, dropping the two separate +fragments into various air shafts. + +EXT. THE STREET PROCESSION - MOVING VIEW - NIGHT + +The Priest, having completed the ceremony, follows as the +Monstrance is carried off through the streets, as the Choir +sings. + +EXT. THE ROOFTOPS - MOVING VIEW - NIGHT + +Vito is a dark figure, moving with agility across the +rooftops. + +INT. FANUCCI'S VESTIBULE - MED. VIEW - NIGHT + +The corpse that was Fanucci, stained with blood. + +EXT. PROCESSION - CLOSE VIEW - NIGHT + +The statue of San Gennaro, followed by the altar boys. + +EXT. CORLEONE TENEMENT - MED. VIEW - NIGHT + +Vito's wife; her baby and several friends and neighbors sit +happily on the front stoop of their tenement. Some of the +men drink wine poured out of a pitcher; we can still HEAR +the music and night sounds of the Festa. + +A neighbor is singing a Neapolitan song. + +Quietly, without a word, and with only a momentary glance +from his wife, Vito joins the little group; takes a glass of +wine, and listens to the song. + +CLOSE VIEW ON VITO + +listening to the song. He reaches out and takes the small +hand of his son. + + VITO + (Sicilian) + Santino, your papa loves you. + + DISSOLVE TO: + +INT. ANTHONY'S TAHOE ROOM - NIGHT + +The room is large, lit from the outside by a bright evening. +We can see the outline of many toys on the shelves built +along the wall. We see the dark figure of Michael Corleone +enter the room and approach the bed where his son Anthony +lies curled in messy blankets. Michael quietly arranges his +small hands and feet and covers the little boy. Suddenly, +Anthony turns, his eyes open. He is staring, perfectly +awake, at his father. + + MICHAEL + Can't you sleep? + +No answer. + + MICHAEL + Are you alright? + + ANTHONY + Yes. + + MICHAEL + Did you like your party? + + ANTHONY + I got lots of presents. + + MICHAEL + Do you like them? + + ANTHONY + I didn't know the people who gave + them to me. + + MICHAEL + They were friends. + +He kisses his boy, and then turns. + + ANTHONY + Did you see my present for you? + + MICHAEL + No, where is it? + + ANTHONY + On your pillow. + + MICHAEL + I'm leaving very early tomorrow, + before you wake up. + + ANTHONY + I know. How long will you be gone? + + MICHAEL + Just a few days. + + ANTHONY + Will you take me? + + MICHAEL + I can't. + + ANTHONY + Why do you have to go? + + MICHAEL + To do business. + + ANTHONY + I can help you. + + MICHAEL + Some day you will. + +Michael kisses him again. + +INT. MICHAEL-KAY'S BEDROOM - NIGHT + +The room is lit from a small night lamp on Michael's side of +the large bed. + +Kay is huddled in blankets, asleep. Michael closes the door +to his room, moves to his side of the bed, and glances down +to the pillow. + +VIEW ON THE PILLOW + +is a child's drawing of a long limousine, with a man in a +hat sitting in the back seat. + +An arrow pointing to him is marked "DAD." Under it, a nine +year old's handwriting says: "Do you like it? Check YES __ +I liked it or NO __ I didn't like it." Michael turns, +looking for a pencil, and moves to the dresser, where he +places a check next to "YES." + +He starts to cross back toward his side of the bed, when Kay +turns, almost in her sleep: + + KAY + Michael? Why are the drapes open? + +His eyes dart back to the curved, beautifully leaded windows +of the room. The DRAPES are opened. Then, without a +second's hesitation, he leaps to the floor, still holding +his son's drawing, as a spray of machine gun bullets sweep +across the windows; glass shattering all over the room. + +Kay screams out; rising, still half-asleep. Michael crawls +toward her, and pulls her down to the floor to him. + +Then, for a moment, there is silence, soon filled by the +shouts of men; as flashes of light sweep by the window, as +guards with flashlights come running. + +Michael holds Kay to him, knowing they have both survived, +and then gently: + + MICHAEL + Go with the kids. + +EXT. THE TAHOE ESTATE - NIGHT + +Suddenly, the great floodlights are turned on, bathing lawns +in an intense blue light. + +Groups of ordinarily dressed security men drawn in from all +directions; a state of confusion prevails. There is no sign +of the attackers. + +VIEW BY MICHAEL'S HOUSE + +Michael is joined by Rocco Lampone, his gun drawn. + + ROCCO + They're still on the property. + Maybe you better stay inside. + + MICHAEL + Keep them alive. + +Six men take up posts by Michael's house. + + ROCCO + We'll try. + + MICHAEL + It's important. + +He returns inside. + +EXT. MAIN GATE AND KENNELS - NIGHT + +The character of the summer estate has changed: bright +floodlights illuminate the main points of entry: the main +gate; the waterway; the stone wall that encompasses the +estate on all sides. + +Several men with flashlights reinforce the guard at the main +gate. + +FULL VIEW + +Off in the distance, we see another group of men with +flashlights combing the waterline. We hear indistinguishable +shouts. + +VIEW ON THE KENNELS + +The wire gates are opened, and the trained dogs go out +yelping into the outer edge of the estate. + +ROOFTOP + +One of Rocco's men turns the large floodlight scanning +darkened forest areas, where men could hide. + +MOVING VIEW + +Men with flashlights and dogs. Moving through the dark areas. + +LOOSE VIEW + +A small Corleone launch, with a bright spotlight slowly +cruises the boundaries of the estate. We SEE the silhouette +of men with guns, quietly waiting and watching. + +EXT. MICHAEL'S HOUSE - NIGHT + +Some of the bodyguards by the shattered windows of Michael's +bedroom. + +The curtains are drawn from inside. + +INT. MICHAEL'S HOUSE - NIGHT + +Kay, the children, and some women servants have come down +from the various rooms into the central living area, that +can be most easily secured. The little girl is still +asleep; they make you think of an immigrant family, with +their blankets and frightened faces, all waiting in a +central room. + +Michael goes up to Kay, squeezes her hand, and whispers: + + MICHAEL + It will be all right. We were lucky. + +She says nothing; but her face expresses the anger she feels +over the jeopardy Michael has placed his children in. She +holds her young daughter in her arms. + +The door opens, and Rocco enters. He quickly realizes he is +holding his gun in plain view in front of the family, and +puts it away. Michael moves to him, and they talk a distance +away from Kay. + + ROCCO + Your family all seem to be okay in + the other houses; your Mother's + still sleeping. + + MICHAEL + And? + + ROCCO + No sign of them yet; but they're + still on the Estate. + +We HEAR loud shouting from outside. + + DEANNA (O.S.) + Goddamn you! You're all nuts here, + I'm not goin' to calm down... + +MICHAEL'S VIEW + +Through the door, that Rocco opens. + +Deanna, in her nightgown, has been frightened by the +gunshots; while Fredo in his bathrobe, tries to get her back +into the house. + + FREDO + Deanna, will you get back into the + house! + + DEANNA + I'm getting out of here I said; + these guys all have guns! + + MICHAEL + Fredo, can't you shut that woman up! + (to Rocco's men) + Get her in here! + +The bodyguards, gracefully help Fredo bring the hysterical +Deanna into the safety of the house. + + DEANNA + (whimpering) + I don't want to stay here... + + FREDO + Mike, what can I do, she's a + hysterical woman... + + KAY + Leave her alone! You're talking as + though she has no right to be + frightened when there are machine + guns going off in her backyard. + + MICHAEL + (to Rocco) + Have Tom Hagen meet me in the + Harbor House. + +EXT. TAHOE ESTATE - HIGH ANGLE - NIGHT + +Michael walks the short distance from his house, to the +boathouse where he conducts his business away from his family. + +A small group of bodyguards, carrying machine guns, make the +walk with him from all sides, a respectful distance away. +It gives the appearance of a lonely President moving in his +compound, followed by teams of Secret Service men. + +The boathouse is already secured by teams of men, hastily +wakened from their lodge house; a barracks-like structure +where reinforcements are lodged just for this kind of +emergency. + +FULL VIEW + +In the distance, we can see the teams of men and dogs, with +their lights, guns and shouts, combing every inch of the +estate. + +INT. THE BOATHOUSE - EMPTY VIEW - NIGHT + +Michael alone in the great room. He moves to a walk-in +safe, quickly runs through the combination, and opens it. +He takes out an envelope, and puts it into his pocket; +there's a KNOCK on the door, and Hagen enters. He had been +asleep, and has quickly thrown on a robe. + + MICHAEL + Sit down, Tom. + +EXT. TAHOE BOATHOUSE - NIGHT + +From outside the leaded windows, a disoriented Hagen sits +down; Michael starts to talk to him; obviously about +something very serious. + +The patrol securing the boathouse, walk past the window. +Michael says something to Tom, who rises, and pulls the +drapes, obscuring OUR VIEW. + +INT. TAHOE BOATHOUSE - NIGHT + +Michael talks intimately to Tom. + + MICHAEL + There's a lot I can't tell you, Tom. + I know that's upset you in the + past; and you've felt that it was + because of some lack of trust or + confidence. But it is because I do + trust you that I've kept so much + secret from you. It's precisely + that at this moment, you are the + only one that I can completely + trust. In time, you'll understand + everything. + + HAGEN + (nods with this statement) + But your people... Neri... Rocco; + you don't think... + + MICHAEL + No, I have confidence in their + loyalty... but this is life and + death, and Tom, you are my brother. + +Hagen in very moved. + + HAGEN + Mikey, I hoped... + + MICHAEL + No Tom, just listen. All my people + are businessmen; their loyalty is + based on that. One thing I learned + from my father is to try to think + as the people around you think...and + on that basis, anything is possible. + Fredo has a good heart, but he is + weak...and stupid, and stupid + people are the most dangerous of + all. I've kept you out of things, + Tom, because I've always known that + your instincts were legitimate, and + I wanted you to know very little of + things that would make you an + accomplice, for your own protection. + I never blamed you for the setbacks + the family took under Sonny; I know + you were in a position of limited + power, and you did your best to + advise and caution him. What I am + saying is that now, for how long I + do not know, you will be the Don. + If what I think has happened is + true; I will leave tonight, and + absolutely no one will know how to + contact me. And even you are not + to try to reach me unless it is + absolutely necessary. I give you + complete power: over Neri... Fredo, + everyone. I am trusting you with + the lives of my wife and children, + and the future of this family, + solely resting on your judgment and + talent. + +VIEW ON HAGEN + +A man who has steadily declined over the last five years, +realizing that total power and responsibility is being +placed on him. + + MICHAEL + (continuing) + ...But Tom, you must know that I do + this only because I believe you are + the only one who is capable of + taking over for me. + +VIEW ON MICHAEL + +taking out the envelope. + + MICHAEL + I've prepared this; have had it for + over a month. It won't explain + everything; but indicates where I + will be, so in a sense, it is my + life. + (he hands the envelope + to Hagen) + Also, there are three tasks that + must be executed immediately. Pop + would have given those to Luca -- + You knew Pop as well as anyone, act + as though you were him. It + discusses Kay as well; that will be + the most difficult. The men who + tried to kill me tonight, will + never leave the estate. + + HAGEN + Will we...be able to get who + ordered it out of them? + + MICHAEL + I don't think so. Unless I'm very + wrong...they're already dead. + Killed by someone inside...very + frightened that they botched it. + That's why I am going to disappear + in a few minutes, and leave + everything to you. + + HAGEN + But if you're wrong... + + MICHAEL + If I'm wrong... + +There is a KNOCK on the door. + + MICHAEL + ...I don't think I'm wrong. + (he indicates the knock) + Yes. + +The door opens; it is Rocco; Michael rises, after making a +knowing glance toward Tom, and moves to talk quietly to a +frightened and agitated Rocco. + +EXT. STONE WALL AND STREAM - MOVING VIEW - NIGHT + +A group of men with flashlights and guns lead Michael, Tom +and Rocco to the stone bridge spanning the stream which runs +through the estate. + +LOW CLOSE VIEW + +Michael's dispassionate face, looking down. THE VIEW MOVES +to Hagen's, and then down to the murky water under the +bridge, where we see the bodies of three strangers, lying in +the moving water; machine-type guns nearby, with their +throats cut. Light from the many flashlights illuminates +the grotesque scene. + + MICHAEL (O.S.) + Fish them out. + +Several of the men wade down into the stream; Rocco helps, +and even Tom steps down to get a better look at who they +were. They are total strangers; Rocco examines the type of +guns they used. + +When they climb back onto the ground, Michael is gone. +Everyone notices it, but no one says anything. + +Hagen stands there, holding the envelope Michael had given +him in his hand. + +He realizes that now, he is the DON. + + HAGEN + Get rid of the bodies. Tomorrow + morning I want a report made to the + local police, and paper, that some + explosives we keep on the property + were accidentally ignited. + +The men respond; Hagen makes the lonely walk back to the +lighted section of the compound, which now resembles a +prison camp. + + FADE OUT. + +FADE IN: + +INT. STATE SENATE FLOOR - DAY + +The Senate is in session; Senator Geary is on the floor +during a vote. An aide approaches him, with a slip of paper. + +INT. GEARY'S OFFICE - DAY + +The Senator steps behind his desk. + + SENATOR GEARY + All right, Mr. Hagen, you've got + ten minutes. + +He flicks the switch of a small tape recorder. + + SENATOR GEARY + ...and the tape will be running. + + HAGEN + Actually, I've come with good news; + the Corleone family has done you a + favor. + +The Senator immediately shuts the tape recorder off. + + SENATOR GEARY + What the hell are you talking about? + + HAGEN + We know you're a busy man, with + plenty of enemies -- we saw the + opportunity to do you a favor, and + we did. No strings. + + SENATOR GEARY + No strings. + + HAGEN + You know there's a Senate + Investigating Committee recently + set up; we thought it would be + unfortunate if they were to trace + anything though-provoking to your + name. + + SENATOR GEARY + No one can trace anything to me; I + pride myself on that. + + HAGEN + Do you gamble? + + SENATOR GEARY + A little; what's so thought- + provoking about that? + + HAGEN + Do you owe markers? + + SENATOR GEARY + Maybe two, three thousand dollars. + +Hagen leans forward, and deposits a handful of paper on the +Senator's desk. + + HAGEN + The Corleone family has paid them + off for you...as an expression of + our esteem. + +Geary quickly looks through the paid markers. + + SENATOR GEARY + There's thirty grand worth of paid + off markers -- I never owed that + much. + + HAGEN + Our mistake. But what does it + matter; it was our money. + (rising) + We don't even expect thanks. + + SENATOR GEARY + You paid off thirty grand I never + owed. + + HAGEN + We'll keep it quiet; the people who + know are trustworthy...the Committee + needn't find out. + + SENATOR GEARY + And what's the price of their not + finding out. + + HAGEN + Simple. Be friendly like us. Not + hostile. + + SENATOR GEARY + (he despises Hagen) + Thanks...friend. + +EXT. TAHOE ESTATE - FULL VIEW - DAY + +There are more men on duty than usual; not that there are +guns apparent, but it's clear that the boundaries are being +patrolled. + +VIEW BY MICHAEL'S HOUSE + +Kay exits her house, followed by her children; she helps +them into her station wagon like any housewife, and drives +along the path leading to the main gate. + +She's about to drive through, when one of the men steps in +front of her, raising his hand. + + KAY + (graciously) + Yes. + + MAN + I'm sorry, Mrs. Corleone. We're + not to let you through. + + KAY + (disbelieving) + I'm going to the market. + + MAN + If you could just give us a list, + we'll pick up anything you want. + + KAY + Whose orders are these? + + MAN + Mr. Hagen's, ma'am. + +We notice Hagen walking to them in the background. + + HAGEN + Kay. + +VIEW THROUGH THE GATE + +Hagen approaches the car; Kay gets out so they can talk away +from the children. + + HAGEN + I wanted to explain this myself... + I had business in Carson City. + +He walks with her a little way from the others; the children +run out of the station wagon, and start to play. + + HAGEN + It's Michael's request...for your + safety. We can send out for + anything you need. + + KAY + I'm supposed to stay in my house. + + HAGEN + Within the compound will be fine. + + KAY + I was supposed to take the children + to New England next week. + + HAGEN + That's off now. + + KAY + I'm going to see my parents. + + HAGEN + Kay, Michael didn't tell me a lot; + and what he did tell me, I can't + repeat. But the responsibility for + you and the kids was the most + important thing he left me with. + + KAY + How long does this go on? + + HAGEN + I don't know. + (pause) + I'm sorry, Kay... + + KAY + Am I a prisoner? + + HAGEN + That's not the way we look at it. + +Angrily, without another word, Kay turns away from him, and +walks to her children, ignoring the running station wagon. + +EXT. ITALIAN LUXURY LINER - DAY + +The luxury liner making its way across the Atlantic. + +INT. ITALIAN LUXURY LINER - MED. VIEW - DAY + +The PURSER followed by several white uniformed associates +knocks on the door of something designated the "Leonardo +Suite." He is holding a telegram. + +The door opens, and a tanned Merle peeks out of the door. + + PURSER + (holding up the telegram) + I'm terribly sorry to disturb you + but we have received two telegrams. + + MERLE + (reluctantly) + Well...come in. + +This entourage enters the suite, an impressive and +beautifully spacious luxury suite. Connie is relaxing. + + CONNIE + What is it? + + PURSER + Yes. One is from our office in New + York. The check that you wrote for + your passage has been returned. + + CONNIE + Can't be... + + MERLE + Why don't you wire your bank? + + PURSER + The other telegram is from your + bank. Your account has been closed + and the company is warned not to + extend any credit. + + CONNIE + I'll take care of it in Naples. + + PURSER + The company hopes so. But for now, + we have orders to change your + accommodations. + +And with that, the men in white begin to pack Connie and +Merle's luggage. + + CONNIE + That son of a bitch! + +INT. ITALIAN LUXURY LINER - TINY THIRD CLASS CABIN - NIGHT + +Connie and Merle are attempting to sleep in the miniature +cabin in bunk beds. The little space is crowded with their +trunks and luggage. Merle can barely hang onto the bunk, +the boat pitches so violently below. + +EXT. TRAIN TRACKS - MED. VIEW - DAY + +A train speeds across the countryside. + +INT. THE TRAIN - DAY + +Inside the corridor, a porter advances, and knocks on the +door of a stateroom. A voice tells him to enter. OUR VIEW +enters with him as he carries a tray of lunch. From this +POV we see Michael Corleone sitting in the compartment. + + PORTER + Mr. Paul? + + MICHAEL + Yes. + + PORTER + You ordered lunch? + + MICHAEL + Put it right there. + +The porter does so; as he places the tray down, he catches a +glimpse of a second person in the compartment with Michael. + +HIS VIEW + +A very fierce, almost maniacal looking man, BUSSETTA. He +nods that the porter should leave. + + MICHAEL + Thank you. + +The porter takes his advice and leaves quickly, closing the +door behind him. + +VIEW THROUGH THE WINDOW + +Michael and his mysterious companion have lunch together on +the moving train. + +EXT. GULFSTREAM RACE TRACK IN MIAMI - HIGH FULL VIEW - DAY + +The empty parking lot of the Gulfstream track, on an off- +race day. + +CLOSER VIEW + +Michael sits behind the wheel of a nondescript late model +car. Bussetta sits in the rear. + +Another car swings into the lot. Michael starts his car, +and pulls out of the lot; the second car following. + +NEW VIEW + +This car pulls out and begins to follow them. Michael +glances back by adjusting the rear view mirror, and nods to +Bussetta. + +Michael's car begins to slow down, allowing the other car to +overtake them. + +The overtaking car hesitates a moment, moving side by side +with them. + +Michael glances toward the driver. + +MICHAEL'S VIEW + +We recognize Johnny Ola, who waves a greeting to Michael, +and then continues on to lead him. + +EXT. SUBURBAN MIAMI NEIGHBORHOOD - DAY + +Ola's car leads Michael's through a middle-class suburban +area of $30,000 to $40,000 homes. There are small channels +with sporting and fishing boats parked near the houses. +Ola's car pulls up in front of a very simple, tract-type +home. Michael's car parks nearby. + + MICHAEL + (Sicilian) + (to Bussetta) + You'll wait in the car. + +Ola has gotten out of his car and walks up the little path +to the front door. Michael waits. + +Ola rings the bell, and after a moment, a rather pretty, +middle-aged WOMAN answers, remaining behind the screen door. +Ola says a few things to her and she disappears, leaving the +door open. + +Ola comes down the steps, looks at Michael, nodding to him. +Ola then gets into his car and drives off. Michael walks up +the walkway and enters the little house, closing the door +behind him. + +This woman, TERRI ROTH, is in the kitchen, looking out at +Michael. + + TERRI + I'm just going to make lunch. How + about a tuna fish sandwich? + + MICHAEL + Thank you, Mrs. Roth. + +She hurries halfway up the staircase. + + TERRI + Hyman...HYMAN, your friend is here. + (turning to Michael) + Why don't you go right upstairs, Mr. + Paul? + + MICHAEL + Fine. + +He continues upstairs; she goes into the kitchen. + + TERRI + I'll give a yell when lunch is ready. + +Michael continues up to a small den on the second floor; we +can HEAR the sound of a baseball game coming over the +television. + +INT. HYMAN ROTH'S DEN - DAY + +Michael enters the den: it's very comfortable, but somewhat +like a senior citizen's retirement home in Florida. + +MICHAEL'S VIEW + +There, sitting before the television is a small man in his +middle sixties, thin, with a wizened face, looking like a +small-time retired Jewish businessman. This is HYMAN ROTH. + + ROTH + Sit down, this is almost over. You + follow the baseball games? + + MICHAEL + Not for a few years. + + ROTH + I like sporting events -- I really + enjoy watching them in the afternoon. + One of the things I love about this + country. I loved baseball ever + since Arnold Rothstein fixed the + World Series of 1919...I heard you + had some trouble. + + MICHAEL + Yes. + + ROTH + What a mistake; people behaving + like that, with guns. + (he shakes his head) + It was my understanding we left all + that behind. But, let me tell you, + the important thing is that you're + all right. Good health is the most + important thing; more than success; + more than power; more than money. + + MICHAEL + The incident of the other night is + a nuisance that I can take care of. + I came to you because I want + nothing to affect our agreement; I + wanted to clear everything I'm + going to do with you, just in case. + + ROTH + You're a considerate young man. + + MICHAEL + You're a great man, Mr. Roth, I + have much to learn from you. + + ROTH + (warmly) + However I can help you... + + MICHAEL + The Rosato Brothers have performed + services for you in the past; I + understand that they are under your + protection. + + ROTH + (simply) + We do favors for each other... + + MICHAEL + Technically, they are still under + the Clemenza wing of the Corleone + Family, now run by Frankie + Pentangeli. After Clemenza died, + the Rosatos wanted territory of + their own. Pentangeli refused, and + came to me, asking for permission + to eliminate them. I, of course, + knew of their relationship with + you, and in gratitude for your help + with the Tropicana matter, turned + him down. Pentangeli was furious, + and paid one hundred and fifty + thousand dollars to have me killed. + I was lucky and he was stupid. + I'll visit him soon. + (leaning toward the + old man, sincerely) + The important thing is that nothing + jeopardize our plans, yours and + mine. This thing of ours, that we + will build. + +The old man touches Michael's hand, warmly. + + ROTH + Nothing is more important. + + MICHAEL + (quietly) + Pentangeli is a dead man; do you + object? + + ROTH + It's always bad for business; but + you have no choice. + + MICHAEL + Then it's done. I must choose his + replacement: it cannot be Rosato. + + ROTH + Of course you must keep control of + your family. + +He turns to Michael, turning the volume higher on the +television, and moving closer to his young partner. + + ROTH + Michael, these things are + unimportant. Who should be the + manager of a dime store, Joe or + Jack? Unimportant. You do what + you think is right. You're a young + man, and I'm old and sick. What we + do together in the next few months + will be history, Michael; it has + never been done before. We will do + this historical thing together, and + even your Father could never dream + it would be possible. We are + bigger than U.S. Steel, you and + me... because in America, anything + is possible! + (pause) + But soon I will be dead, and it + will all belong to you. + +There is a KNOCK on the door, and Terri Roth pushes the door +open with her hip. + + TERRI + My goodness, you'll rupture your + eardrums, Hyman. + +She puts the tray down, and turns down the television. + +EXT. ROTH'S HOUSE - MED. VIEW - DAY + +The sinister Bussetta waits patiently in the rear seat of +the car, outside Roth's modest house. + +EXT. DOWNTOWN NEW YORK - MOVING VIEW - DAY + +A black Cadillac moves down the street, slowed by the +Festivities of the Festa that is in progress: people milling +around, buying souvenirs at the many stands set up. + +Sausage and grilled meats are prepared, just as they were +years ago. Electric lights are strung from the street +lamps, and brightly colored banners pronounce the "Festa of +the Madonna." + +MOVING CLOSE VIEW + +Willy Cicci drives, frustrated that he cannot go any faster. +Next to him, Frankie Pentangeli sits, catching a few seconds' +snooze. + +MED. VIEW + +The black car pulls up; another car that had been following +it parks nearby. + +One of Pentangeli's button men gets out of the car, and +steps into a small Italian restaurant; he exits quickly, and +nods affirmatively toward Pentangeli's Cadillac. + +The group of them step out quickly, men huddled around +Pentangeli, and enter the restaurant. + +INT. THE RESTAURANT - DAY + +The restaurant is quite empty, despite the excitement out on +the street. + +Pentangeli immediately sits at a table with a tall, dark, +snappily dressed young man, CARMINE ROSATO. + +Nearby, on the other side of the room is Rosato's brother, +TONY, seated with a group of their men. + +At another table in the restaurant is a table of Pentangeli's +people: they are joined by bodyguards. + + PENTANGELI + Rosato, where's your brother? + + ROSATO + Sitting right behind you. + +Pentangeli glances behind himself. + + PENTANGELI + He don't want to talk? + + ROSATO + We worked it all out beforehand. + + PENTANGELI + Are we going to eat or what? + + ROSATO + Sure, on me. I got Diner's Club. + + PENTANGELI + (sarcastically) + Forget it; I'm suddenly without an + appetite. You're making big + trouble, Carmine. + + ROSATO + You weren't straight with us, + Frankie, what else could we do? + + PENTANGELI + We could have talked first, saved a + lot of running around. + + ROSATO + You wasn't listening, you didn't + want to talk. + + PENTANGELI + Don't I look like I'm listening? + + ROSATO + We want Brooklyn one hundred + percent. No more taxes to you. We + want to be only loosely connected + with your family -- sort of a + under-family all of our own. Then + we can act on all internal matters + without talking. Also we want you + to inform Michael Corleone that we + can deal directly with him. + + PENTANGELI + I'm a little hungry, maybe I'll + order something. Joe. + (one of his men) + Get me some bracciole or something. + And pay cash. + (to Rosato) + And in return for these concessions, + what do you do for me? + + ROSATO + We will release the hostages, + number one. Number two, we're here + for you to count on when you need + us. We're independent, but we're + here if you need us. In general, + we'll cooperate with you and your + businesses, and you in turn will + cooperate with us. Pari persu. + + PENTANGELI + Pari Persu; what the fuck is Pari + persu...? + + ROSATO + My lawyer went over this beforehand. + + PENTANGELI + What assurances do I have that + there will be no more kidnapping, + no more hits? + + ROSATO + The same assurance we got from you. + + PENTANGELI + What if I say shove it? + + ROSATO + Then Carmine Fucillo and Tony Blue + DeRosa will need to be fitted for + slabs. + + PENTANGELI + You want a war? + + ROSATO + We got no choice. + + PENTANGELI + You know if there's a way I'll go + to the commission and the commission + will side with me. That puts me + and the other New York families + against you. + + ROSATO + We got friends in the commission. + + PENTANGELI + (getting angry) + I'm talking about Italians! + + ROSATO + What about Michael Corleone? + + PENTANGELI + He supports me. + + ROSATO + Maybe, yes... maybe no. + +One of Pentangeli's men approaches with a plate of Italian +food. + +Pentangeli stands up, angered by this remark of Rosato's; he +pushes the dish of food out of the surprised Bodyguard's +hands. + + PENTANGELI + You drove old Pete Clemenza to his + grave, Carmine; you and your + brother. Turning on him; trouble + in his territories -- you and your + demands. I hold you responsible, + just as though you shot him in the + head. And I ain't gonna let that + go for long! + +Pentangeli walks out of the restaurant; there's a little +tension between the bodyguards of the two factions. + + ROSATO (O.S.) + Hey, Five-Angels... + +He gives him the arm. + +Frankie's face turns red, like he wants to have it out here +and now; but Willy Cicci calms his down, and they all make +their move out. + +EXT. THE RESTAURANT - DAY + +Pentangeli gets into the car. + + PENTANGELI + Nobody I hate calls me Five-Angels + to my face! + +He slams the door. + +EXT. PENTANGELI'S LONG BEACH ESTATE - DAY + +Part of the old estate of Don Corleone. By now, the wall +has been torn down, and the other houses sold off. + +His car is parked; Pentangeli steps out, still angry over +the confrontation. As he approaches the house, he notices +something strained about the bodyguards who discreetly guard +his house. No one seems to want to tell him. + + PENTANGELI + What's up? + +Pentangeli glances over to the front door foyer. + +PENTANGELI'S VIEW + +The strange and silent Bussetta, the man who now always +travels with Michael. + +INT. PENTANGELI'S HOUSE - DAY + +Pentangeli enters; he sees his WIFE, standing oddly in the +hallway. + + PENTANGELI + (Sicilian) + What's this? + + WIFE + Michael Corleone. + + PENTANGELI + One Michael Corleone...Dove? + + WIFE + (Sicilian) + He's in your study. + +He knows it is very very serious for Michael to be here in +his home. + +He automatically moves into his study. + +INT. PENTANGELI'S STUDY - DAY + +Michael stands quietly in the room. This was once his +father's study, although it is totally redecorated. +Pentangeli starts sweating, and moves toward the young Don, +and kisses his hand. + + PENTANGELI + Don Corleone, I wish you let me + know you was coming. We could have + prepared something for you. + + MICHAEL + I didn't want you to know I was + coming. You heard what happened in + my home? + + PENTANGELI + Michael, yes, we was all relieved... + + MICHAEL + (furious) + In my home! In the same room where + my wife was sleeping; where my + children come in their pajamas, and + play with their toys. + +He's terrified Pentangeli with his anger; then, just as +suddenly, he talks quietly, calmly. + + MICHAEL + I want you to help me take my + revenge. + + PENTANGELI + Michael, anything. What is it I + can do for you? + + MICHAEL + I want you to settle these troubles + with the Rosato Brothers. + + PENTANGELI + I was just going to contact you, + Michael; we just had a 'sit-down' - + in fact, I just come from there. + + MICHAEL + I want you to settle on their terms. + + PENTANGELI + Mike, I don't understand. Don't + ask me to do that. + + MICHAEL + Trust me; do as I ask. + + PENTANGELI + It would be the beginning of the + end for my family. How can I keep + all my other territories in like if + I let two wise-guys stand up and + demand this and that, and then give + it to them? + + MICHAEL + Frankie...do you respect me? Do I + have your loyalty? + + PENTANGELI + Always... But sometimes I don't + understand. I know I'll never have + your kind of brains, in big deals. + But Mike, this is a street thing. + And Hyman Roth in Miami is behind + the Rosato Brothers. + + MICHAEL + I know. + + PENTANGELI + Then why do you want me to lay down + to them? + + MICHAEL + (coldly, but convincing) + Frankie, Roth tried to have me + killed. I'm sure it was him, but I + don't know yet why. + + PENTANGELI + Jesus Christ, Michael, then let's + hit 'em now, while we still got the + muscle. + + MICHAEL + This was my father's old study. + When I was a kid, we had to be + quiet when we played near here. + When I was older, I learned many + things from him here. I was happy + that this house never went to + strangers; first Clemenza took it + over, and then you. My father + taught me, in this room, never to + act until you know everything + that's behind things. Never. If + Hyman Roth sees that I interceded + with you in the Rosato Brothers' + favor, he'll think his relationship + with me is still sound. I'm going + somewhere to meet him tomorrow. We + have friends in some very important + business that we're making. Do + this for me; you make the peace + with the Rosato Brothers on their + terms. Let the word out that I + forced you; you're not happy wit + hit, but acquiesced, just because + of me. It will get back to Hyman + Roth. Do this, Frankie. You can + trust me. + + PENTANGELI + Sure, Mike. I'll go along. + + MICHAEL + Good. + +They embrace; Michael kisses him. He looks at the young +Don, thoughtfully. + +INT. TROPICANA HOTEL - CLOSE VIEW - DAY + +The money trays are carefully unloaded from the gaming +tables, and put on a cart with others. + +The cart, preceded and followed by security guards, is then +wheeled through the casino, into a private, counting room. + +INT. COUNTING ROOM - MED. VIEW - DAY + +The guards leave the room; the door is locked after them, +leaving only Hagen. Neri and an ACCOUNTANT, a very fat man. +The numbered boxes are opened, and cash and checks are +spread out on the counting table. + +The accountant begins with amazing speed and skill, to count +and divide the money. + + NERI + Fifteen percent skim? + + HAGEN + Twenty-five this time. + +The accountant stops, and looks up to Neri. + + NERI + It might show. + + HAGEN + Mike wants it. + +Neri nods, and the accountant continues. Neri opens a door, +allowing a sandy-haired man, a COURIER, into the room. The +cream is placed into his pouch personally by Neri. + + NERI + We've never sent this much with one + courier. + + HAGEN + (to the courier) + Your plans are a little different + this time. You skip Miami, and go + straight to Geneva. It's to be + deposited to this number. + (handing him a small envelope) + And it's got to be there by Monday + morning, no slip-up. + + COURIER + I think I was 'picked-up' last trip. + That hour layover I had at Kennedy. + I went over and bought a paper... + +Neri has finished putting the 'creamed' money into the pouch. + + NERI + Those were our people. + + COURIER + Okay, just thought you should know. + +He is just about to close and lock the pouch, when Hagen +gestures that he should wait, and adds more stacks of +carefully packaged bills into the pouch. Then Neri locks +it, and handcuffs it to the courier's arm, looking +inquiringly at Hagen. + + HAGEN + Let them count. + +The courier is shown out through a private door, and then +the first door is opened. Two accountants come in with the +guards, and the trays are opened, and the counting process +is begun all over again, this time with the State Tally +sheets. + +INT. TROPICANA CORRIDOR - MOVING VIEW - DAY + +The courier continues on his way; followed by Hagen and Neri. + + NERI + What's up? + + HAGEN + No questions. + + NERI + I got to ask questions, Tom, + there's three million dollars cash + in that pouch; Mike is gone and I + have no word from him. + + HAGEN + Al, as far as you're concerned, I'm + the Don. + + NERI + How do I know you haven't gone into + business for yourself? + +This hurts Tom; but he is a reasonable man, and he knows he +owes Neri some explanation. + + HAGEN + You've been through a lot with us + so I'm going to give you the truth. + Mike knows it was someone within + the compound that set him up for + that hit. So nobody is to know + where he is, not you, not Rocco, + not even his brother Fredo. Sorry, + Al, I know how you feel about + Mike...but he still remembers Tessio. + +EXT. KEY WEST - NIGHT + +Michael is led to a desolate, night-lit private dock. He is +followed by the ever-present Bussetta, and they are helped +onto a light-weight, luxury cabin cruiser. The crew cast +off various ropes, and the boat sets out into the night. + + FADE OUT. + +FADE IN: + +EXT. TAHOE ESTATE - DAY + +A seaplane lands nicely by the private Corleone harbor; +Hagen disembarks with his inevitable overloaded briefcase. +He continues down the ramp, past several Buttonmen, dressed +in summer casual attire, and who resemble secret service men +rather than thugs. + +His wife THERESA lies on a blanket on the great lawn, with +her youngest children, who run to their father for a kiss. + + THERESA + Hungry? + + HAGEN + Just a little. + + THERESA + I've invited Mama, Sandra and the + kids for barbecue. + + HAGEN + What about Kay? + + THERESA + I couldn't find her. She's been so + broody, sticks to herself. + +EXT. TAHOE LAWN BARBECUE - MED. VIEW - DAY + +Hagen and Sonny's boys are throwing a football around on the +lawn; the littler kids running after them. + +Coals are burning in the old style stone barbecue, and +several tables are set for the family. + +In the distance, there is always evidence of the bodyguards. + +Theresa, Mama and Sandra prepare the steaks. + +Hagen relaxes in a sports shirt. + + HAGEN + Let me try Kay. + +He crosses the lawn, to the house on the beach where Michael +and his family live. Is about to knock on the door: + + HAGEN'S SON + Hey, Pop, heads up! + +The football is flying in his direction; he catches it and +throws it back. Then he cracks the door open, and peeks in. + +INT. MICHAEL'S HOUSE - DAY + + HAGEN + Kay? + +He steps in, the beautiful summer living room is neat, but +empty. + + HAGEN + Anyone hungry? + +He moves through the house more quickly; into the dining and +recreation room areas. A cat jumps off a pile of cushions +and runs across the room. + + HAGEN + Hello? + + SANDRA (O.S.) + She's gone, Tom. + +Sandra has followed him into Michael's house. + + HAGEN + What do you mean gone? + + SANDRA + The Barretts from Rubicon Bay came + by in a new speedboat. Rocco tried + to say she wasn't in, but Kay + spotted them and asked if they + would take her and the kids for a + ride. That was three hours ago. + + HAGEN + (furious) + Why didn't someone tell me! + + SANDRA + I wanted to tell you alone; your + wife doesn't know what's going on. + +Hagen rushes out of the house. + +EXT. TAHOE LAWN - DAY + +Hagen moves quickly out of Michael's house; moving across +the lawn to the boathouse. + + HAGEN'S SON + Hey, Dad! + +This time he ignores the thrown ball, and moves directly to +Rocco, who is by some men near the boathouse. + + HAGEN + Rocco! + + ROCCO + I know. I went down to the Barrett + house. But she's gone. They drove + her and the kids to North Tahoe + airport. + + HAGEN + Goddamn it, where were you? + + ROCCO + I was in my house. Willy tried, + but it would have taken some + strong-arm to stop her, and he + figured you wouldn't want that. + +INT. THE BOATHOUSE - DAY + +They enter the boathouse. + + HAGEN + (to one of the men) + Get me a Scotch and water. + +The man hurries behind the bar. + + ROCCO + She took a flight to San Francisco. + We figure she's going to connect to + New Hampshire; her parents' place. + + HAGEN + (almost to himself) + I can't let him down. + +He swallows the drink down in several gulps. And then looks +up to his men watching him. He's embarrassed to have shown +such weakness. + + HAGEN + All right, let me think a minute. + +Rocco clears the men out. + + ROCCO + Me too, Tom? + + HAGEN + Yeah, give me a minute. + +Rocco gone, Hagen moves behind the enormous bar, and pours +himself a giant drink. He drinks that, and calms himself. + + HAGEN + Oh Christ, Pop. It was so good + when you were alive. I felt I + could handle anything... + +EXT. VIEW FROM BOAT - FULL VIEW - DAY + +A beautiful coastal view of a tropical Caribbean city. An +extraordinary view, high buildings, palm trees, all set +right on the bay. + +MED. CLOSE VIEW ON MICHAEL + +on the cruiser, Bussetta a little distance away, watching, +but never speaking. The dark-skinned CAPTAIN of the cruiser +keeps pointing repeatedly. + + CAPTAIN + Habana, Habana. + +EXT. HAVANA STREET - MOVING VIEW - DAY + +Michael and Bussetta are driven in a Mercury sedan, making +its way through the streets of Havana. + +CLOSE VIEW ON MICHAEL + +looking out the window. + +MICHAEL'S POV + +Crowded streets, occasional roving bands playing for the +tourists; there is much evidence of tourism: Americans +walking through the streets with cameras. Occasionally, we +see a Cuban with a row of numbers attached to his hat, +carrying a big sheet of the daily lottery numbers. From all +of these street impressions, the city is booming with +activity, but there is also much evidence of whores and +pimps and little children begging in the streets. + +MED. VIEW + +The big American car stops at an intersection. Bussetta is +sitting in the forward passenger side; while Michael is in +the back. He hears tapping on the window; he turns and sees +four Cuban boys tapping on his window and extending their +hands, and rubbing their stomachs as though they were hungry. +The Cuban driver rolls down his window and shouts them away +in Spanish. + +INT. HAVANA CASINO LOBBY - MOVING VIEW - NIGHT + +Michael is led through a beautiful wooden lobby of the +hotel, done in Spanish style, apparently just recently +completed. He is approached by a thin, mousy man, SAM ROTH, +who ushers him toward the casino entrance. + + SAM ROTH + Hiya, Mr. Corleone, I'm Sam Roth. + Welcome to the Capri; my brother's + upstairs. You wanta take a rest + before you see him, or can I get + you something, anything at all? + + MICHAEL + No, I'm fine. + +He leads Michael into the main casino. + + SAM ROTH + This is it! We think it makes + Vegas look like the corner crap game. + + MICHAEL + Very impressive. + + SAM ROTH + Jake, Jake, come over here. Mike, + I want you to meet Jake Cohen; he + manages the casino for us. + + COHEN + (appreciating + Michael's status) + Mr. Corleone. + +Sam turns to Bussetta and extends his glad-hand. + + SAM ROTH + Pleasure to meet you, I'm sure... + +He gets no response whatsoever from Bussetta. + +INT. PRESIDENTIAL PALACE - NIGHT + +An extremely tall, well-built Cuban, tanned and wearing an +attractive mustache, LEON, in his middle forties, reads from +a prepared paper. His sentences are translated by a smaller +man, standing to his rear. + + LEON + (Spanish) + Most respected gentlemen, allow me + to welcome you to the City of + Havana, the Republic of Cuba on + behalf of His Excellency, Fulgencio + Batista. + +THE VIEW BEGINS TO MOVE along the various men gathered for +this meeting. + + LEON (O.S.) + I'd like to thank this distinguished + group of American Industrialists, + for continuing to work with Cuba, + for the greatest period of + prosperity in her entire history. + Mr. William Proxmiro, representing + the General Fruit Company... Messrs. + Corngold and Dant, of the United + Telephone and Telegraph Company; Mr. + Petty, regional Vice-President of + the Pan American Mining Corporation; + and, of course, our friend Mr. + Robert Allen, of South American + Sugar. Mr. Nash of the American + State Department. And Mr. Hyman + Roth of Miami, and Michael Corleone + of Nevada representing our + Associates in Tourism and Leisure + Activities. + +VIEW ON THE ENTIRE GROUP + +Leon pauses to take a drink of water. Then proudly, he +lifts a shiny yellow telephone for all to see. + + LEON + The President would like to take + this opportunity to thank U T&T for + their lovely gift: a solid gold + telephone! He thought all you + gentlemen would care to take a look + at it. + +He hands the heavy phone set to one of his aides, and it is +passed in turn to each of the men in attendance. + + CORNGOLD + Your Excellency, perhaps you could + discuss the status of rebel activity + and how this may affect our + businesses. + +MED. CLOSE VIEW ON MICHAEL + +He receives the telephone, and glances at it before passing +it on to Hyman Roth. + + LEON (O.S.) + Of course. The rebel movement is + basically unpopular, and since July + of 1958 has been contained in the + Oriente Province, in the mountains + of the Sierra Muestre. + +Michael passes the phone on to Roth. + + LEON + (continuing) + We began a highly successful + offensive against them in March, + and activities within the city + itself are at a minimum. I can + assure you we'll tolerate no + guerrillas in the casinos or + swimming pools! + +General subdued laughter. + +A CUBAN STREET - LATE DAY + +Police are stopping traffic. Michael's Mercury is among the +cars; a police officer, seeing that some important person is +being driven, walks up to the driver. He leans forward, and +says something in Spanish to the driver. + +The driver, in turn, leans over to Michael. + + DRIVER + He says it will just be a short + time and they'll let us through. + +Michael looks out the window. + +MICHAEL'S VIEW + +The old building has been totally surrounded by police and +military vehicles. Right at this moment, they are waiting +lazily, but soldiers are there with automatic weapons ready. +There is a momentary commotion inside the building, and the +men brace up. A Captain of the Army detachment says +something in Spanish over a megaphone; and his men put their +weapons at the ready, as other policemen lead a group of +civilians out of the building with their hands up. + +They are moved over to some military truck, where they are +frisked before being loaded. + +All of a sudden, one of the civilian rebels breaks loose, +and rushes toward the command vehicle. He hurls himself +into the vehicle, as two police try to pull him out. A +second later, and there is an explosion; the man obviously +having hidden a grenade on his body, sacrificing his own +life to take the life of the Captain. + +There is a commotion, but the military quickly quell it. + +CLOSE VIEW ON MICHAEL + +watching. The police rush to Michael's car and guide it +outside of the trouble area. + +MED. VIEW + +as they lead and escort the Mercury out of the area. + +EXT. HAVANA COUNTRY CLUB - CLOSE VIEW - DAY + +Some glasses; rum is poured into them; then Coca Cola. +Quarter limes are squeezed. + + SAM ROTH (O.S.) + Rum... Coca Cola...a squeeze of + fresh lime... + +Sam prepares the drinks for his brother, Hyman, and a group +of men, including Michael. + + MAN + Cuba Libres. + + MICHAEL + I was told the Cubans now call this + drink: "La Mentira." + + ROTH + I still don't speak Spanish, Michael. + + MICHAEL + It means... "The Lie." + +A moment's hesitation, then a few of the men laugh. Now two +Cubans in white carry a table which has a lovely small cake +on it. + + SAM ROTH + The cake is here. + +They all raise their glasses to the old man. + + EVERYONE + (ad lib) + Happy Birthday! + +Roth glances at the cake and its inscription, is pleased. + + ROTH + I hope my age is correct: I am + always accurate about my age. + +Some laugh. He nods, and they begin to cut it, put a piece +on plates, and carry them to the different men. + + ROTH + Everything we've learned in Vegas + is true here; but we can go further. + The bigger, the swankier, the + plusher the store, the more a sense + of legitimacy, and the bigger + business we do. + (looking at the plate + brought to him) + A smaller piece. What we've + proposed to the Cuban Government is + that it put up half the cash on a + dollar for dollar basis. + (accepting a smaller piece) + Thank you. We can find people in + the United States who will put up + our share for a small piece of the + action, yet we will retain control. + + ONE OF THE MEN + How much? + + ROTH + A hundred million dollars. But + only if this Government relaxes its + restrictions on importing building + materials; we'll need some new + laws, too, but that will be no + difficulty. + + ANOTHER MAN + What are import duties now? + + ROTH + As much as seventy percent. Also, + I'm working out an arrangement with + the Minister of Labor so that all + our pit bosses, stick-men and + Dealers, can be considered + specialized technicians eligible + for two year visas. As of now + they're only allowed in Cuba for + six months at a time. In short, + we're in a full partnership with + the Cuban Government. + +VIEW ON MICHAEL + +is handed a piece of cake. Roth moves over to a folder of +documents. + + ROTH + (continuing) + Here are applications from Friends + all over the States. I understand + Santo Virgilio in Tampa is trying + to make his own deal. Well, the + Cuban Government will brush him off. + The Lakeville Road Boys are going + to take over the Nacionale here. + I'm planning a new hotel casino to + be known as Riviera. The new Capri + will go to the Corleone Family. + +MED. VIEW + +The cake is sliced and carried to each of the men. + + ROTH + Then there's the Sevilla Biltmore; + the Havana Hilton, which is going + to cost twenty-four million -- + Cuban banks will put up half, the + Teamsters will bankroll the rest. + Generally, there will be friends + for all our friends including the + Lieutenant Governor of Nevada; + Eddie Levine of Newport will bring + in the Pennino Brothers, Dino and + Eddie; they'll handle actual casino + operations. + +And seeing that all of his friends have been served, Roth +raises his fork. + + ROTH + Enjoy. + + MICHAEL + I saw an interesting thing today. + A man was being arrested by the + Military Police; probably an urban + guerrilla. Rather than be taken + alive, he exploded a grenade hidden + in his jacket, taking the command + vehicle with him. + +The various men look up as Michael eats his cake, wondering +what the point of it is. + + MICHAEL + It occurred to me: the police are + paid to fight, and the Rebels are + not. + + SAM ROTH + So? + + MICHAEL + So, that occurred to me. + +VIEW ON ROTH + +He understands Michael's point, if the others do not. + + ROTH + This country has had rebels for the + last fifty years; it's part of + their blood. Believe me, I know... + I've been coming here since the + twenties; we were running molasses + out of Havana when you were a baby. + To trucks owned by your father. + (he chuckles warmly + over the memory) + We'll talk when we're alone. + +And he returns his attention to the men who are gathered +with him on his birthday. + +EXT. ROTH'S PRIVATE TERRACE - DAY + +Michael sits alone with the old man, on a terrace that +overlooks the city. + + ROTH + You have to be careful what you say + in front of the others... they + frighten easy. It's always been + that way, most men frighten easy. + + MICHAEL + We're making a big investment in + Cuba. That's my only concern. + + ROTH + My concern is that the three + million never arrived at Batista's + numbered account in Switzerland. + He thinks it's because you have + second thoughts about his ability + to stop the rebels. + + MICHAEL + The money was sent. + + ROTH + Then you have to trace it. Michael, + people here look at me as a reliable + man. I can't afford not to be + looked on as a reliable man. But + you know all that; there's nothing + you can learn from me. You + shouldn't have to put up with a + sick old man as a partner. + + MICHAEL + I wouldn't consider anyone else. + + ROTH + Except the President of the United + States. + +He laughs slyly, as though this is some private joke between +them. Then his laughter becomes a cough, which he painfully +stifles with a handkerchief. + + ROTH + If only I could live to see it, + kid; to be there with you. How + beautifully we've done it, step by + step. Here, protected, free to + make our profits without the + Justice Department, the FBI; ninety + miles away in partnership with a + friendly government. Ninety miles, + just a small step, looking for a + man who desperately wants to be + President of the United States, and + having the cash to make it possible. + + MICHAEL + You'll be there to see it; you'll + be there. + +INT. MICHAEL'S SUITE - NIGHT + +The telephone has just rung; Michael listens. + + OPERATOR + We have your call to Tahoe, Nevada, + sir. + + MICHAEL + Thank you. + (click, click) + Tom? Tom, is that you? + + ROCCO (O.S.) + No, Tom's out of town. This is + Rocco. Who is this? + +Michael is openly disturbed that Hagen is not there. He +hangs up without answering. + +EXT. NEW ENGLAND HOUSE - DAY + +Tom Hagen steps out of a taxicab a bit tentatively, and then +steps toward the door of a pleasant New England house. He +rings the bell and waits, hat in hand. A moment later, the +door opens, and Kay is standing there. + + KAY + I'm not surprised to see you, Tom. + +INT. SMALL ROOM - NEW ENGLAND HOUSE - MED. VIEW - DAY + +Out to the yard, where we can see glimpses of little Anthony +playing by himself. + + KAY (O.S.) + I can't love a man like that; I + can't live with him, I can't let + him be father to my children. Look. + +The little boy, moodily by himself. + +VIEW ON KAY + +obviously moved. + + KAY + He's not like a little boy... he + doesn't talk to me; he doesn't want + to play; he doesn't like other + children, he doesn't like toys. + It's as though he's waiting for the + time he can take his Father's place. + (almost in tears) + You know what he told me when he + was four years old. He said he had + killed his Grandfather... + +VIEW ON HAGEN + +listening, calmly. + + KAY + ... He said he had shot his + Grandfather with a gun, and then he + died in the garden. And he asked + me... he asked me, Tom, if that + meant now his father would shoot + him out of... revenge. + (she cries) + How does a four year old boy learn + the word... 'revenge'? + + HAGEN + Kay... Kay... + +VIEW ON KAY + + KAY + What kind of a family is this... + are we human beings? He knows his + Father killed his Uncle Carlo. He + heard Connie. + + HAGEN + You don't know that's true. But + Kay, just for the sake of an + argument, let's assume it is, I'm + not saying it is, remember, but... + What if I gave you what might be + some justification for what he + did... or rather some possible + justification for what he possibly + did. + + KAY + That's the first time I've seen the + lawyer side of you, Tom. It's not + your best side. + + HAGEN + Okay, just hear me out. What if + Carlo had been paid to help get + Sonny killed? What if his beating + of Connie that time was a deliberate + plot to get Sonny out into the open? + Then what? And what if the Don, a + great man, couldn't bring himself + to do what he had to do, avenge his + son's death by killing his + daughter's husband? What if that, + finally, was too much for him, and + he made Michael his successor, + knowing that Michael would take + that load off his shoulders, would + take that guilt? + + KAY + He's not the same as when I met him. + + HAGEN + If he were, he'd be dead by now. + You'd be a widow. You'd have no + problem. + + KAY + What the hell does that mean? Come + on, Tom, speak out straight once in + your life. I know Michael can't, + but you're not Sicilian, you can + tell a woman the truth; you can + treat her like an equal, a fellow + human being. + +There is a long silence. + +Then Hagen shakes his head; he can tell her no more. + + HAGEN + If you told Michael what I've told + you today, I'm a dead man. + + KAY + When is it finally over? I want it + to be over before my baby is born. + + HAGEN + I don't know. I hope soon; but + it's not over yet, and that's why + you and the kids have to come back + to me. + +He looks at her; it's clear that he has been entrusted with +her safety and her children's. + +He is a kind, good man, and seems very nervous and +overwrought. + +VIEW ON THE WINDOW + +Little Anthony is pressing his face against the glass pane, +as though he senses the adults are discussing something of +importance to him. + +INT. TROPICANA HOTEL-CASINO - MED. VIEW - NIGHT + +The Baccarat table. Busy, hundred dollar bills being played. + + LOUDSPEAKER + Mr. Corleone; Mr. Freddie Corleone, + telephone please. + + PIT BOSS + Not here. + +VIEW ON THE CRAP TABLES + +The play is fast; pit boss presiding; but no sign of Fredo. + + LOUDSPEAKER + Telephone for Mr. Corleone. + +ANOTHER PART OF THE CASINO + +We see Neri, ominous, presiding over the entire store. He +picks up a pit telephone. + + NERI + He's backstage. + (and hangs up disgustedly) + +INT. TROPICANA BACKSTAGE AREA - MED. VIEW - NIGHT + +Fredo is entertaining two showgirls done up in feathers and +what-have-you. + + FREDO + C'mon, you got fifteen minutes + before the finale! I want to show + you a trick with feathers. + + STAGEHAND + Phone for you. + + FREDO + Don't go away; wait a minute. + +He takes the phone; we can catch a VIEW of the show going on +from the wings. + + FREDO + (on the phone) + Yeah. Okay. Who? Mikey? But... + Si... si, caposco. + (in Sicilian) + Sure... how much? I understand. + Jesus, three million... I won't let + you down. Sure. + +He hangs up thoughtfully. + + ONE OF THE GIRLS + Freddie; we still got twelve + minutes before the finale! + + FREDO + Yeah... some other time. + +EXT. NEW YORK BAR - DAY + +There is a light rain. Pentangeli steps out of his car; +points to Willy Cicci. + + PENTANGELI + Wait in the car. + +He walks up the street, to the bar, where he is greeted by +the tall, handsome Carmine Rosato. They shake hands. +Pentangeli looks in his hand. + +CLOSE VIEW + +Rosato has put a crisp one hundred dollar bill in his hand, +folded sharply in two. + + PENTANGELI + What's this? + + ROSATO + That's a lucky C note for our new + deal. + +He puts his arm around Pentangeli, and they walk into the bar. + +INT. THE BAR - DAY + +The bar is fairly empty; and very dark. Pentangeli and +Rosato step up to the bar; the bartender momentarily stops +polishing glasses to pour a couple of drinks. + + ROSATO + We were all real happy about your + decision, Frankie; you're not goin' + to regret it. + +He holds up the glass. + + PENTANGELI + I don't like the C-note. I take it + like an insult. + +Suddenly, a garrote is thrown around Pentangeli's throat; +and he is forcefully yanked back into the shadows, all the +way into a wooden telephone booth. + +CLOSE VIEW + +The folded hundred dollar bill resting on the bar. + +MED. CLOSE - THE PHONE BOOTH + +We see only Pentangeli's feet and legs, struggling. We HEAR +the terrible sounds of a man being strangled. + +CLOSE ON ROSATO + +Calm, and then he sees something that disturbs him. + + ROSATO + Shit, your friend the cop! + +Suddenly, the side door opens, and a shaft of sunlight cuts +through the darkness. + + COP + Everything all right in there, + Ritchie? The door was open. + +CLOSE ON THE PHONE BOOTH + +Pentangeli's feet stop moving. + + RITCHIE + Just cleaning up. + (strained voice) + You okay? + + COP + Is that something on the floor? + + ROSATO + Take him! + + VOICE + Okay. + + RITCHIE + Not here; not a cop, not here! + +Two figures race through the shadows and race through the +doors. + + COP + (shouting to his + partner, in uniform) + Stutz! Watch out, Stutz! + +EXT. THE BAR - DAY + +We see that a patrol car had stopped for its routine visit. +STUTZ, the second patrolman, is just stepping out of his +car; Pentangeli's bodyguard, seeing the commotion, leaps out. +Three men, including Rosato, rush out. There is gunfire; +Cicci is wounded. + +MED. CLOSE + +The patrolmen is grazed across the face; trying to stop the +flow of blood with his hand. + +NEW VIEW + +The three assailants jump into the car and drive off. + +INT. THE BAR - DAY + +The stricken Pentangeli comes back to life. He can barely +move his lips. + + PENTANGELI + The bastard. The dirty bastard, he + gave me a C-note. He gave me a C- + note. + +He sees the patrolman leaning over him. + +EXT. PATROL CAR - DAY + +The Sergeant is on the car radio. + + SERGEANT + Frankie Pentangeli murder attempt. + Patrolman Stutz shot. Sahara + Lounge - Utica Avenue and Claredon + Road. White Cadillac three or four + men took off from scene. Need + ambulance; Stutz is bad. Taking + Pentangeli into custody... + +INT. ROTH'S SUITE IN HAVANA - MED. CLOSE VIEW ON ROTH - DAY + +His wizened face, pale. Right now, though, his eyes have a +sparkle as he watches three million dollars in cold cash +being counted on a card table in front of him. + +His brother Sam is present, and the sandy-haired Courier, a +little nervous; the one who had left from the Tropicana with +the Corleone skim-money. Also Johnny Ola. The money is +evidently all there; Roth picks up a packet; probably a +hundred thousand dollars, and throws it over to the Courier. + + ROTH + Make it fast; I don't want to + chance him being seen. + + COURIER + (frightened) + What about the arrangements? How + can I be sure about the arrangements? + + OLA + Relax. You're under our protection; + the Corleone family will never find + you. + +Ola leads the Courier to the adjoining room where two +smartly dressed Military (Cuban) Police are standing, and a +civilian. The Courier sees them, looks back to Ola. One of +the police steps forward, placing the Courier under arrest; +handcuffing him. + + COURIER + Hey, what's this? + +The other takes the packet of money, and hands it to the +civilian, who places it in the briefcase he carries. The +other officer kneels down and fastens leg manacles. + + COURIER + The arrangements... YOU BASTARDS! + What... + +The Captain strikes him expertly across the side of his head +with his pistol. + +Ola closes the door on this scene. + +EXT. THE HAVANA CAPRI - DAY + +Fredo Corleone steps out of a car, squints up at the sunshine +and palm trees. He is holding on tightly to a small satchel, +which he won't let the bellman carry along with his other +things. + +INT. MICHAEL'S SUITE - MED. CLOSE VIEW - DAY + +Michael and Fredo in a brother's embrace; they kiss each +other. Fredo is still in his jacket, holding the satchel. + + FREDO + Mikey. How are you? + +He glances up at Bussetta, who doesn't say a word. Fredo +extends his hand. + + FREDO + Hiya, Freddie Corleone. + + MICHAEL + Mio fratello. + +Then Bussetta offers his hand back to Fredo. + + FREDO + (taking off his jacket) + What a trip, Jesus Christ, the + whole time I'm thinking what if + someone knew what I got in here. + +He undoes the combination of the briefcase starts taking out +cash. Then he stops, remembering that there's a stranger in +the room. + + FREDO + Oh, 'scuse me. + + MICHAEL + It's all right. He stays with me + all the time. + + FREDO + Oh. Mikey, what's up? I'm totally + in the dark. + + MICHAEL + We're making an investment in Havana. + + FREDO + Great, Havana's great. Lots of + activity in Havana! Anybody I know + here. Five-Angels? Anybody? + + MICHAEL + Johnny Ola... Hyman Roth. + + FREDO + I never met them. + + MICHAEL + Pentangeli's dead. He was ambushed + by the Rosato Brothers. + (pause) + Didn't you know that? + + FREDO + No. No, I didn't. Who tells me + anything? I been kept in the dark + so long, I'm getting used to it. + + MICHAEL + I want you to help me, Fredo. + + FREDO + That's what I'm here for. + + MICHAEL + Tonight I want to relax with you. + The Senator from Nevada is here + with some people from Washington. + I want to show them a good time in + Havana. + + FREDO + Count on me; that's my specialty. + + MICHAEL + I'd like to come along. There's + been a lot of strain, and I've been + cooped up in this room for three + days. + + FREDO + Me and you, great! Gimme an hour + to wash my face and do my research + and we'll have these Washington + suckers right where you want 'em. + (then a thought + strikes him) + Poor Frankie Five-Angels. He + always wanted to die in bed...with + a broad. + +INT. ROTH'S SUITE - MED. VIEW - DAY + +Michael stands at Roth's door carrying the briefcase that +Fredo had brought. + +A hotel DOCTOR takes Hyman Roth's blood pressure, while his +wife waits nervously. + + DOCTOR + (Spanish) + You must not exert yourself; I will + write out a prescription and come + back tomorrow. + + HOTEL MAN + He's going to write a prescription. + + ROTH + I want my own doctor; fly him in + from Miami. I don't trust a doctor + who can't speak English. + +The doctor is shown out. Roth gestures to the hotel man, +who also leaves. Then he looks to his wife. + + ROTH + Honey, go down to the casino? + + TERRI + If you feel better... + + ROTH + I do. Play the Bingo game. + +They kiss, and she leaves. Also Bussetta and Ola remain. + + ROTH + My sixth sense tells me you have a + bag full of money in your hand. + +Ola locks the door; Michael nods, and opens the bag, spilling +its contents on the card table. + + MICHAEL + This doubles my investment. + + ROTH + Still no word of your courier? + We'll find him. But at least this + will satisfy our friends here. + You've been invited to the New Year + reception at the Presidential Home. + I understand your brother is here + as well; I hope he'll come. + + MICHAEL + Six million dollars in cash is a + high price for a piece of a country + in the middle of a revolution. + +Roth looks patiently at Michael, as though he were a child +who hadn't minded the lesson that he had been taught over +and over again. + + ROTH + You're a careful kid, and that's + good. But look. An international + dispatch on the wire service. + American journalism, not propaganda. + The government troops have all but + eliminated the rebels. All but + their radio station. + + MICHAEL + I've read it; I'm pleased that the + government is doing so well. As a + heavy investor, I'm pleased. How + did the doctor find you? + + ROTH + Terrible. I'd give twice this + amount to take a piss without it + hurting. + + MICHAEL + Who had Frankie Pantangeli killed? + + ROTH + (taken a bit off-balance) + Why...the Rosato Brothers. + + MICHAEL + I know that; but who gave the go + ahead. + +Roth glances to Ola; he is not a fool; he realizes Michael +has begun to suspect him. + + MICHAEL + I know it wasn't me...so that + leaves you. + + ROTH + There was this kid that I grew up + with; he was a couple years younger + than me, and sort of looked up to + me, you know. We did our first + work together, worked our way out + of the street. Things were good + and we made the most of it. During + prohibition, we ran molasses up to + Canada and made a fortune; your + father too. I guess as much as + anyone, I loved him and trusted him. + Later on he had an idea to make a + city out of a desert stop-over for + G.I.'s on the way to the West Coast. + That kid's name was Moe Greene, and + the city he invented was Las Vegas. + This was a great man; a man with + vision and guts; and there isn't + even a plaque or a signpost or a + statue of him in that town. Someone + put a bullet through his eye; no + one knows who gave the order. When + I heard about it I wasn't angry. I + knew Moe; I knew he was headstrong, + and talking loud, and saying stupid + things. So when he turned up dead, + I let it go, and said to myself: + this is the business we've chosen. + I never asked, who gave the go + ahead because it had nothing to do + with business. + +He regards Michael silently a moment. + + ROTH + (continuing) + There's three million dollars on + that table. I'm going to lie down, + maybe take a nap. When I wake up, + if it's still there, I'll know I + have a partner. If it's gone, then + I'll know I don't. + +The old man turns, and moves in his slippers, toward his +bedroom. + +INT. THE CORRIDOR - DAY + +Michael closes the door, and moves down the hallway. He is +followed by Bussetta, who had waited in the corridor. + + MICHAEL + (Sicilian) + How sick do you think the old man is? + + BUSSETTA + (Sicilian) + He'll live longer than me. + +INT. TROPICOR NIGHT CLUB - VIEW ON THE SHOW - NIGHT + +A Havana extravaganza, with tall, beautiful showgirls done +up in flamboyant, 'South-of-the-Border' Carmen Miranda +costumes; the lead singer is a six foot blonde doing "Rum +and Coca Cola" in that style. Her name is YOLANDA. + +MED. VIEW + +At a large round table, located in an obvious VIP section of +the high, tropically draped room with living ferns and other +tropical planting with artificial stars. + +Michael rises, to be introduced by Fredo to some conservative +looking Senatorial types, including Senator Pat Geary of +Nevada. We notice Bussetta standing nearby. + + FREDO + Does everyone know everyone, or + nobody knows nobody. Here, my + brother, Michael Corleone... well, + you know Senator Geary. + +Geary warmly shakes Michael's hand. + + SENATOR GEARY + Good to see you, Mike; I'm glad we + can spend this time together. + + FREDO + This is Senator Payton from Florida; + Judge DeMalco from New York... + Senator Ream... Mr. Questadt from + California, he's a lawyer with the + Price-Control Administration. And + Fred Corngold of U T&T. + +They all make themselves comfortable. A waiter with a tray +of drinks appears. + + FREDO + Gentlemen... your pleasure? Cuba + Libres, Pina Coladas, you name it. + + SENATOR GEARY + I'll take a Yolanda. + +Laughter. + + FREDO + Later, later. All those girls look + like they're on stilts! + +The various tropical drinks are distributed. + + SENATOR GEARY + To a night in Havana! + +They all join in. + + FREDO + (aside to Michael) + Jeeze, it's great you came along, + Mike... You know, we've never spent + a night out on the town together. + I always thought you looked down on + me for liking a good time. + + MICHAEL + I never looked down on you, Fredo. + You don't look down at a brother. + +INT. THE CASINO - NIGHT + +By now the group has made its way into the casino. Some of +them are crowded around the crap table; Senator Geary is +with the enormous and beautiful Yolanda, who barely speaks +English. There are other girls with some of the men; not +with Michael, who gambles dollars while talking to Corngold. + + CORNGOLD + Our information is that Castro is + dead. There are maybe a few + hundred die-hards in the Sierra + Muestra; but government troops are + going to clean them out any day. + +Johnny Ola approaches Michael. + + OLA + Mike, can I talk to you. + +Michael follows Ola toward the Baccarat table; a watchful +Bussetta moves, a distance away, with them. + + OLA + Listen, this Senator from Florida + already has a hundred grand worth + of markers on the table. + +We can see Senator Ream at the table, making thousand dollar +bets on the Bank. + + OLA + They asked him to sign paper to + take down the markers; but he got + mad; told them to wait until he was + finished. + + MICHAEL + Let him gamble. + + OLA + Okay. You know he doesn't have + that kind of money. + + FREDO + Mike said let him gamble. + +Fredo puts his arm around his brother; he is high with the +first attention Mike has ever given him, as though finally +he is being taken seriously; as though his brother needs him. + + FREDO + Mike, I got something special up my + sleeve for these boys. You ever + hear of "Superman?" And I don't + mean the comic book. + + MICHAEL + No. + + FREDO + Wait'll you see! + +INT. HAVANA BAR - NIGHT + +Our group are in a large Havana bar; the walls totally +covered with hundreds of fifths of different types of rum +and other liquor. + +A couple of the girls from the show are out with the men; +Yolanda herself is giving them a private song and dance. + +Fredo is a little loaded, and especially attentive to +Michael this night. + + FREDO + Mikey, why would they ever hit poor + old Frankie Five-Angels? I loved + that ole sonuvabitch. I remember + when he was just a 'button,' when + we were kids. We used to put + bedsheets on our heads, you know, + like we were ghosts. An' ole + Frankie come peek into our room, + we'd jump up, and he'd always + pretend like he was really scared. + You remember? + + MICHAEL + It was hard to have him killed. + + FREDO + You? What do you mean you, I + thought... + + MICHAEL + It was hard to have him killed. + + FREDO + You? What do you mean you, I + thought... + + MICHAEL + It was Frankie tried to have me hit. + + FREDO + No. I mean, are you sure? + + MICHAEL + You know otherwise, Freddie? + + FREDO + Me? NO, no, I don't know anything. + Fellas! You're all falling asleep. + We got to see Superman. + +CLOSE ON MICHAEL + +A growing feeling about his brother. + +EXT. GARISH HAVANA STREET - NIGHT + +The street is lit with tons of neon signs; it is alive with +people; some roving bands of musicians. Everywhere are +little boys running around, begging for money. And in +doorways and windows are silent, dark-skinned women. + + SENATOR REAM + (pushing away from + the palm outstretched + little hands of the boys) + Goddamn beggers. Goddamn city of + beggars and pimps and whores. And + we bend over backwards to support + them with the goddamn sugar quota. + + FREDO + (to Geary) + What's eating him? + + SENATOR GEARY + He lost a quarter million dollars + at the casino. + + SENATOR REAM + ...goddamn city of whores... + + SENATOR GEARY + He gave them a bad check. + +INT. 'SUPERMAN SHOW' - MED. VIEW - NIGHT + +A large room with a succession of platforms arranged step- +like around a circular area which becomes a stage. + +There are a hundred or so people, practically all men, +tourists and business men, standing on the different levels, +forming the audience. + +In the center of the stage is a thick, telephone type pole, +to which is tied a young Cuban girl, in a flimsy white +sacrificial slip. A small band, mostly drummers, play some +Latin music. + +MED. VIEW + +Fredo's party standing on the ramp, looking down at the +spectacle. They're a little woozy from the drinks and late +hour. Michael is with them, but now we sense he is using +this time, with all exhausted and drunk, to come to some +important conclusions. + + QUESTADT + Why do we have to stand? + + FREDO + Everyone stands. But it's worth + it, watch! + +VIEW ON THE ARENA + +Now two high priestesses, scantily clad, bring in a tall and +muscular Cuban, done up in chains and loin cloth, as though +he were a captured slave. This is SUPERMAN + +VIEW ACROSS THE MEN TO THE STAGE + + FREDO + That's him; that's Superman! + +Some preliminary pornographic proceedings go on, as the +priestesses lead the slave to the virgin tied to the post. +The music is percussive and wild. + +MED. VIEW ON THE MEN + + SENATOR GEARY + Ohmygod. I don't believe it. + + QUESTADT + It's got to be fake. + + FREDO + That's why they call him Superman. + Johnny Ola told me about this; I + didn't believe it. + +CLOSE on Michael turning away. Not because of the spectacle +which he finds disgusting, but at what his brother is saying. + + FREDO (O.S.) + ... but seeing is believing. Ole + Johnny knows all the places. I + tol' you... can you believe it? + +If Michael would ever allow himself to cry, it would be now. + + FREDO + (continuing) + The old man Roth, would never come; + but Johnny knows these places like + the back of his hand... + + FADE OUT. + +FADE IN: + +INT. MICHAEL'S SUITE - MED. VIEW - MORNING + +Michael is alone in his bedroom; it seems as though he +hasn't slept very much, but sits by his window, looking out +at the city. He is troubled and tired. + +His radio is on: + + RADIO + (Spanish) + "This is Rebel Radio: Rebel troops + of Column Four 'Jose Marti' took + the town of Baire yesterday at 8:30 + p.m. The enemy has retreated..." + +EXT. CUBAN STREET - MORNING + +This street in Havana is like a Caribbean tourist city with +no indication of the revolution in progress. + +Michael walks along the street, alone, past the Cubans on +their way to work; past the American ladies who have gotten +up early for their shopping spree. + + RADIO + (Spanish) + (continuing) + ... An important military action is + developing along a 35-kilometer + stretch of the Central Highway. + Numerous enemy garrisons are left + with two alternatives, surrender or + annihilation... + +One full block away, Bussetta rides in the front seat of the +dark Mercury, driving slowly, giving Michael his privacy, +but never letting him out of Bussetta's sight. + +CLOSE ON MICHAEL + +watching. + +MICHAEL'S VIEW + +Shopkeepers happily luring the tourists into their shops in +broken English. Havana is prosperous. + + RADIO + (continuing) + ... Victories in war depend on a + minimum on weapons and to a maximum + on morale... + +VIEW ON MICHAEL + +glances back to the dark car following him. In a moment, it +pulls up to him, and he gets into the back seat. + +EXT. AMERICAN MILITARY MISSION - VIEW ON MICHAEL - DAY + +standing by his car, looking through the cyclone fencing +that borders this military training camp operated by the +American Army near the city. + + RADIO + ... War is not a simple question of + rifles, bullets, guns and planes... + +CLOSER VIEW INTO THE CAMP + +EXT. HAVANA STREET - DAY + +A street singer, followed by a guitarist sings Jose Marti's +words of "Guantanamera." It is solemn, as though it is a +song of protest, a song of the revolution. + +Nearby, in a restaurant, Michael has lunch with Fredo. + + MICHAEL + How is your wife, Fredo...your + marriage? + + FREDO + (eating) + You know her; drives me crazy, one + minute she's a popsicle, the next + she's all vinegar. Sometimes I + think... I think - I should a + married someone, like you did. To + have kids, to have a family. + +Michael turns, distracted for a moment at something the +singer has sung. + + MICHAEL + "Yo soy un hombre sincero..." + I am a sincere man, + From the land of the palms... + + FREDO + What's that? + + MICHAEL + The song. Are you sincere with me, + Fredo? + + FREDO + Sincere. What are you talking + about, of course I'm sincere with + you, Mike. + + MICHAEL + Then I'm going to confide in you; + trust you with something. + + FREDO + (Sicilian) + Mike, are you crazy, I'm your + brother. + + MICHAEL + Tonight we've been invited to a + reception at the Presidential + Palace; to bring in the New Year. + You and I will go in a special car + that's being sent. They'll have + cocktails... then dinner, and a + reception with the President. When + it's over, it will be suggested + that you take Questadt and his + friends from Washington to spend + the night with some women. I'll go + home alone in the car; and before I + reach the hotel, I'll be + assassinated. + + FREDO + ...Who? + + MICHAEL + The same man who tried in Nevada... + Hyman Roth, not Pentangeli. + + FREDO + But, you told me yourself... + + MICHAEL + It was never Pentangeli... I've + always known that. It was Roth all + along. He talks to me as a son; as + his successor, but the old man + thinks he'll live forever. + + FREDO + What do you want me to do? + + MICHAEL + To go tonight, with me, as though + we know nothing. I've already made + my move. + + FREDO + What is it? Can I help? + + MICHAEL + The old man will never bring in the + New Year. + +Fredo realizes what he means; looks immediately to Bussetta, +who had been sitting near the door and the musicians. He is +gone. + +INT. HOTEL CORRIDOR - MOVING VIEW ON BUSSETTA - NIGHT + +The first time ever away from Michael, moving toward us +quickly. He stops, knocks on the door of Roth's suite. +Then quickly for a man his size, he moves without noise to +the adjoining door, opens it with a key, and disappears +inside. + +A moment elapses on the empty corridor, and then a roused +Johnny Ola, opens the first door. He steps out into the +corridor, to see who had knocked. Confused, he is about to +return inside, when Bussetta easily breaks his neck in two +from behind. + +INT. THE SUITE - MED. VIEW - NIGHT + +as Bussetta quietly pulls the limp body of Johnny Ola, his +head bent at an impossible angle, and lays it at the foot of +the couch. + +EXT. PRESIDENTIAL PALACE - NIGHT + +Guards who are regular troops patrol the Palace in twos, +carrying machine weapons. + +Now an elite officer, checks the identification of the +various cars carrying dignitaries, as they are driven up to +the Palace. The one being inspected at the moment contains +Fredo and Michael. We can see the beautifully dressed +people on their way to the reception, and sense the cheerful +mood of this New Year's Eve. + +INT. THE SUITE - NIGHT + +Bussetta bends over Ola's body, tying the wrists and knees +with electrical extensions. He then easily carries the body +to the small balcony which all the rooms have. + +EXT. THE BALCONY - NIGHT + +Bussetta swings the body over the side of the balcony +railing; tying the extension cord to the railing, and +suspending the body so that it is invisible both from the +inside and out during the night. + +INT. PRESIDENTIAL PALACE - VIEW ON THE MAIN FOYER - NIGHT + +The PRESIDENT, his WIFE and six oldest CHILDREN great +formally the many beautifully and affluently dressed guests. +He speaks to them in Spanish, as one by one they file to him. + +Michael and Fredo are presented in a group with several +other Americans, including several of the American +businessmen with interests in Cuba. + +EXT. STREETS OF HAVANA - MED. VIEW - NIGHT + +The excitement of the night is beginning to build; people +are out in the streets; poor people, but they are +enthusiastic and lively. + +NEW VIEW + +Traffic stops, as an ambulance speeds its way to a hospital; +SIREN going. + +INT. THE SUITE - NIGHT + +Bussetta delicately picks up a small satin cushion that had +fallen from the couch, and replaces it as though nothing had +happened. Slowly he cracks the door open which adjoins +Roth's bedroom. There is a slight commotion; whispered +voices. + +BUSSETTA'S VIEW + +Terri, Mrs. Roth, is crying. A group of men lift Hyman +Roth's frail body onto a stretcher. + +CLOSE ON BUSSETTA + +realizes that this is the man he is to kill. + +CLOSER VIEW ON ROTH + +He is alive; breathing hard with his mouth dry and open. +The doctor examines him, and then gives instructions to the +orderly who carries him out, presumably to the ambulance. + +Bussetta closes the door on this VIEW. + +INT. PRESIDENTIAL PALACE - NIGHT + +An orchestra plays for the guests, as an army of waiters +serve champagne and hors d'oeuvres. Michael relaxes with +Senator Geary, Major Leon, and several of the Americans. + + QUESTADT + The embargo on arms shipments from + the U.S. to your government, was + just a necessary public relations + move... Only last month, your air + force received a major shipment of + rockets... + +Michael glances at his watch; Fredo concentrates on this. + + SENATOR GEARY + We believe in non-intervention... + but the agreement stipulates that + our forces may be withdrawn... but + as you've seen, we have not + withdrawn them. + + CORNGOLD + And my guess is that President + Eisenhower won't pull out while we + have over three billion invested + over here. + + MICHAEL + Fredo. Where are you going? + + FREDO + Nowhere, Mike. I wanted to get a + refill. How about you? + +EXT. HAVANA HOSPITAL - MED. VIEW - NIGHT + +The ambulance makes its way up to the emergency section of +the hospital. The orderlies quickly carry the old man +inside. His wife and the doctor, and several of his men, +follow in another car. + +THE VIEW ALTERS + +and we see Bussetta waiting in the shadows. + +EXT. HAVANA STREETS - NIGHT + +The growing crowds of Cubans begin their celebration. + +NEW VIEW + +A Cuban military detachment speeds along in the night, +motorcyclists clear a path through the celebrants. + +INT. PRESIDENTIAL PALACE - FULL VIEW - NIGHT + +A full sitdown dinner is being served the guests. Michael +sits at a table at dinner with several of the distinguished +Cubans, and some of the American businessmen. + + QUESTADT + What's kept Mr. Roth? + +Fredo looks up at Michael. + +In the back of the room, we notice the detachment of military +moving quickly through the reception room on their way to +the President's private quarters. Michael notices it as well. + +INT. THE HOSPITAL CORRIDOR - FULL VIEW - NIGHT + +The activity at the end of the hall has come to rest; we can +tell that the doctor tells Mrs. Roth that she should go, the +old man will be taken to a room where he can rest. +Gradually, these people leave him in the care of the hospital +staff. + +Bussetta watches from the distance of the hallway; after the +old man has been moved, he quietly walks down the hallway to +the room. + +HIS VIEW + +A nurse sits in the room in attendance; Hyman Roth is +asleep, his mouth wide open, breathing noisily. + +VIEW ON BUSSETTA + +hears footsteps, quickly steps away from the door, and into +another room. + +Some nurses and attendants speak to the nurse in the room in +Spanish; one has brought a small bottle of wine, and +obviously they are inviting the nurse to have a New Year's +toast with them. They laugh; and the nurse steps away from +the room for a moment. + +Bussetta moves slowly back into the room, alone with the +helpless Roth. + +INT. PRESIDENTIAL PALACE - FULL VIEW ON THE GUESTS - NIGHT + +seeing in the New Year; a great banner is hoisted up in +Spanish, welcoming 1959. + +Hands are shaken; kisses exchanged. + +MED. CLOSE VIEW + +Michael and Fredo in an embrace; they kiss one another. + + MICHAEL + I've arranged for a plane; we're + going to Miami in an hour. Try not + to make a big thing of it. + +He kisses his brother once again. + + MICHAEL + (Sicilian) + I know it was you, Fredo. You've + broken my heart. + +Slowly, understanding, Fredo backs away from his brother, +taking the kiss another way. + +A little distance away, Major Leon notices an old woman, one +of the President's maids, moving across the alcove, carrying +her suitcases. + + LEON + What a pity; she's crying. Must + have been fired, and she's been + with the President's family for + twenty years. + +EXT. HAVANA STREETS - NIGHT + +The gathered crowd joyously welcomes the New Year. We +notice the continual military movement. + +MED. VIEW + +A family surreptitiously leaves their home, carrying +suitcases and belongings. + +INT. ROTH'S HOSPITAL ROOM - NIGHT + +Bussetta raises a hospital pillow, and easily begins to +smother the thin old man, who can barely struggle. + +OUT IN THE HALL + +A detachment of military move quickly, accompanied by some +of Roth's men, as though they have important news that must +be dealt with. + +They pass the small group of aides and nurses welcoming the +New Year. + +Seeing them, the nurse assigned to him, puts down her glass +and moves quickly to the room. + +She opens the door, and lays bare the sight of Bussetta +smothering Roth. Bussetta turns quickly; and one of the +military takes out his pistol and shoots several times at +his head. + +INT. PRESIDENTIAL PALACE - NIGHT + +The entire reception has been disrupted for an announcement; +all the guests in their formal dress and evening gowns, +standing with frightened faces like first class passengers +on a doomed ship. The President himself, his back to our +VIEW, is making an announcement in Spanish. While he +speaks, we notice continuous movement of his personal staff, +carrying suitcases and possessions. + + PRESIDENT + ...Because of serious setbacks of + our troops in Guantanamo and + Santiago, we feel reluctantly, that + we must leave the Capital at once. + Myself and my family must bid you + goodbye, and good fortune. We will + go directly to Ciudad Trujillo. + +The crowd is stunned; already whispers are moving throughout +the guests. + +The only one who is not completely taken off guard is +Michael, who quietly steps back, and disappears from the room. + + PRESIDENT + ...My only regret is that there + could not have been more warning... + As my last official act as + President, I hereby appoint a + provisional government with Dr. + Carlos M. Piedra, as its President. + +By now, there is only one thought among the guests: how can +they get out, and with what. + +EXT. PRESIDENTIAL PALACE - NIGHT + +We see evidence of the confusion at this late hour; already +cars are beginning to move; people leaving the Palace in +haste. Michael moves quickly toward his car. He sees +Fredo, watching him in fear. + + MICHAEL + Come with me. It's your only way + of getting out! + +VIEW ON FREDO + +Terrified of his brother, and what he knows; Fredo backs +away into the growing noise and confusion of the crowd. + +VIEW ON MICHAEL + +Finally, he has to step into the car and it roars off. + +EXT. HAVANA STREETS - NIGHT + +Rebel cars with loudspeakers have already picked up the news +that Batista has conceded...this throws the crowds already +gathered for the New Year into cheers of joy. + +They harass a wealthy family who are trying to get away in +their car. + +The people pull them out of the car, opening their suitcases, +out of which spill piles of cash and jewelry into street. + +Michael's car makes its way as the crowd cheers: "El animale +se fue!" + +EXT. THE UNITED STATES EMBASSY - MED. VIEW - NIGHT + +Crowds of panicked and frightened tourists, and Batistianos +are trying to get to the safety of the Embassy with the +families and possessions. + +We see Geary, and some of the Americans we had met, working +their way through the crowds, shouting that they are +Americans in order to get preference on the line. Often +that declaration brings 'boos' from the crowds. + +Sometimes the joyous Cubans will let a family through, but +again, taking away the suitcases, rich leather, filled with +money and valuables. Money seems to be stuffed everywhere. + +EXT. THE YACHT CLUB - NIGHT + +All forms of private transportation are jammed with people +trying to get out, holding cash in their hands for anyone +with a yacht or small boat to get them to Florida. + +A car pulls up; and we see Sam Roth, Terri Roth and some of +their men, carry the sickly, but still alive Hyman Roth to a +private cruiser which is protected by men with machine guns. + +Within seconds, they are on their way to Miami. + +EXT. THE PRIVATE AIRPORT - NIGHT + +Things are no different at the airport; where anything that +can fly is being jammed with refugees and their money. + +A wealthy family is arguing with the pilot of a fast +airplane; trying to force cash on him, and his family into +the plane. The PILOT steadfastly refuses, although checking +his watch, as though his passengers are late. He speaks +only English. + + PILOT + No, this is a private plane. No, + this plane is taken. + +Finally Michael's Mercury pulls up, and Michael approaches +the Pilot. + + MICHAEL + He isn't here. + + PILOT + We've got to leave, they'll take + this thing apart. + + MICHAEL + All right. Go now. + +The Pilot lets Michael in, as the Cuban screams curses at +them, and begins searching for another plane for his family. + +INT. THE PLANE - VIEW ON THE PILOT - NIGHT + +as the propeller turns over. + +EXT. THE AIRPORT - FULL VIEW - NIGHT + +Groups of the cheering, celebrating Cubans sing +"Guantanamera," now as a song of triumph. + +INT. THE PLANE - MOVING VIEW - MICHAEL - NIGHT + +Closer to him, his personal and business life caught in the +middle of history. + +EXT. NEW YORK STREET - MED. VIEW - DAY (1920) + +He stops to pick out some choice oranges and peaches from a +fruit stand. Then he reaches into his pocket for change. + + VENDOR + No, no. It is my pleasure to make + this a gift. + +CLOSE VIEW ON VITO + + VITO + You are kind. If ever I can do + something for you, in return, + please come to me. + +INT. VITO'S TENEMENT - DAY + +Despite his new position of 'respect,' there is little +changed about his home. Only that they have lived there a +while now, and the rooms are fuller with the inevitable +possessions a young family acquires. + +He kisses his wife, who seems a big apprehensive. He shows +her the fruit; and from her reaction knows she has something +on her mind. + + VITO + (Sicilian) + What is it? + + CARMELLA + (Sicilian) + Come... + +They step into the tiny parlor, where we see an older woman, +waiting nervously. + + CARMELLA + The Signora is a friend of mine. + She has a favor to ask of you. + + VITO + (Sicilian) + Why do you come to me? + + SIGNORA COLOMBO + (Sicilian) + She told me to ask you. + +He seems surprised; looks to his wife. + + CARMELLA + She is having some trouble. Her + landlord has received complaints + because of her dog. He told her to + get rid of it, but her boy loved + it, so they tried to hide it. When + the landlord found out, he was so + angry, he ordered her to leave. + Even if she truly will let the dog + go. + + SIGNORA COLOMBO + (Sicilian) + He said he would have the police + put us out. + + VITO + (thoughtfully) + I can give you some money to help + you move, is that what you want? + + SIGNORA COLOMBO + My friends are all here; how can I + move to another neighborhood with + strangers? I want you to speak to + the landlord to let me stay. + +Vito nods to the frightened old woman. + + VITO + It's done then. You won't have to + move; I'll speak to him tomorrow + morning. + +Carmella breaks into a smile; which her husband des not +acknowledge. + +The old woman starts to leave the room; but she is not +convinced. + + SIGNORA COLOMBO + You're sure he'll say yes, the + landlord? + + VITO + I'm sure he's a good-hearted fellow. + Once I explain how things are with + you, I'm sure he'll take pity on + your misfortunes. Don't let it + trouble you any more. + (as he shows her out) + Guard your health, for the sake of + your children. + +EXT. TENEMENT BLOCK - DAY + +SIGNOR ROBERTO, a pompous, rather well-dressed Patrone +angrily walks down the steps of one of his tenement buildings. + +He carries a check list, and makes marks with a pencil +concerning the condition of his various buildings; a broken +window here, some missing tile there. He bends over to pick +up some garbage left by a thoughtless tenant, muttering to +himself, when he sees the shoes and legs of a young worker. + + VITO (O.S.) + Signore Roberto... + +He rises to be face to face with a polite Vito Corleone. + + VITO + The friend of my wife, a poor widow + with no man to protect her, tells + me that for some reason she has + been ordered to move from your + building. She is in despair. She + has no money, she has no friends + except those that live here. + +Signor Roberto brusquely answers, and continues on his way. + + ROBERTO + I have already rented the apartment + to another family. + +MOVING SHOT ON THE TWO + + VITO + I told her I would speak to you, + that you are a reasonable man who + acted out of some misunderstanding. + She has gotten rid of the animal + that caused all the trouble, so why + shouldn't she stay. As one Italian + to another, I ask you the favor. + + ROBERTO + I've already rented it; I cannot + disappoint the new tenants. They're + paying a higher rent. + + VITO + How much more a month? + + ROBERTO + Eh... + (we sense he is lying) + Five dollars more. + +Vito reaches into his pocket, and takes out a roll of bills. + + VITO + Here is the six month's increase in + advance. You needn't speak to her + about it, she's a proud woman. See + me again in another six months. + But of course, you'll let her keep + her dog. + + ROBERTO + Like hell! And who the hell are + you to give me orders. Watch your + manners or you'll be on your + Sicilian ass in the street there. + +Vito raises his hands in surprise; his voice is reasonable. + + VITO + I'm asking you a favor, only that. + One never knows when one might need + a friend, isn't that true? Here, + take this money as a sign of my + good-will, and make your own + decision. I won't quarrel with it. + (he puts the money in + Roberto's hand) + Do me this little favor, just take + it and think carefully. Tomorrow + morning if you want to give me the + money back, by all means do so. If + you want the woman out of your + house, how can I stop you? It's + your property, after all. If you + don't want the dog in there, I can + understand. I dislike dogs myself. + (he pats Roberto on + the shoulder) + Do me this service, eh? I won't + forget it. Ask your friends in + this neighborhood about me, they'll + tell you I'm a man who believes in + showing his gratitude. + +Without a word more, Vito leaves a hypnotized Roberto +standing in front of the tenement, his hand clasping the +money. + +EXT. NEIGHBORHOOD STREET - DAY + +A thin young man, almost gawky, walks down the street in +this Italian neighborhood, his name is HYMAN SUCHOWSKY. + +He carries his tools as he comes home from work. He is +pursued and tormented by a couple of Italian youths, about +his own age, eighteen. + + ITALIAN BOY + Kid, where do you live? + + ANOTHER + Where'd you get those nigger lips? + +He tries not to be intimidated; finally one of the boys, +steps in front of him and stops him. + + ITALIAN BOY + Say 'bread' in Italian. + + ANOTHER + He dunno. + + ITALIAN BOY + Go on; how do you say 'bread' in + Italian? If you're from the + neighborhood, you should know how + to say 'bread' in Italian. + +An amused Peter Clemenza steps forward from a local coffee +house, to preside over the fuss. He's a 'big' man in the +neighborhood, and loves a fight. + + CLEMENZA + What's up? + + ITALIAN BOY + This kid lives around here, but he + can't say bread in Italian. + + CLEMENZA + That's 'cause he's Jew. Look at + those pregnant lips! + +He giggles at his own joke. + + ITALIAN BOY + Are you a Jewboy? + +The boy doesn't answer, tries to keep going. + + ITALIAN BOY + Well, if you're not a Jew, say + 'bread' in Italian. See, he can't. + +And with that, he rounds a blow squarely to the boy's face, +sending him sprawling to the cement, his tools flying with a +clatter. + +The other Italian immediately joins in with a few kicks to +the boy's stomach. Hyman tries to fight back; grabs a hold +of his tormentor's foot, and brings him down on the cement +as well. For a moment, they are rolling around on the +sidewalk, two against one, Hyman taking the worst of it. + + CLEMENZA + Alright, alright, cut it out. + + SECOND ITALIAN + What for? He killed Jesus Christ! + +Clemenza pulls him off, and kicks him in the ass. + + CLEMENZA + I said cut it out! + (to the beaten kid) + What's your name? + + HYMAN + Hyman Suchowsky. + + ITALIAN BOY + I don't believe it. In our + neighborhood, with a name like that! + + CLEMENZA + What are those tools? You work on + cars? + + HYMAN + Yeah. + + CLEMENZA + Maybe I know how you can make a + couple of extra bucks working as a + mechanic. + +The boy seems agreeable. + + CLEMENZA + But you gotta know how to keep your + mouth shut, and fer Chrissakes, get + rid of that name. I'll call you + Johnny Lips. + (he giggles at his + own humor again) + Come on... + +He leads the boy down the street, whispering to him, on the +side: + + CLEMENZA + Bread in Italian is pane. P-A-N-E, + pane. Don't forget. + +INT. NEW GENCO WAREHOUSE - DAY + +A newly acquired warehouse, stocked with cases of the new +product "GENCO PURA" olive oil. It is the beginning of a +new business, in the American tradition. Now they have one +rattling old truck, and a few stock boys. + +Genco has become the accountant-business manager, based on +the experience working with his father. But it is clear, +that Vito is the leader, and undisputed 'President' of the +new enterprise. + +Genco moves through the darkness of the warehouse, to the +small divided area that Vito uses as his office. + + GENCO + (Sicilian) + The 'patrone' is here. + + VITO + Chi? + + GENCO + Roberto. Who owns the 'rat-holes.' + +Vito nods that he will see him; and soon Roberto enters, on +tiptoe, his hat in his hand, and in a apologetic voice. + + ROBERTO + Excuse me, I hope I am not a + disturbance, Don Corleone. + + VITO + Yes. + + ROBERTO + What a terrible misunderstanding. + Of course, Signora Colombo can stay + in the flat. Who were those + miserable tenants to complain about + noise from a poor animal...when + they pay such low rent. + +Then abruptly, he puts the roll of money on Vito's table, +and steps back a respectful distance. + + ROBERTO + Your good heart in helping the poor + widow has shamed me, and I want to + show that I, too, have some + Christian charity. Her rent will + remain what it was. + + VITO + What was that? + + ROBERTO + In fact, reduced, bu five dollars! + +Vito embraces him warmly. + + VITO + I accept your generosity... + + ROBERTO + I won't keep you another minute... + +He quickly takes his leave, bowing several times, and then +makes it back to the safety of the warehouse; he sighs, +deflates his lungs, and mops his brow; his bones have turned +too jelly with fear at his narrow escape. He all but runs +out of the warehouse. + +Genco laughs as he watches. + + GENCO + We won't see him for weeks! He'll + stay in bed in the Bronx! + +Clemenza has been waiting with his new mechanic. We notice +the subtle difference in the way he treats Vito. He is no +longer a junior apprentice in their petty crimes; but an +imposing leader. + + CLEMENZA + This kid is good with cars; he + kiijed at the truck, and says he + can keep it going. + +Vito looks over the lanky young man. + + CLEMENZA + What's your name? + + HYMAN + Suchowsky. Hyman Suchowsky. + + CLEMENZA + He's gonna dump that; I call him + Johnny Lips. + + VITO + Who is the greatest man you can + think of? + + CLEMENZA + Go on, answer him when he talks to + you. Tell him: Columbus, Marconi... + Garibaldi. + + HYMAN + Arnold Rothstein. + + VITO + Then take that as your name: Hyman + Rothstein. + +Genco is out in the alley; he calls out with glee. + + GENCO + Vitone! Look at this! + +Vito moves out to the smiling Genco; Clemenza and the newly +christened Hyman Rothstein follow a distance behind. + +EXT. THE ALLEY - DAY + +Genco stands beaming, as two workers raise up high, the +freshly painted sign: "GENCO OLIVE OIL COMPANY." + + GENCO + (enthusiastically) + God bless America! We're in + business! + +The young men watch as the sign is hoisted into place. OUR +VIEW goes from one to the other: Clemenza, Genco, Vito and +Hyman Rothstein. + + DISSOLVE TO: + +INT. SENATE CAUCUS ROOM - MED. CLOSE VIEW - DAY + +Willy Cicci, Pentangeli's associate and bodyguard takes a +drink of water. + + SENATOR (O.S.) + Mr. Cicci. From the year 1927 to + the present time, you were an + employee of the "Genco Olive Oil + Company." + + CICCI + That's right. + + SENATOR (O.S.) + But in actuality, you were a member + of the Corleone Crime organization. + + CICCI + The Corleone Family, Senator. We + called it, "The Family." + + SENATOR (O.S.) + What position did you occupy? + + CICCI + At first, like everybody, I was a + soldier. + +VIEW ON SENATOR KANE + +A thin, angular Baptist with a Mid-Western accent. + + SENATOR KANE + What is that exactly? + + CICCI + A button. You know, Senator. + + SENATOR KANE + No, I don't know, explain that + exactly. + + CICCI + When the boss says push the button + on a guy, I push the button, see, + Senator? + +The Senators treat Cicci with a surface courtesy, as if he +were a curious kind of animal, not really human. Cicci +reacts to this by being even more brutally forthright than +he has to be, to show his contempt for what he considers a +hypocrisy. + +The VIEW ALTERS from Senator Kane to the Committee's +attorney, Mr. Questadt. + + QUESTADT + You mean you killed people at the + behest of your superiors? + + CICCI + That's right, counsellor. + + QUESTADT + And the head of your family was + Michael Corleone. + + CICCI + Yeah, counsellor, Michael Corleone. + + SENATOR KANE + Did you ever get such an order + directly from Michael Corleone? + + CICCI + No, Senator, I never talked to him. + + SENATOR SAVOY + (very autocratic, + deep South, + gentlemanly man) + There was always a buffer, someone + in between you who gave you orders. + + CICCI + Yeah, a buffer, the Family had a + lot of buffers. + +EXT. THE TROPICANA IN VEGAS - MED. VIEW - DAY + +A limousine pulls up at a private area near the side of the +hotel. Michael exits the limousine followed by Hagen and +Neri. + + MICHAEL + Do you think they have somebody to + back up Cicci? + + HAGEN + No. But if they do have somebody, + you'll do three years for perjury + if you give them so much as a wrong + middle name. + +Michael smiles to him, but it's a cold, deadly smile. + + HAGEN + Michael, take the Fifth all the + way, that way you can't get into + trouble. + +EXT. PRIVATE BALCONY OF CORLEONE APARTMENT AT TROPICANA - DAY + +A Corleone bodyguard waits outside on the balcony overlooking +the pool area. Through the translucent draperies, we see a +grouping of me. + +INT. CORLEONE APARTMENT AT THE TROPICANA - DAY + +Michael, Hagen, Neri and Rocco are seated in this luxury in +the hotel. Michael sits in a comfortable chair in his +apartment. Neri comes and brings him a drink without +asking, but Michael refuses it. + + MICHAEL + Al, get me a wet towel. Does Kay + know I'm back? + +Hagen nods. + + MICHAEL + Did the boy get something from me + for Christmas? + + HAGEN + I took care of it. + + MICHAEL + What was it, so I'll know. + + HAGEN + A little care he can ride in with + an electric motor. + +Neri comes around with a wet face towel, which Michael uses +to cool his eyes. He puts the used towel down on the table. + + MICHAEL + Fellas, can you wait outside a + minute? + +They know what he means and leave the apartment, going out +to the balcony where we can see them but they cannot hear. +Only Hagen remains. + + MICHAEL + Where's my brother? + + HAGEN + Roth got out on a private boat. + He's in a hospital in Miami. Had a + stroke but he's recovered okay. + Bussetta's dead. + + MICHAEL + I asked about Fredo? + + HAGEN + The new government arrested him, + held him for a couple of days with + a lot of the other casino people, + including Roth's brother, Sam. The + American Embassy arranged flights + for citizens; I'm not sure, but I + think he's somewhere in New York. + + MICHAEL + I want you to reach Fredo. I know + he's scared, but have one of our + people reach him. Assure him that + there will be no reprisals. Tell + him that I know Roth misled him. + + HAGEN + My information is that Fredo + thought it was a kidnapping. Roth + assured him nothing would happen to + you. + + MICHAEL + (indicating Rocco and + Neri on the balcony) + They can come in now. + + HAGEN + Wait... there's something else. + + MICHAEL + Alright. + +Hagen pauses; doesn't know how to begin. + + MICHAEL + (impatiently) + Go on, tell me. + + HAGEN + Kay had a miscarriage; she lost the + baby. + +After a moment: + + MICHAEL + Was it a boy or a girl? + + HAGEN + Mike, at three and a half... + + MICHAEL + What is it, can't you give me + straight answers anymore! + + HAGEN + It was a boy. + + MICHAEL + And Kay...she's all right? + + HAGEN + She took the Senate Investigation + worse. + + MICHAEL + Does she blame it on me? The baby? + + HAGEN + I don't know. + +EXT. TAHOE ESTATE - DAY + +The first snow of the New Year has fallen; the trees are +bare, and there is hush all over this part of the Sierras. +Michael is driven in his car, looking out at the familiar +sight of the home he has been forced to be away from. + +VIEW ON MICHAEL + +looking out from his window. The last time he had seen the +estate it was warm, and the trees were full. + +MOVING VIEW + +approaching the great stone gates; closed. The bodyguards +are not readily visible, but they are there. The iron gates +are opened, and one of the men makes a simple nod of respect, +as the car pulls in. + +NEW VIEW + +Inside the estate, the private roads have been freshly +plowed, and occasionally a worker will pause to watch the +car as it passes. + +The Grandchildren are in school now, and so the estate is +especially quiet. Although there are signs that children +live here; a bicycle, a sled, a swing and gymnastic set, wet +and with a rim of snow still on it. + +INT. MICHAEL'S HOUSE - VIEW FROM INSIDE THE HOUSE - DAY + +to the outside, where Michael walks slowly. He stops and +looks at a little Italian red sportscar made for children. + +NEW VIEW + +The front door opens, and Michael enters his own home. It +is very quiet, no one is at home to greet him. He can see +the evidence of his family; things his wife and his children +have been using, and left on a sofa or a table. + +He moves toward his and Kay's bedroom, where we can HEAR the +SOUND of a sewing machine running. + +Quietly he opens the door. + +MICHAEL'S VIEW + +into the bedroom. Kay is sitting by the window, lit by the +cold afternoon light, at work with her sewing machine. She +hasn't noticed that he's in the room yet, and goes on with +her work. + +VIEW ON MICHAEL + +stands there a moment, watching, not making a sound. And +then without a word, he steps back, and closes the door, so +that she doesn't see him. + +VIEW FROM INSIDE THE HOUSE + +onto Michael, moving outside, walking through the snow, he +moves to the house next to his own. + +INT. CONNIE'S HOUSE - DAY + +This is the house where Mama lives with Connie's children, +Connie so rarely is there. + +He steps in; his mother is asleep in a chair in the living +room. He moves to her, and bends low, whispers. + + MICHAEL + Mom... Mom... + +She opens her eyes, which are red and small with age. + + MICHAEL + (Sicilian) + It's Michael. How are you, Mom? + + MAMA + (Sicilian) + I'm alright. Will you stay home + for awhile? + + MICHAEL + (Sicilian) + There are still things I have to do. + + MAMA + (Sicilian) + Well, we can all have a nice dinner + together tonight. How are your eyes? + + MICHAEL + Alright. They bother me once in + awhile. + (a pause as he thinks) + Tell me, when Pop had troubles... + did he ever think, even to himself, + that he had gone the wrong way; + that maybe by trying to be strong + and trying to protect his family, + that he could... that he could... + lose it instead? + + MAMA + (Sicilian) + You talk about the baby. She can + have another baby. + + MICHAEL + (Sicilian) + No, I meant lose his family. + + MAMA + (as best she ever + understood it) + Your family? How can you ever lose + your family? + + MICHAEL + (almost to himself) + But times are different... + +FULL VIEW IN ROOM - MICHAEL AND HIS MOTHER + +Quietly we HEAR the music of a small band playing an Italian +march. From the orchestration, we know it is from the past. + + DISSOLVE TO: + +EXT. TRAIN STATION AT CORLEONE - DAY + +Vitone and his young family: Mama, Santino, Fredo and the +baby Michael are met at the small station in Sicily by +friends, and Mama's relatives. There is a small band, +playing for the occasion. A small man has brought a motor +car to pick the family up; and there are certain dark men, +with shotguns slung over their shoulders to preside over the +occasion. + +The family is helped into the car; the luggage is packed on +the roof, and the car drives off. The second car, with +bodyguards following. + +EXT. DON TOMASINO'S VILLA OUTSIDE OF CORLEONE - DAY + +The villa is bloomed with flowers and DON TOMASINO at this +point is a man in his late twenties. He embraces Vitone and +pats the heads of his children, and leads them all into the +garden. + +INT. THE VILLA - SUMPTUOUS MED. VIEW - LATE DAY + +A sumptuous table is set for the visiting family from +America. There is a warm atmosphere as Vito, his wife and +children eat. Tomasino and his family received presents +from Carmella and to Tomasino's mother, and gifts are given +to all of the children. + +All typically American representing some of the prosperity +and interests in the consumer goods that followed a great war. + +EXT. CORLEONE PLAZA - DAY + +The family exits the church on the plaza of the town. Vito +shakes hands warmly with the priest. + +INT. VILLAGE COTTAGE - NIGHT + +The door is open -- the footsteps of a man enter the room. +We follow these footsteps without quite knowing to whom they +belong. They lead us to a bed, where we see asleep an OLD +MAN. He sleeps in his undershirt and is sweating, covered +by mosquito netting. + +VIEW ALTERS + +and we realize that it is young Vito looking at the MAN. + +We remember that the man is MOSCA, one of three men, who +almost twenty years before had hunted down Vito when he was +a boy. With lightning speed, Vito slashes through the +mosquito netting with a knife. And with the movement +precise as a butcher's he disembowls this man. + +EXT. OLIVE OIL WAREHOUSE - FULL VIEW + +Vito has brought his wife and children to see the Olive Oil +Depot which is the link to his New York importing business. +They go inside. + +INT. OLIVE OIL WAREHOUSE - DAY + +They are led by one of Vito's associates through rows and +rows of large vats of olive oil. Vito very proudly shows +his associates in Italy the olive oil can that will be used +in the United States. They all stand around at the link to +their new importing business and share a toast of wine. + +EXT. THE BAY - DAY + +A team of Sicilian fisherman are at work mending their nets. +One sings accompanied by a guitar. + +VIEW MOVES TO ONE OF THE OLD FISHERMAN + +He is recognized as the second of the men who had hunted +Vito down. STROLLO. As he walks we notice there is a +figure that is moving through the drying sails and barrels, +it is Vito. He moves quietly, stepping up behind the old +man. In an instant, he has thrown a garrote around his +throat, twisting it tight, so that there is very little +sound. + +Then, almost silently dragging him through the space hidden +by the drying sails. + +EXT. THE IMPRESSIVE ESTATE OF DON FRANCESCO - DAY + +We see an old car approach. Its driver is the young Tomasino. +Sitting in the car with him is Vito. + +The car stops at the gates, and an old guard sees and +recognizes Tomasino, opens the gates allowing them to enter. + +MED. VIEW + +on an almost decrepit DON FRANCESCO. He must be in his +early nineties, sitting as powerful and as impressive as +ever, in his throne-like chair from which he manages the +power as the Mafia Chieftan of this village. Young Don +Tomasino is speaking. + +We notice in a little distance in the rear, there are some +younger shepherds with shotguns thrown over their shoulders. + + TOMASINO + (Sicilian) + Don Francesco, if you will honor + me, by allowing me to introduce my + associate in America, in New York. + His name is Vito Corleone. + +The old man and his eyes glance up at a notion of a man who +has taken the name of this town as his name. + + TOMASINO + We will supply him with olive oil + exclusively in the town of Corleone. + His company is called the "Genco + Olive Oil Company." Here we have + brought you an indication of how he + will sell the product. + +Tomasino respectfully puts a can of olive oil where the old +man can look at it. The old man nods, accepting the notion +of this business. + + TOMASINO + (Sicilian) + We have come to ask your blessing + and permission to continue this + enterprise. + + DON FRANCESCO + (Sicilian) + (in a shrill, high, + raspy voice) + Where is this young man? + + TOMASINO + He is right here, standing next to + me, Don Francesco. + + DON FRANCESCO + (Sicilian) + Have him come closer, I can't see + very well. + +Vito takes those several steps, so that he is standing right +in front of the old man. + +VIEW ON DON FRANCESCO + +looking up, squinting against the sun. + +DON FRANCESCO'S VIEW + +Strangely backlit, almost blurry image of the young man from +America. + + DON FRANCESCO + (Sicilian) + What is your name? + + VITO + (Sicilian) + Vito Corleone. + + DON FRANCESCO + (Sicilian) + You took the name of this town, eh? + What was your father's name? + + VITO + (Sicilian) + Antonio Andolini. + +CLOSE VIEW ON THE OLD MAN + +The recognition of the name throws a shudder through him. +It is as though he recognizes that this is the boy; the son +of his old enemy, whom he had killed, and whose sons he had +tried to wipe out. The old man raises his feeble hands +signalling his guard, and in his weak voice, he shouts: + + DON FRANCESCO + (Sicilian) + Kill him! Kill him! + +But he is too late; Vito steps forward. + + VITO + (Sicilian) + In the name of my Father, and my + Brother... + +And uses the knife, ritualistically plunging it into the old +man's belly, and then up to his throat, which is severed. + +VIEW ON TOMASINO + +has drawn his pistol and quickly shoots one of the guards, +helping Vito to escape back into the motor car. + +VIEW ON A GUARD + +raising his shotgun. + +VIEW ON THE MOTOR CAR + +Just as Tomasino is about to get into the car, the shotgun +is fired, and he is hit in the legs. + +Vito manages to pull him up into the car, and they make +their escape. + +EXT. RAILROAD STATION IN CORLEONE - DAY + +Some of the townspeople have come bringing flowers and gifts +for Vito and his family. + +His wife is radiant with the flowers given her. + +The train has arrived and the crowd shout "Ciao, come back +soon." + +THE VIEW ALTERS + +revealing his good friend Tomasino, waving from his +wheelchair. + +VIEW ON VITO + +and his wife. She holds up the baby Michael, and helps him +wave his hand. + +INT. SENATE CAUCUS ROOM - MED. CLOSE VIEW ON MICHAEL - DAY + + SENATOR KANE (O.S.) + Are you the son of Vito Corleone? + + MICHAEL + Yes. + + SENATOR KING + Did he use at times an alias? Was + this alias in certain circles + GODFATHER? + + MICHAEL + It was not an alias. GODFATHER was + a term of affection, used by his + friends, one of respect. + + SENATOR WEEKLER + (Senator from New + York, very smooth, + partly liberal, + Tammany Hall) + Let me agree with that. Many of my + constituents are Italian and have + been honored with that certain + friendship by my close Italian + friends. Up to this point before I + have to leave this hearing to join + my own committee, let me say, that + this hearing on the Mafia is in no + way a slur on the Italians by the + Senate; nor is it meant to be; nor + will I allow it to be. Italian + Americans are the hardest working, + most law abiding patriotic Americans + of our country. It is a shame and + a pity that a few rotten apples + give them a bad name. We are here + to weed those rotten apples out of + the vast healthy barrel of Italian + Americans, who are one of the + backbones of our country. + +There is a pause for a while, while the New York Senator +poses for the TV cameras and leaves the hearing so that he +will not be associated with hearing the rough stuff. + + SENATOR KANE + I'm sure we all agree with our + esteemed colleague. Now, Mr. + Corleone, you have been advised as + to your legal rights. We have had + testimony from a preceding witness + who states you are head of the most + powerful Mafia family in this + country. Are you? + + MICHAEL + No. + + SENATOR KANE + This witness has testified that you + are personally responsible for the + murder of a New York Police Captain + in the year 1947 and with him a man + named Virgil Sollozzo. Do you deny + this? + + MICHAEL + I deny his every charge. + + SENATOR KANE + Is it true that in the year 1950 + you devised the murder of the heads + of the Five Families in New York, + to assume and consolidate your + nefarious power? + + MICHAEL + That is a complete falsehood. + + SENATOR KANE + Is it true that you own a + controlling interest in three of + the major hotels in Las Vegas? + + MICHAEL + That is not true. I own some stock + in some of the hotels, but only + very small amounts. I also own + some American Telephone and IBM + stock. + +Michael had checked this point with Hagen, before answering, +and then once again after the answer. + + SENATOR ROGERS + Why is it necessary for your + counsel to advise you on that + question? + + MICHAEL + Senator, I've observed the head of + General Motors before a Senate + Committee, and his lawyer whispered + in his ear. That was not commented + upon in the way you have just done. + + SENATOR KANE + Mr. Corleone, do you have any hotel + interests in the state of Arizona? + Or any gambling interests in that + state? + + MICHAEL + I do not. + + SENATOR KANE + Do you have interests or control + over gambling and narcotics in the + state of New York. + + MICHAEL + I do not. + +A pause. Silence, as the Chairman whispers something to his +assistant. + +Tom Hagen takes a paper out of his briefcase, and addresses +the Chair. + + HAGEN + Senator, my client would like to + read a statement for the record. + + SENATOR KANE + I don't think that's necessary. + + HAGEN + Sir, my client has answered every + question asked by this committee + with the utmost cooperation and + sincerity. He has not taken that + Fifth Amendment as it was his right + to do, and which because of the + extreme legal complexity of this + hearing, counsel advised him to do. + So, I think in all fairness this + committee should hear his statement + and put it in the record. + + SENATOR KANE + Very well. + +At this point Senator Rogers contemptuously walks out of the +hearing room. + + MICHAEL + (reading) + In the hopes of clearing my family + name, in the sincere desire to give + my children their fair share of the + American way of life without a + blemish on their name and background + I have appeared before this + committee and given it all the + cooperation in my power. I consider + my being called before this + committee an act of prejudice to + all Americans of Italian extraction. + I consider it a great dishonor to + me personally to have to deny that + I am a criminal. I wish to have + the following noted for the record. + That I served my country faithfully + and honorably in World War II and + was awarded the Distinguished + Service Cross for actions in + defense of my country. That I have + never been arrested or indicted for + any crime whatsoever... that no + proof linking me to any criminal + conspiracy, whether it is called + Mafia or Cosa Nostra or whatever + other name you wish to give, has + ever been made public. Only one + man has made charges against me, + and that man is known to be a + murderer, arsonist and rapist. And + yet this committee had used this + person to besmirch my name. My + personal protest can only be made + to the people of this country. I + can only thank God that in this + country we have a legal system and + courts of law to protect innocent + people from wild accusation. I + thank God for our democratic due + process of Law that shields me from + the false charges made by this + committee's witness. I have not + taken refuge behind the Fifth + Amendment, though counsel advised + me to do so. I challenge this + committee to produce any witness or + evidence against me, and if they do + not, I hope they will have the + decency to clear my name with the + same publicity with which they have + now besmirched it. I ask this + without malice, in the interests of + fair play. + +The television cameras have documented this moment, as Hagen +hands the document over to the committee lawyer. + + SENATOR ROGERS + We are all impressed. The committee + will now recess over the weekend. + However, it will continue Monday + morning, at eleven a.m. At that + time, this committee will then + produce a witness directly linking + Mr. Corleone to the charges we have + made. And then, Mr. Corleone may + very well by liable for indictments + of perjury. However, this document + will be made a matter of record. + +EXT. ARMY POST - DAY + +An army post somewhere in the East. It is safely guarded. + +INT. HOUSE ON THE POST - DAY + +where Pentangeli is being held by his constant companions, +the two FBI MEN. + + PENTANGELI + Ten to one shot, you said. Ten to + one shot in my favor, and I lose. + + FBI MAN #1 + Get a good night's sleep. We got a + new suit, new shirt, new tie, and + I'm going to shave you myself. + Tomorrow we want you to look + respectable for fifty million of + your fellow Americans. + + PENTANGELI + My life won't be worth a nickel + after tomorrow. + + FBI MAN #1 + We have a special home for you for + the rest of your life. Nobody gets + near you. You're not going any + place. + + PENTANGELI + Yeah, some deal I made. + + FBI MAN #2 + You live like a king. You'll be a + hero. You'll live better in here + than most people on the outside. + + PENTANGELI + Some deal. + (pause) + I just wish Mike had took the Fifth. + + FBI MAN #1 + Why'd you do it, Frankie? After + all these years, why'd you turn + against him? + + PENTANGELI + I didn't turn against nobody; he + turned against me. + +EXT. THE BOATHOUSE ALCOVE - DAY + +A somewhat frightened Fredo Corleone sits in the easy chair +overlooking the lake in this canopied section of the +boathouse. Rocco sits with him. + +INT. BOATHOUSE - DAY + +Michael is in the dark room with Hagen and Neri. + + MICHAEL + How did they get their hands on + Pentangeli? + + HAGEN + Roth engineered it, Michael. He + made Pentangeli think you hit him. + Deliberately letting him get off + alive. Then the New York detectives + turned Frankie over to the FBI. My + informants say he was half dead and + scared stiff -- talking out loud + that you had turned on him and + tried to kill him. Anyway, they + had him on possession, dealing in + heroin, murder one and a lot more. + There's no way we can get to him + and you've opened yourself to five + points of perjury. + + NERI + They've got him airtight. He's in + a military base, twenty-four hour + guards. Trying to kill him is like + trying to like the President -- + it's impossible. + + MICHAEL + What does Fredo know? + + HAGEN + He says he doesn't know anything, + and I believe him. Roth played + this one beautifully. + + MICHAEL + Alright. I'm going to go outside + and talk to Fredo. + +EXT. BOATHOUSE FOYER - DAY + +Fredo sits on the couch. When Rocco sees Michael, he +automatically takes his leave. Michael sits in the chair +opposite Fredo. + + FREDO + (after a pause) + I don't have a lot to say, Michael. + + MICHAEL + We have time. + + FREDO + I was kept pretty much in the dark. + I didn't know all that much. + + MICHAEL + What about now, is there anything + you can help me out with? + + FREDO + I know they get Pentangeli, that's + all I know. + +Fredo gets up, walks to the glass panel that separates the +terrace from the lake. + + FREDO + I didn't know it was a hit. I + swear to you I didn't know. Johnny + Ola contacted me in Beverly Hills -- + said he wanted to talk. He said + you and Roth were in on some big + deal, and there was a place for me + in it if I could help them out. + They said you were being tough on + the negotiation, and if they had a + little bit of help, they could + close it fast and it would be good + for you. + + MICHAEL + And you believed that story. + + FREDO + He said there was something good in + it for me...me on my own. + + MICHAEL + I've always taken care of you. + + FREDO + Taken care of me. Mike, you're my + kid brother, and you take care of + my. Did you ever think of that. + Ever once? Send Fredo off to do + this, send Fredo to take care of + that... take care of some little + unimportant night club here, and + there; pick somebody up at the + airport. Mike, I'm your older + brother; I was stepped over! + + MICHAEL + It's the way Pop wanted it. + + FREDO + It wasn't the way I wanted it! I + can handle things. I'm not dumb + Christ, not like everyone says. + I'm smart; and I want respect. + + MICHAEL + There's nothing more you can tell + me about this investigation? + + FREDO + The lawyer; Questadt, he belongs to + Roth. + + MICHAEL + You're nothing to me now, Fredo; + not a brother, not a friend, I + don't want to know you, or what + happens to you. I don't want to + see you at the hotels, or near my + home. When you visit our Mother, I + want to know a day in advance, so I + won't be there. Do you understand? + +Michael turns, and starts to leave. A frightened voice +behind him: + + FREDO + Mikey? + +Michael doesn't stop, doesn't turn back. He continues off +through the veranda, and out the summer doors. + +Neri stops by him. + + MICHAEL + I don't want anything to happen to + him while my Mother's alive. + +Michael leaves. + +EXT. ARMY POST - DAY + +Five cars brimming with Army guards and Agents are waiting +to move Pentangeli. There is one empty car. + +INT. GUARDED HOUSE - DAY + +The two FBI Agents are helping Pentangeli get dressed. He's +in brightly colored striped shorts and bare-chested. The +Agents help him with the shirt and tie. One holds out the +trousers but Pentangeli ignores it and looks at himself in +the mirror. + + FBI MAN #1 + Ready, Frankie. + + PENTANGELI + Let's go. + +The Agents open the door, and precede him, surveying the +area. They check the cars waiting, each with two Agents. +They check the gate and note the military sentries. Then +they stand aside, and let Pentangeli come out. They get +close to his side, and it is obvious they will protect his +life with their own. + +EXT. ARMY POST - DAY + +The Agents put him in the front seat of the empty car, and +get in with him, one at each side. Another Agent drives. +Now, the first cars start out; the Sentries opening the +gates, and letting the caravan pass. + +An Army supply truck comes very close to them, and the +Agents next to Pentangeli become very tense. Pentangeli +grins. Then the truck passes on, and they relax. + +INT. SENATE CAUCUS ROOM - DAY + +The room is crowded with TV journalists, cameras, etc. We +pick Pentangeli up, closely guarded, being led to witness +chair. + +Pentangeli is seated, and made to take his oath. FBI Agents +are all around him. + +MED. VIEW + +Anyone given entrance to the caucus room is being frisked. +The five Senators take their places. + +VIEW ON HAGEN + +waiting at his long table, very nervous. He seems startled +by the appearance of Pentangeli. + +VIEW ON PENTANGELI + +catching Hagen's eye. It's as though he is pleading for +some kind of understanding of the fact that he has become a +traitor. + +VIEW ON HAGEN + +cold; then he turns away. + +VIEW ON THE ENTRANCE + +The bustle is settling down; then Michael Corleone enters, +and with him is someone very peculiar and out of keeping for +this setting. A burly-chested imposing man of middle age. +Very powerful-looking with frightening magnetic eyes. His +dress is odd: boots, rough tie, and shirt. He could be the +tenor out of a Sicilian opera. He is clearly a country Don, +direct from Sicily, and he dominates the room. + +VIEW ON PENTANGELI + +At first his view is blocked. Then he sees Michael and is a +bit shamefaced, but still defiant. + +PENTANGELI'S POV + +Michael returns his glances without emotion. Then the VIEW +ALTERS, revealing the Sicilian. + +VIEW ON PENTANGELI + +He is terror stricken; obviously he recognizes the man. + +VIEW ON HAGEN'S TABLE + +Michael and the Sicilian sit by Hagen, where they can stare +directly at Pentangeli; he is frozen with fear. + +VIEW ON THE SENATOR + +Notices the tension in the room. The Chairman commences: + + SENATOR KANE + We have here a witness who will + testify further on Michael + Corleone's rule of the criminal + empire that controls gambling in + this country and perhaps in other + countries. This witness had no + buffer between himself and Michael + Corleone. He can corroborate our + charges on enough counts for this + committee to consider a charge of + perjury against Michael Corleone. + (then he turns to Pentangeli) + Your name please, for the record. + + PENTANGELI + Frank Pentangeli. + + SENATOR KANE + Were you a member of the Corleone + Family? Were you under the + Caporegime Peter Clemenza, under + Vito Corleone, known as the + Godfather? + +There is a long silence. + +VIEW ON PENTANGELI + +He seems unable to speak. + +VIEW ON THE SICILIAN + +gazing at him. + +VIEW ON PENTANGELI + + PENTANGELI + I never knew no Godfather. I got + my own family. + +Senator Kane is stunned. The two FBI men are alert, their +eyes searching the room for what has intimidated their +witness at the last moment. + + SENATOR KANE + Mr. Pentangeli, you are + contradicting your confessions to + our investigators; I ask you again, + were you a member of a crime + organization headed by Michael + Corleone? + + PENTANGELI + No. I never heard of it. I never + heard of nothing like that. I was + in the olive oil business with his + father a long time ago. That's all. + + SENATOR KANE + We have your confession that you + murdered on the orders of Michael + Corleone. Do you deny that + confession and do you know what + denying that confession will mean + to you? + +The die is cast and like a good soldier, Pentangeli will go +all the way now. So he is brazen in his defiance of the +Senator. + + PENTANGELI + The FBI guys promised me a deal. + So I made up a lot of stuff about + Michael Corleone. Because then, + that's what they wanted. But it + was all lies. Everything. They + said Michael Corleone did this, + Michael Corleone did that. So I + said, "Yeah, sure." + +He makes a big grin to show how he has made fools of +everybody. + +VIEW ON THE FBI AGENTS + +glancing around the room; their eyes have settled on the +Sicilian. One of them scribbles a note on a piece of paper, +and passes it to the Committee lawyer. Then in turn it goes +to Senator Kane. + + SENATOR KANE + Mr. Hagen, would you kindly identify + to this committee that gentleman + sitting on your right hand? + + HAGEN + (coolly) + Yes, sir. His name is Vincenzo + Pentangeli. + + SENATOR KANE + Is he related to the witness? + + HAGEN + He is, I believe, a brother. + +VIEW ON MICHAEL AND VINCENZO PENTANGELI + +They wait with no expression. + + SENATOR KANE + (to Vincenzo Pentangeli) + Sir, I would like you to take the + stand. + +Vincenzo stares at him, uncomprehending. There may just be +a shadow of contempt. He doesn't answer. + + HAGEN + Sir, the gentleman does not + understand English. He would not + in any case, take the stand. He + came, at his own expense, to aid + his brother in his trouble. He is + not under any jurisdiction of our + government and his reputation in + his own country is impeccable. + + SENATOR KANE + (furious) + The witness is excused; take him out. + +The guards and FBI Agents quickly remove Pentangeli, as +everybody else in the room is required to sit still. + + HAGEN + Senator Kane. + + SENATOR KANE + This meeting is adjourned. + + HAGEN + (rising and shouting) + This committee owes an apology! + + SENATOR KANE + The committee is adjourned until + further notice. + +For the first time, in the midst of the confusion, Hagen +smiles. A bitter, contemptuous smile. + +VIEW ON MICHAEL + +The modest champion. He rises and they take their leave. + +VIEW ON THE TWO FBI AGENTS + +They watch the Corleone party as they exit. + +INT. WASHINGTON HOTEL CORRIDOR - DAY + +The Corleone nurse is waiting, playing with the little girl +MARY. A distance away, the boy, Anthony, is standing by +himself. + +INT. MICHAEL'S SUITE - WASHINGTON HOTEL - DAY + +The door to Michael's suite opens; Rocco leans in. + + ROCCO + It's Kay. + +Michael is sitting in an easy chair; he seems to have +difficulty with his eyes. + + MICHAEL + On the phone? + + ROCCO + No, she's here. + +Michael rises, surprised. Rocco steps back, and Kay enters. + + MICHAEL + I had no idea... + + KAY + I wanted to see you before you went + back to Nevada. Also, the + children - Michael, they're here. + + MICHAEL + Where? + + KAY + In a minute. They're outside with + Esther. I'm very happy for you... + I suppose I knew that you're simply + too smart for anyone ever to beat + you. + + MICHAEL + Why don't you sit down? + + KAY + I'm not going to stay long; I can't. + + MICHAEL + There are a lot of things I want to + talk to you about. Things I've + been thinking about -- changes I + want to make. + + KAY + I think it's too late for changes, + Michael. I promised myself I + wouldn't talk about it and I've + gone and spoiled it. + + MICHAEL + Why too late? + + KAY + Tell me, Michael. What really + happened with Pentangeli? + + MICHAEL + His brother came to help him. + + KAY + I didn't even know he had a brother. + And where is he now? + + MICHAEL + On a plane back to Sicily. + + KAY + And that's all he had to do. Just + show his face. + + MICHAEL + That's all. You see, in Sicily, in + the old days... there was only one + legitimate reason to kill a blood + relative... only one. IF he was a + traitor. + + KAY + You would have killed his brother? + + MICHAEL + Kay, you've got it wrong. That + kind of thing's all over, I promised + you. This was between the two + brothers. Years ago Frankie had a + young girlfriend; he called her his + co-wife. That was his joke, but he + meant it. He wouldn't divorce his + wife... because she was a great + cook. He said he girlfriend made a + spaghetti sauce once and it was so + terrible he knew he could never + marry her. He set her up in a + house in Jersey. She had to be + faithful... and she had to have kids. + And she did, two, a boy and a girl. + He had her checked out and watched + so she couldn't cheat... but the + girl couldn't stand that kind of + life. She begged him to let her go. + He did. He gave her money and made + her give up the kids. Then Frankie + took them to Italy, and had them + brought up by his brother Vincenzo. + Where he knew they'd by safe. + +Kay begins to realize. + + MICHAEL + When he saw his brother in the + hearing room, he knew what was at + stake. + (pause) + I don't think Vincenzo would have + done it. He loves the kids, too. + Omerta, Kay. Honor, silence. It + had nothing to do with me. It was + between those brothers. + + KAY + I'll bring the children up now; + they want to say goodbye. + + MICHAEL + Kay, I told you... + + KAY + Goodbye, Michael. + + MICHAEL + I won't let you leave! Christ, do + you think I'm going to let you leave. + + KAY + (meekly) + Michael. + + MICHAEL + No, I don't want to hear anything. + There are things between men and + women that will not change; things + that have been the same for + thousands of years. You are my + wife, and they are my children... + and I love you and I will not let + you leave, because you are MINE! + + KAY + Oh, I do feel things for you, + Michael; but now, I think it's pity. + For the first time since I've known + you, you seem so helpless. You + held me a prisoner once; will you + try again? + + MICHAEL + If that's what it takes; then yes, + I will. + + KAY + At this moment, I feel no love for + you at all. I never thought that + could happen, but it has. + + MICHAEL + We'll go back tonight. Bring the + children. + + KAY + You haven't heard me. + +He moves to her; he does love her, and is tender with her. + + MICHAEL + How can I let you leave; how can I + let you take my children away? + Don't you know me? You understand, + it's an impossibility. I would + never let it happen; no, never, not + if it took all my strength, all my + cunning. But in time, soon, you'll + feel differently. You see, you'll + be happy that I stopped you. I + know you. You'll forget about + this; you'll forget about the baby + we lost... and we'll go on, you and + I. + + KAY + The baby I lost... + + MICHAEL + I know what it meant... and I'm + prepared to make it up to you. I + will make changes; I can. + (he clenches his fist tightly) + I CAN change; that I have learned, + that I have the strength to change... + And we have another child, a boy... + and you'll forget the miscarriage. + + KAY + It wasn't a miscarriage. And you + with your cunning, couldn't you + figure it out! It was an abortion; + an abortion, like our marriage is + an abortion, something unholy and + evil. I don't want your son; I + wouldn't bring another of your sons + into this world. An abortion, + Michael... it was a son, and I had + it killed, but this must all end! + +VIEW ON MICHAEL + +He had no hint, not in his wildest imagination could he have +guessed that she would do such a thing. + + KAY + And I know that now it's over; I + knew it then, there would be no way + you could ever forgive me, not with + this Sicilian thing that goes back + two thousand years. + +He is silent, though raging -- then, with all his passion, +and his strength, he raises his arms, and strikes her across +her neck, literally knocking her down to the floor, and +hurting her badly. + + MICHAEL + (coldly) + You won't take my children. + + FADE OUT. + +FADE IN: + +EXT. THE CORLEONE ESTATE AT TAHOE - FULL VIEW - DAY + +A collection of dark cars and black limousines are gathered +to one side. A few drivers wait quietly. + +And then, to the other extreme of the estate, is a small +grouping of about twenty to thirty people, gathered near +Michael's house. + +MED. CLOSE SHOT + +Connie Corleone, dressed simply and now showing her age +without the carefully applied makeup which we have been used +to, kneels down before the shrine of Santa Theresa, and puts +down a bouquet of flowers, along with others that have been +placed there. We see that some have the simple silk ribbon +with the word "Mama" hand-lettered upon it. + +Her two children stand close behind her; they had been +raised by their Grandmother. + +Connie steps back, and moves through the small group of +friends and relatives, into Michael's house. + +INT. MICHAEL'S HOUSE - CONNIE'S VIEW - DAY + +Fredo, kneeling by the coffin of his mother in a portion of +the house that has been set aside for the wake. Fredo +concludes his prayer, wipes away the tears in his eyes and +steps away from the coffin. + +He stops when he notices Neri, a little distance away, +looking at him. + +VIEW ON NERI + +After a moment, he nods respectfully to Fredo, and steps +forward, moving to the old woman's coffin. Fredo moves to +Hagen, who is there with his wife and children. + + FREDO + Tom. Where's Mike? + + HAGEN + (difficult to tell him) + He's waiting for you to leave. + + FREDO + Can I talk to him? + + HAGEN + No chance. I'm sorry, Freddie. + + CONNIE + (who has heard this) + Can I see him? + + HAGEN + He's in the boathouse. + +INT. THE BOATHOUSE - MED. VIEW - DAY + +Michael sits quietly in the darkened room in one of the big +sofas, dressed immaculately in suit and tie. His two +children, also dressed for the wake sit opposite him in the +other oversized sofa, their shoes not touching the floor. +We regard this tableau for a long moment. + + CONNIE (O.S.) + (quietly) + Michael? It's Connie. + +She comes in, and sits down by his knees. + + CONNIE + I want to stay close to home now, + is that alright? + +Michael nods. + + CONNIE + Is Kay coming? + + MICHAEL + No. + + CONNIE + Michael, Fredo's in the house with + Mama. He asked for you, and Tom + said he couldn't see you. + + MICHAEL + Tom is right. + + CONNIE + Kids, why don't you go outside for + a while? + +The children don't move; Connie realizes they will only +listen to Michael. + + CONNIE + I want to talk to you, Michael. + + MICHAEL + The children can stay. + + CONNIE + I hated you for so long, Michael; + for so many years. I think I did + things to myself, to hurt myself, + so that you would know -- and you + would be hurt too. But I understand + you now; I think I do. You were + being strong for all of us, like + Papa was. And I forgive you, and + want to be close to you now. Can't + you forgive Fredo; he's so sweet, + and helpless without you. + +Slowly, Michael puts his hand on her hair, and touches her +gently. + + CONNIE + You need me, Michael. I want to be + with you now. + +INT. MICHAEL'S HOUSE - DAY + +Friends, relatives; Francesca and her new husband, Gardner +and their baby; Sandra Corleone; Teresa, her children; all +the familiar faces of the family are present, quietly paying +their respects to Mama. + +Some of the men can be seen in the kitchen, drinking wine, +and talking in low voices. + +Fredo is there, broken-hearted over the loss of his Mother; +like some lost child with no friends. + +MED. VIEW + +Michael enters the room, followed by Connie, who tends +little Mary and Anthony. + +He approaches his brother, and then embraces. Fredo breaks +into tears. + + FREDO + Christ, Mike. Jesus Christ, Mike. + +VIEW ON MICHAEL + +embracing his brother, he glances up. + +VIEW ON NERI + +quiet, and deadly. + +EXT. THE TAHOE ESTATE - MED. VIEW - DAY + +Tom Hagen is talking in the distance to his wife, and one of +his older sons; he kisses, and moves toward the boathouse. +After crossing the lawn, he stops. + +VIEW ON SANDRA CORLEONE + +waiting there; obviously wanting to talk to him. He +continues, and she walks with him. + +MOVING VIEW ON THE TWO + +as they cross toward the boathouse. + + SANDRA + You're going to talk to him now. + + HAGEN + Yes. + + SANDRA + Will you tell him? + + HAGEN + I don't know. + +She stops him. + + SANDRA + Tom, think of yourself for once. + Don't let this opportunity slip + through your fingers; don't do it. + We're all trapped here, don't you + see? + +He continues past her, without answering her. Continues up +to the boathouse. He stops before he enters. + +HAGEN'S VIEW + +Fredo is sitting by the edge of the harbor with Michael's +son Anthony; he is helping him with some fishing rig. + +INT. THE BOATHOUSE - VIEW ON MICHAEL - DAY + +looking through the window at his son and brother. Neri +sits in the room, dressed informally. + + MICHAEL + (without looking back) + Sit down, Tom. Have you heard + about our friend and partner, Mr. + Hyman Roth? + + HAGEN + I know he's in Israel. + + NERI + (hands Hagen the paper) + The High Court of Israel turned + down his request to live as a + 'returned Jew.' His passport's been + invalidated except for return to + the U.S. He landed in Buenos Aires + yesterday, offered a gift of one + million dollars if they would give + him citizenship. They turned him + down. + + HAGEN + (reading) + He's going to try Panama... + + MICHAEL + They won't take him; not for a + million, not for ten million. + + HAGEN + His medical condition is reported + as... "terminal." + + MICHAEL + He's been dying of the same heart + attack for twenty years. + + HAGEN + That plane goes to Miami... + + MICHAEL + I want it met. + + HAGEN + (understanding) + Mike, it's impossible. He'll be + met by the Internal Revenue; the + Customs Service, and half the FBI. + + MICHAEL + I don't like it when you use the + word impossible; nothing is + impossible... + + HAGEN + Mike, it would be like trying to + kill the President; there's no way + we can get to him. + + MICHAEL + I'm surprised at you, Tom. If + there's anything certain; certain + in life; if history has taught us + anything, it's that you can kill... + (he stops, then coldly) + ANYBODY. But perhaps your + relucatance is because you've come + to tell me that you're moving your + family to Vegas, that you've been + offered the Vice-Presidency of the + Houstan Hotels there. Or weren't + you going to tell me at all? + + HAGEN + Are you so hungry for traitors; do + you want to find them everywhere? + + MICHAEL + They are everywhere! + + HAGEN + I turned Houstan down; I didn't see + why I should tell you about an + offer I turned down. + (Michael begins to + confuse him) + Are you sure, Mikey? Are you sure + of what we're doing; what we'll + gain; what does the family gain? + Forget that, Mike; I already know + the answer. + + MICHAEL + I know you do, Tom. Then I can + count on you to help me do the + things I have to do. If not, call + Houstan, and become a Vice-President. + Take your family and your mistress + and move them to Las Vegas. + + HAGEN + Why do you hurt me, Michael? I've + always been loyal to you. + + MICHAEL + Good. Then you're staying. + + HAGEN + I'm staying. + (he pauses...then, + without being asked) + Don't ever enjoy the cruel part of + all this; Sonny never listened to + me about that. + (then he sits down, + and opens his briefcase) + Now, explain everything to me. + +EXT. THE HARBOR - DAY + +Fredo sits with Anthony, with a silly-looking fishing hat on +his head, covered with lure and flies. + + FREDO + Anthony, ole buddy, your Uncle + Fredo's gonna teach you how to + catch the big fish. You know, when + I was a kid, I did this amazing + thing. I went out on a fishing + trip; me and my brothers and my + Pop, and no one could catch a fish + except me. And this was my secret: + (confidentially) + Every time I would put the line + down I would say a "Hail Mary" and + every time I said a "Hail Mary" I + would catch a fish. Now, when it's + sunset, we're gonna go out on the + lake, and we're gonna try it. + +INT. GUARDED HOUSE - DAY + +The guards step aside as Tom Hagen enters the foyer of the +house. He shows a court order to them and they lead him up +the stairs where he knocks on the door. + +INT. GUARDED HOUSE - DAY + +There is a KNOCK at the door. The two guards show Hagen in +and Hagen presents the court order to one of the FBI men. + + HAGEN + I think I prefer to see my client + privately. + + PENTANGELI + The room has a bug in it. + + HAGEN + (to the FBI men) + I'd like to go outside with him, in + the open air. + + FBI MAN #1 + This room is not bugged. + + HAGEN + You have guards outside and the + electric fence. There's no security + reason for not letting us talk in + the yard. + + FBI MAN #1 + Okay. + +They pass out of the room. + +EXT. THE ARMY POST - DAY + +Hagen and Pentangeli outside, by the electric fence. They +cannot be overheard. Pentangeli takes out some cigars and +offers Hagen one. Hagen takes it and Pentangeli lights both +their cigars. They puff on them contentedly. They are +comfortable together, almost. + + HAGEN + Everything is going to be okay, + Frankie, don't worry. + + PENTANGELI + Did my brother go back? + + HAGEN + Yeah, but don't worry. + + PENTANGELI + He's ten times tougher than me, my + brother. He's old-fashioned. + + HAGEN + Yeah. He wouldn't even go out to + dinner. Just wanted to go home. + + PENTANGELI + That's my brother. Nothing could + get him away from that two mule + town. He coulda been big over + here -- he could of had his own + Family. + + HAGEN + You're right. + + PENTANGELI + Tom, what do I do now? + +The light is beginning to turn reddish as the sun falls. + + HAGEN + Frankie, you were always interested + in politics, in history. I remember + you talking about Hitler back in + '43. We were young then. + + PENTANGELI + Yeah, I still read a lot. They + bring me stuff. + + HAGEN + You were around the old timers who + dreamed up how the Families should + be organized, how they based it on + the old Roman Legions, and called + them 'Regimes'... with the 'Capos' + and 'Soldiers,' and it worked. + + PENTANGELI + Yeah, it worked. Those were great + old days. We was like the Roman + Empire. The Corleone family was + like the Roman Empire. + + HAGEN + (sadly) + Yeah, it was once. + +They both puff on their cigars. Pentangeli lets himself be +carried away by thoughts of old days of glory; Hagen thinks +of other days too. + + HAGEN + (very gently) + The Roman Empire... when a plot + against the Emperor failed, the + plotters were always given a chance + to let their families keep their + fortunes. + + PENTANGELI + Yeah, but only the rich guys. The + little guys got knocked off. If + they got arrested and executed, all + their estate went to the Emperor. + If they just went home and killed + themselves, up front, nothing + happened. + + HAGEN + Yeah, that was a good break. A + nice deal. + +Pentangeli looks at Hagen; he understands. + + PENTANGELI + They went home and sat in a hot + bath and opened their veins, and + bled to death. Sometimes they gave + a little party before they did it. + +Hagen throws away his cigar. Pentangeli puffs on his. + + HAGEN + Don't worry about anything, Frankie + Five-Angels. + + PENTANGELI + Thanks, Tom. Thanks. + +They shake hands. The FBI Agents come out to let Hagen out +the gate. Pentangeli is led back to the house. + + FBI MAN #1 + Your lawyer tell you he can get + that 600 years reduced to 500? + +Pentangeli puffs on his cigar and reflects. + + PENTANGELI + You boys sure you can't get me a + broad for tonight? Give me a + little party? + + FBI MAN #2 + We got some nice books. + +Pentangeli puffs on his cigar and gives the Agent a smile an +old man gives a child. He starts upstairs. + + PENTANGELI + I guess I'll just take a hot bath. + +EXT. THE ARMY POST - DAY + +Hagen walks away; glances back. Then gets into his waiting +car and drives off. + +INT. THE BOATHOUSE - FULL VIEW - SUNSET + +Michael sits alone in the empty boathouse; in the shadows. + +INT. BOAT DOCK - SUNSET + +Neri stands by the dock area under the boathouse. He pushes +the button which lowers a boat by winch and tackle. He +wears a fishing cap. + +He steps into the boat, and pulls the small outboard, which +glides the boat out into the harbor. + +MED. VIEW + +The boat pulls up alongside Fredo and Anthony. + + FREDO + Here we go; and remember the secret. + +He lifts Anthony into the boat. + + CONNIE (O.S.) + Anthony. + +THEIR VIEW + +Connie, in houseclothes, is calling Anthony. + + FREDO + He's here; we're goin' fishing. + + CONNIE + He can't go; Michael wants to take + him into Reno. + + FREDO + Ah. Okay, kid, you got to go to + Reno with your Pop. + +He lifts the boy out of the boat, and puts him on the shore. + + FREDO + I'll catch one for you, with the + secret. + + CONNIE + Hurry, Anthony. + +Neri stands the motor; and the boat with the two fisherman +glides off. + +VIEW ON MICHAEL + +watching, from the dark window of the boathouse. + +INT. HIGH SECURITY HOUSE IN ARMY POST - NIGHT + +The FBI man knocks on the bathroom door in the house where +they have kept Pentangeli. + + FBI MAN #1 + Frankie, open up. You okay? + +No answer; he hammers on the door. Using his elbow, and +then a kick he breaks into the bathroom. + +HIS VIEW + +Pentangeli lying in a tub of water. His stomach shows above +it. His wrists are cut and covered with blood. The bath +water has a purplish tone. + + DISSOLVE TO: + +EXT. LAKE TAHOE - MED. VIEW - SUNSET + +Fredo and Neri are fishing, each with lines out. The VIEW +MOVES CLOSER, and we can hear Fredo as he holds the pole. + + FREDO + ... the Lord is with thee. Blessed + art thou amongst women, and blessed + is the fruit of thy womb, Jesus. + +LONG SHOT + +The boat on the shimmery lake. + + FREDO + ... Holy Mary, Mother of God, pray + for us... + +We hear a quiet, echoing GUNSHOT; and then silence. + + DISSOLVE TO: + +INT. MIAMI AIRPORT - NIGHT + +An exhausted Hyman Roth, ill-shaven, and in shirt-sleeves in +taken into custody by a swarm of Customs, and FBI men. They +allow him to be photographed by press people; and television +cameramen. + + FBI MAN + Mr. Roth, we have to take you into + custody. + + ROTH + Yes, I know. + +Some flashbulbs go off. + + REPORTER + Can you give us your reaction to + the High Court of Israel's ruling. + + ROTH + I am a retired investor on a + pension, and I wished to live there + as a Jew in the twilight of my + life... + + LAWYER + Mr. Roth is not a well man; he's + tired of running. + + ROTH + I'm an old man; at my age, it's too + late to start worrying. + + REPORTER + Is it true you are worth over three + hundred million dollars, Mr. Roth? + + ROTH + I'm a retired investor, living on a + pension... I came home to vote in + the Presidential election, because + they wouldn't give me an absentee + ballot... + +The newsmen and photographers all laugh, as the FBI men move +him away. + +CLOSE VIEW + +One of the newspapermen laughing we recognize to be Rocco +Lampone. + +He moves closer to Roth, and shoves his revolver right +against his head, and in a second, on camera, assassinates +Roth. People scream, as Rocco attempts to run down the +airport corridor, limping as he does. + +FBI men easily pick him off. + + FADE OUT. + +EXT. THE DRIVEWAY BY MICHAEL'S HOUSE - DAY + +A taxi cab waits by the house; its driver sleeping with a +newspaper over his face. + +INT. MICHAEL'S HOUSE - DAY + +The cleaning woman, Esther, who had been with Kay for years, +sits by the dining room table, weeping profusely. Behind +her, in the recreation room, we can see the tableau of Kay +sitting on the couch, her little daughter Mary, between her +knees, talking quietly about things we cannot hear. Her son +Anthony sits by himself, in another chair by the side of the +room. + +MED. VIEW + +Connie comes into the house quickly, and moves toward them. + + CONNIE + Kay, you have to go. + +This prompts Esther to weep all the more. Kay hugs her +daughter, and kisses her many times. + + CONNIE + You have to hurry; he's coming. + +Kay puts her coat on; then stands, and reaches out for her +son. + + KAY + Anthony, kiss Mama goodbye. + +He doesn't move. + + CONNIE + (angrily) + Anthony, you kiss your Mother + goodbye! + +He rises, and walks to her. Hugs her lifelessly. + +MED. CLOSE VIEW + +on Kay, kissing her boy. + + KAY + Anthony, say goodbye; your Mama + loves you. + + ANTHONY + Goodbye. + +She restrains any tears; she has become too strong for tears. +Kay starts to go; picks up Mary, kisses her, and starts to go. + +NEW VIEW + +She steps out the kitchen door; then she cannot help herself. +Crouches down, outside, and calls to her son. + + KAY + Anthony, kiss me once. + +Then she looks up, and slowly rises. + +HER VIEW + +Michael has stepped into the dining room. He seems older +somehow; as though some sickness has taken more years away +from him. + +VIEW ON KAY + +looks at him; instinctively, she takes a step back. + +VIEW ON MICHAEL + +slowly steps toward her. + +VIEW ON KAY + +Another step back; the door is still open. + +VIEW ON MICHAEL + +He moves closer to the door; stops, looks at her. And then +closes it obscuring any view of her. + + DISSOLVE TO: + +EXT. TAHOE ESTATE - DAY + +It is late fall -- most of the leaves have fallen on the +grounds and there is quite a wind. + +MED. VIEW + +The water is whipped up by the wind, and the waves are high +as they break against the pavilion. We HEAR the MUSIC of +time passing, of Michael, of the Godfather over these images. + +VIEW ON THE SWIMMING POOLS + +They have not been used in several months; they are drained +and the bottoms are mossy and dark. + +VIEW ON THE MAIN GATE + +Leaves blowing past it; we don't see the button men; only a +hint of someone in the gatehouse. + +VIEW ON THE HOUSES + +Some of the houses have had the summer awnings taken down, +and put away. Some of the windows have been boarded up. + +VIEW ON THE KENNELS + +There are still the guard dogs; some sleeping, some moving +impatiently. + +As the MUSIC concludes its statement. + +MED. VIEW + +The peninsula of the private Corleone Harbor. We see the +figures of two people, seated at a table. + +MED. VIEW + +Michael sits at a table having a sparse lunch. He is +attended by his sister Connie, who seems to be the closest +person now living on the estate with him. We see from the +way she pampers him with his lunch, that she has fallen into +the role of a surrogate Mother-Wife. He seems older than +his years, as though his illness, diabetes, has taken its +toll. + + CONNIE + Don't worry; I'm sure he got here + on time. The roads from the + airport are so windy, it takes + forever; I've driven them myself. + +She picks up some of the serving plates that he has left +untouched. + + CONNIE + I'll bring him out to you as soon + as he comes. + +She moves back to the main house. + +MED. CLOSE VIEW ON MICHAEL + +He turns and looks at the rough water of the lake for a +moment. He slowly takes a sip of wine. + +EXT. A PLACE IN THE GARDEN - DAY + +There are a few chairs. + +MED. VIEW ON ANTHONY CORLEONE + +He is eighteen years old. + + ANTHONY + Hello, Dad. + +VIEW ON MICHAEL + +squinting up at his son. + + MICHAEL + Anthony. + +He rises, and reaches up to his son, who is now taller than +he; he embraces him. + + MICHAEL + You've grown so tall... so tall in + the last year. You're much taller + than me. + + ANTHONY + I was taller than you when I was + fourteen. + + MICHAEL + Sit down. Your Aunt Connie and I + waited for you to have some lunch, + but now it's all dried out. + + ANTHONY + I'm not hungry. + + MICHAEL + Well, that's alright... alright. + Good. You'll graduate in another + year, isn't that right? You know... + I never finished college. I was a + good student, but I never finished. + Of course, there was a war then. + +Connie approaches them. + + CONNIE + Don't let me interrupt anything, + this will just take a second. Here. + (she takes out a + small needle, and + begins to prepare it) + Your father has to have his insulin + shot. Why don't you go to your + room and put your things away, + Anthony. + +She begins to give Michael the shot. + + MICHAEL + Hurry back; we'll talk. We'll talk. + +Anthony goes on his way to the house with his things. +Connie gives Michael the shot. + + CONNIE + Whenever I see that lake so cold, I + think of poor Fredo, drowned. Lake + Tahoe is very cold. They say if a + person drowns in it, that the body + will remain mid-suspended -- + perfectly preserved. Some say it + will remain forever. + +She finishes the shot, puts her things away. + + CONNIE + Your boy will be right back. + +She leaves. + +VIEW ON MICHAEL + +Alone in the garden. + +OUR VIEW begins to MOVE CLOSER to him. We begin to HEAR +MUSIC of the forties; happy music, swing music, as we move +CLOSER to Michael. + + DISSOLVE TO: + +INT. OLD CORLEONE HOUSE - MED. VIEW - NIGHT + +SONNY CORLEONE, his arm wrapped around a smiling red-faced +Carlo Rizzi, pulls him into the Corleone dining room. + + SONNY + Hey, who knows my buddy Carlo Rizzi. + Here... my brother Fredo, here's my + Mom. Mom, whatcha got cooking? + And Carlo, this is my kid sister + Connie. Here, pull up a chair, + Carol is sitting next to Connie. + Oh, the droopy kid over there is + Mike. The college boy. + +An older, lanky man enters the room, his arms laden with +presents. This is TESSIO. + + TESSIO + Buon Natale, everybody. Buon + Natale... + (he smiles at Tom Hagen) + Hi, Tom, how's every little thing? + + HAGEN + (helping him with the presents) + Wonderful, Sal. + +Now the study door opens, and DON CORLEONE enters. + + DON CORLEONE + Is dinner ready? + + MOM + Two minutes. + +The Don happily regards his family; his sons and daughters +and even some Grandchildren. He raises a glass. + + DON CORLEONE + A good life, a long life to all my + children, and friends. To my + grandchildren, and those that will + be. To our family. + +They all drink. + +They refill glasses; then Tessio proposes a toast. + + TESSIO + To our Godfather. + +They all drink. + +INT. THE DINING ROOM - MED. VIEW - NIGHT + +The family is happily at Christmas dinner. Don Corleone +seated at the head of the table. + + SONNY + What'd you think of those Japs, eh? + The nerve of those Japs, coming + right here in our own backyard + dropping bombs! + + HAGEN + Well, we could have expected it + after the embargo. + + SONNY + Hey! Expect it or not, those Japs + don't have a right to drop bombs in + our backyard. Whose side you on? + + MAMA + Please, do we have to talk about + the war at the table? On Christmas, + much less. + +VIEW ON MICHAEL + +He has been listening to this discussion. + + MICHAEL + Pop, I've decided I'm going to + enlist. + +A quiet hush descends over the table, as though everyone +knows the effect this will have on the old man. Sonny tries +to make light of it. + + SONNY + Kid, stay in college. The girls + are cuter, if you know what I mean. + + HAGEN + Pop had to pull a lot of strings to + get you your deferment. + + MICHAEL + I never asked for it; I don't want + it. + +VIEW ON DON CORLEONE + +Disturbed; but wise and prudent. + + DON CORLEONE + My son wants to talk about this, + and so we'll talk, but not at the + dinner table. + +He rises, and starts across the room toward his study. Then +he looks back. + + DON CORLEONE + Michael. + +He disappears into his study. Michael rises, glances around. +People are generally tense over the situation. Michael +follows his father into the study. + +INT. DON CORLEONE'S OLD STUDY - NIGHT + +The Don closes the door behind his son, and then moves +across the room. He stops at the little bar there, and +pours himself a brandy. + + DON CORLEONE + Would you like some? + + MICHAEL + No, Dad. + + DON CORLEONE + Now what is this talk about joining + the army? Eh? + + MICHAEL + It's not talk; I'm doing it. + + DON CORLEONE + You would risk your life for + strangers? + + MICHAEL + Not for strangers; for my country. + + DON CORLEONE + Anyone not in your family, is a + stranger. Believe me, when trouble + comes, your country won't take care + of you. + + MICHAEL + That's how it was in the old world, + Pop, but this is not Sicily. + + DON CORLEONE + I know. I know, Michael. It's + Christmas, your brothers and sister + are all here -- we are happy. + Let's not spoil this. Go your own + way, but when you are ready, come + to me the way a son should. I have + hopes for you... + +CLOSE VIEW ON MICHAEL + +looking at his father with a mixture of great love, and also +fear, and confusion. + + MICHAEL + I won't be a man like you. + + DISSOLVE TO: + +EXT. THE TAHOE ESTATE - HIGH FULL VIEW - DAY + +The leaves are blowing. MUSIC comes up. + +Michael and his young son, Anthony, walk through the grounds +of the estate, talking about things we cannot hear. \ No newline at end of file diff --git a/scripts/The Godfather.txt b/scripts/The Godfather.txt new file mode 100644 index 0000000000000000000000000000000000000000..8d164dc421fff4b8846a75e178d682384822847b --- /dev/null +++ b/scripts/The Godfather.txt @@ -0,0 +1,7819 @@ + +THE GODFATHER +_____________ + +Screenplay + +by + +MARIO PUZO + +and + +FRANCIS FORD COPPOLA + + + + + + + + + + + + + + + + + + + +THIRD DRAFT PARAMOUNT PICTURES + 1 Gulf and Western +Plaza +March 29, 1971 New York, New York 10019 + + + + + +INT DAY: DON'S OFFICE (SUMMER 1945) + +The PARAMOUNT Logo is presented austerely over a black +background. There is a moment's hesitation, and then the +simple words in white lettering: + + THE GODFATHER + +While this remains, we hear: "I believe in America." +Suddenly we are watching in CLOSE VIEW, AMERIGO BONASERA, a +man of sixty, dressed in a black suit, on the verge of great +emotion. + + BONASERA + America has made my fortune. + +As he speaks, THE VIEW imperceptibly begins to loosen. + + BONASERA + I raised my daughter in the American + fashion; I gave her freedom, but + taught her never to dishonor her + family. She found a boy friend, + not an Italian. She went to the + movies with him, stayed out late. + Two months ago he took her for a + drive, with another boy friend. + They made her drink whiskey and + then they tried to take advantage + of her. She resisted; she kept her + honor. So they beat her like an + animal. When I went to the hospital + her nose was broken, her jaw was + shattered and held together by + wire, and she could not even weep + because of the pain. + +He can barely speak; he is weeping now. + + BONASERA + I went to the Police like a good + American. These two boys were + arrested and brought to trial. The + judge sentenced them to three years + in prison, and suspended the + sentence. Suspended sentence! + They went free that very day. I + stood in the courtroom like a fool, + and those bastards, they smiled at + me. Then I said to my wife, for + Justice, we must go to The Godfather. + +By now, THE VIEW is full, and we see Don Corleone's office +in his home. + +The blinds are closed, and so the room is dark, and with +patterned shadows. We are watching BONASERA over the +shoulder of DON CORLEONE. TOM HAGEN sits near a small +table, examining some paperwork, and SONNY CORLEONE stands +impatiently by the window nearest his father, sipping from a +glass of wine. We can HEAR music, and the laughter and +voices of many people outside. + + DON CORLEONE + Bonasera, we know each other for + years, but this is the first time + you come to me for help. I don't + remember the last time you invited + me to your house for coffee...even + though our wives are friends. + + BONASERA + What do you want of me? I'll give + you anything you want, but do what + I ask! + + DON CORLEONE + And what is that Bonasera? + +BONASERA whispers into the DON's ear. + + DON CORLEONE + No. You ask for too much. + + BONASERA + I ask for Justice. + + DON CORLEONE + The Court gave you justice. + + BONASERA + An eye for an eye! + + DON CORLEONE + But your daughter is still alive. + + BONASERA + Then make them suffer as she + suffers. How much shall I pay you. + +Both HAGEN and SONNY react. + + DON CORLEONE + You never think to protect yourself + with real friends. You think it's + enough to be an American. All + right, the Police protects you, + there are Courts of Law, so you + don't need a friend like me. + But now you come to me and say Don + Corleone, you must give me justice. + And you don't ask in respect or + friendship. And you don't think to + call me Godfather; instead you come + to my house on the day my daughter + is to be married and you ask me to + do murder...for money. + + BONASERA + America has been good to me... + + DON CORLEONE + Then take the justice from the + judge, the bitter with the sweet, + Bonasera. But if you come to me + with your friendship, your loyalty, + then your enemies become my enemies, + and then, believe me, they would + fear you... + +Slowly, Bonasera bows his head and murmurs. + + BONASERA + Be my friend. + + DON CORLEONE + Good. From me you'll get Justice. + + BONASERA + Godfather. + + DON CORLEONE + Some day, and that day may never + come, I would like to call upon you + to do me a service in return. + +EXT DAY: MALL (SUMMER 1945) + +A HIGH ANGLE of the CORLEONE MALL in bright daylight. There +are at least five hundred guests filling the main courtyard +and gardens. There is music and laughing and dancing and +countless tables covered with food and wine. + +DON CORLEONE stands at the Gate, flanked on either side by a +son: FREDO and SONNY, all dressed in the formal attire of +the wedding party. He warmly shakes the hands, squeezes the +hands of the friends and guests, pinches the cheeks of the +children, and makes them all welcome. They in turn carry +with them gallons of homemade wine, cartons of freshly baked +bread and pastries, and enormous trays of Italian delicacies. + +The entire family poses for a family portrait: DON CORLEONE, +MAMA, SONNY, his wife, SANDRA, and their children, TOM HAGEN +and his wife, THERESA, and their BABY; CONSTANZIA, the +bride, and her bridegroom, CARLO RIZZI. As they move into +the pose, THE DON seems preoccupied. + + DON CORLEONE + Where's Michael? + + SONNY + He'll be here Pop, it's still early. + + DON CORLEONE + Then the picture will wait for him. + +Everyone in the group feels the uneasiness as the DON moves +back to the house. SONNY gives a delicious smile in the +direction of the Maid-of-Honor, LUCY MANCINI. She returns +it. Then he moves to his wife. + + SONNY + Sandra, watch the kids. They're + running wild. + + SANDRA + You watch yourself. + +HAGEN kisses his WIFE, and follows THE DON, passing the wine +barrels, where a group of FOUR MEN nervously wait. TOM +crooks a finger at NAZORINE, who doublechecks that he is +next, straightens, and follows HAGEN. + +EXT DAY: MALL ENTRANCE (SUMMER 1945) + +Outside the main gate of the Mall, SEVERAL MEN in suits, +working together with a MAN in a dark sedan, walk in and out +of the rows of parked cars, writing license plate numbers +down in their notebooks. We HEAR the music and laughter +coming from the party in the distance. + +A MAN stops at a limousine and copies down the number. + +BARZINI, dignified in a black homburg, is always under the +watchful eyes of TWO BODYGUARDS as he makes his way to +embrace DON CORLEONE in the courtyard. + +The MEN walk down another row of parked cars. Put another +number in the notebook. A shiney new Cadillac with wooden +bumpers. + +PETER CLEMENZA, dancing the Tarantella joyously, bumping +bellies with the ladies. + + CLEMENZA + Paulie...wine...WINE. + +He mops his sweating forehead with a big handkerchief. +PAULIE hustles, gets a glass of icy black wine, and brings +it to him. + + PAULIE + You look terrif on the floor! + + CLEMENZA + What are you, a dance judge? Go do + your job; take a walk around the + neighborhood... see everything is + okay. + +PAULIE nods and leaves; CLEMENZA takes a breath, and leaps +back into the dance. + +The MEN walk down another row of parked cars. Put another +number in the notebook. + +TESSIO, a tall, gentle-looking man, dances with a NINE-YEAR- +OLD GIRL, her little black party shoes planted on his +enormous brown shoes. + +The MEN move on to other parked cars, when SONNY storms out +of the gate, his face flushed with anger, followed by +CLEMENZA and PAULIE. + + SONNY + Buddy, this is a private party. + +The MAN doesn't answer, but points to the DRIVER of the +sedan. SONNY menacingly thrusts his reddened face at him. +The DRIVER merely flips open his wallet to a greed card, +without saying a word. SONNY steps back, spits on the +ground, turns, and walks away, followed by CLEMENZA, PAULIE, +and another TWO MEN. He doesn't say a thing for most of the +walk back into the courtyard, and then, muttered to PAULIE. + + SONNY + Goddamn FBI...don't respect nothing. + +INT DAY: DON'S OFFICE (SUMMER 1945) + +DON CORLEONE sits quietly behind his massive desk in the +dark study. + + NAZORINE + ...a fine boy from Sicily, captured + by the American Army, and sent to + New Jersey as a prisoner of war... + + DON CORLEONE + Nazorine, my friend, tell me what I + can do. + + NAZORINE + Now that the war is over, Enzo, + this boy is being repatriated to + Italy. And you see, Godfather... + (he wrings his hands, + unable to express himself) + He...my daughter...they... + + DON CORLEONE + You want him to stay in this country. + + NAZORINE + Godfather, you understand everything. + + DON CORLEONE + Tom, what we need is an Act of + Congress to allow Enzo to become a + citizen. + + NAZORINE + (impressed) + An Act of Congress! + + HAGEN + (nodding) + It will cost. + +The DON shrugs; such are the way with those things; NAZORINE +nods. + + NAZORINE + Is that all? Godfather, thank + you... + (backing out, enthusiastically) + Oh, wait till you see the cake I + made for your beautiful daughter! + +NAZORINE backs out, all smiles, and nods to the GODFATHER. +DON CORLEONE rises and moves to the Venetian blinds. + + HAGEN + Who do I give this job to? + +The DON moves to the windows, peeking out through the blinds. + + DON CORLEONE + Not to one of our paisans...give it + to a Jew Congressman in another + district. Who else is on the list + for today? + +The DON is peeking out to the MEN around the barrel, waiting +to see him. + + HAGEN + Francesco Nippi. His nephew has + been refused parole. A bad case. + +EXT DAY: MALL (SUMMER 1945) + +WHAT HE SEES: + +NIPPI waits nervously by the barrel. + + HAGEN (O.S.) + His father worked with you in the + freight yards when you were young. + +LUCA BRASI sitting alone, grotesque and quiet. + + HAGEN (O.S.) + He's not on the list, but Luca + Brasi wants to see you. + +INT DAY: DON'S OFFICE (SUMMER 1945) + +The DON turns to HAGEN. + + DON CORLEONE + Is it necessary? + + HAGEN + You understand him better than + anyone. + +The DON nods to this. Turns back to the blinds and peeks out. + +EXT DAY: MALL (SUMMER 1945) + +WHAT HE SEES: + +MICHAEL CORLEONE, dressed in the uniform of a Marine Captain, +leads KAY ADAMS through the wedding crowd, occasionally +stopped and greeted by FRIENDS of the family. + +INT DAY: DON'S OFFICE (SUMMER 1945) + +The DON, inside the office, peering through the blinds, +following them. + +EXT DAY: MALL (SUMMER 1945) + +MICHAEL moves through the crowd, embraces MAMA and introduces +her to his GIRL. + +EXT DAY: OFFICE WINDOW (SUMMER 1945) + +The DON's eyes peering through the blinds. + +EXT DAY: MALL TABLES (SUMMER 1945) + +KAY and MICHAEL settle by a table on the edge of the wedding, +burdened down with plates of food and glasses and wine. She +is exhilarated by the enormity of the affair, the music and +the vitality. + + KAY + I've never seen anything like it. + + MICHAEL + I told you I had a lot of relatives. + +KAY looking about, a young and lively thing in a gift shop. +We see what she sees: + +Her interest is caught by THREE MEN standing by the wine +barrels. + + KAY + (amused) + Michael, what are those men doing? + + MICHAEL + They're waiting to see my father. + + KAY + They're talking to themselves. + + MICHAEL + They're going to talk to my father, + which means they're going to ask + him for something, which means they + better get it right. + + KAY + Why do they bother him on a day + like this? + + MICHAEL + Because they know that no Sicilian + will refuse a request on his + daughter's wedding day. + +EXT DAY: WEDDING PARTY (SUMMER 1945) + +CONNIE CORLEONE, the Bride, is pressing the bodice of her +overly-fluffy white gown against the groom, CARLO RIZZI. He +is bronzed, with curly blondish hair and lovely dimples. +She absolutely adores him and can barely take her eyes from +him long enough to thank the various GUESTS for the white +envelopes they are putting into the large white purse she +holds. In fact, if we watch carefully, we can see that one +of her hands is slid under his jacket, and into his shirt, +where she is provocatively rubbing the hair on his chest. +CARLO, on the other hand, has his blue eyes trained on the +bulging envelopes, and is trying to guess how much cash the +things hold. + +Discreetly, he moves her hand off of his skin. + + CARLO + (whispered) + Cut it out, Connie. + +The purse, looped by a ribbon of silk around CONNIE's arm, +is fat with money. + + PAULIE (O.S.) + What do you think? Twenty grand? + +A little distance away, a young man, PAULIE GATTO, catches a +prosciutto sandwich thrown by a friend, without once taking +eyes from the purse. + + PAULIE + Who knows? Maybe more. Twenty, + thirty grand in small bills cash in + that silk purse. Holy Toledo, if + this was somebody else's wedding! + +SONNY is sitting at the Wedding Dias, talking to LUCY +MANCINI, the Maid of Honor. Every once in a while he +glances across the courtyard, where his WIFE is talking with +some WOMEN. + +He bends over and whispers something into LUCY's ear. + +SANDRA and the WOMEN are in the middle of a big, ribald laugh. + + WOMAN + Is it true what they say about your + husband, Sandra? + +SANDRA's hands separate with expanding width further and +further apart until she bursts into a peal of laughter. +Through her separated hands she sees the Wedding Dais. +SONNY and LUCY are gone. + +INT DAY: DON'S HALL & STAIRS (SUMMER 1945) + +The empty hallway. The bathroom door opens and LUCY +surreptitiously steps out. + +She looks up where SONNY is standing on the second landing, +motioning for her to come up. + +She lifts her petticoats off the ground and hurries upstairs. + +EXT DAY: MALL TABLES (SUMMER 1945) + +KAY and MICHAEL. + + KAY + (in a spooky low tone) + Michael, that scarey guy...Is he a + relative? + +She has picked out LUCA BRASI. + + MICHAEL + No. His name is Luca Brasi. You + wouldn't like him. + + KAY + (Excited) + Who is he? + + MICHAEL + (Sizing her up) + You really want to know? + + KAY + Yes. Tell me. + + MICHAEL + You like spaghetti? + + KAY + You know I love spaghetti. + + MICHAEL + Then eat your spaghetti and I'll + tell you a Luca Brasi story. + +She starts to eat her spaghetti. + +She begins eating, looking at him eagerly. + + MICHAEL + Once upon a time, about fifteen + years ago some people wanted to + take over my father's olive oil + business. They had Al Capone send + some men in from Chicago to kill my + father, and they almost did. + + KAY + Al Capone! + + MICHAEL + My Father sent Luca Brasi after + them. He tied the two Capone men + hand and foot, and stuffed small + bath towels into their mouths. + Then he took an ax, and chopped one + man's feet off... + + KAY + Michael... + + MICHAEL + Then the legs at the knees... + + KAY + Michael you're trying to scare me... + + MICHAEL + Then the thighs where they joined + the torso. + + KAY + Michael, I don't want to hear + anymore... + + MICHAEL + Then Luca turned to the other man... + + KAY + Michael, I love you. + + MICHAEL + ...who out of sheer terror had + swallowed the bath towel in his + mouth and suffocated. + +The smile on his face seems to indicate that he is telling a +tall story. + + KAY + I never know when you're telling me + the truth. + + MICHAEL + I told you you wouldn't like him. + + KAY + He's coming over here! + +LUCA comes toward them to meet TOM HAGEN halfway, just near +their table. + + MICHAEL + Tom...Tom, I'd like you to meet Kay + Adams. + + KAY + (having survived LUCA) + How do you do. + + MICHAEL + My brother, Tom Hagen. + + HAGEN + Hello Kay. Your father's inside, + doing some business. + (privately) + He's been asking for you. + + MICHAEL + Thanks Tom. + +HAGEN smiles and moves back to the house, LUCA ominously +following. + + KAY + If he's your brother, why does he + have a different name? + + MICHAEL + My brother Sonny found him living + in the streets when he was a kid, + so my father took him in. He's a + good lawyer. + +INT DAY: DON'S OFFICE (SUMMER 1945) + +DON CORLEONE at the window. He has seen the intimacy of the +YOUNG COUPLE. + + LUCA (O.S.) + Don Corleone... + +THE DON turns to the stiffly formal LUCA, and he moves +forward to kiss his hand. He takes the envelope from his +jacket, holds it out, but does not release it until he makes +a formal speech. + + LUCA + (with difficulty) + Don Corleone...I am honored, and + grateful...that you invited me to + your home...on the wedding day of + your...daughter. + May their first child...be a + masculine child. I pledge my never + ending loyalty. + (he offers the envelope) + For your daughter's bridal purse. + + DON CORLEONE + Thank you, Luca, my most valued + friend. + +THE DON takes it, and then LUCA's hand, which he squeezes so +tightly we might imagine it to be painful. + + LUCA + Let me leave you, Don Corleone. I + know you are busy. + +He turns, almost an about-face, and leaves the study with +the same formality he entered with. DON CORLEONE breathes +more easily, and gives the thick envelope to HAGEN. + + DON CORLEONE + I'm sure it's the most generous + gift today. + + HAGEN + The Senator called--apologized for + not coming personally, but said + you'd understand. Also, some of + the Judges...they've all sent gifts. + And another call from Virgil + Sollozzo. + +DON CORLEONE is not pleased. + + HAGEN + The action is narcotics. Sollozzo + has contacts in Turkey for the + poppy, in Sicily for the plants to + process down to morphine or up to + heroin. Also he has access to this + country. He's coming to us for + financial help, and some sort of + immunity from the law. For that we + get a piece of the action, I + couldn't find out how much. + Sollozzo is vouched for by the + Tattaglia family, and they may have + a piece of the action. They call + Sollozzo the Turk. + He's spent a lot of time in Turkey + and is suppose to have a Turkish + wife and kids. He's suppose to be + very quick with the knife, or was, + when he was younger. Only in + matters of business and with some + reasonable complaint. Also he has + an American wife and three children + and he is a good family man. + +THE DON nods. + + HAGEN + He's his own boss, and very + competent. + + DON CORLEONE + And with prison record. + + HAGEN + Two terms; one in Italy, one in the + United States. He's known to the + Government as a top narcotics man. + That could be a plus for us; he + could never get immunity to testify. + + DON CORLEONE + When did he call? + + HAGEN + This morning. + + DON CORLEONE + On a day like this. Consiglero, do + you also have in your notes the the + Turk made his living from + Prostitution before the war, like + the Tattaglias do now. Write that + down before you forget it. The + Turk will wait. + +We now begin to hear a song coming over the loud-speakers +from outside. In Italian, with unmistakable style. + + DON CORLEONE + What that? It sounds like Johnny. + +He moves to the window, pulls the blinds up, flooding the +room with light. + + DON CORLEONE + It is Johnny. He came all the way + from California to be at the wedding. + + HAGEN + Should I bring him in. + + DON CORLEONE + No. Let the people enjoy him. You + see? He is a good godson. + + HAGEN + It's been two years. He's probably + in trouble again. + +EXT DAY: MALL (SUMMER 1945) + +JOHNNY FONTANE on the bandstand, singing to the delight and +excitement of the wedding GUESTS. + + KAY + I didn't know your family knew + Johnny Fontane. + + MICHAEL + Sure. + + KAY + I used to come down to New York + whenever he sang at the Capitol and + scream my head off. + + MICHAEL + He's my father's godson; he owes + him his whole career. + +JOHNNY finishes the song and the CROWD screams with delight. +They call out for another when DON CORLEONE appears. + + DON CORLEONE + My Godson has come three thousand + miles to do us honor and no one + thinks to wet his throat. + +At once a dozen wine glasses are offered to JOHNNY, who +takes a sip from each as he moves to embrace his GODFATHER. + + JOHNNY + I kept trying to call you after my + divorce and Tom always said you + were busy. When I got the Wedding + invitation I knew you weren't sore + at me anymore, Godfather. + + DON CORLEONE + Can I do something for you still? + You're not too rich, or too famous + that I can't help you? + + JOHNNY + I'm not rich anymore, Godfather, + and...my career, I'm almost washed + up... + +He's very disturbed. The GODFATHER indicates that he come +with him to the office so no one will notice. He turns to +HAGEN. + + DON CORLEONE + Tell Santino to come in with us. + He should hear some things. + +They go, leaving HAGEN scanning the party looking for SONNY. + +INT DAY: DON'S OFFICE (SUMMER 1945) + +HAGEN glances up the staircase. + + HAGEN + Sonny? + +Then he goes up. + +INT DAY: DON'S UPSTAIRS ROOM (SUMMER 1945) + +SONNY and LUCY are in a room upstairs; he has lifted her +gown's skirts almost over her head, and has her standing +against the door. Her face peeks out from the layers of +petticoats around it like a flower in ecstasy. + + LUCY + Sonnyeeeeeeee. + +Her head bouncing against the door with the rhythm of his +body. But there is a knocking as well. They stop, freeze +in that position. + + HAGEN (O.S.) + Sonny? Sonny, you in there? + +INT DAY: DON'S UPSTAIRS HALLWAY (SUMMER 1945) + +Outside, HAGEN by the door. + + HAGEN + The old man wants you; Johnny's + here...he's got a problem. + + SONNY (O.S.) + Okay. One minute. + +HAGEN hesitates. We HEAR LUCY's head bouncing against the +door again. TOM leaves. + +INT DAY: DON'S OFFICE (SUMMER 1945) + + DON CORLEONE + ACT LIKE A MAN! By Christ in + Heaven, is it possible you turned + out no better than a Hollywood + finocchio. + +Both HAGEN and JOHNNY cannot refrain from laughing. The DON +smiles. SONNY enters as noiselessly as possible, still +adjusting his clothes. + + DON CORLEONE + All right, Hollywood...Now tell me + about this Hollywood Pezzonovanta + who won't let you work. + + JOHNNY + He owns the studio. Just a month + ago he bought the movie rights to + this book, a best seller. And the + main character is a guy just like + me. I wouldn't even have to act, + just be myself. + +The DON is silent, stern. + + DON CORLEONE + You take care of your family? + + JOHNNY + Sure. + +He glances at SONNY, who makes himself as inconspicuous as +he can. + + DON CORLEONE + You look terrible. I want you to + eat well, to rest. And spend time + with your family. And then, at the + end of the month, this big shot + will give you the part you want. + + JOHNNY + It's too late. All the contracts + have been signed, they're almost + ready to shoot. + + DON CORLEONE + I'll make him an offer he can't + refuse. + +He takes JOHNNY to the door, pinching his cheek hard enough +to hurt. + + DON CORLEONE + Now go back to the party and leave + it to me. + +He closes the door, smiling to himself. Turns to HAGEN. + + DON CORLEONE + When does my daughter leave with + her bridegroom? + + HAGEN + They'll cut the cake in a few + minutes...leave right after that. + Your new son-in-law, do we give him + something important? + + DON CORLEONE + No, give him a living. But never + let him know the family's business. + What else, Tom? + + HAGEN + I've called the hospital; they've + notified Consiglere Genco's family + to come and wait. He won't last + out the night. + +This saddens the DON. He sighs. + + DON CORLEONE + Genco will wait for me. Santino, + tell your brothers they will come + with me to the hospital to see + Genco. Tell Fredo to drive the big + car, and ask Johnny to come with us. + + SONNY + And Michael? + + DON CORLEONE + All my sons. + (to HAGEN) + Tom, I want you to go to California + tonight. Make the arrangements. + But don't leave until I come back + from the hospital and speak to you. + Understood? + + HAGEN + Understood. + +EXT DAY: MALL (SUMMER 1945) + +Now all the wedding GUESTS excitedly clap their hands over +the entrance of the cake: NAZORINE is beaming as he wheels +in a serving table containing the biggest, gaudiest, most +extravagant wedding cake ever baked, an incredible monument +of his gratitude. The CROWD is favorably impressed: they +begin to clink their knives or forks against their glasses, +in the traditional request for the Bride to cut the cake and +kiss the Groom. Louder and louder, five hundred forks +hitting five hundred glasses. + +EXT DAY: MALL (SUMMER 1945) + +Silence. + +HIGH ANGLE ON THE MALL, late day. The GUESTS are gone. A +single black car is in the courtyard. FREDDIE is behind the +driver's seat: the DON enters the car, looks at MICHAEL, who +sits between SONNY and JOHNNY in the rear seat. + + DON CORLEONE + Will your girl friend get back to + the city all right? + + MICHAEL + Tom said he'd take care of it. + +The DON pulls the door shut; and the car pulls out, through +the gate of the great Corleone Mall. + +INT DAY: HOSPITAL CORRIDOR (SUMMER 1945) + +A long white hospital corridor, at the end of which we can +see a grouping of FIVE WOMEN, some old and some young, but +all plump and dressed in black. + +DON CORLEONE and his SONS move toward the end. But then the +DON slows, putting his hand on MICHAEL's shoulder. MICHAEL +stops and turns toward his FATHER. The two looks at one +another for some time. SILENCE. DON CORLEONE then lifts +his hand, and slowly touches a particular medal on MICHAEL's +uniform. + + DON CORLEONE + What was this for? + + MICHAEL + For bravery. + + DON CORLEONE + And this? + + MICHAEL + For killing a man. + + DON CORLEONE + What miracles you do for strangers. + + MICHAEL + I fought for my country. It was my + choice. + + DON CORLEONE + And now, what do you choose to do? + + MICHAEL + I'm going to finish school. + + DON CORLEONE + Good. When you are finished, come + and talk to me. I have hopes for + you. + +Again they regard each other without a word. MICHAEL turns, +and continues on. DON CORLEONE watches a moment, and then +follows. + +INT DAY: HOSPITAL ROOM (SUMMER 1945) + +DON CORLEONE enters the hospital room, moving closest to OUR +VIEW. He is followed by his SONS, JOHNNY and the WOMEN. + + DON CORLEONE + (whispered) + Genco, I've brought my sons to pay + their respects. And look, even + Johnny Fontane, all the way from + Hollywood. + +GENCO is a tiny, wasted skeleton of a man. DON CORLEONE +takes his bony hand, as the others arrange themselves around +his bed, each clasping the other hand in turn. + + GENCO + Godfather, Godfather, it's your + daughter's wedding day, you cannot + refuse me. Cure me, you have the + power. + + DON CORLEONE + I have no such power...but Genco, + don't fear death. + + GENCO + (with a sly wink) + It's been arranged, then? + + DON CORLEONE + You blaspheme. Resign yourself. + + GENCO + You need your old Consigliere. Who + will replace me? + (suddenly) + Stay with me Godfather. Help me + meet death. If he sees you, he + will be frightened and leave me in + peace. You can say a word, pull a + few strings, eh? We'll outwit that + bastard as we outwitted all those + others. + (clutching his hand) + Godfather, don't betray me. + +The DON motions all the others to leave the room. They do. +He returns his attention to GENCO, holding his hand and +whispering things we cannot hear, as they wait for death. + +INT NIGHT: AIRPLANE (SUMMER 1945) + +FADE IN: + +The interior of a non-stop Constellation. HAGEN is one of +the very few passengers on this late flight. He looks like +any young lawyer on a business trip. He is tired from the +difficult preparation and duties that he has just executed +during the wedding. On the seat next to him is an enormous, +bulging briefcase. He closes his eyes. + +INT NIGHT: HONEYMOON HOTEL (SUMMER 1945) + +The honeymoon hotel: CARLO and CONNIE. CARLO is in his +undershorts, sitting up on the bed, anxiously taking the +envelopes out of the silk bridal purse and counting the +contents. CONNIE prepares herself in the large marble +bathroom. She rubs her hands over his bronze shoulders, and +tries to get his interest. + +INT NIGHT: DON'S OFFICE (SUMMER 1945) + +DON CORLEONE in his office. LUCA BRASI sitting near to him. + + DON CORLEONE + Luca, I am worried about this man + Sollozzo. Find out what you can, + through the Tattaglias. Let them + believe you could be tempted away + from the Corleone Family, if the + right offer was made. Learn what + he has under his fingernails... + +INT NIGHT: MANCINI APT. HALL (SUMMER 1945) + +The hallway of an apartment building. SONNY enters, climbs +two steps at a time. He knocks, and then whispers. + + SONNY + It's me, Sonny. + +The door opens, and two lovely arms are around him, pulling +him into the apartment. + +INT NIGHT: LUCA'S ROOM (WINTER 1945) + +LUCA BRASI's tiny room. He is partly dressed. He kneels +and reaches under his bed and pulls out a small, locked +trunk. He opens it, and takes out a heavy, bullet-proof +vest. He puts it on, over his wool undershirt, and then +puts on his shirt and jacket. He takes his gun, quickly +disassembles, checks, and reassembles it. And leaves. + +INT NIGHT: DON'S OFFICE (SUMMER 1945) + +A CLOSE VIEW of DON CORLEONE thinking quietly. + +INT NIGHT: MOVING TRAIN (SUMMER 1945) + +MICHAEL and KAY on a train, speeding on their way to New +Hampshire. + +INT NIGHT: SUBWAY (WINTER 1945) + +LUCA, in his bulky jacket, sitting quietly on an empty +subway train. + +INT NIGHT: AIRPLANE (SUMMER 1945) + +HAGEN on the Constellation. He reaches into his briefcase, +and takes out several pictures and papers. + +One photograph is of a smiling man, JACK WOLTZ, linked arm +in arm with fifteen movie stars on either side, including a +lovely young child star to his immediate right. + +HAGEN considers other papers. + +INT NIGHT: DON'S OFFICE (SUMMER 1945) + +DON CORLEONE looks, and then moves HAGEN into an embrace. +He straightens his arms and looks at TOM deeply. + + DON CORLEONE + Remember my new Consigliere, a + lawyer with his briefcase can steal + more than a hundred men with guns. + +EXT DAY: WOLTZ ESTATE GATE (SUMMER 1945) + +JACK WOLTZ ESTATE. HAGEN stands before the impressive gate, +armed only with his briefcase. A GATEMAN opens the gate, +and TOM enters. + +EXT DAY: WOLTZ GARDENS (SUMMER 1945) + +HAGEN and WOLTZ comfortably stroll along beautiful formal +gardens, martinis in hand. + + WOLTZ + You should have told me your boss + was Corleone, Tom, I had to check + you out. I thought you were just + some third rate hustler Johnny was + running in to bluff me. + (a piece of statuary) + Florence, thirteenth century. + Decorated the garden of a king. + +They cross the garden and head toward the stables. + + WOLTZ + I'm going to show you something + beautiful. + +They pass the stables, and come to rest by a stall with a +huge bronze plaque attached to the outside wall: "KHARTOUM." +TWO SECURITY GUARDS are positioned in chairs nearby; they +rise as WOLTZ approaches. + + WOLTZ + You like horses? I like horses, I + love 'em. Beautiful, expensive + Racehorses. + +The animal inside is truly beautiful. WOLTZ whispers to him +with true love in his voice. + + WOLTZ + Khartoum...Kartoum...You are + looking at six hundred thousand + dollars on four hoofs. I bet even + Russian Czars never paid that kind + of dough for a single horse. But + I'm not going to race him I'm going + to put him out to Stud. + +INT NIGHT: WOLTZ DINING ROOM (SUMMER 1945) + +HAGEN and WOLTZ sit at an enormous dining room table, +attended by SEVERAL SERVANTS. Great paintings hang on the +walls. The meal is elaborate and sumptuous. + + HAGEN + Mr. Corleone is Johnny's Godfather. + That is very close, a very sacred + religious relationship. + + WOLTZ + Okay, but just tell him this is one + favor I can't give. But he should + try me again on anything else. + + HAGEN + He never asks a second favor when + he has been refused the first. + Understood? + + WOLTZ + You smooth son of a bitch, let me + lay it on the line for you, and + your boss. Johnny Fontane never + gets that movie. I don't care how + many Dago, Guinea, wop Greaseball + Goombahs come out of the woodwork! + + HAGEN + I'm German-Irish. + + WOLTZ + Okay my Kraut-Mick friend, Johnny + will never get that part because I + hate that pinko punk and I'm going + to run him out of the Movies. And + I'll tell you why. He ruined one + of Woltz Brothers' most valuable + proteges. For five years I had + this girl under training; singing + lessons! Acting lessons! Dancing + lessons! We spent hundreds of + thousands of dollars--I was going + to make her a star. I'll be even + more frank, just to show you that + I'm not a hard-hearted man, that it + wasn't all dollars and cents. That + girl was beautiful and young and + innocent and she was the greatest + piece of ass I've ever ad and I've + had them all over the world. Then + Johnny comes along with that olive + oil voice and guinea charm and she + runs off. She threw it all away to + make me look ridiculous. A MAN IN + MY POSITION CANNOT AFFORD TO BE + MADE TO LOOK RIDICULOUS! + +EXT DAY: GENCO OLIVE OIL CO. (SUMMER 1945) + +An unimposing little building in New York City on Mott +Street with a large old sign: "GENCO OLIVE OIL IMPORTS, +INC." next to an open-faced fruit market. + +A dark Buick pulls up, and a single small man, whom we +cannot see well because of the distance, gets out and enters +the building. This is VIRGIL SOLLOZZO. + +INT DAY: OLIVE OIL OFFICES (SUMMER 1945) + +Looking toward the staircase we can hear SOLLOZZO's footsteps +before he actually rises into view. He is a small man, very +dark, with curly black hair. But wiry, and tight and hard, +and obviously very dangerous. He is greeted at the head of +the stairs by SONNY, who takes his hand and shakes it, +introducing himself. For a moment, there is a complex of +handshaking quite formal, and whispered respectful +introductions. Finally, SOLLOZZO is taken into the DON's +glass paneled office; the two principals are introduced. +They are very respectful of one another. Folding chairs are +brought in by FREDDIE, and soon they are all sitting around +in a circle; the DON, SOLLOZZO, SONNY, HAGEN, FREDDIE, +CLEMENZA and TESSIO. The DON is the slightest bit foolish +with all his compatriots, whereas SOLLOZZO has brought no +one. Throughout all that transpires, however, it is clear +that this scene is between two men: SOLLOZZO and DON CORLEONE. + + SOLLOZZO + My business is heroin, I have poppy + fields, laboratories in Narseilles + and Sicily, ready to go into + production. My importing methods + are as safe as these things can be, + about five per cent loss. The risk + is nothing, the profits enormous. + + DON CORLEONE + Why do you come to me? Why do I + deserve your generosity? + + SOLLOZZO + I need two million dollars in + cash...more important, I need a + friend who has people in high + places; a friend who can guarantee + that if one of my employees be + arrested, they would get only light + sentences. Be my friend. + + DON CORLEONE + What percentages for my family? + + SOLLOZZO + Thirty per cent. In the first year + your share would be four million + dollars; then it would go up. + + DON CORLEONE + And what is the percentage of the + Tattaglia family? + +SOLLOZZO nods toward HAGEN. + + SOLLOZZO + My compliments. I'll take care of + them from my share. + + DON CORLEONE + So. I receive 30 per cent just for + finance and legal protection. No + worries about operations, is that + what you tell me? + + SOLLOZZO + If you think two million dollars in + cash is just finance, I congratulate + you Don Corleone. + +There is a long silence; in which each person present feels +the tension. The DON is about to give his answer. + + DON CORLEONE + I said I would see you because I've + heard you're a serious man, to be + treated with respect... + (pause) + But I'll say no to you. + +We feel this around the room. + + DON CORLEONE + I'll give you my reasons. I have + many, many friends in Politics. + But they wouldn't be so friendly if + my business was narcotics instead + of gambling. They think gambling + is something like liquor, a harmless + vice...and they think narcotics is + dirty business. + +SOLLOZZO takes a breath. + + DON CORLEONE + No...how a man makes his living is + none of my business. But this + proposition of yours is too risky. + All the people in my family lived + well the last ten years, I won't + risk that out of greed. + + SOLLOZZO + Are you worried about security for + your million? + + DON CORLEONE + No. + + SOLLOZZO + The Tattaglias will guarantee your + investment also. + +This startles SONNY; he blurts out. + + SONNY + The Tattaglia family guarantees our + investment? + +SOLLOZZO hears him first, and then very slowly turns to face +him. Everyone is the room knows that SONNY has stepped out +of line. + + DON CORLEONE + Young people are greedy, and they + have no manners. They speak when + they should listen. But I have a + sentimental weakness for my + children, and I've spoiled them, as + you see. But Signor Sollozzo, my + no is final. + +SOLLOZZO nods, understands that this is the dismissal. He +glances one last time at SONNY. He rises; all the others do +as well. He bows to the DON, shakes his hand, and formally +takes his leave. When the footsteps can no longer be heard: + +The DON turns to SONNY. + + DON CORLEONE + Santino, never let anyone outside + the family know what you are + thinking. I think your brain is + going soft from all that comedy you + play with that young girl. + +TWO OFFICE WORKERS are carrying an enormous floral display +with the word "THANK YOU" spelled out in flowers. + + DON CORLEONE + What is this nonsense? + + HAGEN + It's from Johnny. It was announced + this morning. He's going to play + the lead in the new Woltz Brothers + film. + +INT DAY: WOLTZ'S BEDROOM (SUMMER 1945) + +It is large, dominated by a huge bed, in which a man, +presumably WOLTZ, is sleeping. Soft light bathes the room +from the large windows. We move closer to him until we see +his face, and recognize JACK WOLTZ. He turns uncomfortably; +mutters, feels something strange in his bedsheets. Something +wet. + +He wakens, feels the sheets with displeasure; they are wet. +He looks at his hand; the wetness is blood. He is +frightened, pulls aside the covers, and sees fresh blood on +his sheets and pajamas. He grunts, pulls the puddle of +blood in his bed. He feels his own body frantically, +moving, down, following the blood, until he is face to face +with the great severed head of Khartoum lying at the foot of +his bed. Just blood from the hacked neck. White reedy +tendons show. He struggles up to his elbows in the puddle +of blood to see more clearly. Froth covers the muzzle, and +the enormous eyes of the animal are yellowed and covered +with blood. + +WOLTZ tries to scream; but cannot. No sound comes out. +Then, finally and suddenly an ear-splitting scream of pure +terror escapes from WOLTZ, who is rocking on his hands and +knees in an uncontrolled fit, blood all over him. + +INT DAY: OLIVE OIL OFFICES (SUMMER 1945) + +CLOSE VIEW on the GODFATHER. Nodding. + + DON CORLEONE + Send Johnny my congratulations. + +----------------------------------------FADE OUT-------- + +(SCENES 12 & 12 OMITTED) + +FADE IN: + +EXT DAY: FIFTH AVENUE (WINTER 1945) + +Fifth Avenue in the snow. Christmas week. People are +bundled up with rosy faces, rushing to buy presents. + +KAY and MICHAEL exit a Fifth Avenue department store, +carrying a stack of gaily wrapped gifts, arm in arm. + + KAY + We have something for your mother, + for Sonny, we have the tie for + Fredo and Tom Hagen gets the + Reynolds pen... + + MICHAEL + And what do you want for Christmas? + + KAY + Just you. + +They kiss. + +INT DAY: HOTEL ROOM (WINTER 1945) + +CLOSE ON a wooden radio, playing quiet Music. THE VIEW PANS +AROUND the dark hotel room, curtained against the daylight. + + MICHAEL (O.S.) + We'll have a quiet, civil ceremony + at the City Hall, no big fuss, no + family, just a couple of friends as + witnesses. + +The two are in each other's arms in a mess of bedsheets on +the two single beds that they have pushed together. + + KAY + What will your father say? + + MICHAEL + As long as I tell him beforehand he + won't object. He'll be hurt, but + he won't object. + + KAY + What time do they expect us? + + MICHAEL + For dinner. Unless I call and tell + them we're still in New Hampshire. + + KAY + Michael. + + MICHAEL + Then we can have dinner, see a + show, and spend one more night. + +He moves to the telephone. + + MICHAEL (CONT'D.) + Operator. Get me + (fill in number) + + + KAY + Michael, what are you doing? + + MICHAEL + Shhh, you be the long distance + operator. Here. + + KAY + Hello...this is Long Distance. I + have a call from New Hampshire. Mr. + Michael Corleone. One moment please. + +She hands the phone to MICHAEL who continues the deception. + + MICHAEL + Hello, Tom? Michael. Yeah... + listen, we haven't left yet. I'm + driving down to the city with Kay + tomorrow morning. There's something + important I want to tell the old + man before Christmas. Will he be + home tomorrow night? + +INT DAY: OLIVE OIL OFFICE (WINTER 1945) + +HAGEN in the Olive Oil Company office. In the background, +through the glass partitions, we can see the DON, at work in +his office. TOM is tired, and steeped in paperwork. + + HAGEN (O.S.) + Sure. Anything I can do for you. + + MICHAEL (O.S.) + No. I guess I'll see you Christmas. + Everyone's going to be out at Long + Beach, right? + + HAGEN + Right. + +He smiles. MICHAEL has hung up. He looks at the piles of +work, and can't face it. He rises, puts on his coat and +hat, and continues out. + +He peeks into the DON's office. + + HAGEN + Michael called; he's not leaving + New Hampshire until tomorrow + morning. I've got to go, I promised + Theresa I'd pick up some toys for + the kids. + +The DON smiles and nods. + +TOM smiles, and leaves; OUR VIEW remaining with DON CORLEONE. +FREDDIE is sitting on a bench in the corner, reading the +afternoon paper. He puts aside the papers the office +manager has prepared for him, and then moves to FREDDIE, +raps his knuckles on his head to take his nose out of the +paper. + + DON CORLEONE + Tell Paulie to get the car from the + lot; I'll be ready to go home in a + few minutes. + + FREDO + I'll have to get it myself; Paulie + called in sick this morning. + + DON CORLEONE + That's the third time this month. + I think maybe you'd better get a + healthier bodyguard for me. Tell + Tom. + + FREDO + (going) + Paulie's a good kid. If he's sick, + he's sick. I don't mind getting + the car. + +FREDDIE leaves. He slowly puts on his jacket. Looks out +his window. + +EXT DUSK: OLIVE OIL CO. (WINTER 1945) + +FREDDIE crosses the street. + +INT DUSK: OLIVE OIL OFFICE (WINTER 1945) + + OFFICE MANAGER + Buon Watale, Don Corleone. + +The MANAGER helps him on with his overcoat. Once again, the +DON glances out his window. + +The black car pulls up; FREDDIE driving. + + DON CORLEONE + Merry Christmas. + (handing the MANAGER + an envelope) + + +And he starts down the stairs. + +EXT DUSK: OLIVE OIL CO. (WINTER 1945) + +The light outside is very cold, and beginning to fail. When +FREDDIE sees his FATHER coming, he moves back into the +driver's seat. The DON moves to the car, and is about to +get in when he hesitates, and turns back to the long, open +fruit stand near the corner. + +The PROPRIETOR springs to serve him. The DON walks among +the trays and baskets, and merely points to a particular +piece of fruit. As he selects, the MAN gingerly picks the +pieces of fruit up and puts them into a paper bag. The DON +pays with a five dollar bill, waits for his change, and then +turns back to the car. + +EXT DUSK: POLKS TOY STORE (WINTER 1945) + +TOM HAGEN exits carrying a stack of presents, all gift +wrapped. He continues past the windows. As he walks, +someone walks right in his way. He looks up. It is SOLLOZZO. + +He takes TOM by the arm and walks along with him. + + SOLLOZZO + (quietly) + Don't be frightened. I just want + to talk to you. + +A car parked at the curb suddenly flings its rear door open. + + SOLLOZZO + (urgently) + Get in; I want to talk to you. + +HAGEN pulls his arm free. He is frightened. + + HAGEN + I haven't got time. + +TWO MEN suddenly appear on either side of him. + + SOLLOZZO + Get in the car. If I wanted to + kill you you'd be dead already. + Trust me. + +HAGEN, sick to his stomach, moves with his ESCORTS, leaving +our VIEW on the Mechanical windows gaily bobbing the story +of Hansel and Gretel. We HEAR the car doors shut, and the +car drive off. + +EXT NIGHT: RADIO CITY - PHONE BOOTH (WINTER 1945) + +RADIO CITY MUSIC HALL during the Christmas show. KAY and +MICHAEL exit; tears are still streaming down her cheeks, and +she sniffles, and dries her tears with Kleenex. KAY +nostalgically hums "The Bells of Saint Mary's," as they walk +arm in arm. + + KAY + Would you like me better if I were + a nun? + + MICHAEL + No. + + KAY + Would you like me better if I were + Ingrid Bergman? + +They have passed a little enclosed newsstand. KAY sees +something that terrifies her. She doesn't know what to do. +MICHAEL still walks, thinking about her question. + + KAY + (a little voice) + Michael? + + MICHAEL + I'm thinking about it. + + KAY + Michael... + + MICHAEL + No, I would not like you better if + you were Ingrid Bergman. + +She cannot answer him. Rather she pulls him by the arm, +back to the newsstand, and points. His face goes grave. + +The headlines read: "VITO CORLEONE SHOT, CHIEFTAN GUNNED +DOWN." + +MICHAEL is petrified; quickly he takes each edition, drops a +dollar in the tray, and hungrily reads through them. KAY +knows to remain silent. + + MICHAEL + (desperately) + They don't say if he's dead or alive. + +EXT DUSK: OLIVE OIL CO. (WINTER 1945) + +DON CORLEONE by the fruit stand; he is about to move to the +car, when TWO MEN step from the corner. Suddenly, the DON +drops the bag of fruit and darts with startling quickness +toward the parked car. + + DON CORLEONE + Fredo, Fredo! + +The paper bag has hit the ground, and the fruit begins +rolling along the sidewalk, as we HEAR gunshots. + +Five bullets catch the DON in the back; he arches in pain, +and continues toward the car. + +The PROPRIETOR of the fruit stand rushes for cover, knocking +over an entire case of fruit. + +The TWO GUNMEN move in quickly, anxious to finish him off. + +Their feet careful to avoid the rolling fruit. There are +more GUNSHOTS. + +FREDDIE is hysterical; he tries to get out of the car; +having difficulty opening the door. He rushes out, a gun +trembling in his hand; his mouth open. He actually drops +the gun. + +The gun falls amid the rolling fruit. + +The GUNMEN are panicked. They fire once more at the downed +DON CORLEONE. His leg and arm twitch where they are hit; +and pools of blood are beginning to form. + +The GUNMEN are obviously in a state of panic and confusion; +they disappear around the corner as quickly as they came. + +The PEOPLE about the avenue have all but disappeared: +rather, we catch glimpses of them, poking their heads safely +from around corners, inside doorways and arches, and from +windows. But the street itself is now empty. + +FREDDIE is in shock; he looks at his FATHER; now great +puddles of blood have formed, and the DON is lifeless and +face down in them. + +FREDDIE falls back on to the curb and sits there, saying +something we cannot understand. He begins to weep profusely. + +INT NIGHT: SUBWAY (WINTER 1945) + +LUCA BRASI riding alone on a subway car, late at night. He +gets off. + +He emerges at a subway terminal, proceeds out. + +EXT NITE: NIGHT CLUB STREET (WINTER 1945) + +LUCA walks down the late night street. He approaches an +elegant New York Nightclub, whose gaudy neon sign is still +winking this late at night. He waits and watches. Then the +sign goes out; and he proceeds into the club. + +INT NITE: NIGHTCLUB (WINTER 1945) + +The main floor of the Nightclub is very large, with endless +glistening wooden floors. Now, at this late time, the +chairs have been stacked on the tables and a NEGRO JANITOR +is waxing them. A single HAT-CHECK GIRL is counting her +receipts. LUCA moves past the empty bandstand, and sits at +the bar. ANOTHER MAN, dark and very well-built, moves +behind the bar. + + MAN + Luca...I'm Bruno Tattaglia. + + LUCA + I know. + +LUCA looks up; and out of the shadows emerges SOLLOZZO. + + SOLLOZZO + Do you know who I am? + +LUCA Nods. + + SOLLOZZO + You've been talking to the + Tattaglias. They thought we could + do business. + +LUCA listens. + + SOLLOZZO + I need somebody strong to protect + my operation, physically. I've + heard you're not happy with your + family, you might make a switch. + + LUCA + If the money is good enough. + + SOLLOZZO + On the first shipment, I can + guarantee you fifty thousand dollars. + +LUCA looks at him; he had no idea the offer would be so good. + +SOLLOZZO extends his hand, but LUCA pretends not to see it, +rather, he busies himself putting a cigarette in his mouth. +BRUNO TATTAGLIA, behind the bar, makes a cigarette lighter +magically appear, and holds it to LUCA's cigarette. Then, +he does an odd thing; he drops the lighter on the bar, and +puts his hand lightly on LUCA's, almost patting it. + +INT NITE: SONNY'S LIVING ROOM (WINTER 1945) + +The telephone in SONNY's house is ringing. He approaches +it, obviously fresh from a nap. + + SONNY + Yeah. + + VOICE (O.S.) + Do you recognize my voice? + + SONNY + I think so. Detective squad? + + VOICE (O.S.) + Right. Don't say my name, just + listen. Somebody shot your father + outside his place fifteen minutes + ago. + + SONNY + Is he alive? + + VOICE (O.S.) + I think so, but I can't get close + enough. There's a lot of blood. + I'll try to find out more. + + SONNY + Find out anything you can...you got + a Grand coming. + (click) + + +SONNY cradles the phone. An incredible rage builds up in +him, his face actually turning red. He would like to rip +the phone to pieces in his bare hands. Then he controls it. +Quickly, he dials another number. + + SONNY + Theresa, let me talk to Tom. Not + yet? Have him call me as soon as + he gets home. + +He hangs up. + + SANDRA (O.S.) + Sonny? Sonny, who is it? + (she enters the room) + What is it? + + SONNY + (calmly) + They shot the old man. + + SANDRA + Oh God... + + SONNY + Honey...don't worry. Nothing else + is going to happen. + +There is a POUNDING on the door. A BABY starts crying. + + SANDRA + (really frightened) + SONNY? + +SONNY reaches into a cabinet drawer, takes out a gun, and +moves quickly. He opens the front door quickly. It is +CLEMENZA. He enters, SONNY closes the door. SANDRA goes to +look after the baby. + + CLEMENZA + (excited) + You heard about your father? + + SONNY + Yeah. + + CLEMENZA + The word is out in the streets that + he's dead. + + SONNY + Where the hell was Paulie, why + wasn't he with the Don? + + CLEMENZA + Paulie's been a little sick all + winter...he was home. + + SONNY + How many times did he stay home the + last couple of months? + + CLEMENZA + Maybe three, four times. I always + asked Freddie if he wanted another + bodyguard, but he said no. Things + have been so smooth the last ten + years... + + SONNY + Go get Paulie, I don't care how + sick he is. Pick him up yourself, + and bring him to my father's house. + + CLEMENZA + That's all? Don't you want me to + send some people over here? + + SONNY + No, just you and Paulie. + +CLEMENZA leaves; SONNY moves to SANDRA, who sits on the +couch weeping quietly, comforting her BABY. + + SONNY + A couple of our people will come to + stay here. Do whatever they say; + I'm going over to the main house. + If you want me, use Pop's special + phone. + +The telephone rings again. SONNY answers it. + + SONNY + Hello. + + SOLLOZZO (O.S.) + Santino Corleone? + +SANDRA moves behind him, anxious to know who it is. SONNY +indicates that she be quiet. + + SONNY + Yeah. + + SOLLOZZO (O.S.) + We have Tom Hagen. In about three + hours he'll be released with our + proposition. Don't do anything + until you've heard what he has to + say. You can only cause a lot of + trouble. What's done is done. + (a pause) + Don't lose that famous temper of + yours. + + SONNY + (quietly) + I'll wait. + +EXT NITE: MALL (WINTER 1945) + +FULL VIEW OF THE CORLEONE MALL. It is night, but the +courtyard is bathed with white light from floodlights on the +tops of all the houses. It is very cold. We see the figure +of SONNY cross the Mall, and let himself into the main house. + +INT NITE: DON'S KITCHEN (WINTER 1945) + +SONNY walks into the empty, darkened house. Then he calls +out. + + SONNY + Ma? Ma, where are you. + +The kitchen door swings open. He moves quickly and takes +her by the arm. He is deliberately calm. + + SONNY + Ma, I just got a call. Pop's + hurt...I don't know how bad. + + MAMA + (quietly) + Santino? Have they killed him? + + SONNY + (almost in tears) + We don't know yet, Ma. + + MAMA + I'll get dressed. In case we can + see him... + +She moves out of the kitchen, and continues upstairs. SONNY +turns the gas from the pan of peppers she was frying. He +takes some bread without thinking, and dips it in the oil, +and sloppily eats some of the peppers, as he moves into his +father's office. + +INT NITE: DON'S OFFICE (WINTER 1945) + +He switches the lights on in the DON's office. The massive +desk dominates the room. SONNY moves quickly to the +telephone, pulling a small chair to the side of the desk, +and dials a number. + + SONNY + Tessio...This is Santino Corleone. + I want fifty reliable men out here. + + TESSIO (O.S.) + I heard, Sonny...but what about + Clemenza's regime? + + SONNY + I don't want to use Clemenza's + people right now. Understood? + +He hangs up. He moves quickly to a wall safe; operates the +dial, and removes a small notebook. He takes it back to the +desk, and runs over the list of numbers with his forefinger. +We follow the names, until the finger stops at one: LUCA +BRASI. SONNY dials the number. There is no answer. + + SONNY + Luca. + +INT NITE: BUILDING (WINTER 1945) + +The interior of an abandoned building. SEVERAL MEN in suits +and ties sit around in the booths. + +HAGEN sits in one: SOLLOZZO sits across from him. + + SOLLOZZO + I know you're not in the muscle end + of the family--so I don't want you + to be afraid. I want you to help + the Corleones and I want you to + help me. + +HAGEN's hands are trembling as he tries to put a cigarette +in his mouth. ONE of the BUTTON MEN brings a bottle of rye +to the table, and pours a little into a delicate, flowered +china cup. HAGEN sips gratefully. + + SOLLOZZO + Your boss is dead... + +HAGEN is overwhelmed: actual tears spring to his eyes. +SOLLOZZO pauses respectfully. + + SOLLOZZO + (pushing the bottle) + Have some more. We got him outside + his office, just before I picked + you up. You have to make the peace + between me and Santino. + +HAGEN still is focused on the grief of losing the old man. + + SOLLOZZO + Sonny was hot for my deal, right? + You know it's the smart thing to + do, too. I want you to talk Sonny + into it. + + HAGEN + (pulling himself together) + Sonny will come after you with + everything he's got. + +SOLLOZZO rises, impatiently. + + SOLLOZZO + That's going to be his first + reaction. You have to talk some + sense into him. The Tattaglia + family stands behind me with all + their people. The other New York + Families will go along with anything + that prevents a full scale war. + +He leans close to HAGEN. + + SOLLOZZO + The Don was slipping; in the old + days I could never have gotten to + him. Now he's dead, nothing can + bring him back. Talk to Sonny, + talk to the Caporegimes, Clemenza + and Tessio...it's good business. + + HAGEN + Even Sonny won't be able to call + off Luca Brasi. + + SOLLOZZO + I'll worry about Luca. You take + care of Sonny and the other two kids. + + HAGEN + I'll try...It's what the Don would + want us to do. + + SOLLOZZO + (lifting his hands in + an expression of harmlessness) + Good...then you can go... + (he escorts him to + the door) + I don't like violence. I'm a + businessman, and blood is a big + expense. + +He opens the door; they step out together. + +EXT NITE: BUILDING + +HAGEN, SOLLOZZO exit. + +But a car pulls up, and ONE of SOLLOZZO'S MEN rushes out. +He indicates with some urgency that he wants to talk to +SOLLOZZO in private. + +Then SOLLOZZO moves with a grave expression. He opens the +door, indicating that HAGEN should be led back in. + + SOLLOZZO + The old man is still alive. Five + bullets in his Sicilian hide and + he's still alive. + (he gives a fatalistic + shrug) + Bad luck for me, bad luck for you. + +EXT NITE: MALL (WINTER 1945) + +MICHAEL driving during the night. There is a little fog in +the air, and moisture has formed on the windshield, making +it difficult to see well. The wipers move across the view, +as the gate of the Corleone Mall appears before us, still +decorated for Christmas. The courtyard is bathed with white +floodlight, giving this place a cold and isolated look. The +narrow entrance mouth of the Mall is sealed off with a link +chain. There are strange cars parked along the curving +cement walk. SEVERAL MEN are congregated about the gate and +chain; ONE of them approaches MICHAEL's car. + + MAN + Who're you? + +ANOTHER peeks his ugly face almost right up to MICHAEL, and +then turns. + + MAN 2 + It's the Don's kid; take the car, + I'll bring him inside. + +The FIRST MAN opens the car door, and MICHAEL steps out. + +INT NITE: HALL (WINTER 1945) + +The Hallway of the main house is filled with MEN MICHAEL +doesn't recognize. They pay little attention to him. Most +of them are waiting; sitting uncomfortably; no one is talking. + +INT NITE: DON'S LIVING ROOM (WINTER 1945) + +MICHAEL moves into the living room; there is a Christmas +tree, and countless greeting cards taped to the walls. + +THERESA HAGEN is sitting stiffly on the sofa, smoking a +cigarette; on the coffee table in front of her is a water +glass half filled with whiskey. On the other side of the +sofa sits CLEMENZA; his face is impassive, but he is +sweating, and the cigar in his hand glistens slickly black +with his saliva. PAULIE GATTO sits tensely and alone on the +other side of the room. CLEMENZA sees MICHAEL, looks up at +him. + + CLEMENZA + Your mother's at the hospital with + the old man: He's gonna pull through. + +MICHAEL nods his relief. + + MICHAEL + Thanks. + +He moves to THERESA. + + MICHAEL + (gently) + You heard from Tom yet? + +Without looking up, she clings to him for a moment, and +trembles. Occasionally, STRANGE MEN will cross through the +room; everyone speaks in a whisper. + + MICHAEL + (taking her hand) + C'mon. + +He leads her into his father's office without knocking. + +INT NITE: DON'S OFFICE (WINTER 1945) + +SONNY and TESSIO are huddled around a yellow pad. They look +up, startled. + + SONNY + Don't worry, Theresa; they just + want to give Tom the proposition, + then they're going to turn him loose. + +He reassuringly hugs THERESA, and then to MICHAEL's surprise, +he kisses him on the cheek. + + SONNY + I was worried when we couldn't get + in touch with you in that hick town. + + MICHAEL + How's Mom? + + SONNY + Good. She's been through it before. + Me too. You were too young to know + about it. You better wait outside; + there're some things you shouldn't + hear. + + MICHAEL + I can help you out... + + SONNY + Oh no you can't, the old man'd be + sore as hell if I let you get mixed + up in this. + + MICHAEL + Jesus Christ, he's my father, Sonny. + + SONNY + Theresa. + +She understands, and leaves them alone. + + SONNY + All right, Mikey...who do we have + to hit, Clemenza or Paulie? + + MICHAEL + What? + + SONNY + One of them fingered the old man. + +MICHAEL didn't realize that the men waiting outside were on +trial for their lives. + + MICHAEL + Clemenza? No, I don't believe it. + + SONNY + You're right, kid, Clemenza is okay. + It was Paulie. + + MICHAEL + How can you be sure? + + SONNY + On the three days Paulie was sick + this month, he got calls from a + payphone across from the old man's + building. We got people in the + phone company. + (he shrugs) + Thank God it was Paulie...we'll + need Clemenza bad. + +MICHAEL is just realizing the gravity and extent of the +situation. + + MICHAEL + Is it going to be all-out war, like + last time? + + SONNY + Until the old man tells me different. + + MICHAEL + Then wait, Sonny. Talk to Pop. + + SONNY + Sollozzo is a dead man, I don't + care what it costs. I don't care + if we have to fight all the five + families in New York. The Tattaglia + family's going to eat dirt. I + don't care if we all go down + together. + + MICHAEL + (softly) + That's not how Pop would have + played it. + + SONNY + I know I'm not the man he was. But + I'll tell you this and he'll tell + you too. When it comes to real + action, I can operate as good as + anybody short range. + + MICHAEL + (calmly) + All right, Sonny. All right. + + SONNY + Christ, if I could only contact Luca. + + MICHAEL + Is it like they say? Is he that + good? + +Outside, we HEAR THERESA cry out, almost a scream of relief. +Then open the door and rush out. + +Everyone is standing: in the doorway, TOM HAGEN is wrapped +in a tight embrace with his WIFE. + + HAGEN + If I plead before the Supreme + Court, I'll never do better than I + did tonight with that Turk. + +EXT NITE: MALL, FEATURING DON'S HOUSE (WINTER 1945) + +The windows of the main house are dark except for the DON's +study. It stands out against the cold, dark night. + +INT NITE: DON'S LIVING ROOM (WINTER 1945) + +The living room is empty, save for PAULIE GATTO sitting on +the edge of the sofa. The clock reads: 4:00 a.m. + +INT NITE: DON'S OFFICE (WINTER 1945) + +SONNY, MICHAEL, HAGEN, CLEMENZA and TESSIO; all exhausted, +in shirtsleeves, about to fall asleep. It is four in the +morning; there is evidence of many cups of coffee and many +snacks. They can barely talk anymore. + + HAGEN + Is the hospital covered? + + SONNY + The cops have it locked in and I + got my people there visiting Pop + all the time. What about the hit + list. + +HAGEN widens his sleepy eyes, and looks at the yellow pad. + + HAGEN + Too much, too far, too personal. + The Don would consider this all + purely a business dispute: Get rid + of Sollozzo, and everything falls + in line. YOU don't have to go + after the Tattaglias. + +CLEMENZA nods. + + HAGEN + What about Luca? Sollozzo didn't + seem worried about Luca. That + worries me. + + SONNY + If Luca sold out we're in real + trouble. + + HAGEN + Has anyone been able to get in + touch with him? + + SONNY + No, and I've been calling all night. + Maybe he's shacked up. + + HAGEN + Luca never sleeps over with a broad. + He always goes home when he's + through. Mike, keep ringing Luca's + number. + +MICHAEL, very tired, picks up the phone, and dials the +number once again. He can hear the phone ringing on the +other end but no one answers. Then hangs up. + + HAGEN + Keep trying every fifteen minutes. + (exhausted) + + + SONNY + Tom, you're the Consigliere, what + do we do if the old man dies? + + HAGEN + Without your father's political + contacts and personal influence, + the Corleone family loses half its + strength. Without your father, the + other New York families might wind + up supporting Sollozzo, and the + Tattaglias just to make sure there + isn't a long destructive war. The + old days are over, this is 1946; + nobody wants bloodshed anymore. If + your father dies...make the deal, + Sonny. + + SONNY + (angry) + That's easy to say; it's not your + father. + + HAGEN + (quietly) + I was as good a son to him as you + or Mike. + + SONNY + Oh Christ Tom, I didn't mean it + that way. + + HAGEN + We're all tired... + + SONNY + OK, we sit tight until the old man + can give us the lead. But Tom, I + want you to stay inside the Mall. + You too, Mike, no chances. Tessio, + you hold your people in reserve, + but have them nosing around the + city. The hospital is yours; I + want it tight, fool-proof, 24 hours + a day. + +There is a timid knock on the door. + + SONNY + What is it? + +PAULIE GATTO looks in. + + CLEMENZA + I tol' you to stay put, Paulie... + + PAULIE + The guy at the gate's outside...says + there's a package... + + SONNY + Tessio, see what it is. + +TESSIO gets up, leaves. + + PAULIE + You want me to hang around? + + SONNY + Yeah. Hang around. + + PAULIE + Outside? + + CLEMENZA + Outside. + + PAULIE + Sure. + +He closes the door. + + SONNY + Clemenza. You take care of Paulie. + I don't ever want to see him again. + Understood? + + CLEMENZA + Understood. + + SONNY + Okay, now you can move your men + into the Mall, replace Tessio's + people. Mike, tomorrow you take a + couple of Clemenza's people and go + to Luca's apartment and wait for + him to show. That crazy bastard + might be going after Sollozzo right + now if he's heard the news. + + HAGEN + Maybe Mike shouldn't get mixed up + in this so directly. You know the + old man doesn't want that. + + SONNY + OK forget it, just stay on the phone. + +MICHAEL is embarrassed to be so protected. He dials Luca +Brasi's number once again. The ring repeats, but no one +answers. + +TESSIO comes back, carrying Luca Brasi's bullet-proof vest +in his hand. He unwraps it; there is a large fish wrapped +inside. + + CLEMENZA + A Sicilian message: Luca Brasi + sleeps with the fishes. + +INT. NITE: NIGHTCLUB (WINTER 1945) + +LUCA sits at the Bar of the Tattaglia Nightclub, as we +remember him. BRUNO TATTAGLIA had just patted his hand. +LUCA looks up at him. + +Then SOLLOZZO pats the other hand, almost affectionately. +LUCA is just about to twist his hands away, when they both +clamp down as hard as they can. Suddenly, a garrote is +thrown around his neck, and pulled violently tight. His +face begins to turn to purple blotches, and then totally +purple, right before our eyes; his tongue hangs out, in a +far more extreme way than a normal tongue could. His eyes +bulge. + +ONE of the MEN looks down at him in disgust as LUCA's +strength leaves him. + + BRUNO + (making an ugly face) + Oh Christ...all over the floor. + +SOLLOZZO lets LUCA's hand go with a victorious smile on his +face. + +LUCA falls to the floor. + + SOLLOZZO + The Godfather is next. + +----------------------------------------FADE OUT-------- + +FADE IN: + +EXT DAY: CLEMENZA'S HOUSE (WINTER 1945) + +Morning in a simple Brooklyn suburb. There are rows of +pleasant houses; driveway after driveway, down the block. A +dark, somber young man of thirty-one or two walks with a +noticeable limp down the sidewalk, and rings the bell. This +is ROCCO LAMPONE. The woman of the house, MRS. CLEMENZA, +talks to him through the screen door, and then points to the +side of the house. ROCCO moves to the garage, which is +specially heated, and in which CLEMENZA is busy at work +washing a shiny brand new Lincoln. LAMPONE admires the car. + + LAMPONE + Nice. + + CLEMENZA + Crazy Detroit delivered it with a + wooden bumper. They're going to + send me the chrome bumpers in a + couple months. I waited two years + for this car to come with wooden + bumpers! + +He scrubs and polishes with great affection. + + CLEMENZA + Today you make your bones on Paulie. + You understand everything? + + LAMPONE + Sure. + +As he scrubs around the glove compartment, he opens it, +unwraps a gun and gives it to LAMPONE. + + CLEMENZA + .22 soft-nosed load. Accurate up + to five feet. + +LAMPONE expertly puts the gun away. GATTO's car pulls into +the driveway, and he sounds the horn. + +The two men walk to the car. GATTO is driving, a bit +nervous, like he doesn't know what is up. LAMPONE gets in +the rear seat; CLEMENZA in the front, making a grunt of +recognition. He looks at his wristwatch, as though wanting +to chide PAULIE for being late. PAULIE flinches a little +when he sees LAMPONE will ride behind him; he half turns: + + PAULIE + Rocco, sit on the other side. A + big guy like you blocks my rearview + mirror. + +CLEMENZA turns sourly to PAULIE. + + CLEMENZA + Goddamn Sonny. He's running scared. + He's already thinking of going to + the mattresses. We have to find a + place on the West Side. Paulie, + you know a good location? + +PAULIE relaxes a bit; he thinks he's off any possible hook +he was on. Also there's the money he can make by selling +Sollozzo any secret location. + + PAULIE + I'll think about it. + + CLEMENZA + (grunting) + Drive while you thinking; I wanna + get to the City this month! + +The car pulls out. + +EXT DAY: PAULIE'S CAR - ON ROAD (WINTER 1945) + +Inside PAULIE drives; and CLEMENZA sits in a grump. OUR +VIEW does not show LAMPONE in the rear seat. + +EXT DAY: PAULIE'S CAR AT TUNNEL (WINTER 1945) + +The Car crosses to the Midtown Tunnel in the late Winter +light. + +INT DAY: PAULIE'S CAR IN TUNNEL (WINTER 1945) + +Inside the tunnel; GATTO doesn't like not seeing LAMPONE. +He tries to adjust his rearview mirror to catch a glimpse of +him. + + CLEMENZA + Pay attention! + +EXT DAY: PAULIE'S CAR AT MATTRESS (WINTER 1945) + +The car is parked in the City. PAULIE comes down from an +available apartment and gets back into the car. + + PAULIE + Good for ten men... + + CLEMENZA + OK, go to Arthur Avenue; I'm + suppose to call when I found + somethin'. + +The car pulls off. + +EXT DAY: RESTAURANT (WINTER 1945) + +New part of the city; the car pulls up in a parking lot. +CLEMENZA get outs, glances at LAMPONE, then to PAULIE. + + CLEMENZA + You wait; I'll call. + +He walks, tucking his shirt into his pants, around the +corner and enters the Luna Restaurant. + +INT DAY: RESTAURANT (WINTER 1945) + +CLEMENZA enters the little restaurant, sits down at a table. +The WAITERS know him; immediately put a bottle of wine, some +bread--and then a plate of veal on his table. He eats. + +EXT DAY: RESTAURANT (WINTER 1945) + +CLEMENZA exits the restaurant, belches, adjusts his pants; +he is well fed. + +We move with him around the corner, not knowing what to +expect has happened to Paulie. + +There is the car; PAULIE is still sitting behind the wheel, +LAMPONE in the rear seat. CLEMENZA steps in. + + CLEMENZA + He talked my ear off. Want us to + go back to Long Beach; have another + job for us. Rocco, you live in the + City, can we drop you off? + + LAMPONE (O.S.) + Ah, I left my car at your place. + + CLEMENZA + OK, then you gotta come back. + +The car pulls out. By now, PAULIE is completely relaxed and +secure. + + PAULIE + You think we'll go for that last + place? + + CLEMENZA + Maybe, or you gotta know now. + + PAULIE + Holy cow, I don't gotta know nothing. + +EXT DAY: PAULIE'S CAR ON CAUSEWAY (WINTER 1945) + +The car moves along the ready beach area of the causeway. +Inside, CLEMENZA turns to PAULIE. + + CLEMENZA + Paulie, pull over. I gotta take a + leak. + +The car pulls off the Causeway, into the reeds. CLEMENZA +steps out of the car, OUR VIEW MOVING with him. + +He turns his back three quarters from us (we can no longer +see the car), unzips, and we hear the sound of urine hitting +the ground. We wait on this for a moment; and then there +are two GUNSHOTS. CLEMENZA finishes his leak, zips up and +turns, moving back to the car. + +PAULIE is dead, bleeding from the mouth; the windows behind +him are shattered. + + CLEMENZA + Leave the gun. + +LAMPONE gets out, the two men walk through the reeds a few +feet where there is another car. They get in, and drive off. + +---------------------------------------FADE OUT--------- + +EXT DAY: MALL (WINTER 1945) + +HIGH ANGLE OF THE MALL. It is late afternoon. Many strange +cars are parked on the nearby streets. We can see the group +of BUTTON MEN, stationed here and there, obviously sentries +with concealed weapons. + +MICHAEL walks along in the rear yard. + +He is bundled in a warm marine coat. He looks at the +strange men, regarding them with an uncertain awe. They +look back at him, at first suspiciously and then with the +respect of his position. He is like an exile Prince. He +wanders past them, and hesitates and looks at the yard. + +A rusted set of garden swings; and other home playground +equipment. The basketball ring now half coming off. This +is where he was a child. Then a shout. + + CLEMENZA (O.S.) + Mike. Hey Mikey; telephone. + +CLEMENZA had shouted from the kitchen window. MICHAEL +hurries into the house. + +INT DAY: DON'S KITCHEN (WINTER 1945) + +CLEMENZA is in the kitchen, cooking over an enormous pot. +He points to the kitchen wall phone which is hanging off the +hook. + + CLEMENZA + Some dame. + +MICHAEL picks it up. + + MICHAEL + Hello. Kay? + + KAY (O.S.) + How is your father? + + MICHAEL + He'll be OK. + + KAY (O.S.) + (pause) + I love you. + +He glances at the THUGS in the kitchen. Tries to shield the +phone. + + KAY (O.S.) + I LOVE YOU. + + MICHAEL + Yeah Kay, I'm here. + + KAY (O.S.) + Can you say it? + + MICHAEL + Huh? + + KAY (O.S.) + Tell me you love me. + +MICHAEL glances at the HOODS at the kitchen table. He curls +up in a corner, and in a quarter voice: + + MICHAEL + I can't... + + KAY (O.S.) + Please say it. + + MICHAEL + Look. I'll see you tonight, OK? + + KAY (O.S.) + OK. + (click) + + +CLEMENZA is getting ready to build a tomato sauce for all +the button men stationed around the house. + + CLEMENZA + How come you don't tell that nice + girl you love her...here, learn + something... you may have to feed + fifty guys some day. You start + with olive oil...fry some garlic, + see. And then fry some sausage...or meat + balls if you like...then you throw + in the tomatoes, the tomato + paste...some basil; and a little + red wine...that's my trick. + +SONNY peeks into the kitchen; sees CLEMENZA. + + SONNY + You take care of Paulie? + + CLEMENZA + You won't see Paulie anymore. He's + sick for good this winter. + +MICHAEL starts to leave. + + SONNY + Where are you going? + + MICHAEL + To the city. + + SONNY + (to Clemenza; dipping + bread into the sauce) + Send some bodyguards. + + MICHAEL + I don't need them, Sonny. I'm just + going to see Pop in the hospital. + Also, I got other things. + + CLEMENZA + Sollozzo knows Mike's a civilian. + + SONNY + OK, but be careful. + +EXT NITE: CAR + +MICHAEL sits in the rear seat, calmly, as he is being driven +into the city. THREE BUTTONMEN are crowded into the front +seat. + +INT NITE: HOTEL LOBBY + +MICHAEL crosses the lobby, past lines of servicemen trying +to book rooms. + +INT NITE: HOTEL + +MICHAEL and KAY eating a quiet dinner at the hotel. He is +preoccupied, she's concerned. + + MICHAEL + Visiting hour ends at eight thirty. + I'll just sit with him; I want to + show respect. + + KAY + Can I go to the hospital with you? + + MICHAEL + I don't think so. You don't want + to end up on page 3 of the Daily + News. + + KAY + My parents don't read the Daily + News. All right, if you think I + shouldn't. I can't believe the + things the papers are printing. + I'm sure most of it's not true. + + MICHAEL + I don't think so either. + (silence) + I better go. + + KAY + When will I see you again? + + MICHAEL + I want you to go back to New + Hampshire...think things over. + +He leans over her; kisses her. + + KAY + When will I see you again? + + MICHAEL + Goodbye. + +Quietly, he moves out the door. + +KAY lies on the bed a while, and then, to herself: + + KAY + Goodbye. + +EXT NITE: DON'S HOSPITAL (WINTER 1945) + +A taxi pulls up in front of a hospital, marked clearly with +a neon sign "HOSPITAL--EMERGENCY." MICHAEL steps out, pays +the fare...and then stops dead in his tracks. + +MICHAEL looks. + +He sees the hospital in the night; but it is deserted. He +is the only one on the street. There are gay, twinkling +Christmas decorations all over the building. He walks, +slowly at first, and then ever so quickly, up the steps. He +hesitates, looks around. This area is empty. He checks the +address on a scrap of paper. It is correct. He tries the +door, it is empty. + +He walks in. + +INT NITE: HOSPITAL LOBBY (WINTER 1945) + +MICHAEL stands in the center of an absolutely empty hospital +lobby. He looks to the right; there is a long, empty +corridor. To the left: the same. + +HIGH FULL ANGLE, as MICHAEL walks through the desolated +building lit by eerie green neon lighting. All we hear are +his sole footsteps. + +He walks up to a desk marked "INFORMATION". No one is there. +He moves quickly to a door marked "OFFICE"; swings into it; +no one is there. He looks onto the desk: There is half a +sandwich, and a half-filled bottle of coke. + + MICHAEL + Hello? Hello? + +Now he knows something is happening, he moves quickly, +alertly. MICHAEL walking down the hospital corridors; all +alone. The floors have just been mopped. They are still wet. + +INT NITE: HOSPITAL STAIRS + +Now he turns onto a staircase; ever quickening; up several +flights. + +INT NITE: 4TH FLOOR CORRIDOR + +He steps out onto the fourth floor. He looks. There are +merely empty corridors. He takes out his scrap of paper; +checks it. "Room 4A." Now he hurries, trying to follow the +code of hospital rooms; following the right arrows, quicker +and quicker they flash by him. Now he stops, looks up "4A-- +Corleone". + +There is a special card table set up there with some +magazines...and some smoking cigarettes still in the +ashtray--but no detectives, no police, no bodyguards. + +INT NITE: DON'S ROOM 4A + +Slowly he pushes the door open, almost afraid at what he +will find. He looks. Lit by the moonlight through the +window, he can see a FIGURE in the hospital bed alone in the +room, and under a transparent oxygen tent. All that can be +heard is the steady though strained breathing. Slowly +MICHAEL walks up to it, and is relieved to see his FATHER, +securely asleep. Tubes hang from a steel gallows beside the +bed, and run to his nose and mouth. + + VOICE (O.S.) + What are you doing here? + +This startles MICHAEL; who almost jumps around. It is a +NURSE lit from the light behind her in the hallway. + + NURSE + You're not supposed to be here now. + +MICHAEL calms himself, and moves to her. + + MICHAEL + I'm Michael Corleone--this is my + father. What happened to the + detectives who were guarding him? + + NURSE + Oh your father just had too many + visitors. It interfered with the + hospital service. The police came + and made them all leave just ten + minutes ago. + (comfortingly) + But don't worry. I look in on him. + + MICHAEL + You just stand here one minute... + +Quickly he moves to the telephone, dials a number. + + MICHAEL + Sonny...Sonny--Jesus Christ, I'm + down at the hospital. I came down + late. There's no one here. None + of Tessio's people--no detectives, + no one. The old man is completely + unprotected. + + SONNY (O.S.) + All right, get him in a different + room; lock the door from the inside. + I'll have some men there inside of + fifteen minutes. Sit tight, and + don't panic. + + MICHAEL + (furiously, but kept inside) + I won't panic. + +He hangs up; returns to the NURSE... + + NURSE + You cannot stay here...I'm sorry. + + MICHAEL + (coldly) + You and I are going to move my + father right now...to another room + on another floor...Can you + disconnect those tubes so we can + wheel the bed out? + + NURSE + Absolutely not! We have to get + permission from the Doctor. + + MICHAEL + You've read about my father in the + papers. You've seen that no one's + here to guard him. Now I've just + gotten word that men are coming to + this hospital to kill him. Believe + me and help me. + + NURSE + (frightened) + We don't have to disconnect them, + we can wheel the stand with the bed. + +She does so...and they perform the very difficult task of +moving the bed and the apparatus, out of the room. + +INT NITE: 4TH FLOOR HOSPITAL (WINTER 1945) + +They roll the bed, the stand, and all the tubes silently +down the corridor. We hear FOOTSTEPS coming up the stairs. +MICHAEL hears them, stops. + + MICHAEL + Hurry, into there. + +They push it into the first available room. MICHAEL peeks +out from the door. The footsteps are louder; then they +emerge. It is ENZO, NAZORINE's helper, carrying a bouquet +of flowers. + + MICHAEL + (stepping out) + Who is it? + + ENZO + Michael...do you remember me, Enzo, + the baker's helper to Nazorine, now + his son-in-law. + + MICHAEL + Enzo, get out of here. There's + going to be trouble. + +A look of fear sweeps through ENZO's face. + + ENZO + If there...will be trouble...I stay + with you, to help. I owe it to the + Godfather. + +MICHAEL thinks, realizes he needs all the help he can get. + + MICHAEL + Go outside; stand in front...I'll + be out in a minute. + +INT NITE: DON'S SECOND HOSPITAL ROOM (WINTER 1945) + +They part. MICHAEL moves into the hospital room where they +put his FATHER. + + NURSE + (frightened) + He's awake. + +MICHAEL looks at the OLD MAN, his eyes are open, though he +cannot speak. MICHAEL touches his face tenderly. + + MICHAEL + Pop...Pop, it's me Michael. Shhhh, + don't try to speak. There are men + who are coming to try to kill you. + But I'm with you...I'm with you + now... + +The OLD MAN tries to speak...but cannot. MICHAEL tenderly +puts his finger to his FATHER's lips. + +EXT NITE: DON'S HOSPITAL STREET (WINTER 1945) + +Outside the hospital is empty save for a nervous ENZO, +pacing back and forth brandishly the flowers as his only +weapon. MICHAEL exits the hospital and moves to him. They +both stand under a lamppost in the cold December night. +They are both frightened; MICHAEL gives ENZO a cigarette, +lights it. ENZO's hands are trembling, MICHAEL's are not. + + MICHAEL + Get rid of those and look like + you've got a gun in your pocket. + +The windows of the hospital twinkle with Christmas +decorations. + + MICHAEL + Listen... + +We HEAR the sound of a single automobile coming. MICHAEL +and ENZO look with fear in their eyes. Then MICHAEL takes +the bouquet of flowers and stuffs them under his jacket. +They stand, hands in their pockets. + +A long low black car turns the corner and cruises by them. +MICHAEL's and ENZO's faces are tough, impassive. The car +seems as though it will stop; and then quickly accelerates. +MICHAEL and ENZO are relieved. MICHAEL looks down; the +BAKER's hands are shaking. He looks at his own, and they +are not. + +Another moment goes by and we can hear the distant sound of +police sirens. They are clearly coming toward the hospital, +getting louder and louder. MICHAEL heaves a sigh of relief. + +In a second, a patrol car makes a screaming turn in front of +the hospital; then two more squad cars follow with uniformed +POLICE and DETECTIVES. He smiles his relief and starts +toward them. TWO huge, burly POLICEMEN suddenly grab his +arms while ANOTHER frisks him. A massive POLICE CAPTAIN, +spattered with gold braid and scrambled eggs on his hat, +with beefy red face and white hair seems furious. This is +McCLUSKEY. + + MCCLUSKEY + I thought I got all you guinea + hoods locked up. Who the hell are + you and what are you doing here? + +ANOTHER COP standing nearby: + + COP + He's clean, Captain. + +MICHAEL studies McCLUSKEY closely. + + MICHAEL + (quietly) + What happened to the detectives who + were supposed to be guarding my + father? + + MCCLUSKEY + (furious) + You punk-hood. Who the hell are + you to tell me my business. I + pulled them off. I don't care how + many Dago gangsters kill each other. + I wouldn't lift a finger to keep + your old man from getting knocked + off. Now get the hell out of here; + get off this street you punk, and + stay away from this hospital. + +MICHAEL stands quiet. + + MICHAEL + I'll stay until you put guards + around my father's room. + + MCCLUSKEY + Phil, lock this punk up. + + A DETECTIVE + The Kid's clean, Captain...He's a + war hero, and he's never been mixed + up in the rackets... + + MCCLUSKEY + (furious) + Goddam it, I said lock him up. Put + the cuffs on him. + + MICHAEL + (deliberately, right + to McCLUSKEY's face, + as he's being handcuffed) + How much is the Turk paying you to + set my father up, Captain? + +Without any warning, McCLUSKEY leans back and hits MICHAEL +squarely on the jaw with all his weight and strength. +MICHAEL groans, and lifts his hand to his jaw. He looks at +McCLUSKEY; we are his VIEW and everything goes spinning, and +he falls to the ground, just as we see HAGEN and CLEMENZA'S +MEN arrive. + +---------------------------------------FADE OUT--------- + +EXT DAY: MALL (WINTER 1945) + +HIGH ANGLE VIEW of THE CORLEONE MALL. The gateway now has a +long black car blocking it. There are more BUTTON MEN +stationed more formally; and some of them visibly carrying +rifles; those of the houses close to the courtyard have MEN +standing by open windows. It is clear that the war is +escalating. A car pulls up and out get CLEMENZA, LAMPONE, +MICHAEL and HAGEN. MICHAEL's jaw is wired and bandaged. He +stops and looks up at the open window. We can see MEN +holding rifles. + + MICHAEL + Christ, Sonny really means business. + +They continue walking. TESSIO joins them. The various +BODYGUARDS make no acknowledgment. + + CLEMENZA + How come all the new men? + + TESSIO + We'll need them now. After the + hospital incident, Sonny got mad. + We hit Bruno Tattaglia four o'clock + this morning. + +INT DAY: DON'S HALLWAY + +They enter the house past the scores of new and strange faces. + +INT DAY: DON'S OFFICE (WINTER 1945) + +SONNY is in the DON's office; he is excited and exuberant. + + SONNY + I've got a hundred button men on + the streets twenty-four hours a day. + If Sollozzo shows one hair on his + ass he's dead. + +He sees MICHAEL, and holds his bandaged face in his hand, +kiddingly. + + SONNY + Mikey, you look beautiful! + + MICHAEL + Cut it out. + + SONNY + The Turk wants to talk! The nerve + of that son of a bitch! After he + craps out last night he wants a meet. + + HAGEN + Was there a definite proposal? + + SONNY + Sure, he wants us to send Mike to + meet him to hear his proposition. + The promise is the deal will be so + good we can't refuse. + + HAGEN + What about that Tattaglias? What + will they do about Bruno? + + SONNY + Part of the deal: Bruno cancels out + what they did to my father. + + HAGEN + We should hear what they have to say. + + SONNY + No, no Consiglere. Not this time. + No more meetings, no more + discussions, no more Sollozzo + tricks. Give them one message: I + WANT SOLLOZZO. If not, it's all + out war. We go to the mattresses + and we put all the button men out + on the street. + + HAGEN + The other families won't sit still + for all out war. + + SONNY + Then THEY hand me Sollozzo. + + HAGEN + Come ON Sonny, your father wouldn't + want to hear this. This is not a + personal thing, this is Business. + + SONNY + And when they shot me father... + + HAGEN + Yes, even the shooting of your + father was business, not personal... + + SONNY + No no, no more advice on how to + patch it up Tom. You just help me + win. Understood? + +HAGEN bows his head; he is deeply concerned. + + HAGEN + I found out about this Captain + McCluskey who broke Mike's jaw. + He's definitely on Sollozzo's + payroll, and for big money. + McCluskey's agreed to be the Turk's + bodyguard. What you have to + understand is that while Sollozzo + is guarded like this, he's + invulnerable. Nobody has ever + gunned down a New York Police + Captain. Never. It would be + disastrous. All the five families + would come after you Sonny; the + Corleone family would be outcasts; + even the old man's political + protection would run for cover. So + just...take that into consideration. + + SONNY + (still fuming) + McCluskey can't stay with the Turk + forever. We'll wait. + + MICHAEL + We can't wait. No matter what + Sollozzo say about a deal, he's + figuring out how to kill Pop. You + have to get Sollozzo now. + + SONNY + The kid's right. + + HAGEN + What about McCluskey? + + MICHAEL + Let's say now that we have to kill + McCluskey. We'll clear that up + through our Newspaper contacts later. + + SONNY + Go on Mike. + + MICHAEL + They want me to go to the conference + with Sollozzo. Set up the meeting + for two days from now. Sonny, get + our informers to find out where the + meeting will be held. + Insist it has to be a public place: + a bar or restaurant at the height + of the dinner hour. So I'll feel + safe. They'll check me when I meet + them so I won't be able to carry a + weapon; but Clemenza, figure out a + way to have one planted there for + me. + (pause) + Then I'll kill them both. + +Everyone in the room is astonished; they all look at MICHAEL. +Silence. SONNY suddenly breaks out in laughter. He points +a finger at MICHAEL, trying to speak. + + SONNY + You? You, the high-class college + kid. You never wanted to get mixed + up in the family business. Now you + wanta gun down a police Captain and + the Turk just because you got + slapped in the face. You're taking + it personal, it's just business and + he's taking it personal. + +Now CLEMENZA and TESSIO are also smiling; only HAGEN keeps +his face serious. + + MICHAEL + (angrily, but cold) + Sonny, it's all personal, and I + learned it from him, the old man, + the Godfather. He took my joining + the Marines personal. I take + Sollozzo trying to kill my father + personal, and you know I'll kill + them Sonny. + +MICHAEL radiates danger...SONNY stops laughing. + +INT DAY: CLEMENZA'S CELLAR (WINTER 1945) + +CLOSE on a revolver. + + CLEMENZA (O.S.) + It's as cold as they come, + impossible to trace. + (he turns it upside down) + Don't worry about prints Mike, I + put a special tape on the trigger + and butt. Here. + (he hands the gun to + another pair of hands) + Whatsamatter? Trigger too tight. + (it fires: very LOUD) + I left it noisy, so it'll scare any + pain-in-the-neck innocent bystander + away. + +MICHAEL is alone with CLEMENZA in a cellar workshop. + + CLEMENZA + Just let your hand drop to your + side, and let the gun slip out. + Everybody will still think you got + it. They'll be starin' at your + face, see? Then walk out of the + place real fast, but don't run. + Don't look anybody directly in the + eye, but don't look away from them + neither. Hey, they'll be scared + stiff o you, believe me. Nobody's + gonna bother with you. Don't worry + about nothing; you'd be surprised + how good these things go. O.K., + put your hat on, let's see how you + look. Helps with identification. + +They put the hat on; CLEMENZA adjusts it. + + CLEMENZA + Mostly it gives witnesses an excuse + to change their identification when + we make them see the light. Then + you take a long vacation and we + catch the hell. + + MICHAEL + How bad will it be? + + CLEMENZA + Probably all the other families + will line up against us. But, it's + alright. These things have to + happen once every ten years or + so...gets rid of the bad blood. + You gotta stop 'em at the beginning. + Like they shoulda stopped Hitler at + Munich, they shoulda never let him + get away with that, they were just + asking for big trouble... + +INT DAY: DON'S HALL & LIVING ROOM (WINTER 1945) + +MICHAEL steps into the foyer of the main house. A card +table is set up with a man playing cards with three of the +Corleone buttonmen. + +He continues into the living room. It's a mess. SONNY +asleep on the sofa. On the coffee table are the remains of +a take-out Chinese food dinner, and a half-empty bottle of +whisky. The radio is playing. + + MICHAEL + Why don't you stop living like a + bum and get this place cleaned up. + + SONNY + What are you, inspecting the + barracks? + (SONNY sits up with + his head in his hands) + You ready? Did Clemenza tell you + be sure to drop the gun right away? + + MICHAEL + A million times. + + SONNY + Sollozzo and McCluskey are going to + pick you up in an hour and a half + on Times Square, under the big + Camels sign. + + HAGEN + We don't let Mike go until we have + the hostage, Sonny. + + CLEMENZA + It's okay...the hostage is outside + playing pinochle with three of my + men. + +The phone rings in the DON's office. + + SONNY + That could be a Tattaglia informer + with the meeting place. + +INT DAY: DON'S OFFICE (WINTER 1945) + +HAGEN has hurried into the Den to get the phone; the OTHERS +move in. + +HAGEN's on the phone; he writes something down. + + SONNY + One of Tattaglia's people? + + HAGEN + No. Our informer in McCluskey's + precinct. Tonight at 8:00 he + signed out for Louis' Restaurant in + the Bronx. Anyone know it. + + TESSIO + Sure, I do. It's perfect for us. + A small family place with big + booths where people can talk in + private. Good food. Everybody + minds their business. Perfect. + (he moves to the desk + and makes a crude drawing) + This is the entrance, Mike. When + you finish just walk out and turn + left, then turn the corner. + Clemenza, you gotta work fast to + plant the gun. They got an old- + fashioned toilet with a space + between the water container and the + wall. We can tape the gun behind + there. + + CLEMENZA + Mike, they're gonna frisk you in + the car. You'll be clean so they + won't worry 'bout nothing. In the + restaurant, wait and talk a while, + and then ask permission to go. See? + Then when you come out, don't waste + time; don't sit down...you come out + blasting. And don't take chances. + In the head, two shots apiece. And + out as fast as your legs can move. + + SONNY + I want somebody very good, very + safe to plant that gun. I don't + want my brother coming out of that + toilet with just his dick in his + hand. + + CLEMENZA + The gun will be there. + + SONNY + (to MICHAEL, warmly) + You're on, kid...I'll square it + with Mom your not seeing her before + you left. And I'll get a message + to your girl friend when I think + the time is right. + + CLEMENZA + We gotta move... + + MICHAEL + O.K. How long do you think before + I can come back? + + SONNY + Probably a year... + + HAGEN + (starting to crack) + Jesus, I don't know... + + SONNY + Can you do it Mike? + +MICHAEL moves out. + +EXT NITE: CAMELS SIGN (WINTER 1945) + +The enormous "CAMELS" sign, puffing smoke, below it stands +MICHAEL, dressed in a warm overcoat, and wearing the hat +CLEMENZA had given him. A long black car pulls around the +corner and slows before him. The DRIVER, leaning over, open +the front door. + + DRIVER + Get in, Mike. + +He does, the car drives off. + +EXT NITE: SOLLOZZO'S CAR (WINTER 1945) + +Inside the car, SOLLOZZO reaches his hand over the back seat +and shakes MIKE's hand. + + SOLLOZZO + I'm glad you came, Mike. I hope we + can straighten everything out. All + this is terrible, it's not the way + I wanted things to happen at all. + It should never have happened. + + MICHAEL + I want to settle things tonight. I + want my father left alone. + + SOLLOZZO + He won't be; I swear to you be my + children he won't be. Just keep an + open mind when we talk. I hope + you're not a hothead like your + brother, Sonny. It's impossible to + talk business with him. + +McCLUSKEY grunts. + + MCCLUSKEY + He's a good kid. He's all right. + Turn around, up on your knees, + facing me. + +He gives MICHAEL a thorough frisk. + + MCCLUSKEY + I'm sorry about the other night + Mike. I'm getting too old for my + job, too grouchy. Can't stand the + aggravation. You know how it is. + He's clean. + +EXT NITE: SOLLOZZO'S CAR - WEST SIDE HIGHWAY (WINTER 1945) + +MICHAEL looks at the DRIVER and then ahead to see where +they're heading. + +The car takes the George Washington Bridge. MICHAEL is +concerned. + + MICHAEL + We're going to New Jersey? + + SOLLOZZO + (sly) + Maybe. + +MICHAEL closes his eyes. + +EXT NITE: SOLLOZZO'S CAR ON G.W. BRIDGE (WINTER 1945) + +The car speeds along the George Washington Bridge on its way +to New Jersey. Then suddenly it hits the divider, +temporarily lifts into the air, and bounces over into the +lanes going back to New York. It then hits it very fast, on +the way back to the city. + +EXT NITE: SOLLOZZO'S CAR (WINTER 1945) + +SOLLOZZO checks to see the cars that had been following, and +then leans to the DRIVER. + + SOLLOZZO + Nice work; I'll remember it. + +MICHAEL is relieved. + +EXT NITE: LUNA AZURA RESTAURANT (WINTER 1945) + +The car pulls up in front of a little family restaurant in +the Bronx: The "LUNA AZURA". There is no one on the street. +MICHAEL looks to see if the DRIVER is going to get out with +them. He gets out, and opens the door. SOLLOZZO, McCLUSKEY +and MICHAEL get out; the DRIVER remains leaning against the +car. They enter the restaurant. + +INT NITE: LUNA AZURA (WINTER 1945) + +A very small family restaurant with a mosaic tile floor. +SOLLOZZO, MICHAEL and McCLUSKEY sit around a rather small +round table near the center of the room. There are empty +booths along the side walls; with a handful of CUSTOMERS, +and ONE or TWO WAITERS. It is very quiet. + + MCCLUSKEY + Is the Italian food good here? + + SOLLOZZO + Try the veal; it's the finest in + New York. + +The solitary WAITER brings a bottle of wine to the table. +They watch him silently as he uncorks it and pours three +glasses. Then, when he leaves, SOLLOZZO turns to McCLUSKEY: + + SOLLOZZO + I am going to talk Italian to Mike. + + MCCLUSKEY + Sure, you two go right ahead; I'll + concentrate on my veal and my + spaghetti. + +SOLLOZZO now begins in rapid Sicilian. MICHAEL listening +carefully and nodding every so often. Then MICHAEL answers +in Sicilian, and SOLLOZZO goes on. The WAITER occasionally +brings food; and they hesitate while he is there; then go on. +Then MICHAEL, having difficulty expressing himself in +Italian, accidentally lapses into English. + + MICHAEL + (using English for emphasis) + Most important...I want a sure + guarantee that no more attempts + will be made on my father's life. + + SOLLOZZO + What guarantees can I give you? I + am the hunted one. I've missed my + chance. You think too highly of + me, my friend...I am not so + clever...all I want if a truce... + +MICHAEL looks long and hard at SOLLOZZO, who is smiling +holding his open hands up as if to say: "I have no tricks up +my sleeve". Then he looks away and makes a distressed look +on his face. + + SOLLOZZO + What is it? + + MICHAEL + Is it all right if I go to the + bathroom? + +SOLLOZZO is intuitively suspicious. He studies MICHAEL with +his dark eyes. Then he thrusts his hand onto MICHAEL's +thigh feeling in and around, searching for a weapon. + + MCCLUSKEY + I frisked him; I've frisked + thousands of young punks; he's clean. + +He looks at a MAN sitting at a table opposite them; +indicating the bathroom with his eyes. The MAN nods, +indicating no one is there. + + SOLLOZZO + Don't take too long. + +MICHAEL gets up and calmly walks to the bathroom, and +disappears inside. + +INT NITE: LUNA AZURA TOILET (WINTER 1945) + +MICHAEL steps into the small bathroom; he is breathing very +hard. He actually uses the urinal. Then he washes his +hands with the bar of pink soap; and dries them thoroughly. +Then he moves to the booth, up to the old-fashioned toilet. +Slowly he reaches behind the water tank; he panics when he +cannot feel the gun. We see behind the tank his hand is +just a few inches from the gun...he gropes +searchingly...finally coming to rest on the gun. + +CLOSE ON MICHAEL; the feel of it reassures him. Then he +breaks it loose from the tape holding it; he takes a deep +breath and shoves it under his waistband. For some +unexplainable reason he hesitates once again, deliberately +washes his hands and dries them. Then he goes out. + +INT NITE: LUNA AZURA (WINTER 1945) + +He hesitates by the bathroom door; and looks at his table. +McCLUSKEY is eating a plate of spaghetti and veal. SOLLOZZO +turns around upon hearing the door, and looks directly at +MICHAEL. MICHAEL looks back. Then he smiles and continues +back to the table. He sits down. + + MICHAEL + Now I can talk. I feel much better. + +The MAN by the far wall had been stiff with attention; now +he too relaxes. SOLLOZZO leans toward MICHAEL who sits down +comfortably and his hands move under the table and unbutton +his jacket. SOLLOZZO begins to speak in Sicilian once again +but MICHAEL's heart is pounding so hard he can barely hear +him. + +The WAITER comes to ask about the order, SOLLOZZO turns to +speak, and without warning, MICHAEL shoves the table away +from him with his left hand, and with his right hand puts +the gun right against SOLLOZZO's head, just touching his +temple. He pulls the trigger, and we see part of SOLLOZZO's +head blown away, and a spray of fine mist of blood cover the +entire area. + +The WAITER looks in amazement; suddenly his white jacket is +sprayed and stained with blood. + +SOLLOZZO seems in a perpetual fall to the floor; through he +seems to hang in space suspended. + +MICHAEL pivots, and looks: + +There is McCLUSKEY, frozen, the fork with a piece of veal +suspended in air before his gaping mouth. + +MICHAEL fires; catching McCLUSKEY in his thick bulging +throat. He makes a horrible, gagging, choking sound. Then +coolly, and deliberately, MICHAEL fires again, fires right +through McCLUSKEY's white-topped skull. + +The air is filled with pink mist. +MICHAEL swings toward the MAN standing by the bathroom wall. +He does not make a move, seemingly paralyzed. +Now he carefully shows his hands to be empty. +The WAITER steps backward through the mist of blood, an +expression of horror on his face. +MICHAEL looks at his two victims: +SOLLOZZO still in his chair, side of his body propped up by +the table. +McCLUSKEY finally falls from the chair to the table. +MICHAEL is wildly at a peak. He starts to move out. His +hand: is frozen by his side, STILL GRIPPING THE GUN. +He moves, not letting the gun go. + +MICHAEL's face; frozen in its expression. + +His hand: still holding the gun. + +His face: finally he closes his eyes. + +His hand relaxes, the gun falls to the floor with a dull thud. + +He walks quickly out of the restaurant, looks back. + +He sees a frozen tableau of the murder; as though it had +been recreated in wax. + +Then he leaves. + +---------------------------------------FADE OUT--------- + +FADE IN: + +INT DAY: MATTRESS (WINTER 1945) + +A MAN is his shirtsleeves plays a sentimental tune on an old +upright piano, while his cigarette burns on the edge. +ANOTHER stands nearby, listening quietly. + +A little distance away, TEN MEN sit around a crude table, +quietly eating. They talk in low, relaxed voices, and there +is an occasional laugh. + +ROCCO LAMPONE stands by a window, which has been covered +with a heavy-mesh wire grating, gazing out. + +A large bowl of pasta is passed, and the MEN eat heartily. + +The sentimental tune is continued over the following: + +INT DAY: BODIES IN CAR (WINTER 1945) + +A MAN and a WOMAN, blood coming out of their noses, lie +still together in a bullet-riddled automobile. + +INT DAY: BODY IN BARBER SHOP (WINTER 1945) + +A MAN is covered by a sheet on the floor of a barber shop. + +INT DAY: MATTRESS + +Ten mattresses are spread out around the otherwise empty +living room of an apartment. THREE or FOUR MEN including +CLEMENZA, are taking naps. + +An arsenal of hand guns are spread out on a card table. + +The MEN at the table continue their dinner; passing and +pouring the wine. + +Trash is thrown in 2 or 3 garbage cans kept in the apartment. + +INT DAY: BODY IN OFFICE (WINTER 1945) + +A MAN, his clothes soaked in blood, lies on the floor of an +office building, dead, under an enormous portrait of Harry S. +Truman. + +EXT DAY: BODY ON STOOP (WINTER 1945) + +ANOTHER MAN, his trousers soaked in blood, lies spanning +three steps of a front stoop. + +INT NITE: MATTRESS (WINTER 1945) + +TESSIO, sits in a simple straight-backed chair, doing a +crossword puzzle. + +A thin, boyish BUTTON MAN, writes a letter. + +Six or seven empty mattresses, with tossed unmade blankets. +Coffee cans beside them serve as ash trays. + +A MAN by the table pulls the cork on another bottle of +Ruffino, and wine is poured as the MEN eat. + +EXT DAY: BODY IN ALLEY (WINTER 1945) + +A CORPSE is half out of an overturned garbage can in a quiet +alley. + +INT DAY: BODY AT TABLE (WINTER 1945) + +A MAN in a formal jacket and tie is slumped over a table, in +a pool of blood on the tablecloth. + +INT DAY: MATTRESS (WINTER 1945) + +A neatly stacked pile of newspapers in the corner of an +apartment. We catch a glimpse of one headline: "Five Family +War..." + +The table. The MEN are sitting around cracking nuts. ONE +has fallen asleep on his arms at the table. + +SEVERAL MEN are taking naps on the Mattresses. + +The PIANO PLAYER finishes the tune with finesse. Picks up +and takes a drag from his cigarette. The OTHER MAN nods +appreciatively. + + MAN + Nice Augie...nice. + +EXT DAY: MANCINI BLDG. (SPRING '46) + +Several cars are parked in front of a pleasant New York +apartment building. We recognize a couple of SONNY's +bodyguards loafing by the cars, pitching playing cards +against the curb. + +Inside the building, two others wait quietly by the rows of +brass mailboxes: they have been there quite awhile. + +Up one flight of stairs, a single man sits on the step, +smoking a cigarette. + +One of the men by the mailboxes checks his pocketwatch, +which is attached to a key chain. We HEAR the sound of a +door opening; they look up. + +The man sitting on the stop stands; and looks. + +SONNY backs out of an apartment, the arms of LUCY MANCINI +wrapped around him. She doesn't want to let go of him; she +draws him back into the apartment for a moment, and then he +comes out alone, adjusting his clothes. + +He jauntily skips down the steps, trailed by the bodyguard +on the first floor, and moves outside toward his car. The +men quickly take up their positions. As he gets in his car: + + DRIVER + Pick up your sister? + + SONNY + Yeah. + +The car drives off; accompanied and escorted by the +bodyguards in their cars. + +INT DAY: CONNIE'S HALL (SPRING '46) + +He knocks on the door. No answer. Then again. + + CONNIE'S VOICE + Who is it? + + SONNY + It's me, Sonny. + +We hear the bolt slide back, and see the door open. SONNY +enters, but CONNIE has quickly moved into the hallway, her +back to him. + + SONNY + (tenderly) + Connie, what is it? + +He turns her around in his arms. + +Her face is swollen and bruised; and we can tell from her +rough, red eyes that she has been crying for a long time. +As soon as he realizes what's happened, his face goes red +with rage. She sees it coming, and clings to him, preventing +him from running out of the apartment. + + CONNIE + (desperately) + It was my fault! I started a fight + with him and I tried to hit him so + he hit me. He didn't even try to + hit me hard Sonny, I walked into it. + +Sonny listens, and calms himself. He touches her shoulder, +the thin silk robe. + + SONNY + I'm goin' to have the doctor come + over and take a look at you. + +He starts to leave. + + CONNIE + Oh Sonny, please don't do anything. + Please don't. + +He stops, and then laughs good naturedly. + + SONNY + Hey. Con. What'm I goin' to do? + Make your kid a orphan before he's + born. + +She laughs with him. He kisses her reassuringly, and leaves. + +EXT DAY: CONNIE'S STREET + +CARLO settles down on the front steps of the 112th St. +"Book" with SALLY RAGS and COACH, who have been drinking +beer out of glasses and a pitcher of beer from around the +corner. The ball game is blaring from the radio; and the +kids on the street are still playing stickball. + +CARLO has barely settled down, when the kids in the street +suddenly scatter, and a car comes screeching up the block +and to a halt in front of the candy store. The tires +scream, and before it seems as though it has even stopped, a +MAN comes hurtling out of the driver's seat, moving so fast +the everyone is paralyzed. It is a moment before we +recognize that it is SONNY. + +His face is contorted with anger; in a split second he is on +the stoop and has CARLO by the throat. + +He pulls CARLO away from the others, trying to get him down +into the street. But CARLO reaches out for the iron railing, +and hangs on, his hand in a lock, cringing away, trying to +hide his head and face in the hollow of the his shoulders. +His shirt is ripped away in SONNY's hand. + +SALLY RAGS and COACH, merely sit, watching, stunned. + +SONNY is pounding the cowered CARLO with all his strength, +in a continuous monologue of indistinguishable cursing. His +blows are powerful; and begin to draw blood. + +The kids who have been playing stickball, move up, watching +in fascination. + +CARLO's hands are clenched tight around the railing. + +SONNY beats him mercilessly. + +Now SONNY's bodyguards' car pulls up, and they too become +spectators. + +SONNY's tight fists are going down like hammers, into +CARLO's face and body. + +CARLO's nose is bleeding profusely; but still he does +nothing, other than hang onto the railing. + +SONNY grabs hold of CARLO's massive body, and tries to drag +him off of the hold on the railing, his teeth clenched in +the effort. Then he tries loosening CARLO's locked hands; +even biting them. CARLO screams but he does not let go. + +It's clear that CARLO is much stronger than he is, and will +not be moved. SONNY knees him in the mouth, and beats him +more; but he is exhausted. Totally out of breath, he +stammers haltingly to the bleeding CARLO. + + SONNY + You...bastard...You...hurt my + sister... again...and I'll + kill...you. + +He wipes the sweat from his face, and then turns suddenly. +and hurries back to the car, in a moment his car is gone, +leaving even his bodyguards in confusion. We notice ONE MAN +with a sports jacket in the group of spectators especially +interested. + +CARLO finally relaxes the clenched, locked hands. He slumps +onto the stoop. + +---------------------------------------FADE OUT--------- + +FADE IN: + +EXT DAY: MALL (SPRING 1946) + +HIGH ANGLE on the Corleone Mall. It is a gray, rainy day. +Young BUTTON MEN in raincoats stand in quiet groups of +various points around the main house and compound. Things +have changed; one house has been extensively enlarged; a new +and secure gate house has been built. Security measures +that had been make-shift and temporarily have now been made +a permanent part of the Mall, evolving it into a Medieval +Fortress. We notice a huge crater in the courtyard; the +result of a recent bomb attempt. The house nearest the +crater is damaged by fire. + +A taxi arrives; KAY ADAMS steps out, huddled in a bright +yellow raincoat; she lets the cab go, and hurries to the +shelter of the gate house. + +They are not expecting her, and ask her to wait while they +call the main house. + +KAY looks at the imposing, depressing Mall, while rain still +runs down onto her face. + +She notices the bomb crater, and the fire damage; and the +sullen faces of the BUTTON MEN. + +TOM HAGEN exits the Main House, and hurries toward her. + + HAGEN + Kay, we weren't expecting you. You + should call... + + KAY + I've tried calling and writing. I + want to reach Michael. + + HAGEN + Nobody knows where he is. We know + he's all right, but that's all. + +KAY looks in the direction of the crater, filling with +rainwater. + + KAY + What was that? + + HAGEN + An accident. No one was hurt. + + KAY + Listen Tom, I let my cab go; can I + come in to call another one? + +TOM is clearly reluctant to involve her any more than he has +to. + + HAGEN + Sure...I'm sorry. + +They hurry through the rain and into the Main House. + +INT DAY: DON'S LIVING ROOM (SPRING 1946) + +In the living room, KAY shakes the water from her coat and +takes her rainhat off. + + KAY + Will you give this to him. + + HAGEN + If I accept that letter and you + told a Court of Law I accepted it, + they would interpret it as my + having knowledge of his whereabouts. + Just wait Kay, he'll contact you. + +We hear footsteps descending the staircase; MAMA CORLEONE +enters the room; the OLD WOMAN squints at KAY, evaluating her. + + MAMA + You're Mikey's little girl. + +KAY nods yes; there are still tears in her eyes. + + MAMA + You eat anything? + +KAY shakes her head. + + MAMA + (to HAGEN) + Disgrazia, you don't even give the + poor girl a cup of coffee? + +HAGEN shrugs helplessly; on an impulse, KAY quickly moves +toward MAMA, the letter extended. + + KAY + Will you give this letter to Michael. + + HAGEN + Mama, no. + + MAMA + You tell me what to do? Even he + don't tell me what to do. + +She takes the letter from KAY, who is grateful and relieved. + + KAY + Why did they blame Michael? + + MAMA + You listen to me, you go home to + your family, and you find a good + young man and get married. Forget + about Mikey; he's no good for you, + anymore. + +She looks directly into KAY's eyes; and KAY understands what +that means. + +EXT DAY: DON'S HOSPITAL (SPRING 1946) + +A hospital in New York City. POLICE and teams of PRIVATE +DETECTIVES are stationed guarding the area. An ambulance +with a team of DETECTIVES and BUTTON-MEN GUARDS exit the +hospital with rifles in hand; followed by SEVERAL HOSPITAL +ASSISTANTS wheeling a hospital stretcher, presumably carrying +the DON. + +TESSIO and CLEMENZA emerge, with OTHER BUTTON MEN bringing +up the rear. HAGEN walks with the stretcher, and for a +moment they disappear behind the ambulance. Then suddenly, +siren blasting, it speeds off, accompanied by dark low-slung +cars. + +EXT DAY: MALL (SPRING 1946) + +The Corleone Mall. + +Equally impressive security stands ready at the Corleone +Mall. EXTRA BUTTON MEN, as well as SOME POLICE, and PRIVATE +DETECTIVES. + +It all seems to be under the supervision of ROCCO LAMPONE. +All is silent. The WOMEN and CHILDREN, dressed in Sunday +clothes, wait. + +EXT DAY: AMBULANCE (SPRING 1946) + +One ambulance, speeding along the Grand Central Parkway, +preceded and followed by a dark car, each one carrying a +team of BUTTON MEN. + +Sitting next to the DRIVER of the ambulance is a GUARD with +a rifle on his lap. + +INT DAY: DON'S HALL (SPRING 1946) + +Inside the Main CORLEONE House: + +Hospital ORDERLIES carry the DON on his stretcher carefully +under the watchful eyes of CLEMENZA, TESSIO, LAMPONE and +various GUARDS and BUTTON MEN. + +All the CORLEONE family is here today: MAMA, FREDO, SANDRA, +THERESA, CONNIE, CARLO; the various CORLEONE CHILDREN. + +INT DAY: DON'S BEDROOM (SPRING 1946) + +The DON is made comfortable in his room, which has all but +been converted into a hospital room, with complete and +extensive equipment. The various CHILDREN get a turn to +kiss the OLD MAN, as he is made comfortable... and then +SONNY indicates that all the CHILDREN, WOMEN, and CARLO +should leave. + +They do, the door is closed. + +INT DAY: DON'S DINING ROOM (SPRING 1946) + +The mood is quite happy downstairs, as the WOMEN prepare the +Sunday dinner, and set the table. + +CARLO sits alone among them, a frown on his face. + + CONNIE + What's the matter, Carlo? + + CARLO + Shut up. + +INT DAY: DON'S BEDROOM (SPRING 1946) + +All the MEN of the family stand around the hospital bed with +grim faces, SONNY and HAGEN closest to the OLD MAN. The DON +does not speak, yet he asks questions with his looks and +glances, as clearly as if they were verbalized. HAGEN is +the spokesman for the family. + + HAGEN + ...since McCluskey's killing, the + police have cracked down on most of + our operations...on the other + families too. There's been a lot + of bad blood. + +The OLD MAN glances at SONNY. + + SONNY + Pop, they hit us and we hit them + back. + + HAGEN + We put out a lot of material + through our contacts in the + Newspapers...about McCluskey's + being tied up with Sollozzo in the + Drug Rackets...things are starting + to loosen up. + +The OLD MAN nods. + + SONNY + Freddie's gonna go to Las + Vegas...under the protection of Don + Francesco of L.A. I want him to + rest... + + FREDO + I'm goin' to learn the casino + business. + +The DON nods approvingly. Then he searches around the room +for a face he does not see. HAGEN knows who he's looking for. + + HAGEN + Michael... + (he takes a breath) + It was Michael who killed Sollozzo. + +The DON closes his eyes, and then reopens them in anger and +rage. + + HAGEN + He's safe now...we're already + working on ways to bring him back. + +The DON is very angry, he motions with a weak hand that they +leave him alone. + +INT. DAY: DON'S STAIRS AND HALL (SPRING 1946) + +HAGEN is very upset as he comes down the Stairs; SONNY is +expansive and optimistic. + + SONNY + We'll let the old man take it easy + for a couple of weeks. I want to + get things going good before he + gets better. What's the matter + with you? + + HAGEN + You start operating, the five + families will start their raids + again. We're at a stalemate Sonny, + your war is costing us a lot of + money. + + SONNY + No more stalemate Tom, we got the + soldiers, we'll match them gun for + gun if that's how they want it. + They know me for what I am, Tom-- + and they're scared of me. + + HAGEN + Yes. That's true, you're getting a + hell of a reputation. + + SONNY + Well it's war! We might not be in + this shape if we had a real war- + time Consiglere, a Sicilian. Pop + had Genco, who do I have? + (TOM starts to leave) + Hey Tom, hey...hey. It's Sunday, + we're gonna have dinner. Don't be + sore. + +INT DAY: DON'S DINING ROOM (SPRING 1946) + +The FAMILY, WIVES, CHILDREN and all sit around the table +over Sunday dinner. SONNY is at the head of the table. + +EXT DAY: MALL (SPRING 1946) + +SOME of the CORLEONE GRANDCHILDREN play in the enclosed +Mall, in the proximity of the BUTTON MEN stationed liberally +by the gate. + +ONE CHILD misses a ball, it rolls by the gate house. A +young BUTTON MAN scoops it up and throws it back, smiling. + +-----------------------------------------FADE OUT------- + +INT DAY: CONNIE'S APT. (SPRING 1946) + +CONNIE and CARLO's apartment. She's in a slip, on the phone. +We HEAR the shower going in the bathroom. + + CONNIE + Who is this? + + GIRL (O.S.) + (giggle) + I'm a friend of Carlo's. I just + wanted to tell him I can't see him + tonight; I have to go out of town. + +CONNIE's face turns red. + + CONNIE + You lousy tramp bitch. + (click) + + +She slams the phone down; just as CARLO is coming out of the +bathroom drying his golden body. + + CARLO + What was that? + + CONNIE + Your girl friend. She says she + can't make it tonight. You lousy + bastard you have the nerve to give + your whores my telephone number. + I'll kill you, you bastard! + +She hauls off and punches him knowingly; he laughs, so then +she flings herself at him, kicking and scratching; her heavy +belly heaving under the thin slip. + + CARLO + (defending himself) + You're crazy. She was kidding + around; I don't know, some nut. + +He pushes her aside, and moves into the bedroom to continue +dressing. + + CONNIE + You're staying home. You're not + going out. + + CARLO + OK, OK. You gonna make me something + to eat at least? + +That calms her down; she stands there a moment, breathing +heavily; and then she nods, and goes into the kitchen, and +starts her wifely duties. + +CARLO is dressed; puts on some cologne; CONNIE appears in +the doorway. + + CONNIE + The food is on the table. + + CARLO + I'm not hungry yet. + + CONNIE + Eat it, it's on the table. + + CARLO + Ba Fa Goulle. + + CONNIE + BA FA GOULE YOU! + +She turns deliberately, goes out into the kitchen. A moment +later we begin to hear the sound of dishes breaking. CARLO +slowly walks out, where we can see CONNIE systematically +smashing all the dishes against the sink, sending the greasy +veal and peppers all over the apartment floor. + + CARLO + You filthy guinea spoiled brat. + Clean it up or I'll kick your head + in. + + CONNIE + Like hell I will. + +She stands there, solid, ready to punch him again. Slowly, +he slides his belt out of his trousers, and doubles it in +his hand. + + CARLO + Clean it up! + +He swings the belt against her heavy hips. She moves back +into the kitchen, and gets a kitchen knife, and holds it +ready. + + CARLO + Even the female Corleones are + murderers. + +He puts the strap down on a table, and moves after her. She +makes a sudden thrust at his groin, which he avoids. He +pulls the knife away, cutting his hand in the process. She +gets away momentarily, but he pursues her around the table, +gets her; and starts to slap her in the face. + +She breaks away from him, and rushes into the bedroom. + + CONNIE + The baby! The baby! + +INT DAY: CONNIE'S BEDROOM (SPRING 1946) + +She runs into the bedroom; he follows. She moves into a +corner, and then like a desperate animal, tries to hide +under the bed. + +He reaches under, and pulls her out by the hair. + +He slaps her in the face until she begins to weep; then he +throws her on the bed, contemptuously. He grabs part of her +thigh, pinching it very hard. + + CARLO + You're fat as a pig. + +Then he pushes her away, and walks out of the room, leaving +her in tears. She is crying; she pulls herself to the +bedroom phone, and in a whisper: + + CONNIE + Mama...mama, it's Connie. Mama, I + can't talk any louder. No, I don't + want to talk to Sonny. + +We can tell that the phone has been passed to SONNY. + +INT DAY: DON'S KITCHEN (SPRING 1946) + +In the kitchen at the Mall, MAMA cannot understand the +whispering and she has given the phone to SONNY. + + SONNY + Yeah Connie. + + CONNIE (O.S.) + Sonny, just send a car to bring me + home. I'll tell you then, it's + nothing Sonny, don't you come. + Send TOM, please Sonny, it's + nothing; I just want to come home. + +SONNY's face is turning red. + + SONNY + (in a controlled voice) + You wait there. You just wait there. + +He hangs up the phone; and just stands there for a moment. + + SONNY + (quietly) + That sonofabitch; that sonofabitch... + +HAGEN enters the room; he knows what is happening, knows he +cannot interfere. + +EXT DAY: MALL + +SONNY leaves the house. HAGEN moves to the outside mall +just as SONNY's car is driving off. He moves to a group of +BUTTON MEN. + + HAGEN + Go after him. + +EXT DAY: CAUSEWAY (SPRING 1946) + +SONNY's car on the Jones Beach Causeway, speeds quickly by. +After a pause, another car, with the CORLEONE BODYGUARDS, is +trailing. + +SONNY is driving; he is very angry. + +EXT NITE: TOLL BOOTHS (SPRING 1946) + +SONNY in his car; driving back. Still breathing hard and +still furious. Then he thinks it's funny; he enjoyed it. +He starts laughing, louder and louder, as he pulls up to a +toll booth, stops, and extends his hand with a coin to the +COLLECTOR. + +---------------------------------------FADE OUT--------- + +FADE IN: + +INT NITE: AMERIGO BONASERA'S APARTMENT + +The serious-faced UNDERTAKER is on the telephone. + + HAGEN (O.S.) + This is Tom Hagen. I'm calling for + Don Corleone, at his request. + +BONASERA looks at his WIFE, with deep anxiety in his eyes. +BONASERA's lips are suddenly dry. + + BONASERA + Yes, I understand. I'm listening. + + HAGEN (O.S.) + You owe the Don a service. In one + hour, not before, perhaps later, he + will be at your funeral parlor to + ask for your help. Be there to + greet him. If you have any + objections speak now, and I'll + inform him. + +Silence. BONASERA stutters, then speaks in fright. + + BONASERA + Anything...Anything the Godfather + wishes. + + HAGEN (O.S.) + Good. He never doubted you. + + BONASERA + The Don himself is coming to me + tonight? + + HAGEN (O.S.) + Yes. + (click) + + +BONASERA is sweating; slowly he lowers the phone; his WIFE +sees his pale expression, and follows him into the room. + +Silently, he begins the ritual of dressing. His WIFE knows +something serious is happening, and never takes her eyes +from him. He lights a cigarette. + + BONASERA + For the last year, they have been + killing one another. So now, what? + Your Godfather comes to me...Why? + (whispering, slyly) + They've killed someone so important + that they wish to make his body + disappear. + + MRS. BONASERA + (frightened) + Amerigo! + + BONASERA + They could make me an accomplice to + their murder. They could send me + to jail! + +He slips into his trousers. Then he moves to his WIFE to +tie his tie, as she has done for years. + + BONASERA + And if the other families find + out...they will make me their enemy. + They could come here to our house. + I curse the day I ever went to the + Godfather. + +EXT NITE: FUNERAL PARLOR (SPRING 1946) + +With his ring of keys, he opens the funeral parlor, enters. + +INT NITE: FUNERAL PARLOR (SPRING 1946) + +BONASERA walks through the darkened funeral parlor, without +turning on the lights; then into the rear, preparation room, +past the tables, and equipment. He operates the chain that +lifts a large overhead garage type door. And looks out into +the alley. + +He sits on a bench, and waits. + +EXT NITE: FUNERAL PARLOR ALLEY (SPRING 1946) + +The tires of a car roll very quietly along the small alley; +we notice a dark car approach the rear of BONASERA's funeral +parlor. + +CLEMENZA gets out, and moves to the open, rear door. +BONASERA greets him, too petrified to speak. He notices TWO +OTHER MEN get out of the car, and carry a stretcher with a +CORPSE swaddled in a gray blanket, with yellowed feet +protruding. + +BONASERA closes his eyes in fear, but indicates which way +the MEN should carry their sinister burden. + +INT NITE: FUNERAL PARLOR EMBALMING ROOM (SPRING 1946) + +They carry the CORPSE to one of the tables in the embalming +room. + +Then BONASERA turns to see ANOTHER MAN step out of the +darkness somewhat uncertainly. It is DON CORLEONE. + +He walks up to BONASERA, very close, without speaking. His +cold eyes looking directly at the frightened UNDERTAKER. +Then, after a long gaze: + + DON CORLEONE + Well my friend, are you ready to do + me this service? + +BONASERA nods. The DON moves to the CORPSE on the embalming +table; he makes a gesture, and the OTHER MEN leave them alone. + + BONASERA + What do you wish me to do? + + DON CORLEONE + (staring at the table) + I want you to use all your powers, + all your skill, as you love me. I + do not want his mother to see him + as he is. + +He draws down the gray blanket. + +BONASERA lets out a gasp of horror at what he sees: + +The bullet-smashed face of SONNY CORLEONE. + +EXT NITE: TOLL BOOTHS (SPRING 1946) + +SONNY extends his hand with a coin at the toll booth. + +A car suddenly swerves in front of him, trapping him in the +booth, and in incredible rally of machine gun fire greets +him, coming through and smashing the windows of the toll +booths on both side of him, and from the front window of the +car blocking him. + +The windows of his car are shot out. + +Bullet holes puncture the doors of his car. + +His hand, with the coin in it, falls inside the car. + +His arms, shoulders are riddled by the fire, and still it +continues, as though the ASSASSINS cannot take a chance that +he will survive it. + +Suddenly, he lets out an enormous ROAR, like a bull, and +actually, opens the door, and steps out of the car, UNDER +fire. + +His face is hit; and finally he falls to the ground. + +A FULL SHOT...as the ASSASSINS scramble for their cars and +make off in the distance. + +SONNY's BODYGUARDS stop a safe distance away, realizing they +are too late. + +INT NITE: DON'S LIVING ROOM (SPRING 1946) + +View on HAGEN's ashen face in the living room. He is silent +a moment, and then: + + HAGEN + (quietly) + OK. Go to Clemenza's house and + tell him to come here right away. + He'll tell you what to do. + +The MEN leave him alone. He is quiet, standing in the +middle of the living room a moment. He looks in the +direction of the kitchen, where he can see fragments of MAMA +moving around. + +INT NITE: UPSTAIRS (SPRING 1946) + +TOM proceeds up stairs, and quietly in the direction of the +DON's room. He opens the DON's door. Looks in. + +INT NITE: DON'S BEDROOM (SPRING 1946) + +The DON in his hospital bed. Asleep under sedation. HAGEN +hesitates. He cannot go in; he cannot tell the OLD MAN. He +closes the door. + +INT NITE: DON'S OFFICE (SPRING 1946) + +HAGEN alone in the office. He is drinking. He looks up at +the sound of cars; the CAPOREGIMES are arriving. Then he +hears footsteps. + +The door opens; and in a robe, with slippers, DON CORLEONE +slowly enters the room. He walks directly to his stuffed +armchair, sits down. His face is stern, as he looks into +HAGEN's eyes. + + DON CORLEONE + Give me a drop of anisette. + +HAGEN rises, and pours a glass for the OLD MAN. + + DON CORLEONE + My wife was weeping before she fell + asleep, outside my window I saw my + caporegimes to the house, and it is + midnight. So, Consigliere of mine, + I think you should tell your Don + what everyone knows. + + HAGEN + (quietly) + I didn't tell Mama anything. I was + about to come up and wake you and + tell you. Just now. + + DON CORLEONE + But you needed a drink first. + + HAGEN + Yes. + + DON CORLEONE + Now you've had your drink. + +Pause. + + HAGEN + They shot Sonny on the Causeway. + (pause) + He's dead. + +DON CORLEONE blinks. One feels that just for a second he +loses all physical strength; he clasps his hands in front of +him on the top of the desk and looks into HAGEN's eyes. + + DON CORLEONE + I want no inquiries made. No acts + of vengeance. + (pause) + Consigliere, arrange a meeting with + the heads of the five + families...this war stops now. + +He rises and unsteadily leaves the room, turns... + + DON CORLEONE + Call Bonasera...he will do me a + service. + +And leaves. HAGEN moves to the phone; dials... + + HAGEN + This is Tom Hagen; I'm calling for + Don Corleone, at his request. + + BONASERA (O.S.) + Yes, I understand I'm listening. + + HAGEN + You owe the Don a service. He has + no doubt that you will repay it. + +EXT DAY: BANK BUILDING (SPRING 1946) + +Day in Manhattan. An impressive Bank Building in the +financial center of New York. Many limousines are parked, +uniforms and plain-clothed CHAUFFEURS waiting quietly. + +INT DAY: BOARD ROOM (SPRING 1946) + +The Board Room of a bank, daylight shines in the windows. + +CARLO TRAMONTI, an impressive, handsome middle-aged man, +sits quietly, smoking a Di Napoli cigar, OUR VIEW moves to a +MAN sitting to his left, and a little to the rear, and +settles on JOSEPH ZALUCHI, a moon-faced amiable-looking man; +as the view continues, around the table, we HEAR: + + DON CORLEONE (O.S.) + I want to thank you all for coming. + I consider it a service done to me + personally and I am in the debt of + each and every one of you. + Especially those of you who have + traveled from such distances as + California, St. Louis, Kansas City; + and New Orleans... + +The VIEW PASSES to FRANK FALCONE and ANTHONY MOLINARI, both +younger than any of the others; then on to DOMENICK PANZA, +short and squat sitting in a wheelchair; then around the +table to DON VINCENENZO FORLENZA, who is whispering to his +JEWISH ASSISTANT; the VIEW PASSES on to ANTHONY STRACCI, an +older man, sipping from a drink and smoking a cigar; OTTILIO +CUNEO, in his middle sixties with a jolly round face; then +DON PHILLIP TATTAGLIA, a delicate older man with dyed hair +and a pencil mustache; and finally, EMILIO BARZINI, in his +early sixties, a man to 'respect'; whom we had seen at +CONNIE's Wedding. + + DON CORLEONE + Ah well, let's get down to business. + We are all honorable men here, we + don't have to give assurances as if + we were lawyers. + (he sits, gazes out + at them, and sighs) + How did things ever go so far? + Well, no matter. A lot of + foolishness has come to pass. It + was so unfortunate, so unnecessary. + +The VIEW examines the room once again, as the DON speaks. A +large, clicking board is changing numbers at various times, +and two tapes, showing the fluctuations of the Market during +the day's trading, and projected above. + +DON CORLEONE pauses; and TOM HAGEN hands him a cold drink. + + DON CORLEONE + Tattaglia has lost a son; I have + lost a son. We are quits. Let + there be a peace... + (he gestures + expressively, + submissively, with + his hands) + That is all I want... + + BARZINI + Don Corleone is too modest. He had + the judges and politicians in his + pocket and he refused to share them. + His refusal is not the act of a + friend. He takes the bread out of + the mouths of our families. Times + have changed, it's not like the old + days where everyone can go his own + way. If Don Corleone had all the + judges and politicians in New York, + then he must share them or let + others use them. Certainly he can + present a bill for such services, + we're not Communists, after all. + But he has to let us draw water + from the well. It's that simple. + + DON CORLEONE + My friends, I didn't refuse out of + malice. You all know me. When + have I ever refused an accommodation? + But why, this time? Because I + think this drug business will + destroy us in the years to come. + It's not like whiskey or gambling + or even women which most people + want and is forbidden them by the + pezzonovante of the Church and the + Government. But drugs? No. Even + policemen, who help us in gambling + and other things would refuse to + help us in drugs. But...I am + willing to do whatever all of you + think is necessary. + + DON ZALUCHI + I don't believe in drugs. For + years I paid my people extra so + they wouldn't do that kind of + business...$200 a week. But it + didn't matter. Somebody comes to + them and says, "I have powders, if + you put up three, four thousand + dollar investment, we can make + fifty thousand distributing." Who + can resist such a profit? + There's no way to control it, as a + business...to keep it respectable. + (rapping the table) + I don't want it near schools! I + don't want it sold to children. + That is an infamita. + (thinking) + In my city I would try to keep the + traffic in the dark people, the + colored. They are the best + customers, the least troublesome, + and they are animals anyway. They + have no respect for their wives or + their families or themselves. Let + them lose their souls with drugs. + But something has to be done, we + can't have everybody running around + doing just what they please, like a + bunch of anarchists. + + BARZINI + Then, are we agreed; the traffic in + drugs will be permitted, but + controlled; and Don Corleone agrees + to give it protection in the East. + +DON CORLEONE nods. + + BARZINI + That's the whole matter then, we + have the peace, and let me pay my + respects to Don Corleone, whom we + have all known over the years as a + man of his word. + (noticing TATTAGLIA + is uneasy) + Don Philip? + + TATTAGLIA + I agree to everything here, I'm + willing to forget my own misfortune. + But I must hear strict assurance + from Corleone. When time goes by + and his position becomes stronger, + will he attempt any individual + vengeance? + +They all look at the DON; especially HAGEN, who feels that +DON CORLEONE has given a great deal, and must have something +else in mind. Slowly the DON rises. + + DON CORLEONE + I forego my vengeance for my dead + son, for the common good. But I + have selfish reasons. My youngest + son had to flee, accused of + Sollozzo's murder, and I must now + make arrangements so that he can + come home with safety, cleared of + all those false charges. That is + my affair, and I will make those + arrangements. + (with strength) + But I am a superstitious man...and + so if some unlucky accident should + befall my youngest son, if some + police officer should accidentally + shoot him, or if he should hang + himself in his cell, or if my son + is struck by a bolt of lightning, + then I will blame some of the + people here. That, I could never + forgive, but...aside from that, let + me swear by the souls of my + Grandchildren that I will never be + the one to break the peace we have + made. + +EXT NITE: DON'S LIMO (SPRING 1946) + +The DON's black limousine. He sits quietly in the padded +rear seat; TOM HAGEN next to him. + +It is night. Lights flash by them every so often. + + HAGEN + When I meet with Tattaglia's + people; should I insist that all + his drug middle-men be clean? + + DON CORLEONE + Mention it, don't insist. Barzini + is a man who will know that without + being told. + + HAGEN + You mean Tattaglia. + + DON CORLEONE + (shaking his head) + Barzini. + + HAGEN + (a revelation) + He was the one behind Sollozzo? + + DON CORLEONE + Tattaglia is a pimp. He could + never have outfought Santino. But + I wasn't sure until this day. No, + it was Barzini all along. + +The black limousine speeds away from us in the night. + +------------------------------------------FADE OUT------ + +FADE IN: + +EXT DAY: ESTABLISHING SICILY SHOT + +A CLOSE VIEW OF MICHAEL, moving as he walks, sullen and +downcast, the left side of his face healed, but left +grotesque and misshapen. + +GRADUALLY, THE VIEW LOOSENS, he wears a warm navy Pea +jacket, and walks with his hands in his pockets. + +THE VIEW LOOSENS FURTHER, revealing a Sicilian SHEPHERD on +either side of him, each carrying a shotgun slung over his +shoulder, CALO, a squat and husky young man with a simple +honest quality, and FABRIZZIO, slender and handsome, likable, +and with a pleasing build. Each of the SHEPHERDS carry +knapsacks. + +The THREE YOUNG MEN continue over the Sicilian landscape, +overlooking an impressive view of land and sea. + +EXT DAY: SICILY ROAD + +The THREE move through a flock of wind-blown sheep, and make +their way to a dusty rural road. We HEAR a rinky horn +sound, as a pre-war Italian automobile makes its way to them. +An OLD MAN peeks from the window, waving to MICHAEL. The +car pulls in front of them and stops. MICHAEL nods +respectfully. + + MICHAEL + Don Tommassino. + + DON TOMMASSINO + Michael, why must you do this. We + have been lucky so far, all these + months you've been here we've kept + your name a secret. It is from + love for your father that I've + asked you never to more than an + hour from the Villa. + + MICHAEL + Calo and Fabrizzio are with me; + nothing will happen. + + DON TOMMASSINO + You must understand that your + Father's enemies have friends in + Palermo. + + MICHAEL + I know. + + DON TOMMASSINO + Where are you going? + + MICHAEL + Corleone. + + DON TOMMASSINO + There is nothing there. Not anymore. + + MICHAEL + I was told that my Grandfather was + murdered on its main street; and + his murderers came to kill my + father there when he was twelve + years old. + + DON TOMMASSINO + Long ago. Now there is nothing: + the men killed each other in family + vendettas...the others escaped to + America. + + MICHAEL + Don Tommassino...I should see this + place. + +DON TOMMASSINO thinks a moment, then concedes. + + DON TOMMASSINO + That is your birthright...but + Michael, use this car. + + MICHAEL + No...I would like to walk to + Corleone. + +The OLD MAN sighs, and then returns to his car. + + DON TOMMASSINO + Be careful Michael, don't let them + know your name. + +The old car sputters off; MICHAEL watches, and then continues +on his journey. + +EXT DAY: COUNTRYSIDE + +The THREE pass through abundant areas of flowers and fruit +trees, in bloom and bursting with life. + +EXT DAY: VILLAGE + +They continue in the empty streets of a little town; the +post-war poverty is evident in the skinny dogs; and the +empty streets. Occasionally, a military vehicle, the only +gasoline-powered vehicles on the road, will pass. And there +are many POLICE evident, most of them carrying machine guns. + +The THREE pass under an enormous banner slung over the main +road "VOTA COMMUNISTA". + +EXT DAY: COUNTRY ROAD + +They continue through dusty country roads, where occasionally +a donkey pulling a cart, or a lone horseman will pass them. + +EXT DAY: FIELD + +Out in a field, in the distance, they come upon a procession +of peasants and activists, perhaps two hundred strong, +marching, and singing, and in the lead, are five or six men +carrying billowing red banners. + +EXT DAY: GROVE + +They are in an orange grove; on the other side of the trees +is a deep, tall field of wild flowers. + +The Shepherds unsling their guns and knapsacks, and take out +loaves of bread, some wine, sausage and cheese. + +MICHAEL rests against a tree, and uses his handkerchief. + + FABRIZZIO + You tell us about America. + + MICHAEL + How do you know I come from America? + + FABRIZZIO + We hear. We were told you were a + Pezzonovanta...big shot. + + MICHAEL + Only the son of a Pezzonovanta. + + FABRIZZIO + Hey America! Is she as rich as + they say? + + MICHAEL + Yes. + + FABRIZZIO + Take me to America! You need a + good lupara in America? + (pats his shotgun) + You take me, I'll be the best man + you got. "Oh say, can you + seeee...By da star early light..." + +MICHAEL laughs. + +EXT DAY: ANOTHER ROAD + +The TRIO continues down a dirt road, as an American Military +convoy speeds by; FABRIZZIO waves, and calls out to each of +the U.S. drivers, as they move by. + + FABRIZZIO + America. + Hey America! + Take me with you! + Hey, take me to America G.I.! + +EXT DAY: CORLEONE HILL + +They continue their long hike, high on a promentory; until +they hesitate, and look down. + + CALO + Corleone. + +They can see a grim Sicilian village, almost devoid of people. + +EXT DAY: CORLEONE STREET + +MICHAEL and his bodyguards move through the empty streets of +the village. They walk behind him, and spread to either +side about fifteen feet away from him. + +They move down ancient steps, past an old stone fountain. +MICHAEL hesitates, cups his hands and drinks some water. +They go on. + +They move up a very narrow old street. MICHAEL looks at the +doorways that they pass. + +MOVING VIEW: Each door has a plaque, with a ribbon or flower. + +CALO sees MICHAEL looking. + + CALO + The names of the dead. + +MICHAEL hesitates in the center of the main street. He looks. + +The street is empty, barren. Occasionally, an old woman +will pass. + +MICHAEL turns his head. + +The other side of the street: empty and deathly. + +A HIGH VIEW of MICHAEL standing in the center of the old +street, the shepherds a respectful distance away. + +-------------------------------------FADE OUT----------- + +EXT DAY: BARONIAL ESTATE + +A green ribboned field of a baronial Estate. Further ahead +is a villa so Roman it looks as though it had just been +discovered in the ruins of Pompeii. There is a group of +young village GIRLS accompanied by two stocky MATRONS, +dressed in black. They have been gathering the pink sulla, +purple wisteria, and mixing them with orange and lemon +blossoms. They are singing, off in the distance as they work. + +MICHAEL, CALO and FABRIZZIO are silent as they watch this +Fantasy-like scene. + + FABRIZZIO + (calling out to them) + Hey, beautiful girls! + + MICHAEL + (sternly) + Shhhhh. + +He settles down to watch. + +The GIRLS are dressed in cheap gaily painted frocks that +cling to their bodies. They are still in their teens, but +developed and womanly. + +They are moving along the fields, picking blossoms, not +aware of the three men watching them from the orange grove. +Three or four of the girls begin chasing one of them +playfully, in the direction of the grove. + +The GIRL being chased holds a bunch of purple grapes in her +left hand and with the right, picks more grapes, and throws +them back at her pursuers laughing. + +They come closer and closer. Just short of the grove, she +poses, startled, her large, oval shaped eyes catching the +view of the THREE MEN. She stands there on her toes about +to run. + +MICHAEL sees her; now face to face. He looks. + +Her face. Incredibly beautiful with olive skin, black hair +and a rich mouth. + + FABRIZZIO + (murmuring) + Jesus Christ, take my soul. I'm + dying. + +Quickly, she turns, and runs away. + +MICHAEL stands up never taking his eyes from her. We hold +on him for a long while; and eventually hear the SHEPHERDS +laughing. Then he turns to them. + + FABRIZZIO + You got hit by the thunderbolt, eh? + +CALO pats him on the shoulder. + + CALO + Easy man. + + MICHAEL + What are you talking about? + + FABRIZZIO + You can't hide it when you're hit + by the thunderbolt. + +EXT DAY: BARONIAL VILLAGE + +The little village built attendant to the Baronial Estate, +is decked with the flowers the girls had been picking. + +MICHAEL, followed by the bodyguards, moves into the central +square, and onto the balcony of a little cafe. + +The proprietor of the cafe, VITELLI, is a short burly man; +he greets them cheerfully, and sets a dish of chickpeas at +their table. + + FABRIZZIO + You know all the girls in this + town, eh? We saw some beauties + coming down the road. One in + particular got our friend hit with + the Thunderbolt... + (he indicates MICHAEL) + +VITELLI gives a big knowing laugh, and looks at MICHAEL with +new interest. + + VITELLI + You had better bring a few bottles + home with you, my friend; you'll + need help sleeping tonight. + (he laughs) + + FABRIZZIO + This one could seduce the devil. A + body! and eyes as big and black as + olives. + + VITELLI + (laughing with + them...pouring more wine) + I know about what you mean! + + FABRIZZIO + This was a beauty. Right, Calo? + + VITELLI + (laughing) + Beautiful all over, eh? + + FABRIZZIO + And hair. Black and curly, like a + doll. And such a mouth. + +VITELLI does not laugh quite so much. + + VITELLI + Yes, we have beautiful girls here... + but virtuous. + +VITELLI is no longer drinking with them. + + MICHAEL + She wore a red dress, and a red + ribbon in her hair. She looks more + Greek than Italian. Do you know a + beauty like that? + +As MICHAEL describes her, VITELLI laughed less and less, +until he wears a scowl. + + VITELLI + No. + +Then he curtly leaves him, and walks into the back room. + + FABRIZZIO + God in Heaven, I think I + understand... + +He goes into the back room after the innkeeper. Then he +returns. + + FABRIZZIO + Let's get out of here; he's boiling + up his blood to do us mischief. + It's his daughter. + +They start to leave; but MICHAEL doesn't move. + + CALO + Come quickly. + + MICHAEL + Innkeeper. More wine! + + FABRIZZIO + (whispered) + The old bastard mentioned two sons + he only has to whistle up. + +MICHAEL turns to FABRIZZIO with his cold authority. + + MICHAEL + Tell him to come to me. + +The two BODYGUARDS shoulder their luparas, and disappear in +a moment they return with the red-faced angry VITELLI +between them. + + MICHAEL + (quietly) + I understand I've offended you by + talking about your daughter. I + offer you my apologies, I'm a + stranger in this country, I don't + know the customs very well. Let me + say this, I meant no disrespect to + you or her... + +CALO and FABRIZZIO are impressed. + + VITELLI + (shrugs) + Who are you and what do you want + from my daughter? + + MICHAEL + I am an American hiding in Sicily + from the police of my country. My + name is Michael. You can inform + the police and make your fortune + but then your daughter would lose a + father rather than gain a husband. + In any case, I want to meet your + daughter. With your permission and + under the supervision of your + family. With all decorum. With + all respect. I am an honorable man. + +CALO and FABRIZZIO are stupefied; VITELLI pauses, and then +asks: + + VITELLI + Are you a friend of the friends? + + MICHAEL + When the proper time comes, I'll + tell you everything that a wife's + father should know. + + FABRIZZIO + It's the real Thunderbolt, then. + + VITELLI + (formally) + Come Sunday morning: My name is + Vitelli and my house is up there on + the hill, above the village. + + MICHAEL + Your daughter's name? + + VITELLI + Appolonia. + +-------------------------------------FADE OUT----------- + +EXT DAY: TOMMASSINO COURTYARD + +MUSIC comes up; as MICHAEL, dressed in new clothes from +Palermo, and carrying a stack of wrapped gifts, gets into an +Alfa Romeo. CALO and FABRIZZIO each dressed in their Sunday +best, are in the rear seat, huddled together, with their +luparas on their shoulders. + +DON TOMMASSINO waves them off, as the little car drives off, +rocky and bouncing on the dirt road. + +The Sunday churchbells ring. + +--------------------------------------DISSOLVE---------- + +EXT DAY: VITELLI HOUSE + +MICHAEL is presented to each of the Vitelli relatives, by +the yard of their little hilltop house; the BROTHERS; the +MOTHER, who is given a gift; several UNCLES and AUNTS. +Finally APPOLONIA enters, dressed beautifully in appropriate +Sunday clothing. Now he presents the wrapped gift to +APPOLONIA. She looks at her MOTHER, who with a nod gives +her permission to open it. She unwraps it. Her eyes light +at the sight of a heavy gold chain; to be worn as a necklace. + +She looks at him. + + APPOLONIA + Grazia. + +--------------------------------------DISSOLVE---------- + +EXT DAY: VITELLI CAFE + +Now the little Alpha drives into the village near VITELLI's +cafe. + +MICHAEL is, as ever, accompanied with his two BODYGUARDS, +though they are all dressed differently. + +They go up to the cafe...and sit with VITELLI, who is +talking and talking. + +MICHAEL looks at APPOLONIA; who sits, respectfully quiet. +She wears the gold necklace around her neck. + +--------------------------------------DISSOLVE---------- + +EXT DAY: HILLTOP NEAR VITELLI HOME + +MICHAEL and APPOLONIA are walking through a hilltop path, +seemingly alone, although a respectful distance apart. + +As the VIEW PANS with them, we notice that her MOTHER and a +half dozen AUNTS are twenty paces behind them, and ten paces +further behind are CALO and FABRIZZIO, their luparas on +their shoulders. + +Further up the hill, APPOLONIA stumbles on a loose stone, +and falls briefly onto MICHAEL's arm. She modestly regains +her balance, and they continue walking. + +Behind them, her MOTHER giggles to herself. + +--------------------------------------DISSOLVE---------- + +EXT DAY: VITELLI VILLAGE CHURCH + +Church bells in an ancient belfry ring out. Music, old and +dissonant, plays. + +There is a bridal procession in the street of the village; +the same in feeling and texture as it might have been five +hundred years ago. + +Donkeys and other animals have been decorated with abundant +flowers; children carrying candles and wearing white +confirmation gowns walk in the procession, followed by +countless townspeople, members of the clergy, even the police. + +We present the entire bridal procession and ceremony with +all the ritual and pageantry, as it has always been, in +Sicily. + +APPOLONIA is radiant as the Bride; MICHAEL is handsome +despite the grotesque jaw and occasional white handkerchief. + +--------------------------------------DISSOLVE---------- + +EXT NITE: VITELLI VILLAGE SQUARE + +CALO and FABRIZZIO dance wildly through the night of the +great wedding celebration. It is held in the Village +Square; under the watchful eyes of SHEPHERDS above on the +tops of buildings, carrying luparas. + +--------------------------------------DISSOLVE---------- + +INT NITE: MICHAEL'S ROOM IN VILLA + +MICHAEL opens the shutters in his darkened room; moonlight +fills the room. + +He turns, and there, in her wedding slip, is APPOLONIA. A +little frightened; but lovely. + +He moves to her; and for a moment just stands before her, +looking at her incredible face; her lovely hair and body. + +Slowly and tenderly he kisses her. Her tiny hands come up +to his face; touch his cheek and embrace him. + +She lets her bridal slip fall to the floor. + +--------------------------------------FADE OUT---------- + +INT DAY: MICHAEL'S ROOM AT VILLA + +Morning. MICHAEL sits on the window ledge, gazing into the +room. + +APPOLONIA is asleep; she is naked, and only partially +covered by the bedsheets. + +He looks at her for a long time in the early morning light. + +EXT DAY: TOMMASSINO COURTYARD + +HIGH ANGLE ON DON TOMMASSINO'S VILLA + +We HEAR girlish laughter; the little Alpha is driving +erratically, knocking down an occasional wall, and almost +hitting th inner court wall. + +APPOLONIA is laughing, driving. MICHAEL pretends to be +frightened, as he teaches her to drive. + +Outside the walls, we notice SHEPHERDS with luparas, walking +guard duty. + +The car stops and a laughing MICHAEL gets out. + + MICHAEL + It's safer to teach you English. + + APPOLONIA + Monday, Tuesday, Wednesday, + Thursday, Friday...See, I learned + it. Now teach me to drive! + +DON TOMMASSINO enters the Courtyard. He seems tired and +concerned. + + MICHAEL + Ciao, Don Tommassino. + +APPOLONIA kisses him. + + MICHAEL + Things went badly in Palermo? + + DON TOMMASSINO + The younger men have no respect. + Things are changing; I don't know + what will happen. Michael, because + of the wedding, people now know + your name. + + MICHAEL + Is that why there are more men on + the walls? + + DON TOMMASSINO + Even so, I don't think it is safe + here anymore. I've made plans to + move you to a villa near Siracuse. + You must go right away. + + MICHAEL + What is it? + + DON TOMMASSINO + Bad news from America. Your + brother, Santino. He has been + killed. + +For a moment, the whole world of New York, Sollozzo, the +Five Family War, all comes back to MICHAEL. + +EXT DAY: VILLA COURTYARD + +Morning. MICHAEL leans out of the bedroom window. + +Below, FABRIZZIO is sitting in one of the garden chairs, +combing his thick hair. + +MICHAEL whistles and FABRIZZIO looks up to his window. + + MICHAEL + Get the car. I'll be leaving in + ten minutes. Where's Calo? + + FABRIZZIO + Calo is having a cup of coffee in + the kitchen. Is your wife coming + with you? + + MICHAEL + No, she's going home to her family. + She'll join me in a few weeks... + +INT DAY: VILLA KITCHEN + +MICHAEL, dressed, crosses from the hallway, and into the +kitchen. CALO is just finishing a bite. He rises when he +sees MICHAEL. + + CALO + Should I get your bag? + + MICHAEL + No, I'll get it. Where's Appolonia? + + CALO + (smiling) + She is sitting in the driver's seat + of the car, dying to step on the + gas. She'll be a real American + woman before she gets to America. + +MICHAEL smiles. + + MICHAEL + Tell Fabrizzio and wait for me in + the car. + +He leaves the kitchen, after a quick sip of coffee. + +He looks out from the opening in the doorway. + +EXT DAY: VILLA COURTYARD + +There is the car, with APPOLONIA sitting in the driver's +seat, playing with the wheel like a child. + +CALO moves to the car, and puts a lunch basket in the rear +seat. + +Then MICHAEL seems disturbed. + +Over, on the other side of the courtyard, he sees FABRIZZIO +disappear through the gate. + + MICHAEL + (muttering to himself) + Where the hell is he going? + +MICHAEL goes down the hallway, and outside. + +MICHAEL steps out into the bright sunlight of the outer +courtyard, causing him to shade his eyes. + +APPOLONIA sees him, and waves, motioning that he should stay +where he is. + + APPOLONIA + (calling out) + I'll drive to you. + +He smiles affectionately. + +CALO stands beside the car, smiling, with his lupara dangling +by his side. There is no sight of FABRIZZIO. Suddenly the +smile fades from MICHAEL's face. He steps forward and holds +out his hand. + + MICHAEL + No. No! + +His shout is drowned in the roar of a tremendous EXPLOSION, +as she switched on the ignition. + +Part of the wall is caved in, the kitchen door is blown off; +and there is nothing left of the Alpha, or of Appolonia. + +MICHAEL is thrown against the wall, and knocked unconscious. + +INT DAY: VILLA BEDROOM + +MICHAEL is unconscious in a darkened room. We hear +whispering around him, but can't make any of it out. A soft +cloth is applied to his face; gradually his eyes open. DON +TOMMASSINO is there, close to him. He looks at them and +from their grave expressions, he knows his wife is dead. + + MICHAEL + Fabrizzio. Let your shepherds know + that the one who gives me Fabrizzio + will own the finest pastures in + Sicily. + +--------------------------------------FADE OUT---------- + +FADE IN: + +EXT DAY: MALL (SPRING 1951) + +Easter. + +A HIGH VIEW ON THE CORLEONE MALL in the springtime. Hordes +of little CHILDREN including many of the Corleone Children +and Grandchilren, rush about carrying little Easter baskets, +searching here and there for candy treasures and hidden +Easter eggs. + +The DON himself, much older, much smaller in size, wearing +baggy pants and a plaid shirt and an old hat, moves around +his garden, tending rows and rows of rich tomato plants. + +Suddenly, he stops and looks. + +MICHAEL stands there, still holding his suitcase. + +Great emotion comes over the DON, who takes a few steps in +MICHAEL's direction. + +MICHAEL leaves his suitcase and walks to his favorite son +and embraces him. + + DON CORLEONE + Be my son... + +INT DAY: THE OLIVE OIL FACTORY + +DON CORLEONE leads MICHAEL through the corridors of the +building. + + DON CORLEONE + This old building has seen its day. + No way to do business...too small, + too old. + +They enter the DON's glass-panelled office. + + DON CORLEONE + Have you thought about a wife? A + family? + + MICHAEL + (pained) + No. + + DON CORLEONE + I understand, Michael. But you + must make a family, you know. + + MICHAEL + I want children, I want a family. + But I don't know when. + + DON CORLEONE + Accept what's happened, Michael. + + MICHAEL + I could accept everything that's + happened; I could accept it, but + that I never had a choice. From + the time I was born, you had laid + this all out for me. + + DON CORLEONE + No, I wanted other things for you. + + MICHAEL + You wanted me to be your son. + + DON CORLEONE + Yes, but sons who would be + professors, scientists, + musicians...and grandchildren who + could be, who knows, a Governor, a + President even, nothing's impossible + here in America. + + MICHAEL + Then why have I become a man like + you? + + DON CORLEONE + You are like me, we refuse to be + fools, to be puppets dancing on a + string pulled by other men. I + hoped the time for guns and killing + and massacres was over. That was + my misfortune. That was your + misfortune. I was hunted on the + streets of Corleone when I was + twelve years old because of who my + father was. I had no choice. + + MICHAEL + A man has to choose what he will be. + I believe that. + + DON CORLEONE + What else do you believe in? + +MICHAEL doesn't answer. + + DON CORLEONE + Believe in a family. Can you + believe in your country? Those + Pezzonovante of the State who + decide what we shall do with our + lives? Who declare wars they wish + us to fight in to protect what they + own. Do you put your fate in the + hands of men whose only talent is + that they tricked a bloc of people + to vote for them? Michael, in five + years the Corleone family can be + completely legitimate. Very + difficult things have to happen to + make that possible. I can't do + them anymore, but you can, if you + choose to. + +MICHAEL listens. + + DON CORLEONE + Believe in a family; believe in a + Code of Honor, older and higher, + believe in Roots that go back + thousands of years into your Race. + Make a family, Michael, and protect + it. These are our affairs, sono cosa + nostra, Governments only protect + men who have their own individual + power. Be one of those men...you + have the choice. + +--------------------------------------FADE OUT---------- + +EXT DAY: STOCK FOOTAGE LAS VEGAS (1955) + +A MOVING VIEW, driving up the Las Vegas Strip of 1955. + + FREDO (O.S.) + There's a new one. Construction + going on everywhere. + +MORE VIEWS, showing new hotels and casinos being built; the +bill marquees read: "MARTIN AND LEWIS", "PATTI PAGE", etc. + + FREDO (O.S.) + That's one of the family's new ones. + Not bad, eh? + +EXT DAY: FLAMINGO (1955) + +The car pulls up at the Flamingo Hotel. + +Inside the car: MICHAEL, FREDO, TOM HAGEN and a new man, +NERI, quiet and sinister. + + MICHAEL + Why didn't Moe Green meet us at the + airport? + + FREDO + He had business at the hotel, but + he'll drop in for dinner. + +From the expression on MICHAEL's face we know this is a +discourtesy. + +INT DAY: FLAMINGO HOTEL SUITE (1955) + +A whole entourage precedes FREDO and his V.I.P. party of +MICHAEL, HAGEN and NERI. Great fuss is made. They are +being shown into the hotel's 'special' suite. + + FREDO + You look wonderful, kid; really + wonderful. That doctor did some + job on your face. + + MICHAEL + You look good, too. + +They enter the suite. + + FREDO + Nice, eh? + +FREDO is as excited as a kid, snapping orders at the +bellboys, waiters and maids. + + FREDO + (hurrying into the bedroom) + Kid, take a look-see. + +MICHAEL gives a look to HAGEN, and continues into the bedroom. + +There is an enormous circular bed on a huge platform, +mirrors to each side. FREDO points upward. + +A VIEW into a large CEILING mirror. + + FREDO + Ever seen anything like that before? + + MICHAEL + (dryly) + No. + +INT NITE: FLAMINGO SUITE BEDROOM (1955) + +MICHAEL is alone in the bedroom. He is just finishing +dressing; he puts on his jacket. From the window, with the +lights blinking, we can tell it's late at night. MICHAEL +passes into the other room. + +He stops, looks. He is disturbed. + +INT NITE: FLAMINGO SUITE (1955) + +A magnificent, circular table has been set up in his suite; +a lavish table setting for eight. Standing by the table are +HAGEN, JOHNNY FONTANE, looking wonderful, a little heavier, +beautifully dressed; FREDO, a dandy, and TWO LAS VEGAS GIRLS. +NERI stands quietly by the door. + + FREDO + Mike! The party starting! + + MICHAEL + Come here a minute, Fredo. + +FREDO goes to him, a big smile all over his face. + + MICHAEL + Who are those girls? + + FREDO + (jokingly) + That's for you to find out. + + MICHAEL + Give them some money and send them + home. + + FREDO + Mike! + + MICHAEL + Get rid of them... + +INT NITE: FLAMINGO SUITE (1955) + +They are seated around the lavish table in Michael's suite. +MICHAEL is speaking to JOHNNY. + + MICHAEL + Johnny, the Corleone family is + thinking of selling out all our + interests in the Olive Oil business + and settling here. Moe Greene will + sell us his interest so it can be + wholly owned by friends of the + family. + +FREDDIE seems anxious. + + FREDO + Mike, you sure about Moe selling. + He never mentioned it to me and he + loves the business. + + MICHAEL + I'll make him an offer he can't + refuse. + +MICHAEL turns to JOHNNY. + + MICHAEL + Johnny, the Don wants you to help + us get started. We figure + entertainment will be the big + factor in drawing gamblers. We + hope you'll sign a contract to + appear five times a year for maybe + a week long engagement. + We hope your friends in the movies + will do the same. We count on you + to convince them. + + JOHNNY + Sure, I'll do anything for my + Godfather. You know that, Mike. + +There is knock on the door. NERI rises, looks at MICHAEL, +who nods. NERI opens the door, and MOE GREENE enters, +followed by TWO BODYGUARDS. He is a handsome hood, dressed +in the Hollywood style. His BODYGUARDS are more West Coast +style. + + MOE + Mike, good to see you. Got + everything you want? + + MICHAEL + Thanks. + + MOE + The chef cooked for you special; + the dancers will kick your tongue + out and you credit is good! + (to his BODYGUARDS) + Draw chips for all these people so + they can play on the house. + + MICHAEL + Is my credit good enough to buy you + out? + +MOE laughs. + + MOE + Buy me out?... + + MICHAEL + The hotel, the casino. The Corleone + family wants to buy you out. + +GREENE stops laughing; the room becomes tense. NERI eyes +the BODYGUARDS. + + MOE + (furious) + The Corleone family wants to buy me + out. I buy you out. You don't buy + me out. + + MICHAEL + Your casino loses money. Maybe we + can do better. + + MOE + You think I scam? + + MICHAEL + (the worst insult) + You're unlucky. + + MOE + You goddamn dagos. I do you a + favor and take Freddie in when + you're having a bad time, and then + you try to push me out. + + MICHAEL + You took Freddie in because the + Corleone family bankrolled your + casino. You and the Corleone + family are evened out. This is for + business; name your price. + + MOE + The Corleone family don't have that + kind of muscle anymore. The + Godfather is sick. You're getting + chased out of New York by Barzini + and the other families, and you + think you can find easier pickings + here. I've talked to Barzini; I + can make a deal with him and keep + my hotel! + + MICHAEL + (quietly, deadly) + Is that why you thought you could + slap Freddie around in public? + + FREDO + (his face turns red) + Ah Mike, that was nothing. Moe + didn't mean anything. He flies off + the handle sometimes; but me and + him are good friends. Right, Moe? + + MOE + Yeah sure. Sometimes I gotta kick + asses to make this place run right. + Freddie and I had a little argument + and I had to straighten him out. + + MICHAEL + You straightened my brother out? + + MOE + Hell, he was banging cocktail + waitresses two at a time. Players + couldn't get a drink. + +MICHAEL rises from his chair, and says in a tone of dismissal: + + MICHAEL + I have to go back to New York + tomorrow. Think of your price. + + MOE + You son of a bitch, you think you + can brush me off like that? I made + my bones when you were going out + with cheerleaders. + + FREDO + (frightened) + Tom, you're the Consigliere; you + can talk to the Don and advise him. + + MICHAEL + The Don has semi-retired. I'm + running the Family business now. + So anything you have to say, say it + to me. + +Nobody answers. MICHAEL nods to NERI, who opens the door. +MOE exits angrily. + + MICHAEL + Freddie, you're my older brother. + I love you. But don't ever take + sides with anybody against the + Family again. + +EXT DAY: N.Y. AIRPORT (1955) + +KAY sits in the back of a limousine parked by the Newark +AIRPORT. ROCCO LAMPONE is leaning against it. + +She has a little three year old boy; MICHAEL's son, who +plays with a cardboard bird on a string. + +Two other cars are stationed discreetly, with men we have +learned to tell are bodyguards. + +MICHAEL, HAGEN and NERI exit the airport with TWO NEGRO +PORTERS carrying luggage. + +NERI sees something, and taps MICHAEL on the shoulder. + +MICHAEL turns, and sees KAY. + +LAMPONE opens the car door; KAY steps out with the BOY, and +MICHAEL embraces her, and kisses his son. Automatically, +the luggage is put in. NERI replaces LAMPONE as the driver; +and LAMPONE joins the other men. HAGEN gets into one of the +other cars. + +And the limo drives off, preceded and followed by the other +sedans. + +INT DAY: LIMO (1955) + +The little BOY looks out the window as they drive. + + MICHAEL + I have to see my father and his + people when we get back to the Mall. + + KAY + Oh Michael. + + MICHAEL + We'll go to the show tomorrow + night--we can change the tickets. + + KAY + Don't you want dinner first? + + MICHAEL + No, you eat...don't wait up for me. + + KAY + Wake me up when you come to bed? + +The little BOY flies his cardboard bird out of the speeding +limousine window. + +EXT DAY: MALL (1955) + +The limousine arrives at the Mall. We are inside. + + KAY + Your sister wants to ask you + something. + + MICHAEL + Let HER ask. + +NERI opens the door. KAY wants to talk just a little more. + + KAY + She's afraid to. Michael... + +MICHAEL nods to NERI; who gives them their privacy a moment +longer. + + KAY + Why are you so cold to her and + Carlo? They live with us on the + Mall now, but you never get close + to them. + + MICHAEL + I'm busy. + + KAY + Connie and Carlo want you to be + godfather to their little boy. + +NERI opens the door; MICHAEL starts to get out; KAY too. + +He smiles at her, tired, and a little sad. + + KAY + Will you? + + MICHAEL + Let me think about it, O.K.? + +She smiles; MICHAEL goes with NERI to the Main House; KAY +and the little BOY move to the house that was Sonny's. + +INT DAY: DON'S OFFICE (1955) + +VIEW ON DON CORLEONE, much older, much smaller in size. He +wears baggy pants, and a warm plaid shirt. He sits in a +chair, gazing out through the window, into the garden. + + TESSIO (O.S.) + Barzini's people chisel my territory + and we do nothing about it. Pretty + soon there won't be one place in + Brooklyn I can hang my hat. + + MICHAEL (O.S.) + Just be patient. + + TESSIO + I'm not asking you for help, Mike. + Just take off the handcuffs. + + MICHAEL (O.S.) + Be patient. + + CLEMENZA (O.S.) + We gotta fight sometime. Let us at + least recruit our regimes to full + strength. + + MICHAEL (O.S.) + No, I don't want to give Barzini an + excuse to start fighting. + + TESSIO (O.S.) + Mike, you're wrong. + + CLEMENZA (O.S.) + Don Corleone...Don Corleone. + +The OLD MAN looks up. CLEMENZA stand before him in the Den. +Beside him is an anxious TESSIO. NERI stands by the door; +HAGEN is seated; MICHAEL sits behind the big desk. + + CLEMENZA + You said there would come a day + when Tessio and me could form our + own Families. Only with your + benediction, of course. I ask + permission... + + DON CORLEONE + My son is head of the Family now. + If you have his permission, you + have my good will. + + MICHAEL + In six months you can break off + from the Corleone Family and go on + your own. Carlo, I'm counting on + you to make the move to Nevada; + you'll be my right-hand man out + there. Tom Hagen is no longer the + Consigliere. + +Everyone is a bit surprised; look to see HAGEN's reaction. +He remains inexpressive. + + MICHAEL + He's going to be our lawyer in + Vegas. Nobody goes to him with any + other business as of now, this + minute. No reflection on Tom; + that's the way I want it. Besides, + if I ever need any advice, who's a + better Consigliere than my father. + + CLEMENZA + Then in a six month time we're on + our own; is that it? + + MICHAEL + Maybe less... + + TESSIO + Let us fill up our Regimes. + + MICHAEL + No. I want things very calm for + another six months. + + TESSIO + Forgive me, Godfather, let our + years of friendship be my excuse. + How can you hope for success there + without your strength here to back + you up? The two go hand in hand. + And with you gone from here the + Barzini and the Tattaglias will be + too strong for us. + + CLEMENZA + And I don't like Barzini. I say + the Corleone Family has to move + from strength, not weakness. We + should build our Regimes and take + back our lost territories in Staten + Island, at least. + + DON CORLEONE + Do you have faith in my judgement? + + CLEMENZA + Yes, Godfather... + + DON CORLEONE + Then do what Michael says... + + MICHAEL + All I can say is that things are + being resolved that are more + effective than a thousand buttonmen + on the streets. Understood? + +There are uneasy looks all around. + + CARLO + Understood. I just wish I was + doing more to help out. + + MICHAEL + I'll come to you when I need you. + +He looks at CLEMENZA, TESSIO and HAGEN. They all nod, +reluctantly. + + MICHAEL + All right, then it's resolved. + +NERI knows the meeting is over, he opens the Den's door. + +CLEMENZA and TESSIO pay their respects to the DON and leave, +then CARLO. NERI watches CARLO as he walks down the +corridor, casting a nervous look back at the sinister man. + +Then NERI closes the door. + +MICHAEL relaxes. + + HAGEN + Mike, why are you cutting me out of + the action? + + MICHAEL + Tom, we're going to be legitimate + all the way, and you're the legal + man. What could be more important + than that. + + HAGEN + I'm not talking about that. I'm + talking about Rocco Lampone building + a secret regime. Why does Neri + report directly to you, rather than + through me or a caporegime? + + DON CORLEONE + I told you that it wouldn't escape + his eye. + + MICHAEL + How did you find out? + + HAGEN + Bookkeepers know everything. + Rocco's men are all a little too + good for the jobs they're supposed + to be doing. They get a little + more money than the job's worth. + (pause) + Lampone's a good man; he's operating + perfectly. + + MICHAEL + Not so perfectly if you noticed. + + HAGEN + Mike, why am I out? + + MICHAEL + You're not a wartime Consigliere. + Things may get tough with the move + we're trying. + + HAGEN + OK, but then I agree with Tessio. + You're going about it all wrong; + you're making the move out of + weakness... Barzini's a wolf, and + if he tears you apart, the other + families won't come running to help + the Corleones... + + DON CORLEONE + Tom, I never thought you were a bad + Consigliere, I thought Santino a + bad Don, rest in peace. He had a + good heart but he wasn't the right + man to head the family when I had + my misfortune. Michael has all my + confidence, as you do. For reasons + which you can't know, you must have + no part in what will happen. + + HAGEN + Maybe I can help. + + MICHAEL + (coldly) + You're out, Tom. + +TOM pauses, thinks...and then he nods in acquiescence. TOM +leaves. + +MICHAEL looks at NERI. + + MICHAEL + I'm going to talk to my father. + +NERI nods, and then leaves. The DON opens the doors, +breathes in the air, and steps outside. + +EXT DAY: THE GARDEN (1955) + + DON CORLEONE + I see you have your Luca Brasi. + + MICHAEL + I'll need him. + + DON CORLEONE + There are men in this world who + demand to be killed. They argue in + gambling games; they jump out of + their cars in a rage if someone so + much as scratches their fender. + These people wander through the + streets calling out "Kill me, kill + me." Luca Brasi was like that. + And since he wasn't scared of + death, and in fact, looked for + it...I made him my weapon. Because + I was the only person in the world + that he truly hoped would not kill + him. I think you have done the + same with this man. + +They walk through the DON's vegetable garden. Tomatoes, +peppers, carefully tended, and covered with a silky netting. +MICHAEL follows; the DON turns and looks at him. Then +stoops over to right a tomato plant that had been pushed over. + + DON CORLEONE + Barzini will move against you first. + + MICHAEL + How? + + DON CORLEONE + He will get in touch with you + through someone you absolutely + trust. That person will arrange a + meeting, guarantee your safety... + +He rises, and looks at Michael... + + DON CORLEONE + ...and at that meeting you will be + assassinated. + +The DON walks on further. + + DON CORLEONE + Your wife and children...you're + happy with them? + + MICHAEL + Yes. + + DON CORLEONE + Good. + +MICHAEL wants to express something...hesitates, then: + + MICHAEL + I've always respected you... + +A long silence. The DON smiles at MICHAEL. + + DON CORLEONE + And I...you. + +EXT DAY: CHURCH (1955) + +KAY and MAMA walking from the black car that has just left +them off. + + KAY + How is your husband feeling? + + MAMA + He's not the same since they shot + him. He lets Michael do all the + work. He just plays the fool with + his garden, his peppers, his + tomatoes, as if he was some peasant + still. But men are like that... + +She stops toward the Church. + + MAMA + You come in, too. + +KAY shakes her head. + + MAMA + The Priest ain't gonna bite you + cause you're not Catholic. + (whispered) + He's in the back drinkin' his wine. + +KAY laughs and follows MAMA up the steps of the Church. +They enter. + +INT DAY: CHURCH (1955) + +Inside the Church, KAY watches as MAMA blesses herself from +the holy water. + + MAMA + You can. + +Tentatively, KAY dips her fingers into the water, and +blesses herself. Then SHE follows MAMA down the aisle, in +awe at the high ceiling, the art, the windows, and finally +the Altar. + +MAMA stops by the impressive tiers of candles. There is a +large coin box for those who wish to pay for lighting +candles. MAMA fumbles in her purse for change; KAY gives +her some. + +MAMA drops the coins in the box, one by one; then takes the +taper, and in a pattern known only to her, and with great +dignity, she closes her eyes, says a prayer, and then lights +twenty candles. + +She finishes, and bows her head. + +EXT DAY: BONASERA'S FUNERAL HOME + +Very few people in the streets. TOTAL SILENCE. But black +flower cars as far as the eye can see, for blocks and blocks. +An expression of respect, of honor and fear that is enormous. +Certainly no more could be done for a President or a King. + +Each car carries an elaborate floral decoration. We show +these in detail; and the flowered messages: "A Benefactor to +Mankind", "He Knew and Pitied"..."Our Don Our Leader"..."The +Sacred Heart"... + +EXT DAY: MALL (1955) + +HIGH ANGLE ON THE CORLEONE MALL + +Silence. + +The flower cars, funeral limousines, and private cars fill +all the areas attendant to the Corleone residence. + +Hundreds of people fill the Mall, reminiscent in size of the +wedding of Connie and Carlo; of course, now the mood is +somber and respectful. + +MICHAEL, MAMA, FREDO and HAGEN stand by the flowered platform +which holds the ornate coffin. We cannot see the remains of +Don Corleone. + +BONASERA is nearby, ready to do service to the bereaved +family. One by one the mourners come by, weeping, or merely +with grave expressions; pay their respects and continue on. + +The VIEW ALTERS, + +and we see that the line is endless. JOHNNY FONTANE, tears +openly falling, takes his turn. + +Children are taken by the hand, and lifted for their last +look at the great man. + +CLEMENZA whispers into the ear of LAMPONE. LAMPONE +immediately arranges for the members of the Five New York +Families to pay their respects. + +First CUNEO, then STRACHI and then ZALUCHI. Then PHILIP +TATTAGLIA, who merely passes by the Coffin. + +Then BARZINI in a black homburg, standing a long time. + +MICHAEL watches the scene. + +BARZINI crosses himself and passes on, immediately rejoined +by his men. + +As BARZINI leaves, it seems as though everyone is fawning on +him; perhaps asking for favors: But at any rate, it is clear +from the doors opened for him, the cigars lit for him, that +he is the new Capo di Capi--the place formerly held by Don +Corleone. + +MICHAEL watches silently. + +BARZINI is searching for somebody with his eyes. First +CLEMENZA. Then TESSIO. + +CONNIE rushes into MICHAEL's arms, tears in her eyes. He +embraces and comforts her. + +Everywhere MICHAEL goes, NERI is a few feet away--watching +all who come close to him. + +EXT DAY: MALL (LATER) + +Later on the Mall; some people have left, although there are +still hundreds of mourners. + +A young GIRL approaches TESSIO. She's about 18. + + GIRL + Do you remember me? + + TESSIO + No... + + GIRL + We danced together at Connie's + wedding. + +TESSIO makes a gesture, which is to say 'How you've grown', +and they move though the crowd, looking for Michael. He +finds him. + + TESSIO + Mike, could I have a minute? + +MIKE; nods; and they move to a private place. NERI is close +by. + + TESSIO + Barzini wants to arrange a meeting. + Says we can straighten any of our + problems out. + + MICHAEL + He talked to you? + + TESSIO + (nods) + I can arrange security. + +MICHAEL looks at him. + +EXT DAY: CEMETERY (1955) + +The Cemetery. Late day. + +The hundreds of cars, limousines and flower cars line the +stone wall that surrounds this Italian-Catholic cemetary in +Queens Village. + +Hundreds of people stand in a cluster; others watch; take +pictures, etc. + +MICHAEL stands with his family, his MOTHER...and TOM HAGEN. + + MICHAEL + (softly) + Christ, Tom; I needed more time + with him. I really needed him. + + HAGEN + Did he give you his politicians? + + MICHAEL + Not all...I needed another four + months and I would have had them + all. + (he looks at TOM) + I guess you've figured it all out? + + HAGEN + How will they come at you? + + MICHAEL + I know now. + (a passion wells up + inside of MICHAEL) + I'll make them call me Don. + + HAGEN + Have you agreed on a meeting? + + MICHAEL + (nods) + A week from tonight. In Brooklyn + on Tessio's ground, where I'll be + safe. + +HAGEN looks at him; understands. + + MICHAEL + But after the Baptism. I've + decided to stand as godfather to + Connie's baby. + +They look up. + +The coffin is lowered into an excavation, behind which +stands an enormous stone monument; it is of a weeping angel, +with the bold inscription: CORLEONE. + +---------------------------------------FADE OUT--------- + +FADE IN: + +INT DAY: NERI'S APT. (1955) + +ALBERT NERI moves around in his small Corona Apartment; he +pulls a small trunk from under his bed. He opens it, and we +see in it, nearly folded, a New York City Policeman's +uniform. He takes it out piece by piece, almost reverently. +Then the badge, and the identification card; with his +picture on it. Slowly, in the solitude of his room, he +begins to dress. + +INT DAY: MICHAEL'S BEDROOM (1955) + +MICHAEL and KAY are getting dressed for the christening in +their room. MICHAEL looks very well; very calm; KAY is +beginning to take on a matronly look. + +INT DAY: MOTEL ROOM (1955) + +In a Long Island motel. + +ROCCO LAMPONE carefully disassembles a revolver; oils it, +checks it, and puts it back together. + +EXT DAY: CLEMENZA'S HOUSE (1955) + +PETER CLEMENZA about to get in his Lincoln. He hesitates, +takes a rag and cleans some dirt off of the fender, and then +gets in, drives off. + +EXT DAY: CHURCH (1955) + +The Church. + +Various relatives and friends are beginning to gather at the +Church. They laugh and talk. A MONSIGNOR is officiating. +Not all of the participants have arrived yet. + +CONNIE is there, with a beaming CARLO. She holds the +infant; showing him off to interested people. + +EXT DAY: U.N. PLAZA (1955) + +NERI walks down the sidewalk in the neighborhood of the UN +Building. He is dressed as, and has the bearing of, a +policeman. He carries a huge flashlight. + +EXT DAY: MOTEL BALCONY (1955) + +LAMPONE steps out onto the little balcony of a Sea-Resort +Motel; We can see the bright, neon lit sign advertising +"ROOMS FACING THE SEA--VACANY". + +INT DAY: CHURCH + +The Church. + +CONNIE holds the baby; the MONSIGNOR is speaking; KAY and +MICHAEL stand side by side around the urn. + + PRIEST + (to MICHAEL) + Do you pledge to guide and protect + this child if he is left fatherless? + Do you promise to shield him + against the wickedness of the world? + + MICHAEL + Yes, I promise. + +EXT DAY: FIFTH AVE. + +NERI continues up the 55th St. and Fifth Avenue area. He +continues until he is in front of Rockefeller Center. On +his side of the street, he spots a limousine waiting directly +across from the main entrance of the building. Slowly he +approaches the limo, and taps on its fender with his +nightstick. + +The DRIVER looks up in surprise. + +NERI points to the "No Parking" sign. + +The DRIVER turns his head away. + + NERI + OK, wise guy, you wanna summons, or + you wanna move? + + DRIVER + (obviously a hood) + You better check with your precinct. + + NERI + Move it! + +The DRIVER takes a ten dollar bill, folds it deliberately, +and hands it out the window, trying to put it under NERI's +jacket. + +NERI backs up, letting the bill fall onto the street. Then +he crooks a finger at the DRIVER. + + NERI + Let me see you license and + registration. + +EXT DAY: MOTEL BALCONY + +LAMPONE on the motel balcony spots a Cadillac pulling up. +It parks. A young, pretty GIRL gets out. Quickly, he +returns into the room. + +INT DAY: HOTEL STAIRS (1955) + +CLEMENZA is climbing the back stairs of a large hotel. He +rounds the corner, puffs a little, and then continues upward. + +INT DAY: CHURCH + +The Church. Close on the PRIEST's fingers as he gently +applies oil to the infant's ears and nostrils. + + PRIEST + Ephetha...be opened...So you may + perceive the fragrance of God's + sweetness. + +EXT DAY: ROCKEFELLER CENTER (1955) + +The DRIVER of the limousine in front of Rockefeller Center +is arguing with NERI. + +Now the DRIVER looks up. + +WHAT HE SEES: + +TWO MEN in topcoats exit the building, through the revolving +glass doors. + +NERI opens up fire, trapping BARZINI in the shattering glass +doors. The doors still rotate, moving the dead body of +BARZINI within them. + +INT DAY: CHURCH + +In the Church--the VIEW on MICHAEL. The PRIEST hands him +the infant. + + PRIEST + Do you renounce Satan. + + MICHAEL + I do renounce him. + + PRIEST + And all his works? + + MICHAEL + I do renounce them. + +INT DAY: MOTEL MURDER (1955) + +LAMPONE, backed up by two other MEN in his regime, runs down +the iron-rail steps, and kicks in the door on Room 7F. +PHILIP TATTAGLIA, old and wizened and naked, leaps up; a +semi-nude young GIRL leans up. + +They are riddled with gunfire. + +INT DAY: HOTEL STAIRS (1955) + +CLEMENZA, huffing and puffing, climbs the back stairs, with +his package. + +INT DAY: CHURCH + +The PRIEST pours water over the forehead of the infant +MICHAEL holds. + + PRIEST + Do you wish to be baptized? + + MICHAEL + I do wish to be baptized. + +INT DAY: HOTEL ELEVATOR MURDER (1955) + +CLEMENZA, out of breath, climbs the final few steps. + +He walks through some glass doors, and moves to an ornate +elevator waiting shaft. + +The lights indicate the elevator has arrived. + +The doors open, and we see a surprised CUNEO standing with +the dapper MOE GREENE. + +CLEMENZA fires into the small elevator with a shotgun. + +The PRIEST hands a lighted candle to MICHAEL. + + PRIEST + I christen you Michael Francis Rizzi. + +Flash bulbs go off. Everyone is smiles, and crowds around +MICHAEL, KAY, CONNIE...and CARLO. + +--------------------------------------FADE OUT---------- + +EXT DAY: CHURCH (1955) + +The christening party outside the Church. + +Four or five limousines have been waiting; now pull up to +receive MAMA, CONNIE and the baby; and the others. + +Everyone is very happy; only MICHAEL seems aloof and grave. + +As the fuss is going on, a car pulls up. LAMPONE gets out +and works his way to MICHAEL. He whispers in his ear. This +is the news MICHAEL has been waiting for. + +CONNIE holds the baby up to MICHAEL. + + CONNIE + Kiss your Godfather. + +The infant turns its head, and MICHAEL uses that as an +excuse to back away. + + MICHAEL + Carlo...we've had a change in the + plans. Mama, Connie, Kay and the + kids will have to take the trip out + to Vegas without us. + + CONNIE + Oh Mike, it's our first vacation + together. + + CARLO + (anxious to please) + Jesus, Connie...Sure, Mike... + + MICHAEL + Go back to your house and wait for + me... + +He kisses KAY. + + MICHAEL + (to KAY) + I'll just be a couple of days... + +People are guided to the correct limousines; they start to +drive off. + +INT DAY: DON'S KITCHEN + +TESSIO sits in the Kitchen of the Main House on the Mall. + +HAGEN enters. + + HAGEN + You'd better make your call to + Barzini; Michael's ready. + +TESSIO nods; moves to the telephone and dials a number. + + TESSIO + We're on our way to Brooklyn. + +He hangs up and smiles. + + TESSIO + I hope Mike can get us a good deal + tonight. + + HAGEN + (gravely) + I'm sure he will. + +EXT DAY: MALL (1955) + +The TWO MEN walk out onto the Mall, toward a car. On their +way they are stopped by TWO BODYGUARDS. + + BUTTON MAN + The boss says he'll come in a + separate car. He says for you two + to go on ahead. + + TESSIO + (frowning) + Hell, he can't do that. It screws + up all my arrangements. + +THREE MORE BODYGUARDS appear around him. + + HAGEN + (gently) + I can't go with you either, Tessio. + +He flashes at the men surrounding him; for a moment he +panics, and then he accepts it. + + TESSIO + (after the pause) + Tell Mike it was business...I + always liked him. + + HAGEN + He understands that. + +TESSIO looks at the men, and then pauses. + + TESSIO + (softly) + Tom, can you get me off the hook? + For old times' sake? + + HAGEN + I can't. + +HAGEN turns, and walks away from the group. Then about +twenty paces away, he stops, and looks back. + +TESSIO is led into a waiting car. + +HAGEN looks away, and walks off. + +INT DAY: CARLO'S LIVING ROOM (1955) + +CARLO RIZZI is alone in his house, smoking, waiting rather +nervously. He moves to the window and looks out. + +WHAT HE SEES: + +EXT DAY: MALL (1955) + +MICHAEL, still dressed in a dark suit; followed by NERI, +LAMPONE and CLEMENZA, then HAGEN. + +They move toward us. + +Excitedly, CARLO moves to the front door; opens it. + +He wears a broad smile. + + CARLO + Godfather! + + MICHAEL + You have to answer for Santino. + +The smile on CARLO's face slowly fades, then, in a foolish +attempt for safety, he slams the door in their faces and +backs into the living room. + +INT DAY: CARLO'S LIVING ROOM (1955) + +The door opens, and the grim party enters. + + MICHAEL + You fingered Sonny for the Barzini + people. That little farce you + played out with my sister. Did + Barzini kid you that would fool a + Corleone? + + CARLO + (dignity) + I swear I'm innocent. I swear on + the head of my children, I'm + innocent. Mike, don't do this to + me, please Mike, don't do this to me! + + MICHAEL + (quietly) + Barzini is dead. So is Philip + Tattaglia, so are Strachi, Cuneo + and Moe Greene...I want to square + all the family accounts tonight. + So don't tell me you're innocent; + admit what you did. + +CARLO is silent; he wants to talk but is terrified. + + MICHAEL + (almost kindly) + Don't be frightened. Do you think + I'd make my sister a widow? Do you + think I'd make your children + fatherless? After all, I'm + Godfather to your son. No, your + punishment is that you're out of + the family business. I'm putting + you on a plane to Vegas--and I want + you to stay there. I'll send + Connie an allowance, that's all. + But don't keep saying you're + innocent; it insults my intelligence + and makes me angry. Who approached + you, Tattaglia or Barzini? + + CARLO + (sees his way out) + Barzini. + + MICHAEL + (softly) + Good, good. Leave now; there's a + car waiting to take you to the + airport. + +CARLO moves to the door; opens it. There is a car waiting; +with a group of MEN around it. + +He looks back at MICHAEL, who reassures him. + + MICHAEL + I'll call your wife and tell her + what flight you're on. + +EXT DAY: MALL + +CARLO moves out to the Mall; the BUTTONMEN are putting his +things in the trunk. + +ONE opens the front door for him. + +SOMEONE is sitting in the rear seat, though we cannot see who. + +CARLO gets into the car; out of nervousness, he looks back +to see the other man. + +It is CLEMENZA, who nods cordially. + +The motor starts, and as the car pulls away, CLEMENZA +suddenly throws the garrote around CARLO's neck. He chokes +and leaps up like a fish on a line, kicking his feet. + +The garrote is pulled tighter; CARLO's face turns color. + +His thrashing feet kick right through the front windshield. + +Then the body goes slack. + +CLEMENZA makes a foul face, and opens the window as the car +drives off. + +EXT DAY: CARLO'S STEPS (1955) + +MICHAEL and his party. They watch. + +Then he turns and walks off, and they follow. + +---------------------------------------FADE OUT--------- + +FADE IN: + +INT NITE: MICHAEL'S LIMO EN ROUTE (1955) + +MICHAEL sits alone in the back of his car; NERI is driving. + +They do not speak for a long time; it is night--car lights +flash by. + +NERI turns back. + + NERI + You know I would never question + anything you say. + + MICHAEL + (smiles) + Speak your mind. + + NERI + I'll do this for you; you know I + should. + + MICHAEL + No. This I have to do. + +EXT NITE: PIZZA STREET (1955) + +MICHAEL's car pulls up in a quiet neighborhood, near an +Italian Pizzeria. NERI opens the door. + + MICHAEL + Sit in the car. + +INT NITE: PIZZA PLACE (1955) + +He walks alone into the restaurant. A MAN is tossing pizza +dough in the air. + + MICHAEL + Where's the boss? + + MAN + In the back. Hey Frank, someone + wants you. + +A MAN comes out of the shadows, with a strong Italian accent. + + MAN + What is it? + +He stops, frozen in fear. It is FABRIZZIO. + +VIEW ON MICHAEL. Gunfire from under his coat. FABRIZZIO is +cut down. MICHAEL throws the gun down; turns and exits. + +EXT DAY: MALL (1955) + +HIGH ANGLE ON THE CORLEONE MALL + +Several moving vans are parked in the Mall; one feels that +these are the final days; the families are moving out; signs +indicating that the property is for sale are evident. + +A black limousine pulls up, and before it has even stopped, +the rear door flies open, and CONNIE attempts to run out, +restrained by MAMA. She manages to break free and runs +across the Mall into Michael's house. + +INT DAY: DON'S LIVING ROOM (1955) + +Inside the Corleone house. Big boxes have been packed; +furniture prepared for shipping. + + CONNIE + Michael! + +She hurries into the living room, where she comes upon +MICHAEL and KAY. + + KAY + (comforting) + Connie... + +But CONNIE avoids her, and moves directly to MICHAEL. NERI +is watchful. + + CONNIE + You lousy bastard; you killed my + husband... + + KAY + Connie... + + CONNIE + You waited until our father died + and nobody could stop you and you + killed him, you killed him! You + blamed him about Sonny, you always + did, everybody did. But you never + thought about me, never gave a damn + about me. + (crying) + What am I going to do now, what am + I going to do. + +TWO of Michael's BODYGUARDS move closer, ready for orders +from him. But he stands there, waiting for his sister to +finish. + + KAY + Connie, how could you say such + things? + + CONNIE + Why do you think he kept Carlo on + the Mall? All the time he knew he + was going to kill my husband. But + he didn't dare while my father was + alive. And then he stood Godfather + to our child. That coldhearted + bastard. + (to KAY) + And do you know how many men he had + killed with Carlo? Just read the + papers. That's your husband. + +She tries to spit into MICHAEL's face; but in her hysteria +she has no saliva. + + MICHAEL + Get her home and get a doctor. + +The TWO BODYGUARDS immediately take her arms and move her, +gently but firmly. + +KAY is shocked; never taking her look of amazement from +MICHAEL. He feels her look. + + MICHAEL + She's hysterical. + +But KAY won't let him avoid her eyes. + + KAY + Michael, it's not true. Please + tell me. + + MICHAEL + Don't ask me. + + KAY + Tell me! + + MICHAEL + All right, this one time I'll let + you ask about my affairs, one last + time. + + KAY + Is it true? + +She looks directly into his eyes, he returns the look, so +directly that we know he will tell the truth. + + MICHAEL + (after a very long pause) + No. + +KAY is relieved; she throws her arms around him, and hugs +him. Then she kisses him. + + KAY + (through her tears) + We both need a drink. + +INT DAY: DON'S KITCHEN (1955) + +She moves back into the kitchen and begins to prepare the +drinks. From her vantage point, as she smilingly makes the +drinks, she sees CLEMENZA, NERI and ROCCO LAMPONE enter the +house with their BODYGUARDS. + +She watches with curiosity, as MICHAEL stands to receive +them. He stands arrogantly at ease, weight resting on one +foot slightly behind the other. One hand on his hip, like a +Roman Emperor. The CAPOREGIMES stand before him. + +CLEMENZA takes MICHAEL's hand, kissing it. + + CLEMENZA + Don Corleone... + +The smile fades from KAY's face, as she looks at what her +husband has become. + +INT DAY: CHURCH (1955) + +KAY wears a shawl over her hand. She drops many coins in +the coin box, and lifts a burning taper, and one by one, in +a pattern known only to herself, lights thirty candles. + + THE END \ No newline at end of file diff --git a/scripts/The Goonies.txt b/scripts/The Goonies.txt new file mode 100644 index 0000000000000000000000000000000000000000..775798773c22c7a6a4f28f5f958b11f01b9f3cf5 --- /dev/null +++ b/scripts/The Goonies.txt @@ -0,0 +1,7792 @@ + 1. + + + + FADE IN: + + +1 INT. WALSH HOME - DAY 1 + + CREDITS OVER VARIOUS CLOSE-UPS of the goonies' HANDS and + FACES as they perform the secret goony handshake. It is a + very poetic, beautifully synchronized series of movements + which displays a sense of kinship and brotherhood. We hear + the VOICE OF MIKEY, reciting the GOONY OATH, over these + images. + + MIKEY (V.O.) + ”1 will never betray my goon dock + friends, We will stick together + until the whole words ends, Through + heaven and hell, and nuclear war, + Good pals like us will stick like + tar, In the city, or the country, + or the forest, or boonies, I am + proudly declared, one of the + goonies!" + + FADE TO BLACK: + + +2 INT. JAIL - CELL BLOCK - DAY 2 + + FADE IN: CLOSE-UP. + + The leathery, bullish face of a JAIL GUARD. He SHOUTS. + + GUARD + Feed time! + + CAMERA PULLS BACK. + + The guard stands in a dimly lit prison HALLWAY. Rows of + JAIL CELLS stretch along the side walls. Crowded-with + PRISONERS. The prisoners SHOUT and JEER at the guard. He + removes his wooden BILLY CLUB. Giving a HARD RAP to the + bars. It ECHOES through the prison. The guard SNARLS. + + GUARD + The longer you animals bark -- the + colder yer' lunch gets. + + The prisoners SIMMER DOWN. The guard inserts a key into the + MASTER LOCK. All of the cell doors OPEN. SIMULTANEOUSLY. + The prisoners RUSH OUT. HUNGRY. The guard SHOUTS. + + GUARD + 2. + + + Single file. Single file. + + The prisoners crowd into a LINE. They PASS the watchful + guard, who taps his palm.with the threatening billy club. + + Two ASSISTANT GUARDS lead the prisoners into another + hallway. Toward the CAFETERIA. When all of the prisoners + have exited, the guard turns to FOLLOW. He PAUSES. Hearing + a NOISE. A CREAKING. The guard TURNS. He sees SOMETHING. At + hallway's END. In the LAST cell. A DARK FIGURE. SWINGING + back and forth. The guard WALKS to the cell. CURIOUS. + CAUTIOUS. Hand GRIPPING his gun. He STOPS. Outside of the + OPEN cell door. He PEERS inside. He is met with a SHOCKING + SIGHT. + + +3 INT. JAKE'S - CELL - DAY 3 + + The body of JAKE FRATELLI, a 33 year old excitable boy, + strong, muscular, with the face of a KILLER. JAKE is James + Caan on speed. He HANGS from a rusty ceiling pipe. His belt + is wrapped AROUND HIS NECK. His eyes are CLOSED. His tongue + HANGS OUT. Face frozen in a GHASTLY position. His body + SWAYS. An obvious SUICIDE. A NOTE is pinned to Jake's + chest. The guard ENTERS the cell. He GRABS the note. + READING it to'himself. + + GUARD + "You schmuck! You really think I'd + be stupid enough to kill myself?" + (puzzled) + Huh? + + The guard LOOKS UP. Jake's eyes are OPEN. He is SMILING. + VERY ALIVE. Before the guard can react, Jake quickly lifts + his KNEE. SLAM! Into the guard's JAW. The guard HITS the + floor. OUT COLD. Jake BOOSTS himself out of the noose. We + see that the noose is actually attached to a CONTRAPTION + that fits around Jake's WAIST. Jake LOOKS into the hallway. + Making sure the coast is CLEAR. He begins to UNBUTTON the + guard's shirt. + + CUT TO: + + +4 EXT. JAIL - DAY 4 + + Jake RUNS from the jail. A blaring ALARM sounds! A GROUP OF + GUARDS run out of the prison, in PURSUIT of Jake. CAMERA + PANS TO a waiting BLACK, nondescript, OFF ROAD VEHICLE. + 3. + + + Leaning out the window of the driver's side, puffing on a + cigarette, is MAMA FRATELLI. She is a 56 year old, heavyset + woman, with grey hair and a MENACING, EVIL face. She is + part Marjorie Main, part Jungle cat. Her son, FRANCIS + FRATELLI, stands outside of the car, holding a can of + GASOLINE. Francis is a 31 year old man with dark hair and + crazed eyes. He resembles Victor Jory as Injun Joe in the + 1938 film "Tom Sawyer". He has just poured a STREAM of + gasoline several feet in front of the OFF ROAD VEHICLE. The + cops have nearly CAUGHT UP with Jake. Guns DRAWN, they are + ready to SHOOT! Mama nonchalantly FLICKS her lit cigarette + to the ground. The cigarette IGNITES THE GASOLINE. This + creates a literal WALL OF FIRE between the cops and JAKE. + Jake and Francis HOP into the car. The Off Road Vehicle + DRIVES OFF. + + +5 INT. O.R.V. - DAY 5 + + Mama DRIVES. PANICKED. UPSET. She CHECKS the rearview + mirror. A second police car joins the chase. The Police are + GAINING on them. + + +6 EXT. EIGHTH STREET - DAY 6 + + THE POLICE CARS FOLLOW. IN HOT PURSUIT down the steep hill. + + THE O.R.V. + + takes a SHORT CUT, through a STOP N' SNACK PARKING LOT. The + O.R.V. nearly HITS a Mexican woman, ROSALITA. She is ASKING + DIRECTIONS from the store owner, an elderly woman named + SYLVIA KEESTER. Rosalita watches in SHOCK as the two police + cars shoot past her. In PURSUIT of the O.R.V. + + +7 EXT. HOUSE WITH BAD PLUMBING - DAY 7 + + The CHASE continues through A RESIDENTIAL SECTION of town. + CAMERA PANS TO ONE PARTICULAR HOUSE, SEVERAL FEET AWAY. We + DOLLY INTO THE KITCHEN WINDOW. + + +8 INT. KITCHEN WITH BAD PLUMBING - DAY 8 + + MOUTH sits on the kitchen sink, watching an old BLACK and + WHITE MOVIE on T.V. Several cop cars CHASE James Cagney’s + car, complete with POLICE SIRENS and FLYING BULLETS. + Mouth's Father, THE PLUMBER, works on the pipes below. WE + SEE THE ONCOMING CHASE through the kitchen window. But + Mouth is TRANSFIXED by the television screen. Mouth's + FATHER screams. + 4. + + + FATHER + Turn down that goddamn T.V. and + come help me with these pipes! + + Mouth TRIES to turn down the T.V. but the volume just seems + to get LOUDER and LOUDER, as the real chase blazes past the + window over Mouth's shoulder, all of it UNSEEN by Mouth. + SECONDS before the chase passes the kitchen window, Mouth's + Father hits the WRONG PIPE. A GUSH OF WATER blasts through + the sink drain. It DOUSES Mouth and SPLATTERS the window. + This creates a CURTAIN OF WATER that BLOCKS Mouth's VIEW of + the chase. + + +9 EXT. JUNKYARD - DAY 9 + + DATA searches through an enormous trash bin, picking up + discarded WIRES, CABLES, etc. Data is wearing a WALKMAN. It + DROWNS out all sounds. He is tinkering with one of his + crude inventions, A BELT BUCKLE SUCTION GUN. Data DECIDES + to test his invention. He STEPS away from the trash bin. He + PRESSES a button on his BELT that reads "OUT"! + + The BELT BUCKLE flips open. A suction cup, attached to a + long wire, SHOOTS OUT of the buckle. The suction cup STICKS + to the trash bin! Data HITS the "IN” button on his belt. + + Another mechanism causes the wire to REEL the trash bin + TOWARD DATA! + + Data TRIES to turn it OFF! Doesn't work! + + Suddenly, the trash bin comes to a STOP! + + Wedged between TWO TELEPHONE POLES! The strong FORCE of the + WIRE begins to PULL DATA INTO THE BIN! He CAN’T STOP IT! + Data PULLED inside the bin, an instant before the CHASE + PASSES BY! + + +10 INT. O.R.V. - DAY 10 + + The SPEEDOMETER wavers past 100 mph. Mama GLANCES to the + rearview. The cops are still GAINING. Mama takes a SHARP + TURN. OUT of the junkyard. + + THE CHASE CONTINUES. Moving along the MAIN ROAD. + + +11 INT. O.R.V. - DAY 11 + 5. + + + Mama is FRENZIED. Wanting to LOSE THE COPS. She makes a + QUICK TURN. OFF of the main road. Through the grassy field + of a high school football field. + + +12 EXT. HIGH SCHOOL FOOTBALL FIELD - DAY 12 + + TINA TURNER’S "Better Be Good To Me” BLASTS from the + stadium speakers. A group* of high school CHEERLEADERS + practice along with the music. ANDY, one of the prettiest- + girls in town, LEADS the cheerleaders. They are forming a + PYRAMID. The chase PASSES BY in the background, UNBEKNOWNST + to the CHEERLEADERS. The MUSIC IS TOO LOUD for them to + hear. + + THE O.R.V. LEAPS a small ditch, out of the parking lot, + through a wire fence. + + +13 EXT. STREET - DAY 13 + + The Fratelli O.R.V. squeals down the street, rapidly + overtaking: + + A LARGE VAN. The elderly СAB OCCUPANTS (SIMON & SIMONE + SIMIAN) exchange a contented glance. Simon now looks at his + side view mirror, his expression instantly changing to + panic as: + + SIMONE + Simon, look out! + + The van swerves hard right, allowing the Fratelli O.R.V. to + screech around it. Now suddenly looming up from behind the + right side: A POLICE PATROL CAR! + + Simon swings the large van back hard left to accommodate + the patrol car as: + + A SECOND PATROL CAR starts to overtake the van from the + left side! The van spins in confusion, blocking the road + sideways as A THIRD PATROL CAR skids to a stop in front of + it, barely avoiding a crash. + + The OFFICER inside jumps out, heads quickly for the van + cab. + + OFFICER + This road only runs two ways, pop, + so -- + 6. + + + He suddenly stops as he hears FRANTIC POUNDING and AGONIZED + SCREAMS from within the rear of the van! Rushing to the + side door, the Officer starts to jerk it open as: + + SIMON + No! Don’t! Wait!!! + + Too late! The door flies open and TWO HUGE GORILLAS leap + out, decking the Officer in the process. Grunting and + squealing with delight at their new-found freedom, they + disappear around the corner of the van. + + ANGLE ON FAR SIDE OF VAN + + The dazed Officer rounds the van in pursuit, scratches his + gead, puzzled. The Gorillas have disappeared. In b.g. we + now see, printed on the side of the van: BONZO THE GREAT + AND HIS MATE, with a picture of them driving a small red + car. + + +14 EХТ. PUTTING GREEN & GOLF CLUB - DAY 14 + + A neatly manicured putting green, part of an elegant + country club. + + TROY PREKINS and his FATHER stand on the green. In b.g. a + little red golf cart sits, holding their clubs. Troy hovers + seriously over a putt, using the knock-kneed stance made + famous by Arnold Palmer. + + TROY + How's this, daddy? + + MR. PERKINS + Don’t lock your knees when you + putt, son. Makes you look .like you + have to go to the bathroom. Here. + Watch me -- + + ANGLE ON BUSHES + + The two Gorillas emerge from the bushes, now catching sight + of the red golf cart. Eyes dancing with delight, they + circle it curiously, then hop in as: + + BACK TO GREEN + + Troy has heard something, wheels in time to see the + Gorillas take off in the cart! His jaw drops in disbelief. + + TROY + 7. + + + Daddy -- daddy. Two huge hairy + things just stole our cart! + + Mr. Perkins spins around. The cart with the Gorillas is + disappearing into the distance. He squints after it, + enraged. + + MR. PERKINS + Hairy things, my ass! That's George + and Ethel Higgenbottom! I'd + recognize them anywhere! + (yelling) + I see you, Higgenbottom! This could + mean your membership, you furball! + + +15 EXT. TOWN STREET - DAY 15 + + THE HIGH SPEED CHASE! The two police cars still follow the + OEF ROAD VEHICLE! IT CONTINUES through what is normally a + very PEACEFUL, COASTAL TOWN. + + +16 EXT. MARINA - DAY 16 + + The cars are headed for a MARINA. Several FISHING BOATS are + docked here. STEF, a 16 year old girl, WORKS with her + Father on a small FISHING BOAT. Seconds before the CHASE + passes, Stef, wearing a mask and snorkel, ducks her head + into a tank of water, sorting lobsters and crabs. As the + chase PASSES out of sight, Stef RESURFACES. She's MISSED + all of it. + + +17 INT. VIDEO PARLOR - DAY 17 + + CHUNK stands in the window. He is PLAYING a video game, + alternating between bits of a giant PIZZA SLICE and a + chocolate MILKSHAKE. The REFLECTION of the chase is VISIBLE + in the video game window. Chunk TURNS from the window, + clumsily SPILLING the milkshake over his shirt and SMEARING + the window with pizza. Chunk STARES at the chase. He sees + the countless BULLETHOLES in the O.R.V. THE POLICE CARS + follow. Chunk’s eyes are WIDE. STARTLED by the exciting + chase. He’s the only GOONY who's seen it. + + +18 EXT. STREET - NEAR O.R.V. RACE START - DAY 18 + + Mama CHECKS the rear view mirror, seeing the police closing + in. The boys LOOK at her in horror. + + JAKE + 8. + + + We’ve had it, Ma. + + But Mama has NOT LOST her confidence. There is a certain + GLEAM in her eyes, as if she'’KNOWS something. She TURNS to + her sons. + + MAMA + Duck down, boys! + + The boys OBEY Mama. Mama REACHES below the seat and removes + a HELMET. She puts the helmet over her head and pulls down + the DARK face visor. + + THE R.V. + + makes a sudden TURN. The Police try to FOLLOW. Mama turns + onto the town's MAIN STREET, where a crowd of people have + gathered to view THE CAULDRON POINT O.R.V. RACE. + + +19 EXT. O.R.V. RACE STARTING POINT - DAY 19 + + Forty NONDESCRIPT OFF-ROAD VEHICLES line up at the starting + line. All of their drivers wear HELMETS, their dark face + visors PULLED DOWN. + + MAMA’S O.R.V. drives up to the STARTING LINE and JOINS THE + RACE. The STARTING FLAG is waved. The RACE BEGINS. THE + POLICE CARS stop at the starting line. The POLICEMEN•get + out. Guns RAISED. Ready to SHOOT. But as the countless + vehicles pass, the Policemen can only STARE IN CONFUSION. + + Mama’s O.R.V. is LOST in the crowd of similar vehicles. Her + face is HIDDEN in the crowd of similar face helmets. The + race DISAPPEARS over a hill. + + DISSOLVE TO: + + +20 EXT. O.R.V. RACE STREET - DAY 20 + + Ridden with bullet holes, Mama’s O.R.V. turns away from the + race, taking an ALTERNATE ROUTE. + + +21 INT. O.R.V. 21 + + Mama removes her HELMET. She and the boys are LAUGHING. + They have LOST the cops. They are FREE. + + +22 EXT. STREET BY WALSH HOUSE - DAY 22 + 9. + + + CAMERA STAYS with the O.R.V., as it cruises through the + "GOON DOCKS". A small VILLAGE, located in and around the + docks. Made up of HOMES and SMALL SHOPS. Several FISHERMAN + and BLUE COLLAR WORKERS live here. + + As the O.R.V. drives out of town, the CAMERA PANS TO -- + + +23 EXT. WALSH HOME - DAY 23 + + A 3 STORY house. SIMPLE. PLAIN. This home is in slightly + better condition than the others in the Goon Docks. CAMERA + DOLLIES into the home’s picture window. A 13 year old boy + STARES out the window. MIKEY WALSH. He has obviously JUST + MISSED the chase. He gives an ANGRY, BORED shrug. + + MIKEY + Nuthin' exciting ever happens + around here anyway! + + +24 INT. WALSH HOME - RECREATION ROOM 24 + + Mikey is a 13 year old HYPOCHONDRIAC. CUTE. A wiry, SKINNY + body. SHORT for his age. BRACES. SHAGGY brown hair. A + "BRUCE SPRINGSTEEN” concert T-shirt. FADED Levis. VELCRO + sneakers. Mikey is in that AWKWARD stage of adolescence. + + His entire body is going through a CHANGE. Mikey gives + himself a SHOT OF PROMOTENE MIST. Angrily STARING out the + window. + + MIKEY + Who needs the goon docks! Who needs + this house! I can't wait to get + outta’ here! + + BRAND (O.S.) + Really? + + Mikey TURNS from the window. His brother, BRAND, hangs + UPSIDE DOWN from a chinning bar. In the BACKGROUND. He is + attached to the bar by METAL ANKLETS. Brand looks NOTHING + like Mikey. + + Brand is a HANDSOME, MUSCULAR youth. A JOCK. His eyes are + deep BLUE. His hair DIRTY BLONDE. He wears gym shorts and a + half T-shirt over his TANNED BODY. Mikey gives an HONEST + SIGH, letting his TRUE feelings through. + + MIKEY + 10. + + + Naw. I was just tryin' to make + myself feel better -- tryin’ to + dilute myself -- ’er, dilate + myself? -- ah -- dictate? + + BRAND + "Delude" yourself. + + MIKEY + Yeah. + + BRAND + I know how ya’ feel, wimp. I sure + am gonna miss this place. + +CAMERA FOLLOWS Mikey inside the house. We are in the +RECREATION ROOM of the Walsh home. CLUTTERED middle class. + +Sears and Roebuck FURNITURE. Montgomery Ward TELEVISION. +J.C. Penney OIL PAINTINGS. Mikey SITS on the sofa. He OPENS +a "MAD MAGAZINE" to the back cover. + +Mikey STARES at Al Jaffee's "FOLD IN". Mikey sits, trying +to FIGURE out the Fold In. He REPEATS the answer to +himself. He then FOLDS the magazine together. He has +GUESSED the correct answer. He TOSSES the magazine on the +floor. Mikey STARES. DEPRESSED. + +CLARKE "MOUTH" DEVEREUX enters. Mouth is the group +PRANKSTER. A CLOWN. A 15 year old RICH LITTLE. TALL, GAWKY. +CURLY, unkempt hair. A HOMELY kid. He wears a blue +plumber's SHIRT, JEANS, and SNEAKERS. Across his shirt's +back, bright yellow letters spell out: "DEVEREUX'S +PLUMBING". His shirt is still SOAKING WET from the earlier +plumbing fiasco. A WRENCH, SCREWDRIVER and other PLUMBING +TOOLS poke out of his back pocket. Mouth has a perpetual +SMIRK on his face. A devilish GLEAM in his eye. He looks +around the room, noticing the feeling of DEPRESSION in the +air. Mouth tries to LIVEN things up. + + MOUTH + Wait? What's this? Finklestein's + Funeral parlor? Lookit' you guys! + Lyin' around like it was a Nuclear + Saturday! C'mon dudes! This is our + last weekend together! The last + GOONY weekend! We should be goin' + out in style! Cruisin’ the coast. + Sniffin' some lace -- downin' the + brews -- + (slaps Brand in the + stomach, John Belushi + impression) + 11. + + + But NOOOOOO--! YOU had to screw it + up. You had to go and flunk your + driving test. + +Brand reaches out to HIT Mouth. Mouth JUMPS BACK. Out of +Brand's REACH. They are INTERRUPTED by the sound of a +ringing GATE BELL. Mouth TURNS. + + MOUTH + Jerk alert! + +Mouth POINTS to the SLIDING GLASS DOORS. LAWRENCE "CHUNK" +COHEN is OUTSIDE of the gate. He is RINGING the bell. + +Chunk is 14 years old. PUDGY. CLUMSY. Chunk is a chronic +LIAR, the king of FIBS. He wears a light summer JACKET. A +bright colored HAWAIIAN SHIRT. Large plaid BERMUDA SHORTS. +BLACK knee socks. Brand NEW sneakers. Chunk SHOUTS to the +guys. + + CHUNK + Hey, guys -- Ya' gotta' let me in! + I just saw the most amazing thing - + - + + MOUTH + First ya' gotta' do the "Truffle + Shuffle". + +It’s obvious that Mouth WON’T let Chunk inside. Chunk +SIGHS. He LIFTS up his SHIRT. Chunk EXPOSES his soft, pudgy +midsection. Chunk begins to TWIST and SHAKE. His belly +JIGGLES. Mouth is bent over with LAUGHTER. Mikey is not +AMUSED. He RUNS to the window, GLARING at Mouth. + + MIKEY + Cut it out, Mouth. + +Mikey OPENS the window. He drops a STONE out of the window. + +In RUBE GOLDBERG fashion, the rock causes a chain of events +that make the gate open for Chunk. Chunk HURRIES through +the gate. He ENTERS the house and EXCITEDLY looks at the +boys. + + CHUNK + You guys shoulda’ seen it -- cop + cars -- chasin’ this four wheel + deal -- it was the most amazing + thing I ever saw! + + MIKEY + 12. + + + More amazing than the time Michael + Jackson came over to your house to + use the bathroom? + + MOUTH + More amazing than the time you ate + your weight in Straw Hat pizza? + + BRAND + More amazing than the time you + saved those old people from that + nursing home fire? + + CHUNK + Honest you guys. This time it’s for + real. + +NO ONE believes Chunk. Suddenly, we HEAR the JAMES BOND +THEME! It ECHOES from outside. With that, as if it were +some sort of ritual, Mikey STANDS and opens the window. + +MIKEY’S P.O.V. + +Mikey SEES RICKY "DATA" WANG. A 13 year old TECHNICAL +GENIUS. Data is CHINESE. Small FRAMED. THIN. He wears +circular, wire rimmed SPECTACLES. A "PRINCE” T-shirt. +JEANS. NIKES. He is never seen without his LARGE, JAPANESE +BACKPACK and FLOWING WHITE CAPE. His dark eyes are +PIERCING. INTELLIGENT. Data sees himself as Agent 007. + +Data STANDS on the window of his home. He has ATTACHED +himself to a clothes line that CONNECTS Mikey’s house to +Data's. A LARGE PORTABLE CASSETTE player is STRAPPED to +Data's chest. The Bond Theme BLARES from the cassette. + +Data FLIES from his house to Mikey's. He SHOOTS through the +open window, and FALLS into Mikey, who shoots back, +colliding with the bottom half of upside-down Brand, who in +turn arcs up, clunking Chunk. Chunk FALLS BACKWARDS and +KNOCKS a miniature MARBLE REPLICA of Michaelangel оls DAVID +to the floor. The statue lands with a THUD! Chunk NERVOUSLY +picks up the statue. It seems to be in ONE PIECE. + +But he is met with a SHOCKING SIGHT. The statue's penis has +CRACKED OFF. Mikey gives himself another SHOT of Promtene +Mist, and picks up the broken statue. He HOLDS the statue +in one hand and the penis' in the other. Mikey PANICS, +holding out the broken penife high in the air. + + MIKEY + Oh my God! This is my Mom's + favorite piece! + 13. + + + MOUTH + You wouldn't be here if it wasn't! + +Data OPENS a map and looks at the guys. + + DATA + Any a' you guys ever hear of + Detroit? + + MOUTH + Great place. It's where Motown + started. + (Data smiles) + Also got the highest murder rate in + the Country. + + DATA + (frowns) + Well, that's where we’re movin' + when we lose our house tomorrow. + + MIKEY + You shut up about that stuff. It'll + never happen. Dad'll fix it. + + BRAND + Not unless he gets his next 400 + paychecks by tomorrow afternoon. + (leads kids to window) + C'mon. Check this out. + +Brand leads the kids to a window. They look out. + +GOONIES - P.O.V. + +Three MEN in leisure suits are looking at Mikey’s home. +They seem to be discussing the entire area. One of them +carries a surveyor’s TRANSIT. They point, gesture and even +laugh. One man picks up a straight branch and imitates a +golf swing. + + BRAND + Lookit’ em. Smilin’. + + MOUTH + Practic’ly droolin. + + DATA + They can’t wait until tomorrow when + they foreclose on all the whatevers + -- + + MOUTH + 14. + + + -- and trash the goon docks. + + BRAND + When they wreck dur house, I hope + they make it the sand trap -- + + MIKEY + -- and they never get their balls + out. + + DATA + (angry) + This is war. Go on, Mikey -- Open + that window -- I'll get 'em. I got + all my special 007 assault options + all rigged. + (shouts) + Glasses of death! + +He opens his JACKET and REMOVES the cassette player. Inside +of his shirt, is a CRUDE DEVICE that is covered with +different CORDS. Attached to the cords are SMALL, COLOR +CODED PLASTIC RINGS. Data PULLS one of the cords. Two +rubber tipped DARTS fly out of the sides of Data’s glasses. + +The darks MALFUNCTION, pull off Data’s glasses, and ATTACH +themselves to the window. Angry, he SCREAMS. + + DATA + Pinchers of peril! + +He pulls ANOTHER CORD. A mechanical device, very similar to +the "chest buster" in “Alien”, BURSTS out of Data’s chest. + +The device is PLASTIC, MECHANICAL CHATTERBOX TEETH, with a +homemade super spring for super grip. It shoots forward +ACROSS THE ROOM. The teeth are attached to a thick METAL +COIL, similar to a SLINKY. The teeth GRASP ONTO the Walsh +DRAPES and HANG THERE. Data TRIES to pull a few more cords. + +NOTHING works. Data is LOSING his temper, ready to EXPLODE. + +Mouth puts his ARM on Data’s shoulder to CALM him. + + MOUTH + Cool it, Double-Oh-Negative! + + MIKEY + Yeah, Data. None a’ your stuff ever + works anyway. + 15. + + +IRENE WALSH, Mikey and Brand’s Mother, ENTERS. Irene is in +her early FORTIES. Light BROWN hair. SLENDER. Dressed in a +PLAID SKIRT and MONOGRAMMED SWEATER. PRETTY, with a WARM, +KIND face. Her arm is in a SLING. BROKEN. Standing with her +is Rosalita, a middle-aged, pudgy MEXICAN woman. The new +MAID (whom we’ve seen in the first scene). + +Mikey quickly passes the broken statue of David BEHIND HIS +BACK, to Chunk. Chunk nervously COVERS the broken statue +with his jacket. Irene LOOKS at Mikey and Brand. + + IRENE + (turns to Rosalita) + Boys -- this is Rosalita. + (motions to her broken + arm) + Because of my accident with that + spindryer -- Rosalita’s here to + help with the packing. + +The boys WAVE. Rosalita SMILES. + + IRENE + Rosalita doesn't speak a word of + English. And I was wondering if, + well -- I know some of you have + taken Spanish in school-- + + MOUTH + I speak perfect Spanish, Mrs. + Walsh. + +Mikey ROLLS his eyes at Data. Irene SMILES at Mouth. + + IRENE + That’s wonderful, Clarke. I need + help explaining some things to + Rosalita -- If you would come with + us -- + +Mouth SHOOTS to his feet, hurrying to Irene's side. She +TURNS to leave. PAUSING. She NOTICES Brand hanging upside +down. + + IRENE + Brandon, dear -- please be careful. + Don't get an animalistic --'er, + annualism -- Mmmmm, ah -- + + BRAND + That's "anuerism", Ma. + + IRENE + 16. + + + Yes. Right. Anuerism. + + Irene TURNS and EXITS with Mouth and Rosalita. Chunk + CATCHES HIS BREATH. He PICKS up the statue. A large HOLE + surrounds the statue's groin. Chunk gives a HOPEFUL look to + Mikey. + + CHUNK + Think your Mom’s gonna notice? + + CUT TO: + + +25 INT. MASTER BEDROOM WALSH HOME 25 + + Irene ENTERS with Rosalita and Mouth. Irene walks to a set + of DRESSER DRAWERS. She POINTS each drawer out to Rosalita. + + IRENE + Socks and underwear in the top + drawer. Shirts and blouses in the + second. Pants in the bottom. Always + separate the clothes. + + Rosalita stares BLANKLY. Irene TURNS to Mouth. + + IRENE + Can you translate that? + + Mouth NOfTs. With an EVIL GRIN, he points out the dresser + drawers to Rosalita. + + MOUTH + (Spanish, English + subtitles) + The MARIJUANA goes in the top + drawer. The COCAINE and SPEED in + the second. HEROIN in the bottom. + Always separate the DRUGS. + + Rosalita gives a SHOCKED look. Irene smiles, thinking Mouth + has translated her directions PERFECTLY. + + +26 INT. LIVING ROOM 26 + + CAMERA STAYS BEHIND the statue. The boys TRY to put the + statue’s penis back into place. Chunk perforins the + DELICATE TASK. Using Elmer’s GLUE. Finished, Chunk gives a + HOPEFUL look to the others. + + CHUNK + How’s that? + 17. + + + The boys BREAK UP with laughter. Brand SLAPS Chunk in the + head. + + CAMERA CIRCLES to the FRONT OF THE STATUE. Chunk has glued + the penis on UPSIDE DOWN. + + BRAND + God didn’t mean it to go that way. + If he did -- you’d all be pissing + in your faces. + + +27 INT. UPSTAIRS HALLWAY 27 + + Irene EXITS the master bedroom with Rosalita and Mouth. + Irene points to a TRAP DOOR in the ceiling. She LOOKS at + Rosalita. + + IRENE + That’s the attic. Mr. Walsh doesn't + like anybody up there. Never. + + Irene NODS to Mouth. Turning to Rosalita, he begins HIS + translation. + + MOUTH + (Spanish, English + subtitles) + Never go up there. It’s filled with + Mr. Walsh's SEXUAL TORTURE DEVICES. + + Rosalita’s face goes WHITE with fear. + + +28 INT. BATHROOM 28 + + Irene and Mouth enter with the HORRIFIED-Rosalita. Irene + opens a SUPPLY CLOSET. She POINTS inside. + + IRENE + This is the supply closet. You’ll + find everything you-need inside. + Brooms. Mops. Insect spray. Lysol. + + Irene NODS to Mouth. He LOOKS at Rosalita. + + MOUTH + (Spanish, English + subtitles) + If you do a bad job, you’ll be + LOCKED in here with the + cockroaches! For two weeks without + food and water. + 18. + + +29 INT. RECREATION ROOM 29 + + Irene, Mouth and a NAUSEOUS Rosalita enter. The boys are + GATHERED around the television. Playing MARBLES. Feigning + INNOCENCE. + + IRENE + (kiss to his cheek) + Thank you, Clarke. That was so nice + of you. + + MOUTH + Nice is my middle name, Mrs. Walsh. + + Irene SPOTS THE’STATUE. Back in its ORIGINAL place. LEAF + over its genitals. She sighs, knowing that Chunk is + responsible. She TURNS to Chunk. + + IRENE + Lawrence -- + (indicates that she wants + the statue) + + Chunk PICKS up the statue and gives it to her. Irene HOLDS + the statue. + + She REMOVES the leaf. The penis begins to FALL OFF the + statue. Slowly TILTING. FALLING over. The glue stretches. + + Mikey sees this and takes a hit from the Promotene Mist. + Rosalita is, of course, shocked and makes the sign of the + cross. + + Irene gives a FLUSTERED nod. She TURNS to Brand. + + IRENE + I’m taking Rosalita to the grocery + store. I’11 be home in about an + hour. + + IRENE + (sees Mikey taking hit) + Brandon, you stay inside with + Mikey. If he's got asthma -- he + shouldn't be out in the rain. + + BRAND + He should be in a plastic bubble. + + IRENE + I'm serious, Brandon. He takes one + step outside, and you're -- you're + -- + 19. + + + (trying to come up with + something hip) + Dead meat. + + Brand gives a reluctant sigh. Irene and a frightened + Rosalita exit. Brand leaps at Mikey. TACKLING him. + + BRAND + You want a breathin' problem? You + got one! + + Brand holds Mikey in a strangling headlock. Mikey is + wheezing, coughing. Mikey struggles in the background. + Brand finally pushes Mikey away. + + Mouth, pondering something, looks at Mikey. + + MOUTH + Hey -- what's your Father gonna do + with all that stuff in the attic? + + MIKEY + He's gonna give it back to the + museum -- or to whoever they pick + to be the new Assistant Curtain -- + er, Curley -- + + BRAND + Curator. + + MOUTH + That means it's all gonna go to the + rich people anyway. Let's go up and + see if there's anything we can take + for our parents. + + Everyone joins in with a "YEAH! COOL! LET'S DO IT!" The + kids RUN OFFSCREEN. Only Mikey stays behind, PROTESTING. + + MIKEY + Hey, guys -- My Dad’s responsible + for all that stuff -- Don't wreck + anything -- I 'll bet the museum’s + got a list of it all somewhere -- + Guys? + + Mikey FOLLOWS the guys OFFSCREEN. + + CUT TO: + + +30 INT. ATTIC 30 + 20. + + +DARK. DUSTY. The attic is crowded with historical Cauldron +Point museum pieces. They date from the middle and late +SIXTEENTH CENTURY. There are OIL PAINTINGS, SCULPTURES, +antique FURNITURE, COSTUMES, WHALING HARPOONS, PIRATE AND +FISHING MEMORABILIA, etc. + +A LARGE SKYLIGHT looms over, the priceless +collection.BLACK, RAGING storm clouds are visible through +the skylight windows. The. oncoming RUMBLING OF THUNDER can +be heard. + +The boys enter through a TRAP DOOR in the floor. Brand is +FIRST. He shines his FLASHLIGHT through the attic. The +others FOLLOW. Mikey is the last to climb inside. He sees +the attic for the FIRST TIME. SHOCKED. AMAZED. All of the +boys stare wide eyed at the roomful of items. + + MOUTH + I can't believe somethin’ this cool + is in your house. + + CHUNK + Yeah. We only keep old Christmas + decorations in our attic. + +THUNDERCRACK! A FLASH OF LIGHTENING. From the skylight a +mosaic of rain patterns slowly dances across the Goonies. + + MIKEY + (frightened) + Okay. You guys saw it. Let’s get + outta' here. + + BRAND + Whatsa' matter? Scared again? + + MIKEY + Yeah -- just like you in the + elevator. + +Brand's eyes burn. He GRABS Mikey in another headlock. + + BRAND + You shut up about that elevator! + You understand? Huh? + +Mikey forces a nod. Wheezing. Brand releases his grip. +Mikey LIES on the floor. Catching his breath. + + MIKEY + Can we go now? It's dusty up here. + My hay fever’s actin' up. + 21. + + +Brand leads Mikey and the others on a trek through the +attic. Mikey follows. Suddenly, a HIGH PITCHED VOICE +INTERRUPTS. + + MOUTH (O.S.) + Mikey -- Oh, Mikey -- You're such a + cute little boy -- Come and kiss me + -- + +The boys turn to the direction of the voice. It ECHOES from +behind the tattered OIL PAINTING of the naked woman and +Pirate Captain. A TONGUE juts out of a tear in the woman's +mouth, LASCIVIOUSLY licking its lips. Mikey STARES. +SHOCKED. Brand and Data SHARE a chuckle. + +Suddenly, a FINGER pops out of each of the woman's nipples. +The fingers twist and turn. Creating a bizarre image. Mouth +calls out, again imitating a woman. + + MOUTH (O.S.) + Come here, Mikey. Make me feel like + a woman. + + MIKEY + Stop bein' so perverted, Mouth. + You're wreckin' the painting. + +Mouth’s head POPS UP from behind the painting. + + MOUTH + Easy, dude. It was already trashed. + +The kids continue WALKING through the attic. They +INVESTIGATE the various ITEMS. + + CHUNK + What's all this stuff? + + MIKEY + The museum did some kinda' show -- + ya' know -- 'bout the history of + our town -- It was called -- ah -- + Mmmm -- A ratropack? + + BRAND + Retrospective. + + MIKEY + Yeah. Anyway -- these are the + rejects. + + CHUNK + Kinda’ like us. + 22. + + +Mikey SHRUGS. + +The boys RUMMAGE through the items. Each of the boys GRABS +a particular piece of Pirate CLOTHING or EQUIPMENT. Mikey +puts on an EYE PATCH. Mouth and Data find large PIRATE HATS +with feathers. Brand GRABS a SWORD. Chunk puts on a Pirate +COAT and SCARF. + +As the boys continue to investiage, Data stares in awe. + + DATA + Just think of it. All this stuff + belonged to guys who walked on the + same ground that we do -- went + swimmin' in the same Ocean, + breathed the same air -- + + CHUNK + Yeacchhh. They had to breathe the + Herring Factory air too? + + DATA + Naw -- they didn't have herring + then. This was right after + Christopher Columbus -- the 16th + century -- they only had ships. + They were adventure guys and + explorers -- they made maps and + captured Indians and spent all + their time killin’ each other with + swords -- ya' know -- Errol Flynn + stuff. + +Mikey flips through a collection of framed portraits and +photographs, He SPOTS something that catches his interest. + +A FRAMED MAP. But the map is impossible to read. It is +covered by a YELLOWED, DUSTY PIECE OF GLASS. Mikey tries to +remove the FRAME. Won't budge. He TURNS over the map. The +back is covered by a sheet of WOOD. There is only one way +to read the map: Break the glass. Mikey can't bring himself +to do it. + +He sees Chunk STRUGGLING to remove a paint can from his +foot. Mikey SMILES. An IDEA. + +Mikey holds out the map to Chunk. + + MIKEY + Hey, Chunk -- hold this for me. + 23. + + +Chunk gives a NOD. He takes the map from Mikey. Mikey +turns. Pretending to examine another framed picture. +WAITING. + +Within a matter of seconds Chunk loses his balance. He +drops the map. It hits the floor. Its glass covering +shatters into a million pieces. Mikey picks up the map. He +feigns an ANGRY look at Chunk. + + MIKEY + Can’t you do anything right? + +Chunk gives an embarrassed shrug. + +Mikey picks up the map. He removes a few small remaining +pieces of glass. The map easily slides out of the frame. + +Along with a small, golden DOUBLOON that is fixed in the +map’s frame. Mikey studies the map and the doubloon. The +map is now completely visible. It is beautifully detailed. + +ELABORATE. HAND PAINTED. All of the writing on the map is +in SPANISH. The map is signed “ONE EYED WILLY"! Mikey +STARES at the signature. There is an intricate drawing of a +coastline. The coastline leads to a mountainous cliff. + +Below the cliff is a large “X”. CAMERA DOLLIES TOWARD THE +"X". + +Mikey is FASCINATED by the map. Brand suddenly grabs the +map out of Mikey's hand. The other guys gather around, all +wearing various pieces of Pirate clothing and equipment. + +Chunk looks over Mikey’s shoulder, studying the Doubloon. + + CHUNK + This says, "1532". 'Zat a year? + + MOUTH + It's your top score on "Pole + Position". + + DATA + (running his finger along + the map's coastline) + Maybe that's how it used to look -- + ya' know -- before they put up all + the Wendy's and McDonald's. + + CHUNK + All the good stuff. + + BRAND + 24. + + + (points to Spanish phrase + that headlines the map) + What's all this. Spanish junk? + + MOUTH + (translates) + "Chunk's -- Father Screws -- + Sheep". + +Chunk HITS Mouth. Mouth gives an OBNOXIOUS CACKLE and +SHRUGS. He translates again. + + MOUTH + "Ye Intruders beware Crushing death + and grief. Soaked with blood, Of + the trespassing thief" + +Everyone gives Mouth a puzzled look. Mouth raises his hand +in the BOY SCOUT FLEDGE. He's TELLING THE TRUTH. + + DATA + That map's old news. Everybody and + his Grandfather went after that + thing when our parents were our + ages. Didn't ya’ ever hear of that + Pirate guy? "One Eyed Willy"? + + MIKEY + Hey! One Eyed Willy! He was the + biggest pirate of his time! My Dad + told me all about him one night. + + BRAND + Yeah. Dad'll tell you anything to + get you to go to sleep. + + MIKEY + (ignoring him, to others) + He had millions in treasure, see, + but the King sent his ships after + him. So Willy took his ship, + called-the INFERNO, and ducked into + this cave to hide. But the King's + men sealed him up inside it with + cannon fire. + + MOUTH + Your Dad oughta write Saturday + morning TV junk for teeny little + kids - like you. + + MIKEY + 25. + + + My Dad tells me the truth! And he + told me that Willy and his bunch + spent years hiding out down there, + building these underground caves, + loaded with all kindsa booby traps + to protect:the treasure. + + Chunk finds a NEWSPAPER CLIPPING. It is a framed, yellowed + paper with a photo of a smiling man who bears a strange + resemblance to Gabby Hayes in a MINER'S HAT. Chunk reads + the headline. + + CHUNK + Guys, look at this! "Chester + Copperpot Missing in Pursuit of + Local Legend! Reclusive Scavenger + claims: "I have the key to One Eyed + Willy!" + + DATA + Nobody ever found nothing. Why do + ya' think that map’s sitting up + here instead of in a safety deposit + box somewhere! + + Mikey’s eyes are WIDE. HOPEFUL. + + MIKEY + But -- but what if -- What if, you + guys’! What if this leads to "One + Eyed Willy’s” rich stuff? + + BRAND + (interrupts, to kids) + Take off all that junk. My Mom’s + gonna come back. + + The kids REMOVE all of the Pirate clothing and equipment. + The doorbell RINGS and the kids RUSH down to see who is at + the front door. + + +31 INT. RECREATION ROOM 31 + + Three men in leisure suits stand outside of the screen + door, like dangerous apparitions. They talk to the kids as + though they were infants. One guys keeps practicing his + golf swing. + + PERKINS + Hello, little guys. I'm Mr. + Perkins. Troy’s father. + 26. + + + BRAND + (respectfully) + My Dad’s not here,Mr. Perkins. + + PERKINS + Is your Mommy home? + + BRAND + (bristling at this + remark) + No, sir. She’s out at the market + buying Pampers for all us kids. + + PERKINS + (a false laugh) + Well, you can give these papers to + your Father to read over and sign. + Somebody from my office will pick + them up in the morning. + +The door is CLOSED. + + MIKEY + What is all that stuff? + + BRAND + It’s pad’s business. + +Brand is very depressed. The boys take pause as they look +at the complicated legal forms and back out at the +departing men. Mikey STARES. DREAMING. + + MIKEY + If I found rich stuff -- I’d pay + all my Dad’s bills. Maybe he could + get to sleep at night -- instead of + sittin' up trying’ to figure out a + way for us to stay here. + + ALL THE BOYS + Yeah. Me too. Me three. + +The boys pause. WORRIED. Brand breaks the silence by +suddenly PULLING Mikey by the hair. + + BRAND + You can forget about any + adventures, limp lungs —- if I take + you out, Mom’ll ground my ass. And + I got a date with Andy on Friday. + + MOUTH + 27. + + + You’re dreamin’, dude. Besides -- + who’s gonna drive you? Her parents? + Then you gotta make it with her and + her Mother. + + BRAND + Eat it, Mouth. + + Brand walks back to his exercise area. Mikey, seeing that + Brand is out of sight, sneakily removes the map from + beneath his shirt. He opens the map. The guys push in, all + looking with dreamy speculation. + + CAMERA DOLLIES INTO THE MAP. A FLASH OF LIGHTENING sparkles + the map. + + MATCH CUT TO SKY + + A long, thin crack of lightening shoots across the sky. + + CUT TO: + + INSERT - TELEVISION - MTV LOGO + + INSERT - ONE MARBLE SHOOTING INTO A TRIANGLE OF MARBLES + + INSERT - A CHEST EXERCISER BEING PULLED ACROSS A TENSE + CHEST + + +32 INT. WALSH HOUSE - DAY 32 + + RECREATION ROOM. SEVERAL MINUTES LATER. Mikey, Chunk, + Mouth, and Data are gathered in the recreation room, + PLAYING MARBLES. A look of extreme GUILT covers all their + faces. Brand is in the background. He sits in a chair. + Shirt off. He pulls a METAL, SPRING CHEST EXERCISER across + his chest. + + Mouth gives a sly look back at Brand. He turns to the + others and NODS. They NOD BACK. Mouth, Chunk, and Data + sneak up behind Brand. Meanwhile, Mikey GATHERS his marbles + and puts them into a small LEATHER POUCH. He stuffs the + pouch into his pocket. + + The kids sneak around the comer. All three quickly grab the + chest exerciser out of Brand's hands! They WRAP it around + Brand’s chest and arms! Before Brand can react, Mouth + CLAMPS the two ends of the exerciser together. Brand is + TRAPPED. Unable to MOVE. The exerciser works like heavy + metal CHAINS. It SECURES Brand to the chair. + + BRAND + 28. + + + Hey! Wait -- Lemmee out! + + CUT TO: + + +33 EXT. WALSH HOUSE 33 + + The Goonies, walking through the backyard, careful NOT TO + WAKE GRANDPA, who lies ASLEEP on a hammock. The kids + WHISPER to each other: + + ALL + (whispering) + Careful, don't wake Grandpa! Shhh! + Don't wake him! + + Just as the kids round the corner of the house, a devious + Mouth gives a light shove to the hammock, causing Grandpa + to WAKE. + + CLOSE UP - TEN SPEED BICYCLE TIRE + + A hand is LETTING THE AIR out of the tire. CAMERA PULLS + BACK. We see that Mouth is letting the air out of Brand's + bike tire. In the background, Mikey, Chunk and Data CLIMB + ONTO their bikes. + + MIKEY + (to Mouth) + It took him 376 lawn jobs to pay + for that. It's his most favorite + thing in the world. + + MOUTH + Now it’s his most FLATTEST thing in + the world. + + Mikey HEARS Brand SCREAMING from inside. + + BRAND (O.S.) + Mikey -- I'm gonna hit you so hard, + when you wake up -- your clothes + are gonna be outta' style. + + Mikey PAUSES. Then FOLLOWS the others. As he SHOOTS out of + the driveway, BRUCE SPRINGSTEEN'S "COVER ME" FILLS THE + SOUNDTRACK. + + +34 EXT. STREET - PAST MUSEUM 34 + + The boys on their bicycles. Each boy's bike fits their + INDIVIDUAL personality. The boys PASS the TOWN MUSEUM. + 29. + + + Mikey's Father is working on the museum's rooftop, + HAMMERING a leaky shingle. Mikey SHOUTS, "Hi, Dad!" to his + Father. + + MR. WALSH + HELLO! + + +35 INT. WALSH HOUSE - RECREATION ROOM 35 + + Brand is still trapped in the chair. GRUNTING. GROANING. + + STRUGGLING with the metal springs. Brand causes the chair + to bounce and move backwards. The kitchen door suddenly + OPENS. ROSALITA, the maid, stands in the doorway. Her arms + are filled with GROCERIES. She sees Brand BOUNCING TOWARD + HER. Like an oncoming freight train. This bizarre image + only confirms her WORST FEARS about this house. Rosalita + screams and DROPS her groceries. Irene walks up BEHIND + Rosalita. Irene sees the bonded Brand bouncing on the + chair. She CHUCKLES. + + IRENE + Brandon. Why can't you do sit ups + or push ups like normal kids? + + Irene and a HORRIFIED Rosalita walk by. Brand gives a + HELPLESS look. + + CUT TO: + + +36 EXT. STOP ’N SNACK 36 + + Mouth, Chunk, Data and Mikey SPEED by on their bikes. Mikey + HOLDS the open map. His eyes constantly GLANCE to it. He is + OBSESSED with following the map. Up ahead is the Stop ’N + Snack. Teenage hangout. Mouth, Chunk, and Data turn their + bikes toward the Stop 'N Snack. Mikey continues forward. + + He suddenly STOPS, realizing that the kids have left him. + Mikey TURNS and sees the others entering the STOP ’N SNACK. + He SHOUTS and holds up the MAP. + + MIKEY + Hey, guys -- what about this? Huh? + + +37 EXT. WALSH HOUSE 37 + + Brand RUNS out the front door, chest exerciser in hand. We + HEAR Irene SHOUT from inside. + 30. + + + IRENE + Don’t come home without your + brother! Or I’ll commit Hare + Krishna. + + BRAND + (mumbles to himself) + That’s Hare Kari, Ma. + + Brand sees the air OUT of his bike tires. His eyes FILL + with RAGE. He KICKS the bicycle over. He LOOKS around. + + Riding in the driveway is Data’s SISTER. She is riding a + TINY GIRL’S BIKE. Painted bright purple, with pink flowers. + + TRAINING WHEELS are attached to the rear wheels. Brand has + NO other choice. It's the ONLY means of transportation in + sight. He rims to the driveway, PICKS UP THE GIRL, removing + her from the bike. Brand HOPS on the bike. He PAUSES, looks + back to the girl and gives her the CHEST EXERCISER. + + BRAND + Here. Trade ya'. + + The girls STARES at the exerciser. Brand AWKWARDLY pedals + out of the driveway. The girl BURSTS into tears. + + +38 INT. STOP N' SNACK 38 + + SYLVIA KEESTER, an OBESE, ELDERLY woman, works the CHECK- + OUT COUNTER. Data is purchasing a pack of baseball cards. + + Sylvia rings up the order on the COMPUTER CASH REGISTER. + The computer JAMS. Sylvia POUNDS the cash'register. + FRUSTRATED. + + Data OPENS a tiny door on the register. He begins to fiddle + with two small WIRES. + + Mouth stands by the MAGAZINE RACK. A sly look in his eyes, + Mouth slips a copy of "PLAYBOY" magazine behind a copy of + "OMNI". He begins to READ. + + Chunk stands beside the JUNK FOOD. He LOOKS around. Coast + is CLEAR. Chunk HURRIEDLY tears open a Twinkie. He quickly + SLURPS out the Twinkle's creme filling. He REWRAPS the + hollow twinkie and puts it BACK ON the shelf. + + Mikey enters the store. He RUSHES over to Chunk. Mikey + WAVES the map in Chunk's fate. + + MIKEY + 31. + + + Hey, Chunk -- C'mon -- we were + gonna look for rich stuff -- we + gotta do something now!! + +Chunk is TOO BUSY eating Hostess fillings to speak with +Mikey. A frustrated Mikey RUNS over to Data, who is still +fiddeling with the cash register. + + MIKEY + Data, what if they make us move? + Where we gonna go? + + SYLVIA + Don't bother 'im while he's workin. + +Mikey SIGHS. He RUNS to Mouth. + + MIKEY + What if they start tearing down our + houses? + + MOUTH + Easy, dude -- let your folks handle + this. That's their job -- our job + is to get through theweekend + without destroying too many + braincells. + +Mikey gives himself a SHOT of Promotene Mist. He grabs a +MAD MAGAZINE, and as always, guesses the FOLD IN. He +suddenly NOTICES something. On the LOWER magazine rack. +It's a section of dusty, "CAULDRON POINT" TOURIST MAPS. +Mikey GRABS one of the maps and OPENS it. + +Meanwhile, Chunk has made his way to the FROZEN TREAT +FREEZER. He OPENS the freezer door. He pokes his head +deeply INSIDE. Out of sight, he opens a container of HAGEN +DAAS. He takes a few LICKS from the top. Then quickly +CLOSES the lid. He GRABS another container. He's going to +SAMPLE everything. + +Data still FIDDLES with the cash register. It suddenly +BEEPS and LIGHTS. It's WORKING again. Good as NEW. Sylvia +gives a satisfied RUFFLE to Data's hair. + +Sitting on the floor, Mikey has OPENED the tourist map and +the museum map. He has laid them SIDE BY SIDE. Mikey is +COMPARING the two. CAMERA DOLLIES INTO THE TWO MAPS. The +coastline paths of both maps are IDENTICAL. Several key +ROCKS and CLIFFS also MATCH. Mikey's eyes are BRIGHT. + +HOPEFUL. He NODS to himself. MUMBLING. + 32. + + + MIKEY + I know where this is. + +Suddenly, Mouth's VOICE echoes through the store. + + MOUTH + Jerk alert! + +Mouth POINTS to the’ ENTRANCE DOOR. + +TROY PERKINS struts in. Like he OWNS the place. Troy is 17 +years old. TAN. COCKY. He's dressed in a white POLO TENNIS +OUTFIT. EXPENSIVE tennis shoes. His hair is neatly STYLED. +A spoiled rich BRAT. He lives in an expensive home on the +HILLSIDE. Walking BESIDE Troy is ANDREA "ANDY” CARMICHAEL. +She is 16 years old. The face of an ANGEL. + +Smooth, CREAMY complexion. Her thick, BRIGHT RED hair falls +to her shoulders. Her bright GREEN eyes are dazzeling. She +is SLENDER. Filled with ENERGY. A BEAUTY. Still in her +cheerleaders outfit. She is wearing Troy's WHITE LETTER +SWEATER. Troy's name is written in SCRIPT on the bottom of +the sweater. Andy also lives on the HILLSIDE. + +Walking beside Andy is STEFANIE "STEF" STEINBRENNER, also +age 16. Andy’s BEST FRIEND. Stef is short. PUDGY. Dark +brown hair. GLASSES. She is wearing Denim FISHERMAN +COVERALLS. STEF IS TOUGH. QUICK WITTED. BRIGHT. SHE LIVES +IN THE "GOON DOCKS". + +Troy walks straight to the MAGAZINE RACK. He GRABS the +"Playboy” Magazine from Mouth and begins to PAGE through. +Mouth, so ANGRY he's been rendered speechless, GLARES at +Troy. Mouth BACKS OFF and picks up another magazine. + +Mikey SEES Andy. A VISION. He stares at her with ADORING +EYES. + +Stef and Mouth EXCHANGE a glance. Stef CRINKLES her nose. + + STEF + You still smell like a plumber’s + son. + + MOUTH + You still smell like a fisherman's + daughter. + +Troy NUDGES Andy. + + TROY + Hey, Andy! + 33. + + +She turns. Troy holds up the "Playboy" CENTERFOLD, Written +above the photo, in large red letters, are the words, "CAN +YOU MEASURE UP"? Troy gives a LECHEROUS GRIN to Andy. + + TROY + Can YOU measure up? + +Andy looks away. EMBARRASSED. Troy emits a HORSE LAUGH. +Mikey gives a painfully HONEST look to Andy. + + MIKEY + You're a lot prettier than that, + Andy. + +Andy SMILES. Giving a casual, BROTHERLY, ruffle to Mikey’s +hair. Mikey SMILES. In HEAVEN. + +Meanwhile, Chunk still has his head BURIED IN THE FREEZER. +Troy NOTICES. He WALKS over. He BRINGS the freezer door +down on Chunk's head. TRAPPING Chunk in the freezer. Chunk +PANICS. Troy CHUCKLES. + + TROY + My Mom's makin' a "Goon Pizza" + tonight. She's gonna need some + frozen dough. + +Mikey notices. He SHOUTS to Troy. + + MIKEY + Why don’t you leave 'im alone?!? + +Troy PAUSES. He RELEASES his grip on Chunk, Troy WALKS back +to Mikey. + + TROY + Did I hear right? Did I hear a + Goony telling me what to do? + +Troy TOWERS over Mikey. He’s ready to HIT Mikey, when he +notices the ANCIENT MAP. RESTING on the floor. He REALIZES +that it’s important to Mikey. He TURNS from Mikey and GRABS +the old map. Mikey CLAWS at Troy. + + MIKEY + Let go. That's art you're messin’ + with. + 34. + + +Troy holds the map HIGH in the air. ABOVE Mikey's reach. +Troy is CONFUSED by the map. But he realizes its IMPORTANCE +to the boys. Troy grabs a pack of cigarette TOBACCO from +the counter. He POURS the tobacco out onto the map. He +begins to ROLL the map. Like a CIGARETTE. He gives an EVIL +grin to the boys. + + TROY + Just can't get rolling papers like + this anymore. + +Mikey TRIES to grab the map. Troy gives him a HARD SHOVE. +It KNOCKS Mikey to the floor. Troy FINISHES rolling the +large "cigarette”. He removes a Butane LIGHTER from his +pocket. FLICK. A large FLAME APPEARS. Troy MOVES the flame +to the end of the "cigarette". He LIGHTS UP! + +The boys WATCH in horror as Troy takes a LONG PUFF. The end +of the map BURNS! CRINKLING! Mikey HIDES his eyes. Troy +blows out SMOKE RINGS. He gives a relieved SIGH. A few more +puffs and the map will be destroyed! Troy moves to take +ANOTHER PUFF. Mouth WALKS up. He RAISES his eyebrow, doing +his JACK NICHOLSON impersonation. + + MOUTH + Ya' know -- the way you're puffing' + on that cigarette -- it reminds me + of somethin’. + + TROY + Yeah? What's that? + + MOUTH + The time I french kissed your + Mother. + +Troy’s eyes fill with MURDER. He DROPS the map. LEAPING for +Moutn. Mikey quickly GRABS the map. STOMPING out the fire. +Troy has TACKLED Mouth. He is THROWING punches; Mouth +COVERS his face. Mikey LEAPS onto Troy. Mikey GRABS Troy +around the neck, trying to pull him OFF MOUTH. + +In the background, Data tries to HELP Mikey! Data opens his +shirt and PULLS A CORD! He SHOUTS "SMOKE SCREEN”! A RUBBER +GARDEN HOSE shoots out of Data's sleeve. But instead of +emitting a steady stream of smoke, the hose slowly +SMOLDERS. + +Data holds his arm in pain, as if it were ON FIRE. He RUNS +to an ICE MACHINE and hurries his arm INTO THE ICE! A smile +of RELIEF covers his face. + +Meanwhile, Troy is busy DEFENDING himself against Mikey. + 35. + + +Troy turns and GRABS Mikey with his left hand. Troy PULLS +BACK his right hand, ready to PUNCH Mikey in the face. As +Troy's hand FLIES TOWARD Mikey, it is suddenly GRABBED, +STOPPED in midair, by another HAND. CAMERA PULLS BACK. We +see that BRAND has grabbed hold of Troy's fist. Brand +GLARES at Troy. + + BRAND + Nobody hits my brother except me! + +AFRAID of Brand, Troy gets off Mikey. The boys are +RELIEVED. Brand GRABS Troy by the shirt. Ready to FIGHT. + +Troy LOOKS away. SCARED. Mikey WATCHES, his eyes beaming +with PRIDE. Brand RELEASES his grip on Troy. Troy STANDS. + +FORCING a cocky grin, he looks at all of the goonies. + + TROY + Can’t wait till Monday -- when + my'Dad kicks you all out in the + street. + (imitates golf swing) + While you goonies are pilin’ all + your stuff into moving vans -- I’ll + be teeing off on what used to be + your front lawns. + +Troy CHUCKLES. He TURNS to Andy. + + TROY + Our court time starts in five + minutes. I’ll be waiting outside. + +Andy gives a NONCHALANT shrug. Brand TURNS to Andy. He +shoots her a JEALOUS look. Troy STRUTS out of the STOP 'N +SNACK. THROUGH the window, tie see him get into his bright +red, MUSTANG convertible. + +Mikey has UNROLLED the map. It has SURVIVED the burning +with only a tiny singed edge. + +Brand TURNS to Andy. Their eyes MEET, a look of tragic +desire! They want to be together, but this isn't the time - +- She FLASHES her pretty eyes. Brand sorts of melts down. + +Brand TURNS to Mikey. He GRABS the map from Mikey. SLAPPING +Mikey's head. + + BRAND + Mom’s waitin’ for you. You just + blew your whole life, pal. + (to the other guys) + 36. + + + The rest of you guys, too -- you're + all history. We don't need friends + like you in our lives! + + With that, Brand tucks the map into his back pocket. Mouth + walks up to Brand. Mouth turns on the phony charm, putting + his arm around Brand. Mouth starts to sing. + + MOUTH + "Here's to good friends, tonight is + kinda' special; The beer we pour, + must be something more somehow--" + + As he continues to sing, Motith uses his FREE HAND to + remove the map from Brand's pocket. Brand SHOVES Mouth + away. + + BRAND + You don't have to drink to make + friends, wimp. + + Mouth turns to the other goonies and SHOWS them the map. + They make a RUN for it. A befuddled Brand reaches into his + back pocket, realizing that the map is gone. He RUNS after + the kids. + + +39 EXT. STOP 'N SNACK - DAY 39 + + Mikey, Mouth, Data and Chunk hurriedly RIDE OFF on their + bicycles. Mouth holds THE ROLLED MAP UNDER HIS ARM. Brand + DASHES outside. He SEES the boys RIDE OFF into, the + distance. + + +40 EXT. STREET LEADING OUT OF TOWN - DAY 40 + + CLOSE UP - MIKEY, checking the MAP. + + CAMERA PULLS BACK. + + The kids are riding their bikes, moving further up the + coastal highway. The Springsteen song BLASTS from Data’s + stereo. + + The kids CONTINUE to look back. + + +41 EXT. COUNTRY CLUB ROAD - DAY 41 + + Chunk TURNS to his RIGHT. He sees the HILLSIDE COUNTRY + CLUB. Chunk points to the Club, looking at Data. + 37. + + + CHUNK + My Dad tried to join there once. + When he still had his job. But they + wouldn't let us in. + + DATA + You kiddin'? They wouldn’t let none + of us in. That place is kinda’ like + the "Dairy Queen". They only got + one flavor. + + +42 EXT. ROAD NEAR ROCKS - DAY 42 + + MIKEY'S P.O.V. - THREE TALL NARROW ROCKS jut out of the + ocean. In a "V" PATTERN. Mikey PAUSES. THINKING to himself. + + MIKEY + I know this place -- + + It HITS him. A REALIZATION! Mikey NODS to himself. + + MIKEY + That’s it. That's it. + + CAMERA PANS FROM MIKEY. TO HIS P.O.V.: A TALL, NATURAL + OBELISK. It stretches several HUNDRED FEET into the air. A + very steep HILL. Very WIDE. Lined with JUTTING, JAGGED + rock. The Coastal Road is DIRECTLY in front of it -- At the + obelisk, the road makes a SHARP TURN. Veering off into a + different DIRECTION. + + +43 EXT. ROAD THROUGH WOODS - DAY 43 + + Brand is way behind the kids, furiously pedaling the girl's + pink bicycle. Troy’s red Mustang is coming up behind Brand. + + The Mustang starts to smoke rubber, and reduces speed from + 75 to 5 MPH. The Mustang rides BESIDE Brand. Troy CHUCKLES. + Andy LOOKS away, embarrassed. Stef TURNS to Andy. + + STEF + No wonder he can't get a license. + + Brand TURNS away. Angrily HUFFING and PUFFING. As Andy and + Stef look at Brand, Troy is slyly adjusting the rearview + mirrow, tilting it downward in order to see down into + Andy's shirt. Andy NOTICES. She GLARES at Troy. + + ANDY + 38. + + + Troy -- you touch that mirror again + and I swear to God I'll sock you in + the mouth! + + Troy quickly MOVES his hand from the mirror. Andy LOOKS + BACK to Brand, trying to be NICE. + + ANDY + Brand -- Can we give you a lift + somewhere? + + Brand SMILES, his eyes locking with Andy's in a moment that + tells us they're "communicating". Troy NOTICES this and + fumes. He forces a SMILE to Brand. + + TROY + Yeah, Walsh -- Grab hold of + somethin' you can handle. + + Brand GRABS hold of the door handle. Troy TIGHTLY grasps + Brand's wrist. Troy TURNS UR the radio and floors the gas. + + Brand is TRAPPED. The Mustang is true to its stats, it goes + from zero to sixty in 8.0 seconds -- and so does Brand. The + bike pedals are churning so quickly, Brand has to lift his + feet from the bike. Andy SCREAMS. + + ANDY + Troy!!! Let 'im go!!!! You're going + too fast!! You're gonna kill 'im!! + Let ’im go!!! + + Troy NODS and releases his grip on Brand. Troy SMILES at + Brand. + + TROY + So long, sucker. + + The Mustang makes a SHARP TURN OFF the main road. But Brand + KEEPS going. His training wheels FALL OFF. All the rubber + on the tires peel off, smoke, and the bike moves only on + the rims, SPARKING LIKE MAD! The little bike is last seen + DISAPPEARING off the shoulder and into a field of tall + grass. + + +44 INSERT - EXT. ROAD WITH MOSSY TREES 44 + + The boys follow the map. + + +45 INSERT - EXT. BRIDGE BY BEACH 45 + 39. + + + They walk their bikes across the bridge. + + +46 INSERT - EXT. ROCKY BEACH 46 + + Mikey knows where they're headed. + + +47 INSERT - EXT. HOLLOW WITH MOSSY TREES 47 + + They continue to follow the map. + + +48 INSERT - EXT. SPOT TO TRIANGULATE ROCKS 48 + + Mikey is able to line up the 3 rocks and the lighthouse + through the notches in the coin. + + +49 EXT. HILL ABOVE LIGHTHOUSE - DAY 49 + + Mikey arrives at the top. Data and Chunk are BEHIND him, + followed by Mouth. They stand on the EDGE of the hill. + + They are met with a SURPRISING SIGHT. BELOW the boys, on + the opposite side of the hill, is a tiny AREA OF LAND. A + MINI-PENNINSULA. Thrashing ocean waves and jutting rocks + surround the grassy penninsula. A small CEMETARY is built + on a small section of land. POTTER'S FIELD. Crowded with + old, crooked, GRAVESTONES. Built BESIDE the cemetary is -- + + +50 EXT. LIGHTHOUSE LOUNGE - DAY 50 + + A rectangular, ONE STORY building. RUN DOWN. DISTORTED by + the years. Its white wood exterior is CRACKED AND ROTTING. + + The building is CROOKED. Its windows TWISTED and DIRTY. A + broken red and green NEON SIGN hangs over the building. A + TALL, CROOKED LIGHTHOUSE is built beside the building. An + OPEN-CLOSED sign hangs in the front door window. The heavy + wind BLOWS the sign. SPINNING it around. We AREN'T CERTAIN + if the place is open or closed. SHADOWS pass by the dirty + windows. There is a SINISTER, EERIE quality to this place. + + Mikey STARES. In AWE. MUMBLING to himself, he excitedly + looks at the map. But the map seems to END. Mikey is + PUZZLED. He suddenly gets an idea. He FOLDS the map like a + MAD MAGAZINE back cover. To Mikey's delight, the folded + pieces form another MAP. Mikey REMOVES the doubloon from + his pocket. When he PLACES the doubloon over the map, + everything appears to be more CLEAR. He gets everyone's + ATTENTION, pointing to the map. + 40. + + + MIKEY + See this -- here's where we are + now. + +Mikey POINTS to the "X" below the cliff. SMALL FOOTPRINTS +have been sketched on the map. They FORM a line from the +bottom of the hill to the "X". + + MIKEY + This is where the rich stuff’s + buried -- + (POINTS back to house) + Down there some place. + +Mouth reads the SPANISH phrase written beside the +footprints. + + MOUTH + "Six times five, Stretching feet, + To lowest point, Get the treat!" + +The boys PAUSE. Figuring out the RIDDLE. + + MIKEY + Six times five. That's thirty. + + DATA + Stretching feet -- your feet + stretch when you walk -- + + MIKEY + I got it! If we walk 30 paces -- to + the lowest point -- we'll get the + treat -- the rich stuff! + + CHUNK + (gets a chill) + I dunno -- it's gettin’ late -- My + Mom's gonna be worried. Besides -- + what's that place doin' open in the + fall? It's only a summer place. + Seems pretty creepy to me. + +The kids suddenly NOTICE something. They TURN to the +lounge. A DARK CAR pulls into the driveway. TWO TALL MEN, +wearing dark, business suits, get out. They WALK to the +restaurant door. They ENTER. Data TURNS to Chunk. + + DATA + See. There's nuthin' to be scared + of. Two other customers are goin' + in. + 41. + + + CHUNK + Maybe they ain't customers -- maybe + they're drug dealers or somethin'. + + DATA + Drug dealers? Did you see their + clothes? J.C. Penney Polyester. + Drug dealers wouldn't be caught + dead in those rags. + + MIKEY + Data, did you bring your + binoculars? + +Data is frantically searching for the right cord, wanting +to answer the call of duty. He mumbles to himself. + + DATA + Yeah -- binoculars -- binoculars -- + (finds the right cord, + nods and screams) + Spy Eyes! + +Data pulls one of his CORDS’from beneath his shirt. A +mechanical device RAISES from Data's chest, with a pair of +cheap opera glasses attached to the end. The glasses stop +in front of Data’s eyes. But when he moves to look through +them, the glasses fly from their place and shoot forward. + +Data gives a shrug. Mouth looks over Mikey's shoulder at +the map. + + MOUTH + So what made you think nobody ever + followed this map before and made, + off with whatever's buried there? + + MIKEY + They could've. But I never heard of + anybody finding more stuff than + alreadys in the museum. And anyway, + to grownups, this is already worth + enough. Some arky-logicalists dig + up a map that's a bundha' years old + -- they throw a wooden frame around + it, hang it in a museum, and call + it art. + + MOUTH + 42. + + + Okay -- but, how're we s'posed to + dig for anything? Knock on the + door? Ask whoever's there -- + "S'cuse me -- mind if we wreck your + floor?" + + MIKEY + Look. The place is obv'sly open for + bizness -- We can pretend like + we're cornin' in for somethin' to + eat -- then joint the case. + + CHUNK + Wha--? + + DATA + He means, "case the joint". + + Mikey NODS. The others PAUSE. THINKING. + + CUT TO: + + +51 EXT. LIGHTHOUSE - DAY 51 + + The Goonies walking through the GRAVEYARD. Mikey LEADS them + toward the "LIGHTHOUSE LOUNGE". Suddenly, a LOUD CRACKING + SOUND is heard. Like a FIRECRACKER. Followed by ANOTHER. + And ANOTHER. The boys FREEZE. SCARED. LOOKING AROUND. + + CHUNK + That sounded like gunshots. Not the + big ones you hear in war movies, + but real ones. + + MIKEY + Gunshots! Jeeeezzz -- Chunk, turn + off your brain. Somebody probably + dropped a pot in the kitchen! + + Mikey CONTINUES to move forward. The boys FOLLOW. They are + now a little SHAKEN. Eyes DARTING back arid forth. A bit + more cautious. They arrive at the front of the building. + + Mouth peers through the filthy FRONT DOOR windows. Mikey + and Data walk to the side of the building. They try to LOOK + into the windows. TOO HIGH. The boys spot a PILE of + discarded ORANGE CRATES. They stand the orange crates on + end. Climbing up onto them. + 43. + + + They PEER through the windows. Chunk WALKS to an outdoor + soda machine that sits next to a closed garage. Chunk tries + to peer into the garage, starts to open the door, + INVESTIGATING IT. + + GOON KIDS P.O.V. + + A SHUT DOWN seafood restaurant. DARK. DUSTY. Seemingly + DESERTED. Tattered FISH NETS, wooden OARS, stuffed FISH + hang on the walls. Red VINYL BOOTHS line the walls. WOODEN + TABLES fill the floor. A JUKEBOX sits in one comer. + + The goonies see TWO PEOPLE standing in the rear of the + restaurant. In DARKNESS we can see only their shadows. + + They drag two long, limp, heavy objects into a back room. + It is TOO DARK for us to see what the objects are. + + Once the two figures disappear, the goonies WALK to the + restaurant's front door. + + +52 EXT. LIGHTHOUSE GARAGE - DAY 52 + + Chunk PUSHES the garage door! The door flies OPEN! The + orange slanted rays of a late day sun hit the black OFF + ROAD VEHICLE, igniting it, over forty bullet holes, and a + shattered rear window. CHUNK ALMOST DROPS DEAD. He RUNS to + tell the guys, but they are already ENTERING the + restaurant. + + +53 INT. LIGHTHOUSE LOUNGE - DAY 53 + + The Goonies enter. Looking around. Everything is SILENT. + DESERTED. + + Chunk races inside and starts pulling at everybody's + clothing, trying to signal them with bizarre hand signs and + wild descriptive gestures that make him look totally not of + this earth. He finally gets out a FEW WORDS. + + CHUNK + Guys -- guys -- we gotta' get + outta' here!! I just saw the -- + + Chunk is INTERRUPTED by the SOUND OF A SLAMMING DOOR! The + kids nearly JUMP out of their skin! They turn to the + DIRECTION of the sound! + 44. + + +The SHADOW of a person stands by the restaurant door. The +person has JUST CLOSED the door. They step FORWARD. INTO +THE LIGHT. IT IS MAMA FRATELLI! We immediately RECOGNIZE +HER from the earlier JAIL BREAK. She GLARES, at the boys. + + MAMA + How long you-hoys been at that + window? + + MOUTH + (trembling) + L-L-L-L-Long enough to see that + this place needs about 400 Roach + Motels. + +Immediately, Mama takes a strong dislike to Mouth. Chunk is +in the background frantically signaling and mouthing don't +piss her off. She LEADS the boys to a table. She CALLS to +the back room. + + MAMA + Jake -- we got customers. + +We hear a LOTTO THUMP from the back room. Followed by +Jake’s VOICE. + + JAKE (O.S.) + Whattayou mean customers!?! This + ain't no rest-- + +Jake pokes his head out. He sees the KIDS. He PAUSES. +MUTTERING under his breath. + + JAKE + Shit. + +Mama SNAPS her fingers at her son. + + MAMA + Now go on. Get in the kitchen. Warm + up the stove. + +Jake RELUCTANTLY walks to the kitchen. He walks PAST the +Goon kids. Jake GLARES down at the kids. Eyes filled with +ANGER. He enters the KITCHEN. The kids take their seats at +a CROOKED TABLE. It is IMPOSSIBLE to eat a meal at this +table. It is WOBBLY. DIRTY. STICKY. Set with filthy, +YELLOWED dishes and RUSTY silverware. + 45. + + +Mikey LIFTS his fork. It is attached to the table by a +long, gooey WAD OF CHEWED GUM. Throughout this, Chunk is +trying to gesture and explain to the boys, but he is so +excited, ONLY AIR comes out. Mama TOWERS over the boys. +FROWNING down on them. + + MAMA + Okay -- we got a specialized menu + here. We serve one thing. "Fresh + Fish Surprise". + + CHUNK + What kinda fish? + + MAMA + (slamming her hand on the + table) + I said it's a surprise! + + CHUNK + (scared) + Okay -- Okay I'll take it. + + MAMA + What about the rest of ya? + +The other guys exchange NERVOUS glances. + + MIKEY + Just a glass of water for me. + +Everyone follows Mikey and ORDERS WATER. Mama NODS. + + MAMA + Okay -- One surprise and five + waters. 'Zat it? + + MOUTH + (out of extreme + nervousness, forces an + Italian accent) + I’d like a' the Antipasto salad -- + the fettucini Alfredo -- the a Veal + Scallopine -- and a bottle of + Botticelli -- 1981. + +An angry Mama LEANS toward Mouth. She GRABS his tongue. + +BETWEEN HER fingers. PINCHING. She removes a POCKET KNIFE +from her pocket. She MOVES the blade to Mouth’s tongue. +Ready to CUT. + + MAMA + 46. + + + We got one more thing on the menu - + - TONGUE! + (a menacing smile) + You boys like tongue? + +The boys all SHAKE THEIR HEADS. SCARED. Mama catches +herself. She MOVES the knife away. RELEASING her grip on +Mouth's tongue. Mama smiles falsely, and walks back to the +kitchen's SWINGING DOORS. Mouth COVERS his mouth. In PAIN. + +Mikey GETS UP from his chair. He begins to LOOK AROUND. +SEARCHING for a spot on the floor, a trap door, anything +that would indicate a buried treasure. LOUD ARGUING IS +HEARD from the kitchen. + + JAKE (O.S.) + But, Ma -- this was s'posed to be + our dinner -- + + MAMA (O.S.) + Just shut up. Shut up and do what I + told ya. + +The boys at the table LOOK at each other. FRIGHTENED. + + DATA + What about those two guys who came + in before us? What happened to + them? + + CHUNK + (finally able to talk) + Guys, look -- if we don’t get + outta’ here now -- there’s gonna be + some kinda’ hostage crisis -- + (out of breath, gesturing + in a big whisper) + Garage -- four wheel drive -- + bullet­holes the size of Big Macs - + - + + MOUTH + Chunk, I’m startin’ to O.D. on all + your bullshit stories. + +A LOUD SOUND suddenly echoes through the place. CHURNING. +BUMPING. WHIRRING. It sounds like a WASHING MACHINE gone +BERSERK. The kids EXCHANGE a FRIGHTENED GLANCE. We hear the +voice of a man SCREAMING OBSCENITIES. On the far wall A +DOOR FLIES OPEN! A MAN STORMS OUT! It's FRANCIS FRATELLI. + 47. + + +His clothes and body are SPLATTERED, STAINED by a DARK +GREEN INK. He is SCREAMING. BOILING MAD. He is YELLING +across the hallway to Mama, holding up his hand. A drawing +of Ullyses S. Grant has been STAMPED onto his hand. + + FRANCIS + How the hell am I s’posed to finish + up downstairs -- with that piece of + Smithsonian shit I got to work + with?! + +Francis sees the table of kids. STARING at him. Francis +PAUSES. STARTLED. He COVERS the stamp on his hand and +DASHES back through the door. As if he were caught doing +something WRONG. We hear him latching several LOCKS on the +door behind him. The boys exchange another MYSTERIOUS +GLANCE. + +The KITCHEN DOORS SHOOT OPEN! Mama STRADDLES OUT! Carrying +a tray of GLASSES in one arm. The metal CLEAVE’R in the +other. The glasses are filled with RUSTY, ORANGE COLORED +WATER. Small PARTICLES float in the water. Mama DISTRIBUTES +a glass of water to each of the boys. They STARE at the +water’s ODD color. + + MOUTH + 'Zis s’posed to be water? + + MAMA + It’s wet ain’t it? + + DATA + (nervous laugh) + Yeah -- sure -- looks great. + + MOUTH + If ya' like drinkin' mule piss. + +Mama TURNS to Mouth. RAGE in her eyes. Mouth starts pouring +his water from one glass to the other. It sounds a little +like going to the bathroom. This is driving Mikey crazy. He +starts to bounce up and down on his seat, knocking his +knees together. He excitedly whispers to Mouth. + + MIKEY + Cut it out, Mouth! This is the + sorta place that has Daddy Long- + legs in the restroom. + 48. + + +The kitchen doors FLY OPEN again. Jake exits. He is wearing +APRONS. Covered with BLOOD. His hands and arms are also +STAINED with blood. He is carrying A HUGE STEAMING POT. A +ladel RESTS in the pot. He RESTS the pot on the table. +LOOKING at the boys. + + JAKE + Who ordered fish surprise? + +Chunk nervously raises his hand. Jake ladels the GROTESQUE +contents of the pot into Chunk's plate. The fish surprise +is made up of a black, JELLIFIED LIQUID. Loaded with FISH +HEADS and BONES. Chunk FROWNS. + + CHUNK + Yummy. + +Mama looks into the pot. + + MAMA + Is there some left? + +Jake NODS. Mama CHECKS her wristwatch. + + MAMA + Time to feed your brother. + + JAKE + Let Francis do it -- I fed it last + night. + + MAMA + Francis is busy. + + JAKE + I hate goin' down there, Ma. It -- + + MAMA + He’s your brother. + (pushes Jake) + Now get goin. ’Fore it gets cold. + +Jake RELUCTANTLY walks to a crooked wooden door. He OPENS +the door. It leads into DARKNESS. Jake ENTERS. We HEAR him +descend the creaky stairs. A nervous Mikey STANDS. BOUNCING +on one leg. He LOOKS at Mama. + + MIKEY + S’cuse me, M'am -- Where's the + man's room? + 49. + + + With his usual wild hand gestures and expressions, Chunk is + trying to convince Mikey NOT TO GO downstairs. Mama GLARES + at Mikey. + + MAMA + Can't you hold it? + + CHUNK + (agreeing with Mama) + Yeah, Mikey -- can't you hold it?! + + Devilishly, Mouth pours a thin, noisy stream of water from + one glass which he holds high above the other. + + MIKEY + (beyond desperation) + LADY -- PLEASE!! + + MAMA + Downstairs. To your right. And STAY + to your right!!! + + Mikey NODS. TREMBLING. Chunk still tries to CONVINCE Mikey. + + CHUNK + (whispering) + Mikey -- Don't -- You can't -- + please -- + + Mikey IGNORES Chunk and WALKS to the basement door. He + ENTERS. + + +54 INT. LIGHTHOUSE BASEMENT 54 + + A NARROW corridor. DARK. TWISTING. Lined with DAMP, STONE + WALLS. The stairs are made of ROTTED WOOD. They CREAK and + GROAN with his every step. Mikey ARRIVES at the bottom. + + There is a LONG HALLWAY. DIMLY LIT by a few dangling BARE + BULBS. Mikey removes the MAP from his pocket. He OPENS to + the maze. Trying to find some sort of COMPARISON. + + He suddenly hears BIZARRE SOUNDS. GROWLING. SCREAMING. They + echo from the hallway’s OPPOSITE SIDE. Mikey PAUSES. + CURIOUS. He TURNS. He puts the map back INTO HIS POCKET. + + He FOLLOWS the sounds. They lead him to a THICK, WOODEN + DOOR. At HALLWAY’S END. Mikey STOPS. The sounds are LOUDER + here. More DISTINCT. The growling CONTINUES. Like an + ANIMAL. It mixes with the RATTLING OF CHAINS. The door is + OPEN. A CRACK. Mikey PEERS inside. + 50. + + +55 INT. SLOTH’S ROOM 55 + + MIKEY’S P.O.V. - A STONE ROOM. Resembling a JAIL CELL. + + The room is EMPTY. Save for a TATTERED, STAINED MATTRESS. + It sits in.the MIDDLE of the floor. A very large person + sits in a DARK CORNER. We will call him SLOTH. Only the + LARGE OUTLINE of his shadow is visible. Jake stands OVER + HIM. + + Holding the pot of FOOD. Sloth GROWLS at Jake. He HOLDS the + pot out to SLOTH. Jake speaks as if he were talking to a + DOG. + + JAKE + Here, boy -- You hungry? Want your + supper? + + Sloth GRUNTS. He holds out TWO ARMS. They come INTO THE + LIGHT. The arms are THICK, MUSCULAR. Covered with CURLY + BROWN HAIR. TORN, FRAYED shirt sleeves hang from the arms. + + HEAVY METAL CHAINS are attached to his wrists. They SECURE + Sloth to the wall. His arms STRETCH out for the food. Like + a STARVING child. Mikey WATCHES. EYES WIDE. SHOCKED. + + Jake holds the pot INCHES from Sloth's fingers. + + JAKE + Here, fella -- this what you want? + Your "Tender Vittles"? + + Sloth's hands try to GRAB the bowl. Jake PURPOSELY DROPS + the pot. It SMASHES on the floor. The fish and broth are + SUCKED into the dry cement. Sloth CRIES OUT. Mikey's eyes + are SAD. SYMPATHETIC. Jake feigns PITY. + + JAKE + Oh, poor boy -- + (shrugs) + Sorry, fella. Maybe tomorrow night. + + Sloth WHIMPERS. With a SADISTIC GIGGLE, Jake turns to exit + the room. Mikey quickly HIDES. BEHIND the door. Jake walks + back UPSTAIRS. Mikey PEERS out from behind the door. + + Seeing that THE COAST IS CLEAR, he walks out. Mikey looks + back INTO THE ROOM. + + CAMERA DOLLIES INTO MIKEY'S FACE. + 51. + + + He SEES SLOTH'S face. (But we don’t). Mikey's face goes + WHITE. His eyes fill with TERROR. We hear Sloth GROWL at + him. Mikey TURNS. He SPRINTS OFF down the hallway. He + DASHES back upstairs. SCARED TO DEATH. + + +56 INT. LIGHTHOUSE LOUNGE - DAY 56 + + Mikey RUSHES into the room. He RUNS into Brand's ARMS! + + Brand, dirtied and muddied from his bicycle accident, is + STANDING in the restaurant. Brand GRABS Mikey's collar. He + PICKS Mikey up off the floor. Brand GLARES at him. + + BRAND + Death's too good for you. I’m + savin' you for Mom. + + Chunk has actually been eating some of the Fish Surprise, + and has lost most, if not all, of his color. + + CHUNK + Can we go now, you guys? I think + I'm gonna be sick. + + Mama WALKS back into the room, startling Brand with her + malevolent presence. She LOOKS at all of the boys, ANXIOUS + to get rid of them. + + MAMA + It's all right boys. Go on home. + It's on the house. + + Chunk sticks his head under the table and BARFS. + + MOUTH + Now it's on the floor! + + MAMA + Go on, get out of here; Jake'll + clean up. Now git. + + The boys almost knock the table over getting out of there + as Mama fakes her politeness, then shuts the door and turns + the "Closed" sign facing out. + + +57 EXT. GRAVEYARD - DUSK 57 + + DARKNESS approaches. The goon kids are HIDING OUT here. + + Behind the TOMBSTONES. Mikey’s SCARED. Trying to EXPLAIN + WHAT HE SAW. + 52. + + + MIKEY + I’m tellin’ ya' -- They got an "It" + -- A giant "It" -- and they got it + chained to the wall -- and when it, + when it came into light -- + (gives himself a shot of + Promotene Mist) + Ya' shoulda’ seen it’s face -- it + was horrible. All the parts were + mixed around -- + + BRAND + Like your brain, lame-o. + (trying to pull Mikey) + Say goodbye to your little pals -- + + Chunk points OFFSCREEN. Brand PAUSES, turning curiously to + where Chunk points. + + +58 EXT. LIGHTHOUSE - DUSK 58 + + GOONIE'S P.O.V. - JAKE and FRANCIS exit through a side + door. + + Heads DARTING back and forth. Making sure that the COAST IS + CLEAR. They are CARRYING a large, limp bag. The SIZE OF A - + BODY. MAMA follows. CARRYING another similar bag. The Goon + kids CURIOUSLY watch from behind the tombstones. The garage + door opens, revealing the Black O.R.V. + + CHUNK + Lookit there! Lookit there! + + Jake OPENS the hatchback of the O.R.V. Jake OPENS a false + FLOOR in the O.R.V.’s bed. He and Francis manage to FIT one + bag onto the vehicle bed. They ATTEMPT to load the other + bag. WON'T WORK. Not enough SPACE. Jake CLOSES the false + floor. He and Francis CARRY the other bag BACK INSIDE the + restaurant. + + DATA + Whattayou think they got in the + bags? + + The kids have NO ANSWER. + + Jake and Francis come back OUTSIDE. They get INTO THE + O.R.V. with Mama. They DRIVE OFF. The Lighthouse Lounge is + EMPTY. Mikey excitedly LOOKS at the others. + + MIKEY + Hey -- the place is ours. + 53. + + + CHUNK + (scared) + Our parents are gonna be worried! + Let’s go home. + + MIKEY + What home? In a couple more hours + it ain’t gonna be home anymore. + (passionate) + C’mon, guys. This is our time. Our + last time to see if the rich + stuff’s buried someplace in there. + +Mikey PULLS the map from his pocket. He TRIES to read it. +TOO DARK. He LOOKS at the others. + + MIKEY + Anybody got a match? + +SUDDENLY, A SMALL FLAME APPEARS. It ENTERS from OFF SCREEN +RIGHT. ANOTHER FLAME APPEARS. Entering from OFF SCREEN +LEFT. The flames are TWO MATCHES. HELD by ANDY and STEF. + +Andy’s eyes TWINKLE in the firelight. But her hand is +SHAKING, her eyes DART from left to right. She is obviously +FRIGHTENED by the graveyard. + + ANDY + Hi, Brandy. + +Brand SMILES at Andy, and LOOSENS his grip on Mikey. Stef +gives a NASTY smile to Mouth. + + STEF + Whatcha’ doin’ in the graveyard? + Diggin’ up a new girlfriend? + + MOUTH + Don’t knock it. Stiffs are lots + warmer than you. + +Brand gives a PUZZLED look to Andy. + + BRAND + What're you doin’ here? + + ANDY + Followed you guys. We were out + drivin’ with Troy -- He was bein’ a + real spas-ass -- ya’ know, tiltin’ + the mirror so he could look down + our shirts -- + (shrugs) + 54. + + + So I elbowed his lip. + +Mikey still reads the map. MUMBLING to himself. + + MIKEY + Okay -- if it’s thirty paces- - + (begins to count off the + paces) + One -- Two -- Three -- + +Data GRABS Mikey from behind, STOPPING him. + + DATA + No, Mikey! Your feet too small! We + must do this scientifically! + (removes calculator) + + MOUTH + (pushes Data out of the + way) + Paces are paces! Ya' think this + Willy dude had a calculator? + +Mouth TAKES OVER. Walking out the paces with LONGER +STRIDES. Moving TOWARD the lounge. Mouth counts out the +paces as ELMER FUDD. + + MOUTH + One -- Two -- Twee -- + (turns back to the + others) + Shhhh!- Be vewy, vewy quiet! I'm + hunting wabbits! Hee hee hee hee! + +Mouth CONTINUES walking. The kids FOLLOW. Andy LOOKS at +Brand. + + ANDY + Poor Troy. Guess he won't be makin' + out with anybody for awhile. Am I + goin' to miss that stuff! + (gets a chill, to Brand) + C'mon, Brandy. Let's get outta' + here. Graveyards freak me out. + +Brand suddenly REALIZES that this could be the best night +of his life. He TURNS to leave with Andy, but then realizes +he has another duty. + + BRAND + I can't leave without my brother -- + just hold on -- one second -- + 55. + + + Andy ROLLS her eyes. Brand TAKES her hand, pulling Andy to + the lounge with him. Mouth ARRIVES at the Lounge door. + + TRYING to open it. LOCKED. Mouth PAUSES. WHAT TO DO? An + IDEA. He LOOKS back at Chunk. Mouth SMILES. + + MOUTH + Hey, Chunk -- got some naked + Polaroids of your Mom takin' a + bath. Wanna' buy ’em? Real cheap. + + RAGE fills Chunk's eyes. He COMES at Mouth. Like a + LINEBACKER. Mouth DODGES out of the way. Chunk RAMS into + the front door. WHAM! The door BREAKS OPEN! Chunk GETS to + his feet. BRUSHING himself off. Mouth CACKLES. + + MOUTH + Thanks, Chunk. + + This FRIGHTENS Andy. She TURNS TO RUN. + + ANDY + I'm goin' home. You guys are gonna + get in big trouble. + + She turns to RUN. Andy is met FACE TO FACE with a LARGE + STONE GARGOYLE! She SCREAMS! The gargoyle sits ATOP a + tombstone! Andy turns and RUNS BACK to Brand's arms. + + +59 INT. LIGHTHOUSE - DUSK 59 + + The other goonies have ENTERED the place. Mouth is still + COUNTING PACES. Back to his ELMER FUDD impression. He + STRIDES across the restaurant floor. + + MOUTH + Twenty eight -- twenty nine -- + toity. + (Mouth stops) + This is it! That wascally wabbit + must be under here! + + STEF + You can stop auditioning to be + popular. You don't impress me + anymore. + + MOUTH + I'd rather dive into a swimming + pool + full of razor blades than impress + you. + 56. + + + MIKEY + (looking at map) + We gotta get to the lowest spot. + + BRAND + (pulling Mikey) + We gotta get outta here! + + MIKEY + (strugging) + C'mon, Brand! What’s another couple + minutes gonna hurt? What if we find + somethin’? Huh? + + Mikey breaks away from Brand and hurriedly opens the + basement door. He motions for the guys to follow. + + +60 INT. LIGHTHOUSE BASEMENT - CORRIDOR - NIGHT 60 + + Mikey leads the goonies down the dark, narrow stairway into + the basement. A distant SOUND is heard. The RATTLING OF + CHAINS. A low GROWLING. The Kids pause, frightened. + + STEF + Chunk -- I hope that's your stomach + -- + + MIKEY + No. That's the "It”. + + Mikey continues to descend. The kids cautiously follow. + Another GROWL roars through the basement. Louder, like an + animal. The Kids stop again, scared. Chunk turns to Mikey. + + CHUNK + Sounds like "Kong". + + MIKEY + No -- Some of it's human. + + The kids continue down the stairs. They arrive at the + bottom. Mikey pauses. He looks at the others. + + MIKEY + C'mon. Wanna see it? + + The kids shake their heads. "No Way". + + MIKEY + Don't worry. It's chained up. + 57. + + + Mikey leads the kids toward Sloth's door. The frightened + kids stay close together. They move slowly, carefully, + toward the door. Meanwhile, Andy grabs Brand's hand. + + ANDY + I don't wanna see it, Brand. I + don't wanna see anything else but + you. Stay with me, okay? + + Brand nods. He stays behind with Andy. They stand in front + of another door. A moment alone. Andy is shivering. Brand + puts his arms around her. She cuddles closer to him. Brand + smiles to himself. Now's the time to make his move. + + Meanwhile, the Kids are only a few feet from the door. Eyes + wide, scared to death. Mikey slowly reaches out. He grabs + the doorknob. The Kids hold their breaths. Mikey twists the + doorknob. Sloth's ROARING GROWL blasts from behind the + door. Louder than ever! It sends a shudder through the + hallway. The kids jump back. + + Brand, who is leaning to kiss Andy, inches from her lips is + interrupted by the group of kids falling toward him. The + kids fall into Andy and Brand through another door. The + door bursts open. Everyone falls inside like dominoes. + + (Resembling the "State Room" scene from the Marx Brothers', + "A Night at the Opera".) + + +61 INT. LIGHTHOUSE BASEMENT - KITCHEN - NIGHT 61 + + The kids get to their feet. In the chaos, the doubloon has + fallen from Mikey's pocket. It rolls on its side, along the + floor. Chunk grabs it, seconds before the doubloon falls + into a drain. Chunk pockets the doubloon. + + We are inside of a large stone room. At one time used as a + kitchen. The room is equipped with a giant freezer, two + large stainless steel sinks, a Sparklett's glass water + cooler, a stove and a stone fireplace. A tiny flame still + burns in the fireplace. The only object that seems out of + place is a large, black metal printing press. The press is + ancient, rusty. A small window sits above the press. A + photo of the Fratelli's adorns the wall behind the press. + + The kids exchange a bewildered shrug. Chunk goes straight + for the water cooler. Chunk moves his mouth beneath the + tiny faucet. He turns on the faucet and lets the water + stream into his open mouth. + + An excited Mikey grabs a fireplace poker. He finds a random + spot in the center of the floor. + 58. + + + MIKEY + Guess this is as good a place as + any to start diggin' -- + +Mikey raises the poker high in the air. He brings it down, +hard on the concrete floor. Wham! The poker doesn't make a +dent! Instead, it sends a reverberating slock through +Mikey's body. His teeth even begin to chatter. + +Brand shakes his head. + + BRAND + You sure we’re not adopted? Are we + from the same family? + (glances to Andy, who + desperately wants to + leave) + C'mon, Mikey -- you’re embarrassin’ + me. There’s nothin' buried under + here. Damn it -- This is the 20th + Century. + + MOUTH + Hey, I know how to get through the + cement -- Put Hershey’s all over + the floor -- let Chunk eat through + it. + + CHUNK + (raising his head from + beneath the faucet, + angry) + Okay, Mouth -- "That's all I can + stands, and I can't stands no more + -- ” + +Chunk's sudden movement causes the Sparklett’s container to +tilt. It falls off its base and smashes to the floor into a +million pieces. The water flows across the floor trickling +into the open fireplace. Several seconds pass before the +water hits the fireplace bottom. Mikey pauses. + + MIKEY + Listen -- + +They listen to the slow trickle for a moment. Brand shrugs. + + BRAND + Big wow. + + MIKEY + 59. + + + No -- It's deep -- There must be + some kind of opening -- or + passageway -- + +The kids dash to the fireplace. Brand pushes Mikey out of +the way and reaches down to pick up a log. He burns his +hand. Brand drops the log and lets out a yelp. Mikey looks +at Brand, shaking his head. + + MIKEY + Brand -- You sure we’re not + adopted? Are we from the same + family? + (glances to Andy) + C’mon -- You're embarassin' me. + +Brand grumbles and takes off his shirt. He wraps his hands +with the shirt. He begins to remove the firey, hot logs +from the fireplace. When all of the logs are removed, only +a section of black, rusted steel grating remains. Brand +removes it. A few feet below, the fireplace floor is lined +with ancient bricks and pieces of rock and earth. Brand +shoves his foot into the fireplace. He begins to pounce on +the bricks, trying to break through. + +Chunk is looking around. His eyes light. He’s discovered +the freezer. He mumbles to himself, smiling. + + CHUNK + Hmmm. Wonder if they got + Chipwiches? + +Chunk grabs the freezer handle. He pulls hard. It's jammed. +He pulls again. Still won’t budge. + +Brand is stomping on the fireplace ground. It creaks, +cracks. The bricks crumbling. The kids curiously watch. He +gives a hard stomp to the ground. A loud CRACK! Brand's +foot shoots through up to his knee. An opening! The boys +help Brand out of the fireplace. + +Suddenly, a loud noise rocks the room! Data has turned on +the printing press. A freshly printed sheet rolls out of +the press. The sheet is filled with perfectly printed +counterfeit fifty dollar bills. + + DATA + Hey, guys -- Check it out. + +Everyone hurries to Data, save for Chunk. He is still +pulling at the freezer handle. + + BRAND + 60. + + + Bogus bills. + + MIKEY + I knew those people were from the + ozone. + + Stef romes upon a horrible realization. She grabs the photo + from the wall. + + STEF + Oh, God -- I knew I recognized + these faces — The Fratelli Mob! + + Still pulling at the jammed freezer, Chunk calls back to + the boys. + + CHUNK + See! You guys never believe me! And + now look what you got yourselves + into--! + + Suddenly, the freezer handle snaps! The freezer door shoots + open! A DEAD BODY stands there. Frozen, eyes wide open. + It's one of the TWO MEN IN DARK SUITS who we saw enter the + restaurant earlier. The man is bound and gagged. An FBI + badge is pinned to his lapel. A bullethole is through his + forehead. The stiff is halfway zipped into a green, plastic + bag. The body falls forward. Chunk jumps back. The stiff + hits the floor. Slam! The kids let out a simultaneous + scream. They dash out of the room. + + +62 INT. LIGHTHOUSE BASEMENT - HALLWAY - NIGHT 62 + + The goon kids run down the hallway, frightened. They hurry + to the upstairs stairway. + + Suddenly, a noise. The kids stop. Dead in their tracks, at + the foot of the stairs. Brand motions for them to "Shhh." + We HEAR the sound of VOICES, familiar voices. Mama, Jake, + Francis, back home. The kids pause. Breathless. WE HEAR the + basement door creak open. The kids look up to the top of + the stairs. The long, menacing shadows of Mama and the two + boys appear on the wall, heading into the basement. The + kids turn, sprinting to the counterfeit room. + + +63 INT. LIGHTHOUSE BASEMENT - KITCHEN - NIGHT 63 + + The kids run back inside, panicked. Mikey uses his + Promotene Mist. Chunk is scared to death. + + CHUNK + 61. + + + Mommy! Daddy! Uncle Wormer--! + + ANDY + Oh, Jesus! Oh, Jesus! + +Andy crosses herself. Chunk sees this, tries to cross +himself and instead outlines a Star of David over his +entire chest and stomach. + + MOUTH + What’re you doing? + + CHUNK + (hysyterically) + I'm not supposed to do the cross -- + I'm Jewish! I'm doing the Star -- + it's got 6 points -- it -- + + BRAND + What do we do? + + MIKEY + Put him back in the freezer.’ Put + 'em back! + +Mikey and the goonies rush over to help. Chunk who is +already lifting the body to put it back up. Chunk stands in +front of the body. The kids stand in back, lifting it up. + +The voices of Mama and the boys are getting closer. + + ANDY + (crying & whispering her + panic) + Hail Mary, full of grace, the Lord + is with thee. Hail Mary, full of + grace, the Lord is with thee. + + STEF + He's so cold! Andy, help us! + + ANDY + (frozen stiff) + Hail Mary, full of grace, the Lord + is with thee!! + +The kids lift the body to its feet. They hurriedly push it +into the freezer. The clumsy Chunk still stands in front of +the body. He is pushed into the freezer with the body. The +kids close and latch the freezer door. They run to the +fireplace. + 62. + + +64 INT. FREEZER 64 + + Chunk is frozen, face to chest with the corpse. He tries to + scream for help. He's too scared. Speechless. The corpse + begins to slide down Chunk's body until it is face to face + with him. + + +65 INT. KITCHEN - NIGHT 65 + + Mikey leads everyone into the fireplace. He kicks away a + few loose boards. Mikey grabs one of the fireplace tools; a + metal shovel. He motions for the kids to crawl into the + fireplace. One by one, the kids hurriedly crawl into the + passageway. Brand is hesitant. + + BRAND + Geez -- Looks kinda small -- + + MIKEY + Oh, yeah? Like the elevator. + Remember? + + BRAND + (scared) + I told you to shut up about that -- + + Brand is interrupted by Mama and the Boy's voices, getting + closer, clearer. He quickly crawls into the fireplace. + Mikey is the last to crawl inside. He gathers the grating + and logs. Once inside the fireplace, Mikey puts the grating + and logs back in place, over his head. Mama and the boys + enter. + + +66 INT. FIREPLACE 66 + + Using Andy's lighter, Mikey restarts the fire over his + head. + + +67 INT. KITCHEN 67 + + Jake moves to open the freezer door, but Mama spots the + broken water cooler. Things are not as they left them. Mama + snaps at the others. + + MAMA + Let's go check your brother. + + Jake moves from the freezer. Mama and the boys hurry out of + the room. We HEAR Mama's voice: + 63. + + + MAMA (O.S.) + He better not've busted them chains + again. I ain't goin' back to the + zoo for another set. + + The goonies watch through the fireplace grating. Suddenly, + the freezer door slowly opens. Chunk steps out from behind + the corpse. He dashes to the fireplace. He whispers to the + kids: + + CHUNK + C'mon, guys! Lemme in! Lemme in! + + MIKEY + (whispers back) + No! You gotta get out! Get the + police! + + Chunk HEARS the Fratelli's coming back. He spots the window + above the printing press. Chunk leaps the top of the press, + crawling out of the tiny window. Just as Chunk slips out of + the window, Mama and the boys re-enter the room. + + MAMA + I knew he couldn’t break those + chains -- + + JAKE + Maybe it was one a' them tremors, + Ma -- + + FRANCIS + Yeah. Ya' know how the ocean + sometimes shakes up the place -- + + Mama shrugs. No time for thinking. There’s work to do. She + points to the freezer. + + MAMA + C'mon. We gotta move the other one. + + The boys nod. Jake opens the freezer door. They begin to + move the corpse. Mama looks at the boys. + + MAMA + You boys take care a’ that. I’m + gonna stay behind -- Make sure none + a’ them "tremor” start up again. + + +68 INT. FIREPLACE 68 + 64. + + + The kids move away from the grating. They climb back into + the passageway. + + +69 INT. PASSAGEWAY - UNDERNEATH LIGHTHOUSE 69 + + A narrow, man-made tunnel, surrounded by smooth rocks and + hard earth. The tunnel moves downward. Getting wide, larger + as it moves further in the distance, but there is only + dar&ness ahead. The goon kids cluster tighter together, + whispering, scared to death. + + ANDY + Oh, my God -- I saw my first dead + body. + + BRAND + Okay, look guys -- I’m the oldest. + I’ll call the shots. + (a pause) + We gotta look for a way out -- + start looking for manholes! + + MIKEY + (to Data) + Hey, you got any light on you? + + Data opens his shirt, searching for the correct cord. + + DATA + Yeah -- In case of emergencies -- + when I’m walking home from school + and some big guys stop me -- They + say, "Goony, we're gonna dust you!" + -- I pretend like I’m real scared - + - then I reach inside and pull this + cord and say -- + (Screams) + BULLY BLINDERS!!! + + Two bright 8mm movie projector lamps extend from Data's + hips. They flip on, causing incredibly bright light. The + goonies all cover their eyes and scream. But suddenly, the + lights fizzle out. Data shrugs. + + DATA + Only problem -- batteries don’t + live so long. + (reaches into backpack) + So -- I have Father’s backyard + light. + 65. + + + He removes a large lantern. He flips it on. It illuminates + the passageway. Brand grabs it. + + BRAND + Okay -- I’ll walk ahead with the + light -- + + MOUTH + Walk?! What about -- RUN! + + All of the kids run off into the passageway. + + CUT TO: + + +70 EXT. ROAD - NIGHT 70 + + Chunk is running for his life. He runs to the side of the + road, headed back to town. Suddenly, bright headlights come + toward him. Chunk turns. He steps into the middle of the + road. He waves his arms, hoping to flag down the car. + + The car comes to a stop. Bright headlights shine in Chunk's + eyes, blinding everything in front'of him. A MAN steps out + of the car. We can only SEE the outline of his shadow. He + speaks to Chunk. + + MAN + (Jake Fratelli) + Is there something wrong? + + CHUNK + (panicked) + Look, Mister -- I need a ride -- My + friends and I just had a run in + with these really gross people -- + Ya' mighta heard of 'em- - The + Fratelli’s. Anyway, we found their + hideout! If you could gimmee' a + ride to the Police station -- + + The Man motions for Chunk to step forward. Chunk hurries to + the Man. Chunk walks through the blinding headlights. + + He can finally see the car. His face goes white. It’s the + black off-road-vehicle, lined with countless bulletholes. + + Chunk looks up at the man’s face. It's Jake Fratelli. + 66. + + + Chunk turns to run. Jake grabs him around the waist. He + carries the struggling, screaming Chunk to the rear of the + O.R.V. Jake opens the false floor. Jake forces Chunk + inside. Jake closes and locks the floor. He gets into the + O.R.V. Francis is also here. He and Jake drive off. + + +71 INT. REAR COMPARTMENT OF O.R.V. 71 + + Chunk again lies face to face with the FBI corpse. Chunk is + frozen with fear. + + +72 INT. TUNNEL UNDER WATER PIPES - NIGHT 72 + + Brand moves forward, holding the lantern. The light guides + them through the dark tunnel. + + The kids round a corner and come upon an odd sight. A large + cluster of twisting metal pipes runs along the cavern + ceiling. The rusted pipes dangle a few feet. They are + obviously connected to something several feet above the + surface. Warm and cold light seeps down from the surface + surrounding the pipes. Stef nudges Mouth. + + STEF + Your old man's a plumber. What + kinda pipes are those? + + MOUTH + Gas pipes, electrical, sewage, + plumbing, hot water, cold water, + pressure pipes. + + BRAND + Water pipes? Hey -- You think if we + started bangin' on 'em -- somebody + upstairs might hear? + + Mouth gives a nod. He pulls a wrench from his pocket. The + other kids pick up rocks from the ground. They begin to rap + on the pipes. + + CUT TO: + + +73 EXT. HILLSIDE COUNTRY CLUB - NIGHT 73 + + The Hillside Resident's private club. + + +74 INT. TUNNEL UNDER WATER PIRES 74 + 67. + + + The kids are going wild; swinging, hanging from the pipes, + using all of their adolescent, athletic abilities. Brand + hangs upside down from one of the pipes. Andy swings from + pipe to pipe, not unlike a gymnasium's parallel bars. + + Mouth words hard at unscrewing one particular pipe. + + +75 INT. COUNTRY CLUB - SHOWERS 75 + + THREE overweight, pink, CLUB MEMBERS are taking a shower. + + +76 INT. TUNNEL UNDER WATER PIPES 76 + + The kids still pull and swing from the pipes. The pipes are + twisted and tangled out of proportion, leaking and spewing + water. The pipes begin to move by themselves -- Like slowly + moving pistons on an ocean vessel. + + +77 INT. COUNTRY CLUB - SHOWERS 77 + + A MAN reaches out to turn down the cold water. Before his + hand can touch it, the spigot is pulled into the wall! He + pauses, puzzled. He reaches out for the hot water spigot. + + WHOOSH! It is sucked into the wall. The Man steps back, + frightened. The shower head and nozzle above him is pulled + into the wall. He looks around. + + Suddenly, one by one, all of the shower heads disappear + into the wall! The confused members stare at the wall, + their bloated bodies covered with soap. + + Suddenly, a fecid brown backwash explodes from the holes in + the tile, where the spigots once were. The backwash covers + the bodies of the club members. They dash out of the shower + room, scared to death. + + +78 EXT. PUTTING GREEN - NIGHT 78 + + A TENNIS PLAYER pauses, getting a drink from a court + fountain. The player moves his lips to the fountain. The + entire fountain is pulled down a few inches. The puzzled + player bends lower. The fountain is pulled down a few more + inches. The player again bends lower. The fountain suddenly + shoots upward, knocking in the the player’s chin! The + player hits the ground, out cold. + + +79 INT. TUNNEL UNDER WATER PIPES 79 + 68. + + + The pipes are a moving, tangled mess of leaking, spraying + water. Several shower nozzles, water fountains and various + spigots have been pulled underground. But the kids still + have not given up, still thinking they’ve had no contact + with the outer world. + + Suddenly, all of the pipes begin to move faster, bouncing, + becoming violent. Steam and water HISS and spray. + + STEF + (yelling over noise) + What1s happening? + + MOUTH + (yelling over) + REVERSE PRESSURE!!! LET’S GET OUTTA + HERE!!! + + +80 INT. COUNTRY CLUB - MEN’S ROOM 80 + + Troy goes into a stall as a low rumbling c"an be heard. He + drops his pants and sits down on the commode. Immediately, + an explosion of toilet water blasts Troy off his seat, + sending him crashing all the way up to the ceiling. + + +81 INT. TUNNEL UNDER WATER PIPES 81 + + The kids walk away defeated, out of breath, sweating. Brand + shakes his head. + + BRAND + Geez. Ya think somebody woulda + noticed. + + CUT TO: + + +82 INT. LIGHTHOUSE BASEMENT - KITCHEN - NIGHT 82 + + CLOSE UP - Hamilton Beach blender. A hand comes into frame + holding a large eggplant. The eggplant is placed into the + blender. The blender "LIQUIFY" switch is hit. + + The eggplant is pushed into the blender. The eggplant is + crushed, turned to mush from the bottom to the top. We HEAR + Mama’s VOICE OVER as the eggplant is crushed: + + MAMA (V.O.) + 69. + + + First we’ll start with your pudgy + little fingers -- Then your round + little hands -- then your fleshy + arm -- + +CAMERA PULLS BACK. We are in the Fratelli basement. + +Francis is holding the eggplant and controlling the +blender. Jake is holding a gun to Chunk’s head. Chunk is +nervous, sweating, tied to a chair by an extension cord. + +Mama stands in front of Chunk, spewing out threats. Mama +nods for Sal to turn off the blender. Mama looks back at +Chunk. + + MAMA + Now -- you gonna tell me where your + little friends are? + + CHUNK + (immediately, without + hesitation) + In the fireplace! + + MAMA + (slaps him) + Don’t lie to me, boy! + + CHUNK + Honest -- We got this map from + Mikey’s dad -- said that underneath + this place -- there's buried + treasure -- + + JAKE + Don't give us any a' your bullshit + stories -- + (shaking him) + We want the truth! Spill your guts! + Tell us everything! EVERYTHING! + + CHUNK + (hysterical, blabbering, + exploding like a bullet) + Okay -- okay -- in third grade, I + cheated on my History exam- - In + fourth grade, I stole my uncle's + toupee and glued it on my face when + I played one of the Wise Men in our + school Christmas play -- In fifth + grade, I pushed my brother down the + stairs and blamed the dog -- I -- + 70. + + + Mama and the boys just look at each other. They can't even + get a word in. + + CUT TO: + + +83 INT. CHESTER COPPERPOT TUNNEL 83 + + CLOSE UP - PASSAGEWAY FLOOR - TRACKING SHOT. A light beam + illuminates the uneven floor, covered with jutting rocks + and sudden inclines and declines. We SEE a gum wrapper, a + metal cigar tube, and a mildewed, dog-eared Bible scattered + across the ground. CAMERA PULLS BACK. + + We SEE the goonies making their way through the passageway. + They are still incredibly frightened. Andy is still + muttering her prayers. Mikey picks up the discarded gum + wrapper. + + MIKEY + Uh-oh -- Maybe somebody else was + here before us -- + + DATA + (looking around) + Maybe they're still here -- + + STEF + (getting a chill) + Maybe we better hope they're not!! + + ANDY + (scared, blabbering) + Ten minutes ago Troy was looking + down my shirt. There's nothing + wrong with that, is there? If I + hadn’t acted so vain, I'd still be + cruising the coast with Troy. I + have a terrific body -- why + shouldn't boys look all they want - + -I mean -- how many more years do I + get before I -- before I -- + (her face goes white, she + screams out) + -- before I start looking like + HIM!! + + CAMERA PANS to where Andy is pointing. A decayed skeleton + is lying on the floor. Its legs are trapped under a giant + boulder. Mikey looks up to the ceiling. He SEES a length of + boulders, hanging from chains on the ceiling. The skeleton + was obviously a victim of some sort of booby trap. Mikey + suddenly makes the realization. He talks to himself. + 71. + + + MIKEY + You did this, One Eyed Willy -- + Didn't you? This is one a' your + tricks -- You wouldn't a gone to + all this trouble unless you were + hidin' something' -- would you, + Willy? + +The other goonies slowly gather around the miner's body. + +The skeleton is dressed in miner's clothes. He is wearing a +miner’s hat, and equipped with several tools: Shovels, +picks, hoes, etc. The goonies stare in shock, frightened. + +Mikey opens his map to look for a way out. The other kids +move toward the body. Data makes a realization. + + DATA + This must be Chester Copperpot -- + + STEF + Who? + + DATA + The last guy who went lookin' for + the rich stuff -- They say he went + in but never came out -- that was + back in 1935 -- + + BRAND + (to Mouth) + Find his wallet. + + MOUTH + I ain't findin' his wallet. + (pushes Stef) + YOU find his wallet! + +Stef sighs and decides to look for the wallet, she slowly +reaches into the skeleton's trousers. She removes the +wallet, but the skeleton’s hand lodges on the wallet. Stef +tries to pull the wallet. But the skeleton hand pulls back. +A tug of war. Stef finally breaks the wallet free. + +She opens it and checks the name. It reads: CHESTER +COPPERPOT. The kids look at each other, frightened. + + DATA + Oh, God -- if he didn't make it out + -- And he was s’posed to be an + expert! What about us?! + 72. + + +Data walks BEHIND everyone. He pulls a cord on his chest +and a couple dozen small red items automatically pop out +into his hand. Mikey NOTICES. He LOOKS at Data. + + MIKEY + What're you doin'? + + DATA + I'm setting booby traps. In case + anybody follows us. We'll hear 'em + comin'. + +Mikey SUDDENLY notices something hanging around the +skeleton's neck, a sort of MEDALLION. Mikey GRABS the +medallion and studies it. It is an ANCIENT COPPER item, +shaped like a skull! There are THREE IRREGULARLY CUT HOLES +in the medallion, at the points where the skeleton's EYES +and NOSE would be located. Mikey STARES at the medallion, +trying to COMPARE it to the map. + +Meanwhile, Data spots ROAD FLARES in Copperpot's backpack. +Data REACHES in and begins to PULL OUT each one of the ROAD +FLARES. But Data doesn't NOTICE that he also REMOVES ONE +STICK OF DYNAMITE! He PLACES it with the other flares and +inserts them into his backpack. + +Andy is SCARED TO DEATH! She WANTS OUT! She BEGINS TO RUN +FORWARD! + + ANDY + Let's get outta' here! Come on! + Let’s keep moving! + +Andy SHOOTS FORWARD. Mikey LOOKS UP! He SEES that about TWO +INCHES from the ground, ALONG THE LOWER WALLS, are +CAREFULLY PLACED TREE BRANCHES! The branches are a SORT OF +TRIGGER! When broken, they CAUSE THE BOULDERS ABOVE TO +FALL! MIKEY SHOUTS! + + MIKEY + Andy! Stop!! + +But it’s TOO LATE! Andy'S FOOT SNAPS A BRANCH! A CREAKING +SOUND is heard! The BOULDERS ABOVE begin to WAVER! In a +tremendous PANIC, the kids DASH FORWARD! They SNAP EACH +BRANCH, causing the boulders to FALL BEHIND THEM! ONE BY +ONE! Each boulder. JUST MISSING the kids by a hair! The +kids MAKE IT to the far wall as the last boulder DROPS +BEHIND THEM! They CLUSTER TOGETHER! SCARED OUT OF THEIR +WITS! + 73. + + +The kids turn, STANDING at a virtual DEAD END! A SMALL +CIRCULAR BOULDER sits in the middle. The kids PAUSE. +LISTENING. They hear NOISES. BEHIND the boulder. Stef is +EXCITED. + + STEF + Listen! Somethin's behind here! + + ANDY + (hopefully) + Maybe it's a way out! + +The kids attempt to move the boulder. Brand PUSHES everyone +out of the way. He gives a MACHO raise of the eyebrow to +Andy. He'll do it HIMSELF. Brand REMOVES his shirt. He +flexes his MUSCLES. Andy BLUSHES. Mouth whispers to Data. + + MOUTH + Lookit 'im! Showin' off his Andy- + pects and Andy-ceps! + +In the background, Mikey TRIES to make a muscle. But +NOTHING happens. He frowns. Brand GRABS hold of the boulder +and begins to PULL WITH ALL HIS STRENGTH. GRUNTING. +GROANING. The boulder begins to MOVE. The crumbling sound +of rock is HEARD. Mikey watches, PROUD of his brother. Andy +STARES at Brand's muscular body. Brand finally manages to +PULL OUT THE BOULDER! The kids CONGRATULATE and APPLAUD +Brand. The kids POKE their heads INTO THE NEW OPENING. +There, is NOTHING BUT DARKNESS! But there is that SOUND -- +it is the sound of SQUEAKING, FLAPPING WINGS. The kids LOOK +at each other. PUZZLED. FRIGHTENED. + +Brand leans his head into the hole, craning it as far +forward as he possibly can, stretching his eyeballs to see +in the dark. + + BRAND + Hello! Hello! Anybody home? + +A screech and a whistling sound, and then a black winged +creature with sharp teeth and red eyes explodes into +camera! + + EVERYONE + (yells) + BATS!!!! + +HUNDREDS OF BATS BLAST PAST THE KIDS! The bats ATTACK! +FRENZIED! Pulling at HAIR! Clutching ONTO clothes! Everyone +SCREAMS! Arms WAVING! HELPLESS! The kids DUCK FOR COVER! +The bats MOVE ON back through the passageway. + 74. + + + THE BATS RACING through the PASSAGEWAY, in the same + direction the kids came from. The creatures move like a + BLACK CLOUD OF LOCUSTS! + + CUT TO: + + +84 INT. LIGHTHOUSE BASEMENT KITCHEN 84 + + Chunk is CRYING his eyes out. TEARS streaming down his + face. Mama and the boys are LISTENING. FASCINATED. He makes + one last hysterical CONFESSION. + + CHUNK + But the worst thing -- the worst + thing I ever don -- I mixed up this + fake puke at home -- I went into + this movie theater -- hid the puke + in my jacket -- climbed into the + balcony and -- and -- I made a + sound like this + (makes VOMITING sound) + Then I dumped it over the side -- + on all the people in the audience - + - then -- then the people started + gettin’ sick—throwin' up all over + each other -- + (bursts into tears) + It was horrible -- I never felt so + bad in all my life -- + + Mama SQUEEZES the fat on Chunk's double chin. HARD. Mama's + eyes are filled with FURY. She STARES at Chunk. + + MAMA + Look, kid -- I still ain’t heard + what I wanted + (a beat) + Now where are your friends? + + CHUNK + I told ya' -- in the fireplace -- + they ' took out the logs -- then + the grating -- then they crawled + into some secret passageway -- + + MAMA + (sarcastic) + Then they put the grating and the + logs back -- and started up the + fire from inside -- + + CHUNK + 75. + + + Yeah- - right -- just like that. + + Mama RELEASES her grip. DISGUSTED. She turns to FRANCIS. + + MAMA + Hit "Puree". + + Francis grabs the BLENDER. He hits the "Puree" BUTTON. The + blender starts with a DEADLY WHIRRR! Mama LOOKS at Chunk. + + MAMA + Now -- do I get the truth? Or do + you get juiced? + + Chunk stares in HORROR. Mama NODS to Jake. He GRABS Chunk's + hand. FORCING it to the top of the blender. Chunk SCREAMS. + CRYING. HYSTERICAL. Jake begins to PUSH Chunk's fingers + toward the SHARP, SWIRLING BLADES. Chunk STRUGGLES. MAMA + HOLDS HIM DOWN. CHUNK’S FINGERS ARE LESS THAN AN INCH FROM + THE BLADES. + + Suddenly, A NOISE. Coming from the FIREPLACE. Everyone + TURNS. The logs literally BLAST from the fireplace. The + grating POPS OUT. BOUNCING across the floor. THE BATS shoot + out of the fireplace. They fly THROUGH the room. + + The bats fly UPWARD. Where it’s DARKER. They CLUSTER + TOGETHER. ON THE CEILING. Francis RUSHES to the fireplace. + He PEERS into the opening. + + FRANCIS + Kid’s not shittin’. + + CUT TO: + + +85 INT. CAVERN UNDER ZOO - NIGHT 85 + + The kids STAND in the passageway, on top of each other's + SHOULDERS. They have formed a PERFECT CHEERLEADER PYRAMID, + in order to REACH the ceiling. + + Mikey is HOLDING Chester Copperpot’s SHOVEL. He DIGS into + the ceiling. CLUMPS of dirt begin to fall to the ground. + Andy SHOUTS to everyone. + + ANDY + Okay, everybody -- we made a + perfect Touchdown Victory Formation + Pyramid. Don’t make a move of we'll + tip over. + 76. + + + With a LITTLE effort, Mikey's shovel SHOOTS THROUGH the + ceiling. He SMILES and CALLS to those below him. + + MIKEY + Hey -- we're pretty close to the + surface! + + CUT TO: + + +86 EXT. CAULDRON POINT 200 - NIGHT 86 + + CLOSE UP - A SIGN. CAMERA PANS from the sign to a fenced + grassy area. TWO GORILLAS, B0N20 AND BERTHA are cavorting + about. BONZO drives a little red convertible pedal car, as + he shows off for BERTHA who looks sweet and demure with a + little pink ribbon the zookeepers have put in her hair. + + +87 INT. CAVERN UNDER ZOO 87 + + Mikey CONTINUES to DIG through the ceiling. CLUMPS of dirt + FALL. + + +88 EXT. CAULDRON POINT ZOO - NIGHT 88 + + Bonzo gets out of his pedalcar and begins to groom Bertha. + Bertha grooms back. Bonzo has that look in his eye. The + look of a guy ready to "score". He immediately moves around + to the back of Bertha, who reacts with mock, ladylike + surprise. + + CLOSE - BONZO'S FEET. The shovel digs-through, missing + Bonzo's foot by inches. + + CLOSE - BONZO. Making his move! He MOUNTS Bertha -- a + moment later the ground opens up and BONZO is sucked + underground and out of sight. BERTHA almost speaks -- she + says -- "HUH?" + + +89 INT. CAVERN UNDER ZOO 89 + + The GORILLA FALLS to the ground. SLAM! The pyramid + COLLAPSES. The shocked kids SCREAM. Bonzo gets to his feet. + CATCHING his breath. The Gorilla SEES the kids. He looks up + and remembers what he was doing. He GROWLS. The kids TURN + and RUN. Dashing FURTHER OFF into the tunnel! + + Outraged, Bonzo CLIMBS back up through the hole, back into + his cage. + 77. + + +90 INT. LIGHTHOUSE BASEMENT KITCHEN - NIGHT 90 + + CLOSE UP - KITCHEN CUPBOARD DOOR. + + The door OPENS. What should be filled with kitchen + utensils, is filled with GUNS. ALL TYPES. PISTOLS. + + RIFLES. MAGNUMS. CAMERA PULLS BACK. Mama grabs a PISTOL. + She looks at the BOYS. + + MAMA + If we find those kids, -- remember, + no witnesses. + (CLICKS pistol) + We'll let the air outta’ their + Calvins. + + Chunk STARES. FRIGHTENED by what he's heard. Mama POINTS + the pistol at Chunk's forehead. Ready to SHOOT. She PAUSES. + MOVING the gun. + + MAMA + Maybe I better keep 'im alive -- + just in case he's lyin'. + (SNAPS her fingers at + Jake) + Put 'im in with yer' brother. + + Chunk gives a NERVOUS NOD. Jakes LIFTS Chunk and the chair. + Something FALLS OUT of Chunk's pocket. The DOUBLOON. It + HITS the floor. Mama GRABS it. She STUDIES it. PUZZLED. She + LOOKS at Chunk. + + MAMA + What's this? A Cracker Jack prize? + + CHUNK + We found that on the map -- it's + got somethin' to do with the buried + treasure -- + + Mama is still PUZZLED. She HOLDS the doubloon out to + Francis. + + MAMA + You’re s'posed to be an expert -- + + Francis takes the doubloon. STUDYING it. His eyes get WIDE. + His mouth DROPS OPEN. Total SHOCK. + + FRANCIS + Oh -- My -- God. + 78. + + + Mama and the boys shoot him a PUZZLED look. + + CUT TO: + + +91 INT. TUNNEL LEADING TO BOTTOM OF WISHING WELL 91 + + The passageway is EXTREMELY SMALL, TIGHT, forcing the kids + to CRAWL THROUGH. The passageway continues to get LOWER. + + Becoming SMALLER. NARROWER. BRAND still LEADS. HOLDING the + flashlight. Brand is covered with SWEAT. Extremely NERVOUS. + Suddenly, the flashlight beam begins to BLINK. DYING OUT. + Brand PANICS to Data. + + BRAND + Hey! What’s goin’ on?!? This + thing’s losin' juice! What're we + gonna do about light?!-- + + Data REACHES into his backpack. He FUMBLES in the darkness + through the ROAD FLARES he lifted from Chester Copperpot. + + Data's fingers pass over the STICK OF DYNAMITE, and instead + grab a FLARE. Data LIGHTS the flare and PASSES it to Brand. + Brand STILL COMPLAINS. + + BRAND. + All we keep doin' is goin’ lower! + Where we goin'?-- Where's this + leadin' us?-- this place is gettin’ + awful small! Awful small!-- + + MIKEY + (whispers co Andy) + Uh-oh. He’s gettin' that elevator + look in his eyes. + + ANDY + Whattayou mean, "elevator"? + + Mikey takes advantage of the situation and moves even + CLOSER to Andy. As he explains to her, he SMELLS her + perfume and the shampoo rinse in her hair. + + MIKEY + Me and Brand got stuck in this + elevator once. For five hours. It + was okay at first -- then he + started gettin' closet -- + closetphotos -- + + ANDY + 79. + + + Claustrophobic. + + MIKEY + Yeah. And he freaked out. Lost + total control. Started spinnin' + around in circles. His arms + whippin' around. Like a breakdancer + on fast forward. I had to climb on + the elevator roof so I wouldn’t get + hurt -- + + BRAND + (screams) + I can’t breathe! I’m chokin’! + Mikey! Gimmee' your misty stuff! + C’mon, man! Now! + +Mikey gives Brand the PROMOTENE MIST. Brand GRABS it. +Sucking up the PRECIOUS mist. Mikey again WHISPERS to Andy. + + MIKEY + Last time he used that was in the + elevator. + (serious, trying to be + strong) + Andy -- this might get rough. You + better let me take your hand. + +Andy TAKES Mikey’s hand. The passageway has gotten WIDER. + +The kids can now walk UPRIGHT. The kids ROUND a comer and +have made it to a POOL OF WATER. The water comes up to +their ANKLES. Mikey HOLDS the map above water. He suddenly +notices piles of glistening SILVER and COPPER COINS, +surrounding the edge of the walls. Mikey SMILES, as if his +prayers were answered. Struck with goldfever, Mikey DASHES +out ahead of everyone. + + MIKEY + We found it! We’re rich!!! + +Mikey falls to his HANDS AND KNEES in a shaft of cool +exterior moonlight from far above. Brand takes several DEEP +BREATHS, taking in the sudden burst of FRESH AIR from +above. He starts PICKING UP all the coins in a one inch +pool of dirty water. + + DATA + What year was that map made? + + MOUTH + (looking through coins) + 80. + + + Couple hundred years before Abe + Lincoln -- uh -- George Washington + -- Thomas Jefferson -- Martin Sheen + -- + + STEF + That's President Kennedy, crater + face. We must be at the bottom of a + wishing well or somethin’. + + ANDY + I always used to believe that when + you threw in a coin it turned into + your wish. + + The kids BEGIN to POCKET the change, joyously FILLING their + pockets with the money. Stef PAUSES. Something is BOTHERING + her. She LOOKS at the others. + + STEF + Wait -- these are somebody else’s + wishes. Not ours. + + Stef EMPTIES her pockets. The other kids PAUSE, doing the + same. Mouth PAUSES, putting one of the quarters into his + pocket. + + MOUTH + Yeah. Well this wish was mine and + it didn't come true. + + Mikey STARES at the map, then STARES at the medallion he + found around Chester Copperpot's NECK. Mikey is PUZZLED. + TALKING to himself. + + MIKEY + What's this got to do with the map? + Huh, One Eyed Willy -- I know the + answer's here somewhere -- I know + how smart you are -- + + Mikey EXAMINES the medallion, looking for some sort of + clue. Suddenly, a SPLASH. In FRONT of Data. Data FISHES for + what landed in the water. He removes a SILVER DOLLAR. He + LOOKS at the other kids. SURPRISED. + + DATA + Who's got the "K" to be makin' + dollar wishes? + + +92 EXT. WISHING WELL - NIGHT 92 + 81. + + + Troy sits at the side of the well, his red Mustang in the + background. He's JUST TOSSED the silver dollar. Troy is + drinking Buds with THREE of his muscular FRIENDS. One of + the friends gives a COCKEYED smile to Troy. + + FRIEND + Whadja' wish for? + + TROY + To make it with Andy. + + Suddenly, the silver dollar FLIES BACK OUT of the well. + HITTING Troy in the head. He GLARES down into the well. + + TROY + Hey! Who's down there? + + +93 INT. WISHING WELL - NIGHT 93 + + Everybody goes nuts. The goonies SCREAM and CHEER-for help + + EVERYBODY + Hey -- throw us a line -- Help! + We're down here! + + +94 EXT. WISHING WELL - NIGHT 94 + + A hopeful Troy LOOKS at his friends. He SHOUTS back into + the well. + + TROY + Andy? -- 'Zat your voice I hear? + + +95 INT. WISHING WELL - NIGHT 95 + + Andy. SCREAMS, thinking ONLY of herself. + + ANDY (O.S.) + Yeah, Troy! I'm stuck down here! + How 'bout sendin' down the bucket + and rope! Please! Save me! + + +96 EXT. WISHING WELL - NIGHT 96 + + TROY + (smiles, to his friends) + See, dudes! Wishes DO come true. + + Troy LOWERS the bucket into the well. + 82. + + +97 INT. WISHING WELL - NIGHT 97 + + The kids WAIT. EXCITED. But Mikey stands ALONE, staring at + the medallion and the map. A PUZZLED, CONFUSED LOOK on his + face. He TALKS to himself. + + MIKEY + I know I can beat you- - this is + just another one a' your tricks -- + right, One Eyed Willy? + + CUT TO: + + +98 INT. SLOTH’S ROOM - NIGHT 98 + + Sloth sits with his BACK to us. He sits in FRONT of the + T.V. His face a few INCHES from the screen. He is watching + a pirate movie. Jake and Francis CARRY Chunk inside. They + sit his chair directly BESIDE Sloth. Sloth DOESN’T notice. + Too INTERESTED in the show. Jake SMIRKS at Sloth. + + JAKE + Hey- - don't sit so close to the + T.V. It'll screw up your ammo. + + Jake and Francis LAUGH. Sloth IGNORES them. They EXIT the + room. Chunk STARES ahead. SCARED. He still CAN'T SEE + Sloth's face. He emits a NERVOUS LAUGH. Trying to be + FRIENDLY. + + CHUNK + Hi -- how ya' doin' -- my name's + Lawrence. Everybody calls me + "Chunk". Guess that's 'cause I eat + too much Twinkie juice- - + + Sloth TURNS from the T.V. Emitting a LOUD, ANGRY GROWL. WE + SEE SLOTH'S FACE. For the FIRST TIME. Lit by the FLICKERING + blue of the T.V. screen. Sloth's MISHAPEN head is ENORMOUS. + RECTANGULAR. A small patch of GREYISH hair sits on the top + of his pointed skull. His neck and temple are SHAVED. His + ears are HUGE. His WIDE, BULBOUS NOSE stretches, across his + face. His lips are THICK. DRIPPING with saliva. His front + teeth PROTRUDE. CROOKED. YELLOW. Hjg eyes are CROOKED. One + sits in the MIDDLE OF HIS cheek. The other is in its PROPER + PLACE. A MONSTROSITY. + + Chunk SCREAMS. TRAPPED. Sloth gives a HIGH PITCHED GIGGLE. + He's found a FRIEND. + + +99 INT. BASEMENT - KITCHEN 99 + 83. + + + Mama and the boys INSPECT the fireplace passageway. Each + carrying a pistol and a FLASHLIGHT. Francis is holding the + DOUBLOON. STUDYING it. Mama KICKS OUT the fireplace grid + and starts into the tunnel. Jake and Francis COCK their + pistols and FOLLOW Mama inside. + + CUT TO: + + +100 INT. WISHING WELL - NIGHT 100 + + The bucket has LOWERED to the bottom. Andy GRABS it first. + The other guys GATHER AROUND. EXCITED. HOPEFUL. But Mikey + is still STARING at the map and medallion, still PUZZLED, + still MUMBLING to himself. Mikey sees that the bucket has + ARRIVED. Andy PUTS her foot into the bucket. Mikey SHOUTS + to her. + + MIKEY + Andy -- Wait!!! We’ve got this + other clue -- Chester Copperport + never got this far -- we have a + chance -- + + AN£Y + A chance at what, Mikey? Getting + killed? Look, if we keep goin' -- + somebody's gonna get dead." Maybe + killed. Boulders -- bats -- + gorillas! Just imagine what kinda' + other stuff is down here! Besides - + - we gotta get to the Police -- + + MIKEY + Chunk prob’ly already got to the + Police. + + ANDY + Unless he's dead. + + MIKEY + (snaps at Andy) + Don't SAY that! Don't EVER say + that! + (a pause) + Goonies never say die! + + ANDY + I'm NOT a goony. + + MIKEY + (a realization) + Right -- I forgot for a second -- + 84. + + + (to the others) + But you guys -- don't ya' + understand? The next time you see + the sky, it'll be over another + town. Next time you take a test, + it'll be at some other school -- + Our Moms and Dads want the best of + stuff for us -- but they gotta do + what's good for them because it's + their time now -- down here it's + OUR TIME! But that's all over the + minute we ride up Troy’s bucket. + +Andy PAUSES. Mikey takes a SHOT of Promotene Mist. He LOOKS +at all of the kids. He gives a STRONG, DETERMINED look to +everyone. + + MIKEY + Look -- a couple years ago -- My + Mom and Dad got on that big Game + Show. Remember, Brand? Mom spent a + month makin' those funny costumes, + she was a giant egg. Dad was a + frying pan. My Dad kept sayin' we + were gonna live in a place called + "Easy Street". So we drove all the + way to Hollywood. When we got there + -- they put us in this big audience + -- with all these other people in + funny costumes. Then some dude with + lipstick and sprayed hair came down + the stairs. He walks up to us -- + + ; (A BEAT) + First he makes Mom guess how much + toilet bowl cleaner costs -- she + gets it right. Then he makes my Dad + guess what a jar of Ragu Spaghetti + sauces weighs- - he gets it right. + Then he asks my Dad -- "The Big + Prize is behind Door #1? Door #2? + or Door #3?" Now my Dad’s Lucky + Number was always "2". He got + married on August Two. He got his + job on June Two. And he’s got two + kids -- + + DATA + Okay. Okay. We got the point! He + took Door #2! + + MIKEY + 85. + + + No. That’s the weird part. For some + reason, he took Door #3. So the + game show guys screams -- + "Congratulations! You've just won - + -ONE HUNDRED THOUSAND -- + (a pause) + And the door swings open. And this + huge glass jar is sittin' in the + middle of the stage -- filled with + TOOTHPICKS. One hundred thousand + toothpicks. + + Everyone LISTENS. INTERESTED. Troy SHOUTS from above. + + TROY (O.S.) + Hey Andy!! You cornin' or not! + + He PULLS the rope. Andy PULLS BACK, lingering for another + moment, fascinated by Mikey’s story. + + MIKEY + (continuing) + Everybody in the place was + laughin'. Even Mom and Dad smiled. + But I could see on their faces -- + they knew. They were never gonna + live on Easy Street. They blew + their chance. + (to the others) + This is it guys- - On Monday, all + our living rooms turn into golf + holes. This is our last chance. I + mean -- I'd feel like a real jerk + if some guy like Troy dug up all + the rich stuff -- 'cause we were + too chickenshit to go for it. + + Everyone LOOKS at each other. How can they ARGUE? They’re + GOING FOR THE TREASURE! Troy AGAIN SHOUTS from above. + + TROY (O.S.) + Hey, Andy -- you wanna stay down + there with the Goonies? Or are you + cornin' up here where you belong? I + ain't got all night! + + Andy PAUSES, turning to the others. They STARE at Andy. + Waiting for her DECISION. + + +101 EXT. WISHING WELL - NIGHT 101 + 86. + + +Troy BEGINS to PULL the bucket and rope. It is HEAVY. Troy +gives a VICTORIOUS SMILE to his friends. The bucket ARRIVES +at the top of the well. Troy is met with a SHOCKING SIGHT. +The bucket is wearing Troy's LETTER SWEATER. Troy GRABS the +letter sweater. The bucket is filled with PEBBLES and +ROCKS. His friends CHUCKLE. A HUMILIATED Troy turns and +walks to his Mustang. + +CLOSER ON MUSTANG + +Troy reaches dejectedly for the door handle as the +SHERIEF'S CAR suddenly pulls up, lights blazing. + + SHERIFF + (leans out window) + Hey, Troy! Hold up! + + TROY + What are you doing out here, + Sheriff? + + SHERIFF + Tryin' to stop a lynching, son. + (Troy is puzzled) + Mine. All hell's busted loose over + a bunch of missin' goonies. I got + their parents callin' me, the + newspapers callin' me, the Mayor's + callin', me, and I sure as hell + don't want to tell you what they're + callin' me. + + TROY + (careful pause) + Gee, I -- wish I could help you, + Sheriff, but -- + + SHERIFF + Somebody said they saw you and Andy + walking with one of 'em earlier + today -- + (looks at notebook) + a Stefanie -- goddamn these polish + names -- + + TROY + Me? Walking with a goonie? When my + ass learns how to chew gum. + Sheriff. + + SHERIFF + 87. + + + Well when it does, son, you be sure + and give me a call. There's a damn + few things left in this world I’d + pay to see, but that's one of ’em. + + The Sheriff's car roars off. Troy watches, guilty but + defiant. + + +102 INT. WISHING WELL - NIGHT 102 + + Andy stands in FRONT of Mikey, prepared to take the GOONY + VOWS. MIKEY gives a SERIOUS LOOK to Andy. + + MIKEY + Raise your right hand. Repeat after + me. + + Andy RAISES her right hand. She REFEATS every word Mikey + says. + + MIKEY + "I will never betray my goon dock + friends, We will stick together + until the whole world ends, + Through,heaven and hell, and + nuclear war, Good pals like us, + will stick like tar. In the city, + or the country, or the forest, or + the boonies, I am proudly declared + a fellow --" + (Mikey’s eyes go wide, HE + SCREAMS!) + LEECH!!!!! + + ANDY + Leech! + (pauses, puzzled) + Leech? You mean "goony”! + + MIKEY + (Cont1d) + I mean LEECH! All over your arm! + LEECHES! + + Andy LOOKS at her arm. There are countless TINY, BLACK, + SLIMY LEECHES covering her arm! The kids PANIC. Everyone is + COVERED with the little bloodsuckers. They DASH OUT OF THE + WATER! + + CUT TO: + 88. + + +103 INT. SLOTH'S ROOM - NIGHT 103 + + CLOSE UP - T.V. SCREEN. JULIA CHILD prepares a CHOCOLATE + FUDGE CAKE. She pours creamy CHOCOLATE FROSTING over the + double layer cake. CAMERA PULLS BACK. Chunk and Sloth both + STARE at the T.V. screen. Both their mouths WATERING over + the food. They are both incredibly HUNGRY. Sloth UTTERS a + word. If a GRIZZLY BEAR could speak, it would sound like + Sloth. + + SLOTH + Chocolate. + (turns, smiles at Chunk) + Chocolate! + + Chunk gives an APPROVING SMILE back. They share a COMMON + LOVE. Chunk REMEMBERS something. Although his hands are + tied, he has enough freedom to move into his back pocket. + + Chunk's fingers DIG into the pocket. He removes a somewhat + crushed "ALMOND JOY". Chunk LIFTS the candy bar. SHOWING it + to Sloth. Sloth gives a GIANT SMILE. + + SLOTH + Almond Joy! Almond Joy! + + Chunk tries to throw the candy bar to Sloth. It lands + BETWEEN them both. On the FLOOR. Out of Chunk and Sloth's + REACH. Sloth GROWLS. ANGRY. UPSET. He begins to PULL at the + chains that BIND HIS LEGS to the wall. + + Chunk WATCHES. FRIGHTENED. Sloth pulls HARDER. GRUNTING. + GROANING. The wall surrounding the bolts begins to GIVE. + Plaster CRACKS. CRUMBLES. The bolts FLY OUT OF THE WALL. + The chains DROP TO THE FLOOR. Sloth's legs are FREE. Chunk + SHAKES HIS HEAD. + + CHUNK + Geez, mister -- You're even + hungrier than me. + + Sloth gives a WHEEZING LAUGH. He begins to pull at the + chains that BIND HIS ARMS. Chunk just WATCHES. + + CUT TO: + + +104 INT. WISHING WELL - NIGHT 104 + + The kids are COVERED WITH LEECHES! They are in a FRENZY. + HELPLESS. + 89. + + + Andy tries to SHAKE the leeches from her arms and fingers. + Brand tries to PULL OFF the leeches. Mikey tries to DANCE + off the leeches. Nothing WORKS. The leeches are STUCK. + + Data thinks FAST. OPENING his yellow vinyl blanket! He + removes a medium sized 20 VOLT BATTERY! He hurriedly + CONNECTS two wires to the battery. Data runs to the edge of + the WATER POOL. Data keeps his feet in the SHALLOW SECTION. + He inserts the ends of the battery wires INTO THE WATER. A + LOW VOLTAGE SHOCK surges through Data. The leeches FALL OFF + his body! ELECTROCUTED! Data MOTIONS for the others to join + him. As each person STEPS into the water, Data INSERTS the + two wires. A SUCCESS. The device REMOVES the leeches from + everyone. Only Andy and Stef REMAIN. Andy STEPS into-the + water. She gets her electric SHOCK. A SMILE slowly appears + on her face. Her knees BUCKLE. WEAK. She emits a SIGH. + Followed by a tiny SQUEAL. The SAME thing happens to Stef. + Once they're out of the water, Stef WHISPERS to Andy. + + STEF + I got all tingly. + (a sigh) + Just my luck -- I'm in love with a + pond. + + ANDY + (but Andy feels violated + by this) + Who's responsible for that?!? + + Andy looks at Data, who is HOLDING up the two electrical + wires. Data victoriously smiles and wiggles his eyebrows + suggestively. Andy SLAPS Data across the face. This causes + a chain reaction on Data's BOBBY TRAPPED body. A tiny GI + JOE DOLL pops out of Data's shirt and fires a single shot + PLASTIC PROJECTILE at Andy. The GI JOE goes back down + inside of Data's shirt, not unlike a CUCKOO CLOCK. Andy + ROLLS her eyes. + + CUT TO: + + +105 INT. CHESTER COPPERPOT TUNNEL 105 + + AN AGONIZED SCREAM is heard as Jake tries to pull Mama over + the top of a boulder while Francis pushes from behind. The + lady is spreadeagled over the huge rock as the two boys + struggle hard. + + MAMA + (at Francis) + Push, goddamn you -- + (at Jake) + 90. + + + Before this one pulls my arms out - + - + (at Francis) + Push!! + +Francis gives a mighty shove up on Mama’s behind as she +lurches forward with a ROAR, instantly SLAPS Jake in the +face! + + JAKE + What was that for? + + MAMA + For what your brother just did! + + JAKE + Why didn't you hit him? + + MAMA + He isn't here yet! + + FRANCIS + (coming over boulder) + Mama, look! + +They see the skeleton of Chester Copperpot lying on the +ground. Jake leans down, picks up the wallet, opens it. + + JAKE + (at empty wallet) + Niente. Kids musta cleaned him out. + + MAMA + Sure. Right before they ate him. + + FRANCIS + (at Jake) + Stupid -- + + FRANCIS + This is Chester Copperpot. He went + lookin' for the missing treasure of + William B. Pordobel -- better known + as "One Eyed Willy". + + MAMA + (holds up doubloon) + That's what this is from? + + FRANCIS + 91. + + + One Eyed Willy was one a' the most + ingenious pirates of the 16th + Century. The guy started out as a + Court Jester, but was banished from + 5 Spanish Courts because of his + off-color stories and pratical + jokes -- + +Jake GRABS the doubloon from Mama. He STAYS BEHIND, +examining the doubloon as Mama and Francis CONTINUE AHEAD. + + FRANCIS + So, Willy formed this Pirate Band - + - and they set sail on this ship, + "Inferno". Willy and his men + marauded hundreds of the King's + ships. They accumulated a treasure + worth millions. + (a beat) + Legend has it -- that while bein' + attacked by three of the King's + ships, Willy steered his stricken + ship into a hidden, underground + cavern -- which the British sealed + with their cannon fire. Willy and + the other survivors spent the next + couple years hidin' out, tryin' to + repair the Inferno. They built a + bunch of underground caves, loaded + with all kindsa weird booby -- + traps -- to protect the treasure. + One of his men escaped to tell + Willy's story -- + (shrugs) + And that's been the local legend + around here for a couple hundred + years. + +MEANWHILE, Jake still stands in the background, STARING at +the doubloon. Jake is STANDING directly BELOW the hole +where earlier, the Gorilla had FALLEN. Suddenly, a LARGE, +HAIRY GORILLA ARM reaches down. The arm GRABS the toupee +off Jake's head. + + JAKE + MAAAAAAA—!! + + MAMA + (notices that he’s bald) + What happened to your piece? + + JAKE + (lifting gun) + 92. + + + Nothing, Ma. I got it right here! + + MAMA + (slapping him on top of + his bald head) + Your HAIR piece! + +Jake REMEMBERS, then looks at MAMA with fear in his eyes. + + JAKE + I can’t tell ya, Ma. + + MAMA + What do ya' mean, you can't + tell'me? + + JAKE + If I do, you'll let me have it + again! + + MAMA + (softening) + No I ain't. Just tell me son. + + JAKE + (flinching) + OK -- some huge, friggin' hairy + thing took it! + + MAMA + (nodding thoughtfully + while looking at him) + You're a smart boy, Jake. + + JAKE + (smiles, dim-wittedly) + “Yeah? Why's that Ma? + + MAMA + You knew I was gonna hit ya! + (she let's him have it -- + WHACKS!!) + +Jake TURNS and RUNS. Suddenly, THERE IS A LOUD BANG! Jake +Jake whacks Francis in the face! + + JAKE + Your message from Mama! + + MAMA + (whacking Jake) + Don't slap your brother! + 93. + + + Jake lurches backward from the blow. Suddenly, THERE IS A + LOUD BANG! Francis jumps! We hear ANOTHER LOUD BANG! + + Francis draws his pistil, FIRES, as Mama and Jake duck for + cover. + + CUT TO: + + JUMPS! He begins to RUN AGAIN! We hear ANOTHER BANG! And + ANOTHER! Jake FIRES his pistol! Up ahead, Mama and Francis + DUCK for cover. + + CUT TO: + + +106 INT. TUNNEL LEADING TO DEAD END 106 + + The goonies are FROZEN in their section of the passageway. + The BANGS ARE AUDIBLE, far back in the passageway. The kids + EXCHANGE A FRIGHTENED, PANICKED GLANCE! + + BRAND + What was that?! What was that + sound?! + + DATA + My booby caps. + (holds up caps) + I put these on the ground so we can + hear if somebody's following us! + + The kids all exchange a SHOCKED PAUSE! The realization + suddenly HITS THEM! Stef SCREAMS! + + STEF + That means somebody's FOLLOWING + US!!! + + With a SCREAM, all of the kids RUN OFF INTO THE PASSAGEWAY! + + CUT TO: + + +107 INT. CHESTER COPPERPOT TUNNEL 107 + + Jake manages to CATCH HIS BREATH. Mama EXAMINES the floor + beneath him. She picks up a ROW OF CAPS from beneath Jake’s + shoe. She gives Jake a SLAP to the head. + + MAMA + What's yert problem? Firin' yer gun + over a buncha' kiddie caps? + 94. + + + CUT TO: + + +108 INT. TUNNEL LEADING TO DEAD END 108 + + The Goonies are running through the passageway. Data LEADS + the way with a flare! His light illuminates a GRADUAL RISE + in elevation. The kids round a corner, arriving in a SMALL, + CONFINED AREA. A DEAD END! The flare GOES OUT! + + Data reaches back. His hand fumbles over a stick of + DYNAMITE, but grabbing another FLARE instead! Meanwhile, a + look of PANIC seizes Brand. He begins to HYPERVENTILATE. + Becoming more CLAUSTROPHOBIC. Andy tries to COMFORT him. + + BRAND + Great! A Dead End!!! Now What?!? + Huh?!? + + ANDY + We go back the same way we came in. + + Mikey LOOKS to the map. PUZZLED. Talking to HIMSELF. + + MIKEY + It’s gotta go on- - Right "One Eyed + Willy"? You wouldn’t end it here -- + you always got somethin’ up your + sleeve -- + + In the background, Brand CONTINUES to FREAK OUT. His face + has become a DEEP PULSING RED. His eyes BULGE. CRAZED. He + is on the verge of EXPLOSION. + + BRAND + I can’t breath! -- It’s too small + in here!!! You guys are usin’ up + all the air!! It’s too small!!! + + Mikey FINDS a SPANISH PHRASE written on the map that + corresponds to where the kids are. Mikey POINTS it out to + Mouth. Mouth TRANSLATES. + + MOUTH + "Copper bones, Triple stones, + Westward foams!" + + MIKEY + (looks at the medallion) + Here’s copper bones -- + (puzzled, mumbling the + rest) + (-- of the riddle) + 95. + + +Everyone LOOKS around. They are SURROUNDED by MOSSY, +EARTHEN WALLS. Everyone is INTERRUPTED by a SCREAM. Brand +suddenly SNAPS! + + BRAND + I can't breath!!! You guys sucked + all the air!!! You sucked it all!!! + Lemmmee’ out!!! Leemmmeee’ out!!! + +Brand begins to literally CLIMB THE WALLS. He TEARS and +RIPS at the walls with his hands. He tears off the MOSS! + +He rips out pieces of earth and ROOTS! The goonies each +GRAB a piece of Brand, trying to hold him back. Finally, +they get him to the ground and PILE ON TOP OF HIM! When he +finally RELAXES, the kids get off. ONE by ONE. Stef LIFTS +her shirt and motions for Brand to put his head INSIDE. + + STEF + Okay. Breath your own carbon + dioxide. It’s good for you. + +Brand’s head is STUFFED beneath Stef’s shirt, his head +buried into her chest. Andy just STARES. Her eyes ANGRY. +Stef NOTICES this and PUSHES Brand out from beneath her +shirt and toward Andy. + + STEF + Ah -- I think maybe -- maybe Andy’s + better equipped for this -- + +Andy NODS. Brand stuffs his head UNDER her shirt. +Meanwhile, Mikey TURNS to the wall that Brand has raped. +The wall has been COMPLETELY STRIPPED of earth and moss. +All that remains is a STONE WALL of JUTTING, STONE PEGS. +They appear to be very NATURAL, but they manage to CATCH +Mikey’s eye. He SMILES, talking to himself. + + MIKEY + "Copper Bones--” + (he holds up the + medallion, looking + through the holes at the + wall) + --Triple stones--” + +Mikey begins to try and FIT the COPPER MEDALLION’S HOLES +over three of the jutting stone pegs. He TRIES several +stones, but nothing seems to fit. The kids are GATHERED +around Mikey. In the background, Brand is still buried +beneath Andy’s shirt. The other goonies CURIOUSLY watch +Mikey. + 96. + + + DATA + What's he doing? + + MOUTH + He flipped. Just like his brother. + Just like the rest of us pretty + soon. We’re all gonna go batty. One + by one. Pretty soon we’ll be eatin’ + each other’s fingers to stay alive. + + Mikey SUDDENLY fits the medallion over THREE JUTTING + STONES. A PERFECT FIT. Mikey WHISPERS to himself. PUZZLED. + + MIKEY + Westward foam? -- foams -- foams -- + + MOUTH + Foam -- my Grandad had a dog that + foamed after it got bit by a skunk. + + DATA + Shaving foam? + + STEF + Foam! Yeah, foam! There's foam in + the ocean when it breaks on a + shore. + + MIKEY + (nods) + The ocean's to the West -- + + Mikey tries to TURN the medallion to the West! Suddenly, + like a built in doorknob, the medallion and the stones + TURN. WE HEAR a LOUD CREAKING SOUND! Mikey STEPS back. The + kids EXCHANGE a puzzled look. + + SUDDENLY, A CANNONBALL FLIES OUT OF A SECRET COMPARTMENT IN + THE WALL! The kids JUMP BACK! The cannonball rolls into a + small PATH that we see is meant for the cannonball. In + typical RUBE GOLDBERG fashion, the cannonball sets off a + chain of events that climaxes with the FLOOR BENEATH DATA + FLIPPING OPEN! This sends Data FLYING and SCREAMING into + the deep darkness of the new hole! + + +109 INT. HOLE WITH WOODEN SPIKES 109 + + CAMERA ENTERS HOLE WITH FALLING DATA! + + Data SCREAMS and FALLS through the darkness. TOWARD the + bottom. As Data FALLS CLOSER to the bottom, we + 97. + + + CUT TO: + + DATA’S P.O.V. - COMING AT HIM, A SKELETON is VISIBLE, + standing at the bottom of the tunnel. Surrounded by SHARP + WOODEN SFlKES. + + +110 INT. TUNNEL AT DEAD END 110 + + The Goonies stand over the hole. Data’s screams suddenly + DIE! COMING to an ABRUPT STOP! The kids PAUSE. LOOKING at + each other. A FRIGHTENED, QUESTIONING look fills their + eyes. They GATHER around the hole. The kids PEER inside. + There is NOTHING BUT BLACKNESS. Brand CALLS OUT. + + BRAND + Data? Data? + + There is no answer. Andy’s face goes WHITE. She shouts into + the HOLE! PANICKED! + + ANDY + Data! DATA!!! Oh my God. + (and starts to pray) + Hail Mary, full of Grace -- + (crosses herself) + + MOUTH + They probably got Chunk -- + (screams down into the + hole) + DATA! DATA!! DAAAAATTTTTAAAA!!! + (looks up at all the kids + in a soft voice says) + He went down -- I coulda’ grabbed + him -- I was this close -- this + close. He’s really -- + + BRAND + (quietly) + -- gone. + + Upon hearing this everyone breaks down and starts crying. + Mikey, already sobbing, starts to cry uncontrollably. + + Brand, who's been holding Andy, leaves her to put his arms + around Mikey. He lifts Mikey up and the two brothers clutch + each other. + + MIKEY + (crying into Brand's + shoulder) + 98. + + + I'm gonna miss the way he used to + shout out the names of all those + goofy inventions of his -- + (remembering) + "Glasses of Death!" -- "Bully + Blinder"! -- "Smoke Screen" + + SUDDENLY, A VOICE ECHOES FROM BELOW! + + DATA (O.S.) + "Pinchers of Peril"! + + A LOOK OF HOPE covers the kids' faces. They SHOUT into the + hole. + + EVERYONE + Data! Data! Are you okay? Speak to + us! + + +112 INT. HOLE WITH WOODEN SPIKES 112 + + Data HANGS a few inches from the top of the skeleton's + head. He has been SAVED by his "Pinchers Of Peril". They + have CLAMPED ONTO A JUTTING ROCK several feet above Data. + + He DANGLES in midair, bobbling up and down on the SLINKY- + LIKE COIL. He SCREAMS UPWARD. + + DATA + "Pinchers of Peril"! I've been + saved by my "Pinchers of Peril"! + + Data LOOKS DOWN. The skeleton below him seems to be part of + a new passageway. There is a phosphorescent LIGHT + glimmering throughout the passageway. Data SHOUTS. + + DATA + Hey, you guys -- I found another + hole -- It's all lit up down here - + - + + +113 INT. TUNNEL AT DEAD END 113 + + Up above, the goonies exchange a puzzled glance. Brand + notices he's still holding onto Mikey. He drops him like a + small sack of fertilizer and moves over to reclaim his + territory on Andy. + + +114 INT. SLOTH’S ROOM 114 + 99. + + + TWO GIANT, HAIRY HANDS RIPPING the "Almond Joy" candy bar + in two. CAMERA PULLS BACK. We are back in Sloth's room. + + Sloth has torn his bindings FROM THE WALL. The fragments of + heavy chain still HANG from his arms and legs. Chunk still + sits BESIDE Sloth. TIED UP. In his CHAIR. Sloth GOBBLES + DOWN half of the candy bar. He pauses and puts the other + half into Chunk’s MOUTH. Chunk happily CHEWS. Sloth WALKS + toward Chunk. His DARK SHADOW towering over Chunk. Sloth's + arms REACH OUT for Chunk. Chunk PANICS. Thinking he's going + to be KILLED. + + CHUNK + Wait -- please -- don’t -- + + Sloth GRABS Chunk by the shoulders. Sloth LIFTS Chunk AND + the chair. UP INTO THE AIR. Until their faces are on the + SAME LEVEL. Chunk is still FRIGHTENED. Sloth leans forward + and KISSES CHUNK! On the LIPS! It’s a HARMLESS, GENTLE + KISS. SLOTH’S EXPRESSION OF FRIENDSHIP. SLOTH leans back + and giggles. Chunk GRIMACES. + + CHUNK + Man. You smell like P.E. + + Sloth DROPS Chunk! Chunk and the chair HIT THE FLOOR! + + SMASH! The chair BREAKS. Into several pieces. Chunk gets to + his FEET. FREE. Chunk BRUSHES himself .off. Sloth GRABS + Chunk's hand. + + CHUNK + Hey -- what're you -- + + Sloth PULLS Chunk out of the room. + + +115 INT. BASEMENT - KITCHEN 115 + + Sloth pulls Chunk inside. Sloth RUNS to the freezer. He + OPENS THE DOOR. He LOOKS BACK at Chunk. + + SLOTH + T-bone. + + Sloth rips open-the freezer’s PLASTIC BAG. He removes a + thick, FROZEN T-BONE STEAK. Sloth takes a HUGE BITE from + the frozen meat. CHEWING the crunchy steak. Sloth OFFERS a + bite to Chunk. Chunk DECLINES. + + CHUNK + Ah, no -- no- - you keep it. I like + mine not so crunchy -- + 100. + + +Sloth SHRUGS. He CONTINUES eating the steak. BONES and all. +Chunk spots a TELEPHONE. He walks out of the freezer and +GRABS the PHONE. Chunk DIALS a THREE DIGIT number. + + CHUNK + Hello? Sheriff? I'm at the old + Lighthouse Lounge -- And -- well, + I'd like to report a- - first, + there's a murder -- actually, two + murders. Plus, we found the hideout + of those Fratelli people -- then -- + + SHERIFF (V.O.) + Wait. Just hold on here. Is this + you again, Lawrence? + + CHUNK + (embarrassed) + Ah -- Yeah -- It is. + + SHERIFF (V.O.) + When the hell are you gonna’ stop + buggin' me? Do I hafta’ call your + Mother again? + +Meanwhile, Sloth has begun to DEVOUR a FROZEN TURKEY. He +RIPS the turkey apart. One of the legs FLIES OUT of Sloth’s +hands. Bouncing INTO THE FIREPLACE. Sloth RUNS to the +fireplace. Chunk tries to CONVINCE the Sheriff. + + CHUNK + Sheriff -- this time I’m tellin’ + the truth -- + + SHERIFF (V.O.) + Yeah. Just like the time you told + me 50 Iranian terrorists took over + every "Sizzler Steak House” in the + city -- + + CHUNK + Okay. I'll admit -- that was a joke + -- + +Sloth REACHES into the fireplace hole. Trying to FIND the +turkey leg. He NOTICES the dark passageway. He looks into +the BLACKNESS. Sloth emits a ROAR into the passageway. + +The passageway ECHOS BACK with another ROAR. Sloth LAUGHS. +He ROARS again. Another echo ANSWERS BACK. Sloth laughs +HARDER. He's found ANOTHER FRIEND. Chunk STILL TRIES to +convince the Sheriff. + 101. + + + CHUNK + Honest, Sheriff -- you gotta + believe me -- + + SHERIFF (V.O.) + I do? Just like tfiat last prank + about all those little creatures + that multiply when you throw water + on 'em! + + Chunk NOTICES something. Sloth is CLIMBING INTO THE + FIREPLACE. + + CHUNK + Sheriff -- hold on -- + (calls to Sloth) + Wait! Get back here! Hey! + + As Chunk DOES this, he clumsily TEARS THE PHONE OUT OF THE + WALL! Sloth CONTINUES to crawl into the fireplace. + + CHASING his new friend. Seeing that there is NO CHANCE to + repair the phone. Chunk runs to the FIREPLACE and FOLLOWS + Sloth inside. + + CUT TO: + + +116 INT. HOLE WITH WOODEN SPIKES 116 + + The kids have LOWERED themselves into the new passageway + from a length of ROPE. A DIM, PHOSPHORUS LIGHT fills the + area, caused by microscopic sea creatures and plankton. + + +117 INT. CIRCULAR CHAMBER 117 + + They walk into a circular chamber with THREE SEPARATE + TUNNELS. THE SKELETON, dressed in PIRATE'S COSTUME, is + suspended in a CHAIN-LIKE contraption, amidst a series of + SHARP, WOODEN SPIKES, in the middle of the room. The kids + STARE at the skeleton, PUZZLED, SHOCKED by what they see. + + The kids slowly INCH TOWARD the skeleton. Mikey NOTICES + that the three tunnels all lead off into DIFFERENT + DIRECTIONS. Nothing in particular DISTINGUISHES one tunnel + from the other. The kids are PUZZLED. CONFUSED. + + MOUTH + Hey, Mikey. Which door's the + hundred thousand toothpicks behind? + 102. + + + CAMERA MOVES IN on Mikey. Can history be repeating itself + and handing Mikey a second chance? He LOOKS at the map. + + Andy is BOUNCING up and down on one leg. She has to go to + the bathroom. She turns to Stef. Stef is ALSO BOUNCING up + and down on one leg. Andy PULLS Stef's arm. They SNEAK OFF + TOGETHER. Into ONE of the three tunnels. Everyone is too + CONCERNED with One Eyed Willy to notice. Meanwhile, Mikey + has FOUND the spot on the map where the path veers off into + three directions. A SPANISH RIDDLE is written here. + + Mikey POINTS this out to Mouth.; Mouth EXAMINES the phrase. + He TRANSLATES, in the voice of PETER LORRE. + + MOUTH + "Three tunnels of mystery, All lead + to unknown, To travel correctly, + Tickle the funnybone." + + Everyone TURNS to the skeleton. LOOKING for the funnybone. + + MIKEY + (with total commitment) + I know it's door number two. This + time it's gotta' be the middle + tunnel. Everything's behind the + second door -- + + BRAND + (agreeing) + It's what Dad shoulda' picked! + + MOUTH + (snaps at the brothers) + Yeah, well maybe my Dad woulda' + picked Door #3! And maybe Data's + woulda' picked Door #1! We can't be + stupid. We're not rushin' into + anything anymore! + + CUT TO: + + +118 INT. KISSING TUNNEL 118 + + Andy and Stef have finished their business. They are + without a flashlight, or flare. Stef turns to go back. Andy + pauses, giggling. She composes herself and cries out: + + ANDY + Oh, Brand -- Brand -- + (a beat) + 103. + + + It’s so dark over here -- I tripped + over somethin’ -- think maybe I + sprained my ankle -- + + STEF + How can you be thinkin' about Brand + at a time like this? + + ANDY + Because, if we never get out of + here -- if this is going to be my + last day on earth -- if we’re going + to be doomed and condemned -- I'm + gonna make BRAND WALSH my last + meal! + + +119 INT. CIRCULAR CHAMBER 119 + + Brand and the boys surround the dangling "One Eyed Willy" + skeleton, still looking for the funnybone. Andy’s voice + echoes from the tunnel. + + ANDY (O.S.) + Brand! + + Brand sighs. He gives a slap to Mikey. + + BRAND + Go see what she's raggin' about. + + Mikey follows Andy's voice into one of the tunnels. Brand + looks at the others. + + BRAND + Okay, so we gotta tickle 'im -- But + where's the funnybone? + + Mouth tickles behind the skeleton's elbow. This triggers a + LOUD CREAKING SOUND. Suddenly, a skeleton shoots out of one + of the caves, dressed as the "Angel of Death". The skeleton + is carrying a large Scythe. Its rusted blade long and + sharp. The booby-trapped skeleton speeds across the floor + fastened to a wooden board with wheels. The scythe blade + coming straight for the boys heads. The boys duck, just in + time. The skeleton shoots by. The sickle blade just missing + their heads by less than an inch. The skeleton slams into a + far wall, shattering into a million pieces. The boys catch + their breath. + + CUT TO: + 104. + + +120 INT. WISHING WELL 120 + + The Fratelli's make their way out of the small water pool. + They are smoking cigarettes, burning off the leeches with + the fiery end of the cigarette. Mama spots footprints + leading out of the pond. She smiles. + + MAMA + They went this way. There's little + Nike prints all over the ground. + + Mama, Jake and Francis continue forward. + + +121 INT. KISSING TUNNEL 121 + + Mikey walks through the twisting tunnel, looking for Andy. + She crouches a few feet ahead, at the edge of the dark + corner, waiting. Stef watches. In the background, Andy + calls again. + + ANDY + Brand- - Hurry! + + Andy heafs footsteps coming her way. She exchanges a smile + with Stef. The footsteps get closer. Mikey rounds the + corner. Andy wraps her arms around him. In the darkness, + Andy mistakes Mikey for Brand. Andy kisses Mikey. A long, + passionate, open mouthed kiss. Stef watches, realizing that + it's Mikey. She hides her laughter. Andy finally stops. She + leans against the wall, out of breath, eyes closed, in + dreamland. A giant smile covers her face. + + A startled, but ecstatic Mikey doesn't say a word. He looks + at Stef. She gives him a wink. She won't divulge his + secret. Mikey turns. He moves back to the boys, Andy opens + her eyes. Stef gives a questioning look. + + STEF + Okay, you kissed- - now tell! + + ANDY + (scientifically) + Well! He's not what he appears. + He's scholarly -- and sensitive -- + and very, very sweet. But there's, + something weird -- + + STEF + What's that? + + ANDY + I think he wears braces. + 105. + + + STEF + (hiding laughter) + Next time -- You gotta kiss 'im + with your eyes open. It's a whole + different experience. + + Stef pulls Andy’s arm. They move back to the chamber. + + +122 INT. CIRCULAR CHAMBER 122 + + The boys still sit in front of "One Eyed Willy", shaken, + puzzled, trying to figure out where the funnybone is + located. Mikey enters, followed a few seconds later, by + Stef and Andy. They SEE the smashed skeleton with the + scythe, puzzled. + + STEF + (pauses, thinking, a + realization) + Okay. Everybody turn around and + hide your eyes. + + GOONIES + What? Turn around? Hide our eyes? + Why? + + STEF + Hey -- You wanna get outta here or + not?!? + + The guys shrug. What can they lose? Everyone turns around + and hides their eyes. When Stef gets the privacy she wants, + she reaches out and grabs the skeleton's crotch. A moment + passes. A creaking SOUND. The kids brace themselves for + another booby-trapped scare. But this time One Eyed Willy's + body contorts. The chain holding the skeleton's right arm + begins to move. Slowly, the arm raises. It stops in midair. + The arms finger points to door number THREE. Stef smiles. + + STEF + Okay. You guys can turn back + around. + + The kids turn around and SEE the skeleton pointing to the + third door. But the kids are puzzled. How did Stef figure + this out? + + BRAND + What'd you do, Stef? + + STEF + 106. + + + I just knew where the funnybone + was! Okay?!? + + The boys know better than to ask any questions. Mikey seems + disappointed that the skeleton is pointing to Door number + 3. Mouth puts his arm around Mikey. + + MOUTH + Guess your old man woulda' lost + down here, too. + + Mikey doesn’t say a word as the others begin to move + through Door #3. But Mikey gets a sudden idea. He covers + his right eye with his hand. He stares at the skeleton’s + finger. He moves his hand, then covers his eyes again. He + smiles; a realization. + + MIKEY + Hey, guys!!! Wait!! + + The kids pause. Mikey looks'at everyone. + + MIKEY + Okay -- So One Eyed Willy only had + one eye -- Right? + (the kids agree) + And if ya' only got one eye -- + Well, ya' sorta' see things in a + different, way -- + + Mikey covers his eye. The other kids follow suit and do the + same. They SEE that when you cover your eye, the skeleton + actually points to the middle tunnel. + + BRAND + (turns to Mikey) + It's the middle tunnel! + (to Mouth) + Door number two! + + Mouth shrugs, reluctantly agreeing. Everyone congratulates + Mikey, as they run into the middle tunnel. + + CUT TO: + + +123 INT. CHESTER COPPERPOT TUNNEL 123 + 107. + + +Sloth is running through the passageway, eating the frozen +turkey leg. Chunk is a few steps behind Sloth. Sloth walks +through the tunnel. He emits a LOUD SCREAM into the dark +passageway. An ECHO again answers back. Sloth chuckles, +continuing forward. Chunk grabs Sloth's arm, trying to +explain. + + CHUNK + Wait! Listen to me! That's not a + person. That's just your ECHO. + Understand? Your ECHO! + +Sloth pauses. His face lights. He nods, thinking he +understands Chunk. + + SLOTH + Eggo! Eggo Waffle! + +Sloth turns and continues forward excitedly repeating +"Eggo-waffle" to himself. Chunk follows, trying to reason +with Sloth. + + CHUNK + No! Not "Eggo" ECHO! ECHO! + + SLOTH + EGGO! + + CHUNK + ECHO! + + SLOTH + EGGO! + + CHUNK + Okay! Have it your way! + +Sloth pauses, then grins, his eyes dancing like pinballs +with instant recognition. + + SLOTH + (singing the Burger King + commercial) + Have it your way -- + +Chunk beams, immediately joining in, as the two fast +friends head off down the tunnel singing together. + + CHUNK + (voice trailing off) + Actually, my favorite is Domino + Pizza. I'll take you to one when we + get back -- + 108. + + +124 INT. CAVERN UNDER ZOO 124 + + Suddenly, a GROWL is heard. Sloth pauses. He looks around. + A frightened Chunk hides behind Sloth. Suddenly, a hairy + GORILLA ARM reaches down from above and grabs the turkey + leg from sloth's hand. But Sloth doesn't let go. Sloth + pulls the leg! The Gorilla pulls back! A tug of war! + + +125 EXT. CAULDRON POINT ZOO - NIGHT 125 + + WE SEE BONZO having a tug of war with someone underground, + Rprtha grabs hold of Bonzo, assisting her mate. + + +126 INT. UNDERGROUND 126 + + The tug of war continues. But Sloth is stronger! He manages + to pull Bonzo and Bertha through the hole and inside of the + passageway. Sloth is met face to face with the TWO + GORILLAS. Bonzo and Bertha GROWL! Ready to kill! + + But Sloth steps into a sliver of light and the Gorillas SEE + Sloth's face! They are terrified! Sloth growls and snaps, + leaping forward, and Bertha and Bonzo panic, dashing + forward into the passageway. + + BONZO AND BERTHA run several feet and leap up the walls, + trying to burrow out through the ceiling. + + +127 EXT. KILLING STATION 127 + + Troy and his friends have stopped at the gas station. A + MIDDLE-AGED ATTENDANT in greasy work clothes fills the gas + tank of Troy's Mustang. Troy and his friends get out of the + car. They're guzzling bottles of Heineken. Troy fumbles + through his pockets to pay the Station Attendant. Troy + looks at the front fender. He spots a microscopic, nearly + invisible scratch. + + TROY + Look at that! Look what you did! + That scratch wasn't there this + morning! + + ATTENDANT + (honest) + I wasn't even close to that side of + the car -- + + TROY + 109. + + + Yeah. Right. You Goonies got an + excuse for everything! + + Troy slugs some beer. Wfe hear a "DING-DING" in b.g. as + another vehicle pulls up at the pumps. + + TROY + You better' start linin' up for + food stamps, pal. My old man's best + friends with the guy who owns this + station. You can kiss your job + goodbye. + + Another "DING-DING." The irritated Attendant turns toward + the noise. + + ATTENDANT + Listen, I'll be with ya in a -- + + ANGLE ON GORILLAS - HIS POV + + The TWO GORILLAS leap out of their red golf cart on the + other side of the pumps! Grunting in ecstacy at the sight + of Troy's red automobile, they lumber toward it, tossing + Troy and his friends to one side like Cabbage Patch dolls. + + Bonzo jumps onto the hood, caving it in, as Bertha leaps + into the car. Bonzo takes his familiar place behind the + wheel, reaches out to stomp on the pedals. The car lurches + forward and drives away erratically, spinning from side to + side. + + Troy gets to his feet, purple with rage. + + TROY + Don't just stand there! Somebody do + something! That car cost my daddy + fifteen thousand dollars! + + The satisfied Attendant rehooks the gas nozzle to the pump, + checks the readings. + + ATTENDANT + Plus twenty-two fifty, peckerhead. + Plus twenty-two fifty. + + CUT TO: + + +128 INT. CIRCULAR CHAMBER 128 + 110. + + + Mama and the boys enter. They SEE the skeleton pointing to + the third cave. CAMERA PANS to the floor. We SEE the + several NIKE footprints leading into the middle cave. + Francis stares at the skeleton. + + FRANCIS + Christ, Ma -- It’s like the Museum + a' Natural History. + + Jake walks to the skeleton and begins to go through the + skeleton's pockets. + + JAKE + Hey -- Maybe this guy's go some + spare change. + + Jake's hand reaches into the skeleton's crotch area. The + skeleton's arm springs back and socks Jake, knocking him to + the ground! A raging Jake raise his pistol, ready to blow + the skeleton's brains out. Mama interrupts: + + MAMA + Shhhhh! Wait! Listen! + + Jake and Francis pause. We HEAR the distant sound of the + GOONIES' VOICES echoing from the middle tunnel. Their + voices are high, squealing with excitement, as if they've + just discovered something. A menacing smile slithers across + Mama's face. She checks her revolver, making sure it's + loaded. + + +129 INT. PASSAGEWAY WITH MAST OVER WATER 129 + + The Goonies have arrived in a large section of the + passageway. A long, crooked, wooden mast stretches across a + deep, stream of rushing waters. The mast is the only way + across the stream, which leads to a Skull-shaped opening in + the wall. Countless living starfish line the surrounding + walls. + + CLOSE - GROUP SHOT + + For the first time, all of the Goonies sense the impending + magic of Mikey's adventure. All stare, jaws limp. Andy + whispers to Brand: + + ANDY + Brand -- Hold my hand -- I gotta' + be sure this is real. + + Andy reaches out for Brand's hand. Mikey reaches back and + grabs Andy's hand first. Andy can't tell the difference. + 111. + + +But Brand, who stands ahead of Mikey, gropes back for +Andy's hand. Mikey thinks fast and grabs a starfish from +the wall. He puts the starfish into Brand's hand. Brand is +satisfied, thinking he is holding Andy's hand. Mikey smiles +to himself. Brand moves his hand forward. He SEES the +starfish. Letting out a scream, he pulls the starfish from +his hand. Mikey quickly lets go of Andy's hand. He can't +hide his giggle. Brand notices. He grabs Mikey in a +headlock. + + BRAND + You little wuss! You wanna play + games? We'll play -- + +They are suddenly interrupted by the SOUND of BANGING CAPS! +The kids exchange a startled, glance. + + MOUTH + Shit! That sound again! + + STEF + And it isn't as far back this time! + +The kids emit a mutual scream. They run for the mast. They +begin to climb the mast. Some of the kids balance +themselves, trying to walk across. Others straddle the +mast, crawling toward the skull-shaped opening. The old +mast creaks and groans with their every move. A low, +ominous voice suddenly echoes through the chamber. + + MАМА (O.S.) + Oooooohhhhh, Booooooyyyyssss! + + ANDY + Oooooohhhhh, shhhhiiiiittttt! + + MOUTH + (turns, trembling) + Jerk alert! + +The kids stop and turn, having made it halfway along the +mast! + +MAMA, JAKE and FRANCIS + +stand at the entrance to the passageway, at the foot of the +mast, over 75 yards away from the Goonies. Mama raises, her +pistol toward the kids. + + MAMA + Not -- one -- more -- step -- + 112. + + + The kids look at each other, turn and move, faster along + the, mast, practically crawling over each other to make it + to the opening! Mama shoots! + + A section of the mast is hit, blowing it to smithereeens! + The kids continue to run! Mama fires another shot! The + bullet zips past Mikey, just missing him. It blows away a + section of wood directly in front of him! The kids arrive + at the top, running into the opening. Mama and the boys + dash forward, beginning to cross the mast. Before entering, + Data turns, seeing the Fratelli’s coming after him with a + gun. He reaches for a cord inside of his shirt. He pulls + the cord and screams. + + DATA + Slick shoes! + + Both heels of Data's shoes pop open! A plastic tube + extends! Black oil sprays out, splattering down the mast! + + As Mama balances herself on the mast, she raises her gun, + aiming at Data. But the oil has splattered over the entire + mast. Before Mama can fire a shot, she slips and falls, + tumbling back into Jake and Francis. They nearly fall off + the mast, holding on for dear life! Data cheers, but + suddenly begins to slip himself. Seconds before he falls + into the stream of water, Mikey grabs him and pulls Data + into the chamber. + + +130 INT. ORGAN CHAMBER 130 + + The Goonies run.inside, panicked, scared. The chamber is no + more than thirty feet in length. Its passageway is blocked + by a giant boulder. Brand and Mouth try to movethe boulder + that blocks the path. Too heavy. Won't budge. + + The kids exchange a frightened glance. They are trapped. + Built into the wall, beside the boulder, is a pipe organ. A + quite unusual organ. Each piece, from the keys to the + pedals, are constructed of human bones. Stef reaches out to + hit a key. A frenzied Mikey opens the map, reading it with + Mouth. Mikey shouts out to Stef. + + MIKEY + Wait -- Don't -- + + Stef pauses. Mouth hurriedly reads another of the map's + riddles. Beneath this riddle, a few bars of MUSIC are + written. But a few of the notes are erased and smeared. A + result of the map’s age. Mouth translates the riddle. + + MOUTH + 113. + + + "To move on, play the tune, As each + note is said, For too many + mistakes, Ye will surely be dead.” + + BRAND + You mean we gotta play the bones to + get outta' here? + + MIKEY + (holds up map) + Anybody know how to read music? + + The kids shake their heads. Stef looks at Andy. + + STEF + Hey -- You were the only one of us + who could afford piano lessons -- + + ANTY + (shrugs) + Six months of lessons. When I was + five. + + MIKEY + Better than nuthin'. + + Mikey gives her the map. Andy examines the bars of music. + Data is looking back through the tunnel entrance. + + +131 INT. PASSAGEWAY WITH MAST OVER WATER 131 + + DATA'S POV + + Mama and the boys are back on their feet. Red with anger. + They attempt to again climb the mast, slipping, sliding, + and struggling. + + +132 INT. ORGAN CHAMBER 132 + + Data LOOKS back to the goonies. + + DATA + Hey, guys -- They're comin'! + + Everyone TURNS to Andy. SCARED. HELPLESS. Their SURVIVAL is + up to her. She gives a NERVOUS shrug. + + ANDY + I'll give it a shot. + 114. + + + Andy takes a SEAT at the organ. She places the MAP on the + piano's music stand. Andy READS the first note. Slowly, she + PUSHES down the foot pedals. She PRESSES one of the bone + keys. A hollow, mysterious CHORD OF AIR echoes through the + tunnel. The boulder CREAKS. Opening a CRACK. The kids + EXCHANGE a hopeful smile. + + Andy READS the next two notes. She hits TWO KEYS. Two + chords ECHO through the tunnel. The boulder CREAKS again. + Opening a LITTLE more. Less than an INCH. Andy TRIES to + read the next note. It is SMEARED. UNREADABLE. Nervous, she + plays a RANDOM NOTE. A SOUR CHORD blasts through the + tunnel. + + A LARGE CHUNK OF THE FLOOR CRACKS! It DROPS OUT! INCHES + from Mikey’s feet. He JUMPS BACK. There is now a LARGE HOLE + in the floor. Mikey PEERS into the hole. It's a HUNDRED + FOOT DROP. Onto a floor of SHARP STALAGMITES. Mikey CATCHES + his breath. + + MIKEY + Oh, God! Oh, God! + + STEF + What? + + DATA + My whole life just flashed before + me! + + STEF + Life? What life? You're eleven + years old! + + Andy is TREMBLING. NERVOUS. She ATTEMPTS to read the note + again. This time, she PLAYS a different key. The chord is + CLEAR. MELODIC. It SINGS through the tunnel. The boulder + moves AGAIN. Opening another INCH. The kids emit a group + SIGH. Data still keeps WATCH. + + +133 INT. PASSAGEWAY WITH MAST OVER WATER 133 + + Mama, Francis and Jake are more than halfway along the + mast. Francis slips, nearly falling into the stream. Ohly + his gun falls into the waters. Francis composes himself and + continues climbing upward. + + +134 INT. ORGAN CHAMBER 134 + + Data panics. He SCREAMS to Andy. + 115. + + + DATA + Hey, Andy -- Better play faster! + They're gettin' closer! + + Andy begins to play faster. She hits several correct keys. + The boulder slowly opens. Inch by Inch. But Andy suddenly + hits a wrong note. Another huge section of floor drops out. + Mouth nearly falls to his death. Stef grabs him. In the + nick of time. + + MAMA AND THE BOYS are only a few feet from the opening. + + +134A INT. ORGAN CHAMBER 134A + + Data SCREAMS at Andy. + + DATA + Faster, Andy! You gotta play + faster! + + Andy tries to play faster. This causes the boulder to open + a little more quickly. But in the frenzy, Andy manages to + his a few wrong notes. The Sour notes always trigger + another section of the floor to drop out. The goonies are + diving. Leaping. Doing everything to avoid the deadly holes + in the floor. + + Soon, only one section of the floor remains intact: the + section holding the Organ. All of the kids are clustered + together. Clutching, grabbing onto different sections of + the organ. The remaining section of floor tilts and + quivers. If this section drops, the organ will crumble and + all of the goonies will fall to their deaths. + + MIKEY + Mouth -- Say somethin' funny! + + MOUTH + (screams in his own + voice) + We're all gonna die! + + Andy nods. Hands shaking. Dripping with sweat. She + hurriedly plays the final bar of notes. Andy looks at the + map's final note. Completely blurred. Andy pauses. Trying + to decide what note to hit. + + BRAND + (panicked, to Andy) + Andy, whatever you do -- Don't + screw up another note -- + 116. + + + MAMA, JAKE and FRANCIS arrive at the foot Of the chamber, + still slipping and sliding. They reach up. Grabbing the + chamber's ledge for support. Trying to crawl inside. + + +135 INT. ORGAN CHAMBER 135 + + Andy sits at the keyboards. Frozen. Trying to decide what + note to hit. Seeing the Fratellis, Data SHOUTS to Andy. + + DATA + Just play the mother! + + Andy closes her eyes. She raises her index finger. She + randomly drops it onto the keyboard. A loud melodic note + sounds through the tunnel. The boulder slowly opens. Wide + enough for the kids to get through. Andy and the kids climb + from the organ, through the opening! But Mikey's foot steps + on yet another note! A wrong note! The organ begins to + crumble! The floor holding the organ sways, and Mikey is + still hanging on! Brand reaches out and grabs his brother’s + hand! He pulls Mikey into the opening, seconds before + the.entire organ and floor crumble into a million pieces! + + +136 INT. WATER SLIDE 136 + + The Goonies have escaped into a steep, long circular water + slide! The goonies duck and dodge various jutting rocks and + stallactites as they slide to the bottom! Screaming the + whole way down! + + +137 INT. PIRATE SHIP CAVERN 137 + + A rocky wall. A small passageway. Less than four feet tall. + It sits at the bottom of the wall. A miniature cave. A + stream of water suddenly gushes out of the passageway. + Brand, Mikey and Data also shoot out! They land in the pool + of water below it. A few seconds pass. Mouth, Stef and Andy + flow out! Ejected from the passageway! + + The kids catch their breath. Shaking the water from their + ears. Spitting the water out of their lungs. Mikey sees + something. His eyes get wide. His mouth drops open. + Speechless. The others are soon met with the same sight. + They are equally shocked. Delighted. Overwhelmed. For + several moments, the kids stare. In wonderment. + + CAMERA PULLS BACK + 117. + + + We are in an enormous underground cavern. An enchanting, + magical place. The high ceilings and walls are lined with + sparkling rocks. A large pool of water stretches across the + ground. The most amazing sight in the entire cavern, is an + authentic, well preserved pirate ship! The gigantic ship is + tilted on its side. Constructed of wood. Its crooked mast + and tattered sails are in place. A black, skull and + crossbones flag waves. At half mast. The figurehead of a + beautiful woman adorns the ship’s bow. Ancient cannons jut + from the side of the ship. Half of the ship is buried into + the cavern wall. The result of a cave in. Hundreds of years + ago. The kids continue to stare at the amazing sight. + Speechless. + + CUT TO: + + +138 INT. HOLE WITH WOODEN SPIKES 138 + + Sloth climbs down the rope, moving toward the circular + chamber. Chunk holds onto Sloth’s back. As they climb + downward, Chunk looks at Sloth. + + CHUNK + Ya, know -- You're hot such a + strange lookin' guy. I used to have + a snake with two heads. + + Sloth gives a GRUNT. Chunk keeps talking. + + CHUNK + And I got this other friend -- + Mitch -- He’s got this -- this big + hairy thing growin’ out of his neck + -- People always make fun of it. So + he only goes out to play at night. + (nods) + Bet you only like to go out at + night. Huh? Yeah. I know how ya' + must feel. It's like when I go + swimmin' at the public pool -- And + I gotta’ take my shirt off. I get' + really embarassed -- All the other + guys got dark tans and ripples in + their stomachs -- And I’m this + Pillsbury Dough Boy. So I swim in a + sweatshirt. + + +139 INT. CIRCULAR CHAMBER 139 + 118. + + + Sloth gives an understanding GROAN. They arrive at the + bottom and enter the circular chamber. Sloth and Chunk + stare at the Pirate Skeleton with childlike astonishment. + Sloth walks up to the skeleton, removes the Pirate hat and + puts it on his head. He turns, wiggling his eyebrows to + Chunk, his expression saying ”How do I look?” Chunk smiles. + An honest expression on his face. + + CHUNK + You -- are a stud! + + CUT TO: + + +140 INT. ORGAN CHAMBER 140 + + Mama, Jake and Francis move slowly, carefully. They walk, + back to the wall, across a thin catwalk along the edge of + the chamber wall. The catwalk was caused by the fallen + floor. One slip and they’re dead. + + CUT TO: + + +141 INT. PIRATE CAVERN 141 + + The kids stand before the large pool of water. Mikey begins + to. walk into the water. Brand grabs him. + + BRAND + What if there’s more leeches? + + Mikey pauses. Data has a solution. He reaches into his + shirt and pulls a cord. A large, yellow life raft pops out + of his backpack. The raft begins to inflate. But it just + doesn't stop. It continues to get bigger -- Bigger -- until + -- BOOM! It explodes! The sound sends a shudder through the + ancient cavern! A small rumbling is heard. Tiny pieces of + earth crumble from the cavern ceiling. The kids exchange a + frightened glance. With this they jump into the shallow + water and hurry toward the ship. As they wade through the + water, Mikey stares in astonishment at the ship. + + MIKEY + Willy had it all planned out -- He + was waitin’ for us -- Don’t ya’ get + it? He’s been waitin’ for us for + three hundred years. It’s almost + like -- like he wants to invite us + aboard -- + 119. + + +The kids continue to hurry forward. Stef suddenly feels +something strange, brushing against her thigh underwater. +She turns to Mouth, who is behind her. Stef glares at him, +raising her hand as if to slap him. + + STEF + Watch yer hands! Touch me again and + I’ll She-Вор you! + +Mouth gives a puzzled shrug. Stef turns back around. + +CAMERA FANS underwater. We see a giant, slitherly tentacle +wiggling a few inches from Stef's thigh. The tentacle +begins to rub Stef’s thigh. + +CLOSE - STEF + +Her face glowing with anger. She raises her hand, ready to +slap Mouth. + + STEF + I warned you— + +Stef turns and gives a hard slap to -- + +A giant squid! Its bloodshot eye and tentacle are face to +face with Stef! It has shot out of the water, between Stef +and Mouth. Stef is speechless! In shock! + +The squid retaliates with a slap to Stef, knocking her into +the water! The goonies clutch each other. Terrified. +Another tentacle swoops down, with the sound of a cracking +whip, the tentacle slams into the water between the kids. + + MIKEY + What is it?!? + + DATA + Giant sushi!!! + +The bloodshot eye of the squid moves just above the surface +past the goonies as another tentacled arm sucks across +Andy's breasts, pulling her toward the squid's gaping +mouth. Data removes his cassette player from his backpack. +He turns it on! Cranking the volume. The Talking Heads +"Burning Down the House" blasts from the twin speakers! +Data throws the cassette player into the squid's mouth. + 120. + + + The squid reels back, letting go of Andy! The booming + chorus of the Head's song reverberates through the squid's + body. It trembles. Quivers. In shock. The monster shoots + away from the goonies. It is crazed by the rock n' roll. + The squid wildly bounces off the cavernous walls, trying to + make the music stop. The squid inadvertantly does a comic + dance, rocking to the beat of the music and the kids watch + it disappear. Far into the cavern. + + The goonies run to the pirate ship. Scared out of their + wits. They arrive at the ship's bow. The gigantic ship + towers over them. Mikey jumps up. He begins to climb the + side of the ship. Placing his foot in the thin cracks of + wood. The other kids hurriedly follow. Mikey shouts down to + them. + + MIKEY + Be careful- - This wood's really + old. One splinter and you're in for + hepatitis -- spinal meningitis -- + lockjaw -- + + Mikey continues babbling as he climbs over the ship’s top. + + +142 INT. PIRATE CAVERN 142 + + The kids climb aboard. They stand on the ship's crooked + deck. The deck is long and wide. Covered with old, creaky + boards. Various swords and knives hang on a weapon rack. On + the outside wall of the main cabin. The kids look for a way + out. Brand and Mouth scan the wall of weapons. + + Looking for a door. Mikey runs up onto the raised deck. + Stef and Andy find a trap door. But it is locked by several + thick, metal chains. Data walks up to the ship's extended, + curved ventilator. Data crawls into the wide ventilator + opening. + + Moving along the raised deck, Mikey backs into something. + He turns. A pirate stands there! His back to Mikey. The + pirate is huddled over the ship's huge, wooden steering + wheel. He is dressed in a tattered, colorful pirate + costume. Mikey catches his breath. He reaches out, touching + the pirate. A CREAK. The Pirate turns. Mikey is face to + face with a grinning Pirate skull. Two daggers protruding + from the deep eye sockets! Mikey SCREAMS. Everyone rushes + to him. Save for Data. The kids examine the skeleton. + + Stef pulls one of the daggers from the eye socket. + Examining it. The dagger's handle is lined with small + sparkling jewels. Diamonds. Andy grabs the other dagger. + Examining the jewels. + 121. + + + ANDY + Think these are real? + + MIKEY + If they are -- I'll make a necklace + out of ’em for ya’. + + Andy gives Mikey a ruffle to his hair. He’d rather have + another kiss. They are interrupted by Data’s voice. + + Screaming for help. Everyone turns. Data’s tiny legs + protrude from the ventilator’s hole. Kicking. Data is + stuck. The kids come to his rescue. Brand and Mouth each + grab one of Data’s legs. Pulling. Hard. Instead of pulling + Data out of the ventilator -- Brand and Mouth pull the + ventilator out of the deck! Data falls on his bottom. + + Still inside of the ventilator. A large hole has replaced + the ventilator. In the ship's deck. Andy peers into the + dark hole. Her head pops back out. Nose crinkled. Coughing. + It's dusty. Andy looks at the others. + + ANDY + Can't see anything -- + + Andy motions for the others to follow. She lowers herself + into the hole. Data has managed to squirm out of the + ventilator. He follows the others into the bowels of the + ship. Before entering, Mikey takes a shot from his breath + alizer. + + +143 INT. PIRATE SHIP - BENEATH THE TOP DECK 143 + + The kids enter the large cabin below deck. A thick layer of + greyish brown dust covers the floor. The kids huddle close + together. The kids feet move through the thick dust. + + Mikey stops. Noticing something in the middle of the + ceiling. A small yellow glow. Shining through the dust! + Mikey points it out to the others. + + MIKEY + Cool. Yellow stuff. + + The kids clear the dust with their hands. The glowing gets + brighter. Brighter. The dust is cleared. An area of boards + is visible. Bright golden light glimmers. Through the + cracks. The kids exchange hopeful glances. Mouth gives a + sarcastic smirk. + + MOUTH + Great. We found Three Mile Island. + 122. + + + Mikey spots another riddle. Carved into the beams. Mouth + translate*, in the voice of the British Pirate. + + MOUTH + "Ye Intruders Beware, Crushing + death and grief, Soaked with blood, + Of the trespassing thief." + + DATA + That’s the first riddle -- From the + attic. + + Mikey excitedly stands on a bench. He grabs hold of a loose + board. He pulls. Hard. The ship creaks and shudders. + + But the kids are too curious to care. Mikey continues to + pull. Finally, the board snaps. A glaring shaft of light! + Shining through the rectangular hole! Mikey smiles at the + others. They are anxious. Excited. + + Everyone grabs hold of a board! As each board is removed, + more light fills the cabin. The ship continues to creak and + groan. The kids work fast. Urgent. Pulling away more + boards. The ceiling above the kids begins to weaken. The + small section of ceiling gives, tumbling down onto the + kids, revealing the glorious light. + + +144 INT. TREASURE CABIN 144 + + The kids have climbed into a large room. Filled with the + treasure! + + A magical room. Glistening with all the colors of the + rainbow. The room is literally a garden of jewels. There + are trees with branches of silver and gold coins, and + leaves of emeralds. Rose bushes are made of sparkling + rubies. There are flowers of sapphires. Bushes made of + pearls. + + There is even a half moon, suspended in the air, made of + diamonds. Scattered throughout the jewel garden, are + hundreds of other items. Drinking goblets. Necklaces. + + Rings. Crowns. More treasure than the kids (or the + audience) has ever seen in one room! Pirate skeletons + surround the treasure. Arms crossed. Armed with swords. + Guardians of the treasure. + + And sitting in the middle of all of this, at a long wooden + table covered with a feast of treasure, is One Eyed Willy. + A look of total respect and admiration cover Mikey’s face. + He nods to One Eyed Willy. + 123. + + + MIKEY + Hello. I'm Mike Walsh. These are my + friends. You've been expecting us, + and well, here we are -- we made + it, Willy. All in one piece too -- + so far. + +Mikey notices an ancient version of what could be taken for +a breathalizer sitting in front of One Eyed Willy. Mikey +smiles. Curious, Mikey reachs and lifts One Eyed Willy's +eye patch. There is no socket. It is a solid skull. Mikey +reverantly replaces the patch. + + MIKEY + One Eyed Willy -- You were the + first Goonie. + +The others are ecstatic! Joyous! Laughing and giggling +wildly! They make a mad scramble for the treasure. They +begin to load themselves with the pieces. Stuffing their +pockets, shirts, pants and socks. Andy and Stef try on +rings and necklaces. Data wears a huge golden crown. It +covers most of his head. Mouth begins to gather his +favorite pieces, he reaches over to the small pile of +jewels in front of One Eyed Willy. Mikey stops Mouth. + + MIKEY + That's his. Don't mess with it. + +Mouth shrugs and grabs more jewels from the floor. Mikey +finds a large ruby. + + MIKEY + My Dad's gonna die when he sees + what we brung him. He'll get ten + hours sleep tonight! + + BRAND + Don't take anything you can't + carry. + (a beat) + We'll come back for bigger stuff + later. + +Mike removes his marble bag. He empties all the marbles and +fills the bag with small, choice jewels. + + STEF + Hurry it up. Those creepos are + still cornin' after us -- + + ANDY + What're we gonna do? + 124. + + + MIKEY + I know -- The Hardy Boys did this + once -- + +The kids listen. Continuing to stuff themselves with +treasure. Their clothes bulge. Tight. Like they’re wearing +fat suits. Mikey continues. + + MIKEY + We can leave a trail of this stuff + -- Leadin' to one a' those -- + skeleton caves -- While they follow + the trail -- We'll be hidin' out in + another cave! We'll take 'em out! + Then we can make a run for it! + + MAMA (O.S.) + That's a good plan. Real good plan. + +The kids turn. Mama, Jake and Francis stand in the cabin. +Jake and Francis are armed with swords and knives from the +weapon rack. Mama points her gun at the kids. Laughing. + +The kids look at each other. Frightened. Suddenly, Data +fumes with anger. He cries out. + + DATA + That's if -- This is war! We will + not be taken alive!!! + (opens his shirt, pulls a + cord and screams) + "intimidator!" + +Data’s arms, legs and crotch begin to expand, giving him +enormous muscles! Lifts in his shoes cause Data's height to +expand! Data begins to look -- Intimidating! But his +muscles continue to grow. Getting bigger -- Bigger -- +Bigger -- Until suddenly -- Boom! They explode! But Data is +undaunted! He screams. + + DATA + Optional Bully buster! + 125. + + + Data opens his coat and pulls another cord! Several rows of + flash cubes are attached to Data's coat! They begin to + flash! First they are effective, but soon fizzle out + because of Data’s contact with the water! Data's eyes are + raging! He begins to pull every cord on his body! One by + one, each of his home made devices is tripped. But alas, as + always, they don't work! Green smoke, meant to be used as a + smoke screen, slowly billows out of Data's clothing. GI JOE + toys pop out of his shirt and pockets, firing plastic + projectiles that only travel a few inches before hitting + the floor. Countless ball bearings shoot out of his pant + leg and cuff. There are bottle rockets, sparklers, + firecrackers -- Everything shoots from Data's body! But + nothing works! Data’s body is a literal explosion of junk! + + The Fratellis watch, both amazed and amused by what is + going on. + + JAKE + This kid’s better than Fourth of + July in Asbury Bark! + + Finally, Data hits the "Out” button on his belt buckle. + + The belt buckle flips open! The suction cup projectile + shoots forward! It attaches itself to Mama’s gun! Data hits + the "IN" switch on his belt, trying to reel in the gun. But + Mama holds tight! The powerful ‘suction cup pulls Data + toward Mama! Data stares in shock as he and Mama collide! + This causes an electrical shock which sends the two of them + flying across the room! Mama also drops her gun! Data gets + to his feet. He and the frightened goonies run out of the + room! Jake and Francis revive Mama and follow! In hot + pursuit! + + +145 INT. TOP DECK 145 + + The kids run across the top deck. The Fratellis are right + behind them! Bigger! Faster! They manage to tackle the + kids! They surround the goonies. Swords pointed at the kids + throats. Mama glares at the kids. + + MAMA + Up! Up on yer feet! + + The kids stand. + + MAMA + Now go on!!! Empty out all those + goodies from downstairs! Move it! + 126. + + + The kids lift their shirts and begin to empty the jewels + onto the deck. Rubies, diamonds, emeralds roll out onto the + deck. Mama stares at the treasure. Her eyes fill with + greed. Then Mama goes over to Mouth. She looks at him as if + something was not quite right with him. + + MAMA + You got awful quiet all of a + sudden. + + Mouth just smiles, keeping his mouth closed. + + MAMA + C’mon chum -- open your yap!! + + Mouth reluctantly opens his mouth and a truckload of gems + spill out. Not satisfied, Mama sees something on Mouth’s + tongue, reaches in and pulls out about three feet of beaded + pearls. + + +146 INT. PIRATE SHIP - TOP DECK 146 + + The goonies are tied up. They stand in line, at the edge of + the deck. Mama walks to a wooden plank. Built onto the + ship's edge. She turns and looks at the kids. + + MAMA + Ya' wanna play Pirate?. + (sadistic smile) + We'll play Pirate. + + Mama pushes out the plank. A long thick board. It extends + far over the edge of the ship. It overlooks the deepest + section of water. Mama walks back to the kids. She paces in + front of the kids. She looks them over, deciding who's + first! Mama looks at Andy. Andy gives a hard kick to Mama's + shins. Mama doubles over. Andy snaps. + + ANDY + You gross old witch! + + Mama looks up. Eyes glowing with rage. She moves the tip of + her sword to Andy's throat. Mama growls. + + MAMA + Move it, sweetie. + 127. + + + Andy steps out. Mama pokes her with the sword. Andy walks + to the plank. The kids watch. Horrified. Andy steps onto + the plank. Mama stays behind. Jabbing Andy with the sword. + Andy begins to walk the plank. The other kids watch. + Helpless. Mikey's eyes fill with tears. Andy continues to + walk. Only a few feet from the end of the board. She looks + down. The deep water sparkles below. + + Andy gives a frightened gulp. Mama,is a few feet behind + her. Resembling" an old pirate witch. Mama gives a mad + cackle. + + MAMA + Hold your breath, sweetie. + + Mama jabs Andy. Andy falls off the plank. She hits the + water! A loud splash! Brand cries out! + + BRAND + No!!! + + Brand dashes forward. Out of line. + + MIKEY + Brand! + + Before the Fratelli brothers can stop -- Brand leaps over + the side of the ship! We hear a splash! Brand sinks. Under + the deep water. Mikey hides his eyes. Scared. Trembling. + Mama turns to the kids. She gives a vicious smile. + + MAMA + Two down. Who's next. + + +147 INT. UNDERWATER 147 + + Andy sinks to the bottom of the deep pool. Hands tied + behind her back. Andy holds her breath. Cheeks puffed with + air. Brand floats downward. A few feet above Andy. + + He struggles with the rope binding his hands. With a few + twists of his wrists, Brand’s hands come free. He swims + toward Andy. He grabs Andy. Her eyes are wavering. Nearly + unconscious. Brand puts his arm around Andy. + + Holding tight. He swims upward. Using all of his strength! + Brand swims toward the surface and pulls Andy onto a rock + next to the ship. + + +148 EXT. ROCK NEXT TO PIRATE SHIP 148 + 128. + + + Brand leans over the unconscious Andy. Giving her mouth to + mouth. Andy suddenly wakes. She sits up. Coughing. Brand + holds her. Comforting her. She composes herself. Giving a + puzzled look to Brand. + + ANDY + Where am -- Oh -- + (suddenly remembers) + You jumped in? To save me? + + Brand gives a modest nod. Andy throws her arms around + Brand. Planting a long, hard kiss on his lips. A few + moments gass. Andy breaks the kiss. She withdraws her lips. + A puzzled expression covers her face. She reaches into + Brand’s mouth and seem to be feeling for something. + + Puzzled, she withdraws her fingers, looking at Brand. + + ANDY + What happened to your braces -- + + BRAND + I don't wear braces -- Mikey wears + -- + + She suddenly understands. + + They both stop and look at each other. + + ANDY + Oh God! + + CUT TO: + + +149 INT. TOP DECK 149 + + Mouth and Stef have been tied together. Back to Back. They + are walking the plank. A few inches from the end. Mama + stands behind them, jabbing them with the sword. Edging + them forward. Stef looks back to Mouth. An honest, serious + expression in her eyes. + + STEF + How long can you hold your breath? + + MOUTH + An hour. + + STEF + Be serious now!!! + + MOUTH + 129. + + + Actually -- About ten seconds. You + were always Champion of that + underwater stuff. + + STEF + Clarke? -- When you run out of air, + just turn your face to me and I'11 + share whatever I’ve got left. + +Mouth looks at Stef, he is so touched by this, he cannot +speak for the first time in his life. + +Mama jabs Mouth and Stef. They go off the edge. Suddenly, a +loud pirate scream pierces the air! Everyone turns. To the +direction of the scream. + +SLOTH + +Swings down from the ship’s mast. He is dressed in bright +Pirate clothing. A sword is strapped to his waist. Sloth +emits another loud scream. Before Mouth and Stef hit the +water. Sloth scoops them up! Saving their lives! Carrying +Mouth and Stef under his arm, Sloth swings back onto the +deck. He safely places Mouth and Stef beside the other +kids. Sloth turns to Mama and the boys. Sloth growls. He +flexes his muscles. His shirt begins to rip. Tear. Muscles +bulging. + +For the first time, we see that Sloth has an incredible, +muscular body! He has transformed from a grotesque creature +into a virtual superhero! Stef stares at Sloth. Awestruck. + + STEF + Hunk city! + +With everyone’s attention focused on Sloth, Chunk sneakily +climbs over the ship’s side. His torn and tattered clothes +have now taken on the appearance of a Pirate costume. Chunk +sneaks up behind the kids. They are shocked to see him. + + BRAND + Chunk?!? + + CHUNK + "Captain” Chunk! + +Chunk begins to untie the kids' hands. Meanwhile, Mama +points to Sloth. She snaps at Francis and Jake. + + MAMA + Get him! + 130. + + +The two come at Sloth. Their swords are extended. Ready for +a fight. + +Francis swings his sword at Sloth. Sloth ducks. He picks up +Francis, lifting him above his head. + +Sloth throws his brother through the air. Francis flies +inside of the ship's figurehead! Francis head breaks +through the woman figure's head. This creates a bizarre +image: The shapely body of the figurehead, adorned with the +head of the unconscious Francis. + +Chunk still unties the kids. Mikey works with him. Speeding +up the process. + +Sloth continues his swordfight with Jake. Sloth fights like +the expert Pirates he's seen on TV. + + DATA + Pinchers of Peril!!! + +Data fires his clapping teeth. The teeth clamp down on +Jake's crotch, doubling him over! Sloth grabs the sword +from Jake's hand and breaks it in two. Sloth throws a hard +punch to Jake's jaw! The powerful punch sends Jake flying +across the deck floor! He skids into a pyramid of +cannonballs! Konk! He's out cold! + +Chunk has untied all of the kids! They run to the side of +the ship! + +Beneath them, Andy and Brand wade in the water. Brand +shouts to his friends. + + BRAND + C' mon! Jump! + +The kids jump over the side, into the water! + +Meanwhile, Mama finds herself face to face with Sloth. +Sloth growls at her. Mama holds her sword. Trying to reason +with Sloth. + + MAMA + Okay -- So maybe I treated ya’ bad + -- Keepin' ya' locked in that room + -- It was for your own good. + +Sloth gives a louder growl. He walks toward Mama, ready to +attack. Mama pleads. Frightened. + + MAMA + 131. + + + I ain’t always been bad to ya’ -- + Don’t ya’ remember? When you were a + little one? I’d sing ya' to sleep?. + + Sloth grabs the sword from Mama. He throws it overboard. He + picks up Mama in his arms -- ready to throw, her overboard. + She begins to sing. + + MAMA + "Rockabye baby, in the treetop -- + When the wind blows, the cradle + will rock -- " + + He pauses. Listening. The song is warm, comforting. It + brings a pleasant smile to his face. He begins to gently + rock Mama in his arms. She continues to sing. + + MAMA + "When' the bow breaks, the cradle + will fall --" + + Sloth smiles. He drops mama overboard! As she falls, Sloth + sings the final verse. + + SLOTH + "-- and down will come baby, cradle + and all!" + + Mama hits the water! Meanwhile, the kids are all in the + water. They have begun their escape, swimming to the shore. + Sloth jumps into the water. He swings toward the kids. When + Sloth makes it to the kids, Chunk introduces him. + + CHUNK + Guys -- This is Sloth. He's just + like us. A reject. + + ABOARD THE PIRATE SHIP + + Mama climbs back onto the deck. Soaking wet. She sees the + kids swimming away. Her eyes are angry, frustrated. But + their is something more importang on her mind. She runs to + Jake. He still lies beside the cannonball pile. Dazed. Mama + slaps him. He stirs. + + MAMA + Wake up! Get Francis! Let’s go get + the rest of the goods! + + +150 INT. TREASURE CABIN 150 + 132. + + + Mama, Jake and Francis enter. They greedily begin to stuff + their pockets with the treasure. + + Mama walks to where One Eyed Willy is seated. She reaches + for the pile of treasure in front of One Eye Willy. Mama + grabs the pile. But it is attached to a long, metal chain! + Mama pulls hard on the chain! This begins another of One + Eyed Willy's chain reaction booby traps. One Eyed Willy's + skeleton shoots upward, toward the ceiling! A trap door in + the ceiling opens! Mama and the boys watch in shock! + + +151 INT. TOP DECK 151 + + One Eyed Willy's skeleton flies through the trap door on + the Captain's deck. He lands directly in front of the + ship's steering wheel. In rtibe goldberg fashion, the trap + door hits a cannonball, which rolls along a path in the + ship's deck, which is connected to a long section of wood + that stretches to the cavern ceiling, the wood is connected + to the ceiling's support system. The cannonball hits the + section of wood, causing the wood to snap, causing the + entire support system to become undone. + + The entire cavern begins to shudder. Rumble. The Pirate + ship tilts. Shakes. The sails buckle. The ship's anchors + raise. + + THE GOONIES and Sloth have waded to the shore. They quickly + haul out of the boat. Dashing to the cavern entrance. + + The entire cavern begins to shake. Like an earthquake, The + ground begins to break. Opening. The walls begin to crack. + Crumble. Pieces of rock begin to fall. Crashing to the + ground. + + MAMA AND THE BOYS have run onto the top of the tilting ship + deck! Running for their lives. But they tumble and roll + across the deck. They fall off the trembling ship. Into the + water! + + THE GOONIES arrive at the Cavern entrance. Boulders and + earth fall in front of the entrance. Causing it to + collapse. Sloth moves forward. Not unlike Sampson, Sloth + holds out his mighty arms. He grabs each side of the + cavern,walls. + + Holding them in place. He supports the crumbling ceiling + with his strong back. This keeps the passageway open. + 133. + + + Sloth motions for the kids to hurry inside. The kids crawl + through his legs. Out of the cavern! Rocks and boulders + fall all around Sloth. But he doesn’t budge. Doesn’t + flinch. + + AL1 of the kids have crawled to safety. Chunk is the last + to join them. Sloth turns. Ready to join the kids. But + something catches his eye. He sees Mama and his brothers. + + In the water. Struggling for their lives. Chunk holds out + his hand to Sloth. + + CHUNK + Sloth! C’mon! Take my hand! + + Sloth shakes his head. He turns and gives an innocent hiss + to Chunk’s cheek. Sloth releases his grip on the walls and + ceiling. He steps back out into the cavern. Chunk cries + out. + + CHUNK + Sloth! No! + + An avalanche of falling earth seals the cavern entrance! + Forming a permanent wall between Chunk and Sloth! + + +152 INT. PIRATE SHIP CAVERN 152 + + The entire cavern is being devastated. The sails fill with + wind. The Pirate ship begins to move, with One Eyed Willy + at the wheel. + + Sloth swims to Mama and the boys. He wraps his enormous + arms around them. Saving their lives! They look up seeing + the Pirate ship shaking in front of them. + + +153 INT. ESCAPE TUNNEL 153 + + The Goonies are trapped in a dark, rumbling, shaking + passageway. Both sides of the passageway have begun to cave + in! Closing in on the trapped Goonies! Brand screams. + + BRAND + Data! We need one a' your lights!!! + + Data FUMBLES in his backpack for a light. He reaches back + for the last ROAD FLARE. But, unbeknownst to Data, he + hasn't GRABBED a road flare -- it’s the stick of DYNAMITE! + 134. + + + Data LIGHTS the stick! It SPARKS, illuminating the + passageway! The goonies LOOK AROUND! They see the CRUMBLING + DIRT COMING AT THEM FROM BOTH SIDES! There, is NO WAY OUT! + Suddenly, Data NOTICES something strange about the flare -- + + DATA + Hey -- this isn’t a road flare -- + it's -- it’s -- + (total shock) + DYNAMITE!!! + + The KIDS TURN AND RUN!! Data runs in circles, trying to + find a place for the SPARKING DYNAMITE! He SEES A CRACK IN + THE WALL, emitting a SMALL AMOUNT OF LIGHT! Data INSERTS + the dynamite INTO THE CRACK! Data RUNS to his friend! They + CLUSTER TOGETHER! Ears PLUGGED! Eyes CLOSED! + + BOOM!!! The dynamite ROCKS the already quivering + passageway! A few moments pass. The kids OPEN their eyes + through the SMOKE! The dynamite has BLOWN A LARGE HOLE INTO + THE WALL! An OPENING! LEADING to the outside world! The + EXCITED Goonies RUN toward the hole! They EXIT, SECONDS + BEFORE the passageway COLLAPSES! + + +154 EXT. ESCAPE TUNNEL - DAWN 154 + + The goonies STAND in a small, rocky ALCOVE. The stretch of + OCEAN is in front of them. + + The heavy RUMBLING becomes a muffled echo in the + background. One Eyed Willy's caverns and passageways are + being SEALED FOREVER! The GOONIES pause to breathe in the + fresh sea air! + + Their bodies are scratched and BRUISED covered with MUD and + DIRT. Their clothes are in TATTERS, hanging like RAGS. They + have gone through a visual TRANSFORMATION from Goon kids to + COURAGEOUS ADVENTURERS. + + +155 EXT. BEACH - DAY 155 + + A NATIONAL PARK RANGER slams on his DUNE BUGGY brakes, + squints curiously into the distance, now raises his + binoculars to get a better look. His jaw drops as he + reaches for his radio. + + RANGER + (into radio) + 135. + + + Harvey? Get the Sheriff on the horn + -- I think I just found that bunch + of Goober's he's been looking for - + - + + +156 EXT. RANGER STATION AND BEACH - DAY 156 + + The Ranger Station parking lot is PACKED. SHERIFF’S CARS. + AMBULANCES. LOCAL PRESS. PARENTS and ONLOOKERS. The Goonies + emerge from the Ranger Station as the Crowd CHEERS and the + PARENTS rush forward to meet their kids. + + CLOSER ANGLE + + IRENE rushes up to Mikey and Brand. MR. WALSH and ROSALITA + can be seen farther back in the Crowd. Mikey looks at up at + Irene with embarrassed eyes. + + MIKEY + Hi, mom. Guess we’re dead meat, + huh? + + Irene can’t hide her smile, or the happy tears in her eyes. + She WRAPS HER ARMS around Mikey and Brand, embracing them + tightly. + + ANOTHER ANGLE + + CHUNK runs to an obese MAN and WOMAN. His PARENTS. The man + is dressed exactlt like CHUNK. Hawaiian shirt. Plaid + Bermuda shorts. Black knee socks. The WOMAN wears a + FLOWERED DRESS, holds a CARDBOARD BOX COVERED WITH TIN + FOIL. Chunk embraces his parents. + + MOM + Lawrence! We were so worried! + (holds out proudly) + Here, darling -- I wrapped supper + for you. It’s your favorite -- + + MOM gives the foiled-wrapped CARTON to Chunk. He grabs it + excitedly, rips the foil away -- HOT DOGS! LOADED WITH + EVERYTHING! + + CAMERA PANS TO: + + MOUTH and STEF. Mouth LOOKS at Stef. A SERIOUS, HONEST look + on his face. He SPEAKS IN HIS OWN VOICE. + + MOUTH + 136. + + + Just wanted to say -- well, thanks. + Ya’ know -- for savin’ me and all. + I really appreciated it. + + STEF + (shocked) + Wow!-- a real moment. You know, + your voice is nice, when you’re not + using your mouth. + + MOUTH + You know -- your face is pretty, + when you blur your eyes. + +CAMERA PANS TO ANDY AND MIKEY + +WATCHING. SMILING. Andy turns to Mikey, a warm smile on her +face. + + ANDY + Mikey -- you just keep kissin' + girls the way you do -- and the + parts a’ you that don’t work so + good -- are gonna catch up with the + parts that do! + +BRAND walks up. He puts his arm around Andy. They walk away +together. CAMERA FOLLOWING. Brand gives Andy an impressed +look. + + BRAND + Lifetime Goonie? + + ANDY + You bet your sweet ass. + +She GRABS Brand and kisses him. Mikey stands a few feet +away WATCHING. ALONE. JEALOUS. He begins to COUGH. He +removes his PRIMOTENE MIST. Ready to take a shot. He +pauses, looks at the breathalizer, then tosses it on the +ground. WHO NEEDS IT? + +Through the Crowd, Mr. Walsh has noticed, smiles proudly. + +Suddenly, everyone is INTERRUPTED. A group of POLICEMEN +rush to the shore! + +ANGLE ON SLOTH + +SLOTH walks out of the ocean! DRAGGING the waterlogged +MAMA, JAKE, and FRANCIS. The POLICE quickly take Mama and +the boys into custody. Chunk’s EYES LIGHT UP, seeing Sloth. +He runs to him, holding out his carton of hot dogs. + 137. + + + CHUNK + Sloth! Sloth! + +Sloth gives a happy GRUNT, glad to see his friend. He picks +up Chunk, who offers him the carton. + + CHUNK + Look! Hot dogs! + + SLOTH + (singing happily with + instant recognition) + Hot dogs, Armour hot dogs -- + +Sloth devours a giant hot dog in a single gulp as Chunk’s +PARENTS watch in HORRIFIED AWE. + + CHUNK + (shyly) + He’s my new best friend -- and Dad? + If they take away our house and we + have to move to New York -- I + thought maybe we could adopt him -- + get him a job with the New York + Jets -- or with the Rangers as Head + Goalie -- + +Sloth destroys another hot dog, BELCHES VOLCANICALLY as +Chunk’s Parents exchange a PARALYZED LOOK. + +ANOTHER ANGLE + +Mama and the Boys are HANDCUFFED, then put into the back of +a FOLICE VAN. CAMERA PANS AS: + +MR. PERKINS and TROY suddenly pull up in a white Cadillac +convertible, screech to a stop! They get out quickly, +approaching Mr. Walsh, who stands at the edge of the crowd +with Mikey. Mr. Perkins advances aggressively, waving a +piece of paper. + + PERKINS + Today’s the day, Walsh, so let’s + get this over with! Your house is + blocking the start of our new first + fairway, so I've decided to begin + the demolition with you -- + + WALSH + If -- if you could just hold off + for a bit, Mr. Perkins -- maybe -- + maybe I could find -- + 138. + + + TROY + Oh, come on, old man. My daddy + doesn’t have all day! There’s fifty + more houses to destroy after yours! + + PERKINS + (yelling off) + Sheriff! You come on over here and + witness this -- + +Mr. Walsh nervously takes out HIS Primotene Mist, then +looks down at Mikey who stares back up, tears in his eyes. + + MIKEY + I’m sorry, Dad -- we had our hands + on the future, but -- + (his lower lip starts to + quiver) + We blew it -- we threw it all away + to save out lives. + +Mr. Walsh fights to hold back a tear. + + WALSH + You and Brand are back. Safe. With + your mother and me -- + (grits his teeth, THROWS + AWAY the Primotene Mist) + That makes us the richest people in + Cauldron Point. + + PERKINS + Walsh? + +They turn. Mr. Perkins grins cruelly. + + PERKINS + You’re looking at the richest + people in Cauldron Point. Now sign + it. + +Troy props the paper up against his father’s hack for +signature, whips out a pen with a sickening smile. + + TROY + Here. Use my pen. I'11 even let you + keep it as a souvenir. + +Mr. Walsh tries to steady himself, trembling, looks off: + +ANGLE ON GOONIE CROWD + 139. + + +The CROWD is hushed as the rest of the GOONIES and their +PARENTS turn to watch helplessly. + +BACK TO SCENE + +Mr. Walsh slwoly takes the pen from Troy, lifts an unsteady +arm, stares at the paper, eyes misting over. He STARTS TO +SIGN as the Sheriff takes a sympathetic step forward, +stopping him. + + SHERIFF + Now listen up, Mr. Perkins. Maybe + this isn’t the proper time or place + to -- + + PERKINS + I’m not interested in your ethical + opinions, Sheriff,. Just your + signature as a witness. If you’d + been doing your duty, if you’d been + on the ball -- you’d have found my + son’s car by now, isn’t that right? + + SHERIFF + (spits in disgust) + Oh, hell -- + (suddenly looks off) + I already found your son’s damn car + -- + + TROY + (ecited) + You did? Where is it? + + SHERIFF + (pointing) + Just about to run you over, Troy -- + +Mr. Walsh grits his teeth, oblivious to everything. He +begins to SIGN as Perkins TURNS, and the signature is +written ACROSS THE BACK OF HIS JACKET! + +ANGLE ON GORILLAS AND RED MUSTANG - THEIR POV + +The RED MUSTANG careens into the parking lot at high speed, +the GORILLAS behind the wheel! It heads straight for the +CROWD, spinning out at the last second, squealing sideways, +CRASHING INTO THE SIDE OF MR. PERKINS’ WHITE CADILLAC! + + TROY + Daddy! Your new car!! + 140. + + +The Gorillas SCREAM back at Troy with equal excitment, +covering their eyes. Bonzo whips the car into reverse, +roars off through the Crowd as BYSTANDERS DIVE FOR SAFETY! + +ANGLE ON CROWD + +One entire side of the white Cadillac is caved in! The +stunned CROWD suddenly bursts into CHERRING, APPLAUSE, AND +LAUGHTER! + + PERKINS + (purple with rage) + Don't you people laugh at me! No + one ever laughs at me! + +The LAUGHTER grows LOUDER! Even Mr. Walsh and Mikey start +to join in. + +ANGLE ON EDGE OF CROWD + +Sloth watches from the rear edge of the Crowd. To one side +of him is Chunk. To the other, ROSALITA. They all laugh +heartily with everyone else as SUDDENLY: + +SLOTH'S EXPRESSION BEGINS TO CHANGE! + +His eyes ROLL. He begins to COUGH, feeling CURIOUS +RUMBLINGS in his stomach. The Crowd's laughter continues as +he POUNDS himself in the chest, trying to clear his massive +airways as: + +A GLEAMING OBJECT EJECTS ITSELF FROM HIS MOUTH!! + +ANGLE ON ROSALITA + +The OBJECT hits the ground at Rosalita's FEET. She looks +down curiously, then picks it up, EYES WIDENING with +surprise. + +IT IS A HUGE, SPARKLING DIAMOND! + +BACK TO SLOTH + +Sloth is DOUBLED OVER now, INNER EXPLOSIONS wracking his +huge body. A concerned CHUNK rushes over to him. + + CHUNK + Sloth! Sloth -- + (trying to yell over + Crowd's laughter) + Somebody get a giant Bromo, quick! + 141. + + +Sloth straightens up, looks at his friend, then GRINS, his +mouth falling open: + +IT IS FILLED WITH JEWELS FROM THE PIRATE SHIP!! + +BACK TO ROSALITA + +SEEING. REALIZING. Holding the diamond up high, she starts +to make her way through the boisterous CROWD. + +BACK TO PERKINS + +The furious Perkins SLAMS the PAPER down on what’s left of +the hood of his car, turns on Mr. Walsh. The Crowd’s +LAUGHTER is beginning to subside. + + PERKINS + Had your fun, Walsh? Well, that’s + okay. I’ve got the rest of my life + to laugh at you -- + +Troy holds out the pen. The Crowd QUIETS as Mr. Walsh +exchanges a sad look with Mikey, then takes it, reluctantly +leans over the hood of the car. + +ANGLE ON DATA + +DATA stands with his PARENTS, his eyes glassed over. He +looks off at MOUTH who stands with STEF nearby. + + DATA + (a whisper) + I sure am gonna miss bein’ a Goonie + -- + +TO SCENE + +A HEAVY SIGH, Mr. Walsh starts to put pen to paper in as: + + ROSALITA'S VOICE + (from middle of crowd, in + Spanish) + Wait! Don’t sign! + +Walsh looks up, momentarily pausing, then leans over the +hood again, ignoring ROSALITA'S VOICE as the Crowd MUMBLES +curiously. + + ROSALITA’S VOICE + (in Spanish) + Don’t sign! Don’t sign! + +BACK TO MOUTH AND STEF + 142. + + + STEF + (turns curiously) + You speak Spanish. What’s she + saying? + + MOUTH + Don’t -- + (thinking) + Don’t sit down -- no -- don't shoot + -- don’t throw up -- don’t -- + (SUDDENLY REALIZING) + DON’T SIGN!! + +BACK TO WALSH + +MR. WALSH HAS BEGUN TO WRITE HIS SIGNATURE AS: + +Mouth and Stef rush up! Mikey rushes up! Rosalita rushes +up! + + EVERYONE + DON’T SIGN! + +Mikey GRABS the piece of paper, pulling Mr. Walsh’s PEN +ACROSS IT IN A STRAIGHT LINE! + +Perkins and Troy stare unbelievingly as Rosalita holds up +the DIAMOND to a dumbfounded Mr. Walsh and: + + CHUNK’S VOICE + Hey, Goonies! LOOK!! + +ANGLE ON CHUNK + +As EVERYONE TURNS. Chunk raises his CUPPED HANDS, now opens +them: + +CLOSE ON CHUNK'S HANDS + +FILLED WITH GEMSTONES! Sparkling DIAMONDS! Glorious. +RUBIES! Bright EMERALDS! + +BACK TO SCENE + +Sloth BELCHES. THREE MORE JEWELS are ejected from his +mouth! + +The CROWD CHEERS as the GOONIES rush to Sloth, swarming +over him like mountain climbers, JEWELS erupting from his +mouth as they pummel him like a huge vending machine. + +SEVERAL REPORTERS rush up SNAPPING PICTURES, peppering the +Goonies with questions. + 143. + + + SHERIFF + (newly arrived, at Chunk) + Tellin' more stories, Lawrence? + + CHUNK + Wait -- this time I’m tellin' the + truth, Sheriff, honest! + +The Sheriff smiles patronizingly, turns, starts to walk +away. + +HE SEES SOMETHING IN THE DISTANCE, STOPS, THUNDERSTRUCK!! + + SHERIFF + Holy Mary Mother of God -- + (jaw drops) + LOOK!! + +EVERYONE turns to look with AUDIBLE GASPS, as WE SEE: + +ANGLE ON PIRATE SHIP - THEIR POV + +THE PIRATE SHIP, SAILING across the ocean. A MAGICAL SIGHT. +CAMERA PANS the faces of everyone on shore. POLICEMEN. THE +SHERIFF. SLOTH. IRENE. MR. WALSH. THE GOONIES. Staring in +AWE. + +ANGLE ON MIKEY + +THE BACK OF MIKEY’S HEAD. He turns slowly to face the +AUDIENCE, WEARING THE BLACK PATCH OF ONE EYED WILLY. + +MIKEY WINKS at all of us with a warm smile. + +BACK TO PIRATE SHIP + +Farther away in the distance now. A GRACEFUL, ROMANTIC DOT +against the beautiful horizon AS WE: + + FADE OUT: + +THE END + \ No newline at end of file diff --git a/scripts/The Lord of the Rings - Return of the King.txt b/scripts/The Lord of the Rings - Return of the King.txt new file mode 100644 index 0000000000000000000000000000000000000000..f547b8e34e229d08319ddf48f863be507d600add --- /dev/null +++ b/scripts/The Lord of the Rings - Return of the King.txt @@ -0,0 +1,7517 @@ + 1. + + + + BLACK SCREEN + + SUPER: THE LORD OF THE RINGS + + BLACK SCREEN: + + +4 EXT. RIVER ANDUIN – DAY 4 + + ANGLE ON: SMÉAGOL and his cousin, DÉAGOL, sit in a SMALL + CORACLE, their FISHING LINES draped over the side ... + SUNSHINE glinting off the surface of the water. + + An idyllic image. + + SUDDENLY ... DÉAGOL’S FISHING ROD BENDS under the weight of + a LARGE FISH. + + DÉAGOL + (excited) + Sméagol, I've got one! + (he laughs) + I've got a fish, Sméagol! + + SMÉAGOL + (excitedly) + Go on, pull it in. + + DÉAGOL pulls on his ROD, but is HAULED OVERBOARD and + disappears underwater with a SPLASH! + + ANGLE ON: SMÉAGOL leaning over the BOAT ... CONCERNED. + + SMÉAGOL + (worried) + Déagol! + + +5 EXT. UNDERWATER - RIVER ANDUIN – DAY 5 + + ANGLE ON: DÉAGOL is towed to the RIVER BED by a LARGE FISH + ... he suddenly lets go of the line ... eyes fixed on a + SHINING GOLD RING, lying in the SILT. + + +6 EXT. RIVER ANDUIN - GLADDEN FIELDS - DAY 6 + + CLOSE ON: DÉAGOL climbs out of the WATER onto the RIVER + BANK. + + CLOSE ON: the RING revealed in DÉAGOL’S PALM... + É + 2. + + + ANGLE ON: SMÉAGOL peers over his shoulder ... the GOLD + reflects in SMÉAGOL’S EYES! + + ON SOUNDTRACK: The HUM of the RING growing LOUDER... + + SMÉAGOL + Give us that, Déagol, my love! + + DÉAGOL turns to look at him, a smirk on his face. + + DÉAGOL + Why? + + CLOSE ON: SMÉAGOL moves towards DÉAGOL... + + SMÉAGOL + Because...it's my birthday and I + wants it. + + ANGLE ON: SMÉAGOL jumps on DÉAGOL ... STRANGLING HIM! + SMÉAGOL rips the GLITTERING RING from DÉAGOL’S LIMP HAND. + + SMÉAGOL + My precious! + + CLOSE ON: SMÉAGOL slips the RING onto his FINGER and + DISAPPEARS. + + DISSOLVE TO: + + +7 INT. MISTY MOUNTAINS CAVES – DAY 7 + + IMAGES: SMÉAGOL descending into madness. His body TWISTS + and DISTORTS ... he becomes a CREEPY, SHRIVELED wretch ... + finally crawling into a DARK CAVE beneath the MISTY + MOUNTAINS. + + SMÉAGOL (V.O.) + They cursed us. Murderer. Murderer + they called us. They cursed us and + drove us away. And we wept, + Precious. We wept, to be so alone. + And we forgot the taste of bread, + the sound of trees, the softness of + the wind ... We even forgot our own + name. + (in a choking cough) + Gollum! Gollum! + + ANGLE ON: GOLLUM in the CAVE staring at the RING in his + hand. + 3. + + + GOLLUM + It’s mine! My own. It came to me. + + SMÉAGOL + (ecstatic) + My Precious. + + DISSOLVE TO: + + +8 EXT. CULVERT, VALE OF MORGUL – DAWN 8 + + ANGLE ON: A GRIM LANDSCAPE, covered in THORN BUSHES and the + scars of RECENT FIRES. The DARK MORGUL VALLEY disappears up + towards the MOUNTAINS. + + SETTLE ON: FRODO and SAM in a FILTHY CULVERT. + + SAM twitches in a RESTLESS SLEEP. But FRODO is awake ... + His hand trails down to the CHAIN around his NECK... + + A SUDDEN HISS! FRODO quickly hides the RING as GOLLUM peers + at them with GLEAMING EYES. + + GOLLUM + Wake up! Wake up! Wake up, + sleepies! We must go, yes, we must + go at once! + + SAM STIRS, looks at FRODO... + + SAM + Haven't you had any sleep, Mr. + Frodo? + + FRODO shakes his HEAD. + + SAM + I've gone and had too much! + + SAM looks at the dead, BROWN TWILIGHT, below the LOWERING + CLOUD. + + SAM + It must be getting late. + + FRODO + No ... no it isn't. It isn't midday + yet. The days are growing darker. + + The GROUND suddenly QUIVERS, as a ROLLING, RUMBLING NOISE + ECHOES down the VALLEY. + 4. + + + GOLLUM + Come on, must go, no time... + + SAM + Not before Mr. Frodo's had + something to eat. + + GOLLUM + ... no time to lose, silly. + + SAM shoots GOLLUM a HOSTILE LOOK and turns back to rummage + in his KNAPSACK. He holds up a piece of dried LEMBAS BREAD + to FRODO. + + SAM + Here. + + FRODO + What about you? + + SAM + (lying badly) + I'm not hungry – leastways, not for + Lembas bread. + + FRODO + Sam. + + SAM + (confessing) + Alright. We don't have that much + left. + + SAM + We have to be careful or we're + going to run out. You go ahead and + eat that, Mister Frodo. I've + rationed it. There should be + enough. + + FRODO looks at SAM questioningly. + + FRODO + For what? + + SAM + The journey home. + + FRODO says nothing. + + +9 EXT. CULVERT, VALE OF MORGUL - DAY 9 + 5. + + + WIDE: FRODO and SAM follow GOLLUM as he leads them on the + winding, torturous path ... clambering through BRACKEN and + over JAGGED ROCKS. + + GOLLUM + Come, Hobbitses. Very close now. + Very close to Mordor! No safe + places here. Hurry! Shhh. + + +10 EXT. THE FOREST OF ISENGARD - DAY 10 + + GANDALF leads ARAGORN, LEGOLAS, THÉODEN, and GIMLI through + dark woodland... + + The MOVING FOREST of FANGORN ... opens before them ... + creating an AVENUE of TREES, which allows them access along + the old ISENGARD ROAD. A THICK, HUMID MIST fills the + forest. + + SUPER: THE RETURN OF THE KING + + ANGLE ON: The FOREST SEPARATES ahead, REVEALING: the RUINS + of ISENGARD. + + +12 EXT. ISENGARD GATE – DAY 12 + + WIDE ON: All about, the GREAT STONE WALL is cracked and + splintered into countless jagged shards. + + Far off, half veiled in the swirling STEAM, the TOWER of + ORTHANC stands ... Unbroken by the storm. Pale waters lap + about its feet. + + ANGLE ON: TWO SMALL HOBBITS are sitting on the SMASHED WALL + ... MERRY AND PIPPIN! SPREAD before them is a feast of + BREADS, MEATS, and WINE. They PUFF on long pipes as they + lie back in the SUN. + + PIPPIN + I feel like I'm back at the Green + Dragon after a hard day's work. + + MERRY + Only, you've never done a hard + day's work. + + MERRY cuts PIPPIN off before he can respond in kind. + + MERRY + Welcome, my Lords, to Isengard. + 6. + + +ANGLE ON: GANDALF, ARAGORN, LEGOLAS and GIMLI stare at the +SIGHT before them... + + GIMLI + You young rascals! A merry hunt + you've led us on, and now we find + you, feasting and smoking. + + PIPPIN + (mouth full) + We are sitting on a field of + victory, enjoying a few well-earned + comforts. The salted pork is + particularly good. + + GIMLI + (suddenly interested) + Salted pork? + + GANDALF + (shaking his head) + Hobbits. + + MERRY + We're under orders, from Treebeard, + who's taken over management of + Isengard. + +WIDE: GANDALF leads the company through the flotsam and +jetsam which floats upon the muddied waters surrounding the +TOWER ... TREEBEARD, the GIANT ENT, strides towards them, +ALARMING all but GANDALF. + + TREEBEARD + Burarum ... Young Master Gandalf. + I'm glad you've come. Wood and + water, stock and stone, I can + master, but there’s a Wizard to be + managed here ... locked in his + tower. + + GANDALF + And there Saruman must remain, + under your guard, Treebeard. + + GIMLI + Let's just have his head and be + done with it. + +GANDALF stares up the long length of the DARK TOWER... + + GANDALF + (quietly) + 7. + + + No. He has no power any more. + + THE OLD ENT nods his head wisely... + + TREEBEARD + The filth of Saruman is washing + Away ... Trees will come back to + live Here, young trees ... wild + trees. + + CLOSE ON: PIPPIN, his eye caught by something lying in the + WATER + + ANGLE ON: The MUDDY waters GLOWING with a golden light... + + ARAGORN turns as, quick as a FLASH, PIPPIN has jumped off + his horse and picked up – the PALANTÍR! + + TREEBEARD + Well bless my bark! + + GANDALF + (urgent) + Peregrin Took! I'll take that, my + lad. + + PIPPIN doesn’t move, his eyes staring in wonder at the + smooth black stone... + + GANDALF + Quickly, now! + + RELUCTANTLY, PIPPIN hands the PALANTÍR to GANDALF ... who + immediately smothers it in his cloak. + + ANGLE ON: GANDALF looks back at PIPPIN ... troubled. + + +13 EXT. EDORAS – DAY 13 + + WIDE: BACK SHOT – a GROUP OF RIDERS gallop towards the + ROHAN CITY of EDORAS... + + PUSH IN: ÉOWYN standing alone outside the GOLDEN HALL. + + waiting... + + CUT TO: + + +14 INT. EDORAS, GOLDEN HALL - EVENING 14 + 8. + + +WIDE: A ROARING FIRE: a LAMB ROASTING on a SPIT; LONG +TABLES laden with FOOD; BARRELS of WINE; a banquet is laid +– ready for the returning soldiers. + + THÉODEN + Tonight we remember those who gave + their blood to defend this country. + Hail the victorious dead! + +ANGLE ON: Amidst the sheering crowd, ÉOWYN moves towards +ARAGORN ... As she proffers the CHALICE, their eyes meet. + + ÉOWYN + Westu Aragorn hál. + +ÉOWYN watches as ARAGORN moves away ... a voice speaks in +her ear. + + THÉODEN + I am happy for you. + +ÉOWYN looks at her UNCLE, as THÉODEN follows her gaze. + + THÉODEN + He is an honorable man. + + ÉOWYN + (smiling) + You are both honorable Men. + + THÉODEN + It was not Théoden of Rohan who led + our people to victory. + +ÉOWYN looks at him questioningly, disturbed by his tone. + + THÉODEN + Don't listen to me. You are young, + and tonight is for you. + +ANGLE ON: ÉOWYN watches concerned as her UNCLE moves away. + +ANGLE ON: MERRY & PIPPIN are in full voice, on top of one +of the TABLES ... both hold very large mugs of ALE in their +hands. + + MERRY & PIPPIN + (singing) + 9. + + + Oh, you can search – up and down As + many lands as can be found But + you'll never find a beer so brown + As the one we drink in our home + town You can keep your fancy ales + You can drink them by the flagon + But the only brew, for the brave + and true, Comes from the Green + Dragon! + + ANGLE ON: GANDALF laughing and clapping the HOBBITS. + ARAGORN steps up beside him, SMILING at the floorshow. + + ARAGORN + No news of Frodo? + + GANDALF + No word ... nothing. + + ARAGORN + We still have time. + + GANDALF turns quickly to ARAGORN. + + ARAGORN + Every day Frodo moves closer to + Mordor. + + GANDALF watches his friend’s face ... seeking reassurance. + + GANDALF + Do we know that? + + ARAGORN + (gently) + What does your heart tell you? + + GANDALF + (with a small smile) + That Frodo is alive. + (to himself) + Yes - yes, he is alive. + + +15 EXT. MORGUL VALLEY – NIGHT 15 + + ANGLE ON: FRODO and SAM lie asleep amidst scrubby bushes + near a stagnant pool. SMÉAGOL lies nearby, muttering in his + sleep. + + SMÉAGOL + 10. + + + Too risky. Too risky. The thieves! + They stole it from us. Kill them + ... kill them ... kill them both! + +SMÉAGOL wakes suddenly, shaking, his face drenched in +SWEAT, eyes wide in horror. + + SMÉAGOL + No! + + GOLLUM + (hissed whisper) + Shhh! Quiet! + +SMÉAGOL’S features suddenly transform into the MALEVOLENT +face of GOLLUM! + + GOLLUM + Mustn’t waken them, mustn't ruin it + now! + +SMÉAGOL casts a quick glance over his SHOULDER to the +SLEEPING figures of FRODO and SAM as he clambers off to his +ROCK ... silently sidling towards the EDGE of the STAGNANT +POOL. + + SMÉAGOL + They knows, they knows, they + suspects us! + +SMÉAGOL stares into the MURKY depths of the WATER. + +The SURFACE RIPPLES as the face of GOLLUM appears as +SMÉAGOL’S REFLECTION. + + GOLLUM + What's it saying, my Precious, my + love? Is Sméagol losing his nerve?? + + SMÉAGOL + No! Not! Never!! Sméagol hates + nasty Hobbitses! Sméagol wants to + see them – dead! + + GOLLUM + And we will ... Sméagol did it + once... + (sly) + ... He can do it again. + +FLASH INSERT: SMÉAGOL choking DÉAGOL ... Fingers locked +tight around his THROAT. + 11. + + + GOLLUM + It's ours - ours! + + SMÉAGOL + We must get the Precious. We must + get it back. + + GOLLUM + Patience, patience, my love. First, + we must lead them to her. + + SMÉAGOL + We lead them to the windy stairs. + + GOLLUM + (prompting) + Yes, the stairs ... and then? + + SMÉAGOL + Up, up, up, up the stairs we go ... + until we come to... + (naughty excitement) + ... the Tunnel! + + GOLLUM + (quiet) + And when they go in, there's no + coming out. She's always hungry, + she always needs to feed. She must + eat. All she gets is filthy Orcses. + + SMÉAGOL + And they doesn't taste very nice, + does they, Precious? + + GOLLUM + No ...not very nice at all, my + love. She hungers for sweeter + meats... + +CLOSE ON: SAM ... his EYES flicker OPEN... + + GOLLUM + “Hobbit meat.” And when She throws + away the bones and the empty + clothes, then we will find it... + + SMÉAGOL + And take it for me! + + GOLLUM + (correcting) + For us... + É + 12. + + + SMÉAGOL + Yes, we, we meant for us... + (choking cough) + Gollum! Gollum! + + GOLLUM + (sly) + The Precious will be ours, once the + Hobbitses are dead! + +SUDDEN ANGLE ON: SAM’S image mirrored in the water as he +SMACKS GOLLUM on the HEAD with his POT! + + SAM + (yelling) + You treacherous little toad! + +SAM drops the POT and FLINGS himself ON TOP of GOLLUM! +GOLLUM SCREAMS ... his ARMS and LEGS FLAILING WILDLY! + + GOLLUM + (crying) + No! Not! Help! Master! + +ANGLE ON: FRODO staggers over to SAM and PULLS HIM OFF +GOLLUM. + + FRODO + No, Sam! Leave him alone! + +CLOSE ON: GOLLUM, huddled on the ground, WHIMPERING and +SOBBING. + + SAM + (fuming) + I heard it from his own mouth ... + he means to murder us! + + SMÉAGOL + Never! Sméagol wouldn't hurt a fly! + He’s a horrid, fat Hobbit who hates + Sméagol and who makes up nasty + lies! + +SAM makes for SMÉAGOL again ... with a look of MURDEROUS +RAGE. + + SAM + You miserable little maggot! I'll + stove your head in! + +FRODO grabs SAM’S ARM. + 13. + + + FRODO + Sam... + + SAM + Call me a liar! You're a liar! + + FRODO + Sam! If you scare him off, we're + lost. + +SAM pulls away from FRODO... + + SAM + I don't care! I can't do it, Mr. + Frodo. I won't wait around for him + to kill us! + + FRODO + (fierce whisper) + I'm not sending him away. + +SAM stares at FRODO ... at a loss. + + SAM + You don't see it, do you? He's a + villain! + + FRODO + We can't do this by ourselves, Sam. + Not without a guide. I need you on + my side. + +ANGLE ON: SAM, his face softening. + + SAM + (taken aback) + I'm on your side, Mr. Frodo. + + FRODO + I know, Sam. I know. + (whisper) + You must trust me. + +FRODO beckons to GOLLUM. + + FRODO + Come, Sméagol. + +GOLLUM turns slowly, staring at SAM through hooded, HATE- +FILLED EYES ... and SMILES. + + CUT TO: + 14. + + +16 EXT. EDORAS, GOLDEN HALL – EARLY DAWN 16 + + ARAGORN joins LEGOLAS on the STEPS to the golden HALL, + oblivious to the CHILL WIND ... they look out across the + SLEEPING CITY to the LOOMING MOUNTAIN RANGE BEYOND ... DARK + CLOUDS mark the sky. + + LEGOLAS + The stars are veiled. Something + stirs in the East ... a sleepless + malice. + + LEGOLAS looks at ARAGORN ... realization in his face. + + LEGOLAS + The eye of the enemy is moving. + + +17 INT. EDORAS, SLEEPING QUARTERS – EARLY DAWN 17 + + CLOSE ON: PIPPIN ... he is AWAKE! He sits up ... ANXIOUS, + FIDGETY... + + Suddenly he hops out of bed and creeps towards the SLEEPING + FORM of GANDALF. + + MERRY + (whispers) + What you doing? + + PIPPIN gasps with FRIGHT! MERRY is sitting up, wiping sleep + from his eyes. He moves on... + + ANGLE ON: A sleeping GANDALF lies with eyes wide open! But + PIPPIN is undeterred... + + MERRY sits up, a worried look on his face. + + MERRY + Pippin? Pippin? Pippin! What are + you doing? + + With quick stealth, PIPPIN lifts the WRAPPED PALANTÍR from + GANDALF’S grasp... + + MERRY + Pippin, are you mad? + + PIPPIN + I just want to look at it. Just one + more time. + + MERRY + 15. + + + Put it back! Put – it – back! + + PIPPIN unwraps the PALANTÍR and as MERRY looks on + HORRIFIED, he gazes intently into it. + + MERRY + Pippin! + + As PIPPIN lays his hands on the CRYSTAL, a SICKLY PALE + light slowly spreads from the GLASS BALL onto PIPPIN’S FACE + ... his EYES WIDEN. + + MERRY + Pippin! + + +18 EXT. EDORAS GOLDEN HALL – EARLY DAWN 18 + + On the STEPS on the GOLDEN HALL, LEGOLAS turns to ARAGORN. + + LEGOLAS + (urgent) + He is here. + + +19 INT. EDORAS, SLEEPING QUARTERS - NIGHT 19 + + PIPPIN suddenly starts to HYPERVENTILATE ... He STAGGERS + BACKWARDS, PALANTÍR held rigidly before him... + + THE GREAT EYE OF SAURON seems to LEAP from the FIRE ... + PIPPIN is bathed in the FIERY RED LIGHT. + + PIPPIN sinks to his KNEES, his mouth open in a soundless + SCREAM ... He FALLS BACKWARDS, powerless to release the + FIERY GLOBE. + + MERRY + Help! Someone help him! + + GANDALF wakes with start! Just as ARAGORN enters, and + wrenches the PALANTÍR from PIPPIN’S HANDS ... PIPPIN FALLS + to the FLOOR! + + ... ARAGORN spins away, reeling backwards, the PALANTÍR + falling from his HANDS... + + The PALANTÍR rolls across the FLOOR, causing EVERYONE in + the room to COWER BACK. + + ANGLE ON: GANDALF throws a BLANKET over it, ANGRY DISBELIEF + on his face! He rounds on PIPPIN. + 16. + + + GANDALF + Fool of a Took! + + GANDALF lifts the HOBBIT’S SLUMPED HEAD. + + MERRY + Pippin! + + PIPPIN is trembling ... GANDALF calms him... + + PIPPIN + Gandalf! Forgive me. + + GANDALF + Look at me! What did you see? + + PIPPIN + (disjointed) + A tree ... There was a white tree + ... in a courtyard of stone... It + was dead! + + FLASH INSERT: A lone white tree surrounded by flames. + + PIPPIN + The city was burning... + + GANDALF + Minas Tirith?? + (to PIPPIN) + Is that what you saw? + + PIPPIN + (terrified) + I saw ... I saw him ... I can hear + his voice in my head. + + GANDALF + What did you tell him? Speak! + + PIPPIN + He asked me my name, I didn't + Answer ... he hurt me... + + CLOSE ON: GANDALF stares at PIPPIN with a FRIGHTENING + INTENSITY... + + GANDALF + What did you tell him about Frodo + and the Ring? + + +20 INT. EDORAS, GOLDEN HALL - DAY 20 + É + 17. + + +THÉODEN stands in the GOLDEN HALL, gravely listening to +GANDALF ... ARAGORN, LEGOLAS, and GIMLI look on... + + GANDALF + There was no lie in Pippin's eyes; + a fool, but an honest fool he + remains. He told Sauron nothing of + Frodo and the Ring. + +ANGLE ON: GIMLI lets out a sigh of relief. + +GANDALF turns to look at THÉODEN. + + GANDALF + We've been strangely fortunate. + What Pippin saw in the Palantír was + a glimpse of our enemy's plan. + +GANDALF looks from one to the other of the gathered +company. + + GANDALF + Sauron moves to strike the city of + Minas Tirith. His defeat at Helm's + Deep showed our enemy one thing. + +The WIZARD turns towards ARAGORN... + + GANDALF + The Heir of Elendil has come forth. + Men are not as weak as he supposed. + There is courage still - strength + enough left to challenge him. + +THÉODEN listens intently, saying nothing. + + GANDALF + (warningly) + Sauron fears this. He will not risk + the peoples of Middle-earth uniting + under one banner. He will raze + Minas Tirith to the ground before + he sees the return of the King. + +CLOSE ON: ARAGORN ... he knows GANDALF SPEAKS THE TRUTH. + +ANGLE ON: GANDALF rounds on THÉODEN. + + GANDALF + If the beacons of Gondor are lit, + Rohan must be ready for war! + +THÉODEN holds GANDALF’S gaze. + É + 18. + + + THÉODEN + Tell me. Why should we ride to the + aid of those who did not come to + ours? + + ANGLE ON: ARAGORN turns to look at THÉODEN. + + THÉODEN + What do we owe Gondor? + + ARAGORN + (low and urgent) + I will go. + + GANDALF + (hurried) + No! + + ARAGORN + They must be warned! + + GANDALF + They will be. + (low voice, to ARAGORN) + You must come to Minas Tirith by + another road. + (cryptic) + Follow the river, look to the black + ships. + (louder, to all) + Understand this, things are now in + motion that cannot be undone. + + GANDALF turns on his heel ... and stares at a surprised + PIPPIN. + + GANDALF + I ride for Minas Tirith! And I + won't be going alone! + + +21 EXT. EDORAS STREETS - DAWN 21 + + ANGLE ON: GANDALF hurries along the STREETS ... PIPPIN and + MERRY run alongside trying to KEEP UP... + + GANDALF + Of all the inquisitive Hobbits, + Peregrin Took, you are the worst! + Hurry, hurry! + + PIPPIN catches up to MERRY. + 19. + + + PIPPIN + (worried) + Where are we going? + + MERRY + Why did you look - why do you + always have to look? + + PIPPIN + (subdued) + I don't know. I can't help it. + + MERRY turns away... + + MERRY + You never can. + + PIPPIN + (lightly) + I'm sorry, all right? I won't do it + again. + + This is too much for MERRY. He turns on PIPPIN. + + MERRY + Don't you understand ... the Enemy + thinks you have the Ring ... he's + going to be looking for you, Pip. + They have to get you out of here! + + PIPPIN + And you. You're coming with me ... + Merry? + + MERRY + Come on! + + PUSH IN: PIPPIN’S face as MERRY strides away. + + CUT TO: + + +22 INT. EDORAS STABLES – DAWN 22 + + ANGLE ON: PIPPIN is dumped unceremoniously onto the back of + SHADOWFAX as GANDALF hurriedly prepares to leave... + + PIPPIN + (nervous) + How far is Minas Tirith? + + GANDALF + 20. + + + Three days ride, as the Nazgûl + flies, and you better hope we don't + have one of those on our tail. + +MERRY thrusts a SMALL PACKAGE into PIPPIN’S HAND... + + MERRY + Here - something for the road. + +PIPPIN stares down at the leather-bound bundle of PIPE- +WEED. + + PIPPIN + The last of the Longbottom Leaf. + + MERRY + I know you've run out ... You smoke + too much, Pip. + + PIPPIN + But we'll see each other soon? + +A WORRIED MERRY exchanges glances with GANDALF. + + PIPPIN + Won’t we? + + MERRY + I don't know... I don't know what's + going to happen. + +GANDALF mounts SHADOWFAX. + + PIPPIN + (rising panic) + Merry? + +GANDALF spurs the GREAT HORSE forward. + + GANDALF + Run Shadowfax. Show us the meaning + of haste. + + PIPPIN + (panicked) + Merry! + +SHADOWFAX thunders out of the STABLES! + +CLOSE ON: MERRY’S devastated face. + 21. + + +22A EXT. GATES OF EDORAS – DAY 22A + + ANGLE ON: SHADOWFAX carries GANDALF and PIPPIN out of the + GATE and down the WINDING ROAD towards the PLAINS OF ROHAN. + + +23 EXT. EDORAS GATES LOOK-OUT – DAY 23 + + ANGLE ON: MERRY clambers up a WATCHTOWER, ARAGORN in + pursuit. + + ANGLE ON: The SMALL FIGURE as he watches his best friend + DISAPPEAR into the DISTANCE... + + CLOSE ON: ARAGORN ... he knows what it is to lose someone. + + +24 EXT. RIVENDELL FOREST - DAY 24 + + WIDE: ARWEN – escorted by a SMALL ENTOURAGE of ELVES – + rides through the gathering darkness of a PINE FOREST. + + ELROND (V.O.) + Take her by the safest road. A ship + lies anchored in the Grey Havens. + It waits to carry her across the + sea ... the last journey of Arwen + Undómiel. + + SLOW MOTION: As ARWEN rides through the FOREST, the FIGURE + of a SMALL BOY of about 5 SUDDENLY runs across the path in + front of her. + + ARWEN reigns in ASFALOTH ... something about the BOY + intrigues her – but she does not know why... + + As ARWEN watches the BOY move away, the TREES begin to thin + ... the BOY continues running. One by one, the TREES + TRANSFORM into TALL WHITE PILLARS. + + ARWEN’S POV: The BOY now stands within a VISION of the + majestic architecture of the great Gondorian city of MINAS + TIRITH. + + A SILHOUETTED FIGURE appears in the distance and moves + towards the CHILD ... the BOY runs to the FIGURE. + + ARWEN watches as the FIGURE holds out its arms – swinging + the LAUGHING CHILD into the AIR... + + The Figure turns to reveal ... ARAGORN, a little older, + dressed in the casual finery of a GONDORIAN NOBLE. + 22. + + + CLOSE ON: The CHILD, now in ARAGORN’S ARMS, looks directly + at ARWEN ... it is a QUIET LOOK filled with INFINITE + SADNESS. + + ARWEN’S eyes drop to the CHILD’S CHEST ... around the + CHILD’S neck hangs the EVENSTAR... + + CLOSE ON: ARWEN as she realizes she is staring at a future + that can never be, the CHILD she and ARAGORN will never + have. + + INSERT: ELROND speaking to his daughter... + + ELROND (V.O.) + Arwen, there is nothing for you + here ... only death. + + ARWEN shuts her eyes ... when she opens them again, the + VISION is gone ... she is staring at DARK TREES once more. + + FIGWIT (O.S.) + Lady Arwen? + + ARWEN turns towards her COMPANION who stares at her, + concerned. + + FIGWIT + We cannot delay. + + SUDDENLY: ARWEN wheels ASFALOTH around ... riding away. + + FIGWIT + (calling) + My Lady! + + +25 EXT. RIVENDELL – DAY 25 + + WIDE SHOT: ARWEN’S HORSE gallops over the BRIDGE and + through the GATES into RIVENDELL. + + +26 EXT. ELROND’S BALCONY, RIVENDELL – DAY 26 + + ANGLE ON: ELROND seated alone ... ARWEN runs up the STEPS + towards him ... + + ARWEN + What did you see? + + CLOSE ON: ELROND stands – stunned. + 23. + + + ELROND + Arwen? + +ANGLE ON: ARWEN breathing hard, walking towards ELROND with +fierce light in her eyes. + + ARWEN + You have the gift of foresight – + tell me what you have seen. + +CLOSE ON: ELROND - his face grim. + + ELROND + I looked into your future and I saw + death. + + ARWEN + There is also life. + +Her father turns away... + + ARWEN + You saw there was a child... you + saw my son. + +ELROND stares into space, the fight seems to go out of him. +He won’t look at her... + + ELROND + (quietly) + That future is almost gone. + + ARWEN + But it is not lost... + + ELROND + Nothing is certain. + +ANGLE ON: ARWEN gently takes her FATHER’S face in her hands +and turns him toward her... + + ARWEN + Some things are certain. If I leave + him now, I will regret it forever. + (whisper) + Ada, it is time. + +INSERT IMAGE: A HOODED FIGURE ascends a CURVED STAIRCASE +towards a GALLERY ... The FIGURE stops before a STATUE that +holds the BROKEN SHARDS of an ancient sword in its arms. + + ARWEN (V.O.) + 24. + + + From the ashes a fire shall be + woken, a light from the shadow + shall spring, renewed shall be + blade that was broken... + + INSERT IMAGE: The BLADE shattering in several fragments as + ISILDUR brandishes NARSIL at SAURON. + + ARWEN (V.O.) + The crownless again shall be + King... + + CLOSE ON: The HOODED FIGURE looks up into the sorrowful + face of the STATUE ... The figure is ARWEN... + + ARWEN (V.O.) + Reforge the sword. + + +27 INT. ARWEN’S CHAMBER, RIVENDELL - NIGHT 27 + + ANGLE ON: ELROND stares at his daughter, unwavering... + + ARWEN + Ada... + + ANGLE ON: ELROND turns away... + + ANGLE ON: ARWEN in ANGUISH, sits on her bed, the book falls + to the FLOOR... + + CLOSE ON: ELROND picks up her JOURNAL and takes one of her + hands in his... + + ELROND + Your hands are cold. + (distressed) + The life of the Eldar is leaving + you. + + CLOSE ON: ELROND’S despair is plain... + + ELROND + It has begun. + + ARWEN + This was my choice. Ada ... Whether + by your will or not, there is no + ship now that can bear me hence. + + ANGLE ON: ELROND, he understands now that to protect his + daughter, he must trust her... + 25. + + + INSERT IMAGES: A BROKEN SWORD GLOWS with RED HEAT ... It’s + BLADE in SEVERAL FRAGMENTS. + + IMAGE: A HEAVY HAMMER pounds the RED-HOT BLADE on an ANVIL + ... As ELVEN-SMITHS TEMPER the STEEL. + + IMAGE: ELROND’S FACE lit by FLICKERING FIRE as SPARKS fly + in the RIVENDELL FORGE. + + CLOSE ON: The SWORD is withdrawn from a POOL OF STEAMING + WATER ... LIGHT SHIMMERS as the WATER DROPS slide down the + BLADE of NARSIL, the SWORD that was broken has been remade. + + DISSOLVE TO: + + +28 EXT. FOOTHILLS OF WHITE MOUNTAINS – NIGHT 28 + + CLOSE ON: PIPPIN asleep ... GANDALF’S PROTECTIVE ARM around + him... + + ...as SHADOWFAX THUNDERS through the NIGHT. + + DISSOLVE TO: + + +29 EXT. FOOTHILLS OF WHITE MOUNTAINS – DAY 29 + + ANGLE ON: SHADOWFAX powers along the COUNTRYSIDE. + + ANGLE ON: PIPPIN, huddled in front of GANDALF, the WIND + sailing through his hair. + + GANDALF + We have just passed into the realm + of Gondor. + + +30 EXT. MINAS TIRITH – DAWN 30 + + ANGLE ON: SHADOWFAX gallops up onto a LOW RIDGE... + + ANGLE ON: Before them is the DARK MASS of Mount Mindolluin, + its tall WHITE FACE whitening in the RISING SUN. Upon its + out-thrust knee is the Guarded City: MINAS TIRITH. + + With SEVEN WALLS OF WHITE STONE, so strong and old that it + seems to have been not built, MINAS TIRITH looks carven by + giants out of the bones of the earth. + + GANDALF + Minas Tirith ... City of the Kings. + 26. + + + Suddenly, the SUN climbs over the eastern hills, and sends + forth a SHAFT OF SUNLIGHT that GLEAMS against the face of + the CITY. + + The TOWER OF ECTHELION stands high within the topmost + walls. + + WHITE BANNERS break and FLUTTER from the BATTLEMENTS in the + morning breeze. + + +31 EXT. MINAS TIRITH STREETS – DAY 31 + + GANDALF steering SHADOWFAX up the STEEP STREETS of MINAS + TIRITH. + + ANGLE ON: The stares of frightened GONDORIANS as GANDALF + and PIPPIN gallop through the WINDING STREETS... + + AERIAL SHOT: SHADOWFAX, carrying GANDALF and PIPPIN up + towards the 7th LEVEL. + + MINAS TIRITH is built in 7 LEVELS – each behind a CIRCULAR + DEFENSIVE WALL. Each level rises – the city reaches a + height of nearly 1000 FEET on its TOPMOST LEVEL. + + A towering BASTION of NATURAL ROCK – shaped like a sharp + ship’s prow – bisects the city from the 2nd LEVEL to the + TOP. + + +32 EXT. MINAS TIRITH, COURT OF THE KINGS – DAY 32 + + SHADOWFAX arrives at a GREAT CITADEL on the SUMMIT of the + CITY – 1000 FEET above the PELENNOR FIELDS. + + GANDALF and PIPPIN dismount, leaving the GUARDS of the + CITADEL to tend to SHADOWFAX. GANDALF hurries off... + + CLOSE ON: PIPPIN as he takes in his surroundings, his eye + caught by a DEAD TREE that stands in the middle of the + COURT, FOUR SOLEMN CITADEL GUARDS standing sentry around + it. + + PIPPIN + (whisper) + It's the tree. + (hurrying after GANDALF) + Gandalf! Gandalf! + + GANDALF + Yes, the White Tree of Gondor. The + tree of the King. + 27. + + + GANDALF leads PIPPIN across a FLAT COURT of WHITE STONES, + surrounded by GREEN LAWNS ... towards a GREAT HALL beneath + the GLEAMING TOWER. + + GANDALF + Lord Denethor, however, is not the + king. He is a steward, only. A + caretaker of the throne. + + GANDALF lowers his voice, as they approach the TOWER HALL. + + GANDALF + (quietly) + Now, listen carefully. Lord + Denethor is Boromir's father. To + give him news of his beloved son's + death would be most unwise ... And + do not mention Frodo ... Or the + Ring ... And say nothing of + Aragorn, either. + (hesitates) + In fact, it's better if you don't + speak at all, Peregrin Took. + + CLOSE ON: PIPPIN, suitably chastened, nods. + + +33 INT. MINAS TIRITH TOWER HALL – DAY 33 + + ANGLE ON: A LONG SOLEMN HALL ... with ROWS of BLACK MARBLE + PILLARS. Between the pillars stand a company of TALL KINGS + carved in cold STONE. + + GANDALF strides down the HALL, with PIPPIN following + obediently behind. + + At the FAR END, upon a DAIS OF MANY STEPS, sits a LARGE, + EMPTY THRONE ... and on the wall is the IMAGE of a + FLOWERING WHITE TREE set in GEMS. + + At the Foot of the DAIS, in a small STONE CHAIR, sits an + OLD MAN, gazing at his lap: DENETHOR – the Lord Steward of + GONDOR. + + GANDALF + Hail Denethor, son of Ecthelion, + Lord and Steward of Gondor. + + DENETHOR does not look up as GANDALF and PIPPIN approach. + + GANDALF + I come with tidings in this dark + hour - and with counsel. + 28. + + +DENETHOR slowly raises COLD EYES... + + DENETHOR + (bitter) + Perhaps you come to explain this? + +DENETHOR holds up BOROMIR’S BROKEN HORN... + + DENETHOR + Perhaps you come to tell me why my + son is dead. + +CLOSE ON: PIPPIN remembering... + +INSERT IMAGE: BOROMIR, as URUK-HAI arrows thud into his +body, he falls to his KNEES... + +PIPPIN starts forward unable to say nothing... + + PIPPIN + Boromir died to save us ... my + kinsman and me ... he fell, + defending us from many foes. + +CLOSE ON: DENETHOR, pain flickers in his eyes. + + GANDALF + (hurried whisper) + Pippin! + +PIPPIN drops to his knee offering DENETHOR his SWORD... + + PIPPIN + I offer you my service, such as it + is, in payment of this debt. + +DENETHOR looks at PIPPIN blankly, overcome with grief. + + GANDALF + (to PIPPIN) + Get up! + (addressing DENETHOR) + My Lord, there will be a time to + grieve for Boromir, but it is not + now. War is coming ... the Enemy is + on your doorstep. As Steward, you + are charged with the defense of + this city. Where are Gondor's + armies? + +DENETHOR’S gaze turns slowly on GANDALF... + + GANDALF + 29. + + + You still have friends - You are + not alone in this fight. Send word + to Théoden of Rohan. Light the + beacons. + + DENETHOR smiles at GANDALF, as if amused by something. + + DENETHOR + (softly) + You think you are wise, Mithrandir, + yet for all your subtleties you + have not wisdom. Do you think the + eyes of the White Tower are blind? + I have seen more than you know. + With your left hand you would use + me as a shield against Mordor, and + with your right you would seek to + supplant me. + + CLOSE ON: GANDALF looks shocked. DENETHOR’S eyes NARROW. + + DENETHOR + (contemptuous) + I know who rides with Théoden of + Rohan. Oh, yes. Word has reached my + ears of this Aragorn, son of + Arathorn, and I tell you now, I + will not bow to this Ranger from + the North, last of a ragged house + long bereft of Lordship. + + GANDALF + (stung) + Authority is not given you to deny + the return of the King – Steward! + + DENETHOR + (explosive) + The rule of Gondor is mine, and no + other's! + + CLOSE ON: PIPPIN, horrified. GANDALF looks at DENETHOR + closely for a moment, then turns on his heel to leave. + PIPPIN follows. + + GANDALF + Come. + + GANDALF and PIPPIN stride from the TOWER HALL ... DENETHOR + slumps back into his SEAT. + + +34 INT. MINAS TIRITH, PIPPIN’S QUARTERS - NIGHT 34 + 30. + + + ANGLE ON: PIPPIN is carefully laying out a SMALL UNIFORM of + the ROYAL GUARD on a bed. + + PIPPIN + So I imagine this is just a + ceremonial Position ... I mean, + they don't actually expect me to do + any fighting ... do they? + + WIDE: GANDALF STANDING QUIETLY on a BALCONY that overlooks + the GREAT CITY. + + GANDALF + You're in the service of the + Steward Now - You're going to have + to do as you're told, Peregrin + Took... + (under his breath) + Guard of the Citadel! + + +35 EXT. MINAS TIRITH BALCONY – NIGHT 35 + + ANGLE ON: PIPPIN as he stares up at the vast NIGHT SKY. + + PIPPIN + It's so quiet. + + GANDALF watches the young HOBBIT. + + GANDALF + It's the deep breath before the + plunge. + + PIPPIN + I don't want to be in a battle ... + but waiting on the edge of one I + can't escape is even worse. + (tense) + Is there any hope, Gandalf - for + Frodo and Sam? + + GANDALF joins PIPPIN as they look towards the distant, + jagged MOUNTAINS of MORDOR... + + GANDALF + There never was much hope. + + PIPPIN looks up at him, unnerved. GANDALF gives him a + small, self-deprecating smile... + + GANDALF + Just a fool's hope. + 31. + + +GANDALF and PIPPIN share a quiet moment as they stare out +towards the FIERY SKY over MORDOR. + + GANDALF (V.O.) + (grim) + Our enemy is almost ready, his full + strength gathered. Not only Orcs, + but men as well. + +INSERT IMAGE: GIANT MÛMAKIL carrying ARMIES upon their +backs. + + GANDALF (V.O.) + Legions of Haradrim from the + South... + +INSERT IMAGE: CORSAIR SHIPS sail up the RIVER... + + GANDALF (V.O.) + Mercenaries from the coast ... All + will answer Mordor's call. + +ANGLE ON: GANDALF ... he is almost talking to himself +now... like a man unable to prevent a sure disaster. + + GANDALF + This will be the end of Gondor as + we know it. Here the hammerstroke + will fall the hardest. + +INSERT IMAGE: The BATTLE-SCARRED CITY of OSGILIATH – last +bastion between MINAS TIRITH and MORDOR... + + GANDALF (V.O.) + If the river is taken, if the + garrison at Osgiliath falls, the + last defense of this city will be + gone. + +CLOSE ON: PIPPIN ... desperately seeking reassurance. + + PIPPIN + But we have the White Wizard, + that's got to count for something. + +GANDALF looks down at PIPPIN, he says nothing... + + PIPPIN + (nervous) + Gandalf? + +GANDALF stares into the distance as if seeing something in +his mind’s eye. + 32. + + + INSERT IMAGE: A TOWERING, HOODED FIGURE, DRESSED in BLACK, + is being dressed in ARMOUR by attendant ORCS... + + GANDALF (V.O.) + Sauron has yet to release his + deadliest servant ... The one who + will lead Mordor’s armies in war, + the one they say no living man can + kill. + + CLOSE ON: GANDALF still staring intently as if facing his + enemy in person. + + GANDALF + The Witch-King of Angmar... + (he looks down at a + startled PIPPIN) + You've met him before... + + ANGLE ON: PIPPIN looks up at GANDALF, afraid to ask... + + GANDALF + He stabbed Frodo on Weathertop. + + INSERT IMAGE: FRODO screaming as the MORGUL BLADE is driven + into his SHOULDER... + + PIPPIN blanches at the MEMORY... + + GANDALF + He is the Lord of the Nazgûl - the + greatest of the nine... + + +36 EXT. MINAS MORGUL – NIGHT 36 + + GANDALF (V.O.) + And Minas Morgul is his lair. + + ANGLE ON: FRODO and SAM clamber into a SMALL GULLY beside a + ROUGH-HEWN ROAD ... GOLLUM CAREFULLY peers OVER the lip of + the GULLY... + + ANGLE ON: MINAS MORGUL, a MASSIVE DEAD CITY, set upon a + ROCKY KNEE at the HEAD OF THE Morgul Valley. CORRUPT and + LOATHSOME, it glows with a SICKLY LUMINOUS LIGHT – like a + CORPSE CANDLE. + + TWO HUGE, BESTIAL STONE STATUES guard the BRIDE that leads + to the CITY... + + GOLLUM + 33. + + + The Dead City, very nasty place, + full of ... enemies. + +GOLLUM, FRODO and SAM hurry from their COVER scampering in +the SHADOWS towards MINAS MORGUL... + + GOLLUM + Quick! Quick! They will see, they + will see. + +CLOSE ON: FRODO ... he LOOKS UP at the HIDEOUS STATUES. His +SENSES START REELING. + + GOLLUM + Come away, come away. Look! We have + found it. + +FRODO and SAM look AGHAST at the sight of a NARROW, NEAR- +VERTICAL STAIRCASE, cut into the ROCK-FACE ... Directly in +FRONT of the MINAS MORGUL GATES. + + GOLLUM + The way into Mordor! + +ANGLE ON: Following the STAIRS ... HIGHER and HIGHER up the +sheer western side of the MORGUL VALLEY – to the HIGH PEAKS +of the razor-like MOUNTAINS OF MORDOR. + + GOLLUM + The secret stairs ... climb! + +SUDDENLY! FRODO staggers across the ROAD ... as if some +FORCE, other than his own will, is at work! He lurches +towards the BRIDGE ... towards MINAS MORGUL! + + SAM + No, Mr. Frodo! + + GOLLUM + (desperate) + Not that way! + +SAM runs after FRODO, catching him in his arms as he +STUMBLES. + + GOLLUM + What's it doing? + + SAM + No! + +SAM and GOLLUM pull FRODO from the BRIDGE. + 34. + + + FRODO + (disoriented) + They're calling me! + + FRODO falls to the GROUND. + + AT THAT MOMENT: the GROUND QUIVERS, and a great RUMBLING + NOISE rolls across the ground and ECHOES in the mountains. + + The cold, dull MORGUL VALLEY is suddenly VIOLENT and + FIERCE, as UPRUSHING FLAME springs from MOUNT DOOM. + + MINAS MORGUL ANSWERS: A FLARE of LIVID LIGHTNING, FORKS of + BLUE FLAME, SPRING UP from the TOWER into the SULLEN CLOUD. + + INTERCUT WITH: + + +37 EXT. MINAS TIRITH BALCONY – NIGHT 37 + + ANGLE ON: VIOLENT FIERY FLASHES light the CLOUD above + MORDOR ... SHARP THUNDER rolls across 40 MILES to MINAS + TIRITH. + + CLOSE ON: PIPPIN looking on in FRIGHTENED AWE. GANDALF’S + comforting HAND rests on his shoulder. + + INTERCUT WITH: + + +38 EXT. MINAS MORGUL – NIGHT 38 + + SAM and GOLLUM lead FRODO to the STAIRS... + + ABOVE MINAS MORGUL the SKY is BRIGHT with LIGHT as the + CITY, erupts... + + GOLLUM + Hide! Hide! + + INTERCUT WITH: + + +39 EXT. MINAS TIRITH BATTLEMENTS – NIGHT 39 + + ANGLES ON: FACES of SOLDIERS and CIVILIANS of MINAS TIRITH + as they watch from the PARAPETS of the CITY. + + INTERCUT WITH: + + +40 EXT. MINAS MORGUL – NIGHT 40 + 35. + + + FRODO and SAM sink to the ground, holding their hands + against their ears, as out of the CITY comes a RENDING + SCREECH ... SHIVERING, rising swiftly to a PIERCING PITCH + beyond the range of hearing. The terrible CRY ends, falling + back through a long sickening WAIL, to SILENCE. + + ANGLE ON: FRODO slowly RAISES HIS HEAD ... across the + NARROW VALLEY, directly opposite the HOBBITS, the LORD OF + THE NAZGÛL – the WITCH KING – suddenly RISES UP out of the + DEAD CITY on his FELL-BEAST! + + ...as the WITCH KING settles on the BATTLEMENTS of MINAS + MORGUL. + + His DARK HEAD turns this way and that, sweeping the shadows + with unseen eyes – as if SENSING the RING! + + ANGLE ON: FRODO breaking out into a COLD SWEAT. He squeezes + his eyes shut, clutching at his SHIRT as if it’s on FIRE! + + FRODO + (gasping) + I can feel his blade! + + THE CAVERNOUS GATE of MINAS MORGUL swings OPEN... + + ...and a HUGE ARMY MARCHES OUT! + + RANK upon RANK of ARMOUR CLAD ORCS, moving SWIFTLY and + SILENTLY, pass close to FRODO and SAM in an ENDLESS STREAM + of RAGGED COLUMNS! + + +41 EXT. MINAS TIRITH BALCONY – NIGHT 41 + + CLOSE ON: GANDALF... + + GANDALF + (quiet) + We come to it at last ... the great + battle of our time. + + INTERCUT WITH: + + +43 EXT. MINAS MORGUL - NIGHT 43 + + ANGLE ON: 75,000 ORCS MARCHING TO WAR, just below FRODO and + SAM. + + GANDALF (V.O.) + 36. + + + This war is long planned. Sauron + has hated The West through many + ages ... It is a Hatred that flows + from the depths of time, Across the + deeps of the Sea. + + The WITCH KING SWOOPS down the VALLEY to join the HEAD of + his ARMY. He vanishes into the GLOOM – a shadow into + shadow. + + CLOSE ON: GOLLUM peers out from his stony hiding place. + + GOLLUM + (urgent) + Come, Hobbits. We climb - we must + climb! + + ANGLE ON: FRODO, SAM and GOLLUM climb the STONY STAIRS high + above the MARCHING ARMY. + + +44 EXT. MINAS TIRITH BALCONY – NIGHT 44 + + ANGLE ON: GANDALF ... thinking, calculating... + + GANDALF + (to himself) + The board is set, the pieces are + moving. + + +45 EXT. MINAS TIRITH SIXTH LEVEL – NIGHT 45 + + ANGLE ON: GANDALF striding BACK STREETS of the CITY ... so + DETERMINED and PURPOSEFUL is he, that PIPPIN has to RUN to + keep up. GANDALF suddenly stops and looks down at PIPPIN... + + GANDALF + Peregrin Took, my lad, there is a + task now to be done. Another + opportunity for one of the Shire- + folk to prove their great worth! + + GANDALF kneels down and looks at PIPPIN earnestly, his hand + on PIPPIN’S shoulder. + + GANDALF + You must not fail me. + + GANDALF watches as PIPPIN hurries away. + + +46 EXT. WEST OSGILIATH, RIVER ANDUIN – NIGHT 46 + 37. + + + WIDE ON: An ANCIENT STONE BRIDGE which spans the RUINS of + EAST and WEST OSGILIATH – a once MIGHTY GONDORIAN CITY. + + WIDE ON: ITHILIEN RANGERS patrolling the BRIDGE and the + RIVERBANK. + + WEST OSGILIATH has fallen into disrepair, but the + DESOLATION of EAST OSGILIATH is more pronounced – it is + held by the FORCES of MORDOR. + + CAMERA tracks down beneath the BRIDGE to the DARK WATERS + ... catching a STEALTHY MOVEMENT... + + ANGLE ON: MANY BOATS, carrying MURDEROUS-LOOKING ORCS, are + quietly tracking down the RIVER. On board several HUNCHED + FIGURES steer with LONG OARS. + + GOTHMOG + (to his oarsmen) + Quiet! + + +47 EXT. WEST OSGILIATH, RIVER ANDUIN - NIGHT 47 + + CLOSE ON: FARAMIR, CAPTAIN OF GONDOR, as he issues orders + to his SOLDIERS. + + FARAMIR + (urgent) + To the river – quick! + + ANGLE ON: ITHILIEN RANGERS take position; they are all + WEATHERED, HARDENED, PROFESSIONAL SOLDIERS ... Watchful, + ready, waiting... + + GOTHMOG + Faster! + + ON THE RIVER the BOATS quietly advance. + + ORC COMMANDER + Draw swords! + + ANGLE ON: FARAMIR and his SOLDIERS lie in wait. As the + BOATS arrive, HUNDREDS of ORCS race ashore. FARAMIR steps + out, his SWORD drawn. A FIERCE BATTLE ensues, but FARAMIR + is unable to stop the advance as HUNDREDS OF ORCS cross the + WIDE BRIDGE into WEST OSGILIATH. + + +48 EXT. MOUNT MINDOLLUIN – DAWN 48 + 38. + + + HIGH ANGLE ON: A DIZZYING VIEW ... Looking down on MINAS + TIRITH, 1000 FEET BELOW, as PIPPIN desperately scrambles up + the ROCKY MOUNTAINSIDE. + + +49 EXT. MINAS TIRITH BEACON – DAWN 49 + + PIPPIN clambers over a ROCKY LEDGE and ducks behind a STONE + WALL ... panting HEAVILY. + + ANGLE ON: An ancient STONE LEDGE holds a GREAT PILE of + FIREWOOD, secured in stacked bundles ... The MINAS TIRITH + BEACON! + + TWO bored CITADEL GUARDS sit chatting ... passing the long + hours. + + INTERCUT WITH: + + +50 EXT. MINAS TIRITH STREETS – DAWN 50 + + ANGLE ON: GANDALF as he waits tensely below... + + INTERCUT WITH: + + +51 EXT. MINAS TIRITH BEACON – DAWN 51 + + ANGLES ON: PIPPIN as he stealthily manages to POUR OIL on + the WOOD and set a FLAME to it! + + Within SECONDS, the GREAT PYRE is alight! The GUARDS look + on in TOTAL SURPRISE as the FLAMES ERUPT into the TWILIGHT + SKY. + + INTERCUT WITH: + + +52 EXT. MINAS TIRITH STREETS 52 + + ANGLE ON: GANDALF as the BEACONS burst into FLAMES ... His + eyes flash briefly with TRIUMPH before he hurries off... + + +53 EXT. MINAS TIRITH BATTLEMENTS – DUSK 53 + + ANGLE ON: The BEACON glows BRIGHTLY on the slopes on MOUNT + MINDOLLUIN, high above MINAS TIRITH... + + PULL BACK: GANDALF hurries to the BATTLEMENT, looking + further west along the WHITE MOUNTAINS. + 39. + + + GANDALF + (to himself) + Amon Dîn ... come on... + + ANGLE ON: a bright FIRE ignites on a DISTANT MOUNTAIN PEAK. + + NOISY COMMOTION in the city as PEOPLE realize the BEACONS + have been lit! + + GUARD + The beacon! The beacon at Amon Dîn + is lit! + + FLASH INSERT: DENETHOR staring at the BEACON from the + CITADEL WINDOW ... a look of BLACK FURY on his face. + + ANGLE ON: GANDALF, a strange smile plays on his face... + + GANDALF + (to himself) + Hope is kindled. + + CUT TO: + + +54 EXT. WHITE MOUNTAINS AERIAL – NIGHT 54 + + AERIAL SHOT: MOVING over the WHITE MOUNTAINS... as the + TRAIL of GREAT FIRES slowly winds from PEAK TO PEAK. + + +55 EXT. EDORAS COURTYARD – DAWN 55 + + ANGLE ON: A ROCKY PEAK high above EDORAS ... a GREAT BEACON + FIRE is IGNITED. + + ON THE SOUNDTRACK: A BELL TOLLS urgently! + + CLOSE ON: ARAGORN looks tensely out across the MOUNTAINS... + + PULL BACK ... ARAGORN runs towards the GOLDEN HALL. + + +56 INT. EDORAS, GOLDEN HALL – DAWN 56 + + CLOSE ON: ARAGORN bursts into the GOLDEN HALL. + + ARAGORN + The beacons of Minas Tirith! The + beacons are lit! Gondor calls for + aid! + + É + 40. + + + ANGLE ON: THÉODEN looks up, startled. + + CLOSE ON: ÉOWYN, ÉOMER turn to look at their UNCLE ... + tension builds. + + CLOSE ON: THÉODEN, his head lowered ... Slowly, it rises – + he looks ARAGORN in the EYE. + + THÉODEN + Then Rohan will answer. Muster the + Rohirrim! + + +57 EXT. EDORAS COURTYARD – DAWN 57 + + WIDE ON: EDORAS LOOKOUT ... A SOLDIER RINGING the GREAT + BELL in alarm as below, in the COURTYARD, SOLDIERS mount + their STEEDS amid great activity. + + ANGLE ON: THÉODEN striding purposefully outside, flanked by + ÉOMER and his SOLDIERS... + + THÉODEN + Assemble the Men at Dunharrow - as + many Men as can be found. You have + two days ... On the third, we ride + for Gondor ... and war. + + ANGLE ON: THÉODEN strides onto the PARAPETS... + + THÉODEN + Gamling, make haste across the + Riddermark ... Summon every able- + bodied man to Dunharrow! + + ANGLE ON: THÉODEN watches as below the SOLDIERS prepare. + + ANGLE ON: ÉOWYN hurriedly pulling on RIDING GLOVES, + preparing to mount her HORSE. + + ARAGORN + You ride with us? + + ÉOWYN turns and runs SMACK into ARAGORN... + + ÉOWYN + Just to the encampment. It's + tradition for the women of the + Court to farewell the Men. + + ARAGORN smiles ... reaching past her, he lifts a cover to + reveal a SWORD, strapped to the side of the saddle of her + HORSE. + É + 41. + + + ÉOWYN deftly pulls the cover back down. She looks at + ARAGORN. + + ÉOWYN + (softly) + The Men have found their Captain - + they will follow you into battle, + even to death. + (quietly) + You have given us hope. + + PULL BACK: to reveal THÉODEN stares around at the STREETS + and PEOPLE of EDORAS ... it is as if he knows he will not + see this place again. + + THÉODEN (V.O.) + So ... It is before the walls of + Minas Tirith that the doom of our + time will be decided. + + ANGLE ON: ÉOMER astride his horse, calls to the assembled + SOLDIERS... + + ÉOMER + Now is the hour! Riders of Rohan - + Oaths you have taken. Now, fulfill + them all - For Lord and land! + + +58 EXT. PLAINS OF ROHAN – DAY 58 + + ANGLE ON: THÉODEN astride SNOWMANE, as he, ÉOMER, ARAGORN & + MERRY and LEGOLAS & GIMLI ride out AMID a GREAT COLUMN of + ROHIRRIM, THUNDERING towards DUNHARROW in the MOUNTAINS. + + +59 EXT. WEST OSGILIATH, RIVER ANDUIN – DAY 59 + + ANGLE ON: FARAMIR and his MEN are fighting a losing BATTLE + against the MORDOR invasion. + + MADRIL + We cannot hold them! The city is + lost! + + FARAMIR + Tell the Men to break up. We ride + for Minas Tirith. + + ON THE SOUNDTRACK: OMINOUS SOUNDS of WIND RISING ... HUGE + WINGS BEATING... + + SOLDIER + 42. + + + Nazgûl! + + SPINNING ANGLE: FARAMIR looks up at the sky ... ITHILIEN + RANGERS are suddenly nervous, frightened ... A HUGE SHADOW + passes overhead! + + FARAMIR + Take cover! + + A SUDDEN TERRIFYING SHRIEK rends the AIR! + + FARAMIR + Pull back! Pull back to Minas + Tirith! + + ANGLE ON: SOLDIERS RETREATING through the RUINS of the CITY + as, high in the sky above, the NAZGÛL swoop... + + ANGLE ON: MADRIL as he is cut down by an ORC... + + CLOSE ON: MADRIL ... his breathing quick and shallow ... + footsteps approach... + + ANGLE ON: The HIDEOUSLY deformed features of GOTHMOG + standing over the prone figure of the INJURED RANGER. + + Grabbing a spear from a nearby underling, GOTHMOG drives + the shaft into MADRIL’S chest... + + CLOSE ON: GOTHMOG surveys the carnage with satisfaction. + + GOTHMOG + The age of Men is over. The time of + the Orc has come. + + +60 EXT. PELENNOR FIELDS – DAY 60 + + FARAMIR and a few survivors flee WEST OSGILIATH, + desperately riding toward MINAS TIRITH ... in the SKY above + DARK SHAPES pursue them... + + ANGLE ON: SUDDENLY, from on HIGH, the NAZGÛL strike! + + TILT DOWN ... following the NAZGÛL as it SWOOPS out of LOW- + LYING, MURKY CLOUDS tossing MEN in the AIR like LIMP RAG- + DOLLS! + + AT THAT MOMENT: Across the PLAIN, a FIGURE clothed in WHITE + rides towards them! + 43. + + + From the BATTLEMENTS of MINAS TIRITH, a call ... “The White + Rider!” + + +61 EXT. PELENNOR FIELDS – DAY 61 + + WIDE ON: GANDALF as he spurs SHADOWFAX forward! PIPPIN + clings tightly to the great horse’s MANE. + + ANGLE ON: FARAMIR, SWORD in hand, remains at the REAR, + trying desperately to fend off the DEADLY ASSAULT... + + AGAIN the FELL-BEASTS DIVE low... + + GANDALF thunders into view, raising his STAFF... + + A SHAFT OF WHITE LIGHT suddenly stabs upwards! The NAZGÛL + SWERVES AWAY from the LIGHT, as it pierces the LOW CLOUD! + + For a BRIEF MOMENT, SUNLIGHT streams through the hole onto + PELENNOR FIELDS ... The NAZGÛL circle away from the SUN + RAYS, swiftly spiraling higher and higher. + + The NAZGÛL defeated, GANDALF and the RANGERS ride towards + the safety of MINAS TIRITH. + + +62 EXT. MINAS TIRITH GATES – DAY 62 + + ANGLE ON: IORLAS runs towards the GATES, yelling... + + IORLAS + Open the Gates! Pull! + + The GREAT GATES OPEN, allowing GANDALF, PIPPIN, FARAMIR and + the OSGILIATH SURVIVORS to RIDE IN ... Nearly 100 WOUNDED + AND SHOCKED MEN. + + AS GANDALF pulls SHADOWFAX up... + + FARAMIR + Mithrandir! + + ANGLE ON: FARAMIR STEERS HIS HORSE through the CROWD + towards GANDALF... + + FARAMIR + They broke through our defenses. + They have taken the bridge and the + West Bank. Battalions of Orcs are + crossing the River. + 44. + + + IORLAS + It is as the Lord Denethor + predicted - long has he foreseen + this doom! + + GANDALF + Foreseen and done nothing! + + FARAMIR suddenly STARES at PIPPIN. GANDALF reads the + surprise in his eyes. + + GANDALF + Faramir? ... This is not the first + Halfling to have crossed your path? + + FARAMIR shakes his head. + + FARAMIR + No. + + PIPPIN + (disbelief) + You've seen Frodo and Sam? + + FARAMIR NODS. + + GANDALF + Where? When? + + FARAMIR + In Ithilien, not two days ago. + Gandalf - they are taking the road + to the Morgul Vale. + + GANDALF + (shocked realisation) + ...And then the Pass of Cirith + Ungol. + + CLOSE ON: GANDALF, deeply troubled. + + PIPPIN + What does that mean? What's wrong? + + GANDALF + (urgent) + Faramir ... Tell me everything. + + +64 EXT. CIRITH UNGOL STAIRS – NIGHT 64 + + ANGLE ON: FRODO and SAM following GOLLUM up the dizzying + STAIRWAY, carved into the SHEER CLIFF. + 45. + + + The STEPS are NARROW, UNEVENLY SPACED, and many are BROKEN. + They are so STEEP that FRODO and SAM climb as if on a + LADDER, their desperate FINGERS clinging to the STEPS ABOVE + – trying not to look at the LONG BLACK FALL below them. + + ANGLE ON: FRODO’S foot slips and for a brief moment he is + HANGING PRECARIOUSLY from the ROCK-FACE. + + GOLLUM + Careful, Master - careful! Very far + to fall. Very dangerous on the + stairs. + + +65 EXT. CIRITH UNGOL LEDGE - NIGHT 65 + + ANGLE ON: GOLLUM peering down from ABOVE ... he has reached + a SMALL LEDGE. + + GOLLUM + Come, Master. + + CLOSE ON: FRODO tries to CLAMBER UP onto the LEDGE ... as + he does, the RING slips out of his SHIRT and DANGLES in + FULL VIEW of GOLLUM! + + CLOSE ON: GOLLUM rears back in shock ... tenses like a CAT, + EYES WIDENING. + + GOLLUM + (dreamlike) + Come to Sméagol. + + ANGLE ON: FRODO, head bowed, trying to pull himself up. He + doesn’t notice GOLLUM’S HAND reaching for the RING! + + CLOSE ON: GOLLUM’S FINGERS ... closing in on the RING... + + ANGLE ON: SAM, still TEETERING on the PRECIPITOUS STAIRS, + draws HIS SWORD! + + SAM + (alarmed yell) + Mr. Frodo! + + STARTLED, FRODO looks down at SAM, losing his footing in + the process... + + SAM + Get back you! Don't touch him! + + ANGLE ON: SAM’S horrified face as... + 46. + + + GOLLUM’S out-stretched HAND suddenly GRASPS FRODO’S ARM + pulling him SAFELY onto the LEDGE. + + GOLLUM glares down at SAM. + + GOLLUM + Why does he hates poor Sméagol? + What has Sméagol ever done to him? + Master? + + CLOSE ON: GOLLUM blinks, masking the MALICE of his EYES + with their heavy pale lids. + + GOLLUM + Master carries heavy burden ... + Sméagol Knows ... Heavy, heavy + burden. Fat one cannot know. + Sméagol look after Master. + + CLOSE ON: GOLLUM creeps CLOSE to FRODO and WHISPERS in his + ear: + + GOLLUM + (rasping whisper) + He wants it - he needs it! Sméagol + sees it in his eyes. Very soon, he + will ask you for it - you will see + ... the Fat One will take it from + you. + + CLOSE ON: FRODO looking at SAM ... his hand strays to his + NECK, closing tight around the RING. + + CUT TO: + + +66 EXT. OSGILIATH – DAY 66 + + HIGH ABOVE OSGILIATH, the SINISTER PROFILE of the WITCH + KING seated on a FELL-BEAST as GOTHMOG stands, awaiting his + orders. + + WITCH KING + (clinical) + Send forth all legions. Do not stop + the attack until the city is taken. + Slay them all. + + GOTHMOG + What of the Wizard? + + SLOWLY the WITH KING’S HEAD turns... + 47. + + + WITCH KING + I will break him. + + +67 EXT. MINAS TIRITH BATTLEMENTS - DAY 67 + + REACTIONS: OF GONDORIAN SOLDIERS upon the MINAS TIRITH + BATTLEMENTS ... AWE ... FEAR ... TERROR! + + ANXIOUS SOLDIERS crowd around GANDALF. + + SOLDIER 1 + (worried) + What of Théoden's Riders? + + SOLDIER 2 + Will Rohan’s army come? + + SOLDIER 1 + Mithrandir? + + GANDALF + (grim) + Courage is the best defense that + you have now. + + CUT TO: + + +68 INT. MINAS TIRITH TOWER HALL – DAY 68 + + CLOSE ON: PIPPIN ... DRESSED in OVER-SIZED ARMOUR ... + kneels before DENETHOR... + + PIPPIN + (nervous) + Here do I swear fealty and service + to Gondor, in peace or war, in + living or dying, from this hour + henceforth, until my lord release + me, or death take me. + + DENETHOR + And I shall not forget it, nor fail + to reward that which is given... + + ANGLE ON: DENETHOR proffers his RING which PIPPIN kisses... + + DENETHOR + ...fealty with love... + + DENETHOR gently raises PIPPIN’S head ... DENETHOR’S eyes + meet FARAMIR’S. + 48. + + + DENETHOR + ...valor with honor... + +DENETHOR crosses to a table ... Attendants BEGIN SERVING +him a MEAL... + + DENETHOR + ...disloyalty with vengeance. + +DENETHOR addresses his meal... + + DENETHOR + (reasonable) + I do not think we should so lightly + abandon the outer defenses; + defenses that your brother long + held intact. + + FARAMIR + What would you have me do? + + DENETHOR + I will not yield the River and + Pelennor unfought - Osgiliath must + be retaken. + + FARAMIR + My Lord, Osgiliath is overrun. + + DENETHOR + Much must be risked in war. Is + there a captain here who still has + the courage to do his Lord's will? + +CLOSE ON: FARAMIR as he finally realises the truth. + + FARAMIR + (quietly) + You wish now that our places had + been exchanged, that I had died and + Boromir had lived? + +CLOSE ON: For a brief second, DENETHOR seems to hesitate, +then... + + DENETHOR + (coldly) + Yes, I wish that. + + FARAMIR + Since you are robbed of Boromir, I + will do what I can in his stead. + 49. + + + ANGLE ON: FARAMIR bows low to DENETHOR, then turns to + leave, stops, turns back... + + FARAMIR + If I should return ... think better + of me, father. + + DENETHOR + That will depend on the manner of + your return. + + DENETHOR continues with his meal. FARAMIR exits. + + CUT TO: + + +69 EXT. CIRITH UNGOL LEDGE – DAWN 69 + + AERIAL SHOT: ... HIGH above MINAS MORGUL, on the SMALL + LEDGE next to the STAIRS, LIE the FIGURES of FRODO, SAM and + GOLLUM. + + SAM watches a sleeping GOLLUM suspiciously as he + desperately tries to stay awake. SLOWLY, INEVITABLY, SAM + falls asleep. + + CLOSE ON: GOLLUM’S EYES SNAP OPEN ... he sits up and + quietly crawls towards SAM’S KNAPSACK. + + SAM breathes deeply now, heavily asleep. + + GOLLUM grimaces in DISTASTE as he pulls out the LEMBAS + BREAD ... Quietly he SPRINKLES CRUMBS over the sleeping + SAM. + + ANGLE ON: GOLLUM as he throws the remaining LEMBAS BREAD + over the cliff. + + CLOSE ON: SAM’S EYES flick open ... GOLLUM spins around, + caught off guard... + + SAM + What are you up to? Sneaking off, + are we? + + SMÉAGOL + (prevaricating) + Sneaking? Sneaking? Fat Hobbit is + always so polite. Sméagol shows + them secret ways that nobody else + could find and they say ”Sneak!”, + “Sneak!” Very nice friends, oh yes, + my Precious, very nice. + 50. + + + SAM + Alright, alright - You just + startled me is all. + (peering over the cliff’s + edge) + What were you doing? + + SMÉAGOL + (sly) + Sneaking! + +Too exhausted to argue, SAM turns away. + + SAM + Fine, have it your own way. + +SAM gently shakes FRODO’S shoulder. + + SAM + Sorry to wake you, Mr. Frodo. We + have to be moving on. + +SAM rummages through his KNAPSACK, looking for a bite to +eat. + +FRODO sits up slowly. + + FRODO + It's dark still. + + SAM + It's always dark here- + +CLOSE ON: SAM stops rummaging ... SHOCK on his face. + + SAM + It's gone ... the Elven bread! + + FRODO + (alarmed) + What? That's all we have left! + +SAM slowly turns to GOLLUM... + + SAM + (dawning realization) + He took it! He must have! + + GOLLUM + (shocked) + Sméagol? No, no, not poor Sméagol. + Sméagol hates nasty Elf bread! + 51. + + + SAM + You're a lying wretch! What did you + do with it? + + FRODO + He doesn't eat it ... he can't have + taken it. + +CLOSE ON: GOLLUM slaps his hand against SAM’S JACKET ... +sending LEMBAS CRUMBS RAINING DOWN! + + GOLLUM + What's this? Crumbs on his + jacketses! + (fake outrage) + He took it! He took it! I seen him, + he's always stuffing his face when + Master's not looking! + + SAM + (angry) + That's a filthy Lie! + +SAM is ENRAGED ... he throws himself at GOLLUM ... punching +him! + + SAM + (yelling) + You stinking two-faced sneak! Call + me a thief... + + FRODO + (yelling) + Sam! Stop it! + +FRODO pulls SAM off GOLLUM. + + SAM + (yelling) + I'll kill him! I’ll kill him! + + FRODO + No, Sam! + +FRODO COLLAPSES on the GROUND! + +CLOSE ON: SAM’S horrified face! + + SAM + Alright, I'm sorry, I didn't mean + for it to go so far. I was angry + ... Here, let's rest up a bit. + 52. + + +SAM attempts to fuss around FRODO... + + FRODO + (exhausted) + I'm alright. + + SAM + No, no, you're not alright! You're + exhausted. It's that Gollum; it's + this place; it's that thing around + your neck. I could help a bit ... I + could carry it for a while - share + the load. + +CLOSE ON: A terrible light comes into FRODO’S eyes as he +STARES into the EARNEST eyes of SAM. + + FRODO + Get away! + +FRODO pushes SAM away, clutching at the RING beneath his +shirt. + + SAM + (confused) + I don't want to keep it ... I just + want to help! + +FRODO rises to his FEET, as if empowered with a frightening +intense ENERGY. + + GOLLUM + See! See! He wants it for himself. + + SAM + (beside himself) + Shut up, you! Go away. Get out of + here. + +CLOSE ON: FRODO... + + FRODO + (quietly) + No, Sam ... it's you. + +SAM stares at FRODO with DISBELIEF. + + FRODO + I'm sorry, Sam... + +CLOSE ON: TEARS WELL in SAM’S eyes... + + SAM + 53. + + + (hopelessly) + But ... he's a liar ... he's + poisoned you against me. + + FRODO + You can't help me anymore. + + SAM + You don't mean that. + + FRODO + (eerie calm) + Go home. + + CLOSE ON: TEARS spill down SAM’S cheeks ... as FRODO turns + AWAY! + + ANGLE ON: FRODO and GOLLUM leave ... SAM is in complete + MISERY. + + +71 EXT. MINAS TIRITH STREETS - DAY 71 + + ANGLE ON: FARAMIR leading a COLUMN of 200 KNIGHTS through + the STREETS towards the CITY GATE ... PEOPLE are rushing + forward, THROWING FLOWERS over the KNIGHTS. + + CLOSE ON: GANDALF hurries alongside FARAMIR’S HORSE. + + GANDALF + Faramir! Faramir! Your father's + will has turned to madness! Do not + throw away your life so rashly! + + FARAMIR + (deadened) + Where does my allegiance lie if not + here? + + GANDALF reads the PAIN in FARAMIR’S eyes ... he calls after + him, trying one more time to stop the YOUNG MAN. + + GANDALF + Your father loves you, Faramir! + (quietly) + And will remember it before the + end. + + +72 EXT. MINAS TIRITH BATTLEMENTS - DAY 72 + 54. + + + HIGH ANGLE: FARAMIR leads the 200 MOUNTED KNIGHTS through + the GATES OF MINAS TIRITH and across the PELENNOR FIELDS + towards the RUINS of OSGILIATH. + + ANGLE ON: The people of MINAS TIRITH watch from the + BATTLEMENTS. + + HIGH WIDE: FARAMIR’S KNIGHTS FAN OUT ... to form one + straight line of 200 HORSEMEN. + + +73 EXT. WEST OSGILIATH - DAY 73 + + GOTHMOG and his MEN watch as the KNIGHTS approach. + + +74 INT. TOWER HALL, MINAS TIRITH - DAY 74 + + FAST PUSH IN ... to PIPPIN looking on as DENETHOR eats. + + DENETHOR + Can you sing, Master Hobbit? + + PIPPIN + (uneasy) + Well ... yes, at least, well enough + for my own people ... but we have + no songs for great halls and evil + times ... we seldom sing of + anything more terrible than wind or + rain. + + DENETHOR + And why should your songs be unfit + for my halls, or for hours such as + these. Come - sing me a song! + + PIPPIN’S simple, clear voice echoes through the VAST HALL. + + PIPPIN (V.O.) + Home is behind, the world ahead, + And there are many paths to tread. + Through shadow to the edge of night + Until the stars are all alight. + Mist and shadow, cloud and shade: + All shall fade, all shall fade. + + INTERCUT WITH: + + +75 EXT. PELENNOR FIELDS/OSGILIATH RUINS - DAY 75 + 55. + + + ANGLE ON: SLOW MOTION ... TRACKING WITH THE 200 MOUNTED + KNIGHTS. + + ANGLE ON: SLOW MOTION ... GOTHMOG rises amidst the RUINS of + OSGILIATH. + + ANGLE ON: SLOW MOTION ... FARAMIR’S KNIGHTS - 75 yards away + - thundering towards camera. + + PULL BACK ... to GOTHMOG ... he turns to CAMERA and RAISES + HIS BOW. + + ANGLE ON: SLOW MOTION ... Behind GOTHMOG - all over the + RUINED CITY - 5000 ORC ARCHERS rise to their feet ... BLACK + ARROWS already strung on their BOWS! + + CLOSE ON: SLOW MOTION ... FARAMIR YELLING defiantly. + + WIDE PROFILE: SLOW MOTION ... FARAMIR’S 200 KNIGHTS ride + straight into a BLACK WALL of FLYING ARROWS. + + AS ONE, the HORSES and HORSEMEN collapse into a + CARTWHEELING, TUMBLING HEAP ... within seconds all are + MOTIONLESS. + + CLOSE ON: NORMAL SPEED ... FAST CUTS of SCREAMING ORCS... + + +77 INT. TOWER HALL, MINAS TIRITH - DAY 77 + + THROUGHOUT the above sequence DENETHOR has continued to + EAT. + + ANGLE ON: PIPPIN finishes his bittersweet song ... he looks + up at DENETHOR who continues as if he has not sent his son + to his death. + + ANGLE ON: PIPPIN turns away, his SORROW etched on his YOUNG + FACE... + + +78 EXT. MINAS TIRITH COURTYARD - DAY 78 + + GANDALF sits quietly in a COURTYARD, alone, defeated. + + +79 EXT. OSGILIATH BRIDGE - DAY 79 + + GREAT SIEGE TOWERS and CATAPULTS are ROLLED along the + REPAIRED BRIDGE which spans both sides of OSGILIATH ... + They head straight towards MINAS TIRITH... + 56. + + +80 EXT. DUNHARROW ENCAMPMENT - DUSK 80 + + ANGLES ON: ARAGORN, THÉODEN, ÉOMER, MERRY, LEGOLAS and + GIMLI GALLOP into a VAST CAMP beneath the COVER OF TREES + ... TEEMING with MEN, HORSES and TENTS. + + ANGLE ON: THÉODEN acknowledges GRIMBOLD, a MARSHALL OF + ROHAN, as he passes by a GROUP of SOLDIERS. + + THÉODEN + Grimbold, how many? + + GRIMBOLD + I bring five hundred Men from the + Westfold, My Lord. + + ROHAN MARSHALL (O.S.) + We have three hundred more from + Fenmarch, Théoden King. + + THÉODEN smiles grimly as he rides on. + + THÉODEN + (quietly) + Where are the riders from + Snowbourn? + + GAMLING (O.S.) + None have come, My Lord. + + +81 EXT. DUNHARROW PLATEAU - DUSK 81 + + ARAGORN joins THÉODEN on a BLUFF overlooking the ENCAMPMENT + BELOW... + + CAMERA CRANES to REVEAL: THOUSANDS of MEN and HORSES! Smoke + from many small CAMP-FIRES has filled the VALLEY with a + TWILIGHT HAZE. + + THÉODEN + (quietly) + Six thousand spears ... less than + half of what I'd hoped for... + + ANGLE ON: ARAGORN turns to THÉODEN... + + ARAGORN + Six thousand will not be enough to + break the lines of Mordor. + + THÉODEN + More will come. + 57. + + + ARAGORN + Every hour lost hastens Gondor's + defeat. We have till dawn. Then we + must ride. + + CLOSE ON: THÉODEN realizing what ARAGORN is saying - no + matter the numbers he must commit to war by the morning. + THÉODEN nods. + + The HORSES whinny loudly in the distance ... THÉODEN looks + up at the MOUNTAIN which looms behind them... + + +82 EXT. DUNHARROW PLATEAU - DUSK 82 + + ANGLE ON: HORSES rearing in terror as ROHAN SOLDIERS try to + quieten them... + + ANGLE ON: LEGOLAS and GIMLI move through the CAMP... + + CLOSE ON: LEGOLAS looking at a group of ROHAN SOLDIERS ... + they sit quiet and hunched ... no one speaking... + + LEGOLAS looking toward ÉOMER, who is unsaddling his + HORSE... + + LEGOLAS + The horses are restless ... and the + Men are quiet... + + ÉOMER + They grow nervous in the shadow of + the mountain... + + GIMLI’S eyes travel to a ROW of ANCIENT STANDING STONES + that mark the ENTRANCE to a ROAD leading away from the + ENCAMPMENT and INTO the MOUNTAIN. + + GIMLI + That road there - where does that + lead? + + LEGOLAS + It is the road to the Dimholt... + The door under the mountain. + + ÉOMER + None who venture there ever return. + (under his breath) + That mountain is evil... + 58. + + + ANGLE ON: ARAGORN stands before the road as though + transfixed ... before him a HORSE whinnies and pulls at his + ropes nervously... + + ARAGORN POV: A GHOSTLY FIGURE seems to emerge from the + gloom ... ARAGORN starts in fright as... + + GIMLI (O.S.) + Aragorn! + + ANGLE ON: ARAGORN stares down at the LITTLE DWARF... + + GIMLI + Let's find some food. + + ARAGORN casts another look back at the ANCIENT STANDING + STONES before following GIMLI. + + +83 EXT. DUNHARROW PLATEAU - DUSK 83 + + ANGLE ON: All is quiet in the ENCAMPMENT... + + +84 INT. ÉOWYN’S TENT, DUNHARROW - NIGHT 84 + + ANGLE ON: ÉOWYN kneels before MERRY, adjusting his HELMET + STRAP. + + ÉOWYN + There! A true Esquire of Rohan. + + MERRY exhales - excited and terrified in equal measure. In + his EXCITEMENT, he draws his SWORD... + + ÉOWYN steps back, laughing... + + MERRY + Sorry, it isn't all that dangerous. + (despondent) + It isn’t even sharp. + + ÉOWYN + Well, that's no good, you won't + kill many Orcs with a blunt blade. + Come on. + + +85 EXT. DUNHARROW PLATEAU - NIGHT 85 + + As ÉOWYN and MERRY leave the tent, ÉOMER and GAMLING are + sitting nearby, finishing a meal ... ÉOWYN ushers MERRY + off. + É + 59. + + + ÉOWYN + To the Smithy - go! + + MERRY hurries off ... ÉOMER watches the YOUNG HOBBIT leave. + + ÉOMER + You should not encourage him. + + ÉOWYN + You should not doubt him. + + ÉOMER + I do not doubt his heart ... Only + the reach of his arm. + + CLOSE ON: GAMLING stifles a laugh ... ÉOWYN turns on both + of them... + + ÉOWYN + Why should Merry be left behind? He + has as much cause to go to war as + you. + (to herself) + Why can he not fight for those he + loves? + + ANGLE ON: At the PLATEAU edge, a GUARD looks down the STEEP + PRECIPICE as a HORSE and RIDER move along the RIDGE... + + +86 EXT. DUNHARROW TRACK - NIGHT 86 + + ANGLE ON: ARAGORN tosses in his SLEEP, disturbed by images + and voice... + + GANDALF + To the Black Ships... + + In ARAGORN’S dream, ARWEN suddenly WAKES... + + ARWEN (V.O.) + I choose a mortal life ... I wish I + could have seen him, one last + time... + + As ARWEN lies dying, the EVENSTAR falls from her fingers... + At that moment, ARAGORN wakes, his SWORD quickly in his + HAND ... A GUARD stands in the DOORWAY... + + GUARD + King Théoden awaits you, My Lord. + 60. + + +87 EXT. DUNHARROW PLATEAU - NIGHT 87 + + ARAGORN hurries towards THÉODEN’S TENT... + + +88 INT. THÉODEN’S TENT, DUNHARROW PLATEAU - NIGHT 88 + + ANGLE ON: THÉODEN looks up as ARAGORN enters. + + THÉODEN + I take my leave. + + ANGLE ON: THÉODEN bows slightly to the HOODED FIGURE and + LEAVES, shooting ARAGORN a strange look as he goes... + + CLOSE ON: The FIGURE stands and pulls back the HOOD ... to + reveal ... ELROND. + + ARAGORN + My Lord Elrond. + + ELROND + I come on behalf of one whom I + love. + + ELROND’S face is ETCHED with PAIN... + + ELROND + Arwen is dying. + + ANGLE ON: ARAGORN receiving this news ... ASHEN-FACED. + + ARAGORN + She stayed? + + ELROND + She will not long survive the evil + that now spreads from Mordor. + + ELROND’S eyes fall to the EVENSTAR which hangs around + ARAGORN’S neck... + + ELROND + The light of the Evenstar is + failing. As Sauron's power grows, + her strength wanes. Arwen's life is + now tied to the fate of the Ring. + The Shadow is upon us, Aragorn, the + end has come. + + ARAGORN + It will not be our end, but his. + 61. + + + ELROND + You ride to war, but not to + victory. Sauron's armies march on + Minas Tirith - this you know - but + in secret he sends another force + which will attack from the river... + +CLOSE ON: ARAGORN looks at ELROND in shock. + + ELROND + A fleet of Corsair ships sails from + the South. + +FLASH INSERT: A FLEET of BLACK SAILS moving along a SILVER +RIBBON of WATER. + + ELROND + They'll be in the city in two + days... You're outnumbered, + Aragorn. You need more men. + + ARAGORN + There are none. + +ELROND hesitates a BEAT... + + ELROND + (quietly) + There are those who dwell in the + mountain. + +A SUDDEN WIND rushes through the TENT, lifting HANGINGS, +scattering MAPS, knocking over GOBLETS... + +As ARAGORN looks at ELROND, an IMAGES FLASHES in MIND’S EYE +... The GHOSTLY FIGURE on the DIMHOLT ROAD... + +ARAGORN looks at ELROND in shock... + + ARAGORN + Murderers, traitors - You would + call upon them to fight? They + believe in nothing. They answer to + no-one. + + ELROND + They will answer to the King of + Gondor. + +ARAGORN’S eyes fall to a PLAIN BLACK SCABBARD, which ELROND +draws from beneath his robes. + 62. + + + CLOSE ON: ELROND’S long white finger draw the hilt of a + SWORD from the scabbard to reveal ... an ELVEN SWORD + glinting in the firelight! + + ELROND + Andúril, flame of the West, forged + from the Shards of Narsil. + + ARAGORN takes the sword ... staring at it in wonder. + + ARAGORN + Sauron will not have forgotten the + Sword of Elendil... + + ARAGORN draws the long blade from its sheath... + + ARAGORN + ...the blade that was broken shall + return to Minas Tirith. + + ELROND + The man who can wield the power of + this sword can summon to him an + army more deadly than any that + walks this earth. + + ELROND stares hard at ARAGORN... + + ELROND + Put aside the Ranger - become who + you were born to be - take the + Dimholt road. + + A HEAVE SILENCE hangs in the room. + + ELROND + (ELVISH: with subtitles) + Ónen i-Estel Edain. I give hope to + Men. + + ARAGORN + (ELVISH: with subtitles) + Ú-chebin estel anim. I keep none + for myself. + + ANGLE ON: ARAGORN re-sheathes the SWORD. + + +89 EXT. DUNHARROW PLATEAU - NIGHT 89 + + ANGLE ON: As ARAGORN readies BREGO for leaving, ÉOWYN + approaches ... her temper barely held in check. + + É + 63. + + + ÉOWYN + Why are you doing this? + + ARAGORN looks over his shoulder at her... + + ÉOWYN + The war lies to the east; you + cannot leave on the eve of battle. + You cannot abandon the Men. + + ARAGORN + Éowyn... + + ÉOWYN + We need you here- + + ARAGORN rounds on her... + + ARAGORN + Why have you come? + + ÉOWYN + (hesitant) + Do you not know? + + ARAGORN looks at her sadly, not wanting to hurt her. + + ARAGORN + (gentle) + It is but a shadow and a thought + that you love ... I cannot give you + what you seek. + + ÉOWYN steps back as though STRUCK ... she watches stricken + as ARAGORN leaves... + + +90 EXT. DUNHARROW PLATEAU - NIGHT 90 + + ANGLE ON: ARAGORN leads his horse through the TENTS towards + the DIMHOLT ROAD. + + A LIGHT FLARES ahead of him... + + ANGLE ON: A SHORT FIGURE steps out of the SHADOWS ... PIPE + in hand. + + GIMLI + Just where do you think you're off + to? + + ARAGORN looks at GIMLI - GRATEFUL for his COURAGE but + determined to go ALONE. + 64. + + + ARAGORN + Not this time ... This time you + must stay, my friend. + + LEGOLAS (O.S.) + Have you learnt nothing of the + stubbornness of Dwarves? + + ANGLE ON: ARAGORN looks at LEGOLAS as he appears, leading + his HORSE - already SADDLED. + + GIMLI steps closer to ARAGORN. + + GIMLI + You might as well accept it - we're + going with you, laddie. + + ARAGORN shakes his head, smiling his acceptance. + + ANGLE ON: ARAGORN, LEGOLAS and GIMLI as they slowly ride + towards the BACK of the PLATEAU ... Past the ANCIENT + STANDING STONES that lead to the NARROW PASS. + + +91 EXT. DUNHARROW PLATEAU - NIGHT 91 + + ANGLE ON: THÉODEN and GAMLING watch the RETREATING FIGURES + of ARAGORN, LEGOLAS and GIMLI ... ROHAN SOLDIERS emerge + from their tent, crestfallen to see ARAGORN leave. + + ARAGORN, LEGOLAS and GIMLI disappear into the SHADOWS of + the MOUNTAINS. The ROHAN SOLDIERS murmur among themselves, + “What’s happening?”, “Where’s he going?” + + GAMLING + Lord Aragorn! + + ROHAN SOLDIER (O.S.) + Why does he leave on the eve of + battle? + + GAMLING + He leaves because there is no hope. + + CLOSE ON: THÉODEN as he moves forward. + + THÉODEN + He leaves because he must. + + GAMLING + Too few have come. We cannot defeat + the armies of Mordor. + + É + 65. + + + THÉODEN + No, we cannot... + (surveying his frightened + Men) + But we will meet them in battle, + nonetheless. + + +92 EXT. THÉODEN’S TENT, DUNHARROW PLATEAU - DAWN 92 + + ANGLE ON: THÉODEN looks at ÉOWYN who stands as if turned to + stone ... she is looking up at a LIGHTENING SKY ... The + QUIET before the MEN depart for WAR... + + THÉODEN + (gentle) + I have left instruction: the people + are to follow your rule in my stead + ... take up my seat in the Golden + Hall ... long may you defend Edoras + if the battle goes ill. + + ANGLE ON: ÉOWYN turns to the KING ... her FACE a BLANK ... + She speaks without emotion. + + ÉOWYN + What other duty would you have me + do, My Lord? + + THÉODEN moves towards her, taking her hand... + + THÉODEN + (quiet) + Duty? ...No, I would have you smile + again - not grieve for those whose + time has come. + + ÉOWYN slowly lifts her head... + + THÉODEN + You shall live to see these days + renewed. + + CLOSE ON: THÉODEN lifts ÉOWYN’S face to look into her + EYES... + + THÉODEN + (whisper) + No more despair. + + +93 EXT. DIMHOLT ROAD - DAY 93 + 66. + + + ANGLE ON: ARAGORN, LEGOLAS and GIMLI make their way up a + GLOOMY CANYON, shadowed by BLACK FIR TREES. The shadowed + ridges of the DWIMORBERG MOUNTAIN rise BEFORE THEM. + + It is a SPOOKY PLACE. + + GIMLI + What kind of an army would linger + in such a place? + + LEGOLAS + One that is cursed ... Long ago the + Men of the Mountain swore an oath + to the last King of Gondor - to + come to his aid, to fight, but when + the time came, when Gondor's need + was dire, they fled ... Vanishing + into the darkness of the mountain + ... And so Isildur cursed them - + never to rest until they had + fulfilled their pledge. + + SILENCE surrounds them, there are no birds, no wind. Only + the OMINOUSLY MUFFLED THUD of their horses’ hooves on the + dank FIR-NEEDLES. + + +94 EXT. DIMHOLT GLEN - DAY 94 + + ANGLE ON: Before them, at the ROOT OF THE MOUNTAIN, a SHEER + WALL of ROCK towers... + + GIMLI + (terrified whisper) + The very warmth of my blood seems + stolen away. + + Within the walls, a creepy DARK DOOR gapes like a mouth of + night. SIGNS and FIGURES are carved above its WIDE ARCH. + + LEGOLAS + (translating) + The way is shut. It was made by + those who are dead, and the Dead + keep it. The way is shut. + + AT THAT MOMENT: A CHILL WIND seems to rush out of the + DOORWAY ... ARAGORN stares into the BLACKNESS, his HAIR + BLOWING WILDLY. + + The HORSES REAR and ‘BUCK’ in terror, turning and GALLOPING + AWAY. + 67. + + + ARAGORN + Brego! + + The three HORSES DISAPPEAR ... ARAGORN turns resolutely + towards the DOORWAY... + + ARAGORN + (steely resolve) + I do not fear death! + + ANGLE ON: ARAGORN WALKING into the BLACKNESS. + + LEGOLAS quickly follows ... swallowed by the DARKNESS. + + CLOSE ON: GIMLI left ALONE ... He hesitates, struggling + with his FEAR. + + GIMLI + Well, this is a thing unheard of + ... An Elf will go underground when + a Dwarf dare not. + (gritting his teeth) + Oh! I'd never hear the end of it! + + GIMLI plunges into the TUNNEL behind the OTHERS! + + +95 EXT. DUNHARROW ENCAMPMENT - DAWN 95 + + MUCH ACTIVITY ... HORNS SOUND ... the ENTIRE CAMP is on the + MOVE ... fires are DOUSED, TENTS pulled down, HORSES + saddled. + + +96 EXT. DUNHARROW PLATEAU - DAWN 96 + + ANGLE ON: THÉODEN strides through the CAMP, ÉOMER at his + SIDE. + + THÉODEN + We must ride light and swift. It's + a long road ahead ... and man and + beast must reach the end with the + strength to fight. + + ANGLE ON: MERRY ... preparing a LITTLE PONY with a SADDLE + and SUPPLIES. He is wearing an OVERSIZED HELMET and + ROHIRRIM CLOTHING ... he looks at once NERVOUS and EXCITED. + + KING THÉODEN breaks away from a COLUMN and rides up to + MERRY. + + THÉODEN + 68. + + + (gently) + Little Hobbits do not belong in + war, Master Meriadoc. + + MERRY + All my friends have gone to battle. + I would be ashamed to be left + behind! + + THÉODEN + It's a three-day gallop to Minas + Tirith. None of my Riders can bear + you as a burden. + + MERRY + But ... I want to fight! + + THÉODEN + I will say no more. + +KING THÉODEN wheels his HORSE away... + +MERRY is bitterly DISAPPOINTED. He stands, head down - a +TINY DEJECTED FIGURE - as the MIGHTY ROHIRRIM on their +LARGE HORSES ride by ... a jangling sea of HELMETS, SHIELDS +and BANNERS. + +SUDDENLY ... MERRY is plucked off the ground! A SOLDIER has +snatched him by the collar ... and plonked him down on +their SADDLE! + +CLOSE ON: MERRY twists around, looking up at the SOLDIER +... Beneath a HELMET and MAIL HOOD is... + +...ÉOWYN, disguised as a MAN! + + ÉOWYN + (grimly) + Ride with me. + + MERRY + My Lady! + +CLOSE ON: MERRY’S face visible under the CAPE ... looking +EXCITED! + + ÉOMER + (shouting above the din) + Move out - move out! + + THÉODEN + Ride! Ride now, for Gondor! + 69. + + +97 EXT. DUNHARROW VALLEY - DAWN 97 + + HIGH WIDE: The VALLEY FLOOR as THOUSANDS of HORSEMEN ride + out after their KING. + + +98 EXT. PELENNOR FIELDS/MINAS TIRITH - DAY 98 + + ANGLE ON: GREAT SIEGE TOWERS and CATAPULTS are ROLLING + across the PELENNOR FIELDS ... Thousands of FLAMING TORCHES + light the snarling, slathering MORGUL ORCS ... marching in + RAGGED RANKS. + + ANGLES ON: Flowing torrents of ORCS stream past CAVE + TROLLS, beating the DRUMS OF WAR ... MINAS TIRITH lies + ahead - only TWO MILES AWAY! + + +99 INT. PATHS OF THE DEAD CAVERN - DAY 99 + + ANGLE ON: ARAGORN leads LEGOLAS and GIMLI into a WIDE + CAVERN ... he WAVES HIS TORCH through the DARKNESS: + ILLUMINATING a HUGE CAVERN... + + A ghastly CREAKING NOISE, like stone being sundered, cuts + through the SILENCE. + + A GHOSTLY FIGURE steps from the ROCK WALLS! + + ANGLES ON: ARAGORN, LEGOLAS and GIMLI look on in HORROR, as + a MUMMIFIED SPECTRE looms before them: EYELESS SOCKETS ... + ROTTEN TEETH ... a pale SICKLY GLOW ... the KING OF THE + DEAD! + + FOG SWIRLS around as the GHOST SNARLS at ARAGORN... + + KING OF THE DEAD + Who enters my domain? + + ARAGORN moves forward ... unflinching... + + ARAGORN + One who will have your allegiance. + + KING OF THE DEAD + (snarl) + The Dead do not suffer the living + to pass... + + ARAGORN + You will suffer me! + 70. + + +The KING OF THE DEAD’S MALEVOLENT LAUGH echoes through the +CAVES... + +ANGLE ON: The FOG suddenly ROLLS BACK, forming a retreating +wall of GREY VAPOR ... slowly, RANK upon RANK of SPECTRAL +WARRIORS are revealed! GHOULISH FACES ... RUSTING WEAPONS +... TATTERED BANNERS. + +WIDE ON: The FOG reveals a DEAD ARMY of MANY THOUSANDS ... +assembled around the CAVERN! + +ANGLE ON: ARAGORN stares GRIMLY at the KING OF THE DEAD. + +CLOSE ON: THE KING OF THE DEAD as he smiles evilly at +ARAGORN ... ARAGORN holds his GAZE... + + KING OF THE DEAD + (chilling) + The way is shut... + +THE KING OF THE DEAD moves relentlessly towards ARAGORN... + + KING OF THE DEAD + It was made by those who are Dead + and the Dead keep it... + +WIDE: ARAGORN, LEGOLAS and GIMLI are now surrounded by an +ARMY of the DEAD... + + KING OF THE DEAD + The way is shut. Now, you must die. + +ANGLE ON: LEGOLAS fires an ARROW at the KING OF THE DEAD +... it PASSES STRAIGHT THROUGH! + +ARAGORN keeps moving forward, his eyes locked on the +SPECTRE. + + ARAGORN + (desperate) + I summon you to fulfill your oath! + +ANGLE ON: The KING OF THE DEAD SNARLS and raises his DEADLY +SWORD above ARAGORN’S HEAD! + + KING OF THE DEAD + (raspy yell) + None but the King of Gondor may + command me! + +QUICK BEAT: ARAGORN RAISES ANDÚRIL... + 71. + + +With a TERRIFYING SHRIEK, THE KING OF THE DEAD SWEEPS his +SWORD towards ARAGORN’S HEAD! + +SLOW MOTION: ARAGORN raises his SWORD in ANSWER ... a LOW +WHISTLE as it SWEEPS through the AIR... + +CLANG! The BLADE OF ANDÚRIL clashes with the SPECTRAL SWORD +... the SHARP RING of METAL reverberates through the +CAVERNS! + +CLOSE ON: THE KING OF THE DEAD stares at ARAGORN in +DISBELIEF. + + KING OF THE DEAD + (fearful) + It cannot be - that line was + broken! + +ANGLE ON: ARAGORN grabs the SHOCKED GHOST by the NECK... + +ARAGORN holds the SHARP BLADE against the GHOST’S THROAT! + + ARAGORN + It has been remade! + +SILENCE. + +ARAGORN releases the KING OF THE DEAD ... he ADDRESSES the +GHOST ARMY. + + ARAGORN + Fight for us and regain your honor! + +GHOSTLY FACES stare hollow-eyed at ARAGORN... + + ARAGORN + (yelling) + What say you? + +SILENCE. + + ARAGORN + What say you? + + GIMLI + Aghh! You’re wasting your time, + Aragorn! They had no honour in + life, they have none now in death. + + ARAGORN + (yelling) + 72. + + + I am Isildur's heir. Fight for me + and I will hold your oath + fulfilled. What say you? + + +103 EXT. PELENNOR FIELDS/MINAS TIRITH - DAY 103 + + ANGLES ON: THOUSANDS OF ORCS continue moving relentlessly + forward ... Towards the WALLS of MINAS TIRITH. + + +104 EXT. MINAS TIRITH GATES - DAY 104 + + CLOSE ON: A GUARD yells down from the PARAPET above the + HUGE WOODEN GATE... + + GATE GUARD + (yelling) + Open the gate! Quick! + + ANGLE ON: The HUGE GATE swings open, revealing ... + FARAMIR’S badly wounded HORSE ... dragging FARAMIR behind! + Both the HORSE and FARAMIR are impaled with ORC ARROWS! + + IORLAS + (shocked) + Lord Faramir! + + +105 EXT. PELENNOR FIELDS/MINAS TIRITH - DAY 105 + + As CATAPULTS are prepared, GOTHMOG rides through ranks of + ORCS... + + +106 INT. MINAS TIRITH, COURT OF THE KINGS - DAY 106 + + ANGLE ON: IORLAS and OTHER SOLDIERS arrive at the CITADEL + with FARAMIR’S UNCONSCIOUS BODY on a STRETCHER ... PIPPIN + follows them. + + CLOSE ON: DENETHOR EMERGES from the TOWER HALL ... he runs + towards his son... + + DENETHOR + Faramir! + + DENETHOR bends to the STRETCHER bearing his SON. + + DENETHOR + (whisper) + Say not that he has fallen... + 73. + + + IORLAS + They were outnumbered, none + survived. + + CLOSE ON: PIPPIN devastated... + + +107 EXT. PELENNOR FIELDS/MINAS TIRITH - DAY 107 + + GOTHMOG turns to his LIEUTENANTS... + + GOTHMOG + Fear! The city is rank with it. Let + us ease their pain. Release the + prisoners! + + LIEUTENANT + Catapults! + + At his ORDERS, the GREAT CATAPULTS fire THWAT! THWAT! + THWAT! + + +108 EXT. MINAS TIRITH STREETS - DAY 108 + + The ORC CATAPULTS do not fire rocks... + + HORROR sweeps through the streets of MINAS TIRITH as the + SEVERED HEADS of FARAMIR’S HORSEMEN land amongst the + SOLDIERS! + + +109 EXT. MINAS TIRITH COURT OF THE KINGS - DAY 109 + + DENETHOR looks down at FARAMIR’S UNCONSCIOUS BODY... + + DENETHOR + My son is dead. My line has ended. + + PIPPIN has run to FARAMIR and bends towards him... + + PIPPIN + (touching FARAMIR’S + forehead) + He's alive! + + DENETHOR + The House of Stewards has + failed!... + + PIPPIN + (urgently) + He needs medicine, My Lord! + 74. + + + DENETHOR + My line has ended. + + PIPPIN + (urgently) + My Lord! + +ANGLE ON: DENETHOR slowly turning away ... walking as if in +a TRANCE... + +CLOSE ON: DENETHOR has reached the edge of the COURTYARD +... he STARES in SHOCKED DISBELIEF at the VISTA spread out +BELOW: + +HIGH WIDE ANGLE: A FULL VIEW of the ORC ARMY ... from the +TOP of MINAS TIRITH. + +75,000 ORCS are spread out across the PELENNOR FIELDS like +a sea of black ANTS. + +CLOSE ON: TROLLS load the CATAPULTS with ROCKS. + +BATTERING RAMS and SIEGE TOWERS are hauled on CHAINS. + +Thousands of flickering TORCHES give the army the look of a +moving city in the MURKY MORDOR TWILIGHT. + +CLOSE ON: DENETHOR ... struggling to regain the power of +speech! + + DENETHOR + (rasping whisper) + Rohan has deserted us. + +ANGLE ON: A HUGE BOULDER smashes into the wall of MINAS +TIRITH. + +WIDE ON: BOULDERS HURTLE from CATAPULTS across the fields +towards MINAS TIRITH. + + DENETHOR + Théoden's betrayed me. + +CLOSE ON: A BOULDER smashes into a BALCONY full of +CIVILIANS. + +CONFUSION and PANIC spread amongst the SOLDIERS. + + DENETHOR + (panicked scream) + Abandon your posts! + 75. + + + CLOSE ON: PIPPIN, SHOCKED. + + DENETHOR + Flee! Flee for your lives! + + SUDDENLY: THWACK! + + GANDALF’S STAFF smashes into the back of DENETHOR’S HEAD! + + GANDALF grimly swings his staff again, CLUBBING DENETHOR to + the GROUND! + + ANGLE ON: GANDALF spins around and ADDRESSES the SOLDIERS: + + GANDALF + (yell) + Prepare for battle! + + +112 EXT. MINAS TIRITH STREETS - DAY 112 + + ANGLE ON: GANDALF GALLOPS down the WINDING LABYRINTHINE + STREETS on SHADOWFAX ... against the flow of FLEEING + SOLDIERS. + + GANDALF + (yelling) + Return to your posts! + + CUT TO: + + +113 EXT. MINAS TIRITH BATTLEMENTS - DAY 113 + + ANGLE ON: SHADOWFAX bounds up STAIRS onto the LEVEL ONE + BATTLEMENTS ... GANDALF looks at the approaching ORC ARMY, + now less than 50 yards from the WALLS of the CITY! + + GANDALF + (angry yell) + Send these foul beasts into the + abyss! + + QUICK CUTS: MIGHTY WOODEN CATAPULTS positioned within the + walls of MINAS TIRITH are fired! + + +114 EXT. MINAS TIRITH - DAY 114 + + THWAT! THWAT! THWAT! CATAPULTS send their great ROCKS high + into the air, over the BATTLEMENTS! + 76. + + + Dizzying AERIAL SHOTS of huge BOULDERS flying up close to + CAMERA ... then falling away towards the ORCS! + + CRUNCH!! BOULDERS flatten ORCS. THWAT!! 100 more ROCKS ... + THWAT!! another 100!! The ORC FRONT RANKS are in disarray! + + +115 EXT. PELENNOR FIELDS/MINAS TIRITH - DAY 115 + + As the GREAT BOULDERS land among them, the ORCS start to + PANIC! + + GOTHMOG + Stay where you are! + + INTERCUT WITH: + + +116 EXT. MINAS TIRITH BATTLEMENTS - DAY 116 + + GANDALF walks the BATTLEMENTS as huge BOULDERS rain onto + the ORC ARMY below... + + INTERCUT WITH: + + +117 EXT. PELENNOR FIELDS/MINAS TIRITH - DAY 117 + + GOTHMOG glances up at a WHISTLING SOUND - a huge BOULDER + hurtles towards him. He side-steps CALMLY out o the way ... + spitting on the BOULDER in CONTEMPT. + + CUT TO: + + +118 EXT. MINAS TIRITH BATTLEMENTS - DAY 118 + + SUDDENLY! 9 NAZGÛL DIVE out of the DIM SKY, CLAD in BATTLE + ARMOUR! + + ANGLES ON: SOLDIERS throw themselves down as the NAZGÛL + zoom overhead, emitting their PIERCING SHRIEKS! GONDORIAN + SOLDIERS run for SHELTER in PANIC, covering their ears... + + CLOSE ON: PIPPIN COWERING... + + GANDALF + (rallying) + Stand to your posts! Do not give in + to fear. Fight! + 77. + + +QUICK CUTS: MIGHTY WOODEN CATAPULTS positioned within the +walls of MINAS TIRITH are fired! + +The NAZGÛL circle LOW over the CITY, like VULTURES seeking +doomed men’s flesh. SOLDIERS are plucked into the AIR by +SHRIEKING NAZGÛL and dropped to their DEATHS hundreds of +FEET BELOW. TOWERS and BUILDINGS are DESTROYED. CHAOS as +SOLDIERS, WOMEN and CHILDREN DODGE falling MASONRY. + +CLOSE ON: GONDORIAN SOLDIERS send a rain of arrows at the +approaching TOWERS and TROLLS. + + GANDALF + Not at the towers! Aim for the + Trolls! Kill the Trolls! Bring them + down! + +TOO LATE! The TOWERS reach the walls, their DOORS crashing +down, releasing ORCS directly onto the LOWER LEVELS. + +As the ORCS swarm from the TOWER, GANDALF realizes PIPPIN +has come down from the CITADEL... + + GANDALF + Peregrin Took - go back to the + citadel! + + PIPPIN + (stupor) + They called us out to fight... + +PIPPIN looks stunned, as a HUGE ORC leaps towards him... +GANDALF intercepts the BEAST, striking him with his +STAFF... + + GANDALF + (urgency) + This is no place for a Hobbit! + +GANDALF wields his STAFF, cutting through the attacking ORC +with EASE ... BEHIND him, an ORC prepares to cut down +GANDALF ... PIPPIN instinctively slashes his SWORD at him. + +ANGLE ON: GANDALF turns on PIPPIN, smiling despite himself. + + GANDALF + Guard of the Citadel, indeed! Now, + back up the hill - quickly! + Quickly! + + CUT TO: + 78. + + +120 EXT. PELENNOR FIELDS - DUSK 120 + + ANGLE ON: Out of the BLACK SWIRLING BATTLE. SMOKE crawls an + IRON MONSTER! A MASSIVE WHEELED BATTERING RAM ... 60 FEET + HIGH and 150 FEET LONG ... pushed by 20 huge MOUNTAIN + TROLLS ... a MASSIVE IRON HEAD, cast in the likeness of a + SNARLING WOLF! + + ...this is GROND ... the BATTERING RAM FROM HELL! The ORC + are chanting as the BEAST is wheeled closer and closer to + the GATES... + + ORCS + Grond! Grond! Grond! + + +121 EXT. MINAS TIRITH BATTLEMENTS - DUSK 121 + + CLOSE ON: GANDALF ... blanching at the sight of this + crawling IRON MONSTER! + + CUT TO: + + +122 EXT. PASS OF CIRITH UNGOL, TUNNEL MOUTH - DAY 122 + + ANGLE ON: GOLLUM leads FRODO up a LONG RAVINE between + COLUMNS of TORN and WEATHERED ROCK. + + AHEAD is a GREAT GREY WALL, a last huge mass of mountain + stone ... and in the SHADOWS at the base of the TOWERING + ROCK lies a TUNNEL. + + FRODO reacts to the FOUL STENCH coming out of the BLACK + HOLE. + + FRODO + (exhausted) + What is this place? + + GOLLUM + Master must go inside the tunnel. + + FRODO + Now that I'm here, I don't think I + want to. + + SMÉAGOL + It's the only way. + (GOLLUM; slyly) + Go in, or go back. + + FRODO stares into the darkness... + 79. + + + FRODO + (under his breath) + I can't go back. + + CLOSE ON: GOLLUM, his sparse oily hair hanging like rank + weed over his hooded eyes... + + Drawing a DEEP BREATH, FRODO follows GOLLUM into the + TUNNEL. + + +123 INT. SHELOB’S TUNNEL - DAY 123 + + FRODO nearly GAGS. + + FRODO + What's that smell? + + GOLLUM + (lying) + Orcses filth! Orcses come in here + sometimes. + + They continue on, deep into the DARK TUNNEL ... FRODO is + feeling his way in the dark, following the SOUND of + GOLLUM’S scampering. + + GOLLUM (O.S.) + (disembodied) + Hurry! + + FRODO follows the sound of GOLLUM’S voice. He is VERY + TIRED. + + GOLLUM (O.S.) + (disembodied) + This way. + + FRODO cannot see GOLLUM in the MURKY TUNNEL... + + FRODO + Sméagol! + + GOLLUM (O.S.) + (disembodied) + Over here. + + FRODO slips as he tries to follow the voice ... He puts his + HAND to the WALL to STEADY HIMSELF but quickly YANKS it + away ... strands of a WHITE THREAD stuck to his HAND. + + FRODO + It's sticky ... What is it? + 80. + + + GOLLUM is nowhere to be seen ... only his voice echoes back + down the LABYRINTH of TUNNELS. + + GOLLUM (O.S.) + You will see ... Oh, yes ... You + will see. + + FRODO FREEZES! + + FRODO + (nervous) + Sméagol! Sméagol! + + NO ANSWER, no echo, not even a tremor in the air. + + FRODO + (panicked) + Sméagol! + + CLOSE ON: FRODO realises with HORROR that GOLLUM has + deserted him! + + FRODO + (whisper) + Sam. + + CLOSE ON: FRODO breathing hard ... passing all manner of + creatures, trussed up in evil WEB-LIKE material... + + A BUBBLING HISS can be heard ... There is a CREAKING as + some great JOINTED THING moves with slow purpose in the + DARK... + + FRODO begins to run in BLIND PANIC... + + CUT TO: + + +125 EXT. CIRITH UNGOL STAIRS - DAY 125 + + SAM stumbles blindly down the ANCIENT STAIRS, reckless and + uncaring, his face pale and devastated. + + CLOSE ON SAM’S FOOT slips... + + ...SUDDENLY, as if the ground has given way beneath him, + SAM is slipping and sliding dangerously OUT OF CONTROL. + + ANGLE ON: SAM thudding into a LARGE ROCK, which save him + from tumbling headlong over the PRECIPICE. + 81. + + + Something catches SAM’S EYE ... he stares, barely + breathing. + + CLOSE ON: A package of LEMBAS BREAD... + + ANGLE ON: SAM looking BACK up the LONG STEEP STAIR... + + CUT TO: + + +126 INT. SHELOB’S TUNNEL - DAY 126 + + FRODO is running BLINDLY ... He falls, trapped in the + sticky substance which CLINGS to him. As he lays on the + ground, unable to move, a VOICE comes to him as if from a + distant memory... + + GALADRIEL (V.O.) + I give you the light of Eärendil - + our most beloved star. May it be a + light for you in dark places, when + all other lights go out. + + CLOSE ON: FRODO fumbles in his JACKET, FEAR growing in him + ... he pulls out the GLASS PHIAL - his GIFT from GALADRIEL + - he holds it aloft. + + FRODO + (stronger) + Aiya Eärendil Elenion Ancalima! + Hail Eärendil brightest of the + Stars! + + The PHIAL flickers ... kindles into a SILVER FLAME - a + BRIGHT RADIANT STARLIGHT! + + LOW ANGLE ON: The LIGHT instantly REVEALS a HUGE LOATHSOME + SPIDER ... towering over FRODO! + + CLOSE ON: SHELOB the SPIDER HISSES at the LIGHT! TWO great + clusters of many-windowed EYES protrude from her bulbous + head. + + Her LEGS are bent, with a 12-FOOT SPAN and HAIRS that stick + out like steel spines. Her HUGE, SWOLLEN BODY, a vast + bloated bag, sways and sags between her legs. Her age-old + BLACK HIDE is knobbly and pitted, blotchy with LIVID MARKS + ... but her belly underneath is PALE and LUMINOUS. + + SHELOB beats the air with her FORELEGS. + 82. + + +ANGLE ON: Calling up all his remaining STRENGTH and +RESOLUTION, FRODO forces his LEGS to MOVE ... he backs away +keeping his EYES on SHELOB. + +SHELOB crawls SLOWLY towards his ... then, with sudden +hideous SPEED, she ATTACKS! + +She lashes out with her FRONT LEGS ... FRODO is flung back +... the GLASS PHIAL clatters to the TUNNEL FLOOR, casting +an eerie LOW LIGHT. + +SHELOB squats above FRODO, her EYE CLUSTERS fidgeting with +hideous delight, gloating over a prey trapped beyond all +hope of escape. + +SUDDENLY! FRODO draws STING! He slashes wildly at the GIANT +SPIDER ... hewing off the TIP of a LEG! + +SHELOB SPASMS ... a WILD BLUR of thrashing LEGS! + +ANGLE ON: FRODO leaps to his feet and RUNS - not even +PAUSING to pick up the PHIAL of LIGHT! + +TRACKING BACK: with FRODO as he careens blindly down NARROW +TUNNELS, gasping in the CHOKING AIR ... looking back over +his shoulder for any sign of SHELOB. + +ANGLE ON: FRODO sees the TUNNEL EXIT ahead... + +...just as he runs straight into a great COBWEB! + +CLOSE ON: FRODO ... eyes wild with fear ... as he tries to +wrench STING free of the STICKY WEB. + + GOLLUM (O.S.) + (sing-song) + Naughty little fly, Why does it + cry? + +ANGLE ON: GOLLUM on the other side of the WEB... + + GOLLUM + Caught in her web, Soon you'll + be... ...Eaten! + +ANGLE ON: FRODO as he SLASHES WILDLY with STING. The +SHINING BLADE of STING as it hacks through the FIBROUS +STRANDS. They whip and snap back into FRODO’S FACE as he +cuts himself free. + +ANGLE ON: Back up the TUNNEL - lit by the LIGHT OF +GALADRIEL - SHELOB’S HEAVING SHADOW approaches... + 83. + + + CLOSE ON: GOLLUM watches in mounting disbelief as STING + slashes through the WEB ... DISBELIEF turns to FEAR as + SHELOB gets closer and closer, GOLLUM quickly turns and + BOLTS... + + FRODO hacks at the WEB and with a last desperate LUNGE, + frees himself ... STING is caught in the WEB ... FRODO + leaves the SWORD and THROWS HIMSELF through a narrow + CREVICE... + + +127 EXT. PASS OF CIRITH UNGOL - DAY 127 + + ANGLE ON: FRODO stumbles out of SHELOB’S LAIR ... Tumbling + onto COLD ROCK. + + ANGLE ON: FRODO covered in COBWEBS, wild-eyed and drenched + in SWEAT ... He looks up as GOLLUM lunges at him. + + GOLLUM + Got away did it, Precious? Not this + time, not this time! + + GOLLUM and FRODO fight ... Rolling on the GROUND towards + the EDGE of a PRECIPICE... + + FRODO pins GOLLUM on the ground, hands around his throat. + + SMÉAGOL + It wasn't us! It wasn't us! Sméagol + wouldn't hurt master. + + ANGLE ON: FRODO’S fingers squeeze tighter around GOLLUM’S + THROAT. + + SMÉAGOL + Sméagol promised. You must believe + us. It was the Precious! The + Precious made us do it! + + FRODO has a sudden moment of SELF REALISATION and releases + GOLLUM, horrified at his VIOLENCE. + + ANGLE ON: GOLLUM cowering black ... COUGHING and + SPUTTERING. + + ANGLE ON: FRODO looking at SMÉAGOL, in SHOCK, he gets to + his FEET. + + FRODO + (shaky) + 84. + + + I have to destroy it, Sméagol. I + have to destroy it for both our + sakes. + + SMÉAGOL stares at FRODO in DISBELIEF ... in a FURY he + LUNGES at FRODO who falls backwards, dangerously close to + the edge of the PRECIPICE - GOLLUM tumbles over FRODO’S + BODY and FALLS to the bottom of the RAVINE... + + +128 EXT. PASS OF CIRITH UNGOL - NIGHT 128 + + FRODO, overcome with EXHAUSTION, stumbles down the steep + stairs of CIRITH UNGOL ... He is full of REMORSE at his + TREATMENT of SAM... + + FRODO + I'm so sorry, Sam. + + FRODO falls to his knees - + + FRODO + ...so sorry... + + +129 EXT. FRODO’S DREAM, LOTHLÓRIEN - DAY 129 + + CLOSE ON: FRODO lands on SOFT GREEN GRASS. + + SUN DRENCHED IMAGES: Of trees ... of fields ... of + LOTHLÓRIEN... + + HAZY IMAGE: GALADRIEL walking towards him, BARE-FOOT on the + GRASS... + + GALADRIEL + This task was appointed to you, + Frodo of the Shire. If you do not + find a way ... no one will. + + GALADRIEL leans down towards FRODO, OFFERING her hand ... + for a beat, FRODO stares at her ... torn, not wanting to go + on, wanting to lie down ... But he knows what he must do. + + ANGLE ON: FRODO ... as he is LIFTED to HIS FEET. + + ANGLE ON: FRODO - once again in the dark, rank tunnels of + the PASS of CIRITH UNGOL ... He goes on. + + CUT TO: + + +130 EXT. MINAS TIRITH STREETS - NIGHT 130 + 85. + + + ANGLES ON: FLAMING MISSILES rain down on the CITY! + + A DEEP BOOM! + + GROND thuds against the MINAS TIRITH GATE ... sending a + VIBRATION running through the city! + + ANGLE ON GANDALF, on SHADOWFAX, leads SEVERAL HUNDRED + GONDORIAN FOOT SOLDIERS down through the streets. + + GANDALF + To the Gates! Man the Gates! + + CUT TO: + + +132 EXT. MINAS TIRITH, COURT OF THE KINGS - NIGHT 132 + + PIPPIN watches as FARAMIR’S UNCONSCIOUS BODY is carried on + the STRETCHER by DENETHOR’S SERVANTS lead by DENETHOR ... + it has the atmosphere of a FUNERAL. + + +133 INT. MINAS TIRITH, STEWARD’S TOMB - NIGHT 133 + + ANGLE ON: An IRON DOOR creaks OPEN ... FARAMIR’S PROCESSION + enters a WIDE VAULTED CHAMBER. + + The LANTERN LIGHT throws great SHADOWS upon the SHROUDED + WALLS of a wide VAULTED CHAMBER, ROW upon ROW of MARBLE + TOMBS are visible in the DIM LIGHT. Upon each TOMB lies a + SLEEPING FORM, carved in STONE, hands folded. + + DENETHOR speaks in a HUSHED VOICE... + + DENETHOR + (whisper) + No tomb for Denethor and Faramir. + No long, slow, sleep of death + embalmed. We shall burn, like the + heathen kings of old. + + The SERVANTS place FARAMIR’S UNCONSCIOUS BODY on a STONE + TABLE in the CENTRE of the CHAMBER. They stand, heads bowed + ... as MOURNERS beside a bed of death. + + DENETHOR turns to his SERVANTS. + + DENETHOR + Bring wood and oil! + + CUT TO: + 86. + + +134 EXT. MINAS TIRITH GATES - NIGHT 134 + + BOOOMM! The GATE SPLINTERS under GROND’S mighty weight ... + Behind the GATES the GONDORIAN FOOT SOLDIERS are FEARFUL... + + GANDALF rallies the line of BOWMEN as they wait in front of + the GREAT DOORS ... their COURAGE wavering with each + CRASHING BLOW... + + GANDALF + (commanding) + Steady! Steady! + + SUDDENLY the FEARSOME HEAD protrudes into MINAS TIRITH! + + GANDALF + You are soldiers of Gondor! No + matter what comes through that gate + you will stand your ground! + + Within MOMENTS the GATE is smashed and GIANT CAVE TROLLS + enter into the FIRST CIRCLE of MINAS TIRITH, under the + archway that no enemy had ever passed! + + GANDALF + (yelling) + Fire! + + ROWS of ARCHERS fire off a VOLLEY of ARROWS but the TROLLS + continue to SMASH the FOOT SOLDIERS with their giant CLUBS + ... ORCS swarm through the OPENING and the PITCHED, HAND- + TO-HAND BATTLE spills into the FLAMES and BLACKENED, + SMOULDERING BUILDINGS ... through the streets of MINAS + TIRITH. + + ANGLE ON: With a ROAR, GANDALF leads a COUNTER ATTACK on + SHADOWFAX, followed by SEVERAL HUNDRED GONDORIAN FOOT + SOLDIERS! + + THOUSANDS OF ORCS swarm in through the CITY GATES ... the + FIRST LEVEL is breached! + + CUT TO: + + +135 EXT. PASS OF CIRITH UNGOL - DAY 135 + + ANGLE ON: FRODO STAGGERS through the PASS OF CIRITH UNGOL + ... the weight of the RING, dragging at his neck. + + HE MOVES FORWARD, fueled by a GRIM RESOLVE... + 87. + + +ANGEL ON: FRODO starts climbing a STONE STAIRCASE that +climbs through a NARROW PASS ... TALL PEAKS rise on either +side, like pillars holding up a sagging sky. + +AHEAD is the SUMMIT of CIRITH UNGOL ... and an ORC WATCH +TOWER! A FAINT LIGHT glows from within the STONE TOWER ... +the PATH over the SUMMIT is in FULL VIEW of the ORCS. + +FRODO stays CLOSE to the ROCK WALL, masked by SHADOWS. + +LOW ANGLE: Behind FRODO, SHELOB APPEARS! With hideous +STEALTH, she follows FRODO... + +ANGLE ON: FRODO slowly climbing the STONE STAIRS ... his +GAZE and CONCENTRATION on the ORC TOWER. Behind him, SHELOB +lurches into a HORRIBLE SCUTTLE down the SHEER ROCK FACE. + +CLOSE ON: FRODO suddenly sense the LURKING MALICE ... he +SPINS AROUND: Before he can react, SHELOB VICIOUSLY STABS +FRODO in the NECK with her monstrous abdominal STINGER! + +FRODO instantly goes LIMP ... SHELOB’S LEGS catch him as he +falls ... she quickly starts WEAVING COBWEBS around him. +With great dexterity, she tumbles the LITTLE HOBBIT over +and over in her LEGS, binding him in WEB from HEAD to TOE! + +SUDDENLY!... The RAZOR SHARP EDGE of a SWORD comes into +shot. + +REVEAL ON: SAMWISE GAMGEE stands before the GIANT SPIDER - +STING clutched in one hand, the SHINING PHIAL in the other! + + SAM + Let him go, you filth! + +SHELOB HISSES at SAM ... DROPPING FRODO ... he ROLLS down +the STAIRS in his WEB COCOON. + + SAM + You will not touch him again! + +SAM moves forward, a fell light in his normally friendly +eyes. + + SAM + Come on and finish it! + +SAM SWINGS the small sword ... SLASHING upward! + +ANGLE ON: SHELOB HISSES and REARS above SAM, her STINGER +dribbling with VENOM! + 88. + + +SAM ducks inside the arch of her LEGS and STABS STING into +one of her EYE CLUSTERS! + +CLOSE ON: SHELOB SCREAMS, her MANDIBLES thrashing wildly, +GREEN OOZE trickling from her WOUNDED EYE. + +With HIND LEGS, SHELOB picks SAM off the ground and TOSSES +him BACKWARDS! SAM lands heavily ... and SHELOB POUNCES! + +ANGLE ON: SHELOB heaves the great bag of her BELLY high +above SAM’S HEAD. As she splays her legs to drive her huge +bulk down on him, SAM lifts the ELVEN BLADE above his head, +holding it with TWO HANDS. + +STING slides into SHELOB’S SOFT UNDERBELLY! A SHUDDER runs +through her! HEAVING up again, she wrenches herself away +from the PAIN ... her LIMBS writhing beneath her. + +ANGLE ON: JERKING and QUIVERING, SHELOB crawls to her HOLE, +leaving a trail of GREEN-YELLOW SLIME. She SQUEEZES down +the HOLE and DISAPPEARS ... the SOUND of her BUBBLING +MISERY fades. + +ANGLE ON: SAM RACES TO FRODO... + + SAM + (worried) + + SAM + Mr. Frodo! + +CLOSE ON: SAM RIPS COBWEBS away from FRODO’S HEAD ... his +FACE is DEATHLY PALE. + + SAM + (panicking) + Oh no! Frodo! + +CLOSE ON: FRODO’S PALE, LIFELESS FACE. + + SAM + Mr. Frodo! Wake up! + +FRODO’S head LOLLS LIFELESSLY in SAM’S ARMS. + + SAM + (desperate whisper) + Wake up ... don't leave me here + alone. Don't go where I can't + follow. Wake up! + +CLOSE ON: FRODO STARING, UNMOVING. + 89. + + + SAM + (numbly) + Not asleep ... Dead. + +SAM lays his FACE on FRODO’S CHEST ... WEEPING SOFTLY. + +CLOSE ON: STING’S BLADE GLOWS BLUE! + +SOUNDTRACK: TRAMPING FEET approach ... CLINKING METAL ... +HARSH SHOUTS! + +CLOSE ON: SAM looks up ... looks back down at FRODO. + +CLOSE ON: SAM looks up at the ORC TOWER and then at STING +which is glowing BLUE! ORCS approach - SAM must make a +decision. + +ANGLE ON: A SMALL PARTY of ORCS and URUK-HAI heading down +the STAIRS from the WATCH TOWER! ... SHAGRAT leads the +URUK-HAI, and GORBAG leads the ORCS. + +GORBAG spies FRODO’S BODY... + + GORBAG + What's this? Looks like Old + Shelob's been having a bit of fun! + + SHAGRAT + Killed another one, has she? + +ANGLE ON: GORBAG peers curiously at FRODO as he leans down +and pokes at FRODO’S LIFELESS BODY. + + GORBAG + No ... this fellow ain't dead. + +CLOSE ON: SAM, hidden in a rock crevice, as SHOCK sweeps +across his FACE! + + SAM + (to himself) + Not dead! + + SHAGRAT + (excited) + She jabs him with her stinger and + they go as limp as a boned fish. + Then she has her way with them. + That's how she likes to feed - + fresh blood. + (yelling) + Get him to the Tower! + 90. + + + SAM + Samwise, you fool! + + ANGLE ON: The ORCS GRUNT as they lift FRODO ... and CARRY + him back towards the WATCH TOWER. + + ORC 2 + This fellow will be awake in a few + hours. + + GORBAG + Then he'll wish he'd never been + born. + + ORC LAUGHTER ... FRODO is carried up the steep STAIRS... + + CUT TO: + + +140 INT. MINAS TIRITH/STEWARD’S TOMB - NIGHT 140 + + FROM the SHADOWS PIPPIN watches, aghast, as FARAMIR is lain + on a FUNERAL PYRE... + + CLOSE ON: DENETHOR kisses FARAMIR’S sweating, FEVERED brow. + + DENETHOR + The house of his spirit crumbles! + He is burning ... already burning. + + ANGLE ON: BUNDLES of DRIED FIREWOOD are being stacked + around FARAMIR’S BODY. + + ANGEL ON: PIPPIN rushes forward, desperately PULLING the + FIREWOOD AWAY! + + PIPPIN + (yelling) + He's not dead! He's not dead! + + DENETHOR grabs PIPPIN by the collar! He roughly carries him + towards the door. + + PIPPIN + No! No! No! He’s not dead. No! + + DENETHOR + (menacing) + Hear now, Peregrin, son of Paladin + ... I release you from my + service... + + DENETHOR throws PIPPIN outside! + 91. + + + DENETHOR + Go now and die in what way seems + best to you. + + DENETHOR SLAMS the DOOR SHUT! + + DENETHOR (O.S.) + (ordering) + Pour oil on the wood! + + CUT TO: + + +141 EXT. MINAS TIRITH STREETS - NIGHT 141 + + ANGLE ON: PIPPIN RACES down the STEEP STREETS ... passing + SOLDIERS running back from the BURNING CITY. GREAT BALLS of + FIRE are hurtling through the air ... The city is in CHAOS. + + PIPPIN + (yelling) + Gandalf? ... Gandalf? + + AMIDST the FLEEING SOLDIERS... + + GANDALF + Pull back - to the second level! + Hurry! Get the women and children + out of here - get them out! + + PIPPIN desperately pushes against the TIDE of SOLDIERS + retreating from the FIGHTING. + + INTERCUT WITH: + + +142 EXT. PELENNOR FIELDS - NIGHT 142 + + GOTHMOG turns to his SECOND LIEUTENANT... + + GOTHMOG + Move into the city ... Kill all in + your path. + + INTERCUT WITH: + + +143 EXT. MINAS TIRITH STREETS 143 + + As ORC run through the STREETS, MEN, WOMEN, and CHILDREN + flee ... the PITCHED BATTLE continues... + 92. + + + GANDALF + Fight! Fight for your lives! + + SUDDENLY! in the midst of the BATTLE, GANDALF turns ... + SHRILL and CLEAR come the sounds of DISTANT HORNS! Off the + SIDE of MOUNT MILLDOLLUIN, they dimly ECHO - WAR HORNS of + the west ... ROHAN HAS COME! + + CUT TO: + + +144 EXT. PELENNOR FIELDS - DAWN 144 + + GOTHMOG turns at the sound of the DISTANT HORNS... + + WIDE ON: 6000 HORSEMEN, lead by THÉODEN and ÉOMER, step up + to the SKYLINE... + + ANGLE ON: MINAS TIRITH lies less than a MILE AWAY, down a + gentle slope. Over 50,000 ORCS are swarming around the base + of the city ... thick BLACK SMOKE belches from within it. + + CLOSE ON: MERRY BLANCHES with FEAR ... ÉOWYN puts a + comforting hand on his shoulder. + + ÉOWYN + (whisper) + Courage, Merry ... courage for our + friends. + + On the BATTLE FIELD, GOTHMOG walks among his troops... + + GOTHMOG + Form ranks, you maggots! Form + ranks! Pikes in front, lances + behind. + + The ORCS PREPARE for BATTLE. + + ANGLE ON: THÉODEN gallops in front of his ARMY, ISSUING + URGENT ORDERS to his CAPTAINS: + + THÉODEN + (urgent) + Éomer, take your Éored down the + left flank ... Gamling! Follow the + King's banner down the centre. + Grimbold, take your company right, + after we pass the wall. Forth, and + fear no darkness! + + + + É + 93. + + +CLOSE ON: THÉODEN rides to the front of his ARMY. He rises +in his stirrups, TALL and PROUD, yelling in a clear, LOUD +VOICE. + + THÉODEN + Arise, arise, Riders of Théoden! + Spears shall be shaken, shields + shall be splintered ... A sword + day, a red day , ‘ere the sun + rises! + +ANGLE ON: A RAY of SUNLIGHT escapes through the BLACK +CLOUDS bathing the ROHIRRIM in GOLDEN LIGHT. WEAPONS and +ARMOUR GLEAMS ... as 6000 HORSEMEN hold their SPEARS aloft! + +Below, on PELENNOR FIELD, the ORC kneel and raise their +LANCES in READINESS... + +ANGLE ON: ÉOWYN, her arm around MERRY before her... + + ÉOWYN + (terrified) + Whatever happens, stay with me. + I'll look after you. + +MERRY looks on in SHOCK... + +ANGLE ON: As THÉODEN rides past the ranks of SOLDIERS he +runs his LANCE along their SPEARS ... The noise echoes +through the RANKS as the WEAPONS of other RIDERS CLATTER in +response... + + THÉODEN + (stirring call) + Ride now, ride now, ride, ride for + ruin, and the world's ending! + +THÉODEN faces his ENEMY! + + THÉODEN + Death! + + ROHIRRIM + (6000 voices) + Death! + +CLOSE ON: MERRY is swept up in the emotion ... he whips out +his LITTLE SWORD! + + THÉODEN + Death! + + MERRY + 94. + + + Death! + + ÉOWYN + Death! + + THÉODEN + (yelling) + Death! Forth, Eorlingas! + + ALL the HORNS of the ROHIRRIM burst BLAST upon BLAST! + + ANGLE ON: The 6000 ROHIRRIM move off, a great WALL of + HORSES and SPEAR POINTS, building up to a GALLOP like a + rising tide, as they CHARGE TOWARDS the 50,000 ORCS! + + ANGLE ON: MERRY, wind blowing in his hair, ÉOWYN’S ARM + around his chest ... as he YELLS at the top of his lungs! + + ANGLE ON: GOTHMOG marshaling his troops. + + GOTHMOG + Fire! + + The first VOLLEY of ARROWS hit the ROHAN SOLDIERS ... The + charge continues... + + THÉODEN + Charge! + + The second VOLLEY ... GOTHMOG watches in HORRIFIED AWE as + the ROHAN ADVANCE CONTINUES ... SUDDEN FEAR runs through + the ORC and URUK-HAI assembled on PELENNOR FIELD ... The + ROHAN charge like MEN POSSESSED! + + ANGLE ON: The WALL of ROHIRRIM HORSES and SPEARS is + seemingly unstoppable! Entire ORC COMPANIES vanish under + their hooves, like sand beneath a foaming breaker, as they + RACE towards the MAIN BODY of the ORC ARMY! + + ANGLES ON: ORC ARCHERS fire into the thundering ROHIRRIM + ... ORC SPEARS LOWER ... the SUDDENLY the ROHIRRIM crash + into the ORCS and the screen is FILLED with hacking, + SLASHING SWORDS and CLASHING SHIELDS... + + ....A JAW DROPPING SIGHT! + + +145 EXT. MINAS TIRITH STREETS - DAWN 145 + + ANGLE ON: PIPPIN rushes towards GANDALF, dodging FLAMING + DEBRIS. + + PIPPIN + 95. + + + (panicked yell) + Gandalf! + + GANDALF wheels around on SHADOWFAX... + + PIPPIN + (breathless) + Denethor has lost his mind. He's + burning Faramir alive! + + GANDALF pulls PIPPIN onto SHADOWFAX. + + GANDALF + Come! Quickly! + + +146 EXT. PELENNOR FIELDS - DAWN 146 + + The ROHAN charge is decimating the ENEMY! + + CUT TO: + + +147 INT. MINAS TIRITH, STEWARD’S TOMB - DAWN 147 + + LOW ANGLE POV: DENETHOR standing on the table astride + FARAMIR, pouring OIL over his OWN HEAD ... It runs through + his hair and down his face, quickly soaking his ROBES. + + CLOSE ON: FARAMIR, his eyes flicker open. As he tries to + FOCUS through his delirium, OIL splashes onto his CHEST and + FACE. + + DENETHOR + Set a fire in our flesh! + + BUNDLES of OIL-SOAKED wood are STACKED all around them. + + SERVANTS are holding FLAMING TORCHES, awaiting their orders + ... DENETHOR nods to them: + + The SERVANTS approach the PYRE, TORCHES held firmly. + + AT THAT MOMENT: GANDALF and PIPPIN burst into the HALLOWS, + astride SHADOWFAX! + + GANDALF + (yelling) + Stay this madness! + + The fearful SERVANTS back away from the PYRE... + 96. + + + CLOSE ON: With a ROAR, DENETHOR SNATCHES a FLAMING TORCH + ... and HURLS it at the PYRE! + + WHOOSH! The PYRE IGNITES! + + ANGLE ON: GANDALF GALLOPS towards the PYRE, knocking + DENETHOR off his FEET ... PIPPIN LEAPS from SHADOWFAX onto + the BURNING PYRE! + + With a desperate strength, PIPPIN pushes FARAMIR off the + BURNING PYRE ... they tumble down the BUNDLES of WOOD, onto + the FLOOR! PIPPIN douses the FLAMES on FARAMIR’S clothing. + + DENETHOR SCREAMS with RAGE! + + DENETHOR + No! Do not take my son from me! + + DENETHOR leaps ACROSS THE PYRE, RIPPING and TUGGING at + PIPPIN! + + FIRE quickly spreads up DENETHOR’S OIL-SOAKED BACK as he + hauls PIPPIN off FARAMIR! + + ANGLE ON: SHADOWFAX rears up and STRIKES at DENETHOR who + falls back onto the PYRE. + + CLOSE ON: DENETHOR ... he looks into his SON’S eyes ... for + a BRIEF MOMENT, SANITY returns. + + DENETHOR + (whisper) + Faramir... + + ANGLE ON: FLAMES begin to ENGULF DENETHOR... + + CLOSE ON: GANDALF pulls PIPPIN to safety ... they look in + HORROR as... + + SUDDENLY! DENETHOR lurches off the PYRE! Now a SCREAMING + unguided BALL OF FLAME, he runs across the CHAMBER, + disappearing out of the door! + + GANDALF + (grimly) + So passes Denethor, Son of + Ecthelion. + + CUT TO: + + +148 EXT. MINAS TIRITH - DAY 148 + 97. + + + DENETHOR runs across the WHITE COURT atop MINAS TIRITH ... + and PLUMMETS straight over the 700 FOOT SHEER DROP into the + FLAMING CITY below! + + +149 EXT. PELENNOR FIELDS - DAY 149 + + PAN OFF: DENETHOR’S DEATH PLUNGE to the ROHIRRIM gaining + the upper hand - VAST NUMBERS of ORCS are SLAIN, or are + FLEEING! + + ÉOMER + Drive them into the river! + + THÉODEN STANDS PROUD in his saddle, YELLING to his + ROHIRRIM! + + THÉODEN + (yelling) + Make safe the city! + + CLOSE ON: THÉODEN ... his look of JOY turns to HORROR! + + ANGLE ON: Across the VAST SEA of BATTLE come... + + ...20 MÛMAKIL! MASSIVE elephant-like CREATURES, each + carrying a WAR-TOWER, packed with HARADRIM ARCHERS! + + ANGLE ON: ROHIRRIM RIDERS PANICKING. + + CLOSE ON: THÉODEN on his HORSE, CIRCLING AMONGST THEM. + + THÉODEN + Reform the line...Reform the line! + + ANGLE ON: ROHIRRIM HORSES MOVING BACK INTO LINE. + + THÉODEN + (to GAMLING) + Sound the charge! + + THÉODEN + (sword raised) + ...Charge! + + ANGLE ON: ROHIRRIM RIDERS CHARGE TOWARDS THE LINE OF + MÛMAKIL! + + ANGLES ON: The MÛMAKIL BELLOW as they are goaded into war, + driven mercilessly by their brutal HARADRIM MASTERS. They + LUMBER into the SEA of MEN, crushing RIDERS and HORSES + beneath their MASSIVE FEET! Their SPIKED TUSKS swing + wildly, sweeping and impaling RIDERS! + 98. + + + HARADRIM ARCHERS are sending a RAIN of ARROWS into the + PANICKING ROHIRRIM! + + ÉOWYN and MERRY are THROWN from their HORSE... + + +153 EXT. MINAS TIRITH - DAWN 153 + + HIGH WIDE: The SIXTH LEVEL of the CITY ... Smoke rising + around it, fires burning beneath it... + + +154 EXT. THE SIXTH GATE, MINAS TIRITH - DAWN 154 + + WIDE ON: A rabble of ORCS are clustered outside the SIXTH + GATE as TROLLS pound on its WOODEN DOORS with HUGE HAMMERS. + + ANGLE ON: WOOD splinters ... The DOORS are near breaking + point. + + ANGLE ON: GANDALF and PIPPIN sit on stone steps ... Both + covered in sweat and grime, bone-weary from fighting, + spirits and hearts bruised... + + PIPPIN looks towards the WOODEN GATES at which a NUMBER of + SOLDIERS continue to build a BARRICADE... + + PIPPIN + (quiet) + I didn't think it would end this + way... + + GANDALF looks at the SMALL HOBBIT a beat. + + GANDALF + (gently) + End? No, the journey doesn't end + here. + + PIPPIN looks up at GANDALF, questioningly... + + GANDALF + Death is just another path, one + that we all must take. + + ANGLE ON: GANDALF looks down to see PIPPIN looking up at + him with fear in his eyes... + + GANDALF + (remembering) + The grey rain-curtain of this world + rolls back, and all turns to silver + glass... + 99. + + + (to himself) + and then you see it... + + ANGLE ON: GANDALF breaks off, lost in reverie... + + PIPPIN + What, Gandalf? See what? + + GANDALF + White shores ... And beyond... a + far green country under a swift + sunrise. + + PIPPIN stares up at the OLD WIZARD’S FACE, softened, quiet + and full of peace... + + PIPPIN + (quiet) + Well, that isn't so bad. + + GANDALF + (gently) + No... No, it isn't. + + BOOM! + + ANGLE ON: GANDALF and PIPPIN’S faces turn as the WOODEN + DOORS shudder under another BLOW. + + CUT TO: + + +156 EXT. PELENNOR FIELDS - DAY 156 + + ANGLE ON: The battlefield is in CHAOS as MÛMAKIL decimate + the VALIANT ROHIRRIM... + + CLOSE ON: THÉODEN tries to rally his men amid the SEA of + CRYING MEN and NEIGHING HORSES! + + THÉODEN + (yelling) + Rally to me! To me! + + SUDDENLY the WITCH-KING SWOOPS down on his FELL-BEAST + scooping up THÉODEN and his HORSE ... they CARTWHEEL into + the AIR and land in a heap ... the HORSE is DEAD ... + THÉODEN lies DYING beneath it. + + ANGLE ON: The WITCH-KING swooping down on his FELL-BEAST! + + The FELL-BEAST lands on THÉODEN’S DEAD HORSE. + 100. + + + WITCH-KING + Feast on his flesh! + + ANGLE ON: The FELL-BEAST opens it’s WICKED JAWS...! + + ANGLE ON: A ROHAN SOLDIER stands before the BEAST ... it is + ÉOWYN! + + ÉOWYN + I will kill you if you touch him! + + CLOSE ON: The WITCH-KING laughs... + + WITCH-KING + Do not come between the Nazgûl and + his prey! + + ANGLE ON: The FELL-BEAST lifts ÉOWYN from her feet... + + SUDDENLY! With a mighty SWORD BLOW, the FELL-BEAST’S HEAD + is SEVERED! The huge CREATURE crumples to the ground, VAST + WINGS out-stretched, sending the WITCH-KING sprawling! + + ANGLE ON: The WITCH-KING rises out of the wreckage ... tall + and threatening... + + ÉOWYN stands before him, the FELL-BEAST’S BLOOD dripping + from her SWORD! + + With a shrill SHRIEK of HATRED, he knocks ÉOWYN backwards + with his MACE! STUNNED, ÉOWYN tries to stand and is hit + once again with another CRIPPLING BLOW... + + ANGLE ON: The WITCH-KING laughs once again as he SMASHES + his MACE downward ... ÉOWYN tries to block the BLOW but her + SHIELD shatters into MANY PIECES! + + The WITCH-KING towers over ÉOWYN ... raising his MACE for + the KILLING BLOW! + + CUT TO: + + +157 EXT. MINAS TIRITH DOCKS - DAY 157 + + ANGLE ON: An ORC COMMANDER hurrying on to the ANDUIN RIVER + DOCKS, close to the CITY. LARGE BLACK SHADOWS slide across + the DOCKS, as SAILING SHIPS approach O.S. + + ANGLE ON: A sinister BLACK SAILED SHIP GLIDES into the + DOCKS ... 9 OTHER CORSAIR SHIPS follow behind. + 101. + + + CLOSE ON: The ORC COMMANDER... + + HEAD ORC + (angry) + Late as usual! Get off your ships, + you sea rats! There’s knife work + here needs doing. + + ANGLE ON: ARAGORN leaping from the LEADING SHIP and + charging across the DOCKS, ROARING at the top of his LUNGS! + He is followed by LEGOLAS and GIMLI... + + ANGLE ON: Surprised ORC REACTION to the THREE charging + towards THOUSANDS of ORCS! + + GIMLI + Plenty for the both of us ... may + the best dwarf win! + + ANGLE ON: The ARMY OF THE DEAD suddenly LEAP straight out + of the SIDES of the SHIPS! They charge ACROSS the SURFACE + OF THE WATER with FRIGHTENING SPEED, overtaking ARAGORN! + + The ORCS SCREAM at the SIGHT of 5000 SPECTRAL WARRIORS! + + ANGLE ON: The SPECTRAL WARRIORS SWARM into the flank of the + ORC ARMY! With a raging blood-lust, the UNDEAD climb over + the top of each other to try and reach the enemy, creating + a kind of ROLLING MOUNTAIN of GHOULS that sweep all before + them away! + + The ORCS have no defense as their WEAPONS CANNOT MAKE + CONTACT with the GHOSTS! + + +158 EXT. PELENNOR FIELDS - DAY 158 + + ANGLE ON: MERRY on the ground ... He looks around to see + THE WITH-KING standing over ÉOWYN, pulling her to her FEET! + + WITCH-KING + No man can kill me ... Die! + + ANGLE ON: MERRY driving his SWORD into the back of the + WITCH-KING’S KNEE! MERRY’S SWORD bursts into FLAME and his + ARM is shot with PAIN... + + ÉOWYN struggles to her feet ... pulling off her HELMET: + + CLOSE ON: ÉOWYN ... her LONG HAIR tumbling onto her + shoulders! + + ÉOWYN + 102. + + + I am no man! + +With her last strength, ÉOWYN thrusts her SWORD into the +WITCH-KING’S FACE! ÉOWYN’S SWORD SHATTER into MANY SHARDS! + +The WITCH-KING topples back DEAD, a BLACK OOZE leaking from +his ROBES and ARMOUR! A shuddering CRY, fading into a +SHRILL WAIL passes with the WIND. + +ARAGORN and LEGOLAS battle the ORC - LEGOLAS JUMPS onto the +BACK of a GIANT MÛMAKIL bringing it down ... he lands on +his feet in front of GIMLI... + + GIMLI + That still only counts as one! + +The MÛMAKIL react with terror as SPECTRAL WARRIORS climb up +their SIDES, routing the HARADRIM from their WAR-TOWERS! + +ORCS flee in their THOUSANDS ... the TERRIFIED MÛMAKIL +trampling them in their PANIC to ESCAPE! + +ANGLE ON: The ARMY OF THE DEAD swarming over the CITY, +routing the ORCS! + +ANGLE ON: ÉOWYN crawls to where THÉODEN lays, mortally +wounded... + +THÉODEN looks up at ÉOWYN ... his breathing shallow ... his +vision clouded... + + THÉODEN + (gasping weakly) + I know your face ... Éowyn... + +ÉOWYN smiles down at him as she GENTLY STROKES his FACE... + + THÉODEN + My eyes darken... + + ÉOWYN + No... I am going to save you... + + THÉODEN + (loving) + You already did... + (clutching her hand) + My body is broken ... you have to + let me go. + + ÉOWYN + No... + + É + 103. + + + THÉODEN touches her tear-stained face... + + THÉODEN + I go to my fathers ... in whose + mighty company, I shall not now + feel ashamed... + + THÉODEN is DYING... + + THÉODEN + Éowyn? + + THÉODEN DIES ... ÉOWYN breaks down, SOBBING ... ALL AROUND + is a VISTA OF DEFEAT. + + CUT TO: + + +159 EXT. PELENNOR FIELDS, MINAS TIRITH - DAY 159 + + WIDE ON: PELENNOR FIELDS ... strangely SILENT ... all ORCS + have fled ... BATTLE DEBRIS and BODIES stretch as far as + the eye can see... + + ABOVE MINAS TIRITH ... BLINDING SUN RAYS break through the + LOW CLOUDS! + + ANGLE ON: GANDALF, LEGOLAS, GIMLI and PIPPIN watch as ... + ARAGORN walks slowly across the FIELD OF BATTLE towards the + HIDEOUS GHOULS... + + KING OF THE DEAD + Release us. + + GIMLI + (quietly) + Bad idea. Very handy in a tight + spot, these lads - despite the + fact, they're dead! + + KING OF THE DEAD + You gave us your word. + + ARAGORN + I hold your oath fulfilled... Go. + Be at peace. + + ANGLE ON: The ARMY OF THE DEAD slowly DISSOLVE INTO DUST, + and are immediately swept away by the four winds. + + ARAGORN turns to GANDALF who bows his head in HOMAGE... + 104. + + + PIPPIN, in his GONDORIAN armour, looks around at the + devastation ... his eyes full of SADNESS ... they suddenly + fix on something. + + ANGLE ON: PIPPIN running through the RUIN of the BATTLE ... + towards a SMALL FIGURE slumped on the ground... + + PIPPIN + Merry? + + MERRY stares unseeing at PIPPIN ... HORROR and SHOCK + erasing all other memories from MERRY’S mind ... tears fall + down PIPPIN’S FACE as he looks on his FRIEND. + + PIPPIN + Merry ... it's me, it's Pippin... + + MERRY + (groggy) + I knew you'd find me. + (disoriented) + Are you going to leave me? + + PIPPIN + No, Merry. I'm going to look after + you. + + ANGLE ON: PIPPIN covers MERRY with a blanket... + + CUT TO: + + +160 EXT. TOWER OF CIRITH UNGOL - NIGHT 160 + + CAMERA RISES ... towards the dark ORC TOWER of CIRITH + UNGOL. + + A light glows from the TOPMOST WINDOW. + + CAMERA reaches the TOWER, dissolving through the wall + into... + + CUT TO: + + +161 INT. TOWER OF CIRITH UNGOL/TOP ROOM - NIGHT 161 + + ... a small cold ROOM. FRODO BAGGINS is UNCONSCIOUS on the + floor. His eyes suddenly flicker and he WAKES UP. + + TILT UP ... to reveal the ORC and URUK-HAI, GORBAG and + SHAGRAT, arguing over FRODO’S BELONGINGS and CLOTHES! + GORBAG is snatching for the MITHRIL VEST. + 105. + + + SHAGRAT + Hey! Hands off - that shiny shirt, + that's mine. + + GORBAG + It's going to the Great Eye, along + with everything else. + + ANGLE ON: ... FRODO as he realises that he has been + STRIPPED down to his UNDERWEAR. He clutches at his throat. + + ...The RING HAS GONE! + + SHAGRAT + I don't take orders from stinking + Morgul rats! + + GORBAG grabs for the MITHRIL VEST... + + GORBAG + You touch it, and I'll stick this + blade in your guts! + + ANGLE ON: GORBAG draws his SWORD, but SHAGRAT KICKS him + BACKWARDS with his foot! GORBAG FALLS THROUGH a TRAP DOOR + leading to the floor below! + + CUT TO: + + +162 INT. TOWER OF CIRITH UNGOL/GUARD ROOM - NIGHT 162 + + ANGLE ON: GORBAG lands in the GUARD ROOM with a CRASH, + creating SUDDEN ALARM amongst the ORCS and URUK-HAI + stationed there. + + SHAGRAT leans through the TRAP DOOR... + + SHAGRAT + (yelling) + The scum tried to knife me! Kill + him! + + SEVERAL URUK-HAI converge on GORBAG - he LASHES OUT, + slashing one across the throat with his SWORD! + + The DEAD URUK-HAI topples backwards over the PARAPET... + + CUT TO: + + +163 EXT. TOWER OF CIRITH UNGOL/COURTYARD - NIGHT 163 + 106. + + + ...landing on top of URUK-HAI and ORCS in the courtyard + below. Within moment, a brutal CIVIL WAR breaks out between + the TWO COMPANIES stationed in CIRITH UNGOL! + + +164 EXT. PASS OF CIRITH UNGOL - NIGHT 164 + + ANGLE ON: SAM hurries towards the gate, fearful for FRODO. + + CUT TO: + + +165 EXT. TOWER OF CIRITH UNGOL/COURTYARD 165 + + SAM is confronted with the sight of over 50 SLAUGHTERED ORC + and URUK-HAI, strewn over the COURTYARD! + + ANGLE ON: SAM pounds UP THE STAIRCASE ... he suddenly + PAUSES. + + SEVERAL URUK-HAI are running DOWN TOWARDS HIM! He grips + STING and continues CHARGING UP - SCREAMING at the top of + his lungs! + + ANGLE ON: The FOUR URUKS ... they see a HUGE DISTORTED + SHADOW on the wall in front of them! They turn around and + flee in terror back to the top of the stairs! + + SAM appears - and before the URUK-HAI can fully regain + their wits - he slays THREE ... YELLING: + + SAM + (yelling ... 1st URUK- + HAI) + That's for Frodo! + (yelling ... 2nd URUK- + HAI) + And for the Shire! + (yelling ... 3rd URUK- + HAI) + And that's for my old Gaffer! + + SAM runs into the TOWER... + + +166 INT. TOWER OF CIRITH UNGOL/TOP ROOM - NIGHT 166 + + ANGLE ON: FRODO struggling against his bonds, as GORBAG + climbs back into the room ... with VENGEANCE in his EVIL + EYES. + + GORBAG + 107. + + + Stop your squeaking, you dunghill + rat! + +CLOSE ON: GORBAG grabs FRODO’S hair and pulls his head +back, exposing his neck. He pulls out his SWORD, ready to +cut FRODO’S throat... + + GORBAG + I'm gonna bleed you like a stuck + pig! + +SUDDENLY! GORBAG GASPS as STING is rammed into his back by +SAM! + + SAM + Not if I stick you first! + +GORBAG falls dead! + + FRODO + (joyous disbelief) + Sam!!! + +ANGLE ON: FRODO ... humbled by SAM’S unswerving loyalty. + + FRODO + Oh, Sam ... I'm so sorry ... sorry + for everything. + +SAM quickly cuts FRODO free. + + SAM + Come on. + + FRODO + (despairing) + It's too late. It's over ... + they've taken it. Sam - they took + the Ring! + + SAM + (quietly) + Begging your pardon, but they + haven't. + +SAM pulls the RING from his pocket... + + SAM + I thought I'd lost you ... so I + took it - only for safe-keeping. + +CLOSE ON: FRODO looks at SAM amazed ... his eyes drop to +the RING... + 108. + + + FRODO + Give it to me. + + SAM hesitates ... TENSION instantly builds between them. + + FRODO + Give me the Ring, Sam. + + SAM seems strangely reluctant ... ON THE SOUNDTRACK, the + HUM of the RING builds. + + FRODO + Sam! Give me the Ring. + + CLOSE ON: SAM drops the RING into FRODO’S palm... + + FRODO sags in RELIEF ... he puts the RING back around his + neck... + + FRODO + You must understand ... The Ring is + my burden ... It will destroy you, + Sam. + + FRODO looks at SAM, pain in his eyes... + + SAM looks down at FRODO ... his plain HOBBIT face full of + compassion. SAM’S resolve hardens, a new strength takes + hold. + + SAM + Come on, Mr. Frodo, we'd best find + you some clothes. You can't go + walking through Mordor in naught + but your skin. + + CUT TO: + + +167 EXT. PASS OF CIRITH UNGOL - NIGHT 167 + + FRODO and SAM are now dressed in FOUL-LOOKING ORC gear... + + ANGLE ON: FRODO and SAM turn east and walk over the SUMMIT + of CIRITH UNGOL ... into MORDOR + + CLOSE ON: FRODO and SAM ... they STOP DEAD ... STARING + AHEAD: + + ANGLE ON: MOUNT DOOM ... 50 MILES AWAY - across the barren + GORGOROTH PLATEAU - the mountain is erupting streams of ASH + and LAVA high into the air, lighting the low cloud blanket + of MORDOR with a flickering ORANGE WASH. + 109. + + + With immense trepidation, FRODO and SAM head down the steep + path into the dark kingdom... + + ...TWO TINY FIGURES in a bleak, foreboding landscape. + Before them lies the PLAIN OF GORGOROTH ... Their eyes are + drawn to the OMINOUS SILHOUETTE of MOUNT DOOM... + + SAM + We did it, Mr. Frodo. We made it to + Mordor. + + ANGLE ON: FRODO’S eyes travel down towards the HUNDREDS of + FIRES which glow on the PLAINS beneath them ... thousands + upon thousands of ORCS are encamped there. + + FRODO + There are so many of them ... So + many. We’ll never get through + unseen. + + THEIR eyes are drawn to a DARK LOOMING SHAPE ... BARAD-DÛR + ... A RED LIGHT seems to sweep across the PLAIN... + + FRODO + (terror) + It's him - the Eye. + + The GREAT EYE OF SAURON! + + SAM cannot see what FRODO sees. GENTLY, he urges FRODO on. + + SAM + We have to go in there, Mr. Frodo. + There's nothing for it. Come on. + Let's just make it down the hill + for starters. + + +168 INT. MINAS TIRITH, TOWER HALL - DAY 168 + + CLOSE ON: GANDALF stands in the TOWER HALL ... seemingly + alone ... he speaks quietly, doubt and fear edge his voice. + + GANDALF + Frodo has passed beyond my sight. + The darkness is deepening. + + He turns and crosses the HALL to reveal the presence of + GIMLI, LEGOLAS, ÉOMER and ARAGORN... + + ARAGORN, his back to GANDALF... + + ARAGORN + 110. + + + If Sauron had the Ring, we would + know it. + +CLOSE ON: GANDALF - still troubled, still worried... + + GANDALF + It's only a matter of time. He has + suffered a defeat, yes, but behind + the walls of Mordor our enemy is + regrouping. + +GIMLI sits insolently on the SEAT of the STEWARD... + + GIMLI + Let him stay there. Let him rot. + Why should we care? + +GANDALF looks across at the DWARF ... His face ashen. + + GANDALF + Because ten thousand Orcs now stand + between Frodo and Mount Doom. + + GANDALF + (to himself) + I've sent him to his death. + +ANGLE ON: ARAGORN turns around suddenly... + + ARAGORN + No. + +GANDALF looks up sharply at ARAGORN... + + ARAGORN + There's still hope for Frodo. He + needs time and safe passage across + the Plains of Gorgoroth. We can + give him that. + + GANDALF + How? + + ARAGORN + Draw out Sauron's armies - empty + his lands. Then we gather our full + strength and march on the Black + Gate. + +At this, GIMLI CHOKES on his pipe ... ÉOMER steps forward. + + ÉOMER + 111. + + + We cannot achieve victory through + strength of arms. + + ARAGORN + Not for ourselves ... But we can + give Frodo his chance if we keep + Sauron's eye fixed upon us. Keep + him blind to all else that moves. + + LEGOLAS + A diversion... + + CLOSE ON: GANDALF speaks in a low tone to ARAGORN... + + GANDALF + (doubtful) + Sauron will suspect a trap. He will + not take the bait! + + GIMLI + Certainty of death. Small chance of + success. What are we waiting for? + + CUT TO: + + +169 EXT. PELENNOR FIELDS - DUSK 169 + + CLOSE ON: ARAGORN wearing a BREAST PLATE emblazoned with + the WHITE TREE. + + He rides at the head of a COLUMN of 500 FOOT SOLDIERS from + ROHAN and GONDOR ... leading them from the RUINS of + OSGILIATH. + + GANDALF, LEGOLAS, GIMLI, ÉOMER, MERRY and PIPPIN ride + directly behind him. + + AHEAD OF THEM: THE MOUNTAINS OF MORDOR. + + +171 EXT. PLAINS OF GORGOROTH - NIGHT 171 + + GREAT ARMIES of ORC and URUK-HAI stream across the PLAINS + from MORDOR... + + +172 EXT. ORC ROAD, MORDOR - NIGHT 172 + + WIDE SHOT: The VOLCANIC WASTELAND of the GORGOROTH + FOOTHILLS. + 112. + + + FRODO and SAM, still disguised in the ORC ARMOUR, slide + down scree bank and land on the road below ... their + attention is fixed on the PLAIN below ... thousands of ORCS + can be seen marching away from MOUNT DOOM... + + SAM + Look, the Orcs! They're moving off. + You see, Mr. Frodo - some luck at + last. + + +173 EXT. GORGOROTH PLAIN, MORDOR - DAWN 173 + + FRODO and SAM ... moving across a HELLISH dry landscape of + twisted volcanic rock and STEAMING FISSURES. + + 40 MILES AWAY, MOUNT DOOM rises out of the PLAIN ... its + feet founded in ashen ruin, its huge cone rising to a great + height, where its reeking head is swathed in cloud. + + +174 EXT. BLACK GATES OF MORDOR - DAY 174 + + ARAGORN’S FORCE of 500 approaches the great BLACK GATES OF + MORDOR. He positions his troops about half a mile from the + GATES. + + +175 EXT. GORGOROTH PLAIN, MORDOR - DAY 175 + + ANGLE ON: FRODO slumped against a ROCK ... he tries to + DRINK from his WATER BOTTLE ... but finds it EMPTY. + + SAM + Take mine ... there's a few drops + left. + + FRODO gratefully takes a SMALL SIP from SAM’S BOTTLE ... + hands it back. + + FRODO + There'll be none left for the + return journey. + + SAM + (softly) + I don't think there will be a + return journey, Mister Frodo. + + A moment of EYE CONTACT between FRODO and SAM as they + acknowledge what lies ahead. + + SAM offers FRODO his hand ... and PULLS HIM UP. + 113. + + + CUT TO: + + +176 EXT. BLACK GATES OF MORDOR - DAY 176 + + At the BLACK GATES, ARAGORN musters his MEN... + + CUT TO: + + +177 EXT. PLAINS OF GORGOROTH - DAY 177 + + WIDE ON: FRODO and SAM staggering across the TORTURED + LANDSCAPE ... they are no longer WEARING the ORC ARMOUR. + + CLOSE ON: FRODO is walking half-bowed, often stumbling ... + as if his eyes no longer see the way before his feet. + + His right HAND is pressed against his CHEST ... supporting + a HEAVY WEIGHT. His left HAND often rises, as if to ward + off some invisible blow. SAM watches him, CONCERN etched + across his FACE... + + CLOSE ON: FRODO as a malevolent VOICE in his head calls to + him ... “Baggins - Baggins”... + + CLOSE ON: SAM looking behind him in time to see... + + WIDE ON: A RAY of RED LIGHT stabs through the GLOOM and + begins to sweep over the BARREN LANDSCAPE... + + SAM + Frodo, get down! + + SAM throws himself to the ground ... FRODO turns to the + light, unable to stop himself... + + FRODO crumpling to the ground as the RED LIGHT hits him + like a SEARCHLIGHT. + + +178 EXT. BLACK GATES OF MORDOR - NIGHT 178 + + All is QUIET ... No sign of the ENEMY... + + PIPPIN + (wary) + Where are they? + + ANGLE ON: GANDALF ... watchful ... alert. He nods at + ARAGORN. + + É + 114. + + + WIDE: ARAGORN, GANDALF, LEGOLAS, GIMLI, ÉOMER, MERRY and + PIPPIN galloping towards the BLACK GATES. They pull up less + than 50 yards from the TOWERING GATES... + + INTERCUT WITH: + + +179 EXT. PLAINS OF GORGOROTH - NIGHT 179 + + FRODO is slumped on the GROUND, unable to MOVE... + + INTERCUT WITH: + + +180 EXT. BLACK GATES OF MORDOR - NIGHT 180 + + ANGLE ON: ARAGORN moves his HORSE forward. + + ARAGORN + Let the lord of the Black Land come + forth; let justice be done upon + him. + + From behind the HUGE GATES, the terrifying CHANTING and the + CLANGING of the ARMOUR of THOUSANDS... + + With the SOUND of TORTURED METAL, the MASSIVE GATES begin + to open ... LEGOLAS, MERRY and ÉOMER look on in + trepidation. + + +181 EXT. PLAINS OF GORGOROTH - NIGHT 181 + + With the EYE OF SAURON sweeping the PLAINS around them, SAM + gets to his feet... + + +182 EXT. BLACK GATES OF MORDOR - NIGHT 182 + + The BLACK GATES of MORDOR SWING OPEN! SAURON’S ARMY of + 300,000 ORCS MARCH OUT! + + ARAGORN + Pull back! Pull back! + + ANGLE ON: ARAGORN, GANDALF, LEGOLAS, GIMLI, ÉOMER, MERRY + and PIPPIN GALLOP back towards their SMALL ARMY as the ORC + MASSES slowly MARCH toward them. + + Behind them, the EYE OF SAURON is directed toward THEM... + + CUT TO: + 115. + + +183 EXT. PLAINS OF GORGOROTH - NIGHT 183 + + FRODO’S eyes open with a START... + + SAM + It's gone, Mr. Frodo. + + ANGLE ON: SAM crawls toward FRODO... + + SAM + The light's passed on, away towards + the North ... something's drawn its + gaze. + + FRODO and SAM stagger to their feet and move off. + + CUT TO: + + +184 EXT. BLACK GATES OF MORDOR - DAY 184 + + ANGLE ON: The MASSIVE ORC ARMY marching towards ARAGORN’S + MEN. + + ANGLES ON: ARAGORN’S MEN ... starting to WAVER as the ORCS + ENCIRCLE THEM. SOME MEN are backing away ... losing their + nerve. + + ARAGORN GALLOPS in front of his ARMY... + + ARAGORN + Hold your ground - hold your + ground! Sons of Gondor - of Rohan + ... my brothers! + + ANGLE ON: ARAGORN ... he seems to fix each and every one of + his MEN with his eyes. + + ARAGORN + I see in your eyes the same fear + that would take the heart of me. A + day may come when the courage of + Men fails; when we forsake our + friends and break all bonds of + fellowship; but it is not this day + - an hour of wolves and shattered + shields, when the Age of Men comes + crashing down - but it is not this + day!! This day we fight! By all + that you hold dear on this good + earth - I bid you stand! + + ARAGORN holds ANDÚRIL ALOFT! + 116. + + + ARAGORN + Men of the West! + + CUT TO: + + +185 EXT. MOUNT DOOM - NIGHT 185 + + FRODO and SAM are CLIMBING the face of MOUNT DOOM... + + The LANDSCAPE is VIOLENT ... RED HEAT hisses out of + FISSURES, the ROCK is JAGGED ... RAZOR SHARP ... ASH + blankets the LAND. + + RED LIGHTNING FORKS across the SKY with a DEAFENING CRACK! + + CLOSE ON: FRODO and SAM’S FEET dragging across the ASH ... + Their PARCHED LIPS ... SWEATING, DUSTY FACES. + + FRODO TRIPS ... falls FACE-FIRST into the DUST ... SAM + drops beside him. + + INTERCUT WITH: + + +186 EXT. BLACK GATES OF MORDOR - DAY 186 + + HIGH WIDE: Of ARAGORN’S ARMY totally SURROUNDED by 300,000 + ORCS ... poised for the order to ATTACK! + + INTERCUT WITH: + + +187 EXT. MOUNT DOOM - NIGHT 187 + + FRODO slowly lifts his head and looks up... + + FRODO’S POV: Looking straight up the STEEP SLOPES of MOUNT + DOOM! ... a huge mass of ash and slag and burned stone! + + FRODO starts to CRAWL on his HANDS and KNEES! He hauls + himself a FEW PITIFUL FEET before SLUMPING in the ASH. + + CUT TO: + + +188 EXT. BLACK GATES OF MORDOR - NIGHT 188 + + ANGLE ON: GIMLI as he surveys the ARMY of MORDOR... + + GIMLI + 117. + + + Never thought I'd die fighting side + by side with an elf. + + LEGOLAS + (quietly) + What about side by side with a + friend? + + GIMLI looks up into the EYES of LEGOLAS, with whom he has + shared so much. The GRUFF DWARF smiles quietly... + + GIMLI + Aye - I could do that. + + LEGOLAS drops his hand on GIMLI’S shoulder ... SLOWLY they + turn and FACE the ENEMY TOGETHER. + + CUT TO: + + +189 EXT. GORGOROTH PAIN, MORDOR - NIGHT 189 + + CLOSE ON: SAM crawls to FRODO who lies SLUMPED against the + rock-face ...he turns him over, holding him in his ARMS. + + SAM + (softly) + Do you remember the Shire, Mr. + Frodo? ... It'll be spring soon, + and the orchards will be in + blossom; and the birds will be + nesting in the hazel thicket; and + they'll be sowing the summer barley + in the lower fields; and eating the + first of the strawberries with + cream. + (looking down at FRODO) + Do you remember the taste of + strawberries? + + CLOSE ON: FRODO shuts his eyes, his breath coming in GASPS. + + FRODO + (weak whisper) + No, Sam. I can't recall the taste + of food; nor the sound of water; + nor the touch of grass ... I'm + naked in the dark. + (rising panic) + There's no veil between me and the + wheel of fire. I can see him with + my waking eyes! + 118. + + + CLOSE ON: SAM looks at FRODO with GRIM DETERMINATION. + + SAM + Then let us be rid of it - once and + for all! Come on, Mr. Frodo. I + can't carry it for you ... but I + can carry you! Come on! + + With that, SAM lifts FRODO onto his shoulders and starts to + CLIMB MOUNT DOOM! his plain hobbit-face grows stern, almost + grim, as the will hardens in him. + + WIDE ON: TWO TINY HOBBITS on the ENDLESS shale SLOPES of + the MOUNTAIN... + + CUT TO: + + +190 EXT. BLACK GATES ON MORDOR - DAY 190 + + ANGLE ON: ARAGORN and COMPANY watch as they are surrounded + by a tide of ORCS... + + ARAGORN raises ANDÚRIL in the BROAD SWEEP as he walks + forward ... he turns to FACE the OTHERS... + + CLOSE ON: QUIET RESOLVE written on ARAGORN’S face as he + looks into the EYES of the remaining members of the + FELLOWSHIP... + + ARAGORN + (softly) + For Frodo... + + ANGLE ON: ARAGORN turning, SWORD-raised, he CHARGES + FORWARD! + + There is a moment of SILENCE ... no-one else moves ... + SUDDENLY a SHOUT goes up! + + ANGLE ON: PIPPIN and MERRY charging forward ... The rest of + the MEN following... + + ANGLE ON: ARAGORN crashing head on into a line of ORCS... + + ANGLE ON: The blade of ANDÚRIL flashing as ARAGORN HACKS at + ORCS! + + CUT TO: + + +191 EXT. SLOPES OF MOUNT DOOM - DAY 191 + 119. + + +WIDE: Like a small grey insect, SAM creeps up the slope +with FRODO on his back ... foot by foot. + +The mantling CLOUD swirls, revealing the cruel pinnacles +and iron crown of BARAD-DÛR, the Dark Tower, in the +distance. + +CLOSE ON: SAM staggering under FRODO’S weight ... STRONG +ash-laden WINDS are buffeting him as he slowly CLIMBS MOUNT +DOOM. + +The PLAIN of GORGOROTH lies 1000 FEET BELOW, wrapped in +fume and shadow. + +A TREMOR ripples through the GROUND ... a RED FLAME +explodes into the SKY... + +ANGLE ON: SAM looks up - fearful the MOUNTAIN could explode +at any moment! + +SAM POV: Through the THICK, FUME-LADEN AIR a set of STAIRS +can be made out... + + SAM + (growing excitement) + Look, Mr. Frodo! We're almost + there! + +SAM can’t believe it - relief and joy flood through him... + + GOLLUM + Clever Hobbits to climb so high! + +SMACK! OUT OF NOWHERE the figure of SMÉAGOL crashes into +them sending SAM and FRODO sprawling. + +ANGLE ON: SMÉAGOL pounces on FRODO ... his fingers wrapping +around his throat, snapping FRODO’S neck from side to side! + +ANGLE ON: FRODO as he struggles to unlock the BONY, WHITE +FINGERS around his neck, but SMÉAGOL’S grip is too strong. + +CLOSE ON: SMÉAGOL’S fingers tightening around FRODO’S neck +- squeezing the life out of him... + +WHACK! A ROCK connects with the SIDE of SMÉAGOL’S head... + +ANGLE ON: SAM jumps on a STUNNED SMÉAGOL... + +ANGLE ON: FRODO comes to... + + INTERCUT WITH: + 120. + + +192 EXT. BLACK GATES OF MORDOR - DAY 192 + + The BATTLE between MEN and ORCS rages on ... From MORDOR, + high OVERHEAD, the NAZGÛL fly out into the FRAY... + + INTERCUT WITH: + + +193 EXT. SLOPES OF MOUNT DOOM - DAY 193 + + All the old HATRED between SAM and SMÉAGOL boils over as + they FIGHT ... SAM falls back ... SMÉAGOL BITING at his + SHOULDER! + + SAM pushes SMÉAGOL away with his feet ... rolls to his + KNEES, as SMÉAGOL charges at him... + + SAM slashes out with STING! He cuts SMÉAGOL across the + stomach! SMÉAGOL staggers back, SCREAMING with PAIN... + + SAM looks around desperately for FRODO... + + SAM + (yelling desperately) + Frodo! + + FRODO has GONE! + + ANGLE ON: FRODO RUNNING UP THE MOUNTAIN! + + INTERCUT WITH: + + +193A EXT. BLACK GATES OF MORDOR - DAY 193A + + FELLOWSHIP fight BRAVELY ... a hideous screech rends the + AIR! + + ANGLE ON: GANDALF looks up to a NAZGÛL diving straight + toward him! + + CLOSE ON: GANDALF’S eyes flicker as a small MOTH flutters + across his line of sight. + + ANGLE ON: THE FELL-BEAST - JAWS OPEN, TALONS EXTENDED! + + Another cry rends the air as... + + SMACK! The GIANT EAGLE, GWAHIR, SMASHES into the FELL- + BEAST, it’s claws ripping into the HIDEOUS MONSTER’S NECK! + + ANGLE ON: PIPPIN in the midst of BATTLE looks up. + 121. + + + PIPPIN + (disbelieving) + Eagles... + + Above the BATTLE attack formation, more EAGLES appear... + + PIPPIN + The Eagles are coming! The Eagles + are coming! + + The EAGLES engage the NAZGÛL! + + CUT TO: + + +195 EXT. DOOR OF SAMMATH NAUR, MOUNT DOOM - DAY 195 + + ANGLE ON: SAM is GASPING, his lungs EXPLODING as he RACES + up the SLOPES of MOUNT DOOM searching for FRODO. + + ANGLE ON: SAM arriving at the STONE DOORWAY of SAMMATH NAUR + ... leading into the MOUNTAIN! + + SAM staggers into it! + + +196 INT. THE CRACK OF DOOM TUNNEL - DAY 196 + + ANGLE ON: SAM flinches against the FIERCE HEAT blasting + down the TUNNEL. + + SAM + (yelling) + Frodo! + + SAM lurches forward ... towards ORANGE GLOW deep in the + HEART of the MOUNTAIN. + + +197 INT. CRACK OF DOOM - DAY 197 + + The HEAT is almost UNBEARABLE ... SAM sees FRODO in the + DISTANCE... + + FRODO + I'm here, Sam. + + ANGLE ON: FRODO is standing on the EDGE of the CRACK OF + DOOM ... a deep LAVA FILLED CHASM, in the very heart of + ancient SAURON’S FORGES, the greatest in Middle-earth. + 122. + + + The RAGING ORANGE GLARE from the CHASM turns FRODO into a + BLACK SILHOUETTE ... standing TENSE and STILL. + + FRODO holds the RING in his HAND ... he RAISES IT, holding + it over the BUBBLING LAVA far below. + + SAM + (yelling) + Destroy it - go on! Throw it in the + fire! + + CLOSE ON: FRODO ... a STRANGE EXPRESSION on his face... + + SAM + What are you waiting for? Just let + it go! + + ON THE SOUNDTRACK: The HUM of the RING grows louder and + louder! FRODO PULLS the RING close to his body as he turns + to SAM. + + FRODO looks at SAM. The RING has finally taken him. + + FRODO + The Ring is mine. + + SAM SCREAMS as... + + ... FRODO PUTS THE RING ON! He VANISHES! + + SAM + No! + + CUT TO: + + +198 EXT. BLACK GATES OF MORDOR - DAY 198 + + With a storm of wings, the NAZGÛL wheel around and hurtle + towards MOUNT DOOM! + + In the midst of the BATTLE - GANDALF ... realising FRODO + has been seen... + + INTERCUT WITH: + + +199 INT. CRACK OF DOOM - DAY 199 + + CLOSE ON: SAM is SCREAMING for FRODO... + 123. + + + ANGLE ON: FOOTPRINTS moving across the ASH COVERED CAVERN + FLOOR! + + SUDDENLY! GOLLUM smashes a ROCK down on SAM’S HEAD, + knocking him to the GROUND! + + GOLLUM LEAPS on to the INVISIBLE FRODO! + + CLOSE ON: FRODO’S FOOTPRINTS ... staggering about under + GOLLUM’S WEIGHT! + + ANGLE ON: GOLLUM clawing FRANTICALLY, riding on the BACK of + the INVISIBLE FRODO... + + INTERCUT WITH: + + +200 EXT. BLACK GATES OF MORDOR - DAY 200 + + ARAGORN turns and is confronted by an ARMOURED TROLL + wielding an ENORMOUS MALLET... + + INTERCUT WITH: + + +201 INT. CRACK OF DOOM 201 + + GOLLUM suddenly LIFTS HIS HANDS to his face ... and BITES + HARD! + + ANGLE ON: FRODO MATERIALIZES as he DROPS TO HIS KNEES, + clutching his BLEEDING HAND ... he SCREAMS. + + The FIRES below roar in anger, RED LIGHT blazes, and all + the cavern is filled with a great glare and heat. + + INTERCUT WITH: + + +202 EXT. BLACK GATE OF MORDOR - DAY 202 + + ANGLE ON: LEGOLAS as ARAGORN falls to the GROUND... + + INTERCUT WITH: + + +203 INT. CRACK OF DOOM - DAY 203 + + CLOSE ON: GOLLUM triumphantly HOLDS the RING ALOFT... + ECSTATIC! + 124. + + + CLOSE ON: GOLLUM dancing GLEEFULLY ... PERILOUSLY close to + the EDGE OF THE CHASM! + + INTERCUT WITH: + + +204 EXT. BLACK GATES OF MORDOR - DAY 204 + + ARAGORN turns to see HUGE TROLL FEET moving CLOSER... + LEGOLAS races toward him... + + +205 INT. CRACK OF DOOM 205 + + GOLLUM still TRIUMPHANT ... on the edge of the PRECIPICE + ... The FIERY LAVA casting an EVIL LIGHT ... He jumps about + in DELIGHT... + + GOLLUM + Precious! Precious! + + ANGLE ON: FRODO rises slowly ... his EYES lock on GOLLUM + ... time seems to stand still as each regards the other... + + CLOSE ON: the RING glinting in GOLLUM’S HAND ... BEAUTIFUL + ... POWERFUL ... EVIL... + + SUDDENLY! FRODO lunges at GOLLUM... + + FRODO thuds into GOLLUM, lifting him off his feet... + + ANGLE ON: FRODO and GOLLUM locked n STRUGGLE plummet over + the EDGE OF THE CHASM. + + INTERCUT WITH: + + +206 EXT. BLACK GATES OF MORDOR - DAY 206 + + THUD! The HUGE FOOT of the CAVE TROLL lands on ARAGORN’S + chest. He STABS at it, ineffectually... + + ANGLE ON: GANDALF in despair... + + INTERCUT WITH: + + +207 INT. CRACK OF DOOM 207 + + SAM watches in HORROR as FRODO and GOLLUM ... disappear + into the CHASM! He staggers over... + 125. + + + SLOW MOTION: GOLLUM falls into the CRACK OF DOOM... + INSTANTLY engulfed in the CHURNING LAVA! + + ANGLE ON: SAM leans into the CRACK OF DOOM... + + ANGLE ON: FRODO clinging onto the ROCK FACE with his ONE + GOOD HAND! + + The CAVERNS are SHAKING VIOLENTLY. + + SAM desperately reaches for him ... FRODO is too far down. + + SAM + Give me your hand. + + CLOSE ON: FRODO looks at SAM, his face impassive. + + SAM + Take my hand! + + FRODO struggles to reach SAM ... he can’t reach WITH HIS + BLEEDING hand, and falls back, still clinging valiantly to + the ROCK with his good hand... + + SAM + No! + + ANGLE ON: FRODO looks at SAM imploringly... + + SAM + Don't you let go! Don't let go. + (desperate) + Reach!!! + + ANGLE ON: FRODO reaches up once more and this time SAM + GRASPS his hand TIGHTLY. + + CLOSE ON: The RING sits on the river of LAVA for a brief + moment, then SINKS away... + + ANGLE ON: the EYE OF SAURON... + + WIDE ON: Across the GREAT PLAINS - MOUNT DOOM is clearly + IMPLODING... + + INTERCUT WITH: + + +208 EXT. BLACK GATES OF MORDOR - DAY 208 + + On the BATTLEFIELD, all eyes turn to MOUNT DOOM... + 126. + + + ANGLE ON: The CAVE TROLL, with ARAGORN at his mercy, is + distracted by the SOUNDS emanating from MORDOR ... he turns + in TERROR and RUNS OFF... + + +209 EXT. BARAD-DÛR - DAY 209 + + ANGLE ON: The FELLOWSHIP turns to watch as the MASSIVE DARK + TOWER of SAURON shakes itself to pieces! + + TOWERS FALL and WALLS CRUMBLE: vast spires of SMOKE and + spouting STEAM billow up! + + The FOUNDATIONS explode apart... + + +210 EXT. BLACK GATES OF MORDOR - DAY 210 + + The BLACK GATES collapse in a huge cloud of ASH! + + THE ORCS are FLEEING in all DIRECTIONS ... As the very + foundations of MORDOR collapse! + + THE COMPANY watches as MOUNT DOOM explodes ... the reason + for their MISERY is clear ... it’s plain FRODO and SAM can + never survive the cataclysm... + + CUT TO: + + +211 EXT. SLOPES OF MOUNT DOOM - DAY 211 + + The VOLCANO is ERUPTING, FIRE belches from its riven + summit, sending LAVA streaming down its sides... + + ANGLE ON: FRODO and SAM stagger out of the SAMMATH NAUR + DOOR ... all around ASH and MOLTEN ROCKS fall. The SKIES + burst into THUNDER, seared with LIGHTENING. + + The screaming NAZGÛL fall from the sky in FLAMES! + + The ground is shaking so violently that FRODO and SAM can + barely stand. + + FRODO stumbles ... SAM helps him up ... FRODO smiles. + + FRODO + It's gone ... it's done. + + SAM looks down at FRODO ... FRODO’S FACE is at PEACE ... + his BURDEN destroyed... + 127. + + + SAM + Yes, Mr. Frodo ... it's over now. + + FRODO and SAM crawl onto a ROCK as LAVA streams towards + them ... in seconds THEIR ROCK is an island in a sea of + MOLTEN FIRE. + + FRODO shuts his eyes... + + FRODO + (remembering) + I can see the Shire ... The + Brandywine River, Bag End, + Gandalf's fireworks ... the lights + in the Party Tree... + + SAM + Rosie Cotton dancing ... she had + ribbons in her hair... + (sobs) + ...if ever I was to marry someone + ... it would have been her ... it + would have been her. + + FRODO glances at SAM ... he is WEEPING. + + CLOSE ON: FRODO wrapping an ARM around SAM’S SHOULDER. + + FRODO + (calm) + I'm glad to be with you, Samwise + Gamgee, here at the end of all + things. + + HIGH WIDE: TWO TINY HOBBITS waiting to die amid a + cataclysmic landscape ... LAVA erupts around them ... + FIREBALLS rain down from the sky. + + We SLOWLY FADE TO BLACK... + + +212 FADE UP: 212 + + SLOW MOTION: GWAIHIR, the GREAT EAGLE flaps towards CAMERA + ... He bears GANDALF on his back, and is followed by TWO + MORE EAGLES. + + WIDE SHOT ... The EAGLES bravely fly amid the RAINING ASH + and MOLTEN ROCKS ... and SNATCH FRODO and SAM from the + ROCK! + 128. + + + CLOSE ON: FRODO’S FACE ... as the FIERY VOLCANO recedes + away beneath him ... the wind ruffles his hair ... he + PASSES OUT. + + FADE TO BLACK. + + +213 INT. MINAS TIRITH, HOUSES OF HEALING - DAY 213 + + SLOW MOTION ... FRODO’S eyes flutter open ... looking + around slowly his eyes alight on GANDALF... + + FRODO + Gandalf? + + GANDALF’S face breaks into a smile ... then laughter... + + ...as MERRY and PIPPIN run in ... jumping on the bed and + hugging FRODO... + + GIMLI and LEGOLAS enter the room ... their joy is PLAIN... + + ARAGORN joins them - the FELLOWSHIP is complete... + + ...finally FRODO’S eyes fall upon a FIGURE standing apart + from the others ... it is SAM... + + CLOSE ON: FRODO’S and SAM’S eyes meet... + + CUT TO: + + +214 EXT. MINAS TIRITH, COURT OF THE KINGS - DAY 214 + + ANGLE ON: SWEEPING over the MINAS TIRITH WALLS, racing + towards the TOP of the CITY ... through a BLIZZARD of WHITE + FLOWER PETALS! MINAS TIRITH is restored ... it GLEAMS WHITE + in the BRIGHT SUN. + + SOARING UP: to REVEAL the COURT OF THE KINGS, CROWDED with + 4000 PEOPLE ... cramming the WIDE PATH leading to the TOWER + HALL! + + CLOSE ON: The CROWN of GONDOR glints in the BRILLIANT + SUNSHINE... + + GANDALF places the CROWN upon ARAGORN’S head. + + GANDALF + Now come the days of the King... + + ARAGORN smiles up at GANDALF... + 129. + + + GANDALF + (softly to ARAGORN) + May they be blessed. + +ARAGORN slowly RISES, turning to face the CROWD, who CHEER +and CLAP for their KING... + + ARAGORN + This day does not belong to one man + but to all. Let us together rebuild + this world that we may share in the + days of peace. + +The CHEERS of his PEOPLE are DEAFENING... + + ARAGORN + (in ELVISH; subtitled) + Et Eärello Endorenna utúlien. + Sinome maruvan ar Hildinyar tenn' + Ambar-metta. + Out of the Great Sea to Middle- + earth I am come. In this place will + I abide, and my heirs, unto the + ending of the world. + +ARAGORN sings for his people ... The WALKS in SLOW +PROCESSION down the WHITE PAVED PATH as the CROWD BOW their +heads in respect to their NEW KING... + +ARAGORN passes ÉOWYN and FARAMIR who bow before him ... +ÉOMER steps FORWARD to bow in respect... + +TRUMPETS SOUND as a PROCESSION of ELVES, dressed in +shimmering SILVERS and WHITES, led by LEGOLAS approach the +KING ... + + ARAGORN + (in ELVISH; subtitled) + Hannon le. + Thank you. + +LEGOLAS gestures behind him... + +CLOSE ON: ARAGORN’S eyes scan amongst the ELVES. + +ANGLE ON: A BANNER carried aloft bearing the WHITE TREE of +GONDOR in FULL FLOWER ... the RANKS of ELVES part +revealing: + +ARWEN, eyes shining ... MORTAL now, but deeply in love ... +carrying the STANDARD of GONDOR ... ARAGORN kisses her. + +ELROND looks on ... his face breaks into a smile. + 130. + + + ARAGORN and ARWEN embrace. + + ANGLE ON: ARAGORN and ARWEN walking through the CROWD + towards four SMALL FIGURES who stand nervously at the end + of the AVENUE... + + ANGLE ON: ARAGORN and ARWEN look on FRODO, SAM, MERRY, and + PIPPIN as they stand before them... + + The FOUR HOBBITS, dressed in their OLD CLOTHES, clean and + mended, bow their heads... + + ARAGORN raises his HAND. + + ARAGORN + My friends ... you bow to no-one. + + ANGLE ON: ARAGORN drops on ONE KNEE, kneeling before THE + HOBBITS, his head bowed ... followed by all assembled + there. + + CLOSE ON: TEARS spring into FRODO’S EYES. He clutches SAM’S + shoulder as 4000 PEOPLE pay homage to the courage of two + little Hobbits from the Shire. + + CAMERA RISES INTO THE AIR ... away from the CROWDED + CITADEL, until MINAS TIRITH becomes a SPECK in the + LANDSCAPE... + + CUT TO: + + +215 EXT. MIDDLE EARTH MAP - DAY 215 + + DISSOLVING into the PARCHMENT MAP of MIDDLE-EARTH ... + Slowly drifting across the MAP towards the WEST... + + FRODO (V.O.) + And thus it was a Fourth Age of + Middle-earth began, and the + Fellowship of the Ring, though + eternally bound by friendship and + love, was ended. Thirteen months to + the day, since Gandalf sent us on + our long journey... + + CUT TO: + + +216 EXT. HOBBITON - DUSK 216 + + FRODO (V.O.) + 131. + + + ...we found ourselves looking upon + a familiar site ... We were home! + + MATCHING MOVE: Revealing HOBBITON bathed in a WARM SUNSET + ... As FRODO, SAM, MERRY and PIPPIN ride into SHOT on + PONIES ... past ODO PROUDFOOT who shake his head at the + STRANGENESS of their appearance. + + +217 INT. THE GREEN DRAGON INN - NIGHT 217 + + FRODO brings a round of drinks to the TABLE. + + Nearby a HUGE FUSS is being made of a LARGE PUMPKIN which + has been brought in to be shown off. + + ANGLE ON: The FOUR FRIENDS looks at each other. A WORLD of + experience now separates them from their fellow HOBBITS. + + Seated at a long table, the FOUR FRIENDS raise their + glasses ... SAM’S eye is suddenly caught! + + ANGLE ON: ROSIE COTTON who is serving behind the BAR... + + SAM steels himself and leaves to go and TALK to ROSIE... + + FRODO, MERRY and PIPPIN exchange smiles as... + + CUT TO: + + +218 EXT. HOBBITON - DAY 218 + + On a BEAUTIFUL sunny day, SAM and ROSIE are MARRIED ... + With their dearest FRIENDS gathered around them... + + ROSIE throws a beautiful bouquet of FLOWERS ... it’s caught + by PIPPIN who smiles in embarrassment... + + DISSOLVE TO: + + +219 INT. BAG END - DAY 219 + + FRODO walks through BAG END to his STUDY... + + FRODO (V.O.) + 132. + + + How do you pick up the threads of + an old life? How do you go on, when + in your heart you begin to + understand. There is no going back. + There are some things that time + cannot mend. Some hurts that go too + deep. That have taken hold. + +ANGLE ON: FRODO ... from behind. He is HUNCHED over a +DESK... + +PUSH IN ... to reveal BILBO’S RED BOOK open on FRODO’S +DESK. + +He is WRITING in the LAST CHAPTERS in careful neat +HANDWRITING. + +FRODO turns back the pages, REVEALING: There and Back Again +- A Hobbit’s Tale, by Bilbo Baggins. He writes below it as +SAM GAMGEE calls out from the door: + + SAM (O.S.) + Mr. Frodo? + +CLOSE ON: FRODO WINCES with a sharp GASP of PAIN ... He +puts the PEN down and CLUTCHES at his SHOULDER... + +SAM has entered the ROOM and stands BEHIND FRODO... + + SAM + (concerned) + What is it? + +CLOSE ON: FRODO ... He is DRAWN and PALE. + + FRODO + It's been four years to the day + since Weathertop, Sam. It's never + really healed. + +CLOSE ON: SAM ... at a loss for words. His EYES fall to the +BOOK. + + SAM + “There and Back Again ... A + Hobbit's Tale, by Bilbo Baggins” + +TILT DOWN: to FRODO’S HANDWRITING: + + SAM + “... And The Lord of the Rings, by + Frodo Baggins”. + (delighted) + 133. + + + You’ve finished it! + + FRODO + (closing the book) + Not quite ... There's room for a + little more. + + CUT TO: + + +220 EXT. HOBBITON FIELDS - EARLY MORNING 220 + + LYRICAL MUSIC OVER... + + A COLD WINTER’S MORNING ... Out of the FOG rattles a SMALL + COVERED WAGON; GANDALF is at the REINS. + + ANGLE ON: FRODO, SAM, MERRY and PIPPIN are waiting on + PONIES for the WAGON ... all are wearing their GREY ELVEN + ROBES. + + FRODO (V.O.) + Bilbo once told me, the great + stories never end - that each of us + must come and go in the telling. + His part in this tale was now over. + There would be no more journeys for + Bilbo. Save one. + + CLOSE ON: GANDALF arrives in his CART... + + DISSOLVE TO: + + +222 EXT. WEST FARTHING - DAY 222 + + WIDE ON: The WAGON trundles along at a SEDATE PACE. + + SAM, MERRY and PIPPIN ride behind, leading FRODO’S EMPTY + PONY. + + BILBO (O.S.) + (frail) + Tell me again, lad. Where are we + going? + + FRODO (O.S.) + To the harbour, Bilbo. The Elves + have accorded you a special honor. + A place on the last ship to leave + Middle-earth. + 134. + + +223 INT. WAGON - DAY 223 + + CLOSE ON: FRODO is SITTING in the WAGON ... his ARM around + his UNCLE BILBO. + + BILBO is extremely OLD and FRAIL. He is DOZING ... his head + slumped. + + BILBO’S eyes flutter OPEN ... with effort he raises his + head. + + BILBO + (frail) + Frodo ... Any chance of seeing that + old Ring of mine ... the one I gave + you? + + FRODO + (quietly) + Sorry, Uncle ... I'm afraid, I lost + it. + + BILBO + (frail) + Oh ... pity. I should like to have + held it one last time. + + BILBO nods back to sleep ... FRODO rests his head against + him. + + DISSOLVE TO: + + +224 EXT. THE GREY HAVENS - DUSK 224 + + ANGLE ON: FRODO, walking arm-in-arm with BILBO through a + beautiful ELVEN BOAT-HOUSE ... GANDALF follows with MERRY, + PIPPIN and SAM. + + CLOSE ON: As BILBO looks up, he is STUNG by the BEAUTY + before him... + + BILBO + Oh! Well, here’s a sight I have + never seen before. + + TRACKING: Passing under a beautiful ELVEN ARCHWAY... + + ...to reveal a WHITE SHIP, ready to depart from a WHITE + STONE DOCK. + + ANGLE ON: ELROND, CELEBORN and GALADRIEL are waiting for + them. + 135. + + +The SETTING SUN slowly dropping behind the SEA ... visible +between the HEADLANDS of a beautiful INLET. + +The lighting is beautiful ... SUN streams through the +sails, casting an ethereal glow on THE GROUP as they walk +onto the DOCK. + +BILBO bows in acknowledgment to ELROND, CELEBORN and +GALADRIEL, who return his GREETING. + + GALADRIEL + The power of the Three Rings is + ended. The time has come for the + Dominion of Men. + + ELROND + (ELVISH: with subtitles) + I Aear can vên na mar. + The Sea calls us home. + +ELROND holds out his ARMS to BILBO who suddenly seems MUCH +YOUNGER and SPRIGHTLIER ... He sets off down the PATH +TOWARD his HOSTS... + + BILBO + I think I'm quite ready for another + adventure. + +BILBO walks down toward the BOAT and BOARDS with ELROND... + +ANGLE ON: FRODO looks up ... GALADRIEL is watching him. She +SMILES, TURNS and BOARDS the BOAT... + +GANDALF kneels before SAM, MERRY and PIPPIN - who are all +looking TEARFUL. + + GANDALF + Farewell, my brave Hobbits. My work + is now finished. Here at last, on + the shores of the sea, comes the + end of our Fellowship. + +There is GREAT SADNESS ... MERRY SNIFFLES LOUDLY. + + GANDALF + I will not say: “do not weep”, for + not all tears are an evil. + +CLOSE ON: GANDALF turns and walks away ... FRODO is +DOWNCAST ... SUDDENLY, GANDALF turns and looks toward him. + + GANDALF + It is time, Frodo. + 136. + + + ANGLE ON: GANDALF looks to FRODO then turns and slowly + walks towards the GANGPLANK to board the SHIP. + + SAM + (alarmed) + What does he mean? + + CLOSE ON: FRODO turns to SAM... + + FRODO + (gently) + We set out to save the Shire, and + it has been saved ... but not for + me... + + SAM + (shaken) + You don't mean that - You can't + leave! + + ANGLE ON: SAM looks down ... FRODO is holding BILBO’S RED + JOURNAL out towards him. + + FRODO + The last pages are for you, Sam. + + SAM is SOBBING ... MERRY and PIPPIN are DISTRAUGHT... + + FRODO hugs MERRY and PIPPIN, and last of all SAM ... and + climbs on board the SHIP. + + ANGLE ON: FRODO a look of WONDERMENT crosses his face ... + as he STEPS FORWARD and ACCEPTS GANDALF’S HAND ... finally + released from his pain, care falls from his face ... he is + the young FRODO we first met so long ago. + + SAM, MERRY and PIPPIN comfort each other as the WHITE SHIP + glides away from the DOCK... + + WIDE ON: The WHITE BOAT sails away towards the HEADLANDS, + disappearing into the GOLDEN LIGHT of the SETTING SUN. + + ANGLE ON: SAM in growing darkness, still follows the + departing SHIP with his eyes, MERRY and PIPPIN are already + preparing to leave. + + CUT TO: + + +225 EXT. NO.3 BAGSHOT ROW - MORNING 225 + + ANGLE ON: SAM walks up the path towards his house... + 137. + + +A LITTLE GIRL toddles up to greet him. + + SAM + Elanor! + +He hugs his daughter... + + FRODO (V.O.) + My dear Sam. You cannot always be + torn in two. You have to be one and + whole for many years. You have so + much to enjoy and to be and to do. + Because Sam, your part in the + journey goes on. + +ANGLE ON: ROSIE COTTON steps up and kisses SAM on the cheek +... she gives him a TINY BABY BOY to cradle. + + SAM + Hello, little Frodo! + +ANGLE ON: SAM with his FAMILY ... he draws a deep breath: + + SAM + Well ... I’m back. + +SAM looks at his LOVELY FAMILY with GREAT HAPPINESS, tinged +with a little SADNESS... + +SAM and ROSIE wake the CHILDREN’S HANDS and enter BAGSHOT +... the BRIGHT YELLOW DOORWAY closes behind them. + + FADE TO BLACK. + +THE END + \ No newline at end of file diff --git a/scripts/The Lord of the Rings.txt b/scripts/The Lord of the Rings.txt new file mode 100644 index 0000000000000000000000000000000000000000..e1ae5bd95a9f31f1b2942d0107ab93eab5606897 --- /dev/null +++ b/scripts/The Lord of the Rings.txt @@ -0,0 +1,9090 @@ + 1. + + + + FADE IN: + + TITLE: New Line Cinema Presents + + TITLE: A Wingnut Films Production + + ELVISH SINGING. + + A WOMAN’S VOICE IS whispering, tinged with SADNESS and + REGRET: + + GALADRIEL (V.O.) + (Elvish: subtitled) + “I amar presten aen: han mathon ne + nen, han mathon ne chae a han + noston ned wilith.” + (English:) + The world is changed: I feel it in + the water, I feel it in the earth, + I smell it in the air. Much that + once was is lost, for none now live + who remember it. + + title: THE LORD OF THE RINGS + + +1 EXT. PROLOGUE - DAY 1 + + IMAGE: FLICKERING FIRELIGHT. The NOLDORIN FORGE in EREGION. + + MOLTEN GOLD POURS from the lip of an IRON LADLE. + + GALADRIEL (V.O.) + It began with the forging of the + Great Rings. + + IMAGE: THREE RINGS, each set with a single GEM, are + received by the HIGH ELVES - GALADRIEL, GIL-GALAD and + CIRDAN. + + GALADRIEL (V.O.) + Three were given to the Elves: + immortal, wisest, fairest of all + beings. + + IMAGE: SEVEN RINGS held aloft in triumph by the DWARF + LORDS. + + GALADRIEL (V.O.) + Seven to the Dwarf Lords: great + miners and craftsmen of the + mountain halls. + 2. + + +IMAGE: NINE RINGS clutched tightly by the KINGS OF MEN as +if holding-close a precious secret. + + GALADRIEL (V.O.) + And Nine - nine rings were gifted + to the race of Men, who above all + else desire power. + + GALADRIEL (V.O.) + For within these rings was bound + the strength and the will to govern + each race. + + FADE TO BLACK + + GALADRIEL (V.O.) + But they were all of them deceived. + +FADE UP: An ancient PARCHMENT MAP of MIDDLE EARTH moving +slowly across the MAP as if drawn by an unseen force the +CAMERA closes in on a PLACE NAME - MORDOR. + + GALADRIEL (V.O.) + -- for another Ring was made. + +TEASING SHOTS: SAURON forging the ONE RING in the CHAMBERS +of SAMMATH NAUR. + + GALADRIEL (V.O.) + In the land of Mordor, in the fires + of Mount Doom, the Dark Lord Sauron + forged in secret a Master Ring to + control all others. + +IMAGE: The ONE RING reflecting the FIERY LAVA! FIRE WRITING +emerges on the plain BAND OF GOLD. + + GALADRIEL (V.O.) + -- and into this Ring he poured his + cruelty, his malice and his will to + dominate all life. + +IMAGE: THE ONE RING falls through SPACE and into flames. + + GALADRIEL (V.O.) + One Ring to rule them all. + +IMAGE: A GREAT SHADOW falls across the MAP closing in +around the realm of GONDOR. + +IMAGE: SCREAMING VILLAGERS, MEN, WOMEN, AND CHILDREN, RUN +from their homes, pursued by ARMIES OF HIDEOUS ORCS. + 3. + + + GALADRIEL (V.O.) + One by one the Free lands of Middle + earth fell to the power of the + Ring. + + FADE TO BLACK. + + GALADRIEL (V.O.) + But there were some who resisted. + +FADE UP: ISILDUR, son of the KING OF GONDOR, leads an ARMY +ACROSS the PLAINS OF DAGORLAD. + + GALADRIEL (V.O.) + A last alliance of Men and Elves + marched against the armies of + Mordor. On the slopes of Mount + Doom, they fought for the freedom + of Middle-Earth. + +TEASING SHOTS: THE BATTLE OF DAGORLAD. THE ELF LORD, +ELROND, commands rack after rank of ELVEN ARCHERS. + + ELROND + (Elvish) + Tangado haid! Leithio i philinn! + (English) + Hold positions! Fire the arrows! + +TEASING SHOTS: ARROWS FIRING. ORCS RETREATING before the +ARMY of the LAST ALLIANCE. ELENDIL, KING OF GONDOR, holds +aloft the great SWORD NARSIL! + + GALADRIEL (V.O.) + Victory was near! + +IMAGES: THE HUGE, DARK FIGURE OF SAURON, bearing the ONE +RING on his finger, looms over the field of battle. + + GALADRIEL (V.O.) + But the power of the Ring could not + be undone. + +IMAGE: SAURON lays waste to the armies of the LAST +ALLIANCE. + +With desperate courage, ELENDIL leads a charge THE BLACK +MACE OF SAURON LASHES OUT!! + +IMAGE: ELENDIL’S body falls like a crumpled rag doll. + +IMAGE: ISILDUR cradles the body of his father in his arms. +The SHADOW OF SAURON falls over him. + 4. + + + GALADRIEL (V.O.) + It was in this moment when all hope + had faded, that Isildur, son of the + king, took up his father's sword. + +ISILDUR snatches up the BROKEN BLADE OF NARSIL. The BLADE +severs SAURON’S FINGERS AND THE ONE RING FLIES from his +body. + + GALADRIEL (V.O.) + Sauron, the enemy of the Free + Peoples of Middle-Earth, was + defeated. + +SAURON’S ARMOUR clatters to the ground, his body GONE. +VAPORIZED! + +CLOSE ON: ISILDUR picks up the SEVERED FINGER and removes +the ONE RING transfixed! + + GALADRIEL (V.O.) + The Ring passed to Isildur who had + this one chance to destroy evil + forever. + +IMAGE: GLADDEN FIELD. ISILDUR leads a small column of MEN +through DARKENING WOODS, the ONE RING glinting on a CHAIN +around his neck. + + GALADRIEL (V.O.) + But the hearts of Men are easily + corrupted. And the Ring of Power + has a will of its own. + +SUDDENLY! ARROWS FLY! They are ambushed by ORCS. ISILDUR is +THROWN from his HORSE! + +ISILDUR stumbles to his feet and in a PANIC, puts on the +the RING and DISAPPEARS! + +INVISIBLE ISILDUR flees from the BATTLE and jumps into the +RIVER ANDUIN. + +ISILDUR MATERIALIZES UNDER WATER as the RING slips slowly +from his finger. He grasps for it, desperately. + +ORCS on the RIVERBANK spot him in the WATER. They fire a +BARRAGE OF ARROWS into him. + +ISILDUR JERKS. Ripples of light play across ISILDUR’S PALE +FACE, he is DEAD. + + GALADRIEL (V.O.) + 5. + + + It betrayed Isildur to his death. + +IMAGE: ISILDUR floats down the RIVER, ARROWS lodged in his +back. + +IMAGE: THE RING falls through the MURKY WATERS of the RIVER +ANDUIN and into OBLIVION. + + GALADRIEL (V.O.) + And some things that should not + have been forgotten were lost. + + FADE TO BLACK + + GALADRIEL (V.O.) + Thus a Third Age of Middle-Earth + began. History became legend, + legend became myth. + +FADE UP: The waters of the ANDUIN RIVER lie dark and +undisturbed. + + GALADRIEL (V.O.) + And for two and a half thousand + years, the Ring passed out of all + knowledge. + +IMAGE: SILT SWIRLS. A THIN WHITE HAND reaches down, +grasping the RING. + + GALADRIEL (V.O.) + Until, when chance came, it + ensnared a new bearer. + +IMAGE: THE THIN WHITE HAND opens to reveal the ONE RING. + + GOLLUM (V.O.) + My Precious -- + +IMAGE: MIST SHROUDED MOUNTAINS. + + GALADRIEL (V.O.) + The Ring came to the creature + Gollum, who took it deep into the + tunnels of the Misty Mountains. + +IMAGE: THE GLOOM of a MOUNTAIN CAVERN, a MURKY POOL of +WATER, in the DARKNESS the SHADOWY OUTLINE of an EMACIATED +FIGURE. + + GALADRIEL (V.O.) + And there it consumed him. + 6. + + +A RASPY VOICE mutters in the half light. + + GOLLUM + It came to me. My own. My love -- + (ecstatic whisper) + My preciousness. + + GALADRIEL (V.O.) + The Ring gave to Gollum unnatural + long life. For five hundred years + it poisoned his mind. And in the + gloom of Gollum's cave -- + + FADE TO BLACK + + GALADRIEL (V.O.) + It waited. + +FADE UP: Bathed in COLD MOONLIGHT, the WORLD lies DARK and +STILL, the unsettled quiet before the storm. + + GALADRIEL (V.O.) + Darkness crept back into the + forests of the world. Rumor grew of + a Shadow in the East whispers of a + nameless fear. And the Ring of + Power perceived its time had now + come. It abandoned Gollum. + +SLOW MOTION: Unseen by its KEEPER, THE RING falls to the +MUDDY FLOOR of a MOUNTAIN TUNNEL. + + GALADRIEL (V.O.) + But something happened then the + Ring did not intend -- + + FADE TO BLACK + +IMAGE: FUMBLING in the dark, a SMALL HAND closes over the +RING. + + GALADRIEL (V.O.) + It was picked up by the most + unlikely creature imaginable -- + + BILBO + (to himself) + What’s this? + +A YOUNGISH LOOKING BILBO BAGGINS peers down at what lies in +his hand. PERPLEXED by what he has found. + + GALADRIEL (V.O.) + 7. + + + A Hobbit. Bilbo Baggins of the + Shire. + + BILBO + (surprised) + A Ring. + + SUDDENLY! A VOICE SCREAMS. ITS ANGUISH RINGING through the + COLD, DANK TUNNELS. + + GOLLUM (V.O.) + Lost! Lost! My Precious is lost!! + + Frightened, BILBO quickly POCKETS the ONE RING and hurries + on. + + DISSOLVE TO: + + WIDE ON: THE CAMERA SOARS AWAY FROM THE MOUNTAINS. MOVING + FASTER AND FASTER THEIR DARK GREEN FORESTS AND JAGGED WHITE + PEAKS RECEDING INTO THE SHROUD OF MIST + + GALADRIEL (V.O.) + For the time will soon come when + Hobbits will shape the fortunes of + all. + + DISSOLVE TO: + + CLOSE ON: A MAP OF MIDDLE-EARTH. WE MOVE from the MISTY + MOUNTAINS to HOBBITON. + + BILBO (V.O.) + The 22nd day of September in the + year 1400 by Shire-reckoning. Bag + End, Bagshot Row, Hobbiton, + Westfarthing, the Shire, Middle- + earth. The Third Age of this world. + + PULL BACK ON THE MAP TO REVEAL: + + +2 INT. BAG END HALLWAY - DAY 2 + + ANGLES ON: The MAP rests on the floor with several other + MAPS, BOOKS, SCROLLS, and other similar items of research. + + CAMERA TRACKS: Down through the hall, we find BAG END + shares this DECOR throughout its modest halls. + + TITLE: THE FELLOWSHIP OF THE RING + 8. + + +3 INT. BAG END STUDY - DAY 3 + + ANGLE ON: BILBO sits at his DESK, PEN IN HAND. + + BILBO + There and Back Again: A Hobbit’s + Tale by Bilbo Baggins. + + CLOSE ON: the book. The lettering on the page reads exactly + as BILBO has dictated. He turns the next page, which is + blank. + + ANGLE ON: BILBO considers his words carefully. + + BILBO + Now, where to begin? Ah yes -- + + CLOSE ON: BILBO dips his pen in the ink, and begins + writing. + + BILBO + “Concerning Hobbits.” + + +4 EXT. HOBBITON - DAY 4 + + WIDE ON: The small VILLAGE OF HOBBITON is a quaint rustic + settlement nestled amongst rolling green hills and large + trees. + + The HOBBITS live in HOBBIT HOLES: neat burrows dug into the + grassy hillside, with round doors and cute front gardens. + + MONTAGE OF SHOTS UNDER BILBO: HOBBITS plowing fields, + smoking pipes, serving food, woodworking, leading pigs, + milking cattle, tidying their porches and of course, + sleeping. + + BILBO (V.O.) + “Hobbits have been living and + farming in the four Farthings of + the Shire for many hundreds of + years, quite content to ignore and + be ignored by the world of the Big + Folk. Middle-earth being, after + all, full of strange creatures + beyond count, Hobbits must seem of + little importance being neither + renowned as great warriors nor + counted among the very wise.” + + END MONTAGE + 9. + + +5 INT. BAG END STUDY - DAY 5 + + ANGLE ON: BILBO laughs. HE TURNS TO a KNOCK at the door. + + WIDE ON: BILBO in his study. + + BILBO + (calling out) + Frodo! Someone at the door. + + ANGLE ON: BILBO turns immediately back to his WRITING. + + +6 EXT. HOBBITON - DAY 6 + + IMAGE: A HOBBIT, when faced with a decision between a KISS + from his SWEETHEART and a MUFFIN, chooses the MUFFIN. + + BILBO (V.O.) + “In fact, it has been remarked by + some that Hobbits’ only real + passion is for food. + + IMAGE: A HOBBIT carries a BARREL OF ALE on his SHOULDER, + refilling his MUG as he walks. + + BILBO (V.O.) + “A rather unfair observation as we + have also developed a keen interest + in the brewing of ales. + + IMAGE: Several HOBBITS sit around SMOKING PIPES. + + BILBO (V.O.) + -- and the smoking of pipe-weed." + + IMAGE: HOBBITS carry their fresh picked crops. HOBBITS + engaged in a leisurely game. HOBBITS GARDENING. + + BILBO (V.O.) + “But where our hearts truly lie is + in peace and quiet and good, tilled + earth." + + IMAGE: SAMWISE GAMGEE sits in front of his house, admiring + his flowers. + + BILBO (V.O.) + “For all Hobbits share a love of + things that grow." + + IMAGE: Near a large, old tree, HOBBITS raise BANNERS AND + TENTS. + 10. + + + Others bring in BARRELS OF ALE. + + BILBO (V.O.) + “And, yes, no doubt to others, our + ways seem quaint. But today of all + days, it is brought home to me: It + is no bad thing to celebrate a + simple life.” + + IMAGE: The HOBBITS raise a large banner that reads: “Happy + Birthday Bilbo Baggins.” Others applaud. + + +7 INT. BAG END STUDY - DAY 7 + + ANGLE ON: BILBO looking up, annoyed at yet another KNOCK to + interrupt him. + + BILBO + Frodo, the door! + + His CALL is met with SILENCE. + + BILBO + Sticklebacks. Where is that boy? + + +8 EXT. HOBBITON WOODS - DAY 8 + + ANGLE ON: TWO HOBBIT FEET resting on a small rock, rising + out of the LONG, OVERGROWN GRASSES. + + BILBO (O.S.) + Frodo! + + CAMERA TRACKS TO: A figure lies beneath the dappled + sunlight of an old tree. White flowers are scattered among + the WELL seeded grasses. An idyllic setting at the end of a + long hot summer, the figure is reading a book. + + ON THE SOUNDTRACK: In the distance, growing louder over the + GENTLE CLIP CLOP of an approaching cart and horse can be + heard the HUMMING OF A DEEP VOICE to the tune of “The Road + Goes Ever On and On.” + + SUDDENLY! The figure in the grass sits up, looking straight + at CAMERA is a handsome young HOBBIT, with dark curly hair + and deep blue eyes. This is FRODO BAGGINS, his EYES alight + with EXCITEMENT! Tossing away the long stem of grass in his + mouth, FRODO runs off. + + CUT TO: + 11. + + +9 EXT. SHIRE LANE - DAY 9 + + The cart rattles along a leafy lane, driven by a stooped + figure in GREY. + + INTERCUT WITH: + + SHOTS OF FRODO RUNNING CAREENING DOWN A HILL, JUMPING OVER + LOGS, DODGING TREE BRANCHES. + + ANGLE ON: The shambling OLD PONY snorts and rears as -- + + SUDDENLY FRODO appears on the bank above the cart. + + FRODO + You're late. + + CLOSE ON: GANDALF glowers at the young HOBBIT. + + GANDALF + A wizard is never late, Frodo + Baggins, nor is he early. He + arrives precisely when he means to. + + They look at each other for a moment, then both start + laughing as FRODO’S face breaks into a smile and he leaps + on to the front seat of the cart. + + FRODO + It's wonderful to see you, Gandalf! + + Next to GANDALF, we see how small HOBBITS are. FRODO is 3 + foot 6 inches tall. + + GANDALF + You didn't think I'd miss your + Uncle Bilbo’s birthday? + + CUT TO: + + +10 EXT. HOBBITON FIELDS - DAY 10 + + WIDE ON: The cart rattles past a FIELD LUPIN being tended + by HOBBITS. + + FRODO + What's new in the world? Tell me + everything. + + ANGLE ON: GANDALF looks down at FRODO, a twinkle in his + eye. + 12. + + + GANDALF + What, everything? Far too eager and + curious for a Hobbit. Most + unnatural. Well, what can I tell + you? Life in the wide world goes on + much as it has this past age. Full + of its own comings and goings, + scarcely even aware of the + existence of Hobbits -- + +CLOSE ON: GANDALF as he surveys the peaceful scene before +him. + + GANDALF + -- for which I am very thankful. + So, how is the old rascal? I hear + this is to be a party of special + magnificence. + + FRODO + You know Bilbo. He’s got the whole + place in an uproar. + + GANDALF + Well, that should please him. + + FRODO + Half the Shire’s been invited. And + the rest of them are turning up + anyway. + +WIDE ON: The cart rattles over a stone bridge towards a +BUSY HOBBIT MARKETPLACE. + + BILBO (V.O.) + And so life in the Shire goes on + very much as it has this past age + full of its own comings and goings, + with change coming slowly -- + +ANGLE ON: HOBBITS look up in wonder and excitement as the +cart bearing GANDALF and FRODO rolls past the GREEN DRAGON +INN. + + BILBO (V.O.) + -- if it comes at all. For things + are made to endure in the Shire + passing from one generation to the + next. + +CRANE UP: As the cart rattles into the small village of +HOBBITON, a quaint rustic settlement, nestled amongst +rolling green hills and large trees. + 13. + + + BILBO (V.O.) + There’s always been a Baggins + living here under the Hill in Bag + End. + + +11 INT. BAG END STUDY - DAY 11 + + ANGLE ON: BILBO stops writing again and looks up, + thoughtful. + + BILBO + And there always will be. + + +12 EXT. HOBBITON FIELDS - DAY 12 + + ANGLE ON: GANDALF and FRODO continuing for their + destination. + + FRODO + To tell you the truth, Bilbo’s been + a bit odd lately. I mean, more than + usual. He’s taken to locking + himself in his study. + + +13 INT. BAG END STUDY - DAY 13 + + CLOSE ON: BILBO picks up a MAP of Middle Earth. + + FRODO (V.O.) + He spends hours poring over old + maps when he thinks I’m not + looking. + + ANGLE ON: BILBO folds the map and puts it down. He pats his + pants pockets. Suddenly, he looks worried. He pulls his + pockets inside. + + BILBO + (worried) + Where’s it gone? + + QUICK CUTS: BILBO desperately searches for something under + cushions, in pockets, through coats. + + ANGLE ON: He shoves his hands into his vest pockets, and + stops relieved. + + CLOSE ON: He removes his hand from his pocket, his missing + item clenched tightly in his fist, he holds it to his + mouth, grateful to have not lost it. + 14. + + + CUT TO: + + +14 EXT. HOBBITON FIELDS - DAY 14 + + FRODO + He's up to something. + + FRODO shoots a knowing look, as GANDALF averts his eyes. + + FRODO + All right, then, keep your secrets. + + GANDALF + What? + + FRODO + But I know you have something to do + with it. + + GANDALF + Good gracious, me. + + FRODO + Before you came along, we Bagginses + were very well thought of. + + GANDALF + Indeed? + + FRODO + Never had any adventures or did + anything unexpected. + + GANDALF + If you're referring to the incident + with the Dragon I was barely + involved, all I did was give your + uncle a little nudge out the door. + + FRODO + Whatever you did, you’ve been + officially labeled a disturber of + the peace. + + GANDALF + Oh, really? + + ANGLE ON: ODO PROUDFOOT looks up as the CART passes by, + deeply suspicious. + + CUT TO: + 15. + + +15 EXT. HOBBITON - DAY 15 + + CRANE UP: EXCITED CHILDREN, chasing after the cart. + + CLOSE ON: GANDALF ignores the children’s cries. The + children stand deflated, watching GANDALF disappear up the + lane. + + AT THAT MOMENT: spinning balls of bright color suddenly + leap out of the cart, fizzing over the heads of the + delighted children. + + ANGLE ON: GANDALF smiling to himself, well pleased with his + joke. + + ANGLE ON: ODO PROUDFOOT is unable to suppress a chuckle. + + FRODO stands up in the cart as GANDALF reigns in the HORSE. + + FRODO + Gandalf -- I'm glad you're back. + + FRODO leaps expertly from the cart. GANDALF smiles. + + GANDALF + So am I, dear boy -- so am I. + + CUT TO: + + +16 EXT. BAG END - DAY 16 + + WIDE ON: GANDALF’S CART pulls up outside the gate to BAG + END, a particularly fine example of a HOBBIT HOLE, with a + large round front door set into a grassy hillside. There is + a sign on the gate which reads: “NO ADMITTANCE EXCEPT ON + PARTY BUSINESS.” + + GANDALF strides up the garden path of BAG END. He raises + his staff and raps on the front door, a voice calls out: + + BILBO (O.S.) + No thank you! We don't want any + more visitors, well-wishers, or + distant relations. + + GANDALF + And what about very old friends? + + Suddenly the door opens and BILBO BAGGINS stands before + him. He is a HOBBIT OF INDETERMINATE AGE, with a + mischievous TWINKLE in his eye. Wearing a dashing brocade + waistcoat, he look every inch the eccentric gentleman. + 16. + + + BILBO + Gandalf? + + GANDALF + Bilbo Baggins! + + BILBO + My dear Gandalf! + + GANDALF drops to his knee to embrace his old friend. + + GANDALF + Good to see you. One hundred and + eleven years old, who would believe + it? + + GANDALF looks at him more keenly. + + GANDALF + You haven't aged a day. + + GANDALF and BILBO laugh together and enter BAG END. + + BILBO + Come on, come in! Welcome, + welcome!! + + CUT TO: + + +17 INT. BAG END LIVING ROOM - DAY 17 + + BILBO leads GANDALF into BAG END, cozy and cluttered with + souvenirs of BILBO’S travels. GANDALF has to stoop low to + avoid hitting his head on the low ceiling. + + BILBO hangs up GANDALF’S hat on a peg and trots off down + the hall. + + BILBO + (calling) + Tea? Or maybe something a little + stronger, I’ve got a few bottle of + the old Wi. + + BILBO disappears into the kitchen as GANDALF looks around, + enjoying the familiarity of BAG END, he turns, knocking his + head on the light and then walking into the wooden beam. He + GROANS. + + BILBO + 17. + + + I was expecting you last week. Not + that it matters, you come and go as + you please, always have done, + always will. You’ve caught me a bit + unprepared, I’m afraid we’ve only + got cold chicken, bit of pickle, + some cheese here, ooh, no, that + might be a little risky. + +GANDALF stops in front of a framed map, charred in one +corner, it is Thorin’s map of the LONELY MOUNTAIN. GANDALF +smiles to himself. + + BILBO + Er, we’ve got raspberry jam and + apple tart, got some custard + somewhere. Not much for Afters, I’m + afraid. Oh no, we’re alright, I’ve + just found some sponge cake. Nice + little snack. Hope it’s enough. + (comes into view) + I could make you some eggs if you’d + like? + +BILBO jumps, a half eaten pork pie in his hand, as GANDALF +mysteriously appears behind him. + + GANDALF + Just tea, thank you. + + BILBO + Oh, right. You don’t mind if --? + + GANDALF + No, not at all. Go ahead. + +A SUDDEN LOUD KNOCK ON THE FRONT DOOR. + + LOBELIA (O.S.) + Bilbo Baggins, you open this door - + - + + BILBO + I'm not home. + +BILBO tiptoes to the window and peeps out. + + BILBO + (whispers) + It’s the Sackville-Bagginses! + + LOBELIA (O.S.) + I know you’re in there! + 18. + + + BILBO + (whispers) + They’re after the house. They’ve + never forgiven me for living this + long! + +GANDALF watches, amused, as BILBO tries to hide. + + BILBO + I’ve got to get away from these + confounded relatives, hanging on + the bell all day, never giving me a + moment's peace. I want to see + mountains again, mountains, + Gandalf, and then find somewhere + quiet where I can finish my book, + oh, Tea! + + GANDALF + So, you mean to go through with + your plan, then? + + BILBO + Yes, yes, it’s all in hand. All the + arrangements are made. + + GANDALF + Frodo suspects something. + + BILBO + ‘Course he does, he's a Baggins, + not some blockheaded Bracegirdle + from Hardbottle! + + GANDALF + You will tell him, won't you? + + BILBO + Yes, yes. + + GANDALF + He’s very fond of you. + + BILBO + I know. He’d probably come with me + if I asked him. I think, in his + heart, Frodo’s still in love with + the Shire, the woods and the + fields, little rivers. + +BILBO stands gazing out of the kitchen window. + + BILBO + 19. + + + I am old, Gandalf. + + BILBO looks at GANDALF sadly. + + BILBO + I know I don’t look it, but I’m + beginning to feel it in my heart. + + CLOSE ON: BILBO’S fingers close around his waistcoat + pocket, gripping a small, unseen object. + + BILBO + I feel thin, sort of stretched, + like butter scraped over too much + bread. I need a holiday, a very + long holiday and I don’t expect I + shall return, in fact, I mean not + to. + + CUT TO: + + +18 INT. BAG END - EVENING 18 + + GANDALF and BILBO are sitting on the BAG END porch. BELOW + THEM, final preparations are being made on the PARTY field. + BILBO strikes a match and lights his pipe. + + BILBO + Old Toby. The finest weed in the + Southfarthing! + + BILBO blows a perfect smoke ring and watches it rise into + the air. A tiny sailing ship with masts and sails glides + through the CENTER of BILBO’S smoke ring. + + BILBO + Ohhhh. + (smiles) + Gandalf, my old friend, this will + be a night to remember. + + CUT TO: + + +19 EXT. PARTY FIELD - HOBBITON - NIGHT 19 + + BOOM! A FIREWORK explodes into the night sky high above + HOBBITON in the shape of a great green tree with unfolding + branches. + 20. + + +TILT DOWN: with glowing flowers as they rain down from the +branches evaporating just above the upturned faces of the +delighted party-goers. + +144 HOBBITS, feasting and drinking CARTS of beer and wine +are scattered about, and the tables are piled high with +steaming scones and savories. + +GANDALF hurries about, lighting fireworks with a blue spark +that dances magically from his staff, BILBO is greeting +visitors. + + BILBO + Hello, hello, Fatty Bolger, lovely + to see you! Welcome, welcome! + +FRODO and SAM sit at a table drinking ale. FRODO notices +SAM’S eyes keep flicking to another pretty HOBBIT, ROSIE +COTTON, sitting some distance away. + + FRODO + Go on, Sam, ask Rosie for a dance. + + SAM + (horrified) + I think I'll just have myself + another ale. + + FRODO + Oh, no you don't. Go on. + +SAM goes to drain his glass, suddenly it is snatched out of +his hands as FRODO thrusts him into the middle of a passing +throng of dancers. + +ANGLE ON: SAM’S HORRIFIED FACE as he is SWEPT away. FRODO +laughs and finishes SAM’S beer. + +ANGLE ON: GANDALF as he sets alight a particularly +spectacular firework that draws gasps of admiration from +the party guests. + +CLOSE ON: BILBO is relating stories of his adventure to a +group of YOUNG HOBBIT CHILDREN. + + BILBO + (melodramatic) + 21. + + + So there I was at the mercy of + three monstrous trolls. Have you + ever heard of a Troll? Do you know + what a Troll is? Great big nasty + twenty foot high smelly things and + they’re arguing -- arguing about + how they were going to cook us! + +ANGLE ON: A LITTLE HOBBIT GIRL’S upturned face, her eyes +growing larger and larger. + + BILBO + Whether it be turned on a spit or + minced in a pie or whether they + were going to sit on us one by one + and squash us into jelly! They + spent so long arguing the whither- + to’s and why-for’s that the sun’s + first light cracked over the top of + the trees and turned them all to + stone! + +STUNNED GASPS from his young AUDIENCE greet his astonishing +feat! + +CLOSE ON: MERRY and PIPPIN, two mischievous YOUNG HOBBITS +in their late teens. PIPPIN scrambles onto the back of +GANDALF’S wagon, snatching up a small firework. + + MERRY + No, no -- the big one -- the big + one! + +PIPPIN grabs a huge rocket. MERRY smiles. The pair runs off +with it. + +ANGLE ON: BILBO continues to greet his guests. He shakes +hands with a woman who is tailed by an overwhelming crowd +of CHILDREN. + + BILBO + Mrs. Bracegirdle, how nice to see + you! Welcome, welcome. Are all + these children yours? + +MRS. BRACEGIRDLE laughs with tired eyes and nods. + + BILBO + Good gracious, you have been + productive. + +MRS. BRACEGIRDLE laughs and nods. + 22. + + +SUDDENLY! Bilbo’s ears are assailed by a familiar strident +VOICE. + + LOBELIA (O.S.) + Bilbo? + +BILBO quickly runs to FRODO. + + BILBO + (panicked) + Sackville-Bagginses! Quickly! Hide! + +BILBO and FRODO quickly hide behind the wall of a tent. + +ANGLE ON: OTHO AND LOBELIA SACKVILLE-BAGGINS, an older, +grumpy-looking pair with sharp eyes emerge and look about +the party like vultures searching for prey. + +ANGLE ON: BILBO breathes a huge sigh of relief. + + BILBO + Thank you, my boy. + +ANGLE ON: FRODO chuckles. + + BILBO + (suddenly serious) + You're a good lad, Frodo. + +ANGLE ON: FRODO stares at his UNCLE, perturbed by the +change of tone. + + BILBO + I'm very selfish, you know. Yes, I + am -- very selfish. I don't know + why I took you in after your mother + and father died, but it wasn't out + of charity. I think it was because, + of all my numerous relations you + were the one Baggins that showed + real spirit. + + FRODO + Bilbo, have you been at the + Gaffer's home brew? + + BILBO + No. Well, yes. But that's not the + point. The point is, Frodo, you'll + be all right. + +BILBO lifts his mug and takes a drink, probably of the +Gaffer’s home brew. + 23. + + +CLOSE ON: FIREWORK FUSE crackles with flame! + +ANGLE ON: MERRY is holding out the big rocket, he looks +aghst at the fizzing fuse that PIPPIN has just lit. + + MERRY + (worried whisper) + You're supposed to stick it in the + ground! + + PIPPIN + It is in the ground. + +MERRY fearfully tosses the ROCKET to PIPPIN! the fuse +sizzles angrily. + + MERRY + Outside! + + PIPPIN + This was your idea. + +PIPPIN attempts to throw the fizzing rocket back to MERRY. + +WHOOSH! The two HOBBITS are suddenly blown off their feet +in a shower of sparks as the rocket blasts off with +frightening power. + +ANGLE ON: The ROCKET ZOOMS over the party, it suddenly +bursts apart, forming the shape of a great red golden +DRAGON! Fire fire gushes from its nostrils as it turns back +and FLIES towards the startled crowd. + +CLOSE ON: FRODO watches the FIREWORKS DRAGON with alarm but +BILBO is oblivious to the PANICKING CROWD and impending +danger! + + FRODO + Bilbo! Watch out for the dragon!! + + BILBO + Dragon? Nonsense. Hasn't been a + dragon in these parts for a + thousand years! + +ANGLE ON: FRODO as he hurriedly pulls BILBO to the ground, +just as the dragon roars a few feet above their heads like +a flaming express train! + +HOBBITS dive to the ground, tables overturn, tents +collapse, food flies everywhere. + 24. + + +The FIREWORKS DRAGON turns a somersault and explodes over +the hills with a deafening BANG! This gets the biggest +cheer of the night. + +ANGLE ON: MERRY AND PIPPIN, clothes and hair smoking. + + MERRY + That was good! + + PIPPIN + Let's get another one! + +LARGE HANDS suddenly clamp down on MERRY and PIPPIN’S ears. + +LOW ANGLE: GANDALF looking DOWN STERNLY! + + GANDALF + Meriadoc Brandybuck, and Peregrin + Took -- I might have known! + + CUT TO: + +MERRY and PIPPIN are leaning over a barrel, washing dishes +in soapy water with GANDALF sitting nearby, smoking his +pipe and sipping an ale. + +Cries of “SPEECH! SPEECH!” erupt from the party. + +ANGLE ON: BILBO stepping on a stool, he bows in gratitude +at the applause. + + FRODO + Speech! + + BILBO + (clearing his throat) + My dear Bagginses and Boffins, + Tooks and Brandybucks, Grubbs, + Chubbs, Burrowses, Hornblowers, + Bolgers, Bracegirdles, Goodbodies, + Brockhouses and Proudfoots. + +ANGLE ON: A HOBBIT WITH PARTICULARLY BIG FEET + + PROUDFOOT + Proudfeet! + + BILBO + Proudfoots. Also my good Sackville- + Bagginses that I welcome back at + last to Bag End. + +ANGLE ON: OTHO and LOBELIA scowl at BILBO. He doesn’t care. + 25. + + + BILBO + Today is my one hundred and + eleventh birthday. I am eleventy- + one today! Yes, and alas. Eleventy- + one years is far too short a time + to live among such excellent and + admirable Hobbits! + +Tremendous outburst of approval! + + BILBO + I don't know half of you half as + well as I should like, and I like + less than half of you half as well + as you deserve! + +SCATTERED CLAPPING as the guests try to work out if that +was a compliment or not. + +CLOSE ON: FRODO AND GANDALF smiling to themselves. + +CLOSE ON: BILBO, a strange HUM seems to fill his head. A +bead of sweat rolls down his brow. + +BILBO’S hand pulls something out of his waistcoat pocket +and holds it behind his back. + + BILBO + I have -- things to do and I have + put this off for far too long. + +CLOSE ON: BILBO’S knuckles turn white as he tightens his +grip on the small object behind his back. + + BILBO + I regret to announce this is the + end. I am going now. I bid you all + a very fond farewell!! + +BILBO looks across at FRODO, hesitates -- then -- + + BILBO + (whisper) + Goodbye. + +BILBO instantly vanishes. The party explodes into an +uproar, the crowd leaps to its feet. + +ANGLE ON: FRODO staring at the empty stool in disbelief. + + CUT TO: + 26. + + +20 EXT. BAG END - NIGHT 20 + + The party is still in an excited uproar, some 50 yards away + as we PAN across a moonlit lane to the front door of BAG + END. + + Door opens, pulled by an invisible hand. + + +21 INT. BAG END - NIGHT 21 + + The door quietly closes. BILBO materializes as he pulls a + plain gold ring off his finger. BILBO laughs as he tosses + the ring in the air, then places it in his pocket. + + ANGLE ON: BILBO emerges from the passage, carrying a + walking stick. He finds GANDALF looming over him. + + GANDALF + I suppose you think that was + terribly clever? + + BILBO + Come on, Gandalf. Did you see their + faces? + + GANDALF + There are many magic rings in this + world, Bilbo Baggins, and none of + them should be used lightly. + + BILBO + It was just a bit of fun. Oh, + you’re probably right, as usual. + + BILBO + You will keep an eye on Frodo, + won't you? + + GANDALF + Two eyes. As often as I can spare + them. + + BILBO + I'm leaving everything to him. + + GANDALF + What about this ring of yours? Is + that staying too? + + CLOSE ON: BILBO, he gives GANDALF a look and nods towards + the mantelpiece. + 27. + + + BILBO + Yes, yes, it's in an envelope, over + there on the mantelpiece. + +GANDALF frowns at the empty mantelpiece. BILBO suddenly +feels his waistcoat with a look of guilty surprise. + + BILBO + No, wait. It’s here in my pocket. + Isn't that, isn’t that odd, now? + Yet, after all, why not? Why + shouldn't I keep it? + + GANDALF + I think you should leave the Ring + behind, Bilbo. Is that so hard? + + BILBO + Well, no, and yes. Now it comes to + it, I don't feel like parting with + it. It’s mine. I found it. It came + to me! + +ANGLE ON: GANDALF LOOKS DOWN AT BILBO WITH RISING CONCERN. + + GANDALF + There's no need to get angry. + + BILBO + Well, if I'm angry, it's your + fault! It's mine. My own, my + precious. + + GANDALF + Precious? It's been called that + before, but not by you. + + BILBO + What business is it of yours what I + do with my own things? + +BILBO’S voice, shape and manner have suddenly changed. + + GANDALF + I think you've had that ring quite + long enough. + + BILBO + You want it for yourself! + +GANDALF rises to his full height, his eyes flash, his +shadow suddenly seems to fill the room. + 28. + + + GANDALF + Bilbo Baggins, do not take me for + some conjurer of cheap tricks! + + BILBO cowers from GANDALF, disarmed by his power, a + frightened HOBBIT. GANDALF’S expression softens. + + GANDALF + I am not trying to rob you. I am + trying to help you. + + Sobbing, BILBO runs to GANDALF and hugs him. + + GANDALF + All your long years we’ve been + friends, trust me as you once did. + Let it go! + + BILBO + You're right, Gandalf. The Ring + must go to Frodo. + + BILBO lifts his knapsack and heads for the front door. + + BILBO + It's late, the road is long, yes, + it is time. + + GANDALF + Bilbo? + + BILBO + Hmmm? + + GANDALF + The Ring is still in your pocket. + + BILBO hesitates, reaches into his pocket. + + BILBO + Oh, yes. + + CLOSE ON: BILBO pulls out the ring, he stares at it in his + palm. With all his will power, BILBO allows the ring to + slowly slide off his palm and drop to the floor. + + CLOSE ON: The tiny ring lands with a heavy thud on the + wooden floor. + + +22 EXT. BAG END - NIGHT 22 + 29. + + + ANGLE ON: BILBO staggering out of BAG END, he braces + himself in the night air, PALE and TREMBLING, as if his + loss of the ring has weakened him. GANDALF steps up behind. + + BILBO + I've thought up an ending for my + book. “And he lived happily ever + after to the end of his days.” + + GANDALF + I'm sure you will, my dear friend. + + BILBO + Goodbye, Gandalf. + + GANDALF + Goodbye, Bilbo. + + BILBO walks away from BAG END, disappearing into the night, + softly singing: “The Road goes on and on.” + + GANDALF + (softly) + Until our next meeting. + + CUT TO: + + +23 INT. BAG END LIVING ROOM - NIGHT 23 + + CLOSE ON: THE RING GLINTING on the floor. GANDALF circles + around it, a PUZZLED look on his face. GANDALF slowly + reaches for the RING. His fingers barely touch the RING, + the creepy HUM rises on the SOUNDTRACK. + + ANGLE ON: GANDALF is sitting in front of the fire, with his + pipe staring into the flickering flames. + + BILBO (V.O.) + It's mine, my own, my precious. + + GANDALF + (to himself) + Riddles in the dark. + + FRODO (O.S.) + Bilbo! Bilbo! + + FRODO rushes into BAG END, he stops and picks up the RING + at his feet. GANDALF continues staring into the fire, as if + locked in thought. + + GANDALF + 30. + + + (to himself) + My precious -- precious -- + + FRODO + (quietly) + He's gone, hasn't he? + +FRODO steps into the living room. + + FRODO + He talked for so long about + leaving. I didn’t think he’d really + do it. + + GANDALF + (mutters to himself) + -- my own. + + FRODO + Gandalf? + +GANDALF turns, his eyes locking onto the RING in FRODO’S +fingers. + + GANDALF + Bilbo’s ring. + +GANDALF sorts hurriedly through BILBO’S papers. + + GANDALF + He's gone to stay with the Elves. + He's left you Bag End. + +GANDALF holds out the envelope. FRODO drops the RING into +it. + + GANDALF + -- along with all his possessions. + +GANDALF seals the envelope with wax. He hands it to FRODO. + + GANDALF + The ring is yours now. Put it + somewhere out of sight. + +GANDALF rises hurriedly and starts to gather his things. + + FRODO + Where are you going? + + GANDALF + There are things I must to see to. + 31. + + + FRODO + What things? + + GANDALF + Questions. Questions that need + answering. + + FRODO + But you've only just arrived! I + don't understand -- + + GANDALF is already at the door, he turns to FRODO. + + GANDALF + Neither do I. Keep it secret, Keep + it safe. + + GANDALF hurries out the door, leaving FRODO standing alone + in BAG END. + + ANGLE ON: THE ENVELOPE + + THE CAMERA PUSHES IN. THE HUM OF THE RING comes up on the + SOUNDTRACK. The CAMERA PUSHES through the white paper to + the RING beneath the HUM the whispered murmur of BLACK + SPEECH can be heard. + + CUT TO: + + +24 EXT. BARAD-DÛR - NIGHT 24 + + The jagged ruins of BARAD-DÛR. THE DARK TOWER! + + TEASING IMAGES: THE HUGE DARK TOWER OF BARAD-DÛR is being + rebuilt! Thousands of ORCS crawl over the surface, hauling + stone and iron up the towering heights. + + GOLLUM (O.S.) + Shire! Baggins!! + + CUT TO: + + +25 EXT. MINAS MORGUL - NIGHT 25 + + NINE BLACK RIDERS burst out of MINAS MORGUL and charge + toward CAMERA. + + +26 EXT. THE WEST ROAD - GONDOR - DAY 26 + 32. + + + WIDE ON: A LONE HORSEMAN gallops to the crest of a hill on + the west road. The main highway south to MINAS TIRITH, he + looks toward the saw-toothed mountains of MORDOR. + + WIDE ON: MOUNT DOOM. A HUGE, BILLOWING CLOUD OF BLACK FILTH + grows and spreads across the red streaked sky, casting a + shadowy pall over the nightmarish landscape, seeping out + across the blood red sky. + + ANGLE ON: GANDALF, his face grave. He spurs his horse on. + + CUT TO: + + +27 INT. CITADEL - MINAS TIRITH - NIGHT 27 + + ANGLE ON: GANDALF making his way down into the lower depths + of the CITADEL. + + CUT TO: + + +28 INT. CITADEL CHAMBER - MINAS TIRITH - NIGHT 28 + + CLOSE ON: Pages flipping as GANDALF searches ancient + scrolls and books placed high on a wooden table. His eyes + settle on one old parchment. He murmurs hurriedly to + himself, reading. + + GANDALF + (reading) + The year 3434 of the Second Age + here follows the account of + Isildur, High King of Gondor, and + the finding of the Ring of Power. + + DISSOLVE TO: + + CLOSE ON: ISILDUR, TRIUMPHANT, REACHES FOR THE ONE RING, + HIS EYES FIXATED ON IT. + + GANDALF + (reading) + It has come to me, the Ring of + Power! It shall be an heirloom of + my kingdom, all those who follow in + my bloodline shall be bound to its + fate, for I will risk no hurt to + the ring, it is precious to me, + though I buy it with great pain. + + CLOSE ON: ELVISH LETTERING MARKS ON THE FADED OLD DOCUMENT + IN GANDALF’S HAND. + 33. + + + GANDALF + (reading) + The marking on the band begin to + fade, the writing which at first + was as clear as red flame, has all + but disappeared, a secret now that + only fire can tell. + + CUT TO: + + +29 EXT. HOBBIT FARMHOUSE - EVENING 29 + + FARMER MAGGOT is chopping wood in his garden. + + CLOSE ON: SNORTING HORSE NOSTRILS as the shadow of a BLACK + RIDER looms over a HOBBIT HOUSE. + + Terrified, FARMER MAGGOT cowers in his doorway. FANGS, his + dog, whimpers and backs away. + + BLACK RIDER + (hissing) + Shire? Baggins? + + FARMER MAGGOT + (terrified) + There’s no Bagginses around here! + They're all up in Hobbiton that + way. + + THE BLACK RIDER GALLOPS AWAY AT SPEED. + + CUT TO: + + +30 INT. GREEN DRAGON - NIGHT 30 + + The HOBBITS of HOBBITON are having a grand evening of ale + and song. + + ANGLE ON: MERRY and PIPPIN, mugs in hand, sing and dance on + a table while supporting each other. + + ANGLE ON: FRODO retrieves more mugs of ale from the bar and + dances around the tavern. + + HOBBITS + (singing) + Hey ho, to the bottle I go! To heal + my heart and drown my woe. Rain may + fall and wind may blow. But there + still be – many miles to go! + 34. + + + Sweet is the sound of the pouring + rain, and the stream that falls + from hill to plain. Better than + rain or rippling brook – + + PIPPIN + is a mug of beer inside this Took! + +Huge laughter and clinking of mugs. + +ANGLE ON: DADDY TWOFOOT, TED SANDYMAN, and SAM’S father, +HAM GAMGEE (A.K.A. THE GAFFER), involve themselves in a +most serious discussion. SAM sits quietly next to his +father. + + DADDY TWOFOOT + There's been some strange folk + crossing the Shire. Dwarves, and + others of a less than savoury + nature. + + TED SANDYMAN + War is brewing. The mountains are + fair teeming with goblins. + +ANGLE ON: SAM, smokes his pipe and looks at ROSIE behind +the bar. She gives him a huge smile. + + GAFFER + Far-off tales and children's + stories, that's all that is. You're + beginning to sound like that old + Bilbo Baggins. Cracked, he was. + + TED SANDYMAN + Young Mr. Frodo here, he's + cracking! + +He laughs as FRODO arrives with drinks. + + FRODO + And proud of it. Cheers, Gaffer. + + GAFFER + Well, it's none of our concern what + goes on beyond our borders. Keep + your nose out of trouble, and no + trouble'll come to you. + +ANGLE ON: FRODO smiles and raises his tankard. + 35. + + + ANGLE ON: ROSIE COTTON bids the last of the PATRONS + “Goodnight.” SAM meets her eyes for a moment as he and + FRODO leave the inn. + + ROSIE + Goodnight, lads. + + SAM + Goodnight. + + FRODO and SAM continue on their way. Behind them, an + intoxicated HOBBIT kneels before ROSIE and raises his arms + as if worshipping a goddess. + + INTOXICATED HOBBIT + Goodnight, sweet maiden of the + golden ale! + + SAM + (muttering) + Mind who you're sweet-talking. + + FRODO + Don't worry, Sam. Rosie knows an + idiot when she sees one. + + SAM stops walking. + + SAM + (worried) + Does she? + + CUT TO: + + +31 EXT. BAG END - NIGHT 31 + + WIDE ON: FRODO FAREWELLS SAM outside BAG END, and heads + towards the front door. + + CREEPY POV FROM INSIDE BAG END: FRODO coming up the path. + + CUT TO: + + +32 INT. BAG END LIVING ROOM - NIGHT 32 + + ANGLE ON: FRODO enters BAG END, he immediately PAUSES, + sensing that something is amiss. All is quiet. FRODO peers + uneasily into the darkened living room. + 36. + + + SUDDENLY! A large figure looms out of the shadows, reaching + for FRODO. FRODO lets out a startled cry, pulls himself + free and spins around to face his ASSAILANT. + + GANDALF steps into a shaft of moonlight. Paranoia blazes in + his eyes. His clothes are dirty and ragged from much + traveling. Hair and beard much longer and unkempt. + + GANDALF + (urgent whisper) + Is it secret? Is it safe? + + CUT TO: + + +33 INT. BAG END LIVING ROOM - NIGHT 33 + + FRODO pulls the envelope out of an old chest. GANDALF, + suspicious, ALERT. + + Without a word, GANDALF takes the envelope and tosses it + into the fireplace! + + FRODO + (bewildered) + What are you doing? + + Flames instantly consume the envelope, revealing the RING, + as it sinks into the red hot embers. GANDALF reaches into + the fire with a pair of tongs, he lifts the RING out. + + GANDALF + Hold out your hand, Frodo, it is + quite cool. + + GANDALF drops the RING into FRODO’S hand, he reacts to its + weight. + + GANDALF + What can you see? Can you see + anything? + + FRODO + Nothing -- there's nothing. Wait -- + + CLOSE ON: THE GOLD BAND of the RING as fiery letters begin + to appear, a tiny inscription glows red as if burning from + within. + + FRODO + -- there are markings. + + CLOSE ON: GANDALF -- STILL -- TENSE. + 37. + + + FRODO + It's some form of Elvish. I can't + read it. + + GANDALF + (ominous) + There are few who can, the language + is that of Mordor, which I will not + utter here. + + FRODO + Mordor? + + GANDALF + In the common tongue, it says: “One + Ring to rule them all. One Ring to + find them. One Ring to bring them + all and in the darkness bind them.” + + CUT TO: + + +34 INT. BAG END KITCHEN - NIGHT 34 + + CLOSE ON: THE RING lies on FRODO’S simple kitchen table. + + GANDALF + This is the One Ring, forged by the + Dark Lord Sauron, in the fires of + Mount Doom taken by Isildur from + the hand of Sauron himself. + + FRODO + (quiet realization) + Bilbo found it in Gollum's cave. + + GANDALF + Yes. For sixty years, the Ring lay + quiet in Bilbo’s keeping, + prolonging his life, delaying old + age but no longer, Frodo. Evil is + stirring in Mordor. The Ring has + awoken. It's heard its master's + call. + + AT THAT MOMENT: A FLEETING, LOW WHISPER OF BLACK SPEECH + emanates from the RING. FRODO looks at GANDALF, each + knowing the other has heard it. + + FRODO + But he was destroyed. Sauron was + destroyed. + 38. + + + ANGLE ON: THE RING lies between them on the table. + + GANDALF + No, Frodo. The spirit of Sauron + endured. His life force is bound to + the Ring and the Ring survived. + Sauron has returned. His Orcs have + multiplied, his fortress of Barad- + dûr is rebuilt in the land of + Mordor. Sauron needs only this Ring + to cover all the lands in the + second darkness. He is seeking it, + seeking it, all his thought is bent + on it. For the Ring yearns, above + all else, to return to the hand of + its master: They are one, the Ring + and the Dark Lord. Frodo, he must + never find it. + + SUDDENLY, FRODO scoops up the RING. + + FRODO + Alright! + + CUT TO: + + +35 INT. BAG END LIVING ROOM - NIGHT 35 + + ANGLE ON: FRODO hurriedly entering the living room. + + FRODO + (thinking fast) + We put it away, we keep it hidden! + We never speak of it again. No one + knows it’s here, do they? + + GANDALF shifts uncomfortably. + + FRODO + Do they, Gandalf? + + GANDALF looks at FRODO sadly. + + GANDALF + There is one other who knew that + Bilbo had the Ring. I looked + everywhere for the creature Gollum, + but the enemy found him first. + + CUT TO: + + + Û + 39. + + +36 INT. BARAD-DÛR - NIGHT 36 + + CLOSE ON: A TEASING GLIMPSE of GOLLUM being tortured by the + ORCS. The wretched creature screams in pain. + + GANDALF (V.O.) + I don't know how long they tortured + him but amidst the endless screams + and inane babble, they discerned + two words. + + GOLLUM + (screaming) + S -- Shire! Baggins! + + CUT TO: + + +37 INT. BAG END LIVING ROOM - NIGHT 37 + + CLOSE ON: FRODO’S HORRIFIED FACE! + + FRODO + Shire! Baggins! That will lead them + here! + + +38 EXT. SHIRE LANE - SOUTH FARTHING - NIGHT 38 + + IMAGE: On a dark country lane, a HOBBIT BOUNDER lifts his + watch lantern in alarm. + + HOBBIT BOUNDER + Halt! Who goes there? + + Out of the darkness thunder two BLACK RIDERS. A LETHAL + SWORD swings down at the small HOBBIT BOUNDER. + + CUT TO: + + +39 INT. BAG END LIVING ROOM - NIGHT 39 + + FRODO thrusts the RING at GANDALF. + + FRODO + Take it! Take it! + + GANDALF + No, Frodo -- + + FRODO + 40. + + + You must take it. + + GANDALF + You cannot offer me this ring. + + FRODO + I am giving it to you! + + GANDALF + Don't tempt me, Frodo! I dare not + take it, not even to keep it safe. + + CLOSE ON: THE RING IN FRODO’S HAND. + + GANDALF + Understand, Frodo, I would use this + Ring from a desire to do good but + through me, it would wield a power + too great and terrible to imagine. + + FRODO + But it cannot stay in the Shire! + + GANDALF + No, no, it can't. + + CLOSE ON: THE RING IN FRODO’S CLENCHED HAND. + + FRODO + What must I do? + + CUT TO: + + +40 INT. FRODO’S BEDROOM - NIGHT 40 + + ANGLE ON: FRODO throwing clothes into a knapsack. GANDALF + watches him, making plans. + + GANDALF + You must leave, and leave quickly. + Get out of the Shire. + + FRODO + Where? Where shall I go? + + GANDALF + Make for the village of Bree. + + FRODO + Bree? What about you? + 41. + + + GANDALF + I will be waiting for you at the + Inn of the Prancing Pony. + + FRODO packs his food into his knapsack. + + FRODO + And the Ring will be safe there? + + GANDALF + I don't know, Frodo. I don't have + any answers. I must see the Head of + my Order. He is both wise and + powerful. Trust me, Frodo. He’ll + know what to do. + + CUT TO: + + +41 INT. BAG END LIVING ROOM - NIGHT 41 + + FRODO is preparing to leave. + + GANDALF + You’ll have to leave the name of + Baggins behind you for that name is + not safe outside the Shire. + + GANDALF helps FRODO into his coat. + + GANDALF + Travel only by day. And stay off + the road. + + FRODO + (thinking) + I can cut across country easily + enough. + + GANDALF looks at the young HOBBIT, moved by his courage. + + GANDALF + My dear Frodo. Hobbits really are + amazing creatures. You can learn + all there is to know about their + ways in a month, and yet, after a + hundred years, they can still + surprise you. + + SUDDENLY! A SOUND from outside. + + GANDALF + Get down! + 42. + + + GANDALF FREEZES, he moves quietly towards the window, eyes + wide with tension. He raises his staff above the window, + and slams it down on the intruder. THERE IS A YELP OF PAIN! + + GANDALF hauls a small figure into the room. SAM GAMGEE + sprawls across the floor! He looks up in terror as GANDALF + looms over him. + + GANDALF + (angry) + Confound it all! Samwise Gamgee, + have you been eavesdropping? + + SAM + I ain’t been dropping no eaves, + sir! Honest. I was just cutting the + grass under the window there, if + you follow me -- + + GANDALF + It’s a little bit late for trimming + the hedges, don’t you think? + + SAM + I heard raised voices -- + + GANDALF + What did you hear? Speak! + + SAM + Nothing important -- that is, I + heard a good deal about a ring and + a Dark Lord. And something about + the end of the world, but -- + Please, Mr. Gandalf, sir, don't + hurt me! Don't turn me into + anything unnatural! + + GANDALF + No? + + FRODO SMILES. + + GANDALF + Perhaps not. I’ve thought of a + better use for you. + + CUT TO: + + +42 EXT. HOBBITON FIELDS - PREDAWN 42 + + WIDE ON: HOBBITON shrouded in a white veil of MIST. + 43. + + + WIDER: To REVEAL GANDALF, FRODO, and SAM hurrying across a + ploughed field, away from HOBBITON! GANDALF leads his + HORSE. FRODO and SAM are carrying knapsacks. + + GANDALF (V.O.) + Come along, Samwise -- keep up -- + + CUT TO: + + +43 EXT. HOBBITON WOODS - DAY 43 + + GANDALF leads FRODO and SAM under the cover of WOODS. + + GANDALF (V.O.) + Be careful, both of you. The Enemy + has many spies in his service, many + ways of hearing -- birds, beasts -- + + GANDALF takes FRODO to one side. + + GANDALF + (low voice) + Is it safe? + + FRODO NODS, he pats his pocket. + + GANDALF + Never put it on, for the agents of + the Dark Lord will be drawn to its + power. Always remember, Frodo, the + Ring is trying to get back to its + master, it wants to be found. + + GANDALF wheels his horse and gallops away. + + CUT TO: + + +44 EXT. GREEN HILL COUNTRY - DAY 44 + + MONTAGE: FRODO and SAM hike over the gentle Shire + countryside, wading through a shallow stream, pass by the + quaint hollows of Hobbit Holes, heating a kettle over a + small fire, clambering over stone walls. + + CUT TO: + + +45 EXT. GREEN HILL COUNTRY - AFTERNOON 45 + + SAM stops short, taking stock of his surroundings. SAM + looks back from where they came. + 44. + + + SAM + This is it. + + FRODO + This is what? + + SAM + If I take one more step, it’ll be + the farthest away from home I've + ever been. + + FRODO gives SAM a pat on the shoulder. + + FRODO + Come on, Sam. + + SAM takes a deep breath and steps forward. + + CLOSE ON: SAM’S brown, furry foot hits the ground. + + FRODO IS SMILING. + + FRODO + Remember what Bilbo used to say -- + it's a dangerous business -- + + FRODO and SAM continue their journey. + + BILBO (V.O.) + -- it’s a dangerous business, + Frodo, going out your door, you + step onto the road, and if you + don't keep your feet, there's no + knowing where you might be swept + off to. + + CUT TO: + + +46 EXT. HOBBITON WOODS - NIGHT 46 + + SAM cooks a dinner while FRODO relaxes in a tree, smoking + his pipe. + + SUDDENLY, FRODO turns his head, listening. + + ON THE SOUNDTRACK: Singing, high, sweet voices sing in a + strange language. + + ANGLE ON: FRODO looks at SAM with a delighted smile. + + FRODO + 45. + + + (whispers) + Sam! Wood-Elves! + + ANGLE ON: A group of ELVES pass slowly through the forest, + some on horseback, some walking, some with banners. The + group seems to shine of its own light, their white garments + softly glowing against the purples and midnight blues of + the woods. Their haunting song continues. + + ELVEN VOICES + (Elvish) + A Galad ren i veniar hi' + aladhremmin ennorath A Elbereth + Gilthoniel ithil nâ thûl, ithil lîn + hen O Light to us that wander here + Amid the world of woven trees! O + Elbereth! Gilthoniel! Clear are thy + eyes and bright thy breath! + + ANGLE ON: FRODO and SAM watching the procession from behind + a tree. + + FRODO + They're going to the harbour beyond + the White Towers. To the Grey + Havens. + + SAM + They're leaving Middle-earth. + + FRODO + Never to return. + + SAM + I don't know why, it makes me sad. + + CUT TO: + + +47 EXT. HOBBITON WOODS - NIGHT 47 + + FRODO appears asleep. SAM tries desperately to find a + comfortable spot on the ground. + + SAM + Everywhere I lie there’s a dirty + great root sticking into my back. + + FRODO neither moves nor opens his eyes. + + FRODO + 46. + + + Just shut your eyes, and imagine + you're back in your own bed, with a + soft mattress and a lovely feather + pillow. + + ANGLE ON: SAM looks skeptical, but tries it. + + SAM + (sighs) + It's not working Mr. Frodo. I'm + never going to be able to sleep out + here. + + FRODO + Me neither, Sam. + + FRODO smiles. SAM stares at the sky and finds something to + nibble on. + + +48 EXT. SHIRE, A HILL - NIGHT 48 + + WIDE ON: Mist descends over the peaceful Shire. + + TRACK BACK TO REVEAL: A horse neighs and stamps. Its BLACK + RIDER comes slowly to a halt and looks for his prey. + + CUT TO: + + +49 EXT. ISENGARD VALLEY - DAY 49 + + GANDALF is galloping along the outskirts of the ancient + forest of FANGORN. Nestled in a basin at the foot of the + distant MISTY MOUNTAINS, the tall black tower of ORTHANC is + clearly visible. + + +50 EXT. ISENGARD VALLEY - DAY 50 + + GANDALF gallops through the gate, into the fortress of + ISENGARD, a great ring-wall of stone, a mile from rim to + rim, encloses beautiful trees and garden, watered by + streams that flow down from the mountains. + + SARUMAN (V.O.) + Smoke rises once more from the + mountain of doom, the Shadow takes + shape in the darkness of Mordor; + the hour grows late and Gandalf the + Grey rides to Isengard seeking my + council. + 47. + + + The strange tower of ORTHANC, hewn from a solid pillar of + obsidian, rises up in the center of the ISENGARD CIRCLE. + + GANDALF arrives at he foot of the ORTHANC STAIRS. + + ANGLE ON: SARUMAN, THE WHITE WIZARD as he sweeps down the + ORTHANC stairs. + + SARUMAN + For that is why you have come, is + it not, my old friend? + + GANDALF moves quickly towards him, grimy and weary from his + long ride. + + GANDALF + Saruman! + + CUT TO: + + +51 EXT. ISENGARD GARDENS - DAY 51 + + GANDALF and SARUMAN walk slowly between the beautiful trees + of ISENGARD. SARUMAN’S clean, white robe contrasts with + GANDALF’S dusty grey robes. + + SARUMAN + Are you sure of this? + + GANDALF + Beyond any doubt. + + SARUMAN + So the Ring of Power has been + found? + + GANDALF + All these long years, it was in the + Shire, under my very nose. + + SARUMAN + Yet you did not have the wit to see + it. Your love of the Halfling’s + leaf has clearly slowed your mind. + + GANDALF + We still have time, time enough to + counter Sauron if we act quickly. + + SARUMAN + Time? What time do you think we + have? + 48. + + + CUT TO: + + +52 INT. ORTHANC ANTE-CHAMBER - DAY 52 + + GANDALF and SARUMAN are seated in a small, cluttered room + to the side of the cavernous central chamber. + + SARUMAN + Sauron has regained much of his + former strength. He cannot yet take + physical form but his spirit has + lost none of its potency. Concealed + within his fortress, the Lord of + Mordor sees all. His gaze pierces + cloud, shadow, earth and flesh. You + know of what I speak, Gandalf, a + Great Eye, lidless, wreathed in + flame. + + GANDALF + (softly) + The Eye of Sauron. + + SARUMAN + He is gathering all evil to him. + Very soon, he will have summoned an + army great enough to launch an + assault on Middle earth. + + GANDALF + You know this? How? + + SARUMAN + I have seen it. + + GANDALF and SARUMAN stride through ORTHANC toward a stone + plinth on which a sphere like shape is draped with a cloth. + + GANDALF + A Palantír is a dangerous tool, + Saruman. + + ANGLE ON: SARUMAN lifts the cloth to reveal the PALANTÍR. + + SARUMAN + Why? Why should we fear to use it? + + GANDALF + They are not all accounted for, the + lost Seeing-stones. We do not know + who else may be watching. + + Í + 49. + + +GANDALF throws the cloth back over the PALANTÍR. + +FLASH IMAGE: A FIERY EYE! + +ANGLE ON: SARUMAN sits on his throne. + + SARUMAN + The hour is later than you think. + Sauron’s forces are already moving, + the Nine have left Minas Morgul. + + GANDALF + (shocked) + The Nine? + + SARUMAN + They crossed the River Isen on + Midsummer's Eve, disguised as + riders in black. + + GANDALF + (alarmed) + They have reached the Shire? + +SARUMAN shrugs. + + SARUMAN + They will find the Ring and kill + the one who carries it. + +GANDALF backs away and turns to run to the door, horrified +as the doors suddenly slam shut. + + SARUMAN + You did not seriously think a + Hobbit could contend with the will + of Sauron? There are none who can. + +GANDALF slowly turns to SARUMA, a look of dawning horror. + + SARUMAN + Against the power of Mordor there + can be no victory. We must join + with him, Gandalf. We must join + with Sauron. It would be wise, my + friend. + + GANDALF + (deadly) + Tell me, friend, when did Saruman + the Wise abandon reason for + madness? + 50. + + + AT THAT MOMENT: GANDALF is suddenly blasted across the + room! He slams againt the wall, pinned there by some unseen + force. + + With sudden effort, GANDALF wrenches himself off the wall + and swings his staff on SARUMAN, blasting him off his feet! + + GANDALF and SARUMAN battle, powerful blasts throwing them + across the room. + + SARUMAN SCREAMS, EYES BLAZING! GANDALF’S staff is suddenly + wrenched from his grasp, it flies across the chamber into + SARUMAN’S hand! GANDALF is flung to the floor. + + SARUMAN + I gave you the choice of aiding me + willingly, but you have elected the + way of pain! + + GANDALF is breathing hard on the floor, his eye look into + the madness of SARUMAN. + + COMMANDING TWO STAFFS, SARUMAN sends GANDALF into a + sickening spin. GANDALF tumbles towards the top of the + chamber as if falling in reverse. + + RUSHING POV: the roof of ORTHANC rockets toward CAMERA. + + CUT TO: + + +53 EXT. FARMER’S FIELDS - DAY 53 + + WIDE ON: FRODO and SAM walking along a country lane which + borders FARMER MAGGOT’S FIELDS. + + ANGLE ON: SAM is looking up. FRODO has disappeared around a + corner in the lane. + + SAM + (panicked) + Mr. Frodo. Mr. Frodo! + + FRODO turns, surprised as SAM comes running towards him. + + SAM + (worried) + I thought I'd lost you. + + ANGLE ON: FRODO looks at SAM suspiciously. + + ANGLE ON: SAM glances down, embarrassed. + 51. + + + FRODO + (teasing) + What are you talking about? + + SAM + (mumbling) + It's just something Gandalf said -- + + FRODO + What did he say? + + SAM + He said -- “Don't you leave him, + Samwise Gamgee.” + (looks at Frodo intently) + And I don't mean to. + + FRODO + (laughing) + Sam, we're still in the Shire, what + could possibly happen? + +SUDDENLY! A figure comes crashing out of a hedgerow sending +FRODO flying. FRODO picks himself up, only to be knocked +back down again by PIPPIN. + + PIPPIN + Frodo! Merry, it's Frodo Baggins. + + MERRY + Hello Frodo! + +ANGLE ON: MERRY, PIPPIN, and FRODO picking themselves up, a +variety of vegetables have scattered everywhere. + + SAM + What’s the meaning of this! + + MERRY + Sam, hold this -- + +MERRY gives SAM a large cabbage. + + SAM + You've been into Farmer Maggot's + crop! + +ANGLE ON: A large pitchfork can be seen racing towards them +along the HEDGEROW, angry shouts from FARMER MAGGOT. + + FARMER MAGGOT (O.S.) + 52. + + + Who’s that in my field! Get out of + it! Get out of my field, you young + varmits! I’ll show you, get out of + my corn. + + ANGLE ON: MERRY and PIPPIN hurriedly gather their booty and + race away with FRODO and SAM on their heels. + + MERRY + I don't know why he is so upset, + it's only a couple of carrots. + + PIPPIN + And some cabbages, and those three + bags of potatoes that we lifted + last week. And the mushrooms the + week before. + + MERRY + Yes, Pippin, my point is, he's + clearly overreacting. + + ON THE SOUNDTRACK: The BAYING OF LARGE DOG sounds! + + PIPPIN + Run! + + CUT TO: + + +54 EXT. WOODED ROAD - DAY 54 + + FRODO, SAM, and MERRY and PIPPIN tumble head over heel down + a bank, onto a dark, wooded road. + + CLOSE ON: A winded PIPPIN, his face inches away from a + large pile of HORSE droppings. + + PIPPIN + That was close. + + FRODO picks himself up and looks around quickly. + + MERRY + (groaning) + Ow, I think I've broken something. + + He PULLS a LARGE CARROT, almost broken through in the + middle, out from his back pocket. + + MERRY + Oh. + 53. + + + SAM + (turning on Merry and + Pippin) + Trust a Brandybuck and a Took! + + MERRY + What? That was just a detour, a + short cut. + + SAM + A shortcut to what? + +PIPPIN has spied something under the trees on the far side +of the road. + + PIPPIN + (excited) + Mushrooms! + +CLOSE ON: SMALL, brown mushrooms growing amongst the LOAMY +undergrowth. SAM, MERRY, and PIPPIN race toward the +mushrooms! + +ANGLE ON: FRODO is tense and watchful. He realizes they are +on a wooded road. Scattered leaves rise into the air +WHIRLING down the road as if blown by an invisible wind. + +SUDDENLY THE SOUND OF HORSE HOOVES. + + FRODO + I think we should get off the road. + +A long drawn WAIL comes down the wind, like the cry of some +evil and lovely creature. + + FRODO + (more urgency) + Get off the road! + +SAM grabs MERRY and PIPPIN as the HOBBITS quickly scramble +down the bank, hiding under a mossy log. + +THE SOUND OF HOOVES is close, a sinister MOUNTED RINGWRAITH +steps into view, hooded and faceless, mounted on a huge +snarling black horse with insane eyes! + +FRODO freezes in terror. + +ANGLE ON: The RINGWRAITH pauses right beside their hiding +place, he sits very still with head bowed, listening. From +inside the hood comes a sniffing noise as if he is trying +to catch an elusive scent: he head turning from side to +side. + 54. + + + CLOSE ON: FRODO beads of sweat gather on his brow. + + ANGLE ON: The RINGWRAITH suddenly slides off his horse, + leaning over the mossy log, peering suspiciously into the + woods. + + CLOSE ON: FRODO, he is drawing the RING out of his pocket, + with trembling hands, his face fevered and sweating as if + in the grip of some terrible INTERNAL STRUGGLE. + + The SOUND OF SNIFFING intensifies as the RINGWRAITH darts + his head from side to side like a bird of prey. + + CLOSE ON: FRODO SQUEEZING HIS EYES SHUT. + + QUICK PSYCHIC BLASTS! AN EVIL DARK TOWER. A GREAT EYE. A + BURST OF FLAME. + + ANGLE ON: SAM LOOKING AT FRODO WITH CONCERN. + + SAM + Frodo? + + MERRY desperately hurls the mushrooms across the road, the + RINGWRAITH spins around at the sound, and darts to the far + side of the road with frightening speed. + + ANGLE ON: FRODO instantly slumps as if a PSYCHIC LINK had + been broken. + + MERRY + What was that? + + FRODO is staring, a look of shock on his face at the RING + lying in the palm of his hand. + + +55 EXT. FERRY LANE - NIGHT 55 + + FRODO, SAM, MERRY, and PIPPIN hurry through the trees, + slipping and sliding on the muddy ground. + + SAM + Anything? + + FRODO + Nothing. + + PIPPIN + What is going on? + 55. + + + ANGLE ON: MERRY moves past PIPPIN, toward FRODO, watching + intently. SAM keeps looking around nervously. + + MERRY + That Black Rider was looking for + something or someone, Frodo? + + SAM + Get down! + + ANGLE ON: The SILHOUETTE OF A BLACK RIDER looms against the + skyline. + + ANGLE ON: The FOUR HOBBITS sprawled on the ground, holding + their breath. + + ANGLE ON: The BLACK RIDER turns and departs. + + FRODO + I have to leave the Shire. Sam and + I must get to Bree. + + ANGLE ON: MERRY looks at his friend, realizing FRODO is in + deep trouble. + + MERRY + Right. Buckleberry Ferry, follow + me! + + The HOBBITS break cover. + + SUDDENLY, A RINGWRAITH bursts out of the forest TOWARD + THEM! + + MERRY + There’s another one!! Frodo, this + way!! + + The HOBBITS run, THE RINGWRAITH SHRIEKS! + + QUICK CUTS: Black horse hooves, snarling horse mouths, a + fleeting black cowl. + + MERRY + Frodo, follow me! + + CUT TO: + + +56 EXT. BUCKLEBERRY FERRY - NIGHT 56 + 56. + + + FRODO, SAM, MERRY, and PIPPIN are running towards the wide, + placid BRANDYWINE RIVER and the FERRY. + + MERRY + Get the ropes, Sam. + + QUICK ANGLES: STOMPING HOOVES, SNARLING HORSES. + + Four RINGWRAITHS are speeding through the FOG converging on + the FERRY CROSSING. The HOBBITS stampede across the WHARF + and TUMBLE onto the FERRY. + + SAM + (screaming) + Frodo! + + FRODO races across the WOODEN WHARF, followed by the + RINGWRAITHS. He leaps onto the FERRY. + + CLOSE ON: HOOVES THUNDER DOWN THE WOODEN WHARF! + + SAM and MERRY shove off with the poles, the ferry slides + out into the river, just as the RINGWRAITHS arrive. They + pull up on the end of the wharf, shrieking with rage! The + HOBBITS cover their ears. + + The RINGWRAITHS wheel their horses towards the north and + GALLOP away along the river bank, quickly disappearing into + the fog. + + FRODO + Where is the nearest crossing? + + MERRY + The Brandywine bridge, twenty + miles. + + CUT TO: + + +57 EXT. BREE GATE - NIGHT 57 + + ANGLE ON: Lights of BREE, a small village of stone and + half-timbered houses nestled against a low wooded hill. A + thick hedge surrounds the village, a great gate bars the + western entrance. + + CLOSE ON: FRODO, SAM, MERRY, AND PIPPIN approaching the + gatehouse, wild eyes, ragged, and out of breath. + + FRODO + Come on. + 57. + + + ANGLE ON: A SURLY GATEKEEPER, OLD HARRY, glances down at + them. + + OLD HARRY + What do you want? + + FRODO + We are headed for the Prancing + Pony. + + OLD HARRY swings his lantern onto the HOBBITS, bathing them + in an uncomfortable yellow spotlight. + + OLD HARRY + Hobbits! Four Hobbits, and what’s + more, out of the Shire by your + talk. What business brings you to + Bree? + + FRODO + We wish to stay at the inn, our + business is our own. + + To FRODO’S relief, OLD HARRY unlocks the gate. + + OLD HARRY + All right, young sir, I meant no + offense. + + The HOBBITS gratefully enter BREE. OLD HARRY eyeing them + curiously in the lantern light. + + OLD HARRY + ‘Tis Old Harry’s job to ask + questions after nightfall. There's + talk of strange folk abroad, can't + be too careful. + + CUT TO: + + +58 EXT. BREE STREETS - NIGHT 58 + + The tall BREE FOLK loom over the nervous LITTLE HOBBITS as + FRODO, SAM, MERRY, and PIPPIN make their way through the + NARROW STREETS. Tall buildings tower above them, light glow + dimly from behind thick curtains. + + CLOSE ON: The sign of the “PRANCING PONY INN.” FRODO, SAM, + MERRY, and PIPPIN hurry toward it. + + +59 INT. “PRANCING PONY” RECEPTION - NIGHT 59 + 58. + + + FRODO, SAM, MERRY, and PIPPIN come rushing in. FRODO + attracts the INN KEEPER’s attention. + + FRODO + Excuse me. + + BUTTERBUR + Good evening, little masters. If + you're seeking accommodation, we’ve + got some nice, cozy Hobbit sized + rooms available. Mr -- ah -- + + FRODO + Underhill -- my name's Underhill. + + BUTTERBUR + Underhill? Hmmmm. + + FRODO + We're friends of Gandalf the Grey. + Can you tell him we've arrived? + + BUTTERBUR frowns. + + BUTTERBUR + (puzzled) + Gandalf -- Gandalf -- Oh -- + (recognition) + Oh, yes! I remember -- elderly + chap, big grey beard, pointy hat? + + BUTTERBUR shakes his head. + + BUTTERBUR + Not seen him for six months. + + FRODO is shocked. + + SAM + (worried whisper) + What do we do now? + + +60 INT. PRANCING PONY - LATER 60 + + WIDE ON: the noisy, smokey INN. It is dimly lit, shiefly + from a blazing log fire and crowded with a mixture of BIG + FOLK, LOCAL HOBBITS, and a couple of dwarfs. + + ANGLE ON: FRODO, SAM, MERRY, and PIPPIN are sitting at a + table against the wall, clearly trying to remain QUIET and + inconspicuous. SAM can’t help himself, he keeps casting + nervous glances around. + 59. + + + FRODO + Sam, he'll be here. He’ll come. + +ANGLE ON: MERRY ploinks himself down at a table, carrying a +very large mug of beer. + + PIPPIN + What's that? + + MERRY + This, my friend, is a pint. + + PIPPIN + It comes in pints? I'm getting one. + +SAM watches PIPPIN rise unsteadily to his feet and head to +the bar. + + SAM + You've got a whole half already! + +MERRY watches PIPPIN go. + +ANGLE ON: A COUPLE OF SWARTHY MEN leaning against the bar +glance at FRODO, then quickly look away. + + SAM + (tense) + That fellow's done nothing but + stare at you since we arrived. + +SAM indicates a BROODING STRANGER who sits alone at a table +in the far corner, smoking a curiously carved long stemmed +pipe, peering from beneath a travel stained cowl with +gleaming eyes. + +FRODO gestures to BUTTERBUR. + + FRODO + Excuse me, that Man in the corner, + who is he? + + BUTTERBUR + He's one of them Rangers; they’re + dangerous folk they are, wandering + the wilds. What his right name is, + I never heard, but round here he's + known as Strider. + + FRODO + (to himself) + Strider. + 60. + + + BENEATH TABLE: FRODO’S fingers are nervously TOYING WITH + THE RING. + + CLOSE ON: FRODO. Sweat runs down his brow. The STRANGE HUM + OF THE RING spills into the SOUNDTRACK. + + “Baggins -- Baggins --” a creepy whisper seems to fill + FRODO’S head, sound that dissolves into PIPPIN’S loud + voice: + + PIPPIN + Baggins? Sure I know a Baggins. + He’s over there. + + ANGLE ON: PIPPIN sitting at the bar, chatting with LOCALS. + FRODO leaps to his feet and pushes his way to the bar. + + PIPPIN + Frodo Baggins. He's my second + cousin, once removed on his + mother's side and my third cousin, + twice removed on his father’s side + if you follow me. + + FRODO grabs PIPPIN’S sleeve, spilling his beer. + + FRODO + Pippin! + + PIPPIN + Steady on, Frodo! + + PIPPIN pushes FRODO away, he stumbles backwards, and falls + to the floor. + + AT THAT INSTANT, the INN goes silent and all the attention + turns to FRODO. + + CLOSE ON: THE RING in agonizing SLOW MOTION, we watch as it + seems to hang in the air for a split second then crashes + down onto his outstretched finger. + + FRODO VANISHES! + + There is a sharp intake of breath followed by total + silence. + + CUT TO: + + +61 EXT. BREE COUNTRYSIDE - NIGHT 61 + 61. + + + THE RINGWRAITHS turn sharply in their saddles. INSTANTLY + aware that the RING is being worn. They spur their horses + towards the distant lights of BREE. + + +62 INT. “PRANCING PONY” INN - NIGHT 62 + + SAM looks sick; PIPPIN instantly sobers, realizing his + folly; the brooding stranger frowns and the INN erupts into + excited babble. + + IN THE TWILIGHT WORLD: + + ANGLE ON: FRODO, as he finds himself in the TWILIGHT WORLD + of the RING: THE EXCITED CROWD are suddenly moving in SLOW + MOTION, distorted voices, a weird photographic negative + quality. + + FRODO is moving in real time; against the slow motion + background. + + He suddenly clutches his head as he is hit with QUICK + IMAGES of a GREAT EYE! AN EVIL CAT-LIKE EYE, WREATHED IN + FLAMES. + + VOICE OF SAURON + You cannot hide -- I see you -- + There is no life here in the void - + - only cold -- only death. + + FRODO is terrified! He rolls under a table, desperately + pulling the RING from his finger. + + FRODO MATERIALIZES into the REAL WORLD. + + AT THAT MOMENT: A LARGE HAND reaches under the table and + GRABS FRODO by the collar, and DRAGS HIM AWAY! + + CUT TO: + + +63 INT. PRANCING PONY - CORRIDOR - NIGHT 63 + + FRODO is roughly pushed against the wall. The BROODING + STRANGER looms over him. + + STRIDER + You draw far too much attention to + yourself, Mr. Underhill. + + CUT TO: + 62. + + +64 INT. HOBBIT’S ROOM - PRANCING PONY - NIGHT 64 + + FRODO is pushed into the HOBBIT’S ROOM by STRIDER. + + FRODO + What do you want? + + STRIDER + A little more caution from you, + that is no trinket you carry. + + FRODO + I carry nothing. + + STRIDER + Indeed? I can avoid being seen if I + wish, but to disappear entirely + that is a rare gift. + + He takes down the hood of his cloak to reveal a shaggy head + of dark hair flecked with grey, and in a pale stern face a + pair of keen grey eyes. + + FRODO + Who are you? + + STRIDER + Are you frightened? + + FRODO + Yes. + + STRIDER + Not nearly frightened enough. I + know what hunts you. + + FRODO jumps at the sound of a noise in the corridor. + STRIDER deftly draws his sword. + + ANGLE ON: The door BURSTS OPEN and SAM, MERRY, and PIPPIN + appear on the doorway. SAM is squaring off with his FISTS, + MERRY brandishes a CANDELABRA, and PIPPIN a CHAIR. + + SAM + Let him go or I’ll have you, + Longshanks! + + STRIDER SHEATHS his sword, a slight smile playing on his + lips. + + STRIDER + 63. + + + You have a stout heart, little + Hobbit, but that alone will not + save you, Frodo. They’re coming. + + CUT TO: + + +65 EXT. GATEHOUSE, BREE - NIGHT 65 + + OLD HARRY comes out of his LODGINGS with a lantern, a look + of fear on his face. He approaches the closed gate with + great apprehension. + + CLOSE ON: OLD HARRY peers out of his PEEPHOLE. + + CRASH!! + + The gate crashes down on OLD HARRY as FOUR RINGWRAITHS ride + into BREE! + + +66 EXT. BREE STREETS - NIGHT 66 + + The four RINGWRAITHS fly down the empty streets, like + horsemen of the apocalypse. + + +67 INT. PRANCING PONY INN - NIGHT 67 + + LOW ANGLE: the front door FLIES OPEN. The FOUR RINGWRAITHS + rush into the PRANCING PONY with WICKED SWORDS DRAWN. + + CLOSE ON: BUTTERBUR hiding behind his bar, trembling and + sweating in TERROR. + + +68 INT. HOBBIT’S ROOM - PRANCING PONY - NIGHT 68 + + INSERT: MERRY SNORING SOFTLY ON HIS PILLOW. + + INSERT: PIPPIN stirs slightly, then settles back to sleep. + + WIDE ON: The door creaks open. THE FOUR RINGWRAITHS + silently slide into the HOBBIT’S ROOM. They LOOM over each + bed, raising their SHINING SWORDS ABOVE THE SLEEPING + HOBBITS. + + QUICK INSERT: SAM’S eyes open wide. + + In unison, the RINGWRAITHS STAB THE HOBBITS, in a SLASHING, + HACKING FRENZY. + 64. + + +69 INT. STRIDER’S ROOM - NIGHT 69 + + ANGLE ON: STRIDER is grimly listening to the sounds from + his room. + + +70 INT. HOBBIT’S ROOM - PRANCING PONY - NIGHT 70 + + WIDE ON: the RINGWRAITHS step back from the slashed beds in + triumph. + + CLOSE ON: A hacked blanket is pulled back to reveal nothing + but a shredded pillow. The RINGWRAITHS SHRIEK WITH RAGE!! + + INSERT: SAM sits up with a start! + + CLOSE ON: Another shredded pillow is revealed! More SHRIEKS + of rage. + + INSERT: MERRY AND PIPPIN wake with a start. + + CUT TO: + + +71 INT. STRIDER’S ROOM - NIGHT 71 + + WIDE ON: SAM, MERRY, and PIPPIN have been sleeping on + STRIDER’S bed. FRODO stands next to STRIDER by the window, + peering out nervously as furious RINGWRAITH screeches echo + across the courtyard from the HOBBIT’S ROOM. + + FRODO + What are they? + + STRIDER + They were once Men. + + ANGLE ON: STRIDER glances quickly at FRODO, then looks + away. + + STRIDER + (quietly) + Great kings of Men. Then Sauron the + Deceiver gave to them Nine Rings of + Power. Blinded by their greed they + took them without question, one by + one falling into darkness. Now they + are slaves to his will. + + STRIDER looks from the window as the RINGWRAITHS gallop + down the BREE STREETS. + 65. + + + CLOSE ON: STRIDER turns back to the HOBBITS, his face lit + faintly by the GLOWING EMBERS of the FIRE. + + STRIDER + They are the Nazgûl, Ringwraiths, + neither living nor dead. At all + times they feel the presence of the + Ring, drawn to the power of the + One. They will never stop hunting + you. + + CUT TO: + + +72 EXT. CHETWOOD FOREST - DAY 72 + + ANGLE ON: STRIDER, MERRY, PIPPIN, AND FRODO march through a + gloomy overgrown forest. SAM follows at the rear leading + BILL, a SCRAWNY PONY, who is laden with supplies. + + FRODO + Where are you taking us? + + STRIDER + Into the Wild. + + ANGLE ON: FRODO watches uneasily as STRIDER moves off into + the cover of trees. + + MERRY + (whispered aside) + How do we know this Strider is a + friend of Gandalf? + + FRODO + I think a servant of the enemy + would look fairer and feel fouler. + + MERRY + He’s foul enough. + + FRODO + We have no choice but to trust him. + + SAM + But where is he leading us? + + STRIDER stops, casts a glance back at SAM. + + STRIDER + To Rivendell, Master Gamgee to the + house of Elrond. + 66. + + + SAM looks excited. + + SAM + Did you hear that, Bill? Rivendell! + We're going to see the Elves! + + STRIDER leads the HOBBITS through the gloom of the forest. + + CUT TO: + + +73 EXT. MIDGEWATER MOORS - DAY 73 + + AERIAL ON: STRIDER leading FRODO, SAM, MERRY, and PIPPIN + across the windswept moor. + + ANGLE ON: The HOBBITS suddenly stop and unstrap their + knapsacks. + + STRIDER + Gentlemen, we do not stop till + nightfall. + + PIPPIN + What about breakfast? + + STRIDER + You’ve already had it. + + PIPPIN + We've had one, yes, what about + second breakfast? + + ANGLE ON: STRIDER stares at PIPPIN blankly, then turns + away, shaking his head. + + MERRY + I don't think he knows about second + breakfast, Pip. + + PIPPIN + What about Elevenses, Luncheon, + Afternoon tea, dinner, he knows + about them, doesn’t he? + + MERRY + I wouldn't count on it. + + An apple is thrown to MERRY, who deftly catches it. + Another, aimed at PIPPIN, catches him on the forehead. + + MERRY + (exasperated) + 67. + + + Pippin! + + ANGLE ON: The HOBBITS trudge through rain, looking tired, + hungry, and miserable. + + CUT TO: + + +74 EXT. MIDGEWATER - DAY 74 + + WIDE ON: ARAGORN, FRODO, SAM, BILL, MERRY, and PIPPIN + struggle through a dense swampland. Bugs swarm around them. + + ANGLE ON: MERRY slaps at the swarming insects. + + MERRY + What do they eat when they can’t + get Hobbit? + + ANGLE ON: PIPPIN loses his balance and falls face first + into the muck. + + +75 EXT. MIDGEWATER - NIGHT 75 + + ANGLE ON: The full moon stands high overhead. + + ANGLE ON: STRIDER keeps a lone watch by the dying embers of + the fire. He sings quietly to himself. + + STRIDER + (Elvish) + Tinúviel elvanui, Elleth alfirin + ethelhael O hon ring finnil fuinui + A renc gelebrin thiliol. Tinúviel + the elven-fair, Immortal maiden + elven-wise, About him cast her + night-dark hair, And arms like + silver glimmering. + + CLOSE ON: FRODO awakens, hearing Strider’s song. + + FRODO + Who is she? This woman you sing of? + + ANGLE ON: STRIDER turns, momentarily startled. He relaxes + quickly. He speaks as if the tale is personal to him. + + STRIDER + ‘Tis the lady of Lúthien. The Elf- + maiden who gave her love to Beren, + a mortal. + 68. + + + FRODO + What happened to her? + + STRIDER + She died. + + STRIDER sighs. His face bears remorse as he turns to FRODO. + + STRIDER + Get some sleep, Frodo. + + FRODO nods and lays back down. + + STRIDER turns back to his vigil and looks up at the moon. + His eyes are brimming with tears. + + CUT TO: + + +76 INT. ORTHANC ANTE-CHAMBER - NIGHT 76 + + SARUMAN stands over the PALANTÍR, his hands cupping the + massive eye. + + SARUMAN + (whisper) + The power of Isengard is at your + command, Sauron, Lord of the Earth. + + ON THE SOUNDTRACK: BLACK SPEECH FILLS THE ROOM. AMIDST THE + HARSH, GUTTURAL WORDS, THE VOICE OF SAURON EMERGES. + + SAURON + Build me an army worthy of Mordor. + + +77 INT. ORTHANC ANTE-CHAMBER - NIGHT 77 + + SARUMAN is seated as his ORC OVERSEER approaches + + ORC OVERSEER + What orders from Mordor, my lord? + What does the Eye command? + + SARUMAN + We have work to do. + + CUT TO: + + +78 INT. ISENGARD - NIGHT 78 + 69. + + + CLOSE ON: GANDALF lying unconscious on a cold obsidian + floor. He wakes to the sound of ripping and tearing, rising + onto his knees, lifting his head. + + GANDALF stands as the CAMERA PULLS BACK TO REVEAL HIM + stranded on the SUMMIT OF ORTHANC. He is marooned on the + tiny, flat peak, surrounded on all sides by a sheer 500 + FOOT DROP. + + Another whispering wail rends the air. GANDALF crosses + quickly to the edge and peers down: + + POV: One of the beautiful ISENGARD trees is being ripped + from the ground by the ORCS. GANDALF looks on in HORROR as + ORCS hack into the trunk with axes. + + ANGLE ON: SARUMAN stands in RAIN looking out into the dark + night, the ORC OVERSEER sidles up to him, axe in hand, + sweating with exertion. + + ORC OVERSEER + The trees are strong, my Lord. + Their roots go deep. + + SARUMAN + Rip them all down. + + CAMERA CIRCLES SUMMIT: MORE AND MORE TREES are hauled down + and killed as GANDALF looks on in helpless despair. + + DISSOLVE TO: + + +79 EXT. WEATHERHILLS - DAY 79 + + WIDE ON: The rugged countryside as the HOBBITS journey on, + lead by STRIDER. STRIDER stops before a distant hill, + topped by an ANCIENT RUIN. + + STRIDER + This was once the great Watchtower + of Amon Sûl. We shall rest here + tonight. + + CUT TO: + + +80 EXT. WEATHERTOP HOLLOW - DUSK 80 + + ANGLE ON: FRODO, MERRY, and PIPPIN collapse into a small + hollow, halfway up WEATHERTOP, they are muddy and + exhausted. + 70. + + + ANGLE ON: STRIDER drops 4 SWORDS at the HOBBITS’ feet. + + STRIDER + These are for you. Keep them close. + I'm going to have a look around. + Stay here. + + CUT TO: + + +81 EXT. WEATHERTOP HOLLOW - NIGHT 81 + + CLOSE ON: FRODO eyes flickering open. He suddenly sits up, + sniffing the air. + + ANGLE ON: SAM, MERRY, and PIPPIN huddled over a small fire. + SAUSAGES and BACON sizzle in a hot frying pan. + + FRODO + What are you doing? + + MERRY + Tomatoes, sausages, and crispy + bacon. + + SAM + We saved some for you, Mr. Frodo. + + FRODO + Put it out, you fools! put it out! + + PIPPIN + Oh, that's nice, ash on my + tomatoes! + + A SUDDEN SHRIEK! + + ANGLE ON: FIVE RINGWRAITHS ON FOOT, running up the steep + slope unnaturally fast. + + FRODO + Go! + + FRODO, SAM, MERRY, and PIPPIN clamber desperately towards + the summit, clutching their swords. + + CUT TO: + + +82 EXT. WEATHERTOP SUMMIT - NIGHT 82 + 71. + + +FRODO, SAM, MERRY, and PIPPIN race into a RING OF BROKEN +STONES on the summit on WEATHERTOP, the ruined base of an +ancient tower. + +The HOBBITS stand back-to-back in the centre of the RING, +waiting for the first assault. + +ANGLE ON: One by one, the 5 RINGWRAITHS appear, brandishing +GLEAMING SWORDS, they move slowly towards the HOBBITS. In +the center is their leader the WITCH KING! + + SAM + Back, you devils! + +ANGLE ON: SAM rushes forward with a cry. He swings his +sword at the WITCH KING, who blocks the blow with his own +sword. SAM’S blade shatters, the WITCH KING lashes out with +his fist, sending SAM flying. + +ANGLE ON: MERRY and PIPPIN, overcome with terror, throw +themselves flat on the ground. + +ANGLE ON: The RINGWRAITHS close in on FRODO, a VENOMOUS +WHISPER dances in his head. + +ANGLE ON: FRODO shuts his eyes and staggers back, +desperately resisting the WRAITH’S WHISPERINGS. + +SLOW MOTION as his hand goes into his pocket and pulls out +the RING. The 5 RINGWRAITHS utter a chilling SCREECH OF +EXCITEMENT. FRODO is unable to resist any longer, falls to +his knees and slips on the RING. He DISAPPEARS. + + SAM + No! + +IN THE TWILIGHT WORLD: + +ANGLE ON: FRODO finds himself in the weird TWILIGHT WORLD, +he looks upon the RINGWRAITHS, now visible in their TRUE +APPEARANCE: FIVE GHOULS dressed in long GREY ROBES, with +white hair, and PALLID ruthless faces. + +THE WITCH KING extends a haggard hand towards FRODO, +reaching for the RING on his finger. FRODO’S trembling hand +extends forward, as if by the pull of the RING, he slides +to the ground, unable to pull his hand away. + +The WITCH KING snarls and springs forward. He stabs at +FRODO with a wicked DAGGER! FRODO winces as the tip of the +dagger sinks into his shoulder. + 72. + + + SUDDENLY, STRIDER charges at the RINGWRAITHS, wielding his + sword in one hand, a FLAMING TORCH in the other. He moves + in SLOW MOTION, visible through a sea of mist. + + FRODO sinks to the ground. Behind him is a faint image of a + RINGWRAITH fleeing, his head engulfed in flames. With + draining strength, FRODO manages to pull the RING off his + finger. + + IN THE REAL WORLD: APPEARING back in the real world, SAM + rushes over to him. + + SAM + (horrified) + Frodo! + + Another RINGWRAITH is burning and screaming, others screech + fearfully at the flames, turn and flee from the WEATHERTOP + SUMMIT. + + SAM + (panicked) + Mr. Frodo!! + + STRIDER kneels before FRODO. He snatches up the WITCH + KING’S DAGGER from the ground, staring gravely at the long, + thin, blade. + + SAM + Help him, Strider! + + STRIDER + (grim) + He's been stabbed by a Morgul + blade. + + The MORGUL BLADE suddenly melts, vanishing into the air + like smoke. STRIDER throws the hilt down in disgust. + + SAM + Do something. + + STRIDER + This is beyond my skill to heal. + (urgently) + He needs Elvish medicine. + + STRIDER lifts FRODO onto his shoulders. + + +83 EXT. WEATHERHILLS - NIGHT 83 + 73. + + + STRIDER is jogging grimly, carrying an ailing FRODO on his + back. + + SAM, MERRY, and PIPPIN are running to keep up. The HOBBITS + are carrying FLAMING TORCHES for protection. + + STRIDER + Hurry! + + SAM + We are six days from Rivendell. + + FRODO groans. + + STRIDER + Hold on, Frodo + + SAM + He’ll never make it! + + CLOSE ON: FRODO, head lolling about, barely conscious. + + FRODO + (fevered calling) + Gandalf -- Gandalf? + + +84 EXT. ISENGARD - NIGHT 84 + + LOW ANGLE looking up at ORTHANC, the TOWER OF ISENGARD, + gleaming in the moonlight. + + CAMERA RISES TO REVEAL the once beautiful gardens are now a + pitted wasteland with smoke and fire billowing out of + numerous tunnels and vent holes that littler the forecourt + of ORTHANC. Strange guttural chants echo up from deep + underground. + + THE CAMERA IS RISING, a SMALL MOTH flutters into SHOT and + LEADS THE CAMERA towards the SUMMIT OF ORTHANC. + + GANDALF lies slumped against the wall at the very top of + ORTHANC surrounded by a sheer 500 FOOT DROP. He looks WEAK + and FRAIL and is seemingly asleep. + + His hand suddenly moves at lightning speed and SNATCHES THE + MOTH. GANDALF brings his hand close to his face and opens + it. + + The MOTH sits on the palm of his hand as GANDALF mutters + strange words in a foreign tongue. + 74. + + + CLOSE ON: THE MOTH’S face seemingly listening. It suddenly + flutters away. + + CAMERA FOLLOWS the MOTH off the ORTHANC SUMMIT, but drops + past the MOTH, falling down, down, towards the pitted + wasteland, straight into a fiery red tunnel! + + +85 INT. CAVERNS BELOW ISENGARD - NIGHT 85 + + SERIES OF SHOTS: The dead trees of ISENGARD are fed into + roaring furnaces, molten metal pours into casts, red hot + metal, beaten by sweating ORC BLACKSMITHS, armor and + weapons are forged from the great furnaces. + + ANGLE ON: SARUMAN strides among the ORCS and stands looking + on a newborn URUK-HAI as it escapes its birthing membrane, + this is LURTZ, who rises up to stand before his master. + + CUT TO: + + +86 EXT. TROLLSHAW FOREST CLEARING - NIGHT 86 + + CLOSE ON: FRODO, his eyes flicker open, clouded, red- + rimmed, his brow, beaded with sweat. + + FRODO’S POV: THREE LARGE STONE TROLLS sit in the clearing. + SAM pops his head in front of FRODO. + + SAM + Look, Frodo. It’s Mr. Bilbo’s + trolls. + + ANGLE ON: SAM feels of his skin. + + SAM + Mr. Frodo? He's going cold! + + PIPPIN + Is he going to die? + + FRODO’S breathing is getting shallow. STRIDER looks out + into the darkness. + + STRIDER + He is passing into the Shadow + World. He’ll soon become a Wraith + like them. + + A DISTANT CRY of a RINGWRAITH carries through the air. + + MERRY + 75. + + + (nervous) + They're close. + + FRODO gasps in sudden pain. + + STRIDER + (thinking hard) + Sam, do you know the Athelas plant? + + SAM looks blank. + + SAM + Athelas? + + STRIDER + Kingsfoil. + + SAM + Kingsfoil. Aye. It's a weed. + + STRIDER + It may help to slow the poisoning. + Hurry! + + +87 EXT. TROLLSHAW FOREST - NIGHT 87 + + SAM and STRIDER desperately search the dark forest floor + for the ATHELAS PLANT. + + CLOSE ON: A small, white flowered plant! STRIDER drops to + one knee, carefully pulling it from the ground. + + SUDDENLY! STRIDER FREEZES AS A SWORD BLADE TOUCHES HIS + NECK. + + ARWEN (O.S.) + What is this? A Ranger caught off + his guard? + + STRIDER slowly looks up. + + CUT TO: + + +88 EXT. TROLLSHAW FOREST CLEARING - NIGHT 88 + + FRODO is breathing hard, desperately ill. + + FRODO’S HALF-CONSCIOUS POV: Surreal impression, a + SHIMMERING FIGURE IN WHITE leaps off a horse. + 76. + + +FLASH INSERT: An ethereal vision of ARWEN, as she appears +on the other side. + + ARWEN + (Elvish: with subtitles) + Frodo, Im Arwen. Telin let thaed. + I am Arwen. I have come here to + help you. + (urgent) + Lasto beth nîn. Tolo dan na ngalad. + Hear my voice. Return to the light. + + PIPPIN + Who is she? + + ARWEN + (worried) + Frodo? + + SAM + She's an Elf. + +ANGLE ON: ARWEN who now appears in her earth bound form, a +young ELVEN WOMAN with tousled hair, dressed in mud- +splattered riding clothes. + + ARWEN + He's fading. He's not going to + last. We must get him to my father. + +STRIDER quickly lifts FRODO, placing him on the horse. + + PIPPIN + Where are you taking him? + + ARWEN + I've been looking for you for two + days. There are five Wraiths behind + you. Where the other four are, I do + not know. + + STRIDER + (Elvish: with subtitles) + Dartho guin Berian -- rych le ad + tolthathon. + Stay with the Hobbits. I will send + horses for you. + +CLOSE ON: ARWEN grabbing the REINS of the horse. + + ARWEN + (Elvish: with subtitles) + Hon mabathon. Rochon ellint im. + 77. + + + I am the faster rider. I’ll take + him. + +STRIDER clamps his hand over ARWEN’S. + + STRIDER + (Elvish: with subtitles) + Andelu i ven. + The road is too dangerous. + + ARWEN + (Elvish: with subtitles) + Frodo fîr. Ae athradon i hir, tur + gwaith nin beriatha hon. + If I can get across the river, the + power of my people will protect + him. + + PIPPIN + What are they saying? + +CLOSE ON: ARWEN reaches for STRIDER’S hand, looking deep +into his eyes. + + ARWEN + I do not fear them. + +CLOSE ON: STRIDER, we see that it is hard for him to let +her go. + + STRIDER + (Elvish: with subtitles) + Be iest lîn. + As you wish. + +ANGLE ON: ARWEN mounts her horse, ASFALOTH. + + STRIDER + Arwen, ride hard. Don't look back. + +ANGLE ON: ARWEN looks down at STRIDER as she supports FRODO +with one hand. + + ARWEN + (Elvish) + Noro lim, Asfaloth, noro lim! + Ride fast, Asfaloth, ride fast! + + SAM + What are you doing? Those Wraiths + are still out there! + 78. + + + ANGLE ON: ASFALOTH springs away, bearing ARWEN and FRODO + into the night. + + CUT TO: + + +89 EXT. TROLLSHAW FOREST - NIGHT 89 + + SPEEDING POV: through the forest from the back of the WHITE + HORSE. + + ANGLE ON: FRODO, BOUNCING IN THE SADDLE, he lifts his head + weakly. + + SURREAL SLOW MOTION POV: THE HORSE’S HEAD BOBBING, trees + sliding by, moonlight flickers through the trees. + + CUT TO: + + +90 EXT. AERIAL OF ETTENMOORS - MORNING 90 + + AERIAL: of ARWEN’S white horse emerging from the trees and + galloping across the open land as the sun rises. + + CUT TO: + + +91 EXT. PINE FOREST - DAY 91 + + ASFALOTH charges through a PINE FOREST. + + Suddenly 2 GALLOPING RINGWRAITHS emerge from the trees + behind! + + 2 more RINGWRAITHS slide in from different directions to + join the chase. + + ARWEN grits her teeth, urges the white horse to greater + speed. + + CUT TO: + + +92 EXT. THE EAST ROAD - DAY 92 + + The white horse speeds out of the pine trees, the 4 + RINGWRAITHS close behind. + + PAN ONTO: 2 more RINGWRAITHS galloping down the hillside! + 79. + + + AERIAL SHOT: 3 MORE RINGWRAITHS enter frame from different + directions, a total of 9 RINGWRAITHS now pursuing FRODO and + ARWEN! + + CLOSE ON: Panting head of the WHITE ELVEN HORSE. + + ARWEN + Noro lim, Asfaloth! + Ride faster, Asfaloth! + + CUT TO: + + +93 EXT. FORD OF BRUINEN - DAY 93 + + CRANE DOWN: As the WHITE HORSE races toward CAMERA, to + REVEAL the wide river BRUINEN in the foreground. + + Without hesitation, the white horse leaps into the shallow + water and thunders across the Ford. The 9 RINGWRAITHS pulls + up short of the Ford, clearly nervous of the water. + + The white horse reaches the other side, ARWEN pulls up and + turns to defiantly face the RINGWRAITHS from across the + Ford. + + WITCH KING + Give up the halfling, She-Elf. + + She draws her sword and yells at the WITCH KING. + + ARWEN + If you want him, come and claim + him. + + THE WITCH KING SCREECHES ANGRILY, draws his sword, and + leads the RINGWRAITHS across the Ford. The water starts + flowing faster, a distant rumble can be heard. + + ARWEN waits until they are halfway across: she suddenly + stands in the saddle arms raised! + + ARWEN + (Elvish) + Nin o Chithaeglir, lasto Beth daer: + Rimmo nin Bruinen, dan in Ulair! + Nin o Chithaeglir, lasto beth daer, + Rimmo nin Bruinen, dan in Ulair! + Waters of the Misty Mountains, + listen to the great word: flow + waters of Loudwater, against the + Ringwraiths! + 80. + + + THE GROUND SUDDENLY TREMBLES. A MIGHTY ROAR FILLS THE AIR. + + FRODO looks up weakly, to see a vast torrent of WATER + flooding down the river towards the Ford as if a dam had + burst! + + ANGLE ON: The FOAMING WATER seems to form the shape of + DANCING WHITE HORSES with frothing manes! The RINGWRAITHS + screams in terror as they are swallowed up in the deluge. + Their piercing cries are drowned in the roaring of the + river as it carries them away! + + CLOSE ON: FRODO as he loses consciousness. + + ARWEN + (upset) + No, no -- Frodo, no! Frodo, don't + give in -- not now! + + ARWEN gathers the small HOBBIT in her arms, feeling his + life slip away. + + +94 INT. FRODO’S DELIRIUM - DAY 94 + + DELIRIOUS IMAGES AND SOUNDS. + + ARWEN (V.O.) + What grace is given me, let it pass + to him. Let him be spared. Save + him. + + IMAGES: A city in the woods. A brief distorted glimpse of + ELROND - an ELVEN LORD - working feverishly to save FRODO. + + ELROND + (Elvish) + Lasto beth nîn. Tolo dan na ngalad. + Hear my voice, come back to the + light + + IMAGES: A BLADE STABBING, over and over. FRODO’S FACE, + bathed in FIRELIGHT, the EYE OF SAURON looms toward FRODO! + FRODO gasps at the EYE, his face twists with FEAR! + + IMAGE: A BRIGHT LIGHT suddenly flares. FRODO squeezes his + eyes shut, gasping. + + FRODO + (frightened) + Where am I? + + A FAMILIAR VOICE cuts through the swirl of sound. + 81. + + + GANDALF (O.S.) + You are in the House of Elrond, and + it is ten o’clock in the morning on + October the twenty-fourth, if you + want to know. + + +95 INT. FRODO’S BEDROOM - DAY 95 + + FRODO’S eyes flicker OPEN. He is lying in bed next to an + OPEN WINDOW. DAPPLED sunlight plays on richly carved + timbers, the sound of a nearby waterfall drifts through the + VISTA of FIR TREES. + + FRODO + (weak relief) + Gandalf! + + ANGLE ON: GANDALF IS SITTING NEXT TO FRODO’S BED, softly + puffing on his pipe. He smiles at FRODO. + + GANDALF + Yes, I'm here. And you're lucky to + be here too. A few more hours and + you would have been beyond our aid. + But you have some strength in you, + my dear Hobbit. + + FRODO sits up, looking at GANDALF questioningly. + + FRODO + What happened, Gandalf? Why didn't + you meet us? + + GANDALF + I am sorry, Frodo. + + CLOSE ON: GANDALF troubled. His eyes drift away. + + GANDALF + I was delayed. + + CUT TO: + + +96 EXT. ORTHANC SUMMIT - NIGHT 96 + + SARUMAN stands over GANDALF, gloating. + + SARUMAN + A friendship with Saruman is not + lightly thrown aside. + 82. + + + With the power of his staff, SARUMAN tosses GANDALF from + one side of ORTHANC to off the edge of the other side where + he holds GANDALF, suspended as if GANDALF is standing on + the side of the tower. + + SARUMAN + One ill turn deserves another. It + is over. Embrace the power of the + Ring or embrace your own + destruction! + + SARUMAN raises GANDALF again, then sends him crashing to + the floor. + + GANDALF + There is only one Lord of the Ring. + Only one who can bend it to his + will and he does not share power. + + SUDDENLY! GANDALF lurches to his feet and THROWS himself + off the TOWER! SARUMAN watches GANDALF fly away from + ISENGARD, on the BACK of a GIANT EAGLE. + + SARUMAN + (chilling) + So you have chosen death. + + CUT TO: + + +97 EXT. SKIES OVER MOUNTAINS - DAWN 97 + + GWAIHIR THE WINDLORD soars majestically over the mountains, + carrying GANDALF towards the dawn. + + CUT TO: + + +98 INT. FRODO’S BEDROOM - RIVENDELL - DAY 98 + + FRODO raises himself up and looks at GANDALF. + + FRODO + Gandalf! What is it? + + GANDALF returns his attention to FRODO. + + GANDALF + Nothing, Frodo -- + + ANGLE ON: SAM runs to FRODO’S bedside. He is overjoyed to + find FRODO awake. + 83. + + + SAM + Frodo! Frodo! Bless you, you’re + awake!! + + GANDALF + Sam has hardly left your side. + + SAM + We were worried about you -- + weren't we, Mr. Gandalf? + + GANDALF + By the skills of Lord Elrond, + you’re beginning to mend. + + ANGLE ON: ELROND, LORD OF THE HIGH ELVES, steps up to + FRODO’S bedside, his face is neither old nor young, though + in it is written the memory of many things both glad and + sorrowful. + + ELROND + Welcome to Rivendell, Frodo + Baggins. + + FRODO sits up, looking at ELROND with awe. + + CUT TO: + + +99 EXT. RIVENDELL VALLEY - DAY 99 + + WIDE ON: RIVENDELL, a small cluster of elegant ELVEN + BUILDINGS sitting in a Shangri-la like VALLEY below + towering cliffs and snow capped mountains. + + ELROND (V.O.) + You have found your way to the last + homely house east of the sea. The + Elves of Imladris have dwelt within + this valley for 3,000 years though + few of my kin now remain. + + ANGLE ON: FRODO looks out from his balcony. + + CUT TO: + + +100 EXT. RIVENDELL GARDENS - DAY 100 + + FRODO and SAM walk together. Suddenly, the voices of MERRY + and PIPPIN can be heard as they bound up to FRODO and throw + their arms around him. + 84. + + + MERRY + Frodo! Frodo! + + SAM looks past FRODO smiling, a bent figure sits alone on a + bench, in the SUN. + + CLOSE ON: FRODO turning, following SAM’S gaze. + + FRODO + Bilbo! + + +101 EXT. RIVENDELL TERRACE - DAY 101 + + CLOSE ON: BILBO BAGGINS! He breaks into a broad grin as + FRODO rushes forward to embrace him. BILBO has aged + significantly since we last saw him. + + BILBO + Hello, Frodo, my lad! + + FRODO + Bilbo! + + LATER. FRODO is turning the neatly inscribed title page of + a red leather bound journal: + + FRODO + “There and Back Again: A Hobbit's + Tale” by Bilbo Baggins. + + BILBO smiles PROUDLY. He is sitting with FRODO on a terrace + overlooking a WATERFALL. FRODO looks at PAGE AFTER PAGE of + beautiful HANDWRITING, with intricate MAPS and DRAWINGS. + + FRODO + This is wonderful. + + BILBO + I meant to go back, wander the + paths of Mirkwood, visit Laketown, + see the Lonely Mountain again, but + age, it seems, has finally caught + up with me. + + FRODO turns a page there before him, is a map of the SHIRE. + + FRODO + (quietly) + I miss the Shire. I spent all my + childhood pretending I was off + somewhere else -- off with you, on + one of your adventures. + 85. + + + (looks at Bilbo) + But my own adventure turned out to + be quite different. I'm not like + you, Bilbo. + + BILBO + My dear boy. + + CUT TO: + + +102 EXT. RIVENDELL TERRACE - EVENING 102 + + SAM busily tries to stuff more and more things into his + already full pack, pots and pans, blankets, cooking + utensils, provisions, clothes. + + SAM + Now, what have I forgotten? + + PULL BACK TO REVEAL: FRODO, hands in his pockets, watching + SAM. + + FRODO + Packed already? + + SAM looks up, startled. + + SAM + (slightly embarrassed) + No harm in being prepared. + + FRODO strolls to the edge of the BALCONY. + + FRODO + I thought you wanted to see the + Elves, Sam? + + SAM + I do -- + + FRODO + More than anything. + + SAM + I did. It’s just -- We did what + Gandalf wanted, didn't we? We got + the Ring this far, to Rivendell -- + and I thought -- seeing as how + you're on the mend, we'd be off + soon. Off home. + + FRODO + 86. + + + You're right, Sam -- + + FRODO looks at SAM. + + FRODO + -- we did what we set out to do. + + CLOSE ON: FRODO opens his hand, the RING sits in his PALM. + + FRODO + The Ring will be safe in Rivendell. + I am ready to go home. + + CUT TO: + + +103 INT. ELROND’S CHAMBER - RIVENDELL - DAY 103 + + GANDALF and ELROND watch FRODO and SAM from ELROND’S + balcony. + + ELROND + His strength returns. + + GANDALF + That wound will never fully heal. + He will carry it the rest of his + life. + + ELROND + Yet to have come so far still + bearing the Ring, the Hobbit has + shown extraordinary resilience to + its evil. + + GANDALF + It is a burden he should never have + had to bear. We can ask no more of + Frodo. + + ELROND + Gandalf, the enemy is moving. + Sauron's forces are massing in the + East. His Eye is fixed on + Rivendell. And Saruman, you tell + me, has betrayed us. Our list of + allies grows thin. + + GANDALF + 87. + + + His treachery runs deeper than you + know. By foul craft, Saruman has + crossed Orcs with Goblin Men ... + He’s breeding an army in the + caverns of Isengard. An army that + can move in Sunlight and cover + great distance at speed. Saruman is + coming for the Ring. + +ELROND turns and walks away. + + ELROND + This evil cannot be concealed by + the power of the Elves. We do not + have the strength to fight both + Mordor and Isengard. Gandalf, the + Ring cannot stay here. + +GANDALF turns and looks out the window. + +ANGLES ON: Sounds of arrivals. GANDALF watches as BOROMIR +rides through the RIVENDELL gate, followed by LEGOLAS and +GIMLI. + + ELROND (V.O.) + This peril belongs to all Middle- + Earth. They must decide now how to + end it. + +ANGLE ON: ELROND approaches GANDALF. + + ELROND (V.O.) + The time of the Elves is over. My + people are leaving these shores. + Who will you look to when we’ve + gone? The Dwarves? They hide in + their mountains seeking riches. + They care nothing for the troubles + of others. + + GANDALF + It is in Men that we must place our + hope. + + ELROND + Men? Men are weak. The race of Men + is failing. The blood of Númenor is + all but spent, its pride and + dignity forgotten. It is because of + Men the Ring survives. + +FLASH INSERT: With the broken sword, ISILDUR slices off +SAURON’S finger. ELROND reacts. + 88. + + + ELROND (V.O.) + I was there, Gandalf. I was there + three thousand years ago when + Isildur took the Ring. + + FLASH INSERT: ISILDUR PICKS UP THE RING AND STARES AT IT, + ENTRANCED. + + ELROND (V.O.) + I was there when the day the + strength of Men failed. + + CUT TO: + + +104 INT. CRACK OF DOOM - DAY 104 + + ELROND + Isildur -- hurry -- follow me! + + IMAGES: ELROND leads ISILDUR into the steaming volcano. + + ELROND (V.O.) + I led Isildur into the heart of + Mount Doom, where the Ring was + forged: the one place it could be + destroyed. + + FLASH INSERT: ELROND AND ISILDUR STAND BEFORE THE FIRES OF + MOUNT DOOM. + + ELROND + Cast it in the fire -- destroy it! + + CLOSE ON: ISILDUR CAPTIVATED BY THE RING. + + ISILDUR + No. + + ISILDUR turns and walks away. + + ELROND + Isildur!! + + +105 INT. ELROND’S CHAMBER - RIVENDELL - DAY 105 + + ANGLE ON: ELROND turns to GANDALF. + + ELROND + 89. + + + It should have ended that day, but + evil was allowed to endure. Isildur + kept the Ring and the line of kings + was broken. There’s no strength + left in the world of Men. They are + scattered, divided, leaderless. + + GANDALF + There is one who could unite them, + one who could reclaim the throne of + Gondor. + + ELROND + He turned from that path a long + time ago. He has chosen exile. + + CUT TO: + + +106 INT. ELROND’S CHAMBER - RIVENDELL - NIGHT 106 + + ANGLE ON: STRIDER watches from the shadows as BOROMIR + strolls through the darkened gallery. BOROMIR’S eyes are + drawn to an old FRESCO on the wall, depicting ISILDUR + defeating SAURON. + + BOROMIR turns suddenly and notices STRIDER, looking at him. + He looks STRIDER up and down, confused for a moment. + + BOROMIR + You are no Elf. + + STRIDER + Men of the South are welcome here. + + BOROMIR + Who are you? + + STRIDER + I am a friend to Gandalf the Grey. + + BOROMIR nods, understanding Strider’s vagueness. + + BOROMIR + Then we are here on common purpose, + friend. + + BOROMIR smiles uncomfortably. STRIDER only looks at him + silently. + + BOROMIR looks with WONDERMENT at NARSIL, the BROKEN BLADE + of ELENDIL, which lies on a cloth-covered plinth. + 90. + + + BOROMIR + (quiet awe) + The shards of Narsil, the blade + that cut the Ring from Sauron's + hand. + + BOROMIR picks up the sword and gently touches the blade. + + CLOSE ON: a small bloom of blood appears on BOROMIR’S + finger. + + BOROMIR + Still sharp. + + He slowly looks over to STRIDER, as if sensing a + connection. + + BOROMIR + But no more than a broken heirloom. + + BOROMIR replaces the blade, but it clatters to the floor. + + BOROMIR walks away, leaving STRIDER sitting alone. + + CLOSE ON: STRIDER picks up the broken hilt, as ARWEN + appears behind him. + + ARWEN + Why do you fear the past? You are + Isildur's heir, not Isildur + himself. You are not bound to his + fate. + + STRIDER + The same blood flows in my veins -- + the same weakness -- + + ARWEN + Your time will come. You will face + the same evil. And you will defeat + it. + (Elvish: with subtitles) + A si i-Dhúath ú-orthor, Aragorn. Ú + or le a ú or nin. + The shadow does not hold sway yet. + Not over you and not over me. + + CUT TO: + + +107 EXT. RIVENDELL VALLEY - NIGHT 107 + 91. + + + Night falls upon the beautiful valley of RIVENDELL, still + and quiet. + + +108 EXT. RIVENDELL WATERFALL - NIGHT 108 + + STRIDER and ARWEN stand together upon a stone bridge, the + EVENSTAR at ARWEN’S breast shines in the moonlight. + + ARWEN + (Elvish: with subtitles) + Renech i lu i erui govannen? + Do you remember when we first met? + + STRIDER + (Elvish: with subtitles) + Nauthannem i ned ol reniannen. + I thought I had strayed into a + dream. + + ARWEN reaches up and gently touches the GREY at STRIDER’S + temples. + + ARWEN + (Elvish: with subtitles) + Gwenwin in enninath. U-arnech in + naeth i si celich. + Long years have passed. You did not + have the cares you carry now. + + ARWEN looks into STRIDER’S eyes. + + ARWEN + (Elvish: with subtitles) + Renech i beth i pennen? + Do you remember what I told you? + + ARWEN reaches for STRIDER’S hand. + + STRIDER + (quietly) + You said you would bind yourself to + me, and forsaking immortal life of + your people. + + ARWEN + (whisper) + And to that I hold. I would rather + share one lifetime with you than + face all the Ages of this world + alone. + 92. + + + CLOSE ON: STRIDER looks down. In his hand lies the + EVENSTAR. + + ARWEN + I choose a mortal life. + + STRIDER + You cannot give me this. + + ARWEN + It is mine to give to whom I will, + like my heart. + + ARWEN closes STRIDER’S fingers around the jewel. + + ARWEN leans towards STRIDER, gently kissing him. + + +109 INT. COUNCIL CHAMBER - RIVENDELL - DAY 109 + + IMAGES from the PROLOGUE: the RINGS being given to the + ELVES, DWARVES, and MEN. + + ELROND (V.O.) + Three Rings for the Elven-kings + under the sky, Seven for the Dwarf- + lords in their halls of stone, Nine + for Mortal Men doomed to die, One + for the Dark Lord on his dark + throne In the Land of Mordor where + the Shadows lie. One Ring to rule + them all. One Ring to find them, + One Ring to bring them all together + and in the darkness bind them, In + the Land of Mordor where the + Shadows lie. + + CLOSE ON: FRODO opens his hand, the RING lies in his palm. + He looks up. + + ANGLE ON: ELROND addresses the COUNCIL. + + ELROND + Strangers from distant land, + friends of old. You have been + summoned here to answer the threat + of Mordor. Middle-Earth stands upon + the brink of destruction. None can + escape it. You will unite or you + will fall. Each race is bound to + this fate, this one doom -- + 93. + + +FRODO sits amongst a council of FREE-PEOPLES of Middle +earth, ELROND stands before them, addressing GANDALF, +STRIDER, LEGOLAS, and 20 other ELVES, DWARVES, and MEN. + + ELROND + Bring forth the Ring, Frodo. + +ANGLE ON: FRODO steps forward and moves towards a stone +PLINTH. + +He places the RING on the plinth and returns to his seat. + + BOROMIR + (shocked) + So it is true! + + LEGOLAS + (disbelief) + Sauron’s Ring! The Ring of Power! + + GIMLI + (grim) + The doom of man! + +ON THE SOUNDTRACK: The HUM of the RING sounds. + +ANGLE ON: Several members of the COUNCIL take notice. +BOROMIR stands and begins to approach the RING, as if drawn +to it. + + BOROMIR + In a dream, I saw the eastern sky + grow dark, but in the West a pale + light lingered. A voice was crying: + “Your doom is near at hand. + Isildur’s Bane is found.” + +ANGLE ON: ELROND and GANDALF exchange glances. BOROMIR +reaches for the RING. + + BOROMIR + Isildur’s Bane. + + ELROND + (standing) + Boromir! + +ANGLE ON: GANDALF stands and speaks in the BLACK TONGUE. + +ON THE SOUNDTRACK: The RING responds to GANDALF. + +ANGLES ON: BOROMIR staggers back to his chair, the sky +darkens, thunder rolls, the ground trembles. + 94. + + + GANDALF + (Black Speech) + Ash nazg durbatulûk, ash nazg + gimbatul, ash nazg thrakatulûk agh + burzum-ishi krimpatul. + One Ring to rule them all, One Ring + to find them, One Ring to bring + them all and in the Darkness bind + them. + +Nature returns to normal. ELROND looks to GANDALF. + + ELROND + (sternly) + Never before has any voice uttered + the words of that tongue here in + Imladris. + + GANDALF + I do not ask your pardon, Master + Elrond, for the Black Speech of + Mordor may yet be heard in every + corner of the West! The Ring is + altogether evil. + +ANGLE ON: GANDALF returns to his seat. + +ANGLE ON: BOROMIR shakes his head. He stands again to make +his case to the COUNCIL. + + BOROMIR + It is a gift -- a gift to the foes + of Mordor! Why not use this Ring? + Long has my father, the Steward of + Gondor, kept the forces of Mordor + at bay, by the blood of our people + are your lands kept safe. Give + Gondor the weapon of the enemy, let + us use it against him! + + STRIDER + You cannot wield it. None of us + can. The One Ring answers to Sauron + alone -- it has no other master. + +ANGLE ON: BOROMIR turns and looks at STRIDER, coolly. + + BOROMIR + And what would a Ranger know of + this matter? + +STRIDER says nothing and BOROMIR turns away dismissively. + 95. + + +ANGLE ON: LEGOLAS stands. + + LEGOLAS + This is no mere Ranger. He is + Aragorn, son of Arathorn. You owe + him your allegiance. + +ANGLE ON: FRODO looks at STRIDER questioningly. BOROMIR +turns sharply. + + BOROMIR + (quiet disbelief) + Aragorn? This is Isildur's heir? + + LEGOLAS + And heir to the throne of Gondor. + + STRIDER + (Elvish: with subtitles) + Havo dad, Legolas. + Sit down, Legolas. + + BOROMIR + Gondor has no king. + + GANDALF + Aragorn is right, we cannot use it. + + ELROND + You have only one choice, the Ring + must be destroyed. + +ON THE SOUNDTRACK: The HUM OF THE RING seems to grow louder +in FRODO’S ears. + +ANGLE ON: GIMLI suddenly stands, excited. + + GIMLI + Then, what are we waiting for? + +GIMLI suddenly rushes forward! He swings his axe down on +the RING. The axe SHATTERS with a deafening CRACK! GIMLI +falls backwards staring in disbelief at the RING, unharmed! + +ANGLE ON: FRODO winces as an angry IMAGE of the FIERY EYE +hits him! He slumps in his chair, clutching his forehead. +GANDALF looks at him with concern. + + ELROND + 96. + + + The Ring cannot be destroyed, + Gimli, son of Glóin, by any craft + that we here possess. The Ring was + made in the fires of Mount Doom -- + only there can it be unmade. + + ELROND + It must be taken deep into Mordor, + and cast back into the fiery chasm + from whence it came. One of you + must do this. + +STUNNED SILENCE, the council sits with downcast eyes, as if +a great dread has descended upon them. + +BOROMIR addresses the council in a quiet voice. + + BOROMIR + One does not simply walk into + Mordor. Its Black Gates are guarded + by more than just Orcs. There is + evil there that does not sleep and + the Great Eye is ever watchful. It + is a barren wasteland riddled with + fire, and ash and dust -- the very + air you breathe is a poisonous + fume. Not with ten thousand Men + could you do this. It is folly. + + LEGOLAS + Have you heard nothing Lord Elrond + has said? The Ring must be + destroyed. + + GIMLI + And I suppose you think you're the + one to do it? + + BOROMIR + And what if we fail, what then? + What happens when Sauron takes back + what is his? + +GIMLI leaps to his feet! + + GIMLI + I will be dead before I see the + Ring in the hands of an Elf! + +A STORM OF ARGUMENT erupts around the room. + 97. + + +CLOSE ON: FRODO, sound disappears as he watches in SLOW +MOTION, the angry faces, the shaking fists, the accusatory +fingers, his eyes move to the RING. THE HUM grows louder in +his head. + + GIMLI + (shouting) + Never trust an Elf! + +CLOSE ON: THE RING fills the screen, streams of blood flow +across the surface, flames flicker within the GOLD BAND. + + GANDALF + Do you not understand? While we + bicker amongst ourselves, Sauron’s + power grows! No one will escape it. + You will all be destroyed, with + your homes burnt and your families + put to the sword! + +CLOSE ON: FRODO, breathing rapidly, CAUGHT in the grip of +his hideous vision. With a huge effort of will, FRODO tears +his gaze upon the RING. + +ANGLE ON: FRODO suddenly stands, he speaks in a strong, +clear voice. + + FRODO + I will take it. I will take it. I + will take the Ring to Mordor. + +SUDDEN SILENCE. FRODO looks around the room at the +astonished faces. + + FRODO + (quietly) + Though I do not know the way. + +ANGLE ON: GANDALF rises to his feet. + + GANDALF + I will help you bear this burden, + Frodo Baggins, as long as it is + yours to bear. + + ARAGORN + If by my life or death I can + protect you, I will. + (kneels before Frodo) + -- you have my sword. + +ARAGORN steps forward, followed by LEGOLAS and GIMLI. + 98. + + + LEGOLAS + And you have my bow. + + GIMLI + And my axe. + +ANGLE ON: BOROMIR looks at them all and then walks to +FRODO. + + BOROMIR + You carry the fates of us all, + little one. + +BOROMIR looks towards ELROND and GANDALF. + + BOROMIR + If this is indeed the will of the + Council, then Gondor will see it + done. + +ANGLE ON: FRODO stares in wonder as the GREATEST FIGHTERS +in all Middle earth stand at his side. + + SAM + (unseen) + Here! + +A SUDDEN NOISE. SAM pops up from behind a BUSH! + + SAM + Mr. Frodo's not going anywhere + without me. + + ELROND + No, indeed, it is hardly possible + to separate you, even when he is + summoned to a secret Council and + you are not. + +ANGLE ON: MERRY and PIPPIN jump up from behind another +bush! + + MERRY + Oi! We're coming too! You'd have to + send us home tied up in a sack to + stop us. + + PIPPIN + Anyway, you need people of + intelligence on this sort of + mission -- quest -- thing -- + + MERRY + 99. + + + Well, that rules you out, Pip. + + ELROND SURVEYS THE GROUP. + + ELROND + (thoughtfully) + Nine companions, so be it. + (announcing) + You shall be the FELLOWSHIP OF THE + RING. + + PIPPIN + Great. Where are we going? + + CUT TO: + + +110 EXT. GILRAEN’S MEMORIAL - RIVENDELL - DAWN 110 + + CLOSE ON: A HAND gently and reverently removes debris from + the base and form of a STATUE + + ANGLE ON: The STATUE OF GILRAEN’S hands are folded before + her, and her head is hooded. + + ANGLE ON: ARAGORN stands back and gazes into her sad face. + + ELROND (O.S.) + (Elvish; with subtitles) + Anirne hene beriad i chên în. Ned + Imladris nauthant e le beriathar + aen. + She wanted to protect her child. + She thought that in Rivendell you + would be safe. + + ANGLE ON: ELROND approaches ARAGORN. + + ANGLE ON: ARAGORN pays little attention to ELROND. He + caresses the face of his MOTHER’S STATUE. + + ANGLE ON: ELROND approaches from behind ARAGORN. + + ELROND + In her heart, your mother knew + you’d be hunted all your life. That + you’d never escape your fate. The + skill of the Elves can reforge the + sword of kings, but only you have + the power to wield it. + + CLOSE ON: ARAGORN TURNS to him. + 100. + + + ARAGORN + I do not want that power. I have + never wanted it. + + ELROND + You are the last of that bloodline. + There is no other. + + ANGLE ON: ARAGORN stands silently and continues looking + upon the STATUE. + + +111 INT. FRODO’S BEDROOM - RIVENDELL - DAWN 111 + + CLOSE ON: AN OLD SWORD sliding out of a shabby leather + SCABBARD. Its polished, well tendered BLADE glitters COLD + AND BRIGHT. + + BILBO + My old sword “Sting”. Here, take + it! + + BILBO offers STING to FRODO. + + FRODO + It's so light! + + BILBO + Yes, yes, made by the Elves, you + know. The blade glows blue when + Orcs are close -- and it’s times + like that, my lad, when you have to + be extra careful. + + BILBO unwraps a SMALL SHIRT OF CLOSE WOVEN MAIL. + + BILBO + Here’s a pretty thing. Mithril, as + light as a feather, and as hard as + dragon scales. Let me see you put + it on. Come on. + + CLOSE ON: FRODO peels off his SHIRT, revealing the RING on + the CHAIN around his neck. + + BILBO + (entranced) + Oh! My old Ring. + + FRODO frowns as BILBO moves toward him. + + BILBO + 101. + + + I should very much like to hold it + again, one last time. + + BILBO reaches forward, eyes locked on the RING. + + ANGLE ON: SUDDENLY! A SHADOW passes across BILBO, for a + split second he becomes a WRINKLED CREATURE with a HUNGRY + FACE and BONY, GROPING HANDS. + + ANGLE ON: FRODO pulls away, shocked. + + ANGLE ON: THE SHADOW passes. BILBO slumps into a chair, his + head in his hands. BILBO falters, his eyes filling with + tears. + + BILBO + Oh! + (sad) + I'm sorry, that I brought this upon + you, my boy. I'm sorry that you + must carry this burden. I'm sorry + for everything. + + BILBO sobs and FRODO moves to comfort him. + + CUT TO: + + +112 EXT. RIVENDELL TERRACE - DAY 112 + + ANGLE ON: ELROND and FRODO walk towards the rest of the + FELLOWSHIP waiting at the Gate of RIVENDELL. + + ELROND + The time has come for the Ring to + set out. You cannot count on your + journey being aided by war or + force. You will pass into the + domain of the Enemy far from aid. + Do you still hold to your word + Frodo, that you will be the Ring- + bearer? + + FRODO + I do. I must. I will go with Sam. + + ELROND + 102. + + + Then I cannot help you much, not + even with counsel. I can foresee + very little of your road; and how + your task is to be achieve + Mountains, and draws nigh even to + the borders of the Greyflood; and + under the Shadow all is dark to me. + You will meet many foes, some open, + and some disguised; and you may + find friends upon your way when you + least look for it. I will send out + messages, such as I can contrive, + to those whom I know in the wide + world; but so perilous have the + lands now become that some may well + miscarry, or come no quicker than + you yourself. Had I a host of Elves + in armor of the Elder Days, it + would avail little, save to arouse + the power of Mordor. Are you + confident in your companions? + + FRODO + Yes, Lord Elrond. I must be, I’m + afraid, for if I doubt them, we may + never succeed. + + ELROND + And what of your Hobbit friends? I + had hoped to send them back to the + Shire as messengers to warn the + people of the impending danger + according to the fashion of your + country. I feel that the youngest, + Peregrin Took, should not go with + you. My heart is against it. + + FRODO + His heart is set upon going. There + will be no stopping him, even if + you did send him home in a sack. + + ELROND + Let it be so then. The Fellowship + awaits. + + WIDE ON: ELROND and FRODO turn a corner and descend to the + FELLOWSHIP, now waiting by the gate. + + +113 EXT. RIVENDELL GATE - DAY 113 + 103. + + + ANGLE ON: FRODO joins the FELLOWSHIP, ready to depart. They + are set to go on foot with only SAM’S PONY, BILL, to carry + much of their baggage. + + ANGLE ON: ELROND stands with the ELVES, addressing their + only hope of success. + + ELROND + The Ring-bearer is setting out on + the Quest of Mount Doom. On you who + travel with him, no oath nor bond + is laid to go further that you + will. Farewell. Hold to your + purpose. May the blessing of Elves + and Men and all Free Folk go with + you. + + GANDALF + The Fellowship awaits the Ring- + bearer. + + ANGLE ON: FRODO slowly turns to the FELLOWSHIP and timidly + makes his way to the head of the GROUP. + + FRODO’S POV: The faces of those who vowed to follow him + watch as he makes his way to lead the FELLOWSHIP. + + ANGLE ON: FRODO leads the FELLOWSHIP out of RIVENDELL. He + turns to GANDALF. + + FRODO + Mordor, Gandalf, is it left or + right? + + ANGLE ON: GANDALF continues looking ahead. + + GANDALF + Left. + + ANGLE ON: GANDALF places his hand on Frodo’s left shoulder. + The FELLOWSHIP follows FRODO into the Middle-Earth. + + ANGLE ON: ARAGORN turns to bid a silent farewell. + + ANGLE ON: ARWEN stands in a group of ELVES, watching him. + + ANGLE ON: He nods to her and follows the FELLOWSHIP out. + + +114 EXT. RIVENDELL VALLEY - MORNING 114 + + ANGLE ON: The FELLOWSHIP climbs the long steep path out of + the cloven vale of RIVENDELL. + 104. + + + CUT TO: + + +115 EXT. ROUGH COUNTRY - SOUTH OF RIVENDELL - DAY 115 + + ANGLE ON: The FELLOWSHIP trekking through a land of DEEP + VALLEYS and turbulent water. The MISTY MOUNTAINS rise + sharply to their left. + + GANDALF (V.O.) + We must hold to this course, west + of the Misty Mountains, for forty + days. If our luck holds, the Gap of + Rohan will still be open to us. + From there, our road turns east, to + Mordor. + + CUT TO: + + +116 EXT. EREGION HILLS - DAWN 116 + + CLOSE ON: SAM at the CAMPFIRE. The SOUND OF CLASHING + SWORDS! + + WIDER: ARAGORN and BOROMIR are giving PIPPIN SWORD TUITION. + + BOROMIR + Get away from the blade, Pippin -- + on your toes -- good, very good -- + I want you to react, not think. + + SAM + Should not be too hard. + + BOROMIR + Move your feet. + + MERRY + Quite good, Pippin. + + PIPPIN + Thanks. + + CLOSE ON: GIMLI has managed to corner GANDALF. + + GIMLI + 105. + + + If anyone were to ask for my + opinion, which I note they have + not, I would say we are taking the + long way round. Gandalf, we can + pass through the Mines of Moria. My + cousin, Balin, would give us a + royal welcome. + +ANGLE ON: GANDALF clearly thinks this is a bad idea. + + GANDALF + No, Gimli. I would not take the + road through Moria unless I had no + other choice. + +ANGLE ON: BOROMIR thrusts, catching PIPPIN on the hand. +PIPPIN throws down his SWORD, KICKS and LUNGES at BOROMIR, +tackling him o the ground. Much laughter. + +ANGLE ON: LEGOLAS’ EYES are fixed on a DISTANT DARK PATCH +which darts about in the sky, like flying smoke in the +wind. + + SAM + What is that? + + GIMLI + Nothing, it’s just a wisp of cloud. + + BOROMIR + (worried) + It's moving fast, against the wind. + + LEGOLAS + Crebain from Dunland! + + ARAGORN + (urgently) + Hide! + + BOROMIR + Merry! Pippin! Sam! Take cover! + +WIDE ON: THE FELLOWSHIP scramble under what little cover +there is as a regiment of LARGE CROWS fly overhead at GREAT +SPEED, wheeling and circling above. + +As their dark shadow passes over the FELLOWSHIP a single +harsh CROAK is heard and the CROWS suddenly wheel away, +back towards the SOUTH. + +ANGLE ON: GANDALF staggers to his feet. + 106. + + + GANDALF + Spies of Saruman. The passage south + is being watched. + + GANDALF looks at ARAGORN, turns to the others, gestures + towards a high mountain pass. + + GANDALF + We must take the Pass of Caradhras! + + CUT TO: + + +117 EXT. SNOWY MOUNTAINSIDE - DAY 117 + + ANGLE ON: The FELLOWSHIP clamber through ROCK and SNOW. + + CLOSE ON: FRODO slips on some SHALE as he scrambles to his + feet, the RING falls on the ground. + + CLOSE ON: The RING gleaming in the snow! BOROMIR’S HAND + picks it up by the CHAIN. + + ANGLE ON: He stands, the RING dangling before his eyes. He + seems to grow in stature, as if absorbing its power. + + ANGLE ON: ARAGORN warily approaches BOROMIR. + + ANGLE ON: BOROMIR is motionless, he stares at the RING, as + if transfixed. + + ARAGORN + Boromir? + + BOROMIR + It is a strange fate that we should + suffer so much fear and doubt over + so small a thing, such a little + thing. + + ARAGORN + (quietly) + Boromir, give the Ring to Frodo. + + CLOSE ON: ARAGORN’S HAND moves to his sword hilt. + + RING’S POV: Looking at BOROMIR’S face. + + ON THE SOUNDTRACK: The strange HUM VIBRATES. + + CLOSE ON: A WEIRD BEATIFIC SMILE lights up on BOROMIR’S + face. + 107. + + + The HUM grows to a deafening roar! BOROMIR suddenly snaps + out of his trance and hands the RING to FRODO. + + BOROMIR + (lightly) + As you wish. I care not. + + BOROMIR smiles at FRODO, ruffling his hair. + + CLOSE ON: ARAGORN unhands his SWORD. + + CUT TO: + + +118 EXT. ISENGARD - DAY 118 + + Following the CROWS as they race deeper and deeper, passing + a vista of INDUSTRY, HUNDREDS OF ORCS and writhing BIRTH + SACKS flying past SARUMAN, who stands upon a wooden GANTRY. + + CLOSE ON: SARUMAN, listening to the CRIES of the CROWS. + + SARUMAN + So, Gandalf, you try to lead them + over Caradhras. And if that fails + where then will you go? + + INSERT IMAGE: The FELLOWSHIP struggles through the SNOW on + CARADHRAS. + + SARUMAN (V.O.) + If the mountain defeats you, will + you risk a more dangerous road? + + CUT TO: + + +119 EXT. PASS OF CARADHRAS - DAY 119 + + THE FELLOWSHIP are struggling through a blinding blizzard, + up towards the PASS OF CARADHRAS. + + ANGLE ON: LEGOLAS the ELF moves lightly across the top of + the snow, he suddenly pauses. SARUMAN’S VOICE sweeps by on + the wind. + + SARUMAN (V.O.) + (chanting; subtitled) + Cuiva nwalca Carnirasse; nai + yarvaxea rasselya! + Wake up cruel Redhorn! May your + horn be bloodstained! + 108. + + + LEGOLAS + (urgent) + There is a fell voice on the air. + + GANDALF + It’s Saruman! + + THUNDER RUMBLES. ROCK and SHALE fall from above. + + ARAGORN + (urgently) + He's trying to bring down the + mountain. Gandalf! We must turn + back! + + GANDALF + No! + + GANDALF RAISES HIS STAFF. HE CHANTS INTO THE WIND. + + GANDALF + (yelling) + Losto Caradhras, sedho, hodo, + nuitho i ruith. + Sleep, Caradhras, be still, lie + still, hold your wrath. + + CUT TO: + + +120 EXT. ISENGARD - DAY 120 + + CAMERA SWEEPS PAST SARUMAN, he stands on the PINNACLE OF + ORTHANC, CHANTING. + + SARUMAN + Cuiva nwalca Carnirasse; Nai + yarvaxea rasselya; taltuva notto- + carinnar! + Wake up cruel Redhorn! May your + bloodstained horn fall upon enemy + heads! + + CLOUDS ARE FLOWING FROM ALL DIRECTIONS, converging on the + distant mountains in a stormy MAELSTROM. + + +121 EXT. PASS OF CARADHRAS - DAY 121 + + SARUMAN’S voice strengthens, rolling past the FELLOWSHIP + like THUNDER. A LIGHTNING CRACK explodes on the + mountainside above them. + 109. + + + ANGLE ON: FRODO looks up in HORROR as a huge snow avalanche + thunders down towards them! + + ANGLES ON: LEGOLAS pulls GANDALF to safety. ARAGORN shields + FRODO and SAM as snow piles around them. Within moments, + the PASS is blocked and the FELLOWSHIP are enveloped in + snow. + + BOROMIR and ARAGORN frantically dig for the HOBBITS, who + are pulled out SHIVERING and FEARFUL. + + BOROMIR + (urgent) + We must get off the mountain! Make + for the Gap of Rohan and take the + West road to my city! + + ARAGORN + The Gap of Rohan takes us too close + to Isengard. + + GIMLI + We cannot pass over a mountain. Let + us go under it. Let us go through + the Mines of Moria. + + ANGLE ON: GANDALF has a concerned look on his face. + + SARUMAN (V.O.) + Moria. You fear to go into those + mines, don’t you? The Dwarves + delved too greedily and too deep. + + +122 INT. ORTHANC ANTE-CHAMBER - DAY 122 + + ANGLE ON: SARUMAN sits in ORTHANC reviewing an ancient + text. + + CLOSE ON: The BOOK showing the DOOR to MORIA. + + SARUMAN + You know what they awoke in the + darkness of Khazad-dûm. Shadow and + flame. + + CLOSE ON: AN IMAGE OF A FEARFUL CREATURE. WREATHED IN + FLAME. + + CUT TO: + + +123 EXT. PASS OF CARADHRAS - DAY 123 + 110. + + + GANDALF + Let the Ring-bearer decide. + + CLOSE ON: FRODO, the weight of the decision weighing + heavily upon him. + + CLOSE ON: MERRY and PIPPIN shivering in BOROMIR’S arms. + + GANDALF + Frodo? + + FRODO meets GANDALF’S eye. + + FRODO + We will go through the mines. + + GANDALF slowly nods. + + GANDALF + So be it. + + CUT TO: + + +124 EXT. WEST BASE OF THE MISTY MOUNTAINS - DUSK 124 + + WIDE ON: The FELLOWSHIP makes their way in the shadow of + the ruins of a great aqueduct in the mist and ice of the + mountains. + + ANGLE ON: GANDALF beckons to FRODO. + + GANDALF + Frodo, come and help an old man. + + ANGLE ON: FRODO comes forward and allows GANDALF to lean on + him. + + GANDALF + How is your shoulder? + + FRODO + Better than it was. + + GANDALF stops. + + GANDALF + 111. + + + And the Ring? You feel its power + growing, don’t you? I’ve felt it + too. You must be careful now. Evil + will be drawn to you from outside + the Fellowship. And, I fear, from + within. + + ANGLE ON: BOROMIR passes them. They glance at him. + + FRODO + (subdued) + Who then do I trust? + + GANDALF + You must trust yourself. Trust your + own strengths. + + FRODO + What do you mean? + + GANDALF + There are many powers in this world + for good or for evil. Some are + greater than I am. And against some + I have not yet been tested. + + CLOSE ON: GIMLI comes to the top of the path and looks in + WONDER. + + GIMLI + (in awe) + The Walls of Moria! + + WIDE ON: The FELLOWSHIP stands before a looming cliff cut + into a sheer formation. + + +125 EXT. MORIA GATE - NIGHT 125 + + Footing is treacherous on the narrow strips of green and + greasy stones. + + ANGLE ON: GIMLI taps the WALL with his axe, listening. + GANDALF does the same with his staff. + + GIMLI + Dwarf doors are invisible when + closed. + + GANDALF + Yes, Gimli, their own masters + cannot find them if their secrets + are forgotten. + 112. + + + LEGOLAS + Why doesn’t that surprise me? + +CLOSE ON: GIMLI sniffs with disgust at the comment. + +ANGLE ON: GANDALF approaches the smooth rock wall between +TWO TWISTED, GNARLED TREES. Slowly, faint lines appear like +slender veins of luminous silver running through the stone. + + GANDALF + Isildin, it mirrors only starlight + and moonlight. + +ANGLE ON: A LARGE MOON rises over the mountains. + +ANGLE ON: The lines on the wall grow BROADER and CLEARER, +forming a glowing arch of interlacing ancient letters and +symbols. + + GANDALF + It reads, “The door of Durin, Lord + of Moria. Speak, friend, and + enter.” + + MERRY + What do you suppose that means? + + GANDALF + (confident) + It’s simple. If you are a friend, + you speak the password and the + doors will open. + +GANDALF raises his arms. + + GANDALF + (incanting) + Annon Edhellen, edro hi ammen! + Gate of the Elves, open now for me! + +The cliff towers into the night, the wind blows cold, FRODO +shivers and the door stands fast. Undaunted, GANDALF raises +his arms again. + + GANDALF + Fennas Nogothrim, lasto beth + lammen. + Doorway of the Dwarf-folk, listen + to the word of my tongue. + + PIPPIN + Nothing's happening. + 113. + + +ANGLE ON: GANDALF glances at him, annoyed. He begins to +push on the doors, but they remain fast. + + GANDALF + I once knew every spell in all the + tongues of Elves, Men, and Orcs. + + PIPPIN + What are you going to do, then? + + GANDALF + (angrily) + Knock your head against these + doors, Peregrin Took! And if that + does not shatter them, and I am + allowed a little peace from foolish + questions, I will try to find the + opening words. + + LATER: + +GANDALF CONTINUES. + +MUMBLING spells in his efforts to open the door. + + GANDALF + (wearily) + Ando Eldarinwa -- a lasta + quettanya, Fenda Casarinwa. + Gate of Elves -- listen to my word, + Threshold of Dwarves. + +ANGLE ON: SAM packs pots and pans at his feet, watching +sadly as ARAGORN unsaddles BILL THE PONY. + +CLOSE ON: ARAGORN whispering to BILL THE PONY. + + ARAGORN + (whispering) + Mines are no place for a Pony, even + one so brave as Bill. + + SAM + Bye, Bill. + + ARAGORN + Go on, Bill, go on, don't worry, + Sam , he knows his way home. + +ARAGORN slaps BILL on the rump. BILL goes trotting off. + +CLOSE ON: SAM watching BILL disappear into the darkness. + 114. + + + SPLASH! MERRY and PIPPIN are tossing stones into the lake. + BLACK RIPPLING RINGS slowly fan out. PIPPIN is about to + throw another stone, but ARAGORN grabs his arm. + + ARAGORN + (ominous) + Do not disturb the water. + + ARAGORN watches anxiously as the RIPPLES appear to grow, he + exchanges a look with BOROMIR. + + ARAGORN’S hand creeps towards his sword. + + ANGLE ON: GANDALF gives up in despair, he sits down beside + FRODO. + + CLOSE ON: FRODO peers at the ELVISH INSCRIPTION, his face + breaks into a smile of comprehension. + + FRODO + (quietly) + It's a riddle. + + GANDALF raises his eyebrows. + + FRODO + Speak, friend, and enter. What's + the Elvish word for friend? + + GANDALF + Oh -- mellon. + + With that, the rock face silently divides in the middle and + TWO GREAT DOORS swing outwards -- revealing a blackness + deeper than night. As the FELLOWSHIP enter the BLACKNESS + something in the water stirs. + + +126 INT. MORIA GATE - NIGHT 126 + + The FELLOWSHIP step warily into the darkness of MORIA, a + DANK CAVERN, with winding steps leading deeper into the + mountain. + + GIMLI + Soon, Master Elf, you will enjoy + the fabled hospitality of the + Dwarves; roaring fires, malt beer, + red meat off the bone! This, my + friend, is the home of my cousin + Balin. And they call this a mine. + (snorting) + A mine! + 115. + + + ANGLE ON: A GLOW from GANDALF’S STAFF suddenly lights the + chamber. The FELLOWSHIP recoil in HORROR! Many DWARF + SKELETONS are strewn about, clearly in the dead of some old + battle, the rusting armor and shields are peppered with + arrows and axes. + + BOROMIR + (grimly) + This is no mine. It's a tomb! + + GIMLI + (in horror) + Oh -- no -- no -- no! + + LEGOLAS pulls a crude arrow out of a SKELETON. + + LEGOLAS + Goblins. + + The FELLOWSHIP draw swords and back away, towards the + ENTRANCE. + + BOROMIR + We make for the Gap of Rohan. We + should never have come here. + + +127 EXT. MORIA GATE - NIGHT 127 + + ANGLE ON: FRODO is suddenly PULLED TO THE GROUND! A LONG + SINUOUS TENTACLE is wrapped around FRODO’S ankle and is + dragging him towards the lake! + + FRODO CRIES OUT as ARAGORN and BOROMIR rush forward! + ARAGORN severs the TENTACLE holding FRODO, and pulls him to + safety. BOROMIR hacks at the other WRITHING LIMBS, 20 more + tentacles ripple out of the LAKE! The dark water BOILS as + the hideous beast lashes out at the FELLOWSHIP! + + Again the creature grabs FRODO and pulls him to the lake. + FRODO is flung in the air as the FELLOWSHIP battle the + creature. + + ARAGORN hacks at a tentacle. FRODO is released, falling + into BOROMIR’S arms. + + GANDALF + Into the mines! + + BOROMIR + Legolas! + 116. + + + LEGOLAS shoots an ARROW into the creature’s head, gaining a + few vital seconds for ARAGORN and BOROMIR as they race out + of the water with FRODO. The FELLOWSHIP hurriedly back away + from the CREATURE, retreating into the MORIA CHAMBER as + many COILING ARMS seize the large doors. + + +128 INT. MORIA GATE - NIGHT 128 + + With a shattering echo, the creature rips the doors away, + creating a rock slide that crashes down the CLIFF FACE. + Within seconds, tons of rock seal the doorway, throwing the + FELLOWSHIP into PITCH BLACKNESS. + + ANGLE ON: A faint light rises from GANDALF’S staff, + throwing a CREEPY GLOW across the old wizard’s face. + + GANDALF + (ominous) + Now we have but one choice, we must + face the long dark of Moria. Be on + your guard, there are older and + fouler things than the Orcs in the + deep places of the world. + + CUT TO: + + +129 INT. NEW CHAMBER - MORIA - NIGHT 129 + + WIDE ON: THE FELLOWSHIP crossing a precarious bridge above + deep mine workings. + + GANDALF + Quietly, now. It’s a four day + journey to the other side. Let us + hope that our presence will go + unnoticed. + + +130 INT. MORIA MITHRIL MINE - NIGHT 130 + + ANGLE ON: The FELLOWSHIP enter a CHAMBER with old ropes and + ancient ladders. + + ANGLE ON: GANDALF touches a shining substance on the wall. + + GANDALF + The wealth of Moria was not in gold + or jewels but mithril. + + GANDALF holds his staff over the expansive drop beside + them. The FELLOWSHIP looks down. + 117. + + + ANGLE ON: The ENDLESS DEPTH of the mine. A FAINT, BLUE GLOW + issues from its depths. It looks all but abandoned. + + The FELLOWSHIP continues onward. + + GANDALF + Bilbo had a shirt of mithril rings + that Thorin gave him. + + GIMLI + Oh, that was a kingly gift. + + GANDALF + Yes. I never told him, but its + worth was greater than the value of + the Shire. + + CLOSE ON: FRODO’S eyes widen. + + CUT TO: + + +131 INT. MORIA CEMETERY CAVERN - NIGHT 131 + + They continue up a steep stair, passing through a DWARF + CEMETERY. The graves are despoiled. DWARF SKELETONS are + strewn about and GOBLIN GRAFFITI is scrawled on monuments + in DRIED DWARF BLOOD. THE ATMOSPHERE is very sinister. + + CUT TO: + + +132 INT. MORIA TUNNEL FORK - NIGHT 132 + + The path splits into three passages, each disappearing into + dark tunnel. GANDALF pauses, frowning. + + GANDALF + I have no memory of this place. + + THE FELLOWSHIP are nervously waiting while GANDALF sits, + staring intently at the 3 tunnel mouths in front of him. He + appears to be in some kind of trance. + + CLOSE ON: FRODO turns at the sound of a faint noise down + the tunnel behind them. + + PIPPIN + Are we lost? + + MERRY + No. I don’t think we are. Shhh, + Gandalf’s thinking. + 118. + + + PIPPIN + Merry! + + MERRY + What? + + PIPPIN + I'm hungry. + +FRODO’S POV: a sudden glimpse of a creature darting in the +darkness. FRODO is nervous, he approaches GANDALF. + + FRODO + (whispers) + There's something down there. + + GANDALF + (quietly) + It's Gollum. + + FRODO + Gollum! + + GANDALF + He's been following us for three + days. + +TEASING SHOT: An emaciated, leering creature. + + FRODO + (disbelieving) + He escaped from the dungeons of + Barad-dûr? + + GANDALF + Escaped or was set loose. And now + the Ring has drawn him here, he + will never be rid of his need for + it. He hates and loves the Ring, as + he hates and loves himself. + Sméagol’s life is a sad story. + +GANDALF catches FRODO’S look of surprise. + + GANDALF + Yes. Sméagol he was once called. + Before the Ring came to him, before + it drove him mad. + +GOLLUM’S withered fingers are gripping the cave wall, his +LARGE LUMINOUS eyes blinking with malice. + + FRODO + 119. + + + (grim) + It’s a pity Bilbo didn't kill him + when he had the chance. + + GANDALF + Pity? It was pity that stayed + Bilbo’s hand. Many that live + deserve death, and some that die + deserve life. Can you give it to + them, Frodo? + +FRODO frowns. + + GANDALF + Do not be too eager to deal out + death in judgment even the very + wise cannot see all ends. My heart + tells me that Gollum has some part + to play yet, for good or ill before + this is over. The pity of Bilbo may + rule the fate of many. + + FRODO + I wish the Ring had never come to + me . I wish none of this had + happened. + + GANDALF + So do all who live to see such + times, but that is not for them to + decide. All we have to decide is + what to do with the time that is + given to us. + +There is a note of finality in GANDALF’S voice. + + GANDALF + There are other forces at work in + this world, Frodo, besides the will + of evil. Bilbo was meant to find + the Ring. In which case, you also + were meant to have it and that is + an encouraging thought. + (sudden brightness) + Ah! It's that way. + +GANDALF points at the right hand tunnel, the FELLOWSHIP +scramble to their feet. + + MERRY + (relieved) + He's remembered! + 120. + + + GANDALF + No. But the air doesn’t smell so + foul down here. If in doubt, + Meriadoc, always follow your nose! + (laughs) + Yes -- + + +133 INT. DWARROWDELF CHAMBER - MORIA - DAY 133 + + The FELLOWSHIP pass under an arched doorway into a black + and empty space. GANDALF pauses. + + GANDALF + Let me risk a little more light. + + GANDALF taps his staff for a brief moment a light blazes, + like a silent FLASH OF LIGHTNING. GREAT SHADOWS spring up + and flee. + + GANDALF + Behold! The great realm and Dwarf- + city of Dwarrowdelf. + + ANGLE ON: FRODO gasps at the brief sight of a roof, far + above their heads, upheld by many mighty pillars of stone. + + Before them stretches a huge empty hall, with black walls, + polished and smooth as glass. + + SAM + Well, there's an eye opener and no + mistake! + + Ahead of them, a wooden door has been smashed. BLACK ARROWS + are embedded in the timbers. TWO GOBLIN SKELETONS lie in + the doorway. GIMLI rushes ahead. + + GANDALF + Gimli!! + + CUT TO: + + +134 INT. BALIN’S TOMB - MORIA - DAY 134 + + GIMLI rushes into another vast empty chamber, lit with a + narrow shaft of sunlight, beaming in from a small hole near + the roof. + 121. + + +DWARF AND GOBLIN SKELETONS are piled high. In the far +corner sits a stone walled WELL. A SHAFT OF LIGHT falls +directly onto a stone table in the middle of the room: a +single oblong block, about 4 feet high, topped with a great +slab of white stone. GIMLI falls to his knees. + + GIMLI + No -- no -- oh, no! + +GIMLI sobs. + +GANDALF quietly reads an inscription of runes, carved onto +the white stone slab. + + GANDALF + “Here lies Balin, son of Fundin, + Lord of Moria.” He is dead, then. + It’s as I feared. + + GIMLI + (chanting softly, + sobbing) + Kilmin malur ni zaram kalil ra + narag. Kheled-zâram. Balin tazlifi. + +GANDALF carefully lifts the rotting remains of a book from +the white stone slab. It has been slashed and stabbed and +appears to be covered in DRIED BLOOD. The pages crack and +break as he opens it. + + LEGOLAS + (urgent whisper to + Aragorn) + We must move on. We cannot linger. + + GANDALF + (reading) + “They have taken the Bridge and the + second hall: we have barred the + gates, but cannot hold them for + long , the ground shakes, drums + drums in the deep, we cannot get + out. A shadow moves in the dark. + Will no-one save us? They are + coming.” + +ANGLE ON: Unnerved, PIPPIN backs away nervously. He +stumbles against the well, sending a precariously balanced +ARMORED SKELETON tumbling in! + +MERRY reaches out, GRABBING hold of PIPPIN before he falls. +THE FELLOWSHIP freeze in stunned silence as the armored +skeleton clatters down the deep well, echoing loudly! + 122. + + +ANGLE ON: GANDALF turns angrily on PIPPIN. + + GANDALF + (angrily) + Fool of a Took! Throw yourself in + next time, and rid us of your + stupidity! + +ANGLE ON: PIPPIN, CHASTENED. + +They fall silent. A low rolling BOOM rises from the depths +below, growing louder. + +BOOM. BOOM as if the caverns of MORIA were turned into a +vast drum. A great horn blasts nearby, ANSWERING horns +running feet, harsh cries. + +CLOSE ON: SAM’S eyes glance at FRODO’S belt. + + SAM + (worried) + Mr. Frodo! + +ANGLE ON: FRODO looks down. A cold blue glow is emanating +from STING’S SCABBARD! FRODO draws the SWORD and stares at +its glowing blade! + + LEGOLAS + Orcs! + + ARAGORN + (to the Hobbits) + Get back! Stay close to Gandalf. + +ARAGORN and BOROMIR slam and wedge the doors. BOROMIR +catches sight of something; he turns to ARAGORN with shock +in his eyes. + + BOROMIR + They have a cave-troll! + +ANGLE ON: GIMLI snatches up two rusty Dwarf axes and leaps +onto the tomb. + + GIMLI + (yelling) + Let them come! There is one Dwarf + yet in Moria who still draws + breath! + +BOOM! The door bursts open in a shower of wood fragments, +and 20 GOBLINS charge into the tomb, followed by a HUGE +CAVE TROLL! + 123. + + +ANGLES ON: GIMLI ducks a blow and immediately buries his +AXES in 2 GOBLIN HELMETS. ARAGORN and BOROMIR wade into the +mass of GOBLINS with their swords. LEGOLAS fires deadly +arrows into GOBLIN throats, desperately trying to SHIELD +the HOBBITS! + +GANDALF is clutching his sword, GLAMDRING, and joins in the +battle! + +ANGLES ON: The CAVE TROLL is sweeping his club at ARAGORN +who stumbles backwards, the huge club descends for the +killing blow. + +SUDDENLY, in a FLASH OF STEEL, BOROMIR’S long sword SLICES +into the SCALY ARM of the TROLL; it rears back, SPEWING +GREEN BLOOD! + +ANGLES ON: SAM is backed up against a wall, a sword in one +hand, a SAUCEPAN in the other. In desperation he swings +wildly at a GOBLIN with the saucepan! It keels over. SAM +looks surprised. He wallops another GOBLIN and it too, +drops. + + SAM + I think I’m getting the hang of + this. + +ANGLE ON: The CAVE TROLL lunges forward, thrusting at +FRODO’S chest with his spear. + + FRODO + Aragorn! Aragorn! + +SAM screams as FRODO is lifted off his feet by the spear +tip and slammed against the wall. + + ARAGORN + (shocked yell) + Frodo! + +ANGLES ON: The HOBBITS go crazy. SAM slashes at the CAVE +TROLL’S knee, bringing him down. MERRY and PIPPIN jump on +him. LEGOLAS fires an arrow and the CAVE TROLL topples, +dead. + +ANGLE ON: ARAGORN rushes to FRODO’S side as he slumps to +the floor. FRODO appears to be dead. + +CLOSE ON: GANDALF, ARAGORN, HOBBITS looking horrified. + +SUDDENLY, FRODO coughs, takes a huge breath. + + SAM + 124. + + + He's alive. + + FRODO + I'm all right. I'm not hurt. + + ARAGORN + You should be dead. That spear + would have skewered a wild boar. + + GANDALF + I think there’s more to this Hobbit + than meets the eye. + + ANGLE ON: FRODO opens his shirt to reveal the MITHRIL VEST. + The TROLL SPEAR did not pierce the MITHRIL. + + GIMLI + Mithril! You are full of surprises, + Master Baggins. + + BOOM. BOOM. BOOM. the sound of the drums rings out again! + + GANDALF turns to the other. + + GANDALF + To the bridge of Khazad-Dûm! + + CUT TO: + + +135 INT. DWARROWDELF CHAMBER - MORIA - DAY 135 + + GANDALF leads the FELLOWSHIP into the huge DWARROWDELF + CHAMBER. + + GANDALF + This way! + + They hurry towards a distant door as GOBLINS start + scuttling down the PILLARS behind them, like cockroaches! + + ANGLE ON: FRODO looks with horror at the overwhelming + GOBLIN army that’s rushing towards them! + + SUDDENLY! A deafening roar fills the air! A fiery light + dances down the hallway, the pillars castings eerie + shadows. + + ANGLES ON: The GOBLINS freeze. They back fearfully away + from the approaching beast, melting into the darkness. + + BOROMIR + 125. + + + What is this new devilry? + + A HUGE SHADOW, surrounded by FLAME, falls across the hall, + the ground shakes, an unearthly sound rumbles. + + GANDALF + (quietly) + A Balrog. A demon of the ancient + world! This foe is beyond any of + you! + (urgent yell) + Run! Quickly! + + CUT TO: + + +136 INT. STAIRWAY OF KHAZAD-DÛM - MORIA - DAY 136 + + The BALROG, a massive creature rises from a chasm, a great + 40-FOOT MAN-BEAST, with a MANE OF FLAMES! In one hand is a + BLADE, like a stabbing TONGUE OF FIRE; in the other, a WHIP + of MANY THONGS. + + ANGLE ON: ARAGORN leads the FELLOWSHIP to the top of a + dizzying stairway. GANDALF follows, leaning heavily on his + staff. + + CLOSE ON: ARAGORN looks at GANDALF, concerned. + + GANDALF + Lead them on, Aragorn! The bridge + is near. + + ARAGORN hesitates. GANDALF looks at him. + + GANDALF + Do as I say; Swords are no more use + here. + + The FELLOWSHIP race down the stairway. + + ARAGORN picks up FRODO, leaping across a gaping chasm. + GANDALF yells to the others. + + ANGLE ON: ARAGORN makes to throw GIMLI across the chasm. + + GIMLI + Nobody tosses a dwarf! + + The BALROG smashes through the wall and spreads its VAST + WINGS. + 126. + + + It swoops down past the FELLOWSHIP, disappearing into a + FLAMING PIT! + + CUT TO: + + +137 INT. BRIDGE OF KHAZAD-DÛ - MORIA - DAY 137 + + The FELLOWSHIP run into the SECOND HALL, the floor is split + with fissures that spit flame. + + GANDALF + (yelling) + Over the bridge! Fly! + + They race towards the slender bridge of stone without kerb + or rail, at the far end of the hall. The FELLOWSHIP + recklessly hurry over the dizzying bridge but GANDALF, the + last pauses in the middle of the span, he faces the BALROG, + staff in one hand, GLAMDRING in the other! + + ANGLE ON: FRODO looks back in horror: + + GANDALF + You cannot pass! + + FRODO + (alarmed yell) + Gandalf! + + GANDALF + (yelling) + I am a servant of the Secret Fire, + wielder of the flame of Anor. The + dark fire will not avail you, flame + of Udûn. + + FRODO watches as the BALROG puts one foot on the bridge and + draws up to FULL HEIGHT, wings spreading from wall-to-wall. + + GANDALF is a tiny figure, balanced precariously on the + narrow bridge. + + GANDALF + Go back to the Shadow! + + The BALROG slashes at GANDALF with its SWORD OF FLAME. + GANDALF blocks with GLAMDRING, a ringing clash and the + BALROG’S SWORD SHATTERS into MOLTEN FRAGMENTS! + + GANDALF + (booming) + You shall not pass!! + 127. + + +The BALROG places one foot onto the bridge. + + ARAGORN + He cannot stand alone! Elendil! I + am with you Gandalf! + + BOROMIR + (raising his sword) + Gondor! + +ANGLE ON: ARAGORN and BOROMIR race forward, swords drawn. + +GANDALF CRIES ALOUD as he summons his LAST RESERVES OF +STRENGTH!! + +He thumps the bridge with his staff, a blinding sheet of +white flame springs up, the staff shatters, the bridge +breaks, right at the BALROG’S feet. + +The stone bridge drops away into the GULF from under the +BALROG. For a moment, the great BEAST remains poised in the +air then it plunges down: + +SLOW MOTION: RELIEF floods FRODO’S face. GANDALF remains +trembling on the lip of the broken bridge. + +SLOW MOTION: As the BALROG falls, he lashes out with his +whip of fire. + +SLOW MOTION: The thongs of the whip lash and curl around +GANDALF’S knees, dragging him over the brink! GANDALF just +manages to hang on by his fingertips. + + FRODO + (screaming) + Gandalf! + + GANDALF + (fierce) + Fly, you fools! + +CLOSE ON: GANDALF lets go his grip and falls away, +following the BALROG into the BOTTOMLESS ABYSS! + +FRODO cries out! BOROMIR scoops him up and carries him +away! + + FRODO + No! + + ARAGORN + Gandalf! + 128. + + + They rush towards an archway. + + CUT TO: + + +138 EXT. DIMRILL DALE DOOR - DAY 138 + + The FELLOWSHIP tumble out of the GREAT EASTERN GATE on to a + grassy sunlit hillside. SAM, MERRY, and PIPPIN fall slowly + to the ground, SOBBING. + + ANGLE ON: ARAGORN turns to LEGOLAS and GIMLI. + + ARAGORN + (urgent) + Legolas, get them up. + + BOROMIR + Give them a moment, for pity's + sake! + + ARAGORN + By nightfall these hills will be + swarming with Orcs! We must reach + the woods of Lothlórien. Come + Boromir, Legolas, Gimli, get them + up. On your feet, Sam. + + ANGLE ON: BOROMIR glances towards FRODO, then back at + ARAGORN. + + ANGLE ON: FRODO is walking away, as if in a daze. + + ARAGORN + Frodo? Frodo! + + CLOSE ON: FRODO SLOWLY TURNS, a look of numb shock on his + devastated face. The FELLOWSHIP marches on. + + CUT TO: + + +139 EXT. DIMRILL DALE HILLSIDE - DUSK 139 + + ARAGORN scours ahead of the COMPANY, as they stumble on in + the fading light, in the distance the shimmer of a large + forest can be seen LOTHLÓRIEN! + + +140 EXT. EDGE OF LOTHLÓRIEN - DUSK 140 + 129. + + +WIDE ON: The FELLOWSHIP run across a forest floor strewn +with YELLOW FLOWERS, above is a ROOF OF GOLDEN LEAVES, held +up by SILVER PILLARS, the TRUNKS of HUGE, GREY TREES. + +ANGLE ON: LEGOLAS, taking in the surroundings as if a +return home. + + LEGOLAS + (musing) + Ah, Lothlórien. The fairest of all + the dwellings of my people. There + are no trees like the trees of this + land, for in autumn the leaves fall + not, but turn to gold. Not till the + spring comes and the new green + opens do they fall, and then the + boughs are laden with yellow + flowers; and the floor of the wood + is golden, and golden is the roof, + and its pillars are of silver, for + the bark of the trees is smooth and + grey. So still our songs in + Mirkwood say. + +ANGLE ON: In contrast, GIMLI looks nervously around. + + GIMLI + Stay close, young Hobbits, they say + a great sorceress lives in these + woods. An Elf-witch of terrible + power. All who look upon her fall + under her spell. + +CLOSE ON: FRODO hesitates, a STRANGE VOICE whispers in his +head. + + GALADRIEL (V.O.) + Frodo -- + + GIMLI + And are never seen again! + + GALADRIEL (V.O.) + -- your coming to us is as the + footsteps of doom. You bring great + evil here, Ring-bearer. + + SAM + Mr. Frodo? + + GIMLI + 130. + + + Well, here’s one Dwarf she won't + ensnare so easily. I have the eyes + of a hawk and the ears of a fox! + + The FELLOWSHIP are suddenly surrounded by ARMED ELVES. + DEADLY ARROWS are aimed at their heads. HALDIR, the ELVISH + CAPTAIN, steps forward. + + HALDIR + The Dwarf breathes so loud we could + have shot him in the dark. + + CUT TO: + + +141 INT. CERIN AMROTH - LOTHLÓRIEN - NIGHT 141 + + Night is deepening amongst the windy trees. The FELLOWSHIP + stands on a platform in the trees. HALDIR greets them. + + HALDIR + (Elvish; with subtitles) + Mae govannen, Legolas Thranduilion. + Welcome Legolas, son of Thranduil. + + LEGOLAS + (Elvish; with subtitles) + Govannas vîn gwennen le, Haldir o + Lórien. + Our Fellowship stands in your debt, + Haldir of Lórien. + + ANGLE ON: HALDIR glances at ARAGORN. + + HALDIR + (Elvish; with subtitles) + A, Aragorn in Dúnedain istannen le + ammen. + Oh, Aragorn of the Dúnedain, you + are known to us. + + ARAGORN + Haldir. + + GIMLI + So much for the legendary courtesy + of the Elves! Speak words we can + also understand! + + HALDIR + We have not had dealings with the + Dwarves since the Dark Days. + 131. + + + GIMLI + And you know what this Dwarf says + to that? Ishkhaqwi ai durugnul! + I spit on your grave! + +ANGLE ON: ARAGORN takes GIMLI by the arm. + + ARAGORN + (stern) + That was not so courteous. + +HALDIR moves on to FRODO. + + HALDIR + You bring great evil with you. + (to ARAGORN) + You can go no further. + +HALDIR walks away. + +ANGLE ON: SAM and PIPPIN turn to look at FRODO. FRODO +appears uncomfortable. + +The FELLOWSHIP sit while ARAGORN speaks with HALDIR. + + ARAGORN + Boe ammen veriad lîn. Andelu i ven! + We need your protection. The road + is fell! + +HALDIR whispers back inaudibly. + + ARAGORN + Merin le telim. + I wish we may come with you. + +HALDIR answers quietly, again so that only ARAGORN can hear +his words. + + ARAGORN + Henio, aníron boe ammen i dulu lîn! + Please, understand, we need your + support! + +ANGLE ON: FRODO looks to the remainder of the FELLOWSHIP. +As they meet his eyes, they look away, as if he has become +a scourge to them. + +ANGLE ON: ARAGORN continues to argue loudly with HALDIR. + +ANGLE ON: FRODO, looking at his friends, sees blame that +does not truly exist anywhere but in his mind. He is alone, +it seems. + 132. + + + ANGLE ON: ARAGORN pleads with HALDIR. + + ARAGORN + Andelu i ven. + The road is very dangerous. + + ANGLE ON: BOROMIR approaches FRODO. + + BOROMIR + Gandalf's death was not in vain. + nor would he have you give up hope. + You carry a heavy burden, Frodo. + Don't carry the weight of the dead. + + HALDIR stands before FRODO. + + HALDIR + Very well. Here we will stay + awhile, and come to the city of + Galadhrim on the morrow. + + +142 INT. CERIN AMROTH - LOTHLÓRIEN - DAY 142 + + ANGLE ON: SAM and FRODO sit on one of the many platforms in + the trees at CERIN AMROTH. SAM suddenly looks up and + around, with a puzzled expression. He rubs his eyes. + + FRODO + What is it? + + SAM + It’s an odd thing, Mr. Frodo. It’s + sunlight and bright day, right + enough. I thought that Elves were + all for moon and stars. But this is + more Elvish than anything I ever + heard tell of. I feel as if I was + inside a song, if you take my + meaning. + + HALDIR + (from behind them) + You feel the power of the Lady of + Galadhrim. Would it please you to + climb with me up Cerin Amroth? + + WIDE ON: FRODO and SAM follow HALDIR up a long series of + platforms until they reach the pinnacle of the trees. + + ANGLE ON: FRODO and SAM approach the edge of a high + platform and look out in wonder. + 133. + + + HIGH WIDE SHOT: MIDDLE EARTH stretches out for miles and + miles to the NORTH. Far to the NORTH, a shadow lingers over + the FOREST OF MIRKWOOD. + + ANGLE ON: HALDIR points the HOBBITS’ gaze to the dark + cloud. + + HALDIR + There lies the fastness of Southern + Mirkwood. It is clad in a forest of + dark fir, where the trees strive + one against another and their + branches rot and whither. In the + midst upon a stony height stands + Dol Guldur, where long the hidden + Enemy had his dwelling. We fear + that now it is inhabited again, and + with power sevenfold. A black cloud + lies often over it of late. + + PAN ON WIDE SHOT: From ORTHANC to the WEST across the + magnificent view to MORDOR and BARAD-DÛR in the EAST. + + HALDIR + In this high place you may see the + two powers that are oppose one to + another; and ever they strive now + in thought, but whereas the light + perceives the very heart of the + darkness, its own secret has not + been discovered. Not yet. + + ANGLE ON: HALDIR leaves the high place. With a final look, + FRODO and SAM follow. + + +143 INT. CERIN AMROTH - LOTHLÓRIEN - DAY 143 + + CLOSE ON: A SMALL GOLDEN FLOWER in someone’s hand. + + ANGLE ON: ARAGORN, admiring the beauty of this flower. + + ARAGORN + Arwen vanimelda, namárië. + + ANGLE ON: FRODO approaches. ARAGORN sighs, and then turns + to FRODO and smiles. + + ARAGORN + 134. + + + Here is the heart of Elvendom on + earth, and here my heart dwells + ever, unless there be a light + beyond the dark roads that we still + must tread, you and I. + + FRODO + Do you believe we may yet succeed + in our quest? + + ARAGORN + We shall endure to the last. + + CUT TO: + + +144 EXT. LOTHLÓRIEN HILLTOP - DAY 144 + + HALDIR leads the FELLOWSHIP onto a HILL TOP. They look with + wonderment at the vista spread before them. + + WIDE ON: Several miles towards the SOUTH, a LARGE HILL + rises out of the woods. Upon the hill rise many mighty + MALLORN TREES, taller than any others. NESTLED high in the + crown of the mallorns is a BEAUTIFUL CITY. It GLEAMS in the + low rays of the late afternoon, green, gold, and silver. + + To the east of CARAS GALADHON, the WOODS of LÓRIEN run down + the pale gleam of ANDUIN, the great river. + + Beyond the RIVER, the land appears flat and empty, formless + and vague, until far away, it rises again like a dark + dreary wall. + + The SUN that lies on LOTHLÓRIEN has not power to enlighten + the shadows that lie beyond. + + HALDIR + Caras Galadon. The heart of + Elvendom on earth. This is the city + of Galadhrim where dwell the Lord + Celeborn and of Galadriel, Lady of + Light. + + CUT TO: + + +145 EXT. CELEBORN’S CHAMBER - CARAS GALADHON - NIGHT 145 + + ANGLE ON: THE FELLOWSHIP step onto a wide fleet filled with + a soft light. The walls are green and silver, the roof gold + and in its midst is the trunk of the mighty MALLORN TREE, + now tapering toward its crown. + 135. + + +ANGLE ON: CELEBORN steps forward to greet the guests. His +hair is long and silver, his face grave and beautiful, with +no sign of age upon it. Next to him stands GALADRIEL, the +LADY OF THE ELVES. She has hair of deep gold and timeless +unsurpassed beauty. + +ANGLE ON: CELEBORN looks hard at ARAGORN. + + CELEBORN + The enemy knows you have entered + here. What hope you had in secrecy + is now gone. Eight there are here, + yet nine there were set out from + Rivendell. Tell me, where is + Gandalf? For I much desire to speak + with him. I can no longer see him + from afar. + +ANGLE ON: FRODO looks at GALADRIEL, standing silently +beside CELEBORN. + + GALADRIEL + (softly aloud) + Gandalf the Grey did not pass the + borders of this land. He has fallen + into Shadow. + + LEGOLAS + He was taken by both Shadow and + flame. A Balrog of Morgoth. For we + went needlessly into the net of + Moria. + +ANGLE ON: The FELLOWSHIP bow their heads in sadness at the +memory of GANDALF. + +ANGLE ON: CELEBORN appears surprised. + + GALADRIEL + Needless were none of the deeds of + Gandalf in life. We do not yet know + his full purpose. + +GALADRIEL surveys the face of the FELLOWSHIP. + +CLOSE ON: GIMLI looks up as GALADRIEL addresses him. + + GALADRIEL + 136. + + + Do not let the great emptiness of + Khazad-dûm fill your heart Gimli, + son of Glóin. For the world has + grown full of peril, and in all + lands, love is now mingled with + grief. + +ANGLE ON: GALADRIEL looks over he FELLOWSHIP again to meet +her gaze with BOROMIR’S. + +CLOSE ON: BOROMIR is suddenly fearful and nervous. + +CLOSE ON: GALADRIEL’S eyes piercing BOROMIR. + +ANGLE ON: BOROMIR turns away from her. + +ANGLE ON: GALADRIEL’S gaze remains on him for a moment +before turning to CELEBORN. + + CELEBORN + What now becomes of this + Fellowship? Without Gandalf, hope + is lost. + +ANGLE ON: GALADRIEL looks to ARAGORN. + + GALADRIEL + The quest stands upon the edge of a + knife. Stray but a little and it + will fail, to the ruin of all. Yet + hope remains while the company is + true. + +GALADRIEL’S eyes settle on SAM. + + GALADRIEL + Do not let your hearts be troubled. + Go now and rest, for you are weary + with sorrow and much toil. + +GALADRIEL’S eyes turn to FRODO, her voice fades. + + GALADRIEL + Tonight you will sleep in peace. + (whispered v/o) + Welcome, Frodo of the Shire -- + +CLOSE ON: FRODO looks at GALADRIEL. + +SUDDEN INSERT: GALADRIEL as she is on the other side. +POWERFUL, DIVINE, no longer of this world, a PIERCING white +light surrounds her. + 137. + + + GALADRIEL (V.O.) + -- one who has seen the eye. + + CUT TO: + + +146 EXT. CARAS GALADHON - LOTHLÓRIEN - NIGHT 146 + + GIMLI, LEGOLAS, MERRY, PIPPIN, FRODO, and SAM are in a + pavilion set among the trees near the fountain. They lie on + soft couches as ELVES leave food and wine for them. + MOURNFUL SINGING drifts down from the trees above. + + LEGOLAS + (sadly) + A lament for Gandalf. + + MERRY + What do they say about him? + + LEGOLAS + I have not the heart to tell you. + For me, the grief is still too + near. + + ANGLE ON: FRODO lies on his bed watching the others. SAM + works with PIPPIN. + + SAM + I bet they don’t mention his + fireworks. There should be a verse + about them. + + ANGLE ON: SAM stands up to add his own verse to the ELVEN + SONG. + + SAM + The finest rockets ever seen They + burst in stars of blue and green Or + after thunder, silver showers Come + falling like a rain of flowers. Oh, + that doesn’t do them justice by a + long road. + + SAM sits down, frustrated and disappointed with himself. + + ANGLE ON: BOROMIR is sitting alone. ARAGORN approaches him. + + ARAGORN + Take some rest. These borders are + well protected. + 138. + + +ANGLE ON: Moonlight catches the trace of tears on BOROMIR’S +face. ARAGORN kneels beside him. + + BOROMIR + I will find no rest here. I heard + her voice inside my head. She spoke + of my father and the fall of + Gondor. She said to me, “Even now, + there is hope left.” But I cannot + see it, it is long since we had any + hope. + +CLOSE ON: BOROMIR looks at ARAGORN in despair. + + BOROMIR + My father is a noble man, but his + rule is failing, and our -- our + people lose faith. He looks to me + to make things right and I would do + it, I would see the glory of Gondor + restored. Have you ever seen it, + Aragorn? The White Tower of + Ecthelion, glimmering like a spike + of pearl and silver, its banners + caught high in the morning breeze, + have you ever been called home by + the clear ringing of silver + trumpets? + + ARAGORN + I have seen the White City, long + ago. + +BOROMIR feels ARAGORN’S love for MINAS TIRITH and takes +heart. + + BOROMIR + One day, our paths will lead us + there, and the tower guard will + take up the call “the Lords of + Gondor have returned.” + +ARAGORN returns BOROMIR’S smile, betraying his disquiet +sadness only when BOROMIR looks away. + +The FELLOWSHIP are asleep on their beds. GIMLI is snoring +loudly. + +CLOSE ON: BARE FEET treads soundlessly across the lawn. + +CLOSE ON: FRODO’S EYES FLICKER OPEN as if by instinct. + 139. + + + ANGLE ON: GALADRIEL, her WHITE dress glowing in the + moonlight, glances at him. FRODO follows her as if drawn by + an invisible force. + + +147 EXT. GALADRIEL’S GLADE - LOTHLÓRIEN - NIGHT 147 + + Upon a low stone pedestal, carved like a branching tree, + sits a shallow SILVER BASIN. GALADRIEL leads FRODO into the + small GLADE. + + GALADRIEL + Will you look into the mirror? + + ANGLE ON: FRODO looks with apprehension at the silver + basin. + + FRODO + (warily) + What will I see? + + GALADRIEL pours water into the basin from a silver jug, a + GLOW rises from the water. + + GALADRIEL + Even the wisest cannot tell. For + the mirror shows many things, + things that were, things that are + and some things that have not yet + come to pass. + + FRODO slowly steps up to the PEDESTAL, he peers into the + glossy surface. The night sky is reflected in the water, + suddenly a figure takes form, the bowed figure of an OLD + MAN, CLAD IN WHITE ROBES. He walks down a long road. FRODO + leans closer to the mirror’s surface. + + CLOSE ON: GANDALF LIFTS HIS HEAD AND LOOKS DIRECTLY AT + FRODO! + + FRODO gasps, his face lighting up with hope. + + FRODO + (joyous) + Gandalf! + + GANDALF looks at FRODO with a fierce intensity. FRODO + reaches out his hand toward the surface of the mirror. + Suddenly the image flares, burning out to white. + + THE VISION SHIFTS. FRODO gasps in horror! The SHIRE is in + ruins! + 140. + + +THE IMAGE SUDDENLY WIDENS TO FILL THE SCREEN buildings +burning, bodies strewn about, DARK SHAPES of ORCS looting +and destroying BAG END, billowing in flames! The Party Tree +is hacked down. + +ANGLE ON: FRODO reels back as the mirror seems to grow. The +nightmarish image sweeps past his head, engulfing him +entirely. + +IMAGE: HOBBITON, now an INDUSTRIAL WASTELAND. The fields +and trees destroyed, replaced with BRICK FACTORIES belching +smoke! + +IMAGE: ORCS brutally herd manacled HOBBITS into the +FACTORIES! + +We see SAM, MERRY and ROSIE COTTON. SOOT-STAINED and +SOBBING, they disappear into the factory hellhole! + +SUDDENLY, the mirror goes dark and out of the black abyss a +SINGLE EYE GROWS. + +CLOSE ON: FRODO IS FROZEN. Unable to move or cry out. The +RING dangles from his neck, inches above the water, not +shimmering with curls of steam. FIRE erupts around the EYE. + +WITH A YELL, FRODO pushes himself away from the pedestal +and collapses on the ground. Light instantly fades from the +mirror. + +FRODO comes to his senses, he is shocked. + +ANGLE ON: GALADRIEL stands still as a statue, unmoved, +untouched by the horror. + + GALADRIEL + I know what it is you saw, for it + is also in my mind. It is the + future, Frodo. It is what will come + to pass if you should fail. + +GALADRIEL looks at FRODO intensely. FRODO looks down, in +his hand he is clutching the RING. FRODO looks up at +GALADRIEL. + + GALADRIEL + The Fellowship is breaking. It is + already begun. He will try to take + the Ring. You know of whom I speak. + One by one, it will destroy them + all. + + FRODO (V.O.) + 141. + + + If you ask it of me, I will give + you the One Ring. + + GALADRIEL + You offer it to me freely. I do not + deny that my heart has greatly + desired this. + +GALADRIEL suddenly seems to rise in stature before FRODO’S +eyes. + +FRODO is suddenly afraid of her. + + GALADRIEL + In place of the Dark Lord, you + would have a Queen, not dark, but + beautiful and terrible as the Dawn. + Treacherous as the Sea! Stronger + than the foundations of the earth. + All shall love me and despair! + +ANGLE ON: FRODO takes a step away from GALADRIEL. + +ANGLE ON: GALADRIEL suddenly laughs, a slender ELF-WOMAN +once more, clad in simple white, her voice soft and sad. + + GALADRIEL + (gently) + I pass the test. + (laughs) + I will diminish, and go into the + West, and remain Galadriel. + +ANGLE ON: FRODO’S confidence drains away. + + FRODO + I cannot do this alone. + + GALADRIEL + You are a Ring-bearer, Frodo. To + bear a Ring of Power is to be + alone. + +CLOSE ON: GALADRIEL raises her hand to show FRODO her own +RING. + + GALADRIEL + This is Nenya, the Ring of Adamant. + And I am its keeper. + +GALADRIEL lowers her hand, hiding NENYA once more. + + GALADRIEL + 142. + + + This task was appointed to you. And + if you do not find a way, no one + will. + + ANGLE ON: FRODO realizes what her message is. + + FRODO + Then I know what I must do. It's + just I’m afraid to do it. + + GALADRIEL kneels down to FRODO’S height, staring at him + intently. + + GALADRIEL + Even the smallest person can change + the course of the future. + + CLOSE ON: THE RING lies in the palm of FRODO’S hand, his + fingers close over it. + + CUT TO: + + +148 INT. ORTHANC CHAMBER - DAY 148 + + NAKED, LURTZ’S eyes follow SARUMAN, alight with a mean + intelligence. + + SARUMAN + (smiles) + Do you know how Orcs first came + into being? They were Elves once. + Taken by the Dark Powers, tortured + and mutilated, a ruined and + terrible form of life. And now + perfected. My fighting Uruk-Hai. + Whom do you serve? + + LURTZ + (guttural rasp) + Saruman. + + +149 INT. CAVERNS BELOW ISENGARD - DAY 149 + + QUICK CUTS: LURTZ is quickly armored, BREASTPLATE, LEG + GUARDS, HELMET, a sword is thrust in LURTZ’S hand. The + URUK-HAI are smearing themselves in white paint, a creepy + ritualistic ceremony, the WHITE HAND OF ISENGARD is smeared + on bodies, faces, and armor. + + ANGLE ON: SARUMAN addresses a crowd of 200 fully-armed + URUK-HAI. + 143. + + + SARUMAN + Hunt them down. Do not stop until + they are found. You do not know + pain. You do not know fear. You + will taste man-flesh. + + SARUMAN turns to LURTZ. + + SARUMAN + (coldly) + One of the Halflings carries + something of great value, bring + them to me alive and unspoiled -- + kill the others. + + +150 EXT. ISENGARD - DAY 150 + + LURTZ is leading 200 URUK-HAI out of ISENGARD, they run + fast, their powerful legs carrying them at speed. + + +151 EXT. SILVERLODE RIVER BANK - DAWN 151 + + The mists of morning lay heavily along the river. Bare- + branched trees arch through the fogs, stray beams of light + falling on the cold, blue waters. + + ANGLE ON: GALADRIEL approaches the bank in an elegant ship, + carved in the likeness of a swan. + + DISSOLVE TO: + + +152 EXT. SILVERLODE SHORE - LOTHLÓRIEN - DAWN 152 + + CLOSE ON: An green, silver-veined ELVEN LEAF-BROOCH is + clasped. + + ANGLE ON: ELVES clasp ELVEN CLOAKS around on the + FELLOWSHIP, each with a leaf-brooch. + + CELEBORN (V.O.) + Never before have we clad strangers + in the garb of our own people. + + ANGLE ON: CELEBORN addresses the FELLOWSHIP. + + CELEBORN + May these cloaks help shield you + from unfriendly eyes. + + + Ó + 144. + + +153 EXT. SILVERLODE RIVER BANK - LOTHLÓRIEN - DAWN 153 + + ANGLE ON: LEGOLAS grabs a couple of packs and puts them in + an Elven boat. MERRY and PIPPIN look up as he pulls a small + piece of bread from one of the packs. + + LEGOLAS + Lembas. Elvish waybread. + + He takes a bite. + + LEGOLAS + One small bite is enough to fill + the stomach of a grown Man. + + He stuffs the remaining piece back in the pack and places + it in the boats. + + ANGLE ON: MERRY and PIPPIN nod as he walks away. + + MERRY + How many did you eat? + + PIPPIN + Four. + + MERRY nods and picks at his teeth. PIPPIN belches. + + ANGLES ON: The FELLOWSHIP continue to load the boats for + their journey. LEGOLAS helps GIMLI into a boat. SAM crawls + into another boat and quickly reveals he has no measure of + sea legs. + + CELEBORN (V.O.) + Every league you travel south, the + danger will increase. Mordor Orcs + now hold the eastern shore of the + Anduin. Nor will you find safety on + the western bank. + + +154 EXT. SILVERLODE SHORE - LOTHLÓRIEN - DAWN 154 + + ANGLE ON: CELEBORN and ARAGORN walks toward the RIVER. + + CELEBORN + Strange creatures bearing the White + Hand have been seen on our borders. + Seldom do Orcs journey in the open + under the sun, yet these have done + so. + 145. + + + CLOSE ON: CELEBORN holds a DAGGER out the ARAGORN. ARAGORN + takes the dagger and unsheathes it. It is a beautiful, yet + deadly work of art. + + CELEBORN + (Elvish; subtitled) + Le aphadar aen. + You are being tracked. + + ANGLE ON: ARAGORN replaces the dagger in its sheath. + + CELEBORN + By river you have the chance of + outrunning the enemy to the Falls + of Rauros. + + +155 EXT. SILVERLODE RIVER BANK - DAWN 155 + + The FELLOWSHIP are in three small ELVEN BOATS. ELVES + quietly watch them depart. + + CLOSE ON: LEGOLAS, remembering -- + + GALADRIEL (V.O.) + My gift for you, Legolas, is a bow + of the Galadhrim. Worthy of the + skill of our woodland kin. + + INSERT FLASHBACK + + ANGLE ON: LEGOLAS lifts an elegant BOW and tests its + strength. + + ANGLE ON: GALADRIEL smiles and walks to MERRY and PIPPIN. + + ANGLE ON: MERRY removes a dagger from its sheath and gazes + upon it. + + GALADRIEL (V.O.) + These are the daggers of the + Noldorin. They have already seen + service in war. + + ANGLE ON: PIPPIN looks upon his gift with the fear he may + have to use it. He casts his eyes upon GALADRIEL. + + GALADRIEL (V.O.) + Do not fear, young Peregrin Took. + You will find your courage. + + END FLASHBACK + 146. + + +CLOSE ON: MERRY and PIPPIN ride expressionless in their +boat. + +CLOSE ON: SAM, remembering -- + + GALADRIEL (V.O.) + And for you, Samwise Gamgee, Elven + rope made of hithlain. + +INSERT FLASHBACK + +ANGLE ON: SAM bows to her, accepting his gift. + + SAM + Thank you, my lady. + +He looks at MERRY and PIPPIN, and then back to GALADRIEL. + + SAM + (hesitantly) + Have you run out of those nice, + shiny daggers? + +GALADRIEL smiles, and SAM holds onto his rope, embarrassed. +She moves on to GIMLI, who stares at the ground in her +presence. + + GALADRIEL + And what gift would a Dwarf ask of + the Elves? + +ANGLE ON: GIMLI shakes his head quickly. + + GIMLI + Nothing. + +He looks up at her. + + GIMLI + Except to look upon the lady of the + Galadhrim one last time for she is + more fair than all the jewels + beneath the earth. + +ANGLE ON: GALADRIEL laughs. GIMLI scowls at his foolishness +and turns away. He recovers and turns back to her. + + GIMLI + Actually -- There was one thing. + No, no, I couldn’t. It’s quite + impossible. Stupid to ask. + +END FLASHBACK + 147. + + +CLOSE ON: GIMLI rides silently before LEGOLAS. He closes +his eyes, allowing the memory to flood into his head. + +CLOSE ON: ARAGORN, remembering -- + +INSERT FLASHBACK + +ANGLE ON: GALADRIEL stands before ARAGORN. + + GALADRIEL + I have nothing greater to give than + the gift you already bear. + +CLOSE ON: She touches the EVENSTAR PENDANT ARAGORN wears. + + GALADRIEL + (in Elvish; subtitled) + Am meleth dîn. I ant e-guil Arwen + Undómiel -- pelitha. + For her love, I fear the grace of + Arwen Evenstar -- will diminish. + + ARAGORN + (in Elvish; subtitled) + Aníron i e broniatha ar periatham + amar hen. Aníron e ciratha a + Valannor. + I would have her leave these + shores, and be with her people. I + would have her take the ship to + Valinor. + + GALADRIEL + That choice is yet before her. You + have your own choice to make, + Aragorn. + +ANGLE ON: ARAGORN straightens before her. + + GALADRIEL + To rise above the height of all + your fathers since the days of + Elendil or to fall into darkness + with all that is left of your kin. + +Silence follows, branches shake, a spider web’s glimmering +strands sway in the wind. + +ANGLE ON: GALADRIEL glances at the pendant, and smiles. + + GALADRIEL + (in Elvish; subtitled) + Namárië. + 148. + + + Farewell. + +ANGLE ON: ARAGORN bows to her and turns to leave. GALADRIEL +stops him. + + GALADRIEL + (in Elvish; subtitled) + Nadath nâ i moe cerich. Dan ú- + 'eveditham, Elessar. + There is much you have yet to do. + We shall not meet again, Elessar. + +END FLASHBACK + +CLOSE ON: FRODO rides at the head of his boat. + + GALADRIEL (V.O.) + Farewell, Frodo Baggins. + +INSERT FLASHBACK + +GALADRIEL gives FRODO a small CRYSTAL PHIAL. + + GALADRIEL + I give you the light of Eärendil, + our most beloved star. + +GALADRIEL leans over and kisses his head. + +END FLASHBACK + +As the FELLOWSHIP’S boats drift past, GALADRIEL stands +alone, watching from the banks of the river. In his head, +FRODO still hears her voice. + + GALADRIEL (V.O.) + May it be a light for you in dark + places, when all other lights go + out. + +CLOSE ON: GIMLI riding at the head of his boat, paddled by +LEGOLAS. + + GIMLI + I have taken my worst wound at this + parting having looked my last upon + that which is fairest. Henceforth I + will call nothing fair unless it be + her gift to me. + + LEGOLAS + What was her gift? + 149. + + + GIMLI + I asked her for one hair from her + golden head. She gave me three. + + CLOSE ON: LEGOLAS smiles. + + +156 EXT. RIVER ANDUIN - DAY 156 + + The boats pass into the GREAT RIVER ANDUIN. The THREE ELVEN + boats carry the FELLOWSHIP steadily southward. GREEN TREES + slowly give way to a brown and withered land. + + +157 EXT. FOREST - DAY 157 + + The URUK forces are running through the trees with deadly + purpose. + + +158 EXT. RIVER ANDUIN - DAY 158 + + A flock of birds circle high above, BLACK against the PALE + SKY. + + ARAGORN watches them with concern. + + +159 EXT. RIVER ANDUIN BANKS - NIGHT 159 + + The THREE BOATS are safely stored on the bank out of the + water. + + ANGLE ON: BOROMIR hides behind a rock watching the river. + + CLOSE ON: A LOG floats down the river. A HAND grasps the + log and pulls itself onto it. Who or whatever it is seems + to be trying to remain concealed from the eyes of the + FELLOWSHIP. + + ANGLE ON: ARAGORN approaches from behind BOROMIR. + + ARAGORN + Gollum. He has tracked us since + Moria. + + GOLLUM’S POV: GOLLUM watches the BOROMIR and ARAGORN stand + behind the ROCK. + + ANGLE ON: The log runs into a rock on the opposite side of + the river and stops. + 150. + + + ARAGORN (O.S.) + I had hoped we would lose him on + the river. + +ANGLE ON: ARAGORN and BOROMIR continue watching GOLLUM. + + ARAGORN + But he’s too clever a waterman. + + BOROMIR + And if he alerts the enemy to our + whereabouts, it will make the + crossing even more dangerous. + +ANGLE ON: FRODO listens to the exchange between ARAGORN and +BOROMIR. He looks worried. + + SAM (O.S.) + Have some food, Mr. Frodo. + + FRODO + No, Sam. + + SAM + You haven’t eaten anything all day. + You’re not sleeping, neither. Don’t + think I haven’t noticed. + +ANGLE ON: SAM moves from the campfire to sit with FRODO. + + SAM + Mr. Frodo- + + FRODO + I’m all right. + + SAM + But you’re not. I’m here to help + you. I promised Gandalf that I + would. + +CLOSE ON: FRODO looks at SAM, sadly, with the full weight +of the knowledge of what he must do. + + FRODO + You can’t help me, Sam. Not this + time. Get some sleep. + +FRODO turns away from SAM and returns to his own thoughts. + +Reluctantly, SAM concedes and leaves FRODO alone. + +ANGLE ON: BOROMIR turns away from the rock to ARAGORN. + 151. + + + BOROMIR + Minas Tirith is the safer road. You + know that. From there we can + regroup. Strike out for Mordor from + a place of strength. + + ARAGORN + There is no strength in Gondor that + can avail us. + + BOROMIR + You were quick enough to trust the + Elves. + +ARAGORN doesn’t respond, but listens impatiently. + + BOROMIR + (desperately) + Have you so little faith in your + own people? Yes, there is weakness. + There is frailty. But there is + courage also, and honor to be found + in Men. But you will not see that. + +ANGLE ON: ARAGORN turns away from BOROMIR. BOROMIR grabs +ARAGORN’S tunic, and turns ARAGORN to him. + + BOROMIR + You are afraid! + +ANGLE ON: FRODO listens intently to BOROMIR arguing with +ARAGORN. + + BOROMIR (O.S.) + All your life, you have hidden in + the shadows. + +ANGLE ON: ARAGORN calmly listens to BOROMIR’S ravings. + + BOROMIR + Scared of who you are, of what you + are. + +ARAGORN adjusts his tunic and turns away from BOROMIR. +BOROMIR is speechless. ARAGORN turns back to him. + + ARAGORN + I will not lead the Ring within a + hundred leagues of your city. + + CUT TO: + 152. + + +160 EXT. RIVER ANDUIN - DAY 160 + + ANGLE ON: BOROMIR, still feeling the defeat from the + previous evening, paddles down the river along with the + rest of the FELLOWSHIP. He glances scathingly towards + ARAGORN. + + ANGLE ON: ARAGORN refuses to return his glance. + + +161 EXT. PILLARS OF THE KINGS - RIVER ANDUIN - DAY 161 + + The THREE ELVEN boats drift slowly through the steep rocky + gorge in the PRE-DAWN light. + + CLOSE ON: ARAGORN, slowly paddling in the stern. + + ARAGORN + (quietly) + Frodo. + + FRODO slowly looks up, his eyes widening with amazement. + + WIDE ON: TWO ENORMOUS ROCK STATUES, towering like 300 foot + pinnacles on either side of the river carved images of + GONDORIAN KINGS of old. They loom over the boats with power + and majesty. + + ARAGORN + The Argonath -- + + CLOSE ON: ARAGORN, strangely moved by the beauty of the + silent sentinels. He speaks, almost as if to himself. + + ARAGORN + Long have I desired to look upon + the kings of old, my kin. + + The FELLOWSHIP stare in stunned silence as the current + takes them through the narrow gap at the STATUES’ feet. + + WIDE ON: CRANING UP past the statues vast crumbling heads, + to REVEAL a LARGE LAKE only a mile down river. + + +162 EXT. SHORE OF NEN HITHOEL - DAY 162 + + ANGLE ON: THE FELLOWSHIP as they leap out of the boats and + clamber onto the wooded shore. + + ARAGORN + 153. + + + We cross the lake at nightfall, + hide the boats and continue on + foot, we approach Mordor from the + North. + + GIMLI + (gloomy) + Oh, yes, just a simple matter of + finding our way through Emyn Muil, + an impassable labyrinth of razor- + sharp rocks. And after that, it + gets even better, a festering, + stinking marshland as far as the + eye can see. + + ARAGORN + That is our road. I suggest you + take some rest and recover your + strength, Master Dwarf. + + GIMLI + (indignant) + Recover my -- + +ANGLE ON: LEGOLAS turns to ARAGORN with urgency. + + LEGOLAS + We should leave now. + + ARAGORN + No. Orcs patrol the eastern shore. + We must wait for cover of darkness. + + LEGOLAS + It is not the Eastern shore that + worries me. + +LEGOLAS casts a glance around into the PARTH GALEN forest. + + LEGOLAS + A shadow and a threat has been + growing in my mind. Something draws + near, I can feel it. + +ARAGORN looks at LEGOLAS, knowing full well what he means. + +ANGLE ON: SAM has slumped asleep. MERRY dumps a small pile +of kindling at GIMLI’S feet. + + MERRY + Where’s Frodo? + 154. + + + SAM sits up with a start. ARAGORN’S head snaps around. His + eyes fly to BOROMIR’S shield which lies abandoned by his + camp bed. + + CLOSE ON: ARAGORN as he realizes BOROMIR has gone! + + +163 EXT. SLOPES OF AMON HEN - DAY 163 + + FRODO is walking beneath the trees, lost in thought. His + feet hit the rough edge of an ancient stone slab, his eyes + follow an overgrown path towards stone stairs leading to + the SUMMIT OF AMON HEN, the seeing seat. + + A CRACKLING SOUND! FRODO freezes. + + BOROMIR + (quietly) + None of us should wander alone; you + least of all. So much depends on + you, Frodo? + + ANGLE ON: FRODO turns slowly, he stares at BOROMIR, tense, + cautious. + + BOROMIR + I know why you seek solitude. You + suffer, I see it day by day. Are + you sure you do not suffer + needlessly? + + FRODO stands silent for a moment, the murmur of the WIND in + the trees and the distant roar of the FALLS OF RAUROS can + be heard. + + BOROMIR + Let me help you. There are other + ways, Frodo, other paths that we + might take. + + FRODO + I know what you would say, and it + would sound like wisdom but for the + warning of my heart. + + BOROMIR + Warning? Against what? + + BOROMIR has started forward towards FRODO. FRODO backs away + from him. + + BOROMIR + 155. + + + We’re all afraid, Frodo. But to let + that fear drive us to destroy what + hope we have, don't you see that is + madness? + + FRODO + There is no other way. + + BOROMIR + I ask only for the strength to + defend my people. + (angrily drops the wood + he has collected) + If you would but lend me the Ring - + - + + FRODO + No -- + +FRODO steps hurriedly away from BOROMIR. + + BOROMIR + Why do you recoil? I am no thief. + + FRODO + (wary) + You are not yourself. + + BOROMIR + What chance do you think you have? + They will find you, they will take + the Ring and you will beg for death + before the end. + +FRODO turns to leave. + + BOROMIR + You fool! It is not yours, save by + unhappy chance. It might have been + mine! It should be mine! Give it to + me! Give me the Ring. + +BOROMIR leaps on top of FRODO, grasping for the RING! FRODO +has only moments to act. FRODO rips the RING from around +his neck and rams it on his finger. + +FRODO DISAPPEARS. + +BOROMIR spins wildly around, yelling into thin air! + + BOROMIR + 156. + + + I see your mind, you will take the + Ring to Sauron. You will betray us! + You go to your death and the death + of us all! Curse you! Curse you and + all your Halflings! + + BOROMIR stumbles and falls. His body shakes as if in the + THROES of a fit, slowly, he comes to. + + BOROMIR + (disoriented) + Frodo! Frodo! What have I done? + Please, Frodo -- + + +164 EXT. SEEING SEAT - DAY 164 + + IN THE TWILIGHT WORLD: FRODO races through the misty + Twilight world, past the foggy shapes of twisted trees. + Somewhere behind him, Boromir’s distraught voice carries, + as if from another dimension. + + BOROMIR (O.S.) + I’m sorry, Frodo -- Frodo -- + + FRODO suddenly finds himself on the stone steps, he + clambers up the stairs, onto a high seat, perched on four + stone pillars. + + FRODO cowers on the seat, like a lost child upon the throne + of mountain kings. The world of mist swirls around him. + + FRODO peers out from the seat, the world seems to shrink. + In all directions, VIEWS of far off lands TELESCOPE towards + him through the mist. + + IMAGES: ORCS spilling out of holes in the MISTY MOUNTAINS. + FLAMES rise from MIRKWOOD. Grim faced EASTERLINGS march to + war. BLACK SHIPS sail to the South. All the power of the + Dark Lord is in motion. + + FRODO moves his gaze to the East. FIRE explodes against the + smoke, as a huge mass of black battlements fills Frodo’s + vision. + + A mountain of iron, immeasurably strong, tower of adamant: + BARAD-DÛR, the fortress of SAURON. + + SUDDENLY! SAURON’S EYE LEAPS TOWARD FRODO LIKE A FINGER OF + LIGHT. + + SAURON (V.O.) + (IN BLACK SPEECH) + 157. + + + They will fall! + + ANGLE ON: FRODO leaps off the seat, and tumbles down the + stairs! + + The EYE sweeps AMON HEN like a searchlight, seeking its + RING! + + With a huge effort, FRODO wrenches the RING off his finger. + + +165 EXT. SUMMIT OF AMON HEN - DAY 165 + + FRODO lies gasping on the SUMMIT OF AMON HEN, below the + ancient ruins of the seeing seat. + + AT THAT MOMENT: A BLACK BOOT STEPS INTO SHOT! + + FRODO looks up as ARAGORN towers over him. + + ARAGORN + Frodo? + + FRODO + (numb) + It has taken Boromir. + + ARAGORN moves towards FRODO. + + ARAGORN + (urgent) + Where is the Ring? + + FRODO backs away from ARAGORN. ARAGORN is shocked by the + movement. + + FRODO + Stay away! + + ARAGORN + Frodo. I swore to protect you. + + FRODO + Can you protect me from yourself? + + CLOSE ON: FRODO uncurls his fist, in his palm lies the + RING! + + It glints, gold and beautiful in the afternoon sun, + ARAGORN’S eyes are drawn to it. + + FRODO + 158. + + + Would you destroy it? + + THE RING + Aragorn. Aragorn. Elessar. + + ARAGORN + (kneeling to Frodo) + I would have gone with you to the + end -- into the very fires of + Mordor. + + FRODO + I know. Look after the others, + especially Sam, he will not + understand. + + ARAGORN FREEZES! He draws his sword. + + ARAGORN + (urgent) + Go, Frodo! + + FRODO hesitates. + + ARAGORN + (yells) + Run. Run! + + FRODO backs away into the trees. + + ANGLE ON: -- as 200 URUK-HAI SWARM onto AMON HEN behind + ARAGORN! + + ARAGORN attacks the leading URUK-HAI like a madman, he + brings two down with his sword leaping into the ruins as + others close in on him. + + ANGLE ON: FRODO scrambles down the HILLSIDE, away from the + fight. + + ANGLE ON: ARAGORN battles the URUK-HAI, amongst the pillars + and blocks of AMON HEN. Despite his bravery, he is quickly + surrounded. + + SUDDENLY: ELVEN ARROWS smash into the URUK-HAI. LEGOLAS + races out of the woods, firing his bow. GIMLI leaps into + the battle, wielding his mighty axe. + + +166 EXT. PARTH GALEN HILLSIDE - DAY 166 + + FRODO is darting down the steep hillside as heavy feet + thunder down after him. + 159. + + + SAM + Mr. Frodo! + +ANGLE ON: SAM looks around for FRODO. + +CLOSE ON: LURTZ ordering his URUKS. + + LURTZ + Find the Halflings, find the + Halflings! + +ANGLE ON: FRODO stumbles and falls, quickly he crawls +behind a tree, above him the sound of URUK-HAI crashing +through the forest rings out. + + MERRY (O.S.) + (urgent whisper) + Frodo! + +FRODO turns to see MERRY and PIPPIN hiding in a hollow, a +few feet away. + + MERRY + Hide here, quick! + + PIPPIN + Come on! + +ANGLE ON: FRODO looks at his friends, slowly shakes his +head, a great sadness in his eyes. + + PIPPIN + What's he doing? + +ANGLE ON: MERRY’S eyes meets FRODO’S. Understanding. + + MERRY + (softly) + He's leaving. + + PIPPIN + No! + +PIPPIN stands and makes a move toward FRODO. MERRY grabs at +his arm. + + MERRY + Pippin! + +ANGLE ON: MERRY and PIPPIN look up the slope where a cry +has rings out. THEY HAVE BEEN SEEN! + 160. + + + MERRY + (to Frodo) + Run, Frodo. Go on! + +MERRY waves his arms at the approaching ORCS. + + MERRY + Hey, hey you! Over here! + + PIPPIN + Hey! + + MERRY + Over here! + + PIPPIN + This way! + +MERRY and PIPPIN run, leading a pack of ORCS. + +ANGLE ON: FRODO runs to the lake. + +ANGLE ON: MERRY and PIPPIN, still running from the ORCS + + PIPPIN + It's working! + + MERRY + I know it's working! Run! + +MERRY and PIPPIN stop, more URUK-HAI approach from the +other direction. THEY ARE TRAPPED. + +SUDDENLY! BOROMIR charges up the hillside and blocks the +stroke of the leading URUK-HAI. + +ANGLE ON: THE ECHO OF BOROMIR’S HORN reaches ARAGORN, +LEGOLAS, and GIMLI, they are battling their way down the +SLOPES towards the lake. + + LEGOLAS + The horn of Gondor! + + ARAGORN + Boromir! + +ARAGORN desperately slashes his way towards BOROMIR, +felling URUK-HAI in his path while LEGOLAS and GIMLI fight +a REAR GUARD ACTION. + +ANGLE ON: Many URUK-HAI fall to BOROMIR’S sword as he tries +to protect MERRY and PIPPIN. + 161. + + + BOROMIR + Run! Run! + +ANGLE ON: LURTZ takes aim. + +ANGLE ON: A BLACK ARROW suddenly THUDS into BOROMIR’S +chest. + +Amazingly, BOROMIR continues fighting, but another arrow +and another, brings him to his knees. + +ANGLE ON: MERRY and PIPPIN are scooped off their feet by +URUK-HAI. + + MERRY & PIPPIN + Aaaaagh! Boromir! Boromir! + +ANGLE ON: LURTZ aims his bow at BOROMIR’S heart, suddenly +ARAGORN charges at him, smashing the BOW with his sword. +They lock into a deadly battle. + +ANGLE ON: ARAGORN cuts LURTZ down and races towards +BOROMIR, who lies slumped against a tree. URUK-HAI arrows +sticking out of his chest. + +At least 20 dead URUK-HAI lie heaped around BOROMIR. His +horn lies at his feet. CLOVEN in two. + + BOROMIR + (painful gasp) + They took the little ones. + +ARAGORN quickly tries to staunch the flow of BLOOD from +BOROMIR’S shoulder. + + BOROMIR + (panicked) + Frodo -- where is Frodo? + + ARAGORN + I let Frodo go. + +BOROMIR holds Aragorn’s gaze. + + BOROMIR + Then you did what I could not. I + tried to take the Ring from him. + + ARAGORN + The Ring is beyond our reach now. + + BOROMIR + 162. + + + Forgive me. I did not see. I have + failed you all. + + ARAGORN + No, Boromir. You fought bravely. + You have kept your honor. + + ARAGORN tries to bind BOROMIR’S wound. + + BOROMIR + Leave it! It is over, the world of + Men will fall and all will come to + darkness and my city to ruin -- + Aragorn -- + + ARAGORN + I do not know what strength is in + my blood, but I swear to you -- I + will not let the White City fall, + nor your people fail. + + BOROMIR + Our people -- our people -- + + ARAGORN places BOROMIR’S sword in his hand. BOROMIR’S + fingers tighten around the hilt. + + BOROMIR + I would have followed you, my + brother -- my captain, my king. + + ARAGORN lays BOROMIR down. He is dead. + + ARAGORN + Be at peace, son of Gondor. + + ARAGORN bends and KISSES BOROMIR’S forehead. + + LEGOLAS and GIMLI appear behind him. ARAGORN stands. + + ARAGORN + They will look for his coming from + the White Tower but he will not + return. + + +167 EXT. SHORE OF NEN HITHOEL - DAY 167 + + On the lakeshore, FRODO stands in front of one of the + ELVISH boats, the RING in his palm. + + ANGLE ON: A distraught SAM running as hard as he can + through the forest. + 163. + + + SAM + Mr. Frodo! + +CLOSE ON: FRODO looks to the far side of the river, the +CAMERA moves in on the RING. + + FRODO (V.O.) + I wish the Ring had never come to + me. I wish none of this had + happened -- + +Tears fall down FRODO’S face. + + GANDALF (V.O.) + So do all who live to see such + times but that is not for them to + decide. All we have to decide is + what to do with the time that is + given us. + +With renewed determination, FRODO tucks the RING inside his +vest pocket. + +ANGLE ON: The small figure of FRODO pushing the ELVISH boat +into the water. + +ANGLE ON: SAM bursts through the trees and runs toward the +lake. FRODO is already paddling away. + + SAM + (anguished) + Not alone, Frodo. Mr. Frodo! + +ANGLE ON: FRODO, in the boat, paddling steadfastly away +from the shore, tears in his eyes, the voice of SAM carried +on the wind. FRODO whispers to himself. + + FRODO + No, Sam. + +ANGLE ON: SAM looks at the water then at the boat. + +SPLASH! FRODO turns to see SAM launching himself into the +water. + + FRODO + Go back, Sam! I'm going to Mordor + alone. + +ANGLE ON: SAM splashes hopelessly toward the boat. + + SAM + 164. + + + Of course you are and I'm coming + with you! + + FRODO + You can't swim. + + SAM starts to go under, spluttering and coughing + + ANGLE ON: FRODO drops his paddle and scramble backwards in + the boat. + + FRODO + (frightened) + Sam! + + ANGLE ON: SAM is underwater, hands flailing helplessly as + he sinks. + + CLOSE ON: FRODO’S hand grasping SAM’S. + + ANGLE ON: FRODO pulls a bedraggled and half-drowned SAM + into the boat. FRODO and SAM look at each other, out of + breath, tears and water streaming down both their faces. + + SAM + I made a promise, Mr. Frodo, a + promise. + (fierce passion) + “Don't you leave him, Samwise + Gamgee.” + (sobs) + And I don't mean to -- I don't mean + to. + + FRODO + (crying) + Oh, Sam! + + FRODO starts to laugh through his tears, the two friends + hug. + + FRODO + Come on then. + + The two HOBBITS row through the water. + + +168 EXT. FALLS OF RAUROS AERIAL - DAY 168 + + SLOW MOTION: Looking down on swiftly flowing water. + BOROMIR’S body slides under CAMERA. + 165. + + + He is lying in one of the boats, his arms across his chest, + his broken horn at his side. + + SUDDENLY the boat drops away from CAMERA as it plunges over + the massive FALLS OF RAUROS, disappearing into the vapor + below. + + +169 EXT. SHORE OF NEN HITHOEL - DAY 169 + + ANGLE ON: LEGOLAS pushes the last boat into the water. + + LEGOLAS + If we are quick, we will catch + Frodo and Sam before nightfall. + + ARAGORN looks toward the far shore: FRODO and SAM’S small + boat can be seen lying on the distant RIVERBANK as FRODO + and SAM make off into the forest beyond. He doesn’t react. + + ANGLE ON: LEGOLAS turns and looks at ARAGORN. + + LEGOLAS + You mean not to follow them -- + + ARAGORN + Frodo's fate is no longer in our + hands. + + GIMLI + Then it has all been in vain -- the + Fellowship has failed. + + ARAGORN + Not if we hold true to each other. + We will not abandon Merry and + Pippin to torment and death, not + while we have strength left. + + ARAGORN pulls a HUNTING KNIFE out of his pack and straps it + on. + + ARAGORN + Leave all that can be spared + behind. + + CLOSE ON: ARAGORN, a steely light in his eye. + + ARAGORN + (grimly) + We travel light. Let’s hunt some + Orc. + 166. + + + GIMLI + Yes! Ha! + + ARAGORN, LEGOLAS, and GIMLI disappear into the WOODS, + following the URUK-HAI trail. + + +170 EXT. EMYN MUIL HILLTOP - DAY 170 + + FRODO and SAM scramble onto a high ridge. + + WIDE ON: A distant line of SAW TOOTHED mountains below a + dark, oppressive sky. Black volcanic smoke rises behind the + mountains MORDOR! + + ANGLE ON: FRODO and SAM look with grim determination. + + FRODO + Mordor! I hope the others find a + safer road. + + SAM + (simply) + Strider’ll look after them. + + FRODO + I don't suppose we'll ever see them + again. + + SAM + We may yet, Mr. Frodo. We may. + + FRODO + Sam? + + FRODO looks at SAM with great affection, despite the grim + outlook, SAM is undeterred. + + FRODO + I'm glad you're with me. + + WIDE ON: THE TWO HOBBITS SETTING OFF TOWARD MORDOR. + + FADE TO BLACK + \ No newline at end of file diff --git a/scripts/The Matrix.txt b/scripts/The Matrix.txt new file mode 100644 index 0000000000000000000000000000000000000000..ad489bb0d750cf7c474637392d5b023235b7801d --- /dev/null +++ b/scripts/The Matrix.txt @@ -0,0 +1,9003 @@ + 1. + + + + FADE IN: + + +1 INT. HEART O' THE CITY HOTEL - NIGHT 1 + + ON COMPUTER SCREEN so close it has no boundaries. + + A blinding cursor pulses in the electric darkness like a + heart coursing with phosphorous light, burning beneath the + derma of black-neon glass. + + A PHONE begins to RING, we hear it as though we were making + the call. The cursor continues to throb, relentlessly + patient, until -- + + MAN (V.O.) + Yeah? + + Data now slashes across the screen, information flashing + faster than we can read: "Call trans opt: received. 2-19-98 + 13:24:18 REC:Log>." + + WOMAN (V.O.) + Is everything in place? + + On screen: "Trace program: running." + + We listen to the phone conversation as though we were on a + third line. The man's name is Cypher. The woman, Trinity. + + TRINITY (WOMANV.O.) + I said, is everything in place? + + The entire screen with racing columns of numbers. + Shimmering like green-electric rivers, they rush at a 10- + digit phone number in the top corner. + + CYPHER (MANV.O.) + You weren't supposed to relieve me. + + TRINITY (V.O.) + I know but I felt like taking a + shift. + + The area code is identified. The first three numbers + suddenly fixed, leaving only seven flowing columns. + + CYPHER (V.O.) + You like him, don't you? You like + watching him? + 2. + + + + +We begin MOVING TOWARD the screen, CLOSING IN as each digit +is matched, one by one, snapping into place like the wheels +of a slot machine. + + TRINITY (V.O.) + Don't be ridiculous. + + + + CYPHER (V.O.) + We're going to kill him. Do you + understand that? He's going to die + just like the others. + + + + TRINITY (V.O.) + Morpheus believes he is the One. + + + +Only two thin digits left. + + CYPHER (V.O.) + Do you? + + + + TRINITY (V.O.) + I-- it doesn't matter what I + believe. + + + + CYPHER (V.O.) + You don't, do you? + + + + TRINITY (V.O.) + If you have something to say, I + suggest you say it to Morpheus. + + + + CYPHER (V.O.) + I intend to, believe me. Someone + has to. + 3. + + + The final NUMBER POPS into place -- + + TRINITY (V.O.) + Did you hear that? + + + + CYPHER (V.O.) + Hear what? + + + + On screen: "Trace complete. Call origin: #312-555- 0690. + + TRINITY (V.O.) + Are you sure this line is clean? + + + + CYPHER (V.O.) + Yeah, 'course I'm sure. + + + + We MOVE STILL CLOSER, the ELECTRIC HUM of the green NUMBERS + GROWING into an ominous ROAR. + + TRINITY (V.O.) + I better go. + + + + She hangs up as we PASS THROUGH the numbers, entering the + nether world of the computer screen. Suddenly, a flashlight + cuts open the darkness and we find ourselves in -- + + + + +2 INT. HEART O' THE CITY HOTEL - NIGHT 2 + + The hotel was abandoned after a fire licked its way across + the polyester carpeting, destroying several rooms as it + spooled soot up the walls and ceiling, leaving patterns of + permanent shadow. + + We FOLLOW four armed POLICE OFFICERS using flashlights as + they creep down the blackened hall and ready themselves on + either side of Room 303. + + The biggest of them violently kicks in the door. The other + cops pour in behind him, guns thrust before them. + 4. + + + BIG COP + Police! Freeze! + + + + The room is almost devoid of furniture. There is a fold- up + table and chair with a phone, a modem, and a powerbook + computer. The only light in the room is the glow of the + computer. + + Sitting there, her hands still on the keyboard, is TRINITY; + a woman in black leather. + + BIG COP + Hands behind your head! Now! Do it! + + + + She slowly puts her hands behind her head. + + + + +3 EXT. HEART O' THE CITY HOTEL - NIGHT 3 + + A black sedan with tinted windows glides in through the + police cruisers. AGENT SMITH, AGENT BROWN, and AGENT JONES + get out of the car. + + They wear dark suits and sunglasses even at night. They are + also always hardwired; small Secret Service earphones in + one ear, the cord coiling back into their shirt collars. + + AGENT SMITH + Lieutenant? + + + + LIEUTENANT + Oh shit. + + + + AGENT SMITH + Lieutenant, you were given specific + orders -- + + + + LIEUTENANT + 5. + + + I'm just doing my job. You gimme + that Juris-my dick-tion and you can + cram it up your ass. + + + + AGENT SMITH + The orders were for your + protection. + + + + The Lieutenant laughs. + + LIEUTENANT + I think we can handle one little + girl. + + + + Agent Smith nods to Agent Brown as they start toward the + hotel. + + LIEUTENANT + I sent two units. They're bringing + her down now. + + + + AGENT SMITH + No, Lieutenant, your men are + already dead. + + + + +4 INT. HEART O' THE CITY HOTEL 4 + + The Big Cop flicks out his cuffs, the other cops holding a + bead. They've done this a hundred times, they know they've + got her, until the Big Cop reaches with the cuffs and + Trinity moves -- + + It almost doesn't register, so smooth and fast, inhumanly + fast. + + The eye blinks and Trinity's palm snaps up and the nose + explodes, blood erupting. Her leg kicks with the force of a + wrecking ball and he flies back, a two-hundred-fifty pound + sack of limp meat and bone that slams into the cop farthest + from her. + 6. + + + Trinity moves again, BULLETS RAKING the walls, flashlights + sweeping with panic as the remaining cops try to stop a + leather-clad ghost. + + A GUN still in the cop's hand is snatched, twisted, and + FIRED. There is a final violent exchange of GUNFIRE and + when it's over, Trinity is the only one standing. + + A flashlight rocks slowly to a stop. + + TRINITY + Shit. + + + + +5 EXT. HEART O' THE CITY HOTEL 5 + + Agent Brown enters the hotel while Agent Smith heads for + the alley. + + + + +6 INT. HEART O' THE CITY HOTEL 6 + + Trinity is on the phone, pacing. The other end is answered. + + MAN (V.O.) + Operator. + + + + TRINITY + Morpheus! The line was traced! I + don't know how. + + + + MORPHEUS (MANV.O.) + I know. They cut the hardline. This + line is not a viable exit. + + + + TRINITY + Are there any Agents? + + + + MORPHEUS (V.O.) + Yes. + 7. + + + + + TRINITY + Goddamnit! + + + + MORPHEUS (V.O.) + You have to focus. There is a + phone. Wells and Lake. You can make + it. + + + + She takes a deep breath, centering herself. + + TRINITY + All right -- + + + + MORPHEUS (V.O.) + Go. + + + + She drops the phone. + + + + +7 INT. HALL 7 + + She bursts out of the room as Agent Brown enters the hall, + leading another unit of police. Trinity races to the + opposite end, exiting through a broken window onto the fire + escape. + + + + +8 EXT. FIRE ESCAPE 8 + + In the alley below, Trinity sees Agent Smith staring at + her. She can only go up. + + + + +9 EXT. ROOF 9 + 8. + + + On the roof, Trinity is running as Agent Brown rises over + the parapet, leading the cops in pursuit. + + Trinity begins to jump from one roof to the next, her + movements so clean, gliding in and out of each jump, + contrasted to the wild jumps of the cops. + + Agent Brown, however, has the same unnatural grace. + + The roof falls away into a wide back alley. The next + building is over 40 feet away, but Trinity's face is + perfectly calm, staring at some point beyond the other + roof. + + COP + That's it, we got her now. + + + + The cops slow, realizing they are about to see something + ugly as Trinity drives at the edge, launching herself into + the air. + + From above, the ground seems to flow beneath her as she + hangs in flight, then hits, somersaulting up, still running + hard. + + COP + Jesus Christ -- that's impossible! + + + + They stare, slack-jawed, as Agent Brown duplicates the move + exactly, landing, rolling over a shoulder up onto one knee. + + It is a dizzying chase up and over the dark plateaued + landscape of rooftops and sheer cliffs of brick. Ahead, she + sees her only chance, 50 feet beyond the point where her + path drops away into a paved chasm, there is!-- + + + + +10 EXT. WINDOW 10 + + A yellow glow in the midst of a dark brick building. + + Trinity zeros in on it, running as hard as she can and -- + + Hurtles herself into the empty night space, her body + leveling into a dive. She falls, arms covering her head as + the whole world seems to spin on its axis -- + 9. + + + + +11 INT. BACK STAIRWELL 11 + + And she crashes with an EXPLOSION of GLASS and WOOD, then + falls onto a back stairwell, tumbling, bouncing down stairs + bleeding, broken -- + + But still alive. + + She wheels on the smashed opening above, her gun instantly + in her hand, trained, waiting for Agent Brown but is met by + only a slight WIND that HISSES against the fanged maw of + broken glass. + + Trinity tries to move. Everything hurts. + + TRINITY + Get up, Trinity. You're fine. Get + up -- just get up! + + + + She stands and limps down the rest of the stairs. + + + + +12 EXT. STREET 12 + + Trinity emerges from the shadows of an alley and, at the + end of the block, in a pool of white street light, she sees + it!-- + + The telephone booth. + + Obviously hurt, she starts down the concrete walk, focusing + in completely, her pace quickening, as the PHONE begins to + RING. + + Across the street, a garbage truck suddenly u-turns, it's + TIRES SCREAMING as it accelerates. Trinity sees the + headlights of the truck arcing at the telephone booth as if + taking aim. + + Gritting through the pain, she races the truck, slamming + into the booth, the headlights blindingly bright, bearing + down on the box of Plexiglas just as -- + + She answers the phone. + 10. + + +There is a frozen instant of silence before the hulking +mass of dark metal lurches up onto the sidewalk -- + +Barreling through the booth, bulldozing it into a brick +wall, SMASHING it to PLEXIGLAS PULP. + +After a moment, a black loafer steps down from the cab of +the garbage truck. Agent Smith inspects the wreckage. There +is no body. Trinity is gone. + +His jaw sets as he grinds his molars in frustration. Agent +Jones and Brown walk up behind him. + + AGENT JONES + She got out. + + + + AGENT SMITH + It doesn't matter. + + + + AGENT BROWN + The informant is real. + + + +Agent Smith almost smiles. + + AGENT SMITH + Yes. + + + + AGENT JONES + We have the name of their next + target. + + + + AGENT BROWN + The name is Neo. + + + +The handset of the pay phone lays on the ground, separated +in the crash like a severed limb. + + AGENT SMITH + We'll need a search running. + 11. + + + + + AGENT JONES + It's already begun. + + + + We are SUCKED TOWARDS the mouthpiece of the phone, CLOSER + and CLOSER, until the smooth gray plastic spreads out like + a horizon and the small holes widen until we FALL THROUGH + one -- + + Swallowed by DARKNESS. + + The DARKNESS CRACKLES with phosphorescent energy, the word + "searching" blazing in around us as we EMERGE FROM a + computer screen. + + The screen flickers with windowing data as a search engine + runs with a steady relentless rhythm. + + We DRIFT BACK FROM the screen and INTO -- + + + + +13 INT. NEO'S APARTMENT 13 + + It is a studio apartment that seems overgrown with + technology. + + Weed-like cables coil everywhere, duct-taped into thickets + that wind up and around the legs of several desks. + Tabletops are filled with cannibalized equipment that lay + open like an autopsied corpse. + + At the center of this technological rat-nest is NEO, a man + who knows more about living inside a computer than outside + one. + + He is asleep in front of his PC. Behind him, the computer + screen suddenly goes blank. A prompt appears: "Wake up, + Neo." + + Neo's eye pries open. He sits up, one eye still closed, + looking around, unsure of where he is. He notices the + screen. + + He types "CTRL X" but the letter "T" appears. + + NEO + What--? + 12. + + + + +He hits another and an "H" appears. He keeps typing, +pushing random functions and keys while the computer types +out a message as though it had a mind of its own. + +He stops and stares at the four words on the screen: "The +Matrix has you." + + NEO + What the hell? + + + +He hits the "ESC" button. Another message appears: "Follow +the white rabbit." + +He hits it again and the message repeats. He rubs his eyes +but when he opens them, there is another message: "Knock, +knock, Neo." + +Someone KNOCKS on his door and he almost jumps out of his +chair. He looks back at the computer, but the screen is now +blank. + +Someone KNOCKS again. Neo rises, still unnerved. + + NEO + Who is it? + + + + CHOI (O.S) + It's Choi. + + + +Neo flips a series of locks and opens the door, leaving the +chain on. A young Chinese MAN stands there with several of +his friends. + + NEO + You're two hours late. + + + + CHOI (MAN) + I know. It's her fault. + + + + NEO + 13. + + + You got the money? + + + + CHOI + Two grand. + + + +He takes out an envelope and gives it to Neo through the +cracked door. + + NEO + Hold on. + + + +He closes the door. On the floor near his bed is a book, +Baudrillard's Simulacra and Simulations. The book has been +hollowed out and inside are several computer disks. He +takes one, sticks the money in the book and drops it on the +floor. + +Opening the door, he hands the disk to Choi. + + CHOI + Hallelujah! You are my Savior, man! + My own personal Jesus Christ! + + + + NEO + If you get caught using that -- + + + + CHOI + I know, I know. This never + happened. You don't exist. + + + + NEO + Right-- + + + +Neo nods as the strange feeling of unrealness suddenly +returns. + + CHOI + 14. + + + Something wrong, man? You look a + little whiter than usual. + + + + NEO + I don't know-- My computer-- + + + +He looks back at Choi, unable to explain what just +happened. + + NEO + You ever have the feeling that + you're not sure if you're awake or + still dreaming? + + + + CHOI + All the time. It's called mescaline + and it is the only way to fly. + + + +He smiles and slaps the hand of his nearest droog. + + CHOI + It sounds to me like you need to + unplug, man. A little R&R. What do + you think, Dujour, should we take + him with us? + + + + DUJOUR + Definitely. + + + + NEO + I can't. I have to work tomorrow. + + + + DUJOUR + Come on. It'll be fun. I promise. + 15. + + + He looks up at her and suddenly notices on her black + leather motorcycle jacket dozens of pins: bands, symbols, + slogans, military medals and -- + + A small white rabbit. The ROOM TILTS. + + NEO + Yeah, yeah. Sure, I'll go. + + + + +14 INT. APARTMENT 14 + + An older apartment; a series of halls connects a chain of + small high-ceilinged rooms lined with heavy casements. + + Smoke hangs like a veil, blurring the few lights there are. + + Dressed predominately in black, people are everywhere, + gathered in cliques around pieces of furniture like jungle + cats around a tree. + + Neo stands against a wall, alone, sipping from a bottle of + beer, feeling completely out of place. He is about to leave + when he notices a woman staring at him. + + The woman is Trinity. She walks straight up to him. + + In the nearest room, shadow-like figures grind against each + other to the pneumatic beat of INDUSTRIAL MUSIC. + + TRINITY + Hello, Neo. + + + + NEO + How do you know that name? + + + + TRINITY + I know a lot about you. I've been + wanting to meet you for some time. + + + + NEO + Who are you? + 16. + + + TRINITY + My name is Trinity. + + + + NEO + Trinity? The Trinity? The Trinity + that cracked the I.R.S. D-Base? + + + + TRINITY + That was a long time ago. + + + + NEO + Gee-zus. + + + + TRINITY + What? + + + + NEO + I just thought-- you were a guy. + + + + TRINITY + Most guys do. + + + +Neo is a little embarrassed. + + NEO + Do you want to go somewhere and + talk? + + + + TRINITY + No. It's safe here and I don't have + much time. + + + +The MUSIC is so LOUD they must stand very close, talking +directly into each other's ear. + 17. + + + NEO + That was you on my computer? + + + +She nods. + + NEO + How did you do that? + + + + TRINITY + Right now, all I can tell you, is + that you are in danger. I brought + you here to warn you. + + + + NEO + Of what? + + + + TRINITY + They're watching you, Neo. + + + + NEO + Who is? + + + + TRINITY + Please. Just listen. I know why + you're here, Neo. I know what + you've been doing. I know why you + hardly sleep, why you live alone + and why, night after night, you sit + at your computer. You're looking + for him. + + + +Her body is against his; her lips very close to his ear. + + TRINITY + I know because I was once looking + for the same thing, but when he + found me he told me I wasn't really + looking for him. I was looking for + an answer. + 18. + + + + + There is a hypnotic quality to her voice and Neo feels the + words, like a drug, seeping into him. + + TRINITY + It's the question that drives us, + the question that brought you here. + You know the question just as I + did. + + + + NEO + What is the Matrix? + + + + TRINITY + When I asked him, he said that no + one could ever be told the answer + to that question. They have to see + it to believe it. + + + + She leans close, her lips almost touching his ear. + + TRINITY + The answer is out there, Neo. It's + looking for you and it will find + you, if you want it to. + + + + She turns and he watches her melt into the shifting wall of + bodies. + + A SOUND RISES steadily, growing out of the MUSIC, pressing + in on Neo until it is all he can hear as we -- + + CUT TO: + + + + +15 INT. NEO'S APARTMENT 15 + + The sound is an ALARM CLOCK, slowly dragging Neo to + consciousness. He strains to read the clock-face: 9:15!A.M. + + NEO + 19. + + + Shitshitshit. + + + + +16 EXT. SKYSCRAPER 16 + + The downtown office of Meta CorTechs, a software + development company. + + + + +17 INT. META CORTECHS OFFICE 17 + + The main offices are along each wall, the windows + overlooking downtown. RHINEHEART, the ultimate company man, + lectures Neo without looking at him, typing at his computer + continuously. + + Neo stares at two window cleaners on a scaffolding outside, + dragging their rubber squeegees down the surface of the + glass. + + RHINEHEART + You have a problem with authority, + Mr. Anderson. You believe that you + are special, that somehow the rules + do not apply to you. Obviously, you + are mistaken. + + + + His long, bony fingers resume clicking the keyboard. + + RHINEHEART + This company is one of the top + software companies in the world + because every single employee + understands that they are a part of + a whole. Thus, if an employee has a + problem, the company has a problem. + + + + He turns again. + + RHINEHEART + 20. + + + The time has come to make a choice, + Mr. Anderson. Either you choose to + be at your desk on time from this + day forth, or you choose to find + yourself another job. Do I make + myself clear? + + + + NEO + Yes, Mr. Rhineheart. Perfectly + clear. + + + + +18 INT. NEO'S CUBICLE 18 + + The entire floor looks like a human honeycomb, with a + labyrinth of cubicles structured around a core of + elevators. + + VOICE (O.S.) + Thomas Anderson? + + + + Neo turns and finds a FEDERAL EXPRESS GUY at his cubicle + door. + + NEO + Yeah. That's me. + + + + Neo signs the electronic pad and the Fedex Guy hands him + the softpak. + + FEDEX GUY + Have a nice day. + + + + He opens the bag. Inside is a cellular PHONE. It seems the + instant it is in his hand, it RINGS. Unnerved, he flips it + open. + + NEO + Hello? + 21. + + + MORPHEUS (V.O.) + Hello, Neo. Do you know who this + is? + + + +Neo's knees give and he sinks into his chair. + + NEO + Morpheus-- + + + + MORPHEUS (V.O.) + I've been looking for you, Neo. I + don't know if you're ready to see + what I want to show you, but + unfortunately, we have run out of + time. They're coming for you, Neo. + And I'm not sure what they're going + to do. + + + + NEO + Who's coming for me? + + + + MORPHEUS (V.O.) + Stand up and see for yourself. + + + + NEO + Right now? + + + + MORPHEUS (V.O.) + Yes. Now. + + + +Neo starts to stand. + + MORPHEUS (V.O.) + Do it slowly. The elevator. + 22. + + +His head peeks up over the partition. At the elevator, he +sees Agent Smith, Agent Brown and Agent Jones leading a +group of cops. A female employee turns and points out Neo's +cubicle. + +Neo ducks. + + NEO + Holy shit! + + + + MORPHEUS (V.O.) + Yes. + + + +One cop stays at the elevator, the others follow the +Agents. + + NEO + What the hell do they want with + me?! + + + + MORPHEUS (V.O.) + I'm not sure, but if you don't want + to find out, you better get out of + there. + + + + NEO + How?! + + + + MORPHEUS (V.O.) + I can guide you out, but you have + to do exactly what I say. + + + +The agents are moving quickly towards the cubicle. + + MORPHEUS (V.O.) + The cubicle across from you is + empty. + 23. + + + NEO + But what if--? + + + + MORPHEUS (V.O.) + Go! Now! + + + +Neo lunges across the hall, diving into the other cubicle +just as the Agents turn into his row. + +Neo crams himself into a dark corner, clutching the phone +tightly to him. + + MORPHEUS (V.O.) + Stay here for a moment. + + + +The Agents enter Neo's empty cubicle. A cop is sent to +search the bathroom. + +Morpheus' voice is a whisper in Neo's ear. + + MORPHEUS (V.O.) + A little longer-- + + + +Brown is talking to another employee. + + MORPHEUS (V.O.) + When I tell you, go to the end of + the row to the first office on the + left, stay as low as you can. + + + +Sweat trickles down his forehead. + + MORPHEUS (V.O.) + Now. + + + +Neo rolls out of the cubicle, his eyes popping as he +freezes right behind a cop who has just turned around. + +Staying crouched, he sneaks away down the row, shooting +across the opening to the first office on the left. + 24. + + + + +19 INT. EMPTY OFFICE 19 + + The room is empty. + + MORPHEUS (V.O.) + Good. Outside there is a scaffold. + + + + NEO + How do you know all this? + + + + Morpheus laughs quietly. + + MORPHEUS (V.O.) + The answer is coming, Neo. There is + a window in front of you. Open it. + + + + He opens the window. The WIND HOWLS into the room. + + MORPHEUS (V.O.) + You can use the scaffold to get to + the roof. + + + + NEO + No! It's too far away. + + + + MORPHEUS (V.O.) + There's a ledge. It's a short short + climb. You can make it. + + + + Neo looks down; the building's glass wall vertigos into a + concrete chasm. + + NEO + No way, no way, this is crazy. + 25. + + + MORPHEUS (V.O.) + There are only two ways out of this + building. One is that scaffold. The + other is in their custody. You take + a chance either way. I leave it to + you. + + + + CLICK. He hangs up. Neo looks at the door, then back at the + scaffold. + + NEO + This is insane! Why is this + happening to me? What did I do? I'm + nobody. I didn't do anything. + + + + He climbs up onto the window ledge. Hanging onto the frame, + he steps onto the small ledge. The scaffold seems even + farther away. + + NEO + I'm going to die. + + + + The WIND suddenly BLASTS up the face of the building, + knocking Neo off balance. Recoiling, he clings harder to + the frame, and the phone falls out of his hand. + + He watches as it is swallowed by the distance beneath him. + + NEO + This is insane! I can't do this! + Forget it! + + + + He climbs back into the office just as a cop opens the + door. + + NEO + Shit! + + + + +20 EXT. SKYSCRAPER 20 + 26. + + + The Agents lead a handcuffed Neo out of the revolving + doors, forcing his head down as they push him into the dark + sedan. + + Trinity watches in the rearview mirror of her motorcycle. + + TRINITY + Shit. + + + + +21 INT. INTERROGATION ROOM 21 + + CLOSE ON a camera monitor; a wide angle view of a white + room where Neo is sitting at a table alone. We MOVE INTO + the monitor, entering the room as if the monitor was a + window. + + At the same moment, the door opens and the Agents enter. + Agent Smith sits down across from Neo. A thick manila + envelope slaps down on the table. The name on the file: + "Anderson, Thomas!A." + + AGENT SMITH + As you can see, we've had our eye + on you for some time now, Mr. + Anderson. + + + + He opens the file. Paper rattle marks the silence as he + flips several pages. Neo cannot tell if he is looking at + the file or at him. + + AGENT SMITH + It seems that you have been living + two lives. In one life, you are + Thomas A. Anderson, program writer + for a respectable software company. + You have a social security number, + you pay your taxes and you help + your landlady carry out her + garbage. + + The pages continue to turn. + + AGENT SMITH + The other life is lived in + computers where you go by the + hacker alias Neo, and are guilty of + virtually every computer crime we + have a law for. + 27. + + + + +Neo feels himself sinking into a pit of shit. + + AGENT SMITH + One of these lives has a future. + One of them does not. + + + +He closes the file. + + AGENT SMITH + I'm going to be as forthcoming as I + can be, Mr. Anderson. You are here + because we need your help. + + + +He removes his sunglasses, his eyes are an unnatural ice- +blue. + + AGENT SMITH + We know that you have been + contacted by a certain individual. + A man who calls himself Morpheus. + Whatever you think you know about + this man is irrelevant. The fact is + that he is wanted for acts of + terrorism in more countries than + any other man in the world. + He is considered by many + authorities to be the most + dangerous man alive. + + + +He leans closer. + + AGENT SMITH + My colleagues believe that I am + wasting my time with you but I + believe you want to do the right + thing. It is obvious that you are + an intelligent man, Mr. Anderson, + and that you are interested in the + future. That is why I believe you + are ready to put your past mistakes + behind you and get on with your + life. + 28. + + +Neo tries to match his stare. + + AGENT SMITH + We are willing to wipe the slate + clean, to give you a fresh start + and all we are asking in return is + your cooperation in bringing a + known terrorist to justice. + + + +Neo nods to himself. + + NEO + Yeah. Wow. That sounds like a real + good deal. But I think I have a + better one. How about I just give + you the finger -- + + + +He does. + + NEO + And you give me my phone call! + + + +Agent Smith puts his glasses back on. + + AGENT SMITH + You disappoint me, Mr. Anderson. + + + + NEO + You can't scare me with this + Gestapo crap. I know my rights. I + want my phone call! + + + +Agent Smith smiles. + + AGENT SMITH + And tell me, Mr. Anderson, what + good is a phone call if you are + unable to speak? + 29. + + + The question unnerves Neo and strangely he begins to feel + the muscles in his jaw tighten. The standing Agents + snicker, watching Neo's confusion grow into panic. + + Neo feels his lips grow soft and sticky as they slowly seal + shut, melding into each other until all traces of his mouth + are gone. + + Wild with fear, he lunges for the door but the Agents + restrain him, holding him in the chair. + + AGENT SMITH + You are going to help us, Mr. + Anderson, whether you want to or + not. + + + + Smith nods and the other two rip open his shirt. From a + case taken out of his suit coat, Smith removes a long, + fiber-optic wire tap. + + Neo struggles helplessly as Smith dangles the wire over his + exposed abdomen. Horrified, he watches as the electronic + device animates, becoming an organic creature that + resembles a hybrid of an insect and a fluke worm. + + Thin, whisker-like tendrils reach out and probe into Neo's + navel. He bucks wildly as Smith drops the creature which + looks for a moment like an uncut umbilical cord -- + + -- before it begins to burrow, its tail thrashing as it + worms its way inside. + + + + +22 INT. NEO'S APARTMENT - NIGHT 22 + + Screaming, Neo bolts upright in bed. + + He realizes that he is home. Was it a dream? His mouth is + normal. His stomach looks fine. He starts to take a deep, + everything-is-okay breath when -- + + The PHONE RINGS. + + It almost stops his heart. It continues RINGING, building + pressure in the room, forcing him up out of bed, sucking + him in with an almost gravitational force. He answers it, + saying nothing. + + MORPHEUS (V.O.) + 30. + + + This line is tapped so I must be + brief. + + + + NEO + The Agents -- + + + + MORPHEUS (V.O.) + They got to you first, but they've + underestimated how important you + are. If they knew what I know, you + would probably be dead. + + + + NEO + What are you talking about? What + the hell is happening to me? + + + + MORPHEUS (V.O.) + You're the One, Neo. You see, you + may have spent the last few years + looking for me, but I've spent most + of my life looking for you. + + + +Neo feels sick. + + MORPHEUS (V.O.) + Do you still want to meet? + + + + NEO + -- Yes. + + + + MORPHEUS (V.O.) + Go to the Adams Street bridge. + + + +CLICK. He closes his eyes, unsure of what he has done. + 31. + + +23 EXT. CITY STREET - NIGHT 23 + + It is just beyond the middle of the night; that time when + it seems there are no rules and everything feels unsafe. + Neo's boots scrape against the concrete. Every pair of eyes + he passes seems to follow him. Rain pours from a black sky. + + As he reaches the bridge, headlights creep in behind him. + He turns just as the car slides quickly to a stop beside + him. The back door opens. + + TRINITY + Get in. + + + + +24 INT. CAR 24 + + A large man named APOC is driving. Beside him is a + beautiful androgyne called SWITCH, aiming a large gun at + Neo. WINDOW WIPERS BEAT HEAVILY against the windshield. + + NEO + What the hell is this?! + + + + TRINITY + It's necessary, Neo. For our + protection. + + + + NEO + From what? + + + + TRINITY + From you. + + + + She lifts a strange steel and glass device that looks like + a cross between a rib separator, speculum and air + compressor. + + SWITCH + Take off your shirt. + 32. + + +He looks at the strange device and the gun still trained on +him. + + NEO + What? Why? + + + + SWITCH + Stop the car. + + + +Apoc does. + + SWITCH + Listen to me, coppertop! We don't + have time for 'twenty questions.' + Right now there is only one rule. + Our way or the highway. + + + + NEO + Fine. + + + +Neo opens the door. + + TRINITY + Neo, please, you have to trust me. + + + + NEO + Why? + + + + TRINITY + Because you've been down there, + Neo. You already know that road. + You know exactly where it ends. + + + +Neo stares out into the sheets of rain railing against the +dark street beyond the open door. + + TRINITY + 33. + + + And I know that's not where you + want to be. + + + + He closes the door. + + + + +25 EXT. DARK STREET 25 + + A moment later the green street lights curve over the car's + tinted windshield as it rushes through the wet underworld. + + + + +26 INT. CAR 26 + + Neo grudgingly strips off his T-shirt. + + TRINITY + Lie back. + + + + Trinity aims the device at Neo, its glass snout forming a + seal over his navel. Switch snaps a cable into the front + seat cigarette lighter. + + NEO + What is this thing? + + + + TRINITY + We think you're bugged. Try to + relax. + + + + She turns a dial and the machine bears down on Neo's + midsection, the cylinder sucking hard at his stomach. + + Neo screams, squinting in pain as Trinity watches the + needle on a pressure gauge climb steadily. + + TRINITY + Come on, come on-- + 34. + + + On a small monitor that projects an ultrasound-like image, + we see Neo's insides begin to slither and churn. He gasps + as something wiggles beneath his skin inside his stomach. + + SWITCH + It's on the move. + + + + TRINITY + Shit. + + + + SWITCH + You're gonna lose it. + + + + TRINITY + No I'm not. Clear. + + + + The foreboding word hangs in Neo's ear for a moment when + Trinity squeezes a trigger. Electric current hammers into + Neo and rigid convulsions take hold of him beneath the + flickering car lamp until -- + + Something finally rockets wetly out of Neo's stomach + through the extractor's coils. + + NEO + Jesus Christ! It's real?! That + thing is real?! + + + + Trinity lifts a glass cage at the end of the tubing. + Inside, the small fluke-like bug flips and squirms, its + tendrils flapping against the clear walls. + + She unrolls the window and dumps it out. + + + + +27 EXT. CAR 27 + + It hits the pavement with a metallic tink, reverted back + into a common wire tap, as the car disappears into the + rainy night. + 35. + + + + +28 EXT. HOTEL LAFAYETTE 28 + + The car stops in a deserted alley behind a forgotten hotel. + + + + +29 INT. HOTEL LAFAYETTE 29 + + It is a place of putrefying elegance, a rotting host of + urban maggotry. + + Trinity leads Neo from the stairwell down the hall of the + thirteenth floor. They stop outside room 1313. + + TRINITY + This is it. + + + + Neo can hear his own heart pounding. + + TRINITY + Let me give one piece of advice. Be + honest. He knows more than you can + possibly imagine. + + + + +30 INT. ROOM 1313 30 + + Across the room, a DARK FIGURE stares out the tall windows + veiled with decaying lace. He turns and his smile lights up + the room. A dull ROAR of THUNDER shakes the old building. + + MORPHEUS + At last. + + + + He wears a long black coat and his eyes are invisible + behind circular mirrored glasses. He strides to Neo and + they shake hands. + + MORPHEUS + Welcome, Neo. As you no doubt have + guessed, I am Morpheus. + 36. + + + + + NEO + It's an honor. + + + + MORPHEUS + No, the honor is mine. Please. + Come. Sit. + + + +He nods to Trinity and she exits through a door to an +adjacent room. They sit across from one another in cracked, +burgundy-leather chairs. + + MORPHEUS + I imagine, right now, you must be + feeling a bit like Alice, tumbling + down the rabbit hole? + + + + NEO + You could say that. + + + + MORPHEUS + I can see it in your eyes. You have + the look of a man who accepts what + he sees because he is expecting to + wake up. + + + +A smile, razor-thin, curls the corner of his lips. + + MORPHEUS + Ironically, this is not far from + the truth. But I'm getting ahead of + myself. Can you tell me, Neo, why + are you here? + + + + NEO + You're Morpheus. You're a legend. + Most hackers would die to meet you. + 37. + + + MORPHEUS + Yes. Thank you. But I think we both + know there's more to it than that. + Do you believe in fate, Neo? + + + + NEO + No. + + + + MORPHEUS + Why not? + + + + NEO + Because I don't like the idea that + I'm not in control of my life. + + + + MORPHEUS + I know exactly what you mean. + + + +Again, that smile that could cut glass. + + MORPHEUS + Let me tell you why you are here. + You have come because you know + something. What you know you can't + explain but you feel it. You've + felt it your whole life, felt that + something is wrong with the world. + You don't know what, but it's there + like a splinter in your mind, + driving you mad. It is this feeling + that brought you to me. Do you know + what I'm talking about? + + + + NEO + The Matrix? + + + + MORPHEUS + Do you want to know what it is? + 38. + + + + +Neo swallows hard and nods. + + MORPHEUS + The Matrix is everywhere, it's all + around us, here even in this room. + You can see it out your window or + on your television. You feel it + when you go to work, or go to + church or pay your taxes. It is the + world that has been pulled over + your eyes to blind you from the + truth. + + + + NEO + What truth? + + + + MORPHEUS + That you are a slave, Neo. Like + everyone else, you were born into + bondage, kept inside a prison that + you cannot smell, taste, or touch. + A prison for your mind. + + + +The LEATHER CREAKS as he leans back. + + MORPHEUS + Unfortunately, no one can be told + what the Matrix is. You have to see + it for yourself. + + + +Morpheus opens his hands. In the right is a red pill. In +the left, a blue pill. + + MORPHEUS + This is your last chance. After + this, there is no going back. You + take the blue pill and the story + ends. You wake in your bed and you + believe whatever you want to + believe. + 39. + + + The pills in his open hands are reflected in the glasses. + + MORPHEUS + You take the red pill and you stay + in Wonderland and I show you how + deep the rabbit-hole goes. + + + + Neo feels the smooth skin of the capsules, the moisture + growing in his palms. + + MORPHEUS + Remember that all I am offering is + the truth. Nothing more. + + + + Neo opens his mouth and swallows the red pill. The Cheshire + smile returns. + + MORPHEUS + Follow me. + + + + +31 INT. OTHER ROOM 31 + + He leads Neo into the other room, which is cramped with + high-tech equipment, glowing ash-blue and electric green + from the racks of monitors. Trinity, Apoc, Switch and + Cypher look up as they enter. + + MORPHEUS + Apoc, are we on-line? + + + + APOC + Almost. + + + + He and Trinity are working quickly, hardwiring a complex + system of monitors, modules and drives. + + MORPHEUS + Neo, time is always against us. + Will you take a seat there? + 40. + + +Neo sits in a chair in the center of the room and Trinity +begins gently fixing white electrode disks to him. Near the +chair is an old oval dressing mirror that is cracked. He +whispers to Trinity: + + NEO + You did all this? + + + +She nods, placing a set of headphones over his ears. They +are wired to an old hotel phone. + + MORPHEUS + The pill you took is part of a + trace program. It's designed to + disrupt your input/output carrier + signal so we can pinpoint your + location. + + + + NEO + What does that mean? + + + + CYPHER + It means buckle up, Dorothy, 'cause + Kansas is going bye-bye. + + + +Distantly, through the ear phones, he hears Apoc POUNDING +on a KEYBOARD. Sweat beads his face. His eyes blink and +twitch when he notices the mirror. + +Wide-eyed, he stares as it begins to heal itself, a webwork +of cracks that slowly run together as though the mirror +were becoming liquid. + + NEO + Did you--? + + + +Cypher works with Apoc, checking reams of phosphorescent +data. Trinity monitors Neo's electric vital signs. Neo +reaches out to touch the mirror and his fingers disappear +beneath the rippling surface. + 41. + + +Quickly, he tries to pull his fingers out but the mirror +stretches in long rubbery strands like mirrored taffy stuck +to his fingertips. + + MORPHEUS + Have you ever had a dream, Neo, + that you were so sure was real? + + + +A flash of lightning flickers white hot against Neo. + + NEO + This can't be-- + + + + MORPHEUS + Be what? Be real? + + + +The strands thin like rubber cement as he pulls away, until +the fragile wisps of mirror thread break. + + MORPHEUS + What if you were unable to wake + from that dream, Neo? How would you + know the difference between the + dreamworld and the real world? + + + +Neo looks at his hand; fingers distended into mirrored +icicles that begin to melt rapidly, dripping, running like +wax down his fingers, spreading across his palm where he +sees his face reflected. + + NEO + Uh-oh-- + + + + TRINITY + It's going into replication. + + + + MORPHEUS + Apoc? + 42. + + + APOC + Still nothing. + + + +Morpheus takes out a cellular phone and dials a number. + + MORPHEUS + Tank, we're going to need the + signal soon. + + + +The mirror gel seems to come to life, racing, crawling up +his arms like hundreds of insects. + +The mirror creeps up his neck as Neo begins to panic, +tipping his head as though he were sinking into the mirror, +trying to keep his mouth up. + + NEO + It's cold. + + + + TRINITY + I got fibrillation! + + + + MORPHEUS + Shit! Apoc? + + + +Streams of mercury run from Neo's nose. + + APOC + Targeting-- almost there. + + + +An ALARM on Trinity's monitor ERUPTS. + + TRINITY + He's going into arrest! + + + + APOC + Lock! I got him! + 43. + + + + + MORPHEUS + Now, Tank, now! + + + + His eyes tear with mirror, rolling up and closing as a + HIGH-PITCHED ELECTRIC SCREAM erupts in the HEADPHONES. It + is a piercing shriek like a computer calling to another + computer -- + + Neo's body arches in agony and we are PULLED like we were + pulled INTO the holes of the phone, sucked into his scream + and swallowed by darkness. + + + + +32 INT. POWER PLANT 32 + + CLOSE ON MAN'S BODY floating in a magenta amnion. + + His body spasms, fighting against the thick gelatin. + + Metal tubes, surreal versions of hospital tubes, obscure + his face. Other lines like IVs are connected to limbs and + cover his genitals. + + He is struggling desperately now. Air bubbles into the + Jell-O but does not break the surface. Pressing up, the + surface distends, stretching like a red rubber cocoon. + + Unable to breathe, he fights wildly to stand, clawing at + the thinning elastic shroud, until it ruptures, a hole + widening around his mouth as he sucks for air. Tearing + himself free, he emerges from the cell. + + It is Neo. + + He is bald and naked, his body slick with gelatin. Dizzy, + nauseous, he waits for his vision to focus. + + He is standing in an oval capsule of clear alloy filled + with magenta gelatin, the surface of which has solidified + like curdled milk. The IVs in his arms are plugged into + outlets that appear to be grafted to his flesh. + + He feels the weight of another cable and reaches to the + back of his head where he finds an enormous coaxial plugged + and locked into the base of his skull. He tries to pull it + out but it would be easier to pull off a finger. + 44. + + + To either side he sees other tube-shaped pods filled with + magenta gelatin; beneath the wax-like surface, pale and + motionless, he sees other human beings. + + Fanning out in a circle, there are more. All connected to a + center core, each capsule like a red, dimly-glowing petal + attached to a black metal stem. + + Above him, level after level, the stem rises seemingly + forever. He moves to the foot of the capsule and looks out. + The image assaults his mind. + + Towers of glowing petals spiral up to incomprehensible + heights, disappearing down into a dim murk like an + underwater abyss. + + His sight is blurred and warped, exaggerating the intensity + of the vision. The sound of the plant is like the sound of + the ocean heard from inside the belly of Leviathan. + + From above, a machine drops directly in front of Neo. He + swallows his scream as it seems to stare at him. It is + almost insect-like in its design; beautiful housings of + alloyed metal covering organic-like systems of hard and + soft polymers. + + The machine seizes hold of Neo, paralyzing him as the cable + lock at the back of his neck spins and opens. + + The cable disengages itself. A long, clear plastic needle + and cerebrum-chip slides from the anterior of Neo's skull + with an ooze of blood and spinal fluid. The other + connective hoses snap free and snake away as the machine + lets Neo go. + + Suddenly, the back of the unit opens and a tremendous + vacuum, like an airplane door opening, sucks the gelatin + and then Neo into a black hole. + + + + +33 INT. WASTE LINE 33 + + The pipe is a waste disposal system and Neo falls, sliding + with the clot of gelatin. + + Banking through pipe spirals and elbows, flushing up + through grease traps clogged with oily clumps of cellulite. + 45. + + +34 INT. SEWER MAIN 34 + + Neo begins to drown when he is suddenly snatched from the + flow of waste. + + The metallic cable then lifts, pulling him up into the + belly of the futuristic flying machine hovering inside the + sewer main. + + + + +35 INT. HOVERCRAFT 35 + + The metal harness opens and drops the half-conscious Neo + onto the floor. Human hands and arms help him up as he + finds himself looking straight at Morpheus. + + He smiles. + + MORPHEUS + Welcome to the real world, Neo. + + + + Neo passes out. + + FADE TO BLACK. + + FADE IN: + + + + +36 INT. HOVERCRAFT 36 + + We have no sense of time. We hear voices whispering. + + MORPHEUS (O.S.) + We've done it, Trinity. We found + him. + + + + TRINITY (O.S.) + I hope you're right. + + + + MORPHEUS (O.S.) + I don't have to hope it. I know it. + 46. + + + + + Neo's eyes flutter open. We see Morpheus' face above us, + angelic in the fluorescent glow of a light stick. + + NEO (O.S.) + -- am I dead? + + + + MORPHEUS + Far from it. + + + + FADE TO BLACK. + + + + +37 INT. HOVERCRAFT - INFIRMARY 37 + + He opens his eyes again, something tingling through him. He + focuses and sees his body pierced with dozens of + acupuncture-like needles wired to a strange device. + + DOZER + He still needs a lot of work. + + + + DOZER and Morpheus are operating on Neo. + + NEO + What are you doing? + + + + MORPHEUS + Your muscles have atrophied. We're + rebuilding them. + + + + Fluorescent light sticks burn unnaturally bright. + + NEO + Why do my eyes hurt? + + + + MORPHEUS + 47. + + + You've never used them before. + + + + Morpheus closes Neo's eyes and Neo lays back. + + MORPHEUS + Rest, Neo. The answers are coming. + + + + +38 INT. NEO'S ROOM 38 + + Neo wakes up from a deep sleep, feeling better. He begins + to examine himself. There is a futuristic IV plugged into + the jack in his forearm. He pulls it out, staring at the + grafted outlet. + + He runs his hand over the short hair now covering his head. + His fingers find and explore the large outlet in the base + of his skull. + + Just as he starts to come unglued, Morpheus opens the door. + + NEO + Morpheus, what's happened to me? + What is this place? + + + + MORPHEUS + More important than what is when? + + + + NEO + When? + + + + MORPHEUS + You believe the year is 1997 when + in fact it is much closer to 2197. + I can't say for certain what year + it is because we honestly do not + know. + + + + The wind is knocked from Neo's chest. + 48. + + + MORPHEUS + There is no reason for me to try to + explain it when I can simply show + it. Come with me. + + + + +39 INT. HOVERCRAFT 39 + + Like a sleepwalker, Neo follows Morpheus through the ship. + + MORPHEUS + This is my ship, the + Nebuchadnezzar. It's a hovercraft. + Small like a submarine. It's + cramped and cold. But it's home. + + + + They climb a ladder up to the main deck. + + + + +40 INT. MAIN DECK 40 + + Everyone is there. + + MORPHEUS + This is the main deck. You know + most of my crew. + + + + Trinity smiles and nods. + + MORPHEUS + The ones you don't know. That's + Mouse, Cypher, and Switch. Those + two guys are Tank and Dozer. + + + + The names and faces wash meaninglessly over Neo. + + MORPHEUS + And this, this is the Core. This is + where we broadcast our pirate + signal and hack into the Matrix. + 49. + + + It is a swamp of bizarre electronic equipment. Vines of + coaxial hang and snake to and from huge monolithic battery + slabs, a black portable satellite dish and banks of life + systems and computer monitors. + + At the center of the web, there are six ecto-skeleton + chairs made of a poly-alloy frame and suspension harness. + Near the circle of chairs is the control console and + operator's station where the network is monitored. + + MORPHEUS + You want to know what the Matrix + is, Neo? The answer is right here. + + + + He touches the back of Neo's head. + + MORPHEUS + Help him, Trinity. + + + + Neo allows himself to be helped into one of the chairs. He + feels Morpheus guiding a coaxial line into the jack at the + back of his neck. The cable has the same kind of cerebrum + chip we saw inside the plant. + + MORPHEUS + This will feel a little weird. + + + + There are several disturbing noises as he works the needle + in. + + We MOVE IN as Neo's shoulders bunch and his face tightens + into a grimace until a loud CLICK fires and his ears pop + like when you equalize them underwater. + + He relaxes, opening his eyes as we PULL BACK to a feeling + of weightlessness inside another place -- + + + + +41 INT. CONSTRUCT 41 + + Neo is standing in an empty, blank-white space. + + MORPHEUS + This is the Construct. + 50. + + + + +Startled, Neo whips around and finds Morpheus now in the +room with him. + + MORPHEUS + It is our loading program. We can + load anything from clothes, to + weapons, to training simulations. + Anything we need. + + + +Morpheus walks past Neo and when Neo turns he sees the two +leather chairs from the Hotel Lafayette set up in front of +a large screen television. + + MORPHEUS + Sit down. + + + +Neo stands at the back of the chair as Morpheus sits. + + NEO + Right now, we're inside a computer + program? + + + +Morpheus smiles. + + MORPHEUS + Is it so hard to believe? Your + clothes are different, the plugs in + your arms and head are gone. Look + at your hair, you were bald a + moment ago. + + + +Neo touches his head. + + MORPHEUS + It's what we call residual self + image. The mental projection of + your electronic self. Wild, isn't + it? + + + +Neo's hands run over the cracked leather. + 51. + + + NEO + This -- This isn't real? + + + + MORPHEUS + What is real? How do you define + real? If you're talking about what + you feel, taste, smell, or see, + then real is simply electrical + signals interpreted by your brain. + + + +He picks up a remote control and clicks on the television. +On the television, we see images of the Twentieth Century +city where Neo lived. + + MORPHEUS + This is the world you know. The + world as it was at the end of the + Twentieth Century. It exists now + only as part of a neural- + interactive simulation that we call + the Matrix. + + + +He changes the channel and we see a very different city as +we enter the television. + + MORPHEUS + You have been living inside a + dreamworld, Neo. As in + Baudrillard's vision, your whole + life has been spent inside the map, + not the territory. This is the + world as it exists today. + + + +In the distance, we see the ruins of a future city +protruding from the wasteland like the blackened ribs of a +long-dead corpse. + + MORPHEUS + 'The desert of the real.' + + + +Beneath us, the water is gone. + 52. + + +We TURN AND DESCEND, SPIRALING DOWN TOWARD the lake bed +which is scorched and split like burnt flesh, where we FIND +Morpheus and Neo. Neo clings to the chair, trying to get +his bearings. + + MORPHEUS + We have only bits and pieces of + information. What we know for + certain is that, at some point in + the early Twenty-first Century, all + of mankind was united in + celebration. Through the blinding + inebriation of hubris, we marveled + at our magnificence as we gave + birth to A.I. + + NEO + A.I.? You mean artificial + intelligence? + + + + MORPHEUS + Yes. A singular consciousness that + spawned an entire race of machines. + I must say I find it almost funny + to imagine the world slapping + itself on the back, toasting the + new age. I say almost funny. + + + +He looks up and his sunglasses reflect the obsidian clouds +roiling overhead. + + MORPHEUS + We don't know who struck first. Us + or them. But we do know it was us + that scorched the sky. At the time, + they were dependent on solar power. + It was believed they would be + unable to survive without an energy + source as abundant as the sun. + + + +As we DESCEND INTO the circular window of his glasses, +there is a flash of lightning. + + MORPHEUS + 53. + + + Throughout human history, we have + been dependent on machines to + survive. Fate, it seems, is not + without a sense of irony. + + + + +42 EXT. FETUS FIELDS 42 + + On the flash, we PULL BACK from the darkness which reveals + itself to be the black eye of a fetus. + + MORPHEUS + The Machines discovered a new form + of fusion. All they needed was a + small electrical charge to initiate + the reaction. + + + + The fetus is suspended in a placenta-like husk, where its + malleable skull is already growing around the brain-jack. + + MORPHEUS + The human body generates more + bioelectricity than a 120-volt + battery and over 25,000 B.T.U.'s of + body heat. + + + + The husk hanging from a stalk is plucked by a thresher- + like farm machine. + + MORPHEUS + There are fields, endless fields + where human beings are no longer + born; we are grown. + + + + We RISE UP, the field stretching in every direction to the + horizon, lightning tearing open the sky as a harvester + sweeps past us. + + + + +43 INT. POWER PLANT 43 + + From the yawning black of the waste port, we begin to PULL + BACK as it snaps shut. + 54. + + + Red amniotic gel flows into the pod below us, pooling + around a tiny newborn that suckles its feed tube. + + MORPHEUS + For the longest time, I wouldn't + believe it. But then I saw the + fields with my own eyes, watched + them liquefy the dead so they could + be fed intravenously to the living + and standing there, facing the + efficiency, the pure, horrifying + precision, I came to realize the + obviousness of the truth. + + + + Still PULLING BACK, we see the image of the power plant now + on the television as we return to the white space of the + construct. + + + + +44 INT. CONSTRUCT 44 + + Morpheus steps INTO VIEW as he clicks off the television. + + MORPHEUS + What is the Matrix? Control. + + + + He opens the back of the television remote control. + + MORPHEUS + The Matrix is a computer-generated + dreamworld built to keep us under + control in order to change a human + being into this. + + + + He holds up a coppertop battery. + + NEO + No! I don't believe it! It's not + possible! + + + + MORPHEUS + 55. + + + I didn't say that it would be easy, + Neo. I just said that it would be + the truth. + + + + NEO + Stop! Let me out! I want out! + + + + +45 INT. MAIN DECK 45 + + His eyes snap open and he thrashes against the chair, + trying to rip the cable from the back of his neck. + + NEO + Get this thing out of me! + + + + TRINITY + Easy, Neo. Easy. + + + + Dozer holds him while Trinity unlocks it. Once it's out, he + tears away from them, falling as he trips free of the + harness. + + NEO + Don't touch me! Get away from me! + + + + On his hands and knees, he reels as the world spins. Sweat + pours off him as a pressure builds inside his skull as if + his brain had been put into a centrifuge. + + NEO + I don't believe it! I don't believe + it! + + + + CYPHER + He's going to pop! + + + + Vomiting violently, Neo pitches forward and blacks out. + 56. + + + + +46 INT. NEO'S ROOM 46 + + He blinks, regaining consciousness. The room is dark. Neo + is stretched out on his bed. + + NEO + I can't go back, can I? + + + + Morpheus is sitting like a shadow on a chair in the far + corner. + + MORPHEUS + No. But if you could, would you + really want to? + + + + Deep down, Neo knows that answer. + + MORPHEUS + I feel that I owe you an apology. + There is a rule that we do not free + a mind once it reaches a certain + age. It is dangerous. They have + trouble letting go. Their mind + turns against them. I've seen it + happen. I'm sorry. I broke the rule + because I had to. + + + + He stares into the darkness, confessing as much to himself + as to Neo. + + MORPHEUS + When the Matrix was first built + there was a man born inside that + had the ability to change what he + wanted, to remake the Matrix as he + saw fit. It was this man that freed + the first of us and taught us the + truth; as long as the Matrix + exists, the human race will never + be free. + + He pauses. + + MORPHEUS + 57. + + + When he died, the Oracle prophesied + his return and envisioned that his + coming would hail the destruction + of the Matrix, an end to the war + and freedom for our people. That is + why there are those of us that have + spent our entire lives searching + the Matrix, looking for him. + + + + Neo can feel his eyes on him. + + MORPHEUS + I did what I did because I believe + the search is over. + + + + He stands up. + + MORPHEUS + Get some rest. You're going to need + it. + + + + NEO + For what? + + + + MORPHEUS + Your training. + + +47 INT. HOVERCRAFT 47 + + There is no morning; there is only darkness and then the + fluorescent light sticks flicker on. + + + + +48 INT. NEO'S ROOM 48 + + Neo is awake in his bed, staring up at the lights. The door + opens and TANK steps inside. + + TANK + Morning. Did you sleep? + 58. + + + + + NEO + No. + + + + TANK + You will tonight. I guarantee it. + I'm Tank. I'll be your operator. + + + +He offers his hand and Neo shakes it. He notices that Tank +doesn't have any jacks. + + NEO + You don't have-- + + + + TANK + Any holes? Nope. Me and my brother + Dozer, we are one hundred percent + pure, old- fashioned, home-grown + human. Born free. Right here in the + real world. Genuine child of Zion. + + + + NEO + Zion? + + + + TANK + If this war ended tomorrow, Zion is + where the party would be. + + + + NEO + It's a city? + + + + TANK + The last human city. The only place + we got left. + 59. + + + NEO + Where is it? + + + + TANK + Deep underground. Near the earth's + core, where it's still warm. You + live long enough, you might even + see it. + (he smiles) + Goddamn, I got to tell you, I'm + fairly excited to see what you are + capable of. I mean if Morpheus is + right and all. We're not supposed + to talk about any of that but if + you are, well then this is an + exciting time. We got a lot to do + so let's get to it. + + + + +49 INT. MAIN DECK 49 + + Neo is plugged in, hanging in one of the suspension chairs. + + TANK + We're supposed to load all these + operations programs first, but this + is some major boring shit. Why + don't we start with something a + little fun? + + + + Tank smiles as he plops into his operator's chair. He + begins flipping through a tall carousel loaded with micro + discs. + + TANK + How about some combat training? + + + + Neo reads the label on the disk. + + NEO + Jujitsu? I'm going to learn + jujitsu? + 60. + + + Tank slides the disk into Neo's supplement drive. + + NEO + No way. + + + + Smiling, Tank punches the "load" code. His body jumps + against the harness as his eyes clamp shut. The monitors + kick wildly as his heart pounds, adrenaline surges, and his + brain sizzles. An instant later his eyes snap open. + + NEO + Holy shit! + + + + TANK + Hey, Mikey, he likes it! Ready for + more? + + + + NEO + Hell yes! + + + + +50 INT. MAIN DECK 50 + + CLOSE ON a computer monitor as grey pixels slowly fill a + small, half-empty box. It is a meter displaying how much + download time is left. + + The title bar reads: "Combat Series 10 of 12," file + categories flashing beneath it: "Savate, Jujitsu, Ken Po, + Drunken Boxing--" + + Morpheus walks in. + + MORPHEUS + How is he? + + + + TANK + Ten hours straight. He's a machine. + 61. + + + Neo's body spasms and relaxes as his eyes open, breath + hissing from his lips. He looks like he just orgasmed. + + NEO + This is incredible. I know kung fu. + + + + MORPHEUS + Show me. + + + + +51 INT. DOJO 51 + + They are standing in a very sparse Japanese-style dojo. + + MORPHEUS + This is a sparring program, similar + to the programmed reality of the + Matrix. It has the same basic + rules. Rules like gravity. What you + must learn is that these rules are + no different than the rules of a + computer system. Some of them can + be bent. Others can be broken. + Understand? + + + + Neo nods as Morpheus assumes a fighting stance. + + MORPHEUS + Then hit me, if you can. + + + + Neo assumes a similar stance, cautiously circling until he + gives a short cry and launches a furious attack. + + It is like a Jackie Chan movie at high speed, fists and + feet striking from every angle as Neo presses his attack, + but each and every blow is blocked by effortless speed. + + + + +52 INT. MAIN DECK 52 + + While their minds battle in the programmed reality, the two + bodies appear quite serene, suspended in the drive chairs. + 62. + + + Tank monitors their Life Systems, noticing that Neo is + wildly and chaotically lit up as opposed to the slow and + steady rhythm of Morpheus. + + + + +53 INT. MESS HALL 53 + + MOUSE bursts into the room, interrupting dinner. + + MOUSE + Morpheus is fighting Neo! + + + + All at once, everyone bolts for the door. + + + + +54 INT. DOJO 54 + + Neo's face is knotted, teeth clenched, as he hurls himself + at Morpheus. + + MORPHEUS + Good. Adaptation. Improvisation. + But your weakness isn't your + technique. + + + + Morpheus attacks him and it is like nothing we have seen. + His feet and fists are everywhere, taking Neo apart. For + every blow Neo blocks, five more hit their marks until -- + + Neo falls. + + Panting, on his hands and knees, blood spits from his + mouth, speckling the white floor of the dojo. + + MORPHEUS + How did I beat you? + + + + NEO + You -- You're too fast. + 63. + + + MORPHEUS + Do you think my being faster, + stronger has anything to do with my + muscles in this place? + + + + Neo is frustrated, still unable to catch his breath. + + MORPHEUS + Do you believe that's air you are + breathing now? + + + + Neo stands, nodding slowly. + + MORPHEUS + Again. + + + + Their fists fly with pneumatic speed. + + + + +55 INT. MAIN DECK 55 + + Everyone is gathered behind Tank, watching the fight, like + watching a game of Mortal Kombat. + + MOUSE + Jeezus Keeerist! He's fast! Look at + his neural-kinetics! They're way + above normal! + + + + +56 INT. DOJO 56 + + Morpheus begins to press Neo, countering blows while + slipping in several stinging slaps. + + MORPHEUS + Come on, Neo. What are you waiting + for? You're faster than this. Don't + think you are. Know you are. + 64. + + + Whack, Morpheus cracks Neo again. Neo's face twists with + rage as the speed of the blows rises like a drum solo. + + MORPHEUS + Come on! Stop trying to hit me and + just hit me. + + + + Wham. A single blow catches Morpheus on the side of the + head, knocking off his glasses. + + + + +57 INT. MAIN DECK 57 + + There are several gasps. + + MOUSE + I don't believe it! + + + + +58 INT. DOJO 58 + + Morpheus rubs his face, then smiles. + + NEO + I know what you're trying to do -- + + + + MORPHEUS + I'm trying to free your mind, Neo, + but all I can do is show you the + door. You're the one that has to + step through. Tank, load the jump + program. + + + + +59 INT. HOVERCRAFT 59 + + Apoc and Switch exchange looks as Tank grabs for the disk. + + + + +60 INT. CONSTRUCT - ROOFTOP - DAY 60 + 65. + + + Morpheus and Neo are again in the white space of the + Construct. Beneath their feet, we see the jump program rush + up at them until they are standing on a rooftop in a city + skyline. + + MORPHEUS + Let it all go, Neo. Fear. Doubt. + Disbelief. Free your mind. + + + + Morpheus spins, running hard at the edge of the rooftop. + And jumps. He sails through the air, his coat billowing out + behind him like a cape as he lands on the rooftop across + the street. + + NEO + Shit. + + + + Neo looks down at the street twenty floor below, then at + Morpheus an impossible fifty feet away. + + NEO + Okie dokie. Free my mind. Right. No + problem. + + + + He takes a deep breath. And starts to run. + + + + +61 INT. MAIN DECK 61 + + They are transfixed. + + MOUSE + What if he makes it? + + + + APOC + No way. Not possible. + + + + TANK + No one's ever made their first + jump. + 66. + + + + + MOUSE + I know, but what if he does? + + + + APOC + He won't. + + + + Trinity stares at the screen, her fists clenching as she + whispers. + + TRINITY + Come on. + + + + +62 EXT. ROOFTOP 62 + + Summoning every ounce of strength in his legs, Neo launches + himself into the air in a single maniacal shriek!-- + + -- but comes up drastically short. + + His eyes widen as he plummets. Stories fly by, the ground + rushing up at him, but as he hits, the ground gives way, + stretching like a trapeze net. He bounces and flips, slowly + coming to a rest, flat on his back. + + He laughs, a bit unsure, wiping the windblown tears from + his face. Morpheus exits the building and helps him to his + feet. + + MORPHEUS + Do you know why you didn't make it? + + + + NEO + Because-- I didn't think I would? + + + + Morpheus smiles and nods. + 67. + + +63 INT. MAIN DECK 63 + + They break up. + + MOUSE + What does it mean? + + + + SWITCH + It doesn't mean anything. + + + + CYPHER + Everyone falls the first time, + right, Trinity? + + + + But Trinity has already left. + + Neo's eyes open as Tank eases the plug out. He tries to + move and groans, cradling his ribs. While Tank helps + Morpheus, Neo spits blood into his hand. + + NEO + I thought it wasn't real. + + + + MORPHEUS + Your mind makes it real. + + + + Neo stares at the blood. + + NEO + If you are killed in the Matrix, do + you die here? + + + + MORPHEUS + The body cannot live without the + mind. + + + + +64 INT. NEO'S ROOM 64 + 68. + + + Trinity enters from the hall, carrying a tray of food. + + TRINITY + Neo, I saved you some dinner -- + + + + She sees him passed out on the bed. She sets the tray down + and pulls the blanket over him. + + She pauses, her face close to his, then inhales lightly, + breathing in the scent of him before slowly pulling away. + + + + +65 INT. HALL 65 + + Trinity steps out of Neo's room to find Cypher watching + her. + + CYPHER + I don't remember you ever bringing + me dinner. + + + + Trinity says nothing. + + CYPHER + There's something about him, isn't + there? + + + + TRINITY + Don't tell me you're a believer + now? + + + + CYPHER + I just keep wondering if Morpheus + is so sure, why doesn't he take him + to the Oracle? She would know. + + + + TRINITY + Morpheus will take him when he's + ready. + 69. + + + + + She turns and he watches her walk away. + + + + +66 EXT. CITY STREET - TRAINING PROGRAM - DAY 66 + + Morpheus moves effortlessly through a crowded downtown + street while Neo struggles to keep up, constantly bumped + and shouldered off the path. + + MORPHEUS + The Matrix is a system, Neo, and + that system is our enemy. But when + you are inside and you look around, + what do you see; businessmen, + lawyers, teachers, carpenters. The + minds of the very people we are + trying to save. But until we do, + these people are still a part of + the system and that makes them our + enemy. + + A cop writing a parking ticket stares at Neo from behind + his sunglasses. + + MORPHEUS + You have to understand that most of + these people are not ready to be + unplugged and many of them are so + inured, so hopelessly dependent on + the system that they will fight to + protect it. + + + + A beautiful woman in a red dress smiles at Neo as she + passes by. + + MORPHEUS + Were you listening to me, Neo? Or + were you looking at the woman in + the red dress? + + + + NEO + I was-- + 70. + + + MORPHEUS + Look again. + + + +Neo turns just as Agent Smith levels a gun at his face. Neo +screams. + + MORPHEUS + Freeze it. + + + +Everything except Morpheus and Neo freezes. + + NEO + This -- this isn't the Matrix? + + + + MORPHEUS + No, it's another training program + designed to teach you one thing; if + you are not one of us, you're one + of them. + + + + NEO + What are they? + + + + MORPHEUS + Sentient programs. They can move in + and out of any software still + hardwired to their system. That + means that anyone that we haven't + unplugged is potentially an Agent. + Inside the Matrix, they are + everyone and they are no one. + + + +Neo stares at the Agent. + + MORPHEUS + 71. + + + We've survived by hiding from them, + running from them, but they are the + gatekeepers, they're guarding all + the doors, holding all the keys, + which means that sooner or later + someone is going to have to fight + them. + + + + NEO + Someone? + + + + MORPHEUS + I won't lie to you, Neo. Every + single man or woman who has stood + their ground, who has fought an + Agent, has died. But where they + failed, you will succeed. + + + + NEO + Why? + + + + MORPHEUS + I've seen an Agent punch through a + concrete wall. Men have emptied + entire clips at them and hit + nothing but air. Yet their strength + and their speed are still based on + a world that is built by rules. + Because of that they will never be + as strong or as fast as you can be. + + + +Neo scratches his head. + + NEO + What? Are you trying to tell me + that I can dodge bullets? + + + + MORPHEUS + No, Neo. I'm trying to tell you + that when you're ready, you won't + have to. + 72. + + + + + Morpheus' cell PHONE RINGS and he flips it open. + + TANK (V.O.) + We got trouble. + + + + +67 EXT. SEWER MAIN 67 + + The Nebuchadnezzar blisters by, trailing a swirling, + supercharged, electromagnetic wake. + + + + +68 INT. COCKPIT 68 + + Morpheus slides into the copilot's chair next to Dozer. + + MORPHEUS + Did Zion send the warning? + + + + DOZER + No. Another ship. Big Brother I + think, they're running a parallel + pipeline. + + + + Morpheus scans the decayed landscape of the sewer main that + rolls by as Neo and Trinity squeeze into the cockpit behind + him. An ALARM BEGINS TO SOUND. + + DOZER + Shit, Squiddy's sweeping in quick. + + + + MORPHEUS + Set it down in there. + + + + NEO + Squiddy? + 73. + + + TRINITY + A Sentinel. It's a killing machine + designed for one thing. + + + + DOZER + Search and destroy. + + + + Neo feels the ship rock to the side as it squeezes into a + tiny supply line. + + + + +69 EXT. HOVERCRAFT 69 + + The Nebuchadnezzar sets down, almost wedged into a pipe + that barely accommodates its size. + + + + +70 INT. COCKPIT 70 + + Morpheus clicks the intercom. + + MORPHEUS + How we doing, Tank? + + + + +71 INT. MAIN DECK 71 + + Tank works furiously at the operator's station as the + ceaseless WHIR of the ship's TURBINES GRIND TO a HALT. The + main deck is plunged into dark silence. The rest of the + screw stands behind him as he whispers. + + TANK + Power off-line. E.M.P. armed and + ready. + + + + Tank's fingers curl around a small key that glows a dim + red. + 74. + + +72 INT. COCKPIT 72 + + Neo leans into Trinity's ear. + + NEO + E.M.P.? + + + + TRINITY + An electromagnetic pulse. It + disables any electrical system in + the blast radius. It's the only + weapon we have against the + machines. + + + + Dozer looks up. + + DOZER + Now we wait. + + + + THROUGH the cockpit's windshield, the vast cavern of the + sewer main yawns before them. Strands of green haze curl + round mossy icicles that dangle into a pool of churning + frozen waste. Neo begins to angle around Dozer but Morpheus + grabs him. + + MORPHEUS + Don't move. It'll hear you. + + + + Neo freezes and they wait. Without the Nebuchadnezzar's + heating systems, the temperature in the cockpit begins to + rapidly drop. The crew members huddle together, their + breath freezing into a uniform cloud as it gets colder and + colder. + + Dozer quietly reaches to brush away the frost on the + windshield and as his hand clears a swath -- + + They see it. + + In the darkness, a shifting shadow of mechanized death. It + is beautiful and terrifying. Black alloy skin flickers like + sequins beneath sinewy coils and skeletal appendages. + 75. + + + Neo can feel the hairs on the back of his neck rise as it + silently glides over them with shark-like malevolence until + it disappears into the darkness. + + In the frozen little room, everyone breathes a little + easier. + + + + +73 INT. HALL 73 + + The ship is quiet and dark. Everyone is asleep. + + + + +74 INT. MAIN DECK 74 + + The core glows with monitor light. Cypher is in the + operator's chair as Neo comes up behind him. + + CYPHER + Whoa! Shit, Neo, you scared the + bejeezus out of me. + + + + NEO + Sorry. + + + + CYPHER + No, it's all right. + + + + Neo's eyes light up as he steps closer to the screens that + seem alive with a constant flow of data. + + NEO + Is that--? + + + + CYPHER + The Matrix? Yeah. + 76. + + +Neo stares at the endlessly shifting river of information, +bizarre codes and equations flowing across the face of the +monitor. + + NEO + Do you always look at it encoded? + + + + CYPHER + Have to. The image translators sort + of work for the construct programs + but there's way too much + information to decode the Matrix. + You get used to it, though. Your + brain does the translating. I don't + even see the code. All I see is + blonde, brunette, and redhead. You + want a drink? + + + +Neo nods and he pours a clear alcohol from a plastic jug. + + CYPHER + You know, I know what you're + thinking 'cause right now I'm + thinking the same thing. Actually, + to tell you the truth, I've been + thinking the same thing ever since + I got here. + + + +He raises the glass. + + CYPHER + Why, oh why, didn't I take that + blue pill? + + + +He throws the shot down his throat. Neo does the same and +it almost kills him. Smiling, Cypher slaps him on the back. + + CYPHER + Good shit, eh? Dozer makes it. It's + good for two things: degreasing + engines and killing brain cells. + 77. + + +Red-faced, Neo finally stops coughing. Cypher pours him +another. + + CYPHER + Can I ask you something? Did he + happen to tell you why he did it? + + + +Neo looks up, unsure. + + CYPHER + Why you're here? + + + + NEO + -- Yeah. + + + + CYPHER + Gee-zus! What a mindjob. You're + here to save the world. You gotta + be shitting me. What do you say to + something like that? + + + +Neo looks down at his drink. + + CYPHER + I'm going to let you in on a little + secret here. Now don't tell him I + told you this, but this ain't the + first time Morpheus thought he + found the One. + + + + NEO + Really? + + + + CYPHER + You bet your ass. It keeps him + going. Maybe it keeps all of us + going. + 78. + + + NEO + How many were there? + + + + CYPHER + Five. Since I've been here. + + + + NEO + What happened to them? + + + + CYPHER + Dead. All dead. + + + + NEO + How? + + + + CYPHER + Honestly. Morpheus. He got them all + amped up believing in bullshit. I + watched each of them take on an + Agent and I watched each of them + die. Little piece of advice: you + see an Agent, you do what we do; + run. Run your ass off. + + + +Neo gulps down another shot. + + NEO + Thanks-- for the drink. + + + + CYPHER + Anytime. + + + +Cypher nods as Neo heads for the ladder. + + CYPHER + Sweet dreams. + 79. + + + + +75 INT. RESTAURANT - NIGHT 75 + + CHAMBER MUSIC and the ambiance of wealth soak the + restaurant around us as we watch a serrated knife saw + through a thick, gorgeous steak. The meat is so perfect, + charred on the outside, oozing red juice from the inside, + that it could be a dream. + + We hear a voice that we recognize immediately. + + AGENT SMITH + Do we have a deal, Mr. Reagan? + + + + A fork stabs the cube of meat and we FOLLOW it UP TO the + face of Cypher. + + CYPHER + You know, I know that this steak + doesn't exist. I know when I put it + in my mouth, the Matrix is telling + my brain that it is juicy and + delicious. After nine years, do you + know what I've realized? + + + + He shoves it in, eyes rolling up, savoring the tender beef + melting in his mouth. + + CYPHER + Ignorance is bliss. + + + + Agent Smith watches him chew the steak loudly, smacking it + between his teeth. + + CYPHER + Mmm so, so goddamn good. + + + + AGENT SMITH + Then we have a deal? + 80. + + + CYPHER + I don't want to remember nothing. + Nothing! You understand? And I want + to be rich. Someone important. Like + an actor. You can do that, right? + + + + AGENT SMITH + Whatever you want, Mr. Reagan. + + + + Cypher takes a deep drink of wine. + + CYPHER + All right. You get my body back in + a power plant, reinsert me into the + Matrix and I'll get you what you + want. + + + + AGENT SMITH + Access codes to the Zion mainframe. + + + + CYPHER + I told you I don't know them. But I + can give you the man who does. + + + + AGENT SMITH + Morpheus. + + + + +76 INT. MESS HALL 76 + + CLOSE ON breakfast, a substance with a consistency + somewhere between yogurt and cellulite. + + TANK + Here you go, buddy. Breakfast of + champions. + 81. + + +Tank slides it in front of Neo and takes a seat with the +other crew members enjoying breakfast. + + APOC + You mean the breakfast, lunch, and + dinner of champions. + + + + MOUSE + If you close your eyes, it almost + feels like you're eating runny + eggs. + + + + APOC + Or a bowl of snot. + + + + MOUSE + But you know what it really reminds + me of? Cream of Wheat. Did you ever + eat Cream of Wheat? + + + + SWITCH + No, but technically neither did + you. + + + + MOUSE + Exactly my point, because you have + to wonder, how do the machines know + what Cream of Wheat really tasted + like? Maybe they got it wrong, + maybe what I think Cream of Wheat + tasted like actually tasted like + oatmeal, or tuna fish. It makes you + wonder about a lot of things. Take + chicken for example. Maybe they + couldn't figure out what to make + chicken taste like which is why + chicken tastes like everything. And + maybe -- + + APOC + Shut up, Mouse. + 82. + + +Neo scoops up a spoonful. + + DOZER + It's a single-celled protein + combined with synthetic aminos, + vitamins, and minerals. Everything + your body needs. We grow it in a + vat. + + + + MOUSE + Oh no, it doesn't have everything + the body needs. + + + +He sidles up to Neo. + + MOUSE + So I understand you've run through + the Agent training program? You + know, I wrote that program. + + + + APOC + Here it comes. + + + + MOUSE + So what did you think of her? + + + + NEO + Of who? + + + + MOUSE + The woman in the red dress. I + designed her. She doesn't talk much + but if you'd like to, you know, + meet her, I could arrange a more + personalized milieu. + + + + SWITCH + The digital pimp hard at work. + 83. + + + + + MOUSE + Pay no attention to these + hypocrites, Neo. To deny our + impulses is to deny the very thing + that makes us human. + + + + Morpheus enters. + + MORPHEUS + I want everyone on twelve-hour + standby. We're going in. I'm taking + Neo to see her. + + + + With that he turns and leaves. + + NEO + See who? + + + + TANK + The Oracle. + + + + +77 INT. MAIN DECK 77 + + Everyone is strapped into their chairs. Tank is at the + operator's station. + + TANK + All right, everyone please observe + that the no smoking and fasten seat + belt signs have been turned on. Sit + back and enjoy your flight. + + + + He strikes the enter key and we RUSH CLOCKWISE OVER the + chairs, each body reacting as we-- + + CUT TO: + 84. + + +78 INT. HOTEL LAFAYETTE - ROOM 1313 78 + + SPINNING COUNTER-CLOCKWISE AROUND an old PHONE that RINGS + inside the empty room until we SPIN FULL CIRCLE and FIND + everyone now standing there. + + Morpheus answers the phone. + + MORPHEUS + We're in. + + + + +79 EXT. HOTEL LAFAYETTE - DAY 79 + + The door opens and for the first time since his release, + Neo steps back into the Matrix. He squints at the sun which + seems unnaturally bright. He is the only one without + sunglasses. + + Apoc and Switch remain at the door as the others enter the + alley. + + MORPHEUS + We should be back in an hour. + + + + Cypher opens the driver's door of an old car as Trinity, + Morpheus and Neo cross to the car, Cypher glances about + quickly, then drops something inside a garbage can. + + It is a cellular phone and we see its blue display as the + line connects. + + + + +80 INT. CAR 80 + + Neo sits beside Trinity in the back. He cannot stop staring + as the simple images of the urban street blur past his + window like an endless stream of data rushing down a + computer screen. + + MORPHEUS + Almost unbelievable, isn't it? + 85. + + +Neo nods as the car continues to wind through the crowded +city. + + NEO + God-- + + + + TRINITY + What? + + + + NEO + I used to eat there-- Really good + noodle-- + + + +He is speaking in a whisper, almost as if talking to +himself. + + NEO + I have these memories, from my + entire life but-- none of them + really happened. + + + +He turns to her. + + NEO + What does that mean? + + + + TRINITY + That the Matrix cannot tell you who + you are. + + + + NEO + But an Oracle can. + + + + TRINITY + That's different. + 86. + + + NEO + Obviously. + + + +He turns to the window for a moment and then turns back. + + NEO + Did you go to her? + + + + TRINITY + Yes. + + + + NEO + What did she tell you? + + + + TRINITY + She told me-- + + + +She looks at him and suddenly she is unable to speak or +even breathe. + + NEO + What? + + + +The car suddenly jerks to a stop. + + MORPHEUS + We're here. Neo, come with me. + + + +Neo and Morpheus get out of the car. Cypher looks into the +rearview mirror at Trinity. + + CYPHER + Here we go again, eh, Trin? + + + +He smiles as she turns to the window. + 87. + + + + +81 EXT. BUILDING 81 + + Tenement-like and vast, it is the kind of place where + people can disappear. + + + + +82 INT. BUILDING 82 + + Morpheus nods to a blind man who nods back. An elevator + opens and Neo follows Morpheus inside. + + + + +83 INT. ELEVATOR 83 + + The idea of learning one's fate begins to weigh upon Neo + with a steadily growing unease. + + NEO + So is this the same oracle that + made the, uh, prophecy? + + + + MORPHEUS + Yes. She's very old. She's been + with us since the beginning. + + + + NEO + The beginning? + + + + MORPHEUS + Of the Resistance. + + + + NEO + And she knows what? Everything? + + + + MORPHEUS + 88. + + + She would say she knows enough. + + + + NEO + And she's never wrong. + + + + MORPHEUS + Don't think of it in terms of right + and wrong. She is a guide, Neo. She + can help you find the path. + + + + NEO + She helped you? + + + + MORPHEUS + Yes. + + + + NEO + What did she tell you? + + + + MORPHEUS + That I would find the One. + + + + DING. The ELEVATOR opens. + + + + +84 INT. HALL 84 + + The long dark hall beckons. Neo follows Morpheus out of the + elevator and the DOORS RATTLE shut behind him. With every + step, a disturbing sense of inevitability closes in around + him. + + At the end of the hall, Morpheus steps to the side of a + door. + + MORPHEUS + 89. + + + I told you that I can only show you + the door. You have to step through + it. + + + +Neo blows out a breath. His hand reaches but stops, +hovering over the spherical handle. He backs away. + + NEO + Morpheus, I don't think this is a + good idea. + + + + MORPHEUS + Why? + + + + NEO + I told you I don't believe in this + stuff. No matter what she says I'm + not going to believe it, so what's + the point? + + + + MORPHEUS + What do you believe in? + + + + NEO + What do I believe in? Are you + kidding me? What do you think? The + world I grew up in isn't real. My + entire life was a lie. I don't + believe in anything anymore. + + + + MORPHEUS + That's why we're here. + + + + NEO + 90. + + + Why? So I can hear some old lady + tell me, what? That I'm this guy + that everybody's been waiting for? + That I'm supposed to save the + world? It sounds insane. + Unbelievable. And I don't care who + says it, it's still going to sound + insane and unbelievable. + + + + MORPHEUS + Faith is not a matter of + reasonability. I do not believe + things with my mind. I believe them + with my heart. In my gut. + + + + NEO + And you believe I'm the One? + + + + MORPHEUS + Yes I do. + + + + NEO + Yeah? What about the other five + guys? The five before me? What + about them? + + + +Morpheus tries to hide his heart being wrenched from his +chest. + + NEO + Did you believe in them too? + + + + MORPHEUS + I believed what the Oracle told + me... no, I misunderstood what she + told me. I believed that it was all + about me. + + + +This is difficult for Morpheus to admit. + 91. + + + MORPHEUS + I believed that all I had to do was + point my finger and anoint whoever + I chose. I was wrong, Neo. Terribly + wrong. Not a day or night passes + that I do not think of them. After + the fifth, I lost my way. I doubted + everything the Oracle had said. I + doubted myself. + + + +He looks up at Neo. + + MORPHEUS + And then I saw you, Neo, and my + world changed. You can call it an + epiphany, you can call it whatever + the hell you want. It doesn't + matter. It's not about a word. It's + about this. So I can't explain it + to you. All I can do is believe, + Neo, believe that one day you will + feel what I felt and know what I + know; you are the sixth and the + last. You are the One. + + + +His eyes blaze. + + MORPHEUS + Until that time all I am asking + from you is for you to hold on to + whatever respect you may have for + me and trust me. + + + +Neo feels a rush from Morpheus's intensity, the +unadulterated confidence of a zealot. + + NEO + All right. + + + +He reaches for the handle which turns without him even +touching it. A WOMAN wearing white opens the door. + + PRIESTESS (WOMAN) + Hello, Neo. You're right on time. + 92. + + + + +85 INT. ORACLE'S APARTMENT 85 + + It seems particularly normal. + + PRIESTESS + Make yourself at home, Morpheus. + + + + MORPHEUS + Thank you. + + + + PRIESTESS + Neo, come with me. + + + + She leads Neo down another hall and into what appears to be + a family room. + + There is another woman in white sitting on a couch watching + a soap opera. Scattered about the room are a half dozen + children. Some of them are playing, others are deep in + meditation. All of them exude a kind of Zen calm. + + PRIESTESS + These are the other Potentials. You + can wait here. + + + + Neo watches a little girl levitate wooden alphabet blocks. + Closer to him, a SKINNY BOY with a shaved head holds a + spoon which sways like a blade of grass. + + In front of him is a pile of spoons bent and twisted into + knots. Neo crosses to him and sits. The boy smiles and + hands Neo the spoon which is now perfectly straight. + + SPOON BOY (SKINNY BOY) + Do not try to bend the spoon. That + is impossible. Instead, only try to + realize the truth. + + + + NEO + 93. + + + What truth? + + + + SPOON BOY + That there is no spoon. + + + + Neo nods, staring at the spoon. + + NEO + There is no spoon. + + + + SPOON BOY + Then you will see that it is not + the spoon that bends. It is only + yourself. + + + + The entire room is reflected inside the spoon and as Neo + stares into it, it slowly begins to bend until -- + + A hand touches his shoulder. + + PRIESTESS + The Oracle will see you now. + + + + Spoon Boy smiles. + + + + +86 INT. KITCHEN 86 + + An OLD WOMAN is huddled beside the oven, peering inside + through a cracked door. + + NEO + Hello? + + + + ORACLE (OLD WOMAN) + I know. You're Neo. Be right with + you. + 94. + + + + + NEO + You're the Oracle? + + + + ORACLE + Bingo. Not quite what you were + expecting, right? I got to say I + love seeing you non-believers. + Always a pip. Almost done. Smell + good, don't they? + + + + NEO + Yeah. + + + + ORACLE + I'd ask you to sit down, but you're + not going to anyway. And don't + worry about the vase. + + + + NEO + What vase? + + + +He turns to look around and his elbow knocks a VASE from +the table. It BREAKS against the linoleum floor. + + ORACLE + That vase. + + + + NEO + Shit, I'm sorry. + + + +She pulls out a tray of chocolate chip cookies and turns. +She is an older woman, wearing big oven mitts, comfortable +slacks and a print blouse. She looks like someone's +grandma. + + ORACLE + 95. + + + I said don't worry about it. I'll + get one of my kids to fix it. + + + + NEO + How did you know--? + + + +She sets the cookie tray on a wooden hot pad. + + ORACLE + What's really going to bake your + noodle later on is, would you still + have broken it if I hadn't said + anything. + + + +Smiling, she lights a cigarette. + + ORACLE + You're cuter than I thought. I see + why she likes you. + + + + NEO + Who? + + + + ORACLE + Not too bright though. + + + +She winks. + + ORACLE + You know why Morpheus brought you + to see me? + + + +He nods. + + ORACLE + So? What do you think? You think + you're the One? + 96. + + + + + NEO + Honestly? I don't know. + + + +She gestures to a wooden plaque, the kind every kitchen +has, except that the words are in Latin. + + ORACLE + You know what that means? It's + Latin. Means, 'Know Thyself.' I'm + gonna let you in on a little + secret. Being the One is just like + being in love. Nobody can tell you + you're in love. You just know it. + Through and through. Balls to + bones. + + + +She puts her cigarette down. + + ORACLE + Well, I better have a look at you. + Open your mouth. Say, 'ahh.' + + + +She widens his eyes, checks his ears, then feels the glands +in his neck. She nods, then looks at his palms. + + ORACLE + Okay, now I'm supposed to say, + 'Hmmm, that's interesting but--' + Then you say -- + + + + NEO + But what? + + + + ORACLE + But you already know what I'm going + to tell you. + + + + NEO + I'm not the One. + 97. + + + + + ORACLE + Sorry, kid. You got the gift but + looks like you're waiting for + something. + + + + NEO + What? + + + + ORACLE + Your next life, maybe. Who knows? + That's how these things go. + + + +Neo almost has to laugh. + + ORACLE + What's funny? + + + + NEO + Morpheus. He almost had me + convinced. + + + + ORACLE + I know. Poor Morpheus. Without him + we are lost. + + + + NEO + What do you mean, without him? + + + +The Oracle takes a long drag, regarding Neo with the eyes +of a Sphinx. + + ORACLE + Are you sure you want to hear this? + 98. + + +Neo nods. + + ORACLE + Morpheus believes in you, Neo, and + no one, not you or even me can + convince him otherwise. He believes + it so blindly that he's going to + sacrifice his life to save yours. + + + + NEO + What? + + + + ORACLE + You're going to have to make a + choice. In one hand, you will have + Morpheus's life. In the other hand, + you will have your own. One of you + is going to die. Which one, will be + up to you. + + + +Neo can't breathe. + + ORACLE + I'm sorry, kiddo. I really am. You + have a good soul and I hate giving + good people bad news. But don't + worry, as soon as you walk outside + that door, you'll start feeling + better. You'll remember that you + don't believe any of this fate + crap. You're in control of your own + life, remember? + + + +He tries to nod as she reaches for the tray of cookies. + + ORACLE + Here, take a cookie. I promise by + the time you're done eating it, + you'll feel right as rain. + + + +Neo takes a cookie, the tightness in his chest slowly +beginning to fade. + 99. + + + + +87 INT. SITTING ROOM - DAY 87 + + Morpheus rises from a couch as the priestess escorts Neo + out. When they are alone, Morpheus puts his hand on Neo's + shoulder. + + MORPHEUS + You don't have to tell anyone what + she told you. What was said was + said for you and you alone. + + + + Neo nods and takes a bite of his cookie. + + + + +88 INT. CAR 88 + + Neo and Morpheus get in the car. + + MORPHEUS + Let's go. + + + + Cypher looks into the rearview mirror at Neo. + + CYPHER + Well, good news or bad news? + + + + MORPHEUS + Not now, Cypher. + + + + Cypher slaps the car in gear and pulls into traffic. + Trinity looks at Neo who is staring at the final bit of + cookie. He puts it in his mouth and chews. + + TRINITY + Are you all right? + + + + NEO + 100. + + + -- Right as rain. + + + + +89 INT. ROOM 1313 - DAY 89 + + Mouse's CELLULAR RINGS. + + MOUSE + Welcome to Movie-Phone. + + + + TANK (V.O.) + They're on their way. + + + + +90 EXT. CITY STREET - DAY 90 + + As they get out of the car, Cypher smiles at Neo. + + CYPHER + Like the man says, welcome to the + real world. + + + + Cypher, following the others into the hotel, nervously + glances around, wiping the sweat from his forehead. + + + + +91 INT. MAIN DECK 91 + + Sweat rolls down Cypher's face and neck. At the operator's + station, Tank is typing rapidly. + + TANK + What is that--? + + + + +92 INT. HOTEL LAFAYETTE - DAY 92 + 101. + + + Light filters down the throat of the building through a + caged skylight at the top of the open elevator shaft. Six + figures glide up the dark stairs that wind around the + antique elevator. + + Neo notices a black cat, a yellow-green eyed shadow that + slinks past them and pads quickly down the stairs. + + A moment later, Neo sees another black cat that looks and + moves identically to the first one. + + NEO + Whoa. Deja vu. + + + + Those words stop the others dead in their tracks. + + + + +93 INT. MAIN DECK 93 + + The monitors suddenly glitch as though the Matrix had an + electronic seizure. + + TANK + Oh shit! Oh shit! + + + + +94 INT. HOTEL LAFAYETTE - DAY 94 + + Trinity turns around, her face tight. + + TRINITY + What did you just say? + + + + NEO + Nothing. Just had a little deja vu. + + + + TRINITY + What happened? What did you see? + + + + NEO + 102. + + + A black cat went past us and then I + saw another that looked just like + it. + + + + TRINITY + How much like it? Was it the same + cat? + + + + NEO + It might have been. I'm not sure. + + + + Trinity looks at Morpheus who listens quietly to the + RASPING breath of the old BUILDING. + + NEO + What is it? + + + + TRINITY + A deja vu is usually a glitch in + the Matrix. It happens when they + change something. + + + + She also listens as the staccato BEAT of HELICOPTER BLADES + GROWS ominously LOUD. + + + + +95 INT. MAIN DECK 95 + + Tank sees what was changed. + + TANK + It's a trap! + + + + +96 INT. STAIRCASE - DAY 96 + + Morpheus looks up the stairs as he hears a HELICOPTER. + 103. + + + MORPHEUS + Come on! + + + + Apoc slaps a gun into Neo's hand. + + APOC + Something to ward off evil spirits. + + + + Neo nods, stuffing it into his belt. + + + + +97 INT. BASEMENT - DAY 97 + + Heavy bolt cutters snap through the main phone cable. + + + + +98 INT. ROOM 1313 - DAY 98 + + Hearing the HELICOPTER, Mouse goes to the draped windows as + his CELLULAR RINGS. He answers it. + + TANK (V.O.) + They cut the hardline! It's a trap! + Get out! + + + + Mouse yanks open the curtain. + + MOUSE + Oh no. + + + + The windows are bricked up. Mouse spins as the RUMBLE of + combat BOOTS BUILDS, then explodes into the room. + + + + +99 INT. MAIN DECK 99 + + Tank watches helplessly. + 104. + + + TANK + No, no, no. + + + + +100 INT. STAIRS - DAY 100 + + Morpheus stops as Mouse's SCREAM is drowned out by the + report of MACHINE GUN FIRE. + + + + +101 INT. ROOM 1313 - DAY 101 + + Mouse sails backwards as BULLETS POUND him against the + blood-spattered brick window. + + + + +102 INT. MAIN DECK 102 + + Mouse's body thrashes against its harness, blood coughing + from his mouth in one final spasm, then lying perfectly + still. The flatline ALARM softly cries out from the life + MONITOR. + + + + +103 INT. STAIRWELL - DAY 103 + + Flying downstairs, Morpheus stops, hearing POLICE SWARMING + below. + + + + +104 INT. HALL - DAY 104 + + He turns and rushes down the hall of the eighth floor. At + the end of it, he finds the bricked-up windows. + + CYPHER + That's what they changed. We're + trapped. There's no way out. + 105. + + + The sound of heavy BOOT-STEPS close around them with the + mechanical sureness of a vice. + + MORPHEUS + Give me your phone. + + + + TRINITY + They'll be able to track it. + + + + MORPHEUS + We have no choice. + + + + Morpheus rips off his jacket. + + + + +105 INT. MAIN DECK 105 + + Tank answers the call. + + MORPHEUS (V.O.) + Tank, find a structural drawing of + this building and find it fast. + + + + +106 INT. HOTEL LAFAYETTE - DAY 106 + + Flashlights probe the rotting darkness as the police search + every floor. + + + + +107 INT. MAIN DECK 107 + + The diagram windows onto the screen. + + TANK + Got it. + + + + MORPHEUS (V.O.) + 106. + + + I need the main wet-wall. + + + + +108 INT. ROOM 1313 - DAY 108 + + Agent Smith stands over Mouse's dead body, his hand going + to his earpiece. + + + + +109 INT. ROOM 808 - DAY 109 + + Morpheus is guided by Tank. + + TANK (V.O.) + Now left, and that's it in front of + you. + + + + MORPHEUS + Good. + + + + +110 INT. ROOM 1313 - DAY 110 + + Agent Smith hears the LINE CLICK dead. + + AGENT SMITH + Eighth floor. They're on the eighth + floor. + + + + +111 INT. STAIRWELL - DAY 111 + + Agent Brown listens to his earpiece. + + + + +112 INT. STAIRWELL - DAY 112 + + Boots clatter up the marble staircase. + 107. + + +113 INT. HALL - DAY 113 + + Cops flood the eight floor, rushing everywhere. + + + + +114 INT. ROOM 808 - DAY 114 + + Several cops sweep through the room. It is empty. As they + pass the bathroom, we see a man-sized hole smashed through + the plaster and lath. + + + + +115 INT. WALL - DAY 115 + + They are inside the main plumbing wall, slowly worming + their way down the grease-black stack pipes. Above them, + light fills the hole they made to get inside. + + + + +116 INT. HALL - DAY 116 + + Agent Brown and Agent Smith stand over Morpheus's jacket. + + AGENT BROWN + Where are they? + + + + +117 INT. ROOM 608 - DAY 117 + + The cops search in silence, straining for a clue, when one + hears SOMETHING STRANGE near the bathroom. + + + + +118 INT. WALL - DAY 118 + + Cypher has slipped and is wedged between the wall and + several thick supply pipes. + + + + +119 INT. ROOM 608 - DAY 119 + 108. + + + The COP leans in, his ear almost against the thin membrane + of plaster separating them. He can hear WHISPERS, HISSES + and a GRUNT when -- + + The wall suddenly bulges, shatter-cracking as the Cop + realizes -- + + COP + They're in the walls! + + + + +120 INT. WALL - DAY 120 + + Trinity pulls Cypher free just as the Cop OPENS FIRE, + BULLETS PUNCHING shafts of light like swords into the box + of soot-black space. + + Neo finds his GUN first and begins BLASTING wildly through + the plaster and lath. + + + + +121 INT. ROOM 608 - DAY 121 + + The Cop spins out of the bathroom for cover, Neo's BULLETS + SPLINTERING the door jamb. + + About to whirl back in, he freezes as something seems to + seize hold of him. The Cop's body starts to spasm and his + M-16 falls to the ground, long shadows springing up from + the mounted flashlight. + + + + +122 INT. WALL - DAY 122 + + Neo listens for a moment, the gunfire quiet, when he hears + FOOTSTEPS RISING FAST. + + Two arms suddenly smash through the wall, punching Neo back + against the iron stack pipe, fingers gouging into his neck. + + CYPHER + It's an Agent! + 109. + + +Just as Neo's throat is about to collapse, Morpheus +explodes through the tattered plaster and lath, diving on +top of Agent Smith. + +The two men crash to the wet terrazzo floor. + +Before Agent Smith can find his weapon, Morpheus is on him, +pinning him in an iron grip. + +In the crawlspace, Trinity tries to scramble up past +Cypher. + + TRINITY + Morpheus! + + + +Morpheus squeezes Agent Smith's throat. + + MORPHEUS + Trinity, you must get Neo out. Do + you understand? He is all that + matters. + + + +Neo suddenly glimpses what is happening but is powerless to +stop it. + + NEO + No. No! Morpheus! Don't! + + + + MORPHEUS + Trinity! Go! + + + +Trinity's fists ball in frustration. She yells down to +Apoc. + + TRINITY + Go! + + + + NEO + We can't leave him! + 110. + + + TRINITY + We have to! + + + + She grabs his ankle and they begin almost falling, using + the lath as a brake, skidding down the inside of the wall. + + + + +123 INT. BASEMENT - DAY 123 + + This part of the basement, a dark concrete cavern, was the + main mechanical room. There are four enormous boilers, + dinosaur-like technology that once pumped hot water like + arteries. + + Soldier's blinding lights cut open the darkness as Trinity, + Neo and the others crash through the ceiling. Around them + they hear a chorus of short, sharp coughs of grenade + launchers from gas-masked figures. + + Smoke blossoms from the green metal canisters. Trinity + never stops moving. Searching the floor, she finds what she + needs; the cover of the catch basin. + + Cypher watches her pry open the grate, when a gas can + bounces near him. + + TRINITY + Come on! + + + + Cypher seems to trip as the cloud envelops him. + + Trinity watches Cypher disappear into the smoke, then + follow the others down the wet-black hole. + + + + +124 INT. ROOM 608 - DAY 124 + + Morpheus and Agent Smith remain on the ground, locked in + each other's death grip. + + AGENT SMITH + The great Morpheus. We meet at + last. + 111. + + + + + MORPHEUS + And you are? + + + + AGENT SMITH + Smith. I am Agent Smith. + + + + MORPHEUS + You all look the same to me. + + + + Agent Smith counters Morpheus and slowly begins to pry his + hands from his throat. Striking like a viper, Morpheus, + drives a vicious head butt into Agent Smith's face. His + nose and glasses shatter. + + Agent Smith, unfazed, smiles, blood oozing from the + shattered bridge of his nose, and returns Morpheus's head + butt with three of his own in pneumatic succession. + + Morpheus staggers back, his body going slack when another + kick buries him deep into crunching plaster and lathe. + + Morpheus turns in time to see a wall of men in the doorway. + + AGENT SMITH + Take him. + + + + The wall of cops rushes Morpheus, filling the tiny bathroom + until he disappears under the tide. + + + + +125 INT. MAIN DECK 125 + + Tank reaches out to the screen as if reaching for Morpheus. + + TANK + No! + 112. + + +126 EXT. STREET - DAY 126 + + A manhole cover cracks open. Two eyes peek out just as a + TRUCK RATTLES over it. The THUNDER DOPPLERS away and the + cover opens. Trinity climbs out. + + + + +127 INT. MAIN DECK 127 + + Tank is again at the monitors, searching the Matrix when + the PHONE RINGS. + + TANK + Operator. + + + + CYPHER (V.O.) + I need an exit! Fast! + + + + TANK + Cypher? + + + + +128 EXT. STREET - DAY 128 + + Cypher is standing at a public phone. Across the street is + the burning paddy wagon that appears to have collided with + an oncoming car. + + CYPHER + There was an accident. A goddamn + car accident. All of a sudden. + Boom. Jesus, someone up there still + likes me. + + + + TANK (V.O.) + I got you. + + + + CYPHER + Just get me outta here. + 113. + + + + + TANK (V.O.) + Nearest exit is Franklin and Erie. + An old TV repair shop. + + + + Cypher hangs up and smiles as we hear FIRE TRUCKS in the + distance. + + CYPHER + An actor. Definitely. + + +129 INT. MAIN DECK 129 + + The PHONE RINGS. Tank answers. + + TRINITY (V.O.) + Tank, it's me. + + + + +130 EXT. STREET - DAY 130 + + All four are moving quickly down a back street. + + NEO + Is Morpheus alive? + + + + TRINITY + Is Morpheus still alive, Tank? + + + + TANK (V.O.) + Yes. They're moving him. I don't + know where yet. + + + + TRINITY + He's alive. + + + + Again, inevitability seems to cinch around Neo. + 114. + + + TRINITY + We need an exit! + + + + TANK (V.O.) + You're not far from Cypher. + + + + TRINITY + Cypher, I thought -- + + + + TANK (V.O.) + So did we. I sent him to Franklin + and Erie. + + + + TRINITY + Got it. + + + + +131 EXT. TV REPAIR SHOP - DAY 131 + + In a deserted alley, Cypher steps onto a dumpster in front + of a small boarded-up window. + + + + +132 INT. TV REPAIR SHOP - DAY 132 + + Dead machines, eviscerated and shrouded with dust, lay on + metal shelves like bodies in a morgue. Plywood covering a + small window is ripped off and Cypher crawls inside. + + Deep in the back room, a PHONE that has not rung in years + begins to RING. + + + + +133 EXT. STREET - DAY 133 + + Trinity sees the TV repair shop. + 115. + + +134 INT. MAIN DECK 134 + + Tank punches the exit command. + + TANK + Got him. + + + + Cypher's body twitches in its harness, jerking itself + awake. + + + + +135 INT. TV REPAIR SHOP - DAY 135 + + Neo crawls through the window that Cypher opened. + + + + +136 INT. MAIN DECK 136 + + Tank finishes loading the exit program as Cypher pulls back + a heavy blanket, exposing a high-tech rifle. + + + + +137 INT. TV REPAIR SHOP - DAY 137 + + The PHONE begins to RING as the others crawl in. + + SWITCH + God, I love that sound. + + + + +138 INT. MAIN DECK 138 + + Suddenly, a white bolt of LIGHTNING EXPLODES against Tank's + chair, blasting him into the air. + + Cypher checks the GUN, unable to believe he missed. + + CYPHER + Shit. + 116. + + + Tank is on his feet, lunging when Cypher FIRES again, + square into his chest. + + DOZER + No! + + + + +139 INT. TV REPAIR SHOP - DAY 139 + + The PHONE is still RINGING. + + TRINITY + You first, Neo. + + + + Neo answers the PHONE when there is a CLICK. There is no + signal. Nothing but silence. + + TRINITY + What happened? + + + + NEO + I don't know. It just went dead. + + + + Trinity listens to the dead line and takes out the + cellular. + + + + +140 INT. MAIN DECK 140 + + The operator PHONE begins to RING. Cypher steps over the + SIZZLING BODY of Dozer and looks at the monitor. + + + + +141 INT. TV REPAIR SHOP - DAY 141 + + Every unanswered RING wrings her gut a little tighter, + until -- + + CYPHER (V.O.) + Hello, Trinity. + 117. + + + + + TRINITY + Cypher? Where's Tank? + + + + CYPHER (V.O.) + He had an accident. + + + + TRINITY + An accident?! + + + + INTERCUT WITH: + + + + +142 INT. MAIN DECK 142 + + He walks over to Trinity's body, staring down at it hanging + in its coma-like stillness. + + CYPHER + You know, for a long time, I + thought I was in love with you, + Trinity. I used to dream about you- + - + + + + He nuzzles his face against hers, feeling the softness of + it. + + CYPHER + You are a beautiful woman. Too bad + things had to work out like this. + + + + TRINITY + You killed them. + + + + APOC + What?! + 118. + + + + + SWITCH + Oh, God. + + + +Wearing Tank's operator headgear, Cypher moves among the +silent bodies. + + CYPHER + I'm tired, Trinity. I'm tired of + this war, I'm tired of fighting. + I'm tired of this ship, of being + cold, of eating the same goddamn + goop every day. But most of all, + I'm tired of this jagoff and all of + his bullshit. + + + +Cypher leans over, talking to Morpheus. + + CYPHER + Surprise, asshole. But you never + saw this coming, did you? God, I + wish I could be there when they + break you. I wish I could walk in + just as it happens, so right then, + you'd know it was me. + + + + TRINITY + My God. Morpheus. You gave them + Morpheus. + + + + CYPHER + He lied to us, Trinity! He tricked + us! If he would've told us the + truth, we would've told him to + shove that red pill up his ass! + + + + TRINITY + That's not true, Cypher. He set us + free. + 119. + + + CYPHER + Free? You call this free? All I do + is what he tells me to do. If I + have to choose between that and the + Matrix, I choose the Matrix. + + + + TRINITY + The Matrix isn't real! + + + + CYPHER + Oh, I disagree, Trinity. I + disagree. I think the Matrix can be + more real than this world. I mean, + all I do is pull a plug here. But + there, you have to watch a man die. + + + +She looks up at Apoc, her face going white. + + APOC + Trinity? + + + +He grabs hold of the cable in Apoc's neck, twists it and +yanks it out. + + CYPHER + Welcome to the real world, eh baby? + + + +Apoc seems to go blind for an instant, a scream caught in +his throat, his hands reaching for nothing, and then falls +dead. + + SWITCH + No! + + + + TRINITY + But you're out, Cypher. You can't + go back. + 120. + + + CYPHER + That's what you think. They've + promised to take me back. They're + going to reinsert my body. I'll go + back to sleep and when I wake up, + I'll be fat and rich and I won't + remember a goddamned thing. It's + the American dream. + + + +He laughs, his hand sliding around the neck of Switch as he +takes hold of her plug. + + CYPHER + By the way, if you have anything + terribly important to say to + Switch, I suggest you say it now. + + + + TRINITY + Oh no, please don't. + + + +Trinity eyes find Switch and she knows she's next. + + SWITCH + Not like this. Not like this. + + + +She suddenly feels her body severed from her mind as she is +murdered. + + CYPHER + Yoo late. + + + + TRINITY + Goddamn you, Cypher! + + + + CYPHER + Don't hate me, Trinity. I'm just + the messenger. And right now I'm + going to prove it to you. + 121. + + +He stands over Neo. + + CYPHER + If Morpheus was right, then there's + no way I can pull this plug, is + there? + + + +She turns to Neo, eyes wide with fear and he knows he is +next. + + CYPHER + If Neo is the One, then in the next + few seconds there has to be some + kind of miracle to stop me. Right? + How can he be the One if he's dead? + + + +He takes hold of the cord. + + CYPHER + You never did answer me, Trinity, + when I asked you before. Did you + buy Morpheus's bullshit? Come on. + You can tell me, did you? All I + want is a little yes or no. Look + into his eyes, Trinity, those big + pretty eyes and tell me the truth. + Yes or no. + + + +Trinity stares at Neo as a single word falls soundlessly +from her lips. + + TRINITY + -- yes. + + + + CYPHER + No! + + + +Charred and bloody, Tank levels the gun. + + CYPHER + I don't believe it! + 122. + + + TANK + Believe it or not, you piece of + shit, you're still going to burn. + + + + He FIRES a CRACKLING BOLT of LIGHTNING that knocks Cypher + flying backwards. + + + + +143 INT. TV REPAIR SHOP 143 + + Trinity throws her arms around Neo and for a moment they + are alone and alive until the PHONE RINGS. + + NEO + Go. You first this time. + + + + +144 INT. MAIN DECK 144 + + Trinity's eyes snap open, a sense of relief surging through + her at the sight of the ship. As Tank unplugs her, she sees + his charred wounds. + + TRINITY + Tank, you're hurt. + + + + TANK + I'll be all right. + + + + TRINITY + Dozer? + + + + Tank's face tightens and she takes him into her arms. + + + + +145 EXT. GOVERNMENT BUILDING - DAY 145 + 123. + + + A government high rise in the middle of downtown where a + military helicopter sets down on the roof. + + Agent Jones gets out of the helicopter, flanked by columns + of Marines. They open the roof access door and enter the + top floor maintenance level of the hotel. + + + + +146 INT. EXECUTIVE OFFICE - DAY 146 + + Agent Smith stands, staring out the windows at the city + below shimmering with brilliant sunlight. + + AGENT SMITH + Have you ever stood and stared at + it, Morpheus? Marveled at its + beauty. Its genius. Billions of + people just living out their lives- + - oblivious. + + + + Morpheus is handcuffed to a chair, stripped to the waist. + He is alternately shivering and sweating, wired to various + monitors with white disk electrodes. Beside him, Agent + Brown sucks a serum from a glass vial, filling a hypodermic + needle. + + AGENT SMITH + Did you know that the first Matrix + was designed to be a perfect human + world? Where none suffered, where + everyone would be happy. It was a + disaster. No one would accept the + program. Entire crops were lost. + + + + Agent Brown jams the needle into Morpheus's shoulder and + plunges down. + + AGENT SMITH + Some believed we lacked the + programming language to describe + your perfect world. But I believe + that, as a species, human beings + define their reality through + suffering and misery. + 124. + + +Agent Brown studies the screens as the life signs react +violently to the injection. + + AGENT SMITH + The perfect world was a dream that + your primitive cerebrum kept trying + to wake up from. Which is why the + Matrix was redesigned to this: the + peak of your civilization. + + + +He turns from the window. + + AGENT SMITH + I say 'your civilization' because + as soon as we started thinking for + you, it really became our + civilization, which is, of course, + what this is all about. + + + +He sits down directly in front of Morpheus. + + AGENT SMITH + Evolution, Morpheus. Evolution. + + + +He lifts Morpheus's head. + + AGENT SMITH + Like the dinosaur. Look out that + window. You had your time. + + + +Morpheus stares hard at him, trying not to show the pain +racking his mind. + + AGENT SMITH + The future is our world, Morpheus. + The future is our time. + + + +Agent Smith looks at Agent Brown. + + AGENT SMITH + Double the dosage. + 125. + + + + + Agent Jones suddenly enters. + + AGENT JONES + There could be a problem. + + + + +147 INT. MAIN DECK 147 + + Tank drapes a sheet over his dead brother. The other bodies + are covered. + + Neo looks at Morpheus, whose body is covered with a cold + sweat. + + NEO + What are they doing to him? + + + + TANK + They're breaking into his mind. + It's like hacking a computer. All + it takes is time. + + + + NEO + How much time? + + + + TANK + Depends on the mind. But + eventually, it will crack and his + alpha pattern will change from this + to this. + + + + Tank punches several commands on Morpheus's personal unit. + The monitor waves change from a chaotic pattern to an + ordered symmetrical one. + + TANK + When it does, Morpheus will tell + them anything they want to know. + 126. + + + NEO + What do they want? + + + + TANK + The leader of every ship is given + the codes to Zion's mainframe + computer. If an Agent had those + codes and got inside Zion's + mainframe, they could destroy us. + + + +He looks up at Trinity who is pacing relentlessly. + + TANK + We can't let that happen, Trinity. + Zion is more important than me. Or + you, or even Morpheus. + + + +Trinity sees Cypher's dead body. Rage overtakes her and she +kicks him. + + TRINITY + Goddamnit! Goddamnit! + + + + NEO + There has to be something that we + can do. + + + + TANK + There is. We have to pull the plug. + + + + TRINITY + You're going to kill him? Kill + Morpheus?! + + + + TANK + Trinity, we don't have any other + choice. + 127. + + + + +148 INT. GOVERNMENT BUILDING 148 + + Morpheus is fighting to hold his mind together. The Agents + stand over him. + + AGENT SMITH + Never send a human to do a + machine's job. + + + + AGENT BROWN + If, indeed, the insider has failed, + they will sever the connection as + soon as possible, unless -- + + + + AGENT JONES + They are dead. In either case -- + + + + AGENT SMITH + We have no choice but to continue + as planned. Deploy the sentinels. + Immediately. + + + + +149 INT. MAIN DECK 149 + + Tank kneels beside Morpheus's body. + + Neo suddenly sees it perfectly clear, fate rushing at him + like an oncoming train. + + TANK + Morpheus, you were more than our + leader. You were-- a father. We + will miss you, always. + + + + Trinity can't bear to watch. As she closes her eyes, her + tears slip free. + + Tank closes his eyes and takes hold of the plug. + 128. + + +Neo is paralyzed, his whole life is suddenly suspended by +the finality of this moment hurling at him with the speed +of a bullet. + + NEO + Stop! + + + +They both look at him. + + NEO + Goddamnit! I don't believe this is + happening! + + + + TANK + Neo, this has to be done! + + + + NEO + Does it? I don't know. This can't + be just coincidence. It can't be! + Can it? + + + + TANK + What are you talking about? + + + + NEO + The Oracle. She told me this would + happen. She told me... + + + +Neo stops, his stare fixed on Morpheus. + + NEO + That I would have to make a choice- + - + + + + TRINITY + What choice? + 129. + + +He makes his choice. Turning, he walks to his chair. + + TRINITY + What are you doing? + + + + NEO + I'm going in. + + + + TRINITY + You can't! + + + + NEO + I have to. + + + + TRINITY + Morpheus sacrificed himself so we + could get you out! There's no way + you're going back in! + + + + NEO + Morpheus did what he did because he + believed that I'm something I'm + not. + + + + TRINITY + What? + + + + NEO + I'm not the One, Trinity. The + Oracle hit me with that, too. + + + +Trinity is stunned. + + TRINITY + No, you-- have to be. + 130. + + + + + NEO + I'm sorry, I'm not. I'm just + another guy. Morpheus is the one + that matters. + + + + TRINITY + No, Neo. That's not true. It can't + be true. + + + + NEO + Why? + + + + TRINITY + Because-- + + + +Uncertainty swallows her words and she is unable to tell +him what she wants to. + + TANK + Neo, this is loco. They've got + Morpheus in a military controlled + building. Even if you somehow got + inside, those are Agents holding + him. Three of them! I want Morpheus + back, too, but what you are talking + about is suicide. + + + + NEO + I know that's what it looks like, + but it's not. I can't logically + explain to you why it's not. + Morpheus believed something and he + was ready to give his life for what + he believed. I understand that now. + That's why I have to go. + + + + TANK + Why? + 131. + + + + + NEO + Because I believe in something. + + + + TRINITY + What? + + + + NEO + I believe I can bring him back. + + + +Trinity stares at him, hovering on the edge that he just +jumped off. Her jaw sets and she starts climbing into the +chair beside him. + + NEO + What are you doing? + + + + TRINITY + I'm coming with you. + + + + NEO + No you're not. + + + + TRINITY + No? Let me tell you what I believe. + I believe Morpheus means more to me + than he does to you. I believe that + if you are serious about saving him + then you are going to need my help + and since I am the ranking officer + on this ship, if you don't like it + then I believe that you can go to + hell, because you aren't going + anywhere else. + + + +There is nothing more to say except -- + 132. + + + TRINITY + Tank, load us up. + + + + +150 INT. EXECUTIVE OFFICE - DAY 150 + + Agent Smith sits casually across from Morpheus who is + hunched over, his body leaking and twitching. + + AGENT SMITH + I'd like to share a revelation that + I've had during my time here. It + came to me when I tried to classify + your species. I've realized that + you are not actually mammals. + + + + The life signs continue their chaotic patterns. + + AGENT SMITH + Every mammal on this planet + instinctively develops a natural + equilibrium with the surrounding + environment. But you humans do not. + You move to an area and you + multiply and multiply until every + natural resource is consumed and + the only way you can survive is to + spread to another area. + + + + He leans forward. + + AGENT SMITH + There is another organism on this + planet that follows the same + pattern. Do you know what it is? A + virus. + + + + He smiles. + + AGENT SMITH + Human beings are a disease, a + cancer of this planet. You are a + plague. And we are-- the cure. + 133. + + +151 INT. CONSTRUCT 151 + + Neo and Trinity stand in the white space of the construct + as he answers his RINGING cell PHONE. + + TANK (V.O.) + Okay. What do you need? Besides a + miracle-- + + + + NEO + Guns. Lots of guns. + + + + +152 INT. MAIN DECK 152 + + Neo and Trinity's bodies hang motionless in their drive + chairs as Tank hits load. + + + + +153 INT. CONSTRUCT 153 + + Racks of weapons appear and they begin to arm themselves. + + TRINITY + No one has ever done anything like + this. + + + + NEO + Yeah? + + + + He snap-cocks an Uzi. + + NEO + That's why it's going to work. + + + + +154 INT. EXECUTIVE OFFICE - DAY 154 + + Agent Smith is again at the window. + 134. + + + AGENT SMITH + Why isn't the serum working? + + + + AGENT BROWN + Perhaps we are asking the wrong + questions. + + + +Agent Smith hides his knotting fist. He is becoming angry. +It is something that isn't supposed to happen to Agents. + + AGENT SMITH + Leave me with him. + + + +Agents Brown and Jones look at each other. + + AGENT SMITH + Now! + + + +They leave and Agent Smith sits beside Morpheus. + + AGENT SMITH + Can you hear me, Morpheus? I'm + going to be honest with you. + + + +He removes his earphone, letting it dangle over his +shoulder. + + AGENT SMITH + I hate this place. This zoo. This + prison. This reality, whatever you + want to call it, I can't stand it + any longer. It's the smell, if + there is such a thing. I feel + saturated by it. I can taste your + stink and every time I do, I fear + that I've somehow been infected by + it. + + + +He wipes sweat from Morpheus' forehead, coating the tips of +his fingers, holding them to Morpheus' nose. + 135. + + + AGENT SMITH + Repulsive, isn't it? + + + + He lifts Morpheus' head, holding it tightly with both + hands. + + AGENT SMITH + I must get out of here, I must get + free. In this mind is the key. My + key. + + + + Morpheus sneers through his pain. + + AGENT SMITH + Once Zion is destroyed, there is no + need for me to be here. Do you + understand? I need the codes. I + have to get inside Zion. You have + to tell me how. + + + + He begins squeezing, his fingers gouging into his flesh. + + AGENT SMITH + You are going to tell me or you are + going to die. + + + + +155 INT. MAIN DECK 155 + + Tank sits down beside Morpheus, whose face is ashen like + someone near death. He takes hold of his hand. + + TANK + Hold on, Morpheus. They're coming + for you. They're coming. + + + + +156 EXT. GOVERNMENT BUILDING - DAY 156 + + A dark wind blows. + 136. + + +157 INT. GOVERNMENT BUILDING - DAY 157 + + In long black coats, Trinity and Neo push through the + revolving doors. + + Neo is carrying a duffel bag. Trinity has a large metal + suitcase. They cut across the lobby to the security + station, drawing nervous glances. + + Dark glasses, game faces. + + Neo calmly passes through the METAL DETECTOR which begins + to WAIL immediately. A SECURITY GUARD moves over toward + Neo, raising his metal detection wand. + + GUARD + Would you please remove any + metallic items you are carrying: + keys, loose change -- + + + + Neo slowly sets down his duffel bag and throws open his + coat, revealing an arsenal of guns, knives and grenades + slung from a climbing harness. + + GUARD + Holy shit -- + + + + Neo is a blur of motion. In a split second, three guards + are dead before they hit the ground. + + A fourth guard dives for cover, clutching his radio. + + GUARD #4 + Backup! Send in the backup! + + + + He looks up as Trinity sets off the metal detector. It is + the last thing he sees. + + The backup arrives. A wave of soldiers blocking the + elevators. The concrete cavern of the lobby becomes a white + noise ROAR of GUNFIRE. + + Slate walls and pillars pock, crack, and crater under a + hail storm of EXPLOSIVE-tipped BULLETS. + 137. + + + They are met by the quivering spit of a SUB-HAND MACHINE + GUN and the RAZORED WHISTLE of throwing knives. Weapons + like extensions of their bodies, are used with the same + deadly precision as their feet and their fists. + + Bodies slump down to the marbled floor while Neo and + Trinity hardly even break their stride. + + + + +158 INT. EXECUTIVE OFFICE 158 + + Agents Jones and Brown burst into the room. Agent Smith + releases Morpheus. + + AGENT BROWN + What were you doing? + + + + Agent Smith recovers, replacing his earpiece. + + AGENT JONES + You don't know. + + + + AGENT SMITH + Know what? + + + + Agent Smith listens to his earphone, not believing what he + is hearing. + + + + +159 INT. ELEVATORS - DAY 159 + + They get in. Trinity immediately drops and opens the + suitcase, wiring a plastique and napalm bomb. + + Neo hits the emergency stop. He pulls down part of the + false ceiling and finds the elevator shaft access panel. + + + + +160 INT. EXECUTIVE OFFICE - DAY 160 + 138. + + + Agent Jones looks at Morpheus. + + AGENT JONES + I think they're trying to save him. + + + + +161 INT. ELEVATOR SHAFT - DAY 161 + + Neo ratchets down a clamp onto the elevator cable. Both of + them lock on. He looks up the long, dark throat of the + building and takes a deep breath. + + NEO + There is no spoon. + + + + Neo whips out his GUN and presses it to the cable, lower + than they attached themselves. + + BOOM! The CABLE SNAPS. + + The counter-weights plummet, yanking Trinity and Neo up + through the shaft as the elevator falls away beneath them, + distending space, filling it with the sound of WHISTLING + METAL as they sear to the top. + + + + +162 INT. LOBBY - DAY 162 + + The ELEVATOR hits the bottom. + + BA-BOOM! + + The massive explosion blows open the doors, fire clouds + engulfing the elevator section of the lobby. + + + + +163 INT. EXECUTIVE OFFICE - DAY 163 + + The Agents hear the BLAST of FIRE ALARMS. + + AGENT JONES + Lower level -- + 139. + + + AGENT BROWN + They are actually attacking. + + + + Another enormous EXPLOSION thunders above them, shaking the + building. The ALARM sounds, emergency sprinklers begin + showering the room. + + Agent Smith smashes a table. + + AGENT SMITH + Find them and destroy them! + + + + Agent Jones nods and touches his earpiece. + + + + +164 EXT. ROOF - DAY 164 + + The roof-access tower is now engulfed in flames as Neo and + Trinity stand amongst a pile of their fallen enemies. + + Across the roof, the PILOT inside the army helicopter + watches the last of their ferocious onslaught. + + PILOT + I repeat, we are under attack! + + + + Suddenly his face, his whole body dissolves, consumed by + spreading locust-like swarm of static as Agent Jones + emerges. + + Just as she drops the final Marine, Trinity sees what's + coming. Neo sees her, the fear in her face, and he knows + what is behind him. + + Screaming, he whirls, guns filling his hands with thought- + speed. + + Fingers pumping, shells ejecting, dancing up and away, we + look THROUGH the sights and gun smoke AT the Agent blurred + with motion -- + + Until the hammers click against the empty metal. + + NEO + 140. + + + Trinity! + + + +Agent Jones charges. + + NEO + -- Help. + + + +His GUN BOOMS as we ENTER the liquid space of -- + +-- BULLET-TIME. + +The AIR SIZZLES with wads of lead like angry flies as Neo +twists, bends, ducks just between them. + +Agent Jones, still running, narrows the gap, the bullets +coming faster until Neo, bent impossibly back, one hand on +the ground as a spiraling gray ball shears open his +shoulder. + +He starts to scream as another digs a red groove across his +thigh. He has only time to look up, to see Agent Jones +standing over him, raising his gun a final time. + + AGENT JONES + Only human-- + + + +Suddenly Agent Jones stops. He hears a sharp metal click. + +Immediately, he whirls around and turns straight into the +muzzle of Trinity's .45 -- + +-- jammed tight to his head. + + TRINITY + Dodge this! + + + +BOOM! BOOM! BOOM! The body flies back with a flash of +mercurial light and when it hits the ground, it is the +pilot. + +Trinity helps Neo up. + + TRINITY + Neo, how did you do that? + 141. + + + + + NEO + Do what? + + + + TRINITY + You moved like they moved. I've + never seen anyone move that fast. + + + + NEO + It wasn't fast enough. + + + + He checks his shoulder wound. + + TRINITY + Are you all right? + + + + NEO + I'm fine. Come on, we have to keep + moving. + + + + Neo sees the helicopter. + + NEO + Can you fly that thing? + + + + TRINITY + Not yet. + + + + She pulls out the cellular phone. + + + + +165 INT. HOVERCRAFT 165 + + Tank is back at the controls. + 142. + + + TANK + Operator. + + + + TRINITY (V.O.) + Tank, I need a pilot program for a + military B-212 helicopter. + + + + Tank is immediately searching the disk drawers. + + TRINITY (V.O.) + Hurry! + + + + His fingers flash over the gleaming laser disks, finding + one that he feeds into Trinity's supplement drive, punching + the "load" commands on her keyboard. + + + + +166 EXT. ROOF - DAY 166 + + Trinity's eyes flutter as information surges into her + brain, all the essentials of flying a helicopter absorbed + at light-speed. + + TRINITY + Let's go. + + + + +167 INT. EXECUTIVE OFFICE - DAY 167 + + Agent Jones throws open the door and enters, walking + through the puddles pooling in the carpet. Over the RUSHING + WATER and the ALARMS, Agent Smith hears a sound and + understands the seriousness of the attack. + + He turns to the wall of windows as the helicopter drops + INTO VIEW -- + + Neo is in the back bay, aiming the mounted .50 machine gun. + + AGENT SMITH + No. + 143. + + + + + The GUN jumps and BULLETS EXPLODE THROUGH the WINDOW in a + CACOPHONY of CRASHING GLASS as the Agents go for their + weapons. + + But Neo is too close, the .50 caliber too fast and BULLETS + are everywhere, PERFORATING the room. + + Agent Jones is hit first, his body jack-knifing back, blood + arcing out with a sudden flash of light -- + + Then Agent Brown, his GUN still FIRING as his body falls. + And finally Agent Smith. + + Neo stares at Morpheus, trying to will him into action. + + NEO + Get up, Morpheus! Get up! + + + + Neo grabs the climbing rope and attaches one end to his + harness. + + + + +168 INT. HALL - DAY 168 + + Just outside the executive office, three Marines blister + with snow-static. + + + + +169 INT. EXECUTIVE OFFICE - DAY 169 + + Slowly, Morpheus lifts his face into the room's rain. When + he finally opens his eyes, they are again dark and flashing + with fire. + + He rises from the chair, snapping his handcuffs just as the + Agents enter the adjoining room. Agent Smith stops and sees + Morpheus run past the open door. + + AGENT SMITH + Nooo! + 144. + + + He FIRES SWEEPING ACROSS the sheetrocked WALL in a perfect + line. + + For an instant, we see the BULLETS SHRED, PUNCTURING the + WALL, searing through the wet air with jet trails of chalk. + + And as Morpheus starts his dive for the window, a bullet + buries itself in his leg, knocking him off balance. + + NEO + He won't make it. + + + + Morpheus lunges, out of control -- + + As Neo spins, every move a whip crack, snapping the other + rope-end on to a bolted bar as -- + + Morpheus begins to fall, when Neo hurls himself into the + wide blue empty space, flying for a moment. + + The rope snaking out behind him; an umbilical cord attached + to a machine. + + As their two bodies, set in motion, rushing at each other + on a seemingly magnetic course until they collide. + + Almost bouncing free of each other, arms, legs scrambling, + hands searching in furious desperation, finding hold and + clinging. + + Until the LINE ends, SNAPPING taut, cracking their fragile + embrace. Morpheus tumbles, legs flipping over, falling down + -- + + The ground deliriously distant as Neo snatches hold of his + mentor's still handcuffed wrist. + + NEO + Gotcha! + + + + +170 EXT. GOVERNMENT BUILDING - DAY 170 + + Trinity pulls the copter up and away as Agent Smith stands + in the shattered window, aiming his GUN out through the + curtain of rain. + 145. + + +PONK. PONK. PONK. The rear hull is punched full of holes +and smoke and oil pour out like black blood. + + TRINITY + Shit-shit-no! + + + +Neo hears the helicopter begin to die. + + NEO + Uh-oh -- + + + +Trinity throws the helicopter towards the roof of the +nearest building. + +Morpheus and Neo cling to one another as they and the +machine above them begin to fall. + +The ENGINE GRINDS, the chopping blades start to slow while +-- + +Trinity guides the parabolic fall over the nearest roof +where -- + +Neo and Morpheus drop safely, rolling free as the rope goes +slack. Neo gets to his feet, trying to detach himself but - +- + +The helicopter is falling too fast, arcing over the roof +like a setting sun -- + +The coils of slack snap taut, yanking Neo off his feet, +dragging him with ferocious speed towards the edge even as +-- + +Trinity lunges for the back door, her gun in one hand, +grabbing for the rope with the other -- + +Neo flies like a skipping stone, hurtling at the parapet, +when his feet hit the rain gutter and he levers up just as +-- + +Trinity fires, severing the cord from the helicopter, +falling free of it as it SMASHES, blades first into a GLASS +skyscraper. + +Holding on to the rope she swings, connected to Neo, who +stands on the building's edge watching her arc beneath him +as the HELICOPTER EXPLODES -- + 146. + + + She bounces against a shatterproof WINDOW that SPIDER- + CRACKS out while flames erupt behind her. + + + + +171 INT. MAIN DECK 171 + + Tank stares at the screen, his mouth agape. + + TANK + I knew it! He's the One! + + + + +172 EXT. ROOFTOP - DAY 172 + + Neo pulls Trinity up into his arms. Both shaking, they hold + each other again. + + MORPHEUS + Do you believe it now, Trinity? + + + + Trinity looks at Neo. + + NEO + Morpheus, the Oracle-- she told me + -- + + + + MORPHEUS + She told you exactly what you + needed to hear. That's all. Sooner + or later, Neo, you're going to + realize just like I did the + difference between knowing a path + and walking a path. + + + + +173 INT. MAIN DECK 173 + + The PHONE RINGS. + + MORPHEUS (V.O.) + Tank. + 147. + + + + + TANK + Goddamn! It's good to hear your + voice, sir! + + + + MORPHEUS (V.O.) + We need an exit. + + + + TANK + Got one ready, sir. Subway. State + and Balbo. + + + + MORPHEUS (V.O.) + We're on our way -- + + + + +174 EXT. ROOFTOP - DAY 174 + + We rush at the roof access door as it suddenly slams open + and the three Agents charge out. But Neo, Trinity and + Morpheus are already gone. + + AGENT SMITH + Damnit! + + + + AGENT BROWN + The trace was completed. + + + + AGENT JONES + We have their position. + + + + AGENT BROWN + Sentinels are standing by. + + + + AGENT JONES + 148. + + + Order the strike. + + + + Agent Smith can't stand listening to them. He moves to the + edge of the building, looking out at the surrounding city. + + AGENT SMITH + They're not out yet. + + + + +175 INT. SUBWAY STATION - DAY 175 + + An old man sits hunched in the far corner of the station, + shadows gathered around him like blankets. + + Mumbling, he nurses from a bottle of Thunderbird when -- + + A PHONE begins to RING. + + Neo leads Trinity and Morpheus bounding over a set of + turnstiles towards the ringing phone inside a graffiti- + covered booth. + + NEO + Let's go! You first, Morpheus. + + + + Morpheus gets in and answers the phone. + + Lost in the shadow, the old man watches as Morpheus + disappears, the phone dropping, dangling by its cord. His + eyes grow wide, glowing white in the dark. + + + + +176 EXT. ROOFTOP - DAY 176 + + Agent Smith stares, his face twisted with hate. He will + never be free of the Matrix. + + He starts to turn from the edge of the building when he + suddenly hears it, his head whipping back around, staring!- + - + 149. + + +177 INT. SUBWAY - OLD MAN'S POV - DAY 177 + + Through the old man's eyes as the world begins to RUMBLE. + + Trinity hangs up the phone, then turns to Neo. + + TRINITY + Neo, I have to tell you something. + I don't know what it means or even + if it matters but I feel I have to + say it. + + + + The RUMBLE GROWS, the ground beginning to shake. + + TRINITY + I've never told anyone this before. + I think I've been afraid to. + + + + Behind her, the PHONE begins to RING. + + TRINITY + When I went to the Oracle, she told + me-- she told me that I was going + to fall in love-- But-- + + + + The RUMBLE RISES, drowning her voice. Neo is drawn towards + her, their lips close enough to kiss when a TRAIN BLASTS + into the station. + + For a moment, they are frozen by the strobing lights of the + train until Neo whispers in her ear. + + NEO + Promise me you'll tell me the rest? + + + + She nods as he closes the booth. The PHONE RINGS once more + before she lifts the receiver when, In the darkness of the + far corner, Neo sees the old man in the flashing train- + light as he becomes -- + + Agent Smith, raising a fistful of black gun-metal. + + NEO + No! + 150. + + + + + The GUN FIRES, the BULLET flying at her, BURSTING through + the PLASTIC WINDOW just as Trinity disappears. + + The handset hanging in the air as the BULLET HITS, + SHATTERING the EAR-PIECE. + + + + +178 INT. HOVERCRAFT 178 + + Trinity blinks, shivering as her conscious exits the + Construct. + + TRINITY + Neo! + + + + TANK + What the hell just happened? + + + + TRINITY + An Agent! You have to send me back! + + + + TANK + I can't! + + + + +179 INT. SUBWAY STATION - DAY 179 + + The destroyed phone dangles in the empty booth. Neo turns + to Agent Smith whose gun stares at him like a third eye. + + AGENT SMITH + Mr. Anderson. + + + + +180 INT. MAIN DECK 180 + + Morpheus and Trinity stand behind Tank riveted to the + scrolling code. + 151. + + + TRINITY + Run, Neo. Run. + + + + +181 INT. SUBWAY STATION - DAY 181 + + Neo looks at the dead escalator that rises up behind him. + Slowly he turns back and in his eyes we see something + different, something fixed and hard like a gunfighter's + resolve. + + There is no past or future in these eyes. There is only + what is. + + + + +182 INT. MAIN DECK 182 + + Trinity is unable to understand. + + TRINITY + What is he doing? + + + + MORPHEUS + He's beginning to believe. + + + + +183 INT. SUBWAY STATION - DAY 183 + + Neo whip-draws his gun with the flashpoint speed of + lightning as!-- + + Smith OPENS FIRE. + + GUN REPORT THUNDERS through the underground, both men + BLASTING, moving at impossible speed. + + For a blinking moment we enter BULLET-TIME. + + Gun flash tongues curl from Neo's gun, bullets float + forward like a plane moving across the sky, cartridges + cartwheel into space. + 152. + + + An instant later they are nearly on top of each other, + rolling up out of a move that is almost a mirrored + reflection of the other -- + + Each jamming their gun tight to the other's head. + + They freeze in a kind of embrace; Neo sweating, panting, + Agent Smith machine-calm. Agent Smith smiles. + + AGENT SMITH + You're empty. + + + + Neo pulls the TRIGGER. CLICK. + + NEO + So are you. + + + + The smile falls. Agent Smith yanks his TRIGGER. + + CLICK. + + Agent Smith's face warps with rage and he attacks, fists + flying at furious speed, blows and counters, Neo retreating + as -- + + A knife-hand opens his forearm, and a kick sends him + slamming back against a steel column. Stunned, he ducks + just under a punch that CRUNCHES into the BEAM, STEEL + CHUNKS EXPLODING like shrapnel. + + Behind him, Neo leaps into the air, delivering a neck- + snapping reverse round-house. Agent Smith's glasses fly off + and he glares at Neo; his eyes ice blue. + + AGENT SMITH + I'm going to enjoy watching you + die, Mr. Anderson. + + + + Agent Smith attacks with unrelenting fury, fists pounding + Neo like jackhammers. + + + + +184 INT. HOVERCRAFT 184 + 153. + + + Trinity watches Neo as his body jerks, mouth coughing + blood, his life signs going wild. + + TRINITY + Jesus, he's killing him! + + + + +185 INT. SUBWAY STATION - DAY 185 + + Agent Smith grabs hold of him, lifting him into the air, + hurling him against the curved wall of the train tunnel, + where he falls inches from the electrified third-rail. + + The Agent is about to jump down and press his attack when + he hears something. From deep in the tunnel, like an animal + cry; a BURST of HIGH-SPEED METAL GRINDING against METAL. + + The sound of an ONCOMING TRAIN. + + Neo tries to get up. Agent Smith jumps down onto the tracks + and drop-kicks him in the face. The world again begins to + shake, RUMBLING as a TRAIN NEARS. + + AGENT SMITH + Do you hear that, Mr. Anderson? + + + + Agent Smith grabs Neo in a choke-hold forcing him to look + down the tracks, the train's headlight burning a hole in + the darkness. + + AGENT SMITH + That is the sound of inevitability. + + + + Neo sees it coming and he starts to fight. + + AGENT SMITH + It is the sound of your death. + + + + There is another METAL SCREECH, much LOUDER, CLOSER, as + Agent Smith tightens his hold. Neo is unable to breathe. + + AGENT SMITH + Good-bye, Mr. Anderson. + 154. + + + + + The TRAIN ROARS at them, swallowing Agent's Smith's words. + The veins bulge in Neo's head, as he grits through the + pain. + + He is not ready to die. + + NEO + My name is Neo. + + + + Impossibly, he hurls himself straight up, smashing Smith + against the concrete ceiling of the tunnel. + + They fall as the sound and fury of the TRAIN EXPLODES into + the station. Neo backflips up off the tracks just as!-- + + The train barrels over Agent Smith. + + Neo stands, knees shaking, when the TRAIN SLAMS on its + emergency brake. With an ear-splitting SHRIEK of tortured + RAILS, the train slows, part of it still in the station. + + Neo turns, limping, starting to run, racing for the + escalator!-- + + As the train comes to a stop and the doors of the last car + open; Agent Smith bursts out in furious pursuit, his + glasses again intact. + + + + +186 INT. HOVERCRAFT 186 + + Tank searches the Matrix. + + TRINITY + What just happened? + + + + TANK + I don't know. I lost him. + + + + MORPHEUS + He's on the run!-- + 155. + + + + + Suddenly, a SIREN SOUNDS. + + TANK + Oh shit! + + + + Morpheus bolts to the ladder. + + + + +187 INT. COCKPIT 187 + + Morpheus climbs into the cockpit. On the hologram radar, he + sees the sentinels. + + TRINITY + Oh no. + + + + Trinity is behind him. + + TRINITY + How long? + + + + MORPHEUS + Five minutes. Maybe six. + + + + Morpheus lifts the headset. + + MORPHEUS + Tank, charge the E.M.P. + + + + TANK (V.O.) + Yes, sir. + + + + TRINITY + You can't use that until Neo is + out! + 156. + + + + + MORPHEUS + I know, Trinity. Don't worry. He's + going to make it. + + + + THE MATRIX - Rev. 3/9/98 116. + + + + +188 EXT. CITY STREET - DAY 188 + + A BUSINESSMAN walks along the sidewalk, wheeling and + dealing into his cell phone when it disappears, snatched by + Neo as he flashes by. + + MAN (BUSINESSMAN) + What the shit!-- my phone! + + + + The Man turns to call for help and when he turns back, it + is Agent Smith. + + Neo is in a full-out sprint, spinning and weaving away from + every pedestrian, every potential Agent. He flips open the + cell phone and dials long distance. + + + + +189 INT. HOVERCRAFT 189 + + Tank answers. + + TANK + Operator. + + + + NEO (V.O.) + Mr. Wizard, get me the hell out of + here! + + + + +190 EXT. CITY STREET - DAY 190 + 157. + + + Neo dives down an alley, Agent Smith starting to gain. + + NEO + Hurry, Tank! I got some serious + pursuit! + + + + +191 INT. HOVERCRAFT 191 + + The KEYBOARD is CLICKING, Tank searches for an exit. + Trinity screams into the headset. + + TRINITY + Neo, you better get your ass back + here! + + + + +192 EXT. ALLEY 192 + + Agent Smith stops and takes aim. + + NEO + I'm trying, Trinity. I'm trying. + + + + A BULLET SHATTERS the image of Neo in a truck's rearview + MIRROR. + + + + +193 INT. MAIN DECK 193 + + Tank speed-reads the reams of Matrix code. + + TANK + I got a patch on an old exit. + Wabash and Lake. A hotel. Room 303. + + + + +194 EXT. OPEN MARKET 194 + + Neo spins away, turning, and finds himself in an open + market that teems with people. + 158. + + + He kamikazes his way down the!little avenues lined with + vendors and shops, careening through the labyrinth, out of + control. And at every turn there is an Agent; appearing + from crowds, behind fish counters, tent flaps and crates. + + + + +195 EXT. ALLEY 195 + + He dives from the maze!down a service alley but it is a + dead end. + + Neo turns back as the Agents emerge from the market. + + NEO + Uh, help! Need a little help! + + + + +196 INT. MAIN DECK 196 + + Tank frantically scans the monitor like a road map. + + TANK + The door. + + + + +197 EXT. ALLEY 197 + + Neo dives for it but!-- + + NEO + It's locked. + + + + TANK (V.O.) + Kick it in! + + + + Peeling back, Neo almost kicks the door from its hinges, + lunging from the Agents' BULLETS. + + + + +198 INT. APARTMENT BUILDING - STAIRCASE 198 + 159. + + + Neo springs up the old crooked apartment building stairs. + + + + +199 INT. APARTMENT BUILDING - HALL 199 + + He is halfway down the hall, running in sharp, long strides + when a door explodes open at the end. + + TANK (V.O.) + Shit! The door on your left. + + + + Neo lurches, kicking in an apartment door. + + TANK (V.O.) + No! Other left! + + + + He whirls back to his other left, battering through the + door which splinters, perforated by BULLETS. + + An old woman watches TV as Neo blurs past her and into her + kitchen, where another woman is chopping vegetables. + + TANK (V.O.) + That window! + + + + Neo throws it open, leaping for the fire escape just as a + knife buries itself in the window casing. + + TANK (V.O.) + Down! Down! + + + + +200 EXT. APARTMENT BUILDING - FIRE ESCAPE 200 + + Tumbling down the RATTLING FIRE ESCAPE, Neo leaps the last + ten feet into the alley below with Agent Brown right behind + him. + + Neo scrapes himself to his feet, broken and bleeding, + charging for the end of the alley. + 160. + + +201 INT. MAIN DECK 201 + + Finger on the monitor, Tank traces Neo's path. + + TANK + That's it! You're almost there! + That fire escape at the end of the + alley! + + + + +202 EXT. HEART O' THE CITY HOTEL - DAY 202 + + Agent Smith suddenly pauses as if recognizing something; + the faded NEON BUZZES: Heart O' The City Hotel. + + + + +203 INT. HOVERCRAFT 203 + + Tank loads the exit. + + TANK + I'm going to make the call. + + + + MORPHEUS + Do it! + + + + Suddenly, the lights go red. + + TRINITY + No. + + + + Morpheus looks up. + + MORPHEUS + Here they come. + + + + +204 EXT. SEWER MAIN 204 + 161. + + + The sentinels open and shift like killer kaleidoscopes as + they attack, slamming down on the Nebuchadnezzar. + + + + +205 INT. HOVERCRAFT 205 + + The hovercraft booms down as they hit. Morpheus opens the + lock on the EMP detonator. + + Trinity watches him. + + MORPHEUS + He's going to make it. + + + + +206 EXT. ALLEY - DAY 206 + + Neo scrambles up the fire escape, BULLETS SPARKING and + RICOCHETING around him as Agents Brown and Jones close the + gap. + + + + +207 INT. HALL - DAY 207 + + On the third floor, he kicks in the window, jumping into + the hall. The doors count backwards: 310-- 309-- + + + + +208 INT. MAIN DECK 208 + + Another SYSTEM ALARM SOUNDS. + + TANK + They've burned through the outer + hull. + + + + TRINITY + Hurry, Neo. + 162. + + +209 INT. HALL - DAY 209 + + Neo can hear the PHONE RINGING. 305-- 304-- + + Agent Brown reaches the broken window behind him just as + Neo grabs the handle of 303, throwing open the door to + find!-- + + Agent Smith, waiting, .45 cocked. + + Neo can't move!-- can't think!-- + + BOOM. + + + + +210 INT. MAIN DECK 210 + + Neo's body jerks, and everyone hears it as the LIFE + MONITORS SNAP FLATLINE. + + Trinity screams. Morpheus stumbles back in disbelief. + + MORPHEUS + No, it can't be. It can't be. + + + + Lasers suddenly sear through the main deck as the sentinels + slice open the hull. + + + + +211 INT. HALL - DAY 211 + + Three holes in his chest, Neo falls to the blue shag + carpeting, blood smearing down the wallpaper. Agent Smith + stands over him, still aiming, taking no chances. + + AGENT SMITH + Check him. + + + + +212 INT. MAIN DECK 212 + + Amid the destruction raining around her, Trinity takes hold + of Neo's body. + 163. + + + TRINITY + Neo-- + + + + +213 INT. HALL - DAY 213 + + Kneeling beside him, Agent Brown checks his vital signs. + + AGENT BROWN + He's gone. + + + + Agent Smith smiles, standing over him. + + AGENT SMITH + Good-bye, Mr. Anderson. + + + + +214 INT. MAIN DECK 214 + + In tears, Morpheus takes hold of the EMP switch. + + Trinity whispers in Neo's ear. + + TRINITY + Neo, please, listen to me. I + promised to tell you the rest. The + Oracle, she told me that I'd fall + in love and that man, the man I + loved would be the one. You see? + You can't be dead, Neo, you can't + be because I love you. You hear me? + I love you! + + + + Her eyes close and she kisses him, believing in all her + heart that he will feel her lips and know that they speak + the truth. + + + + +215 INT. HOTEL HALL - DAY 215 + + He does. And they do. + 164. + + + His eyes snap open. + + + + +216 INT. MAIN DECK 216 + + Trinity screams as the monitors jump back to life. Tank and + Morpheus look at each other. + + It is a miracle. + + TRINITY + Now get up! + + + + +217 INT. HALL - DAY 217 + + Holding his chest, Neo struggles to get up. At the end of + the hall, the Agents wait for the elevator when Agent Smith + glances back. He rips off his sunglasses, looking at Neo as + if he were looking at a ghost. + + Neo gets to his feet, all three Agents grabbing for their + guns. As one, they FIRE. + + NEO + No! + + + + Neo raises his hands and the BULLETS, like a cloud of + obedient bees, slow and come to a stop. They hang frozen in + space, fixed like stainless steel stars. + + The Agents are unable to absorb what they are seeing. + + Neo plucks one of the bullets from the air. We see him and + the hall reflected in the bright casing. We MOVE CLOSER + UNTIL the bullet fills our vision and the distorted + reflection morphs, becoming the "real" image. + + He drops the bullet and the others fall to the floor. + + Neo looks out, now able to see through the curtain of the + Matrix. For a moment, the walls, the floor, even the Agents + become a rushing stream of code. + 165. + + +218 INT. MAIN DECK 218 + + All three stare transfixed with awe as the scrolling code + accelerates, faster and faster, as if the machine language + was unable to keep up or perhaps describe what is + happening. + + They begin to blur into streaks, shimmering ribbons of + light that open like windows, as!-- + + Each screen fills with brilliant, saturated color images of + Neo standing in the hall. + + TANK + How--?! + + + + MORPHEUS + He is the one. He is the one! + + + + An EXPLOSION shakes the entire ship. + + + + +219 INT. HALL 219 + + Agent Smith screams, his calm machine-like expression + shredding with pure rage. + + He rushes Neo. His attack is ferocious but Neo blocks each + blow easily. Then with one quick strike to the chest he + sends Agent Smith flying backwards. + + For the first time since their inception, the Agents know + fear. + + Agent Smith gets up, bracing himself as Neo charges him and + springs into a dive. But the impact doesn't come. Neo sinks + into Agent Smith, disappearing, his tie and coat rippling + as if he were a deep pool of water. + + Spinning around he looks to the others and feels something, + like a tremor before a quake, something deep, something + that is going to change everything. + + Suddenly a SEARING SOUND stabs through his earpiece as his + chest begins to swell, then balloon as!-- + 166. + + + Neo BURSTS up out of him. And with a final death scream, + Agent Smith EXPLODES like an empty husk in a brilliant + cacophony of light, his shards spinning away, absorbed by + the Matrix until!-- + + Only Neo is left. + + Neo faces the remaining Agents. They look at each other, + the same idea striking simultaneously!-- + + They run. + + + + +220 INT. MAIN DECK 220 + + sentinels are everywhere destroying the ship. + + TRINITY + Neo! + + + + +221 INT. HALL 221 + + Again he hears her. He reacts to the RINGING PHONE, rushing + toward it even as!-- + + + + +222 INT. MAIN DECK 222 + + A sentinel descends towards Morpheus. On the screen we see + Neo dive for the phone as!-- + + TRINITY + Now! + + + + Morpheus turns the key. + + + + +223 INT. OVERFLOW PIT 223 + 167. + + + A blinding shock of white light floods the chamber; + sentinels blink and fall instantly dead, filling the pit + with their cold metal carcasses. + + + + +224 INT. HOVERCRAFT 224 + + In the still darkness, only the humans are alive. + + TRINITY + Neo? + + + + His eyes open. Tears pour from her smiling eyes as he + reaches up to touch her. + + And she kisses him; it seems like it might last forever. + + FADE TO BLACK. + + FADE IN: + + CLOSE ON COMPUTER SCREEN as in the opening. The cursor + beating steadily, waiting. A PHONE begins to RING. + + It is answered and the screen fills instantly with the + trace program. After a long beat, we recognize Neo's voice. + + NEO (V.O.) + Hi. It's me. I know you're out + there. I can feel you now. + + + + We CLOSE IN ON the racing columns of numbers shimmering + across the screen. + + NEO (V.O.) + I imagine you can also feel me. + + + + The numbers begin to lock into place. + + NEO (V.O.) + You won't have to search for me + anymore. I'm done running. Done + hiding. Whether I'm done fighting, + I suppose, is up to you. + 168. + + + + + We GLIDE IN TOWARDS the screen. + + NEO (V.O.) + I believe deep down, we both want + this world to change. I believe + that the Matrix can remain our cage + or it can become our chrysalis, + that's what you helped me to + understand. That to be free, you + cannot change your cage. You have + to change yourself. + + We DIVE THROUGH the numbers, surging UP THROUGH the + darkness, sucked TOWARDS a tight constellation of stars. + + NEO (V.O.) + When I used to look out at this + world, all I could see was its + edges, its boundaries, its rules + and controls, its leaders and laws. + But now, I see another world. A + different world where all things + are possible. A world of hope. Of + peace. + + We realize that the constellation is actually the holes in + the mouthpiece of a phone. Seen from inside. + + NEO (V.O.) + I can't tell you how to get there, + but I know if you can free your + mind, you'll find the way. + + + + +225 EXT. STREET - PHONE BOOTH 225 + + We SHOOT THROUGH the holes as!Neo hangs up the phone. + + He steps out of the phone and slides on a pair of + sunglasses. He looks up and we RISE. + + HIGHER and HIGHER, until the city is miles below. + + After a moment, Neo blasts by us, his long, black coat + billowing like a black leather cape as he flies faster than + a speeding bullet. + + FADE OUT. + 169. + + + THE END + + +226 226 + \ No newline at end of file diff --git a/scripts/The Mist.txt b/scripts/The Mist.txt new file mode 100644 index 0000000000000000000000000000000000000000..8d7f1225f3333e8cda81b1cacc873402ddfc36d5 --- /dev/null +++ b/scripts/The Mist.txt @@ -0,0 +1,6790 @@ + 1. + + + + "And what rough beast, its hour come round at last, + slouches towards Bethlehem to be born?" + + - W.B. YEATS + + Get it off! Get it off! Christ, get this friggin' thing off + me! + + - Norm the bag boy + + FADE IN: + + BLACKNESS. And silence. A title card comes up: + + THE STORM + + A CRASH OF LIGHTNING rips from the sky, revealing: + + +1 EXT. MILITARY BASE - NIGHT 1 + + A METAL SIGN on a chainlink fence being whipped by a nasty + storm: "ARROWHEAD PROJECT -- MILITARY PERSONNEL ONLY." WE + CLOSE IN as LIGHTNING BOOMS AND CRASHES, moving past the + sign to reveal a low, nondescript building... + + +2 INT. ARROWHEAD PROJECT LAB - NIGHT 2 + + ...in which high-tech EQUIPMENT encircles a huge, + pressurized CHAMBER. The chamber is low-tech -- massively + thick glass windows, ribbed-and-riveted steel, like an old- + fashioned diving helmet reinterpreted as a large room. It's + dark inside, fathomless. Lab-coated PERSONNEL are + everywhere, seated at work stations, computer screens + streaming data. + + A pair of tense scientists, MACHEN and NAYLOR, hover at the + shoulder of a seated tech named PHILLIPS. + + NAYLOR + We should pull the plug for + tonight. The storm... + + MACHEN + ...s'got nothing to do with it. Our + power sources are shielded. Stable, + (off Naylor's look) + Relax. + 2. + + + Activity mounts. We hear a rising TURBINE WHINE. Banks of + VIDEO AND WAVE-SPECTRUM CAMERAS are trained at the darkness + within the chamber. Everybody's intensely focused, eyeing + their data streams, murmuring to one another, the whole + vibe very "Mission Control." Phillips glances up: + + PHILLIPS + Sir? Alignments are set. + + MACHEN + Engage. + + Switches are thrown, commands keyed in. Scientists and + soldiers peer into the chamber, eyes straining into the + darkness, and: INSIDE THE CHAMBER + + A FAINT PINPOINT OF LIGHT appears inside the chamber, + blooming into existence from nothing, growing ever brighter + like a spotlight being shined through a keyhole... + + THE ROOM + + A hush falls. Faces are slack, stunned. A UNIFORMED COLONEL + moves to Machen's side, gazing in wonder as: + + Inside the chamber, the "keyhole" widens, irising open to + become a portal of dancing, swirling light. It shimmers, + growing larger and brighter, halating the glass... + + People are struck with wonder, light rippling their faces, + reluctantly tearing their eyes away to check their boards + as: + + MACHEN + Check your data streams. Give me + constant updates, flag any + anomalies... + + Suddenly: + + +4 EXT. MILITARY BASE - LAB - NIGHT 4 + + LIGHTNING slams from the sky, blasting along the fence, the + power lines, anything metal or electrical. A SOLDIER is + blown out of the guard booth as the surge EXPLODES every + circuit and panel, sending up showers of sparks as it + courses along... + + ...and WE PAN the surge as it goes blazing into the + TURBINES powering the lab, sending them into smoking + overdrive... + 3. + + +5 INT. ARROWHEAD LAB - NIGHT 5 + + ...and creating instant panic as: + + PHILLIPS + We got a hell of a surge! Needles + are way in the red! + + MACHEN + Disengage! Shut it down! + + A mad flurry as they try to shut the system down -- but the + WHINE CONTINUES TO BUILD, the "portal of light" within the + chamber growing larger and brighter still... + + COLONEL + C'mon, kill the goddamn power! + + PHILLIPS + I can't! + + MACHEN + What do you mean, you can't? Trip + the breakers! + + Machen darts over, frantically punching buttons. Phillips’ + screen is flashing data almost too fast to make sense of, + while the light inside the chamber swirls ever faster... + + NAYLOR + The system's overloading! + + PHILLIPS + Where's the power coming from? + + MACHEN + (gazes up, realizing) + The lightning. We're pulling it + right out of the sky. + + +6 EXT. MILITARY BASE/LAB - NIGHT 6 + + He's right -- overlapping BOLTS OF LIGHTNING are blazing + down, coursing through the array of power turbines... + + +7 INT. ARROWHEAD LAB - NIGHT 7 + + ...while the light within the chamber builds into a + whirlwind of unearthly power. People shield their eyes from + the glare, helpless to do anything but watch. A few techs + break and run... + 4. + + + MACHEN + Remain at your stations! + + COLONEL + How thick is that goddamn glass? + + MACHEN + Thick enough. Pressurized to forty + atmospheres. + +But even Machen sounds uncertain. The Colonel moves closer, +peering deeper into the light. It's blinding us, but: + + COLONEL + (hushed) + Am I...seeing something in there? + +ANGLE SHIFTS TO VIDEO TECH #1, scared shitless, trying to +darken and adjust the image enough to see. + + VIDEO TECH #1 + There’s something... + + MACHEN + What? + + VIDEO TECH #1 + ...something...moving. + +We see it. Something in the light. Something...slithery. +And that's when the first CRACK appears in the glass. The +SOUND OF THE SNAP makes everybody freeze, staring in +horror, desperately hoping it holds, but: + +CRACK, SNAP! Another crack. The glass begins to spiderweb. + +People turn and run, but it’s too late, because: + + MACHEN + (softly) + Jesus. + +WHAM -- the first window EXPLODES out, lacerating a tech +with flying glass, blowing him back in his seat as a HUGE +ERUPTION OF OTHERWORLDLY MIST blows through and engulfs +him... + +.. .and the windows EXPLODE in sequence as the mist +freight-trains into the room, blowing techs back in their +chairs, engulfing people on the run, muffling their +screams, wiping everything completely and utterly into: + +BLACKNESS. Silence. + 5. + + + FADE TO: + + FLASHES OF SLO-MO LIGHTNING play ghostlike and surreal, + rimming the faces of a family breathlessly watching the + storm approach. + + DAVID DRAYTON, his wife STEFF, their 5 year-old son BILLY. + + +8 INT. LIVING ROOM - NIGHT 8 + + They're silhouetted at a big picture window, storm roiling + in SLO-MO outside, clouds rippling, LIGHTNING arcing across + the sky. There's a huge old TREE out there, whipping in the + wind. + + David turns, murmurs something to Steff -- we can't hear + the words, just the HOWLING OF THE WIND. + + A MATCH + + flares in the dark, touches a candle wick. The flame rises, + bringing light... + + BASEMENT STAIRS + + ...and they come down the steps, each carrying a candle, + Billy leading the way. The boy is especially careful + carrying his candle, back straight, being brave. + + The candlelight weaves and dances, making the shadows move + in sinister ways. The family passes by us, gliding down the + steps and disappearing from view, the meager glow of their + candles diminishing to blackness again... + + LIVING ROOM - ANGLE ON A PAINTING + + ...as we SLOWLY PUSH IN on a finished PAINTING on an easel, + storm thundering outside the picture window b.g. The + painting is art for a movie poster, and exquisitely done. + + WHAM! The painting gets smashed as a BLAST OF LIGHTNING AND + THUNDER sends that huge old tree CRASHING straight at us + through the picture window where the family stood only + moments ago, freight-training into the room in a rain- + driven explosion of glass and smoking tree trunk, as we + + FADE TO BLACK + + +9 EXT. HOUSE - WIDE ESTABLISHING - MORNING 9 + 6. + + +It’s gorgeous -- blue skies, high clouds, birds twittering. +The house is at the edge of a wide lake, mountains b.g. +Billy runs out of the house in his pajamas, pauses at the +oak that was split in half by lightning. + + BILLY + Wow! + +He goes charging off. David exits the house with the +damaged painting in his hands, checking it in daylight. +Debris is everywhere -- branches, lawn furniture, other +trees downed. + +DAVID + +stops before the charred tree trunk, scowling at the part +that went through the house. Steff exits onto the porch. + + STEFF + Power's still out. Food's gonna go + bad. + + DAVID + Do a list. I'll head into town + before the store gets bought out. + + STEFF + (re: the painting) + Can you save it? + + DAVID + This? No way. I’ll have to do it + again from scratch. I'll have to + call the studio, see if they'll + extend my deadline. + + STEFF + What choice do they have? + + DAVID + You kidding? They can whip up some + bad Photoshop poster in an + afternoon. Two big heads. They do + it all the time. + (gazes at the painting) + I shoulda brought it downstairs + last night. Stupid. + + STEFF + You couldn’t know a tree was going + to come through the window. + + DAVID + 7. + + + (looks to the window) + I'll hit the hardware store too. + Get some plastic sheeting, duct + tape. I’ll seal that up before + dark, order some new glass in. + + STEFF + (beat, realizing) + That was your grandfather's tree. + The one he planted... + + DAVID + Yeah. I used to play in it. + +She comes down the steps, takes him in her arms. + + DAVID + Just stuff, hon. We’re all right, + that's what counts. We were + standing at that window. If we + hadn't gone downstairs when we + did... + +The rest is left unsaid. She shudders. Suddenly, Billy +comes skidding around the corner of the house, amped up: + + BILLY + Mom! Dad! Ya gotta come see! + + STEPP + Billy, take it easy! Don't go + charging around! + + BILLY + But ya gotta come lookit! The + boathouse is all bashed! There's a + dock on the rocks--and, and-- + there’s trees in the cove! Holy + crap! + + STEFF + Billy! + + BILLY + Sorry, Ma--but you gotta--wow! + +He's gone again, charging from view. + + DAVID + Having spoken, the doomsayer + departs. + +Steff can't help laughing in spite of everything. + 8. + + + STEFF + How come you two always manage to + make me laugh? + + DAVID + You have low standards? + (smiles, takes her hand) + Let's go see the damage. + + STEFF + I can do that in my living room. + +They proceed around the comer of the house -- and pause. + +NEW ANGLE + +reveals their boathouse smashed flat by a huge pine from +the neighbor's property -- the wind snapped it off near the +base and over it went, bam. Steff looks pissed: + + STEFF + That's Norton's tree. + + DAVID + Yeah. The dead one I’ve been asking + him to take down for three years + before it blew over. That tree. + +They come down toward the water, where Billy’s peering with +bright-eyed excitement at the boathouse: + + BILLY + Wow, it really got smooshed! + + DAVID + (mutters to Steff) + Nobody appreciates good destruction + like a five year-old. + +Billy glances up, seeing something across the lake. + + BILLY + Wooaaah... + +David and Steff look up, and now they see it too: + +The far end of the lake is gone. In its place is a wall of +mist, unnaturally straight and creeping this way. It has a +deeply strange quality to it -- instead of refracting +sunlight as normal mist would, this glows dead-white. + + BILLY + What is it, Daddy? + 9. + + + DAVID + Fog bank. + + STEFF + On the lake? + + DAVID + We've had fog on the lake before. + + STEFF + Not like that. + + DAVID + Probably a leftover from the storm. + Two fronts meeting, something like + that. + + STEFF + Are you sure? + + DAVID + Honey, I'm not the weatherman. + + STEFF + C'mon, Billy, inside. Daddy’s + heading into town, if you wanna go. + (to David) + You coming? + + DAVID + I'm gonna go have a chat with our + neighbor about his tree. + (off her look) + Don't worry, I'm not gonna punch + him in the nose or anything. + + STEFF + David, what's the point? You know + what he's gonna say, don't you? + "Sue me." Maybe we should. + + DAVID + Honey, one property dispute with + this guy was enough to last me a + lifetime. I'm just gonna ask for + his insurance info, that's all. + +She heads for the house, taking Billy. CAMERA FOLLOWS David +as he makes his way to the edge of the yard, steps over a +low fence, and proceeds onto his neighbor's property. + +He starts hearing a low sound ahead as he walks -- whut- +whut-whut! Somebody trying to start a chainsaw. + 10. + + + NORTON (O.S.) + Shit. + +David keeps moving toward the sound -- whut-whut-whut! + + NORTON (O.S.) + Motherfuck. + +He proceeds up the slope of the yard -- whut-whut-whut! + + NORTON (O.S.) + Cocksucker. + +And then we see him: BRENT NORTON, the neighbor, an +overweight New York City lawyer in his 50’s. He’s bent over +a chainsaw, face pinched with sheer frustration as he yanks +the cord again and again to no avail -- whut-whut-whut! +Whut-whut-whut! + +Norton suddenly realizes he’s not alone --he turns, seeing +David. A beat, both of them embarrassed, then: + + DAVID + Won’t start? + + NORTON + Goddamn thing cost two hundred + dollars, why should it start? + + DAVID + I guess you've seen the boathouse. + + NORTON + (bristling) + Yeah? So? + + DAVID + Nothing. I just think we should + swap insurance info. That’s all. + + NORTON + (bitter laugh) + Oh, my agent’s gonna love me... + +David follows Norton's glance, sees it: a car can be +glimpsed under the branches of a tree that came down and +crushed it. + + DAVID + (slowly realizing) + Oh. Oh shit. That’s not the Benz, + is it? The 1960? + 11. + + + NORTON + I drove it up this trip. I was + gonna bring the station wagon, + but...the weather was so nice when + I left New York...you know, top + down... + + DAVID + Oh, man. Brent, I'm sorry. + Sincerely. + + NORTON + That's nice of you to say. + + DAVID + No, I mean it. That car was cherry. + I hate seeing it like that. + + Norton absorbs this, nods. + + NORTON + I’ll find ray insurance guy's + number, bring it by later. That + okay? + + DAVID + No problem. + + David walks away. Norton's watching him go. Norton + hesitates, hating to ask, but: + + NORTON + David? + (David turns back) + You’re not heading into town today + by any chance, are you? + + +11 INT. DRAYTON KITCHEN - DAY 11 + + Steff's at the sink with the water running, separating + broken and unbroken dishes. She glances out the window, + surprised to see Norton trailing David into the yard. + + +12 EXT. HOUSE - DAY 12 + + Steff exits onto the porch. + + STEFF + Brent. + + NORTON + 12. + + + Hi, Steff. + (awkward beat) + Some morning, huh? + + STEFF + You could say that. + + DAVID + Brent needs a new chainsaw. He’s + gonna ride into town with us. + + STEFF + Something wrong with your car? + + NORTON + A tree came down on it. + + STEFF + (beat) + I was sorry to hear about Carla, + Brent. We all were. + + NORTON + Thank you. It was...sudden. Two + months from when she was diagnosed. + + STEFF + I'm sure that wasn’t easy. + + NORTON + No. It wasn't. + +Billy comes charging out of the house in fresh jeans and +sneakers, past Steff, down the stairs: + + BILLY + Ready, Daddy! + + DAVID + Great, champ! Hr. Norton’s coming + too. + + BILLY + (suddenly shy) + Hi, Mr. Norton. + + NORTON + Hiya, Billy. + + STEFF + (coming down the steps) + 13. + + + Here’s the grocery list...pick up + some ice, too, if they've got it, + so we can keep the milk cold... + + NORTON (O.S.) + That is the weirdest thing. + + They turn. Norton's shading his eyes, gazing across the + lake. + + The mist has swallowed half of it, still coming this way. + + NORTON + That mist. I saw it coming down the + mountain this morning, now it's + halfway across the lake. Some kind + of inversion layer, I guess. + + David stares at it, getting a bad feeling. Something about + that mist spooks him, but he has no idea why. + + DAVID + Hon? Why don’t you come with us? + + STEFF + I’m up to my ears in glass and mud, + that’s why. It'll take me all day. + You guys go, I’ll be fine. + + She kisses him, heads back inside... + + CUT TO: + + +13 EXT. HOUSE - WIDE - DAY 13 + + David’s 4WD Scout comes rumbling up to the top of the + driveway, the house b.g. David pauses, looks back. The mist + is now nearing this side of the lake. + + Steff emerges from the house wearing a big floppy sun hat + and dragging a trash bag. She sees them, waves. David waves + back, puts his misgivings aside, drives out onto the rural + road... + + +14 INT/EXT. SCOUT/RURAL ROAD - MOVING SHOT - DAY 14 + + ...where a PAIR OF ORANGE CMP (municipal power) TRUCKS come + lumbering by us, going the other way. ANGLE TO David at the + wheel of the Scout, Norton in the passenger seat, Billy in + back. David glances in the rearview at the trucks. + 14. + + + DAVID + Well, CMP's out in force. Maybe + we’ll get our power back. + + NORTON + We can hope. + +A stretch of awkward silence, both men feeling +uncomfortable riding together. Norton reaches for the +radio. + + NORTON + You mind? + +David shrugs -- go ahead. Norton starts scanning for a +station. + + NORTON + That was some storm, huh? + + DAVID + One for the books. For a moment + there last night, I thought we were + gonna take off and head for OZ. + + BILLY + Like Dorothy! + + DAVID + (smiles) + Yeah, champ, like Dorothy. + + NORTON + WOXO’s off the air. Just static, + (keeps scanning) + Portland’s still broadcasting. That + easy listening station... + + BILLY + Daddy, look! Army men! + +David glances up as MILITARY TRUCKS AND VEHICLES race by in +the opposite direction, just like the CMP trucks did. + + NORTON + It’s those guys from the Arrowhead + Project. + (looks to David) + You're a local. Any idea what they + do up there? + + DAVID + 15. + + +I'm sure you've heard all the crazy +stories. + + NORTON +The gal at the dry cleaners swears +they've got a crashed flying saucer +up there. Frozen alien bodies. + + DAVID +Edna, right. Miss Tabloid. "I Had +Bigfoot's Baby." "Satan's Face +Appears in Oilwell Fire." All that +good hard news. + (beat) +You know Mrs. Carmody? Owns that +weird antique shop in town? + + NORTON +The creepy place with all the dead +stuffed animals in the window? + + DAVID +That's the one. Bumped into her at +the gas station one day and she +starts in on Arrowhead. She informs +us they’re fooling around with +"atomic things." That's what she +said: "Those Army boys are shooting +atoms into the air, make no +mistake.” + + NORTON +What'd you say? + + DAVID +Not me, my son. My five year-old. + (in rearview mirror) +What'd you say, Billy? + + BILLY +I told her the air's full of atoms. +That's what our teacher says. +Everything’s full of atoms. + + NORTON +How’d that go over? + + DAVID + 16. + + + Mrs. Carmody looks at Billy and + says: "These are different atoms, + son. Secret atoms." Then she goes + on a rant about God's punishment + coming down on us. You don't mess + with God’s atoms, apparently. + + Suddenly, another stream of ARMY VEHICLES goes whizzing by. + + DAVID + They're in a big hurry. + + NORTON + Maybe their power's out too. + + CUT TO: + + +15 EXT. FEDERAL FOODS MARKET/PARKING LOT - DAY 15 + + A supermarket from the '60s, modest by today's standards. + + Also: a laundromat, ice cream shop, pharmacy. The parking + lot’s jammed. David's Scout appears, turning in... + + +16 INT. SCOUT - DAY 16 + + ...and a BEARDED BIKER ON A HARLEY pops into frame and cuts + them off, startling everybody as David slams the brakes. + + NORTON + Jesus! Stupid shit... + + The biker pulls ahead, rumbling toward the market. David + resumes cruising for a spot. Billy points: + + BILLY + Daddy! Somebody's leaving! + + +17 EXT. MARKET/PARKING LOT - DAY 17 + + They pull in, a lucky spot close to the market. David's + trying to get a call through on his cell phone as they get + out of the Scout, gives Norton a look. + + NORTON + No signal? + + DAVID + Why don't you get started? I'll use + the payphone, give Steff a call. + 17. + + + BILLY + Can I go with Mr. Norton, Daddy? + + Norton’s a bit thrown by this. David hesitates, hands the + list to Billy. + + DAVID + Make sure you hold his hand when + you cross. + + Billy takes Norton's hand and looks both ways, crossing the + traffic aisle to the market. Norton looks a bit flustered, + but goes with it. Billy turns, calls back to David: + + BILLY + Ask Mommy if she wants a Spiderman + comic book! I bet she does! + + DAVID + You think? + + Billy nods. David smiles, watches them enter the store. + + He goes to the payphone in front of the pharmacy, lifts the + receiver...and gets a "circuit busy" signal: wah-wah-wah- + wah. + + He clicks the cradle a few times, puts the receiver back + with a sigh, heads toward: + + THE MARKET + + He almost bumps face-first into the automatic door -- he + draws back, realizing the power's out. He pushes it open + manually... + + +20 INT. MARKET - DAY 20 + + ...and enters to find the store more crowded than he's ever + seen it -- people clogging the aisles, long lines snaking + to the checkout counters. The cashiers are harried, + totaling purchases by hand -- the registers are down. + + BUD BROWN (store manager) and OLLIE WEEKS (assistant + manager), are clipping receipts to the customers’ checks or + cash, tossing them in a box. Both men are also bagging, + helping out NORM THE BAG BOY, a skinny 18 year-old with + stringy blond hair; SALLY, a pretty teenage cashier, + glances up and sees David entering. + + SALLY + Hey, Mr. Drayton... + 18. + + + DAVID + Sally...you guys look jammed up. + + SALLY + Yeah. Half the staff didn't show, + plus the power's out. + + DAVID + Thought you had a generator. + + SALLY + Only for emergency lights and to + keep the food cold. Everything + else, welcome to the Dark Ages. + Bring your checkbook. + + DAVID + (smiles, moving on) + Hey, Steff and I want a date night + Thursday. You free to babysit + Billy? + + SALLY + Heck yeah. I'm there. + +David moves to Ollie (wearing a bow tie), who's happy to +see a friendly face. + + DAVID + Crappy day, huh? + + OLLIE + Oh, man, everybody's pissed off + this morning. + (his gaze shifts) + Oh, great. And now it's complete. + +David turns, sees MRS. CARMODY enter. She seems like a nice +(though eccentric) lady at first, but...well, we'll get to +know her soon enough. She's in a canary-yellow pantsuit, +annoyed to see such a long wait at the checkstands. + + OLLIE + What do you wanna bet she finds + Satan lurking in the cantaloupes? + (as she draws near) + Good morning, Mrs. Carmody... + + MRS. CARMODY + With these lines? I wouldn’t say + there's much good about it, but I + guess we'll have to make do. + 19. + + + On she goes, moving down the aisles. + + DAVID + (grins) + Keep your head down, pal. + + OLLIE + You know it. + + David moves on... + + WE FADE TO BLACK and bring up a TITLE CARD: + + THE COMING OF THE MIST + + +21 INT. MARKET - DAY 21 + + David finds Norton and Billy in an aisle, items already in + the shopping cart, Norton puzzling over Steff's list. + + NORTON + Your wife should have been a + doctor, David. She could make a + fortune in Manhattan with this + handwriting. + + DAVID + I know, takes some getting used to. + (takes the list) + Why don't you get your stuff? We'll + meet you at the checkout. + + NORTON + Done. + + Norton grabs a hand-basket from the cart, starts away. He + pauses, looks back. + + NORTON + David. Thanks for helping me today. + + David nods. Norton turns the corner, gone. + + BILLY + Are you and Mr. Norton gonna be + friends now, Daddy? + + DAVID + I dunno, champ. "Friends" might be + stretching it. We'll see. + 20. + + +He grabs some items off the shelf, tosses them to Billy, +who relays them into the cart. + + BILLY + But I guess you're not mad at each + other any more. + + DAVID + I guess not. That’s a start. + +They proceed down the aisle... + +PRODUCE SECTION + +Mrs. Carmody is peering intensely (and suspiciously) at a +cantaloupe... + +VARIOUS ANGLES + +of store activity -- people shopping, maneuvering in the +aisles, trying not to bump carts, cashiers working... + +It's all very...normal. And yet its very normalcy should +unnerve us. (This is very much in the tone of how it's +shot.) CHECKOUT STANDS + +Long lines, uncomfortable people, sweaty faces, everybody +enduring the wait. A battery-operated RADIO on the +manager’s podium is tuned to that Portland easy-listening +station... + +DAVID, BILLY, AND NORTON + +are in line with their shopping cart. + + BILLY + Daddy, look. More Army men. + +David glances over, sees THREE ARMY PRIVATES entering the +store: PVTS. WAYNE JESSUP, JOHN BISBY, TIM DONALDSON. +They're in standard (not combat) uniform, bummed to see the +long lines. + +CLOSER ANGLE ON SOLDIERS + +Jessup is a local boy, 19 years-old. The other two are +barely out of their teens. We catch a bit of their +conversation: + + BISBY + ...bus leaves in forty minutes... + 21. + + + JESSUP + ...we'll make it, okay? You guys + get the goodies, I'll get in line\\ + +Bisby and Donaldson move off. Jessup gets in line. Sally +the cashier makes eye contact with Jessup and smiles, a bit +flirty. + +He smiles back, waves. They obviously know each other. + +DAVID’S GROUP IRENE REPPLER (in the next line) smiles at +David and Billy. + +She's a teacher at the local grammar school, 60-ish and +wiry, cat's-eye glasses hanging on a chain around her neck. + + BILLY + Hello, Mrs. Reppier. + + IRENE + Hello yourself, Billy Drayton. + How'd you folks hold up in the + storm? + + DAVID + Big insurance day. We had a tree + come through the picture window. + + BILLY + And the boathouse got all smooshed! + Mr. Norton's tree fell on it! + +David glances to Norton, sees his attention on the plate +glass windows at the front of the store. David follows his +look... + + IRENE + Sorry to hear that. We had damage + at the school, wouldn’t you know... + +DAVID’S POV + +An ARMY JEEP has pulled up outside. A PAIR OF M.P.s get +out. + +They split up, one of them heading toward the laundromat, +the other coming this way into the market. + + IRENE (O.S.) + ...that's what we get for not + fixing that roof when we should’ve, + but with funds being cut every + year... + 22. + + +DAVID + +wonders what’s going on, glances to Private Jessup in line. + +Irene keeps nattering, fanning herself with a magazine: + + IRENE + ...you’d think educating children + would be more of a priority in this + country, but you’d be wrong... + +David notices a beautiful young woman, AMANDA DUMFRIES, a +few lines over -- she’s been overhearing, smiles, glances +away. + +The bearded biker that cut David off in the parking lot is +standing in line behind her. + +Beyond them is Mrs. Carmody, pissed at this long wait. Her +eyes meet David’s. He smiles, nods, glances away. + + IRENE + ...government’s got better things + to spend our money on, like + corporate handouts and building + bombs... + +Suddenly, a POLICE SIREN goes wailing by outside. People +crane to look, curious, not really seeing much. + +ANOTHER SIREN swells on its heels. Another police car? A +fire truck? One or two people break out of line, drifting +toward the windows, but still don’t see much. + +Sally the cashier is craning to see. Bud Brown (the other +store manager) reprimands her: + + BUD + Mind what you're doing, Sally. + +She flushes, keeps working. David starts catching some +tense conversation between the M.P. and the three young +soldiers: + + DONALDSON + ...oh, c'mon, man...we got ten days + leave, check our papers... + + M.P. + ...look, I told you, all furloughs + are canceled, I don't know why. + (off their looks) + 23. + + + I gotta go check the pharmacy. You + three meet me at that jeep in five + minutes, that's an order— + +As the M.P. leaves, the TOWN SIREN STARTS WAILING, rising +and falling, one of those scary Cold war-era relics that +some small towns use nowadays for volunteer fire +departments. + +Conversation in the store dies away. Even Irene has fallen +silent and stopped fanning herself, the magazine hovering +near her face. (All we hear now is Johnny Mathis singing +"Misty" on the battery-operated radio.) + + IRENE + I wonder if there's a fire... + + MAN + Ayuh. Could be one. Saw some live + wires out on Kansas Road, storm + brung 'em down... + + DAVID + Kansas Road? + + BILLY + Daddy, is there a fire? Is Mommy + all right? + + DAVID + I'm sure she is. Don't worry, okay? + +Several more people have broken out of line, going to the +windows. A TEENAGER stops at the glass: + + TEENAGER #1 + Holy shit... + (turns to his friends) + ...guys, you gotta see this... + +TWO MORE TEENAGERS (a guy and a girl) break from their +group, coming to the glass. + + TEENAGER #2 + Whooaaa... + + TEENAGER #1 + It’s coming right up Kansas Road. + + WOMAN + What is it? What’s out there? + 24. + + +A MAN IN PAISLEY SUMMER HAT is outside the market, gazing +off. He quickly pops into the store. + + PAISLEY HAT + Hey, anybody got a camera? + +A ripple goes through the crowd — if it’s worth taking a +picture of, it must be worth seeing. + + BILLY + Daddy, what's happening? + +Paisley Hat grabs a disposable camera off a revolving rack +and hurries back out the door... + + PAISLEY HAT + Bud, I’ll pay ya later! + + BUD + Fred, you can't just take th-- + +...but the guy's gone. + + TEENAGER #1 + Dude, we gotta check this out... + +The kid dashes outside, followed by his friend. + + TEENAGE GIRL + Guys, wait...hey! + +She pauses at the door, uncertain, holding it open. + + BEARDED BIKER + Don’t let the air conditioning + out... + +A few people laugh at the wisecrack, but most are +concerned: + + OLD MAN + What is it? Hey, what’s out there? + + TEENAGE GIRL + Some kinda...mist. + +And David experiences the first real stab of fear. He sees +commotion brewing in the parking lot...people coming out of +the laundromat... a few people running by in panic... + 25. + + +Inside the market the mood is changing, unraveling, +curiosity crystallizing toward concern, the checkout lines +are dissolving as people move toward the windows... + + BUD + Hey, hey, ya ain’t paid for those! + +Sally suddenly finds herself without customers. She drifts +to the windows herself, peering out, and: + + SALLY + Oh my God... + +People gasp. There's a MAN staggering across the parking +lot toward the store, blood splashing from his nose down +his shirt. People press toward the glass, watching in +shock? as: + +The man almost falls once or twice, bursts into the store: + + BLOODY NOSE + Something in the fog! Something in + the fog took John Lee! Something... + +He staggers, woozy, as Ollie helps him sit heavily down on +the 50 pound bags of dog food lining the windows. + + BLOODY NOSE + ...something in the fog took John + Lee! And I heard him screaming! + +Billy bursts into tears, clinging to David's neck... + + BILLY + Daddy, what's that bloody man? Why + is that bloody man? + +People are bewildered, confused. A few go outside. +Suddenly, a voice cries out, urgent with fear: + + MRS. CARMODY + Don't go out there! It’s death to + go out there! + + OLLIE + (mutters to himself) + Aw, jeez... + +A few people draw away from Mrs. Carmody, avoiding her. The +vibe is turning panicky, and she's not helping things. +Somebody bumps into David, almost jolting him off his feet, +more people heading outside, as Norton whispers to David: + 26. + + + NORTON + What the Christ is this? + +Mrs. Carmody elbows her way toward the front, desperately +trying to warn people, pleading: + + MRS. CARMODY + Don’t go out there! It’s death. I + feel that it’s death out there... + +Confusion mounts, people crowding to the glass, some +heading out the door. David moves to the windows, holding +Billy... + + BILLY + Daddy, I'm scared. Can we go home + please? + +The daylight outside starts to dim. Johnny Mathis is just +singing the words "I get Missstyyy..." when the broadcast +suddenly dissolves into static. People are pressing to the +glass, faces stunned. And David gets close enough to see: + +The Mist. It glides across the parking lot with lazy speed, +an expanding wall of white. A few people are running from +it as it blots out the blue sky, turning the sun into a +faint silver disc. Another person goes running out the +door... + + BLOODY NOSE + Don’t go out! There’s something in + the fog! It took John Lee! + + MRS. CARMODY + It’s death. Death took your John + Lee. It’s death out there. + + BEARDED BIKER + Shut up, you crazy old bag... + +She whirls on him, her eyes blazing, actually making the +big guy shrink back. + + MRS. CARMODY + You’ll be next, you don’t mind your + maimers. + +The people in the store watch spellbound as the cars +disappear row after row, half the lot now gone. David’s +Scout is parked near, still visible. + + NORTON + 27. + + + Let’s get out of here, David. What + do you say we-- + + DAVID + No, no, wait. Let’s just wait. + +A GUY IN A COORS CAP nudges past the people at the door. + + COORS CAP + Screw that, I’m getting to my car. + + MRS. CARMODY + No, no, don't, it’s... + +But he shoulders the door open and runs. It starts a +stampede; others start pushing their way outside, +following. + + MRS. CARMODY + ...wait, you don’t understand! + +We see Coors Cap get to his El Camino, fumble his keys, +trying to get the door open...as the Mist swallows him. + +Beat. + +His SCREAMS begin, piercing shrieks that go on and on, +competing with the now-echoey wail of the town siren. + + IRENE + Oh ray dear Lord... + +The people who followed Coors Cap out suddenly rush to get +back in, the flow reversing at the door, people pushing and +shoving their way back inside. They get the door closed, +as: + +The screaming stops. In the stunned silence that follows: + + MRS. CARMODY + (softly) + It’s death. + +David sees the Mist swallow his Scout, glide across the +traffic aisle, and press up against the glass... + +The market is swallowed. We see only vague shapes out there +now, a few trash cans. The parking lot lamps come on +automatically, adding dim orange halos of light to the +murk. + +Another scream is heard somewhere, distant as a dream... + 28. + + + OLLIE + What’s going on? What is this? + +David tries to speak, but can't even venture a guess. +Billy's clinging tightly to his neck, whimpering: + + BILLY + Mommy... + + DAVID + She's okay... + +An OLD MAN is backing away from the windows. + + OLD MAN + It’s a pollution cloud. The mills + at Rumsford. Some kinda chemical + explosion, has to be... + +And THUD! People SCREAM as the earth shifts under the store +on one side and drops a few feet, a massive crack running +along the floor up an aisle — then boom, the other side of +the store drops along with it and a matching crack explodes +along the ceiling like it might give way above their heads. + +Now the front of the store drops on its foundation, huge +plate glass panels twanging terrifyingly in their frames. +Some floor-to-ceiling cracks appear, but the glass holds... + +The aisle shelves are teetering, almost going over, +spilling contents...we hear bottles breaking all over the +store...a hanging fluorescent ceiling fixture breaks loose +on one end, doing a Tarzan-swing and smashing against the +shelves... + +Then it's done. People are petrified, breathless, waiting +to see if anything else happens. Off in the distance, the +town siren stops, the wail dying off eerily to nothing. +It's like the outside world just went away. + +A MAN IN SPECTACLES is the first to speak, breathless: + + SPECTACLES + Was that an earthquake? + + OLD MAN + I tell ya, those goddamn mills blew + up... + + OLLIE + Is everybody okay? Is anybody hurt? + 29. + + +Everybody starts breathing again, some sobbing in fear. +Billy starts crying hysterically. David sets him down, +trying to quiet him, as tension spills out all over the +store: + + BUD + Everybody just stay put, okay? Just + stay inside the store! + + BLONDE WOMAN + I can't stay here. I can't. I gotta + get home to my kids. + + MRS. CARMODY + It’s death to go out there I + +The teenage girl spins, terrified, yelling: + + TEENAGE GIRL + Stop saying that! Stop that crazy + bullshit! + + NORTON + Please, everybody! Everybody just + relax, okay? + + BUD + He's right! Let's keep cool! Let's + try and figure out what just + happened... + + SPECTACLES + I think that was an earthquake. I + really do... + + BLONDE WOMAN + I’m sorry. I can’t just stay here. + I gotta get home to my kids. + + OLD MAN + Could be a poison gas cloud out + there. Those mills...you heard that + man screaming... + + OLLIE + Ma'am, no, you can't go out there. + Not until we catch our breath and + figure things out-- + + BLONDE WOMAN + 30. + + + You're not listening! I can’t stay + here. Wanda's looking after little + Victor...Wanda's only eight...she + sometimes forgets she’s supposed to + be watching him, you know? I told + them I'd only be gone for a few + minutes...she's only eight... + +She falls silent, desperate and brittle, staring around at +all the faces watching her. + + BLONDE WOMAN + Well? Isn't anyone gonna help me?! + Won't somebody...won’t somebody + here see a lady home? + +Nobody speaks. People shuffle their feet, try not to meet +her gaze. A FAT LOCAL MAN takes half a step forward, but +his WIFE gets his arm in a death grip and holds him back. + +The blonde woman is looking around, her gaze going from +face to face, near tears. + + BLONDE WOMAN + (to Ollie) + You? + (to Bud) + You? + (to Norton) + You? + +Norton opens his mouth as if to speak.. .but hesitates, she +dismisses him with disgust, looks to David. + + BLONDE WOMAN + You? + +David picks up Billy, pinned in her gaze. + + DAVID + Ma'am... got my own boy to worry + about. + +The blonde woman just stares at them all, then*. + + BLONDE WOMAN + (softly) + I hope you all rot in hell. + +And with that, she turns to exit the store. Sally makes a +half-hearted grab for her... + + SALLY + 31. + + + Aw, lady, wait... + +...but the blonde woman shrugs her off, pushes the door +open, steps out. People go to the glass, watching. + +The blonde woman takes a deep breath. Then another. The air +does not seem poisoned. She moves slowly off through the +Mist, growing ever more indistinct until... + +...she's gone. People stand at the glass, staring, too +stunned or ashamed to speak. They start moving away from +the windows. + +DAVID + +carries Billy down an aisle, away from the others, trying +to calm him. The boy is clutching him, sobbing against his +neck. + + DAVID + It's okay...it’s okay now...hey + champ, easy...just breathe... + +The boy’s sobbing so hard he’s having trouble catching his +breath. David paces, rocking him, his heart breaking: + + DAVID + ...c’mon, Big Bill...you can’t keep + crying like this, you're gonna hurt + yourself...just try and breathe... + +Billy’s sobs start to taper, hitching as he tries to calm +down. Irene and Sally come by, trailed by Amanda Dumfries. + + IRENE + Is there anything I can do? + + DAVID + No, it’s okay, he's gonna be + fine...aren’t you, Billy? + + SALLY + Hey, Billy, it's gonna be fine. + Okay? Want some juice or something, + big guy? + +Billy buries his face miserably into David's neck, his +voice still hitching with sobs, small and muffled: + + BILLY + I... I...w-want m-my m-mommy... + + DAVID + 32. + + + I know you do, champ. C'mon now, + try to breathe... + + WE FADE TO BLACK AND BRING UP A TITLE CARD: + + WHAT HAPPENED TO THE BAG BOY + + +28 INT. MARKET (BACK OF THE STORE) - DAY 28 + + David’s on the floor with Billy’s head in his lap. The + boy’s sucking his thumb, eyes glazed with exhaustion and + shock, half dozing. David’s sick with concern, stroking the + boy’s hair. Across from them sit Irene, Sally the cashier, + Amanda Dumfries, and HATTIE TURMAN, an elegantly dressed + woman. + + DAVID + I haven't seen him suck his thumb + since he was two years old. + + AMANDA + He’s in shock. I think we all are. + + IRENE + You haven't met. Amanda Dumfries. + Amanda's new in town...she teaches + third grade, and damn well, I might + add...all the kids love her... + + David gives Amanda a nod, as: + + IRENE + David's an artist. He does movie + posters and such. Hattie Turman, + she’s in real estate. And + Sally...you're a senior now, aren't + you, dear... + + SALLY + Yes ma'am. + + IRENE + ...and me, good Lord, I’m babbling + like some old biddy at a tea party. + My nerves are all jangled, I guess. + + AMANDA + Sorry we couldn't meet under better + circumstances. + + Ollie comes by, crouches. + 33. + + + OLLIE + Boy settled down? How is he? + + DAVID + He feels hot. + + OLLIE + I'll go fetch some aspirin, huh? + + DAVID + Thanks. I'll get something to cover + him up. Got any blankets? + + OLLIE + Got some furniture pads out in the + loading dock. + + DAVID + Sally, you mind taking him? + +Sally reaches over, takes Billy onto her lap. The thumb +comes out of the boy’s mouth, his voice faint: + + BILLY + Daddy, don't go... + + DAVID + I'll be gone two seconds. Big Bill, + get you a blanket. Sally’s here. + So's Mrs. Reppier and Mrs. Turman. + + SALLY + We got your back, buckaroo... 'kay? + + BILLY + 'Kay. + +Back goes the thumb. David rises. WE TRACK HIM along the +back of the store, passing aisle after aisle, catching +glimpses of the people clustered at the checkout stands +b.g. + + NORTON + ...no, no, the first thing to do is + keep our wits about us and figure + out what’s happened— + + BEARDED BIKER + How you propose we do that, my man? + Got no phone signals, got no + radio... + + NORTON + 34. + + + I'm sure that's just temporary. + We're obviously dealing with some + kind of natural disaster here... + + MAN + Ain't nothin' obvious about this + sumbitch from where I sit... + + ANOTHER MAN + ...nothin’ natural about it + either... + + MRS. CARMODY + It’s God’s judgment come down at + last. Nothin' more obvious or + natural than that. + + BEARDED BIKER + Oh, fuck me... + + MRS. CARMODY + (sharp) + Oh, I won’t have to, Sonny Jim. You + already did that to yourself with a + life of sin and dissolution... + +David goes through a pair of swinging rubberized doors +into: + +THE LOADING DOCK + +Dim in here, lit by a few emergency lights. David takes a +few steps in and recoils — the room is filling with thick +white smoke, the generator belching exhaust fumes into the +air. + +Coughing, David grabs a towel, covers his face, moves +through the loading dock filled with shadows and pallets of +goods. + +David finds the generator in a back comer, occupying its +own steel mesh cage. He ducks in, finds the smoke backing +up from the exhaust vent. He locates the on-off switch, +flicks it. + +The genny sputters and quits, killing the noise -- and the +lights. David finds himself in total darkness. + + DAVID + Oh, shit. + +He turns to exit the cage, whacks his head painfully on the +door frame as he does. + 35. + + + DAVID + Shit! + +He eases through, trying to find his way in the dark. He +trips over a pallet, gets to his feet, fighting panic now. + +He pauses to get his bearings and let his eyes adjust, +knowing he's being irrational, towel still over his mouth. + +He sees a source of faint light: lines running along the +edges and bottom of the huge corrugated-steel loading door, +the kind that rolls up on its track when you press the +button. + +Opposite that, more light spills very faintly through the +swinging doors from the market. He edges slowly and +carefully toward those, trying not to trip... + +A sly, slithery sound makes him stop dead in tracks. + +He stands frozen, eyes wide, listening. Only silence now. + +Did he imagine it? He decides his ears were playing tricks +on him, cautiously takes another step... + +There's the sound again; something sliiiding veerrrryy +slooowwly in the darkness behind him. Then silence. + +David turns, heart hammering in his chest, gaze sweeping +the darkness toward the huge roll-up door. The sound comes +again, louder now, from the other side... + +And the corrugated steel of the loading door presses +inward, metal groaning as if some enormous weight were +being applied from outside by some huge moving object. + +David backs away, breaks and runs, fleeing through the dark +and hurtling headlong through the swinging doors into -- + +THE MARKET + +— where he damn near plows right into Ollie Weeks, who was +just about to enter the loading dock with two other men, +JIM GRONDIN and MYRON LAFLEUR. They jump back, startled. + + OLLIE + David1 Jesus! + + DAVID + Did you hear it? Any of you? + + OLLIE + 36. + + + What, the generator? We were just + coming to check it out... + +Norm the bag boy appears with flashlights, ready to hand +them out. David's freaked, trying to calm down: + + DAVID + No, I turned the generator off. The + exhaust was backing up...nobody + else heard that sound? + + JIM + What sound? + + DAVID + I don’t know...a big slithery + noise...back there in the dark...at + the loading door... + +The men are trading looks, Jim and Myron especially. +They’re a pair of blue-collar guys who work in a garage, +and have the air of veteran know-it-all townies. + + JIM + You hear it before the lights went + out...or after? + + DAVID + No, only after, but...look, I heard + it, okay? + + OLLIE + Nobody’s calling you a liar. + + DAVID + That's what it sounds like. + + JIM + Now don't be thataway, Mr. Drayton. + You had a scare, no doubt. Why not + let’s all go check it out? + +IN THE LOADING DOCK + +The doors swing open. The group enters, flashlights +sweeping the smoky air. Ollie wheezes, covers his nose and +mouth. + + JIM + Pretty rank in here. Guess you were + right to shut her down. + 37. + + +The flashlight beams play across the corrugated loading +door. + +Looks fine. Jim glances to Myron, and it's obvious what +they're thinking: that David’s one’s them high-strung, +nervous nelly types. Only Ollie seems to giving any benefit +of doubt. + +They move toward the generator, flashlights bobbing across +cartons of canned goods, pallets of dry dog food. + +Jim and Myron enter the cage, Ollie hovering at their +shoulders. The generator ROARS to life, spewing smoke. + + JIM + Whoa, whoa, shut her down! Holy + crow, don't that stink! + +The generator dies again. Jim and Myron exit the cage. + + MYRON + Something's got that exhaust vent + plugged up from the outside. + + NORM + Get it running long enough to raise + that door a little. I'll go out and + clear whatever's blocking it. + + DAVID + No, you can't do that... + + JIM + Why not? + (to Ollie) + 'Lectric door, right? + + OLLIE + Well, yeah, but I don't think it’s + very wise to send him out there. + + MYRON + (tips his cap back) + Well, okay. I’ll do it. + + OLLIE + No, you don’t understand, I really + don’t think anyone sh~- + + MYRON + Don't worry, I'll get her done. + What, don't think I can? + 38. + + + NORM + Hey, I wanna go, it was my idea... + + DAVID + Whoa, wait, just stop! + (they stare at him) + Jim, right? And Myron? You don’t + seem to understand, or you're + trying as hard as you can not to. + This is no ordinary fog, okay? And + there are a lot of people in this + market. If you open that loading + door and something comes in... + + NORM + (snorts) + Like what? + + DAVID + Like whatever made that noise I + heard. Are you guys being willfully + dense? + +Jim's pissed now, gives David a half bitter/half amused +grin. + + JIM + Mr. Drayton, pardon me, but I’m not + convinced you heard anything. We’re + not hearing anything now. Anybody? + (a quick glance around) + I know you’re a bigshot artist with + connections in New York and + Hollywood and all, but that don’t + make you better than anyone else, + in my book... + + DAVID + I didn't say that... + + JIM + ...nor do I like being talked down + to and called stupid just 'cause + some guy with a college degree has + got the jitters. Way I figure, you + got lost in here in the dark, got a + little confused and a little + scared. + + MYRON + It happens. + + OLLIE + 39. + + + Fellas, the generator isn't even + that important, the food'll keep + for days without-- + +Jim cuts him off brusquely, points to Norm: + + JIM + Okay, kid, you’re it. I'll start + the motor, you raise the door. Give + us a yell when you got enough room. + + NORM + Yeah, okay, good. + +Norm goes to the loading door. David's just staring at +them, unable to believe he can’t talk them out of this. + + DAVID + Wait, this is crazy! You're gonna + let this kid risk his life over a + generator that doesn't even matter? + + NORM + Why don't you just shut the fuck up + already! Jeezus! + + JIM + Listen...Mr. Drayton\\ tell you + what. You got anything else to say, + I think you better count your teeth + first, 'cause I’m tired of + listening to your bullshit. + (glances over) + C'mon, Myron. + +They head for the genny. Norm goes to the loading door. +David, stunned, tries to go after them -- but Ollie +restrains him. + + OLLIE + Leave ’em be. + + DAVID + (quiet, tense) + This is crazy, these assholes think + I'm impugning their manhood? What + the fuck is going on here? + + OLLIE + 40. + + + They've lost their sense of + proportion. Out there in the market + they were scared and confused...in + here’s a problem they can solve, so + goddamn it, they’re gonna solve it. + + JIM + Ready, kid? + + NORM + Yeah, let’s rock! + + DAVID + Norm, don’t. It's a mistake. + +Norm turns, eyes shining with excitement and...yes, fear. +He looks like he might actually be having second thoughts, +but then the generator ROARS to life and the decision is +made. He tosses David a look of utter macho 18 year-old +contempt. + + NORM + Pussy. + +-- Norm stabs the loading door button with his finger, +steps back to wait. The door starts to rise, rolling slowly +up in its tracks. Light comes flooding in, pushing back the +shadows. + + NORM + Hold up! + +The generator goes off. The door stops about three feet off +the ground. Norm moves forward. Outside, the concrete +loading platform stretches off into a dull milky haze. +Tendrils of mist come eddying in across the floor, creating +an otherworldly effect. It might as well be a different +planet out there. + +Jim and Myron exit the generator cage. Norm gets to the +door, ducks down and peers out to make sure the coast is +clear. + + MYRON + So? Any boogeymen? + + NORM + (snorts, glances back) + Yeah, right... + +And that's when it happens: a long, pale, fleshy pink thing +that looks like a huge obscene worm comes slithering up +over the lip of the loading platform, probing the air. + 41. + + +All the men inside see it. Ollie makes a sound in his +throat. + +Norm turns, looks down, goggle-eyed, starts backpedaling... + + NORM + What the fu-~ + +...and THWACK1 The membrane lashes forward and wraps around +his ankle -- it’s a tentacle! The tip has a flat pad like a +giant squid’s, only this pad has a mouth in it bristling +with tiny black barbed teeth that cut through jeans and +flesh. + +Norm lets out an inarticulate SCREAM of sheer horror as he +dances hysterically back into the loading dock with the +thing clinging to his ankle, trying to shake it off: + + NORM + GET IT OFF! GET IT OFF! CHRIST, GET + THIS FRIGGIN' THING OFF ME! + + JIM + (frozen) + Oh my God... + +The tentacle suddenly flexes and pulls, jerking Norm's foot +out from under him. He flies back, arms flailing wildly, +and slams flat on his back, cracking his head on the +concrete. + +The tentacle flexes again, wrapping further up Norm's leg +to get a better grip...and hundreds of tiny sphincter-like +mouths are revealed lining the underside of the tentacle, +opening and closing hungrily, tiny barbed teeth gnashing. +The tentacle starts dragging Norm across the floor toward +the door --he flops onto his stomach, dazed, fingers +clawing the pavement. + + NORM + JESUS CHRIST, JESUS CHRIST, GET IT + OFF ME, GET IT OFF ME! + +David's the first (and only one) to react --he lunges +forward, grabbing Norm by the wrist and pulling hard. It's +a tug of war between David and the tentacle, with Norm the +bag boy as prize. Norm’s eyes are on him, blubbering with +fear: + + NORM + Don't let it get me, okay, don't, + okay, don't... + (looks to Jim and Myron) + 42. + + + Help me...help me, you guys, + please, please... + +But the others are frozen in shock, their brains gone +short-circuit, unable to process what they're seeing. Myron +backs away, trips over a pallet and lands on his ass, +gaping in incomprehension and terror. + +David strains to pull Norm free, their wrists locked. +Suddenly, we hear: more slithering. + +ANGLE AT FLOOR LEVEL + +Norm takes his eyes off David, turns to look -- as we RACK +TO the loading door b.g. to reveal: + +More tentacles rise up just outside, slipping and flopping +and slithering hungrily toward us. RACK BACK TO Norm as he +looks back to David, almost imbecilic now with fear: + + NORM + ...oh, there’s more...there’s + more... + + DAVID + SOMEBODY HELP ME! WHAT THE FUCK ARE + YOU WAITING FOR? + +And that1s what gets Ollie moving, his feet unfrozen, his +brain in gear. He runs to help, grabbing Norm's other +wrist, the insane tug of war continuing, as: + +A second tentacle comes slithering, wrapping now around +Norm's other leg. The barbed pad sinks in, pulls off a hunk +of fabric and flesh. The tentacle rears up and poises in +the air with its prize, then starts feeding -- the mouth- +in-the-pad gobbles the bloody hunk, bobbing like a dog +scarfing a treat. Below it, the rows of tiny sucker-mouths +lining the tentacle hungrily snap open-and-shut-open-and- +shut, grabbing any morsels that fall... + + NORM + Oh! Oh! Oh! + +More tentacles come probing. One snatches Norm’s apron +off., carries it away like a prize. Another tugs a Converse +sneaker off his thrashing foot and makes off with it. David +looks around, sees: a fire ax enclosed in a glass case on +the wall. + + DAVID + OLLIE! THE AX! THE AX! + 43. + + +Ollie lets go of Norm, rushes to the wall, and SLAMS his +elbow hard as he can into the glass case -- it doesn’t +break, but his elbow almost does. He hisses in pain, +clutching it... + + OLLIE + OW, FUCK! + +He glances back in panic, sees more tentacles appearing, +crowding the loading platform outside... + +Ollie suddenly clutches his chest, wheezing, unable to +breathe! + +Heart attack? No -- asthma attack! A bad one! He sees a box +of canned goods, grabs a can of chili, rams it through the +glass -- CRASH! He reaches in, fumbling to retrieve the +ax... + +DAVID AND NORM + +David slips and slides in Norm’s blood, feet dug in, +getting dragged as Norm is pulled along in fits and starts. +Tentacles are darting, dipping in, nipping pieces out of +Norm, ripping up little hunks of clothing and flesh... + + NORM + GAAAAAHHHHHHDD! GAAAAAHHHHHHDD! + +Ollie comes staggering in the grip of a full-blown asthma +attack, wheezing like a bellows, fire ax raised high, +trying to get enough aim to whack off a tentacle, Norm +gaping up at this new insanity about to descend upon him. + +ollie swings the ax down, blade slicing the air, but: + +David abruptly loses his sweaty grip, falls back in a +sprawl. + +The ax nearly takes off Norm's head, barely missing and +slamming concrete as Norm gets yanked away from them... + +Norm goes sailing/sliding across the floor, screaming and +writhing wildly, trying to sit up, and: + +WHAM! He SLAMS face-first into the bottom of the loading +door, flops onto his back from the recoil. The tentacles +flex and coil, try to jerk him outside, but: + +Norm grabs the bottom lip of the door with both hands in a +white-knuckled death grip. The tentacles pull harder, +causing Norm's body to rise off the ground, but he won’t +let go, he's doing chin-ups on the door for dear life... + 44. + + +David looks to Ollie, stunned, thinking Ollie's dying. +Ollie’s on his knees, gasping, unable to breathe, clutching +his chest and fumbling in his pocket, trying to explain: + + OLLIE + ...asthma...fuckin' asthma... + +David scrambles forward, getting a new grip under Norm's +arms, pulling for all he's worth, screaming with effort... + +Ollie comes staggering, taking desperate hits from his +inhaler, also grabbing Norm... + +More tentacles are slithering past them, exploring --a huge +one ripples by them like a gigantic boa constrictor, +probing the pallets of goods. It grabs a 50 pound bag of +dog food and squeezes, exploding dry kibble all over the +room. Other tentacles descend, mindlessly scarfing it up... + +David and Ollie are whining with effort and terror, the +loading door buckling and groaning from the pressure. Norm +is gazing up at them, whimpering, head whipping from side +to side as if to deny that he's being eaten alive, moaning: + + NORM + ...don’t let it get me...’kay... + +A tentacle THWACKS onto one of his hands, RIPS the flesh +away to bone, but still he hangs grimly on. Another rips +the skin and flesh off his bare foot. Norm's past +screaming; he's just letting out long, shivering sobs. + +Tentacles come near David's and Ollie's heads, probing the +air, sniffing to see if they're edible. One makes a grab +for Ollie, who bats it away and backpedals, letting go of +Norm. + + OLLIE + DAVID! DAVID, IT'S NO GOOD! + +A tentacle darts and snaps at David’s face. He also lets +go, falling back with Ollie in an assholes-and-elbows +tangle as tentacles seethe and flail. Norm is watching +them, face drained white, still holding on. + +David scrambles and grabs a mop handle, prepares to push +the loading door button with it. He looks to Jim, who’s +watching with a drugged expression on his face. + + DAVID + Start the generator! + 45. + + +No reaction -- Jim just stares at the roiling tentacles, +Myron still sprawled on his ass on the floor next to him. +Furious, David picks up a box of bleach, chucks it hard -- +it slams Jim in the stomach. He grunts, looks toward them +like, huh? + + DAVID + START THE FUCKING GENERATOR! + +Jim blinks, as if coming out of a daze: + + JIM + I’m sorry. How the hell was I + supposed to know? You said you + heard something but I didn't know + what you meant, you should have + said what you meant better. I + thought, I dunno, maybe a bird or + something... + +Ollie staggers to his feet and runs to the generator. + +Norm is staring at them, holding on, the tentacles ripping +at him, droplets of blood pattering to the floor. + +Other tentacles, including a few big ones, are crawling +across the floor, exploring. One gets close to Jim, who +steps back and trips on his ass, joining Myron on the +floor. Another grabs a box marked "Charmin'* and squeezes, +rupturing it and sending rolls of toilet paper raining and +bouncing everywhere. + +The generator ROARS to life. + +David hesitates. Norm's eyes are boring into his, hellishly +aware. He knows what's happening to him, knows what David +is about to do. David stabs the button and the door +descends. + +Norm’s grip finally comes loose and he thuds down onto the +loading platform. Then he's slowly pulled away, both hands +(one a skeletal claw) scrabbling weakly on the concrete, +eyes on David, flopping and rolling as he vanishes into the +Mist. + +The largest tentacle is still playing with toilet paper +rolls when the door comes down, indenting it. The smaller +tentacles go whipping out in the blink of an eye...but the +large tentacle gets stuck, writhing wildly as the door gets +hung up, jerking up and down in its tracks, trying to +close. + 46. + + +David grabs the ax, runs over, severs the tentacle in a +spew of brackish blood. The tentacle pulls free, leaving +just that one severed tip flopping on the floor like a +fish, and: The door. Finally. Closes. + +Nothing now but the grumble of the generator and David +panting harshly in the aftermath of his exhaustion and +terror. Jim rises unsteadily, takes a couple of steps +toward him. + + JIM + Look, look...y'gotta understand... + +David throws a punch. Jim’s too surprised to even duck it. + +Whap! Right in the mouth. Blood start to flow. + + DAVID + You got him killed! Did you get a + good look at it? Did you get a good + look at what you did? + +David vents his rage, throwing punches and landing some +solid ones. Jim staggers back, taking it numbly, in +resignation or penance. Suddenly Ollie's there, pulling +David off. + + OLLIE + Don't, David. Don't hit him + anymore. It doesn't solve anything. + + DAVID + You two assholes got that kid + killed! And I got his fucking blood + on me! + +David pulls away from Ollie. He squats, puts his head down, +taking deep breaths. He waits to see if he's gonna black +out or puke, or what. Finally, he looks up at Ollie. +Softly. + + DAVID + Okay. I’m done. + + OLLIE + Good. Good. What's next? + + DAVID + Kill the generator. That's the + first thing. + +Ollie goes off to do it. + 47. + + + JIM + Yeah. Let’s get out of here. I’m + sorry about the kid, but y'gotta + understand-- + + MYRON + Hey, we didn't twist his arm! He + made his choice too! + + DAVID + Yeah? He was a kid, he's supposed + to be stupid! What's your excuse? + (off their looks) + Go back in the market, wait for us + by the door. Don' t say a word to + anybody. Not yet. + +Jim and Myron shuffle out. The genny dies -- back to +darkness. + +Beat. David clicks a flashlight on, aiming so Ollie can +see. + +Ollie looms from the darkness, still not breathing right, +taking long hits off his inhaler. A long silence as both +men try to absorb what just happened, then: + + DAVID + I'm sure Norm the bag boy didn't + expect that to happen when he woke + up this morning. + + OLLIE + We have to tell them. The people in + the market. Stop them from going + outside. + + DAVID + They won’t believe us. + +CAMERA PUSHES IN as Ollie crouches, the flashlight beam +turning their faces into scary Halloween masks floating in +the dark. + + OLLIE + They have to. + + DAVID + 48. + + + I'm not sure I believe it, and I + was here. What we saw...it's + impossible. You know that, don't + you? So how do we convince them? + What do we say? Ollie, what the + hell were those tentacles even + attached to? + + They ponder that, as: + + WE FADE TO BLACK AND BRING UP A TITLE: + + A DISCUSSION WITH NORTON + + +34 INT. MARKET - DAY 34 + + David draws near the aisle where the women are looking + after Billy. Amanda appears from the aisle, gasps at the + sight of David -- he’s disheveled, bloody. He quickly puts + a finger to his lips in a "don’t make a scene" gesture. She + leans in. + + AMANDA + (quiet, intense) + My God, are you all right? + + DAVID + Fine—yeah, fine. Not my blood. Just + wanted to check on Billy. + + He looks past her, sees Billy curled up in Sally’s lap. + + AMANDA + What the hell happened? + + DAVID + Gotta handle something first. + Please, just keep your eye on him, + okay? + + She nods, wanting to ask a million questions, but holding + back. David turns, heads back toward the loading dock + where: + + We find Jim, Myron, and Ollie hovering by the beer cooler. + + Jim and Myron are both already drinking in earnest. Jim’s + holding his cold beer to his bruised face and split lip. He + wordlessly offers up the sixpack. Ollie tears one off, + cracks it, starts chugging. Myron hands David a kitchen + towel and a bottle of water so he can clean up. + 49. + + + JIM + I’m sorry about Norm. Ain’t makin' + no excuses. Just saying. + + DAVID + We have to tell people. No need to + say how it went down...but we’re in + deep shit here, people need to + know. + + OLLIE + We expect you to back us up. + + JIM + Yeah. Yeah, sure. Can’t have ’em + just walking out, can we? Like that + lady whose kids were at home. Oh, + Lord, what a mess. + + OLLIE + Where do we start? How do we do + this and not cause a panic? + + DAVID + Let’s quietly tell a few key + people, go from there. You guys are + locals, people from around here are + more likely to take your word than + mine. + + OLLIE + You're a local too. + + DAVID + My family roots, yeah. But I didn’t + grow up here, makes me an outsider. + You know damn well it does. + + MYRON + What about the out-of-towners? Got + plenty of them in the store. + +David sees Norton at the front of the store, looks to +Ollie. + + DAVID + Brent Norton? He's a New Yorker, + got a lot of respect in this town. + His credibility could be a plus. + + OLLIE + 50. + + + Okay, but do it quickly, David. We + have to discuss how to stop those + things from getting in here. + + JIM + What do you mean "getting in?" You + guys shut that loading door, right? + + OLLIE + Yeah. But the whole front of the + store is plate glass. + +CAMERA PUSHES IN as they turn to stare at the windows +(which are fractured with large cracks, remember), their +faces going slack as it sinks in how vulnerable they truly +are. + + MYRON + (a whisper) + Jesus Christ in haircurlers. + +Myron cracks another beer, starts gulping. David heads to: +THE FRONT OF THE STORE + +People are restless. Many are at the windows watching the +Mist. David approaches Norton and Bud, eyeing the plate +glass, sick with fear at the thought of what might be out +there. + + NORTON + David. Where'd you get off to? + + DAVID + That’s what I need to talk to you + about. + +David pulls Norton aside, walking him down the aisle toward +the back of the store: + + DAVID + Listen, that guy who came in + yelling about something in the fog + getting his friend... + + NORTON + Yeah, they got him quieted down and + tucked away in the manager's + office. Somebody gave him a valium. + He was scaring people babbling + about his hallucinations... + + DAVID + They weren't hallucinations. + 51. + + + NORTON + (stops, staring) + Oh, now, David, don't you get + hysterical too... + + DAVID + Brent, listen to me, this is really + important... + +OLLIE, JIM, AND MYRON + +are watching David trying to convince Norton. From here, it +looks like the conversation’s getting heated. + + MYRON + I don't think it's going very well. + +David grabs Norton, walks him down the aisle to the others, +Norton getting all blustery and shaking his head: + + NORTON + No, no, no, no... + + DAVID + Tell him. + + OLLIE + It’s true. + + MYRON + Tentacles. Ayuh. + + NORTON + Gentlemen, no. I’m sorry, but I’m + just not that stupid. + (directed at David) + What do you take me for? You think + so little of me? + + MYRON + (beery, slurring) + Mr. Norton, listen, s’like this... + + NORTON + It's ridiculous. Either you're + having me on, or...or you're + suffering some kind of group + hypnosis. + + DAVID + Come back there with me. I’ll show + you the blood. And a chunk of + tentacle on the floor. + 52. + + + NORTON + No. + + DAVID + What? What did you say? + + NORTON + No. This pathetic attempt at a joke + has gone far enough... + (turns to go, muttering) + ...and don't I feel stupid? I + thought you were being kind to me + today. .. + + DAVID + Brent, look-- + +David grabs his arm, but Norton pulls out of grasp so hard +he almost loses his balance, along with his temper: + + NORTON + No, you look! It's a sick, puerile, + stupid joke! It's a banana skin, + and I'm supposed to slip on it! + + OLLIE + Mr. Norton? What reason could we + possibly have? + + NORTON + Oh, please. This is payback for + that lawsuit I filed against him. + And you guys are backing him up. + (to David) + Pretty tasteless to use what's + happened here as an excuse to make + an idiot of me... + + DAVID + ...that's not what’s happening... + + NORTON + Winning in court wasn’t enough for + you? Now you want to take me back + there to gawk at some 98 cent + rubber novelty while these hicks + stand around laughing their asses + off? + + MYRON + Hey, you wanna watch who you’re + calling a hick, prick. + 53. + + + JIM + Whoa, easy, Myron. Mr. Norton, I + swear, you got us all wrong. + + NORTON + None of you are exactly crazy about + out-of-towners, am I right? I've + seen you talking behind my back, + the way you all stick together. + (spins to David) + I'm glad that tree fell on your + boathouse,- you know that? Glad. + Stove it in pretty well, didn’t it? + Fantastic. Now get out of my way. + +Norton tries to go past, but David grabs him and Norton +trips into the shelves -- a few bottles fall and break. +People are starting to notice now, drifting this way, as: + + DAVID + I know you're scared. I am too. But + there are lives at stake, my boy's + most of all. I need you, goddamn + it, so get your head out of your + ass. I’ll drag you back there if I + have to. + + NORTON + GET THE HELL OFF ME! HELP! MAKE HIM + LET ME GO! + + BUD + Hey, hey! What is this?! + +Bud is elbowing his way through the gathering crowd. Norton +pulls free, shirt pulled out of his pants, flushed with +rage: + + NORTON + I'm gonna sue your ass again, you + hear me, Drayton? I'll sue your ass + right off, and then I'll have it + thrown in jail! He assaulted me, + you're all witnesses! He’s crazy! + + OLLIE + No, he’s not. I wish he were, but + he isn’t. + +Off Bud’s look, Ollie turns and yells: + + OLLIE + 54. + + + HEY I EVERYBODY IN THE STORE! YOU + WANNA COME BACK HERE AND HEAR THIS! + IT CONCERNS EVERYBODY! + (to David) + Am I doing all right? + + DAVID + Fine. + + OLLIE + Mr. David Drayton has something to + tell you! You need to hear it in + case you were planning on leaving! + +People gather. Amanda and the other women appear. Sally +brings Billy, the boy confused and rubbing sleep from his +eyes, as: + + BUD + I don’t know what you people think + you’re doing, but I can tell you + it’s going to be reported to the + Federal Foods Company! All of it! + (to Ollie) + You're drinking, for God's sakes! + You want to lose your job? I'll be + taking down’ names.. . + (glances to David) + ...starting with you! And make no + mistake -- there may be charges! + + OLLIE + Fine, Bud, write down your names, + but in the meantime, shut the fuck + up. And listen. + +Bud reacts as if slapped, stunned that Ollie just spoke to +him like that. Bud glances to David — go ahead. David +hesitates, all eyes now on him. + + DAVID + Okay. Here’s how it is. I don’t + know what this mist is...but there + are things in it. And they’re + dangerous... + +MIKE HATLEN, one of the town selectmen, speaks up: + + MIKE + Things, David? What kind of + "things?" + + DAVID + 55. + + + We went back in the loading dock. + Five of us. Jim and Myron...Ollie + and me... Norm, the bag boy. We + opened up the loading door so Norm + could go out and clear the exhaust + vent for the generator. Something + came out of the mist and took him. + + BUD + Took him? What do you mean? Where + is he? + + DAVID + Gone. It killed him. Dragged him + off. + (off their looks) + I can't tell you what it was. All + we saw were tentacles. + +This gets a few nervous chuckles, which spurs Norton: + + NORTON + Tentacles, he says The Tentacles + from Planet X! + (looks to Bud) + It’s a lie, you know. These people + just lie each other up. + + BUD + Of course it's a lie. It's lunacy, + (hollers) + NORM? WHERE ARE YOU? + +Nothing...just silence. People looking nervously around. + + OLLIE + You honestly think he’s hiding? + Having a laugh at your expense? Is + that what you truly think, Bud? + +ANGLE TO Amanda and Sally, Irene and Hattie. Sally's got +her arms protectively around Billy. Everybody waiting, +listening. + + SALLY + (getting scared) + NORM? + + DAVID + Go ahead. Search the store. You + won’t find him. + + BUD + 56. + + + (hesitates) + NORM! SHOW YOURSELF! RIGHT NOW THIS + VERY INSTANT! + + MRS. CARMODY (O.S.) + Little Normy's gone. Death took + your little Normy. + +All eyes turn. Here she comes in her canary-yellow +pantsuit. + + MRS. CARMODY + You listen but don’t hear. You hear + but don't believe. Who wants to go + outside and see for himself? + (looks to David) + And what do you propose to do about + it, Mr. David Drayton? What do you + think you can do about it? + + SALLY + Can't somebody make her shut up? + + MRS. CARMODY + Are you scared, dearie? No, not + yet, but you will be. The End Time + has come. The moving finger has + writ, not in flames, but in mist. + The earth has spewed up Hell's + abominations, and when you see them + face to face, oh then you'll be + scared, yes, scared aplenty when + they drag you off! You'll be with + little Normy soon enough! + + OLLIE + (takes her elbow) + That’s enough now, Mrs. Carmody. + That's just fine. + + MRS. CARMODY + Don't you touch me! It's the end of + everything! It's death! + + BEARDED BIKER + It's a pile of shit. + + MYRON + Look, mister, don't you think we + know how this sounds? But it's the + flat-out truth. We all saw it. + + DAVID + 57. + + + (to Bud) + Don’t take our word. Come look. + + BUD + Lead the way, Mr. Drayton. Let’s + get this foolishness over with. + +David turns, glances to Jim and Myron. They don't want to +go, but they nod in agreement anyway. They all enter: + +THE LOADING DOCK + +The men enter, flashlight beams sweeping the shadows, faces +pale and ghastly. Bud’s bravado is draining away. . .once +you get a person in the dark, logic flees. He can see the +place is trashed: boxes knocked over, toilet paper rolls +everywhere. + +David brings him toward the loading door. Bud's flashlight +beam finds the blood on the floor, a lot of it, long +streaks already turning brown, leading to the big roll-up +door... + +...and there, curled on the ground, is that bit of +tentacle, looking rubbery. + + BUD + (a whisper) + What the hell? + +David grabs the mop handle, pokes the tentacle...once, +twice. + +It moves, making Bud jump, the fragment clenching and +unclenching convulsively, its barbed mouth gaping open as +if screaming... then it curls up and goes still again. Now +that it’s finally dead, it decays before their eyes at a +startling rate. Bud makes a choking sound of shock and +disgust... + +IN THE MARKET + +...and they exit. Bud pauses, faces everybody in the store. + + BUD + People. It appears we may have a + problem of some magnitude here. + +WE FADE TO BLACK AND BRING UP A TITLE: + +THE FIAT EARTH SOCIETY + 58. + + +38 EXT. MARKET/PARKING LOT - DAY 38 + + A DRIFTING SHOT takes us ominously through the Mist, past + the vague shapes of parked vehicles... and the market looms + from the murk, materializing before our eyes as CAMERA + MOVES to the windows to reveal: + + People inside. Piling big 50-pound bags of fertilizer and + dog food like sandbags along the plate glass... + + +39 INT. MARKET - DAY 39 + + CAMERA HERE IS HANDHELD, DRIFTING AND PROBING, always + restless, always on the move: + + WE PULL BACK from DAN MILLER, a middle-aged man on a + ladder, taping the cracks in the glass with packing tape + while JOE AND BUDDY EAGLETON (brothers) hold the ladder. + + ANGLE DRIFTS BACK through a lot of activity -- bag after + bag being laid down, more arriving from the back of the + store, while other items are also gathered and laid out: + Mop handles. Cans of charcoal fluid. Knives. All impromptu + defensive items. ANGLE FINDS Billy -- the boy's in plain + view of his father, being watched by Sally. Nearby, Norton + is with his "group," about ten people who have gravitated + to his side. + + NORTON + You people are getting stampeded, + don’t you see? You have four + witnesses to this supposed event. + One of them I don’t trust at all + because he has a grudge against me. + Of the remainder, two are + hopelessly inebriated... + + He indicates Jim and Myron, who (yes) are pretty shit faced + by now and still sucking down the beers. + + OLLIE + What about the fourth? I guess that + would make me a flat-out liar. + + NORTON + Yes, it would. I find that far + easier to believe than tentacles. + + OLLIE + 59. + + + Tell you what, Mr. Norton. Why + don't you go out that door and + around back? There's a big pile of + return bottles Norm and I put out + there this morning. You bring back + one of those bottles...even + one...I'll take off my shirt and + eat it. + + NORTON + I refuse to be sucked in by your + pathetic delusions. The evidence + here is flimsy bordering on ludi-- + + DAVID + (cuts him off) + This isn't a courtroom. You’re not + arguing a case. And you’re not + doing anything but damage talking + the way you are. + + NORTON + And you can throw as much cow's + blood around the loading dock as + you want, you're still not fooling + anybody... + + OLLIE + Leave it alone, David. You can’t + convince some people there's a fire + even if their hair is burning. + Denial is a powerful thing. + + NORTON + This is absolutely moronic. + +Norton withdraws in disgust toward the back of the store. + + NORTON + Anybody who wants to discuss this + rationally to find a means of + rescue are welcome to join me. + Those who want to take part in his + travesty, go right ahead. I'll have + no part of it, nor would any + thinking person. + +ANGLE SHIFTS (remember, CAMERA is drifting, restless, on +the move) to Mrs. Carmody eyeing them, sucking on a Tootsie +Pop: + + MRS. CARMODY + 60. + + + Keep thinking, Mr. Lawyer. There is + no defense against the will of God. + No court of appeals in Hell. + (to David) + No defense here, neither. Not with + all the bags of fertilizer in the + world, not even if you stack 'em + high as that prideful tower in + Babel. They all just bags of shit + now, ain't they? + + AMANDA + I guess you’d be the expert on + that. + +Dan enters frame, Joe following through with the ladder. + + DAN + Got those windows taped up. Perhaps + it'll do some good. + +David and Ollie trade a look -- they can't believe that, +but don't want to be discouraging either. Amanda is the +only one who catches it. She draws closer: + + AMANDA + That bad? + +David just give her a subtle nod -- yeah, that bad. + + MRS. CARMODY + I have seen the signs. I have read + the Revelations. There are those + here I have told, but ain't none so + blind as those who will not see. + +She moves to the windows, pointing out at the Mist. + + MRS. CARMODY + And the temple was filled with the + smoke from the glory of God, and + from his power; and no man was able + to enter the temple till the + plagues of the seven angels were + fulfilled. + + MIKE + Well, what are you saying? What are + you proposing? + + MRS. CARMODY + 61. + + + Proposing? Why, I am proposing that + you prepare to meet your maker, + Michael Hatlen! + + MYRON + Prepare to meet shit! Woman, your + tongue must be hung in the middle + so it can run on both ends! + +Myron's advancing on her, but Jim restrains him. + + JIM + Come on, pal, easy now... + +People are pausing now, drawn to the confrontation, as: + + MRS. CARMODY + Doubters will doubt to the end! Yet + a monstrosity did drag that poor + boy away! Things in the mist! Every + abomination out of a bad dream! + Eyeless freaks! Pallid horrors! Do + you doubt? Then go out! Go on out + and say howdy-do! + +A LITTLE GIRL bursts into tears, buries her face against +her FATHER'S leg. The adults are either disgusted or +fascinated, but all are silent and listening now. + + FATHER + Shut up, lady, God's sakes. + +David glances over, sees Billy peering with wide eyes. + + DAVID + You’ll have to stop now, Mrs. + Carmody. You’re scaring the + children. My little boy. + + MRS. CARMODY + The children should be scared. Oh + yes they should. Their heads been + + MRS. CARMODY + filled with lies, all this talk of + modern God. Only one true God, the + God of the Israelites. He's a stem + and vengeful God, and we been + mocking Him far too long. Now he's + calling us to pay our debt in + blood. + + AMANDA + 62. + + + Blood? + + MRS. CARMODY + That’s right missy thing, blood. + Like what trickles down your leg + once a month. Why you think God + gave women the curse? As a + reminder. But that's just been a + downpayment. Now we pay the rest. + (looks around) + Read the Good Book! It calls for + blood! Expiation! Sacrifice! + +Amanda steps up calmly and slaps her hard across the face. + + AMANDA + You shut up that bad talk. + +Mrs. Carmody touches a hand to her mouth, finds a little +blood there. It makes her smile...and she holds it up for +all to see. Amanda backs away, realizing just how crazy she +is. + + AMANDA + Sorry, folks. This lady's + perspective on things is a little + too Old Testament for my Lutheran + tastes. + + SALLY + She had it coming! I'd have done it + myself! + +Carmody singles Sally out, drifting ominously toward her. + + MRS. CARMODY + They'll get hold of you. Not today. + Maybe tonight. When darkness comes. + +Sally shies back. Carmody turns slowly, addressing them all +now, eyes going from face to face. + + MRS. CARMODY + They’ll come at night, and take + someone else. See if they don't. + And when they do, when you’re next, + then you'll come weeping to me. + You'll beg Mother Carmody to show + you what to do. bb. + + OLLIE + 63. + + + That's fine, but until then, if you + don’t shut up, we'll wrap some of + this tape around your mouth. + + MRS. CARMODY + You try it, Ollie Weeks. + (turns to Amanda) + And you, bitch. Hit me again if you + dare. You’ll be on your knees to me + before it's through. + +She plants her Tootsie Pop back in her mouth, drifts +quietly off. People get out of her way. ANGLE FINDS one +terrified WOMAN, pale and watching... already believing. + +FAVORING DAVID + +as the moment ends, everybody around him freaked-out and +grimly silent as they drift off to resume their +preparations. + + OLLIE + Those of you who aren't locals + should know that Mrs. Carmody is + well known in town for being + unstable. + + BEARDED BIKER + No shit. What was your first clue? + + MIKE + Okay, we can use the charcoal fluid + and mops to make torches. And we + got knives and such, God knows. + + AMANDA + Which God, hers? He likes knives, + apparently... + + DAN + This may be a silly question. Bud, + but you don't happen to have a gun + in the store? + + BUD + Please. This isn't Dodge City. Or + Los Angeles. + +An old man, AMBROSE CORNELL, pipes up: + + AMBROSE + Got a shotgun in my truck. I could + try for it, if you want. + 64. + + + DAVID + I don't think that's a good idea, + Mr. Cornell. + + AMBROSE + I don’t either, son, but I thought + I’d offer. + + DAN + Well, I didn't think so... + + AMANDA + Hold on a minute. + +All eyes turn to her. She looks very self-conscious as she +opens her purse, digs around, and pulls out a small Smith & +Wesson J-frame revolver. + + AMANDA + This gun...my husband’s idea. + (embarrassed) + He insisted. He’s away on business + a lot. It’s not even loaded. + + AMBROSE + So what good is it? + +She goes into her purse again, brings out two plastic +speed­loaders, each containing six rounds. + + DAVID + You know how to use it? + + AMANDA + I shot it only once, on a target + range. + +Dan takes the gun, manages to fumble the cylinder open. + + MIKE + Okay, we got a gun. Who knows how + to shoot it? Well, I mean. + +People glance around at each other. Then, reluctantly: + + OLLIE + I do. + + BUD + You? You'll be too damn drunk to + see before dark. + + OLLIE + 65. + + + (ignoring him) + I’ve done a lot of target shooting. + I was state champion back in *94. + +David gives Ollie a look -- the little assistant manager is +full of surprises. Ollie takes the gun, loading and +handling it with deft expertise. He cracks the cylinder, +applies the speed-loader, shuts the cylinder with a flick +of his wrist. + + DAVID + Okay. You’re in charge of the gun. + (to Amanda) + If that’s okay? + +Amanda nods, relieved. Mike and Dan move off to help the +others piling the bags, while: + +David goes to Billy and Irene. The boy's eating a Hershey +bar. David kneels, puts his hand on Billy’s forehead. + + DAVID + Feeling better, chanrp? + + BILLY + (nods solemnly) + How come nobody comes and rescues + us? Why don't those Army men call + their friends to come get us? + +David glances over, sees Bisby, Jessup, and Donaldson apart +from everybody else, having some kind of quiet but heated +debate -- in fact, they seem on the verge of an argument. + +David finds it odd, but doesn’t give it that much thought. + + DAVID + I don't know. + + BILLY + You think Mommy's okay? + + DAVID + Billy, I just don't know. I wish I + did, but I don’t. + + BILLY + (eyes brimming tears) + I want her awful bad. I'm sorry + about the times I was bad to her. + +David hugs him, pulls him close. + 66. + + + DAVID + Mommy loves you, Billy. And I bet + she's fine. I promise you I’m going + to do everything I can to get us + back to her, okay? That's all you + have to think about. + +Billy nods, miserable. David feels helpless, desperately +wanting to believe it himself. He looks up at Sally and +Irene. + +Sally's trembling, tears running down her face. + + DAVID + Sally? Your folks still in Boston? + + SALLY + Yeah. Till next week. So I guess + they’re okay. + + IRENE + I’m sure they are. You just be + strong for them, dear. + +Suddenly, RAISED VOICES are heard coming this way: + + JOE (O.S.) + You’re crazy if you go out there! + + NORTON (O.S.) + Let us pass! Let us pass, please! + +David rises. Norton and his group (now only five people) +appear with Joe dogging them, Mike joining in: + + MIKE + Wait, please, let’s talk this thing + through... + + NORTON + We have, and we’ve made our + decision. We’re leaving. + + DAN + Whoa, now, hang on! Mike’s right, + we can talk it over, can’t we? Mr. + Mackey’s gonna barbecue some + chicken on the gas grill, we can + all sit down and eat and just-- + + NORTON + 67. + + + And let you go on talking? I've + been in too many courtrooms to fall + for that. You've psyched out half a + dozen of my people already. + + MIKE + "Your" people? What kind of talk is + that? They're people, that’s all. + You want to get ’em killed? There + are, for want of a better word, + things out there in the mist-- + + NORTON + Things, you say. We’ve been here + since this morning, and I have yet + to see a "thing." Nor has anybody + else, and people have been staring + out at that mist for hours. + (looking around) + Who has yet to see one? + + JIM + Back in the loading dock, jackass, + dig the wax out of your ears! + + NORTON + No, no, no! That ground has been + covered and covered! + (turns) + Listen, everybody! We have + experienced some sort of natural or + manmade disaster! That's all! The + only way we can help ourselves is + to seek rescue! We’re going out! + + IRENE + No! You can’t! + +One of Norton’s group, an ELDERLY WOMAN, faces them: + + ELDERLY WOMAN + Will you restrain us? Will you? + +The challenge is clear... use force or let them go. Softly: + + DAVID + No. No, ma’am, I don’t think anyone + will restrain you. Brent, listen... + + NORTON + I’m not discussing this further. + Certainly not with you. + 68. + + + DAVID + I know. I'm just asking a favor. + +Off Norton's questioning look, David grabs a package of +white clothesline from all the supplies that have been +gathered. + + DAVID + Will you tie this around your + waist? + + NORTON + What in God's name for? + + DAVID + It'll tell us you got at least + three hundred feet. + +Something flickers in Norton's eyes -- a hesitation, like +Norm had before he opened the loading dock door. But then: + + NORTON + No. I will not. + + BEARDED BIKER (O.S.) + I'll do it. + +All eyes turn. + + MIKE + You throwing in with him? + + BEARDED BIKER + Me? No thanks. I think your man + there’s a little too tightly wound. + Gonna get somebody killed. + (to Ambrose) + I'm thinking we could use that + shotgun of yours. I saw where you + parked when I pulled in. Red + pickup, right? Far entrance. + +Ambrose weighs this, digs his keys out, offers them. + + AMBROSE + You got brass balls, son. Shells + are in the glove compartment. You + can drive back. Pump the pedal + three times to get 'er started. + +The biker takes the keys, ties the clothesline to his belt +(which has a huge "Live Free Or Die" buckle). Norton's +bristling, but has no choice. + 69. + + + OLLIE + You want a knife? + +The biker lifts his shirt, reveals a buck knife in a +scabbard. + + BEARDED BIKER + Got one. You just see to paying out + that line. If it binds up, I’ll cut + 'er loose. Just so you understand. + +David nods. He turns to Norton, holds out his hand. + + DAVID + Brent. Good luck, man. + +Brent just stares at David's hand like it’s a foreign +object. + + NORTON + We'll send back help. + +Norton goes to the door, pushes it open, steps out. The +others in his group file out after him... except one MAN, +who freezes. + +Norton glances back at him. The guy just shakes his head, +backs away in fear. Norton dismisses him in disgust. + +The biker pauses at the door, looks back at Mrs. Carmody. + + BEARDED BIKER + Hey, crazy lady. I believe in God, + too. I just don’t think he’s the + bloodthirsty asshole you make Him + out to be. + + MRS. CARMODY + Take it up with the Devil when you + drop in on him. Chew it over at + your leisure. + +She gives him a chilly smile. He just turns, exits. + + MRS. CARMODY + They'll die out there. Mark me. + +Norton's group starts off. People crowd to the windows, +peering over the "sandbags," watching. David and Ollie pay +out the clothesline, keeping it from tangling. + +The group gets indistinct very quickly...then vanishes from +sight, swallowed by the Mist. + 70. + + +Silence now. Tension thick. People straining to see or hear +anything. The only sound is the clothesline quietly reeling +out, rubbing softly against the door jamb. + +The seconds tick by. The line keeps being drawn out, foot +after foot, yard after yard... + +It suddenly stops, goes slack in David's hands. Pause. + +It starts again. Everybody remembers to breathe. The rope +keeps going, at least two hundred feet of it now gone, +closing in on three quarters. People are starting to get +hopeful.. + + OLLIE + (a whisper) + They’re doing good. Real good. + +— and suddenly the line is yanked taut. David screams as it +rope-burns through his hands, whipsaws crazily from side to +side in the door, goes still, starts whizzing out again. +David is holding on, getting dragged, Ollie grabbing him +and trying to hold him back... + +FAINT, DISTORTED SOUNDS come wavering out of the Mist, +weird and surreal: distant hellish screams, somebody +yelling, a few snatches of words... + + ELDERLY WOMAN (O.S.) + --off me--oh Lord--off-- + +And now come other sounds, weirder by far: a long, +unearthly HOWL gives way to deep snufflings and savage, +tearing GRUNTS... + +David yells, feet dug in, others jumping in to help, +keeping him from being pulled out the door... + +And the line abruptly goes slack out there. They fall back +in a tangled heap. A final distant HOWL dies away to +nothing... + +David scrambles, pulling the line in as fast as he can, +trying to find the end of it. It piles up at his feet, the +rope turning red as it's reeled in, soaked with blood, and: + +Here come the biker's legs getting dragged across the +pavement like a huge piece of bloody bait, the rope still +looped through his belt...but that's all that's left of +him. Everything above the waist is bitten off, gone. + + AMANDA + (near tears) + 71. + + + Oh, God, close the door! + + Myron slams the door, face white, scared sober. Nobody + speaks in the long, shocked silence that follows, except: + + MRS. CARMODY + (placid, quiet) + Now do you see? Now do you believe? + + WE FADE TO BLACK AND BRING UP A TITLE: + + WHEN DARKNESS CAME + + +41 INT. MARKET - DAY/DUSK 41 + + Battery-operated Coleman lanterns are being switched on and + set out, people’s faces harsh and colorless in the glare... + TRACKING SHOT brings us along the sentries stationed at the + barricaded plate glass, eight men peering out. Improvised + weapons are close at hand, including several mops with + their heads sitting in buckets of charcoal fluid. + + Outside, all is Mist. Night is coming, deepening the + shadows, wrapping the store in a shroud. The sodium vapor + lamps in the parking lot look like eerie, distant planets + in the gloom. + + Ollie's at the end of the sentry line, peering out, gnawing + a chicken leg. Suddenly, a shadow seems to glide past out + there. + + He pauses, blinks, rubs his eyes. He glances over, sees Dan + staring at him, gives him a strained smile. + + OLLIE + You stare at something long enough, + your eyes play tricks on you. + + DAN + (softly) + I saw it too. + + OJ . + + Off Ollie's look, we go to: + + +42 INT. EMPLOYEE LOUNGE - DAY/DUSK 42 + + "Lounge" is overstating things -- it's little more than a + coffee room with a few lockers, a table and chairs, vending + machines, faded safety posters on the walls. + 72. + + +CAMERA DRIFTS ominously, finding Sally. She's at her +locker, uniform hung up, gym bag at her feet, just pulling +on her jeans. She seems very vulnerable in here all alone. + +She gets her sneakers on, grabs her gym bag, heads for the +exit, comes around the lockers -- + +Somebody's there. She stifles a scream, drops her bag. + +It's Jessup, the young soldier she was smiling at earlier +at the checkstands when he first came in. + + SALLY + Wayne. Jesus. You scared the shit + out of me. + + JESSUP + Sally--I'm sorry. Really. My bad. + (hesitates) + I...I saw you come in here. I + thought...thought I'd come in and + say hi. See how you're holding up. + + SALLY + Barely. How about you? + + JESSUP + Worried about my folks, I guess. + You know they live up on Shoreham + Road...less than five miles from + here. This mist -- who knows how + far it's spread... + (pause) + What about yours? + + SALLY + They're out of town right now. + + JESSUP + That's lucky. Means they're okay. + +Sally nods, trying to keep it together. + + SALLY + How soon you shipping out? + + JESSUP + Couple of weeks. + + SALLY + You scared about going over there? + + JESSUP + 73. + + + Yeah. Sure I am. + + Their eyes meet. Pause. We feel the weight of things + between them that have been left unsaid for a long time. + + SALLY + Wayne? How come you never asked me + out? We flirted all through high + school. I know you like me. So how + come you never asked me out? + + JESSUP + Dunno. I always wanted to. Stupid, + I guess. + + She kisses him. It turns passionate. They start getting + carried away...but she stops, pushes him away... + + JESSUP + (backs off) + ...shit, I’m sorry... + + SALLY + ...no, don't be, it’s just... + (beat) + Shit. I don’t want it to happen + like this. Not in a shitty locker + room at work. It's not exactly the + way I always imagined it, y'know? + + JESSUP + (nods, beat) + Let’s just stay in here a while, + then... okay? Just the two of us? + + She lays her head on his shoulder... + + +43 INT. MARKET - DAY/DUSK 43 + + ...and we find David’s group sitting in an aisle: Billy, + Amanda, Irene, Hattie. They’re having a desultory meal of + grilled chicken. Hattie's got Billy, clinging to him. David + can't help noticing she’s tense, verging on hysterical. He + tries a tactic to get Billy out of earshot for a moment: + + DAVID + Hey, you gotta eat, big guy. Keep + your strength up. + + BILLY + I’m not hungry. + 74. + + + DAVID + Well, maybe you’d bring me some + more, hub? Go back there and get me + some from Mr. Mackey, okay? + + AMANDA + I’ll go with you, Billy. Would that + be okay? + + BILLY + 'kay. + +David gives Amanda a grateful look. She rises, takes +Billy's hand, heads toward the back. David looks to Hattie. + + DAVID + You gonna keep it together? + + HATTIE + How bad will it be tonight? + + DAVID + Hattie, I just don’t know. + + HATTIE + You let me keep Billy as much as + you can. Okay? David, I’m... I + think I'm in mortal terror. Yes, I + believe that’s what it is. But if I + have Billy, I think I can be all + right. I can be all right for him. + + IRENE + We're all terrified, dear. There’s + no shame in it. + + HATTIE + I'm so worried about my Alan. The + last I saw him, he was out back + mowing the yard. He’s dead, I + think. In my heart, I’m sure he’s + dead. + + DAVID + You don’t know any such thing. + + HATTIE + What about Steff, David? Don’t you + have some feeling about... about + whether she's all right? + + DAVID + 75. + + + It's killing me not knowing. That's + why I’m gonna keep it together and + not give up hope. So I can get us + back to her, me and ray boy. That's + all that matters. + +Suddenly, Ollie’s there, beer in hand, crouching down: + + OLLIE + There are things moving around out + there. + + DAVID + What do you mean? + + OLLIE + Shadows. Things in the mist. + (off David’s look) + I’m not drunk. I've been trying, + believe me. Wish I could. I thought + my eyes were playing tricks, but + Dan saw it too. So did Arnie Simms. + +Ollie tosses a careful look over his shoulder at Mrs. +Carmody. + +She’s sitting by herself, eating chicken ravenously with +her hands, surrounded by bones like some cannibal queen. + + OLLIE + That woman is nuts, but she may be + right about one thing...I think + those things out there get more + active when it gets dark. + (checks his watch) + Daylight's just about gone. + +— David looks up, sees Billy and Amanda returning up the +aisle, Billy carefully carrying a plate of chicken. David +smiles, sees the boy munching a leg. + +AT THE BARRICADE + +GORDON ENNIS is manning his post, eyes glazed from boredom +and exhaustion. He clicks on one of the Coleman lanterns so +he can see, takes his eyes off the Mist long enough to snag +a piece of chicken, turns his eyes back to the window... + +— and a flying thing comes right out of the Mist and SLAMS +to the plate glass with a LOUD THUMP, attracted to the +light, clinging there before his eyes. Gordon jerks back... +DAVID’S GROUP + 76. + + +...and Amanda freezes as Gordon’s SCREAM erupts from the +front of the store. Billy drops the plate, food all over +the floor , and his sneakers. David and Ollie jump to their +feet -- + + DAVID + Hattie! Watch Billy! + +-- and they burst from the aisle to see Gordon staggering +away from the barricade in terror, fleeing toward the back. +Sally and Wayne Jessup come running from the employee +lounge, see David and the others racing toward: + +THE BARRICADE + +People come crowding. And what they see clinging to the +glass blows their minds with shock and disgust: a segmented +BUG about two feet long, eight legs holding the glass with +sucker pads, asymmetrical clusters of eyes revolving on +individual stalks, clear membranous wings flexing wetly, a +barbed stinger where the sexual organ might be. + + AMANDA + Oh, God... + +As they watch, more of the bugs come flitting out of the +Mist, thump-thump-thumping to the glass, clinging there...a +swarm of them, varying in size from one to two feet, +milling aimlessly, crawling over one other, dumb as +houseflies. + +Mrs. Carmody comes strolling with a chicken leg in hand, +licking grease from her fingers, eyes gleaming. + + MRS. CARMODY + "And there came out of the smoke + locusts upon the earth, and unto + them was given power, as the + scorpions of the earth have power." + (a whisper) + Wow. Look at those stingers. + +Ollie reaches up, gently taps the glass. A bug takes off, +then lands again. Other people start tapping the glass; +making the swarm flit off, but they always come back, +settling. + + AMANDA + (realizing) + The light. I think they’re + attracted to the light. + + OLLIE + 77. + + + Maybe we should douse the--HOLY + SHIT! + +His words are lost as a bigger and more awful thing +appears: We'll call it a "bird" — it’s like a pelican in +size, but a miniature pterodactyl designed by Hiemyomus +Bosch in looks: a sharp triangular head with diseased orbs +for eyes, a beaked snout snaggly with teeth, flapping +leathery wings. It snatches a bug off the glass and tosses +its head back, scarfing and gobbling, the bug squirming +down its gullet. The creature then flaps off and vanishes +as abruptly as it appeared. + +A long beat of frozen silence, and then: + +Suddenly, more "birds" appear, swarming like seagulls in a +feeding frenzy. They start THUMPING the glass, crashing +into it -- WHAM, WHAM, WHAM! The glass starts cracking from +the repeated impacts, threatening to give way. + +Utter pandemonium ensues: people screaming, some sobbing, +many running to the back of the store. + + DAVID + DOUSE THE LIGHTS! + +People scatter in all directions to extinguish the +lanterns, some pressing their hands against the glass to +keep it from imploding, everybody yelling at once. + +IN AN AISLE + +Hattie screams as a flood of people rush past toward the +back, protecting Billy from the stampede. An OLD LADY falls +right in front of them, screaming as she gets run over. + +AT THE FRONT + +THUMP, THUMP, THUMP -- the pterodactyl-birds are striking +the windows, glass cracking and erasing under the assault, +and: + +WHAM! One of them hits the glass and a comer chunk of +window falls in, smashing on the ground -- a hole is now +opened up. + +A BUG scurries through, comes down the glass and onto the +bags of fertilizer. A sentry, TOM SMALLEY, gapes up at it +in horror, smashes it with a mop handle. The bug falls +writhing to the floor. Smalley slips, goes to his knees, +whacking it over and over, trying to kill it, as ANGLE +WHIPS TO: + 78. + + +David dunking a mop into a bucket of lighter fluid, +yelling: + + DAVID + OLLIE, WE GOTTA PLUG THAT HOLE! + +They look over, see Smalley whacking the bug, but: + +Above him, more bugs are entering, climbing out across the +barricade bags, taking to the air, swarming. People are +running and screaming, trying to kill them with mop +handles. + +Amanda’s in the thick of it, swinging a garden rake. She +impales a bug in mid-air, slams it to the ground, whacks it +to pieces. She ducks as another bug whizzes past her head +like a huge hornet, heading toward Sally... + + AMANDA + SALLY, LOOK OUT! + +...but Sally turns too late, the bug ramming its stinger +deep in her neck. She SCREAMS and falls to the floor, +trying to tear it away. People rush in, including Jessup, +flailing with jackets and stomping the bug, as ANGLE WHIPS +BACK TO: David, as he sees: a 50-pound bag of fertilizer at +the top of Smalley's barricade is shifting, about to fall. + + DAVID + SMALLEY, LOOK OUT, HEADS UP! + +But Smalley never even hears him -- the bag slides, SLAMS +down on his head, lays him out cold, as: + +A pterodactyl-bird pokes through the opening in the glass, +beak gnashing. It scrambles through, wings folded, perching +on the bags like a gargoyle. + + AMANDA + SHOOT IT! SHOOT IT! + + OLLIE + I CAN'T! I'LL HIT THE GLASS! + + DAVID + GIMME A LIGHT! I NEED FIRE! + +Joe Eagleton comes running with his Zippo lighter, fumbling +the wheel, getting sparks but no flame, as: + +The "bird" tilts its head, eyeing Smalley unconscious on +the floor below it. The creature hops down onto Smalley's +back, landing in a flap-and-flutter of wings, and then: + 79. + + +To everybody's horror, the creature dips its head and rips +Smalley's neck away in a gout of blood with its beak, +shrieking as it throws its head back and starts to feed... + +Amanda grabs a three-pack of disposable lighters from the +impulse rack, desperately trying to rip the package open, +as: + +A second "bird" comes through the hole, flapping into the +air over their heads and sailing down an aisle. Ollie turns +and runs after it, gun aimed, trying to get a clear shot... + +Amanda gets a lighter out, tosses the remainder of the +package to Joe. She starts desperately trying to get a +flame, but: + + AMANDA + Goddamn child-proofing sons of + bitches! + +She gets a flame, thrusts it. David's mop erupts in flames, +WHOOSH, instant torch. + +He rushes forward, jabbing the flaming weapon at the +monster feeding on Smalley. The creature shrieks and flaps, +fighting back, clawing the air in fury, gobbets of bloody +flesh caught in its teeth. + +Suddenly, Dan is at David's side, squeezing a jet of +charcoal fluid from a can. The fluid sprays the monster, +soaking it, catching it on fire. The creature SHRIEKS and +takes to the air wrapped in flames, trying to fly away, as: + +SALLY + +lies convulsing on the floor, the sting from the bug +swelling her neck up to twice its size, face and neck going +black and blue, dying horribly before our eyes, Jessup +kneeling in a helpless white-hot panic, grabbing her +flailing hand... + + JESSUP + ...don’t do this, Sally, don't do + this, you’re gonna be okay— + +ANGLE WHIP-PANS with Joe as he runs to a mop standing in a +bucket of charcoal fluid, frantic. He pulls the mop, +ignites it with a Bic -- WHOOSH, up it goes -- but he trips +on the bucket and goes sprawling, lighter fluid everywhere, +and: + 80. + + +WHOOM! He’s caught in a fiery explosion, FIREBALL rising to +the ceiling, Joe writhing and screaming in the flames. Men +come running, trying to slap out the flames with furniture +pads, everybody screaming, sheer chaos: + + MIKE + WHERE ARE THE GODDAMN + EXTINGUISHERS? + +DAVID + +ducks as pterodactyl-bird #1 flaps past his head wrapped in +flames, dropping burning pieces of itself. David pursues it +with his mop, the creature shrieking and burning and +bashing into shelves, bringing down cans and jars. David +chases it down, smacks it to the floor, beating it to +death, while: OLLIE + +races down the aisles, yelling for people to get down, +trying to get a clear shot at Bird #2 as it shrieks and +flaps through the air. Somewhere, Mrs. Carmody is +screaming, exultant: + + MRS. CARMODY (O.S.) + "...a great voice from the temple + saying to the seven angels, go your + ways, and pour out the vials of the + Wrath of God upon the earth..." + +Ollie almost gets a shot off, but a SHRIEKING WOMAN with a +toddler suddenly pops up in his sights --he barely manages +to avoid shooting her, holds his fire as the "bird" rises +up, circling off over the aisles... + +POV OF BIRD #2 + +zooming in flight over the store, passing the aisles below, +people running and screaming, and our POV soars over Mrs. +Carmody gazing up and shouting: + + MRS. CARMODY + "...and there fell a noisome and + grievous sore upon men which had + the mark of the beast..." + +FRONT OF THE STORE + +Men blast the flames with extinguishers. David runs in, +pulls Joe from the fire, Amanda smothering his flames, +while: + +THE HOLE IN THE WINDOW + 81. + + +CAMERA PUSHES IN as a monstrous CENTIPEDE pokes its head +over the lip, squirms through, its million scrambling legs +rattling over the bags and down the front of the barricade +and onto: + +THE FLOOR + +It comes fast toward us, the size of a huge boa +constrictor, mandibles clacking, streaming up the aisle +toward: + +Billy. Held by Hattie Turman. Both frozen in utter shock +and terror, mouths gaping in silent screams as the huge +centipede-thing bears down on them like a speeding train. + +Suddenly, Irene Reppier lunges into frame, bellowing like a +lunatic, a can of Raid (the big size) in each hand. She +sprays the centipede-thing right in the face. It recoils, +chittering and convulsing as she coats it with insect +killer. + +Irene strikes a wooden kitchen match, using it to turn a +can of Raid into a flamethrower -- WHOOOSH! The centipede +bursts into flames. Whipping and convulsing as it gets +barbecued. + +Irene goes marching up the aisle toward the front of the +store, grabbing a cheap tennis racket from a display as she +goes. + +THE FRONT OF THE STORE + +The men are reeling, scrambling to plug that hole in the +glass. + +David jams a mop handle up there, shoving hard to keep a +third screeching, flapping pterodactyl-bird from getting +in. + + DAVID + HELP! WE GOTTA PLUG THIS HOLE! + +A BUG suddenly scurries from behind the bags, skittering +onto his arm and poising its stinger. David SCREAMS, but +can’t let go of the mop or the "bird" will get in. +Suddenly: + +Irene appears at David's side, blasting the bug with Raid. +It reels back and she whacks it to paste with the tennis +racket for good measure, screaming at the men: + + IRENE + PLUG THE GODDAMN THING! + 82. + + + Mike, Dan, and a few others come running with a sheet of + plywood, struggle it up onto the barricade, lay it flat + against the glass, Dan taping it in place like mad, while: + + PRODUCE SECTION + + A MAN runs as pterodactyl-bird #2 comes flapping up behind + him and slams him to the floor. The man struggles, + SCREAMING as the creature tries to tear his face off, and: + + BLAM! A bullet smacks through the creature, flipping it off + the man. The monster shrieks, struggling to rise. Ollie, + down at the far end of the aisle, FIRES again and blows the + thing's head apart. It dies in a thrashing heap. + + FRONT OF STORE + + The last few lanterns are doused, plunging the store into + final darkness. All we're left with is the faint, + otherworldly sodium-vapor glow seeping in from the parking + lot lamps, as: CAMERA DRIFTS PAST their faces... dazed + disbelief, bone-deep shock... past Tom Smalley lying + facedown and dead in a pool of blood...past Joe on the + floor, moaning with third-degree burns, charred hands + looking like claws... + + JOE + ...oh God...I'm hurt...ain’t I hurt + bad, though...oh God... + + ...and we come to Sally, dead and staring, neck horribly + swollen, Jessup weeping over her. David's on his knees at + Joe’s side, staring at Sally, aghast. He looks up, meeting + Amanda’s gaze, as: + + TERRIFIED WOMAN + She was right. She said it would + happen like this. She said they’d + come at night. She told us that + girl would die. + + All eyes go to Mrs. Carmody, who’s watching everything with + a brittle smile of intense satisfaction... + + WE FADE TO BLACK AND BRING UP A TITLE: + + THE FIRST NIGHT + + +54 INT. MARKET - NIGHT 54 + 83. + + +We’re hearing sounds in the night...things moving around in +the Mist in the dark...distant, raptor-like shrieks...the +flappings of strange wings — the deep grunts of huge unseen +beasts in a world now primordial... + +People huddle in the dark (lit only by tea-candles) like +our ancestors in their caves, just trying to get through +the night...exhausted, dazed with disbelief, etched with +despair... + +Some are tossing in sleep. Some are awake, looking like +they’ll never sleep again. Some are drunk and passed out; +some are drinking and trying to get there. Some are just +hugging their knees and staring at nothing, minds gone bye- +bye. + +The three soldiers are chainsmoking and sharing a bottle of +Jack Daniels. Jessup is shellshocked, numb. + +ANGLE FINDS the only person who seems to be thriving in +this horror: Mrs. Carmody. She's on an altar-like sprawl of +crates, lit by votive candles, preaching in a low hypnotic +monotone to the FOUR PEOPLE who have joined her. + +DAVID + +is slumped, dozing. Irene and Hattie are asleep. Across +from him is Amanda, curled up with Billy on a furniture +pad. + +David comes fully awake. He realizes Amanda’s watching him. +A long look passes between them. In whispers: + + AMANDA + This isn’t going to end. Is it? + +David says nothing. She reaches her hand across the floor, +touches his. There’s a connection growing here...possibly +an uncomfortable one. David checks the time, whispers: + + DAVID + My turn on watch. I won't be far. + Just up there. Okay? + +She nods. David rises, drapes a flashlight with fabric to +keep the beam dim, heads off. + +OLLIE + 84. + + +is watching over the injured as best he can, making do with +slim over-the-counter resources. Joe has serious third- +degree burns, shivering and moaning under a furniture pad, +half-conscious. The lady who got trampled has her broken +arm in a makeshift sling. A few other people have cuts and +bruises. + +David drifts from the gloom, joins Ollie. Buddy Eagleton is +there too, keeping vigil over his burned brother. + + DAVID + Joe? How you holding up, partner? + + JOE + D--David? That you? + + DAVID + Yeah, pal. How you doing? + + BUDDY + (anguished) + It's bad. He's bad. + + JOE + Yeah. Jesus. Didn't know anything + could hurt like this... + (beat) + If you guys can't help me/ you + gotta end it, okay? Ollie's got + that gun, right? Right? + + BUDDY + No, uh-uh, no way. + + JOE + You can't fuck around with me on + this, bro. Not with me like this, + (eyes on them, pleading) + I'll do it. Just gimme the gun... + + DAVID + We're not there yet, okay? + + JOE + ...please...please... + + DAVID + Joe, now listen. We're gonna work + something out. Just hang on a + little more. Will you do that? + (to Buddy) + Stay with him. We’ll be back. + 85. + + +Buddy nods. David motions for Ollie to follow him. They +rise, heading toward the front of the store, whispering: + + OLLIE + We can't just do nothing while Joe + dies. + + DAVID + I know. I've been thinking. + (off Ollie's look) + About that pharmacy next door. + +David motions him toward the barricade. + +AMANDA + +carefully pulls away from Billy so as not to wake him, +crawls to Hattie, whispers: + + UMKSDA. + Hattie? I need to go to the + bathroom. Will you watch Billy? + (no response) + Hattie? + +She touches Hattie's shoulder -- and freezes. Something's +very wrong. Filling with dread, Amanda reaches for a tea +candle, brings the light closer... + +TIGHT ON HATTIE + +...revealing Hattie's eyes staring.. .dead. As Amanda +shifts the light, CAMERA PANS to reveal a bottle of +prescription pills lying empty next to Hattie's hand. + +FRONT OF THE STORE + +David and Ollie find Dan Miller on watch. David waves Mike +Hatlen over. They crouch together, speaking in whispers: + + DAVID + Anything? + + DAN + The last of those bugs went away + around four. Dawn's coming soon, + (glances up) + What's on your mind? + +David gestures to Ollie -- tell 'em. + + OLLIE + 86. + + +It's Joe. If we don't get him on +some serious antibiotics, he'll die +of infection. Plus he needs +painkillers in the worst way. +Pain's so bad he's asking for the +gun. + (off their grim looks) +All we have here is aspirin and +liquor. + + DAN +You're thinking about that pharmacy +next door... + + OLLIE +They've got Silvadene, the stuff +they use in burn wards. Plus +bandages, penicillin, oxycontin... + + MIKE +Whoa, slow down... + (to David) +You actually considering this? + + DAVID +For a start. I've also been +thinking beyond that. + (off their looks) +I’ve been weighing this very +carefully. We have to get out of +here. I mean permanently. + + MIKE +Why? We got plenty to eat. + + DAVID +It’s not about the supplies. What +happens when one of those things +decides to break through this +window? I'm talking one of the big +ones, like the one that killed +Norm. What do we do then, fight it +off with mops? + + DAN +I’ve been wondering the same thing. +This window's hanging by a thread. +Anyway, the flaming torch idea +didn’t work out so well, did it? We +almost burned the goddamn store +down. + 87. + + +They look up as a figure appears from the darkness -- +Amanda, looking pale and drawn. She whispers: + + AMANDA + It’s Hattie. + +BACK OF STORE + +Amanda brings them down the aisle. Billy's still asleep. +Irene is sitting with Hattie’s body. She looks up, +whispers: + + IRENE + I’ll watch Billy. + +The men quietly gather up the corners of the furniture pad +Hattie’s lying on... + +IN THE LOADING DOCK + +...and bring the body in. Amanda clicks on a flashlight. +They lay the body atop boxes next to the two other corpses +already there: Tom Smalley and Sally. + + AMANDA + (shaken, near tears) + I don't know how long she was there + like that. Lying there next to us. + I thought she was sleeping. + +David looks to the men, growing more determined than ever. + + DAVID + I've got my four wheel drive out + there. + + AMANDA + You’re talking about leaving? + + DAVID + We'll try for the pharmacy first, + bring back supplies for the + injured. If we don't, Joe + Eagleton's gonna die, and we can’t + let that happen. After that... + (beat) + Look, I can fit eight people in my + Scout. I say we drive south as far + as the fuel takes us, hope we get + clear of this mist. + + DAN + That's it? That's the plan? + 88. + + + DAVID +It's all I’ve got. + + AMANDA +You can't mean it. Not after what +happened to Norton and his group. + + DAVID +They went like lambs to slaughter. +Doesn't mean we have to. Amanda, +think. Norton got over two hundred +feet from this store. I'm parked +less than half that distance from +here. If that. + + MIKE +But who knows how far this mist has +spread? Could be the entire eastern +seaboard1 + + DAVID +Hell, Mike, could be the entire +world for all we know. We'd be just +as dead either way, wouldn't we? + + MIKE +We have one gun. And how many +rounds? + + OLLIE +I fired two. That leaves ten. + + MIKE +Ten rounds, Jesus... + + DAVID +Okay, so, ten. You want another +reason to get the hell out of here? +I'll give you the best one — her. +Mrs. Carmody. Our very own Jim +Jones. I’d like to leave before +people start drinking the Kool Aid, +yknow? + + OLLIE +He’s right. The flakier people get, +the better she's gonna look. + + MIKE +No, guys, that’s just crazy. It’s +obvious she’s nuts. Who’s gonna +listen to her? + 89. + + + AMANDA + You heard that woman out there + after Sally died. That’s one true + believer. + + DAVID + I count four. She's preaching to + them right now. By noon she'll have + four more. By tomorrow night, when + those things come back, she'll have + a congregation. Then we can start + worrying about who she's gonna + sacrifice to make it all better. + You, Mike? one of the women? My + little boy? + + DAN + He’s right. + + MIKE + You don’t have much faith in + humanity, do you? + + DAN + None whatsoever. + + MIKE + (looks to David) + I can’t accept that. I believe + people are basically good. Decent. + My God, David, we’re a civilized + society! + + DAVID + Sure. As long as the machines are + working and you can dial 911. You + take those things away, toss people + in the dark, scare the shit out of + them, no more rules, you'll see how + primitive they get. Scare people + badly enough, you’ll get 'em to do + anything. + + DAN + That’s right. They’ll turn to + whatever promises a solution. Grasp + at any straw. + +In quiet emphasis, he places Hattie's empty pill bottle on +her chest, covers her face with the furniture pad. + + MIKE + Ollie, help me, back me up here. + 90. + + + OLLIE + With what? The Holocaust? Rwanda? + The Inquisition? 9-11? Read the + papers, Mike. As a species, we’re + fundamentally insane. You get more + than two of us in a room together, + we start dreaming up reasons to + kill one another. Why do you think + we invented politics and religion? + + MIKE + I’m not convinced. + + DAVID + Nobody has to decide anything now. + First thing’s first -- the + pharmacy. That’ll be our test run, + okay? + + WE FADE TO BLACK AND BRING UP A TITLE: + + THE EXPEDITION TO THE PHARMACY + + +61 INT. MARKET - DAY 61 + + David facing his son, who's on the verge of tears: + + BILLY + I don’t want you to. + + DAVID + It’s all right, Big Bill. I’ll + bring you back that Spiderman comic + book. + + BILLY + I don't want it. I want you to stay + here. + + DAVID + Billy. We have to get out sooner or + later. You see that, don't you? + + BILLY + When the fog goes away... + + DAVID + It’s been a whole day now. + + BILLY + Daddy...Daddy, there are things out + there. Things. + 91. + + + DAVID + There are a lot less of them in the + daytime. + + BILLY + (draws close, whispering) + They’ll wait. They’ll wait in the + fog where you can’t see 'em. And + when you go out and can’t get back + in, they’ll come eat you up. + (fierce, panicky hug) + Daddy, don't go. + + DAVID + I'll be back, Billy. I promise. + +The boy starts to cry, helplessly and deeply. David glances +up at Amanda, who takes Billy. David rises, as: + + AMANDA + (quiet, intense) + If something happens...anything at + all...you cut and run. Get your ass + back in here. For your boy's sake. + +He slips something into her hand, whispers in her ear: + + DAVID + Something happens to me, the + Scout's yours. Look after Billy the + best you can as long as you can. + +She looks down, sees that he's given her his car keys. He +goes to the front of the store as ANGLE WIDENS TO FIND: + + MRS. CARMODY + And where do you think you're + going, Mr. David Drayton? Are you + so anxious to make your boy an + orphan? + +People are gathering, watching, as: + + DAVID + My boy is no concern of yours, + (to everybody) + Listen up. We’re going over to the + pharmacy. We need to bring back + supplies to help our injured. Also + there may be people trapped over + there who need help. + + OLLIE + 92. + + + We're not taking any chances, + folks. At the first sign of + trouble, we'll pop back into the + market— + + MRS. CARMODY + And bring the fiends of hell down + on our heads, say thankya! + + WOMAN + She's right! You'11 make them + notice us! You’ll make them come! + why can't you just leave well + enough alone? + + DAN + Lady, this what you call well + enough? + + DAVID + You wanna stop us? Fine. But first + explain to Buddy here why we're not + getting painkillers and medicine + for his brother. + + BUDDY + Screw that, I'm going. Even if I + have to go alone. + + MRS. CARMODY + (to Buddy) + And you will die out there! You'll + step out that door and be torn + apart! + (to David) + Then your hellbound pride will get + us killed. They'll come for the + rest of us just as this good woman + says! + (to the crowd) + You gonna let that happen? It’s + this sort of hubris...this sort of + pride in defiance of God that + brought the Final Wrath upon us! + It's death! It’s deeaaaa-- + +And whack! A can of peas flies out of nowhere and smacks +her in the head. Her head snaps back, dazed and stunned. +She looks around, realizing it was: + + AMANDA + Shut up, you miserable old buzzard. + 93. + + + MRS. CARMODY + Harlot! Whore! + (points) + She serves the Foul One! She serves + Satan! + + AMANDA + Bullshit. Stoning people who piss + you off is perfectly okay. Says so + in the Bible. + +Amanda picks up another can of peas, hefts it. + + AMANDA + And I got lots of peas. + +Carmody looks around, sees people turning away, realizes +the spell she was weaving is broken. Softly: + + MRS. CARMODY + There will be a reckoning, missy + bitch. You’ll be the first chosen, + mark my word. + + IRENE + We don’t have all day to listen to + your horseshit. Let's go. + + DAVID + (to the soldiers) + How about it, Army? Any help from + the armed forces here? + +Bisby and Donaldson trade dark looks, drift away. + + BISBY + Fuck it. + + JESSUP + (hesitates) + I'll go. + +They gather at the door, a group of nine with a makeshift +arsenal of knives, crowbars, sharpened mop handles. We have +David (ax), ollie (gun) , Irene (carry-basket full of Raid, +plus her tennis racket), Jessup (somebody hands him a +butcher knife), Dan, Mike, Buddy Eagleton, Arnie Simms\\ +and Jim Grondin, looking way bleary and hungover. + + JIM + What'cha gonna do with that there + tennis racket, Mrs. Reppier? + 94. + + + IRENE + Maybe whonk you upside the head, + for a start. + (peers at him) + Jim Grondin, isn't it? Didn't I + have you in school? + + JIM + (uneasy smile) + Yes'm. Me and my sister Pauline. + + IRENE + Pair of underachievers. After you, + Jim. + + She straight-arms the door open, staring, waiting for him + to step out. Looking shit-scared, he does. The others + follow. + + People are drawn to the windows, watching, as: + + +62 EXT. MARKET - DAY 62 + + Dan takes the lead, followed by David, Ollie, the others. + It truly is another world out here, silent, eerie as hell. + + CAMERA DRIFTS in slow and ominous ways, tracking our group + through the Mist as they move single file, weapons poised. + + The market is lost within yards, gone in the Mist. The only + thing they have to go by now is the walkway connecting the + market and pharmacy. A trashcan looms by, and then: + + Dan Miller pauses up ahead. He's found the pharmacy door. + + DAN + Oh, dear God, look at this. + + Ollie and David move up, seeing: + + An arm is stretched across the threshold, stiff and white, + dead hand poised as if clawing the pavement... ANGLE FROM + INSIDE PHARMACY + + ...and we find a body sprawled there, minus its head. + + The group gathers in the open doorway, the old wooden doors + propped wide. Jim looks ready to puke or run. He turns + away, but Irene prods him in the chest with her tennis + racket. + + IRENE + 95. + + + Steady. + + DAN + Their a.c. was out. They had the + doors propped wide open. + +CAMERA PULLS SLOWLY BACK, revealing the store, as, softly: + + OLLIE + I seem to be running out of hope, + David. + +The pharmacy is a scene of carnage, but even more than +that, it’s been transformed into something beyond weird: +it's like a white cave in here, walls and ceiling festooned +with what appears to be silk. + + BUDDY + Whatever came in here, looks like + it’s gone. + + DAVID + Let’s keep our eyes open anyway. + +They enter, tense as hell, flashlights sweeping the misty +air, illuminating the silky stuff...it’s everywhere, +connecting floors to ceiling, shrouding shelves and +counters. + + IRENE + What on earth happened here? What + the hell got in? + +David pauses at a rack of comic hooks. He grabs a +Spiderman, a Hellboy, a Goon, jams them in his back pocket. + + DAVID + Where do they keep the meds? + + OLLIE + Back there, I think. I can barely + see for all this stuff. + +The silk is getting thicker the further in they go. They +get to the pharmacist’s divided area, find the door open. + + DAVID + Ollie, you and me. + +INSIDE PHARMACIST’S CUBICLE + 96. + + +They dart inside, Ollie scanning the shadows with his gun, +David playing the flashlight beam around. Ollie finds what +they're looking for, starts grabbing things off the shelves +and jamming them fast into a grocery bag... + + OLLIE + Silvadene, perfect. Penicillin. See + any Vicodin? Oxycontin? + +OUTSIDE THE CUBICLE + +The others are tense, waiting. PUSH IN ON Dan, listening, +starting to hear scuttling sounds. + + DAN + Guys. Hurry. I'm hearing something. + + DAVID (O.S.) + What? + +Jim steps TIGHT INTO FRAME, looking up, also listening. + + JIM + Something fuckin weird. + +Jessup sweeps his flashlight around, suddenly seeing +something in the glare of his beam... + + JESSUP + Oh, fuck... + +...it's a dead human being tangled in the silk, embedded in +it, arms and legs outstretched at extreme angles, mouth +wide in a silent scream. David and Ollie exit the cubicle, +as: + + JIM + (starts to weep) + Oh, God, no...no, no, no... + +Their flashlights beams start finding other bodies in the +silk, bodies all around us, strung like macabre Halloween +displays, faces frozen and desiccated in death, hands +contorted into claws... + + DAVID + (breathless whisper) + This silk...it’s... oh, Christ, I + think it’s webs...we have to + leave... + +Jim is wide-eyed with horror, backing toward the door, +when: + 97. + + +A FIGURE embedded in the silk behind him suddenly reaches +out and grabs him with a horrible GROAN. Jim turns and +SCREAMS. + +It's the M.P. we saw earlier in the market, his face a +ghastly parchment white, barely able to speak: + + M.P. + ...sorry...I'm sorry...all our + fault...help me...please help me... + +David and Ollie push Jim aside, try to pull the M.P. free. + +The M.P. suddenly starts convulsing, and they realize: + +There are things crawling under his skin -- writhing, +moving lumps. The M.P. claws at his shirt, convulsing ever +harder, ripping buttons open, exposing skin... + +His entire torso is moving, heaving, swelling with +countless moving lumps. Our group backs off in horror, as: +DAVID + +hears a noise from above (like a faint bullwhip crack) and +looks up as a streamer of white silk flies at his face. He +jerks aside, it misses him by inches. + +The sounds start erupting all around them, streamers of +silk shooting out from all directions, as HUGE, SPIDER-LIKE +SHAPES the size of dogs scuttle into view all around them, +riding the contours of silk, surrounding them, cutting them +off, making horrific MEWLING sounds... + + DAVID + THE DOOR! GO! + +But a streamer suddenly snares Buddy Eagleton’s thigh, +twining and slicing corrosively through his jeans. Blood +bursts out as his jeans leg falls away and Buddy goes +sprawling... + + BUDDY + OH JESUS THAT HURTS! + +David and Jessup grab him, pull him clumsily to his feet, +as huge SPIDER-SHAPES in the silk block their path to the +exit. + +A SPIDER-THING + 98. + + +looms into the light, revealed: twelve oddly jointed legs, +body glistening and hairy. ..but most nightmarish of all, +its face is vaguely suggestive of a human’s, and it's +grinning. + +Ollie raises the pistol, SHOOTS it between the eyes. The +thing cartwheels back into the silk, spewing black ichor- +like blood. + +Another drops from the silk. David buries his ax in it. + +Behind them, the M.P. SHRIEKS like a soul in hell, jerking +in his silk cocoon prison, his body now undulating with +whatever’s under his skin, swelling like a balloon about to +burst... The M.P.’s convulsing so hard he rips free of the +silk, falling forward, and as he impacts the floor, he +splits open like a ripe chrysalis, and: + +A flood of SPIDER-BABIES comes pouring from his body across +the floor, streaming and scuttling, hundreds of them, +mewling like kittens, faces grinning and insane... + +David and the others make for the door as best they can, +David and Ollie dragging Buddy between them, his lips +already blue from blood loss, already going into shock... + +Crack, crack -- streamers shooting out of the web maze. One +wraps around Mike Hatlen’s arm, sinking into his flesh. He +SCREAMS. Arnie grabs him, tries to pull him free, but: + +A streamer comes whip-thwack around Mike's neck. His eyes +go wide as his jugular erupts and he goes down with a +strangled sound, thrashing weakly as he gets pulled away +into the webbing. The newborn SPIDER-BABIES come swarming, +lapping up his blood like kittens, covering him in an +undulating wave... Arnie SCREAMS, turns to run, but: + +An adult SPIDER-THING pops from the silk and rears onto its +back set of legs, nailing him right in the face with silk- +goo shot from an orifice in its belly. Arnie falls in a +thrashing heap, clawing at his face. The spider-thing leaps +nimbly down atop him, starts cocooning him in a web with +dizzying speed. + +Irene mins up, spraying the thing with Raid. The creature +lets out a MEWLING SHRIEK from the depths of hell, falls +back in a scurrying/thrashing heap, and vanishes into the +web maze pulling Arnie with it. Again, spider-babies come +running, trailing the human prize into the silken +darkness... + 99. + + + Our group keeps making for the door, bashing webbing aside, + spider-babies swarming at their ankles, Irene screaming and + spraying Raid, scattering them back, David and Ollie and + Jessup dragging Buddy, Jim Grondin just screaming over and + over again like he may never stop... + + A SPIDER-THING drops before them, twisting and grinning on + its silk, and BLAH, gets a bullet from Ollie for its + trouble, and then they1 re out the door with Dan leading + the way... + + OUTSIDE + + ...and they're dragging Buddy, shapes all around them, + spider­things in the Mist. A huge one pops out of the + trashcan they passed earlier, scurries over the side and + onto the pavement, barring their path. Ollie levels the + gun, pulls the trigger with a dry-empty snap, out of + bullets, and Dan shoves him aside, screaming, and impales + the goddamn thing with his prybar, driving it back in a + squealing explosion of black blood and flailing legs, and + David and Ollie are dragging Buddy Eagleton between them, + but: + + OLLIE + David! David, he’s dead! Let him + go! They got his artery! + + And they drop Buddy right there on the pavement, running + for their lives, and as they get to the door of the market + they look back and the last thing they see is Buddy’s + corpse getting swarmed by spider-things, spinning their + webs and grinning their grins and mewling like cats... + + +67 INT. MARKET - DAY 67 + + — and then the survivors are back inside, reeling in the + aftermath of lunacy and nightmare, everybody in the market + just staring as Billy comes running, hurls himself sobbing + into his father’s arms, and Jim just screams and screams + and screams, his mind totally gone... + + MRS. CARMODY + (laughing) + So? How’d it go? + + ...and Jim's screams just keep echoing as WE FADE TO BLACK + AND BRING UP A TITLE: + + MRS. CARMODY AND THE SOLDIERS + 100. + + +68 INT. MARKET - DAY 68 + + TIGHT ON DAVID’S FACE, asleep, curled into a fetal ball, + tortured by dreams. His eyes come open, hearing: + + MRS. CARMODY (O.S.) + ...expiation. It’s expiation we + wanna think about now. We have been + scourged with whips and scorpions. + We have seen the lips of the earth + vomit forth obscenities of + nightmare. The rock will not hide + them, the dead trees give no + shelter. And how will it end? What + will stop it? + + VOICES (O.S.) + (muttering) + ...expiation...expiation... + + David sits up, bleary, trying to focus his thoughts. + + Amanda sits across from him, watching him, her arms wrapped + protectively around Billy. Billy looks exhausted and + scared. + + BILLY + Daddy? You okay? + + DAVID + (nods) + How long have I been out? + + AMANDA + Most of the day. You just came over + here, laid down, and went to sleep. + + DAVID + Passed out, more like it. Just shut + down for a while. I'm sorry. + + AMANDA + You needed it. + (pause) + It was bad—wasn't it?. + + DAVID + Yeah. Bad. + + Ollie appears, trailed by Irene and Ambrose Cornell. + + DAVID + How's Joe? + 101. + + + OLLIE + He died of his bums while you were + asleep. We were too late. + +David absorbs this, glances up at Mrs. Carmody’s voice. + + DAVID + I thought I was dreaming her voice. + + AMANDA + No dream. It’s like some kind of + crazy church service over there. + She’s getting people whipped up. + + DAVID + How many? + + IRENE + Over a dozen. But more than that + are listening. + + AMANDA + They're giving her credit for + knowing Buddy would die out there. + And Sally before that. Even + Norton's group, when they went out. + She's got 'em thinking she's + psychic, like she's got some kinda + direct line to God. + + AMBROSE + Why wouldn't they? Woman never + shuts up. Like those speeches + Castro used to make. It's a goddamn + filibuster. + + DAVID + Jesus. + + AMBROSE + Jesus got nothin’ to do with it, + son. She’s been talking human + sacrifice. + + OLLIE + Yeah. Seems to be her growth stock. + +David struggles to his feet, still a bit woozy. + + IRENE + Ollie told us you're thinking of + leaving. I'm in. + 102. + + + DAVID + No. Sorry. I can't walk out that + door again. Ever. + (off their looks) + You saw what happened to Buddy. + Mike. Arnie. I won't do that again. + I won't be responsible. I won't. + + OLLIE + You may have to reconsider. + +They exit the aisle, find Myron LaFleur and Dan Miller +watching Mrs. Carmody from a distance. David looks down +toward the produce section, where: + +The crazy woman is leading her "service,” working it like +an old-time fire-and-brimstone tent revival. People are +crowded around, others scattered about, as: + + MRS. CARMODY + Expiation! Let me hear you say it + like you mean it! + + VARIOUS PEOPLE + ...expiation...expiation... + + JIM + (shouting the loudest) + EXPIATION! EXPIATION! + + DAN + Welcome to Sesame Street. Today’s + word is "expiation." + + DAVID + Is that...Jim? + + DAN + That boy has not been right since + the pharmacy. His mind’s just + snapped. Gone. + + MYRON + (watching his friend) + I just cannot fuckin believe + this... + +JIM + +is staring with bright, fevered eyes, as: + + MRS. CARMODY + 103. + + + Expiation, that’s right! It’s + expiation gonna clear off these + monsters and abominations! + Expiation gonna drop the scales + from our eyes and let us see! And + what does the Bible say expiation + is? What is the only cleanser for + sin in the Eye and Mind of God? + + JIM + BLOOD! + +TIGHT ON DAVID + +Watching. Horror seeping into his bones. He notices: + +DAVID’S POV + +Mr. Mackey, the butcher, is one of Carmody’s group. He has +his back to us. A gleaming butcher’s knife, crusted with +dried blood, is tucked in the back of his apron strings. +Suddenly: + +Mackey turns... looks over his shoulder at David, meeting +his gaze. Mackey’s eyes are vacant. He looks back to Mrs. +Carmody. + + MRS. CARMODY + Blood! It's blood that is demanded! + Blood that will wash away our + corruption and sin! Blood! + +FAVORING DAVID + + MYRON + Well, this is just so much + bullshit. We gotta put a stop to it + just about any way we can. + + DAN + Myron, wait, no-- + +But Myron goes over to Jim, grabs him by the shoulder to +try to talk sense to him. Suddenly, we can hear Jim +yelling... + + JIM + No, you shut up! You! It’s still a + free goddamn country, so shut up if + you know what’s good for ya! + 104. + + +...and WHAM, Jim punches Myron in the mouth, lays him out +on the floor, starts kicking him. Myron scurries away, +clutching his bleeding mouth, as: + + MRS. CARMODY + Another unbeliever! But he’ll + believe, yes, he’ll believe before + it’s through... + +DAVID'S GROUP + + DAVID + (softly) + It hasn't even been two days. Not + even two days. + + DAN + So much for the goodness of + mankind. Awful thing to say, but + I’m glad Mike's not alive to see + it, + + OLLIE + What do you say we get out of this + loony bin, David? + + AMBROSE + I intend to leave or die trying. + I’m not spending the rest of my + life in here, tell you what. + +David turns. They’re all looking to him. It's obvious he +doesn't want that responsibility. + + OLLIE + I can quietly gather some bags of + groceries together, hide them up at + the checkstands by the door. + + DAN + It was your idea. It’s your + vehicle. It'll be on your say-so. + +David meets Amanda's eyes. + + AMANDA + I think you were right before. And + even if you’re wrong, you know + what? I’d rather die out there + trying than in here waiting. + (beat) + I would do anything... take any + chance...just to see the sun again. + 105. + + + DAVID + I want to know what this mist is. + Maybe it'll help us figure out what + we’re up against. + (off their looks) + I want to talk to the soldiers. + + OLLIE + The soldiers? Why, what's that + gonna do? + + DAVID + Don't you remember what the M.P. + said in the pharmacy? + + OLLIE + David, I'm not even sure I knew he + was talking. The situation was a + little insane. + + IRENE + (realizing) + He said he was...sorry. That’s the + word he used, wasn't it? "Sorry." + + DAN + That's right. He said it was their + fault, didn't he? + + AMANDA + What did he mean by that? + + DAVID + That’s what we’re going to find + out. Have you seen them? + + AMBROSE + Not since we got back from the + pharmacy. Them Army boys were + looking like scared rabbits. + + DAVID + Irene, look after Billy, please. + +Irene nods. The others join David, looking for the +soldiers. + +VARIOUS ANGLES + 106. + + +David and the others split up, walking the aisles, +searching for any sign of the soldiers. They’re nowhere to +be seen. We hear Mrs. Carmody preaching throughout, the +only sound in the store, an unnerving and relentless +backdrop: + + MRS. CARMODY + "...and the seventh angel poured + out his vial into the air, and + there came a great voice out of the + temple of heaven, from the throne, + saying: It is done..." + +CAMERA FOLLOWS David alone now, searching, seeing people +scattered about the store, getting his share of hostile and +paranoid looks. Still no sign of any soldiers. + + MRS. CARMODY + "...and there were voices, + lightnings and thunders, and a + great earthquake such as was not + seen since men were upon the earth, + so mighty an earthquake, and so + great...” + +MURMURS from the crowd, a woman calling out: + + WOMAN (O.S.) + I felt that earthquake! I felt it! + +David moves along the checkstands, notices: + +Cigarette smoke rising from one of the checkouts. David +moves toward it, finds Jessup on the floor there. He’s +smoking, jumpy as hell, hoping nobody notices him. He sees +David. + + JESSUP + What? + +Ollie and Dan have noticed, start drifting over. Jessup +sees them coming. David crouches down. + + DAVID + Where are your friends? + + JESSUP + Dunno. Ain't seen 'em. + + DAVID + How could you lose 'em? Not that + big a store. + 107. + + +Jessup tries to leave, but Ollie arrives and blocks his +escape path. Jessup shrinks back like a cornered cat. + + JESSUP + I ain't seen 'em, I said. I look + like their keeper? What the fuck + you want from me? + + DAVID + What do you know about this mist? + + JESSUP + I don’t know nothin’! Nothin'1 I + got nothin' to do with it! + + DAVID + That's not what the M.P. said. In + the pharmacy. Before the spiders + came out of his skin. + + JESSUP + I don't give a fuck. Leave me + alone, I said, you deaf? + +Now Dan arrives, making Jessup even more skittish. + + DAN + They're not in the store. Not even + the restrooms. Only place we + haven't checked is the loading + dock. + + DAVID + (looks to Jessup) + That where they are? Loading dock? + + JESSUP + I don't know. Maybe. Go see if + you’re curious, just fuck off + already. + + DAVID + I’d like you to come with us. + + JESSUP + Screw you. + + DAVID + (pause, quietly) + 108. + + + I know you're a hometown boy, but + that cuts you zero slack. Ollie + there has a gun. If you don't come + quietly, I’m going to ask him to + shoot you in the leg. He'll do it, + too. And then we’re gonna drag you. + +Another pause. Jessup checking their faces. He crushes out +his cigarette, hands quavering... + +MOVING CAMERA + +...and they come down the aisle toward the loading dock, +drawing as little attention as they can, while: + + MRS. CARMODY (O.S.) + "...and they gnawed their tongues + for pain and blasphemed the God of + heaven and repented not of their + deeds..." + +FAVORING JIM + +listening to Carmody preach. He glances over, sees David's +group move into the loading dock, his curiosity rousing... +IN THE LOADING DOCK + +David’s group enters, spreading into the darkness, clicking +on flashlights. Eerie as hell in here, especially with the +earlier casualties laid out atop the boxes like some +bizarre funeral bier. Joe's burned corpse has joined the +others. + +David looks to Jessup, gives him a nod. + + JESSUP + Bisby? Donaldson? + +No reply...just choking darkness. Flashlight beams crawl, +making the shadows move in sinister ways. + + DAN + Dammit, this is the only place they + can be. + + JESSUP + Look, I told you, okay? I don't + know where they are, and I don't-- + + AMBROSE + JESUS! + 109. + + +Flashlights sweep upward. Amanda stifles a shriek. Two +uniformed figures hang in the shadows above them, feet +dangling, ghastly faces staring down, necks stretched at + +horrific angles, clothesline connecting their necks to the +ceiling pipes above. Bisby and Donaldson. + +David’s flashlight travels down, the beam finding the +chairs they placed atop the stacks of boxes and kicked away +to hang themselves. Jessup gasps, breaks down in tears: + + JESSUP + I didn’t think they’d do it. They + said, but I didn’t think they + would. Oh Jesus... + + DAVID + It's the Arrowhead Project, isn't + it? This mist, it’s some kind of + military fuckup. What were you guys + messing with up there? Huh? + +Jessup turns, runs for the door, bumps right into: + +Jim. He’s followed them in. Jessup screams in fright. Jim +grabs him, pulls him forward, CAMERA FOLLOWING as he hurls +him right through the swinging doors into: + +THE MARKET + +Jessup sprawls headlong, as; + + JIM + IT’S THEM WHAT DONE IT TO US! THEM + WHAT BRUNG DOWN THE FINAL WRATH! + +Jessup glances up, sees people coming from all around. +David and his group rush from the loading dock as people +converge from all points of the compass, but the scariest +one is: + + MRS. CARMODY + (striding this way) + What’s this? What's this? + + JESSUP + It ain’t my fault! + + JIM + I heard him! Those two peckerwoods + he was with went and hung + 'emselves! They knew, they knew all + along! + 110. + + + JESSUP + He’s crazy! He doesn’t know what + he's talking about! + + JIM + They heard it too, yes they did! + That Arrowhead Project up the + mountain! That secret shit they + were doing up there bring it on us! + + MRS. CARMODY + (approaches, checks + uniform name tag) + Private...Jessup? + + JESSUP + (on his knees, pleading) + It wasn’t me I I’m just stationed + up there! I’m not responsible! + Hell, I’m a local, most’a you know + me, I just joined up for my + college-- + +She bends down, right in his face, nose to nose, screaming: + + MRS. CARMODY + STOP YOUR CHICKENSHIT WHINING! TELL + ME OR I’LL CUT YOUR PULING TONGUE + OUT! + + JESSUP + I’m just a grunt...they don't tell + me nothing...but I heard stuff. + Hell, we all heard stuff... + + MRS. CARMODY + Stuff. + + JESSUP + ...like how they thought there were + other dimensions...like all around + us...and how they wanted to try and + open a...a window, like...you know, + so they could look through and see + what's on the other side... + + MRS. CARMODY + Maybe your window turned out to be + a door, didn’t it? + + JESSUP + 111. + + + Not mine! Those scientists! They + must*a ripped a hole open by + accident, and this other dimension + come spilling through—that’s what + Donaldson was saying before he hung + himself! I didn’t understand half + of it... + (off her look) + IT AIN’T MY FAULT! + +He glances around, sees a lot of bloodthirsty, vengeful +faces staring at him. Mrs. Carmody turns, slow, scanning +her flock. + + MRS. CARMODY + Ain’t. His. Fault. No, ain't + nothin’ ever anybody’s fault. He + denies. Points the finger. This + Judas in our midst. + +David takes a step forward, wanting to defuse the +situation, but Ollie grabs his arm, gives him a firm look +of "no.” + + MRS. CARMODY + You've seen it now! The truth of + what I say! It’s this sort of + hubris! This sort of willful + priiiide against God! This defiance + of His will! + +CAMERA CHURNS IN QUEASY 360s around her...she's turning, +savoring the moment, looking them all in the eye... + + MRS. CARMODY + We been punished for delving into + secrets forbidden by God of old! + Walkin' on the moooon! Splittin' + His atoms! Messin’ with His stem + cells for the secrets of life that + only God above has any right to! + Gettin' too big for our britches, + is what! And now His judgment is + come upon us! The Fiend is let + loose! Star Wormwood blazes! + (turns, points at Jessup) + AND THEY DONE IT! THEY BROUGHT THE + DARKNESS DOWN BY SPITTIN' IN THE + ALMIGHTY'S EYE! + + JESSUP + NO! + 112. + + +Jessup lunges to his feet, tries to run. Jim Grondin shoves +him hard, rebounding him into the others... HANDHELD CAMERA + +— and Jessup screams, trying to break through, but the +crowd pummels him, drives him back, bouncing him around in +its big, ragged circle. David tries to jump in to. help +him, but Jim sees him coming and whirls around, driving a +fist hard into David's face, laying him out flat, while: + +Jessup is being hit, spun around, trying to escape, and: + +Shhhkkk --he runs right into the tip of Mr. Mackey's +butcher knife. Mackey the neighborhood butcher, now just a +mindless acolyte. Jessup stands frozen, mouth gaping. +Mackey pulls the knife out, stabs him again... + +Jessup staggers back, clutching his stomach, turns and +runs, but the mob is on him from all sides, pressing in, +flailing, punching, pummeling, hollering with bloodlust... + + JIM + EXPIATION! EXPIATION! + +...and the soldier is pleading for his life even as he gets +brutalized by little old ladies and the guy who works at +the gas station, by people who have been friends and +neighbors, by people now turned savage killers, and we +hear: + + MRS. CARMODY + GIVE HIM TO THE BEASTS! LET THE + BEASTS TAKE HIM! + +They lift him howling into the air, countless hands +hoisting him aloft, his arms and legs spread wide in a +sacrificial stance, a crucifixion pose, and the mindless +bellowing mob races up the aisle, knocking things from +their shelves, leaving a trail of smashed jars behind, +stampeding toward: + +THE FRONT OF STORE + +The door is thrown open. The mob hurls the screaming +soldier out of the store into the parking lot. He lands in +a sprawl out there, clutching his bleeding stomach. They +get the door closed, barring it, throwing the lock bolts. + +Jessup staggers to his feet, dazed and reeling, seeing +where he is. He turns to them, beseeching, face white with +shock as the mob gathers to the windows to watch. + 113. + + +He staggers to the window, screaming, begging to be let +back in, pounding weakly on the glass. Dozens of faces +stare back at him with bright, insane anticipation. + +DAVID’S GROUP + +David is trying to run to help, but the others grab him, +restraining him. Ollie literally driving him to the floor +and pinning him there, muttering desperately in his ear: + + OLLIE + No, David, no...we need you...Billy + needs you, goddamn it... + +FRONT OF STORE + +Jessup at the glass, pounding, pleading to be let in... + +And something looms from the Mist behind him, something big +and half-glimpsed, a huge hunched shape out of a +Lovecraftian fever dream, glistening and massive and +angular. Jessup turns, all the breath leaving his body, +gazing up in awe and terror. + +He turns to the people lining the windows, hands trembling +on the glass, and we can't hear him, but we can read his +lips: + + JESSUP + ...please... + + 1UU. + +And then the thing out there takes him, just snatches him +away in a whirl of roiling appendages, a spray of blood +hitting the glass as he gets yanked off in the blink of an +eye. + +Nothing out there now but Mist. Nothing inside but people +staring in silence. + +DAVID’S GROUP + +Stunned, devastated, shaking. Amanda is weeping. + +MRS. CARMODY + +turns away from the window, gleaming with satisfaction, +looking more alive than she's ever been. + + MRS. CARMODY + 114. + + + The beasts will leave us alone + tonight. Tomorrow...well, we'll + just have to wait and see, won’t + we? + + WE FADE TO BLACK AND BRING UP OUR FINAL TITLE: + + ESCAPE + + +82 INT. MARKET - DAWN 82 + + Deep silence. Thick gloom. The world outside is + brightening. + + We find David sitting near the back of the store in a half + doze, his chin on his chest. His friends are all around + him, sprawled on furniture pads... some sleeping, some not. + + David rouses, glances to Ollie. Ollie looks at his watch, + whispers one word: + + OLLIE + Dawn. + + David nods. The others start moving, sitting up. David + carefully wakes Billy, whispers in his ear: + + DAVID + Are you ready to leave the bad + lady? + + The little boy nods, very serious and solemn. + + David looks around at the other faces peering at him from + the gloom: Dan, Irene, Ambrose. Myron, his face bruised, + has also joined them. So has Bud Brown, the store manager. + Slow nods all around. It’s a consensus -- they’re all ready + to leave the bad lady. In whispers: + + OLLIE + Groceries are hidden at the first + checkout stand. Five bags. We can + grab them and be out the door. + + DAVID + Scout’s unlocked. Whoever gets + there first, open the front and + back doors. Everybody pile in fast + as you can. + 115. + + +They rise, moving slowly and carefully up the aisle. David +gets to the head of the aisle, pauses and peers out to make +sure the coast is clear. He waves them out... + +FRONT OF THE STORE + +They move fast, coming around the checkout stand to grab +the groceries... + +...which aren't there. There's just empty floor. They +suddenly hear a paper grocery bag crinkling. They stiffen, +look up. + +And there’s Mrs. Carmody looming from the shadows, a +grocery bag under her arm. She pulls out an apple. + + MRS. CARMODY + Stealin' food now. + +She takes a big crunchy bite. David and his friends look +around, seeing: + +FIGURES are stepping from the gloom, hemming them from all +sides, dozens of people with vacant gazes, blocking the +path to the doors. Many have weapons: knives, claw +hammers... + + DAVID + Going out now, Mrs. Carmody. Stand + away, please. + + MRS. CARMODY + You can't go out. I won't allow it. + + DAN + Won’t...allow it? + + MRS. CARMODY + It’s against God’s will. Don't you + know that by now? What’s the matter + with you? Don’t you believe in God? + + DAVID + No one has interfered with you. All + we want is the same privilege. + + MRS. CARMODY + Privilege. + 116. + + +She tosses the apple, almost playfully. It smacks Amanda's +head, bouncing off across the floor. She pulls a bottle of +milk, flips off the lid, takes a long swig, eyes on David +all the while. She sets the bottle gently down on the +counter... + + MRS. CARMODY + Privilege. + +...then she snaps like a child throwing a tantrum, smashing +the grocery bag every which way, flinging it around, +bashing it against the counter, spewing its contents, +shrieking: + + MRS. CARMODY + PRIVILEGE? PRIVILEGE? HELLBOUND + PRRRRIIIIIIDE! + +She tosses the mutilated, empty bag. Shattered jars and +spilled cans are everywhere. A ruptured soda can goes +fizzing and rolling quietly across the floor past David’s +feet. Mrs. Carmody picks up her milk, catching her breath, +takes another swig. Vengeance is thirsty work. + + MRS. CARMODY + You all heard what he said! These + are the sort of people who brought + it on! People who will not bend to + the will of the Almighty! Sinners + in pride, haughty they are, and + stiff-necked! They mock us, they + mock our God, our faith, our values + and our way of life, they mock our + humility and piousness! They piss + on us and laugh! + +CAMERA PUSHES IN ON HER as she points, a mad Inquisitor. +Mackey the butcher and Jim Grondin appear at her side, both +brandishing knives, both ready to kill... + + MRS. CARMODY + It is from their number the + sacrifice must come! From their + number the blood of expiation! + +David grabs up the nearest thing he can find, a mop handle, +not much of a weapon, but he wields it... + + DAVID + You try it. You fucking try. + + MRS. CARMODY + 117. + + + It’s the boy we want! Grab him! + Take him! Show them the price of + defiance! It’s the boy we want! + +...and the mob is closing in. David swings the mop handle, +whipping it through the air, trying to drive them back, +keeping them at bay only for the briefest of moments. +Amanda’s got Billy, the boy clinging to her neck, +terrified: + + AMANDA + David--what do I-- + +Mackey and Jim come rushing forward, knives gleaming, as: + + MRS. CARMODY + (screaming) + And the whore, too! Grab them both! + Get the boy, get the whore, kill + 'em both, kill 'em all-- + +BLAM! A single gunshot, loud as hell. + +The milk bottle in Mrs. Carmody's hand EXPLODES, ruptures +outward, spews glass and milk in all directions. + +Everything goes still. Mackey and Jim freeze a few paces +away like kids caught in a game of "red-light-green-light." + +MRS. CARMODY + +stands frozen, mouth agape. She drops what's left of the +milk bottle, takes a faltering step back, looks down at the +ragged, bloody hole in her stomach. She looks up, trying to +speak. + +DAVID + +is staring at her in shock, turns and sees: + +OLLIE + +in a shooter's stance, Amanda's gun held in a two-handed +grip, smoke drifting from the barrel. + +MRS. CARMODY + +Her mouth opens and closes, opens again. She finally +manages a croaking whisper: + + MRS. CARMODY + —kill them...kill them all... + 118. + + + BLAM! Ollie SHOOTS HER AGAIN, in the head. Her head snaps + back, trailing blood through the air as she's spun + around...she clutches one of the registers to stop from + falling.. .but the register tips and goes down with her as + she hits the floor. + + One last violent spasm, and that’s it...dead as hell. + + People are backing away, stunned. Ollie jerks the gun at + Jim, ready to kill him, but Jim drops his knife and + retreats. Mackey also backs away. A WOMAN screams, starts + sobbing: + + A WOMAN + You killed her! You murdered her! + + Ollie’s in quiet turmoil, just as stunned as everybody + else. + + David goes to him, gently touches his arm. + + DAVID + Thank you. Ollie. Let's go. + + OLLIE + (wrestling with it) + I...I killed her. + + DAVID + That' s why I said thank you. Come + on now. We have to leave. + + David moves the group to the front door. He throws the lock + bolts open, picks Billy up, pauses as: + + OLLIE + I wouldn’t have shot her, David. + Not if there had been any other + way. Do you believe me? + + DAVID + Yes. I do. + + OLLIE + Okay. Okay then. Let’s go. + + They throw the door open... + + +85 EXT. MARKET - DAY 85 + + ...and we’re plunged into it, things happening fast, + HANDHELD in the Mist: + 119. + + +Ollie's running in front, pistol poised, the others spread +out behind him, footsteps clattering and echoing hollowly +across pavement, David holding Billy tight to his chest... +Ollie gets to the car first, throws open the front and rear +doors on the driver's side, turns, yelling for them to +come, and suddenly a HUGE SHAPE materializes in the Mist +behind Ollie as David screams a warning -- + + DAVID + OLLIE! + +— but the creature reaches down even as Ollie’s turning, +plucks Ollie off his feet, jerks him screaming into the +air, giant claws scissoring and ripping Ollie open in a +terrible glut of blood that drenches the front of the car, +Ollie's gun falling onto the hood unfired, and then the +shape is gone, taking Ollie, vanishing in the Mist... + +David screams in anguish, keeps coming, throws Billy into +the front seat, turns back as he hears Amanda SCREAM... + +A shrieking SPIDER-THING has leapt from the hood of a car, +slams Myron screaming and flailing to the ground as it +busily cocoons him. Amanda is frozen, screaming... + +Behind her, Bud Brown backs up in terror, turns and runs +back into his store... + +Irene steps up, slaps Amanda to get her attention, then +Irene and Dan are running, pulling Amanda toward the car... + +Ambrose is at their heels, trying to keep up, panting and +whining in terror, when another thing reaches out and +plucks him away in a whirl of whipping appendages... + +Dan, Irene, and Amanda get to the car, David shoving Amanda +into the front seat and diving in after her, Irene and Dan +throwing themselves in back, slamming doors, and: + +They're in. They’re safe. + +The four adults sit in total shock. Billy's clinging to +David, sobbing. A stretch of silence, and then: + + IRENE + Are we going? + +David’s thoughts finally focus. He hands Billy off to +Amanda. + +The boy whimpers, clinging to her. David puts the key in +the ignition, sees the windshield and hood covered with +Ollie's blood. Also: + 120. + + + The gun is out there, lying on the hood. + + AMANDA + David, no. + + But he does it anyway, throws his door open, lunges half + out of the car, fingers clawing the hood, straining to grab + the gun. We hear SCUTTLING LEGS coming, horrific MEWLING + SOUNDS. He gets the gun, pulls his arm back in just as: + + A SPIDER-THING leaps and lands on the hood, denting it, + missing David by inches, cracking the windshield. A second + spider­thing dashes in from the side, SLAMMING hard against + the door just as David slams it shut, rocking the Scout on + its wheels. + + The creature on the hood pauses, staring through the + windshield at them with its semi-human, grinning + face...then scuttles up the windshield, across the roof, + and leaps off into the Mist in search of easier prey. The + second one also scuttles off. + + David lets out a long breath, steadies himself, starts the + engine. He hits the washers. The wipers work Ollie’s blood + away. David puts it in gear, pulls slowly out... + + ANGLE AT PAVEMENT LEVEL + + Ollie’s glasses are big in frame f.g., one bloody lens + cracked down the center, as the Scout pulls away... + + ANGLE ON MARKET + + The Scout looms from the Mist, coming around into the + traffic aisle in a glare of foglights. As the vehicle + turns, the lights splash across the plate glass window. We + see dozens of faces at the glass, pale and silent, + staring... + + ANGLE FROM INSIDE MARKET + + People are silhouetted at the glass, the Scout’s foglights + sending beams of light crawling through their midst... + OUTSIDE THE MARKET + + ...and then the staring faces are gone...and so is the + Scout, taillights disappearing into the Mist, as we + + DISSOLVE TO: + + +89 INT/EXT. SCOUT - DAY 89 + 121. + + + The vehicle materializes, coming through the Mist, turning + down David's long driveway. He slows, as: + + David's house takes form before them. It looks still, + vacant, like a haunted house, windows staring like empty + eye sockets. + + Worse still, it’s festooned with spider-webs. + + David leans on the horn, BLARING IT. A long silence. + + DAVID + Our front window was broken open. + The tree...my grandfather's tree... + + He looks around, sees: + + A familiar floppy sun hat is caught in a tangle of webbing + at the side of the house, swaying slightly in the breeze. + His wife’s hat, the one she was wearing the last time we + saw her. + + WE PAN from the hat to a pale dead foot dangling from a + cocoon embedded in the branches of the downed tree. + + It hits David hard. He knew it all along, but had to know + for sure. Now he does. He glances to Billy. The boy is in + Amanda1r lap, mercifully asleep. Amanda has no words of + comfort to offer. From the back seat: + + IRENE + I’m sorry, David. Truly sorry. + + David nods, puts it in gear. He turns the Scout around and + heads back up the driveway. .. + + DISSOLVE TO: + + +90 INT/EXT. SCOUT - DAY 90 + + ...and a DISSOLVING MONTAGE takes us methodically through a + blasted, Mist-shrouded world... + + ...traveling south, ever south... + + —crossing bridges choked with cars, maneuvering around + vehicles that stand mute and silent where people pulled + over when the Mist came, many with doors open, no people in + sight... + 122. + + + ...the Scout easing gingerly over broken sections of + pavement, past slabs of tarmac standing up like tombstones, + the result of some great upheaval... + + ...traveling through an eerie, mist-shrouded world in which + unseen creatures of nightmare shriek and howl, where winged + shapes go flapping by overhead on leathern wings... + + —trying the radio, Amanda scanning the band, getting + nothing but soft static... + + ...passing a sign in the Mist that reads "PORTLAND -- Next + Five Exits"... + + ...slowing down to traverse another badly broken section of + pavement., .and as the Scout moves on, CAMERA CRANES UP to + show the pavement they just crossed below us, the broken + tarmac in the shape of a giant, primordial FOOTPRINT... + + DISSOLVE TO: + + +91 EXT. SCOUT - DAY 91 + + Foglights appear, coming slowly toward us in the Mist. As + it pulls closer, the ENGINE SPUTTERS, coughing on + fumes...and quits. The vehicle jerks, shudders, glides to a + stop. + + We hold for a long beat, PUSHING SLOWLY IN as we DISSOLVE: + INSIDE THE SCOUT + + The gas gauge is on empty. + + Billy’s asleep. The four adults sit, exhausted. Out of gas + and out of hope. Knowing what this means. Like Mrs. Carmody + said: it's death. Nobody says anything for a while, then: + + IRENE + We gave it good try. Nobody can say + we didn't. + + DAVID + No. + + A heavy weight of silence. David works up his courage. + Picks up the gun. Cracks the cylinder. Shakes the bullets + out. Two rounds are expended. He discards the empty + casings, leaving four live rounds. He stares down at them + in his palm. Softly: + + DAVID + There’s four left. + 123. + + +He looks up at the others. Everybody knows what this means. + + DAN + There’s five of us. + + DAVID + I’ll figure something out. + +He loads the shells, softly closes the cylinder. He looks +up at them again. The moment is charged, awful. Amanda +nods, shaking, trying not to cry. Irene and Dan nod too. + +ANGLE FROM OUTSIDE THE SCOUT + +The vehicle sits silent and disembodied in the world of the +Mist. We hear Billy stirring, his soft voice: + + BILLY (O.S.) + Daddy? + +And then four even-spaced GUNSHOTS are heard, muffled and +at a distance. Then silence. + +IN THE SCOUT + +We find David sitting alone in the blood-spattered vehicle, +the others slumped out of sight. He’s holding himself +coiled tight, then lets out a howl of soul-rending anguish +and despair, dissolving into shuddering sobs of grief as he +rocks back and forth like a man in an asylum. + +He puts the gun in his mouth, pulling the trigger again and +again, praying for a bullet to magically appear, but no. + +He gets hold of himself. Tosses the gun aside. Takes a few +deep breaths, steeling himself like a man getting ready to +jump into a pool of ice water, fumbles for the door +handle... Gets out... + +OUTSIDE THE SCOUT + +...and slams the door. He stands there looking around at +this primordial, dead-white world. Seething. + + DAVID + COME ON! + +He turns and lays his hands on the Scout's roof, waiting. + +And waiting. And waiting. And... + +And... + 124. + + +Here it comes... something big...a deep growling noise... +coming closer...approaching in the Mist... + +...and now comes another sound as well—weird, wavering in +the Mist...unidentifiable, unearthly... + +PUSH IN TIGHT ON DAVID as he gazes up, +listening...waiting... + +.. . and he looks around, increasingly stunned as the day +seems to brighten... + +.. .and now the sound is deafening, the deep growl +descending upon us, becoming a HUGE ROAR... + +That roar? Tank treads? + +And the other wavering sound... + +A voice? On loudspeaker? + +And now the day goes brighter still as the Mist starts to +part, dissipating as blazing lights burn through the haze, +mounted on a tank, and FIGURES in eerie hazmat combat suits +come cradling weapons, entering the hot zone, sweeping the +area, a VOICE BOOMING like God from the mounted speakers... + + VOICE + ATTENTION...ALL SURVIVORS...THIS + AREA IS UNDER MILITARY + CONTROL...ALL SURVIVORS REPORT TO + OUR PERSONNEL FOR ESCORT TO THE + NEAREST AID STATION... + +...and the Mist clears completely, sun breaking through, +world turning green again as the soldiers come trudging, +their ranks stretching into the distance, and several of +them see David and come this way to help him, but: + +David doesn’t see them. David doesn’t hear them. David +never will. David is clutching the roof of the Scout. +SCREAMING. + +And SCREAMING. And SCREAMING. And SCREAMING. + +David will never stop. + +CRASH TO BLACK + \ No newline at end of file diff --git a/scripts/The Office (US Pilot).txt b/scripts/The Office (US Pilot).txt new file mode 100644 index 0000000000000000000000000000000000000000..bf839d328ff37c22584eac12cfe3c764dc66200d --- /dev/null +++ b/scripts/The Office (US Pilot).txt @@ -0,0 +1,1994 @@ + 1. + + + + FADE IN: + + +1 INT. MICHAEL SCOTT'S OFFICE - DAY - SCENE 1 1 + + Michael Scott is sitting behind his desk addressing a job + seeker. + + SCOTT + I'm a busy man. When I give jobs, I + don't have time for a lotta B.S. If + a guy comes to me and says, + "Michael, this job has been my + dream since I was a little kid. My + whole life has been leading up to + this job," That, I respond to. + Nothing is more important than + enthusiasm, from the Greek word + meaning -- 'enthusiastic.' Huh? + + He looks to the job seeker, who says nothing. + + SCOTT + Only problem is, you you talk the + talk, but you don't walk the walk. + Okay, that was global, I'll make it + local: you didn't pass your fork- + lift driver's test. But -- the + foreman at the warehouse is a + personal friend, okay? So don't + sweat it, you're in. + + He picks up the receiver and dials. + + SCOTT + (into phone, showing off) + Deon -- You dog -- Playa! + + He winks at the job seeker. + + SCOTT + It's "the boss," and when I mean + Springsteen, I'll just say "God" + Have you put out an ad for the + fork-lift driver's job? + + Scott crosses his fingers and bites his lip. + + SCOTT + 2. + + + Good, don't, I've got the guy here, + he's "the man" Has he passed his + fork-lift driver's test? Playa, he + gives the tests. + + Scott rolls his eyes. + + SCOTT + Sure -- Sure. He's first aid- + trained, sure. Sure - we'll shoot a + resume over to you this afternoon. + + Scott mimes for the job seeker to type up a resume. + + SCOTT + (into phone) + We still hangin' on Sunday? No, no, + no, you can't get out of it! How's + Jill? She left ya yet? Sure -- + Okay, see you then. + + He puts down the phone and grits his teeth. + + SCOTT + She left him last month, I forgot + about that. + + +2 INT. OPEN-PLAN OFFICE - DAY - SCENE 2 2 + + Scott is showing the camera crew around his office. + + SCOTT + I've been in the business for + twelve years. I've been at IDS as + general manager for eight of those. + So, putting together my team -- + + Scott notices Pam at the reception. + + SCOTT + Hey, it's Spam, spam, wonderful + Pam. Pam Beesly -- Receptionist. + Been with us forever, right Pam? + + PAM + How ya doin'? + + PAM + Yeah. + + SCOTT + 3. + + + Yeah. At one time or another every + guy in the office has "sprayed on + Pam." + + PAM + (annoyed) + What? + + SCOTT + Any messages? + + PAM + Yeah. Just a fax. + + Pam hands him a fax. + + SCOTT + Hmm -- Pam, this is from Corporate. + + PAM + I know -- + + SCOTT + (somber) + How many times have I told you? + There's a special filing cabinet + for things from Corporate -- + + PAM + (worried) + You haven't told me -- + + SCOTT + -- it's called the wastepaper + basket! + + Scott throws the fax over the counter into Pam's wastepaper + basket and laughs at the brilliance of his practical joke. + + SCOTT + The look on your face -- Ha! You'd + better get that back. + + +3 INT. SCOTT TALKING HEAD - DAY 3 + + SCOTT + People say I'm the best boss. + + He points to a mug in the foreground with the inscription. + + SCOTT + 4. + + + "World's Greatest Boss." They go, + "Oh, we've never worked in a place + like this before, you're such a + riot. You get the best out of us." + And I go, you know, "Que sera, + sera." If that's true -- awesome. + + Scott shrugs and looks smugly into camera. + + +4 INT. RECEPTION - DAY - SCENE 3 4 + + SCOTT + Take it easy on me today, Pam. + + PAM + (exasperated) + Yeah? Why's that? + + SCOTT + Oh God. Did I party last night. I + was out with the Packer. Meredith + Packster-Birney. + (to camera crew) + Todd Packer. + (to Pam) + Had us a bar hop. "Duff, Duff, that + wonderful stuff--" + + SCOTT + D'oh! I was baked, man! Wow, don't + ever come out with me and the Green + Bay Packer. + + PAM + No, I won't. + + SCOTT + There's guys my age, and they look + middle-aged --- How old do you + think I look? + + PAM + Thirty-n -- + + SCOTT + (interrupting) + -- Thirty, right -- About that. Oh, + man I have got to slow down. + Drinking a little too much -- + + Scott pats his belly. + 5. + + + SCOTT + -- if every single night of the + week is too much. + + PAM + (joking) + -- And every lunchtime. + + Beat. Scott turns suddenly, a cold look in his eyes. + + SCOTT + How many have I had this week? + + PAM + What? + + SCOTT + How many beers have I drunk this + week. If you're counting -- ? + + PAM + I'm not counting. + + SCOTT + You seem to be counting. Does it + offend you, huh? You know, that's + getting a little -- a little bit + personal. What if I started doing + that with you? I could look at you + and come out with something clever + like, "You're really -- uh -- " + + He can't think of anything. + + SCOTT + -- but I don't. Because I'm a + professional and professionalism is + -- uh -- And that is what I want, + okay? That's all. I'm disappointed, + Pam. I really am. + + He strides off, leaving Pam speechless. + + +5 INT. OPEN-PLAN OFFICE - DAY - SCENE 4 5 + + Shots of office life. Jim is working. Dwight arrives and + smacks Jim upside the head with a newspaper. + + DWIGHT + Wassaaaaap? + + Jim looks indignant. + 6. + + + JIM + Oh, fu -- Don't do that, Jesus -- + + DWIGHT + Aw, what's the matter? Is it your + time of the month? Whew. Just ten + brewskis for me last night. Yeah, + that's all. + (burps) + Uhhhh. + + Dwight pretends to find a headline in his newspaper. + + DWIGHT + Oh, no! Here it is! "IDS team + leader caught out drinking wit boss + -- Senior management completely + trashed" Whew. And tonight I'm + going out with Animal. Yeah, we're + just gonna go to the library and + read -- not! I doubt it! + + +6 INT. JIM TALKING HEAD - DAY 6 + + JIM + I'm a sales rep, which means that + my job is to speak to clients on + the phone about er -- quantity and + type of paper -- whether we can + supply it to them and whether they + can pay for it -- and I'm boring + myself talking about it -- + + +7 INT. DESK AREA - DAY - SCENE 5 7 + + Scott emerges from his office, smiling. + + SCOTT + Wassaaaap? + + JIM + Hey! 'Wassaaaap?' I still love + that. + + SCOTT + Wassaaaap? Ohhh. + + Points at Dwight. + + SCOTT + 7. + + + You're fired, Schrute, ya big + drunk. + +Scott points to himself, laughing. + + SCOTT + Pot calling the kettle black here. + +Scott mimes vomiting and then starts giggling. Dwight joins +in. + + SCOTT + What'd he tell you? It's all true. + Guilty as a futhermucker. Went out + with a few of his crew last night. + He goes, "Well, you can come if you + want, gotta warn you, Michael, they + can get rowdy." I go, "Oh, I'll + handle it." I was worse than them + by the end, wasn't I? They're + going, "Who's that freak?" "That's + my boss." "Well we can't stand it + any more, we're leaving." They just + snuck out, didn't they? + + DWIGHT + (aside to Jim) + I told you. + + SCOTT + Outrageous! + +Scott puts one hand round his throat, another reaching out +in front of him as if dying. + + SCOTT + Help me, A.A! + +Scott laughs, waiting for a response. There is none. + + SCOTT + What? + + JIM + Nothing. + + SCOTT + See you later. + + JIM + Okay, see you later. Take care. + 8. + + +8 INT. RECEPTION - DAY - SCENE 6 8 + + Jan Tarnovsky-Gould approaches Pam at reception. Scott's + talking head begins over this. + + +9 INT. SCOTT TALKING HEAD - DAY 9 + + SCOTT + Corporate doesn't really interfere + with me at all. Jan Tarnovsky- + Gould. I call her, er -- Ruth + Bader-Ginsburg, heh heh not to her + face -- but not because I'm scared + of her. + + +10 INT. SCOTT'S OFFICE - DAY - SCENE 7 10 + + Jan and Scott are sitting in Scott's office. Pam comes in + and sits down. Scott is discussing his tie. + + SCOTT + I got them off an African guy, you + know, had a suit-case out on the + street. Two for ten bucks. "Yo, + I'll take four." So -- okay. + Meeting with Jan Tarnovsky-Gould. + Present. + + Jan takes some papers from her bag. She crosses her legs + and Scott sneaks a look. + + SCOTT + (lascivious) + Mmrn. Shoot! + + JAN + Was there anything that you wanted + to add to the agenda? + + SCOTT + (trying to be cool) + Me no get an agenda. + + JAN + Sorry? + + SCOTT + I did not get any agenda. + + JAN + I faxed you one this morning. + 9. + + + SCOTT + No, we never got a fax, did we Pam? + + PAM + Well, maybe -- + + SCOTT + (passing the buck) + Then why isn't it in my hand? + Because a company runs on + efficiency of communication. + + PAM + You put it in the garbage can that + was a special filing cabinet. + + SCOTT + (to Jan, covering + himself) + As a joke, yeah. It's not even my + joke, it's my brother's joke and + it's supposed to be with bills. + Doesn't work great with faxes. + + JAN + Do you want to look at mine? + + SCOTT + (humbled) + Yeah. + + +11 INT. SCOTT TALKING HEAD - DAY 11 + + SCOTT + Yeah, sure, she'd say she's the + boss, but there shouldn't be any + ego when you're pulling together to + do something good, y'know? It's + like Comic Relief. I'm out here in + Africa and I'm seeing the flies and + the starvation -- and she -- if she + is the boss -- she's in the studio + with, you know, Robin Williams and + Whoopi Goldberg. They're doing + their job, they're counting the + money. Good for them. But, their + hands are clean, while I'm down + here in the office with the little + starving kids -- + + +12 INT. SCOTT'S OFFICE - DAY - SCENE 8 12 + 10. + + + JAN +Okay, since the last meeting, Alan +and the board have decided that we +can't justify a Scranton branch and +a Stamford branch. + + SCOTT + (obviously flustered) +Oh, okay, go on -- + + JAN +No, no, listen, Michael, don't +panic -- + + SCOTT +-- Oh, go on. Should be good. This +is it. Go on -- + + JAN +-- No, listen, Michael, no, no, no +-- + + SCOTT +-- Alarm bells, so -- + + JAN +-- No, don't panic -- We haven't +made any -- + + SCOTT +-- I don't panic -- + + JAN +-- We haven't made any decisions +yet -- + + SCOTT +-- Good -- + + JAN +-- I've spoken to Josh in Stamford +-- + + SCOTT +-- Yeah -- + + JAN +- I've told him the same as you. +And it's up to either you or him to +convince me that your branch could +incorporate the other. + + SCOTT + 11. + + +-- Okay, no problem -- + + JAN +This does, however, mean that there +is going to be downsizing. + + SCOTT +Oh, you see, me no want to hear +that, Jan, because downsizing is a +bitch. It is a real bitch. I +wouldn't wish that on Josh's men. I +certainly wouldn't wish it on my +men. Or women. Present company +excepted. Is Josh concerned about +downsizing? + + JAN +Well he is, of course, yes. + + SCOTT +Good. Because I'm very concerned +about downsizing, although I +understand if it's absolutely +necessary, as a businessman, then +it has to be -- Does he understand +if it's -- + + JAN + (stopping him) +-- Michael -- + + SCOTT +-- Go on -- + + JAN +-- Can we not talk about +downsizing?-- + + SCOTT +Well, we have to sooner or later -- + + JAN + (stopping him) +-- Yes, but at the moment, what we +have to decide is, do you take on +Stamford's people at this branch or +the other way round? + + SCOTT +We'll take on theirs. + + JAN +No -- + 12. + + + SCOTT + No? + + JAN + -- No, you and I don't decide. I + decide. + + SCOTT + You do decide, but -- + + JAN + I decide once you've made your case + -- + + SCOTT + -- based on factors. Okay. Is there + a time limit on--? + +Scott's desk phone rings. His answer machine kicks in. + + SCOTT + I'll just screen it. + + SCOTT'S VOICE + Hi, I'm not available, so please + leave a massage. + + TODD PACKER + (on phone) + Alright, Mikey, it's the Packer. + What's going on? + + SCOTT + (showing off) + Todd Packer. Terrific rep. + + TODD PACKER + I hear you've got a hangover, you + big fag. + + SCOTT + Oh, that's not good. That's + derogatory. + + TODD PACKER + Call me back. Hey, you're in with + that Jan what's-her-face today, + aren't you? Give her a pork from + me, dude. + + SCOTT + (embarrassed) + Oh -- Awful, awful man. + 13. + + + JAN + Can we keep a lid on this for the + time being? I really don't want to + worry people unduly. + + SCOTT + No worries. Under regime, this will + this not leave the office. + +He mimes zipping his mouth shut. As soon as he has said +this we cut to a montage of different employees discussing +the news. + +ANGLE ON DONNA + + DONNA + So what does downsizing actually + mean? + +ANGLE ON EMMAAND KEVIN + + EMMA + So, you'd just go, would you? + + KEVIN + Would you? + + EMMA + Oh I I dunno. + +ANGLE ON JIM AND PAM + +Jim is discussing things with Pam. + + JIM + Kevin and Donna and all the others + are having these -- + + PAM + Yeah, I know, they're all going + nuts, aren't they? + + JIM + -- weird sort of secret pow-wows -- + + PAM + I actually don't give a monkeys, do + you? + + JIM + -- Oh, no, we're gonna lose our + jobs." I could care less. + 14. + + + Pam holds up her pinkie finger. Jim holds up his and they + give a little pinkie finger shake on it. (Or some other + tiny piece of ad-libbed flirtation.) + + +13 INT. PAM TALKING HEAD 13 + + PAM + I hope they do get rid of me -- + Because then I might actually get + off my ass and do something. Um, I + don't think it's a many little + girls' dream to be a receptionist. + I used to do illustrations. Mostly + watercolor, a few oil pencils -- + Jim thinks they're good. Maybe they + are -- I just don't want to be + treading water, you know, and then + wake up in another five years and + say, "shoot, done it again." + + +14 INT. DESK AREA - DAY - SCENE 9 14 + + Dwight is sitting at his desk, playing with some chewing + gum in his mouth. He notices the camera and puts the gum in + the garbage as discreetly as possible. He goes back to his + work. + + +15 INT. RECEPTION AREA - DAY 15 + + Pam is introducing Ryan, a young temp, to Scott. + + PAM + This is Mr. Scott. + + SCOTT + Guilty. + + RYAN + Hey. + + Scott gives a "Who are you?" expression. + + RYAN + Ryan Howard, from the temping + agency. Daniqua sent me down to + start today. + + SCOTT + Just a temp -- Howard? Like Moe + Howard? Stooges, man. + 15. + + + With lighting wit, Scott snaps into an impersonation of The + Three Stooges. + + SCOTT + Nyuk, nyuk, nyuk! Moe! Gimme five. + (off Pam's look) + It's a guy thing, Pam. Who was the + one before Shemp? + + RYAN + Curly? + + SCOTT + Right. Curly Joe Dorita. + + RYAN + Just Curly. Joe Dorita's different. + + SCOTT + Hey -- comedy's kind of my thing, + so -- Here's Curly Joe: + (Curly voice) + Nyuk, nyuk, nyuk! + + Ryan laughs politely. + + +16 INT. SCOTT TALKING HEAD - DAY 16 + + SCOTT + What upsets me about the job? + Wasted talent. People could come to + me, and they could say, "Excuse me, + Michael, but you've been in the + business twelve years. Can you tell + us how to manage a team, how to + keep them happy as well as moving + towards the goal posts?" But they + don't. That's the tragedy. + + Scott shrugs as if it hurts to be a martyr, but he can take + it. + + +17 INT. DESK AREA - DAY 17 + + Jim is on the phone. Some of Jim's possessions have slipped + across onto Dwight's desk, and Dwight is pushing them back + with a ruler. He slides it between his and Jim's desks to + clarify just where the dividing line too much for Jim. + + JIM + 16. + + + Yeah -- Look, Mr. Davis, I'm gonna + have to call you back. Something's + just come up. Two minutes. Thanks + very much. Bye. + + Jim puts down the phone. + + JIM + (to Dwight) + What are you doing? + + DWIGHT + What? + + JIM + Dwight, what are you doing? + + DWIGHT + I'm just pushing your stuff off my + desk, I can't concentrate when -- + + JIM + It's not on your desk. + + DWIGHT + It was, it's all overlapping. It's + all coming over the edge here. + + Jim buries his head in his hands. + + DWIGHT + One word, two syllables: De-mar- + cation. + + +18 INT. OPEN-PLAN OFFICE - DAY 18 + + Ryan is being led through the office by Michael Scott. + Scott grins excitedly and points out a 'Homer Simpson' doll + impaled on a coat stand. He waits for a big laugh. Ryan + looks at him calmly. Unfazed, he continues. + + SCOTT + This is the accounting department. + The number dudes. Don't let the job + descriptions fool ya. They are all + completely crazy. + (pointing to Kevin) + Especially that one. He's a mental + patient. Not literally, of course, + that wouldn't work. The last place + you'd want someone like that is in + accounting -- + 17. + + + Scott crouches behind an office plant and peers through the + leaves. + + SCOTT + "Veddy interesting -- But + shtoopid!" Artie Johnson. I do that + to cheer 'em up. We send the girls + out to get the plants. You know, it + makes them a little bit happier, + because they can sometimes get a + little -- + + He mimes 'depressed.' Scott leans over to a novelty fish + mounted on the wall and presses the button. Nothing + happens. + + SCOTT + Oh, the batteries are dead. C'mon + people! + (to an employee) + Can you get some batteries for + 'Billy Bigmouth?' Take it out of + petty cash. + (to camera crew) + You can't put a price on comedy. + + +19 INT. DESK AREA - DAY 19 + + JIM + You're a scrotum, Dwight. You're a + scrotum and a dildo. + + DWIGHT + I'm still not listening, so it's + not offending me, so -- + + JIM + Right, okay, so you won't hear this + -- you're a tool, you're a tool, + you're a tool. + + Dwight ignores him. + + JIM + You're a tool. + + +20 INT. DWIGHT TALKING HEAD - DAY 20 + + DWIGHT + 18. + + + Yeah, it's okay here, but people + sometimes take advantage, because + it's so relaxed. You know, I'm a + volunteer Sheriff's Deputy on the + weekends and you can't screw around + there. That's sort of one of the + rules. + + +21 INT. OPEN-PLAN OFFICE - DAY 21 + + Shots of people working, then cut to: Ryan's induction is + still underway. Scott points out a sketch pinned to a + board. + + SCOTT + Cartoons. "Does my butt look big in + this?n Now, don't worry, that's not + sexist, 'cause the man is sayin it + -- finally! So, props for that -- + props for that in the workplace. + + Dwight walks by, stirring a cup of coffee. + + SCOTT + Ooh, careful, watch out for this + guy! Dwight Schrute in the + building! + (making the + introductions) + Ryan, the new temp. + + DWIGHT + Hey. + + RYAN + Good to see you. + + SCOTT + Introduce yourself. + + DWIGHT + Uh -- Dwight Schrute, Assistant + Manager. + + SCOTT + Assistant to the Regional Manager. + + Scott points to himself. + + SCOTT + 19. + + + Dwight's my right-hand man, + immediately beneath me -- as the + priest said to the altar boy! Bill + Maher. Not his line, but in the + style of. + (Ryan stares at him.) + Of course, there's nothing wrong + with that, if you're gay. I mean, + not that I'm asking, I'm not + allowed to ask if you're gay -- or + Catholic. And if you're Catholic, + well -- it's actually word for word + a Bill Maher line, so don't blame + me. Over here is the kitchen -- + + Scott steers Ryan into a little room with a coffee maker + and accessories. + + SCOTT + We provide tea bags, sugar, + stirrers, creamer, the works. Oh, + coffee tax. I collect a coffee tax + to pay for better coffee. + Starbucks, man. Only the 'Bucks + will do! So -- How 'bout, fifty + cents to start? + + He holds his hand out. There is an uncomfortable pause. + + SCOTT + (he half-glances to + camera) + It's usually more, but -- + + Finally, Ryan takes out some money and gives it to Scott. + + +22 INT. DESK AREA - DAY 22 + + Jim is taping something. Dwight appears and demands his + tape back by holding out his hand. Jim slaps it. + + JIM + Hey soul brother. + + DWIGHT + Give it back. + + JIM + I'm just using it for a second. + + Dwight snatches the tape back. It has his name written on + it in Wite-Out + 20. + + + DWIGHT + It's got my name on it. 'Dwight.' + + JIM + Uh, actually it says, 'Dwig,' but - + - + + DWIGHT + If you want to borrow it, just + gotta ask. + + JIM + Dude, you always say "no." What's + the point? + + DWIGHT + Maybe that's why you should ask. + + JIM + Dwight, it was just there, okay? + + DWIGHT + Yeah? That's its home. Leave it + there. + +Dwight puts the tape dispenser back in its proper place. + + JIM + Okay -- Okay -- Okay -- + +Driven to desperate measures, Jim snatches the tape +dispenser and runs to the window. + + DWIGHT + (panicked) + Somebody stop him! Dammit, that's + mine! + +Jim holds the tape dispenser out of the window. + + JIM + You stay where you are, okay? I'm + gonna let this go, okay, unless you + stop acting like a tool. + + DWIGHT + Yeah, like you will -- + + JIM + Yeah, like I did -- + +Jim lets go of the tape dispenser. + 21. + + + DWIGHT + What if that kills someone? + + JIM + Kills somebody? Umm, well, they'll + think you're the murderer. It's got + your name on it. + + DWIGHT + Why would a murderer put his name + on the murder weapon? + + JIM + Because he's an impossibly annoying + prick? + + DWIGHT + (calling) + Michael! + + JIM + I hate what -- I hate the fact that + you bring me down to this; I really + do, I resent it. + + DWIGHT + (pointing to an employee) + I don't know why you're laughing. + + JIM + Leave her out of it. Go on, + Jessica, keep it up. Listen, you + bring me down to this, "Dwig." + + They wander back to their desks, bickering. + + +23 INT. RECEPTION SEATING AREA - DAY 23 + + Pam is sitting on a chair eating a sandwich and reading a + book. Scott enters. + + SCOTT + Hiya. What's that? + + Scott examines the book cover. + + SCOTT + 'Wired.' John Belushi. Funny? + + PAM + It's okay. + 22. + + + Silence. + + SCOTT + Freaked myself out this morning. + + PAM + Oh yeah? + + Scott nods and fingers his genitals. + + SCOTT + Thought I found a lump. I mean, I + examine the jewels every month, but + this felt different -- Turns out + it's fine -- But freaky, man, + "testicular cancer" -- cancer of + them old testicles -- + + Scott points at the sandwich that Pam no longer feels like + eating. + + SCOTT + What's that? + + PAM + Smoked turkey. + + SCOTT + Huh. From the Starbucks--? + + PAM + Mmm -- + + SCOTT + Oh. See you later. + + Pam looks queasy and puts the rest of her sandwich down. + + +24 INT. DESK AREA - DAY 24 + + Jim is building a wall of box files between his desk and + Dwight's. Dwight appears. + + JIM + (to camera crew) + I don't like acting like a kid, you + know what I mean? But he's -- + + DWIGHT + What are you doing? + + JIM + 23. + + + To be honest, I don't want to have + to look at you, Dwight. + +Dwight sits down at his desk and is gradually obscured by +the wall of files that Jim is building. + + DWIGHT + You can't do that. + + JIM + Why not? + + DWIGHT + Health and safety. + +Jim laughs and gives a despairing look to camera. + + JIM + Health and safety. Uh huh, why? + "Crushed by cardboard," or what? + + DWIGHT + No, number one: blocking out light. + Number two: misuse of company + files. + + JIM + Misuse of files. + (snapping, turning to + camera) + Yeah, see, this is why the whole + downsizing thing doesn't bother me. + +Dwight's little face pops up from behind the 'wall.' + + DWIGHT + Downsizing? + + JIM + Because if I have to work with him + another day -- + (stressed face) + I'm just going to -- + + DWIGHT + Here? Downsizing? + + JIM + I will -- I will slit my throat. + +As he says this, he mimes a slitting motion across his +throat. Dwight chips in. + 24. + + + DWIGHT + Yeah, you won't do it like that, + though. Gotta get the knife in + behind the windpipe, then pull it + down like that. + + JIM + Or I could just apply for another + job. + + +25 INT. MEETING ROOM - DAY 25 + + Employees are gathering in the meeting room. They pull up + chairs as Scott addresses them. + + SCOTT + Okay, thanks for coming in -- + This'll only take a minute. I am + aware of the rumors that have been + circulating and I just want to take + this opportunity to set the record + straight. + + DWIGHT + (leaping up, + interrupting) + Ah-ah-ah, I'm the team leader, I + should know first. + + SCOTT + Yeah, I'm telling everyone now, + Dwight, s -- + + DWIGHT + (interrupting) + Just tell me very quickly. Just + whisper it to me. + + EMPLOYEE + (out of shot) + Can't you just tell us? + + Other employees chime in. + + DWIGHT + Yeah, alright, alright. + (to Scott) + Should I tell 'em? + + SCOTT + You don't know what it is. + 25. + + + DWIGHT + Alright, you tell them then. With + my permission. + + SCOTT + I don't need your permission. + + DWIGHT + Permission granted. Use it as you + wish. + + SCOTT + Corporate has deemed it appropriate + to enforce an ultimatum upon me, + and Jan is talking about either + downsizing the Stamford branch or + this branch. + +Murmurs of unease + + STANLEY + And you're gonna let her? + + SCOTT + No, Stanley, you didn't see me in + there with her. + (aside) + For his eyes only -- + (back to room) + -- I said, "If Corporate wants to + come here and interfere, they've + got to go through me. You can go + and mess with Josh's people, but + I'm the head of this family. You + ain't messin' with my chillun. I + am, if any one's going to." + + EMPLOYEE + Yeah, but Michael, what if they do + downsize here? + + SCOTT + Not gunna happen. + + STANLEY + It could be out of your hands, + Michael. + + SCOTT + It won't be out of my hands, + Stanley, okay? That's a promise. + + STANLEY + 26. + + + Oh -- can you promise that? + + DWIGHT + On his mother's grave. + + SCOTT + (non-committal, to + Dwight) + Well -- + (to Stanley) + I have promised it, okay, and it's + an insult to me that you still have + to ask. + + STANLEY + It's just that we need to know -- + + SCOTT + Sorry, Stanley, Pam wants to speak + -- Your turn Pam. + + PAM + It's just that I was in the meeting + with Jan and she said that it could + be this branch that gets the ax. + +Murmurs of unease. + + SCOTT + Well, if you were in the meeting + with Jan, then maybe you should -- + +He mimes zipping his mouth closed. + + SCOTT + -- stick to the ongoing + confidentiality agreement -- of -- + meetings. + + DWIGHT + (also miming mouth + zipping) + Yeah, information is power! + + STANLEY + So you can't say for sure whether + going to be us or them, can you? + + SCOTT + Look. This is my ship and I am + asking you to trust me and you + can't go wrong. + 27. + + + STANLEY + Oh, Michael, it's not a question of + trust -- + + SCOTT + It is a question of trust, Stanley. + Yeah, yeah, it is a question of + trust. + + STANLEY + It's communication -- + + SCOTT + Do you trust me? Do you trust me? + Yes or no. + + STANLEY + Yes, I trust you. + + SCOTT + He does. So -- meeting adjourned. + + DWIGHT + Good. Excellent. + +Everyone starts to leave. + + DWIGHT + I would have said practically the + same thing, in fact I'd have + chaired a very similar -- Can I + just ask, do you trust me? Hands up + if you trust me. + + SCOTT + You don't have to -- + + DWIGHT + Yeah, well, you asked them. + +One girl has put her hand up. + + SCOTT + Put your hand down. + + DWIGHT + No, I need to know. I'm Assistant + Regional Manager. + + SCOTT + Assistant to the Regional Manager. + They're going. + 28. + + +26 INT. DWIGHT TALKING HEAD - DAY 26 + + DWIGHT + I'm not worried about me -- I'll be + alright -- if there's going to be + downsizing, then so be it. That's + just natural selection. In the + wild, some people wouldn't survive. + I mean, you know, imagine a + warehouse where a little midget + fella is driving a forklift. He + can't see over the top, he's got + great big platform shoes on so he + can reach the pedals, because of + his little legs. I mean, Tony's a + sweet guy, don't get me wrong, but + should he be working here? + + +27 INT. DESK AREA - DAY - SCENE 25 27 + + Dwight, unseen behind Jim's wall of box files, is asking + him a question. + + DWIGHT + Have you got a price for matt- + coated SRA!? + + JIM + If I can't see you, I can't hear + you, Dwight. + + Dwight peers over the 'wall.' + + DWIGHT + Just tell me, will you? + + JIM + No, I can't hear you. If you want + to speak to me -- + + DWIGHT + I'm right here, just tell me now. + + JIM + -- if you want to speak to me, then + call me, okay? + + Dwight sits back down, and dials Jim's number. Jim's phone + rings, but he doesn't answer it. + + DWIGHT + (from behind wall) + 29. + + + It's on voice-mail. + + JIM + Leave a message. + + DWIGHT + Hi. It's me, Dwight. I need a price + on matt-coated -- Oh, this is + stupid -- + + JIM + Yeah it is -- This is stupid. It's + so -- Sorry, dude, what do you + want? + + While Dwight is answering, Jim creeps away unseen. + + DWIGHT + Uh -- I need a tonnage price on + matt-coated SRAl. So I've got three + sixty down here, but I'm sure that + isn't right, 'cos when I spoke to + Dave, earlier on, he -- + + Pause. + + DWIGHT + Okay, I know you're not there -- + and obviously you can't hear that, + but I'm not talking to myself, + because they're filming. + + Pause. Dwight's head pops up, to check Jim's gone. + + +28 INT. RECEPTION SEATING AREA - DAY 28 + + Jim is seated. Pam runs her fingers through his hair, + trying to arrange it. + + JIM + That feels nice. Do some with your + nails. + + PAM + Sure. + + Pam finishes. + + JIM + This could be a new career, Pam. + + Pam laughs. + 30. + + + PAM + There's no difference, is there? + You actually can't do anything at + all. + with your hair + + JIM + Hmm, you noticed. + + +29 INT. OPEN-PLAN OFFICE - DAY 29 + + Scott leads Ryan the temp over to a storeroom. + + SCOTT + And this here is the gym. + + Inside is a single old Stairmaster. + + RYAN + You work out? + + SCOTT + I used to on this all the time, + then I stopped and then I sold it + to the employees for the gym. Which + reminds me -- Workout tax. A + bargain at -- one dollar. + + He holds out his hand. + + RYAN + I usually run in the mornings. + + SCOTT + Fine. I'll cover you this week. You + can owe me. + + +30 INT. RECEPTION - DAY 30 + + Pam and Jim are flirting. + + JIM + You like a drink? + + PAM + Yeah. + + JIM + At the end of the week? + + PAM + 31. + + + Yeah. + + JIM + Well, this is why we're all going + out, so we can have an -- + + PAM + When are we going out? + + JIM + -- end of the week drink. + + PAM + So when are we going out? + + JIM + Well, tonight, hopefully, I + thought. + +Pam's fiance, Roy, appears. He is holding something wrapped +in a black garbage bag under his arm. Jim immediately steps +back from Pam's desk. + + ROY + (to Jim) + Hey, man. + + PAM + Hi. + + ROY + (to Pam) + Hi, baby, you ready, yeah? + + PAM + Yeah. Uh -- would you mind, if I + went out for a drink with these + guys? + + ROY + No, no, no. Come on, let's go home, + yeah? + + PAM + Okay, I'll -- I'll be a couple of + minutes, 'cos it's only twenty past + five. + + JIM + (to Roy) + 32. + + + You should come, man. You know, + we're all going -- get a chance to + see what people are like outta the + office, it'll be fun. + + ROY + No, sounds good, man, but + seriously, we gotta get going. + + JIM + Okay. + + Pam trots off. Roy and Jim stand in silence, nothing to say + to each other. The silence becomes tortuous. Finally, Jim + tries to make conversation. + + JIM + Um, what's in the bag? + + ROY + Just tell her I'll see her later, + okay? + + JIM + Sure, will do. Okay. Awesome. Take + care. + + Jim nods. Roy leaves. We zoom in to watch Jim's face. + + +31 INT. MEETING ROOM - DAY 31 + + Ryan and Scott are sitting in the meeting room. + + SCOTT + The dreaded first day. + + RYAN + Yeah. + + SCOTT + Everything cool? + + RYAN + Everything's cool. + + SCOTT + 33. + + + Have you felt the vibe yet? We work + hard, we play hard. Play hard when + we should be working hard + sometimes, partly my fault, sure. I + let them get away with murder, + which know means they let me get + away with murder -- you know, the + girls love me, but -- not in that + way -- but, er, you know. + +He thinks about it and decides maybe they do. + + SCOTT + I guess I've created an atmosphere + here where I'm a friend first, boss + second. And probably an entertainer + third. + +There is a knock at the door. + + SCOTT + (call out) + Just a sec! + (to Ryan) + You like the Jamie Kennedy + Experiment? + + RYAN + Yeah. + + SCOTT + You like Punk'd? Okay, watch this. + Don't give me away. + (calls out) + Come in! + +Pam comes in. + + SCOTT + (to Ryan) + -- and then Corporate said, yeah, + so + that'll be -- + + PAM + You got a fax. + + SCOTT + Thanks. Oh, don't go, Pam, up a + chair? I was going to call you in, + anyway, it'll be quick. + can you pull + 34. + + +She sits down. Before Scott goes on, she glances behind her +and the camera follows her gaze to see Jim laughing with +some office workers who are putting on coats and preparing +to go out. Pam looks after them wistfully. + + SCOTT + Um, as you are aware, there is + going to be downsizing, and you've + made my life easier -- + +Pam smiles. + + SCOTT + -- in that I'm going to have to let + you go first. + + PAM + (shocked) + What? Why? + + SCOTT + Why? Theft. Stealing. + + PAM + Stealing? Er -- Um -- what am I + supposed to have stolen? + + SCOTT + Post-It notes. + + PAM + Post-It notes? What are they worth, + like fifty cents? + + SCOTT + Oh, got a bible there, Ryan? "Thou + shalt not steal unless it's only + worth fifty cents." You steal a + thousand Post-It notes at fifty + cents, and you've made -- uh -- a + profit -- margin. + + PAM + Why would I steal Post-It notes? + + SCOTT + I don't know. To make the little + things on the end of the joints. + + RYAN + Roaches? + + SCOTT + 35. + + + Roaches. + (to Pam) + Caught you, you drug addict! No, + only joking. + + PAM + Are you serious? + + SCOTT + Yeah. + + PAM + I can't believe -- God -- I've + never even stolen a paper clip. And + now you're firing me. + + SCOTT + And the good news is, I don't need + to give you any severance pay 'cos + it's gross misconduct. So, you can + go clear your desk. + +Pam starts crying. The joke has seriously backfired. [The +"World's Greatest Boss" mug is visible on his desk.] Scott +looks pained and anxious; Ryan doesn't know where to look. + + SCOTT + Oh, now -- that was the joke there. + See? You've been "Xed", punk. We + joke, him and me -- Morale boost. + Settling him in -- + (looking at the faxes) + Uh, thanks for the taxes -- Guess + I'll do these n-- + + PAM + We all hate you. + + SCOTT + Come on. + + PAM + No one respects you. You're a sad + little man. + + SCOTT + (doesn't believe her) + Really? Didn't know that. + +They sit in silence. It is painfully quiet for what seems +like forever. Finally Pam leaves. Scott's talking head +begins. + 36. + + +32 INT. SCOTT TALKING HEAD - DAY 32 + + SCOTT + What is the single most important + thing for a company? Is it the + building? Is it the inventory? Is + it the cashflow? Nuh uh. It's the + people. My proudest moment here + wasn't when I increased profits by + seventeen per cent, or cut expenses + without losing a single employee. + No. + + SCOTT + It was a young Guatemalan guy, + first job in the country, barely + spoke English, but he came to me + and he went, "Mr. Scott, will you + be the Godfather to my child." + + He nods, smugly. Beat. + + SCOTT + Didn't happen in the end. We had to + let him go, he sucked. + + CLOSING MUSIC & END CREDITS, THEN: + + TAG + + +33 INT. OFFICE 33 + + The camera is by the exit, spying back. In zoom, we see the + bathroom door. Pam hurries out, dabbing her eyes. She is + surprised to see Jim still at his desk. Everyone else is + gone. + + PAM + You still here? How come you didn't + go out with everybody? + + JIM + (waves at computer) + Ah, I gotta enter these orders + before I can leave. + + PAM + Oh -- Well, uh, see you Monday? + + JIM + Yeah. Take care. + 37. + + +She leaves towards the camera. Jim turns back to his +computer. Just before Pam passes, we hear an unmistakeable +computer game sound effect from Jim's computer in the +background. Pam smiles as she passes the camera. We zoom in +on Jim as he plays Bookworm to kill Friday night. + +The End. + \ No newline at end of file diff --git a/scripts/The Prestige.txt b/scripts/The Prestige.txt new file mode 100644 index 0000000000000000000000000000000000000000..f413db6d8e0be4cd381fda8933f00b7aa670114e --- /dev/null +++ b/scripts/The Prestige.txt @@ -0,0 +1,8164 @@ + 1. + + + + FADE IN: + + TOP HATS. Clustered in a small glade. As we SUPER TITLES, a + BLACK CAT slinks its way through them. As TITLES END- + + BORDEN (V.O.) + Are you watching closely? + + A SECOND BLACK CAT races into frame, HISSING, SPITTING, + CHASING the first cat into the woods beyond and we- + + CUT TO: + + +2 INT. CLUTTERED WORKSHOP - DAY 2 + + Moving along a row of CANARIES in CAGES. + + CUTTER (V.O.) + Every magic trick consists of three + part, or acts... + + Stop at a cage. Weathered HANDS envelope the canary. Hands + and voice belongs to a man in his 60's- CUTTER. + + CUTTER (V.O.) + The first part is called the + Pledge... + + A LITTLE GIRL perishes on a chest in the workshop, + watching. + + CUTTER (V.O.) + ...the magician shows you something + ordinary- + + Cutter moves to a small ORNATE CAGE resting on a prop + table. + + CUTTER (V.O.) + A deck of cards, or a bird... + + +3 INT. SCALA THEATRE, LONDON - NIGHT 3 + + A packed house. Many hands raised. Move in on a BEARDED + MAN, his gloved hand tentatively rising into the air. + + CUTTER (V.O.) + ...or a man. + 2. + + + A GLAMOROUS ASSISTANT beckons Bearded Man from the aisle. + He shuffles along his row towards her. Embarrassed. + + CUTTER (V.O.) + He show you this object, and + pledges to you its utter + normality... + + Bearded Man and four other VOLUNTEERS follow the Assistant + down towards the stage... + + On which stands the magician, leaning on his cane, smiling. + + This is ROBERT ANGIER, 35, an American. Looming over him is + a large and complex ELETRICAL MACHINE. + + CUTTER (V.O.) + Perhaps he asks you to inspect + it... + + Bearbed Man, FASCINATED, and other Volunteers look over the + vast machine. As Angier GESTURES theatrically at the + various features of the metal and glass apparatus. + + CUTTER (V.O.) + ...to see that it is indeed real... + + As the Assistant leads the Volunteers off the stage, + Bearded Man slips through the gap at the side of the + curtains- + + CUTTER (V.O.) + ...unaltered... + + +4 INT. STAGE THEATRE, BACKSTAGE - CONTINUOUS 4 + + -looks around, DISORIENTED, then darts for some stairs + leading below stage where he runs into a burly STAGEHAND. + + CUTTER (V.O.) + ...normal. + + STAGEHAND + Where'd you think you're going?! + + CUTTER (V.O.) + But, of course, it probably + isn't... + + Bearded Man pulls off his beard, revealing the face of + ALFRED BORDEN, mid 30's. + 3. + + + BEARDED MAN + I'm part of the act, you fool! + + The Stagehand raises his eyebrows and steps aside. Borden + RACES down below the stage. Cutter approaches the + Stagehand. + + CUTTER + Who was that? + + +5 INT. SCALA THEATRE, ONSTAGE - CONTINUOUS 5 + + As the machine GROANS to life. SPARKING and CRACKLING, + Angier gazes at it, forgetting his audience. Entranced. + Possessed. + + +6 INT. BENEATH THE STAGE - CONTINUOUS 6 + + Borden fumbles through the darkened area, lit by flashes + and sparks through gaps in the boards of the stage above. + He GASPS as a flash illuminates a STAGEHAND with SOLID + WHITE EYES sitting nearby. Borden waves a hand in front of + the + + +7 INT. WORKSHOP - DAY 7 + + Cutter gently places the canary into the ornate cage. + + CUTTER (V.O.) + The second act is called the + Turn... + + +8 INT. SCALA THEATRE, ONSTAGE - NIGHT 8 + + Angier, facing the audience, steps into the machine. + + CUTTER (V.O.) + The magician takes the ordinary + something... + + +9 INT. BENEATH THE STAGE - CONTINUOUS 9 + + Borden lights a MATCH. In front of him is a LARGE GLASS + TANK FILLED WITH WATER, ITs LID PROPPED OPEN. Borden + frowns. + + CUTTER (V.O.) + 4. + + + ...and makes it do something + extraordinary. + + +10 INT. WORKSHOP - DAY 10 + + Cutter places a SILK SHAWL over the cage. Then SLAMS his + hands down on the shawl, which FLATTENS- The Little Girl + FLINCHES. Then STARES, FASCINATED. + + CUTTER (V.O.) + Now you're looking for the secret. + + +11 INT. SCALA THEATRE, ONSTAGE - NIGHT 11 + + Bolts of electricity draw inwards, wrapping Angier in a + ball of light which CRACKS- + + CUTTER (V.O.) + But you won't find it... + + +12 INT. BENEATH THE STAGE - CONTINUOUS 12 + + The ROOM fills with light as a TRAPDOOR snaps open and a + BODY DROPS INTO THE TANK. + + CUTTER + Because of course, you're not + really looking... + + The lid of the tank and trapdoor above SNAP SHUT, leaving + the tank, and Borden, in complete DARKNESS. + + CUTTER (V.O.) + ...you don't really want to know. + + +13 INT. WORKSHOP - DAY 13 + + Cutter WHIPS the shawl from the table. Cage and bird have + DISAPPEARED. + + CUTTER (V.O.) + ...you want to be fooled. + + The Little Girl stares, EXPECTANT. + + CUTTER (V.O.) + 5. + + + But you couldn't clap yet. Because + making something disappear isn't + enough... you have to bring it + back. + + +14 INT. SCALA THEATRE, ONSTAGE - CONTINUOUS 14 + + The MACHINE sputters to a stop. Angier is GONE. The + audience sits, WAITING. + + CUTTER (V.O.) + That's why every magic trick has a + third act. The hardest part.., + + +15 INT. WORKSHOP - DAY 15 + + Cutter forms a fist. Drapes the shawl over it. + + CUTTER (V.O.) + ...the part we call... + + Cutter WHIPS the shawl away to reveal- the CANARY. The + Little Girl CLAPS. + + +16 INT. BENEATH THE STAGE - NIGHT 16 + + Borden LIGHTS another match. Stares in HORROR- + + CUTTER (V.O.) + ...The Prestige. + + Inside the tank, ANGIER IS DROWNING. His rolling EYES fixes + on BORDEN, he POUNDS desperately on the thick glass, + SCREAMING BUBBLES... The screen fades to BLACK. + + PROSECUTOR (V.O.) + The Prestige...? + + +17 INT. COURTROOM - DAY 17 + + The PROSECUTOR turns to face the witness in the box: + Cutter. + + PROSECUTOR + And did Robert Angier, the Great + Danton, your employer, get to that + final part of his trick that night? + + CUTTER + 6. + + + No, sir. Something went wrong. + + PROSECUTOR + What went wrong? + + CUTTER + I saw a someone head below the + stage... I followed... and I found + Borden- + +Cutter points at the dock: Borden is there, CHAINED TO THE +FLOOR. FLANKED BY GUARDS. Cutter POINTS. + + CUTTER + -watching Mr. Angier drown in a + tank. + + PROSECUTOR + Would you describe your occupation + to the jury please, Mr. Cutter? + + CUTTER + I'm an ingénue. I design illusions + and construct the apparatus + necessary for performing them. + + PROSECUTOR + And for how long had you been Mr. + Angier's "ingénue"? + + CUTTER + Eight years. I was privy to the + secrets of his entire act. + + PROSECUTOR + So, Mr. Cutter, was this water- + filled tank beneath the stage part + of Mr. Angier's illusion- the + illusion billed as "THE REAL + TRANSPORTED MAN"? + + CUTTER + No, sir. The tank had been used for + the first trick, then taken + offstage. Borden must have put it + under the trap door after the + interval. + +Cutter looks across at Borden, who is absently tapping his +hand against the rail- it is MUTILATED, MISSING 2 1/2 +FINGERS. + +The DEFENDER STANDS. + 7. + + + DEFENDER + How large was this tank? + + CUTTER + The sort of tank used for + underwater escapes- four or five + hundred gallons. + + DEFENDER + How do you think Mr. Borden was + able to move the tank under the + trap door without anyone noticing? + + CUTTER + Ask him- he's the magician. + +Titters from the gallery. The Defender turns to the JUDGE. + + DEFENDER + (impatient) + I ask again that this man explain + the mechanics of Mr. Angier's + illusion. + + CUTTER + (angry) + If I reveal my magician's secrets + here in open court, I'll be + unemployable and the secrets will + be worthless. The Real Transported + Man is the most sought-after + illusion in the business and I have + the right to sell it on. + +The Judge considers this. He looks at Cutter. Sympathetic. + + JUDGE + Mr. Cutter, I see your predicament + but we are talking about a capital + offence- Alfred Borden's life hangs + in the balance. + +Cutter looks down. Quiet. + + JUDGE + If you were prepared to disclose + the details to me in private, I + might be able to judge their + relevance to the case. + (addresses lawyers) + Might this be an acceptable + compromise? + 8. + + + Amid murmurs of assent, the Judge ADJOURNS the proceedings. + + As the Guards begin the complex ritual of unlocking + Borden's chains from the floor, Borden's looks across the + courtroom: + + The LITTLE GIRL from the opening stands in the gallery, + looking back at him. Borden gives her a little WAVE. She + waves back, then is GUIDED OUT by a man wearing GLOVES and + BOWLER HAT- this is FALLON. He nods at Borden. + + +18 EXT. PRISON YARD, NEWGATE PRISON - DAY 18 + + OWENS, 50's a lawyer, stands at the entry gate. The CAPTAIN + of the guard walks out to greet him. + + CAPTAIN + I'm going to have to ask you to + turn out your pockets. + + Owens raises his eyebrows. + + CAPTAIN + Not my idea, sir. The Warden saw + his show in Manchester last year + where he vanished into thin air- + he's convinced he'll try an escape. + + Owens smiles as he hands over his pocket watch and wallet. + + They walk along a hall wrought iron fence. The PRISON looms + over them. + + A door in the prison opens and Borden emerges, trussed + absurdly in chains held by two WARDERS. The other INMATES + begin cattle-calling and whistling as Borden is paraded up + to a WOODEN SECTION of the fence. + + CAPTAIN + I told him the only way Borden's + going to disappear is if I leave + him out with the others inmates. + + At the fence, the Warders lock the ends of their chains to + a thick eye hook set into the ground. + + CAPTAIN + (to warders) + Check the locks. Twice. + + They check the locks. Then retreat to allow privacy. The + Captain marches away. Borden looks at Owens. Bored. + 9. + + + OWENS + My name is Owens- I'm a solicitor. + +Borden says nothing. + + OWENS + I represent Lord Caldlow, and + accomplished amateur magician and + historian of magic- + + BORDEN + How much? + + OWENS + Lord Caldlow is interested in- + + BORDEN + (cold) + How much for my tricks? + + OWENS + Five thousand pounds. + + BORDEN + Talk to Fallon, my ingénue- the + money's for him. + + OWENS + I did. He offered to sell all of + your tricks... except the most + valuable one - The Transported Man. + + BORDEN + I'd never forgive myself for + selling my greatest trick. + +Borden signals the Wardens to come and unlock him. + + OWENS + Even for your daughter? + +Borden looks up. Owens moves closer, quietly assertive. + + OWENS + If the newspapers are right, and + you're for the drop, your + daughter's going to need looking + after + + BORDEN + Fallon can take care of- + + OWENS + 10. + + + Bernard Fallon? A man with a past + even more obscure than your own? + The court have already motioned to + have the girl removed from his + "care". No, the girl is to be an + orphan. I've been to the work + house... + +Owens looks around the prison yard. Shrugs. + + OWENS + It's better than this. + +Borden looks at Owens, hard. The Warders unlock Borden. + + OWENS + I'm offering you a way to warp up + your affairs with dignity, and I'm + offering your daughter a future. As + Lord Caldlow's ward she will want + for nothing. Ever. + (hands him a card) + Think it over. + +Borden absently VANISHES the card as a REFLEX. + + OWENS + Lord Caldlow wanted you to have + this- + (produces a leather bound + JOURNAL) + As a show of good faith. He thought + it might be of interest. + +A SULLEN WALDER TALKS the journal, flicks through it. + + OWENS + Robert Angier's diary... It + includes the time he spent in + Colorado learning your trick... + +Sullen hands the journal to Borden. Borden takes it. + + BORDEN + Angier never learned my trick. + + OWENS + Really? When he returned from + Colorado he mounted a version of + the Transported Man that the papers + said was better, even... + (with relish) + Than your original. + 11. + + + BORDEN + (acid) + If you want Angier's secret you can + dig him up and ask him for + yourself. + + Borden TURNS, dragging the Warders with him. + + OWENS + I want your secret, Mr. Borden... + (louder) + Consider your daughter! + + +19 INT. CELL, NEWGATE PRISON - DAY 19 + + Borden, on the bed, opens Angier's JOURNAL. Starts to + read... + + ANGIER (V.O.) + A cypher. An enigma... + + CUT TO: + + LETTERS ON A PAGE. IN MEANINGLESS COMBINATIONS. GIBBERISH. + + +21 INT. TRAIN, MOUNTAINS - DUSK 21 + + Angier, with a SIGH, closes a CARDBOARD-COVERED NOTEBOOK. + + OPENS his LEATHER-BOUND JOURNAL. Starts to write. + + ANGIER (V.O.) + ...Borden's cypher is simple- + unraveled by a single word. Now it + takes only patience. And a passion + to know his mind. + + Angier looks up at his own reflection in the train window. + + +22 EXT. TRAIN STATION - DUSK 22 + + No platform, no office, no sign. Just an electric + streetlight which, as Angier watches, FLICKERS ON. Angier, + leaning heavily on his cane limps over to the light and + stares up at it as he's never seen one before. + + VOICE (O.S.) + Mr. Angier? Welcome to Colorado + Springs. + 12. + + + Angier looks back and smiles. A driver is looking down + expectantly from atop a STAGECOACH. Angier hands his cane + up to the driver nd , with some difficulty, hitches his way + up to the roof of the rig. As he does, the town of Colorado + Springs rises into view, a few hundred yards down the road, + lit brightly with ELECTRIC STREETLIGHTS. + + ANGIER + (disbelief) + The whole town has electricity? + + The driver nods and WHIPS the horses into action. + + +23 EXT. ROAD, PIKE'S PEAK - EVENING 23 + + The Stagecoach flies along, inches from a precipitous drop. + + It rounds a corner and pulls to a halt in front of the + CLIFF HOUSE INN, equal parts log cabin and crystal palace. + + +24 INT. CLIFF HOUSE INN - CONTINUOUS 24 + + The lobby is cavernous and immaculate. The entire STAFF of + the hotel - BELLBOYS, MAIDS, COOKS, and GARDENERS - are + lined up along the sides like a regiment of soldiers. + + Angier reaches the reception desk and the smiling MANAGER. + + ANGIER + Quit a reception. + + MANAGER + You're our first guest of the + season, Mr. Angier. + (opens guest book) + Your telegram didn't indicate how + long you would be staying with us. + + ANGIER + As long as it takes. + (signs book) + I'll need a coach tomorrow to take + me up the mountain. + + MANAGER + The peak is closed, sit. For + scientific experimentation. + + ANGIER + (smiles) + That's why I'm here. + 13. + + +25 EXT. ROAD, PIKE'S PEAK - MORNING 25 + + A stagecoach rumbles along a dirt track, The driver pulls + on his reigns and the coach pulls to a stop. + + DRIVER + You have to walk the rest, I'm + afraid, sir. + + Angier nods. Lowers himself down to the roadway. + + +26 EXT. CLEARING, PIKE'S PEAK - MORNING 26 + + Angier comes through the trees to find a wire fence with a + sign: EXTREME DANGER- NO TRESPASSING + + Beyond the fence is a COMPOUND of three BARNS. Rising from + the center barn is a 200ft steel TOWER capped with a GIANT + STEEL BALL. GIANT ARCING BOLTS of electricity run down the + tower from the ball. The windows of the building RADIATH + with BLUE EXPLOSIONS. + + Angier stops forwards, entranced, and threads his fingers + through the fence. + + He is sent FLYING backwards - the fence has been + electrified. + + The tower is SHUT OFF- a door opens and a stout little MAN, + shotgun under one arm, MARCHES up to the fence. He uses a + RUBBER PAD to pry open the fence and stands over Angier, + who is CURLED on the ground, GROWNLING in pain, trying to + stand. + + SHOTGUN + I'm amazed at how many of you + newspaper writers can't read mu + sign. + + Shotgun picks up Angier's cane and hands it to him. + + ANGIER + Not the welcome I was expecting. + + Shotgun RECOGNIZES Angier, AMAZED. + + SHOTGUN + I know you. You're that magician- + the Great Danton. + (helps Angier up) + 14. + + + I'm Alley. I saw your show. IN + London. Seven times- you guessed + every object the audience had in + their pockets. + +Angier leans on his cane and gently brushes off the dirt. + + ALLEY + I'm sorry about the fence. People + keep interfering with our work. + + ANGIER + I've come to see Tesla. + + ALLEY + Why? + + ANGIER + He built a machine for a- for a + colleague of mine. A long time ago. + Can you get me a meeting with him? + (off his look) + I've come a very long way. + + ALLEY + Impossible, I'm afraid. + + ANGIER + I've brought a lot of money. + +Beat. + + ALLEY + I'm sorry, Mr. Angier. I simply + can't help you. + +Alley pulls the fence closed. + + ANGIER + I'll be staying at the hotel. + Indefinitely. + +Alley watches Angier walk away. He pulls something from his +pocket. + + ALLEY + What am I holding? + +Angier doesn't look back. + + ANGIER + Your watch. + 15. + + + Alley GRINS, opening his hand. He is holding a gold watch. + + +27 INT. HOTEL ROOM, COLORADO - DAY 27 + + Angier sits, the cardboard-bound notebook on the table in + front of him. He makes a notations in his own journal as he + deciphers Borden's words. + + ANGIER (V.O.) + April 3rd, 1893... a few days after + he first met me... + + Angier runs his finger along the first line, translating... + + BORDEN (V.O.) + We were too young men at the start + of a great career... + + +28 INT. THEATRE - NIGHT 28 + + Borden sits in the audience. Younger- both hands intact. + + BORDEN (V.O.) + Two young man devoted to an + illusion... + + Two rows in front sits Angier. Similarly youthful. + + BORDEN (V.O.) + Two young men who never intended to + hurt anyone. + + Onstage is a TANK. Standing beside the tank is a beautiful + young magician's assistant. JULIA. + + The magician, Milton, address the audience. + + MILTON + Which of you brave souls is willing + to bind this lovely young woman... + + Milton GESTURES to Julia- the MEN in the crowd go wild- + hands in the air, catcalls. Smiling radiantly, Julia + selects two young men, who SCRAMBLE up to the stage- ANGIER + and BORDEN: younger, full of energy- Angier has no limp. + + They spring onto stage, beside Julia and take the ROPE she + offers them. Milton GRABS a HOOK that descends from the + flies on a chain. + + Cutter is watching from the wings. + 16. + + + MILTON + Are either of you two gentlemen + tailors? + + Both shakes their hands as they start to bind Julia with + the ropes, Borden wrapping the rope around her wrists, + Angier the one around her ankles. + + MILTON + Well, I'm sure you can both tie a + strong knot... + + As Borden finishes his knot tests it, it SLIPS APART. + + Borden frowns, hastily RETYING it, covering. + + Cutter NOTICES. + + Borden finishes, glancing at Julia who gives a small sign + of assent with her eyes. As Angier finishes tying her + ankles he sneaks a light KISS on her ankle. She frowns at + him and raises her arms. Milton hooks the rope onto the + chain. + + Milton gesticulates in the wings, Cutter signals to a + stagehand who starts HOISTING Julia into the air. + + Milton wheels the tank under Julia's bare feet. Cutter + feels for the handle of an AXE placed by his feet and pulls + out a STOPWATCH. + + JULIA looks down at Angier. They smile at each other. Julia + DROPS into the tank with a massive splash- Milton SLAMS the + lid shut, PADLOCKS it and raises a curtain around the + tank... + + Cutter checks his stopwatch, grips the handle of the axe... + + A grand GESTURE from Milton- the curtain around the tank + DROPS- Julia is GONE. Milton raises the curtain again, then + with another flourish, DROPS it to reveal JULIA, beside the + tank, one arm in the air, dripping wet, smiling. + + The audience erupts in APPLAUSE. Angier smiles proudly. + + +29 INT. DRESSING ROOM - NIGHT 29 + + Angier, Borden and Julia sit around the cluttered room. + + Borden is in the middle of a passionate rant- + + BORDEN + 17. + + + Milton's squandering their goodwill + or a bunch of tired second-hand + tricks- + + ANGIER + (amused) + Old favorites, please. + + BORDEN + What about something fresh? He + won't even try a bullet catch- + + CUTTER (O.S.) + Bullet catch is suicide. + +They turn. Cutter stands in the doorway, counting out +money. + + CUTTER (O.S.) + All it takes is a smart-arse + volunteer dropping a button down + the barrel... + + BORDEN + (indicates himself and + Angier) + Use plants- + + ANGIER + He can't use plants for every + trick. + + JULIA + There'd be no seats left for the + punters. + + BORDEN + Fine- no bullet catch. But a real + magician tries to invent something + new, something other magicians + scratch their heads over- + + CUTTER + They sells it to them for a small + fortune. + +Cutter hands Angier some money. + + CUTTER + I suppose you have such a trick, + Mr. Borden? + + ANGIER + 18. + + + Actually, I do. + + CUTTER + Care to sell it? + + BORDEN + No one else could do my trick. + + ANGIER + I could. + + BORDEN + You don't even know what it is. + + ANGIER + Show it to me twice, I'll do it. + +Cutter looks at Borden, thoughtful. + + CUTTER + I admire your spirit, Mr. Angier. + But if Borden here really has + invented his masterpiece it might + well be something only he can do. + + ANGIER + Why? + + CUTTER + It might be something only he is + prepared to do. + (gestures to the props) + my illusions employer, Mr. Milton, + is a skilled showman. But Borden's + right- he won't get his hands + dirty. You want to see what it + takes to make real magic- go to the + Tenley. There's a Chinaman there + who's got what it takes. + + ANGIER + Chung Ling Soo. + + BORDEN + Tickets are pricey. + + CUTTER + I know a lad on the door. You two + watch his show- whoever tells me + how he does his goldfish bowl trick + gets the prize. + + ANGIER + 19. + + + Which is? + +Cutter gives a sly smile. + + CUTTER + Ten minutes onstage in front of my + old friend, Mr. Ackerman. + +Angier and Borden prick up at the name. + + JULIA + Who's Ackerman? + + BORDEN + The most powerful theatrical agent + in London. + +Cutter holds out money to Borden, who reaches for it- +Cutter grabs his wrist. Serious. + + CUTTER + I saw you drop the knot again, + Borden. + + JULIA + I think I had my wrist turned- + + CUTTER + (ignoring Julia) + Some nights you just can't get it, + can you? If that knot slips when + Julia's on the hoist she'll break a + leg. + + BORDEN + (defensive) + It's the wrong knot. A Langford + double would hold tighter. + + CUTTER + The Langford double's not a wet + knot it's too dangerous. The ropes + could swell and she'd never slip + it- + + JULIA + I can slip a Lanford underwater. + + BORDEN + We've been practiced it- + + ANGIER + (cutting in) + 20. + + + He said no. + +Julia glances at Angier. + + CUTTER + (to Borden) + No more mistakes. + +Borden stares at Cutter. Leaves. Angier watches him go. + + ANGIER + Where's he from? + + CUTTER + Where are you from? + +Angier nods. Fair enough. + + CUTTER + He shuffles props for Virgil at the + Hall. + + ANGIER + He works for another magician? + Aren't you worried he'll steal your + tricks? + + CUTTER + (shakes head) + He doesn't deal in methods. + + ANGIER + How do you know? + + CUTTER + (sly smile) + Because I hired him to try and find + out Virgil's orange trick. + + ANGIER + I don't know if I trust him. + + CUTTER + He's a natural magician. Of course + you can't trust him. + + JULIA + I think he's alright. + +Angier turns to Julia. Smiles. + + ANGIER + You think everyone's alright. + 21. + + + JULIA + Even you. + + Julia kisses Angier. Cutter rises. + + CUTTER + And Mr. Angier...? + (Angier looks up) + Learn your aight lines- if I can + see you sneaking a peck on your + wife's ankle from the wings, the + blokes on each end of rows 3 and 4 + can, too. + + +30 INT. THEATRE, CONVENT GARDEN - EVENING 30 + + Borden watches from the wings. Onstage, a magician, Virgil, + locks a CANARY into a cage then covers the cage with a + SHAWL. + + Borden notices a beautiful YOUNG WOMAN in the front row + with a little BOY who is watching Virgil's act, spellbound. + + Virgil SLAMS the SHAWL down onto the table, as if nothing + were beneath it, then WHIPS it away- BIRD and CAGE are + gone. + + The little BOY begins to WAIL and CRY. + + Borden watches as the young woman tries to make him stop. + + Virgil takes the flower from his lapel, covers it with the + shawl, and SNAPS it away- the flower has become the CANARY. + + The audience bursts into enthusiastic APPLAUSE, but the + little boy is still CRYING INCONSOLABLY. Virgil takes bows + and walks off, handing Borden the canary as he passes + backstage. + + As the audience leaves, Borden climbs off the stage and + hols the bird in front of the boy. + + BORDEN + Look- he's all right. He's fine. + + BOY + (sniffs) + But where's his brother? + + Borden is at a loss. He turns to the young woman. + + BORDEN + 22. + + + Sharp lad, your son. + + YOUNG WOMAN + (laughs) + My brother. + + Borden smiles back. + + +31 INT. WORKSHOP - LATER 31 + + Borden gently strokes the bird's feathered head. + + BORDEN + You're the lucky one tonight. + + Borden walks to a wall of DOZENS of bird cages - each one + with an identical canary. He puts the bird into its cage + and returns to the cart props. He taps on the top of the + TABLE- a panel POPS open, revealing the FLATTENDED BIRD + CAGE. + + Borden infests a ROD into the bird cage and PRIES it apart. + + A TRICKLE of BLOOD emerges, dripping into a bucket below. + + Borden SLAPS the cage. + + And the FLATTENED CARCASS of the ORIGINAL BIRD slides out + and SPLASHES into the bucket. + + +32 EXT. STAGE DOOR - EVENING 32 + + Borden exits. The young woman, SARAH, is there with her + brother. + + BORDEN + (to the brother) + Are you watching closely? + + Borden reaches to the Boy's ear. Casually produces a coin. + + The Boy marvels as he takes the coin then looks at Borden. + + BORDEN + Look closer. + + BOY + It's got two heads. + + Sarah smiles. Borden crouches to address the Boy, grave. + 23. + + + BORDEN + Never. Show. Anyone. + + The Boy looks at him, a little afraid. + + BORDEN + They'll beg you and flatter you for + the secret- but as soon as you give + it up you'll be nothing to them. + Understand? Nothing. The secret + impresses no one- the trick you use + it for is everything. + + Borden looks into the boy's staring eyes. Then SMILES and + pets him on the head. he stands. Sarah smiles at him. + + BORDEN + Where do you two live? + + SARAH + He lives with Mum. + + BORDEN + And you? + + +33 INT. STAIRWELL - EVENING 33 + + Sarah lingers at the top of the stairs to her flat. Borden + tries to KISS her, but she pushes him back. He tests the + LOCK of the open door. + + BORDEN + Enough to keep me out? + + SARAH + I think so. Wil I see you again? + + Borden SHRUGS and turns to go back down the stairs. Sarah + looks after him, about to change her min. Hesitates. + + +34 INT. SARAH'S FLAT - CONTINUOUS 34 + + She closes the door and LOCKS it, smiling. After a moment + she pads through living/kitchen area, draws back the + curtain to her bedroom and SHRIEKS: + + Borden is there, smiling. Sarah moves towards him, + giggling. + + +35 INT. TENLEY THEATRE - NIGHT 35 + 24. + + + Onstage, CHUNG LING SOO, 60's, wearing a long silk robe, + HOBBLES painfully to the center of the stage. Clearly + CRIPPLED. In the audience, Borden and Angier watch + intently. + + Soo lays a silk SHAWL and a BARE TABLE. He WHIPS it up, + revealing a BOUQUET OF ROSES. So repeats the trick again + and again, producing a different object each time. + + Finally, with a drum roll, Soo whips the shawl aside to + reveal a MASSIVE GOLDFISH BOWL, complete with GOLDFISH. + + To THUNDEROUS APPLAUSE, Soo bows and HOBBLES off the stage. + + Angier, clapping, shakes his head, utterly baffled. He + turns to Borden. Who has a small, knowing, smile. + + +36 EXT. RESTAURANT - NIGHT 36 + + Borden and Angier watch Soo being helped down from his + carriage by HANDLERS who treat him with great gentleness. + + ANGIER + You're wrong. It can't be. + + BORDEN + It is. He carries the bowl between + his knees for the entire + performance. + + ANGIER + but look at the man! + + BORDEN + (points) + This is the trick. This is why no + one detects his method. + + Soo hobbles into the restaurant, frail, and fragile. + + BORDEN + Total devotion to his art... + (looks at Angier) + Utter self-sacrifice. It's the only + way to escape this. + + Borden SLAPS the bricks of the wall behind them. + + +37 INT. BEDSIT - NIGHT 37 + 25. + + +Julia, in bed, watches Angier, SHEET wrapped around him +like a robe, HOBBLING. He pulls up the sheet- between his +knees is a goldfish bowl. + + ANGIER + I can barely lift this thing and + it's not even filled with water. Or + fish. He must be strong as an ox. + + JULIA + (incredulous) + He's been pretending to be an + cripple for years? + + ANGIER + Any time he's in public. Any time + he goes out. It's unthinkable. + +Angier puts the bowl down with a flourish. Climbs into bed. + + ANGIER + Borden saw it at once. I couldn't + fathom it- living your whole life + pretending to be someone else. + + JULIA + You're pretending to be someone + else. + + ANGIER + I don't think changing your name + compares. + + JULIA + Not just your name- who you are, + where you're from... + + ANGIER + I promised my family I wouldn't + embarrass them with my theatrical + endeavors. + +Angier cuddles up to Julia. + + JULIA + I came up with a name for you... + "The Great Danton" + (Angier frowns) + You don't like it? It's + sophisticated. + + ANGIER + It's French. + 26. + + +38 INT. BEDSIT - DAY 38 + + Sarah unlocks the door, but has to PUSH against MAGICAL + PROPS stacked against it- the bedsit is FILLED with + DEVICES. + + SARAH + Alfred?! + + Sarah surveys the confusion- spots Borden across the flat + deep in conversation with another man. Borden spots her- + + BORDEN + We have our routine for Ackerman! + + The other man turns- it is Fallon. + + SARAH + (cold) + We haven't had the pleasure. + + Fallon nods. Borden comes over, holding a DUELING PISTOL. + + BORDEN + Mr. Fallon is my ingénue- + + SARAH + Where did yo get all of- + + BORDEN + Begged, borrowed and don't ask. Mr. + Fallon's an enterprising soul. + + SARAH + I need talk to you. + + Fallon slips past Sarah with a nod to Borden. Exits. Sarah + looks at Borden. TENSE. + + SARAH + We can't afford to pay him- + + BORDEN + We'll start making money once we + have our audience- + + SARAH + And until then? What I earn is + barely enough for us. + + BORDEN + (shrugs) + I'll give him half of my food. + 27. + + +Sarah looks meaningfully at Borden. + + SARAH + You're already going to be sharing + it with someone else. + +Borden looks at her, confused. Then realizes. + + BORDEN + You're...? + + SARAH + Having a baby. + +Borden freezes. Then SMILES, taking her in his arms. She +FLINCHES against the gun he is holding. + + SARAH + What's this? + + BORDEN + The trick to wake up Ackerman at + the end of my audition. + + SARAH + Your great trick? The "masterpiece + that will make our fortunes"? + + BORDEN + No. The world isn't ready for that + one, yet. + +Borden moves to the bureau and starts LOADING the gun. + +Pouring in SHOT, then WADDING... + + BORDEN + This is merely a run-of-the-mill + daring and spectacular bullet + catch- + +Borden drops the BULLET into the barrel... + + SARAH + I'm not letting you get shot. + +Borden RAMS the bullet and charge down then removes the +RAMROD and hands the pistol to Sarah. + + BORDEN + It's perfectly safe. Shoot me. + 28. + + +Sarah looks at Borden then down at the pistol. She aims at +Borden. Then sims off, at a mirror beside him. + +BANG. Borden's hand SNAPS out to "catch" the bullet. The +mirror is intact. + +Borden looks at Sarah, grave, as he reveals the bullet in +his hand. + + SARAH + Show me. + (Borden shakes head) + Then you're not doing it. I can't + raise a child on my own, Alfred. + +Borden looks at her. Takes the bullet from her and places +it on the bureau. + + BORDEN + The bullet goes in the gun. Then + comes the ramrod. + +He takes the RAMROD and PUSHES it down onto the bullet, +which disappears. + + BORDEN + And voiles- + +He points the ramrod at Sarah- she pulls the bullet out of +the HOLLOW TIP. + + BORDEN + The Buller's not even in the gun + when the charge is fired. + +Sarah looks at ramrod with disdain. + + SARAH + Once you know it's so obvious. + +Borden BRISTLES slightly. Takes the bullet back. + + BORDEN + Yes, well, people still get killed + performing it. + + SARAH + How? + + BORDEN + Some smart-arse drops something + down the barrel. + 29. + + + SARAH + Such as? + + BORDEN + A penny, or a button. Or, of + course, a bullet. + (off worried look) + But don't fret- + + Borden embraces her, putting his hand on her belly. + + BORDEN + I'm not letting anything happen- I + love you too much. + + Sarah grabs his face, looking at his eyes, smiling. + + SARAH + Say it again. + + BORDEN + I love you. + + SARAH + (matter-of-fact) + Nope. Not today. + + BORDEN + What? + + SARAH + (smiles) + Some days, it's not true. Today you + don't mean it. Maybe today you're + more in love with magic than me. + (off look) + It's alright. I like being able to + tell the difference- it makes the + days it is true mean something. + + Borden shakes his head, grinning. + + +39 INT. HOTEL ROOM, COLORADO - NIGHT 39 + + Angier closes Borden's notebook. He looks across at a + photograph of Julia on the table. Reaches for his own + diary. + + ANGIER (V.O.) + Borden writes as if no one but he + understood the true nature of + magic... + 30. + + +40 INT. CELL, NEWGATE PRISON - DAY 40 + + Borden sits on his cot reading Angier's journal. + + ANGIER (V.O.) + ...but what does he know of self- + sacrifice more than the rest of us? + + Borden looks up from Angier's journal. + + BORDEN + Bloody fool. + + Borden TOSSES the book across the cell. + + +41 INT. EVIDENCE ROOM, WARHOUSE - DAY 41 + + A POLICEMAN opens the door for the Judge and Cutter. + + POLICEMAN + (pointing) + It's all laid out down the end, you + honor. + + The Judge NODS. The Policeman exits, LOCKING them inside. + + The Judge follows Cutter, approaching a collection of + magical apparatus, including a MASSIVE CRATE. Cutter looks + up at it with AWE, touching the side where it says + "COLORADO SPRINGS". + + JUDGE + What's in there? + + Cutter OPENS it, revealing metal and glass MACHINERY + within. + + CUTTER + Angier's machine. + + JUDGE + You built this, Mr. Cutter? + + CUTTER + (shakes head) + Oh no. This wasn't built by a + magician... it was built by a + wizard. + (off look) + A man who can actually do the + things a magician pretends to... + 31. + + +Cutter closes the crats. The JUDGE turns to other props. + + CUTTER + Your honour, what will happen to + these things when the trial is + over? + +The Judge is staring at a large glass tank. + + JUDGE + They've been sold to a Lord Caldlo. + An avid collector, apparently very + interested in the case. + + CUTTER + Don't let him take this. + +The Judge looks over. Cutter is touching the crate. + + JUDGE + Why ever not? + + CUTTER + It's dangerous. + + JUDGE + I'm sure beneath its bells and + whistles it's get some simple and + disappointing trick. + + CUTTER + The most disappointing of all- it + has no trick. It's real. + +The Judge looks at Cutter. Smiles indulgently. Turns. + + JUDGE + This is the tank Angier drowned in? + +Cutter turns to look at the empty, smashed glass of the +tank. + +Nods. Cutter indicates the top of the tank, where there is +a PADLOCK. Cutter pushes down on a panel of the lid- + + CUTTER + This lets the performer's hands + reach the trick padlock... + +-a small section POPS open. + + JUDGE + 32. + + + A standard magical apparatus for + escapes? + + CUTTER + With one important difference... + + Cutter grabs the PADLOCK. Rattles it. + + CUTTER + This isn't a trick lock... it's + been switched out for a real one. + + The Judge stares at the tank, appalled. + + JUDGE + What a way to kill someone. Why in + God's name go to such lengths? + + CUTTER + These are magicians, you honour. + Showmen. Men who live by dressing + up plain and sometimes brutal + truths to amaze. To shock. + + JUDGE + Even without and audience? + + Cutter stares at the tank- + + INSERT CUT: ANGIER SCREAMING BUBBLES. + + CUTTER + There was and audience. + (looks at Judge) + See, the water tank had a + particular significance for the two + men... + + +42 INT. THEATRE - EVENING 42 + + Onstage, A SIMILAR TANK FILLED WITH WATER. + + CUTTER (V.O.) + A particular awful significance... + + Julia stands next to the tank. Milton addresses the + audience. + + MILTON + Which of you brave souls is willing + bind this lovely young woman? + 33. + + +Milton gestures to Julia- the crowd goes wild. Julia makes +a show of deciding. She picks up Angier and Borden, who are +made up to look different from the last performance. As +they leap up onto stage, Borden makes eye contact with +Cutter in the wings- Cutter's is a WARNING GLANCE. + +As Angier ties Julia's ankles he can't resist tickling just +under her toes- she KICKS him in the chin. + +Borden starts to wrap the rope around Julia's wrists in a +particular fashion. Stops. Reconsiders. Julia NODS at him, +encouraging. Borden starts RETRYING the knot. + +Cutter watches. His hand checking for the axe handle. + +Borden tests the rope- it is tight. Julia gives him the +sign with her eyes- he steps back. Angier rises to his +feet, grinning at Julia. As she raises her arms to the +hook, she can't quite hide her smile back at him. + +Milton gives the sign and Julia is HOISTED into the air. + +Cutter slips his STOPWATCH out of his pocket as Milton +moves the tank under Julia's bare feet. + +Angier looks up at Julia. Proud. She stares out over the +audience, preparing herself. Looks down at Angier, +smiling... + +Julia PLUNGES into the tank- Milton SLAMS the lid shut- +Cutter checks his stopwatch, hand caressing the axe +handle... + +Milton raises the curtain around the tank, then circles it, +working his "magic". Angier shifts a little. Time +passing... Milton looks at Cutter- TOO MUCH TIME... + +Cutter GRASPS his axe and SPRINT at the tank- Milton RIPS +the curtain down- Julia, one arm free, is CONVULSING... + +Angier and Borden look on in HORROR as Cutter SWINGS his +axe into the glass- which CRACKS... cutter SWINGS again and +again-the web of cracks GROWING, Julia's convulsions +SLOWING, her eyes PLEADING with Angier's, until- + +CRASH- the glass gives way, FLOODING the stage- Cutter and +Angier GRASP at Julia- FULL her onto the stage- Cutter +ELBOWS Angier out of the way to POUND on Julia's chest- +Borden watches, stunned, as Julia FLOPS, LIFELESS, onto the +boards. + +Cutter looks up at Angier, stricken. + 34. + + + Angier takes Julia in his arms, looking down at her staring + eyes. He desperately BRUSHES water from Julia's cheeks and + forehead. Borden looks on, then. + + BORDEN (V.O.) + How often I've fought with my self + over that night .. one half of me + swearing bling that I tied a simple + slip knot... the other half + convinced that I tied the Langford + double. I suppose I'll never know + for sure- + + +43 INT. HOTEL ROOM, COLORADO - DAY 43 + + Angier looks up from Borden's journal, despairing. + + ANGIER + How can be not know?! + + Angier FLINGS Borden's journal across the room. + + ANGIER (V.O.) + He must know what he did. He must. + + +44 INT. PRISON CELL - DAY 44 + + Borden smiles as he reads Angier's dairy. + + BORDEN + "How can be not know?!" + (starts laughing) + Because, Angier, life is + complicated, people are + complicated, knots are complicated- + + PRISONER (O.S.) + Shit it, Professor, or I'll shut it + for you. + + Borden quiets. Looking at the journal. + + BORDEN (V.O.) + How could I not know? How can you + read my story and not understand? + + +45 INT. COURTROOM - DAY 45 + 35. + + + Cutter sits in the CROWDED GALLERY. Borden, in the dock, + SCANS the crowd. Finally SPOTS Fallon pushing to the front- + he is alone. Borden stares at him. Fallon shakes his dead. + + Borden is prompted to stand by two GUARDS as the Judge + enters. + + The JUDGE has a piece of black cloth draped over his wig. + + JUDGE + Alfred Borden, you have been found + guilty of the murder of Robert + Angier. You will, in one month's + time, be hanged by the neck until + dead. May the Lord have mercy on + your soul. + + Borden barely reacts. + + +46 EXT. PRISON YARD, NEWGATE PRISON - DAY 46 + + Borden stands at the fence with Fallon + + BORDEN + They took her away? + (Fallon nods) + To the workhouse? + + Another slow nod. Borden closes his eyes with despair. Then + opens them and hands Fallon OWENS' CARD. + + BORDEN + Tell him I've reconsidered. + (off look) + It's for the best. + + +47 INT. DINING ROOM, CLIFF HOUSE INN, COLORADO SPRING - DUSK 47 + + Angier stares down at the NOTEBOOK, making notes on a + napkin. + + Through large windows a THUNDERSTORM batters Pike's Peak. + + Angier is the only guest in the hotel's massive dining + room. + + VOICE (O.S.) + Mind if I join you? + + Angier looks around. Alley is standing by the table. + 36. + + + ALLEY + Tesla sends me down here during the + storms. Perfect excuse to come here + a drink with the Great Danton. + +Alley sits, gesturing to a waiter. + + ALLEY + Have you tried our Bourbon yet, Mr. + Angier? It matches the scenery + nicely. + (to waiter) + Two of 'em. + (to Angier) + Beautiful, isn't it? I do miss New + York, though. + + ANGIER + Why are you here? + + ALLEY + The lightning lives here. And not + much else- our work is secret. + +Alley glances down at the notebook and Agier's scribbles. + + ALLEY + A cypher? + +Angier nods as Alley lifts the cardboard notebook. + + ANGIER + My profession also deals in + secrets. + +Alley looks at the gibberish on the pages of the notebook. + + ANGIER + It's a rotating transposition that + shifts every day of the dairy. + Simple but time-consuming to + translate once you have the five- + letter keyword. + + ALLEY + Which is? + +Angier smiles as he reaches for the notebook. + + ANGIER + We magicians have a circle of + trust. + 37. + + + ALLEY + You have a circle of trust with + someone whose dairy you stole? + + ANGIER + Maybe I bought it. + + ALLEY + Magicians sell their secrets? + + ANGIER + It's how we pay for our retirements + and how greats tricks outlive us. + +Alley considers this. Taps the cover of the notebook. + + ALLEY + You're hoping to find a great + secretin there? + + ANGIER + I've already found it. That's why + I'm here. + +Angier reaches in his pocket and removes his own, leather- +bound journal. He tears a PAGE from it and hands it to +Alley. + +Who unfolds it and stares at it. + + ANGIER + Tesla built one for another + magician. + + ALLEY + Why would you want the same thing? + + ANGIER + Call it a professional rivalry. + + ALLEY + Tesla has built unusual machines + for unusual people, but he would + never talk about it. + + ANGIER + I understand discretion. I just + want the machine. + +Alley looks at Angier. Thinking. + + ALLEY + 38. + + + Finish your drink. You'll have a + special appreciation for our work. + + ANGIER + I thought it was a secret. + + ALLEY + (smiles) + You're a magician. Who's going to + believe you? + + +48 EXT. FIELDS, COLORADO SPRINGS - NIGHT 48 + + The storm has abated. Angier's cane into the muddy ground + as he follows Alley through the moonlit field. + + There are large glass GLOBES pushing out of the soil as if + planted all around them. They stop in the middle of the + field, looking down at the electric LIGHTS of the town. + + ALLEY + We do our tests when the + townspeople are asleep- Mr. Tesla + doesn't want to scare anyone. + + Alley checks his watch by the moonlight. + + ALLEY + Not long now. + + As they watch, the lights of Colorado Springs DISAPPEAR. + + ALLEY + Our equipment requires a great deal + of current. Tesla electrified the + whole town in exchange for using + the generators when we need to. + + The field around them EXPLODES with DAZZLING LIGHT. Angier + laughs out in surprise- the field is full of a thousand + large LIGHTBULBS, all glowing together. Alley bends down + and picks up the nearest lightbulb - as he does, the light + in it extinguishes. He tosses the bulb to Angier. Except + for the size, it's a normal lightbulb. + + ANGIER + Where are the wires? + + ALLEY + Exactly. + 39. + + + Angier bends and gently PUSHES the lightbulb into a random + spot in the wet soil. The lightbulb FLICKERS on again. + + ANGIER + Where's the generator? + + ALLEY + You saw it last week. + + ANGIER + But that must be ten miles from + here. + + ALLEY + Fifteen. And I have to ride all of + them before I get to bed. + (turns to leave) + I'll send word for you in a few + days, Mr. Angier. + + Angier bends to pick up his lightbulb. As he does, the + light FADES in all of them, and the lights in town come + back on. + + Angier is alone. + + +49 INT. BATHROOM, LONDON - DAY 49 + + Angier has his head SUBMERGED in a sink full of water. He + BURSTS FREE, GASPING- COLLA`PSES to the floor, SOBBING. + + +50 INT. BATHROOM - LATER 50 + + Angier lays out MAKE-UP SUPPLIES. He takes out a BULLE. + + Places it on the sink next to a FALSE MOUNSTAGE. + + +51 EXT. PRINCE'S ARMS BAR AND THEATRE 51 + + Rough. Unwelcoming. Crowded. A small "stage" at one end: + Borden works his way through the Chinese rings. The crowd + is JEERING. + + VOICE + Get out your gun, Professor! + + Someone BURLS a bottle at the stage- it narrowly misses. + + Borden GLARES out into the audience. Pulls out his GUN. + 40. + + + BORDEN + A volunteer. + + The crowd SURGES forward with EAGER VOLUNTEERS. Fallon + scans the crowd, passing over too-eager and too-drunk + before settling on a MOUNSTACHED MAN and bringing him up + onstage. + + Borden LOADS the pistol, hands it to Moustache and steps + backwards, pulling his coat apart, CHALLENGING. + + BORDEN + Are you man enough, sir? + + MOUSTACHE + (quiet) + Yes. + + Something in Moustache's tone makes Borden looks closely- + behind the moustache... Angier. QUIVERING WITH TENSION. + + Borden looks at the trembling gun. Then at Angier. Spreads + his hands, inviting. + + BORDEN + (smiles) + I think not. + + Angier purses his lips, straining to pull the trigger. + + INSERT CUT: JULIA'S FACE, SCREAMING BUBBLES... + + Angier's eyes are almost closed as he SQUEEZES the TRIGGER- + + Fallon HITS Angier JUMPS to Borden's side, GRABBING his + BLEEDING HAND. The DROWS is SCREAMING, PUSHING for the + door, STRAINING for a closer look at Borden. + + Angier, SHOCKED, melts into the crowd. + + +53 INT. PUB - DAY 53 + + Angier sits at the bar. Staring. He raises his pint glass. + + Downs it, then STOPS, looking at the bottom- there is a + PLAYING CARD. He loos around. Cutter is sitting at a table + with two fresh pints in front of him. Angier heads over. + + ANGIER + Never thought I'd find an answer at + the bottom of a pint glass. + 41. + + + CUTTER + Hasn't stopped you looking. + (Angier sits) + I heard about a booking. Nice + little theatre. Good up-and-coming + magician. + + ANGIER + Who? + + CUTTER + You. + + ANGIER + You got me a booking? Why? + +Cutter looks down into his beer. + + CUTTER + Because I want to keep working... + (looks up at Angier) + And who's going to hire the ingénue + who killed Julia McCullough in + front of a sellout crowd at the + Orpheum? + +Angier looks back at Cutter. + + ANGIER + Someone who know that it wasn't + your fault. Someone who knows + Alfred Borden and his repertoire of + exotic knots. + + CUTTER + Heard he had a spot of bad luck + doing a bullet catch South of the + river. + +Angier looks down at the liquid in his glass. + + ANGIER + To die like that. Locked in + water... lungs screaming... + (shakes head) + What did she go through, Cutter? + +Cutter watches Angier's distress. + + CUTTER + 42. + + + I knew an old sailor. Told me about + a time he got pulled over the side + tangled in the sheets... they + dragged him out, but it was five + minutes before he coughed... + + Angier stares at Cutter. Hanging. + + CUTTER + He said it was like... going home. + + Angier considers this. Collects himself. + + ANGIER + Which knot did Borden tie that + night? + + CUTTER + He wouldn't say. + + ANGIER + Wouldn't say?! + + CUTTER + It was as if... as if he didn't + know. + + +54 INT. WORKSHOP - DAY 54 + + Angier and Cutter isspect a large empty room. + + CUTTER + We'll have to whitewash the windows + to cofound the more curious members + of your audience... + (looks around) + But this should do. + + ANGIER + We should see about an assistant. + + CUTTER + I've made arrangements. Have you + settled on a name? + + ANGIER + Yes, I have. The Great Danton. + + CUTTER + Hmm. Bit old-fashioned? + + Angier smiles gently at Cutter. + 43. + + + ANGIER + No. It's sophisticated. + + +55 INT. ANGIER'S WORKSHOP - DAY 55 + + Angier is sitting at a worktable, pensive. He is moving one + hand across the other, making a ROSE appear and disappear. + + The windows have been WHITEWASHED and the room has filled + with an array of magical apparat: cabinets, costumes, + props. + + On the other side of the room Cutter watches as OLIVIA + WENSCOMBE, 20s, equal parts grace and mischief, squeezes + herself into a tall cabinet, looking past Cutter to Angier. + + OLIVIA + What's so hard about this? + + Cutter leans into the cabinet and pops up a TRICK Panel in + the floor, revealing a tiny chamber. + + CUTTER + In here, Miss Wenscombe. No point + meeting Mr. Angier unless you fit. + + Olivia shrugs and hands Cutter her hat, then her thick + skirts, and folds herself into the bottom of the box. + + CUTTER + Breathe as little as possible. + + Cutter closes the lid over her and walks over to Angier. + + CUTTER + Not much experience , but she knows + the basics. She knows how to + present herself and a pretty + assistant's the most effective from + of misdirection. + + Angier nods. There is a small SNEEZE from inside the + cabinet. + + CUTTER + (smiles) + I suppose I should let her out. + + +56 INT. SARAH'S FLAT - DAY 56 + 44. + + + Sarah is frantically REDRESSIN Borden's injured hand. BLOOD + has SEEPED trough the bandages. + + SARAH + I don't understand, Alfred. How can + it be bleeding again? + + She examines the wounds: 2 1/2 FINGERS ARE MISSING. The + injuries are black, but wet and fresh. + + SARAH + What have you been doing to it? It + looks as had as the day it + happened. We need to get the doctor + back- + + BORDEN + (snaps) + We can' afford the doctor back! + + A BABY STARTS CRYING in the bedroom. Sarah glares at + Borden. + + SARAH + You've woken her. + + BORDEN + I'm sorry. I just need this to heal + so I can het back to work. + + Sarah looks at Borden. Reluctantly. + + SARAH + Alfred, you have to face things. + What tricks could you perform with + this kind of injury? + + BORDEN + Some of the card pulls, prop + tricks... + (leans forward, excited) + And the trick I've been telling you + about. The trick they'll remember + me for. + + +57 INT. ANGIER'S WORKSHOP - DAY 57 + + Angier and Cutter at the workbench, examine a BIRD CAGE. + + Cutter is wearing a strange LEATHER HARNESS over his shirt + it has LARGE SPRINGS and small PULLEYS on the back. + 45. + + + ANGIER + The bird cage can't be our climax- + everybody knows it. + + CUTTER + Not like this, they don't. + + ANGIER + And I don't want to kill doves. + + CUTTER + (snaps) + Then stay off the stage. + (glares at Angier) + You're a magician, not a wizard- + you have to get your hands dirty to + achieve the impossible. + + ANGIER + You sound like him. + + CUTTER + (holds up cage) + Put your hands on the sides... + + +58 INT. PANTAGE'S THEATRE - DAY 58 + + A heavy, disinterested man slouches in the third row of the + empty theatre with a newspaper- MERRIT, the stage manager. + + Onstage, Angier energetically YANKS coloured handkerchiefs + from a hat and TOSSING them into the air. Olivia, in the + glamorous, revealing costume of Magician's Assistant, darts + back and forth PLUCKING the handkerchiefs from the air. + + Angier finishes with a flourish. Merit shrugs. Angier + places an ORNATE CAGE onto the table. + + ANGIER + I need a volunteer. + + Merrit rolls his eyes. Climbs to his feet. Angier produces + a DOVE. Places it in the cage. + + +59 INT. ANGIER'S WORKSHOP - DAY 59 + + Now Angier is wearing the harness. He places a dove in the + cage and picks it up. + + Close on: HOOKS concealed on Angier's palm slip into + CATCHES on the bars of the cage. + 46. + + + CUTTER + Hang on, hang on... + + Cutter reaches in and slips a NOOSE around the bird's + ankle... + + CUTTER + There we go. Now you tell the + volunteer to put his hands here... + + Cutter pleases his hands on the TOP and BOTTOM of the + cage... + + +60 INT. PANTAGE'S THEATRE - NIGHT 60 + + Merrit places his hands on the TOP and BOTTOM of the bird + cage. Angier's hands are on the sides. Olivia reaches + around Merrit to place her hands on the remaining two + sides. Merrit looks up at Angier over his glasses. + + MERRIT + You'd beat not be intending to hut + this animal, Mr.Angier. + + ANGIER + Of course not. + + Angier raises and lowers their hands in a rythm... + + ANGIER + And one, two... THREE! + + The bird cage, and the dove, VANISH. + + +61 INT. ANGIER'S WORKSHOP - DAY 61 + + Angier and Cutter have their hands on the bird cage. + + ANGIER + ...THREE! + + The bird cage BREAKS APART, WHIPPING UP ANGIER'S FOREARMS. + + WHERE SLEEVES WOULD BE, YANKED BY THE HARNESS. Angier + smiles. + + ANGIER + Bloody marvelous, Cutter. + + CUTTER + 47. + + + And the best part... + + Cutter reaches to Angier's armpit... pulls up the DOVE, + HANGING BY ITS ANKLE, ALIVE. + + ANGIER + Thought you said I had to get my + hands dirty. + + CUTTER + Someday, perhaps you will. I needed + to know that you can. + + +62 INT. PANTAGE'S THEATRE - DAY 62 + + Merrit nods, impressed, stepping backwards. Angier REACHES + into Merrit's pocket. Removes a dove. + + MERRIT + Very nice. Very nice indeed. + + Olivia packs up the props. Cutter approaches from the + wings. + + ANGIER + (smiling) + I haven't had a chance to + compliment you on your beautiful + theatre yet, Mr.Merrit. + + MERRIT + A lot more beautiful when it's + full, Mr. Angier. + + ANGIER + Don't worry. + + MERRIT + You all say that. Why should I + worry? If your tricks don't get 'em + in, someone else's will. Maybe + someone willing to do a bullet + catch or a water scape. + + CUTTER + cheap thrills, Mr.Merrit. People + hoping for an accident- and quite + likely to see one, too. What would + that do for your business? + + MERRIT + (shrugs) + 48. + + + You've got a week. + + +63 EXT. PANTAGE'S THEATRE - EVENING 63 + + A line a PATRONS runs from the box office to the street. + + The marquee above the theatre reads: "THE GREAT DANTON + PERFOMS FEATS OF MISTERY AND IMAGINATION" + + +64 INT. THEATRE - EVENING 64 + + Angier is performing to a good crowd. He steps forward. + + ANGIER + You sir, in the hat. Could you show + us your handkerchief? + + A MAN in the audience STANDS and pulls a HANDKERCHIEF from + his pocket. He stares at it, CONFUSED. The audience LAUGHS. + + MAN + This isn't mine. + + ANGIER + Perhaps you'd be so good as to + return it to the other man. He has + yours. + + Another man stands and pulls out a handkerchief. APPLAUSE. + + Angier drows and walks quickly off the stage, past the + squad of DANCING GIRLS who run on to entertain in the + break. + + +65 INT. BACKSTAGE - EVENING 65 + + Cutter and Olivia are waiting for Angier as he comes off. + + OLIVIA + I'm so nervous- I'm sorry, I'm + making mistakes. + + Cutter quickly REMOVES Angier's coat... + + ANGIER + The audience doesn't seem to be + responding much, Cutter. + + Cutter puts he LEATHER HARNESS over Angier's arms... + 49. + + + CUTTER + This is a grand theatre with a + sophisticated audience- They've + seen most of these tricks before. + But not this next one. You'll see. + + Cutter checks the SPRINGS of the harness and replaces + Angier's coat. He spots a STAGEHAND poking his head around + the flies. + + CUTTER + You! Piss off out it! + + The dancers are wrapping up. + + ANGIER + Wish us luc, Cutter. + + CUTTER + (smiling) + I'll have the champagne ready. + + Angier, followed by Olivia, steps out onto the stage. + + +66 INT. STAGE - CONTINUOUS 66 + + Angier steps to the table center stage. Pulls out the bird + cage. There are one or two groans from the audience. Angier + SMILES as he produces a DOVE with a FLOURISH. + + ANGIER + You've seen this one before? + + HECKLER (O.S.) + Seen 'em all before, mate! + + Laughter. + + ANGIER + Well, I'll make it a little harder, + shall I? + + In the wings, Cutter smiles and nods at Angier's + showmanship. + + ANGIER + Two volunteers, please. A lady and + a gentleman to hold this cage with + me... + + Hands go up. Olivia pulls an ELEGANT LADY from the + audience. + 50. + + + ANGIER + I'll perform this feat in a manner + never before seen by yourselves or + by any other audience anywhere in + the worth... + + Olivi brings Elegant Lady onto the stage along with a RED- + BEARDED MAN. The audience is getting interested. Angier is + on role... + + ANGIER + Any magician can make this cage + disappear... that's why I'll ask + this good lady and fine gentleman + to place their hands firmly on the + cage... + + Olivia guides Elegant Lady's hands onto the sides of the + cage. Red-beard places a hand underneath the cage. + + ANGIER + ...to ensure that no trickery + whatsoever is employed. + + Angier RAISES the bird cage. The audience is RAPT. + + Red beard's other hand appears on the top of the cage- it + is MUTILATED, missing fingers. + + Angier FREEZES- looks up at Red Beard... IT IS BORDEN + + Borden SMILES as he WORMS his little finger into the cage + mechanism... + + SNAP! Half the cage whips up Angier's sleeve - the other + half collapses on the dove and the elegant lady's fingers- + she screams- bird blood splatters onto the three of then- + the audience goes crazy- + + Borden smiles at Angier through his blood-spattered fake + beard and retreats into the chaos surrounding the Elefant + Lady who is still SCREAMING as Angier tries to free her + fingers from the mechanism. + + +68 INT. BACKSTAGE - LATER 68 + + Angier and Cutter watch the STAGEHANDS clear the stage. + + ANGIER + I should've spotted him. + + CUTTER + 51. + + + You had a lot of plates spinning. + +Angier looks down at the harness in his hands. + + ANGIER + Don't suppose they'll let us do + this one again. + + CUTTER + No. + + ANGIER + So what's the climax of our show? + + MERRIT (O.S.) + Show? You don't have a show. + + ANGIER + Mr. Merrit, we have a week's + engagement- + + MERRIT + To perform magic- not butcher birds + and break my customer's fingers! + Clear out, anything here in the + morning gets burned. + +Cutter puts his hand on Merrit's arms. + + CUTTER + Mr.Merrit- + + MERRIT + It's done, John. I've hired a + comedian. You know I hate + comedians, which should indicate + the may I feel about your friend's + future as a stage magician. + +Cutter nods. Merrit leaves. Cutter turns to Angier. + + CUTTER + There are plenty of good + theatres... if we can come up with + another trick and change the name + of the act- + + ANGIER + The name stays. + +Cutter sees Angier's resolve. + + CUTTER + 52. + + + Right. Well, the new trick will + have to be irresistible, then. I've + a couple of methods to try out, but + we'll need a fresh angle on the + presentation. + + Angier nods. + + CUTTER + If you need inspiration, there's a + technical exposition at the Albert + Hall this week. Scientists and + engineers. That sort of thing + captures the popular imagination. + + +69 EXT. ROYAL ALBERT HALL - AFTERNOON 69 + + The large concert hall is surrounded by crowds and covered + in banners advertising a Technical Exposition. Angier makes + his way past a giant STEAM ENGINE and into the building. + + +70 INT. ALBERT HALL - AFTERNOON 70 + + The lobby if filled with displays and models. Angier pokes + around, looking thoroughly disinterested until he comes to + an information booth plastered with illustrations of + electrical bolts. + + TICKET HAWKER + Would you like to know the future, + sir? The man who kill change the + world is speaking right now. + Continents divided no more. Free, + clean power. The mysteries of the + world solved. + + The posters show a tall, handsome man bathed in lightning + and standing astride the world like colossus. In bold print + it says: + + THE WONDERS OF "ALTERNATING CURRENT"...NIKOLA TESLA + + +72 INT. AUDITORIUM, ALBERT HALL - CONTINUOUS 72 + + The hall is completely darkened, but bright blue FLASHES + illuminate ANGIER as he pushes his way to a seat. + + On the stage, a tall rod capped with a steel ball is + transmitting a steady, sparking stream of electricity onto + a matched ball across the stage. + 53. + + + A FIGURE walks around from behind the machine and the + audience GASPS as a shower of sparks bounce off of his + immaculate evening wear. This is TESLA- but Angier is too + far from the stage to get a good look at him. + + TESLA + With a system like this I could + have the entire city electrified + within two years. + + The audience breaks into LAUGHTER. The spell is broken. + + Tesla must be a lunatic. + + TESLA + Mr. Edison's direct current system + is flawed and dangerous. With my + alternating current devices- + + Someone from the audience chimes in: + + AUDIENCE MEMBER + (yells) + Fraud. + + Angier turns to look. The man who called out is leaving + he's not alone. Angier FREEZES, staring down at aisle- + + Borden is sitting there, RAPT, lit by FLASHES from the + machinery on stage. As tesla continues his demonstration, + Angier STARES at Borden. + + +73 EXT. STREET - DAY 73 + + Borden walks down the street. Angier is following him. + + Borden meets Sarah, pushing a PRAM. Borden looks down at + the baby then up at Sarah. + + BORDEN + I love you. + + Sarah smiles. + + SARAH + See? Today, it's true. + + Angier watches Borden kiss wife then his baby. + + ANGIER (V.O.) + I saw happiness... + 54. + + +74 INT. HOTEL ROOM, COLORADO - NIGHT 74 + + Angier writing in his leather-bound journal. + + ANGIER (V.O.) + ...happiness that should have been + mine. But I was wrong. + + Angier glances at Borden's notebook sitting on the desk. + + ANGIER (V.O.) + Reading his account I realize that + he never had the life I envied. + + Angier flips open the notebook. Staring at the coded + writing. + + ANGIER + The family life he craves one + minute he rails against the next, + demanding freedom. His mind is a + divided one... + + +75 INT. PRISON CELL - DAY 75 + + Borden sits on his cot. Reading Angier's journal. + + ANGIER (V.O.) + His soul restless. His wife and + child tormented by his fickle and + contradictory nature... + + Borden is crying. He puts the journal down and jumps to his + feet BANGING on the cell door. + + BORDEN + Guard! Guard!! + + The viewing slot slides open. + + GUARD + What do want, Professor? + + BORDEN + Paper and pencil. Please. + + +76 INT. PRISON LIBRARY, NEWGATE PRISON - DAY 76 + + The library is long and titled, with two long tables. It + looks as if it used to be a latrine. + 55. + + +Borden sits at a table. Writing on a stack of notepaper. + +His arms have been unbound, but long chains runs from his +elbows to where Sullen Gaurd sits smoking, craning his neck +to read Borden's writing. + + SULLEN + Let me see? + +Sullen SNATCHES up the papers. Borden makes no move to stop +him. The top sheet is a sketch of a cabinet. + + SULLEN + I'm going to know all of the + Professor's secrets. + + BORDEN + (smiling) + Only if I teach you how to read. + +Sullen mashes the papers into a ball and drops them. + + SULLEN + Just stupid tricks, right? Haven't + helped you get out of here- + (tugs chains)) + Have they? Or can't you open real + locks, Professor? + + BORDEN + Perhaps I'm just biding my time. + Perhaps one day I'll just hold up + my hand- + +Borden produces a RUBBER BALL in front of Sullen's face. + +Sullen stares. + + BORDEN + -get you attention. Then quietly + say- + (whispers) + "are you watching closely"... + perhaps say a magic word or two... + then I'll be gone. + +Borden VANISHES the ball, but FUMBLES it, it drops to +Borden's feet. Sullen LAUGHS as Borden SCRABBLEs around his +ankles to retrieve the ball. + + SULLEN + How'd you get so famous, then? + 56. + + + Borden STANDS. + + BORDEN + Magic. + + Borden TURNS, NO LONGER CHAINED. Sullen JUMPS to his feet + to follow, but HIS ANKLE IS CHAINED TO THE TABLE. The other + PRISONERS are LAUGHING and CHEERING. + + SULLEN + Oi, Borden, get back here! + + Sullen FUMBLES with his keys as Borden takes a BOW. Another + warder CRACKS Borden over the head with a TRUNCHEON. + Sullen, now free, KICKS Borden in the ribs. + + CUT TO: + + CLOSE ON AN ADVERTISSIMENT: "the professor has DEFIED DEATH + to return with a new SPECTACULAR!" Pull wider- + + +77 INT. ANGIER'S WORKSHOP - NIGHT 77 + + A NEWSPAPER on the makeup table. Angier sits at the mirror. + + He hubs BROWN PASTE into his hair and then combs it out. + + Then he chooses a beard, seats it on his chin and begins to + adjust it. He drops the BOTTLE of spirit gum as he looks in + the mirror and sees OLIVIA standing behind him. + + ANGIER + (embarrassed) + I thought you'd gone. + + Olivia shifts. Embarrassed. + + OLIVIA + I don't really.... have anywhere to + go. + + Angier slips the newspaper from the table. + + ANGIER + You've been sleeping here? + + OLIVIA + Cutter said it would be okay till + we get another booking. + (beat) + What are you doing? + 57. + + + ANGIER + Researching. Part of a magician's + job is to watch his competition, to + see what illusions they're- + + OLIVIA + You're going to do something to + that man, aren't you? + + Olivia moves closer. Angier is quiet. + + OLIVIA + Cutter's hoping you'll let things + life. He says if Borden thinks + things are even between you then we + can- + + ANGIER + Even? My wife for a couple of his + fingers? He has a child now. And + he's performing again. + (bitter) + Borden is out there, living his + life just as he always intended. As + if nothing had happened. And look + at me. I'm alone. And no theatre + will touch me. + + OLIVIA + Us. + + Olivia moves towards him. + + OLIVIA + You're going to need a better + disguise. + + Olivia reaches for Angier's beard. + + +78 INT. TINY, GRUBBY THEATRE - NIGHT 78 + + Angier, almost unrecognizable as a blonde, slips into the + back of the theatre, which is as rough and unwelcoming as + Borden's last venue. + + On the small raised stage, Borden works through his way + through the Chinese rings with GLOVED HANDS to hide his + damaged fingers. The tough crowd is JEERING AT HIM. + + Borden puts the rings down on a table and PICKS UP a bag. + + BORDEN + 58. + + + I need a volunteer. + + Angier takes a few steps towards the stage. + + Borden produces a RUBBER BALL. + + he TOSSES the ball to Angier. + + BORDEN + As you can see, it's just a rubber + ball. But it's not normal at all. + + Angier examines the ball. Hands it back to Borden who shows + no sign of recognizing Angier. + + BORDEN + Thank you. + + Angier notices that two TALL BLACK CABINETS are standing + twenty feet apart on the stage. + + BORDEN + (to audience) + You're not impressed? + + Borden BOUNCES the BALL on the ground and catches it. + + BORDEN + It's a magic ball. + + Borden continues to BOUNCE the ball on the floor. The + audience looks bored, waiting for something to happen. + + OLIVIA (V.O.) + What happened? + + +79 INT. ANGIER'S WORKSHOP - NIGHT 79 + + Angier still in disguise, is slumped in an armchair, drink + in hand. He is SMILING, remembering. + + Olivia, sitting on the workbench, waits for him to + continue. + + OLIVIA + What happened, Robert? + + ANGIER + He had a new trick. + + OLIVIA + 59. + + + Was it good? + + Angier looks at her... + + +80 INT. TINY, GRUBBY THEATRE - EVENING 80 + + Now it's CUTTER standing in the audience, watching. + Onstage, Borden BOUNCES the ball over and over again. + + ANGIER (V.O.) + It was the greatest magic trick I + have ever seen. + + Borden walks to one side of the stage and OPENS the door to + one of the cabinets. It's empty. He CLOSES it again and + crosses the stage, BOUNCING the ball the whole way. + + At the far cabinet, Borden repeats the process, OPENING the + door to the empty cabinet. This time, however, he leaves + the door open. + + He steps forwards and GENTLY BOUNCES the ball SIDEWAYS, + across the stage... + + Borden STEPS into the CABINET behind him, CLOSING the door. + + With no one on stage, the audience watches as the ball + continues to BOUNCE across the stage. BOUNCE. BOUNCE. + + BOUNCE. The ball loses seep and height... + + Just as reaches the second cabinet, something IMPOSSIBLE + happens. + + THE DOOR TO THE SECOND CABINET OPENS AND BORDEN STEPS OUT, + CATCHING THE BALL. + + Cutter FLINCHES, then studies Borden. The audience is + BEMUSED. Finally, a trickle of applause. + + +81 INT. ANGIER'S WORKSHOP - DAY 81 + + Angier is talking to Cutter. Olivia is watching. + + ANGIER + Did they applaud when you saw it? + + CUTTER + Not very enthusiastically. + 60. + + +82 INT. TINY, GRUBBY THEATRE - NIGHT 82 + + Angier is disguise, starts CLAPPING loudly, FIRMLY, as if + he can't help it, LEADING the applause. + + Borden BOUNCES the ball once again, then BOWS deeply. The + APPLAUSE peters out. Borden walks off the stage. + + +83 INT. ANGIER'S WORKSHOP - DAY 83 + + Angier turns to Cutter. + + CUTTER + The trick is too good - too simple- + the audience hardly knows what + they've seen. + + ANGIER + He's a dreadful magician. + + CUTTER + He's a wonderful magician- he's a + dreadful showman. He doesn't know + how to dress it up, how to sell the + trick. + + ANGIER + How does he do it? + + CUTTER + He uses a double. + + ANGIER + (shakes head) + It's not that simple. This is a + complex illusion. + + CUTTER + You think that because you don't + know the method. It's a double who + comes out at the end. It's the only + way. + + ANGIER + I've seen his performance three + times now, Mr. Cutter- the Prestige + is the same man- + + CUTTER + It's not- + + ANGIER + 61. + + + The same man comes out of the + second cabinet. I promise you. + + OLIVIA + It is the same man. + + They both turn to look at Olivia. + + OLIVIA + He wears padded gloves to hide his + damaged fingers, but if you look + closely you can tell. + + Angier looks at Cutter. + + ANGIER + He doesn't know how to sell his + trick to an audience. But I do. + + CUTTER + (nods) + It would give us our climax. + + ANGIER + The man stole my life. I'm going to + steal his trick. + + CUTTER + We'll have to find someone who can + look like you on a stage. + + ANGIER + He doesn't use a double- + + CUTTER + (impatient) + I don't know how Borden does it, + Robert. So either you wait for + Borden to retire and buy his + secret, or you can listen to how I + would do this trick. + (Angier nods) + Ang the only way I know is to find + you a bloody good double. + + Angier smiles. Turns to Olivia, pointing to his face. + + ANGIER + Take a good look- let's get out + there and find me. + + +84 EXT. ROAD, PIKE'S PEAK - MORNING 84 + 62. + + + Angier, swinging his cane, walks slowly up the mountain + road. + + +85 EXT. TESLA'S LABORATORY - CONTINUOUS 85 + + The lab is illuminated by thirty four STREAMERS of + electrical DISCHARGE that pour from the base of the tower. + + Angier stops, fearful. + + ALLEY + It's perfectly safe. + + As Angier stares, a MAN begins to emerge from the very + center of the CONFLAGRATION. + + Bolts SNAP and TRAIL after the man as he walks, in + SILHOUETTE, towards Angier. + + TESLA + So this is the Great Danton. + + Tesla emerges from the ball of electricity, dressed as if + he were on his way to the opera. He brushes SPARKS from the + sleeve of his jacket as he extends a band to Angier. + + TESLA + Mr. Alley has effused about your + act to me on any number of + occasions. Something you did with + pockets? + + Angier returns the handshake. + + ANGIER + I saw a lecture you gave in London, + several years ago. I'm flattered + you agreed to see me. + + Tesla keeps hold as Angier's hand. + + Angier, confused, does so. Alley hands him a lightbulb, + which starts to glow as he grasps its metal base. + + ANGIER + What's conducting the electricity? + + TESLA + Our bodies, Mr. Angier, are quite + capable of conducting, and indeed, + producing energy. + 63. + + + Tesla release Angier's hand. The bulb goes out. Alley takes + it from the Angier who looks at the palms of his hands. + + TESLA + Have you eaten, Mr. Angier? + + +86 EXT. DECK, LABORATORY - MORNING 86 + + Angier, Alley and Tesla are seated around a table on a deck + overlooking a spectacular view. They are eating sandwiches. + + TESLA + Alley has explained that you + require a very interesting device. + + ANGIER + I need something impossible. + + TESLA + You're familiar with a phrase + 'Man's reach exceeds his grasp'? + + TESLA + (off his look) + It's a lie. Man's grasp exceeds his + nerve. The only limits on + scientific progress are these + imposed by society. + + Tesla looks out at the mountains. + + TESLA + The first time I changed the world + I was hailed as a visionary. The + second time I was asked politely to + retire. The world only tolerates + one change at a time. And so here I + am. + (gestures at laboratory) + Enjoying "retirement". + (looking at Angier) + Nothing is impossible, Mr. Angier. + What you want is simply expensive. + + Tesla rises, washing his hands in a basin on a side table. + + TESLA + Alley says you are a stage + magician. If a built you this + device, you would be presenting it + only as an illusion? + 64. + + + ANGIER + If people thought the things I did + on stage were real, they wouldn't + clap- they'd scream. Think of + saving a woman in half. + +Tesla nods. Considering. + + TESLA + Mr. Angier, the cost of such a + machine- + + ANGIER + Price is not an object. + + TESLA + Perhaps not. But have you + considered the cost? + + ANGIER + I'm not sure I follow. + + TESLA + I can make your machine, Mr. + Angier. But I can also give you + some advice... + (pointed) + Go home. Forget this thing. I can + recognize an obsession. As Mr. + Alley could tell you, I myself an + given to one now and then. It will + not do you any good. + + ANGIER + Have your obsessions done you no + good? + + TESLA + At first. But I've followed them + too long- I am their slave. Their + whipping boy. And one day they may + choose to destroy me. + +Angier looks into Tesla's eyes. + + ANGIER + if you understand an obsession then + you know you won't change my mind. + + TESLA + (smiles) + So be it. + 65. + + + ANGIER + Will you build it? + + TESLA + I have already begun to build it, + Mr. Angier. I hope you enjoy the + mountain air. This will take time. + + Tesla disappears into the lab. + + +87 INT. GREEN ROOM DRINKING CLUB - EVENING 87 + + The club is warm and dark. Olivia, Cutter and Angier make + their way to the bar. Olivia points to the far end of the + bar, to a TRAMP in tattered clothing, curled over a pint. + + OLIVIA + (to tramp) + Gerry? + + The tramp sees Olivia, hoists himself up and spills his way + down the bar to them. As he draws closer, we understand why + Olivia has brought them here. + + Underneath the filth and matted hair, this man is SPITTING + IMAGE of Robert Angier- HE IS PLAYED BY THE SAME ACTOR + + OLIVIA + Mr. Angier, Mr. Cutter, I would + like you to meet Mr. Gerald Root. + + ROOT + A pleasure to meet you fine + gentlemen. + + Angier is staring a little too much. Root throws an ARM + over Angier's shoulder and draws him in. + + ROOT + (whisper) + Would you like for me to tell you a + little joke? + + Angier smiles uncomfortably. Suddenly Root WRAPS this hands + around Angier's neck and begins to THROTTLE him. + + Cutter breaks it up and pushes Root back. + + ROOT + (yelling) + Are you laughing? + 66. + + + Angier is shaken. Root picks up his hat off the bar and + disappears onto the street. + + ANGIER + He's out of his mind. + + OLIVIA + He's an out-of-work actor- of + course he's out of his mind. + + CUTTER + He's perfect. A little work, mind + you, but when I'm done with him he + could be your brother. + + ANGIER + I don't need him to be my brother. + I need him to be me. + + +88 EXT. NORTH HILL - DAY 88 + + Borden escorts Sarah and their TODDLER, a girl, up the + three lined street. + + Borden stops abruptly. Crouches to his daughter. + + BORDEN + Would you like to see a magic + trick? + + Borden reaches up and pushes a wayward LOCK a her hair over + her ear. When his hands returns, it's holding a KEY. + + He stands, places the key in Sarah's hand. + + SARAH + What is this for? + + Borden takes her gently by the shoulders and turns her + around until she's facing a modest two-story HOUSE. She + looks down at the key in her hand. + + SARAH + When I asked last week you said we + couldn't afford. + + BORDEN + You caught me in the wrong mood. + + SARAH + But you want through all the- + 67. + + + BORDEN + Sarah, I'm allowed to change my + mind, aren't I? The act is taking + off, maybe soon I'll get us into a + bigger theatre. Things will work. + + Sarah turns and embraces her husband. + + +89 INT. EMPIRE THEATRE 89 + + The auditorium is empty. Two doors is simple frames have + been erected in the middle of the stage. Angier fiddles + with one, opening it, walking through it. Olivia is + watching. + + OLIVIA + You walk through this one- then...? + + Angier stands Olivia in front of the door. + + he pushes the door all way open. Suddenly, a TRAP-DOOR set + into the floor POPS open. Angier JUMPS through it- + + +90 INT. EMPIRE THEATRE - CONTINUOUS 90 + + Olivia gathers up her skirts and DROPS through the hole- + + +91 INT. BENEATH THE EMPIRE STAGE - CONTINUOUS 91 + + -LANDING beside Angier on the straw mattress. + + OLIVIA + Oof. Couldn't you find a softer + one? + + ANGIER + (smiles) + It's not for sleeping on. + + Olivia looks around the below stage area. + + OLIVIA + And Root goes up through there? + + She gestures at a LIFT twenty feet away with a TRAP DOOR + MECHANISM above it. Angier nods. Olivia looks at Angier. + + OLIVIA + It's going to be amazing, Robert. + 68. + + + ANGIER + It has to be. Borden's trick is + getting noticed. The place was + packed today. + + Olivia looks at him strangely. + + OLIVIA + You went and saw his show again? + + Angier looks away, embarrassed. + + OLIVIA + You becoming obsessed, Robert. + + CUTTER (O.S.) + Ready to meet yourself, Mr. Robert. + + Angier and Olivia look up to see Cutter at the trap door. + + +92 INT. EMPIRE THEATRE - MOMENTS LATER 92 + + Angier and Olivia sit in the front row. Cutter beckons Root + onstage. He's been cloned up and dressed in Angier's stage + costume. he TRIPS on his way across the stage. + + ANGIER + All I have to do is keep myself + stinking drunk all the time and no + one will be able to tell the + difference. + + CUTTER + A little faith, sir. Could you + favor us with a performance. Mr. + Root? + + Root picks himself up and dusts himself off. + + Suddenly, ROOT HAS BECOME ANGIER. he is channeling + everything from his facial expressions to his walk. Angier + nods, starting to believe this might work. The illusion is + PERFECT - + + till he opens his mouth. + + ROOT + You would drink, too, if you know + the world half so well as I do. + 69. + + + Angier hops up onto stage, examining Root from different + angles. Root starts APING his every movement. Olivia starts + laughing. Angier is getting uncomfortable. + + ROOT + Did you think you were unique, Mr. + Angier? I have been Caesar. I have + been Faust. How difficult could it + possibly be to play 'The Great + Danton?' + + CUTTER + You can go back to being yourself. + Root. For free.. + + Root looks challengingly at both men. + + ROOT + I'd rather be him, for now. I find + it amusing. + + Root WAVES his hands across his chest, in the same manner + that Angier does onstage. He produces a bottle of Gin from + thin air, and takes a long swallow and jumps down to + Olivia. + + CUTTER + Root has to keep a low profile- + anyone sees him the game's up. + + ANGIER + (watching Root) + I don't know how you do these + things, Cutter. I'm not sure I want + to know. + + CUTTER + Have you thought about what we + should call the trick? + + ANGIER + No point being coy. Borden calls + his trick 'The Transported Man'? + + Cutter nods. + + +93 EXT. LEICESTER SQUARE - EVENING 93 + + The enormous MARQUEE of the Empire Theatre: + + 'The Great Danton performs THE NEW TRANSPORTED MAN' Beneath + it, a CROWD. Fallon amongst them. STARING up at the sign. + 70. + + +94 INT. EMPIRE THEATRE - EVENING 94 + + Angier is onstage, nearing the end of his show, SMILING + BROADLY as he pulls dozens of FLOWERS from thin air and + tosses them to the crowd. APPLAUSE fills the theatre. + + The DOORFRAMES are wheeled out on either side of the stage. + + Angier approaches the edge of the stage to address the + audience with a suddenly SOLEMN demeanor. + + ANGIER + Ladies and gentlemen, much of what + you've seen tonight can be termed + illusions. Entertaining trifles of + the sort you may have seen other + magicians perform. + + Angier puts on a TOP HAT. + + ANGIER + Alas, I cannot claim this next feat + as illusion. Watch carefully- you + will see no trickery, for no + trickery is being employed. Merely + a technique familiar to certain + citizens of the orient and various + holy men of the Himalayas. Indeed, + some of you may be familiar with + this technique, but for those of + you who aren't, do not be alarmed, + what you are about to see is + considered safe... + + Angier gracefully TURNS and heads upstage to the right-hand + door, opens it, SLAPS it to show that is sold. + + Then strolls through crossing the stage- + + -to the other door, which he opens, SLAPPING to show its + solidity, then walking trough the frame. + + Angier removes his TOP HAT and THROWS it high into the air. + + It sails back down to him and he catches it. + + Angier THROWS the HAT again, even harder this time, and it + disappears up into the rafters. After a beat, it is clear + it's not coming back down. + + LAUGHTER. Angier snaps his fingers and the hat is dropped + back down to him. He catches it. + 71. + + + Angier movies to the first door and THROWS HIS HAT in a + HIGH ARC across the stage. He OPENS the door- steps behind + it... + + The second DOOR, FAR ACROSS THE STAGE, IMMEDIATELY opens + and ANGIER/ROOT EMERGES, REACHING UP TO CATCH THE HAT. + + BOTH DOORS SLAMS SHUT behind him. He puts on the hat. + + The AUDIENCE ERUPTS- A STANDING OVATION, Fallon the only + one in his seat as Angier/Root takes his BOWS. + + +95 INT. UNDER THE STAGE - CONTINUOUS 95 + + Angier, hearing the MASSIVE APPLAUSE, climbs off the straw + mattress, PEERING up through the cracks in the floorboards. + + Smiling, Angier turns to the unseen audience and BOWS. + + +96 INT. DRESSING ROOM - EVENING 96 + + Angier, Olivia, and Cutter are CELEBRATING their success. + + Empty bottles of champagne line the makeup table. + + OLIVIA + (toast) + To our achievement. + + They drink. + + CUTTER + The manager said he's never seen a + reaction like it. + + Angier smiles, rueful. + + ANGIER + At least he got to see it. I spent + the ovation hidden under the stage. + No one cares about the man who + disappears, the man who goes into + the box. They care about the man + who comes out the other side. + + OLIVIA + I care about the man in the box. + + Angier turns to Olivia, raises his glass. + 72. + + + ANGIER + Thank you. + (to Cutter) + Maybe we could switch before the + trick. That way I could be the + Prestige and Root ends up below + stage. + + CUTTER + (shakes head) + The anticipation of the trick is + everything- it needs your + showmanship to built suspense. If + Root opens his mouth, it's all + over- he can't introduce the trick. + + ROOT (O.S.) + of course I can. I'm the Great + Danton. + +They turn. Root is lying behind a trunk, still in costume. + + CUTTER + Root, you bloody fool, get that + costume and makeup off right now, + anyone could walk in here! + +Cutter is SLAPPING Root to his feet. He grabs his collar +and turns to Angier and Olivia. + + CUTTER + Congratulation, all. + +Cutter DRAGS Root out. Olivia slides onto the makeup table. + + ANGIER + I suppose I should get more rest. + + OLIVIA + Life is not full of these moments, + Robbie. + +Olivia pours him some more champagne. + + OLIVIA + We've worked hard for this, and we + need to celebrate properly. + +Angier looks up at her with a gentle smile. She pulls him +in closer and they KISS. She wraps her legs around him. + +They kiss again. + 73. + + +Angier pulls back. + + OLIVIA + What's wrong? + (softly) + It is your wife? + +Angier shakes his head, distracted. + + ANGIER + The trick isn't good enough. + +Olivia stares at him. + + OLIVIA + Didn't you see the audience? + + ANGIER + No. + + OLIVIA + Well, they loved it. + + ANGIER + It's not as good as his trick. + + OLIVIA + Borden's trick is nothing compared + to ours. He doesn't have any style- + + ANGIER + He doesn't have to spend the finale + hiding under the stage. + +Angier rises, turning out of her embrace. + + ANGIER + I need to know how he does it. + + OLIVIA + Why? + + ANGIER + So that I can do it better. + +Angier turns to her. Looks her in the eye. + + ANGIER + I need you to go and work for him. + + OLIVIA + Work for him? Are you joking + 74. + + + ANGIER + You'll be my spy. + + OLIVIA + (taken aback) + We just got our start and you want + me to leave? + + ANGIER + It's how we advance. + + Angier moves to Olivia, placing his hands on her shoulders. + + ANGIER + Think of it, Olivia... we've got + people excited about Cutter's + version of the trick- imagine what + we could do with the real illusion. + We'll have the greatest magic act + anyone's ever seen. + + OLIVIA + (frustrated) + He knows I work for you. + + ANGIER + Exactly why he'll want to hire you. + He'll want my secrets. + + OLIVIA + Why would he trust me? + + Angier thinks for a second. Then smiles. + + ANGIER + Because you're going to tell him + the truth. + + +97 INT. TESLA'S LABORATORY - DAY 97 + + Alley shows Angier in. Tesla is sitting, reading. + + TESLA + You must be curious to see what so + much money had bought you, Mr. + Angier. + + Tesla RISES. Leads Angier to a back corner at the room and + pulls a SHEET from a ten-foot tall apparatus- the + ELECTRICAL MACHINE Angier used on stage in the opening of + the film. + 75. + + + TESLA + Fitting that you should be here for + the maiden voyage. + +Alley FIRES a GENERATOR connected by thick cables to the +machine. It RUMBLES into life, smoke pouring from the +slats. + + TESLA + Your hat. + +Angier takes off his hat and tries to hand it to Tesla. + +Alley intercepts the hat and lays it on a chalk hashmark +directly underneath the machine. He returns to the +controls. + + ALLEY + You might want to stand back. + + TESLA + No, no. It will be fine. Mr. Alley, + please proceed. + +Without further ceremony, Alley FIRES the machine. + +Nothing happens. Then, as they watch, the GLOBE on top of +the tripped FLASHES whist hot. BOLTS shooting out of it, +wrapping themselves around the legs of the tripod. The +CHARGE reaches a FREEZY and then emits a loud BANG, as if +it has broken the sound barrier. + +Suddenly the room is still. + +Tesla walks forward. Looks down into the pit. + +Alley joins him at the edge of the pit. Angier, limping, is +the last to arrive, locking into the pit- + +-at the TOP HAT, which hasn't moved an inch. + + ANGIER + I don't understand- + +Tesla STARES at the hat as if trying to melt it with +CONCENTRARION. Alley pulls Angier away from the pit. + + ALLEY + Perhaps it would be best if you + left us to it. We'll see you next + week? + 76. + + + Angier begins to protest but Alley gestures towards the + door. + + +98 INT. BORDEN'S WORKSHOP - DAY 98 + + A small, disused shop off an arcade, crowed with tools, + cabinetry and props, windows plastered with playbills. + Borden is sitting at a workbench, sleeves rolled up, + working a lathe. + + Fallon enters, Olivia behind him. Borden looks back at her, + turns back to the table, instinctively putting on his + gloves. + + OLIVIA + (looking around) + Interesting workshop. + + BORDEN + We make do. + + OLIVIA + My name is Olivia Winchcombe. + + BORDEN + I know who you are. Are you here to + steal the rest of my show? + + Olivia sees one of the theatrical notices that litter the + shop: "THE GREAT DANTON BREAKS RECORD WITH HIS ASTONISHING + NEW TRICK" + + OLIVIA + No. I'm here to give your show what + is missing. + + BORDEN + And what might that be? + + OLIVIA + Me. + + BORDEN + (to Fallon) + Wasn't I just saying that, Bernard? + A woman's touch. + + Fallon leaves, closing the door. + + OLIVIA + I've left Angier. I want a job. + 77. + + +Borden sits there. + + OLIVIA + I know you have no reason to trust + me- + + BORDEN + Why on earth shouldn't I trust you? + The mistress of my enemy. + +Olivia is taken aback. Changes tack. + + OLIVIA + Mr. Borden- + + BORDEN + Alfred. + + OLIVIA + Alfred. I'm going to tell you the + truth. + + BORDEN + Ah. The truth. A slippery notion in + our life of work, Miss Winchcombe. + + OLIVIA + I'm here because he sent me here. + He wants me to come and work for + you and steal your secret. + + BORDEN + What does he need my secret for? + His trick is top notch. The Great + Danton vanishes and instantly + reappears on the other side of the + stage - mute, overweight, and, + unless I'm mistaken, rather drunk. + +Borden rises, moves closer to Olivia. + + BORDEN + Tell me, Olivia. Does he like + taking his bows under the stage? + +Olivia meets his gaze. + + OLIVIA + 78. + + + No. It's killing him. he's obsessed + with discovering your method. He + thinks of nothing else, and takes + no pleasure in our success. I've + had enough. There's no future with + him. He sent me here to steal your + secrets, but I've actually come to + offer you his. + + BORDEN + He has no secrets from me. + + Borden stares at her, unsure. + + BORDEN + And this is the truth? + + She gives Borden a challenging smile/shrug. + + +99 INT. BACKSTAGE - DAY 99 + + Cutter is fixing a prop mechanism. Angier approaches, in + his undershirt, looks over his shoulder. Cutter glances up. + + CUTTER + Best be getting changed for the + martini, sir. + + - Angier nods. Cutter REALIZES. + + CUTTER + ROOT! You're late. + (sniffs) + And even more drunk than usual. Get + yourself below stairs, right away! + + ROOT + No. + + CUTTER + No?! + + Root looks at Cutter with genuine malice. + + ROOT + We need to have a chat, Mr. Cutter. + + +100 INT. DRESSING ROOM - DAY 100 + + Angier is applying his makeup. Cutter enters. Angier looks + at him through the mirror. + 79. + + + ANGIER + We have a problem, Cutter. + +He holds up the paper, folded to an advertisement: PANTAGES +THEATRE- FROM NEXT WEEK- THE PROFESSOR WILL DEMONSTRATE THE +ORIGINAL TRANSPORTED MAN- ACCEPT NO CHEAP IMITATIONS!!! + + ANGIER + He'll be performing right across + the street. + + CUTTER + We have a bigger problem. Root. + + ANGIER + Don't tell me he fell over again. + + CUTTER + Worse. He realized he can make + demands. + + ANGIER + He's blackmailing us? + + CUTTER + In a word, yes. I'm surprised, to + be honest- it usually takes them a + lot longer to figure it out. + + ANGIER + How much does he want? + + CUTTER + It makes no difference- we have to + stop doing the trick. + + ANGIER + (wields paper) + Stop doing the trick? Look at this. + + CUTTER + Look at yesterday's. And last + week's, where they called you + "London's premiere stage + performer", not "magician" mind. + Performer. Of any kind. + + ANGIER + What's the point? + + CUTTER + 80. + + + My point, Robert, is that you've + climbed too high to get away with + any kind of professional + embarrassment. We're not doing any + tricks we can't control. + + Angier considers this. Nods. Thinking. + + ANGIER + Pay him whatever he wants, for now. + We keep doing the trick till Borden + opens, then we'll phase it out. + + +101 INT. BENEATH THE EMPIRE STAGE - NIGHT 101 + + Root smokes a cigarette. PULL BACK to reveal he is standing + on the LIFT beneath the stage... + + The trapdoor OPENS and Angier DROPS onto the straw + mattress. + + He looks over to see Root finishing his cigarette. + + ANGIER + (hisses) + Get up there!! + + Root smirks at Angier- TOSSES the cigarette and CATAPULTS + up- + + +102 INT. STAGE, EMPIRE THEATRE - CONTINUOUS 102 + + -onto the stage and STEPS/STUMBLES out from behind the door + to LOUD APPLAUSE. + + Root has a SLOPPY GRIN as he STRUTS across the stage, + milking the applause from every angle, blowing kisses, + winking... loving it. He turns to Cutter in the wings. + Blows him a kiss. + + Cutter GLARES. Then TURNS to a stagehand. + + CUTTER + Get it down! + + ANGIER (V.O.) + Cutter was always surprised how + fast Root turned bad. + + The stagehand starts LOWERING THE CURTAIN. + 81. + + +103 INT. RESTAURANT, CLIFF HOUSE INN - DAY 103 + + Angier sits with Borden's dairy. + + ANGIER (V.O.) + We paid him enough to keep him in + beer- you wouldn't expect him to + rock the boat. Today I learned + Borden's view on the episode... + + +104 INT. TAVERN - EVENING 104 + + The bar is dark and seedy, packed with an unpromising lot. + + ANGIER (V.O.) + ...and his account suggests a + reason. + + Root is hanging precariously from his barstool, head + lolling towards his empty glass. He is in his own clothes, + but cleaned up to look like Angier. + + A full PINT arrives in front of him. Root turns to face his + benefactor- BORDEN. Root takes several large GULPS, staring + at Borden. Suppresses a belch. + + ROOT + To what do I owe the pleasure of + this rather welcome pint of ale? + + BORDEN + You are the Great Danton, aren't + you? + + Root gestures silence, glancing around them. + + ROOT + Of course I am. But don't advertise + it- I'll be mobbed with fans. + (grins at Borden) + And who might you be? + + BORDEN + Just a humble admirer. And fellow + practitioner. + + ROOT + Ah, very good. + + Root DOWNS the rest of his new pint, placing the empty + glass in front of Borden with an emphatic THUNK. + 82. + + + BORDEN + Another? + + ROOT + If you insist. I'm not performing + tonight. Well, only one show, and, + to be frank, my people pretty much + run things these days. + + BORDEN + You could probably do it + blindfolded. + + ROOT + Bloody good idea. + + BORDEN + Have it. + + ROOT + Thanks. + +A new pint arrives. Root sips. + + BORDEN + Actually, there's something I might + warn you about. + + ROOT + Oh? + + BORDEN + Well, it's your Transported Man + illusion. Now, I'm not claiming to + know your method... but I had a + similar trick in my act- and I + used... + (looks around, + whispering) + ...a double. + + ROOT + Oh, I see, very good. + + BORDEN + At first. Then it went bad. You se, + I hadn't counted on the fact that + once I incorporated this bloke into + my act, he had complete power over + me. + + ROOT + Complete power, you say? + 83. + + + BORDEN + (nodding gravely) + Well, he was the secret, you see. + And the more successful I became, + the more outrageous his demands + became. He practically bankrupted + me. In the end I had to stop + performing the illusion completely. + (looks at Root) + You must be very careful about + giving someone that power over you. + + Root looks at Borden. Drunken wheels spinning. + + ROOT + Thanks for the warning. + + +105 INT. STAGE, EMPIRE THEATRE - EVENING 105 + + Angier is almost all the way through his act. + + ANGIER + ...some of you may be familiar with + this technique, but for those of + you who aren't, do not be alarmed, + what you are about to see is + considered safe... + + Angier takes his time, confident, MILKING IT. He throws his + HAT into the air, catches it. + + +106 INT. UNDER THE STAGE - CONTINUOUS 106 + + Angier DROPS ten feet to the concrete floor. But there is + NOTHING to break his fall- + + He SMASHES painfully to the ground. CLUTCHING his leg in + AGONY, he looks up and sees SOMEONE standing on the lift + twenty feet away... BORDEN. + + +107 INT. STAGE - CONTINUOUS 107 + + The first door slams shut. The audience turns their + attention to second door. + + The door remains closed. The HAT falls gently to the floor. + + SILENCE, broken by a COUGH in the audience. + 84. + + +108 INT. UNDER THE STAGE - CONTINUOUS 108 + + BORDEN bows to Angier- the LIFT ROCKETS BORDEN UP THROUGH + THE STAGE FLOOR. + + +109 INT. STAGE - CONTINUOUS 109 + + The second door OPENS, and BORDEN steps through, looking + all around, CONFUSED, as if he doesn't know where he is. He + looks back at the door, then picks up the HAT... + + +110 INT. UNDER THE STAGE - CONTINUOUS 110 + + Angier looks at his leg- a nasty COMPOUND FRACTURE. As he + chokes on pain he can hear LAUGHTER from the AUDIENCE. + + +111 INT. STAGE - CONTINUOUS 111 + + As Borden mugs with the hat, trying it on and finding it + too small, something is LOWERED from the flies above: + + ANGIER/ROOT, BOUND AND GAGGED, HANGS from a chain. A sign + around his neck reads: "OPENING AT PANTAGE- THE PROFESSOR" + + Borden looks up behind him. + + BORDEN + Great Danton, I must apologize! I + simply had too much magic for my + stage at the Pantages! + + The Great Danton comes to rest three feet above the stage. + + BORDEN + Pardon my intrusion! + + Borden places the top hat and ANGIER/ROOT at a JAUNTY + ANGLE. + + THUNDEROUS APPLAUSE and LAUGHTER. Borden BOWS, hops down + off the stage, and walks up the aisle, bowing, enjoying it + all the way. + + +112 INT. STAGE - LATER 112 + + Cutter crouches over Angier, fixing a LONG SPLINT to his + broken leg. Behind them, Root still hangs above the stage, + groaning in protest. + 85. + + + CUTTER + I don't see how Borden found him- I + had him under wraps, I was careful. + + ANGIER + Well, he did. + + Cutter helps Angier to his feet. + + CUTTER + Sit, do you think it might be her? + Olivia? + + Angier stops to look at Cutter. + + ANGIER + No. I don't. + + Cutter gestures at Root. + + CUTTER + Shall we cut him down? + + ANGIER + He's the Great Danton. Let him cut + himself down. + + +113 EXT. PANTAGE'S THEATRE - NIGHT 113 + + Angier, thinly disguised, leg in long metal brace, pushes + through the crowd outside the box office. The marquee: The + Professor Performs His Masterpiece- THE ORIGINAL + TRANSPORTED MAN!! + + On the box office: SOLD OUT THRU SUNDAY. Angier STARES. + + SCALPER (O.S.) + Need tickets, sir? + + Angier turns to the SCALPER. Nods. + + +114 INT. PANTAGE'S THEATRE - EVENING 114 + + Angier slumps into a seat at the back of the PACKED + theatre. + + ONSTAGE: Borden works through his show with a SUPERIOR + DEGREE OF SHOWMANSHIP, even cracking a smile when called + for. + 86. + + + Working WITHOUT GLOVES, he makes much of performing tricks + ONE-HANDED. He is assisted by Olivia, who looks STUNNING. + + Borden performs the Transported Man. Borden HAS DRESSED IT + UP WITH ELECTRICAL APPARATUS. Two large glass balls + transmit SPARKS between one cabinet and the other along + BARE WIRES. + + Another watches, anger rising as he watches Olivia's close + RAPPORT with Borden. + + +115 INT. APARTAMENT - EVENING 115 + + Olivia enters in to the darkness bedroom. She strikes a + match and lights one of the gaslights... + + ...and SCREAMS as the gaslight illuminates Angier, sitting + in an armchair, cane leaning against the arm of the chair. + + ANGIER + You weren't expecting me? + + OLIVIA + I was expecting you sooner, Robbie. + Your message said "afternoon". + + ANGIER + Well, it takes a bit for me to get + around these days... + + Angier RAPS his leg brace with his cane. HOISTS himself up. + + ANGIER + He's taken everything from me. My + wife, my career... now you. + + OLIVIA + What do you mean? You sent me to- + + Angier takes her by the shoulders, ROUGHLY. + + ANGIER + I sent you to steal his secret- not + to improve his act- + + OLIVIA + That's my job-! + + ANGIER + Or to fall in love with him! + + OLIVIA + 87. + + + You abandoned me to him! + +Angier SLAPS her. She shakes her head at him. + + OLIVIA + I did everything you asked. + + ANGIER + (challenging) + Yes? Then how does he do it?! + + OLIVIA + Cutter was right- it's a double. + +Angier shakes his head, furious. + + ANGIER + Of course Borden said that- + + OLIVIA + He didn't say anything- he'd never + say. I've seen things- make-up, + glasses, wigs. We don't use any of + it for the show, but I've found it + hidden backstage. + + ANGIER + (scorn) + It's misdirection- he leaves those + things lying around to make you + think he's using a double. + + OLIVIA + All the time? He doesn't know when + I'm looking- + + ANGIER + All the time, Olivia- that's who he + is, that's what it takes- he lives + his act, don't you see?! + (beat) + And just because you're sleeping + with him doesn't mean he trusts + you. + +Olivia glares athim, tears forming in her eyes. + + OLIVIA + You thing you can see everything, + don't you? + +She moves to her bed, REACHING below the mattress. + 88. + + + OLIVIA + But the Great Danton, is a blind + fool. + +Olivia tosses something at Angier: a CARDBOARD-BOUND +NOTEBOOK. + + OLIVIA + His notebook. + +Angier starts leafing desperately through pages. + + ANGIER + You stole it? + + OLIVIA + I borrowed it for tonight. I + thought you'd be able to translate + some of it, but now I realize- + + ANGIER + I can't. + + OLIVIA + (scorn) + You can't. + + ANGIER + Olivia, no one could- + (studies pages) + It's a cypher- with a transposition + that probably shifts every day of + the diary. Even with the keyword it + would take months to decode... + + OLIVIA + And without the keyword? + + ANGIER + Perhaps never. We'll see. + +Angier puts the cardboard-bound notebook into his pocket. + +Olivia, worried, holds out her hand for the notebook. + + OLIVIA + No, we won't- if I don't get that + back tomorrow morning, he'll know I + took it. + +Angier looks at her, incredulous. + + ANGIER + 89. + + + You can'r possibly think I'd let + this go? This is his diary, Olivia. + All of his secrets are right here, + in my hands. + + OLIVIA + (pleading) + Don't do this do me, Robert! + + ANGIER + (shrugs) + Leave him. + + OLIVIA + He knows where I live! + + ANGIER + I need to know his method. + + OLIVIA + (desperate) + It won't get your wife back, + Robert. + + ANGIER + I don't care about my wife- I care + about his secret! + +Angier stops, realizing what he said. Calms himself. + + ANGIER + Look, I'll go to his workshop and + stage a break-in- + + OLIVIA + He'll know it was you- + +Angier puts his hands GENTLY on her shoulders. + + ANGIER + Yes, me, not you. Understand? + +Olivia nods, crying. Still scared. Angier drags his leg to +the door. She watches him go, torn. + + OLIVIA + Robert? I have fallen in love with + him. + +Angier looks at her, sympathetic. + + ANGIER + 90. + + + Then I know how hard this had been + hard for you. + + +116 INT. BORDEN'S WORKSHOP - DAY 116 + + CLOSE ON: SHATTERED GLASS, BROKEN PROPS AND CABINETRY. + + Borden and Fallon survey the WRECKAGE of their shop. Borden + looks at Fallon. + + BORDEN + Notebook. + + Fallon nods. Borden sighs. Weary. + + BORDEN + Then he's just getting started. + + +118 EXT. STAGEDOOR, PANTAGE'S THEATRE - EVENING 118 + + A small CROWD of autograph SEEKERS crowd the stagedoor. A + BODYGUARD steps through the door and begins unshering them + away as Fallon and Borden follow him through the door. + + The bodyguard hold the door to a carriage open and Fallon + steps up. Borden stops at the door. + + BORDEN + I'm walking tonight, gentlemen. + + Fallon looks concerned. + + BORDEN + Let him come. I don't care. + + Borden doffs his hat and walks onto the crowd street. + + Fallon steps down, reaches into the bodyguard's jacket and + pulls out a PISTOL. He checks that it's loaded and slips it + into his own jacket. Then he sets off after Borden. + + +119 EXT. STREETS, WEST END - EVENING 119 + + Fallon continues to follow Borden at a distance. Borden + steps into a tobacconist's. Fallon stops and idles at the + street corner. + + As Fallon watches, across the street, another man STOPS. + 91. + + + Fallon slips back around the corner and looks: + + It's Angier, leaning on his cane. + + Borden emerges from the tobacconist and continues down the + street, a cloud of pipe smoke drifting after him. + + Fallon waits for Angier to set off after Borden, then + follows both men from a distance. + + Borden crosses to the same side of the street as Angier. + + Fallon picks up his pace and tries to cross the street but + is HELD UP for a second by passing traffic. + + As he reaches the other side, Borden is gone, but he sees + Angier disappear down and alleyway. + + +120 EXT. ALLEY - CONTINUOUS 120 + + Fallon rounds the corner and stops. The alleyway is EMPTY. + - + + he has lost them. Finally, he sees an open, darkened + doorway towards the end of the alleyway. + + +121 INT. HALLWAY - CONTINUOUS 121 + + Fallon stops at the doorway, his gloved hand gripping te + doorframe. + + Angier stands at the other end of the hallway, watching + him. + + Fallon takes a step towards him and CRASHES through the + rotten floor to the basement below. + + +122 INT. BASEMENT - CONTINUOUS 122 + + Fallon drops heavily into an almost-vertical OPEN COFFIN. + + DISORIENTED, Fallon just glimpses CUTTER DROP THE LID INTO + PLACE, shutting him in. Cutter starts NAILING it down. + + A GUNSHOT TEARS through the lid of the box. Cutter falls + back, but is caught by Angier. + + Angier rolls Cutter off to one side. He is clutching at a + BLOODY WOUND on his arm. + 92. + + + CUTTER + I'll live. + (to coffin) + You save me the trouble to making + you an air hole! + + Angie picks up the hammer and continues NAILING. + + +123 EXT. HIGHGATE CEMETARY - MORNING 123 + + Borden picks up his way through the overgrown cemetery. He + hears a KNOCKING and turns: + + Angier is behind him, RAPPING on a broken headstone with + the head of his cane. + + BORDEN + I'm impressed. + + ANGIER + Why's that? + + BORDEN + You're finally getting your hands + dirty. This is what a good trick + costs, Angier. Risk. Sacrifice. + + ANGIER + The sacrifice, I'm afraid, is all + going to be yours. Unless you give + me what I want. + + BORDEN + Which is? + + ANGIER + Your secret. + + Borden tries to gauge Angier's expression. + + BORDEN + My secret? + + ANGIER + Your method for the Transported + Man. Fallon wouldn't tell me. In + fact, he doesn't talk at all. + + BORDEN + (shrugs) + You have my notebook. + 93. + + + ANGIER + Useless without the keyword. + +Angier pulls a sheaf of writing paper and a pencil stub +from his pocket. He offers them to Borden. + + ANGIER + Write down your method Mr. Borden. + Describe it in full. + +Borden takes the paper and pencil and stares Angier in the +eye, gauging him. + +Beat. + +Borden writes a SINGLE WORD on the top page and folds it +up. + + ANGIER + I want the method not the keyword- + I don't even know if the secret is + in you notebook. + +Borden looks at Angier with a glint in his eye. + + BORDEN + The keyword is the method. + +Angier reaches for the folded paper, which Borden lifts out +of reach. + + BORDEN + Where is my ingeneur? + +Angier pulls a SHOVEL free from a pile of dirt beside him. + +He STAKES it into a fresh pile of dirt in front of Borden. + +Borden looks at Angier, CONCERNED. + + BORDEN + Is he? + +Angier plucks the folded paper from Borden's hand. + + ANGIER + How fast can you gid? + +Angier movies away through the headstone, leaning heavily +on his cane. Borden begins to DIG. + 94. + + +124 INT. HOSPITAL - EVENING 124 + + Cutter is slumped in a chair by the wall, his arm bandaged. + + He smiles up at Angier, who sits down next to him. + + ANGIER + How's the arm? + + CUTTER + Still attached. Did you get your + answer? + + Angier holds up the folded paper. + + ANGIER + Our answer, Cutter. I haven't + looked yet, I wanted you to share + this. + + Cutter looks curiously at Angier. + + CUTTER + I already know how he does it, + Robert. The same way he always has, + the same way we do. You just want + it to be something more. + + Angier looks at Cutter, uneasy. + + ANGIER + Well, let's find out, shall we? + + Angier opens the piece of paper. A large GRIN spreads + across his face. he turns it to Cutter- it reads- + + - T E S L A - + + Cutter frowns, confused. + + CUTTER + What does it mean? + + ANGIER + (excited) + It means, Cutter, that we have a + journey ahead of us. To America. + + Cutter watches Angier's excitement. Awkward. + + CUTTER + Robert, listen to me. + 95. + + + (gentle, but definite) + Obssession is a young man's game, I + can't follow you any farther in + this. + + Angier looks at Cutter, uncomprehending. He considers + saying something. Stops. Restraining himself. + + ANGIER + Then the rest is up to me. + + +126 INT. ELEGANT RESTAURANT - EVENING 126 + + Sarah sits by herself at a table for two. Borden ENTERS + with a swagger, Olivia beside him, Fallon behind. The + MAITRE D' hurries over, signaling WAITERS. Sarah looks up. + + UNCOMFORTABLE. + + SARAH + I didn't know we'd be joined for + dinner. + + BORDEN + Absolutely. We're celebrating. + + The Waiters spirit another table and chairs to join + Sarah's. + + Borden pulls out a chair for Olivia. + + SARAH + Miss Wenscombe. Mr. Fallon. + + Olivia smiles cheerfully. Fallon nods, embarrassed. + + BORDEN + (to wine waiter) + Champagne. Your finest + + SARAH + What are we celebrating, dear? + + BORDEN + Well, we've hit upon a new trick, + haven't we, Fallon? + + OLIVIA + What trick, Freddy? + + SARAH + (brittle) + 96. + + + Yes, "Freddy". What trick? + +The WAITER presents a bottle of champagne. Borden nods +without looking at it. + + BORDEN + (loud) + I'm going to bury myself alive. + Every night. Then someone's going + to come along and dig me up! + +OTHER DINERS are glancing over. The waiter uncorks the +bottle with a muffled POP and pours champagne into Borden's +glass. + + SARAH + (to waiter) + I'm not sure my husband needs- + + BORDEN + Who are you to tell me what?! + +Awkward silence. Olivia shifts in her seat. + + OLIVIA + Perhaps- + + SARAH + Perhaps, Mr. Fallon, you might + escort Miss Wenscombe home. My + husband's being a bore. I see no + reason for the two of you to suffer + as well. + +Fallon is on his feet, pulling back Olivia's chair. + + OLIVIA + Good-night, Mrs. Borden. Good- + night, Freddy. + +They leave. Borden glares at his wife. + + SARAH + "Freddy"? + + BORDEN + It's my name. + + SARAH + Not at home. + + BORDEN + I'm not always at home. + 97. + + + Sarah is clearly on the verge of tears. + + SARAH + Alfred, why are you being like + this? + + Borden, seeing her distress, softness. + + BORDEN + Sarah, I had a terrible ordeal + today. I thought I'd lost something + very precious to me. + + SARAH + What? + + Borden looks at her speechless. Shrugs helplessly. + + SARAH + I see. More secrets. + + BORDEN + Secrets are my life, Sarah. Our + life. + + Sarah brushes away a tear. + + SARAH + When you're like this, Alfred, I'm + not seeing the real you. You're + treating me like your audience. + Performing. I can't live with that. + + Borden just sits there. Offering nothing. + + +127 EXT. CLIFF HOUSE INN - DAY 127 + + Angier walks up to the hotel. A MOTORCAR is parked in front + and TWO MEN are unloading it. One of the men STARES at + Angier as he enters the hotel. + + +128 INT. CLIFF HOUSE INN 128 + + Angier walks to the reception desk. + + ANGIER + I thought I had the place to + myself. + + MANAGER + Unexpected guests. + 98. + + + (looks out the window at + the men) + Not very polite. A lot of + questions. At first I thought they + might work for the government. + + ANGIER + No? + + MANAGER + (lowers voice) + Worse. They work for Thomas Edison. + + Angier starts out the window at the men unloading + equipment. + + +129 INT. HOTEL ROOM, COLORADO - CONTINUOUS 129 + + Angier sits at the desk, deciphering Borden's diary. + + BORDEN (V.O.) + Today, a most curious + development... + + +130 INT. BORDEN'S WORKSHOP - DAY 130 + + Borden turns to see Fallon show in Olivia. + + BORDEN (V.O.) + His assistant come to us with a + proposition... + + They start to speak as Borden's V.O. continues. + + BORDEN (V.O.) + Obviously Angier has sent her, and + told her to admit as much... + + BORDEN + Tell me Olivia. Does he like taking + his bows under the stage? + + Olivia meets his gaze. + + OLIVIA + 99. + + + No. It's killing him. He's + obssessed with discovering your + method. he thinks of nothing else, + and takes no pleasure in our + success. I've had enough. There is + no future with him. He sent me here + to steal your secrets, but I've + actually come to offer you his. + + BORDEN + He has no secrets from me. + +Borden stares at her, unsure. + + BORDEN + This is the "truth" you spoke of? + +She gives him a sly smile. + + OLIVIA + No. This is what he told me to tell + you. + +Beat. + + OLIVIA + The truth is that I loved him. And + stood by him. And he sent me to you + like he'd send a stagehand to pick + up his shirts. + (looks him in the eye) + I hate him for that. + +They sit there in silence, appraising each other. + + BORDEN + I can spot Angier's methods from + the back of the theatre. What could + you possibly have to offer me? + +Olivia smiles, moves to Borden, reaching for his gloved +hand. + +Borden flinches, surprised. + + OLIVIA + You may know he does his tricks... + but you can't understand why no one + can see that yours are better. + +She tenderly PEELS OFF his padded glove revealing his +mutiliated hand. + 100. + + + OLIVIA + You hide this. I had to look + closely to spot it when you + performed the Transported Man. + (looks into his eyes) + But this makes you unique... it + shows the audience that you aren't + using a double; You musn't hide it, + you must display it proudly... + (looks at hand) + I'm sure it takes great skill to + perform illusions with one good + hand. + + BORDEN + (quietly) + It does. + + OLIVIA + Then let people know. You can be so + much more then he is. I can show + you how. + + Borden looks into her eyes. + + BORDEN (V.O.) + I think she is telling the truth. + + +131 INT. BEDROOM, BORDEN'S WORKSHOP - NIGHT 131 + + Borden and Olivia are in bed together. It is raining + outside. + + He watching her get out of bed and moves to the window to + smoke a cigarette. + + BORDEN (V.O.) + I think we cannot trust her. But I + love her. I need her. We need her. + + BORDEN + How could he send you away? He must + be blind, deaf and dumb. + + She smiles quietly at this. + + OLIVIA + Robbie's blinded by his jealousy. + He'd do anything for you secret. + Sending me away was the least of + it. + 101. + + + Borden considers this. + + BORDEN (V.O.) + Trust is not the point- love is the + point... who have we ever trusted? + To open myself to such a + relationship, + + +132 EXT. NARROW ALLEYWAY - DAY 132 + + Olivia makes her way past crowed MARKET STALLS. + + BORDEN (V.O.) + ...to the dangers of such an + affair... I need assurances of + fidelity. Of love. + + Fallon is SHADOWING her from a distance. + + BORDEN (V.O.) + But how to be sure when truth is + layered like the skin of an onion? + I know a way... she must help me + rid ourselves of Angier. It is the + only way to know her mind. + + +133 INT. HOTEL ROOM, COLORADO - DAY 133 + + Angier looks up from Borden's diary. Pale. He flips pages + and pages forward TO THE LAST ENTRY... + + BORDEN (V.O.) + Today my mistress proves her + truthfulness. Not to me, you + understand. + + BORDEN (V.O.) + I have been convinced since she led + me to Root... today, Olivia proves + her love for me to you, Angier. + + Angier looks up from the notebook. Mind reeling. + + BORDEN (V.O.) + 102. + + + Yes, Angier. She gave you this + notebook at my request. Yes, she + led me to Root, and yes, Tesla is + merely the key to my dairy, not to + my trick. Did you really think I + would part with my secret so easily + after so much? Good-bye, Angier, + may you find solace for your + thwarted ambition back in your + American home. + + Angier STARES at the pages, unblinking. JUMPS to his + feet... + + +134 INT. TESLA'S LABORATORY - DAY 134 + + Angier STRIDES up to the fence. + + ANGIER + TESLA! + (nothing) + TESLA!! + + Angier takes his cane and starts running its METAL TIP + across the electrified fence- causing SPARKING and + CRACKLING. + + ANGIER + ALLEY, GET OUT HERE AND LET ME IN!! + + Alley emerges from the building, confused. + + +135 INT. TESLA'S LABORATORY - DAY 135 + + Alley opens the door- Angier BURSTS IN past him, ENRAGED. + + ANGIER + I've been played for a fool! + + ALLEY + Who by? + + ANGIER + Tesla never made a machine like the + one I asked for. + + ALLEY + We never said he had. + + ANGIER + 103. + + + You let me believe that he had, + Alley! + + ANGIER + You stole my money because your + funding was cut off- you've been + shooting sparks at my top hat, + laughing at me all along while you + use my money to stave off ruin. + I've seen Edison's men- + + ALLEY + Where? + + ANGIER + In the hotel. I've every mind to + bring them up here myself- + + TESLA + That would be unwise, Mr. Angier. + +Tesla is holding a cage containing a large tabby CAT. + + TESLA + It is true, sir, that you are your + one remaining financier. But we + have not stolen your money... + + ALLEY + Sir, my cat? + +Tesla silences Alley with a tiny GLANCE. + + ALLEY + When I told you I could make your + machine I spoke the simple truth. + Science is just a name for the art + of rendering the exotic mundane. It + has no boundaries- its very purpose + is to destroy boundaries. + + ANGIER + Then why isn't the machine working? + +Tesla gives Angier the slightest of smiles. + + TESLA + Because exact science, Mr. Angier, + is not an exact science. The + machine simply does not operate as + expected. It needs continued + examination. + 104. + + + ANGIER + Where did my top hat go? + + ALLEY + Nowhere. + +Alley points to the top hat, which is sitting on a +workbench. + + ALLEY + We've tried the damn thing a dozen + times. And the hat went nowhere. + + TESLA + Which is why we need to ray a + different material. It may provoke + a different result. + +Tesla opens the cage and points the open end at Alley. + + TESLA + You don't expect me to handle the + thing myself? + +Alley reluctantly reaches into the cage and pulls out the +TERRIFIED CAT. He jumps down into the pit and secures the +animal but its collar to a eye-hook sunk into the ground. + + ALLEY + You are responsible for whatever + happens to this animal, Doctor. + +Alley pulls himself out of the pit, and Tesla CHARGES the +generator. + +The cat stares up at the machine around it and HISSES. + +Without ceremony, Tesla FIRES the machine. As before, large +BOLTS spew from the head of the machine, down towards the +unseen cat. The machine build to a DEAFENING ROAR, then +sputters out. + +Silence. The three men begin edging towards the pit. + +Suddenly, a terrifying SCREECH. The cat is still there, +still tied to the hook. + +Alley breathes a sigh of relief and starts to free the car. + +Tesla looks frustrated. Suddenly, the cat bursts free of +Alley and ROCJETS through the open side door of the lab. + + ANGIER + 105. + + + I'll go. + + Angier limps after the cat. + + +136 EXT. TESLA'S LABORATORY - CONTINUOUS 136 + + Angier sees the cat disappearing along the edge of the + building and into the forest beyond. + + Angier follows. + + +137 EXT. FOREST - CONTINUOUS 137 + + Angier pushes his way through the dense undergrowth, trying + to keep up, but the cat has disappeared. + + ANGIER + Here, kitty, kitty. + + Suddenly, a HORRIBLE SCREECHING reaches Angier. He begins + to follow the noise. + + He stops at the opening of a tiny GLADE, no more than ten + feet across. + + Two IDENTICAL CATS are fighting viciously in front of + Angier. + + He tries to separate the two animals, and succeeds in + grabbing one. The other cat RACES off. + + Angier takes a few steps after it, then FREEZES, staring + at- + + TOP HATS. Clustered in a small glades. The first cat slinks + its way through them. + + The SECOND BLACK cat jumps from Angier's hands- RACES into + the glade, HISSING, SPITTING, CHASING the first cat into + the woods beyond- + + Angier is left alone in the clearing, staring at the pile + of dozens of IDENTICAL TOP HATS. + + +138 EXT. PORCH, TESLA'S LABORATORY - DAY 138 + + The top hats are in a pile on the dark. Tesla is at the + table, measuring two HATS with a pair of Calipers. Angier + and Alley are watching. + 106. + + + ANGIER + So the machine was working? + + ALLEY + I never bothered to check the + calibration. The hat never moved. + + TESLA + These things never quite work as + you expect them to, Mr. Angier. + That's one of the principal + beauties of science. + + Tesla looks carefully at the hat in his hands. It has a + tiny TEAR on the inside of the brim. He picks up another + hat. It has the same TEAR. + + TESLA + We'll need a couple of weeks to + iron out the- + (looks at hats) + -problems with the machine. I'll + send word when it's ready. + + Angier, still dazed, takes his cane and heads for the door. + + TESLA + Don't forget your hat. + + Angier stops and looks at the pile of hats. + + ANGIER + Which one is mine? + + TESLA + They are all your hat, Mr. Angier. + + Tesla smiles at him. + + +139 INT. BORDEN'S WORKSHOP - DAY 139 + + Borden's daughter, JESS, now four, runs into the room and + tries to hop up into his lap. Laughing, he helps her up. + + JESS + Are we going to the zoo this + afternoon, daddy? + + BORDEN + Daddy's got some business this + afternoon. + 107. + + + JESS + But you promised. + + BORDEN + Did I? + +Jess nods at him, solemnly. + + BORDEN + Then go to the zoo we shall. + +Borden holds the newspaper open for her to look at. + + BORDEN + (gestures to newspaper) + Who's that? + +A large advertisement features a picture of Borden: The +Professor- England's premiere magician! + + JESS + That's you, daddy? + +Borden picks up the girl off of his lap and stands. + + BORDEN + Daddy has some errands to run. I'll + be back before you know it, so get + ready. + +Borden walks to the door. As he does, Sarah enters, +avoiding his eyes, then ducking him as he tries to kiss +her. + +She reaches for the sherry decanter. He watches her pour. + +Sarah looks at him, eyes red from crying. + + SARAH + We each have our vices. + +Borden moves to her, gentle concern in his eyes. + + BORDEN + Sarah. Whatever you may think, your + only competitions for my affections + is my little girl. I love you. I + will always love you, and you + alone. + +She looks into his eyes. Fascinated. + 108. + + + SARAH + You mean it today. + + BORDEN + Absolutely. + + SARAH + That makes it so much harder when + you don't. + + She turns from him. Borden watches her sadly. Leaves. + + EXT. CANAL - AFTERNOON + + Borden walks along a disused stretch of industrial canal + that snakes through the poorer neighborhoods of the city. + + Borden wanders into a tunnel. Another man is waiting for + him - Fallon. + + Fallon hands Borden a folded piece of paper. He studies it. + + BORDEN + More shopping. She doesn't like the + smell of money, doesn't she? + + Fallon looks away. Borden tears up the paper. + + BORDEN + The little lady wants to visit the + Zoo, I thought you could take her. + I'll do it tomorrow, if not. + (looks at his feet) + Sarah... she knows. At least, she + knows things aren't right. + (looks at Fallon, + pleading) + Help me with her. Try and convince + her that I love her. Please. + + Borden, embarrassed, pats Fallon on the shoulder and makes + off down the path. Fallon sets off in the opposite + direction. + + +140 INT. OLIVIA'S APARTMENT 140 + + Olivia, barely wearing a dressing gown, answers the door to + Borden. She pulls him in, trying to draw him into a kiss, + but he backs away. + + OLIVIA + What is it. Freddy? + 109. + + + BORDEN + Please don't call me that. It's + nothing, just... sometimes things + seem... wrong. + + Olivia looks at him. Cold. + + OLIVIA + Freddy, I've told you before. When + you're with me, you're with me. + Leave your family at home where + they belong. + + BORDEN + I'm trying, Olivia. Please. + + OLIVIA + I'll get dressed. + + Borden watches her move down the hall. + + OLIVIA (O.S.) + I saw Fallon hanging around my + house again, after you left. + + Olivia comes back in, half-dressed. + + OLIVIA + There's something about him I don't + trust. + + BORDEN + You trust me? + (off her look) + Then trust Fallon- he protects the + things I care about. + + +141 EXT. CLIFF HOUSE INN - MORNING 141 + + Angier walks out from the lobby. The two MEN he saw before + are loading up their automobile. Smiling, laughing. + + +142 EXT. ROAD, PIKE'S PEAK - MORNING 142 + + The coach pulls to a stop. Angier and the driver look up. + + A plume of SMOKE is rising from further up the hill. + + +143 EXT. CLEARING, PIKE'S PEAK - MOMENTS LATER 143 + 110. + + + Angier rounds the bend in the road and comes into view of + the laboratory. He FREEZES. + + The fence has been TORN DOWN. Beyond it, the LAB has been + BURNED TO THE GROUND. The metal tower is in SMOLDERING + PIECES. Everything else is gone. + + Angier notices a piece of metal lying in the road near him, + and, using his cane, flips it over. It's Alley's sign + warning trespassers to keep out. + + +144 INT. ANGIER'S ROOM, CLIFF HOUSE INN - EVENING 144 + + Angier takes down the picture of Julia from the mantel. He + studies it a second then puts it in the top of his packed + suitcase. + + +145 INT. LOBBY, CLIFF HOUSE INN - MORNING 145 + + The BELLBOYS wrestle with Angier's cases as Angier walks to + the reception desk. The manager smiles up at him. + + MANAGER + We're sorry to see you go, Mr. + Angier. + + Angier takes out his wallet and begins laying down bills. + + MANAGER + We are sorry to see Mr. Tesla leave + as well. He was very good to + Colorado Springs. A very generous + man. + + Angier smiles up at him, absently and begins to leave. + + MANAGER + Mr. Angier? + (Angier turns) + I didn't feel it was necessary to + tell the other men about the box. + + Angier stops. + + ANGIER + What box? + + The manager smiles. + + +146 INT. HALLWAY, CLIFF HOUSE INN - MORNING 146 + 111. + + + Angier follows the manager down a darkened hallway. + + MANAGER + We never use these rooms in the off + - season. It's a shame. + + The manager stops at a set of DOUBLE DOORS and unlocks + them. + + He pushes them open and ushers Angier through. + + +147 INT. BALLROOM, CLIFF HOUSE INN - CONTINUOUS 147 + + Angier steps into the massive, elegant room. + + Standing on the dance floor is an ENORMOUS SHIPPING CRATE. + + Stencilled on one side "COLORADO SPRINGS" + + Angier walks up to the huge crate, awestruck. + + An envelope addressed to him has been stuck to the front. + + Angier stops it and begins to read. + + TESLA (V.O.) + My dear Angier, you will find what + you were looking for in the box. I + apologize for leaving without + saying goodbye... + + +148 EXT. TESLA'S LABORATORY - NIGHT - FLASHBACK 148 + + Under cover of night, a group of FIGURES ransack the + laboratory. + + TESLA (V.O.) + But I seem to have outstayed my + welcome in Colorado. + + The figure begin setting FIRE to the sides of the + laboratory. + + TESLA (V.O.) + The extraordinary is not permitted + in science and industry. Perhaps + you'll have more luck in your + field, mystified. As to the use of + the machine... + 112. + + +149 INT. ABANDONED THEATRE - NIGHT 149 + + The open crate sits empty at the side of a derelict stage. + + Angier, in shirt sleeves is running cables to the MACHINE, + which is standing center stage. + + TESLA (V.O.) + Alley has written you a thorough + set of instructions. I add only one + suggestion on using the machine- + + +150 EXT. COLORADO SPRINGS - NIGHT - FLASHBACK 150 + + Alley holds open the door to a coach. Tesla steps up into + it and looks back from the coach's open door, up the + mountain. + + TESLA (V.O.) + -Destroy it. Drop it to the bottom + of the deepest ocean. + + High on the mountain, the laboratory is ABLAZE. + + TESLA + Such thing will only bring you + misery. + + Tesla folds himself into the coach, shutting the door as it + moes off down the mountain. + + +151 INT. ABANDONED THEATRE - NIGHT 151 + + Angier moves to one side of the stage where he makes a hash + mark with a piece of chalk. + + ANGIER (V.O.) + Tesla's warning is as unheard as he + knew it would be. Today I tested + the machine... + + He loads A GUN and places it next to the machine. + + ANGIER (V.O.) + Taking precautions in case Tesla + hadn't ironed out the kinks in its + operation... + + Angier THROWS THE SWITCH. The machine GROANS into LIFE- + SPARKING and GLOWING as it gets up to full power. + 113. + + + ANGIER (V.O.) + ...if it went wrong I would not + want to live like that for long... + + Angier closes his eyes for an instant, listening to its + power, then THROWS HIMSELF INTO THE MACHINE. HE IS CONSUMED + BY LIGHT... + + WHITE SCEEN- + + ANGIER (V.O.) + But here, at the Turn, I must leave + you, Borden... + + The WHITS becomes handwriting an a page and we are- + + +153 INT. PRISON CELL - DAY 153 + + Borden STARES at Angier's journal in disbelief. + + ANGIER + Yes, you, Borden. Sitting there, in + your cell, reading my diary. + Awaiting your death. For my murder. + + Borden SLAMS the journal shut. Staring at it. + + +154 EXT. PRISON CELL, NEWGATE PRISON - DAY 154 + + BORDEN stands at the fence again. + + OWENS + Lord Caldlow was happy to hear that + you'd reconsidered his offer. + + BORDEN + Angier's journal, the "gesture of + good faith"? It's a fake. + + OWENS + (surprised) + I assure you it's not. + + BORDEN + It has to be- it refers to events + that happened after his death. + + OWENS + 114. + + + Clever predictions, I'm sure. The + provenance of the journal is clear + and under no doubt. It's written in + Angier own hand, of which we have + numerous examples. + (looks at Borden) + What makes you think it's a fake? + + Borden looks away, uncomfortable. + + BORDEN + It doesn't matter. + + Borden leans forward and stuffs ROLLED PAPERS through the + fence. Owens takes them carefully. + + BORDEN + My tricks. All of them. + + OWENS + Including the Transported Man? Lord + Caldlow will be very pleased. + + BORDEN + No he won't. They're not complete- + you only have the Pledge and Turn + for each. + + Owens leaves through the papers, annoyed. + + OWENS + Without the Prestige for each trick + these are worthless. + + BORDEN + You'll get the rest after you bring + my daughter here. + + Owens looks at Borden. + + BORDEN + I want to say goodbye. + + +155 INT. BORDEN'S HOUSE - NIGHT 155 + + Jess sits at the foot of the stairs, listening to her + parents SHOUT at each other in the living room. She is + CRYING. + + BORDEN (O.S.) + Stop it! Just stop it! + 115. + + + SARAH + Deny it all you want- I know! + + +156 INT. LIVING ROOM, BORDEN'S HOUSE - CONTINUOUS 156 + + Sarah is WILD, eyes red, hair a mess. Utterly DISTRAUGHT + Borden is trying to calm her. + + BORDEN + Sarah, it's not true! I've told you + Olivia means nothing to me! + + SARAH + I'll go yo her! I know what you + really are, Alfred! + + BORDEN + (quietly firm) + Sarah. You can't do that. + + +157 INT. HALLWAY, BORDEN'S HOUSE - CONTINUOUS 157 + + Jess looks up. Fallon is standing above her. Listening. + + SARAH (O.S.) + I'll do what I have to! + + Jess reaches up a hand. Fallon takes it in his. + + BORDEN (O.S.) + Sarah, you can't talk like this! + + +158 INT. LIVING ROOM, BORDEN'S HOUSE - CONTINUOUS 158 + + Sarah turn to face Borden. Desperate. + + SARAH + I can't live like this! + + BORDEN + (angry) + What do you want from me! + + Sarah pauses. Catches her breath. + + SARAH + (quiet) + I want you to be honest with me. No + tricks, no lies, no secrets. + 116. + + + Borden calms. Looks into her eyes. Nods. + + SARAH + Do you love me? + + Borden looks into her eyes. Sincere. + + BORDEN + Not today. + + Sarah takes this in. Borden watches, helpless. + + SARAH + (whispers) + Thank you. + + Borden watches her turn away from him. + + +159 INT. HALLWAY, BORDEN'S HOUSE - CONTINUOUS 159 + + Jess reaches up to Fallon with her other hand. He takes her + gently in his arms. We stay on Jess's tear-stained face + over Fallon's shoulder as he carries her up the stairs. + + +160 INT. BORDEN'S WORKSHOP - MORNING 160 + + CLOSE ON A POSTER: Borden, in costume, looking intense: THE + PROFESSOR- MASTER OF DARK FORCES. As we PULL BACK we hear a + GENTLE CREAKING... + + PULL BACK past a hanging PAIR OF FEET, one shoe missing... + wider shows up that it is SARAH, HANGING BY HER NECK FROM A + BEAM IN THE MIDDLE OF THE SHOP. Gently swinging. + + +161 INT. PUBLIC HOUSE - NIGHT 161 + + Cutter is finishing his meal at the bar. He goes to take a + swig from his pint and FREEZES- at the bottom of the glass: + A PLAYING CARD. He looks around the bar. No one he + recognizes. He reaches into the glass. + + Cutter pulls out the card- an ADDRESS is written up one + side. + + +162 EXT. ABANDONED THEATRE - NIGHT 162 + + Cutter walks along labyrinthine streets. Stops at an + ABANDONED THEATRE. He looks up at the building, then + enters. + 117. + + +163 INT. ALBERT HALL - EVENING 163 + + Cutter makes his way past the tattered box office and into + the derelivt auditorium. + + In the middle of the room is the CRATE. Cutter stands and + stares at it. + + MALE VOICE (O.S.) + Who's there + + Cutter turns. A STAGEHAND. His eyes are solid white. The + man is clearly BLIND. + + CUTTER + I- I'm looking for an old friend- + + ANGIER (O.S.) + I heard about a booking... + + Cutter turns. Angier is behind him, leaning on his cane. + + Beside Angier is a SECOND BLIND STAGEHAND. + + ANGIER + Nice little theatre. Good up-and- + coming magician. + + CUTTER + You came back. + + ANGIER + It's a good to see you, John. + + Cutter sizes Angier up. Looks around the theatre. + + CUTTER + Good rehearsal space. Blind + stagehands. I like it- + (knowing smile) + You always had an eye for + publicity. + + Angier sits in one of the stalls. Cutter follows suit. + + ANGIER + I need your help, John. My last + show. A limited engagement. + + CUTTER + Your last show? + 118. + + + ANGIER + A wise man once told me that + obsession was a young man's game. + I'm almost done. One thing left... + (points at crate) + The real Transported Man. + + Cutter stares at the crate. + + CUTTER + You want to design a show around + it? + + ANGIER + i don't want you backstage, I need + you front of house, managing. + + Cutter considers this. Uncertain. + + ANGIER + i need you calling in any favours + and connections you have left to + get us the right booking for the + run. + + CUTTER + What sort of booking are you after? + + ANGIER + The sort that Borden can't ignore. + + Cutter looks at Angier. Nods. + + +164 EXT. ABANDONED THEATRE - DAY 164 + + A long, expensive CARRIEGE creeps out to a halt outside the + abandoned theatre, and the confused driver pulls over. + + DRIVER + This is the address, sir. + + The carriage opens, an imposing man in his 50's steps out, + looks the place up and down, then heads inside. + + +165 INT. ABANDONED THEATRE - CONTINUOUS 165 + + The man enters the auditoruim and stares downat the + BRIGHTLY LIT STAGE. + + Cutter moves quickly up the aisle, hand outstretched. + 119. + + + CUTTER + Mr.Ackerman. It's an honor to see + you again, sir. + +Ackerman shakes Cutter's hand. + + ACKERMAN + When you said you only wanted to + show me one trick it piqued my + interest. + + CUTTER + It's a very special trick. + Mr.Ackerman. + +Angier has appeared. + + ANGIER + Pleased to meet you, Mr. Ackerman. + + ACKERMAN + Likewise, I'm sure. Let's get on, + shall we? + +Angier smiles. + + CUTTER + (down to stage) + Turn it on, please. + +After a moment, the machine SPARKS INTO LIFE. ELECTRIC +BOLTS CASCADE from the GLOBE and SPLASH on the stage. + + ACKERMAN + Very pretty. + +Angier smiles at Cutter and head back down the stage. he +STEPS himself into the machine and DISAPPEARS. + +The machine SPUTTERS out and is silent. + + ACKERMAN + That's it, Cutter? He simply + disappears? That's not a trick. He + has to come back. There has to be + a- + + VOICE (O.S.) + -a Prestige? + + ACKERMAN + Exactly- + 120. + + + Ackerman begins to turn around- then STOPS- + + ANGIER IS STANDING DIRECTLY BEHIND HIM. + + Ackerman is dumfounded. He looks back down at the stage. + + ACKERMAN + (quiet, haunted) + Pardon me. It's very rare to see... + real magic. it's been many years + since I've seen... + + Anckerman steadies himself; + + ANGIER + Are you interested in helping us? + + ACKERMAN + (nods) + Yes. But you'll have to dress it up + a little. Disguise it. Give them + enough reason to doubt it. + + +167 INT. STAGE MANAGER'S OFFICE, PANTAGE'S THEATRE - DAY 167 + + Merrit sits eating a sandwich. The door to his office opens + and ACKERMAN strides in. Merrit STRUGGLES to his feet. + + MERRIT + (surprised) + Mr. Ackerman. When they said...I + didn't think you'd be here in + person. + + Ackerman sits without being asked to. + + ACKERMAN + I have an act for your venue. + + MERRIT + (flustered) + Well, of course, sir...But I'm + afraid I'm booked. The Moscow + Ballet. They're playing through + next year. + + ACKERMAN + Get rid of them. This is a magical + act. An excellent one. I believe + you booked his first engagement + several years ago. The Great + Danton. + 121. + + + MERRIT + You really want me to- + + Ackerman stands. + + MERRIT + I'll do it. Of course. + + Ackerman picks up a pen and paper from Merrit's desk. + + ACKERMAN + (smiles) + There will be one hundred + performances. No more, no less. + Five performances a week. No + matinees, no weekends. + + Ackerman scribbles onto the paper and hands it to Merrit. + + ACKERMAN + (smiles) + And that's what you'll be charging + for each ticket. Good day. + + Ackerman sweeps out of the room, leaving Merrit + dumbfounded, staring at the scrap of paper in his hands. + + +168 INT. RESTAURANT - EVENING 168 + + Olivia and Borden are seated across from each other, + finishing their meal. Olivia watches Borden eat. + + OLIVIA + You haven't spoken about her, + Freddy. Not once. + + BORDEN + Who? + + OLIVIA + Don't be cruel. + + BORDEN + Why would I talk about her to you? + + OLIVIA + Because she was part of your life + and now she's gone. + + Borden says nothing. + + OLIVIA + 122. + + + She wanted to meet me the day + before she killed herself. Said she + had something to tell me about you. + (looks away) + I was such a coward, I couldn't + bring myself to face her. + (looks at Borden) + What would she have said, I wonder? + + BORDEN + (snaps) + You want the truth about me, + Olivia? + (she nods, wary) + I never loved Sarah. + + OLIVIA + (appalled) + You married her, had a child with + her- + + BORDEN + Part of me loved her. But part of + me didn't. The part that found you. + The part that's sitting here now. I + love you. That is the truth that + matters. + +Olivia tosses her napkin on her plate. + + OLIVIA + You could be sitting in some other + restaurant talking to some other + woman about me that way. It's + unhuman to be so cold. + +Borden watches her rise from the table. She looks at him. + + OLIVIA + By the way, have you seen who's + opened at the Pantages? + (Borden shakes head) + The Great Danton. + + BORDEN + He's back? + + OLIVIA + After two years. And he has a new + trick. They're saying it's the best + that London's ever seen. + +Borden cannot hide his reaction. + 123. + + + OLIVIA + If you could see the look on your + face, Professor. You should go to + him- you deserve each other. + + Olivia smiles at him and leaves. + + +169 INT. PANTAGE'S THEATRE - EVENING 169 + + Borden, in disguise, takes his seat halfway along the + aisle. + + The lights dim. Curtains RISE on a simple stage. Bare + except for a WATER-FILLED GLASS TANK. + + Borden STIFFENS in his seat, perplexed. + + Angier limps onto the stage. Addresses the audience. + + ANGIER + Ladies and gentlemen, my first + trick of the evening is one that + involves considerable risk. + (removes his coat) + Anyone in the audience who would be + irrevocable damaged by seeing a man + drown should leave now, for when I + tell you that the young lady who + taught performing it, you will + understand the seriousness of the + danger involved. + + Borden watches the hook descend from the flies. + Remembering. + + INSERT CUT: Borden STARES as Angier desperately BRUSHES the + water from Julia's face. + + +170 INT. PANTAGE'S THEATRE - LATER 170 + + Angier steps forward as another curtain is drawn up behind + him, revealing TESLA'S MACHINE. + + ANGIER + In my travels I have seen the + future, and it is a strange future + indeed. The world is on the brink + of new and terrifying + possibilities. + 124. + + + The audience RECOILS in terror as the MACHINE is STARTED + and BOLTS fly from it. SMOKE drift over the audience. + + Borden inches forward in his seat. Angier stands in front + of the machine, silhouetted by the FRENZY of electricity + behind him. He TOSSES his cane to his assistant and steps + into the machine. + + The audience SCREAMS as large bolts BLAST from the machine + and wrap themselves around ANGIER'S ARMS and legs. + + Borden is watching very carefully. Angier is almost + impossible to see as the machine builds to a climax, but, + just before it does; Borden catches a glimpse of ANGIER'S + BODY FALLING THROUGH A TRAP DOOR. + + The machine sputters out. Angier has DISAPPEARED. The + lights are dim. A FOLLOW SPOT FIRES into the BOXES, + audience looks up with a gathering commotion- + + ANGIER IS STANDING ON THE RAIL OF THE ROYAL BOX, thirty + feet above stalls. He smiles down at the audience. + + ANGIER + Man's reach exceeds his + IMAGINATION! + + The audience breaks into a MASSIVE STANDING OVATION. + + +171 INT. BORDEN'S WORKSHOP - DAY 171 + + Fallon is at the workbench, staring at a sketch of Tesla's + machine. Borden paces, AGITATED. + + BORDEN + Why only 100 performances? Do his + methods dictate it, or is it simply + a publicity move? + + Borden walks back and stares at the sketch. + + BORDEN + Fifty yards in a second. And all I + know is that he uses a trapdoor. + What's going on under that stage? + + +172 EXT. PANTAGE'S THEATRE - NIGHT 172 + + The theatre is closed, and tree BLIND STAGEHANDS are + wrestling a TARP-WRAPPED BOX onto a cart in the alleyway + behind the theatre. + 125. + + + Fallon is watching from the shadows. + + +173 EXT. LABYRINTHINE STREETS - CONTINUOUS 173 + + Fallon shadows the cart as it slowly makes its way. + + +174 EXT. ABANDONED THEATRE - LATER 174 + + Fallon watches from further down in the alley as the Blind + Stagehands unload the box onto a dolly and wheel it through + the stage door. + + He moves closer, then STOPS. Seeing something. CUTTER has + emerged from a nearby doorway and slipped through the stage + door. + + +175 INT. ABANDONED THEATRE - CONTINUOUS 175 + + The blind stagehand wheel the tarp-covered box to two LARGE + METAL DOORS in the floor of the auditorium and start + hooking it up to a winch. The metal doors open with a metal + HOWL... Cutter slips down the aisle. WATCHING. + + BLIND STAGEHAND + WHO'S THERE! + + The man turns precisely to Cutter, flashing his white eyes. + + CUTTER + It's Cutter. + + BLIND STAGEHAND + What do you want? + + CUTTER + I'm looking for Angier. + + ANGIER + You found him. + + Cutter turns. Angier approaches. + + ANGIER + I told you, John- I don't want you + backstage on this one. + + CUTTER + What are they doing? + 126. + + + ANGIER + Disposing of the Prestige + materials. + + Cutter looks down at the BLACK HOLE in the floor. + + CUTTER + What's down there? + + Angier looks at him, serious. + + ANGIER + Do you really want to know? + + Cutter considers Angier's grave tone. + + CUTTER + Perhaps not. + + Cutter leaves by the stage door. + + +176 INT. BORDEN'S WORKSHOP - DAY 176 + + Borden sits at his work bench. Fallon fiddles with his + howler hat. + + BORDEN + They do this every night. After + each performance? + + Fallon nods. Borden gets to his feet with a sigh. Turns to + a POSTER on the wall- "The Great Danton Perform THE REAL + TRANSPORTED MAN- 100 SHOWS ONLY" + + He studies the image of Angier. There is a small DEVIL + looking over his shoulder. + + BORDEN + We're done. + (turns to Fallon) + Let him have this trick. You're not + to go back there. I don't need to + know his secret. Leave him alone. + + Fallon puts on his hat with a shrug. + + +177 INT. PANTAGE'S THEATRE - EVENING 177 + + A packed house. Many hands raised. Move in on a BEARDED + MAN, his gloved hand tentatively rising into the air. IT IS + BORDEN. + 127. + + + A GLAMOROUS ASSISTANT beckons Borden from the aisle. He + shuffles along his row towards her. Embarrassed. + + Borden and four other VOLUNTEERS follow the Assistant down + towards the stage... + + On which stands Angier, leaning on his cane, smiling. + Looming over him is the large and complex ELECTRICAL + MACHINE. Borden STARES at the machine as he mounts the + stage. + + Borden, FASCINATED, and the other volunteers look over the + vast machine. As Angier GESTURES theatrically at the + various features of the metal and glass apparatus. + + As the Assistant leads the Volunteers to the side of the + stage, Borden slips through the gas at the side of the + curtains- + + +178 INT. PANTAGE'S THEATRE, BACKSTAGE - CONTINUOUS 178 + + -looks around, disoriented, then darts for some stairs + leading below stage where he runs into a burly STAGEHAND. + + STAGEHAND + Where'd you think you're going? + + Borden pulls off his beard. + + BORDEN + I'm part of the act, you fool! + + The Stagehand raises his eyebrows and steps aside. Borden + RACES down below the stage. Cutter approaches the + Stagehand. + + CUTTER + Who was that? + + +179 INT. PANTAGE'S THEATRE, ONSTAGE - CONTINUOUS 179 + + Angier throws switches on his machine. As it GROANS into + life, SPARKING and CRACKLING, Angier glares at it, + forgetting his audience. Entranced. Possessed. + + +180 INT. BENEATH THE STAGE - CONTINUOUS 180 + 128. + + + Borden fumbles through the darkned area, lit by flashes and + sparks through gaps in the boards of the stage above. He + GASPS as a flash illuminates a STAGEHAND with SOLID WHITE + EYES sitting nearby. Borden waves a hand in front of the + Stagehand's face. He is BLIND. Borden moves on. + + +181 INT. PANTAGE'S THEATRE, ONSTAGE - NIGHT 181 + + Angier, facing the audience, steps backwards into the + machine. + + He looks up at the electricity sparking just above him. + + +182 INT. BENEATH THE STAGE - CONTINUOUS 182 + + Borden lights a MATCH. In front of him is a LARGE GLASS + TANK FILLED WITH WATER, ITS LID PROPPED OPEN. Borden + frowns. + + +183 INT. PANTAGE'S THEATRE, ONSTAGE - CONTINUOUS 183 + + BOLTS of electricity draw inwards, wrapping Angier in a + ball of LIGHTING which CRACKS- + + +184 INT. BENEATH THE STAGE - CONTINUOUS 184 + + The ROOM fills with light as a TRAPDOOR snaps open and a + BODY DROPS INTO THE TANK. The lid of the tank and trapdoor + above SNAP SHUT, leaving the tank, and Borden, in complete + DARKNESS. + + +185 INT. PANTAGE'S THEATRE, ONSTAGE - CONTINUOUS 185 + + The Machine sputters to a stop. Angier is GONE. The + audience sits, WAITING. + + +186 INT. BENEATH THE STAGE - NIGHT 186 + + Borden the tank, ANGIER IS DROWING. His rolling EYES fixed + on Borden, he POUNDS desperately on the thick glass, + SCREAMING BUBBLES... + + Borden, HORROFIED, tries forcing the lift out the tank + open. + + It's sealed shut. He leaves the tank and begins searching + around under the stage. He finds a SPANNER. + 129. + + + Borden SMASHES again and again at the glass of the tank, + which spiders, then CRACKS, and finally GIVES WAY. + + WATER bursts from the tank, sweeping Angier's body into + Borden, and both of them onto ground. + + Above them we can hear YELLING. Borden rolls Angier onto + his side and POUNDS on his back. Water and blood OOZE from + the man's lungs. His eyes are dilated and lifeless: + + ANGIER IS DEAD. + + Borden is frozen, unable to move. + + Cutter appears behind him, SHOCKED by what he sees. Borden + turns to look at him, his eyes wild with confusion. + + CUTTER + What did you do? + + +188 INT. MORQUE - EVENING 188 + + A MORTICIAN pulls back a sheet draped over a CORPSE. + + Angier's lifeless eyes stare up at us. Cutter looks at + Angier, the up at the Mortician. Nods. + + JUDGE (V.O.) + Alfred Borden, you have been found + guilty of the murder of Robert + Angier... + + +189 INT. COURTROOM - DAY 189 + + Borden stands chained to the dock. The JUDGE has a piece of + black cloth draped over his wig. + + JUDGE + You will, in one month's time, be + hanged by the neck until dead. May + the Lord have mercy on your soul. + + +190 INT. EVIDENCE ROOM, WAREHOUSE - DAY 190 + + A POLICEMAN shows Owens into the room, walking him past all + of the equipment to the far end where Cutter stands staring + at the MACHINE'S CRATE. + + OWENS + Mr. Cutter? + 130. + + + (Cutter turns) + Owens. + +They shake hands. + + CUTTER + Thank you for coming, Mr. Owens. + It's fallen to me to dispose of Mr. + Angier's equipment. Looking at the + manifest, it's cleat that Lord + Caldlow has purchased the bulk of + the items. + + OWENS + Mr.C utter, if you needed to know + where to deliver the items you + surely could have just- + + CUTTER + It's not just that, Mr. Owens. + There is a particular item + (turns to crate) + This time, in fact, that I wish + to... well, that is to say, I want + to- + + OWENS + You want to buy it instead. + + CUTTER + I suppose so, yes. + +Owens moves closer to the crate. Sees the COLORADO SPRINGS +stencil. + + OWENS + This is the machine? + (off look) + I'm afraid Lord Caldlow was adamant + about procuring this particular + item. + + CUTTER + Perhaps if I could talk to Lord + Caldlow in person. + + OWENS + Out of the question, I'm afraid. + +Cutter nods. Owens starts to walk away. Turns. + + OWENS + 131. + + + of course, I suppose... if, in the + course of your delivery + arrangements your paths were to + cross... I can't stop you from + speaking your mind. + + Cutter nods. + + +191 INT. CONDEMNED MAN'S CELL, NEWGATE PRISON - MORNING 191 + + Borden is sitting quietly in a large cell. + + Sullen opens the door. + + SULLEN + (sardonic) + Still here, Borden? + + Borden looks up. + + BORDEN + For now. + + SULLEN + Got a visitor. Lord Caldlow. With a + little girl. + + Borden HURRIES to his feet. + + +192 EXT. PRISON YARD, NEWGATE PRISON - DAY 192 + + Borden, clutching an envelope, is escorted across the yard, + PEERING at the fence. He catches a glimpse of this daughter + waling beside a man on the wooden section. + + As Borden reaches the fence he CROUCHES to greet his little + girl, forcing the Sullen and the other Warder to crouch to + undo his chains. + + BORDEN + Jess, how are you? + + Jess SMILES at him and reaches through the fence. + + BORDEN + Are you alright? + + She nods. + + BORDEN + 132. + + + I've missed you. Fallon's missed + you. We both have. + +Borden drinks in her glace, her hair. She grasps the fence. + + JESS + Can I come in there, Daddy? + + BORDEN + Everything's going to be okay. + +It is only then that he notices the HAND ON HER SHOULDER. + +He rises to come face-to-face with Lord Caldlow- + + BORDEN + You must be Lord- + +-who is ROBERT ANGIER. Risen from the dead. + + ANGIER + (English accent) + Caldlow. Yes, I am. I always have + been. + +Borden STARES at Angier. + + BORDEN + I saw you die. + +Angier just SMILES. + + ANGIER + They flatter you with all those + chains, Alfred. Don't they know you + can't escape without your little + rubber ball? + +Borden says nothing. + + ANGIER + All I wanted to do was prove that I + was the better magician. But you + couldn't leave me alone. + + BORDEN + You were always afraid to get your + hands dirty... + (looks down at his Jess) + Not anymore. + + ANGIER + 133. + + + No. Not anymore. And I win. Because + no one cares about the man in the + box, the man who disappears. + + BORDEN + You win. But don't take my little + girl... + +Angier looks at Borden. Bitter + + ANGIER + I know how hard it is to have + someone so precious taken away, + don't I + + ANGIER + Borden? But you can't take her with + you know, can you? She'll be looked + after. Good-bye, Professor. + +Angier gently pulls Jess back from the fence. She PROTESTS +Desperate, Borden holds out the envelope. + + BORDEN + Wait. Don't you want this? You paid + for it. + + ANGIER + Your secret. + +Borden nods. Angier steps up, takes the envelope. + + ANGIER + You always were the better + magician, Borden. We both know + that. + +HE TEARS the envelope in half. Then again. And again... + + ANGIER + But whatever your secret was, + you'll have to agree- + +He tosses the peices on the ground. + + ANGIER + (victorious) + -mine is better. + +Angier TURNS. + + BORDEN + 134. + + + Angier! Let me say good-bye. + Please. + + Angier stops. Lets Jess come to fence. She is crying. + + JESS + When are you taking me home, Daddy? + + BORDEN + Soon. I promise. Soon. + + ANGIER + For God's sake, Borden. + + BORDEN + Daddy's coming, I promise. I + promise. Here- + + Borden PRODUCES his RUBBER BALL. Jess looks at it. + + BORDEN + I promise. + + Borden VANISHES the rubber ball. ANgier pulls Jess back + from the fence and starts walking away. Borden rises. + + BORDEN + You think this place can hold me, + Angier? + + Angier continues walking Jess away. Shaking this head. + + BORDEN + Angier! + + Borden is alone. He watches as the wind scatters the pieces + of his prestige over the muddy yard. + + +193 EXT. LARGE COUNTRY ESTATE - EVENING 193 + + Angier steps out of an ornate carriage with Jess. + + +194 INT. LARGE COUNTRY ESTATE - EVENING 194 + + Angier steps inside with Jess. The HOUSEKEEPER comes to + take her. + + HOUSEKEEPER + Come here, love. + (to Angier) + 135. + + + Sir, there's gentleman waiting. + + Angier looks at her, surprised. + + +195 INT. DRAWING ROOM, COUNTRY ESTATE - CONTINUOUS 195 + + Cutter is in the drawing room, looking at the carriage + clock on the mantle. Angier enters. Cutter spots his + reflection. + + CAPTAIN + Dead God. + + ANGIER + Hello, Cutter. + + CUTTER + You're alive. + (Angier nods) + You're Lord Caldlow. + (Angier nods again) + How? + + ANGIER + (shrugs) + I learned an American accent from- + + CUTTER + (Angry) + How are you alive, Robert?! I saw + you on the slab, for God's sake. + + Angier fixes Cutter with a steady gaze. + + ANGIER + I magician never reveals his + secrets. + + The Housekeeper appears with Jess at her side. + + HOUSEKEEPER + Go on, child. + + Angier smiles kindly at her. + + ANGIER + Good night, Jess. + + They leave. + + CUTTER + Who's the girl? + 136. + + +Angier says nothing. + + CUTTER + I've seen her. I've seen her in + court with Fallon... + +Cutter, realizing, looks at Angier, SHOCKED. + + CUTTER + (quiet) + What have you done? + + ANGIER + She needs looking after- + + CUTTER + She needs her father, but you're + letting him hang. And I helped you. + +Cutter moves to the door. In a daze. Pauses. + + CUTTER + I came here tonight to beg Lord + Caldlow to let me destroy that + machine. But I won't beg you for + anything. + + ANGIER + You don't have to. I'm going to + make sure the machine. is never + used again. + (shrugs) + A good magician never repeats his + tricks. + +Cutter considers this. Makes a decision. + + CUTTER + Then, Lord Caldlow, where would + like me to deliver it? + + ANGIER + My theatre. It belongs with the + Prestige materials. + +Cutter looked at Angier. Sad. + + CUTTER + I once told you about the sailor + who described droning to me... + + ANGIER + (nods) + 137. + + + He said it was like going home. + + CUTTER + I was lying. He said it was agony. + + Cutter opens the door. Angier watches him go. + + +196 EXT. PRISON YARD, NEWGATE PRISON - MORNING 196 + + Borden is at the fence. Fallon is on the other side. + + BORDEN + We go alone now- both of us. Only I + don't have as far to go as you. + + Borden looks down at his feet. + + BORDEN + You were right. I should've left + him to his damned trick... I'm + sorry. I'm sorry for so many + things. For Sarah. I didn't want to + hurt her. + + Fallon wipes tears from his face. Borden looks at him. + + BORDEN + Don't cry. Not for me. Go live your + life in full. For both of us. + + Borden pulls the RUBBER BALL from his pocket and BOUNCES it + up and down. He TURNS to be led back into the prison, + DROPPING the ball. + + The ball bounces gently past the fence. Fallon catches it. + + +197 INT. PRISON CORRIDOR, NEWGATE PRISON - MORNING 197 + + Borden is led along the empty corridor, braced by six + guards. + + The procession stops at a large windowless metal door, sunk + deep into the wall. Sullen opens the door and Borden is led + inside. As Borden passes Sullen he leans in to his ear- + + BORDEN + (quiet) + Are you watching closely? + + Sullen stares back at him, terrified. + 138. + + +198 INT. DEATH CHAMBER, NEWGATE PRISON - CONTINUOUS 198 + + The room is low and small. Two parallel beams, eight feet + high, run from one wall to the other. Hanging from the + center of the beams is a chain. Below the chain is a trap + door. + + Sullen locks the door to the chamber. + + +199 EXT. LARGE COUNTRY ESTATE - DAY 199 + + Jess is playing in the grounds. A NURSEMAID some distance + off chats to a GARDENER. + + Jess looks up from playing. Someone is there. Cutter. + + +200 EXT. ABANDONED THEATRE - EVENING 200 + + A CART pulls up to the side of the theatre. + + Cutter and two WORKMEN step down from the cart and move to + the back of it. Cutter pulls the tarp off the back of the + cart. Underneath it is the MACHINE's CRATE. + + +201 INT. ABANDONED THEATRE - EVENING 201 + + The crate is sitting on the dolly in the auditorium. + + CUTTER + Thank-you gents. + + WORKMAN + Where do you want it? + + CUTTER + Don't worry. Someone's coming to + help. + + The workmen leave. Cutter looks at the crate. + + Angier emerges from the darkness. + + +201A INT. DEATH CHAMBER 201A + + The warders remove Borden's chains and shackles and replace + them with strong leather belts that bind his feet together + and his hands to his sides. + 139. + + + They shuffle him forward onto the trapdoor. + + +202 INT. ABANDONED THEATRE - NIGHT 202 + + Angier and Cutter load the crate onto a platform suspended + by a rope. Angier pulls open the two metal doors sunk into + the floor. + + Cutter begins turning a WHICH, lowering the crate into the + HOLE. Angier indicates a pile of bricks and a bag of sand. + + CUTTER + I'm bringing this over after we're + done. + + ANGIER + Cautions as ever, Cutter. No one's + going to use the place. I own it. + + +203 INT. CELLAR, ABANDONED THEATRE - EVENING 203 + + Angier slowly climbs down a ladder from the hole to join + Cutter in the darkness below. + + Cutter is standing next to the platform and the crate. The + only night comes from a LANTERN Angier is carrying. We can + see only a small flicker of the high moldy walls of the + cellar, but it is a large open space. + + CUTTER + No room left- you couldn't have + accommodated 100 performances. + + ANGIER + It's a good thing I retired early + then. + + Angier puts the lantern and his cane on the lift of the + crate and the two men left it off the platform. + + ANGIER + We'll put it down the end. + + Angier and Cutter move into the darkness with the crate. + + From the small pool of light afforded by the lantern, we + can see that they are navigating their way through a large + space filled with LARGE GLASS BOXES. + + They arrive at the end and set the crate down. + 140. + + + CUTTER + I'll go mix the cement. + + Cutter looks at Angier, cold. + + CUTTER + Take a minute to consider your + achievement. + + Cutter turns. + + ANGIER + Cutter, I tried not to involve you. + + Cutter looks at Angier. Nods. Then disappears into + darkness. + + +204 INT. ABANDONED THEATRE - MOMENTS LATER 204 + + Cutter comes across the stage and up through the + auditorium. + + Fallon is coming in the other direction. + + As they pass they nod gravely at each other. + + +205 INT. DEATH CHAMBER, NEWGATE PRISON - DAY 205 + + Borden is held in place by the trapdoor by two warders. The + HANGMAN walks up behind him and attaches a NOOSE to the + chain hanging above Borden. He slips the other end of the + noose over Borden's neck. Positions it under Borden's jaw. + + +206 INT. CELLAR, ABANDONED THEATRE - CONTINUOUS 206 + + Angier is alone bather in the light of the lantern. He + turns to the nearest glass box and smoothest a hand along + its face. + + ANGIER + (whisper) + No one cares about the man in the + box. + + Behind him, a NOISE. + + ANGIER + (calling) + Cutter? + 141. + + + No responses. + + +207 INT. DEATH CHAMBER, NEWGATE PRISON - DAY 207 + + They WRDEN looks at Borden. + + WARDEN + Alfred Borden, on this day, in the + name of the King and the high court + of England, you will meet your end. + Do you have anything to say for + yourself. + + Borden says nothing. The Warden gestures to the Hangman who + begins to PULL the lever. + + BORDEN + (whisper) + Abracadabra. + + The trap DROPS from under Borden and he FALLS into the room + below. His rope SNAPS to a halt- + + +208 INT. CELLAR, ABANDONED THEATRE - NIGHT 208 + + Angier PEERS down the row of glass boxes with the lantern. + + ANGIER + (tense) + CUTTER? + + Angier FREEZES. He can hear a small THUD, THUD, THUD + getting closer, approaching from the darkness... + + Angier FLINCHES as a RUBBER BALL bounces into the light- + Angier DROPS his cane to CATCH the ball. He turns it around + in his hands, confused. + + Light EXPLODES around him as a GUNSHOT rings out. + + Angier stands for a moment, confused, staring at the ball, + then COLLAPSES to the ground, clutching at his stomach. + + Fallon's BOWLER HAT breaks into the circle of light. he is + holding a smoking pistol... + + Angier drops the ball and it rolls across the floor, coming + to rest at Fallon's feet. But it is not Fallon's gloved + hand that picks up the ball- + 142. + + + -it is a MUTILATED HAND, WITH 2 1/2 FINGERS MISSING. Angier + looks up: + + ALFRED BORDEN REMOVES THE BOWLER HAT AND TAKES A BOW. + + ANGIER + (weak) + You- you died. + + Borden shakes his head. + + Realization sweeps over Angier like a nightmare. + + ANGIER + A brother. A Twin. + + +209 INT. BASEMENT - CONTINUOUS - FLASHBACK 209 + + Fallon DROPS into the coffin. As Fallon stares up at us, WE + SEE, FOR THE FIRST TIME, SOMETHING FAMILIAR IN HIS FACE - + + FALLON IS REALLY BORDEN IN DISGUISE. + + ANGIER + You were Fallon. The whole time... + + Fallon/Borden's face disappears as Cutter seals his coffin. + + +210 INT. CELLAR, ABANDONED THEATRE 210 + + Borden smiles. + + BORDEN + We were both Fallon. And we were + both Borden. + + Angier considers this. Minds spinning. + + ANGIER + Were you the one who went into the + box- + + +211 INT. STAGE - EVENING - FLASHBACK 211 + + As the ball bounces across the stage, Borden steps into the + cabinet, shutting the door behind him. + + ANGIER (V.O.) + -or the one who come back out? + 143. + + + Borden steps out of the second cabinet and catches the + ball. + + INT. DRESSING ROOM - EVENING - FLASHBACK + + A stagehand wheels the two stage cabinets into the dressing + room and leaves. Borden holts the door after him. + + BORDEN (V.O.) + We took turns. The trick is where + we would swap... + + Borden opens the first cabinet and pulls up the false + bottom. + + His TWIN BROTHER, in identical stage clothes, uncurls + himself from the hidden compartment and hauls himself out. + + +212 INT. DRESSING ROOM - LATER - FLASHBACK 212 + + Fallon and Borden are seated at the makeup table. Fallon + begins removing pieces of his costume and makeup and + handing them to the other brother. As we watch, THEY SWITHC + INDENTITIES. + + +213 INT. CELLAR, ABANDONED THEATRE - EVENING 213 + + Angier stares up at Borden. Appalled. + + ANGIER + Cutter knew. But I told him it was + too simple. Too easy. + + BORDEN + Simple, maybe. But not easy. + + +214 INT. WORKSHOP - EVENING - FLASHBACK 214 + + Both Borden's are standing at the workbench. One brother is + gripping the other by his wrist and placing a CHISEL on his + finger. + + He checks the placemen of the chisel against his own + mutilated fingers, adjust the chisel's position, them picks + up the hammer. + + BORDEN (V.O.) + Nothing easy about two men sharing + one life. + 144. + + + The second brother SWIGS from a gin bottle, then BITES down + a padded stick as the first brother BRINGS DOWN THE HAMMER- + + +215 INT. CELLAR, ABANDONED THEATRE - EVENING 215 + + Borden stares at his mutilated hand clasping the rubber + ball. + + ANGIER + What about Olivia? And your wife? + + BORDEN + We each loved one of them. We each + had half a full life. Enough for + us, but not for them. + + Borden puts the ball in his pocket. Tears in his eyes. + + BORDEN + Sacrifice, Robert- that's the price + of a good trick. + + Borden looks down at Angier with contempt. + + BORDEN + But you wouldn't know anything + about that, would you? + + Angier is dying. He opens his mouth to talk, but his voice + is so weak that Borden has to stoop to hear him. + + ANGIER + (very quiet) + I've made sacrifices. + + BORDEN + It takes nothing to steal someone + else's work. + + ANGIER + It takes everything. + + +216 INT. ABANDONED THEATRE - DAY - FLASHBACK 216 + + Angier stands in front of Tesla's machine. Loading the + pistol. He places the pistol by the machine... Angier takes + off his jacket and steps towards the HISSING machine. BOTLS + curl themselves around him. + + +217 ANGIER HURLS HIMSELF INTO THE LIGHT. 217 + 145. + + + This time we do not cut away. + + The machine sputters out. + + +218 ANGIER IS STILL STANDING BENEATH IT. 218 + + ANGIER + (confused) + It didn't work. + + VOICE (V.O.) + Yes it did. + + Angier turns... + + ANOTHER ANGIER is standing on the chalk hashmark, STEAM + rising off his shoulders. + + The first Angier lunges for the pistol and levels it at the + second Angier. + + SECOND ANGIER + (horrified) + No, wait! I'm the- + + BANG! BANG! The first Angier FIRES TWO SHOTS and, grim- + faced, drops the pistol. SHOCKED. He stumbles back, in a + daze, clothes still steaming. + + +219 INT. CELLAR, ABANDONED THEATRE - NIGHT 219 + + Angier looks down, a slight smile on his face. He gestures + to the lantern. + + ANGIER + (weaker) + Do you want to see what it cost me? + You didn't see where you are, did + you? Let me show you. + + Angier slumps to the floor as he tries to reach for the + lantern. He can't his hand to obey him. + + ANGIER + It took courage to climb into that + machine every night... + + +220 INT. UNDER THE STAGE - EVENING - FLASHBACK 220 + + A drowing tank, identical to the one we have already seen. + 146. + + + A blind stagehand sits behind it, smoking. + + ANGIER (V.O.) + Not knowing if I'd be the + Prestige.... + + Suddenly, a trap door flashes open as Angier falls from the + stage door and SPLASHES into the tank. The lid snaps shut. + + ANGIER (V.O.) + Or the man in the box... + + Angier pounds on the glass, frantic. The blind stagehand + continues smoking. Oblivious. + + +221 INT. WORKSHOP - DAY - FLASHBACK 221 + + Two hands SLAM shut on the lid of a birdcage. + + The blind stagehand are wrestling a LARGE CRATE onto a cart + in the alleyway behind the theatre. + + +222 INT. CELLAR, ABANDONED THEATRE - NIGHT 222 + + Angier stops trying to move and leans back, resigned. + + BORDEN + (scorn) + You went halfway around the world. + You spent a fortune. You did + terrible things... and all of it + for nothing. + + Angier looks up at him with his last spark of + competitiveness. + + ANGIER + Nothing? You never understood, id + you? Why we did this? + (coughs) + The audience knows the truth- that + the world is simple. Miserable. + Solid all the way through. But if + you could fool them, even for a + second, you could make them wonder. + Then you got to see something very + special... + (coughs, looks up) + You really don't know? + + Borden just stares at Angier. Who smiles. + 147. + + + ANGIER + It was the look on their faced. + + Angier's body TOPPLES over, KNOCKING over the lantern. + Borden steps back as the oil spreads, flaming, frying the + lantern. + + CUTTER (V.O.) + Every magic trick consists of three + parts, or acts... + + Borden watches Angier for a moment, then turns to leave. + + +223 INT. WORKSHOP - DAY 223 + + The workshop from the opening of the film. We now recognize + it as Borden's. Cutter performs the bird cage trick for the + Little Girl we now know as Jess. + + CUTTER (V.O.) + The first part is called the + Pledge. + + Cutter is showing far the canary. + + +224 INT. ABANDONED THEATRE - NIGHT 224 + + The burning lamp oil SPREADS LIGHT through the cellar... + + CUTTER (V.O.) + The second part is called the Turn. + I take the ordinary something... + + Angier lies in his pooling blood. + + Angier's eyes move around, looking at the shapes around him + increasing illuminated by the hellish light... + + +225 INT. WORKSHOP - DAY 225 + + Cutter WHIPS the shawl away- cage and bird have + disappeared. + + CUTTER (V.O.) + But you wouldn't clap yet. + + Jess stares, EXPECTANT. Cutter holds up his handkerchief- + covered hand... + 148. + + + CUTTER (V.O.) + Because making something disappear + isn't enough... + + Cutter whips the handkerchief from his hand, revealing a + canary. Just then, Jess SEES something and JUMPS off the + chest, running past him... + + CUTTER (V.O.) + You have to bring it back. + + BORDEN IS IN THE DOORWAY- JESS LEAPS INTO HIS ARMS. Borden + holds her tight. Looks at Cutter, who is putting on his + coat. Nods. Cutter leaves. + + Borden reaches into his pocket and hand Jess his rubber + ball. + + She smiles, then buries her head in his neck. + + +226 INT. ABANDONED THEATRE - NIGHT 226 + + Borden STOPS at the ladder. He notices the shadows from the + burning oil playing on the walls... + + CUTTER (V.O.) + Now you're looking for the + secret... + + Borden turns slowly to look back into the cellar, PEERING + into the flickering light of the burning lamp oil. + + CUTTER + But you won't find it... + + Borden stares back into the cellar. What he sees puts a + look on his face that is beyond words: + + LARGE GLASS TANKS. DOZENS OF THEM. ROW AFTER ROW STRECHING + INTO THE CAVERNOUS CELLAR. + + CUTTER + ...because you don't really want to + know... + + FLOATING IN BACH AND EVERY TANK, DRESSED IN ROTTING STAGE + CLOTHES, IS YET ANOTHER ROBERT ANGIER. + + +229 INT. ABANDONED THEATRE - DAY 229 + 149. + + + Cutter spreads MORTAT on the last BRICK of the wall he has + built in the opening to the cellar. + + He places the brick in the wall, sealing it up. + + +230 EXT. FOREST - DAY - FLASHBACK 230 + + A cat slinks its way through a pile of top harts, knocking + one over as it disappears into the forest beyond. + + CUTTER (V.O.) + ...you want to be fooled. + + We are left alone in the glade, staring at the top hats- + + FADE OUT. + + CREDITS. + + END. + \ No newline at end of file diff --git a/scripts/The Royal Tenenbaums.txt b/scripts/The Royal Tenenbaums.txt new file mode 100644 index 0000000000000000000000000000000000000000..a2b2762887993917cf8d970290967a5177bdb246 --- /dev/null +++ b/scripts/The Royal Tenenbaums.txt @@ -0,0 +1,7483 @@ + 1. + + + + INSERT: + + On the dust jacket there is an illustration of a cream- + colored note card that looks like a wedding invitation. The + title of the book is engraved on the card. + + The next page says “Chapter One.” + + NARRATOR (V.O.) + Royal Tenenbaum bought the house on + Archer Avenue in the winter of his + thirty-fifth year. + + CUT TO: + + A five-story limestone townhouse. A forty-three-year-old + man in a raincoat rings the front doorbell. He is Royal. + + NARRATOR + Over the next decade, he and his + wife had three children and then + they separated. + + +1 INT. DINING ROOM - DAY 1 + + Royal sits at the head of a long table. He is surrounded by + his children. + + Chas is twelve, with curly hair, dressed in a black suit + and tie. Margot is ten, with a barrette in her hair, + wearing a knitted LaCoste dress and penny loafers. Richie + is eight, with long hair, parted on the side, dressed in a + Bjorn Borg-style tennis outfit with a headband. + + Chas wears a blank expression, Margot looks as if she is + about to cry, and Richie has tears all over his face. + + MARGOT + Are you getting divorced? + + ROYAL + (gently) + At the moment, no. But it doesn’t + look good. + + RICHIE + Do you still love us? + + ROYAL + Of course, I do. + 2. + + + CHAS + (pointedly) + Do you still love Mom? + + ROYAL + Very much. But she asked me to + leave, and I had to respect her + position on the matter. + + MARGOT + Was it our fault? + + ROYAL + (long pause) + No. Obviously, we had to make + certain sacrifices as a result of + having children, but no. Lord, no. + + RICHIE + Why’d she ask you to leave? + + ROYAL + (sadly) + I don’t really know any more. Maybe + I wasn’t as true to her as I + could’ve been. + + CHAS + Well, she says -- + + ROYAL + Let’s not rehash it, Chassie. + + An Indian man with salt-and-pepper hair, dressed in pink + pants, a white shirt and a white apron, comes in from the + kitchen with a Martini on a tray. He is Pagoda. + + NARRATOR (V.O.) + They were never legally divorced. + + Pagoda hands Royal the Martini. + + ROYAL + Thanks, Pagoda. + + +2 INT. HALLWAY - DAY 2 + + A gallery of the children’s art, done mostly in crayon, but + with beautiful frames and careful lighting. The subject + matter includes: spaceships, wild animals, sailboats, + motorcycles, and war scenes with tanks and paratroopers. + 3. + + +A stuffed and mounted boar’s head with its teeth bared +hangs in the stairwell. A label on it says “Wild Javelina, +Andes Mountains.” Under the stairs there is a telephone +room the size of a closet. Old messages are tacked to the +walls, and the children’s heights are marked on the door +frame. + +A thirty-three-year-old woman with a scarf around her neck +and sunglasses on top of her head talks on a rotary +telephone. She is Etheline. + +Richie sits on her lap reading an Atlas of the World. +Margot sits on a foot-stool reading The Cherry Orchard. +Chas stands in the doorway with a slip of blue paper in his +hand. + + NARRATOR (V.O.) + Etheline Tenenbaum kept the house + and raised the children, and their + education was her highest priority. + +Etheline says into the telephone: + + ETHELINE + I’ll hold, thank you. + + CHAS + I need $187. + + ETHELINE + (pause) + Write yourself a check. + +Chas hands Etheline the slip of blue paper. + +INSERT: + +A cheque made out in the amount of $187. Etheline signs it. + + CUT TO: + +Chas taking back the cheque. Etheline says into the +telephone: + + ETHELINE + Bene. Si. Grazie mille. + +Etheline hangs up. There is a schedule of activities -- + +guitar, ballet, yoga, scuba-diving -- written on a +chalkboard behind her and divided into columns labelled +Chas, Richie and Margot. She changes an Italian lesson from +4:30 to 5:30. + 4. + + + NARRATOR (V.O.) + She wrote a book on the subject. + + INSERT: + + A copy of Etheline Tenenbaum’s book, Family of Geniuses. On + the dust jacket there is a photograph of the three children + conducting a press conference in a room crowded with + journalists. It appears to have been published in the late + seventies. + + CUT TO: + + The press conference. Chas points to a reporter. + + CHAS + The gentleman in the blue cardigan, + please. + + REPORTER + Thank you. I have a two-part + question. + + CHAS + Go ahead. + + +3 INT. CHAS’ BEDROOM - DAY 3 + + Chas’ room looks like a businessman’s office, except it is + very small and has bunk beds. There is a desk with an Apple + II computer and an electric coffee pot on it. There is a + water cooler in the corner, with a paper cup dispenser. + + Chas stands talking on the telephone while Etheline brings + in his lunch on a tray. + + NARRATOR (V.O.) + Chas Tenenbaum had, since + elementary school, taken most of + his meals in his room, standing up + at his desk with a cup of coffee, + to save time. + + On a shelf in an alcove there are ten cages connected + together by plastic tubes. White mice with tiny black spots + all over them race around outside the cages. Chas feeds one + of them a drop of blue liquid from a test tube. + + NARRATOR + 5. + + + In the sixth grade, he went into + business, breeding dalmation mice, + which he sold to a pet shop in + Little Tokyo. + + There are twenty-five pinstriped suits in boys’ size twelve + and an electric tie rack hanging in the closet. Chas pushes + a button on the tie rack and the ties glide along a track. + + NARRATOR + He started buying real estate in + his early teens and seemed to have + an almost preternatural + understanding of international + finance. + + There are a small weightlifting bench and punchbag in the + corner. There is a set of exercise charts neatly drawn with + felt-tip pen tacked on the wall. Chas bench-presses about + fifty pounds on a small barbell. + + NARRATOR + He negotiated the purchase of his + father’s summer house on Eagle’s + Island. + + +4 EXT. BACKYARD - DAY 4 + + A house in the country. Chas crouches in the bushes with a + BB gun. Across the lawn, he sees two younger boys with BB + guns drop down from a tree. + + One of the boys is Richie, and the other has nearly-white + blond hair. He is Eli. He wears Apache warpaint. + + Chas gets Richie in his sights. + + ROYAL + Hold it, Chassie. + + Chas freezes. He looks up and sees Royal watching from the + roof with a BB gun trained on him. Royal is dressed in + khaki pants, sunglasses and no shirt. + + CHAS + What are you doing? You’re on my + team! + + ROYAL + (hesitates) + There are no teams. + 6. + + + Royal fires. Chas screams and fires back as Royal scrambles + away, laughing. + + NARRATOR (V.O.) + The BB was still lodged between two + knuckles in Chas’ left hand. + + +5 INT. MARGOT’S BEDROOM - DAY 5 + + The walls of Margot’s room are red, with little running + zebras painted all over them. There is a collection of + African masks hanging in the corner. Margot sits at a small + metal stand, typing on an IBM typewriter. + + NARRATOR (V.O.) + Margot Tenenbaum was adopted at the + age of two. Her father had always + noted this when introducing her. + + CUT TO: + + A cocktail party. Royal introduces Margot to a group of + elderly men in black tie. + + ROYAL + This is my adopted daughter, Margot + Tenenbaum. + + Margot nods politely. + + CUT TO: + + A wall filled with bookshelves. There are thousands of + books of plays. Margot takes out a copy of The Iceman + Cometh. + + NARRATOR (V.O.) + She was a playwright and won a + Braverman Grant of fifty-thousand + dollars in the ninth grade. + + There is a mock-up of a stage set for a play that appears + to have taken place in a network of tree houses on a + tropical island. Margot places a tiny canoe beneath a palm + tree. + + NARRATOR + She and her brother Richie ran away + from home one winter and camped out + in the African Wing of the Public + Archives. + 7. + + +6 EXT. MUSEUM - DAY 6 + + Richie and Margot sit on a bench in front of a large Gothic + building. Richie has on a small backpack with a sleeping + bag attached to it. Margot carries a small red suitcase. + They both look extremely dishevelled and tired. + + A single-file line of students in Catholic school uniforms + goes past them following a museum guide. Eli is at the end + of the line. He stops and stares at Margot and Richie. + + RICHIE + Hi, Eli. + + ELI + You said I could run away, too. + + MARGOT + No, I didn’t. And don’t tell + anybody you saw us. + + CUT TO: + + Richie and Margot sharing a Boy Scout sleeping bag on a + bench in a gallery of wildlife dioramas in a darkened + museum. + + Margot reads a book about sharks by the light of a + flashlight. Richie is asleep. + + NARRATOR (V.O.) + Four years later, she disappeared + alone for almost two weeks and came + back with half a finger missing. + + INSERT: + + A pair of knitted gloves. One finger has been clipped off + at the middle knuckle and is being sewn up. + + +7 INT. RICHIE’S BEDROOM - DAY 7 + + Richie’s room is in the attic. There are a chemistry set, a + drum set and a long shelf filled with tennis trophies. + + Richie sits on the edge of his bed. + + NARRATOR (V.O.) + Richie Tenenbaum had been a + champion tennis player since the + third grade. + 8. + + + There are thousands of Matchbox cars arranged on every + available inch of space on tables, desks and window sills. + + Richie parks a little Maserati next to a dune buggy. + + NARRATOR + He turned pro at seventeen and won + the U.S. Nationals three years in a + row. + + There is a ham radio set in the corner of the room. Richie + sits at the console wearing a set of headphones. There is a + map of the world on the wall, with colored pins stuck in + different cities. + + NARRATOR + He kept a studio in the corner of + the ballroom but had failed to + develop as a painter. + + CUT TO: + + A ballroom with vaulted ceilings and a giant chandelier on + the top floor of the house. One corner is filled with + seventeen almost identical portraits of Margot looking over + the top of a book with an irritated expression. Etheline + helps Richie hang a new portrait among the others. + + NARRATOR + On weekends, Royal took him on + outings around the city. + + +8 EXT. STREET - DAY 8 + + Royal and Richie stand among a group of Puerto Rican men as + two large, vicious-looking pit bulls with scars all over + them snarl at each other. Royal yells along with the + others: + + ROYAL + Vamanos! Andale! + + Royal throws a fifty-dollar bill into a pile of money on + the sidewalk. Richie throws in a dollar. + + NARRATOR (V.O.) + These invitations were never + extended to anyone else. + + CUT TO: + 9. + + + The second floor of the Tenenbaum house. Chas sits alone in + one window. Margot sits alone in the next. They both watch + as Royal and Richie get out of a gypsy cab in front of the + house, sharing a bag of peanuts and laughing. + + There is a slightly run-down thirty-five-story apartment + building across the street. Eli sits alone in a window. + + +9 INT. APARTMENT - DAY 9 + + A two-room apartment with a crucifix on the wall. Eli + finishes making his bed and folds it into the couch. An + elderly woman works at a sewing machine in the next room. + + NARRATOR (V.O.) + Richie’s best friend Eli Cash lived + with his aunt in a building across + the street. + + +10 EXT. STREET - DAY 10 + + Eli walks up the front steps of the Tenenbaum house and + rings the doorbell. He wears a set of house keys on a + string around his neck. Pagoda opens the door. He is + dressed in pajamas, slippers and a bathrobe. He lets Eli + inside. + + NARRATOR (V.O.) + He was a regular fixture at family + gatherings, holidays, mornings + before school and most afternoons. + + CUT TO: + + The Tenenbaum house at night. There are strings of colored + lights glowing around the front door and white paper bags + with candles in them on the steps. Royal rings the front + doorbell. He carries a small package wrapped in red-and- + pink-striped paper with a white ribbon on it. + + NARRATOR + The three Tenenbaum children + performed Margot’s first play on + the night of her eleventh birthday. + + +11 INT. BALLROOM - NIGHT 11 + + There are twenty eleven-year-olds wearing party hats. + 10. + + +Margot, Chas and Richie are in costumes. Margot is a zebra, +Chas is a bear and Richie is a leopard. Eli is dressed in +pajamas. Royal sits at a table with them, drinking a glass +of whiskey. + + NARRATOR (V.O.) + They had agreed to invite their + father to the party. + +There is a small stage-set across the room for a play that +appears to have taken place on a ship. + + CHAS + What’d you think, Dad? + + ROYAL + It didn’t seem believable to me. + +Chas looks at Margot. She is silent. Royal says to Eli: + + ROYAL + Why are you wearing pajamas? Do you + live here? + + RICHIE + He has permission to sleep over. + +Royal shakes his head. + + CHAS + Did you think the characters were - + - + + ROYAL + What characters? It was just a + bunch of little kids dressed in + animal costumes. + + MARGOT + Goodnight, everyone. + +Margot quickly collects her unopened presents from the +table. + +She puts Royal’s aside and sets it in front of him. + + ROYAL + Sweetie. Don’t get mad. That’s just + one man’s opinion. + 11. + + + The lights go down. Royal looks across the room. Etheline + stands in the doorway with a birthday cake on a tray. The + candles are lit. She looks furious. Pagoda stands at the + light switch. Everyone begins to sing “Happy Birthday.” + Margot walks out of the room, and the singing + disintegrates. + + NARRATOR + He had not been invited to any of + their parties since. + + Etheline blows out the candles. + + +12 EXT. ROOF - DAY 12 + + There is a large antenna for Richie’s ham radio and a + wooden coop with a falcon in it. The falcon has a hood over + its eyes. Richie opens the coop, carefully removes the + falcon’s hood, and feeds him some sardines from a tin. + + NARRATOR (V.O.) + In fact, virtually all memory of + the brilliance of the young + Tenenbaums had been erased by two + decades of betrayal, failure and + disaster. + + Richie carries the falcon on his arm to the edge of the + roof. + + RICHIE + Go, Mordecai. + + The falcon spreads its wings and lunges into the sky. + + .MONTAGE: + (The names of each of our + characters and the names + of the actors playing + them appear over the + following shots.) + + Royal Tenenbaum sits in a chair in his hotel suite with no + shirt on and a towel wrapped around his face. A woman in a + white apron lifts off the towel, and Royal looks in the + mirror. He is now sixty-six, with grey hair, white at the + temples, worn very long in the back. He is getting a + facial, and there are strips of blue cellophane covering + his face. + 12. + + +The woman quickly peels them away and begins to massage his +temples. Royal lights a cigarette at the end of a three- +inch holder. + +Etheline Tenenbaum draws eyeliner around her eyes in the +dressing mirror. She is fifty-five and has long, black hair +with one silver streak that runs through it. She wears a +pink slip and a gold locket. The wall behind her is filled +with portraits of tribesmen and native warriors from around +the world. She holds up a pair of prescription sunglasses +and looks at herself. She lowers them and does her +lipstick. + +Chas Tenenbaum shaves in the locker room of a boxing gym. + +Steam fills the air. He is thirty-six and in top fighting +condition. Ari and Uzi Tenenbaum are on either side of him. + +They are eight and ten. They are also shaving, but with no +blades in their razors. All three have extremely curly +black hair. + +Margot Tenenbaum is at a hairdresser’s with three people +working on her at once. She is thirty-four. Her hair is +being dyed, and there are little clamps and bits of foil +twisted into it. She is smoking a cigarette, and she blows +a puff of smoke as the hair dryer is lowered onto her head. + +She holds an open copy of a book of plays by George Bernard +Shaw. She has one fake finger made of wood. + +Eli Cash is in the fitting room of a clothing store having +a white buckskin jacket with fringe taken in. A tailor +pulls at the hem of the jacket and sticks pins in the +sleeves. The tailor’s helper brings Eli a cup of tea and +some cucumber sandwiches. Eli picks out a sandwich. A +second helper hands him a short-brimmed Stetson cowboy hat. +He puts it on at an angle and stares at himself. + +Releigh St. Clair brushes his teeth with an electric +toothbrush in a very small, white-tiled bathroom. He has a +full, gray beard and round glasses, and he is dressed in +red silk pajamas with white piping. He stops suddenly, +picks up a tape recorder off the edge of the sink, and +excitedly dictates something into it. He puts the tape +recorder back on the sink and starts brushing his teeth +again. + 13. + + + Henry Sherman stands in front of a mirrored wall in a + vestibule of his building. He is a tall black man, fifty- + six years old, with grey hair and a moustache. He wears a + double-breasted navy blazer. He carefully folds a checkered + handkerchief and tucks it into his breast pocket. There is + a hand-lettered sign regarding trash and recycling taped to + the wall behind him, underneath a row of mailboxes. It is + signed H. Sherman, the Landlord, in red ink. + + Richie Tenenbaum looks at himself in the mirror in his + stateroom on board an ocean liner. He is thirty-two, with + long hair, parted on the side, and a beard. He wears a + khaki suit, a striped tennis shirt, a headband, and penny + loafers. + + The ocean goes by at a fast clip in the porthole behind + him. + + A towel on the dresser says The Cote d’Ivoire in red + stitching. He takes out a little camera. He points it at + his reflection, smiles sadly, and takes a picture of + himself. + + He puts the camera back into his pocket and goes out the + door. + + INSERT: + + Page 22 of The Royal Tenenbaums. It says “Chapter Two.” + + +13 INT. HOTEL ROOM - DAY 13 + + Royal’s suite at the Lindbergh Palace Hotel. There are + shelves full of law books and hundreds of spy novels in + stacks on the floor. There is a set of Encyclopedia + Britannica, an exercise bicycle and a Xerox machine. + + Royal lies on his stomach on a massage table getting a + massage from a young Asian woman. The manager of the hotel + stands in front of Royal with a piece of paper in his hand. + + MANAGER + I’ve been instructed to refuse any + further charges on your room + account and to direct you in + writing to please vacate the + premises by the end of the month. + + The manager hands Royal the piece of paper. Royal points to + the masseuse. + + ROYAL + 14. + + + What about Sing-Sang? I owe her a + hundred. + + The manager looks to the masseuse. + + NARRATOR (V.O.) + Royal had lived in the Lindbergh + Palace Hotel for twenty-two years. + + INSERT: + + A letter typed on Lindbergh Palace Hotel stationary. It + begins: + + Dear Mr. Tenenbaum, In light of your continuing failure to + remit any form of payment, we have no -- + + CUT TO: + + The masseuse. She does not appear to understand English. + + MANAGER + Can you pay her in cash? + + Royal shakes his head. The manager hesitates. + + NARRATOR (V.O.) + He was a prominent litigator until + the mid-eighties, when he was + disbarred and briefly imprisoned. + + CUT TO: + + Royal standing in the window looking out at the falling + snow as Sing-Sang folds up the massage table behind him. He + lights a cigarette. + + NARRATOR + No one in his family had spoken to + him in three years. + + +14 INT. RADIO ROOM - DAY 14 + + The radio room on board the Cote d’Ivoire. There are + computer terminals, short-wave radios, maps on the walls, + and a crew of technicians in white uniforms. There is a + mist outside the window, and an oil tanker in the distance. + + The radio operator finishes typing a message into a + keyboard and looks up to Richie. + 15. + + + RICHIE + Read it back to me so far, Pietro. + + RADIO OPERATOR + Dear Eli, I’m in the middle of the + ocean. I haven’t left my room in + four days. I’ve never been more + lonely in my life, and I think I’m + in love with Margot. + +The radio operator looks to Richie. Richie nods. + + RICHIE + New paragraph. + +Richie takes a sip of a Bloody Mary. + + NARRATOR (V.O.) + Richie had retired from + professional tennis at twenty-six. + His last match had been widely + discussed in the media. + +INSERT: + +A copy of the Sporting Press magazine. On the cover, there +is a photograph of Richie standing at the baseline of a +tennis court. He wears no shoes and only one sock, and +there are tears all over his face. The stands behind him +are filled with confused fans. A caption across the page +says “Meltdown!” And, in smaller letters, “Tenenbaum +suffers mid-match nervous collapse in the semis at +Windswept Fields.” + + CUT TO: + +Richie dictating to the radio operator. + + RICHIE + Your friend, Richie. End of letter. + +Richie signs a slip of paper and hands it to the radio +operator. He wraps a scarf around his neck and goes out the +door. + + NARRATOR (V.O.) + For the past year he had been + traveling alone on an ocean liner + called the Cote d’Ivoire and had + seen both poles, five oceans, the + Amazon and the Nile. + 16. + + +15 INT. LIBRARY - NIGHT 15 + + Eli stands at a podium reading from a book to a crowded + audience. A telegram marked “Ship to Shore” is tucked into + his coat pocket. His voice is quietly dramatic. + + ELI + The crickets and the rust-beetles + scuttled among the nettles of the + sagethicket. Vamanos, amigos, he + whispered, and threw the busted + leather flintscraw over the loose + weave of the saddlecock. And they + rode on in the friscalating + dusklight. + + Eli looks up. He closes his book. The audience applauds + uproariously. + + NARRATOR (V.O.) + Eli was an assistant professor of + English Literature at Brooks + College. The recent publication of + his second novel -- + + INSERT: + + A copy of Eli Cash’s latest book, Old Custer. On the dust + jacket there is an illustration of an Indian in warpaint + with a long, bloody knife clasped between his teeth and a + yellow scalp hanging from his hand. + + +16 INT. LOBBY - NIGHT 16 + + Eli walks among the card catalogues surrounded by a crowd + of admirers. + + NARRATOR (V.O.) + -- had earned him a sudden, + unexpected literary celebrity. + + CUT TO: + + Eli standing near the circulation desk with a group of + professors drinking cocktails. + + ELI + Well, everyone knows Custer died at + Little Bighorn. What this book + presupposes is: + (tentatively) + maybe he didn’t? + 17. + + + Eli shrugs and smiles. + + CUT TO: + + Eli placing a call from a pay phone in the lobby. He + unfolds a newspaper clipping and looks at it while he + waits. He says suddenly into the receiver: + + ELI + Let me ask you something. Why would + a reviewer make the point of saying + someone’s not a genius? I mean, do + you think I’m especially not a + genius? Isn’t that -- + + Someone gives Eli a book to sign. He scribbles his name on + it and hands it back without looking. He says sadly: + + ELI + You didn’t even have to think about + it, did you? + + +17 INT. BATHROOM - NIGHT 17 + + The bathroom of Margot’s and Raleigh’s apartment. Margot + sits Indian-style on the counter painting her toenails red + and talking on the telephone. There are cotton balls + between her toes, and she has a towel wrapped around her. + + Hot water runs full blast in the bathtub. A little black- + and-white television set is tuned in to the six o’clock + news with the sound turned off. Margot whispers into the + telephone: + + MARGOT + Well, I just don’t use that word + lightly. + + Margot takes a drag of a cigarette balanced at the edge of + the sink. There is knock on the door. Margot does not look + up. + + MARGOT + I have to go, Eli. + + Margot hangs up the telephone. There is another knock. + + RALEIGH + Margot? + + Raleigh has an English accent with a lisp. Margot answers + without taking the cigarette out of her mouth. + 18. + + + MARGOT + Uh-huh? + + RALEIGH + May I come in, please? + +Margot puts out her cigarette. She waves the smoke away, +turns on a little electric fan, and sprays perfume into the +air with an atomizer. She reaches over and unlocks the door +with her foot. + +Raleigh cracks open the door and looks inside. He is +wearing red pajamas and a camel’s-hair bathrobe. He seems +worried and intimidated. + + NARRATOR (V.O.) + Margot was married to the writer + and neurologist Raleigh St. Clair. + +INSERT: + +A copy of Raleigh St. Clair’s latest book, The Peculiar +Neuro-degenerative Inhabitants of the Kazawa Atoll. On the +dust jacket, there is a photograph of Raleigh -- dressed in +a Speedo, with goggles on top of his head -- on a beach, +standing next to a Kasawa. The Kasawa stares at him +curiously. + + CUT TO: + +Raleigh looking in the bathroom doorway. + + RALEIGH + How are you, my darling? + + MARGOT + Fine, thank you. + +Margot blows on her toenails. + + RALEIGH + You must eat something. Shall I + make your dinner? + + MARGOT + No, thank you. + +Margot taps her fingers on the counter. The wooden one +makes a clicking sound. She looks to Raleigh. Raleigh +hesitates. + +He goes out suddenly and closes the door. Margot reaches +over with her foot and locks it. + 19. + + + NARRATOR (V.O.) + She was known for her extreme + secrecy. For example, none of the + Tenenbaums knew she was a smoker, + which she had been since the age of + twelve. + + Margot opens a box of Q-Tips. There is a cigarette hidden + inside. She takes it out and lights it. + + NARRATOR + Nor were they aware of her first + marriage and divorce to a recording + artist in Jamaica. + + INSERT: + + A remaindered copy of Desmond Winston Manchester XI’s LP + record Dynamite Stick. On the sleeve there is a photograph + of five Rastafarians standing in front of a metal shack. A + younger Margot stands behind them partly hidden in the door + frame. She is dressed in a string bikini. + + NARRATOR + She kept a private studio in + Mockingbird Heights under the name + Helen Scott. + + +18 INT. STUDIO - DAY 18 + + A small room with one wooden chair and a metal stand with + an IBM electric typewriter on it. There are posters for + several of Margot’s plays leaning against the walls. The + titles include: Static Electricity, Erotic Transference and + Nakedness Tonight. + + NARRATOR (V.O.) + She had not completed a play in + seven years. + + +19 INT. RALEIGH’S LABORATORY - DAY 19 + + Raleigh’s basement. Raleigh sits at a table, across from a + fifteen-year-old boy in a plaid fishing hat with “Dudley” + stitched across the front. Raleigh is dressed in a + turtleneck shirt and a corduroy blazer with suede patches + on the elbows. The boy has an earphone in his ear. He wears + Henry Aaron-style flip-up sunglasses. + 20. + + +Raleigh and Dudley both have a set of building blocks in +front of them. Raleigh’s are arranged in the shape of a +symmetrical cross. Dudley’s are strewn out randomly. A +cardboard screen stands in between the two sets of blocks. + +Raleigh says into his tape recorder: + + RALEIGH + Seventeen October. Third + examination of Dudley Heinsbergen. + +Raleigh lifts the cardboard screen and looks to Dudley. + + RALEIGH + All right, Dudley. Make yours look + like mine. + +Dudley sets to work, moving his blocks around slowly. + + NARRATOR (V.O.) + Raleigh’s next book was on the + subject of a condition he called + Heinsbergen’s Syndrome. + +Dudley finishes arranging his blocks into the shape of a +lop-sided octagon with branches coming out of it. + + DUDLEY + Done. + +Raleigh begins to laugh quietly. He shakes his head. + + RALEIGH + My goodness. How interesting. How + bizarre. + + CUT TO: + +Raleigh sitting in a corner. Dudley stands on the far side +of the room misspelling words on a chalkboard. Raleigh +whispers into his tape recorder: + + RALEIGH + Dudley suffers from a rare disorder + combining the symptoms of amnesia, + dyslexia and color-blindness, with + a highly acute sense of hearing. + +Dudley turns around suddenly and frowns. + + RALEIGH + There is also evidence of -- + 21. + + + DUDLEY + I’m not color-blind, am I? + + Raleigh looks to Dudley. He hesitates. + + RALEIGH + I’m afraid you are. + + +20 INT. CHAS’ APARTMENT - NIGHT 20 + + Ari’s and Uzi’s bedroom. It is perfectly neat and organized + like a military barracks. There are night lights in every + socket. There are two fire extinguishers and a large first- + aid kit mounted on the wall. There is a turtle in a fish + tank in the corner. Ari and Uzi are sound asleep in their + bunk beds. + + Chas stands in the doorway. His expression is blank. In one + hand, he holds a small tape recorder. In the other hand, he + holds a fishing lantern. + + He turns on the lantern, which begins blinking rapidly in a + strobe effect. He presses play on the tape recorder, which + blasts a recording of a police siren at full volume. He + yells at the top of his lungs: + + CHAS + Fire alarm! Ari! Uzi! Let’s go! + Look alive! + + Ari bolts out of the top bunk. He is shirtless and has on + pajama bottoms. He puts on a pair of cleats and grabs the + turtle out of the fish tank. Uzi sits up. He looks half + asleep. Chas runs around the room, tipping over chairs and + blasting the tape recorder. He looks to Uzi. He screams: + + CHAS + Uzi! Let’s go! + + +21 INT. HALLWAY - NIGHT 21 + + Ari presses the button for the elevator and waits. The + apartment is extremely large and spare. It looks like a + museum. + + NARRATOR (V.O.) + Chas’ wife, Rachael, was killed in + a plane crash the previous summer. + + Chas and Uzi rush into the hallway. Uzi has on a pajama top + and underwear. Chas yells to Ari: + 22. + + + CHAS + No elevators! There’s a fire! + + +22 INT. STAIRWELL - NIGHT 22 + + They race down the stairs. Chas picks up Uzi. + + UZI + What about Buckley? + + CHAS + You forgot him. + + Uzi starts to cry. + + INSERT: + + A slide projected onto a screen. Ari and Uzi and their + mother stand in front of a small plane outside a hangar. + The mother has on sunglasses with a scarf tied over her + hair. + + The wind blows her dress sideways, and she is laughing. The + boys wear camp shorts and no shirts. Uzi is doing a karate + stance. + + There is a beagle looking out of the window of the plane. + + NARRATOR (V.O.) + Chas and their two sons, Ari and + Uzi, were also on the flight and + survived, as did their dog, who was + discovered in his cage several + thousand yards from the crash site. + + CUT TO: + + A dog’s cage upside down in the desert surrounded by scraps + of metal and clothing. A cloud of smoke billows in the + distance. + + +23 INT. BATHROOM - NIGHT 23 + + The beagle is asleep next to the bathtub on a little bed + with “Buckley” written on it. He looks very old and has + white fur around his eyes. His breathing is wheezy. Chas’ + siren can be heard in the distance outside the window. It + stops. + + +24 EXT. SIDEWALK - NIGHT 24 + 23. + + + Chas, Ari and Uzi stand on the sidewalk, looking up at the + building. The street is deserted. The tape recorder has + been turned off. The lantern is still blinking. + + Chas turns off the lantern and presses stop on his + stopwatch. + + CHAS + Four minutes and forty-eight + seconds. We’re all dead. Burned to + a crisp. + + Chas shakes his head. He looks disoriented and weak. + + NARRATOR (V.O.) + Over the last six months, he had + become increasingly concerned with + their safety. + + Uzi is still crying. + + UZI + We left Buckley. + + Chas rubs his eyes and his temples. He says quietly: + + CHAS + It doesn’t matter. + + Chas sits down on the sidewalk. Ari and Uzi look scared. + + The doorman watches uneasily from the lobby. + + +25 INT. ETHELINE’S STUDY - DAY 25 + + The walls of Etheline’s study are filled with pre-Columbian + art and primitive tools and weapons. There are shelves full + of hundreds of bones and bits of pottery with little + numbers painted on them. There are stacks of National + Geographics on the floor. A human skeleton hangs on a stand + in the corner. + + NARRATOR (V.O.) + Etheline became an archaeologist + and had overseen excavations for + the Department of Housing and the + Transit Authority. + + The back doors are open on to the garden. Pagoda sits on a + bench outside, peeling potatoes, listening to a Walkman + with headphones. His hair is now white. + 24. + + +Etheline is at her desk studying an arrowhead while Henry +sits next to her. He is working on her taxes. + + HENRY + Apropos of my question re: I-40 + slash I-9 adjustments. + +Henry stands up. He seems very nervous. Etheline looks up +at him curiously. + + NARRATOR (V.O.) + She taught bridge class twice a + week with her friend and business + manager, Henry Sherman. + +INSERT: + +A copy of Henry Sherman’s book, Accounting for Everything. +A caption at the top of the cover says “A Guide to Personal +Finance.” It appears to have been published in the late +sixties. + + CUT TO: + +Henry looking down at Etheline. + + HENRY + It would probably be advantageous + for your marital status to be + legally established as single, in + light of the circumstances. + + ETHELINE + What do you mean? + + HENRY + I mean for tax purposes. + + ETHELINE + (pause) + But I thought it was -- + + HENRY + Etheline? + + ETHELINE + Yes? + + HENRY + Will you marry me? + 25. + + +Pagoda stops peeling the potatoes. He takes off one ear of +his headphones. Etheline puts on her prescription +sunglasses. + + HENRY + I love you. Did you already know + that? + + ETHELINE + No, I didn’t. + +Henry nods calmly. + + NARRATOR (V.O.) + Since her separation from her + husband, she had had many suitors - + - + +MONTAGE: + +A large man stands on a glacier in Antarctica with penguins +behind him. He wears a hooded fur coat and has ice frozen +into his beard. He checks the elevation with a compass. A +title identifies him as Neville Smythe-Dorleac. + +An Asian man in a tweed suit and large, perfectly round +glasses on a settee in a room filled with avant-garde +furniture and sculpture. He has several sets of blueprints +under his arm. A title identifies him as Yasuo Oshima. + +A white-haired man sits in a director’s chair on a sound +stage, surrounded by extras dressed as futuristic +earthlings and aliens. He has a strong, weathered face and +wears a safari jacket. A title identifies him as Franklin +Benedict. + + CUT TO: + +Henry looking down at Etheline. He has two bandaged shaving +cuts, and a safety pin holds his glasses together. + + NARRATOR + -- but had not considered a single + one until this moment. + +Etheline starts to say something. She hesitates. + + ETHELINE + This isn’t really a tax issue, is + it? + + HENRY + (pause) + 26. + + + That’s true. I don’t know why I put + it that way. + + Etheline smiles slightly. She takes Henry’s hand. + + ETHELINE + Let me think about it, Henry. + + Pagoda frowns. + + +26 INT. TELEPHONE ROOM - DAY 26 + + Pagoda places a call. + + PAGODA + Hello, please. Tell Mr. Royal this + is the Pagoda. + + +27 INT. ELEVATOR - DAY 27 + + Royal rides down in the elevator at the Lindbergh Palace. + He is dressed in a gray double-breasted Savile Row + pinstripe suit, a dark pink shirt, a red-and-pink-striped + tie, and Aristotle Onassis-style wrap-around sunglasses. He + smokes a cigarette. + + The elevator operator has a thin, gray moustache and jet- + black hair. He is Dusty. The elevator stops. + + ROYAL + Thanks, Dusty. + + DUSTY + You’re welcome. + + +28 INT. LOBBY - DAY 28 + + The elevator doors open and Royal strides out quickly. He + crosses through a gigantic lobby. A bellboy appears. + + BELLBOY + There’s a call for you, Mr. + Tenenbaum. + + ROYAL + Who is it? + + BELLBOY + A Mr. Pagoda. + 27. + + + ROYAL + I’ll take it in there. + + Royal points to a little wood-paneled telephone booth. + + +29 INT. TELEPHONE BOOTH - DAY 29 + + The telephone rings. Royal answers it. + + ROYAL + What do you got? + + +30 EXT. CITY PARK - DAY 30 + + Royal and Pagoda stand alone in the middle of a field. A + light, misting rain falls. + + PAGODA + The black man asks her to be his + wife. + + ROYAL + (quietly) + No shit? And what’d Ethel say? + + PAGODA + She thinks about it. + + Royal stares off into space. He shakes his head. + + ROYAL + I don’t like the sound of this one + damn bit, Pagoda. I mean, Lord + knows I’ve had my share of + infidelities. But she’s still my + wife. + (pause) + And no goddamn two-bit chartered + accountant’s going to change that. + + INSERT: + + Page 50 of The Royal Tenenbaums. It says “Chapter Three.” + + +31 INT. HALLWAY - NIGHT 31 + + The doorbell rings. Pagoda comes into the hallway and opens + the front door. Uzi is on the steps with a duffel bag over + his shoulder and a stack of coloring books under his arm. + 28. + + + Buckley is at his side. Buckley has a cold and coughs + often. + + There is a silver BMW parked at the curb with three doors + and the trunk open. Chas, Ari and a uniformed driver are + unpacking suitcases, blankets, boxes, clothes, toys, boxing + gloves and a computer. The driver is Anwar. + + Chas, Ari and Uzi all wear red Adidas warm-ups. + + CHAS + Give us a hand, Pagoda. + + Pagoda frowns. He starts down the steps. + + +32 INT. LIVING ROOM - NIGHT 32 + + There are twenty people at five card tables playing bridge. + + Most of them are in their fifties and sixties. They look + very distinguished. Etheline and Henry are among them. + + Chas, Ari, Uzi, Anwar and Pagoda come out of the hallway + and cross through the living room, struggling with all of + their possessions. Pagoda carries the fish tank with the + turtle in it. Buckley follows them. + + The bridge players watch strangely as they pass. Chas looks + back at them but keeps moving. Etheline hesitates. + + ETHELINE + Chas? + + Chas stops in the doorway. Pagoda leads Ari, Uzi, Anwar and + Buckley out of the room, up the stairs. + + ETHELINE + What’s going on? + + CHAS + We got locked out of our apartment. + + Etheline seems confused. + + ETHELINE + Did you call a locksmith? + + CHAS + (hesitates) + Uh-huh. + 29. + + + ETHELINE + (pause) + I don’t understand. Did you pack + your bags before you got locked + out? Or how did you -- + + CHAS + It’s not safe over there. + + Silence. Etheline looks to her guests. + + ETHELINE + Excuse me for a moment, please. + + +33 INT. HALLWAY - NIGHT 33 + + Etheline closes the sliding door to the living room. She + and Chas stand alone in the hallway. + + ETHELINE + What are you talking about? + + CHAS + The apartment. I have to get some + new sprinklers and a back-up + security system installed. + + ETHELINE + But there’s no sprinklers here, + either. + + Chas looks up and studies the ceiling. He shrugs. + + CHAS + Well, we might have to do something + about that, too. + + Etheline looks concerned. + + CUT TO: + + Two dalmation mice chewing on a plate of hors d'oeuvres on + the window sill. The bridge players watch them silently. + + +34 INT. CHAS’ BEDROOM - NIGHT 34 + + Ari and Uzi sit silently on the bunk beds in Chas’ room. + + They have dark circles under their eyes and seem exhausted. + 30. + + + Chas walks around the room examining things. He looks like + a wreck, but acts incredibly cheerful, pretending not to + notice how sad the boys look. + + CHAS + Isn’t this great? It feels like + we’re camping. + + Chas chuckles as he turns on his old electric tie rack. + + ARI + When are we going home? + + Chas sees something across the room. He frowns. + + CHAS + Who put that in here? + + There is a framed poster leading against the wall in the + corner. It is a tennis-shoe advertisement with a picture of + Richie holding a trophy over his head, surrounded by a + cheering crowd. A caption across the top says “The Baumer.” + Chas turns it around to face the wall. He kisses Ari and + Uzi goodnight. + + CHAS + See you in the morning. + + Chas goes out the door. A moment later, he comes back in. + + CHAS + You know what? I’m going to sleep + in here, and that way we can all be + together. + + Chas spreads out a blanket on the floor and lies down. Uzi + comes and lies down next to him. + + +35 INT. DOCTOR’S OFFICE - DAY 35 + + Royal sits on the edge of an examination table with white + butcher paper on it. A young doctor on a rolling stool + takes Royal’s blood pressure as they talk. + + ROYAL + What kind of side effects can be + expected? + + DOCTOR + 31. + + + Well, there’s a number of + possibilities. Severe nausea and + dizziness are standard. A certain + percentage of patients may also + experience seizure. + + ROYAL + You mean like flopping around on + the floor and everything? + + DOCTOR + In some cases. + + Royal nods gravely. + + +36 EXT. HALLWAY - DAY 36 + + Etheline and Raleigh stand outside the bathroom in Margot + and Raleigh’s apartment. Etheline has on an overcoat and + gloves. + + Raleigh knocks on the door. + + RALEIGH + You have a visitor, my darling. + + Margot answers without opening the door: + + MARGOT + Who is it? + + ETHELINE + It’s me, sweetie. + + Silence. A key slides from under the door to Etheline’s + feet. Etheline looks to Raleigh. Raleigh looks embarrassed. + + +37 INT. BATHROOM - DAY 37 + + Margot is in the bathtub watching Planet of the Apes on her + little black-and-white television set. Etheline sits on the + edge of the tub with her coat in her lap. + + ETHELINE + Raleigh says you’ve been spending + six hours a day locked in here + watching television and soaking in + the tub. + + MARGOT + (pause) + 32. + + + I doubt that. + + ETHELINE + Well, I don’t think that’s very + healthy, do you? Nor do I think + it’s very intelligent to keep an + electrical gadget on the edge of + the bathtub. + + MARGOT + I tied it to the radiator. + + Etheline examines the television set. There is a length of + red twine wrapped around it and knotted to a pipe. + + ETHELINE + Well, it can’t be very good for + your eyes, anyway. + + Margot turns off the television set with her foot. She + looks to Etheline. Etheline smooths back Margot’s wet hair. + + ETHELINE + Chas came home. + + MARGOT + (pause) + What do you mean? + + ETHELINE + He and Ari and Uzi are going to + stay with me for a little while. + + MARGOT + (frowns) + Why are they allowed to do that? + + ETHELINE + (hesitates) + Well, I don’t know, exactly. But I + think he’s been very depressed ever + since -- + + MARGOT + (urgently) + So am I. + + ETHELINE + (pause) + So are you what? + + +38 EXT. STREET - DAY 38 + 33. + + + The front door of Margot and Raleigh’s apartment building + opens. Margot comes out and goes down the steps with three + suitcases and her TV. Raleigh follows her. Etheline and + Dudley walk behind them. Raleigh sounds desperately + unhappy. + + RALEIGH + But why is this bloody necessary? + + MARGOT + Because I’m in a rut, and I need a + change. Hang on. + + Margot sets down her suitcases and goes into a telephone + booth with graffiti spray-painted all over it. She closes + the door and makes a call. + + Etheline stands on the corner and raises her hand into the + air. A gypsy cab pulls over. Raleigh waits uncomfortably + outside the telephone booth. He watches Margot talking on + the telephone. Dudley points at the taxi. + + DUDLEY + That taxi has a dent in it. + + Margot comes out of the telephone booth. + + RALEIGH + You don’t love me anymore, do you? + + MARGOT + I do, kind of. I can’t explain it + right now. + + Raleigh looks crestfallen. Margot puts her suitcases into + the back seat of the taxi. Dudley continues to point at it. + + DUDLEY + Another dent here and another dent + there. + + MARGOT + (gently) + I’ll call you, OK? + + Raleigh nods. Margot gets into the taxi. Etheline looks at + Raleigh sadly. She gets into the taxi and closes the door. + + Raleigh and Dudley watch the taxi drive away. Raleigh has + tears in his eyes. Dudley takes a bite of a graham cracker. + + +39 INT. MARGOT’S BEDROOM - NIGHT 39 + 34. + + + Margot goes into her room and sets her suitcases on the + floor. She closes the door and locks it. She opens the door + to the closet and turns on the light. She whispers: + + MARGOT + Hello? + + There is a rustle behind some hanging clothes. Eli looks + out nervously and slowly emerges. He is dressed in white + briefs. + + He whispers: + + ELI + Hello, beautiful. + + CUT TO: + + Margot and Eli in Margot’s single bed with the sheets + pulled over their heads. Margot is eating potato chips, + smoking a cigarette, and watching the news on her TV with + the sound turned off. + + ELI + Could we have dinner with your + mother sometime? + + Margot frowns. She looks at Eli strangely. + + MARGOT + What for? + + ELI + (shrugs) + I don’t know. I’d just love to see + her. + + MARGOT + I don’t think so, Eli. + + Eli looks disappointed. + + +40 EXT. SIDEWALK - DAY 40 + + The next morning, Etheline comes out the front door of the + Tenenbaum house and goes down the steps. Royal suddenly + appears at her side. + + ROYAL + You got a minute? + + Etheline looks startled. She keeps walking. + 35. + + + ETHELINE + What are you doing here? + + ROYAL + I need a favor. I want to spend + some time with you and the + children. + + ETHELINE + Are you crazy? + + ROYAL + Now, hold on, dammit. + + ETHELINE + Stop following me. + + ROYAL + I want my family back. + + ETHELINE + Well, you can’t have it. I’m sorry + for you, but it’s too late. + +Royal hesitates for a fraction of a second. + + ROYAL + I’m dying, baby. + +Etheline stops. She looks to Royal. + + ROYAL + I’m sick as a dog. I’ll be dead in + six weeks. I’m dying. + + ETHELINE + What are you talking about? + +Royal stares at her blankly. He nods. + + ETHELINE + What happened? + +Royal shrugs. Etheline looks stunned. + + ETHELINE + Oh, my God. + +Etheline looks as if she is going to faint. Royal seems +suddenly worried. + + ETHELINE + 36. + + + I’m sorry. I didn’t know. + +Etheline cannot seem to catch her breath. Royal looks +around nervously. + + ETHELINE + What’d they say? What’s the + prognosis? + +Etheline begins to hyperventilate. Royal tries to calm her +down. + + ROYAL + Take it easy, Ethel. + +Etheline stumbles a step and Royal catches her. He looks +scared. + + ROYAL + Hold on. Hold on. + + ETHELINE + (urgently) + Where’s the doctor? Let’s get -- + + ROYAL + Wait a second. + +Royal holds Etheline by the shoulders. He hesitates. He +says gently, trying to comfort her: + + ROYAL + Listen. I’m not dying. But I need + some time. + +Etheline looks puzzled. + + ROYAL + A month. Maybe two. I want us to -- + +Etheline slaps Royal hard in the face. She says furiously: + + ETHELINE + What’s wrong with you? + + ROYAL + Ethel. + + ETHELINE + Go away! + +Etheline turns away and walks quickly across the street. + 37. + + + ROYAL + Baby. I am dying. + + Etheline stops. She looks back to Royal. She can see from + the look on his face that now he is telling the truth. She + goes over to him in the middle of the intersection. + + ETHELINE + Are you or aren’t you? + + ROYAL + (pause) + Dying? Yes. + + +41 INT. HENRY’S APARTMENT/ETHELINE’S TELEPHONE ROOM - DAY 41 + + A telephone conversation. Henry sits at a desk in his + study. + + There are ledger books and adding machines in front of him + and glass statues of birds and animals behind him. Etheline + is in the telephone room on Archer Avenue. + + HENRY + Have you told your children? + + ETHELINE + More or less. + + HENRY + And are they all right? + + ETHELINE + Hard to say. + + +42 INT. 375TH STREET Y/CHAS’ ROOM - DAY 42 + + A second telephone conversation. Ari talks on a pay phone + next to an indoor pool. Uzi stands beside him. Each wears + goggles and an orange life-jacket belted tightly. A sign on + the wall says “Water Safety and Rescue Class, 11 a.m.” Chas + sits at the desk in his bedroom on Archer Avenue. + + UZI + Who’s your father? + + CHAS + His name’s Royal Tenenbaum. + + ARI + You told us he was already dead. + 38. + + + CHAS + (hesitates) + But now he’s really dying. + + +43 INT. ELI’S TOWNHOUSE/MARGOT’S BATHROOM-DARKROOM - DAY 43 + + A third telephone conversation. Eli sits on a couch in + front of a painting of two men wearing ski masks riding a + motorcycle chasing after a screaming girl in a bikini. He + smokes a long, Moroccan-looking pipe. Margot talks on the + telephone in her bathroom on Archer Avenue. There are three + bottles of developing chemicals and a photographic enlarger + next to the sink. + + ELI + I’m very sorry, Margot. + + MARGOT + That’s OK. We’re not actually + related, anyway. + + ELI + That’s true. + + +44 EXT. BOAT DECK - DAY 44 + + The Cote d’Ivoire. Richie sits under a wool blanket in a + chaise lounge reading a telegram with “Shore to Ship” + printed across the top. He looks upset. A waiter stands + next to him with a pen and a pad of paper in his hand. All + of the other passengers on the deck are very elderly and + have white hair. + + RICHIE + I’d like to send a response, + Alberto. + + WAITER + Yes, sir. Go ahead. + + RICHIE + Dear Mom, I received your message. + I’m coming home as soon as + possible. + (pause) + Who do I see about that? + + The waiter shrugs. + + +45 EXT. PIER 32 - DAY 45 + 39. + + +The entrance to the passenger terminal for the Cote +d’Ivoire. + +A sign across the glass says “Royal Arctic Line.” Richie +stands on the sidewalk with his hands in his pockets as +bundled-up, white-haired passengers and baggage handlers +run by around him. He has two small suitcases and a vinyl +bag with a pouch on he side for a tennis racket. There is +no racket in it. Two elderly men with white hair come over +to him. + + ELDERLY MAN 1 + Can we get a picture with you, + Baumer? + +Richie nods. One of the elderly men gives his camera to a +baggage handler, and they stand next to Richie. + + ELDERLY MAN 2 + I saw you whip Vishniac in the + finals at Glenchester. You were + beautiful back then. + +Richie smiles briefly. The baggage handler takes the +picture. + + ELDERLY MAN 1 + Thanks, Champ. + +The two elderly men walk away. A city bus stops at the +corner. The door opens and Margot gets out. She smiles at +Richie and waves. She wears a mink coat with a belt around +it. She has on pink gloves. She walks across the sidewalk +and stops ten feet in front of Richie as the bus drives +away. + +They stand there smiling at each other. + + MARGOT + Stand up straight and let me get a + look at you. + +Richie stands up a little straighter and continues to look +at Margot with the same smile. + + MARGOT + What’s so funny? + +Richie shrugs. + + MARGOT + Well, it’s nice to see you, too. + 40. + + + Their smiles fade, and they both look cold and sad. Richie + reaches out his hand. Margot goes over to him and puts her + arms around him. + + +46 EXT. TENENBAUM HOUSE - DAY 46 + + Margot and Richie stand on the steps in front of the house. + + The door opens and Etheline and Pagoda come outside and hug + Richie. Richie and Henry shake hands. Ari and Uzi come + running out and hug Richie. + + NARRATOR (V.O.) + That night, Etheline found all of + her children living together under + the same roof for the first time in + seventeen years. + + Chas watches from his window on the third floor. Richie + looks up and sees him. Richie waves tentatively. Chas waves + back without smiling. + + +47 EXT. ROOF - DAWN 47 + + Richie comes out on to the roof dressed in pajamas. He + opens his falcon’s coop. He puts his hand under the + falcon’s feet, and the falcon steps on to his fist. The + falcon’s hood says Mordecai across the front. Richie pulls + a leather cord and lifts the hood off the falcon’s head. He + strokes the falcon’s feathers and talks softly in its ear. + + NARRATOR (V.O.) + The next morning Richie woke at + dawn. He had decided birds should + not be kept in cages, fed Mordecai + three sardines, and set him free. + + CUT TO: + + An hour later. Richie sits on a box on the roof eating a + bowl of cereal and reading a book called Three Plays by + Margot Tenenbaum. There is an empty tin of sardines at his + feet. The door to the falcon’s coop is open, and the falcon + is gone. + + INSERT: + + Page 76 of The Royal Tenenbaums. It says “Chapter Four.” + + +48 EXT. STREET - EVENING 48 + 41. + + + Royal gets out of a gypsy cab in front of the Tenenbaum + house. He is dressed in a white bathrobe, white pajamas and + red bedroom slippers. He carries a cane, but walks across + the sidewalk quickly and energetically. + + Pagoda waits for him at the top of the steps. They shake + hands. Silence. + + ROYAL + OK. + + Pagoda opens the front door. + + +49 INT. LIVING ROOM - EVENING 49 + + Royal sits on a stool across from Richie and Margot on the + couch. Chas stands at a table in the corner reading + Richie’s Atlas of the World. Royal looks to Chas. Chas + looks back at him but does not move. Royal looks back to + Richie and Margot. + + ROYAL + I’ve missed the hell out of you, my + darlings. You know that, don’t you? + + MARGOT + I hear you’re dying. + + ROYAL + So they tell me. + + MARGOT + I’m sorry. + + ROYAL + (shrugs) + I had a good run. + + RICHIE + You don’t look so sick, Dad. + + ROYAL + Thank you. + + RICHIE + What’ve you got? + + ROYAL + I’ve got a pretty bad case of + cancer. + + CHAS + 42. + + + (yawning) + How long are you going to last? + +Royal looks across the room at Chas. Chas does not look up +from his atlas. + + ROYAL + Not long. + + CHAS + A month? A year? + + ROYAL + About six weeks. + +Royal looks back to Richie and Margot. + + ROYAL + But let me get to the point here. + The three of you and your mother + are all I’ve got, and I love you + more than anything. + +Chas laughs quietly. + + ROYAL + Let me finish. Now, I’ve got six + weeks to set things right with you, + and I aim to do it. Will you give + me a chance? + + CHAS + No. + + ROYAL + Do you speak for everyone? + + CHAS + I speak for myself. + + ROYAL + Well, you’ve made your views known. + So why don’t you let somebody else + do some of the talking now? + + MARGOT + What do you propose to do? + + ROYAL + 43. + + + Well, I can’t say, really. Make up + for lost time, I suppose. But the + first thing I’d like to do is take + you to see your grandmother, at + some point. + + RICHIE + (pause) + I haven’t been out there since I + was six. + + MARGOT + I haven’t been there at all. I was + never invited. + + ROYAL + Well, she wasn’t your real + grandmother, so I didn’t know you’d + be interested, sweetie. Anyway, + you’re invited this time. + + MARGOT + Thanks. + +Richie looks to Chas. He looks back to Royal. + + RICHIE + You know, Rachael’s buried there, + too. + + ROYAL + (pause) + Who? + + CHAS + My wife. + + ROYAL + Oh. That’s right, isn’t it? Well, + we can swing by her grave, too. + +Chas slams the atlas shut and puts it back into the +bookcase. + +He walks toward the door. Royal extends his hand as Chas +walks by. Chas slaps it away and goes out of the room. + +Royal says to Margot and Richie: + + ROYAL + I’ll be right back. + 44. + + +50 INT. STAIRWAY - EVENING 50 + + Chas is already half-way to the second floor as Royal + appears at the bottom of the steps. + + ROYAL + Chas? + + Chas stops. He looks down to Royal. + + ROYAL + May I see my grandsons? + + CHAS + Why? + + ROYAL + Because I’d like to finally meet + them. + + Chas scoffs at the idea and shakes his head. + + ROYAL + Don’t give me that guff. + + CHAS + I think we’ll pass. + + Chas walks away up the stairs. There is a clean square and + a hook on the wall in the stairwell, as if something has + been removed. Royal frowns. He yells toward the kitchen: + + ROYAL + Pagoda! Where’s my javelina? + + +51 INT. LIVING ROOM - NIGHT 51 + + Royal stands in the living room with Richie and Margot. + + ROYAL + I’ll say goodnight to you now, + children. + + Margot waves. Richie hugs Royal. Royal looks to be on the + verge of tears. + + ROYAL + Thank you, my sweet boy. + + +52 EXT. TENENBAUM HOUSE - NIGHT 52 + 45. + + +Royal and Pagoda stand outside the top of the front steps. + +Royal says quickly: + + ROYAL + I’ll contact you in the next twelve + hours and give you further + instructions. + +Pagoda nods. A taxi stops in front of the house. Royal’s +face darkens. Henry and Etheline get out of the taxi. They +each carry a playbill for a play called That Rascal. Royal +clamps his hand on Pagoda’s arm and lets out a slow +whistle. + + ROYAL + Look at that old grizzly bear. + +Royal licks his fingers and smooths back his hair. He +bounds down the steps. + + ROYAL + Hello, Ethel! Good evening, sir. + Hold the cab, please, driver. + +Henry leaves the door to the taxi open. + + ETHELINE + Royal, this is Henry Sherman. + + ROYAL + Hey, man. Lay it on me. + +Royal puts out his hand for Henry to give him five. Henry +reluctantly slaps hands with Royal and says: + + HENRY + How do you do? + + ROYAL + (shrugs) + Ah, what can I say? I’m dying. + +Henry looks uneasy. + + ETHELINE + Don’t pay any attention to that + man, Henry. + + ROYAL + I’m just kidding. Goodnight all. + +Royal gets into the taxi and closes the door. + 46. + + +53 EXT. STREET - DAY 53 + + Margot and Eli walk together down a street with trash + everywhere and abandoned cars and broken windows. + + ELI + Right there is where I used to go + get jacked off. + + Margot nods. She seems distracted. + + ELI + You don’t give a shit. + + MARGOT + I’m listening. + (points to a deli) + Right there is where you used to go + get jacked off. + + ELI + That’s right. + + They walk in silence for a minute. + + ELI + How’s Richie? + + MARGOT + (pause) + I don’t know. I can’t tell. + + ELI + Yeah. Me, either. He wrote me a + letter. He says he’s in love with + you. + + MARGOT + (frowns) + What are you talking about? + + ELI + (shrugs) + That’s what he said. I don’t know + how we’re supposed to take it. Hang + on. + + They stop in front of a partially demolished building. Eli + presses the buzzer to one of the apartments. A voice comes + on the call box: + + VOICE + Hello? + 47. + + + ELI + Sugar, it’s Eli. + + VOICE + Hey, baby. + + The door buzzes open. Margot says blankly: + + MARGOT + What are we doing, Eli? + + ELI + I just got to pick something up. + Don’t repeat that, by the way. + About Richie. It was told in + confidence. + + Eli goes inside. Margot stands alone on the street. She + looks up at the destroyed building. + + +54 EXT. ARCHAEOLOGICAL EXCAVATION - DAY 54 + + A large network of pits between two brownstone townhouses. + + There are workers digging, surveying, sketching, and + shaking dirt through metal hand-screens. + + The archaeologists crouch around Etheline while she + compares a bit of soil on the end of a trowel with a color + chart in a handbook. She is dressed entirely in denim + except for a scarf over her hair. She has on sunglasses and + boots. The three archaeologists are all scruffy young men + with beards. + + ETHELINE + Good. Now I’ll just remove the + loose soil and note the + decomposition levels. + + Etheline dusts off a partially unearthed skeleton. Henry + appears in the background, climbing down a ladder on the + far side of the pit. He wears a gray wool suit and tie. He + picks up a pebble off the ground and looks at it. Etheline + says to the three archaeologists: + + ETHELINE + These were probably slaves. Before + the arrival of the -- + + GRADUATE STUDENT + What are you doing? + 48. + + +A graduate student with a shovel is looking at Henry and +frowning. Etheline and the three archaeologists turn around +and see them. + + GRADUATE STUDENT + Please, put that artifact back + where you found it, sir. + +Henry looks embarrassed. He puts the pebble back on the +ground. + + CUT TO: + +Etheline and Henry walking through a trench together. + + HENRY + I’m sorry to interrupt your work. + + ETHELINE + Don’t be silly. + + HENRY + I just wanted to apologize for the + other day. When I proposed to you. + + ETHELINE + Why? I thought it was very sweet. + + HENRY + Look. I know I’m not as + accomplished as some of the men + you’ve been involved with. Franklin + Benedict and General Cartwright and + your ex-husband and -- + + ETHELINE + That’s ridiculous. + + HENRY + But I feel I have just as much to + offer as any of them. I know I went + about it backwards, but -- + + ETHELINE + Henry, I have no interest in Frank + Benedict or Doug Cartwright. I + never did. + +Henry falls into a pit and disappears from view. Etheline +does not notice this and continues walking. + + ETHELINE + 49. + + + And as far as Royal is concerned, + he’s the most -- + + Etheline stops. She looks around. She sees Henry climbing + up a ladder, out of the pit. He is covered with dirt and + has a small twig in his hair. She rushes over to him. + + ETHELINE + Are you all right? + + Henry sighs. He brushes some dirt off his jacket. + + HENRY + I’m fine. Anyway, let me know when + you make up your mind. + + Henry starts to walk away. Etheline grabs his sleeve. + + ETHELINE + Wait a second, Henry. + + Henry stops. He looks to Etheline. She takes his hand and + kisses it. He looks surprised. + + ETHELINE + I’m sorry. I’m very nervous. + + Etheline pulls the twig out of Henry’s hair. + + HENRY + That’s OK. Thank you. Why are you - + - + + ETHELINE + To tell you the truth, I haven’t + slept with a man in eighteen years. + + Silence. Henry nods. He puts his hand on Etheline’s cheek. + + +55 INT. MARGOT’S BEDROOM - DAY 55 + + Margot lies in her bed behind a mosquito net watching a + downhill skiing competition on her portable television. + + Etheline stands in the doorway and says calmly: + + ETHELINE + I think I’m falling for Henry. + + Margot looks to Etheline. She pulls open the mosquito + netting. + 50. + + + MARGOT + That’s amazing. + + ETHELINE + What do you think of him? + + MARGOT + (excited) + I think he’s gorgeous. + + ETHELINE + I’ll tell you a secret. He asked me + to marry him. + + MARGOT + (dreamily) + I’m going to have a father. + + ETHELINE + (hesitates) + Well, I haven’t accepted yet. + Besides, you already have a father, + sweetheart. + + MARGOT + Not really. Plus, now he’s dying. + + CUT TO: + + The hallway outside Margot’s room. Pagoda is poised in the + dark, watching from the stairs. + + +56 EXT. 375TH STREET Y ROOFTOP - DAY 56 + + A rooftop park with a chain-link fence around it. There are + several fighters lifting weights and jumping rope. Ari does + chin-ups from a jungle gym. Uzi does sit-ups on a mat. + + Buckley lays on the cement beside them. + + Someone whistles from behind the fence. Ari and Uzi look. + + It is Royal. He is inside a telephone booth with the door + partly open, holding the receiver to his ear. He signals + for Ari and Uzi to come over. + + Ari frowns. He looks across the courtyard to Anwar, sitting + on a bench, reading a BMW owner’s manual. Royal ducks back + into the telephone booth and holds the receiver to his ear. + + Anwar does not look up. + 51. + + +Ari slides down a fire-station-type pole. He and Uzi +cautiously go over to the fence with Buckley. Royal hangs +up the receiver and comes out of the telephone booth. + + ROYAL + That’s a hell of an old hound dog + you got there. What’s he go by? + + ARI + Buckley. + + ROYAL + (pointing at Buckley) + Buckley. Sit. + +Buckley sits. Royal looks impressed. He turns to Ari. + + ROYAL + You know who I am? + +Ari shakes his head. + + ROYAL + I’m Royal. You heard of me? + +Ari nods. Royal looks pleased. His expression becomes +serious again. + + ROYAL + I’m very sorry for your loss. Your + mother was a terribly attractive + woman. + + ARI + (pause) + Thank you. + + ROYAL + Which one are you? + + ARI + Ari. + + ROYAL + (looks to Uzi) + Uzi, I’m your granddad. + + UZI + Hello. + + ROYAL + 52. + + + I’m sorry we haven’t gotten to know + each other. I don’t get invited + around much. What do you think + about that, by the way? You don’t + have to say anything. + + Royal sighs. He stares off into space. + + ROYAL + Kind of a fuck-you to the old man, + I guess. + + Royal looks back to Ari and Uzi. + + ROYAL + How’s your daddy? + + ARI + Fine. + + ROYAL + You think so? How often’s he got + you working out? + + ARI + Sixteen times a week. + + ROYAL + (shakes his head) + Do me a favor. Tell him you want to + meet me. + + UZI + But we just met. + + ROYAL + No, we didn’t. + + Ari and Uzi look confused. + + ROYAL + Look. I want us to have a + relationship, but we’re going to + have to pull some strings to make + that happen. + (pause) + Here’s what you tell him... + + +57 INT. CHAS’ BEDROOM - DAY 57 + 53. + + + Ari and Uzi sit across from Chas. He is behind his desk + with his back turned to them. Ari and Uzi are both dressed + in black Adidas warm-ups. Chas wears his red one. A + technician tinkers with a large Xerox machine on the other + side of the room. Another technician rolls in a crate on a + dolly. + + ARI + I bet Mom would’ve wanted us to + meet him before he died, wouldn’t + she? + + Chas turns his chair around and looks to Ari and Uzi. + + Silence. He sighs. + + +58 EXT. CEMETERY - DAY 58 + + A small cemetery next to an electrical power plant. The + trees are bare, and the city is across the river. Chas, Ari + and Uzi stand together dressed in black Adidas warm-ups. + + Royal and Richie stand beside them. + + Royal’s mother’s gravestone reads “Helen O’Reilly Tenenbaum + (1909-1962).” Epitaph: “The Salt of the Earth.” Royal + places a bouquet of white flowers at the foot of the grave. + + There are tears in his eyes. He says to Chas: + + ROYAL + She was a tough old broad, wasn’t + she? + + CHAS + I wouldn’t know. Excuse me. + + ROYAL + Oh, that’s right. We got another + body buried out here. Hang on. Take + some of these. + + Royal takes half of the white flowers off his mother’s + grave and hands them to Chas. Chas walks away. Silence. + + ROYAL + What do you think of this big old + black buck moving in up there? + + RICHIE + (pause) + Who? + 54. + + + ROYAL + Henry Sherman. You know him? + + RICHIE + Yeah. + + ROYAL + Is he worth a damn? + + RICHIE + I believe so. + + Royal nods. + + CUT TO: + + Ari, Uzi and Margot standing in front of Rachael’s + gravestone, which reads “Rachael Evans Tenenbaum (1965- + 2000).” Uzi stares at Margot’s missing finger. + + UZI + What happened to your finger? + + Ari looks quickly to Uzi. + + MARGOT + It got chopped off by an axe. + + UZI + How’d it get chopped off by -- + + ARI + Uzi. Shh. + + MARGOT + It’s OK. I’ll tell you. I’m + adopted. Did you know that? + + Uzi shakes his head. + + MARGOT + Well, I am. And I went to find my + real family when I was fourteen. + They live in Indiana. + + +59 EXT. FARM - DAY 59 + + A fourteen-year-old Margot stands behind a barn with a + family of blond farmers. There are a mother and father and + five very young children. Margot’s hair is dyed black, and + she wears a black LaCoste dress, black eyeliner, and black + nail polish. + 55. + + + FATHER + Now just set one of them hickory + trunks right up on top there, + sister Maggie. + +Margot sets a log sideways on top of a wood pile. She +reaches to adjust the log slightly just as the father +swings an axe and chops the log in half. + +Everyone looks stunned. The father stares at Margot’s +bloody hand. Margot looks to the father as if he is an +idiot. + + CUT TO: + +Margot, Ari and Uzi standing together. + + ARI + Did you try to sew it back on? + + MARGOT + (shakes her head) + Couldn’t find it. + + CUT TO: + +Richie and Royal looking at an impressive monument in the +middle of the cemetery. An inscription says: “Veteran of +Two Wars. Father of Nine Children. Drowned in the Caspian +Sea.” + + ROYAL + That’s a hell of a damn grave. + +Richie nods. Royal says wistfully: + + ROYAL + I wish it were mine. + + CUT TO: + +Royal and Richie walking together among the gravestones. + + ROYAL + It’s a shame, isn’t it? + + RICHIE + What? + + ROYAL + You probably had another good two + to three years of competitive play + in you. + 56. + + + RICHIE + (shrugs) + Probably. + + ROYAL + I had a lot riding on that match, + you know. Financially and + personally. + +Richie nods. Silence. + + ROYAL + Why’d you choke out there that day, + Baumer? + + RICHIE + (pause) + I don’t know, Dad. + +INSERT: + +A television set tuned in to network coverage of a tennis +match on grass courts. Richie is playing an Indian player +dressed all in white. A title identifies him as Sanjay +Gandhi. + +Gandhi serves. With a bizarre swing, Richie hits his return +directly off the court and deep into the stands. He shakes +his head and talks to himself. It is briefly revealed that +he is wearing no shoes and only one sock. + + ANNOUNCER (V.O.) + That’s seventy-two unforced errors + for Richie Tenenbaum. He’s playing + the worst tennis of his life. + What’s he feeling right now, Tex + Hayward? + + TEX HAYWARD (V.O.) + I don’t know, Jim. There’s + obviously something wrong with him. + He’s taken off his shoes and one of + his socks, and - - actually, I + think he’s crying. + +Richie is shown preparing to serve with tears all over his +face. He hesitates. He looks into the stands. + + ANNOUNCER (V.O.) + Who’s he looking at in the friends’ + box, Tex? + 57. + + +Margot and Raleigh, holding hands, watch from their seats +in a courtside box. They look very concerned. + + TEX HAYWARD (V.O.) + That’s his sister, Margot, and her + new husband, Raleigh St. Clair. + They were just married yesterday, + Jim. + +Richie stares at Margot and Raleigh. He looks to Chas, with +Rachael, Ari and Uzi. He looks to Etheline. He looks to +Royal in a lonely seat up in the nosebleed section. Royal +stands up and walks towards the exit. + +Richie serves suddenly, underhand, barely tossing the ball +into the air. Gandhi nails his return, and Richie attempts +to play it by throwing his racket at the ball. + + CUT TO: + +Royal and Richie standing together. + + ROYAL + I kind of disappeared after that, + didn’t I? + + RICHIE + (shrugs) + Yeah, but I understood. I know + you’re not very good with + disappointment. + +Royal nods. He kicks a pebble on the ground. + + CUT TO: + +Royal scraping some dirt off of Rachael’s gravestone with +his foot. Chas stands beside him. + + ROYAL + You still got that little BB in + your hand, Chassie? + +Chas looks to Royal. He holds up his hand and shows Royal a +little round bump between two knuckles. Royal taps it with +his finger. It moves slightly. + + CHAS + Why’d you shoot me? + +Silence. Royal says quietly: + + ROYAL + 58. + + + It was the object of the game, + wasn’t it? + + CHAS + No. We were on the same team. + + ROYAL + Were we? + + Chas does not respond. Royal sighs. + + ROYAL + Well, you sued me. Twice. And got + me disbarred. But I don’t hold it + against you, do I? + + +60 INT. JUDGE’S CHAMBERS - DAY 60 + + A lawyer in a robe sits behind his desk. Chas and Royal and + two attorneys sit across from him. A stenographer sits at a + metal stand, typing. + + JUDGE + And how was it possible for Mr. + Tenenbaum to withdraw these funds + without your written authorization? + + ROYAL + Objection, your honor. Now, dammit + -- + + ROYAL’S LAWYER + This isn’t a courtroom, Royal. + Don’t object. + + CHAS + Because I started the corporation + when I was a minor, so my father + was the primary signatory on most + of my accounts. + + Chas’ attorney whispers something into his ear. + + CHAS + He also stole bonds out of my + safety deposit box when I was + fourteen. + + The judge looks to Royal. Royal looks guilty. + + CUT TO: + 59. + + +Royal and Chas surrounded with Ari and Uzi. + + ROYAL + You think you could start forgiving + me? + + CHAS + Why should I? + + ROYAL + Because you’re hurting me. + +Chas turns and walks away. Uzi looks to Royal. + + UZI + Were you in prison? + + ROYAL + Kind of. Minimum security. I got + jacked by the IRS. Should we split? + + ARI + Yes, sir. + + ROYAL + Call me Mr. Tenenbaum. + + ARI + OK. + + ROYAL + I’m kidding. Call me Pappy. + + ARI + OK. + +Royal yells across the cemetery to Richie and Margot. + + ROYAL + Come on! Let’s shag ass! + + CUT TO: + +Margot and Richie walking toward the cemetery gates. + + RICHIE + How are you and Raleigh getting + along? You think you’re going to + get back together? + + MARGOT + (pause) + 60. + + + I don’t know. + + RICHIE + Well, if you need someone to talk + to, let me know, OK? I like Raleigh + very much. I know he’s a lot older + than you are, and you’re having + some problems, but -- Anyway, maybe + I can help. + + MARGOT + OK. Thanks. + + A maintenance man with a shovel in his hand yells from + across the cemetery: + + MAINTENANCE MAN + Hey, Baumer! All right! + + Richie smiles and waves to the maintenance man. + + MARGOT + By the way, I heard about that + letter you sent to Eli. + + Silence. Richie starts to say something. He hesitates. A + pack of cigarettes falls out of Margot’s pocket on to the + ground. They stop walking and look at it. + + RICHIE + You dropped some cigarettes. + + MARGOT + Those aren’t mine. + + RICHIE + Well, they just fell out of your + pocket. + + Margot picks up the pack of cigarettes and puts it back in + her pocket. + + +61 INT. ELI CASH’S TOWNHOUSE - DAY 61 + + Eli walks into the vestibule smoking a joint which he keeps + in his mouth at all times like a cigarette. He opens the + front door. Richie stands on the top step. + + ELI + Oh, my Lord. Look at you. + + Eli embraces Richie. They smile sadly at each other. + 61. + + + CUT TO: + + Richie and Eli walking into the front room of the house. It + is furnished like a house in the English countryside, with + antiques and potted flowers and old rugs. + + RICHIE + Did you tell Margot about that + letter I wrote you? + + ELI + (hesitates) + Why? Did she mention it? + + Richie does not respond. + + ELI + Yes, I did. + + RICHIE + Eli, that was meant to be just + between you and me. + + ELI + I know. I’m sorry. Why would she + have repeated that, I wonder? + + RICHIE + Well, I would ask you the same + question. + + ELI + (pause) + Rightly so. + + +62 INT. STUDIO - DAY 62 + + Richie and Eli walk into the next room. Eli’s wife, + Sabrina, is painting in her studio. She is very beautiful + and wears spectacles and a white sari. She is barefoot. + Classical music plays quietly on the record player. + + ELI + Sabrina? + + Sabrina does not look up. She seems irritated. + + SABRINA + What? + + ELI + Look what I found on the doorstep. + 62. + + + Sabrina looks to Richie. She is only mildly surprised. She + has an English accent. + + SABRINA + Hello, darling. + + Sabrina hugs and kisses Richie. + + ELI + Charlotte? Stetson? Say hello to + Uncle Richie. + + There are two children in the corner. Stetson is six. He + works at a spinning potter’s wheel, molding a hunk of clay. + + Charlotte is five. She is painting a set of teacups. She + has a cast in a sling on her arm. They are both blond and + fair. + + The children do not respond to Eli. Eli does not appear to + notice this, as he is in the process of relighting his + joint. + + RICHIE + How’d she break her arm? + + ELI + (sadly) + I fell down the stairs with her. + + Richie looks disturbed. He notices a nude, teenaged girl + standing on the table. She has a deep tan, except where she + wore a bikini. She is Sabrina’s model, Cinnamon. + + ELI + That’s Cinnamon. Hello, Cinnamon. + + Cinnamon looks at Eli coldly. + + +63 INT. ELI’S STUDY - DAY 63 + + Eli sits on a couch across from Richie. They are both + drinking wine. There is a large zip-lock bag of marijuana + on the table. There is a large, frightening painting on the + wall of five men wearing African masks and sitting on dirt- + bikes. + + Silence. + + ELI + What’d you say? + 63. + + + RICHIE + (pause) + Hm? + + ELI + What? + + RICHIE + I didn’t say anything. + + ELI + When? Right now? + (pause) + I’m sorry. Don’t listen to me. + (barely audible) + I’m on mescaline. I’ve been spaced + out all day. + +Eli pours himself another glass of wine. + + RICHIE + Did you say you’re on mescaline? + + ELI + (nods) + I did, indeed. Very much so. + +Richie reflects on this for a minute. + + RICHIE + How often do you -- + + ELI + I’m worried about you, Richie. + + RICHIE + (pause) + Why? + + ELI + Well, actually, Margot is, for some + reason. But I did find it odd when + you said you were in love with her. + (pause) + She’s married, you know. + + RICHIE + Yeah. + + ELI + And she’s your sister. + + RICHIE + 64. + + + (quickly) + Adopted. + + INSERT: + + Page 112 of The Royal Tenenbaums. It says “Chapter Five.” + + +64 EXT. LINDBERGH PALACE HOTEL - DAY 64 + + The side entrance of the hotel. Royal goes in through + revolving doors. + + +65 INT. LOBBY - DAY 65 + + Royal comes into the lobby and freezes. + + A large number of trunks, suitcases and boxes are stacked + and piled on four carts next to the front desk. There are + also several dozen hanging garments on a rack with wheels + on it. + + A bellboy rolls a fifth cart next to the others. The + manager and his assistant come over and watch Royal study + his possessions. Royal says suddenly: + + ROYAL + Where’re my encyclopedias? + + MANAGER + They’ve been placed in storage. + + ROYAL + (shaking his head) + Damn you. You’re taking my + encyclopedias. This is humiliating. + + MANAGER + I’m sorry. Would you like to -- + + ROYAL + Where am I supposed to go? You’re + turning me into a goddamn hobo. + + MANAGER + I’d be happy to make a reservation + for you at another hotel. + + ROYAL + You son of a bitch. + + MANAGER + 65. + + + Frederick? + + The manager looks to the bellboy. The bellboy begins to + roll one of the carts across the lobby. The manager walks + away. + + Dusty, the elevator operator, appears at Royal’s side. + + ROYAL + Hello, Dusty. + + MANAGER + Hello, sir. + + ROYAL + Spot me a quarter, will you? + + MANAGER + Of course. + + +66 INT. TELEPHONE BOOTH - DAY 66 + + Royal places a call from the lobby. + + ROYAL + Richie? It’s your dad. + + +67 INT. DINING ROOM - NIGHT 67 + + Etheline, Henry, Chas, Margot, Richie, Ari and Uzi sit at + the table eating dessert. + + RICHIE + I think he’s very lonely. Lonelier + than he lets on, and maybe lonelier + than he even realizes. + + ETHELINE + Have you spoken to him about this? + + RICHIE + Briefly. And he agreed that -- + + CHAS + I’m sorry. Maybe I’m a little + confused. What are you suggesting? + + RICHIE + That he come here and stay in my + room. + 66. + + + CHAS + Are you out of your mind? + + RICHIE + (sincerely) + No, I’m not. Anyway, I think he’d + be much more comfortable here than + -- + + CHAS + Who gives a shit? + + RICHIE + I do. + + CHAS + You poor sucker. You poor, washed- + up poppa’s boy. + +Henry puts his hand gently on Chas’ arm. + + HENRY + All right. Let’s not get out of + hand. + +Chas jerks his arm away. + + CHAS + Don’t get in the middle of this, + Mr. Sherman. This is a family + matter. + + MARGOT + Don’t talk to him like that. + + HENRY + Please, call me Henry. + + CHAS + I prefer Mr. Sherman. + + ETHELINE + Call him Henry. + + CHAS + Why? I don’t know him that well. + + ETHELINE + You’ve known him for ten years. + + CHAS + As your accountant, Mr. Sherman, + yes. + 67. + + + ARI + (to Richie) + Where are you going to sleep? + + RICHIE + I’ll just camp out upstairs. + + UZI + We brought an extra sleeping bag + you can use. + + RICHIE + Oh, that’s OK. I’ve got an old + Scout cot and a couple of army + blankets. + + UZI + You want to borrow our electric -- + + CHAS + Uzi. + + ARI + We don’t mind, Dad. We like him. + + UZI + Who? Pappy? + + Chas looks shocked and then revolted. + + CHAS + It’s not your decision, goddammit. + + ETHELINE + Nor is it yours. + + RICHIE + Well, he’s already up there. + + Silence. + + RICHIE + I think he’s asleep, because of the + medication he’s on. But I guess you + can wake him up and throw him out, + if Mom says it’s OK. + + +68 INT. RICHIE’S BEDROOM - NIGHT 68 + 68. + + +Richie’s room has been converted into a makeshift hospital +room. Royal lies on an electric hospital bed. He has an IV +in his arm and a tube in his nose. There are several +monitors and machines breathing and humming. There are +numerous bottles of pills and medicines on the night stand. + +Pagoda has on a surgical mask and scrubs. + +Chas stands in the doorway. Richie is behind him. + + CHAS + Get out. + + ROYAL + All right. Let me just collect my + things. + +Royal sits up on the edge of the bed. He is dressed in pink +surgical scrubs. + + ROYAL + Would you mind handing me my cane, + Richie? + +Richie hands Royal his cane. Royal struggles to his feet. + +He rolls the IV stand beside him. + + ROYAL + Let’s see, now. Where’s my + suitcase? + +Royal’s knee gives out. He staggers a step. He grips the +back of a chair and looks to Richie with a surprised +expression. He collapses on to the floor. He produces a +wooden spoon, which he takes between his teeth. + + RICHIE + Dad? + +Richie and Pagoda rush over and kneel on the floor beside +Royal. Chas frowns. Richie yells out the door: + + RICHIE + Mom! + + ROYAL + Grab me a Nembutal, son. + +Richie runs to the night stand and pops open a bottle of +pills. Chas looks down at Royal. + + CHAS + 69. + + + Are you OK? + + Royal takes the spoon out of his mouth. + + ROYAL + Fuck do you care? + + Richie gives Royal a pill with a glass of water. Etheline + comes to the door. + + ETHELINE + Oh, my goodness! + + ROYAL + Pagoda. Call Dr. McClure. + + CUT TO: + + Forty-five minutes later. Royal is back in bed. He is being + examined by Dusty, the elevator operator from the Lindbergh + Palace. Dusty is dressed in a white lab coat and elevator- + operator pants with a red stripe down the side. He checks + Royal’s pulse while everyone watches. + + +69 INT. HALLWAY - NIGHT 69 + + Dusty speaks with the Tenenbaums in the hallway outside + Richie’s bedroom. + + DUSTY + His condition is stable. The attack + was just a side-effect. I recommend + that you push fluids and continue + the stomach cancer medication. + + Dusty’s beeper goes off. He looks at it. + + INSERT: + + Dusty’s beeper has a digital message on it: “Smitty worked + a double yesterday. Can you sub for him tonight?” + + CUT TO: + + Dusty pushing a button on his beeper. + + CHAS + Can we move him? + + DUSTY + Absolutely not. + 70. + + + CHAS + For how long? + + DUSTY + We’ll have to wait and see. + + RICHIE + Is he going to be all right? + + DUSTY + That depends. Is he a fighter? + + RICHIE + Yeah. + + DUSTY + (solemnly) + Then that’s the best we’ve got. + Now, if you’ll excuse me, I have + another call to make. + + +70 INT. RICHIE’S BEDROOM - NIGHT 70 + + Etheline sits next to Royal’s bed. Pagoda comes in and + hands Royal a small brown paper sack. + + ROYAL + Pagoda is in possession of a parcel + that contains my will and some + instructions regarding the funeral, + including my epitaph, for when the + time comes. + + Etheline nods. + + ROYAL + Proof-read it for me before they + carve it on the headstone, OK? + + ETHELINE + OK. + + ROYAL + I never did stop loving you, by the + way. Do you believe that? + + ETHELINE + Not really. + + ROYAL + You look terrific. That dress is + stunning. + 71. + + + ETHELINE + (pause) + Thanks. + + Royal raises an eyebrow. Etheline shakes her head and goes + out of the room. Royal opens the paper sack and withdraws a + cheeseburger wrapped in aluminum foil. He unwraps it and + takes a bite. He hesitates. Henry is standing in the + doorway. He walks away. + + A dalmation mouse eats some crumbs off the floor. + + CUT TO: + + An hour later. Royal lies in bed, drinking a milkshake, + reading a spy novel. Chas appears in the doorway. + + CHAS + Lights out, old man. + + Chas turns out the light. + + ROYAL + I was going to read for a little + bit, Chas. + + CHAS + Sorry. 11:30. Lights out. + + ROYAL + I’m in the middle of a sentence. + + CHAS + Have to finish it up in the + morning. Them’s the rules. + + Silence. Royal says in a quiet, strangely upbeat voice in + the darkness: + + ROYAL + Goodnight, m’boy. + + Chas hesitates. He closes the door. + + +71 INT. BALLROOM - NIGHT 71 + + The ballroom on the top floor of the house. There are + chairs and tables with sheets over them lined up along the + walls. + 72. + + + Near the center of the room, there is a yellow nylon pup- + tent. The room is dark except for a lamp glowing inside the + tent. + + +72 INT. TENT - NIGHT 72 + + There is a Boy Scout sleeping bag on an air mattress on a + cot inside the tent. There is a photograph of the Tenenbaum + family taped to the nylon wall. There is a small table with + a stack of books and some of Richie’s Matchbox cars and + tennis trophies on it. Richie lies on the cot reading Three + Plays by Margot Tenenbaum. + + Chas comes into the tent. Richie looks up, startled. + + CHAS + Looks like you and Dad are back + together again, huh? + + RICHIE + (pause) + He’s your dad, too, Chas. + + CHAS + No, he’s not. + (pause) + You really hate me, don’t you? + + RICHIE + (puzzled) + No, I don’t. I love you. + + Chas looks disturbed by this. + + CHAS + Well, I don’t know what you think + you’re going to get out of this. + But believe me, whatever it is, + it’s not worth it. + + RICHIE + I don’t want to hurt you, Chas. I + know what you and the boys have + been through. You’re my brother, + and I love you. + + CHAS + (gritting his teeth) + Stop saying that. + + +73 EXT. RICHIE’S BEDROOM - DAY 73 + 73. + + +The next morning. Royal sits on the window sill smoking a +cigarette. Pagoda sits next to him drinking a cup of +coffee. + +Royal throws his cigarette out the window. He looks down at +the street. He frowns. + +Eli is climbing out a window on the second floor. + + ROYAL + What’s that jackass doing here? + +Pagoda looks down at Eli. Eli drops to the sidewalk. He +sees Royal’s cigarette burning on the ground. He steps on +it. He looks up to Royal. Their eyes meet. Royal yells: + + ROYAL + I know you, asshole! + +Eli hesitates. He smiles defiantly. He runs away. + +INSERT: + +An article on Eli in the Sunday magazine section. The +headline says “Where the Wild Things Are.” There is a +photograph of Eli in the desert holding a dead rattlesnake +by the tail in each hand. A note stapled to the top says: +“Dear Mrs. Tenenbaum, Just in case you missed it. Love, +Eli.” + + CUT TO: + +Margot and Etheline sitting together in Etheline’s study. + +Margot is reading Henry’s book, Accounting for Everything. + +Etheline is reading the article on Eli. Margot looks at it. + + MARGOT + Did Eli send you that? + + ETHELINE + (nods) + He always sends me his clippings. + + MARGOT + (incredulous) + What for? + + ETHELINE + 74. + + + I think he just likes the + encouragement. He’s done it for + years. He used to send me his + grades in college. + + MARGOT + (frowns) + That’s ridiculous. + + There is a rap on the glass. Margot and Etheline look up. + + Raleigh is standing in the window. He looks miserable. + + +74 EXT. GARDEN - DAY 74 + + The backyard. Margot and Raleigh sit at a metal table + drinking tea. + + RALEIGH + How long do you intend to stay + here? + + MARGOT + I don’t know. + + RALEIGH + Are you ever coming home? + + MARGOT + (pause) + Maybe not. But -- + + RALEIGH + You’re joking. + + MARGOT + No. But -- + + RALEIGH + I want to die. + + Raleigh crumples into a ball on the ground and stays there. + + Margot puts her hand on his back. + + MARGOT + Raleigh, please. For God’s sake. + + Raleigh sits up suddenly. + + RALEIGH + 75. + + + Have you met someone else? + + MARGOT + (pause) + I couldn’t begin to even think + about knowing how to answer that + question. + + Raleigh stands up and walks away. + + +75 INT. HALLWAY - DAY 75 + + Royal watches down the stairwell as Margot comes up. He + knocks on the railing. She looks up at him. Silence. + + ROYAL + I don’t like the way you’re + treating Raleigh. + + MARGOT + What are you talking about? You + don’t even know him. + + ROYAL + I’ve met him. And I don’t think he + deserves -- + + MARGOT + Stay out of it. + + Margot walks toward her room. Royal steps on to the landing + at the top of the stairs. + + ROYAL + You’re two-timing him with that + bloodsucker Eli Cash. + + Margot stops. She stands still with her back to Royal. + + ROYAL + It’s not right, dammit. You used to + be a genius. + + Margot turns to Royal. They look at each other for a long + minute. She says in a quiet voice: + + MARGOT + No, I didn’t. + + ROYAL + (hesitates) + 76. + + + Well, anyway, that’s what they used + to say. + + Margot goes into her room and closes the door. + + +76 EXT. ROOF - DAY 76 + + Raleigh stands at the edge of the roof looking down to the + ground while Richie cleans the empty falcon’s coop. + + RALEIGH + Richard, I know you’re terribly + close to Margot, and perhaps you + understand her better than anyone + else. + + RICHIE + I doubt it. + + RALEIGH + Nevertheless, may I confide in you? + + RICHIE + (pause) + OK. + + RALEIGH + I believe she’s having an affair. + + Silence. Richie comes out of the coop and goes over to + Raleigh. + + RALEIGH + I’m utterly devastated. I don’t + know where else to turn. Will you + advise me? + + RICHIE + I don’t know. What do you want to + do? + + RALEIGH + Well, I thought, perhaps -- + + RICHIE + Find the guy and get him? + + RALEIGH + (pause) + Well, no. I thought we might -- + 77. + + + Richie punches his hand through the attic window. He kicks + it. Raleigh looks shocked. He stares at Richie’s bloody + hand. + + RICHIE + Who do you think it might be? + + RALEIGH + (hesitates) + I don’t know, at the moment. + + +77 INT. CHAS’ BEDROOM - DAY 77 + + Royal comes down the hallway and looks in the doorway to + Chas’ room. There are five computers, four telephones, the + Xerox machine and a television and VCR on a cart. Three + secretaries make copies and take messages. Chas is on the + telephone. A messenger waits for him to sign a document. + + Ari and Uzi sit working with a calculator and a ledger pad + at a small desk in the corner. Royal says to them: + + ROYAL + Let’s go down to Little Tokyo and + get some firecrackers. + + Chas covers the receiver with his hand. + + CHAS + What do you need? + + ROYAL + (hesitates) + Nothing. You got them crunching + numbers for you, huh? + + CHAS + Please, don’t come in this room. + + +78 INT. ETHELINE’S STUDY - DAY 78 + + Etheline sits at her desk writing numbers on little bits of + pottery and recording it in a notebook. Royal stands in the + garden, looking in the window. His IV bag hangs on a + rolling stand beside him. + + ROYAL + Chassie’s got those boys cooped up + like a pair of jackrabbits, Ethel. + + ETHELINE + 78. + + + He has his reasons. + + ROYAL + I know it. But you can’t raise boys + to be scared of life. You got to + brew some recklessness into them. + + ETHELINE + I think that’s terrible advice. + + ROYAL + (pause) + No, you don’t. + + +79 INT. RICHIE’S BEDROOM - DAY 79 + + Royal listens to Ari over the intercom while Pagoda does + yoga exercises in the corner: + + ARI (V.O.) + We take boxing and self-defense + class. + + Royal pushes a button to talk. + + ROYAL + I’m not talking about dance + lessons. I’m talking about putting + a brick through the other guy’s + windshield. I’m talking about + taking it out and chopping it up. + + Silence. Ari says over the intercom: + + ARI (V.O.) + What do you mean? + + .MONTAGE: + (Royal, Ari and Uzi laugh + continuously throughout + the following montage.) + + Royal, Ari and Uzi jump off a high scaffold into the indoor + pool at the 375th Street Y. + + Royal, Ari and Uzi jaywalk through heavy traffic. + + Royal, Ari and Uzi ride horses in the park. Royal leads + them at a full gallop down a ravine and over a stone wall. + + Royal, Ari and Uzi race go-carts up and down loading ramps + and in between fork-lifts in a large warehouse. + 79. + + + Royal, Ari and Uzi throw water balloons at a gypsy cab. + + Royal, Ari and Uzi hide cartons of chocolate milk under + their jackets and walk quickly out the door of a bodega. + + Royal, Ari and Uzi ride on the back of a speeding garbage + truck. + + +80 EXT. STREET - DAY 80 + + ROYAL + (indicating Pagoda) + He saved my life, you know. Thirty + years ago. I was knifed at a bazaar + in Calcutta, and he carried me to + the hospital on his back. + + ARI + Who stabbed you? + + Royal motions to Pagoda again. + + ROYAL + He did. There was a price on my + head, and he was a hired assassin. + Stuck me in the gut with a shiv. + + +81 INT. CHAS’ BEDROOM - DAY 81 + + The three secretaries are still at work, and Chas is on the + telephone. He sees Royal, Ari and Uzi walking by the + hallway. Chas hangs up the telephone. + + CHAS + Where’ve you been? + + Chas goes to the doorway. He glares at Ari, Uzi and Royal. + + ROYAL + Just stepped out to get some air. + How’s the -- + + CHAS + (concerned) + What’s that? + + Chas points to a spot of dried blood on Uzi’s forehead. + + ROYAL + Holy shit. That’s not -- What is + that? + 80. + + + Royal licks his finger and rubs away the blood. + + ROYAL + No. That’s dog’s blood. + + Chas frowns. He looks to Royal. Royal hesitates. Chas grabs + Royal by the arm and pulls him into the closet across the + hall. + + +82 INT. CLOSET - DAY 82 + + Chas closes the door and turns on the light. There are + hundreds of board games, most of which are about thirty + years old, in shelves up to the ceiling. + + CHAS + Stay away from my children. Do you + understand? + + ROYAL + (looking around) + My God. I haven’t been in here in + years. + + CHAS + (screams) + Are you listening to me? + + ROYAL + Yes, I am. And I think you’re + having a nervous breakdown. I don’t + believe you’ve recovered from + Rachael’s death. I think -- + + Chas turns off the light, goes out of the closet, and + closes the door. Royal stands alone in the dark. He + switches the light back on and looks down at the floor. He + smiles. + + ROYAL + There you are. + + The stuffed boar’s head is under the bottom shelf, in the + corner, covered with dust. + + +83 EXT. PARK - DAY 83 + + Royal and Etheline walk along a path through the park. + Royal rolls his hanging IV bag at his side. + + ETHELINE + 81. + + + How are you feeling? + + ROYAL + Oh, I’m having a ball. Scrapping + and yelling. Mixing it up. Loving + every minute with this damn crew. + (sincerely) + I’d like to thank you for raising + our children, by the way. + + ETHELINE + (pause) + OK. + + ROYAL + I’m not kidding. + +Etheline shrugs. + + ROYAL (CONT'D) + You always put them first, didn’t + you? + + ETHELINE + I tried to. Lately, I feel like + maybe I didn’t do such a great job. + + ROYAL + Goddammit, don’t do that to + yourself. I’m the one who failed + them. Or, anyway, it’s nobody’s + fault. + (pause) + Plus, it doesn’t -- + + ETHELINE + Well, then why didn’t you give a + damn about us, Royal? Why didn’t + you care? + + ROYAL + I don’t know, but I’m ashamed of + myself. I’ll tell you one thing, + though. You’ve got more grit, and + fire, and guts than any bob-tailed + fox I ever damn hunted, and if -- + +Etheline laughs. Royal smiles. + + ROYAL + What? What’s so funny? + + ETHELINE + 82. + + + Nothing. + + ROYAL + No, tell me. + + ETHELINE + Nothing. Just these little + expressions of yours. + + ROYAL + (pause) + I don’t know what you’re talking + about. But I’ll take it as a + compliment. + + They look at each other for a long minute. + + ROYAL + You’re true blue, Ethel. You really + are. + + CUT TO: + + Henry with two bags of groceries in his arms, watching from + behind a stone wall above the path. He listens as Royal + says: + + ROYAL + How’s your love life? + + ETHELINE + None of your business. + + Henry frowns. + + INSERT: + + Page 147 of The Royal Tenenbaums. It says “Chapter Six.” + + +84 EXT. SIDEWALK - EVENING 84 + + Etheline and Henry come down the front steps of the + Tenenbaum house. Henry is dressed in black tie. The ends of + a pair of theatre tickets stick out of his breast pocket. + Pagoda holds a gypsy cab for them at the curb. + + HENRY + I’d like you to talk to Royal about + us, if you don’t mind. + + ETHELINE + (hesitates) + 83. + + + I don’t think the timing’s right + for that, Henry. + + HENRY + Well, I’d agree if I thought he was + really going to die in six weeks. + But I don’t. + + Etheline stops at the bottom of the steps. Silence. + + ETHELINE + Well, I hope you’re right. + (pause) + Actually, I don’t believe I’m going + to join you tonight. I’ll call you + in the morning. + + Etheline turns around and goes back up the steps. Henry + watches her. He looks sad and stunned. Pagoda watches + Henry. Etheline goes inside and closes the door. + + +85 INT. CLOSET - NIGHT 85 + + Royal and Pagoda stand together in the board-game-filled + closet drinking Martinis and smoking cigarettes. Royal has + a half-eaten cheeseburger in his hand. He whispers + excitedly: + + ROYAL + She said that? + + Pagoda nods. Royal snaps his fingers. + + ROYAL + We got the sucker on the ropes. + + +86 INT. KITCHEN - DAY 86 + + The next morning. Henry stands at the counter reading the + Wall Street Journal. He has on reading glasses. Royal comes + into the kitchen eating a cheeseburger. Henry looks at him + blankly. Royal sits on a stool. + + ROYAL + Can I ask you something? + + HENRY + (pause) + OK. + + ROYAL + 84. + + + Are you trying to steal my woman? + + HENRY + (pause) + I beg your pardon? + + ROYAL + You heard me, Coltrane. + + HENRY + (long pause) + Coltrane? + + ROYAL + What? + + HENRY + Did you just call me Coltrane? + + ROYAL + No. + + HENRY + You didn’t? + + ROYAL + No. + + HENRY + (pause) + OK. + + ROYAL + But if I did? + +Silence. Henry waits for Royal to continue. + + ROYAL + You wouldn’t be able to do anything + about it, would you? + + HENRY + You don’t think so? + + ROYAL + No, I don’t. + + HENRY + (seething) + Listen, Royal. If you think -- + + ROYAL + You want to talk some jive? + 85. + + +Henry hesitates. He looks puzzled. + + ROYAL + I’ll talk some jive with you. + +Royal stands up. He screams: + + ROYAL + I’ll talk some jive like you never + heard! + + HENRY + (yelling) + Oh, yeah? + + ROYAL + Right on! + + HENRY + Sit down! + + ROYAL + What? + +Royal starts doing a little dance in front of Henry. + + ROYAL + What’d you say? + + HENRY + I said, sit down, goddammit! + + ROYAL + Oh, I heard you. + +Henry jumps to his feet. Royal stops dancing. He says +darkly: + + ROYAL + I want you out of my house. + + HENRY + This is not your house. + + ROYAL + Don’t play semantics with me. I + want your raggedy ass back on the - + - + + ETHELINE + What’s going on here? + 86. + + + Henry and Royal look to Etheline. She stands in the + doorway. + + ROYAL + Nothing. + + Royal goes to the refrigerator and opens it. He takes out a + jar of peanut butter and a jar of grape jelly. Etheline + looks to Henry. Henry walks out of the room. + + +87 INT. RICHIE’S BEDROOM - DAY 87 + + Henry goes into Richie’s room and takes a bottle of Royal’s + pills off the night stand. He goes back out of the room. + + +88 INT. TELEPHONE ROOM - DAY 88 + + Henry reads the label on the bottle while he places a call. + + HENRY + Hello. I’m calling in regards to a + Dr. McClure. Yes. At Colby General. + The name of the patient is Royal + Tenenbaum. + + Henry takes out a pill and examines it. + + INSERT: + + The pill. It has pink and blue sparkles all over it and the + word “Tic-Tac” printed on the side. + + +89 INT. STAIRWAY - DAY 89 + + Henry goes up the stairs with a cold, determined look on + his face. He has the bottle of pills in his hand. + + +90 INT. PAGODA’S ROOM - DAY 90 + + A small room with an Indian pattern on the wallpaper. + Pagoda lies on a hammock listening to Indian music on a + portable record player. There is a knock on the door, and + then it opens. Henry stands in the doorway. He stares at + Pagoda. + + HENRY + How much is he paying you? + + Pagoda looks scared. + 87. + + +INSERT: + +A television set tuned in to an interview show. The host is +a tall, distinguished-looking man in his fifties. He is +Peter Bradley. Eli is his guest. They sit at a round table +lit at the center of a pitch-black room. + + ELI + Well, I grew up with the Tenenbaum + family, you know. + + PETER + Right. They’ve come on hard times + now, haven’t they? + +Eli nods sadly. + + CUT TO: + +Richie’s room. Margot and Royal are watching Eli on +television. + + ROYAL + Bullshit. Change it. + +The door opens. Richie comes into the room. His hand is +wrapped with bloody bandages. Margot looks concerned. + + MARGOT + What’d you do to your hand? + + RICHIE + Nothing. + +Richie goes into the closet. Two dalmation mice dart out +across the floor. They run under the radiator. Royal +frowns. + + ROYAL + You think we could get somebody to + come over here and kill some of + these mice for us? + + MARGOT + No. Those belong to Chas. Or, + anyway, he invented them. + +Richie drags a large trunk out of the closet. + + ROYAL + Well, tell him to stick them in a + fucking cage or something. + 88. + + +Henry and Pagoda come into the room. Henry goes over to the +intercom and presses a button on it. + + HENRY + Etheline? Would you mind coming up + here for a minute, please? + +Royal looks at Henry suspiciously. + + ROYAL + What’s cooking, Pops? + + HENRY + You’ll see. + + ETHELINE (O.S.) + (on the intercom) + OK. + +INSERT: + +The television set. Eli’s interview continues. + + PETER + Now, your previous novel -- + + ELI + Wildcattin’. + + PETER + Right. Not a success. Why? + + ELI + Hm. Well, Wildcattin’ was written + in a kind of obsolete vernacular, + much like the -- + +Eli freezes. He looks quickly across the room. + + ELI + Holy shit. + + PETER + (looking around) + What? + +A look of sheer horror crosses Eli’s face. He braces +himself against the edge of the table. Peter looks +concerned. + + PETER + Are you all right? + 89. + + + ELI + (concerned) + Why is it so dense in here? + +Peter hesitates. Eli removes his microphone, stands up, and +walks off the set. Peter Bradley watches him go. + + CUT TO: + +Everyone watching in Richie’s bedroom. They look stunned. + + ROYAL + Son of a bitch. What the hell kind + of way to act is that? + + RICHIE + (pause) + He’s on drugs. + + MARGOT + (worried) + I’ll be right back. + +Margot goes to the telephone. Etheline and Chas come into +the room. Chas is eating a sandwich. Ari, Uzi and Buckley +follow them. + + HENRY + Hold on a minute, please. + +Henry steps in front of the television set and turns it +off. + + HENRY + Pagoda has something to say. + +Everyone looks to Pagoda. Silence. Pagoda looks worried. + +He turns to Royal and points at him. + + PAGODA + He has the cancer. + + HENRY + (angrily) + No, he doesn’t. + +Royal sits up. Henry stares at Royal. + + HENRY + I know what stomach cancer looks + like. I’ve seen it. + 90. + + + HENRY + And you don’t eat three + cheeseburgers a day with french + fries when you’ve got it. The pain + is excruciating. + + ROYAL + How would you know? + + HENRY + My wife had it. + +Silence. Royal pulls out his IV and the other tubes that +are attached to him. He goes into the bathroom and closes +the door. Henry turns to Etheline. + + HENRY + Not only is there no Dr. McClure at + Colby General, there’s no Colby + General. It closed in 1974. + +Chas crushes his sandwich in his hand. + + PAGODA + Ah, shit, man. + + ETHELINE + But why would he -- + +Chas slams his hand against the bathroom door as hard as he +can. He sits down on the bed and picks up the phone. He +places a call. + + CHAS + Yes. Can you send a taxi to 111 + Archer Avenue? Right away, please. + Thank you. + +Chas hangs up. Royal comes out of the bathroom. He is fully +dressed in a suit, and he is zipping up a small leather +bag. + +He picks up one of his bottles of pills off the night stand +and leaves the rest. He looks to Pagoda. + + ROYAL + I guess we’re back on the street, + pal. + +Etheline looks to Pagoda. She frowns. Pagoda looks uneasy. + + ETHELINE + Were you part of this? + 91. + + + HENRY + Of course he was. + + Etheline looks to Royal. Royal looks to Pagoda. He says + regretfully: + + ROYAL + Time to come clean. No more lies. + + Pagoda stares at Royal bitterly. Richie points at the + hospital bed and life-support machines. + + RICHIE + How’d you get all these medical + supplies? + + ROYAL + (pause) + A guy at St. Pete’s owed me a + favor. I did some malpractice work + for him. I do have high blood + pressure, though. + + Royal swallows one of his pills. He turns and stands in + front of everyone. + + ROYAL + Look. I know I’m the bad guy on + this one, but I just want to say + that the last six days have been + the best six days of, probably, my + whole life. + + A strange, sad expression crosses Royal’s face. + + NARRATOR (V.O.) + Immediately after making this + statement, Royal realized that it + was true. + + Royal begins to gather his possessions. + + +91 INT. HALLWAY - DAY 91 + + Royal comes out of Richie’s room with his suitcases. + + Etheline stands at the end of the hall. + + ETHELINE + Why’d you do this to us, Royal? + + Royal stops. + 92. + + + ETHELINE + What was the point? + + ROYAL + (pause) + I thought maybe I could win you + back. Or, anyway, I thought I could + get rid of Henry and keep things + status quo. + + ETHELINE + But we hadn’t spoken in seven + years. + + ROYAL + I know. Plus, I was broke, and I + got kicked out of my hotel. + + ETHELINE + (pause) + You’re a bastard. + + Royal nods. Etheline stares at him angrily, with tears in + her eyes. + + ETHELINE + Goodbye, Royal. + + Royal turns and walks down the stairs. + + +92 INT. STAIRWELL - DAY 92 + + Chas stands at the bottom of the stairs and watches Royal + come down with his suitcases. Royal stops in front of him. + + ROYAL + Take it easy on those boys, + Chassie. I don’t want this to + happen to you. + + Chas hesitates. Royal walks past him and goes out the front + door. + + +93 EXT. STREET - DAY 93 + + Richie and Royal stand on the sidewalk. Royal’s suitcases + are beside him. Margot and Henry stand at the top of the + steps, in the front doorway. + + ROYAL + 93. + + + You know, Richie, this illness, + this closeness to death. It’s been + very profound for me. I feel like a + different person. I really do. + + RICHIE + Dad. You were never dying. + + ROYAL + (smiles) + But I’m going to live. + +Richie shakes his head. He turns away and goes up the +steps, past Margot and Henry, into the house. Royal and +Margot look at each other. Royal points to Henry. + + ROYAL + He’s not your father. + + MARGOT + (pause) + Neither are you. + +Margot closes the door. Royal puts his hands in his +pockets. + +He stares into space. He begins to cry. A gypsy cab pulls +over to the curb. Royal waves to the driver. + +The front door of the house opens. Pagoda comes down the +steps with two suitcases. He looks furious. + + ROYAL + How you doing, pal? + +Pagoda drops his suitcases to the ground. + + PAGODA + You son of a bitch. + +Pagoda’s teeth flash as he goes over to Royal and stabs him +with a penknife. Royal screams. He clutches his side. He +falls on the ground. The gypsy cab driver watches blankly. + + ROYAL + Goddammit! That’s the last time I + get knifed by you! You hear me? + +Pagoda helps Royal to his feet. He collects his suitcases. + +Royal leans on Pagoda as they get into the gypsy cab. Royal +says to the driver: + 94. + + + ROYAL + The 375th Street Y, please. + + INSERT: + + Page 198 of The Royal Tenenbaums. It says “Chapter Seven.” + + +94 EXT. 375TH STREET Y - DAY 94 + + A huge building that looks like a castle. A sign next to + the door says “375th Street Y.” + + +95 INT. 375TH STREET Y - DAY 95 + + An extremely small room with a low ceiling and a single + bed. + + Royal stands in front of a mirror while Pagoda stitches up + the knife-wound in his side. He holds a bottle of iodine in + one hand and a box of bandages in the other. + + ROYAL + Everyone’s against me. + + PAGODA + You can’t blame them, man. + + ROYAL + I know. But, dammit, I want to be + loved by this family. + + Pagoda pours some iodine on a cotton ball and applies it to + Royal’s knife wound. Royal grimaces. + + ROYAL + How much money you got? + + PAGODA + I don’t have. + + ROYAL + (frowns) + What do you mean? You’re broke? + + Pagoda nods. Royal looks furious. + + ROYAL + You got to be kidding me. How’re we + supposed to pay for the damn room? + 95. + + + Pagoda looks up at Royal coldly. Silence. + + ROYAL + All right. We’ll figure something + out. + + +96 INT. HENRY’S APARTMENT - NIGHT 96 + + Henry’s bedroom is filled with paintings and sculptures + from the fifties and sixties. He puts on a slow jazz record + and sits down across from Etheline at a small table with a + vase of roses, two bottles of wine, and three candles on + it. + + Henry has on pale-blue silk pajamas. Etheline wears a cream + silk nightgown. The doors to the balcony are open, and + there is a gentle breeze. They look at each other fondly + for a minute. + + HENRY + Would you like another glass of + wine? + + ETHELINE + Yes, please. + + Henry refills Etheline’s glass. He clinks his glass against + hers and takes a small sip. She drinks her whole glass all + at once. Henry looks uneasy. Etheline says suddenly: + + ETHELINE + Maybe we’re rushing things, Henry. + + HENRY + (relieved) + You’re right. It’s awkward sitting + here in our pajamas and everything. + We don’t have to do this right now. + Let’s just try and have a nice + time. + + ETHELINE + OK. + + Henry gets up and changes the record to a more upbeat + number. + + HENRY + Yes, I think we’re both a little + uneasy, and there’s no need for us + to force anything. There’s no + hurry. Let’s just - + 96. + + + ETHELINE + Actually, I should go. + + Silence. Henry nods. He looks disappointed. + + HENRY + Can I, at least, offer you some + dessert? + + Henry points to a dessert cart with a lemon meringue pie, + two cheesecakes, a bowl of strawberries, a chocolate + mousse, and a crepe suzette on it. Etheline hesitates. + Henry quickly strikes a match and sets the crepe suzette on + fire. His napkin catches on fire, and he dips it in his + water glass. + + He looks to Etheline. + + ETHELINE + No, I think you’re right. I should + go. + + Etheline picks up her overnight bag off a chair and goes + into the bathroom. Henry sits alone. He gets up and turns + off the record player. + + +97 EXT. BRIDGE - DAY 97 + + A footbridge over the river. Margot waits in the middle of + the bridge. Eli walks towards her from the opposite bank. + + His face is smeared with dirt and traces of paint. His + clothes look severely dishevelled. He stops a few feet away + from Margot. + + ELI + I’m not in love with you any more. + + MARGOT + I didn’t know you ever were. + + ELI + Let’s not make this any more + difficult than it already is. + + MARGOT + (pause) + OK. + + ELI + OK, what? + 97. + + + MARGOT + OK, I’m not in love with you, + either. + + ELI + I know. You’re in love with Richie. + Which is sick and gross. + + Silence. Margot nods. + + MARGOT + Do you send my mother your + clippings? + + Eli hesitates. + + MARGOT + And your grades in -- + + ELI + Please, stop ridiculing me. + + Eli turns away and looks sadly out at the river. Margot + goes over and stands beside him. + + ELI + You never gave me the time of day + until I started getting good + reviews. + + MARGOT + Your reviews aren’t that good. + + ELI + But the sales are. + + CUT TO: + + A second bridge, two hundred yards away. A large man in a + coat and tie takes photographs of Margot and Eli with a + telephoto lens. + + +98 INT. PRIVATE DETECTIVE’S OFFICE - DAY 98 + + A small room on the 30th floor of an office building. + + Raleigh, Richie and Dudley sit across a desk from the large + man in the coat and tie. He is a detective. + + DETECTIVE + How much do you already know, + gentlemen? + 98. + + + RALEIGH + Very little, I assure you. + + DETECTIVE + Would you like to examine the + report? + + RALEIGH + We would, rather. Yes. + +The detective hands Raleigh a manila folder. He opens and +begins to read. Richie looks over his shoulder. + +MONTAGE: + +Margot at age twelve buys a pack of cigarettes in a bodega. + +She smokes one on the roof of the house, leaning against +the chimney, next to the falcon’s coop. + +(In each of the following images, Margot smokes a +cigarette.) + +Margot climbs out the window of a girls’ dormitory. She +carries a small suitcase. She shimmies down the gutter and +runs across the lawn. + +Margot stands inside a torch-lit shack among a group of +dancing Rastafarians in Jamaica. She holds hands with one +of them while he lights a large brown-paper-wrapped +marijuana cigarette. A man dressed in a black shirt with a +priest’s collar places a string of shells around Margot’s +neck. + +Another man has a small machine gun. There is a goat in the +doorway, and the ocean glimmers outside. + +Margot opens a window and looks out at the Eifel Tower. She +wears a bra and a slip. A topless girl appears next to her, +eating a croissant. The girl puts her arms around Margot’s +waist, and Margot runs her hands through the girl’s hair. + +Margot stands in a pool of water facing a young tribesman +in New Guinea. He has on warpaint and wears a large tusk in +his nose. Margot kisses him on the mouth. + +Margot sits in a make-up chair at a television studio. +Peter Bradley comes up behind her and puts his hands down +her shirt. Margot smiles at him mischievously. + +Margot makes out with: + +- a Puerto Rican teenager in the back seat of a taxi; + 99. + + + - a skinny guy with a Mohawk on a city bus; + + - a tough-looking Irishman on the deck of a ferry; + + - Eli in a deserted subway train going full speed at night. + + CUT TO: + + Raleigh turning to the last page of the report. He closes + the folder and looks to Richie. Richie looks stunned. + + Silence. + + RALEIGH + She smokes. + + DETECTIVE + Yes. + + +99 INT. BASEMENT - DAY 99 + + Royal, Pagoda, Dusty and the manager of the hotel sit at a + table in the laundry room of the Lindbergh Palace. The + manager is reviewing a typewritten document. + + MANAGER + All right. Everything seems to be + in order. I’ll contact you in the + next twenty-four hours. + + ROYAL + I appreciate that. Which way are + you leaning, by the way? + + MANAGER + I’ll inform you of my decision at + the appropriate time. + + ROYAL + I get it. Put in a good word for + us, Dusty. + + DUSTY + I already did. + + +100 INT. RALEIGH’S LABORATORY - DAY 100 + + Raleigh lies face down on the couch with his head buried in + the cushions. Dudley walks over to him with a box of + building blocks. He says quietly: + 100. + + + DUDLEY + You want to play some word games or + do some experiments on me or + anything? + + Raleigh answers without moving. His voice is muffled. + + RALEIGH + No. + + Richie walks by in a bathrobe. He carries a pair of + scissors. He goes into the bathroom, closes the door, and + locks it. + + +101 INT. BATHROOM - DAY 101 + + Hot water runs full blast in the shower and the sink. + Richie stands in front of the mirror. He holds a pair of + scissors in his hand. He has clipped off his beard. + + He opens the medicine cabinet and takes out a can of + shaving cream and a straight razor. He covers his face with + the shaving cream. He picks up the razor. He looks back in + the mirror. He pushes his hand back through his hair, takes + a deep breath, and says quietly: + + RICHIE + I’m going to kill myself tomorrow. + + Silence. Richie slices the razor deeply, four times, along + his left forearm. Blood runs into the sink. He switches + hands with the razor and slashes his other wrist. He sits + down on the floor. + + CUT TO: + + The bathroom door slamming open. Dudley bursts into the + room. He looks horrified. The floor is flooded with water + and blood. Richie is slumped in the corner with shaving + cream all over his face. + + Dudley screams hysterically. + + MONTAGE: + + Three paramedics race down a corridor pushing Richie on a + gurney. Raleigh and Dudley run beside him. They are covered + with blood. + + Etheline hangs up the telephone and runs into the hallway. + + She throws open the closet door and grabs her coat. + 101. + + + Chas, Ari and Uzi hold on as Anwar weaves the BMW in and + out of traffic. Buckley has his head out the window. + + Margot bursts through the doors of the emergency room. She + looks around frantically. She sees Dudley. She sees blood + on him. She rushes over and grabs his arms. + + MARGOT + Where is he, Dudley? + + DUDLEY + (pause) + Who? + + +102 INT. HOSPITAL ROOM - DAY 102 + + Everyone is gathered around Richie in his hospital bed. His + arms are covered with bandages. A doctor gives him an + injection and says to Etheline: + + DOCTOR + He’ll probably sleep for several + hours, and then I’ll come back to + check on him. + + Etheline nods. She has tears all over her face. The doctor + leaves the room. Margot holds Richie’s hand. + + MARGOT + How do you feel? + + RICHIE + Fine, thanks. + + ETHELINE + Are you in any pain? + + RICHIE + Not really. + + CHAS + Why’d you try to kill yourself? + + ETHELINE + Don’t press him right now. + + RICHIE + I wrote a suicide note. + + MARGOT + You did? + 102. + + + RICHIE + Yeah. Right after I regained + consciousness. + + Everyone looks slightly confused. + + CHAS + Can we read it? + + RICHIE + No. + + CHAS + Could you paraphrase it for us? + + RICHIE + I don’t think so. + + CHAS + Is it dark? + + RICHIE + Of course it’s dark. It’s a suicide + note. + + ETHELINE + All right. That’s enough. The + doctor said to let him sleep. + + +103 INT. WAITING AREA - DAY 103 + + The corridor outside Richie’s room. Etheline fills out some + insurance forms. Ari and Uzi sit on Chas’ lap. Margot sits + next to Raleigh. Raleigh stares into space. + + RALEIGH + You’ve made a cuckold of me. + + Everyone looks at Raleigh and Margot. Silence. + + MARGOT + I know. + + RALEIGH + Many times over. + + MARGOT + I’m sorry. + + RALEIGH + And you’ve nearly killed your poor + brother. + 103. + + + ETHELINE + What’s he talking about? + + MARGOT + It doesn’t matter. + + RALEIGH + She’s balling Eli Cash. + +Everyone looks surprised and extremely uncomfortable. + + ETHELINE + Oh, my goodness. + + RALEIGH + May I have a cigarette? + + MARGOT + What? + + RALEIGH + Shall I repeat the question? + + MARGOT + You don’t smoke. + + RALEIGH + (bitterly) + I bloody well know that. + +Raleigh stares at Margot in silence. Margot sighs. She +reaches into her pocket and takes out a pack of cigarettes. + +She gives one to Raleigh. He puts it in his mouth. + + RALEIGH + And a light, please? + +Margot takes out some matches and lights Raleigh’s +cigarette. + + RALEIGH + Thank you. + +Raleigh stands up and walks away, down the hall, out the +door. Silence. Margot lights a cigarette for herself. + +Etheline looks disturbed. + + ETHELINE + How long have you been a smoker? + 104. + + + MARGOT + (pause) + Twenty-two years. + + ETHELINE + Well, I think you should quit. + + Margot nods. + + The door opens at the end of the hall. Henry Sherman comes + in. Etheline sees him and stands up. He goes over to her. + + He starts to put on his glasses. As he unfolds them, he + unintentionally clamps them to his necktie and pulls his + necktie up to his temple. He says earnestly: + + HENRY + How can I help? + + Etheline begins to point to Henry’s necktie suspended near + his ear, but she hesitates. Henry senses something wrong in + his peripheral vision and looks confused. He swats at the + necktie, hurling his glasses off his face and on to the + floor. + + Henry picks up his glasses and puts them back on. He looks + to Etheline with an embarrassed expression. Etheline puts + her arms around him. She hugs him tightly and starts to + cry. + + +104 EXT. STREET - NIGHT 104 + + Three hours later. A gypsy cab stops in front of the + hospital. Royal and Pagoda get out and walk quickly into + the building. They are both dressed in hotel elevator- + operator uniforms. + + +105 INT. HOSPITAL - NIGHT 105 + + Royal speaks anxiously to a nurse at the registration desk. + + Pagoda stands behind him. + + ROYAL + Richie Tenenbaum, please. + + NURSE + Your name? + + ROYAL + Royal Tenenbaum. + 105. + + + The nurse looks down at her registration book. She frowns. + + She looks back to Royal. + + NURSE + I’m afraid visiting hours are over, + sir. + + ROYAL + (hesitates) + Why? What does it say there? They + don’t want me? + + NURSE + I’m sorry. I have to refer you to + Dr. Burroughs. He’ll be in tomorrow + afternoon. + + Silence. + + +106 EXT. SIDEWALK - NIGHT 106 + + Royal and Pagoda stand in front of the hospital. Royal + points to the edge of the roof. He sounds desperate. + + ROYAL + I think if we shimmy up that gutter + and jump across the window ledge we + can pry open the ventilation shaft + and -- + + PAGODA + There he is, man. + + Pagoda points to Richie waiting at the bus stop on the + corner. He is dressed in surgical scrubs and bedroom + slippers. His arms are covered with bandages. Royal looks + puzzled. A bus pulls over in front of Richie. The doors + open. Royal calls out: + + ROYAL + Richie? + + Richie looks to Royal and Pagoda. He sees their uniforms. + + He hesitates. + + ROYAL + Where’re you going? + + Silence. Richie gets on the bus. Royal and Pagoda watch it + drive away. Royal looks very upset. + 106. + + + ROYAL + I have to say, he didn’t look half + bad for a suicide. Attempted + suicide, anyway. + + Pagoda nods. He puts his arm around Royal’s shoulder. + + +107 INT. BUS - NIGHT 107 + + An old city busy with trash on the floor and graffiti + spray-painted on the walls. Richie sits in the back row and + rides downtown. + + +108 INT. BALLROOM - NIGHT 108 + + The ballroom on the top floor of the Tenenbaum house. + Richie walks in and sees the lamp glowing inside his tent. + Margot calls out from inside. + + MARGOT + Who’s there? + + Richie does not respond. + + MARGOT + Hello? + + Richie looks at the seventeen paintings of Margot hanging + in the corner. An unfinished eighteenth, with Margot + slightly older, leans against the wall. Richie goes to the + tent at the center of the room. + + +109 INT. TENT - NIGHT 109 + + Richie looks into the tent. Margot is sitting on the floor + next to a record player smoking a cigarette. She has a + Rolling Stones record in her hand. She looks startled. + + RICHIE + What are you doing in my tent? + + MARGOT + (hesitates) + Just listening to some records. + + Margot puts out her cigarette. She seems worried. + + MARGOT + I thought you were supposed to be + in the hospital. + 107. + + + RICHIE + I checked myself out. + + MARGOT + Well, shouldn’t you be on some kind + of suicide watch or something? + + RICHIE + (pause) + Probably. + +Richie goes into the tent and sits down Indian-style in +front of Margot. Margot sighs. She puts on the Rolling +Stones record. It plays quietly. + + MARGOT + How many stitches did you get? + + RICHIE + I don’t know. You want to see? + +Margot nods. Richie unwraps one of his bandages. His arm is +covered with jagged, crisscrossing stitches and dried +blood. + +Margot looks stricken. + + MARGOT + Jesus, Richie. That looks horrible. + +Richie nods. He wraps the bandage back around his arm. + + RICHIE + I heard about your ex-husband. + + MARGOT + (pause) + Desmond? + + RICHIE + (hesitates) + I guess so. I didn’t get his name. + + MARGOT + Yeah. I met him in the ocean. I was + swimming, and he came out to me in + a canoe. We were only married for + nine days. + + RICHIE + (nods) + And I heard about Eli. + 108. + + + MARGOT + (sighs) + I know. Poor Eli. Anyway, we mostly + just talked about you. + + RICHIE + (surprised) + You did? + + MARGOT + Yeah. I guess that was the + attraction, if you know what I + mean. + +Silence. Richie says quietly: + + RICHIE + I have to tell you something. + + MARGOT + What’s that? + + RICHIE + I love you. + + MARGOT + (sadly) + I love you, too. + +Richie kisses Margot on the mouth, and she kisses him back. + +She puts her hands on the back of his head. Richie pulls +away from her and looks into her eyes. + + RICHIE + I can’t stop thinking about you. I + went away for a year, and it only + got worse. I don’t know what to do. + + MARGOT + Let’s lie down for a minute. + +Richie lies down on the cot. Margot looks at his Boy Scout +sleeping bag. + + MARGOT + This is the one we took to the + museum, isn’t it? + +Richie nods. Margot sighs. She lies down next to Richie and +puts her arm around his shoulder. She smooths back his +hair. + 109. + + + They listen to the music for a minute. + + MARGOT + Why’d you do it? Because of me? + + RICHIE + Yeah, but it’s not your fault. + + MARGOT + You’re not going to do it again, + are you? + + RICHIE + (pause) + I doubt it. + + Margot nods. She starts crying. She kisses Richie’s hand. + + Richie looks worried. Margot gets up and goes out of the + tent. Richie sits alone for a minute. Margot looks back + into the tent. + + MARGOT + I think we’re just going to have to + be secretly in love with each other + and leave it at that, Richie. + + They look at each other for a long minute. Richie nods. + + Margot turns away and goes out the tent. + + Richie picks up the stack of books off the table next to + his cot. The book on top is Family of Geniuses. Then there + are Margot’s books, Raleigh’s book, Henry’s book and Eli’s + book. + + He spreads them out on the floor among his Matchbox cars + and tennis trophies. A dalmation mouse appears and crawls + among them. The record ends. + + INSERT: + + Page 230 of The Royal Tenenbaums. It says “Chapter Eight.” + + +110 INT. HALLWAY - DAY 110 + + The next morning. Richie comes downstairs in his pajamas. + + He carries the stuffed boar’s head. He hangs it on the wall + in its place. + 110. + + +111 INT. ELEVATOR - DAY 111 + + The elevator at the Lindbergh Palace. Royal is dressed in + his elevator-operator uniform. He takes three well-dressed + businessmen down to the lobby. He looks exhausted and + depressed. The doors open. One of the businessmen hands + Royal a dollar as they walk out into the lobby. + + ROYAL + Thank you, sir. + + Royal sees Richie standing in front of the elevator. Royal + looks surprised. The doors of another elevator open. Pagoda + is the operator. Richie looks at him. Pagoda hesitates. He + waves to Richie. Richie waves back. + + ROYAL + Going up? + + Richie looks back to Royal. He nods. He steps into Royal’s + elevator. + + ROYAL + What floor? + + RICHIE + It doesn’t matter. + + Royal closes the doors and pulls a lever. The elevator goes + up. Royal stands with his back to Richie. + + RICHIE + So you’re elevator operators now. + + ROYAL + Yeah. We just started, but we’ll + get a bump when we join the union. + + RICHIE + What made you decide to do that? + + ROYAL + Well, we’re broke. But, in answer + to your question, I guess I’m + trying to prove I can pay my dues + and what-not. I just hope somebody + knows. + + Richie nods. Silence. + + RICHIE + You asked me why I choked out there + that day. + 111. + + + Royal turns around quickly and looks to Richie. He nods. + + RICHIE + Well, I think I know the answer, + and I wanted your advice. + + Royal looks surprised and moved. He says quietly: + + ROYAL + Sure. + + +112 EXT. ROOF - DAY 112 + + Royal and Richie stand on the edge of the roof, looking out + at the city. Silence. + + ROYAL + Margot Tenenbaum? + + RICHIE + Yeah. + + ROYAL + Since when? + + RICHIE + Since always. + + ROYAL + Does she know? + + RICHIE + Uh-huh. + + ROYAL + And what’s her feeling about it? + + RICHIE + I think she feels confused. + + ROYAL + I can understand that. It’s + probably illegal. + + RICHIE + I don’t think so. We’re not related + by blood. + + ROYAL + (pause) + That’s true. + 112. + + +Silence. Royal nods. + + ROYAL + It’s still frowned upon, but then + what isn’t these days, right? + +Richie nods. Royal shrugs. + + ROYAL + I don’t know. Maybe it works. Why + not? Hell, you love each other, and + nobody knows what’s going to + happen, so -- + +Royal stops short. His expression changes. + + ROYAL + You know what? Don’t listen to me. + I never understood her, myself. I + never understood any of us. I wish + I knew what to tell you, but I just + don’t. + + RICHIE + (pause) + That’s OK. + + ROYAL + No, it’s not. + +Royal looks very sad. He stares down at the ground. He +takes a deep breath. He says quietly: + + ROYAL + Do you still consider me your + father? + + RICHIE + Sure, I do. + + ROYAL + I wish I had a little more to offer + in that department. + + RICHIE + I know you do, Pop. + +Royal nods. He keeps looking down at the ground. + + ROYAL + I don’t blame you, by the way. + +Richie looks off into the distance. He frowns. + 113. + + + ROYAL + She’s a great looking girl, and + she’s smart as a whip, and -- + + RICHIE + Mordecai? + + Royal looks up. A falcon flies in a low circle around the + building. Royal and Richie watch as it lands on the railing + in front of them. Silence. + + ROYAL + Holy shit. + + Richie slowly reaches out to the falcon. He smooths out the + feathers on its neck and says softly: + + RICHIE + You came back. + + Royal looks up at the sky. He seems frightened. + + ROYAL + Jiminy Cricket. He must have a + goddamn radar in his brain. + + Richie frowns. He hesitates. + + RICHIE + I’m not so sure this is Mordecai. + + ROYAL + What do you mean? He flew right in + here. + + RICHIE + Yeah, but now he has white feathers + on his neck. + + Royal and Richie study the falcon. Richie seems uncertain. + + ROYAL + Well, the son of a bitch must be + molting. + + +113 INT. ELEVATOR - DAY 113 + + Richie and Royal ride down in the elevator. The falcon is + perched on Richie’s arm. + + RICHIE + 114. + + + I need your help with something + else. + + ROYAL + (excitedly) + You got it. What’s the situation? + + RICHIE + Well, I think -- + + ROYAL + Hang on. + + Royal throws the lever on the elevator to full speed. It + accelerates and starts shaking violently. He yells into a + walkie-talkie: + + ROYAL + Pagoda! Let’s hit it! + + RICHIE + (hesitates) + I didn’t mean right this second. + + +114 INT. ELI’S STUDY - DAY 114 + + Eli sits on the couch in his study working on a jigsaw + puzzle of the Beatles crossing Abbey Road. Three Egyptian + men are chopping up yellow powder on the table. Electronic + music blasts form the stereo. + + There is a knock on the door. Everyone looks up. Silence. + + ELI + Yes? + + The door opens and Richie looks inside. Eli and the + Egyptian men stare at Richie. Eli has yellow powder on his + nose. He says awkwardly: + + ELI + Hey, Richie. + + Richie walks into the room. Royal and Pagoda follow him. + + They are dressed in their elevator-operator uniforms. Eli + looks confused and uneasy. + + RICHIE + We want to take you to get some + help. + 115. + + + ELI + (pause) + Is it just you guys? + +Richie looks slightly confused. + + ELI + I guess Margot and your mother + couldn’t make it. + +Eli looks disappointed. He sees the bandages around +Richie’s arms. + + ELI + What happened there? + + RICHIE + (hesitates) + Nothing. + +Royal looks to the Egyptian men. + + ROYAL + Would you excuse us, please? + +The Egyptian men hesitate. Pagoda points to the door. The +Egyptian men leave the room. + + RICHIE + Where’s Sabrina? + + ELI + (pause) + They went back to England. + +Richie nods. He sits down next to Eli. Royal and Pagoda sit +across from them. + + RICHIE + Are we still friends? + +Eli seems embarrassed and hurt. + + ELI + What do you mean? + + RICHIE + Are we? + + ELI + Of course. I can’t believe you + would ask me that. + 116. + + + RICHIE + It doesn’t matter. I heard about + you and Margot. + +Silence. Eli gets up and goes over to the window. He looks +out at the backyard. Richie goes over and stands next to +him. Eli looks deeply depressed. + + ELI + I’m sorry. I don’t know what to + say. + + RICHIE + You don’t have to say anything. + + ELI + I always wanted to be a Tenenbaum, + you know? + +Richie nods. Eli looks to Royal. Royal nods and says +quietly: + + ROYAL + Me, too. Me, too. + + ELI + But it doesn’t mean what it used + to, does it? + +Richie shakes his head. Eli opens the window, reaches out, +and picks a dead leaf off a branch of a tree. He looks to +Richie. + + ELI + I wish you’d’ve done this for me + when I was a kid. + + RICHIE + (pause) + But you didn’t have a drug problem + then. + + ELI + Yeah, but it still would’ve meant a + lot to me. Anyway, I really + appreciate your coming over here + now. I do recognize that I have a + problem, and I want to get better. + Let me just get my things. + +Eli goes into the bathroom and locks the door. Pagoda goes +over to the window and looks out. + 117. + + + He sees Eli running down the fire escape. + + PAGODA + There he goes. + + Royal and Richie rush over to the window. They watch Eli + drop to the ground, run into the street, and hail a taxi. + He has on socks but no shoes. + + +115 INT. ICE-CREAM PARLOR - DAY 115 + + A room decorated like a birthday cake. Every booth is + filled with divorced fathers and their young daughters. + Margot sits across from Royal. Royal is dressed in his + elevator-operator uniform. A waiter stands next to him. + + ROYAL + I want to order some ice cream for + my daughter, please. What would you + like, Margot? + + MARGOT + I told you. Nothing. I only have + five minutes. + + Royal looks frustrated. Margot sighs. + + MARGOT + I’ll have a butterscotch sundae, I + guess. + + The waiter nods and walks away. Silence. + + ROYAL + Your brother’s all torn up inside. + + MARGOT + (hesitates) + Well, so am I, but I’m not going to + discuss it with you. + + Royal sighs. He leans across the table and says urgently: + + ROYAL + Can’t someone be a shit their whole + life and want to repair the damage? + I mean, I think people want to hear + that. + + MARGOT + Do they? + 118. + + + Royal nods. Silence. + + MARGOT + You probably don’t even know my + middle name. + + ROYAL + (pause) + It’s a trick question. You don’t + have one. + + MARGOT + Helen. + + ROYAL + (surprised) + That was my mother’s name. + + MARGOT + (sadly) + I know it was. + + +116 EXT. SIDEWALK - DAY 116 + + Royal stands on the sidewalk in front of the Tenenbaum + house. + + He has a bunch of white flowers in his hand. + + Anwar is asleep in the BMW parked at the curb. Royal throws + a pebble at a window on the third floor. + + Ari looks out the window. Royal smiles. Ari opens the + window. Uzi appears beside him. Royal calls up to them: + + ROYAL + Anybody feel like grabbing a couple + of burgers and hitting the + cemetery? + + Chas appears between Ari and Uzi. He looks down to Royal. + + Royal looks nervous. Chas closes the window. + + CUT TO: + + Royal putting his bunch of flowers on Rachael’s grave. He + stands alone with his hands in his pockets. He walks away. + + +117 EXT. STREET - DAY 117 + 119. + + +Etheline and Henry come down the front steps of Henry’s +building. They both look depressed. Royal is waiting at the +bus stop on the corner, next to a small Mexican man in a +windbreaker and a tie. Royal has a large envelope in his +hands. Etheline and Henry see him. Royal goes over to them + + ROYAL + I got you something, Ethel. + Actually, I made it. + +Etheline and Henry look at Royal warily. Royal hands +Etheline the envelope. She looks to Henry. Henry shrugs. + +She opens the envelope. It contains a sheaf of typwritten +documents. + + ETHELINE + What’s this? + + ROYAL + A divorce. + +Etheline looks to Royal. She says quietly: + + ETHELINE + From you? + + ROYAL + Yes. + +Royal looks to Henry. Henry does not know what to say. + +Royal motions to the Mexican man. + + ROYAL + This is Sanchez. He’s a notary + public. + + HENRY + (hesitates) + Hello. + + SANCHEZ + Hello, sir. + + ROYAL + If you’ll just sign here, please, + Ethel. + +Royal hands Etheline a pen and points to a dotted line. + +Etheline signs. + 120. + + + ROYAL + And here. + +Etheline signs. + + ROYAL + And initial here. + +Etheline signs. Royal hands the sheaf of documents to +Sanchez. Sanchez puts several stamps and notations on it. + +Royal looks up at Henry’s building. + + ROYAL + You own this building, don’t you, + Henry? It’s magnificent. I used to + be a home-owner myself, but my son + expropriated it from me. + +Henry does not respond. A city bus approaches from the next +block. + + ROYAL + Here comes my bus. Thanks, Sanchez. + + SANCHEZ + You’re welcome. + + ETHELINE + Are we divorced? + + ROYAL + Almost. Sanchez just has to file + the papers. + +Royal signals to the bus driver. + + ROYAL + I love you, Etheline. And + congratulations, both of you. + +Royal looks to Henry. He turns back to Etheline. + + ROYAL + I didn’t think so much of him at + first, but now I get it. He’s + everything I’m not. + +Royal smiles. He turns away suddenly, runs to the bus, and +jumps inside. He looks back to Etheline. He yells: + + ROYAL + Take back Pagoda, will you? + 121. + + + Etheline hesitates. She nods. The door closes. Etheline and + Henry stand watching with Sanchez. + + +118 INT. ELI’S CAR - NIGHT 118 + + Eli drives through a tunnel at top speed in the middle of + the night. He has on sunglasses, and he is covered with + grass and dirt. Electronic music blasts from the stereo. He + looks lost and sad. + + CUT TO: + + Page 258. It says “Chapter Nine.” + + INSERT: + + An invitation to Etheline’s and Henry’s wedding at the + house on Archer Avenue. It is nearly identical to the + invitation on the cover of the first edition of The Royal + Tenenbaums. + + +119 EXT. STREET - DAY 119 + + Ari, Uzi and Pagoda stand in front of the house with + Buckley, receiving the wedding guests. They help people out + of their cars, give them programs for the ceremony, and + direct them to the front door. + + There are about fifty guests. Half of them are black and + half are white. The members of the wedding party are + dressed in morning suits. + + Royal and Dusty get out of a gypsy cab. Royal smiles at Ari + and Uzi. He hugs Pagoda and kisses Ari and Uzi on the tops + of their heads. He looks around. He whispers: + + ROYAL + I got you some jawbreakers. + + Royal slips Ari and Uzi each a large purple-and-green- + striped jawbreaker. They hide them in their jackets. + + +120 INT. CHAS’ BEDROOM - DAY 120 + + A twenty-one-year-old black Navy midshipman helps Henry + finish tying his bow tie. The midshipman is Walter. Henry + studies his tie in the mirror. + + HENRY + It’s slightly uneven. + 122. + + + Henry unties his knot and starts from scratch. Richie + cracks open the door and looks into the room. + + RICHIE + Henry? + + Henry looks to the door. + + HENRY + Hello, Richie. This is my son, + Walter Sherman. + + Richie comes into the room. He and Walter shake hands. + + RICHIE + Nice to meet you, Walter. + + WALTER + Nice to meet you. + + CHAS + Henry’s your dad? + + Chas is standing in the doorway. Walter hesitates. He nods. + + Chas looks to Henry. + + CHAS + So you’ve been married before? + + HENRY + Yes. I’m a widower. + + CHAS + Oh, yeah. I forgot. + (pause) + You know, I’m a widower myself. + + HENRY + I know you are, Chas. + + +121 INT. MARGOT’S BEDROOM - DAY 121 + + Margot looks out the window at the guests arriving on the + street while Etheline finishes her make-up. Margot has a + white plastic inhaler in her mouth. + + ETHELINE + What are you chewing on? + + MARGOT + 123. + + + My nicotine inhaler. It’s supposed + to help me quit. + + ETHELINE + Is it working? + + MARGOT + Not really. + + +122 EXT. STREET - DAY 122 + + Ari and Uzi tie Buckley’s leash around a pole in front of + the house. Royal and a very small Irish priest stand + together at the top of the steps. + + ROYAL + Well, of course, I’m half Hebrew, + but the children are three-quarters + Mick-Catholic. + + PRIEST + (nods) + So they were raised in the church. + + ROYAL + (pause) + I believe so. I really don’t know. + + A car’s tires squeal around the corner. Royal and the + priest look down the block. Eli’s convertible skids through + the turn on to Archer Avenue. Royal and the priest frown. + + +123 INT. ELI’S CAR - DAY 123 + + Eli’s face is covered with Apache warpaint. He is dressed + in a morning suit. He wears a distracted smile. He + downshifts, accelerates, and steers toward the Tenenbaum + house. He whispers: + + ELI + Here I come. + + CUT TO: + + Ari, Uzi and Buckley watching frozen as Eli’s car races + toward them. Royal looks panicked. He looks to Ari and Uzi + and hollers: + + ROYAL + Boys! + 124. + + + Royal jumps down the stairs. + + +124 INT. MARGOT’S BEDROOM - DAY 124 + + There is a tremendous crashing boom and the sound of + shattering glass. Etheline rushes over next to Margot at + the window. + + ETHELINE + What was that? + + MARGOT + Eli just crashed his car into the + front of the house. + + ETHELINE + Oh, my God. + + +125 INT. STAIRWELL - DAY 125 + + Chas sprints down the stairs three at a time. He falls and + bangs against the wall. He gets back up and keeps running. + + +126 INT. LIVING ROOM - DAY 126 + + Eli sits on the floor, barefoot, covered in glass and + debris. + + He is bleeding from a head wound. Three dalmation mice dart + around the room in confusion. Several guests help Eli + stagger to his feet. They look alarmed at his appearance, + particularly the warpaint. + + ELI + Where are my shoes? + + Dudley finds one of Eli’s shoes in the fireplace. He hands + it to Eli. Eli puts it on. + + +127 EXT. SIDEWALK - DAY 127 + + The wedding guests quickly begin to come out the front door + and gather around the smashed car. There is also a crushed + mailbox, and mail is scattered all over the sidewalk. The + lighter airmail envelopes drift about in the wind. Chas + runs down the steps. He yells: + + CHAS + Where are you? + 125. + + +Royal and Richie stand up among the rubble. Royal holds Ari +under one arm and Uzi under the other. He sets them down. + +Chas runs over to them. + + ROYAL + They’re OK, Chas. + +Chas grabs Ari and Uzi. + +He examines them. + + ROYAL + It’s OK. They’re safe. + + ARI + Dad, they ran over Buckley. + + CHAS + What? + +Chas looks to Royal. Royal nods. He turns to the wreckage. + +Buckley’s leash remains tied to the railing and extends +taut beneath the wheels of Eli’s car. + + ROYAL + I think we lost Buckley. + +Ari and Uzi start to cry. Richie brushes some debris off +Uzi’s hair. He looks to Chas and points to Royal. + + RICHIE + He saved them. Kind of. + +Chas looks to Richie. He says blankly: + + CHAS + He did? + +Richie nods. Chas looks to Royal. Royal shrugs. Eli appears +in the broken front window of the home. + + ELI + Did I hit anybody? + +Everyone looks to Eli. + + ELI + Is everybody okay? + 126. + + + Eli sees Chas staring at him. Eli hesitates. He darts away + from the window. Chas bolts up the steps, banging his way + through the crowd. + + ROYAL + Chas! Wait! + + +128 INT. HALLWAY - DAY 128 + + Chas bursts into the house. He screams: + + CHAS + Eli! + + The guests panic as Eli jumps over a couch, knocks over a + chair, and ducks into the kitchen. + + +129 INT. KITCHEN - DAY 129 + + Pagoda looks up from a tray of canapes he is preparing. He + does not appear to notice Eli’s strange appearance and + injuries. He holds one of the canapes to him. + + PAGODA + This is the quail’s egg. + + Eli takes it quickly. Chas smashes open the door. Eli body- + checks him and breaks out of the room. + + They slam past the priest and knock him down the basement + stairs. The wedding guests scream and yell and try to break + it up or get away. + + Eli slips out the back door and sprints into the garden. + + +130 EXT. BACKYARD - DAY 130 + + Eli runs to the back wall and tries the gate. It is locked. + + Chas tackles him hard. Chas grabs him by the arm, swings + him around, and slams him against the wall. Eli yells. + People rush into the backyard. Richie runs outside. + + RICHIE + Chas! Don’t! + + Richie tries to pull Chas off Eli. Chas elbows Richie in + the face. Richie falls backwards into the bushes. Chas + picks up Eli and tries to throw him over the wall. Eli + scratches and clutches. + 127. + + + ELI + Help! Please! + + Chas yells insanely. He throws Eli over the wall. He turns + to everyone watching him. They look stunned. Chas breathes + heavily. Richie sits up in the bushes. He has his hand over + his eye. + + RICHIE + Chas? + + Chas hesitates. He climbs over the wall. + + +131 EXT. NEIGHBOR’S YARD - DAY 131 + + Chas lands in a Zen garden, next to Eli. Eli is stretched + out on his back. He and Chas look at each other. Chas lies + down on the ground. He seems drained. It is very quiet. + + They both stare up at the sky. There are bonsai trees all + around them. + + ELI + Did I hit the dog? + + CHAS + Yeah. + + ELI + (pause) + Is he dead? + + CHAS + Yeah. + + ELI + (pause) + I need help. + + CHAS + So do I. + + Walter looks over the top of the wall, down at Chas and + Eli. + + He looks back behind him and yells to someone: + + WALTER + Go around to the other side! + + +132 EXT. EMBASSY - DAY 132 + 128. + + + Henry and Royal run around the corner and up the steps of a + neighbor’s house. A plaque next to the front door says + “Residence of the Japanese Ambassador.” Royal knocks. They + wait. Royal looks to Henry. He says suddenly: + + ROYAL + Can I say something to you, Henry? + + Henry looks to Royal. + + ROYAL + I’ve been considered an asshole for + about as long as I can remember. + That’s just my style. But I’d feel + pretty blue if I didn’t think you + were going to forgive me. + + Henry nods. He says gently: + + HENRY + I don’t think you’re an asshole, + Royal. You’re just a kind of a son + of a bitch. + + Royal seems genuinely moved by this remark. + + ROYAL + Well, I appreciate that. + + The door opens. A small Asian woman in a kimono looks out + at them. + + ROYAL + Can we get into your backyard, + ma’am? We got a couple of boys out + there. + + +133 EXT. SIDEWALK - DAY 133 + + There are two police cars, an ambulance, a tow-truck and a + fire engine in front of the house. Raleigh and two + paramedics roll the priest on a gurney. Raleigh holds the + priest’s hand. + + PARAMEDIC + I think he may’ve broken his ankle. + + RALEIGH + That’s not terribly serious, is it? + (to the priest) + Do you have an alternative? + 129. + + +The priest shakes his head. + +Eli is being questioned by a police officer. His warpaint +is smeared, and there are several bandages on his head and +arms. + +He looks very upset. + + ELI + At which point I apparently lost + control of the vehicle, smashed it + into the house, and killed that + poor dog. + +The police officer studies Eli’s driver’s license. + + POLICE OFFICER + You’re Eli Cash. + + ELI + (pause) + I am, indeed. + + POLICE OFFICER + I love your work. + + ELI + (touched) + How sweet of you to say so. + +Royal stands among a group of firemen with a dalmation. + + ROYAL + I think he’s part mutt. What kind + of papers you got for him? + +One of the firemen shrugs. Royal points at the dalmation. + + ROYAL + Sparkplug. Sit. + +The dalmation sits. Royal looks impressed. + +Dusty stands with Richie on the sidewalk and examines his +eye. It is scratched badly and looks terrible. + + DUSTY + Can you see out of it? + +Richie covers his good eye to test his bad eye. + + RICHIE + 130. + + + Not really. + + DUSTY + Uh-huh. Minor corneal damage. Page + me if it spreads to the other eye. + +Raleigh and Dudley stand next to each other wearing +firemen’s helmets. Dudley laughs crazily. + + RALEIGH + What’s so funny, Dudley? + + DUDLEY + You look great! + +Henry and Walter survey the scene from the smashed-out +living room window. Walter points to the rubble. + + WALTER + But these aren’t structure-bearing + elements, Dad. + + HENRY + It doesn’t matter. It’s still best + to file under force majeure and + recoup the deductible. + +Ari and Uzi try to look at Buckley under Eli’s car as +several firemen and tow-truck drivers attach straps and +chains to the wheels and axle. Etheline goes over to them. + + ETHELINE + You boys come over here with me. + + ARI + But Buckley’s still under there. + + ETHELINE + I know, but there’s nothing we can + do for him, at the moment. + +Royal takes the dalmation over to Chas. + + ROYAL + I got you a new dog for the boys. + +Chas looks at the dalmation. He looks back to Royal. + + CHAS + What’s this? + + ROYAL + I just bought him. + 131. + + + CHAS + You did? + + Royal nods. Silence. + + ROYAL + I’m sorry I let you down, Chas. All + of you. I’ve been trying to make it + up to you. + + Royal holds out the leash. Chas hesitates. He takes it. + + CHAS + What’s his name? + + ROYAL + (quietly) + Sparkplug. + + CHAS + Thank you. + + ROYAL + You’re welcome. + + Chas suddenly starts crying. He stares at the ground. + + CHAS + We’ve had a rough year, Dad. + + ROYAL + I know you have, Chassie. + + Royal puts his hand on Chas’ head. Chas looks to Royal and + takes a deep breath. He nods. Royal watches as Chas takes + the dalmation over to Ari and Uzi and talks to them quietly + for a minute. + + Uzi pets the dalmation. Ari takes the leash. Etheline looks + to Royal. Royal looks back at her. Etheline smiles sadly. + + +134 EXT. ROOF - DAY 134 + + Richie and Margot sit near the edge of the roof, next to + the falcon in its coop. Richie has an ice pack over his + eye. He brushes his hand against the white feathers on the + falcon’s neck. + + MARGOT + I wonder what happened to him. + + RICHIE + 132. + + + I don’t know. + (pause) + Sometimes when people have a + traumatic experience, their hair + turns white. + + Silence. Margot says quietly: + + MARGOT + Well, I’m sure he’ll get over it. + + Richie nods. Margot looks at him for a minute. She takes + her inhaler out of her mouth and puts it in her pocket. She + turns and looks at the top of the chimney. She pulls out a + loose brick. She reaches behind it and takes out a pack of + cigarettes and a matchbook. She looks to Richie. She points + at the chimney. + + MARGOT + This was one of my first hiding + places. + + Richie studies the pack of cigarettes. It is still sealed, + but the wrapper has faded. + + RICHIE + How old you think those are? + + Margot opens the pack, takes out a cigarette, puts it in + her mouth, and lights it. She takes a puff. + + MARGOT + I’d say about ten years. + + Richie nods. Margot offers him a cigarette. He takes it, + and she lights it. Margot puts her arm around Richie’s + shoulder, and they smoke their stale cigarettes together. + + +135 EXT. GARDEN - DAY 135 + + Ari, Uzi and Chas watch Royal throw dirt on to a grave in + the backyard. They have tears in their eyes. The dalmation + sits on the ground next to them. + + NARRATOR (V.O.) + Royal dug a hole for Buckley behind + the garden shed, and buried him in + a canvas duffle bag. + + Chas hands Royal a bottle of scotch, and Royal takes a + drink. + 133. + + + ROYAL + All right, boys. Say a prayer -- + + Ari begins, with a jawbreaker in his mouth: + + ARI + Dear Heavenly Father -- + + +136 INT. OFFICE - DAY 136 + + Henry and Etheline stand side by side in front of a judge + in a small office with green carpet and an exercise + bicycle. + + Henry has his left hand raised and his right hand on a + bible. + + HENRY + So help me God. + + The judge extends the Bible to Etheline. She puts her hand + on it. + + NARRATOR (V.O.) + Etheline and Henry were married + forty-eight hours later, in judge’s + chambers. + + +137 INT. THEATRE - NIGHT 137 + + A stage-set for a play that appears to take place in a + network of tree houses on a tropical island. A father + introduces his daughter to a group of native tribesmen. + + FATHER + This is my adopted daughter, Elaine + Levinson. + + The house is sold out. Royal sits in the front row with the + other Tenenbaums. He laughs quietly and shakes his head. + + The rest of the audience is silent. + + NARRATOR (V.O.) + Margot’s new play, The Levinsons in + the Trees, was produced at the + Cavendish Theatre. + + CUT TO: + 134. + + + Margot standing alone outside the theatre, under the + marquee, smoking a cigarette. + + NARRATOR + It ran for just under two weeks and + received mixed reviews. + + +138 INT. AUDITORIUM - DAY 138 + + Brooks College. Raleigh and Dudley sit onstage at a table + in front of an audience of doctors and medical students. + + Raleigh takes a question. + + MEDICAL STUDENT + Can he tell time? + + RALEIGH + Oh, my Lord, no. + + Dudley shakes his head emphatically. + + NARRATOR (V.O.) + Raleigh and Dudley went on a + lecture tour to eleven universities + in the promotion of their new book. + + INSERT: + + A copy of Raleigh’s new book, Dudley’s World. On the dust + jacket there is a yearbook photograph of Dudley with his + Henry Aaron-style glasses flipped up. His expression is + almost impossibly blank. + + +139 EXT. HOSPITAL - DAY 139 + + A resort compound on the high plains. Eli practices with a + lasso in front of several young addicts. He has stitches on + his forehead. + + NARRATOR (V.O.) + Eli checked himself into a + rehabilitation hospital in North + Dakota. + + A tall, skinny, Native American man in his late forties + walks over to Eli. He and Eli are dressed in matching + deerskin jackets. Eli points to him. + + ELI + 135. + + + This is my sponsor, Runs with Two + Horses. + + +140 INT. 375TH STREET Y ROOFTOP - DAY 140 + + A concrete tennis court with a chain-link net. Ari, Uzi and + a group of children dressed in tennis clothes watch as + Richie demonstrates the continental style of grip to them. + Richie has a white gauze patch taped over his eye. + + RICHIE + Rod Laver used it. You know who + Laver is? + + Uzi steps up to the service line. He bounces a ball and + gets ready to serve. + + NARRATOR (V.O.) + Richie started a programme teaching + competitive tennis to eight- to + twelve-year-olds at the 375th + Street Y. + + Uzi hits a fast serve to Richie’s forehand. Richie fires + his return full-speed straight down the line. Uzi watches + it race past him. + + +141 EXT. STREET - DAY 141 + + Royal, Chas, Ari and Uzi ride on the back of a speeding + garbage truck. They are all laughing. + + NARRATOR (V.O.) + Royal had a heart attack at the age + of sixty-eight. + + +142 INT. AMBULANCE - DAY 142 + + Royal is strapped on to a gurney with tubes sticking out of + his arms and an oxygen mask on his face. Chas sits beside + him, holding his hand. The ambulance races full-speed up + the wrong side of the street. + + NARRATOR (V.O.) + Chas rode with him in the + ambulance, and was the only witness + to his father’s death. + + Royal appears to be smiling underneath his oxygen mask. He + looks up at Chas. Chas puts his hand on Royal’s cheek. + 136. + + + Royal closes his eyes. + + NARRATOR + In his will, he stipulated that his + funeral take place at dusk. + + INSERT: + + Page 275 of The Royal Tenenbaums. It says “Epilogue.” + + +143 EXT. CEMETERY - DAY 143 + + Snow falls lightly, and the sky is getting dark. Everyone + in the family is gathered around as Chas, Richie, Henry, + Raleigh, Eli, Dusty and Pagoda lower the casket. They are + all bundled up in coats and scarves. They step away from + the grave. + + Henry stands next to Etheline. She takes his arm. Pagoda + wears Royal’s sunglasses. Tears stream down his face. Dusty + stands beside him. Margot has her arm around Richie’s + shoulder. She smokes a cigarette. Raleigh stands next to + Dudley. Eli stands next to Walter. The priest is on + crutches. + + Chas looks to Ari and Uzi standing a few yards away. He + nods. Ari and Uzi fire several shots into the air with + Chas’ and Royal’s old BB guns. + + Royal’s gravestone sits in a wheelbarrow next to a pile of + dirt. It reads “Royal O’Reilly Tenenbaum (1932-2001).” + Epitaph: “Died tragically rescuing his family from the + wreckage of a destroyed sinking battleship.” The priest + sees this and hesitates. He looks puzzled. He smiles + slightly. + + Richie throws a white flower into the grave. They all stand + in silence for a minute before they turn away and walk to + their waiting car. + + -- THE END -- + \ No newline at end of file diff --git a/scripts/The Shape Of Water.txt b/scripts/The Shape Of Water.txt new file mode 100644 index 0000000000000000000000000000000000000000..6d9ccc06090e1d47232a122796eae70c7c2cc9dc --- /dev/null +++ b/scripts/The Shape Of Water.txt @@ -0,0 +1,6255 @@ + 1. + + + + FADE IN: + + +1 INT. ELISA’S APARTMENT - RIVER FOOTAGE - NIGHT 1 + + We float at the bottom of a river. Surrounded by water. + + Fish swim away. Debris floating in the water -- + + And, then, a lamp floats by -- + + A coffee pot -- + + A shoe. + + GILES / NARRATOR + If I spoke about it -- If I did -- + what would I tell you, I wonder? + Would I tell you about the time--? + It happened a long time ago -- in + the last days of a fair Prince’s + reign -- Or would I tell you about + the place? A small city near the + coast but far from everything else + -- Or would I tell you about her? + The princess without voice -- + (beat) + Or perhaps I would just warn you of + the about the truth of these facts + and the tale of love and loss and + the monster that tried to destroy + it all -- + + Camera pushes and we see: An entire apartment underwater. + + Objects and furniture float, gently suspended, defying + gravity. + + Asleep on/above her bed, half floating, half weighed down: + ELISA. Roughly 30, but ageless, with child-like eyes, dark, + lush hair and a thin, beautiful mouth slightly curved into + a satisfied smile. + + She slowly settles/drifts down on the mattress below as an + early digital alarm clock lazily floats over a night table + nearby -- + + SUDDENLY: The alarm goes off! + + 10:45 PM + 2. + + + Elisa opens her eyes. Lifts the mask, looks around: No + water at all. + + Slowly, she gets up. An ambulance red light briefly + illuminates the apartment, its siren fading rapidly. + + Barefoot, she heads to the bathroom: We see that light is + emanating from her FLOORBOARDS. + + Music and dialogue leaks up through the floorboards too. + + She readies the bathtub + + DIALOGUE + “-- No God could be pleased with + the death of a child at the altar - + -” + + Camera goes through floor into -- + + +2 INT. CINEMA - SAME 2 + + -- the ornate ceiling -- and into -- + + The cinema: The STORY OF RUTH plays to an almost empty + theater. One patron or two are asleep. + + TITLE: THE SHAPE OF WATER. + + +3 INT. ELISA’S APARTMENT - SAME 3 + + Elisa drops three eggs into a pot of boiling water and + heads for the bathroom. On the way there, she picks up an + egg timer and casually winds it. + + +4 INT. ELISA’S BATHROOM 4 + + She disrobes. Revealing: On both sides of her neck: two + keloid scars, diagonal and about three inches long. + + DIALOGUE + “-- Who's the man?” + (beat) + Mahlon, the Judean artisan --” + + The voices from below continue as she steps into the + bathtub: Water overflows and hits the tiled floor. + + She sinks in. A deep sigh. + 3. + + + She sets the egg timer to TWO MINUTES. + + She sighs. Then rubs her hand with soap, plants her two + feet on the base of the tub, sighs again and goes to work + on herself, gently, slowly -- + + -- but with the timer ticking away -- + + She’s almost there when the timer DINGS. + + +5 INT. KITCHEN - ELISA’S APARTMENT - SAME 5 + + A WALL CLOCK, its minute hand slides into position, TACK!: + 10:55 PM. + + Elisa rips off a leaf from a wall calendar and opens a + window, letting the fresh air in. Her hair is wet and she + nervously looks at the clock on the wall. + + The Calendar leaf back reads: “Time is but a river flowing + from our past.” + + CLACK! 11:00 PM + + Elisa stares at a WALL OF SHOES. Chooses a GREEN PAIR. + + Shines them, quietly, alone, at the table. Puts them on. + Another siren goes by. + + CLACK! 11:01 PM + + She takes out 3 hardboiled eggs, still steaming out of a + pot. Uses the calendar sheet to pack one, plus saltines and + a small mustard and a half pickle sandwich on a paper bag. + + Two eggs and a half sandwich go onto a small plate. + + She undoes the three locks on her door (light & music + intensifies still emanating from the floorboards) and -- + + +6 INT. APARTMENT CORRIDOR - NIGHT 6 + + -- exits her apartment. We see the “shadowing” of old brass + letters, some are still there, they read “DELIVERIES” + + She goes to the door directly across from hers (similar + sign: “PROCESSING”). A TV can be heard inside. + + She uses a key to let herself in. + 4. + + +7 INT. GILES APARTMENT - NIGHT 7 + + Full of books. ENTIRELY full of them. Here and there are + half-finished illustrations. Large original art from + ADVERTISEMENTS. Two cats, SNOWFLAKE and LILLIE stroll + lazily. + + GILES + (over sirens) + Did the sirens wake you up? + + Hard at work at a drawing table- is GILES: late 60’s, + refined and prim: wool vest, bow tie and tortoiseshell + glasses. When he speaks he has a ever-so-slight stutter + (which gets worse when he gets nervous). + + GILES + It’s a fire. The chocolate factory. + It rained a little, not enough to + put it out -- Rains are late this + year -- You smell that? Toasted + cocoa. Tragedy and delight, hand in + hand -- + + Giles is coloring an illustration of a happy family around + a BRIGHT RED JELL-O MOLD. A sign reads: THE FUTURE IS + HERE!! + + On his forehead: THREE pairs of eyeglasses. He raises one + and lowers another one, grabs a brush. We see a toupee + resting on top of an acrylic paint box. + + Elisa puts the eggs and carrot down on a side table. He + caresses/taps her cheek. + + GILES + Oh, Darling child. I’d waste away + to nothing without you looking + after me. I am the proverbial + starving artist am I not? + + Shirley Temple dances on the stairs with Bojangles on “The + Little Colonel”. + + GILES + Oh, watch that, Bojangles, the + stair dance. + + He slides his chair to see better. + + GILES + 5. + + + Will you look at that? Very hard to + do. Cagney did it, different, but + beautiful, we should watch that one + day -- + + Elisa looks at the TV. Does a few tap steps. Sirens go by. + + GILES + Elisa: Wake me up when you come + back. Breakfast’s on me, Child. + + He goes back to his painting. Looks in the mirror and + smiles. + + Paints the smile on the father figure in the ad. + + +8 INT. APARTMENT CORRIDOR - SAME 8 + + Both sides of the corridor are blocked by FILM CANS. + + Elisa, low heeled shoes in one hand and a paper sandwich + bag in the other, moves past the cans and reaches a red + door. + + She exits. + + +9 EXT. ARCADE CINEMA AND TENEMENT BUILDING - NIGHT 9 + + She stands at the top of a fire escape. A breeze blows by. + The city lights glow in the distance. + + Looks at her watch: 10:55 + + ELISA climbs down. She exits past the ARCADE CINEMA + MARQUEE. + + She takes the steps in Bojangles fashion. + + She takes the steps in Bojangles fashion. + + The cinema owner, MR. ARZOUMANIAN, is changing the marquee + lettering for THE STORY OF RUTH, helped by an ASSISTANT. + + MR. ARZOUMANIAN + Elisa, when yoo bring the rent-stay + for the bible moovie, eh? Theatre’s + empty -- + 6. + + + A FIRE ENGINE SCREAMS BY. On the horizon. A couple of + blocks away: the fire: A Glowing SIGN Sputters: ANNELY’S + chocolate. + + A few people hurry towards the scene. Elisa crosses the + street. + + +10 EXT. TV REPAIR SHOP - BUS STOP - NIGHT 10 + + Elisa looks at a shoe store window. On display on a little + rotating platform: a pair of SILVER DANCE shoes. She starts + whistling a happy tune. + + Elisa dances around and then sits down on, a bus bench in + front of an appliance store. + + A CLOCK signals 11:05 + + On TV, over her whistle: MARTIN LUTHER KING. KENNEDY. + RUSSIAN SATELLITES. CUBAN MISSILE CRISIS on other monitors. + THEN A WAVING AMERICAN FLAG. PROGRAMMING ENDS. + + The bus arrives. + + +11 INT. CITY BUS - NIGHT 11 + + Elisa, still whistling. Almost entirely alone, on the bus + (except for a FAT GUY snoring) looking out the window with + great longing. + + POV Industrial landscape passes by, reflections of fire and + smoke against blue steel night sky. + + She uses her beret and scarf as a pillow. + + She closes her eyes. + + +12 EXT. OCCAM RD - NIGHT 12 + + BUS drives by a huge clock and plaque that reads: OCCAM + AEROSPACE RESEARCH CENTER. + + The time: 11:55 + + +13 EXT. 1284 OCCAM RD. BUILDING - NIGHT 13 + + A SQUARE, SQUAT concrete structure. Employees rush towards + the building. + 7. + + + ELISA climbs out of the bus, walks in. THRONGS OF WORKERS + walk out. + + +14 INT. ELEVATOR - NIGHT 14 + + Elisa in an elevator, goes down, down, down until it opens + into: + + Her watch: 11:58 + + +15 INT. HERDING AREA - NIGHT 15 + + WORKERS are moving out. A GOLF CART arrives with MP’s. + + Elisa runs and barely makes it. Yolanda, a Latin girl, + protests. + + A PUNCH CLOCKS, Standing in line we see ZELDA, a plump + African American woman in her 30’s. She signals Elisa to + get in. + + Elisa runs and barely makes it. Yolanda a Latin girl, + protests. + + YOLANDA + Hey, watch it, Dummy!! + + ZELDA + Leave her alone, Woman. I was + keeping her place. + + YOLANDA + I get reported, I come looking for + you and the mute -- + + ZELDA + You do that, Yolanda. You do that. + + Elisa checks in -- + + CLACK!! 12:00 PM + + CUT TO: + + +16 INT. LOCKER ROOM - SAME 16 + + Elisa, Zelda and others get dressed in their JANITORIAL and + KITCHEN / SERVICE garments. + 8. + + + Change their shoes to low-heeled ones. + + All around them: Propaganda posters: “Loose Lips Sink + Ships” etc + + ZELDA + My feet are killin’ me already. We + ain’t started and my feet are + already killin’ me -- + + +17 INT. LONG CORRIDOR 17 + + 6 cleaning ladies walk down the corridor in 2 lines of 3. + They split off and walk into the adjacent labs. Behind them + Elisa and Zelda follow and continue down the corridor. + + +18 INT. LONG CORRIDOR - GREEN SCREEN NOT TRANSLIGHT 18 + + ZELDA + I wear ‘em low-heeled shoes and it + hurts just the same. My toes get + all bunched up and I feel like + dyin’. Lord. + + Zelda and Elisa push into a long corridor full of + SLAUGHTERHOUSE-STYLE DOORS, each bearing a number and a + letter (B-67, C-25, etc). + + A GROUP OF SCIENTISTS walks alongside a MAN IN A CANVAS + ASTRONAUT SUIT. They carry a multitude of canvas DUCTS + extruding from it. + + About a DOZEN MP's guard the corridor. + + +19 INT. JET ENGINE LAB - SAME 19 + + Elisa removing a piece of chewing gum. Zelda empties a + WASTE BASKET. + + ZELDA + Made Brewster pigs in a blanket + tonight before leavin’. Fresh + dough,the good sausages, thick and + Boy, he just ate ‘em up. + (beat) + No thank-yous, no yum-yums, not a + peep, tho -- Man is silent as the + grave. But if farts were flattery, + honey, he would be Shakespeare -- + 9. + + +20 INT. COMMAND CENTER - SAME 20 + + Zelda and Elisa empty waste baskets. + + ZELDA + Then I get home and I make him + breakfast. Bacon and eggs and + buttered toast. I butter the man’s + toast, Elisa. Both sides -- As if + he were a child -- And I don’t get + a “Thank You” + + +21 INT. LAB - SAME 21 + + Zelda picks up a waste basket and a few pieces of paper -- + + ZELDA + Hey, Lou, Lou! You boys mind + throwing the trash in the bin? + That’s what it’s for- - + + A BESPECTACLED MAN (Dr. BOB HOFFSTETLER) measures the + temperature of the water with a long, industrial + thermometer. He eyes Zelda. + + ZELDA + Yes. That’s what it’s for -- Hard + to believe, uh? + + LOU + Alright. Alright. Sorry Zelda. + + Elisa and Zelda mop and sweep around a group of workers + readying a big Filter/storage TANK of massive proportions + next to a tiled HOLDING POOL. + + Roughly 20 men working at the same time. + + Fleming supervises the entire operation. + + The WORKERS are making a mess. + + Elisa signs Zelda. + + ZELDA + I don’t know Honey. I don’t know + what they’re doing. + (purposefully loud) + Mostly making a Goddam mess is what + I’d say -- + + Hoffstetler whispers in Fleming’s ear. + 10. + + + FLEMING + (dabs his nose) + Zelda, please, Watch the volume. + And, there’s no call for the + blaspheme, please -- + + ZELDA + Yessir, sorry, Mr. Fleming, Sir -- + + FLEMING + (claps his hands) + A moment of your time -- Today, we + will be receiving a new team and + asset here in T-4. This here is Dr. + Robert Hoffstetler -- + +Zelda and Elisa look at each other. + + FLEMING + I don’t want to bolster - or + overstate the matter -- + (proud laughter) + -- but this may be the most + sensitive asset ever to be housed + in this facility- - + +Hoffstetler looks at Elisa. + +Everybody suddenly turns to attention. The sliding steel +door opens and MP’s pour in -- + +Fleming thumbs them out. The door slowly slides opens and - +- + +Zelda and Elisa pick up their carts and as they exit -- + +-- they see a group of SPECIALISTS wheel a MASSIVE STEEL +CYLINDER into the room. It’s twice the size of an iron lung +and more elaborate. + +It is escorted by 4 MP's, and a square-jawed, steely-eyed +man dressed in a black, immaculate suit and tie: RICHARD +STRICKLAND, 30’s. + +In his right hand: an electric CATTLE PROD. + +The CYLINDER SHAKES!! SOMETHING LARGE MOVES INSIDE!! IT +HOWLS!! A WEBBED HAND slams against the glass!!! + +A WEBBED PALM HITS THE GLASS!! Elisa jumps, startled. + + HOFFSTETLER + (to Fleming) + 11. + + + They have to leave -- + + FLEMING + Yes, yes -- + + HOFFSTETLER + You: help me move the cylinder into + the compressor! There! + + They exit. Elisa sees a large form moving in the tank as + they close the door. + + DISSOLVE TO: + + +22 INT. MEN’S BATHROOM - NIGHT 22 + + ZELDA + Will you look at this? + + Elisa removes dirty towels from the multiple towel racks + and puts on fresh ones. Zelda points to the urinals. + + ZELDA + Look -- Some of the best minds in + our country, peeing all over the + floor in this here facility. + (beat) + There's pee freckles on the + ceiling!! How do they get it up + there? + + ZELDA resumes mopping the checkered floor. + + ZELDA + Just how big a target do they need, + you figure? They get enough + practice that’s for sure. My + Brewster, no one ever called him a + great mind, even he hits the can + seventy percent of the time. + + Suddenly, Strickland enters. In his hands: the cattle prod + and a plastic bag of GREEN HARD CANDY. He places them on + the sink. They start to leave, but -- + + STRICKLAND + No. No. That’s alright -- Go on -- + + He washes his hands with the precision and care of a + surgeon preparing to operate. + + STRICKLAND + 12. + + + You ladies seem to be chatting + enjoyably. Girl talk no doubt. + Don't mind me. + +He makes eye contact with Elisa. Chews on the candy. +Methodically. + +ELISA looks at the cattle prod. + + STRICKLAND + Look but don’t touch -- + (beat) + That lovely dingus there is an + Alabama Howdy-do -- + +Strickland goes to the urinal and proceeds to piss- his +hands-clenched in a fist, rest on both his hips. + + STRICKLAND + Molded grip handle. Low-current, + High-voltage electric shock cattle + prod -- That's for you to know, not + to tell. + +You can hear his stream bouncing off the tile. ZELDA +winces, looks at Elisa. + + STRICKLAND + I’m Strickland. Security. + + ZELDA + Fleming's security. + + STRICKLAND + Not while I’m here. + +On the stressed word, a momentary hitch in his stream. + + STRICKLAND + Saw you both at T-4. + + ZELDA + We’re cleared, Sir. + + STRICKLAND + I know. I checked. + (beat) + Doesn’t it get lonely? The + graveyard shift? + + ZELDA + Gets quiet. That’s for sure. She + offers him a clean towel. “NO” + 13. + + + STRICKLAND + Man washes his hands before or + after tending to his needs. That + tells you a lot about that man. + (beat) + He does it both times? Points to a + weakness of character -- + + Picks up the rod. Weirdly beams at the two cleaners. + + STRICKLAND + Ladies? Very pleasant chatting with + you both. + + Elisa notices a small drop of Red blood left behind by the + cattle prod. It lazily extends on the wet, white surface of + the sink. + + CUT TO: + + +23 INT. “B” CORRIDOR - SAME 23 + + SWEET LORRAINE by Jon Erik Kellso starts. + + Elisa stands in front of door T-4. She takes out her + clearance card and is about to use it but stops. + + The door opens. It’s HOFFSTETLER. + + HOFFSTETLER + May I help you? + + He removes surgical gloves. She moves back. + + HOFFSTETLER + Oh! You're -- not in uniform -- Did + you forget something--? Inside? + She signs: “Excuse me” And walks + away. + + HOFFSTETLER + Wait, Wait! + + Hoffstetler watches her go. + + +24 INT. BUS - DAWN 24 + + Elisa leans her head on the window. Dawn bathes her. The + light grows and grows, cleansing and magical. + + DISSOLVE TO: + 14. + + +25 EXT. STREETS OF BALTIMORE - EARLY MORNING 25 + + Busy streets. A VAN Pulls up. Out climb Giles and Elisa. + + GILES + Yeah. I’m wearing the hair. Watch + out for that car -- + + Giles straightens his toupee (now on his head) Elisa signs. + + GILES + Does it look good? + + They cross the street towards “DIXIE DOUG PIES.” + + CUT TO: + + +26 INT. “DIXIE DOUG PIES” DINER - DAY 26 + + Giles and Elisa stand before a glass and Stainless-steel, + PIE VENDING COLUMN/DISPLAY. + + GILES + It was eternal, see? Tantalus never + even achieved the escape of death. + The fruit on the branches was + always just out of reach -- + + His gaze drifts subtly to the PIE GUY at the register. He’s + manly, masculine, like a construction worker. With pie. + + PIE GUY (O.S.) + Thank yeew. Y’all come back, + y’heah? + + Elisa watches Giles watching the guy, his glances filled + with longing. + + GILES + -- the water in the stream always + receded just when he stooped to + drink. And that's why we say things + like, look at those tantalizing + pies -- + (Elisa signs) + I don’t like the colors either, but + they taste alright. Try it. My + treat. You want cold milk? + + At the COUNTER: + + PIE GUY + 15. + + + Welcome to Dixie Doug’s, folks. + That’ll be all? + + GILES + For the moment. + + PIE GUY + Hey, I’ve seen you in here before, + right? + + GILES + Oh, well -- I -- yes -- I’ve been + here. A couple of times as a matter + of fact. + + PIE GUY + Partial to key lime pie? + + GILES + A craving I indulge in. It cannot + possibly be good for me. Nothing I + like is -- + + PIE GUY + Oh, no -- It’s a mighty fine pie, + key lime. + + GILES + And the color is so vivid!! + + PIE GUY + Vivid! Now, there’s a word I- + there’s a word for ya -- + + GILES + A vivid word! It most certainly is. + +Elisa rolls her eyes. + + GILES + And would you be the famous “Dixie + Doug” himself? + + PIE GUY + Heck, no. Pies are trucked down + throughout the country. It's called + “franchising”, see? + + PIE GUY + There’s thirty-two Dixie Doug’s all + over the country. + 16. + + + He indicates the illuminated glass column that rotates to + display the pies. He shrugs. + + PIE GUY + They give us the spinners, the + signage -- That there’s “Pie Boy” + our mascot. They tell us what we + gotta say -- What to wear and such + -- there's a manual lays it all + out. They figured out what people + like, scientifically. I don't + really talk that way, I'm from + Ottawa. + + GILES + You had me completely fooled. + (beat) + “That’s-a-great-a-pie--” The Little + guy is Italian is he?! + + PIE GUY + I guess so -- + + GILES + How clever! + + He watches Pie Guy pack them up, admiring his muscular + arms. Finished, Pie Guy looks up smiling. + + PIE GUY + Well, Thank yewww. Y'all come back + now, y'heah? + + +27 EXT. GILES’ APARTMENT - DAY 27 + + They eat their pie and watch NAME THAT PRICE (or any + morn/noon game show). Cats beg for pie. + + GILES + “Y’all come back” Do you think he + meant it? He had noticed me -- you + heard that yourself. + + Elisa rolls her eyes. Stops eating. + + GILES + Well, this pie is rather sordid, + but -- Don’t spit it out -- We + could try a different flavor next + time. + 17. + + + Elisa hands him the half-eaten pie and wipes her green + tongue with a napkin. + + GILES + Well- you wanna save it -- for + later? + + Elisa channel-surfs: EARLY CIVIL RIGHTS PROTESTS ON THE + NEWS. + + He puts the pie away in the fridge. (We see that there are + about half a dozen half-eaten multi-colored pie slices) He + pours the rest of the milk on a cat’s plate. + + GILES + (looks at TV protests) + Dear God. Change that awfulness, I + don’t want to see all that. + + ELISA CHANGES CHANNELS to Betty Grable Dances PRETTY BABY + from Coney Island. GILES moves the antenna around until the + image is clear. Elisa gives him “thumbs up” + + GILES + There -- Now -- That’s better -- + Oh, would you look at Betty! To be + young and beautiful. If I could + take this brain of mine -- this + heart and put in it -- If I could + go back in time, when I was + eighteen -- I didn’t know anything + about anything I would give myself + a bit of advice, I tell you -- + + He sighs. She signs. + + GILES + I’d say: Take better care of your + teeth and fuck. A lot more. + + She elbows him. + + GILES + It’s very good advice + + While sitting, he tap-dances. Elisa joins him in a + beautiful, little foot choreography without leaving the + sofa. Music overpowers the upcoming scene. + + CUT TO: + + +28 INT. ELISA’S APARTMENT - NIGHT 28 + 18. + + + Alarm goes off: 10:45 PM. Elisa opens her eyes. Gets up. + + EGG TIMER in the F.G. In the B.G. Elisa taking care of + business in the bathtub + + BOILING EGGS + + Calendar ripping + + SHINING SHOES. PUTTING THEM ON. + + +29 INT. BUS - SAME 29 + + Elisa leans on the seat in front of her on the bus + + ZELDA + (prelap) + Short people are mean. Mean -- + + +30 INT. LONG CORRIDOR - SAME 30 + + Zelda empties the WASTE BASKETS in the corridor. + + ZELDA + Short people are mean -- mean -- + You listen to me, they have a + grudge, a big chip on their tiny + little shoulders. I’ve never met a + short man that stays nice all the + way through, no, Sir -- mean little + backstabbers, all of ‘em. Maybe + it’s the air down there, not enough + oxygen or something. + + ELISA, sweeps. Keeping an eye on - T-4. + + ZELDA + My Brewster, he’s no Towering Titan + and he never raises his chin. He + gets angry, you get the eyes. But + the chin stays down -- + + They hear gunshots. And screams. Muffled voices. + + T-4! The door bursts open. + + They see FIGURES moving in the distance: urgent, hushed. + MP’s hurry down the corridor + + They see STRICKLAND stagger out, clasping his bleeding + hand. Blood squirts from it!! + 19. + + + HOFFSTETLER + Help! He’s losing blood! Find + something for a tourniquet. + + Two MP’s rush towards Hoffstetler. + + He looks at ELISA, then presses an EMERGENCY BUTTON- + BAMMMM!!! + + HEAVY STEEL DOORS shut the area hermetically. + + ZELDA + Come on. Come on. Let them help + them. Come on Elisa + + +31 INT. AUTOMAT - CAFETERIA - NIGHT 31 + + Elisa and Zelda pick up food from an automat. Yolanda eats + on a bench nearby. + + ZELDA + Think the Russians broke in? I + don’t think so. And If they did, + Duane’s meatloaf will kill them + all, honey. + + BENCHES: They eat. Elisa seasons an egg from her bag. + + ZELDA + It was two shots, you hear'em? + + ELISA raises three fingers. Zelda steals tater-tots from + Elisa’s tray and surgically removes the bacon from her own + meatloaf. + + ZELDA + Alright -- Three -- and that + scream. Heavens. Whatever goes on + in this place -- + + FLEMING + (approaching) + You two. Come with me. + + ZELDA + Now, Mr Fleming, Sir? Any chance we + might conclude our dinner? + + FLEMING + Now. Grab your carts and bring your + code cards. + 20. + + +32 INT. LONG CORRIDOR - NIGHT 32 + + Elisa and Zelda hurry BEHIND Fleming. They drag their + trolleys behind with stern efficiency. They stop in front + of T-4. Fleming’s nose is still runny. + + FLEMING + Heavens to Betsy: we’re in a + pickle. We’re in a real pickle now + -- + + He punches their cards into a CLEARANCE READER by the door. + It beeps. + + The machine clacks and the door opens. + + +33 INT. LAB - NIGHT 33 + + FLEMING + You will have exactly twenty + minutes, to render this, this lab + immaculate and so on and so forth. + Do you understand? Twenty minutes. + + He dabs his nose and exits. The place is covered in blood. + THE CYLINDER is now open attached to a large PUMP. + + An operating table is in the center of the room. + + ZELDA + Sweet dancing Jesus on the head of + a pin, what went on in here? That’s + blood, hon -- I tell you -- may be + all gunked up -- But that’s blood - + - + + The cattle prod lies on the floor. + + Zelda pours water and starts mopping the blood. + + ZELDA + Help me mop it, Hon. Sooner we get + out of here the better -- + + Elisa throws one last bucket of water under a counter. + + -- as the water flows back, it carries -- TWO SEVERED HUMAN + FINGERS. + + Zelda picks up one -- + + ZELDA + 21. + + + That a cigar? + + -- a gold wedding band falls off of it. + + It rolls away. + + ZELDA + Aaagh!! Don’t touch that!! It’s a + finger!! They’re all fingers!! + (beat) + I’m gonna call somebody. Stay here, + Honey. Jesus Lord, fingers. + + She leaves. Elisa stays. She looks for the gold band. + + She looks inside the cylinder: A drop of water floats in + the water. + + She sees a figure, crouching in the dark: A slender, sleek + AMPHIBIAN MAN. Looking at her. Varied markings seems to + glow and outline its body. + + Elisa’s shocked but not scared. + + The bleeding creature makes direct eye contact with her. + + Its EYES kick back light, like a coyote’s caught in the + headlights. + + She moves towards it, cautiously. The creature hisses at it + and cowers. + + The lab door slides open, ZELDA and TWO MP’s rush in. + + The Amphibian man retreats. + + ZELDA + Where are the fingers? + + Elisa offers him the paper bag. HAND ME DOWN MY WALKING + CANE by B Goodman starts. + + +34 INT. GILES’ APARTMENT - DAWN 34 + + Giles readies a CEREAL BOX and a bottle of milk. + + GILES + 22. + + + I do believe you, darling, but are + you sure it was alive? I once saw a + mermaid in a carnival tent. It was + a monkey sewn to the tail of a + fish. Looked real to me. + + Elisa scribbles: “Person/Fish” Giles serves her a plate. + + GILES + I apologize. But I have a deadline + --You know the Corn Flakes, they + were created as a cure for + masturbation. + + She pushes the plate away. He pushes it back. “Eat” + + GILES + It doesn’t work. + + Giles looks at a TV GUIDE. + + GILES + Oh, Alice Faye just started -- + + Elisa switches channels: a scene in a Dance Hall with Alice + Faye singing “You’ll never know --” She stops eating the + cereal. + + GILES + She was a huge star -- And one day + --one day she just couldn’t take + the bullshit, the backstabbing, + anymore and she just walked away + from everything. Just walked away - + - To live the way she wanted to -- + + Giles dances a few steps to picks up his drawing, shows it + to Elisa. + + GILES + Ta-da! You like it? It’s not bad, + is it? For being shit? Now, eat, go + to bed. Rest -- I get paid -- we + get pie! OK, not pie. I get pie. + You get whatever you want. My + treat. Wish me luck. + + He heads out. Elisa watches intently as Alice Faye croons + + +35 INT. AD AGENCY - DAY 35 + 23. + + +A classy AD AGENCY. GILES hands the finished drawing to +BERNARD (60’s, well-groomed and dressed) + + BERNIE + Green. They want the gelatin to be + green now. + + GILES + But I was told red. + + BERNIE + New concept. All the new flavors + are green: Celery, apple, Italian. + That’s the future now. Green. + +An ELEGANT SECRETARY gives him a document to sign. Hands +him a Pantone swatch. + + BERNIE + And they want them happier -- the + family. + + GILES + Happier? The Father looks like he- + he just discovered the missionary + position -- And the kids look like + the have electrodes up their- What + are they happy about? + + BERNIE + Giles. + + GILES + What are they happy about? + + BERNIE + The future, Giles. + (shift) + Sorry, you know how it is. You do + what they say, then they change + everything. Too bad, this is nice + work. + + GILES + It is nice work, isn’t it? One of + my best. + +Giles nods, gravely. Bernie moves closer. + + BERNIE + How are you holding up? Are you + drinking? + 24. + + + GILES + Not a drop. + + BERNIE + Getting any work since you left + Klein & Saunders? + + GILES + Since I was asked to leave. By you. + + BERNIE + We’re not gonna get into that now. + I like you. You know I do. + + Giles nods. + + BERNIE + Are you painting? Your own art? + + That well dried a long time ago. + + GILES + I want back, Bernie. + + BERNIE + We’ll see. Now do this. The client + wanted photographs. Photographs’s + what’s coming -- I sold them on + this -- Can you have it Monday? + Green? + + +36 INT. LONG CORRIDOR - NIGHT 36 + + Elisa pushes her cart down the corridor. Stops in front of + T-4. Hoffstetler and his LAB CREW exit. She takes her lunch + bag, opens the door. + + +37 INT. LAB - NIGHT 37 + + She enters. + + The lab is quiet. She notices that a side hatch from the + cylinder is open towards the holding pool. + + She hears a metallic noise. + + Moves towards the pool. + + The water ripples. Chains clink. The three long chain lines + emerge from the waterline. + 25. + + + She sits down on the edge of the pool. She opens her lunch + box and peels an egg, slowly. + + She watches the water move, finishes peeling it. She takes + a bite. + + The Amphibian Man’s head emerges from the water. + + They stare at each other. + + He submerges towards her. The chains grow taut- they are + attached to his neck. + + Then the creature is revealed in full: beautiful, Majestic. + Pure. + + She extends her arm: presents another egg to him. It + hisses-expanding his gills!! + + She recoils. Slowly she places it on the edge of the pool. + + She offers the egg, signing “egg” toward it. + + The creature grabs the egg with its webbed hand and swims + away with it. + + She watches his swim. + + IN THE CORRIDOR + + Zelda is in the corridor. + + ZELDA + Elisa. + + Elisa signs. + + ZELDA + What am I doing here? What are you + doing here? + + Elisa signs + + ZELDA + Okay. Cleaning. Hey honey, Mr. “I + pee with my hands on my hips” wants + to see us both. I don’t know why. + Lord it better be short, because it + is late and my feet are killing me. + + +38 INT. STRICKLAND’S OFFICE - NIGHT 38 + 26. + + +STRICKLAND’S sitting down in his office (his fingers +covered by clean bandages with a stain of blood and iodine) +he looks pale and pissed. Behind him: a bank of security +monitors. + + STRICKLAND + (reads a file) + Zelda D. Fuller. How long have you + two known each other, Zelda? + + ZELDA + About Ten years, Sir. + + STRICKLAND + No siblings, Zelda? + + ZELDA + No, Sir -- + + STRICKLAND + That’s not common, is it? For your + people? + + ZELDA + Momma died after me -- After I was + born. + + STRICKLAND + What does the “D” stand for? + +Elisa and Zelda sit in front of him, like girls at the +principal’s office. + + ZELDA + My “D”? Delilah, Sir -- on account + of the bible. + + STRICKLAND + Dee-Li-lah -- + + ZELDA + Beg your pardon? + +Strickland takes a HARD GREEN CANDY from a plastic bag. +Sucks on it. + + STRICKLAND + Delilah, she betrays Samson -- + Lulls him to sleep, cuts his hair - + -Philistines torture him, humiliate + him, burn his eyes out. Turned him + into a thing -- + 27. + + + ZELDA + Guess my momma didn’t read the good + book close enough -- + + STRICKLAND + And you -- + (reads Elisa’s file) + Elisa -- Elisa Esposito. Doesn’t + Esposito means “Orphan”? + +She nods. + + STRICKLAND + (reads file) + Our Lady of Sorrows Orphanage in + Putnam -- Putnam? + + ZELDA + They found her by the river in the + water -- + + STRICKLAND + That what they told you, uh? + +Elisa nods. + + STRICKLAND + It was you that found my fingers? + +She nods. Hands him back his ring. Puts it on the other +hand. + + STRICKLAND + Three hours in surgery -- They + rebuilt the first phalanx -- here - + -sutured the tendons. Don’t know if + it’s going to take -- + (beat) + There was mustard on them. + (beat) + A paper bag. Best you could do? + + ZELDA + It’s all we had -- + (beat) + I answer mostly, on account that + she can’t talk. + +Long pause. + + STRICKLAND + What do you mean she can’t talk? + 28. + + + ZELDA + She can’t. + + STRICKLAND + She can’t? Is she deaf? + +Elisa signs + + ZELDA + Mute, sir. + +STRICKLAND’s ears prick up. He is suddenly interested, +animated. + + STRICKLAND + Mute. + (points at scars) + That what did it? Cut your voice + box? + +Elisa signs. Zelda translates: + + ZELDA + She sez: Since she was a baby -- + + STRICKLAND + Who would do that to a baby? This + world is sinful. Wouldn't you say, + Dee-li-lah + (beat) + Well, lemme say this upfront. + +He arranges the symmetry of his desk implements. + + STRICKLAND + You clean that lab. You get out. + +Arranges the pens, turns towards Elisa. + + STRICKLAND + The thing we keep in there, is an + affront. Do you know what an + affront is, Zelda? + + ZELDA + Something offensive, Sir. + + STRICKLAND + That’s right -- That’s right -- And + I should know. + (beat) + 29. + + + I’ve dragged that filthy thing, out + of the river muck in South America + and all the way here -- + (beat) + And along the way we didn’t get to + like each other much. + + He takes two, three pain pills -- + + STRICKLAND + You may think that thing looks + human -- Stands on two legs, but + we’re created in the Lord’s image. + And you don’t think that’s what the + Lord looks like, do you? + + ZELDA + I wouldn’t know, Sir. What the Lord + looks like. + + STRICKLAND + Well, human, Zelda. He looks like a + human. Just like me -- Or even you. + A little more like me, I guess -- + + A RED PHONE rings. He picks up. + + STRICKLAND + General Hoyt. Thank you for calling + me back. + + Signals them to leave. + + STRICKLAND + I am, Sir -- much better. Pain + pills, is all -- Thank You. Two + fingers, yes but still got my + thumb, my trigger and my pussy + finger -- + (laughs) + Yes, Sir -- That’s right -- Looking + forward to your visit, Sir. + Decisions have to be made about the + asset, Sir. + + From his window he watches as POV: Elisa walks away. + + +39 EXT. STRICKLAND’S NEIGHBORHOOD - DAWN 39 + + Fleming is pulling in. He drives a bottle green, jet-finned + Sedan. Strickland climbs out. + 30. + + + STRICKLAND + Pick me up tonight. Nine thirty. + + FLEMING + Twenty one hundred and thirty + hours, yes, Sir. + + Strickland gives him a look. Moves away. + + The Milk Truck is going by. A UNIFORMED MILKMAN is leaving + cream and milk at his doorstep. + + STRICKLAND + I’ll take that. + + Strickland picks it up. + + +40 INT. STRICKLAND’S HOME - EARLY MORNING 40 + + All around, however, half-open moving cardboard boxes. + Noise everywhere. Breakfast chatter, the TV is on (A + COOKING SHOW). + + At the table: Strickland, drinks milk straight from the + bottle, tense as fuck, his wife ELAINE and their two kids, + TIMMY, 8 and TAMMY, 6. + + She places, in front of him, a product-placement-picture- + perfect omelette. + + STRICKLAND + No pancakes? + + TIMMY + Dad? Guess what? + + ELAINE + I’ve gone through half the boxes. + Can’t find the griddle. But I made + you cheese and broccoli omelette, + Sweetie, your favorite. + + Strickland clumsily, painfully, eats, grunts. + + TIMMY + Hey, Dad -- Guess what? Guess what? + + ELAINE + Are you feeling any better? Does it + hurt? + + STRICKLAND + 31. + + + Just a little. Pills help. + + TIMMY + Guess what? We are burying a time + capsule at the new school. + + TIMMY + And I wanted to ask you -- Do you + think we’ll all have jet packs, in + the future? + + STRICKLAND + That’s right, Son. The future is + bright. You gotta trust in that. + This is America. + + Grunt. Strickland wolfs down his food. Elaine leans in. + + ELAINE + Wash your hands real good sweetie. + And come upstairs -- + + LATER + + Strickland throws the Omelette in the garbage. Takes a pill + with his milk. Grabs a cookie. He washes his hand at the + sink. Turns off the TV + + Strickland climbs the steps. + + +41 INT. STRICKLAND’S BEDROOM - DAY 41 + + Elaine closes the curtains. + + ELAINE + I kinda like it here. The kids like + the lawn. Plus, DC is just half an + hour away, isn’t it? + + He shows her his hands: clean. She smells one and kisses + his bandaged fingers. Pulls out a breast and allows the + clean hand to touch it. + + STRICKLAND + It’s still Baltimore, Elaine -- + + Strickland mounts ELAINE. Rhythmic. Mechanical. Like an + athlete training for a competitive sport. His face shows no + emotion. + + ELAINE + Oh -- + 32. + + + He sees her neck, touches it, traces lines + + ELAINE + Richard -- + + He covers her mouth. Keeps pumping. She tries to talk. + + STRICKLAND + Shh -- Silence. Don’t talk. I want + you in silence. + + ELAINE + Honey -- your hand’s bleeding -- oh + -- + + STRICKLAND + Shh -- Shh -- in silence. + + He interrupts her with a vigorous thrust. In and out like a + piston pump. Presses his hand. She looks up at him, + confused. + + He pushes her face away from him. And pumps harder. + + +42 INT. LAB - DUSK 42 + + Alone, the Amphibian Man tries to reassemble the broken + eggshells. Signs: “egg” + + +43 INT. ELISA’S APARTMENT - DUSK 43 + + Elisa takes 5 hardboiled eggs out of the pot of water. + + Elisa readies a portable turntable. Grabs a record from a + collection of dozens. + + +44 INT. LAB - SAME 44 + + Elisa enters the lab. Starts cleaning a mess around the + operating table. Hoffstetler is changing in the B.G. Tosses + his lab coat into a tall and narrow laundry cart. Leaves, + along with the last lab assistant. + + Elisa places the eggs by the edge of the pool. + + Excitedly she takes some LP records (from a carrier) and a + portable player. + 33. + + +The creature emerges slowly from the water. Takes and egg +and starts peeling it. + +Elisa shows him the record and signs: “record” + +He is curious and vigilant. Watches her carefully as she +takes the record and plays it: Glenn Miller’s LOVER’S +SERENADE + +His bioluminescent markings light up. + +She lifts the needle. Music stops. + +The creature reacts as if to magic. + +Needle down, music back: Excitement!! Markings light up!! + +The creature admires the music, tries to snatch it mid-air. + +She smiles. + +He smiles back + +MONTAGE + +-Five eggs. Boiling. Dancing slowly in the water. + +-Elisa sets all five Boiled Eggs on the edge of the pool. + +-The creature emerges. Does the sign for “egg”. + +-Elisa chooses new records. + +-Her locker room is filling up with LP’s. + +-Elisa travels on the bus with more eggs and records. + +-Elisa mops a smile on her face. Zelda watches, concerned. + +-Elisa readies her bath, mesmerized by the water. + +-Giles watches as Elisa “borrows” extra eggs from his +fridge. + +-Elisa packs all 7,8,9 eggs in her paper bag. + +-Elisa shows a new record to the creature in the cylinder. + +-She mops while the music plays. + +Quietly, Hoffstetler enters the lab just as the song ends: + 34. + + + The Amphibian Man bangs on the glass to ELISA and signs: + “play a different record.” His markings brighten. + + ELISA signs, asking him to “point.” The AMPHIBIAN MAN + points. + + Elisa turns the record around. “MOONGLOW” by Benny Goodman + plays. + + Elisa dances in front of the cylinder. + + The AMPHIBIAN MAN swims, delighted! + + Elisa walks over and puts one hand up against the glass, + slowly, the creature puts a hand up “against” hers. His + markings active and color changing. + + Her smile turns wistful. She keeps her hand there. Leans + her forehead on the glass. + + Hoffstetler watches, a tray of raw fish in his hands. + Mesmerized. Moved. + + CUT TO: + + +45 EXT. BROWNSTONE BUILDINGS STREET - DAY 45 + + HOFFSTETLER Arrives in a YELLOW CAB. Climbs the steps of + his building. AN OLD MATRON smokes watches children play + outside. + + HOFFSTETLER + Good morning Mrs. Peabody, how is + the gout? + + She signals “So-so”. + + +46 INT. HOFFSTETLER’S APARTMENT - DAY 46 + + Austere. Impersonal. Hoffstetler lights a cigarette, looks + out the window to -- + + +47 EXT. STREET POV - DAY 47 + + -- the empty street. + + +48 INT. HOFFSTETLER’S APARTMENT - SAME 48 + 35. + + + He grabs a small pen knife from his desk and gets on his + hands and knees. + + He uses it to lift a set of floorboards. They reveal a + neatly-fitting BLACK CASE. + + He opens the case: a passport, a LEATHER NOTEBOOK, some + equipment, cash, etc. He takes a set of blueprints. + + +49 EXT. SAND PILES - DAY 49 + + Holding a manila envelope, DR. HOFFSTETLER smokes a + cigarette. He is sitting on a concrete block in an + industrial distribution centre. Looking at his watch. A + Dark SEDAN stops-a BURLY RUSSIAN climbs out of the + passenger seat and heads toward him. + + BURLY RUSSIAN + The sparrow nests on the window + sill. + + HOFFSTETLER + What? + + BURLY RUSSIAN + The sparrow nests on the window + sill. + + HOFFSTETLER + And the eagle takes the prey -- + + BURLY RUSSIAN + (in Russian) + Uhhh. What? + + Hoffstetler sighs. Gets up. + + HOFFSTETLER + (in Russian) + That’s the password: “And the Eagle + takes the Prey” Let’s go. + + +50 INT. SAND PILES - DAY 50 + + THE BURLY RUSSIAN enters the car. Hoffstetler is squeezed + tight. + + +51 INT. BLACK SEA RUSSIAN RESTAURANT - DAY 51 + 36. + + + THREE RUSSIAN VIOLINISTS, dressed in “authentic” Gipsy garb + play Ochi Chernye in a “classy” Russian restaurant. + + HOFFSTETLER and BURLY RUSSIAN enter and head for -- + + +52 INT. KITCHEN - DAY 52 + + Waiters come in an out of a busy kitchen. + + Sitting in front of a HUGE LOBSTER TANK: LEO MIHALKOV, a + severe man with slow, deliberate speech (in Russian with + subtitles) drinks vodka and smokes. + + Hoffstetler & BURLY RUSSIAN enter. + + MIHALKOV + “Bob.” How are you? + + The group laughs. Not Hoffstetler. He responds in flat but + fluent, unaccented Russian. + + HOFFSTETLER + I was sitting like a moron on a + concrete block in the middle of + nowhere for an hour. I took three + taxis to get there. Again. + (looks at Burly) + Why can’t we just meet here? It’s + the same restaurant every time!! + + MIHALKOV + I could change my mind. + + HOFFSTETLER + But you don’t. + + MIHALKOV + But I could -- + (pours a drink) + So -- Tell us, “Bob”- - + + HOFFSTETLER + Dimitri, Comrade -- Not “Bob.” Who + names himself with one syllable? + + Dimitri/Hoffstetler offers him his notebook: in it diagrams + and anatomical notes. + + Hoffstetler hands him the Blueprints. + + MIHALKOV + 37. + + + What is this, Dimitri? Sit -- Sit - + - + + HOFFSTETLER + Anatomical notes and Layout of the + laboratory where the asset is being + studied. Everything we need for the + extraction. + + MIHALKOV + I will pass it on to the + directorate. + +Mihalkov opens a bottle of vodka. Pours. + + MIHALKOV + Distilled four times arrives by + diplomatic valise. Minsk. Isn’t + that your hometown? + + HOFFSTETLER + We must do it as soon as possible - + - + (beat) + This creature, Mihalkov -- I think + it may be able to communicate. + + MIHALKOV + Communicate. + + HOFFSTETLER + With us. I have reason to believe + it is intelligent. It it responds + to language, to music -- + (beat) + Will you please pass that up also? + + MIHALKOV + I will. + +A WAITER brings three plates of steaming lobster tails and +a filet mignon and a pot of butter. The Burly Russian eats. + + MIHALKOV + Now, eat, Dimitri. They call this + “Surf --” + + BURLY RUSSIAN + “-- and Turf”. + + MIHALKOV + 38. + + + “Surf and Turf” A feast. They boil + the lobsters right here. They + squeak a little but they are so + soft and sweet. + + KISSING MY BABY GOODBYE by Jon Erik Kellso starts. + + +53 INT. HERDING AREA - NIGHT 53 + + Elisa checks her time card. Strickland, calmly smoking a + cigarette, watches her. She sneaks an uncomfortable glance. + He smiles. She moves away. + + +54 INT. LAUNDRY AREA - NIGHT 54 + + ELISA and ZELDA sort the towels, lab coats and dirty linens + into thin, tall laundry carts. YOLANDA and 3 OTHERS do as + much. + + Elisa fills up itemized sheets, tears them up and puts them + in the bags. + + +55 INT. LOADING DOCK - NIGHT 55 + + Loading Dock where there is a LAUNDRY TRUCK. + + They load the soiled sheets and towels. + + Nearby -- A couple of African American and Latin workers + are smoking. A cafeteria worker (Duane) offers a drag -- + + DUANE + Hey, Zelda, want a smoke? + + ZELDA + That shit’s not good for you, + Duane. + + DUANE + Feels good. + + ZELDA + It does, doesn’t it? + + She looks at Elisa. + + ZELDA + C’mon Elisa, just one. + 39. + + + Elisa shakes her head, looks at a VIDEO CAMERA above them. + + DUANE + They can’t see us, they push that + camera up at break time. With the + broom -- + + Lou points at a dirty broom. + + LOU + This here’s a blind spot. + + DUANE + Hey, Elisa, how come you always + taking all them boiled eggs at the + cafeteria? Can’t nobody eat seven + eggs a day. + + ZELDA + Mind your own, Duane. Leave her + alone. + + DUANE + Girl can’t speak but she sure can + eat. + + +56 INT. LONG CORRIDOR - NIGHT 56 + + Elisa pushes her cart down the corridor. + + +57 INT. LAB - NIGHT 57 + + Elisa enters the lab with her cart and equipment. Closes + behind her, hears a plaintive whimper, not unlike that of a + whale. + + Much to her surprise -- The Amphibian Man is on a plinth. + + Chained to a large METAL PLATE ON THE FLOOR. Chains on his + neck and arms, force him to kneel. + + He looks at her. She looks around: Surgical instruments are + ready. Lights are centered on the creature. + + The creature howls in pain, gasping. Elisa drops her lunch + bag an egg rolls out. + + She moves closer, tries to free him when -- + + CLACK! The DOOR begins to OPEN. She picks up her stuff and + hides. + 40. + + + Strickland ENTERS. Removes his jacket. Pops a few sticks of + gum in his mouth. Pulls out the cattle prod. + + The creature howls for help. Strickland raises the + cattleprod. + + STRICKLAND + Miss me? I took a candy break. + This? Is it this that scares you? + You should be used to it by now -- + + He shocks the creature. + + STRICKLAND + There you are again. Making that + god-awful sound. Is that you + crying? Is that what it is? You + hurting? Huh? Or maybe you’re + angry? Yeah. Maybe you’d like to + get another bite at me. + + Elisa watches him go over to the plinth, staring down the + creature. + + The creature’s fins “fluff up” and change colors. It + hisses. + + Strickland sucks his candy and cattleprods it, makes it go + wild. + + STRICKLAND + I can’t tell -- Are you begging? + ‘Cause to me it’s just the worst + fucking noise I’ve ever heard. + + Elisa’s horrified to realize she left one of the BOILED + EGGS out. It’s inches from Strickland’s foot. He kicks it. + It rolls. + + Strickland picks up the egg. Looks around. + + Elisa hides, she can barely breathe. + + CUT TO: + + +58 INT. CORRIDOR “B” - SAME 58 + + ZELDA pushes her cart down the corridor. Sees Elisa’s + abandoned. + + Looks around. + 41. + + + ZELDA + Elisa? + + HOFFSTETLER goes by in a Golf cart. By his side: a FIVE + STAR GENERAL, Fleming and a group of MP’s and technicians + await by T-4. + + CUT TO: + + +59 INT. LAB - SAME 59 + + Strickland walks towards the bank of medical monitors. + + Elisa tenses. + + The door opens. Hoffstetler et al, enter. + + STRICKLAND + General Hoyt! Welcome, Sir! + Everything’s ready. Good to have + you here, Sir! + + Technicians pour in. Elisa hides. + + GENERAL HOYT + Good God. Is that it? + (matter of fact) + Much bigger than I pictured. + + STRICKLAND + Ain’t that something? Ugly as sin. + The natives in the Amazon + worshipped it -- + + GENERAL HOYT + Well -- It sure doesn’t look like + much of a God right now, does it? + + Strickland takes a pill or two. Hoffstetler Examines the + creature: BLOOD in his hands. + + STRICKLAND + They were primitives, sir. Tossed + offerings into the water; flowers, + fruits, crap like that -- Tried to + stop the oil drill with bows and + arrows. That didn’t end too well. + + HOFFSTETLER + What happened? He's bleeding. You + cannot keep doing this -- + 42. + + + STRICKLAND + It’s an animal, Hoffstetler. Just + keeping it tame. + +Elisa watches from her hiding place. + + GENERAL HOYT + (flips through folder) + “Oxygen osmosis -- dioxide + exchange.” What are we lookin’ at + here, Son? + + HOFFSTETLER + This creature, Sir -- I’ve never + seen anything like like it. Ever. + It can alternate between two + entirely separate breathing + mechanisms -- + + STRICKLAND + Mudskipper can do that. + + HOFFSTETLER + You want to put a man in space for + days, weeks even, he’s going to + have to endure conditions the human + body just wasn’t made for. But this + -- This means long-term + survivability in space. This gives + us an edge against the Soviets. + + GENERAL HOYT + How long can it breathe outside the + water? + +STRICKLAND shows him a CHRONOMETER. Ticking. + + STRICKLAND + Really -- Thirty minute intervals. + It’s been out now, about -- twenty + eight -- so we should start to see + the effects. + +They wait. The creature suffers. + + STRICKLAND + Reality, is, Sir -- We don’t know + jackshit about this thing -- + + GENERAL HOYT + 43. + + + Soviets want it -- We know that + much. Those cockeyed bastards -- + They send a dog up into space -- We + get a laugh. But next thing we know + -- they send a human up -- a + Ruskie, orbiting our planet, doing + God knows what? And then who’s + laughing? Krushchev. That’s who -- + We let him put a dog in space, he + laughs, puts a commie in space, he + laughs, puts missiles in Cuba. Have + we learned nothing? + + STRICKLAND + Give'm a dog, they take Cuba. + + GENERAL HOYT + You got that right. + +They laugh. The creature spasms in pain. + + HOFFSTETLER + Sir. I would advise -- + +They watch as the creature struggles to breathe. + + HOFFSTETLER + We need to get him back in the + water -- + + STRICKLAND + Let us go over the mark for once, + See where it takes us. + +The creature starts convulsing. Elisa steps out from behind +the monitors, ready to act. Hoffstetler sees her. His eyes +stop her. + +Strickland waits: looks at the chronometer. + + STRICKLAND + Scientists, they are like artists: + They fall in love with their + playthings. + +He looks right at the creature, who’s gasping, in agony. +The second hand on the chronometer crosses the minute mark. + + STRICKLAND + Now, over here, Sir -- right here - + -you see? + (mirror signals his + ribcage) + 44. + + + The creature has a thick jointed + cartilage separating the primary + and secondary lungs. Am I + explaining this correctly, Bob? + + HOFFSTETLER + (overlapping) + Yes, but we’ve been able to get -- + + STRICKLAND + It makes the X-rays inconclusive -- + + HOFFSTETLER + In principle, yes but, See? This -- + + STRICKLAND + Sir -- If we want to get the edge + on the Soviets and I know we can, + we have to vivisect this thing. + Take it apart. Learn how it works. + + HOFFSTETLER + No, no -- That would defeat the + purpose -- + +The creature faints and releases a large pool of urine on +the slab. + +Elisa, watching, is in agony, barely able to restrain +herself. + + HOFFSTETLER + Sir? He’s passed out. Please. + +General Hoyt glances at Strickland, who checks the +stopwatch and shrugs. + +Relieved, Hoffstetler gives the signal, and the techs rush +around the creature. He uses his keys to free it from the +collar and manacles. + + HOFFSTETLER + Put him in the tank. The tank. Let + him pressurize. + (beat) + General Hoyt, Sir: You cannot-under + any circumstance kill this + creature. You cannot -- + + GENERAL HOYT + 45. + + + Count these with me, Son -- there’s + five of them: That means I can do + whatever the hell I want. You wanna + plead your case? I’ll listen -- + (beat) + -- But, end of the day, it is my + damn decision. + + The three of them leave. + + Elisa steps out. Follows them. + + +60 INT. CORRIDOR “B” - GREEN SCREEN 60 + + ZELDA + What were you doing in there?? What + were you doing in there?? + + Zelda is frantic. Grabs Elisa by the arm. Pulls her away. + + +61 INT. LOCKER ROOM - SAME 61 + + ZELDA + Are you crazy? Are you out of your + damn mind? + (beat) + I will not lose my job. God knows + the last time Brewster brought home + a dollar -- + + Elisa looks around with utter impotence. She signs. + + ZELDA + If your involved -- I’ll get + blamed! I’ll get sacked!! Yes -- I + will be!! + + Elisa signs. + + ZELDA + Just to be on the safe side. I’m + black! They don’t need any other + reason -- + + Elisa walks away, grabs a bucket and a pail. + + ZELDA + So listen to me: I am not covering + for you, you hear! You shouldn’t be + in there when you shouldn’t be in + there -- And that is that. + 46. + + +62 INT. COMMAND CENTER - STRICKLAND’S OFFICE - SAME 62 + + Elisa enters the command center- grabs a trash bin and + watches -- + + -- as GENERAL arguing with Strickland and Hoffstetler. + + Elisa climbs the steps. Watches -- + + -- reads their lips -- + + As they move around, the subtitles pop in and out. + + STRICKLAND: Untamed- dangerous- + + STRICKLAND + (complete line) + That thing is untamed -- Dangerous + -- + + HOFFSTETLER: No. We cannot kill it -- We cannot -- + + STRICKLAND: Russian infiltration -- + + STRICKLAND + (complete line) + Every day we keep it here, we risk + Russian infiltration. We should get + it over with. + + HOFFSTETLER: No, we must -- please -- + + HOFFSTETLER + No, we must wait, please. + + The General thinks, facing the window and then turns and + delivers his answer. A beat. + + Hoffstetler is upset. + + Elisa pretends to pick up trash. Looks up: The General and + Strickland go by. + + GENERAL HOYT + Crack the damn thing open. Learn + what you can and close shop here. + Give yourself a good pat in the + back, Strickland. You’ve done it. + + STRICKLAND + Thank you, Sir. + 47. + + + She looks up: Hoffstetler stands alone in the glass office. + + +63 INT. WATER CYLINDER, CREATURE 63 + + The creature floats gently. Blood flows from his side + + GILES + (prelap) + Get him out??? + + DISSOLVE TO: + + +64 INT. GILES’ APARTMENT - DAWN 64 + + GILES + What are you talking about? No, No, + Absolutely not. + (she signs) + Because it is breaking the law! + That’s why. + + Giles is getting dressed in his best suit. He grooms + himself incessantly, checks his elbows for wear. Readjusts + the hair. + + GILES + We’re probably breaking the law + right now, just talking about it. + + He walks away. She runs in front of him. Stops him: Signs. + Giles translates. + + GILES + Alone? What if he’s alone? What + about it? We’re all alone! If I -- + If I took you to a Chinese + restaurant would you save every + crab? + (beat) + “It’s the loneliest thing you’ve + ever seen--” Well there you go you + just said it. It’s a thing -- A + freak -- + + She signs. + + GILES + I understand what you’re -- + + Pushes him. Signs. + 48. + + + GILES + OK, OK, calm down, I’ll repeat it + to you. + (repeating out loud) + “And what am I? I move my mouth, + like him and I make no sound, like + him. What does that make me?“ + (beat) + “All that I am, all that I’ve been, + ever brought me here to him.” + (beat) + “Him??” What are you talking about? + That thing? It’s a “him” now? + +She pushes him and re-signs, violently: “HIM” + + GILES + Hey! Watch it! + (beat) + “The way he looks at me. He doesn’t + know what I lack -- Or how I am + incomplete. He just sees me for + what I am. As I am. And he is happy + to see me, every time. Every day.” + (beat) + “And now I can either save him now + or let him die. Never see his eyes, + see me again. I will not let that + go --” + +He holds her hands. + + GILES + I am leaving, stop talking. This is + important for me, Elisa -- Maybe a + second chance for me -- I have to + go -- + +He picks up the illustration. + + GILES + And when I come back I -- We will + not talk about this. Again. There’s + nothing we can do. What are we, + Elisa? You and I? Nothing. What can + we do? Nothing. + (beat) + And -- I am sorry. But it is not + even human. + +She trembles in rage as she signs. Subtitled: “If we don’t +do something -- Neither are we.” + 49. + + +65 EXT. AD AGENCY - PARK- DAY 65 + + BERNIE + Giles! + + GILES + Hey, I was waiting -- + + BERNIE + I know, I’m sorry -- + + GILES + We’re going in? + + BERNIE + Not right this second, you’re + early. + + GILES + No. It’s Monday. You said Monday -- + + BERNIE + I know, I know I said that- - You + should’ve just mailed the art. + + GILES + Why? I wanted to show it to you. To + the team -- In person. It’s some of + my best work -- + + BERNIE + This is not a good time. Maybe + later. + + Giles figures it out. + + GILES + Sure. No problem. What time is good + for you, Bernie? + + Bernie removes his eyeglasses. Saddened. + + CUT TO: + + +66 INT. DIXIE DOUG’S PIES - DAY 66 + + Giles drinks milk on the counter. By his side: his art. + + PIE GUY + You painted that? + 50. + + +He comes to Giles table, carrying a slice of pie. Giles +nods. + + PIE GUY + Wowee -- You’re good. + + GILES + Not as good as a photograph, + apparently. But it is good, isn’t + it? + + PIE GUY + Pfft -- I couldn’t paint that. + Here: on me. + +Serves him the pie. + + GILES + For me? + + PIE GUY + It’s not key lime but it’s good. + + GILES + Thank You. + + PIE GUY + Don’t mention it. We don’t get many + like you in here. You seem very + educated. I like talking to you. + + GILES + Oh, well -- The thing is -- That’s + the thing, I really come here for + mostly -- For the- - + + PIE GUY + The conversation -- And the pie is + mighty fine, ain’t it? + + GILES + OH, mmmh -- I work alone and my + best friend is not much of a -- + conversationalist. + +An African-American couple with their kid, enters. + + PIE GUY + See? That’s part of the job here. + Like being a bartender. You serve + people pie, listen to their + problems. Get to know them. + 51. + + +Quickly, before he loses his nerve, Giles reaches out and +sets his hand on top of one of Pie Guy’s hands. + + GILES + I would like -- to know you. + Better. + +Pie Guy, beginning to get a glimmer of what’s going on, +slowly pulls his hand away. + + PIE GUY + What are you doing, Old man? + +Giles realizing his mistake, freezes. + + GILES + I -- er -- you -- bought me pie. + + PIE GUY + I bought pie -- For everyone. + ‘cause I got engaged last night. To + that young lady over there. + +Points at a YOUNG WAITRESS. + + GILES + I see -- + +The Pie Guy addresses the African-American family. + + PIE GUY + Hey, no -- Not the counter -- Just + take out. You can’t sit there. You + want something, you order, you take + it out. + + MOTHER + But it’s empty -- The counter is -- + + PIE GUY + All reserved. All day. You don’t + sit down. + +The family leaves. + + PIE GUY + “Y’all come back, Y’hear?” + + GILES + You don’t have to talk to them like + that. + + PIE GUY + 52. + + + You should leave too. And don’t + come back. This is a family + restaurant. + + Giles spits the pie. Starts leaving. + + PIE GUY + Hey -- You left this -- + + Picks up Giles painting + + GILES + No. Keep it. It’s perfect for you. + (beat) + I -- I never understood why they + are so damn happy anyway. So happy + about a -- slab of animal -- + protein in -- in that shade of + green- that should come with a + warning label -- + (beat) + But I guess they smile because that + is their future -- Your future. + Just like your pies -- These + horrible pies. Turning around in + their nice, shiny glass towers -- + But tasting like ashes in my mouth. + Have you ever seen a real key lime + pie? It’s not green. It’s actually + beautiful. Who makes these pies?! + Who makes them?? What are they- + really? Shit. Bright, fake-colored + shit. Made by no one. Eaten by no + one -- You don’t even know where + they come from -- Do you? You don’t + even know that -- + + He leaves. + + PIE GUY + They come from Albany, Faggot. + + CUT TO: + + +67 INT. ELISA’S APARTMENT - DAY 67 + + Elisa scrubs her bathtub clean. + + A knock on the door. + + She opens: it’s Giles. + 53. + + + GILES + I have -- no one else, you are the + only person that I can talk to -- + + Elisa is moved. Signs “Me, too--” + + GILES + Whatever this thing is -- You need + it -- So -- Just tell me what to + do. + + They embrace. + + CUT TO: + + +68 EXT. SAND PILES - DAWN 68 + + Hoffstetler waits. Smoking. + + The car arrives. + + +69 INT. BLACK SEA RUSSIAN RESTAURANT - SAME 69 + + The main room of the restaurant now. Empty. + + MIHALKOV + Moscow will not support your plan. + Too risky. Too soon. + + HOFFSTETLER + What -- + + MIHALKOV + There is not enough time. + + HOFFSTETLER + But I have told you, they will kill + it -- And it is sentient. I am sure + of that now. Did you tell them + that? + + MIHALKOV + I did. + + HOFFSTETLER + And? + (beat) + I can do it. Myself and two + operators. + + MIHALKOV + 54. + + + No. + +MIHALKOV pulls out a small black steel case and places a +SMALL, CLOCKWORK DRIVEN DEVICE, a “Popper” (we will see it +in action soon). + + MIHALKOV + We have only two choices, Dimitri, + One: You must delay the procedure, + a week, minimum -- + + HOFFSTETLER + That is not possible. + + MIHALKOV + I understand. Which brings us up to + option two. + +Takes the “Popper.” + + MIHALKOV + Israeli “Popper” you set it next to + a fuse box, it will buy you five to + ten minutes in the dark: no + cameras, no containment doors, Then + -- + +Opens the small case. Inside: two syringes full of silvery +liquid. + + MIHALKOV + You inject it with this -- + + HOFFSTETLER + Inject it? + + MIHALKOV + Kill it. Destroy it -- Are you all + right? + + HOFFSTETLER + I came to this country -- to learn + what I could as a patriot, yes but + also as a scientist. This creature + -- It should not be killed. Not by + them. Not by us. + (beat) + There is still so much we can learn + -- + +He pushes the syringe box towards Mihalkov. + + MIHALKOV + 55. + + + We don’t need to learn. We need + Americans not to learn. They don’t + learn, we win. + + Mihalkov pushes the syringe box back. + + +70 INT. CADILLAC DEALERSHIP - DUSK 70 + + STRICKLAND is admiring a beautiful Cadi 1962 Coupe: All + Fins. + + Jet tail lights. Sleek metal body. + + DEALER + Cadillac DeVille. Best car ever + made. V8, 390 CID, clean, crisp + like a fresh dollar bill. Climb + right in -- + + STRICKLAND + I am just idling around. + + The Dealer (blue suit, blue tie) opens the door using a + blue handkerchief. + + DEALER + AM/FM stereo sound, Air + conditioner, power windows, power + breaks, power steering, power seats + -- + (beat) + All deluxe interior appointment + choices. 143 options. The Taj-Mahal + on wheels. + + STRICKLAND + I’m not sure about the green. + + DEALER + Oh, no. Not green, my friend. + (beat) + Teal. + + STRICKLAND + Well, Teal looks green to me. + + DEALER + 56. + + + But it isn’t, see? It’s a limited + edition. Twelve coats of paint. + Polished by hand. All authentic + chrome detailing. Four out of five + successful men in America drive a + Cadillac. + + STRICKLAND + That a fact? + + DEALER + This here is the future. And you + strike me as a man who is heading + there. + + STRICKLAND + Where? + + DEALER + Why -- The Future. You are the man + of the future. + (beat) + You belong in this car. + +Strickland climbs in. + +CHICA CHICA BOOM starts in the soundtrack. + + CUT TO: + +MONTAGE + +-STRICKLAND drives his brand new car. He smiles. Other Cars +honk at him. + +-Drivers give him the “thumbs up” + +-He is in a dream. + +ELISA AND ZELDA MOP THE CORRIDOR. + +STRICKLAND ENTERS THE COMPLEX. GOES BY THE GUARD SHACK. + +-VIEW FROM CARGO AREA IN CINEMA. IN THE BACK ALLEY GILES +LAYS A STENCIL TO LETTER THE SIDE OF THE VAN: LAUNDRY. BY +HIS SIDE: THE LAUNDRY SHEET WITH THE LOGO. + +He lays the paint. + +- STRICKLAND PARKS HIS CAR. + +- GILES PULLS THE STENCIL AND ADMIRES HIS HANDIWORK. + 57. + + + - STRICKLAND CLEANS A SMALL SPOT ON THE FIN. + + He crosses the parking lot, like a king and goes by the + smoking employees. + + -ELISA LOADS TOWELS INTO A LAUNDRY VAN. + + +71 INT. LAB - NIGHT 71 + + Elisa empties a paper basket. In the B.G. Hoffstetler and + other SCIENTISTS monitor the creature on the gurney. + + Elisa approaches a small door in the far side of the lab, + marked SERVICE CORRIDOR. + + Hoffstetler watches her surreptitiously. + + +72 INT. NARROW CORRIDOR - NIGHT 72 + + -Elisa peeks at the narrow service corridor. + + Walks through it. Emerges into -- + + +73 79AA INT. LOADING DOCK - NIGHT 73 + + -- the loading dock -- + + +74 INT. LOADING DOCK - SAME 74 + + ZELDA smokes her cigarette with the gang. She watches as + Elisa enters the dock and looks at the VIDEO CAMERA. + + +75 INT. GILES APARTMENT - DAY 75 + + The music carries on. On TV, Carmen Miranda dances. + + GILES + So I will drive down the loading + dock, at exactly 05:00 am. + (beat) + + GILES + Shifts are changing, yes -- So we + have -- + + Elisa signs: “FIVE” + 58. + + + GILES + -- five minutes -- Five A.M. Five, + five. Give me your watch. You’ll + move the camera -- We’ll + synchronize our watches. Just like + the movies. + (beat) + I’m so proud of you. You’re not + afraid. + (Elisa signs) + Oh, you are? Very? Don’t tell me + that! I’m terrified! + +Giles finishes reproducing Elisa’s ID card, using his +skills as a draftsman. He holds up the finished ID. + + GILES + I think it’s some of my best work. + +Then he glues his own picture and fills the name -- + + GILES + Michael Parker. A good, trustworthy + name. Bit butch -- + +Loads it in a typewriter: fills in date of birth, etc. + + GILES + Age? I thought -- fifty one? + +Elisa looks at him. + + GILES + Fifty four? + +Silence. Uses Ink to turn the “1” into a “7”. + + GILES + Oh, you know? There is no need to + be rude: Fifty seven -- I put the + hair on, I can pull it off. Now -- + +He models two sweaters. + + GILES + This one or this one? I think this + one says “Working Man” and Move + Thor! + + GILES + This one with butterscotch `tie + says “casual but with stylish”. I + agree. Then we’re ready. + 59. + + + CUT TO: + + +76 INT. STRICKLAND’S OFFICE - NIGHT 76 + + Music ends. Strickland stands in front of his wall of + monitors, checking every detail. + + He eats little candy. Spots Elisa cleaning in a corridor. + + Eats candy. Drops a glass of water on purpose. Presses an + intercom + + STRICKLAND + Sally, could you send Mrs. Esposito + up to clean a spill? + + +77 INT. STRICKLAND’S OFFICE - NIGHT 77 + + Elisa cleans. Strickland eats candy. + + STRICKLAND + You know--? I can’t figure it out + myself, you’re not much to look at, + but go figure, I keep thinking + about you. + (beat) + And I’ve seen you, looking at me. + You’ve been looking at me? + + He peruses his bag of candy. Offers her some. + + STRICKLAND + When you say you’re mute -- Are you + entirely silent? Or do you squawk a + little? Some mutes squawk. Not + pretty, but -- + + She gathers her implements and gets ready to leave. He + catches her. He touches the scars on her neck. + + STRICKLAND + You should know this: I don’t mind + the scars. Don’t mind that you + can’t speak, either. + + Uses his fingernail to scrape a small piece of candy from + his gum. + + STRICKLAND + (beat) + 60. + + + When you come right down to it -- I + like it. A lot. Kind of gets me + going -- + (beat) + Thought you should know these + things. + + She walks away. + + STRICKLAND + Hey! + (beat) + Bet I can make you squawk a little. + + He walks away. + + +78 INT. LOCKER ROOM - SAME 78 + + Elisa (bucket in hand) enters the locker room- crosses + Zelda on the way out. + + ZELDA + Hurry up, Honey -- I want to be + home early. + + Elisa looks at her watch: 4:50 + + She steels herself and marches out. + + +79 INT. MEN’S BATHROOM STALL - SAME 79 + + Hoffstetler opens the metal case with the syringe. Readies + it. Puts it back in and into his pocket. + + Thinks. + + +80 INT. LOADING DOCK - SAME 80 + + Elisa uses the broom to push the camera slowly. + + +81 INT. COMMAND CENTER - NIGHT 81 + + Hoffstetler marches towards Strickland’s office. + + +82 INT. STRICKLAND’S OFFICE - SAME 82 + + HOFFSTETLER + 61. + + + We need to delay the procedure. + +Strickland is reading a book by Norman Vincent Peale. + + STRICKLAND + Knock first. + + HOFFSTETLER + What? + + STRICKLAND + Knock before entering my office. + + HOFFSTETLER + This is urgent -- + + STRICKLAND + Go back out. Knock. Then I’ll let + you in and we’ll talk. That’s the + protocol. Follow the protocol. + +In spite of himself, Hoffstetler obeys. Knocks. + + STRICKLAND + Come in. + +Hoffstetler enters. He is about to talk when -- + + STRICKLAND + Will you get the door for me? + +Hoffstetler closes the door. + + STRICKLAND + See? That is the way. Now -- Now we + can talk. + + HOFFSTETLER + I need more time. + + STRICKLAND + No. + + HOFFSTETLER + We shouldn’t kill this creature -- + + STRICKLAND + Look -- Don't let the fact that you + feel like a loser now, that your + competitive tendencies have been + engaged -- + 62. + + + HOFFSTETLER + I'm not competitive! I don't want + an intricate, beautiful thing + destroyed. + + STRICKLAND + Don’t let that cloud your judgement + -- + + HOFFSTETLER + You're like a child with a + transistor radio, you think if you + smash it open you can look at the + inside, see how it works. But you + can't. It's smashed. It doesn’t + work. You kill the music. + + STRICKLAND + Bob, I don't hear you. Music? That + thing dies. You learn. I leave. Out + of here. Settle down. My family + settles down. Somewhere. Nicer. + Real. A real city. + + HOFFSTETLER + This creature and I am certain of + this -- Is intelligent. Capable of + language, of understanding + emotions. + +Long beat. Minuscule shrug and then: + + STRICKLAND + So are the Soviets, the Gooks and + we still kill them, don’t we? + Bottom line is, this is not a + petting zoo- - And I don't want to + be in this shithole any longer than + I need. Do you? + +Hoffstetler sees the camera MOVE on the loading docks. +Strickland remains unaware. + + STRICKLAND + Do you? + + HOFFSTETLER + No, Sir, I don’t. + + STRICKLAND + A-ha -- So I made it so we both + win. You can thank me later. + 63. + + + SING, SING, SING by Benny Goodman starts. + + +83 INT. LOADING DOCK - SAME 83 + + Hoffstetler sees the broom and the camera. He gets it. He + hurries. + + +84 INT. LAUNDRY AREA - SAME 84 + + Elisa packs a laundry cart with wet towels. + + +85 INT. HERDING AREA - DAY 85 + + End of shift. Throngs of WORKERS heading out. Everybody + else is punching in. Zelda looks around. + + YOLANDA + Hey, what are you waiting for? + + ZELDA + Have you seen Elisa? + + Yolanda rolls her eyes. The elevator starts beeping. Zelda + signals her to “go.” + + She looks at the “OUT” cards, Elisa’s still in. + + She punches it and heads back into the complex. + + +86 INT. LAB - SAME 86 + + Elisa with the laundry cart approaches the holding pool. + Quietly. The Amphibian Man is half in, half out. + + When it sees her, it retreats. Scared. + + She removes her shoes, enters the water. + + The Amphibian Man raises its head above water, looking at + Elisa with huge, pained eyes. He hates mankind, but not + her. + + He approaches her. + + Hoffstetler quietly enters the room. + + HOFFSTETLER + 64. + + + Did you move the camera? On the + loading dock? + + Elisa turns and spots him: Caught! She freezes. He holds up + a hand -- + + HOFFSTETLER + Is that where you are taking him? + Through the service tunnels? + (beat) + That’s very smart -- + + Stunned, she nods. He hands her the keys to the manacles + and iron collar. + + HOFFSTETLER + Who do you work for? + (beat) + Please tell me you’re not doing + this alone. + + Elisa shakes her head: “No.” He pulls out a set of skeleton + keys and drops them. + + HOFFSTETLER + Good. Listen to me, there are + certain things you need to know -- + + +87 INT. LAB - SAME 87 + + Hoffstetler helps Elisa get the creature in the cart. + + HOFFSTETLER + Water must be kept at seventy-five + to eighty-five percent salinity. + + Hands her a bottle of pills and a few scientific measuring + trinkets. + + HOFFSTETLER + His water must be kept at seventy- + five to eighty-five percent + salinity. Mix one of these in every + three days -- Raw protein diet is a + must. + (Beat) + In five minutes -- I'll meet you at + the loading dock -- The lights will + go out, so be prepared -- + + She opens a side door and enters. + 65. + + +88 INT. NARROW CORRIDOR - SAME 88 + + The narrow service corridor. She pushes the cart. Fast. + + POV: Her watch: 4:57 AM + + +89 INT. CORRIDOR “B” 89 + + Hoffstetler exits the lab, cautiously. Then runs down the + length of the corridor. + + +90 INT. STRICKLAND’S OFFICE - SAME 90 + + Strickland turns to the monitors and sees Hoffstetler + running down the corridor. He frowns but gets distracted by + -- + + FLEMING + Sir, you need to sign this week’s + release forms -- + + Offers him a pen. + + +91 INT. UTILITY INCLINED HALLWAY - SAME 91 + + Hoffstetler pulls out the “popper” and sets it for THREE + MINUTES He attaches it magnetically to the MAIN FUSE BOX. + He STARTS IT. tic-tac-tic-tac- + + +92 EXT/INT. RAMP SECURITY BOOTH - LOADING DOCKS - SAME 92 + + Giles pulls up in the van. The Guard (eating soup) steps + out. + + GUARD + This is a restricted entrance, sir. + + GILES + Laundry pick-up. + + GUARD + Turn on the light -- + + Giles obeys, turns on the interior light in the van. + + GUARD + You don’t look like laundry. + 66. + + + GILES + Thank You. + + GUARD + Have your pass? + + Giles produces his forged ID. + + +93 INT. CORRIDOR - SAME 93 + + Hoffstetler moves. + + Syringe ready in his hand. + + +94 INT. INCLINED UTILITY HALLWAY - SAME 94 + + The “popper” counts down -- + + +95 INT. STRICKLAND’S OFFICE - SAME 95 + + Strickland reviews the monitors. Sees the van next to the + Security Booth. Concerned. + + STRICKLAND + Who’s that? What’s that van? + + Gives him back the pen. + + FLEMING + Gosh, I don’t know, Sir -- A + laundry truck? + + Strickland grabs the phone. Dials. + + +96 EXT/INT. RAMP SECURITY BOOTH - LOADING DOCKS - SAME 96 + + GUARD + Michael Parker. Is that you? + + GILES + I am indeed. Michael Parker. Fifty + seven just as it says right there. + + He discreetly coiffes his hair. + + The phone rings. + 67. + + + As the Guard examines the pass. The age number looks odd. + He smudges it: 57 reveals 51. + + GUARD + Step out of the vehicle, sir. + + GILES + Oh, dear, I am not good at this -- + + The Guard pulls out his gun. + + GUARD + Out of the vehicle. Now. + + GILES + Would you have believed fifty- + three? + + GUARD + I will not say it again -- Out. + Now. + + +97 INT. STRICKLAND’S OFFICE - SAME 97 + + Strickland hangs up, grabs his cattle prod, exits. + + +98 INT. COMMAND CENTER 98 + + Strickland Signals to 2 MP’s. Fleming trails. + + STRICKLAND + Follow me. + + +99 INT. LOADING DOCK - SAME 99 + + Elisa emerges from the lab, pushing the laundry basket into + the loading dock. + + ZELDA (O.S.) + Elisa! + + She freezes, turning to see Zelda in the corridor. + + ZELDA + Are you out of your mind?!! + + +100 INT. INCLINED UTILITY HALLWAY - SAME 100 + 68. + + + The “popper” counting down. + + +101 EXT. SECURITY BOOTH, LOADING DOCKS - SAME 101 + + The Guard cocks his gun. + + GUARD + Get out. Now! + + Giles struggles with the belt. + + GILES + I swear I’m not doing this on + purpose. Actually, mechanical + objects and I -- + + Suddenly (while Giles is turned around), Hoffstetler pops + out from behind and plunges the syringe into the Guard’s + neck. He falls down and out of sight. + + HOFFSTETLER + Go! Now! + + GILES + Who the--?? + + HOFFSTETLER + She’s waiting for you at the dock! + Go! Now! + + The van enters the complex. Hoffstetler pulls the Guard + into the shack. + + +102 INT. CORRIDOR “B” - SAME 102 + + Strickland overtakes the corridor and enters- + + +103 INT. THE LAB - SAME 103 + + Strickland stands there. The creature is gone. + + He sees the SKELETON KEYS on the floor. + + STRICKLAND + (to Fleming) + The laundry Van -- + + +104 INT. NARROW UTILITY HALLWAY - SAME 104 + 69. + + + 3 -- 2 -- 1 -- POP!!! It CLICKS open and emits a strong + discharge. Melts the fuse box with a spark. + + +105 INT. CORRIDOR 105 + + Emergency lighting in the corridor. Strickland leads + Fleming and the MP’s out of the lab and run down the + corridor. + + +106 INT. LOADING DOCK - SAME 106 + + Van pulls up. + + They push the cart together towards the rear doors. Zelda + opens the door, Giles comes out. + + Zelda and Elisa remove towels from the cart. Hoffstetler + assists. + + GILES + Elisa. Wha -- who is this man? He + had a needle and -- + + Elisa signs. + + GILES + He’s with us? + + +107 INT. VAN CABIN 107 + + Looks at Elisa: The Amphibian Man is uncovered. + + GILES + Oh, God -- He is so beautiful! + + Zelda moves the laundry hamper out of the way. Elisa and + the Amphibian Man go into the van as Giles gets in the + driver’s seat. + + GILES (2) + Are we ready? Are we ready? + + Hoffstetler closes the rear doors as the van pulls away. He + and Zelda move off. + + +108 INT. LOADING DOCK - SAME 108 + + The Van smashes against the Teal Cadillac. + 70. + + + BAMMM!! It locks on the bumper. + + +109 INT. LOADING DOCK 109 + + The Van is stuck on the bumper. It further smashes the + Cadillac. + + GILES + Did I do that? Are you okay? + + Finally, It rips it off. + + -- the bumper tumbles away. + + Strickland and the MP’s rush into the docks. Strickland + shoots after the van. He stops. + + The lights come back on as the van speeds away- - + + FLEMING + Guns down. We need to re-assess. + Let him work. Let him do his thing. + + Strickland looks at his smashed Cadillac. + + STRICKLAND + Teal -- + + +110 EXT. BALTIMORE HIGHWAY - SAME 110 + + The van swerves through early morning traffic. Heads for a + bridge and traffic. + + +111 EXT. BALTIMORE BRIDGE - SAME 111 + + The Van swerves between cars. + + +112 INT. ELISA’S BATHROOM - SAME 112 + + The shower curtains slides. + + Giles helps lower the creature into the waiting, drawn + bath. + + It won’t move. Elisa puts algae into the water. The + creature gasps. She signs “salt” and runs out. + + GILES + 71. + + + Salt? What are you talking about -- + Salt? + + +113 INT. KITCHEN - ELISA’S APARTMENT 113 + + GILES + Elisa! + + She collects the salt shaker from the dinner table. + Frantically she looks through the kitchen cabinets, finds a + box of salt and she runs back. Unscrewing the shaker’s cap. + + +114 INT. BATHROOM - SAME 114 + + She pours the salt, mixes it into the water. No movement + and then -- + + A gasp!! The creature’s gills open!! It breathes easier. + + Stirs. It looks at Elisa. + + Elisa smiles up at Giles. Sits by the side of the Amphibian + Man. + + Giles slumps down, exhausted. She continues pouring salt on + the floor. He points to it. They both laugh. + + CUT TO: + + +115 INT. NARROW UTILITY HALLWAY - SAME 115 + + Strickland examines the fuse box. Fleming produces the + “Popper.” Strickland looks at it. Smells it: Burnt. + + STRICKLAND + Israeli “Popper.” Smell the ozone. + The Russians hate the Jews, but + can’t get enough of their gadgets - + - + (off Fleming) + How did they get in?! + + FLEMING + We have vehicle track marks, sir. + We are analyzing the treads -- + surveillance footage and so on and + so forth. + + STRICKLAND + 72. + + + No one needs to know -- We have + twenty-four hours before I bounce + it up -- + + FLEMING + I called it in. + + STRICKLAND + You called it in? + + FLEMING + The moment it happened, I -- + + Strickland’s secretary, SALLY, rushing toward them. + + SALLY (O.S.) + Mr. Strickland, Sir? + + STRICKLAND + One second, Sally. You called it in + -- + + FLEMING + YES, SIR -- I did. + + STRICKLAND + What is it, Sally? + + SALLY + General Hoyt is on the phone. + + Strickland’s expression sours. + + +116 INT. STRICKLAND’S OFFICE 116 + + Strickland stands in front of the bank of monitors as the + general looks at him. Hoyt raises a single finger. + + GENERAL HOYT + That thing was our Space dog, + Strickland. You know that -- + + STRICKLAND + Sir, I’m getting it back -- I can’t + be -- I don’t want to be in a + negative frame of mind, Sir. + + GENERAL HOYT + So you’re feeling good? + + Strickland picks at his soiled bandages. Blood drips. + 73. + + + STRICKLAND + Absolutely, Sir -- Cuh -- + Confident. + + GENERAL HOYT + You don’t sound confident. + + STRICKLAND + But I am, Sir. Feeling strong. + Getting it back. + + GENERAL HOYT + You can get it done. You’re gonna + get it done. For me, Son. For me. + + CUT TO: + + +117 EXT. CANALS - DUSK 117 + + Elisa walks by the canals with twin grocery bags. + + Water trickles down the man-made structure. + + A sign reads: NO SWIMMING. NO FISHING. CANAL OPENS TO SEA + at 30ft MARK + + A measuring grade on the containment walls reads: 15ft. + + Elisa looks at the water and then at CINEMA MARQUEE, + Visible a couple of blocks away. + + +118 INT. ELISA’S APARTMENT - DAY 118 + + Tunes the radio: + + WEATHER MAN 1 + Storm system is moving in from the + east and heavy downpours are + expected -- A week from now -- + + She flips through the calendar pages and circles a date in + RED and writes: ONE WEEK. RAIN. DOCKS + + Giles helps Elisa unpack the bags: SALT, SALT and more + SALT. + + He pulls out a postcard that reads: THANK YOU FOR BEING MY + FRIEND. + + The postcard gets neatly set on the edge of the bathtub. + 74. + + + Elisa prepares to sleep leaning against the tub, holding + the creature’s hand. + + Giles smiles, turns off the light and closes the door. + + +119 INT. ELEVATOR - NIGHT 119 + + ZELDA + That’s good, you keep that up. + + Elisa signs, what? + + ZELDA + (sotto) + Looking like you don’t know + anything. Lord help me if they ask + me if I do. I am not a good liar -- + (beat) + Except to Brewster. Takes a lot of + lies to keep a marriage going -- + + +120 INT. HERDING AREA - NIGHT 120 + + Elisa and Zelda check in. + + MP’s watch everyone coming in and out. + + Behind the central glass window Strickland argues, agitated + with Fleming. + + +121 INT. COMMAND CENTER - SAME 121 + + FLEMING + If you’ll allow me, sir? In my + opinion, we are looking at a + highly-trained group, Sir. + + Behind the glass, in the corridor: the employees punch in + their cards. Amongst them: Zelda and Elisa. + + FLEMING + I’m thinking -- Conceivably -- Sir + --Special Forces and so on and so + forth. + + STRICKLAND + Red Army Special forces? + + FLEMING + Conceivably. + 75. + + + Fleming nods, solemn. Dabs his runny snot. + + FLEMING + A highly-trained, well-financed, + elite group. + + FLEMING + Infiltration took less than five + minutes, Sir. Highly efficient. + Fearless precision + + He looks out. Elisa meets his eyes. He smiles. She turns + away. + + STRICKLAND + It’s a theory. Run with it. + + FLEMING + Yes, Sir. You won’t regret it. + + CUT TO: + + +122 INT. GILES APARTMENT - NIGHT 122 + + Giles pushes away his commercial paintings and pulls out a + large portfolio. Full of male nudes. + + He takes a large sketch pad. + + +123 INT. GILES APARTMENT - MOMENTS LATER 123 + + Giles places a blank paper on his easel. He sketches the + Amphibian Man. + + +124 INT. BATHROOM - NIGHT 124 + + Giles sits on a small chair by the tub. Sketching the + Amphibian man. + + GILES + You are not the anomaly, are you? + (beat) + We are. We are what happened to + you-did we not? + + He sketches the fish man’s eyes. + + GILES + Were you always alone? Did you ever + have someone? + 76. + + + (beat) + Do you know what happened to you? + (beat) + ‘Cause I don’t. + (beat) + I swear I don’t -- I look in the + mirror and all I recognize are my + eyes in the face of this old man. + Points at himself. + + GILES + Seems like I was born both too + early or too late for my life -- + + Sits by the creature’s side. + + GILES + Maybe we’re both relics. + + The Amphibian Man blinks. + + +125 INT. STRICKLAND’S OFFICE - NIGHT 125 + + Strickland stands outside his office, contemplating. Rolls + up his sleeves. + + Video images, rewinding. Strickland, watching, numb with + boredom. + + STRICKLAND + 4:10, 4:20, 4:30 + + SALLY + Sir, General Hoyt is on the phone. + + He signals her to go away. + + STRICKLAND + I know Sally. I will call him back. + 4:40. + + Just then, he sees something on the tape -- Hoffstetler. + + He freezes on Hoffstetler. He writes down the time: 4:40 + am. + + STRICKLAND + 4:50 -- 4:50 again. + + Rewinds all tapes to that time. + + The camera on the dock moves. + 77. + + + He toggles between two moments on the same camera: Sees + that someone moved it. Clearly. + + +126 EXT. LOADING DOCK - NIGHT 126 + + LAUNDRY is being loaded. + + Strickland notices a couple of WORKERS (including DUANE and + LOU) smoking under the camera, goes over to them. + + STRICKLAND + You -- + + They hurriedly stub out their cigarettes. + + STRICKLAND + You smoke out here. Because the + camera doesn’t catch it. + + Worker one gives worker two a look. + + STRICKLAND + Do you move it -- the camera? + + One of them reluctantly nods. + + STRICKLAND + Do you always meet at the same + time? + + DUANE + End of lunch break. + + Strickland thinks. + + STRICKLAND + Hoffstetler. Doctor Hoffstetler has + he ever joined you? + + Confused looks -- “Who?” + + +127 INT. BATHROOM - NIGHT 127 + + Amphibian Man awakens, looks around, rises from the tub, + stepping gingerly out into the room. + + +128 INT. ELISA’S APARTMENT - NIGHT 128 + 78. + + + Giles sleeps on a chair in the bathroom. Amphibian Man + takes Giles’ toupée, tries to eat it. Tosses it on the + floor. He looks at Giles head, signs “egg” with his hands. + + OUT OF THE GATE by Jon Erik Kellso starts. + + Amphibian Man leaves the bathroom. On the kitchen table on + a piece of newspaper sits three pair of Elisa’s shoes next + to the Duck Brush and the shoe polish. + + The green pair. Is it a frog? He grabs a green shoe and + tries to eat it -- Spits it out. He sees the Duck Brush. + Slowly grabs for it and attempts eating it. + + He pulls out the brush while chewing it. Spits it out. + + Amphibian Man sniffs. He smells food somewhere in the + kitchen. He turns and approaches the fridge. + + Sliding his hand around the fridge, he opens the door, + grabs a jar of mustard. + + He licks around the jar -- nothing. Drops the jar. He takes + out a bottle of milk -- licks around it turning it upside + down as milk spills out onto the floor. He tries to suck up + the last drops of milk, drops the bottle. + + A leftover piece of green pie sits on the shelf. He takes + out the pie, licks it, then throws it on the floor. + + He opens the freezer, grabs an ICE CUBE TRAY. + + He tries to lick the tray. His tongue sticks to the tray. + + He pulls. It won’t come off. He panics!! He grabs it with + his other hand, pulls it off of his tongue. + + Now it is stuck to both hands. He pulls it off his Right + hand, then violently flicks it off of his Left hand. + + +129 INT. CORRIDOR - APARTMENT COMPLEX - NIGHT 129 + + Fish Man steps out into the hallway. + + He sniffs more as he moves toward Giles’ door. He stops at + the door, inhales deeply. + + +130 INT. GILES APARTMENT - NIGHT 130 + 79. + + + Amphibian Man enters timidly. He sees the drawings of + himself, stares at them. He crouches down, looking at each + painting. + + He catches sight of the TV. MR ED is on. He goes over to + it, mesmerized by the music. He watches intently. + + He hears a HISS. He disengages and turns, sees LILLIE + baring its fangs, hair standing on end. + + The Amphibian Man responds in kind. And eats LILLIE. + + SNOWFLAKE approaches the creature, hissing. + + +131 INT. ELISA’S APARTMENT - SAME 131 + + Giles awakes and he goes to his apartment. There- + + +132 INT. GILES APARTMENT - SAME 132 + + Amphibian Man is finishing eating SNOWFLAKE. + + The creature’s paws and face are covered in blood. + + Shocked, horrified, Giles tries to stop the creature. + + GILES + No! No! No No!! Snowflake! + + The Amphibian Man hisses and lunges. + + Giles recoils, scared. His toupee is displaced to the side. + + It all seems fine, but then, blood starts trickling from a + deep cut in Giles’ arm. + + GILES + Oh dear -- + + He examines the cut: a long gash along his forearm. Blood + pours freely from it. + + +133 INT. LOCKER ROOM 133 + + Elisa and Zelda are ready to leave. Hoffstetler appears in + the shadows. + + ZELDA + 80. + + + Holy Jesus! What are you doing + standing there in the shadows of + the women’s locker room?? + + HOFFSTETLER + They may be watching me and there + are no cameras here -- + + ZELDA + For good reason, what if you caught + us in an inconvenient moment? + + HOFFSTETLER + I need to know that he is alright - + - + +He hands them a container with Algae. + + ZELDA + He is. + + HOFFSTETLER + Good. When will you release him? + +Elisa signs. A phone rings in the distance. + + ZELDA + Soon -- When the rain fills the + canal that opens to the sea -- But + If you wanna see him, we keep him + in -- + + HOFFSTETLER + No, no -- I don’t want to know + where you keep him, I just want to + know that he’s well -- + +He slides a card. A noise. Footsteps. He moves away. + + HOFFSTETLER + If you need anything. + +She takes the card. A phone rings in the distance + + HOFFSTETLER + Release him. Soon. + +Elisa signs. + + HOFFSTETLER + What did she say? + + ZELDA + 81. + + + She said: You’re a good man, Doctor + Hoffstetler. + + Hoffstetler smiles quietly. Moved. + + HOFFSTETLER + My name is Dimitri. Honored to meet + you. + + He leaves. Yolanda appears. + + YOLANDA + Hey, Dummy! Phone call for you! + + CUT TO: + + +134 INT. APARTMENTS CORRIDOR - NIGHT 134 + + Elisa runs the length of the corridor. + + +135 INT. ELISA’S APARTMENT - NIGHT 135 + + She finds Giles there, bleeding from the wound. + + GILES + I’m fine. Don’t worry about me. I’m + fine. I’m fine -- He ate pandora + but not the pie. He was hungry but + not stupid. He’s a wild creature. + We can’t expect him to be anything + else. + + Elisa’s eyes widen in horror- there’s a pool of blood under + Giles’ feet. + + GILES + Go find him. He’s terrified. Go! Go + find him. + (to cat) + You’re lucky. + + +136 EXT. STREET - NIGHT 136 + + She looks first one way, then another down the street. + Behind her, she can hear the MOVIE from the CINEMA. + + The Usher is deep asleep at the ticket office with an + crossword in hand. + + The theatre door is open. + 82. + + +137 INT. CINEMA - NIGHT 137 + + Elisa enters. It’s dark. THE STORY OF RUTH plays in the + empty theatre. + + On the screen: the IDOL of a Pagan God topples. Christian + Slaves are crushed and screams!! + + She looks out over the seats. No one. No patrons. + + Save for one. + + She goes down to where Amphibian Man cowers, hiding like a + dog that’s been bad. Wheezing. + + The Slave on the screen howls in pain. The creature covers + his ears. + + GILES’ VOICE + Later, Elisa would tell me that + when she saw him there, standing + alone, blood-stained but unburdened + and unmarred, like nature, right + then, she knew that he was the one + man that would never lie to her- + that would never pretend to be + anything other than himself -- + + With great care, she reaches out, touches him. He looks up, + stands down grateful. Mercy. + + He wheezes rapidly. He’s beginning to have trouble + breathing. She takes his hand. + + On the screen behind them: A moment of pious peace. + + DIALOGUE + “Trouble your heart no more -- Be + strong through this time for from + the widow of your son will issue + children, and children’s children - + -” + + +138 INT. ELISA’S APARTMENT - DAWN 138 + + Elisa readies some iodine and bandages. + + GILES + I stayed awake as long as I could + but, well I’m not a young man, you + know. Is he alright? You sure? + 83. + + + Elisa leaves to go to her apartment. The creature plays + with the cars. + + GILES + Where are you going? Elisa? Where + are you going? + (to the Amphibian Man) + No. No. Kitty. No kitties. Don’t + play with the kitties. + + He approaches Giles -- Mortified. The Amphibian Man + practically crawls. It retracts its claws, takes Giles hand + and places it on its own head, and then holds Giles’ head, + tenderly. + + GILES + That’s very nice. Thank you. + + The Amphibian Man takes his hand and places it over Giles’ + open wounds on his arm. + + GILES + I -- uh -- thank you. Beautiful + gesture but -- ah -- I don’t think + that’s sanitary. Oh -- ha -- ha -- + Good boy. Off. Off. Not the cats. + Not the cats. + + It retreats and goes back towards the cars. Elisa returns + with a basin of water. + + GILES + I think we need to clean this + again. Interesting fella. + + +139 INT. BATHROOM - DAWN 139 + + She pours salt. + + Elisa gets Fish Man settled back in the tub where he can + breathe. + + She touches his face. Gently. + + Her hand lingers. + + He “blushes,” changing colors. + + Water drips down. + + The creature stares at her. + 84. + + + She blushes. + + She looks at the creature. She reaches out, touches its + chest. He touches her. BEADS of water rush from his skin to + hers. + + WATER seems to inundate her and the entire room. ENGULFING + IT ALL. + + Flustered, she gets up. + + Leaves. + + The creature watches. + + She closes the door. Leans on it. Thinks. Sighs. + + On the soundtrack: LA JAVANAISE by Madeleine Peyroux. + + +140 INT. ELISA’S BEDROOM - BATHROOM - DAWN 140 + + Elisa is alone- ready to sleep on the sofa. It’s dark but + she’s awake, wired. She has her night mask on her forehead. + + Winds up her clock. + + She eyes the bathroom door. + + She gets up, disrobes. + + Elisa pulls the curtain back on the bathtub. Amphibian Man + opens his eyes. She gets in, pulls the curtain shut. + + His markings light up. She closes the curtain. They make + love. Water splashes all around. + + CUT TO: + + +141 INT. BUS - NIGHT 141 + + The Bus seems magical, bathed by multicolored lights. + + Elisa leans against the cold glass and contemplates the + beads of dew rolling on the window. + + Camera gets closer and closer to one of them. We enter a + macro view of it. The Water seems to cede and -- + + +142 INT. LONG CORRIDOR - NIGHT 142 + 85. + + + Elisa pushing her cart, wearing the red shoes, Zelda + catches up. + + ZELDA + Why you smiling, hon? + + Elisa tries to suppress her smile. + + ZELDA + Stop looking like that. What + happened? + + Beat. Elisa smiles. Zelda understands. + + ZELDA + Why? + (beat) + How?? + + Elisa makes a gesture, indicating the peculiar anatomy + details. + + ZELDA + Does he? Have a--? + (beat) + Lord! Never trust a man. Pfft -- + Even if he looks flat down there -- + + Suddenly 3 MP’s are standing in front of them. With them: + + FLEMING + Zelda, Elisa: Come with me. + + CUT TO: + + +143 INT. STRICKLAND’S OFFICE - NIGHT 143 + + Yolanda and Duane are leaving. Zelda and Elisa enter. + + Strickland is tired. He looks it. This is clearly routine. + He rubs his eyes and almost yawns as he speaks -- + + STRICKLAND + If you know something about what + transpired here last Wednesday + night, if you saw anything out of + the ordinary, it is your obligation + to report it. + + Under the desk, he removes his shoes, stretches his legs. + + STRICKLAND + 86. + + + Any detail, no matter how small or + trivial it seems -- Zeldelilah + (beat) + Trivial means unimportant. + + ZELDA + I didn’t see nothing out of the + ordinary, no -- Or trivial. My feet + were hurting too much- -- + + STRICKLAND + (to Elisa) + What about you? + +Elisa signs. + + ZELDA + Neither did she. + + STRICKLAND + (sotto) + Hoffstetler -- Dr. Hoffstetler -- + did either of you see him coming in + or out of the lab? + + ZELDA + Well, he works there, doesn’t he? + + STRICKLAND + I mean in a different way -- doing + something different- + +Elisa signs. + + ZELDA + (translates) + Something trivial? No, Sir -- Mmhno + -- + + STRICKLAND + I want you to think. People get + loose, people pay the price. + +He looks at Elisa who stares back at him. Her +imperturbability mocks him. + + STRICKLAND + (to himself) + What am I doing? + +Guffaws. Beat. + + STRICKLAND + 87. + + + Interviewing the fucking help -- + the shit cleaners, the piss wipers + -- You two -- Just go. Leave. + + Elisa fumes quietly and then signs violently. + + STRICKLAND + What did she say? + (straight at Elisa) + What did you say? What did she say? + + She is clearly saying “Fuck you.” + + ZELDA + I didn’t catch it. I wasn’t + looking. + + Elisa nudges Zelda and signs again, even angrier. + + ZELDA + She said “Thank you.” + + Elisa looks at Zelda angrily, goes for the pen and paper. + Zelda gets her up and out. + + ZELDA + Thank you, sir -- + + STRICKLAND + You know, Elisa? For a mute, you + talk too much. + + String Quartet No.1, Op.18 No.1 (Beethoven, Ludwig van) + Adagio affetuoso pre-laps. + + +144 INT. HOFFSTETLER’S APARTMENT - DAY 144 + + A baquelite RADIO is playing the piece. Hoffstetler is + ironing his pants’ crease with mathematical precision. + Doorbell rings. Opens the door. BURLY RUSSIAN and MIHALKOV + stand there. + + HOFFSTETLER + Comrades. Please, come in. + + TIME CUT: Hoffstetler pours some hot tea. + + MIHALKOV + Your extraction papers -- will be + ready soon. + + HOFFSTETLER + 88. + + + I am very grateful -- Stupid as the + American are- it won’t be long for + them to find me. + + MIHALKOV + Nothing to worry about. + +They come in, discreetly examine everything, open drawers. + + MIHALKOV + But I have a question, then -- A + personal question. I am a little + curious. + +Hoffstetler spots the gun in Mihalkov’s waist. + + HOFFSTETLER + Yes? Go ahead. Would you like some + butter cake? + + BURLY RUSSIAN + Yes. Please. + +Hoffstetler goes to the kitchen slices a home baked cake. +Discreetly pockets the knife. + + MIHALKOV + The asset -- when you injected it, + how did it react? + +Hoffstetler serves the cake. + + HOFFSTETLER + How did it -- + + MIHALKOV + React. See? In humans the poison + works instantaneously while for + animals there is a delayed + reaction. I was curious -- + + HOFFSTETLER + It was instant. + + BURLY RUSSIAN + This is very good cake. You made + it? + +Hoffstetler nods. + + BURLY RUSSIAN + You are very good at this- - + 89. + + + MIHALKOV + What did you do with the corpus? + + Hoffstetler readies the knife. + + HOFFSTETLER + I performed an autopsy. + Unenlightening. As Lenin said, + there is no profit in last week's + fish. + + MIHALKOV + Lenin said that? + + HOFFSTETLER + Um. Of course. + + MIHALKOV gets up. Puts his hat on. Goes to the door. + + MIHALKOV + Perhaps. Perhaps you're + misremembering. Wait for our call. + Shouldn’t be much longer. + + Canned laughter pre-laps -- + + +145 INT. STRICKLAND’S LIVING ROOM - NIGHT 145 + + The family watches Dobie Gillis. + + ELAINE + That’s a gelatine parfait. + (beat) + Parfait- it’s a French word. Means + “perfect” You like it? + + TIMMY + Dad -- Dad -- can we watch Bonanza? + + ELAINE + Bonanza is much too violent. + (back to Strickland) + It has little pieces of celery and + walnut. Recipe’s right out of the + box- real convenient. They say it’s + the future of home cooking. + + STRICKLAND + Bonanza is not violent. It’s real + life. The way it was. + + STRICKLAND + 90. + + + The way it is. A man faces a + problem. It’s up to him to solve + it. + + ELAINE + You know what I was thinking today? + We get settled maybe we could get + the kids a p-u-p-p-y. + +TAMMY, playing with her Barbies- snaps- + + TAMMY + We can spell, Mom. + + ELAINE + We can go to the park- Do something + together? + +STRICKLAND changes channels; The NEWS. Martin Luther King +talks to a massive crowd. + + STRICKLAND + Puppy becomes a dog. Dog’s a wild + animal We never “domesticated” the + damn things -- + + ELAINE + Language, Richard. Little pitchers + have big ears -- + +Strickland changes channels: Vietnam- Carson- Phone starts +ringing. + + STRICKLAND + They never learn their place. + Rover, Lassie, Spot -- They’re + carnivores. We never strip them of + their nature -- They’ll eat your + hand as soon as they’ll take a shit + in your yard. + + ELAINE + Richard! + +Phone rings. Strickland disconnects the phone -- + + STRICKLAND + Don’t reconnect it. Don’t answer + it. + +-- walks away. + 91. + + +146 EXT. CADILLAC - STRICKLAND’S FRONT PORCH - NIGHT 146 + + It’s raining like hell. Strickland exits the house drink in + hand- enters the car. + + Takes a cigarette, lights it. + + He uncovers his fingers: they are black. He presses one, it + squirts a yellow liquid. + + And thinks. + + CUT TO: + + +147 INT. ELISA’S APARTMENT - BATHROOM - DAY 147 + + The tub’s filling up. The creature watches. + + She opens and closes the HOT/COLD faucet. Tests the water. + + She takes the box of algae that Hoffstetler gave her. She + opens the box. She gets an idea. Smiles and looks around + the bathroom. + + -- opens the faucet on the sink. + + The sink overflows. + + She takes the towels, sealing the cracks and uses a towel + to stuff the space between the door and the floor. The + water continues to run -- + + CAMERA GOES BELOW + + -Into the theatre -- + + Water pours from above and onto the empty seats and -- + + -- onto the scattered customers’ faces. + + They get up from their seats. + + CUT BACK: + + Elisa is floating, naked, next to the Amphibian Man, now + the entire BATHROOM is immersed in water. + + She embraces him -- Eyes closed, feeling him underneath her + and the water on her face. His markings move rhythmically + like a melody. + 92. + + + She intakes and holds. + + As the water goes above her head. + + They float underwater. Contemplating each other. + + CUT TO: + + +148 INT. GILES APARTMENT - DAY 148 + + Giles gets up. He absentmindedly puts on his robe, folds in + his MURPHY BED and heads to his drawing table. On it: the + large format sketch of the Amphibian Man (which is looking + beautiful) Giles takes Iodine and cotton and removes the + bandage from his arm: the wounds are gone. + + He catches his reflection on his reference mirror and is + startled to discover -- + + SHOCK!! + + - His head has hair. A lot of it. It’s growing from his + scalp -- And his beard is darker, his skin tighter. He + pulls his hair -- It’s his. + + Looks down inside his pajama trousers. + + GILES + Well, Oh, well -- Hello! + + He hurries. + + +149 INT. HALLWAY - DAY 149 + + Across the hall. + + MR. ARZOUMANIAN + What is going on? I’ve got water + pouring into the bible movie. I + have four paying customers. I can’t + afford a refund. + + GILES + It’s a pipe. It’s a pipe. I’ll take + care of it. I’ll fix it. + + MR. ARZOUMANIAN + I can’t have water pouring into the + goddamn bible movie. + 93. + + + GILES + Alright. I’ll take care of it. + Elisa! Elisa! + + +150 INT. ELISA’S APARTMENT - SAME 150 + + Water spills from the bathroom door. Giles treads + carefully. + + GILES + Oh, God -- Elisa? + + Knocks on the bathroom door. Water projecting from its + entire contour. Noises. The door opens. Water pours out. + + Inside the Amphibian Man and Elisa, naked, covering herself + with the plastic curtain. + + Giles, soaked, laughs. + + In the soundtrack: Trixie Smith sings MY UNUSUAL MAN + + +151 INT. GILES APARTMENT - SAME 151 + + Giles towels his hair. + + GILES + I’m toweling my hair, Elisa. My + hair. And -- and -- look at the + arm: healed. As if nothing had + happened -- You said he was a god. + I don’t know. He ate a cat -- + (beat) + You know what this means? We have + to keep him around, just a little + bit longer. You don’t want to lose + him, do you? + (beat) + We cannot just -- let him go -- + like that -- We gotta keep him. + + CUT TO: + + +152 INT. COMMAND CENTER - STRICKLAND’S OFFICE - DAY 179 152 + + Hoffstetler meets Strickland. + + HOFFSTETLER + You wanted to see me? + 94. + + + STRICKLAND + Transcribe it, Sally. + + SALLY + Right away, Sir. + + STRICKLAND + Come on up, I have a few questions + for you. + + HOFFSTETLER + Of course. + +Strickland climbs the steps to his office. + + HOFFSTETLER + Thank you. + +Strickland gives him some water. + + STRICKLAND + Have a seat. + +They sit. + + HOFFSTETLER + How’s it going? The investigation. + + STRICKLAND + Well, we have a promising lead. + + HOFFSTETLER + Really? That’s good to hear. + +They sit. + + STRICKLAND + You joined us in Galveston. But + where were you before, Hoffstetler? + Where did you come to us from- - + + HOFFSTETLER + Doctor. + + STRICKLAND + Excuse me? + + HOFFSTETLER + Doctor Hoffstetler. Protocol. + (beat) + Wisconsin. Madison. + 95. + + + STRICKLAND + That’s right -- You gave up a + tenure track position. Didn’t ya? + Gave it all up for us. + + HOFFSTETLER + I did. + + STRICKLAND + I suppose you’re getting ready to + leave us now, then -- + + Hoffstetler drinks. + + HOFFSTETLER + Only if the creature isn’t found. + + STRICKLAND + What do you think? You think we + will--? Find it? + + HOFFSTETLER + Well, you said you had a lead. + + Long beat. + + STRICKLAND + I do. + + A HANDFUL OF STARS by Jon Eric Kellso starts. + + +153 INT. GILES APARTMENT 153 + + Giles paints a portrait of Elisa and the Amphibian Man. + + It rains outside. + + Camera dollies across his window and discovers- + + +154 INT. ELISA’S APARTMENT - DAWN 154 + + The creature eyes the rain, almost pained, like a doggie + who wants out. + + She watches him touch the glass. She touches his shoulder. + Scales come off in her hand. + + +155 EXT. DOCKS - CANAL - DAWN 155 + 96. + + + Elisa walks the canals -- Rain. + + The waters are rising, churning. Growing. + + Near the 30ft mark. + + +156 EXT. BROWNSTONE BUILDINGS STREET - LOBBY - DAY 156 + + Raining. HOFFSTETLER, lugging two empty suitcases into his + building. + + Watching from across the street: FLEMING IN HIS CAR. + + +157 INT. HOFFSTETLER’S APARTMENT - DAY 157 + + Hoffstetler enters his apartment. Telephone is ringing. + + HOFFSTETLER + Hello? + + He looks around, tense. Out the window. + + MIHALKOV’S VOICE + Extraction is ready. Same place, + Forty-eight hours. + + HOFFSTETLER + Forty eight hours??? + + They hang up. Hoffstetler looks out the window. + + +158 EXT. HOFFSTETLER’S APARTMENT - SAME 158 + + POV HOFF: A car, lights on: Fleming, eating a sandwich and + listening to “Norman” by Sue Thompson + + +159 INT. COMMAND CENTER - DAY 159 + + Sally awaits for Strickland. + + SALLY + Sir, General Hoyt. + + STRICKLAND + Tell him I’m not in, tell him I + will call him back. Don’t put him + through -- + 97. + + + SALLY + No, Sir -- he’s in your office. + + Strickland looks up: Hoyt drinks coffee by the window. + Looks directly at him. + + STRICKLAND (PRELAP) + I believe I have identified the + mole. I will confirm and act on it. + + +160 INT. STRICKLAND’S OFFICE - DAY 160 + + GENERAL HOYT + At this point our only concern is + the asset. Do you have it? + + STRICKLAND + Still in the wind, sir -- + + GENERAL HOYT + That won’t do. You’ll have to fix + it. + + STRICKLAND + Yes, Sir. I know. But -- May I ask + one question, Sir? + + GENERAL HOYT + This wouldn’t be the appropriate + time, I don’t think. + + Strickland finds a loose thread, sticking out from his + jacket lapel. Tucks at it, hides it, folds it. + + STRICKLAND + I need to ask, Sir -- respectfully. + + GENERAL HOYT + Then go ahead, Son. + + STRICKLAND + You’ve know me for how long? + + GENERAL HOYT + Thirteen years. Battle of Pusan. + + STRICKLAND + Yes, Sir -- and in all that time, + I, I’ve never once- - + (beat) + 98. + + + This is -- what happened here is -- + A man is faithful, Sir -- loyal, + efficient all of his life. All of + it -- and he is- - useful. And he + expects -- He has certain + expectations in return. And he + fails, then -- once. Only once. + What does that make him? Does that + make him a failure? + (beat) + When is a man done? Proving + himself, Sir? A good man. A decent + man -- + + GENERAL HOYT + Decent? + (beat: yes) + A man has the decency not to fuck + up- - that’s one thing. That is + real decent of him. The other kind + of decency--? It doesn’t really + matter. We sell it -- Sure -- But + it’s an export. And we sell it + ‘cause we don’t use it. + (beat) + See? Thirty six hours from now-this + entire episode will be over. And so + will you -- + (beat) + Our universe will have a hole in it + with your outline. And you will + have gone on to an alternate + universe. A universe of shit. You + will be lost to civilization. You + will be unborn. Unmade. Undone. + (beat) + So -- go get some real decency, + Son. And unfuck this mess. + + +161 EXT. BATHROOM - SAME 161 + + BAMM!! The door opens. Strickland enters. Almost entirely + out of breath, suffocating, gasping. Panicked. + + He tries to calm down. Wets his face, lets the water run. + Liquid oozes from his hand. He pulls at the thread and + pulls at it -and it unravels his lapel. + + He gets angry and removes his jacket violently and throws + it down on the floor. Then he looks deep in the mirror. + Deep eye contact with himself. + 99. + + + STRICKLAND + Thirty-six hours. Deliver. You + deliver. That’s what you do. You + deliver. You don’t fail -- + + A fly lands on his hand, rubs its legs. + + CUT TO: + + +162 INT. GILES APARTMENT - DAY 162 + + Giles, all energy, paints a large canvas image of the + amphibian man. Elisa goes by. + + She enters her apartment without saying a single word. + + +163 INT. KITCHEN - ELISA’S APARTMENT - NIGHT 163 + + Elisa rips off a leaf in her calendar: The leaf exposed now + reads: RAIN. DOCKS. + + She looks at window, Pelted by rain. + + Buckets and pails on her floor pick up water from ceiling + leaks. + + The Creature stands under one particularly big leak in the + kitchen. + + Later: Elisa peels eggs for the Amphibian Man. He looks + grey, weak. + + Barely eats. + + He looks at her -- Suddenly, she whistles softly, then + signs and then, finally, sings, quietly at first: + + ELISA + You'll never know just how much + I’ve loved you -- You'll never know + just how much I care -- + + AMPHIBIAN MAN doesn’t react, she puts down her spoon and + continues with her impossibly sweet voice: + + ELISA + And if I tried, I still couldn't + hide my love for you -- You ought + to know, for haven't I told you so + -- A million or more times -- + 100. + + + She gets up and sings to him. The Walls of the kitchen + vanish and she stands, dressed in a sequined gown, + surrounded by a musical stage. + + ELISA + You went away and my heart went + with you I speak your name in my + every prayer -- + + AMPHIBIAN MAN gets up, suddenly sparkling, dreamy and + attentive. He moves close to her and gently takes her in + his arms. + + ELISA + If there is some other way to prove + That I love you, I swear I don't + know how -- + + They move close to each other and dance gently, in harmony. + + ELISA + You'll never know if you don't know + now -- + + At the end of the song / choreography, everything goes back + to normal. + + They eat in silence. The creature wheezes. + + +164 INT. LOCKER ROOM - NIGHT 164 + + Zelda changes her shoes and is about to step out when she + spots: Elisa, crying her eyes out. They look at each other. + + ZELDA + Elisa. What is it, honey? + + +165 INT. ELISA’S BATHROOM - NIGHT 165 + + In the tub, the Fish Man wheezes as if he were on dry land. + + ZELDA + Oh -- No, Honey, no -- He doesn’t + look too good. + (beat) + This is bad. I’m going to call + Hoffstetler -- + + Elisa pours water onto him but it doesn’t help. Helpless, + she looks out the window at the RAIN beginning to come down + outside. + 101. + + +166 INT. CORRIDOR - NIGHT 166 + + Reading Hoffstetler’s card, Zelda dials the public phone. + + +167 INT. HOFFSTETLER’S APARTMENT - NIGHT 167 + + Raining. Hoffstetler closes his bags. Leaves. Closes the + door. The phone rings. And rings- and rings- + + +168 EXT. BACK ALLEY - NIGHT 168 + + THE AMPHIBIAN MAN + + Is WEAK. Giles, Zelda and Elisa help him stand under the + rain. SOAKING. + + HIS GILLS AND FINS extend. Gills open. It breathes!! + + +169 INT. CORRIDOR - NIGHT 169 + + ZELDA + When I was a little girl- - I found + a turtle sitting out in the middle + of the road. Crossing it slowly. + Car could run it over any minute. + So, I picked it up, took it to a + pond way back behind my house -- + and I laid it down under a big + camphor tree, and I thought -- + “Mmmh -- It’s gonna be so happy + here”. And I left it there. + (beat) + But that night I figured out I had + no idea where it was going -- Far + as I know it was bringing food to + its nest or -- looking to porcreate + or escaping an owl. And maybe the + worst place to keep it -- maybe the + place it was running from was that + pond under that camphor tree. + (looks at the fish) + I didn’t care. I just did what I + wanted with it -- + + Giles Hugs Elisa: + + GILES + You love him, Honey -- We know what + to do -- Let him go -- + 102. + + + She nods. + + +170 INT. ELISA’S APARTMENT - NIGHT 170 + + Giles leaves Elisa at her doorstep. She spots the creature + by the kitchen window. Standing under a water leak. Weak. + + Elisa and the Amphibian Man head for the bathroom but + pause. + + +171 INT. ELISA’S APARTMENT - NIGHT 171 + + She guides him to her bed. + + They lie down. + + She embraces him. He embraces her back. + + She leans on his chest. Closing her eyes. She hears his + heart. + + Thump-thump-thump-thump, it becomes the rhythm of waves, + the murmur of the sea. + + She looks up at the ceiling, that suddenly becomes a deep, + dark ocean. + + She raises her hand: Webbing seems to extend from her thumb + to her index. She closes her eyes and smiles. + + CUT TO: + + +172 EXT. BROWNSTONE BUILDINGS STREET - NIGHT 172 + + Sitting in Fleming’s car. Strickland spies through a pair + of binoculars. He looks ill, sweaty. + + FLEMING + Sir -- If you don’t mind me saying + so: You don’t look too well. + + STRICKLAND + Shut up -- + + Fleming lowers the window there is a smell he can’t + pinpoint. FLIES walk around Strickland’s hand. + + FLEMING + 103. + + + Sir -- do you smell that? I -- I + think is it your fingers -- They’re + black, Sir -- + +Strickland snatches the binoculars. + + STRICKLAND + There he is -- Doctor fucking shit- + -bird. + + FLEMING + There’s no call for cursing, Sir -- + +Hoffstetler exits his building, opens his umbrella, +carrying the leather suitcases and a baquelite radio into +the rain. + + STRICKLAND + Get out of the car. I’m taking it. + + FLEMING + My car? + +Strickland eats hard candy- mixing it with pain pills. + + STRICKLAND + Get the fuck out. + + FLEMING + Out of my car? + + STRICKLAND + Did I stutter? + + FLEMING + No. Not doing it. + + STRICKLAND + Come again? + + FLEMING + No -- no -- That’s it, see? You are + a very imposing man but -- + (beat) + We must file -- file this. Get + clearance. Call it up -- I’ve been + doing surveillance. Unauthorized + surveillance for you -- I’m not + clocking extra time I- - + +Rain falls outside. + + FLEMING + 104. + + + But I draw the line here. Enough is + enough is enough. We go back. File + the forms and let central know what + you’re doing. We get an + administrative package and allocate + resources. Then -- but not until + then -- you can take my car or any + car you need. + + Strickland shoots him in the face. Twice. + + STRICKLAND + You never shut up. + (beat) + Silence. I just want silence. + + +173 EXT. SAND PILES - NIGHT 173 + + Hoffstetler smokes under an umbrella. The car pulls up. + + This time it stops further away. Rain backlit by its + headlights. BURLY RUSSIAN climbs out. Stands in silence. In + the rain. + + Hoffstetler fidgets. Turns on a flashlight. Slowly gets up, + takes a couple of steps. Stops. Evaluates the immobility of + the Burly Russian. + + HOFFSTETLER + It’s raining like hell, isn’t it--? + He-he -- No password today? + + Burly Russian raises his hand in it: a gun. He fires twice. + + One bullet goes clean through Hoffstetler’s gut. + + He pulls out his gun. + + A bullet goes through his cheek!! Cigarette EMBERS floating + in the air! Pulls out his gun and crawls/slips backwards on + the mud. Looks for his glasses. One of them shattered. + + HOFFSTETLER + No, no -- comrade -- no -- please - + - + + The BURLY RUSSIAN comes to finish the job raises his gun + and -- + + -BAMM! A quarter of flesh & bone flies away from his head. + 105. + + + The DRIVER comes out and pulls out a gun, two shots down + him. + + Hoffstetler turns to see-. + + STRICKLAND walking rapidly towards him. + + HOFFSTETLER + Strickland, thank God! + + He goes for his gun. Strickland stops him. + + STRICKLAND + You were speaking Russian, Bob. + + Strickland hooks/yanks Hoffstetler around by the hole in + his cheek. Takes him under a -- + + +174 EXT. FILTERING STATION - SAND PILES - NIGHT 174 + + HOFFSTETLER + Augggh -- What are you doing? I + need to go to a hospital. I’m + bleeding -- + + His flashlight illuminates Strickland’s glazed eyes. + + STRICKLAND + What’s your name? Your real name. + + He drops him on the ground. The clouds in the overcast sky + rumble with thunder. + + HOFFSTETLER + Strickland -- you know me -- I’m + Robert Hoffstetler -- + + Strickland kicks him on the wounded area. Hoffstetler + grunts. + + STRICKLAND + Don’t lie. You don’t need to. + Bullet went through your gut. Shit + is mixing with your blood right + now-poisoning it. Blood and shit. + Can you imagine? You’re dead. + + HOFFSTETLER + They’ll find me. + + STRICKLAND + 106. + + + Who? The same people that tried to + kill you just now? Come on “Bob” + You work for a government -- you + know they don’t give a fuck about + you or me -- + +He puts his finger INSIDE Hoffstetlers’ cheek injury and +hooks him aggressively. Hoffstetler screams in pain. + +Excrement and blood spurt out of his wound. + + HOFFSTETLER + Augh -- no -- Please -- listen to + me. + + STRICKLAND + I’m gonna need the names, ranks and + location of the entire strike team. + + HOFFSTETLER + Strike team? + + STRICKLAND + The ones that took the asset. + +Zap. Kick. Kick. Zap. Hard candy. + + STRICKLAND + This candy. It’s cheap candy. I + love it since I was a kid. Some + favor more sophisticated snacks- + Nougat center and all that fu-fu + shit. But not me, Bob. This is it + for me. + (beat) + Sometimes, if Im feeling anxious, I + just bite right into it -- chew it + to pieces. But -- + (Kick, kick) + -- most of the time -- I just take + my time. I make it last. + +Strickland shocks Hoffstetler with the Alabama Howdy-Do. + + STRICKLAND + Names, ranks and location of the + entire strike team. + +Hoffstetler laughs weakly. Gets shocked again. + + STRICKLAND + Names! Ranks! Now! + 107. + + + HOFFSTETLER + (weak laughter) + No names, no ranks, they -- + (beat) + They just clean -- + + Strickland comes to an impossible conclusion: + + STRICKLAND + Piss Wipers -- Shit cleaners. + + HOFFSTETLER + (quietly, In Russian) + I'm not one of those who left their + land -- To the mercy of the enemy. + I was deaf to their gross flattery. + I won't grant them my songs -- + + Strickland cattleprods Hoffstetler for too long. His wound + and mouth emit a bit of smoke. + + CUT TO: + + +175 INT. KIND OF CRAPPY ROW HOUSE - NIGHT 175 + + PORCELAIN SPARROWS IN FLIGHT adorn the walls. A lovingly + decorated, humble home. + + Zelda is frying some Brussels sprouts with bacon. Knock + Knock. + + ZELDA + Alright Brewster. I’m gonna fix you + dinner and then I’m going to run + out for a little while and help a + friend. + + Her husband BREWSTER sits in his Barca, lounger. We get the + feeling Brewster does a lot of sitting. + + BREWSTER + Help with what? + + ZELDA + Helping a friend. + + BREWSTER + Zelda. Door. + + She Lowers the burner and comes to the door. + + ZELDA + 108. + + + Well -- You could well help me + answer the door, Brewster! You’re + laying there, not ten feet away. + + BREWSTER + My back is acting up, woman. + +Opens it. + + ZELDA + Your back. Your back. Always your + back. + (surprised) + Mr. Strickland, what -- + +Strickland barges past her into her house. Pops a handful +of pills. + + ZELDA + What are you doing here--? + +Strickland and Brewster size each other up. + + STRICKLAND + Where is it? Where did you take it? + + ZELDA + What are you talking about? + + STRICKLAND + The thing in the lab. Where is it? + + ZELDA + I’m sorry, Mr. Strickland, if I + knew anything I would surely tell + you, but -- + + STRICKLAND + Would you? Perhaps you would, if + you knew exactly what was at stake. + If you knew that all can be taken + from you, if you were to -- out of + some misplaced loyalty to a + traitorous friend, be untruthful. + +Brewster weighs his options. Half-watches TV. + + STRICKLAND + That story about Samson. I never + told you how it ends -- + (beat) + 109. + + + After the Philistines, torture him + and blind him, Samson asks God for + the strength he needs and at the + last minute, he is spared. For + Samson is a good man and a man of + principle and the Lord gives his + strength back to him. One last + time. + +And just then, Strickland grips the fingers -- + + STRICKLAND + And he holds the columns of the + temple with his powerful arms and + crushes them and he brings the + whole building down on the + Philistines. + +-- and rips them loose!! Blood pours out. He grabs a gauze. +Clamps his hand. + + STRICKLAND + He kills them all. He dies. But he + gets every single one of them + motherfuckers. That is his will. + +Pulls out his gun. + + STRICKLAND + That’s how powerful his will is. + (beat) + Now, do you know what that story + means? For us, Delilah? + (beat) + It means that if you know something + you’re not telling me, you will + tell me. Either before or after I + bring this particular temple down + upon our heads. I am, for the time + being, the true plight of the + Negro, Zeldelilah -- + +Brewster’s had enough. + + BREWSTER + Gal done stole that thing right out + the lab! Whatever it is! I hear + them talking and talking and I have + made my mind about it!! + +They both look over, a little stunned that he’s spoken. + + BREWSTER + 110. + + + Mute girl took it. She’s who you + want to interminate. + + Zelda’s eyes narrow. + + STRICKLAND + (holding his spurting + fingers) + Thank you very much, Mr. Fuller for + your assistance. + + BREWSTER + Don’t say nothin’ of it. + + +176 INT. CRAPPY ROW HOUSE - NIGHT 176 + + ZELDA + What have you done --? + (beat) + I have to warn her. He’s going + after her -- + + Brewster gets between her and the phone. + + BREWSTER + You will not do such a thing, + Woman. I just saved your life. Why + you worry about her? Bitch deserves + to be gone after, she broke the + law. + + Zelda pushes him. Stares at him, hating him and all he + isn’t. Dials quickly. + + ZELDA + Shut up, Brewster! Shut up! For + years -- You don’t talk and now you + can’t shut your mouth up. Damn you + Brewster! You wouldn’t understand. + You couldn’t understand. Not if you + tried your whole life -- She loves + him. + (beat) + She loves him + + On the phone now. + + ZELDA + Giles, that you? Put Elisa on. + (then) + 111. + + + Elisa, honey, you gotta listen to + me, make a sound in the phone if + you can hear -- good. He’s coming + for you. You got to go now and take + that thing with you. Give the phone + back to Giles -- + + +177 INT. ELISA’S APARTMENT - NIGHT 177 + + Elisa hands Giles the phone. + + GILES + What is it? + + She Enters the apartment, walks to the tub and extends her + hand towards the creature, helping it out of the tub. + + +178 EXT. ARCADE CINEMA AND TENENMENT BUILDING - NIGHT 178 + + Strickland is already pulling up. + + He takes the stairs -- + + +179 EXT/INT. CORRIDOR - ELISA’S APARTMENT - NIGHT 179 + + Strickland finishes climbing the stairs, takes the corridor + and bashes open Elisa’s door. No one there. + + He looks around: + + Looks in the bathroom. Algae in the tub. + + STRICKLAND + Dammit. + + He searches the table, picks up an egg. Checks the kitchen, + spots the calendar and the note: RAIN and DOCKS. + + Strickland on the phone in the corridor. + + STRICKLAND + They’re at the docks, Sally. Send + back up and a containment unit. We + will get them. + + He slams down the phone and goes out the fire escape door. + + +180 EXT. DOCKS - CANAL - EARLY DAWN 180 + 112. + + +Rain. Falling on them: Giles parks the van, takes a +flashlight and goes around the van. He opens the door. +Elisa holds the Amphibian Man in her lap. + + GILES + Come on. We have to go. Come on. + Elisa takes the creature to the + edge of the water. + +The Amphibian Man looks at the waters murky, dark and cold +and then looks back at Giles. + +Giles removes his hat and places the Amphibian Man’s hand +on his newly grown hair. The Amphibian Man takes Giles’ +hand and places it on his head. Giles smiles goodbye and +walks away with his flashlight. + +The Amphibian Man lets out a quiet, heart-breaking whimper +and moves towards her. + +She signs fast “Go. Alone. Without me.” + +The creature stands in the rain, streaks of it running down +his face and cheeks, like tears, so many tears. + +Slowly, deliberately, he signs back at her. + +Elisa cries openly. Moves to him. + +-- towards the water. The creature looks at her. Hesitates. + +Caught between freedom and her. She turns her back. + +He looks at the murky waters. + +STRICKLAND has arrived. + +Giles turns. Strickland knocks him down in two moves. + +She turns to warn the creature, tries to scream. + +But she is mute. A painful hiss emerges from her throat. +She tries again. Fails. + +Strickland shoots twice. The Creature’s back explodes in a +cloud of blood. It falls. Distant sirens are heard now. + +Elisa steps between the creature and him. + +Strickland raises his revolver. Shoots a third time. + 113. + + +Elisa turns. She feels a hole in her coat. Elisa discovers, +almost casually that she has taken a bullet in her chest. + +She falls next to the Amphibian Man. She turns to the +creature. + +Giles picks up a broken piece of wood from the floor. Hits +Strickland. + +Strickland falls. + +He Loses the cattle prod. + +Giles runs to Elisa, cradles her. + +Strickland slowly gets up. He empties the chambers and +starts reloading the gun. + +The creature, its bioluminescence markings ablaze, rises +from the ground, heads towards Strickland. + +Strickland is shocked. + +Now the chromatophores in the Amphibian Man’s body seem to +glow and get brighter. + +The Amphibian Man pushes the gun away. Around his head: a +shimmering halo of bioluminescence. + + STRICKLAND + Fuck -- you are a God. + +The Amphibian Man deploys one of his finger claws and +swiftly, calmly, he slices Strickland’s throat. Strickland +falls down, bleeding. PATROL CARS arrive. + +The creature looks at Giles and then moves towards Elisa. +He embraces her tenderly: their eyes meet. + +STRICKLAND, on the ground, is dies. + +Giles is with Elisa. The creature lifts Elisa from the +ground with infinite tenderness. She caresses his face. He +caresses her. + +Policemen pour out of the cars. Zelda breaks through the +group. Moves towards Giles -- + +The creature stands on the edge of the pier, holding Elisa. +He jumps into the water and disappears. + +The cops stand there looking at each other. + 114. + + + Giles moves to the edge of the pier, looks down. Zelda + comes to his side, trembling. Tears streak her face, mixing + with the rain. + + ZELDA + They’re together, aren’t they? + + GILES + Yes. I believe they are -- + + They hold hands. + + GILES / NARRATOR + If I told you about it -- What + would I Say? That they lived + happily ever after? I believe they + did- - That they were in love -- + that they remained in love? I’m + sure that is true -- + + +181 EXT. UNDERWATER 181 + + Elisa and the creature sink softly, gracefully. Fish dart + by --Odd drifting objects -- empty food cans, an alarm + clock -- + + The creature kisses her, a kiss so gentle and covers her + wound with his webbed palm. + + GILES / NARRATOR + But when I think of her, of Elisa, + all that comes to mind is a poem. + Made of just a few truthful words - + - Whispered by someone in love, + hundreds of years ago -- + (beat) + “Unable to perceive the shape of + You, I find You all around me. Your + presence fills my eyes with Your + love, It humbles my heart, For You + are everywhere.” + + He then lets her body float away from him holding her but + by the hand. Her head, crowned by a halo of hair. She + gasps! Drowning! Spasms! He holds her down! She grows + still. + + And just as he releases her the scars on the sides of + Elisa’s neck open -- Revealing gills. + + She opens her eyes and looks at him. Alive. He embraces + her. + 115. + + +Blue and red lights illuminate them from above. + +Camera pulls back until they become small, blurry figures +shifting in and out of focus from our field of vision -- + +The Shape of Water. + \ No newline at end of file diff --git a/scripts/The Truman Show.txt b/scripts/The Truman Show.txt new file mode 100644 index 0000000000000000000000000000000000000000..02d98daddd6e32988ec3ffe10cd9ced303090b05 --- /dev/null +++ b/scripts/The Truman Show.txt @@ -0,0 +1,6160 @@ + 1. + + + + FADE IN: + + A FOGGED MIRROR + + Behind the fog we hear the sounds of a bathroom. After a + long moment, a hand wipes the condensation from the glass + to reveal the face of TRUMAN BURBANK. He wears a sleeveless + Hanes undershirt and blue-stripe pajama bottoms, behind him + a white glazed tiled bathroom wall. It is immediately + apparent that we are viewing him through a two-way mirror. + + Truman, expressionless, studies his reflection in the + mirror. For a long moment, he does nothing. He continues to + look impassively into the mirror for what becomes an + uncomfortably long time. Still nothing. Finally he speaks, + talking to himself in the mirror as if participating in a + TV interview. + + TRUMAN + -- personally I think the + unconquered south face is the only + one worth scaling -- of course it's + a 20,000 foot sheer wall of ice but + then when did that ever stop me + before? Naturally, I intend to make + the ascent without the benefit of + oxygen but also without crampons or + even an ice pick -- risks? + (smug, TV smiles) + -- sure I'm aware of the risks -- + why else do you think I would spend + seven years as an adjuster in a + life insurance company--? + + MERYL (O.S.) + Truman, you're gonna be late! + + Truman resignedly opens the door of the cabinet and + replaces his shaving tackle. It partially obscures the lens + of the hidden camera. He closes the door and exits. + + +1 INT. KITCHEN - MORNING 1 + + MERYL, wearing a stylish robe, sits at the kitchen table + sipping coffee. On the table in front of her lies a parcel. + TRUMAN enters and glances at the gift. + + TRUMAN + What's that? + + MERYL + 2. + + + It's a surprise. + + TRUMAN unwraps the parcel, an expensive-looking set of + exercise sweats. + + MERYL + (eager for his response) + Well, what do you think? + + TRUMAN + They're -- + (the merest hesitation) + -- perfect. Thank you. + + Truman returns Meryl's kiss. + + MERYL + (handing him the sweat + top) + Try it on. + + Truman pulls the top over his head. As he does so, a closer + shot focuses on the manufacturer's name. + + MERYL + I thought you could wear them when + you do your exercises. + (afterthought) + Pre-shrunk. And they breathe. + + +2 EXT. TRUMAN'S HOUSE - DAY 2 + + Wearing a business suit, briefcase in hand, TRUMAN emerges + from his pleasant, Victorian-inspired, picket-fenced house + into an idyllic suburban street of similarly picturesque + homes. A neighbor, SPENCER, is taking in trashcans, + whistling a tune. Spencer breaks off abruptly as Truman + approaches his car. His license plate reads, "Seahaven - A + A Nice Place To Live". + + SPENCER + Morning, Truman. + + TRUMAN + Morning, Spencer. And in case I + don't see you, good afternoon, good + evening and good night. + + Spencer's dog, PLUTO, bounds happily over to Truman. + + TRUMAN + (petting the dog) + 3. + + + Hey, Pluto. + + Truman exchanges a polite nod with the WASHINGTON's, an + African-American family across the street. MR. WASHINGTON + is farewelled by his WIFE and CHILD. + + Truman is about to climb into his car when he is distracted + by a high-pitched whistling sound. Suddenly, a large + spherical glass object falls from the sky and lands with a + deafening crash on the street, several yards from his car. + + The startled Truman looks to Spencer but he has abruptly + disappeared inside his house with Pluto. Mrs. Washington + and Washington Junior have also made themselves scarce. + + Truman investigates. Amidst a sea of shattered glass are + the remains of a light mechanism. + + He looks around him but the street is deserted. He checks + that all the surrounding street lights are accounted for, + even though the fallen fixture is far larger. He looks up + into the sky but there is no plane in sight. With some + effort, Truman picks up what's left of the crumpled light + and loads it into the trunk. A label on the light fixture + reads, "SIRIUS (9 Canis Major)". As he drives away, we hear + the sound of his car radio. + + RADIO ANNOUNCER + Another glorious morning in + Seahaven, folks. + + +3 INT/EXT. TRUMAN'S CAR - SEAHAVEN - DAY 3 + + TRUMAN makes his way along the streets of Seahaven past a + series of quaint, pastel-shaded cottages. + + +4 EXT. SEAHAVEN ISLAND TOWNSHIP - DAY 4 + + A high-angle reveals an anonymous mid-sized town built + around a small, pretty bay. A cluster of high-rise + buildings stand at the water's edge overlooking a marina. + Surrounding the commercial center lie neatly arranged + suburbs. + + +5 EXT. OCEANSIDE STREET - DAY 5 + + Pausing at a traffic light along a seaside road, TRUMAN + looks through a curious wooden arch to the beach and ocean + beyond. The sight triggers a memory in his head. + 4. + + +6 PLAYBACK - EXT. LONG - WIDE BEACH - DAY 6 + + Unlike a conventional flashback, the scene in his memory + appears to be playing on a television screen. + + FOUR-YEAR-OLD TRUMAN runs towards a bluff on the beach. + + The boy's father, KIRK, late-thirties, beer bottle in hand, + flirts with TWO TEENAGE GIRLS at the shoreline. Suddenly, + the father remembers his son. He looks anxiously around. + The sight of the boy at the far end of the beach causes him + to drop his bottle in the sand and run to Truman. + + The boy is near the top of the cliff before his agitated + father comes within earshot. + + FATHER + (out of breath, clutching + his side) + Truman! Truman! Stop! + + Truman turns from his perch and waves happily down to his + father. But the smile quickly vanishes when he registers + the anger and distress on his father's face. + + FATHER + Come down now! + + His father's unnatural anxiety makes the next bay even more + tantalizing. The boy considers defying his father. He puts + his hand on the rock above him to stretch up and sneak a + peek at the other side. One good stretch would do it. + + FATHER + (reading Truman's mind, + enraged) + No! + + TRUMAN + Why? What's there? + + FATHER + (unconvincing) + Nothing. It's...it's dangerous. + (trace of desperation) + Come down, now! Please! + + Truman is suddenly aware that the hundreds of other + BEACHGOERS have stopped their activities to stare at him. + Reluctantly, he starts to retrace his steps down the rocks. + When he finally jumps to the sand, his father embraces him + and leads him away. + 5. + + + FATHER + I told you to stay close. Don't + ever leave my sight again. + (pause) + You've got to know your + limitations. You could've fallen. + + +7 INT. TRUMAN'S CAR - DOWNTOWN SEAHAVEN - MORNING - PRESENT 7 + + Through his car window, TRUMAN buys a cup of coffee from a + streetside VENDOR. + + VENDOR + How are ya, Truman? + + TRUMAN + (placing his fingers to + his pulse) + Vital signs are good. + + He pulls into a parking space and sips on the coffee. As he + drinks, he becomes aware of a school bell summoning + children to class in the adjacent Elementary School. The + image prompts another childhood memory. + + +8 PLAYBACK - INT. SEAHAVEN ELEMENTARY SCHOOL - CLASSROOM - 8 + DAY + + Once again, the flashback appears to be playing on a + television screen. + + SEVEN-YEAR-OLD TRUMAN sits in the middle row of an + Elementary School classroom surrounded by twenty-or-so + other well-scrubbed, uniformed YOUNGSTERS. MARLON, the boy + next to Truman, is on his feet under the scrutiny of a + kindly Norman Rockwell-style SCHOOL MISTRESS. + + MISTRESS + What do you want to do when you + grow up, Marlon? + + MARLON + I want to be an entrepreneur like + my dad. + + SCHOOL MISTRESS + (impressed) + Tell the class what an + "entrepreneur" does, Marlon. + + MARLON + 6. + + + He makes a lot of money, Ma'am. + + SCHOOL MISTRESS + A good one does, Marlon. + (looking in her purse, + hamming it up) + Perhaps I'll be coming to you for a + loan one of these days. + + The CLASS titters. Marlon sits down and winks to Truman. + + SCHOOL MISTRESS + What about you, Truman? + + Truman rises to his feet, gathering his nerve. + + TRUMAN + I want to be an explorer + (with reverence) + -- like Magellan. + + The School Mistress smiles benevolently. + + SCHOOL MISTRESS + (slightly condescending) + I'm afraid no one's going to pay + you to do that, Truman. You might + have to find something a little + more practical. + (glancing to a pulldown + wall map behind her head) + Besides, you're too late. There's + really nothing left to explore. + + The class roars with laughter as the crestfallen Truman + takes his seat. + + +9 EXT. PARKING LOT - DAY - PRESENT 9 + + TRUMAN, briefcase in hand, crosses from the parking lot to + the town square, surrounded by similarly suited, briefcase- + toting OFFICE WORKERS. + + +10 EXT. DOWNTOWN SEAHAVEN - DAY 10 + + TRUMAN walks briskly down the bustling city street. A snarl + of taxis, buses and COMMUTER traffic. A STREET VENDOR + thrusts a pretzel under Truman's nose, a CAREER WOMAN tries + to catch his eye. + 7. + + + Truman stops at a kiosk and buys a newspaper - "THE ISLAND + TIMES". + + VENDOR + Is that all for you, Truman? + + TRUMAN + That's all. Thanks, Errol. + + Other CUSTOMERS also purchase the morning paper. Tucking + his copy under his arm, Truman selects a glossy magazine + from a rack, quickly flicking through the pages. + + Glancing in the direction of the NEWSPAPER VENDOR and + finding him busy with another CUSTOMER, Truman deftly tears + a portion of the open page and pockets the cutting. He + hastily replaces the magazine and departs. + + As Truman hurries away, the vendor exits the kiosk and + picks up the magazine, instantly turning to the torn page. + It is a cosmetics advertisement with the MODEL'S NOSE + missing. However, the vendor makes no effort to confront + Truman, almost as if he were expecting it. + + +11 EXT. SEAHAVEN LIFE AND ACCIDENT INC. - DAY 11 + + Truman passes along a row of shops and offices, finally + entering a building that proudly proclaims, "Seahaven Life + & Accident Inc." above the entrance. He has evidently taken + his teacher's advice. + + +12 INT. INSURANCE COMPANY - SEAHAVEN LIFE AND ACCIDENT INC - 12 + DAY + + In a cramped, cluttered cubicle, TRUMAN talks on the + telephone. + + TRUMAN + (into receiver) + -- okay, okay, let's call it what + it is -- I'm not going to lie to + you -- life insurance is death + insurance -- you've just got to ask + yourself two questions -- one, in + the event of your death, will + anyone experience financial loss?-- + and two, do you care? + + A CLERK drops a large reference book on Truman's desk. + Truman checks the spine - "MARITIME ACCIDENTS". + 8. + + + TRUMAN + (into receiver) + Hold on, will you? + (to Clerk, referring to + the book) + This is no good. Lumps all maritime + accidents together. I need + drownings as a separate category. + +The Clerk shrugs, returns the book to his cart and +continues his rounds. + + TRUMAN + (returning to his call) + -- just think about what I've been + saying and let me -- hello? -- + +The person on the other end has hung up. With an apathetic +shrug, Truman replaces the receiver. He looks over his +shoulder and places another call. + + TRUMAN + (lowering his voice) + Can you connect me with directory + inquiries in Fiji? + +A CO-WORKER suddenly pokes his head over the neighboring +cubicle. + + CO-WORKER + What do you know, Truman? + + TRUMAN + (embarrassed, mouthing + the word) + --Can't talk. + (waving off his neighbor, + pretending to be on a + business call) + I'm sorry, ma'am. If he's in a + coma, he's probably uninsurable. + +The Co-Worker disappears back into his own cubicle. + + TRUMAN + (lowering his voice + again) + Hello, operator -- yes, Fiji -- Do + you have a listing for a Lauren + Garland? + (pause) + 9. + + + -- nothing listed?-- what about a + Sylvia Garland -- "S" for Sylvia -- + nothing? Okay, thanks -- + + The disconsolate Truman replaces the receiver. Other + INSURANCE AGENTS are heading to lunch. Truman puts on his + jacket and follows them to the elevators. + + +13 INT. LOCAL ITALIAN DELI - LUNCHTIME 13 + + Behind a deli counter, TYRONE, fifties, is having his hair + brushed by a YOUNG MAN. The man fusses one final time, then + swiftly departs through a rear door just as TRUMAN enters + the store. Tyrone has anticipated Truman's order and has + already begun preparing a meatball and mozzarella sandwich + on an Italian roll. Truman gazes at the sandwich skillfully + under construction, pained by his own predictability. + + TYRONE + (nauseatingly cheerful) + How's it going, Truman? + + TRUMAN + (deadpan) + Not bad. I just won the State + Lottery. + + TYRONE + (not listening to + Truman's reply) + Good. Good. + + TRUMAN + Tyrone, what if I said I didn't + want meatball today? + + TYRONE + (not missing a beat, + passing Truman his + wrapped sandwich) + I'd ask for identification. + + Truman forces a half-smile and exits. + + TYRONE + See you tomorrow, Truman. + + TRUMAN + You can count on it. + + +14 EXT. SECLUDED PARK - DAY 14 + 10. + + + TRUMAN eats lunch alone at a small, out-of-the-way park + dominated by a gazebo. From his briefcase he pulls out an + old, hardcovered book, "To The Ends Of The Earth - The Age + Of Exploration". He reads to himself, his sandwich uneaten + beside him. Struck by a particular passage, he reads aloud. + + TRUMAN + "With a mutiny but half-repressed + and starvation imminent, he pressed + southward till he found the long- + hoped-for straits--" + + Truman is interrupted by a TRANSIENT in a wheelchair. It is + the man's sneakers Truman notices first, over the top of + his book, they are distinctively initialed, "T.S.". Still + under the spell of the account of Magellan, he hands the + grateful man his sandwich. + + +15 INT. A CONFERENCE ROOM SOMEWHERE - DAY 15 + + A group of a dozen MEN and WOMEN of varying ages sit around + a circular conference table in a sterile, windowless + meeting room. All stare at a single telephone placed in the + center of the table, anticipating a call. On cue, the phone + rings and one of the men, after waiting for the second + ring, picks up. + + MAN + Hello? -- I'm sorry, I've got more + than enough life insurance. + + He hangs up. After a moment the phone rings again. + + +16 INT. INSURANCE COMPANY - DAY 16 + + TRUMAN sits at his desk, making a cold call. + + TRUMAN + (into receiver) + -- this isn't about insurance, this + is about the great variable -- when + will death occur? Could be a week, + a month, a year. Could happen today + -- A sunbather, minding his own + business, gets stabbed in the heart + by the tip of a runaway beach + umbrella -- No way you can guard + against that kind of thing, no way + at all -- + 11. + + + The prospect on the other end, unimpressed with Truman's + pitch, hangs up. Truman's supervisor, LAWRENCE, younger + than Truman by several years, sharper suit, sharper + haircut, appears around the corner of the cubicle. + + LAWRENCE + (handing Truman some + documentation) + Hey, Burbank, I've got a prospect + in Welles Park I need you to close. + + Truman's face falls. He stares out of his third floor + window at the hazy skyline of a nearby island across the + bay. + + TRUMAN + (referring to the island) + Welles Park on Harbor Island? + + LAWRENCE + (sarcastic) + You know another one? + + TRUMAN + I can't do it. + (searching for a + plausible excuse) + --I've got an appointment--er, + dentist. + + LAWRENCE + (insistent) + You'll lose a lot more than your + teeth if you don't meet your quota, + Burbank. + (the threat in his voice + is unmistakable) + They're making cutbacks at the end + of the month. You need this. + (as he exits the cubicle) + Besides, a half hour across the + bay. Sea air. Do you good. + + Truman sinks back into his seat and stares out at the + distant skyline. The buildings appear very still. Truman + picks up a photo of his wife, Meryl, deposits it in his + briefcase and exits. + + +17 EXT. SEAHAVEN - DAY 17 + + Truman's car heads out of the city on its way to the ferry. + 12. + + +18 INT. SEAHAVEN FERRY TERMINAL - DAY 18 + + TRUMAN exits his car. Mustering all his nerve, he marches + into the Seahaven terminal and buys a token for the ferry. + Out of his hearing, TWO FERRY WORKERS observe Truman's + agitated behavior. + + FERRY WORKER 1 + I got a feeling this is the day. + + FERRY WORKER 2 + No way. I say he makes it through + the turnstiles but he never gets + on. + + The two men shake on the wager. Unaware of the scrutiny, + Truman passes through the turnstiles with a herd of + TOURISTS and COMMUTERS. He makes his way across the + terminal, but abruptly pulls up at the gangway. + + As the other PASSENGERS impatiently brush past him onto the + boat, Truman remains frozen to the spot, mesmerized by the + scummy water rising and falling beneath the dock. It + triggers a memory in his head. + + +19 PLAYBACK - EXT. SEAHAVEN HARBOR - DAY 19 + + As always, the flashback appears to play on a television + screen. + + SEVEN-YEAR-OLD TRUMAN, wearing a lifejacket, sits alongside + his father, KIRK, in a small sailing dinghy, sailing into a + stiff breeze. + + A second sail boat circles them. We observe the father and + son from an angle atop the mast of the neighboring vessel. + + TRUMAN + (shouting above the wind) + Let's go further, daddy! Let's go + further! + + KIRK + (shouting back) + It's getting rough, Truman. + + TRUMAN + (entreating his father) + Please! + + Kirk shakes his head ruefully and indulges his son by + heading towards the gathering storm clouds on the horizon. + 13. + + +20 INT. SEAHAVEN FERRY TERMINAL - DAY - PRESENT 20 + + Truman turns and begins to fight his way back against the + tide of PASSENGERS boarding the ferry, emerging back onto + the street, gasping for air. The FERRY WORKERS settle their + wager. + + +21 EXT. ROADWAY ADJACENT TO THE FERRY TERMINAL - DAY 21 + + TRUMAN stands at a payphone. By stretching the payphone's + receiver cord as far as it will go, he is just able to + reach his arm and leg into the driver's door of his car. He + punctuates his conversation with blasts on the car's horn + while revving the car's engine with his outstretched foot. + The few passing MOTORISTS and PEDESTRIANS regard Truman + curiously. + + TRUMAN + (shouting into phone) + --I tell you the traffic's insane. + (blasting his horn + several times to imitate + the sound of of gridlock) + -- I'll never make the ferry in + time. What can I do?--what?-- + Lawrence, I can't hear you! + + Truman hangs up the phone. + + +22 INT. TRUMAN'S CAR - DAY 22 + + On his way home, a large "DETOUR" sign forces him onto a + secondary road. + + +23 INT. TRUMAN'S CAR - PARKLAND - SEAHAVEN - DAY 23 + + TRUMAN drives along a winding road through parkland. He + pulls up at a red light - no other traffic around. His + attention is caught by an attractive YOUNG WOMAN, sitting + on a park bench not far from the intersection. She is being + taunted by TWO YOUNG THUGS. She attempts to ignore the + youths by concentrating on the book on her lap. + + YOUTH 1 + (to woman) + You wanna read to me? + + His companion smirks. + + YOUTH 1 + 14. + + + (more insistent) + You wanna read to me? + + The boy reaches over and snatches the novel from her grasp. + + YOUTH 2 + (menacing) + My friend asked you a question. + + The woman picks up her bag in a reflex and holds it to her. + She looks about for assistance, briefly catching Truman's + eye. The youths also look in Truman's direction, staring + him down. + + WOMAN + (reaching for the book) + Please -- + + The boy returns the book to the woman, but before doing so + rips out the last page from the novel and stuffs it in his + shirt pocket. + + YOUTH 2 + Now you're gonna have to ask me how + it ends. + + One of the youths grabs the woman, dragging her toward the + surrounding woods. + + YOUTH 1 + We're gonna tell you how it ends, + baby. + + WOMAN + Help! Please help! + + As they drag her towards the undergrowth, Truman, + horrified, half gets out of the car - fearful of his own + safety as much as the woman's. Truman shouts to the youths, + his voice cracking with fear. + + TRUMAN + Hey! Let her go! + + A huge truck suddenly appears behind Truman's car, its horn + blasting, the DRIVER hurling abuse. Truman hesitates as the + youths drag the woman into the bushes, conflicted over + whether or not to help. The truck driver keeps his hand on + the horn. Truman retreats back into his car and reluctantly + drives on. + + +24 EXT. PARKLAND - WOODS - DAY 24 + 15. + + + Truman's car safely out of sight, the YOUTHS promptly + release the YOUNG WOMAN. She calmly brushes herself off, no + longer afraid. The young men, no longer angry, retrieve her + bag. + + WOMAN + Thanks. + + The threesome walks back towards the roadway as if life- + long friends. + + WOMAN + (pondering the incident) + He did nothing. + + YOUTH 1 + (shrugs, suddenly more + couth) + Physical violence paralyzes him. + Always has. + + +25 EXT. TRUMAN'S HOUSE - DUSK 25 + + Beyond the pretty picket fence at the end of the property + flows a busy highway. + + TRUMAN is mowing the lawn. From his expression it would + seem that he's still reflecting on his inaction in the + park. He switches off the mower and leans on the handle. + + He is distracted by the arrival of his wife, MERYL, exiting + the house. She wears a nurse's uniform and carries a + curious metal device attached to a card board backing. She + kisses Truman affectionately on the cheek. + + MERYL + Hi, honey. Look at this. + (proudly referring to the + device) + It's a "Chef's-Mate." Dicer, slicer + and peeler in one. Never needs + sharpening. Dishwasher safe. + + TRUMAN + Gee, that's great. + + Looking over Truman's shoulder, Meryl notices a small, + uncut patch of grass missed by Truman in one of his passes. + + MERYL + (referring to the uncut + grass) + 16. + + + You missed a section. + + Meryl enters the house. Truman restarts the lawnmower and + obediently pushes it towards the offending patch of lawn. + As the mower brushes up against the unconforming blades of + grass, Truman pulls back abruptly. He checks the kitchen + window for Meryl and wheels the mower away, leaving the + patch uncut. + + +26 INT. TRUMAN'S HOUSE - LIVING ROOM - NIGHT 26 + + MERYL is removing the cap of her nurse's uniform when + TRUMAN enters. + + TRUMAN + How did it go today? + + MERYL + (matter-of-fact) + A man tripped and fell on a + chainsaw. + (shrug) + We got three of his fingers back + on. + + Truman retrieves a bucket of golf balls and a golf club + from behind the door. + + MERYL + (disappointed at the + sight of the golf + equipment) + I was hoping we could have a + special evening. + + TRUMAN + I won't be late. + + MERYL + (sensing something odd in + his demeanor) + Did something happen today? + + Truman turns to her too sharply, his guilt showing. + + TRUMAN + What could happen? + + Truman exits. + + +27 EXT. UNFINISHED BRIDGE - NIGHT 27 + 17. + + +A half-constructed bridge, paved but unmarked, ends +abruptly in mid-air - reinforcing steel protruding from the +concrete. TRUMAN stands at the end of the unfinished bridge +with MARLON, thirties, a well-filled physique. Marlon +drinks beer from a can while Truman addresses a teed-up +golf ball with a number three wood. The headlights of their +two parked cars light the cement "fairway". Their target is +a sign at the far end of the bridge proclaiming, "THE +SEAHAVEN CAUSEWAY - Linking Seahaven Island With The Rest +Of The World - Your Tax Dollars At Work" - an upturned +plastic cone at the foot of the sign is the "hole." + +Truman winds up and swings, making a healthy contact with +the ball. The ball arches away into the night sky. From a +new angle we see the ball take a huge hop on the outside +lane of the abandoned freeway and continue down the asphalt +beyond the sign. + +Marlon tosses Truman another off-white ball from a bucket +of badly scarred golf balls. Truman sets the ball up on the +makeshift tee area and launches himself into his second +shot. With a slight fade, the second ball carries even +further than the first. + + MARLON + Whose nuts were those? + +Truman hands Marlon their sole golf club without comment. +Marlon tees up a ball of his own He uses orange golf balls. + + TRUMAN + I'm thinking of getting out, + Marlon. + + MARLON + (mild interest only) + Yeah? Outta what? + + TRUMAN + Outta my job, outta Seahaven, off + this island -- out! + +Marlon takes a practice swing. + + MARLON + Outta your job? What the hell's + wrong with your job? You gotta + great job. You gotta desk job. I'd + kill for a desk job. + +Marlon addresses the ball and swings - a sweeping hook shot +that bounces off the freeway and into the water hazard. + 18. + + + MARLON + (annoyed by the errant + tee shot) + Sonofabitch. + (still looking in the + direction of his ball) + Try stocking vending machines for a + living. My biggest decision of the + day is whether the Almond Joys look + better next to the Snickers or the + Baby Ruths. + +Truman selects another "M" ball from the bucket and tosses +it to Marlon. + + TRUMAN + (adamant) + Haven't you ever gotten itchy feet? + +Overcompensating with his second shot, Marlon slices the +ball in the other direction. A lucky bounce keeps it on the +"green." The ball rolls in the direction of the upturned +cone. + + MARLON + (skeptical, picking up + his beer) + Where is there to go? + +Truman gulps his beer as he prepares his answer. + + TRUMAN + (unable to disguise his + reverence) + Fiji. + +Marlon considers Truman's suggestion as he sips his beer. + + MARLON + (impressed) + Fiji? Where the hell is Fiji + exactly? Near Florida? You can't + drive there, can you? + +Truman picks up a golf ball to demonstrate. He points to a +dimple on his make-shift globe. + + TRUMAN + See here, this is us. + (sliding his finger + around the other side of + the ball) + 19. + + + All the way round here, Fiji. You + can't get any further away before + you start coming back. + (tossing the world in his + hand, warming to his + subject) + Y'know, there are still islands in + Fiji where no human has ever set + foot. + + MARLON + (still dubious) + So when are you leaving? + + TRUMAN + It's not that simple. Takes money, + planning. You can't just up and go. + (heading off Marlon's + skepticism) + Oh, I'm going to do it, don't worry + about that. I've just got to move + slow. Pick my moment. Bonus time's + just around the corner. Soon as I + finish the -- + + MARLON + Nursery? + + TRUMAN + Spare room - I can start thinking + about selling up -- and I'll be + gone. Up and away on that big steel + bird. + (as if to convince + himself) + I'm going, don't you worry about + that. + + Marlon nods even though the concept of taking flight is + beyond his imagination. + + MARLON + I never knew anybody who wanted to + leave Seahaven. + + An awkward moment. Truman, once again, not so sure of + himself. + + +28 INT. A DIMLY-LIT ROOM SOMEWHERE - NIGHT 28 + 20. + + + A MAN looks up sharply. He stares into camera. CHRISTOF, + late fifties - a vitality in his eyes that belies his + years. A news anchor-style earpiece disappears down the + neck of his suit. + + +29 EXT. BRIDGE - NIGHT 29 + + TRUMAN and MARLON wander along the empty bridge, retrieving + the golf balls. + + Marlon goes to say something to the disconsolate Truman, + but is momentarily distracted. He raises his hand to his + ear. Truman places another of the balls in the bucket. + + MARLON + Truman, you know, I did think about + moving away one time. + + TRUMAN + (interest piqued) + Yeah, what happened? + + MARLON + I figured, what's the point? I knew + I'd just be taking my problems with + me. Once the kids came along, it + made me look at Seahaven with new + eyes. + (gazing out at the lights + of Seahaven) + I realized, what the hell could be + better than this? + (putting a hand on + Truman's shoulder) + I'm telling you. What you really + need is someone to carry on the + "Burbank" name. + + TRUMAN + You think so? + + MARLON + Trust me. + + Marlon picks up the last ball at the mouth of the upturned + cone. The ball is white. + + MARLON + (checking the ball) + You win. + 21. + + + They approach Truman's car. Truman opens the trunk to + deposit their humble golfing equipment. Inside are the + remains of the fallen light fixture. + + TRUMAN + (referring to the light) + You really think it could've + dropped off an airliner? + + MARLON + (unimpressed) + Sure. It's halogen. Shame it didn't + hit you -- you could've sued. + (quickly changing the + subject) + You coming for a drink? + + TRUMAN + I can't tonight. + + +30 INT. LIGHTHOUSE - NIGHT 30 + + From the POV of the lighthouse's lantern room, we observe + TRUMAN sitting on the beach staring out to sea. + + Closer on Truman. He has a portable tape recorder slung + over his shoulder and points a corded microphone at the + surf. We watch Truman's impassive face as he makes the + recording of the lapping waves. The lamp from the + lighthouse occasionally falls upon Truman. + + +31 PLAYBACK - EXT. OCEAN - DAY 31 + + As always, the flashback appears to play on a television + screen. + + The sky is black with storm clouds. Gale force winds lash + rain into the faces of SEVEN-YEAR-OLD TRUMAN and his + father, KIRK. As Kirk stands up to get his hearings, a + freak gust of wind catches the sail. The boom whips across + the stern and strikes Kirk flush in the head, knocking his + overboard. + + Truman, wearing the sole lifejacket, desperately reaches + for his father. He momentarily has hold of his father's + hand when Kirk is abruptly dragged beneath the surface. + + TRUMAN + (crying out) + Daddy!! Daddy!! + 22. + + + His cries go unanswered. Seven-year-old Truman finds + himself alone, the storm abruptly passed, the wind suddenly + dropped, the water stilled. + + The frightened Truman examines the ring he holds in his + open hand, his father's ring, wrenched from his finger in + Truman's fight to keep him afloat. + + +32 EXT. BEACH - NIGHT - PRESENT 32 + + A close up of TRUMAN from KIRK'S RING that Truman now + wears. + + Then, from the lighthouse POV, we observe Truman get to his + feet and walk towards the dark water. He stands at the + water's edge. + + TRUMAN + (shouting at the surf) + I'm sorry, Dad! I'm sorry! + + As if in reply, a tongue of lightning flashes across the + distant skyline, followed by a growl of thunder. + + +33 INT. A LIVING ROOM SOMEWHERE - NIGHT 33 + + TWO OLD WOMEN, seventies, sit beside each other on a sofa + looking directly into camera as they talk. + + OLD WOMAN 1 + (playing amateur + psychiatrist) + It left him with more than his + obvious fear of the water. + + OLD WOMAN 2 + He was never the same curious + little boy again. + + OLD WOMAN 1 + Half the women I know named their + children after him. + + +34 EXT. BEACH PARKING LOT - NIGHT 34 + + TRUMAN is forced to leg it through a sudden rain shower to + his car. + 23. + + + From Truman's point-of-view, the shower appears quite + normal. However, viewed from a distance, we see that the + shower is extremely localized, encircling only him, as if a + small cloud is directly above his head, tracking his + progress. + + As Truman crosses the parking lot, the shower crosses with + him. Sensing something amiss, Truman dances back and forth + across the street, intrigued by the curious phenomenon. He + hums a few bars of "Singin' In The Rain." + + The rain becomes heavier, covering a wider area. Truman + runs the remaining distance to his car. + + +35 INT. TRUMAN'S HOUSE - NURSERY - NIGHT 35 + + The drenched TRUMAN enters to find MERYL, in the unfinished + nursery, comparing wallpaper samples. Meryl wears a robe, a + glimpse of black negligee beneath. + + MERYL + Where have you been? + + TRUMAN + (wringing out his jacket) + I've been thinking-- + + MERYL + (rolling her eyes) + Oh, God. + + TRUMAN + (ignoring the reception) + -- I figure we could scrape + together eight thousand. + + MERYL + (exasperated) + Every time you and Marlon-- + + TRUMAN + --We could bum around the world for + a year on that. + + MERYL + And then what, Truman? We'd be back + to where we were five years ago. + You're talking like a teenager. + + TRUMAN + Maybe I feel like a teenager. + 24. + + + MERYL + We're mortgaged to the eyeballs, + Truman. There's the car payments. + Are we just going to walk away from + our financial obligations? + + Truman, still dripping on the floor, holds Meryl by the + arms. He talks excitedly to her the way we imagine he did + when they were courting. + + TRUMAN + It'd be an adventure. + + MERYL + I thought we were going to try for + a baby. Isn't that enough of an + adventure? + + TRUMAN + That can wait. I want to get away. + See some of the world. Explore. + + Meryl gives a derisive laugh. + + MERYL + You want to be an explorer? You + don't even have a passport, Truman. + I bet you don't even know how to + get one. + + The words sting. Truman turns away. Seeing the pain she's + caused, she changes tack. + + MERYL + This'll pass. Everybody thinks like + this now and then. + (making an attempt at + seduction) + Come to bed. + + TRUMAN + I think I'm going to stay up for a + while. + + +36 INT. AN OFFICE BUILDING SOMEWHERE - RECEPTION - NIGHT 36 + + In the reception area of an office building, TWO UNIFORMED + GUARDS drink coffee. + + GUARD 1 + How can they have a child? + 25. + + + GUARD 2 + It's not gonna be his, you idiot. + + GUARD 1 + Why not? + + GUARD 2 + You think she'd go through with it? + + GUARD 1 + Sure she would. + + GUARD 2 + (reassessing his own + opinion) + Guess I always thought they'd + adopt. + + +37 EXT. TRUMAN'S STREET - DAWN 37 + + There is something peculiar about the way the sun rises + over Seahaven Island - the light appears in an arc that's + slightly too perfect and well-defined. + + +38 INT. TRUMAN'S BEDROOM - MORNING 38 + + In front of his bedroom window, TRUMAN, wearing his new + sweats, performs an exercise routine of his own invention. + He counts off the exercises to himself, cheating as he does + so. He counts five leg-lifts for every two he completes. + + TRUMAN + --Five -- + (two leg-lifts later) + Then -- fifteen -- two more makes + twenty. + + +39 INT. A BEDROOM SOMEWHERE - MORNING 39 + + A middle-aged MARRIED COUPLE in identical catching sweats + repeat the same eccentric exercises in perfect sync, as if + they were in a class led by Truman. + + +40 EXT. CAR - DAY 40 + + TRUMAN climbs into the car and switches on the radio. He + drives down the street. + + RADIO ANNOUNCER + 26. + + + Another glorious morning in + Seahaven, folks. Don't forget to + buckle up -- + + Truman mutters to himself as is his custom. + + +41 EXT. DOWNTOWN SEAHAVEN - DAY 41 + + TRUMAN emerges from the parking lot and as usual stops at + the newspaper stand. He picks up a glossy magazine and + flips through the cosmetic ads, surreptitiously tearing a + pair of EYES from one of the pages. He returns the magazine + to the rack. As usual, the NEWSPAPER VENDOR fails to + intervene. Truman begins his daily pilgrimage to work + through the rush hour pedestrian traffic. + + As he enters the street leading to his office, he glimpses + a HOMELESS MAN reflected in the window of a parked car. + Truman, spellbound by the man, suddenly wheels around to + face him. The Homeless Man, late-fifties, more well-groomed + and well-fed than the average vagrant, has a serene smile + on his face. + + The Homeless Man places his hand ever so gently on Truman's + cheek. Truman makes no effort to withdraw. He is transfixed + by the man's eyes. He appears to recognize him. + + TRUMAN + (almost to himself, + mouthing the word) + Dad -- + + Suddenly an ELEGANT WOMAN SHOPPER walking a small WIENER + DOG and a BUSINESS EXECUTIVE carrying a briefcase, walking + in opposite directions along the sidewalk, grab the + Homeless Man. One under each arm, lifting the Homeless Man + off the ground, they start to whisk the bewildered derelict + down the street. + + TRUMAN + (calling out) + Stop! Stop!! + + Truman begins to give chase. However, the shopper and the + businessman are surprisingly fleet-footed. Even more + surprising as Truman embarks on the pursuit is the behavior + of the PEDESTRIANS and COMMUTERS. They appear to part for + the fleeing trio, then close ranks in front of him. Is it + accidental, or are the pedestrians working together, + running interference? + + TRUMAN + 27. + + + (shouting at the + pedestrians) + Outta the way! Outta the way! + + They are escaping. + + Truman finally breaks through the pack, bowling over + several of the pedestrians in the process. Just as he gets + within reach of the shopper and the businessman, a bus + suddenly screeches to a halt beside the abductors, doors + already open. The Woman Shopper and the Executive bundle + the Homeless Man onto the bus. Truman lurches after them, + but he is met by the bus doors, closing sharply in his + face. + + TRUMAN + (to BUS DRIVER) + Hey, stop! Stop the bus!! + + Truman thumps against the doors, but the BUS DRIVER ignores + his cries and the bus roars away. The other PASSENGERS in + the bus, apparently oblivious to the incident, keeps + staring straight ahead. + + Truman continues to give chase when a taxi appears out of + nowhere and cuts in front of him, blocking his path. When + he recovers, the bus has disappeared. The mysterious crowd + of pedestrians has also dissolved as if it never existed. + + Retracing his steps, head reeling, wondering if the could + have imagined the whole incident, Truman discovers that the + Woman Shopper has left her WIENER DOG behind. The dog + wanders aimlessly on the pavement, its leash trailing + behind it. + + +42 INT. MOTHER'S HOUSE - DAY 42 + + TRUMAN paces impatiently in the living room of his Mother's + cramped, fussy, doilyed little house full of Burbank family + memorabilia, a cluster of framed photographs is dominated + by one of his FATHER trimmed with a black ribbon. A toilet + flushes and Truman's MOTHER finally emerges from the next + room. + + She presents something of a contradiction. Although she + walks with the aid of a "walker," she is actually a well- + preserved sixty. She wears a glamorous nightgown and a full + head of bleached-blonde hair. + + TRUMAN + (kissing Mother on the + cheek) + 28. + + + How are you, Mother? + + MOTHER + Well, I made it through another + night. + + TRUMAN + How's your hip? + + MOTHER + Oh, just so. + +Truman supports Mother. + + MOTHER + You know surprises aren't good for + me. You should really call before + you come over, dear. + + TRUMAN + I've got something to tell you. + You'd better sit down. + +Truman helps her into an overstuffed armchair. + + MOTHER + You look very pale, Truman. Are you + taking your vitamin D's? + + TRUMAN + (exasperated) + I spend half my life out in the + sun, Mother, why would I need + vitamin D? + + MOTHER + I feel certain my condition runs in + the family. + (putting the back of her + hand dramatically over + her forehead) + Can't this wait, dear? + +He kneels beside her. + + TRUMAN + No, I'm afraid it can't. + +Truman takes a deep breath as he prepares to give her the +news. + + TRUMAN + 29. + + + I know this is going to sound + insane, Mother, but -- I saw Dad + today on Lancaster Circle. He's + alive. + +Mother smiles condescendingly. + + MOTHER + It doesn't sound insane, Truman. I + swear I see him ten times a week -- + in a hundred faces. I almost hugged + a perfect stranger in the salon + last Thursday. + + TRUMAN + It was Dad, I swear, dressed like a + homeless man. And you know what + else was really strange? A + businessman and a woman with a + little dog appeared from nowhere + and forced him onto a bus. + + MOTHER + About time they started cleaning up + the trash Downtown. We don't want + to end up like the rest of the + country. + + TRUMAN + They never found Dad's body -- + maybe somehow -- + + MOTHER + -- Darling -- + + TRUMAN + (already doubting + himself) + I'm telling you, if it wasn't him, + it was his twin. Did Dad have a + brother? + + MOTHER + You know he was an only child, like + you. + (placing a comforting arm + around him) + I know how bad you feel about what + happened--sailing into that storm. + But I don't blame you, Truman. I + never have. + +Mother kisses Truman on the cheek. + 30. + + + MOTHER + (referring to her + platinum blonde hair) + I was thinking about going lighter. + What do you think? + + Truman regards his Mother. Her hair is already impossibly + blonde. + + +43 INT. TRUMAN'S BASEMENT - DUSK 43 + + The basement is cluttered with junk, ships in bottles, a + train track without trains, an oxygen mask, a stringless + guitar, many abandoned projects. The basement is dimly lit + by a single, naked bulb. TRUMAN looks over his shoulder + before opening a large walk-in cupboard. On the cupboard + door is a wall map of the Pacific Ocean, the Fiji Islands + are carefully circled. Amongst the many tools and household + implements inside the cupboard is a trunk under a dusty + canvas sheet. He pulls the trunk into the room, unfastens + the lock and opens the lid. + + Inside, mementoes from his youth. A "HOW TO SAIL" book, a + stack of "GREAT EXPLORERS" magazines, and beneath it all, a + garment in a drycleaning bag. Truman carefully lifts up the + plastic to reveal a young woman's cardigan sweater. He puts + the cardigan to his nose and takes in its scent. + + Footsteps. Truman hastily drops the cardigan in the trunk + and shuts the lid. MERYL's legs appear on the stairs. + + MERYL + What're you doing down here? + + TRUMAN + (turning attention to an + upturned mower on the + basement floor) + Fixing the mower. + (matter-of-fact) + I saw my father today. + + MERYL + I know. + + TRUMAN + (suspicious) + How do you know? + + MERYL + Your mother called. You shouldn't + upset her like that. + 31. + + + Meryl's response takes the wind out of Truman's sails. + + TRUMAN + What did you want? + + MERYL + I made macaroni. + + TRUMAN + I'm not hungry. + + Meryl nods, not at all convinced. + + MERYL + We really ought to toss that mower + out. Get one of those new Elk + Rotaries. + + Truman does not reply. After an uncomfortable pause, she + turns back up the stairs. + + Truman waits a moment before re-opening the trunk. He + removes the cardigan and holds it up, reminiscing. + + +44 INT. A KITCHEN SOMEWHERE - NIGHT 44 + + A MOTHER, DAUGHTER about 12, and a BABY in a highchair + stare into camera. + + DAUGHTER + What's he doing? + + MOTHER + They removed all physical trace of + her but they couldn't erase the + memory. + + DAUGHTER + The memory of who? + + MOTHER + (finger to lips) + Shhh! + + +45 PLAYBACK MONTAGE - EXT. COLLEGE CAMPUS - STEPS - DAY 45 + + Once again the images appear to be playing on a television + screen. + 32. + + + On the steps of a typical college campus, TRUMAN, 21, in a + college band uniform, participates in a football pep rally. + MARLON, 21, a member of the football team, and MERYL, 21, a + cheerleader, are nearby. Truman observes an ethereal- + looking young woman walk by - LAUREN. + + +46 PLAYBACK - INT. DANCEHALL - NIGHT 46 + + At a college dance, TRUMAN dances with MERYL. LAUREN dances + by with a PARTNER of her own. However, Truman only has eyes + for Lauren. Suddenly, she is escorted from the dance floor. + + +47 PLAYBACK - EXT. COLLEGE CAMPUS - STREET - DAY 47 + + TRUMAN almost trips off the curb as he waves to LAUREN, + riding towards him on a bicycle. However, she rides right + by with her nose in the air, not even acknowledging his + presence, Truman puzzled by her change of heart. + + The montage ends at a scene in a college library. + + +48 PLAYBACK - INT. COLLEGE LIBRARY - NIGHT 48 + + In the school library, TRUMAN, 21, sits with MARLON, 21, + and wife-to-be, MERYL, 21, doing a final cram for a test. + The STUDENTS begin to pack up their books. Meryl gives + Truman a peck on the cheek. + + MERYL + Come on, Truman. Haven't you + studied enough? + + TRUMAN + I still want to look over a couple + of things. + + MARLON + (punching Truman in a + chummy way on the arm, + referring to Truman's + book) + Take the "C" average. That's what I + do. + + Truman looks up from his books. The library is almost + deserted. He spies a GIRL's hand around the table divider. + + Truman musters the nerve to poke his head over the divider. + He finds LAUREN on the other side, buried in a book. + 33. + + + TRUMAN + Konichi-wa. + +Lauren looks blank. + + TRUMAN + (referring to the + Japanese text in front of + her) + You take Japanese. + + LAUREN + (quickly closing the + book) + Oh, yes. + + TRUMAN + (glancing to the name + carefully written on the + front of the book) + Lauren, right? + + LAUREN + (as if unaware of her own + name) + That's right. Lauren. + + TRUMAN + (extending his hand) + I'm Truman, Truman Burbank-- + + LAUREN + -- I'm not allowed to talk to you. + +Truman is not surprised. + + TRUMAN + (resigned) + It's okay. I probably wouldn't talk + to me either. + + LAUREN + (softening) + I'm sorry. It's not up to me. + + TRUMAN + (crestfallen) + You have a boyfriend? Of course you + do. + +Lauren looks about her, unsure. + + LAUREN + 34. + + + No -- I, er. + + TRUMAN + (hopeful once again) + No? Really? Good, I mean, I thought + possibly a pizza. How about Friday? + + LAUREN + No. + + TRUMAN + Saturday? + + Lauren looks around the almost-deserted library. + + TRUMAN + Actually, I'm free Sunday. + + LAUREN + Now. + + TRUMAN + Right now? We've got finals + tomorrow. + + LAUREN + If we don't go now, it won't + happen. + + Truman hesitates. + + LAUREN + (impatient, looking + anxiously around) + Well, what do you want to do? + + TRUMAN + (closing his books, still + a little uncertain) + I think I've studied enough. + + +49 PLAYBACK - EXT. VARIOUS LOCATIONS NEAR SEAHAVEN COLLEGE - 49 + NIGHT + + LAUREN, taking TRUMAN by the hand, runs down various + streets and paths through the campus. She occasionally + pauses and looks about her, often changing direction or + looking up at streetlights and the towers of houses along + their route, as if trying to elude an unseen pursuer. + + The excited and apprehensive Truman runs with her although + he is unsure exactly who, or what, they are running from. + 35. + + + The further they get from the campus, the higher, wider and + less effective the coverage of the scene - some camera + angles are even partially obscured. + + +50 PLAYBACK - EXT. HIGHWAY - WESTERN END OF TOWN - NIGHT 50 + + TRUMAN and LAUREN eventually cross an empty highway on the + edge of town. + + They run over the dunes onto a strangely deserted beach and + down to the water's edge under a hyper-real full moon. + Lauren throws off her cardigan and hitches up her skirt, + wading out into the inviting water without another thought. + Truman stares down, transfixed by the shimmering water. + + LAUREN + (splashing) + It's beautiful! What are you + waiting for? + + TRUMAN + (nervous) + I -- I can't. + + Lauren suddenly stops splashing. + + LAUREN + That's right. Oh, God, I'm sorry. + + She wades out of the water. + + TRUMAN + (confused) + Why, Lauren? You've got nothing to + be sorry about? + + Lauren, dripping wet, stands besides Truman at the + shoreline. She meets his gaze. + + LAUREN + My name's not Lauren. It's Sylvia. + + Truman looks into her eyes and believes her. Truman wipes + the water from her face, then leans forward and gently + kisses her lips. She kisses him back. + + +51 INT. A BAR SOMEWHERE - NIGHT 51 + + In a quiet bar room, a WAITRESS explains her viewpoint to + the BARMAN. A PATRON on a barstool eavesdrops. + 36. + + + WAITRESS + Don't you get it? She was willing + to lose him, lose everything, if it + meant he could find himself. + (registering the barman's + blank look) + Never mind. You wouldn't + understand. + + +52 PLAYBACK - EXT. BEACH - NIGHT 52 + + As we return to Truman's reminiscence, TRUMAN and SYLVIA + (as she is now called throughout the remainder of the + movie) sit on the sand at the water's edge. With great + delicacy, Truman traces the outline of her nose with his + finger, at the same time inhaling her scent. Sylvia looks + nervously around her. Truman goes to say something, but + Sylvia hushes him. + + SYLVIA + They're coming. Any minute. + + TRUMAN + (looking around the + deserted beach) + Who? + + SYLVIA + They're going to stop me talking to + you. + + TRUMAN + (confused) + There's no one here. + + SYLVIA + (looking over her + shoulder nervously) + Just listen. You remember when you + were a little boy, you stood up in + class and said you wanted to be an + explorer like Magellan -- + + TRUMAN + (incredulous) + -- How do you know about that? + + SYLVIA + -- And your teacher said, "You're + too late, Truman. There's nothing + left to explore." + 37. + + + TRUMAN + Were you there -- how do you know? + + SYLVIA + -- It doesn't matter. Everybody + knows about it. They know + everything you do. The point is, + you got scared. + + TRUMAN + I don't understand. + + SYLVIA + (looking over her + shoulder, increasingly + nervous) + You must listen. Everybody's + pretending, Truman. + +She points to the sky and scoops up the sea at their feet. + + SYLVIA + You think this is real? It's all + for you. A show. + (frustrated, raving) + The eyes are everywhere. They're + watching you, right now. + +Suddenly a car's headlights come bouncing over the dunes. +The car roars across the beach towards the couple. + + SYLVIA + (scared) + I told you, Truman! + +The car skids to a stop and a large MAN, 40ish, with a +shock of red hair, jumps from the car. The man yanks the +frightened Sylvia to her feet, causing her cardigan to fall +to the ground. + + MAN + (to Sylvia, oddly + sympathetic) + Lauren, sweetheart, not again. Get + in the car! + +Truman jumps in. + + TRUMAN + Hey, who the hell are you?! + + MAN + I'm her father! + 38. + + + TRUMAN + We weren't doing anything. + + SYLVIA + He's not my father! He's just + saying that! Does he look anything + like me?! + + MAN + Come on, Sweetheart. + + The Man gently, but firmly, pushes Sylvia towards his car. + Sylvia resists. Truman crosses to them. + + TRUMAN + I'll take care of her! + + The Man takes Truman aside and whispers in his ear. + + MAN + (whispered, out of + Sylvia's earshot) + Schizophrenia. She has episodes. + + Doubts start crowding into Truman's head. + + SYLVIA + (calling out from the + car) + Don't listen to him, Truman. I'm + telling you the truth! + + MAN + (getting into the car) + Don't bother! We're moving to -- + Fiji -- the Fiji Islands! This + place has done something to her + head. + + +53 INT. A DIMLY-LIT ROOM SOMEWHERE - NIGHT - PRESENT 53 + + CHRISTOF stares intently into camera. Beside him is his + assistant, CHLOE, an androgynous-looking young woman. She + too stares into camera. + + CHRISTOF + At least he didn't say "New York + City." + + +54 PLAYBACK - EXT. BEACH - NIGHT 54 + 39. + + + TRUMAN stares after the car as it roars away. He turns back + toward the ocean where his attention is caught by an object + lying on the sand - Sylvia's cardigan. + + +55 INT. TRUMAN'S BASEMENT - NIGHT - PRESENT 55 + + TRUMAN carefully places the cardigan back into the trunk. + + +56 INT. A KITCHEN SOMEWHERE - NIGHT 56 + + MOTHER, DAUGHTER and BABY stare into camera. + + DAUGHTER + But why didn't he just follow her + to Fiji? + + MOTHER + Because his mother got sick -- very + sick. He couldn't leave her. He's a + kind boy, maybe too kind. + + DAUGHTER + I can't believe he married Meryl on + the rebound. + + +57 INT. BASEMENT - NIGHT 57 + + TRUMAN turns his attention to the framed photograph of + Meryl that he carries everywhere. Hidden behind her photo + is a composite picture of Sylvia which Truman has + constructed by pasting together individual facial features, + nose, mouth, ears, chin, hair, gathered, presumably, from + women's magazines. He attempts to put the jigsaw puzzle + together, although he has particular difficulty finding a + pair of eyes that match. + + From his pocket he takes a recent collection of eyes which, + like a detective working on an identikit picture, he tries + to match. They are still not quite right. + + +58 INT. AN APARTMENT SOMEWHERE - NIGHT 58 + + The eyes of a YOUNG WOMAN, blue-green eyes. She turns + slightly, looking directly into camera. We pull back to + reveal her face - SYLVIA. + + +59 EXT. TRUMAN'S STREET - EARLY MORNING 59 + 40. + + + Dawn breaks over Truman's street. On cue, the sound of + birds. + + +60 EXT. STREET OUTSIDE TRUMAN'S HOUSE - MORNING 60 + + TRUMAN leaves the house, lost in thought. SPENCER is taking + out the trash. + + SPENCER + How's it going, Truman? + + Truman hardly acknowledges Spencer. PLUTO the dog fails to + receive his usual pat. The wave from the WASHINGTON's + across the street is also not returned. + + +61 INT/EXT. CAR - STREET OUTSIDE TRUMAN'S HOUSE - DAY 61 + + TRUMAN motors down the street, switching on the car radio + as usual. + + RADIO ANNOUNCER + --Don't forget to buckle up out + there in radioland. It's another + glorious -- -- morrrninggg -- innn + -- Seaaaa --haaaa -- vennn -- f -- + o -- l -- k -- s -- + + The Announcer's voice slows down - now revealing itself to + be a tape that has worn out. Truman, perplexed, looks at + the radio and pushes buttons in an attempt to find another + station. He finds one. + + FEMALE VOICE + (from radio) + -- west on Stewart -- he's making a + right on Holden -- + + Truman glances up at the street signs along his route and + finds that they correspond exactly with the streets quoted + on the radio. Distracted, he almost bowls over an OLD LADY + on a crosswalk. + + MALE VOICE + (from radio) + -- God, he almost hit Marilyn! He's + on the move again, passing the + library -- + 41. + + + Truman, readjusts the radio as it starts to fade out. + Suddenly, there is a piercing blast of feedback. He looks + up and, as far as the eye can see, every PEDESTRIAN, + MOTORIST and SHOPKEEPER along the street suddenly winces in + pain and holds their right ear at exactly the same moment. + + MALE VOICE + (from radio, in distress + himself) + -- Something's wrong. Change + frequencies -- + + Truman tries to pick up the channel once again but without + success. + + +62 EXT. PARKING LOT - MORNING 62 + + TRUMAN sits in his car, drinking his coffee, taking in the + recent incident. From inside the adjacent school, he hears + the familiar, excited squeals and chatter of SCHOOL + CHILDREN. Truman suddenly throws aside his coffee and + sprints across the parking lot and into the school. + + +63 INT. SEAHAVEN ELEMENTARY SCHOOL - MORNING 63 + + TRUMAN slams through the front doors into the reception + area. It is deserted, no one stationed at the + administration desk, the corridors empty. He runs down a + vacant corridor, finally standing outside a classroom. The + children's voices can still be heard from inside. Truman + bursts through the door. + + The room is empty save for a large reel-to-reel tape + recorder on the teacher's desk playing a continuous tape of + children's voices. The recorder is attached to speakers on + tall stands facing the ventilation ducts. Truman stares at + the machine in disbelief. + + +64 EXT. STREET - DOWNTOWN - DAY 64 + + TRUMAN, still lost in thought, exits the school. He stops + at the newsstand and picks up a magazine to resume his + ritual search, but his heart is not in it. He replaces the + magazine without taking a cutting - much to the surprise of + the NEWS VENDOR. + + Truman starts his trek to work, pausing to stare at his + reflection in the mirrored building, hoping that the + Homeless Man will appear once again at his side. No one + joins him. + 42. + + +65 EXT. DOWNTOWN STREET - DAY 65 + + Entering his own building with fellow OFFICE WORKERS, + TRUMAN remains in the revolving door and re-emerges on the + street. + + +66 EXT. CITY STREETS - DAY 66 + + TRUMAN wanders aimlessly through a city park, observing. We + sense, truly observing for the first time. + + A YOUNG WOMAN walks a pair of AFGHAN HOUNDS. An OLD MAN + answers the incessant questions of his GRANDCHILD. Nothing + appears amiss, Truman takes a seat at a small, outdoor + cafe. He fidgets with his father's ring on his finger that + contains one large stone, still looking for a false move. + + A DELIVERY MAN unloads boxes from the back of his truck and + carries them into a store. Further down the street + CONSTRUCTION WORKERS take their time tending to an + electrical repair in an exposed manhole. A POSTAL WORKER + does his rounds. An OLD WOMAN struggles with two heavy + shopping bags. Everybody appears natural, places to go. + + +67 INT. A DIMLY-LIT ROOM SOMEWHERE - DAY 67 + + CHRISTOF and CHOLE stare into camera. Christof leans + forward and speaks. + + CHRISTOF + -- Everybody stay focussed. + Remember who you are. + + +68 EXT. CAFE - DAY 68 + + TRUMAN turns his attention to a group of CUBAN-LOOKING MEN + at the only other occupied table at the cafe. We see + extreme close-ups as Truman scans the men's faces for any + sign of phoniness. They are talking loudly, making + suggestive comments to the WAITRESS. Their behavior passes + the test, all seems genuine. + + Then, Truman notices TWO JOGGERS out for a morning run, + making their way down the street towards him. Truman + happens to glance at the sneakers of one of the joggers. He + suddenly springs to his feet. Truman blocks the joggers. + + TRUMAN + It's you -- isn't it? + 43. + + + The Joggers attempt to sidestep Truman. + + JOGGER 1 + Excuse me. + + TRUMAN + Remember? Two days ago I gave you + my meatball sandwich in the park. + You were in a wheelchair. Same + sneakers. + + The jogger looks down at his distinctive sneakers bearing + the initials, "T.S.", and visibly blanches. + + JOGGER 2 + (coming to his + companion's aid) + Get the hell out of here. + + The second jogger roughly shoves Truman aside. Truman calls + out after the two men. + + TRUMAN + (ironically referring to + the Jogger's new-found + mobility) + It's a miracle! + + Truman picks himself up, dusting dirt from his suit. He + retrieves his briefcase and continues down the street with + renewed purpose. + + +69 EXT. DOWNTOWN STREET - DAY 69 + + Wandering down the bustling street, TRUMAN suddenly bolts + into a building at random. + + +70 INT. OFFICE BUILDING - DAY 70 + + An imposing office building clad in the kind of reflective + glass that shields its occupants from the world - a + building Truman passes every day. A steady stream of + EMPLOYEES and VISITORS enter and exit the building's high- + ceilinged lobby past an intimidating security desk manned + by TWO UNIFORMED GUARDS. Beyond security are banks of + elevators, ferrying executives, clerical staff and delivery + personnel to and from their floors of business. + + Truman abruptly enters reception and strides confidently + past the security desk trying to look as if he belongs. + 44. + + + SECURITY GUARD 1 + (to Truman) + Can I help? + + TRUMAN + (sneaking a glance at the + building directory) + I have an appointment at, er -- + Gable Enterprises. + + SECURITY GUARD 1 + They went bust. + +The second Security Guard is rising from his seat to block +Truman's path to the elevators, but Truman reads his mind +and makes a dash for it, into one of the elevators. + +A YOUNG WOMAN in the elevator looks in horror at Truman, +the cause of her concern all too apparent. Looking beyond +the Woman, Truman discovers that there is no back to the +elevator car. The PEOPLE Truman has just witnessed entering +other elevators are milling around a refreshment table, +primping or sitting on folding chairs. Gradually, they all +turn to gape at Truman, who in turn stares back, appalled. +Truman's view is abruptly blocked as a rear panel is +hastily attached to the elevator. A Security Guard pulls +Truman from the car. + + TRUMAN + What's going on? + + SECURITY GUARD 1 + (glancing to the lights + above the elevator, + trying to appear + innocent) + Nothing. + +Truman observes the upward progress of the elevator via the +light display above the doorway. Before he has time to make +sense of it, the guards drag him away. + + SECURITY GUARD 2 + You've got to leave. + +The Guards frog-march Truman out of the facade towards an +Emergency Exit. + + TRUMAN + Just tell me what's going on? + + SECURITY GUARD 2 + We're re-modeling. + 45. + + + TRUMAN + No, you're not!! What were those + people doing in there? + + SECURITY GUARD 1 + (shrugs) + It's none of my business. + (ushering Truman off the + property) + None of yours, either. + + TRUMAN + (not going quietly) + You don't tell me what's really + going on, I'll report you. + + TRUMAN continues to struggle as the GUARDS usher him to the + street. + + SECURITY GUARD 2 + For what? You're trespassing! + + +71 EXT. DOWNTOWN STREET - DAY 71 + + TRUMAN continues to struggle as the GUARDS unceremoniously + dump him on the pavement. He picks himself up, head + reeling, and starts to run along the street. He suddenly + enters another building at random. An office block with a + bank on the ground floor. + + Truman rushes to the elevators. The lights above the doors + show all the elevator on upper floors. Frantic pressing of + the elevator button gets no response. A RECEPTIONIST rises + from her desk. Truman heads for the stairs, but is + intercepted by a BANK OFFICIAL barring his way. + + TRUMAN + I want to -- + + The Bank Official, the Receptionist, and a BANK TELLER back + Truman towards the door. + + BANK OFFICIAL + -- Open an account? + + TRUMAN + Yes. Er, why not? + + RECEPTIONIST + Savings or checking? + + BANK OFFICIAL + 46. + + + Let's go up to my office. + + Truman hurriedly exits the bank. + + +72 EXT. STREET - DAY 72 + + Back on the street, TRUMAN feels the eyes of the + PEDESTRIANS. Is he simply drawing attention to himself by + his behavior? Truman wheels around, trying to make eye + contact with passersby. They shy away. He continues to run + down the street. + + Finally, Truman finds himself standing in front of the + window of an electronics store staring at his own face on a + TV set. It is taking a feed from a camcorder aimed out the + store window. + + +73 INT. A BATHROOM SOMEWHERE - DAY 73 + + A MAN stares into camera from a bath of stale water, a + layer of soap scum on the top. + + MAN + Don't look at me, pal. + + +74 EXT. STREET - ELECTRONICS STORE - DAY 74 + + TRUMAN shudders at his video reflection. Further down the + street, he notices Marlon's van parked outside a + supermarket. + + +75 INT. SUPERMARKET - DAY 75 + + The door of a vending machine is open. MARLON, half inside + the machine, loads a stack of Baby Ruth candy bars into one + of the dispensing slots. The paranoid TRUMAN appears at his + shoulder. + + TRUMAN + Marlon -- + + MARLON + (startled) + -- Truman, what are you doing here? + + Truman looks nervously around him. Even the STORE OWNER's + friendly nod from behind the counter is cause for suspicion + in Truman's mind. + 47. + + + TRUMAN + (whisper) +I've got to talk to you. + + MARLON +Sorry, I'm way behind. + + TRUMAN +I'm onto something, Marlon - +something big. + + MARLON +Are you okay? You look like shit. + + TRUMAN +I think I'm mixed up in something. + + MARLON +Mixed up? Mixed up in what? + + TRUMAN +There's no point in trying to +explain it, but a lot of strange +things have been happening - +elevators that don't go anywhere, +people talking about me on the +radio, you know what I mean? + + MARLON + (bemused) +No. Truman, if this is another one +of your fantasies -- + + TRUMAN +I think it's got something to do +with my dad. + + MARLON +Your Dad?! + + TRUMAN + (looking around + nervously) +I think he's alive. I'll tell you +about it later. I'm definitely +being followed. + + MARLON + (looking around, + instantly protective) +Who? + + TRUMAN + 48. + + + It's hard to tell. They look just + like regular people. + + MARLON + (referring to an OLD + COUPLE entering the deli) + How about them? + + TRUMAN + (seriously considering + the possibility) + Could be. Beard looks phony. + (leaning closer to + Marlon) + It's when I'm unpredictable. They + can't stand that. That's why we've + got to get out of here. Can you + come with me? + + MARLON + (closing up the vending + machine) + I told you I can't. + + TRUMAN + I've got to show you something. + + Truman fixes Marlon with a look of deadly seriousness. + + MARLON + (weakening) + Christ, Truman. You're gonna get + both our asses fired. + + +76 EXT. SEAHAVEN ELEMENTARY SCHOOL - DAY 76 + + TRUMAN hurries MARLON up the school steps. The sound of + children's voices continues to drift out from inside the + building. Truman and Marlon storm into the school reception + area, still empty. + + +77 INT. SCHOOL CORRIDOR - DAY 77 + + TRUMAN and MARLON stand outside the classroom, the source + of the children's voices. Truman throws his friend an "I- + told-you-so" look and swings open the door with a flourish. + + +78 INT. CLASSROOM - DAY 78 + 49. + + + The once-empty classroom is now full of SCHOOL CHILDREN in + an art class. A hush falls over the students and all eyes + turn to TRUMAN and MARLON. + + TEACHER + (gesturing to two + unoccupied easels) + Would you care to join us? + + +79 EXT. CLIFFTOP - DUSK 79 + + Hand-over-hand, TRUMAN climbs the cliff he once scaled as a + seven-year-old. Finally, he sits on the clifftop, staring + out at the view his father had been so desperate for him + not to see twenty-six years earlier. However, the deserted + bay beyond is identical to its neighbor. MARLON, laboring, + crests the rise and joins his friend on the clifftop. + + MARLON + What're we doing here, Truman? + + TRUMAN + This is where it started. + + MARLON + What exactly? + + TRUMAN + Things. Things that doesn't fit. + (another thought occurs) + Maybe I'm being set up for + something. You ever feel like that, + Marlon? Like your whole life has + been building to something? + + MARLON + (blank) + No. + + TRUMAN + (ignoring the remark) + When you were hauling chickens for + Kaiser Poultry, what was the + furthest you ever went off the + island? + + MARLON + I went all over but I never found a + place like this. + (nodding to the setting + sun) + 50. + + + Look at that sunset, Truman. It's + perfect. + + TRUMAN + (in a daze) + Yeah -- + + MARLON + (glancing heavenwards) + That's the "Big Guy". Quite a + paintbrush he's got. + + TRUMAN + Just between you and me, Marlon, + I'm going away for a while. + + MARLON + Really? + + +80 INT. LIVING ROOM - TRUMAN'S HOUSE - NIGHT 80 + + Truman sits cramped on his sofa. Pulling wider, we discover + the cause of his discomfort. He is sandwiched between MERYL + on one side and MOTHER on the other. Mother, the family + historian, a stack of photograph albums at her feet, turns + the pages of the album on Truman's lap. + + TRUMAN + We ought to be getting you back, + Mother. + + MOTHER + Hold on a minute, dear. + (pointing out a photo in + the album) + Here's us at Mount Rushmore. You + remember, Truman -- when Dad was + still with us, that was quite a + drive. You slept all the way there. + + TRUMAN + (taking an interest in + the monument) + It looks so small. + + MOTHER + (quickly turning the + page) + Things always do -- when you look + back. + 51. + + +Mother skips several pages in the album, finally stopping +at a spread of wedding photos. + + MERYL + Look, Truman, there's my cousin + Errol putting the bouquet down his + pants -- it was the happiest day of + our lives. + + MOTHER + (referring to Meryl) + Didn't she look beautiful, Truman? + She still does. + +Mother turns to a blank page in the album. + + MOTHER + And there's plenty of room for baby + photos. I'd like to hold a + grandchild in my arms -- + (dabbing her eye with a + handkerchief) + -- before I go. + +Meryl rises from the sofa and helps Mother to her walker. + + MERYL + I'll take you home, Angela. + (referring to the album) + Why don't you leave those with us + for a while? + + TRUMAN + (kissing his emotional + mother) + Good night, Mother. + + MERYL + (a wink to Truman) + See you in a minute, sweetheart. + +Meryl departs with Mother. Left alone in the living room, +Truman slumps back down onto the sofa and switches on the +television set, an old-fashioned model with rabbit-ears. He +idly studies the photograph album as an over-earnest +television HOST announces the upcoming program. + + TV HOST + 52. + + + -- Tonight's golden-oldies is the + enduring, much-loved classic, "Show + Me The Way To Go Home". A hymn of + praise to small-town life where we + learn that you don't have to leave + home to discover what the world is + all about and that no one is poor + who has friends -- + + However, when we turn our attention away from the + television, we find that Truman is peering intently at a + wedding photograph of Meryl and himself taking their vows + in a civil ceremony in a beachside gazebo. Under the + scrutiny of a magnifying glass, he discovers that Meryl has + her fingers crossed. + + +81 INT. A LIVING ROOM SOMEWHERE - NIGHT 81 + + The TWO LADIES sit on their sofa, a rug across their knees, + sipping a night cap of hot chocolate. They stare into + camera. + + OLD LADY 1 + Remember at the wedding - that dog? + + OLD LADY 2 + Started howling when they took + their vows. + + OLD LADY 1 + And the plastic horseshoe fell off + when they cut the cake. + + OLD LADY 2 + (shaking her head + ruefully) + They never had a chance. + + +82 INT. KITCHEN - MORNING 82 + + TRUMAN, dressed casually in weekend attire, is at the stove + preparing an omelette. MERYL hurries into the kitchen in + her nurse's uniform. She gulps down a cup of coffee and + reaches for her nurse's cap. + + However, she still has time to adjust the position of a + pack of "FiberCon Cereal" - squaring it a little more to + camera. + + TRUMAN + I have to talk with you. + 53. + + + (looking about, + suspicious) + But not here. Let's go for a walk. + + MERYL + (kissing him on the + cheek) + I'm sorry, I'm late. + + TRUMAN + What's the hurry? + + MERYL + Surgery. The elevator disaster + downtown on the news last night. + Cable snapped, a car dropped ten + floors. Non-union contractors. + Monsters. We're starting with an + amputation. + +Truman's eyes widen. Meryl adjusts her hat in the mirror. + + MERYL + That building's near yours. Imagine + if you'd been in there for some + reason. It doesn't bear thinking + about. + +Truman, lost in thought, picks up the scalding frying pan +with his bare hand. Letting out a howl of pain, he drops +the pan. + + TRUMAN + Arrah! + + MERYL + Oh, my God! + + TRUMAN + What do I do? + + MERYL + I don't know-- + + TRUMAN + --you're a nurse, aren't you? + + MERYL + Put some butter on it--or ice? + +She looks up the kitchen clock. + + MERYL + 54. + + + (hurrying out the door) + Oh, look at the time. + + Truman stares after her, the pain of his hand forgotten for + the moment. He watches Meryl ride her bicycle down the + driveway. Truman exits the house. + + +83 EXT. SEAHAVEN STREET - HOSPITAL - PARKING LOT - DAY 83 + + Riding a bicycle of his own, TRUMAN follows MERYL to work, + staying a safe distance back. He watches her enter the + hospital. + + +84 INT. HOSPITAL - DAY 84 + + TRUMAN makes his way along various corridors. All seems as + it should - DOCTORS confer with NURSING STAFF and PATIENTS, + gurneys are wheeled about with their PASSENGERS looking + suitably traumatized. Truman approaches a NURSING SISTER. + + TRUMAN + I'm looking for my wife--Nurse + Burbank. It's important. + + NURSE + (checking her clipboard) + I'm afraid that's impossible -- + she's in pre-op. + + TRUMAN + Sure. Okay. Fine. Can you pass on a + message? + + NURSE + I'll try. + + TRUMAN + Tell her, tell her -- I had to go + to Fiji. I'll call her when I get + there. + + NURSE + When you get to Fiji? + + TRUMAN + You got it. + + NURSE + Fine. I'll tell her. + 55. + + + The nurse walks off, disappearing through a set of doors. + Truman hesitates before following her. + + +85 INT. VARIOUS HOSPITAL CORRIDORS - DAY 85 + + The NURSE walks briskly, fewer people about, TRUMAN + discreetly following behind. The nurse breaks into a jog. + Truman hurries to keep up with her, dodging around gurneys, + JANITORS mopping floors. + + +86 INT. OUTSIDE OPERATING THEATRE - DAY 86 + + The NURSE, hastily scrubbed and gowned, enters the theatre. + TRUMAN hesitates but dares not enter. He grabs a mask of + his own. + + Looking through the glass window in the operating theatre + door, he sees the YOUNG WOMAN (seen in the hastily fixed + elevator car the day before) lying on the operating table, + a blood-soaked bandage covering her left leg. MERYL, + wearing a surgical gown and mask, assists the SURGEON. The + SISTER hovers nervously in the background. + + SURGEON + Scalpel. + + Meryl very slowly selects a scalpel from a tray of + instruments and awkwardly hands it to the surgeon. + + SURGEON + I'm now making my primary incision + just above the left knee. + + The patient's eyes blink open in horror. The ANESTHETIST + steps in Truman's view before he can get a good look. + Suddenly, a SECURITY GUARD appears beside Truman and takes + him by the arm. + + SECURITY GUARD + (referring to the + operation) + This isn't gonna be pretty. Unless + you're family of the patient, I'll + have to ask you to leave. + + TRUMAN + No problem. I don't want to cause + any trouble. + + +87 INT. TRAVEL AGENCY - DAY 87 + 56. + + +TRUMAN takes a seat at the only desk in an empty travel +agency. The travel brochures and posters that adorn the +walls all feature destinations that bear a striking +similarity to picturesque Seahaven. Another poster spells +out the dangers of travel - "TRAVELLERS BEWARE - +Terrorists, Disease, Wild Animals, Street Gangs". A female +TRAVEL AGENT enters from a rear door. + + AGENT + I'm sorry to keep you. + How can I help? + + TRUMAN + I want to book a flight to Fiji. + + AGENT + Where exactly? + + TRUMAN + (believing she is being + deliberately obtuse) + Fiji. + + AGENT + (a trace of + condescension) + Where in Fiji? What island? + + TRUMAN + I'm sorry, er -- the biggest one. + + AGENT + (entering the destination + in her computer) + Viti Levu. For how many? + + TRUMAN + (finding the question + suspicious) + One. + + AGENT + When do you want to leave, + remembering, of course, you do lose + a day on the way there? + + TRUMAN + Today. + + AGENT + (reading off her computer + screen) + 57. + + + I'm sorry. I don't have anything + for at least a month. + + TRUMAN + (suspicious) + A month. + + AGENT + (patiently explaining) + It's the busy season. + + TRUMAN + (paranoia showing) + You are a travel agent, aren't you? + (reading her nametag) + "Doris"? Your job is to help people + travel. + + AGENT + (showing amazing + restraint) + I do have a fabulous rate on a + cruise ship departing for Fiji + tomorrow. But you wouldn't want to + do that. + + TRUMAN + Why wouldn't I? + + AGENT + I thought you were in a hurry. + + TRUMAN + (calming down) + That's right. + + AGENT + You want to book the flight? + + TRUMAN + It doesn't matter. I'll make other + arrangements. + + +88 EXT. CITY STREET - DAY 88 + + Emerging onto the street, TRUMAN looks across to the + building which he entered the previous day. It is now + cordoned off with police tape after the elevator disaster. + Flowers have been laid at the doorway. + + +89 EXT. GREYHOUND BUS STATION - DAY 89 + 58. + + + A Greyhound Bus, bound for "CHICAGO" according to its + destination sign, sits idling at the stop. Just as a burly + SUPERVISOR is about to wave the bus on its way, TRUMAN + dashes into the station. + + BUS DRIVER + Last call for Chicago. + + Truman jumps onto the bus behind the last boarding + passenger, a YOUNG SOLDIER. + + TRUMAN + (to the Bus Driver, as he + boards the bus) + Windy City, here we come. + + +90 INT. GREYHOUND BUS - DAY 90 + + TRUMAN takes a seat by a window. An awkward silence + descends over the bus. The other passengers - a MOTHER with + a restless CHILD, several TOURISTS, an OLD COUPLE and the + YOUNG SOLDIER, all stare stiffly straight ahead, averting + their eyes from Truman. + + No one is more uncomfortable than the BUS DRIVER. Beads of + perspiration on his head, he fumbles for the gear shift, + apparently unsure how to operate it. The gears grind. + + The OTHER PASSENGERS try not to notice. The CHILD, tugging + her MOTHER's sleeve, points to Truman. Her mother makes her + face the front of the bus. Finally the SUPERVISOR enters + the bus. + + SUPERVISOR + Everybody off. We've got a problem. + + The relieved passengers hurriedly exit until Truman is the + only one remaining on the bus. The Bus Driver looks almost + sorry for Truman who sits resolutely in his seat, the hint + of a tear of frustration in his eyes. + + BUS DRIVER + (softly) + I'm sorry, son. + + +91 INT. A BAR SOMEWHERE - DAY 91 + + The bar seen earlier. A small group of PATRONS discuss + developments. The WAITRESS seems upset, occasionally + glancing to camera as she pours a beer. + 59. + + + PATRON 1 + Why would he want to go to Chicago? + Who does he know from there? + + PATRON 2 + His doctor came from Chicago, + didn't he? + + PATRON 1 + Wasn't his father from Chicago? + + WAITRESS + (upset) + He's not going to Chicago. He's not + going anywhere. He has to have it + out with Meryl. + + +92 EXT. STREET - TRUMAN'S BICYCLE - DAY 92 + + As TRUMAN rides home on his bicycle, he stares wildly about + him, the rearview mirror on his bicycle is suddenly cause + for concern, so are the trees and streetlamps lining the + roadway. + + +93 EXT. TRUMAN'S BACKYARD - DAY 93 + + TRUMAN, staring at the highway from the bottom of the + garden, doesn't bother to look up as MERYL, still wearing + her nurse's uniform, approaches. + + TRUMAN + (referring to a distant + car on the expressway) + See that car way down there? I bet + it's a Suburu station wagon. + + Meryl looks idly over the fence at the approaching car. + Finally, a Suburu station wagon motors by. Meryl is + unimpressed. Truman turns his back on the highway to + continue his game. + + TRUMAN + I predict the next four cars will + be a white Honda Civic, a blue and + white Dodge Dart with the front + hubcap missing, a Volkswagen Beetle + with a dented fender and a + motorcycle. + 60. + + +Meryl doesn't wish to participate in the game and makes for +the house. Truman holds her arm, forcing her to watch. He +turns to check his prediction. A convoy of cars approaches. + + TRUMAN + There's the Honda -- the Dodge -- + here comes that dented Beetle -- + +Meryl's attention wavers. Truman tightens his grip. + + TRUMAN + Look! + +Following the VW is a school bus. + + MERYL + (mocking) + Where's the motorcycle? + +Truman is momentarily disappointed. + + TRUMAN + Don't you want to know how I did + that? + +A motorcycle putters by. Meryl turns and walks back to the +house. He hurries after her. + + MERYL + I invited Marlon and Rita for a + barbeque Sunday. I thought I'd make + my potato salad. Remind me -- + + TRUMAN + I won't be here Sunday. + + MERYL + -- we need more charcoal. + + TRUMAN + Are you listening to a word I'm + saying? + + MERYL + You're upset because you want to go + to Fiji. Is that it? + +Truman is puzzled by her conciliatory tone. + + MERYL + 61. + + + Okay, do it. Get it out of your + system. Save for a few months and + go. There. Happy now? I'm going to + take a shower. + + She turns away. + + TRUMAN + (catching her wrist) + Let's go now. + + MERYL + What?! + + Despite her protests, Truman drags Meryl towards his car. + + TRUMAN + (as he shoves her into + the car) + I'm ready to go now. Why wait? + + +94 INT. TRUMAN'S CAR - DAY 94 + + TRUMAN holds MERYL's wrist to stop her exiting the car and + accelerates out of the driveway in reverse without looking, + almost running over PLUTO the dog and SPENCER with his + garbage can. + + Truman starts circling a gazebo at the center of a + roundabout, faster and faster. + + TRUMAN + Where shall we go? Where shall we + go? Spontaneity is what it's all + about. Forget Fiji. We can't very + well drive to Fiji, can we? What + about Atlantic City? + + MERYL + (trying to mask her + anxiety) + You hate gambling. + + TRUMAN + That's right. I do, don't I? + + MERYL + So why do you want to go? + + TRUMAN + Because I never have. places, isn't + it? + 62. + + + That's why you go + + MERYL + Truman, I think I'm going to throw + up. + +Truman roars off down the street. + + TRUMAN + Me too. + +Almost immediately, Truman encounters a traffic snarl. + + TRUMAN + (a manic edge to his + voice) + So much traffic, this time of day. + Does that strike you as peculiar? + +Without warning, Truman suddenly dives down a sidestreet. +But his move is anticipated. At the end of the street, a +pack of cars suddenly appears. Other vehicles fill the gap +behind. + + TRUMAN + (to Meryl, marveling) + Blocked at every turn. Beautifully + synchronized, don't you agree? + + MERYL + (incredulous) + You blaming me for the traffic? + + TRUMAN + Should I? + +Truman reverses suddenly and makes a U-turn. + + TRUMAN + You're right. We could be stuck + here for hours. Could be like this + all the way to Atlantic City. Let's + go back. I'm sorry. I don't know + what got into me. + +Truman starts heading back the way they came, the roadway +now relatively free of traffic. + + MERYL + Would you please slow down, Truman? + +Truman floors the car. The car flies past their house. + 63. + + + MERYL + Truman, that was our house! + + TRUMAN + I've changed my mind again. What's + New Orleans like this time of year? + Mardi Gras. Or let's just see where + the road takes us. + + MERYL + (pleading) + Let me out, Truman. You're not + right in the head. You want to + destroy yourself, you do it on your + own! + + TRUMAN + (eerily calm) + I think I'd like a little company. + + As he speeds erratically, Truman glances at the streets on + either side of the main road where he discovers a distinct + lack of moving traffic. + + TRUMAN + (to the anxious Meryl at + his side) + Look, Meryl. No cars! I don't run + into traffic. The traffic follows + me around. + (excited by his + discovery) + We're in a moving pack, don't you + see? + + +95 INT/EXT. TRUMAN'S CAR - BRIDGE - DAY 95 + + But TRUMAN's clear path is short-lived. He is forced to + slow once again behind a line of other cars at a bridge. + + TRUMAN + (to Meryl) + It's hard to go places, isn't it? + + MERYL + (looking up ahead at an + overturned car) + There's been an accident, Truman. + + TRUMAN + Uhuh. There's no accident. It's + just more stalling. + 64. + + + Truman floors the car again and swerves into the oncoming + lane. He roars along the bridge on the wrong side of the + road. Near the end of the bridge, a distraught MOTORIST + dashes into the middle of the road, waving his arms. Truman + slams on the brakes. + + MOTORIST + (pointing to a small BOY + lying very still on the + ground beside a wrecked + car) + --is there a doctor, a nurse? + + MERYL + Truman, it's a child. I've got to + help -- + + TRUMAN + (hardly glancing to the + boy) + He'll be fine. + + Truman roars on, almost bowling over the concerned + motorist. + + MERYL + Truman, I took the "hypocrite" + oath! + + TRUMAN + I bet you did. + + Truman roars past a sign that reads, "YOU ARE NOW LEAVING + SEAHAVEN - Are you sure that's a good idea?" + + Back at the accident scene, the little boy, apparently + uninjured, sits up. + + +96 INT/EXT. CAR - DAY 96 + + They roar pass an illuminated sign - "FOREST FIRE WARNING - + Extreme Danger". + + MERYL + Truman, what about that sign? + + TRUMAN + I'm sure they're just exaggerating. + + Suddenly, a 20-foot high wall of flame shoots across the + roadway in front of them, as if someone flicked on a gas + switch. + 65. + + + MERYL + What about that -- do you believe + that?! + + TRUMAN experiences his first moment of doubt. He looks to + the terrified MERYL, then closes his eyes tightly and + accelerates through the fire wall. He is startled to find + that they have emerged on the other side, singed but + unscathed. + + However, the open road in front of them now disturbs Truman + for a different reason, its sheer lack of anything unusual. + Signs along the road advertise motels and give directions + to other destinations , "I-6211 - 2 miles", "Notel Motel - + Pool, Color TV". + + Meryl also now appears to be resigned to the journey. + + MERYL + So what do we do for money when we + get to New Orleans? + + TRUMAN + (not so confident now) + I've got my Seahaven Bankcard. + + MERYL + So we just eat into our savings, is + that the idea? I'd better call your + mother when we get there. She'll be + worried sick -- I don't know how + she's going to take this. + + Truman appears very unsure of himself. + + +97 EXT. ROADWAY - DAY 97 + + However, there is still a barrier between TRUMAN and + Bourbon Street. The highway, leading to a cloverleaf + freeway junction in the distance, is completely blocked off + by Seahaven police cars. No way past. Nuclear silos in the + distance spew out an ominous puff of smoke. A sign reads, + "SEAHAVEN ISLAND NUCLEAR POWER STATION - Clean, Safe, + Economical - More Power To You!" + + Truman is forced to slow at the police barricade. + + TRUMAN + Now what? + + OFFICER + 66. + + + (grim-faced, indicating + the nearby power plant) + Leak at the plant. They had to shut + her down. + + TRUMAN + Is there any way around? + + OFFICER + The whole area's being evacuated. + + TRUMAN + Well, thank you for your help. + + OFFICER + You're welcome, Truman. + + Truman's eyes widen at the mention of his name from an + apparent stranger. As the officer turns, Truman bolts from + the car, leaving MERYL in the passenger seat. + + MERYL + Truman!! Come back!! + + Truman flees into the forest. + + +98 INT. A LIVING ROOM SOMEWHERE - DAY 98 + + The TWO OLD LADIES we have observed before are almost + overcome with tension. One lady reaches out for her + companion's hand. + + +99 EXT. FOREST NEAR SEAHAVEN NUCLEAR POWER PLANT - DAY 99 + + TRUMAN bursts past the alien-looking HAZARDOUS WATER + WORKERS in their protective suits carrying detection + instruments. The workers give chase in their cumbersome + suits, trying to cut off his path. + + Nearing the edge of the forest, Truman hears the sound of + hammers and saws. But before he has time to see the source + of the sound, he is tackled to the ground. + + As SEAHAVEN POLICE OFFICERS drag him away, one of the WASTE + WORKERS walks the remaining few yards, pushing aside a wall + of tropical foliage. We now see what Truman was prevented + from seeing. + 67. + + + A Polynesian island is under construction by dozens of + RIGGERS, PAINTERS and SET DECORATORS. Large cranes are + lifting palm trees into place, a fake volcano is being + tested in the distance and rehearsals for a firewalking + ceremony are underway complete with hot coals, DRUMMERS and + FIREWALKERS in native dress. + + The wings and fuselage of an airliner are being constructed + on a hydraulic gimbal. Leading into one side of the + airliner is a covered walkway, emblazoned with a sign, + "Seahaven Island - Departures". Emerging from the opposite + side of the airliner is an old-fashioned airline stairway + with the sign, "Welcome to Fiji" + + At the foot of the steps, TWO WOMEN in Fijian dress are + being shown the correct way to present a floral lei. + + FIJI WOMAN + Did he see us? + + WASTE WORKER + (into microphone) + Negative. + + +100 INT. TRUMAN'S HOUSE - KITCHEN - NIGHT 100 + + MERYL shows TWO SEAHAVEN POLICEMEN out the back door. + + MERYL + Thank you. + + POLICEMAN 1 + You're lucky he's not glowing, + Ma'am. Next time we'll have to file + charges. + + Meryl joins TRUMAN at the kitchen table. Truman applauds + ironically. + + MERYL + Let me get you some help, Truman. + You're not well. + + TRUMAN + (ignoring her medical + advice) + Why do you want to have a child + with me? You can't stand me. + + MERYL + That's not true. + 68. + + +Meryl picks up a package and holds it to camera. + + MERYL + Why don't I make you some of this + new Mococoa Drink? All natural. + Cocoa beans from the upper slopes + of Mount Nicaragua. No artificial + sweeteners -- + + TRUMAN + (incredulous) + -- What the hell are you talking + about?! + + MERYL + I've tasted other cocoas. This is + the best. + +Truman rises from the table and backs her around the room. + + TRUMAN + What the hell has that got to do + with anything? Tell me what's + happening?! + + MERYL + (frightened but remaining + poised) + You're having a nervous breakdown, + that's what's happening. + + TRUMAN + (backing her up against + the kitchen bench) + You're part of this, aren't you?! + +Meryl grabs the "Chef's-Mate" from the counter to protect +herself. She points the potato peeler at him. + + MERYL + Truman, you're scaring me! + +Truman looks into her eyes and, with surprising swiftness, +grabs her wrist and disarms her. + + TRUMAN + No, you're scaring me, Meryl! + +Truman grabs Meryl and turns the Chef's Mate on her. He +stares wildly about him. + + TRUMAN + Stop this now. I'll do it. I swear. + 69. + + + MERYL + Do something -- + +Upon hearing her remark, Truman's eyes widen. Sensing that +she too is addressing a third person, he jerks her head +around to read her face. + + TRUMAN + (wild-eyed) + Who were you talking to?! + + MERYL + (incredulous) + You're the one talking to the + walls! + + TRUMAN + No. You said, "Do something." Who + were you talking to? Tell me! + + MERYL + Truman, stop it! + +Suddenly, the front door chimes. + + TRUMAN + Right on time. Cops must be + telephatic. + +Truman grabs his peeler and marches Meryl down the hallway +to the front door. The doorbell chimes a second and third +time, more insistently. + + TRUMAN + (shouting through the + closed door) + Stay where you are! + + MARLON (O.C.) + Truman? It's me, Marlon. I need to + talk to you. + +Truman flinches. He was so convinced it would be the +police. He takes a step back against the hallway wall. +Before he can decide what to do, MARLON has opened the +unlocked front door to be confronted with the sight of +Truman holding the peeler to Meryl's throat. + +Marlon locks eyes with Truman. Sizing up the situation, he +slowly but decisively removes the peeler from Truman's +hand. Meryl wrenches herself free from Truman's now limp +grasp and collapses into Marlon's arm, sobbing. + 70. + + + MERYL + (distraught) + How can anyone expect me to carry + on under these conditions? This is + -- unprofessional. + + +101 EXT. UNFINISHED BRIDGE - NIGHT 101 + + MARLON and TRUMAN, both nursing bottles of beer, sit on the + end of the unfinished bridge. + + TRUMAN + I don't know what to think, Marlon. + Maybe I'm going out of my mind, but + I get the feeling that the world + revolves around me somehow. + + MARLON + It's a lot of world for one man. + You sure that's not wishful + thinking, you wishing you'd made + something more of yourself? Christ, + Truman, who hasn't sat on the John + and had an imaginary interview on + "Seahaven Tonight"? Who hasn't + wanted to be somebody? + + TRUMAN + This is different. Everybody seems + to be in on it. + + Marlon looks around as if drawing inspiration from + somewhere in the night. + + MARLON + Tru, we've known each other since + before we were in long pants. The + only way we ever made it through + high school was cheating off each + other's test papers. Jesus, they + were identical. I always liked + that, because whatever the answer + was -- + + Truman chimes in, nodding fondly at the memory. + + TRUMAN & MARLON + -- we were right together and we + were wrong together. + + MARLON + 71. + + + The only night either of us ever + spent in jail, we spent together + and I wet myself but you never told + anyone. I was best man at your + wedding and my brother was best man + at my wedding and you didn't talk + to me for a month over that and I + didn't blame you because you've + been more of a brother to me than + he's ever been. + + Truman is slowly coming around, Marlon's speech from the + heart soothing away his pain. + + MARLON + I know things haven't worked out + for either of us like we used to + sit up on Monroe Avenue all night + and dream they would. We all let + opportunities pass us by. None of + us asks for the dance as often as + we should. I know that feeling when + it's like everything's slipping + away and you don't want to believe + it so you look for answers + someplace else. But, well, the + point is, I would gladly step in + front of traffic for you. + + +102 INT. CONTROL ROOM - NIGHT 102 + + CHRISTOF stares intently into camera, holding his + distinctive earpiece to his head. Beside him, his ever- + present assistant, CHLOE. + + CHRISTOF + (hushed tones) + And the last thing I'd ever do is + lie to you. + + +103 EXT. FREEWAY - NIGHT 103 + + MARLON + (staring into Truman's + eyes) + And the last thing I'd ever do is + lie to you. + (pause) + 72. + + + Think about it, Truman, if + everybody's in on it, I'd have to + be in on it too. I'm not in on it, + because there is no it. + + TRUMAN + So what are you saying, Marlon, the + whole thing has been in my head--? + + MARLON + (meeting his gaze) + Not the whole thing, Truman. You + were right about one thing. + + TRUMAN + What's that? + + MARLON + The thing that started all of this. + + TRUMAN looks up in the direction of MARLON's gaze. A FIGURE + stands at the end of the freeway - a homeless man. It is + his father, KIRK. + + MARLON + Yes, he survived somehow. He's got + quite a story to tell. + + Marlon helps Truman to his feet, Truman still transfixed by + the figure. + + MARLON + Go to him. + + +104 INT. CONTROL ROOM - NIGHT 104 + + CHRISTOF continues to direct the action from what is now + revealed to be the control room of a television studio. + + CHRISTOF + Go wide, LightCam Eight -- + + In a wide shot, from one of the streetlights lining the + empty freeway, we see TRUMAN walking towards his long-lost + FATHER. + + CHRISTOF + -- CarCam Twelve -- and -- cue + music...Beethoven, Third Symphony, + Second Movement. + 73. + + + Music swells. Kirk and Truman embrace in the middle of the + freeway. Truman takes his father's ring from his own + finger. + + CHRISTOF + -- RingCam -- + + We see a close up of Kirk from the ring's POV. Truman + places the ring in the palm of his father's hand. + + CHRISTOF + -- ButtonCam Three -- + + We see a close up of Truman from a camera on Kirk's coat. + + TRUMAN + I never stopped believing. + + KIRK + (gazing at the ring, then + up to Truman's face) + Thank you -- my son. + + CHRISTOF + And wide -- + + SIMEON looks to his director. + + SIMEON + Close up? + + CHRISTOF + (staring intently at his + monitor) + No, hold back -- + + The CREW watches Kirk and Truman embrace. + + KIRK + All those years, wasted. + + TRUMAN + We have a lot of years ahead. + + +105 INT. CONTROL ROOM - NIGHT 105 + + CHRISTOF allows himself a smile of satisfaction. + + CHRISTOF + And fade up music -- now go in + close -- + 74. + + + As a tight two-shot of father and son fills the screen, the + orchestra swells with triumphant music. + + +106 EXT. FREEWAY - NIGHT 106 + + FATHER and SON remain in the embrace. Over Truman's + shoulder, we see a flash of guilt flicker across MARLON's + face. + + +107 INT. CONTROL ROOM - NIGHT 107 + + CHRISTOF, emotionally drained by the events, slumps in his + chair. CHOLE rests a supportive hand on his shoulder. The + head of the network, MOSES, a man in his seventies, enters + with his young assistant, ROMAN - their faces full of + admiration. + + MOSES + Well done. Well done, everyone. + + +108 INT. A BEDROOM SOMEWHERE - NIGHT 108 + + A YOUNG WOMAN reclines on a bed, her back against the wall. + Propped up on her knees is a book. However, she's not + reading but staring straight into camera, a look of + profound sadness on her face. It is SYLVIA. + + From her point-of-view, we see a portable television set on + a table at the foot of the bed. + + On the television is a live picture of TRUMAN, the first + time we have seen him on a television screen. He is sitting + at his kitchen table, unaware of the cameras recording him. + + The shot is static. He just sits there in silence, a + steaming cup of cocoa in front of him and a plate of + untouched cookies. + + At one point, a sponsor's border, appears on the screen, + tastefully framing the "action", with the message, "MOCOCOA + - Cocoa beans from the upper slopes of Mount Nicaragua". + After several seconds the border disappears. + + Suddenly, the live picture of Truman shrinks into a window + on the screen to accommodate a title sequence that begins + to play around the edge of the image. "The Truman Show" + theme music begins. + + The camera cranes up and over the Hollywood sign, the + flatlands of Burbank stretching into the distance. + 75. + + + ANNOUNCER (V.O.) + From the network that never sleeps + - broadcasting live and unedited 24 + hours a day, 7 days a week, around + the globe -- + + During this continuous aerial shot, overlapping scenes from + Truman's life appear in chronological order, from infancy + to adolescence and finally adulthood. Photographs of + leading CAST MEMBERS also appear in individual frames. + + ANNOUNCER (V.O.) + -- with Hannah Gill as Meryl + Burbank, Louis Coltrane as Marlon, + Alanis Montclair as Mother, re- + introducing Walter Moore as her + husband, Kirk -- + + The music swells as the camera approaches a mammoth + structure at the base of the mountains - a dome so vast it + dwarfs everything around it. At the top of the dome is a + huge painting of Truman's face encircled by satellite + dishes - inside each dish is a single letter spelling out, + T-H-E T-R-U-M-A-N S-H-O-W - a banner proclaims, "30th Great + Year" + + ANNOUNCER (V.O.) + -- and Truman Burbank as Himself, + taped in the world's largest + studio, one of only two man-made + structures visible from space, + comes the longest running + documentary soap opera in history, + now in its 30th great year - "The + Truman Show"! + + The camera rushes towards the outside wall of the gigantic + dome bathed in sunlight. When we emerge on the other side, + it is night. The camera cranes up from a calm, moonlit + ocean to the nightsky above. As we near the crescent-shaped + moon, we discover that it is actually a window overlooking + Seahaven. Standing in the "crater" window is the suited + CHRISTOF. + + +108A INT. LUNAR STUDIO - NIGHT 108A + + Pulling back from the window we reveal an INTERVIEWER, mid- + forties, conservative suit and hair. A large television + shows a live picture of Truman. Immersed in his book. + + INTERVIEWER + 76. + + + I'm your host, Mike Michaelson, + coming to you live from the Lunar + Room on the 121st story of the + OmniCam Ecosphere, 2800 feet above + Seahaven Island. Tonight, a special + edition of "Tru Talk", the forum + where we discuss and analyze recent + events on the show. We are honored + to bring you a rare and exclusive + interview with the show's + conceiver, creator, tele-visionary, + the Man-In-The-Moon himself-- + Christof. + (referring to the image + of Truman between them) + I remind viewers that as "The + Truman Show" is a living history, + it is our practice to keep the + image of Truman on screen at all + times. + + A TITLE APPEARS: Due to the Live and Unedited nature of the + program, viewer discretion is advised. + + The Interviewer turns to Christof. + + INTERVIEWER + Welcome. + + CHRISTOF + Thank you. + + INTERVIEWER + The catalyst for the recent + dramatic events was of course + Truman's father, Kirk, and his + infiltration onto the show. Before + we discuss that, it's worth + reminding viewers that this isn't + the first time someone from the + outside world has tried to reach + Truman. + + CHRISTOF + We have had our close calls in the + past. + + Behind the two men, the constantly playing image of Truman + engrossed in his book is relegated to a window of the + screen. + + +109 PLAYBACK - INT. TRUMAN'S HOME - CHRISTMAS MORNING 109 + 77. + + + TRUMAN, 7, is opening presents under the tree, KIRK and + MOTHER proudly looking on. + + INTERVIEWER + Who can forget the infamous + "Christmas Present" incident in the + seventh season? + + Suddenly, a small MAN bursts from a large, Christmas + parcel. Kirk and the man grapple on the floor in front of + the stunned seven-year-old. Kirk drags him away. + + +110 PLAYBACK - EXT. CITY STREET - DAY 110 + + As the adult TRUMAN makes his way to work, a PARACHUTIST + drops from the sky into the main street, only yards behind + him. + + INTERVIEWER + And only last summer "Billie + Blackbird" made his third attempt, + leaping from a lighting gantry. + + The parachutist is dressed entirely in black with a message + emblazoned on his chest, "TRUMAN, YOU'RE ON TV." COMMUTERS + grab the man and drag him away - Truman blissfully unaware + of the incident. + + CHRISTOF + (dismissive) + These people have their own + agendas. Many just want to be on + television themselves. + + +111 PLAYBACK - EXT. CITY STREET - DAY 111 + + The encounter between TRUMAN and the homeless KIRK is + replayed up to the point where Kirk is bundled onto the + bus. + + INTERVIEWER + Of course, there hasn't been + anything to compare with this -- + the first time an intruder has been + a former cast member -- + + CHRISTOF + -- a dead one at that. + + INTERVIEWER + 78. + + + -- and certainly the first time + that an intruder has been rewarded + with a starring role. + (gushing) + I really must congratulate you on + writing Kirk back in. A master + stroke. + + CHRISTOF + (feigning modesty) + Since Kirk started this whole + crisis in Truman's life, I came to + the conclusion that he was the only + one who could end it. + + INTERVIEWER + I understand he's hardly had a life + of his own since he left the show. + How did you convince him--was it + the opportunity to be close to + Truman again? + + CHRISTOF + That and a fat, new contract. + + INTERVIEWER + How do you intend to explain his + twenty-two year absence? + + CHRISTOF + Amnesia. + + INTERVIEWER + (impressed, nodding in + agreement) + Of course. + +The Interviewer consults his note. + + INTERVIEWER + Let's talk ratings. "Truman" has + always enjoyed top ten status but + the huge surge over the last few + days -- how do you hope to sustain + that audience now that Truman + appears to have reconciled himself? + + CHRISTOF + 79. + + + As you know ratings have never been + our primary goal. I imagine we'll + lose those voyeurs only interested + in witnessing Truman's latest + torment. However, I'm certain that + our core audience will remain + loyal. + + INTERVIEWER + But recent events have been so + dramatic, it does raise the + perennial question. What keeps us + watching this one man twenty-four + hours a day - eating, sleeping, + working, sitting for hours in + contemplation? + + CHRISTOF + It has to be the reality. + +During this segment, we cut to a cross-section of VIEWERS, +the WAITRESS and BARMAN in the bar, the TWO OLD WOMEN on +their sofa, the TWO SECURITY GUARDS, and the MAN in the +bath, listening to Christof's theories on their viewing +habits. + + CHRISTOF + We've become tired of watching + actors give us phony emotions, + bored with pyrotechnics and special + effects. While the world he + inhabits is counterfeit, there's + nothing fake about Truman himself. + No scripts, no cue cards. It's not + always Shakespeare but it's + genuine. That's how he can support + an entire channel. + + INTERVIEWER + A window onto the human condition? + + CHRISTOF + I prefer to think of it as a + mirror. + +At that moment, Truman, still live on the screen, +unwittingly punctuates the pretentious remark with a belch. +Christof and the Interviewer try not to notice. + + CHRISTOF + Not only does he give us a glimpse + of the truth, he gives us a glimpse + of ourselves. + 80. + + + INTERVIEWER + But how do you account for the + popularity of those eight hours a + day when Truman sleeps? + + CHRISTOF + We find many viewers leave him on + all night for comfort. Haven't you + ever watched your child or your + lover sleep? + + INTERVIEWER + Let's go to some of those viewers' + calls. + +The Interviewer presses a blinking, illuminated button on +his desk's high-tech phone terminal. During this segment, +various windows open on the screen advertising products +from the "Truman" catalogue. + + INTERVIEWER + Charlotte, North Carolina, for + Christof. + + MALE CALLER 1 (O.S.) + Hello? + + INTERVIEWER + You're on, Caller. Go ahead. + + MALE CALLER 1 + Christof, it's a great honor to + speak with you. + + CHRISTOF + Thank you. + + MALE CALLER 1 + How much of a strain has the last + few days placed on the actors? + + CHRISTOF + Working on "Truman" has always been + a huge commitment for an actor, not + just in terms of separation from + friends and family, but since + Truman essentially drives the plot, + it is a never-ending improvisation + - witness Marlon's extraordinary + performance in the recent "Father + And Son Reunion" episode. + + INTERVIEWER + 81. + + + (cutting off the call) +Are we talking Emmies? + + CHRISTOF +Certainly a nomination. + + INTERVIEWER +Of course, Truman has always been +very much in on casting. + + CHRISTOF +As with our own lives, the only +people he can't cast are his +family. Otherwise he has final +approval, able to elevate an extra +into a lead role as was the case +with his only real friend, Marlon, +or alternatively relegate a star to +a bit player. + + INTERVIEWER + (presenting another line) +Istanbul, Turkey, you're on with +master videographer, Christof. + + FEMALE CALLER 1 (O.S.) +Christof, I've admired your work my +whole life, although I can't say +I've seen it all. + + CHRISTOF +Who can? + + FEMALE CALLER 1 +Can you settle an argument for me? +What's the longest time Truman has +been off-camera? + + CHRISTOF + (trace of pride) +In his entire life, forty-two +minutes. A technical fault in the +twelfth season accounts for most of +that time. The remainder generally +results from blindspots, in the +early days, when Truman would stray +out of range of our cameras. + + INTERVIEWER +We should remind viewers that +Truman, especially as a child, +presented a challenge for the +production. + 82. + + + CHRISTOF + (turning to the screen) + Let me demonstrate some examples. + +Footage of TRUMAN as a baby appears on the screen as a +newborn INFANT, held in a pair of anonymous latex-gloved +hands, and as a TODDLER, dressed in various baby outfits, +on one occasion looking through the bars of his crib. + + CHRISTOF + He was curious from birth - + premature by two weeks, as if he + couldn't wait to get started. + + INTERVIEWER + Of course, his eagerness to leave + his mother's womb also meant he was + the one selected. + + CHRISTOF + (enthusing) + In competition with five other + unwanted pregnancies - the casting + of a show determined by an air date + - he was the one who arrived on + cue. + + INTERVIEWER + Who knew that a show originally + meant to last one year - "Bringing + Up Baby" - would turn into a + "cradle to grave" concept. He is in + fact the first child in the world + to be legally adopted by a + corporation. + + CHRISTOF + That's correct. + + INTERVIEWER + And the show now generates a yearly + income equivalent to the gross + national product of a small + country. + + CHRISTOF + People forget it takes the + population of an entire country to + keep the show running. + + INTERVIEWER + No, of course not. + 83. + + + (quickly changing the + subject) + And since the show runs 24 hours a + day with no commercial breaks the + staggering profits are all + generated from product placement. + + CHRISTOF + Yes, everything you see on the show + is for sale -- from the actors' + wardrobe, food products, to the + very homes they live in -- + + INTERVIEWER + All products carefully chosen and + tested by you for quality and + aesthetic value. + + CHRISTOF + There's nothing on the show I don't + use myself. + + INTERVIEWER + And it's all available in the + "Truman" Show" catalogue. Operators + are standing by. + +Christof nods. + + INTERVIEWER + Why do you feel that Truman's never + come close to discovering the true + nature of his world? + + CHRISTOF + We accept the reality of the world + with which we're presented. As the + show expanded, naturally we were + forced to manufacture ways to keep + Truman in Seahaven - demonstrating + that every venture is accompanied + by a risk. + +The SEVEN-YEAR-OLD TRUMAN we have seen in other flashbacks +appears on the screen. Wearing a cowboy outfit, he goes to +cross the walkway of a bridge when he is suddenly +confronted by a savage DOG wearing a spiked collar. + + CHRISTOF + Later, Kirk's drowning made much of + this kind of intervention + unnecessary. + 84. + + +We freeze on seven-year-old Truman's terrified face. + + INTERVIEWER + You've never actually met Truman, + yourself. Never thought about doing + a cameo -- playing a veterinarian, + or a priest, something like that? + + CHRISTOF + I've been tempted. But I think it's + important to retain objectivity. I + wouldn't want to get emotionally + caught up. + + INTERVIEWER + The Hague for Christof -- The + Hague? -- lost them. + (pressing another line) + Hollywood, California, you're on + "Tru Talk." + + FEMALE CALLER 2 (O.S.) + How can you say he lives a life + like any other? + + CHRISTOF + (sensing the thinly + disguised resentment in + the Caller's voice) + As the Bard says, "All the world's + a stage, and all the men and women + merely players." The only + difference between Truman and + ourselves is that his life is more + thoroughly documented. He is + confronted with the same obstacles + and influences that confront us + all. He plays his allotted roles as + we all do -- + + FEMALE CALLER 2 + -- He's not a performer. He's a + prisoner. + +The Interviewer goes to cut off the call, but Christof +stops him. + + CHRISTOF + (rising to the challenge) + 85. + + + And can you tell me, caller, that + you're not a player on the stage of + life -- playing out your allotted + role? He can leave at any time. If + his was more than just a vague + ambition, if he were absolutely + determined to discover the truth, + there's no way we could prevent + him. I think what really distresses + you, Caller, is that ultimately + Truman prefers the comfort of his + "cell" as you call it. + + FEMALE CALLER 2 + (as if trying to convince + herself, giving herself + away) + -- No, you're wrong! He'll prove + you wrong! He can still do it! + + The Interviewer hangs up on the caller. + + +112 INT. A BEDROOM SOMEWHERE - NIGHT 112 + + In a darkly lit room, we see SYLVIA. It is she who is the + confrontational Caller - phone still in her hand. + + CHRISTOF + We've learnt about life as Truman + has and, despite the complaints of + a minority, it's been an + overwhelmingly positive experience, + for Truman and for the viewing + public. + + INTERVIEWER + Let's take another call. + (pressing a line) + London, England, you're on "Tru + Talk." + + MALE CALLER 2 (O.S.) + Christof? Congratulations on the + way you've always handled Truman's + "sex" life - the classical music, + soft lighting and so on. But has + the recent violence caused a + problem for the show's sponsors? + + CHRISTOF + 86. + + + The sponsors know the risks going + in, although we do try to maintain + standards - a level of decorum. For + instance, I've never put a camera + in the toilet. + + Still in silhouette, SYLVIA turns down the volume on the + television. Focusing on the window on the screen that + displays TRUMAN, she comes close to the screen, catching + his melancholy, saddened by his regression. + + +113 INT. TRUMAN'S BASEMENT - MORNING 113 + + TRUMAN breathes in the scent of Sylvia's sweater one last + time before reluctantly replacing it in the trunk, together + with his book, "To The Ends Of The Earth - The Age Of + Exploration". For a final time, he regards his unfinished + picture of SYLVIA inside - two holes where the eyes should + be. As he does so, he finds two lost paper cuttings - a + pair of eyes on the basement floor. He tries them. + Ironically they fit - the picture completed. He closes the + trunk anyway. With a sense of finality, he fastens the + lock. + + +114 INT. CONTROL ROOM - NIGHT 114 + + The giant ON-AIR monitor in the control room plays a close- + up shot of Truman sleeping. + + CHRISTOF comes close to the monitor and almost touches the + screen. As he does so, Truman twitches in his sleep. + + +115 INT. BATHROOM - MORNING 115 + + TRUMAN wipes the mist from the mirror of the bathroom + cabinet and stares into it in a way he has never done + before. + + +116 INT. CONTROL ROOM - MORNING 116 + + Close up on the giant ON-AIR monitor in the control room. + It displays a wide shot of Truman staring into the bathroom + mirror. + 87. + + + We slowly pull back to reveal SIMEON and the other VIDEO + OPERATORS sitting at the mixing desks arranged in tiers + reminiscent of an auditorium or NASA's Mission Control. + Each mixing desk contains a dozen-or-so built-in monitors + and is designed with a location such as "Truman's House - + Interior", "Truman's Office - Cubicle", "Tyrone's Deli". + The operator at each desk, sitting in a swivel chair and + wearing the slimmest of headsets, is responsible for + monitoring a particular location. + + The monitors cover virtually every facet of Truman's life. + Camera angles from the interior of Truman's house, his + backyard, car, office, the deli he frequents, the seashore + to which he is drawn, the unfinished bridge where he golfs + with Marlon - many of the locations strangely devoid of + people. + + Simeon, seated in the front row of mixing desks, stares + back at Truman's image on the monitor, slightly unnerved. + + SIMEON + (to a nearby COLLEAGUE) + Is he looking at us? + + As if to reassure the technician, Truman begins one of his + familiar monologues. He talks to the mirror as if being + interviewed. + + TRUMAN + -- What are my plans now? Well, + next I'm thinking of tackling the + Yuba River in an authentic canoe + from the Algonquin tribe. -- I'm + talking about the north fork, a + class five rapid - only I'm not + going down the Yuba, I'm going up. + Do you honestly think for one + minute I'd go back to some dreary + office to rubber stamp meaningless + documents -- do you? + + MERYL (O.C.) + -- Truman, you're gonna be late! + + Truman sighs as he exits the bathroom. + + +117 EXT. STREET - MORNING 117 + + TRUMAN exchanges a cheery greeting with SPENCER. + + SPENCER + How are ya, Truman? + 88. + + + TRUMAN + Inhale -- exhale -- same old thing. + + He waves to the WASHINGTONS across the street. He pets + PLUTO the dog. + + +118 INT. OFFICE - DAY 118 + + Back at work at the insurance company, TRUMAN sits in his + cubicle making another of his cold calls. + + TRUMAN + -- a forty-two year old woman + sitting in the second row at an + amateur production of Hamlet, + Hamlet's dagger slips from his hand + and flies into the audience -- + + A YOUNG WOMAN, carrying a stack of files, catches Truman's + eye as she passes. VIVIAN. She is faintly reminiscent of + Sylvia at the same age, even wearing a similar sweater. + + TRUMAN + (returning to his call) + -- what I'm saying is, life is a + fragile thing -- hullo? + + +119 EXT. TRUMAN'S BACKYARD - DUSK 119 + + TRUMAN wheels his lawnmower, deliberately averting his eyes + from the back of the house. Staring out of the kitchen + window, a tall glass of iced tea in her hand, MERYL has + been anticipating her husband's appearance. She wears a + neckbrace, we sense more as a reminder to Truman than for + any medical benefit she might derive. + + Feeling Meryl's eyes burning into his back, Truman fires up + the mower and heads directly towards the symbolically uncut + section of grass. We focus on the errant blades of grass as + they are severed by the mower, a new Elk Rotary. The lawn + is now uniformly trimmed, Truman's final act of defiance + laid to rest. + + +119A INT. STUDIO - CONFERENCE ROOM - NIGHT 119A + + CHRISTOF stands at a large, specially screened window, + silhouetted against the twinkling stars and full moon of a + hyper-real nightsky. + 89. + + +Members of the cast enter the room, principal characters in +Truman's life, MERYL, MARLON, MOTHER, KIRK, TYRONE, +LAWRENCE and the new actress, VIVIAN. They take their +places around a long, oval table for a story conference, +Vivian sitting slightly apart from the rest of the cast. + +We glimpse over Christof's shoulder at what he sees the +town of Seahaven far below, bathed in moonlight. He comes +out of his reverie and joins his cast, sitting at the head +of the table. In front of him, a TV "tablet" plays silently +showing Truman drinking a glass of milk in his kitchen. + + CHRISTOF + (to the assembled cast) + First of all, I'd like to welcome + Walter back onto the show. + (nods in Kirk's + direction) + You may have done us more of a + favor than you ever imagined. + (turning to Meryl, using + her real name) + Regrettably, I also have to inform + you that Hannah has chosen not to + renew her contract. + +All eyes turn to Meryl. She looks at the floor. + + CHRISTOF + I'm sure we can all respect her + reasons. + +Meryl receives a sympathetic squeeze of the hand from her +co-star Marlon, now out of wardrobe, wearing an Armani +suit. + + CHRISTOF + As you all know, we have already + begun to orchestrate her break-up + from Truman. + (more up-beat) + However, on a more optimistic note, + I'm pleased to announce that + television's first on-air + conception will still take place. + You witnessed the initial contact + this morning. + (glancing to Vivien, once + again using her real + name) + You all know Claudia from her work + in theater. + 90. + + + MOTHER + I loved your Ophelia. + + CLAUDIA + Why thank you. + +The rest of the cast nod politely in Claudia's direction. +CHLOE passes out a bound document to each cast member. + + CHRISTOF + (referring to the + documents) + This is a copy of Claudia's back + story. Her character's name is + "Vivien". + +The cast idly flips through the documents, prominently +stamped on the cover, "NOT TO BE TAKEN ON SET". + + CHRISTOF + We intend to entice Truman into the + affair as soon as possible. Claudia + will make a pass at the insurance + seminar Truman's attending. Details + are in your schedules. + (pause for effect) + I don't have to tell you how + critical the next few weeks will + be. This takes us into the next + generation. When Truman's child is + born, the network will be switching + to a two-channel format to + chronicle both lives. + + CLAUDIA + What happens when Truman and the + baby are both on camera together? + + CHRISTOF + This will simply be duplicate + coverage. + + CLAUDIA + (mischievous) + Let's just hope we don't have + twins. + + MARLON + (uncharacteristically + flippant) + When Truman dies do we go back to + the single channel? + 91. + + + The cast turn in his direction. Christof shoots him a + disapproving look. + + +120 INT. TRUMAN'S BASEMENT - NIGHT 120 + + TRUMAN sleeps on a cot bed in his basement more cluttered + than usual. A virtual bombsite, dozens of cardboard boxes + stacked everywhere. Although he is covered in bedding, his + sock-clad feet stick out of the bed covers. The outline of + his body is still clearly visible. He snores quietly. + + +121 INT. VARIOUS VIEWER LOCATIONS - NIGHT 121 + + The TWO OLD LADIES have nodded off on their sofa in front + of the television, their breathing and occasional snores + echo those of Truman. + + In the BAR, the WAITRESS normally an avid viewer, only idly + glances to the screen as she passes with a tray of drinks. + + The MAN in the bath resignedly lets the water out of the + tub and goes to get out. + + The MOTHER only occasionally glances to the screen as she + feeds her BABY. Her DAUGHTER has her eyes closed, bopping + to her Walkman. + + +122 INT. CONTROL ROOM - NIGHT 122 + + SIMEON sits at his control desk, directing the "night- + shift". He pays scant attention to the big screen, giving + his instructions in a lethargic, metronomic manner. + + SIMEON + -- Ready two. Go to two. + + An OPERATOR, eating a slice of pizza, presses one of the + illuminated buttons on the panel and the camera angle + changes to a close shot of Truman's covered head. The + camera stays on the blanketed head for a long moment. + + SIMEON + And back to the medium -- + + Another button is pressed and the angle changed. A trace of + frustration is evident in the control room. Recording a + sleeping subject is unrewarding enough without also having + to contend with Truman's recently acquired camera-shyness. + + SIMEON + 92. + + + -- and wide -- + + OPERATOR + (aside to Simeon) + What a loser. + + SIMEON + Who cares? Makes life easier for + us. He is what he is. + +At the far end of the control room, one of the large double +doors opens and CHRISTOF enters, dressed in a smoking +jacket. Simeon and the Operators subtly straighten in their +chairs. Christof pretends not to notice. He is staring +intently at the ON-AIR monitor. + + CHRISTOF + Why is he in the basement? + + SIMEON + He moved down there after Meryl + packed up and left. + + CHRISTOF + Why wasn't I told? Any + unpredictable behavior has to be + reported. + (returning to the screen) + Is that the best shot we can get? + + SIMEON + What's to see? + + CHRISTOF + What's on the ClockCam? + +The operator punches up the camera hidden inside a broken +cuckoo clock. A box obscures the view. + + OPERATOR + There's an obstruction. + +Christof watches Truman, a trace of concern in his eyes. +CHLOE enters. + + CHRISTOF + (referring to the debris + in Truman's basement) + What happened down there? + + SIMEON + He was tidying up his garbage. + 93. + + + (sensing Christof's + concern) + I was going to call you. But half- + way through, he gave up and fell + asleep. + +Apparently satisfied, Christof turns to an Operator. + + CHRISTOF + I want to check the set-ups for + tomorrow's insurance convention. + +Reading off the notes in Chloe's folder, the Operator +punches up a batch of camera angles on smaller preview +monitors. They show a generic-looking hotel, devoid of +actors. A banner in reception reads, "Welcome Seahaven Life +and Accident". + +The Operator looks to Christof for approval and realizes +his producer's attention has wandered. Christof has +wandered down to the front of the room to stand beside the +giant ON-AIR monitor still displaying the sleeping figure +of Truman. + + CHRISTOF + Give me a shot from Truman's ring. + + SIMEON + He gave it back to his father. + +Christof nods. + + CHRISTOF + (a trace of concern) + Why is he so still? + +Christof picks up a spare headset from the panel and puts +it to his ear. + + CHRISTOF + Isolate the audio. + +An Operator pushes up an audio fader on the panel. Christof +and his colleagues listen to Truman's steady breathing in +their headphones. + + SIMEON + (shrugs) + He's still breathing. + +Simeon and the Operators nod, reassured that nothing is +amiss. Christof is not so easily convinced. + 94. + + + CHRISTOF + Give me a preview. + + An ECU on his torso. + + A camera hidden in the room's lamp zooms in to Truman's + prone outline. While the breathing remains steady, the body + does not rise and fall. Christof, still listening to his + headphones, detects a faint scratching sound followed by a + strange thud. + + CHRISTOF + (anxious, barking a + command to Chloe) + Phone him. + + Chloe picks up a phone connected to the desk and dials. + + CHRISTOF + (anticipating Chloe's + question) + Tell him it's a wrong number. + + The upstairs phone begins to ring. Truman doesn't flinch. + + +123 INT. AN OFFICE BUILDING SOMEWHERE - RECEPTION - NIGHT 123 + + The TWO SECURITY GUARDS are intrigued by Truman's + unanswered phone on their television set. + + +124 INT. CONTROL ROOM - NIGHT 124 + + CHRISTOF and SIMEON concentrate on another, separate + monitor playing in fast-rewind, time code in the bottom + right-hand corner. It is a recording of the night's + transmission. Simeon pauses on the last on-camera + appearance by Truman. + + They watch Truman, on-screen, switch off the basement light + and climb into the cot bed fully clothed, immediately + pulling the covers over his head. As the light is switched + off, the recording camera automatically switches to night + vision. Simeon continues to play at normal speed, now and + then scrolling forward in fast-forward mode. Christof + suddenly points to screen. + + CHRISTOF + There. Freeze -- Zoom into the + chair -- + + Simeon types the appropriate command. + 95. + + + CHRISTOF + Enhance -- there! + + On the blown-up screen, between a cardboard box and a chair + leg, it is barely possible to make out Truman's hand as he + crawls commando-style from beneath the covers and behind a + cardboard box near the large tool cupboard. + + Simeon points out an angle of the empty staircase. + + SIMEON + He hasn't gone up the stairs. He's + still in the room. + + +125 EXT. TRUMAN'S HOUSE - NIGHT 125 + + MARLON's car squeals to a halt outside Truman's house. + Hurriedly dressed in jeans and coat over a bare chest, he + dashes barefoot up the porch to the front door. He tries + the doorhandle, pounds on the door and rings the doorbell + simultaneously, shouting Truman's name all the while. + + MARLON + Tru! Tru! Earthquake alert -- + flood! We've gotta get outside onto + the street! Tru?! + + Frustrated, Marlon picks up one of Meryl's carefully + nurtured flower pots from beneath the porch window. + + MARLON + (shouting a warning) + I'm coming in, Tru! + + Marlon hurls the flower pot through the window. + + +126 INT. TRUMAN'S HOUSE - BASEMENT - NIGHT 126 + + MARLON switches on the light and clambers down the wooden + stairs to the basement. + + He pushes away the clutter and finally stands at his co- + star's bedside. He gingerly lifts the covers. Beneath the + bedding, clothes have been carefully piled to resemble a + sleeping figure, socks placed on the end of two tree + branches. + + Buried amongst the clothes is Truman's portable tape + recorder. Marlon places the recorder next to his ear. The + cassette plays the sound of TRUMAN BREATHING. + 96. + + +127 INT. CONTROL ROOM - NIGHT 127 + + CHRISTOF stares, wide-eyed, at the image on the On-Air + monitor of MARLON. + + CHRISTOF + Find him, Marlon! + + +128 INT. BASEMENT - NIGHT 128 + + MARLON starts frantically pushing aside the clutter, + sending Truman's model ships and other hobbies crashing to + the floor. Eliminating all over possible hiding places, he + confronts Truman's tool closet, the wall map of the Fiji + Islands still hanging on the door. Marlon rips open the + door and is hit with a shaft of light, moonlight. + + The top of the closet has been removed and a crude tunnel + containing a ladder heads almost directly upwards to the + outside of the house. The bottom of the closet is ankle + deep with dirt. Embedded in the tunnel wall is Meryl's + Chef's Mate, Truman's digging implement. + + +129 EXT. TRUMAN'S HOUSE - NIGHT 129 + + MARLON's head pops up outside the house. Unable to help + himself, Marlon looks directly into a wide shot camera + concealed in a streetlight. + + +130 INT. CONTROL ROOM - NIGHT 130 + + CHRISTOF + Marlon, don't look at the camera! + Say something! + + MARLON + (to streetlight, stunned, + breaking the fourth wall) + What? He's gone! + + CHRISTOF + (to Simeon, quiet but + firm) + Cut transmission. + + Simeon hesitates, unsure if he has heard correctly. He + looks to Christof for confirmation, his finger poised over + an "EMERGENCY" button. + + CHRISTOF + 97. + + + (enraged) + I said, "Cut!" + + Christof lunges forward and presses the button himself. The + scene in Truman's bedroom playing on the on-air monitor is + abruptly replaced by the "TRUMAN" logo and the message, + "TECHNICAL FAULT. PLEASE STAND BY." + + +131 INT. A LIVING ROOM SOMEWHERE - NIGHT 131 + + The TWO OLD WOMEN on the sofa are stunned to see their TV + screen go blank. + + +132 INT. A BAR SOMEWHERE - NIGHT 132 + + HEADS also turn in the bar permanently tuned to the + "Truman" channel. + + +133 INT. AN APARTMENT SOMEWHERE - NIGHT 133 + + The other loyal viewer transfixed by the test card is + SYLVIA, alone in her darkened apartment. + + +134 INT. CONTROL ROOM - NIGHT 134 + + Reminiscent of a military headquarters in wartime, the + control room is a scene of barely controlled panic. + SECURITY GUARDS come and go, phones ring, lights flash, + every available VIDEO MIXER is working. The monitors, the + "eyes" of the searchers are systematically scrutinized for + any sign of Truman. CHRISTOF orchestrates operations from + his position at the center of the control panel. + + SIMEON + (nervous) + We've declared a curfew. Everyone + else is at first positions. + + CHRISTOF + All prop cars accounted for? + + SIMEON + He has to be on foot. He has the + world's most recognizable face. He + can't disappear. + + +135 EXT. SEAHAVEN - MAIN STREET - NIGHT 135 + 98. + + + We pan down one empty street after another. The town center + is totally, eerily deserted. Suddenly, a line of PEOPLE + comes around the corner, fanned out cross the street a man- + hunt. + + PEOPLE of every description, shoulder to shoulder, marching + down the otherwise empty streets the way a search is + conducted at a crime scene. The lines include PRINCIPALS + and EXTRAS lined arm and arm, wardrobed for their usual + roles as EXECUTIVES and SECRETARIES, STORE CLERKS, + TELEPHONISTS, MAINTENANCE and CONSTRUCTION WORKERS, WAITERS + and WAITRESSES, COOKS, SHOPPERS, HEALTH WORKERS, SECURITY + GUARDS, POSTAL WORKERS, POLICE OFFICERS, FIRE FIGHTERS and + HOMELESS PEOPLE. + + We occasionally glimpse Truman's friends and colleagues + amongst the searchers, MARLON, LAWRENCE, MOTHER & KIRK, + VIVIEN and TYRONE. Even the WASHINGTON's and SPENCER and + PLUTO have joined the search - a snarling Pluto straining + at the leash has now assumed the role of tracker dog - + Truman's pajamas waved in front of his nose (clearly + miscast as the friendly, neighborhood pooch). + + Searchlights from Seahaven's many towers sweep the town. + Once, the light falls on a blackened face cowering in the + bushes beside a picket fence - the fence now faintly + reminiscent of prison bars. Even the beam of the full moon + appears to be sweeping the town like a searchlight. + + +136 EXT. BRIDGE - NIGHT 136 + + Barriers have been erected at the bridge leading out of + Seahaven, guarded by several Seahaven police cars. + + An extra dressed as a DERELICT wheels his shopping cart + toward the bridge. + + The derelict takes a look along the walkway alongside the + bridge as if participating in the search. He finds a POLICE + OFFICER standing on the walkway. + + POLICE OFFICER + Any sign of him? + + DERELICT + (gravelly voice) + Not yet. + + POLICE OFFICER + Take it easy. + 99. + + +137 INT. CONTROL ROOM - NIGHT 137 + + A VIDEO OPERATOR in the sixth row watches the scene on one + of his monitors - the derelict standing with his back to + camera. Just as the derelict turns toward camera the + Operator turns away to take a sip of coffee. He misses what + we see on his monitor - the derelict's blackened face + belongs to TRUMAN. + + +138 EXT. BRIDGE - NIGHT 138 + + The disguised TRUMAN heads back to town. + + +139 INT. CONTROL ROOM - NIGHT 139 + + CHRISTOF turns to a LIGHTING TECHNICIAN. + + CHRISTOF + We need more light. + + +140 EXT. SEAHAVEN STREETS - NIGHT 140 + + A building-to-building, floor-to-floor, office-to-office + search is also being conducted, each structure secured as + they go, the SEARCHERS paying special attention to + potential blind spots such as closets, dumpsters, manholes, + sewers, car trunks, trees and shrubbery. + + We focus on one of the waves of searchers. TRUMAN has + linked arms in the middle of a row, his disguise still + holding up. + + +141 INT. CONTROL ROOM - NIGHT 141 + + CHRISTOF glances impatiently at his watch. + + CHRISTOF + We'll never find him like this. + What time is it? + + CHLOE + (anticipating the + request) + It's too early. + + CHRISTOF + It doesn't matter. Cue the sun. + 100. + + +142 EXT. STREETS - NIGHT/DAY 142 + + The sun instantly rises over Seahaven. CAST and EXTRAS + shade their eyes from the sudden glare. + + +143 INT. CONTROL ROOM - NIGHT 143 + + While his COLLEAGUES monitor the bank of screens, CHRISTOF + has been joined by the two anxious studio executives, MOSES + and ROMAN. + + MOSES + (to Christof who is still + studying the faces in a + row of SEARCHERS) + Rumors are circulating he's dead. + The media is in a feeding frenzy. + The phone lines are jammed. Every + network has a pirated shot of + Marlon in the closet. + + ROMAN + (pacing nervously) + The sponsors are threatening to rip + up their contracts. + + CHRISTOF + (unconcerned, referring + to the static "STAND BY" + graphic, now accompanied + by soothing classical + music) + Why? We're getting higher ratings + for that graphic than any time in + the show's history. + + +144 INT. BAR - NIGHT 144 + + The television above the bar carries the test card. PATRONS + animatedly discuss Truman's fate over their drinks. Some + place bets with each other on Truman's fate. + + +145 EXT. ELECTRONICS STORE - NIGHT 145 + + A CROWD of passersby hover around a display of televisions + in the window of an electronics store, awaiting + developments. + + +146 INT. CONTROL ROOM - NIGHT 146 + 101. + + + The fan of EXTRAS reaches the harbor and automatically + turns to make another sweep. + + CHLOE + (referring to the empty + streets) + When we flush him out how do we + explain this? + + CHRISTOF + (deadpan) + We tell him the truth. + + CHLOE looks askance at CHRISTOF. + + CHRISTOF + (joking darkly) + We're making a movie. + + +147 EXT. HARBORSIDE - DAY 147 + + However, as he bypasses the entrance to a ticket box, he + hasn't bargained on coming face to face with another + straggler from the search. + + MARLON. Truman freezes in front of his childhood companion, + Marlon instantly seeing through Truman's homeless disguise. + + Truman glances nervously in the direction of the searchers. + Their backs to the two men, they are beginning their next + sweep. One shout from Marlon will give Truman away, he is + at Marlon's mercy. + + Without a word, Marlon walks past Truman and rejoins the + search. + + Truman glances back to Marlon's retreating figure but + Marlon never looks back. + + +148 EXT. DOCKSIDE - DAY 148 + + TRUMAN reaches the edge of the dock. He looks out over the + bay. There, riding at anchor some two hundred yards out, is + a sail boat, the same boat that circled Kirk and Truman's + sail boat many years earlier. + + We see a close-up of Truman's terrified eyes in his + blackened face, staring down at the lapping water. He + steels himself, shuts out the doubts and dives into the + water. + 102. + + +149 INT. CONTROL ROOM - NIGHT 149 + + SIMEON + (hopeful) + I'm sure we'll get him on this next + sweep. + + CHRISTOF + (distracted) + What have we missed? + + SIMEON + It's just a matter of time. + + CHRISTOF concentrates on a monitor displaying a view of the + harbor. + + CHRISTOF + (to Simeon) + We're not watching the sea. + + SIMEON + (confused) + Why would we-- + + CHRISTOF + Sweep the harbor. + + His COLLEAGUES begin to flick through dozens of waterborne + hidden camera shots, in moored craft, lighthouses and + buoys, trying to locate Truman. + + Suddenly on one of the monitors there appears a single sail + etched against the horizon. + + SIMEON + That's got to be him! + + ROMAN + How can he sail?! He's in + insurance! + + CHRISTOF + Resume transmission. + + Simeon punches a button and the image of the sail boat is + instantly transferred to the large ON-AIR monitor. + + +150 INT. OLD WOMEN'S APARTMENT - NIGHT 150 + + The TWO OLD WOMEN doze against each other on the sofa in + front of the TV. + 103. + + + The classical music on the television is abruptly replaced + by the sound of the wind and the sea. One Old Lady blinks + her eyes open, her breath taken away by the sight of Truman + at the wheel of the sail boat. She rouses her companion. + + +151 INT. CONTROL ROOM - NIGHT 151 + + CHRISTOF + (staring intently at the + ON-AIR monitor) + What do we have on that boat? + + SIMEON scans a computer shot list. He types in a code. + + A camera from the mast of Truman's sail boat activates. + Truman, unaware of the camera, is concentrating on his + sailing. + + +152 EXT. HARBOR - DAY 152 + + By now the ocean spray has washed most of the dirt from + TRUMAN's face - only a residue remains. The rags he wears + are soaked. + + As he steers, he occasionally refers to a "HOW TO SAIL" + book from his coat pocket. + + +153 INT. A BATHROOM SOMEWHERE - NIGHT 153 + + The MAN in the bath we have seen earlier continues to watch + from his tub. + + MAN + (to himself) + I knew he wasn't dead. + + +154 EXT. HARBOR - DAY 154 + + TRUMAN is at the wheel of the sail boat, wind filling her + sails. + + Seahaven left far behind, his is the only craft afloat in + the harbor. He sets a course for the open sea as he and his + father did long ago. + + +155 INT. CONTROL ROOM - NIGHT 155 + 104. + + + CHRISTOF and the other PRODUCTION STAFF watch TRUMAN from a + buoy's POV as he sails by. + + CHRISTOF + Get another boat. + + CHLOE + The ferry. + + +156 EXT. FERRY TERMINAL - DAY 156 + + A PRODUCTION ASSISTANT runs down the dock towards the FERRY + CAPTAIN and his CREW. + + PRODUCTION ASSISTANT + Get that boat out there! + + FERRY CAPTAIN + (who also played the bus + driver) + I don't know how. We were just told + to put on these clothes. + + +157 EXT. HARBOR - DAY 157 + + The sea choppier now, rising and falling steeply beneath + his boat, TRUMAN nears a large buoy bobbing clumsily in the + strong swell. An official-looking sign on the buoy reads - + "DANGEROUS WATERS. DO NOT ENTER." We see an extreme close + up of the nautical signpost where a disguised miniature + camera tracks Truman's progress. + + +158 INT. CONTROL ROOM - NIGHT 158 + + ROMAN + (anxious) + How do we stop him? + + CHRISTOF + (glancing to Simeon) + How else? + + Christof nods to controls on the mixing desk marked, "WIND" + and "RAIN". + + +159 EXT. HARBOR - DAY 159 + 105. + + + Storm clouds roll towards TRUMAN's boat at an alarming + speed. He looks back towards the Seahaven skyline, rapidly + receding behind him. Doubts invade Truman's head but he + shuts them out and steers into the teeth of the storm - a + look of resolve in his eyes we have never witnessed before. + + +160 INT. CONTROL ROOM - NIGHT 160 + + MOSES and ROMAN pace at the back of the control room. + CHRISTOF is focused on his monitor. Like Truman, he steels + himself for a fight. + + CHRISTOF + Cue music -- + + SIMEON + (hesitant) + What music? + + CHRISTOF + (irritated) + Storm music -- Wagner -- + + CHLOE + (watching the monitor) + There's no rescue boat in the area. + He won't know what to do. + + MOSES + (trying to appeal to + Christof's sense of + reason) + For God's sake, Chris. The whole + world is watching. We can't let him + die in front of a live audience. + + CHRISTOF + He was born in front of a live + audience. + (never taking his eyes + from the screen) + Don't worry, he's not willing to + risk his life. His doubts will turn + him back. + + Simeon reluctantly winds the controls for "WAVE", "WIND" + and "RAIN" towards their maximum settings. + + CHRISTOF + Kill the lights. + 106. + + +161 EXT. HARBOR - DAY 161 + + Darkness suddenly descends. High winds and horizontal + driving rain buffet the boat. TRUMAN fights the tiller. + Hurricane force winds shake the mast and keel, ripping the + sails to shreds. + + Suddenly, the mast of Truman's boat is struck by a bolt of + lightning, snapping the rigging and knocking Truman + overboard. Flailing in the tempest, Truman manages to grab + hold of a trailing rope from the mast and hand-over-hand + drags himself back on board. Truman takes the rope and + lashes himself to the wheel. + + Monstrous waves continually submerge the boat. With what + little is left of his rigging, Truman continues to head + into the gale. + + TRUMAN + (shouting above screaming + up to the storm, the sky) + Come on, is that the best you can + do? You're gonna have to kill me! + + +162 INT. CONTROL ROOM - NIGHT 162 + + In contrast to his panic-stricken COLLEAGUES, CHRISTOF + gives an outward appearance of calm. Only we witness the + minute bead of sweat appearing at his temple that betrays + him. + + SIMEON + (shocked at the sight of + Truman binding himself to + the boat) + Is he out of his mind? + + MOSES + (to Christof) + On behalf of the studio, I demand + that you cease transmission. + + CHRISTOF + (defiant, to Operators) + Keep running! + + MOSES + - -That's not for you to say. + + CHRISTOF + I take full responsibility -- + 107. + + + MOSES + -- I'm telling you for the last + time. + + CHRISTOF + (to OPERATOR in front of + radar-style-screen) + How close is he? + + OPERATOR + Very close. + + CHRISTOF + Capsize him! Tip him over! + + MOSES + (overlapping) + For God's sake, Christof! + + CHLOE + (unable to contain + herself any longer, + entreating Christof) + You can't! He's tied himself to the + boat. He'll drown! + + SIMEON + (staring at Truman on the + monitor, becoming + affected by his display + of courage) + He doesn't care. + + CHRISTOF + (enraged, to the + Operator) + Do it! + + All eyes turn in Christof's direction. None of the + Operators is willing to touch the controls. + + Christof reaches to the panel and does it himself, turning + the "WAVE" controls to their maximum settings. + + +163 EXT. OCEAN - DAY 163 + + A series of giant breakers march in formation across the + sea, arising from an unseen source. + + +164 EXT. OCEAN - DAY 164 + 108. + + + The waves break across Truman's vessel. TRUMAN appears to + be losing his fight against the storm, each successive wave + taking its roll on his body, sapping his strength, his + bindings the only thing keeping him upright. His head + slumps, the tiller goes loose in his grasp, rocking out of + control. Truman's will is draining away. + + +165 INT. CONTROL ROOM - NIGHT 165 + + The control room CREW watch the heroic image of Truman on + the ON-AIR monitor, awestruck, as if they too are now + spectators watching a movie. + + +166 EXT. OCEAN - DAY 166 + + As he is about to be overcome by the next wave, TRUMAN + clamps the wheel with his whole body and braces for one + last wave. + + But the wave does not come. A strange phenomenon is + occurring in the ocean. A distinct division has appeared in + the ocean swell. Between the large rolling waves lies a + corridor of calmer water, several hundred yards wide, a + curious escape lane. The wind and the rain are also + subsiding, the darkness lifting. A mist clings to the + surface of the water. Truman steers his sail boat down the + eerie corridor. + + Several large, dark shapes emerge on the horizon. Land? + Islands? The shapes, containing some enormous mechanism + including a huge wheel, only half exposed above water + level, appear to be the source of the peculiar wave + formations. + + Truman continues to steer his wrecked sailboat towards the + infinitely receding horizon. All is calm until we see the + bow of the boat suddenly strike a huge, blue wall, knocking + Truman off his feet. Truman recovers and clambers across + the deck to the bow of the boat. Looming above him out of + the sea is a cyclorama of colossal dimensions. The sky he + has been sailing towards is nothing but a painted backdrop. + Truman looks upward, straining his eyes to see the top of + the sky, but it curves away at a steep angle beyond his + sight. + + Clinging to the boat with one hand, he tentatively reaches + out towards the painted cyclorama. He touches the sky. + + He looks about him and simply laughs. + 109. + + +167 INT. CONTROL ROOM - NIGHT 167 + + CHRISTOF and his PRODUCTION STAFF take in Truman's reaction + in stunned silence. + + +168 INT/EXT. BARROOM - LAUNDROMAT - STOREFRONT - APARTMENT - 168 + NIGHT + + Truman's laugh echoes around bars, offices, shops, homes + and streets wherever a television is to be found, no VIEWER + speaks. They too are stunned into a hushed expectancy. The + collective audience holds its breath. + + +169 EXT. OCEAN - CYCLORAMA - DAY 169 + + As the boat drifts alongside the seemingly never-ending + curve of the cyclorama, TRUMAN's attention is drawn to an + outline in the otherwise flawless backdrop. He retrieves + the identikit picture of Sylvia from his coat pocket and + clambers to the prow of the boat. + + There, camouflaged in the painted skyscape just above the + water line, is a door. Truman grabs hold of the recessed + doorhandle and halts the drifting boat. He stands in front + of the door and closes his eyes in a silent prayer. + + +170 INT. CONTROL ROOM - NIGHT 170 + + The control room CREW stare in silence at the monitor, + their very livelihood on the brink of vanishing. CHRISTOF + opens a small panel on his desk, breaks a seal, and speaks + into the emergency P.A. system that is linked to the entire + studio. + + CHRISTOF + Truman! + + +171 INT/EXT. OCEAN - CYCLORAMA - DAY 171 + + CHRISTOF's voice booms over the now calm ocean. + + CHRISTOF + Truman! + + TRUMAN drops the handle as if his hand has been burned. He + looks all about him. + + CHRISTOF (O.C.) + You can speak. I can hear you. + 110. + + + Truman takes a moment to overcome his fear and + astonishment. + + TRUMAN + Who are you? + + CHRISTOF + I'm the creator. + + Truman looks up to the "heavens". + + TRUMAN + The creator of what? + + CHRISTOF (O.C.) + A show, that gives hope and joy and + inspiration to millions. + + TRUMAN + (incredulous) + A show. Then who am I? + + CHRISTOF (O.C.) + You're the star. + + Truman struggles to take it all in. + + TRUMAN + Nothing was real. + + CHRISTOF + You were real. That's what made you + you so good to watch. + + Truman takes out the drenched picture of Sylvia, recalling + her words at the beach. + + TRUMAN + (to himself) + "The eyes are everywhere." + + +172 INT. CONTROL ROOM - NIGHT 172 + + CHRISTOF picks up a slim, flat monitor. He swivels in his + chair and gazes intently at the image of Truman he now + holds in his hands. + + CHRISTOF + Listen to me, Truman -- + + On the screen, Truman again reaches for the door handle. + 111. + + +173 EXT. CYCLORAMA - DAY 173 + + We focus on TRUMAN's hand. CHRISTOF's voice echoes across + the water. + + CHRISTOF + You can leave if you want. I won't + try to stop you. But you won't + survive out there. You don't know + what to do, where to go. + + A wave of doubt washes over Truman's face. + + TRUMAN + (referring to the photo) + I have a map. + + CHRISTOF + Truman, I've watched you your whole + life. I saw you take your first + step, your first word, your first + kiss. I know you better than you + know yourself. You're not going to + walk out that door -- + + TRUMAN + -- You never had a camera in my + head. + + +174 INT/EXT. VARIOUS LOCATIONS - NIGHT 174 + + The VIEWERS stare into camera in fascination. + + +175 INT. CONTROL ROOM - NIGHT 175 + + TRUMAN turns back to the sky, looking up towards CHRISTOF. + + CHRISTOF + Truman, there's no more truth out + there than in the world I created + for you - the same lies and deceit. + But in my world you have nothing to + fear. + + Truman seems to be considering the possibilities. He looks + to the identikit picture of Sylvia in his hand. + + CHRISTOF + (suddenly angry) + 112. + + + Say something, damn it! You're + still on camera, live to the world- + -! + + +176 INT. A ROOM SOMEWHERE - NIGHT 176 + + SYLVIA gazes at the picture of herself on her television + screen as if it is her reflection in the mirror. + + +177 EXT. CYCLORAMA - DAY. 177 + + TRUMAN hesitates. Perhaps he cannot go through with it + after all. The camera slowly zooms into Truman's face. + + TRUMAN + In case I don't see you--good + afternoon, good evening and good + night. + + He steps through the door and is gone. Silence. Then - + + +178 INT/EXT. VIEWERS - NIGHT 178 + + Spontaneous jubilation from VIEWERS in their various + locations, bars, homes and offices. We follow the figure of + SYLVIA, running through the streets. Some of the viewers + outside an electronics store glimpse her as she runs by. + + +179 INT. CONTROL ROOM - NIGHT 179 + + Even the cynical SIMEON jumps out of his seat, for the + first time in the film and lets out a joyous whoop, + forgetting himself for a moment, caught up in the drama. + + SIMEON + Yes! + + Self-conscious, he takes his seat again almost immediately. + His COLLEAGUES are transfixed by the live ON-AIR monitor + continuing to play its only available shot, the open door + in the sky. + + Gradually, the attention of those in the control room + shifts from the monitor to CHRISTOF. He sits slumped, + staring at the open door in the sky. + + Eventually MOSES looks to Simeon. Moses nods to the "ON + AIR" button. Simeon presses the button and the screen, the + movie screen, goes to static. + 113. + + +MONTAGE/END TITLES + +Highlights from "Truman - Total Record of a Human Life" +begin to play. + + FADE OUT + \ No newline at end of file diff --git a/scripts/The Wizard Of Oz.txt b/scripts/The Wizard Of Oz.txt new file mode 100644 index 0000000000000000000000000000000000000000..d7e5f4df9977bce3bdb5bd2ea1a49dbd5af15e9f --- /dev/null +++ b/scripts/The Wizard Of Oz.txt @@ -0,0 +1,8309 @@ + 1. + + + + FADE IN + +Title: + +For nearly forty years this story has given faithful +service to the Young in Heart; and Time has been powerless +to put its kindly philosophy out of fashion. + +To those of you who have been faithful to it in return + +...and to the Young in Heart --- we dedicate this picture. + + FADE OUT: + +MS -- Dorothy stoops down to Toto -- speaks to him -- then +runs down road to b.g. -- Toto following -- + + DOROTHY + She isn't coming yet, Toto. Did she + hurt you? She tried to, didn't she? + Come on -- we'll go tell Uncle + Henry and Auntie Em. Come on, Toto. + +LS -- Farm yard -- Dorothy enters left b.g. along road -- +Toto following her -- CAMERA PANS right -- she comes +forward thru gate -- runs forward to Aunt Em and Uncle +Henry working at Incubator -- + + DOROTHY + Aunt Em! Aunt Em! + +MS -- Aunt Em and Uncle Henry working with baby chicks in +incubator -- + +Dorothy runs in -- speaks to them -- Dorothy picks up baby +chick -- CAMERA TRUCKS back as Aunt Em and Dorothy come +forward -- Aunt Em puts chick in coop with hen -- then +TRUCKS forward as they go to b.g. to incubator -- + +Dorothy reacts -- Uncle Henry looks at her -- CAMERA PANS +her to left across yard -- + + DOROTHY + Aunt Em! + + AUNT EM + Fifty-seven, fifty-eight -- + + DOROTHY + Just listen to what Miss Gulch did + to Toto! She -- + 2. + + + AUNT EM + Dorothy, please! We're trying to + count! Fifty-eight-- + + DOROTHY + Oh, but Aunt Em, she hit him over + the -- + + UNCLE HENRY + Don't bother us now, honey -- this + old incubator's gone bad, and we're + likely to lose a lot of our chicks. + + DOROTHY + Oh -- oh, the poor little things. + Oh, but Aunt Em, Miss Gulch hit + Toto right over the back with a + rake just because she says he gets + in her garden and chases her nasty + old cat every day. + + AUNT EM + Seventy -- Dorothy, please! + + DOROTHY + Oh, but he doesn't do it every day + -- just once or twice a week. And + he can't catch her old cat, anyway. + And now she says she's gonna get + the sheriff, and -- + + AUNT EM + Dorothy! Dorothy! We're busy! + + DOROTHY + Oh -- all right. + +MCS - Aunt Em and Uncle Henry taking chicks out of +incubator - + + UNCLE HENRY + Poor little orphan, and her Miss + Gulch troubles. Gosh all hemlock - + you know, she ought to have + somebody to play with. + + AUNT EM + I know, but we all got to work out + our own problems, Henry. + + UNCLE HENRY + Yes. + 3. + + + AUNT EM + Oh, I hope we got them in time. + + UNCLE HENRY + Yes. + +MLS -- Zeke -- Hunk and Hickory working on wagon -- Hickory +and Zeke lowering bed of wagon into place -- + + ZEKE + How's she coming? + + HUNK + Take it easy. + +CS -- Hunk on ground -- gets finger caught under wagon bed +-- reacts -- + + HUNK + Ow! You got my finger! + +CS -- Zeke and Hickory holding wagon bed -- + + ZEKE + Well, why don't you get your finger + out of the way! + +MLS -- Zeke and Hickory put wagon bed in place -- Hunk +sitting on ground by wagon -- Dorothy enters -- comes +forward to Zeke -- CAMERA TRUCKS forward on them -- they +speak -- Zeke exits left f.g. -- Hunk enters -- speaks to +Dorothy -- Hickory exits right -- PAN left as Hunk and +Dorothy go over by wagon -- they speak -- Dorothy exits +right -- Hunk hits his finger with hammer -- whirls around +-- + + HICKORY + Come on - come on - over this way. + + ZEKE + Okay. + + HICKORY + There you are. + + HUNK + Right on my finger! + + ZEKE + It's a lucky thing it wasn't your + head. + + DOROTHY + 4. + + + Zeke, what am I going to do about + Miss Gulch? Just because Toto + chases her old cat -- + + ZEKE + Listen, honey, I got them hogs to + get in. + + HUNK + Now lookit, Dorothy, you ain't + using your head about Miss Gulch. + Think you didn't have any brains at + all. + + DOROTHY + I have so got brains. + + HUNK + Well, why don't you use them? When + you come home, don't go by Miss + Gulch's place. Then Toto won't get + in her garden, and you won't get in + no trouble. See? + + DOROTHY + Oh, Hunk, you just won't listen, + that's all. + + HUNK + Well, your head ain't made of + straw, you know. + + +1 INT. BARN 1 + + Hickory working on wind machine - straightens up - reacts - + Dorothy comes forward - CAMERA TRUCKS forward as Hickory + goes to her - he speaks to her - turns motor of wind + machine on - they watch it - oil spurts out into Hickory's + face - he reacts - Dorothy exit left - + + HICKORY + Oh! Oh, it feels like my joints are + rusted. Listen, Dorothy, don't let + Hunk kid you about Miss Gulch. + She's just a poor sour-faced old + maid that -- she ain't got no heart + left. You know, you should have a + little more heart yourself, and + have pity on her. + + DOROTHY + Well, gee, I try and have a heart. + 5. + + + HICKORY + Now look, here's something that + really has a heart. This is the + best invention I ever invented. + + DOROTHY + This? + + HICKORY + Sure. It's to break up winds, so we + don't have no more dust storms. Can + you imagine what it'll mean to this + section of the country? I'll show + you. It works perfectly now. Here's + the principle. You see that fan -- + that sends up air currents into the + sky. These air currents -- Oh, stop + it! + + DOROTHY + Oh! + + HICKORY + Who did it? Now wait a minute. + + DOROTHY + Hickory! + + HICKORY + Now what happened? I'll bet Hunk + did that. + +MLS -- Zeke driving pigs into pen -- Dorothy enters in b.g. +walks along railing of pen -- Zeke goes to b.g. -- CAMERA +TRUCKS forward -- Zeke pours feed into trough -- + + ZEKE + Say! Get in there before I make a + dime bank out of you! Listen, kid, + are you going to let that old Gulch + heifer try and buffalo you? + +MCS -- Zeke poring feed into trough -- speaks -- + + ZEKE + She ain't nothing to be afraid of. + Have a little courage, that's all. + +MLS -- Dorothy walking along railing between pig pens -- + + DOROTHY + I'm not afraid of her. + 6. + + +MCS -- Zeke picks up another bucket of feed -- pours it +into trough -- + + ZEKE + Then the next time she squawks, + walk right up to her and spit in + her eye. That's what I'd do! + +MLS -- Dorothy on railing -- loses her balance -- falls +into pig pen -- + + DOROTHY + Oh! + +MCS -- Zeke reacts -- CAMERA PANS left as he jumps into pen +-- takes Dorothy's foot out of wire -- then picks her up -- +CAMERA PANS right as he carries her out of pen -- puts her +down with Hunk and Hickory -- Zeke jumps out of pen -- sits +down -- wipes his brow -- + + DOROTHY + Oh! Oh, Zeke! Help! Help me, Zeke! + Get me out of here! Help! + + HICKORY + Are you all right, Dorothy? + + DOROTHY + Yes, I'm all right. Oh -- I fell in + and -- and Zeke -- + +MCS -- Zeke -- Dorothy -- Hunk and Hickory -- they all look +at Zeke -- they laugh -- Aunt Em enters with plate of +crullers -- + +CAMERA TRUCKS forward on Hunk -- Aunt Em and Hickory -- +they speak -- Hunk and Hickory each take cruller -- go to +b.g. -- + +CAMERA PULLS back as Aunt Em comes forward to Zeke and +Dorothy -- she speaks to Zeke -- + +CAMERA TRUCKS forward as Dorothy and Aunt Em walk to b.g. - +- Dorothy takes cruller -- Aunt Em runs to b.g. -- + + DOROTHY + Why, Zeke, -- you're just as scared + as I am! + + HUNK + What's the matter -- gonna let a + little old pig make a coward out of + you? + 7. + + + HICKORY +Look at you, Zeke -- you're just as +white -- + + AUNT EM +Here, here, what's all this jabber- +wapping when there's work to be +done? I know three shiftless farm +hands that'll be out of a job +before they know it! + + HICKORY +Well, Dorothy was walking along the +-- + + AUNT EM +I saw you tinkering with that +contraption, Hickory. Now, you and +Hunk get back to that wagon! + + HICKORY +All right, Mrs. Gale. But some day +they're going to erect a statue to +me in this town, and -- + + AUNT EM +Well, don't start posing for it +now. Here, here -- can't work on an +empty stomach. Have some crullers. + + HUNK +Gosh, Mrs. Gale. + + AUNT EM +Just fried. + + HICKORY +Thanks. + + HUNK +Swell. + + ZEKE +You see, Dorothy toppled in with +the big Duroc... + + AUNT EM +It's no place for Dorothy about a +pig sty! Now you go feed those hogs +before they worry themselves into +anemia! + + ZEKE + 8. + + + Yes'am. + + DOROTHY + Auntie Em, really -- you know what + Miss Gulch said she was gonna do to + Toto? She said she was gonna -- + + AUNT EM + Now, Dorothy, dear, stop imagining + things. You always get yourself + into a fret over nothing. + + DOROTHY + No -- + + AUNT EM + Now, you just help us out today, + and find yourself a place where you + won't get into any trouble. + +MCU -- Dorothy reacts -- speaks -- + + DOROTHY + Some place where there isn't any + trouble. + +MS -- Dorothy and Toto -- she tosses him a piece of the +cruller -- Toto eats it -- Dorothy speaks as she walks +forward -- she sings -- leans against haystack -- then +walks over near rake -- CAMERA PANS right -- + + DOROTHY + Do you suppose there is such a + place, Toto? There must be. It's + not a place you can get to by a + boat or a train. It's far, far away + -- behind the moon -- beyond the + rain -- + + DOROTHY + (sings) + Somewhere, over the rainbow, way up + high, There's a land that I heard + of once in a lullaby. Somewhere, + over the rainbow, skies are blue, + And the dreams that you dare to + dream really do.... + +CS -- Toto by wheel of rake -- listening to song -- + + DOROTHY O.S. + (sings) + ...come true.... + 9. + + +MCS -- Dorothy singing -- swings on wheel of rake -- then +walks forward around wheel -- Toto jumps up onto seat of +rake -- Dorothy pets him -- sits on front of rake -- CAMERA +PULLS back -- Dorothy finishes song -- + + DOROTHY + (sings) + ...Someday I'll wish upon a star + And wake up where the clouds are + far behind me. Where troubles melt + like lemon drops, Away above the + chimney tops, That's where you'll + find me. Somewhere, over the + rainbow, bluebirds fly. Birds fly + over the rainbow, Why then -- oh, + why can't I? If happy little + bluebirds fly Beyond the rainbow + Why, oh, why can't I? + +LS -- Miss Gulch rides along country road on bicycle -- + +CAMERA PANS to right with her -- + +LS -- Miss Gulch rides forward to front of Gale's home -- +stops and gets off her bicycle as Uncle Henry comes forward +-- + + MISS GULCH + Mr. Gale! + + UNCLE HENRY + Howdy, Miss Gulch. + + MISS GULCH + I want to see you and your wife + right away.... + +MCS -- Uncle Henry and Miss Gulch at gate -- they speak -- +Uncle Henry lets go of the gate -- it hits Miss Gulch -- +she reacts -- exits left -- + +Uncle Henry puts paint brush down -- starts out left -- + + MISS GULCH + ... about Dorothy. + + UNCLE HENRY + Dorothy? Well, what has Dorothy + done? + + MISS GULCH + What's she done? I'm all but lame + from the bite on my leg! + 10. + + + UNCLE HENRY + You mean she bit you? + + MISS GULCH + No, her dog! + + UNCLE HENRY + Oh, she bit her dog, eh? + + MISS GULCH + NO! + + LAP DISSOLVE TO: + +LS -- Int. Gale Sitting room -- Aunt Em and Miss Gulch +seated -- Dorothy enters -- carrying Toto in her arms -- +CAMERA TRUCKS forward on them -- + +PANS to right with Dorothy to Uncle Henry -- then Pans her +left to Aunt Em and Miss Gulch -- Miss Gulch shows order to +Aunt Em -- Uncle Henry enters -- looks at the order -- Miss +Gulch picks up basket -- rises -- Dorothy screams at Miss +Gulch -- Miss Gulch tries to take Toto away from Dorothy -- + +Uncle Henry takes Toto -- puts him into basket -- + + MISS GULCH + That dog's a menace to the + community. I'm taking him to the + sheriff and make sure he's + destroyed. + + DOROTHY + Destroyed? Toto? Oh, you can't! You + mustn't! Auntie Em! Uncle Henry! + You won't let her, will you? + + UNCLE HENRY + Of course we won't. Will we, Em? + + DOROTHY + Please, Aunt Em, Toto didn't mean + to. He didn't know he was doing + anything wrong. I'm the one that + ought to be punished. I let him go + in her garden. You can send me to + bed without supper -- + + MISS GULCH + 11. + + +If you don't hand over that dog, +I'll bring a damage suit that'll +take your whole farm! There's a law +protecting folks against dogs that +bite! + + AUNT EM +How would it be if she keeps him +tied up? He's really gentle -- with +gentle people, that is. + + MISS GULCH +Well, that's for the Sheriff to +decide. Here's his order allowing +me to take him. Unless you want to +go against the law. + + UNCLE HENRY +Uhh -- yeah -- + + AUNT EM +Now, we can't go against the law, +Dorothy. I'm afraid poor Toto will +have to go. + + MISS GULCH +Now you're seeing reason. + + DOROTHY +No -- + + MISS GULCH +Here's what I'm taking him in -- so +he can't attack me again. + + DOROTHY +Oh, no, no! I won't let you take +him! You go away, you....! Oooh, +I'll bite you myself! + + AUNT EM +Dorothy! + + DOROTHY +You wicked old witch! Uncle Henry, +Auntie Em, don't let 'em take Toto! +Don't let her take him -- please! + + MISS GULCH +Here! I've got an order! Let me +have... + + DOROTHY + 12. + + + Stop her! + + AUNT EM + Put him in the basket, Henry. + + MISS GULCH + The idea! + + DOROTHY + Oh, don't, Uncle Henry. Oh, Toto! + Don't... + + MCU -- Dorothy crying -- looks o.s. to Aunt Em -- then to + Uncle Henry then turns and starts out -- + + MS -- Dorothy runs out of the room -- Aunt Em rises -- + looks after Dorothy -- then turns to Miss Gulch and Uncle + Henry -- Aunt Em speaks to Miss Gulch -- CAMERA TRUCKS + forward -- Aunt Em exits left -- Uncle Henry sits in chair + at right f.g. -- grins -- + + AUNT EM + Almira Gulch, just because you own + half the county doesn't mean you + have the power to run the rest of + us! For twenty-three years, I've + been dying to tell you what I + thought of you! And now -- well, + being a Christian woman, I can't + say it! + + LAP DISSOLVE TO: + + MS -- Miss Gulch riding bicycle to left -- CAMERA TRUCKS + forward on basket on back of bicycle -- Toto sticks his + head out -- looks about -- then jumps out -- + + MS -- Toto jumps to ground -- CAMERA PANS up as he runs + down road to b.g. -- + + LS -- Miss Gulch riding forward down dirt road on her + bicycle -- she exits left f.g. -- + + LAP DISSOLVE TO: + + +2 INT. DOROTHY'S ROOM 2 + + Dorothy sitting on floor by bed -- crying -- + 13. + + +Toto jumps in thru window and onto bed -- CAMERA TRUCKS +forward as Dorothy hugs him -- reacts -- speaks to him -- +then takes suitcase from under bed -- starts packing it -- +(Toto barks) + + DOROTHY + Toto, darling! Oh, I got you back! + You came back! Oh, I'm so glad! + Toto! Oh, they'll be coming back + for you in a minute. We've got to + get away! We've got to run away -- + quick! + + LAP DISSOLVE TO: + +MS -- Dorothy's and Toto's footprints in dirt road -- +CAMERA PANS up showing them walking down road to b.g. -- +Dorothy carrying suitcase and basket -- + + LAP DISSOLVE TO: + +LS -- Dorothy and Toto walking to right across bridge -- + +MLS -- Dorothy and Toto on bridge -- Dorothy looks down to +f.g. -- Toto runs forward down path -- exits f.g. -- + +MLS -- Camp -- lettering on wagon -- CAMERA TRUCKS forward +on wagon -- + +PROFESSOR MARVEL ACCLAIMED BY The CROWNED HEADS of EUROPE +Let Him Read Your PAST - PRESENT and FUTURE Crystal IN HIS + +Also Juggling and Sleight of Hand + +Dorothy enters in f.g. -- reads sign -- reacts to Professor +humming o.s. -- + +MLS -- Professor steps down out of wagon -- sees Dorothy -- +speaks to her as he crosses to fire at left -- Dorothy +comes forward -- + + PROFESSOR + Well, well, well -- house guests, + huh? And who might you be? No, no - + - now don't tell me. + +MCS -- Professor sits by fire -- Dorothy comes forward -- +they speak -- + + PROFESSOR + 14. + + + Let's see -- you're -- you're + travelling in disguise. No, that's + not right. I -- you're -- you're + going on a visit. No, I'm wrong. + That's...You're -- running away. + + DOROTHY + How did you guess? + + PROFESSOR + Professor Marvel never guesses -- + he knows! Now, why are you running + away? + + DOROTHY + Why -- + + PROFESSOR + No, no -- now don't tell me. They - + - they don't understand you at + home. They don't appreciate you. + You want to see other lands -- big + cities -- big mountains -- big + oceans -- + + DOROTHY + Why, it's just like you could read + what was inside of me. + +MLS -- Professor and Dorothy by fire -- Professor roasting +wiener on stick -- + + PROFESSOR + Yes -- + + DOROTHY + Please, Professor, why can't we go + along with you? + +CS -- Toto enters -- bites wiener off stick -- + + PROFESSOR O.S. + Well, we -- uh -- + + DOROTHY O.S. + Oh, Toto, that's not.... + +MCS -- Professor and Dorothy -- Dorothy scolds Toto o.s. + + DOROTHY + ...polite! We haven't been asked + yet. + 15. + + +MLS -- Professor and Dorothy -- Toto in front of them +eating wiener -- Professor laughs and speaks -- puts +another wiener on stick -- + + PROFESSOR + He's perfectly welcome. As one dog + to another, huh? Here now -- let's + see where were we? + +MCS -- Professor and Dorothy speak -- Professor puts stick +down at left -- + + PROFESSOR + Oh, yes - you - you wanted to go + home, huh? + + DOROTHY + Oh, no, I wanted to go along with + you. + + PROFESSOR + Oh -- + + DOROTHY + Nobody cares about me at home. They + wouldn't even miss me. + + PROFESSOR + Aw, come, come, come -- + + DOROTHY + No, they won't - honestly. + + PROFESSOR + Oh -- + + DOROTHY + Auntie Em was even going to let + them kill Toto yesterday for biting + Miss Gulch. Oh, please, Professor, + why can't we go with you and see + all the Crowned Heads of Europe? + + PROFESSOR + Do you know any? Oh, you mean the + thing -- Yes, well, I -- I never do + anything without consulting my + crystal first. Let's.... + +MLS -- Professor rises -- CAMERA PANS as he and Dorothy +cross to right to wagon -- + + PROFESSOR + 16. + + + ...go inside here -- we'll -- Just + come along. I'll show you. There + you are - right in there. + + +3 INT. WAGON 3 + + Dorothy and Professor come in -- CAMERA TRUCKS forward -- + Professor moves chair up for Dorothy -- then lights candles + -- sits down -- puts on turban -- speaks to Dorothy -- she + closes her eyes -- he takes her basket -- looks thru it -- + takes out a photograph -- + + PROFESSOR + That's right. Here -- sit right + down here. That's it. Ha ha! This - + - this is the same genuine, magic, + authentic crystal used by the + Priests of Isis and Osiris in the + days of the Pharaohs of Egypt -- in + which Cleopatra first saw the + approach of Julius Caesar and Marc + Anthony, and -- and so on -- and so + on. Now, you -- you'd better close + your eyes, my child, for a moment - + - in order to be better in tune + with the infinite. We -- we can't + do these things without.... + + INSERT -- CU -- photograph of Dorothy and Aunt Em -- + + PROFESSOR O.S. + ...reaching out into the.... + + MCU -- Professor looks at photograph -- + + PROFESSOR + ...infinite. Yes. + + MCS -- Dorothy and Professor -- he puts photograph on chair + -- Dorothy opens her eyes -- CAMERA TRUCKS forward as + Professor looks into the crystal -- + + PROFESSOR + That's -- that's all right. Now you + can open them. We'll gaze into the + crystal. Ahh -- what's this I see? + A house -- with a picket fence.... + + CU -- Dorothy -- Camera shooting past Professor at right + f.g. -- Dorothy reacts -- + + PROFESSOR + 17. + + + ...and a barn -- with a weather + vane and a -- of a -- of a running + horse. + +MCU - Professor - Camera shooting past Professor at left +f.g. - he looks into crystal - speaks - + + PROFESSOR + No - it's - it's - a crowing + rooster. + +CU -- Dorothy -- Camera shooting past Professor -- + + DOROTHY + That's our farm! + + PROFESSOR + Oh -- yes. + +MCS -- Dorothy and Professor -- He looks into crystal -- +then looks down at photograph -- + + PROFESSOR + Yes, there's -- there's a woman -- + she's.... + +INSERT -- CU of the photograph -- + +MCS -- Dorothy and Professor -- he puts the photograph away +again -- looks into crystal -- + + PROFESSOR + ...she's wearing a polka-dot + dress.... + +MCU -- Professor -- Camera shooting past Dorothy -- + + PROFESSOR + ...her face is careworn. + + DOROTHY + Yes...That's Aunt Em. + + PROFESSOR + Her -- her name is Emily. + +CU -- Dorothy -- Camera shooting past Professor -- Dorothy +reacts -- + + DOROTHY + That's right. What's she doing? + 18. + + + PROFESSOR + Well, I -- I can't quite see. Why, + she's crying. + + DOROTHY + Oh -- + + PROFESSOR + Someone has hurt her -- someone has + just about broken her heart. + + DOROTHY + Me? + +MCU -- Professor -- camera shooting past Dorothy -- + + PROFESSOR + Well, it's -- it's someone she + loves very much. Someone she's been + very kind to. Someone she's taken + care of in sickness. + +CU -- Dorothy reacts -- speaks -- Camera shooting past +Professor -- + + DOROTHY + I had the measles once -- and she + stayed right by me every minute. + + PROFESSOR + Uh-huh. + + DOROTHY + What's she doing now? + +MCU - Professor looks into crystal - Camera shooting past +Dorothy - + + PROFESSOR + Well, she's - she's going into a + little bed.... + +CU - Dorothy - Camera shooting past Professor - + + PROFESSOR + ...room -- + + DOROTHY + Has it poppies on the wall.... + +MCU - Professor - Camera shooting past Dorothy + + DOROTHY + 19. + + + ...paper? + + PROFESSOR + I said it had poppies on the wall + paper! Eh -- she's -- What's this? + Why, she's -- she's putting her + hand on her heart -- she's -- she's + dropping down on the.... + +CU -- Dorothy reacts -- Camera shooting Professor -- he +speaks -- exits right -- + + PROFESSOR + ...bed. + + DOROTHY + Oh, no -- no! + + PROFESSOR + That's all -- the Crystal's gone + dark. + + DOROTHY + Oh, you.... + +MCS -- Dorothy and Professor -- Dorothy jumps up -- picks +up her basket -- goes to b.g. -- + + DOROTHY + ...you don't suppose she could + really be sick, do you? Oh -- Oh, + I've got to go home right away! + + PROFESSOR + But -- what's this? I thought you + were going along with me. + + DOROTHY + Oh, no, no, I have to get to her + right.... + +MCS -- Dorothy picks up Toto -- CAMERA PANS as she comes +forward down steps -- she speaks to Toto -- reacts -- +CAMERA PANS left as she runs to b.g. -- picks up suitcase - +- puts Toto to ground -- both run up hill in b.g. -- wind +blowing leaves around -- + + DOROTHY + 20. + + + ...away! Come on, Toto! Oh, what'll + I do? If we go home, they'll send + you to the Sheriff. And if we + don't, Aunt Em may -- well, she may + die! I know what I'll do - I'll + give you to Hunk. He'll watch out + for you. But we've got to hurry. + Goodbye, Professor Marvel -- and + thanks a lot! + +MLS -- Professor comes out of wagon -- CAMERA PANS him left +to horse -- wind blowing -- Professor looks around -- +starts out left with horse -- + + PROFESSOR + Better get under cover, Sylvester - + - there's a storm blowing up -- a + whopper, to speak in the vernacular + of the peasantry. Poor little kid - + - I hope she gets home all right. + + LAP DISSOLVE TO: + +MS -- Farm Yard -- chickens fly down into yard -- run to +b.g. toward barn -- wind blowing weeds and dust -- CAMERA +PANS up -- Uncle Henry runs forward -- speaks to Hunk -- +Hunk exits into barn at left -- Uncle Henry comes forward - +- CAMERA TRUCKS back to Hickory working on wind machine -- +they speak -- then hurry to b.g. -- Zeke in b.g. runs +forward -- Hickory exits into barn -- + + UNCLE HENRY + Hunk, get them horses loose! + Where's Hickory. Hickory! Hickory! + Doggone it! Hick -- + + HICKORY O.S. + Right here. + + UNCLE HENRY + Hey, what are you doing there? + + HICKORY + This is my chance! The cyclone is + coming. Let me show you what my + machine can do! You see, it goes -- + + UNCLE HENRY + Doggone you! Help Hunk get them + horses loose! + + HICKORY + All right - you'll be sorry. + 21. + + + UNCLE HENRY + Go on, hurry up! Hurry up, I tell + you! + +LS -- Zeke points up to sky -- Hunk and others drive horses +out of barn -- + + ZEKE + She's here -- it's a twister! + +ELS -- The Gale Farm -- Cyclone approaching -- + +MLS -- Aunt Em runs out of house -- cups hands to her mouth +-- calls o.s. + +-- runs to b.g. to corner of house -- calls o.s. -- + + AUNT EM + Dorothy! Dorothy! + +MLS -- Dorothy and Toto near fence -- Dorothy looks to b.g. +to house -- + +LS -- Uncle Henry -- Hunk -- Hickory and Zeke -- they turn +horse loose -- + +it runs out right -- + + UNCLE HENRY + Come on -- everybody in the storm + cellar! + +MLS -- Dorothy and Toto moving forward against the wind -- +weeds and sticks blowing thru -- Dorothy stops -- picks up +Toto -- + +MLS -- Aunt Em on porch -- Uncle Henry -- Hunk -- Zeke and +Hickory run in -- Aunt Em calls o.s. again -- then all +start into storm cellar -- + + AUNT EM + Henry! Henry! I can't find Dorothy! + She's somewhere out in the storm! + Dorothy! + +MLS -- Dorothy carrying Toto -- pushes gate open -- makes +her way thru wind -- CAMERA PANS right as she goes up on to +porch of house -- chair and things blow off the porch -- +Dorothy opens screen door -- the door blows off -- Dorothy +exits into house -- + +MLS -- Zeke and Hunk exit into storm cellar -- close the +cellar door -- + 22. + + +MLS -- Dorothy in Living room -- CAMERA PANS left as she +runs across room -- calls o.s. -- TRUCKS back as she +hurries forward to kitchen -- then exits door left -- + + DOROTHY + Auntie Em! Auntie Em! + +ELS -- The Gale farm -- the Cyclone approaching -- + +MS -- Dorothy sitting on edge of bed -- holding Toto in her +arms -- the window blows loose -- hits Dorothy on the head +-- she falls to floor - then gets up dazed - sits on edge +of bed - Toto jumps up near her - she lies back on bed -- + +ELS - The Gale Farm - Cyclone hits it - swirling dust +circles house - + +ELS - The house spinning up thru dust - + +ELS - The house spinning up thru dust - other wreckage +flying thru - + + LAP DISSOLVE TO: + +CU - Dorothy lying on bed - opens her eyes - looks around - + +MS - Dorothy and Toto on bed - Dorothy sits up - CAMERA +TRUCKS back as she sits up - looks out window - sees trees, +furniture, etc. flying thru - + +MS - Dorothy looking out window - turns - speaks to Toto - + + DOROTHY + We're not on the ground, Toto! + +MLS - Shooting thru window - Chicken coop flies thru - then +a little old lady sitting ie rocking chair - knitting - + +MS - Dorothy and Toto - Dorothy reacts - + +MLS - Shooting thru window - Cow floats thru - Cow mooing - + +MS - Dorothy and Toto - Toto barks - jumps down off the bed +- (Cow o.s. mooing) + +MCS - Toto crawls under bed - + +MS -- Dorothy sitting on bed -- looking out window to b.g. +-- reacts as various things float thru -- Two men in row +boat float in -- both tip their hats to Dorothy -- Dorothy +waves to them -- + 23. + + +MCS - Toto looks out from under bed - Cow moos o.s. - he +darts back under the bed - + +MLS - Shooting through window - Cow floats thru - + +MCS - Dorothy rises - looks o.s. - + +MLS - Shooting thru window - tree floats thru - + +MCS -- Dorothy reacts -- turns -- + + DOROTHY + We must be up inside.... + +MCS -- Toto looks out from under bed -- + + DOROTHY O.S. + ...the cyclone. + +CS - Dorothy looking o.s. out window - reacts - CAMERA PANS +as she sits on edge of bed - + +MS -- Dorothy -- seated on edge of bed -- looking out +window -- Miss Gulch floats in -- riding her bicycle -- +Dorothy reacts -- looks down to Toto -- + +Miss Gulch moves in closer to window -- her bicycle changes +to broomstick -- her clothes into the flying robe and +pointed hat -- + +MCS - Dorothy looking o.s. - reacts - puts her hands over +her eyes - + +MLS -- Dorothy lies face down on the bed -- Miss Gulch +floating thru in b.g. -- disappears -- + +MS -- the swirling funnel of the cyclone -- the house spins +in apart from the cyclone -- + +MLS - Dorothy holding Toto in her arms - throws herself +down on the bed - screams - + +ELS - The spinning house - the cyclone whirling in the +background - (Dorothy screaming) + +MLS -- Dorothy and Toto lying on bed -- house spinning -- +Dorothy screams -- + +ELS - The house whirling down thru dust - exits lower right +- + +ELS -- The house whirls in at top -- floats down thru -- + 24. + + + ELS -- The house floating down thru clouds -- + + MLS -- Dorothy and Toto lying on bed -- the house crashes + to ground -- + + Dorothy screams -- she looks around -- then gets up off the + bed -- goes to b.g. -- picks up the basket -- opens door -- + + MCS -- Dorothy walks forward -- looking around o.s. -- + CAMERA PANS as she walks to right f.g. -- exits -- + + +4 INT. FARM HOUSE 4 + + MCS -- Dorothy enters from l.f.g. and opens the door to + reveal Munchkinland -- CAMERA BOOMS forward through the + door and around to the right -- to shoot down on FULL SHOT + of Civic Center of the Munchkin Village -- Dorothy looks + around confused by it all -- + + MLS -- Dorothy with Toto in her arms looks about the + Village and speaks -- + + Munchkins rise before camera in f.g. and watch her -- + + DOROTHY + Toto -- I've a feeling we're not in + Kansas anymore. + + CS -- Dorothy with Toto in her arms -- looks about and + speaks -- + + DOROTHY + We must be over the rainbow! + + LS -- Dorothy puts Toto down to the ground -- turns to the + b.g. -- reacts and backs slowly toward the camera -- exits + right- + + LAP DISSOLVE TO: + + MLS -- Glinda looks o.s. to the right to Dorothy -- + + MCU -- Dorothy look o.s. to l.f.g. -- reacts -- speaks -- + + DOROTHY + Now I -- I know we're not in + Kansas. + + MLS -- Glinda -- CAMERA PANS her right to Dorothy and Toto + -- CAMERA TRUCKS forward -- they speak -- + 25. + + + GLINDA + Are you a good witch, or a bad + witch? + + DOROTHY + Who, me? Why, I'm not a witch at + all. I'm Dorothy Gale from Kansas. + + GLINDA + Oh! Well.... + +CS -- Toto -- Dorothy's feet in b.g. -- + + GLINDA O.S. + ...is that the Witch? + + DOROTHY + Who, Toto? + +MCS -- Glinda and Dorothy -- they speak and look o.s. to +l.f.g.-- + + DOROTHY + Toto's my dog. + + GLINDA + Well, I'm a little muddled. The + Munchkins called me because a new + witch has just dropped a house on + the Wicked Witch of the East. And + there's the house, and here you + are, and that's all... + +MCS -- Wicked Witch of the East's feet protruding from +under the farm house -- + + GLINDA O.S. + ...that's left of the Wicked Witch + of the East. + +MCU -- Dorothy looks o.s. to l.f.g. -- reacts -- + + GLINDA O.S. + And so what the Munchkins want to + know... + +MCU -- Glinda looks o.s. to Dorothy and speaks -- + + GLINDA + ...is, are you a good witch, or a + bad witch? + 26. + + +MCU -- Dorothy looks to l.f.g. -- speaks -- reacts to noise +o.s. -- + + DOROTHY + Oh, but I've already told you, I'm + not a witch at all -- witches are + old and ugly. What was that? + +MCU -- Glinda looks to r.f.g. and speaks -- + + GLINDA + The Munchkins. They're laughing + because I am a witch. I'm Glinda, + the Witch of the North. + +MCU -- Dorothy looks to l.f.g. -- reacts -- speaks -- +curtsies -- + + DOROTHY + You are! Oh, I beg your pardon! But + I've never heard of a beautiful.... + +MCU -- Glinda looks to r.f.g. and speaks -- + + DOROTHY O.S. + ...witch before. + + GLINDA + Only bad witches are ugly. + +MCS -- Glinda and Dorothy -- they speak -- Dorothy reacts +to noise o.s. -- + +CAMERA TRUCKS back -- Munchkins enter from b.g. behind +flowers -- Glinda sings -- + + GLINDA + The Munchkins are happy because you + have freed them from the Wicked + Witch of the East. + + DOROTHY + Oh. But, if you please -- what are + Munchkins? + + GLINDA + The little people who live in this + land -- it's Munchkinland, and you + are their national heroine, my + dear. It's all right -- you may all + come out and thank her. It's all + right now - you may all come out. + 27. + + + GLINDA + (sings) + Come out, come out, wherever you + are + And meet the young lady who fell + from a star. + +LS -- Dorothy and Glinda -- Toto with them -- Munchkins in +f.g. -- others enter in b.g. -- Glinda leads Dorothy toward +the b.g. as she sings -- + +CAMERA BOOMS up and forward -- + + GLINDA + (sings) + She fell from the sky, she fell + very far. And Kansas she says is + the name of the star. + +MLS -- Munchkins -- one rises from manhole in street -- +they sing and move toward the r.f.g. -- + + MUNCHKINS + (sing) + Kansas she says is the name of the + star. + +LS -- Dorothy, Glinda and Toto with them -- Munchkins watch +them as they move to pond -- Glinda sings -- + + GLINDA + (sings) + She brings you good news. Or + haven't you heard? When she fell + out of Kansas, a miracle occurred. + +MCS -- Glinda and Dorothy standing by the pond -- Dorothy +sings -- + +Munchkins in b.g. -- + + DOROTHY + (sings) + It really was no miracle. What + happened was just this: The wind + began to switch -- the house to + pitch And suddenly the hinges + started to unhitch. Just then, the + witch -- to satisfy an itch -- Went + flying on her broomstick thumbing + for... + 28. + + +MLS -- Munchkin dances forward and sings -- others behind +him move to him and sing -- + + DOROTHY O.S. + (sings) + ...a hitch. + + A MUNCHKIN + And oh, what happened then was + rich! + + SEVERAL MUNCHKINS + The house began to pitch The + kitchen took a slitch + +MCS -- Munchkins -- CAMERA TRUCKS along past Munchkins as +they sing -- + + MUNCHKINS + (sing) + It landed on the Wicked Witch In + the middle of a ditch Which was not + a healthy situation For the Wicked + Witch. + +LS -- Munchkins as they dance and sing -- CAMERA BOOMS back +entering Glinda and Dorothy at right -- + + MUNCHKINS + (sing) + The house began to pitch The + kitchen took a slitch It landed on + the Wicked Witch in the middle of a + ditch Which Was not a healthy.... + +LS -- Carriage drawn by ponies comes forward -- CAMERA +TRUCKS back before it -- Munchkins gather around -- Dorothy +and Glinda at right -- Munchkins sing -- + + MUNCHKINS + (sing) + ....sitch-Uation for The Wicked + Witch, Who Began to twitch And was + reduced To just a stitch Of what + was once.... + +MS -- Glinda and Dorothy -- Munchkins in b.g. -- Dorothy +starts to move toward the l.f.g. -- + + MUNCHKINS + (sing) + ...The Wicked.... + 29. + + +LS -- Carriage, Glinda, Dorothy and Munchkins -- Dorothy +moves to the carriage and is helped in -- Munchkins sing +and dance -- + + MUNCHKINS + (sing) + ...Witch! + +MS -- Dorothy carriage facing Munchkins in b.g. -- one +steps forward from crowd and speaks -- another follows and +speaks -- Dorothy turns to f.g. as Glinda speaks o.s. -- + + MUNCHKIN NO. 1 + We thank you very sweetly For doing + it so neatly. + + MUNCHKIN NO. 2 + You've killed her so completely + That we thank you very sweetly. + + GLINDA O.S. + Let the joyous news be spread + +MCS -- Glinda looks to f.g. and speaks -- Munchkins in b.g. +-- + + GLINDA + The Wicked Old Witch at last is + dead! + +LS -- Dorothy in carriage -- Glinda standing on dais at +left -- carriage moves toward b.g. followed by procession +of soldiers -- CAMERA BOOMS forward as carriage turns and +comes toward f.g. -- Munchkins sing and dance -- + + MUNCHKINS + (sing) + Ding Dong! The Wicked Witch is + dead. Which old Witch? The Wicked + Witch! Ding Dong! The Wicked Witch + is dead. Wake up, you sleepy head. + Rub your eyes Get out of bed. Wake + up, the Wicked... + +MLS -- Dorothy in carriage -- CAMERA PANS right slightly +with her -- she exits right as procession of soldiers enter +and march to right -- CAMERA TRUCKS back -- + + MUNCHKINS + (sing) + 30. + + + ...Witch is dead! She's gone where + the Goblins go + Below...Below...Below Yo -- ho, + let's open up and sing And ring the + bells out. Ding Dong! The merry-oh! + Sing it high Sing it.... + +LS -- Carriage with Munchkins following -- CAMERA TRUCKS +back slightly as carriage comes forward to steps at right - +- + + MUNCHKINS + (sing) + ...low Let them know The Wicked + Witch is dead! + +MLS -- Three Heralds move forward from building -- Mayor +enters and comes forward followed by Barrister and City +Fathers -- CAMERA BOOMS back over Dorothy in carriage in +f.g. -- Mayor moves to carriage -- Dorothy steps from the +carriage and Mayor leads her toward the b.g. -- + +MCS -- Dorothy and Mayor -- Mayor leads her to Barrister +and City Fathers -- turns and speaks -- Barrister and City +Fathers and Mayor sing -- + + MAYOR + As Mayor of the Munchkin City In + the County of the Land of Oz I + welcome you most regally + + BARRISTER + But we've got to verify it legally + To see... + + MAYOR + To see? + + BARRISTER + If she... + + MAYOR + If she? + + BARRISTER + Is morally, ethic'ly + + FATHER NO. 1 + Spiritually, physically + + FATHER NO. 2 + Positively, absolutely + 31. + + + ALL OF GROUP + Undeniably and reliably Dead! + +MCS -- Glinda on dais of fountain -- she looks o.s. to f.g. +and smiles -- + +MLS -- Coroner moves up steps toward the r.f.g. -- CAMERA +PANS right slightly as he moves to Mayor and Dorothy -- +unrolls scroll and sings -- + +scroll reads: CERTIFICATE OF DEATH -- + + CORONER + As Coroner, I must aver I + thoroughly examined her. And she's + not only merely dead, She's really, + most sincerely dead. + +MLS -- Dorothy, Mayor, Barrister and City Fathers -- Mayor +steps forward and looks to the f.g. and sings -- + + MAYOR + Then this is a day of Independence + For all the Munchkins and their + descendants! + + BARRISTER + If any! + + MAYOR + Yes, let the joyous news be spread. + +LS -- Mayor, Dorothy, Barrister, City Fathers and Munchkins +gathered at steps -- Mayor speaks -- Munchkins cheer and +dance -- + + MAYOR + The Wicked Old Witch at last is + dead! + + MUNCHKINS + (sing) + Ding Dong! The Witch is dead. Which + old witch? The Wicked Witch! + +MLS -- Munchkins move up steps to the left -- CAMERA BOOMS +up with them and holds on kids sleeping in nest -- BOOMS on +and then down as Munchkins come forward from between huts +and sing and dance -- + + MUNCHKINS + (sing) + 32. + + + Ding Dong! The Wicked Witch is + dead! Wake up, you sleepy head! Rub + your eyes, Get out of bed. Wake up, + the Wicked Witch is dead! She's + gone where the Goblins go + Below...below...below. Yo ho, let's + open up and sing, And ring the + bells out. Ding Dong! The merry-oh! + Sing it high, Sing it low. Let them + know The Wicked Witch is dead! + +LS -- Munchkin soldiers parade and march -- CAMERA BOOMS +back and up as they come forward -- Dorothy, Mayor and +others entered on steps at right -- others in b.g. -- + +MLS -- Soldiers lined up before steps -- three tots move in +through line of soldiers and CAMERA PANS them right +entering Dorothy standing on steps -- they dance and sing - +- exit left -- three tough kids come forward -- + + THREE TOTS + (sing) + We represent the Lullaby League, + the Lullaby League, The Lullaby + League And in the name of the + Lullaby League We wish to welcome + you to Munchkinland. + +MCS -- Three Tough Kids look to r.f.g. and sing and dance- + + THREE TOUGH KIDS + (sing) + We represent the Lollypop Guild, + the Lollypop Guild, The Lollypop + Guild And in the name of the + Lollypop Guild + +MLS -- Three Tough Kids sing and hand Lollypop to Dorothy +standing on steps at right -- they move to other Munchkins +in b.g. -- CAMERA BOOMS up as they come forward and sing -- + + THREE TOUGH KIDS + (sing) + We wish to welcome you to + Munchkinland. + + MUNCHKINS + (sing) + We welcome you to Munchkinland Tra + la la la la la Tra la la tra la la + Tra la la la la la la + 33. + + + MS -- Dorothy standing with Mayor, Barrister and City + Fathers -- she turns from one to the other as they sing + + MAYOR + From now on you'll be history + + BARRISTER + You'll be hist... + + CITY FATHER + You'll be hist... + + MAYOR + You'll be history + + GROUP + And we will glorify your name + + MAYOR + You'll be a bust... + + BARRISTER + Be a bust... + + CITY FATHER + Be a bust... + + GROUP + In the hall of fame! + + LS -- Dorothy, Mayor and City Fathers -- camera shooting + past Munchkins in f.g. -- CAMERA BOOMS with them as they + come forward -- Glinda enters -- + + Munchkins gather before Glinda and City Fathers and Dorothy + and sing -- smoke cloud appears and Witch enters -- + Munchkins react + + MUNCHKINS + (sing) + Tra la la la la Tra la la tra la la + Tra la la la la la.. . . . . . + + CS -- Witch -- looks o.s. to Munchkins -- Munchkins in b.g. + -- react and run -- + + CAMERA BOOMS left with Witch to farm house -- she looks at + Witch of the East's feet protruding from under the farm + house -- + + +5 EXT. CIVIC CENTER OF MUNCHKIN VILLAGE 5 + 34. + + +MCS -- Dorothy and Glinda -- + +Dorothy holding Toto as she looks o.s. to left f.g. -- is +frightened -- speaks with Glinda -- + + DOROTHY + I thought you said she was dead. + + GLINDA + That was her sister -- the Wicked + Witch of the East. This is the + Wicked Witch of the West. And she's + worse than the other one was. + +MS -- The Wicked Witch turns away from the farm house -- +CAMERA PANS, TRUCKS right with her as she goes to Dorothy +and Glinda -- the Munchkins are prostrate on the ground in +b.g. -- The Witch speaks with Glinda and Dorothy -- + + WITCH + Who killed my sister? Who killed + the Witch of the East? Was it you? + Answer me! + + GLINDA + Leave her alone! + + WITCH + You stay out of this! I'm here for + vengeance! So it was you, was it? + You killed her,.... + +CS -- Dorothy and Glinda -- Dorothy speaks to the Witch +o.s. in f.g. -- + + WITCH + ...didn't you? + + DOROTHY + No -- No! It was an accident! I + didn't mean to kill anybody!.... + +MCU -- Witch -- speaks to Dorothy o.s. -- waves her +broomstick about -- + + DOROTHY O.S. + ...Really I didn't! + + WITCH + Didn't mean it, eh? Accident, eh? + Well, my little pretty, I can cause + accidents, too -- and this is how I + do it! + 35. + + + GLINDA O.S. + Aren't you forget-.... + +MS -- Witch, Dorothy and Glinda -- Munchkins on the ground +in b.g. -- The Witch reacts as Glinda speaks - CAMERA +TRUCKS left with her as she turns, goes back to the wrecked +farm house -- + + GLINDA + ...ting the ruby slippers? + + WITCH + The slippers -- yes.....the + slippers! + +MS -- The Witch of the East's legs protruding from +underneath the wrecked house -- the ruby slippers disappear +and the stockings are drawn back under the house -- + +CS -- The Witch reacts as she looks down -- then turns, +looks back to o.s. f.g. -- speaks -- + + WITCH + They're gone! + +MLS -- The Witch kneeling down by the house -- she rises, +CAMERA TRUCKS her right to Dorothy and Glinda -- Glinda +stops her, points down to Dorothy's feet -- + + WITCH + The ruby slippers! What have you + done with them? Give them back to + me, or I'll --- + + GLINDA + It's too late! There they.... + +CU -- The ruby slippers on Dorothy's feet -- Glinda's wand +points to them -- + + GLINDA O.S. + ...are, and there they'll stay! + +MCU -- Dorothy and Glinda -- Dorothy reacts as she looks +down -- gasps as she looks at the Witch o.s., then up at +Glinda -- + + DOROTHY + Oh! + + WITCH O.S. + Give me back my slippers! + 36. + + +MCU -- Witch speaks to Dorothy o.s.-- + + WITCH + I'm the only one that knows how to + use them. They're of no use to you! + Give them back to me! + +MCU -- Dorothy and Glinda -- Glinda advises Dorothy -- + + WITCH O.S. + Give them back! + + GLINDA + Keep tight inside of them -- their + magic must be very powerful, or she + wouldn't want them so badly! + +MS -- The Witch rises, threatens Dorothy -- Glinda laughs, +speaks -- the Witch reacts, looks up o.s. -- then continues +to threaten Dorothy -- + + WITCH + You stay out of this, Glinda, or + I'll fix you as well! + + GLINDA + (laughs) + Oh, rubbish! You have no power + here. Be gone, before somebody + drops a house on you, too. + + WITCH + Very well -- I'll bide my time -- + and as for you, my fine lady, it's + true, I can't attend to you here + and now as I'd like, but just try + to stay out of my way.... + +MCU -- Witch threatens Dorothy o.s. in f.g. -- + + WITCH + ... -- just try! I'll get you, + my.... + +MCU -- Dorothy and Glinda -- Dorothy reacts as the Witch +laughs o.s. -- + + WITCH O.S. + ...pretty, and your little dog, + too! + (laughs) + 37. + + +MLS -- The Witch backs away from Dorothy and Glinda as the +CAMERA BOOMS back -- she laughs menacingly -- the Munchkins +hug the ground with fear -- the Witch disappears in a cloud +of fire and smoke -- MCS -- Glinda and Dorothy -- Glinda +speaks to the Munchkins o.s. + + GLINDA + It's all right. You can get up -- + she's gone. + +LS- The Munchkins all rise, start to move toward Glinda and +Dorothy as Glinda speaks to them -- + + GLINDA + It's all right. You can all get up. + +MCS -- Glinda and Dorothy -- CAMERA PULLS back as Glinda +speaks -- the Munchkins enter, crowd about the two -- they +bow as Glinda mentions the Wizard of Oz - CAMERA TRUCKS to +left as Glinda and Dorothy move down steps of fountain dais +-- Glinda instructs Dorothy, kisses her on the forehead -- + +CAMERA PANS Dorothy left as she walks through the Munchkins +to the start of the Yellow Brick Road -- + + GLINDA + Pooh -- what a smell of sulphur! + I'm afraid you've made rather a bad + enemy of the Wicked Witch of the + West. The sooner you get out of Oz + altogether, the safer you'll sleep, + my dear. + + DOROTHY + Oh, I'd give anything to get out of + Oz altogether -- but which is the + way back to Kansas? I can't go the + way I came. + + GLINDA + No -- that's true. The only person + who might know would be the great + and wonderful Wizard of Oz himself! + + DOROTHY + The Wizard of Oz? Is he good or is + he wicked? + + GLINDA + 38. + + + Oh, very good, but very mysterious. + He lives in the Emerald City, and + that's a long journey from here. + Did you bring your broomstick with + you? + + DOROTHY + No, I'm afraid I didn't. + + GLINDA + Well, then, you'll have to walk. + The Munchkins will see you safely + to the border of Munchkinland. And + remember, never let those ruby + slippers off your feet for a + moment, or you will be at the mercy + of the Wicked Witch of the West. + + DOROTHY + But, how do I start for Emerald + City? + + GLINDA + It's always best to start at the + beginning -- and all you do is + follow the Yellow Brick Road. + +CS -- Dorothy turns, starts to speak to Glinda o.s. in f.g. +-- + + DOROTHY + But -- what happens if I --- + +CS -- Glinda speaks to Dorothy o.s. in f.g. -- + + GLINDA + Just follow the Yellow Brick Road. + +CS -- Dorothy look up o.s., open-mouthed with astonishment +-- she speaks -- + +CAMERA PANS down to her feet as she starts to follow the +Yellow Brick Road -- CAMERA PULLS back slightly as she +walks around it -- the Mayor steps in, speaks to her -- +other Munchkins speak -- CAMERA PANS left with Dorothy as +she progresses along the road -- other Munchkins give her +advice -- + + DOROTHY + My -- ! People come and go so + quickly here! Follow the Yellow + Brick Road. Follow the Yellow Brick + Road? + 39. + + + MAYOR + Follow the Yellow Brick Road. + + 1ST MUNCHKIN + Follow the Yellow Brick Road. + + WOMAN + Follow the Yellow Brick Road. + + BARRISTER + Follow the Yellow Brick Road. + +ELS -- Shooting down from high set-up to Dorothy on the +Yellow Brick Road -- the Munchkins all grouped along the +border of the road -- CAMERA BOOMS up as they sing while +Dorothy walks around the road -- + + FIDDLERS + Follow the Yellow Brick Road. + Follow the Yellow Brick Road. + Follow, follow, follow, follow, + Follow the Yellow Brick Road. + Follow the Yellow Brick Follow + the... + +LS -- Dorothy comes forward down the Munchkin-lined Yellow +Brick Road -- she dances, skips along -- CAMERA BOOMS +rapidly back along the road ahead of her -- Munchkins +entered lined up along the road -- all greet her, then +follow her down the road -- the Five Fiddlers sing as they +head the procession -- Dorothy passes through the gates of +Munchkinland and exits to f.g. -- the Munchkins stop at the +gates -- + + FIDDLERS + (sing) + ...Yellow Brick Follow the Yellow + Brick Road. You're off to see the + Wizard The Wonderful Wizard of Oz + You'll find he is a whiz of a Wiz + If ever a Wiz there was. If ever oh + ever a Wiz there was The Wizard of + Oz Is one because Because, because, + because, because, because... + Because of the wonderful things he + does.... + +ELS -- Dorothy dances down the Yellow Brick Road to the +b.g. -- camera shooting over the heads of the Munchkins in +the f.g. as they sing to her -- she turns, waves to them -- +they wave back and Dorothy continues on down the road as +the Munchkins cheer -- + 40. + + + FIDDLERS + (sing) + You're off to see the Wizard The + Wonderful Wizard of Oz! + + LAP DISSOLVE TO: + + +6 EXT. CROSS ROADS OF YELLOW BRICK ROAD 6 + + Dorothy and Toto come forward along the road from b.g. - + CAMERA BOOMS down to left as she pauses in the center of + the cross roads -- looks about, speaks -- + + DOROTHY + Follow the Yellow Brick Road? + Follow the Yellow....? + + MCU -- Dorothy, puzzled as she looks about o.s. -- + + DOROTHY + Now which way do we go? + + LS -- Dorothy standing in the center of cross roads -- a + Scarecrow on a pole in the cornfield at right -- he speaks, + points to right -- Dorothy whirls about and looks at him -- + + SCARECROW + That way is a very nice way. + + CS -- Scarecrow, his arm pointing to right -- + + CU -- Dorothy, a bit frightened as she looks about o.s. - + she speaks, looks down at Toto as he barks o.s. -- + + DOROTHY + Who said that? + + CU -- Toto barking at the Scarecrow o.s. -- + + MLS -- The Scarecrow in the field of corn -- Toto barks + o.s. -- + + MCU - Dorothy looks down and speaks to Toto o.s. -- + + DOROTHY + Don't be silly, Toto. + Scarecrows.... + + MLS -- The Scarecrow in field in b.g. -- camera shooting + past Dorothy in f.g. -- the Scarecrow speaks, points to + left with his other arm -- + 41. + + + DOROTHY + ...don't talk. + + SCARECROW + It's pleasant down that way, too. + +CU -- Dorothy reacts, watches the Scarecrow o.s. -- speaks +to Toto -- + +looks up as the Scarecrow speaks o.s. + + DOROTHY + That's funny. Wasn't he pointing + the other way? + + SCARECROW O.S. + Of course, people do.... + +MLS -- Scarecrow in field -- shooting past Dorothy in f.g. +-- the Scarecrow crosses his arms and points in both +directions -- + + SCARECROW + ...go both ways! + +MCU -- Dorothy reacts, speaks as she starts forward -- + + DOROTHY + Why.... + +LS -- Dorothy steps forward to the cornfield as she speaks +to the Scarecrow -- CAMERA TRUCKS forward -- + + DOROTHY + ...you did say something, didn't + you? + +CS- The Scarecrow shakes his head, then nods -- + +MLS -- Dorothy looking at the Scarecrow as he nods his head +-- she speaks to him -- + + DOROTHY + Are you doing that on purpose, or + can't you make up your mind? + +MCU -- The Scarecrow explains -- shows his straw head -- + + SCARECROW + That's the trouble. I can't make up + my mind. I haven't got a brain -- + only straw. + 42. + + +MCS -- Dorothy questions the Scarecrow o.s. in f.g. -- + + DOROTHY + How can you talk if you haven't got + a.... + +MCU -- Scarecrow speaks to Dorothy o.s.in f.g. -- + + DOROTHY O.S. + ...brain? + + SCARECROW + I don't know. But some people + without brains do an awful lot of + talking, don't they? + +MCS -- Dorothy nods, speaks -- + + DOROTHY + Yes, I guess you're right. + +MLS -- Dorothy steps over the fence and into the cornfield +-- speaks as she steps up to the Scarecrow -- CAMERA STARTS +forward -- + + DOROTHY + Well, we haven't really met + properly, have we? + +MCU -- Scarecrow -- + + SCARECROW + Why, no. + +CS -- Dorothy curtsies, speaks -- + + DOROTHY + How do you do? + +CS -- Scarecrow nods, speaks -- + + SCARECROW + How do you do? + +CS -- Dorothy speaks -- + + DOROTHY + Very well, thank you. + +MLS -- Dorothy standing in front of the Scarecrow -- the +Scarecrow complains about his position -- + 43. + + + SCARECROW + Oh, I'm not feeling at all well. + You see, it's very tedious being + stuck up here all day long with a + pole up your back. + +MCU -- Dorothy -- + + DOROTHY + Oh, dear -- that must be terribly + uncomfortable. Can't you get down? + +MLS -- Scarecrow on pole -- Dorothy standing in front of +him -- they speak -- she moves around to the back of the +pole -- + + SCARECROW + Down? No, you see, I'm -- Well, -- + I'm -- + + DOROTHY + Oh, well, here -- let me help you. + + SCARECROW + Oh, that's very kind of you -- very + kind. + +CS -- Dorothy examining the back of the Scarecrow as she +tries to unfasten him -- + + DOROTHY + Well, oh, dear -- I don't quite + see.... + +MCU -- The Scarecrow reacts, looks down at Dorothy o.s. + + DOROTHY O.S. + ...how I can -- + + SCARECROW + Of course, I'm not bright about + doing things, but if you'll + just.... + +CS -- Dorothy starts to follow the Scarecrow's directions - +- + + SCARECROW O.S. + ...bend the nail down in the back, + maybe I'll slip off and... + + DOROTHY + Oh.... + 44. + + +MLS -- Dorothy turns the nail and the Scarecrow falls to +the ground -- + + DOROTHY + ...yes. + + SCARECROW + Ohhhh -- + + DOROTHY + Ohh! + +MS -- The Scarecrow falls into scene -- Dorothy enters, +questions him as he puts back some straw into his coat that +had dropped out -- the Scarecrow rises, starts to whirl +about -- + + SCARECROW + Whhhooops! Ha-ha -- there goes some + of me again! + + DOROTHY + Oh -- does it hurt you? + + SCARECROW + Oh, no -- I just keep picking it up + and putting it back in again. + + DOROTHY + Ohhh -- + + SCARECROW + My, it's good to be.... + +MLS -- Dorothy screams as the Scarecrow whirls about and +falls over the cornfield fence -- she rushes to him -- the +CAMERA TRUCKS forward as she kneels beside him -- they +speak -- + + SCARECROW + ...free! + + DOROTHY + Oh! Oh! Ohhh! + + SCARECROW + Did I scare you? + + DOROTHY + No, No -- I -- I just thought you + hurt yourself. + +MCU -- Scarecrow -- shooting past Dorothy in right f.g. + 45. + + + SCARECROW + But I didn't scare you? + +MCU -- Dorothy -- shooting past the Scarecrow in left f.g. +-- + + DOROTHY + No -- of course not. + +MCU -- The Scarecrow reacts, speaks -- shooting past +Dorothy in the right f.g. -- + + SCARECROW + I didn't think so. + +MCS -- The Scarecrow and Dorothy seated by fence -- a crow +flies in from left and alights on the Scarecrow's shoulder +-- + +MCU -- Dorothy reacts as she sees the crow o.s. -- + + SCARECROW O.S. + Boo! Scat! + +MCS -- Scarecrow and Dorothy -- the crow hops to the +Scarecrow's shoulder, picks up some of the Scarecrow's +straw and flies away with it -- Scarecrow speaks to Dorothy +-- + + SCARECROW + Boo! You see, I can't even scare a + crow! They come from miles.... + +MCU -- Dorothy listening -- + + SCARECROW O.S. + ...around just to eat in my field + and laugh in my face! + +MCU -- The Scarecrow -- + + SCARECROW + Oh, I'm a failure, because I + haven't got a brain. + +MCU -- Dorothy reacts, speaks -- + + DOROTHY + Well, what would you do with a + brain if you had one? + 46. + + +MCS -- Scarecrow and Dorothy -- shot favoring the Scarecrow +-- they speak -- he begins to sing -- CAMERA PULLS back as +he rolls down to the Yellow Brick Road -- Dorothy rises, +moves to him -- holds him up as he starts to fall -- + + SCARECROW + Do? Why, if I had a brain, I could + -- + (sings) + I could while away the hours, + Conferrin' with the flowers, + Consultin' with the rain. And my + head I'd be scratchin' While my + thoughts were busy hatchin' If I + only had a brain. I'd unravel every + riddle For any individ'le In + trouble or in pain. + +CS -- Dorothy holds the Scarecrow as she sings -- shot +favoring Dorothy -- + + DOROTHY + (sings) + With the thoughts you'll be + thinkin' You could be another + Lincoln If you only had a brain. + +MCS -- Dorothy holding the Scarecrow as he sings -- he +jumps, whirls about -- CAMERA TRUCKS forward as he goes +into a sitting position, then PANS up with him as he rises +beside Dorothy, continues to sing -- + + SCARECROW + (sings) + Oh, I could tell you why The + ocean's near the shore I could + think of things I never thunk + before, And then I'd sit -- and + think some more. I would not be + just a nuffin' My head all full of + stuffin' My heart all full of pain. + I would dance and be merry... + +MCS - Scarecrow and Dorothy - she watches as he sings, +dances about - he whirls, jigs about - falls to his knees - +Dorothy reacts - CAMERA TRUCKS forward as he dances back up +the Yellow Brick Road - then PULLS back as he comes forward +to Dorothy again - he dances to left to the cornfield - +CAMERA PANS left - he falls over the fence, then rolls back +under it as Dorothy rushes to help him - he reacts, sits on +the curb of the road - + + SCARECROW + 47. + + + (sings) + ...Life would be a ding-a-derry If + I only had a brain! + +MCS - The Scarecrow seated on curb of road as Dorothy looks +down at him - CAMERA PULLS back as he feels about his coat +- Dorothy points to some of his straw on the road - a crow +flies into the scene and lands near the straw - the +Scarecrow reacts - + +MCS - The Scarecrow trembles with fear as Dorothy tries to +comfort him - + +MCU - The crow picks up the straw and flies up -- + +MLS - Dorothy and the Scarecrow react as the crow flies out +to left with the straw in his mouth - CAMERA BOOMS up to +left as the Scarecrow rises, goes to the fence and shakes +his fist at the crow flying over the cornfield in the b.g. +- + +MLS - The Scarecrow dances back to right along the road as +the CAMERA + +PULLS back, PANS right with him - Dorothy rushes to him, +stops him and points o.s. to left - + +LS - The crow lands in the cornfield - + +MCS - Dorothy and the Scarecrow looking o.s. to left - the +Scarecrow reacts, assures Dorothy - then the CAMERA PULLS +back as he dances forward, gains momentum and runs out to +left - + +LS - The Scarecrow runs to left, makes a big jump over the +cornfield as the CAMERA PANS with him - + +MLS - The Scarecrow jumps in from right and lands in the +cornfield - several crows fly out of the corn - + +MS - Dorothy runs forward to the fence, reacts as she looks +o.s. to f.g. - + +MS - The Scarecrow moves to right through the corn stalks - +CAMERA TRUCKS right - he bends down, finds his straw and +stuffs it back into his coat - + +MLS - The Scarecrow runs forward, jumps into the air and +flies out to right f.g. - + +LS - The Scarecrow soars over the field to the road - +Dorothy waves to him + 48. + + +MS - The Scarecrow falls into the scene as he lands on the +Yellow Brick Road - CAMERA PULLS back as Dorothy rushes to +him - the Scarecrow begins to dance again, doing a series +of splits - + +CS - Toto jumps on a pumpkin, starts it rolling out onto +the Yellow Brick Road at right - CAMERA PANS right - + +LS - Toto follows the pumpkin as it rolls forward down the +road - CAMERA PULLS back between the Scarecrow's legs - the +pumpkin hits the Scarecrow, hitting the Scarecrow up out of +scene - Dorothy looks on, frightened - + +LS - CAMERA PANS up with the Scarecrow as he soars up into +the air - + +LS - Shooting down from the Scarecrow's angle to Dorothy as +she looks up o.s. - + +MS - CAMERA PANS down with the Scarecrow as he falls back +toward the road - exits out of shot - + +MLS - The Scarecrow falls back into scene and lands on the +Yellow Brick Road - he runs out to left - + +MLS - CAMERA PULLS back before the Scarecrow as he dances +forward, bumping into one side of fence, then bouncing from +that to the fence on the other side of road, then back to +the fence at left, and so on down the road - CAMERA PANS +right with him as he runs forward past Dorothy and falls +through a fence which breaks under his weight - + +CS - The Scarecrow sits up, looks about - blinks his eyes - + +CS - Dorothy reacts as she starts forward, looks o.s. to +f.g. - + +REVERSE ACTION shot of Scene 93 (MLS - CAMERA PULLS back +before the Scarecrow as he dances forward, bumping into one +side of fence, then bouncing from that to the fence on the +other side of road, then back to the fence at left, and so +on down the road - CAMERA PANS right with him as he runs +forward past Dorothy and falls through a fence which breaks +under his weight) + +MLS - The Scarecrow bounces off a fence rail and starts to +dance forward down the road as he sings - CAMERA PULLS back +ahead of him - Dorothy entered - he sings to her - some +straw falls from his coat - the Scarecrow slumps to the +ground - Dorothy starts to bend down - + + SCARECROW + (sings) + 49. + + + Gosh, it would be awful pleasin' To + reason out the reason For things I + can't explain. Then perhaps I'll + deserve you, And be even worthy erv + you If I only had a brain. + + +7 EXT. YELLOW BRICK ROAD 7 + + Dorothy rushes to the Scarecrow lying on the road -- she + picks up some of his straw -- kneels by him -- + + CS -- Dorothy kneeling by the Scarecrow -- she speaks as + she helps him put back some of the straw -- they react -- + Scarecrow half-rises -- + + DOROTHY + Wonderful! Why, if our Scarecrow + back in Kansas could do that, the + crows'd be scared to pieces! + + SCARECROW + They would? + + DOROTHY + Um-hmm. + + SCARECROW + Where's Kansas? + + DOROTHY + That's where I live. And I want to + get back there so badly I'm going + all the way to Emerald City to get + the Wizard of Oz to help me. + + SCARECROW + You're going to see a Wizard? + + DOROTHY + Um-hmm. + + SCARECROW + Do you think if I went with you + this Wizard would give me some + brains? + + DOROTHY + I couldn't say. But even if he + didn't, you'd be no worse off than + you are now. + + SCARECROW + 50. + + + Yes -- that's true. + + DOROTHY + But maybe you'd better not. I've + got a witch mad at me, and you + might get into trouble. + + SCARECROW + Witch? Huh! I'm not afraid of a + witch! I'm not afraid of anything - + -- except a lighted match. + + DOROTHY + I don't blame you for that. + + SCARECROW + But I'd face a whole box full of + them for the chance of getting some + brains. Look -- I won't be any + trouble, because I don't eat a + thing -- and I won't try to manage + things, because I can't think. + Won't you take me with you? + +MCU -- Dorothy -- shooting past Scarecrow in right f.g. + + DOROTHY + Why, of course I will! + +LS -- Dorothy and the Scarecrow rise from the road -- the +Scarecrow jumps up -- yells -- Dorothy holds him up -- they +speak -- they start to sing -- + +CAMERA BOOMS to left as they walk down the road and exit to +b.g. -- + + SCARECROW + Hooray! We're off to see a Wizard! + + DOROTHY + Oh -- well -- you're not starting + out very well. + + SCARECROW + Oh, I'll try! Really, I will. + + DOROTHY + To Oz? + + SCARECROW + To Oz! + + BOTH + 51. + + + (sing) + We're off to see the Wizard The + Wonderful Wizard of Oz We hear he + is a whiz of a Wiz If ever a Wiz + there was If ever oh ever a Wiz + there was, The Wizard of Oz Is one + because Because, because, because, + because, because Because of the + wonderful things he does. We're off + to see the Wizard The Wonderful + Wizard of Oz! + + LAP DISSOLVE TO: + +LS -- Dorothy and Scarecrow come forward along Yellow Brick +Road -- CAMERA PULLS back to show Wicked Witch hiding +behind tree at left -- she turns, exits to left -- Dorothy +reacts as she sees the apple orchard at right - she goes up +to one of the trees -- CAMERA STARTS TO BOOM forward on her +-- + + DOROTHY + Oh -- apples -- Oh look! Oh. Oh --- + +MCS -- Dorothy standing by the First Tree -- she picks an +apple off -- + +reacts as the tree takes the apple back and slaps Dorothy's +hand -- + + DOROTHY + Ouch! + +MCU -- First Tree opens its "mouth" -- speaks to Dorothy +o.s. -- + + TREE + What do you think you're doing? + +MCS -- Dorothy replies to the tree -- then reacts -- + + DOROTHY + We've been walking a long ways and + I was hungry and -- Did you say.... + +MCU -- The First Tree -- gestures as it speaks -- + + FIRST TREE + She.... + +MLS -- Scarecrow and Dorothy standing before the First Tree +as it speaks to the Second Tree in b.g. -- + 52. + + + FIRST TREE + ...was hungry! Well, how would you + like to have someone come along and + pick something off of you? + +MCU -- Scarecrow and Dorothy react, speak as they look o.s. +at the tree -- + + DOROTHY + Oh, dear -- I keep forgetting I'm + not in Kansas. + + SCARECROW + Come along, Dorothy -- you don't + want any of those apples. Hmm! + +MCU -- First tree reacts, and speaks -- + + FIRST TREE + What do you mean - she doesn't want + any of those apples? Are you + hinting my apples aren't what they + ought to be? + +MCU -- Scarecrow and Dorothy -- + + SCARECROW + Oh, no! It's just that she doesn't + like little green.... + +MCU -- The Tree reacts, makes a grab for the two o.s. -- + + SCARECROW O.S. + ...worms! + + TREE + Oh.... + +MLS -- The First Tree grabs for the two -- the Scarecrow +fights him off as Dorothy runs out to right f.g. -- the +Scarecrow follows her out -- + + TREE + ...you... + + SCARECROW + Go -- Go! + + TREE + ...Oh -- Help -- let me out. I'll + give you little green.... + 53. + + +MCS -- Dorothy -- the Scarecrow backs in from left f.g. -- +gestures at the Trees o.s. -- speaks -- then makes faces at +the trees -- + + TREE O.S. + ...worms. + + SCARECROW + I'll show you how to get apples. + + TREE O.S. + You can't.... + +MS -- The First tree winds up, throws apples o.s. to f.g. - +- + + TREE + ...do that to me! I'll.... + +MCS -- Scarecrow and Dorothy react as the apples begin to +hit them -- the Scarecrow falls back to the road -- + + TREE O.S. + ...show you! + +LS -- Shooting past the Trees at left as they throw apples +at Scarecrow and Dorothy and Toto in the b.g. -- The +Scarecrow rises, dodges about -- + + TREES + You can't do that! You can't do + that! Hey! + +CS -- First Tree laughs as it throws apples to f.g. -- + + SCARECROW O.S. + Hooray! + +LS -- Shooting past the Trees at left as they throw apples +at the Scarecrow and Dorothy in the b.g. -- Scarecrow picks +them up -- + + SCARECROW + Hooray! I guess that did it! Help + yourself. + + DOROTHY + Oh -- + 54. + + +MS -- Dorothy comes forward as she picks up the apples -- +CAMERA PANS and TRUCKS forward as she starts to pick up two +apples -- she sees a tin foot -- reacts -- examines it -- +CAMERA PULLS back and BOOMS up as she stands up by the Tin +Man -- Scarecrow comes in from left -- CAMERA PULLS back as +they examine him -- he tries to speak -- Dorothy picks up +the oil can -- + + DOROTHY + Why, it's a man! A man made out of + tin! + + SCARECROW + What? + + DOROTHY + Yes. Oh -- look -- + + TIN MAN + Oil can.....Oil can.... + + DOROTHY + Did you say something? + + TIN MAN + Oil can.... + + SCARECROW + Oil can what? + + DOROTHY + Oil can? Oh -- oh, here it is! + +MCS -- Scarecrow and Dorothy examine the Tin Man -- he +tries to speak -- they oil him about the mouth -- + + DOROTHY + Where do you want to be oiled + first? + + TIN MAN + My mouth -- my mouth! + + SCARECROW + He said his mouth. + + DOROTHY + Here -- here -- + + SCARECROW + The other side.... + + DOROTHY + 55. + + + Yes --- there. + +CU -- The Tin Man tries to speak -- squeaks out a few +sounds -- + + TIN MAN + Mm.....mm...mm.... + +MCS -- Dorothy and Scarecrow listen as the Tin Man starts +to speak -- + +Dorothy starts to pull the axe arm of the Tin Man down -- +Scarecrow oils him -- + + TIN MAN + ...m...m...my, my, my, my goodness + -- I can talk again! Oh -- oil my + arms, please -- oil my elbows. + + DOROTHY + Oh... + +MLS -- Dorothy lowers the right arm of the Tin Man so that +it hangs naturally -- Scarecrow busy with the oil can -- +the Tin Man begins his story -- + + TIN MAN + Oh -- + + DOROTHY + ...Oh, did that hurt? + + TIN MAN + No -- it feels wonderful. I've held + that axe up for ages. Oh --- + + DOROTHY + Oh, goodness! How did you ever get + like this? + + TIN MAN + Oh -- well, about a year ago -- I + was chopping that tree -- minding + my own business -- when suddenly it + started to rain.... + +MCS -- Scarecrow and Dorothy listen to the Tin Man -- he +grows weak -- they work his arms back and forth -- +Scarecrow oils his neck for him -- Dorothy raps on the Tin +Man's chest -- they react -- Tin Man explains, then steps +backward toward tree -- + + TIN MAN + 56. + + + ...and right in the middle of a + chop, I...I rusted solid. And I've + been that way ever since. + + DOROTHY + Well, you're perfect now. + + TIN MAN + My...my neck. My...my neck. + Perfect? Oh -- bang on my chest if + you think I'm perfect. Go ahead -- + bang on it! + + DOROTHY + Oh --! + + SCARECROW + Beautiful! What an echo! + + TIN MAN + It's empty. The tinsmith forgot to + give me a heart. + + DOROTHY AND SCARECROW + No heart? + + TIN MAN + No heart. + + DOROTHY + Oh -- + + TIN MAN + All hollow. Oh -- + +CS -- Tin Man falls back as Scarecrow and Dorothy enter to +help him -- he holds them off -- begins to sing -- + + TIN MAN + (sings) + When a man's an empty kettle, He + should be on his mettle. And yet + I'm torn apart. Just because I'm + presumin' That I could be kind-a + human, If I only had a heart. + +MCU -- Tin Man leans over toward Dorothy and sings as +CAMERA PANS left slightly -- then leans back -- + + TIN MAN + (sings) + 57. + + + I'd be tender -- I'd be gentle And + awful sentimental Regarding Love + and Art I'd be friends with + sparrows... + +CS -- Dorothy and Scarecrow listening to the Tin Man -- he +comes forward slightly -- reacts as he hears Snow White's +Voice o.s. -- then continues with song -- + + TIN MAN + (sings) + ...And the boy who shoots the + arrows If I only had a heart. + Picture me....a balcony....Above a + voice sings low. + + SNOW WHITE'S VOICE + Wherefore art thou, Romeo? + + TIN MAN + I hear a beat....how sweet! Just to + register emotion Jealousy -- + Devotion -- And really feel the + part, I could stay young and + chipper, And I'd lock it with a + zipper, If I only had a heart...! + +MLS -- Dorothy, Tin Man and Scarecrow -- the Tin Man Comes +forward as he starts his dance -- Dorothy and Scarecrow -- +CAMERA PULLS back -- he stops as one of his joints sticks - +- Dorothy oils it -- Tin Man comes forward a few more +steps, then the other knee sticks -- they oil that for him +-- he thanks them -- CAMERA PULLS back, PANS left as he +runs backwards down the road and starts his dance -- + +MCS -- Dorothy and Scarecrow watching o.s. to left f.g. + +MLS -- Shooting past Scarecrow and Dorothy at right to the +Tin Man as he dances before them -- + +MLS -- CAMERA PANS slightly with the Tin Man as he dances +about -- he taps his chest, makes the whistle in his funnel +hat blow -- then continues to dance -- + +MCS -- Dorothy and the Scarecrow look at each other with +amazement as they watch the dance of the Tin Man -- Dorothy +whispers to the Scarecrow -- + +MLS -- The Tin Man dancing -- he jumps forward slightly, +folds his arms, then locks in that position -- starts to +lean to left -- + 58. + + +MLS -- CAMERA PANS Dorothy and Scarecrow as they rush to +left to help the Tin Man -- they catch him in time -- he +starts to fall in the other direction -- they rush around +to catch him, but he now starts to fall to the other side - +- this business is repeated -- then CAMERA PANS to right as +the Tin Man stumbles toward b.g. -- Scarecrow tries to get +out of the way and falls over -- Dorothy grabs the Tin +Man's hand -- + + DOROTHY + Oh -- + +MCS -- The Tin Man sits down -- Dorothy reacts, speaks with +him -- + +Scarecrow enters from left -- Dorothy oils the Tin Man some +more, then asks him to go to the Emerald City, too -- then +all react as the Witch laughs o.s. -- they rise to their +feet as CAMERA PANS up to the right to the Witch standing +on the roof of Tin Man's cottage -- + + DOROTHY + Oh, oh, oh, oh, oh, oh, oh, are you + all right? + + TIN MAN + I'm afraid I'm a little rusty yet. + + DOROTHY + Oh, dear -- That was wonderful! You + know -- we were just wondering why + you couldn't come to Emerald City + with us to ask the Wizard of Oz for + a heart. + + TIN MAN + Emerald City? Why, that's a long + and dangerous journey. And it might + rain on the way. + + SCARECROW + But you've just been saying how + much you want a heart. + + DOROTHY + And I'll keep the oil-can handy. + + TIN MAN + Well, suppose the Wizard wouldn't + get me one when we got there? + + DOROTHY + 59. + + + Oh, but he will! He must! We've + come such a long way already. + (Witch laughs o.s.) + + TIN MAN + Ohh -- what's that? Oh -- + + WITCH + You call that long? + +MLS -- The Witch on the Tin Man's roof -- she speaks as she +looks o.s. to f.g. -- + + WITCH + Why, you've just begun! Forgotten + about me,.... + +MCS - Tin Man, Dorothy and Scarecrow react as the Witch +speaks o.s. - + + WITCH O.S. + ...eh? Well, I haven't forgotten + about you! + +CS -- The Witch speaks to the three o.s. in f.g. -- + + WITCH + Helping the little lady along, are + you, my fine gentlemen? + +MCS -- Tin Man, Dorothy and Scarecrow -- + + WITCH O.S. + Well, stay away from her! + +CS -- Witch speaks, points at the Scarecrow o.s. -- + + WITCH + Or I'll stuff a mattress with you! + +MCS -- Tin Man, Dorothy and Scarecrow -- Tin Man points to +the trembling Scarecrow -- then the Tin Man reacts -- +points to himself -- + + WITCH O.S. + And you! I'll use you for a bee- + hive! + (laughs) + +CS -- The Witch speaks, throws a ball of fire o.s. -- + + WITCH + Here, Scarecrow! Want to play ball? + 60. + + +LS -- Dorothy, Tin Man, Scarecrow standing at left as the +Witch on the roof throws down a ball of fire at them -- she +laughs gleefully -- + +CS - Witch speaks to Dorothy o.s. - + + WITCH + And as for you, my little.... + +MLS - Tin Man putting out the fire as Dorothy helps the +Scarecrow, who is rolling about in the grass - she reacts +as Witch speaks o.s. - + + WITCH O.S. + ...Dorothy, I wish.... + +MCU - Dorothy hugs Toto tightly as Witch speaks o.s. - + + WITCH O.S. + ...you luck with the Wizard of Oz. + And a.... + +CS - Witch speaks to Dorothy o.s. - then laughs - + + WITCH + ...happy journey back to Kansas! + +MLS -- The Witch laughs -- sits on her broomstick in a +position to fly away -- smoke fills the shot, obscuring +Witch from sight -- + +Ext. Forrest -- CS -- Dorothy holding Toto in her arms -- +watching o.s. + +LS -- Cloud of smoke as Witch disappears -- + +MS -- The Tin Man -- Dorothy and Scarecrow looking o.s. -- +CAMERA TRUCKS forward on them -- Tin Man and Scarecrow +speak -- snap their fingers -- + +Tin Man reacts to buzzing sound -- + + SCARECROW + I'm not afraid of her. I'll see you + get safely to the Wizard now, + whether I get a brain or not! Stuff + a mattress with me! Hah! + + TIN MAN + 61. + + + I'll see you reach the Wizard, + whether I get a heart of not. Bee- + hive -- bah! Let her try and make a + bee-hive out of me! You know -- + Hmm? What's that? + +MLS - Tin Man and Scarecrow sitting down - Dorothy in b.g. +near tree - comes forward as Tin Man and Scarecrow rise - +she speaks - reacts when she sees bee on her arm - turns +around as Tin Man takes bee off her arm - + + TIN MAN + Oh! They're - they're gone now. + + DOROTHY + Oh, goodness! Did any of them sting + you? + + TIN MAN + I - I guess they tried to, but they + bent their stingers. + + DOROTHY + Oh, dear. I don't know what I'd do + if a whole swarm kept -- Oh! Oh! + Oh, there's one on me! + + TIN MAN + Oh - I'll get it! + + DOROTHY + Oh! Oh! + +CS - Scarecrow - Dorothy and Tin Man - Tin Man looks at +dead bee in his hand - speaks and cries - + + DOROTHY + Oh -- + + TIN MAN + Oh, see - I killed it. Oh, I killed + that poor little honey bee! + + DOROTHY + Oh-oh- + +CU - Tin Man crying - speaks - + + TIN MAN + It's only a man without a head who + could do a thing like that. Poor + little bee. + 62. + + +CU - Dorothy reacts - reaches o.s. - + + DOROTHY + Oh, there.... + +CU - The Tin Man as Dorothy reaches in - wipes away his +tears - + + DOROTHY + ...there. Don't cry. There. + +CU - Dorothy looks o.s. - speaks - + + DOROTHY + As a matter of fact, that's just an + old drone bee, and it would have + died.... + +CU - Tin Man looks o.s. - + + DOROTHY O.S. + ...anyway. + + TIN MAN + Yes? + + DOROTHY O.S. + You put it out of its misery. + + TIN MAN + Oh. + + DOROTHY O.S. + It's.... + +CS - Scarecrow - Dorothy and Tin Man - they speak and laugh +- + + DOROTHY + ...just that the Witch is so + wicked. I don't think you two ought + to come with me because you'll get + into trouble. + + SCARECROW + Oh, you don't think we're going to + stand by and let her get away with + fireballs and bees, do you? + + TIN MAN + No, sir! + + SCARECROW + 63. + + + No, sir! + + DOROTHY + Oh, you're the best friends anybody + ever had! And it's funny, but I + feel as if I've known you all the + time. But I couldn't have, could I? + + SCARECROW + I don't see how. You weren't around + when I was stuffed and sewn + together, were you? + + TIN MAN + And I was standing over there + rusting for the longest time. + + DOROTHY + Still, I wish I could remember. + But, I guess it doesn't matter + anyway. We know each other now, + don't we? + + SCARECROW + That's right. + + TIN MAN + We do. + + SCARECROW + To Oz? + + TIN MAN + To Oz! + +MLS -- Scarecrow -- Dorothy and Tin Man -- CAMERA PANS +right as they dance down to brick road -- Scarecrow picks +up basket -- CAMERA TRUCKS back as they dance forward -- +then turn and go up road to b.g. -- exit -- + + THE THREE + (sing) + We're off to see the Wizard The + Wonderful Wizard of Oz We hear he + is a whiz of a Wiz If ever a Wiz + there was. If ever, oh ever a Wiz + there was The Wizard of Oz is one + because Because, because, because, + because, because Because of the + wonderful things he does We're off + to see the Wizard The Wonderful + Wizard of Oz! + 64. + + + LAP DISSOLVE TO: + +LS -- Int. Dark and Eerie Forest -- Tin Man -- Dorothy and +Scarecrow walking forward down brick road -- + + LAP DISSOLVE TO: + +LS -- Tin Man -- Dorothy and Scarecrow walking forward +slowly -- + +MCS -- Tin Man -- Dorothy and Scarecrow stop -- look around +off screen -- + +Dorothy frightened -- speaks -- + + DOROTHY + I don't like this forest! It's -- + it's dark and creepy! + + SCARECROW + Of course, I don't know, but I + think it'll get darker before it + gets lighter. + + DOROTHY + Do -- do you suppose we'll meet any + wild animals? + + TIN MAN + We might. + + DOROTHY + Oh -- + + SCARECROW + Animals that -- that eat straw? + + TIN MAN + Some -- but mostly lions, and + tigers, and bears. + +CU -- Dorothy reacts -- + + DOROTHY + Lions? + +CU -- Scarecrow reacts -- speaks -- + + SCARECROW + And tigers? + +CU -- Tin Man looks o.s. -- speaks -- + 65. + + + TIN MAN + And bears. + +MCS -- Tin Man -- Dorothy and Scarecrow -- Dorothy +frightened -- + + DOROTHY + Oh! Lions and tigers and bears! + +MLS -- Tin Man -- Dorothy and Scarecrow walk forward along +brick road -- + +CAMERA PANS them to right -- they react to growl o.s. -- + + DOROTHY + Oh, my! + + TIN MAN -- SCARECROW AND DOROTHY + Lions and tigers and bears! + + DOROTHY + Oh, my! + + TIN MAN -- SCARECROW AND DOROTHY + Lions and tigers and bears! + + DOROTHY + Oh, my! + + TIN MAN -- SCARECROW AND DOROTHY + Lions and tigers and bears! + + DOROTHY + Oh, my! + + TIN MAN -- SCARECROW AND DOROTHY + Lions and tigers and bears! + + DOROTHY + Oh, my! + (screams) + +MCS -- Tin Man -- Dorothy and Scarecrow frightened -- speak +-- look o.s. -- + +react -- + + TIN MAN + And bears! + + DOROTHY + What sort of an animal is that? + 66. + + + TIN MAN + It-it-it-it - it's a huge one! + + SCARECROW + D-d-d-don't be fr-fr-frightened. I + - I'll - I'll protect you. Oh, + look! + +LS -- Lion on fallen tree -- Dorothy -- Scarecrow and Tin +Man in f.g. on brick road -- the lion jumps toward them -- +CAMERA TRUCKS back as they three move back -- the Lion +takes two great leaps -- lands on the brick road -- Tin Man +and Scarecrow fall at side of road -- Dorothy hides behind +tree -- (Lion growling) + +CU -- Lion growling -- + +CS -- Scarecrow trembling -- + +CU -- Lion growling -- + +CU -- Dorothy looks out around tree -- reacts -- + +CU -- Lion growling -- + +CS -- Tin Man trembling -- + +CS -- Lion sneers -- CAMERA PANS as he stands on his hind +legs -- puts up his paws -- speaks -- + + LION + Put 'em up! Put 'em.... + +LS -- Lion -- Tin Man and Scarecrow -- Dorothy back of tree +in b.g. -- + +CAMERA TRUCKS forward -- Lion speaks and gestures -- + + LION + ...up! Which one of you first? I'll + fight you both together if you + want! I'll fight you with one paw + tied behind my back. I'll fight you + standing on one foot. + +MCS -- Lion speaks -- CAMERA PANS him to right to Tin Man - +- Dorothy in b.g. -- + + LION + I'll fight you with my eyes closed. + Oh -- pulling an axe on me, eh? + +MCU -- Tin Man trembling -- + 67. + + +MCS -- Lion speaks -- CAMERA PANS him left to Scarecrow -- +Dorothy in b.g. + +watching -- PANS lion to right to Tin Man -- + + LION + Sneaking up on me, eh? Why! + (snarls) + + TIN MAN + Here -- here. Go 'way and let us + alone! + + LION + Oh, scared, huh? + +CU -- Dorothy looks out from around tree -- reacts -- + + LION O.S. + Afraid, huh? + +MCS -- Lion and Tin Man -- Lion speaks and laughs -- CAMERA +PANS him to left to Scarecrow -- Dorothy in b.g. + + LION + How long can you stay fresh in that + can? + (laughs) + Come on -- get up and fight, you + shivering junk yard! Put your hands + up, you lop-sided bag of hay! + +CS -- Scarecrow reacts -- speaks -- + + SCARECROW + Now that's getting personal, Lion. + +MCU -- Tin Man looks o.s. -- speaks -- + + TIN MAN + Yes -- get up and teach him a + lesson. + +MCS -- Scarecrow and Lion -- Dorothy in b.g. -- + + SCARECROW + Well -- what's -- wrong with you + teaching him? + +MCU -- Tin Man reacts -- speaks -- + + TIN MAN + Well -- well --, I hardly know him. + 68. + + +CS -- Toto barking -- + +CU -- Lion snarls -- speaks + + LION + Well, I'll get you, anyway, Pee- + Wee. + +CU -- Dorothy reacts -- exits left f.g. -- + +MLS -- Lion and Dorothy -- Toto runs into shrubs -- Lion +starts after him -- Dorothy picks up Toto -- comes forward +over to Scarecrow and Tin Man -- + +CAMERA PANS left as Lion starts for Toto -- Dorothy slaps +his hand -- he backs away -- crying -- + + DOROTHY + Shame on you! + +MCU -- Lion -- Camera shooting past Dorothy at left f.g. -- +Lion crying -- speaks -- + + LION + What -- what did you do that for? I + didn't bite him. + + DOROTHY + No, but you tried to. + +CS -- Dorothy and Lion -- CAMERA PULLS back -- Scarecrow +and Tin Man enter at left -- Dorothy speaks to Lion -- he +cries and speaks -- + + DOROTHY + It's bad enough picking on a straw + man, but when you go around picking + on poor little dogs -- + + LION + Well, you didn't have to go and hit + me, did you? Is my nose bleeding? + + DOROTHY + Well, of course not. My goodness, + what a fuss you're making. Well, + naturally, when you go around + picking on things weaker than you + are -- Why, you're nothing but a + great big coward! + + LION + You're right -- I am a coward. + 69. + + +MCU -- Lion -- Camera shooting past Dorothy -- Lion crying +-- speaks -- + + LION + I haven't any courage at all. I + even scare myself. Look at the + circles under my eyes. + +MS -- Tin Man -- Scarecrow -- Dorothy and Lion -- they +speak -- Lion crying -- + + LION + I haven't slept in weeks. + + TIN MAN + Why don't you try counting sheep? + + LION + That doesn't do any good -- I'm + afraid of 'em. + + SCARECROW + Oh, that's too bad. Don't you think + the Wizard could help him, too? + + DOROTHY + I don't see why not. Why don't you + come along with us? We're on our + way to see the Wizard now. To get + him a heart. + + TIN MAN + And him a brain. + + DOROTHY + I'm sure he could give you some + courage. + +MCU -- Lion -- Camera shooting past Dorothy -- + + LION + Well, wouldn't you feel degraded to + be seen in the company of a + cowardly lion? I would. + +CS -- Dorothy -- Tin Man and Scarecrow -- Camera shooting +past Lion at right f.g. -- + + DOROTHY + No, of course not. + +MCS -- Tin Man -- Dorothy -- Scarecrow and Lion -- + 70. + + + LION + Gee, that's -- that's awfully nice + of you. My life.... + +MLS -- Dorothy and Group -- Dorothy puts Toto down -- Lion +Sings as the four walk and dance along brick road to right +-- CAMERA TRUCKS with them -- + + LION + ...has been simply unbearable. + + DOROTHY + Oh. + + LION + (sings) + Yeh, it's sad, believe me, Missy + When you're born to be a sissy, + Without the vim and verve. But I + could show my prowess -- Be a lion + not a mou-ess -- If I only had the + nerve I'm afraid there's no denyin' + I'm just a dande-lion -- A fate I + don't deserve. I'd be brave as a + blizzard -- + + TIN MAN + (sings) + I'd be gentle as a lizard -- + + SCARECROW + (sings) + I'd be clever as a gizzard -- + + DOROTHY + (sings) + If the Wizard is a Wizard who will + serve. + +CS -- Tin Man and Scarecrow sing -- CAMERA PANS to right to +Dorothy and Lion -- + + SCARECROW + (sings) + Then I'm sure to get a brain -- + + TIN MAN + (sings) + A heart -- + + DOROTHY + (sings) + A home -- + 71. + + + LION + (sings) + The nerve. + +MLS -- Scarecrow -- Tin Man -- Dorothy and Lion sing as +they dance forward along brick road -- CAMERA TRUCKS ahead +-- + + ALL + (sing) + Oh, we're off to see the Wizard The + Wonderful Wizard of Oz. We hear he + is a whiz of a Wiz If ever a Wiz + there was.... + +LS -- Dorothy -- Lion -- Tin Man and Scarecrow dance down +brick road to b.g. -- all exit -- + + ALL + (sing) + ...If ever, oh ever, a Wiz there + was The Wizard of Oz is one because + Because, because, because, because, + because Because of the wonderful + things he does! We're off to see + the Wizard The Wonderful Wizard of + Oz! + +Camera on Crystal -- the images of Tin Man -- Dorothy -- +Scarecrow and Lion in crystal as they march along arm in +arm -- CAMERA TRUCKS back showing the Witch and Nikko +looking into crystal -- Witch laughs -- CAMERA PANS her +left to table -- she mixes poison -- CAMERA PANS her to +right to Crystal -- She holds poison over the crystal -- +waves her hand over it -- the images of group fade out -- +Poppy Field fades in -- CAMERA TRUCKS forward on Crystal -- + + WITCH + A-hah! + (laughs) + So! You won't take warning, eh? All + the worse for you, then. I'll take + care of you now instead of later! + Hah! When I gain those ruby + slippers, my power will be the + greatest in Oz! And now, my + beauties! Something with poison in + it, I think. With poison in it, but + attractive to the eye -- and + soothing to the smell! + (laughs) + Poppies! Poppies! Poppies! + 72. + + + LAP DISSOLVE TO: + +LS -- Poppy Field -- CAMERA PANS up -- then PANS left over +field -- to edge of forest -- Dorothy -- Scarecrow -- Lion +and Tin Man coming forward out of forest -- + +MCS -- Dorothy -- Lion -- Tin Man and Scarecrow all looking +o.s. -- + +Dorothy speaks -- + + DOROTHY + There's Emerald.... + +ELS -- Shooting over Poppy Field to towers of Emerald City +-- Dorothy and Group in f.g. -- + + DOROTHY + ...City! Oh, we're almost there at + last! At last! + +MCS -- Dorothy -- Lion -- Tin Man and Scarecrow -- they +speak -- + + DOROTHY + It's beautiful, isn't it? Just like + I knew it would be. He really must + be a wonderful Wizard to live in a + City like that! + + LION + Well, come on, then. What are we + waiting for? + + SCARECROW + Nothing! Let's hurry! + +LS -- Dorothy -- Tin Man -- Scarecrow and Lion run to b.g. +thru poppy field -- + + DOROTHY + Yes -- let's run! + + LION + Yes. + +MLS -- Tin Man -- Scarecrow -- Dorothy and Lion running +forward thru Poppy Field -- CAMERA TRUCKS right -- + +MS -- Tin Man and Scarecrow running thru poppies -- CAMERA +TRUCKS right -- both gesture -- + + SCARECROW + 73. + + + Come on -- come on -- + + TIN MAN + Hurry -- hurry -- + +MS -- Dorothy and Lion running thru poppies -- CAMERA +TRUCKS right -- + +MS -- Dorothy running to right -- staggers a little -- +slows down -- + +ELS -- Scarecrow and Tin Man running forward thru poppy +field -- Lion in b.g. -- Dorothy enters in far b.g. -- +Scarecrow and Tin Man stop on hill -- call and gesture + + SCARECROW + Oh! Oh, come on, come on! + + TIN MAN + Look -- you can see it here. It's + wonderful! + + SCARECROW + Emerald City! + +MLS -- Dorothy running slowly to right -- CAMERA PANS her +to Lion -- Tin Man and Scarecrow -- Dorothy staggers -- +puts her hand to her head -- + + DOROTHY + Oh -- Oh -- what's happening? What + is it? + +MCU -- Dorothy puts her hand to her head -- speaks -- + + DOROTHY + I can't run anymore. I'm so.... + +CS -- Tin Man and Scarecrow -- + + DOROTHY O.S. + ...sleepy. + + SCARECROW + Here -- give us your hands, and + we'll pull you.... + +MLS -- Dorothy and Group -- + + SCARECROW + ...along. + 74. + + + DOROTHY + Oh, no -- please. I have to rest + for just a minute. Toto! + +CS -- Toto lying among poppies -- + + DOROTHY O.S. + Where's Toto -- + +MLS -- Dorothy and Group -- Dorothy lies down among the +poppies -- + + SCARECROW + Oh, you can't rest now -- we're + nearly there! + +MCU - Lion yawns and speaks - + + LION + What did she -- do that for? + +The images of Lion - Tin Man - Scarecrow and Dorothy in +Crystal - they speak - CAMERA TRUCKS back showing Witch and +Nikko standing near crystal - Witch laughs and speaks - the +images fade out - Nikko exits - CAMERA TRUCKS forward on +Witch - + + SCARECROW + Hey, Dorothy! + + TIN MAN + Dorothy! + + LION + Dorothy! + + TIN MAN + Dorothy! You can't sleep here! You + can't sleep in the middle of a + field! + + WITCH + (laughs) + Call away! Call away! She won't + hear any of you again! And there's + nothing you can do about it, + either. + (laughs) + Bring me my wishing cap! I'll call + the Winged Monkeys to fetch me + those slippers! Hurry! Hurry! + Hurry! Hurry! It worked very + smoothly! + 75. + + + LAP DISSOLVE TO: + +MLS -- Lion -- Tin Man and Scarecrow -- Dorothy lying in +poppies -- Lion starts to cry -- Scarecrow speaks -- holds +the Lion up -- Lion drops as + +Tin Man and Scarecrow start to pick up Dorothy -- + + TIN MAN + (crying) + Oh - oh, poor Dorothy! + + SCARECROW + Don't cry -- you'll rust yourself + again! + + LION + Comin' to think of it, forty winks + wouldn't be bad. + + SCARECROW + Don't you start it, too! + + TIN MAN + Oh! We ought to try and carry + Dorothy. + + SCARECROW + I don't think I could, but we could + try. + + TIN MAN + Let's. + + SCARECROW + Yes. + + TIN MAN + Oh -- now look at him! This is + terrible! + + SCARECROW + Here, Tin Man -- help me. + +CS -- Dorothy as Scarecrow tries to lift her -- + +MLS -- Tin Man and Scarecrow -- Dorothy and Lion lying +among poppies -- + +Tin Man and Scarecrow react -- call for help -- + + SCARECROW + 76. + + + Oh, this is terrible -- can't budge + her an inch! This is a spell, this + is! + + TIN MAN + It's the Wicked Witch! What'll we + do? Help! HELP! + + SCARECROW + It's no use screaming at a time + like this! Nobody will hear you! + Help! + +LS -- Tin Man and Scarecrow on top of hill -- crying for +help -- + +Superimposed shot of the Good Witch as she waves wand -- +snow starts to fall -- + + SCARECROW + HELP -- HELP! + +CS -- Dorothy lying among poppies -- snow falling on her + + SCARECROW O.S. + Help! Help! + +LS -- Tin Man and Scarecrow on top of hill -- Superimposed +shot of the Good Witch waving wand -- snow falling -- The +Superimposure fades out -- + + SCARECROW O.S. + Look - It's snowing! It isn't + snowing. It couldn't be! But it is! + No, it isn't! Yes, it is! Oh, maybe + that'll help! + +CS -- Dorothy lying among poppies -- snow falling on her -- +she opens her eyes -- + + SCARECROW O.S. + Oh, but it couldn't help. + +MCS -- Scarecrow looking down o.s. -- snow falling -- +CAMERA PANS as he kneels down to Dorothy -- she wakens -- +sits up -- Lion sits up in b.g. -- + +Dorothy looks o.s. to left -- CAMERA PANS up to Tin Man -- +then PULLS back -- Dorothy jumps up -- takes oil can from +basket -- they oil the Tin Man -- + + SCARECROW + 77. + + + It does help. Dorothy, you're + waking up! + + DOROTHY + Oh -- + + LION + Oh -- unusual weather we're having, + ain't it? + + DOROTHY + Look! He's rusted again. Oh, give + me the oil can -- quick! Oh-oh, + quick! + + SCARECROW + Yes -- there -- + + DOROTHY + Oh -- here quick -- oh! - we'll oil + him up. + +MCS -- Images of Tin Man -- Dorothy -- Scarecrow and Lion +in Crystal -- + +CAMERA TRUCKS back showing Witch and Nikko looking into +Crystal -- The Witch reacts -- speaks -- the images fade +from Crystal -- + + SCARECROW + -- A hot water bottle would be good + if we had one. + + DOROTHY + Oh, he's been crying! Why have you + been -- + + WITCH + Curse it! Curse it! Somebody always + helps that girl! But shoes or no + shoes, I'm still great enough to + conquer her. And woe to those who + try to stop me! + + LAP DISSOLVE TO: + +LS -- Dorothy -- Lion -- Scarecrow and Tin Man on hill in +Poppy Field -- + +Dorothy speaks -- all react to voices singing -- The four +of them come forward down hill -- + + DOROTHY + 78. + + + Come on -- let's get out of here! + Look -- Emerald City is closer and + prettier than ever! + + VOICES O.S. + You're out of the woods You're out + of the dark You're out of the night + Step into the sun Step into the + light Keep straight ahead for.... + + LAP DISSOLVE TO: + +MLS -- Dorothy -- Lion -- Scarecrow and Tin Man arm in arm +tramping to right -- CAMERA TRUCKS right -- + + VOICES + (sing) + ...The most glorious place -- + + LAP DISSOLVE TO: + +MS -- Int. Tower Room -- The Witch gestures with broomstick +-- CAMERA PANS left -- then right as she runs around to +window -- stands on sill -- speaks -- then flies out -- + + WITCH + To the Emerald City -- as fast as + lightning! + +ELS -- The Witch flying on broomstick -- CAMERA PANS as she +circles tower -- then flies out left -- + + LAP DISSOLVE TO: + +LS -- Gate to Emerald City -- Dorothy -- Lion -- Tin Man +and Scarecrow enter left f.g. -- skip to b.g. to gate -- + + VOICES + (sing) + -- Of the earth or the sky Hold + onto your breath Hold onto your + heart Hold onto your hope -- March + up to the gate And bid it open --- + open --- open. + +MS -- Dorothy -- Tin Man -- Lion and Scarecrow at gate -- +they ring the bell -- + +CU -- Doorman pops head thru little window in door -- looks +down o.s. -- speaks -- + + DOORMAN + Who rang that bell? + 79. + + +MS -- Dorothy and group at gate -- Doorman at window -- he +speaks to the group -- they look around -- + + DOROTHY AND OTHERS + We did. + + DOORMAN + Can't you read? + + SCARECROW + Read what? + + DOORMAN + The notice! + + DOROTHY AND SCARECROW + What notice? + + DOORMAN + It's on the door -- as plain as the + nose on my face! It -- Oh -- + +CU -- Doorman reacts -- starts out -- + +MS -- Dorothy and group at door -- Doorman disappears -- +re-enters -- hangs sign on door -- then exits -- closing +window -- Dorothy and others read sign -- Dorothy knocks on +door -- Doorman re-enters -- speaks to them -- + + DOROTHY AND OTHERS + "Bell out of order. Please knock." + + DOORMAN + Well, that's more like it. Now, + state your business! + + DOROTHY AND OTHERS + We want to see the Wizard. + + DOORMAN + Ooooh! The Wizard? But nobody can + see the Great Oz! Nobody's ever + seen the Great Oz! Even I've never + seen him! + + DOROTHY + Well, then -- how do you know there + is one? + +CU -- Doorman speaks -- reacts -- starts out -- + + DOORMAN + 80. + + + Because he -- I -- Oh, you're + wasting my time! + + DOROTHY O.S. + Oh, please! Please.... + +CS -- Dorothy -- Tin Man and Lion -- Dorothy speaks + + DOROTHY + ...sir. I've got to see the Wizard! + The Good Witch of the North sent + me! + +CU -- Doorman looks o.s. -- speaks -- + + DOORMAN + Prove it. + +MS -- Dorothy and Group at door -- Doorman at little window +of door -- + +looks down at them -- + + SCARECROW + She's wearing the ruby slippers she + gave her. + +CU -- Ruby slippers on Dorothy's feet -- + + DOORMAN O.S. + Oh.... + +CU -- Doorman speaks and gestures -- + + DOORMAN + ...so she is! Well, bust my + buttons! Why didn't you say that in + the.... + +CS -- Dorothy -- Tin Man and Lion smiling -- + + DOORMAN O.S. + ...first place? That's a horse.... + +CU -- Doorman looks down o.s. -- speaks -- exits -- closing +window -- + + DOORMAN + ...of a different color! Come on + in! + 81. + + +LS -- Dorothy and Group at gate as it opens -- People +moving about on street of Oz in b.g. -- Cabby drives in +from right -- CAMERA TRUCKS forward -- Dorothy and group go +to cab -- + + CABBY + Cabby! Cabby! Just what you're + looking for! Take you any place in + the City, we does. + +MLS -- Cabby on seat of cab -- Dorothy and Group standing +alongside -- CAMERA TRUCKS forward on Cabby -- + + DOROTHY + Well, would you take us to see the + Wizard? + + CABBY + The Wizard? The Wizard? I -- can't + -- Well -- Yes, of course. But + first I'll take you to a little + place where you can.... + +MCS -- Dorothy -- Lion -- Tin Man and Scarecrow -- CAMERA +PULLS back as they climb into cab -- Dorothy looks at horse +-- reacts -- speaks to Cabby -- CAMERA TRUCKS back as Cabby +drives forward -- singing -- people wave to Cabby -- + + CABBY O.S. + ...tidy up a bit -- what? + + DOROTHY + Oh, thank you so much. We've been + gone such a long time, and we feel + so mess -- What kind of a horse is + that? I've never seen a horse like + that before! + + CABBY + No -- and never will again, I + fancy. There's only one of him, and + he's it. He's the Horse of a + Different Color, you've heard tell + about. + (sings) + Ha -- ha -- ha -- Ho -- ho -- ho -- + And a couple of tra -- la -- las. + That's how we laugh the day away In + the Merry Old Land of Oz. Bzz -- + bzz -- bzz -- Chirp -- Chirp -- + Chirp -- And a couple of la -- + di.... + 82. + + +LS -- Cabby -- Dorothy and group riding thru street of Oz - +- people gather around -- wave -- + + CABBY + (sings) + ...das -- That's how the crickets + crick all day In the Merry Old Land + of Oz! We get up at twelve.... + +MCS -- Cabby driving cab as he sings -- Dorothy -- Lion and +others in cab -- crowd following -- + + CABBY + (sings) + ...And start to work at one Take an + hour for lunch.... + +LS -- Cab moving to right thru Street of Oz -- Crowd +following -- CAMERA PANS right -- Cab stops -- Dorothy and +others get out -- CAMERA TRUCKS forward as they exit into +building -- sign above door reads: WASH & BRUSH UP CO. -- + + CABBY + (sings) + ...And then at two we're done Jolly + good fun! Ha -- ha -- ha -- Ho -- + ho -- ho -- And a couple of tra -- + la -- las. That's how we laugh the + day away In the Merry Old Land of + Oz! Ha -- ha -- ha -- Ho -- ho -- + ho -- Ha -- ha -- ha -- ha -- + That's how we laugh the day away + With a ho -- ho -- ho Ha -- ha -- + ha In the Merry Old Land of Oz! + +MLS -- Three Masseurs filling the Scarecrow with new straw +-- they sing as they work -- CAMERA TRUCKS back to left +showing men polishing the Tin Man -- they sing -- CAMERA +TRUCKS back showing girls doing Dorothy's hair -- they sing +-- CAMERA PANS left showing girls clipping the Lion -- all +sing -- Dorothy -- Tin Man and Scarecrow -- Lion rises -- +the Four of them start out -- CAMERA PANS left -- + + MASSEURS + (sing) + Pat, pat here, Pat, pat there, And + a couple of brand new strawz. + That's how we keep you young and + fair In the Merry Old Land of Oz. + + POLISHERS + (sing) + 83. + + + Rub, rub here, Rub, rub there, And + whether you're tin or brahz. That's + how we keep you in repair In the + Merry Old Land of Oz! + + MASSEUSE + (sings) + We can make a dimpled smile out of + a frown -- + + DOROTHY + (sings) + Can you even dye my eyes to match + my gown? + + MASSEUSE + Uh-huh. + + DOROTHY + Jolly old town! + + MANICURISTS + (sing) + Clip, clip here, Clip, clip there. + We give the roughest clawz + + LION + That certain air of savoir faire In + the Merry Old Land of Oz! + + SCARECROW + Ha -- ha -- ha -- + + TIN MAN + Ho -- ho --ho + + DOROTHY + Ho -- ho --ho -- ho + + LION + Hah! + + ALL + (sing) + That's how we laugh the day away In + the Merry Old Land of Oz! That's + how we laugh.... + +LS -- Dorothy and Group come out into Street -- all singing +-- CAMERA TRUCKS back as they start forward -- Dorothy +looks up to sky -- reacts -- + + ALL + 84. + + + (sing) + ...the day away -- Ha -- ha -- ha - + - + (etc.) + In the Merry Old Land of Oz! Ha -- + ha -- ha -- Ho -- Ho - ho -- + +MS -- Tin Man -- Scarecrow -- Dorothy and Lion -- crowd in +b.g. -- all looking up to sky -- they react -- + + LION + Who's her? Who's her? + + DOROTHY + It's the Witch! She's followed us + here! + + TIN MAN + Can't that female take no for an + answer? + + DOROTHY + Oh -- + + CUE VOICE + S-u-r-r-e-n-d-e-r- Dorothy or die! + W. W. W. + +CS -- Two Oz women looking up to sky -- + + OZ WOMAN + Dorothy? Who's Dorothy? + +MCS -- Two Oz Women run to right -- CAMERA PANS -- + + OZ WOMAN + The Wizard will explain it! + +CS -- Man and Woman looking up to the sky -- + + MAN + To the Wizard! + +MCS- Oz Man speaks -- others run thru in b.g. -- + + MAN + To the Wizard! + +MS -- Tin Man -- Scarecrow -- Dorothy and Lion react -- + + DOROTHY + Dear, whatever shall we do? + 85. + + + SCARECROW + Well, we'd better hurry if we're + going to see the Wizard! + +LS -- Dorothy and group run out at right -- crowd following +-- + + LAP DISSOLVE TO: + +LS -- Crowd of Townsfolk moving thru Street of Oz - CAMERA +TRUCKS back -- + +LS -- Crowd moving to b.g. to steps of Palace -- Guard on +steps -- speaks and gestures -- + + GUARD + Here -- here -- here -- wait a + minute! Wait a minute! Stop - stop + - stop! It's all right! + +MS - Guard speaks and gestures -- CAMERA TRUCKS forward + + GUARD + Every -- It's all right! Everything + is all right! The Great and + Powerful Oz has got matters well in + hand - I hope -- So you can all + go.... + +LS -- Crowd in street in front of Palace -- Guard in f.g. - +- speaks to them -- + + GUARD + ...home -- and there's nothing to + worry about. + +MLS -- Dorothy -- Tin Man -- Scarecrow and Lion making +their way thru crowd -- CAMERA PANS them to right to Guard +on steps -- + + GUARD O.S. + Get out of here now -- go on! Go on + home -- I - I -- go home. + +MS -- Dorothy -- Tin Man -- Scarecrow and Lion -- Camera +shooting past Guard at right f.g. -- + + DOROTHY + If you please, sir. We want to see + the Wizard right away -- all four + of us. + 86. + + +MS -- Guard -- Camera shooting past Dorothy and Group in +f.g. -- + + GUARD + Orders are -- nobody can see the + Great Oz! Not nobody -- not nohow! + +MS - Dorothy and Group - Camera past Guard at sight f.g. - + + DOROTHY + Oh, but we must! + +MS - Guard - Camera past Dorothy and Group in b.g. - Guard +speaks and gestures - + + GUARD + Orders are - not nobody! Not nohow! + +MS - Dorothy and group - Camera past Guard at right - + + GUARD + He's in conference with himself on + account of this.... + +CS - Guard - Camera shooting past Dorothy - + + GUARD + ...trouble with the Witch. And even + if he wasn't you wouldn't have been + able to see him anyway on account + of nobody has - not even us in the + Palace! + +MS - Dorothy - Tin Man - Scarecrow and Lion - Camera +shooting past Guard at right - + + DOROTHY + Oh, but -- but please. It's very + important. + + LION + And -- and I got a permanent just + for the occasion. + + GUARD + Not nobody! Not.... + +CU - Horn inside of Guard's cape - + + GUARD O.S. + ...nohow! + +CS - Guard - Camera shooting past Dorothy - + 87. + + + GUARD + Pardon me. We've gotta change the + guards. + +MS - Guard - Camera shooting past Dorothy and Group - +CAMERA PANS right as Guard crosses to Sentry house - sentry +house revolves - + +CS - Guard in Sentry House - turns fake mustache upside +down - + +MLS - Guard steps out of Sentry house - CAMERA PANS left as +he comes forward to Dorothy and Group - CAMERA TRUCKS +forward - + + GUARD + Now - what do you want? + + DOROTHY AND OTHERS + We want to see the Wizard. + + GUARD + Not nobody! Not.... + +MLS -- Dorothy and Group at left -- Guard at right -- + + GUARD + ...nohow! + + TIN MAN + That's what the other man said. + + SCARECROW + But she's Dorothy! + +CS -- Guard reacts -- speaks -- Camera past Dorothy and +Scarecrow in f.g. -- + + GUARD + The Witch's Dorothy? Well -- that + makes a difference. Just wait here + -- I'll announce you at once. + +MS -- Guard shoulders his sword - CAMERA PANS him to right +-- he exits into Palace -- + +At the Palace Gates -- MCS -- Tin Man, Dorothy, Scarecrow +and the Lion as they look o.s. to right, react -- they +speak -- the Lion moves away from them and steps up on the +terraced garden -- CAMERA BOOMS forward to left -- he +starts to sing -- + + SCARECROW + 88. + + + Did you hear that? He'll announce + us at once! I've as good as got my + brain! + + TIN MAN + I can fairly hear my heart beating! + + DOROTHY + I'll be home in time for supper! + + LION + In another hour, I'll be King of + the Forest. Long Live the King! + (sings) + If.... + +CS -- The Lion sings -- + + LION + (sings) + ...I were King of the Forest, Not + Queen, not Duke, not Prince.... + +MLS -- The Scarecrow, Dorothy and Tin Man group about in +front of the Lion as he sings -- + + LION + (sings) + My regal robes of the forest.... + +CS -- Lion sings -- gestures -- + + LION + (sings) + Would be satin, and not cotton, and + not chintz. I'd command each thing, + be it fish or fowl. + +MCU -- Lion sings -- + + LION + (sings) + With a woof and a woof, and a royal + growl. As.... + +MLS -- Scarecrow, Dorothy and Tin Man listening to the Lion +-- + + LION + (sings) + ...I'd click my heel All the trees + would kneel And the mountains bow + And the bulls kowtow + 89. + + +MCU -- Lion -- gestures, grimaces and sings -- + + LION + (sings) + And the sparrow would take wing 'F + -- I...'f -- I...were King! + +MS - The Guard opens the peep window of the doors and looks +o.s. to f.g. - reacts to the song - CAMERA TRUCKS forward +on him - + + LION O.S. + (sings) + Each rabbit would show respect to + me. The chipmunks... + +MCS -- Lion continues with song -- gestures magnificently +as he concludes-- + + LION + (sings) + ...genuflect to me. Though my tail + would lash I would show compash For + every underling. 'F -- I...'f -- I + --- were King Just King!.... + +MS - Lion standing in left f.g. as he finishes song - +Scarecrow, Dorothy and Tin Man in front of him - they bow, +then dance about as they sing - then kneel down - + + ALL + (sing) + Each rabbit would show respect to + him The chipmunks genuflect to him + + SCARECROW + And his wife would be Queen of the + May. + +MCS - Lion - + + LION + I'd be monarch of all I survey.... + +LS - Scarecrow, Dorothy and Tin Man bow -- then a carpet is +rolled down in front of the Lion -- all come forward as the +CAMERA PULLS back -- Dorothy acts as flower girl -- they +come forward to royal robe -- it is placed on the Lion, as +they turn about, then start back to the throne -- the Tin +Man crowns the Lion with a half of a flower pot -- + + LION + (sings) + 90. + + + Monarch of all I survey.... + +MCU -- Lion sings -- laughs -- speaks -- + + LION + (sings) + Mah -- hah -- hah -- hah -- hah -- + hah -- hah -- hah -- hah -- ha- + narch! + (laughs) + Of all I survey! + +MLS -- Scarecrow, Dorothy and Tin Man bow before the Lion +as he concludes -- Dorothy kneels, speaks -- Lion moves +down from the terrace garden and comes forward as the +others question him -- CAMERA TRUCKS back to right with +them -- Lion starts up the Palace steps -- + + DOROTHY + Your Majesty, if you were king You + wouldn't be afraid of anything? + + LION + Not nobody, not nohow! + + TIN MAN + Not even a rhinoceros? + + LION + Imposserous! + + DOROTHY + How about a hippopotamus? + + LION + Why, I'd thrash him from top to + bottomamus! + + DOROTHY + Supposin' you met an elephant? + + LION + I'd wrap him up in cellophant! + + SCARECROW + What if it were a brontosaurus? + + LION + I'd show him who was King of the + Fores'! + + ALL + How? + 91. + + + LION + How? + +MCU -- Lion explains -- + + LION + Courage! What makes a King out of a + slave? Courage! + +MLS -- Lion explains to Scarecrow, Tin Man and Dorothy + + LION + What makes the flag on the mast to + wave? Courage! + +CU - The Guard sticks his head out of the peep window in +the gates - looks o.s. to f.g. - CAMERA TRUCKS forward on +him - + + LION O.S. + What makes the elephant charge his + tusk In the misty.... + +MCU -- Lion -- + + LION + ...mist, or the dusky dusk? What + makes the muskrat guard his musk? + Courage! + +MLS -- Scarecrow, Tin Man and Dorothy listening to the Lion +-- + + LION + What makes the sphinx the seventh + wonder? Courage! What makes the + dawn come up like thunder? Courage! + What makes the Hottentot so hot? + What puts the "ape" in apricot? + What have they got that I ain't + got? + +MCS -- Shooting past the Lion to the Scarecrow, Dorothy and +Tin Man -- they all speak -- + + ALL + Courage! + +MCU -- Lion speaks, then reacts -- + + LION + You can say that again! Hah. Huh!? + 92. + + +MS -- Tin Man, Dorothy and Scarecrow standing in front of +Lion -- all react as the Guard comes forward from b.g. -- +roars at them -- then enters the palace -- CAMERA TRUCKS +forward as Dorothy begins to cry -- the others try to +comfort her -- + + GUARD + Go on home! The Wizard says go + away! + + ALL + Go away? + + DOROTHY + Oh -- + + SCARECROW + Looks like we came a long way for + nothing. + + DOROTHY + Oh -- and I was so happy! I thought + I was on my way home! + + TIN MAN + Don't cry, Dorothy! + +CU -- The Guard looks out through the peep window to o.s. +f.g. - CAMERA TRUCKS forward -- + + TIN MAN O.S. + We're going to get you to the + Wizard. + + SCARECROW O.S. + We certainly are! How? How are we? + +CS -- Tin Man, Lion and Scarecrow grouped about Dorothy - +Lion and Scarecrow speak -- Dorothy speaks as she sobs -- + + LION + Would...would it do any good if I + roared? + + SCARECROW + Who at? + + LION + I don't know. + + DOROTHY + 93. + + + Auntie Em was so good to me -- and + I never appreciated it. Running + away -- and hurting her feelings. + + CU -- Dorothy sobs, then speaks to the others o.s. -- + + DOROTHY + Professor Marvel said she was sick. + She may be dying -- and -- and it's + all my fault! + + CU -- The Guard, with streams of tears pouring down his + cheeks -- + + CU -- Dorothy sobbing -- + + DOROTHY + Oh, I'll never forgive myself! + Never -- never -- never! + + MS -- The Guard looking out window -- he sobs -- speaks -- + CAMERA PULLS back to enter Dorothy and her three friends -- + the Guard exits from the window -- Dorothy and the others + rise as the gates to palace open - a long corridor seen in + b.g. -- they start cautiously forward down it -- CAMERA + TRUCKS forward -- + + GUARD + Oh, oh -- please don't cry any + more. I'll get you into the Wizard + somehow. Come on. I had an Aunt Em + myself once. + + +8 INT. CORRIDOR 8 + + MS -- CAMERA TRUCKS back ahead of the Scarecrow, Lion, + Dorothy and Tin Man as they come forward -- they stop at + intervals, keep the Lion from running back -- then they + tip-toe forward -- react to echo -- + + LION + Wait a minute, fellahs. I was just + thinkin'. I really don't want to + see the Wizard this much. I better + wait for you outside. + + SCARECROW + What's the matter? + + TIN MAN + Oh, he's just ascared again. + 94. + + + DOROTHY +Don't you know the Wizard's going +to give you some courage? + + LION +I'd be too scared to ask him for +it. + + DOROTHY +Oh, well, then -- we'll ask him for +you. + + LION +I'd sooner wait outside. + + DOROTHY +But why? Why? + + LION +Because I'm still scared! + + DOROTHY +Oh, come on. + + LION +Ohh! + + SCARECROW +What happened? + + LION +Somebody pulled my tail. + + SCARECROW +Oh, you did it yourself! + + LION +I -- Oh -- + + SCARECROW +Here -- Come on. + + LION +What was that? + + DOROTHY +Our echo. + + OZ'S VOICE +Tap - tap - tap - tap - What was +that - that - that? Our echo - echo +- echo. + 95. + + +MLS - The Lion starts to bolt, but the others grab him - +Dorothy speaks as they face down corridor to b.g. - Voice +of Oz heard - + + DOROTHY + Oh, come on - come on! We'll soon + find the Wizard! + + OZ'S VOICE + The Wizard - The Wizard - The Great + and Powerful Wizard of Oz - Oz - + Oz-Oz - Oz - Oz - Oz - Oz! + +ELS -- Shooting down the corridor to the doors at the end - +- they open as the voice of Oz booms out -- + + OZ'S VOICE + The Great Wizard of Oz. Come + forward! + +MS -- Scarecrow, Lion, Dorothy and Tin Man come forward - +the Lion speaks, hides his eyes -- + + LION + Tell me when it's over! Oh! + +ELS -- The four move down the corridor to the b.g. -- + +LS -- Int. Throne Room -- The Four enter through door at +left -- CAMERA PANS them right as they move toward center +of room -- they react as they see the throne in the b.g. -- +flame and smoke belching forth from the throne -- + + LION + Oh! Look at that! Look at that! Oh + -- Ohhhh -- I want to go home -- I + want to go home! + +LS -- Throne -- fire and smoke issuing forth -- + + OZ'S VOICE + I am Oz, the Great and Powerful! + +MLS -- The Four trembling and shaking with fear -- + + OZ'S VOICE + Who are you? + +LS -- Throne -- + + OZ'S VOICE + Who are you? + 96. + + +MLS -- The Four react with fear -- the others shove Dorothy +forward -- she comes forward, speaks -- + + DOROTHY + I -- If you please, I - I am + Dorothy, + +MCU -- Dorothy -- speaks, looks back at the others -- + + DOROTHY + ...the small and meek. We've come + to ask you -- + +ELS -- Throne -- flame and smoke pouring out -- + + OZ'S VOICE + Silence! + +MCU -- Dorothy reacts, turns and runs back to the others -- + +MLS -- Dorothy returns to the other three -- speaks - + + DOROTHY + Ohhh -- Jiminy Crickets! + +ELS -- Throne -- + + OZ'S VOICE + The Great and Powerful Oz knows why + you have come. Step forward,.... + +MLS -- The Four -- the Tin Man shakes, speaks - comes +wobbling forward -- + + OZ'S VOICE + ...Tin Man! + + TIN MAN + Ohhhh -- it's me! + +LS - Throne -- + + OZ'S VOICE + You dare to come to me for a heart, + do you? You clinking, clanking, + clattering collection of + caliginous.... + +MCU -- Tin Man trembling with fear -- he speaks, then +reacts as the Voice booms out -- turns to run -- + + OZ'S VOICE + 97. + + + ...junk! + + TIN MAN + Ohhhh -- yes...yes, sir -- Y-Yes, + your Honor. You see, a while back, + we were walking down the Yellow + Brick Road, and -- + + OZ'S VOICE + Quiet! + + TIN MAN + Ohhhhhh! + +LS -- The Tin Man runs back to Dorothy, Lion and the +Scarecrow as flames pour from the throne in b.g. -- the +Voice speaks -- the Scarecrow almost collapses -- then +moves forward and salaams in front of the throne -- + + OZ'S VOICE + And you, Scarecrow, have the + effrontery to ask for a brain? + +MLS -- Scarecrow kneeling in f.g. as the other three watch +from the b.g. -- he speaks -- salaams -- + + OZ'S VOICE + You billowing bale of bovine + fodder! + + SCARECROW + Y-Yes -- Yes, Your Honor -- I mean, + Your Excellency -- I -- I mean -- + Your Wizardry! + +LS -- Throne -- + + OZ'S VOICE + Enough! + +MLS -- Scarecrow rises, runs back to Lion, Tin Man and +Dorothy -- + + OZ'S VOICE + ...Uh -- And you,.... + +LS -- Throne -- + + OZ'S VOICE + ...Lion! + +MLS -- Scarecrow, Dorothy, Lion and Tin Man -- the Lion +groans with fear as he comes slowly forward -- + 98. + + + DOROTHY AND SCARECROW + Oh -- Oh -- Ohhhh! + +LS -- Throne -- + +MCU -- Lion tries to speak -- faints and falls back -- + +MLS -- The Lion falls to the floor -- Dorothy and the +others run forward to him -- + + DOROTHY + Oh -- Oh -- Oh!.... + +MCS -- Scarecrow and Dorothy bending over Lion -- Dorothy +reacts, turns and speaks as she looks toward the throne +o.s. in f.g. -- + + DOROTHY + ...You ought to be ashamed of + yourself -- frightening him like + that, when he came to you for help! + +ELS -- Throne -- + + OZ'S VOICE + Silence!.... + +MLS -- The Four -- Dorothy and Scarecrow sit down as they +react to Oz's Voice -- + + OZ'S VOICE + ...Whippersnapper! + +MLS -- Throne -- + + OZ'S VOICE + The beneficent Oz has every + intention of granting.... + +MCS -- Scarecrow and Dorothy bending over Lion -- the Lion +revives, sits up, speaks -- Dorothy starts to pull him up - +- + + OZ'S VOICE + ...your requests! + + LION + What's that? What'd he say? + + DOROTHY + Oh -- Oh, come on. + 99. + + + LION + Huh? What'd he say? + +MS -- Dorothy helps the Lion to his feet -- the four of +them listen as Oz speaks -- + + OZ'S VOICE + But first, you must prove + yourselves worthy by performing a + very small task. + +LS -- Throne -- + + OZ'S VOICE + Bring me the broomstick of the + Witch... + +MS -- The Four, trembling with fear -- the Tin Man speaks - +- + + OZ'S VOICE + ...of the West. + + TIN MAN + B-B-B-B-B-But if we do that, we'll + have to kill her to get it! + +LS -- Throne -- + + OZ'S VOICE + Bring me her broomstick, and I'll + grant your requests. + +MS - The trembling Four -- the Lion starts to speak -- + + OZ'S VOICE + Now, go! + + LION + But -- but what if she kills us + first? + + OZ'S VOICE + ... I .... + +MLS -- Throne -- + + OZ'S VOICE + ...said, -Go! + +MS -- The Four -- the Lion jumps with fright -- + 100. + + +LS -- The Four standing in front of the throne in b.g. -- +CAMERA PANS left with the Lion as he runs out of the throne +room and into the corridor -- + +ELS -- shooting down the length of the corridor -- the Lion +comes running forward toward camera -- CAMERA PANS left +with him as he dives through window to exit -- + + FADE OUT: + + FADE IN + +TRUCKING SHOT of weird trees of the Haunted Forest -- PANS +DOWN to sign post -- + +HAUNTED FOREST + +WITCHES CASTLE + +1 MILE + +I'D TURN BACK IF I WERE YOU! + + LAP DISSOLVE TO: + +LS -- Dorothy -- Scarecrow -- Tin Man and Lion walking thru +forest -- they walk forward -- CAMERA TRUCKS ahead of them +-- they stop -- look at the sign post -- + +MCS -- Dorothy -- Scarecrow -- Lion and Tin Man looking at +sign -- Lion reads -- nods -- turns to b.g. -- Tin Man and +Scarecrow stop him -- the others shake their head -- CAMERA +TRUCKS back as they walk forward again -- + +Lion growling -- they react to noise o.s. -- + + LION + "I'd turn back if I were you." + (growls) + +CS -- Two owls on limb of tree -- + +MS -- Dorothy -- Scarecrow -- Lion and Tin Man react -- +Lion runs to b.g. + +-- Scarecrow and Tin Man catch him -- carry him forward -- +he cries -- + +CS -- Two crows on limb of tree -- + 101. + + +MS - Dorothy and group - they speak - Lion hands spray to +Dorothy - Scarecrow takes the spray - throws it o.s. right +- + + TIN MAN + From now on, we're on enemy ground. + You should have something to + protect yourself with. + + LION + She - she can have my Witch + Remover. + + DOROTHY + Does it work? + + LION + No, but it's wonderful for + threatening with. + + DOROTHY + Oh -- + + SCARECROW + Oh, here - give me that thing! + +MLS - Spray hits the ground - then vanishes - + +MS - Dorothy and Group react - speak - net flies out of +Lion's hand - all react - + + SCARECROW + Oh, did - did you see that? + + TIN MAN + Oh - look out. + + SCARECROW + You know something? + +MCU -- Lion and Scarecrow -- + + SCARECROW + I believe they're spooks around + here. + +MCU -- Dorothy and Tin Man -- + + TIN MAN + That's ridiculous! Spooks -- + that's.... + +MCU -- Lion and Scarecrow -- + 102. + + + TIN MAN O.S. + ...silly. + + LION + Don't you believe in spooks? + +MS -- Dorothy and group -- Tin Man goes up out of scene -- +others react -- + + TIN MAN + No. Why only -- Oh -- + + DOROTHY + Oh! Oh, Tin Man! Oh! + +LS -- Dorothy -- Lion and Scarecrow watching Tin Man -- he +falls to ground in f.g. -- Dorothy and Scarecrow run +forward -- help him up -- + + DOROTHY + Oh -- Oh -- + + SCARECROW + Oh -- are you -- are you all right? + +CS -- Lion, his eyes closed tight -- speaks -- + + LION + I do believe in spooks, I do + believe in spooks. I do -- I do -- + I do -- I do -- I do -- I.... + +MS -- Image of Lion in Crystal -- Witch and Winged Monkeys +looking into crystal -- Image of Lion fades out -- CAMERA +PANS left as Witch runs around -- goes to Winged Monkeys -- +she speaks to them -- CAMERA TRUCKS forward -- Winged +Monkeys fly out -- others flying thru in b.g. -- CAMERA +TRUCKS back -- + + LION + ...do believe in spooks. I do + believe in spooks! I do -- I do -- + I do -- I do -- I do -- I do! + + WITCH + (laughs) + 103. + + + You'll believe in more than that + before I've finished with you. Take + your army to the Haunted Forest, + and bring me that girl and her dog! + Do what you like with the others, + but I want her alive and unharmed! + They'll give you no trouble, I + promise you that. I've sent a + little insect on ahead to take the + fight out of them. Take special + care of those ruby slippers. I want + those most of all. Now, fly! Fly! + Bring me that girl and her + slippers! Fly! Fly! Fly! + + LAP DISSOLVE TO: + +LS - Dorothy - Scarecrow - Tin Man and Lion walking forward +thru Haunted Forest - Lion yells - + +MCU - Lion growling - Jitterbug on his nose - he looks down +at it - speaks - CAMERA TRUCKS back - Tin Man slaps the bug +away - + + LION + What's that? What's that? Take it + away - take it away - Take it away! + (cries) + + TIN MAN + Hold still - hold still -- + +MLS - Scarecrow - Dorothy - Tin Man and Lion - Dorothy +jumps as Jitterbug bites her leg - Tin Man speaks - all +start forward - Tin Man yells - Dorothy takes bug off his +neck - Bug bites Scarecrow - he jumps in the air - falls to +ground - jumps up again - CAMERA PANS the Four to right - +they react to quivering trees and noise - CAMERA TRUCKS +back - Dorothy and others tremble and move about as they +sing - + + DOROTHY + Oh! Something bit me, too! + + TIN MAN + Now come on - you're acting silly - + - + (yells) + + SCARECROW + Oh, come on now - everybody -- + (yells) + 104. + + + DOROTHY + (sings) + Did you just hear what I just + heard? + + LION + (sings) + That noise don't come from no + ordinary bird. + + DOROTHY + It may be just a cricket Or a + critter in the trees. + + TIN MAN + It's giving me the jitters In the + joints around my knees. + +CS - Scarecrow and Tin Man - CAMERA PANS to right to Lion +and Dorothy - each sing - + + SCARECROW + Oh, I think I see a jijik And he's + fuzzy and he's furry I haven't got + a brain But I think I ought to + worry! + + TIN MAN + I haven't got a heart But I got a + palpitation. + + LION + As Monarch of the Forest I don't + like the situation. + + DOROTHY + Are you gonna stand around And let + 'em fill us full of horror? + + LION + I'd like to roar 'em down -- But I + think I lost my roarer. + +LS - Dorothy - Lion - Scarecrow and Tin Man running around +- the tree quivering - + +MS - Scarecrow - Tin Man - Lion and Dorothy huddled +together - looking o.s. - + + TIN MAN + It's a whozis. + + SCARECROW + 105. + + + It's a whozis? + + LION + It's a whatzis. + + TIN MAN + It's a whatzis? + + LION + Whozat? + + TIN MAN + Whozat? + + SCARECROW + Whozat? + +MCS - Scarecrow - Tin Man - Lion and Dorothy - Dorothy +steps forward - sings - CAMERA PANS right as she dances +back near Lion - + + DOROTHY + Whozat? Who's that hiding In the + tree top? It's that rascal The + Jitter Bug. Should you catch him + Buzzin' round you Keep away from + The Jitter Bug! Oh, the bats.... + +MS - Scarecrow - Tin Man - Lion and Dorothy - Dorothy +singing - CAMERA PANS - TRUCKS back as all dance - + + DOROTHY + ...and the bees And the breeze in + the trees Have a terrible, horrible + buzz. But the bats and the bees And + the breeze in the trees Couldn't do + what the Jitter Bug does. So be + careful Of that rascal Keep away + from -- + + SCARECROW - TIN MAN AND LION + -- The Jitter Bug! Oh, The Jitter - + Oh, the Bug Oh, the Jitter - + + ALL + Bug-bug-a-bug-bug-bug-bug-bug-a- + boo! + 106. + + +MS - Lion runs over by tree - tree catches hold of Lion's +tail - Scarecrow runs in - releases Lion - tree grabs +Scarecrow - he finally gets free - CAMERA PANS left as +Scarecrow runs over to Dorothy held by another tree - Tin +Man starts to chop at tree - Limb of tree hits him over the +head - Tin Man staggers - throws axe o.s. - Lion enters - +CAMERA TRUCKS as the four dance - + + ALL + In a twitter In the throes + + SCARECROW + Oh, the critter's Got me dancin' on + a thousand toes. + + TIN MAN + Thar she blows! + +LS - Dorothy and Group dancing - Trees of the forest moving +in rhythm - + +MS - Lion and Tin Man dancing - + +CS - Lion and Tin Man dancing - + +LS - Tin Man - Lion - Dorothy and Scarecrow dancing - + +MLS - The Four dancing - + +ELS - The army of Winged Monkeys flying over Haunted Forest +- + +MLS - Dorothy and Group dancing - look up o.s. - react - + +ELS -- The army of Winged Monkeys flying over Haunted +Forest -- + +MLS -- Dorothy and Group react -- run to b.g.-- + +LS -- The Winged Monkeys fly down into forest -- CAMERA +PANS RIGHT as they fly down near Dorothy and group running +to b.g. -- + +LS -- The Winged Monkeys landing -- run out at right -- + +ELS -- Shooting down as the Winged Monkeys land -- Dorothy +and group exit far b.g. -- + +LS -- The Winged Monkeys capturing the group -- Dorothy +runs out right -- + 107. + + +MLS -- The Winged Monkeys running after Dorothy -- CAMERA +PANS right -- + +LS -- Dorothy runs forward -- two Winged Monkeys after her +-- they exit right f.g. -- + +MLS -- Tin Man swinging axe at the Winged monkeys -- + + TIN MAN + Go away now! + +MLS -- Winged Monkeys tromping on the Scarecrow -- + + SCARECROW + Help! Help! + +MS - Lion in center of group of monkeys - he doubles his +fists - speaks - Monkey in tree hits him over the head with +axe - + + LION + Why, I'll -- Foul! Foul! + +LS -- Two Winged Monkeys running to b.g. with Dorothy - +they swoop up into the air -- exit upper b.g. -- + +MCS -- Toto runs forward -- looks up o.s. -- barks -- + +ELS -- Two Winged Monkeys carrying Dorothy -- Flying to +right over haunted forest -- + +MCS -- Toto barking -- Winged Monkey picks him up -- CAMERA +PANS right as he flies out with Toto -- + +ELS -- Army of Winged Monkeys flying to right over the +Haunted Forest -- + +MLS -- The Winged Monkeys tearing Scarecrow apart -- +Scarecrow yells -- + +the Winged Monkeys exit right -- Tin Man and Lion enter -- +CAMERA TRUCKS forward on them as Lion and Tin Man try to +put Scarecrow together -- + + SCARECROW + Help! Help! Help! Help! Help! + + TIN MAN + Oh! Well, what happened to you? + + SCARECROW + 108. + + + They tore my legs off, and they + threw them over there! Then they + took my chest out, and they threw + it over there! + + TIN MAN + Well, that's you all over. + + LION + They sure knocked the stuffings out + of you, didn't they? + + SCARECROW + Don't stand there talking! Put me + together! We've got to find + Dorothy! + + TIN MAN + Now, let' s see -- this goes -- Oh, + I wish I were better at puzzles. + + LION + Wait a minute. This is the left + one. He walks bad enough already. + + TIN MAN + Oh, poor Dorothy. We may never see + her again. + + SCARECROW + Who do you suppose they were? And + where did they take her? A fine + thing - to go to pieces at a time + like this! + + TIN MAN + Now, now, don't fret. + + SCARECROW + Oh, dear, dear. + + TIN MAN + We'll get you together! + + LAP DISSOLVE TO: + +CS -- Toto in Witch's lap -- CAMERA TRUCKS back -- Witch +rises -- Nikko standing at right -- Witch puts Toto in +basket -- Dorothy at left f.g. crying -- Witch turns to +Dorothy -- speaks to her -- Nikko carries Toto to b.g. -- +Dorothy goes over to Nikko -- + + WITCH + 109. + + + What a nice little dog! And you, my + dear. What an unexpected pleasure! + It's so kind of you to visit me in + my loneliness. + +MCS -- Dorothy reacts -- turns -- speaks to Witch -- CAMERA +TRUCKS forward on them -- CAMERA PANS left as Witch crosses +to Nikko -- speaks to him -- + + DOROTHY + What are you going to do with my + dog? Give him back to me! + + WITCH + All in good time, my little pretty + -- all in good time. + + DOROTHY + Oh, please give me back my dog! + + WITCH + Certainly -- certainly -- when you + give me those slippers. + + DOROTHY + But the Good Witch of the North + told me not to. + + WITCH + Very well! Throw that basket in the + river and drown him! + +MLS -- Dorothy crying -- speaks to Witch -- then steps up +on step -- Witch looks down at slippers on Dorothy's feet - +- + + DOROTHY + No! No -- no! Here -- you can have + your old slippers -- but give me + back Toto. + + WITCH + That's a good little girl. I knew + you'd see reason. + +CS -- Slippers on Dorothy's feet -- the hands of the Witch +reach in -- begin to tremble -- + +CS -- Witch jumps back -- Dorothy reacts -- Witch looks at +her -- hands -- + + WITCH + Ahh! Ah! + 110. + + + DOROTHY + I'm sorry. I didn't do it! Can I + still have my dog? + + WITCH + No! Fool, that I am! I should have + remembered -- those slippers will + never come off, as long as... + +CU -- Dorothy reacts -- speaks -- + + WITCH O.S. + ...you're alive. + + DOROTHY + What are you gonna do? + +CU - Witch looks up o.s. - speaks - + + WITCH + What do you thing I'm going to do? + But that's not what's worrying me - + - it's how to do it. These things + must be done delicately.... + +CS -- Toto sticks his head out of basket -- + + WITCH O.S. + ...or you hurt the spell. + +MS -- Witch and Dorothy -- Nikko standing by table in b.g. +-- Toto jumps out of basket -- runs out door in b.g. -- +Dorothy speaks to Toto -- Witch turns on Nikko -- he runs +out in b.g. -- + + DOROTHY + Run, Toto, run! + + WITCH + Catch him, you fool! + +LS -- Toto running forward down steps -- Nikko after him -- +CAMERA PANS down to left with Toto -- + +MS -- Dorothy at window -- looking down o.s. -- Witch comes +forward to her -- + +MLS -- Toto runs forward over drawbridge as bridge starts +up -- + +CS -- Toto on edge of drawbridge -- looks down o.s. -- + 111. + + +MLS -- Toto on edge of drawbridge -- Guards run forward -- +carrying spears -- Toto jumps -- (Guards yell) + +MS -- Toto jumps down among rocks -- + + DOROTHY O.S. + Run, Toto, run! + +MLS -- Guards throwing spears o.s. -- all yelling -- + +MLS -- Toto running to b.g. -- spears fall around him -- +Toto runs up among rocks in b.g. -- + + DOROTHY O.S. + Run, Toto, run! + +MCU -- Dorothy crying -- speaks -- + + DOROTHY + He got away! He got away! + +MCS -- Dorothy and Witch -- CAMERA TRUCKS forward on them - +Witch speaks to Dorothy -- CAMERA TRUCKS as Witch hurries +to b.g. -- + + WITCH + Ohhh! Which is more than you will! + Drat you and your dog! You've been + more trouble to me than you're + worth, one way or another -- but + it'll soon be over now! + +MCS -- Witch picks up huge hour glass -- turns it over -- +speaks -- + + WITCH + Do you see that? That's how much + longer you've got to be alive! And + it isn't.... + +CU -- Dorothy crying -- + + WITCH O.S. + ...long, my pretty! It isn't long! + +CS -- Witch looks o.s. -- speaks -- CAMERA PANS as she runs +to b.g. -- + + WITCH + I can't wait forever to get those + shoes! + +CU -- Dorothy crying -- exits left -- + 112. + + +MS -- Dorothy -- CAMERA PANS her left -- she crosses -- +looks at hour glass -- + +CU -- Hour Glass- + + LAP DISSOLVE TO: + +ELS - Toto jumping down rocky edge of mountains - (Toto +barking) + + LAP DISSOLVE TO: + +MLS - Toto runs forward - looks o.s. - barks - exits left +f.g. - + +MS -- Ext. Haunted Forest -- the Lion and the Tin Man put +the Scarecrow back together -- they speak -- then react, +look off to right as they hear Toto barking o.s. + + TIN MAN + There. Now, that's the best we can + do without any pins. + + LION + Yeah -- + + SCARECROW + Oh, don't worry about me. I'm all + right. We must worry about Dorothy. + + TIN MAN + But how can we find her? We don't + even know where she is. Look! + There's.... + +LS -- Toto comes running forward through forest -- CAMERA +PANS him left to the Tin Man, Lion and Scarecrow -- + + TIN MAN O.S. + ...Toto! Where's he come from? + +CU -- Toto barks at the three o.s. in f.g. -- + +CS -- Lion, Scarecrow and Tin Man react, speak -- + + SCARECROW + Why, don't you see? He's come to + take us.... + +MLS -- The Tin Man, Scarecrow and Lion react, rise -- Toto +barks, leads them as they run down trail to right b.g. -- +CAMERA PANS with them -- + 113. + + + SCARECROW + ...to Dorothy! + + TIN MAN + Oh -- + + SCARECROW + Come on, fellows! + + LAP DISSOLVE TO: + +Int. Tower Room -- Close on the hour glass on the table -- +CAMERA PULLS back to reveal Dorothy standing by the table +as she watches the sand run through the glass -- she looks +about desperately -- + + LAP DISSOLVE TO: + +ELS -- The Tin Man, Scarecrow and Lion making their way +over rocky hillside -- Toto barks as he waits for them + + LAP DISSOLVE TO: + +CU -- Toto makes his way over top of the rocks -- barks -- +exits out to right -- + +MS -- The Lion, Tin Man and Scarecrow struggling up the +rocks -- the Tin Man slips -- + +ELS -- The Tin Man slips off the side of the rocks -- hangs +to the Lion's tail to keep from falling -- the Scarecrow +tries to help him -- + + LION + Oh -- Oh -- Oh -- I.... + +MS -- the Tin Man hanging to Lion's tail -- they speak -- +Scarecrow tries to get up to help them both -- + + LION + ...I -- I -- I hope my strength + holds out. + + TIN MAN + I hope your tail holds out. Oh -- + + LAP DISSOLVE TO: + +CU - The Hour Glass - more sand in the bottom - + 114. + + +MCS - In. Tower Room - Dorothy watching the hour glass - +CAMERA PANS with her as she runs to the door, tries it - +then runs to another door - finds that locked, also - +CAMERA TRUCKS forward slightly as she sobs, then turns and +comes slowly forward as the CAMERA PULLS back to left with +her - she begins to sing - CAMERA PANS her right as she +sits, sobbing, by the crystal of the Witch - + + DOROTHY + (sings) + Someday, I'll wake and rub my eyes + And in that land beyond the skies + You'll find me ---- + +CU -- Toto makes his way over the top of the rocks and +exits out to right -- The Lion's head appears, followed by +that of the Tin Man and Scarecrow -- they look o.s. to f.g. +-- Lion points, speaks -- + + LION + What's that? What's that? + +MCU -- Tin Man, Lion and Scarecrow peering over the rocks, +they speak -- + +Lion reacts as he watches down o.s. to f.g. -- + + SCARECROW O.S. + That's the castle of the Wicked + Witch! Dorothy's in that awful + place! + + TIN MAN + Oh, I hate to think of her in + there. We've got to get her out. + (cries) + + SCARECROW + Don't cry now. We haven't got the + oil-can with us and you've been + squeaking enough as it is. + + LION + Who's them? Who's them? + +ELS -- The Witch's Winkies marching about in the Castle +Courtyard -- + +MCU -- Tin Man, Lion and Scarecrow peering over the rocks - +- they speak -- + +the Lion tries to turn back, but others grab him, push him +forward -- + 115. + + + SCARECROW +I've got a plan how to get in +there. + + LION +Fine. He's got a plan + + SCARECROW +And you're going to lead us. + + LION +Yeah. Me? + + SCARECROW +Yes, you. + + LION +I -- I -- I -- I -- gotta get her +outta there? + + SCARECROW +That's right. + + LION +All right, I'll go in there for +Dorothy -- Wicked Witch or no +Wicked Witch -- guards or no guards +-- I'll tear 'em apart. + (growls) +I may not come out alive, but I'm +going in there. There's only one +thing I want you fellows to do. + + SCARECROW AND TIN MAN +What's that? + + LION +Talk me out of it. + + TIN MAN +No, you don't. + + SCARECROW +Oh, no! + + LION +No? Now, wait a minute. + + TIN MAN +You don't neither -- + + SCARECROW +Up! + 116. + + + LION + Now... + + LAP DISSOLVE TO: + +CU -- Hour glass -- + +CS -- Int. Tower Room -- Dorothy sobbing against the +Witch's throne -- she cries out -- CAMERA PULLS back to +right to enter the crystal -- Auntie Em's image appears as +she calls for Dorothy -- Dorothy reacts, looks into the +crystal -- Auntie Em fades out and the Witch fades in -- +she mocks Dorothy -- CAMERA TRUCKS forward to CU of Witch, +then UP TO LEFT to Dorothy as she draws away from the +crystal -- sobs -- + + DOROTHY + I'm frightened, I'm frightened, + Auntie Em -- I'm frightened! + + AUNTIE EM + Dorothy -- Dorothy -- where are + you? It's me -- it's Auntie Em. + We're trying to find you. Where are + you? + + DOROTHY + I -- I'm here in Oz, Auntie Em. I'm + locked up in the Witch's + castle....and I'm trying to get + home to you, Auntie Em! Oh, Auntie + Em, don't go away! I'm frightened! + Come back! Come back! + + WITCH + Auntie Em -- Auntie Em -- come + back! I'll give you Auntie Em, my + pretty! + (laughs) + + LAP DISSOLVE TO: + +MS -- Lion, Scarecrow and Tin Man and Lion moving along +among the rocks -- + +they stop -- CAMERA STARTS forward -- + +CU -- Toto barks -- + +MCS -- Scarecrow quiets Toto -- then CAMERA PANS up over +the Scarecrow, Lion and Tin Man as three Winkie Guards +appear over the rocks in b.g. -- + 117. + + +CAMERA BOOMS back as they start forward toward the three, +who are whispering together -- + + SCARECROW + Sssh -- Toto -- be quiet -- + (etc.) + +MCS -- Scarecrow, Lion and Tin Man whispering together -- +the Lion looks around, sees the Winkies in back of them -- +CAMERA BOOMS back as the Lion tries to speak -- but is +speechless with fright -- the Guards jump forward, seize +the three and they disappear behind the rocks -- legs and +arms seen as they fight -- + +CU -- Hour Glass -- + +MLS- Int. Tower Room -- Dorothy trying to open one of the +doors -- CAMERA TRUCKS forward -- + +MCS -- Tin Man, Scarecrow and Lion enter up from behind the +rocks -- all are dressed in Winkie Guard uniforms - they +speak - + + SCARECROW + Whew! That wasn't my plan - but + something happened, didn't it? + + TIN MAN + You put up a great fight, Lion. + + SCARECROW + Yeah -- + + TIN MAN + I don't know what we'd have done + without you. + + LION + Hah. I - I must have bitten you a + couple of times. + +MLS -- Winkie Guards marching about in the Castle courtyard +-- + +MCS -- Lion, Tin Man and Scarecrow watching from the rocks +-- they speak -- + +come forward behind the rocks as the CAMERA TRUCKS back +with them -- + + SCARECROW + Come on -- I've got another idea. + 118. + + + LION + Do -- do you think it'll be polite + -- dropping in like this? + + TIN MAN + Come on -- come on. + +LS -- The Winkies marching into the castle -- the Tin Man, +Lion and Scarecrow join the end of the line, the Lion in +the rear -- as they march + +toward the castle, the Lion has trouble keeping his tail +under the uniform -- CAMERA TRUCKS forward as they enter +the castle, Toto following -- the drawbridge is pulled up - +- + +LS - Int. Entrance Hall of Castle - camera shooting down +from high set-up as the Winkies march into the hall - +CAMERA BOOMS down on the file to Scarecrow, the Tin Man, +and the Lion, who are at the end of the file + +CU - Hour Glass - + +MCS - Int. Tower Room - Dorothy seated on steps near the +crystal - she sobs - + +Int. Hallway -- LS -- The Lion, Scarecrow and Tin Man duck +back into a recess in the wall -- the rest of the Winkies +continue on to exit -- + + TIN MAN + Where do we go now? + + LION + Yeah. + +CS -- Toto barking on steps -- he turns, starts up them + +CS -- Lion, Tin Man and Scarecrow -- Scarecrow points o.s., +speaks -- he exits -- + + SCARECROW + There! + +LS -- Toto runs up the stairs from the hall as the Lion, +Scarecrow and Tin Man run forward from b.g. and start up +the stairs after Toto -- + +Upper Hallway -- LS -- Toto runs in from left -- CAMERA +PANS right slightly as he runs to door and starts to +scratch at it -- the three rescuers enter -- CAMERA TRUCKS +forward as they speak -- + 119. + + + SCARECROW + Wait! We'd better make sure. + Dorothy, are you in there? + +MS -- Int. Tower Room -- Dorothy standing by window -- she +reacts to hearing Lion o.s. -- CAMERA PANS, TRUCKS with her +as she runs to the door -- yells -- + + LION O.S. + It's us! + + DOROTHY + Yes, it's me! She's locked me in! + +MCS - Dorothy at door - she speaks to the others o.s. - + + DOROTHY + Oh, I knew you'd get here in time! + +MCS -- Int. Hallway -- The Lion speaks to Scarecrow and Tin +Man as they move excitedly about -- + + LION + Listen, fellows. It's her. We gotta + get her out! Open this door! + +CS - Int. Tower Room - Dorothy standing by door - she +reacts as she hears the three outside the door - + + LION O.S. + Open the door! Open.... + +MCS - The three outside the door push about madly - then +stop their efforts at the door as the Scarecrow and Tie Man +bawl out the Lion - he pouts - + + LION + ...the door! Open the door! Open + the door! Open the door! Open the + door! + + TIN MAN + Don't push! + + SCARECROW + Stop pushing! + + LION + Oh - I was only trying to help. + Ohhh! + +CS -- Int. Tower Room -- Dorothy at door -- she pleads to +the three on the outside -- looks o.s. to hour glass -- + 120. + + + DOROTHY + Oh, hurry -- please hurry! + +CU -- Hour Glass -- very little sand left in the top -- + + DOROTHY O.S. + The hour glass is almost emp-.... + +CS -- Dorothy at door -- She speaks to those on other side +-- + + DOROTHY + ...ty! + + TIN MAN O.S. + Stand back! + +MS - Int. Hallway - The Lion, Tin Man and Scarecrow remove +their Winkie outfits - Tin Man starts to chop in the door - + +CS -- Int. Room -- Dorothy steps back from the door as it +is chopped in -- + +CAMERA PANS right -- + +MS -- Int. Hallway -- The Tin Man chopping the door down + +MCS -- Int. Room -- Dorothy anxiously watching -- she looks +at the hour glass o.s. -- + +CU -- Hour glass -- not much sand remaining -- + +MCS -- Dorothy reacts -- + +MLS - Int. Hallway - Scarecrow and Lion in f.g. watch as +the Tin Man breaks the door in - + +MCS -- Int. Room -- Dorothy reacts, rushes to left -- +CAMERA PANS -- + +MLS -- Int. Hallway -- Dorothy rushes out the door of room +-- greets the Tin Man, Lion, Scarecrow and Toto -- CAMERA +TRUCKS forward -- they rush out to left -- PAN left -- + + DOROTHY + Oh -- Oh -- Oh! Toto -- Toto! + + LION + Did they hurtcha? + + DOROTHY + Lion, darling -- I knew you'd come! + 121. + + + TIN MAN + Dorothy! + + DOROTHY + I knew you would! + + SCARECROW + Hurry -- we've got no time to lose! + +Int. Entrance Hall -- camera shooting up from side of +stairs -- LS -- + +Dorothy, Lion, Tin Man, and Scarecrow enter at top of +stairs -- CAMERA PANS with them as they run down the stairs +-- they rush toward the entrance, but the huge doors swing +shut in front of them -- + +MS -- The Four hammer at the door -- then react, turn and +look up to right f.g. as the Witch speaks o.s. -- CAMERA +TRUCKS forward -- + + DOROTHY + Oh! + + WITCH O.S. + Going so soon? I wouldn't.... + +CS -- Witch and Nikko looking down from the top of stairs - +- + + WITCH + ...hear of it. Why, my little + par-.... + +MCS -- Scarecrow, Tin Man, Dorothy and the Lion by the door +-- + + WITCH O.S. + ...ty's just beginning! + +MLS -- Witch and Nikko at top of stairs -- she laughs -- +CAMERA PANS down to reveal the Winkies rushing into the +entrance hall -- + +MCS -- Scarecrow, Tin Man, Dorothy and Lion huddled by door +-- the Lion speaks -- + + LION + Trapped! Trapped like mice -- er -- + rats! + +MLS - The Winkies advancing - + 122. + + +MCS - The Four huddled by door - Tin Man speaks to Lion, +who tries to roar - + + TIN MAN + Go ahead - do something! Roar! + Roar! + +MCS - The Winkie Guards advance with a menacing roar - + +MCS - The Four huddled against door - the Lion reacts, +speaks - + + LION + What good'll it do us? + +ELS -- Shooting down from the top of the hall, past the +Witch on landing in f.g. to the Winkies advancing to the +four huddled against the door -- + +the Winkies roar -- + +CS -- Witch and Nikko looking down from the top of stairs - +- she yells down to her Winkies -- + + WITCH + That's right. Don't hurt them right + away. We'll let.... + +MCU - Dorothy backed against the door - Toto in her arms - +tears flowing down her cheeks - + + WITCH O.S. + ...them think about it a little, + first! + +MS -- The Winkies growl as they shove out their spears + +CU -- Toto in Dorothy's arms -- he growls at the Winkies +o.s. -- + +CU -- Scarecrow looks up o.s. -- + + WITCH O.S. + How does it feel.... + +MS -- What the Scarecrow sees: CAMERA PANS up along the +rope that holds the huge candelabra up over the hall -- + + WITCH O.S. + ...my little visitor? + 123. + + +CU -- Scarecrow looking about up o.s. -- CAMERA PANS, PULLS +back as he steps over to where the rope is fastened to the +wall -- + + WITCH O.S. + Can you imagine what I'm going to + do to you? + +MCS -- The Witch picks up the hour glass -- hurls it down +o.s. as she laughs -- + +ELS -- Full shot of the entrance hall as the hour glass +crashes to the floor below -- bursts into a cloud of flame +and smoke -- + + LION O.S. + Here we go, boys! + +MCS- The Scarecrow seizes the Tin Man's axe and chops the +candelabra rope with it -- + + DOROTHY + Oh! + +ELS -- High angle from above the candelabra as the huge +chandelier crashes down on the Winkies below -- + + DOROTHY + Oh! + +CS -- The Witch screams down to her Winkies -- + + WITCH + +Seize.... + +MLS -- Shooting past the Winkies in the f.g. as they +struggle under the candelabra to the Scarecrow, Lion, Tin +Man and Dorothy as they run out of hall -- CAMERA PANS left +-- + + WITCH O.S. + ...them! Stop them, you fools! + +MLS -- The Witch rushes forward down the stairs -- yells at +her Winkies -- + +CAMERA PANS her down the stairs, then she leads the Winkies +out of the hall -- + + WITCH + They've gotten away! Stop them! + Stop them! + 124. + + +Int. Corridor s the Witch and Winkies pass out of shot, +Dorothy and her friends peer out from behind a recess, then +run back into the hall as they exit left + +LS - The four rush back into the hall - CAMERA TRUCKS back +to left - they look about - the Scarecrow speaks - + + SCARECROW + It's no use trying the doors again! + Which room is it? + +MLS - The Winkies running back through the corridor - + +MLS - Dorothy, Scarecrow, Lion, Tin Man react as they hear +the Winkies approaching - CAMERA PANS left as they start up +the stairs - + + LION + +They're coming back! + + DOROTHY + Ohhh! + + SCARECROW + Oh - upstairs, quickly! + + TIN MAN + Go on! + +MLS -- The Witch comes running back into the hall -- her +Winkies right behind her -- she gives them orders -- the +Guards separate -- + + WITCH + There they go! Ah -- now we've got + them! Half you go that way -- half + you go that way! + +ELS -- camera shooting up to the Lion, Tin Man and +Scarecrow just disappearing at the top of stairs -- + + WITCH O.S. + Hurry! Hurry! Go! + +MLS - The Witch hits her Guards with her broomstick in an +effort to speed them up - CAMERA PANS left slightly as they +rush up the stairs - + + WITCH + Go! Go! + (etc.) + 125. + + +ELS -- Ext. Battlements -- Scarecrow, Dorothy, Lion and Tin +Man run down the steps from the tower in the b.g. -- they +run along the battlement to exit left -- + +LS -- The Foursome running forward along battlement -- they +stop -- yell -- + +then CAMERA BOOMS right with them as they run along toward +second tower -- they stop, Dorothy screams -- + + LION + Where -- where do we go now? + + SCARECROW + This way! Come on! + +ELS -- A Group of Winkies coming out of the tower at the +head of steps in b.g. -- they roar menacingly -- + +LS -- Scarecrow, Tin Man, Lion and Dorothy run along +battlement to left as CAMERA BOOMS with them -- + +LS -- The other group of Winkies appears in the other tower +-- they mumble -- charge forward -- + +LS -- One Group of Winkies charges down the steps in the +f.g. as we see the other group come forward along the +battlement in b.g. -- CAMERA BOOMS to left -- + +LS -- In. Hall -- Scarecrow, Dorothy, Tin Man and the Lion +rush down the hall to b.g. -- are confronted by Winkies -- +Dorothy screams -- more Winkies rush in from left f.g., +trapping the four -- + +MCS -- The Four -- they react as they look o.s. to f.g. -- +Dorothy screams -- they turn, run back -- + +LS -- In. Tower -- The Four run to left as Winkies pour in +from right -- + +to other Winkies enter from left -- Dorothy screams as they +are captured -- + +CAMERA PANS right as they back up against the table in f.g. +-- Winkies surround them -- + +MLS -- The Witch enters in b.g. -- comes forward to her +Winkies in f.g. -- + +CAMERA PULLS back as she comes up to Scarecrow, Dorothy and +the Tin Man -- she speaks to them -- + + WITCH + 126. + + + Well -- ring around the rosy -- a + pocket full of spears! Thought + you'd be pretty foxy, didn't you? + Well, I'm going to start in on you + right here - one after the other! + +CS -- Tin Man, Dorothy and Scarecrow -- Lion hiding behind +the Tin Man -- + +all tremble with fear -- + + WITCH O.S. + And the last to go will see the + first three go before her! And your + mangy little dog, too! + +MCU -- Witch smiles as she looks up o.s. -- CAMERA PANS up +as she holds her broom up to the torch on wall -- + +CS -- The Four react with fear -- + +MCU -- The broomstick catches fire -- CAMERA PANS down to +the Witch as she lowers it -- speaks -- + + WITCH + How about a little fire, Scarecrow? + +CS -- Lion, Tin Man, Dorothy and Scarecrow -- all react as +the broom is thrust into the scene and catches the +Scarecrow's arm on fire -- he shouts, Dorothy screams -- +Dorothy picks up a bucket as the CAMERA PULLS back, throws +the water on Scarecrow -- + + SCARECROW + No -- No -- No -- No! + + DOROTHY + Ohh! OHH! OHH! + + SCARECROW + Help! I'm burning! I'm burning! I'm + burning! Help! Help! Help! + +MS -- Dorothy throwing water at Scarecrow -- some of it +hits the Witch in the face -- Tin Man standing at left with +the Lion -- + + SCARECROW + Help! + +MCU -- The water hits the Witch in the face -- + 127. + + +MS -- The Witch screams as the water hits her -- Tin Man, +Lion, Dorothy and Scarecrow look at her -- + +MLS -- The Lion, Tin Man, Dorothy and Scarecrow watch the +Witch as she screams and melts away -- camera shooting past +Winkies in the f.g. -- the Witch curses as she disappears, +finally only her cloak and hat remain on the floor -- her +voice fades away -- + + WITCH + Ohhh -- you cursed brat! Look what + you've done! I'm melting! Melting! + Oh -- what a world -- what a world! + Who would have thought a good + little girl like you could destroy + my beautiful wickedness!? Ohhh! + Look out! Look out! I'm going. + Ohhhh! Ohhhhhh.... + +CS -- Lion, Tin Man, Dorothy and Scarecrow looking down +o.s. amazed -- + +CS -- Shooting down to the Witch's cloak and hat smoldering +on the floor -- + +Toto enters from left and sniffs at them -- CAMERA PULLS +back slightly as Nikko enters, growls -- + +CS -- Leader of Winkies speaks to the Four o.s. in f.g. -- +other Winkies in b.g. -- + + LEADER + She's....she's....dead! You've + killed her! + +CS -- Lion, Tin Man, Dorothy and Scarecrow react -- Dorothy +speaks, points to the Scarecrow -- + + DOROTHY + I -- I didn't mean to kill + her....really I didn't! It's...it's + just that he was on fire! + +MLS -- The Four standing in front of the Winkies -- the +Leader turns to the others and speaks -- the Winkies kneel +as they hail Dorothy -- + + LEADER + Hail to Dorothy! The Wicked Witch + is dead! + + WINKIES + 128. + + + Hail! Hail to Dorothy -- The Wicked + Witch is dead! + +CS - Dorothy, with Tin Man, Lion and Scarecrow in back of +her - she speaks - + + DOROTHY + You mean, you're...you're all happy + about it? + +CS - The Leader raises up his head - speaks to Dorothy o.s. +in f.g. - other Winkies in back of him - + + LEADER + Very happy - now she won't be able + to hit us with a broom.... + +CS - Dorothy, with Lion, Tin Man and Scarecrow in back of +her - Dorothy turns to the Tin Man - + + LEADER O.S. + ...anymore! + + DOROTHY + The broom! + +MLS -- The Leader gives the broom to Dorothy as the +Scarecrow, Lion and Tin Man react with joy -- CAMERA TRUCKS +forward as Dorothy speaks to them -- the Winkies speak -- +they sing - Dorothy and her friends dance about, then exit +out to b.g. - + + DOROTHY + May we have it? + + LEADER + Please! And take it with you! + + DOROTHY + Oh -- thank you so much! Now we can + go back to the Wizard and tell him + the Wicked Witch is dead! + + LEADER + The Wicked Witch is dead! + + ALL + 129. + + + The Wicked Witch is dead! The + Wicked Witch is dead! Hail - Hail - + the Witch is dead. Which old Witch? + - the Wicked Witch. Hail - Hail - + the Wicked Witch is dead. Hail - + Hail - the Witch is dead Which old + Witch? - the Wicked Witch.... + + LAP DISSOLVE TO: + +ELS - In Emerald City - Streets are thronged with people - +the procession enters from b.g., led by a band - + + ALL + (sing) + Hail - hail - the Wicked Witch is + dead! + +MLS - The Band marching along the crowded streets - they +turn, exit out to left f.g. - + + ALL + (sing) + Ding Dong! The Witch is dead. Which + old Witch? The Wicked Witch! Ding + Dong! The Wicked Witch is dead! + +ELS - The Procession comes forward through the crowded +streets - surrounded by flower girls are Dorothy, the Tin +Man, Lion and Scarecrow - the Scarecrow is carrying the +Witch's broomstick - + + ALL + (sing) + Wake up, you sleepy head Rub your + eyes Get out of bed Wake up, the + Wicked Witch is dead! + +MS - CAMERA TRUCKS back with the Tin Man, Lion, Dorothy and +the Scarecrow as they come forward through the singing +crowds - they wave, smile, etc. - + + ALL + (sing) + She's gone where the Goblins go + Below -- below -- below! Yo ho, + let's open.... + +LS - The Procession passes girls lined up in front of the +palace - the four pass along in front of them at left - all +wave greetings - + + ALL + 130. + + + (sing) + ...up and sing And ring the bells + out. Ding Dong! The merry-oh Sing + it high Sing it.... + + ELS - Full shot of the area in front of Palace - the + Procession files around in it to the right - + + ALL + (sing) + ...low. Let them know The Wicked + Witch is dead! Ding Dong! The Witch + is dead. Which old.... + + ELS - CAMERA BOOMS back to left with the Procession as it + comes forward - + + ALL + (sing) + ...witch? The Wicked Witch Ding + Dong! The Wicked Witch is dead! + + ELS - CAMERA PANS right with the Procession as it marches + toward the palace - CAMERA BOOMS around to one of the huge + crystals as the Tin Man, Dorothy, Scarecrow and Lion enter + through the palace gates - + + ALL + (sing) + Wake up, you sleepy head. Rub your + eyes - Get out of bed. Wake up, the + Wicked Witch is dead. She's gone + where the Goblins go - Below - + below - below. No ho, let's open up + and sing And ring the bells out. + Ding Dong! The merry-oh Sing it + high -- + + LAP DISSOLVE TO: + + +9 INT. THRONE ROOM 9 + + LS -- Throne -- Oz's voice booms out as the CAMERA PULLS + back to reveal the Scarecrow, Dorothy, Lion and Tin Man + standing in front of it -- + + OZ'S VOICE + Can I believe my eyes? Why.... + + MLS -- The Four trembling with fear -- CAMERA PULLS back as + Dorothy comes forward with the broomstick and places it on + the steps to throne -- she speaks -- + 131. + + + OZ'S VOICE + ...have you come back? + + DOROTHY + Please, sir. We've done what you + told us. We've brought you the + broomstick of the Wicked Witch of + the West. We melted her. + + OZ'S VOICE + Oh .... + +MLS -- Throne -- + + OZ'S VOICE + ...you liquidated her, eh? Very.... + +MS -- Dorothy smiling, with the Tin Man, Lion and the +Scarecrow in back of her also looking pleased -- she speaks +-- they react as Oz speaks -- + + OZ'S VOICE + ...resourceful! + + DOROTHY + Yes, sir. So we'd like you to keep + your promise to us, if you please, + sir. + + OZ'S VOICE + Not so fast! Not.... + +MLS -- Throne -- + + OZ'S VOICE + ...so fast! I'll have to give the + matter a little thought. Go away + and come back tomorrow! + +MS -- Dorothy, with her three friends behind her -- she +reacts, speaks -- the Tin Man and the Lion put in a word +for her -- + + DOROTHY + Tomorrow? Oh, but I want to go home + now. + + TIN MAN + You've had plenty of time already! + + LION + Yeah! + 132. + + +MLS -- Throne -- + + OZ'S VOICE + Do not arouse the wrath.... + +MCU -- Toto at Dorothy's feet -- CAMERA PANS right with him +as he runs to a curtain that hangs near the throne steps -- + + OZ'S VOICE + ...of the Great and Powerful Oz! I + said -- come back tomorrow! + +MS -- The Four -- Dorothy speaks as she looks o.s. to right +f.g. -- CAMERA PULLS back to right to enter the curtain +where Toto ran in the b.g. -- it shakes as Toto starts to +pull it back -- + + DOROTHY + If you were really great and + powerful, you'd keep your promises! + + OZ'S VOICE + Do you presume to criticize the.... + +MLS -- Toto pulls back the curtain to reveal the Wizard at +the controls of the throne apparatus -- his back to the +camera + + OZ'S VOICE + ...Great Oz? You ungrateful + creatures! + +MLS -- The Four react with fear -- Scarecrow looks o.s. to +right -- points for Dorothy -- + + OZ'S VOICE + Think yourselves lucky that I'm.... + +LS -- Shooting past the Four at left to the Wizard at the +controls of the throne apparatus -- the Four react as they +see him after Dorothy calls their attention to him -- + + OZ'S VOICE + ...giving you audience tomorrow, + instead of.... + +MS -- The Wizard at the controls -- his back to camera -- +he speaks into the microphone -- he turns, looks o.s. to +f.g. and sees that the curtain is gone -- reacts and turns +back to the controls -- + + OZ'S VOICE + 133. + + + ...twenty years from now. Oh -- oh + oh! The Great Oz has spoken! Oh -- + Oh ---.... + +LS -- Shooting past the Four at left to the Wizard as he +pulls back the curtain -- + + OZ'S VOICE + ... Oh .... Oh .... + +MS - The Wizard peers out from behind the curtain - + +MS - Tin Man, Lion, Dorothy and Scarecrow react as they +look at the Wizard o.s. to right - Dorothy speaks + + DOROTHY + Who are you? + +MCU - The Wizard peering out from curtain - he ducks back +out of sight and his voice booms out again - + + OZ'S VOICE + Oh - I - Pay no.... + +LS -- Shooting past the Four at left to the Curtain in b.g. +-- Dorothy goes over to it and starts to pull it aside -- + + OZ'S VOICE + ...attention to that man behind the + curtain. Go - before I lose my + temper! The Great and Powerful -- + -.... + +MCS -- Dorothy pulls back the curtain to reveal the Wizard +at the controls -- he reacts as he sees Dorothy -- Dorothy +questions him -- the Wizard starts to speak into the +microphone -- then turns weakly back to Dorothy -- + +CAMERA PULLS back slightly as the Lion, Scarecrow and Tin +Man enter and stand behind Dorothy -- + + OZ'S VOICE + ... -- Oz -- has spoken! + + DOROTHY + Who are you? + + OZ'S VOICE + Well, I -- I -- I am the Great and + Powerful -- Wizard of Oz. + + DOROTHY + You are? + 134. + + + WIZARD + Uhhhh -- yes... + + DOROTHY + I don't believe you! + + WIZARD + No, I'm afraid it's true. There's + no other Wizard except me. + +MCS -- Dorothy and her three friends react -- Camera +shooting past the Wizard at left -- the Scarecrow and Lion +speak angrily -- + + SCARECROW + You humbug! + + LION + Yeah! + +CS -- Wizard -- shooting past Dorothy, the Lion and +Scarecrow -- the Wizard speaks -- + + WIZARD + Yes-s-s -- that...that's exactly + so. I'm a humbug! + + DOROTHY + Oh .... + +MCU -- Dorothy -- Tin Man and Scarecrow behind her -- + + DOROTHY + ...you're a very bad man! + +MCU -- The Wizard reacts, speaks humbly -- + + WIZARD + Oh, no, my dear -- I'm -- I'm a + very good man. I'm just a very bad + Wizard. + +MCU - Scarecrow and Dorothy - Scarecrow threatens the +Wizard o.s. - + + SCARECROW + You'd better be good enough to send + Dorothy back to Kansas! + +CS - Wizard - shooting past Lion, Dorothy and Scarecrow in +f.g. - + + WIZARD + 135. + + + Uh - now, please don't be angry + with me. I'll - I'll do anything + you say, only... only if you don't + shout at me. It makes me nervous! + + SCARECROW + It makes you nervous? + + WIZARD + Yes. + +MCS -- Tin Man, Scarecrow, Dorothy and Lion -- shooting +past the Wizard in left f.g. + + SCARECROW + What about us? + + WIZARD + Well, I -- + + SCARECROW + What about the heart that you + promised Tin Man --? + + WIZARD + Well, I -- + + SCARECROW + -- And the courage that you + promised Cowardly Lion? + + WIZARD + Well, I -- + + TIN MAN AND LION + And Scarecrow's brain? + +CS - Wizard - shooting past Lion, Dorothy and Scarecrow in +f.g. - + + WIZARD + Well, I-- but you've got them. + You've had them all the... + +MCS- Tin Man, Scarecrow, Dorothy and Lion - shooting past +the Wizard in left f.g. - the four react, speak together - +the Scarecrow moves around to the Wizard - + + WIZARD + ...time! + + ALL TOGETHER + Oh, no we haven't! + 136. + + + TIN MAN + You don't get around us that easy! + + LION + Not nohow! + + WIZARD + Well -- + + SCARECROW + You promised us real things -- a + real... + +CS - Wizard - shooting past the Scarecrow at right - the +Wizard reacts to their demands - starts to speak - + + SCARECROW + ...brain! + + TIN MAN O.S. + A real heart! + + LION + Real courage. That's what we want. + + WIZARD + You do? boys, you're aiming low. + You not only surprise, but you + grieve me. + +MS -- The Wizard speaks to Tin Man, Dorothy, Lion and the +Scarecrow -- the Wizard becomes eloquent -- steps closer to +the Scarecrow -- + + WIZARD + Why, anybody can have a brain. + That's a very mediocre commodity. + Every pusillanimous creature that + crawls on the earth -- or slinks + through slimy seas has a brain! + +MCU -- Wizard -- shooting past the Scarecrow at right -- + + WIZARD + 137. + + + From the rock-bound coast of Maine + to the Sun.... oh - oh, no -- -- ah + - Well, be that as it may. Back + where I come from we have + universities, seats of great + learning -- where men go to become + great thinkers. And when they come + out, they think deep thoughts -- + and with no more brains than you + have.... But! They have one thing + you haven't got! A diploma! + +MS -- The Wizard reaches back and obtains several diplomas +-- selecting one and presents it to the Scarecrow as +Dorothy, Tin Man and the Lion look on -- + + WIZARD + Therefore, by virtue of the + authority vested in me by the + Universitatus Committeeatum e + plurbis unum, I hereby confer upon + you the honorary degree of Th.D. + + SCARECROW + Th.D.? + +MCU -- Wizard -- shooting past the Scarecrow at right -- + + WIZARD + Yeah -- that...that's Dr. of + Thinkology! + +CU -- The Scarecrow recites the Pythagoras Theorem -- +reacts with joy -- + + SCARECROW + The sum of the square roots of any + two sides of an isosceles triangle + is equal to the square root of the + remaining side. Oh joy, rapture! + I've got a brain! + +MCS -- Wizard, Scarecrow, Dorothy, Tin Man and Lion -- the +Scarecrow thanks the Wizard -- Wizard takes the Lion and +leads him forward -- CAMERA TRUCKS back and PANS right -- +the others follow -- the Wizard pauses on the throne steps +-- opens a door and takes out a black bag -- takes a medal +from the bag -- + + SCARECROW + How can I ever thank you enough? + + WIZARD + 138. + + + Well, you can't. As for you, my + fine friend -- you're a victim of + disorganized thinking. You are + under the unfortunate delusion that + simply because you run away from + danger, you have no courage. You're + confusing courage with wisdom. Back + where I come from, we have men who + are called heroes. Once a year, + they take their fortitude out of + mothballs and parade it down the + main street of the city. And they + have no more courage than you have. + But! They have one thing that you + haven't got! A medal! Therefore -- + for meritorious.... + +MCU -- Lion -- shooting past the Wizard in the f.g. as he +presents the medal to the beaming Lion -- + + WIZARD + ...conduct, extraordinary valor, + conspicuous bravery against wicked + witches, I award you the Triple + Cross. + +MS -- Scarecrow, Tin Man and Dorothy watching as the Wizard +presents the medal to the Lion -- + + WIZARD + You are now a member of the Legion + of Courage! + +MCU -- The Wizard leans forward and kisses the Lion -- the +Lion reacts, speaks -- + + LION + Oh -- Oh -- shucks, folks, I'm + speechless! + +MS -- Dorothy, Tin Man, Scarecrow watch the Lion as he +beams with joy over his new medal -- the Wizard turns to +the Tin Man -- speaks to him -- + + WIZARD + 139. + + + As for you, my galvanized friend, + you want a heart! You don't know + how lucky you are not to have one. + Hearts will never be practical + until they can be made unbreakable. + I could have been a world figure, a + power among men, a - a successful + wizard, had I not been obstructed + by a heart. + + TIN MAN + But I still want one. + + WIZARD + Yes -- .... + +MCU -- Wizard -- shooting past the Tin Man in left f.g. + + WIZARD + ...back where I come from there are + men who do nothing all day but good + deeds. They are called phil...er -- + er -- phil -- er, yes...good-deed- + doers. And their hearts are no + bigger than yours. But! They have + one thing you haven't got! A + testimonial! + +MCS -- The Tin Man waits as the Wizard bends down and gets +a heart-shaped watch from his black bag -- CAMERA TRUCKS +forward slightly as he presents it to the Tin Man as +Dorothy, Lion and Scarecrow look on -- + + WIZARD + Therefore, in consideration of your + kindness, I take pleasure at this + time in presenting you with a small + token of our esteem and affection. + And remember, my sentimental + friend.... + +MCU -- Wizard -- shooting past the Tin Man in left f.g. + + WIZARD + ...that a heart is not judged by + how much you love, but by how much + you are loved by others. + +CS -- Tin Man -- shooting past the Wizard in right -- +Dorothy standing at left -- the Tin Man listens to his +watch, then holds it up to Dorothy's ear -- + + TIN MAN + 140. + + + Ahh --- Oh, it ticks! Listen! + + DOROTHY + Yes...! + +MS -- Scarecrow, Lion, Dorothy react as the Tin Man shows +them the watch -- + +the Wizard smiles as he watches them -- Lion points to his +medal -- + + DOROTHY + ...yes. + + TIN MAN + Look -- it ticks! + + LION + Read...read what my medal says. + +INSERT -- CU of the Medal on the Lion's chest -- reads +COURAGE -- + + LION + Courage!... + +MS -- Int. Throne Room -- Scarecrow, Dorothy, The Wizard +and Tin Man admire the Lion's medal -- then they ask about +Dorothy's request -- + + LION + ...Ain't it the truth! Ain't it the + truth! + + DOROTHY + Oh -- oh -- they're all wonderful. + + SCARECROW + Hey -- what about Dorothy? + + TIN MAN + Yes -- how about Dorothy? + + LION + Yeah. + + WIZARD + Ah -- + + LION + Dorothy next! + 141. + + + WIZARD + Yes. Dorothy -- ah -- Dor -- + +CU -- Dorothy -- + + DOROTHY + Oh, I don't think there's anything + in that black bag for me. + +MCU - The Wizard protests - mumbles as he starts to look +into the bag - + + WIZARD + Well, no - no -- on the contrary, + on the ---- .... + +MS -- The Wizard rummages through the bag as Dorothy and +the others look on -- he finds nothing, so he speaks +encouragingly of what he'll do - CAMERA TRUCKS forward +slightly - + + WIZARD + ...I -- ah -- on the contr -- -- + Here -- Well, you force me into a + cataclysmic decision. The only way + to get Dorothy back to Kansas is + for me to take her there myself! + +CU -- Dorothy reacts, speaks -- + + DOROTHY + Oh, will you? Could you? Oh -- but + are you a clever enough Wizard.... + +MCU -- The Wizard -- + + DOROTHY O.S. + ...to manage it? + + WIZARD + Child -- you cut me to the quick! + I'm an old Kansas man myself...born + and.... + +CU -- Dorothy is pleased -- looks about at the others -- + + WIZARD O.S. + ...bred in the heart of the western + wilderness -- Premier balloonist + par.... + +MS -- Scarecrow, Dorothy, Lion and Tin Man listening to the +Wizard -- + 142. + + + WIZARD + ...excellence to the Miracle + Wonderland Carnival Company -- + until one day, while performing + spectacular feats of stratospheric + skill never before attempted by + civilized man, an unfortunate + phenomena occurred. The balloon + failed to return to the fair. + + LION + It did? + +MCU - The Wizard - + + WIZARD + Yes. There was I, floating through + space -- a man without a continent! + +CU -- Dorothy -- + + DOROTHY + Weren't you frightened? + +MS -- Scarecrow, Dorothy, Wizard, Tin Man and Lion on the +steps near the throne -- the Wizard speaks as they come +forward -- CAMERA PULLS back to left as they come forward +to door -- they pause -- then again come forward to the +doorway -- all react to the Wizard's announcement -- + + WIZARD + Frightened? You are talking to a + man who has laughed in the face of + death -- sneered at doom and + chuckled at catastrophe. I was + petrified. Then suddenly the wind + changed, and the balloon floated + down into the heart of this noble + city, where I was instantly + acclaimed Oz, the First Wizard de + Luxe! + + DOROTHY + Ohhh! + + WIZARD + Times being what they were, I + accepted the job, -- retaining my + balloon against the advent of a + quick get-away. + (laughs) + 143. + + + And in that balloon, my dear + Dorothy, you and I will return to + the land of E Pluribus Unum! + + LAP DISSOLVE TO: + + +10 EXT. PUBLIC SQUARE, EMERALD CITY 10 + + LS -- The Wizard and Dorothy in the basket of balloon -- + Tin Man, Scarecrow and Lion standing on platform with them + -- people of Oz grouped about them -- the Wizard speaks to + them as the CAMERA MOVES forward -- the people cheer -- + + WIZARD + Good people of Oz, this is + positively the finest exhibition + ever to be shown -- + (stammers) + -- yes -- well -- be that as it may + -- I, your Wizard par ardua ad + alta, am about to embark upon a + hazardous and technically + unexplainable journey into the + outer stratosphere. + + MCS -- Wizard and Dorothy in the basket -- the Wizard + speaks to the crowd o.s. -- CAMERA PANS to left to enter + the Tin Man and Scarecrow, then PANS right as the Wizard + points to the Lion -- + + WIZARD + To confer, converse, and otherwise + hob-nob with my brother wizards. + And I hereby decree that until what + time -- if any -- that I return, + the Scarecrow, by virtue of his + highly superior brains, shall rule + in my stead...assisted by the Tin + Man, by virtue of his magnificent + heart...and the Lion -- by virtue + of his courage! Obey them as you + would me! And - ah - well, that's + all. + + CU -- Toto in Dorothy's arms -- he barks at something o.s. + -- People cheer o.s. + + WIZARD O.S. + Thank you. + + MCU -- Oz woman with a cat in her arms -- + 144. + + +MCU -- Toto barking in Dorothy's arms -- + +MCS -- Dorothy in basket of balloon -- Toto jumps from her +arms -- she reacts, starts to climb out -- + +MLS -- Tin Man, Scarecrow and Lion on platform -- Wizard in +the basket of balloon -- Dorothy climbs out -- yells + + DOROTHY + Oh, come back here! Toto! + +MCS -- Dorothy by the side of the basket -- she speaks to +the Wizard, then runs down from the platform -- Lion and +Scarecrow seen -- + + DOROTHY + Come back! Oh, don't go without me! + I'll be right back! Toto! + +MLS -- Wizard on balloon platform -- Scarecrow, Lion and +Tin Man standing by -- The Wizard protests as the balloon +starts to rise -- + + TIN MAN + Stop that dog! + + WIZARD + This is a highly irregular + procedure! This is absolutely + unprecedented! + + TIN MAN + Oh! Help me! The balloon's going + up! + +ELS -- The Wizard rises slowly in the basket of balloon as +the Oz people watch -- Scarecrow and Tin Man try to hold +the balloon down -- Dorothy runs up on the platform, the +Lion following -- she yells to the Wizard -- he shouts back +-- the Oz people wave goodbye -- the balloon exits to left +f.g. -- + + WIZARD + -- Ruined my exit! + + TIN MAN + Help! + + DOROTHY + Oh! Come back! Don't go without me! + Please come back! + + WIZARD + 145. + + + I can't come back! I don't know how + it works! + + DOROTHY + Oh -- + + WIZARD + Goodbye, folks! + + OZ PEOPLE + Goodbye! Goodbye! + +MCS -- Tin Man, Scarecrow and Lion grouped about Dorothy -- +she speaks -- they ask her to stay with them -- then the +Scarecrow reacts, points up o.s. -- + + DOROTHY + Oh, now I'll never get home! + + LION + Stay with us, then, Dorothy. We all + love you. We don't want you to go. + + DOROTHY + Oh, that's very kind of you -- but + this could never be like Kansas. + Auntie Em must have stopped + wondering what happened to me by + now. Oh, Scarecrow, what am I going + to do? + + SCARECROW + Look -- here's someone who can help + you! + +MS -- A group of Oz men react as they look up o.s. -- they +bow out of the scene -- suddenly Glinda appears in the +scene -- CAMERA TRUCKS back to left over heads of the +bowing Oz people as she moves down the steps and up onto +the platform to Dorothy, Tin Man, Lion and Scarecrow -- + +CS -- Dorothy, Glinda and Scarecrow on the platform -- +Dorothy speaks with Glinda -- CAMERA PULLS back to enter +Tin Man and Lion -- Tin Man speaks -- + + DOROTHY + Oh, will you help me? Can you help + me? + + GLINDA + You don't need to be helped any + longer. You've always had the power + to go back to Kansas. + 146. + + + DOROTHY + I have? + + SCARECROW + Then why didn't you tell her + before? + + GLINDA + Because she wouldn't have believed + me. She had to learn it for + herself. + + TIN MAN + What have you learned, Dorothy? + +MCU -- Dorothy -- Lion behind her -- she speaks -- + + DOROTHY + Well, I -- I think that it -- that + it wasn't enough just to want to + see Uncle Henry and Auntie Em -- + and it's that -- if I ever go + looking for my heart's desire + again, I won't look any further + than my own backyard. Because if it + isn't there, I never really lost it + to begin with! Is that right? + +MCS -- Tin Man, Dorothy, Glinda, Scarecrow and Lion on +platform -- they speak -- Glinda points down to Dorothy's +slippers -- + + GLINDA + That's all it is! + + SCARECROW + But that's so easy! I should have + thought of it for you. + + TIN MAN + I should have felt it in my heart. + + GLINDA + No. She had to find it out for + herself. Now, those magic slippers + will take you home in two seconds! + + DOROTHY + Oh.... + 147. + + +CS -- Dorothy and Glinda -- Scarecrow in b.g. -- Dorothy +reacts, speaks -- turns about -- begins to cry as she +realizes she will lose her three friends -- CAMERA PANS her +left to Tin Man -- she wipes his tears away -- gives him +his oil can and then kisses him -- then CAMERA TRUCKS +forward slightly as she says goodbye to the Lion -- PANS +right slightly as she turns to the Scarecrow -- hugs him -- +then steps back to Glinda as CAMERA PANS slightly -- + + DOROTHY + ...Toto, too? + + GLINDA + Toto, too. + + DOROTHY + Oh, now? + + GLINDA + Whenever you wish. + + DOROTHY + Oh, dear -- that's too wonderful to + be true! Oh, it's -- it's going to + be so hard to say goodbye. I love + you all, too. Goodbye, Tin Man. Oh, + don't cry. You'll rust so + dreadfully. Here -- here's your + oil-can. Goodbye. + + TIN MAN + Now I know I've got a heart -- + 'cause it's breaking. + + DOROTHY + Oh -- Goodbye, Lion. You know, I + know it isn't right, but I'm going + to miss the way you used to holler + for help before you found your + courage. + + LION + Well -- I would never've found it + if it hadn't been for you. + + DOROTHY + I think I'll miss you most of all. + + GLINDA + Are you ready now? + + DOROTHY + Yes. Say goodbye, Toto. + 148. + + +MS -- Dorothy waves Toto's paw at the Tin Man, Lion and +Scarecrow -- then speaks to Glinda -- Glinda instructs her +-- + + DOROTHY + Yes, I'm ready now. + + GLINDA + Then close your eyes, and tap your + heels together three times. + +MCU -- Dorothy's heels as she clicks them together three +times -- + +MCU -- Dorothy and Glinda -- Glinda instructs her -- waves +her wand -- + +Dorothy closes her eyes -- CAMERA TRUCKS in to a big CU of +Dorothy -- she speaks -- the scene darkens behind her -- + + GLINDA + And think to yourself -- "There's + no place like home; there's no + place like home; there's no place + like home." + + DOROTHY + There's no place like home. There's + no place like home. There's no + place like home. There's no place + like home. + + LAP DISSOLVE TO: + +ELS - The Munchkins waving goodbye from the gates of the +Munchkin Village - + + DOROTHY O.S. + There's no place like... + +CS - The Witch laughing - + + DOROTHY O.S. + ...home. There's no place.... + +MCS - The Wizard at the control panel in the Throne Room - +he turns, looks o.s. to f.g. - reacts - pulls the curtain - + + DOROTHY O.S. + ...like home. There's no place like + home. + 149. + + +MS - Glinda leading the Munchkins in a dance - Munchkins in +the b.g. - + + DOROTHY O.S. + There's no place like home. + +MCU - Lion growling - + +MS - The Tin Man breaking in the door of the Witch's Tower +Room - + + DOROTHY O.S. + There's no place like home. + +MS - Hickory's Wind Machine on the Gale farm - + + DOROTHY O.S. + There's no place like home. + +CS - Horse looking out from stall - + +CS - Cow - CAMERA PANS slightly - + +MCS - Chickens moving about - + +CS - Auntie Em offers forward a plate of crullers - + + LAP DISSOLVE TO: + +CU -- Dorothy lying on pillow -- she mumbles -- Aunt Em's +hands enter -- put cloth on Dorothy's head -- + + DOROTHY + (mumbling) + -- there's no place like home -- + there's no place like home -- + + AUNT EM O.S. + Dorothy - Dorothy! It's me -- Aunt + Em. + +CS -- Dorothy lying on bed -- mumbling -- she opens her +eyes -- looks around room -- CAMERA TRUCKS back showing +Aunt Em seated on edge of bed -- + +Uncle Henry standing by -- Professor Marvel enters at +window -- speaks -- + +Dorothy reacts -- looks at him -- + + AUNT EM O.S. + Wake up, honey. + 150. + + + DOROTHY + -- no place like home -- there's no + place like home -- no place -- + + AUNT EM + Dorothy. Dorothy, dear. It's Aunt + Em, darling. + + DOROTHY + Oh, Auntie Em -- it's you! + + AUNT EM + Yes, darling. + + PROFESSOR MARVEL + Hello, there! Anybody home? I -- I + just dropped by because I heard the + little girl got caught in the big - + - Well.... + +MCU -- Dorothy -- Camera shooting down past Aunt Em at +right -- + + PROFESSOR MARVEL O.S. + ...she seems all right now. + + UNCLE HENRY O.S. + Yeah. + +MS -- Dorothy lying in bed -- Aunt Em seated by her -- +Uncle Henry standing by -- Professor at window -- Dorothy +raises up on her elbow -- speaks -- Aunt Em puts her back +on pillow -- then rises and exits -- Hunk -- Hickory and +Zeke enter -- kneel beside bed -- + +CAMERA TRUCKS forward -- they speak to Dorothy -- + +CAMERA PULLS back as Zeke and others exit right -- Aunt Em +re-enters -- sits by Dorothy -- holds her head(hand) -- + +CAMERA TRUCKS back -- Zeke and others standing at right -- + + UNCLE HENRY + She got quite a bump on the head -- + we kinda thought there for a minute + she was going to leave us. + + PROFESSOR + Oh -- + + DOROTHY + 151. + + + But I did leave you, Uncle Henry -- + that's just the trouble. And I + tried to get back for days and + days. + + AUNT EM + There, there, lie quiet now. You + just had a bad dream. + + DOROTHY + No -- + + HUNK + Sure -- remember me -- your old + pal, Hunk? + + HICKORY + And me -- Hickory? + + ZEKE + You couldn't forget my face, could + you? + + DOROTHY + No. But it wasn't a dream -- it was + a place. And you -- and you -- and + you -- and you were there. + + PROFESSOR + Oh -- + (others laugh) + + DOROTHY + But you couldn't have been, could + you? + + AUNT EM + Oh, we dream lots of silly things + when we -- + + DOROTHY + No, Aunt Em -- this was a real, + truly live place. And I remember + that some of it wasn't very + nice.... + +MCU -- Dorothy -- Camera shooting down past Aunt Em -- + + DOROTHY + ...but most of it was beautiful. + But just the same, all I kept + saying to everybody was, I want to + go home. And they sent me home. + 152. + + +MLS -- Dorothy lying in bed -- Aunt Em sitting by her -- +Professor at window -- Uncle Henry -- Zeke -- Hunk and +Hickory standing by -- they laugh -- Toto jumps up on to +bed -- Dorothy takes Toto in her arms -- + + DOROTHY + Doesn't anybody believe me? + + UNCLE HENRY + Of course we believe you, Dorothy. + + DOROTHY + Oh, but anyway, Toto, we're home! + +MCU -- Dorothy holding Toto in her arms -- Camera shooting +past Aunt Em at right f.g. -- Dorothy looks around room -- +speaks -- tears come to her eyes -- Aunt Em rises -- puts +her arm around Dorothy - + + DOROTHY + Home! And this is my room -- and + you're all here! And I'm not going + to leave here ever, ever again, + because I love you all! And -- Oh, + Auntie Em -- there's no place like + home! + + FADE OUT: + + FADE IN + +THE END + + FADE OUT + \ No newline at end of file diff --git a/scripts/Titanic.txt b/scripts/Titanic.txt new file mode 100644 index 0000000000000000000000000000000000000000..b041867933597e3e841be9c488ef5db91f9ca311 --- /dev/null +++ b/scripts/Titanic.txt @@ -0,0 +1,10591 @@ + 1. + + + + FADE IN: + + BLACKNESS + + Then two faint lights appear, close together growing + brighter. They resolve into two DEEP SUBMERSIBLES, free- + falling toward us like express elevators. + + One is ahead of the other, and passes close enough to FILL + FRAME, looking like a spacecraft blazing with lights, + bristling with insectile manipulators. + + TILTING DOWN to follow it as it descends away into the + limitless blackness below. Soon they are fireflies, then + stars. Then gone. + + CUT TO: + + +1 INT/EXT. MIR ONE - NORTH ATLANTIC DEEP 1 + + PUSHING IN on one of the falling submersibles, called MIR + ONE, right up to its circular viewport to see the + occupants. + + INSIDE, it is a cramped seven foot sphere, crammed with + equipment. ANATOLY MIKHAILOVICH, the sub's pilot, sits + hunched over his controls singing softly in Russian. + + Next to him on one side is BROCK LOVETT. He's in his late + forties, deeply tanned, and likes to wear his Nomex suit + unzipped to show the gold from famous shipwrecks covering + his gray chest hair. He is a wiley, fast-talking treasure + hunter, a salvage superstar who is part historian, part + adventurer and part vacuum cleaner salesman. Right now, he + is propped against the CO2 scrubber, fast asleep and + snoring. + + On the other side, crammed into the remaining space is a + bearded wide-body named LEWIS BODINE, sho is also asleep. + + Lewis is an R.O.V. (REMOTELY OPERATED VEHICLE) pilot and is + the resident Titanic expert. + + Anatoly glances at the bottom sonar and makes a ballast + adjustment. + + CUT TO: + + +2 EXT. THE BOTTOM OF THE SEA 2 + 2. + + + A pale, dead-flat lunar landscape. It gets brighter, lit + from above, as MIR ONE enters FRAME and drops to the + seafloor in a + + downblast from its thrusters. It hits bottom after its two + hour free-fall with a loud BONK. + + CUT TO: + + +3 INT. MIR ONE 3 + + Lovett and Bodine jerk awake at the landing. + + ANATOLY + (heavy Russian accent) + We are here. + + +4 INT/EXT. MIR ONE AND TWO - 5 MINUTES LATER 4 + + THE TWO SUBS skim over the seafloor to the sound of + sidescan sonar and the THRUM of big thrusters. + + The featureless gray clay of the bottom unrols in the + lights of the subs. Bodine is watching the sidescan sonar + display, where the outline of a huge pointed object is + visible. + + Anatoly lies prone, driving the sub, his face pressed to + the center port. + + BODINE + Come left a little. She's right in + front of us, eighteen meters. + Fifteen. Thirteen, you should see + it. + + ANATOLY + Do you see it? I don't see it-- + there! + + Out of the darkness, like a ghostly apparition, the bow of + the ship appears. Its knife-edge prow is coming straight at + us, seeming to plow the bottom sediment like ocean waves. + It towers above the seafloor, standing just as it landed 84 + years ago. + + THE TITANIC. + + Or what is left of her. Mir One goes up and over the bow + railing, intact except for an overgrowth of "rusticles" + draping it like mutated Spanish moss. + 3. + + + TIGHT ON THE EYEPIECE MONITOR of a video camcorder. Brock + Lovett's face fills the BLACK AND WHITE FRAME. + + LOVETT + It still gets me every time. + + The image pans to the front viewport, looking over + Anatoly's shoulder, to the bow railing visible in the + lights beyond. + + Anatoly turns. + + ANATOLY + Is just your guilt because of + stealing from the dead. + + CUT WIDER, to show that Brock is operating the camera + himself, turning it in his hand so it points at his own + face. + + LOVETT + Thanks, Tolya. Work with me, here. + + Brock resumes his serious, pensive gaze out the front port, + with the camera aimed at himself at arm's length. + + LOVETT + It still gets me every time, to see + the sad ruin of the great ship + sitting here, where she landed at + 2:30 in the morning, April 15, + 1912, after her long fall from the + world above. + + Anatoly rolls his eyes and mutters in Russian. Bodine + chuckles and watches the sonar. + + BODINE + You are so full of shit, boss. + + +5 INT/EXT. MIR ONE AND TWO - CONTINUOUS 5 + + Mir Two drives aft down the starboard side, past the huge + anchor while Mir One passes over the seemingly endless + forecastle deck, with its massive anchor chains still laid + out in two neat rows, its bronze windlass caps gleaming. + The 22 foot long subs are like white bugs next to the + enormous wreck. + + LOVETT (V.O.) + 4. + + + Dive nine. Here we are again on the + deck of Titanic, two and a half + miles down. The pressure is three + tons per square inch, enough to + crush us like a freight train going + over an ant if our hull fails. + These windows are nine inches thick + and if they go, it's sayonara in + two microseconds. + + +6 INT/EXT. MIR ONE AND TWO - CONTINUOUS 6 + + Mir Two lands on the boat deck, next to the ruins of the + Officer's Quarters. Mir One lands on the roof of the deck + house nearby. + + LOVETT + Right. Let's go to work. + + Bodine slips on a pair of 3-D electronic goggles, and grabs + the joystick controls of the ROV. + + +7 INT/EXT. MIR ONE AND TWO - CONTINUOUS 7 + + OUTSIDE THE SUB, the ROV, a small orange and black robot + called SNOOP DOG, lifts from its cradle and flies forward. + + BODINE (V.O.) + Walkin' the dog. + + SNOOP DOG drives itself away from the sub, paying out its + umbilical behind it like a robot yo-yo. Its twin stereo- + video cameras swivel like insect eyes. + + The ROV descends through an open shaft that once was the + beautiful First Class Grand Staircase. + + Snoop Dog goes down several decks, then moves laterally + into the First Class Reception Room. + + SNOOP'S VIDEO POV, moving through the cavernous interior. + The remains of the ornate hand carved woodwork which gave + the ship its elegance move through the floodlights, the + lines blurred by slow dissolution and descending rusticle + formations. + + Stalactites of rust hang down so that at times it looks + like a natural grotto, then the scene shifts and the lines + of a ghostly undersea mansion can be seen again. + 5. + + + MONTAGE STYLE, as Snoop passes the ghostly images of + Titanic's opulence: + + +8 INT/EXT. TITANIC 8 + + A grand piano in amazingly good shape, crashed on its side + against a wall. The keys gleam black and white in the + lights. + + +9 INT/EXT. TITANIC - CONTINUOUS 9 + + A chandelier, still hanging from the ceiling by its wire... + glinting as Snoop moves around it. + + +10 INT/EXT. TITANIC - CONTINUOUS 10 + + Its lights play across the floor, revealing a champagne + bottle, then some WHITE STAR LINE china, a woman's high- + top "granny shoe". Then something eerie: what looks like a + child's skull resolves into the porcelain head of a doll. + + Snoop enters a corridor which is much better preserved. + Here and there a door still hangs on its rusted hinges. + + An ornate piece of molding, a wall sconce, hint at the + grandeur of the past. + + +11 INT/EXT. TITANIC - CONTINUOUS 11 + + THE ROV turns and goes through a black doorway, entering + room B-52, the sitting room of a "promenade suite", one of + the most luxurious staterooms on Titanic. + + BODINE + I'm in the sitting room. Heading + for bedroom B-54. + + LOVETT + Stay off the floor. Don't stir it + up like you did yesterday. + + BODINE + I'm tryin' boss. + + Glinting in the lights are the brass fixtures of the near- + perfectly preserved fireplace. An albino Galathea crab + crawls over it. Nearby are the remains of a divan and a + writing desk. The Dog crosses the ruins of the once elegant + room toward another DOOR. + 6. + + + It squeezes through the door frame, scraping rust and wood + chunks loose on both sides. It moves out of a cloud of rust + and keeps on going. + + BODINE + I'm crossing the bedroom. + + The remains of a pillared canopy bed. Broken chairs, a + dresser. Through the collapsed wall of the bathroom, the + porcelain commode and bathtub took almost new, gleaming in + the dark. + + LOVETT + Okay, I want to see what's under + that wardrobe door. + + SEVERAL ANGLES as the ROV deploys its MANIPULATOR ARMS and + starts moving debris aside. A lamp is lifted, its ceramic + colors as bright as they were in 1912. + + LOVETT + Easy, Lewis. Take it slow. + + Lewis grips a wardrobe door, lying at an angle in a corner, + and pulls it with Snoop's gripper. It moves reluctantly in + a cloud of silt. Under it is a dark object. The silt clears + and Snoop's cameras show them what was under the door. + + BODINE + Ooohh daddy-oh, are you seein' what + I'm seein'? + + CLOSE ON LOVETT, watching his monitors. By his expression + it is like he is seeing the Holy Grail. + + LOVETT + Oh baby baby baby. + (grabs the mike) + It's payday, boys. + + ON THE SCREEN, in the glare of the lights, is the object of + their quest: a small STEEL COMBINATION SAFE. + + CUT TO: + + +12 EXT. STERN OF DECK OF KADESH - DAY 12 + + THE SAFE, dripping wet in the afternoon sun, is lowered + onto the deck of a ship by a winch cable. + 7. + + +We are on the Russian research vessel AKADEMIK MSTISLAV +KELDYSH. A crowd has gathered, including most of the crew +of KELDYSH, the sub crews, and a hand-wringing money guy +named BOBBY BUELL who represents the limited partners. +There is also a documentary video crew, hired by Lovett to +cover his moment of glory. Everyone crowds around the safe. + +In the background Mir Two is being lowered into its cradle +on deck by a massive hydraulic arm. Mir One is already +recovered with Lewis Bodine following Brock Lovett as he +bounds over to the safe like a kid on Christmas morning. + + BODINE + Who's the best? Say it. + + LOVETT + You are, Lewis. + (to the video crew) + You rolling? + + CAMERAMAN + Rolling. + +Brock nods to his technicians, and they set about drilling +the safe hinges. During this operation, Brock amps the +suspense, working the lens to fill the time. + + LOVETT + Well, here it is, the moment of + truth. Here's where we find out if + the time, the sweat, the money + spent to charter this ship and + these subs, to come out here to the + middle of the North Atlantic were + worth it. If what we think is in + that same is in that safe it will + be. + +Lovett grins wolfishly in anticipation of his greatest find +yet. The door is pried loose. It clangs onto the deck. +Lovett moves closer, peering into the safe's wet interior. +A long moment then, his face says it all. + + LOVETT + Shit. + + BODINE + You know, boss, this happened to + Geraldo and his career never + recovered. + + LOVETT + (to the video cameraman) + 8. + + + Get that outta my face. + + CUT TO: + + +13 INT. LAB DECK - PRESERVATION ROOM - DAY 13 + + Technicians are carefully removing some papers from the + safe and placing them in a tray of water to separate them + safely. + + Nearby, other artifacts from the stateroom are being washed + and preserved. + + Buell is on the satellite phone with the INVESTORS. Lovett + is yelling at the video crew. + + LOVETT + You send out what I tell you when I + tell you. I'm signing your + paychecks, not 60 minutes. Now get + set up for the uplink. + + Buell covers the phone and turns to Lovett. + + BUELL + The partners want to know how it's + going? + + LOVETT + How it's going? It's going like a + first date in prison, whattaya + think?! + + Lovett grabs the phone from Buell and goes instantly + smooth. + + LOVETT + Hi, Dave? Barry? Look, it wasn't in + the safe. No, look, don't worry + about it, there're still plenty of + places it could be in the floor + debris in the suite, in the + mother's room, in the purser's safe + on C deck. + (seeing something) + Hang on a second. + + A tech coaxes some letters in the water tray to one side + with a tong, revealing a pencil (conte crayon) drawing of a + woman. + 9. + + + Brock looks closely at the drawing, which is in excellent + shape, though its edges have partially disintegrated. The + woman is beautiful, and beautifully rendered. In her late + teens or early twenties, she is nude, though posed with a + kind of casual modesty. She is on an Empire divan, in a + pool of light that seems to radiate outward from her eyes. + + Scrawled in the lower right corner is the date: April 14 + 1912. And the initials JD. + + The girl is not entirely nude. At her throat is a diamond + necklace with one large stone hanging in the center. + + Lovett grabs a reference photo from the clutter on the lab + table. It is a period black-and-white photo of a diamond + necklace on a black velvet jewelry display stand. He holds + it next to the drawing. It is clearly the same piece, a + complex setting with a massive central stone which is + almost heart-shaped. + + LOVETT + I'll be Goddamned. + + CUT TO: + + +14 EXT. A CNN NEWS STORY 14 + + A live satellite feed from the deck of the Keldysh, + intercut with the CNN studio. + + ANNOUNCER + Treasure hunter Brock Lovett is + best known for finding Spanish gold + in sunken galleons in the + Caribbean. Now he is using deep + submergence technology to work two + and a half miles down at another + famous wreck... the Titanic. He is + with us live via satellite from a + Russian research ship in the middle + of the Atlantic, hello Brock? + + LOVETT + Yes, hi, Tracy. You know, Titanic + is not just A shipwreck, Titanic is + THE shipwreck. It's the Mount + Everest of shipwrecks. + + CUT TO: + + +15 INT. HOUSE - CERAMIC`S STUDIO 15 + 10. + + +PULL BACK from the screen, showing the CNN report playing +on a TV set in the living room of a small rustic house. It +is full of ceramics, figurines, folk art, the walls crammed +with drawings and paintings, things collected over a +lifetime. + +PANNING to show a glassed-in studio attached to the house. + +Outside it is a quiet morning in Ojai, California. In the +studio, amid incredible clutter, an ANCIENT WOMAN is +throwing a pot on a potter's wheel. The liquid red clay +covers her hands, hands that are gnarled and age-spotted, +but still surprisingly strong and supple. A woman in her +early forties assists her. + + LOVETT (V.O.) + I've planned this expedition for + three years, and we're out here + recovering some amazing things, + things that will have enormous + historical and educational value. + + CNN REPORTER (V.O.) + But it's no secret that education + is not your main purpose. You're a + treasure hunter. So what is the + treasure you're hunting? + + LOVETT (V.O.) + I'd rather show you than tell you, + and we think we're very close to + doing just that. + +The old woman's name is ROSE CALVERT. Her face is a +wrinkled mass, her body shapeless and shrunken under a one- +piece African-print dress. + +But her eyes are just as bright and alive as those of a +young girl. + +Rose gets up and walks into the living room, wiping pottery +clay from her hands with a rag. A Pomeranian dog gets up +and comes in with her. + +The younger soman, LIZZY CALVERT, rushes to help her. + + ROSE + Turn that up please, dear. + + REPORTER (V.O.) + 11. + + + Your expedition is at the center of + a storm of controversy over salvage + rights and even ethics. Many are + calling you a grave robber. + + TIGHT ON THE SCREEN. + + LOVETT + Nobody called the recovery of the + artifacts from King Tut's tomb + grave robbing. I have museum- + trained experts here, making sure + this stuff is preserved and + catalogued properly. Look at this + drawing, which was found today. + + The video camera pans off Brock to the drawing, in a tray + of water. The image of the woman with the necklace FILLS + FRAME. + + LOVETT + ...a piece of paper that's been + underwater for 84 years, and my + team are able to preserve it + intact. Should this have remained + unseen at the bottom of the ocean + for eternity, when we can see it + and enjoy it now? + + ROSE is galvanized by this image. Her mouth hangs open in + amazement. + + ROSE + I'll be Goddamned. + + CUT TO: + + +16 EXT. KELDYSH DECK - NIGHT 16 + + CUT TO KELDYSH. The Mir subs are being launched. Mir Two is + already in the water, and Lovett is getting ready to climb + into Mir One when Bobby Buell runs up to him. + + BUELL + There's a satellite call for you. + + LOVETT + Bobby, we're launching. See these + submersibles here, going in the + water? Take a message. + + BUELL + 12. + + + No, trust me, you want to take this + call. + + CUT TO: + + +17 INT. LAB DECK - KELDYSH - NIGHT 17 + + Buell hands Lovett the phone, pushing down the blinking + line. + + The call is from Rose and we see both ends of the + conversation. She is in her kitchen with a mystified Lizzy. + + LOVETT + This is Brock Lovett. What can I do + for you, Mrs--? + + BUELL + Rose Calvert. + + LOVETT + -- Mrs. Calvert? + + ROSE + I was just wondering if you had + found the "Heart of the Ocean" yet, + Mr. Lovett. + + Brock almost drops the phone. Bobby sees his shocked + expression. + + BUELL + I told you you wanted to take this + call. + + LOVETT + (to Rose) + Alright. You have my attention, + Rose. Can you tell me who the woman + in the picture is? + + ROSE + Oh yes. The woman in the picture is + me. + + CUT TO: + + +18 EXT. OCEAN - DAY 18 + + SMASH CUT TO AN ENORMOUS SEA STALLION HELICOPTER thundering + across the ocean. + 13. + + + PAN 180 degrees as it roars past. There is no land at + either horizon. The Keldysh is visible in the distance. + + CLOSE ON A WINDOW of the monster helicopter. Rose's face is + visible, looking out calmly. + + CUT TO: + + +19 EXT. KELDYSH - DAY 19 + + Brock and Bodine are watching Mir 2 being swung over the + side to start a dive. + + BODINE + She's a goddamn liar! A nutcase. + Like that--what's her name? That + Anastasia babe. + + BUELL + They're inbound. + + Brock nods and the three of them head forward to meet the + approaching helo. + + BODINE + She says she's Rose DeWitt Bukater, + right? Rose DeWitt Bukater died on + the Titanic. At the age of 17. If + she'd've lived, she'd be over a + hundred now. + + LOVETT + A hundred and one next month. + + BODINE + Okay, so she's a very old goddamn + liar. I traced her as far back as + the 20's, she was working as an + actress in L.A. An actress. Her + name was Rose Dawson. Then she + married a guy named Calvert, moved + to Cedar Rapids, had two kids. Now + Calvert's dead, and from what I've + heard Cedar Rapids is dead. + + The Sea Stallion approaches the ship, BG, forcing Brock to + yell over the rotors. + + LOVETT + 14. + + + And everybody who knows about the + diamond is supposed to be dead--or + on this ship. But she knows about + it. And I want to hear what she has + to say. Got it? + + CUT TO: + + +20 EXT. KELDYSH HELIPAD 20 + + IN A THUNDERING DOWNBLAST the helicopter's wheels bounce + down on the helipad. + + Lovett, Buell and Bodine watch as the HELICOPTER CREW CHIEF + hands out about ten suitcases, and then Rose is lowered to + the deck in a wheelchair by Keldysh crewmen. Lizzy, ducking + unnecessarily under the rotor, follows her out, carrying + FREDDY the Pomeranian. + + The crew chief hands a puzzled Keldysh crewmember a + goldfish bowl with several fish in it. Rose does not travel + light. + + HOLD ON the incongruous image of this little old lady, + looking impossibly fragile amongst all the high tech gear, + grungy deck crew and gigantic equipment. + + BODINE + S'cuse me, I have to go check our + supply of Depends. + + CUT TO: + + +21 INT. ROSE'S STATEROOM - KELDYSH - DAY 21 + + Lizzy is unpacking Rose's things in the small utilitarian + room. Rose is placing a number of FRAMED PHOTOS on the + bureau, arranging them carefully next to the fishbowl. + Brock and Bodine are in the doorway. + + LOVETT + Is your stateroom alright? + + ROSE + Yes. Very nice. Have you met my + granddaughter, Lizzy? She takes + care of me. + + LIZZY + Yes. We met just a few minutes ago, + grandma. Remember, up on deck? + 15. + + + ROSE + Oh, yes. + + Brock glances at Bodine, oh oh. Bodine rolls his eyes. Rose + finishes arranging her photographs. We get a general + glimpse of them: the usual snapshots, children and + grandchildren, her late husband. + + ROSE + There, that's nice. I have to have + my pictures when I travel. And + Freddy of course. + (to the Pomeranian) + Isn't that right, sweetie. + + LOVETT + Would you like anything? + + ROSE + I should like to see my drawing. + + CUT TO: + + +22 INT. LAB DECK - PRESERVATION AREA 22 + + Rose looks at the drawing in its tray of water, confronting + herself across a span of 84 years. Until they can figure + out the best way to preserve it, they have to keep it + immersed. + + It sways and ripples, almost as if alive. + + TIGHT ON Rose's ancient eyes, gazing at the drawing. + + FLASHCUT of a man's hand, holding a conte crayon deftly + creating a shoulder and the shape of her hair with two + efficient lines. + + THE WOMAN'S FACE IN THE DRAWING, dancing under the water. + + A FLASHCUT of a man's eyes, just visible over the top of a + sketching pad. They look up suddenly right into the LENS. + + Soft eyes, but fearlessly direct. + + Rose smiles, remembering. Brock has the reference photo of + the necklace in his hand. + + LOVETT + 16. + + +Louis the Sixteenth wore a fabulous +stone, called the Blue Diamond of +the Crown, which disappeared in +1792, about the time Louis lost +everything from the neck up. The +theory goes that the crown diamond +was chopped too recut into a heart- +like shape and it became Le Coeur +de la Mer. The Heart of the Ocean. + + LOVETT +Today it would be worth more than +the Hope Diamond. + + ROSE +It was a dreadful, heavy thing. + (she points at the + drawing) +I only wore it this once. + + LIZZY +You actually believe this is you, +grandma? + + ROSE +It is me, dear. Wasn't I a hot +number? + + LOVETT +I tracked it down through insurance +records, and old claim that was +settled under terms of absolute +secrecy. Do you know who the +claimant was, Rost? + + ROSE +Someone named Hockley, I should +imagine. + + LOVETT +Nathan Hockley, right. Pittsburgh +steel tycoon. For a diamond +necklace his son Caledon Hockley +bought in France for his fiancee, +you, a week before he sailed on +Titanic. And the claim was filed +right after the sinking. So the +diamond had to've gone down with +the ship. + (to Lizzy) +See the date? + + LIZZY + 17. + + + April 14, 1912. + + LOVETT + If your grandma is who she says she + is, she was wearing the diamond the + day Titanic sank. + + LOVETT + (to Rose) + And that makes you my new best + friend. I will happily compensate + you for anything you can tell us + that will lead to its recovery. + + ROSE + I don't want your money, Mr. + Lovett. I know how hard it is for + people who care greatly for money + to give some away. + + BODINE + (skeptical) + You don't want anything? + + ROSE + (indicating the drawing) + You may give me this, if anything I + tell you is of value. + + LOVETT + Deal. + (crossing the room) + Over here are a few things we've + recovered from your staterooms. + +Laid out on a worktable are fifty or so objects, from +mundane to valuable. Rose, shrunken in her chair, can +barely see over the table top. With a trembling hand she +lifts a tortoise shell hand mirror, inlaid with mother of +pearl. She caresses it wonderingly. + + ROSE + This was mine. How extraordinary! + It looks the same as the last time + I saw it. + +She turns the mirror over and looks at her ancient face in +the cracked glass. + + ROSE + The reflection has changed a bit. + 18. + + + She spies something else, a silver and moonstone art- + nouveau brooch. + + ROSE + My mother's brooch. She wanted to + go back for it. Caused quite a + fuss. + + Rose picks up an ornate art-nouveau HAIR COMB. A jade + butterfly takes flight on the ebony handle of the comb. She + turns it slowly, remembering. We can see that Rose is + experiencing a rush of images and emotions that have lain + dormant for eight decades as she handles the butterfly + comb. + + LOVETT + Are you ready to go back to + Titanic? + + CUT TO: + + +23 INT. IMAGING SHACK 23 + + It is a darkened room lined with TV monitors. IMAGES OF THE + WRECK fill the screens, fed from Mir One and Two, and the + two ROVs, Snoop Dog and DUNCAN. + + BODINE + Live from 12,000 feet. + + ROSE stares raptly at the screens. She is enthralled by one + in particular, an image of the bow railing. It obviously + means something to her. Brock is studying her reactions + carefully. + + BODINE + The bow's struck in the bottom like + an axe, from the impact. Here--I + can run a simulation we worked up + on this monitor over here. + + Lizzy turns the chair so Rose can see the screen of + Bodine's computer. As he is calling up the file, he keeps + talking. + + BODINE + We've put together the world's + largest database on the Titanic. + Okay, here. + + LOVETT + 19. + + + Rose might not want to see this, + Lewis. + + ROSE + No, no. It's fine. I'm curious. + +Bodine starts a COMPUTER ANIMATED GRAPHIC on the screen, +which parallels his rapid-fire narration. + + BODINE + She hits the berg on the starboard + side and it sort of bumps along + punching holes like a morse code... + dit dit dit, down the side. Now + she's flooding in the forward + compartments, and the water spills + over the tops of the bulkheads, + going aft. As her bow is going + down, her stern is coming up, slow + at first, and then faster and + faster until it's lifting all that + weight, maybe 20 or 30 thousand + tons, out of the water and the hull + can't deal so SKRTTT!! + (making a sound in time + with the animation) + --it splits! Right down to the + keel, which acts like a big hinge. + Now the bow swings down and the + stern falls back level, but the + weight of the bow pulls the stern + up vertical, and then the bow + section detaches, heading for the + bottom. The stern bobs like a cork, + floods and goes under about 2:20 + a.m. Two hours and forty minutes + after the collision. + +The animation then follows the bow section as it sinks. +Rose watches this clinical dissection of the disaster +without emotion. + + BODINE + The bow pulls out of its dive and + planes away, almost a half a mile, + before it hits the bottom going + maybe 12 miles an hour. KABOOM! + +The bow impacts, digging deeply into the bottom, the +animation now follows the stern. + + BODINE + 20. + + + The stern implodes as it sinks, + from the pressure, and rips apart + from the force of the current as it + falls, landing like a big pile of + junk. + (indicating the + simulation) + Cool huh? + + ROSE + Thank you for that fine forensic + analysis, Mr. Bodine. Of course the + experience of it was somewhat less + clinical. + + LOVETT + Will you share it with us? + + Her eyes go back to the screens, showing the sad ruins far + below them. + + A VIEW from one of the subs TRACKING SLOWLY over the boat + deck. Rose recognizes one of the Wellin davits, still in + place. She hears ghostly waltz music. The faint and echoing + sound of an officer's voice, English accented, calling + "Women and children only". + + +24 INT. TITANIC 24 + + FLASH CUTS of screaming faces in a running crowd. + Pandemonium and terror. People crying, praying, kneeling on + the deck. + + Just impressions-- flashes in the dark. + + +25 INT. IMAGING SHACK 25 + + Rose Looks at another monitor. SNOOP DOG moving down a + rusted, debris-filled corridor. Rose watches the endless + row of doorways sliding past, like dark mouths. + + +26 INT. TITANIC 26 + + IMAGE OF A CHILD, three years old, standing ankle deep in + water in the middle of an endless corridor. The child is + lost alone, crying. + + +27 INT. IMAGING SHACK 27 + 21. + + + Rose is shaken by the flood of memories and emotions. Her + eyes well up and she puts her head down, sobbing quietly. + + LIZZY + (taking the wheelchair) + I'm taking her to rest. + + ROSE + No! + + Her voice is surprisingly strong. The sweet little old lady + is gone, replaced by a woman with eyes of steel. Lovett + signals everyone to stay quiet. + + LOVETT + Tell us, Rose. + + She looks from screen to screen, the images of the ruined + ship. + + ROSE + It's been 84 years. + + LOVETT + Just tell us what you can-- + + ROSE + (holds up her hand for + silence) + It's been 84 years, and I can still + smell the fresh paint. The china + had never been used. The sheets had + never been slept in. + + He switches on the mini recorder and sets it near her. + + ROSE + Titanic was called the Ship of + Dreams. And it was. It really + was... + + As the underwater camera rises past the rusted bow rail WE + DISSOLVE - MATCH MOVE to that same railing in 1912. + + MATCH DISSOLVE: + + +28 EXT. SOUTHAMPTON DOCK - DAY 28 + 22. + + +SHOT CONTINUES IN A FLORIOUS REVEAL as the gleaming white +superstructure of Titanic rises mountainously beyond the +rail, and above that the buff-colored funnels stand against +the sky like the pillars of a great temple. Crewmen move +across the deck, dwarfed by the awesome scale of the +steamer. + +Southampton, England, April 10, 1912. It is almost noon on +ailing day. A crowd of hundreds blackens the pier next to +Titanic like ants on a jelly sandwich. + +IN FG a gorgeous burgundy RENAULT TOURING CAR swings into +frame, hanging from a loading crane. It is lowered toward +HATCH #2. + +On the pier horse drawn vehicles, motorcars and lorries +move slowly through the dense throng. The atmosphere is one +of excitement and general giddiness. People embrace in +tearful farewells, or wave and shout bon voyage wishes to +friends and relatives on the decks above. + +A white RENAULT, leading a silver-gray DAIMLER-BENZ, pushes +through the crowd leaving a wake in the press of people. + +Around the handsome cars people are streaming to board the +ship, jostling with hustling seamen and stokers, porters, +and barking WHITE STAR LINE officials. + +The Renault stops and the LIVERIED DRIVER scurries to open +the door for a YOUNG WOMAN dressed in a stunning white and +purple outfit, with an enormous feathered hat. She is 17 +years old and beautiful, regal of bearing, with piercing +eyes. + +It is the girl in the drawing. ROSE. She looks up at the +ship, taking it in with cool appraisal. + + ROSE + I don't see what all the fuss is + about. It doesn't look any bigger + than the Mauretania. + +A PERSONAL VALET opens the door on the other side of the +car for CALEDON HOCKLEY, the 30 year old heir to the elder +Hockley's fortune. "Cal" is handsome, arrogant and rich +beyond meaning. + + CAL + 23. + + + You can be blase about some things, + Rose, but not about Titanic. It's + over a hundred feet longer than + Mauretania, and far more luxurious. + It has squash courts, a Parisian + cafe, even Turkish baths. + +Cal turns and gives his hand to Rose's mother, RUTH DEWITT +BUKATER, who descends from the touring car being him. Ruth +is a 40ish society empress, from one of the most prominent +Philadelphia families. She is a widow, and rules her +household with iron will. + + CAL + Your daughter is much too hard to + impress, Ruth. + (indicating a puddle) + Mind your step. + + RUTH + (gazing at the leviathan) + So this is the ship they say is + unsinkable. + + CAL + It is unsinkable. God himself + couldn't sink this ship. + +Cal speaks with the pride of a host providing a special +experience. + +This entire entourage of rich Americans is impeccably +turned out, a quintessential example of the Edwardian upper +class, complete with servants. Cal's VALET, SPICER LOVEJOY, +is a tall and impassive, dour as an undertaker. Behind him +emerge TWO MAIDS, personal servants to Ruth and Rose. + +A WHITE STAR LINE PORTER scurries toward them, harried by +last minute loading. + + PORTER + Sir, you'll have to check your + baggage through the main terminal, + round that way-- + +Cal nonchalantly hands the man a fiver. The porter's eyes +dilate. Five pounds was a monster tip in those days. + + CAL + I put my faith in you, good sir. + (curtly, indicating + Lovejoy) + See my man. + 24. + + + PORTER + Yes, sir. My pleasure, sir. + +Cal never tires of the effect of money on the unwashed +masses. + + LOVEJOY + (to the porter) + These trunks here, and 12 more in + the Daimler. We'll have all this + lot up in the rooms. + +The White Star man looks stricken when he sees the enormous +pile of steamer trunks and suitcases loading down the +second car, including wooden crates and steel safe. He +whistles frantically for some cargo-handlers nearby who +come running. + +Cal breezes on, leaving the minions to scramble. He quickly +checks his pocket watch. + + CAL + We'd better hurry. This way, + ladies. + +He indicates the way toward the first class gangway. They +move into the crowd. TRUDY BOLT, Rose's maid, hustles +behind them, laden with bags of her mistress's most recent +purchases, things too delicate for the baggage handlers. + +Cal leads, weaving between vehicles and handcarts, hurrying +passengers (mostly second class and steerage) and well- +wishers. Most of the first class passengers are avoiding +the smelly press of the dockside crowd by using an elevated +boarding bridge, twenty feet above. + +They pass a line of steerage passengers in their coarse +wool and tweeds, queued up inside movable barriers like +cattle in a chute. A HEALTH OFFICER examines their heads +one by one, checking scalp and eyelashes for lice. + +They pass a well-dressed young man cranking the handle of a +wooden Biograph "cinematograph" camera mounted on a tripod. + +DANIEL MARVIN (whose father founded the Biograph Film +Studio) is filming his young bride in front of the Titanic. +MARY MARVIN stands stiffly and smiles, self conscious. + + DANIEL + Look up at the ship, darling, + that's it. You're amazed! You can't + believe how big it is! Like a + mountain. That's great. + 25. + + +Mary Marvin, without an acting fiber in her body, does a +bad Clara Bow pantomime of awe, hands raised. + +Cal is jostled by two yelling steerage boys who shove past +him. And he is bumped again a second later by the boys' +father. + + CAL + Steady!! + + MAN + Sorry squire! + +The Cockney father pushes on, after his kids, shouting. + + CAL + Steerage swine. Apparently missed + his annual bath. + + RUTH + Honestly, Cal, if you weren't + forever booking everything at the + last instant, we could have gone + through the terminal instead of + running along the dock like some + squalid immigrant family. + + CAL + All part of my charm, Ruth. At any + rate, it was my darling fiancee's + beauty rituals which made us late. + + ROSE + You told me to change. + + CAL + I couldn't let you wear black on + sailing day, sweetpea. It's bad + luck. + + ROSE + I felt like black. + +Cal guides them out of the path of a horse-drawn wagon +loaded down with two tons of OXFORD MARMALADE, in wooden +cases, for Titanic's Victualling Department. + + CAL + Here I've pulled every string I + could to book us on the grandest + ship in history, in her most + luxurious suites... and you act as + if you're going to your execution. + 26. + + + Rose looks up as the hull of Titanic looms over them...a + great iron wall, Bible black and sever. Cal motions her + forward, and she enters the gangway to the D Deck doors + with a sense of overwhelming dread. + + OLD ROSE (V.O.) + It was the ship of dreams... to + everyone else. To me it was a slave + ship, taking me back to America in + chains. + + CLOSE ON CAL'S HAND IN SLOW-MOTION as it closes + possessively over Rose's arm. He escorts her up the gangway + and the black hull of Titanic swallows them. + + OLD ROSE (V.O.) + Outwardly I was everything a well + brought up girl should be. Inside, + I was screaming. + + +29 EXT. SOUTHAMPTON DOCK - CONTINUOUS 29 + + CUT TO a SCREAMING BLAST from the mighty triple steam horns + on Titanic's funnels, bellowing their departure warning. + + CUT TO: + + +30 EXT. SOUTHAMPTON DOCKS - TITANIC - DAY 30 + + A VIEW OF TITANIC from several blocks away, towering above + the terminal buildings like the skyline of a city. The + steamer's whistle echoes across Southampton. + + PULL BACK, revealing that we were looking through a window, + and back further to show the smoky inside of a pub. It is + crowded with dockworkers and ship's crew. + + Just inside the window, a poker game is in progress. FOUR + MEN, in working class clothes, play a very serious hand. + + JACK DAWSON and FABRIZIO DE ROSSI, both about 20, exchange + a glance as the other two players argue in Swedish. + + Jack is American, a lanky drifter with his hair a little + long for the standards of the times. He is also unshaven, + and his clothes are rumpled from sleeping in them. He is an + artist, and has adopted the bohemian style of art scene in + Paris. He is also very self-possessed and sure-footed for + 20, having lived on his own since 15. + + The TWO SWEDES continue their sullen argument, in Swedish. + 27. + + + OLAF + (subtitled) + You stupid fish head. I can't + believe you bet our tickets. + + SVEN + (subtitled) + You lost our money. I'm just trying + to get it back. Now shut up and + take a card. + + JACK + (jaunty) + Hit me again, Sven. + +Jack takes the card and slips it into his hand. + +ECU JACK'S EYES. They betray nothing. + +CLOSE ON FABRIZIO licking his lips nervously as he refuses +a card. + +ECU STACK in the middle of the table. Bills and coins from +four countries. This has been going on for a while. Sitting +on top of the money are two 3RD CLASS TICKETS for RMS +TITANIC. + +The Titanic's whistle blows again. Final warning. + + JACK + The moment of truth boys. + Somebody's life's about to change. + +Fabrizio puts his cards down. So do the Swedes. Jack holds +his close. + + JACK + Let's see. Fabrizio's got niente. + Olaf, you've got squat. Sven, uh + oh-- two pair--mmm. + (turns to his friend) + Sorry Fabrizio. + + FABRIZIO + What sorry? What you got? You lose + my money?? Ma va fa'n culo testa di + cazzo-- + + JACK + Sorry, you're not gonna see your + mama again for a long time. + +He slaps a full house down on the table. + 28. + + + JACK + (grinning) + 'Cause you're goin' to America!! + Full house boys! + + FABRIZIO + Porca Madonna!! YEEAAAAA!!! + +The table explodes into shouting in several languages. Jack +rakes in the money and the tickets. + + JACK + (to the Swedes) + Sorry boys. Three of a kind and a + pair. I'm high and you're dry and - + - + (to Fabrizio) + -- we're going to-- + + FABRIZIO, JACK + L'AMERICA!!! + +Olaf balls up one huge farmer's fist. We think he's going +to clobber Jack, but he swings round and punches Sven, who +flops backward onto the floor and sits there, looking +depressed. + +Olaf forgets about Jack and Fabrizio, who are dancing +around, and goes into a rapid harangue of his stupid +cousin. + +Jack kisses the tickets, then jumps on Fabrizio's back and +rides him around the pub. It's like they won the lottery. + + JACK + Goin' home, to the land o' the free + and the home of the real hot-dogs! + On the TITANIC!! We're ridin' in + high style now! We're practically + goddamned royalty, ragazzo mio!! + + FABRIZIO + You see? Is my destiny!! Like I + told you. I go to l'America!! To be + a millionaire!! + + FABRIZIO + (to pubkeeper) + Capito?? I go to America!! + + PUBKEEPER + No, mate. Titanic go to America. In + five minutes. + 29. + + + JACK + Shit!! Come on, Fabri! + (grabbing their stuff) + Come on!! + (to all, grinning) + It's been grand. + + They run for the door. + + PUBKEEPER + 'Course I'm sure if they knew it + was you lot comin', they'd be + pleased to wait! + + CUT TO: + + +31 EXT. TERMINAL - TITANIC 31 + + Jack and Fabrizio, carrying everything they own in the + world in the kit bags on their shoulders, sprint toward the + pier. + + They tear through milling crowds next to the terminal. + Shouts go up behind them as they jostle slow-moving + gentlemen. They dodge piles of luggage, and weave through + groups of people. + + They burst out onto the pier and Jack comes to a dead stop, + staring at the cast wall of the ship's hull, towering seven + stories above the wharf and over an eighth of a mile long. + + The Titanic is monstrous. + + Fabrizio runs back and grabs Jack, and they sprint toward + the third class gangway aft, at E deck. + + They reach the bottom of the ramp just as SIXTH OFFICER + MOODY detaches it at the top. It starts to swing down from + the + + gangway doors. + + JACK + Wait!! We're passengers! + + Flushed and panting, he waves the tickets. + + MOODY + Have you been through the + inspection queue? + + JACK + 30. + + + (lying cheerfully) + Of course! Anyway, we don't have + lice, we're Americans. + (glances at Fabrizio) + Both of us. + + MOODY + (testy) + Right, come aboard. + + Moody has QUARTERMASTER ROWE reattach the gangway. Jack and + Fabrizio come aboard. Moody glances at the tickets, then + passes Jack and Fabrizio through to Rowe. Rowe looks at the + names on the tickets to enter them in the passenger list. + + ROWE + Gundersen. And-- + (reading Fabrizio's) + Gundersen. + + He hands the tickets back, eyeing Fabrizio's Mediterranean + looks suspiciously. + + JACK + (grabbing Fabrizio's arm) + Come on, Sven. + + Jack and Fabrizio whoop with victory as they run down the + white-painted corridor, grinning from ear to ear. + + JACK + We are the luckiest sons of bitches + in the world! + + CUT TO: + + +32 EXT. TITANIC AND DOCK - DAY 32 + + The mooring lines, as big around as a man's arm, are + dropped into the water. A cheer goes up on the pier as + SEVEN TUGS pull the Titanic away from the quay. + + CUT TO: + + +33 EXT. AFT WELL DECK - POOP DECK - DAY 33 + + JACK AND FABRIZIO burst through a door onto the aft well + deck. TRACKING WITH THEM as they run across the deck and up + the steel stairs to the poop deck. They get to the rail and + Jack starts to yell and wave to the crowd on the dock. + 31. + + + FABRIZIO + You know somebody? + + JACK + Of course not. That's not the + point. + (to the crowd) + Goodbye! Goodbye!! I'll miss you! + + Grinning, Fabrizio joins in, adding his voice to the swell + of voices, feeling the exhilaration of the moment. + + FABRIZIO + Goodbye! I will never forget you!! + + CUT TO: + + +34 EXT. SOUTHAMPTON DOCK - DAY 34 + + The crowd of cheering well-wishers waves heartily as a + black wall of metal moves past them. Impossibly tiny + figures wave back from the ship's rails. Titanic gathers + speed. + + CUT TO: + + +35 EXT. RIVER TEST - DAY 35 + + IN A LONG LENS SHOT the prow of Titanic FILLS FRAME behind + the lead tug, which is dwarfed. The bow wave spreads before + the mighty plow of the liner's hull as it moves down the + River Test toward the English Channel. + + CUT TO: + + +36 INT. THIRD CLASS BERTHING - G-DECK FORWARD - DAY 36 + + Jack and Fabrizio walk down a narrow corridor with doors + lining both sides like a college dorm. Total confusion as + people argue over luggage in several languages, or wander + in confusion in the labyrinth. They pass emigrants studying + the signs over the doors, and looking up the words in + phrase books. + + They find their berth. It is a modest cubicle, painted + enamel white, with four bunks. Exposed pipes overhead. The + other two guys are already there. OLAUS and BJORN + GUNDERSEN. + 32. + + + Jack throws his kit on one open bunk, while Fabrizio takes + the other. + + BJORN + (in Swedish/ subtitled) + Where is Sven? + + CUT TO: + + +37 INT. SUITE B-52-56 - DAY 37 + + By contrast, the so-called "Millionaire Suite" is in the + Empire style, and comprises two bedrooms, a bath, WC, + wardrobe room, and a large sitting room. In addition there + is a private 50 foot promenade deck outside. + + A room service waiter pours champagne into a tulip glass of + orange juice and hands the Bucks Fizz to Rose. She is + looking through her new paintings. There is a Monet of + water lilies, a Degas of dancers, and a few abstract works. + They are all unknown paintings, lost works. + + Cal is out on the covered deck, which has potted trees and + vines on trellises, talking through the doorway to Rose in + the sitting room. + + CAL + Those mud puddles were certainly a + waste of money. + + ROSE + (looking at a cubist + portrait) + You're wrong. They're fascinating. + Like in a dream, there's truth + without logic. What's his name + again? + (reading off the canvas) + Picasso. + + CAL + (coming into the sitting + room) + He'll never amount to a thing, + trust me. At least they were cheap. + + A porter wheels Cal's private safe (which we recognize) + into the room on a hand truck. + + CAL + Put that in the wardrobe. + 33. + + +38 INT. SUITE B-52-56 - DAY - CONTINUOUS 38 + + IN THE BEDROOM Rose enters with the large Degas of the + dancers. She sets it on the dresser, near the canopy bed. + + Trudy is already in there, hanging up some of Rose's + clothes. + + TRUDY + It smells so brand new. Like they + built it all just for us. I mean, + just to think that tonight, when I + crawl between the sheets, I'll be + the first-- + + Cal appears in the doorway of the bedroom. + + CAL + (looking at Rose) + And when I crawl between the sheets + tonight, I'll still be the first. + + TRUDY + (blushing at the + innuendo) + S'cuse me, Miss. + + She edges around Cal and makes a quick exit. Cal comes up + behind Rose and puts his hands on her shoulders. An act of + possession, not intimacy. + + CAL + The first and only. Forever. + + Rose's expression shows how bleak a prospect this is for + her, now. + + CUT TO: + + +39 EXT. CHERBOURG HARBOR - FRANCE - LATE DUSK 39 + + Titanic stands silhouetted against a purple post-sunset + sky. + + She is lit up like a floating palace, and her thousand + portholes reflect in the calm harbor waters. The 150 foot + tender Nomadic lies-to alongside, looking like a rowboat. + + The lights of a Cherbourg harbor complete the postcard + image. + + CUT TO: + 34. + + +40 INT. FIRST CLASS RECEPTION - D-DECK 40 + + Entering the first class reception room from the tender are + a number of prominent passengers. A BROAD-SHOULDERED WOMAN + in an enormous feathered hat comes up the gangway, carrying + a suitcase in each hand, a spindly porter running to catch + up with her to take the bags. + + WOMAN + Well, I wasn't about to wait all + day for you, sonny. Take 'em the + rest of the way if you think you + can manage. + + OLD ROSE (V.O.) + At Cherbourg a woman came aboard + named Margaret Brown, but we all + called her Molly. History would + call her the Unsinkable Molly + Brown. Her husband had struck gold + someplace out west, and she was + what mother called "new money". + + At 45, MOLLY BROWN is a tough talking straight shooter who + dresses in the finery of her genteel peers but will never + be one of them. + + OLD ROSE (V.O.) + By the next afternoon we had made + our final stop and we were steaming + west from the coast of Ireland, + with nothing out ahead of us but + ocean. + + CUT TO: + + +41 EXT. BOW - DAY 41 + + The ship glows with the warm creamy light of late + afternoon. + + Jack and Fabrizio stand right at the bow gripping the + curving railing so familiar from images of the wreck. Jack + leans over, looking down fifty feet to where the prow cuts + the surface like a knife, sending up two glassy sheets of + water. + + CUT TO: + + +42 INT/EXT. TITANIC - SERIES OF SCENES - DAY 42 + 35. + + + ON THE BRIDGE, CAPTAIN SMITH turns from the binnacle to + FIRST OFFICER WILLIAM MURDOCH. + + CAPTAIN SMITH + Take her to sea Mister Murdoch. + Let's stretch her legs. + + Murdoch moves the engine telegraph lever to ALL AHEAD FULL. + + +43 INT/EXT. TITANIC - SERIES OF SCENES - DAY - CONTINUOUS 43 + + NOW BEGINS a kind of musical/visual set piece, an ode to + the great ship. The music is rhythmic, surging forward, + with a soaring melody that addresses the majesty and + optimism of the ship of dreams. + + IN THE ENGINE ROOM the telegraph clangs and moves to "All + Ahead Full". + + CHIEF ENGINEER BELL + All ahead full! + + On the catwalk THOMAS ANDREWS, the shipbuilder, watches + carefully as the engineers and greasers scramble to adjust + valves. Towering above them are the twin RECIPROCATING + engines, four stories tall, their ten-foot-long connecting + rods surging up and down with the turning of the massive + crankshafts. The engines thunder like the footfalls of + marching giants. + + +44 INT/EXT. TITANIC - BOILER ROOM - DAY 44 + + The STOKERS chant a song as they hurl coal into the roaring + furnaces. The "black gang" are covered with sweat and coal + dust, their muscles working like part of the machinery as + they toil in the hellish glow. + + +45 INT/EXT. TITANIC - UNDERWATER - DAY 45 + + The enormous bronze screws chop through the water, hurling + the steamer forward and churning up a vortex of foam that + lingers for miles behind the juggernaut ship. Smoke pours + from the funnels as-- + + The riven water flares higher at the bow as the ship's + speeds builds. THE CAMERA SWEEPS UP the prow to find Jack, + the wind streaming through his hair and Captain Smith steps + out of the enclosed bridge onto the wing. He stands with + his hands on the rail, looking every bit the storybook + picture of a Captain, a great patriarch of the sea. + 36. + + + FIRST OFFICER MURDOCH + Twenty one knots, sir! + + SMITH + She's got a bone in her teeth now, + eh, Mr. Murdoch. + + Smith accepts a cup of tea from FIFTH OFFICER LOWE. He + contentedly watches the white V of water hurled outward + from + + the bows like an expression of his own personal power. They + are invulnerable, towering over the sea. + + +46 INT/EXT. TITANIC - AT THE BOW - DAY 46 + + Jack and Fabrizio lean far over, looking down. + + In the glassy bow-wave two dolphins appear, under the + water, running fast just in front of the steel blade of the + prow. + + They do it for the sheer joy and exultation of motion. Jack + watches the dolphins and grins. They breach, jumping clear + of the water and then dive back, crisscrossing in front of + the bow, dancing ahead of the juggernaut. + + FABRIZIO looks forward across the Atlantic, staring into + the sun sparkles. + + FABRIZIO + I can see the Statue of Liberty + already. + (grinning at Jack) + Very small--of course. + + THE CAMERA ARCS around them, until they are framed against + the sea. + + NOW WE PULL BACK, across the forecastle deck. Rising, as we + continue back, and the ships rolls endlessly forward + underneath. Over the bridge wing, along the boat deck until + her funnels come INTO FRAME besides us and march past like + the pillars of heaven, one by one. We pull back and up, + until we are looking down the funnels, and the people + strolling on the decks and standing at the rail become + antlike. + + And still we pull back until the great lady is seen whole + in a gorgeous aerial portrait, black and severe in her + majesty. + 37. + + + ISMAY (V.O.) + She is the largest moving object + ever made by the hand of man in all + history. + + CUT TO: + + +47 INT. PALM COURT RESTAURANT - DAY 47 + + CLOSE ON J. BRUCE ISMAY, Managing Director of White Star + Line. + + ISMAY + --and our master shipbuilder, Mr. + Andrews here, designed her from the + keel plates up. + + He indicates a handsome 39 year old Irish gentlemen to his + right, THOMAS ANDREWS, of Harland and Wolf Shipbuilders. + + WIDER, showing the group assembled for lunch the next day. + + Ismay seated with Cal, Rose, Ruth, Molly Brown and Thomas + Andrews in the Palm Court, a beautiful sunny spot enclosed + by high arched windows. + + ANDREWS + (disliking the attention) + Well, I may have knocked her + together, but the idea was Mr. + Ismay's. He envisioned a steamer so + grand in scale, and so luxurious in + its appointments, that its + supremacy would never be + challenged. And here she is-- + (he slaps the table) + --willed into solid reality. + + MOLLY + Why're ships always bein' called + "she"? Is it because men think half + the women around have big stearns + and should be weighed in tonnage? + (they all laugh) + Just another example of the men + settin' the rules their way. + + The waiter arrives to take orders. Rose lights a cigarette. + + RUTH + You know I don't like that, Rose. + 38. + + + CAL + She knows. + +Cal takes the cigarette from her and stubs it out. + + CAL + (to the waiter) + We'll both have the lamb. Rare, + with a little mint sauce. + (to Rose, after the + waiter moves away) + You like lamb, don't you sweetpea? + +Molly is watching the dynamic between Rose, Cal and Ruth. + + MOLLY + So, you gonna cut her meat for her + too there, Cal? + (turning to Ismay) + Hey, who came up with the name + Titanic? You, Bruce? + + ISMAY + Yes, actually. I wanted to convey + sheer size. And size means + stability, luxury, and safety-- + + ROSE + Do you know of Dr. Freud? His ideas + about the male preoccupation with + size might be of particular + interest to you, Mr. Ismay. + +Andrews chokes on his breadstick, suppressing laughter. + + RUTH + My God, Rose, what's gotten into-- + + ROSE + Excuse me. + +She stalks away. + + RUTH + (mortified) + I do apologize. + + MOLLY + She's a pistol, Cal. You sure you + can handle her? + + CAL + 39. + + + (tense but feigning + unconcern) + Well, I may have to start minding + what she reads from now on. + + CUT TO: + + +48 EXT. POOP DECK - AFTER DECKS - DAY 48 + + Jack sits on a bench in the sun. Titanic's wake spreads out + behind him to the horizon. + + He has his knees pulled up, supporting a leather bound + sketching pad, his only valuable possession. With conte + crayon he draws rapidly, using sure strokes. An emigrant + from Manchester named CARTMELL has his 3 year old daughter + CORA standing on the lower rung of the rail. She is leaned + back against his beer barrel of a stomach, watching the + seagulls. + + THE SKETCH captures them perfectly, with a great sense of + the humanity of the moment. Jack is good. Really good. + Fabrizio looks over Jack's shoulder. He nods + appreciatively. + + TOMMY RYAN, a scowling young Irish emigrant, watches as a + crewmember comes by, walking three small dogs around the + deck. One of them, a BLACK FRENCH BULLDOG, is among the + ugliest creatures on the planet. + + TOMMY + That's typical. First class dogs + come down here to take a shit. + + Jack looks up from his sketch. + + JACK + That's so we know where we rank in + the scheme of things. + + TOMMY + Like we could forget. + + Jack glances across the well deck. At the aft railing of B + deck promenade stands ROSE, in a long yellow dress and + white gloves. + + CLOSE ON JACK, unable to take his eyes off of her. They are + across from each other, about 60 feet apart, with the well + deck like a valley between them. She on her promontory, he + on his much lower one. She stares down at the water. + 40. + + + He watches her unpin her elaborate hat and take it off. She + looks at the frilly absurd thing, then tosses it over the + rail. It sails far down to the water and is carried away, + astern. A spot of yellow in the vast ocean. He is riveted + by her. She looks like a figure in a romantic novel, sad + and isolated. + + Fabrizio taps Tommy and they both look at Jack gazin at + Rose. + + Fabrizio and Tommy grin at each other. + + Rose turns suddenly and looks right at Jack. He is caught + staring, but he doesn't look away. She does, but then looks + back. Their eyes meet across the space of the well deck, + across the gulf between worlds. + + Jack sees a man (Cal) come up behind her and take her arm. + + She jerks her arm away. They argue in pantomime. She storms + away, and he goes after her, disappearing along the A- deck + promenade. Jack stares after her. + + TOMMY + Forget it, boyo. You'd as like have + angels fly out o' yer arse as get + next to the likes o' her. + + CUT TO: + + +49 INT. FIRST CLASS DINING SALOON - NIGHT 49 + + SLOWLY PUSHING IN ON ROSE as she sits, flanked by people in + heated conversation. Cal and Ruth are laughing together, + while on the other side LADY DUFF-GORDON is holding forth + animatedly. We don't hear what they are saying. Rose is + staring at her plate, barely listening to the + inconsequential babble around her. + + OLD ROSE (V.O.) + I saw my whole life as if I'd + already lived it-- an endless + parade of parties and cotillions, + yachts and polo matches-- always + the same narrow people, the same + mindless chatter. I felt like I was + standing at a great precipice, with + no one to pull me back, no one who + cared-- or even noticed. + 41. + + + ANGLE BENEATH TABLE showing Rose's hand, holding a tiny + fork from her crab salad. She pokes the crab-fork into the + skin of her arm, harder and harder until it draws blood. + + CUT TO: + + +50 INT. CORRIDOR - B DECK - NIGHT 50 + + Rose walks along the corridor. A steward coming the other + way greets her, and she nods with a slight smile. She is + perfectly composed. + + CUT TO: + + +51 INT. ROSE'S BEDROOM - NIGHT 51 + + She enters the room. Stands in the middle, staring at her + reflection in the large vanity mirror. Just stands there, + then-- + + With a primal, anguished cry she claws at her throat, + ripping off her pearl necklace, which explodes across the + room. In a frenzy she tears at herself, her clothes, her + hair, then attacks the room. She flings everything off the + dresser and it flies clattering against the wall. She hurls + a hand mirror against the vanity, cracking it. + + CUT TO: + + +52 EXT. A DECK PROMENADE - AFT - NIGHT 52 + + Rose runs along the B deck promenade. She is dishevelled, + her hair flying. She is crying, her cheeks streaked with + tears. + + But also angry, furious! Shaking with emotions she doesn't + understand... hatred, self-hatred, desperation. A strolling + couple watch her pass. Shocked at the emotional display in + public. + + CUT TO: + + +53 EXT. POOP DECK - NIGHT 53 + + Jack is kicked back on one of the benches gazing at the + stars blazing gloriously overhead. Thinking artist thoughts + and smoking a cigarette. + 42. + + +Hearing something, he turns as Rose runs up the stairs from +the well deck. They are the only two on the stern deck, +except for QUARTERMASTER ROWE, twenty feet above them on +the docking bridge catwalk. She doesn't see Jack in the +shadows, and runs right past him. + +TRACKING WITH ROSE as she runs across the deserted fantail. + +Her breath hitches in an occasional sob, which she +suppresses. Rose slams against the base of the stern +flagpole and clings there, panting. She stares out at the +black water. + +Then starts to climb over the railing. She has to hitch her +long dress way up, and climbing is clumsy. Moving +methodically she turns her body and gets her heels on the +white-painted gunwale, her back to the railing, facing out +toward blackness. 60 feet below her, the massive propellers +are churning the atlantic into white foam, and a ghostly +wake trails off toward the horizon. + +IN A LOW ANGLE, we see Rose standing like a figurehead in +reverse. Below her are the huge letters of the name +"TITANIC". + +She leans out, her arms straightening, looking down +hypnotized, into the vortex below her. Her dress and hair +are lifted by the wind of the ship's movement. + +The only sound, above the rush of water below, is the +flutter and snap of the big Union Jack right above her. + + JACK + Don't do it. + +She whips her head around at the sound of his voice. It +takes a second for her eyes to focus. + + ROSE + Stay back! Don't come any closer! + +Jack sees the tear tracks on her cheeks in the faint glow +from the stern running lights. + + JACK + Take my hand. I'll pull you back + in. + + ROSE + No! Stay where you are. I mean it. + I'll let go. + + JACK + 43. + + + No you won't. + + ROSE + What do you mean no I won't? Don't + presume to tell me what I will and + will not do. You don't know me. + + JACK + You would have done it already. Now + come on, take my hand. + +Rose is confused now. She can't see him very well through +the tears, so she wipes them with one hand, almost losing +her balance. + + ROSE + You're distracting me. Go away. + + JACK + I can't. I'm involved now. If you + let go I have to jump in after you. + + ROSE + Don't be absurd. You'll be killed. + +He takes off his jacket. + + JACK + I'm a good swimmer. + +He starts unlacing his left shoe. + + ROSE + The fall alone would kill you. + + JACK + It would hurt. I'm not saying it + wouldn't. To be honest I'm a lot + more concerned about the water + being so cold. + +She looks down. The reality factor of what she is doing is +sinking in. + + ROSE + How cold? + + JACK + (taking off his left + shoe) + Freezing. Maybe a couple degrees + over. + 44. + + +He starts unlacing his right shoe. + + JACK + Ever been to Wisconsin? + + ROSE + (perplexed) + No. + + JACK + Well they have some of the coldest + winters around, and I grew up + there, near Chippewa Falls. Once + when I was a kid me and my father + were ice-fishing out on Lake + Wissota... ice-fishing's where you + chop a hole in the-- + + ROSE + I know what ice fishing is! + + JACK + Sorry. Just, you look like kind of + an indoor girl. Anyway, I went + through some thin ice and I'm + tellin' ya, water that cold, like + that right down there, it hits you + like a thousand knives all over + your body. You can't breath, you + can't think, least not about + anything but the pain. + (takes off his other + shoe) + Which is why I'm not looking + forward to jumping in after you. + But like I said, I don't see a + choice. I guess I'm kinda hoping + you'll come back over the rail and + get me off the hook here. + + ROSE + You're crazy. + + JACK + That's what everybody says. But + with all due respect, I'm not the + one hanging off the back of a ship. + +He slides one step closer, like moving up on a spooked +horse. + + JACK + 45. + + + Come on. You don't want to do this. + Give me your hand. + +Rose stares at this madman for a long time. She looks at +his eyes and they somehow suddenly seem to fill her +universe. + + ROSE + Alright. + +She unfastens one hand from the rail and reaches it around +toward him. He reaches out to take it, firmly. + + JACK + I'm Jack Dawson. + + ROSE + (voice quavering) + Pleased to meet you, Mr. Dawson. + +Rose starts to turn. Now that she has decided to live, the +height is terrifying. She is overcome by vertigo as she +shifts her footing, turning to face the ship. As she starts +to climb, her dress gets in the way, and one foot slips off +the edge of the deck. + +She plunges, letting out a piercing SHRIEK. Jack, gripping +her hand, is jerked toward the rail. Rose barely grabs a +lower rail with her free hand. + +QUARTERMASTER ROWE, up on the docking bridge hears the +scream and heads for the ladder. + + ROSE + HELP! HELP!! + + JACK + I've got you. I won't let go. + +Jack holds her hand with all his strength, bracing himself +on the railing with his other hand. Rose tries to get some +kind of foothold on the smooth hull. Jack tries to lift her +bodily over the railing. She can't get any footing in her +dress and evening shoes, and she slips back. Rose SCREAMS +again. + +Jack, awkwardly clutching Rose by whatever he can get a +grip on as she flails, gets her over the railing. They fall +together onto the deck in a tangled heap, spinning in such +a way that Jack winds up slightly on top of her. + +Rowe slides down the ladder from the docking bridge like +it's a fire drill and sprints across the fantail. + 46. + + + ROWE + Here, what's all this?! + + Rowe runs up and pulls Jack off of Rose, revealing her + dishevelled and sobbing on the deck. Her dress is torn, and + the hem is pushing up above her knees, showing one ripped + stocking. He looks at Jack, the shaggy steerage man with + his jacket off, and the first class lady clearly in + distress, and starts drawing conclusions. Two seamen chug + across the deck to join them. + + ROWE + (to Jack) + Here you, stand back! Don't move an + inch! + (to the seamen) + Fetch the Master at Arms. + + CUT TO: + + +54 EXT. POOP DECK - NIGHT 54 + + A few minutes later. Jack is being detained by the burly + MASTER AT ARMS, the closest thing to a cop on board. He is + handcuffing Jack. Cal is right in front of Jack, and + furious. + + He has obviously just rushed out here with Lovejoy and + another man, and none of them have coats over their black + tie evening dress. The other man is COLONEL ARCHIBALD + GRACIE, a mustachioed blowhard who still has his brandy + snifter. He offers it to Rose, who is hunched over crying + on a bench nearby, but she waves it away. Cal is more + concerned with Jack. He grabs him by the lapels. + + CAL + What made you think you could put + your hands on my fiancee?! Look at + me, you filth! What did you think + you were doing?! + + ROSE + Cal, stop! It was an accident. + + CAL + An accident?! + + ROSE + It was, stupid really. I was + leaning over and I slipped. + + Rose looks at Jack, getting eye contact. + 47. + + + ROSE + I was leaning way over, to see the- + - ah--propellers. And I slipped and + I would have gone overboard--and + Mr. Dawson here saved me and he + almost went over himself. + + CAL + You wanted to see the propellers? + + GRACIE + (shaking his head) + Women and machinery do not mix. + + MASTER AT ARMS + (to Jack) + Was that the way of it? + +Rose is begging him with her eyes not to say what really +happened. + + JACK + Uh huh. That was pretty much it. + +He looks at Rose a moment longer. Now they have a secret +together. + + COLONEL GRACIE + Well! The boy's a hero then. Good + for you son, well done! + (to Cal) + So it's all's well and back to our + brandy, eh? + +Jack is uncuffed. Cal gets Rose to her feet and moving. + + CAL + (rubbing her arms) + Let's get you in. You're freezing. + +Cal is leaving without a second thought for Jack. + + GRACIE + (low) + Ah--perhaps a little something for + the boy? + + CAL + Oh, right. Mr. Lovejoy. A twenty + should do it. + + ROSE + 48. + + + Is that the going rate for saving + the woman you love? + + CAL + Rose is displeased. Mmm--what to + do? + +Cal turns back to Jack. He appraises him condescendingly, a +steerage ruffian, unwashed and ill-mannered. + + CAL + I know. + (to Jack) + Perhaps you could join us for + dinner tomorrow, to regale our + group with your heroic tale? + + JACK + (looking straight at + Rose) + Sure. Count me in. + + CAL + Good. Settled then. + +Cal turns to go, putting a protective arm around Rose. he +leans close to Gracie as they walk away. + + CAL + This should be amusing. + + JACK + (as Lovejoy passes) + Can I bum a cigarette? + +Lovejoy smoothly draws a silver cigarette case from his +jacket and snaps it open. Jack takes a cigarette, then +another, popping it behind his ear for later. Lovejoy +lights Jack's cigarette. + + LOVEJOY + You'll want to tie those. + (Jack looks at his shoes) + Interesting that the young lady + slipped so mighty all of a sudden + and you still had time to take of + your jacket and shoes. Mmmm? + +Lovejoy's expression is bland, but the eyes are cold. He +turns away to join his group. + + CUT TO: + 49. + + +55 INT. ROSE'S BEDROOM - NIGHT 55 + + As she undresses for bed Rose sees Cal standing in her + doorway, reflected in the cracked mirror of her vanity. He + comes toward her. + + CAL + (unexpectedly tender) + I know you've been melancholy, and + I don't pretend to know why. + + From behind his back he hands her a large black velvet + jewel case. She takes it, numbly. + + CAL + I intended to save this till the + engagement gals next week. But I + thought tonight, perhaps a reminder + of my feeling for you. + + Rose slowly opens the box. Inside is the necklace, "HEART + OF THE OCEAN" in all its glory. It is huge, a malevolent + blue stone glittering with an infinity of scalpel-like + inner reflections. + + ROSE + My God-- Cal. Is it a-- + + CAL + Diamond. Yes it is. 56 carats. + + He takes the necklace and during the following places it + around her throat. He turns her to the mirror, staring + behind her. + + CAL + It was once worn by Louis the + Sixteenth. They call it Le Coeur de + la Mer, the-- + + ROSE + The Heart of the Ocean. Cal, it's-- + it's overwhelming. + + He gazes at the image of the two of them in the mirror. + + CAL + It's for royalty. And we are + royalty. + + His fingers caress her neck and throat. He seems himself to + be disarmed by Rose's elegance and beauty. His emotion is, + for the first time, unguarded. + 50. + + + CAL + There's nothing I couldn't give + you. There's nothing I'd deny you + if you would deny me. Open your + heart to me, Rose. + + CAMERA begins to TRACK IN ON ROSE. Closer and closer, + during the following: + + OLD ROSE (V.O.) + Of course his gift was only to + reflect light back onto himself, to + illuminate the greatness that was + Caledon Hockley. It was a cold + stone-- a heart of ice. + + Finally, when Rose's eyes FILL FRAM, we MORPH SLOWLY to her + eyes as the are now, transforming through 84 years of life. + + TRANSITION + + +56 INT. KELDYSH IMAGING SHACK 56 + + Without a cut the wrinkled, weathered landscape of age has + appeared around her eyes. But the eyes themselves are the + same. + + OLD ROSE + After all these years, feel it + closing around my throat like a dog + collar. + + THE CAMERA PUllS BACK to show her whole face. + + ROSE + I can still feel its weight. If you + could have felt it, not just seen + it. + + LOVETT + Well, that's the general idea, my + dear. + + BODINE + So let me get this right. You were + gonna kill yourself by jumping off + the Titanic? + (he guffaws) + That's great! + + LOVETT + (warningly) + 51. + + + Lewis. + + But Rose laughs with Bodine. + + BODINE + (still laughing) + All you had to do was wait two + days! + + Lovett, standing out of Rose's sightline, checks his watch. + + Hours have passed. This process is taking too long. + + LOVETT + Rose, tell us more about the + diamond. What did Hockley do with + it after that? + + ROSE + Im afraid I'm feeling a little + tired, Mr. Lovett. + + Lizzy picks up the cue and starts to wheel her out. + + LOVETT + Wait! Can you give us something go + on, here. Like who had access to + the safe. What about this Lovejoy + guy? The valet. Did he have the + combination? + + LIZZY + That's enough. + + Lizzy takes her out. Rose's old hand reappears at the + doorway in a frail wave goodbye. + + CUT TO: + + +57 EXT. LAUNCH AREA - KELDYSH DECK - DAY 57 + + As the big hydraulic jib swings one of the Mir subs out + over the water. Lovett walks as he talks with Bobby Buell, + the partners' rep. They weave among deck cranes, launch + crew, sub maintenance guys. + + BUELL + The partners are pissed. + + BROCK + Bobby, buy me time. I need time. + 52. + + + BUELL + We're running thirty thousand a + day, and we're six days over. I'm + telling you what they're telling + me. The hand is on the plug. It's + starting to pull. + + BROCK + Well you tell the hand I need + another two days! Bobby, Bobby, + Bobby, we're close! I smell it. I + smell ice. She had the diamond on, + now we just have to find out where + it wound up. I just gotta work her + a bit more. Okay? + +Brock turns and sees Lizy standing behind him. She has +overheard the past part of his dialogue with Buell. He goes +to her and hustles her away from Buell, toward a quiet spot +on the deck. + + BROCK + Hey, Lizzy. I need to talk to you + for a second. + + LIZZY + Don't you mean work me? + + BROCK + Look, I'm running out of time. I + need your help. + + LIZZY + I'm not going to help you browbeat + my hundred and one year old + grandmother. I came down here to + tell you to back off. + + BROCK + (with undisguised + desperation) + Lizzy, you gotta understand + something. I've bet it all to find + the Heart of the Ocean. I've got + all my dough tied up in this thing. + My wife even divorced me over this + hunt. I need what's locked inside + your grandma's memory. + (he holds out his hand) + You see this? Right here? + +She looks at his hand, palm up. Empty. Cupped, as if around +an imaginary shape. + 53. + + + LIZZY + What? + + BROCK + That's the shape my hand's gonna be + when I hold that thing. You + understand? I'm not leaving here + without it. + + LIZZY + Look, Brock, she's going to do this + her way, in her own time. Don't + forget, she contacted you. She's + out here for her own reasons, God + knows what they are. + + LOVETT + Maybe she wants to make peace with + the past. + + LIZZY + What past? She has never once, not + once, ever said a word about being + on the Titanic until two days ago. + + LOVETT + Then we're all meeting your + grandmother for the first time. + + LIZZY + (looks at him hard) + You think she was really there? + + LOVETT + Oh, yeah. Yeah, I'm a believer. She + was there. + + CUT TO: + + +58 INT. IMAGING SHACK 58 + + Bodine starts the tape recorder. Rose is gazing at the + screen seeing THE LIVE FEED FROM THE WRECK--SNOOP DOG is + moving along the starboard side of the hull, heading aft. + The rectangular windows of A deck (forward) march past on + the right. + + ROSE + The next day, Saturday, I remember + thinking how the sunlight felt. + + DISSOLVE TO: + 54. + + +59 EXT. B DECK TITANIC - DAY 59 + + MATCH DISSOLVE from the rusting hulk to the gleaming new + Titanic in 1912, passing the end of the enclosed promenade + just as Rose walks into the sunlight right in front of us. + + She is stunningly dressed and walking with purpose. + + OLD ROSE (V.O.) + As if I hadn't felt the sun in + years. + + IT IS SATURDAY APRIL 13, 1912. Rose unlatches the gate to + go down into third class. The steerage men on the deck stop + what they're doing and stare at her. + + CUT TO: + + +60 INT. THIRD CLASS GENERAL ROOM 60 + + The social center of steerage life. It is stark by + comparison to the opulence of first class, but is a loud, + boisterous place. There are mothers with babies, kids + running between the benches yelling in several languages + and being scolded in several more. There are old women + yelling, men playing chess, girls doing needlepoint and + reading dime novels. There is even an upright piano and + Tommy Ryan is noodling around it. + + Three boys, shrieking and shouting, are scrambling around + chasing a rat under the benches, trying to whomp it with a + shoe and causing general havoc. Jack is playing with 5 year + old CORA CARTMeLL, drawing funny faces together in his + sketchbook. + + Fabrizio is struggling to get a conversation going with an + attractive Norwegian girl, HELGA DAHL, sitting with her + family at a table across the room. + + FABRIZIO + No Italian? Some little English? + + HELGA + No, no. Norwegian. Only. + 55. + + + Helga's eye is caught by something. Fabrizio looks, does a + take, and Jack, curious, follows their gaze to see, Rose, + coming toward them. The activity in the room stops, a hush + falls. Rose feels suddenly self-conscious as the steerage + passengers stare openly at this princess, some with + resentment, others with awe. She spots Jack and gives a + little smile, walking straight to him. He rises to meet + her, smiling. + + ROSE + Hello Jack. + + Fabrizio and Tommy are floored. Its like the slipper + fitting Cinderella. + + JACK + Hello again. + + ROSE + Could I speak to you in private? + + JACK + Uh, yes. Of course. After you. + + He motions her ahead and follows. Jack glances over his + shoulder, one eyebrow raised, as he walks out with her + leaving a stunned silence. + + CUT TO: + + +61 EXT. BOAT DECK - DAY 61 + + Jack and Rose walk side by side. They pass people reading + and talking in steamer chairs, some of whom glance + curiously at the mismatched couple. He feels out of place + in his rough clothes. They are both awkward, for different + reasons. + + JACK + So, you got a name by the way? + + ROSE + Rose. Rose DeWitt Bukater. + + JACK + That's quite a moniker. I may hafta + get you to write that down. + + There is an awkward pause. + + ROSE + Mr. Dawson, I-- + 56. + + + JACK +Jack. + + ROSE +Jack, I feel like such an idiot. It +took me all morning to get up the +nerve to face you. + + JACK +Well, here you are. + + ROSE +Here I am. I--I want to thank you +for what you did. Not just for, for +pulling me back. But for your +discretion. + + JACK +You're welcome. Rose. + + ROSE +Look, I know what you must be +thinking! Poor little rich girl. +What does she know about misery? + + JACK +That's not what I was thinking. +What I was thinking was--what could +have happened to hurt this girl so +much she thought she had no way +out. + + ROSE +I don't--it wasn't just one thing. +It was everything. It was them, it +was their whole world. And I was +trapped in it, like an insect in +amber. + (in a rush) +I just had to get away, just run +and run and run, and then I was at +the back rail and there was no more +ship, even the Titanic wasn't big +enough. Not enough to get away from +them. And before I'd really thought +about it, I was over the rail. I +was so furious. I'll show them. +They'll be sorry! + + JACK +Uh huh. They'll be sorry. 'Course +you'll be dead. + 57. + + + ROSE + (she lowers her head) + Oh God, I am such an utter fool. + + JACK + That penguin last night, is he one + of them? + + ROSE + Penguin? Oh, Cal! He is them. + + JACK + Is he your boyfriend? + + ROSE + Worse I'm afraid. + +She shows him her engagement ring. A sizable diamond. + + JACK + Gawd look at that thing! You would + have gone straight to the bottom. + +They laugh together. A passing steward scowls at Jack, who +is clearly not a first class passenger, but Rose just +glares at him away. + + JACK + So you feel like you're stuck on a + train you can't get off 'cause + you're marryin' this fella. + + ROSE + Yes, exactly! + + JACK + So don't marry him. + + ROSE + If only it were that simple. + + JACK + It is that simple. + + ROSE + Oh, Jack... please don't judge me + until you've seen my world. + + JACK + Well, I guess I will tonight. + +Looking for another topic, any other topic, she indicates +his sketchbook. + 58. + + + ROSE + What's this? + + JACK + Just some sketches. + + ROSE + May I? + +The question is rhetorical because she has already grabbed +the book. She sits on a deck chair and opens the +sketchbook. + +ON JACK'S sketches, each one an expressive little bit of +humanity: an old woman's hands, a sleeping man, a father +and daughter at the rail. The faces are luminous and alive. +His book is a celebration of the human condition. + + ROSE + Jack, these are quite good! Really, + they are. + + JACK + Well, they didn't think too much of + 'em in Paree. + +Some loose sketches fall out and are taken by the wind. +Jack scrambles after them, catching two, but the rest are +gone, over the rail. + + ROSE + Oh no! Oh, I'm so sorry. Truly! + + JACK + Well, they didn't think too much of + 'em in Paree. + +He snaps his wrist, shaking his drawing hand in a flourish. + + JACK + I just seem to spew 'em out. + Besides, they're not worth a damn + anyway. + +For emphasis he throws away the two he caught. They sail +off. + + ROSE + (laughing) + You're deranged! + +She goes back to the book, turning a page. + 59. + + + ROSE + Well, well -- + +She has come upon a series of nudes. Rose is transfixed by +the languid beauty he has created. His nudes are soulful, +real, with expressive hands and eyes. They feel more like +portraits than studies of the human form, almost +uncomfortably intimate. Rose blushes, raising the book as +some strollers go by. + + ROSE + (trying to be very adult) + And these were drawn from life? + + JACK + Yup. That's one of the great things + about Paris. Lots of girls willing + take their clothes off. + +She studies one drawing in particular, the girl posed half +in sunlight, half in shadow. Her hands lie at her chin, one +furled and one open like a flower, languid and graceful. +The drawing is like an Alfred Stieglitz print of Georgia +O'Keefe. + + ROSE + You liked this woman. You used her + several times. + + JACK + She had beautiful hands. + + ROSE + (smiling) + I think you must have had a love + affair with her. + + JACK + (laughing) + No, no! Just with her hands. + + ROSE + (looking up from the + drawings) + You have a gift, Jack. You do. You + see people. + + JACK + I see you. + +There it is. That piercing gaze again. + + ROSE + 60. + + + And--? + + JACK + You wouldn't jumped. + + CUT TO: + + +62 INT. RECEPTION ROOM - D-DECK - DAY 62 + + Ruth is having tea with NOEL LUCY MARTHA DYER-EDWARDES, the + COUNTESS OF ROTHES, a 35ish English blue-blood with + patrician features. Ruth sees someone coming across the + room and lowers her voice. + + RUTH + Oh no, that vulgar Brown woman is + coming this way. Get up, quickly + before she sits with us. + + Molly Brown walks up, greeting them cheerfully as they are + rising. + + MOLLY + Hello girls, I was hoping I'd catch + you at tea. + + RUTH + We're awfully sorry you missed it. + The Countess and I are just off to + take the air on the boat deck. + + MOLLY + That sounds great. Let's go. I need + to catch up on the gossip. + + Ruth grits her teeth as the three of them head for the + Grand Staircase to go up. TRACKING WITH THEM, as they cross + the room, the SHOT HANDS OFF to Bruce Ismay and Captain + Smith at another table. + + ISMAY + So you've not lit the last four + boilers then? + + SMITH + No, but we're making excellent + time. + + ISMAY + (impatiently) + 61. + + + Captain, the press knows the size + of Titanic, let them marvel at her + speed too. We must give them + something new to print. And the + maiden voyage of Titanic must make + headlines! + + SMITH + I prefer not to push the engines + until they've been properly run in. + + ISMAY + Of course I leave it to your good + offices to decide what's best, but + what a glorious end to your last + crossing if we get into New York + Tuesday night and surprise them + all. + (Ismay slaps his hand on + the table) + Retire with a bang, eh, E.J? + + A beat. Then Smith nods, stiffy. + + CUT TO: + + +63 EXT. A DECK PROMENADE - DAY 63 + + Rose and Jack stroll aft, past people lounging on deck + chairs in the slanting late-afternoon light. Stewards + scurry to serve tea or hot cocoa. + + ROSE + (girlish and excited) + You know, my dream has always been + to just chuck it all and become an + artist, living in a garret, poor + but free! + + JACK + (laughing) + You wouldn't last two days. There's + no hot water, and hardly ever any + caviar. + + ROSE + (angry in a flash) + Listen, buster, I hate caviar! And + I'm tired of people dismissing my + dreams with a chuckle and a pat on + the head. + 62. + + + JACK + I'm sorry. Really--I am. + + ROSE + Well, alright. There's something in + me, Jack. I feel it. I don't know + what it is, whether I should be an + artist, or, I don't know a dancer. + Like Isadora Duncan a wild pagan + spirit. + +She leaps forward, lands deftly and whirls like a dervish. + +Then she sees something ahead and her face lights up. + + ROSE + --or a moving picture actress! + +She takes his hand and runs, pulling him along the deck +toward-- + +DANIEL AND MARY MARVIN. Daniel is cranking the big wooden +movie camera as she poses stiffly at the rail. + + MARVIN + You're sad. Sad, sad, sad. You've + left your lover on the shore. You + may never see him again. Try to be + sadder, darling. + +SUDDENLY Rose shoots into the shot and strikes a theatrical +pose at the rail next to Mary. Mary bursts out laughing. +Rose pulls Jack into the picture and makes him pose. + +Marvin grins and starts yelling and gesturing. We see this +in CUTS, with music and no dialogue. + +SERIES OF CUTS: + +Rose posing tragically at the rail, the back of her hand to +her forehead. + +Jack on a deck chair, pretending to be a Pasha, the two +girls pantomiming fanning him like slave girls. + +Jack, on his knees, pleading with his hands clasped while +Rose, standing, turns her head in bored disdain. + +Rose cranking the camera, while Daniel and Jack have a +western shoot-out. Jack wins and leers into the lens, +twirling an air mustache like Snidely Whiplash. + + CUT TO: + 63. + + +64 EXT. A DECK PROMENADE - AFT - SUNSET 64 + + Painted with orange light, Jack and Rose lean on the A-deck + rail aft, shoulder to shoulder. The ship's lights come on. + + It is a magical moment, perfect. + + ROSE + So then what, Mr. Wandering Jack? + + JACK + Well, then logging got to be too + much like work, so I went down to + Los Angeles to the pier in Santa + Monica. That's a swell place, they + even have a rollercoaster. I + sketched portraits there for ten + cents a piece. + + ROSE + A whole ten cents?! + + JACK + (not getting it) + Yeah; it was great money. I could + make a dollar a day, sometimes. But + only in summer. When it got cold, I + decided to go to Paris and see what + the real artists were doing. + + ROSE + (looks at the dusk sky) + Why can't I be like you Jack? Just + head out for the horizon whenever I + feel like it. + (turning to him) + Say we'll go there, sometime to + that pier, even if we only ever + just talk about it. + + JACK + Alright, we're going. We'll drink + cheap beer and go on the + rollercoaster until we throw up and + we'll ride horses on the beach, + right in the surf, but you have to + ride like a cowboy, none of that + side-saddle stuff. + + ROSE + You mean one leg on each side? + Scandalous! Can you show me? + 64. + + + JACK + Sure. If you like. + + ROSE + (smiling at him) + I think I would. + (she looks at the + horizon) + And teach me to spit too. Like a + man. Why should only men be able to + spit. It's unfair. + + JACK + They didn't teach you that in + finishing school? Here, it's easy. + Watch closely. + +He spits. It arcs out over the water. + + JACK + Your turn. + +Rose screws up her mouth and spits. A pathetic little bit +of foamy spittle which mostly runs down her chin before +falling off into the water. + + JACK + Nope, that was pitiful. Here, like + this, you hawk it down... HHHNNNK! + Then roll it on your tongue, up to + the front, like thith, then a big + breath and PLOOOW!! You see the + range on that thing? + +She goes through the steps. Hawks it down, etc. He coaches +her through it (ad lib) while doing the steps himself. She +lets fly. So does he. Two comets of gob fly out over the +water. + + JACK + That was great! + +Rose turns to him, her face alight. Suddenly she blanches. +He sees her expression and turns. + +RUTH, the Countess of Rothes, and Molly Brown have been +watching them hawking lugees. Rose becomes instantly +composed. + + ROSE + Mother, may I introduce Jack + Dawson. + 65. + + + RUTH + Charmed, I'm sure. + +Jack has a little spit running down his chin. He doesn't +know it. Molly Brown is grinning. As Rose proceeds with the +introductions, we hear. + + OLD ROSE (V.O.) + The others were gracious and + curious about the man who'd saved + my life. But my mother looked at + him like an insect. A dangerous + insect which must be squashed + quickly. + + MOLLY + Well, Jack, it sounds like you're a + good man to have around in a sticky + spot-- + +They all jump as a BUGLER sounds the meal call right behind +them. + + MOLLY + Why do they insist on always + announcing dinner like a damn + cavalry charge? + + ROSE + Shall we go dress, mother? + (over her shoulder) + See you at dinner, Jack. + + RUTH + (as they walk away) + Rose, look at you, out in the sun + with no hat. Honestly! + +The Countess exits with Ruth and Rose, leaving Jack and +Molly alone on deck. + + MOLLY + Son, do you have the slightest + comprehension of what you're doing? + + JACK + Not really. + + MOLLY + Well, you're about to go into the + snakepit. I hope you're ready. What + are you planning to wear? + 66. + + + Jack looks down at his clothes. Back up at her. He hadn't + thought about that. + + MOLLY + I figured. + + CUT TO: + + +65 INT. MOLLY BROWN'S STATEROOM 65 + + Men's suits and jackets and formal wear are strewn all over + the place. Molly is having a fine time. Jack is dressed, + except for his jacket, and Molly is tying his bow tie. + + MOLLY + Don't feel bad about it. My husband + still can't tie one of these damn + things after 20 years. There you + go. + + She picks up a jacket off the bed and hands it to him. Jack + goes into the bathroom to put it on. Molly starts picking + up the stuff off the bed. + + MOLLY + I gotta buy everything in three + sizes 'cause I never know how much + he's been eating while I'm away. + + She turns and sees him, though we don't. + + MOLLY + My, my, my--you shine up like a new + penny. + + CUT TO: + + +66 EXT. BOAT DECK - FIRST CLASS ENTRANCE - DUSK 66 + + A purple sky, shot with orange, in the west. Drifting + strains of classic music. We TRACK WITH JACK along the + deck. By Edwardian standards he looks badass. Dashing in + his borrowed white-tie outfit, right down to his pearl + studs. + + A steward bows and smartly opens the door to the First + Class Entrance. + + STEWARD + Good evening, sir. + 67. + + + Jack plays the role smoothly. Nods with just the right + degree of disdain. + + CUT TO: + + +67 INT. UPPER LANDING - GRAND THEATER 67 + + Jack steps in and his breath is taken away by the splendor + spread out before him. Overhead is the enormous glass dome, + with a crystal chandelier at its center. Sweeping down six + stories is the First Class Grand Staircase, the epitome of + the opulent naval architecture of the time. + + And the people: the women in their floor length dresses, + elaborate hairstyles and abundant jewelry... the gentlemen + in evening dress, standing with one hand at the small of + the back, talking quietly. + + Jack descends to A deck. Several men nod a perfunctory + greeting. He nods back, keeping it simple. He feels like a + spy. + + Cal comes down the stairs, with Ruth on his arm, covered in + jewelry. They both walk right past Jack, neither one + recognizes him. Cal nods at him, one gent to another. But + Jack barely has time to be amused. + + Because just behind Cal and Ruth on the stairs is Rose, a + vision in red and black, her low-cut dress showing off her + neck and shoulders, her arms seated in white gloves that + come well above above the elbow. Jack is hypnotized by her + beauty. + + CLOSE ON ROSE as she approaches Jack. He imitates the + gentlemen's stance, hand behind his back. She extends her + gloved hand and he takes it, kissing the back of her + fingers. + + Rose flushes, beaming noticeably. She can't take her eyes + off him. + + JACK + I saw that in a nickelodeon once, + and I always wanted to do it. + + ROSE + Cal, surely you remember Mr. + Dawson. + + CAL + (caught off guard) + Dawson! I didn't recognize you. + 68. + + + (studies him) + Amazing! You could almost pass for + a gentlemen. + + CUT TO: + + +68 INT. D-DECK RECEPTION ROOM 68 + + CUT TO THE RECEPTION ROOM ON D DECK, as the party descends + to dinner. They encounter Molly Brown, looking good in a + beaded dress, in her own busty broad-shouldered way. Molly + grins + + when she sees Jack. As they are going into the dining + saloon she walks next to him, speaking low: + + MOLLY + Ain't nothin' to it, is there, + Jack? + + JACK + Yeah, you just dress like a + pallbearer and keep your nose up. + + MOLLY + Remember, the only thing they + respect is money, so just act like + you've got a lot of it and you're + in the club. + + As they enter the swirling throng, Rose leans close to him, + pointing out several notables. + + ROSE + There's the Countess Rothes. And + that's John Jacob Astor, the + richest man on the ship. His little + wifey there, Madeleine, is my age + and in a delicate condition. See + how she's trying to hide it. Quite + the scandal. + (nodding toward a couple) + And over there, that's Sir Cosmo + and Lucile, Lady Duff-Gordon. She + designs naughty lingerie, among her + many talents. Very popular with the + royals. + + Cal becomes engrossed in a conversations with Cosmo Duff- + Gordon and Colonel Gracie, while Ruth, the Countess and + Lucille discuss fashion. Rose picots Jack smoothly, to show + him another couple, dressed impeccably. + 69. + + + ROSE + And that's Benjamin Guggenheim and + his mistress, Madame Aubert. Mrs. + Guggenheim is at home with the + children, of course. + +Cal, meanwhile, is accepting the praise of his male +counterparts, who are looking at Rose like a prize show +horse. + + SIR COSMO + Hockley, she is splendid. + + CAL + Thank you. + + GRACIE + Cal's a lucky man. I know him well, + and it can only be luck. + +Ruth steps over, hearing the last. She takes Cal's arm, +somewhat coquettishly. + + RUTH + How can you say that Colonel? + Caledon Hockley is a great catch. + +The entourage strolls toward the dining saloon, where they +run into the Astor's going through the ornate double doors. + + ROSE + J.J., Madeleine, I'd like you to + meet Jack Dawson. + + ASTOR + (shaking his hand) + Good to meet you Jack. Are you of + the Boston Dawsons? + + JACK + No, the Chippewa Falls Dawsons, + actually. + +J.J. nods as if he's heard of them, then looks puzzled. + +Madeleine Astor appraises Jack and whispers girlishly to +Rose: + + MADELEINE + It's a pity we're both spoken for, + isn't it? + + CUT TO: + 70. + + +69 INT. DINING SALOON 69 + + Like a ballroom at the palace, alive and lit by a + constellation of chandeliers, full of elegantly dressed + people and beautiful music from BANDLEADER WALLACE + HARTLEY'S small orchestra. As Rose and Jack enter and move + across the room to their table, Cal and Ruth beside them, + we hear. + + OLD ROSE (V.O.) + He must have been nervous but he + never faltered. They assumed he was + one of them, a young captain of + industry perhaps, new money, + obviously, but still a member of + the club. Mother of course, could + always be counted upon. + + CUT TO: + + +70 INT. DINING SALOON 70 + + CLOSE ON RUTH. + + RUTH + Tell us of the accommodations in + steerage, Mr. Dawson. I hear + they're quite good on this ship. + + WIDER: THE TABLE. Jack is seated opposite Rose, who is + flanked by Cal and Thomas Andrews. Also at the table are + Molly Brown, Ismay, Colonel Gracie, the Countess, + Guggenheim, Madame Aubert, and the Astors. + + JACK + The best I've seen, m'am. Hardly + any rats. + + Rose motions surreptitiously for Jack to take his napkin + off his plate. + + CAL + Mr. Dawson is joining us from third + class. He was of some assistance to + my fiance last night. + (to Jack, as if to a + child) + This is foie gras. It's goose + liver. + 71. + + +We see whispers exchanged. Jack becomes the subject of +furtive glances. Now they're all feeling terribly liberal +and dangerous. + + GUGGENHEIM + (low to Madame Aubert) + What is Hockly hoping to prove, + bringing this bohemian up here? + + WAITER + (to Jack) + How do you take your caviar, sir? + + CAL + (answering for him) + Just a soupcon of lemon-- + (to Jack, smiling) + --it improves the flavor with + champagne. + + JACK + (to the waiter) + No caviar for me, thanks. + (to Cal) + Never did like it much. + +He looks at Rose, pokerfaced, and she smiles. + + RUTH + And where exactly do you live, Mr. + Dawson? + + JACK + Well, right now my address is the + RMS Titanic. After that, I'm on + God's good humor. + +Salad is served. Jack reaches for the fish fork. Rose gives +him a look and picks up the salad fork, prompting him with +her eyes. He changes forks. + + RUTH + You find that sort of rootless + existence appealing, do you? + + JACK + 72. + + + Well, it's a big world, and I want + to see it all before I go. My + father was always talkin' about + goin' to see the ocean. He died in + the town he was born in, and never + did see it. You can't wait around, + because you never know what hand + you're going to get dealt next. + See, my folks died in a fire when I + was fifteen, and I've been on the + road since. Somethin' like that + teaches you to take life as it + comes at you. To make each day + count. + +Molly Brown raises her glass in a salute. + + MOLLY + Well said, Jack. + + COLONEL GRACIE + (raising his glass) + Here, here. + +Rose raises her glass, looking at Jack. + + ROSE + To making it count. + +Ruth, annoyed that Jack has scored a point, presses him +further. + + RUTH + How is it you have the means to + travel, Mr. Dawson? + + JACK + I work my way from place to place. + Tramp steamers and such. I won my + ticket on Titanic here in a lucky + hand at poker. + (he glances at Rose) + A very lucky hand. + + GRACIE + All life is a game of luck. + + CAL + A real man makes his own luck, + Archie. + 73. + + + Rose notices that Thomas Andrews, sitting next to her, is + writing in his notebook, completely ignoring the + conversation. + + ROSE + Mr. Andrews, what are you doing? I + see you everywhere writing in this + little book. + (grabs it and reads) + Increase number of screws in hat + hooks from 2 to 3. You build the + biggest ship in the world and this + preoccupies you?! + + Andrews smiles sheepishly. + + ISMAY + He knows every rivet in her, don't + you Thomas? + + ANDREWS + All three million of them. + + ISMAY + His blood and soul are in the ship. + She may be mine on paper, but in + the eyes of God she belongs to + Thomas Andrews. + + ROSE + Your ship is a wonder, Mr. Andrews. + Truly. + + ANDREWS + Thank you, Rose. + + We see that Andrews has come under Rose's spell. + + TIME TRANSITION: + + +71 INT. DINING SALOON - CONTINUOUS 71 + + Dessert has been served and a waiter arrives with cigars in + a humidor on a wheeled cart. The men start clipping ends + and lighting. + + ROSE + (low, to Jack) + Nest it'll be brandies in the + Smoking Room. + + GRACIE + 74. + + + (rising) + Well, join me for a brandy, + gentlemen? + + ROSE + (low) + Now they retreat into a cloud of + smoke and congratulate each other + on being masters of the universe. + + GRACIE + Joining us, Dawson? You don't want + to stay out here with the women, do + you? + + Actually he does, but-- + + JACK + No thanks. I'm heading back. + + CAL + Probably best. It'll be all + business and politics, that sort of + thing. Wouldn't interest you. Good + of you to come. + + Cal and the other gentlemen exit. + + ROSE + Jack, must you go? + + JACK + Time for my coach to turn back into + a pumpkin. + + He leans over to take her hand. + + INSERT: We see him slip a tiny folded not into her palm. + + Ruth, scowling, watches him walk away across the enormous + room. Rose surreptitiously opens the note below table + level. + + It reads: "Make it count. Meet me at the clock". + + CUT TO: + + +72 INT. A-DECK FOYER - NIGHT 72 + 75. + + + Rose crosses the A-Deck foyer, sighting Jack at the landing + above. Overhead is the crystal dome. Jack has his back to + her, studying the ornate clock with its carved figures of + Honor and Glory. It softly strikes the hour. + + MOVING WITH ROSE as she goes up the sweeping staircase + toward him. He turns, sees her, smiles. + + JACK + Want to go to a real party? + + CUT TO: + + +73 INT. THIRD CLASS GENERAL ROOM 73 + + Crow led and alive with music, laughter and raucous + carrying on. An ad hoc band is gathered near the upright + piano, honking out lively stomping music on fiddle, + accordion and tambourine. People of all ages are dancing, + drinking beer and wine, smoking, laughing, even brawling. + + Tommy hands Rose a pint of stout and she hoists it. Jack + meanwhile dances with 5 year old Cora Cartmell, or tries + to, with her standing on his feet. As the tune ends, Rose + leans down to the little girl. + + ROSE + May I cut in, miss? + + JACK + You're still my best girl, Cora. + + Cora scampers off. Rose and Jack face each other. She is + trembling as he takes her right hand in his left. His other + hand slides to the small of her back. It is an electrifying + moment. + + ROSE + I don't know the steps. + + JACK + Just move with me. Don't think. + + The music starts and they are off. A little awkward at + first, she starts to get into it. She grins at Jack as she + starts to get the rhythm of the steps. + + ROSE + Wait, stop! + 76. + + + She bends down, pulling off her high heeled shoes, and + flings them to Tommy. Then she grabs Jack and they plunge + back into the fray, dancing faster as the music speeds up. + + CUT TO: + + +74 INT. THIRD CLASS GENERAL ROOM 74 + + The scene is rowdy and rollicking. A table gets knocked + over as a drunk crashes into it. And in the middle of it. + + Rose dancing with Jack in her stocking feet. The steps are + fast and she shines with sweat. A space opens around them, + and people watch them, clapping as the band plays faster + and faster. + + FABRIZIO AND HELGA. Dancing has obviated the need for a + common language. He whirls her, then she responds by + whirling him. Fabrizio's eyes go wide when he realizes + she's stronger than he is. + + The tune ends in a mad rush. Jack steps away from Rose with + a flourish, allowing her to take a bow. Exhilarated and + slightly tipsy, she does a graceful ballet ployer, feet + turned out perfectly. Everyone laughs and applauds. Rose is + a hit with the steerage folks, who've never had a lady + party with them. + + They move to a table, flushed and sweaty. Rose grabs + Fabrizio's cigarette and takes a big drag. She's feeling + cocky. Fabrizio is grinning, holding hands with Helga. + + JACK + How you two doin'? + + FABRIZIO + I don't know what she's say, she + don't know what I say, so we get + along fine. + + Tommy walks up with a pint for each of them. Rose chugs + hers, showing off. + + ROSE + You think a first class girl can't + drink? + + Everybody else is dancing again, and Bjorn Gundersen + crashes into Tommy, who sloshes his beer over Rose's dress. + She laughs, not caring. But Tommy lunges, grabbing Bjorn + and wheeling him around. + 77. + + + TOMMY + You stupid bastard!! + + Bjorn comes around, his fists coming up, and Jack leaps + into the middle of it, pushing them apart. + + JACK + Boys, boys! Did I ever tell you the + one about the Swede and the + Irishman goin' to the whorehouse? + + Tommy stands there, all piss and vinegar, chest puffed up. + + Then he grins and claps Bjorn on the shoulder. + + ROSE + So, you think you're big tough men? + Let's see you do this. + + In her stocking feet she assumes a ballet stance, arms + raised, and goes up on point, taking her entire weight on + the tips of her toes. The guys gape at her incredible + muscle control. She comes back down, then her face screws + up in pain. She grabs one foot, hopping around. + + ROSE + Oooowww! I haven't done that in + years. + + Jack catches her as she loses her balance, and everyone + cracks up. + + THE DOOR to the well deck is open a few inches as Lovejoy + watches through the gap. He sees Jack holding Rose, both of + them laughing. + + LOVEJOY closes the door. + + CUT TO: + + +75 EXT. BOAT DECK - NIGHT 75 + + The stars blaze overhead, so bright and clear you can see + the Milky Way. Rose and Jack walk along the row of + lifeboats. + + Still giddy from the party, they are singing a popular song + "Come Josephine in My Flying Machine". + + JACK, ROSE + 78. + + + Come Josephine in my flying machine + And it's up she goes! Up she goes! + In the air she goes. Where? There + she goes! + +They fumble the words and break down laughing. They have +reached the First Class Entrance, but don't go straight in, +not wanting the evening to end. Through the doors the sound +of the ship's orchestra wafts gently. Rose grabs a davit +and leans back, staring at the cosmos. + + ROSE + Isn't it magnificent? So grand and + endless. + +She goes to the rail and leans on it. + + ROSE + They're such small people, Jack, my + crowd. They think they're giants on + the earth, but they're not even + dust in God's eye. They live inside + this little tiny champagne bubble, + and someday the bubble's going to + burst. + +He leans at the rail next to her, his hand just touching +hers. It is the slightest contact imaginable, and all +either one of them can feel is that square inch of skin +where their hands are touching. + + JACK + You're not one of them. There's + been a mistake. + + ROSE + A mistake? + + JACK + Uh huh. You got mailed to the wrong + address. + + ROSE + (laughing) + I did, didn't I? + (pointing suddenly) + Look! A shooting star. + + JACK + That was a long one. My father used + to say that whenever you saw one, + it was a soul going to heaven. + 79. + + + ROSE + I like that. Aren't we supposed to + wish on it? + + Jack looks at her, and finds that they are suddenly very + close together. It would be so easy to move another couple + of inches, to kiss her. Rose seems to be thinking the same + thing. + + JACK + What would you wish for? + + After a beat, Rose pulls back. + + ROSE + Something I can't have. + (she smiles sadly) + Goodnight, Jack. And thank you. + + She leaves the rail and hurries through the First Class + Entrance. + + JACK + Rose!! + + But the door bangs shut, and she is gone. Back to her + world. + + CUT TO: + + +76 INT. ROSE AND CAL'S SUITE - PRIVATE PROMENADE - DAY 76 + + SUNDAY APRIL 14, 1912. A bright clear day. Sunlight + splashing across the promenade. Rose and Cal are having + breakfast in silence. The tension is palpable. Trudy Bolt, + in her maid's uniform, pours the coffee and goes inside. + + CAL + I had hoped you would come to me + last night. + + ROSE + I was tired. + + CAL + Yes. Your exertions below decks + were no doubt exhausting. + + ROSE + (stiffening) + I see you had that undertaker of a + manservant follow me. + 80. + + + CAL + You will never behave like that + again! Do you understand? + + ROSE + I'm not some foreman in your mill's + than you can command! I am your + fiance-- + + Cal explodes, sweeping the breakfast china off the table + with a crash. He moves to her in one shocking moment, + glowering over her and gripping the sides of her chair, so + she is trapped between his arms. + + CAL + Yes! You are! And my wife, in + practice, if not yet by law. So you + will honor me, as a wife is + required to honor her husband! I + will not be made out a fool! Is + this in any way unclear? + + Rose shrinks into the chair. She sees Trudy, frozen, + partway through the door bringing the orange juice. Cal + follows Rose's glance and straightens up. He stalks past + the maid, entering the stateroom. + + ROSE + We--had a little accident. I'm + sorry, Trudy. + + CUT TO: + + +77 INT. RUTH'S SUITE - DAY 77 + + Rose is dressed for the day, and is in the middle of + helping Ruth with her corset. The tight bindings do not + inhibit Ruth's fury at all. + + RUTH + You are not to see that boy again, + do you understand me Rose? I forbid + it! + + Rose has her knee at the base of her mother's back and is + pulling the corset strings with both hands. + + ROSE + Oh, stop it, Mother. You'll give + yourself a nosebleed. + 81. + + +Ruth pulls away from her, and crosses to the door, locking +it. CLACK! + + RUTH + (wheeling on her) + Rose, this is not a game! Our + situation is precarious. You know + the money's gone! + + ROSE + Of course I know it's gone. You + remind me every day! + + RUTH + Your father left us nothing but a + legacy of bad debts hidden by a + good name. And that name is the + only card we have to play. + +Rose turns her around and grabs the corset strings again. + +Ruth sucks in her waist and Rose pulls. + + RUTH + I don't understand you. It is a + fine match with Hockley, and it + will insure our survival. + + ROSE + (hurt and lost) + How can you put this on my + shoulders? + +Rose turns to her, and we see what Rose sees-- the naked +fear in her mother's eyes. + + RUTH + Do you want to see me working as a + seamstress? Is that what you want? + Do you want to see our fine things + sold at an auction, our memories + scattered to the winds? My God, + Rose, how can you be so selfish? + + ROSE + It's so unfair. + + RUTH + Of course it's unfair! We're women. + Our choices are never easy. + +Rose pulls the corset tighter. + 82. + + + CUT TO: + + +78 INT. FIRST CLASS DINING SALOON 78 + + At the divine service, Captain Smith is leading a group in + the hymn "Almighty Father Strong To Save." Rose and Ruth + sing in the middle of the group. + + Lovejoy stands well back, keeping an eye on Rose. He + notices a commotion at the entry doors. + + Jack has been halted there by two stewards. He is dressed + in his third class clothes, and stands there, hat in hand, + looking out of place. + + STEWARD + Look, you, you're not supposed to + be in here. + + JACK + I was just here last night, don't + you remember? + (seeing Lovejoy coming + toward him) + He'll tell you. + + LOVEJOY + Mr. Hockley and Mrs. DeWitt Bukater + continue to be most appreciative of + your assistance. They asked me to + give you this in gratitude-- + + He holds out two twenty dollar bills, which Jack refuses to + take. + + JACK + I don't want money, I-- + + LOVEJOY + --and also to remind you that you + hold a third class ticket and your + presence here is no longer + appropriate. + + Jack spots Rose but she doesn't see him. + + JACK + I just need to talk to Rose for a-- + + LOVEJOY + Gentlemen, please see that Mr. + Dawson gets back where he belongs. + 83. + + + (giving the twenties to + the stewards) + And that he stays there. + + STEWARD + Yes sir! + (to Jack) + Come along you. + + END ON ROSE, not seeing Jack hustled out. + + ROSE + (singing) + O hear us when we cry to thee for + those in peril on the sea. + + CUT TO: + + +79 INT. GYMNASIUM - DAY 79 + + An Edwardian nautilus room. There are machines we + recognize, and some don't. A woman pedals a stationary + bicycle in a long dress, looking ridiculous. Thomas Andrews + is leading a small tour group, including Rose, Ruth and + Cal. Cal is working the oars of a stationary rowing machine + with a well trained stroke. + + CAL + Reminds me of my Harvard days. + + T.W. McCAULEY, the gym instructor, is a bouncy little man + in white flannels, eager to show off his modern equipment, + like his present-day counterpart on an "Ab Flex" + infomercial. He hits a switch and a machine with a saddle + on it starts to undulate. Rose puts her hand on it, + curious. + + MCCAULEY + The electric horse is very popular. + We even have an electric camel. + (to Ruth) + Care to try your hand at the + rowing, m'am? + + RUTH + Don't be absurd. I can't think of a + skill I should likely need less. + + ANDREWS + The next stop on our tour will be + bridge. This way, please. + 84. + + + CUT TO: + + +80 EXT. AFT WELL DECK - B-DECK AND A-DECK - DAY 80 + + Jack, walking with determination, is followed closely by + Tommy and Fabrizio. He quickly climbs the steps to B-Deck + and steps over the gate separating 3rd from 2nd class. + + TOMMY + She's a goddess amongst mortal men, + there's no denyin'. But she's in + another world, Jackie, forget her. + She's closed the door. + + Jack moves furtively to the wall below the A-Deck + promenade, aft. + + JACK + It was them, not her. + (glancing around the + deck) + Ready--go. + + Tommy shakes his head resignedly and puts his hands + together, crouching down. Jack steps into Tommy's hands and + gets boosted up to the next deck, where he scrambles nimbly + over the railing, onto the First Class deck. + + TOMMY + He's not bein' logical, I tell ya. + + FABRIZIO + Amore is'a not logical. + + CUT TO: + + +81 EXT. A-DECK - AFT - DAY 81 + + A man is playing with his son, who is spinning a top with a + string. The man's overcoat and hat are sitting on a deck + chair nearby. Jack emerges from behind one of the huge deck + cranes and calmly picks up the coat and bowler hat. He + walks away, slipping into the coat, and slicks his hair + back with spit. Then puts the hat on at a jaunty angle. At + a distance he could pass for a gentlemen. + + CUT TO: + + +82 INT. BRIDGE - CHARTROOM - DAY 82 + 85. + + + HAROLD BRIDE, the 21 year old Junior Wireless Operator, + hustles in and skirts around Andrews' tour group to hand a + Marconigram to Captain Smith. + + BRIDE + Another ice warning, sir. This one + from the "Baltic". + + SMITH + Thank you, Sparks. + + Smith glances at the message then nonchalantly puts it in + his pocket. He nods reassuringly to Rose and the group. + + SMITH + Not to worry, it's quite normal for + this time of year. In fact, we're + speeding up. I've just ordered the + last boilers lit. + + Andrews scowls slightly before motioning the group toward + the door. They exit just as SECOND OFFICER CHARLES HERBERT + LIGHTOLLER comes out of the chartroom, stopping next to + First Officer Murdoch. + + LIGHTOLLER + Did we ever find those binoculars + for the lookouts? + + FIRST OFFICER MURDOCH + Haven't seen them since + Southampton. + + CUT TO: + + +83 EXT. BOAT DECK - STARBOARD SIDE - DAY 83 + + Andrews leads the group back from the bridge along the boat + deck. + + ROSE + Mr. Andrews, I did the sum in my + head, and with the number of + lifeboats times the capacity you + mentioned, forgive me, but it seems + that there are not enough for + everyone aboard. + + ANDREWS + 86. + + + About half, actually. Rose, you + miss nothing, do you? In fact, I + put in these new type davits, which + can take an extra row of boats + here. + (he gestures along the + deck) + But it was thought, by some, that + the deck would look too cluttered. + So I was overruled. + + CAL + (slapping the side of a + boat) + Waste of deck space as it is, on an + unsinkable ship! + + ANDREWS + Sleep soundly, young Rose. I have + built you a good ship, strong and + true. She's all the lifeboat you + need. + + As they are passing Boat 7, a gentlemen turns from the rail + and walks up behind the group. It is Jack. + + He taps Rose on the arm and she turns, gasping. He motions + and she cuts away from the group toward a door which Jack + holds open. They duck into the-- + + CUT TO: + + +84 INT. GYMNASIUM - DAY 84 + + Jack closes the door behind her, and glances out through + the ripple-glass window to the starboard rail, where the + gym instructor is chatting up the woman who was riding the + bike. + + Rose and Jack are alone in the room. + + ROSE + Jack, this is impossible. I can't + see you. + + He takes her by the shoulders. + + JACK + 87. + + + Rose, you're no picnic, you're a + spoiled little brat even, but under + that you're a strong, pure heart, + and you're the most amazingly + astounding girl I've ever known + and- + + ROSE + Jack, I-- + + JACK + No wait. Let me try to get this + out. You're amazing, and I know I + have nothing to offer you, Rose. I + know that. But I'm involved now. + You jump, I jump, remember? I can't + turn away without knowin' that + you're goin' to be alright. + + Rose feels the tears coming to her eyes. Jack is so open + and real, not like anyone she has ever known. + + ROSE + You're making this very hard. I'll + be fine. Really. + + JACK + I don't think so. They've got you + in a glass jar like some butterfly, + and you're goin' to die if you + don't break out. Maybe not right + away, 'cause you're strong. But + sooner or later the fire in you is + goin' to go out. + + ROSE + It's not up to you to save me, + Jack. + + JACK + You're right. Only you can do that. + + ROSE + I have to get back, they'll miss + me. Please, Jack, for both our + sakes, leave me alone. + + CUT TO: + + +85 INT. FIRST CLASS LOUNGE - DAY 85 + 88. + + + The most elegant room on the ship, done in Louis Quinze + Versaille style. Rose sits on a divan, with a group of + other women arrayed around her. Ruth, the Countess Rothes + and Lady Duff-Gordon are taking tea. Rose is silent and + still as a porcelain figurine as the conversation washes + around her. + + RUTH + Of course the invitations had to be + sent back to the printers twice. + And the bridesmaids dresses! Let me + tell you what an odyssey that has + been... + + TRACKING SLOWLY IN on Rose as Ruth goes on. + + REVERSE, ROSE'S POV: A tableau of MOTHER and DAUGHTER + having tea. The four year old girl, wearing white gloves, + daintily picking up a cookie. The mother correcting her on + her posture, and the way she holds the teacup. The little + girl is trying so hard to please, her expression serious. A + glimpse of Rose at that age, and we see the relentless + conditioning, the pain to becoming an Edwardian geisha. + + ON ROSE. She calmly and deliberately turns her teacup over, + spilling tea all over her dress. + + ROSE + Oh, look what I've done. + + CUT TO: + + +86 EXT. TITANIC - DAY 86 + + TITANIC STEAMS TOWARD US, in the dusk light, as if lit by + the embers of a giant fire. As the ship looms, FILLING + FRAME, we push in on the bow. Jack is there, right at the + apex of the bow railing, his favorite spot. He closes his + eyes, letting the chill wind clear his head. + + Jack hears her voice, behind him. + + ROSE + Hello, Jack. + + He turns and she is standing there. + + ROSE + I changed my mind. + 89. + + +He smiles at her, his eyes drinking her in. Her cheeks are +red with the chill wind, and her eyes sparkle. Her hair +blows wildly about her face. + + ROSE + Fabrizio said you might be up-- + + JACK + Sssshh. Come here. + +He puts his hands on her waist. As if he is going to kiss +her. + + JACK + Close your eyes. + +She does, and he turns her to face forward, the way the +ship is going. He presses her gently to the rail, standing +right behind her. Then he takes her two hands and raises +them until she is standing with her arms outstretched on +each side. Rose is going along with him. When he lowers his +hands, her arms stay up, like wings. + + JACK + Okay. Open them. + +Rose gasps. There is nothing in her field of vision but +water. It's like there is no ship under them at all, just +the two of them soaring. The Atlantic unrolls toward her, a +hammered copper shield under a dusk sky. There is only the +wind, and the hiss of the water 50 feel below. + + ROSE + I'm flying! + +She leans forward, arching her back. He puts his hands on +her waist to steady her. + + JACK + (singing softly) + Come Josephine in my flying + machine... + +Rose closes her eyes, feeling herself floating weightless +far above the sea. She smiles dreamily, then leans back, +gently pressing her back against his chest. He pushes +forward slightly against her. + +Slowly he raises his hands, arms outstretched, and they +meet hers, fingertips gently touching. Then their fingers +intertwine. Moving slowly, their fingers caress through and +around each other like the bodies of two lovers. + 90. + + + Jack tips his face forward into her blowing hair, letting + the scent of her wash over him, until his cheek is against + her ear. + + Rose turns her head until her lips are near his. She lowers + her arms, turning further, until she finds his mouth with + hers. He wraps his arms around her from behind, and they + kiss like this with her head turned and tilted back, + surrendering to him, to the emotion, to the inevitable. + They kiss, slowly and tremulously, and then with building + passion. + + Jack and the ship seem to merge into one force of power and + optimism, lifting her, buoying her forward on a magical + journey, soaring onward into a night without fear. + + 100 IN THE CROW'S NEST, high above and behind them, lookout + FREDERICK FLEET nudges his mate, REGINALD LEE, pointing + down at the figures in the bow. + + FLEET + Wish I had those bleedin' + binoculars. + + JACK AND ROSE, embracing at the bow rail, DISSOLVE SLOWLY + AWAY, leaving the ruined bow of the WRECK-- + + CUT TO: + + +87 INT. KELDYSH IMAGING SHACK 87 + + OLD ROSE blinks, seeming to come back to the present. She + sees the wreck on the screen, the sad ghost ship deep in + the abyss. + + ROSE + That was the last time Titanic ever + saw daylight. + + Brock Lovett changes the tape in the mini cassette + recorder. + + BROCK + So we're up to dusk on the night of + the sinking. Six hours to go. + + BODINE + Don't you love it? There's Smith, + he's standing there with the + iceberg warning in his fucking + hand, + (remembering Rose) + 91. + + + excuse me, in his hand, and he's + ordering more speed. + + BROCK + 26 years of experience working + against him. He figures anything + big enough to sink the ship they're + going to see in time to turn. But + the ship's too big, with too small + a rudder, it can't corner worth + shit. Everything he knows is wrong. + + ROSE is ignoring this conversation. She has the art-nouveau + comb with the jade butterfly on the handle in her hands, + turning it slowly. She is watching a monitor, which shows + the ruins of Suite B-52/56. PUSH IN until the image fills + frame. + + TRANSITION: + + +88 INT. ROSE'S SUITE 88 + + 1912. Like in a dream the beautiful woodwork and satin + upholstery emerge from the rusted ruin. Jack is overwhelmed + by the opulence of the room. He sets his sketchbook and + drawing materials on the marble table. + + ROSE + Will this light do? Don't artists + need good light? + + JACK + (bad French accent) + Zat is true, I am not used to + working in such horrible + conditions. + (seeing the paintings) + Hey-- Monet! + + He crouches next to the paintings stacked against the wall. + + JACK + Isn't he great the use of color? I + saw him once, through a hole in + this garden fence in Giverny. + + She goes into the adjoining walk-in wardrobe closet. He + sees her go to the safe and start working the combination. + He's fascinated. + + ROSE + 92. + + + Cal insist on luggin this thing + everywhere. + + JACK + Should I be expecting him anytime + soon? + + ROSE + Not as long as the cigars and + brandy hold out. + + CLUNK! She unlocks the safe. Glancing up, she meets his + eyes in the mirror behind the safe. She opens it and + removes the necklace, then holds it out to Jack who takes + it nervously. + + JACK + What is it? A sapphire? + + ROSE + A diamond. A very rare diamond, + called the Heart of the Ocean. + + Jack gazes at wealth beyond his comprehension. + + ROSE + I want you to draw me like your + French girl. Wearing this. + (she smiles at him) + Wearing only this. + + He looks up at her, surprised. + + CUT TO: + + +89 INT. ROSE’S BEDROOM 89 + + ON THE BUTTERFLY COMB as Rose draws it out of her hair. She + shakes her head and her hair falls free around her + shoulders. + + +90 INT. SITTING ROOM 90 + + Jack is laying out his pencils like surgical tools. His + sketchbook is open and ready. He looks up as she comes into + the room, wearing a silk kimono. + + ROSE + 93. + + + The last thing I need is another + picture of me looking like a china + doll. As a paying customer, I + expect to get what I want. + + She hands him a dime and steps back, parting the kimono. + The blue stone lies on her creamy breast. Her heart is + pounding as she slowly lowers the robe. + + Jack looks so stricken, it is almost comical. The kimono + drops to the floor (this is all in cuts, lyrical). + + ROSE + Tell me when it looks right to you. + + She poses on the divan, settling like a cat into the + position we remember from the drawing, almost. + + JACK + Uh, just bend your left leg a + little and, and lower your head. + Eyes to me. That's it. + + Jack starts to sketch. He drops his pencil and she stifles + a laugh. + + ROSE + I believe you are blushing, Mr. Big + Artiste. I can't imagine Monsieur + Monet blushing. + + JACK + (sweating) + He does landscapes. + + TIGHT ON JACK as his eyes come up to look at her over the + top edge of his sketchpad. We have seen this image of him + before, in her memory. It is an image she will carry the + rest of her life. + + Despite his nervousness, he draws with sure strokes, and + what emerges is the best thing he has ever done. Her pose + is languid, her hands beautiful, and her eyes radiate her + energy. + + PUSH SLOWLY IN ON ROSE'S FACE... + + TRANSITION: + + +91 INT. KELDYSH 91 + 94. + + + MATCH DISSOLVE/MORPH to Rose, 101 years old. Only her eyes + are the same. + + OLD ROSE + My heart was pounding the whole + time. It was the most erotic moment + of my life, up till then at least. + + CUT TO REVERSE: A semicircle of listeners staring in rapt, + frozen silence. The story of Jack and Rose has finally and + completely grabbed them. + + BODINE + What, uh--happened next? + + OLD ROSE + (smiling) + You mean, did we "do it"? + + CUT TO: + + +92 INT. ROSE AND CAL'S SUITE - NIGHT 92 + + BACK TO 1912. Jack is signing the drawing. Rose, wearing + her kimono again, is leaning on his shoulder, watching. + + OLD ROSE (V.O.) + Sorry to disappoint you Mr. Bodine. + + Rose gazes at the drawing. He has X-rayed her soul. + + ROSE + Date it, Jack. I want to always + remember this night. + + He does: 4/14/1912. Rose meanwhile scribbles a note on a + piece of Titanic stationary. We don't see what it says. She + accepts the drawing from him, and crosses to the safe in + the wardrobe. + + She puts the diamond back in the safe, placing the drawing + and the note on top of it. Closes the door with a CLUNK! + + CUT TO: + + +93 INT. FIRST CLASS SMOKING ROOM - NIGHT 93 + + Lovejoy enters from the Palm Court through the revolving + door and crosses the room toward Hockley. + 95. + + + A fire is blazing in the marble fireplace, and the usual + fat cats are playing cards, drinking and talking. Cal sees + Lovejoy and detaches from his group, coming to him. + + LOVEJOY + None of the stewards have seen her. + + CAL + (low but forceful) + This is ridiculous, Lovejoy. Find + her. + + CUT TO: + + +94 EXT. ATLANTIC - NIGHT 94 + + TITANIC glides across an unnatural sea, black and calm as a + pool of oil. The ships lights are mirrored almost perfectly + in the black water. The sky is brilliant with stars. A + meteor traces a bright line across the heavens. + + +95 INT. THE BRIDGE - NIGHT 95 + + Captain Smith peers out at the blackness ahead of the ship. + + QUARTERMASTER HITCHINS brings him a cup of hot tea with + lemon. It steams in the bitter cold of the open bridge. + + Second Officer Lightoller is next to him, staring out at + the sheet of black glass the Atlantic has become. + + LIGHTOLLER + I don't think I've ever seen such a + flat calm, in 24 years at sea. + + SMITH + Yes, like a mill pond. Not a breath + of wind. + + LIGHTOLLER + It's make the bergs harder to see, + with no breaking water at the base. + + SMITH + Mmmmm. Well, I'm off. Maintain + speed and heading, Mr. Lightoller. + + LIGHTOLLER + Yes sir. + + SMITH + 96. + + + And wake me, of course, if anything + becomes in the slightest degree + doubtful. + + CUT TO: + + +96 INT. ROSE AND CAL'S SUITE 96 + + Rose, fully dressed now, returns to the sitting room. They + hear a key in the lock. Rose takes Jack's hand and leads + him silently through the bedrooms. Lovejoy enters by the + sitting room door. + + LOVEJOY + Miss Rose? Hello? + + He hears a door opening and goes through Cal's room toward + hers. + + CUT TO: + + +97 INT. CORRIDOR OUTSIDE SUITE 97 + + Rose and Jack come out of her stateroom, closing the door. + + She leads him quickly along the corridor toward the B deck + foyer. They are halfway across the open space when the + sitting room door opens in the corridor and Lovejoy comes + out. The valet sees Jack with Rose and hustles after them. + + ROSE + Come on! + + She and Jack break into a run, surprising the few ladies + and gentlemen about. Rose leads him past the stairs to the + bank of elevators. They run into one, shocking the hell out + of the OPERATOR. + + ROSE + Take us down. Quickly, quickly! + + The Operator scrambles to comply. Jack even helps him close + the steel gate. Lovejoy runs up as the lift starts to + descend. He slams one hand on the bars of the gate. Rose + makes a very rude and unladylike gesture, and laughs as + Lovejoy disappears above. The Operator gapes at her. + + CUT TO: + + +98 INT. DECK FOYER 98 + 97. + + + Lovejoy emerges from another lift and runs to the one Jack + and Rose were in. The Operator is just closing the gate to + go back up. Lovejoy runs around the bank of elevators and + scans the foyer, no Jack and Rose. He tries the stairs + going down to F-Deck. + + CUT TO: + + +99 INT. DECK CORRIDORS 99 + + A functional space, with access to a number of machine + spaces (fan rooms, boiler uptakes). Jack and Rose are + leaning against a wall, laughing. + + JACK + Pretty tough for a valet, this + fella. + + ROSE + He's an ex-Pinkerton. Cal's father + hired him to keep Cal out of + trouble, to make sure he always got + back to the hotel with his wallet + and watch, after some crawl through + the less reputable parts of town. + + JACK + Kinda like we're doin' right now-- + uh oh! + + Lovejoy has spotted them from a cross-corridor nearby. He + charges toward them. Jack and Rose run around a corner into + a blind alley. There is one door, marked CREW ONLY, and + Jack flings it open. + + 115 They enter a roaring RAN ROOM, with no way out but a + ladder going down. Jack latches the deadbolt on the door, + and Lovejoy slams against it a moment later. Jack grins at + Rose, pointing to the ladder. + + JACK + After you, m'lady. + + CUT TO: + + +100 INT. BOILER ROOM FIVE AND SIX 100 + + Jack and Rose come down the escape ladder and look around + in amazement. It is like a vision of hell itself, with the + roaring furnaces and black figures moving in the smoky + glow. + 98. + + + They run the length of the boiler room, dodging amazed + stokers, and trimmers with their wheelbarrows of coal. + + JACK + (shouting over the din) + Carry on! Don't mind us! + + They run through the open watertight door into BOILER ROOM + SIX. Jack pulls her through the fiercely hot alley between + two boilers and they wind up in the dark, out of sight of + the working crew. + + Watching from the shadows, they see the stokers working in + the hellish glow, shovelling coal into the insatiable maws + of the furnaces. The whole place thunders with the roar of + the fires. + + CUT TO: + + +101 INT. FIRST CLASS SMOKING ROOM 101 + + Amid unparalleled luxury, Cal sits at a card game, sipping + brandy. + + COLONEL GRACIE + We're going like hell I tell you. I + have fifty dollars that says we + make it into New York Tuesday + night! + + Cal looks at his gold pocket watch, and scowls, not + listening. + + CUT TO: + + +102 INT. BOILER ROOM SIX 102 + + The furnaces roar, silhouetting the glistening stokers. + Jack kisses Rose's face, tasting the sweat trickling down + from her forehead. They kiss passionately in the steamy, + pounding darkness. + + CUT TO: + + +103 INT. HOLD #2 103 + + Jack and Rose enter and run laughing between the rows of + stacked cargo. She hugs herself against the cold, after the + dripping heat of the boiler room. + 99. + + + They come upon William Carter's brand new RENAULT touring + car, lashing down to a pallet. It looks like a royal coach + from a fairy tale, its brass trim and headlamps nicely set + off by its deep burgundy color. + + Rose climbs into the plushly upholstered back seat, acting + very royal. There are cut crystals bud vases on the walls + back there, each containing a rose. Jack jumps into the + driver's seat, enjoying the feel of the leather and wood. + + JACK + Where to, Miss? + + ROSE + To the stars. + + ON JACK as her hands come out of the shadows and pull him + over the seat into the back. He lands next to her, and his + breath seems loud in the quiet darkness. He looks at her + and she is smiling. It is the moment of truth. + + JACK + Are you nervous? + + ROSE + Au contraire, mon cher. + + He strokes her face, cherishing her. She kisses his + artist's fingers. + + ROSE + Put your hands on me Jack. + + He kisses her, and she slides down in the seat under his + welcome weight. + + CUT TO: + + +104 INT. WIRELESS ROOM 104 + + A BRILLIANT ARC OF ELECTRICITY fills frame-- the sparks gap + of the Marconi instrument as SENIOR WIRELESS OPERATOR JACK + PHILLIPS (24) rapidly keys out a message. Junior Operator + Bride looks through the huge stack of outgoing messages + swamping them. + + BRIDE + Look at this one, he wants his + private train to meet him. La dee + da. + (slaps them down) + 100. + + + We'll be up all bloody night on + this lot. + + Phillips start to receive an incoming message from a nearby + ship, the Leyland freighter CALIFORNIAN, which jams his + outgoing signal. At such close range, the beeps are + deafening. + + PHILLIPS + Christ! It's that idiot on the + Californian. + + Cursing, Phillips furiously keys a rebuke. + + CUT TO: + + +105 INT/EXT. WIRELESS SHACK 105 + + Wireless Operator CYRIL EVANS pulls his earphone off his + ear as the Titanic's spark deafens him. he translates the + message for THIRD OFFICER GROVES. + + EVANS + Stupid bastard. I try to warn him + about the ice, and he says "Keep + out. Shut up. I'm working Cape + Race." + + GROVES + Now what's he sending? + + EVANS + "No seasickness. Poker business + good. Al". Well that's it for me. + I'm shutting down. + + As Evans wearily switches off his generator, Groves goes + out on deck. PAN oFF Him to reveal the ship is stopped + fifty yards from the edge of a field of pack ice and + icebergs stretching as far as the eye can see. + + CUT TO: + + +106 EXT. OCEAN - TITANIC 106 + + ON TITANIC, steaming hellbent through the darkness, hurling + up white water at the bows. The bow comes straight at us, + until the bow wave WIPES THE FRAME-- + + CUT TO: + 101. + + +107 INT. HOLD #2 107 + + PUSHING IN on the rear window of the Renault, which is + completely fogged up. Rose's hand comes up and slams + against the glass for a moment, making a handprint in the + veil of condensation. + + INSIDE THE CAR, Jack's overcoat is like a blanket over + them. + + It stirs and Rose pulls it down. They are huddled under it, + intertwined, still mostly clothed. Their faces are flushed + and they look at each other wonderingly. She puts her hand + on his face, as if making sure he is real. + + ROSE + You're trembling. + + JACK + It's okay. I'm alright. + + He lays his cheek against her chest. + + JACK + I can feel your heart beating. + + She hugs his head to her chest, and just holds on for dear + life. + + OLD ROSE (V.O.) + Well, I wasn't the first teenage + girl to get seduced in the backseat + of a car, and certainly not the + last, by several million. He had + such fine hands, artists' hands, + but strong too-- roughened by work. + I remember their touch even now. + + CUT TO: + + +108 EXT. ATLANTIC - TITANIC - NIGHT 108 + + The bow sweeps under us, and the CAMERA CLIMBS toward the + foremast and the tiny half-cylinder of the crow's nest, + which grows as we push in on lookouts Fleet and Lee. They + are stamping their feet and swinging their arms, trying to + keep warm in the 22 knot freezing wind, which whips vapor + of their breath away behind. + + FLEET + You can smell ice, you know, when + it's near. + 102. + + + LEE + Bollocks. + + FLEET + Well I can. + + CUT TO: + + +109 INT. BOILER ROOM SIX 109 + + Without hearing the words over the roar of the furnaces, we + see stokers telling TWO STEWARDS which way Rose and Jack + went. The stewards move off toward the forward holds. + + CUT TO: + + +110 INT. CAL AND ROSE'S SUITE 110 + + Cal stands at the open safe. He stares at the drawing of + Rose and his face clenches with fury. + + He reads the not again: "DARLING, NOW YOU CAN KEEP US BOTH + LOCKED IN YOUR SAFE, ROSE". + + Lovejoy, standing behind him, looks over his shoulder at + the drawing. Cal crumples Rose's not, then takes the + drawing in both hands as if to rip it in half. He tenses to + do it, then stops himself. + + CAL + I have a better idea. + + CUT TO: + + +111 INT. HOLD #2 - NIGHT 111 + + The two stewards enter. They have electric torches and play + the beams around the hold. They spot the Renault with its + fogged up rear window and approach it slowly. + + FROM INSIDE we see the torch light up Rose's passionate + handprint, still there on the fogged up glass. One steward + whips open the door. + + STEWARD + Got yer! + + REVERSE: the back seat is empty. + 103. + + + CUT TO: + + +112 EXT. FORWARD WELL DECK AND CROW'S NEST - NIGHT 112 + + Rose and Jack, fully dressed, come through a crew door onto + the deck. They can barely stand, they are laughing so hard. + + UP ABOVE THEM, IN THE CROW'S NEST, lookout Fleet hears the + disturbance below and looks around and back down to the + well deck, where he can see two figures embracing. + + Jack and Rose stand in each others arms. Their breath + clouds around them in the now freezing air, but they don't + even feel the cold. + + ROSE + When this ship docks, I'm getting + off with you. + + JACK + This is crazy. + + ROSE + I know. It doesn't make any sense. + That's why I trust it. + + Jack pulls her to him and kisses her fiercely. + + +113 EXT. CROW'S NEST - NIGHT 113 + + Fleet nudges Lee. + + FLEET + Lee, look at that, would ya. + + LEE + They're a bloody sight warmer than + we are. + + FLEET + Well if that's what it takes for us + two to get warm, I'd rather not, if + it's all the same. + + They both have a good laugh at that one. It is Fleet whose + expression falls first. Glancing forward again, he does a + double take. The color drains out of his face. + + FLEET'S POV: a massive iceberg right in their path, 500 + yards out. + 104. + + + FLEET + Bugger me!! + + Fleet reaches past Lee and rings the lookout bell three + times, then grabs the telephone, calling the bridge. He + waits precious seconds for it to be picket up, never taking + his eyes off the black mass ahead. + + FLEET + Pick up, ya bastard. + + CUT TO: + + +114 INT/EXT. BRIDGE 114 + + Inside the enclosed wheelhouse, SIXTH OFFICER MOODY walks + unhurriedly to the telephone, picking it up. + + FLEET (V.O.) + Is someone there? + + MOODY + Yes. What do you see? + + FLEET + Iceberg right ahead! + + MOODY + Thank you. + (hangs up, calls to + Murdoch) + Iceberg right ahead! + + Murdoch sees it and rushes to the engine room telegraph. + + While signaling "FULL SPEED ASTERN" he yells to + Quartermaster Hitchins, who is at the wheel. + + MURDOCH + Hard a' starboard. + + MOODY + (standing behind + Hitchins) + Hard'a starboard. The helm is hard + over, sir. + + CRASH SEQUENCE / SERIES OF CUTS: + + +115 INT/EXT. BRIDGE 115 + 105. + + + CHIEF ENGINEER BELL is just checking the soup he has + warming on a steam manifold when the engine telegraph + clangs, then goes... incredibly... to FULL SPEED ASTERN. He + and the other ENGINEERS just stare at it a second, + unbelieving. Then Bell reacts. + + BELL + Full astern! FULL ASTERN!! + + The engineers and greasers like madmen to close steam + valves and start braking the mighty propeller shafts, big + as Sequias, to a stop. + + +116 INT. BOILER ROOM SIX 116 + + Leading Stoker FREDERICK BARRETT is standing with 2nd + Engineer JAMES HESKETH when the red warning light and + "STOP" indicator come on. + + BARRETT + Shut all dampers! Shut 'em!! + + +117 INT. THE BRIDGE 117 + + Murdoch watches the burg growing, straight ahead. The bow + finally starts to come left (since the ship turns the + reverse of the helm setting). + + MURDOCH'S jaw clenches as the bow turns with agonizing + slowness. He holds his breath as the horrible physics play + out. + + +118 INT. THE CROWN`S NEST 118 + + Frederick Fleet braces himself. + + +119 INT. BOW OF THE SHIP 119 + + Thunders right at CAMERA and-- + + KRUUUNCH!! The ship hits the berg on its starboard bow. + + +120 INT/EXT. UNDERWATER 120 + + We see the ice smashing in the steel hull plates. The + iceberg bumps and scrapes along the side of the ship. + Rivets pop as the steel plate of the hull flexes under the + load. + 106. + + +121 INT. HOLD #2 121 + + The two stewards stagger as the hull buckles in four feet + with a sound like THUNDER. Like a sledgehammer beating + along outside the ship, the berg splits the hull plates and + the sea pour in, sweeping them off their feet. The icy + water swirls around the Renault as the men scramble for the + stairs. + + +122 INT. G-DECK 122 + + Forward Fabrizio is tossed in his bunk by the impact. He + hears a sound like the greatly amplified squeal of a skate + on ice. + + +123 INT. BOILER ROOM SIX 123 + + Barrett and Hesketh stagger as they hear the ROLLING + THUNDER of the collision. They see the starboard side of + the ship buckle in toward them and are almost swept off + their feet by a rush of water coming in about two feet + above the floor. + + +124 INT. THE FORWARD DECK 124 + + Jack and Rose break their kiss and look up in astonishment + as the berg sails past, blocking out the sky like a + mountain. + + Fragments break off it and crash down onto the deck, and + they have to jump back to avoid flying chunks of ice. + + +125 INT. THE BRIDGE 125 + + Murdoch rings the watertight door alarm. He quickly throws + the switch that closes them. + + MURDOCH + Hard a 'port! + + Judging the berg to be amidships, he is trying to clear the + stern. + + +126 INT. BOILER ROOM SIX - CONTINUOUS 126 + 107. + + + BARRETT AND HESKETH hear the DOOR ALARM and scramble + through the swirling water to the watertight door between + Boiler Rooms 6 and 5. The room is full of water vapor as + the cold sea strikes the red hot furnaces. Barrett yells to + the stokers scrambling through the door as it comes down + like a slow guillotine. + + BARRETT + Go Lads! Go! Go! + + He dives through into Boiler Room 5 just before the door + rumbles down with a CLANG. + + +127 INT. THE STARBOARD RAIL 127 + + JACK AND ROSE rush to the starboard rail in time to see the + berg moving aft down the side of the ship. + + +128 INT. ANDREW`S STATEROOM 128 + + In his stateroom, surrounded by piles of plans while making + notes in his ever-present book, Andrews looks up at the + sound + + of a cut-crystal light fixture tinkling like a windchime. + + He feels the shudder run through the ship. And we see it in + his face. Too much of his soul is in this great ship for + him not to feel its mortal wound. + + +129 INT. FIRST CLASS SMOKING ROOM 129 + + Gracie watches his highball vibrating on the table. + + +130 INT. THE PALM COURT 130 + + Molly Brown holds up her drink to a passing waiter. + + MOLLY + Hey, can I get some ice here, + please? + + Silently, a moving wall of ice fills the window behind her. + + She doesn't see it. It disappears astern. + + +131 INT. THE CROW'S NEST 131 + 108. + + + Fleet turns to his Lee -- + + FLEET + Oy, mate, that was a close shave. + + LEE + Smell ice, can you? Bleedin' + Christ! + + CUT TO: + + +132 INT/EXT. BRIDGE 132 + + CLOSE ON MURDOCH. The alarm bells still clatter mindlessly, + seeming to reflect his inner state. He is in shock, unable + to get a grip on what just happened. He just ran the + biggest ship in history into an iceberg on its maiden + voyage. + + MURDOCH + (stiffly, to Moody) + Note the time. Enter it in the log. + + Captain Smith rushes out of his cabin onto the bridge, + tucking in his shirt. + + SMITH + What was that, Mr. Murdoch? + + MURDOCH + An iceberg, sir. I put her hard a' + starboard and run the engines full + astern, but it was too close. I + tried to port around it, but she he + and I-- + + SMITH + Close the emergency doors. + + MURDOCH + The doors are closed. + + Together they rush out onto the starboard wing, and Murdoch + points. Smith looks into the darkness aft, then wheels + around to FOURTH OFFICER BOXHALL. + + SMITH + Find the Carpenter and get him to + sound the ship. + + CUT TO: + 109. + + +133 INT. G-DECK FORWARD 133 + + In steerage, Fabrizio comes out into the hall to see what's + going on. He sees dozens of rats running toward him in the + corridor, fleeing the flooding bow. Fabrizio jumps aside as + the rats run by. + + FABRIZIO + Ma-- che cazzo! + + 152 IN HIS STATEROOM Tommy gets out of his top bunk in the + dark and drops down to the floor. SPLASH!! + + TOMMY + Cor!! What in hell--?! + + He naps on the light. The floor is covered with 3 inches of + freezing water, and more coming in. He pulls the door open, + and steps out into the corridor, which is flooded. Fabrizio + is running toward him, yelling something in Italian. Tommy + and Fabrizio start pounding on doors, getting everybody up + and out. The alarm spreads in several languages. + + CUT TO: + + +134 INT. FIRST CLASS CORRIDOR - A-DECK 134 + + A couple of people have come out into the corridor in robes + and slippers. A STeWARD hurries along, reassuring them. + + WOMAN + Why have the engines stopped? I + felt a shudder? + + STEWARD #1 + I shouldn't worry, m'am. We've + likely thrown a propeller blade, + that's the shudder you felt. May I + bring you anything? + + THOMAS ANDREWS brushes past them, walking fast and carrying + an armload of rolled up ship's plans. + + CUT TO: + + +135 EXT. FORWARD WELL DECK 135 + + Jack and Rose are leaning over the starboard rail, looking + at the hull of the ship. + + JACK + 110. + + + Looks okay. I don't see anything. + + ROSE + Could it have damaged the ship? + + JACK + It didn't seem like much of a bump. + I'm sure we're okay. + + Behind them a couple of steerage guys are kicking the ice + around the deck, laughing. + + CUT TO: + + +136 INT. STEERAGE FORWARD 136 + + Fabrizio and Tommy are in a crowd of steerage men clogging + the corridors, heading aft away from the flooding. Many of + them have grabbed suitcases and duffel bags, some of which + are soaked. + + TOMMY + If this is the direction the rats + were runnin', it's good enough for + me. + + CUT TO: + + +137 INT. CORRIDOR ON B DECK 137 + + Bruce Ismay, dressed in pajamas under the topcoat, hurries + down the corridor, headed for the bridge. + + An officious steward named BARNES comes along the other + direction, getting the few concerned passengers back into + their rooms. + + STEWARD BARNES + There's no cause for alarm. Please, + go back to your rooms. + + He is stopped in his tracks by Cal and Lovejoy. + + STEWARD BARNES + Please, sir. There's no emergency-- + + CAL + Yes there is, I have been robbed. + Now get the Master at Arms. Now you + moron! + 111. + + + CUT TO: + + +138 INT. BRIDGE - CHARTROOM 138 + + C.U. CAPTAIN SMITH studying the commutator. + + He turns to Andrews, standing behind him. + + SMITH + A five degree list in less than ten + minutes. + + SHIP'S CARPENTER JOHN HUTCHINSON enters behind him, out of + breath and clearly unnerved. + + HUTCHINSON + She's making water fast in the + forepeak tank and the forward + holds, in boiler room six. + + ISMAY enters, his movements quick with anger and + frustration. + + Smith glances at him with annoyance. + + ISMAY + Why have we stopped? + + SMITH + We've struck ice. + + ISMAY + Well, do you think the ship is + seriously damaged? + + SMITH + (glaring) + Excuse me. + + Smith pushes past him, with Andrews and Hutchinson in tow. + + CUT TO: + + +139 INT. BOILER ROOM 6 139 + + Strokers and firemen are struggling to draw the fires. They + are working in waist deep water churning around as it flows + into the boiler room, ice cold and swirling with grease + from the machinery. Chief Engineer Bell comes partway down + the ladder and shouts. + 112. + + + BELL + That's it, lads. Get the hell up! + + They scramble up the escape ladders. + + CUT TO: + + +140 EXT. B-DECK FORWARD - WELL DECK 140 + + The gentlemen, now joined by another man, leans on the + forward rail watching the steerage men playing soccer with + chunks of ice. + + GENTLEMAN + I guess it's nothing too serious. + I'm going back to my cabin to read. + + A 20ish YALE MAN pops through the door wearing a topcoat + over pajamas. + + YALEY + Say, did I miss the fun? + + Rose and Jack come up the steps from the well deck, which + are right next to the three men. They stare as the couple + climbs over the locked gate. + + A moment later Captain Smith rounds the corner, followed by + Andrews and Carpenter Hutchinson. They have come down from + the bridge by the outside stairs. The three men, their + faces grim, crush right past Jack and Rose. Andrews barely + glances at her. + + SMITH + Can you shore up? + + HUTCHINSON + Not unless the pumps get ahead. + + The inspection party goes down the stairs to the well deck. + + JACK + (low, to her) + It's bad. + + ROSE + We have to tell Mother and Cal. + + JACK + Now it's worse. + + ROSE + 113. + + + Come with me, Jack. I jump, you + jump, Right? + + JACK + Right. + + Jack follows Rose through the door inside the ship. + + CUT TO: + + +141 INT. B-DECK FOYER - CORRIDOR 141 + + Jack and Rose cross the foyer, entering the corridor. + Lovejoy is waiting for them in the hall as they approach + the room. + + LOVEJOY + We've been looking for you miss. + + Lovejoy follows and, unseen, moves close behind Jack and + smoothly slips the diamond necklace into the pocket of his + overcoat. + + CUT TO: + + +142 INT. ROSE AND CAL'S SUITE 142 + + Cal and Ruth wait in the sitting room, along with the + Master at Arms and two stewards (Steward #1 and Barnes). + Silence as Rose and Jack enter. Ruth closes her robe at her + throat when she sees Jack. + + ROSE + Something serious has happened. + + CAL + That's right. Two things dear to me + have disappeared this evening. Now + that one is back. + (he looks from Rose to + Jack) + -- I have a pretty good idea where + to fine the other. + (to Master at Arms) + Search him. + + The Master at Arms steps up to Jack. + + MASTER AT ARMS + Coat off, mate. + 114. + + +Lovejoy pulls at Jack's coat and Jack shakes his head in +dismay, shrugging out of it. The Master at Arms pats him +down. + + JACK + This is horseshit. + + ROSE + Cal, you can't be serious! We're in + the middle of an emergency and you- + - + +Steward Barnes pulls the Heart of the Ocean out of the +pocket of Jack's coat. + + STEWARD BARNES + Is this it? + +Rose is stunned. Needless to say, so is Jack. + + CAL + That's it. + + MASTER AT ARMS + Right then. Now don't make a fuss. + +He starts to handcuff Jack. + + JACK + Don't you believe it, Rose. Don't! + + ROSE + (uncertain) + He couldn't have. + + CAL + Of course he could. Easy enough for + a professional. He memorized the + combination when you open the safe. + +FLASHBACK: Rose at the safe, looking in the mirror and +meeting Jack's eyes as he stands behind her, watching. + + ROSE + But I was with him the whole time. + + CAL + (just to her, low and + cold) + Maybe he did it while you were + putting your clothes back on. + + JACK + 115. + + + They put it in my pocket! + + LOVEJOY + (holding Jack's coat) + It's not even your pocket, son. + (reading) + "Property of A. L. Ryerson". + + Lovejoy shows the coat to the Master at Arms. There is a + label inside the collar with the owner's name. + + MASTER AT ARMS + That was reported stolen today. + + JACK + I was going to return it! Rose-- + + Rose feels utterly betrayed, hurt and confused. She shrinks + away from him. He starts shouting to her as Lovejoy and the + Master at Arms drag him out into the hall. She can't look + him in the eye. + + JACK + Rose, don't listen to them. I + didn't do this! You know I didn't! + You know it! + + She is devastated. Her mother lays a comforting hand on her + shoulder as the tears well up. + + RUTH + Why do women believe men? + + CUT TO: + + +143 INT. MAIL SORTING ROOM - HOLD 143 + + Smith and Andrews come down the steps to the Mail Sorting + Room and finds the clerks scrambling to pull mail from the + + racks. They are furiously hauling wet sacks of mail up from + the hold below. + + Andrews climbs partway down the stairs to the hold, which + is almost full. Sacks of mail float everywhere. The lights + are still on below the surface, casting an eerie glow. + + The Renault is visible under the water, the brass glinting + cheerfully. Andrews looks down as the water covers his + shoe, and scrambles back up the stairs. + + CUT TO: + 116. + + +144 INT. BRIDE - CHART ROOM 144 + + Andrews unrolls a big drawing of the ship across the chart + room table. It is a side elevation, showing all the + watertight bulkheads. His hands are shaking. Murdoch and + Ismay hover behind Andrews and the Captain. + + ISMAY + When can we get underway, do you + think? + + Smith glares at him and turns his attention to Andrews' + drawing. The builder points to it for emphasis as he talks. + + ANDREWS + Water 14 feet above the keel in ten + minutes in the forepeak in all + three holds and in boiler room six. + + SMITH + That's right. + + ANDREWS + Five compartments. She can stay + afloat with the first four + compartments breached. But not + five. Not five. As she goes down by + the head the water will spill over + the tops of the bulkheads at E Deck + from one to the next, back and + back. There's no stopping it. + + SMITH + The pumps-- + + ANDREWS + The pumps buy you time, but minutes + only. From this moment, no matter + what we do, Titanic will founder. + + ISMAY + But this ship can't sink! + + ANDREWS + She is made of iron, sir. I assure + you, she can. And she will. It is a + mathematical certainty. + + Smith looks like he has been gutpunched. + + SMITH + How much time? + 117. + + + ANDREWS + An hour, two at most. + + Ismay reels as his dream turns into his worst nightmare. + + SMITH + And how many aboard, Mr. Murdoch? + + MURDOCH + Two thousand two hundred souls + aboard, sir. + + A long beat. Smith turns to his employer. + + SMITH + I believe you may get your + headlines, Mr. Ismay. + + CUT TO: + + +145 EXT. BOAT DECK 145 + + Andrews is striding along the boat deck, as seamen and + officers scurry to uncover the boats. Steam is venting from + pipes on the funnes overhead, and the din is horrendous. + + Speech is difficult adding to the crew's level of + disorganization. Andrews sees some men fumbling with the + mechanism of one of the Welin davits and yells to them over + the roar of steam. + + ANDREWS + Turn to the right! Pull the falls + taut before you unchock. Have you + never had a boat drill? + + SEAMAN + No sir! Not with these new davits, + sir. + + He looks around, disguised as the crew fumble with the + davits, and the tackle for the "falls" the ropes which are + used to lower the boats. A few passengers are coming out on + deck, hesitantly in the noise and bitter cold. + + CUT TO: + + +146 INT. ROSE AND CAL'S SUITE 146 + + From inside the sitting room they can hear knocking and + voices in the corridor. + 118. + + + RUTH + I had better go dress. + + Ruth exits and Hockley crosses to Rose. He regards her + coldly for a moment, then SLAPS her across the face. + + CAL + It is a little slut, isn't it? + + To Rose the blow is inconsequential compared to the blow + her heart has been given. Cal grabs her shoulders roughly. + + CAL + Look at me, you little-- + + There is a loud knock on the door and an urgent voice. The + door opens and their steward puts his head in. + + STEWARD BARNES + Sir, I've been told to ask you to + please put on your lifebelt, and + come up to the boat deck. + + CAL + Get out. We're busy. + + The steward persists, coming in to get the lifebelts down + from the top of a dresser. + + STEWARD + I'm sorry about the inconvenience, + Mr. Hockley, but it's Captain's + orders. Please dress warmly, it's + quite cold tonight. + (he hands a lifebelt to + Rose) + Not to worry, miss, I'm sure it's + just a precaution. + + CAL + This is ridiculous. + + In the corridor outside the stewards are being so polite + and obsequious they are conveying no sense of danger + whatsoever. + + However, it's another story in -- + + CUT TO: + + +147 INT. STEERAGE BERTHING AFT 147 + 119. + + + BLACKNESS. Then BANG! The door is thrown open and the + lights snapped on by a steward. The Cartmell family rouses + from a sound sleep. + + STEWARD #2 + Everybody up. Let's go. Put your + lifebelts on. + + IN THE CORRIDOR outside, another steward is going from door + to door along the hall, pouncing and yelling. + + STEWARD #2 + Lifebelts on. Lifebelts on. + Everybody up, come on. Lifebelts + on... + + People come out of the doors behind the steward, perplexed. + + In the foreground a SYRIAN WOMAN asks her husband what was + said. He shrugs. + + CUT TO: + + +148 INT. WIRELESS ROOM 148 + + ON PHILLIPS, looking shocked. + + PHILLIPS + CQD, sir? + + SMITH + That's right. The distress call. + CQD. Tell whoever responds that we + are going down by the head and need + immediate assistance. + + Smith hurries out. + + PHILLIPS + Blimey. + + BRIDE + Maybe you ought to try that new + distress call -- S.O.S. + (grinning) + It may be our only chance to use + it. + + Phillips laughs in spite of himself and starts sending + history's first S.O.S. Dit dit dit, da da da, dit dit + dit... over and over. + 120. + + + CUT TO: + + +149 EXT. BOAT DECK 149 + + Thomas Andrews looks around in amazement. The deck is empty + except for the crew fumbling with the davits. He yells over + the roar of the steam to First Officer Murdoch. + + ANDREWS + Where are all the passengers? + + MURDOCH + They've all gone back inside. Too + damn cold and noisy for them. + + Andrews feels like he is in a bad dream. He looks at his + pocket watch and heads for the foyer entrance. + + CUT TO: + + +150 INT. A-DECK FOYER 150 + + A large number of First Class passengers have gathered near + the staircase. They are getting indignant about the + confusion. Molly Brown snags a passing YOUNG STEWARD. + + MOLLY + What's doing, sonny? You've got us + all trussed up and now we're + cooling our heels. + + The young steward backs away, actually stumbling on the + stairs. + + YOUNG STEWARD + Sorry, mum. Let me go and find out. + + The jumpy piano rhythm of "Alexander's Ragtime Band" comes + out of the first class lounge a few yards away. Band leader + WALLACE HARTLEY has assembled some of his men on Captain's + orders, to allay panic. + + Hockley's entourage comes up to the A-deck foyer. Cal is + carrying the lifebelts, almost as an afterthought. Rose is + like a sleepwalker. + + CAL + It's just the God damned English + doing everything by the book. + + RUTH + 121. + + + There's no need for language, Mr. + Hockley. + (to Trudy) + Go back and turn the heater on in + my room, so it won't be too cold + when we get back. + + Thomas Andrews enters, looking around the magnificent room, + which he knows is doomed. Rose, standing nearby, sees his + heartbroken expression. She walks over to him and Cal goes + after her. + + ROSE + I saw the iceberg, Mr. Andrews. And + I see it in your eyes. Please tell + me the truth. + + ANDREWS + The ship will sink. + + ROSE + You're certain? + + ANDREWS + Yes. In an hour or so-- all this-- + will be at the bottom of the + Atlantic. + + CAL + My God. + + Now it is Cal's turn to look stunned. The Titanic? Sinking? + + ANDREWS + Please tell only who you must, I + don't want to be responsible for a + panic. And get to a boat quickly. + Don't wait. You remember what I + told you about the boats? + + ROSE + Yes, I understand. Thankyou. + + Andrews goes off, moving among the passengers and urging + them to put on their lifebelts and get to the boats. + + CUT TO: + + +151 INT. MASTER AT ARMS OFFICE 151 + 122. + + + Lovejoy and the Master at Arms are handcuffing Jack to a 4" + WATER PIPE as a crewman rushes in anxiously and almost + blurts to the Master at Arms-- + + CREWMAN + You're wanted by the Purser, sir. + Urgently. + + LOVEJOY + Go on. I'll keep an eye on him. + + Lovejoy pulls a pearl handled Colt .45 automatic from under + his coat. The Master at Arms nods and tosses the handcuff + key to Lovejoy, then exits with the crewman. Lovejoy flips + the key in the air. Catches it. + + CUT TO: + + +152 INT. BRIDGE 152 + + Junior Wireless Operator Bride is relaying a message to + Captain Smith from the CUNARD LINER CARPATHIA. + + BRIDE + Carpathia says they're making 17 + knots, full steam for them, sir. + + SMITH + And she's the only one who's + responding? + + BRIDE + The only one close, sir. She says + they can be here in four hours. + + SMITH + Four hours! + + The enormity of it hits Smith like a sledgehammer blow. + + SMITH + Thank you, Bride. + + He turns as Bride exits, and looks out onto the blackness. + + SMITH + (to himself) + My God. + + CUT TO: + 123. + + +153 EXT. BOAT DECK - NIGHT 153 + + Lightoller has his boats swung out. He is standing amidst a + crowd of uncertain passengers in all states of dress and + undress. One first class woman is barefoot. Others are in + stockings. The maitre of the restaurant is in top hat and + overcoat. Others are still in evening dress, while some are + in bathrobes and kimonos. Women are wearing lifebelts over + velvet gowns, then topping it with sable stoles. Some + brought jewels, others books, even small dogs. + + Lightoller sees Smith walking stiffly toward him and + quickly goes to him. He yells into the Captain's ear, + through cupped hands, over the roar of the steam... + + LIGHTOLLER + Hadn't we better get the women and + children into the boats, sir? + + Smith just nods, a bit abstractly. The fire has gone out of + him. Lightoller sees the awesome truth in Smith's face. + + LIGHTOLLER + (to the men) + Right! Start the loading. Women and + children! + + The appalling din of escaping steam abruptly cuts off, + leaving a sudden unearthly silence in which Lightoller's + voice echoes. + + ON WALLACE HARTLEY raising his violin to play. + + HARTLEY + Number 26. Ready and-- + + The band has reassembled just outside the First Class + Entrance, port side, near where Lightoller is calling for + the boats to be loaded. They strike up a waltz, lively and + elegant. The music wafts all over the ship. + + LIGHTOLLER + Ladies, please. Step into the boat. + + Finally one soman steps across the gap, into the boat, + terrified of the drop to the water far below. + + WOMAN IN CROWD + You watch. They'll put us off in + these silly little boats to freeze, + and we'll all be back on board by + breakfast. + 124. + + + Cal, Rose and Ruth come out of the doors near the band. + + RUTH + My brooch, I left my brooch. I must + have it! + + She turns back to go to her room but Cal takes her by the + arm, refusing to let her go. The firmness of his hold + surprises her. + + CAL + Stay here, Ruth. + + Ruth sees his expression, and knows fear for the first + time. + + CUT TO: + + +154 INT. STEERAGE BERTHING AFT - CORRIDORS AND STAIRWELL 154 + + It is chaos, with stewards pushing their way through narrow + corridors clogged with people carrying suitcases, duffel + bags, children. Some have lifebelts on, others don't. + + STEWARD #2 + (to Steward #3) + I told the stupid sods no luggage. + Aw, bloody hell! + + He throws up his hand at the sight of a family, loaded down + with cases and bags, completely blocking the corridor. + + Fabrizio and Tommy push past the stewards, going the other + way. They reach a huge crowd gathered at the bottom of the + MAIN 3RD CLASS STAIRWELL. Fabrizio spots Helga with the + rest of the Dahl family, standing patiently with suitcases + in hand. He reaches her and she grins, hugging him. + + Tommy pushes to where he can see what's holding up the + group. + + There is a steel gate across the top of the stairs, with + several stewards and seamen on the other side. + + STEWARD + Stay calm, please. It's not time to + go up to the boats yet. + + Near Tommy, an IRISHWOMAN stands stoically with two small + children and their battered luggage. + + LITTLE BOY + 125. + + + What are we doing, mummy? + + WOMAN + We're just waiting, dear. When they + finish putting First Class people + in the boats, they'll be startin' + with us, and we'll want to be all + ready, won't we? + + CUT TO: + + +155 EXT. STARBOARD SIDE 155 + + Boat 7 is less than half full, with 28 aboard a boat made + for 65. + + FIRST OFFICER MURDOCH + Lower away! By the left and right + together, steady lads! + + The boat lurches as the falls start to pay out through the + pulley blocks. The women gasp. The boat descends, swaying + and jerking, toward the water 60 feet below. The passengers + are terrified. + + CUT TO: + + +156 EXT/INT. TITANIC HULL AND MASTER AT ARMS OFFICE 156 + + TRACKING along the rows of portholes angling down into the + water. Under the surface, they glow green. PUSHING IN on + one porthole which is have submerged. Inside we see Jack, + looking apprehensively at the water rising up the glass. + + INSIDE THE MASTER AT ARMS' OFFICE Jack sits chained to the + water pipe, next to the porthole. Lovejoy sits on the edge + of a desk. He puts a .45 bullet on the desk and watches it + roll across and fall off. He picks up the bullet. + + LOVEJOY + You know, I believe this ship may + sink. + (crosses to Jack) + I've been asked to give you this + small token of our appreciation. + + He punches Jack hard in the stomach, knocking the wind out + of him. + + LOVEJOY + Compliments of Mr. Caledon Hockley. + 126. + + + Lovejoy flips the handcuff key in the air, catches it and + puts it in his pocket. He exits. Jack is left gasping, + handcuffed to the pipe. + + CUT TO: + + +157 EXT. BOAT DECK - STARBOARD SIDE - FORWARD 157 + + At the stairwell rail on the bridge wing, Fourth Officer + Boxhall and Quartermaster Rowe light the first distress + rocket. It shoots into the sky and EXPLODES with a + thunderclap over the ship, sending out white starbursts + which light up the entire deck as they fall. + + WHIP PAN off the starbursts to Ismay. The Managing Director + of White Star Line is cracking. Already at the breaking + point from his immense guilt, the rocket panics him. He + starts shouting at the officers struggling with the falls + of BOAT 5. + + ISMAY + There is no time to waste! + (yelling and waving his + arms) + Lower away! Lower away! Lower away! + + FIFTH OFFICER LOWE, a baby-faced 28, and the youngest + officer, looks up from the tangled falls at the madman. + + LOWE + Get out of the way, you fool! + + ISMAY + Do you know who I am? + + Lowe, not having a clue not caring, squares up to Ismay. + + LOWE + You're a passenger. And I'm a + ship's bloody officer. Now do what + you're told! + (turning away) + Steady men! Stand by the falls! + + ISMAY + (numbly, backing away) + Yes, quite right. Sorry. + + CUT TO: + + +158 EXT. BOAT DECK - PORT SIDE 158 + 127. + + +SECOND OFFICER LIGHTOLLER is loading the boat nearest Cal +and Rose -- Boat 6. + + LIGHTOLLER + Women and children only! Sorry sir, + no men yet. + +Another rocket bursts overhead, lighting the crowd. +Startled faces turn upward. Fear now in the eyes. + +DANIEL MARVIN has his Biograph camera set up, cranking away +- - hoping to get an exposure off the rocket's light. he +has Mary posed in front of the scene at the boats. + + MARVIN + You're afraid, darling. Scared to + death. That's it! + +Either she suddenly learned to act or she is petrified. + +ROSE watches the farewells taking pace right in front of +her as they step closer to the boat. Husbands saying +goodbye to wives and children. Lovers and friends parted. +Nearby MOLLY is getting a reluctant woman to board the +boat. + + MOLLY + Come on, you heard the man. Get in + the boat, sister. + + RUTH + Will the lifeboats be seated + according to class? I hope they're + not too crowded-- + + ROSE + Oh, Mother shut up! + (Ruth freezes, mouth + open) + Don't you understand? The water is + freezing and there aren't enough + boats... not enough by half. Half + the people on this ship are going + to die. + + CAL + Not the better half. + +PUSH IN ON ROSE'S FACE as it hits her like a thunderbolt. + +Jack is third class. He doesn't stand a chance. Another +rocket bursts overhead, bathing her face in white light. + 128. + + + ROSE + You unimaginable bastard. + + MOLLY + Come on, Ruth, get in the boat. + These are the first class seats + right up here. That's it. + +Molly practically hands her over to Lightoller, then looks +around for some other women who might need a push. + + MOLLY + Come on, Rose. You're next, + darlin'. + +Rose steps back, shaking her head. + + RUTH + Rose, get in the boat! + + ROSE + Goodbye, mother. + +Ruth, standing in the tippy lifeboat, can do nothing. Cal +grabs Rose's arm but she pulls free and walks away through +the crowd. Cal catches up to Rose and grabs her again, +roughly. + + CAL + Where are you going? To him? Is + that it? To be a whore to that + gutter rat? + + ROSE + I'd rather be his whore than your + wife. + +He clenches his jaw and squeezes her arm viciously, pulling +her back toward the lifeboat. Rose pulls out a hairpin and +jabs him with it. he lets go with a curse and she runs into +the crowd. + + LIGHTOLLER + Lower away!! + + RUTH + Rose! ROSE!! + + MOLLY + Stuff a sock in it, would ya, Ruth. + She'll be along. + +The boat lurches downward as the falls are paid out. + 129. + + + TRACKING WITH ROSE, as she runs through the clusters of + people. She looks back and a furious Cal is coming after + her. + + She runs breathlessly up to two proper looking men. + + ROSE + That man tried to take advantage of + me in the crowd! + + Appalled, they turn to see Cal running toward them. Rose + runs on as the two men grab Cal, restraining him. She runs + through the First Class entrance. + + Cal breaks free and runs after her. He reaches the + entrance, but runs into a knot of people coming out. He + pushes rudely through them... + + CUT TO: + + +159 INT. BOAT DECK FOYER - STAIRCASE - A-DECK FOYER 159 + + Cal runs in, and down to the landing, pushing past the + gentlemen and ladies who are filling up the stairs. He + scans the A-deck foyer. Rose is gone. + + CUT TO: + + +160 EXT. OCEAN - TITANIC - BOAT 6 160 + + The hull of Titanic looms over Boat 6 like a cliff. Its + enormous mass is suddenly threatening to those in the tiny + boat. Quartermaster Hitchins, at the tiller, wants nothing + but to get away from the ship. Unfortunately his two seamen + can't row. They flail like a duck with a broken wing. + + HITCHINS + Keep pulling--away from the ship. + Pull. + + MOLLY + Ain't you boys ever rowed before? + Here, gimme those oars. I'll show + ya how it's done. + + She climbs over Ruth to get at the oars, stepping on her + feet. + + Around them the evacuation is in full swing, with boats in + the water, others being lowered. + 130. + + + CUT TO: + + +161 INT. MASTER AT ARMS OFFICE - CORRIDOR 161 + + Jack pulls on the pipe with all his strength. It's not + budging. He hears gurgling sound. Water pours under the + door, spreading rapidly across the floor. + + JACK + Shit. + + He tries to pull one hand out of the cuffs, working until + the skin is raw -- no good. + + JACK + Help!! Somebody!! Can anybody hear + me?! + (to himself) + This could be bad. + + 181 THE CORRIDOR outside is deserted. Flooded a couple of + inches deep. Jack's voice comes faintly through the door, + but there is no one to hear it. + + CUT TO: + + +162 INT. FIRST CLASS CORRIDOR 162 + + Thomas Andrews is opening stateroom doors, checking that + people are out. + + ANDREWS + Anyone in here? + + Rose runs up to him, breathless. + + ROSE + Mr. Andrews, thank God! Where would + the Master at Arms take someone + under arrest?! + + ANDREWS + What? You have to get to a boat + right away! + + ROSE + No! I'll do this with or without + your help, sir. But without will + take longer. + + ANDREWS + 131. + + + (beat) + Take the elevator to the very + bottom, go left, down the crewman's + passage, then make a right. + + ROSE + Bottom, left, right. I have it. + + ANDREWS + Hurry, Rose. + + CUT TO: + + +163 INT. FOYER - ELEVATORS 163 + + Rose runs up as the last Elevator Operator is closing up + his lift to leave. + + OPERATOR + Sorry, miss, lifts are closed-- + + Without thinking she grabs him and shoves him back into the + lift. + + ROSE + I'm through with being polite, + goddamnit!! I may never be polite + the rest of my life! Now take me + down!! + + The operator fumbles to close the gate and start the lift. + + CUT TO: + + +164 EXT. OCEAN - BOAT 6 164 + + Molly and the two seamen are rowing, and they've made it a + hundred feet or so. Enough to see that the ship is angled + down into the water, with the bow rail less than ten feet + above the surface. + + MOLLY + Come on girls, join in, it'll keep + ya warm. Let's go Ruth. Grab an + oar! + + Ruth just stares at the spectacle of the great liner, its + rows of lights blazing, slanting down into the sullen black + mirror of the Atlantic. + + CUT TO: + 132. + + +165 INT. FIRST CLASS ELEVATOR - CORRIDORS 165 + + Through the wrought iron door of the elevator car Rose can + see the decks going past. The lift slows. Suddenly ICE + WATER is swirling around her legs. She SCREAMS in surprise. + So does the operator. + + The car has landed in a foot of freezing water, shocking + the hell out of her. She claws the door open and splashes + out, hiking up her floor-length skirt so she can move. The + lift goes back up, behind her, as she looks around. + + ROSE + Left, crew passage. + + She spots it and slogs down the flooded corridor. The place + is understandably deserted. She is on her own. + + ROSE + Right, right -- right. + + She turns into a cross-corridor, splashing down the hall. A + row of doors on each side. + + ROSE + Jack? Jaaacckk?? + + CUT TO: + + +166 INT. MASTER AT ARMS OFFICE - CORRIDOR 166 + + Jack is hopelessly pulling on the pipe again, straining + until he turns red. He collapses back on the bench. + realizing he's screwed. Then he hears her through the door. + + JACK + ROSE!! In here! + + +167 INT. HALL 167 + + Rose hears his voice behind her. She spins and runs back, + locating the right door, then pushes it open, creating a + small wave. + + She splashes over Jack and puts her arms around him. + + ROSE + Jack, Jack, Jack. I'm sorry, I'm so + sorry. + + They are so happy to see each other it's embarrassing. + 133. + + + JACK + That guy Lovejoy put it in my + pocket. + + ROSE + I know, I know. + + JACK + See if you can find a key for + these. Try those drawers. It's a + little brass one. + + She kisses his face and hugs him again, then starts to go + through the desk. + + JACK + So, how did you find out I didn't + do it? + + ROSE + I didn't. + (she looks at him) + I just realized I already knew. + + They share a look, then she goes back to ransacking the + room, searching drawers and cupboards. Jack sees movement + out the porthole and looks out. + + A LIFEBOAT hits the surface of the water, seen from below. + + CUT TO: + + +168 EXT. TITANIC - BOAT ONE 168 + + While the seamen detach the falls, Boat One rocks next to + the hull. Lucile and Sir Cosmo Duff-Gordon sit with ten + others in a boat made for four times that many. + + LUCILE + I despise small boats. I just know + I'm going to be seasick. I always + get seasick in small boats. Good + Heavens, there's a man down there. + + In a lit porthole beneath the surface she sees Jack looking + up at her, a face in a bubble of light under the water. + + CUT TO: + + +169 INT. MASTER AT ARMS OFFICE 169 + 134. + + + Rose stops trashing the room, and stands there, breathing + hard. + + ROSE + There's no key in here. + + They look around at the water, now almost two feet deep. + Jack has pulled his feet up onto the bench. + + JACK + You have to go for help. + + ROSE + (nodding) + I'll be right back. + + JACK + I'll wait here. + + She runs out, looking back at him once from the doorway, + then splashes away. Jack looks down at the swirling water. + + CUT TO: + + +170 INT. STAIRWELL AND CORRIDORS 170 + + Rose splashes down the hall to a stairwell going up to the + next deck. She climbs the stairs, her long skirt leaving a + trail like a giant snail. The weight of it is really + slowing her down. She rips at the buttons and shimmies + quickly out of the thing. She bounds up the stairs in her + stockings and knee-length slip, to find herself in-- + + +171 INT. A LONG CORRIDOR 171 + + She is alone here. A long groan of stressing metal echoes + along the hall as the ship continues to settle. She runs + down the hall, unimpeded now. + + ROSE + Hello? Somebody?! + + She turns a corner and runs along another corridor in a + daze. + + The hall slopes down into water which, shimmers, reflecting + the light. The margin of the water creeps toward her. A + YOUNG MAN appears, running through the water, sending up + geysers of spray. He pelts past her without slowing, his + eyes crazed. + 135. + + + ROSE + Help me! We need help! + +He doesn't look back. It is like a bad dream. The hull +gongs with terrifying sounds. + +The lights flicker and go out, leaving utter darkness. A +beat. Then they come back on. She finds herself +hyperventilating. That one moment of blackness was the most +terrifying of her life. + +A STEWARD runs around the nearest corner, his arms full of +lifebelts. He is upset to see someone still in his section. + +He grabs her forcefully by the arm, pulling her with him +like a wayward child. + + STEWARD + Come on, then, let's get you + topside, miss, that's right. + + ROSE + Wait. Wait! I need your help! + There's-- + + STEWARD + No need for panic, miss. Come + along! + + ROSE + No, let me go! You're going the + wrong way! + +He's not listening. And he won't let her go. + +She SHOUTS in his ear, and when he turns, she punches him +squarely in the nose. Shocked, he lets her go and staggers +back. + + STEWARD + To Hell with you! + + ROSE + See you there, buster! + +The steward runs off, holding his bloody nose. She spits +after him. Just the way Jack taught her. + +She turns around, SEES: a glass case with a fire-axe in it. + +She breaks the glass with a battered suitcase which is +lying discarded nearby, and seizes the axe, running back +the way she came. + 136. + + +172 INT. AT THE STAIRWELL 172 + + She looks down and gasps. The water has flooded the bottom + five steps. She goes down and has to crouch to look along + the corridor to the room where Jack is trapped. + + Rose plunges into the water, which is up to her waist, and + powers forward, holding the axe above her head in two + hands. + + She grimaces at the pain from the literally freezing water. + + CUT TO: + + +173 INT. MASTER AT ARMS OFFICE 173 + + Jack has climbed up on the bench, and is hugging the + waterpipe. Rose wades in, holding the axe above her head. + + ROSE + Will this work? + + JACK + We'll find out. + + They are both terrified, but trying to keep panic at bay. + He positions the chain connecting the two cuffs, stretching + it taut across the steel pipe. The chain is of course very + short, and his exposed wrists are on either side of it. + + JACK + Try a couple practice swings. + + Rose hefts the axe and thinks it into a wooden cabinet. + + JACK + Now try to hit the same mark again. + + She swings hard and the blade thunks in four inches from + the mark. + + JACK + Okay, that's enough practice. + + He winces, bracing himself as she raises the axe. She has + to hit a target about an inch wide with all the force she + can muster, with his hands on either side. + + JACK + (sounding calm) + You can do it, Rose. Hit it as hard + as you can, I trust you. + 137. + + + Jack closes his eyes. So does she. + + The axe comes down. K-WHANG! Rose gingerly opens her eyes + looks. Jack is grinning with two separate cuffs. + + Rose drops the axe, all the strength going out of her. + + JACK + Nice work, there, Paul Bunyan. + + He climbs down into the water next to her. He can't breathe + for a second. + + JACK + Shit! Excuse my French. Ow ow ow, + that is cold! Come on, let's go. + + They wade out into the hall. Rose starts toward the stairs + going up, but Jack stops her. There is only about a foot of + the stairwell opening visible. + + JACK + Too deep. We gotta find another way + out. + + CUT TO: + + +174 EXT. BOAT 6 AND TITANIC 174 + + TIGHT ON THE LETTERS TITANIC painted two feet high on the + bow of the doomed steamer. Once 50 feet above the + waterline, they now quietly slip below the surface. We see + them, gold on black, rippling and dimming to a pale green + as they go deeper. + + 195 IN BOAT SIX, Ruth looks back at the Titanic, transfixed + by the sight of the dying liner. The bowsprit is now barely + above the waterline. Another of Boxall's rockets EXPLODES + overhead. K-BOOM! It lights up the whole area, and we see + half a dozen boats in the water, spreading out from the + ship. + + MOLLY + Now there's somethin' you don't see + every day. + + CUT TO: + + +175 INT. SCOTLAND ROAD - E-DECK 175 + 138. + + + The widest passageway in the ship, it is used by crew and + steerage alike, and runs almost the length of the ship. + Right now steerage passengers move along it like refugees, + heading aft. + + CRASH! A wooden door frame splinters and the door bursts + open under the force of Jack's shoulder. Jack and Rose + stumble through, into the corridor. A STEWARD, who was + nearby herding people along, marches over. + + STEWARD + Here you! You'll have to pay for + that, you know. That's White Star + Line property-- + + JACK AND ROSE + (turning together) + Shut Up! + + Jack leads her past the dumbfounded steward. They join the + steerage stragglers going aft. In places the corridor is + almost completely blocked by large families carrying all + their luggage. + + AN IRISH WOMAN gives Rose a blanket, more for modesty than + because she is blue-lipped and shivering. + + IRISH WOMAN + Here, lass, cover yerself. + + Jack rubs her arms and tries to warm her up as they walk + along. The woman's husband offers them a flask of whiskey. + + IRISH MAN + This'll take the chill off. + + Rose takes a mighty belt and hands it to Jack. He grins and + follows suit. Jack tries a number of DOORS and IRON GATES + along the way, finding them all locked. + + CUT TO: + + +176 EXT. BOAT DECK 176 + + ON THE BOAT DECK, the action has moved to the aft group of + boats, numbers 9, 11, 13 and 15 on the starboard side, and + 10, 12, 14 and 16 on the port side. The pace of work is + more frantic. You see crew and officers running now to work + the davits, their previous complacency gone. + 139. + + +CAL pushes through the crowd, scanning for Rose. Around him +is chaos and confusion. A woman is calling for a child who +has become separated from the crowd. A man is shouting over +people's heads. A woman takes hold of Second Officer +Lightoller arm as he is about to launch Boat 10. + + WOMAN + Will you hold the boat a moment? I + have to run back to my room for + something-- + +Lightoller grabs her and shoves her bodily into the boat. + +Thomas Andrews rushes up to him just then. + + ANDREWS + Why are the boats being launched + half full?! + +Lightoller steps past him, helping a seaman clear a snarled +fall. + + LIGHTOLLER + Not now, Mr. Andrews. + + ANDREWS + (pointing down at the + water) + There, look--twenty or so in a boat + built for sixty five. And I saw one + boat with only twelve. Twelve! + + LIGHTOLLER + Well--we were not sure of the + weight-- + + ANDREWS + Rubbish! They were tested in + Belfast with the weight of 70 men. + Now fill these boats, Mr. + Lightoller. For God's sake, man! + +The shot HANDS OFF to Cal, who sees Lovejoy hurrying toward +him through the aisle connecting the port and starboard +sides of the boat deck. + + LOVEJOY + She's not on the starboard side + either. + + CAL + We're running out of time. And this + strutting martinet -- + 140. + + + (indicating Lightoller) + -- isn't letting any men in at all. + + LOVEJOY + The one on the other side is + letting men in. + + CAL + Then that's our play. But we're + still going to need some insurance. + (he starts off forward) + Come on. + + Cal charges off, heading forward, followed by Lovejoy. The + SHOT HANDS OFF to a finely dressed elderly couple, IDA and + ISADOR STRAUSS. + + ISADOR + Please, Ida, get into the boat. + + IDA + No. We've been together for forty + years, and where you go, I go. + Don't argue with me, Isador, you + know it does no good. + + He looks at her with sadness and great love. They embrace + gently. + + LIGHTOLLER + Lower away!! + + CUT TO: + + +177 EXT. BRIDGE - FORWARD WELL DECK 177 + + AT THE BOW the place where Jack and Rose first kissed, the + bow railing goes under water water. Water swirls around the + captains and windlasses on the foc'sle deck. + + Smith strides to the bridge rail and looks down at the well + deck. Water is shipped over the sides and the well deck is + awash. Two men run across the deck, their feet sending up + spray. Behind Smith, Boxhall fires another rocket. WHOOSH! + + CUT TO: + + +178 INT. E-DECK CORRIDORS AND STAIRWELL 178 + + Fabrizio, standing with Helga Dahl and her family, hears + Jack's voice. + 141. + + + JACK + Fabrizio! Fabri! + +Fabrizio turns and sees Jack and Rose pushing through the +crowd. He and Jack hug like brothers. + + FABRIZIO + The boats are all going. + + JACK + We gotta get up there or we're + gonna be gargling saltwater. + Where's Tommy? + +Fabrizio points over the heads of the solidly packed crowd +to the stairwell. + +Tommy has his hands on the bars of the steel gate which +blocks the head of the stairwell. The crew open the gate a +foot or so and a few women are squeezing through. + + STEWARD #2 + Women only. No men. No men!! + +But some terrified men, not understanding English, try to +rush through the gap, forcing the gate open. The crewmen +and stewards push them back, shoving and punching them. + + STEWARD #2 + Get back! Get back you lot! + (to the crewmen) + Lock it!! + +They struggle to get the gate closed again, while Steward +#2 brandishes a small revolver. Another holds a fire axe. +They lock the gate, and a cry goes up among the crowd, who +surge forward, pounding against the steel and shouting in +several languages. + + TOMMY + For the love of God, man, there are + children down here! Let us up, so + we can have a chance! + +But the crewmen are scared now. They have let the situation +get out of hand, and now they have a mob. Tommy gives up +and + +pushes his way back through the crowd, going down the +stairs. + +He rejoins Jack, Rose and Fabrizio. + 142. + + + TOMMY + It's hopeless that way. + + JACK + Well, whatever we're goin' to do, + we better do it fast. + + Fabrizio turns to Helga, praying he can make himself + understood. + + FABRIZIO + (with a lot of hand + gestures) + Everyone... all of you... come with + me now. We go to the boats. We go + to the boats. Capito? Come now! + + They can't understand what he's saying. They can see his + urgency, but OLUF DAHL, the patriarch of the family, shakes + his head. He will not panic, and will not let his family go + with this boy. Fabrizio turns to Helga. + + FABRIZIO + Helga, per favore, please, come + with me, I am lucky. Is my destiny + to go to America. + + She kisses him, then steps back to be with her family. Jack + lays a hand on his shoulder, his eyes saying "Let's go". + + FABRIZIO + I will never forget you. + + He turns to Jack, who leads the way out of the crowd. + Looking back Fabrizio sees her face disappear into the + crowd. + + CUT TO: + + +179 INT. CAL AND ROSE'S SUITE 179 + + CLUNK! Cal opens his safe and reaches inside. As Lovejoy + watches, he pulls out two stacks of bills, still banded by + bank wrappers. Then he takes out "Heart of the Ocean", + putting it in the pocket of his overcoat, and locks the + safe. + + CAL + (holding up stacks of + bills) + I make my own luck. + 143. + + + LOVEJOY + (putting the .45 in his + waistband) + So do I. + + Cal grins, putting the money in his pocket as they go out. + + CUT TO: + + +180 INT. STEERAGE - RAFT 180 + + Jack, Rose, Fabrizio and Tommy are lost, searching for a + way out. They push past confused passengers, past a mother + changing her baby's diaper on top of an upturned steamer + trunk, past a woman arguing heatedly with a man in Serbo- + Croatian, a wailing child next to them, past a man kneeling + to console a woman who is just sitting on the floor, + sobbing, and past another man with an English/Arabic + dictionary, trying to figure out what the signs mean, while + his wife and children wait patiently. + + Jack et al come upon a narrow stairwell and they go up two + decks before they are stopped by a small group pressed up + against a steel gate. The steerage men are yelling at a + scared STEWARD. + + STEWARD + Go to the main stairwell, with + everyone else. It'll all get sorted + out there. + + Jack takes one look at this scene and finally just loses + it. + + JACK + God damn it to Hell son of a + bitch!! + + He grabs one end of a bench bolted to the floor on the + landing. He starts pulling on it, and Tommy and Fabrizio + pitch in until the bolts shear and it breaks free. Rose + figures out what they are doing and clears a path up the + stairs between the waiting people. + + ROSE + Move aside! Quickly, move aside! + + Jack and Tommy run up the steps with the bench and RAM IT + INTO THE GATE with all their strength. It rips loose from + its track and falls outward, narrowly missing the steward. + Led by Jack, the crowd surges though. Rose steps up to the + cowering steward and says in her most imperious tone: + 144. + + + ROSE + If you have any intention of + keeping your pathetic job with the + White Star Line, I suggest you + escort these good people to the + boat deck, now. + + Class wins out. He nods dumbly motions form them to follow. + + CUT TO: + + +181 EXT. BOAT 6 - TITANIC - NIGHT 181 + + Ruth rows with Molly Brown, two other women and the + incompetent sailors. She rests on her oars, exhausted, and + looks back at the ship. + + It slants down into the water, still ablaze with light. + + Nothing is above water forward of the bridge except for the + foremast. + + Another rocket goes off, lighting up the entire area... + there are a dozen boats moving outward from the ship. + + +182 EXT. AT THE BOAT DECK RAIL 182 + + Captain Smith is shouting to Boat 6 through a large metal + megaphone. + + SMITH + Come back! Come back to the ship! + + CHIEF OFFICER WILDE joins him, blowing his silver whistle. + + +183 EXT. BOAT 6 183 + + The whistle comes shrilly across the water. Quartermaster + Hitchins grips the rudder in fear. + + HITCHINS + The suction will pull us right down + if we don't keep going. + + MOLLY + We got room for lots more. I say we + go back. + + HITCHINS + 145. + + + No! It's our lives now, not theirs. + And I'm in charge of this boat! Now + row!! + + CAPTAIN SMITH, at the rail of the boat deck, lowers his + megaphone slowly + + SMITH + The fools. + + CUT TO: + + +184 INT. A-DECK FOYER 184 + + As Cal and Lovejoy cross the foyer encounter Benjamin + Guggenheim and his valet, coth dressed in white tie, + tailcoats and top hats. + + CAL + Ben, what's the occasion? + + GUGGENHEIM + We have dressed in our best and are + prepared to go down like gentlemen. + + CAL + That's admirable, Ben. + (walking on) + I'll sure and tell your wife when I + get to New York. + + CUT TO: + + +185 INT. FIRST CLASS SMOKING ROOM 185 + + There are still two card games in progress. The room is + quiet and civilized. A silver serving cart, holding a large + humidor, begins to roll slowly across the room. One of the + card players takes a cigar from it as it rolls by. + + CARDPLAYER + It seems we've been dealt a bad + hand this time. + + CUT TO: + + +186 EXT/INT. A-DECK PROMENADE 186 + + Cal and Lovejoy are walking aft with a purposeful stride. + 146. + + + They pass CHIEF BAKER JOUGHIN, who is working up a sweat + tossing deck chairs over the rail. After they go by, + Joughin takes a break and pulls a bottle of scotch from a + pocket, opening it. He drains it, and tosses it over the + side too, then stands there a little unsteady. + + CUT TO: + + +187 EXT. BOAT DECK AND A-DECK - AFT 187 + + PANIC IS SETTING IN around the remaining boats aft. The + crowd here is now a mix of all three classes. Officers + repeatedly warn men back from the boats. The crowd presses + in closer. + + Seamen SCARROTT brandishes the tiller of boat 14 to + discourage a close press of men who look ready to rush the + boat. Several men break ranks and rush forward. + + Lightoller pulls out his Webley revolver and aims it at + them. + + LIGHTOLLER + Get back! Keep order! + + The men back down. Fifth Officer Lowe standing in the boat, + yells to the crew. + + LOWE + Lower away left and right! + + Lightoller turns away from the crowd and, out of their + sight, breaks his pistol open. Letting out a long breath, + he starts to LOAD IT. + + CUT TO: + + +188 EXT. BOAT DECK - STARBOARD SIDE - ATF 188 + + Cal and Lovejoy arrive in time to see Murdoch lowering his + last boat. + + CAL + We're too late. + + LOVEJOY + There are still some boats forward. + Stay with this one Murdoch. He + seems to be quite practical. + 147. + + +189 EXT. THE WATER BELOW 189 + + There is another panic. Boat 13, already in the water but + still attached to its falls, is pushed aft by the discharge + water being pumped out of the ship. It winds up directly + under boat 15, which is coming down the right on top of it. + + The passengers shout in panic to the crew above to stop + lowering. They are ignored. Some men put their hands up, + + trying futilely to keep the 5 tons of boat 15 from crushing + them. + + Fred Barrett, the stoker, gets out his knife and leaps to + the after falls, climbing rudely over people. He cuts the + aft falls while another crewman cuts the forward lines. 13 + drifts out from beneath 15 just seconds before it touches + the water with a slap. + + Cal, looking down from the rail hears GUNSHOTS-- + + CUT TO: + + +190 EXT. BOAT DECK - A-DECK - PORT 190 + + Fifth Officer Lowe, in Boat 14 is firing his gun as a + warning to a bunch of men threatening to jump into the boat + as it passes the open promenade on A-Deck. + + LOWE + Stay back you lot! + + BLAM! BLAM! + + CUT TO: + + +191 EXT. BOAT DECK - STARBOARD - AFT 191 + + The shots echo away. + + CAL + It's starting to fall apart. We + don't have much time. + + Cal sees three dogs run by, including the black French + bulldog. Someone has released the pets from the kennels. + + Cal sees Murdoch turn from the davits of boat 15 and start + walking toward the bow. He catches up and falls in beside + him. + 148. + + + CAL + Mr. Murdoch, I'm a businessman, as + you know, and I have a business + proposition for you. + + CUT TO: + + +192 EXT. BOAT DECK - PORT 192 + + Jack, Rose et al burst out onto the boat deck from the crew + stairs just aft of the third funnel. They look at the empty + davits. + + ROSE + The boats are gone! + + She sees Colonel Gracie chugging forward along the deck, + escorting two first class ladies. + + ROSE + Colonel! Are there any boats left? + + GRACIE + (staring at her + bedraggled state) + Yes, miss, there are still a couple + of boats all the way forward. This + way, I'll lead you! + + Jack grabs her hand and they sprint past Gracie, with Tommy + and Fabrizio close behind. + + ANGLE ON THE BAND incredibly they are still playing. Jack, + Rose and the others run by. + + TOMMY + Music to drown by. Now I know I'm + in First Class. + + CUT TO: + + +193 EXT. BOAT DECK - STARBOARD - FORWARD 193 + + Water pours like a spillway over the forward railing on B- + Deck. CAMERA SWEEPS UP past A-Deck to the Boat Deck where + Murdoch and his team are loading Collapsible Car the + forward-most davits. + + NOTE: There are four so-called collapsibles, or + Engelhardt's boats, including two which are stored on the + roof of the officer's quarters. + 149. + + + The crowd is sparse, with most people still aft. Cal slips + his hand out of the pocket of his overcoat and into the + waist pocket of Murdoch's greatcoat, leaving the stacks of + bills there. + + CAL + So we have an understanding then? + + MURDOCH + (nodding curtly) + As you've said. + + Cal, satisfied, steps back. He finds himself waiting next + to J. Bruce Ismay. Ismay does not meet his eyes, nor + anyone's. + + Lovejoy come sup to Cal at that moment. + + LOVEJOY + I've found her. She's just over on + the port side. With him. + + MURDOCH + Women and children? Any more women + and children? + (glancing at Cal) + Anyone else, then? + + Cal looks longingly at his boat his moment has arrived. + + CAL + God damn it to hell! Come on. + + He and Lovejoy head for the port side, taking a shortcut + through the bridge. + + Bruce Ismay, seeing his opportunity, steps quickly into + Collapsible C. He stares straight ahead, not meeting + Murdoch's eyes. + + MURDOCH + (staring at Ismay) + Take them down. + + CUT TO: + + +194 EXT. BOAT DECK - PORT SIDE - NIGHT 194 + 150. + + +ON THE PORT SIDE Lightoller is getting people into Boat 2. +He keeps his pistol in his hand at this point. Twenty feet +below them the sea is pouring into the doors and windows of +B deck staterooms. They can hear the roar of water +cascading into the ship. + + LIGHTOLLER + Women and children, please. Women + and children only. Step back, sir. + +Even with Jack's arms wrapped around her, Rose is shivering +in the cold. Near her a WOMAN with TWO YOUNG DAUGHTERS +looks into the eyes of a HUSBAND she knows she may not see +again + + HUSBAND + Goodbye for a little while... only + for a little while. + (to his two little girls) + Go with mummy. + +The woman stumbles to the boat with the children, hiding +her tears from them. Beneath the false good cheer, the man +is choked with emotion. + + HUSBAND + Hold mummy's hand and be a good + girl. That's right. + +Some of the women are stoic, others are overwhelmed by +emotion and have to be helped into the boats. A MAN +scribbles a note and hands it to a woman who is about to +board. + + MAN + Please get this to my wife in + DeMoines, Iowa. + +Jack looks at Tommy and Fabrizio. + + JACK + You better check out the other + side. + +They nod and run off, searching for a way around the +deckhouse. + + ROSE + I'm not going without you. + + JACK + Get in the boat, Rose. + 151. + + +Cal walks up just then. + + CAL + Yes. Get in the boat, Rose. + +She is shocked to see him. She steps instinctively to Jack. + +Cal looks at her, standing there shivering in her wet slip +and stockings, a shocking display in 1912. + + CAL + My God, look at you. + (taking off his boat) + Here, put this on. + +She numbly shrugs into it. He is doing it for modesty, not +the cold. + + LIGHTOLLER + Quickly, ladies. Step into the + boat. Hurry, please! + + JACK + Go on. I'll get the next one. + + ROSE + No. Not without you! + +She doesn't even care that Cal is standing right there. He +sees the emotion between Jack and Rose and his jaw +clenches. + +But then he leans close to her and says. + + CAL + (low) + There are boats on the other side + that are allowing men in. Jack and + I can get off safely. Both of us. + + JACK + (he smiles reassuringly) + I'll be alright. Hurry up so we can + get going, we got our own boat to + catch. + + CAL + Get in, hurry up, it's almost full. + +Lightoller grabs her arm and pulls her toward the boat. She +reaches out for Jack and her fingers brush his for a +moment. + 152. + + +Then she finds herself stepping down into the boat. It's +all a rush and blur. + + LIGHTOLLER + Lower away! + +The two men watch at the rail as the boat begins to +descend. + + CAL + (low) + You're a good liar. + + JACK + Almost as good as you. + + CAL + I always win, Jack. One way or + another. + (looks at him, smiling) + Pity I didn't keep that drawing. + It's going to be worth a lot more + by morning. + +Jack knows he is screwed. He looks down at Rose, not +wanting to waste a second of his last view of her. + +ROSE'S PERCEPTION IN SLOW MOTION: The ropes going through +the pulleys as the seamen start to lower. All sound going +away. + +Lightoller giving orders, his lips moving, but Rose hears +only the blood pounding in her ears, this cannot be +happening, a rocket bursts above in slow-motion, outlining +Jack in a halo of light, Rose's hair blowing in slow motion +as she gazes up at him, descending away from him, she sees +his hand trembling, the tears at the corners of his eyes, +and cannot believe the unbearable pain she is feeling. + +Rose is still staring up, tears pouring down her face. + +SUDDENLY SHE IS MOVING. She lunges across the women next to +her. Reaches the gunwale, climbing it. + +Hurls herself out of the boat to the rail of the A-Deck +promenade, catching it, and scrambling over the rail. The +Boat 2 continues down. But Rose is back on Titanic. + + JACK + No Rose! NOOOO!! + +Jack spins from the rail, running for the nearest way down +to A-Deck. + 153. + + + Hockley too has seen her jump. She is willing to die for + this man, this gutter scum. He is overwhelmed by a rage so + all consuming it eclipses all thought. + + CUT TO: + + +195 INT. GRAND STAIRCASE 195 + + TRACKING WITH JACK as he bangs through the doors to the + foyer and sprints down the stairs. He sees her coming into + A-deck foyer, running toward him, Cal's long coat flying + out behind her as she runs. + + They meet at the bottom of the stairs, and collide in an + embrace. + + JACK + Rose, Rose, you're so stupid, + you're such an idiot-- + + And all the while he's kissing her and holding her as tight + as he can. + + ROSE + You jump, I jump, right? + + JACK + Right. + + Hockley comes in and runs to the railing. Looking down he + sees them locked in their embrace. Lovejoy comes up behind + Cal and puts a restraining HAND on him, but Cal whips + around, grabbing the pistol from Lovejoy's waistband in one + cobra-fast move. + + He RUNS along the rail and down the stairs. As he reaches + the landing above them he raises the gun. SCREAMING in + rage, he FIRES. + + The carved cherub at the foot of the center railing + EXPLODES. + + Jack pulls Rose toward the stairs going down to the next + deck. Cal fires again, running down the steps toward them. + A bullet blows a duvet out of the oak panelling behind + Jack's head as he pulls Rose down the next flight of + stairs. + + Hockley steps on the skittering head of the cherub statue + and goes sprawling. The gun clatters across the marble + floor. He gets up, and reeling drunkenly goes over to + retrieve it. + 154. + + + CUT TO: + + +196 INT. D-DECK RECEPTION ROOM 196 + + The bottom of the grand staircase is flooded several feet + deep. Jack and Rose come down the stairs two at a time and + run straight into the water, fording across the room to + where the floor slopes up, until they reach dry footing at + the entrance to the dining saloon. + + STEADICAM WITH HOCKLEY as he reels down the stairs in time + to see Jack and Rose splashing through the water toward the + dining saloon. He FIRES twice. Big gouts of spray near + them, but he's not a great shot. + + The water boils up around his feet and he retreast up the + stairs a couple of steps. Around him the woodward groans + and creaks. + + CAL + (calling to them) + Enjoy your time together!! + + Lovejoy arrives next to him. Cal suddenly remembers + something and starts to laugh. + + LOVEJOY + What could possible be funny? + + CAL + I put the diamond in my coat + pocket. And I put my coat on her. + + He turns to Lovejoy with a sickly expression, his eyes + glittering. + + CAL + I give it to you if you can get it. + + He hands Lovejoy the pistol and goes back up the stairs. + + Lovejoy thinks about it then slogs into the water. The ice + water is up to his waist as he crosses the pool into the + dining saloon. + + CUT TO: + + +197 INT. DINING SALOON 197 + 155. + + +Lovejoy moves among the tables and ornate columns, +searching, listening, his eyes tracking rapidly. It is a +sea of tables, and they could be anywhere. A silver serving +trolley rolls downhill, bumping into tables and pillars. + +He glances behind him. The water is following him into the +room, advancing in a hundred foot wide tide. The reception +room is now a roiling lake, and the grand staircase is +submerged past the first landing. Monstrous groans echo +through the ship. + +ON JACK AND ROSE, crouched behind a table, somewhere in the +middle. They see the water advancing toward them, swirling +over the floor. They crawl ahead of it to the next row of +tables. + + JACK + (whispering) + Stay here. + +He moves off as-- + +Lovejoy moves over one row and looks along the tables. + +Nothing. + +The ship GROANS and CREAKS. He moves another row. + +ANGLE ON A METAL CART five feet tall and full of stacks of +china dishes. It starts to roll down the aisle between +tables. + +ON ROSE as the cart rolls toward her. It hits a table and +the stacks of dishes topple out, EXPLODING across the floor +and showering her. + +She scrambles out of the way and-- + +Lovejoy spins, seeing her. He moves rapidly toward her, +keeping the gun aimed-- + +That's when Jack tackles him from the side. They slam +together into a table, crashing over it, and toppling to +the floor. They land in the water which is flowing rapidly +between the tables. + +Jack and Lovejoy grapple in the icy water. Jack jams his +knee down on Lovejoy's hand, breaking his grip on the +pistol, and kicks it away. Lovejoy scrambles up and lunges +at him, but Jack GUY TOUCHES him right in the solar plexus, +doubling him over. + + JACK + 156. + + + Compliments of the Chippewa Falls + Dawsons. + + He grabs Lovejoy and slams him into an ornate column. + Lovejoy drops to the floor with a splash, stunned. + + JACK + Let's go. + + Jack and Rose run after uphill entering the galley. Behind + them the tables have become islands in a lake, and the far + end of the room is flooded up to the ceiling. + + Lovejoy gets up and looks around for his gun. He pulls it + up out of the water and wades after them. + + CUT TO: + + +198 INT. GALLEY - STAIRWELL 198 + + They run through the galley and Rose spots the stairs. She + starts up and Jack grabs her hand. He leads her DOWN. + + They crouch together on the landing as Lovejoy runs to the + stairs. Assuming they have gone up (who wouldn't?) he + climbs up them two at a time. + + They wait for the footstep to recede. A long CREAKING + GROAN. + + Then they hear it a CRYING CHILD. Below them. They go down + a few steps to looks along the next deck. + + CUT TO: + + +199 INT. E-DECK CORRIDORS 199 + + The corridor is awash, about a foot deep. Standing against + the wall, about 50 feet away, is a little BOY, about 3. The + + water swirls around his legs and he is wailing. + + ROSE + We can't leave him. + + Jack nods and they leave the promise of escape up the + stairwell to run to the child. Jack scoops up the kid and + they run back to the stairs but-- + 157. + + + A torrent of water comes pouring down the stairs like + rapids. + + In seconds it is too powerful for them to go against. + + JACK + Come on. + + Charging the other way down the flooding corridor, they + blast up spray with each footstep. At the end of the hall + are heavy double doors. As Jack approaches them he sees + water spraying through the gap between the doors right up + to the ceiling. + + The doors groan and start to crack under the tons of + pressure. + + JACK + Back! Go back!! + + Rose pivots and runs back the way they came, taking a turn + into a cross-corridor. A MAN is coming the other way. He + sees the boy in Jack's arms and cries out, grabbing him + away from Jack. Starts cursing him in Russian. He runs on + with the boy-- + + ROSE + No! Not that way! Come back! + + 228 DOUBLE DOORS BLAST OPEN. A wall of water thunders into + the corridor. The father and child DISAPPEAR instantly. + + Jack and Rose run as a wave blasts around the corner, + foaming from floor to ceiling. It gains on them like a + locomotive. + + They make it to a stairway going up. + + CUT TO: + + +200 INT. STAIRWELL 200 + + Jack and Rose pound up the steps as white water swirls up + behind them. PULL BACK to reveal that a steel gate blocks + the top of the stairs. Jack SLAMS against the fate, + gripping the bars. + + A terrified steward standing guard on the landing above + turns to run at the sight of the water thundering up the + stairs. + + JACK + 158. + + + Wait! Wait! Help us! Unlock the + gate. + + The steward runs on. The water wells up around Jack and + Rose, pouring through the gate and slamming them against + it. In seconds it is up to their waist. + + ROSE + Help us! Please! + + The steward stops and looks back. He sees Jack and Rose at + the gate, their arms reaching through... sees the water + POURING through the gate onto the landing. + + STEWARD + Fucking 'ell! + + He runs back, slogging against the current. He pulls a key + ring from his belt and struggles to unlock the padlock as + the water fountains up around them. + + The lights short out and the landing is plunged into + darkness. + + The water rises over the lock and he's doing it by feel. + + JACK + Come on! Come on! + + Jack and Rose are right up against the ceiling. + + Suddenly the gate gives and SWINGS OPEN. They are pushing + through by the force of the water. They make it to stairs + on the other side of the landing and follow the steward up + to the next deck. + + CUT TO: + + +201 EXT. BOAT DECK - STARBOARD SIDE 201 + + Cal comes reeling out of the first class entrance, looking + wild-eyed. The lurches down the deck toward the bridge. + Waltz music wafts over the ship. Somewhere the band is + still playing. + + CAL'S POV: A little girl, maybe two years old, is crying + along in the alcove. She looks up at Cal beseechingly. Cal + moves on without a glance back... reaching a large crowd + clustered around COLLAPSIBLE A just aft of the bridge. He + sees Murdoch and a number of crewmen struggling to drag the + boat to the davits, with no luck. + 159. + + + Cal pushes forward, trying to signal Murdoch, but the + officer ignores him. Nearby Tommy and Fabrizio are being + pushed forward by the crowd behind. PURSER MCELROY pushes + them back, getting a couple of seamen to help him. He + brandishes his gun, waving it in the air, yelling for the + crowd to stay back. + + CUT TO: + + +202 EXT. BOAT DECK - PORT SIDE 202 + + Lightoller, with a group of crew and passengers, is trying + to get Collapsible B down from the roof. They slide it down + a pair of oars leaned against the deck house. + + LIGHTOLLER + Hold it! Hold it! + + The weight of the boat snaps the oars and it crashes to the + deck, upside down. The two Swedish cousins, OLAUS and BJORN + GUNDERSEN, jump back as the boat nearly hits them. + + CUT TO: + + +203 INT. STAIRWELL 203 + + Jack and Rose run up seemingly endless stairs as the ship + groans and torques around them. + + CUT TO: + + +204 EXT. BOAT DECK - STARBOARD SIDE 204 + + Murdoch, at Collapsible A, is no longer in control. The + crowd is threatening to rush the boat. They push and + jostle, yelling and shouting at the officers. The pressure + from behind pushes them forward, and one guy falls off the + edge of the deck into the water less than ten feet below. + + TOMMY + Give us a chance to live, you limey + bastards! + + Murdoch fires his Webley twice in the air, then point it at + the crowd. + + MURDOCH + I'll shoot any man who tries to get + past me. + 160. + + +Cal steps up to him. + + CAL + We had a deal, damn you. + +Murdoch pushes him back, pointing the pistol at Cal. + + MURDOCH + Get back! + +A man next to Tommy rushes forward, and Tommy is shoved +from behind. Murdoch SHOOTS the first man, and seeing Tommy +coming forward, puts a bullet into his chest. + +Tommy collapses, and Fabrizio grabs him, holding him in his +arms as his life flows out over the deck. + +Murdoch turns to his men and salutes smartly. Then he puts +the pistol to his temple and BLAM! + +He drops like a puppet with the strings cut and topples +over the edge of the boat deck into the water only a few +feet below. + +Cal stares in horror at Murdoch's body bobbing in the black +water. The MONEY FLOATS out of the pocket of his greatcoat, +the bills spreading across the surface. + +The crew rush to get the last few women aboard the boat. + + PURSER MCELROY + (calling above the + confusion) + Any more women or children?! + +THE CHILD crying in the alcove. Cal scoops her up and runs +forward, cradling her in his arms. + + CAL + (forcing his way through + the crowd) + Here's a child! I've got a child! + + CAL + (to McElroy) + Please, I'm all she has in the + world. + +McElroy nods curtly and pushes him into the boat. He spins +with his gun, brandishing it in the air to keep the other +men back. Cal gets into the boat, holding the little girl. +He takes a seat with the women. + 161. + + + CAL + There, there. + + CUT TO: + + +205 INT. FIRST CLASS SMOKE ROOM 205 + + Thomas Andrews stands in front of the fireplace, staring at + the large painting above the mantle. The fire is still + going in the fireplace. + + The room is empty except for Andrews. An ashtray falls off + the table. Behind him Jack and Rose run into the room, out + of breath and soaked. They run through, toward the aft + revolving door then Rose recognizes him. She sees that his + lifebelt is off, lying on a table. + + ROSE + Won't you even make a try for it, + Mr. Andrews? + + ANDREWS + (a tear rolls down his + cheek) + I'm sorry that I didn't build you a + stronger ship, young Rose. + + JACK + (to her) + It's going fast, we've got to keep + moving. + + Andrews picks up his lifebelt and hands it to her. + + ANDREWS + Good luck to you, Rose. + + ROSE + (hugging him) + And to you, Mr. Andrews. + + Jack pulls her away and they run through the revolving + door. + + CUT TO: + + +206 EXT. BOAT DECK AND VARIOUS LOCATIONS 206 + + The band finishes the waltz. Wallace Hartley looks at the + orchestra members. + 162. + + + HARTLEY + Right, that's it then. + + They leave him, walking forward along the deck. Hartley + puts his violin to his chin and bows the first notes of + "Nearer My + + God to Thee". One by one the band members turn, hearing the + lonely melody. + + Without a word they walk back and take their places. They + join in with Hartley, filling out the sound so that it + reaches all over the ship on this still night. The vocalist + begins: "If in my dreams I be, nearer my God to thee..." + + THE HYMN PLAYS OVER THE FOLLOWING SEQUENCE: + + +207 EXT. BRIDGE 207 + + A seaman pulls off his lifebelt and catches up to Captain + Smith as he walks to the bridge. He proffers it, but Smith + seems to stare through him. Without a word he turns and + goes onto the bridge. He enters the enclosed WHEELHOUSE and + closes the door. He is alone, surrounded by the gleaming + brass instruments. He seems to inwardly collapse. + + +208 INT. SMOKING ROOM 208 + + Andrews stands like a statue. He pulls out his pocket watch + and checks the time. + + Then he opens the face of the mantle clock and adjusts it + to the correct time: 2:12 a.m. Everything must be correct. + + +209 INT. CAL'S PARLOUR SUITE 209 + + Water swirls in from the private promenade deck. Rose's + paintings are submerged. The Picasso transforms under the + water's surface. Degas' colors run. Monet's water lilies + come to life. + + +210 INT. FULL CLASS CABIN 210 + + DOWN ANGLE on the two figures lying side by side, fully + clothed, on a bed in a FIRST CLASS CABIN. Elderly Ida and + Isador Strauss stare at the ceiling, holding hands like + young lovers. Water pours into the room through a doorway. + It swirls around the bed, two feet deep rising fast. + 163. + + +211 INT. A STEERAGE CABIN 211 + + Somewhere in the bowels of the ship, the young IRISH + MOTHER, seen earlier stoically waiting at the stairs, is + tucking her two young children into bed. She pulls up the + covers, making sure they are all warm and cozy. She lies + down with them on the bed, speaking soothingly and holding + them. + + CUT TO: + + +212 EXT. BOAT DECK - BRIDGE 212 + + IN A WIDE SHOT we see a wave travel up the boat deck as the + bridge house sinks into the water. + + +213 INT. PORT SIDE 213 + + Collapsible B is picked up by water. Working frantically, + the men try to detach it from the falls so the ship won't + drag it under. Colonel Gracie hands Lightoller a pocket + knife and he saws furiously at the ropes as the water + swirls around his legs. The boat, still upside down, is + swept off the ship. Men start diving in, swimming to stay + with it. + + +214 INT. COLLAPSIBLE 214 + + A Cal sits next to the wailing child, whom he has + completely forgotten. He watches the water rising around + the men as they work, scrambling to get the ropes cut so + the ship won't drag the collapsible under. + + Fabrizio removes the lifebelt from Tommy's body and + struggles to put it on as the water rises around him. + + +215 INT. CAPTAIN`S ROOM 215 + + CAPTAIN SMITH, standing near the wheel, watches the black + water climbing the windows of the enclosed wheelhouse. He + has the stricken expression of a damned sould on Judgment + Day. + + The windows burst suddenly and a wall of water edged with + shards of glass slams into Smith. He disappears in a vortex + of foam. + + +216 INT. COLLAPSIBLE A 216 + 164. + + + It`s hit by a wave as the bow plunges suddenly. It + partially swamps the boat, washing it along the deck. + + Over a hundred passengers are plunged into the freezing + water and the area around the boat becomes a frenzy of + splashing, screaming people. + + As men are trying to climb into the collapsible, Cal grabs + an oar and pushes them back into the water. + + CAL + Get back! You'll swamp us! + + Fabrizio, swimming for his life, gets swirled under a + davit. + + The ropes and pulleys tangle around him as the davit goes + under the water, and he is dragged down. Underwater he + struggles to free himself, and then kicks back to the + surface. He surfaces, gasping for air in the freezing + water. + + +217 EXT. DECK 217 + + WALLACE HARTLEY sees the water rolling rapidly up the deck + toward them. He holds the last note of the hymn in a + sustain, and then lowers his violin. + + HARTLEY + Gentlemen, it has been a privilege + playing with you tonight. + + CUT TO: + + +218 EXT. A-DECK AFT - PORT SIDE 218 + + Jack and Rose run out of the PALM COURT into a dense crowd. + + Jack pushes his way to the rail and looks at the state of + the ship. The bridge is under water and there is chaos on + deck. + + Jack helps her put her lifebelt on. People stream around + them, shouting and pushing. + + JACK + Okay, we keep moving after. We have + to stay on the ship as long as + possible. + + They push their way aft through the panicking crowd. + 165. + + + CUT TO: + + +219 EXT. FORWARD FUNNEL 219 + + Collapsible A is whirled like a leaf in the currents around + the sinking ship. It slams against the side of the forward + funnel. + + CAL + (to the crew in the boat) + Row! Row you bastards!! + + +220 INT. STOKEHOLD VENT 220 + + NEARBY: Fabrizio is drawn up against the grating of a + STOKEHOLD VENT as water pours through it. The force of tons + of water roaring down the ship traps him against it, and he + + is dragged down under the surface as the ship sinks. He + struggles to free himself but cannot. + + Suddenly there is a concussion deep in the bowels of the + ship as a furnace explodes and a blast of hot air belches + out of hte ventilator, ejecting Fabrizio. He surfaces in a + roar of foam and keeps swimming. + + CUT TO: + + +221 EXT. A-DECK - B-DECK - WELL DECK 221 + + Jack and Rose clamber over the A-Deck aft rail. Then, using + all his strength, he lowers her toward the deck below, + holding on with one hand. She dangles, then falls. Jack + jumps down behind her. + + They join a crush of people literally clawing and + scrambling over each other to get down the narrow stairs to + the well deck the only way left. + + Seeing that the stairs are impossible, Jack climbs over the + B-Deck railing and helps Rose over. He lowers her again, + and she falls in a heap. Baker Joughin, now three sheets to + the wind, happens to be next to her. He hauls Rose to her + feet. + + Jack drops down and the three of them push through the + crowd across the well deck. Near them, at the rail, people + are jumping into the water. + 166. + + + The ship GROANS and SHUDDERS. The man ahead of Jack is + walking like a zombie. + + MAN + Yeah, though I walk through the + valley of the shadow of death-- + + JACK + You wanna walk a little faster + through that valley, fella? + + CUT TO: + + +222 EXT. FORWARD FUNNEL 222 + + The stay cables along the top of the funnel snap, and they + lash like steel whips down into the water. Cal watches as + the funnel topples from its mounts. Falling like a temple + pillar twenty eight feet across it whomps into the water + with a tremendous splash. People swimming underneath it + disappear in an instant. + + Fabrizio, a few feet away, is hurled back by a huge wave. + He comes up, gasping still swimming. The water pouring into + the open end of the funnel draws in several swimmers. The + funnel sinks, disappearing, but-- + + Hundreds of tons of water pour down through the 30 foot + hole where the funnel stood, thundering down into the belly + of the ship. A whirlpool forms, a hole in the ocean, like + at enormous toilet-flush. T. W. McCauley, the gym + instructor swims in a frenzy as the vortex draws him in. He + is sucked down like a spider going down a drain. + + Fabrizio, nearby, swims like Hell as more people are sucked + down behind him. He manages to get clear. He's going to + live no matter what it takes. + + CUT TO: + + +223 INT. BOAT DECK FOYER - GRAND STAIRCASE 223 + + Water roars through the doors and windows, cascading down + the stairs like a rapids. John Jacob Astor is swept down + the marble steps to A-Deck, which is already flooded... a + roiling vortex. He grabs the headless cherub at the bottom + of the staircase and wraps his arms around it. + 167. + + + Astor looks up in time to see the 30 foot glass dome + overhead EXPLODE INWARD with the wave of water washing over + it. A Niagara of sea water thunders down into the room, + blasting through the first class opulence. IT is the + Armageddon of elegance. + + CUT TO: + + +224 INT. BELOWDECKS 224 + + The flooding is horrific. Walls and doors are splintered + like kindling. Water roars down corridors with pile-driver + force. + + The CARTMELL FAMILY is at the top of a stairwell, jammed + against a locked gate like Jack and Rose were. Water boils + up the stairwell behind them. Bert Cartmell shakes the gate + futilely, shouting for help. Little Cora wails as the water + boils up around them all. + + CUT TO: + + +225 EXT. STERN 225 + + Rose and Jack struggle to climb the well deck stairs as the + ship tilts. Drunk Baker Joughin puts a hand squarely on + + Rose's butt and shoves her up onto the deck. + + JOUGHIN + Sorry, miss! + + Hundreds of people are already on the poop deck, and more + are pouring up every second. Jack and Rose cling together + as tehy struggle across the tilting deck. + + +226 EXT. BOAT 2 226 + + As the bow goes down, the STERN RISES. IN BOAT 2, which is + just off the stern, passengers gape as the giant bronze + propellers rise out of the water like gods of the deep, + FILLING FRAME behind them. + + People are JUMPING from the well deck, the poop deck, the + gangway doors. Some hit debris in the water and are hurt or + killed. + + +227 EXT. STERN 227 + 168. + + + ON THE POOP DECK Jack and Rose struggle aft as the angle + increases. Hundreds of passengers, clinging to every fixed + object on deck, huddle on their knees around FATHER BYLES, + who has his voice raised in prayer. They are praying, + sobbing, or just staring at nothing, their minds blank with + dread. + + Pulling himself from handheld to handheld, Jack tugs Rose + aft along the deck. + + JACK + Come on, Rose. We can't expect God + to do all the work for us. + + They struggle on, pushing through the praying people. A MAN + loses his footing ahead and slides toward them. Jack helps + him. + + THE PROPELLERS are twenty feet above the water and rising + faster. + + +228 EXT. STERN RAIL 228 + + JACK AND ROSE make it to the stern rail, right at the base + of the flagpole. They grip the rai, jammed in between other + people. It is the spot where Jack pulled her back onto the + ship, just two night and a lifetime ago. + + Above the wailing and sobbing, Father Byles' voice carries, + cracking with emotion. + + FATHER BYLES + --and I saw new heavens and a new + earth. The former heavens and the + former earth had passed away and + the sea was no longer. + + The lights flicker, threatening to go out. Rose grips Jack + as the stern rises into a night sky ablaze with stars. + + FATHER BYLES + I also saw a new Jerusalem, the + holy city coming down out of heaven + from God, beautiful as a bride + prepared to meet her husband. I + heard a loud voice from the throne + ring out this is God's dwelling + among men. He shall dwell with them + and they shall be his people and He + shall be their God who is alway + with them. + 169. + + + Rose stares about her at the faces of the doomed. Near them + are the DAHL FAMILY, clinging together stoically. Helga + looks at her briefly, and her eyes are infinitely sad. + + Rose sees a young mother next to her, clutching her five + year old son, who is crying in terror. + + MOTHER + Shhh. Don't cry. It'll be over + soon, darling. It'll all be over + soon. + + FATHER BYLES + He shall wipe every tear from their + eyes. And there shall be no more + death or mourning, crying out or + pain, for the former world has + passed away. + + CUT TO: + + +229 INT. SHIP - VARIOUS SCENES 229 + + As the ship tilts further everything not bolted down inside + shifts. + + +230 INT. HALL 230 + + CUPBOARDS burst open in the pantry showering the floor with + tons of china. A PIANO slides across the floor, crashing + into a wall. FURNITURE tumbles across the Smoking Room + floor. + + +231 INT. A-DECK PROMENADE 231 + + Passengers lose their grip and slide down the wooden deck + like a bobsled run, hundreds of feet before they hit the + water. TRUDY BOLT, Rose's maid, slips as she struggles + along the railing and slides away screaming. + + +232 INT. THE STERN DECK 232 + + The propellers are 100 feet out of the water and rising. + + Panicking people leap from the poop deck rail, fall + screaming and hit the water like mortar rounds. A man falls + from the poop deck, hitting the bronze hub of the starboard + propeller with a sickening smack. + 170. + + + SWIMMERS LOOK UP and see the stern towering over them like + a monolith, the propellers rising against the stars. 110 + feet. + + 120. + + +233 INT. STERN RAIL 233 + + A man jumps. IN HIS POV we fall seemingly forever, right + past one of the giant screws. The water rushes up-- + + CUT TO: + + +234 EXT. TITANIC - BOAT 234 + + TRACKING SLOWLY IN on Ruth as the sounds of the dying ship + and the screaming people come across the water. + + REVERSE / HER POV: IN A WIDE SHOT we see the spectacle of + the Titanic, her lights blazing, reflecting in the still + water. + + Its stern is high in the air, angles up over forty five + degrees. The propellers are 150 feet out of the water. Over + a thousand passengers cling to the decks, looking from a + distance like a swarm of bees. + + The image is shocking, unbelievable, unthinkable. Ruth + stares at the spectacle, unable to frame it or put it into + any proportion. + + MOLLY BROWN + God Almighty. + + The great liner's lights flicker. + + CUT TO: + + +235 INT. ENGINE ROOM 235 + + In darkness Chief Engineer Bell hangs onto a pipe at the + master breaker panel. Around him men climb through tilted + cyclopean machines with electric hand-torches. It is a + black hell of breaking pipes, spraying water, and groaning + machinery threatening to tear right out of its bedplates. + + Water sprays down, hitting the breaker panel, but Bell will + not leave his post. CLUNK. The breakers kick. He slams them + in again and-- WHOOM! a blast of light! Something melts and + arcing fills the engine room with nightmarish light-- + 171. + + + CUT TO: + + +236 EXT. TITANIC 236 + + WIDE SHOT. The lights go out all over the ship. Titanic + becomes a vast black silhouette against the stars. + + IN COLLAPSIBLE C: BRUCE ISMAY has his back to the ship, + unable to watch the great steamer die. He is catatonic with + remorse, his mind overloaded. He can avert his eyes, but he + can't block out the sounds of dying people and machinery. + + A loud CRACKING REPORT comes across the water. + + CUT TO: + + +237 EXT. BOAT DECK 237 + + Near the third funnel a man clutches the ship's rail. He + stares down as the DECK SPLITS right between his feet. A + yawning chasm opens with a THUNDER of breaking steel + LOVEJOY is clutching the railing on the roof of the + Officers' Mess. He watches in horror as the ship's + structure RIPS APART right in front of him. He gapes down + into a widening maw, seeing straight down into the bowels + of the ship, amid a BOOMING CONCUSSION like the sound of + artillery. People falling into the widening crevasse look + like dolls. + + The stay cables on the funnel part and snap across the + decks like whips, ripping off davits and ventilators. A man + is hit by a whipping cable and snatched OUT OF FRAME. + Another cable smashes the rail next to Lovejoy and it rips + free. He falls backward into the pit of jagged metal. + + Fires, explosions and sparks light the yawning chasm as the + hull splits down through nine decks to the keel. The sea + pours into the gaping wound-- + + CUT TO: + + +238 INT. ENGINE ROOM 238 + + It is a thundering black hell. Men scream as monstrous + machinery comes apart around them, steel frames twisting + like taffy. + + Their torches illuminate the roaring, foaming demon of + water as it races at the through the machines. Trying to + climb they are overtaken in seconds. + 172. + + + CUT TO: + + +239 EXT. TITANIC - NIGHT 239 + + The STERN ALF of the ship, almost four hundred feet long, + falls back toward the water. On the poop deck everyone + screams as they feel themselves plummeting. The sound goes + up like the roar of fans at a baseball stadium when a run + is scored. + + Swimming in the water directly under the stern a few + unfortunates shriek as they see the keel coming down on + them like God's bootheel. The massive stern section falls + back almost level, thundering down into the sea and pushing + out a mighty wave of displaced water. + + Jack and Rose struggle to hold onto the stern rail. They + feel the ship seemingly RIGHT ITSELF. Some of those praying + think it is salvation. + + SEVERAL PEOPLE + We're saved! + + Jack looks at Rose and shakes his head, grimly. + + Now the horrible mechanics play out. Pulled down by the + awesome weight of the flooded bow, the buoyant stern tilts + up rapidly. They feel the RUSH OF ASCENT as the fantail + angles up again. Everyone is clinging to benches, railings, + ventilators... anything to keep from sliding as the stern + lifts. + + The stern goes up and up, past 45 degrees, then past sixty. + + People start to fall, sliding and tumbling. They skid down + the deck, screaming and flailing to grab onto something. + They wrench other people loose and pull them down as well. + There is a pile-up of bodies at the forward rail. The DAHL + FAMILY falls one by one. + + JACK + We have to move! + + He climbs over the stern rail and reaches back for Rose. + She is terrified to move. He grabs her hand. + + JACK + Come on! I've got you! + 173. + + +Jack pulls her over the rail. It is the same place he +pulled her over the rail two nights earlier, going the +other direction. She gets over just as the railing is going +HORIZONTAL, and the deck VERTICAL. Jack grips her fiercely. + +The stern is now straight up in the air... a rumbling black +monolith standing against the stars. It hangs there like +that for a long grace note, its buoyancy stable. + +Rose lies on the railing, looking down fifteen stories to +the boiling sea at the base of the stern section. People +near them, who didn't climb over, hang from the railing, +their legs dangling over the long drop. They fall one by +one, plummeting down the vertical face of the poop deck. +Some of them bounce horribly off deck benches and +ventilators. + +Jack and Rose lie side by side on what was the vertical +face of the hull, gripping the railing, which is now +horizontal. + +Just beneath their feet are the gold letters TITANIC +emblazoned across the stern. + +Rose stares down terrified at the black ocean waiting below +to claim them. Jack looks to his left and sees Baker +Joughin, crouching on the hull, holding onto the railing. +It is a surreal moment. + + JOUGHIN + (nodding a greeting) + Helluva night. + +The final relentless plunge begins as the stern section +floods. Looking down a hundred feet to the water, we drop +like an elevator with Jack and Rose. + + JACK + (talking fast) + Take a deep breath and hold it + right before we go into the water. + The ship will suck us down. Kick + for the surface and keep kicking. + Don't let go of my hand. We're + gonna make it Rose. Trust me. + +She stares at the water coming up at them, and grips his +hand harder. + + ROSE + I trust you. + 174. + + + Below them the poop deck is disappearing. The plunge + gathers speed the boiling surface engulfs the docking + bridge and then rushes up the last thirty feet. + + +240 EXT. TITANIC 240 + + IN A HIGH SHOT, we see the stern descend into the boiling + sea. The name TITANIC disappears, and the tiny figures of + Jack and Rose vanish under the water. + + Where the ship stood, now there is nothing. Only the black + ocean. + + CUT TO: + + +241 EXT. OCEAN - UNDERWATER AND SURFACE 241 + + Bodies are whirled and spun, some limp as dolls, others + struggling spasmodically, as the vortex sucks them down and + tumbles them. + + Jack rises INTO FRAME F.G. kicking hard for the surface, + holding tightly to Rose, pulling her up. + + AT THE SURFACE: a roiling chaos of screaming, thrashing + people. Over a thousand people are now floating where the + ship went down. Some are stunned, gasping for breath. + Others are crying, praying, moaning, shouting... screaming. + + Jack and Rose surface among them. They barely have time to + gasp for air before people are clawing at them. People + driven insane by the water, 4 degrees below freezing, a + cold so intense it is indistinguishable from death by fire. + + A man pushes Rose under, trying to climb on top of her + senselessly trying to get out of the water, to climb onto + anything. Jack PUNCHES him repeatedly, pulling her free. + + JACK + Swim, Rose! SWIM! + + She tries, but her strokes are not as effective as his + because of her lifejacket. They break out of the clot of + people. He has to find some kind of flotation, anything to + get her out of the freezing water. + + JACK + Keep swimming. Keep moving. Come + one, you can do it. + 175. + + + All about them there is a tremendous wailing, screaming and + moaning, a chorus of tormented souls. And beyond that + nothing but black water stretching to the horizon. The + sense of isolation and hopelessness is overwhelming. + + CUT TO: + + +242 EXT. OCEAN 242 + + Jack strokes rhythmically, the effort keeping him from + freezing. + + JACK + Look for something floating. Some + debris--wood--anything. + + ROSE + It's so cold. + + JACK + I know. I know. Help me, here. Look + around. + + His words keep her focused, taking her mind off the wailing + around them. Rose scans the water, panting, barely able to + draw a breath. She turns and SCREAMS. + + A DEVIL is right in from of her face. It is the black + FRENCH BULLDOG, swimming right at her like a sea monster in + the darkness, its coal eyes bugging. It motors past her, + like it is headed for Newfoundland. + + Beyond it Rose sees something in the water. + + ROSE + What's that? + + Jack sees what she is pointing to, and they make for it + together. It is a piece of wooden debris, intricately + carved. + + He pushes her up and she slithers onto it belly down. + + But when Jack tries to get up onto the thing, it tilts and + submerges, almost dumping Rose off. It is clearly only big + enough to support her. He clings to it, close to her, + keeping his upper body out of the water as best he can. + + Their breath floats around them in a cloud as they pant + from exertion. A MAN swims toward them, homing in on the + piece of debris. Jack warns him back. + 176. + + + JACK + It's just enough for this lady, + you'll push it under. + + MAN + Let me try at least, or I'll die + soon. + + JACK + You'll die quicker if you come any + closer. + + MAN + Yes, I see. Good luck to you then. + (swimming off) + God bless. + + CUT TO: + + +243 EXT. COLLAPSIBLE A - OCEAN 243 + + The boat is overloaded and half-flooded. Men cling to the + sides in the water. Others, swimming, are drawn to it as + their only hope. Cal, standing in the boat, slaps his oar + in the water as a warning. + + CAL + Stay back! Keep off! + + Fabrizio, exhausted and near the limit, makes it almost to + the boat. Cal CLUBS HIM with the oar, cutting open his + scalp. + + FABRIZIO + You don't--understand--I have--to + get--to America. + + CAL + (pointing with the oar) + It's that way! + + CLOSE ON FABRIZIO as he floats, panting each breath agony. + + You see the spirit leave him. + + FABRIZIO'S POV: Cal in SLOW MOTION, yelling and wielding + the oar. A demon in a tuxedo. The image fades to black. + + CUT TO: + + +244 EXT. OCEAN 244 + 177. + + + JACK AND ROSE still float amid a chorus of the damned. Jack + sees the ship's officer nearby, CHIEF OFFICER WILDE. He is + blowing his whistle furiously, knowing the sound will carry + over the water for miles. + + JACK + The boats will come back for us, + Rose. Hold on just a little longer. + They had to row away for the + suction and now they'll be coming + back. + + She nods, his words helping her. She is shivering + uncontrollably, her lips blue and her teeth chattering. + + ROSE + Thank God for you Jack. + + People are still screaming, calling to the lifeboats. + + WOMAN + Come back! Please! We know you can + hear us. For God's sake! + + MAN + Please... help us. Save one life! + SAVE ON LIFE! + + CUT TO: + + +245 EXT. LIFEBOATS - OCEAN - IN BOAT 6 245 + + Ruth has her ears covered against the wailing in the + darkness. The first class women in the boat sit, stunned, + listening to the sounds of hundreds screaming. + + HITCHINS + They'll pull us right down I tell + ya! + + MOLLY + Aw knock it off, yer scarin' me. + Come on girls, grab your oars. + Let's go. + (nobody moves) + Well come on! + + The women won't meet her eyes. They huddle into their + ermine wraps. + + MOLLY + 178. + + + I don't understand a one of you. + What's the matter with you? It's + your men back there! We got plenty + a' room for more. + + HITCHINS + If you don't shut that hole in yer + face, there'll be one less in this + boat! + + Ruth keeps her ears covered and her eyes closed, shutting + it all out. + + +246 EXT. LIFEBOATS - OCEAN - IN BOAT 1 246 + + Sir Cosmo and Lucile Duff-Gordon sit with ten other people + in a boat that is two thirds empty. They are two hundred + yards from the screaming in the darkness. + + FIREMAN HENDRICKSON + We should do something. + + Lucile squeezes Cosmo's hand and pleads him with her eyes. + + She is terrified. + + SIR COSMO + It's out of the question. + + The crewmembers, intimidated by a nobleman, acquiesce. They + hunch guiltily, hoping the sound will stop soon. + + TWENTY BOATS, most half full, float in the darkness. None + of them make a move. + + CUT TO: + + +247 EXT. OCEAN 247 + + Jack and Rose drift under the blazing stars. The water is + glassy, with only the faintest undulating swell. Rose can + actually see the stars reflecting on the black mirror of + the sea. + + Jack squeezes the water out of her long coat, tucking it in + tightly around her legs. He rubs her arms. His face is + chalk with in the darkness. A low MOANING in the darkness + around them. + + ROSE + It's getting quiet. + 179. + + + JACK + Just a few more minutes. It'll take + them a while to get the boats + organized. + +Rose is unmoving, just staring into space. She knows the +truth. There won't be any boats. Behind Jack she sees that +Officer Wilde has stopped moving. He is slumped in his +lifejacket, looking almost asleep. He has died of exposure +already. + + JACK + I don't know about you, but I + intend to write a strongly worded + letter to the White Star Line about + all this. + +She laughs weakly, but it sounds like a gasp of fear. Rose +finds his eyes in the dim light. + + ROSE + I love you Jack. + +He takes her hand. + + JACK + No--don't say your goodbyes, Rose. + Don't you give up. Don't do it. + + ROSE + I'm so cold. + + JACK + You're going to get out of this-- + you're going to go on and you're + going to make babies and watch them + grow and you're going to die an old + lady, warm in your bed. Not here. + Not this night. Do you understand + me? + + ROSE + I can't feel my body. + + JACK + Rose, listen to me. Listen. Winning + that ticket was the best thing that + ever happened to me. + +Jack is having trouble getting the breath to speak. + + JACK + 180. + + + It brought me to you. And I'm + thankful, Rose. I'm thankful. + + His voice is trembling with the cold which is working this + way to his heart. But his eyes are unwavering. + + JACK + You must do me this honor, promise + me you will survive that you will + never give up--no matter what + happens--no matter how hopeless-- + promise me now, and never let go of + that promise. + + ROSE + I promise. + + JACK + Never let go. + + ROSE + I promise. I will never let go, + Jack. I'll never let go. + + She grabs his hand and they lie with their heads together. + It is quiet now, except for the lapping of the water. + + CUT TO: + + +248 EXT. LIFEBOATS - OCEAN - NIGHT 248 + + Fifth Officer Lowe, the impetuous young Welshman, has + gotten Boats 10, 12 and Collapsible D together with his own + Boat 14. + + A demon of energy, he's had everyone hold the boats + together and is transferring passengers from 14 into the + others, to empty his boat for a rescue attempt. + + As the women step gingerly across the other boats, Lowe + sees a shawled figure in too much of a hurry. He rips the + shawl off, and finds himself staring into the face of a + man. He angrily shoves the stowaway into another boat and + turns to his crew of three. + + LOWE + Right, man the oars. + + CUT TO: + + +249 EXT. OCEAN - BOAT 14 249 + 181. + + + The beam of an electric torch plays across the water like a + searchlight as boat 14 comes toward us. + + ANGLE FROM THE BOAT as the torch illuminates floating + debris, a poignant trail of flotsam: a violin, a child's + wooden soldier, a framed photo of a steerage family. Daniel + Marvin's wooden Biograph camera. + + Then, their white lifebelts bobbing in the darkness like + signposts, the first bodies come into the torch's beam. The + people are dead but not drowned, killed by the freezing + water. Some look like they could be sleeping. Others stare + with frozen eyes at the stars. + + Soon bodies are so thick the seamen cannot row. They hit + the oars on the heads of floating men and women... a wooden + + thunk. One seaman throws up. Lowe sees a mother floating + with her arms frozen around her lifeless baby. + + LOWE + (the worst moment of his + life) + We waited too long. + + CUT TO: + + +250 EXT. OCEAN 250 + + IN A HOVERING DOWNANGLE we see Jack and Rose floating in + the black water. The stars reflect in the mill pond + surface, and the two of them seem to be floating in + interstellar space. + + They are absolutely still. Their hands are locked together. + + Rose is staring upwards at the canopy of stars wheeling + above her. The music is transparent, floating... as the + long sleep steals over Rose, and she feels peace. + + CLOSE ON Rose's face. Pale, like the faces of the dead. She + seems to be floating in a void. Rose is in a semi- + hallucinatory state. She knows she is dying. Her lips + barely move as she sings a scrap of Jack's song: + + ROSE + "Come Josephine in my flying + machine..." + + ROSE'S POV: The stars. Like you've never seen them. The + Milky Way a glorious band from horizon to horizon. + 182. + + +A SHOOTING STAR flares, a line of light across the heavens. + +TIGHT ON ROSE again. We see that her hair is dusted with +frost crystals. Her breathing is so shallow, she is almost +motionless. Her eyes track down from the stars to the +water. + +ROSE'S POV SLOW MOTION: The silhouette of a boat crossing +the stars. She sees men in it, rowing so slowly the oars +lift out of the syrupy water, leaving weightless pearls +floating in the air. The VOICES of the men sound slow and +DISTORTED. + +Then the lookout flashes his torch toward her and the light +flares across the water, silhouetting the bobbing corpses +in between. It flicks past her motionless form and moves +on. The boat is 50 feet away, and moving past her. The men +look away. + +Rose lifts her head to turn to Jack. We see that her hair +has frozen to the wood under her. + + ROSE + (barely audible) + Jack. + +She touches his shoulder with her free hand. He doesn't +respond. Rose gently turns his face toward her. It is rimed +with frost. + +He seems to be sleeping peacefully. + +But he is not asleep. + +Rose can only stare at his still face as the realization +goes through her. + + ROSE + Oh, Jack. + +All hope, will and spirit leave her. She looks at the boat. + +It is further away now, the voices fainter. Rose watches +them go. + +She closes her eyes. She is so weak, and there just seems +to be no reason to even try. + +And then, her eyes snap open. + 183. + + + She raises her head suddenly, cracking the ice as she rips + her hair off the wood. She calls out, but her voice is so + weak they don't hear her. The boat is invisible now, the + torch light a star impossibly far away. She struggles to + draw breath, calling again. + + +251 EXT. THE BOAT 251 + + Lowe hears nothing behind him. He points to something + ahead, turning the tiller. + + +252 EXT. THE OCEAN 252 + + ROSE struggles to move. Her hand, she realizes, is actually + frozen to Jack's. She breaths on it, melting the ice a + little, and gently unclasps their hands, breaking away a + thin tinkling film. + + ROSE + I won't let go. I promise. + + She releases him and he sinks into the black water. He + seems to fade out like a spirit returning to some + immaterial plane. + + Rose rolls off the floating staircase and plunges into the + icy water. She swims to Chief Officer Wilde's body and + grabs + + his whistle. She starts to BLOW THE WHISTLE with all the + strength in her body. Its sound slaps across the still + water. + + +253 EXT. BOAT 14 253 + + Lowe whips around at the sound of the whistle. + + LOWE + (turning the tiller) + Row back! That way! Pull! + + Rose keeps blowing as the boat comes to her. She is still + blowing when Lowe takes the whistle from her mouth as they + haul her into the boat. She slips into unconsciousness and + they scramble to cover her with blankets-- + + DISSOLVE TO: + + +254 INT. IMAGING SHACK - KELDYSH 254 + 184. + + + EXTREME CLOSEUP of Rose's ancient, wrinkled face. Present + day. + + OLD ROSE + Fifteen hundred people went into + the sea when Titanic sank from + under us. There were twenty boats + floating nearby and only one came + back. One. Six were saved from the + water, myself included. Six out of + fifteen hundred. + + As she speaks THE CAMERA TRACKS slowly across the faces of + Lizzy and the salvage crew on KELDYSH. Lovett, Bodine, + Buell, the others, the reality of what happened here 84 + years before has hit them like never before. With her story + Rose has put them on Titanic in its final hours, and or the + first time, they do feel like graverobbers. + + Lovett, for the first time, has even forgotten to ask about + the diamond. + + OLD ROSE + Afterward, the seven hundred people + in the boats had nothing to do but + waith, wait to die, wait to live, + wait for an absolution which would + never come. + + DISSOLVE TO: + + +255 EXT. LIFEBOATS - OPEN SEA - PRE-DAWN 255 + + MATCHING MOVE as the camera tracks along the faces of the + saved. + + DISSOLVE TO: + + ANOTHER BOAT, and then ANOTHER, seeing faces we know among + the survivors: Ismay in a trance, just staring and + trembling. + + Cal, sipping from a hip flask offered to him by a black- + faced stoker. Ruth hugging herself, rocking gently. + + +256 INT. BOAT 14 256 + + CLOSE ON ROSE, lying swaddled. Only her face is visible, + white as the moon. The man next to her jumps up, pointing + and yelling. Soon everyone is looking and shouting + excitedly. In Rose's POV it is all silent, SLOW MOTION. + 185. + + + IN SLOW-MOTION SILENCE we see Lowe light a green flare and + wave it as everyone shouts and cheers. Rose doesn't react. + + She floats beyond all human emotion. + + DISSOLVE TO: + + +257 EXT. LIFEBOATS - OPEN SEA - DAWN 257 + + Golden light washes across the white boats, which gloat in + a calm sea reflecting the rosy sky. All around them, like a + flotilla of sailing ships, are icebergs. The CARPATHIA sits + nearby, as boats row toward her. + + DISSOLVE TO: + + +258 EXT. LIFEBOATS - OCEAN - CARPATHIA MONTAGE - DAY 258 + + IMAGES DISSOLVE into one another: a ship's hull looming, + with the letters CARPATHIA visible on the bow. Rose + watching, rocked by the sea, her face blank, seamen helping + survivors up the rope ladder to the Carpathia's gangway + doors, two women crying and hugging each other inside the + ship. + + ALL SILENT, ALL IN SLOW-MOTION. There is just music, so + gentle and sad, part elegy, part hymn, part aching song of + love lost forever. + + THE IMAGES CONTINUE to music. Rose, outside of time, + outside of herself, coming into Carpathia, barely able to + stand. Rose being draped with warm blankets and given hot + tea. + + BRUCE ISMAY climbing aboard. He has the face and eyes of a + damned soul. + + As Ismay walks along the hall, guided by a crewman toward + the doctor's cabin, he passes rows of seated and standing + widows. + + He must run the gauntlet of their accusing gazes. + + CUT TO: + + +259 EXT. DECK - CARPATHIA - DAY 259 + + It is the afternoon of the 15th. Cal is searching the faces + of the widows lining the deck, looking for Rose. + 186. + + +The deck of Carpathia is crammed with huddled people, and +even the recovered lifeboats of Titanic. On a hatch cover +sits an enormous pile of lifebelts. + +He keeps walking toward the stern. Seeing Cal's tuxedo, a +steward approaches him. + + CARPATHIA STEWARD + You won't find any of your people + back here, sir. It's all steerage. + +Cal ignores him and goes amongst this wrecked group, +looking under shawls and blankets at one bleak face after +another. + +Rose is sipping hot tea. Her eyes focus on him as he +approaches her. He barely recognizes her. She looks like a +refugee, her matted hair hanging in her eyes. + + ROSE + Yes, I lived. How awkward for you. + + CAL + Rose, your mother and I have been + looking for you-- + +She holds up her hand, stopping him. + + ROSE + Please don't. Don't talk. Just + listen. We will make a deal, since + that is something you understand. + From this moment you do not exist + for me, nor I for you. You shall + not see me again. And you will not + attempt to find me. In return I + will keep my silence. Your actions + last night need never come to + light, and you will get to keep the + honor you have carefully purchased. + +She fixed him with a glare as cold and hard as the ice +which changed their lives. + + ROSE + Is this in any way unclear? + + CAL + (after a long beat) + What do I tell your mother? + + ROSE + 187. + + + Tell her that her daughter died + with the Titanic. + + She stands, turning to the rail. Dismissing him. We see Cal + stricken with emotion. + + CAL + You're precious to me, Rose. + + ROSE + Jewels are precious. Goodbye, Mr. + Hockley. + + We see that in his way, the only way he knows, he does + truly love her. + + After a moment, he turns and walks away. + + OLD ROSE (V.O.) + That was the last time I ever saw + him. He married, of course, and + inherited his millions. The crash + of 28 hit his interests hard, and + he put a pistol in his mouth that + year. His children fought over the + scraps of his estate like hyenas, + or so I read. + + ANGLE ON ROSE, at the railing of the Carpathia, 9pm April + 18th. She gazes up at the Statue of Liberty, looking just + as it does today, welcoming her home with her glowing + torch. It is just as Fabrizio saw it, so clearly, in his + mind. + + +260 EXT. OCEAN 260 + + LATER CARPATHIA DISCORGES THE SURVIVORS at the Cunard pier, + Pier 54. Over 30,000 people line the dock and fill the + surrounding streets. The magnesium flashes of the + photographers go off like small bombs, lighting an amazing + tableau. + + Several hundred police keep the mob back. The dock is + packed with friends and relatives, officials, ambulances, + and the press-- + + Reporters and photographers swarm everywhere... 6 deep at + the foot of the gangways, lining the tops of cars and + trucks... it is the 1912 equivalent of a media circus. They + jostle to get close to the survivors, tugging on them as + they pass and shouting over each other to ask them + questions. + 188. + + + Rose is covered with a woollen shawl and walking with a + group of steerage passengers. Immigration officers are + asking them questions as they come off the gangway. + + IMMIGRATION OFFICER + Name? + + ROSE + Dawson. Rose Dawson. + + The officer steers her toward a holding area for + processing. + + Rose walks forward with the dazed immigrants. The BOOM! of + photographer's magnesium flashes cause them to flinch, and + the glare is blinding. There is a sudden disturbance near + her as two men burst through the cordon, running to embrace + an older woman along the survivors, who cries out with joy. + The reporters converge on this emotional scene, and flashes + explode. + + Rose uses this moment to slip away into the crowd. She + pushes through the jostling people, moving with purpose, + and none challenges her in the confusion. + + OLD ROSE (V.O.) + Can you exchange one life for + another? A caterpillar turns into a + butterfly. If a mindless insect can + do it, why couldn't I? Was it any + more unimaginable than the sinking + of the Titanic? + + TRACKING WITH HER as she walks away, further and further + until she flashes and the roar are far behind her, and she + is till walking, determined. + + CUT TO: + + +261 INT. IMAGING SHACK - KELDYSH 261 + + Old Rose sits with the group in the Imaging Shack, lit by + the blue glow of the screens. She holds the hair comb with + the jade butterfly on the handle in her gnarled hands. + + BODINE + We never found anything on Jack. + There's no record of him at all. + + OLD ROSE + 189. + + + No, there wouldn't be, would there? + And I've never spoken of him until + now, not to anyone. + (to Lizzy) + Not even your grandfather. A + woman's heart is a deep ocean of + secrets. But now you all know there + was a man named Jack Dawson, and + that he saved me, in every way that + a person can be saved. + (closing her eyes) + I don't even have a picture of him. + He exists now only in my memory. + + CUT TO: + + +262 EXT. OCEAN FLOOR - TITANIC WRECK 262 + + The Mir submersibles make their last pass over the ship. We + hear Yuri the pilot on the UQC: + + YURI + Mir One returning to surface. + + The sub rises off the deck of the wreck, taking its light + with it, leaving the Titanic once again it its fine and + private darkness. + + CUT TO: + + +263 EXT. KELDYSH DECK 263 + + A desultory wrap party for the expedition is in progress. + + There is music and some of the (co-ed) Russian crew are + dancing. Bodine is getting drunk in the aggressive style of + Baker Joughin. + + Lovett stands at the rail, looking down into the black + water. + + Lizzy comes to him, offering him a beer. She puts her hand + on his arm. + + LIZZY + I'm sorry. + + LOVETT + We were pissin' in the wind the + whole time. + 190. + + + Lovett notices a figure move through the lights far down at + the stern of the ship. + + LOVETT + Oh shit. + + CUT TO: + + +264 EXT. KELDYSH STERN DECK 264 + + Rose walks through the shadows of the deck machinery. Her + nightgown blows in the wind. Her feet are bare. Her hands + are clutched at her chest, almost as if she is praying. + + ON LOVETT AND LIZZY running down the stairs from the top + deck, hauling ass. + + ROSE reaches the sern rail. Her gnarled fingers wrap over + the rail. Her ancient footsteps up on the gunwale. She + pushes herself up, leaning forward. Over her shoulder, we + see the black water glinting far below. + + LOVETT AND LIZZY run up behind her. + + LIZZY + Grandma, wait!! Don't-- + + ROSE TURNS her head, looking at them. She turns further, + and we see she has something in her hand, something she was + about to drop overboard. + + It is the "Heart of the Ocean". + + Lovett sees his holy grail in her hand and his eyes go + wide. + + Rose keeps it over the railing where she can drop it + anytime. + + ROSE + Don't come any closer. + + LOVETT + You had it the entire time?! + + FLASH CUT TO: A SILENT IMAGE OF YOUNG ROSE walking away + from Pier 54. The photographers' flashes go off like a + battle behind her. She has her hands in her pockets. She + stops, feeling something, and pulls out the necklace. She + stares at it in amazement. + + BACK ON KELDYSH, Rose smiles at Brock's incomprehension. + 191. + + + ROSE + The hardest part about being so + poor, was being so rich. But every + time I thought of selling it, I + thought of Cal. And somehow I + always got by without his help. + +She holds it out over the water. Bodine and a couple of the +other guys come up behind Lovett, reacting to what is in +Rose's hand. + + BODINE + Holy shit. + + LOVETT + Don't drop it Rose. + + BODINE + (a fierce whisper) + Rush her. + + LOVETT + (to Bodine) + It's hers, you schmuck. + (to her) + Look, Rose, I--I don't know what to + say to a woman who tries to jump + off the Titanic when it's not + sinking, and jumps back onto it + when it is-- we're not dealing with + logic here, I know that--but + please--think about this a second. + + ROSE + I have. I came all the way here so + this could go back where it + belongs. + +The massive diamond glitters. Brock edges closer and holds +out his hand. + + LOVETT + Just let me hold it in my hand, + Rose. Please. Just once. + +He comes closer to her. It is reminiscent of Jack slowly +moving up to her at the stern of Titanic. + +Surprisingly, she calmly places the massive stone in the +palm of his hand, while still holding onto the necklace. +Lovett gazes at the object of his quest. An infinity of +cold scalpels glint in its blue depths. It is mesmerizing. +It fits in his hand just like he imagined. + 192. + + + LOVETT + My God. + + His grip tightens on the diamond. + + He looks up, meeting her gaze. Her eyes are suddenly + infinitely wise and deep. + + ROSE + You look for treasures in the wrong + place, Mr. Lovett. Only life is + priceless, and making each day + count. + + His fingers relax. He opens them slowly. Gently she slips + the diamond out of his hand. He feels it sliding away. + + Then, with an impish little grin, Rose tosses the necklace + over the rail. Lovett gives a strangled cry and rushes to + the rail in time to see it hit the water and disappear + forever. + + BODINE + Aww!! That really sucks, lady! + + Brock Lovett goes through ten changes before he settles on + a reaction. HE LAUGHS. He laughs until the tears come to + his eyes. Then he turns to Lizzy. + + LOVETT + Would you like to dance? + + Lizzy grins at him and nods. Rose smiles. She looks up at + the stars. + + +265 EXT. THE BLACK HEART OF THE OCEAN 265 + + The diamond sinks, twinkling end over end, into the + infinite depths. + + CUT TO: + + +266 INT. ROSE'S CABIN - KELDYSH 266 + + A GRACEFUL PAN across Rose's shelf of carefully arranged + pictures: + + Rose as a young actress in California, radiant, a + theatrically lit studio publicity shot. Rose and her + husband, with their two children. + 193. + + + Rose with her son at his college graduation. Rose with her + children and grandchildren at her 70th birthday. A collage + of images of a life lived well. + + THE PAN STOPS on an image filling frame. Rose, circa 1920. + + She is at the beach, sitting on a horse at the surfline. + The + + Santa Monica pier, with its rollercoaster is behind her. + She is grinning, full of life. + + We PAN OFF the last picture to Rose herself, warm in her + bunk. A profile shot. She is very still. She could be + sleeping, or maybe something else. + + CUT TO BLACKNESS: + + +267 EXT. OCEAN UNDERWATER 267 + + THE WRECK OF TITANIC looms like a ghost out of the dark. It + is lit by a kind of moonlight, a light of the mind. + + We pass over the endless forecastle deck to the + superstructure, moving faster than subs can move, almost + like we are flying. + + WE GO INSIDE, and the echoing sound of distant waltz music + is heard. The rust fades away from the walls of the dark + corridor and it is transformed. + + WE EMERGE onto the grand staircase, lit by glowing + chandelier. The music is vibrant now, and the room is + populated by men in tie and tails, women in gowns. It is + exquisitely beautiful. + + IN POV we sweep down the staircase. The crowd of beautiful + gentlemen and ladies turn as we descend toward them. At the + bottom a man stands with his back to us, he turns and it is + Jack. Smiling he holds his hand out toward us. + + IN A SIDE ANGLE Rose goes into his arms, a girl of 17. The + passengers, officers and crew of the RMS Titanic smile and + applaud in the utter silence of the abyss. + \ No newline at end of file diff --git a/scripts/Toy Story 2.txt b/scripts/Toy Story 2.txt new file mode 100644 index 0000000000000000000000000000000000000000..0d3a88c4b056f8fba4b8ed81ad00a2e54058f12b --- /dev/null +++ b/scripts/Toy Story 2.txt @@ -0,0 +1,4345 @@ + 1. + + + + BEGIN TITLES OVER: + + A futuristic city on a distant planet. A KIDNAPPED SPACE + PRINCESS is tied up helplessly on a giant venus fly trap. + Our POV hurries toward the princess, jumping barriers and + swinging on ropes through the sci-fi setting, until... + + EMPEROR ZURG + (very tinny) + Prepare to die, Buzz Lightyear! + + EMPEROR ZURG leaps into frame, brandishing his ION BLASTER + GUN. + + WIDEN TO REVEAL + + +1 INT. ANDY'S ROOM - MORNING 1 + + It's a video game on a TV screen. The image looms above us + like an Imax movie, but down at the very bottom we see the + small silhouette of BUZZ LIGHTYEAR sitting in front of the + TV, playing the game. Buzz holds a huge joystick. + + Buzz starts shooting back. Two more silhouettes shaped like + REX and HAMM hurry in front of the TV. + + HAMM + Uh-oh, that pesky Zurg character. + Use your time warp cannon! + + REX + Really? I would use my terillium + shield. + + BUZZ + (proudly) + I'll de-moleculize him with my + antimatter phaser. + + Hamm tries to grab the joystick. + + HAMM + No! Buzz Lightyear wouldn't do + that. + + BUZZ + I ajn Buzz Lightyear! + + Zurg starts FIRING the blaster at us. Rex shakes Buzz. + + REX + 2. + + + He's attacking. Buzz, do something! + + BUZZ + (calls o.s.) + Woody, tell these guys I know what + I'm doing. + +PAN OVER TO REVEAL + +Woody stands on the shelf next to the TV. On his doodle +pad. + +Woody has drawn a makeshift calendar, with a few days left +to go until the day marked, "CAMP OVER - ANDY BACK!" Woody +crosses off another day, props the pad against a book so +the room can see it. + + WOODY + Guys, next time I'm stranded on an + alien planet, there's no one I'd + rather have lead the rescue party + than Buzz Lightyear... + +As Woody speaks, he sees something through Andy's window. +For a split second Mrs. Davis walks by carrying a few +items, including what might have been a "GARAGE SALE" sign— +she's gone before Woody can tell. Woody mouths the words +"GARAGE SALE?" + +There's a HAMMERING NOISE outside. Woody looks worried. He +scopes out the room; across the room is the window, and a +dresser in front of it. In b.g. we hear a CASIO WINNING +FANFARE. + + REX (O.S.) + High score! You did it. Buzz! + + HAMM (O.S.) + Way to go, Super Buzzio! + + WOODY + (to other toys o.s.) + See you later, guys. Gotta check + something out. + +Woody hops down to the floor and starts heading for the +window. + +Slinky approaches. In b.g. other toys play rambunctiously. + + SLINKY + Howdy, Woody! Andy coming home + today? + 3. + + + WOODY + Three more days. Slinky; Hey Slink, + checkers at four o'clock? + +Slinky looks up nervously. + + SLINKY + Where? Where? + + WOODY + (laughs) + Good one, Slink. + +Woody walks away; Slinky continues to look around +nervously. + +Woody salutes as he approaches Sarge, who leads the ALIENS +as they try to march in place. The Aliens SQUEAK out of +unison. + + SARGE + Hut, hut, hut! Let's move it! + + WOODY + Lookin' good, Sarge. The few, the + proud... the Aliens! + (he laughs at his own + joke) + Hey Sarge, where's the regular + army? + + SARGE + Sir, the men are on leave, Sir! + +Sarge motions to SEE 'N SAY. The GREEN ARMY MEN (in +hawaiian shirts) are gathered around, using See 'N Say as a +roulette wheel and CHEERING. + + WOODY + Great, Sarge. Keep that morale up. + +Woody walks by Rex, who's holding MIKE'S mike, reading from +a book to a group of LITTLE TYKES. As Rex reads, he gets +more carried away, shouting more passionately with every +word. + + REX + "See Dick! See Dick run!" Oh no! + "Run, Dick, run!" I can't go any + further! The suspense is killing + me! + (sees Woody) + 4. + + + Woody! Care to join us for a book + discussion group? + + WOODY + Later, Rex. I've got some business + to check on... + +Rex and Woody are distracted by a loud KISSING NOISE. + + WOODY + (smiles) + Uh oh, turn your heads, Little + Tykes. They're at it again! + +Woody looks toward a DOLL HOUSE. MR. and MRS. POTATO HEAD +stand in the side "yard," smooching like two lovebirds. + + POTATO HEAD + (syrupy-sweet voice) + Aww, who's my widdle tater tot? + + MRS. POTATO HEAD + Ooh, you're my itty bitty wuv spud. + +Woody gets a silly grin, then continues on. + +HOLD ON DOLL HOUSE + +Mr. and Mrs. Potato Head finish kissing. His lips are stuck +to hers. He pulls them off and reattaches them. Hamm +approaches. + + HAMM + Hey, Spudhead, feel like catching + the Rock'em Sock'em robot fight? + + POTATO HEAD + Not today, Hamm. Got to finish the + deck. + +Mr. Potato Head puts a couple of Legos on the deck. + + HAMM + Oh I get it. Missis doesn't want + you going out. + + POTATO HEAD + Hey, i wear the skin in the family! + + HAMM + Really? Howabout tomorrow then? + + POTATO HEAD + 5. + + + Sorry. Building the wife a redwood + hot tub. + +He points to a can of Lincoln Logs. Hamm shrugs, exits. As +he leaves... + + HAMM + (under breath) + Man, that is one whipped potato. + +ANGLE ON THE TOP OF ANDY'S DRESSER + +Woody climbs onto the top. He starts to peer out the +window, but BO PEEP pulls him back with her crook. + + WOODY + Bo? Why'd you do that? + + BO PEEP + So I could do this. + +She leans Woody back out of frame to KISS him. As Woody's +legs rise up into frame, we see a thread in his pants catch +on a loose screw on the dresser. The thread RIPS, but +Woody's too distracted to notice. + + BO PEEP + That's for doing such a good job + keeping the toys happy while Andy's + been away. + + WOODY + (dazed) + Howuzzah... ishkabibble... + + BO PEEP + If you need me, Sheriff, you know + what to do. Just give me a ring. + +She suggestively removes a ring from the ring toss pole, +and rolls it to Woody's feet. Woody stares stupidly at the +ring, then snaps out his daze and turns around to look out +the window. + +He sees Mrs. Davis hammering a sign into the ground. The +sign reads MGARAGE SALE." + + WOODY + (sighs) + Great... This is the last thing the + toys need. + + REX (O.S.) + 6. + + + Hey Woody! + +Woody turns around, sees Rex is coming. Woody panics and +yanks Andy's window shade down, covering the window. Woody +stands there, straining to hold the shade down, trying to +look nonchalant. + + REX + Could you hand me "The Pokey Little + Puppy"?! The Little Tykes are + demanding something more + sophisticated. + +Laying on the dresser is the book, "The Pokey Little +Puppy." + +Woody stretches to reach the book with his hand, while +holding the shade down by placing his feet on the shade's +pullring. He hands Rex the book, smiling nervously. + + REX + Woody? Are you hiding something + behind that shade? + + WOODY + Me? What? Never! Why, who ever + heard of anything so... + +THWIPP-P-P! The shade pulls up, yanking Woody up with a +FLAP FLAP FLAP. The other toys in the room stop playing and +watch as Woody lands in a heap on the bed. He jumps up, +composes himself. + + WOODY + Not a problem! I'm fine! Keep on + playing! + +Rex examines the window. + + REX + Why Woody, there's nothing back + here to hide at all. I don't see + anything except for a sign that + says... GARAGE SALE! + + HAMM + Garage sale?! + + SLINKY + Garage sale! + 7. + + +Panic breaks out. The Little Tykes hop in the toy chest and +SLAM the lid. The SHEEP hide under Bo Peep's skirt. Mrs. +Potato Head runs into her doll house and shuts all the +windows. Woody hops down to the floor. + + WOODY + Everyone, calm down. It's just a + garage sale... + + POTATO HEAD + Garage sale? That's worse than + being given to the puppy! + + WOODY + Come on, there's no need to worry. + + REX + Strangers poking and prodding at my + soft underbelly—how humiliating! + + WOODY + Rex! No one is going to get poked! + + HAMM + Sure, sell the kid's toys when he's + away at camp! He'll be in therapy + for life! + + WOODY + Everyone, quiet! + (the toys settle down) + Relax. None of us are going to the + garage sale. Mom wouldn't sell any + of us with Andy away at camp! + Besides, garage sales are only for + old toys. + + POTATO HEAD + Woody's right. We shouldn't be + worried. He should! He's the oldest + toy around here. Woody's + practically an antique! + + WOODY + Oh, I am not an antique! + +As Woody gestures to make his point, the ripped stitch +POPS. + +Woody looks down, sees some stuffing is coming out of his +pants. + + REX + 8. + + + Don't worry, Woody. Just because + you're falling apart, that doesn't + change how much we love you. + + WOODY + Hey, I am not falling apart! I've + just been... heavily loved. + + Woody tries to act cool as he kicks the stuffing back in + his pants. + + HAMM + Hmm, fiberurethane. Now that's + quality plush fill. Course it's + been banned since the seventies... + + WOODY + Alright! Now if you'll excuse me, + I'm going out for a little rest, + relaxation... + (stuffing comes out + again) + ...and restuffing. + + Woody climbs onto Andy's bed. He hops up and sits on the + windowsill, his feet dangling out the open window over the + garage roof. Woody stews as he shoves the stuffing back in. + + WOODY + (muttering as he + restuffs) + Antique! We'll see who's falling + apart. Just cause a fellah looses a + little bit of his insides... I'm + just more "mature," that's all... + + Woody stares out the window over the suburban landscape. + + Everything is quiet, except the pleasant chirping of birds. + + Woody takes a deep breath, relaxes. He hops down onto the + top of the garage roof. + + +2 EXT. GARAGE ROOF - CONTINUOUS 2 + + Woody stands on a shingle, stretches his legs. + + WOODY + Ahhh. Finally a little peace and + quiet. Nothing to bother me up here + on the... + 9. + + + As Woody shifts his weight, the shingle he's standing on + cracks and starts to slip. + + WOODY + ...Whoa... Whaaah!... + + The shingle slips loose and Woody slides down the roof + slope as if he were on a toboggan. He tries to stop the + shingle with his boot, but to no avail. + + +3 INT. ANDY'S ROOM - CONTINUOUS 3 + + Andy's toys see Woody sliding down the roof. They stop + their playing and run up to the window sill, concerned. + + +4 EXT. DRIVEWAY - CONTINUOUS 4 + + Woody plummets off the garage roof and WHUMP!, lands in a + cardboard box on a table. The box is full of junk. Woody + stumbles to his feet, a lampshade perched on his head. + + +5 INT. ANDY'S ROOM - CONTINUOUS 5 + + The toys LAUGH. + + +6 EXT. DRIVEWAY - CONTINUOUS 6 + + Woody looks up, sees the toys laughing at him in Andy's + window. + + He throws the shade down, crosses his arms, stands there + fuming. + + Just then an ominous shadow approaches from behind. Woody + goes limp, falling back into the box. + + A man's stubby hand reaches down and grabs Woody. The MAN + holds Woody to his face and examines him. + + +7 INT. ANDY'S ROOM - CONTINUOUS 7 + + The toys stop laughing. They GASP. + + +8 EXT. DRIVEWAY - CONTINUOUS 8 + + The man SQUEALS with delight. + 10. + + + THE MAN + A Woody! A genuine 1958 Woody with + original hat! + + He calms himself, then picks up other items and carries + them to Mrs. Davis. + + THE MAN + (fake nonchalant) + I want this clock radio, these Abba + eight-tracks and er... this junky, + worthless, old, cowboy thingy. + (weasely grin) + + MRS. DAVIS + Woody? What's he doing down here? + He's not for sale. + + She takes Woody out of the man's hands. + + THE MAN + Come on, it's a garage sale, lady. + I found that thing fair and square. + It's not for me. I want it for my + poor bedridden son, er... + (glances at "Philco" + radio) + Phil. My son Phil. + + MRS. DAVIS + Sorry, that's my boy's favorite + toy. I couldn't sell him. + + The man frowns, eyes Woody menacingly. He looks around, + sees Andy's old skateboard is under the table. At the end + of the table is a floor lamp. He furtively pushes the + skateboard with his foot. It rolls into the lamp, knocking + it over with CLATTER. + + MRS. DAVIS + Oh, what now? + + Distracted, Mrs. Davis puts Woody on a chair by the cash + box and walks over to pick up the lamp. The man grabs Woody + and scurries to his car. + + +9 INT. ANDY'S ROOM - CONTINUOUS 9 + + The toys are in shock. + + POTATO HEAD + Hey! Chubby's stealing our Sheriff! + 11. + + + REX + Come back with Woody, you, you... + toynapper! + + Buzz grabs LENNY, looks through. + + BUZZ'S POV THROUGH BINOCULARS + + The man jumps into his car. As he speeds off. Buzz focuses + on the license plate: "LZTYBRN." + + BUZZ (V.O.) + "L-Z-T-Y-B-R-N?" + + Buzz shakes his head, can't figure it out. The toys stand + at the window sill, watching as the car drives out of + sight. + + BO PEEP + Woody! + + CUT TO: + + +10 INT. ANDY'S ROOM - NIGHT 10 + + All the toys (except Buzz) are gathered around one of + Andy's drawings of Woody. It's a Woody wake. + + The Green Army Men line up in shooting formation. + + SARGE + Fire! + + They pull their triggers for a twenty-one plastic gun + salute. + + GREEN ARMY MEN + (not in unison) + Bang! + + All of the toys hang their heads as ROBOT bangs out '•Taps" + on a Playskool xylophone. The SHRINER TYKES drive by in + their little cars? one shriner leaves the pack, forming a + "missing man" formation. + + Bo Peep steps up to the Woody drawing. + + BO PEEP + I think it'd be nice if we each + said a little something about what + Woody meant to us. + 12. + + +Slinky steps up. + + SLINKY + I#m not good at speeches. But + Woody... I'll never play checkers + without thinkin' how you always let + me triple jump ya. + (looks at drawing) + I'll miss ya, pal. + +Mr. Potato Head steps up to the drawing. + + POTATO HEAD + The man was a saint1 There was + never a moment when I didn't show + the utmost respect for him! + (tears up) + Excuse me. Must've put on the + wife's eyes on this morning by + mistake! + +Mr. Potato Head pulls off his eyes and replaces them with +Mrs. Potato Head's. Mrs. Potato Head tears up, blows her +nose with a handkerchief. When she pulls the handkerchief +away, her nose is still in it. + +Rex steps up to the drawing. + + REX + For those who need it, I'll be + leading crisis counseling after the + ceremony... + (blubbers) + Woody! We never even got to say + goodbye! + +Rex is carried away with emotion. He runs off hysterical. + + HAMM + Guess today's crisis session is + canceled. + + BO PEEP + Buzz, any thoughts to share about + Woody?... Buzz? + +She notices Buzz is not there. + + WHIP PAN TO: + +Buzz paces back and forth in front of Etch, deep in +thought. + 13. + + +Written on Etch's screen are the giant letters: LZTYBRN. +Buzz stares at the screen, scratches his chin. + + BUZZ + Try the "l-z" combination. + +REVEAL Buzz is talking to Mr. Spell. + + MR. SPELL + Lazy Toy Brain... Lousy Tie, + Bernie... Lou's Thigh Burns... + Lance To Your Brain... + + BUZZ + Blast! This is going in circles. + +Buzz slumps in frustration. + + MR. SPELL (O.S.) + Al's Tea Burned... Al's Toy Barn... + +Buzz straightens up. His eyes go wide. He spins around at +Mister Spell. + + BUZZ + Al's Toy Barn! + + MR. SPELL + That is correct. + +BACK TO WAKE + +Buzz marches by the wake, looking ultra-determined. + + BO PEEP + Buzz, you're missing the service. + Where're you going? + + BUZZ + I'm going to bring Woody home. + + SLINKY + From where?! + +Buzz points to Mr. Spell. His screen still reads "Al's Toy +Barn." + + BUZZ + Al's Toy Barn. The man who stole + Woody was Al! + + ALL TOYS + 14. + + + WHAT?! + + HAMM + Al's Toy Barn? The fat guy from the + TV commercials? + + POTATO HEAD + (makes crazy gesture) + Someone's been sitting too close to + the video game! + + BUZZ + Woody saved my life once—and he's + too young to be tossed into the + toybox just yet. + + Buzz starts toward Andy's window. + + SLINKY + Me neither! Take me with ya, Buzz! + + REX + Me too! I want to rescue Woody! + + BUZZ + Alright. We'll begin our mission in + five minutes. With any luck we'll + be home tomorrow morning. + + Hamm looks to Mr. Potato Head. + + HAMM + Up for a road trip, Spudhead? + + POTATO HEAD + Me? And leave my little french fry? + + MRS. POTATO HEAD + You should go, sweet potato. If you + want to make me happy... bring + Woody back home. + + HAMM + Yeah, "Sweet Potato." + + POTATO HEAD + Alright then. + (attaches his moustache) + A spud's gotta do what a spud's + gotta do. + + +11 EXT. WINDOW/GARAGE ROOF - CONTINUOUS 11 + 15. + + + The toys slip out of Andy's window and hop down to the + roof. + + Buzz leads the toys to the top of an ivy trellis. Buzz + grabs on. + + BO PEEP (O.S.) + Buzz, wait! + + Bo Peep runs onto the roof, leans down and gives Buzz a + kiss. + + Buzz is stone faced. + + BO PEEP + That's for Woody when you see him. + + BUZZ + I'll pass it on... but I doubt + he'll enjoy it coming from me. + + Buzz looks out at the suburban landscape. Houselights + twinkle. + + BUZZ + To Al's Toy Barn... and beyond! + + Buzz leads the toys down the ivy trellis as we... + + DISSOLVE TO: + + An imposing high-rise apartment building in a large city. + The "LZTYBRN” car parks in front of the high-rise. A1 steps + out, carrying Woody. He enters an outdoor elevator. + + +12 INT. AL'S APARTMENT - FRONT ROOM - MOMENTS LATER 12 + + It's a penthouse decorated with framed covers of business + magazines featuring Al's picture, a collection of Pez + dispensers, and a wall of framed photos... all of various + toys. + + A1 enters, carrying Woody. He WHISTLES and tries to act + nonchalant, which only makes him appear suspicious. As soon + as he closes the door behind him... + + AL + Yes! Yes! Yessss! A genuine first + edition Woody! + + Al does a little victory dance around the apartment. + 16. + + + A1 stops dancing and stares at Woody lovingly. + + AL + At last! The mother lode! + (ala conga) + Woody, Woody, Woo-dee! + + A1 dances into another room. + + +13 INT. AL/S APARTMENT - WORK ROOM - CONTINUOUS 13 + + Woody is carried across the room, rimmed with floor-to- + ceiling shelves full of boxes. The boxes have labels such + as "Captain Platypus," "Dinky Doodle's Playhouse," and + "Rococco The Clown." + + Woody is carried toward a workbench. Protruding from the + bench is a big clamp. A1 puts Woody on the workbench and + clamps his head into a fixed position. + + WOODY'S POV + + Operating room style lights blare down from overhead. + + A1 stares down into Woody's eyes. A1 holds up a q-tip, then + dips it in a jar bearing a skull and crossbone and label: + "DANGER: CORROSIVE!" + + A1 grins and slowly lowers the dripping Q-tip right into + Woody's eyes. The Q-tip SQUEAKS as grime is painstakingly + rubbed off of Woody's eyes. + + Next A1 holds up a WHIRRING buffing wheel. Then he applies + the buffing wheel to Woody's face. + + Finally A1 puts down the buffer and holds up a gleaming + metal dentist's hook. He dips the hook a test tube of + liquid plastic bubbling over a bunsen burner. A drop of + molten plastic dangles from the instrument. A1 applies it + menacingly to Woody's forehead. + + ANGLE ON WOODY + + We see that A1 is repairing the burned indentation in + Woody's forehead. Woody looks brand new, shiny as a waxed + apple. + + A1 stands up, admires Woody. He goes to the shelf and pulls + off marked "Woody's Roundup." A1 carries Woody and the box + into... + 17. + + +14 INT. AL'S APARTMENT - DISPLAY ROOM - CONTINUOUS 14 + + A1 enters, places three toys from the box—a HORSE, and old + PROSPECTOR DOLL, and a CACTUS—along with Woody, on cushy + display pillows. He exits. WIDEN to reveal this is a + spartan, pristine room full of polished glass displays. + Woody frantically looks around for an exit. + + SRTA. CACTUS + (whispers to Prospector) + It's Woody! Someone introduce me. + How's my sheen? Am I shiny enough? + + PROSPECTOR + (country club accent) + You look positively near mint! + + SRTA. CACTUS + (similar accent) + Hey, I am mint! You're the one + who's near mint! + + PROSPECTOR + Pish posh! So I've been touched by + human hands! At least I still have + my original box! + + Woody happens to look in their direction. + + PROSPECTOR + Woody, old bean! + + SRTA. CACTUS + Welcome to the club, sport. + + BULLSEYE (THE HORSE) + (down home accent) + Put 'er there, pal! + + Bullseye holds out a hoof for Woody to shake. Woody stares + at them in shock. + + WOODY + I'm outta here. + + Woody turns and bolts. + + PROSPECTOR + (to Bullseye) + Now you've done it! You've scared + him away with your non-mint hoof! + 18. + + +Woody runs for the door, slipping around on the super- +polished floor. Woody tries the door; it's shut tight. + + WOODY + Come on, guys, help me get outta + here? + + PROSPECTOR + Get out? Whatever for? + +Woody runs to the window, starts trying to open it. It +won't budge. Then Woody looks out the window and is +terrified by what he sees: a huge expanse of city twenty +stories below. Andy's house is nowhere in sight. + + WOODY + (practically crying) + Andy! Andy! + + PROSPECTOR + Who's this Andy chap? + + SRTA. CACTUS + Perhaps he was Woody's former + collector. + + WOODY + He's the kid who plays with me. + + PROSPECTOR + Plays with? Ghastly! + + WOODY + What's "ghastly" about it? I'm a + toy just like you. + + PROSPECTOR + A toy? Watch your language! + + SRTA. CACTUS + We are not "toys." We prefer to be + thought of as "Collectibles." + + WOODY + Uh huh. And I prefer to think of + you as "loonies." + + BULLSEYE + Fellahs, I don't think he knows + he's a collector's item. + + SRTA. CACTUS + (realizing) + 19. + + + Oh of course! He's been played with + —corrupted by a kid! + +They hop down from the display, walk over to Woody. + + PROSPECTOR + Now see here, Woody. This escaping + fiddle faddle has got to stop now. + + SRTA. CACTUS + Let's get one thing clear. You're + not going to be played with any + more. + + PROSPECTOR + You're a collector's item now. + You've graduated to a whole new + plane of toy existence. + + WOODY + Right. And you've graduated from + "loony” to "total nutcase." + +Woody starts to walk away. The Prospector grabs Woody by +the shoulder, turns Woody around. + + PROSPECTOR + Old boy, do you know how long we've + been waiting for you?! You're the + centerpiece of the "Woody's + Roundup" collection! Look. + +WOODY'S POV - SCANNING THE DISPLAY + +A lunchbox with Woody's face on it. An old lp with Woody's +face on the sleeve. A board game box with Woody and +Bullseye on it, etc. + +Towering over the display is a massive antique poster +advertising a fifties TV kids show. The poster depicts +Woody riding on Bullseye, with the Prospector and Senorita +Cactus standing nearby. The poster reads "DuMont Network +presents... Woody's Roundup." + + SRTA. CACTUS + Congratulations, boy. You're a + star! + + PROSPECTOR + You're not a toy anymore. You're + one of us now. + + WOODY + 20. + + + (overwhelmed gurgle) + Harrrghumph... + + Woody faints, falls on his face. + + SRTA. CACTUS + He scuffed his sheen! + + PROSPECTOR + Get the buffer! + + CUT TO: + + MONTAGE TO FOLLOW - EN ROUTE TO AL'S TOY BARN + + Buzz leads the toys on a trek to Al's Toy Barn. Through a + series of mishaps and bad decisions, one by one the toys + lose faith in Buzz, until at last Buzz loses faith in + himself. Buzz wonders why he ever thought a mere toy could + journey across town. + + CUT TO: + + +15 INT. AL'S APARTMENT - DISPLAY ROOM - DAY 15 + + Woody is lying on the floor, his arm stretched under the + door.. He's tied his belt and bandanna into a lasso. He + slips his arm under the door, and GRUNTS as he tries to + lasso the doorknob overhead. With each failed attempt, + Woody gets more and more downhearted. Bullseye comes over, + starts nonchalantly tossing his horseshoe. + + BULLSEYE + (covert code) + So... I see we have... similar + interests. + + Woody misses with the lasso again. + + WOODY + Similar?! I'm not some + ‘•collectible” who hates being a + toy. I'm nothing like you! + + BULLSEYE + (looks around; the coast + is clear) + You're everything like me. I liked + being a toy. I was played with, + too, back in the fifties. + + WOODY + 21. + + + What? You?... + (warms up) + Sorry. Put er there, pal! + +Woody uses his free hand to shake with Bullseye. + + BULLSEYE + Yep, just like you, I was. The + birdman of Al's apartment. Fifty + four escape attempts at the window, + hundred and twenty seven at the air + vent, and... + (proudly) + two hundred and eighty four + attempts to lasso the doorknob like + you're doing. I've been here a long + time. Woody, and if there's one + thing I've learned, it's that... + +Woody tosses the lasso up to the doorknob. CLICK. Woody +brightens and pulls hard on the door. It doesn't open, and +WHAM! + +Woody yanks himself headfirst into the door. + + BULLSEYE + ...that door's deadbolted. + + WOODY + (deadpan) + Thanks. + + BULLSEYE + Woody, don't be a darn fool. I + spent years wishing I could break + out, and all I got was a broken + heart. + (perks up) + Besides, life here ain't that bad. + A1 treats us well. Prospector and + Senorita Cactus... they've got + their good points... + + WOODY + What good points?! + + BULLSEYE + (thinking hard) + Er... They're very shiny... The + cactus isn't that prickly... The + Prospector has good diction... + (defensive) + 22. + + + Well, it could be worse! I could + still be stuck in that moldy box. + + Woody sits down, despondent. He's staring up at something. + + BULLSEYE + Yep, the more I tried to escape, + the more I learned that you don't + escape from Al's. + + WOODY + Bullseye... What do you know about + that skylight up there? + + BULLSEYE + I know... that you've got some + learnin' to do. Good luck, friend. + + Bullseye smiles at Woody, walks away. + + CUT TO: + + +16 EXT. ROADSIDE - DAY 16 + + Andy's toys despondently trudge along. Buzz drags behind. + + REX + I can't take any more of this! I'm + allergic to failure! + + POTATO HEAD + (quoting Hamm + sarcastically) + "Up for a road trip, Spudhead? + It'll be a lot of laughs..." + + The toys come upon a wide stretch of highway. Cars WHOOSH + by on four lanes. It looks dangerous. + + SLINKY + Now what do we do, Buzz? + + POTATO HEAD + Don't ask him. He got us into this + whole mess. He's blown everything. + + SLINKY + Quit pickin' on Buzz. He's doing + the best he can... I think. + + BUZZ + 23. + + + No, Potato Head's right. I had no + business trying this. I don't even + know where we are. Maybe we should + turn around... + +Hex looks up. Between the flow of cars he sees a shopping +center across the street. In the middle is Al's Toy Barn. + + REX + Al's Toy Barn! Woody! + +Rex doesn't look both ways# he just excitedly starts +running across the road. + + BUZZ + Rex, no! + +The cars barely miss Rex as he gets to the other side. + + BUZZ + Now don't any of you try... + + SLINKY + Road's clear! + + HAMM + Let's go for it! + +Buzz watches Potato Head, Hamm and Slinky dash madly across +the road. Now Buzz is stranded on the side of the highway. +He grits his teeth in frustration. From the other side of +the road he hears... + + SLINKY + Come on over! + + POTATO HEAD + What are you waiting for? + +Buzz starts across the road. Halfway there he looks up and +sees a Buick heading straight for him. + +Buzz freezes, not knowing what to do. As the car WHOOSHES +by, its curb feeler KNOCKS Buzz to the pavement. + +Buzz staggers up, looks at his leg. + + BUZZ + Whuh?! + +Buzz is mortified to see the curb feeler's scratched a +scuff mark deep into his leg. He gets up to move but a line +of cars whiz by in both directions. + 24. + + + REX + Buzz! + + Rex runs back into the road, narrowly avoiding the traffic. + He grabs Buzz and drags him to the other side. + + SLINKY + Ya made it! + + HAMM + Close call, there. You could've + been a Space Ranger pancake. + + BUZZ + (to self) + Space Ranger? I'm just a toy! What + am I doing out here? + + REX + (re: Toy Barn) + Buzz is right. What are we doing + out here? Woody's in there! + + The toys WALLAH IN CELEBRATION, and rush toward the + superstore. + + Buzz watches the toys run toward Al's, but doesn't feel + like celebrating. After a beat, he trudges toward Al's Toy + Barn, a defeated toy. + + CUT TO: + + +17 INT. AL'S APARTMENT - DISPLAY ROOM - LATER 17 + + Woody has stacked a bunch of "Woody's Roundup" + paraphernalia— lunchboxes, board games, bookbags, thermi, + books, etc—into a very rickety stack leading to the + skylight. Woody is climbing, carrying a book, "Woody's Book + of Phonics." + + Bullseye watches as Woody climbs higher and higher. The + Prospector and Senorita Cactus are playing chess, their + backs to Woody. They don't see the escape attempt. + + Woody reaches the top. The skylight is right above his + head. + + Woody places the book on top. Now the stack reaches right + up to the skylight. + + WOODY + (sotto, as he climbs) + 25. + + + Hah! "No one's ever escaped Al's." + That was before A1 messed with ma! + +Woody hops on top of the book, pushes against the skylight. +It won't budge. + + WOODY + (panicky) + No, no... This can't be happening. + +Woody POUNDS on the skylight. The stack starts to quake. + +Bullseye runs for cover as the bottom falls out. The stack +topples over with a CRASH, sending Woody flying. + +The Prospector and Senorita Cactus are startled. They look +up from their game, see Woody staggering out of the pile in +a daze. + + PROSPECTOR + Not another escape attempt. How + tedious. + + SRTA. CACTUS + I'll say one thing for him, he's + got guts. + (pause) + I hate guts. + + PROSPECTOR + Senorita, we've got to find a way + to break him. + + SRTA. CACTUS + Break him? He'll be worth a lot + less if we do that. + + PROSPECTOR + I mean his spirit. As long as he + pines for... + (nauseous) + "being played with," he'll escape + and it's back to the box for sure. + But I, oh prickly one, have a + devilish idea... + +Woody sits despondently on his pile of merchandise. + + WOODY + Who am I fooling? This is hopeless. + (.to skylight) + So long, Andy. + 26. + + +Woody puts his head in his hands. The Prospector and +Senorita Cactus walk up behind him. + + PROSPECTOR + Woodrow, old chum, are you still + pining for those unsophisticated + baubles? + + WOODY + You mean my friends? + + PROSPECTOR + Woody, old bean, those tasteless + trinkets obviously didn't + appreciate the value of a true + antique like yourself... + + WOODY + Don't call me that! + + SRTA. CACTUS + What? Antique? Why, you say that + like it's a bad thing! The Mona + Lisa and Ming vases are antiques. + People treasure them! + + WOODY + Andy treasured me. + + SRTA. CACTUS + How quaint. That's what Bullseye + thought. + + PROSPECTOR + Bullseye, why don't you tell Woody + about when you were "played with?" + +Bullseye looks away, embarrassed. + + PROSPECTOR + I know why. He's too ashamed! He + had a little boy, just like your + Danny fellow... + + WOODY + Andy. + + PROSPECTOR + ...and you know what he did? He + threw our poor, poor Bullseye away! + One day in 1959, his dad brought + home a .hula hoop. The kid got + hooked... and Bullseye... + 27. + + + (melodramatic) + was never played with again! + +Bullseye hangs his head, slinks away. + + SRTA. CACTUS + Didn't you say Danny, or whatever + his name is... had a... video game? + + PROSPECTOR + Oh my friend, it's already over! + Video games are the hula hoops of + the nineties! Soon he'll discover + comic books, rock and roll, and + finally... + +Senorita Cactus bats her eyelashes in a flirtatious way. +She mimics a kiss. + + SRTA. CACTUS + You're already history, man! + + WOODY + (despairing) + I don't want to hear any more. + +The Prospector smiles, puts his arm around Woody. + + PROSPECTOR + Yes, Cactus, enough of your + depressing drivel dravel. Woody + needs some good news! + +The Prospector opens up a large book titled "Collectible +Toy Blue Book." He peers inside the book. + + PROSPECTOR + Here you go Woody, you're up + fourteen percent this month! + + WOODY + What are you talking about? + + SRTA. CACTUS + Nothing that concerns a mere "toy" + like yourself. We're looking you up + in the price guide. + + WOODY + What price guide? + + PROSPECTOR + 28. + + + The collectible toy price guide. + But you wouldn't want to see how + much you're worth. It'd be too + great a shock. + + WOODY + (interest slightly + piqued) + Let me see. + + PROSPECTOR + Well, if you're sure you can handle + it, I guess so... + + He holds the book up to Woody's face. Woody peeks inside. + + WOODY + I'm worth that much?] + + PROSPECTOR + Oh no, my good man, that's without + your hat. With your hat, you're + worth this much. + (points) + + WOODY + Pull my string! + + Woody can't speak. His head reels, his hat falls off. The + Prospector and Senorita Cactus jump for the hat. + + PROSPECTOR + (snaps fingers) + Cactus, fluff the man's pillows! + + Senorita Cactus rushes over with Woody's pillow, fluffs it. + + Woody leans back on it, stares at his price in the price + guide. + + Woody shows a slightly bemused smile. The Prospector and + Cactus grin devilishly at each other. + + Woody goes back to the merchandise on the floor, blankly + stares at it, looks at the skylight and SIGHS, picks up the + merchandise, and puts it back on the display. + + CUT TO: + + +18 EXT. AL'S TOY BARN - NIGHT 18 + 29. + + + Rex, Potato Head, Hamm, Slinky, and finally Buzz arrive + outside the electric eye door to Al's Toy Barn.’ They run + from the spot that activates the door to the door itself, + but it closes on them. + + They finally leave Slinky's back end at the activation + spot. The door opens, the toys slip in, and they yank + Slinky quickly through the closing door. + + +19 INT. AL'S TOY BARN - CONTINUOUS 19 + + A giant toy supermarket. The lights are dimming. They hear + footsteps. + + REX + Where do we hide? Where do we hide? + + SLINKY + What do you mean, "where do we + hide?" It's a toy store! + + They fall limp as a SECURITY GUARD passes and exits the + building. + + GUARD + (calls) + I'm locking up. Good night, Al. + + The guard turns the main lights off and exits. The toys + scope the place; there's no one around. Al's huge Toy Barn + is a world unto itself. The shelves are skyscraper size, + the lights above are like stars. It's dark and creepy. + Everyone looks up, awestruck at the shelves of lifeless + toys in boxes. + + SLINKY + This place is giving me the + willies. + + REX + You think Woody's up there? I hope + we don't have to open all those + boxes. + + SLINKY + Al sure has a big bedroom! + + HAMM + What are you talking about? This + isn't his bedroom! That's his + bedroom! + 30. + + +Hamm points to an ajar office door that reads "President's +Office." There's a light coming from the office. + + REX + I bet he's in there with Woody + playing cowboys and indians. + +Rex, Potato Head, Hamm and Slinky rush toward the office +door. + +Buzz stays behind, staring awestruck up at an aisle. + +AT AL'S OFFICE DOOR + +Rex, Potato Head, Hamm and Slinky hide behind the door and +peek through the crack. Inside, A1 is on the phone. By the +door sits Al's open duffel bag. + + AL + (into phone) + Of course, it's the authentic first + edition Woody. I'll see you at my + condo at five thirty. Bring your + checkbook. + + SLINKY + (sotto) + He doesn't live here! Woody's miles + away! + +Rex grabs a plastic dart gun and some suction cup darts off +the nearby shelf. + + REX + (sotto) + Let's kidnap Al! Give him a taste + of his own medicine! + + HAMM + (sotto) + We can't use that. Get rid of it. + + REX + (sotto) + But it's so pretty! + + POTATO HEAD + (sotto) + Shh, I've got it all figured out. + We get into that bag, and I bet + tubby brings us right home to + Woody! Any problems with mu plan, + Buzz? Buzz? + 31. + + +Buzz isn't with them. + + POTATO HEAD + Now where'd that spaceman get to? + +ANGLE ON BUZZ + +Buzz is awestruck by an aisle full of Buzz Lightyears. They +closely resemble Buzz, except these are newer, flashier +models labeled, "Ultra Buzz Lightyear 2000." + +Buzz looks up at hundreds of identical Ultra Buzz Lightyear +2000s. He sees one on display out of his box. This new Buzz +is shinier, fancier, and has even more buttons than our +Buzz. + +Curious, our Buzz climbs up onto the display and sizes up +the new Buzz. He's about to press one of the new Buzz's +buttons when... + + ULTRA BUZZ + Halt! + +Ultra Buzz grabs our Buzz's index finger. + + BUZZ + (recoils) + HO-YAAAHH! + + ULTRA BUZZ + You're in direct violation of code + zero section seven dash B, stating + all space rangers are to be in + hypersleep until awakened by + authorized personnel. + +Ultra Buzz points to the aisle of Buzzes in their boxes. + + BUZZ + (realizes) + Oh, no... + + ULTRA BUZZ + You're breaking ranks, Ranger. You + could jeopardize the entire + mission... + +Our Buzz rolls his eyes. He mouths along as Ultra Buzz +proudly speaks... + + ULTRA BUZZ + 32. + + + Right now, poised at the edge of + the galaxy, Emperor Zurg has been + secretly building a weapon with the + destructive capacity to annihilate + an entire planet. I alone have + information that reveals this + weapon's only weakness. + +Buzz stares at this Ultra Buzz, seeing his own reflection +in Ultra Buzz's helmet. Ultra Buzz has the same deluded +look in his eyes that our Buzz had when he first "landed" +on Andy's bed. + +For a moment, Buzz considers whether he should say +anything... + + BUZZ + Friend, let me share a little + secret with you. Space Ranger, + you're not a Space Ranger. You're a + toy. + + ULTRA BUZZ + Akkhh! You've been brainwashed by + agents of Zurg! + + BUZZ + (pops open his wings) + Our wings, they're plastic. And our + "lasers”... + +Buzz hits his laser. Ultra Buzz recoils, doing a triple +handspring. + + ULTRA BUZZ + Has your mind been melded?! You + could have killed me, Space + Ranger... or should I say + "traitor." + +Ultra Buzz puts his hand to his laser and points it +menacingly at Buzz. + + ULTRA BUZZ + (into wrist communicator) + Buzz Lightyear to Star Command, + I've got an AWOL Space Ranger... + Why don't they answer? + +Buzz rolls his eyes, starts to walk away. Ultra Buzz is +shocked that Buzz walks away from a laser. + + ULTRA BUZZ + 33. + + + You're coming with me for court + marshal! + +Ultra Buzz lunges at Buzz from the back. They roll around +on the floor. + +They roll into the base of another display, jostling it. An +Emperor Zurg box falls off the display, breaking open on +the floor. An Emperor Zurg doll pulls itself out. + + EMPEROR ZURG + (cartoony villain voice) + Curses! Crashed landed on a hostile + planet! + +Zurg turns and sees the Ultra Buzz. His eyes light up +(literally). + + EMPEROR ZURG + I've got you now, Lightyear. + Prepare to die! + (cheesy evil laugh) + +Zurg pulls an "ion ball blaster" (actually an accessory +filled with tiny nerf balls) from his box, attaches it to +his back. + + ULTRA BUZZ + (to Buzz) + Take cover! He's got a Zurgotronic + Ion Blaster! + +Ultra Buzz pushes Buzz behind Zurg's box. Zurg begins +shooting the nerf balls at Ultra Buzz. + +As our Buzz watches, the Ultra Buzz leaps into an acrobatic +frenzy, avoiding the balls with backflips, slides and high +jumps. + +Buzz is impressed. Ultra Buzz sees our Buzz stepping out to +help. + + ULTRA BUZZ + Stay covered! You don't believe + you're a space ranger. How can you + fight with that attitude?! + +Ultra Buzz fires his grappling hook onto a low shelf and +swings over Zurg. + + ULTRA BUZZ + You're powerless to stop me, Zurg! + A Space Ranger fears nothing! + 34. + + +Buzz smiles. He's inspired by the deluded Space Ranger's +confidence! + + BUZZ + Of course! + (beat) + Step aside, let a real hero handle + this! + +Our Buzz confidently walks directly into Zurg's stream of +nerf balls. He LAUGHS as Zurg's ion balls bounce harmlessly +off his chest. + + ULTRA BUZZ + What kind of superhuman are you?! + + BUZZ + I'm not a human at all! I'm a toy! + A cool toy! + +Buzz walks cooly behind Zurg's back and pulls out his +batteries. + +Zurg's "ion blaster" stops firing. + + EMPEROR ZURG + Iieeee! My ion blaster's rendered + useless! + +Zurg backs away cowardly. Finally, he throws the ion +blaster gun at Buzz, then runs off. Buzz smiles at the +amazed Ultra Buzz. + + ULTRA BUZZ + You've smitten Zurg with nothing + but the sheer will to dominate! You + are the Buzz Lightyear! You have a + greater knowledge than I can ever + comprehend. + +Ultra Buzz and Buzz do the secret Space Ranger palm press. +It's a moment of macho male bonding. + + ULTRA BUZZ + I'm going to the Desert of Neptar + to meditate. Perhaps someday I will + gain the confidence you display. + Space Ranger. + +Ultra Buzz removes his accessory belt, hands it to our +Buzz. + + ULTRA BUZZ + 35. + + + I don't know what you did with your + accessory belt, but... take mine. + You're more deserving of this. Go + in peace. + + BUZZ + (to self) + Time to get Woody!... in the name + of the Universe Protection Unit! + + He bounds down the aisle, finally his old self. Behind him, + we see A1 walk by, carrying his duffle bag. + + ON DUFFLE BAG + + Rex, Potato Head, Hamm and Slinky are crammed inside. They + see Buzz hasn't noticed them. Rex fires one of his suction + cup darts at a large ball on the shelf. + + ON BUZZ + + The ball falls, getting Buzz's attention. Buzz sees Al, and + then Rex peeking out from Al's bag. + + Buzz bounds toward the bag, re-energized. As Al walks + through the electronic door. Buzz takes a flying leap, + catapults off the ball, and sails through the doors as + they're closing. He lands perfectly in the bag with a + little THUMP. Al looks around. + + AL + Gotta get those doors fixed. + + ANGLE INSIDE BAG + + REX + (sotto) + Wow Buzz, what happened to you? + + BUZZ + (starts, then + reconsiders) + You don't want to know. Let's go + get Woody! + + CUT TO: + + +20 INT. AL'S APARTMENT - DISPLAY ROOM - MONTAGE TO MUSIC 20 + + A) Prospector and Cactus admire themselves in the display + case's reflective surface. Woody rolls his eyes at them in + disgust. + 36. + + + B) Senorita Cactus stacks Woody's pillows to form an easy + chair for him. Woody considers for a moment, then sits + down. + + C) The Prospector and Cactus play golf with Woody, using + Al's swizzle sticks as putters and an olive as a ball. + Bullseye caddies, his feedbag full of "clubs." After Woody + putts, the Prospector and Cactus applaud politely. + + D) Woody walks by the same reflective surface. He notices + his reflection and admires himself. He notices a tiny scuff + on his chin and starts buffing himself. + + E) The Prospector and Cactus are buffing themselves in the + reflective surface. PAN OVER to Woody, who is buffing + himself more intensely than the others, his face gleaming + and super­shiny. Woody picks up a Q-tip, starts cleaning + his eyes with it. + + F) Bullseye pushes a game of checkers over to Woody, + wanting to play. Woody dismisses him with a wave and turns + around to play chess with the Prospector. Bullseye frowns, + feelings hurt. + + DISSOLVE TO: + + +21 INT. AL'S CAR - LATER 21 + + We hear WIMPED OUT NEW AGE MUSIC playing on the radio. A1 + pathetically tries to whistle along. + + TIGHTEN ON: The passenger seat. Al's bag is there. + + +22 INT. AL/S BAG - CONTINUOUS 22 + + Rex, Potato Head, Hamm, Slinky and Buzz are cramped inside + Al's bag. It's a real tight squeeze. Rex looks panicked. + He's hyperventilating, right in Buzz's face. Buzz's helmet + is steamed up from Rex's breath. + + BUZZ + Rex! You're fogging up my helmet! + + REX + I can't help it. The walls of the + bag are closing in! + + ANGLE ON DUFFLE BAG + + The zipper opens. Potato Head's eye pops up, held by his + hand like a periscope. + 37. + + +POTATO HEAD'S POV THROUGH FISHEYE LENS + +The car interior. PAN from the CD player, to the stick +shift, to Al's wide-angle rear end as he squeezes out of +the car door. + + BUZZ + What can you make out? + + POTATO HEAD + It's either the side of a hill... + or Al's pants. + +A1 exits the car. + + POTATO HEAD + Alright, boys, this is it. Any + second now he'll grab us and take + us right to Woody. No need to thank + me now for my brilliant plan. + +ANGLE ON Al as he gets out of the car; He doesn't grab the +bag. + + POTATO HEAD (O.S.) + Man, did 'ol Potato Head fool this + sucker! + +Al closes the door. The bag is still on the seat + + POTATO HEAD (O.S.) + Here we go. + +A1 walks away from the car to his high-rise building. + +ON TOYS INSIDE BAG + +Potato Head is still holding up his "periscope." + + POTATO HEAD + Yep, any minute now. + + HAMM + He's gone, isn't he. + + POTATO HEAD + (defensive) + He'll be back! + +ANGLE ON CAR SEAT + 38. + + + The bag heaves, then zips open. The toys pop out onto the + seat. + + TOYS' POV + + A huge high-rise looms above them, at least twenty stories. + A1 enters the building's outdoor glass elevator. The door + closes. + + REX + He's going to his apartment. + + SLINKY + Certainly is a small place. + + HAMM + You idiot, that's the elevator! + + The elevator races up toward the top floor. + + BUZZ + Of course—a toynapper would have to + live on the top floor—for + protection. + + Buzz pulls on the door handle, but it's locked. He starts + running around the car, pushing buttons and pulling + handles. + + HAMM + What are you doing? + + BUZZ + This vehicle has a complicated + perimeter security system. + (hits power lock) + Ah! + + Buzz flips the switch into UNLOCKED position. + + BUZZ + Clever, Al. But not clever enough + for Buzz Lightyear. + + +23 EXT. STREET OUTSIDE AL'S BUILDING - CONTINUOUS 23 + + Buzz opens the door, jumps to the curb. The other toys + follow. + + BUZZ + 39. + + + Blast. There's too many people + using Al's vertical transporter. + Hmm... Rex, do you still have that + suction cup dart gun? + + REX + Sure, but do you think you can + blast Al from here? It doesn't have + a sight. + + Buzz grabs two suction cup darts. He scopes the building + face. + + BUZZ + Stay here while I get Woody and + don't move 'till I return. + + Buzz makes a dash across the curb to the base of the high- + rise. + + CUT TO: + + +24 INT. AL'S APARTMENT - DISPLAY ROOM - LATER 24 + + Woody and the Prospector are lounging on their pillows. + Senorita Cactus gives Woody a backrub as Woody tells a + story. Woody has adopted an "old boy" accent. + + WOODY + So then he says, "How dare you open + a spaceman's helmet? My eyeballs + could've been sucked from their + sockets!" + + Woody and the Prospector lean in toward each other and give + a clenched teeth LAUGH. + + PROSPECTOR + What a ninny! Are all the toys back + at your old room as positively + buffoonish?! + + WOODY + Oh dear me, yes. Frankly, it got so + that I had to walk out on the roof + just to escape their shenanigans. + That's how I got here. + + The Prospector and Senorita Cactus APPLAUD politely. + Bullseye walks over. + + BULLSEYE + 40. + + + They sound like regular toys to me. + +Woody condescendingly puts his arm around Bullseye. + + WOODY + They're just not like us. + + BULLSEYE + But a few days ago you said... + + WOODY + Don't be such a pill. Honestly, + B.E., I believe it was you who + said, "Accept it, you're a + collectible." Well I have, and I'm + loving every minute of it! + +They hear Al's footsteps approaching the door. + + WOODY + (snaps fingers) + People! Places, places! + +The toys jump in place. A1 pushes a portable wet bar into +the room, followed by three chic, artsy-fartsy New York +sophisticates, EMERSON, QUENTIN, and THEATRICA. They all +wear black turtlenecks. + + AL + So when I heard you were opening a + Museum of Fifties Objects... + + EMERSON + We prefer "M.O.F.O." + + AL + ...I said, "Finally, an institution + worthy of my time and talents!" + + AL + Ladies and gentlemen, prepare to + have your silk socks knocked off. + +A1 flips the switch. We hear the disco version of ALSO +SPRACHT ZARATHUSTRA booming over the speaker system. A1 +flicks another switch. The "Woody's Roundup" display lights +up dramatically. + +More lights flick on, illuminating "Woody's Roundup" +posters on the walls. When the smarmy New Yorkers see +Woody, they nearly swoon. + + EMERSON + 41. + + + Exquisite! + + THEATRICA + Transplendent! + + QUENTIN + Mommy... + + AL + (self-absorbed) + An authentic Woody, with original + real-string, non injection molded + hat with hand-stitched band! If you + use a loupe, you can see how they + missed a stitch on the... + +The New Yorkers blow past Al. When they see Woody, they +fall to their knees. + + QUENTIN + Pinch me! Have I died and gone to + fifties heaven?! + + EMERSON + Not I. At this moment, I feel more + alive than I've ever been! + + AL + Wait, there's more. Feast your ears + on this! + +Al pulls Woody's string. + + WOODY'S VOICE BOX + There's a snake in my boots! + +The New Yorkers CHUCKLE WRYLY. + + EMERSON + Ah yes, a pithy reference to the + cultural climate of Woody's 1950s + America. + + THEATRICA + The "boots" being postwar America + threatened from within by the + "snake" that was Kruschev's red + menace. + (to Al) + Al, do you agree? + + AL + I... don't wear boots. + 42. + + + They look at Al oddly. + + CUTAWAY TO: EXT. SIDE OF AL'S APARTMENT BUILDING + + SFX: SPLOOF... SPLOOF + + Buzz is climbing the building using suction cups. Buzz + pulls out each cup and SLAPS it an inch higher on the + building. The WIND HOWLS as Buzz looks down, sees his feet + dangling above tiny cars on the street. + + BUZZ + It's true! They really do look like + toys from up here. + + Suddenly, the brick facing cracks and comes loose. Buzz + plummets down the side of the building. + + BUZZ + Aaaaa... + + The ground is rushing up at Buzz. In desperation. Buzz + slams both suction cups onto a passing window. Buzz slides + down the window, clinging as the suction cups SCREECH on + the pane of glass. The friction slows Buzz down, and he + comes to a stop. + + BUZZ + Now I know how a real space ranger + feels. + (to sky) + To infinity, and... + + PIGEON (O.S.) + (coos) + + CAMERA TILTS UP AWAY FROM BUZZ. We hear an O.S. SPLAT as + something hits Buzz's helmet. Buzz climbs up into frame + with a glop of white stuff on his helmet. + + BUZZ + Steady, Ranger. No matter how bad + it gets, remember poor Woody's got + it ten times worse. + + +25 BACK TO: INT. AL'S APARTMENT - DISPLAY ROOM 25 + + Quentin fawns over Woody, stroking his head with white + gloves. + + A1 is still schmoozing the New Yorkers. + 43. + + + QUENTIN + We must have this for the museum! + But... how does one even begin to + put a price on this masterpiece? + + AL + One... looks in the price guide. + +A greasy smile spreads over Al's face. Quentin examines +Woody. + + QUENTIN + Whatever your price, we're willing + to pay top dollar... + (sees boot, gasps) + Graffiti! Graffiti! + (squeals) + Someone's defaced Woody! + + EMERSON + The name of the demon is... Andy. + + THEATRICA + When will parents teach their + children a toy is not something to + be played with? + +The New Yorkers start to walk out. A1 panics. + + AL + I'll knock off fifteen percent! + +Quentin spins around, wearing a satisfied grin. + + QUENTIN + You drive a hard bargain... + +Quentin holds out his wimpy hand. Al. gives him a gusto +handshake, visibly hurting Quentin. + + THEATRICA + First let's call the airline to get + a ticket for the display. We'll + make "Woody's Roundup" the museum + centerpiece. It'll be bigger than + King Tut! + + AL + Hope so. I never even heard of that + toy. + 44. + + + A1 and the New Yorkers exit to the front room. The + Prospector, Senorita Cactus start dancing. Woody looks at + the word "Andy" written on his boot, and tries to rub it + off. + + PROSPECTOR/SRTA. CACTUS + (chanting) + We're going to New York... + + TILT UP TO SKYLIGHT OVERHEAD + + Buzz's head peers down from the skylight. + + +26 EXT. AL'S APARTMENT BUILDING - ROOF - CONTINUOUS 26 + + Buzz runs his hands around the perimeter of the skylight. + + BUZZ + Hmm... some form of synthetic + glass. + + Buzz looks around the roof, sees an old tin can with opened + lid. + + BUZZ + Ah. + + Buzz grabs the can, carefully cuts a small hole in the + plexiglass. Buzz removes it, then pulls out his grappling + hook and fastens it onto the lip of the skylight. Buzz + starts to lower himself down into Al's apartment. + + +27 INT. AL'S APARTMENT - DISPLAY ROOM - CONTINUOUS 27 + + Woody and Senorita Cactus are still dancing. Woody dances + to the hi-fi and stops the music. + + WOODY + Well old sports, we're off to + Gotham and guess who's the reason? + Moi! + (smarmy laugh) + Anywho... I just want you guys to + know that I love ya. And I mean + that. + + The Prospector and Senorita Cactus APPLAUD. + + BULLSEYE + (frustrated, under + breath) + 45. + + + Sheeze, how collectible can you + get?! + +As Woody blabbers on, none of the collectible toys see +what's coining down from above. It's Buzz, lowering himself +from the skylight using his retractable string and +grappling hook. + + WOODY + If Andy's toys could see me now, + they wouldn't even recognize me. + Why if Buzz were here, you know + what he'd say? + (mimics Buzz) + "Congratulations, Woody. It's been + an honor serving you."... + +Woody chuckles and turns to his side. Buzz is standing +right there, smiling at him. + + WOODY + (to Buzz) + Isn't that right, Buzz?.., + (a beat) + BUZZ!!! + + BUZZ + Woody! + +They embrace. Woody gets some bird doo on his cheek. He +doesn't wipe it off. + +Bullseye's jaw drops. He stares in amazement, blinks his +eyes to double check. + + BULLSEYE + (in shock) + He came? He actually came. + + WOODY + How did you... when did you... + + BUZZ + A1 brought me here! + + WOODY + Really? You're a collectible too? + + SRTA. CACTUS + (re: Buzz) + Ahem. What, pray tell, is that?! + + WOODY + 46. + + + Oh right, where are my manners?! I + haven't even introduced you to "the + family." + + BUZZ + Family? + + WOODY + Sure, these are all part of my + roundup! That's Bullseye, and this + is Senorita Cactus and the + Prospector. + +Buzz holds out his hand. The Prospector looks at Buzz's +filthy hand. He does not shake it. + + PROSPECTOR + (condescending) + Charmed. + + SRTA. CACTUS + (luke-warm) + You must be Buzz Lightweight. One + of Woodrow's friends from the + 'burbs. + + PROSPECTOR + How cute. A battery-operated + plastic robot. + + BUZZ + I believe you mean a self-powered + poseable Space Ranger action + figure. Watch. + +Buzz hits his voice activation button. + + BUZZ'S VOICEBOX + Buzz Lightyear to the Rescue! + + SRTA. CACTUS + Why, how... mildly amusing! So tell + me, boy, how much are vou worth? + + BUZZ + Worth? I don't follow you... + +The Prospector and Senorita Cactus LAUGH heartily. Woody +looks embarrassed. + + PROSPECTOR + (under breath, to Cactus) + Check the price guide. + 47. + + + (to Buzz) + Stand back, boy. You're getting + bird roughage on Woodrow. + +Woody looks uncomfortable. He quickly buffs the dirty spot +on his cheek. + + BUZZ + Woody, I've come to... + +As Buzz gestures out the window, he accidentally flings a +little dirt on Senorita Cactus. + + WOODY + (sotto) + Buzz, you're making a spectacle. + +Senorita Cactus looks up from the price guide. + + SRTA. CACTUS + He isn't even IN the price guide! + Who is this imposter?! + + BUZZ + I told you, I'm Woody's best + friend. + + WOODY + (nervous, backpedals) + Well actually... We just sort of + "worked together." + + BUZZ + Of course you're my best friend. + We've been through so much! + Remember Pizza Planet?! + + PROSPECTOR' + Pizza Planet? Sounds like a four + star establishment. + (he and Cactus laugh) + + BUZZ + If I didn't know better, I'd say + you're ridiculing me. + + PROSPECTOR + That's okay, Mister Lightfinger, + I'm sure you don't know better! + (laughs) + + BUZZ + 48. + + + You are the strangest toys I've + ever seen. + (proudly to Woody) + Woody, I come to liberate you from + the clutches of... + + WOODY + (condescending) + Buzz, Buzz, Buzz... you really + should've called first. + +Bullseye is shocked. His head goes back and forth as he +watches the following conversation. + + BUZZ + What are you talking about? + + WOODY + Look around, who would want to + leave all this? + + BUZZ + All this junk? Come on, let's go + home. + + WOODY + I am home! I've grown up. I'm a + collector's item now. I've + graduated to a whole new plane of + existence! + +Buzz is speechless. + + BULLSEYE + I can't believe this! Buzz risked + everything and you're turning your + back on him? Woody, what's happened + to you? + + WOODY + What's happened to me?- It was a + wise old horse who said, + "Concentrate on what you have and + forget the past." Well, guess what? + I'm taking your advice! + + BULLSEYE + You've changed. I liked the old + Woody better. + + BUZZ + Enough! Woody, I'm taking you back + to Andy's. + 49. + + + WOODY + Oh sure! And while you're at it, + why not use the Hope Diamond for a + game of marbles?! Why not write + your shopping list on the Mona + Lisa?! Why not install track + lighting on the ceiling of the + Sistine Chapel?! I mean, think of + the thousands of people who'll miss + out on seeing "Woody's Roundup" + together again! Think of the loss + to world culture! For once in your + life, Buz2, think of something + other than yourself! + + BUZZ + YOU... ARE... A... TOY! You're not + a piece of art! You're a child's + plaything! + + WOODY + I am a "plush voice-activated + collectible." + + BUZZ + You're a complete lunatic! I am + rescuing you from this strange + alternate universe, and there is + not a thing you can do about it! + +Woody pushes the "retract" button on Buzz's grappling +device and Buzz goes shooting back up toward the skylight. + + WOODY + Have a nice trip, spaceman. + +Just then we hear a SQUEAL OF GLEE from the front room. A1 +runs in, holding a check. He kisses it and pours himself a +cocktail. + +ABOVE Buzz hears a SNAP from inside his grappling hook +device. + +It's broken; Buzz panics as he falls straight for Al's +head. + +Buzz frantically BANGS on the broken grappling device. He +gives up and tries to stop his fall by grabbing the rope. +Buzz rope-bums his hands but manages to stop the fall—an +inch above Al's head. + +BELOW A1 holds his cocktail up, gazes at Woody and raises a +toast. + 50. + + + AL + A toast! To the one who made it all + possible... Me! + +A1 tosses back his drink, then picks up Bullseye, The +Prospector and Senorita Cactus. + + AL + (eyeing each toy) + Now which one of you shall I pack + first? My new Maserati? My condo in + the Hamptons? Or my trip to Bora + Bora? + +A1 grabs a cocktail napkin and wipes his sweaty bald pate. +Buzz INHALES as Al's pudgy fingers barely miss him. + +Then A1 grabs a packing box and packs Bullseye inside. +Emerson's voice comes from the living room. + + EMERSON (O.S.) + Al, babe. You can finish that + later. What say we celebrate over a + bite? + +Al heads to the door. Buzz breathes a sigh of relief. + + EMERSON (O.S.) + I was thinking of that adorable + little sashimi place around the + corner. + + AL + Oh. Of course. I'm normally not big + on italian food, but whatevah! + +Al exits the display room. The collectible toys spring to +life. + +Woody doesn't notice that Buzz is still in the room. + + WOODY + What a goof! Guess ol' Woody + finally got the best of ol' Plastic + Slacks. + +Woody is interrupted by the high-pitched WHIR of a spool +unraveling. Woody looks up. + +WOODY'S POV LOOKING DIRECTLY OVERHEAD + +Buzz is racing down at him, the retractor string unraveling +at high speed. + 51. + + + BUZZ + Aaahhhhhh! + + WOODY + Aaahhhhhh! + +WHAM! Buzz crashes right down on Woody and tackles him. +Woody and Buzz roll around on the display pillows, each +trying to pin the other one down. + + BUZZ + Sorry cowboy. Someone's got to save + you from this weird toy cult. + +Woody runs away. TRACK WITH WOODY as he suddenly jerks. His +legs are spinning, but he's actually moving slowly +backwards. + +Woody looks behind himself in horror. + +WIDEN TO REVEAL Buzz is holding the ring on the end of +Woody's pullstring. The pullstring is maxed out. As it +slowly retracts, Woody is pulled backwards toward Buzz. + + WOODY'S VOICE BOX + (slowed down) + There's—there's a sn-sn-snake in + my... + (record scratch) + ...favorite deputy! + +Buzz holds onto the string with one hand, and spins Woody +with the other, tying Woody up by his own pullstring. + + WOODY + Help! Al!! + +Buzz removes Woody's bandanna and gags Woody with it. He +drags Woody to his waiting retractable string. He climbs to +the skylight, hauling the squirming Woody with him. Once +he's safely out of reach, the Prospector speaks upJ + + PROSPECTOR + Cad! Don't make me get my dander + up, or I'll... + + BUZZ + Or you'll what? + + PROSPECTOR + Or I'll have the cactus rough you + up! + 52. + + +28 EXT. AL'S APARTMENT BUILDING ROOF - CONTINUOUS 28 + + Buz2 drags Woody across the roof. Woody is kicking and + screaming through his bandanna gag. He drags Woody to the + edge where he left his suction cups. + + BUZZ + Woody, what has gotten into you? + + He hoists Woody onto his shoulder and leans over the edge + of the roof. Woody sees this; his eyes go wide. He flails + about and shouts... + + WOODY + (panicking through gag) + Wuuhh mmmph uzz follywof... + + BUZZ + You expect me to believe that? What + could you possibly see in those + demented toys? + + Buzz steps out onto the suction cup, holding Woody on his + back. + + Woody sees the tiny cars on the street below, panics more. + + WOODY + (hysterical) + Frakcen uulp thwoopa fumff! + + BUZZ + I don't buy it! Those collectibles + don't care about you! As soon as + your blue book value drops, they'll + drop you. + + Buzz puts his other foot on the other suction cup. The cup + comes loose and falls off the side of the building. Buzz + scrambles back onto the roof. He and Woody stand face to + face on the roof. + + BUZZ + Blast! A1 wouldn't have a suction + cup collection in there, would he? + + Woody is silent. Buzz undoes Woody's gag. + + WOODY + Help!!! + + BUZZ + 53. + + + I'll take that as a "no." That's + alright, we'll find another way to + get home to Andy. + + WOODY + Andy? So he can toss me out, like + Bullseye's kid? Collectibles never + get thrown away! + + BUZZ + That's enough! You see this? + +Buzz grabs Woody's boot and shows him the name "Andy." + + BUZZ + This is a badge of honor! That name + on your boot means a kid loves you. + That's not something you can erase. + +Woody looks at his boot with guilt. "Andy" is faint but +still there. + +Just then the Prospector and Senorita Cactus emerge from +the skylight, huffing and puffing up Buzz's string. + + PROSPECTOR + See here, you battery-operated + bourgeois bauble, that's my + property! + +Woody incredulously mouths the word "property?" + + SRTA. CACTUS + Untie him, you ruffian. Al's coming + home soon. + + BUZZ + (to Woody) + Is that what you want? + (Woody says nothing) + Very well, I'm terminating this + conversation. Go, be valuable. + +Buzz unties Woody. Woody hesitates. He doesn't know what to +do. + + PROSPECTOR + Ta ta, Flash Gordon. + +Woody starts to slink toward the skylight. As Woody +scratches his head in confusion, his hat falls off. The +wind picks it up, swirling it around in the air. + 54. + + + SRTA. CACTUS + (shrieks) + Your mint condition hand-laced hatl + Catch it! + +Woody leaps for the hat, but it flies over the side of the +building and lands precariously on the tip of a horizontal +flagpole. The hat is dangling twenty stories above the +street. + + WOODY + Oh great! + (smiles at Buzz + insincerely) + Buzz, we both know I can't risk + scuffing myself. Be a chum and + fetch my hat. + + BUZZ + A Space Ranger doesn't "fetch." If + being a museum piece is so + important, ask one of your friends + to help you. + +Woody turns to the Prospector. + + PROSPECTOR + Surely you jest. I'd ruin my + finish. Woody, how could you be so + selfish?! + +Woody considers, then climbs out on the rickety flagpole. +He inches his way toward the hat, hanging high above the +street. + +Just as Woody is about to grab it, the hat blows off. Woody +lunges for it but misses, and loses his balance. + + PROSPECTOR + Noooo! + (beat) + The hat! + +Woody grabs the end of the flagpole with one hand and is +left hanging over the street. He doesn't have the hat. + + WOODY + Help... + + PROSPECTOR + Risk scuffing my sheen for a mere + 'Hatless Woody'?! Well, I never! + 55. + + + SRTA. CACTUS + Might as well just let go! You're + worthless now. Worthless! + + PROSPECTOR + Never liked you anyway. You have an + attitude problem! + +Woody looks at them in shock. His hand slips off the pole. + + WOODY + Buzz! Buzzzzz!!! + +Woody falls. Buzz springs into action, jumping out onto the +flagpole and flipping like he did in Al's Toy Barn. He +leaps out to the end of the pole, grabs Woody and brings +him safely to the roof. + + PROSPECTOR + Hmph. Shouldn't have bothered. + + WOODY + Oh, really? + +As Woody steps up to the roof, we see the hat is caught on +one of his spurs. Woody triumphantly puts the hat back on. +Woody smiles. + + PROSPECTOR + (suddenly friendly) + Woodrow, old bean, thank heaven + you're okay! + + WOODY + Out of my way, you dusty old + relics. You're the most worthless + valuables I've ever met. + + PROSPECTOR + Come back here! You're a + collectible! + + WOODY + Yeah, right. What am I, Buzz? + + BUZZ + You are a toy! + + PROSPECTOR + How nauseating. + + WOODY + 56. + + + Come on, Buzz, let's go back to + Andy's. + + WOODY + So long suckers! + (looks at skylight) + So long Bullseye! + (stops, considers) + Bullseye! + + BUZZ + What about Bullseye? + + WOODY + We can't leave yet, Buzz. There's + something I have to do first. + + CUT TO: + + +29 EXT. AL'S APARTMENT BUILDING - CONTINUOUS 29 + + Potato Head, Hamm, Rex and Slinky are still hiding in the + hedge. + + REX + I wonder how Buzz is doing. + + Just then Buzz's suction cup comes plummeting down. It + lands on Potato's Head. + + HAMM + My official guess: not good. + + DING. The elevator opens, we see A1 and the New Yorkers + walk out of the elevator. + + AL + Of course I can deliver the display + tonight, Theatrica. I'm a "can do" + guy! + + HAMM + It's the toynapper! And his + henchmen! + + REX + How do you know they're henchmen? + + HAMM + Obvious. Black turtlenecks. + + A1 and the New Yorkers exit + 57. + + + POTATO HEAD + That's it. We'll have to take that + elevator. It's the only way we can + save Buzz. + + The toys see no one is around. They make a mad dash into + the elevator. They stand inside, waiting for something to + happen. + + REX + I think it's broken. + + SLINKY + Maybe the batteries ran out. + + HAMM + You gotta push a button! + + The toys stack on top of each other. Rex ends up on top, + but can't quite reach. + + REX + I need a hand. + + Mr. Potato Head removes his left arm and hands it up the + stack to Rex. Now Rex has an arm extension. Using Potato + Head's arm, Rex pushes all the buttons, and the elevator + starts rising. + + ANDY'S TOYS + Yay! + + The toys topple over. + + CUT TO: + + +30 INT. AL'S APARTMENT - DISPLAY ROOM - LATER 30 + + Buzz is lowering Woody on his grappling hook string into + Al's dark display room. + + Woody runs past Al's cocktail cart to Bullseye's packing + box and opens the foam packing. Bullseye's surprised to see + him. + + BULLSEYE + W-Woody! What the heck you doin'? + + WOODY + Escape number four hundred and + twenty one! Come on, Bulls. + 58. + + +Woody takes Bullseye over to Buzz's waiting rope and +attaches Bullseye securely to the hook. Woody motions for +Buzz to pull them both up, quick. + +We hear Al's KEY UNLOCKING the front room door. + +Buzz starts to haul then up. Woody breathes a SIGH of +relief. + +Suddenly the display room's heating grate SHAKES, BENDS, +then FALLS OFF. + + POTATO HEAD + (echoing through air + vent) + What's going on up there? I can't + see in the dark... + +Suddenly Hamm, Rex, Slinky, then Potato Head, spill out of +the air duct onto the floor. + + WOODY + (delighted) + Guys! Guys! + (beat) + How did you... + + POTATO HEAD + Found an open heating vent in the + hallway. Clever, huh? + + SLINKY + We're here to rescue you! + + WOODY + You came all the way here for ME?! + +We hear the front room door SLAM. Al's footsteps approach. + + WOODY + (frantic) + Great! Now let's go! Move it + people! Don't have all day... + +Woody motions them over to the grappling hook. + + SLINKY + What's the matter? Ain't you happy + to see us? + + WOODY + (frenzied) + 59. + + + Can't explain! Gotta go! Climb on + this line! + +We hear a key UNLOCKING the display room's deadbolt. + + REX + Woody! For Pete's sake, show some + gratitude! + + WOODY + (losing it) + Get on the line! + +The toys grab the line. Above them, Buzz STRAINS with all +his might to haul Hamm, Rex, Potato Head, Slinky, Woody and +Bullseye up to the skylight. Buzz can barely move it. + +Just then the Prospector and Cactus jump down from the +skylight, landing on their pillows. The Prospector and +Cactus grab onto Woody's boots, trying to pull the group +down. + + PROSPECTOR + No! That's our horsey! We + brainwah... er, befriended him fair + and square! + +Woody looks up and sees all this weight is too much for +poor Buzz to bear. The rope is slipping down. + +The knob to the display room door begins to turn. + +Thinking fast, Woody reaches to Al's cocktail cart and +grabs a plastic drink sword with a maraschino cherry on it. +He swings at the Prospector. The Prospector grabs a drink +sword with an olive stuck on it, and the two duel. + + BUZZ + I can't hold it much longer! + +Buzz is losing his grip. The toys are sliding back down. +Woody furrows his brow, lets go of the rope, and falls on +his pillow. + + WOODY + (falling) + Goodbye Bullllls! + +Bullseye looks down, touched by Woody's show of sacrifice. + + BULLSEYE + I'm not leaving without you. Woody. + 60. + + + Bullseye lets go, falls. The display room door opens, Al's + hand reaches in, fumbling for the light switch. Bullseye + returns to his box as the Prospector and Cactus jump and + resume positions. + + Buzz's load is suddenly lighter. In one fell swoop. Buzz + pulls Andy's toys up through the skylight and onto the + roof, where they land in a heap. + + A1 enters, ambles to the display, dyspeptic stomach + RUMBLING. + + Raw fish indeed! We'll see how that maitre 'd reacts when + he hears from my lawyer! + + (sees collectibles, brightens) + + Ah! Time to go to New York, my little golden nuggets. + + A1 begins packing the collectibles in their boxes. + + +31 EXT. AL'S APARTMENT BUILDING - ROOF - CONTINUOUS 31 + + Buzz and the others watch A1 through the skylight. + + BUZZ + Blast! He's taking them to those + museum people. We have to get back + down to his car... somehow. + + Buzz looks across the roof, gets an idea. + + BUZZ + Follow me. + + They follow Buzz to the building's ledge. They look down, + see the sheer drop and the glass elevator several stories + below. + + Directly below them is a swimming pool. + + BUZZ + There's no other choice. We'll have + to jump for it— + + ALL OTHER TOYS + What?! + + HAMM + Did someone cut off the oxygen in + that helmet? + 61. + + + REX + Buzz, you know I'm afraid of + heights! And this is ten times + higher than Andy's bed! + + POTATO HEAD + No way, Lightyear! I jump off of + that and I'll be one mashed potato! + + BUZZ + (authoritarian) + I know what I'm doing! We jump on + the count of three! + + SLINKY + The ol' Space Ranger's back. + + BUZZ + One.. two... + + Buzz pushes Rex off the side of the ledge. Buzz, Slinky, + Hamm and Potato Head follow. + + REX + Aaaaa! + + After a brief fall, the toys land. Rex opens his eyes. + + REX + Hey! That wasn't so bad. + + Rex opens his eyes, sees that instead of being on the + ground, they're still several stories up. + + REX + Aaaaa! + + BUZZ + Shh! + + Buzz covers Rex's mouth. Buzz points downward. The toys + have jumped down to the top of the glass elevator, just as + A1 is getting in. A1 holds his packed up display boxes, + listening to the HERB ALPERT MUZAK. + + POTATO HEAD + Heh heh. Knew it all the time. + + DISSOLVE TO: + + +32 EXT. STREET OUTSIDE AL'S BUILDING - CONTINUOUS 32 + 62. + + + The elevator stops and Al gets out. A1 waddles to his car, + starts putting the display boxes in the trunk. + + Buzz and the other toys hop from the top of the elevator + into a hedge. A moment later they peer out from the bottom + of the hedge. + + A1 gets in his car, starts the engine. As Al's car revs up, + Andy's toys dash for it. Buzz jumps on the bumper and pulls + the others up one by one. Rex is the last one; he chases + the car as it pulls away. Rex holds out his puny arms. + + BUZZ + Extend your arms! + + REX + These are my arms! + + Buzz pulls Rex onto the bumper as Al's car slowly taxis out + of the driveway. Rex looks down, sees the pavement is + moving faster. + + The toys BANG on the trunk. + + +33 INT. AL'S CAR - TRUNK - CONTINUOUS 33 + + Woody's box jostles, bounces. Woody hears the BANGING. + + A hand bursts out of Woody's box, starts undoing the + wrapping. + + +34 EXT. AL'S CAR - REAR BUMPER - CONTINUOUS 34 + + The trunk pops open, revealing Woody. + + WOODY + I had a feeling it was you. C'mon! + + He motions for the toys to climb into the trunk. They do. + + +35 INT. AL'S CAR - TRUNK - CONTINUOUS 35 + + WOODY + Come to see us off at the airport? + + BUZZ + We won't let you get there. We're + going to stop this car. + 63. + + + Woody takes off his hat to scratch his head. + + WOODY + How can a toy stop a two ton car? + + Woody looks at hat, gets inspired. + + WOODY + Buzz, grab my feet. + + Buzz doesn't understand, but holds Woody's feet and lowers + Woody, head first, down to the tailpipe. + + ANDY'S TOYS + (ad lib) + What's he doing? He's got a death + wish. Etc... + + Woody's head is just a few inches above the rushing + concrete. He tries to shove his hat into Al's tailpipe. As + the car swerves, Woody swings back and forth, missing the + tailpipe a few times. + + The car hits a bump. Buzz drops Woody. + + WOODY + Whoooaa! + + Woody falls, grabs onto the tailpipe. His feet are dangling + less than an inch above the speeding concrete. + + WOODY'S POV - LOOKING AHEAD FROM UNDER CAR + + An old muffler on the road approaches rapidly. Woody pulls + his legs up just as WHOOSH! the muffler flies by + underneath. + + Woody holds on to the tailpipe with one hand. With the + other, he removes his hat. + + WOODY + Collect this, Al! + + Woody crams his hat into the tailpipe. + + +36 INT. AL'S CAR - CONTINUOUS 36 + + Al is driving. Suddenly, the car's engine begins to + sputter. + + AL + 64. + + + Oh no, not now. Not today! + + +37 EXT. DINOCO GAS STATION - CONTINUOUS 37 + + Al's car lurches into the gas station. Al gets out, closes + the door. He hurries to the front and checks under the + hood. + + Meanwhile, Woody hops down from the tailpipe. He removes + his charred, blackened hat from the pipe, puts it back on. + He hops back up to the trunk. When he gets there, he's + surprised to see Andy's toys are gone. + + +38 INT. AL'S CAR - CONTINUOUS 38 + + The armrest on Al's back seat is slowly slid out, opening a + hole from the trunk to the back seat. Buzz, Rex, Potato + Head, Hamm, and Slinky slip quietly into the interior of + Al's car. + + +39 EXT. DINOCO GAS STATION - CONTINUOUS 39 + + Al finishes futzing under the hood. He shrugs his shoulders + and SLAMS the hood angrily. + + A1 hurries to his door. As he reaches out to pull the + handle, we hear a CLINK of the electronic door lock. A1 + pulls the handle. + + It's locked. A1 tugs frantically on the door. He can't see + what's inside because of the tinted windows. + + +40 INT. AL'S CAR - CONTINUOUS 40 + + Andy's toys see A1 yanking in vain on the door handle. They + CHEER. + + BUZZ + Let's hear it for Al's peripheral + security system! + + Just then A1 reaches down below the car door. He emerges + holding a hide-a-key box. He opens the box and removes a + spare key. + + HAMM + This guy's got everything! + + BUZZ + 65. + + + Alright everybody, listen up. Rex, + get up on the dashboard, Hamm, go + into the wheel well, Slinky, you + stay on the seat... + + The toys move into position as... + + +41 EXT. DINOCO GAS STATION - CONTINUOUS 41 + + A1 is about to shove the spare key into the lock. The + engine STARTS UP. A1 scratches his head in bewilderment. + + The car JERKS forward, then stops. Then it JERKS again. + + AL + Wha...? + + +42 INT. AL'S CAR - CONTINUOUS 42 + + Buzz stands on the front seat. Hamm is down by the pedals, + leaning against the accelerator. + + HAMM + How do you work this? + + BUZZ + It's like the video game. Fire + thrusters! Full throttle! + + Hamm belly flops on the accelerator pedal + + +43 EXT. DINOCO GAS STATION - CONTINUOUS 43 + + A1 approaches the car again. Suddenly the car PEELS OUT. + Smoke shoots from the tires. + + A1 SQUEALS in horror. + + AL + My car! My collection! + + He throws a tantrum, stamping his feet on the pavement. + + AL + No, no, no! + + +44 INT. AL'S CAR - CONTINUOUS 44 + 66. + + + Total panic as the toys attempt to drive Al's car. Hamm + leans on the accelerator pedal, Rex stands on the + dashboard, fumbling with a road map. Buzz holds the left + side of the steering wheel while Slinky holds the right. + Potato Head is running around the car, pushing buttons wily + nily. The CAR ALARM is going off. The wipers are on full + blast. The left turn signal is flashing. + + Through the windshield, we see the car is swerving back and + forth as it races down the street. + + REX + Make a right! No, a... I mean, go + that way! + (points left) + + Buzz pulls the left side of the steering wheel. Slinky's + front end is stretched out to the top of the wheel. + + The car swerves to the left. Hamm is rolling around in the + wheel well. + + HAMM + I can't control it! + + BUZZ + Of course you can. It's just like + driving RC! + + HAMM + Then where's the remote control?! + + CAR COMPUTER VOICE + Your lights are on! + + REX + Aahhh! It's on to us! + + +45 EXT. DINOCO GAS STATION - CONTINUOUS 45 + + AL + Car thieves! Car thieves! + + A1 looks around the station, sees a Pizza Planet truck + refueling. + + Al rushes over to the Pizza Planet truck, jumps in and + PEELS the truck out. + + +46 INT. AL'S CAR - CONTINUOUS 46 + 67. + + + The car is swerving through traffic. Horns HONK. + + BUZZ + Good job, everyone! Maintain your + positions! Hamm, stay with the + thrusters. Slinky, steady course. + Rex, mind that navigation... + + POTATO HEAD + Hey, what am I, chopped home fries? + + BUZZ + Potato Head, you find a good radio + station. + + POTATO HEAD + Hey, how come I get all the hard + jobs?! + + HAMM + Does anybody know where we're + going? + + REX + (reads map) + We should be approaching a big + arrow with a giant N above it. + + HAMM + You idiot, that's the thing that + tells you which way is north. Where + are we now? + + REX + I can't tell if we're in the yellow + county or the pink county! + (looks out window) + It all looks dark to me! + + +47 INT. AL'S CAR - TRUNK - CONTINUOUS 47 + + Woody opens the car trunk an inch, peers out. He sees the + Pizza Planet truck approaching. A closer look reveals that + A1 is at the wheel. + + WOODY + Al! Aww, now what! + + Woody looks around the trunk, then smiles as he gets an + idea. He rips open the "Woody's Roundup" paraphernalia box. + 68. + + +48 INT. PIZZA PLANET TRUCK - CONTINUOUS 48 + + Al is driving frantically. He looks down, sees a pizza box, + grabs a slice. + + AL + Common car thieves... People who + steal stuff should be strung up + and... What, no cokes?! + + Al zooms up right behind his car. Suddenly the trunk opens + and a "Woody's Roundup" board game box flies out. Al + SCREAMS as the box breaks open and game pieces, cards and + dice fly directly into his windshield, scattering in every + direction with a CRASH. + + AL + Noooo! Not the limited edition + Woody's Roundup Board Game! + + Next, a rack with paint tubes flies out of the trunk. It + SMASHES onto Al's windshield, smearing streaks of paint. + + AL + Aagghh! The mint condition "Woody's + Roundup" paint set with original + box! + + Finally a vinyl LP rolls out of the open trunk, flipping in + the wind and SHATTERING on Al's windshield. + + AL + (whimpers) + No! Not "The Four Woodys Sing Cha + Cha!" + + +49 INT. AL'S CAR - TRUNK - CONTINUOUS 49 + + Woody LAUGHS as he sees the Pizza Planet truck falling far + behind. + + WOODY + Sorry Al! You can't have me, but + you can still have your Woody pez + dispensers! + + Woody tosses some Woody-shaped pez dispensers out of the + trunk. + + He's not watching the Prospector's and Senorita Cactus' + boxes behind him. + 69. + + + Senorita Cactus rips a hole in her box, struggles wearily + to get out. She punches a hole in the Prospector's box, and + he squeezes out of his box. He's panting, out of breath. + + PROSPECTOR + What a workout. I'm simply + exhausted! + + Prospector wipes pats beads of sweat off his forehead. Then + he sees Woody throwing the merchandise out the trunk. + + PROSPECTOR + You!! What on earth are you doing? + + WOODY + Giving Al his junk back. + (gestures to Pizza truck, + then he stops and thinks) + Wait a minute... If Al is back + there... then who's driving the... + + BUZZ (O.S.) + (from car interior) + To infinity and beyond! + + WOODY + Oh—this I gotta see! + + Woody, the Prospector and Senorita Cactus rush through the + armrest hole into the car interior. + + +50 INT. AL'S CAR - CONTINUOUS 50 + + Woody, Prospector and Senorita Cactus climb into the front + seat. + + Woody is shocked to see Andy's toys maneuvering the car. + + WOODY + Wow! Guys, I know you're going stir + crazy, but isn't this a little + extreme? + + PROSPECTOR + Why you ... upstarts! You curs1 + I'll get 'em. + + The Cactus raids the glove compartment and emerges + brandishing a metal tire pressure gauge. She starts after + Andy's toys menacingly. Potato Head grabs a Barry Manilow + CD from Al's collection and holds it up like a shield. + 70. + + + POTATO HEAD + Think again, Senorita Stinkweed. + + WHACK! WHACK! She swings the tire pressure gauge at Potato + Head, bashing his "shield." + + POTATO HEAD + Hah! Missed me, you jojoba-stuffed + pincushion! + + Senorita Cactus swings from the other direction, clipping + Potato Head on the nose. His nose goes flying, lands in the + car ashtray. His nose sneezes, sending ashes flying. + + WOODY + Crawl back to your boxes, you've + already lost. You want to know why? + Because... + + Woody puts on his hat. It's a charred mess. + + WOODY + (proudly) + I am worthless! + + Andy's toys APPLAUD. The Prospector and Cactus GASP. + + PROSPECTOR + You... you... + + WOODY + ...toy? That's right. + + Just then... + + REX + Toll booth! + + All the toys look up. The car is racing towards a toll + booth. + + Beyond the toll booth is a large bridge. + + SLINKY + What do we do now?! + + +51 EXT. TOLLBOOTH - MOMENTS LATER 51 + 71. + + + From the TOLL TAKER'S viewpoint we see the car coast up. + The window rolls down. The toll taker looks in; there are + no humans in the car, just lifeless toys. But the dinosaur + is leaning out the window with a dollar bill between its + teeth. The toll taker grabs the dollar, and the window + rolls up. The car drives away. + + +52 INT. AL'S CAR - CONTINUOUS 52 + + The toys spring back to life as the car pulls out onto a + large, overhead-girder bridge. + + WOODY + (laughing) + Pretty good. That gives him + something to tell his grandkids. + + BUZZ + Woody, look out! + + Woody turns around, sees the Prospector approaching Woody, + holding the car's cigarette lighter. It SIZZLES red hot. + + PROSPECTOR + Care for a light? In your face?! + + SRTA. CACTUS + When we're done, all of you will + look like your hat! No kid'll ever + play with you again! + + Buzz pulls the steering wheel hard. The car swerves + violently, SCRAPING the bridge railing. All the toys are + thrown to one side of the car. Woody gets up first, runs + away from the Prospector and Cactus. + + Woody grabs a hold of the fuzzy dice hanging from Al's rear + view mirror and climbs them to the mirror. He looks back, + sees the Prospector and Cactus hot on his trail. He hoists + himself up to the open moonroof. + + +53 EXT. AL'S CAR - ROOF - CONTINUOUS 53 + + Woody crawls up from the moonroof and looks around for a + moment. + + Wind is rushing by. The bridge girders whip overhead. + + The Prospector and Cactus pop up and crawl after Woody, + still holding the cigarette lighter. + 72. + + + PROSPECTOR + Foolish Woodrow. You had it all, + but you threw it away! + + SRTA. CACTUS + Your stupid spaceman had to show up + and ruin everything! + + PROSPECTOR + Cactus, brand this cowboy! + +They look at the cigarette lighter. It's cold. Senorita +Cactus rolls the lighter at Woody, knocking him off his +knees. Before Woody can right himself, the Prospector and +Cactus charge at him. + +They grab Woody by the boots, and all three toys wrestle +around on the roof of the car. + + PROSPECTOR + This will undoubtedly scuff me, but + it'll be worth it! + +The Prospector headbutts Woody. The Prospector and Cactus +grab Woody by all fours. + + PROSPECTOR + (to Cactus) + Toss him off the bridge. + +Just then from behind... + + BULLSEYE (O.S.) + Hold it fellahs. Can't I play too? + +They turn around, see Bullseye clumsily climbing up from +the trunk. In b.g. we see the bridge ending; they're back +on land again. In the distance, the Pizza Planet truck +appears, gaining on them fast. + + PROSPECTOR + Bullseye, get back in your box! + + SRTA. CACTUS + Yeah, what are you doing up here?! + + BULLSEYE + Something I should have done a long + time ago! + +Bullseye wheels around, lifts his haunches, and with a +WHINNY buck-kicks the Prospector and Cactus right off of +the car. They go flying through the air. + 73. + + + PROSPECTOR/CACTUS + Ieeee! + + +54 EXT. PIZZA PLANET TRUCK - CONTINUOUS 54 + + A1 is racing in the Pizza Planet truck, gaining on his car. + + Suddenly he sees two objects fly through the air, then + bounce around in the road ahead. A1 squints his eyes. + + ZOOM IN + + It's his beloved Prospector and Cactus dolls. + + AL + Oooaaagh! + + A1 slams on the brakes. The truck SKIDS to a stop just + inches short of the collectible toys. A1 jumps out of the + truck. + + Before he gets there, two BOYS on bicycles ride up and pick + up the toys. + + BOY #1 + Whoa! Look at these lame toys. + + BOY #2 + This one's got a horseshoe-shaped + mark on its butt. + + A1 waddles up, dripping with sweat. He grabs the toys out + of their hands. + + AL + Give me that! Those are MY toys! + + BOY #1 + Finders keepers, fatso! + + The boys grab the toys back and a tug of war ensues. + + AL + Those are mine! Mine! Mine! + + The kids wrestle the toys out of Al's hands. They hurry to + their bikes as A1 throws a TEMPER TANTRUM. + + AL + My toys! My toys! + 74. + + + BOY #2 + Sheeze, what kinda old goober still + plays with toys?! + + They ride off on their bikes while A1 continues his hissy + fit. + + AL + (shouts) + Toynappers ! Toynappers1 + (to sky) + I HATE KIDS! + + +55 EXT. AL'S CAR - ROOF - CONTINUOUS 55 + + Woody and Bullseye watch Al's tantrum from the roof of the + car. + + WOODY + Way to go, Bullsie! + + BUZZ + We finally busted out, partner! + + Woody looks ahead, sees they're careening down a familiar + street. + + WOODY + Andy's street! Way to go, guys! + + +56 INT. AL'S CAR - CONTINUOUS 56 + + Woody jumps down through the moonroof onto the front seat, + followed by Bullseye. Woody sees Buzz at the wheel. + + WOODY + Alright, Buzz! Pull over by Andy's + house on the right. + + BUZZ + Woody, I know what I'm doing. + Andy's house is on the left. + + WOODY + Right! + + BUZZ + Left! + 75. + + + Buzz and Woody tug on the wheel, swerving the car around in + the street. They let go of the wheel and get into a slap + fight, although they're smiling, delighted to .be + competitive friends once again. + + SLINKY + Guys, which one is it? + + BUZZ/WOODY + (both point to house + they're currently + passing) + This one!1! + + SLINKY + How do we stop this thing?! + + Rex looks at the gearshift, reads out loud. + + REX + P—pass. D—depart N—nothing. R— + return! + + Rex throws it into reverse. + + +57 EXT. ANDY'S STREET - CONTINUOUS 57 + + CRUNCH! The reverse kicks in big time, trashing the car. + The transmission flies out, clanging in the street. All + four tires blow out. The side door bends open. The car + screeches down the street, spinning around and fishtailing. + + +58 INT. AL'S CAR - CONTINUOUS 58 + + All the toys are spun around on the car seat. + + ALL TOYS + Aaaahh! + + +59 EXT. ANDY'S STREET - CONTINUOUS 59 + + The car skids to a stop against the curb in front of Andy's + house. The car alarm is going off. steam shoots from the + hood of the trashed car. + + +60 INT. AL'S CAR - CONTINUOUS 60 + + CAR COMPUTER VOICE + Your door is ajar. + 76. + + + The toys land in a heap in the back seat. They sheepishly + look around. + + BUZZ + Perfect landing. + + Woody looks out of the window, sees Andy's house. + + WOODY + Andy's! + + +61 EXT. ANDY'S STREET - CONTINUOUS 61 + + Woody and Buzz help the toys out of the smoldering car. The + toys make a run for Andy's. Woody and Bullseye lag behind, + looking at Andy's house. + + WOODY + Hello, you beautiful house! + Bullseye, you're gonna love it + here... + + Slinky looks up to see Mrs. Davis' minivan approaching from + way down the street. + + SLINKY + Woody, Andy's coming home! + + Woody looks up, sees the minivan coming closer. + + WOODY + Andy?! + (excited) + C'mon Bulls! + + BULLSEYE + Need a ride, sheriff? + + Woody's delighted, hops on Bullseye's back. Bullseye heels + up on his hind legs triumphantly and WHINNIES. + + WOODY + Uh-um... Hi-yo Bullseye! + + They ride across the driveway toward the ivy trellis along + the side of the garage. + + ANGLE ON + + Sarge is at Andy's window, looking through binoculars. + 77. + + + SARGE + Red alert! Red alert! Incoming + toys! It's Woody! + + Bo Peep, Mrs. Potato Head, Rocky, and the other toys WALLAH + EXCITEMENT as they climb to Andy's window. Sarge climbs on + the garage roof. + + SARGE + Operation rescue bucket! Code red! + Move it! + + Squads of GREEN ARMY MEN march out of ‘Andy's window + carrying a jumprope tied to their bucket. They lower the + jumprope-bucket over the trellis. Woody and Bullseye + rendezvous with the other toys at the base of the trellis. + They all jump in the bucket. + + Woody looks up, see Sarge on the roof above + + SARGE + Welcome home, SIR! + + WOODY + Sarge? + (brightens) + Sarge! Great idea! + + The minivan pulls in the driveway. Andy gets out, walks + toward the front door. + + ANDY + ...and we made smores and sang + songs. Can I go back next week? + + MRS. DAVIS + We'll see, sweetie. + + Andy runs to the front of the house. + + The toys are being raised in the bucket. On the roof, the + entire bucket of Green Army Men is pulling on the jumprope. + Sarge turns to the toys gathered at Andy's window and + signals. + + SARGE + Mother bird's returning to the + nest! + + The toys in Andy's window cheer. + + +62 INT. ANDY'S HOUSE - CONTINUOUS 62 + 78. + + + Andy excitedly starts up the stairs. + + +63 EXT. GARAGE ROOF - CONTINUOUS 63 + + Woody, Bullseye, Buzz step on the roof and begin running to + the window. Bo Peep and the rest of the toys are waiting + with the window open. + + +64 INT. ANDY'S HOUSE - CONTINUOUS 64 + + Andy's POV as he reaches the second floor and runs to his + room. + + +65 INT. ANDY'S ROOM - CONTINUOUS 65 + + The toys climb in the window. Bo Pe'ep greets- Woody. + + BO PEEP + Did Buzz give you my message + sheriff? + + WOODY + What message? + + Bo Peep gives Woody a kiss. + + WOODY + (delirious) + Thank you, Buz21 + + The toys hear ANDY'S FOOTSTEPS and resume their positions. + + WHAM! The door opens. Andy bounds in, sees the toys just as + he left them. + + ANDY + Woody! Buzz! + + He runs over and picks them up, examines them a moment. He + runs his fingers over Buzz's scuff mark. Then he checks out + Woody's damaged hat, a quizzical look on his face. It's + tense, until... + + ANDY + I missed you guys. + (he hugs them to his + chest) + While you guys were lying around + all summer, I was at adventure + camp! I made a wallet! + 79. + + +Andy proudly produces a home-made wallet. Then he stops, +sees Bullseye laying on the bed. He picks Bullseye up. + + ANDY + Cool! + (calls downstairs) + Thanks mom! + + MRS. DAVIS (O.S.) + (clueless) + You bet, Andy. + +Andy seats Woody on Bullseye's back. Woody fits perfectly. +Andy pretends to have them ride around on the bed, then +walks Buzz up to Woody. + + ANDY + (as Woody) + Hey Buzz, want to go bn an + adventure? + +Andy presses Buzz's voice button. + + BUZZ VOICE BOX + There's a secret mission in + uncharted space. Let's go. + +Andy spreads Buzz's legs apart and hops him on Bullseye +behind Woody. Andy pulls Woody's string. + + WOODY VOICE BOX + (as if to Buzz) + Yee-haa! You're my favorite deputy! + +Andy puts them down and admires his wallet. For a split +second, Woody, Buzz and Bullseye give each other a knowing +wink and smile, as we: + + FADE OUT. + \ No newline at end of file diff --git a/scripts/Toy Story 3.txt b/scripts/Toy Story 3.txt new file mode 100644 index 0000000000000000000000000000000000000000..58e1bb19afbc06bfec9b5111c7a782095e7e284e --- /dev/null +++ b/scripts/Toy Story 3.txt @@ -0,0 +1,7701 @@ + 1. + + + + Blue sky, fluffy clouds. + + The TOY STORY logo. A branding iron sears a “3” into it. + + IMAGE bursts into FLAMES... + + +1 EXT. OLD WEST - DAY 1 + + A train races across the desert. MOVE IN on an ARMORED CAR. + + Suddenly, the roof blows open. + + +2 EXT. TRAIN - DAY 2 + + Money bags fly out. ONE-EYED BART (Mr. Potato Head) + follows. + + ONE-EYED BART + Money, money, money! Ha! Ha! Ha! + + Bart stashes the loot. Suddenly, a lasso yanks his arm off. + + ONE-EYED BART + Hey! + + The lasso lifts him off his feet. He falls, dazed. A figure + approaches -- WOODY. He pins Bart with his boot. + + WOODY + You got a date with justice, One- + Eyed Bart! + + ONE-EYED BART + Too bad, Sheriff -- I’m a married + man. + + A WAR CRY. Woody looks up. + + VOICE (O.S.) + Ai! Ai-ai-ai-ai-ai-yah! + + A Ninja warrior, ONE-EYED BETTY (Mrs. Potato Head), flips + down the train roof, wielding a sword and nun-chucks. + + WOODY + One-Eyed Betty! + + Woody handsprings away. He gets to the end of the Caboose. + 2. + + +Betty hits him with her purse. He teeters, then falls. + + WOODY + Whoa, whoa... Ahhh...! + +Bart and Betty laugh, peek over the edge... + +GALLOPING HOOVES + +TILT UP to find Woody, riding BULLSEYE, JESSIE at the +reins. + + JESSIE + I believe you dropped something, + Mister! + + ONE-EYED BART + Jessie?! + + WOODY + You’ve reached the end of the line, + Bart. + +Bart pulls out a remote detonator. + + ONE-EYED BART + I always wanted to go out with a + bang! + +Ahead, a huge trestle bridge spans a canyon. ZOOM to REVEAL +-- The middle of the bridge is loaded with dynamite. + +Bart laughs, hits the detonator. The bridge explodes. + +Woody, Jessie, and Bullseye gasp. + + JESSIE + Oh no! + + WOODY + The orphans! + +WHIP PAN -- A train car of TROLLS lean out the windows. + +One-Eyed Bart cackles. + + ONE-EYED BART + Hate to leave early, but our ride + is here. + +HONK-HONK! A pink Corvette, driven by the three ALIENS, +pulls up alongside the train. + 3. + + + ALIENS + Oooooooooo! + + ONE-EYED BART + It’s me or the kiddies, Sheriff! + Take your pick! + +The Potato Heads leap off the train into the Corvette. + +They speed off. Woody looks at the out-of-control train. + + WOODY + Ride like the wind, Bullseye! + +Bullseye runs up next to the speeding locomotive. + + WOODY + Hold him steady... + +Woody stands, then leaps from Bullseye into the locomotive. + + JESSIE + Woody, hurry! + +Woody turns a gear, pulls the brake. + +Train wheels lock. Sparks fly. Woody looks ahead. + +POV -- The train skids toward the severed rails. + +Bullseye and Jessie skid to a stop at the canyon edge. + +Too late. Woody and the train plummet over the edge. + +Bullseye and Jessie are horrified. + + JESSIE + No...! + +From deep in the canyon, a FLASH and RUMBLE. + +Then, the entire train rises into the sky. + +Holding it from below is BUZZ LIGHTYEAR. + + BUZZ + Glad I could catch the train! + +Woody leans out the front. + + WOODY + Now let’s catch some criminals! + 4. + + + BUZZ + To Infinity... And Beyond! + + CUT TO: + + +3 EXT. DESERT PLAINS 3 + + A large, hand-painted sign reads: + + Border Crossing + + One Mile + + Outlaws Welcome + + WHIP PAN -- The Corvette speeds past. + + The Outlaws laugh gleefully. Bart kisses his loot. + + The Aliens see something in the sky, point... + + ALIENS + OooOOOOoooo! + + Buzz flies out of the sun, firing his laser. + + The Corvette is sliced in half. The halves fall away. + + The Outlaws tumble into a heap. + + Woody and Jessie step up. Buzz lands nearby, laser poised. + + WOODY + Reach for the sky! + + ONE-EYED BART + You can’t touch me, Sheriff! I + brought my attack dog with a built- + in force field! + + Bart WHISTLES. + + From above, SLINKY springs down the canyon walls, coils + crackling with energy. He circles the gang, bites his tail. + An ENERGY BUBBLE forms around them. + + WOODY + Well, I brought my dinosaur, who + eats force-field dogs! + + JESSIE + 5. + + + Yo-Dee-Le-Hi-HoooOOOOOOOO! + + The Earth trembles. Cracks form. The ground bursts open. + + A giant REX emerges, BELLOWING. + + He leans toward Bart, lets out a fearsome ROAR. + + A shadow. Rex stops. An intense HUM. Everyone looks up. + + An enormous, pig-shaped spaceship hovers above them. + + BUZZ + Evil Dr. Porkchop!!! + + We FLY UP to... + + +4 INT. SPACESHIP - DAY 4 + + DR. PORKCHOP (Hamm) sits on the bridge, sporting a bowler. + + EVIL DR. PORKCHOP + That’s Mr. Evil Dr. Porkchop to + you! + + Bart, Betty, Slinky, and the Aliens are suddenly beamed up. + + Hamm flips open a switch. A red button: DEATH BY MONKEYS. + + He pushes it. + + The ship’s belly swings open. A yellow barrel is dropped. + + The barrel falls. + + It explodes into a mushroom cloud of crazed red monkeys. + + Woody, Buzz and Jessie flee. The Monkeys come after them. + + Rex ROARS. The Monkeys swarm over him, taking him down. + + Woody, Buzz and Jessie are overtaken and pinned down. + + The spaceship’s snout rotates and opens. A giant laser + cannon powers up with a deafening HUM. Bart LAUGHS and + reaches for a button marked with a skull and crossbones... + + Jessie turns away, eyes shut. + + Bart LAUGHS louder. + 6. + + + Buzz turns away. + + Bart CACKLES -- finger on the trigger. + + Woody grimaces... + + CUT TO: + + +5 INT. ANDY’S ROOM - DAY 5 + + Andy imitates One-Eyed Bart’s LAUGH. + + On Woody and Buzz. Andy’s hands move Woody as he “talks”. + + YOUNG ANDY (AS WOODY) + Buzz! Shoot your laser at my badge! + + YOUNG ANDY (AS BUZZ) + Woody, no! It’ll kill you! + + YOUNG ANDY (AS WOODY) + Just do it! + + Andy presses Buzz’s laser, makes a ricochet sound -- PSHOO! + + -- off Woody’s badge and traces a line into the air... + + ...Where Hamm, the Potato Heads and the Aliens perch on a + winged cardboard box, crudely fashioned into a spaceship, + that dangles from the ceiling. + + Andy hits the carton -- PPPKOOOOOSHHH!!! + + The Toys tumble to pillows on the floor. + + CUT TO: + + CAMCORDER POV - HANDHELD + + MOM’S hand pushes open a door. Andy, 8, in his cowboy hat, + jumps around making EXPLOSION NOISES. + + He’s turned his room into a Western “set” complete with a + Tinkertoy trestle bridge, a Barrel of Monkeys, etc. + + YOUNG ANDY + (as Woody) + You’re going to jail, Bart. + + Camera ZOOMS IN. Andy looks up, stops. + 7. + + + YOUNG ANDY + Mom...!? + + MOM (O.C.) + No, no...! Keep playing! Just + pretend I’m not here. + + Suddenly, MOLLY, 2, toddles in, knocking over Tinker Toys. + + MOM (O.C.) + Oh, no! Molly...! + + YOUNG ANDY + No, it’s okay, Mom! It’s... A 50- + foot baby from outer space! She’s + on a rampage! Run for your lives! + + Andy races around. Chaos, laughing. Buster enters, BARKING. + + The CAMERA PIVOTS UPSIDE-DOWN, revealing Mom’s face. + + MOM + Does the red light mean it’s going? + + The TAPE GLITCHES and we JUMP TO... + + BEGIN MUSIC -- “You’ve Got A Friend In Me” + + +6 INT. ANDY’S KITCHEN - DAY - HANDHELD CAMCORDER POV 6 + + Molly sits in a high chair, party hat on, eating cake. + + Camera PANS Andy’s Toys, wearing party hats. End on Andy, + holding Woody, stuffing cake in his mouth. + + MOM (O.C.) + Come on, say ‘Happy Birthday’ to + Molly... + + YOUNG ANDY + (mouth full) + Happhy Brffday! + + MOM (O.C.) + Oh, charming. + + Andy holds Woody up to CAMERA, cake crumbs flying. + + YOUNG ANDY (AS WOODY) + Happhy Brffday!!! + 8. + + + JUMP TO: + + +7 INT. ANDY’S ROOM - DAY - HANDHELD CAMCORDER POV 7 + + Mom pencils a line above Andy’s head onto the door frame. + + MOM (O.C.) + Look how tall you’re getting! + + Andy steps away and beams. + + JUMP TO: + + +8 INT. ANDY’S ROOM - DAY - HANDHELD CAMCORDER POV 8 + + Andy holds Woody against the door frame, marks a line above + Woody’s head. ZOOM OUT to reveal lines and labels for all + the toys, including for “Slinky” and “Slinky’s Butt”. + + JUMP TO: + + +9 EXT. FRONT YARD - DAY - HANDHELD CAMCORDER POV 9 + + Andy gives Woody a piggyback ride. + + JUMP TO: + + +10 INT. ANDY’S ROOM - DAY - HANDHELD CAMCORDER POV 10 + + Andy holds Buzz towards camera, shoots his laser. + + BUZZ + “Buzz Lightyear to the rescue!” + + ANDY (AS WOODY) + Good work Buzz! + + Andy makes Buzz and Woody high five. + + JUMP TO: + + +11 INT. ANDY’S ROOM - NIGHT - HANDHELD CAMCORDER POV 11 + + Andy lies in a pillow fort, surrounded by toys, eating from + a huge bowl of popcorn, and watching an off-screen TV. + + He stuffs popcorn in Rex’s mouth, turns back to the TV. + 9. + + + His eyes widen. The popcorn tumbles out of Rex’s mouth. + + JUMP TO: + + +12 EXT. ANDY’S FRONT YARD - DAY - HANDHELD CAMCORDER POV 12 + + Andy rockets Jessie and Bullseye around the front yard, + while Mom struggles to keep him in the FRAME. + + JUMP TO: + + +13 INT. ANDY’S ROOM - DAY - HANDHELD CAMCORDER POV 13 + + Andy, laughing, spins around, falls on his bed, pulls his + toys close -- holding Woody, Buzz and Jessie in the warm, + glowing embrace of a child’s innocent and boundless love. + + The song FADES on “Our friendship will never die...” + + FADE TO BLACK + + WOODY (V.O.) + Okay -- places, everyone! C’mon, + get in position! + + +14 INT. TOY CHEST, ANDY’S ROOM - DAY 14 + + Dark, crowded. Toys crammed together. Light seeps in. + + Nervous, backstage jitters. They speak in HUSHED TONES. + + MRS. POTATO HEAD + Wait -- I can’t find my other eye! + + HAMM + Someone’s foot is in my face... + + MR. POTATO HEAD + It’s mine! Give it back! + + ALIENS + You saved our lives! We are + eternally grateful! + + Potato Head groans. Buzz sits by the rim. Jessie climbs up. + + JESSIE + Buzz, mind if I squeeze in next to + ya?! + 10. + + + BUZZ + Yes! No! I mean...! Why would I + mind?! Squeezing next to... You! + +He laughs, nervous. She grins. Finally, he turns away. + + BUZZ + Is it hot in here? + + REX (O.S.) + Here they come! + +The Toys clamber to the rim and gaze out. + +POV -- SARGE and two ARMY MEN slip in the room, dragging +something in a gym sock. + +The Army Men arrive at the chest. Woody peers down. + + WOODY + Sarge! You got it...?! + + SARGE + Mission accomplished! + +The Toys are thrilled. The Army Men hoist the sock up. + + WOODY + Careful...! Careful!!! + +Buzz turns the sock upside-down. A cell phone slides out. + +Toys gather around. + + WOODY + All right, guys. We got one shot at + this. Everyone ready? + + JESSIE + We’re ready, Woody! Let’s do it! + + WOODY + Buzz -- make the call. + +Buzz flips open his wrist cover. A phone number is written +inside. Jessie pulls out a cordless phone, leans close to +Buzz. Buzz chuckles, nervous. Jessie dials the phone. + +Woody tosses the cell phone to Rex. + +Jessie gets to the last digit, hits it. Silence. + 11. + + +Suddenly, the cell phone RINGS. Rex yelps. + +Buzz, Jessie and Woody peer over the rim. FOOTSTEPS on the +stairs. + + BUZZ + Target is on approach. + +Woody’s eyes are fixed on the door. + + WOODY + Just like we rehearsed it, guys... + +The door opens. ANDY enters but we only SEE his jean-clad +legs. He scans the room, zeroes in on the toy chest. + +He lifts the lid REVEALING... + +Andy is a teenager. His hair is long and his voice deep, +but he has the same kind face. He looks down, puzzled. + +The Toys lie, lifeless, amid sports equipment and clothing. + +The phone RINGS again. Andy’s hand rummages. + +Woody hugs the cordless as Andy’s fingers pass by and find +the cell phone. + +He pulls it out. The phone is stuck in Rex’s arms. Andy +pulls. Rex clings. Andy finally yanks the phone loose. + + ANDY + Hello...? + +CLOSE ON -- Woody, holding the phone. He closes his eyes. + + ANDY (ON PHONE) + Hello...?! Anyone there? + +Andy hangs up, turns. + + ANDY + Molly, stay outta my room! + + MOLLY (O.S.) + I wasn’t in your room! + +Andy scoffs, looks down at Rex in his hand. Rex lies +frozen, smiling -- eager to be played with. + +Andy drops Rex in the box, shuts the lid, heads out. + 12. + + + ANDY + Then who was messing with my stuff? + + MOLLY (O.S.) + It wasn’t me...! + +He departs, closing the door -- CLICK. + +CREAK -- Woody and Buzz push the chest open, share a look. + +The other Toys climb out. + + MR. POTATO HEAD + Well, that went well! + +They spill out onto the floor. The room has changed -- + +rock posters, guitar, skateboard, other teen detritus. + + REX + He held me! He actually held me! + + HAMM + Oh, this is just sad. + + MR. POTATO HEAD + Who are we kiddin’? The kid’s + seventeen years old! + +Woody and Buzz jump down, exchange a glance. Buzz nods. + +Woody waves his arms. + + WOODY + Guys, hey, hold up! We need a staff + meeting! Everyone? A staff meeting! + +GROANS of boredom. + + HAMM + Not again...! + + WOODY + Oh, come on! Slink? Gather everyone + up! + + SLINKY + Uh... We are gathered, Woody! + +The Toy Community is a lot smaller. Woody rolls with it. + + WOODY + 13. + + + Okay. First off -- we all knew + Operation Playtime was a long + shot... + + MR. POTATO HEAD + More like a misfire! + + WOODY + ...But we’ve always said this job + isn’t about getting played with. + It’s about... + + JESSIE + ...Being there for Andy. We know. + + REX + But we can try again, right? + +Woody looks at all of them. He shakes his head. + + WOODY + I’m callin’ it, guys. We’re closin’ + up shop. + +Gasps. Everyone is crushed by this news. + + WOODY + Andy’s going to college any day + now... That was our last shot. + +Mrs. Potato Head begins to sniffle. Buzz steps forward. + + BUZZ + We’re going into Attic Mode, folks. + Keep your accessories with you at + all times -- spare parts, + batteries... Anything you need for + an orderly transition. + +Potato Head steps up. + + MR. POTATO HEAD + “Orderly?” Don’t you get it?! We’re + done! Finished! Over the hill! + + WOODY + Hey, hey, now come on, guys! We all + knew this day was coming! + +Buzz, in FOREGROUND, sees something off-screen, frowns. + +POV -- Sarge and the Army Men climb up onto Andy’s desk. + 14. + + +The other Toys keep arguing. + + HAMM (O.C.) + Yeah, but now its here! + + WOODY (O.C.) + Look, every toy goes through this! + No one wants to see their kid + leave! + + BUZZ + Hey! Sarge! What are you doing?! + +Everyone turns. Sarge and his last two Soldiers climb to +the window sill. + + SARGE + War’s over, folks. Me ‘n the boys + are movin’ on. + + WOODY + Moving on...?! + + BUZZ + You’re going AWOL?! + + SARGE + We done our duty. Andy’s grown up. + + SOLDIER ONE + And let’s face it -- when the trash + bags come out, we Army guys are the + first to go. + + BUZZ + Trash bags...?! + + WOODY + Who said anything about trash bags? + + SARGE + It has been an honor serving with + you. Good luck, folks. + +Sarge straps in tandem with Soldier One. They leap. Their +parachute opens and the wind carries them off. + + SOLDIER TWO + You’re gonna need it...! + +He jumps and flies off too. The Toys are stunned. + + WOODY + 15. + + + No, no... Wait...! Wait! Wait!!! + + REX + We’re getting thrown away?! + + WOODY + No! No one’s getting thrown away! + + MR. POTATO HEAD + How do you know?! + +Jessie begins to panic. + + JESSIE + We’re being abandoned...! + + BUZZ + We’ll be fine, Jessie! + + HAMM + So why did Sarge leave?! + + MRS. POTATO HEAD + Should we leave?! + + SLINKY + I thought we were goin’ to the + attic! + + REX + Oh, I hate all this uncertainty...! + +Woody turns, waves his arms. + + WOODY + Whoa, whoa! Hold on! Quiet!!! No + one’s getting thrown out, okay?! + We’re all still here, aren’t we?! + (beat) + I mean, yeah, we’ve lost friends + along the way -- Wheezy and Etch + and... + + REX + Bo Peep...? + +Woody nods, stoic. + + WOODY + 16. + + + Even... Even Bo. All good toys + who’ve gone on to new owners. But + through every yard sale, every + spring cleaning, Andy held on to + us. He must care about us or we + wouldn’t be here. You wait -- + Andy’s gonna tuck us in the attic. + It’ll be safe and warm... + + BUZZ + ...And we’ll all be together. + + WOODY + Exactly. There’s games up there, + and books... And, and... + + BUZZ + The race-car track... + + WOODY + The race-car track. Thank you! + + SLINKY + And the old TV...! + + WOODY + There you go -- the old TV! And + those guys from the Christmas + decorations box! They’re fun, + right? + +The Toys shrug, MURMUR in semi-agreement. Woody softens. + + WOODY + And someday -- if we’re lucky -- + Andy may have kids of his own... + + REX + And he’ll play with us then, right? + +Woody looks at Rex, unable to say “yes”. + + WOODY + We’ll always be there for him. + + BUZZ + Come on, guys! Let’s get our parts + together, get ready, and go out on + a high note. + +The Toys disperse. + + MRS. POTATO HEAD + 17. + + + I’d better find my other eye... + + MR. POTATO HEAD + Where’d ya leave it this time? + +She puts a hand over her empty eye socket. + + MRS. POTATO HEAD + Someplace dark. And dusty! + +Hamm turns to Rex. + + HAMM + C’mon. Let’s see how much we’re + goin’ for on eBay... + +Woody watches as the Toys trudge off. + + WOODY + Don’t worry. Andy’s gonna take care + of us. I guarantee it. + +ON THE DRESSER + +Woody climbs up, surveys the room -- posters, guitar, +textbooks. He turns to a cork board where Andy’s high +school graduation photo is pinned. He lifts it to find... + +A SNAPSHOT shows an eight-year-old Andy wearing a cowboy +hat and posing with Woody and Buzz and all of Andy’s toys. + +Woody gazes at the halcyon past he can never return to. + +Buzz steps up behind him. + + BUZZ + You guarantee it, huh...? + + WOODY + I dunno, Buzz. What else could I + say? + + BUZZ + Whatever happens, at least we’ll be + together. + +CLOSE ON -- The SNAPSHOT of young Andy. + + WOODY (O.C.) + For Infinity and Beyond... + +FOOTSTEPS on the stairs. Woody and Buzz turn. + 18. + + + MOLLY (O.S.) + Can I have your stereo? + + ANDY (O.S.) + No! + + MOLLY (O.S.) + Why not? + + ANDY (O.S.) + ‘Cause I’m taking it with me! + +The Toys scramble back into the toy chest. Andy enters with +Molly close behind. + + MOLLY + Can I have your computer? + + ANDY + No! + + MOLLY + Your video games? + + ANDY + Forget it, Molly! + +Molly sighs, walks off. Andy starts typing on his laptop. + +Andy’s Mom enters carrying cardboard boxes and trash bags. + + MOM + Okay, Andy, let’s get to work here. + Anything you’re not taking to + college either goes in the attic, + or it’s trash. + +She picks up a box and writes “College” in magic marker. + +Andy stares at his computer. + + ANDY + Mom, I’m not leaving ‘til Friday! + + MOM + C’mon -- it’s garbage day. + + ANDY + Mom...! + +She picks up his skateboard, puts it in the “College” box. + 19. + + + MOM + Look, it’s simple: Skateboard? + College. Little league trophy? + Probably attic. Apple core? Trash. + You can do the rest. + +She tosses an apple core in a trash bag, hands it to Andy. + +Molly opens the Toy Chest. + + MOLLY + Why do you still have these Toys? + + ANDY + Molly, out of my room...! + + MOLLY + Three more days and it’s mine...! + +She strides out the door. + + MOM + Molly, you’re not off the hook + either! + +THE TOY CHEST + +The Toys watch as Mom picks up a box, enters Molly’s room. + + MOM + You have more toys than you know + what to do with. Some of ‘em could + make other kids really happy... + + MOLLY + What kids...? + + MOM + The children at the day care. + They’re always asking for + donations. + +Rex whispers. + + REX + What’s “day care”? + + WOODY + Shhh...!!! + +Mom writes SUNNYSIDE on the box. Molly pouts. + 20. + + + MOLLY + But, Mom... + + MOM + No “buts”. You choose the toys you + wanna donate. I’ll drop ‘em off at + Sunnyside. + + Mom leaves. Molly sighs -- Moms! -- surveys the room. She + picks up a xylophone, a Magic 8-Ball, puts them in the box. + + She picks up her old Barbie. + + MOLLY POV -- Barbie smiles, desperately eager to please. + + Molly, indifferent, tosses Barbie into the box, then buries + her face in a “Teen” magazine. + + THE TOY CHEST + + Across the hall, the Toys react. + + JESSIE + Poor Barbie...! + + HAMM + I get the Corvette. + + +15 INT. ANDY’S ROOM - DAY 15 + + Mom walks back and finds Andy still on his laptop. + + MOM + Andy, come on -- you need to start + making decisions. + + ANDY + Like what? + + She pulls open the toy chest. + + MOM + Like, what are you gonna do with + these toys? Should we donate ‘em to + Sunnyside? + + ANDY + No...! + + MOM + Maybe sell them online...? + 21. + + + ANDY + Mom -- no one’s gonna want those + old toys. They’re junk! + +THE TOYS + +Silently hear this bombshell. Mom lowers the lid. + + MOM + Fine. You have ‘til Friday -- + anything that’s not packed for + college, or in the attic, is + getting thrown out. + + ANDY + “Whatever you say, Mom.” + +He stares at his laptop. She shakes her head, exits. + +Andy sighs, closes his laptop. He turns, surveys his room. + +He rolls his chair to the toy chest and opens the lid. + +Inside are the Toys -- his old friends. They lie frozen, +smiling, forever eager to play. + +Andy gazes at them, making a decision. + +Abruptly, he grabs a trash bag, snaps it open. He picks up +the Toys -- Rex, Potato Head, Jessie -- tosses them in. + +He pulls Hamm’s cork, empties the change out, and dumps +him, with rest of the Toys, in the trash bag. + +Then Andy picks up Buzz and Woody, looks at them. + +POV -- Buzz, grinning and heroic. Woody, smiling and loyal. + +TOYS POV -- Andy turns, tosses Woody in the College box. + +The Toys gasp. Andy drops Buzz into the garbage bag. + +IN THE BAG + +Buzz is stunned and hurt. + +Andy cinches the bag closed and carries it from the room. + +Behind him, Woody pops up from the College box, shocked. + +IN THE BAG + 22. + + +It’s dim and crowded. + + REX + What’s happening...?!!! + + MR. POTATO HEAD + We’re getting thrown out, you + idiot! That’s what’s happening!!! + +Woody jumps from the box, runs across the room, hides +behind the door frame. + +Andy walks onto the hall landing, reaches up, and pulls +open a trapdoor ladder that leads to the attic. + +Woody watches, relieved. + +Andy begins climbing to the attic. One rung... Two... + +Molly enters the hall landing, struggling with her box. + +It hits the door frame. A Magic 8-Ball falls out. + + ANDY + You need a hand? + + MOLLY + I got it... + +Andy steps down, leaves the bag at the foot of the ladder, +grabs the 8-Ball. He helps Molly carry her box downstairs. + + ANDY + Here. So, you gonna miss me when + I’m gone? + + MOLLY + If I say ‘no’, do I still get your + room? + + ANDY + Nope. + + MOLLY + Then, yes, I’ll miss you. + +They disappear. + +IN THE BAG + +The Toys are piled all over each other. Jessie is hyper- +ventilating. Buzz looks around -- plotting his next move. + 23. + + + JESSIE + I can’t breathe! + + REX + This can’t be happening!!! + + BUZZ + Quiet...!!!! What’s that sound? + +They all listen. A faint CREAKING. + +ON THE LANDING + +The attic ladder -- spring loaded -- retracts, pushing the +toy-filled trash bag out of the way. + +IN THE BAG + +The bag is tipped over. The Toys tumble over each other. + + TOYS + Whooaaaaa...!!! + +ON THE LANDING + +The ladder pushes free and rises to the ceiling, retracting +completely. Woody tiptoes into the hall toward the bag. + +Suddenly, Mom enters carrying a trash bag. Woody retreats. + +Mom trips over the toy-filled bag, looks down -- irritated. + + MOM + Andy...?! + +No answer. Mom sighs, picks up the toy-filled bag and +exits, carrying it downstairs. + +ANDY’S ROOM + +Woody -- at the door -- is electrified. + + WOODY + That’s not trash! That’s not + trash!! + +He steps back, mind reeling. + + WOODY + Think, Woody...! Think! Think! + (an idea) + Oooh! + 24. + + + (whistles) + Buster! C’mere, boy! C’mere! + + Off-screen PAWS and the JINGLE of a dog collar. Buster + enters -- old, saggy, panting. Woody vaults onto his back. + + WOODY + Okay, boy! To the curb! Hyah!!! + + Buster yawns and flops over, pinning Woody under him. + + WOODY + No, Buster, no...! + + Woody grabs Buster by the jowls, pulls him backwards. + + Finally, Buster rolls over. Woody sits up, gasping. + + Off-screen, a door SLAMS. Woody turns. + + Woody rushes to the window, gazes out. + + POV -- Mom drops the trash bags at the curb. + + WHIP PAN -- Rumbling up the street is a garbage truck. + + Woody gasps. + + IN THE BAG + + Mounting panic. + + JESSIE + We’re on the curb! + + MR. POTATO HEAD + Oh, I knew it would come to this! + + Buzz grabs the side of the bag, tries to tear it open. + + BUZZ + Pull, everyone! Pull!!! + + +16 EXT. ANDY’S HOUSE - DAY 16 + + Woody grabs a pair of scissors, shoves them in his holster. + + He lunges for the drainpipe, slides down, hits a gutter and + tumbles into the bushes below. CRASH! + + IN THE BAG + 25. + + +The Toys follow Buzz’s lead, pulling the sides of the bag. + + REX + It won’t rip! + + HAMM + Ah, forget it! It’s triple-ply + high-density polyethylene! + + BUZZ + There’s gotta be a way out! + + MR. POTATO HEAD + Andy doesn’t want us! What’s the + point? + + BUZZ + (thinking) + Point... Point... POINT!!! + +Buzz looks at Rex’s pointy tail. + +OUTSIDE THE BAG + +The truck RUMBLES closer, two driveways away. + +IN THE BAG + +The Toys follow Buzz, shoving Rex backwards. + + BUZZ + Push! Push!!! + + REX + I can hear the garbage truck! + +OUTSIDE THE BAG + +The bag stretches. Rex’s tail is nearly through. + +IN THE BAG + + REX + It’s getting closer-fffmmm! + +Rex is muffled by a mouthful of plastic. + +IN THE YARD + +Woody uses the scissors to snip his way out of the bush. + +The garbage truck approaches Andy’s driveway. + 26. + + + Woody races out, dives behind the mail box post. The + GARBAGE MAN is in head phones, playing air guitar, drumming + the mail box. He empties a garbage can into the truck. + + Woody ducks from behind the post, plunges his scissors into + a garbage bag. + + Garbage spills out: wrong bag. He tries another. No luck. + + As the Garbage Man turns, Woody ducks behind the post. The + Garbage Man grabs the last bags, tosses them in the truck. + + He climbs on a running board, SLAPS the side. + + The truck shifts into gear and lurches off down the street. + + THE STREET + + As the truck rumbles off, Woody ducks from behind the mail + box, runs after it. The truck pulls up at the next house. + + Woody hides behind a fire hydrant. + + The Garbage Man hops off the runner, yanks a lever. The + truck’s compactor lowers, scoops up the trash bags. + + From behind the hydrant, Woody watches in horror. + + The compactor retracts, CRUNCHING the bags remorselessly. + + WOODY + Buzz...!!! Jessie...!!! + + A TINKLE. Woody turns. In Andy’s driveway, an upside-down + recycling bin scurries on little feet into the garage. + + Woody sighs, relieved. + + +17 INT. GARAGE - DAY 17 + + The Toys cast off the bin. They are traumatized. + + SLINKY + Andy threw us out...! + + HAMM + Like we were garbage...! + + MR. POTATO HEAD + “Junk”! He called us “junk”! + 27. + + + MRS. POTATO HEAD + How could he...?! + +She SOBS on Mr. Potato Head’s shoulder. + + BUZZ + (to himself) + This doesn’t make any sense...! + +Jessie is furious. + + JESSIE + I should’a seen this coming! It’s + Emily all over again! + +She turns and scans the garage -- galvanized, determined. + + HAMM + Sarge was right...! + + MR. POTATO HEAD + Yeah! And Woody was wrong! + + BUZZ + Wait a minute! Hold on! This is no + time to be hysterical. + + HAMM + It’s the perfect time to be + hysterical! + + REX + (hysterical) + Should we be hysterical...?!!! + + SLINKY + No! + + MR. POTATO HEAD + Yes! + + BUZZ + Maybe! But not right now! + + JESSIE (O.S.) + Yeeeeeeeeeeeeeee-- + hawwwwwwwwww...!!! + +Everyone turns. Jessie is smiling. + + JESSIE + Fellas -- I know what to do! + 28. + + + They follow her gaze. In the hatchback of Mom’s car is + Molly’s box of toys, marked SUNNYSIDE. + + +18 EXT. ANDY’S YARD - DAY 18 + + Woody darts from a tree to a landscape boulder, sneaking + towards the garage. He peeks out from behind a flowerpot. + + WOODY + What the heck...?! + + WOODY’S POV -- The Toys clamber into the Donation Box. + + +19 INT. CAR / GARAGE - DAY 19 + + Buzz stands outside the Donation Box as the other Toys + clamber in. Jessie helps the Aliens up into the box. + + JESSIE + We should’a done this years ago! + + BUZZ + Jessie, wait...! What about Woody?! + + JESSIE + He’s fine, Buzz! Andy’s takin’ him + to college! Now we need to go! + + Buzz looks at her and the others. + + BUZZ + You’re right. Come on! + + He helps pass the Aliens up. Woody approaches, incredulous. + + WOODY + Buzz...? + + BUZZ + Woody...! + + WOODY + What’s going on? Don’t you know + this box is being donated! + + BUZZ + It’s under control! We have a plan! + + REX + We’re going to Day Care! + 29. + + + WOODY + Day Care?! What -- have you all + lost your marbles?! + + MRS. POTATO HEAD + Didn’t you see? Andy threw us away! + + WOODY + No...! No, no, no! He was putting + you in the attic! + + MR. POTATO HEAD + Attic? So how’d we end up on the + curb?! + + WOODY + That was a mistake! Andy’s Mom + thought you were trash! + + HAMM + Yeah! After he put us in a trash + bag! + + MRS. POTATO HEAD + And called us “junk”! + + WOODY + I know it looks bad but, guys, ya + gotta believe me! + + MR. POTATO HEAD + Sure thing, “College Boy”! + + JESSIE + Andy’s movin’ on, Woody! It’s time + we did the same. + +Jessie and the others duck in the box, pull the flaps shut. + + WOODY + Okay, out of the box! Everyone, + right now! Come on! Buzz -- gimme a + hand. We gotta get this thing outta + here! + +He walks around and tries to push the box out of the car. + + BUZZ + Woody -- wait! We need to figure + out what’s best for every--... + +SLAM!!! The hatchback shuts. + 30. + + + Buzz and Woody turn. Through the window, Andy’s Mom walks + to the driver’s seat, gets in. Woody and Buzz crouch down. + + WOODY + Oh, great! Great!!! It’s gonna take + us forever to get back here! + + The car lurches into gear and drives off. + + +20 INT. DONATION BOX / CAR - DAY 20 + + The Toys have gathered around Barbie, who is sniffling. + + Mrs. Potato Head pats her shoulder. + + MRS. POTATO HEAD + It’s all right, Barbie. You’ll be + okay! + + Barbie nods, putting on a brave front. + + BARBIE + Well... Molly and I have been + growing apart for years, it’s + just... I can’t believe she would + throw me away! + + She breaks down again. Potato Head rolls his eyes. + + MR. POTATO HEAD + Welcome to the club, Toots! + + Suddenly, the box flaps open and Woody and Buzz vault in. + + WOODY + Okay, everyone, listen up... We can + get back to Andy’s but we gotta + move fast. We’ll hide under the + seats ‘til we get home... + + The Toys react, incensed. + + MR. POTATO HEAD + Get it through your vinyl noggin, + Woody -- Andy doesn’t want us + anymore! + + WOODY + He was putting you... In the + attic!!! + + Jessie goes toe-to-toe with Woody. + 31. + + + JESSIE + He left us... On the curb! + + Buzz intervenes. + + BUZZ + Alright, calm down! Both of you! + + WOODY + Okay, fine! Just wait’ll you see + what Day Care’s like! + + REX + Why...?! What’s it like?! + + WOODY + Day Care is a sad, lonely place for + washed-up old toys who have no + owners. + + Abruptly, Barbie bursts into tears. + + HAMM + Quite the charmer, aren’t ya? + + WOODY + Oh, you’ll see! As soon as we get + to Day Care, you’ll be begging to + go home. + + The car hits a bump and Woody tumbles. + + +21 EXT. DAY CARE, PARKING LOT - DAY 21 + + The car pulls into a modest day care center -- Sunnyside -- + + a cinder block building with bright, kid-friendly murals. + + +22 INT. / EXT. DONATION BOX / PARKING LOT - DAY 22 + + Andy’s Mom pulls out the box, carries it across the lot. + + Inside the box, the Toys peer out the hand slots. + + REX + Can anyone see anything? + + JESSIE + There’s a playground...! + 32. + + + Through fencing we SEE glimpses of kids running and playing + with SHOUTS and LAUGHTER. The Toys look at each other. + + JESSIE + We hit the jackpot, Bullseye! + + HAMM + So much for “sad and lonely”, eh? + + WOODY + Okay, calm down, guys. Let’s keep + this in perspective... + + MR. POTATO HEAD + Perspective?! This place is + perfect! + + REX + Woody, it’s nice! See, the door has + a rainbow on it! + + +23 INT. LOBBY - DAY 23 + + Andy’s Mom is BUZZED through glass doors. A RECEPTIONIST + behind a counter types at a computer while a small girl on + the counter plays with a toy chimp. Andy’s Mom enters. + + MOM + Hey, there! + + RECEPTIONIST + Wow! Haven’t seen you in ages... + + MOM + Just wanted to drop these old toys + off. + + She puts the box on the counter. + + MOM + Is this Bonnie?! Look how big you + are! + + The girl, BONNIE, looks up, then turns to her Mother, shy. + + RECEPTIONIST + Say hi, sweetie! + + BONNIE + Hi. + + RECEPTIONIST + 33. + + + How are your kids? Molly and Andy? + + MOM + Not kids anymore. Andy’s going to + college on Friday. Can you believe? + + The Receptionist opens the box. Bonnie tries to look in. + + RECEPTIONIST + You sure they won’t miss these? + + MOM + Nah, they never get played with. + + Mom departs and the Receptionist folds up the box flaps. + + +24 INT. DONATION BOX / HALLWAY - DAY 24 + + The Toys peek out as they are carried down a hallway. + + MR. POTATO HEAD + You see any kids...? + + REX + Where’s she taking us? + + +25 INT. DONATION BOX / BUTTERFLY CLASSROOM - CONTINUOUS 25 + + The Box is placed on a counter. The Receptionist departs. + + In the box, the Toys step up and jostle for a view. + + JESSIE + Look...! + + MR. POTATO HEAD + Wow! + + REX + What?! What is it?!!! + + TOYS’ POV -- An idyllic day care classroom, filled with the + happy bustle of four- and five-year-olds, playing with toys + -- dinosaurs, a baby doll, a pink Teddy bear, a Ken doll. + + The Toys stare, agog. Rex jockeys for a peek. + + REX + Aaah! I can’t see! + 34. + + +A bell RINGS. A TEACHER opens the playground door. + + BUTTERFLY ROOM TEACHER + Okay, everyone, recess! C’mon! + +The kids CHEER and flood out on the playground. The Teacher +turns off lights, shuts the door behind her. + +IN THE BOX + +Silence. The room is still. The Toys speak sotto. + + HAMM + So, now what do we do? + + WOODY + We go back to Andy’s! Anyone see an + exit? + + MR. POTATO HEAD + Exit schmexit! Let’s get played + with! + + BUZZ + Careful! These toys might be + jealous of new arrivals! + + REX + I wanna see! It’s my turn! + +Rex presses in. The Toys react. + + BUZZ + Oooff...!!! + + SLINKY + Whoa! + + HAMM + Hey! + +The whole box tilts and falls off the counter -- SPLAT!!! + +The Toys spill out. They look up. + +Around the room, all the Day Care Toys stare back. + +A Jack In The Box pops up. + + JACK IN THE BOX + New Toys! + 35. + + +They all CHEER and burst into smiles. + +Jessie shakes hands with a ROCK MONSTER toy. + + JESSIE + Well, howdy! Glad to meetcha! + +Buzz extends his hand to a ROBOT toy. + + BUZZ + Buzz Lightyear, at your service. + +Hamm, Slinky and Barbie shake hands with an OCTOPUS toy. + + HAMM + Oh boy, oh boy, oh boy! + +Rex laughs, circled by adoring little dinosaurs. + +An Insect Man ACTION FIGURE helps Mrs. Potato Head get up. + + MRS. POTATO HEAD + Oooh, thank you! + (reaches for his bicep) + Oh, may I? Ohhh! + +He flexes obligingly. She feels his arm, GIGGLES. Mr. +Potato Head looks on. He flexes his own arm. It sags. + +A Crane toy circles the Aliens. They gaze up, rapturous. + + ALIENS + The Claw...!!! + +SFX -- HONK! HONK! Everyone turns. + +A Tonka Truck races forward, then backs up in a quick 180 +arc, revealing a large pink Teddy bear, LOTSO, in its bed. + +Lotso taps a Tinker Toy cane and the truck bed rises, +“dumping” him out. Like Bob Hope stepping off the links in +Palm Springs, Lotso exudes an easy, cheerful charisma. + + LOTSO + Well, hello there! I thought I + heard new voices! Welcome to + Sunnyside, folks! I’m Lots-o’- + Huggin’ Bear! But, please, call me + Lotso! + +Buzz steps up, offers a hand. + 36. + + + BUZZ + Buzz Lightyear. We come in pea... + +Lotso grabs Buzz, lifts him in a smothering hug. + + LOTSO + (chuckling) + First thing you gotta know about + me... I’m a hugger!! + +He releases Buzz, looks at the other Toys. + + LOTSO + Oh, look at y’all! You been through + a lot today, haven’t you? + + MRS. POTATO HEAD + Oh, it’s been horrible! + + LOTSO + Well, you’re safe now. We’re all + cast-offs here -- we been dumped, + donated, yard-saled, second-handed, + and just plain thrown out. But just + you wait -- you’ll find being + donated was the best thing that + ever happened to ya! + +Woody scoffs, but Rex steps up excitedly. + + REX + Mr. Lotso...? Do toys here get + played with every day? + + LOTSO + All day long. Five days a week. + + JESSIE + But what happens when the kids grow + up? + +Lotso steps to a wall of day-care class photos. + + LOTSO + Well, now, I’ll tell ya -- when the + kids get old, new ones come in. + When they get old, new ones replace + them. You’ll never be outgrown or + neglected. Never abandoned or + forgotten. No owners means no + heartbreak. + +The Toys are overjoyed. Even Woody is taken by this vision. + 37. + + + JESSIE + Yeee-hawww..!!! + + MRS. POTATO HEAD + It’s a miracle! + + MR. POTATO HEAD + (to Woody) + And you wanted us to stay at + Andy’s! + + WOODY + Because we’re Andy’s toys! + +Lotso puts an arm around Woody. + + LOTSO + So you got donated by this “Andy”, + huh? Well, it’s his loss, Sheriff! + He can’t hurt you no more. + + WOODY + Whoa, whoa, whoa, whoa... + +Lotso cuts him off. + + LOTSO + Now let’s get you all settled in. + Ken?! Where is that boy? Ken...?! + New toys! + +A Ken doll appears in an upper window of a doll house. + + KEN + Far out! Hey, hi, everybody! + (to Lotso) + Down in a jiff, Lotso! + +He rides down in an elevator and opens the door. + +ON KEN -- Slip-on shoes, double-pleated shorts, and an +unbuttoned animal-print shirt that reveals his ripped abs. + +He addresses the Toys with an air of boundless self-regard. + + KEN + So. Who’s ready for Ken’s Dream + Tour? + + LOTSO + Let’s show our new friends where + they’ll be stayin’! + 38. + + + KEN + Folks, if you wanna step right + this-- + +He turns, sees Barbie. She looks up, sees him. + +Sparks fly. MUSIC swells. Destiny calls. They approach. + + KEN + Hi! I’m Ken. + + BARBIE + Barbie. + (breathless) + Have we ever me--...? + + KEN + Huh-uh...! I would’ve remembered! + (Barbie GIGGLES) + Love your leg warmers. + + BARBIE + Nice ascot. + +Lotso breaks the spell. + + LOTSO + C’mon, Ken! Recess don’t last + forever! + + KEN + Right on, Lotso! This way everyone! + +He extends a gentlemanly arm. Barbie giggles, takes it. + + LOTSO + You got a lot to look forward to, + folks -- the Little Ones love new + toys! + +He leads them off. Rex, Buzz, and Woody trail behind. + + BUZZ + What a nice bear! + + REX + And he smells like strawberries! + +Woody sighs, exasperated. + +As they walk, Ken addresses the Toys like a tour leader. + 39. + + + KEN + Folks, if I can share, here at + Sunnyside, we’ve got, well, just + about anything a Toy could ask for. + +Lotso leads them past shelves of toy supplies. + + LOTSO + Spare parts, super glue, and enough + fresh batteries to choke a Hungry- + Hungry Hippo. + +CLOSET DOOR + +Lotso flings open a utility closet, revealing a spa-like +workshop in which smaller Toys fix up bigger Toys -- + +stitching rips, etc. The Toys gasp, impressed. + + LOTSO + Think you’re gettin’ old? Well, + stop your worryin’! + + KEN + Our repair spa will keep you + stuffed, puffed, and lightly + buffed! + +An Elephant plushie is getting his belly re-stuffed. He +SNEEZES. Stuffing flies everywhere. + +IN THE CLASSROOM + +As the tour continues, Ken gestures to his Dream House. + + KEN + And this, well, this is where I + live -- Ken’s Dream House. It has a + disco, it’s got a dune buggy... And + a whole room just for trying on + clothes. + + BARBIE + You have everything!!! + + KEN + Everything except someone to share + it with. + +He looks down, walks off. Barbie sighs, about to faint. + +Lotso reaches a bathroom door at the end of the room. + 40. + + + LOTSO + You need anything at all, you just + come talk to me. Here we are...! + + Lotso raps the door with his cane. It’s opened by a large + baby doll, BIG BABY, with a lazy, drooping eye. Big Baby + COOS, peers out at the Toys. They stare up in wonder. + + LOTSO + Well, thank you, Big Baby. Why + don’t you come meet our new + friends? + + He throws an arm around Big Baby in Toy-solidarity. + + LOTSO + Poor Baby! We were thrown out + together, me n’ him. Abandoned by + the same owner! + + +26 INT. BATHROOM - DAY 26 + + Lotso leads the Toys through a bathroom. + + LOTSO + But we don’t need owners here at + Sunnyside! We own ourselves! We’re + masters of our own fate...! We + control our own destiny! + + Mr. Potato Head slips and falls, losing his parts. + + LOTSO + Uh, watch out for puddles... + + +27 INT. CATERPILLAR ROOM - DAY 27 + + Lotso leads the Toys into a new classroom. The Day Care + Toys here are scuffier and more toddler-appropriate. + + LOTSO + And here’s where you folks’ll be + staying -- the Caterpillar Room! + + The Toys gaze up in awe. There’s kid stuff everywhere: tiny + tables and chairs, finger paintings, wood blocks, banners + of the alphabet, wire cubby bins, etc. The whole beautiful, + child-centric universe of day care. + + JESSIE + Look at this place! + 41. + + + BUZZ + [Whistles] + + HAMM + Holy moly, guacamole! + + MR. POTATO HEAD + Jackpot, baby! + + SLINKY + Whoa, puppy! + + REX + Wow! + +A TOY TRAIN weaves through the room, blowing its WHISTLE. + +The Potato Heads look around in wonder. + + MRS. POTATO HEAD + (fighting tears) + It’s so beautiful! + +Woody is awestruck. Something nudges him. A RINGING. + + WOODY + What the...? + +He looks down. An old Fisher Price Chatter Telephone is +bumping into him. Woody kneels down, friendly. + + WOODY + Oh, hey, little fella... + + LOTSO + How long’s it been since y’all got + played with? + + SLINKY + It’s been years! + + LOTSO + Well, just you wait. In a few + minutes that bell’s gonna ring and + you’ll get the playtime you’ve been + dreaming of. + + REX + Play! Real play!!! I can’t wait!!! + + LOTSO + 42. + + + Now, if you’ll excuse us, we best + be headin’ back. Welcome to + Sunnyside, folks! + +Lotso climbs back into the Tonka Truck. The Toys wave. + + REX + Thank you! + + HAMM + Thank you there, Buddy Boy! + + MR. POTATO HEAD + Take care, Pinky! + + BUZZ + Goodbye, Mr. Lotso! Thank you! + + MRS. POTATO HEAD + Goodbye...! + +Barbie turns to Ken -- an end-of-the-first-date moment. + + BARBIE + Will I see you again? + + KEN + Oh, I’ll see you tonight. In my + dreams. + +She giggles. They stare. It’s like they could both +spontaneously combust. At the bathroom door, Lotso waits. + + LOTSO + Ken...! Let’s get a move on! + +Ken turns to Barbie, takes her hands. + + KEN + Barbie, come with me! Live in my + Dream House! I know it’s crazy! I + know we’ve just met! Aw, heck -- + you don’t know me from GI Joe. But + when I look at you I feel like we + were... + + KEN & BARBIE + ...Made for each other! + +They gasp, thunderstruck. Barbie turns, gazes to the Toys. + +Jessie grins and winks. Mrs. Potato Head waves -- Go! + 43. + + + BARBIE + Yay! + +She gives a leg kick. Ken pumps his fist. + + KEN + Yessssssss...!!! + +Lotso calls again. + + LOTSO + Ken...! + + KEN + Coming, Lotso! + +Ken leads Barbie to the Truck and they hop in, giddy. + +Lotso taps his cane and the Truck roars off. Big Baby is +the last to exit, closing the door -- CLICK -- behind them. + +Through windows, children are heard LAUGHING and PLAYING. + +The Toys turn and wander toward the playground door. + + HAMM + Sounds like kids to me...! + + REX + Oh, I wanna get played with! Why + can’t time go faster?!!! + + JESSIE + How many ya reckon are out there?! + + MRS. POTATO HEAD + Oh, they sound so sweet! + +Woody looks at them, knowing he’s fighting a losing battle. + + WOODY + Look, everyone, it’s nice here, I + admit. But we need to go home...! + +The Toys glance at each other. Jessie steps forward. + + JESSIE + We can have a whole new life here, + Woody. A chance to make kids happy + again. + + SLINKY + 44. + + + Why don’t you stay? + + REX + Yeah, Woody! Stay with us! + + HAMM + Come on, Woodster! + + MR. POTATO HEAD + You’ll get played with...! + + MRS. POTATO HEAD + Stay here! + + JESSIE + You can make a new kid happy! + + WOODY + I can’t! No, no! Guys, really, no! + +The Toys are taken aback. Woody struggles to stay calm. + + WOODY + I have a kid. You have a kid -- + Andy! And if he wants us at + college, or in the attic, well, + then our job is to be there for + him! Now I’m going home! Anyone + wants to join me is welcome! C’mon, + Buzz! + +He heads off. Buzz stays put. Woody turns back. + + WOODY + Buzz...? + +Buzz -- torn -- steps up to Woody, sober and gentle. + + BUZZ + Our mission with Andy’s complete, + Woody. + + WOODY + What...?! + + BUZZ + And what’s important now is we stay + together. + + WOODY + 45. + + + We wouldn’t even be together if it + weren’t for Andy! Look under your + boot, Buzz! You too, Jessie! Whose + name is written there? + +The Toys stare at the ground. Rex pipes up. + + REX + Maybe Andy doesn’t care about us + any more? + + WOODY + Of course he does! He cares about + all of you! He was putting you in + the attic -- I saw! You can’t just + turn your back on him now! + +Jessie steps forward -- incensed. + + JESSIE + Woody -- wake up! It’s over! Andy + is all grown up! + +Woody stares, trying to contain his anger. + + WOODY + Okay, fine! Perfect! I can’t + believe how selfish you all are. + +Jessie glares back. No one moves. + + WOODY + So this is it? After all we’ve been + through? + +Buzz steps forward, offers a handshake. Woody looks at +Buzz. He fixes his hat, turns away. Buzz is stung. + +Woody walks to the hall door. Bullseye follows. + + WOODY + Bullseye, no. You need to stay! + +He moves on. Bullseye again tries to follow. + + WOODY + Bullseye, no! I said stay! + (softens) + Look -- I don’t want you left alone + in the attic, okay? Now, stay. + +Bullseye retreats. Jessie puts a consoling hand on him. + 46. + + + KEYS in a LOCK. The Toys turn. + + BONNIE’S MOM (O.S.) + Bonnie...? Bonnie! + + Woody looks at them, doesn’t know what else to say. + + WOODY + I gotta go. + + The Toys scatter. Woody hides behind the door just as + Bonnie’s Mom enters. + + BONNIE’S MOM + Bonnie? You in here? + + Woody sneaks out the door, into the hall. + + CLOSE ON -- Buzz and Jessie, watching. + + +28 INT. HALLWAY 28 + + TEACHERS CHAT at the end of the hallway. + + Woody peeks out from behind a garbage can, tip-toes into + the hall, turns. A janitor cart approaches. Woody falls + limp. The cart passes over Woody, leaving the hall empty. + + A whistling JANITOR pushes the cart down the hallway. + + TILT DOWN to FIND Woody holding the underside of the cart. + + WOODY POV -- He rolls through the lobby, toward the exit... + + WOODY + C’mon, c’mon... + + ...and veers into a bathroom. + + WOODY + No, no...! + + +29 INT. BATHROOM - CONTINUOUS 29 + + The Janitor cleans the sinks. Woody sneaks into a nearby + stall. Looks up, sees an open window. + + He tears a square of toilet paper, places it on the seat, + climbs up the tank lid, leaps to the toilet paper roll, + jumps to the top of the stall, backs toward the window. + 47. + + + At the sink, the Janitor looks in the mirror, starts. + + JANITOR + What the heck? + + Woody freezes. The Janitor stares at the mirror, Woody in + its reflection. + + RACK FOCUS -- The Janitor reaches up, wipes a stain off. + + JANITOR + That’s better. + + RACK BACK -- The window in the mirror. Woody’s gone. + + +30 EXT. PLAYGROUND - DAY 30 + + Woody finds himself above the playground. Below, Bonnie + plays hopscotch by herself. Her Mom walks over. + + BONNIE’S MOM + Bonnie...? There you are. C’mon, + honey. Time to go home. + + She leads Bonnie off. Woody climbs up a drainage pipe to + the roof. He runs across the roof, stops at the edge. + + POV, PANNING -- A high wall surrounds the day care campus. + + Woody frowns. A gust lifts his hat off, blows it away. + + WOODY + Oh, no! No, no, no...! + + His hat lands under a kite tangled on the roof top. Woody + stares at the kite -- an idea. + + CUT TO: + + Woody runs across the roof, kite over his head. He leaps + and soars across the playground and over the wall. He + glides down, makes a perfect landing, and laughs, pleased. + + Abruptly, another gust hits, yanking him high in the air. + + Woody looks at the ground far below. The wind takes the + kite higher still, dipping and swirling frenetically. + + Woody panics, wrapping himself around the kite’s cross-bar. + 48. + + + The bar snaps. The kite plummets. Woody tries desperately + to flap the kite wings, but it doesn’t slow his fall. + + He crashes into a tree, hitting branches on the way down. + + He falls from the tree and stops -- eyes shut -- inches + above the pavement. Opens one eye. + + Slowly, his pull-string lifts him upward. + + WOODY + (voice box) + Reach for the sky! + + Woody dangles from a branch, trying to free himself. + + Bonnie approaches, playing hopscotch. Woody sees her, goes + limp. She bumps into Woody, looks up. Looks around. She + tugs Woody off the branch. His pull-string retracts. + + WOODY + (voice box) + You’re my favorite deputy! + + She smiles. HONK HONK! + + BONNIE’S MOM (O.S.) + Bonnie! + + BONNIE + Coming! + + She shoves Woody in her backpack, zips it up, runs off. + + IN THE BACKPACK + + Woody is trapped. + + WOODY + Oh, great! + + As Bonnie and her Mom drive off, CRANE DOWN to REVEAL... + + Woody’s hat, lying on the ground. + + +31 INT. CATERPILLAR ROOM - DAY 31 + + Bullseye whimpers, stares at the door. Jessie consoles him. + + JESSIE + Oh, it’s gonna be okay, Bullseye. + 49. + + + BUZZ + Woody’s going to college with Andy. + It’s what he’s always wanted. + + MR. POTATO HEAD + He’s crazy! College is no place for + a toy! + + MRS. POTATO HEAD + Toys are for play time! + + HAMM + Speaking of play time...! They’re + lining up out there! + +Hamm, at the window, is spying on the playground. + + BUZZ + How many? + + HAMM + There must be dozens! + + REX + Ohhh...! I can hardly wait! + + BUZZ + Places, everyone! + +The Toys scramble into play position. + +Buzz notices the Day Care Toys edging away from the door -- + +ducking, hiding, trembling, diving for cover. + +The bell RINGS. Kids SHRIEK. Footsteps THUNDER. + +Rex spreads his arms and runs to the playground door. + + REX + At last! I’m gonna get played with! + + BUZZ + Uh, Rex...? + + REX + Come to Papa! + +BOOM! The door bursts open, swatting Rex across the room. + +A horde of squealing, hyped-up TODDLERS enter. + 50. + + + The Toys go limp. Buzz closes his helmet. + + The toddlers descend on the Toys with SHRIEKS of delight. + + Toys are snatched up by eager, excited hands. + + A Boy and Girl stretch Slinky until his coil goes haywire. + + A Boy smashes the Toy Train into a wall. + + A Girl picks up Buzz, bringing him straight to her mouth. + + A Girl dips Jessie’s hair in paint and uses her as a brush. + + A Boy runs across the room, with Bullseye on top of a Corn + Popper toy. Bullseye slides off, gets caught in its wheels. + + Hamm is bathed in glue... Then coated in green glitter. + + A Girl “rides” Rex, snapping his tail off. + + The Aliens are squashed as a Boy sits on them. + + A Boy picks up Mr. Potato Head’s eye, shoves it up his + nose. + + A Girl uses Buzz to hammer a square peg into a round hole. + + BUZZ POV -- Buzz smashes the peg. Bam, Bam, Bam! + + A Boy runs by, tugs the Girl’s hair. She screams, tosses + Buzz away. He lands on the window sill. + + BUZZ POV -- Across the playgound, in the Butterfly Room, a + class of Four- and Five-Year-Olds play lovingly with Lotso + and the other toys. + + Buzz frowns -- Why is it Heaven in there and Hell in here? + + Abruptly, a HAND grabs him, pulls him back into the fray. + + CUT TO: + + WOODY + (voicebox) + There’s a snake in my boot! + + +32 INT. BONNIE'S BEDROOM - DAY 32 + + CLOSE ON -- Woody. His string is pulled again. + 51. + + + WOODY + (voicebox) + I’d like to join your posse, boys, + but first I’m gonna sing a little + song. + +Bonnie holds Woody, smiles. + + BONNIE + A sheriff..!! Move over, Mr. + Pricklepants! We have a guest! + +She plunks Woody at a small table circled by other toys -- + +a HEDGEHOG, a UNICORN, and a TRICERATOPS. + + BONNIE + You want some coffee? + +She sets out cups, pretends to pour. + + BONNIE + It’s good for you! But don’t drink + too much or you’ll hafta... + Hafta... + +She dances from foot to foot. + + BONNIE + Be right back...! + +She runs out the door. Woody comes alive, looks around. + +The other Toys stay frozen. + + WOODY + Psst! Hey! Hello! Hi -- Excuse me! + +The Hedgehog, MR. PRICKLEPANTS, comes alive briefly. + + MR. PRICKLEPANTS + Shhh! + + WOODY + Can you tell me where I am? + + MR. PRICKLEPANTS + Shhhhhh!!! + + UNICORN + The guy’s just askin’ a question! + 52. + + + MR. PRICKLEPANTS + Well, excuse me, I’m trying to stay + in character! + +He freezes again. The Unicorn, friendly, turns to Woody. + + UNICORN + My name’s Buttercup. + + MR. PRICKLEPANTS + Shhhh!!!! + + TRICERATOPS + I’m Trixie! + + MR. PRICKLEPANTS + Shhhhh!!!! + + TRIXIE + Shhhhhh!!!!! + + BOTH + Shhhhhhhhhh!!!!!! + + WOODY + Guys, hey! I don’t know where I am! + + TRIXIE + We’re either in a cafe in Paris, or + a coffee shop in New Jersey. I’m + pretty sure I just came back from + the doctor with life-changing news! + +Woody is baffled. + + BUTTERCUP + We do a lot of improv here. Just + stay loose, have fun, you’ll be + fine. + + WOODY + No, no, no, I... + +A FLUSH. Woody gets back in his pose. Bonnie runs in. + + BONNIE + Who wants lunch? Beep! Boop! Beep! + +She pushes buttons on a toy microwave oven, opens the door, +removes a plastic hamburger, plunks it in front of Woody. + + BONNIE + It has a secret ingredient... + 53. + + + She lifts the top bun... + + BONNIE + ...Jellybeans! + + Bonnie eats a jellybean, pulls Woody’s string. + + WOODY + (voicebox) + Somebody’s poisoned the water hole! + + BONNIE + Poison?! + + She spits the jellybean -- it sticks to Pricklepants’s + head. + + BONNIE + Who would do such a mean thing?! + + She GASPS and becomes a different character. + + BONNIE + (as Witch) + Hee-hee-hee-hee-hee!! + + She turns. SMASH ZOOM to a DOLL on the shelf behind her. + + BONNIE + The scary witch!! + + Bonnie picks up the Doll, flies it around the room. + + BONNIE + Look out! She’s using her witch + powers! + + CLOSE ON -- Woody. + + BONNIE (AS WOODY) + I know where to hide! + + +33 INT. BONNIE’S BEDROOM - MOMENTS LATER 33 + + The toy box at the foot of Bonnie’s bed. It creaks open. + + Bonnie peeks out, grabs a Totoro, pulls it closed again. + + +34 INT. TOY BOX - DAY 34 + 54. + + + Bonnie and Woody huddle in the dark. + + BONNIE + She’ll never find us in here! + + Bonnie surreptitiously lifts the Doll into view. + + BONNIE + What’s wrong...? + + She turns. Sees the doll, SCREAMS. + + +35 INT. BONNIE’S BEDROOM - DAY 35 + + The toy box tips over, spilling Bonnie and her Toys. + + BONNIE + She found us! We need a spaceship + to get away! + + She runs off into a closet. The Toys come alive. + + TRIXIE + You’re doin’ great! + + MR. PRICKLEPANTS + Are you classically trained? + + WOODY + Look, I just need to know how to + get outta here...! + + BUTTERCUP + There IS NO WAY OUT!!! + + Woody is stunned. + + BUTTERCUP + Just kidding. Door’s right over + there. + + The Doll gets up, greets Woody. + + DOLL + Well, Cowboy, you just jumped right + in, didn’t ya? I’m Dolly. + + WOODY + ...Uh, Woody. + + They shake. + 55. + + + DOLLY + “Woody”? Really? You’re gonna stick + with that? ‘Cuz now’s your chance + to change it -- new room and all. + That’s coming from a doll named + “Dolly”. + +A PEA POD TOY zips open behind Woody. He turns. + + PEA #1 + Who’s the new guy? + + PEA #2 + Are you a real cowboy? + + WOODY + Well, actually, I.... + + PEA #3 + ‘Course he’s not, pea-brain! He + don’t even have a hat! + + WOODY + I do too have a... My hat?! + + PEA #3 + Told ‘ya! + + BONNIE (O.S.) + I found the spaceship!! + + MR. PRICKLEPANTS + Show time! + +Woody and the Toys go lifeless as Bonnie runs out of the +closet with makeshift shoebox rocket. + + BONNIE (AS WOODY) + Quick! Fasten your seatbelts! Close + your tray tables! + +She stuffs the toys in the box, drops it on a bedsheet. + + BONNIE + Hold on, it might get a little + bumpy! 3... 2... 1...! BLAST-OFF!! + +She pulls the sheet taut. The Toys fly into the air. + +SLOW MOTION -- Woody soaring. The moment is magical. + +Woody and the others tumble onto the bed. Bonnie flops down +with them, hugging them close. + 56. + + + BONNIE + Yeee-haaaaw!!! You saved us, + cowboy! You’re our hero!!! + + She pulls Woody to her cheek -- just like Andy once did. + + Woody glances at the other Toys. They smile at him. + + He smiles back. That was great. + + +36 INT. CATERPILLAR CLASSROOM - DUSK 36 + + The Toys come to life, groaning. + + SLINKY + Oh, I’ve got a kink in my slink. + + Rex staggers by, tail missing. + + REX + My tail...! Where’s my tail?! + + Buzz sits up, dazed. + + Hamm pulls his cork. Detritus spills out. He strains. + + POP -- a Weeble pops out. Hamm picks up a plastic arm. + + HAMM + Someone need a hand? + + He tosses it to Mr. and Mrs. Potato Head -- their parts + completely jumbled. + + Buzz straightens up -- back CRACKING. + + BUZZ + I don’t recall play time being + quite that strenuous. + + Rex pulls his tail from a peg board. + + REX + Andy never played with us like + that! + + Jessie peels a decal off Bullseye’s nose. + + JESSIE + We have to make the best of it. + 57. + + + MR. POTATO HEAD + But these toddlers! They don’t know + how to play with us! + + REX + They’re too young! + + HAMM + They’re sticky! + + MRS. POTATO HEAD + We should be in the Butterfly Room! + With the big kids! + + BUZZ + We’ll get this straightened out -- + I’ll go talk to Lotso about moving + us to the other room. + +He clambers up a table, leaps to the bathroom door knob. + +It doesn’t move. + + BUZZ + Blast. Try that one! + +Jessie leaps to the hallway door latch. + + JESSIE + It’s locked! + +At the playground door, Slinky tests the door knob. + + SLINKY + Same here! + +Buzz drops down, points. + + BUZZ + Try the windows. + +Hamm, on the sill, examines a window lock. + + HAMM + Eh, negatory. It’s a Fenster- + Schneckler 380. Finest childproof + lock in the world. + + MRS. POTATO HEAD + We’re trapped! + + BUZZ + 58. + + + Wait! Did anyone notice the + transom? + + REX + What’s a transom, Buzz? + + Buzz looks up -- atop the hallway door is an open transom. + + MR. POTATO HEAD + Oh, great! How do we get up there?! + + Buzz narrows his eyes, thinking. + + +37 INT. CATERPILLAR CLASSROOM - LATER 37 + + The Toys hold a Fisher Price Corn Popper. Buzz, a loop of + red yarn wrapped across his chest, stands at the rear. + + BUZZ + All right, everyone! On three! + One... Two... + + JESSIE + Three!!! + + They take off, pushing the popper at top speed. + + JESSIE + Let go! + + The Toys drop away, leaving Buzz to jump onto the handle. + + The popper strikes an upturned table, lofting Buzz in the + air. He grabs a string that runs across the room, using it + like a zip-line. As he reaches the end, Buzz leaps off, + expands his wings and flies towards a display of hanging + paper-mache caterpillars, using their legs to swing from + one to another. On the ground, Hamm makes signal. + + HAMM + Jump! + + Bullseye and Rex jump off a shelf, catapulting a broom + forward. Buzz bounces off the broom, towards the transom. + + He flips, twists, and lands -- safe. The Toys rejoice. + + REX + He did it!!! + + JESSIE + 59. + + + Way to go, Buzz! + +Buzz casts part of his yarn down to the Toys. They run and +grab it. Buzz turns to the hallway, stops. + +BUZZ POV -- In the hall below, a pair of tough Day Care +Toys, TWITCH (Bug Man) and CHUNK (Rock Man) saunter past. + + CHUNK + You think they had a fun playtime? + + TWITCH + Shhh...!!! They might hear you! + +Buzz frowns. O.S. GIGGLING. Buzz turns. Down the hall, Ken +and Barbie say goodbye at the Butterfly Room door. + + KEN + Okay, now you start. + + BARBIE + I... + + KEN + ...love... + + BARBIE + ...you. + + KEN + See?! That time I said “love”. + Okay, now, me first. + +CLOSE ON -- Buzz. He stifles a dry heave. + + BARBIE + Okay, okay, okay....! + + KEN + I... + + BARBIE + ...love... + + KEN + ...you! See what I mean? It changes + every time! + + BARBIE + You are so smart! + +As the Tough Toys pass, they drag Ken away. + 60. + + + TWITCH + C’mon, Romeo... We’re late. + + BARBIE + I’ll wait up for you! + + KEN + Kisses...! + + +38 INT. HALLWAY - NIGHT 38 + + Buzz -- using the red yarn -- rappels down into the hall. + + He unties the yarn and steals off down the hallway. + + He reaches the Teacher’s Lounge, approaches cautiously. + + +39 INT. TEACHERS’ LOUNGE - NIGHT 39 + + Buzz peeks in. Ken, Twitch and Chunk approach a vending + machine. Ken opens the bottom flap and they all go inside. + + Buzz frowns. He walks to the vending machine. Suddenly -- + + strangely -- a cow MOOOOS. + + Buzz looks around, confused. Then he looks up. + + Silhouetted in the top of a glowing vending machine are Ken + and the rest of his Gang. A Rooster crows: COCKADOODLE- + DOO!! This is followed by MUFFLED LAUGHS and HUBBUB. + + Buzz approaches the machine. From inside come VOICES. + + GANG (O.S.) + Yeah, all right! Let’s go again! + + Buzz pushes open the dispenser flap, climbs in. Above him, + a pig OINKS loudly. More LAUGHS and GRIPES. + + +40 INT. VENDING MACHINE - NIGHT 40 + + Buzz climbs up rows of candy bars and potato chips. He gets + to the top, sneaks towards the light. In the top of the + vending machine, a Gang of toys sits around a table. + + KEN + All right, place yer bets! Any + splits? Here we go! + 61. + + +The Gang throws batteries, Monopoly money, other items into +a pot. Stretch the Octopus pulls the cord on a Farmer Says +toy. As the arrow spins, the Gang roots for their bets. + + GANG + C’mon, Duckie, Duckie! Big Pig! Big + Pig...! Turkey! Gimme the Turkey!! + +Ken waves his hand over the table. + + KEN + All right. No more bets. + +The spinning arrow stops on “Duck”. + + FARMER SAYS TOY + Here is a duck: “Quack, quack”. + + STRETCH + Yes! Yes! Come to Mama! + +Stretch scoops up the pile of money. The others GROAN. + + KEN + Stretch takes the round. + +The game continues, Ken presiding. + + KEN + Okay, minimum bet, five Monopoly. + Coyotes wild. Changing two double + AA's. + (as he changes money:) + Hey, what do you guys think of the + new recruits? Any Keepers? + + SPARKS + Nah, disposable...! + + STRETCH + Landfill! + + KEN + Cowgirl...? Dinosaur...? + + TWITCH + Toddler fodder! + +They start placing bets again. + + KEN + How ‘bout that Spaceguy? He could + be useful. + 62. + + +Buzz reacts, listening. + + CHUNK + He ain’t the sharpest knife in + the... place where they keep the + knives. + + SPARKS + Neither are you, Chunk. + +LAUGHS. Twitch teases Ken. + + TWITCH + You got a little Keeper yourself, + didn’t’cha, Ken? + + KEN + Hey! Lay off, Twitch! Barbie’s + different! + + STRETCH + Mr. Softy over here...! + + CHUNK + Whaddaya expect from a girls toy? + +Ken stands, furious. + + KEN + I’m not a girls toy! I’m not! Why + do you guys keep saying that?!!! + +Twitch waves a hand. + + TWITCH + All them Toys are disposable. We’ll + be lucky if they last us a week! + +Buzz reacts. He turns to go... And bumps into Big Baby. + +Big Baby tosses Buzz on the table. The Gang quickly grabs +and subdues him. Ken smirks. + + KEN + Well, well, looky who we have here. + + BUZZ + Stop! Let me go! + +He struggles. Ken narrows his eyes. + + KEN + 63. + + + Take him to “The Library”. + + BUZZ + Nooooooo! + + A sock puppet is pulled over Buzz’s head. + + CUT TO: + + +41 INT. BONNIE’S BEDROOM - NIGHT 41 + + Bonnie sleeps -- toys tucked next to her. Woody carefully + slips from under the covers. Bonnie stirs, moves her arm. + + Woody freezes, leg in the air. She settles back to sleep. + + Woody tiptoes across the bed, looks around the room. + + ZOOM IN -- Bonnie’s backpack, hanging from her door handle. + + Woody pushes a chair to the door, climbs up, lifts a cape. + + The address on the backpack is revealed -- 1225 Sycamore. + + WOODY + 1225 Sycamore! + + MR. PRICKLEPANTS (O.S.) + Woody...! What’re you doing? + + Woody turns. Bonnie’s Toys are watching from the bed. + + WOODY + I... I gotta get out of here! + + TRIXIE + You’re leaving?! + + BUTTERCUP + Didn’t you have fun today? + + WOODY + Of course I did! More ‘n I’ve had + in years, but... Y’see, I belong to + someone else... + + He holds up his boot, where “ANDY” is written. + + BUTTERCUP + Who’s “Yid-nah”? + 64. + + + MR. PRICKLEPANTS + I believe it’s pronounced “Yid- + nay”. + + DOLLY + Guys -- it says “Andy”! + + WOODY + He’s my Bonnie...! And he’s leaving + soon. I gotta get home! + + PEA POD + Where’s home? + + WOODY + Elm Street. 234 Elm. + (thinking) + You guys have a map? + + DOLLY + We’re on it, Cowboy. Trixie...? + + Trixie giggles. + + TRIXIE + I’ll fire up the computer! + + +42 INT. STORAGE CLOSET - NIGHT 42 + + The sock is pulled off Buzz’s head. He’s tied to a toy + chair in a closet lit with an overhead bulb. In shadows, + Lotso’s Henchmen lurk. Buzz struggles to free himself. + + BUZZ + Unhand me, you cowards! I demand to + talk to Lotso! + + KEN + Zip it, Buck Rogers! You don’t talk + to Lotso ‘til we say you can... + + Abruptly, the door opens. Lotso stands, astonished. + + LOTSO + Ken...?! What’s going on here?! + Why’s this Toy tied up? + + KEN + He... He got out, Lotso! + + LOTSO + 65. + + + Got out? Oh, no, no, no! This isn’t + how we treat our guests! + +Lotso approaches Buzz, begins untying him. + + LOTSO + F.A.O. my Schwartz...! There you + go. I’m so sorry. + +He frees Buzz. Buzz stands, casting a dark look at Ken. + + BUZZ + Lotso, there’s been a mistake. + + LOTSO + A mistake...?!!! + + BUZZ + The children in the Caterpillar + Room are not age-appropriate for me + and my friends. We respectfully + request a transfer to the Butterfly + Room. + + LOTSO + (gestures grandly) + Well, request granted! + + KEN + But, Lotso... + + LOTSO + Hush now, Kenneth! This Toy’s shown + initiative! Leadership! Why, I’d + say we found ourselves a Keeper! + (to others) + Hear that, everyone?! We got a + Keeper! + +Lotso lifts Buzz’s arm -- World Champion! His Gang applauds +dutifully. Lotso throws his arm around Buzz. + + LOTSO + We’re callin’ you up to the Big + Leagues, son! From now on, you’ll + have anything you want! + + BUZZ + Excellent! I’ll go get my friends. + +Lotso stops. + + LOTSO + 66. + + + Whoa, whoa! Hold on there, Boss! + Those Caterpillar kids need someone + to play with...! + + BUZZ + But my friends don’t belong there! + + LOTSO + Oh, none of us do! I agree! Which + is why -- for the good of our + community -- we ask the newer toys, + the stronger ones, to take on the + hardships the rest of us can’t bear + anymore. + +Buzz frowns. + + BUZZ + Well, I... I guess that makes + sense. + +Lotso smiles. + + BUZZ + But I can’t accept. We’re a family. + We stay together. + +Lotso’s smile fades. + + LOTSO + Family man, eh? I understand. + (sharply) + Put him back in the “Time Out” + chair. + +Big Baby grabs Buzz and slams him into the toy chair. + + BUZZ + What are you...? What?! Unhand me! + + LOTSO + Bring in The Bookworm. + +Ken whistles. A RUSTLING from a shelf above, where rows of +files are cluttered. + + BOOKWORM (O.S.) + Hold on... Here it is! + +An aged Toy -- The Bookworm -- pushes aside files. + + BOOKWORM + It was filed under “Lightyear”. + 67. + + + He tosses a small booklet down to Lotso. Lotso opens the + booklet, flips through it. Buzz looks close, reacts -- + + it’s a Buzz Lightyear Instruction Manual. + + LOTSO + Let’s see here... Accessories... + Maintenance... Oh, here we go! + (reading) + “Remove screws to access battery + compartment...” + + Big Baby pushes Buzz down, holding him while Sparks opens + Buzz’s battery compartment. Screws drop to the floor. + + BUZZ + What are you doing?! Let go of me! + + LOTSO + (reading) + “To return your Buzz Lightyear + Action Figure to its original + factory settings, slide the switch + from PLAY to DEMO...” + + Lotso looks up, nods. Twitch looks -- inside the panel is a + MODE switch. He reaches for it. Buzz struggles. + + BUZZ + Stop! No...! No...!!! NOOOOO!!! + + +43 INT. CATERPILLAR ROOM - NIGHT 43 + + The Toys sit near the door. The echo of Buzz’s scream is + heard. They turn. + + JESSIE + What was that? + + HAMM + Sounds like it came from the hall! + + MRS. POTATO HEAD + I’ll see what it was! + + She marches to the door and plucks out her remaining eye. + + She holds it under the door, sweeping it back and forth. + + +44 INT. HALLWAY - NIGHT 44 + 68. + + + Mrs. Potato Head’s Eye, held by her hand, looks up and down + the hallway. + + +45 INT. CATERPILLAR ROOM - NIGHT 45 + + The Toys gather around her. + + JESSIE + Whaddaya see? Anything...? + + POV, PANNING -- The hall is dark and empty. Suddenly, a + VISION of Andy in his room FADES IN over the dark hallway. + + MRS. POTATO HEAD + Nah, just a dark hallway and... + Wait, wait...! I see Andy! + + The other Toys look at each other, disbelieving. + + JESSIE + What?! + + MR. POTATO HEAD + That’s impossible...! + + MRS. POTATO HEAD + No, I really see him! In his room! + (realizing) + My other eye! The one I left + behind! + + She concentrates fiercely. + + TRANSITION TO: + + +46 INT. ANDY’S ROOM - NIGHT - POV 46 + + From under the bed, we SEE college boxes piled up by the + open door. Andy crosses frame, carrying another box. + + MRS. POTATO HEAD (V.O) + This is so weird...! He’s packing + up... Uh-oh. Oh, here comes Buster. + + Buster sniffs under the bed, right toward her eye. + + MRS. POTATO HEAD (V.O.) + Outta the way! Get away! + + Buster yawns, turns, and walks out of FRAME. + 69. + + + MRS. POTATO HEAD (V.O.) + Okay, Andy’s in the hall. He’s + looking in the attic. Wait, there’s + Mom. Why is he so upset? + + Andy gestures -- I left the Toys right here! Mom shrugs. + + Andy picks up a trash bag. Then Andy’s Mom remembers -- + + her hands fly to her face. Andy slaps his forehead. + + MRS. POTATO HEAD (V.O.) + Oh, no! Oh, this is terrible! + + TRANSITION BACK: + + +47 INT. CATERPILLAR ROOM - NIGHT 47 + + Mrs. Potato Head puts her eye back in, looks at the others. + + MRS. POTATO HEAD + He’s looking for us! Andy’s looking + for us! + + JESSIE + He’s looking for us?! + + REX + So, Andy does want us! I knew it! I + just knew it!!! + + Rex picks up an Alien, does a happy dance. + + MRS. POTATO HEAD + I think he did mean to put us in + the attic! + + SLINKY + Well, then Woody was telling the + truth! + + MR. POTATO HEAD + Holy cow! + + HAMM + And you didn’t believe him! + + MR. POTATO HEAD + Hey, you didn’t believe him first! + + Jessie stands -- fire in her eyes. + 70. + + + JESSIE + Guys, we gotta... We gotta go home! + +CREAK -- A door opens. Light spills in. The Toys turn. + +Lotso saunters in with his Gang. + + JESSIE + Lotso...! + + LOTSO + How’re y’all doin’ this fine + evening? + + JESSIE + Oh, thank heavens! + +Jessie rushes to him. The others follow. + + JESSIE + Have you seen Buzz? + + MRS. POTATO HEAD + There’s been a mistake! We have to + go! + + LOTSO + Go?! Why, you just got here! In the + nick of time, too! We were runnin’ + low on volunteers for the Little + Ones! They just love new Toys, now + don’t they? + + MR. POTATO HEAD + Love?! We’ve been chewed! Kicked! + Drooled on! + + MRS. POTATO HEAD + Just look at my pocketbook! + +She holds up her chewed purse. Lotso bends down, amused. + + LOTSO + Well, here’s the thing, Sweet + Potato -- you ain’t leavin’ + Sunnyside. + + MRS. POTATO HEAD + Sweet Potato?! Who do you think + you’re talking to? I have over + thirty accessories and I deserve + more respec-- + 71. + + +Abruptly, Lotso yanks her mouth off. Everyone is shocked. + + LOTSO + Ahh...! That’s better! + +Lotso’s Henchmen snicker. + + MR. POTATO HEAD + Hey! No one takes my wife’s + mouth!!! Except me! Give it back, + you furry air freshener! + +He steps up to retrieve the mouth. Lotso holds it above +him. He finally grabs it. Jessie heads for the door. + + JESSIE + C’mon, guys -- we’re going home. + + LOTSO + Whoa, Missy! You’re not going + anywhere. + + JESSIE + (over her shoulder) + Oh, yeah? And who’s gonna stop us? + +Jessie almost collides with a blank-faced Buzz, stepping +from the shadows. Jessie and the others are thrilled. + + REX + Buzz! You’re back! + +He runs -- arms open -- to greet him. Buzz makes a Kung-Fu +sound, strikes a pose. + + REX + Buzz...? + +WHAM!!! Buzz tackles Rex, slamming him to the floor. + + JESSIE + Hey! + +Buzz leaps and kicks, spins the Toys around, and knocks +their legs from under them. + + SLINKY + Buzz! + +The Toys fall to the floor, stunned. Buzz stands atop them, +salutes. + 72. + + + BUZZ + Prisoners disabled, Commander + Lotso! + + JESSIE + Buzz? What are you doing...? + + BUZZ + Silence, minions of Zurg! You’re in + the custody of the Galactic + Alliance! + + REX + Zurg...? + + MR. POTATO HEAD + Galactic Alliance...? + + HAMM + Huh-boy...! + + LOTSO + Good work, Lightyear. Now lock ‘em + up! + + BUZZ + Yes, sir! + +JUMP CUTS -- Buzz and Lotso’s Gang herd the Toys into the +room’s wire-mesh cubbies. + +Jessie fights back -- taking out Chunk and Sparks. Stretch +grabs her from behind, puts her in a wire cubby, shuts it. + + STRETCH + Where do you think you’re going?! + +Jessie reaches through the cubby wire to Buzz’s shoulder. + + JESSIE + Buzz...?! We’re your friends! + +He swats her hand away. + + BUZZ + Spare me your lies, Temptress! Your + Emperor is defeated. And I’m immune + to your... Bewitching good looks. + +He turns, ramrod straight, and walks off. + +Big Baby lifts Mrs. Potato Head to a cubby. Mr. Potato Head +intercedes. + 73. + + + MR. POTATO HEAD + Hey, Mongo! Keep your paws off my + wife! + +Big Baby drops Mrs. Potato Head in the cubby, turns and +picks up Mr. Potato Head. + + MR. POTATO HEAD + Hey, what are you doing? Let go of + me you drooling doofus! + +Lotso steps in. + + LOTSO + Wait! I think this Potato needs to + learn himself some manners! Take + him to The Box. + +Big Baby hoists Potato Head up and toddles off. + + MR. POTATO HEAD + Where’re you taking me? Put me + down, you moron! Bad baby! Bad + baby!!! + +They toddle past Barbie as she enters the room, confused. + + BARBIE + Ken...?! What’s going on?! + + KEN + Barbie...! I told you to wait in + the Dream House! + +Ken puts an arm around her, leading her out. + + BARBIE + What’re you doing to my friends? + +Barbie looks over her shoulder as Sparks the Robot tosses +an Alien into a cubby. Twitch slams it shut. + + BARBIE + Hmmph! + +She slaps Ken’s arm away and turns to join the Toys in +solidarity. Ken tries to grab her. + + KEN + Wait, Barbie! + + BARBIE + Don’t touch me! We’re through! + 74. + + + She stalks off. Ken is devastated. Then Barbie turns, walks + back to him. He smiles. + + BARBIE + And gimme my scarf back! + + She yanks the ascot off his neck. + + KEN + Oww! + + Barbie is slammed into a cubby. Lotso surveys the room. + + LOTSO + Lightyear! Explain our overnight + accommodations. + + BUZZ + Yes, sir! + + Buzz strides past the Toys, each trapped in a cubby. + + BUZZ + Prisoners sleep in their cells! Any + Prisoner caught outside their cell + spends the night in The Box! + + +48 EXT. PLAYGROUND - NIGHT 48 + + Potato Head is carried to a covered sandbox. Big Baby lifts + the sandbox cover, tosses Potato Head in. Potato Head + reaches out, begging for mercy... + + BUZZ (O.S.) + Roll call at dusk and dawn! Any + Prisoner misses roll call spends + the night in The Box! + + ...Big Baby lowers the lid, closing into BLACKNESS. + + +49 INT. CATERPILLAR ROOM - NIGHT 49 + + Buzz rattles off the rules. Jessie grows impatient. + + BUZZ + Prisoners do not speak unless + spoken to! Any Prisoner talks back + spends the night... + + JESSIE + ...In The Box. We get it. + 75. + + + Buzz whips around. Lotso puts a calming hand on him. + + LOTSO + At ease, soldier! They’re + neutralized! But remember: They’ll + say anything to make you doubt + yourself! + + BUZZ + Don’t worry, Commander! Any doubt I + had got pounded out of me at the + Academy! + + Lotso climbs on a podium of ABC blocks -- jovial, relaxed. + + LOTSO + Listen up, folks! We got a way of + doing things here at Sunnyside! If + you start at the bottom, pay your + dues... Life here can be a dream + come true! But if you break our + rules, step outta line, try to + check out early? Well... You’re + just hurtin’ yourselves. + + He takes out Woody’s hat, tosses it. It slides across the + floor to Jessie’s cubby. The Toys gasp in horror. + + JESSIE + Woody...! + (to Lotso) + What’d you do to him?! + + Lotso sits back in his truck bed, taps his cane. + + LOTSO + Y’all get a good night’s rest! You + got a full day of play time + tomorrow. + + Lotso chuckles as he and his cronies drive off. Buzz + remains behind, standing guard over the “cell block”. + + The Toys grasp the bars of their cubbies -- the horrible + truth of their situation hitting home. + + +50 INT. KITCHEN - NIGHT 50 + + CLOSE ON -- A computer keyboard. Woody types an address. + + WOODY + 1-2-2-5... Sy--ca--more... + 76. + + +BLOOP -- Suddenly, an IM WINDOW pops up on the SCREEN. + + WOODY + Who’s “VelociSTAR237”? + +Trixie pushes in. + + TRIXIE + Oh...! That’s just a dinosaur toy + down the street. That’s nothing. + Lemme just take care of that! + (beat) + Just a dinosaur...! + +Woody finishes typing. + + WOODY + All right. Sy--ca--more... Okay, + “Enter”! + +Trixie hits the Return. Slowly, a map begins to assemble. + + WOODY + Please don’t be far! Please! + +The map resolves itself. The route to Andy’s house is a +short “Z” -- less than two blocks away. Woody is amazed. + + WOODY + Right around the corner...?! It’s + right around the corner!!! + +Ecstatic, he hugs Bonnie’s toys, leaps off the desk, does a +happy dance across the floor, strides to the kitchen door. + + WOODY + I’m going to college! Look at me, + I’m big toy on campus! Hello! Hey! + I’ll see you at the Sock Hop! + + DOLLY + Okay, Potsie! + +Woody starts to slip through a pet door. + + WOODY + Oh, hey, listen -- if any of you + guys ever get to Sunnyside Day + Care? You tell ‘em Woody made it + home! + +Bonnie’s Toys gasp. + 77. + + + DOLLY + You came from Sunnyside?! + + TRIXIE + But... How’d you escape?!!! + + WOODY + It wasn’t easy, I... What do you + mean “escape”? + + Bonnie’s Toys trade glances. Pricklepants steps forward. + + MR. PRICKLEPANTS + Sunnyside is a place of ruin and + despair, ruled by an evil bear who + smells of strawberries! + + WOODY + Lotso...?! + + BUTTERCUP + He may seem plush and huggable on + the outside. But inside, he’s a + monster! + + WOODY + But... How do you know that? + + MR. PRICKLEPANTS + Chuckles... He’ll tell you! + + They turn -- with awe and respect -- to a toy clown, + Chuckles, sitting on a sill, staring grimly out the window. + + Woody steps forward. + + CHUCKLES + Yeah, I knew Lotso. He was a good + toy. A friend. Me and him, we had + the same kid -- Daisy... + + +51 INT. DAISY’S LIVING ROOM - DAY - FLASHBACK 51 + + A freckle-faced five-year-old, DAISY, unwraps a gift under + a Christmas tree and finds a fresh, smiling Lotso inside. + + CHUCKLES (V.O.) + I was there when Lotso got + unwrapped. + + She hugs him -- love at first sight. + 78. + + + CHUCKLES (V.O.) + Daisy loved us all, but Lotso... + Lotso was special. + + +52 INT. DAISY’S HOUSE - DAY - FLASHBACKS 52 + + QUICK CUTS: Daisy takes Lotso everywhere -- jumping through + a lawn sprinkler; pushed on a swing; in bed while she reads + to him, etc. He gazes lovingly at her. + + CHUCKLES (V.O.) + They did everything together. You + never seen a kid and a toy more in + love. + + +53 EXT. STATION WAGON - DAY - FLASHBACK 53 + + Daisy sits in the back of a station wagon, Lotso in her + lap. Big Baby and Chuckles are buckled in beside them. + + CHUCKLES (V.O.) + One day, we took a drive... + + +54 EXT. REST STOP - DAY - FLASHBACK 54 + + At a rest stop, Daisy’s Family has lunch in the grass while + Daisy plays happily with Lotso, Chuckles, and Big Baby. + + CHUCKLES (V.O.) + Hit a rest stop, had a little play + time. + + Daisy’s Mom waves a sandwich. Daisy puts down the Toys and + runs to join her family. + + DISSOLVE TO: + + A sleeping Daisy is carried to the car. + + CHUCKLES (V.O.) + After lunch, Daisy fell asleep. + + A seat belt is clicked around the sleeping Daisy. The car + drives off. + + Daisy’s Toys sit up, their worst fears come true. + + DISSOLVES: + 79. + + + Lotso peers down the road, keeping vigil as the sun sets. + + Days pass. Rain falls. The forgotten Toys remain. + + CHUCKLES (V.O.) + She never came back. + + CLOSE -- A heart-shaped pendant reads, “My heart belongs + to...” A child’s writing shows Daisy’s name and address. + + Lotso reads the pendant, hung around Big Baby’s neck. He + sets off across the fields. Chuckles and Big Baby follow. + + CHUCKLES (V.O.) + Lotso wouldn’t give up. It took + forever, but we finally made it + back to Daisy’s. + + +55 EXT. DAISY’S HOUSE - DUSK 55 + + Lotso, Chuckles and Big Baby stand in the bushes outside + Daisy’s window -- muddy, worn. Big Baby boosts Lotso and + Chuckles to the window sill. They peer in. Through the + window, Daisy lies in her bed, reading a picture book. + + CHUCKLES (V.O.) + But by then, it was too late. + + FAST ZOOM -- Tucked beside her is a brand-new Lotso Bear. + + TRACK IN ON -- Lotso. His Universe is shattered. + + Lotso drops from the window. Rain begins to fall. + + CHUCKLES (V.O.) + Something changed that day inside + Lotso. Something snapped... + + Lotso’s face hardens. Big Baby stares -- uncomprehending. + + LOTSO + She replaced us. C’mon! + + He turns to go, but Big Baby and Chuckles stay put. + + YOUNG CHUCKLES + No, she only replaced yo--! + + Lotso turns on Chuckles. + + LOTSO + 80. + + + She replaced all of us! Didn’t + she?! + + Chuckles shrinks back, cowed. Big Baby looks at the + pendant, turns and begins climbing up towards Daisy’s + window. Lotso walks back to Big Baby and yanks him down. + + LOTSO + She don’t love you no more! Now + come on! + + He rips the pendant off, throws it away, and stalks off. + + Chuckles and Big Baby are left behind -- heart-broken. + + +56 EXT. TRUCK BUMPER - NIGHT 56 + + Lotso, Chuckles, and Big Baby hunch in the red, tail-lit + glow of the bumper of a delivery truck as it drives through + swirling rain. Their eyes are dead, hopeless. + + CHUCKLES (V.O.) + We were lost. Cast off. Unloved. + Unwanted... + + The truck hits a pothole, knocking them off the bumper. + + They hit the pavement, tumble into a puddle in front of... + + +57 EXT. SUNNYSIDE DAY CARE, FRONT ENTRANCE - NIGHT 57 + + It’s dark. Rain pours. Lotso, Chuckles, and the Baby lift + their faces from the puddle. + + A FLASH of lightning reveals the Sunnyside Day Care Center. + + CHUCKLES + Then we found Sunnyside. But Lotso + wasn’t my friend anymore... + + Lotso stands, eyes narrowed. He limps towards the Day Care. + Chuckles and Big Baby watch from the puddle. + + Lightning FLASHES. + + MATCH CUT: + + +58 INT. KITCHEN - DAWN 58 + 81. + + + Chuckles, remembering. Woody listens, rapt. + + CHUCKLES + ...He wasn’t anyone’s friend. He + took over Sunnyside, rigged the + whole system. + + He reaches in his pocket, pulls out Big Baby’s pendant. + + WOODY + So... How’d you get out? + + CHUCKLES + I got broke. Bonnie found me, took + me home. Other Toys, they weren’t + so lucky. + (voice quavers) + It ain’t right, what Lotso done! + New toys -- they don’t stand a + chance! + + Woody looks up. + + WOODY + But... My friends are in there! + + BUTTERCUP + You can’t go back! It’s too + dangerous! + + MR. PRICKLEPANTS + Returning now would be suicide! + + DOLLY + But what about your... “Andy”? + + TRIXIE + Isn’t he leaving tomorrow? + + TRACK IN ON -- Woody, torn. + + +59 INT. CATERPILLAR ROOM - DAWN 59 + + The room is still. A HARMONICA plays mournfully. + + TRACK down the cubbies -- The Toys grip the bars, forlorn. + + CRANE TO REVEAL Hamm, playing the harmonica. + + Suddenly, Buzz pounds on Hamm’s cubby. + 82. + + + BUZZ + Quiet, musical hog! Knock it off! + +Hamm stops playing, sighs. Buzz moves off. Bullseye looks +at Woody’s hat, whimpers sadly. Jessie pats his muzzle. + + JESSIE + Oh, Bullseye... I miss Woody, too. + +She turns away, bows her head. + + JESSIE + But he ain’t ever comin’ back. + +Jessie lifts her boot, revealing “ANDY” written underneath. + +Her eyes fill with regret. + +The bathroom door bursts open. A Tonka truck races in the +room -- Lotso in the back, his Gang hanging off the sides, +WHOOPING it up. The truck comes screeching to a stop. + + LOTSO + Rise and shine, Campers! + +Buzz snaps to attention, salutes. + + BUZZ + Commander Lotso, Sir! All quiet! + Nothing to report! + + LOTSO + Excellent, Lightyear! C’mon -- we + need you back at Star Command! + +Buzz hops in the back of the truck. + + MRS. POTATO HEAD + Wait! What you have you done with + my husband?! + + LOTSO + Big Baby...? + +Big Baby steps forward and tosses a dazed Mr. Potato Head +into the room -- coughing, groaning, covered in sand. + +The Toys gasp. Mrs. Potato Head reaches out. + + MRS. POTATO HEAD + Sweetheart...! + 83. + + + MR. POTATO HEAD + It was cold...! And dark...! + Nothing but sand and a couple of + Lincoln Logs... + + HAMM + I don’t think those weren’t Lincoln + Logs. + + Lotso addresses the room. + + LOTSO + Y’all get ready -- you got a play- + date with destiny! + + CUT TO: + + A BELL -- Ringing. + + Bonnie runs down the hall and enters the Butterfly Room. + + +60 INT. BUTTERFLY ROOM - DAY 60 + + The room thrums with the happy CHATTER of young kids. + + Bonnie drops off her backpack at the lockers, rushes off. + + STAY on her backpack. It unzips. Woody peers out, then + surreptitiously scrambles to the top of a bookshelf. + + +61 INT. CEILING CRAWL SPACE, BUTTERFLY ROOM - DAY 61 + + Woody pushes aside an acoustic panel, climbs in the crawl + space above the tiles, and slides the panel back in place. + + O.S. -- Children’s SHRIEKS. Woody turns. + + +62 INT. CEILING CRAWL SPACE, CATERPILLAR ROOM - DAY 62 + + Crawling, Woody follows the noise, puts his ear to a tile. + + +63 INT. CATERPILLAR ROOM - DAY 63 + + Woody pulls up the ceiling tile and drops onto an empty + reading loft, furnished with pillows and bean bag chairs. + + He creeps to the edge of the loft and scans the room. + 84. + + +POV -- Below, a Toddler uses Rex to hammer a bongo drum. + +Another Toddler holds a Potato Head in each hand, then +smashes them to the ground. Their pieces scatter. + +A child swings Jessie by her hair, releases her. Jessie +slams into a wall, drops to the floor. + +Woody is horrified. + +Then, off-screen, a toy-phone bell RINGS. + +Woody turns. A Fisher Price Phone, The Lifer, wheels into +view. He RINGS again, drops his receiver, retreats into +shadows. Woody creeps to the phone, lifts the receiver. + + WOODY + Uh... Hello...? + +The Lifer’s voice is hoarse and grizzled. + + LIFER + You shouldn’a come back, Cowboy. + They cracked down hard since you + left. More guards. More patrols. + You and your friends ain’t ever + gettin’ outta here now. + + WOODY + I made it out once... + + LIFER + You got lucky once. Want my advice? + Keep your heads down. You’ll + survive. + + WOODY + Yeah? For how long? + + LIFER + (squints like Clint) + I been here years. They’ll never + break me. There’s only one way Toys + leave this place... + +The Lifer rolls forward. Through the window, the Janitor -- + +across the yard -- dumps the broken Toy Train into a trash +chute. Woody shudders -- he’s just witnessed a Toy death. + + LIFER + Poor fella. Trash truck comes at + dawn. Then it’s off to The Dump... + 85. + + +Woody bends down, respectful. + + WOODY + I appreciate your concern, Old + Timer. But we have a kid waiting + for us. Now we’re leaving. If you’d + help us -- one toy to another -- + I’d sure be grateful. + +The Lifer sighs. + + LIFER + Well, if you’re gonna get out... + First thing you gotta get through’s + the doors. + +SHOTS -- FAST TRACKING IN on knobs of the playground door; +the hall door; the office door. Each door is shut and +locked. Keys are left dangling on a hook in the office. + + LIFER (V.O.) + ...Locked every night, inside and + out. Keys are left on a hook in the + office. + + WOODY (V.O.) + Got it. What else? + +SHOTS -- Night. Toy Trucks patrol the empty halls of the +Day Care. Outside, Trucks patrol the deserted playground. + + LIFER (V.O.) + Lotso has trucks patrolling all + night long. Hallway. Lobby. + Playground. + + WOODY + Yeah, yeah... What about the wall? + +SHOTS -- TRACKING along the mural-covered cinder block +wall. + + LIFER (V.O.) + Eight feet high. Cinderblock. No + way through it. You go over or + under. + +Woody frowns. + + WOODY + That’s it?! Doesn’t seem so bad. + + LIFER + 86. + + + It’s not. Your real problem’s The + Monkey. + + +64 INT. OFFICE - NIGHT 64 + + A TOY CHIMP sits at the console of security monitors. + + LIFER (V.O.) + The Monkey’s the Eye in the Sky... + + +65 CLOSE ON -- THE MONKEY’S EYES 65 + + The bank of monitors is reflected in them. + + LIFER (V.O.) + He sees everything... + + +66 INT. CATERPILLAR ROOM - NIGHT 66 + + A Toy Bunny slips through the bars of his cubby, scampers + toward the hallway door. + + LIFER (V.O.) + ...Classrooms... + + +67 INT. OFFICE - NIGHT 67 + + The Monkey, staring at the security monitors, sees the + Bunny on screen, bares his teeth and SCREECHES, presses the + PA button, and begins furiously banging his cymbals. + + +68 INT. CATERPILLAR ROOM - NIGHT 68 + + The Bunny -- busted -- freezes and looks around in a panic. + + The hall door opens and Lotso and his Gang step in. Big + Baby lurches toward the Bunny menacingly. + + +69 INT. HALLWAY - NIGHT 69 + + A Patrol Truck passes down a dark hallway. A Toy Penguin, + hidden, peeks out of a potted plant, jumps to the floor. + + LIFER (V.O.) + ...Hallways... + 87. + + + He waddles for the front door. + + ZOOM UP to a security camera at the end of the hall. + + +70 INT. OFFICE - NIGHT 70 + + The Monkey sees the Penguin, hits the PA button, and begins + SCREECHING and banging cymbals. + + +71 INT. HALLWAY - NIGHT 71 + + The Penguin is surrounded by Patrol Trucks. He puts his + wings up. Big Baby pushes his way through the trucks, + intent on meting out prompt and thorough justice. + + +72 EXT. PLAYGROUND - NIGHT 72 + + A trio of Plushies use a dart gun to fire a dart, tied with + string, over the wall. They begin scaling the wall. + + LIFER + ...Even the playground. + + +73 INT. OFFICE - NIGHT 73 + + The Monkey sees the Plushies, SCREECHES his alarm. + + +74 EXT. PLAYGROUND - NIGHT 74 + + A spotlight hits the Plushies. Within the spotlight rises + the silhouette of Big Baby, arms lifted. + + +75 INT. CATERPILLAR ROOM - DAY 75 + + The Lifer lays it on the line for Woody. + + LIFER + You can unlock doors, sneak past + guards, climb the wall... But if + you don’t take out that Monkey, you + ain’t goin’ nowhere. Y’wanna get + outta here? Get ridda that Monkey! + + SMASH TO: + 88. + + +76 INT. CATERPILLAR ROOM - DAY 76 + + A bell RINGS. The Toddlers -- playing rough -- look up. + + TEACHER + Okay! Recess! + + She opens the playground door. The Toddlers drop the Toys, + rush outside. The Teacher hits the lights, closes the door. + + Jessie and the Toys sit up, groaning and aching. + + WOODY (O.S.) + Pssst...! Pssst...! Hey, guys...! + + They look over. From a puppet theater, Woody waves. + + JESSIE + Woody? Woody!!! + + REX + Woody! + + MRS. POTATO HEAD + Thank goodness! + + They quickly run and gather around him, rejoicing. + + SLINKY + You’re alive!!! + + HAMM + Hey, Buddy! + + WOODY + ‘Course I’m alive...! + (sees Bullseye) + Hey, my hat!!! + + Woody takes his hat from Bullseye, puts it on. + + WOODY + Wait. Where’s Buzz? + + REX + Lotso did something to him! + + SLINKY + He thinks he’s a Space Ranger + again! + + WOODY + 89. + + + Oh no... + + HAMM + Oh yes. “Return of the Astro Nut!” + + JESSIE + Oh, Woody, we were wrong to leave + Andy. I... I was wrong... + + MR. POTATO HEAD + Jessie’s right, Woody -- she was + wrong! + + WOODY + No, no. It’s my fault for leaving + you guys. From now on, we stick + together. + +The Toys smile, reassured. + + SLINKY + But... Andy’s leavin’ for college! + + JESSIE + College!!! Hog-tie the mailman!!! + We gotta get you home before Andy + leaves tomorrow! + + HAMM + Tomorrow...? But, that means... + + WOODY + It means we’re busting outta here + tonight. + + MRS. POTATO HEAD + What?! Impossible! + + REX + But there’s no way outta here! + + WOODY + No, there is one way out. One + way... + +He turns. + +RACK FOCUS -- Through the window is the trash chute on the +maintenance shed. Woody turns to the Toys. They huddle. + + WOODY + Okay, here’s the plan... + 90. + + +77 INT. CATERPILLAR ROOM - NIGHT 77 + + Ken, dapper in an evening robe, conducts his nightly roll + call. He’s trailed by Buzz. Big Baby stands guard. + + KEN + Cowgirl... + + JESSIE + Here. + + KEN + Horse... + + Bullseye WHINNIES. + + KEN + Piggy bank... + + HAMM + Yo. + + +78 INT. CEILING CRAWL SPACE, CATERPILLAR ROOM - NIGHT 78 + + From above, Woody watches through a ventilation grate. + + KEN + Tyrannosaurus... + + REX + Here. + + KEN + Barbie... + + BARBIE + Here... + + +79 INT. CATERPILLAR ROOM - CONTINUOUS 79 + + Ken strolls on. + + KEN + Potato Head... Potato Head? + + Silence. Buzz backs up, looks in the cubby. + + BUZZ + Hey! Tuberous Root Man! Wake up! + 91. + + + Buzz rattles the bars. An actual potato rolls to the front + of the cubby -- a dummy potato, as it were. + + BUZZ + Impossible! + + A NOISE. Ken and Buzz turn. + + Potato Head is at the window, struggling with the locks. + + BUZZ + Hey! + + Potato Head sees he’s been spotted. He jumps off the sill + and sprints to the bathroom door. + + Buzz and Ken run across the room. Big Baby toddles after + them. As they EXIT FRAME we TILT UP to find... + + Woody, in a hanging light, takes out a pipe cleaner, bends + it, uses it to snag the clothing line of kids’ paintings. + + Potato Head reaches the bathroom, bangs on the door, then + turns to face Buzz, Ken, and Big Baby. They surround him. + + +80 INT. FRONT OFFICE - NIGHT 80 + + The Monkey, at the security console, sees Buzz and Ken + corner Potato Head. He leans in to watch. + + KEN + Little late for a stroll, eh, + Potato Head? + + MR. POTATO HEAD + That’s Mr. Potato Head to you, + Smoothie! + + PAN and ZOOM past the distracted Monkey to another monitor. + + On it, Slinky slips out of his cubby cell. + + KEN (O.S.) + You’re turning out to be quite the + trouble-maker, aren’t ya? + + +81 INT. CATERPILLAR CLASSROOM - NIGHT 81 + + Behind Ken and Buzz, Slinky runs to the middle of the room. + 92. + + + KEN (O.C.) + What’d you think you were gonna do? + Waltz right outta here? + + Woody grabs a bag of marbles, grasps the clothesline, + jumps. + + MR. POTATO HEAD (O.C.) + And I would’a got away with it too, + if it weren’t for you meddling + Toys! + + Woody lowers via the clothesline, drops the bag of marbles, + grabs Slinky, and ascends back up to the ceiling. + + MR. POTATO HEAD + Ya ascot-wearin’ pink-noser! Mr. + Brains-Sold-Separately!!! + + He kicks Ken. Ken yelps, turns to Big Baby. + + KEN + Take him back to The Box! + + Big Baby grabs Potato Head, lifts him off the ground. + + MR. POTATO HEAD + No! Not The Box! I’m sorry! I + didn’t mean it! I like ascots! + Really! No... No! Noooooo!!! + + They disappear through the bathroom door. + + +82 INT. CEILING CRAWL SPACE - NIGHT 82 + + Woody and Slinky watch as Potato Head is dragged off. They + close the ceiling panel. + + WOODY + Okay, check... + + +83 INT. CATERPILLAR CLASSROOM - NIGHT 83 + + Ken turns to Buzz. + + KEN + Good work, Lightyear! Resume your, + uh... Space-guy... Thing-y! + + BUZZ + Yes, sir, Well-Groomed Man! + 93. + + + He salutes, departs. Ken turns to go. + + BARBIE (O.C.) + Ken...?! Ken...! + + Ken stops. Barbie waves to him. Ken looks around, then + approaches warily. Barbie is tearful. + + KEN + What do you want? + + BARBIE + I can’t take it here, Ken! I want + to go to the Butterfly Room! With + you! + + KEN + Yeah, well, you should’a thought of + that yesterday. + + BARBIE + I was wrong! I want to be with you, + Ken! In your Dream House! Take me + away from this! Take me away! + + She breaks down sobbing. Ken is torn. Finally, he gives in + -- no match for a woman’s tears. + + KEN + Darn it, Barbie...! + + He moves closer, speaks low. + + KEN + Okay, but, things are complicated + around here. You gotta do what I + say! + + BARBIE + (tears of gratitude) + I will, Ken! I promise! + + Satisfied -- and a little smug -- he pulls open the cubby. + + +84 INT. SANDBOX - NIGHT 84 + + Big Baby opens the lid of the Sand Box. + + MR. POTATO HEAD + Wait! I’ll do anything...! I’ll + change your diapers! + 94. + + + Big Baby tosses Potato Head in, lowers the lid. + + +85 EXT. PLAYGROUND - NIGHT 85 + + Big Baby turns and walks off. STAY ON the sand box. + + TRACK IN to find a wood knot in the side of the box. + + It pops out, falls to the ground. Potato Head’s hand + emerges, clutching his eye. It looks around. + + One by one, Mr. Potato Head’s parts fly out the hole and + land on the ground, next to the sandbox. + + +86 INT. FRONT OFFICE - NIGHT 86 + + The Monkey sits motionless, staring maniacally at the + security monitors. The only sound is a TICKING clock. + + Woody, clutching a pouch, drops into FRAME behind the + Monkey as Slinky, holding Woody’s ankles, lowers Woody + head-first. + + Woody -- dangling -- begins swinging closer and closer to + the Monkey. + + The Monkey frowns at a reflection in the monitor. + + The Monkey whips around, SCREECHING. Slinky slips. He and + Woody land on the Monkey, knocking the mic to the ground. + + The Monkey HISSES, leaps off the desk, runs for the mic. + + Woody lunges for the Monkey, but misses. He grabs the + microphone cord and whips it, tripping the Monkey. + + Woody grabs the Monkey. The Monkey flips himself on top of + Woody and starts crashing his cymbals against Woody’s head. + + WOODY + Go... Get... The... Tape!!! + + Slinky runs to a Scotch tape dispenser, grabs the tape with + his teeth, heads back toward Woody. The Monkey turns, sees + Slinky charging, tape in his mouth. He SCREECHES. + + CUT TO BLACK + + +87 INT. KEN’S DREAM HOUSE, BUTTERFLY ROOM - NIGHT 87 + 95. + + +Ken and Barbie ride the Dream House elevator to the top +floor. Ken opens the door. + + KEN + And this... Is where the magic + happens. + +FAST PULL BACK to REVEAL the living room of his Dream +House. Racks of clothes line the walls. Barbie gasps. + + BARBIE + Look at all your clothes!!! I can’t + believe you never brought me up + here! + +Barbie flips through the racks. Ken joins her. + + BARBIE + Tennis whites! Mission to Mars! + + KEN + I know, I know! Check this out -- + “Kung-Fu Fighting”! “Campus Hero” + with matching sports pennant, huh?! + + BARBIE + Flower Power...!!! Oh, Ken...! + +Ken pivots away, his mood turning to melancholy reflection. + + KEN + No one appreciates clothes here, + Barbie. + (then, bitter:) + No one. + +Barbie walks up behind him. + + BARBIE + Ken... Would you model a few + outfits for me? Just a few? + +Ken is stunned -- no one’s ever asked this of him. + +Throbbing DISCO begins. + +FASHION MONTAGE -- QUICK CUTS + +Ken emerges from behind a screen, sporting some of the most +insane Ken outfits ever -- ‘90s, ‘80s, ‘70s, even 1960s -- + +with matching accessories. + 96. + + + Ken strikes just the right pose for each outfit -- slinging + a jacket over his shoulder; doing “The Frug” in a fringe + vest; polka-ing in Lederhosen; scuba moves; break dancing. + + Barbie sits watching, enthralled. She laughs, claws her + hand, growls like a cat. Finally, she applauds wildly. + + Ken grins -- exceptionally pleased with himself. + + +88 INT. OFFICE - NIGHT 88 + + Woody and Slinky finish taping up the struggling Monkey. + + Slinky opens a desk drawer. Woody rolls the Monkey in. + + Slinky pushes it closed. + + SLINKY + Go get the key! + + Woody runs to a bulletin board above the desk. + + WOODY + Where is it...? Where is it...? + Where’s the key? + + He finds the keys, buried under push-pinned papers. + + WOODY + Bingo! + + Slinky toggles a security camera joystick. + + +89 INT. CATERPILLAR ROOM - NIGHT 89 + + Jessie sees the security camera panning back and forth. + + She turns, whispers. + + JESSIE + Yodel-Lay-Hee-Hoooooo...!!! + + A few cubbies down, Hamm and Rex share a look. + + ANGLE -- Buzz, patrolling... + + HAMM (O.S.) + Hey! Whadda you think you’re doin?! + + Buzz stops, turns. + 97. + + +In the cell, Hamm plugs his cork into his belly. + + HAMM + I told you -- keep your hands off + of my stuff! + +Rex raises his fists, trying to sound tough. + + REX + Make a move, Porky! + +Hamm jumps Rex. They grapple. Buzz runs over. + + BUZZ + Hey! No fighting! Break it up! + +He pulls the “cell” from the cubby and they tumble out. + + HAMM + Take that, Walnut-Brain! No wonder + you’re extinct! + +Jessie and Bullseye steal out of their cubbies while Buzz +gets between Hamm and Rex, holding them apart. + + BUZZ + Hey, you can’t hit each other! + That’s my job! + + JESSIE (O.C.) + Yoo-hoo! + +Buzz looks up. Jessie and Bullseye stand on a bookcase +above him, holding an empty, clear plastic toy bin. + +They leap, slamming the bin over Buzz. Hamm and Rex leap on +top of it, pinning it to the floor. + + BUZZ + (muffled) + Help! Prison riot! + +Buzz FIRES his laser in a circle at the side of the bin. + +He charges at the wall, hits it, and falls over. + +Jessie turns to Bullseye. + + JESSIE + Get the tortilla! + 98. + + + Bullseye heads to a locker, pulls out a lunch box. Jessie + opens it. Inside is a tortilla. Jessie grabs it, dashes to + the door, slides it under. She knocks and runs off. + + +90 EXT. PLAYGROUND - NIGHT 90 + + The tortilla lays outside. From the shadows, one of Potato + Head’s arms appears, crawls over, grabs the tortilla, and + drags it into the darkness. One by one, the parts implant + themselves in the tortilla. The Tortilla stands unsteadily, + looks around, blinks, then heads off across the playground. + + +91 INT. KEN’S DREAM HOUSE, BUTTERFLY ROOM - NIGHT 91 + + Ken -- headband on -- is behind a shoji screen. + + KEN + Ready? + + BARBIE (O.C.) + Ready...! + + Ken leaps from behind the screen in a Karate Gi and does a + series of fighting moves, kicking and punching the air. + + KEN + Haiii-Yaaa! Wah! Whaaa-aaa-aaa -- + + He freezes mid-pose. Barbie isn’t there. + + KEN + Uh... Barbie? + + Barbie leaps out of nowhere, tackling Ken. Ken lands on his + chest. Barbie grabs his head, spins it 180 degrees. + + BARBIE + No more games, Ken. What did Lotso + do to Buzz, and how do we get him + back? + + Ken is secretly thrilled to have Barbie straddling his + chest, talking tough. He is defiant. + + KEN + You can’t make me talk! You can’t! + + Barbie glares at him, eyes narrowing. + + Ken -- unable to contain his excitement -- blurts out: + 99. + + + KEN + ...But I’d like to see you try!!! + + +92 INT. HALLWAY - NIGHT 92 + + A Security truck patrols the hall. As it passes, the office + door opens. Woody peers out. + + +93 INT. OFFICE - NIGHT 93 + + Slinky is poised with a key attached to a rubber-band sling + shot. Slinky pulls it back. Woody signals “Go!” + + Slinky releases the slingshot. It shoots the key under the + door, across the hall and into the Caterpillar Room. + + +94 INT. CATERPILLAR ROOM - NIGHT 94 + + Jessie stops the key with her boot, picks it up. + + +95 EXT. PLAYGROUND - NIGHT 95 + + Mr. Potato Head hoists himself up a tricycle and onto a + classroom window ledge. He peers in. + + Inside the Butterfly Room, Lotso is asleep. Potato Head + turns and uses the trike’s mirror to catch a moonbeam. + + +96 INT. CATERPILLAR ROOM - NIGHT 96 + + Mrs. Potato Head, on the sill by the door, sees the signal. + + She uses the key to unlock the door. + + +97 EXT. PLAYGROUND - NIGHT 97 + + The door opens. Jessie, Bullseye, Mrs. Potato Head and the + Aliens slip outside. As a SPOTLIGHT sweeps past, they duck + behind a traffic cone then creep off across the playground. + + +98 INT. KEN’S DREAM HOUSE, BUTTERFLY ROOM - NIGHT 98 + + Ken is tied to a paddle-ball paddle by the ball’s string. + + He glowers as Barbie browses through his racks of clothing. + 100. + + + BARBIE + Let’s see -- Hawaiian surf + trunks... + +She holds them up, then RIPS them apart. Ken is horrified. + + KEN + Barbie, those were vintage! + (steels himself) + It’s okay! Go ahead, rip ‘em! + They’re a dime a dozen! + + BARBIE + Oooohh! Glitter tux! + +RIPPPP...! She tosses the shreds at him. Ken groans in +torment, but remains defiant. + + KEN + Who cares?! Who cares?! Sequins are + tacky! + +Barbie picks up a Nehru jacket. Ken gasps in horror. + + BARBIE + Oooohh!! A Nehru jacket! + + KEN + Barbie!!! Not the Nehru...! + + BARBIE + This is from, what -- 1967? + + KEN + The Gruvvy Formal Collection, yes! + + BARBIE + What a shame... + + KEN + Oh, no! No! No, no, no...!!! + +Barbie pulls at the seams. A stitch POPS. Ken cracks. + + KEN + There’s an instruction manual! + Lotso switched Buzz to Demo + Mode...! + +He breaks down, sobbing. Barbie, steely, grabs Ken. + + BARBIE + Where’s that manual? + 101. + + +99 INT. UTILITY CLOSET - NIGHT 99 + + A sleepy Bookworm pulls the Buzz Lightyear Manual from his + stacks, hands it down to a waiting Figure in a SPACE SUIT. + + BOOKWORM + I don’t know why this can’t wait + til morning, Ken, but... Here ya + go! + + The Figure salutes, turns, walks off. The Bookworm turns + away, then hears an odd CLICKING. He turns back, stares. + + POV -- The Space-Suited Figure is wearing pink high heels. + + The Bookworm rolls his eyes -- Ken! -- and turns away. + + +100 INT. CLASSROOM CEILING CRAWL SPACE - NIGHT 100 + + SLINKY + What’s takin’ so doggone long? + + A KNOCK. Woody slides the ceiling panel, revealing Barbie + in the Space Suit, helmet off. + + WOODY + So how do we fix Buzz? + + Barbie grins, hoists up Buzz’s Instruction Manual. + + +101 EXT. PLAYGROUND - NIGHT 101 + + Potato Head, on the ledge, sees Barbie pulled up into the + ceiling. + + +102 INT. CLASSROOM CEILING CRAWL SPACE - NIGHT 102 + + Woody gives Potato Head the “thumbs up”. Potato Head + responds with complicated baseball-catcher gestures. + + +103 EXT. PLAYGROUND - NIGHT 103 + + Potato Head turns and edges down the ledge. A FLUTTERING. + + He looks. His path is blocked by a Pigeon. A stare down. + + MR. POTATO HEAD + What’re you lookin’ at, Feathers? + 102. + + + The pigeon pecks him, taking a chunk out of his tortilla. + + MR. POTATO HEAD + Hey! Ow! + + The pigeon pecks again. Potato Head slaps the pigeon. The + pigeon grabs his forehead, dragging him down the ledge. + + Potato Head hits the pigeon with his hat, gives it a kick. + + The pigeon flies off. Potato Head shakes his fist. + + MR. POTATO HEAD + Yeah, fly away, ya coward! + + The tortilla rips and disintegrates. + + MR. POTATO HEAD + Uh-oh... + + In pieces, he drops off the ledge to the ground. + + MR. POTATO HEAD + Well, that’s just great! + + A section of tortilla props itself up, looks around. It + spots the classroom vegetable garden. The eye goes wide. + + +104 INT. CATERPILLAR ROOM - NIGHT 104 + + Buzz is still trapped in the bin, banging on the ceiling. + + Hamm and Rex have grown weary of his calls for help. + + BUZZ + (muffled) + Help! Prison riot! + + HAMM + Give it up. No one can hear you. + + BUZZ + (looking up, muffled) + What...? + + HAMM + I said no one can hear you! + + BUZZ + (confused, muffled) + What...?!!! + 103. + + + REX + (yelling) + He said, “No one can...!!!” + + HAMM + Shhhh...!!! Will you be quiet?! + +He slaps a hand over Rex’s mouth. A NOISE. They look up. + +A ceiling tile opens. Woody, Slinky, and Barbie drop in. + + REX + Woody! You’re back! + +Rex and Hamm move to the front of the bin. Buzz runs to the +back and jumps -- knocking Hamm and Rex off the bin. + +Buzz makes a break for it -- running across the floor. + + WOODY + Stop him! Don’t let him get out! + + BUZZ + (into wrist radio) + Star Command, I’ve been taken + hostage by my own prisoners!!! + +Hamm and Rex tackle Buzz. Hamm, Rex, Woody and Slink keep +Buzz pinned down, as Barbie rushes over with the manual. + + WOODY + Quick, open his back! There’s a + switch! + +They pull open Buzz’s compartment, revealing the switch. + +Woody flips it. Buzz struggles. + + BUZZ + Unhand me, Zurg scum! The Galactic + courts will show you no mercy! + +Woody flips the switch back and forth. + + WOODY + It’s not working! Why’s it not + working? Where’s the manual? + +Hamm flips through at top speed. + + HAMM + 104. + + + Here we go! There should be a + little hole under the Switch! + + WOODY + Little hole. Got it! + + HAMM + (reading) + “To reset your Buzz Lightyear, + insert paper clip....” + + WOODY + Rex, use your finger! + + REX + Oh! + +Rex sticks a finger in Buzz’s re-set hole. + + WOODY + Okay, now what? + + HAMM + All right, let’s see... “Caution: + Do not hold button for more than + five seconds.” + +Abruptly, Buzz BEEPS loudly, falls limp, face plants. + +The others all look at Rex. Rex lifts his finger. + + REX + It’s not my fault! + +Suddenly, Buzz leaps up, knocking the Toys off him. He +strides forward, flips his wrist radio. + + SPANISH BUZZ + Bitácora Espacial -- Me he + despertado de hipersueño en un + planeta extraño. + (Star Log -- I’ve + awakened from hyper-sleep + on a strange planet.) + +The Toys are speechless. Hamm glares at Rex. + + HAMM + Now what did you do?! + + REX + I did what you told me...! + 105. + + +Buzz -- hyper-alert -- glances sideways, narrows his eyes. + + SPANISH BUZZ + Estoy rodeado por criaturas + extrañas y desconozco sus + intenciónes!!! + (I'm surrounded by alien + creatures of unknown + intent!!!) + +He whips around -- flamboyant Latin-style -- and trains his +laser on Woody’s forehead. + + SPANISH BUZZ + ¿Quién anda ahí? ¿Amigo? O Enemigo? + (Who goes there -- + Friend? Or foe?) + + WOODY + Uh... Amigos! We’re all amigos! + +Satisfied, Buzz struts forward, greeting them. + + SPANISH BUZZ + Me debo haber estrellado, y se me + borró la memoria. + (I must have crash landed + and had my memory + erased.) + +He approaches Woody, kisses both cheeks, strides off. + + SPANISH BUZZ + Han visto a mi nave espacial? + (Anyone seen my + spaceship?) + + WOODY + We gotta switch him back! + + SLINKY + How do we do that? + + HAMM + (re: manual) + I dunno! That part’s in Spanish! + +Patrol Truck lights pass by under the hall door. + + WOODY + We don’t have time for this! C’mon! + +Woody grabs Buzz, hustles him toward the playground door. + 106. + + + SPANISH BUZZ + Mi nave. ¿Lo encontraste? + !Excelente! + (My spaceship? You know + where it is? Excellent!) + + They pass the Lifer, watching from the shadows. + + LIFER + Good luck, Cowboy. + + +105 EXT. PLAYGROUND - NIGHT 105 + + Jessie, Bullseye, and Mrs. Potato Head wait inside a + concrete pipe. Spotlights survey the playground. + + MRS. POTATO HEAD + (points) + Here they come! + + Woody, Hamm, Rex, Slinky, and Barbie steal across the + playground. Spanish Buzz, trailing behind, does elaborate + rear-guard defense poses. Woody has to grab him and pull + him along. They duck into the pipe. + + JESSIE + What took you so long? + + WOODY + Things got complicated. Where’s + Potato Head? + + JESSIE + We haven’t seen him! + + Woody turns and peers out on the playground. Buzz, the last + to arrive, sees Jessie. She turns to greet him. + + JESSIE + Buzz... + + Buzz is struck dumb. Time slows. His heart melts. He + approaches, drops to his knees, takes Jessie’s hand. + + SPANISH BUZZ + Mi florecita del desierto...! Yo + nunca he visto la belleza verdadera + hasta esta noche! + (My desert flower...! I + have never seen true + beauty til this night!) + 107. + + +Jessie is speechless. She turns to the others. + + JESSIE + Did you guys fix Buzz? + + HAMM + Eh... Sort of. + + MRS. POTATO HEAD + Jessie, behind you! Someone’s + coming! + +The Toys turn. A tall figure looms. Mr. Cucumber Head steps +into the light -- irked, agitated. + + MR. POTATO HEAD + You would not believe...! What I’ve + been through...! Tonight! + +Mrs. Potato Head goes to him. + + MRS. POTATO HEAD + Darling...! Are you okay? + + MR. POTATO HEAD + I feel fresh! Healthy! It’s + terrible! + + MRS. POTATO HEAD + You’ve lost weight! And so tall! + +Bullseye nudges Potato Head’s torso toward him. + + MR. POTATO HEAD + Ahhh, you’re a sight for detachable + eyes! + +He plucks his eyes out and plants them on the spud. + + TIME CUT: + +The Jungle Gym slide. A Patrol Truck drives by. Slinky +slides down, pops out the bottom, looks both ways. + +At the top of the slide, Woody holds Slinky’s back end. + +The tail wags. + + WOODY + Okay, all clear! + +ON THE PLAYGROUND + 108. + + +The Toys shoot out the bottom of the slide, scamper off. + +They huddle behind the spring of an animal rocking swing. + + JESSIE + Almost there! + +Jessie darts out, with others close behind. The lights of a +Patrol Truck approach. + + WOODY + Back up, back up! + +Woody backs into the shadows with Bullseye and the Aliens. + +The Truck pulls up and stops. + +Jessie looks back, sees Woody and the others still hiding. + +Woody gestures “We’ll go around”. Jessie does a thumbs-up. + +Woody and the Aliens ride Bullseye across the playground +swing set. They stop abruptly. Big Baby is sitting on the +last swing, CREAKING back and forth, gazing up at the moon. + +Bullseye and Woody tip-toe behind Big Baby, approach the +wood siding for the swing set area. Bullseye leaps over the +siding but the last Alien falls to the ground. SQUEAK. + +Big Baby swivels his head 180 degrees. + +Woody, Bullseye, et al lie low behind the siding plank -- + +in the shadows, amid plastic shovels and buckets. + +Big Baby dismounts, walks toward their hiding place. + +Woody looks around desperately. + +Big Baby reaches the wood siding, looks over. + +No one’s there. Looks up and down. He walks off. + +HOLD ON an overturned plastic bucket. Woody and Bullseye +peek out from underneath, share a relieved look. + +Jessie, watching from the bushes, sighs with relief. + +Abruptly, Spanish Buzz grabs her, yanks her to him. As +Jessie stands awkwardly, Spanish Buzz performs a solemn, +impassioned courtship dance around her. + 109. + + + Finally, Spanish Buzz takes Jessie in his arms. + + SPANISH BUZZ + ¡Ven conmigo! ¡Te mostraré las + maravillas de la galaxia, y juntos + lucharemos contra el despiadado + Zurg! + (Come with me! I will + show you the wonders of + the galaxy, and together + we will fight the evil + Zurg!) + + He plucks a dandelion, offers it to her. + + At that moment, Woody pushes through the bushes -- safe. + + Jessie leaves Buzz, runs and gives Woody an impulsive hug. + + JESSIE + Woody! Thank goodness! + + WOODY + C’mon! We’re almost there! + + He and Jessie leads the Toys off, REVEALING Spanish Buzz -- + + stunned and heartbroken. He throws down his dandelion. + + SPANISH BUZZ + El Vaquero...!!! + + Mad with jealousy, he narrows his eyes and runs after them. + + +106 EXT. TRASH CHUTE - NIGHT 106 + + Woody leads the Toys to the trash chute. He jumps -- + + trying to grab the handle -- but can’t quite reach it. + + WOODY + Buzz, c’mere, gimme a lift! + + Buzz, smoldering, steps forward, dramatically pushes Woody + aside. With a lovelorn glance at Jessie, he hits a button. + + SPANISH BUZZ + Buzz Lightyear al rescate! + (Buzz Lightyear to the + rescue!) + 110. + + + Buzz steps to the chute, jumps up in a series of crazy, + acrobatic moves, and grabs the handle, pulling it down. + + SPANISH BUZZ + Abierto...! + + WOODY + Way to go, Buzz! C’mon, everyone! + + The Toys boost each other up onto the trash chute lid. + + +107 INT. GARBAGE CHUTE - NIGHT 107 + + Woody climbs in the chute with the others and peers down. + + POV -- The grimy metal chute recedes into blackness. + + JESSIE + Is it safe? + + WOODY + I guess I’ll find out... + + Woody begins a controlled slide down -- feet first, hand + bracing. He slips and it becomes an uncontrolled slide. + + He scrambles for traction, eases to a stop at the bottom. + + He gets up, stands at the edge of the slide’s precipice. + + ANGLE -- An alley. The trash chute cantilevers over a half- + closed dumpster. Above him, stars twinkle -- freedom. + + JESSIE (O.S.) + Woody...! You okay? + + WOODY + Come on down. But not all at once. + + MR. POTATO HEAD (O.S.) + What’d he say? + + HAMM (O.S.) + I think he said, “All at once”. + + NOISES. + + WOODY + No...! No! No! No! No! + + Too late. The Toys slide down together. + 111. + + +They collide with Woody. Woody windmills his arms at the +edge of the chute. Jessie grabs him, pulls him to safety. + + WOODY + Thanks, Jess. + +Spanish Buzz looks about, confused and deeply disappointed. + + SPANISH BUZZ + Donde esta mi nave...?! + (Where’s my + spaceship...?!) + + WOODY + Slink...? Think you can make it? + + SLINKY + I might be old, but I still got a + spring in my step. + +He backs up, then leaps over the open pit to the closed lid +of the dumpster. He lands hard, clutches a metal handle. + + REX + He did it! + + HAMM + All right, Slinky-kins! + + SLINKY + Okay! Climb across! + +Suddenly, two pink paws step in front of Slinky. He looks +up. Lotso looms over him, grinning. + + LOTSO + You lost, li’l doggy...? + +Lotso kicks Slinky’s paws. He retracts, falling from the +lid. The Toys pull him to safety. + +Behind Lotso, his Gang hops off a wall and joins him on the +dumpster lid. Lotso notices Woody among the others. + + LOTSO + Well, well...! Look who’s back! + +A NOISE. The Toys turn. Lotso’s henchman -- Stretch, the +Octopus -- clambers down the chute, blocking an escape. + +The Lifer Phone wheels into view -- wheels wobbling, one +eye broken, frayed phone dangling. His voice is hoarse. + 112. + + + LIFER + (via handset) + I’m sorry, Cowboy! They broke + me...! + +Lotso turns to the Toys, as cheerful as ever. + + LOTSO + (incredulous) + What are you doin’?! Runnin’ back + to your kid? He don’ want you no + more! + + WOODY + That’s a lie! + + LOTSO + Is it? Tell me this, Sheriff -- if + your kid loves you so much, why is + he leavin’? + +CLOSE ON -- Woody, fuming. He has no answer. + + LOTSO + Y’think you’re special, Cowboy? + You’re a piece of plastic! You were + made to be thrown away! + +VROOM! A garbage truck turns into the far end of the alley +and RUMBLES toward them. Lotso turns. + + LOTSO + Speak of the devil...! + (turns back) + Now we need toys in our Caterpillar + Room. And you need to avoid that + truck. Why don’t you come on back, + join our family again? + +He smiles. Woody seethes -- at a loss for words. Jessie +steps past him, eyes burning. + + JESSIE + This isn’t a family, it’s a prison! + You’re a liar and a bully and I’d + rather rot in this dumpster than + join any family of yours! + +Barbie steps forward. + + BARBIE + 113. + + + Jessie’s right! Authority should + derive from the consent of the + governed! Not from the threat of + force! + +Hamm and Potato Head share a glance -- Huh? Lotso grins. + + LOTSO + If that’s what you want...! + +He bangs his cane. Stretch, the Octopus, begins to prod the +Toys toward the precipice. Abruptly, Ken bursts from the +shadows -- still in his underwear. + + KEN + Barbie! Wait...! + +Everyone turns. He runs to Lotso. + + KEN + Don’t do this, Lotso...! + + LOTSO + She’s a Barbie doll, Ken! There’s a + hundred million just like her! + + KEN + Not to me there’s not! + +He glances at her. She sighs. Lotso picks up Ken. + + LOTSO + Fine! Why don’t you join her?! + +He tosses Ken across the dumpster chasm. The Toys grab him, +pull him to safety. Barbie hugs him. + + BARBIE + Oh, Ken! + +Ken stands and addresses Lotso’s Gang, earnest and heroic. + + KEN + Everyone! Listen! Sunnyside could + be cool and groovy if we treated + each other fair! + (points) + It’s Lotso! He’s made us into a + pyramid and he put himself on top! + +Lotso’s Gang eyes each other. There’s a shift in sympathy +but no one wants to stick their neck out. Lotso is amused. + 114. + + + LOTSO + Anyone concur with Ken? + +No one moves. The truck RUMBLES closer -- two dumpsters +away. Lotso turns to the Toys. His face hardens. + + LOTSO + I didn’t throw you away. Your kid + did. Ain’t one kid ever loved a + toy, really! Chew on that when + you’re at the dump! + +He turns away. Woody steps forward. + + WOODY + Wait...! What about Daisy? + +Lotso keeps a steely composure. + + LOTSO + I don’t know what you’re talking + about. + + WOODY + Daisy...? You used to do everything + with her! + + LOTSO + Yeah -- then she threw us out! + + WOODY + No -- she lost you! + + LOTSO + She replaced us! + + WOODY + (pointing) + She replaced you! And if you + couldn’t have her, no one could! + You lied to Big Baby and you been + lying ever since! + +Woody yanks something from his holster. It’s the rusty old +pendant, “My Heart Belongs To: DAISY”. Lotso is stunned. + + LOTSO + Where’d you get that...?! + + WOODY + She loved you, Lotso... + + LOTSO + 115. + + + She never loved me! + + WOODY + ...As much as any kid ever loved a + toy! + +Woody throws the pendant. It lands at Big Baby’s feet. + +Big Baby stares, electrified, at the pendant -- a token of +his long-lost love. He picks it up. His lip trembles. + + BIG BABY + Mama...! + +Lotso grabs the pendant. He pokes Big Baby like a bully. + + LOTSO + What -- you want your Mommy back? + She never loved you! Don’t be such + a baby! + +He throws it down and CRUSHES it with his cane. Big Baby’s +face crumples. Lotso turns, yells at Stretch the Octopus. + + LOTSO + Push ‘em in! All of ‘em! + (to his Gang) + This is what happens when you + dummies try to think! + +He shoves Big Baby. Big Baby shrinks back, hurt. + +Stretch advances on Woody and the Toys. They teeter at the +edge of the precipice. Lotso faces them, sneering. + + LOTSO + We’re all just trash, waitin’ to be + thrown away! That’s all a toy is! + +Abruptly, Lotso is lifted from behind by Big Baby. + + LOTSO + Put me down! What’re you doing? + +Big Baby carries him to the edge of the dumpster. + + LOTSO + Help me! Help! + +Around the dumpster, no one moves. Big Baby tosses Lotso +into the dumpster. He lands in the shadows, looks up. + 116. + + +With a CREAK, the Big Baby tugs at the open dumpster lid. + + LOTSO + No...! Wait...! + +KLOON! Big Baby watches -- blank-eyed, pitiless -- as the +lid SLAMS down, shutting Lotso in. No one can believe it. + + REX + He’s gone!!! + + MR. POTATO HEAD + Holy cow!!! + + BIG BABY + Ah-pppbbblllmmmmmmm...!!! + +He blows a RASPBERRY at Lotso. VROOOM! The Toys turn. + +The garbage truck is only 100 feet -- 15 seconds -- away. + + WOODY + C’mon! Hurry! + +The Toys hop on the now-closed dumpster lid, rush to the +retaining wall, and help each other clamber onto it. + +A SQUEAK. Woody turns. At the crack between the two lids +are the three Aliens. One Alien is stuck. He struggles +while the other two stand around ineffectually. + + WOODY + Oh...! For crying out loud! + +Woody glances at the approaching truck, then runs back. + + JESSIE + Woody...! + +Woody yanks the Alien free. Spanish Buzz gestures. + + SPANISH BUZZ + Vaquero, andale! + (Cowboy, hurry!) + +The Aliens retreat to safety. Woody tries to follow, but a +pink paw grabs his leg. Woody tries to free himself, but +the paw drags him slowly into the dumpster’s depths. + +The Toys watch, horrified, as Woody disappears. + +The truck turns and approaches the dumpster, fork out. + 117. + + + HAMM + Oh, boy! Incoming! + + BA-BOOM! The truck’s forks slide into the dumpster and + begin lifting it up. As it rises past the retaining wall + Jessie and Buzz fearlessly jump onto the rising dumpster. + + JESSIE + C’mon! + + The other Toys follow. Barbie tries to follow too, but Ken + holds her back. + + KEN + Barbie, no...! + + They all try to lift the dumpster lid. It won’t budge. + + The dumpster rises up, up, up -- and begins to tilt. + + As the dumpster tilts, they start to lose their footing. + + As the dumpster nears vertical, the lid swings open and + trash begins pouring into the truck. Woody calls out... + + WOODY + Jess! + + JESSIE + Woody! + + Woody falls into darkness. A FLASH of pink goes by -- + + Lotso tumbles past. The dumpster LURCHES to a stop. + + All the Toys fall into the truck. + + Barbie -- on the wall -- reaches forward. + + BARBIE + No...!!! + + She turns away, burying her head in Ken’s comforting arms. + + +108 INT. GARBAGE TRUCK - NIGHT 108 + + The Toys find themselves in darkness, awash in garbage. + + WOODY + Can you hear me?! Is everyone + okay?!! + 118. + + + MR. POTATO HEAD + Of course not, you imbecile! We’re + doomed! + + Buzz pulls himself from a mound of garbage. He GLOWS. + + WOODY + Everyone! Go to Buzz! C’mon!!! + + The Toys begin wading toward Buzz. + + +109 EXT. STREETS - NIGHT 109 + + The garbage truck rumbles through the streets. + + +110 INT. GARBAGE TRUCK - NIGHT 110 + + The Toys congregate around Buzz. + + WOODY + We all here? Slinky...? Rex...? + + The truck lurches to a stop. The hydraulic motor STARTS. + + Woody looks up. A dumpster appears above them, tilting. + + WOODY + Against the wall, everybody! Quick! + + He leads the Toys to the front of the truck, seeking + shelter. Buzz remains behind. + + SPANISH BUZZ + Senorita! Senorita, donde + estas...?! + (Miss...! Miss, where are + you...?!) + + JESSIE (O.S.) + Buzz...! + + He turns. Somewhere in the DARKNESS, her voice rings out. + + A trickle of garbage begins to sprinkle down from above. + + SPANISH BUZZ + Senorita...! + + Buzz runs through the falling trash until he finds her + pressed against the far wall -- terrified. + 119. + + +CLUMP! Something large falls behind them. They look up. + +Garbage is falling out of the dumpster directly above them. + +Buzz takes Jessie’s hand and they run across the garbage +truck bay, dodging madly while trash rains down upon them. + +Against the back wall, the Toys watch, aghast. + + HAMM + They’ll never make it! + +Buzz grabs Jessie and carries her -- dodging and weaving. + +A SCRAPING sound above. + + MRS. POTATO HEAD + Look out! + +Buzz and Jessie look up. An old TV set falls towards them. + +Buzz lunges and tosses Jessie out of the way. She turns. + +CRASH!!! The TV smashes down on Buzz. A deluge of trash +piles on top, burying him completely. + + JESSIE + Buzz...!!! + +As the dumpster above recedes, Jessie runs forward and +begins digging. The other Toys join her. + + WOODY + Anyone see him?! + + SLINKY + Over here, y’all! I found him! + +They rush over and drag Buzz from the pile. Buzz’s eyes are +closed. Jessie pops his shield, shakes him. + + JESSIE + Buzz, you okay?! Buzz! Buzz!!! + +No response. Jessie shakes him again. And again. + + JESSIE + No...! + +She hugs him, sobbing. + +A BEEP. Buzz jack-knifes forward, then lurches back. + 120. + + + Jessie pulls away. Buzz sits up, eyes open -- disoriented. + + He sniffs the air with distaste. Then he sees the others. + + The Toys gape at him in open-mouthed wonder. + + Buzz frowns. + + BUZZ + That wasn’t me, was it? + + JESSIE + Oh, Buzz! You’re back!!! You’re + back, you’re back, you’re back!!! + + She throws her arms around him, hugs him tight. + + BUZZ + Yes, I’m back! + (beat) + Where’ve I been? + + WOODY + Beyond Infinity, Space Ranger! + + BUZZ + Woody! + + Woody smiles -- partners again. Buzz looks around. + + BUZZ + But... Where are we now?! + + REX + (excitable) + In a garbage truck on the way to + the dump! + + Buzz’s smile freezes. + + +111 EXT. TRI-COUNTY DUMP - NIGHT 111 + + The garbage truck drives in the entrance. + + +112 INT. GARBAGE TRUCK - NIGHT 112 + + The truck grinds to a halt. The BEEP-BEEP-BEEP backing-up + alarm begins to sound. The Toys look around. + + WOODY + 121. + + + Everyone -- stay together! + + Everything lurches. The truck bay begins to tilt. + + +113 EXT. DUMP - NIGHT 113 + + The garbage truck tilts up -- higher and higher. Trash + begins pouring out the back, onto the dump below. + + +114 INT. GARBAGE TRUCK - NIGHT 114 + + The back flap opens, allowing garbage to spill out. A trash + pit is revealed below. The Toys begin sliding out. + + WOODY + Hold on! We’re going in...! + + TOYS + Whoa...! + + +115 EXT. DUMP - NIGHT 115 + + The garbage truck extends fully, tilting 70 degrees. The + stream of garbage becomes a torrent. + + +116 INT. GARBAGE TRUCK - NIGHT 116 + + The Toys cling together, screaming, as they slide out into + the open night. + + +117 EXT. GARBAGE PIT - NIGHT 117 + + Woody lands on a trash heap -- Oooff! A plastic bag whips + by. He sits up. He’s in a vast, wind-blown landfill. + + Nearby, Hamm and Rex unearth themselves. Mr. Potato Head + helps Mrs. Potato Head up. + + MR. POTATO HEAD + You got all your pieces? + + The Aliens pop up. One points to some heavy machinery -- + + with a giant claw -- in the distance. + + ALIEN + The Cla-a-a-aw! + 122. + + + They toddle off toward it. + + WOODY + Hey! Guys, no...! No!!! + + Suddenly, the trio of Aliens is bathed in headlights. + + Before anyone can react, a bulldozer passes over them... + + Just like that, they’re gone. + + MRS. POTATO HEAD + My Babies...!!! + + A blinding LIGHT pours over her and envelops the Toys. + + Woody turns. A bulldozer -- with giant, studded wheels and + a massive grate -- is heading right at them. Rex SCREAMS. + + The Toys are pushed backward toward a trench. + + WOODY + Hang on! + + They tumble as the bulldozer pushes them over the edge. + + +118 EXT. CONVEYER BELT - NIGHT 118 + + The Toys land on a conveyor belt entering a dark tunnel. + + +119 INT. CONVEYER BELT - NIGHT 119 + + Woody sits up and watches the light receding behind them. + + The other Toys gather round. + + MRS. POTATO HEAD + Woody! What do we do? + + WOODY + We’ll be okay if we stay toge--... + + VWOOSH! Slinky is pulled up OUT OF FRAME. + + WOODY + Slinky...! + + SLINKY + Woody...! + 123. + + +Slinky is fixed to a fast-moving conveyor belt above them. + +Woody runs after him. + + WOODY + Slinky, get down from there! + +A hammer shoots up and CLANKS on the belt, narrowly missing +Slinky. All around them, other pieces of metal begin FLYING +UP and sticking to the ceiling belt. Jessie yells. + + JESSIE + It’s a magnet! Watch out! + +High above, Slinky looks around. + + SLINKY + Uh, you might wanna take a look at + this! + +The Toys scramble up a pile of debris. + +Ahead is a Shredder -- two fast-spinning vertical cylinders +that shred everything on the belt. Buzz sees a lunch box +near him starting to quiver.... + + BUZZ + Quick! Grab something metal! + +He grabs it and is pulled up to the magnetic belt. Woody +grabs a metal handle and flies up, sticking to the ceiling +belt. Hamm dives into a nearby pot and is lifted upwards. + + HAMM + You heard the guy...! + +Each Toy grabs a metal object and lifts -- CLUNK! -- to the +ceiling. Rex, the last, grabs an aluminum can, a CD, etc. + + REX + It’s not working!!! + +Finally, he grabs a metal fan and sails up to safety. + +Suddenly, a pink paw thrusts out from the belt below. + + LOTSO (O.S.) + Help...! Help me!!! + +Woody turns. Lotso is pinned under a golf bag. + + LOTSO + 124. + + + I’m stuck! Help!!! Please! + +Woody looks at the approaching shredder. He lets go. + + JESSIE + Woody...! + +Woody lands on the belt, runs back to Lotso. + + LOTSO + Thank you! + + WOODY + Don’t thank me yet. + +Woody struggles to lift the bag. Buzz drops down next to +Woody. Jessie eyes the approaching shredder. + + JESSIE + Buzz...!!! Woody...?!!! + +Woody and Buzz push together. They still can’t move it. + +Woody pulls out a golf club. The magnet tugs it upward. + +Buzz grabs it. Together, they pull it down and jam it under +the bag for leverage. The bag finally lifts... + + WOODY + Go! Go! + +...and Lotso scrambles out. + +Woody grabs Lotso. He and Buzz point the club skyward. + +They’re pulled up to safety as the golf bag is pulverized. + +Lotso looks back at the shredder, then at Woody. + + LOTSO + Thank you, Sheriff...! + + WOODY + We’re all in this together. + (turns) + Right guys...? + +All the Toys have vanished. + + WOODY + Guys?! + 125. + + + JESSIE (O.S.) + Woody! Down here! + + Jessie and the others wave from a conveyer belt far below. + + Woody and Buzz let go and plummet. + + +120 EXT. DUMP / STAIRWAY TO HEAVEN - NIGHT 120 + + Woody, Buzz and Lotso land on the bed of a big, fast-moving + conveyer belt with metal walls. The Toys gather around. + + JESSIE + Woody! + + The toothed belt begins to ascend upwards. + + REX + Woody! Look! I can see daylight! + We’re gonna be okay! + + Rex points to a bright amber GLOW at the top of the belt. + + The toys scramble forward. Woody’s smile drops. + + WOODY + I don’t think that’s daylight... + + FAST TRACK -- At the end of the conveyer belt, garbage + falls into a burning, churning vortex. + + WOODY + Run!!! + + Unable to jump off, the Toys begin running down the belt. + + They dodge, duck and hurdle over the coming trash, but + they’re no match for the speed of the rising conveyor. + + Lotso trips, falls. A pulsing blue LIGHT. He looks up. + + High on the wall ahead is an Emergency Stop button. A + ladder leads to the button. Lotso leaps up, grabs the + bottom rung. He can’t pull himself up. + + LOTSO + Sheriff...! The button! Help me! + + The Toys look back, see Lotso. As they pass, Woody, Buzz + and Jessie boost Lotso up. + 126. + + + WOODY + Go!!! Go!!! Hit the button! + + Lotso scrambles up the ladder toward the glowing button. + + The Toys are carried up the conveyor belt toward the pit. + + The Toys watch Lotso -- receding -- as he climbs. + + Lotso stays focussed on the button above him. + + The Toys reach the belt’s acme -- heels at the edge of the + waterfall of trash cascading to a melting, churning vortex. + + WOODY + Hurry!!! + + Lotso reaches the walkway where the blue button glows. He + turns and looks -- malevolent -- at the helpless Toys. + + WOODY + Just push it! Push it! + + BUZZ + Push it!!! + + Lotso smirks, gives a salute. + + LOTSO + Where’s your kid now, Sheriff?! + + He turns, runs off down the walkway. + + WOODY + No... No...! No...!!! + + BUZZ + Lotso...!!! + + The Toys YELL as they tumble off the belt... + + +121 EXT. INCINERATOR HOPPER - NIGHT 121 + + The Toys land in a giant vortex of trash being sucked down + into the glowing eye of an incinerator. + + It’s chaos -- trash tumbles over itself as sparks and ashes + fly through the air. The ROAR is overwhelming. + + Woody stands and starts trying to climb out. + 127. + + +The Toys do the same, climbing desperately, fighting +against the trash tumbling into the vortex of fire. + +They slip, fall, get up and slip again. It’s a nightmare -- + +no matter how fast they climb, they inexorably slide +backwards. Rex slides past Woody, towards the incinerator. + + REX + Ahhhhhh! + + WOODY + Rex!!! + +Woody grabs Rex’s hand, slides further toward the inferno. + +They are all being pulled inescapably downward. + +There’s no way out. Jessie looks at Buzz. + + JESSIE + Buzz...! What do we do? + +Buzz looks at her. He reaches out, takes her hand. + +Jessie grabs Bullseye’s hoof. Slinky takes Hamm’s hand. + +Hamm reaches out to Rex. The Potato Heads hold each other. + +Mr. Potato Head grabs Rex. + +Buzz reaches out to Woody... + +Woody takes Buzz’s hand, and the circle is complete. + +As they approach the vortex, heat waves blast their faces. + +The Toys close their eyes, turn away. + +Woody stares at the fire, shuts his eyes. + +This is the end. + +A LIGHT from above shines in Woody’s face. + +He opens his eyes. + +A giant mechanical Claw lowers towards them. + +The Claw plunges into the trash around them, closing them +in its grip, then raises them up. + 128. + + + They soar into the air, away from the ROARING incinerator. + + Woody looks around in disbelief. + + The Claw spins, passing in front of the crane booth. + + +122 INT. CRANE OPERATOR’S BOOTH - NIGHT 122 + + In the booth, the Aliens man the joysticks. + + ALIENS + The Clawwwww!!! + + They lean into the joystick, steering the Claw to safety. + + +123 EXT. DUMP - DAWN 123 + + The Claw lowers and opens, dropping the Toys to earth. They + spill out, COUGHING and GROANING like shipwreck survivors. + + Woody sits up, looks around. Rex pops up through trash. + + REX + Whew...! + + They have faced death and survived, and are profoundly + shaken. Potato Head stares at the sky. + + MR. POTATO HEAD + Y’know all that bad stuff I said + about Andy’s attic? I take it all + back. + + SLINKY + You’re darn tootin’! + + HAMM + You said it! + + Buzz and Jessie sit up, still holding hands. She looks at + him, smiles. He smiles and holds her gaze. + + Mrs. Potato Head takes Mr. Potato Head’s hand. + + MRS. POTATO HEAD + Oh, darling! You were so brave! + + A SQUEAK. The Potato Heads turn, see the Aliens approach. + + MRS. POTATO HEAD + 129. + + + You saved our lives...! + + MR. POTATO HEAD + And we... Are eternally grateful! + + Potato Head scoops them into his arms for a big, proud hug. + + MR. POTATO HEAD + My boys...! + + ALIENS + Daaddddyyyy...!!! + + Hamm looks around. + + HAMM + Hey! Where’s that furball Lotso? + + SLINKY + I’d like to loosen his stitching! + + WOODY + Forget it, guys. He’s not worth it. + + +124 EXT. GARBAGE DUMP, ELSEWHERE - DAY 124 + + Lotso limps toward the dump exit. A NOISE. He turns, then + drops, freezing. + + A truck’s wheels SCREECH to a halt in front of Lotso. A + door OPENS and SHUTS. FOOTSTEPS. A hand picks him up. + + GARBAGE MAN ONE (O.S.) + Hey! + + GARBAGE MAN TWO (O.S.) + Whatcha got? + + GARBAGE MAN ONE (O.S.) + I had me one a these when I was a + kid! + + He buries his nose in Lotso’s tummy, inhales. + + GARBAGE MAN ONE + (nostalgic rapture) + Strawberries...! + + +125 EXT. GARBAGE DUMP - DAY 125 + 130. + + +The truck exits the dump -- Lotso strapped to the grill. + +He comes to life, panicked. On the grill are a couple of +muddy, bug-spattered Plushies, including a sad-eyed FROG. + + FROG + Hey, buddy...! + (Lotso turns) + ...Y’might wanna keep yer mouth + shut! + +The others SNICKER. Lotso WHIMPERS. The truck RUMBLES off. + +ANGLE -- The truck passes, REVEALING the Toys, unaware of +Lotso’s karmic comeuppance. Jessie sees Woody lagging. + + JESSIE + C’mon, Woody -- we gotta get you + home! + + BUZZ + That’s right, “College Boy”! + + WOODY + But... What about you guys? Maybe + the attic’s not such a great idea. + +He glances at them, uneasy. Jessie steps to him. + + JESSIE + We’re Andy’s Toys, Woody... + + BUZZ + We’ll be there for him. Together. + +Woody smiles. + + WOODY + I just hope he hasn’t left yet... + + MRS. POTATO HEAD + Wait a minute! Wait, I’ll check! + +She covers her good eye, concentrates. + + MRS. POTATO HEAD + He’s still packing...! + (GASPS) + ...But he’s almost done! + + HAMM + He lives halfway across town...! + 131. + + + REX + We’ll never get there in time! + + The Toys glance at each other. Then, distantly, comes the + air-guitar WAILING of Andy’s Neighborhood Garbage Man. + + The Toys turn, see him a dozen yards away. They brighten. + + +126 EXT. DRIVEWAY - DAY 126 + + Andy’s loading up his hatchback with boxes. Molly’s on the + lawn playing with Buster. As the garbage truck passes... + + MOLLY + C’mere, boy. C’mon, Buster! + + MOM + Is that it, honey? You got + everything? + + ANDY + Yeah, just a few more boxes in my + room. + + At the curb, REVEAL the Toys hiding behind a garbage can. + + Woody peeks around, gestures to the other Toys. + + WOODY + Okay, c’mon! + + +127 INT. BACK YARD - DAY 127 + + TIGHT ON SPIGOT -- Woody’s hand comes in, turns it. + + The Toys huddle while Woody hoses them off. Buzz closes his + helmet. The Toys react to the cold water. + + TOYS + Eeeaauggh...!!! Brrr...!!! Stop!!! + + HAMM + That’s enough, that’s enough, + that’s enough!! + + WOODY + All right, go! Go, go! + + The Toys run off. Potato Head pulls off his nose, blows out + a spray of water. + 132. + + +128 EXT. GARAGE ROOF - DAY 128 + + Slinky heaves himself up to the edge of the garage roof. + + One by one, the Toys scurry up his Slink, then make their + way along the roof towards Andy’s open window. + + +129 INT. ANDY’S ROOM - DAY 129 + + Buzz and Woody peer in. + + BUZZ + All clear...! + + They clamber through the window, jump to the floor. The + other Toys follow, scrambling across the room. + + Mrs. Potato Head stops, puts a hand over her working eye. + + TRANSITION: + + POV -- Under the bed, looking out. Mrs. Potato Head’s feet + are in front of us, facing away. + + MRS. POTATO HEAD (V.O.) + There you are...! + + The feet turn and a hand reaches TOWARD US, GRABBING the + subjective eye. + + TRANSITION: + + She pops her eye back in, blinks... And GIGGLES, tickled. + + The Toys climb into a box marked “Attic”. Buzz helps them. + + On the desk is a box marked “College”. Woody heads for it. + + He reaches the box, turns. This may be the last time he + ever sees the other Toys. He scrambles back toward Buzz. + + WOODY + Buzz... + + Buzz turns. Woody offers a hand. They shake. + + WOODY + This isn’t good-bye. + + SLINKY (O.S.) + Hey, Woody... + 133. + + +Woody looks up. Slinky lowers a paw. + + SLINKY + ...Have fun at college! + + HAMM + Yeah, but not too much fun! + +Woody laughs, shakes hands with Slinky. + + REX + Woody, take care of Andy. + + MRS. POTATO HEAD + Yeah... + + MR. POTATO HEAD + He’s a good kid. Tell him to get a + haircut. + + WOODY + I will. + +Woody sees Jessie. + + WOODY + Jessie -- you’ll be okay in the + attic? + + JESSIE + ‘Course I will. Besides... + (leans in) + ...I know about Buzz’s “Spanish + Mode”. + + BUZZ + My what...? + +He turns, confused. Woody and Jessie share a smile. + + MOM (O.S.) + Honey, you want some food for the + road? + + ANDY (O.S.) + I’ll get something on the way. + +Woody turns to Buzz -- there’s so much he wants to say. + +Buzz just smiles. + + BUZZ + 134. + + + You know where to find us, Cowboy. + +Woody smiles. He turns, runs to the desk. + +Buzz climbs in the Attic box with the others. + +On the desk, Woody jumps on the edge of the College box, +looks back at his friends. FOOTSTEPS climb the stairs. + +Woody gives Buzz a salute. Buzz smiles, salutes back. + +Woody lowers into the College box. The Toys duck in the +Attic box, pull the flaps shut just as Andy and Mom enter. + + MOM + Did you say goodbye to Molly? + + ANDY + Mom, we’ve said goodbye like ten + times! + +Mom stops, suddenly overwhelmed. The room is empty. + + MOM + Oh, Andy...! + +Andy, beside her, is abashed. + + ANDY (O.C.) + Mom...! It’s okay... + +IN THE COLLEGE BOX + +Woody quietly peeks out the hand holes. + +POV -- Woody can half-see Mom hug Andy. + + MOM + I know, it’s just... I wish I could + always be with you. + + ANDY + You will be, Mom. + +ON WOODY + +He turns and glances off, noticing something. + +THE PHOTO + +Of young Andy, playing with Woody and the other Toys. + 135. + + +TRACK IN ON + +Woody. Mom and Andy’s words echo in his head. + +WOODY POV -- His GAZE SHIFTS from Andy-holding-Woody to +Woody-with-the-other-Toys. + +Suddenly, Woody half-smiles -- an epiphany. Sadness and +uncertainty are replaced by happiness and determination. + +FOOTSTEPS and collar JINGLES approach. Molly steps to the +room’s threshold with Buster. + + MOLLY (O.C.) + Hey... Aren’t you gonna say goodbye + to Buster? + +Andy and Mom step into the hallway. + + ANDY (O.S.) + Of course I will...! + (to Buster) + Who’s a good doggie?! Who’s a good + doggie?!!! I’m gonna miss you! + +While Andy scratches Buster’s belly, Woody jumps out of the +box, grabs a pen and a sticky note. He sneaks across the +room, jumps on the Attic box, starts frantically writing. + +Buster starts BARKING. Woody finishes writing, looks up. + + MOLLY (O.C.) + He’s telling you to go already. + + MOM (O.C.) + C’mon, get the rest of your things. + +Woody gasps, looks up at the door. + +TRACK IN -- THE DOOR + +Andy walks in. Mom and Molly stay in the hallway. + + ANDY + Okay, Buster, don’t let Molly near + my stuff. + +Andy turns, crouches to pick up the Attic box. + +He stops, noticing the yellow Post-It on the box top. + +He opens the flaps, finding all of his Toys. + 136. + + + ANDY + Hey...! + + He digs through them -- pulling a few out, making sure + they’re all there -- smiling with fondness and relief. + + He picks up the Post-It, reads it. He calls out. + + ANDY + Hey, Mom... So, you really think I + should donate these? + + Mom answers from the hallway. + + MOM (O.S.) + It’s up to you, honey. Whatever you + want to do. + + CUT TO: + + +130 INT. CAR - DAY 130 + + Andy cruises, looking for an address. A box with “Attic” + crossed out sits in the passenger seat. The car slows. + + +131 EXT. HOUSE - DAY 131 + + Andy grabs the box and gets out. + + TRACK IN -- The hand slot of the College box, left behind. + + POV - COLLEGE BOX -- Andy crosses the street and approaches + the house. + + Andy stops, glances at the box. On the Post-It is written: + + DONATE TO: + Bonnie 1225 Sycamore Road + + TILT UP -- The address on the front gate. It matches. + + Andy sees Bonnie playing in the front yard, while her Mom + and Dad garden nearby. + + BONNIE + No! Don’t go in there! The bakery + is haunted...!!! + (another voice:) + Shhhhhh!!! Are you crazy?! You’ll + wake up all the ghosts! + 137. + + +Andy watches Bonnie play -- exuberant and unself-conscious. + + BONNIE + Look out! The ghosts are throwing + pies! Splat! Splat! Splat! + +Bonnie notices Andy and immediately stops playing. + + BONNIE + Mom...? + +Bonnie’s Mom looks over, sees Andy. She stands. + + BONNIE’S MOM + Andy...! + + ANDY + Hi! + +Andy lets himself in the gate. + + BONNIE’S MOM + Wow! Look at you! I hear you’re off + to college?! + + ANDY + Yeah. Right now, actually. + + BONNIE’S MOM + So, what can we do for you? + +Bonnie goes and stands behind her Mom. + + ANDY + Uhh... I have some toys here. + + BONNIE’S MOM + Ohhh...! You hear that, Bonnie? + +Bonnie peeks around her Mom, curious. + + ANDY + So you’re Bonnie? + +He hunches down so he’s eye to eye with her. + + ANDY + I’m Andy. Someone told me you’re + really good with toys. These are + mine, but I’m going away now, so I + need someone really special to play + with them. + 138. + + +Bonnie is uncertain. Andy sits in front of her, cross- +legged. He opens the box, pulls out Jessie and Bullseye. + + ANDY + This is Jessie -- the roughest, + toughest cowgirl in the whole West. + She loves critters, but none more’n + her best pal, Bullseye. + (whinnies; then, as + Jessie) + Yee-haw! Here. + +Bonnie looks at her Mom, who nods. She walks forward. Andy +gives Jessie and Bullseye to her. A smile escapes Bonnie. + +Andy pulls out Rex. + + ANDY + This is Rex -- the meanest, most + terrifying dinosaur who ever lived. + (dinosaur voice) + “Raaawwwrrrrr...!!!” + +He thrusts Rex at her. Bonnie backs up, grins, takes him. + +Andy pulls out the Potato Heads. + + ANDY + The Potato Heads -- Mister and + Missus. You gotta keep ‘em together + ‘cause they’re madly in love. + +Bonnie nods, takes them. Andy pulls out Slinky and Hamm. + + ANDY + Now Slinky here is as loyal as any + dog you could want. But Hamm? He’ll + keep your money safe... + +He drops a quarter into Hamm’s slot. + + ANDY + ...but he’s also one of the most + dastardly villains of all time... + (Hamm voice) + “...Evil Dr. Pork Chop!” + +Bonnie smiles, takes them. He pulls out the three Aliens. + + ANDY + These little dudes are from a + strange, alien world -- Pizza + Planet! + 139. + + +She smiles. He hands them to her, then pulls out Buzz. + + ANDY + And this is Buzz Lightyear -- the + coolest toy ever. Look, he can + fly... + (deploys wings) + ...And shoot lasers... + (fires laser) + He’s sworn to protect the galaxy + from the evil Emperor Zurg! + +Andy hands over Buzz. Bonnie presses a button on him. + + BUZZ + “To Infinity... And Beyond!!!” + +Bonnie looks up, happily surrounded by Andy’s toys. + + ANDY + Now, you gotta promise to take good + care of these guys. They mean a lot + to me. + +Bonnie nods. She glances in the box. Her eyes go wide. + + BONNIE + My cowboy! + +Andy looks down, sees Woody lying in the box. + + ANDY + Woody...? What’s he doing in there? + +He lifts Woody out. Bonnie points. + + BONNIE + “There’s a snake in my boot!” + +Andy -- amazed -- pulls Woody’s pull-string. + + WOODY + (voice-box) + “There’s a snake in my boot!” + +Bonnie giggles and reaches for him, but Andy instinctively +pulls Woody away. Bonnie looks at Andy, confused. + +Andy looks down at Woody, makes a decision. + +He holds Woody out -- gentle and serious. + 140. + + + ANDY + Now, Woody -- he’s been my pal as + long as I can remember. He’s brave, + like a cowboy should be. And kind, + and smart. But the thing that makes + Woody special? Is he’ll never give + up on you -- ever. He’ll be there + for you, no matter what. Y’think + you can take care of him for me? + (she nods) + Okay, then. + + He hands Woody to Bonnie. She hugs him. + + Andy suddenly grabs Hamm. + + ANDY + Oh, no! Dr. Pork Chop’s attacking + the haunted bakery! Pchoo! Pchoo! + + Without missing a beat, Bonnie joins in the play. + + BONNIE + Oh, no! The ghosts are getting + away! Woody’ll stop ‘em!! + + She swoops Woody in the air. Andy grabs Slinky and gives + chase. They EXIT FRAME, laughing. + + ANDY + Pchoo! Pchoo! Pchoo! + + +132 EXT. BONNIE’S HOUSE - LATE AFTERNOON - MONTAGE 132 + + Bonnie and Andy play together with all their Toys. + + +133 EXT. BONNIE’S HOUSE - DUSK 133 + + Andy walks to his car, turns. Bonnie stands on the porch, + the Toys scattered at her feet. She clutches Woody. + + Bonnie makes Woody’s arm wave at Andy. Andy smiles. + + He gets in his car. He takes one last look at all his Toys + on Bonnie’s porch, and Woody in Bonnie’s arms... + + ANDY + Thanks, guys. + + ...And pulls away. + 141. + + + BONNIE + Look, Mommy! They’re all playing + together! + +Bonnie puts Woody down and runs to her mother’s arms. + + BONNIE’S MOM (O.C.) + C’mon -- let’s get some lunch. + +She scoops up Bonnie, swings her around. Mother and +daughter laugh as they step into the house. + +On the porch, the Toys come to life, sit up. + +Woody watches Andy drive away. + + WOODY + So long, partner. + +Buzz puts an arm around Woody. + +They watch Andy drive off. + +The other Toys gather around, and we... + +CRANE UP TO + +...Blue sky, and fluffy clouds. + +THE END + \ No newline at end of file diff --git a/scripts/Toy Story.txt b/scripts/Toy Story.txt new file mode 100644 index 0000000000000000000000000000000000000000..afcb721aa513c9d159766ac3ed9737609bcce7da --- /dev/null +++ b/scripts/Toy Story.txt @@ -0,0 +1,6765 @@ + 1. + + + + FADE IN: + + +1 INT. ANDY'S BEDROOM 1 + + A row of moving boxes lie on the floor of the room. + + They are drawn up in crayon to look like a miniature + Western town. The bedroom is lined with cloud wallpaper + giving the impression of sky. + + One of the boxes has a children's illustrated "WANTED" + poster of a Mr. Potato Head taped to it. + + A MR. POTATO HEAD DOLL is set in front of the poster. + + The VOICE OVER of ANDY, a 6-year-old boy, can be heard + acting out all the voices of the scene. + + ANDY (AS POTATO HEAD) + Alright everyone, this is a stick- + up! Don't anybody move! Now empty + that safe! + + A GROUP OF TOYS have been crowded together in front of the + “BANK" box. + + Andy's hand lowers A CERAMIC PIGGY BANK in front of Mr. + Potato Head and shakes out a pile of coins to the floor. + + Mr. Potato Head kisses the coins. + + ANDY (AS POTATO HEAD) + Ooh! Money. Money. Money. + (kissing noises) + + A porcelain figurine of the shepherdess, BO PEEP, is + brought into the scene. + + ANDY (AS BO PEEP) + Stop it! Stop it, you mean old + potato! + + ANDY (AS POTATO HEAD) + Quiet Bo Peep, or your sheep get + run over! + + The companion porcelain sheep are placed in the center of a + Hot Wheels track loop, + + ANDY (AS SHEEP) + 2. + + + Heeeeelp! BAAAAA! Heeeelp us! + + ANDY (AS BO PEEP) + Oh, no! Not my sheep! Somebody do + something! + +WOODY, a pull-string rag doll cowboy, enters into the scene +opposite the inanimate spud. + +Andy's hand pulls on the ring in the center of Woody's +back. + + WOODY (VOICE BOX) + Reach for the sky. + + ANDY (AS POTATO HEAD) + Oh, no! Sheriff Woody!! + + ANDY (AS WOODY) + I'm here to stop you, One-Eyed + Bart. + +Andy's hand pulls out one of Mr. Potato Head's eyes. + + ANDY (AS POTATO HEAD) + Doooooh! How'd you know it was me! + + ANDY (AS WOODY) + Are you gonna come quietly? + + ANDY (AS POTATO HEAD) + You can't touch me Sheriff! I + brought my attack dog with a built- + in force field! + +Andy places a TOY DOG, with a SLINKY for a mid-section, in +front of Mr. Potato Head and stretches him out. + + ANDY (AS WOODY) + Well I brought my DINOSAUR, who + eats force field dogs!! + +Andy reveals a PLASTIC TYRANNOSAURUS REX, who stomps on the +Slinky Dog. + + ANDY (AS DINOSAUR) + AAAAR! ROAR-ROAR-ROAR! + + ANDY (AS SLINKY DOG) + YIPE! YIPE-YIPE-YIPE! + + ANDY (AS WOODY) + You're goin' to jail, Bart. + 3. + + + Andy picks up Mr. Potato Head and places him in a baby crib + in the room. + + A cardboard sign is taped to the bars with the word "JAIL" + written in crayon, + + ANDY (AS WOODY) + Say good-bye to the wife and + tatertots. + + Andy's 1-year-old sister, MOLLY, crawls over and picks up + Mr, Potato Head, She sucks on him for a beat then proceeds + to pound the toy repeatedly against the rail of her crib, + forcing some of his parts loose. + + Andy, wearing a cowboy hat himself, picks up Woody off the + floor. + + ANDY + (pulling Woody's string) + You saved the day again, Woody, + + WOODY (VOICE BOX) + You're my favorite deputy. + + BEGIN TITLES + + SONG "YOU'VE GOT A FRIEND IN ME" plays while Andy + doesnvarious activities with Woody: + + -- Andy turns the western town boxes around to reveal cows + drawn on the other side. He grabs a jump rope and pretends + Woody is lassoing the cattle. + + ANDY + C'mon, let's wrangle up the cattle. + + ~~ Andy then rides Woody around on an RC (remote control) + car, and herds the remaining "cow" boxes under Molly's + crib. + + +2 INT. STAIRWELL 2 + + Andy places Woody on the top of the stairwell + + banister allowing the doll to slide downstairs. Andy races + ahead and catches him at the bottom. + + +3 INT. DOWNSTAIRS LIVING ROOM 3 + 4. + + +— Andy St. Woody fall into the La-Z-Boy chair and spin +around and around. + +Next, Andy uses the La-Z-boy foot rest as a catapult. + +Andy flings Woody across the room to the sofa. + + ANDY + (raising his arms) + Score! + +SONG ENDS + +Woody lies limp on the sofa while Andy is heard talking to +his mother. + + ANDY (O.S.) + Wow! Cool! + + MRS. DAVIS (O.S.) + Whadda ya think? + + ANDY (O.S.) + Oh, this looks GREAT, Mom! + +ANGLE: THE ADJOINING DINING ROOM + +MRS. DAVIS, Andy's thirty eight-year-old mom, has just +finished decorating the area with streamers and balloons, A +banner is draped across the archway. It reads: "Happy +Birthday Andy". + +Woody's frozen face stares in the direction of the birthday +decorations. + + ANDY + Can we leave this up 'til we move? + + MRS. DAVIS + Well, sure, we can leave it up. + + ANDY + Yeah! + + MRS. DAVIS + Now go get Molly. Your friends are + going to be here any minute. + + ANDY + Okay. + +Andy picks up Woody from the couch and runs upstairs. + 5. + + + ANDY + It's partytime, Woody! + + +4 INT. ANDY'S BEDROOM - CONTINUOUS 4 + + Andy and Woody enter the room. Molly is still banging + Potato Head against her crib railing. Andy tips Woody's hat + at her. + + ANDY + Howdy, Little Lady! + + He deposits Woody on the bed and pulls his string one last + time. + + WOODY (VOICE BOX) + Somebody's poisoned the waterhole. + + ANDY + (picking up Molly) + C'mon, Molly. Oh, you're getting + heavy! + (to Woody) + See ya later, Woody. + + Andy exits. + + END TITLES + + Woody's eyes come to life. The cowboy doll sits up, his + expression changing from a smile to worry. + + WOODY + (to himself) + Pull my string! The birthday + party's today?! + + Woody thinks. + + WOODY + (to the room) + Okay, everybody. Coast is clear. + + The bedroom comes alive. TOYS emerge from the toy box, the + closet, the shelves, etc... in a flurry of activity. + + POTATO HEAD, his body parts strewn across the floor, sits + himself upright and begins to re-assemble himself. + + POTATO HEAD + 6. + + + Ages three and up. It's on my box. + Ages three and up! I'm not supposed + to be babysitting Princess Drool. + +HAMM, the piggy bank, flips one last penny into his coin +slot. Potato Head walks up to him. All his facial pieces +are in the wrong slots. + + POTATO HEAD + Hey, Hamm! Look! I'm Picasso! + + HAMM + I don't get it, + +Hamm walks away. + + POTATO HEAD + You uncultured swine! + (to someone O.S.) + What are you looking at, ya hockey + puck?! + +Potato Head walks past, revealing a hockey puck figurine. + +Woody sits on the edge of the bed observing all the +activity. He turns to a plastic green army man, SARGENT, +standing on the night stand. + + WOODY + Uh, hey Sarge, have you seen + Slinky? + + SARGENT + (saluting) + Sir! No Sir! + + WOODY + Okay, thank you. At ease. + +Woody hops off the bed. + + WOODY + Hey, Slinky? + + SLINKY (O.S.) + Right here. Woody! + +A toy Slinky dog, SLINKY, appears from under the bed +pushing out a checker board set. He begins to place the +checkers on the board. + + SLINKY + I'm red this time. + 7. + + + WOODY + No, Slink - + + SLINKY + Oh... well alright, you can be red + if you want. + + WOODY + Not now, Slink. I've got some bad + news. + + SLINKY + Bad news?! + + WOODY + Sh-h-h-h-h!! + +Woody covers up Slinky's mouth, aware that the other toys +in the room are watching. He leans in close to Slinky. + + WOODY + (whispering) + Just gather everyone up for a staff + meeting and be happy!! + + SLINKY + Got it. + +Slinky shuffles off. + + WOODY + Be HAPPY! + +Slinky perks up his gait and LAUGHS HARD. + +Woody proceeds in the other direction. He passes a toy +ROBOT and SNAKE partially hidden under the bedspread. + + WOODY + (to the room) + Staff meeting, everybody. + (aside) + Snake, Robot -- podium duty. + +Robot and Snake come out from under the bed and reluctantly +follow Woody. + +Woody walks past an Etch-A-Sketch, ETCH, going the other +direction. + + WOODY + Hey Etch'! Draw! + 8. + + +Both Etch and Woody whip around like gunfighters. + +Before Woody can fully extend his arm out, the Etch-A- +Sketch etches a gun on its screen. + + WOODY + (pretending to be shot) + Oh!! You got me again, Etch'! + You've been working on that draw. + Fastest knobs in the west. + +Slinky passes a group of toys on the floor. + + SLINKY + Got a staff meeting, you guys, come + on, let's go! + +Robot and Snake begin constructing a podium made out of +Legos and a Tinker Toy tub while Woody searches the floor, + + WOODY + Now where is that -- ? Aw, hey, who + moved my doodle pad way over here? + +Woody spots the doodle pad on the floor by the desk and +walks over to it. As he reaches down to pick it up... + +REX, the plastic dinosaur, jumps out to scare Woody. + + REX + ROOAAAARR!!! + + WOODY + (unaffected) + Oh, how ya doin', Rex? + +Rex suddenly turns timid. + + REX + Were you scared? Tell me honestly. + + WOODY + I was close to being scared that + time. + +Woody heads back to the podium. Rex follows. + + REX + I'm going for fearsome here, but I + just don't feel it. I think I'm + just coming off as annoying. + 9. + + +A crook suddenly grabs Woody's neck and jerks him towards +BO PEEP, the porcelain figurine. + + WOODY + (choking) + Aach! -- Oh, hi, Bo. + + BO PEEP + I wanted to thank you, Woody, for + saving my flock. + + WOODY + (blushing) + Oh, hey - it was nothing. + + BO PEEP + Whadda ya say I get someone else to + watch the sheep tonight? + + WOODY + (very flustered) + Heh, heh... oh yeah, uh, I... + +Bo saunters back towards her lamp stand, passing a stack of +ABC blocks. + + BO PEEP + Remember, I'm just a couple of + blocks away. + +Woody is left lovestruck. + +All the rest of the toys in the room are filing past +Slinky. + + SLINKY + Come on, come on! Smaller toys up + front. + +Woody remains lovestruck in the middle of the room. + + SLINKY + Hey, Woody! C'mon! + +Woody snaps out of his trance and rushes over to the +podium. + +The toys crowd together as Woody steps up to the podium. + +MIKE, a toy tape recorder, waddles up next to Woody and +indicates his microphone. + + MIKE + 10. + + + Ahem! + + WOODY + (grabbing microphone) + Oh, thanks, Mike, + (to the crowd) + Okay -~ + +SFX: FEEDBACK + + WOODY + (to Mike) + Oh, whoa, step back -- + +Mike waddles back a step to stop the feedback. + + WOODY + Hello? Check? Better? Great. + Everybody hear me? Up on the shelf, + can you hear me? Great! Okay, first + item today...oh, yeah. Has everyone + picked a moving buddy? + +The toys all MOAN. + + HAMM + Moving buddy?! You can't be + serious! + + REX + Well I didn't know we were supposed + to have one already. + + MR. POTATO HEAD + (waving his arm out its + socket) + Do we have to hold hands? + +The toys LAUGH and SNICKER. + + WOODY + Oh, yeah, you guys think this is a + big joke. We've only got one week + left before the move. I don't want + any toys left behind. A moving + buddy -- if you don't have one, get + one! + (checking the pad) + 11. + + + Alright, next...uh,..oh, yes. + Tuesday night's "Plastic Corrosion + Awareness" meeting was, I think, a + big success and we want to thank + Mr. Spell for putting that on for + us. Thank you, Mr. Spell. + +The words "You're welcome" scroll across Mr. Spells display +screen as he speaks. + + MR. SPELL + You're welcome. + + WOODY + Ok, uh,..oh yes. One minor note + here.., + (under his breath) + Andy's birthday party's been moved + to today, + (full voice) + Next we have -- + +The toys all PANIC. + + REX + What?! Whadda ya mean, the party's + today?! His birthday's not ‘til + next week!! + + HAMM + What's going on down there? Is Mom + losing her marbles?! Well, + obviously she wanted to have the + party before the move. I'm not + worried. You shouldn't be worried. + + MR. POTATO HEAD + Of course Woody ain't worried! He's + been Andy's favorite since + Kindergarten! + + SLINKY + Hey, hey! Come on. Potato Head! If + Woody says it's all right, then, + well, darnit, it’s good enough for + me. Woody has never steered us + wrong before. + +While Slinky speaks, Potato Head takes off his mouth and +mimes kissing his own butt. + + WOODY + 12. + + + C'mon, guys! Every Christinas and + birthday we go through this. + + REX + But what if Andy gets another + dinosaur? A mean one? I just don't + think I can take that kind of + rejection- + + WOODY + Hey, listen, no one's getting + replaced. This is Andy we're + talking about. + +Woody steps down from the podium and walks towards the +crowd. + + WOODY + It doesn't matter how much we're + played with. What matters is that + we’re here for Andy when he needs + us. That’s what we're made for. + Right? + +Everyone is now looking down, sheepish. + + HAMM + Pardon me. I hate to break up the + staff meeting, but, THEY'RE HERE! + Birthday guests at three o’clock! + + WOODY + Stay calm, everyone!! + +Too late. The toys PANIC and stampede over Woody towards +the bedroom window, leaving him alone on the floor. + + WOODY + Uh, meeting adjourned. + +The toys all crowd around the bedroom window, trying to get +a peek outside. + + HAMM + Oh, boy. Will ya take a look at all + those presents?! + + MR. POTATO HEAD + I can't see a thing! + +Unable to see over the crowd, Potato Head pulls his eyes +out of his head and holds them up over the other toys. + 13. + + +CHILDREN file towards the front door carrying presents, + + HAMM + Yessir, we're next month's garage + sale fodder for sure, + + REX + (panicked) + Any dinosaur-shaped ones? + + HAMM + Ah, for crying out loud, they're + all in boxes, you idiot! + +The presents keep coming. + + REX + They're getting bigger. + + SLINKY + Wait! There's a nice little one + over there! + +At first, the kid's present appears to be a little box, but +then the kid turns the present is four feet long. + +The toys SCREAM. + + MR. SPELL + Spell the word 'trashcan.' + + REX + We’re doomed! + +Down on the floor, Woody smacks his hand to his forehead in +surrender. + + WOODY + Alright! Alright! + +The toys turn inside and look down at Woody. + + WOODY + If I send out the troops, will you + all calm down? + + REX + Yes! Yes! We promise! + + WOODY + Okay, save your batteries! + 14. + + + HAMM + Eh, very good, Woody, That's using + the old noodle. + + Woody jumps up onto Andy's bed and turns to the Sargent on + the nightstand. + + WOODY + Sargent. Establish a recon post + downstairs. Code red. You know what + to do. + + SARGENT + Yes SIR! + + The green army man hops down to the floor where a "BUCKET + 0' SOLDIERS" sits. + + SARGENT + Alright men, you heard him. Code + Red! Repeat: We are at Code Red! + Recon plan Charlie. Execute! Let's + move move move!! + + THE GREEN ARMY MEN file out of the bucket and march in + formation across the bedroom floor. + + +5 INT. UPSTAIRS HALLWAY 5 + + Andy's door creaks open and a lone army man ventures forth + to make sure the coast is clear. Satisfied, he motions for + the others to proceed. Squads of soldiers march into the + hall carrying a baby monitor and a jump rope. + + The army men each leapfrog behind the stairway banisters + and hold their positions while the Sargent surveys the + scene below through his binoculars. + + ANGLE: SARGENT'S BINOCULAR VIEW OF DOWNSTAIRS + + Directly below, Mrs. Davis passes through the hallway + rounding up Andy and all his birthday guests. + + MRS, DAVIS + Okay, c'mon kids! Everyone in the + living room. It's almost time for + the presents. + + Once Mrs. Davis and the children are out of sight, the + Sargent motions to his men with a silent hand signal. + 15. + + + TWO PARATROOPERS jump out through the railing, parachuting + down to the floor below. + + +6 INT. DOWNSTAIRS HALLWAY - CONTINUOUS 6 + + The paratroopers sweep the area with their plastic rifles, + then give the "all clear" sign. + + The jump rope is lowered, and more soldiers rappel down. + + +7 INT, ANDY'S BEDROOM 7 + + The toys race towards the nightstand where Woody has placed + the receiving half of the baby monitor. + + WOODY + And this -- + (turning on the baby + monitor) + -- is how we find out what is in + those presents. + + +8 INT. DOWNSTAIRS HALLWAY 8 + + The green army men march in formation across the floor when + suddenly... + + SFX: FOOTSTEPS + + Can be heard approaching from behind the connecting kitchen + door. Immediately the Sargent signals for his men to freeze + in their various classic action poses. + + MRS. DAVIS (O.S.) + Okay, who's hungry? Here come the + chips. I've got Cool Ranch and + Barbeque -- + + The door opens and Mrs. Davis' foot comes down hard on top + of a soldier. + + MRS. DAVIS + Owww! What in the world -- ? Oh, I + thought I told him to pick these + up. + + With a sweep of her foot, she brushes the army men out of + her path and continues on to the living room. + + REX + 16. + + + Shouldn't they be there by now? + What's taking them so long?! + + WOODY + Hey, these guys are professionals. + They're they best, C'mon, they're + not lying down on the job. + + +9 INT. DOWNSTAIRS HALLWAY 9 + + As soon as Mom is gone, the Sargent motions for his men to + proceed toward a nearby houseplant that looks into the + living room. + + The Sargent then notices an injured soldier struggling to + drag himself forward -- a casualty of Mrs. Davis' foot. The + Sargent helps the injured soldier to his feet. + + WOUNDED SOLDIER + (MOANS) + Go on without me. Just go! + + SARGENT + A good soldier never leaves a man + behind. + + The Sargent motions to the remaining men above. They lower + themselves via jump rope, riding the baby monitor. + + Once downstairs, they hustle the baby monitor towards the + houseplant. Suddenly... + + A BALL + + bounces into the hallway, followed by the sound of + footsteps and kid clamor. + + The Sargent, supporting his wounded man, reaches the plant, + right on the heels of the squad with the baby monitor. They + conceal themselves in the house plant just before the + children run by. + + +10 INT. DOWNSTAIRS - HOUSE PLANT - CONTINUOUS 10 + + While the baby monitor is set in place, A MEDIC evaluates + the wounded soldier and gives the "thumb's up" signal. + + The Sargent scans the party with his binoculars, + + ANGLE: BINOCULAR VIEW OF BIRTHDAY PRESENTS + 17. + + + The pile of brightly wrapped gifts sits atop the living + room coffee table. + + SARGENT (O.S.) + There they are. + + +11 INT. ANDY'S ROOM 11 + + The toys perk up as STATIC suddenly emits from the baby + monitor. + + SARGENT (O.S.; OVER MONITOR) + Come in, Mother Bird, this is Alpha + Bravo. + + WOODY + This is it! This is it! Quiet, + quiet, quiet! + + SARGENT (O.S.; OVER MONITOR) + Come in, Mother Bird. Alright. + Andy's opening the first present + now. + + MR. POTATO HEAD + (chanting) + Mrs. Potato Head...Mrs. Potato + Head...Mrs. Potato Head... + (off Rex's look) + Hey, I can dream, can't I? + + SARGENT (O.S.; OVER MONITOR) + The bow's coming off... he's + ripping the wrapping paper... it's + a... it's... it's a lunchbox! We've + got a lunchbox, here! + + WOODY + A lunchbox?! + + MR. POTATO HEAD + A lunchbox...?! + + SLINKY + For lunch. Heh heh heh... + + SARGENT (O.S.; OVER MONITOR) + Ok, second present... it appears to + be... okay, it's bed sheets. + + MR. POTATO HEAD + Who invited THAT kid?! + 18. + + +12 INT. LIVING ROOM 12 + + ANGLE: BINOCULAR VIEW OF PRESENTS + + MATCH DISSOLVE TO: + + ANGLE: BINOCULAR VIEW OF A SINGULAR PRESENT + + MRS. DAVIS + Oh, only one left. + + +13 INT. ANDY'S BEDROOM 13 + + SARGENT (O.S.; OVER MONITOR) + Okay, we're on the last present + now... + + WOODY + Last present! + + SARGENT (O.S.; OVER MONITOR) + It's a big one... It's a... it's a + boardgame! Repeat! Battleship — + Battleship, the boardgame! + + The toys CHEER WITH RELIEF. + + HAMM + Yeah, alright!! + + Hamm gives Potato Head a congratulatory pat on the back, + sending his facial features flying. + + MR. POTATO HEAD + Hey, watch it! + + HAMM + Sorry there, old Spudhead. + + +14 INT. DOWNSTAIRS - HOUSE PLANT 14 + + SARGENT + (to army men) + Mission accomplished. Well done, + men. Pack it up, we're going home. + + WOODY + So did I tell ya? Huh? Nothing to + worry about. + 19. + + + SLINKY + I knew you were right all along, + Woody. Never doubted you for a + second„ + + +15 INT. DOWNSTAIRS - HOUSE PLANT 15 + + The platoon is preparing to exit the plant when... + + MRS. DAVIS (O.S.) + Wait a minute. Oooh, what do we + have here?! + + The Sargent lifts his binoculars back to his eyes. + + ANGLE: BINOCULAR VIEW OF LIVING ROOM + + Mrs. Davis can be seen opening the closet and pulling out + another large present. + + SARGENT + (indicating the baby + monitor) + Wait turn that thing back on! + + +16 INT. ANDY'S BEDROOM - CONTINUOUS 16 + + SARGENT (O.S.; OVER MONITOR) + Come in, Mother Bird, come in. + Mother Bird. + + All the toys tense up. + + SARGENT (O.S.; OVER MONITOR) + Mom has pulled a surprise present + from the closet. Andy's opening it. + + +17 INT. DOWNSTAIRS - HOUSE PLANT - CONTINUOUS 17 + + SARGENT + He's really excited about this one. + It's a huge package. Oh -- get out + -- one of the kids is in the way, I + can't see... + + SARGENT (O.S.; FROM MONITOR) + ... it's... it's a -- + + The sound of children CHEERING emits from the monitor, + cutting off the Sargent. + 20. + + + REX + It's a WHAT?! WHAT IS IT?!!! + + Rex grabs a leg of the nightstand and shakes it, making the + monitor drop to the floor. The impact causes the batteries + to roll out. + + REX + Oh, no! + + MR. POTATO HEAD + Oh, ya big lizard! Now we'll never + know what it is! + + HAMM + (sarcastic) + Way to go, Rex. + + Everyone rushes to the fallen monitor. Potato Head tries to + correctly insert the batteries. + + WOODY + No, no! Turn 'em around, turn'em + around! + + HAMM + Eh, he's puttin' 'em in backwards. + (shoving Potato Head + aside) + You're puttin' 'em in backwards! + + WOODY + Plus is positive, minus is + negative! Oh, let me! + + Woody jumps down off the bed and shoves both Hamm and + Potato Head aside. + + +18 INT. LIVING ROOM 18 + + ANDY + Let's go to my room, guys! + + The kids rush past the houseplant. + + SARGENT + (into the monitor) + RED ALERT! RED ALERT! ANDY IS + COMING UPSTAIRS! + + +19 INT - ANDY'S ROOM - CONTINUOUS 19 + 21. + + +Woody puts the last battery back in, + + WOODY + There. + + SARGENT (O.S.; OVER MONITOR) + Juvenile intrusion! Repeat! Resume + your positions NOW! + + WOODY + Andy's coming, everybody! Back to + your places. Hurry! + +The toys PANIC and scatter about the room. + + MR. POTATO HEAD + Where's my ear? Who's seen my ear? + Did you see my ear? + + REX + Outta my way! Here I come, here I + come -- + +Frantic, Rex slams into a trashcan and falls over. + +Everyone scurries to their places as the KID'S FOOTSTEPS +grow louder. + +Woody falls limp in his spot on the bed just as... + +Andy's bedroom door flies open and a flood of children's +feet rush in. + + FRIEND #1 + Hey, look! His lasers light up, + + ANDY + Take that, Zurg! + +Woody is flung off Andy's pillow and slides, unnoticed, +down the gap between the bed and the back wall. + + FRIEND #2 + Quick! Make a space! This is where + the spaceship lands. + + ANDY + -- and you press his back and he + does a karate-chop action! + + MRS. DAVIS (O.S.) + Come on down, guys. It's time for + games! We've got prizes! + 22. + + + ANDY + Oh, yeah! + +The kids all run out as fast as they entered, SLAMMING THE +DOOR behind them. + +BEAT + +The toys slowly come to life and make their way toward the +bed. + + MR. POTATO HEAD + What is it? + + BO PEEP + Can you see it? + + SLINKY + What the heck is up there? + + REX + Woody? Who's up there with you? + +Woody crawls out from under the bed. The toys are shocked +to discover him there. + + SLINKY + Woody, what are you doing under the + bed? + + WOODY + (composing himself) + Uh-h-h-h... nothing! Uh, nothing. + I'm sure Andy was just a little + excited, that's all. Too much cake + and ice cream, I suppose. It's just + a mistake. + + MR. POTATO HEAD + Well, that MISTAKE is sitting in + your spot, Woody. + + HEX + (GASP!) + Have you been replaced? + + WOODY + Hey! What did I tell you earlier? + No one is getting replaced. + +The toys give each other a look of doubt. + + WOODY + 23. + + + Now let's all be polite, and give + whatever it is up there a nice, big + "Andy's Room" welcome. + +Woody climbs slowly up the side of the bed, peeking over +the edge. His eyes widen at the sight of... + +BUZZ LIGHTYEAR + +We see Buzz as Woody does - an expensive looking space age +action figure, covered with buttons and stickers from head +to toe. The imposing 'G.I. Joe-sized' doll stands +heroically in the center of the bed, his back to Woody. + +Woody GULPS. + +Buzz comes alive and looks around. + +ANGLE: BUZZ'S POV THROUGH HIS HELMET + +While he scans the bedroom a "DARTH VADER" LIKE BREATHING +is heard. + +Buzz eyes it all suspiciously and pushes a button on chest. + +SFX: ELECTRONIC BEEP + + BUZZ + Buzz Lightyear to Star Command. + Come in, Star Command. + +Nothing. He pushes the button again. + + BUZZ + Star Command - come in. Do you read + me? + (to himself) + Why don't they answer?!! + +Just then, Buzz catches sight of his ripped packaging. + +The box is designed to look like a spaceship. + + BUZZ + (GASP) + My ship! + +He runs up to the box and investigates the damage. + + BUZZ + Blast! This'll take weeks to + repair! + 24. + + +Buzz flips open a plastic compartment on his arm -- his +wrist communicator. + + BUZZ + Buzz Lightyear Mission Log, + Stardate 4072: My ship has run off + course en route to sector 12. I've + crash landed on a strange planet. + The impact must have awoken me from + hyper-sleep. + +Buzz springs up and down on the squishy surface of the bed. + + BUZZ + (into communicator) + Terrain seems a bit unstable... + +He taps the sticker of controls on his wrist communicator. + + BUZZ + (into communicator) + No read-out yet if the air is + breathable... and there seems to be + no sign of intelligent life + anywhere -- + +ANGLE: BUZZ'S POV THROUGH HIS HELMET + +Woody's face suddenly pops into view. + + WOODY + Hello-o-o... + + BUZZ + HO-YAAAHH!!! + +Buzz jumps back, taking a fighting stance. He presses a +button on his arm that turns on a red "laser beam" light on +his wrist. Buzz aims the red beam on Woody's forehead and +holds it there. + + WOODY + Aaaaaaah! Whoa, hey, whoa, did I + frighten you? Didn't mean to! + Sorry, Howdy! My name is Woody and + this is Andy's room. That's all I + wanted to say, and also, there has + been a bit of a mix-up, This is my + spot, see, the bed here -- + +While Woody is speaking, Buzz notices the sheriff's badge +on Woody's vest, + 25. + + + BUZZ + (de-activating his laser + beam) + Local law enforcement! It's about + time you got here, I'm Buzz + Lightyear, Space Ranger, Universe + Protection Unit. My ship has crash + landed here by mistake. + +Buzz begins walking around the bed, surveying the +situation. Woody tries to keep up. + + WOODY + Yes, it is a mistake, because, you + see, the bed, here, is my spot. + + BUZZ + I need to repair my turbo boosters. + Do you people still use fossil + fuels, or have you discovered + crystalic fusion? + + WOODY + Well, let's see, we've got double + A's -- + + BUZZ + Watch yourself!! + +Buzz shoves Woody down on the bed and re-activates his +wrist laser. + + BUZZ + Halt! Who goes there?! + +The other toys are peeking over the edge of the bed. + + REX + Don't shoot! It's okay! Friends! + + BUZZ + (to Woody) + Do you know these life forms? + + WOODY + Yes. They're Andy's toys. + + BUZZ + Alright, everyone. You're clear to + come up. + +Buzz walks over to the toys, + 26. + + + BUZZ + I am Buzz Lightyear. I come in + peace. + +Rex steps forward and eagerly shakes Buzz's hand. + + REX + Oh, I'm so glad you're not a + dinosaur! + + BUZZ + Why, thank you... + (pullsaway) + Now thank you all for your kind + welcome. + + REX + Say! What's that button do? + + BUZZ + I'll show you. + +Buzz presses a button on his chest. + + BUZZ (SAMPLED VOICE) + Buzz Lightyear to the rescue! + +The toys all GASP IN AWE. + + SLINKY + Hey, Woody's got something like + that. His is a pullstring, only it + + POTATO HEAD + Only it sounds like a car ran over + it. + + HAMM + Oh yeah, but not like this one. + This is a quality sound system. + Probably all copper wiring, huh? + So, uh, where are you from? + Singapore? Hong Kong? + + BUZZ + Well... no, actually I'm stationed + up in the Gamma Quadrant of Sector + 4. As a member of the elite + Universe Protection Unit of the + Space Ranger Corps, I protect the + galaxy from the threat of invasion + from the Evil Emperor Zurg, sworn + enemy of the Galactic Alliance. + 27. + + +As Buzz speaks, Woody glances down at the box in which Buzz +arrived. + +ANGLE: BACK OF BUZZ'S BOX + +There is a cartoon drawing of Buzz giving the exact, word- +for-word spiel that Buzz is now giving. + + POTATO HEAD + Oh, really? I'm from Playskool. + + REX + And I'm from Mattel. Well, I'm not + really from Mattel, I'm actually + from a smaller company that was + purchased in a leveraged buy-out. + Well, I don't really understand the + financials, but... + +Woody walks over to Bo Peep. + + WOODY + You'd think they've never seen a + new toy before. + + BO PEEP + Well sure, look at him. He's got + more gadgets on him then a swiss + army knife. + +Slinky presses the button on Buzz's arm, activating his +laser light. Buzz quickly pulls his arm away. + + BUZZ + Ah, ah, ah, please be careful! You + don't want to be in the way when my + laser goes off. + + MR. POTATO HEAD + Hey, a laser! How come you don't + have a laser, Woody? + + WOODY + It's not a laser! It's a little + lightbulb that blinks! + + HAMM + What's with him? + + MR. POTATO HEAD + Laser-envy. + + WOODY + 28. + + + All right, that's enough. Look, we + 're all very impressed with Andy's + new toy -- + + BUZZ + Toy? + + WOODY + T-o-Y. Toy. + + BUZZ + Excuse me, I think the word you're + searching for is Space Ranger. + + WOODY + The word I'm searching for I can't + say because there's pre-school toys + present. + + POTATO HEAD + Gettin’ kind of tense, aren't you? + + REX + Oh, uh, Mr. Lightyear? Now I'm + curious. What does a Space Ranger + actually do? + + WOODY + He's not a Space Ranger! He doesn't + fight evil or shoot lasers or fly - + + BUZZ + Excuse me. + +Buzz calmly hits a button and wings pop out. + +Again the toys GASP IN AWE. + + HAMM + Oh, impressive wingspan. Very good! + + WOODY + Oh, what?!...What?! These are + plastic. He can't fly! + + BUZZ + They are a terillium-carbonic alloy + and I CAN fly. + + WOODY + No, you can't. + + BUZZ + 29. + + + Yes, I can. + + WOODY + You can't! + + BUZZ + Can! + + WOODY + Can't! Can't! Can't! + + BUZZ + I tell you, I could fly around this + room with my eyes closed! + + WOODY + Okay then, Mr. Lightbeer! Prove it. + + BUZZ + All right, then, I will. + (to toys) + Stand back everyone! + +The crowd of toys make room for Buzz as he heads towards +the edge of the bed and climbs up the bedpost. He poses +like a high diver, shuts his eyes... + + BUZZ + To infinity and beyond!! + +AND LEAPS OFF THE BED + +Buzz plummets straight down, hits a big rubber ball and +bounces right back up. + +He then lands on a Hotwheels car, which races him down the +track, through the loop, and off a ramp. Buzz soars upward +into a plane mobile hanging from the ceiling. + +Buzz becomes wedged between the plane's wheels. The impact +turns on the PLANE'S MOTOR making it (and Buzz) spin around +and around. + +All the other toys watch from the bed, mesmerized. + +Finally the centrifugal force causes Buzz to separate from +the plane, sailing him across the room toward the bed. + +Buzz makes a perfect landing right in front of Woody and +then opens his eyes. + + BUZZ + Can. + 30. + + + The crowd of toys rush Buzz, CHEERING AND CLAPPING WITH + ADORATION. + + REX + Whoa! Oh, wow! You flew + magnificently! + + BO PEEP + I found my moving buddy! + + BUZZ + Why, thank you. Thank you all. + Thank you. + + WOODY + That wasn't flying! That was + falling with style! + + POTATO HEAD + Man, the dolls must really go for + you! + (aside) + Can you teach me that? + + Woody stands alone at the other end of the bed, fuming. + + Slinky, caught up in the euphoria, approaches Woody. + + SLINKY + Heh, heh, heh! Golly bob howdy -- + + WOODY + Oh, shut up! In a couple of days, + everything will be just the way it + was. They'll see... they'll see. + I'm still Andy's favorite toy. + + MONTAGE + + SONG: STRANGE THINGS plays over montage. + + +20 INT, ANDY'S ROOM - LATER 20 + + A) Andy plays with Woody: jumping up and down on the bed, + running around the room. + + B) Andy sets Woody down on the floor. Next he "lands" Buzz + Lightyear on the floor opposite Woody. Andy shoots Buzz's + laser at Woody and then smacks Woody across the room as if + he'd been blown away by the laser. + 31. + + +C) Andy runs into his closet wearing his cowboy hat and +cowboy pajamas. + + MATCH CUT TO: + +Andy runs out of the closet clad in Buzz Lightyear pajamas +and a homemade spaceman's helmet. + + ANDY + Buzz Lightyear to the rescue. + +D) Woody observes all the cowboy-themed items in the +bedroom transform to space motif: the posters, the drawings +on the wall, the pillow, the bedspread. + +E) Buzz watches Rex execute a WIMPY ROAR. The space ranger +suggests a few tips for the dinosaur. Rex tries again, this +time giving a "JURASSIC PARK" ROAR. + +The roar blasts Potato Head's features right off his face. + +F) Woody passes Etch-A-Sketch, who's sporting a portrait of +Buzz. + +Woody looks across the room to see Buzz combing Troll +Doll's hair, chatting away like a hair dresser. + +Woody angrily shakes Etch, removing Buzz's image. + +G) Rocky, Snake, Troll Doll and Rex are lifting Tinkertoys +as weights. Buzz works out on top of an upside down Robot, +using his feet as a treadmill. + +Potato Head attempts to lift his Tinkertoy barbell but ends +up tumbling backwards, leaving his arms connected to the +barbell. + +H) Woody looks under the bed for Slinky, finding only the +checkerboard. + +Woody peeks around the corner of the bed to see Slinky and +Robot, under Buzz's direction, setting Buzz's "ship" up on +top of ABC blocks for repair. + +In frustration, Woody kicks the checkerboard, sending the +pieces flying. One of the checkers ricochets off the +dresser and boomerangs into Woody's mouth, + +I) On Andy's bed, Buzz pets Slinky whose back end is +stretched over to the other side where Woody sits. + +Slinky's wagging tail whacks Woody in the face repeatedly. + 32. + + + Woody shoves Slinky's rear end off the bed, leaving his + front end no choice but to eventually follow. + + J) At bedtime, Andy loads his toys into the toybox until + just Woody and Buzz are left. He deliberates as to which + toy to keep and which to toss into the toybox. + + +21 INT. ANDY'S ROOM - LATER THAT NIGHT 21 + + Andy is sound asleep, with Buzz tucked under the covers + next to him. + + Woody peeks out at them from the toybox and then sadly + sinks back into the box, closing the lid to... + + BLACK. + + END MONTAGE/SONG ENDS + + The black screen splits horizontally to become... + + +22 INT. ANDY'S BEDROOM - MORNING - WOODY'S POV OF THE BEDROOM 22 + FROM THE TOY BOX + + All is clear -- no sign of Andy. Woody throws open the lid + of the toy box. + + WOODY + Finally! + + He takes a couple DEEP BREATHS of fresh air, then discovers + that his hat is missing. + + WOODY + (looking back into the + toy box}) + (Hey! Who's got my hat?) + + The rubber shark pops up wearing Woody's cowboy hat. + + SHARK + Look, I'm Woody. Howdy, howdy, + howdy! + + WOODY + (sarcastic}) + (Ah~hah! Ah-hah-hah!) + (grabs the hat) + Give me that! + + Woody leaps out of the toy box. + 33. + + + BUZZ (O.S.) + Say there, Lizard and Stretchy Dog. + Let me show you something. It looks + as thoxigh I've been accepted into + your culture. + +Woody looks up to see Buzz chatting with Rex and Slinky. + + BUZZ + Your Chief, Andy, inscribed his + name on me. + +Buzz juts his foot out so that Slinky and Rex can see the +sole of his boot. + +The name "ANDY" is written on it in permanent marker. + + SLINKY & REX + Wow! + + REX + With permanent ink, too! + + BUZZ + Well, I must get back to repairing + my ship. + +Buzz walks away. + +Woody looks at HIS foot -- "Andy" is written on it also but +in a much more childish scrawl, and is largely faded. + + BO PEEP (O.S.) + Don't let it get to you, Woody. + +Hearing Bo, Woody puts his foot back down and quickly +straightens up. + + WOODY + (nonchalant) + Uh, let what? I don't -- Uh, what + do you mean? Who ? + + BO PEEP + I know Andy's excited about Buzz, + but you know, he'll always have a + special place for you. + + MR. POTATO HEAD + (walking past) + Yeah. Like the attic. Heh, heh.,. + + WOODY + 34. + + + Alright! That's it! + +Woody angrily inarches across the room. + +Across the room. Buzz's cardboard ship is still up on the +ABC blocks. Buzz lies down on a skateboard and slides under +the ship like a mechanic. Snake and Robot stand by waiting +for instructions. Buzz's hand reaches out from under the +ship. + + BUZZ + Unidirectional bonding strip. + +Robot txirns towards Snake who stands in readiness by a +tape dispenser. + + ROBOT + Mr. Lightyear wants more tape! + +Snake rips off a piece of tape with his mouth. + +Woody approaches the skateboard, grabs hold of Buzz's foot +and rolls him out from under the ship. + + WOODY + Listen, Lightsnack, you stay away + from Andy. He's mine, and no one is + taking him away from me. + + BUZZ + What are you talking about? + (to Robot) + Where's that bonding strip?! + +Buzz rolls himself back under. Woody rolls him out again. + + WOODY + And another thing. Stop with this + spaceman thing. It's getting on my + nerves. + + BUZZ + Are you saying you want to lodge a + complaint with Star Command? + + WOODY + Oh okay, so you want to do it the + hard way, huh? + +Buzz stands up, face to face with Woody. + + BUZZ + Don't even think about it, cowboy! + 35. + + + WOODY + Oh, yeah, toiigh guy?! + +Woody pushes Buzz in the chest, accidentally activating a +button that makes the spaceman's helmet open. + +Buzz grabs his neck, GASPING FOR AIR. He drops to his knees +and begins to writhe on the ground, holding his breath. + +Woody is unsure how to react. + +Suddenly, Buzz SNIFFS the air. + + BUZZ + The air isn't toxic. + +Buzz rises and points an accusing finger at Woody. + + BUZZ + How dare you open a spaceman's + helmet on an uncharted planet! My + eyeballs could've been sucked from + their sockets! + +Buzz closes his helmet. + + WOODY + You actually think you're THE "Buzz + Lightyear?" Oh, all this time I + thought it was an act! + (to the room) + Hey, guys! Look! It's the REAL Buzz + Lightyear! + + BUZZ + You're mocking me, aren't you? + + WOODY + Oh, no, no, no... + (pointing behind Buzz) + Buzz, look! An alien! + + BUZZ + Where? + +Buzz falls for the trick and turns around. + +Woody keels over with LAUGHTER. + +SFX: DOG BARKING + +Woody stops short. All the toys look to the bedroom window. + 36. + + + SID (O.S.) + Yessss! Ah, ha, ha, ha... + + WOODY + Uh-oh. + +Slinky hides under the bed. + + SLINKY + It's Sid! + + REX + I thought he was at summer camp! + + HAMM + They must have kicked him out early + this year. + +The toys rush over to the window. + + REX + Oh, no! Not Sid! + + SID (O.S.) + ...Incoming! + +From out the window, SID PHILLIPS, a hyperactive ten-year- +old, and his dog, SCUD, can be roughly made out jumping +around in their backyard. + +A tiny figure stands isolated in the center of the yard, +Sid pummels the figure with rocks while Scud strains at his +leash, barking wildly. + + MR. POTATO HEAD + Who is it this time? + + WOODY + I can't tell. Hey, where's Lenny? + + LENNY (O.S.) + Right here, Woody. + +Woody turns to see, LENNY, a pair of wind-up binoculars, +approaching him from the other end of the desk. Woody picks +Lenny up and looks through him to survey the scene, + + REX + Oh, no, I can't bear to watch one + of these again! + +ANGLE: BINOCULAR VIEW OF SID'S BACKYARD + 37. + + +A full size toy soldier is posed in a running stance in the +center of the backyard. A huge M-80 is strapped to the +doll's back with masking tape. + + WOODY + Oh, no... it’s a Combat Carl. + + SID (O.S.) + (plays under the next 5 + lines) + Just stay where you are, Corporal! + Don't move, Carl. You'll blow up. I + know you're tired! I know your leg + is cramping, but you can't move. Do + you hear me? + +Buzz breaks through the crowd. + + BUZZ + What's going on? + + WOODY + Nothing that concerns you spacemen. + Just us TOYS. + + BUZZ + I'd better take a look anyway. + +Buzz grabs Lenny from Woody and looks through him, + + BUZZ + Why is that soldier strapped to an + explosive device? + + WOODY + (redirecting Buzz's view) + That's why. Sid. + +ANGLE: BINOCULAR VIEW OF THE DOG, SCUD + + BUZZ + Sure is a hairy fellah. + + WOODY + No! No, that's Scud, you idiot! + +Again, Woody readjusts Buzz's view. + +ANGLE: BINOCULAR VIEW OF SID + +He is sporting a skull t-shirt and LAUGHING HIDEOUSLY. + + WOODY + 38. + + + THAT is Sid! + + BUZZ + You mean that happy child? + + MR. POTATO HEAD + That ain't no happy child. + + REX + He tortures toys -- just for fun. + + BUZZ + Well, then we've got to do + something! + +Buzz steps up onto the window ledge. The toys GASP IN +SHOCK. + + BO PEEP + What are you doing?!! Get down from + there! + + BUZZ + I'm going to go teach that boy a + lesson. + + WOODY + Yeah, sure. You go ahead. Melt him + with your scary laser. + +Woody presses Buzz's laser button. It emits a WIMPY +ELECTRONIC BEEP. Buzz quickly pulls his arm away. + + BUZZ + Be careful with that, it's + extremely dangerous. + +While Woody and Buzz banter, Lenny witnesses Sid lighting +the fuse of the M80. + + LENNY + He's lighting it! He's lighting it! + + SID (O.S.) + NO-O-O-O-O!!! CA-A-A-A-A-ARL! + + LENNY + Hit the dirt! + +The toys jump away from the window. + +SFX; EXPLOSION + 39. + + + Dirt clods and toy shrapnel rain down along the side of + Andy's house. + + SID (O.S.) + Yes! He's gone! He's history! + + Andy's toys peek over the window sill. + + ANGLE: SID'S YARD + + A large black scorch mark is all that remains where Combat + Carl once stood. Sid jumps up and down victoriously while + Scud resumes his BARKING. + + BUZZ + I could have stopped him. + + WOODY + Buzz, I would love to see you try, + (gesturing to Sid's yard) + 'Course I'd love to see you as a + crater. + + Sid CACKLES and dances around the crater, + + BO PEEP + The sooner we move the better. + + DISSOLVE TO: + + +23 EXT, ANDY'S FRONT YARD - SUNSET 23 + + A "FOR SALE" real estate sign stands in the front yard. + + Another sign reading "SOLD" hangs from the bottom. + + +24 INT. UPSTAIRS HALL/ANDY'S ROOM 24 + + Mom opens the door to Andy's room and steps in. The room is + full of packing boxes, most of them half full. + + Andy is playing with Woody and Buzz. + + ANDY + To infinity and beyond! + + MRS. DAVIS + Oh, all this packing makes me + hungry. What would you say to + dinner at, uh, oh. Pizza Planet? + 40. + + + ANDY + Pizza Planet?! Oh, cool! + +Andy throws the two toys on his desk with Buzz landing +right on top of Woody. + + MRS. DAVIS + Go wash your hands and I Ml get + Molly ready. + +The minute the door is closed Woody comes alive and shoves +Buzz off of him. + + ANDY (O.S.) + Can I bring some toys? + + MRS, DAVIS (O.S.) + You can bring ONE toy... + + ANDY (O.S.) + Just one? + +Woody perks up with concern, + + WOODY + (TO HIMSELF) + One toy? + +He glances over his shoulder at Buzz, who is walking away +towards the opposite end of the desk. + +Woody picks up a Magic 8 Ball left beside him on the desk. +With his back to Buzz, Woody quietly shakes the 8 ball. + + WOODY + (whispering) + Will Andy pick me? + +He tips the 8 ball over. The triangular oracle floats up to +the surface. Its prediction reads: DON'T COUNT ON IT. + + WOODY + Don't count on it?!! Doh-h-h-h! + +Woody throws down the 8 ball in disgust. It rolls across +the desk and falls behind it with a LOUD THUD. + +Woody suddenly becomes interested in the back of the desk +and peers down it. + +ANGLE: BACK OF THE DESK + 41. + + +The 8 ball is wedged way down near the bottom. The space is +a black chasm, dark and deep, just big enough to fit...a +toy. + +Woody looks across the desk at Buzz + +He is HUMMING TO HIMSELF as he forages through Andy's +pen/pencil tray looking for “tools* to repair his ship +with. Right behind Buzz sits + +THE RC CAR + +It rests on the desktop, pointing in the direction where +the 8 ball fell, with the remote laying by its side. + +Woody smiles for a beat and then runs in a panic over to +Buzz. + + WOODY + Buzz!! Oh, Buzz, Buzz Lightyear!! + Buzz Lightyear, thank goodness! + We've got trouble! + + BUZZ + Trouble?! + (looking around) + Where?! + + WOODY + (pointing to the back of + the desk) + Down there. Just down there. A + helpless toy... it's. . .. it's + trapped, Buzz! + + BUZZ + Then we've no time to lose!! + +Buzz runs over and looks down the back of the desk. + + BUZZ + I don't see anything! + +Woody picks up the remote for the RC Car and switches it +on. RC's eyes (headlights) open sleepily. + + WOODY + Oh, he's there. Just, just keep + looking. + +Woody hits the "FORWARD" button on the remote and steers +the RC Car straight for Buzz. + 42. + + + BUZZ + What kind of a toy -- ? + +Buzz turns to see RC headed straight for him. He dives out +of the way as the RC Car SMASHES into the base of... + +A BULLETIN BOARD + +The impact forces pushpins to fly out of the board. + +Buzz ducks as pins land all around him, sticking into the +desk like arrows. + +POTATO HEAD + +sits on the floor in the midst of a card game with Hamm. + +He looks up at the desk and GASPS as the bulletin board +slams down onto... + +A GLOBE + +knocking it out of its stand. The globe starts rolling +right at Buzz. + +Woody stands frozen in disbelief at the chaos he's created, + +Buzz runs along the desk, the globe rolling right behind +him, Indiana Jones style. Buzz gets stuck "log rolling" on +a pile of pencils, but at the last second jumps out of the +way onto the window ledge. + +The globe lumbers past Buzz and strikes a Luxo-style +desklamp. The arm of the lamp swings all the way around, +barely missing Woody... + +...and knocks Buzz out the window. + + TOYS + BUZZ!!!! + + WOODY + Buzz!!! + +Woody looks out the window. No sign of Buzz. All the other +toys rush over to the sill. + + SLINKY + I don't see him in the driveway! I + think he bounced into Sid's yard. + +Woody backs away from the COMMOTION, unnoticed, + 43. + + + REX + (GASP) + Buzz! + + RC CAR + (electric motor sounds) + Whirrr!! Whirrrr-whirrrr!!! + +Rex looks over at RC. The remote control car is bouncing up +and down excitedly. + + REX + Hey everyone! RC's trying to say + something! + +The toys turn from the window to RC. + + REX + (leaning down close to + RC) + What is it, boy? + + RC CAR + (electric motor sounds}) + Whirrr!! Whirrr! Whirrrrrr!! + + MR. POTATO HEAD + He's sayin' that this was no + accident. + + TOYS + Huh? + + BO PEEP + What do you mean? + + MR. POTATO HEAD + I mean Humpty Dumpty was pushed... + (pointing at Woody) + ...by Woody. + + TOYS + WHAT?!? + +The toys turn to Woody who suddenly realizes how this +looks. + + WOODY + Wait a minute. You -- you don't + think I meant to knock Buzz out the + window, do you Potato Head? + + MR. POTATO HEAD + 44. + + + That's Mr. Potato Head to you, you + back-stabbin' murderer! + + WOODY + Now, it was an accident! Guys, + c'mon now, you...you gotta believe + me. + + SLINKY + We believe you, Woody. Right, Rex? + + REX + (backing away) + Oh, I don't like confrontations. + +The Sargent pops out of the army bucket next to Woody. + + SARGENT + Where is your honor, dirtbag?! You + are an absolute disgrace! You don’t + deserve to + +Woody seals the lid back on the bucket. + +Potato Head starts closing in on Woody. + + MR. POTATO HEAD + Couldn't handle Buzz cuttin' in on + your playtime, could ya Woody? + Didn't want to face the fact that + Buzz just might be Andy's new + favorite toy, so you got rid of + him. Well, what if Andy starts + playin' with me more. Woody, huh? + You gonna knock me outta the + window, too? + +Potato Head has driven Woody back to the very edge of the +desk -- trapped. + + HAMM + I don't think we should give him + the chance. + +Suddenly, the lid pops off the bucket of army men. + + SARGENT + There he is, men! Frag him! + +The army men yell CHARGE and pounce on Woody, while all the +rest of the toys close in. + + MR. POTATO HEAD + 45. + + + ‐ + Let's string him up by his pull­ + string! + + HAMM + I got dibs on his hat! + + BO PEEP + Would you boys stop it?! + + HAMM + Tackle him! + + WOODY + No, no, no, no! Wait! Wait I can + explain everything -- + + MRS. DAVIS (O.S.) + Andy, c'mon! + + ANDY (O.S.) + Okay, Mom, be right down, I've got + to get Buzz, + + SARGENT + Retreat! + +The toys all drop Woody and rush back to their places, + +Andy enters the room and heads straight for the desk where +Woody is lying. Andy overlooks Woody and begins searching +around the room. + + ANDY + Mom! Do you know where Buzz is? + + MRS. DAVIS (O.S.) + (No, I haven't seen him.) + +Woody painfully watches as Andy searches in vain for Buzz. + + MR. POTATO HEAD (O.S.) + Psssst! + +Woody looks across the room. + +Potato Head and Etch-A-Sketch peek out of a packing box. + +Etch-A-Sketch scribbles a hangman's noose while Potato Head +points an accusing finger in Woody's direction. + +Woody GULPS. + 46. + + + MRS. DAVIS (O.S.) + Andy! I'm heading out the door. + + ANDY + But Mom, I can't find him! + + MRS. DAVIS (O.S.) + Well, honey, just grab some other + toy! Now c'mon! + + ANDY + Okay... + + He grabs Woody and walks out of the room. + + +25 EXT, ANDY'S HOUSE - CONTINUOUS 25 + + Andy exits the house dragging Woody as he heads toward the + family van in the driveway. + + ANDY + I couldn't find my Buzz. I know I + left him right there. + + MRS. DAVIS + Honey, I'm sure he's around. You'll + find him. + + A BUSH + + next to the van begins to rustle. Hands part the foliage, + revealing Buzz, He eyes Woody going into the van and does a + slow burn. + + The van ENGINE STARTS UP. Buzz races out of the bush, and + with a mighty leap, grabs the rear fender of the van as it + pulls out of the driveway. + + ANGLE: SIDE OF ANDY'S HOUSE + + A chain of monkeys falls into view, dangling a considerable + distance above the ground. + + +26 EXT. ANDY'S BEDROOM WINDOW - CONTINUOUS 26 + + The rest of Andy's toys have regrouped at the window, + supervising the lowering of the "monkey chain". + + SLINKY + It's too short! We need more + monkeys! + 47. + + + REX + (holding up an empty + barrel) + There aren't any more! That's the + whole barrel. + + Rex throws the barrel down and runs back to the ledge. + + REX + (yelling out window) + Buzz! The monkeys aren't working! + We're formulating another plan! + Stay calm! + (beat) + Oh, where could he be? + + +27 EXT. GAS STATION - LATER 27 + + The Davis' family van pulls up to one of the pumps. + + +28 INT. VAN - CONTINUOUS 28 + + Andy sits in the rear seat with Woody lying next to him. + + ANDY + Can I help pump the gas? + + MRS. DAVIS + Sure! I'll even let you drive. + + Both Mrs. Davis and Andy exit the van while baby Molly + sleeps up front in her car seat. + + ANDY (O.S.) + Yeah?! + + MRS. DAVIS (O.S.) + Yeah — when you're sixteen. + + ANDY (O.S.) + (sarcastic) + Yuk, yuk, yuk -- funny, Mom. + + With Mom and Andy out of range. Woody comes to life. He + stares out the sun roof, still reeling from everything. + + WOODY + Oh, great. How am I gonna convince + those guys it was an accident? + + Suddenly, Buzz appears over the edge of the sun roof. + 48. + + + WOODY + Buzz! + + Buzz jumps down on the back seat to face Woody. He is + furious. + + WOODY + Buzz! You're alive! This is great! + Oh, I'm saved! I'm saved! Andy'11 + find you here, he'll take us back + to the room, and then you can tell + everyone that this was all just a + big mistake. Huh? + + No response from Buzz. Just an angry stare. + + WOODY + (weakly) + Right? Buddy? + + BUZZ + I just want you to know that even + though you tried to terminate me, + revenge is not an idea we promote + on my planet. + + WOODY + Oh, Oh, that's good. + + BUZZ + (getting in Woody's face) + But we're not on my planet, are we? + + WOODY + No. + + Buzz lunges for Woody. The two toys fly off the seat and + out the open side door of the van. + + +29 EXT. GAS STATION - CONTINUOUS 29 + + Woody and Buzz hit the ground and roll under the van, + locked in mortal combat. + + WOODY + Ok! Come on! You want a piece of + me?! + + Buzz lands a punch that sends Woody's head spinning around, + + Woody lunges with all his might. He smacks Buzz in the + face, making it SQUEAK with every blow. + 49. + + +Buzz closes his helmet on Woody's hand. + + WOODY + Owwwww!! + +Woody pounds on Buzz's chest with his free hand, activating +BUZZ'S SAMPLED VOICE buttons. + +SFX: CAR DOOR SLAM + +The toys stop fighting. Before they can react... + + MRS. DAVIS (O.S.) + Next stop... + + ANDY (O.S.) + Pizza Planet! Yeah!!! + +The van drives off. + + WOODY + (GASP) + Andy?! + +Woody starts to run in the direction of the van but it +drives out of sight, leaving Buzz and Woody stranded. + + WOODY + Doesn't he realize that I'm not + there? + (beat) + I'm LOST! Oh, I'm a lost toy! + +Meanwhile, Buzz checks the surroundings. He flips open his +wrist communicator. + + BUZZ + Buzz Lightyear Mission Log. The + local Sheriff and I seem to be at a + huge refueling station of some sort + -- + +Woody whips around, his expression changing from panic to +seething anger. He charges at Buzz. + + WOODY + You! + +SFX: LOUD TRUCK HORN + +Just then the toys are bathed in the headlight beams of a +behemoth tanker truck pulling into the station. + 50. + + +Buzz dives off to the side while Woody collapses right +where he stands on the pavement. The truck ROARS over him. + +A GIGANTIC TIRE + +stops just millimeters from Woody's nose. + +Petrified, Woody inches away from the tire, moving back +under the truck until he bumps into Buzz, + + BUZZ + (into wrist communicator) + According to my nava-computer, the + -- + + WOODY + (whispering) + Shut up! Just shut up, you idiot!! + + BUZZ + Sheriff, this is no time to panic. + + WOODY + This is the perfect time to panic! + I'm lost, Andy is gone, they're + going to move from their house in + two days and it's all your fault!! + + BUZZ + My fault?! If you hadn't pushed me + out of the window in the first + place -- + + WOODY + Oh, yeah? Well, if YOU hadn't shown + up in your stupid little cardboard + spaceship and taken away everything + that was important to me — + + BUZZ + Don't talk to me about importance. + Because of YOU the security of this + entire universe is in jeopardy. + + WOODY + (incredulous) + WHAT?!! What are you talking + about?! + +Buzz walk to the edge of the truck tire and points up to +the stars. + + BUZZ + 51. + + + Right now, poised at the edge of + the galaxy, Emperor Zurg has been + secretly building a weapon with the + destructive capacity to annihilate + an entire planet, I alone have + information that reveals this + weapon's only weakness. + (pointing at Woody) + And you, my friend, are responsible + for delaying my rendez-vous with + Star Command. + +Woody explodes. + + WOODY + YOU ARE A TOY!!! You aren't the + real Buzz Lightyear, you're an + action figure!! You are a child's + plaything!!! + +Beat. + + BUZZ + You are a sad strange little man + and you have my pity. Farewell. + +Buzz walks off. + + WOODY + Oh, yeah? Well, good riddance, ya + looney! + +Woody walks away in the opposite direction. + + WOODY + (to himself) + Rendez-vous with Star Command. + +SFX: SCREECHING TIRES FOLLOWED BY GAS STATION BELL + + PIZZA DELIVERER (O.S.) + Hey, Gas Dude! + + ATTENDANT (O.S.) + You talkin' to me? + + PIZZA DELIVERER (O.S.) + Yeah, man, can you help me? Do you + know where Cutting Blvd. is? + + ATTENDANT (O.S.) + Just a moment... + 52. + + + Woody looks in the direction of the bell. His face lights + up at the sight of... + + A PIZZA PLANET DELIVERY TRUCK. + + WOODY + (to himself) + Pizza Planet... Andy! + + Woody takes a step forward and then stops. + + WOODY + Oh, no! I can't show my face in + that room without Buzz. + + Woody runs back under the tanker truck. Buzz is at the far + end of the truck, walking away from Woody. + + WOODY + Buzz! Buzz, come back! + + BUZZ + (continuing to walk away) + Go away. + + Woody looks back at the delivery truck in desperation and + then eyes... + + ANGLE: DELIVERY TRUCK ROOF SIGN + + Atop the truck is a rocket with the Pizza Planet logo. + + WOODY + No, Buzz, you've gotta come back. I + found a spaceship! + + Buzz stops walking away and looks back at Woody. + + WOODY + It's a spaceship, Buzz! + + +30 EXT. GAS STATION - A FEW MINUTES LATER 30 + + The delivery truck's engine has stalled and is off. + + PIZZA DELIVERER (O.S.) + C'mon, man, hurry up, Um, like the + pizza's are getting cold here. + + Woody and Buzz eye the parked delivery truck from within + the safety of a nearby oilcan display. + 53. + + + BUZZ + Now you're sure this spacefreighter + will return to its port of origin + once it jettisons its food supply? + + WOODY + Uh-huh. And when we get there, + we'll be able to find a way to + transport you... home, + + BUZZ + Well, then let's climb aboard. + +Buzz makes a beeline for the passenger side door of the +pizza truck. Woody chases after him. + + WOODY + No, no, no, wait, Buzz, Buzz, let's + get in the back. No one will see us + there. + + BUZZ + Negative. There are no restraining + harnesses in the cargo area. We'll + be much safer in the cockpit. + +In a flash. Buzz has scaled the front tire, grabbed the +rear view mirror, and swung himself up and into the cab. + + WOODY + (loud whisper) + Yeah, but, Buzz! Buzz! + + PIZZA DELIVERER (O.S.) + Ok, so that's two lefts, and then a + right, huh? + + ATTENDANT (O.S.) + Yeah. + + PIZZA DELIVERER (O.S.) + Okay, thanks for the directions. + + WOODY + (loud whisper) + Buzz! + +SFX: ENGINE STARTING + +Woody runs around to the back of the truck, scrambles up +the bumper and throws open the back hatch to climb inside. + 54. + + + Woody lets out a YELL, as the back hatch slams back down on + his rear, sending him flying into the bed of the truck. + + +31 INT. PIZZA PLANET DELIVERY TRUCK - CONTINUOUS 31 + + Woody peeks through the dividing window into the cab. + + Buzz is hidden from THE PIZZA DRIVER'S view by a stack of + pizzas in their insulated covers. Buzz prudently fastens + his safety belt, + + WOODY + It'll be safer in the cockpit than + the cargo bay. What an idiot! + + The driver shifts into gear and hits the gas, propelling + Woody to the back of the truck. + + The pizza deliverer drives like a maniac, taking sharp + turns and hills at high speeds. Woody is helplessly thrown + around the truck. With every blow, Woody YELPS in pain. + + The truck climbs a steep hill. Woody looks up just in time + to see... + + A LARGE TOOL BOX + + BARRELING TOWARDS HIM. + + BAM!!! + + CUT TO: + + A STAR-FILLED BLACK NIGHT SKY + + We MOVE DOWN to reveal... + + +32 EXT. PIZZA PLANET - NIGHT 32 + + The delivery truck barrels into the parking lot and parks. + + +33 INT. DELIVERY TRUCK CAB CONTINUOUS 33 + + After the driver leaves the truck, Buzz peeks out from the + passenger window. + + ANGLE: THE FRONT ENTRANCE + 55. + + +Two imposing animatronic robots guard the doorway. As +CUSTOMERS approach the front, the guards part their crossed +"pizza spears", allowing the patrons to enter. + + ROBOT GUARDS + You are clear to enter. Welcome to + Pizza Planet. + +VARIOUS ANNOUNCEMENTS blare out from speakers: + + MALE VOICE OVER SPEAKER + Next shuttle lift-off scheduled for + T-minus 30 minutes and counting... + + FEMALE VOICE OVER SPEAKER + The white zone is for eating pizza + only. The white zone is for... + +Excited, Buzz pries open the window between the cab and +truck bed. + + BUZZ + Sheriff! + +Woody is gone. Just the toolbox and strewn trash. + + BUZZ + Sheriff? + +The toolbox falls on its side revealing Woody. He peels off +the back of the truck and falls into a pile of trash. + + BUZZ + There you are. Now the entrance is + heavily guarded. We need a way to + get inside. + +Woody rises from the trash with a "MEGA-GULP" cup on his +head. + + BUZZ + Great idea, Woody! I like your + thinking! + +In the f.g. sits a trashcan with fast food containers +littered around it. MORE CUSTOMERS approach the "guarded" +entrance. + + ROBOT GUARDS + You are clear to enter. Welcome to + Pizza Planet. + 56. + + + The front doors automatically swing open as the people pass + through. Suddenly two pieces of trash — a burger container + and "MEGA-GULP" cup stand up. + + BUZZ (IN BURGER CONTAINER) + NOW! + + The two disguised toys make a dash through the closing + doors. + + BUZZ (IN CONTAINER) + Quickly, Sheriff! The airlock is + closing. + + +34 INT. PIZZA PLANET/FRONT ENTRANCE - CONTINUOUS 34 + + Woody and Buzz just make it inside but then freeze + immediately as a GROUP OF KIDS run past, forcing the toys + to pose as discarded trash. + + Once the coast is clear, Woody and Buzz resume walking. + + Buzz bumps into Woody. + + WOODY + (using straw as + periscope) + Ow! Watch where you're going! + + BUZZ + (mouthing with burger + box) + Sorry. + + They sneak in between two long rows of video games and + throw off their disguises. They then take a good look at... + + THE ARCADE + + The spaced-themed arena is filled with hordes of children + playing video games. A sea of HI-TECH SOUNDS and lights + overwhelm the place. + + Buzz is beaming with hope. + + BUZZ + What a space port. Good work, + Woody. + + Woody is busy looking at all the children in the arcade, + but none of the kids look familiar to him. Just then he + HEARS... + 57. + + + ANDY (O.S.) + Mom, can I play Black Hole? Please, + please, please?! + +Woody turns around and through the video games he spots... + +ANDY + +standing with Mom and Molly in her stroller. + + WOODY + (TO HIMSELF) + Andy! + + MRS. DAVIS + What's Black Hole? + + ANDY + Oh, it's so cool... + +The family begins to walk away. + + BUZZ + Now we need to find a ship that's + headed for Sector 12 -- + +Buzz is about to head off in the opposite direction when +Woody grabs him and quickly pulls him down the video +corridor. + + WOODY + Wait a minute! No Buzz! This way! + There's a special ship. I just saw + it! + + BUZZ + You mean it has hyperdrive? + + WOODY + Hyper-active hyperdrive, and + astro... uh, turf. + +The toys manage to get ahead of Andy, Woody peeks around +the corner of one of the video games and waits for Mom and +Andy to approach. + + WOODY + (tracking Andy and + family) + C'mon, c'mon, that's it... + + BUZZ + Where is it? I don't see the -- + 58. + + +Buzz stops short at the sight of... + +A CRANE GAME + +It is modeled to look like a spaceship ready to launch. + + BUZZ + Spaceship. + + WOODY + Alright Buzz, get ready... + +Buzz heads for the crane game, but Woody does not notice, +his eyes locked on the approaching stroller. + + WOODY + Okay, Buzz, when I say "go," we're + gonna jump in the basket — + +Woody turns and realizes Buzz is gone. He looks across the +way just in time to see Buzz leap into the crane game +through the "PRIZE" slot. + + WOODY + (loud whisper) + Buzz!! + +Woody turns back in the direction of the stroller. + +It has already gone past, + + WOODY + Dooh! No! This cannot be happening + to me!! + +Woody runs towards the crane game, but is forced to hold +back for a moment as some SCREAMING children pass by. + +Buzz climbs over the partition that divides the deposit +slot from the prize toys and leaps into a pile of... + +SQUEEZE TOY ALIENS + +There are hundreds of them, all identical and way too cute. + + ALIEN #1 + (excited) + A stranger! + + ALIEN #2 + From the outside! + 59. + + + ALIENS + Oo-o-o-o-o-o... + + BUZZ + Greetings! I am Buzz Lightyear! I + come in peace! + + ALIENS + Tell us! What is it like outside? + + The squeeze toys rush Buzz like JABBERING excited children. + + +35 EXT. CRANE GAME 35 + + With the kids gone, Woody crosses the aisle to the crane + game and dives through the prize slot. + + +36 INT. CRANE GAME - CONTINUOUS 36 + + Woody clambers up the side of the deposit slot. + + BUZZ (O.S.) + This is an intergalactic emergency! + I need to commandeer your vessel to + Sector 12! + + Woody peeks over the partition to witness Buzz surrounded + by the cute alien toys. + + BUZZ + (continued; to the + aliens) + Who's in charge here? + + All the aliens point upward. + + ALIENS + The cla-a-a-a-a-a-a-a-w!! + + Woody and Buzz look up. + + ANGLE: CRANE GAME CLAW + + It dangles directly above the toys. + + ALIEN #1 + The claw is our master. + + ALIEN #2 + 60. + + + The claw chooses who will go and + who will stay. + + WOODY + (TO HIMSELF) + This is ludicrous. + + SID (O.S.) + (laughter) + +Woody GASPS at the recognition of Sid's voice. He turns to +see Sid heading straight for the crane game. + + WOODY + Oh, no! Sid!!! + +Woody leaps off the partition and tackles Buzz, pushing the +two of them deep into the pile of aliens. + + WOODY + Get down!! + +Sid approaches the crane game and fishes quarters out of +his pants pocket. + + BUZZ + (loud whisper) + What's gotten into you, Sheriff? I + was... + + WOODY + (loud whisper) + YOU are the one that decided to + climb into this -- + + ALIEN #4 + (loud whisper) + Sh-h-h-h-h-h. The claw. It moves. + +It moves into position and hovers directly above the area +where Woody and Buzz are hiding. + +The crane drops and grabs hold of the alien toy that is +right on top of Buzz. + + ALIEN #3 + (WHISPERING EXCITEDLY) + I have been chosen!! + +Positioned with his back to Sid, the alien is lifted up by +the claw. + + ALIEN #3 + 61. + + + Farewell, my friends! I go on to a + better place. + + SID + Gotcha! + +With the alien gone, Buzz's upper torso becomes exposed, +forcing the space ranger to freeze. Sid suddenly spots +Buzz. + + SID + A Buzz Lightyear! No way! + +Woody, still hidden, frantically looks around for some way +to escape. Behind him, through the aliens, he eyes... + +A SMALL REPAIR DOOR + +Woody swims through the alien squeeze toys toward the door. +He grabs hold of the locking latch and, after a few +attempts, is able to pry the door open. + +The shadow of the crane lines up over Buzz, lowers, and +grabs his head. + + SID + Yes! + +The claw begins to lift Buzz up. + + WOODY + (GASP) + Buzz, NO! + +Woody grabs hold of Buzz's feet. + +Woody pulls down hard, forcing Buzz to sink into the pile +of aliens, out of Sid's view, + + SID + (slamming his fist + against the glass) + Wha? Hey!! + +Still tugging against the crane, Woody is almost out the +door with Buzz. Just then, the aliens at the bottom of the +pile pull Buzz and Woody back inside. + + ALIEN #4 + He has been chosen. + + WOODY + Hey! What are you doing? + 62. + + + ALIEN #5 + He must go. + + WOODY + Stop it, you -- ! Stop it, you + zealots! + + ALIENS + He must go! Do not fight the claw! + Do not anger the claw! He has been + chosen. + + Woody and Buzz are pushed up to the surface and into the + air, dangling lifelessly in front of Sid. + + SID + Alright! Double prizes! + + Woody and Buzz are dropped into the prize slot and snatched + up by Sid. + + SID + (looking at his two new + toys) + Let's go home and...play. Ha-ha-ha. + + ANGLE: CLOSEUP OF SKULL ON SID'S T-SHIRT + + MATCH DISSOLVE TO: + + +37 EXT. SID'S HOUSE - LATER THAT NIGHT 37 + + From out of the darkness appears Sid on his skateboard. + + He is HUMMING to rock music from his Walkman while carrying + his backpack in his hand. + + Sid leaps off the skateboard and walks up the front path + towards the front door. + + Through the open zipper. Buzz peeks out of the backpack to + see Sid's house. He recognizes Andy's house next door. + + +38 INT. BACKPACK - CONTINUOUS 38 + + Buzz, Woody and a squeeze toy alien are scrunched up in the + backpack. + + BUZZ + Sheriff! I can see your dwelling + from here! You're almost home. + 63. + + + ALIEN + Nirvana is coming! The mystic + portal awaits! + + WOODY + (to Alien) + Will you be quiet?!! + (to both) + You guys don't get it, do you? Once + we go into Sid's house, we won't be + coming out. + +ANGLE: TOYS' POV FROM OUT BACKPACK + +The front door opens to reveal Scud, The dog lunges +straight for the backpack, BARKING. + + SID + Whoa, Scud! Hey, boy. Sit! Good + boy! + +The dog begrudgingly obeys. + + SID + Hey, I got somethin' for ya, boy. + +Sid's hand reaches into the backpack. + + WOODY + (loud whisper) + FREEZE!!! + +The toys go still. Sid's hand grabs the alien out of the +backpack. The alien is then placed sideways along Scud's +snout. + + SID + Ready, set, NOW. + +In one quick motion, Scud flips the alien up, catches it in +his mouth, and rabidly shakes it back and forth. + +Buzz and Woody react in horror. + + SID + Hannah! Hey, Hannah!!! + +Woody and Buzz glance up to see HANNAH, Sid's frail little +sister, carrying her Janie Doll. + + HANNAH + What? + 64. + + + SID + Did I get my package in the mail? + + HANNAH + I dunno. + + SID + Whaddaya mean, you don't know? + + HANNAH + (insistent) + I don't know! + + SID + (mock concern) + Oh no, Hannah! + + HANNAH + What? + + SID + Look! Janie! + + He grabs the doll. + + HANNAH + Hey!! + + SID + She's sick! + + HANNAH + (panic rising) + No she's NOT -- + + SID + I'll have to perform one of my... + operations! + + HANNAH + NO-O-O... Don't touch her! NO! + + Sid bolts upstairs with Hannah in pursuit, + + WOODY + Not Sid's room... not there... + + +39 INT. UPSTAIRS HALL - CONTINUOUS 39 + + Sid races to his bedroom door. Hannah is right behind. + 65. + + + HANNAH + Sid! Give her back! + + Sid just LAUGHS. He charges into the room and slams the + door in his sister's face. + + +40 INT. SID'S ROOM - CONTINUOUS 40 + + HANNAH (O.S.) + (pounding on his door) + Sid! Sid!... + + Sid carelessly tosses the backpack on the bed and walks + over to a makeshift workbench. + + SID (AS DOCTOR) + Oh, no. We have a sick patient + here, nurse. Prepare the O.R., + STAT! + + Sid CLICKS on a bare bulb dangling above his "operating + table." + + Woody and Buzz look on from the safety of the backpack as + Sid places the Janie doll's head in a vise. + + HANNAH (O.S.) + Sid, give her back! Give her back + now! I'm telling! + + SID (AS DOCTOR) + Patient is... + (straining while + tightening vise) + ... pre-e-epped. + + Sid grabs a painter's mask from his toolchest and dons it + like a surgeon's mask. + + SID (AS DOCTOR) + No one's ever attempted a double + bypass brain transplant before. + + Sid grabs a toy pterodactyl from a nearby crate full of + junk. + + SID (AS DOCTOR) + Now for the tricky part -- pliers! + + BUZZ + (whispering to Woody) + 66. + + + I don't believe that man's ever + been to medical school. + +Sid struggles for a moment with his "patient' then stops. + + SID (AS NURSE) + Doctor, you've done it! + (running to the door) + Hannah? + +He opens the door, Hannah is standing there, looking +worried. + + SID + Janie's all better now. + +He hands her Janie -- her head has been replaced with a +pterodactyl's. Hannah SCREAMS at the sight of the +monstrosity and bolts down the hallway. + + HANNAH + MOM!! MOM!! + + SID + She's lying! Whatever she says it's + not true! + +Sid throws the doll to the ground and runs after Hannah, +slamming the door behind him. + +Woody and Buzz peer out of the backpack at their new +surroundings. Heavy metal posters, discarded toy remains +and power tools adorn the messy room. + +They are in Hell...toy Hell. + + WOODY + We are gonna die. + (bolting out of the pack) + I'm outta here! + +Woody leaps from the bed to the doorknob and struggles to +open it. No good. Woody drops to the floor. + + WOODY + Locked! There's gotta be another + way out of here. + +SFX: ROLLING SOUND + +Woody is startled by the noise. + 67. + + +A small yo~yo rolls out from behind a box and falls on its +side. + +Spooked, Woody grabs a pencil from the floor and brandishes +it like a weapon. + +Just then a shadow passes by Woody. He turns quickly but +sees nothing. + + WOODY + Uh...Buzz? Was that you? + +Woody hurriedly trades his pencil for a larger flashlight. + +He hears A NOISE from under Sid's' bed. Woody turns on the +flashlight and shines the beam in the direction of the +noise, illuminating... + +A BABY DOLL HEAD'S PROFILE + + WOODY + Hey! Hi, there, little fellah! Come + out here. Do you know a way out of + here? + +The baby doll moves out from under the bed, revealing a +one-eyed doll head atop a spider-like body made of erector +set pieces. + + WOODY + (GASP!!) + +The creature extends its legs and rises up taller than +Woody. Scared speechless, Woody keeps his flashlight beam +locked on BABYFACE. + +Various other MUTANT TOYS begin to emerge from the shadows: +a toy fishing pole with fashion doll legs, a skateboard +with a combat soldier's torso screwed to the front end, a +jack-in-the-box with a rubber hand for a head, (and +others). + +Woody leaps onto the bed and hides behind Buzz. + + WOODY + B-B-B-Buzz! + +Buzz and Woody look on as the mutants have a tug of war as +they grab all the Janie and pterodactyl parts, dragging +them off into the shadows. + + BUZZ + They're cannibals! + 68. + + + Woody retreats back into the backpack. + + +41 INT. BACKPACK - CONTINUOUS 41 + + Woody cowers in the corner as Buzz enters. He punches a + button on his chest. + + BUZZ + May day! May day! Come in. Star + Command! Send reinforcements!... + (pause) + Star Command, do you copy? + + No response. + + Buzz adjusts his laser light. It emits a short BLIP. + + BUZZ + (aiming his arm out the + pack) + I've set my laser from stun to + kill. + + WOODY + Oh, great, great. Yeah, and if + anyone attacks us we can blink 'em + to death. + + +42 EXT. ANDY'S HOUSE - NIGHT 42 + + Rex points a flashlight out of Andy's bedroom window while + Bo Peep, Slinky, Hamm and Potato Head look on. + + Some bushes rustle below. + + REX + Hey, you guys! I think I've found + him. Buzz! Is that you?! + + Rex points the flashlight beam at the shaking bushes. + + The annoyed MEOW of a cat is heard. + + REX + Whiskers! Will you get out of + here?! You're interfering with the + search and rescue. + + SFX: APPROACHING CAR + + Rex turns off the flashlight. + 69. + + + REX + (whispering) + Look! They're home! + +The toys duck behind the sill. + +The Davis' family van pulls into the driveway. Andy and +Mrs. Davis get out. + + ANDY + Mom, have you seen Woody? + + MRS. DAVIS + Where was the last place you left + him? + + ANDY + (searching the van) + Right here in the van. + + MRS. DAVIS + Oh, I'm sure he's there. You're + just not looking hard enough. + + ANDY + He's not here, Mom. Woody's gone. + +The toys all look at one another, + + BO PEEP + (GASP) + Woody's gone?! + + HAMM + Well waddah-ya-know, the weasel ran + away. + +Hamm, Potato Head and Rex walk away from the window. + + POTATO HEAD + Huh?! Huh?! I told you he was + guilty. + + REX + Who would've thought he was capable + of such atrocities?! + +Bo Peep and Slinky are left alone at the window, visibly +crestfallen. + + BO PEEP + Oh, Slink, I hope he's okay. + 70. + + + DISSOLVE TO: + + +43 EXT. SID'S BEDROOM WINDOW - DAY 43 + + SID (O.S.; AS INTERROGATOR) + Oh, a survivor. Where is the rebel + base? Talk! + + SFX: HAND SLAP + + +44 INT. SID'S ROOM - CONTINUOUS 44 + + An inanimate Woody flies across the room, landing hard on + the floor. + + Sid crosses to the window, + + SID (AS INTERROGATOR) + I can see your will is strong. + + Sid opens the window shade. Bright sunlight shines down + onto Woody. + + SID + Well, we have ways of making you + talk. + + Sid pulls out a magnifying glass from his back pocket and + focuses the beam on Woody's forehead. + + SID (AS INTERROGATOR) + Where are your rebel friends now? + Heh, heh. + + A bright white hot dot forms on Woody's forehead and begins + to smolder. + + SID'S MOM (O.S.) + Sid!! Your pop-tarts are ready! + + Sid pulls the magnifying glass away. + + SID + Alright!! + + Sid runs out of the room. As soon as he's gone. Woody jumps + up SCREAMING, his forehead burning. + + He runs to a bowl of half-eaten cereal (with milk) on the + floor, and dunks his head in. + 71. + + +Buzz runs over to Woody, pausing to remove two suction cup +darts from his person before pulling Woody out of the bowl. +Two colorful Froot-Loops stick to each of Woody's eyes like +glasses. + + BUZZ + Are you alright? + (whacking him on the + back) + I'm proud of you. Sheriff. A lesser + man would have talked under such + torture. + +Woody looks at his reflection in the back of the cereal +spoon and rubs the burn mark on his forehead. + + WOODY + I sure hope this isn't permanent. + + BUZZ + (checking his wrist + communicator) + Still no word from Star Command. + We're not that far from the + spaceport -- + +Woody's eyes light up. + +ANGLE: SPOON + +Sid's bedroom door can be seen in the reflection. It's +open. + + WOODY + The door! It's open! We're free!! + +Woody runs for the door. Buzz follows. + + BUZZ + Woody, we don't know what's out + there! + + WOODY + I'll tell you what's AAAAH! + +THE MUTANT TOYS + +suddenly appear and block their path to the doorway. + +Woody hides behind Buzz. + + WOODY + 72. + + + They're gonna eat us. Buzz!! Do + something! Quick! + + BUZZ + Shield your eyes! + + Buzz fires his laser at them. The little red beam just + flickers against Babyface's head. The mutant toys look + confusedly at each other. + + BUZZ + It's not working. I recharged it + before I left. It should be good + for hours -- + + WOODY + Oh, you idiot! You're a toy! Use + your karate chop action! + + Grabbing Buzz like a hostage, Woody fends off the mutant + toys by pushing a large button on Buzz's back, making + Buzz's arm involuntarily "chop" up and down. + + WOODY + (to mutants) + Get away! Hoo-cha! Hoo-cha! + + BUZZ + Hey!! Hey! How are you doing that? + Stop that! + + WOODY + Back! Back, you savages! Back! + + Woody circles around the mutant toys to the open doorway, + continually chopping Buzz's arm. + + BUZZ + Woody, stop it!! + + WOODY + Sorry guys, but dinner's canceled! + + Woody drops Buzz and runs out the door. + + +45 INT. UPSTAIRS HALLWAY - CONTINUOUS 45 + + Woody races down the corridor... + + WOODY + (to himself) + 73. + + + There's no place like home. There's + no place like home. There's no + place like home... + +... turns onto the top of the stairwell, down a few steps, +and is confronted by... + +SCUD + +asleep on the landing. + +Woody freezes inches away from the sleeping beast. He +slowly backs up the stairs. + +Suddenly Buzz appears and pulls Woody back against the +hallway wall. He covers Woody's mouth with his hand. + + WOODY + (muffled gasp) + + BUZZ + (whisper) + Another stunt like that, cowboy -- + you're going to get us killed. + + WOODY + (pulling Buzz's hand + away) + Don't tell me what to do! + + BUZZ + Shhhi + +Buzz checks to make sure Scud is still asleep and then +darts across the stairwell opening to the other end of the +hallway. Once safely across, he motions for Woody to +follow. + +Woody cowardly crawls on all fours across the open area and +meets up with Buzz. + +As he stands... + +WOODY'S PULLSTRING RING + +gets caught on one of the curls of the wrought iron +railing. + +The toys begin to creep down the hallway, unaware that +Woody's pullstring is being pulled farther and farther +until -- + +It SNAPS off the iron railing and flies back towards Woody. + 74. + + + WOODY (VOICE BOX) + YEEEEEEE-HAAAAAAA!! + + Both Buzz and Woody leap in surprise at the sound of + Woody's voice box. + + ANGLE: SCUD'S EYE. + + It opens. + + Woody vainly attempts to stifle the recoiling pullstring. + + WOODY (VOICE BOX) + Gidy-up partner!... + + GROWLING, Scud starts up the stairs. + + WOODY (VOICE BOX) + We got to get this wagon train a + movin'! + + Woody and Buzz take off running. + + BUZZ + Split up! + + Two doors are ajar at the other end of the hallway. + + Buzz dives behind one while Woody jumps into... + + A CLOSET. + + Woody slams the door shut just as Scud reaches the top of + the landing. CRASHES can heard from behind the closet door, + getting Scud's attention. + + Buzz peeks out from his doorway at Scud SNIFFING AND + GROWLING at the closet. + + Sensing movement behind him, Scud whips around and starts + to enter Buzz's doorway. + + SFX: SNORING + + The noise stops the dog in his tracks. Both Scud and Buzz + look up to see... + + +46 INT. SID'S DAD'S DEN - CONTINUOUS 46 + + MR. PHILLIPS is asleep on a La-Z-Boy recliner in front of + the T.V. + 75. + + +Scud backs out and heads down the stairs. + +Buzz turns to exit the room when he hears... + + SPACE COMMANDER (O.S.; ON TV) + Calling Buzz LightyearM Come in + Buzz LightyearM This is Star + Command. Buzz Lightyear! Do you + read me?! + + BUZZ + Star Command! + +Buzz opens up his wrist communicator and is just about to +speak into it when he is interrupted. + + KID #1 (O.S.) + Buzz Lightyear responding! Read you + loud and clear! + +Buzz turns around to see... + +A TELEVISION SET + +Buzz's space ranger logo is on the screen over a field of +stars. The image quickly changes to two young boys playing +in their backyard with a Buzz Lightyear doll. + + SPACE COMMANDER + Buzz Lightyear, Planet Earth needs + your help! + + KID #1 + (into toy wrist + communicator) + On the way!! + + MALE CHORUS (V.O.) + BUZZ LIGHTYEAR!!! + +Buzz reacts with confusion at what he is watching. + +He walks slowly towards the television set. + + TV ANNOUNCER (V.O.) + The world's greatest superhero! Now + the world's greatest TOY! + +ANGLE: TV COMMERCIAL + +The Buzz Lightyear doll is now out of the box and being +displayed. + 76. + + + TV ANNOUNCER (V.O,) + Buzz has it all! Locking wrist + communicator! + + KID #1 + Calling Buzz Lightyear, + + TV ANNOUNCER (V.O.) + Karate chop action! + + KID #2 + Wow! + +With every feature demonstrated on the TV, Buzz compares +the same feature on himself. + + TV ANNOUNCER (V.O,) + Pulsating laserlight! + + KID #2 + Total annihilation! + + TV ANNOUNCER (V.O.) + Multi-phrase voice simulator! + + TV BUZZ (SAMPLED VOICE) + It's a secret mission in uncharted + space! + +Buzz presses the same button on his uniform. + + BUZZ (SAMPLED VOICE) + It's a secret mission in uncharted + space. + + TV ANNOUNCER (V.O.) + And best of all... + (big "monster truck" + voice) + HIGH-PRESSURE-SPACE-WINGS!! + + TV BUZZ + To Infinity and Beyond! + +On the TV screen, the Buzz Lightyear action figure appears +to be launched through the air. The words: NOT A FLYING TOY +flash across the bottom of the screen. + + TV ANNOUNCER (V.O.) + (non-excited lawyer + voice) + Not a flying toy. + 77. + + + Buzz slowly shakes his head in wide-eyed disbelief. + + TV ANNOUNCER (V.O.) + Get your Buzz Lightyear action + figure and save a galaxy near you! + + MALE CHORUS (V.O.) + BUZZ LIGHTYEAR!!! + + The image on the screen changes to a shot of hundreds of + Buzzes in their boxes lining either side of a store aisle. + + LOCAL ANNOUNCER (V.O.) + Available at all Al's Toy Barn + outlets in the tri-county area. + + Buzz is stricken. He looks down at his wrist communicator + and opens it. + + ANGLE; WRIST COMMUNICATOR + + Molded on the underside of the cover are three words: "MADE + IN TAIWAN". + + SONG: "I WILL GO SAILING NO MORE" BEGINS + + +47 INT. UPSTAIRS HALLWAY - CONTINUOUS 47 + + Buzz walks dejectedly out of the den and down the hallway. + + As he passes the top of the stairwell he pauses to look up + through the railing at... + + A SMALL WINDOW + + It is open, revealing the blue sky beyond. A bird flies + past. + + The taunting voice of Woody echoes in his head. + + WOODY (V.O.) + You are a toy! You can't fly! + + Buzz bows his head, defeated. + + BEAT + + Slowly Buzz raises his head, determination in his eyes. + + He slams the offending wrist communicator shut, as if to + deny its message of "Made in Taiwan". + 78. + + + Buzz climbs up the railing to the banister. He pops open + his wings, and aims himself towards the window above. + + BUZZ + To Infinity and Beyond! + + Buzz leaps off the banister... and falls. + + In SLOW MOTION Buzz watches his square of blue sky pull + farther away from him as he plummets to the floor below. + + +48 INT. SID'S HOUSE/ENTRYWAY - CONTINUOUS 48 + + Buzz CRASHES on the entryway floor. + + Buzz opens his eyes to see... + + HIS SEVERED LEFT ARM + + The broken arm lies a few inches away from his now empty + arm socket. + + Buzz drops his head back in defeat. + + SONG ENDS + + HANNAH (O.S.) + M-o-o-om? Mom, have you seen my + Sally doll? + + Hannah walks into the entryway, and not seeing Buzz, steps + on him. + + MOM (O.S.) + What, dear? What was that? + + Hannah picks up Buzz (and his arm) and smiles. + + HANNAH + Nevermind. + + DISSOLVE TO: + + +49 INT. UPSTAIRS HALLWAY - LATER 49 + + ANGLE: CLOSET + + The knob jiggles for a moment. Suddenly, the door flies + open revealing Woody, entangled in Christmas lights, + standing atop a pile of boxes to be at doorknob height. + 79. + + + Woody and the rest of the junk topple over. + + A bowling ball topples out, smashing Woody square on the + head. + + WOODY + Oo-O'Of! + (to the hallway) + Buzz?! The coast is clear. Buzz? + Where are you? + + BUZZ (O.S.; SAMPLED VOICE) + It's a secret mission in uncharted + space! Let's go!! + + Woody creeps down the hallway, dragging the Christmas + lights with him. + + HANNAH (O.S.) + Really? That is so-o-o interesting. + + Woody peeks into the open doorway of... + + +50 INT. HANNAH'S BEDROOM/UPSTAIRS HALLWAY - CONTINUOUS 50 + + Hannah is pretending to have a tea party. Her guests are + dolls, headless dolls, that is except for... + + BUZZ + + He is seated at the miniature table, dressed up in a frilly + apron and fashionable party hat. + + HANNAH + Would you like some tea, Mrs. + Nesbit? + + WOODY + (under his breath) + Buzz! + + Hannah has placed a tiny teapot in Buzz's severed arm and + pours imaginary tea with it. + + HANNAH + It's so nice you could join us on + such late notice. + + Woody steps back into the hallway. + + WOODY + Oh, no! + 80. + + + HANNAH + What a lovely hat, Mrs. Nesbit. It + goes quite well with your head. + +Woody thinks for a moment, then takes a few steps further +down the hall. He CLEARS HIS THROAT. + + WOODY + (high voice) + Hannah! Oh, Hannah! + +Hannah stops pouring tea and looks up. + + HANNAH + (yelling out her room) + Mom? + (TO THE DOLLS) + Please excuse me, ladies. I'll be + right back. + +As soon as Hannah exits the room Buzz keels over face­down +onto the table. + +Hannah passes Woody, hidden in the Christmas lights, and +walks downstairs. + + HANNAH + What is it, Mom? Mom, where are + you? + +Woody bolts into Hannah's room. + + WOODY + Buzz! Hey, Buzz! Are you okay? + +Buzz lifts his head up and wails in drunken despair. + + BUZZ + Gone! It's all go-o-one! All of + it's gone. Bye-bye! Whoo-hoo! See + ya! + +Woody picks up Buzz's severed arm. + + WOODY + What happened to you? + + BUZZ + One minute you're defending the + whole galaxy... + (pointing at other dolls) + 81. + + + ... and suddenly you find yourself + suckin' down Darjeeling with Marie + Antoinette and her little sisters. + + The headless dolls turn and wave. + + Woody removes the teapot from the severed arm and sets it + on the table. + + WOODY + I think you've had enough tea for + today. + (helping Buzz up) + Let's get you out of here, Buzz. + + BUZZ + (grabbing Woody) + Don't you get it?! You see the hat? + I am Mrs. Nesbit!! + (hysterical laughter) + + WOODY + Snap out of it, Buzz! + + Woody presses Buzz's helmet open, slaps him across the face + with his own detached arm, and then politely closes the + helmet. + + Buzz sobers up and calmly takes his severed arm from Woody. + Buzz walks out of the room while Woody follows. + + BUZZ + (sober) + I'm sorry. You're right. + + +51 INT. UPSTAIRS HALLWAY - CONTINUOUS 51 + + BUZZ + ...I'm just a little depressed, + that's all. I can get through this. + + Buzz reaches the center of the hallway and drops to his + knees. + + BUZZ + Oh, I.'m a sham!! + + WOODY + (loud whisper) + Sh-h-h-h-h!! Quiet, Buzz. + + BUZZ + 82. + + + Look at me! I can't even fly out of + a window! + + Woody stops short. He looks down the hallway in the + direction of Sid's room. + + ANGLE: SID'S BEDROOM WINDOW + + Woody can see straight out Sid's window across the way to + Andy's bedroom window. + + BUZZ + But -- the hat looked good. Tell me + the hat looked good! The apron is a + bit much, it's not my color... + + WOODY + Out the window... Buzz, you're a + genius! + + Woody grabs the coil of Christmas lights and drags Buzz + towards Sid's room. + + WOODY + Come on, this way! + + BUZZ + Years of Academy training... + wasted!! + + +52 EXT. ANDY'S HOUSE/ANDY'S BEDROOM WINDOW 52 + + Mr, Potato Head and Kamm are playing Battleship. Hamm's + wearing Potato Head's hat. + + MR POTATO HEAD + B-3. + + HAMM + Miss. G-6. + + MR POTATO HEAD + Ohhh! You sunk it! + + HAMM + Heh-heh. + + MR POTATO HEAD + Are you peeking? + + HAMM + Oh, quit your whining and pay up. + 83. + + + Potato Head reaches for his ear. + + HAMM + No, no, not the ear. Gimme the + nose. C'mon! + + MR, POTATO HEAD + (pulling out his nose; + nasally) + How 'bout three out of five? + + He is about to hand his nose over to Hamm when... + + WOODY (O.S.) + Hey guys! Guys! Hey! + + Both toys look across the way. + + +53 EXT. SIDE WINDOW/ANDY'S WINDOW - CONTINUOUS 53 + + Woody has just finished lifting Sid's window and waves to + the toys. + + MR. POTATO HEAD + Son of a building block, it's + Woody! + + HAMM + He's in the psycho's bedroom! + + WOODY + Hi! + + HAMM + (into Andy's bedroom) + Everyone, it's Woody! + + +54 INT. ANDY'S ROOM - CONTINUOUS 54 + + Slinky, Bo Peep and Rex look to the window. + + BO PEEP + Woody?! + + REX + You're kidding? + + SLINKY + Woody?! + 84. + + +55 INT. SID'S BEDROOM 55 + + WOODY + We're gonna get outta here, Buzz -- + Buzz? + + Buzz is not there. Woody looks down at the floor. + + Buzz is sitting on the floor, playing "bombs away" with his + broken arm. + + +56 EXT. ANDY'S WINDOW/SID'S WINDOW 56 + + The rest of Andy's toys gather around the window to see + Woody. + + REX + Hey, look! + + BO PEEP + Woody! + + WOODY + Boy, am I glad to see you guys! + + SLINKY + I knew you'd come back, Woody! + + BO PEEP + What are doing over there? + + WOODY + It's a long story, Bo. I'll explain + later. Here, catch this! + + Woody tosses one end of the Christmas lights over. + + Slinky catches them. + + SLINKY + I got it, Woody! + + REX + (overly excited) + He got it, Woody! + + WOODY + Good going, Slink! Now, just, just + tie it on to something! + + POTATO HEAD + 85. + + + Wait! Wait! I got a better idea! + How about we DON'T?! + + Potato Head grabs the string of lights away from Slinky. + + SLINKY + Hey?!! + + BO PEEP + Potato Head!? + + MR. POTATO HEAD + Did you all take stupid pills this + morning?! Have you forgotten what + he did to Buzz? And now you want to + let him back over here? + + WOODY + No, no, no! You got it all wrong, + Potato Head. Buzz is fine! Buzz is + right here. He's with me! + + POTATO HEAD + You are a liar! + + WOODY + No I'm not! + (to Buzz) + Buzz, come over here and you just + tell the nice toys that you're not + dead. + + ANGLE: BUZZ + + He doesn't respond, preoccupied with peeling off the + sticker on his wrist communicator. He crumples it up and + tosses it aside. + + WOODY + (to Andy's toys) + Just a sec. + + +57 INT. SID'S ROOM - CONTINUOUS 57 + + Frantic, Woody walks over to the edge of the desk. + + WOODY + Buzz! Will you get up here and give + me a hand?! + + Buzz's severed arm comes flying into view and lands by + Woody's feet. + 86. + + + WOODY + (insincerely) + Ha ha. That's very funny, Buzz. + (exploding) + This is serious!! + + REX (O.S.) + Hey, Woody!? Where'd ya' go? + + POTATO HEAD (O.S.) + He's lyin'. Buzz ain't there. + + +58 EXT. SID'S WINDOW/ANDY'S WINDOW 58 + + Woody reappears at the edge of Sid's window.. He pretends + to notice something out of the other toy's view, + + WOODY + (forced casualness) + Oh, hi Buzz! Why don't you say + "hello" to the guys over there? + + BUZZ'S SEVERED ARM + + suddenly appears with Woody holding the end just out of + sight. Woody throws his voice, pretending to be Buzz. + + WOODY (AS BUZZ) + Hi ya, fellas. To infinity and + beyond! + + REX + Hey look! It's Buzz! + + WOODY + (shaking the arm's hand) + Yeah, hey Buzz. Let's show the guys + our new secret best-friends hand + shake. Gimme five, man! + + HAMM + Something's screwy here. + + WOODY + So, you see? We're friends now, + guys. Aren't we, Buzz? + (as BUZZ) + You bet. Gimme a hug. + + Woody makes Buzz's arm grab his neck and pull him forward. + + WOODY + 87. + + + (continued; as himself) + Ha, na, oh, I love you, too. + + SLINKY + See? It is Buzz. Now give back the + lights, Potato Head. + + POTATO HEAD + Wait just a minute. What are you + trying to pull?! + + WOODY + Nothing. + +Woody innocently shrugs and throws both his hands up... + +... exposing the severed arm. + +The toys all SCREAM in horror. Rex clasps his hands to his +mouth and turns away to BARF. + +Realizing his mistake, Woody tries to hide the arm, but +it's too late. + + HAMM + Oh, that is disgusting. + + POTATO HEAD + Murderer! + + WOODY + No! No, no, no, no! + + POTATO HEAD + You murdering dog! + + WOODY + No, it's not what you think, I + swear! + + POTATO HEAD + Save it for the jury. I hope Sid + pulls your voice-box out, ya creep! + +Potato Head drops the lights. + + WOODY + No! No! Don't leave! Don't leave! + You've gotta help us, please! You + don't know what it's like over + here! + + POTATO HEAD + 88. + + + (to the other toys}) + Come on. Let's get out of here. + + HAMM + Go back to your lives, citizens. + Show's over. + + All the toys leave the window except Slinky, + + WOODY + Come back! Slink'! Slink', please! + Please! Listen to me! + + Unable to look Woody in the eye, Slinky closes the blinds. + + WOODY + No! No! Come back! SLI-I-I-INKYYY!! + + SFX: THUNDER + + As storm clouds roll over Sid's house, Woody slumps over + the window sill in defeat. + + +59 INT. SID'S ROOM - CONTINUOUS 59 + + BROKEN TOY SOUNDS emit from behind Woody. He turns from the + window to see... + + THE MUTANT TOYS + + converging all around Buzz. + + WOODY + BUZZ!! + + Still holding onto Buzz's arm, Woody jumps down from the + desk and runs to Buzz's rescue. + + WOODY + Go away, you disgusting freaks! + + Babyface turns from the fray and charges at Woody with his + erector-set pinchers. + + Woody cowers, shielding himself with Buzz's arm. + + Babyface clamps onto the arm and has a tug-o-war with + Woody. + + WOODY + Alright back! Back, you cannibals! + 89. + + +Woody loses his grip on the arm and sails across the room, +crashing into the wall. + +By now there is no sight of Buzz within the swarming mass +of mutant toys. + +Woody attacks the mob with a vengeance. + + WOODY + He is still alive, and you're not + gonna get him, you monsters! + +He furiously throws the mutant toys aside, digging his way +to... + +BUZZ + +He is sitting up, his broken arm now newly-attached. + +Woody's anger turns to confusion. + + WOODY + Hey?! Hey, they fixed you! + +Woody shakes Buzz's arm to confirm what he's seeing is real +then looks to the mutants. + + WOODY + But -- but they're cannibals. We + saw them eat those other toys. + +The mutant toys part to reveal the recent victims of Sid's +last "operation*: The Janie Doll and Pterodactyl. + +Their heads have been taped back on the correct bodies. + +The mutants all innocently stare at Woody. + + WOODY + Uh... sorry. I... I thought that + you were gonna... + (laughs nervously) + ... you know, eat my friend. + +Immediately, the mutant toys retreat back into the dark +corners of the room. + + WOODY + Hey! No, no, wait! Hey! What's + wrong? + + SID'S MOM (O.S.) + 90. + + + Sid! + + SID (O.S.) + Not now, Mom, I'm BUSY! + + WOODY + Sid!!! + +FOOTSTEPS approach the bedroom. Woody tries to pick up the +still depressed Buzz, but he just goes limp. + + WOODY + Buzz! C'mon, get up! Buzz you're... + (GRUNT) + ... get up... + +Woody begins dragging Buzz towards the bed, but their +progress is too slow. He shakes Buzz hard. + + WOODY + Fine. Let Sid trash you. But don't + blame me. + +Woody leaves Buzz sitting alone in the middle of the floor +and hides underneath a nearby milkcrate just as... + +Sid enters carrying a big box. + + SID + It came! It finally came! + +Sid runs over to his workbench and rips open the box. + + SID + (reverently) + The big one. + +He pulls out a rocket with "THE BIG ONE" written on it. + + SID + (reading the rocket + label) + "Extremely dangerous. Keep out of + reach of children." COOL... + (looks around) + What am I gonna blow? Man... hey, + where's that wimpy cowboy doll? + +Sid spots the milkcrate and picks it up. + +No Woody. + +ANGLE; UNDERSIDE OF MILKCRATE + 91. + + +Out of Sid's view, Woody presses against the inside, +hanging on for dear life. + +SFX; BUZZ'S LASER + +Sid looks down and notices he's stepping on Buzz, +activating his laser. + + SID + Yes! I've always wanted to put a + spaceman into orbit. Ha-ha. + +He places Buzz and the milkcrate on the workbench and +throws a toolbox on top of the crate. + +The impact of the toolbox dislodges Woody from his hiding +place. Woody quickly ducks under a magazine on the floor of +the crate "jail". + +Woody watches helplessly as Sid fishes out a roll of +electrical tape from the toolbox and, with an IRREVERENT +CHUCKLE, tapes Buzz to the rocket + +SFX: THUNDERCLAP + +A flash of lightening interrupts the moment. + + SID + Oh, no... + +Sid crosses to the window to see a huge rainstorm commence. +Sullenly, he smacks his head against the window. + + SID + Aw, man...! + +Woody heaves a SIGH of relief. + +Suddenly Sid's face brightens. He turns his focus from the +rain to the Buzzrocket. + + SID (AS NEWSCASTER) + Sid Phillips reporting. Launch of + the shuttle has been delayed due to + adverse weather conditions at the + launch site. Tomorrow's forecast... + +Sid smacks Buzz down on the desk, winds his alarm clock, +and places it next to Buzz, + + SID + Sunny. Ha-ha-ha. Sweet dreams. + 92. + + +60 INT. ANDY'S ROOM - THAT NIGHT 60 + + Andy is being tucked into bed by his mother. She hands him + his cowboy hat. + + MRS, DAVIS + I looked everywhere, honey, but all + I could find was your hat. + + ANDY + (groggy) + But what if we leave them behind? + + MRS. DAVIS + Oh, don't worry honey, I'm sure + we'll find Woody and Buzz before we + leave tomorrow. + + Andy's eyes shut. Mom turns out the light and quietly exits + the room. + + A moving box on the floor, with the words "Andy's Toys!' + + scrawled on it, begins to shake from side to side. + + REX (O.S.) + (muffled) + Aaaah! I need air! + + Rex pops out of the top of the box, COUGHING a packing + styrofoam peanut out of his mouth. Potato Head appears + beside him. + + REX + (relieved) + Aa-a-a-a-ah! + (COUGH) + + POTATO HEAD + Will you quit moving around?! + + REX + I'm sorry. It's just that I get so + nervous before I travel. + + POTATO HEAD + How did I get stuck with YOU as a + moving buddy? + + Potato Head drops back down into the box. + + REX + (following Potato Head) + 93. + + + Everyone else was picked. + + BO PEEP + + peeks around the corner of one of the boxes and looks up at + Andy fast asleep clutching his cowboy hat. + + BO PEEP + Oh, Woody, if only you could see + how much Andy misses you. + + +61 EXT. SID'S HOUSE - LATER THAT NIGHT 61 + + THUNDER RUMBLES as rain pours down outside the spooky + dwelling. + + +62 INT. SID’S ROOM 62 + + Sid is in bed fast asleep. + + Woody struggles to move his milkcrate jail, but with the + weight of the toolbox on top it won't budge. + + Woody looks across the desktop at Buzz sitting dejectedly + with the rocket strapped to his back. + + WOODY + Ps-s-s-s-t! Psst! Hey, Buzz! + + No reaction from Buzz. + + Woody picks up a stray washer from the desktop and flings + it at Buzz, striking his helmet. + + Buzz lifts his head and turns lifelessly to look at Woody. + + WOODY + Hey! Get over here and see if you + can get this tool box off me. + + Buzz just looks away from Woody and bows his head. + + WOODY + Oh, come on, Buzz. I... Buzz, I + can't do this without you. I need + your help. + + BUZZ + I can't help. I can't help anyone. + 94. + + + WOODY + Why, sure you can, Buzz. You can + get me out of here and then I'll + get that rocket off you, and we'll + make a break for Andy's house. + + BUZZ + Andy's house. Sid's house. What's + the difference. + + WOODY + Oh, Buzz, you've had a big fall. + You must not be thinking clearly. + + BUZZ + No, Woody, for the first time I am + thinking clearly. + (looking at himself) + You were right all along. I'm not a + Space Ranger. I'm just a toy. A + stupid little insignificant toy. + + WOODY + Whoa, hey -- wait a minute. Being a + toy is a lot better than being a + Space Ranger. + + BUZZ + Yeah, right. + + WOODY + No, it is. Look, over in that house + is a kid who thinks you are the + greatest, and it's not because + you're a Space Ranger, pal, it's + because you're a TOY! You are HIS + toy. + + BUZZ + But why would Andy want me? + + WOODY + Why would Andy want you?'. Look at + you! You're a Buzz Lightyear. Any + other toy would give up his moving + parts just to be you. You've got + wings, you glow in the dark, you + talk, your helmet does that -- that + whoosh thing -- you are a COOL toy. + +Woody pauses and looks at himself. + + WOODY + 95. + + + (continued; depressed) + As a matter of fact you're too + cool, I mean -- I mean what chance + does a toy like me have against a + Buzz Lightyear action figure? All I + can do is... + +Woody pulls his own pull-string. + + WOODY (VOICE BOX) + There's a snake in my boots! + +Woody bows his head. + + WOODY + Why would Andy ever want to play + with me, when he's got you? + (pause) + I'm the one that should be strapped + to that rocket. + +Woody slumps dejectedly against the crate, his back to Buzz +. + +Buzz lifts up his foot. + +ANGLE: THE SOLE OF BUZZ'S FOOT + +The signature "ANDY" reads through the dirt and scuff +marks. + +Buzz gazes back at Woody. A look of determination spreads +across his face + + WOODY + Listen Buzz, forget about me. You + should get out of here while you + can. + +Silence. + +Woody turns around. + +Buzz is gone. + +Suddenly, the entire milkcrate begins to shake. Woody looks +up to see... + + BUZZ + +He is on top of the milkcrate, trying to push the tool box +off. + 96. + + + WOODY + Buzz!! What are you doing? I + thought you were + + BUZZ + Come on, Sheriff. There's a kid + over in that house who needs us. + Now let's get you out of this + thing. + + WOODY + Yes Sir! + +Both Buzz and Woody push the milkcrate and together, they +finally get it to move but it's slow progress. + + WOODY + (strained) + Come on, Buzz! We can do it! + +SFX: TRUCK + +The two toys stop to look out the window by the workbench„ + +ANGLE: OUT SID'S BEDROOM WINDOW + +With the rain stopped and the sun beginning to rise... + +A MOVING TRUCK + +can be seen pulling up in front of Andy's house. + + BUZZ + Woody! It's the moving van. + + WOODY + We've got to get out of here... + NOW. + +Buzz braces himself between the tool chest and the wall. + +Using his legs. Buzz pushes with all his might. The toolbox +begins to move. + +Woody notices that with every shove Buzz gives to the tool +chest, the milkcrate begins to edge out over the lip of the +desk. + + WOODY + C'mon, Buzz, + 97. + + +Finally the gap is wide enough for Woody to jump through. +Woody drops down to the floor below. + + WOODY + (LOUD WHISPER) + Alright. Buzz! Hey! I'm out! + +Buzz doesn't hear Woody and continues to shove the toolbox +(and milkcrate) farther out. + + BUZZ + ... almost + (GRUNT) + ... there + (GRUNT) + ... + +Woody looks up just in time to see the entire toolbox and +milkcrate topple towards him. + + WOODY + (nervous laugh) + +The toolbox CRASHES right on top of Woody. + +Buzz falls onto the desktop and glances over to Sid, who +stirs... + + SID + (in his sleep) + I wanna ride the pony... + +Sid does not wake. Buzz heaves a SIGH OF RELIEF, then peers +over the edge of the workbench. + + BUZZ + Woody! Woody?! Are you alright?! + +Woody lifts himself out from under the rubble. + + WOODY + (punch-drunk) + No, I'm fine... I'm okay... + +SFX: ALARM CLOCK + +It goes off by Sid's bed. Woody drops back under the +toolbox and Buzz goes limp. + +Sid groggily sits up for a beat, then his eyes light up. + + SID + Oh, yeah! Time for lift-off! + 98. + + +Sid jumps out of bed, grabs Buzz and bolts out of the room, + + SID (O.S.) + TO INFINITY AND BEYOND!! + +Woody leaps to his feet, runs across the room, and catches +the door just before it closes. As he swings the door back +open Woody is confronted by... + +SCUD + +The dog barrels down the hallway straight for Woody. + + WOODY + Aaah! Back! Back! Down! Down! + +Woody slams the door shut just in time. Scud BARKS AND +SCRATCHES at the door. + + WOODY + (out of breath; to + himself) + Okay, what do I do? Come on Woody, + think! + +Woody looks across the room. + +THE MUTANT TOYS + +have appeared all around the room. + + WOODY + Guys! + +The mutant toys all scatter and hide. + + WOODY + No, no, no! Wait! Wait! Listen! + Please! There's a good toy down + there and he's -- he's going to be + blown to bits in a few minutes all + because of me. I've gotta save him! + (pause) + -- But I need your help. + +No response. + +Woody then notices Babyface timidly peeking out of the +shadows from under the bed. + + WOODY + Please. He's my friend. He's the + only one I've got. + 99. + + + Babyface crawls out and bangs in code on the side of Sid's + metal bedpost. + + The mutant toys emerge from the shadows, and gather around + Woody. He kneels down into a huddle with them. + + WOODY + (to Babyface) + Thank you. + (to the others) + Okay. I think I know what to do. + We're going to have to break a few + rules, but if it works, it'll help + everybody. + + +63 INT. ANDY'S BEDROOM 63 + + THE MOVERS cart out the last load. A forlorn Andy clutches + onto Buzz's *spaceship" box in one hand and his cowboy hat + in the other. + + Andy scans the empty room and heaves a sad SIGH. + + +64 EXT. BACKYARD SHED 64 + + Sid comes out of the shed carrying a bunch of materials + under his arm. + + SID (AS ASTRONAUT) + Houston to Mission Control. Come + in, Control. + + He drops the junk down beside an inanimate Buzz. + + SID + Launch pad is being constructed! + Heh-heh. + + SID'S UPSTAIRS HALLWAY + + Scud is planted right outside Sid's bedroom door, poised to + attack anything that exits. + + +65 INT. SID'S ROOM - CONTINUOUS 65 + + Woody has created a little diagram of the house and yard + out of dominoes and Scrabble tiles. He points to it with a + pencil as he addresses the mutants. + + WOODY + 100. + + + All right, listen up. I need Pump + Boy here -- Ducky here. Legs? + + LEGS, the toy fishing rod with fashion doll legs, steps + forward from the crowd. + + WOODY + (continued; to Legs) + You're with Ducky. + (to the others) + RollerBob and I don't move till we + get the signal. Clear? + + The mutants all give an affirmative nod. + + WOODY + Okay, let's move! + + The toys all break. + + Legs and DUCKY, a duck head Pez dispenser with baby doll + torso and plunger base, rush over to a heating grate and + pull the face plate off the wall. They disappear into the + heating duct. + + +66 INT. HEATING DUCT - CONTINUOUS 66 + + Ducky and Legs come to an intersection. Ducky QUACKS and + they head down the right tunnel. + + +67 INT. SID'S ROOM 67 + + HAND-IN-THE-BOX, the rubber hand in the Jack-in-the-box, + stacks on top of several mutant toys to reach the doorknob + of the bedroom door. + + Woody hops onto ROLLERBOB, a skateboard with a soldier's + upper torso tied to its front. + + WOODY + Wind the frog! + + WALKING CAR, a Hot Wheels car with baby arms, begins + winding up THE FROG, a tin wind-up frog with monster truck + wheels instead of legs. + + +68 INT. SID'S HOUSE/PORCH ATTIC 68 + 101. + + + A bottom of wall insulation is pushed aside to reveal Ducky + and Legs, They make their way towards a junction box + sitting in the center of the floor. + + Ducky and Legs lift the loose junction box. + + +69 EXT. SID'S HOUSE/FRONT PORCH - CONTINUOUS 69 + + THE BROKEN PORCH LIGHT + + suddenly lifts upward and disappears into the roof. + + Ducky extends his Pez neck out of the hole to check that + the coast is clear. + + +70 INT. SID'S ROOM 70 + + All the toys have manned their positions and wait silently, + their eyes fixed on Woody. + + WOODY + Wait for the signal. + + +71 INT. PORCH ATTIC 71 + + Ducky takes the end of the line off Legs' fishing reel, + hooks it onto himself, and is then lowered down through the + open hole. + + +72 EXT, FRONT PORCH - CONTINUOUS 72 + + Hanging halfway down the front door, Ducky begins to swing. + Eventually he swings far enough to reach his destination: + the doorbell. + + Ducky presses it. + + SFX - DOORBELL + + +73 INT. SID'S ROOM 73 + + Woody throws his arm down. + + WOODY + Go!! + 102. + + + Hand-in-the-box throws open the door and The Frog is let + loose. + + The Frog zips through Scud's legs and down the hallway. + + Scud chases after it and follows it down the stairs. + + SFX - DOORBELL + + HANNAH (O.S.) + I'll get it! + + Woody helps the rest of the mutant toys onto the + skateboard. + + WOODY + Alright, let's go. + + Using his front arms, Rollerbob propels the skateboard and + crew out into the hallway. + + +74 INT. SID'S HOUSE/ENTRY WAY 74 + + SFX - DOORBELL + + Hannah walks to the front door... + + HANNAH + I'm coming! I'm coming! + + ... and opens it. + + +75 EXT/INT. FRONT DOORWAY - CONTINUOUS 75 + + Nobody's there. + + Hannah doesn't notice Ducky stuck to the porch floor by his + plunger. + + THE FROG + + zooms down the stairs with Scud BARKING right behind. + + The Frog leaps off the last step, speeds through Hannah's + legs and out the open front door. + + Hannah looks back inside at Scud* In that moment, Ducky + catches The Frog and is quickly reeled upwards back into + the roof. + 103. + + + Scud bursts through Hannah's legs, knocking her over, and + runs out onto the empty porch. + + HANNAH + (annoyed) + SCUD!!! + + Scud suddenly realizes he's been duped, but before he can + get back inside, Hannah slams the front door shut. + + HANNAH + Stupid dog. + + Scud smashes into the closed door and begins BARKING + furiously. + + As Hannah storms off into another room she doesn't notice + Woody and the mutants zipping off the stairs and round the + corner, heading straight into the kitchen. + + +76 INT. KITCHEN - CONTINUOUS 76 + + By now RollerBob has really picked up speed. He shoots + underneath the kitchen table, through the maze of chair + legs, straight towards... + + THE PET DOOR + + WOODY + Lean back! + + The mutants all push back causing the RollerBob to do a + wheelie. They smash through the doggie door... + + +77 EXT. SID'S BACKYARD - CONTINUOUS 77 + + and catapult into the bushes. + + The toys peek out from the bush to see Buzz strapped to the + launchpad. Sid is still in the toolshed. + + SID (O,S.; AS ASTRONAUT) + Uh, Mission Control..,is the + launchpad construction complete? -- + (simulated static) + Uh, Roger, rocket is now secured to + guide wire. We are currently + obtaining the... ignition sticks. + Countdown will commence + momentarily. Stand by -- + (simulated static) + 104. + + +Ducky, Legs, and The Frog shoot out into the yard from a +drain pipe. They exchange a thumbs-up with Woody. + + WOODY + (to toys in the bush) + Let's go! + +The mutants disperse to their designated places in the +yard. + + SID (O.S.) + Hey, Mom?! Where are the matches? + Oh, oh, wait, here they are. + Nevermind... + +Woody runs towards Buzz, who spots Woody approaching. + + BUZZ + (LOUD WHISPER) + Woody?! Great! Help me out of this + thing! + +Woody stops a few feet away from Buzz. + + WOODY + Shhhhhhh! + + BUZZ + What?! + + WOODY + (loud whisper) + It's ok. Everything's under + control. + +Woody deliberately falls down limp on the grass. + + BUZZ + Woody?! What are you doing?! + +Sid emerges from the tool shed. Buzz freezes. + + SID (AS ASTRONAUT) + Houston, all systems are go. + Requesting permission to launch -- + (spotting Woody) + Hey! How'd you get out here? + +Sid picks up Woody, examines him for a beat and then +smiles. + + SID + 105. + + + Oh, well, you and I cam have a + cookout later. Ha-ha-ha... + +He sticks a match prominently in Woody's holster and tosses +him onto the grill of an open barbecue. + + SID (AS ASTRONAUT) + Houston, do we have permission to + launch? -- + (simulated static) + Uh, Roger, permission granted. You + are confirmed at T minus 10 + seconds... + +During Sid's countdown, all the mutants scurry into their +final positions. + +Sid lights a match. + + SID + ... and counting. Ten! Nine! Eight! + Seven! Six! Five! Four! Three! + Two!... One!... + +Sid grins menacingly as the match moves towards the fuse. + + WOODY (VOICE BOX) + Reach for the sky!! + + SID + Huh? + +Sid pulls back from lighting the fuse. He turns to look at +Woody still lying lifelessly atop the barbecue except for +the sound emitting from his voice box. + + WOODY (VOICE BOX) + This town ain't big enough for the + two of us! + + SID + What?! + +Sid walks over to Woody and picks him up. + + WOODY (VOICE BOX) + Somebody's poisoned the water hole. + + SID + It's busted. + +He raises Woody up, about to throw him away -- + 106. + + + WOODY (VOICE BOX) + Who are you callin' busted, + Buster?! + +Sid stops short and looks at Woody again. + + WOODY (VOICE BOX) + That's right. I'm talking to YOU, + Sid Phillips. We don't like being + blown up, Sid, or smashed, or + ripped apart... + +While Woody's voice box talks, Sid checks the pulistring. + +It isn't moving. Sid GULPS. + + SID + W-w-w-we? + + WOODY (VOICE BOX) + That's right. + (beat) + Your toys. + +The remains of broken toys in the yard, led by the bedroom +mutants, begin rising from the ground in "NIGHT OF THE +LIVING DEAD" fashion. + +The toys march forward, forming a circle around Sid. + +Sid is too frightened to scream or move. + + WOODY (VOICE BOX) + From now on, you must take good + care of your toys. Because if you + don't, we'll find out, Sid. We toys + can see... + +Woody's inanimate head rotates 360 degrees. + + WOODY (VOICE BOX) + ... everything. + +For a split second Woody's face comes to life. + + WOODY + (regular voice) + So play nice. + +Sid drops Woody and bolts inside the house. + + SID + AAAAAAAGGGGGGHHHHHH!!!!! + 107. + + + Woody and all the toys CHEER VICTORIOUSLY. + + +78 INT. SID'S ENTRYWAY 78 + + Hannah has just come downstairs carrying a new doll when + Sid rushes up to her. + + SID + The toys! The toys are alive ! + + Sid eyes Hannah's doll and pats it gently on the head. + + SID + N-N-Nice dolly... + + Hannah, sensing Sid's fear, suddenly thrusts the doll in + Sid's face. He SCREAMS and runs upstairs, Hannah chases + after him, taunting. + + HANNAH + What's wrong, Sid?! Don't you want + to play with Sally?! + + +79 EXT. SID'S BACKYARD 79 + + The toys are all congratulating one another. + + WOODY + Nice work, fellahs. Good job. + Cornin' out of the ground -- what a + touch! That was a stroke of genius. + + BUZZ + Woody! + + Woody turns around and looks at Buzz, who's still affixed + to Sid's launchpad. Buzz extends his hand to Woody. + + BUZZ + Thanks, + + They shake. + + SFX: VAN HORN HONKING + + MRS. DAVIS (O.S.) + Everybody say, 'Bye, house. + + ANDY (O.S.) + (depressed) + 108. + + + Bye, house. + +Buzz and Woody look in the direction of Andy's house. + +ANGLE: ANDY'S DRIVEWAY - THE FAMILY VAN + +Through the fence, Andy and his family can be seen getting +into the van. + + BUZZ + Woody! The van! + +Woody quickly hoists Buzz off the pole he was tied to. + + WOODY + (to mutant toys) + We gotta run! Thanks, guys. + +With the rocket still taped to Buzz, the two toys sprint +towards the fence, + +SFX: VAN ENGINE STARTING + + WOODY + Quick! + +Woody easily slips through the slats in the fence, but +Buzz's rocket causes him to become stuck. + +Woody has climbed up on to the rear bumper of the van +before realizing that Buzz is missing. He looks back to +discover Buzz stuck in the fence. + + BUZZ + Just go! I'll catch up! + +Woody jumps down and runs back for Buzz. + +The van begins pulling out of the driveway. + +Woody tugs on a loosened slat and breaks Buzz free of the +fence. + +The two toys run out into the street just in time to see +the van driving off down the street. + +SFX: TRUCK ENGINE + +Woody and Buzz turn around. + +THE MOVING VAN + 109. + + + drives right over them. Woody and Buzz SCREAM, ducking just + in time. + + After the truck passes, Buzz runs after it with Woody a few + steps behind. + + BUZZ + Come on! + + ANGLE: SID'S FRONT PORCH + + Scud is lying on the porch when he suddenly perks up at the + sight of the two tiny toys running down the street after + the moving truck. + + Scud bears his teeth and GROWLS. + + +80 EXT. NEIGHBORHOOD STREET 80 + + Buzz runs up close to the truck with Woody still back a few + paces. + + A STRAP + + dangles off the back of the truck. Buzz makes a leap for it + and grabs hold. He climbs up the strap and onto the bumper. + + Woody then lunges for the strap but it stays just out of + reach. + + BUZZ + You can do it, Woody, + + Woody gives a mighty leap and catches hold of the strap,, + + WOODY + Whew, I made it! + + Woody begins climbing up when suddenly Buzz goes pale. + + Woody looks behind him to see... + + SCUD + + The dog leaps forward and bites down on one of Woody's + legs. + + WOODY + (kicking Scud with other + foot) + 110. + + + Aaaaaahh!! Get away, you stupid + dog! Down! Down! + + Scud tugs on Woody, pulling him down to the end of the + strap. + + BUZZ + Hold on, Woody! + + WOODY + I can't do it! Take care of Andy + for me! + + BUZZ + NO-O-O-O-O-O-!!! + + Buzz leaps off of the truck and onto Scuds snout. He grabs + Scud's eyelids and snaps them hard. Scud YELPS, letting go + of Woody. The dog bucks wildly with Buzz hanging onto his + face. + + WOODY + Buzz! + + The moving truck continues down the street leaving Buzz and + Scud behind. + + Still hanging onto the strap, Woody scrambles up onto the + bumper. He unlocks the back door of the truck and tries to + lift up the heavy door. + + Suddenly, the family van and moving truck come to a stop at + a traffic light,. + + Woody slams into the door, causing it to fly upward taking + Woody with it. + + Hanging from the door, Woody scans the inside of the truck + until he spots what he's looking for. + + A PILE OF MOVING BOXES. + + with the words "ANDY'S TOYS" written on them in crayon. + + +81 EXT. NEIGHBORHOOD STREET 81 + + Scud flings Buzz off his face. Buzz goes tumbling under a + parked car. Scud runs over to the car, but is too big to + get under it. + + +82 INT. BACK OF MOVING TRUCK 82 + 111. + + + Woody rips into one of Andy's boxes. + + ANGLE: INSIDE OF BOX + + All the toys wince and MOAN as they cover their eyes from + the sudden brightness. + + TOYS + What?! + + REX + Are we there already? + + SLINKY + Woody?! How'd you -- + + Woody's response is to slide the box aside and begin + rummaging through the next box. + + Slinky, Potato Head, Rex and the other toys GRUMBLE IN + CONFUSION as they poke their heads up out of the first box. + + WOODY + Ah»hah! There you are!! + + Woody pulls the RC Car and its remote out of the second + box. + + POTATO HEAD + Hey! What's he doing? + + Woody runs to the back of the truck and throws the RC Car + out onto the street. The other toys SCREAM in horror. + + REX + He's at it again! + + +83 INTERCUT - EXT. STREET/INT. REAR OF MOVING TRUCK 83 + + Woody turns on the remote and steers the RC car past Scud + and under the parked car where Buzz is hiding. + + RC's motor WHIRRS happily at the sight of Buzz. + + The traffic light turns green allowing the van and truck to + cross the intersection. + + MR. POTATO HEAD + (pointing at Woody) + Get him!!! + 112. + + +All the toys pour out of their boxes and CHARGE on Woody. + + WOODY + Ah-h!! Ah-h! No, no! + +Woody continues to steer the remote while trying to avoid +the angry mob of toys. + +Buzz jumps on to the RC car and they zoom back towards the +moving truck. + +Scud is right on their heels and is about to chomp down on +Buzz + +Rocky picks up Woody and spins him over his head. + + WOODY + No, no, no! Wait! + (as Rocky spins him) + Whoa-Whoa-Whoa...! + +-- The RC Car suddenly swerves from Scud's jaws and starts +doing doughnuts (matching Woody's) in the middle of the +street. + + BUZZ + (SPINNING) + Whoa-Whoa-Whoa! + +Rocky throws Woody to the floor. + +-- RC resumes his course straight down the street with Scud +giving close chase. + +Hamm leaps off a pile of boxes and onto Woody. + + HAMM + Pig pile! + +-- The RC car hops up in the air, tossing Buzz up and off. +Buzz manages to land back on RC, but facing backwards. + +ANGLE: TRAFFIC LIGHT + +It changes red again and the wall of cross traffic resumes. + +Buzz and the RC Car drive straight into it. + +Scud blindly follows them into the traffic and skids to a +halt just missing a car. The car swerves and CRASHES into +another car. Soon there is a multi-car pile up that +encircles Scud, entrapping the dog. + 113. + + + Buzz and the RC Car emerge from the intersection safely on + the other side. + + +84 INT. BACK OF THE TRUCK 84 + + The mob of toys lift up Woody (still holding the remote) + and head for the open back. + + WOODY + No wait! You don't understand! Buzz + is out there! We've gotta help him! + + MR. POTATO HEAD + Toss 'im overboard! + + WOODY + No, no, no, wait! + + The toys toss him out into the road, As the truck drives + off the toys CHEER. + + MR. POTATO HEAD + So long Woody! + + +85 EXT. STREET - CONTINUOUS 85 + + SFX: CAR HORN + + Woody turns around and ducks just in time as a car passes + over him. + + Shaken, Woody tries to get up again when... + + BUZZ & RC + + come barreling towards him. + + BUZZ + Who-o-o-oa! Woody! + + The RC Car sweeps up Woody and keeps driving. + + Woody finds himself sitting in front of Buzz (still holding + the remote.) + + WOODY + Well, thanks for the ride. + + BUZZ + (POINTING AHEAD) + 114. + + + Look out!! + + The toys are about to slam into the rear tire of the car + that had passed over Woody earlier. + + Woody SCREAMS and gives the steering wheel on the remote a + hard left, missing the tire by inches. The RC Car moves up + under the car. + + WOODY + Now let's catch up to that truck! + + ANGLE: RC REMOTE + + Woody flicks a switch from "ON" to "TURBO". + + The RC Car speeds up towards the moving truck. + + +86 INT. BACK OF THE MOVING TRUCK 86 + + The toys are busy CONGRATULATING one another when Lenny, + the wind-up binoculars, glances out the back and spots Buzz + & Woody. + + LENNY + Guys! Guys! Woody's riding RCI And + Buzz is with him! + + TOYS + What?!!! + + The toys rush to the edge of the open truck. Bo picks up + Lenny and looks through him. + + ANGLE: BINOCULAR VIEW OF BUZZ & WOODY + + BO PEEP + It is Buzz! Woody was telling the + truth! + + SLINKY + What have we done?! + + REX + Great. Now I have guilt. + + +87 EXT. STREET/BACK OF THE MOVING TRUCK 87 + + The RC Car begins to gain on the truck. + 115. + + + WOODY + We're almost there. + + BO PEEP + Rocky! The ramp! + +Rocky, the wrestler doll, rushes over to a lever on the +side of the back. The sign above it reads "RAMP: UP/DOWN". +Rocky pushes down hard on the lever. The ramp begins to +lower. + +Woody &. Buzz look up to see the ramp about to come down +right on top of them. + + BUZZ + Look out!! + +The RC Car pulls back just before the heavy ramp slams into +the road. Sparks fly everywhere from the metal scraping the +pavement. + + SLINKY + (to other toys) + Quick! Hold on to my tail! + +Potato Head and Rex grab on to Slinky's tail allowing + +Slinky's front end to jump off the truck and onto the ramp. + +Slinky leans forward with his paw outstretched to Woody. + +Woody hands the remote to Buzz and leans forward to grab +Slinky's hand. + +ANGLE; WOODY & SLINKY'S HANDS + +They grab hold of one another. + + MR. POTATO HEAD + That a boy, Slink!! + +All of a sudden, the RC Car begins to slow down pulling +Slinky's front end off the ramp. + + SLINKY + Woody!! + +His slinky middle begins to stretch and stretch... + + SLINKY + Woody! Speed up! + 116. + + + WOODY + (to Buzz) + Speed up! + + BUZZ + The batteries! They're running out! + + RC's headlight eyes sag. The car slows even more. + + As Slinky continues stretching. The RC Car begins to weave + side-to-side like a water skier. + + SLINKY + Whoa! Whoa! Whoa! + + +88 INT. FAMILY VAN 88 + + With Mom and Andy preoccupied, baby Molly looks in her + sideview mirror. + + ANGLE: PASSENGER SIDE MIRROR + + The RC CAR (w/ Woody and Buzz) weaves into view and then + back out. + + Molly SQUEALS with delight. + + +89 EXT. STREET/BACK OF MOVING TRUCK 89 + + With Slinky's mid-section stretched to the limit, he begins + to lose his grip on Woody. + + SLINKY + I can't hold on much longer! + + WOODY + Slinky! Hang on! + + Slinky's hand slips, sending his front shooting back into + the moving truck and knocking over all the toys. + + The RC Car sputters to a stop. + + Woody and Buzz watch in vain as the family van and moving + truck disappear. + + Buzz tosses the remote to the ground in frustration. + + WOODY + (sarcastic) + 117. + + + Great! + +BEAT + + BUZZ + Woody! The rocket! + + WOODY + The match! + +Woody pulls out the match from his holster that Sid had put +there earlier. + + WOODY + Yes! Thank you, Sid! + +Woody runs around behind Buzz, strikes the match against +RC's back tire, and is about to light the fuse when... + +A CAR. + +whizzes right over them, blowing out the match. + +Woody clenches the burnt match in his hands and falls +prostrate to the ground. + + WOODY + No-o-o! No-no-no-no! No-o-o! + +Unable to watch a cowboy cry, Buzz bows his head, causing +his helmet to block the sun from Woody. + +As Buzz's shadow.passes over him, Woody stops whimpering +and looks at his hand. + +A WHITE HOT DOT + +like the one generated from Sid's magnifying glass, appears +on the back of Woody's hand. + +Woody leaps up, grabs Buzz's helmet and aligns it so the +white dot hits the tip of he fuse. + + BUZZ + Woody?! What are you doing? + + WOODY + Hold still, Buzz! + +The fuse lights. + + WOODY + 118. + + + Ha-ha!! + + BUZZ + You did it! Next stop. Andy. + + Woody jumps back onto the car then suddenly stops smiling, + + WOODY + Wait a minute... I just lit a + rocket. Rockets explo — + + SFX: ROCKET EXPLOSION + + The RC CAR rockets forward. Speeding along the dividing + line in the road, it easily passes car after car until the + moving truck can be seen on the horizon. + + +90 EXT. BACK OF MOVING TRUCK 90 + + The toys are gathered around Slinky, his spring splayed out + on the floor. + + SLINKY + I shoulda held on longer. + + Lenny looks out the back again. + + LENNY + Look! Look! It's Woody and Buzz! + Cornin' up fast! + + The toys run to the opening and CHEER, + + ANGLE: BUZZ AND WOODY + + The rocket is so strong that it begins to lift Buzz and + Woody off the RC Car, Woody manages to continue holding + onto RC -- but not for long. + + The toys CHEERING turns to SCREAMING as they rush to get + out of the way of the oncoming "RC rocket". + + REX + Take cover!! + + Woody is forced to let go of the RC Car, + + They separate, sending the two toys upward and RC into the + back of the truck. + 119. + + + RC smashes into Potato Head, sending all of his parts + flying. + + +91 EXT. SKY - BUZZ AND WOODY 91 + + The rocket hurtles upward higher and higher. + + WOODY + Ahhh!! This is the part where we + blow up! + + BUZZ + Not today! + + Buzz confidently presses the button on his chest. + + WINGS + + jut out of Buzz, severing the tape that holds him to + rocket. The toys separate from the rocket just before it + BLOWS UP. + + The toys plummet. + + WOODY + (covering his eyes) + Ah-h-h-h-h!! + + Just then Buzz banks under some power lines and soars + upward again. Woody takes a peek. + + They're flying. + + WOODY + Hey, Buzz!! You're flying!! + + BUZZ + This isn't flying. This is falling + with style! + + WOODY + Hail To Infinity and Beyond!! + + They soar gracefully towards the moving truck, but then + pass over it. + + WOODY + Uh, Buzz?! We missed the truck! + + BUZZ + We're not aiming for the truck! + 120. + + + ANGLE: FAMILY VAN + + Buzz & Woody fly right over the van's sun roof and then + drop into the car. + + +92 INT. FAMILY VAN - CONTINUOUS 92 + + Before anyone can notice, Woody & Buzz land in an open box + in the back seat right next to Andy. + + Andy turns to discover the limp Buzz and Woody lying in the + box. + + ANDY + Hey! Wow! + + MRS. DAVIS + What? What is it? + + ANDY + (picking up the toys) + Woody! Buzz! + + MRS. DAVIS + Oh, great, you found them. Where + were they? + + ANDY + Here! In the car! + + MRS„ DAVIS + See? Now, what did I tell you? + Right where you left them. + + Andy hugs both toys, + + CLOSE UP - WOODY AND BUZZ + + They give each other a knowing wink. + + DISSOLVE TO: + + +93 EXT. ANDY'S NEW HOUSE - CHRISTMAS MORNING - LIVING ROOM BAY 93 + WINDOW + + Through the gently falling snow, the Davis family can be + seen around the Christmas tree unwrapping presents. + + ANDY + Which one can I open first? + 121. + + + MRS. DAVIS + Let's let Molly open one. + + +94 INT. ANDY'S NEW HOUSE/LIVING ROOM - CHRISTMAS TREE 94 + + One of the Christmas bulbs moves aside to reveal... + + THE SARGENT + + The plastic green soldier spies on the Davis family with + his binoculars. He turns and motions back into the tree. + + +95 INT. CHRISTMAS TREE 95 + + A baby monitor sits wedged between some branches supported + by several green army men. One of the soldiers turns it on. + + +96 INT. ANDY'S NEW BEDROOM 96 + + The receiving end of the monitor is atop Andy's night + stand. It CRACKLES WITH STATIC. + + SARGENT (O.S.; OVER THE MONITOR) + Frankincense this is Myrrh. Come + in, Frankincense. + + Buzz sits on the edge of Andy's bed while Hamm rests on the + nightstand alongside the monitor. They listen intently. + + HAMM + (to the room) + Hey, heads up everybody! It's + showtime. + + Woody and the rest of the toys are MINGLING together like a + typical office Christmas party. + + REX + Oh! It's time! + + The toys all stop and run towards the monitor. + + Woody is about to follow when a crook pulls him backwards + to reveal... + + BO PEEP + + WOODY + Whoooooah! Oh! Bo! + 122. + + + (rubbing his neck) + There's gotta be a less painful way + to get my attention. + + BO PEEP + Merry Christmas, Sheriff. + +She smiles and points her crook upwards to her sheep +perched on a shelf dangling mistletoe. + + WOODY + Say, isn't that mistletoe? + + BO PEEP + Mm-hmmmrnm. + +Bo drops her crook, dips Woody and KISSES him. + +The rest of the toys have congregated below the monitor +restless with "excitement' not fear. + + REX + (to Slinky) + Maybe Andy'll get another dinosaur, + like a leaf-eater. That way, I + could play the, uh, dominant + predator. Ha ha ha! + +Slinky LAUGHS with Rex. + + BUZZ + Quiet everyone, quiet... + + SARGENT (O.S.; OVER MONITOR) + Molly's first present i-i-is...Mrs. + Potato Head. Repeat. A Mrs. Potato + Head. + + HAMM + Way to go, Idaho! + +All the toys CONGRATULATE Potato Head. + + POTATO HEAD + Gee, I better shave. + +Potato Head whips off his moustache piece. + +Woody climbs up onto the bed and joins Buzz. Lipstick now +covers Woody's face. + + SARGENT (O.S.; OVER MONITOR) + 123. + + + Come in. Frankincense. Andy is now + opening his first present ~~ + (STATIC) + +Buzz bangs on the side of the monitor. Nothing. + + WOODY + Buzz. Buzz Lightyear. You are not + worried, are you? + + SARGENT (O.S.; OVER MONITOR) + I can't quite make out -- + (STATIC) + + BUZZ + (defensively) + Me? No, no, no, no... + (beat) + Are you? + + WOODY + (laughing) + Now Buzz, what could Andy possibly + get that is worse than you?! + +We TRUCK OUT through the window to the EXT. as we HEAR... + + ANDY (O.S.) + Oh, what is it? What is it? + +SFX: BARKING + + ANDY (O.S.) + Wow! A puppy! + +We ZOOM BACK through the window to a CLOSE UP of Buzz and +Woody. + +They look at one another with a half-smile, half-grimace +and LAUGH WEAKLY. + + FADE OUT: + \ No newline at end of file diff --git a/scripts/Training Day.txt b/scripts/Training Day.txt new file mode 100644 index 0000000000000000000000000000000000000000..41d404d757463f6b320403714c9824aca605811a --- /dev/null +++ b/scripts/Training Day.txt @@ -0,0 +1,6343 @@ + 1. + + + + FADE IN: + + +1 INT. JAKE'S HOUSE - BEDROOM - CLOSE ON ALARM CLOCK - 1 + PREDAWN - 4:59 AM + + In a Santa Clarita housing tract. It's dark. + + WIDER ANGLE + + Eyes glisten in the clock's shine, patiently watching the + time. + + BZZZZ! The ALARM SOUNDS. A hand that's been hovering over + the clock drops. Silence. JAKE HOYT, a fit young man, rolls + over, throws an arm over his sleeping wife -- + + JAKE + It's time. + + -- she's not there, just empty blankets. He sits up, + sporting a scraggly goatee, his hair growing out. + + HIS POV + + LISA, his wife, in a rocking chair in the corner. + + BACK TO SCENE + + Jake is surprised. How'd she sneak off? + + JAKE + What are you doing up? + + She pulls back the blanket, she breast-feeds their infant + daughter. + + LISA + Mooooo. + + She lavishes kisses on her baby. + + CUT TO: + + +5 INT. JAKE'S HOUSE - KITCHEN - CLOSE UP - BRASSO - DAWN 5 + + is squirted on terry cloth. A badge is rubbed against it in + precise circles. + + WIDEN TO: + 2. + + +Jake in T-shirt and jeans, studies the gleaming badge, +snaps it in its case, clips it to his belt. He tosses a +duffel on the counter. Searches through the police gear. +Lisa taps a police baton on his shoulder. He takes it. + + JAKE + Thanks. + + LISA + Wrong day to forget stuff. + Everyone's saying how lucky you + are. Don't screw this up. + +He gives her a look, shoves it in the bag. + + JAKE + She go back to sleep? + + LISA + Mmm-hmm. Ate like a pig. + +Jake does a final check of gun belt. Inspecting his Beretta +and magazines. + + JAKE + I know how lucky I am. I ace this + assignment. Department's wide open. + Get my own division someday. You + should see those guys' houses. + +She grabs a pack of English muffins. Jake catches his +reflection in a mirror, rubs his chin. He doesn't like the +way he looks. Next to the mirror is his police academy +graduation photo. Clean-cut, almost adolescent. Lisa plays +with his goatee, she likes it. + + LISA + Want some eggs for the road? + + JAKE + I gotta roll. Gotta beat the + traffic. + +He shoves his gun belt in the duffel. Zips it shut. He +grabs a pressed uniform off a chair, and his police hat, +wrapped in plastic. He kisses Lisa's cheek, her neck, her +lips. Heads to the door. The PHONE RINGS. Jake stops. Lisa +answers. + + LISA + Hello? + (beat, laughs) + How nice, thank you. + 3. + + + (beat, giggles) + I will, don't worry. + +Jake looks at her, wondering who the hell is making his +wife giggle so much. + + LISA + He's right here. + (to Jake) + Jake. It's Alonzo. + +Jake reacts, steels himself and takes the phone. + + JAKE + Hello? + + ALONZO (V.O.) + Hoyt? + + JAKE + Yes, sir? + + ALONZO (V.O.) + On your way to roll call? + + JAKE + Yes, sir. I'm out the door right + now. + + ALONZO (V.O.) + Hoyt. + + JAKE + Yes, sir? + + ALONZO (V.O.) + Patrol fairies go to roll call. We + don't go to roll call. + + JAKE + Yes, sir. + + ALONZO (V.O.) + There's a coffee shop at 7th and + Witmer. See you there at ten. Be in + civvies. Comfortable shoes. Got a + backup gun? Something pocket-sized? + + JAKE + No, sir. Just my department issue + service pistol. + + ALONZO (V.O.) + 4. + + + Bring it. Cuffs, too. We're gonna + be in the office all day, but who + knows, maybe we'll do some + business. We're an aggressive unit. + + JAKE + I know. That's why I signed up. I + want to thank you for giving me the + oppor -- + + -- CLICK! Alonzo hangs up. Jake too. He stands there, grabs + his nervous stomach. + + LISA + What's wrong? + + JAKE + Feel like it's football tryouts. + Wish it was tomorrow so I'd know + already if I made his squad or not. + + LISA + It's not tomorrow. It's today. And + it's gonna work out. I know it + will. + + JAKE + I gotta relax. + + Lisa looking at him. He gets an idea, snuggles up to her. + + JAKE + Don't have to show up until ten. + + She breaks the embrace, sore breasts, ouch! + + JAKE + Soon they'll be mine again. + + Jake chases them with cupped hands as she retreats, + giggling. Their game. + + CUT TO: + + +7 INT. COFFEE SHOP - DAY 7 + + Old and tired, near Good Samaritan Hospital. Jake struts + through the door, confidently looks around. + + JAKE'S POV + 5. + + + DETECTIVE SERGEANT ALONZO HARRIS, in black shirt, black + leather jacket. And just enough platinum and diamonds to + look like somebody. He reads the paper in a booth. The gun + leather-tough LAPD vet is a hands-on, blue-collar cop who + can kick your ass with a look. + + BACK TO SCENE + + Jake walks over. Slides in across. Alonzo's eyes will never + leave his newspaper. + + JAKE + Good morning, sir. + + A young waitress pours Jake coffee, offers a menu. Jake + waves it away. + + JAKE + I'm okay, ma'am. Thank you. + + ALONZO + Have some chow before we hit the + office. Go ahead. It's my dollar. + + JAKE + No, thank you, sir. I ate. + + ALONZO + Fine. Don't. + + Alonzo turns the page. A long beat. Then: + + JAKE + It's nice here. + + ALONZO + May I read my paper? + + JAKE + I'm sorry, sir. I'll get some food. + + ALONZO + No. You won't. You fucked that up. + Please. I'm reading. Shut up. + + Jake does, Jeeez, sorry. Pours a ton of sugar in his + coffee. + + TIME CUT TO: + + +10 INT. COFFEE SHOP - DAY 10 + 6. + + +The waitress pours refills. Alonzo reads. Jake fidgets. + + JAKE + Sure wouldn't mind not roasting in + a hot black and white all summer. + +Alonzo sighs, carefully folds his paper. Glares at Jake. + + ALONZO + Tell me a story, Hoyt. + + JAKE + My story? + + ALONZO + Not your story. A story. You can't + keep your mouth shut long enough to + let me finish my paper. So tell me + a story. + + JAKE + I don't think I know any stories. + +Alonzo waves the paper in Jake's face. + + ALONZO + This is a newspaper. And I know + it's ninety percent bullshit but + it's entertaining. That's why I + read it. Because it entertains me. + If you won't let me read my paper, + then entertain me with your + bullshit. Tell me a story. + + JAKE + A real one or should I make one up? + + ALONZO + (sighs) + Where'd you do your probation? + + JAKE + Van Nuys. + + ALONZO + Right. The Valley. No cute little + anecdotes about writing underage + smoking cites at the shopping mall? + +Jake thinks. Bingo! He's got it. + + JAKE + There was this D.U.I. stop. + 7. + + + ALONZO +A D.U.I. stop. Wow. Go on. + + JAKE +We were on the mid-watch. + + ALONZO +We? You and--? + + JAKE +Debbie. + + ALONZO +Debbie? The hell's Debbie? + + JAKE +My training officer. Debbie Maxwell +-- + + ALONZO +-- Your T.O. was female? + + JAKE +Yes, sir. + + ALONZO +She white? Black? + + JAKE +White. + + ALONZO +She dyked out or she any good? + + JAKE +She's pretty good. + + ALONZO + (he's hooked) +So you and Debbie are pullin' a +mid-watch? + + JAKE + 8. + + + Right. It's a real quiet night. A + yawner. We're rolling on Vanowen. + I'm driving. And this Acura, just a + beautiful car, comes out a side + street. In excess. All over the + median. So I light it up and hit + the wailer. Guy drives on like I'm + invisible for ten blocks before he + pulls over. Plates ran clean. + Debbie covers as I approach. + Driver's this huge white guy. Can + barely keep his eyes open. I field + test and arrest and I'm belting him + in our unit. Debbie's tossing his + car. She calls me to the vehicle + and shows me a snubbed .38 and two + shotguns, all loaded and locked. + + ALONZO + No shit? + + JAKE + No shit. She calls our supervisor + and I keep searching. I find five + hundred grams of meth in the dash. + Turns out our D.U.I. was on bail + for distribution. He was on his way + to smoke his ex-partner before + trial. + (proudly) + We prevented a murder. + +Alonzo is astonished. + + ALONZO + -- amazing-- + +Jake beams, some story, huh? + + ALONZO + You're driving around the Valley + with a fine bitch in your car for a + year and the most entertaining + story you got is a drunk stop? + Never hit her up for some Code X in + the back seat? Didn't tap it? + + JAKE + I have a wife. + + ALONZO + You also have a dick. + 9. + + + Alonzo shakes his head in disgust. Jake is crushed. + + ALONZO + Let's go. + + Alonzo tosses a fifty on the table. OFF his heavy wedding + band we -- + + CUT TO: + + +11 EXT. COFFEE SHOP - PARKING LOT - DAY 11 + + Jake and Alonzo crossing. Alonzo sizes Jake up. + + ALONZO + You walk and talk like a damn cop. + + Alonzo stops at: + + G-RIDE + + A narc-machine supreme. A clean, black 1978 Monte Carlo on + nice rims. + + ALONZO + Gimme that menu. + + Jake pulls a Chinese menu from under the wiper. Hands it to + Alonzo, who folds and pockets it. + + ALONZO + Get in. S'unlocked. + + Jake admires the car, climbs in. + + +13 INT. G-RIDE/EXT. COFFEE SHOP - DAY 13 + + Jake buries his shoes in beer cans and coffee cups. Alonzo + twists the key and pumps the hell out of the gas. After a + beat, the ENGINE CATCHES - VROOM! + + JAKE + This isn't from the motor pool. + + ALONZO + Don't worry. My baby puts out when + she has to. + + Alonzo rubs the dash lovingly. + 10. + + + JAKE + Where's the office? Back at + Division? + + Alonzo hits the switches and the G-Ride is raised by + hydraulics. + + ALONZO + You're in it. + + Jake reacts. Then smiles. This is kinda cool. + + +14 INT. G-RIDE - 7TH STREET - MOVING - DAY 14 + + Alonzo SQUEALS out of the lot. They pass the formidably- + stylish Metropolitan Detention Center. + + ALONZO + Rover's in the glove box. Wanna + ten-eight us? + + JAKE + Yes, sir. + + ALONZO + Shitcan the sirs. I'm not your + domestic violence awareness + instructor. + + Jake takes a Motorola radio from the glove box. + + JAKE + What's our I.D.? + + ALONZO + Nora fifteen. + + JAKE + (into Motorola) + Nora fifteen, ten-eight. + + DISPATCH (V.O.) + Nora fifteen, ten-twenty. + + Jake checks the street signs, 7th and Broadway. Before he + can tell Dispatch, Alonzo snatches the Motorola as he makes + a left on Broadway. + + ALONZO + (into rover) + Nora fifteen, South on Rampart at + Beverly. + 11. + + + DISPATCH (V.O.) + Ten four. + + Alonzo tosses Jake the rover. + + ALONZO + Bad guys are listening. Don't trust + the radios. Never let anyone know + where you're really at. Ever. + + Jake nods and smiles, makes sense. + + CUT TO: + + +15 INT. G-RIDE - BROADWAY - MOVING - DAY 15 + + Heading north on Broadway in downtown LA. It could be San + Salvador or Guatemala City. Jake is mesmerized by the + crowds. + + JAKE + This looks like the Third World. + + ALONZO + It's my world. + + Jake notes several men making hand signs as they pass. + + JAKE + They're flashing gang signs. + + ALONZO + They're selling micas. Fake I.D.s. + Green cards, licenses, socials. + + Alonzo gives Jake a fatherly look, lights a smoke. Settles + in his seat. + + ALONZO + 12. + + + Today's a training day. Gonna show + you around, give you a feel for the + business. I have thirty-eight cases + pending trial. I have sixty-three + active investigations. There's + another three hundred and fifty + cases on the log I can't clear. I'm + supervising five officers. That's + five different personalities, five + different sets of problems. You, + Officer Hoyt, if you got the guts + to succeed, will be number six. I + don't have time to baby-sit or hold + hands. You have one day to show me + who you are and what you can or + cannot handle. You can't hack + narcotics, feel free to work a + pussy desk chasing bad checks. Hear + me, Officer Hoyt? + + JAKE + I hear you. + + ALONZO + Good. Gonna show you reality. Think + you can handle it? + + JAKE + Yeah. + + ALONZO + Why you wanna be a narc? + + JAKE + I want to serve my community by + ridding it of dangerous drugs. + +Alonzo gives him a look. Don't b.s. me. + + JAKE + I wanna make detective. + +The boy is ambitious. Alonzo likes that. As they cruise +down Broadway, a black and white up the street does a +sudden U-turn. + + ALONZO + Stick with me and you will. If you + can unlearn the bullshit they've + filled your head with. + + ALONZO + 13. + + + You gonna be passing out baseball + cards and carrying old ladies' + groceries like the rest of the + newfucks Washington's flooded the + streets with? + + JAKE + I'll do anything you want me to do. + + ALONZO + Good. Roll your window down. Can't + hear the street. + +Jake does. + + ALONZO + Stand by, because narcotics ain't + about staying in the car and + looking good. I bet you write great + paper, Hoyt. + (before Jake can answer) + You do. I checked it out. Cover + your area, cover your ass, but not + necessarily in that order, right? + + JAKE + Right. + +The two cops from the black and white have their guns drawn +on five hardcore cholos with tats on their shoulders and +heads. A white cop screams at them in English, then +switches to Spanish as his partner pours beer on a cholo's +head. + + ALONZO + How's the Espanol? + + JAKE + Mas o menos. + + ALONZO + Work on it. People'll be plotting + the worst kind of shit behind your + back. + + JAKE + Right. Are you going to teach me + that old school, hard-charging, + beat up everything that moves + Rodney King shit? + + ALONZO + 14. + + + No way. I'm the new breed. I use + this-- + (taps his head) + This is my tool. + + The G-Ride crosses the 1st Street Bridge, revealing Echo + Park spread before them. + + +16 INT. G-RIDE - 1ST STREET BRIDGE - MOVING - DAY 16 + + ALONZO + How long you been married? + + JAKE + A year. + + ALONZO + Gotta kid, right? + + JAKE + (smiles) + A nine-month-old girl. + + ALONZO + I got four kids. All boys. You want + a son, lemme know. I'll do your old + lady up. I can't miss. + + Jake angers, although he knows he is being tested. + + JAKE + Let's not talk about my family. + + ALONZO + It's cool. I can respect that. I'm + married. I have my queen, too. I + remember what it's like to have a + pretty young bride. Bet you still + fuck her face-to-face. + + JAKE + (clenched teeth) + Can we not talk about my wife? + + ALONZO + Kick back, kid. You're so in love + it's comin' out your eyes. The day + you bring the old lady to the + office is the day you don't go + home. If you don't hide your love + deep inside, maggots out here will + find it and chew it up. + 15. + + + Jake realizes Alonzo is right. Alonzo hands him a card. + + ALONZO + That's our Chaplain, Lieutenant + Conelly. Give him a call. Invite + him and his wife over for dinner. + He's a good guy and no dumbshit. + You and your woman need any kinda + help, call him. I'm serious. + + Jake takes the card. Kind of smiles. + + JAKE + Thanks. I will. + + They cruise a beat. + + JAKE + Who's Mr. Clean? + + Alonzo nails him with surprised look. + + ALONZO + Where the hell you hear that? + + JAKE + From a Valley Robbery Detective. + Told me to ask you that. + + ALONZO + (smiles, shakes his head) + Asshole. + + +17 EXT. G-RIDE - NETO'S STREET - DAY 17 + + Alonzo pulls onto a street of dense apartments. Parks along + the curb. + + JAKE + What's here? + + ALONZO + Transactions. See the Salvatrucha + zero head on the fence, trying not + to look like he's slangin'? + + Jake looks, sees a young, bald cholo, Neto, just hanging + out. + + ALONZO + That's Neto. Homeboy did three + years in the boyna roja. Red beret. + 16. + + + JAKE + What's that? + + ALONZO + Batallon de accion rapida Atlacatl. + (off Jake's look) + El Salvadoran special forces. + Punk's only seventeen and can kill + with the best of them. Works for + me. + + JAKE + Jesus. He an informant? + + ALONZO + I got eyes everywhere. He gets to + peddle reefer, make a little cash + for the family. I get a heads-up + when shit goes down. The barrio dot + com. + + JAKE + And you trust him? + + ALONZO + Goddamn right I trust him. Sprung + his mom from I.N.S. detention. + +Alonzo watches his mirror, perks up. + + ALONZO + Here we go. + +INSERT - MIRROR + +A new VW Beetle pulls onto the street, moving slow. + +BACK TO SCENE + +The VW passes the G-Ride. Jake glimpses three people +inside, two guys in front, a girl in back. Hipster +university students. + + ALONZO + Shit's going down. + +JAKE'S POV + +The VW stops. Neto looks around, crosses to the driver's +window, a drink cup in hand. Neto plucks a foil pack from +the cup. Trades it for the driver's ten. + +BACK TO SCENE + 17. + + + Neto walks away, disappears into some apartments. + + ALONZO + See the hand-to-hand? + + JAKE + I saw it. + + The VW drives off, fast. Alonzo pulls out. Follows it. + + ALONZO + When was your last felony stop? + + JAKE + Couple weeks ago. + + ALONZO + You need practice. + + JAKE + They look like college kids. + + ALONZO + They need a lesson. I want the + Brady Bunch grabbing glass. I got + front. You got back. + + Alonzo pulls his gun. Jake reaches for the Motorola. + + ALONZO + Stay off the rover. + + Jake puts it away, pulls his gun. Alonzo stomps the gas. + The G-Ride HOWLS. The VW is at the corner, about to turn! + + +22 EXT. G-RIDE - VW BUS AT STREET CORNER - DAY 22 + + SCREEEEEECH! Alonzo slaloms to a stop, blocking its path. + His pistol aimed through Jake's window at the DRIVER. + + ALONZO + Police! Lemme see your hands! + + Jake draws a bead on the girl in back. + + JAKE + Police officers! Your hands! + + The kids gawk at the two narcs for a stunned beat. + + JAKE + 18. + + + Don't look at us! Look straight + ahead! + + ALONZO + Driver and right front passenger! + Palms on the windshield! + + JAKE + You in the back! Palms on the side + window! Look straight ahead! + + ALONZO + Driver! Use your left hand, put the + vehicle in park. + +The Driver is mortified because: + + DRIVER + -- it's a stickshift-- + + ALONZO + Shut up, dickhead! I'll shoot your + face off! Take the keys out of the + ignition. Throw 'em out the window! + +The Driver does, quickly, as Alonzo jumps from the car, +charges the Driver, shoves the gun in his face. These are +just scared kids. The girl tries not to cry. + + ALONZO + Fork it over, smartman. + + DRIVER + What, sir? + +Alonzo grabs his ear, tugs violently. + + ALONZO + The marijuana I just watched you + purchase! + +The Driver hands over the foil pack. + + PASSENGER + I'm very sorry, sir. I didn't know + he was bringing me here. + + ALONZO + Shut up, dumbass. You're here now! + Gimme that pipe! + +There's an ornate pot pipe on the floor mat. The PASSENGER +picks it up. Reluctantly hands it to Alonzo. + 19. + + + PASSENGER + My mom gave me that pipe. + + ALONZO + What else you got? + + DRIVER + Cigarettes? + + ALONZO + Gimme those too. + +He gives him a squished packed of Marlboro reds. The kids +realize Alonzo isn't your average cop. The girl sees Neto +standing down the block like nothing is going on. She +lowers her hands, bad move. + + ALONZO + Control your suspect, Hoyt! + + JAKE + Miss! Palms on the glass! + +Alonzo sees her lip quiver. + + ALONZO + Cry and I slap the eyes outta your + face! + +Back to the Driver. + + ALONZO + You aware this is a gang + neighborhood? + +That gives him pause, no kidding. Alonzo grabs his ear +again, shakes. + + ALONZO + I see you here again, I take your + car. You can walk home while your + girlfriend pulls a homeboy train. + Hear me, reefer addict? + + DRIVER + Yes, sir. + + ALONZO + Thank you for your cooperation. + Safe your iron. + +ON VW + 20. + + + Jake holsters his gun. Follows Alonzo to the G-Ride. The + kids lower their hands. + + ON G-RIDE + + Alonzo and Jake climb in. As they drive away, the girl + nails Jake with a look of revulsion. Jake reacts. + + CUT TO: + + +25 INT. G-RIDE - NETO'S NEIGHBORHOOD - MOVING - DAY 25 + + Alonzo laughing. Jake didn't like what happened. It shows. + + JAKE + Was that training? How to roust + students for dime bags? + + ALONZO + They have no business being here. + Sooner or later that little smart- + ass white boy college puke is gonna + get jacked. I saved his life. + + JAKE + Taught him a real lesson. + + ALONZO + Sure did, buy your shit on campus. + (beat) + I like your moves. Someone trained + you well. + + Jake smiles to himself. Alonzo opens the foil, sniffs. + + ALONZO + Shitty dime. Check it out. + + He hands it to Jake. Who takes out a bud. + + ALONZO + See the small hairs? The + undeveloped seeds. How it's all + stems? + + Jake nods. + + ALONZO + 21. + + + It was picked immature. See how + flat it is? Classic brick-pack + Mexican. See how brittle it is? + It's not bud season. It's from last + year. + +Jake is amazed. Alonzo snatches the bud, crumbles it in the +pipe, tosses aside seeds. + + ALONZO + To be truly effective, a narcotics + detective must know and love + narcotics. A good narcotics + detective should have narcotics in + his blood. + + JAKE + You going to smoke that? + +Alonzo smiles devilishly, offers Jake the pipe. + + ALONZO + You are. + + JAKE + Hell if I am. + + ALONZO + What? You a Mormon? A Jesus freak? + + JAKE + No. I'm not losing my job. + + ALONZO + (re: the pipe) + This is your job. + + JAKE + I can't do it. + + ALONZO + This isn't some kind of test. Take + a damn hit. + + JAKE + I became a cop to keep people from + using that poison. + + ALONZO + (laughs) + This ain't a review board. We ain't + doing rails. Just leafy green bud. + 22. + + + Jake stands firm, shaking his head. + + +26 EXT. G-RIDE - ROGER'S NEIGHBORHOOD - DAY 26 + + SCREECH! Alonzo stops in the middle of the street, pulls + his gun, jams it in Jake's ear. CARS behind them HONK. + + ALONZO + If I was a dealer, you'd be dead. + Turn shit down on the street and + the Chief hands your wife a + crisply-folded flag. + + Jake stares stubbornly at Alonzo. Alonzo pockets the gun. + Lights the lighter. And takes a huge hit, blows smoke in + Jake's face. + + ALONZO + I don't want you in my unit. Not + even my division. Go back to + Valley. Get the fuck out of my car. + + A staring contest. Jake decides to play the game. + + JAKE + -- Okay-- + + He takes the pipe, takes an absolutely huge hit. + + ALONZO + Alright. That's how it's done, son. + + And is racked with a spasm of coughing. + + ALONZO + Betrayed by your virgin lungs. + + Jake takes another hit, a passing driver watches, blows the + smoke in Alonzo's face. Alonzo laughs, resumes driving, + takes a hit. They pass the pipe around a few times before + Alonzo tosses it on the dash. + + ALONZO + It's cashed. + + +27 INT. G-RIDE - ECHO PARK - DAY 27 + + They cruise in a strange otherworldly silence. Jake is + clearly messed up, his head lolls from side to side. + + ALONZO + 23. + + + Shit, you took some man-sized hits. + You gonna be okay? When's the last + time you smoked out? + + JAKE + -- Twelfth grade-- + + +28 INT. G-RIDE - SUNSET BOULEVARD - DAY 28 + + ALONZO + Left that out of your service + jacket. Knew you had secrets, + everyone does. Didn't know you dig + dusters. + + JAKE + What are dusters? + + ALONZO + You know, dusted bud. Dippers? + C'mon, dipped in P.C.P. Primos. + Sherm, kool, P-dog, angel dust. + Didn't you smell it? Taste it? + + JAKE + (horrified) + -- I've never done it-- + + ALONZO + Now you have. Remember the smell + for next time. Think I'd inhale + that shit? + + Jake is scared as hell, pale, sweaty. + + JAKE + Oh, no. No. No. No. + + ALONZO + Gonna kick the shit out of Neto. + Motherfucker's lacing crappy bud to + get that unsuspecting return + client. Hell with his mom, I'm + deporting the bitch. + + JAKE + I'm gonna get piss tested. I'm + gonna get fired. + + ALONZO + Lieutenant's got our backs. We know + a week before we piss. + 24. + + + JAKE + (panicking) + Shit. How could you do this to me? + Shit. Shit. Shit! + + Alonzo slams an elbow across Jake's throat. + + ALONZO + Chill and ride the high. You're an + adult. You chose to smoke. Live + with your decisions. You cool? + + JAKE + I'm cool. + + ALONZO + Besides, no one put a gun to your + head. + + Jake shoots him a look. + + CUT TO: + + +29 EXT. ROGER'S HOUSE - DAY 29 + + A well-tended Craftsman on a steep hill of fixer-uppers in + Echo Park. The G-Ride parks out front. + + ALONZO + Get your shit together. + + Alonzo and Jake cross to the door. Alonzo knocks. + + ALONZO + This is my Road Dog's pad. Wanna + see what he thinks of you. + + JAKE + What do I say? + + ALONZO + You'll think of something stupid. + + The door opens revealing ROGER in a bathrobe, worn from + years of hard living. He's happy to see Alonzo. + + ROGER + Hey, brother, get your ass in here. + + CUT TO: + 25. + + +30 INT. ROGER'S HOUSE - LIVING ROOM - DAY 30 + + Roger and Alonzo hug. + + ALONZO + Did I wake you ? + + ROGER + No. C'mon in. Please have a seat. + + Alonzo and Jake sit in big chairs. Three beepers, three + cell phones on the coffee table. Roger sits, takes a bottle + of whisky, three tumblers from a liquor cart. Pours booze. + Jake looks around at the modest traditional furniture. The + tacky porcelain figurines. Family photos on the wall. + + ALONZO + Alright. Time to get my swerve on. + + Roger gives Alonzo a concerned look. + + ROGER + Heard you had a beef in Vegas. + There's a greenlight on your ass. + + ALONZO + I'm cool. People talk shit. + + ROGER + You know I got your back. + + ALONZO + I know. Thanks. + + They clink glasses. Jake doesn't. He stares into the + liquid, enraptured by its smoky patterns. + + ALONZO + Jake, drink your medicine. + + Jake takes a sip and winces. Roger tugs Jake's goatee. Jake + recoils. + + ROGER + Went and got yourself a daisy-fresh + rookie. + + Roger leans back in the couch. Jake is looking around the + room again. A BEEPER BEEPS. Roger checks it. Ignores it. + Roger studies Jake. + + ROGER + 26. + + + Jesus, Alonzo. He's high as a + motherfucker. The hell you give + him? + +Alonzo tosses the foil pack on the table. Roger takes it, +smells the PCP and shakes his head. + + ROGER + Where'd you grow up? + + JAKE + North Hollywood. + + ROGER + What's your last name? + + JAKE + Hoyt. + + ROGER + (it clicks) + You play strong safety for North + Hollywood High? + + JAKE + Yessir. How'd you know? + + ROGER + I follow all the good players. + +His BEEPER BEEPS. He checks it, sighs. Dials a cell phone. + + ROGER + (into phone) + It's me. Whassup? + (beat) + Can't do a thing for you. Your + mess. You clean it up. Don't be + callin' me. + +He hangs up. Freshens the drinks. + + ROGER + (to Jake) + Here's a joke, boy. One day this + man walks out of his house to go to + work. He sees this snail on his + porch. So he picks it up and chucks + it over his roof, into the back + yard. Snail bounces off a rock, + cracks its shell all to shit, and + lands in the grass. Snail lies + there dying. + 27. + + +A BEEPER BEEPS. Roger checks and ignores it. + + ROGER + But it doesn't die. It eats some + grass. Slowly heals. Grows a new + shell. And after a while it can + crawl again. One day the snail up + and heads back to the front of the + house. Finally, after a year, the + little guy crawls back on the + porch. Right then, the man walks + out to go to work and sees this + snail again. So he says to it, + 'What the fuck's your problem?' + +Jake stares at Roger a beat. Then starts laughing. Really +laughing. Maybe too much. He wipes his eyes. + + JAKE + That's messed up. That wasn't + funny. + + ALONZO + Then why are you cackling like a + jackal? + + JAKE + I dunno. + + ROGER + Figure that joke out and you'll + figure the streets out. + + ALONZO + Don't listen to him. There's + nothing to figure out. The street's + a buncha senseless bullshit. + + JAKE + Uh-uh. I got 'em figured out. + + ROGER + You got the streets figured out? + + JAKE + Yeah. It's all smiles and cries. + + ALONZO + Give up. You're too high, space + captain. + + ROGER + 28. + + + Hold on, smiles and cries. I hear + you. + + JAKE + You gotta control your smiles and + cries. No one can take them away so + they're all we really have. + + Roger and Alonzo trade looks, sharp kid. Alonzo pats Jake's + shoulder. To Roger: + + ALONZO + Think this greenhorn can handle + undercover? + + Roger scrutinizes Jake a beat. Smiles and nods: yes. + + ROGER + You were just like him. + + ALONZO + (laughs) + Bullshit. + + ROGER + Same silly-ass look and everything. + Saving the Goddamn world. + + ALONZO + That lasted a week. + + Alonzo stands, shakes with Roger. + + ALONZO + Brother, I gotta get back in my + office. Thanks for the snort, dog. + What're you up to today? + + Roger gestures at the phones and beepers. + + ROGER + Think I get out of the house? + + A BEEPER BEEPS. Roger shakes with Jake. + + ROGER + Take care, Hoyt. You're gonna do + okay. + + CUT TO: + + +31 INT. G-RIDE - 6TH STREET TO ALVARADO - MOVING - DAY 31 + 29. + + +East on Sunset. Jake senses he passed a test. Alonzo +smiling at him. Alonzo offers him a cigarette. Jake +accepts. + + JAKE + What? + + ALONZO + He liked you. + + JAKE + Who is he? One of your snitches? + + ALONZO + He's no snitch. He's a good man to + know. C'mon, let's find some action + in Niggertown. + (off Jake's look) + That's N-wordtown to you. What are + you, Hoyt? You ain't pure white + boy. You mixed? + + JAKE + Italian, Irish and Mexican. + + ALONZO + No shit? You're all dicked up. + +Jake looks green, tosses the cigarette out the window. +Alonzo senses what's coming and SLAMS on the BRAKES, flings +open Jake's door. Jake vomits. A beat of dry heaving. + + ALONZO + Okay, well's dry, kid. + + JAKE + Sorry. + + ALONZO + Wipe your chin. + +Alonzo hands Jake a handkerchief. Jakes wipes his sweaty +face. + + JAKE + I'm cool. Had to unload the + groceries. + + ALONZO + 30. + + + You gotta learn how to party. To + handle a high. It's a necessary job + skill. I'm not kidding. It's an + alcohol world down here. You gotta + be able to hang. To get wasted and + talk shit with sketchy sociopathic + dumbasses and not pass out and get + your shoes stolen. + + JAKE + I'm fine, just a little dizzy. + + Alonzo lights a smoke, leaning on his car, cracks a brew. + + ALONZO + Oh, damn! + + JAKE'S POV + + A beautiful Mexican woman pushing a baby carriage. CAMERA + PLAYING OVER her in luscious SLOW MOTION. + + BACK TO SCENE + + Jake stares, mouth open. Alonzo points out more beautiful + Latinas gracing the sidewalks. + + ALONZO + Mmmm-mmmm. The brown woman is the + fine woman. Give her ten more + babies to push around. Thick and + tasty. Love to get up in that. Your + old lady white? Nordic cheerleader, + right? + + JACK + Wrong. She's Chicana. Light- + skinned. + + ALONZO + I like my meat dark. C'mon, get in + the car. + + +34 EXT. G-RIDE - MACARTHUR PARK - MOVING - DAY 34 + + Alonzo sees Jake has his eyes closed. + + ALONZO + C'mon, man. Open your eyes. You'll + make it worse. + + Nothing. + 31. + + + ALONZO + Sit your ass up. Hoyt! + +Jake locks bleary red eyes on Alonzo, jokingly: + + JAKE + Who're you? + + ALONZO + The Goddamn zig-zag man. + + JAKE + Cool. I'm a cop. + + ALONZO + You're a little bitty boot. + +Alonzo cracks beers for him and Jake. + + ALONZO + C'mon. It helps. Believe me. Gives + you ballast. + +Jake takes one. Alonzo drives over the 6th Street bridge. +Jake drops his beer, soaking his leg. + + ALONZO + Dumbass. + +He leans his head on the window pillar, feeling better. +Jake's eyes absorb the street's tableau of unworldly beauty +gliding by. Palm trees and sunshine. Paradise and hell in +one. His lids begin to drift shut. Then Jake sees a flash +of movement in an alley. Suddenly alert, he paws at the +door handle. + + JAKE + Activity on the right! Stop the + car! + + ALONZO + Siddown, Hoyt. Everything's fine. + + JAKE + Stop the car! + + ALONZO + C'mon, relax. You're tripping. + +Jake grabs the gearshift, throws it in reverse. The +transmission GRINDS, TIRES SCREECH. The ENGINE STALLS. Jake +is out like a shot -- + 32. + + +35 EXT. STREET - CRACKHEAD ALLEY - DAY 35 + + -- he dodges an oncoming car. + + ALONZO + Get your ass back here! + + ON G-RIDE + + Alonzo pulling to the curb. + + ALONZO + Dumb-ass kid. + + ON JAKE + + Running like a deer. He enters the alley. Sees a book bag + on the ground. A dumpster ahead. Jake rounds it. + + Fast. + + HIS POV + + A devastatingly-beautiful Latina SCHOOLGIRL is pinned + against the wall by a tall CRACKHEAD. Her nose dots blood + on her uniform blouse. + + BACK TO SCENE + + The Crackhead hauls back to smack her. Jake charging. + + JAKE + Police officer! You're under + arrest! + + The Crackhead punches Jake's throat. Stops him cold. Jake + realizes how huge this guy is. Gulp. + + CRACKHEAD #1 + Gonna fuck you too, cop. + + ANOTHER CRACKHEAD dives from the shadows and tackles Jake. + Both go down hard. Jake gets his arm around Crackhead #2's + neck, squeezes, the forbidden choke hold. + + Crackhead #1 stomps on Jake's head. + + Alonzo drives the G-ride into the alley. Sits in the car + and enjoys the action. + 33. + + +Jake rides out Crackhead #1's vicious kicks as Crackhead #2 +convulses from hypoxia. And finally goes limp. Jake lets +go, sweeps Crackhead #1's legs out from under him and hops +to his feet. Crackhead #1 stands too. + + CRACKHEAD #1 + Your ass is doomed. + +Jake growls, snatches him up like a rag doll, spins him, +slams him hard. In a flash, Jake twists him into a pretzel, +drops a knee on his neck, grinds his head into the asphalt. +Clicks on the cuffs. + + CRACKHEAD #1 + We didn't do shit. Bitch is crazy + and shit. + +Crackhead #2 coming to, starting to stand. Jake crosses to +him, pins his head with his knee. Slips a pair of flex +cuffs from his sock, zips them on the man's wrists. + + CRACKHEAD #2 + Man, you messin' up, slick. + Homegirl tradin' her ass for + cookies. + + JAKE + (bellows in rage) + Shut the fuck up, sir! + +ANGLE ON ALONZO + +He casually exits the G-ride with a smile, impressed by +Jake's raw skill. + + JAKE + Thanks for the help. + + ALONZO + Shoulda shot 'em. + +Jake crosses to the Schoolgirl. + + JAKE + We're police officers. You okay? + You hurt? + + SCHOOLGIRL + (to the Crackheads) + You're dead! My cousins are from + Trece Flats. They're gonna blast + you fools! Pinche mayates! + 34. + + + ALONZO + Miss! Relax! Are you okay? + + SCHOOLGIRL + What? No. No, I'm not okay. Lookit + my nose. My mom's gonna trip out. + +Alonzo gingerly examines her nose. + + ALONZO + Honey, it's just a nosebleed. Put + ice on it. Don't be walkin' around + here alone. Tell your cousins to + get your back. You know what those + pieces shit were gonna do. Probably + got AIDS. Why aren't you in school? + + SCHOOLGIRL + I was going to a ditch party. + + ALONZO + You almost became a ditch party. Go + home. Go home, now. + +She grabs her book bag and gets out of there. + + JAKE + I gotta get her statement. + + ALONZO + Unhook 'em. We're not racking up + arrests. + + JAKE + (shocked) + Kick 'em loose? + + ALONZO + No. Get some shots in first. + + JAKE + I have a punching bag at home. I + want them off the street. + +Alonzo squats by Crackhead #1. Searches him. + + ALONZO + Hear that, bro? My dog, here, wants + to lock you up. Been to the booty + house? Grabbin' ankles for the big + boys? + + CRACKHEAD #1 + 35. + + + Suck my dick, bitch. I know people. + + ALONZO + Kick back, who's-who. + +Alonzo finds rocks in one sock. Some twenties in the other. +He pockets the cash and crack. Searches Crackhead #2. + + ALONZO + Where's your horn? + + CRACKHEAD #2 + Ain't got no horn. + +Alonzo finds a glass pipe. + + ALONZO + So what's this, chief? Gonna make + you eat it. + +Instead, Alonzo grinds it underfoot. + + ALONZO + You, stand up. + +Alonzo hauls Crackhead #1 to his feet. Unlocks the cuffs, +tosses them to Jake. Crackhead #2 strains against the flex +cuffs. + + ALONZO + (to Crackhead #2) + You get to keep those. Want to go + to jail or go home? + +He steers Crackhead #1 to a wall, cocks his fist. + + ALONZO + Ain't the first honey y'all pinned + to a wall, huh? Close your eyes. + +Crackhead #1 does. Alonzo knees his groin oof! He falls to +the ground, whimpers in the fetal position. + + ALONZO + Lucky I got pressing business. Next + time I cut your dick off and shove + it up your ass. + (pats Jake's back, winks) + I'll leave you three alone for some + quality time. Gonna grab some beer. + 36. + + + Alonzo gets in the car, backs out of the alley. Jake + watches Crackhead #1 whimper; Crackhead #2 writhes in the + gutter. It's futile to beat these men. Jake takes pity, + walks away. + + CRACKHEAD #2 + Pussy-ass fool. Gonna see your ass + again. Gonna fuck you up, bitch. + Won't see shit coming. Creep like a + ninja and crack your head open. + Blow your house up. Punk-ass white + boy. Now you in my world, + motherfucker. + + Jake stops and turns around. He stoops to pick up a pink + plastic change purse. + + INSIDE CHANGE PURSE + + The Schoolgirl's bus pass and her freshman ID from Sacred + Convent High School. + + BACK TO SCENE + + Jake glares at the Crackheads. + + JAKE + You assholes! She's fourteen! + + CRACKHEAD #2 + She all woman. Tax that ass for + days. + + Man! Jake could kick his brains out. Somehow, he turns and + walks away. + + CUT TO: + + +43 INT. G-RIDE - LONG BEACH AVE. - MOVING - DAY 43 + + Jake steams. Alonzo offers a beer from a new sixer. Jake + refuses. Alonzo counts and pockets the money he took. Notes + Jake's stare. + + ALONZO + Wanna book sixty bucks? Where're + the suspects? + + JAKE + You let them go. + + ALONZO + 37. + + +Get over it. You wanna go runnin' +and gunnin', stay in patrol. This +is Investigations. Leave the +garbage for the garbage men. We're +professional anglers. We reel in +the big ones. Shoulda dished out +some shoe leather. You'd have a big +'ol smile on your face. + + JAKE +I get my shits and grins booking +bad guys, not beating them. + + ALONZO +Man-- The hell you doing running +alone into an alley fulla cracked- +out monkey-strong motherfuckers? +Those hemorrhoids woulda killed you +without mercy or hesitation. + + JAKE +That's why they belong in prison. + + ALONZO +They lost their money, their rock, +got beat down and now the eses from +Trece Flats are gonna smoke 'em. +Jesus, what more do you want? + + JAKE +Justice. + + ALONZO +Is that not justice? + + JAKE +That's street justice. + + ALONZO +What's wrong with street justice? + + JAKE +Let the animals wipe themselves +out, right? + + ALONZO + 38. + + + God willing. But it don't work like + that. They wipe out the good folks. + It's always school kids, mommies + and ass-bustin' family men catching + stray slugs in their noodles. You + protect the flock by catching the + wolves. And it takes a wolf to + catch a wolf. + + JAKE + What? + + ALONZO + You protect -- + + JAKE + I heard you. Whatever. + +A beat. + + JAKE + When do you lock anyone up? Seems + like you're too busy keeping people + out. + +Bad mistake. Alonzo slaps him. Glares at him. + + ALONZO + Shut up, boot! Nothin' but shit + 'tween your ears. They build + prisons cause a me! Judges have + handed out fifteen thousand man + years of incarceration time based + on my investigations. My record + speaks for itself. How many felons + have you collared? Dickhead. + +Now that it's clear who's the boss, they drive in tense +silence for a long beat. Alonzo digs in his pocket -- + + ALONZO + Here-- + +-- hands Jake the rocks he found. A beat. + + JAKE + I'm not smoking crack. + + ALONZO + Good. I'm glad to hear that. Toss + 'em in the glove box. + +Jake does, sees several more rocks under some papers. + 39. + + + ALONZO + Comes in handy. Like a credit card. + (offers Jake a beer) + You earned it. C'mon. + + Jake refuses. + + ALONZO + No matter what I say, I want you to + know, you did the right thing. + Reminds me of when I could chase + down anyone and rock their world. + You're a good cop. You got fire. + That was some amazing shit back + there. + + JAKE + Thanks. + + ALONZO + That the choke hold I saw you + applying? Isn't that a big no-no, + procedure-boy? + + JAKE + Well-- I was getting my ass kicked. + + ALONZO + You did what you had to do. + + Alonzo gives Jake a beer and grins at him like a proud dad. + + ALONZO + You got a magic eye, Hoyt. You have + a goddamn magic eye. Up your street + I.Q. and you'll do some damage, + crime fighter. + + They clink cans. Jake smiles. + + CUT TO: + + +44 EXT. CENTRAL AVE. AND SLAUSON - DAY 44 + + If you don't know the neighborhood, stay the hell out. A + Regal with four rough-looking gangsters bumps its radio + through the intersection, oozing menace. Then the G-Ride + rolls through the intersection. + + CUT TO: + 40. + + +45 INT. G-RIDE - CENTRAL AVE. - MOVING - DAY 45 + + The area fills Alonzo's eyes with memories. + + ALONZO + Did my probation here. Learned a + lot on these blocks. Kicked some + ass. Had my ass kicked. + + JAKE + Back in the day. + + ALONZO + Yeah, back in the day. Been on the + job thirteen years. Today's my date + of employment. + + JAKE + No shit. Happy anniversary. + + They shake hands. + + ALONZO + Thanks. Thirteen's an unlucky + number. But I figure the seven to + go cancel it out. + + Alonzo turns on McKinley. He reaches over, digs in the + glove box. Pulls out a photograph and hands it to Jake. + + INSERT - PHOTO + + A spit-and-polish, young cop in crisp blues, white gloves, + holding his pistol at inspection arms. + + BACK TO SCENE + + Jake looks at the photo, then at Alonzo. Realizing: + + JAKE + You're Mr. Clean. + + ALONZO + I had a few misconceptions when I + started out. + (notes a graffitied wall) + Shit's going down. See that? + + JAKE + Buncha graffiti. + + ALONZO + 41. + + + Crossing out each other's placas + like that. Ghettoville and the + Locotes are at war. + +Alonzo rounds a corner. A driveby is under investigation. +Several black and whites, crime-scene tape. A coroner's +van. Flares block the street. A rookie gestures for Alonzo +to stop. + +Alonzo badges him and drives around a bullet-riddled +Cutlass with two dead gangsters spilling out the open +doors. Jake gawks, Alonzo is utterly nonplussed. + + ALONZO + Learn to read walls, not just + street signs. + +Alonzo turns down an alley. Then pulls onto a boulevard. +After a block, he pulls into a different neighborhood. +Alonzo glimpses some pit bulls down a driveway. A beat +later he points out a house. + + ALONZO + On the left. See that house? Dude + named Spooky lived there. Mean old + vato loco. Mexican Mafia. No one + messed with Spooky. Even got + respect from the cops. We'd keep an + eye on his house. You like dogs? + + JAKE + Gotta six-year-old Rottweiler. Not + too bright, but he's good with my + kid. + + ALONZO + 42. + + + Rotties are good dogs. Dobermans + are better. Spooky raised + Dobermans. On my second week of + patrol, when I was not knowin' + shit, we roll by Spooky's one + night. I observe this old, black + fool named Too Fine, all drunk, + beating the shit out of this female + Doberman. Beautiful dog, seven + months old. Too Fine's whoopin' her + with a garden hose. This dog's just + crying, shaking. I grew up with + Dobermans. I was pissed. I tell my + T.O. 'I'm gonna take him.' And my + T.O. is like: 'No, no. It's cool.' + He waves to Too Fine and this + motherfucker smiles and waves back + and keeps hitting the dog. + + ALONZO + Thought I lost my damn mind. Tells + me Spooky gave him twenty bucks to + beat the shit out of it. My T.O., + this good 'ol boy, looks me in the + eye and says: 'Teaches 'em to hate + niggers.' Almost quit right there. + Almost got out of that black and + white and took the bus home. + + Jake looks at Alonzo. + + JAKE + That's fucked-up. That's one of the + most whacked things I ever heard. + + ALONZO + Just remembered that. Every time + I'd seen it all, the street'd show + me something even more twisted. I + know you didn't see no shit like + that in the Valley. + + JAKE + No, I haven't. + + CUT TO: + + +48 INT. G-RIDE - CRENSHAW BLVD. - MOVING - DAY 48 + + Alonzo scans the infamous Boulevard searching for prey. + Sees a gaunt DEALER on a corner, in a wheelchair. Alonzo + hands Jake a twenty. + 43. + + + ALONZO + Still up twenty. Your turn. Put + your hood up. + + JAKE + What do I say? + + ALONZO + Ad lib, boy. Use your words. + + He pulls over. The Dealer rolls up to Jake's side. + + DEALER + What you want, homie? + + JAKE + Crack. Twenty dollars' worth. + + DEALER + Fuck you, rookie. + + He spins and rolls away quickly. Alonzo shoots Jake a look. + + ALONZO + Fetch, boy. Fetch. + + Jake bolts from the car. + + +49 EXT. CRENSHAW BOULEVARD - DAY 49 + + ON DEALER wheeling away. He sees Jake, speeds up. Then + suddenly darts into a wig shop. + + +50 INT. WIG SHOP - DAY 50 + + The Dealer heads for the back. Where a door leads out to an + alley. He reaches for the door handle. Jake tackles him. + Gets the Dealer in a compliance hold and cuffs him. Alonzo + enters the store, badges the owner. + + ALONZO + Love doing that, huh? + + Jake searches the Dealer as rows of display heads stare + with blind eyes. + + ALONZO + Who you work for, shitstain? + + DEALER + 44. + + + Can't work. I'm on disability. + + ALONZO + Bullshit. You crackin'. + +Jake finishes searching. + + ALONZO + No rocks? + + JAKE + No rocks. + + DEALER + (laughing) + Aw, dang. See? Y'all ain't got + shit. The man comin' up short + again. + +Alonzo glares. + + ALONZO + I never come up short, fool. Open + your mouth. + +The Dealer does. Sensing to not play with Alonzo. + + ALONZO + Lift your tongue. + +He does. + + DEALER + See. I ain't be gottin' shit. + + ALONZO + Gimme a pen. + +Jake does. Alonzo grabs the Dealer's neck. Forces the pen +in his mouth. Down his throat. He gags urgh! Vomits. + + DEALER + Shit, man! + +Jake is stunned. Alonzo inspects the spattered sidewalk. +Sees Saran-wrapped rocks. + + ALONZO + Lookie those. + + DEALER + That's corn. + 45. + + + ALONZO + That's Jimmy crack corn and I don't + care. One, two, three, four, five, + six. How'd you swallow that shit + without water? + + DEALER + This is bullshit! Civil rights + violatin' motherfuckers. + + Alonzo slaps him. + + ALONZO + Gonna act like a man or a bitch?! + Got you cold. Wanna go to jail? Or + go home? Gimme a name. + + The Dealer mulls it over. + + DEALER + He in County. + + ALONZO + Who? + + DEALER + Sandman. He's shot callin'. + + ALONZO + Unhook him, Hoyt. + (to Dealer) + You on my team now. Be seeing you, + homie. + + Jake unlocks the cuffs. Alonzo steps over the vomit and + crack. + + ALONZO + And collect the evidence. + + JAKE + Hell no. + + ALONZO + You're learning. + + CUT TO: + + +51 INT. G-RIDE - WATTS - MOVING - DAY 51 + + Jake keeps looking at Alonzo, half impressed, half + appalled. + 46. + + + ALONZO + What? + + JAKE + You don't give a shit. That stuff + doesn't fly anymore. What if that + guy complains? + + ALONZO + To who? + + JAKE + Look, I like my badge. + + Alonzo gives a reassuring look, dials a cell phone. + + ALONZO + Afternoon, Bob. It's Alonzo. Got + your gang book? + (beat) + I need a res. Sandman from + Mobsters, might be in custody. + (beat) + Okay, shoot. + + Alonzo jots the information on a notepad. + + ALONZO + Thank you, sir. That's gonna do it. + Have a good one. + + Alonzo hangs up. Shows Jake the address with a grin. + + JAKE + We go after the Sandman? + + ALONZO + We go after the Sandman. + + Jake smiles. + + +52 EXT. SANDMAN'S STREET - DAY 52 + + Near 13th and Mona Blvd. Graffiti on a wall: "MOBSTERS HOOD + -- SANDMAN." The G-Ride glides INTO FRAME and OUT. + + ANGLE + + The G-Ride parks in front of a house. Alonzo and Jake exit. + Alonzo pops the trunk. Inside is a microwave box, toaster, + a boom box, a TV. + 47. + + + JAKE + Gonna open a Circuit City? + + ALONZO + It's unclaimed shit from property. + I pass it out to informants, + victims, witnesses. Help their + families out. + + Alonzo fishes out an LAPD Windbreaker, "POLICE" across the + back. Hands it to Jake. + + ALONZO + Wear that. Intel says his wife's in + the residence with two female + juveniles and a possible male + juvenile. + + JAKE + If he's not here, why are we here? + + Alonzo pulls a paper out of his pocket, unfolds it. + + ALONZO + We gotta serve this search warrant. + + It's the Chinese take-out menu Jake handed him earlier. + + JAKE + We can't do that. + + ALONZO + Yes we can, supercop. Ding-ding, + that's the school bell. + + He slams the trunk. Pulls his gun. They cross to the door. + + JAKE + Get a real warrant. + + ALONZO + I wanna get shit done. + + +54 EXT. SANDMAN'S HOUSE - DAY 54 + + They step onto the porch. Take sides by the front door. + + ALONZO + Don't get me killed, new guy. + + He knocks on the security screen. + 48. + + + ALONZO + Police! Search warrant! + + Silence. Alonzo knocks again. Nods at Jake. + + JAKE + L.A.P.D.! Open the door. + + Nothing. Then: + + SANDMAN'S WIFE (O.S.) + Kevin ain't here. He up at the + Honor Ranch. + + ALONZO + L.A.P.D.! Please open the door or + we kick it in! Ma'am?! + + CLICKING. The door is unlocked, opened. SANDMAN'S WIFE, an + attractive black woman, stands on the other side of the + security screen. Alonzo waves the menu. + + ALONZO + Search warrant. Unlock the door and + back away. + + She does, Alonzo snaps it open, rushes in, Jake follows. + + +55 INT. SANDMAN'S HOUSE - LIVING ROOM - DAY 55 + + Jake and Alonzo swinging guns around the room -- two scared + toddlers in a playpen. Sandman's Wife sits on the couch. + + JAKE + Stand up, ma'am. + + He searches the couch for a weapon. + + ALONZO + Anyone else in the house, ma'am? + + SANDMAN'S WIFE + My nephew, Dimitri. He in the + bedroom. The boy is ten. + + ALONZO + Cover her. Gonna clear the house. + + JAKE + You can sit. Please keep your hands + on your knees. + 49. + + +Alonzo exits through a doorway into the kitchen. + + ALONZO (O.S.) + Kitchen's clear! + +We hear ALONZO moving through the bedrooms. + + ALONZO (O.S.) + Bedrooms're clear! Bringing out the + kid! + +Alonzo marches Dimitri, 10, into the living room. The +youngster trembles. + + ALONZO + S'okay, son, we're the good guys. + Go sit on the couch with your aunt. + House is code-four. Gonna start my + search. + +Alonzo exits. Sandman's Wife glares at Jake. + + SANDMAN'S WIFE + I wanna read the warrant. Supposed + to give me a copy. + + JAKE + (reacts) + My partner has it. + +She looks out the window at the empty street. + + SANDMAN'S WIFE + Where's your back-up? + + JAKE + Ma'am, please be quiet while we + conduct our investigation. + + SANDMAN'S WIFE + You got the gun, boss. + (sotto) + Crooked-ass pigs. + +The kids stare at Jake like an occupying soldier. He +crosses to Dimitri, smiles. + + JAKE + Hey, little man. How's it going? + 50. + + +Jake tries to shake. Dimitri crosses his arms, looks away. +Sandman's Wife smirks. O.S., the SOUNDS of Alonzo tearing +apart the bedrooms like a hurricane. Making a hell of a +mess. Sandman's Wife stands. + + JAKE + Ma'am. Stay seated. + + SANDMAN'S WIFE + Who you be thinkin'? Comin' in like + you pay the rent. + + JAKE + Ma'am, sit down. + + SANDMAN'S WIFE + Both y'alls stink. Drinkin' all + day. Gotta get liquored up to do + business? + +Alonzo is suddenly quiet. Jake backs to the doorway, peeks +around it. Sees a dresser with a mirror. + +IN MIRROR + +Alonzo shoves something big down his jacket. + +BACK TO SCENE + + JAKE + Siddown. Now. + + SANDMAN'S WIFE + Gonna shoot me, boss? Kids, don't + look. The drunk policeman gonna + shoot me now. + +Alonzo enters, excited, grinning. + + ALONZO + Didn't find shit. Let's go, sorry + about the inconvenience, ma'am. + Thank you for your cooperation. + +He and Jake head for the door. + + SANDMAN'S WIFE + I wanna see the warrant. + + ALONZO + Here. + +He hands her the menu as they exit. + 51. + + + CUT TO: + + +58 EXT. SANDMAN'S STREET - DAY 58 + + At the end of the block, three big gangsters buy Popsicles + from an ice cream truck. + + ANOTHER ANGLE + + Sandman's Wife bursts out of the house, screams at Jake and + Alonzo as they climb in the G-Ride. + + SANDMAN'S WIFE + Y'all jackers! You ain't no damn + police! Get on back here with my + money! + + She sees the gangsters. + + SANDMAN'S WIFE + Why y'all standin' there lookin' + pretty?! Blast them fools! + + The gangsters trade looks. Start running towards. + + G-RIDE + + Alonzo sees the gangsters. Tries STARTING the CAR. The + engine won't catch. + + ALONZO + C'mon, baby. Don't do me like that. + + The gangsters getting closer. + + ALONZO + You bitch! Start! + + Jake sees a Glock pulled from a waistband. + + JAKE + Gun! Gun! Gun! + + VAROOM! Alonzo SQUEALS from the driveway. + + The armed gangster drops to one knee. The G-Ride tear-asses + away in Glock's sights. + + POP!-POP!-POP!-POP!-POP! + + A ROUND SHATTERS a taillight. ANOTHER pierces the trunk -- + 52. + + +62 INT. G-RIDE - SANDMAN'S STREET - DAY 62 + + -- the back seat, the front seat, the six-pack and finally + the dash. Jake reacting to beer spray. + + +63 INT/EXT. G-RIDE - FREEWAY - DAY 63 + + Alonzo rounds the corner, tosses the wounded cans out the + window. + + ALONZO + Shit-- Let's hit a liquor store. + + Jake fingers the hole in the dash. + + ALONZO + Gun! Gun! Gun! + + Jake startles, Alonzo laughing. + + ALONZO + First time you been shot at? + + JAKE + (lies) + No. + + ALONZO + Yeah, it was. Take the jacket off. + + Jake does, Alonzo takes whatever is in his jacket, wraps it + in the raid jacket and sets it at his feet. + + JAKE + That wasn't cool. That wasn't cool + at all. Where's the Sandman? What + the hell were you doing in there? + + ALONZO + Looking for narcotics activity. + Scales. Baggies. Guns. Coke. Bud. + Etcetera. + + JAKE + Cash? + + ALONZO + Speak on it, son. + + JAKE + She was screaming about money. + 53. + + + ALONZO + Bitch was talking shit. Trying to + get us blasted by her homies. + +Jake looks at the raid jacket. + + ALONZO + What? + + JAKE + I dunno. I'm just a new guy. A + daisy-fresh boot. You tell me what. + + ALONZO + I don't deny my shit stinks. I will + never deny that. So why do I got + the best arrest and conviction + record in the county. Why? 'Cause I + don't handicap myself with + bullshit. + + JAKE + I thought that bullshit served a + purpose. + + ALONZO + You thought wrong. There's some + profoundly evil people walking free + on the streets right now who've + killed three, four, five people. I + know it, they know it, every + detective on payroll knows it. Why + do these turds still float around? + The rules. I take down the duly + deserving. I'm not locking up Mr. + Nine-to-five, Mr. Family Provider. + +Jake shaking his head angrily. + + ALONZO + C'mon, communicate. What aren't you + saying? Talk to me. + +A beat. Then Jake fixes Alonzo with a stare. + + JAKE + I think-- I think you're a rogue + cop. + +Alonzo laughs his ass off. Wipes his eyes, he laughs so +hard. Ahead on the freeway, a Highway Patrol cruiser is on +the opposite shoulder. + 54. + + + ALONZO + Hoyt, man. Know what? You're + alright. You are alright. + + JAKE + Whatever. I'm gonna be on the six + o'clock news in an orange jumpsuit + and handcuffs because of you. With + the scandals and whatnot, it's open + season on misconduct. They'll nail + us to the wall. + (worried, repentant) + God, what the hell did I just do? + +Alonzo holds up a finger for him to stop and pulls over on +the shoulder opposite the cruiser. A highway patrolman +helps a distressed female motorist change a tire. + + ALONZO + You're in a privileged position to + learn a thing or two if you can + keep your mouth shut and your eyes + open. If you're serious about doing + good in the real world, this is the + place to learn how. Gun! Gun! Gun! + If this shit shakes you up, go back + to Division and cry to the Watch + Commander. He'll find you a nice + job lighting flares and measuring + wrecks. Decide now if you want to + be a wolf or a sheep. If you want + on my squad, I'll sign your card. + +Alonzo stops the car. Alonzo puts his foot on the dash, +reveals his unit's tattoo on his ankle. Jake reacts. + + ALONZO + Get your ink. + (re: the patrolman) + Or get out and give him a hand. + +Alonzo reaches over and opens Jake's door. Jake looks +around, looks at the tattoo. Forget it, he's out. Jake +exits the car. Jake stands on the shoulder, squints at the +patrolman fighting lugnuts. Jake knows what he wants to do. +He gets back in the G-ride. Slams the door and nails Alonzo +with a steely look of resolve. + + JAKE + I'm in. + +Alonzo holds out his hand. Jake shakes, serious. + 55. + + + Solemn. + + ALONZO + Welcome to Narcotics, Officer Hoyt. + + JAKE + I'm going to do my best. + + ALONZO + You do and you'll run the unit some + day. + (a beat) + You hungry? Let's code seven. + + Alonzo SCREECHES out of there. + + +64 INT. G-RIDE - JUNGLE - MOVING - DAY 64 + + Jake nervously glances around one of the toughest parts of + the city. A strong point adorned with wrought iron and + concertina wire. Alonzo looks around cautiously, puts his + gun in his lap, wary. + + JAKE + What are you doing? We'll be killed + coming in here. + + ALONZO + Oh, you've heard about this neck of + the woods? + + JAKE + This is the Jungle. They said never + come in here with anything less + than a platoon. + + +65 EXT. G-RIDE - CUL-DE-SAC - MOVING - DAY 65 + + Alonzo enters a cul-de-sac of run-down houses and + apartments. Formidable fences line the entire block. A + fortress. + + ALONZO + This is the heart right here. The + headquarters. A lot of murder + investigations lead here. One way + in, no way out. Strictly heavy + hitters. Damus don't play. + + Jake is really uncomfortable. + 56. + + + JAKE + I thought we were going to eat. + +A little kid runs out of the corner house. He eyes Alonzo, +then hops on his bike and rides OUT OF VIEW into the cul- +de-sac. A beat. The little kid returns. Waves Alonzo into +the cul-de-sac. Alonzo turns onto the dangerous dead-end, +driving around a poorly-parked van. + + ALONZO + Lots of eyes on us right now. Never + come up in here without me. For + your safety. I'm serious. + + JAKE + Okay. Why do you have a golden + pass? + +The little kid gives Jake an unsettling mad dog stare. + + ALONZO + Because I'm square with 'em. But + they know if the line is crossed, + I'm leading the platoon in here. + +Two solid, early teen gangsters lean against a fence. One +claps sharply. Alonzo gestures for Jake to look up through +the windshield. + +JAKE'S POV + +A dozen pigeons dive from the sky, right at the G-ride. + +BACK TO SCENE + +Jake reacts. The gangster claps his hands again and the +pigeons pull out of their dive and arc back into the sky. +The gangster smiles at Alonzo. + + JAKE + What the hell was that? + + ALONZO + They're flipping pigeons to let + folks know I'm here. + +Jake looking at Alonzo, lost. Alonzo grins. + +At the far end of a driveway, more gangsters work out and +drink. One of them is benching over 300 pounds. + 57. + + + Alonzo parks at the end of the cul-de-sac. Jake and Alonzo + get out. Cross to a gate where two more GANGSTERS kick it. + They look at Jake. + + GANGSTER + 'Sup, Lonz. Thanks for helping my + cousin. + + ALONZO + I got your back, dog. + (re: Jake) + He's my people. + + Alonzo pushes open the gate. The gangsters regard him + coldly as he passes. + + NEW ANGLE + + Behind Alonzo's back, the gangsters' disposition becomes + disdain. + + GANGSTER + Sick'a that pig actin' like king- + shit. + + +69 EXT. APARTMENT COURTYARD - DAY 69 + + Kids play in the bare dirt yard. A huge pit bull is chained + to a tree. + + JAKE + (re: the gangsters) + And those guys? + + ALONZO + Punk ass fools. I got all these + busters under my thumb. + + An old woman sweeps her doorstep and glares at Jake. + + ALONZO + Buenas tardes, Dona Lucila. + + The old woman smiles, nods. Jake and Alonzo cross to some + stairs, climb the steps. A 15-year-old girl exits with a + laundry basket. Alonzo leers. + + ALONZO + Gonna throw her dad in jail. Raise + her up myself. Like veal. + + Jake reacts, unsure if Alonzo is joking. + 58. + + +70 EXT. SARA'S APARTMENT - DAY 70 + + Alonzo knocks on a door. + + JAKE + What's here? + + ALONZO + A loving touch. + + WOMAN (O.S.) + Quien? + + ALONZO + Policia, senorita. + + The door opens, there stands SARA, a ravishing Salvadoran + in a housedress. She hugs Alonzo, plants a big kiss on him. + + SARA + Hi, papi. + + She notices Jake and backs off. + + ALONZO + He's just my new guy. + + She holds out her hand. They shake. + + SARA + Hi. How are you? + + JAKE + Good, thank you. + + SARA + Come in, come in. Welcome to my + house. + + Alonzo enters, Jake follows. + + CUT TO: + + +71 INT. SARA'S APARTMENT - LIVING ROOM - DAY 71 + + The living room is filled with Salvadoran kitsch. It's + bright, airy, a refuge. A 2-year-old boy on the couch + watches cartoons. Alonzo motions for Jake to sit. + + ALONZO + 59. + + + You had a rough morning. Relax and + let her hook you up. + + He disappears into the bedroom. Sara hands Jake the remote. + + SARA + Here. Take this. I have cable. You + watch what you want. This is your + house. Don't be shy. + + She crosses to the kitchen. Sounds of POTS, DISHES. + + Jake is about to change the channel. The kid gives him a + look. He puts away the remote. + + Sara returns with a massive tray of food, chicken stew, + beans, rice, salad, tortillas, the works. She sets the + mouth-watering spread before Jake. + + SARA + This is El Salvador food. I hope + you like it. + + JAKE + Thank you. This is great. I'm + starving. + + She hangs a beat, embarrassed. + + SARA + I'm sorry. I have to-- + + Jake knows. She runs off. + + CUT TO: + + +72 INT. SARA'S APARTMENT - LIVING ROOM - DAY - LATER 72 + + Jake dozes, his plate wiped clean, an arm around the little + kid, still watching cartoons. Alonzo enters, invigorated, + he kicks Jake's foot. + + ALONZO + Let's go. We're rollin'. Gotta + meeting in fifteen. + + Jake stirs, stretches. Stands. Alonzo shows him the door. + + ALONZO + Go to the car. + 60. + + + JAKE + I'd like to thank her for the food. + It was great. + + ALONZO + I'll tell her, don't worry. + + Jake tussles the kid's hair. + + JAKE + See you later, little man. + + Jake exits. Alonzo picks up his son. Hugs him tight. + + ALONZO + (subtitled) + Hey. Como esta, mijo? Te portas + bien? Esta creciendo, papasito. + How are you, son? You're getting + big. + + Sara watches from the bedroom doorway. Seeing Alonzo like + this rips her apart. + + CUT TO: + + +73 INT. G-RIDE - 6TH STREET - MOVING - DAY 73 + + Heading east on 6th Street. The buildings of downtown loom + ahead. The noon sun high and bright. + + JAKE + What about your queen? + + ALONZO + Sara's my princess. + + JAKE + I like her. She's a really cool + lady. + + ALONZO + So are her two sisters. They look + damn good and they party. How'd you + like to be in the middle of a bitch + sandwich? Come to Vegas with us. + + JAKE + No, thanks. I get mine at home. + + ALONZO + You're missing out. I should know. + 61. + + + JAKE + Her kid looks just like you. He's + number five? + + ALONZO + Number six. + + JAKE + Six kids. That's all? Or you + holding royal court in a few more + houses? + + ALONZO + I'm only aware of six. + + JAKE + It's easy to make a baby -- + + ALONZO + -- and hard to take care of one. + Fuck you, okay? No one's going + hungry. Everyone gets plenty of + what they need: toys, shoes, + clothes. + + JAKE + Love? + + Alonzo shoots a look at Jake. + + ALONZO + Let's not talk about my family. + + CUT TO: + + +74 INT/EXT. G-RIDE - PACIFIC DINING CAR - DAY 74 + + The G-Ride pulls up to the downtown L.A. landmark. Alonzo's + CELL RINGS. + + ALONZO + Get out. + + Jake does. Alonzo talks on his cell a heated beat. Jake + overhears: + + ALONZO + You'll get the damn money. + 62. + + + Alonzo hangs up, exits the car uncharacteristically shaken. + He and Jake cross to the entrance. Alonzo slips an old man + polishing shoes a twenty. Alonzo, the raid jacket tucked + underarm, hands Jake some eyedrops. + + ALONZO + Use it. + + Jake does. Alonzo opens the door. + + JAKE + Who's here? + + ALONZO + Don't speak unless spoken to. + + CUT TO: + + +75 INT. PACIFIC DINING CAR - BACK ROOM - DAY 75 + + Leather booths and big, padded chairs. It's empty. Save for + a corner table. Three scary 40ish bruisers in immaculate + suits, DOUG, STAN, and LOU, share a top-notch cabernet. + + Doug and Stan see Alonzo, react like they've seen a ghost. + Lou turns, sees Alonzo. And quickly stands. It's tense. + Like there could be a gunfight. Jake's hand creeps to his + gun. Alonzo and Lou converge, trading serious questions and + answers with their eyes. Jake watches Stan and Doug. They + watch him. Alonzo and Lou grab hands grimly. + + LOU + (softly) + I don't know why I'm meeting you. I + don't talk to dead men. + + ALONZO + (smiles, winks) + Ain't dead yet, you prick. + + They shake vigorously, smile big. Everyone relaxes. + + LOU + Who the hell is Ricky Rookie? + + Alonzo grabs Jake's shoulder, pulls him into the huddle. + Jake notes none wear shoes. + + ALONZO + This is Jake Hoyt, first day in my + squad. + 63. + + +Jake shakes Lou's hand. Sees an LAPD Captain's badge on his +belt. Jake realizes these guys are police administrators. + + ALONZO + Jake, this is Lou Jacobs. You ever + have to talk to a fed, talk to this + man first. He'll get your back. + + JAKE + Pleased to meet you, sir. + + ALONZO + This is Stan Gursky, runs the + D.A.'s shooting team. Think about + him before you pull a trigger, + okay? Stan will rock your world if + you make a bad call. + + JAKE + (shaking with Stan) + Pleased to meet you, sir. + + ALONZO + And this is Doug Rosselli, does + high-dollar theft cases for the + poodle crowd. Your Picasso takes a + trip, Doug'll find it or die + trying. + +Doug stares at Jake like he's a bug as they shake. Jake +withers a little. + + JAKE + Pleased to meet you, sir. + +Lou takes Alonzo's arm. + + LOU + Have a seat, guy. + +Alonzo slides into a leather chair at their table. + + ALONZO + Shoo, boy. Shoo. + +He points out the corner table for Jake. Jake crosses, +sits, his back to their table. + + LOU + Seems like a good kid. + + ALONZO + 64. + + + Why the long face, Doug? Feds seize + your house or something? + +Chuckles from Lou and Stan. + + DOUG + Spent twelve months trying to catch + this serial burglar. A real + slickster, gave up nothing. Captain + rode my ass the entire time. What + broke it? Luck. Caught in the act + by a patrolman. We had him. + Prosecutor's first major case but + he slam-dunked it. From a + stepladder. Jury deliberates half a + day. Comes back guilty on ten out + of eleven counts. The shitbag was + looking at a twenty-five minimum. + + STAN + Minimum. Bye-bye, toilet-licker. + + DOUG + Sentencing was today -- + + LOU + -- Judge is female. + + DOUG + Right. Landers. + + ALONZO + I know her. Sharp lady. + + DOUG + Before this guy goes to the + hearing, he gets a hold of some + peanut butter and packs his ass + crack with it. + + DOUG + 65. + + + Before the arraignment hearing + today, the guy gets a hold of some + peanut butter and packs his ass + crack with it. He's standing tall + before the bench to give his + statement, shoves his hand down his + pants and comes out with a gob of + fuckin' extra-chunky Jiff. Coulda + heard a pin drop. Bailiffs wouldn't + come near him. He looks the judge + right in her eyes and licks his + fingers clean. Holy shit. The + judge, she screams. All these + homeowners are there to read + statements, they run out screaming. + +Alonzo is breaking up. Stan and Lou too. + +ON JAKE + +laughing too. + + DOUG + No wait, here's the punchline. + Judge orders him to psychiatric. + + STAN + Fucker'll do six months in the + puzzle factory before they say he's + normal and kick him loose. + + DOUG + Won't do a day in prison. + + ALONZO + If the asshole's clever enough to + play the system like that, I say he + earned his freedom. + + DOUG + I see him on the street, I'm gonna + fuckin' do him. + + ALONZO + Take his bullets, Stan. + +Laughs. + + ALONZO + 66. + + + Hey, listen, been showing my new + guy around town. Scored some reefer + for him to smoke. But he wouldn't. + So I run through the whole bit, the + gun to the head. Everything. + 'Okay,' he says. I light up and it + stinks like burnt rubber, right? + Nevertheless, I pass it to him. + +The detectives grin knowingly. + + STAN + You're an asshole. + + DOUG + Kid's gotta learn. + + ALONZO + We're in MacArthur Park and he + starts screaming and jumps out of + my car. + +The detectives are hooked. So is-- + +JAKE + +Listening, sipping water. + + ALONZO + So I chase him down this alley and, + holy shit, he's jamming two huge + crackheads and there's this + mamacita with a bloody nose. Kid + stopped a rape. + + STAN + No shit. + + LOU + Kid's got a magic eye. + + ALONZO + That's what I told him. Kid's a + prince. + +Jake beams with beer-buzzed pride. + +ON DETECTIVES + + ALONZO + His first day on the squad and know + what he tells me? + (pathetic voice) + 67. + + + 'You're a rogue cop.' + +Roars of laughter from the Detectives. + +ON JAKE + +He turns, sees it's a serious pow-wow. Overhears: + + STAN + Heard you had an expensive weekend + in Vegas. How'd you screw up so + bad? + + ALONZO + How could I know? Vegas ain't my + town. I'm not omniscient. + + LOU + You should hop a jet outta here. + + ALONZO + Why? It's an easy fix. + + LOU + How? + + ALONZO + I can cash out an account. + + STAN + Whose? + + ALONZO + One of mine. My first. + +The three suits shudder, trade looks. + + LOU + You're messed up. + + ALONZO + He's a security risk. Who's gonna + keep him off the radar if I'm gone. + You? I'm taxing him. + +A beat. Stan acquiesces. + + STAN + It's your call. Do not dick this + up. I do not want you on the front + page with the rest of those + assholes. + 68. + + + Alonzo smiles. And the men speak in hushed tones. Jake + turns to look. + + JAKE'S POV + + Lou, Doug, Stan and Alonzo stare back at him. + + BACK TO SCENE + + Jake snaps his eyes to his plate. The men murmur. The + Waiter arrives with Jake's steak. + + WAITER + You should know when not to listen. + + Jake reacts. The Waiter quickly exits. Jake looks at his + steak. Pushes away the plate. + + CUT TO: + + +82 EXT. PACIFIC DINING CAR - DAY 82 + + Alonzo and Jake exit. It's obvious something big is going + down. Alonzo is excited, happy, the raid jacket underarm. + He crosses to the valet. + + ALONZO + Gimme the keys for the grey one. + + Alonzo receives a key ring. Alonzo crosses to one of three + plush unmarked police sedans in the lot. Jake watches him + open the trunk and empty his jacket inside. Alonzo returns + the keys to the valet. + + CUT TO: + + +83 INT. G-RIDE - 6TH STREET INTO DOWNTOWN - MOVING - DAY 83 + + Alonzo drives away. Dials his cell phone. + + ALONZO + It's me. We gotta green light. Fax + the warrant to the clerk and tell + her to get the judge to sign it. I + want you and Paul to bring it to + location one. Have Jeff get some + picks and shovels. Sign 'em out + from maintenance. Copy that? + (beat) + Good. Hurry up. + 69. + + + He hangs up. + + JAKE + How much was in your jacket? + + ALONZO + Forty G's. + + JAKE + What for? + + ALONZO + You wanna know? + + JAKE + I wanna know. + + ALONZO + Nothing's free in this world. Not + even an arrest warrant. + + Jake didn't want to know. + + JAKE + Who's it for? + + ALONZO + A real bag of shit. A genuine bad + guy. Been investigating this vile + bastard for ten years. He's a big + fish in a big pond. Today I fry + him. The squad's gonna get some + glory. Talkin' name-making shit. + We'll be getting handshakes from + the Chief and Mayor. Wanna piece, + new guy? + + A beat. Jake smiles. Sounds good. + + JAKE + Hell, yeah. I wanna piece. + + ALONZO + Knew you would. + + CUT TO: + + +84 EXT. PARKING GARAGE - DAY 84 + + Near downtown. An unmarked police sedan waits. The G-Ride + parks next to it. Alonzo and Jake exit. + 70. + + +Out of the sedan steps MARK, a Chicano clothes horse in +Italian silk. And PAUL, a steely-eyed, heavyset black guy. +JEFF and TIM exit, clean-cut white guys, Jeff has a mullet. +Tim is generic but tough-looking. + + JEFF + Nice suit, Mark. + + TIM + Beautiful suit. + +Now Alonzo and Jake get out. Six cops huddled in an alley. +Jake fits right in with the motley bunch. Mark hands Alonzo +the warrant. + + ALONZO + Thanks. + (to Jeff and Tim) + My picks and shovels? + + JEFF + In the trunk. + + MARK + Gonna dig a ditch? + + ALONZO + You are. Great suit. + + MARK + Shut up. + + ALONZO + (shakes with Paul) + Howdy, killer. + + PAUL + Alonzo, what the hell's going on? + I've been hearing things. You good? + + ALONZO + Don't worry. I talked to the three + wise men. It's all good. + +His men trade looks, they have total trust in him. Jake is +a little nervous. + + PAUL + You say we get away with it, let's + hit this fool. Who's this? + + JAKE + 71. + + + Jake Hoyt. First day in the unit. + I'm coming from Valley patrol. + + He holds out his hand. Paul scoffs. + + PAUL + You're a long way from Starbucks. + (to Alonzo) + Why's he in on this shit? + + ALONZO + Gotta pop his cherry sometime. + + PAUL + (to Jake; peeved) + Stay the hell outta my way, little + puppy. This is big dog work. + + Alonzo notes Jake's unease, shows him the warrant. + + ALONZO + It's the real deal. Signed by the + judge. Thank the Sandman. + (addresses everyone) + Our safety comes first. He gives us + shit, we give him lead. Let's do + this right so everyone can go home + and do the wife and girlfriend + thing tonight. + (checks his watch) + Suit up, ladies. Time to punch in. + + CUT TO: + + +85 EXT. ROGER'S HOUSE - ALLEY - FENCE - DAY 85 + + Five cops crouch outside a gate with shotguns, MP-5s. + Assault vests and helmets worn over civvies. Jake and Jeff + to one side. Paul, Mark and Tim to the other. Alonzo + crosses to the gate with bolt cutters and snaps the + padlock. The five cops open the gate and run to -- + + +86 EXT. ROGER'S HOUSE - BACKYARD - DAY 86 + + The back door of the little house. Paul and Mark kick it + open. Wood splinters. The five cops rush inside. + + +87 INT. ROGER'S HOUSE - DAY 87 + 72. + + +The cops run through the kitchen into a familiar living +room. A familiar one. This is Roger's house. Jake is +surprised, confused. + +Roger reads on the couch, the morning paper. He's +nonplussed to find himself surrounded by police, weapons. + + MARK + Freeze up! You need to not move, + breathe, think or blink. + + ROGER + What are you clowns doing here? + + PAUL + Shut up! New guy! His hands move, + blast him. + +Jake aiming his shotgun at Roger's head. + + JAKE + I'm on him. + +Roger, holding his newspaper, recognizes Jake. + + ROGER + You know what you're doing, son? + +Jake nods: yes. The truth is; he doesn't. + + PAUL + Drop what's in your hands. Before + zero. Five. Four. Three. Two. + +CLUNK-CLUNK! Two tiny derringers hit the coffee table. +Roger had been palming them. Paul sweeps them aside with +his foot. The cops relax a little. Roger folds his paper. +Sets it down, takes off his reading glasses. A principal +besieged by truants. + + ROGER + Alonzo's gonna kill you guys. + +Alonzo enters the shattered door. Holding picks, shovels. +He drops the tools. They crash to the floor. Roger crosses +his arms and glares at his friend. + + ROGER + What's going down, Alonzo? + + ALONZO + I had lunch with the three wise + men. You gotta render unto Caesar. + 73. + + + Roger sees the tools and knows exactly what they are for. + + ROGER + Those goddamn vampires want my + pension. + + ALONZO + No, man, it's not like that. You're + just getting taxed. They got their + boat payments and God knows what. + I'm sorry. They're makin' me do it. + I'm just a lowly civil servant. + + ROGER + Bullshit. You're their bitch. What + happens with me? + + ALONZO + Don't worry, bro. I promised you'd + never go back to prison. I got your + back. You won't even miss what I'm + gonna take. I hate doing this. + Orders is orders. Sorry, dog. + + ROGER + No, you ain't. Cop. + + ALONZO + (to Tim and Jeff) + You guys are gonna work. Get the + tools. + (grabs Jake's shotgun) + Gimme the boomer. + + Tim and Jeff gather the tools. Alonzo hands Jake a pick and + leads the three men to the kitchen. Roger pours a slug of + Crown Royal as Paul and Mark guard him. + + ROGER + Who's paying for my floor? + + ALONZO + The city. + + +88 INT. ROGER'S HOUSE - KITCHEN - DAY 88 + + Alonzo flips the table. Taps the floor with his toe. + + ALONZO + Open the floor. Right here. + 74. + + + Jake, Tim and Jeff begin chopping. It's quick work to tear + a large hole in the wood. + + ALONZO + Hop in, Hoyt. Couple a feet down, + there's a locker. + + Jake jumps in. Attacking dirt with his pick. + + CUT TO: + + +89 INT. ROGER'S HOUSE - KITCHEN - DAY - 10 MINUTES LATER 89 + + Jake, Tim and Jeff haul a trash-bag-wrapped foot locker out + of the hole. + + JAKE + What's in it? + + ALONZO + Open it. + + Jake tears away trash bags. Alonzo takes a pick and snaps + the lock. Jake opens the lid, taped bundles inside. + + JAKE + It's coke? + + Alonzo hands him a penknife. + + ALONZO + Cut the damn thing open. + + Jake does, it is a brick of fifty dollar bills. Alonzo is + relieved to see the money. Jake likes its heft. + + JAKE + This is sweet. + + ALONZO + That's a hundred grand in your hot + little hands. There's four million + bucks in there. + + Alonzo slaps Jake's back. + + ALONZO + First day on the job and you're in + on a three million dollar seizure. + + JAKE + 75. + + + You said four. + + ALONZO + Told you, nothing's for free. Gotta + grease the rails to make the big + moves. + + Alonzo grabs a shopping bag. Tosses bricks of fifties in + it. Hands it to Jake. + + ALONZO + Here. Lucky to get this, day-one- + motherfucker. + + JAKE + What's this? + + ALONZO + Sweet green clean legal tender. + Start the kid's college fund early. + Get the old lady a minivan. + + However pleasant the heft, Jake could never accept. He + returns the shopping bag to Alonzo. + + JAKE + No way. Only checks I cash say City + of L.A. on 'em. + + JEFF + Someone didn't sleep through + Ethics. + + ALONZO + You said you wanted a piece. + + JAKE + Not like this. + + ALONZO + I understand. I'll hold on to it + for you. Not everyone's comfortable + the first time -- Let's wrap up. + + Alonzo drops the bag in the locker. Exits. Jake, Tim and + Jeff follow. + + CUT TO: + + +90 INT. ROGER'S HOUSE - LIVING ROOM - DAY 90 + 76. + + +Roger reads a Vegas odds paper. Alonzo, Tim, Jeff and Jake +enter. Roger glares at Alonzo. + + ROGER + What have I done to those guys? Are + they nuts? Am I supposed to stand + still and let them horsefuck me? + + ALONZO + No. We can put you out of your + misery. + +Alonzo tosses Jake the shotgun. + + ALONZO + Lemme tell you a secret, Hoyt. If + you kill someone on duty, they have + to be your slave in the afterlife. + (points to Roger) + There you go. Start an entourage. + + JAKE + You want me to shoot him? + +Paul, Mark, Tim and Jeff snicker, crack smiles. Roger too. +Jake plays along, points the shotgun at Roger. + + ROGER + You'd be doin' me a favor, kid. + + JAKE + Bang -- There. + +He lowers the weapon. + + ALONZO + Not gonna do it? + + JAKE + Of course not. This isn't funny. + +Alonzo smiles. Takes the shotgun from him. + + ALONZO + Man, youngsters these days. Can't + get shit done unless you do it + yourself. + +Alonzo aims at Roger. Roger suddenly understands. + + ROGER + This is all you-- + 77. + + +BOOM! Roger is punched ragged with BUCKSHOT, lifted off his +couch, knocked into the wall. + +Jake jumps back. A peal of laughter from Tim. Contagious +giggles from the others. Roger gurgles. Jake stares wide- +eyed at Alonzo. + + JAKE + Holy shit! + +Jake's shock elicits more giggles from the squad. + + PAUL + Finish him. + +Jake watches Alonzo cross to Roger, blindly gasping. + + ALONZO + He's finished. + +Alonzo takes one of Roger's derringers from the floor. +Slaps it in the dying man's hand. + + ALONZO + C'mere, Jeff. You took fire coming + through the door. + +Jeff smiles, gets in position so Alonzo can shoot him. + + JEFF + Alright. Gonna get some time off. + +He braces himself. Alonzo aims Roger's hand. Pop! A BULLET +THWACKS harmlessly into Jeff's VEST. He removes his +sunglasses from a pocket. + + JEFF + Watch my shades. + +Jake looking at Roger, it's hard to watch a man die. Again +Jeff braces. Pop! The THWACK of another BULLET. + + ALONZO + How's that? + +Jeff probing his hand under the vest. + + JEFF + Fine. + +Alonzo drops the gun in an envelope marked: EVIDENCE +HANDGUN. Jake can't believe what he just saw. + 78. + + + ALONZO + Listen up. This is the scenario. + Mark and Paul kick the door. Jeff + is first through. Roger opens fire. + Hits Jeff twice. + +Jeff coughs, bright foamy blood in his hand. + + JEFF + Oh, shit. + + ALONZO + One go through? + +Jeff answers by coughing more blood. Tim runs to him. + + TIM + Siddown, dude. + +Jeff does. Tim opens the vest, a hole in a seam on the +edge. Underneath, bruised puckered flesh drools blood. + + TIM + You shot him! + + JEFF + You shot me! + + TIM + Call a rescue. + + ALONZO + You're fine. You'll get a medal. + + JEFF + Call the R.A.! + + ALONZO + Let me quarterback the goings on + and I will. Okay. Mark and Paul + kick the door. First through is + Jeff. Bang. Bang. Gets hit. + Wounded. Second through is our new + guy, Hoyt. He drops the suspect + with some fine shotgun work. + (points at Mark) + Who shot Roger? + + MARK + The new guy. Came in spraying. + + ALONZO + Paul? + 79. + + + PAUL + The boot shot him. + + ALONZO + What'd you guys see? + + TIM + Hoyt blasted him. + + JEFF + Hoyt went for it. Now will you get + me a damn rescue ambulance? + +Jake looks at these guys. They look back, smiling, +smirking. He feels dizzy, sick as the nightmare sinks in. + +Jeff coughs blood. Alonzo tosses his rover to Paul. + + PAUL + (into rover) + Eleven forty-nine. Nine-nine-eight. + Shots fired. Shots fired. Officer + down. Fifty-nine fifty-one Baxter + Street. + + ALONZO + (slaps Jake's back) + Good job, son. Congratulations. + Gonna get a medal of valor. + + JAKE + -- I didn't shoot him-- + + ALONZO + Roomful of cops says you did. + + JAKE + I don't care. I didn't shoot him. + You did. + +Alonzo pulls his gun. Aims at Jake's face. + + ALONZO + (as a newscaster) + A Los Angeles Police Department + narcotics officer was killed + serving a high risk warrant in Echo + Park today. An L.A.P.D. + spokesperson said the young officer + was survived by his wife and infant + child. + (himself) + Shit gets deeper. Get the picture? + 80. + + + JAKE + I got the picture. + +Jake strikes, twists back Alonzo's gun sharply, sweeps away +his legs with a kick. Alonzo finds himself on his back, +Jake's knee on his neck, staring down the maw of his own +pistol. + + JAKE + That's the second time you've stuck + a gun in my face. Won't be a third. + + ALONZO + That's what I'm talking about. You + guys watching this? That's it, + Jake. + +Paul presses his Beretta against Jake's temple. + + PAUL + Be my pleasure putting a hydrashock + in your melon. + +Tim, Jeff, Mark gawk at the Mexican standoff. + + PAUL + But I'm gonna be cool. Open your + hand slowly. Drop the weapon. + +Jake's free hand inches to his holstered gun -- + + JAKE + (super-calm) + Hey, sorry, man. Relax, okay? + +-- and snatches it. He swings on Tim, who swings his .45 on +Jake. A three-way standoff. + + JAKE + Wanna shoot me, Paul? Go ahead. + Because these two are gonna be + wiping my ass in the netherworld. + +A beat. Then: + + TIM + Alonzo. This is bad. + + PAUL + This dude's a fed. + + ALONZO + 81. + + + He's no fed. Just a choirboy with + heart who got the drop on you + fools. Everyone, let's take a deep + breath and defuse this. Jake? You + hear me? + + JAKE + You can't just spring this shit on + me. I never signed up for this. + + ALONZO + I hear you. I know you're angry. + Paul, Tim, please put down your + guns. + + TIM + Hell no. + + PAUL + Choirboy first. + +SIRENS APPROACH. Lots of them. + + ALONZO + Both of you: guns down. Now. + +Paul and Tim reluctantly lower their weapons. Jake lifts +his knee off Alonzo's neck, stands and backs away, aiming +both pistols at Alonzo, who climbs to his feet. + + ALONZO + Jake, use your ears and listen. + Sometimes we take shit all the way. + That's the nature of the game. We + don't do this every day. No one + will ever again ask you to pull a + trigger you don't want to -- Mark, + where're you transferring to? + + MARK + Westside Homicide. + + ALONZO + Westside Homicide. Just made + detective. Jake, give me eighteen + months and I'll give you a career. + We make the big arrests. We make + the big seizures. When someone's in + my unit they're in all the way or + not at all. I thought you were man + enough to handle this shit. + +Alonzo calmly pours himself a glass of Roger's whisky. + 82. + + + ALONZO + Five proven, decorated officers say + you were the shooter. Investigators + are gonna pull a tube of your blood + and test for intoxicants. Remember + all the P.C.P. you smoked today? + +Jake does, wincing at his stupidity. + + JAKE + You've been planning this all day. + + ALONZO + I've been planning this all week. + You start talking crazy shit, I + will make sure your dirty blood + makes it to the lab. Still wanna + walk your baby nuts around the + block? You won't make it to the + corner. But if you're cool. You're + a hero. A virgin shooter above + suspicion. + +Jake looks at Roger, gasping like a beached carp. The +SIRENS are getting CLOSER. + +Alonzo gulps his drink and Pfffffst! Spits the booze in +Jake's face. Jake is blinded. Paul seizes Jake's wrists and +aims the pistols at the ceiling. Alonzo wrenches the +pistols from his hands. Jake wipes his eyes, looks at the +roomful of crazy cops, scared. Paul points at Roger's other +derringer, laying on the carpet. + + PAUL + Alonzo, there's two shots in that + stinger. Let's kill your boy right + now and say Roger dumped him coming + through the door. + +Mark, Tim, Jeff like the idea. Jake doesn't. And lucky for +him, neither does Alonzo, who stands protectively in front +of Jake. + + ALONZO + No. We're not killing him. He's a + good guy. Man's got the magic. Just + having a little freakout is all. + We've all been there. I say he's + cool. No one's gonna hurt him. + +Jake and Alonzo trade a look. The SIRENS are close. + + ALONZO + 83. + + + Hoyt, you gotta decision to make. + In ten seconds, this place will be + overrun with blue suits. Go outside + and clear your head. + (returns Jake's gun) + Or shoot me now. + + Jake is only too happy to get out of there. Jake crosses to + exit, pauses, an afterthought: + + JAKE + Hey, Paul. + + Crack! Jake nails his jaw. Paul staggers, almost falls. + + To Jake as he exits: + + PAUL + You're dead! I'm takin' you out. I + don't care. + + ALONZO + Kick back, Wyatt Earp. Gotta + respect a cat who puts you on queer + street with one punch. + (catches his men trading + looks) + Kid's got more balls than all you + faggots combined. + + CUT TO: + + +91 EXT. ROGER'S HOUSE - LONG SHOT - DAY 91 + + from a distant hilltop. The ambulances and black and whites + out front shimmer in golden afternoon heat. Two distance- + distorted LAPD paramedics wheel out Roger on a stretcher. + + ZOOM IN. + + Amidst the heat mirages, Alonzo talks to a uniformed + sergeant. Two more paramedics wheel Jeff outside on a + stretcher. Mark, Tim and Paul following. Roger is lifted + into an ambulance. Alonzo dismisses Jeff's paramedics and + huddles with his men. + + CUT TO: + + +93 EXT. ROGER'S HOUSE - ALLEY - DAY 93 + 84. + + + Alonzo crosses to the G-ride with an armload of gear. Pops + the trunk. Dumps everything inside. He shuts the trunk. + Dials his cell phone and gets in the car. + + ANGLE ON JAKE + + leaning against a phone pole. Watching as Alonzo pulls a + clipboard from under his seat and puts on reading glasses. + Alonzo begins writing a major incident report as he talks + on his cell. A beat. Alonzo STARTS the G-RIDE. Motions for + Jake to get in. + + +95 INT. G-RIDE - ROGER'S HOUSE - ALLEY - DAY 95 + + Jake gets in, on the verge of freaking out. Alonzo with his + reading glasses, the clipboard on his steering wheel, + filling in the report, talking on his cell phone, laughing. + + ALONZO + -- you're gonna be scrubbing the + bathtub, homie. Later. + + Alonzo hangs up. Preoccupied with filling in little boxes + on the report. + + ALONZO + Why didn't you take off? + + JAKE + There's nowhere to run. + + ALONZO + Roger was D.O.A. at Good Samaritan. + Let's get the paper rolling now. + + Alonzo looks at Jake, sees his torment. + + ALONZO + Justifiable homicide in the line of + duty. Anyone'd be proud to have + that in their jacket. + + JAKE + Not this way. Say I don't play + along? + + ALONZO + At this point it behooves you not + to dick around. + + Jake has a lump in his throat. A beat of silence. + 85. + + + ALONZO + What happened today was -- + + JAKE + -- was murder and armed robbery. + Wait. We had badges. It's + different. + + ALONZO + Dammit, boy! Why can't you open + your eyes and see? + +Jake can see. Too clearly. Softly: + + JAKE + That man was your friend and you + killed him like a fly. + + ALONZO + (laughs) + Friend? Because I drank his whisky + and he knew my name? Shit. I was + playing his ass. That's my job. + That's your job. Roger sold dope to + kids. World's better off without + him. He's the biggest major + violator in L.A. I've been watching + the cocksucker operate with + impunity for ten years. Now I got + him. This shit's chess not + checkers. Can't just slap cuffs on + a cat like that. + +That's the truth. And Jake knows it. + + ALONZO + Look, keep the money. + + JAKE + Told you, I don't want it. + + ALONZO + Just take it. Throw it in the + ocean. Barbecue it. Just take it. + It would make the boys feel better. + + JAKE + Fuck their feelings. + + ALONZO + You're not making anyone feel + you're on the team. + 86. + + + JAKE + The team? You guys are insane. I'll + go back to Valley and cut parking + tickets. + +Jake stares out the window a beat, clenching his jaw. + +He looks at dozens of birds sitting on the power lines, +backlit by the setting sun. + +Jake finally looks at Alonzo, stares into Alonzo's scary, +empty eyes. Amazed to be utterly trapped by them. We can +almost hear Jake's heart breaking. + + JAKE + It can't be like this. + +A beat. + + ALONZO + It is like this. I'm really sorry I + exposed you to all that. It was + ugly but it was necessary. Never + seen no one die before? Too damn + soft. Bet you never missed a meal + in your life. + + JAKE + (glares at Alonzo) + Missed a lot meals growing up. Why? + (pantomimes shooting up) + Because the folks had to do their + shit. + +OFF Alonzo's amazed look: + + JAKE + That's right. I'm in the cop + business to lock up the criminals, + the poisoners. Not to be one. + +Alonzo sizes up Jake anew, laments not knowing that +earlier. He tries a different tack. + + ALONZO + All the shit you're feeling now, + it's going to go away. I know + you're scared. + + JAKE + I'm not scared. + + ALONZO + 87. + + + You're terrified. I know you are. I + went through the same shit. + Everyone has. Sooner the world in + your head matches the real world, + the better you're gonna feel. + (a beat) + Jake, there's gotta be dirt on you + if anyone's gonna trust you. After + this is behind you, a whole new + life will open up. I walk a higher + path. I can give you the keys to + all doors. + + JAKE + What are you talking about? + + ALONZO + I'm not the asskicker I once was, + but you are. Want to run my unit? + My guys are good but not one of + those clowns is a leader. You are. + Want my job? You got it. Wanna lock + up criminals? This is the best + place to do it. Do your time and + make detective. Play the game, grow + wise and change things from the + inside. + + Jake looks at him. And realizes Alonzo is right. Alonzo + STARTS the CAR, exits the alley. + + ALONZO + Let's get to the hospital and talk + to Stan. He'll tell you what to say + to the D.A.'s guys. + + CUT TO: + + +96 EXT. CESAR CHAVEZ BLVD. - SUNSET 96 + + The G-ride crosses the river into East L.A. General + Hospital looms ahead. + + +97 EXT. BOYLE HEIGHTS - SUNSET 97 + + The tough old barrio is before the huge hospital. Cholos + drink on the sidewalk. Play grab-ass and listen to MUSIC. + + CUT TO: + 88. + + +98 INT. G-RIDE - SMILEY'S NEIGHBORHOOD - MOVING - SUNSET 98 + + Alonzo parks near the gangsters. + + JAKE + What's here? + + ALONZO + Informant of mine's in Chino. + Promised I'd help out his family. + + Alonzo points out a well-tended, quiet, quaint house near + the cholos. Alonzo gets out. Opens the trunk. Loads up his + arms with appliances. + + ALONZO + Sometimes I bring food. Believe it + or not, I like to help out the + community whenever I can. + (a box falls) + Shit. Hoyt, help me with this. + + CUT TO: + + +99 EXT. SMILEY'S STREET - SUNSET 99 + + Jake gets out, takes some boxes. And they cross to the + house. With Jake following. Past staring cholos. + + ALONZO + (re: Jake) + He's with me. + + A drunk PeeWee maddogs Jake. Jake maddogs back. + + PEEWEE + You know where you're at, fool? + + A VETERANO shoves the PeeWee aside. + + VETERANO + Outta the way, punk. It's business. + + He shakes with Alonzo. + + VETERANO + 'Sup, dog. Thought you were missing + in action. + + ALONZO + 'Sup, man. You know I'm never lost. + 89. + + +100 EXT. SMILEY'S HOUSE - SUNSET 100 + + Jake and Alonzo cross to the house. AD LIBS of "Those're + cops," spread through the cholos. At the house's door, + Alonzo knocks. A beat. A little girl cracks it. + + ALONZO + Hi. Got some stuff for your family. + + She closes it. A beat. The door opens to reveal SMILEY, a + huge, drunk veterano sleeved with prison tattoos. He looks + at the two cops. Massive, impassive. Smiley never smiles. + + SMILEY + Kitchen's this way. + + Alonzo enters. Jake hesitates. Then follows. + + CUT TO: + + +101 INT. SMILEY'S HOUSE - LIVING ROOM - SUNSET 101 + + The little girl does homework on a computer. Two fine + cholas watch the Spanish newscast. An old man dozes in a + chair. Family photos on the wall -- A proud line of + warfighters, lots of military uniforms. Alonzo and Jake + follow Smiley into: + + +102 INT. SMILEY'S HOUSE - KITCHEN - SUNSET 102 + + SNIPER and MORENO, big and intimidating like Smiley, have + been playing poker around a beer-bottle-covered table. + Smiley, Alonzo and Jake enter. + + SMILEY + Put it on the counter. + + Alonzo and Jake place the boxes on the counter. Sniper, + Moreno, ignore Alonzo. And vice versa. + + ALONZO + Can I use the head? + + SMILEY + Go for it. + + ALONZO + (to Jake) + I'll be two seconds. We're already + late. + 90. + + +Alonzo exits to a hallway. Smiley opens a box. Pulls out a +nice CD player. + + MORENO + That's nice. Lemme get that. + + SMILEY + You get the blender. This is mine. + +Smiley opens a microwave box. Jake reacts. + +JAKE'S POV + +The box contains the bag of cash Jake refused. + +BACK TO SCENE + + SMILEY + Dreamer! Got your bony ass in here! + +DREAMER, 19, an attractive young lady, enters. Smiley hands +her the bag of Jake's money. + + SMILEY + Count that shit in the bedroom. + + DREAMER + Thanks, eh. I was doing stuff. You + learn to count, math whiz. + +She gives him a dirty look and exits. Smiley takes his seat +and picks up his cards. He eyes Moreno. + + SNIPER + You looked at 'em. + + MORENO + No I didn't. + +Smiley tosses them to Sniper. + + SMILEY + Deal again. + + SNIPER + Play cards, cop? + + JAKE + Not really. + + MORENO + Beer? + 91. + + +Moreno offers one. Sniper deals in Jake. + + JAKE + No thanks. + + SNIPER + C'mon and play a hand. + + MORENO + Don't be rude, dude. One hand. + + SMILEY + Don't sweat it. We ain't playin' + for money. + + JAKE + We gotta go. + + SMILEY + Alonzo's taking a dump. Go ahead + and have a seat. + +Sniper finishes dealing. Jake looks at the cards intended +for him. + + JAKE + Okay. One hand. + +Jake sits. Now he can see a shotgun against the wall by +Moreno. The three cholos check their hands, signal for more +cards. Jake checks his cards. + + MORENO + How long you been a cop? + + JAKE + Nineteen months. + + MORENO + Like it? + + JAKE + I shoulda been a fireman. + + SNIPER + Waddaya got, dog? + + JAKE + Huh? + + SNIPER + Your hand, homes. + 92. + + +Oh, Jake lays down his cards. + + JAKE + Three of a kind. + + SMILEY + Man, didn't get squat. + +He tosses away his hand, Moreno, too. Sniper shows his +cards with a grin. + + SNIPER + Two pair. + +Sniper collects the cards. Shuffles. + + SMILEY + What are you doing? The cop won. + + SNIPER + I got two pair. + + SMILEY + Three of a kind beats two pair, + dumbass. + + MORENO + See why we don't play for money? + +Moreno shakes his head, points at Jake's waist. + + MORENO + Lemme see your cohete. + + SNIPER + Your gun, dude. Let him see your + gun. Under your shirt. + +Jake is outnumbered, outsized, outgunned. All he can do is +take the pistol from his holster and show Moreno. + + MORENO + That's down. What is it? A three + eighty? + + JAKE + Three eighty stainless. Double + action. Nine round mag. + + MORENO + Lemme see it. Ain't gonna blast no + one. + 93. + + +Jake hands it over. Moreno examines it with skilled hands. + + MORENO + Fuck a vato up with this. + +He hands it back. To Jake's relief. Jake looks down the +hall. Getting up: + + JAKE + We have to go. I'm gonna get + Alonzo. + + SMILEY + Kick back and party. + +Smiley pulls aside the curtain. + +JAKE'S POV + +An empty street. The G-Ride is gone. + + SMILEY (O.S.) + Ain't nobody out there for you. + +ON JAKE + +He feels like a toddler lost in a department store. He sits +back down. Moreno laughs. + + MORENO + Alonzo played you like a booger. + +Smiley slides the deck to Jake. + + SMILEY + Your deal. + +Jake shuffles. Smiley lights a joint. Offers it to him. + + SMILEY + It's P.C.P. Wanna hit? + + JAKE + No thanks. I already smoked out + today. + + SNIPER + Shit. I'll step on that P-dog. + +Sniper takes it, inhales. Jake dealing cards. The joint +rounds the table. + 94. + + + SNIPER + Gimme two cards. + +Jake does. Dreamer enters. + + DREAMER + It's all there. + + SMILEY + You sure? + + DREAMER + You count it if you don't believe + me. + + SMILEY + Okay. Thanks -- Gimme three. + +Dreamer grabs a beer and exits. Jake deals three. + + SMILEY + Alonzo pulled off a miracle, huh? + Times are tight. Scared up a lotta + cash. + + SNIPER + Who'd he jack? + + JAKE + (dealing cards) + I dunno. + + SMILEY + He jacked Roger. Blasted the dude. + +Moreno guffaws. Sniper chuckles. + + MORENO + Damnnnn. Alonzo's scandalous. + + SNIPER + That's some cold shit. Vato'll jack + anyone. + + MORENO + Alonzo's a low-down, dirty, + ruthless vato. + + SMILEY + That's why I never shake his hand. + He don't respect shit. + (to Jake) + Know what the money's for? + 95. + + + JAKE + No. + + SMILEY + Alonzo's a hothead. Last week in + Vegas some Russian dude was talking + shit. Alonzo spazzed out and beat + his ass to death. Oops. Turns out + the dude was somebody. Alonzo's + into the Rooskies for million, + wasting that cat like that. + + JAKE + How do you know? + +Smiley gives Jake a look. + + SMILEY + They gave Alonzo till today to pay + up. But his name's already on a + list. No one thought he could get + cash that big. Good thing he got + his blood money, 'cause a crew's + waiting on standby. He don't get + downtown and pay up by midnight and + not a minute after, Cinderfella + turns into a corpse. + + MORENO + It's all about punctuality, ese. + + SNIPER + Dude made a pact with the devil or + some shit 'cause only a miracle + coulda saved his ass. + + JAKE + It's no miracle. + + SNIPER + Alonzo takes care of business. + + SMILEY + Cops get crafty in a clinch. + + SNIPER + And get away with it. + + MORENO + Makes me wanna turn out a cop. Ever + had your shit pushed in? + + JAKE + 96. + + + What? + + MORENO + I had my shit pushed in. + + SNIPER + Me too. My shit's been pushed in. + Smiley? + + SMILEY + (grins) + I'm always gettin' love from the + homies. + +Smiley caresses Jake's thigh under the table. He almost +leaps from his chair. Everyone laughs. + + SMILEY + Jumpy motherfucker. + + SNIPER + (disgusted) + He's a buster. + + MORENO + You never been booty-busted? + +Jake tries to laugh. But it's getting weird. + + SMILEY + Hey, cop. Win this hand and we + won't bust you out. + + MORENO + Unless you want us to. + +Laughs. Sniper reveals his cards. + + SNIPER + I got two pair again. + + MORENO + (tossing his cards) + Didn't get shit. + + SMILEY + (grins) + Gotta straight. + + SNIPER + Uh-oh. This jura's gonna be wearin' + a dress. + 97. + + +Everyone looks at Jake. Well? He lays down his cards. + + JAKE + Full house. + + SMILEY + Lucky. + + SNIPER + You won. Deal again. + +Smiley taps the deck. Jake looks at it. At them. + + MORENO + Deal, homie. + +Jake picks up the deck. Starts dealing. Smiley arranges his +hand. + + SMILEY + Gimme three. + + MORENO + Fuck this buster. Let's get this + shit over with. + +Looks of agreement are traded. Moreno grins at his shotgun. +Sniper shifts his weight. Smiley whiteknuckling his beer. + + SMILEY + Hurry up, cop. Gimme three. + +Jake reaches for the deck. This happens fast: Jake flings +the deck in Sniper's face. Smack! Cards scatter. + +Jumps up from his chair, flips the table into Moreno. +Smiley SMASHES a beer BOTTLE on Jake's head. Moreno +grabbing the shotgun. Crack! Jake socks Smiley's jaw. He +goes down, amazed to find himself on his ass. + +Crack! Sniper uppercuts Jake. Smiley grabs Jake's legs, +yanks him to the deck, kerchack! + +JAKE'S POV + +The bore of a 12 gauge and Moreno's leering face. + +BACK TO SCENE + +Jake gives up, his broken scalp gushing blood. + + JAKE + 98. + + + -- uncle-- + + Dreamer pops her head in. + + DREAMER + Dang! You guys fucked him up. + + MORENO + Get outta here. Take the girls next + door. Or you're next. + + She gives him the finger, pops out. Smiley pats Jake down. + Pockets his gun. + + SMILEY + You tripped, fool. You know that. + + He finds Jake's handcuffs -- clicks his wrists together + behind his back. He takes his badge, clips it on his belt. + + SMILEY + Look. I'm a cop. Gonna start + taxing. + + Smiley commences kicking the hell out of Jake: + + SMILEY + You're under arrest. For being a + cop. For being a buster. For + dogging me in the mouth in my own + pad. And for bleeding on my clean + kitchen floor. You have the right + to be kicked. And the right to be + slapped. + + Smack! He slaps him. Everyone laughs. Smiley finishes, + panting. + + SMILEY + There. Get him in the bathtub. + + Moreno grabs Jake's hair, Sniper grabs an arm, they jerk + him to his feet. + + SMILEY + Gotta fuck this vato up. + + They run him out of the kitchen, Smiley follows. + + +109 INT. SMILEY'S HOUSE - BATHROOM - NIGHT 109 + 99. + + +Pink carpet and porcelain kitties. They throw Jake into the +tub, shove his face in the drain. Smiley turns on the +water, Jake's blood whirlpooling away. Smiley grabs the +shotgun from Moreno. Thumps the butt against Jake's head, +flips it, shoves the muzzle in his ear. Snicks the shower +curtain shut to catch the spatter. + + SNIPER + Do it, eh. + + SMILEY + It's gonna be loud. Close the door. + +Moreno does. Sniper plugs his ears. Smiley braces for the +recoil. Jake is dazed, like steer in a slaughterhouse +chute. + + MORENO + Wait. Lemme get his money first. + +Smiley nods. Moreno searches Jake's pockets, takes his +wallet. Pockets forty bucks. Finds the Schoolgirl's pink +change purse. Opens it, reacts. + + MORENO + -- dang-- + +He hands it to Smiley. + + MORENO + Here, ese-- You are gonna trip out. + +Smiley opens it. His face goes dead blank. He hands Moreno +the shotgun. Whips aside the shower curtain. Starts +slugging Jake. Emphasizes each word with a kidney punch. + + SMILEY + Pinchi-- game-- playing-- cop-- + where'd-- you-- get-- this? + + JAKE + Get what? Get what? Oh, God. + +Smiley slaps him with the change purse. + + SMILEY + This, stupid. Alonzo give it to + you? + + JAKE + No! I found it! + + SMILEY + 100. + + + Where? + + JAKE + MacArthur Park! + + SMILEY + What? Bullshit! + +Snick! The curtain closes. Smiley takes the shotgun. Holds +it to Jake's temple. Moreno angles for a peek. + + MORENO + Wait up. I can't see. + + SMILEY + If you're religious, go ahead and + get in that last prayer. + + JAKE + (sobs) + Omigod, she was going to be raped. + I was driving with Alonzo. These + two crackheads were gonna rape her. + I saw them hit her. I stopped them. + They were gonna rape her. I swear + to God. I stopped it-- I gotta kid + -- + + SMILEY + -- Shut up, faggot! + +Smiley opens the curtain, stomps Jake's back, closes it. + + SNIPER + Blast the fool. + +Smiley aims, braces for the recoil. Jake croaks: + + JAKE + -- I gotta little girl-- + +Smiley pauses. He eases off the trigger. Pulls a cell +phone. Dials. + + SMILEY + We're gonna get to the bottom of + your bullshit. She's my cousin. + She's a civilian. Ain't right + involving her. + +He sits on the toilet. Still holding the shotgun to Jake's +head, he waits for an answer. + 101. + + + INTERCUT: + + +110 INT. LETTY'S BEDROOM - NIGHT 110 + + The Schoolgirl works out Algebra II proofs on a "Hello + Kitty" bedspread in a pink T-shirt. Boy band posters. She + grabs her RINGING PHONE. + + SCHOOLGIRL + Hello? + + SMILEY + Wassup, Letty. Whatcha doin'? + + LETTY (SCHOOLGIRL) + Hey, Smiley! Just here doing + homework. Wanna talk to Tony? + + SMILEY + No. I wanna talk to you. Go to + school today? + + LETTY + Yep. Yep. + + SMILEY + All day? You didn't ditch? + + LETTY + Nope. I went to every class-- Why? + + SMILEY + I heard different. + + LETTY + Nuh-uh. + + SMILEY + Cops talk to you today? + + LETTY + No. + + SMILEY + Tell me what happened. Don't + bullshit me. + + LETTY + I got jumped by two niggers. + + SMILEY + You got jumped? + 102. + + + LETTY + Well, I think they wanted to rape + me. I kinda got hit. I mean he just + slapped me. But nothing happened, + okay? 'Cause this cop came and + kicked their butts. They almost + killed him but he kicked their + asses. + +A beat. + + SMILEY + What did this cop look like? + + LETTY + He was a white boy. He looked + young. + +Smiley looks at Jake. That's him. + + SMILEY + Sure you're okay? + + LETTY + I'm fine. Nothing happened. + + SMILEY + That don't sound like nothing. + Wanna go to the doctor? + + LETTY + No. I said I'm fine. + + SMILEY + Letty. + + LETTY + Yeah? + + SMILEY + What were you doing in East Los? + + LETTY + I was just kicking back at my + friend's pad. There weren't no guys + or nothing. I swear to God. + + SMILEY + Letty. + + LETTY + Yeah? + 103. + + + SMILEY + You go there again, I'm gonna beat + your ass. I got your bus pass and + I.D. Gonna send 'em over. And we're + gonna talk more about this. + + +111 INT. SMILEY'S HOUSE - BATHROOM - NIGHT 111 + + He hangs up. Looks at Jake a long beat. Soaked, bloody, + shivering. Click. He safeties the shotgun. Tosses it to a + disappointed Moreno. + + MORENO + Ain't you gonna blast him? + + SMILEY + The vato was tellin' the truth. + Life's a trip, huh? + + SNIPER + This is some trippy-ass shit. + + Smiley hands the change purse to Sniper. + + SMILEY + Get this to Letty. + + Smiley stands, turns off the water. He helps Jake to his + feet. Unlocks the handcuffs as Jake sways, woozy. + + SMILEY + Thanks for getting my cousin's + back. + + Jake half-smiles, not really sure if he's alive or not. + Smiley tosses him a towel. + + SMILEY + Put that on your head. You're gonna + stain the carpet. Where they at? + Where you book 'em? + + JAKE + I didn't. + + SMILEY + Why not? + + JAKE + Alonzo let them go. + 104. + + + Smiley scowls. Regards Jake a beat, the wheels turning, + Smiley's a smart guy. He offers Jake his hand. + + SMILEY + You know this shit was just + business. + + JAKE + I know. + + They shake. + + CUT TO: + + +112 EXT. SMILEY'S HOUSE - NIGHT 112 + + Smiley and Jake exit, the Cholos on the street, they watch + him with their jaded, curious eyes. + + SMILEY + Alonzo wants your ass destroyed. + Supposed to burn you up on the + freeway by your house. + + Jake looks at Smiley. Sucks some blood from his teeth. + + SMILEY + You went Sega today, rookie. You're + at that next level. Just play their + games and do what you gotta do and + you'll be cool. They'll make you + Chief. + + He trades a look with Smiley and walks toward the nearby + boulevard. + + SMILEY + Sure you don't wanna ride? + + JAKE + I'm sure. + + Smiley watching him go, impressed. + + SMILEY + (beat) + Hey, cop! + + Jake stops, turns. Smiley smiles. The first time. + + SMILEY + Remember me. + 105. + + + Jake looks at Smiley, grins at the absurdity. + + CUT TO: + + +113 EXT/INT. MTA BUS - NIGHT 113 + + The driver hits the button and the door opens. Jake climbs + aboard; the driver is looking at his battered face. Jake + taps the badge on his belt. Pulls sixty bucks from his + pocket. + + JAKE + I need one of your shoes. + + The driver gives him a look, unties her shoe. Hands it to + Jake. + + JAKE + Go straight to the Jungle. Stop + only when I say. + + Cool. Jake jerks his head "Hurry up." He picked the right + driver; her sock-clad foot stomps the gas pedal. + + The bus lurches forward. The bus drives away under Jake's + walking feet. He turns and is scooped right into the back + seat. Jake's ridden a lot of busses. + + CUT TO: + + +114 EXT/INT. MTA BUS - NIGHT 114 + + Jake pulls his gun. Gives it a quick function check. He + pulls the shoelace from the shoe. Ties the gun to his hand. + Jake catches his reflection in the window, contemplates + himself. + + JAKE'S POV + + A battered stranger. His reflection moving across the + street life in b.g. + + CUT TO: + + +116 EXT. STREET - NEAR CUL-DE-SAC - NIGHT 116 + + The city bus FILLS FRAME. Then pulls away to reveal Jake. + + JAKE'S POV + 106. + + + Down the block is the cul-de-sac. No man's land. Quiet and + dark, the streetlights have been shot out. + + CUT TO: + + +118 EXT. CUL-DE-SAC - NIGHT 118 + + Jake enters, wary. He rounds the misparked van. The G-ride + parked in a grassy lot. Jake glimpses the Little Kid on the + bike disappear down a driveway. Jake notes a glowing + cigarette on an apartment rooftop. Across the street, Jake + sees rooftop movement, as someone takes cover. CLICK-CLACK + as a rooftop shadow cocks a RIFLE. + + Jake is on a mission, undeterred. + + ON HOUSE + + A porchlight turns off. The curtain moves in the window. + + COUPLE G'S + + kick it on a wall. Veteran soldiers ready for anything. + They watch Jake pass with tough stoic faces. + + Jake continues toward Sara's building. Where a GANGSTER + stands with crossed arms, Jake's an irritant, not a threat. + + GANGSTER + 'Sup, rookie. You got business + here? + + Jake looks up at Sara's apartment. + + JAKE + Yeah. I'm here for Alonzo. + + The Gangster opens the gate for him. Jake climbs the stairs + to Sara's apartment. + + CUT TO: + + +121 INT. SARA'S APARTMENT - LIVING ROOM - NIGHT 121 + + The TV is ON in the living room. Sara's boy plays on the + floor. TAPPING AT the WINDOW. The boy sees it's Jake, who + smiles, points at the door. The little boy crosses, unlocks + the door. Jake enters quickly, grabs the boy and hides him + in a bookcase with little doors at the bottom. + 107. + + + JAKE + Shhh. It's okay. Lay down. + + The boy looking at Jake as he closes the door. Jake hears + GIGGLING O.S. Crosses to the bedroom door. Wham! Jake kicks + it open. + + +122 INT. SARA'S APARTMENT - BEDROOM - NIGHT 122 + + Jake barges through the door, gun ready. Sara jumps from + the bed, clutching a sheet. Alonzo is dressed down, ready + for his important rendezvous. Finishing counting and + repacking Roger's money into a war bag of police gear. + Twenty-two pounds worth of Benjamin Franklin. Alonzo spins, + reacting as he recognizes the ghost before him. He raises + his hands, impressed. Unable to reach his gun sitting on + the dresser by his wallet. + + JAKE + Smiley didn't want the job. + + ALONZO + Goddamn, Jake. Lemme shake your + hand. You did it, you passed the + test. You a man now. + + Alonzo offers his hand. Jake scoffs. Alonzo reaches for the + war bag. Real slow. He fishes a smoke from the pack inside. + Lights it. + + ALONZO + Shit I've been through. Shit I've + seen. Took me a long time to get + where you are. Now you on, Jake. + Now you're a real narc. I held your + hand through hell. You just gonna + stand there holding your shit on + me? Wassup? + + Alonzo glances at a clock, it's 11:30, time's wasting. Jake + follows his eye-line to the clock. + + JAKE + Fuck your little rendezvous. + + Alonzo reacts, surprised Jake knows all. + + JAKE + I got your number, homie. You're + worse than a gangster. They ain't + hiding behind badges. + 108. + + + ALONZO + (holds out his hands) + Then hook and book me. For what? + You shot Roger when you were + whacked on P.C.P. and ran off like + a maniac. Got witnesses? Smiley? My + squad? My loyal troopers? Tell your + tales. We'll tell the truth. It's + not what you know, it's what you + can prove. Where's your evidence, + Jake? + + JAKE + There's my evidence. + + Jake nods at the cash. THWACK! Alonzo flicks his cigarette + at Jake's face. A blinding explosion of SPARKS. Alonzo + dives over the bed, grabbing the war bag of cash. In a rack + under the bed is a sawed-off, pump SHOTGUN. Alonzo jerks + the trigger BOOM! PELLETS SIZZLE past Jake's feet as he + dives out of the room. + + ALONZO + Jake. Doing good, man. First + gunfight. + + +123 INT. SARA'S APARTMENT - HALLWAY - NIGHT 123 + + Jake scrambles for the kitchen. KERCHACK -- BOOM! + + Dives behind the counter as FORMICA EXPLODES around him. + + ALONZO + Know that I am surgical with this + baby. Wanna closed casket? Or you + want one below the belt? + + +124 INT - LIVING ROOM 124 + + Sara's boy bolts from his hiding place. Sees Jake and runs + toward him. When the child reaches the hall -- + + Jake swings his pistol on him. Alonzo swings the shotgun. + + Both men aiming at the terrified child, frozen in the hall. + + Alonzo smiles, squats in the hall outside the bedroom door + and beckons his son closer. + + ALONZO + 109. + + + Shhh, mijo. No llores. Ven aqui, + mijo. Vente no llores. Escucha a tu + papi. + + The child looks at Jake. A connection. Jake motions the + child toward him. But the child looks to his father. + + ALONZO + Mijo. No, es malo. Es el cucuy. Te + va a pegar. El cucuy, mijo. Quiere + pegarle a tu mami. Vente, papasito. + (Translation: Son, he's + bad. He's the boogeyman. + He's going to hit your + mommy and you. Come here, + little man.) + + Jake must act. He scrambles to his feet, exposing himself. + + BOOM! Alonzo PEPPERS the FRIDGE. + + POP-POP! Jake FIRES as he scoops up the boy and dives into + the living room. + + Alonzo seizes the moment to depart, dropping the empty + shotgun and disappearing into the bedroom. + + +125 INT. SARA'S APARTMENT - BEDROOM - NIGHT 125 + + Jake scrambles into the bedroom, gun ready. + + JAKE'S POV + + Sara points toward the open window. Alonzo and the money + are gone. + + CUT TO: + + +127 EXT. SARA'S APARTMENT - ROOFTOP - NIGHT 127 + + Alonzo flings the money on the roof, climbs the railing. + And pulls himself on the roof. + + A beat later, Jake exits the window, climbs onto the + railing and follows Alonzo onto the roof. + + +128 EXT. SARA'S APARTMENT - ROOF - NIGHT 128 + 110. + + + Alonzo's silhouette running along the treacherous rooftop, + takes cover alongside a pigeon coop covered with elaborate + graffiti. Alonzo FIRES at Jake. + + Jake drops, rolls and FIRES back blindly. Alonzo runs for + the adjacent roof. + + Alonzo jumps onto a balcony. + + Jake runs at full tilt. Toward the edge of the roof. Where + nasty coils of razor-wire lay in wait. + + Jake jumps. His foot hits rotten plywood, Jake flies + awkwardly through space. + + +129 EXT. OTHER ROOFTOP - NIGHT 129 + + Another pigeon coop. Chairs, a card table, potted plants; a + little oasis. The edge of the roof approaching fast, and + its concertina of razor-wire. Jake's chest hits it oof! An + iron spike atop a fence a mere inch from his ear. Jake + pulls himself onto the roof. + + Smack! Alonzo nails Jake's face with the war bag of cash. + + Jake is stunned, Alonzo grabs the gun tied to Jake's hand + and both hit the deck. They wrestle as Alonzo gets a finger + in the trigger guard POP-POP-POP-CLICK! Emptying Jake's + PISTOL. + + Using his gun as brass knuckles, Jake punches Alonzo's + head. Alonzo head-butts Jake, knees him in the crotch. Jake + gasps in agony. + + Alonzo stands, begins stomping Jake's head. Jake rolls out + of the way. Alonzo kicking. Jake rolling-- + + Right off the edge of the roof. + + Jake falls a story to THUD! a roof below. + + Alonzo looks down at Jake. Who looks half-dead. Alonzo + looks at his watch, he has 25 minutes. Alonzo spits on Jake + and moves on. Alonzo crosses to a stairwell and disappears. + + +130 EXT. CUL-DE-SAC - NIGHT 130 + + Alonzo climbs in the G-ride and backs out. The money in his + lap. + 111. + + +131 INT. G-RIDE - CUL-DE-SAC - MOVING - HIGH ANGLE THROUGH 131 + FRONT WINDSHIELD - NIGHT + + Something is falling toward the G-ride, it's Jake, he + jumped off the roof. + + WHAM! Jake hits hard, denting the roof. + + Alonzo reacts, punches the gas, whips the wheel hard. Jake + rolls onto the hood. Before he smacks the street, Jake + extends a hand and snags the windshield wiper. He tries to + pull himself up, but the sheet metal wiper bends back on + itself. + + JAKE'S FEET + + drag along the street. RUBBER GRINDING off his heels. + + INSERT - WIPER + + It cuts Jake's hand, now slick with blood. Stress cracks in + the sheet metal. The METAL TEARS-- + + BACK TO SCENE + + The wiper snaps off. With three desperate fingers, Jake + grabs the window stanchion, pulls himself back onto the + windshield, his bloody face pressed against the glass, + crimson streaks cascade down. + + Jake begins whipping Alonzo with the wiper in his left + hand. Pffck! Pffck! Opens a gash on Alonzo's face as he + backs down the street. + + Alonzo presses a button and a GUN slides out of the dash, + Alonzo grabs it, presses the muzzle against the glass where + Jake's face is. Jake jerks his head BAM! A near miss. + + BAM! Another hole in the glass. But fortunately not Jake's + head. + + WHAM! The G-RIDE backs into a car. The gun flies from + Alonzo's hand, out the window. Jake tumbles off the car + onto the street. The G-ride stalls. It didn't get far at + all. Alonzo is pretty beat up from the crash. Jake + scrambles for the gun, then leans in the window of the G- + ride and punches Alonzo several times. Jake grabs the war + bag, pulls open the door and yanks Alonzo out onto the + street, Jake backs up, sets the war bag at his feet. + 112. + + +The porch lights of two houses come on. Steel doors open. +People tentatively step outside. Women and children, +mothers with babies on their hips. Blue-collar fathers in +shop uniforms. The Old Woman appears with two pretty girls. +More porch lights come on. + +A dozen gangsters boil out of a driveway like angry +hornets. Lead by the imposing Bench Presser. + +Gangsters encircle the G-ride. Alonzo stands, faces Jake. + + JAKE + No fun when the rabbit has the gun, + is it? + + ALONZO + Someone dome this white boy right + now. + +Jake casts wary sideways glances. The Bench Presser smirks, +holds back his people with massive arms. + + BENCH PRESSER + Police business. + +Alonzo shoots him a look. + + ALONZO + First head that drops this fool is + gonna be a rich man! + +To Alonzo's astonishment, no one moves. He's on his own. + +Jake's eyes are cooler and blacker than a shark's, pistol +at his side. + + JAKE + They're not like you. Know what I + learned today? I'm not like you. + + ALONZO + Good. Now what? Gonna kill me? + Gonna break your cherry with a cop? + Ever done a little killin', Jake? + Just stepped on some ants? Ain't + easy. Do it clean, right here, + Jake. + +Alonzo taps his forehead as he takes a step toward Jake. + + ALONZO + 113. + + + 'Cause if I live, I'll be up in + Santa Clarita, taking care of that + gal I talked to this morning. Sweet + voice. She's Chicana, light- + skinned. Like to know how a good + woman like that feels on the + inside. + +Jake smolders. He aims at Alonzo. Right between the eyes. +No. He can't. Jake lowers the gun. Alonzo laughs. + +Jake realizes Alonzo is stark raving mad. And it's kind of +funny. Alonzo sees he isn't getting anywhere. Alonzo turns +to the G's. + + ALONZO + C'mon. Someone dump this man. + +A gun is tossed at Alonzo's feet. A tired old workhorse. +Drilled-out numbers, taped-up grips. + + BENCH PRESSER + Put in your own damn work. + +Jake and Alonzo looking at the gun. Alonzo smiles. He +slowly reaches for it. + + JAKE + Don't do it. + +Alonzo turns his back, steps closer to the gun. + + ALONZO + Wait, shoot me in the back. + Guarantee yourself the gas chamber. + Know it smells like pine oil? + +Alonzo reaching for that gun. + +BAM! Jake SHOOTS Alonzo in the upper thigh. Alonzo growls, +taking the pain. He hops on one leg. + + ALONZO + Sonofabitch. You shot me in the + ass. + + JAKE + Next one kills you. + +Jake grabs the war bag. Loose bills fall around Alonzo. He +desperately scrapes them off the street. + + ALONZO + 114. + + + Gimme the money, Jake. C'mon, son. + + JAKE + Not gonna happen. + + ALONZO + Oh, now you dirty? Straight jackin' + me, huh? + + JAKE + Told you. It's my evidence. My + proof. Wanna go to jail. Or you + wanna go home? + +Jake smiles at Alonzo. + + JAKE + It's street justice. Nothing wrong + with that. Right? + +Alonzo's eyes narrow in hatred. Alonzo rages at the +gangsters. + + ALONZO + Disloyal fool-ass bitch-made punks! + Put cases on all y'all! Whole + crew's going to Folsom. Solitary + for life. No human contact. Fuck + y'all. + +Alonzo looks diminished, broken. + +Jake's eyes fall to the badge around Alonzo's neck. He +smirks at the irony. Then yanks the badge from Alonzo's +neck. + + JAKE + You don't deserve this. + +Jake looks at the gangsters, their faces, the faces of the +people around him. He sees satisfaction. Hears murmurs of +approval. Jake meets the Bench Presser's gaze, who leans +against the G-ride. Pulls a beer from his pocket and cracks +it. + + BENCH PRESSER + Better get on outta here. + +The Bench Presser gives Jake a slight nod of respect and +Jake leaves. Alonzo watches Jake go in outraged amazement. +Alonzo moves to follow Jake and gets the Bench Presser's +gun in his face. The crowd surrounding the G-ride drifts +away. People return home. + 115. + + + ALONZO + That's right. That's right. I'll + burn this down. Take it all down. + Walk away. See what happens. + + No one listens. Alonzo has been abandoned save for the + gangsters guarding him. He despairs in his defeat. + + ON JAKE + + walking away, the money in hand, his innocence gone. Though + there is a heavy burden on his shoulders, there is much + strength in his gait. + + CUT TO: + + +136 EXT. SEPULVEDA BOULEVARD - NIGHT 136 + + The G-ride barrels west toward LAX. A 747 in the landing + pattern overtakes it, its ENGINES HOWL as it descends. + + +137 INT. G-RIDE - STREET NEAR LAX - MOVING - NIGHT 137 + + Alonzo tears open the head liner, exposing a Glock duct- + taped inside the roof. He lays the weapon on the seat next + to him, where a ROVER plays routine POLICE CHATTER. Alonzo + tears back the headliner more, finds a manila envelope, + dumps it on the seat, there's plane tickets, cash, pesos, + passports, travelers' checks, IDs, apartment keys. His + getaway kit. + + A red light ahead. Light cross traffic. Alonzo notes + headlights following him. Stops at the light. He takes a + pull on a pint of vodka. Wipes his lips with a shaky hand. + + A van pulls into the intersection to make a left. Too far + into the intersection. Alonzo eyes it, wary. + + The headlights pull up behind him, another VAN. + + SCREECHING to a stop at an angle, blocking him. The side + doors on both vans slide open. Gun steel glimmers. + + This is it. It's going down. Alonzo reaches for his Glock. + Hesitates. It's over. Alonzo lifts his chin and braces for + what is coming. + + BRRRDDDDDDDT! Two men in each van open FIRE with heavy + AUTOMATIC WEAPONS AKs and HK-91s. Muzzle flashes strobe + across bandanna-covered faces and shiny eyes. These pros + know their weapons. + 116. + + + BULLETS PUNCH into Alonzo, the G-Ride. Passing straight + through the car, SHATTERING GLASS. Shattering Alonzo. + + After forever, the weapons are empty. Gun smoke wafts + through the intersection. Alonzo, his beloved G-ride, are + shredded. Alonzo leans forward, his head hits the HORN. + + The DOORS of the vans SNAP SHUT. The vans take off in + different directions. + + FOOM! A small FIRE STARTS under the G-ride, leaking fuel + and fluids. The flames spread, the interior burns. + + CLOSE ON FINGERS OF FIRE + + as they probe out from the bullet holes. + + CUT TO: + + +139 INT. JAKE'S CAR - MOVING - NIGHT 139 + + Jake slowly approaches his house. + + HIS POV + + In his driveway is a plush unmarked police sedan. + + BACK TO SCENE + + Jake grabs his service nine from his duffle. He parks and + gets out. + + CUT TO: + + +142 EXT. JAKE'S HOUSE - NIGHT 142 + + Jake shoves the nine in his waistband and crosses to the + sedan. Lou, Doug and Stan exit the car. They've been + waiting. + + STAN + Where's the money, Jake? + + JAKE + The evidence room at headquarters. + + Jake slaps Alonzo's badge on the trunk. + + STAN + That's not necessary. + 117. + + + JAKE + That's not mine. + +Doug picks up Alonzo's badge, impressed, pockets it. Before +Doug can say anything. + + JAKE + Now leave me the hell alone. + +With the last of his strength, a battered and mauled Jake +limps away. The three wise men climb in their car. The +plush sedan backs out of Jake's driveway. Jake enters his +house. + +PULL BACK. + +Jake's home becomes indistinguishable in a sea of houses. + + FADE OUT: + +THE END + \ No newline at end of file diff --git a/scripts/Twilight.txt b/scripts/Twilight.txt new file mode 100644 index 0000000000000000000000000000000000000000..a6e4f2f8efc1bf2c9156f9712e29dd8e8cd53146 --- /dev/null +++ b/scripts/Twilight.txt @@ -0,0 +1,6311 @@ + 1. + + + + FADE IN: + + +1 EXT. RAIN FOREST - OLYMPIC NATIONAL PARK - WASHINGTON - 1 + DAWN + + Moss-draped. Shadow-drenched. Tortured tree trunks twist + upward, reaching for rare sunlight. + + BELLA (V.O.) + I’d never given much thought to how + I would die -- + + Suddenly, every creature in the forest is deadly silent. + Neither bird, beast nor insect make a noise. A predator is + near. + + Then, in the distance, hear a tiny SNICK, a twig snapping. + Abruptly, we’re on the move. Fast. + + UNKNOWN POV - MOVING + + Trees start whipping past us at a dizzying speed, branches + are dodged with preternatural agility. And we’re speeding + up, chasing something. It's exhilarating. Terrifying. + Finally, up ahead, we get the first glimpse of our prey. + + A DEER running for its life as it darts through this maze + of a forest. It sprints forward, but we gain on it. Beyond + the deer, SEE the forest’s edge ahead, white sunlight + glowing against the trees. The buck races for the light. + + We're just behind it, about to emerge from the shadowy + darkness. + + The deer LEAPS into the light in a high arc, hovering + (suddenly SLOW MOTION) against the WHITE GLARE of the sun + then BAM! + + The deer abruptly plummets out of frame at an unnatural + angle, leaving the WHITE GLARE to fill the screen. HOLD ON + WHITENESS -- + + BELLA (V.O.) + But dying in the place of someone I + love seems like a good way to go -- + + -- then into the WHITENESS steps the face of -- + + ISABELLA SWAN, 17 + 2. + + + Eyes closed against the sunlight, absorbing its rays. Long, + dark hair frames alabaster skin. She’s a vulnerable, + introverted, imperfect beauty. + + BELLA (V.O.) + -- So I can’t bring myself to + regret the decision that brought me + here to die -- + + The background comes into focus as we realize we’re now in + -- + + +4 EXT. SCOTTSDALE - AZ - DAY 4 + + Bella stands at the end of a cul-de-sac on the desert’s + edge. The sun blazes behind her, she bends down and + carefully scoops a tiny BARREL CACTUS into a clay pot. + + BELLA (V.O.) + -- The decision to leave home. + + She stares at the cactus in a state of reverie, until -- + + BLONDE #1 (O.S.) + Bye, Bella! + + BELLA’S POV - McMansion ACROSS THE STREET + + Three tanned, athletic, blonde GIRLS hop into a convertible + Mercedes. Their flawless, bought-and-paid for beauty + contrasts with Bella's pale naturalness. They wave. + + BLONDE #1 + Good luck at your new school! + + They ADLIB superficial good wishes, “Don’t forget to + write;” “We’ll miss you.” Bella waves back, sweetly, but + half heartedly as she steps off the curb -- + + BELLA + Have a good -- + + -- and trips. When she rights herself, they’re already + gone. + + BELLA + -- life. + 3. + + +Clearly, not close friends. Bella’s grown-up demeanor and +innate intelligence become apparent as BELLA’S MOTHER, +RENE, mid 30’s exits their house, it’s low rent for this +ritzy neighborhood. Rene is eclectic, scattered, anxious, +more best friend than parent. She thrusts a cell phone at +Bella. + + RENE + It won’t work again, baby. + + BELLA + You put it on hold. + + RENE + I did? + + BELLA + Look. You also called Mexico. + +Rene pushes her playfully, they laugh. + + RENE + I’ll figure it out. You gotta be + able to reach me and Phil on the + road, I love saying that, on the + road. + + BELLA + Very romantic. + +PHIL, 31, good looking with an athlete’s body, exits the +house, carrying Bella’s three suitcases with ease. + + PHIL + If you call crappy motels, + backwater towns and ballpark hot + dogs romantic. + +He puts his Phoenix Desert Dogs baseball hat on Rene’s head +with a kiss. Phil’s love of Rene reassures Bella. Phil +heads to the old station wagon to load the luggage, while +Rene slips her arm through Bella’s, clinging to her as they +walk to car. + + RENE + Now, you know if you change your + mind, I’ll race back here from + wherever the game is. + +But Rene’s strained expression tells us what a great +sacrifice that would be. Bella forces a smile. + + BELLA + 4. + + + I won’t change my mind, mom. + + RENE + You might. You’ve always hated + Forks. + + BELLA + It’s not about Forks, it’s about + Dad. I mean, two weeks a year, we + barely know each other. + (off Rene’s still worried + look) + Mom, I want to go. I’ll be fine. + + But as Rene hugs Bella, we see the truth on BELLA’S FACE, + dread, doubt, regret. Off Bella, struggling to keep her + facade up as she climbs into the back seat of the car -- + + BEGIN TITLES OVER: + + BELLA'S POV OUT THE CAR WINDOW - SCOTTSDALE + + Bella, IPOD earbuds in her ears, gets a last glimpse of the + sparkling malls, chic shoppers, manicured cactus gardens -- + + PULL UP AND OUT OF THE CAR UNTIL WE’RE -- + + +7 EXT. ABOVE SCOTTSDALE - AERIAL SHOT - DAY 7 + + The McMansions get smaller as we SWEEP OVER the scorched + landscape, baking under a hot sun. Beyond the housing + developments SEE the rocky, dry desert, extending for miles + -- + + Rise HIGHER, and higher still, until finally we’re + suspended within the bright, perfect, blue SKY, with only + an occasional cloud -- + + Slowly, the clouds start getting more numerous, thicker, + darker until we’re completely immersed in them, the sun + disappearing. Finally, we EMERGE from the clouds to find + below -- + + +8 EXT. WASHINGTON STATE - OLYMPIC PENINSULA - AERIAL SHOT - 8 + DAY + + Nothing but deep, dark, green forests for miles. SWEEP + DOWN, finding the eerily dramatic Lake Crescent. Over it + all hangs the mist from the ever-present cloudy grey sky. + Everything is wet and green and drenched in shade. + 5. + + + FIND A TWO LANE HIGHWAY along which drives A POLICE + CRUISER. + + PUSH IN on the cruiser until we reach -- + + THE PASSENGER SIDE WINDOW + + Bella looks out, taking in her gloomy new surroundings. + + END TITLES. + + +11 INT. POLICE CRUISER - DAY - WAITING AT LIGHT 11 + + Bella sits next to her uniformed father, police chief + CHARLIE SWAN, 40's. Taciturn, introverted like Bella. Their + strained silence contrasts Bella’s relationship with her + mother. Beat. + + CHARLIE + Your hair’s longer. + + BELLA + I cut it since last time I saw you. + + CHARLIE + Guess it grew out again. + + She just nods. Silence. + + CHARLIE + How’s your mom? + + BELLA + Good. + + More silence. Yikes. They pass a SIGN: “The City Of Forks + Welcomes You - Pop. 3246.” Bella sighs. + + +12 EXT. FORKS - WASHINGTON - DAY 12 + + As the cruiser drives through, Bella takes in this logging + town, every storefront has a wood carving. The Timber + Museum’s sign is two loggers sawing a stump. The POLICE + STATION is a small wooden building across from City Hall. + + +13 EXT. CHARLIE’S HOUSE - DAY 13 + 6. + + + The cruiser pulls up to the old two-story house. A woodshed + full of firewood. There’s a small boat in the garage, + fishing gear, an old buoy. Bella climbs out. Home. + + +14 INT. CHARLIE’S HOUSE - DAY 14 + + Bella and Charlie carry in her bags. The house isn’t + stylish (the only new thing here is a Flat Screen T.V.), + but it’s comfortable, lived-in. Lots of fishing + memorabilia; photos of Charlie fishing with Quileute Indian + BILLY BLACK. + + Handmade cards to “Daddy” and photos of Bella. She winces + at herself, age 7, in a tutu, sitting stubbornly on the + ground. + + CHARLIE + I put Grandpa’s old desk in your + room. And I cleared some shelves in + the bathroom. + + BELLA + (grimacing) + That’s right. One bathroom. + + Bella’s eye lands on a PHOTO of a much younger Charlie and + Rene, on vacation, beaming with love. + + CHARLIE + I’ll just put these up in your room + -- + + BELLA + I can do it -- + + They both reach for the bags, bumping one another + awkwardly. Bella backs off, letting Charlie carry the bags + upstairs. + + +15 INT. BELLA’S ROOM - DAY 15 + + An antique roll top desk sits in a corner. The room is + filled with childhood remnants that have seen better days. + As she unpacks her CD case, loneliness finally overwhelms + her. She sits heavily on the edge of the bed, tears + threatening. + + Then we hear a HONK outside. Bella runs across the hall and + looks out the window to see -- + + OUTSIDE - A FADED RED TRUCK, CIRCA 1960 pulls up + 7. + + +16 EXT. CHARLIE'S HOUSE - DAY 16 + + Bella exits to find Charlie greeting the driver, JACOB + BLACK, 16, Quileute Indian, amiable with long black hair, + and hints of childish roundness in his face. The two of + them help Jacob’s father, BILLY BLACK (from the photos), + into a wheelchair. + + CHARLIE + Bella, you remember Billy Black. + + BILLY + Glad you’re finally here. Charlie + hasn’t shut up about it since you + told him you were coming. + + CHARLIE + Keep exaggerating, I’ll wheel you + down the hill. + + BILLY + Right after I ram you in the + ankles. + + Billy takes several rolls at Charlie, who dodges. Jacob + shakes his head at their two fathers as he shyly approaches + Bella. + + JACOB + I’m Jacob. We made mud pies + together when we were little kids. + + BELLA + Yeah -- I think I remember -- + (re: the dads) + Are they always like this? + + JACOB + It’s getting worse with old age. + + Charlie then pats the hood of the truck, addressing Bella. + + CHARLIE + So what do you think of your + homecoming gift? + + BELLA + No way. The truck is for me? + + CHARLIE + Just bought it off Billy, here. + + JACOB + 8. + + + I rebuilt the engine and -- + + BELLA + It’s perfect! + + She beams. It’s the first genuine smile we’ve seen on her. + She rushes to the truck. Jacob eagerly joins her. + + JACOB + Okay, so you gotta double pump the + clutch when you shift, but -- + + He hands her the keys as she climbs in. + + BELLA + Maybe I can give you a ride to + school. + + JACOB + I go to school on the reservation. + + BELLA + Too bad. Would’ve been nice to know + at least one person. + + As she starts up the truck we MATCH CUT -- + + +17 EXT. FORKS HIGH SCHOOL - BELLA'S TRUCK - DAY 17 + + Loud, belching and turning heads as Bella parks, mortified. + All eyes are on her as she climbs out of her truck and + steps in a PUDDLE, soaking her sneakers. She slinks toward + school, as we begin -- + + +18 INT. HIGH SCHOOL - A SERIES OF SHOTS - DAY 18 + + Bella (never without her IPOD) makes her way thru kids who + stare openly; a few brave ones say hi. They’re all talking + about her. This is her hell. + + Bella wanders the walkways looking for room numbers, lost. + + Constant stares at Bella, the outsider. + + SERIES ENDS when a sweet, nerd-cute, motor mouth boy, ERIC, + appears in her path. + + ERIC + 9. + + + You’re Isabella Swan, the new girl. + Hi. I’m Eric. The eyes and ears of + this place. Anything you need. Tour + guide, lunch date, shoulder to cry + on. + + Bella just looks at him. Is he for real? + + BELLA + I’m kind of the “suffer in silence” + type. + + ERIC + Good headline for your feature - + I’m on the paper, and you’re news, + baby, front page. + + BELLA + I -- no, I’m not news -- I’m, + seriously, not at all -- + + ERIC + Whoa, chillax. No feature. + + BELLA + (relieved) + Would you mind just pointing me + toward Mr. Varner’s class? + + He leads her away, enjoying the attentive stares, as she + cringes from them -- + + ERIC + You’ve missed a lot of the + semester, but I can hook you up - + tutor, cliff notes, medical excuse + -- + + +19 INT. GYM - DAY 19 + + The boys’ basketball team runs drills on half the + basketball court. A girls’ volleyball game occupies the + other half. + + Bella, in gym clothes, avoids the volleyball like it’s + radioactive. An energetic, athletic team captain, JESSICA, + motivates the players. + + JESSICA + Block it, Chloe! Yeah! Good attack! + 10. + + + Unfortunately, the volleyball heads toward Bella. She + closes her eyes and flails at it, SMACKING it. It flies off + court and beans a basketball player in the head. He is MIKE + NEWTON, good looking, affable, with blond spiky hair. + + MIKE + Ow! + + BELLA + (hurries to him, + embarrassed) + Are you alright? I warned them not + to make me play. + + MIKE + It’s only a flesh wound. + + Mike grins and she smiles, relieved. A BELL RINGS, class + over. + + MIKE + You’re Isabella, right? + + BELLA + Just Bella. + + MIKE + I’m Mike. Newton. + + He looks at her a second too long, clearly taken by her. + + Suddenly, Jessica appears, stepping between them. Subtle, + but possessive as she nudges Mike. + + JESSICA + She’s got a great spike, doesn’t + she? + (to Bella) + So, you’re from Arizona, right? + Aren’t people supposed to be tan + down there? + + BELLA + That’s why they kicked me out. + + Mike laughs, and because he does, Jessica does. Bella just + feels uncomfortable with the attention. + + +20 INT. CAFETERIA - DAY 20 + 11. + + +FOLLOW Bella, Mike and Jessica as they carry their trays to +a table. Eric appears, and squishes into a seat next to +Bella. + + ERIC + Mike, you met my home girl Bella. + + MIKE + Your home girl? + + JESSICA + (to Bella) + It’s first grade all over again, + and you’re the shiny new toy. + +Bella smiles awkwardly. Suddenly, a FLASHBULB blinds Bella. +She looks up at the photographer, ANGELA, Jessica's sweet, +low key, insecure friend. + + ANGELA + Sorry, needed a candid for the + feature -- + + ERIC + Feature’s dead, Angela. Don’t bring + it up again. + (to Bella) + I got your back, baby. + + ANGELA + (disappointed) + Guess we’ll just run another + editorial on teen drinking. + + BELLA + Sorry. There’s always eating + disorders, or Speedo padding on the + swim team -- + + ANGELA + -- Wait, that’s a good one -- + +But Bella’s attention is now riveted to -- + +BELLA’S POV - THE DOUBLE DOORS OF THE CAFETERIA + +They swing open as four of the most astounding people +Bella’s ever seen enter (IN SLOW MOTION): THE CULLENS. Two +guys, two girls, all chalky pale, purplish shadows under +their eyes and all devastatingly beautiful. + 12. + + +They move through the room with effortless grace, and take +a seat at a table furthest from Bella’s. Bella leans over +to Jessica and Angela. + + BELLA + Who are they? + + ANGELA + The Cullens. + +Jessica leans in, swinging into gossip mode. + + JESSICA + Doctor and Mrs. Cullen’s foster + kids. They all moved down here from + Alaska two years ago. + + ANGELA + They kinda keep to themselves. + + JESSICA + Because they’re all together. Like, + together together. The blonde girl, + Rosalie, and the big dark-haired + guy, Emmett -- + +ON ROSALIE, 18, long blonde hair, model beautiful, knows +it. Alongside her is EMMETT, 17, big, brawny, like a +weightlifter, but a playful glint in his eye. + + JESSICA + -- they’re a thing. I’m not even + sure that’s legal. + + ANGELA + Jess, they’re not actually related. + + JESSICA + But they live together. And the + little dark haired girl, Alice, + she’s really weird -- + +ON ALICE, 17, pixie-like, rail thin, light on her feet with +short, black hair going in every direction. She hovers +over, JASPER, 18, honey-blond hair, tall, lean, slightly +tortured. + + JESSICA + -- she’s with Jasper, the blonde + who looks like he’s in pain. I + mean, Dr. Cullen’s like this foster + dad slash matchmaker. + 13. + + + ANGELA + Maybe he’ll adopt me. + + Bella laughs, liking her then sees the last Cullen to + enter. + + EDWARD, 17. Lanky, with untidy, bronze colored hair. He + seems inwardly turned, mysterious. More boyish than the + others. But the most striking of all. Bella can’t take her + eyes off him. + + BELLA + Who’s he? + + JESSICA + That’s Edward Cullen. + + Suddenly, Edward looks over, as if he heard Jessica from + across the room. His eyes meet Bella's. But he seems + confused. Bella quickly looks away. + + JESSICA + He’s totally gorgeous, obviously. + But apparently, no one here is good + enough for him. Like I care. + (she obviously does) + Anyway, don’t waste your time. + + BELLA + I wasn’t planning on it. + + But Bella can’t help but peek at Edward again. He's staring + at her outright now, with a slightly frustrated expression + that unnerves Bella. She hides behind her hair. + + +22 INT. BIOLOGY CLASS - DAY 22 + + A room of black-topped lab tables. Two to a table. Bella + and Mike enter. + + Mike takes his seat and points her toward MR. MOLINA, + Birkenstocked, enthusiastic science teacher at the head of + the class. As Bella moves to the teacher with her class + slip, she notes EDWARD, his back to her, sitting at a front + table. + + But as she passes Edward’s table SLOW MOTION, the breeze + she creates when she passes lifts a piece of paper next to + Edward. We’re still on his back as he inhales then abruptly + stiffens. He grabs onto the edge of the table, crumbling it + slightly. No one notices. + 14. + + + Mr. Molina takes Bella’s class slip. + + MR. MOLINA + Welcome, Ms. Swan. Follow along as + best you can till you get caught + up. + + Mr. Molina gestures to the only empty seat next to Edward. + But as Bella approaches, she’s taken aback when ON EDWARD’S + FACE, he slowly looks up at her, his eyes coal black with + repulsion, fury. + + If looks could literally kill. Bella knocks someone’s book + bag off their chair. Replaces it, mumbling an apology. Then + slinks reluctantly into her seat. Edward jerks away from + her to the extreme edge of his chair. + + MR. MOLINA + (to the class, animated) + Today we’ll be observing the + behavior of planaria, a.k.a + flatworms. + + As Mr. Molina distributes two petri dishes per table. + + MR. MOLINA + We’re going to cut them in half, + then watch them regenerate into two + separate worms -- + + Bella glances at Edward who averts his face, holding a hand + over his nose as if he smells something horrible. + + Bella, shrinking, subtly sniffs the air, smells nothing. + Then she sniffs her hair. It’s fine. She’s perplexed. Mr. + Molina hands Edward two petri dishes. + + MR. MOLINA + -- Yes, folks, zombie worms! They + just won’t die. + + Edward takes a dish, then slides the second one across the + table to Bella as if she had Ebola. She takes her dish, and + makes a dark curtain of her hair between them. + + She can see EDWARD’S HANDS under the table. Clenched into + fists. Off Bella, utterly baffled, and deeply insecure -- + + +23 INT. HIGH SCHOOL - HALLWAY - DAY 23 + 15. + + + -- as the BELL RINGS, Edward bolts out the door. Other kids + and Bella exit a moment later. Bella looks down the hall; + he’s gone. + + +24 INT. ADMINISTRATION OFFICE - DAY 24 + + Bella enters, but nearly turns and leaves when she sees + EDWARD sweet-talking the enchanted female ADMINISTRATOR, + 40’s. He doesn't see Bella enter. + + EDWARD + There must be something open sixth + period. Physics? Biochem? + + ADMINISTRATOR + No, every class is full. I’m afraid + you’ll have to stay in biology. I’m + so sorry. + + Bella blanches. The Administrator sees her and gestures for + her to wait a minute. + + But Edward suddenly straightens as if sensing Bella. He + slowly turns to glare at her with piercing, hate-filled + eyes. She backs to the wall, hugging herself, suddenly + chilled with fear. + + EDWARD + (to the Administrator) + I’ll just endure it. + + He strides out the door. Off Bella. + + +25 EXT. HIGH SCHOOL - DAY 25 + + Edward climbs into a shiny new silver Volvo with the + Cullens, while Bella, upset, hurries to her truck. The many + eyes still watching her add insult to injury. Finally, she + reaches -- + + +26 INT. BELLA’S TRUCK - CONTINUOUS 26 + + -- and closes the door. Her eyes well but she fights it, + getting mad. + + BELLA + Jerk. + + As she tries to start the car, choking the engine, we begin + to hear a MAN’S RAGGED, FRIGHTENED BREATH. + 16. + + + SMASH TO: + + ECU ON A SECURITY GUARD - IN THE DARKNESS + + Extremely tight on his terrified FACE, sweat dripping, + breathing in short gasps, trying desperately not to make a + sound. INCLUDE -- + + +27 INT. GRISHAM MILL - LATE AFTERNOON 27 + + He’s crouched in a dark corner. But then he sees a SHADOW + move blindingly fast past him. He jerks around, then + another SHADOW flies past, too fast to follow. He BOLTS! + + He runs up a flight of stairs, harsh lights from the + exterior of the mill striating him. He moves as fast as + humanly possible -- + + UNKNOWN POV - ON THE SECURITY GUARD FROM SEVERAL FLOORS + BELOW + + UNKNOWN POV charges after him at an INHUMAN SPEED through + this maze of pillars and walkways. We dodge skull-crushing + beams, LEAP from one floor up to the next, up ladders, + scaffolding, beams, up, and up, getting closer and closer + to THE SECURITY GUARD who desperately runs for his life, + looking over his shoulder with terror. UNKNOWN POV is + closing in on him, but then he BOLTS out a door. + + +28 EXT. GRISHAM MILL - CONTINUOUS - LATE AFTERNOON 28 + + The guard BURSTS OUT onto a stair landing, but loses his + footing and TRIPS, breaking through the rail and pitching + over the side, into the air and stops, hovering mid-air, a + yard from the landing. A HAND grips his shirt, then YANKS + him out of the air and out of frame with incredible + strength. His guttural SCREAM is choked short as BLOOD + SPRAYS THE LANDING. + + +29 INT. FORKS COFFEE SHOP - LATE AFTERNOON 29 + + ON A TOP SIRLOIN STEAK as it is set in front of Charlie. He + shares a table with Bella. INCLUDE the waitress, CORA, + 30’s. She beams at Bella as she sets a plate of cod in + front of her. + + Several LOGGERS at the counter offer Bella welcoming + smiles. She shrinks in her seat at the attention. Charlie’s + oblivious. + 17. + + + CORA + Can’t get over how grown up you + are. And so gorgeous. + +Bella glances at Charlie, who keeps his eyes on his steak. +A bearded, hippy logger, WAYLON FORGE, 50, appears behind +Cora, leaning over her shoulder to Bella. + + WAYLON + ‘Member me, honey? I was Santa one + year. + + CHARLIE + Waylon, she hasn’t had a Christmas + here since she was four. + + WAYLON + Bet I made an impression, though. + + CHARLIE + You always do. + + CORA + Let the girl eat her cod, Waylon. + (to Bella) + When you’re done, I’ll bring your + favorite, berry cobbler. Remember? + Your dad still has it. Every + Thursday. + + BELLA + (doesn’t remember at all) + That’d be great, thank you. + +Cora shoos Waylon away. Left alone now, Charlie and Bella +both reach for the salt, knock hands. Charlie goes for the +ketchup instead. Silence as they eat. + +A burst of LAUGHTER from a nearby happy FAMILY only serves +to emphasize their discomfort. Bella tries to bridge the +gap. + + BELLA + So you eat here every night? + + CHARLIE + Easier than washing dishes. + + BELLA + I can cook. + +He looks up, as if confused by the concept. + 18. + + + BELLA + I do the cooking at home in + Phoenix. Mom’s not great in the + kitchen. + + CHARLIE + I remember -- + + They both laugh recalling an especially bad dinner. + + CHARLIE + How was school? Meet anyone? + + BELLA + A few people -- Do you know the + Cullen family? + + CHARLIE + (looks up sharply) + Are people talking about them + again? + + BELLA + No, well, a little. + + CHARLIE + Just ‘cause they’re newcomers. + We’re lucky to have a surgeon like + Dr. Cullen at our podunk hospital. + Lucky his wife wanted to live in a + small town. Lucky his kids aren’t + like a lot of the hellraisers + around here. + + BELLA + Okay. + + CHARLIE + I just don’t like narrow- + mindedness. + + And he returns to his food. Silence. + + +30 INT. BELLA’S ROOM - NIGHT 30 + + Bella looks out at the fog as she talks on the phone. + + RENE (O.S.) + If spring training goes well, we + could be living in Florida + permanently. + 19. + + + TELEPHONE OPERATOR (O.S.) + Please insert 25 cents to continue. + + BELLA + Mom, where’s your cell? + + INTERCUT WITH: + + +31 EXT. GAS STATION - GARAGE - NIGHT 31 + + Rene talks on a pay phone, her dead cell phone in her hand. + In the b.g., Phil and an Attendant work on the Subaru + engine. + + RENE + Ok, I didn’t lose my power cord. It + ran away. Screaming. I literally + repel technology now. + + Bella smiles, missing her mom. Rene feeds the phone + quarters. + + RENE + Now, tell me more about your + school, baby. What are the kids + like? Are there any cute guys? Are + they being nice to you? + + BELLA + (a beat, lying) + They’ve all been really -- + welcoming. + + PUSH IN ON BELLA’S FACE, getting mad all over again as -- + + FLASH POP TO - EDWARD’S FACE, HIS COAL BLACK EYES, THE + FURY. + + SMASH TO: + + +32 EXT. HIGH SCHOOL - MORNING - BEFORE SCHOOL 32 + + ON BELLA, sitting atop a table, an open book in her lap. + But her eyes are on the arriving kids, and the parking lot + as they pull in. She’s waiting for Edward. + + Jessica, Angela, Mike and Eric kick around a soccer ball + nearby. They wave Bella to join them but she smiles, + declining and returns to watching for Edward. Her face + tells us she’s ready for a confrontation. + 20. + + +33 INT. BIOLOGY CLASS - SAME DAY 33 + + Bella strides in but stops, surprised to find her lab table + empty. Off Bella, frustrated. + + BEGIN A SERIES OF SCENES OVER SEVERAL DAYS: + + +34 INT. CAFETERIA - DIFFERENT DAY 34 + + Bella sits with Jessica and Angela who watch a YouTube + video on their phone. Bella gives it a cursory look, but is + focused on the Cullen table, only four of them. Edward’s + seat is empty. + + +35 INT. GIRLS BATHROOM - DIFFERENT DAY 35 + + Bella washes her hands, then looks up at the mirror, + startled to find Rosalie and Alice behind her. They study + Bella, Rosalie with chillingly cold eyes, Alice with + curiosity. Bella, uneasy, hurries out. + + +36 EXT. FORKS HIGH SCHOOL - DIFFERENT DAY 36 + + Bella exits with Angela, Mike, Jessica and Eric, becoming a + part of this circle. + + She now only glances at Rosalie’s car, a red M3 BMW, as it + drives past, noting, again, four Cullens, no Edward. Bella + returns to her friends, finally forgetting about him. + + SERIES OF SCENES ENDS as we go to -- + + +37 INT. CHARLIE’S HOUSE - LIVING ROOM - MORNING 37 + + It’s neater, rearranged more attractively. Clearly, Bella’s + given it her touch. She sweeps through, folding Charlie’s + fleece jacket, straightening up. She grabs her book bag. + + BELLA + Dad, I’m heading out. + + +38 EXT. CHARLIE'S HOUSE - CONTINUOUS - MORNING 38 + + ON BELLA’S FACE as she opens the door and stops, dismay + filling her. It’s pouring down rain, the yard is full of + puddles, some frozen. Bella shivers, wraps her coat tight. + + BELLA + 21. + + + Great. + +WHIP PAN to the driveway as Charlie pulls in, driving her +truck. + + BELLA + Dad, I can drive myself to school. + +As she walks down the steps, she doesn’t realize, +something’s watching her -- + +UNKNOWN POV - FROM THE TREES + +-- tracking Bella’s every move as she slips and falls on a +patch of ice. + +BACK ON BELLA fallen on her ass. Charlie climbs out of the +truck, helps her up. + + CHARLIE + You okay, Bells? + + BELLA + Ice doesn’t help the uncoordinated. + + CHARLIE + That’s why I got you new tires. + +She looks over at the truck, yep, four new tires. + + CHARLIE + The other ones were nearly bald. + + BELLA + You got me new tires. No one’s ever + done that before. + +Charlie looks at her, confused. + + BELLA + I mean -- nothing. + +He clearly doesn’t get it as heads toward his Cruiser. + + CHARLIE + I’ll be late for dinner. I’m + heading down to Mason County. A + security guard at the Grisham Mill + got killed by some kind of animal - + - + +UNKNOWN POV - ON BELLA AND CHARLIE, as he speaks. + 22. + + + BELLA + An animal? + + CHARLIE + You’re not in Phoenix any more, + honey. They’ve been hunting it for + a week with no luck. Thought I’d + lend a hand. + + BELLA + Be careful. + + CHARLIE + Always am. + + BACK ON BELLA. + + BELLA + And thank you. For the tires. + + He sees emotion in her eyes. Doesn’t understand it, but + nods, heads inside. Bella looks at the tires again, oddly + moved. + + +39 INT. BIOLOGY CLASS - HALLWAY - DAY 39 + + Rain beats on the roof as Eric walks Bella into class. She + brushes water off her coat as he chats her up. + + ERIC + -- and yeah, prom committee is a + chick thing, but I gotta cover it + for the paper anyway, and they need + a guy to help choose the music -- + So I need your playlist -- + + Bella is about to respond when Mike comes up behind her. + + MIKE + Come on, Arizona. Give it up for + the rain. + + And he shakes his wet baseball cap onto Bella’s head. + + BELLA + Terrific. + + She heads toward her seat, brushing off her hair. But she + freezes when she sees Edward. + 23. + + +Bella straightens, girding herself. Then strides to the +table, and confidently drops her books down, ready to +address him. But he looks up at her. + + EDWARD + Hello. + +Bella stops. Stunned. He is direct, precise, as if every +word is an effort for him. + + EDWARD + I didn’t have a chance to introduce + myself last week. My name is Edward + Cullen. + +She’s too shocked that he’s talking to her to answer. + + EDWARD + (prompting) + -- You’re Bella. + + BELLA + I’m -- yes. + +Feeling like an idiot, she quickly sits. He abruptly moves +to the extreme edge of his seat. She’s even more baffled +now. + + MR. MOLINA + (to the class) + Onion root tip cells! That’s what’s + on your slides. Separate and label + them into the phases of mitosis. + The first partners to get it right, + win the golden onion! + +He excitedly holds up a spray painted onion. Everyone just +looks at him. He’s disappointed by their apathy. + + MR. MOLINA + Come on, people. Tick tock. + +Everyone sets to work. Edward pushes the microscope to +Bella, keeping his distance, his voice controlled. + + EDWARD + Ladies first. + +She grabs the microscope defensively and snaps the first +slide in, adjusting the lens. She’s curt as she addresses +him. + + BELLA + 24. + + + You’ve been gone. + + EDWARD + Out of town. For personal reasons. + +She glances at him but he just leans far away, his face +tight. She looks back into the microscope. + + BELLA + Prophase. + +She begins to remove the slide. + + EDWARD + May I look? + +She slides him the microscope. He glances through the lens. + + EDWARD + Prophase. + + BELLA + (muttering) + Like I said. + +He writes it on the worksheet. Then he takes a breath, as +if trying calm himself, and turns to her with enormous +effort. + + EDWARD + Enjoying the rain? + + BELLA + Seriously? You’re asking me about + the weather? + + EDWARD + It appears. + + BELLA + No. I don’t like the cold. Or the + wet. Or the gray. Or parkas. Or + turtle necks. + +Is that a smile playing on his lips? For the first time, he +seems more intrigued than agonized. He studies her. She +still can’t tell if he despises her or not. It’s +infuriating. + + BELLA + What? + 25. + + +He shakes his head and turns to the microscope, switching +out the slides. She looks at him. And keeps looking. + +BELLA’S POV - ECU ON EDWARD’S FACE + +His cheekbones, his lips. So perfect, like a sculpture. + + EDWARD + Anaphase. + +She snaps out of it. Covers with a dry look. + + BELLA + May I? + (she looks through the + lens) + Anaphase. + + EDWARD + Like I said. + +She glances at him, and this time sees a smirk. She simply +holds out her hand for another slide. + + EDWARD + (handing her the slide) + If you hate cold and rain, why move + to the wettest place in the + continental U.S. + + BELLA + It’s complicated. + + EDWARD + I think I can keep up. + +He actually seems interested. She looks into the microscope +as -- + + BELLA + My mother remarried. + + EDWARD + Very complex. So you don’t like + him. + + BELLA + Phil is fine. Young for her, but + nice enough. + (re: the slide) + Interphase. + + CUT ON THE SCHOOL BELL: + 26. + + +40 INT. HIGH SCHOOL - HALLWAY - MOMENTS LATER 40 + + Bella exits holding the golden onion, and practically runs + into Edward, who’s directly in front of her. + + EDWARD + Why didn’t you stay with your mom + and stepdad? + + He waits for her answer, studying her, as if trying to + decipher her. She’s drawn in by his attention, oddly + compelled. + + BELLA + Alright, Phil’s a minor league + baseball player, so he travels a + lot. My mother stayed home with me + but it made her unhappy. So I + decided to spend time with my + father. + + EDWARD + But now you’re unhappy. + + BELLA + No -- I -- I just -- + + Bella turns awaym, embarrassed, vulnerable. + + EDWARD + I’m just trying to figure you out. + You’re very hard to read. + + He’s clearly trying to read her now their eyes meet again. + + But now she looks more closely at him. + + BELLA + Did you get contacts? + + EDWARD + -- no. + + BELLA + Your eyes were black before, now + they’re this golden brown or -- + + EDWARD + It’s just the fluorescents. + + He abruptly turns and walks away. As he does, Bella notes + HIS HANDS clenched into tight fists. Off Bella, utterly + bewildered, both intrigued and frustrated. + 27. + + +41 EXT. HIGH SCHOOL - PARKING LOT - DAY 41 + + The rain has stopped, but the parking lot is full of water + and patches of black ice. + + Shivering, Bella heads for her truck, carrying the onion, + carefully navigating the icy puddles. As she reaches her + truck, she looks across the lot. + + EDWARD stands by his silver Volvo with his siblings, about + to climb in. A moment as their eyes meet then he looks + toward the sound of a high pitched SCREECH, that quickly + grows LOUDER. + + Bella turns to see a VAN skidding on the ice, careening out + of control, heading directly for her. TIME suddenly + fractures, compressing to stillness, then exploding in + bursts of speed as -- + + -- THE FACES OF THE STUDENTS - in shock, seeing what's + coming. + + -- THE VAN DRIVER’S FACE - TYLER, desperately trying to + gain control, then shielding his face. + + -- EDWARD’S FACE - looking at Bella with horror. + + THE VAN is about to hit Bella's truck, with her standing in + between, when suddenly, something knocks Bella down, + pinning her to the ground. She looks up Edward is on top of + her. + + The world around them FREEZES in this fraction of a second, + their proximity is overwhelming, electrifying. He breathes + in her scent, she takes in his flawless face. + + Abruptly, we BLAST BACK TO SPEED as several things happen + so quickly, we, and Bella, are unsure what's going on: + + -- THE VAN SMASHES into the back of Bella's truck -- + + -- Then SPINS around, once again careening toward her and + Edward, then suddenly -- + + -- EDWARD’S HANDS are creating a deep dent in the side of + the van's body as it shudders to a stop, a foot from Bella. + + -- Edward literally pushes the van away. + + Then silence. A long beat, void of any sound, as Bella + looks at Edward, trying to absorb what just happened. + Edward’s fear for her is still alive on his face. She + starts to speak but -- + 28. + + + THE SCREAMING begins, yelling, calls for help. People leap + to Tyler’s aid, run to Bella and Edward. Bella SEES the + onion on the ground, smashed as she would have been. As + everyone sweeps in, Edward moves into the b.g. Mike and + Eric run to Bella -- + + +42 INT. HOSPITAL - TREATMENT AREA - DAY 42 + + The double doors BURST open as Charlie runs in, face white + with terror. He spots BELLA sitting on a gurney, the E.R. + DOCTOR looking into her eyes with a pen light. On the next + gurney over, Tyler, the van’s driver, lies with a mild head + wound. Charlie rushes up. + + CHARLIE + Bells. Are you alright? + + BELLA + I’m fine, dad. Calm down. + + TYLER + I’m so sorry, Bella. I tried to + stop. + + BELLA + It’s okay, Tyler. + + CHARLIE + It sure as hell is not okay. + + BELLA + Dad, it’s not his fault- + + CHARLIE + (stern, cutting her off) + We nearly lost you. + + BELLA + But you didn’t. + + He’d hug her, if that was who he, or who she was. Instead, + he glares at Tyler. + + CHARLIE + You can kiss your license goodbye. + + DR. CULLEN (O.S.) + I heard the Chief’s daughter was + here. + 29. + + + They look up as DR. CARLISLE CULLEN, mid 30’s, approaches, + blond, movie star handsome. His face is kind, but pale, + tired. + + CHARLIE + Good. Dr. Cullen. + + DR. CULLEN + (to E.R. Doctor) + I’ve got this one, Jackie. + + The E.R. Doctor hands Dr. Cullen the chart, exits. Dr. + Cullen reviews her chart, then feels the back of her head + as -- + + DR. CULLEN + You have a nice knot growing back + there, but your x-rays show no + indication of concussion. + + TYLER + I’m so sorry, Bella. I’m really -- + + Charlie abruptly pulls the curtain between them. + + BELLA + It would have been a lot worse if + Edward hadn’t knocked me out of the + way. + + CHARLIE + Edward? Your boy? + + Dr. Cullen quickly looks back at the chart. Bella's + intuition flickers, sensing he knows something. She + presses. + + BELLA + It was amazing he got to me so + fast. He was nowhere near me. + + DR. CULLEN + (smiles) + As long as you’re safe. + + +43 INT. HOSPITAL - RECEPTION - DAY 43 + + Charlie and Bella exit the treatment area. + + CHARLIE + I just have to sign some paperwork. + You better call your mom. + 30. + + + BELLA + You told her?! She’s probably + freaking. + +He shrugs and hurries off. Bella shakes her head, pulls out +her cell phone. Is about to dial, but then sees down the +hall. + +BELLA’S POV - EDWARD, ROSALIE, AND DR. CULLEN + +Rosalie is clearly furious at Edward who stands his ground. +Dr. Cullen plays intermediary. + + ROSALIE + This isn’t just about you, it’s + about all of us -- + +Dr. Cullen sees Bella and stops Rosalie. + + DR. CULLEN + Let’s take this in my office. + +Rosalie glares at Edward as she goes off with Dr. Cullen. +Edward adopts a nonchalant air as Bella approaches, +determined. + + BELLA + Can I talk to you for a moment? + (off his nod) + How did you get over to me so + quickly? + + EDWARD + I was standing right next to you. + + BELLA + You were next to your car, across + the lot. + +He steps closer to her. His expression turns icy hard. + + EDWARD + No, I wasn’t. + +She won’t be bullied. Steps closer to him. + + BELLA + Yes. You were. + + EDWARD + You’re confused. You hit your head. + + BELLA + 31. + + + I know what I saw. + + EDWARD + And what, exactly, was that? + + BELLA + You stopped that van. You pushed it + away. + + EDWARD + No one will believe that. + + BELLA + I wasn’t planning to tell anyone. + +This registers with Edward. They’re inches from each other, +the tension thick. + + BELLA + I just want to know the truth. + + EDWARD + Can't you just thank me and get + over it? + + BELLA + Thank you. + +A long beat as they look at each other, angry, defensive +and without a doubt, attracted. + + EDWARD + You’re not going to let it go, are + you? + + BELLA + No. + + EDWARD + (turns, walks away) + Then I hope you enjoy + disappointment. + + BELLA + Why did you even bother? + +He stops, a beat. Looks back at her, unexpectedly +vulnerable. + + EDWARD + -- I don’t know. + 32. + + + And he keeps walking. Off Bella, confused, frustratingly + attracted, and absolutely determined to find out the truth. + + BELLA (V.O.) + That was the first night I dreamed + of Edward Cullen -- + + +44 EXT. DREAM SEQUENCE - UNDERWATER 44 + + Bella swims, white skin aglow, hair floating weightlessly, + sensually suddenly, something BLASTS past her. She spins. + It’s gone. Something BLASTS behind her. She spins again to + find herself face to face with EDWARD. + + Bella reaches for him, but he abruptly springs backward, + just out of reach. + + SMASH TO: + + +45 INT. BELLA’S ROOM - ON BELLA - NIGHT 45 + + -- as she bolts up awake. In that split second, in the + darkness, she SEES Edward, watching her. She SNAPS on the + light, the room is empty. Was she dreaming? + + +46 EXT. HIGH SCHOOL - PARKING LOT - DAY 46 + + Bella stands in the exact spot of the accident. Behind her + on the lawn, several CLASSES congregate, gathering for a + field trip. Mr. Molina is in charge. + + MR. MOLINA + Make sure I get your permission + slips. + + PUSH IN ON BELLA’S FACE staring at the skid marks on the + pavement. + + FLASH POP TO THE VAN REELING RIGHT FOR HER -- + + FLASH POP TO EDWARD’S HANDS STOPPING THE VAN -- + + FLASH POP TO EDWARD ON TOP OF HER, THE PROXIMITY, + ELECTRICITY -- + + BACK ON BELLA, blushing at the memory. Then she SEES Edward + arrive with Alice and Jasper. She watches him, barely + noticing as Mike trots up to her -- + + MIKE + 33. + + + (ala Dr. Frankenstein) + Look! You’re moving. You’re ALIVE! + + BELLA + -- Yeah, false alarm -- + + MIKE + Actually, I’m glad you’re not dead + ‘cause - well, that would suck, + plus I wanted to ask you even + though it’s, like, a month away -- + + But Bella’s distracted by Edward. Mike’s VOICE DIPS as -- + + BELLA’S POV - ACROSS THE LAWN + + Edward, head down, is in quiet conference with Jasper and + Alice. Abruptly, he looks up, as if listening to her and + Mike, though he’s too far away to hear. Bella quickly + refocuses on Mike. + + MIKE + So what do you think? + (off her blank look) + You want to go? To prom. With me. + + BELLA + (realizing, horrified) + Prom. As in dance. I, uh -- have to + go -- somewhere. To Jacksonville. + Yeah. + + MIKE + You can’t go another weekend? + + BELLA + Non-refundable ticket. Maybe you + should ask Jessica. + + Mike follows Bella’s eyes way across the lawn to Jessica. + She smiles at them. + + Suddenly Edward crosses in front of Jessica. He seems to be + smirking. + + +47 INT. COMMUNITY COLLEGE GREENHOUSE - FIELD TRIP - DAY 47 + + Mr. Molina and a Tour Guide lead several dozen kids through + the greenhouse. Bella keeps an eye on Edward who’s up ahead + with Alice and Jasper. Mr. Molina demonstrates the compost + machine as the students mess around. + 34. + + + MR. MOLINA + -- c’mon, Eric, stuff that compost + down deep -- that’s it -- + (the machine gurgles and + spins) + -- now Tyler, take a big steaming + cup of “compost tea.” This is + recycling at its most basic level - + - hey, don’t drink that! + +When Bella sees Edward pause by an ancient staghorn fern, +alone, she takes a breath for courage and strides up to +him. + + BELLA + Hello, Edward. + +He glances at her, merely nodding. We notice his FISTS +clench, and unclench. Bella looks at him, appalled by his +rudeness. + + BELLA + Really? + +No response. She turns, starts to walk away. + + EDWARD + What’s in Jacksonville? + +She turns back to him. + + BELLA + How did you know about that? + + EDWARD + You didn’t answer my question. + + BELLA + You haven’t answered any of mine. + You won’t even say hello. + + EDWARD + Hello. + + BELLA + And how did you stop that van? + + EDWARD + Adrenaline rush. Very common. + Google it. + + BELLA + (not buying it) + 35. + + + Floridians. That’s what’s in + Jacksonville. + + She turns to storm off but she stumbles over the irrigation + hose. Edward steadies her, catching her scent, still so + powerful. He clenches his jaw. + + EDWARD + It helps if you actually watch + where you put your feet. + + Insulted, she keeps moving. He keeps pace, serious now. + + EDWARD + I know I’ve been rude, but it’s for + the best. + + She just looks at him like he’s crazy. He walks away as + Jessica suddenly rushes up. + + JESSICA + Guess who just asked me to prom! + + Bella smiles. + + JESSICA + I totally thought Mike was going to + ask you, Bella. Is it gonna be + weird? + + BELLA + No way. Zero weirdness. You guys + are great together. + + JESSICA + I know, right? + + Giddy, Jessica rushes to catch up with Angela. Bella heads + out the door that leads to -- + + +48 EXT. COMMUNITY COLLEGE GREENHOUSE - THE BUSES - CONTINUOUS 48 + + -- where everyone’s looking at the COMPOST “WORM BOX”, + grossing each other out with the slimy creatures. As Bella + backs away, Edward steps up. + + EDWARD + Bella, it would be better if we + weren't friends. + + BELLA + (wounded) + 36. + + + Too bad you didn’t figure that out + earlier. + + BELLA + You could have let the van crush me + and saved yourself all this regret. + + EDWARD + (snapping, angry) + You think I regret saving you? + + BELLA + I know you do. + + EDWARD + (furious) + You don’t know anything. + + His harshness stings her. Suddenly, Alice appears at + Edward’s side. She eyes Bella with curiosity. + + ALICE + The bus is leaving. + (to Bella) + Hi. Will you be riding with us? + + EDWARD + No. Our bus is full. + + He purposefully walks Alice away. But he glances back at + Bella with, is that -- remorse? She doesn’t see it. + + +49 INT. CHARLIE’S HOUSE - KITCHEN - EVENING 49 + + Bella enters, throws down her book bag and coat, still + angry. She starts upstairs but Charlie enters from the + kitchen. + + CHARLIE + Your mother called. Again. + + BELLA + Your fault, for telling her about + the accident. + + CHARLIE + She always did know how to worry. + (hint of sadness) + But -- she’s changed, too. She + seems happy. Phil sounds all right. + + BELLA + 37. + + + He is. + + She continues upstairs, glancing at her parents’ WEDDING + PHOTO. Off Bella’s FACE, we + + MATCH CUT: + + +50 INT. HIGH SCHOOL - CAFETERIA - ON BELLA’S FACE - DAY 50 + + -- as she pushes through the doors. She glances over at the + CULLEN TABLE, Edward with his siblings. He doesn’t look at + her. Anger and determination set in again as Bella joins + Eric, Jessica, Mike and Angela. She drops her book bag on a + seat. + + ERIC + La Push, baby. You in? + + BELLA + Should I know what that means? + + MIKE + La Push beach, down on the Quileute + rez. We’re all going after school. + Big swell coming in. + + ERIC + And I don’t just surf the internet. + + JESSICA + Eric, you stood up once. On a foam + board. + + ANGELA + There’s whale watching, too. Come + with. + + ERIC + La Push, baby. + + BELLA + I’ll go if you stop saying that. + + +51 INT. THE SALAD BAR STATION - MINUTES LATER 51 + + Bella artfully designs an architectural salad. As she + reaches for an APPLE, Edward is suddenly next to her. + + EDWARD + (charmed) + Edible art -- + 38. + + +Startled, she fumbles and drops the apple, Edward catches +it with his foot, hackeysack style, then bounces it back +into his hand, the red of the apple, stark against his pale +skin. He presents it to her with small smile. + + BELLA + Thanks -- but your mood swings are + giving me whiplash. + + EDWARD + I said it would be better if we + weren't friends, not that I didn't + want to be. + + BELLA + What does that even mean? + + EDWARD + It means if you were smart, you’d + avoid me. + +Edward inadvertently glances at his four inhumanly +beautiful siblings, who wait for him, expectantly, at their +table. + +She notes her own, very human friends monitoring this +conversation from their table. Mike glowers jealously. + + BELLA + So let’s say, for argument’s sake, + that I’m not smart. Would you talk + to me? Tell me the truth? + + EDWARD + Probably not. I’d rather hear your + theories. + + BELLA + Okay -- how ‘bout radioactive + spiders? Kryptonite? + + EDWARD + (levels his gaze, + challenging) + You’re talking about superheroes. + What if I’m not a hero? What if I’m + a bad guy? + + BELLA + (beat, looking closer at + him) + 39. + + + No. I don’t believe that. You’re + not bad. You can be a jerk, but + it’s like this -- mask. To keep + people away. + + He’s taken aback by her honesty, her insight, drawn in by + her -- + + BELLA + Look, why don’t we just - hang out. + Like -- come to the beach with us. + It’ll be fun sand fleas, wind burn, + salt water stinging your eyes -- + + EDWARD + (small smile, considering + it) + Which beach? + + BELLA + La Push. + + His smile lessens almost imperceptibly. + + BELLA + Is something wrong with that beach? + + Edward glances over at Mike - the two exchange cold looks. + + EDWARD + It's just a little crowded. + + Off Bella, as Edward walks away. + + +52 EXT. LA PUSH BEACH - DAY 52 + + It’s freezing, but Mike, Tyler, Jessica and others suit up + for a surf. Eric hangs with them. Bella wanders by the + driftwood with Angela, who takes photographs. + + ANGELA + I keep thinking Eric’s going to ask + me to prom, then he just doesn’t. + + BELLA + You could ask him. + (off Angela’s flustered + look) + Take control. You’re a strong + independent woman. + + ANGELA + 40. + + + I am? + + JACOB (O.S.) + Bella! + +She looks up to see three Quileute boys approaching the +group; Jacob Black, and SAM and EMBRY. Bella smiles at +Jacob. + + BELLA + Guys, this is Jacob. Are you + stalking me? + + JACOB + You’re on my rez, remember? You + surfing? + + BELLA + Definitely not. + + JESSICA + (teasing) + Keep her company. Her date bailed. + + ERIC + What date? + + JESSICA + She invited Edward. + + BELLA + (embarrassed) + To be polite. + + ANGELA + I think it’s nice she invited him. + No one ever does. + + MIKE + Because Cullen’s a freak. + + SAM + You got that right. + + BELLA + You know them? + + SAM + (sharply) + The Cullens don't come here. + +Jacob shoots Sam a look, shakes his head. Bella registers +this. + 41. + + + A beat, then she casually pulls Jacob aside. + + BELLA + You want to go look at tide pools? + + She offers an awkwardly flirtatious smile. He grins, + infatuated. As they head toward the water. + + +53 EXT. LA PUSH BEACH - LATER DAY 53 + + Bella and Jacob wander near the water, looking out to sea + for whales. The surfers are out on the waves. She nudges + him, continuing her attempt at flirtation. + + BELLA + So, what did your friend mean about + the Cullens not coming here? + + JACOB + Oops. Caught that, huh? + + He moves closer to her, lowering his voice for mock- + secrecy. + + JACOB + I’m not supposed to say anything. + + Bella gives him her best alluring smile. + + BELLA + I can keep a secret -- + + JACOB + (laughing) + It’s just an old scary story. Did + you know the Quileutes are + supposedly descended from wolves? + + BELLA + Like fur, fangs -- doggy breath? + + Jacob chuckles. Bella smiles and prompts him to continue... + + BELLA + So the legend about the Cullens is + -- + + JACOB + Well, they’re supposedly descended + from this, like -- + (in a spooky voice) + 42. + + + “enemy clan.” But they claimed to + be different, so we made a treaty + with them. + + BELLA + Didn’t they just move here? + + JACOB + Or just moved back. + + BELLA + Riiiight. So what was this treaty? + + JACOB + (whispering) + If they promised to stay off + Quileute lands, we wouldn’t expose + what they really were to the pale- + faces -- + + Jacob pauses dramatically. Bella shivers. + + GIRL (O.S) + AAAAAAAAGH!!!!!!! + + Bella JUMPS at the bloodcurdling scream, as Angela runs + past, chased by Eric waving a dead crustacean. Jacob smirks + and starts back to the group. + + BELLA + Wait -- what were they really? + + JACOB + (laughing) + It’s just a story, Bella. + + Off Bella, with more unanswered questions. + + +54 EXT. SHACK COMMUNITY ON THE RIVER - LATE AFTERNOON 54 + + A collection of haphazard shacks and boat docks, connected + by wood plank sidewalks. FIND Waylon Forge (the hippy + logger who used to play Santa Claus) scraping paint off his + boat, swigging a pint as he listens to his prehistoric + Walkman. + + His old DOG lies next to him as the sounds of the forest + and river chirp and buzz. Waylon sings along to his + Walkman. + 43. + + +Suddenly, the sounds of nature abruptly SILENCE themselves. +The dog raises his head, starts to GROWL. Waylon doesn’t +notice. + +STAY ON WAYLON, singing, working until he looks up and +realizes the dog’s gone. + + WAYLON + Jerry? + +Waylon pulls off the headphones. WHISTLES. No dog. Waylon +walks up a walkway then sees a DOG LEG, sticking out from +under a bush. + + WAYLON + Come on, Jerry, you old mutt. + +He pulls at the leg. It’s detached. He reels back, +stumbling onto his boat, frantically untying the line and +pushing out. + +ON THE WATER Waylon floats, breath short, listening +acutely. + +WAYLON’S POV ON THE WOODS lining the river. Ominous +darkness. A NOISE. He jerks around. Nothing. Then suddenly, +his boat ROCKS violently; he spins. + +A MAN now stands on the bow. JAMES, 30, pale white. A +vampire. But his eyes, unlike the Cullens, are a deep, +sinister BURGUNDY, and absolutely lethal. His catlike +movements are always on the edge of a crouch. + + WAYLON + H-how did you do that? + + JAMES + Always the same inane questions -- + +Waylon turns but a woman LEAPS onto the bow, it’s VICTORIA, +26, chaotic red hair filled with leaves from the woods. +Terrified, Waylon spins around to see LAURENT, 28, glossy +black hair, olive skin, lounging on his boat seat. All +three Nomads wear frayed clothes, and all three are bare +foot. + + JAMES + “What do you want?” + + VICTORIA + “Why are you doing this?” + + LAURENT + 44. + + + (sighs, slight French + accent) + -- James, must we? + + JAMES + The question should be, “will it + hurt?” + + Victoria grins sadistically. Then with lightening fast + speed, the three of them VIOLENTLY LUNGE -- + + SMASH TO BLACK: + + FADE IN: + + ON EDWARD’S FACE AGAINST BLACKNESS + + SNAPSHOTS of his eyes, his cheekbones, his lips. + + +55 INT. BELLA’S ROOM - ON HER FACE - MORNING 55 + + As she sits in front of her computer, lost in thought. She + shakes herself out of it and types into her search engine + “Quileute legends, Olympic Peninsula.” An AD pops up, + “Thunderbird & Whale Book Store, Port Angeles.” Bella, + intrigued, clicks on it. + + +56 EXT. FORKS HIGH SCHOOL - SUNNY DAY 56 + + The sun has come out and so has the skin. Kids are in + shorts though it's still barely sixty degrees. Everyone + eats lunch outdoors. Bella searches the crowd for Edward. + + JESSICA (O.S.) + He’s not here. + + She looks down to find Jessica sitting on the grass. + + JESSICA + Whenever the weather’s nice, the + Cullens disappear. + + BELLA + They just -- ditch? + + JESSICA + No, Dr. and Mrs. Cullen yank ‘em + out for hiking and camping and + stuff. I tried the idea out on my + parents. Not even close. + 45. + + + Bella registers this as Angela suddenly jumps on them. + + ANGELA + I’m going to the prom with Eric! I + just asked him, I took control! + (hugs Bella) + Are you sure you have to go out of + town? + + BELLA + It’s a family thing. + + JESSICA + Oh my God, we need to hit the + stores in Port Angeles before the + dresses get cleaned out. + + BELLA + Port Angeles?... + (a plan forming in her + mind) + Can I go with you guys? + + ANGELA + Thank God. We need your opinion. + + Off Bella, that’s not really what she had in mind. + + +57 INT. BOUTIQUE - PORT ANGELES - ON BELLA'S FACE - AFTERNOON 57 + + -- antsy, distracted, as Jessica and Angela try on dresses. + Bella pulls a Mapquest print-out from her purse, it reads, + “Thunderbird and Whale Bookstore.” Jessica flounces out of + the changing room, posing provocatively. + + JESSICA + I think this halter makes my boobs + look big. What do you think, Bella? + + Outside the window, a group of rowdy FRAT BOYS head toward + a bar. Two of them stare at Jessica in her low-cut dress. + Embarrassed, she turns back to Bella. + + JESSICA + Bella? + + BELLA + (absently) + It looks great. + + JESSICA + 46. + + + You said that about the last five + dresses. + + ANGELA + (empathetic) + You’re not very good at this, are + you? + + BELLA + Maybe I should just go check out + the bookstore and meet you at the + restaurant later. + + ANGELA + You sure? + + Bella nods, heads out. Jessica’s looks in the mirror again. + + JESSICA + She was right about this halter, + though. It does look great. + + +58 EXT. THUNDERBIRD AND WHALE BOOKSTORE - STREETS - NIGHT 58 + + Bella exits, thumbing through a BOOK she just bought. She + heads down the sidewalk, but then hears FOOTSTEPS behind + her. She turns, doesn’t see anyone. She puts the book in + her shoulder bag and continues. + + UNKNOWN POV - ON BELLA - someone’s following her. She looks + around, changing course to cut across a parking lot. + Unknown POV gets closer and closer, until she reaches -- + + +59 EXT. WAREHOUSE AT END OF PARKING LOT - NIGHT 59 + + Isolated. Bella, breath short, scared, turns around just as + TWO MEN emerge from the shadows, not vampires, but the Frat + Boys, really wasted now. + + FRAT BOY #1 + Wanna beer? + + She looks to her left; the other TWO GUYS are there. She’s + cornered. She takes her purse from around her shoulder. + + BELLA + Look, just take my bag. + + FRAT BOY #2 + We don’t want your bag. + 47. + + + She takes a defensive stance and wraps the strap around her + wrist to use her purse as a mace. They chortle derisively. + But when Frat Boy #1 comes near, she swings it, hits him in + the groin. The BOOK in her bag doubles him over. The other + three laugh, and start to close in. + + But suddenly HEADLIGHTS blind them. A silver Volvo + screeches up. The Frat Boys dive out of the way. The + passenger-side door opens. It’s Edward. She’s too stunned + to even move. + + EDWARD + Get in. + + She finally does. But Frat Boy #2 jumps into the game and + rushes Edward’s side of the car. + + Edward SCREECHES to a halt and is out of the car and facing + Frat Boy #2 so fast, neither the Frat Boys, nor Bella, see + it. Nor does Bella see Edward’s GLARE, so chilling, so + animalistic in its fury that Frat Boy #2, scared, + instinctively backs off. As Edward climbs back into the + car, Bella just stares at him. + + +60 INT. EDWARD’S CAR - DRIVING - NIGHT 60 + + Bella continues to stare. She sees that he’s seething with + anger, hands gripping the steering wheel, jaw clenched. + + BELLA + What -- no, how did you find -- ? + + EDWARD + (through gritted teeth) + I should go back and rip their + heads off. + + BELLA + No. Bad idea. + + EDWARD + You don’t know the vile, repulsive + things they were thinking. + + BELLA + And you do? + + EDWARD + (covering) + Not hard to guess. + 48. + + +61 EXT. WATERFALL RESTAURANT - FRONT ENTRANCE - NIGHT 61 + + Jessica and Angela exit the restaurant as Bella approaches. + + ANGELA + Where were you!? We left you a + message. + + JESSICA + We waited, but we were starving -- + + Then they see Edward behind her, climbing out of his car. + They freeze, agog. He’s composed now, making an effort to + be charming. And they are charmed. + + EDWARD + Sorry I kept Bella from dinner. We + ran into each other and got + talking. + + JESSICA + I - we - understand. We were just - + -leaving, so -- + + The two girls start to go. Bella is forced to go with them. + + BELLA + Okay, well. Thank you. + + She starts to follow the girls. Edward is torn, then + abruptly -- + + EDWARD + (abruptly) + Maybe I should make sure Bella gets + something to eat. + (off Bella’s surprised + look) + If you’d like. Then I could drive + you back myself. + + ANGELA + That’s so -- thoughtful. + + JESSICA + Really thoughtful. + + BELLA + (debates, then decides) + I could eat. + + As he guides her off, the two girls share a look, and a + noiseless scream of excitement. + 49. + + +62 EXT. WATERFALL RESTAURANT - DINING PATIO - NIGHT 62 + + Bella and Edward sit on the deck. A dramatic waterfall + shimmers behind them. + + A waitress places a steaming plate of mesquite roasted + salmon in front of Bella and nothing in front of Edward. + She exits. + + BELLA + You’re not eating? + + EDWARD + I’m on a special diet. + + BELLA + Like South Beach? + + EDWARD + Not exactly. + + She looks at him curiously as she takes a bite. + + BELLA + So how ‘bout some answers? + + EDWARD + Yes, no. To get to the other side, + and 1 point 772453851. + + BELLA + I didn’t ask for the square root of + pi. + + EDWARD + You knew that? + + BELLA + How did you know where I was? + + EDWARD + I didn’t. + + She shakes her head, frustrated, and turns to go inside. + + EDWARD + (stops her, sincerely) + Don’t go. + + He seems torn by some internal dilemma. Then finally -- + + BELLA + 50. + + + Were you following me? + + EDWARD + I feel very protective of you. + + BELLA + So that’s a yes? + + EDWARD + Yes, I followed you. I tried to + keep my distance -- until you + needed help. + + BELLA + (putting everything + together) + You said before -- That you heard + what those guys were thinking. Can + you -- read minds? + + EDWARD + (shrugs) + I’m thinking of getting a nine- + hundred number. + + BELLA + (trying to grasp) + Alright, so you read minds -- What + am I thinking? Wait -- okay now, + go. + + EDWARD + I have no idea. I can read every + mind in there, except yours. + (points at people inside) + Work, sex, money, sex, sex, + boyfriend -- + (points at Bella) + Nothing. It’s quite frustrating. + + BELLA + Why, what’s wrong with me? + + EDWARD + I tell you I read minds and you + think there’s something wrong with + you? + +He smiles, charmed by her. But his smile fades, that torn +look returns. He holds onto the rail, looking out. + + BELLA + What is it? + 51. + + + EDWARD + I -- don’t have the strength to + stay away from you anymore. + + She’s surprised. And thrilled. + + BELLA + Edward, you don’t have to. + + He’s drawn in by her encouraging gaze but he closes his + eyes a beat, and turns back to the water. + + EDWARD + (almost to himself) + This is wrong. + + BELLA + Edward -- + + EDWARD + You’re cold. We should go. + + He walks away before she can ask any more questions. + + +63 EXT. ROAD - NIGHT 63 + + Edward’s Volvo speeds along the two lane highway. + + +64 INT. EDWARD’S VOLVO - NIGHT 64 + + Bella glances at Edward, might ask him more questions but + he seems to be wrestling with his own thoughts. Finally -- + + BELLA + I think I’m warm enough now. + + She reaches for the heater dial, he does as well, their + hands TOUCH. And hold a moment too long. An electric + current connecting them. + + BELLA + Your hand, it’s still freezing + cold. + + He pulls his hand away, but she keeps looking at it then + her attention shifts outside to FLASHING POLICE LIGHTS. As + they drive past the FORKS POLICE STATION, a sheriff’s car + pulls away. Charlie’s cruiser is parked out front. + + BELLA + (concerned) + 52. + + + Dad’s here late. Something must + have happened. + + +65 EXT/INT. FORKS - POLICE STATION - CONTINUOUS - NIGHT 65 + + The Volvo pulls up. Bella and Edward climb out. Edward then + sees a second car next to the cruiser. + + EDWARD + That’s my father’s car. What’s he - + - ? + + EDWARD AND BELLA’S POV: INSIDE THE DARKENED POLICE STATION + + In a pool of light, a distressed Charlie and Dr. Cullen + study photographs and evidence. As they wrap up their + discussion, Dr. Cullen puts a sympathetic hand on Charlie’s + shoulder, then exits the police station looking grim. + + EDWARD + Carlisle. What happened? + + DR. CULLEN + Waylon Forge was found in the woods + out near his place. I just examined + the body. + + Edward darkens. Bella is horrified. + + BELLA + He died? How? + + DR. CULLEN + Animal attack. + + BELLA + The same kind that killed the + security guard down in Mason? + + Edward and Dr. Cullen trade a look, subtle, but Bella + catches it. + + DR. CULLEN + Most likely. + + BELLA + So it’s getting closer to town. + + EDWARD + Waylon lived all the way down on + Queets River. 75 miles south. + 53. + + + BELLA + But that’s -- + + DR. CULLEN + (with a kind, reassuring + smile) + Bella, you should go inside. Waylon + was your father’s friend. + + She goes to the door, but looks back to see them conferring + quietly, gravely. Clearly, there’s more to this. + + +66 INT. POLICE STATION - NIGHT 66 + + Bella enters to find a distressed Charlie studying + evidence, photos, maps, trying to make sense of Waylon’s + death. Deputies come and go in the background. Bella + approaches Charlie. He looks up. + + BELLA + Dad, I’m sorry about Waylon. + + CHARLIE + Known him going on thirty years. + + He’s obviously torn up. Bella isn’t quite sure what to do. + And so puts a comforting hand on his shoulder. A beat. + + Then Charlie squeezes her hand. It’s the first physical + affection we’ve seen between them. And it threatens to + evoke even more emotion in Charlie. So he tamps it down, + and rises, then projects a confident manner. + + CHARLIE + We’ll get to the bottom of this, + Bella. But in the meantime -- + + As an ambulance pulls up outside, he opens a drawer, finds + out a canister of PEPPER SPRAY. + + CHARLIE + -- I want you to have this. + + BELLA + That’s probably not a good -- + + CHARLIE + It’ll give me some peace of mind. + + She sees he needs this, and allows him to put it into her + purse. + 54. + + + As Charlie goes to get his coat, Bella steps outside to SEE + -- + + +67 EXT. POLICE STATION - NIGHT - BELLA’S POV 67 + + Two Attendants hoist a metal gurney into an ambulance. On + it, Waylon’s dead, white, bloody bare FEET peek out from + under a sheet, resting at a disturbingly unnatural angle. + Off Bella, chilled. + + SMASH TO: + + FLASH POP TO EDWARD’S BLACK EYES + + FLASH POP TO EDWARD’S COLD WHITE HAND. + + FLASH POP TO THE FIVE CULLENS, SLOW MOTION, beautiful and + white. + + FLASH POP TO WAYLON’S TWISTED WHITE FEET + + +68 INT. BELLA’S ROOM - ON BELLA - NIGHT 68 + + -- as she turns on the LIGHT. She hears a SNAP! outside the + window. She rises, digs into her purse for the PEPPER SPRAY + Charlie gave her, and goes to the window. She looks out all + she sees is the wind blowing hard. But she’s rattled. + + She closes the curtains, then reaches for the BOOK she + bought earlier. She thumbs through, laying the pepper spray + within reach. + + INSERT THE BOOK, “QUILEUTE FOLK STORIES AND ART.” + + As she leafs through we see PHOTOS of ancient, carved + MASKS. Comical, menacing, haunting then she stops on a + photo of a white mask with black eyes and a row of sharp + teeth. THE INSCRIPTION reads, “The Cold One.” + + Bella quickly goes to her computer and Googles “Cold One ” + -- + + several beer ads appear. Frustrated, she closes the pop- + ups, revealing a link to: “The Cold One: Apotamkin.” + + INTERCUT BETWEEN BELLA AND THE COMPUTER SCREEN: + 55. + + + Several PICTURES begin loading: the seductive Apotamkin + with his ice-blue skin, devouring his victims in + tapestries, engravings, paintings. Creatures beautiful and + horrific. Craven, skeletal demons attacking villages; + perfectly sculpted predators, luring innocent maidens, it’s + all murder, blood, sexuality. + + THEN SEVERAL WORDS LEAP OUT in quick succession: + + “Speed.” “Strength.” “Cold skinned.” “Immortal. “ Then + finally: “Blood drinker.” + + And we LAND ON A PICTURE OF A HANDSOME MAN BITING A WOMAN’S + WHITE NECK. + + FLASH POP TO THE SAME PICTURE AS IT MOMENTARILY COMES + ALIVE, BUT NOW IT’S EDWARD BITING BELLA’S NECK, BLOOD + DRIPPING. + + BACK ON BELLA, she reels back from the computer in utter + disbelief. + + BELLA + -- it’s not possible -- + + Off BELLA’S FACE, struggling to make sense of it all. + + MATCH CUT: + + +70 EXT. SCHOOL - LAWN - ON BELLA’S FACE - DAWN - THICK FOG 70 + + She stands in the center of the deserted, green lawn. Her + expression tells us she's still reeling with disbelief. + STAY ON HER FACE, TIME LAPSING AS: + + The bell rings and students exit class, rushing past Bella + as she stands still, waiting -- + + BELLA’S POV - EDWARD AND HIS SIBLINGS + + -- cross the lawn, heading to class. Edward sees Bella, + sees the intensity on her face. He stops. + + She walks to him, eyes meeting his, her look says, we have + to talk and she continues directly past him, into the dark + forest that borders the school. + + He watches her disappear in the trees, then takes a step to + follow. Jasper moves in front of him, Rosalie grabs his + arm. + + ROSALIE + 56. + + + Edward, don’t go. + + But Alice gently removes Rosalie's hand from his arm. + + ALICE + He’s already there. + + +71 EXT. FOREST - DAY 71 + + Bella stands amid the trees, waiting. Then the SOUNDS OF + THE FOREST abruptly drop out. A predator is near. Edward + appears behind her. She doesn’t turn around. A beat. + + BELLA + You’re impossibly fast. And strong. + Your skin is pale-white, ice-cold. + Your eyes change color. And + sometimes you speak like, you’re + from a different time. + (turns to face him now) + You never eat food, or drink, or + come out in the sunlight. And you + said no to the beach trip only + after you heard where it was. + Because of the treaty. + + This last registers with him. She steps closer to him. + + BELLA + How old are you? + + EDWARD + Seventeen. + + BELLA + How long have you been seventeen? + + A long beat as we begin to CIRCLE THEM. He sees he can’t + hide anymore. Honesty is an enormous risk, but he has to + take it. + + EDWARD + -- A while. + + She inhales. She knew, but it’s still shocking. We CIRCLE + THEM FASTER. + + BELLA + I know what the Cold Ones are. What + you are. + + EDWARD + 57. + + + Say it. Out loud. Say it. + +All sound suddenly DROPS OUT. We hear only her whisper -- + + BELLA + -- Vampire + +They seem to hover in momentary stasis, him utterly +exposed, her reality utterly rocked. + + EDWARD + Are you afraid? + + BELLA + No. + + EDWARD + (angry) + Then ask me the most basic + question: what do we eat? + + BELLA + You won’t hurt me. You’re + different. + + EDWARD + You think you know me? + +He glares at her. She holds her ground. Suddenly, he takes +her by the hand. Starts walking. + + BELLA + Where are we going? + + EDWARD + Up the mountain. Out of the cloud + bank. You need to see what I really + am. What I look like in the harsh + light of the sun. + + BELLA + No! The sunlight will kill you. + + EDWARD + Myth. You need to see the truth. + +He pulls her but she stumbles. + + BELLA + Slow down. + +Suddenly, he’s right next to her. + 58. + + + EDWARD + Are you afraid? + + BELLA + No. + + EDWARD + Then come with me. Someplace where + no one can protect you. Where I + could do what I’ve wanted to do + from the first moment I met you. + + Their proximity is intense, riveting both of them. + + BELLA + I’m not afraid. + + EDWARD + You should be. + + He abruptly and effortlessly scoops her up into his arms. + + EDWARD + Hold on. + + Then he flings her onto his back and starts running. + + +72 EXT. FOREST - RUNNING - DAY 72 + + As in the opening sequence, Edward races through the + forest, dark trunks STROBING past as he picks up speed, + faster and faster. Bella clings to his back as it seems + he'll collide with the trees, but he avoids them with + supernatural grace. It's frightening, nauseating, + intoxicating. + + EDWARD + Are you afraid!? + + BELLA + No! + + But she clings tighter. Terrified. They climb in altitude. + Higher and higher, above the fog layer. Finally, up ahead. + + THE FOREST’S EDGE fast approaches, a clearing is beyond. + The sunlight glows white hot beyond the trees they're about + to emerge from the shadowy darkness but suddenly Bella + finds herself sitting on the ground, against a tree. + + All is silent. She's dizzy, tries to regain her + equilibrium. Then she realizes she’s alone. + 59. + + + BELLA + Edward? Where are you? + + She rises, then steps just beyond the fringe of the ferns + into -- + + +73 EXT. A MEADOW - CONTINUOUS - DAY 73 + + A perfect circle of swaying grass, wildflowers and buttery + sunlight. HEAR a stream nearby. Bella looks around and + finally sees EDWARD, his shirt open, standing nearby in the + shade of some trees. He watches her cautiously. She takes a + step toward him, but he holds up a hand. She waits. + Finally, he takes a deep breath, and steps out of the shade + -- + + EDWARD + This is why we don’t show ourselves + in sunlight -- + + As the sun hits him EDWARD’S SKIN literally sparkles as if + embedded with thousands of tiny diamonds. He is + magnificent, shimmering, like a statue carved from + glittering crystal. He moves toward her. + + EDWARD + This is what I am. + + He nears, clearly expecting her to recoil, but -- + + BELLA + You’re -- beautiful -- + + He realizes that she’s in awe. She reaches to touch him, + but he immediately backs into the shadows, his skin normal + again. + + EDWARD + (appalled) + Beautiful? I’m a killer, Bella. + This is the skin of a killer. + + His arm juts into A SHAFT OF LIGHT, sparkling again. + + BELLA + I don’t believe that. + + EDWARD + 60. + + + Because you believe the lie. The + camouflage. I’m the world's most + dangerous predator. Everything + about me invites you in - my voice, + my face, even my smell. As if I + need any of that -- + +He’s suddenly BEHIND her then IN FRONT of her then by a +tree, DARTING so fast, we only see where he lands. + + EDWARD + As if you could outrun me. As if + you could fight me off. + +He abruptly rips off a LARGE TREE LIMB, then THROWS it +against a tree trunk with explosive force. + +Bella flinches, but holds her ground, unshakable. + + EDWARD + I’m designed to kill. + + BELLA + I don’t care. + + EDWARD + I’ve killed people. + + BELLA + It doesn’t matter. + + EDWARD + I wanted to kill you. I’ve never + wanted a human's blood so much in + my life. I’m dangerous to you. + + BELLA + I trust you. + + EDWARD + Don’t. + + BELLA + I trust you, Edward. I’m here. + +She takes his hand. He reels at the warmth of her touch. +She leans in, drawn to him, unaware that her THROAT is +nearing his lips then suddenly he’s gone. + + BELLA + Edward? + 61. + + +She looks over to FIND he's on the other side of the +meadow, catching his breath. + + EDWARD + You -- took me by surprise. + (collecting himself) + I don’t know how to -- do this. + +He moves back toward her. Slowly. + + EDWARD + Me, and my family, we’re different + from others of our kind. We’re not + nomadic, we have a permanent home. + We only hunt animals. We’ve learned + to control our thirst -- + (shaking his head) + But you, your scent, it’s like a + drug to me -- my own personal brand + of heroin. + + BELLA + (realizing) + Oh -- I thought you hated me when + we met. + + EDWARD + I did. For making me want you so + badly. I’m still not sure I can + control myself. + +He reaches her again. + + BELLA + I know you can. + +He’s utterly vulnerable as he looks at her, searching her +face for clues. + + EDWARD + I wish I could understand this + thing you see in me. You look at me + with those eyes -- + (frustrated) + I can’t read your mind. Tell me + what you’re thinking. + + BELLA + I’m afraid. + +Stricken, he sinks gracefully to his knees in the grass. + + EDWARD + 62. + + + (devastated) + Good. + + She sinks down in front of him. + + BELLA + Not of that. I’m afraid -- you’ll + disappear. That I’ll lose you. + + EDWARD + (amazed, elated) + You don’t know how long I’ve looked + for you. + + They share a smile. Then he reaches toward her neck, + pausing. + + EDWARD + Be very still. + + She does so. Exercising great control, he places his hand + on her throat, it’s so exposed, so vulnerable. The rush + between them is overwhelming. But Bella doesn’t move. + + He brushes his hand up her cheek. Then lowers it to her + heart. Clouds float past the sun. + + They’re both overwhelmed, taking each other in. + + EDWARD + And so the lion fell for the lamb. + + BELLA + Stupid lamb. + + EDWARD + Sick masochistic lion. + + CRANE UP on the two of them, laying together, as close as + they dare, his hand to her heart. + + DISSOLVE TO: + + +74 INT. BELLA’S ROOM - MORNING 74 + + CLOSE ON BELLA'S FACE. Still in bed. Thinking. + + BELLA (V.O.) + About three things I was absolutely + positive. One, Edward was a + vampire. + 63. + + + She rises, goes to the mirror. Looks at herself, worry + knitting her brow. + + BELLA (V.O.) + Two, there was a part of him that + thirsted for my blood. And three... + + As she moves past her window, something catches her eye, + causing her to BANG into her desk. She looks back out. + + BELLA’S POV - THE DRIVEWAY + + Edward leans against his car, looking up at her with a + small smile. She beams at the sight of him. + + BELLA (V.O.) + I was falling, unconditionally and + irrevocably, in love with him. + + +75 EXT. OLYMPIC RAINFOREST - DAY - ANOTHER DAY 75 + + Edward helps Bella balance-walk across an enormous fallen + pine tree in the moss-covered forest. + + BELLA + How long have you been like this? + + EDWARD + Since nineteen-eighteen. That’s + when Carlisle found me. + + She takes that in, it’s a lot. But it stokes her curiosity. + + BELLA + Where’d he find you? + + EDWARD + In a hospital, dying of Spanish + influenza. My parents had already + died. + + FLASHBACK to CHICAGO HOSPITAL, 1918 - NIGHT + + BELLA (V.O.) + What was it like? + + EDWARD (V.O.) + The word excruciating comes to + mind. But what Carlisle did was + much harder, not many of us have + the restraint to do that. + 64. + + + BELLA (V.O.) + Didn’t he just -- bite? + + EDWARD + Not just. Our bite contains venom. + And once we taste blood, a sort of + -- frenzy begins. It’s almost + impossible to stop. + + BELLA (V.O.) + But Carlisle did. + + EDWARD + First with me, then with his wife, + Esme. He found her in a hospital, + as well. The others followed. + + BACK to PRESENT DAY + + BELLA + Does someone have to be dying to + become like you? + + Their CONVERSATION CONTINUES as we go to -- + + +76 EXT. RIVER’S EDGE - DAY - ANOTHER DAY 76 + + They walk along a stunning coastline, rugged black rocks, + covered in bright green moss. + + EDWARD + No, that's just Carlisle. He would + never do -- this, to someone who + had another choice. + + BELLA + So Carlisle’s the reason why you + hunt animals, instead of people. + + EDWARD + Not the only reason. + + He stops, looks down at her, serious, with emotion. + + EDWARD + I don’t want to be a monster. + + She nods. Understands. He smiles. + + EDWARD + 65. + + + We call ourselves vegetarians, by + the way. For our kind, hunting + animals is like living on tofu. It + keeps you strong but isn’t very + satisfying. + + Then abruptly, he whips past Bella. She turns to see him + standing on a large rock in the river. + + BELLA + Show off. + + EDWARD + It’s not that impressive, really. + Anyone in my family can do this. + + BELLA + Can they all read minds, too? + + EDWARD + No, that’s unique to me. But Alice + can see the future. + + BELLA + (fishing) + Really? Bet she saw me coming a + mile away. + + She notes his change of mood as he slows, darkening. + + EDWARD + Her visions are very subjective. + The future can change. + + He cuts off her questions by returning to shore, and + continuing their walk. + + +77 EXT. CHARLIE’S HOUSE - TWILIGHT - ANOTHER DAY 77 + + Water sprays from a hose as Bella and Edward wash her + truck. + + A boombox PLAYS. He perches on top of the roof. + + EDWARD + Come to my house tomorrow. + + Bella looks up, aiming the hose badly - water ricochets off + the cab and sprays in her face. He jumps down from the + roof. + + BELLA + 66. + + + Your house? With your family? + + He wipes down the dented front fender, then reaches under + it and, with his bare hands, easily pops a large DENT out + of the truck’s body. She’s too flustered to register it. + + BELLA + But -- what if they don’t like me? + + EDWARD + (laughing heartily) + You're worried, not because you'll + be in a houseful of vampires, but + because you think they won't + approve of you? + + BELLA + I’m glad I amuse you. + + But then his laughter dies, as he hears something. + + BELLA + What is it? + + EDWARD + A complication. + + As a BLACK CAR comes into view, and pulls up. + + EDWARD + I’ll pick you up tomorrow. + + He heads to his car, eying the passengers in. + + EDWARD’S POV + + +77A INT. BLACK CAR 77A + + Jacob, with his father, Billy, who’s expression is intense. + Anxious. SLOW MOTION as Edward locks eyes with Billy. Jacob + looks questioningly at his father. + + Bella watches Edward drive away, perturbed by the exchange. + She forces a smile and goes to greet the visitors. Jacob + sets up Billy’s wheelchair and Billy climbs into it as -- + + BELLA + Come to visit your truck? + + JACOB + Looks good. You got that dent out. + 67. + + + BILLY + Actually, we came to visit your + flat screen. First Mariners game of + the season. Plus Jacob here kept + bugging me to see you again. + + JACOB + (mortified) + Great, Dad. Thanks. + +Jacob shoots his father an irritated look, just as the +POLICE CRUISER pulls up. Charlie climbs out, holding two +six-packs. + + CHARLIE + Pale Ale. + + BILLY + (holds up a brown paper + BAG) + Harry Clearwater's homemade fish + fry. + +Charlie smiles, pleased. He clicks on the game as they all +head inside. + + BILLY + Any luck with the Waylon case? + + CHARLIE + (darkening) + Found a footprint out at the crime + scene today. A bare, human + footprint. + +Billy seems disturbed but not surprised. Bella is +horrified. + + BELLA + A person did that? + + JACOB + A crazy person, walking around + barefoot this time of year. + + CHARLIE + Spread the word out at the rez, + will ya? Keep the kids out of the + woods. + + BILLY + Will do. + (directed at Bella) + 68. + + + Don’t want no one else getting + hurt. + + Bella looks away from Billy, unnerved. + + +78 EXT. DREAM SEQUENCE - UNDERWATER 78 + + Bella floats near Edward, only their hands touching, but + their bodies are nearing, so close, so sensual. + + Suddenly, EDWARD IS YANKED DOWNWARD! Something has him, + pulling him down -- + + SMASH TO: + + +79 INT. BELLA’S ROOM - ON BELLA - MORNING 79 + + -- as her eyes pop open and relief sweeps over her as she + realizes it was just a dream. But it haunts her. + + +80 EXT. OLYMPIC PENINSULA - ROAD - DAY 80 + + AERIAL SHOT of the forest as we sweep over its lush green + expanse, to FIND Edward's Volvo speeding along, very fast. + + The Volvo finally turns off the paved highway and onto a + long serpentine dirt road. FOLLOW THE CAR until, finally, + it reaches a small meadow, in the center of which sits -- + + +81 EXT. CULLEN HOUSE - DAY 81 + + A timeless graceful house. The Volvo pulls up and Bella + climbs out, surprised. + + BELLA + It’s -- wonderful. + + EDWARD + You expected turrets, dungeons and + moats? + + BELLA + No -- not moats. + + He takes her hand. She girds herself. They head inside. + + +82 INT. CULLEN HOUSE - LIVING ROOM - DAY 82 + 69. + + + Edward guides Bella into the large, bright house. Walls of + glass look out on the river. Everything’s open and white. + Historical objects are tastefully placed throughout. + + HEAR Verdi’s “La Traviata: Libiamo ne' lieti calici” coming + from another room. Bella is enraptured. + + BELLA + It’s so light and open. + + EDWARD + Thanks to tinted windows. It's the + one place we never have to hide. + + We then notice CLANGING coming from the kitchen. Edward + shakes his head. + + EDWARD + I told them not to do this. + + +83 INT. CULLEN HOUSE - KITCHEN - DAY 83 + + Verdi’s opera BLASTS Bella and Edward who enter to find the + kitchen in full swing. Dr. Cullen, Emmett, Rosalie, and + ESME prepare elaborate platters of Italian pastas and + antipasti. + + Esme rolls out a pizza dough and fans tomatoes around it in + an instant. Rosalie stirs a pot, disinterested. + + Esme sees Bella and stops, emanating maternal warmth. Her + heart-shaped face and billows of hair are reminiscent of + the silent-movie era. + + ESME + Bella. We’re making Italiano for + you. + + EDWARD + This is Esme, my mother for all + intents and purposes. + + BELLA + Bon giorno? + + ESME + Molto bene! + + DR. CULLEN + You’ve given us an excuse to use + the kitchen for the first time. Hit + pause -- + 70. + + + PAN across brand new Williams-Sonoma cookware boxes to the + corner, they’re watching an ITALIAN COOKING SHOW on a TV. + Emmett hits the DVD remote control. + + ESME + I hope you’re hungry. + + BELLA + Oh, absolutely -- + + EDWARD + She already ate. + + Bella shoots him a look, but something SHATTERS. Rosalie + has thrown down a bowl and now strides out. + + ROSALIE + Perfect. + + +84 INT. LIVING ROOM - CONTINUOUS - DAY 84 + + Bella exits behind Rosalie, trying to explain. The other’s + follow. + + BELLA + I just assumed -- because you don’t + eat, you know -- + + ESME + Of course. That was very + considerate of you. + + EDWARD + (re: Rosalie) + Ignore her. I do. + + ROSALIE + Yes, let’s keep pretending this + isn’t dangerous for all of us. + + BELLA + I would never, ever tell anyone. + + DR. CULLEN + (reassuring) + She knows that. + + EMMETT + The problem is, you two have gone + public now, so -- + + ESME + 71. + + + Emmett. + + ROSALIE + No, she should know. + (to Bella) + The entire family will be + implicated if this ends badly. + + BELLA + Badly? + +This hangs in the air, uncomfortably. Edward can’t look at +her. + + BELLA + (realizing) + Oh. Badly. Like, where I become a + meal. + +Emmett chokes back laughter. Edward grins. Wraps his arm +around Bella. Even Esme has to chuckle. + +Rosalie, exasperated, heads back into the kitchen. Emmett +shrugs, goes after her. + + ALICE (O.S.) + Hi, Bella! + +ON THE BALCONY Alice leaps over the rail, holding a bouquet +of wildflowers. Jasper follows her. She bounces forward to +kiss Bella's cheek and hands Bella the wildflowers. + + ALICE + I’m Alice. You do smell good. + + EDWARD + Alice. + + ALICE + It’s alright, Bella and I are going + to be great friends. + + BELLA + (extending her hand) + And you’re Jasper, right? + + JASPER + Pleasure to meet you. + +But he shies away from her hand. + + ALICE + (gently encouraging) + 72. + + + You won’t hurt her, Jasper. + + He isn’t so sure. Edward takes Bella’s hand instead. + + EDWARD + I’ll give you a tour of the house. + + ALICE + (with meaning) + I’ll see you soon. + + Edward shoots Alice a look, which Bella catches before he + guides her up the stairs. As they ascend, Bella takes in + the eclectic ART PIECES from around the world, Ethiopian + crosses, Dresden China, Asian scrolls. + + They reach THE LANDING to FIND a wall of dozens of + artistically arrayed silk squares with tassels. Bella looks + closer. + + BELLA + Graduation caps? + + EDWARD + A private joke. We matriculate a + lot. + + BELLA + What a nightmare, repeating high + school. + + EDWARD + True, but the younger we start out + in a new place, the longer we can + stay there. + + She shivers at the thought of it, as they continue on -- + + +85 INT. EDWARD'S ROOM - DAY 85 + + EDWARD + -- and this is my room. + + Bella enters to find a wall of glass doors open to a deck, + with the river beyond. The rest is floor to ceiling CD's, + vinyl, 8-track tapes, etc., with a sophisticated I- + pod/stereo set up. + + BELLA + So you’re obsessed with music. But + -- + (looking around) + 73. + + + No bed? + + EDWARD + No sleep. + + BELLA + Ever? + + EDWARD + No nightmares, no drool, no + snoring. + +She considers this, as she runs a hand along a wall of +CD’s, studying the titles. + + EDWARD + Do you have any favorites? + + BELLA + Depends. Alternative? Jazz? + Sixties, seventies -- + + EDWARD + Ooh, she knows her music. Alright, + nineties. Eighteen-nineties. + Classical. + + BELLA + I’d have to say -- Debussy. + +He looks at her, surprised, smiles. + + EDWARD + My favorite, too. + +Off their connection, he pulls out a CD and puts it on. A +solo piano version of CLAIR DE LUNE begins to play. + +He moves to her, taking her hand, then he starts to turn +her in a pirouette, dancing with her but she breaks off and +backs away. + + BELLA + No dancing. + + EDWARD + Ever? + + BELLA + No tripping, no falling, no + derision. + + EDWARD + 74. + + + (mischievously) + I can always make you. + + BELLA + You don’t scare me. + + EDWARD + You really shouldn't have said + that. + + He grins, a low GROWLING SOUNDS in the back of his throat. + She laughs and backs out the door, onto -- + + +86 EXT. EDWARD’S ROOM - DECK - CONTINUOUS 86 + + Bella backs up to the rail. Edward appears in the doorway, + shifting into a half-crouch, about to pounce. + + BELLA + Don’t you dare -- + + Suddenly, she's airborne as he tackles her and they FLY OFF + THE DECK then she finds herself IN A TREE in his arms. + + When she realizes where she is, she laughs, delighted. It’s + infectious, he laughs heartily, too. + + CUT AWAY TO: + + +87 INT. CULLEN HOUSE - LIVING ROOM - SAME 87 + + Esme and Dr. Cullen look out the window. Edward’s LAUGHTER + filters inside to them; Esme, in turn, smiles. + + ESME + She’s brought him to life. + + DR. CULLEN + He’s been alone too long but how + can it end well? + + ESME + Alice has been wrong before. + + DR. CULLEN + Not often. + + Esme turns to Dr. Cullen, gentle but absolutely firm. + + ESME + 75. + + + Carlisle. Bella is what he wants. + It will work out. Somehow. + + Dr. Cullen smiles at her with love, then takes her hand as + they look back out the window. + + +88 EXT. TREE - SAME 88 + + Edward looks Bella in the eye. + + EDWARD + Trust me? + + BELLA + In theory. + + EDWARD + Then close your eyes. + + She does, warily. He grips her more firmly, then LEAPS them + to another tree like a flying squirrel! Then, again, to the + TOP of another tree. He easily gets a foothold, while + holding Bella. + + EDWARD + Open. + + She does to the most astonishing bird’s eye VIEW of the + valley, river, and the mountains beyond. CAMERA whirls + around them allowing us a 360 degree view of their + surroundings. Off Bella’s intoxicated face. + + CUT AWAY TO: + + +89 EXT. HIGH SCHOOL - DAY 89 + + Jessica pops a volleyball in the air, doing practice + serves. Angela takes a picture of her, then points her + camera around, looking for another shot. Eric studies some + fliers advertising the prom. + + JESSICA + Monte Carlo? That’s our prom theme? + + ERIC + Gambling, tuxedos and -- + (ala Sean Connery) + Bond. James -- ow! + + -- as Jessica head-butts the ball which hits him in the + face. + 76. + + + ANGELA + Oh. My. God. + + Angela, scanning for a shot, has frozen. Jessica and Eric + SEE BELLA AND EDWARD arriving together. All eyes on campus + are turning to them, filled with curiosity, jealousy, envy. + + BELLA + Everyone’s staring. + + EDWARD + Not that guy over -- yeah, he just + looked. + + Off his rakish, but reassuring smile. + + CLOSE ON A GERMAN SHEPHERD + + Moving fast, tracking. INCLUDE CHARLIE holding the leash. + + +90 EXT. FOREST - DAY 90 + + It’s a hunting party, several dogs, half a dozen armed men. + + CHARLIE + Guys, we got something -- + + The Deputies hurry to Charlie. They gather around. + + A FOOTPRINT. The dogs start pulling them in a certain + direction. As the posse takes off at a sprint -- + + UNKNOWN POV - ON CHARLIE, FROM A DISTANCE + + We watch Charlie and the posse move away. REVERSE to find - + - + + JAMES - ATOP A KNOLL - WATCHING THEM + + Laurent stands next to him. Victoria jogs up. + + VICTORIA + They took the bait. + + JAMES + By tomorrow they’ll be halfway to + Winnipeg. + + Victoria lasciviously grabs James’ shirt. Pulls him to her. + + VICTORIA + 77. + + + I love when men chase me. + + He grins, then starts taking off her clothes. They pull + each other toward the woods with carnal lust. It barely + registers with Laurent, who continues to watch the posse + with concern. + + +91 EXT/INT. FORKS COFFEE SHOP - LATE AFTERNOON 91 + + Bella hurries toward the entrance, trying to keep the joy + on her face in check with minimal success. Outside the + door, she passes Mike, hanging out with several of his + basketball TEAMMATES. + + MIKE + Yo, Arizona. So. You and Cullen. + + She shrugs, non-committal, but can’t entirely hide a smile, + as she hurries inside to Charlie’s table and slides in. + + BELLA + Sorry I’m late. Biology project. + + Cora sets a top sirloin steak in front of Charlie, and + plate of seafood in front of Bella. + + CHARLIE + Ordered you the seafood combo. + + BELLA + Order one for yourself next time. + You should cut back on the steak. + + CHARLIE + I’m healthy as a horse. + + CORA + (concerned) + Say Chief, boys want to know, you + find anything down by Queets River + today? + + Charlie’s aware of the LOGGERS at the counter listening, + too. He frames his answer carefully to keep everyone calm. + + CHARLIE + The suspect’s moving east. Kitsap + County Sheriff is taking over from + here. They’re putting extra guys + on. + + CORA + 78. + + + Hope they catch him fast. + +She moves off, with a measure of relief. Charlie and Bella +pass each other the salt, butter for bread, etc., with an +easy rhythm now. + + CHARLIE + Your friends are flagging you. + +She turns to see Mike and the guys horsing around outside, +straws in their noses, making faces at her. She smiles. + + CHARLIE + It’s okay you wanna join them. I’m + just gonna turn in early anyway. + + BELLA + Yeah, me, too. + + CHARLIE + It’s a Friday night. Go out. The + Newton boy’s got a big smile for + you. Nice family, the Newtons. + + BELLA + He’s just a friend. + + CHARLIE + None of the boys in town interest + you? + + BELLA + We’re not really going to talk + about boys, are we? + + CHARLIE + Just -- you should be around + people. I leave you alone too much. + + BELLA + (with genuine affection) + I’ve never minded being alone. + Guess I’m a lot like my dad that + way. + +Charlie smiles. These two have come a long way. Cora +returns -- + + CORA + Berry cobbler, two forks. + +She sets it between them. Off them, both reaching for forks +-- + 79. + + +92 INT. BELLA'S ROOM - NIGHT 92 + + Bella, dressed for bed, looks out the window as she talks + on the phone with Rene. Bella’s euphoria still lingers in + her eyes -- + + BELLA + So spring training’s going well? + + INTERCUT WITH: + + +93 INT. CAFE - NIGHT 93 + + Rene talks on her cell. Phil is in the background, post- + batting practice, chowing down with a couple of teammates. + + RENE + Phil’s working hard. We’re looking + around for a house to rent, in case + it becomes permanent. You’d like + Jacksonville, baby. + + BELLA + Actually, Forks is kind of growing + on me. + + RENE + (stops, knows there’s + more) + Could... a guy have something to do + with that? + + BELLA + (small smile) + Maybe -- + + RENE + Tell me everything! Jock? Indie? + Bet he’s smart. Is he smart? + + BELLA + (trying to avoid lies) + Well -- he is kind of a history + buff. + + -- this as she turns to find -- + + EDWARD LYING ON HER BED, smiling. She nearly drops the + phone. + + BELLA + I, uh -- have to go. + 80. + + + RENE + No way, we gotta talk boys. Are you + being safe? + +Edward shoots her a look, he heard that. She’s mortified. + + BELLA + I’ll call you later, Mom. + +STAY ON BELLA who hangs up. + + BELLA + How did you get in here? + + EDWARD + The window. As always. + + BELLA + You’ve been here before? + + EDWARD + What else is there to do at night? + +She pushes him. He grabs her hand and playfully pulls her +onto the bed, wrestling as -- + + BELLA + You’re a peeping Tom! Perv! + + EDWARD + Shh! The Chief will hear you! + +But the electricity of their physical contact quickly +overwhelms them, their laughter quieting. He studies her +face. + + EDWARD + I just -- like watching over you. + +He raises his fingers to her lips, sending a thrill up her +spine. + + EDWARD + There's something I'd like to try. + +She nods, bedazzled by him. He takes her face in his hands, +hesitates to test himself, then he softly kisses her. + +What neither of them is prepared for is her response. Her +breath comes in a wild GASP. Her fingers knot in his hair, +clutching him to her. Lips part as she breathes his scent. + 81. + + + Then his hands gently, but forcefully push her face back. + She opens her eyes to see that his eyes are wild, his jaw + clenched. + + BELLA + (mortified) + Oh -- I’m -- oh. + + He relaxes slightly, looking at her blushing face. + + EDWARD + I’m stronger than I thought. + + BELLA + Wish I could say the same. I’m so + embarrassed. + + EDWARD + Don’t be. But we have to be + careful. + (serious) + I can never lose control with you. + Ever. + + She nods, then carefully lies on his chest. He wraps his + arms around her. Off the two of them. + + +94 INT. CHARLIE’S HOUSE - LIVING ROOM - LATE AFTERNOON 94 + + Bella enters to find Charlie cleaning a rifle. He starts to + say hello but she just blurts out. + + BELLA + I have a date with Edward Cullen. + + He suddenly looks like he’s having an aneurysm. + + CHARLIE + He’s too old for you. + + BELLA + We’re both juniors. I thought you + liked the Cullens. + + CHARLIE + And I thought you weren’t + interested in any of the boys in + town. + + BELLA + 82. + + + Edward doesn’t live “in town.” And + it’s in the early stage and -- + whatever, he’s outside right now. + + CHARLIE + Now? He’s out there? + + BELLA + He wants to meet you. Officially. + + CHARLIE + Good. + +He cocks the rifle in mock-seriousness. + + BELLA + Be nice, okay? He’s -- important. + +Charlie gives his daughter a reassuring nod -- then she +opens the door to REVEAL Edward in a parka and gloves. + + EDWARD + Chief Swan. I wanted to formally + introduce myself. I’m Edward. + +Edward extends his hand. Charlie takes it, but grunts a +hello, resisting him. + + EDWARD + I won’t keep Bella out late + tonight. We’re just going to go + play baseball with my family. + + CHARLIE + Bella’s going to play baseball? + +Bella’s equally surprised, but hides it. + + EDWARD + Yes, sir, that’s the plan. + + CHARLIE + Well. More power to you, I guess. + + EDWARD + (looks him in the eyes) + She’ll be safe with me, sir, I + promise. + +As Edward exits Charlie holds Bella back. + + CHARLIE + (sotto) + 83. + + + You got that pepper spray? + + BELLA + Dad. + + +95 EXT. CHARLIE’S HOUSE - LATE AFTERNOON 95 + + Edward and Bella climb into a massive JEEP parked in the + drive. + + EDWARD + (amused) + Your father thinks you should go to + an all-girl’s school. + + BELLA + No fair, reading Charlie’s mind. + + As they climb in the Jeep, Bella notices a baseball bat. + + BELLA + And since when do vampires like + baseball? + + EDWARD + It's the American pastime. Plus, + there's a thunderstorm coming. It’s + the only time we can play. You'll + see why. + + +96 EXT. CLEARING IN WOODS - TWILIGHT 96 + + Storm clouds gather in the sky as Bella and Edward pull up + in the Jeep. She takes in a rough baseball diamond, set + into an enormous field in the lap of the Olympic peaks. + + Esme and Emmett come to greet Bella. + + ESME + Good thing you’re here. We need a + umpire. + + EMMETT + (big crooked grin) + She thinks we cheat. + + ESME + I know you cheat. Call ‘em as you + see ‘em, Bella. + + WHIP PAN to Alice on the Pitcher’s Mound. + 84. + + + ALICE + It’s time. + +Just as a deep RUMBLE of thunder shakes the forest. + +BEGIN MONTAGE - THE GAME + +And it's extraordinary. Bella stays by Esme who plays +catcher. Alice pitches with lightning-fast speed. Edward +and Emmett take positions in the outfield. + +ROSALIE SMASHES the ball with the aluminum bat. It CRACKS +like thunder and is followed directly by real THUNDER. + + BELLA + (to Esme) + Now I get why you need the thunder. + +The ball SHOOTS like a meteor deep into the forest, +rocketing through the trees. Edward disappears after it. + + BELLA + That has to be a home run. + + ESME + Edward’s very fast. + +Rosalie darts around the bases, almost a blur, Edward races +out of the forest with the ball and WHIPS it to home plate. +WHAP! Esme catches it a millisecond before Rosalie slides +in. + + BELLA + Yer out? + +Esme nods. Amazed, Bella watches as DR. CULLEN hits a line +drive. Edward and Emmett race for the catch, DIVING 15 feet +and COLLIDING with such might that it sounds like enormous +boulders falling. They miss the ball. Dr. Cullen is safe! + +JASPER WHACKS the next pitch, deep into the forest. But +before Edward can chase it, Alice suddenly GASPS. + + ALICE + Stop! I didn’t see them -- + +They all stop. Edward is immediately at Bella's side. The +family instantly gathers at home plate. + + ALICE + They’re traveling so quickly -- + + ROSALIE + 85. + + + You said they left the county -- + + ALICE + They did, but then they heard us -- + (looking at Edward) + And changed their minds. + + EDWARD + (to Bella) + Put your hair down -- + + ROSALIE + Like that’ll help. I could smell + her from across the field. + +Edward ignores Rosalie as he arranges Bella’s hair. + + EDWARD + I shouldn’t have brought you here. + I’m so sorry. + +She’d ask why, but suddenly, they all turn as one toward -- + +THE EDGE OF THE FOREST + +There’s a faint rustle then James, Victoria and Laurent +emerge. As they near, Bella SEES their bare feet, then the +deep BURGUNDY of their eyes. Laurent holds up the baseball. + + LAURENT + I believe this belongs to you. + +He tosses the ball (his casual toss is still blindingly +fast) to Dr. Cullen who easily catches it and smiles +politely. + + DR. CULLEN + Thank you. + + LAURENT + Could you use three more players? + + DR. CULLEN + Of course. + + LAURENT + I’m Laurent. This is Victoria. And + James. + + DR. CULLEN + Would you like to bat first? + 86. + + +Laurent picks up a bat. The Cullens take the field. Dr. +Cullen is catcher, Edward is on first, with Bella behind +him, near the Jeep. + +Bella sees that Edward’s eyes are locked onto James. +Laurent is at bat first. + + DR. CULLEN + I’m afraid your hunting activities + have caused something of a mess for + us. + + LAURENT + Our apologies. We didn’t realize + the territory had been claimed. + + DR. CULLEN + Yes, we maintain a permanent + residence. + +The three newcomers exchange a look of surprise. + + LAURENT + Really? Well, we won’t be a problem + any more. + + VICTORIA + The humans were tracking us, but we + led them East -- + +Jasper pitches the ball, Laurent SLAMS it, but Alice is up +a tree is a flash and the ball slams into Alice’s hand with +a THWAP. Laurent is pissed, but James smiles ever so +slightly, delighted at the discovery of worthy opponents. + +James is up next and he POWER-SLAMS IT with AMAZING FORCE. + +He runs past first, past Edward, past Bella. + +CLOSE ON BELLA IN SLOW MOTION as the wind from the ball +ruffles her hair, carrying her scent, which floats to -- + +JAMES who suddenly SCREECHES to a halt. His head WHIPS +around at her and he lurches into a crouch, his nostrils +flaring, excitedly, eyes locked on Bella. + + JAMES + You brought a snack. + +EDWARD springs in front of Bella, baring his teeth. A truly +menacing, feral SNARL rips from his throat. James GROWLS +back. + 87. + + + OVERHEAD SHOT: in a flash, the Cullens rush into position + behind Edward, Laurent and Victoria line up behind James. + + DR. CULLEN + The girl is with us. + + LAURENT + (trying to defuse + situation) + We won’t harm her. + + EMMETT + (hungry for battle) + Just try it. + + DR. CULLEN + I think it best if you leave. + + LAURENT + Yes, I can see the game is over. + We’ll go now. James? + + But James’ eyes don’t leave Edward’s. Laurent puts a hand + on James’ shoulder, and finally, James backs into the woods + with his cohorts, disappearing. Once they’re gone, Esme + immediately gathers up the bats. + + DR. CULLEN + Get Bella out of here. We’ll follow + them. + + Dr. Cullen, Jasper and a resentful Rosalie race off after + the three vampires. Edward scoops Bella up as we -- + + SMASH TO: + + +97 EXT. BASEBALL FIELD - ON THE JEEP - LATE TWILIGHT 97 + + Edward whips Bella into the Jeep and straps her in. + + EDWARD + James is a tracker. I saw his mind. + The hunt is his obsession, and my + reaction set him off -- + + The tires spin as Edward WHIPS the jeep around. + + EDWARD + -- We’re a large clan of strong + fighters all protecting one + vulnerable human. + (dark with disgust) + 88. + + + I just made this his most exciting + game ever. + + Bella blanches with the dawning realization of what she has + just wrought up on them all as -- + + THE JEEP CAREENS DOWN THE DIRT MOUNTAIN ROAD + + A jolting, death defying ride, SPLASHING through creeks, + until they reach -- + + +98 EXT. MOUNTAIN ROAD - NIGHT 98 + + THE JEEP speeds wildly down the road. + + EDWARD + The first place he’ll go is your + house. He’ll track your scent + there. + + BELLA + (horrified) + What?!? Charlie’s there. He’s in + danger because of me. Because of + us! + + EDWARD + (calmly) + Then we’ll lead the tracker away + from him. Somehow. + + He angrily WHIPS around a bend, MUD FLYING. + + +99 INT. CHARLIE'S HOUSE - LIVING ROOM - NIGHT 99 + + Charlie watches a baseball game on T.V. as the door + suddenly BURSTS open to reveal Bella, crying, and Edward, + devastated. + + BELLA + I said, leave me alone! + + EDWARD + Bella, don’t do this. Just think + about it, please -- + + BELLA + Get out! It’s over. + + She SLAMS the door. Charlie has risen, baffled, concerned. + 89. + + + CHARLIE + Bella? What happened? + + BELLA + I have to get out of this place. + Out of Forks. I’m leaving. Now. + + Bella runs upstairs. Charlie hurries after her. + + +100 INT. BELLA'S BEDROOM - NIGHT 100 + + Bella slams the door behind her. REVEAL Edward’s already + there, pulling things from her drawers and shoving them + into a duffle faster than humanly possible. Bella leans + against the door. + + BELLA + (a pained whisper) + I can’t hurt him. + + Edward gives her a look, you have to. There’s a KNOCK. + + INTERCUT Charlie on the other side. It’s agony for both of + them. + + CHARLIE + Bells. Did he hurt you? + + BELLA + No, Dad. + + CHARLIE + Then what? Did he break up with + you? + + BELLA + I broke up with him. + + CHARLIE + I thought you liked him? + + BELLA + That’s why I have to leave. I don’t + want this. I want to go home. + + EDWARD + (whispering) + I’ll be in the truck. + 90. + + + And he disappears out the window. Bella gathers strength to + continue her performance. She opens the door to reveal + Charlie. He follows as she carries her duffle and truck + keys into -- + + +101 INT. CHARLIE’S HOUSE - STAIRS - CONTINUOUS - NIGHT 101 + + Bella charges down the stairs, Charlie follows. + + CHARLIE + Your mother’s not even in Phoenix. + + BELLA + She’ll come home. I’ll call her + from the road. + + CHARLIE + You can’t drive home now. I’ll take + you to the airport in the morning. + + BELLA + I want to drive. I need time to + think. I’ll pull into a motel in a + few hours. I promise. + + She heads down the stairs. Charlie follows. + + +102 INT. CHARLIE’S HOUSE - LIVING ROOM - CONTINUOUS - NIGHT 102 + + Bella reaches the ground floor with Charlie on her heels. + She’s almost to the door but Charlie blocks her. + + CHARLIE + Bells, I know I’m not around much, + but I can change that. We can do + more things together. + + She takes a breath, hating herself for what she's about to + say. + + BELLA + Like watch more baseball on the + flat screen? Or go to the Coffee + Shop? Same people, same steak, same + berry cobbler every night? That’s + you, Dad. Not me. + + This hits Charlie hard. She can barely stand it, heads down + the stairs, as he takes a second to recover. + + CHARLIE + 91. + + + Bella -- I just got you back. + + Which breaks Bella’s heart and forces her to deliver the + final blow. + + BELLA + And if I don’t get out now, I’m + going get stuck here like mom did. + + Charlie is stunned, wounded. She takes advantage of his + shock, pushing past him out the door. + + +103 EXT. CHARLIE’S HOUSE - NIGHT 103 + + Bella exits, heads to her truck. Fresh tears spring to her + eyes. + + ANGLE ON THE WOODS + + Trees, branches and a pair of DEADLY EYES. James. He + watches from a distance as Bella pulls out. The truck moves + off and so does James, leaving Charlie alone with his pain, + staring out the window. + + +104 INT. BELLA'S TRUCK - NIGHT 104 + + Bella drives, wiping tears away. Suddenly Edward is outside + the car, near Bella’s window. + + EDWARD + He’ll forgive you. + (off Bella’s startled + look) + Slide over -- + + Bella slides over to the passenger side as Edward opens the + door, sliding in, and takes the wheel. Bella slumps. + + BELLA + His face -- I said the same words + my mother used when she left him. + + EDWARD + It was the only way he’d let you + go. + + Edward FLOORS it. + + EDWARD + Your father’s safe now, Bella. The + tracker is following us -- + 92. + + + Suddenly, BOOM! a dark figure LEAPS onto the bed of the + truck. Bella SCREAMS. + + EDWARD + It’s alright. It’s just Emmett. + Alice is in the car behind us. + + She catches her breath. It kills him to see her so + frightened. She looks out the window as they drive through + town. + + +105 EXT. FORKS COFFEE SHOP - NIGHT - BELLA’S POV 105 + + The small, insulated town passes by in SLOW MOTION. + + INSIDE we SEE Mike, Jessica, Eric and Angela laughing, + flirting, innocent, hopeful. + + +106 EXT. CULLEN HOUSE - NIGHT 106 + + Edward, Emmett and Alice rush Bella from the truck to the + house but freeze when the door opens and Laurent exits. + They immediately take defensive positions but Dr. Cullen + appears. + + DR. CULLEN + He came to warn us. About James. + + They back down slightly. Laurent address Dr. Cullen. + + LAURENT + I’ve grown tired of his games. But + he’s got unparalleled senses. + Absolutely lethal. I’ve never seen + anything like him in three hundred + years -- And the woman, Victoria, + will back him. Don’t underestimate + her. + + Dr. Cullen nods thanks. Laurent looks at Edward, + apologetic. + + LAURENT + I’m truly sorry for what’s been + unleashed here. + + And he moves off, disappearing into the woods. + + +107 INT. CULLEN HOUSE - FOUR CAR GARAGE - NIGHT 107 + 93. + + +The side door BURSTS OPEN as Edward and the Cullens enter, +followed by Bella. The lights flip on to reveal a pristine +garage; the Volvo, the red BMW, a black Mercedes sedan, an +SUV. + +Everyone but Rosalie springs into action, opening cupboards +for supplies, cell phones, extra batteries, maps, portable +GPS units, changes of clothes, cans of gasoline, etc. As +they load up the vehicles -- + + JASPER + I’ve had to fight our kind before. + We’re hard to kill. + + EDWARD + But not impossible. We’ll tear him + up -- + + EMMETT + (with bloodlust) + We’ll rip him apart with our hands, + then burn the pieces -- + + DR. CULLEN + I don’t relish killing another + creature. Even a sadistic one like + James. + + ROSALIE + If he doesn’t get to one of us + first. + + BELLA + (horrified) + This is insane. You can’t put + yourselves in danger like this -- + for me. + + ROSALIE + Too late. + +Edward shoots Rosalie a look, but he grabs two sets of keys +off a hook, throwing one set, lightning fast, to Dr. +Cullen. + + EDWARD + I’ll run Bella south, while you + lead the tracker away -- + + DR. CULLEN + No, Edward -- the tracker thinks + you won’t leave Bella. He’ll follow + you. + 94. + + + ALICE + I’ll go with Bella. Jasper and I + will drive her south. + (facing him) + I’ll keep her safe, Edward. + +Edward agonizes. Frustrated. Alice steps forward. + + EDWARD + (studies her, torn) + Can you keep your thoughts to + yourself? + +She nods. An unspoken agreement. Edward finally surrenders +his keys to Alice. Then he opens one of Bella’s suitcases, +pulling out clothes, tossing them to -- + + EDWARD + Esme, Rosalie, put these on so the + tracker will pick up Bella’s scent. + + ROSALIE + (dropping the clothes) + Why should I? What is she to me? + Just a danger you’ve inflicted on + us -- + + DR. CULLEN + (spinning on her) + Rosalie. Bella is with Edward. + She’s a part of this family now. + And we protect our family. + +She glowers, but picks up the clothes. Dr. Cullen hits the +door opener and the massive METAL DOORS roll open. Dr. +Cullen squeezes Edward’s shoulder before he and Esme climb +into the SUV. Everyone finishes loading up, climbing in +cars. + +Amid this, Edward and Bella take a moment together. + + BELLA + If any of you get hurt because of + me -- + + EDWARD + We won’t, there are five of us, two + of them. When it’s done, I’ll come + get you. + +He pulls her closer, looking into her eyes. + + EDWARD + 95. + + + You're my life now. + + They drink each other in, possibly for the last time as the + SUV PEELS out, WIPING THE FRAME. + + +108 EXT. HIGHWAY - PACIFIC NORTHWEST - DAWN 108 + + The sun begins to rise on the empty road as a sleek, black + MERCEDES SEDAN with dark tinted windows BLASTS through + frame. + + +109 INT. MERCEDES - SAME 109 + + Jasper drives, Alice in the passenger seat. Bella is in the + back, her eyes red from crying. She talks on her cell + phone. + + BELLA + Mom, it’s me again. You must have + let your phone die. Anyway, I’m not + in Forks anymore but I’m okay. I’ll + explain when you call. + + She hangs up, then faces back out the window, watching the + green, misty Olympic Peninsula speed past. Off Bella’s + face. + + A SERIES OF DISSOLVES THROUGHOUT THE DAY, THEN THE NIGHT + + -- show us the landscape as it changes from dark green + forests to stretches of grassy hillsides, to drier, browner + surroundings, until night falls and headlights lights flash + by us. Finally, we land in -- + + +110 EXT. FOREST - OLYMPIC PENINSULA - DAY 110 + + TREES BLOW PAST US at a blinding speed as we track Edward, + Rosalie, and Emmett who dart in and out of frame, blasting + through the misty woods, Edward, the fastest, in the lead. + + Edward stops, trying to read his enemy's thoughts. Rosalie + tears a tiny swatch of her shirt, leaves it on a FLOWERING + MAPLE TREE. And then they’re gone. + + +111 EXT. ANOTHER PART OF THE WOODS - DAY 111 + + Esme and Dr. Cullen crouch atop a hill, looking down at the + river. In the distance, below, they SEE -- + 96. + + + THEIR POV - ON THE LAKE - VICTORIA jogs into view. She then + looks in their direction. Once Dr. Cullen and Esme are + assured she has their scent, they continue over the hill’s + crest. + + +112 EXT. FOREST - OLYMPIC PENINSULA - DAY 112 + + James blasts past the FLOWERING MAPLE then stops, + backtracks to the tree, finds the tiny swatch of fabric. He + starts off again but stops, smells the fabric. Something’s + not right. He runs back in the opposite direction -- Uh oh + -- + + SMASH TO: + + +113 INT. SCOTTSDALE HOTEL - BEDROOM - LATE AFTERNOON 113 + + ON BELLA'S FACE: her eyes pop open. She's lying atop a bed, + fully clothed. She rises, reorienting. + + +114 INT. SCOTTSDALE HOTEL - LIVING ROOM - LATE AFTERNOON 114 + + The blinds are pulled. Alice and Jasper stare blankly at a + T.V. set. Several plates of food crowd a table. Alice looks + up as Bella enters, looking at her cell phone. + + BELLA + I wish he’d call. + + ALICE + You should eat. + + But Bella ignores the food. She sits heavily. + + BELLA + They could get hurt. It’s not worth + it. + + JASPER + (insistent) + Yes. It is. + + She’s taken aback. It’s the first time he’s engaged with + her. + + JASPER + Edward’s changed since he found + you. And none of us want to look + into his eyes for the next hundred + years if he loses you. + 97. + + + (he looks forward again) + It’s worth it. + +Suddenly, Alice REELS. Jasper goes to her, Bella follows. + + JASPER + What do you see? + + ALICE + (with deep worry) + The tracker. He just changed + course... + +Jasper quickly sets a pad of paper and pencil in front of +her. + + JASPER + Where will it take him, Alice? + +PUSH IN ON ALICE’S FACE as we -- + +FLASH POP TO - JAMES + +A disorienting vision of him standing in a room full of -- + + ALICE + Mirrors. It’s a room of mirrors. + +Alice begins to draw at HYPER SPEED, closing her eyes, +trying to see it clearly. + + BELLA + How do the visions work? Edward + said they weren't always certain. + + JASPER + She sees the course people are on, + while they're on it. If they change + their minds, the visions change. + +Bella looks over Alice’s shoulder to see the drawing. + + BELLA + So the course James is on now will + lead him to -- a ballet studio? + + ALICE + (looks up at her) + You’ve been here? + + BELLA + 98. + + + No. I don’t know. I used to take + ballet lessons as a kid. The school + had an arch like that. + + JASPER + Was your school here in Phoenix? + + BELLA + Yeah, around the corner from my + house. But I haven’t been there in + ten years. + + JASPER + Do you have any reason to go now? + + BELLA + No. Hell, no. I hated the place. + + Alice and Jasper share a look, trying to figure this out. + Suddenly, Bella JUMPS as her cell phone RINGS. She picks it + up. Sees the caller I.D. and exhales relief. She answers -- + + BELLA + Edward. Are you alright? + + INTERCUT WITH: + + +115 INT. JEEP/EXT. WASHINGTON ROAD - DAY 115 + + Dr. Cullen drives the Jeep, fast, Emmett in the back, + Edward in the passenger seat on his cell phone. + + EDWARD + I’m coming to get you. + (hates having to say + this) + We lost the tracker. The woman is + still in the area. Rosalie and Esme + are protecting your father. + + BELLA + (sinking) + This is my fault. You warned me, + but I didn’t think. I just -- + + EDWARD + Bella, we’re in too deep. We can’t + change how we feel -- + + BELLA + No -- we can’t. + (then) + 99. + + + When will you get here? + + EDWARD + In a couple hours. Then you and I + will go somewhere. Together. The + others will keep hunting. + (then, determined) + Bella, I swear to you, I’ll do + whatever it takes to make you safe + again. + + Off Bella, her eyes welling -- + + +116 EXT. SCOTTSDALE HOTEL - DAY 116 + + SEE Alice in the lobby, settling the bill. Jasper loads up + the car out front. + + +117 INT. SCOTTSDALE HOTEL - BEDROOM - DAY 117 + + Bella gathers her things, then her phone RINGS again. + + INSERT CALLER I.D. - It reads “HOME.” Bella answers -- + + BELLA + Mom, I’m so glad you got my -- + + RENE (O.S.) + (panicked) + Bella? Bella? Where are you? + + BELLA + Calm down, Mom. Everything is fine, + okay? I’ll explain every -- + + HEAR RUSTLING on the line, as if Rene dropped the phone. + + BELLA + -- Mom? Are you there? + + Then Bella HEARS a voice that sends a chill down her spine + -- + + JAMES (O.S.) + Nice house you have here. Not the + best on the block, but comfortable. + + INTERCUT WITH: + + +118 INT. RENE’S HOUSE - PHOENIX - DAY 118 + 100. + + +VERY CLOSE ON JAMES, his sinister eyes and vicious smile. + + JAMES + I was prepared to wait for you. But + then Mom came home after she + received a very worried call from + your Dad. It all worked out quite + well. + +Bella’s eyes are wild with fear. + + JAMES + I must say, Forks High School + doesn’t protect its students’ + privacy very well. It was just too + easy for Victoria to find your + previous address. + + RENE (O.S.) + Bella? Bella? + + BELLA + Leave my mother out of this. + + JAMES + You’re protective of her. That’s + nice. You can still save her. But + you’ll need to get away from your + friends. Can you do that? + + BELLA + I -- don’t think so. + + JAMES + If your mother’s life depends on + it? + +Bella is terrified, but there’s no choice here. + + BELLA + Where should I meet you? + +James grins as he fingers a PHOTO of Bella that’s attached +to the refrigerator with a magnet. It’s the same photo +Charlie has of her, age 7, in a tutu, sitting on the floor. + + JAMES + The old ballet studio around the + corner. And I’ll know if you bring + anyone along. Poor mommy would pay + the price for that mistake. + (sniffs the air) + She smells like you. Delicious. + 101. + + + STAY ON BELLA as she hangs up, panicked. She starts + flinging open drawers, searching for a weapon - a pen, a + sewing kit. Useless. Then she remembers -- + + Her purse. She dumps out the contents, and FINDS the pepper + spray Charlie gave her. She clings to it, her only + protection now. + + +119 INT/EXT. SCOTTSDALE HOTEL - TWILIGHT - DRIVING 119 + + Bella walks through the lobby, scanning for Jasper and + Alice. She spots them outside under the porte cacher, + loading the Mercedes, deep in a heated discussion. She + slips out the opposite door, rushes toward a Taxi and jumps + in, closes the door. The DRIVER is an elderly woman with a + hacking COUGH. + + BELLA + (taking a breath for + courage) + 8th and Palo Verde, please. + + The taxi pulls out. Bella watches the hotel disappear. Off + her FACE IN THE REAR WINDOW. + + BELLA (V.O.) + I’ve never given much thought to + how I would die -- + + +120 EXT. SCOTTSDALE HOTEL - NIGHT - BELLA’S POV 120 + + Once again, we see the polished malls, the manicured cactus + gardens. All empty for the night. + + BELLA (V.O.) + But dying in the place of someone I + love seems like a good way to go -- + + +121 EXT. MIMI’S SCHOOL OF DANCE - NIGHT 121 + + Bella climbs out of the taxi. It pulls away, leaving her on + the curb facing the deserted building. Bella twirls her + mother’s ring around her finger, then reaches for the + pepper spray. + + BELLA (V.O.) + I can’t bring myself to regret the + decisions that brought me face to + face with death -- they also + brought me to Edward. + 102. + + + She slips the pepper spray into her jeans pocket. She wraps + her purse strap around her wrist. She takes a breath, + approaches the school. Peers in the windows. The blinds are + drawn. But from inside, we HEAR a faint sound. + + RENE (O.S.) + Bella? Bella? + + It’s time. Bella goes to the front door. It’s unlocked. + + +122 INT. MIMI’S SCHOOL OF DANCE - STUDIO - NIGHT 122 + + Bella cautiously enters this grand, empty room of mirrors. + A ballet bar wraps around the walls. + + RENE (O.S.) + Bella, where are you? + + Bella whirls, trying to find its source. She follows the + sound to a cleaning supply CLOSET. She throws open the door + to FIND -- + + A T.V. - ON SCREEN A VIDEO PLAYS - Bella, age 7, hides in + the very closet the T.V. is in now. Little Bella looks up + at us. + + RENE (O.S.) + Don’t you want to dance, baby? + + Little Bella shakes her head stubbornly. The frame jiggles + as Rene hands someone the camera. Rene, ten years younger, + appears on screen and kneels next to Bella. + + BELLA + Everyone makes fun of me. + + RENE + But you’re a wonderful dancer. + + BELLA + Mom, I suck. + + LAUGHTER behind Bella. She spins, trying to locate James in + the mirrors. + + JAMES + That’s my favorite part. Stubborn + child, weren’t you? + + Bella's face flushes with rage and relief. + + BELLA + 103. + + + She’s not here. + + JAMES + Sorry. But you really made it too + easy. + +Visible in the mirror, he sighs, disappointed. Then he +steps up next to her and points a VIDEO CAMERA at Bella. + + JAMES + So to make things more + entertaining, I’m going to make a + little film of our time together. + Borrowed this from your house. Hope + you don’t mind. + (turns it on) + And -- action! + +Bella FLINGS her purse at him, and runs for the door. + + JAMES + Excellent! An escape attempt. + +Suddenly, he’s right behind her. She freezes. + + JAMES + It’ll break Edward’s little heart. + +He smells her hair. Touches her throat. + + BELLA + Edward has nothing to do with this. + + JAMES + He will. His rage will make for + more interesting sport than his + feeble attempt to protect you. + +He’s having too much fun to notice -- the peppers spray in +her hand. She spins around and sprays him. + +Then she runs, as James REELS back briefly. But he leaps +over her and lands RIGHT IN FRONT OF HER. + +Amused, he flings her across the floor like a bowling ball. +She SMASHES hard into a mirrored column. James captures it +on film. + + JAMES + Beautiful! Very visually dynamic. I + chose my stage well. + +He advances toward her. + 104. + + + JAMES + Still stubborn, aren’t you? Is that + what makes you special? Because + frankly, I don’t see it. + +He inhales as if he can taste her already -- + + JAMES + Too bad he didn’t have the strength + to turn you. Instead, he kept you + this fragile little human. It's + cruel, really. + +James flips on the camera, but the lens is coated with +pepper spray. He tries to wipe it off. + + JAMES + Well done! You’ve succeeded in + annoying me. + +He STOMPS on her shin! HEAR her tibia SNAP! Bella SCREAMS +in agony. + + JAMES + Tell Edward how much it hurts. + +Abruptly, the camera is in her face -- + + JAMES + Tell him to avenge you. + + BELLA + No! Edward, don't... + +James inhales as her blood pools. He leans in, hungry. +Bella, half-conscious, watches him turn the camera on his +own face. + +VIDEO CAMERA’S POV - ECU ON JAMES’ FACE + + JAMES + Cut! The end. + +Suddenly, JAMES IS KNOCKED OUT OF FRAME! + +He rises to find himself face to face with Edward. James +CHARGES Edward, forcing him up against a column. + + JAMES + You’re alone because you’re faster + than the others. But not stronger. + 105. + + +James SMASHES Edward’s face into the mirror until it +cracks. + + EDWARD + I’m strong enough to kill you. + +Edward FLINGS James backwards, SMASHING through a +freestanding mirror into the doorway. He scoops Bella up +and leaps toward the balcony exit door when suddenly he and +Bella are JERKED downward. + +James YANKS Edward violently onto the floor, KNOCKING Bella +out of his arms as James FLINGS Edward up into the top +window, EMBEDDING him in the casement and bricks. + +James crouches beside Bella. He grabs her HAND. + +Looking directly at Edward with a sinister grin, he SINKS +HIS TEETH into Bella’s hand! She SCREAMS in agony. + +Edward's rage ERUPTS, he climbs out of the window casement +and SUICIDE-DIVE-BOMBS James, savagely PLOWING him through +the floorboards. + +ON BELLA as the venom travels through her veins. + +BELLA'S POV - dark figures twist and fight, in and out of +focus. + +Her eyes suddenly POP OPEN to see the EXPLOSIVE RAW REALITY +of James KICKING Edward, delivering death blows when -- + +Suddenly Edward’s hand SHOOTS UP and GRABS James’ ankle. + +Edward ROARS up to his feet and SWINGS James around like a +baseball bat, SMASHING him into mirror after mirror. + +James is battered, beaten. Bella moans and the sound of her +pain slices through Edward. In an animalistic fury, Edward +BITES OFF a piece of James’ flesh -- + +WHIP PAN from Bella’s horrified face to DR. CULLEN, now +standing beside Edward, placing a hand on his son’s +shoulder. + +Edward turns to see his father and EMMETT, JASPER, and +ALICE, dropping down from the balcony. + +Edward’s expression changes, he realizes he’s gone too far. +He backs off as his siblings crouch into attack mode and +LUNGE at James like a pack of animals. + 106. + + +Dr. Cullen rushes to the injured Bella who SCREAMS again in +pain. Edward dashes toward her -- + +BELLA’S POV - ON THE THREE CULLEN SIBLINGS, going in and +out of focus, it almost looks like a tribal dance as they +rip out the floorboards and build a fire -- it’s like a +funeral pyre as they rip James apart, throwing limbs into +the fire. + +BACK ON BELLA as Edward reaches her side. Dr. Cullen works +fast to assess her wounds, focusing on a massive bleed from +her leg. But clearly her hand hurts the most. She writhes +in pain. + + INTERCUT + +BELLA’S DISORIENTED POV WITH THE CHAOTIC REALITY: + +Dr. Cullen applies pressure to the gash on her thigh. + + DR. CULLEN + Her femoral artery’s been severed. + She’s losing too much blood -- + + BELLA + It’s on fire! My hand! + + EDWARD + Venom -- + + DR. CULLEN + (working on Bella) + You have to make a choice. Either + let the change happen -- + + EDWARD + No! + +BELLA’S POV - ALICE appears behind Edward, fuzzy, +indistinct. + + ALICE + It’s going to happen. I’ve seen it + -- + + EDWARD + It doesn’t have to be that way. + + DR. CULLEN + Alice, find me a tourniquet. A rag, + a shirt. + 107. + + +Alice holds her nose and avoids the blood as she rips the +sleeve off her blouse and kneels to aid Dr. Cullen. + + BELLA + It’s burning! + + EDWARD + What’s the other choice? You said - + - + + DR. CULLEN + (to Alice) + Tighter, above the knee -- + + EDWARD + Carlisle. + + DR. CULLEN + You can try to suck the venom out. + + EDWARD + I -- won’t be able to stop -- + + DR. CULLEN + Find the will to stop. But choose, + she only has minutes left. + +Edward looks down at Bella, thrashing in pain. Finally, +Edward takes her hand. She tries to pull it away. + + EDWARD + It’s alright, Bella. I’ll make it + go away. + +He looks at her then starts to suck the venom from her +hand. They never take their eyes off one another, the +connection palpable, intense -- + +CLOSE ON BELLA’S EYES - wild with pain. But subsiding -- + +CLOSE ON EDWARD’S EYES - the frenzy has begun. He sucks +harder. Hungrily. Anguished, he wants to stop but can’t. +Dr. Cullen’s voice sounds miles away. + + DR. CULLEN + Stop. Her blood is clean, you’re + killing her. + +-- but the bloodlust is too strong. He is killing her. +Bella looks at him, forgivingly, as she begins to lose +consciousness -- + 108. + + + BELLA’S POV - ON EDWARD - growing blurry, he disappears + into the blinding light. It’s as if she’s underwater, like + her dreams -- + + BELLA (V.O.) + Death is peaceful. Easy. + + Bella starts to float away -- we’re losing her -- + + Suddenly from the darkness, Edward reaches out a hand -- + + A brilliant light flares -- + + BELLA’S FACE APPEARS IN THE WHITENESS + + Eyes closed. But they slowly open. She squints at the + light. + + BELLA + Life -- is harder -- + + An oxygen tube rests under her nose. She reaches for it, + confused. A hand stops her as her surroundings come into + focus. + + RENE (O.S.) + You’re awake, baby! You’re okay!!! + + +123 INT. HOSPITAL ROOM - DAY 123 + + Bella lies in a hospital bed. Bandaged, leg in a cast. In + bad shape. Rene hovers over her, tears in her eyes. On the + dresser, SEE get well cards and a PHOTO MONTAGE of her + friends from Forks. + + BELLA + Edward? Where’s -- + + RENE + He’s asleep. + + She nods across the room to a chair in which Edward + “sleeps.” + + RENE + He never leaves. And your dad’s + down in the cafeteria. + + BELLA + What -- happened? + 109. + + + RENE + Baby, you fell down two flights of + stairs and through a window. + +Bella is drawing a blank, confused. Rene jogs her memory -- + + RENE + Edward came here to convince you to + come back to Forks. His father + brought him down. You went to their + hotel but you tripped on the + stairs. + +A moment -- then Bella realizes it’s a cover story. She +nods. + + BELLA + Sounds like me. + +Rene’s cell phone BEEPS. She opens it. Reads a text, starts +typing in a reply. + + RENE + It’s Phil. He’s worried about you. + + BELLA + Mom, you’re -- texting. + + RENE + (smiling) + I told him to stay in Florida. The + Suns signed him! + + BELLA + That’s great mom. + + RENE + Jacksonville is always sunny and + you’ll have your own bathroom -- + + BELLA + Mom, wait. I want to live in Forks. + I have Dad -- + (re: the get well cards) + -- and friends -- + + RENE + (re: Edward) + And he’s there. + +Bella shrugs, conceding the truth. + + RENE + 110. + + + Charlie doesn’t like him. Blames + him for your leaving. + + BELLA + What do you think? + + RENE + (lowering her voice) + I think that boy is in love with + you. + +Bella smiles. Rene grins. Bella glances at Edward. + + BELLA + Um, Mom, would you mind getting + Dad? I want to talk to him. + Apologize. + + RENE + I’m sure he doesn’t care about + that, Baby. But I‘ll go get him. + +Rene kisses Bella’s forehead. Exits. Bella watches her go. +The door shutting behind her. Bella turns back to find +Edward standing next to her with deep concern. Her eyes +well. He kisses her forehead soothingly. + + BELLA + Is James - did you -- ? + + EDWARD + We took care of him. And the woman, + Victoria, she ran off. + +She closes her eyes with relief, then looks at him. + + BELLA + I’m alive because of you. + + EDWARD + (darkens) + You’re in here because of me. + +Her wounds cause him pain. He strokes her face. + + EDWARD + The worst of it -- was thinking I + couldn’t stop -- + + BELLA + But you did. + + EDWARD + 111. + + + Bella, you should go to + Jacksonville. Where I can’t hurt + you anymore -- + + BELLA + What? No! I want to be with you! I + don’t want -- + + EDWARD + (sitting next to her) + Sssh. It’s alright. I’m not going + anywhere. I’m right here -- + + He wraps an arm around her. As she curls up in his arms -- + + DISSOLVE TO: + + +124 EXT. FORKS - WASHINGTON - LATE AFTERNOON 124 + + An AERIAL SWEEP over the lush green forests. We’re back in + the misty, damp beauty of the Pacific Northwest. + + +125 EXT. CHARLIE'S HOUSE - BEAUTIFUL LATE AFTERNOON 125 + + At a picnic table, Charlie cleans a fish with a big knife. + Edward waits awkwardly near his Volvo, dressed in an + elegant suit. But even calm Edward is unnerved by Charlie’s + glare. The front door opens and they look up to see -- + + BELLA framed in the doorway in a stunning long dress. + Edward is enchanted. Bella descends the steps with + difficulty, due to her LEG CAST. Charlie edges out Edward + to help her down. + + BELLA + Alice lent me the dress. It was the + only thing that would fit over my + cast. Is it too -- ? + + EDWARD + You’re perfect -- I’ll take good + care of her, Chief. + + CHARLIE + Heard that before. + + Edward moves to open the car door. Charlie holds Bella + back. + + CHARLIE + (sotto) + 112. + + + I put new pepper spray in your bag. + + BELLA + Dad. + + CHARLIE + -- and -- you look beautiful. + + Father and daughter share a smile. + + +126 EXT/INT. MANSION - VIEW POINT INN - TWILIGHT 126 + + Edward’s Volvo pulls up to this lovely inn. He helps Bella + out of the car, and begins to guide her through the dining + room. Mr. Molina and other teachers are there. We may + notice the back of a Redhead, mingling with the chaperones. + + BELLA + I can’t believe you’re making me do + this. + + He just grins. Edward guides her around a corner to -- + + +127 EXT. MANSION BACKYARD - CONTINUOUS - TWILIGHT 127 + + THE PROM - Monte Carlo style. Gaming tables and roulette + wheels. Guys in tuxes and girls in gowns gamble for prizes, + dance and socialize. + + BELLA + You really are trying to kill me. + + EDWARD + Prom is an important rite of + passage. I don’t want you to miss + anything. + + She can’t be mad at him, just shakes her head + affectionately. They continue into the prom. Several heads + turn. Bella sees -- + + THE DANCE FLOOR, where a gap has formed. In the middle, two + couples whirl gracefully. It's Alice and Jasper, Rosalie + and Emmett, looking absolutely stunning. + + Rosalie glances over; indifference has replaced fury. But + Alice waves brightly. Bella returns it with a smile as we + hear a crossfade into the next track -- + + BELLA’S POV -- THE DJ BOOTH -- + 113. + + +It’s Eric at the turntables, making the room bounce! Next +to him, Angela wears the headphones, flipping through a +stack of vinyl. They nod at Bella, she shoots them a smile +when -- + +A FLASHBULB gets her attention -- + +BELLA’S POV - PHOTOGRAPHER’S STATION + +Mike and Jessica stand in front of an Aston Martin cut-out. +Bella catches their eye, Mike does his best James Bond +impersonation. Jessica poses like Pussy Galore. + +Edward smirks, then turns to Bella. + + EDWARD + Shall we? + + BELLA + (laughs, then realizes) + You’re serious. + +He doesn’t wait for an answer, more or less CARRIES her to +the DANCE FLOOR then places her feet atop his own and +starts to move. She actually begins to enjoy it. + + EDWARD + See? You’re dancing. + + BELLA + At prom. + +As they dance, she feels his grace, his strength. Becomes +thoughtful. Finally, she looks at him -- + + BELLA + Edward -- why did you save me? + (off his questioning + look) + If you’d let the venom spread, I + could’ve been like you by now. + + EDWARD + (stops, horrified) + You don’t know what you’re saying. + You don’t want this. + + BELLA + I want you. Always. + + EDWARD + (angry) + I won’t end your life for you. + 114. + + +He keeps dancing, slowly, hoping his was the last word. + + BELLA + I’m dying anyway. Every minute, I + get closer, older -- + + EDWARD + That’s how it’s supposed to happen. + + BELLA + Not the way Alice saw it. + (off his sharp look) + I heard her. She saw me like you. + + EDWARD + Her visions change, Bella. + + BELLA + Based on what someone decides. And + I’ve decided. + +He looks at her, angry. + + EDWARD + Is that what you dream about? + Becoming a monster? + + BELLA + I dream about being with you + forever. + + EDWARD + You really want this? + + BELLA + Yes. + +He lowers his lips to her neck. One bite is all it would +take. + + EDWARD + You’re ready right now? + + BELLA + Yes. + +His lips hover over her skin, a long beat then he presses +his lips to her throat. Not a bite. A kiss. He looks at +her. + + EDWARD + 115. + + + You’re going to have a long and + happy life with me. Isn’t that + enough? + +She looks at him and finally smiles. + + BELLA + For now. + +They WHIRL around, gliding on his grace, never looking away +from one another, as we CRANE UP on them, in each other’s +arms -- + + BELLA (V.O.) + No one will surrender tonight. But + I won't give in. I know what I + want. + +CONTINUE UP AND BACK on the dance floor. We realize -- + +-- someone’s watching it, looking down from the window of a +second floor hotel room in the Inn. The MUSIC wafting up in +echoes. PULL BACK to REVEAL -- + +VICTORIA, turning from the window. She’s stylishly dressed +now, but seething a low, sinister SNARL in the back of her +throat. PUSH IN FAST ON HER FACE, AND INTO HER BURGUNDY +EYES filled with vengeance as we -- + + SMASH TO BLACK. + \ No newline at end of file diff --git a/scripts/Up in the Air.txt b/scripts/Up in the Air.txt new file mode 100644 index 0000000000000000000000000000000000000000..ef065be0f041c0a93b2fd76dfce9b3a018449417 --- /dev/null +++ b/scripts/Up in the Air.txt @@ -0,0 +1,6888 @@ + 1. + + + + FADE IN: + + A SPOTLIGHT reveals RYAN BINGHAM standing at a PODIUM. + + RYAN + How much does your life weigh? + + Ryan pauses to let us consider this. + + RYAN + Imagine for a second that you're + carrying a backpack -- I want you + to feel the straps on your + shoulders -- You feel them? + (gives us a beat) + Now, I want you to pack it with all + the stuff you have in your life. + Start with the little things. The + stuff in drawers and on shelves. + The collectables and knick-knacks. + Feel the weight as it adds up. Now, + start adding the larger stuff. Your + clothes, table top appliances, + lamps, linens, your TV. That + backpack should be getting pretty + heavy at this point - Go Bigger. + Your couch, your bed, your kitchen + table. Stuff it all in -- Your car, + get it in there -- Your home, + whether you have a studio apartment + or a two story house, I want you to + stuff it into that backpack. + + Ryan takes a beat to let the weight sink in. + + RYAN + Now try to walk. + + We hear people around us chuckling. Ryan smiles. Reveal. + + +1 INT. HOTEL CONFERENCE - ROOM - AFTERNOON 1 + + The kind that shifts between lower income corporate + retreats and lower income weddings. + + We look around the room. The few dozen people seem to be + visualizing as told. Some are taking notes. + + RYAN + 2. + + + Kinda hard, isn't it? This is what + we do to ourselves on a daily + basis. We weigh ourselves down + until we can't even move. And make + no mistake -- Moving is living. + + We see nodding. People's gears turning. + + RYAN + Now, I'm going to set your backpack + on fire. What do you want to take + out of it? Photos? Photos are for + people who can't remember. Drink + some gingko and let the photos bum. + in fact let everything bum and + imagine waking up tomorrow with + nothing. + (a beat of emphasis) + It's kind of exhilarating isn't it? + That is how I approach every day. + + A titter through the crowd. + + +2 INT. BOEING 757 - DAY 2 + + A FEMALE FLIGHT ATTENDANT is looking directly at us. + + FEMALE FLIGHT ATTENDANT + Do you want the cancer? + + Turn to see RYAN looking back. + + Handsome. Anonymous. Right now. Confused. + + RYAN + Ехсusе me? + + FEMALE FLIGHT ATTENDANT + (same delivery) + Do you want the cancer? + + Ryan furrows - What the hell is going on here? + + The flight attendant raises her hand to reveal a CAN OF + SODA. + + FEMALE FLIGHT ATTENDANT + The can, sir? + + RYAN + Oh -- No. Um, no thank you. + 3. + + + The flight attendant moves to the next aiele. Ryan takes a + beat, then returns to his work. + + MOVE OUT THE WINDOW INTO AN: + + ANIMATED TITLE SEQUENCE OVER CLOUDS - "UP IN THE AIR" + + TRANSITION TO: + + +3 INT. REALLY SMALL CONFERENCE ROOM - DAY 3 + + Two words - Subordinate chic. + + Seated at a tiny table is RYAN. The Grim Reaper in a suit. + + Across from him sits STEVEf who has just received bad news. + + STEVE + (clarifying) + I'm fired? + + RYAN + No. That would imply that you had + broken company policy and that of + course is not the case. The + position itself simply no longer + exists. + + STEVE + You're just taking my job away? + + RYAN + No one's taking anything, Steve. + There's nobody to blame. The + position has just gone away. It is + in the past. However, more + importantly, you are still here. + You are the future. And that is + what you must begin to focus on, + because if you cannot find + fulfillment from within, there is + no future. + + STEVE + Who the fuck are you? + + FREEZE. + + RYAN (V.O.) + Excellent question. Who the fuck am + I? Poor Steve has worked here for + seven years. + 4. + + + FLASH IMAGES: + + Steve at his cubicle + + RYAN (V.O.) + He's never had a meeting with me + before -- + + Steve in a meeting. + + RYAN (V.O.) + -- or passed me in the hall -- + + Steve passes a female coworker in the hall. + + RYAN (V.O.) + -- or told me a story in the break + room -- + + Steve laughing at a coworker's story + + RYAN (V.O.) + And that's because I don't work + here. I work for another company + that lends me out to pussies like + Steve's boss -- + + STEVE'S BOSS - "A Big Pussy". + + RYAN (V.O.) + -- who don't have the balls to sack + their own employees. And in some + cases, for good reason. Because, + people do crazy shit when they get + fired. + + STEVE WIPING OFF HIS BOSS'S DESK. + + STEVE SHREDDING CLASSIFIED DOCUMENTS. + + STEVE POURING BLEACH INTO THE COMMUNAL COFFEE POT. + + STEVE, UP ON THE ROOF, LOADING AN ASSAULT RIFLE. + + BACK TO: + + +4 INT. SMALL CONFERENCE ROOM - DAY 4 + + Steve is trying to hold it together. + + STEVE + 5. + + + So, what happens now? + + RYAN + We begin a process that may take + months, but by the end, will see + you in a job that fulfills you. + +Ryan slides Steve a PACKET. + + RYAN + I want you to review this packet. + Take it seriously. The answers are + all inside. + +Steve thumbs through it with skepticism. + + RYAN + Anybody who ever built an empire, + or changed the world, sat where you + are now. And it's because they sat + there that they were able to do it. + +This has a profound effect on Steve. + + RYAN + I'm going to need your key card. + + STEVE + Right -- + +Steve begins removing it from his wallet. + + RYAN + Take the day. Put together your + ‐ + personal things. Talk to your co­ + workers . Tomorrow, go out and get + some exercise. Go for a jog. Give + youreelf routines and pretty soon + you'll find your legs. + +Steve nods and gets up to leave. Just as he's about to walk +out, he stops andturns back. + + STEVE + Wait, how do I get in touch with + you? + + RYAN + Don't worry. We'll be in touch + soon. This is just the beginning. + +Steve nods and exits the room. + 6. + + + RYAN (V.O.) + I'll never see Steve again. + + +5 INT. RYAN'S ROOM - HOMESTEAD SUITES - DAY 5 + + The choreography of Ryan's packing is worthy of + Tchaikovsky. + + A coat slides off a hanger. A travel toothbrush folds + closed like a switchblade. A briefcase clicks onto a roll­ + away bag. A hand flips a light switch without looking. + + +6 INT. LOBBY - HOMESTEAD SUITES - DAY 6 + + Ryan is at the check out desk. + + CHECKOUT GIRL + Do you have your Prospector's Gold + Card with you? + + Ryan smiles. "Do I?” + + He hands it to her, close enough to camera, that we get a + nice big close up of it. She runs the card and the screen + pops up with information that makes her blush. + + We see a DIGITAL NUMBER in the four millions that we will + come to recognise. It increases by a few thousand points. + + CHECKOUT GIRL + Oh ray God -- Do you like, live, at + Homestead Suites? + + Ryan nods in faux modesty. + + +7 INT. CAR RETURN - MAESTRO RENT-A-CAR - DAY 7 + + Ryan pulls up to one of the spaces marked with the DEVOTION + CLUB emblem. He hops out and a uniformed man with a + handheld device begins to punch in the license plate + number. + + Ryan pulls out his MAESTRO DEVOTION CLUB CARD and places it + nice and close to lens so we can see it. + + The card slides through the handheld device and we see the + DIGITAL NUMBER increase by a few thousand points. + + +8 INT. MAIN CONCOURSE - ALBEQUERQUE INTL. AIRPORT - DAY 8 + 7. + + +The automated GLASS DOORS slide open. Ryan enters the +concourse and takes a deep breath of the temperately +controlled air. He has arrived. + + RYAN (V.O.) + This is where I live. + +Subtitles - -“Airworld" + +Ryan skips the long lines and steps directly into the GREAT +WEST FRONTIERSMAN PLATINUM LINE. + +Glorious close-up of Ryan's PLATINUM CARD sliding through +the AUTOMATED MACHINE. Were it any sexier, we'd hear a +moan. + +Maybe we even do. + +The DIGITAL NUMBER jumps again, immediately, the AIRPORT +CLERK registers and perks up. + + AIRPORT CLERK + Pleasure to see you again, Mr. + Bingham. + + RYAN (V.O.) + When I run my card, the system + automatically prompts the desk + clerk to greet me with this exact + statement. + +We see it again. + + AIRPORT CLERK + Pleasure to see you again, Mr. + Bingham. + +Ryan nods back to the clerk. + + RYAN (V.O.) + Had my status simply been gold or + God-forbid, bronze. I might have + gotten a hello or a smile -- Maybe. + +Ryan continues to hit buttons, swiftly checking in. + + RYAN (V.O.) + Loyalty is earned and rewarded with + these small touches. It's these + kinds of systeraized friendly + touches that keep ny world in + orbit. + 8. + + + A ticket begins printing. Ryan snaps it up. + + +9 INT. SECURITY - ALBEQUERQUE INTL. AIRPORT - SAME 9 + + Ryan steps up and observes his line choices. He finds a few + Asian businessmen and hops in behind them. + + JUMP CUT TO: + + RYAN MOVING THROUGH THE SECURITY SCREENING + + It'в a beautiful choreographed ballet of a bag handle + collapsing, shoes coining off, a laptop going in a separate + tray, wallet and watch sliding into a shoe, a boarding card + sliding into a back pocket, both hands always moving, + performing separate actions. It really is gorgeous. + + +10 INT. COMPASS CLUB - SAME 10 + + Ryan enters and presents his COMPASS CARD CLUB. It has a + hologram. The COMPASS CLUB HOSTESS immediately smiles. + + COMPASS CLUB HOSTESS + Welcome back, Mr. Bingham. + + Ryan walks past a stack of newspapers on the way to the + buffet, the whole time framed by an enormous window + overlooking the tarmac. + + RYAN (V.O.) + All the things you probably hate + about travelling. The recycled air. + The artificial lighting. The + digital juice dispensers and mini + pizzas stacked to their heat lamps + are the warm reminders that I am + home. + + With that comment, Ryan slides into a leather club seat. + + He opens his briefcase and pulls out his ITINERARY. He + scans it. We see a string of flights, car rentals, and + stays at Homestead Suites. Then, something makes him frown. + He pulls out his cell phone and dials. + + INTERCUT WITH: + + +11 INT. ASSISTANT'S DESK - ISM - DAY 11 + + Ryan's assistant, Kevin, is not happy to be there. + 9. + + + KEVIN + Ryan Bingham's office. + + RYAN + You have me in a Dodge Stratus in + Kansas City. + + KEVIN + They are completely out of all full + sized sedan -- + + RYAN + (interrupts) + Did you? + + KEVIN + (not the first time) + YeSf I informed them of your + Devotion Club status and years in + the program. They are moving + mountains to see you in an + Intrepid. + + RYAN + Fair enough. Any other messages? + + KEVIN + Your sister Kara called. Needs to + speak urgently about your sister's + wedding. I told her you were midair + and not even I knew your final + destination. + + RYAN + Well done. + + KEVIN + And you got an invitation to speak + at GoalQuest in Vegas. + +Ryan pauses. + + RYAN + GoalQuest twenty? + + FLASH IMAGES: + +RYAN SPEAKING AT A CONFERENCE + +He has a POWER POINT PRESENTATION and a POWER SMILE + + RYAN (V.O.) + 10. + + + Every once in a while I do speaking + engagements. Motivational kind + ofstuff. But GoalQuest -- We're + talking major Tony Robbins shit. + + +12 INT. COMPASS CLUB - SAME 12 + + Kevin examines the invitation emblazoned with a big + + KEVIN + It's got a hologram. They’re + calling it Dos Eguis. That's some + pretty major Tony Robbins shit + there. + + RYAN + Talk about burying the lead. + (exhales) + I'11 check in when -- + + KEVIN + Hold on, I have Craig Gregory for + you -- + + RYAN + I -- ah, fuck -- + + INTERCUT WITH: + + +13 INT. CRAIG GREGORY'S OFFICE - CTC - DAY 13 + + Four words - Store-bought sports memorabilia. + + CRAIG GREGORY + How's the road warrior? + + RYAN + Twenty minutes from boarding into a + world of bliss. + + CRAIG GREGORY + Great numbers out of Albuquerque. + + RYAN + Wait 'til the suicide report comes + in over the weekend. + + CRAIG GREGORY + They should be so lucky. + + Ryan gives a look. What a prick. + 11. + + + CRAIG GREGORY + I need you back in Omaha by the end + of the week. We got something big. + A game changer. Hope you can handle + being on home soil. + + RYAN + I don't know why you ever bring me + in. Wherever I go, the money + follows. Let me plant seeds, + they'll grow to Oaks. + + Craig checks out a cute intern. + + CRAIG GREGORY + I'm thinking of planting seeds + right now. + + RYAN + What are we talking about here? + + CRAIG GREGORY + You'll see. + (changes directions) + Today, I took my first crap in two + weeks. Hallelujah. + + RYAN + That's me, applauding. + + CRAIG GREGORY + That's me, passing blood. + + RYAN + That's me, hanging up on you. + + CRAIG GREGORY + Good. I love that sound. + + +14 INT. BOEING 767 - DAY 14 + + Ryan sits one row behind the bulkhead. Left side. Aisle. + + RYAN (V.O.) + To know me is to fly with me. I'm + the aisle, you're the window, + trapped. + + Reveal. A man next to Ryan. Some BUSINESSMAN between + cities. He talks, drink in hand, but we don't hear him. + + RYAN (V.O.) + 12. + + + We start chatting, impersonally at + first. Our moderate politics, our + sinking opinions on the American + service industry. + +BUSINESSMAN AND RYAN MAKING SUGGESTIONS + + RYAN (V.O.) + You recommend a hotel in Tulsa. I + tip you off to a rib joint in Fort + Worth. + +BUSINESSMAN TELLS A JOKE. HIS HANDS GESTURE. + + RYAN (V.O.) + You tell me your best joke. I've + heard it before, but listen anyway. + +Ryan laughs out loud. + +TURBULENCE. THE BUSINESSMAN TIGHTENS HIS SEAT BELT. + + RYAN (V.O.) + Nothing like turbulence to cement a + bond. Soon you're telling me about + family. + +THE MAN SPEAKS ABOUT SOMETHING THAT OBVIOUSLY DISTURBS HIM. + + RYAN (V.O.) + Your wife just went back to work + but you can't intervene because + last June she read some book and + woke up one morning a feminist. + +THE MAN LEANS BACK, ARMS CROSSED, WITH A FAR OFF LOOK. + + RYAN (V.O.) + And that if your windfall ever came + through, you’d quit and spend the + rest of your days restoring vintage + speedboats. + (saying it with him) + The water. That's where you belong. + +THE PLANE LANDS + +As it begins to taxi to the gate, both Ryan and the +Businessman pull out their cards. + + RYAN (V.O.) + We exchange cards and slot them + next to countless others. + 13. + + + The dull bell "dings” to let us know it's safe to stand. + Ryan and the Businessman get up and open the overheads. + + RYAN (V.O.) + Fast friends aren't my only + friends, but my best friends. + + +15 INT. TERMINAL - DAY 15 + + Ryan and the Businessman walk next to each, now completely + ignoring each other as if they never shared a word. + + RYAN (V.O.) + Sad? Not really. We're a busy + bunch. I'm peaceful. I'm in my + element here. I suppose I'm a sort + of mutation, a new species. I live + between the margins of my + itineraries. + + Ryan and the Businessman reach a point that separates, + Rental Cars go left - Long term parking goes right. + + They share an awkward smile with a nod, then head in their + separate directions. + + +16 INT. SKYBRIDGE - AIRPORT - DAY 16 + + Ryan is riding a PEOPLE MOVER when his cell phone rings. He + checks the I.D.- UNAVAILABLE. He weighs it for a second. + + RYAN + (picks up) + Hello? + + KARA (O.C.) + Hi Ryan. + + Ryan mouths a silent "fuck". + + INTERCUT WITH: + + +17 INT. KARA'S KITCHEN - NIGHT 17 + + Kara is Ryan's sister. Her home is one of two hundred in + her upper middle class Mid-Western gated community + + RYAN (V.O.) + 14. + + + Every family has one person who is + the glue. The one who keeps the + genealogy in check. That’s my + sister Kara - The glue. + +It just so happens that Kara is GLUING her daughter's +school project mobile together. + + RYAN + Hey Kara. + + KARA + How are you holding up? + + RYAN + Just fine. You? The kids? + + KARA + Missy's outstanding. Matthew made + varsity. How's Dallas? + + RYAN + Same as every place else. + + KARA + That's good. So, Ryan? + + RYAN + (cautious) + Yeah? + + KARA + I didn't even want to have to ask + you for this, because I know how + you are about -- doing things for + others -- + +Ryan rolls his eyes. + + KARA + But we're coming in on three weeks + to go for Julie's wedding and + there's something we could really + use your help on. + + RYAN + Yeah. + + KARA + 15. + + +We've been sending people these +kits so they can print out photos +of Julie and Jim on cardboard, and +take photos of them in interesting +places kind of like that gnome in +the French movie. + + RYAN +Why? + + KARA + (sighs) +Because it's Julie's wedding -- and +she thinks it's fun. Does it matter +why? + + RYAN +How is Julie? + + KARA +Would you call her? She thinks +you've turned to butter -- +Disappeared. You're awfully +isolated, the way you live. + + RYAN +Isolated? I'm surrounded. + + KARA +Your assistant told me you're going +to be in Vegas. + + RYAN +Did he? + + KARA +Can you get a photo of the cut-out +in front of the Luxor Pyramid? + + RYAN +That place is a ehit hole. No one +stays there. + + KARA +Jesus, Ryan, I'm not asking you to +check in. Can you just take a +stupid photo? + + RYAN +I'm going to try my best. + + KARA +Thank you for trying your best. + 16. + + + Ryan frowns. So does Kara. + + +18 INT. BAR LOUNGE - HOMESTEAD SUITES - EVENING 18 + + Ryan sits at one of the couch & table set-ups. He's going + over some paperwork. + + Ryan notices an attractive professionally dressed woman, + ALEX, sifting through her purse. She sets a pair of car + keys with an AVIS TAG on the table. + + RYAN + You’re satisfied with Avis? + + ALEX + I am. + + RYAN + They're stingy with their miles. I + like Maestro. + + ALEX + Maestro keeps its vehicles too + ‐ + long. If a car's over twenty­ + thousand miles, I get nervous. + + RYAN + The new outfit, Colonial, isn't + bad. + + ALEX + No instant checkout. I like to park + and go. + + RYAN + (I love you) + I'm Ryan. + + ALEX + Alex. + + JUMP CUT TO: + + +19 INT. BAR LOUNGE - HOMESTEAD SUITES - LATER THAT EVENING 19 + + Empty glasses litter the table. Ryan and Alex have taken + over a couch and have the contents of their wallets spread + out. All MEMBERSHIP CARDS. + + RYAN + 17. + + + Courtyard Marriott Card? How dare + you bring that into this palace. + + ALEX + Homestead Suites offers equal value + and better food - But the Marriott + gives out warm cookies at check in. + + RYAN + They got you with the cookies? + + ALEX + I'm a sucker for simulated + hospitality. + + RYAN + There'S actually an industry term + for that. It's a mixture of faux + and homey, It's faumey. + +Alex grabs Ryan's MILEAGE BLACK CARD. + + ALEX + Oh my God. I've heard about these, + but never seen one in person. Is + this an--? + + RYAN + Onyx card. Yeah. I was pretty + excited the day that puppy came in. + + ALEX + I'll say. I put up pretty + pedestrian numbers. Sixty thou a + year, domestic. + + RYAN + (trying) + That's not bad. + + ALEX + Don't patronize me. What's your + total? + + RYAN + (playful) + I hardly know you. + + ALEX + Show some hubris. Impress me. + (suggestive) + I bet it's huge. + 18. + + + RYAN + You have no idea. + + ALEX + Come on-- + + RYAN + Let's just say I've got a number in + mind and I haven't hit it yet. + + Alex smiles, fair enough. She admires his ONYX CARD. + + ALEX + This is pretty fucking sexy. + + RYAN + I hope it doesn't cheapen our + relationship. + + ALEX + We're two people who get turned on + by elite status. I think cheap is + our starting ground. + + RYAN + There's nothing cheap about + loyalty. + + Alex looks into Ryan's eyes and gives him unspoken + permission to fuck her right there and then. + + +20 INT. RYAN'S SUITE - HOMESTEAD SUITES - LATER THAT NIGHT 20 + + Everything is scattered from a marathon Fuck. Ryan and Alex + are laying on the bed, sprawled out on their backs like + murder victims. + + RYAN + Good call on the towel rack. + + ALEX + Thanks. I liked how you burritoed + me in the sofa cushions. + + RYAN + I was improvising. + + ALEX + Too bad we didn’t make it to the + closet. + + RYAN + 19. + + + We got to do this again. + + JUMP CUT TO: + + TWO LAPTOPS SIDE BY SIDE + + RYAN + I'm in Newark on the 12th, Madesto + on the 13th, Oklahoma City on the + 15th. + + ALEX + Any Southwest? I'm swinging through + Arizona and New Mexico the week of + the 16th? + + RYAN + No, but I'll be in Florida by the + 20th. + + ALEX + Miami? + + RYAN + Ft. Lauderdale. + + AT,EX + That's nothing. + + RYAN + Forty minutes. + + They simultaneously type each other into their calendars. + + ALEX + I should probably go back to nty + room so I can wake up in my bed. + + RYAN + I think that's the lady like thing + to do. + + +21 INT. HOTEL CORRIDOR - NIGHT 21 + + Ryan drops Alex off at her door. She flipB the "do not + disturb" on her door handle and kisses Ryan good night. + + The door closes. Ryan smiles to himself. + + +22 EXT. HOMESTEAD SUITES - NEXT MORNING 22 + 20. + + + Sprinklers doing their job. One's broken. + + +23 INT. LOBBY - HOMESTEAD SUITES - DAY 23 + + The CLERK swipes Ryan card. We see his COMPUTER SCREEN: The + long DIGITAL NUMBER JUMPS to: 4,968,325 + + +24 EXT. CAR DROP OFF - MAESTRO RENT-A-CAR - DAY 24 + + A CAR RETURN CLERK slides Ryan's card through a handheld + device. The DIGITAL NUMBER JUMP to: 4,968,840 + + +25 INT. CHECK IN DESK, AIRPORT - DAY 25 + + Ryan SWIPES his FREQUENT FLIER CARD through the automated + machine: 4,971,230 + + A FEMALE DESK ASSISTANT notices the number, looks up at + Ryan, and has a tiny orgasm right there. + + +26 INT. BUSINESS CLASS - DAY 26 + + Ryan looks out the first class OVAL WINDOW at the landscape + of Omaha, Nebraska. + + RYAN (V.O.) + Last year, I spent three hundred + twenty two days on the road. + + +27 INT. KISS-N-FLY - EPPLEY AIRFIELD - DAY 27 + + Ryan wheels passed a couple that leaps into each, other's + arms. + + RYAN (V.O.) + Which means that I had to spend + forty three miserable days at home. + + +28 EXT. RYAN'S APARTMENT BUILDING - OMAHA - DAY 28 + + Ryan steps up to a converted brick building, searching for + his keys at the bottom of his bag. Finally finds them and + opens the front door. + + +29 INT. ELEVATOR - RYAN'S APARTMENT BUILDING - DAY 29 + 21. + + + Ryan presses his floor, when a NOSEY NEIGHBOR slides in. + + NOSEY NEIGHBOR + Ryan? + + RYAN + (doesn't know his name) + Hi -- + + NOSEY NEIGHBOR + Feels like it's been months, busy + man. We missed you at our Summer + party. + + RYAN + Yeah, sorry I couldn't be there. + + NOSEY NEIGHBOR + We've been trying to get a vote on + the new landscaping. Can I e-mail + you the plans--? We'd love to get a + final tally. + + RYAN + It's fine. Really. I'll go with the + majority. + + NOSEY NEIGHBOR + Sometimes I forget that you even + live here. You could probably save + money and move into a hotel. + + RYAN + (dead serious) + I looked into it, but the IRS + requires a permanent address for + employment. Otherwise, they + classify you as a vagrant. + + Ding! Ryan gets off at his floor. + + NOSEY NEIGHBOR + Oh. + + +30 INT. RYAN'S LOFT - OMAHA - DAY 30 + + Ryan walks in and sets his bag down. Reveal, the place is + empty. Like empty, empty. + + Ryan opens the fridge, Chinese take out. Pizza box. Bottle + of Vodka. Takes a whiff of something, not good. + 22. + + + WOMAN'S VOICE + Hey neighbor. + +Ryan turns to find Dianne, a pretty woman just shy of +forty. + + RYAN + Hey yourself. + +They hug. It's just intimhte enough to know they've +violated the rules of sleeping with your neighbors. + + DIANNE + (hands over a package) + I sighed for this while you were + gone. + + RYAN + Thanks. Hope it wasn't a bother. + +Ryan opens it and finds the CUT-OUT of his sister Julie and +her fiance Jim. It's an eighteen inch card stock photo of +Jim hugging Julie from behind. + + DIANNE + (re: photo) + They seem happy. + + RYAN + It's my sister. She's getting + married. Haven't met the guy yet. + + DIANNE + Lots of luck. + + RYAN + I know, right? + +They share a smile. Then, Dianne goes to leave. + + DIANNE + It's good to see you. Feels like a + while this time. + + RYAN + Hey, you want to come over tonight. + +Dianne gets a little uncomfortable. + + DIANNE + Actually, I kind of started seeing + somebody. + 23. + + + RYAN + Oh, that's -- that's great. + + DIANNE + Yeah, we're having drinks tonight + if you want to come over. + + RYAN + That's okay -- I' think I'll settle + in. + + Dianne gives a smile/nod and exits. Ryan take another long + look at the CUT-OUT. He shakes his head. + + +31 EXT. CTC HEADQUARTERS - CTC - MORNING 31 + + A downtown midsize high rise. + + +32 INT. LOBBY - CTC - MORNING 32 + + Ryan walks passed a reception desk. + + +33 INT. CORRIDOR - CTC - SAME 33 + + Ryan stops at a glass window peering into the conference + room. Inside a YOUNG WOMAN in a skirt suit has a folder out + as she talks to an LCD SCREEN with a person on it. + + Ryan gives a bewildered look, then continues on. + + +34 INT. RYAN'S OFFICE - CTC - MORNING 34 + + Nothing personal. Desk. Lamp. Pile of mail. Ryan sits down + in his chair. It's uncomfortable. Kevin follows. + + RYAN + Where is it? + + Kevin, hands him the INVITATION TO GOALQUEST XX. + + RYAN + Bad ass. + + KEVIN + They still need you to come up with + the title for your seminar. + + RYAN + 24. + + + What do you think of -- 'Preparing + for Nothing." + + KEVIN + (misunderstands) + I like. + + RYAN + No, I don't mean that you never + prepare -- It's about actually + preparing for the absence of + things. + + KEVIN + (not as excited) + Oh. That’s cool too. + + RYAN + What's the deal with the girl in + the conference room? + + KEVIN + it has to do with why everyone's + been pulled in. Some sort of + "secret" presentation. + + RYAN + Secret Presentation. What is it? + + CRAIG GRGORY (O.C.) + You prepared for the future? + + Reveal Craig Gregory in the doorway. + + KEVIN + He's prepared for nothing. + + RYAN + I -- That's not -- right. + Seriously, what's going on? + + CRAIG GREGORY + Game changer, Ry. Hоре you're ready. + + +35 INT. CONFERENCE ROOM - DAY 35 + + The company has piled in, standing room only. Assistants + and interns watch through the windows. + + Craig addresses the group including his own superiors. + + CRAIG GREGORY + 25. + + + Last Summer we received a young + woman by way of Cornell. She + challenged us with some big ideaB. + My first reaction was, who does + this kid think she is? But when I + started to give a listen, I was + pretty knocked out. So now, with a + little peek into our future - + Natalie Keener. + +Natalie stands up. + + NATALIE + If there's one word I want to leave + you with today, it's this -- + +Natalie clicks on her POWER POINT PRESENTATION. + +POWER POINT SLIDE: "GLOCAL" + +Everyone including Ryan attempts to pronounce it. + + NATALIE + Glocal. + +POWER POINT SLIDES “GLOBAL-- > LOCAL" + + NATALIE + Our global must become local. + +POWER POINT SLIDE: A slide shows PEOPLE X 250. + + NATALIE + This coirpany keeps forty people on + the road, at least two hundred + fifty days a year. It's expensive + and it's inefficient. When I came + to Craig three months ago with + this, he told me, and quite + astutely -- it's only a problem if + you have a solution. Well, today I + stand before you with a solution. + +She turns around and fires up her monitor. Sitting in a +video conference session is a young man in a suit. + + NATALIE + You all know Ted in reception. + +Various people say hello to Ted. + + NATALIE + Today, I'm going to fire Ted, + 26. + + + (aside) + Sorry, Ted. I'm sure H.R. will hire + you back this afternoon. + +Ted smiles. People chuckle in the conference room. One guy +jokes “We'll see about that.” + + NATALIE + Ted could be any employee in any + one of our client's locations + worldwide. Strategy packets would + be shipped in advance. Ted would be + given a seat and find one of our + transition specialists waiting for + him. + +Natalie turns to the monitor and proceeds to fire Ted. It +is a pretty dry ргосезв and lacks Ryan's charm. + + NATALIE + Mr. Laskin, the reason we're having + this conversation today is your + position is no longer available. + + TED + (from a script) + I don't understand. I'm fired? + + NATALIE + Hearing the words "You've been let + go" is never easy. Change is always + scary. But consider the following - + - + (using Ryan's line) + Anybody who ever built an empire, + or changed the world, sat where you + are now. And it's because they sat + there that they were able to do it. + +Ryan frowns and leans over to Craig. + + RYAN + (quietly) + That's my fucking line. + + CRAIG GREGORY + (less quietly) + We made it part of the curriculum. + + TED + Well, what happens now? + + NATALIE + 27. + + + This is the first step of a process + that will end with you in a new job + that fulfills you. + + TED + Yeah, but, how does it work? + + NATALIE + I want you to take that packet in + front of you. + +Ted picks up the packet. + + NATALIE + Review it. All the answers you're + looking for are inside. Start + filling out the necessary + information and before you know it, + you'll be on your way to new + opportunities. + +Ted starts to региве the packet with fake interest. + + NATALIE + Now Ted, I'm going to need you to + go back to your desk and start + putting together your things. As a + favor to me, I'd appreciate it if + you didn't spread the news just + yet. Panic doesn't help anybody. + + TED + I understand. + + NATALIE + Have a good day, Mr. Laskin and + good luck with your future. + + TED + Thank you. + +Ted gets up and goes to leave. + + NATALIE + Give it up for Ted. + +People clap and tease him a little. + +POWER POINT: An animation of one monitor becoming multiple +monitors, all tied into a central switch board in the +middle of a map of the country. + + NATALIE + 28. + + + You can start the morning in + Boston, stop in Dallas over lunch + and finish the day in San + Francisco. All for the price of a + T1 line. Our inflated travel budget + is eviscerated by eighty-five + percent -- And most importantly to + you guys on the road -- No more + Christmases in a hotel in Tulsa -- + No more hours lost to weather + delays -- You get to come home. + + Ryan is in a state of silent panic. + + +36 INT. CRAIG GREGORY'S OFFICE - CTC - MOMENTS LATER 36 + + Ryan enters and stops short. + + RYAN + Tell me you're not taking this + seriously. + + CRAIG GREGORY + Yeah, that's why we brought the + entire company in from the road, + Because we're not taking this + seriously. + + RYAN + It doesn't make any sense, it's -- + (searching) + -- completely impersonal. + + CRAIG GREGORY + Who am I even talking to? + + RYAN + There's a methodology to what I do. + A reason why it works. + + CRAIG GREGORY + Coke and IBM have been doing it for + years. Just like anything, there's + a few months of transition, but + everyone settles in. + + RYAN + Who are you taking off the road? + + A beat. + + CRAIG GREGORY + 29. + + + You don't get it. You're grounded, + Ryan. Everyone is. It's done. + + RYAN + Okay, what we do here is burtal and + leaves people devastated, but + there's a dignity to the way I do + it. + + CRAIG GREGORY + Stabbing people in the chest + instead of the back? + +Ryan rolls his eyes. + +Craig's door opens and Natalie pops her head in. + + NATALIE + You wanted to see me? + +Craig goes to wave her off. + + RYAN + Yeah, why don't you come in. + +Natalie is confused but takes the chair next to Ryan. + + CRAIG GREGORY + Great gob in there, Nat. + + NATALIE + Thank you. How's everyone taking + it? + +Natalie and Ryan hold a look for a second. + + RYAN + (to Natalie) + Look, I appreciate your -- zeal. + And you have some good ideas. But + you know nothing of the realities + of my job. Sure, you can set up an + iChat -- but you don't know how + people think. + + NATALIE + Actually, I minored in psychology, + + CRAIG GREGORY + Nice. + + RYAN + (to Natalie) + 30. + + + Okay kiddo, fire me. + + CRAIG GREGORY + Ryan, stop it. + + RYAN + She's going to-be doing this on a + regular basis. You don't want to + know if she can fire somebody? + + CRAIG GREGORY + She just fired Ted. + + RYAN + My dog could fire Ted. + (to Natalie) + Fire me. + + CRAIG GREGORY + Ryan. + + NATALIE + It's okay, I got this. + +Ryan and Natalie turn to face each other. + + NATALIE + Mr. Bingham, I regret to inform you + that your position is no longer + available. + + RYAN + Who the hell are you? + + NATALIE + My name is Miss Keener and I'm here + today to discuss your future. + + RYAN + My future? I don't know you. The + only person who can fire me is + Craig Gregory. + + NATALIE + Mr. Gregory hired me to handle this + for him. + + RYAN + Handle what? Handle me? Mr. Gregory + hired me and he's the only one who + can fire me. I'm going to talk to + him. + 31. + + +Ryan gets up. Natalie gets up too. + + NATALIE + Mr. Bingham -- + + RYAN + You can't follow me -- You're on a + computer screen. Remember? + + NATALIE + (frustrated) + Ryan -- + +Ryan sits back down. + + RYAN + Try again. Fire me. + + NATALIE + I just did. + + RYAN + Actually, you didn't. Now, fire me. + + CRAIG GREGORY + Stop it, Ryan. + + NATALIE + (ignores Craig) + Mr. Bingham, I'm here today to + inform you that your position is no + longer available. + + RYAN + I'm fired? + + NATALIE + Yes, you're fired. + + RYAN + (aside) + Never say fired. + + NATALIE + You've been let go. + + RYAN + Why? + + NATALIE + (breaks the moment) + This is a mythical situation. How + could I possibly know why? + 32. + + + RYAN + You never know why. Why doesn't + matter. + + NATALIE + (back on track) + It's important not to focus on the + "why" and rather to spend your + energy thinking about your future. + + RYAN + I'm going to spend my energy on + suing you if you don't give me a + reason that you're firing me. + + NATALIE + Mr. Bingham, the reason is not + important. + + RYAN + Oh, so you're firing me without + grounds. + (to Craig) + Now, I really have a lawsuit. + + CRAIG GREGORY + Ryan, I think we know what you're + trying to say -- + + NATALIE + (still in character) + Don't take this personally, Mr. + Bingham. + + Ryan stops. + + RYAN + Personally? + (quiet and calm) + This is the most personal situation + you will ever enter. So before you + try to revolutionize my business, + I'd like to know that you actually + know my business. + + +37 INT. RYAN'S OFFICE - CTC - DAY 37 + + Ryan is staring out his window watching a plane take + flight. + + Craig enters. + 33. + + + CRAIG GREGORY + Hell-of-a-way to welcome her to the + team. + + RYAN + Am I the only one who sees that by + automating our own business, we're + making ourselves irrelevant. + + CRAIG GREGORY + No -- We're making you irrelevant. + +Ryan Bhoots a look. + + CRAIG GREGORY + Hey, don't blame me. Blame fuel + costs. Blame insurance premiums. + Blame technology. + (a beat) + Watch yourself, Ryan. You're too + young to be a dinosaur -- + + RYAN + I'm not -- I'm not a dinosaur. + + CRAIG GREGORY + I want you to show her the ropes. + + RYAN + What do I know about what happens + around here? Have Ferguson do it. + + CRAIG GREGORY + I'm not talking about here. + +A beat as Ryan registers what Craig means: The Road. + + RYAN + No. + + CRAIG GREGORY + Hey, you seem-pretty confident that + this girl doesn't know what she's + doing -- + + RYAN + Excuse me. I just don't think a + MySpace page qualifies you to + rewire an entire company. + + CRAIG GREGORY + 34. + + + Great. Well, here's your chance. + Show her the magic. Take her + through the paces. + + RYAN + I'm not a fucking tour guide. + + Craig cups one of his hands and places a FOLDED POST-IT + between his fingers like a ship's sail. + + CRAIG GREGORY + (re: his hand) + This is the boat. + + Craig raises his other finger far away. + + CRAIG GREGORY + (re: his finger) + This is you. + + A beat of Ryan taking in this ridiculous illustration. + + CRAIG GREGORY + Do you want to be in the boat? + + RYAN + Yes. Alone. + + CRAIG GREGORY + Ryan, we're ringing the bell. + Rounding everybody up. If you want + to stay out there a little longer, + you can. But you're not going to be + on your own. + (begins to leave) + Let me know. + + Ryan churns. + + +38 INT. RYAN'S APARTMENT - DAY 38 + + Ryan is packing his ROLL-AWAY -BAG. It is practiced and + systematic. He's just about finished, when he notices the + CUT­OUT of his sister's engagement photo. + + He tries placing it in the open bag, but it is immediately + clear that the photo is two inches to long. He tries + putting it on an angle, but that doesn't help. + + RYAN + Huh. + 35. + + + Ryan centers the cut-out again and tries to ZIP around it, + but he can't get the zipper around the HEADS of the photo. + For a moment, it almost seems like he's assaulting their + tiny head with the zipper handle. Doesn't help. + + A moment of silent frustration. + + CUT TO: + + THE ROLL-AWAY + + Being pulled through an airport. The little heads of Ryan's + sister and her fiance are poking out the top of the bag. + The two zippere have been closed on either side of them as + though they were tiny passengers peeking out the sunroof. + + +39 INT. EPPLEY AIRFIELD - OMAHA - MORNING 39 + + Ryan cuts right through the crowd, wheeling his carry-on + towards the automatic check-in machines. + + Ryan stops when he notices NATALIE saying goodbye to her + BOYFRIEND, a kind of Hollister looking guy in his mid­ + twenties. He’s not thrilled by the public affectioni After + a beat, they break and he exits. + + Natalie sees Ryan and starts dragging her LARGE SUITCASE + towards him. The SCRAPING against the terrazzo sends a + shiver up Ryan's spine. + + She arrives and sets the heavy bag down with a CLUNK. Ryan + stares at her travel case for a beat then up to her. + + NATALIE + What? + + CUT TO: + + A ROW OF ROLL AWAY BAGS + + +40 INT. LUGGAGE STORE IN THE AIRPORT - MORNING 40 + + Ryan pulls one out and tests the action. + + NATALIE + I really like my luggage. + + RYAN + That's exactly what it is. Luggage. + (off of Natalie's look) + 36. + + + You know how much time you lose by + checking in? + + NATALIE + I don't know, maybe five minutes + waiting for -- + + RYAN + Thirty five minutes per flight. I + travel two hundred seventy days a + year. That makes one hundred fifty + seven hours -- That's Seven Days. + (points to her luggage) + You ready to throw away a whole + week on that? + + +41 INT. TERMINAL FLOOR - MORNING 41 + + Natalie is attempting to repack her new bag in the middle + of the airport. Ryan helps by throwing a couple things out. + + +42 INT. SECURITY - AIRPORT - MORNING 42 + + Ryan spots various "bad lines", then sees a group of + Asians. + + RYAN + Bingo. Asians. + + Ryan starts walking. + + NATALIE + You can't be serious. + + As they pass the first line - A FAMILY OF SIX. + + RYAN + Never get behind people travelling + with infants. I've never seen a + stroller collapse in less than + twenty minutes. + + Second Line - AN ELDERLY COUPLE. + + RYAN + Old people are worse. Their bodies + are littered with hidden metal and + they never seem to appreciate how + little time they have left on + Earth. + 37. + + + Third Line - A COUPLE MIDDLE EASTERN GUYS. + + RYAN + Five words. Randomly selected for + additional screening. + + They enter the fourth line behind the Asians. + + RYAN + Asians. They're light packers, + treasure efficiency, and have a + thing for slip-on shoes. God + love'em. + + NATALIE + That's ethnocentric. + + RYAN + I'm like my mother. I stereotype. + It's faster. + + +43 INT. SECRUTIY - AIRPORT - MOMENTS LATER 43 + + Ryan is just fastening his belt, having just gone through + security, when we hear a beeping go off. Natalie is trying + to find the metal on her body that has set off the machine. + She aleo has forgotten to take her laptop out of her bag. + It's a mess. + + +44 INT. BOEING 777 - MID FLIGHT 44 + + Ryan is perusing the in-flight shopping guide. Natalie is + working on an Excel Document on her laptop. She's a loud + tapper. Hitting the keys with violent strokes. It draws + Ryan's attention and a raised eyebrow. + + RYAN + Are you upset at your laptop? + + NATALIE + No. Why? + + RYAN + Fats Domino had a lighter touch. + + NATALIE + I type with purpose. + + RYAN + What are you working on so + furiously? + 38. + + + NATALIE +I'm building a work flow of firing +techniques. Questions & responses. +Actions & reactions. A script that +works kind of like a tributary, +taking you through the steps of +firing someone. + + RYAN +Who is it for? + + NATALIE +Theoretically, you could put it in +the hands of anybody and they could +be downsizing immediately, All they +have to do is follow the steps. + + RYAN +Natalie, what is it, you think we +do here? + + NATALIE +We prepare the newly unemployed for +the emotional and physical hurdles +of job hunting while -- Minimizing +potential legal blowback? + + RYAN +That's what we're selling. But it's +not what we're doing. + + NATALIE +Okay, what are we doing? + + RYAN +Our job is to make limbo tolerable +-- To ferry wounded souls across +the river of dread and humiliation +and self-doubt to the point at +which hope's bright shore is dimly +visible -- + (frankly) +And then to stop the boat, shove +them in the water, and make them +ewim while we row back to the +palace of their banishment to +present the employers with our +bills. + + NATALIE +That was really impressive. You +rehearse that? + 39. + + + Natalie smiles and goes back to her work. Ryan goes to say + something, but holds back for now. + + +45 INT. RENTAL CAR ROW - AIRPORT - DAY 45 + + Ryan zips through the wandering types as Natalie tries to + keep up. Ryan's phone rings. He sees the caller ID. Smiles. + + RYAN + Hey, I was hoping I'd hear from + you. + + INTERCUT WITH: + + +46 INT. HOTEL CONFERENCE ROOM - DAY 46 + + Alex is on her cell phone as a junior behind her folds a + portable projector screen. + + ALEX + I'm in Hotlanta. I need a rib joint + recommend bad. + + RYAN + (smiles) + Fat Matt's. Bring a bib. + (to Natalie) + Go ahead -- I'll see you at + Maestro. + + Ryan turns into an elevator well to talk. Natalie exits. + + ALEX + You haven't called. + + RYAN + You know, I didn't know what was + appropriate -- + + Alex stops. She moves to a quieter place. + + ALEX + Appropriate? Ryan, I'm not some + stewardess you banged during a snow + storm. You don't have to worry + about these things. Next time + you're worried about manners -- + just think of me as yourself -- + only with a vagina. If you want to + call. Just call. + 40. + + + Ryan lights up. This woman fucking rocks. Then recovers. + + RYAN + When am I going to see you? + + ALEX + I'hi out of Hartsfield, into TAD, + then a connection at ORD into SDF. + + RYAN + (compassionate) + Oh -- sorry. + + ALEX + Tell me about it. + + RYAN + How long is your layover in O'Hare? + They've got multiples into SDF -- + Think you could push? + + ALEX + (smiles) + I can push. + + Joy. + + +47 INT. ELEVATOR - DAY 47 + + Ryan and Natalie ride, briefcases in hand. Natalie is + swaying back and forth. Ryan notices. Is she excited? + + Ding! - The elevator door opens. + + +48 INT. RECEPTION - DAY 48 + + Ryan walks up to the DESK GIRL. + + RYAN + (to desk girl) + Ryan Bingham, from CTC. + + The desk girl starts looking up the name in her. computer. + + DESK GIRL + Who are you here to see? + + RYAN + About half of your sales team. + 41. + + +49 INT. WINDOWLESS CONFERENCE ROOM - DAY 49 + + Ryan and Natalie sit next to each other at a polyurethane + conference table. + + RYAN + All you have to do today is watch + and listen. When I talk about the + strategy packet. You hand them one + of these -- + + Ryan points to a stack of packets. We can tell Natalie is + disappointed by her lack of potential participation. + + NATALIE + You ever, find it strange that + termination comes with a packet. + + RYAN + Everything important in life comes + with a packet. + + BEGIN A SHORT MONTAGE OF various people being fired. + + RYAN + Mr. Johnson -- + (new person) + Mr. Zambrotta -- + (new person) + Mrs. Chelsey -- + (new person) + Today is your last day here. + (new person) + But more importantly, it is the + first day of your new life. + + BLACK MAN + This is because I'm black. + + OLD MAN + -- because I'm old. + + YOUNG WOMAN + -- because I wouldn't go down on + Bill Francis. + + Natalie wants to jump in, but holds back. + + RYAN + This is not a time to look for + blame. Your position simply no + longer exists. + 42. + + + ANGRY ASIAN WOMAN + Is that supposed to make me feel + better? + + MIDDLE AGED MAN + What am I supposed to tell my wife? + + ANOTHER MIDDLE AGED HAN + -- My children? + + CRYING BALD MAN + What am I supposed to do? + + RYAN + I want you to take the next week to + explore this strategy packet -- + +Ryan nods to Natalie who we now see begrudgingly HANDING +RACKETS to all of the people we've already met. + + RYAN + Fill out the skill set work sheet - + - Use the hopes and dreams diagram + --And the tree of aspirations. + +We SEE the “TREE OF ASPIRATIONS" sheet. + + RYAN + (with emphasis) + The answers are all in there. + +We see more packets getting handed out as Ryan repeats. + + RYAN + The answers are all in there. + (another person) + The answers -- + (another регsоn) + The answers -- + (another person) + -- are-all-in-there, + + CUT TO: + +BOB. Dry red eyes from tears of rage stare down the lens, + + BOB + And what do you suggest I tell + them? + +Bob holds up a PHOTO of his children right up to the lens. + +Natalie can't hold back any longer, + 43. + + + NATALIE + (a suggestion) + Perhaps you're underestimating the + positive effect your career + transition may have on your + children. + +Ryan looks at Natalie like she's out of her mind. + + BOB + Positive effect? + + NATALIE + Well, tests have shown that + children under moderate trauma have + a tendency to apply themselves + academically as a method of coping. + + BOB + Go fuck yourself. That's what ray + kids’ll think. + +Natalie shrinks. Ryan immediately covers. + + RYAN + Your children's admiration is + important to you? + + BOB + Yeah. It was. + + RYAN + (frankly) + Well, I doubt they ever admired + you, Bob. + +Bob looks up shocked and pissed. + + BOB + Bey asshole, aren't you here to + console me? + + RYAN + I'm not a shrink, Bob. I'm a wake + up call. You know why kids love + athletes? + + BOB + Because they screw lingerie models. + + RYAN + 44. + + + No, that's why we love athletes. + Kids love them because they follow + their dreams. + + BOB + Yeah, well I can't dunk. + + RYAN + But you can cook. + +Natalie looks to Ryan - Where is he going with this? + + BOB + What are you talking about? + +Ryan picks up Bob's resume. + + RYAN + Your resume says you minored in + French Culinary Arts. Most students + work the frier at KFC. You bussed + tables at 12 Picatorre to support + yourself. Then you got out of + college and started working here. + (looks up at Bob) + How much did they pay you to give + up on your dreams? + + BOB + (flat) + Twenty seven thousand a year. + + RYAN + At what point were you going to + stop and go back to what made you + happy? + +Bob simply shrugs. + + RYAN + Do you believe in fate, Bob? + + BOB + Fate? + + RYAN + Yeah. You know, the mysterious ways + in which we wind up doing the + things we were meant to. + + BOB + (offering) + I met my wife at a gas station. + 45. + + + Exactly, well, I think fate is + telling you to do something, Bob. + + Bob looks up and meets eyes with Ryan. + + RYAN + I see guys who work for the same + company their entire lives. Clock + in. Clock out. + + RYAN + Never a moment of happiness, + (pauses for effect) + Not everyone gets this kind of + opportunity. The chance for + rebirth. If not for yourself -- Do + it for your kids. + + Bob's eyes begin to water again. He's a changed man. + + Ryan shoots Natalie a look. Band over the packet. + + Natalie jumps to attention and hands Bob a packet. + + +50 INT. LOBBY - HOMESTEAD SUITES - NIGHT 50 + + There's a BUSINESS WOMAN waiting in the regular line. Ryan + walks right past her and gets into the ELITE LINE. They are + now both first in their respective lines for the counter. + + The woman looks over at Ryan and 3ighs. Natalie holds back, + confused by Ryan's actions and wanting to avoid + confrontation. + + The DESK CLERK frees up and gestures for Ryan to step + forward. Ryan begins wheeling his bag forward. Meanwhile, + the woman lifts her hand in outrage. + + BUSINESS WOMAN + I’ve been waiting ten minutes. He + just waltzes in and gets to cut in. + line. + + DESK CLERK + We reserve priority assistance for + our elite members. + + Ryan grabs a BROCHURE for ELITE MEMBERSHIP off the desk and + hands it to the business woman. + + RYAN + 46. + + + You should look into it - The + promotions are great -- + + The woman bats it out of Ryan's hand onto the floor. + + BUSINESS WOMAN + Fuck off. + + Ryan looks back at the desk clerk and smiles. The desk + clerk swipes his card. + + Ryan's DIGITAL NUMBER bumps up another thousand points. + + +51 INT. PUBLIC BATHROOM - HOMESTEAD SUITES - EVENING 51 + + Natalie is washing her hands, when she stops to look at + herself in the mirror. After a beat, she hears someone + CRYING in one of the stalls. She goes to see if the woman + is okay, then stops herself. Maybe I fired her. + + She grabs a paper towel, dries off her hands, and leaves. + + +52 INT. RESTAURANT BAR - HOMESTEAD SUITES - EVENING 52 + + Natalie sits back down at the table a little visibly + shaken. + + RYAN + You okay? + + NATALIE + (covers quickly) + Yeah. Fine. + + Just then, their food arrives -- And there's a lot of food. + Natalie's eyes move back and forth trying to figure out why + there seems to be three main courses and a bunch of sides. + + NATALIE + Hungry, much? + + RYAN + Our expense account allots for + forty dollars each on dinner. I + plan on grabbing every mile I can. + + NATALIE + Okay, you got to fill me in on this + mile business. What's that all + about? Are you talking like + frequent flier miles? + 47. + + +Ryan gives Natalie a look. Is she ready for this +information? + + RYAN + Your really want to know? + + NATALIE + (mock serious) + I’m dying to know. + + RYAN + I don't spend a nickel, if I can + help it, unless it somehow profits + my mileage account. I'm not talking + hotel rooms and rental cars either, + but internet services, music + downloads, teleflorists, long + distance providers. The works. I + shop them according to the miles + they pay and I pit them against + each other for the most value. + + NATALIE + So, what are you saving up for? + Hawaii? South of France? + + RYAN + No, it's not like that -- The miles + are the goal. + + NATALIE + That's it? You're saving to save? + + RYAN + Let's just say I've got a number in + mind and haven't hit it yet. + + NATALIE + Wow. Seems a little abstract. + What's your target? + + RYAN + I'd rather not. + + NATALIE + (teasing) + It's a secret target? + + RYAN + It's five million miles. + + NATALIE + 48. + + + Huh. Isn't five million just a + number? + + RYAN + Pi is just a number. + + NATALIE + I guess we all need a hobby. + +Ryan looks back at Natalie. Hobby? + + NATALIE + Oh hey, I didn't mean to belittle + your collection. I get it. Sounds + cool. + + RYAN + I'd be the seventh person to do it. + More people have walked on the + moon. + + NATALIE + Do they give you a parade or + something? + + RYAN + You get lifetime platinum elite + loyalty status. You get to meet the + C.E.O. And -- They put your name on + the side of a plane. + + NATALIE + (rolls eyes) + Men get such a hard-on from putting + their name on stuff -- You guys + don't grow up -- You just need to + pee on everything. + + RYAN + Why do you think that is? + + NANCY + Fear of mortality, it's like Yes, + you're going to die one day. + + RYAN + Yeah, but why is that singular to + men? + + NATALIE + Simple -- You don't get to have + babies. + 49. + + + Ryan can't help but Laugh a little. + + NATALIE + If I had that many miles, I'd just + show up at the airport, look up at + one of those big boards of + destinations, pick a place and go. + + This idea sinks in for a second with both of them. + + +53 TNT. RYAN'S ROOM 0N THE 11TH FLOOR - NIGHT 53 + + Ryan looks out the window. Sees an airplane taking off. + + ON TV: The CEO of the airline, MAYNARD FINCH, comes walking + around a 727. He's got an old time BOMBER JACKET on. + + MAYNARD FINCH + Hi, I'm Maynard Finch. When I say + the word "loyalty", what do you + think of--? + + Ryan looks over. + + RYAN + I'm coming for you Maynard. + + Ryan'в cell phone RINGS. He mutes the television and picks + up. + + RYAN + Hello? + + KARA + Did you get the package? + + RYAN + Oh, Hey Kara -- + + INTERCUT WITH: + + +54 INT. KARA'S DINING ROOM - NIGHT 54 + + Kara has bills and health insurance documents spread out on + the table. She works with the phone on her shoulder. + + KARA + It was signed for by a Dianne + something--? Just wanted to make + sure you got it. + 50. + + + RYAN +Yeah, I got it. + + KARA +Who is Dianne? + + RYAN +My neighbor. What do you need Kara? + + KARA +Tammy Jansen. Julie's made of +honor. She's in St. Louis now. Her +car's in the shop, so she's going +to have to fly up -- + + RYAN +How is this of interest to me? + + KARA +She can't afford the fare they +quoted. Twelve hundred dollars +round trip. I hate these airlines! +I thought maybe you could cash in +some miles? + + RYAN +We'll have to find another way. + + KARA +This is ridiculous, Ryan. This is +sad. + + RYAN +Buy her a train ticket. Rent her a +car. + + KARA +What is with this stupid glitch of +yours? + + RYAN +Julie won't wear synthetics. That's +who she is. You won’t eat eggs. +That's who you are. To apologize +for my absolutes is to apologize +for my very existence. + + KARA +Have you taken the photo yet? + + RYAN +No -- I told you I would "try". + 51. + + + KARA + It would mean the world to her. + + RYAN + Train ticket. I'll pay for it. + + KARA + We're all looking forward to seeing + you. + + CUT TO: + + RYAN IN BED THAT NIGHT + + His BLACKBERRY BUZZES on the night stand. He reaches over + to check it. It's a text message: + + Alex: "Can't fall asleep. Keep thinking about you" + + Ryan typee back: + + Ryan: "Me too. Just laying here." + + Ryan's BLACKBERRY BUZZES again. + + Alex: "You should rub one out." + + Ryan laughs. Types back. + + Ryan: "Thank you for the advice." + + BLACKBERRY BUZZES again. + + Alex: "Have sweet dreams about me." + + Ryan smiles. He stares at the message for a second, then + sets the blackberry down and turns off the light. + + +55 EXT. HOMESTEAD SUITES - EARLY MORNING 55 + + A gardener drives a RIDER MOWER across a tiny stretch of + grass. + + +56 INT. LOBBY - HOMESTEAD SUITES - EARLY MORNING 56 + + Elevator doors open, and Ryan steps out. He checks his + watch and looks around the lobby. Then he hears something. + 52. + + +Ryan turns a corner to find Natalie talking to her computer +screen with headphones on. She's having an iChat with +someone, but we only hear her side of the conversation. +Ryan decides to listen in for a second. + + NATALIE + (talking via iChat) + Are you enjoying having the bed to + yourself--? + (sighs) + The correct answer is "no". You're + supposed to say the bed feels + alone. + (listens) + I know you like to spread out -- + Yes, I want you to be honest. I'm + just saying -- Well, now you can + make it as cold as you like. + + (LISTENS) + No, I'm fine. Tell me something + sweet. + (smiles) + That's nice. Do you miss me? + (shrugs) + I'll be back soon. Not really sure + how long this whole exercise is + supposed to last. He's fine -- It's + hard for these guys to accept + change, you know. + (listens, rolls eyes) + I -- I'm not even going to answer + that? No, I can't even think of him + that way -- He's old. + +Ryan frowns. Checks a mirror. + + NATALIE + (talking via iChat) + It depends how quickly we get done. + We may try to fly standby, but + either way, I'll call- -- + (disappointed) + Okay, then we'll talk tomorrow I + guess. + +Natalie kisses the tips of her fingers and touches them to +the little built-in camera. + +As She packs up, Ryan turns the corner. + + NATALIE + Oh hey. + 53. + + + RYAN + Morning. + + NATALIE + Internet was slow in the room. + + +57 INT. LOBBY - HOMESTEAD SUITES - MOMENTS LATER 57 + + On the way out, Natalie notices a DISPLAY WEDDING table. + + NATALIE + People really have their wedding at + the airport Homestead Suites? + + RYAN + You could do worse. + + NATALIE + Not much. + + They walk outside. Natalie seems a little upset. + + RYAN + You alright? + + NATALIE + Yeah. Fine + + RYAN + You roind helping me with + something? + + +58 EXT. PARKING LOT - DAY 58 + + Natalie is standing with a camera in her hands, giving + directions. + + NATALIE + Left, left, left, left -- one more + inch -- and stop. + + Reveal: Ryan is placing the CUT-OUT of Julie and Jim. + + The camera POV makes it look like Julie and Jim are + standing in front of Dallas International Airport. + + NATALIE + I don't get it. + + RYAN + 54. + + + My sister is cooky. She thinks this + is charming -- Like the gnome + thing. + + NATALIE + No, I mean -- why would your sister + want a fake photo in front of + Dallas International Airport? + + RYAN + She should be so lucky to visit + DFW. It's one of the biggest + airports in the world -- Has its + own zip code. + + NATALIE + (lame) + Wow. Pretty sweet. + + Natalie takes the photo. + + RYAN + Why she wants dozens of reminders + of all the places she hasn't been + is beyond me. + + NATALIE + Well, I'm sure she's going to be + crushed for having missed this + airport. + + RYAN + It has more runways than any other + airport on Earth -- Seven. + + Natalie puts away the camera. + + +59 INT. AIRPLANE - DAY 59 + + Looking out the window at the passing landscape. + + Over the pastures and roads, we see GRAPHIC WHITE LINES AND + NUMBERS denoting each mile as they click by. + + Ryan hands Natalie a BROCHURE for the mileage program. She + begins to fill it out. + + +60 INT. CONFERENCE ROOM - BOTTLING COMPANY - DAY 60 + + A SENSITIVE MAN in his mid-thirties is crying. Make that + wailing. Ryan and Natalie watch, but do not respond. + 55. + + +Natalie looks to Ryan. She wants to say something. Ryan +puts his HAND OUT in the universal "slow down" gesture. +Hold on. + +The man continues to cry. Tears. Snot. It's embarrassing. + +Natalie is growing more and more impatient. She goes to say +something. Ryan THROWS HIS HAND OUT again: Just wait. + +It goes on a little while longer. Then out of nowhere, +without explanation, the man just gets up and leaves. + + RYAN + Sometimes, they just need a second. + + NATALIE + Please, for the love of God, can I + fire the next one? + +Ryan gives it some thought. + + CUT TO: + +A professional woman in her mid thirties wearing a smart +suit sits down at the conference table. + +Natalie sits up. + + SMART SUIT WOMAN + I'm here to be fired, right? + + NATALIE + We're here to talk about your + future. + + SMART SUIT WOMAN + You don't have to sugar coat it. I + get the drill. What are they + offering? + + NATALIE + Inside the packet you'll find a + clearly worked out severance + package. + + SMART SUIT WOMAN + Give me the bullet points. + + NATALIE + Three months pay. Six months + medical. A full year of placement + services through our company, CTC. + 56. + + + SMART SUIT WOMAN + Placement services? That's sweet. + + NATALIE + Commonly, it takes one month of + searching for every ten thousand + dollars you expect to earn in + salary. + + SMART SUIT WOMAN + So I could be looking for a while. + + NATALIE + Not necessarily -- + + SMART SUIT WOMAN + Oh, don't sweat it. I'm pretty + confident about my plans. + + NATALIE + (spirits lifted) + Oh yeah? + + SMART SUIT WOMAN + Yeah. Can you tell me? Is high tide + in the morning or the evening? + + NATALIE + I don't know. Why? + + SMART SUIT WOMAN + There's this beautiful bridge by my + apartment. I need to figure out + what time to jump off it. + + And with that she stands and exits. Natalie begins to + tremble. + + +61 EXT. COMPANY COURTYARD - DAY, 61 + + Natalie bursts out the doors and sits on a bench. She's + freaked out. Ryan is five steps behind her. He puts a hand + on her shoulder. + + RYAN + People say these things all the + time. It comes with the trade. + + NATALIE + They do? + + RYAN + 57. + + + Sure. People are alwayB saying + crazy stuff. They get worked up. + + NATALIE + She was so calm. + + RYAN + (not quite sure) + I think that's a good sign. + + NATALIE + So they don't actually ever do it? + + RYAN + No -- it's just talk. + + NATALIE + How do you know? Do you follow up? + + RYAN + I mean, no, nothing good can come + of that, but I don't think you + should worry about it. + + Natalie is clearly still worried. + + RYAN + This is the job. Taking people at + their most fragile moment and + setting them adrift. + + CUT TO: + + A PHOTO OF RYAN on a STAND. The caption reads: + + Ryan Bingham - "The Backpack” + + +62 INT. HOTEL CONFERENCE ROOM - AFTERNOON 62 + + Ryan stands before a similar crowd as the opening of the + film. + + RYAN + 58. + + + Okay. This is where it gets a + little difficult, but stay with me. + You have a new backpack -- but this + time, I want you to fill it with + people. Start with casual + acquaintances, people around the + office, friends of friends and work + your way to the people you trust + with your most intimate secrets. + Now move into family members, + cousins, aunts, and uncles. Get + your sisters and your brothers and + you parents. Get them all in that + backpack. And finally your husband + or wife or boyfriend or girlfriend. + Get them in their too. + +A titter through the crowd. For the first time, we see +Natalie near the side, watching. + + RYAN + Don't worry. I'm not going to ask + you to light it on fire. + +Light laughter. + + RYAN + Feel the weight of that bag. Make + no mistake, your relationships are + the heaviest components of your + life. Feel the straps cutting into + your shoulders. All those + negotiations and arguments and + secrets and compromises. + +Ryan lets the weight sink in. + + RYAN + Now set that bag down. + +You can feel the relief in the room. + + RYAN + You don't need to carry all that + weight. + +Noticeable agreement. + + RYAN + 59. + + + Some animals were meant to carry + each other. To live symbiotically + over a lifetime. Star-croBsed + lovers. Monogamous swans. We are + not one of those animals. + + Ryan focuses towards his conclusion. + + RYAN + The slower we move, the faster we + die. We are not swans. We're + sharks. + + +63 INT. ANNEX - HOTEL - AFTERNOON 63 + + Ryan has finished his session and is talking to eager + stragglers. Ryan accepts a business card and elaborates on + one of his theories. + + Meanwhile, down the hall, Natalie is finishing a phone + call. + + She looks shell shocked. She closes her phone and pockets + it in silence. + + +64 INT. AIRPORT SHUTTLE - AFTERNOON 64 + + Natalie and Ryan ride back to the airport. We catch them + mid­conversation ав Natalie drills Ryan on his theory. + + NATALIE + Never--? + + Ryan smiles to the few other riders as if apologizing. + + NATALIE + You never want to get married? + Never want kids? + + RYAN + Is that so bizarre? + + NATALIE + Yes. Yes it is. + + RYAN + I don't see the value. + + Natalie sighs. + + RYAN + 60. + + + Sell it to me. + + NATALIE + What? + + RYAN + Sell me marriage. + + NATALIE + I -- Uh -- How how about love? + + RYAN + Pff -- + + NATALIE + Okay. Stability? + + RYAN + How many stabile marriages do you + know? + + NATALIE + Someone to talk to, spend your life + with? + + RYAN + I'm surrounded by people to talk + to. I doubt that will change. + + The shuttle stops and everyone goes to grab their bags. + + +65 INT. LOBBY - HOMESTEAD SUITES - DAY 65 + + Ryan and Natalie enter, still having the same conversation. + + NATALIE + How about just not dying alone? + + Ryan stops to address this. + + RYAN + Starting when I was twelve, we + moved each one of my grandparents + into a nursing facility. My parents + went the same way. + (a beat) + Make no mistake. We all die alone. + + Ryan turns, thinks of something, then turns back. + + RYAN + (adding) + 61. + + + Those cult members down in San + Diego with the white sneakers and + little Dixie cups of Kool-Aid. They + didn't die alone. + +Natalie looks steamed. + + RYAN + Just saying, There's options. + +Out of nowhere, Natalie starts crying. + + RYAN + (almost silent) + Oh fuck. + +Natalie is now balling in the middle of the lobby. + + NATALIE + Brian left me. + + RYAN + Oh, hey -- I -- + +Ryan goes to hug Natalie and she simply folds into his arms +-- A mop of tears. Ryan looks around for a place to set her +down. Instead, he finds -- + +ALEX. Who gives a questioning look to the young sobbing +girl. + + RYAN + Hi. Alex this is Natalie. Natalie, + this is mу -- friend, Alex. + + ALEX + I should give you both a moment. + +Natalie attempts a recovery. It's not graceful. + + NATALIE + No, it's fine. I'm fine. Just + stupid emotions. + +Natalie gives Alex a firm handshake. + + ALEX + Maybe a drink? + +Ryan goes to challenge the idea, when -- + + NATALIE + 62. + + + Now we’re talking. + + Natalie leads the way. Alex and Ryan exchange quick hellos. + + COT TO: + + THE SCREEN OF NATALIE'S CELL PHONE + + TEXT READS: "I Think it'e time we c other people" + + +66 INT. BAR LOUNGE - HOMESTEAD SUITES - MOMENTS LATER 66 + + The three share a booth. Natalie is sipping a drink. She + seems to have settled a little. + + ALEX + He broke up with you over text + message? + + RYAN + (soft dig) + That's kind of like firing people + over the internet. + + Both Natalie and Alex shoot Ryan a look. + + ALEX + (re: the ex-boyfriend) + What a weasely prick. + + NATALIE + Yeah, but what does that make me? + Someone who falls for a prick? + + ALEX + We all for them. Pricks are + spontaneous, unpredictable, and + fun. And then we're surprised when + they turn out to be pricks. + + NATALIE + I followed him to Omaha. + + RYAN + You did? + + NATALIE + I had a job waiting for me in San + Fran, when he got an offer from + ConAgra. Be told me we could start + a life together. So I followed him. + 63. + + + RYAN + To Omaha. + + NATALIE + I look in the mirror and I just see + compromise -- I'm supposed to do + something. + + ALEX + You'll do plenty. + + NATALIE + I just can't -- I thought I'd be + engaged by now. + (catches herself) + No offense. + + ALEX + It's alright. + + RYAN + None taken. + + NATALIE + When I was sixteen, I thought by + twenty three, I would be married, + maybe have a kid -- Corner office + by day, entertaining at night. I + was supposed to be driving a Grand + Cherokee by now. + + ALEX + Life can underwhelm you that way. + + NATALIE + Now I have my sights on twenty + nine, because thirty is just way + too... apocalyptic. I mean, where + did you think you'd be by -- + +Natalie catches herself, having no idea how old Alex is. + + ALEX + It doesn't work that way. + + RYAN + At a certain point, you stop with + the deadlines. + + ALEX + They can be a little + counterproductive. + 64. + + + NATALIE + I don't want to say anything that's + -- anti-feminist. I mean, I really + appreciate everything your + generation did for me. + + ALEX + (my generation?) + It was our pleasure. + + NATALIE + But sometimes it feels like no + matter how much success I have, it + all won't matter until I find the + right guy. + + ALEX + You really thought this guy was the + one. + + NATALIE + Yeah, I guess. I don't know. I + could have made it work. He just + really fit the bill. + + RYAN + The bill? + + NATALIE + My type. You know, white collar. + College grad. Loves dogs. Likes + funny movies. Six foot one. Brown + hair. Kind eyes. Works in finance + but is Outdoorsy, you know, on the + weekends. + (we think she's done) + I always imagined he'd have a + single syllable name like Matt or + John or -- Dave, in a perfect + world, he drives a Four Runner and + the only thing he loves more than + me is his golden lab. Oh -- and a + nice smile. + (back to Alex and Ryan) + How about you? + +This catches both Alex and Ryan off guard. + + RYAN + I'm not sure if -- + + NATALIE + I meant Alex -- + 65. + + + RYAN + Right. + + ALEX + Huh, let me think for a sec. + (mulls it over) + + ALEX + Well, by the time you're thirty + four, all the physical requirements + are pretty much out the window. I + mean you secretly prey he'll be + taller than you. + +Ryan smiles. + + ALEX + Not an asshole would be nice? Just + someone who enjoys my company. + Comes from a good family -- You + don't think about that when you're + younger. + (thinking) + Wants kids -- Likes kids -- Wants + kids. Healthy enough to play catch + with his future son one day. + +We can tell Ryan is taking a serious interest in this. + + ALEX + Please let him earn more than I do. + That doesn't make sense now, but + believe me, it will one day. + Otherwise it's just a recipe for + disaster. + (reaching) + Hopefully some hair on his head--? + But it's not exactly a deal-breaker + anymore. Nice smile -- Yep, a nice + smile just might do it. + +Alex looks to Ryan, не has a nice smile. + + NATALIE + Wow. That was depressing. + +Alex and Ryan react, it's not that bad. + + NATALIE + I should just date women. + + ALEX + 66. + + + Tried it. We're no picnic + ourselves. + + Natalie looks worse than when the conversation started. + + NATALIE + I don't mind being married to my + career, and I don't expect it to + hold me in bed as I fall aBleep. + (looks up) + I just don't want to settle. + + ALEX + You're young. Right now you see + settling as some sort of failure. + + NATALIE + It is. By definition. + + ALEX + Don't worry, by the time someone is + right for you, it won't feel like + settling -- And the only person + left to judge you will be the + twenty four year old girl with a + target on your back. + + Natalie cracks a smile. + + Ryan looks to Alex. They've grown closer. + + +67 INT. LOBBY LOUNGE - HOMESTEAD SUITES - DAY 67 + + Ryan, Alex, and Natalie wheel their ROLL-AWAYS towards the + elevator. + + NATALIE + So, what's the plan for this + evening? + + Ryan and Alex share an uncomfortable silence. + + NATALIE + What--? Oh, is it illicit? + + RYAN + (quickly) + No -- + + ALEX + It's nothing like that. + 67. + + + NATALIE + We are in Miami. + + RYAN + -- We're going to attend the + closing night party for the tech + conference happening in the hotel. + + Natalie notices a group of SOFTWARE TYPES mingling with + badges around their necks. + + NATALIE + I didn't know they were open to the + public. + + ALEX + They're not. + + NATALIE + (eyes widen) + You're going to crash it? + + RYAN + I mean, I don't know if -- These + guy put on a quite a party -- + + ALEX + More money than they know what to + do with -- + + NATALIE + No, I get it. I'm in! + + +68 INT. SOFTWARE CONVENTION PARTY - NIGHT 68 + + Corporate color balloons. Lots of guys in LOGO POLOS. That + great hip hop song from 2003 is playing over the PA. + + We find Ryan, Alex, and Natalie at a stand up table. + They're now wearing badges. Natalie is pretty tipsy at this + point. + + RYAN + (to Natalie) + You okay there? + + NATALIE + Oh yeah -- This was a great idea. + (to Alex) + You are so pretty. You're exactly + what I want to look like in fifteen + years. + 68. + + + ALEX + Thank you, Natalie. + + A CONFERENCE LEADER steps up to an on stage MIC. + + CONFERENCE LEADER + How's everyone doing out there?! + + People cheer. So do Ryan, Alex, and particularly Natalie. + + CONFERENCE LEADER + I'm going to need you to all put + your hands together for a very + special guest -- YOUNG -- M -- C! + + The opening beats of the 90's jam "Bust-A-Move" blast over + the speakers and sure enough, now-40-year-old rapper, Young + MC steps out and starts rapping. + + YOUNG MC + THIS HERE'S A TALE FOR ALL THE + FELLAS -- TRY TO DO WHAT THOSE + LADIES TELL US -- GET SHOT DOWN + CAUSE YOU’RE OVERZEALOUS -- PLAY + HARD TO GET, FEMALES GET JEALOUS -- + + Everyone доев crazy and starts dancing. + + Ryan and Alex make it out to the dance floor. They're awful + dancers, but they're having fun. + + RYAN + Think she’ll be okay? + + ALEX + Look -- + + Natalie has already found a dancing partner, who can't + believe his luck. She's all over him. Ryan smiles. + + +69 INT. SOFTWARE GEEK'S HOTEL SUITE - HOMESTEAD SUITES - NIGHT 69 + + An after party in a hotel room. Natalie is taking part in a + drinking game in the corner, A few guys are dropping things + from a window. One guy is hitting on a software model, + still in her convention floor costume. + + We find Ryan and Alex out on the BALCONY. + + RYAN + I thought about you way too much + this week. + 69. + + + ALEX + I know, I know. Me too. I keep on + taking mental notes of all the + stupid funny things that happen so + I can tell you about them later. + + RYAN + (touched) + Really? + + ALEX + Yeah. Scared yet? + + RYAN + No. I like your text messages. + You're a good phone flirt. + + ALEX + The kids call it sex messaging. + + RYAN + (makes him smile) + Is that what they call it these + days? + + ALEX + Great, right? Can I tell you a + secret? + + RYAN + Sure. + + ALEX + Sometimes, during a meeting, I'll + tuck my phone in my skirt and hope + you write. + +Ryan swallows. + + RYAN + I -- Really--? + + ALEX + (notices something) + Oh no -- + +Alex points to Natalie in the corner. She's making out with +her dancing partner from earlier. Ryan and Alex chuckle. + +A SOFTWARE DUDE RUNS IN EXCITED. + + SOFTWARE DUDE + Hey, Steve's got a boat! + 70. + + + Everyone cheers and makes for the door. Ryan and Alex + exchange a look. + + +70 EXT. BOAT - NIGHT 70 + + A nice two story yacht that was obviously purchased before + the bubble popped. Inside the galley, a group is playing + karaoke. NATALIE is singing "Rhiannon". + + Meanwhile, near the back, Ryan and Alex sit with their legs + hanging off the back of the hull. + + ALEX + First time I ever got on a plane, I + was seven years old. I got selected + for some modeling search -- + + RYAN + Impressive. + + ALEX + Not really. It was a scheme. But + that's not even important. The best + part was the flight. I just + remember my dad taking me by the + hand through the airport -- and + giving me my ticket -- and stepping + on to the plane. It was all just -- + kind of magical. + (a memory pops in) + I remember my dad acting different, + you know? The way he spoke to + strangers and flirted with the + flight attendants. He ordered a + Bloody Mary with lunch. I was just + a kid, but I remember thinking -- + When you fly, you can be anyone you + want. + + RYAN + -- or be yourself? + + ALEX + Back home, I don't get to act the + way I do with you. + + RYAN + That's why I don't have a "back + home". + + ALEX + 71. + + + I know. You're so cool. Such a lone + wolf. With your "empty backpack". + +Ryan emotionally stumbles. + + RYAN + You know about the backpack? + + ALEX + I googled you. + + RYAN + You did? + + ALEX + It's what us modern girls do when + we have a crush. + + RYAN + Did it bother you? + + ALEX + Well, that depends. Is the bag + empty because you hate people or + just the baggage they bring along? + + RYAN + I don't hate people. I'm not + exactly a hermit. + + ALEX + You just don't want to be tied + down? The whole responsibility + thing. + + RYAN + I don't think it's even that -- Let + me tell you about my first flight. + + ALEX + Okay. + + RYAN + I was sixteen. + + ALEX + Sixteen? + + RYAN + I was a late bloomer. + (back to story) + 72. + + + It was January and I had just + gotten my driver's license. The + lakes were frozen over, so we piled + into my car and hit the ice to do - + - donuts. When, out of nowhere, I + hit a soft spot and the hood of my + car tilted up and I'm sinking + backwards into the water. + + ALEX + Jesus -- + + RYAN + My door wouldn't budge and we + literally started to drown. Within + a few seconds, I black out. Then, I + wake up in the sky. I'm in a + helicopter, laying on a stretcher. + This guy in a uniform is telling me + I was minutes away from dying. + + ALEX + Oh my God. + + RYAN + Right? + (relives it for a second) + So just as we're hovering over the + hospital, I sit up. And from there, + I could see the whole western + horizon. Snowy rivers. Bridges with + sparkling tail lights. + (a beat) + My parents had lied. They'd taught + me we lived in the best place in + the world, but now I could see that + the world was really just one place + and comparing didn't make much + sense. + (catches himself) + We'd been flying twenty minutes. + Twenty minutes to reach a city I'd + thought of as remote, halfway + across the state -- a foreign + capital. And I remember thinking - + Don't tell me this isn't an age of + miracles. Don't tell me we can't be + everywhere at once. + +The idea settles in. Ryan returns to the point. + + RYAN + 73. + + + I don't know what originally + sparked the backpack. I probably + needed to be alone. Recently, I've + been thinking that maybe I needed + to empty the bag before I knew what + to put back in. + + And now they kiss. It's notably different from their + previous kisses. Now, when they lock lips, we are reminded + why people kiss in the first place. + + Then, all of a sudden, the lights go out on the boat. The + motor has stopped. Ryan and Alex look back to find the + software dude stepping out of the galley, drunk. + + SOFTWARE DUDE + Hey -- I think we're out of gas. + + Ryan and Alex look out to shore -- about 500 yards away. + For whatever reason, they just start cracking up. + + +71 EXT. PONTOON BOAT - NIGHT 71 + + Ryan and Alex are huddled under a blanket in the corner of + the rubber boat as it putters its way to shore. + + Cold, soaked, and smiling. + + Natalie and David are there too -- still kissing. + + +72 EXT. BEACH - NIGHT 72 + + Everyone gets out of the boat in the cold knee deep water + and splashes up to shore. + + +73 INT. LOBBY - HOMESTEAD SUITES - NIGHT 73 + + Ryan and Alex followed by Natalie and her make-out buddy, + soaked from the knee down, holding their shoes, scamper + into the hotel on the balls of their feet. + + +74 INT. RYAN'S HOTEL ROOM - NEXT MORNING 74 + + Ryan's eyes flutter awake to see Alex getting dressed. + + RYAN + Hey, you're up -- + + ALEX + 74. + + + Got to fly stand-by and make a + meeting in Milwaukee + + RYAN + (disappointed) + Oh -- Okay. + + ALEX + (notices, teasing) + Oh, no. I made you feel cheap. + + RYAN + Yeah, all right -- Just leave the + money on the dresser. + + ALEX + (sweetly) + I'll text you later so we can swap + schedules. + + Alex gives him a peck. Ryan takes her wrist so she can't + leave. + + RYAN + I can't, remember the last time I + enjoyed spending time with someone + as much as you. + + ALEX + Neither can I. + + They kiss again and he lets go. Alex leaves and the door + closes. Ryan just lays in bed for a moment. + + +75 INT. CAFE - HOMESTEAD SUITES - MORNING 75 + + Ryan and Natalie have a quiet breakfast. Natalie looks + pretty worse for wear. After a little silent eating. + + NATALIE + Last night got a little out of + hand. I said things -- I don't + remember everything I said. I just + didn't want you to think -- + + RYAN + Just relax. It was nice to see you + cut loose. So, did you wake him up + or slip out? + + NATALIE + What? + 75. + + + RYAN + This morning- - Your new friend. + Did you wake him for an awkward + goodbye or just slip out so he + could feel like a whore. + + NATALIE + (not proud) + I -- just -- left. + + RYAN + Protocol is always tricky. + + NATALIE + I didn't know what was right. + + RYAN + Sometimes there really is no right + thing to do. + + This doesn't comfort her. + + +76 EXT. OCEAN BOARDWALK - MIAMI - DAY 76 + + The walkway overlooks a large MARINA filled with giant + YACHTS. Ryan and Natalie are doing the photo thing with the + CUT OUT of the engagement portrait again. + + NATALIE + What happened to Alex? + + RYAN + Had to skip town early to make a + meeting. + + NATALIE + That's too bad. Where does she + live? + + RYAN + Chicago. + + NATALIE + You thinking of going to see her? + + RYAN + I don't know. We just don't have + that kind of relationship. + + NATALIE + What kind of relationship do you + have? + 76. + + + RYAN + It's, you know. Casual. + + NATALIE + Sounds pretty special. + + RYAN + It works for us. + + NATALIE + Think there's any future there? + + RYAN + Never thought about it. What's + going on here? + + NATALIE + Really never thought about it? + + RYAN + (a good lie) + No. + + NATALIE + How can you not think about these + things? How does it not even cross + your mind that you might want to + have a future with somebody? + + RYAN + It's simple, you know that moment + when you look into someone's eyes + and you feel them looking right + into your soul, and the whole world + goes quiet for a second. + + NATALIE + (finally, a breakthrough) + Yea. + + RYAN + Right. Well, I don't. + + NATALIE + You're an asshole. + +Natalie knocks over the CUT OUT and stands up. + + RYAN + Oh come on, I'm just dicking + around. I need your help -- + + NATALIE + 77. + + +Don't you think it's worth giving +her a chance? + + RYAN +A chance to what? + + NATALIE +A chance at something real? + + RYAN +Natalie, your definition of "real" +is going to evolve as you get older +-- + + NATALIE +Would you stop condescending for +one second? Or is that one of the +principles of your bullshit +philosophy? + + RYAN +Bullshit philosophy? + + NATALIE +The isolation? The traveling? Is +that supposed to be charming? + + RYAN +No, it's simply a life choice. + + NATALIE +It’s a cocoon of self-banishment. + + RYAN +Wow. Big words. + + NATALIE +Screw you. + + RYAN +Well, screw you too. + + NATALIE +You’ve eet up a way of life that +basically makes it impossible for +you to make any human connections. +Now, somehow, this woman runs the +gauntlet of your ridiculous "life +choice" and comes out the other end +with a smile -- Just so you can +call her casual. Jesus. I need to +grow up? You're a twelve year old. + 78. + + + Natalie begins walking away. + + RYAN + I don't have a gauntlet of -- + + A GUST OF WIND suddenly blows the CUTOUT across the + boardwalk into the OCEAN. + + RYAN + -- Fuck! + + Ryan goes running after the cutout. He climbs down a + GANGWAY to a dock that is closest to the CUTOUT, which is + beginning to sink in the filthy water. + + Ryan reaches -- and reaches -- and just as he’s got a + finger tip on the photo -- FALLS IN. + + +77 INT. BATHROOM - HOMESTEAD SUITES - DAY 77 + + Ryan, still damp from the ocean, is drying the CUTOUT with + a hair dryer. + + +78 INT. GATE - MIAMI INTERNATIONAL AIRPORT - DAY 78 + + We're following the CUTOUT HEADS popping out of the ROLL- + AWAY like earlier, only now they are slightly faded and + bent from their trip in the harbor. + + Ryan and Natalie enter the line to get on their flight. + Standing behind them is a business guy on the phone. + + GUY ON PHONE + (overwhelmed) + He said "mommy"--? I can't believe + it -- He spoke -- He spoke --! I + can't believe I missed -- Here, put + him on the phone -- Hi, Charlie -- + Can you say daddy? + (all we hear is crying on + the other end) + Da-ddy -- Come on Charlie, say + Daddy -- Say Da -- + (the wife picks back up) + Wait, put him back on the line -- I + don't care -- Just -- Come on, I + want to hear him talk -- + + The other passengers give the guy a little distance. + 79. + + +79 EXT. TARMAC - MIAMI INTERNATIONAL - DAY 79 + + We’re watching Ryan through the window of the plane. He + almost looks trapped. + + +80 EXT. TARMAC - DETROIT INTERNATIONAL - DAY 80 + + The plane lands amidst snow. + + +81 INT. DODGE RENTAL CAR - DAY 81 + + Ryan and Natalie drive in silence. The weather is frigid. + + RYAN + These Detroit guys can be tough. + Don't get distracted. Stick to the + simple stuff. Get the packet in + their hands and get them out the + door. + + +82 INT. DETROIT COMPANY - DAY 82 + + Ryan and Natalie check in at the front desk. + + +83 INT. CONFERENCE ROOM - DETROIT COMPANY - DAY 83 + + The door opens. Ryan and Natalie enter, when they both see + something and immediately stop short. + + Sitting on the conference table is a COMPUTER set up for a + VIDEO CONFERENCE. + + Framed up in a WINDOW on the screen is CRAIG GREGORY. + + CRAIG GREGORY + Welcome to Detroit. + + Natalie and Ryan exchange a look, + + RYAN + Craig, what's going on here? + + CRAIG GREGORY + I’ve been getting in great numbers + over the last few days from you + guys. Thought we should nut up and + give this a try. + 80. + + + RYAN + This is a real company, Craig. + We're here to do some damage. + + CRAIG GREGORY + You gotta leave the nest at some + point. + + Natalie, once confident, now takes pause. + + +84 INT. CRAIG GREGORY'S OFFICE - CTC - LATER 84 + + Craig is leaning back in his office chair, watching Natalie + on his monitor. + + +85 INT. ALTERNATE CONFERENCE ROOM - DAY 85 + + An unsuspecting man in his mid fifties enters the room and + takes a seat at a COMPUTER TERMINAL. + + (for the remainder of the scene, we will intercut between + Natalie's room and the POV of the man's iChat session.) + + NATALIE + Hello, Mr. Samuels. My name is + Natalie Keener. + + SAMUELS + (checking out the PC) + What's going on here? + + NATALIE + I wish I was here with better news, + however your position here at IGL + is no longer available. + + SAMUELS + What are you talking about? + + NATALIE + You've been let go. + + SAMUELS + What, just like that? I can’t + believe -- Who are you? + + NATALIE + My name is Miss Keener. I am here + to tell you about your options -- + + SAMUELS + 81. + + + I work here for seventeen years and + they send some fourth grader in + here to can me? What the fuck is + this?l + +Ryan fights the urge to jump in. He is sitting next to +Natalie, but just out of view of the camera. + + NATALIE + It's perfectly normal to be upset. + However, the sooner you can tell + yourself that there are greater + opportunities waiting for you, the + sooner your future can begin. + +Mr. Samuels is now on the verge of tears. Eyes red. + + NATALIE + Anybody who ever built an empire, + or changed the world, sat where you + are now. And it's because they sat + there that they were able to do it. + +We remain in the room with Natalie and Ryan, but we hear +Mr. Samuels crying. It's loud and embarrassing. It's coming +from the next room. He's literally on the other side of the +wall. + + NATALIE + There's a packet in front of you. + +Samuels picks up the packet and opens it. + + NATALIE + I want you to take some time and + review it. + +Samuels begins to leaf through. + + NATALIE + All the answers you're looking for + Eire inside those pages. The sooner + you trust the process, the sooner + your next step in life will unveil + itself. + +Samuels puts down the packet. The tears still coming +slowly. + + NATALIE + I need you to return to your office + now and begin to put together your + personal things. + 82. + + + Samuels doesn't move. He's just sitting there in a daze. + + NATALIE + Thank you for your time, Mr. + Samuels. + + No reaction. Just more silent tears. Natalie is getting + nervous. + + NATALIE + Mr. Samuels? There's nothing else + we can discuss now. + (and again) + Thank you for your time. + + Ryan fights the urge to break in as Natalie continues to + lose her composure. + + Craig leans into his computer, watching intently. + + NATALIE + Mr. Samuels -- Mr. Samuels -- MR. + SAMUELS... + + Finally, Samuels breaks from his daze. He looks up and + around for а second, then gets up and leaves. + + Natalie catches her breath. A second later, Samuels passes + their room, visible through the conference room windows. + They watch as he walks away. + + RYAN + You did good. + + Natalie nods. + + RYAN + You okay? Want me to take over. + + NATALIE + No, I'm alright. + + Natalie pulls out a LIST OF FORTY NAMES. The amount of + people is daunting. She crosses off the first name. + + +86 INT. DODGE RENTAL CAR - DETROIT - AFTERNOON 86 + + Ryan and Natalie drive. It's raining ice outside. Ryan's + CELL PHONE buzzes. He picks up. What follows is a + conversation with Craig, however we only hear Ryan's side. + + RYAN + 83. + + + Hello--? Hey Craig. + (listen) + Yeah, I thought she did good too. + Impressive under pressure. + (listens) + No, it was all her. She's a + natural. + +Natalie smiles a little. + + RYAN + I mean, I don't know. We just got + out here -- Yeah, I suppose, but + that was just one place. I think we + need to try a few more -- + (listens) + Maybe there isn't a difference, but + it's comforting to know we're in + the next room -- + (listening) + I know you don’t give a shit about + my comfort. + (listens) + We could just use a little more + time. That's all I'm saying. I + don't think we're ready. + (listens) + Right -- Right. + (shakes his head) + Yeah -- Okay -- Uh huh, bye. + +Ryan hangs up. + + RYAN + We’re going home. + + NATALIE + (tiny celebration) + Yeaah -- + +They drive in silence for a second. + + KATALIE + I'm sorry about what I said about + Alex. I was out of line. + + RYAN + It's alright. I understand. + + NATALIE + You going to be okay? + + RYAN + 84. + + + What do you mean? + + NATALIE + In Omaha? + + RYAN + I don't know, I -- + (thinks about it) + I don't know much about the place. + + NATALIE + It's better than you'd think. + + Ryan doubts this. + + +87 INT. HOMESTEAD SUITES - DETROIT - NIGHT 87 + + Ryan is holding the LARGE EMBOSSED ENVELOPE of his sister’s + WEDDING INVITATION. He pulls out the RESPONSE CARD. + + Ryan focuses on the line left for additional guests. Thinks + about it for a moment. Then, makes a decision. + + He picks up the phone and dials. + + ALEX (O.C) + (picks up) + I was wondering if I'd hear from + you today. + + RYAN + You miss me? + + ALEX (O.C.) + Yeah. I was watching Shark Week -- + + RYAN + Of course you thought of me. + + ALEX (O.C.) + Did you know that Tiger Sharks + touch with their mouths. + + RYAN + I want to touch you the way sharks + do. + + ALEX (O.C.) + That's sweet. I do too. + + RYAN + Where are you? + 85. + + + ALEX (O.C.) + San Diego. Why? What were you + thinking? + + RYAN + Can you meet me in Vegas. + + ALEX (O.C.) + Why? Are we going to elope? + + CUT TO: + + +88 EXT. LUXOR HOTEL - LAS VEGAS - DAY 88 + + Ryan and Alex are outside, setting up the CUT OUT of the + engagement photo. + + ALEX + I have to admit, when you asked me + to meet you in Vegas -- I thought + we'd gamble, make out in a heart + shaped jacuzzi, maybe see one of + those weird French Canadian circus + shows. + + RYAN + There'll be plenty of time for all + that. + (directing the photo) + Can you move it to the left? + + Alex obliges. She checks out the engagement photo. + + ALEX + How do you feel about the wedding? + + RYAN + I'm fine, I guess. + (directing) + Just lean it towards me -- Okay + great -- walk away. + + Ryan snaps the photo. + + Alex picks up the CUT-OUT. + + ALEX + They're a cute couple. + + RYAN + Think so? + 86. + + + ALEX + Yeah, they'll make cute kids. + Hopefully look a little like you. + +Alex and Ryan look at the photo together for a second. + + RYAN + What are you doing next weekend? + +The request quickly registers with Alex -- He's inviting me +to the wedding. + + ALEX + No -- + + RYAN + Why not? + + ALEX + I couldn't. + + RYAN + I'm serious. + + ALEX + You want me to be your date? To a + wedding? + + RYAN + Well -- Yeah. + + ALEX + Jesus, Ryan. Your sister's wedding? + + RYAN + It’s not like I know her that well. + + ALEX + I'm just not sure if it's + appropriate for me to -- + + RYAN + Look. You know. I'm not the wedding + type. But for the first time in my + life -- I want a dancing partner. I + want a plus one. And if you can + stomach it, I'd like it to be you. + +A long thoughtful beat. Alex sighs. + + ALEX + Okay. + 87. + + + RYAN + Really? + + ALEX + Yeah, I can't believe I -- Yeah, + I'm in. + + RYAN + I feel like we should kiss or + something. + + ALEX + Then kiss me. + + They do. + + +89 INT. BAGGAGE CAROUSEL - MILWAUKEE AIRPORT - DAY 89 + + Ryan is standing with his roll-away and a garment bag. His + itinerary in one hand. Phone in the other. Behind him is a + LARGE AIRLINE ADVERTISEMENT featuring CEO MAYNARD FINCH. + + Bomber Jacket. Captain's hat. "We Value Your Loyalty." + + RYAN + (on phone) + How long have you been my + assistant? + + INTERCUT WITH: + + +90 INT. KEVIN'S DESK - CTC - SAME 90 + + Kevin is on a headset. + + KEVIN + The rooms have been blocked for + months. All out-of-town guests are + staying at the Best Western, The + actual wedding reception is + happening in the hotel. + + RYAN + The Best Western point system is + one step above a Ben & Jerry's + punch card. + + ALEX (O.S.) + Best Western? Really? Was the + Homeless Shelter unavailable. + 88. + + + Ryan turns to find Alex. + + RYAN + (for shame) + I think their airline partner is + Frontier. + + ALEX + What kind of airline puts woodland + creatures on the tail of their + planes? + + RYAN + You complete me. + + +91 INT. RENTAL KIOSK - DAY 91 + + Ryan and Alex stand at the counter of a SATELLITE KIOSK in + the middle of the lot. + + CAR RENTAL ASSISTANT + Membership card? + + Both Ryan and Alex snap out their cards and set them on the + counter. It's a cute awkward moment. + + RYAN + (embarrassed) + Oh -- I -- + + ALEX + You take the points -- + + RYAN + No, I couldn't -- + + +92 INT. LOBBY - BEST WESTERN HOTEL - DAY 92 + + Ryan and Alex approach the check-in lines. Of course, + there's an elite membership line, but they can't use it. + + Ryan is forced to stand in a queue of three people while a + CHECK-IN LADY just stands at her computer at the elite + line. + + RYAN + (to the CHECK-IN LADY) + Are you available? + + CHECK-IN LADY + 89. + + + Sorry, this line is for members of + our Gold Crown program. + + Ryan steams. + + +93 INT. CORRIDOR - BEST WESTERN - DAY 93 + + Ryan and Alex walk down the long hallway. They've been + given a room at the end. Just as they're entering their + room, the door across the hall opens revealing a woman in + her early forties with a basket of laundry. It's Ryan's + sister KARA. + + KARA + Ryan? + + Ryan turns and stops, it's been a while -- + + RYAN + Kara -- + + They hug. It's a strange hug. Awkward but heartfelt. + + RYAN + This is Alex. + + KARA + Well, hello. + + ALEX + Hi. + + KARA + (quite frankly) + Ryan has told me nothing about you. + + RYAN + Kara, what are you doing at a + hotel? + + KARA + Fuck, I was hoping I wouldn't have + to -- Yeah, uh, Frank and I are + trying out a trial separation. + + RYAN + You're not staying at the house? + + KARA + There was an extra room on hold + here, so I just took it for the + weekend» + 90. + + + RYAN + Oh, okay. + + KARA + Yup. So, you guys are dating? + + Ryan and Alex fumble over each other. + + RYAN + Um -- + + ALEX + It's not exactly -- + + KARA + Hey, don't worry about it. We're + all getting a little old to be + calling someone girlfriend -- I + remember when mom used to call Jack + her boyfriend. It drove me up the + wall. Boyfriends are for kids -- + (mock announcing) + And I'm just a divorcee! + + An awkward beat in the corridor of the Best Western. + + RYAN + So, the rehearsal dinner? + + KARA + Yeah, I'll see you two there. + + Kara humps the laundry basket down the hall. + + +94 INT. HOTEL ROOM - BEST WESTERN - DAY 94 + + Ryan and Kara settle in. There's a cheap basket with a pink + ribbon tied sloppily around some cellophane. In the basket + is a packet, outlining the wedding weekend. + + RYAN + There's a packet. + + ALEX + What in life is worth doing that + doesn’t have a packet. + + RYAN + Um, I love you? + + Ryan is kidding, but not really. They play it off as a + joke, but can't help feel the weight of this "moment". + 91. + + +95 INT. CLUB ROOM FIRESIDE LOUNGE - BEST WESTERN - EVENING 95 + + A group of tables have been slid together for the rehearsal + dinner. Ryan and Alex find the dinner in full swing. + + Ryan’s sister JULIE, the bride, waves wildly. + + JULIE + Oh my God, Ryan! + + She hops up and gives him a hug. + + JULIE + You must be Alex. You are so + beautiful. Kara was right. Did you + get the basket? + + ALEX + The basket was very lovely. + + JULIE + Tammy wrapped all of them. + + Tammy waves. + + JULIE + Ryan, you look so grown up. + + RYAN + Me? You're the one getting married. + + JULIE + I know, right? You haven’t even + seen my ring. + + Julie shows off her ring. It's not quite balanced and seems + to favor quantity over quality. + + JULIE + (proudly) + Jim designed it. + + JIM raises a hand. This is Julie’s husband-to-be and we can + tell immediately that Ryan isn't thrilled. + + Ryan thinks of something. He pulls out the 5X7 PHOTOS they + took of the JIM & JULIE CUT OUT. + + RYAN + I brought those photos you were + asking for -- + 92. + + + JULIE + (lights up) + Oh great! They go over there. + +Julie points to a table and Ryan walks over. When he gets +there, we see almost a hundred photos pinned to a map of +America. It’s overwhelming. All of a sudden, his effort +seems miniscule. + +Ryan begins to pin his photos on the map over the cities +where they were taken. He backs away to see it as a whole +and his addition has already become invisible. + +Ryan returns to the conversation with his sister and Alex. + + RYAN + There were quite a few already up + there. Almost couldn’t find room. + + JULIE + I know, isn't it great how everyone + chipped in? + + RYAN + What gave you the idea to do + something so -- + + ALEX + (helps) + -- Substantial? + + JULIE + Well, Jim has a lot of bur nest egg + invested in this real estate + venture right now. So when we went + over our finances, a honeymoon just + didn't seem affordable this second + -- So I thought -- Hey, just + because we can’t travel doesn't + mean we can't have pictures. + +The idea of this lands on Ryan pretty hard, + + ALEX + It was a great idea. + + JULIE + Thanks. + + CUT TO: + +AN HOUR LATER + 93. + + +Ryan is stuck with Jim, talking real estate. Alex is having +a chat with the bridesmaids about local relationship drama. + + JIM + It's sixty acres up against the + foothills. I subdivided the old + Lazy W Ranch and took a nice slice + for myself. + + RYAN + Sounds nice. + +Jim makes an exhale noise that means "you bet your ass". + + JIM + Homes will go in the high fours. + + RYAN + Must be a nice development. + + JIM + (correcting) + It's a community, not a + development. The concept is turn- + key everything. You buy a + maintenance contract with the home. + We’ll whack your weeds, we'll even + change the light bulb. Furniture? + You buy your own or choose a + package. Seamless traditionalism, + yet all the perks. + +Ryan and Alex make eye contact. There's a joy in their +connection amongst the ramblings of their company. + + JIM + You should really give it воте + thought. I can get you in somewhere + in the threes. I know the unit. The + view's spectacular. + + RYAN + I'll bet. + + JIM + Hold this house six months, you'll + clear a profit. That's guaranteed. + We all need a place to call our + own. This is America. This is what + we were promised. + + RYAN + That's a nice touch. + 94. + + + JIM + What? + + RYAN + That bit at the end about promise - + - I like it. + + JIM + (a little embarrassed) + Thanks. + (suddenly searching for + conversation) + So, you still renting that one- + bedroom? + + RYAN + I gave it up. + + JIM + (surprised) + You own now? + + RYAN + No. + + JIM + But you're looking? + + RYAN + Not really. No. + + The conversation stalls out. + + +96 INT. LOBBY - BEST WESTERN - NIGHT 96 + + Everyone is leaving. Таmmу grabs Julie's hands. + + TAMMY + Can you believe it's tomorrow?! How + are you going to sleep? + + JULIE + I don't know! + + TAMMY + You want some Xanax? + + RYAN + I don't think that's for sleeping. + + JULIE + 95. + + + No, I'm good. I'll have some warm + milk. That should do the trick. + +Jim comes walking by with a box of flower arrangements from +the tables inside that are going to be reused at the +wedding. + + JIM + One more box -- + + ALEX + I'll get it. + + RYAN + You sure? + + ALEX + Yeah, yeah -- + +Alex steps out and for the first time in who knows how many +years, Ryan, Kara, and Julie are alone together. + + RYAN + Jim seems like a good guy. + + JULIE + Yeah, I know -- Isn't he great? + + KARA + He's going to make a great husband. + +There's a moment where they just look at each other and +giggle a little. Just the three of them. + + RYAN + Hey, Julie, I was thinking -- with + dad not being -- Well, I didn't + know if you had someone to walk you + down the aisle -- + + JULIE + Oh, yeah, Jim's uncle is going to + do it. + + KARA + (uncomfortable}) + He's been really supportive. + + RYAN + Oh -- Oh, great. Just wanted to + make sure you were covered. So I + should get there at -- + 96. + + + JULIE + Guests are arriving around 5ish. + Things get going at 530. So you + know, around then. It's easy. Just + come down the elevator. + + Alex enters with the second box. Ryan notices and grabs the + flowers from her and sets them in Jim's luxury pick-up + truck. + + +97 INT. CORRIDOR - BEST WESTERN - NIGHT 97 + + Ryan, Alex, and Kara arrive at their adjacent rooms. Key + cards slide in simultaneously. Alex heads in. Ryan stops. + + RYAN + неу Kara? + + KARA + Yeah. + + RYAN + Can you believe she's getting + married already? She's just a kid. + + KARA + No Ryan. Actually, she's 37 years + old. She's barely squeaking by. + + RYAN + Oh. + + KARA + Yup. Sleep tight. + + +98 INT. HOTEL ROOM - BEST WESTERN - NIGHT 98 + + Ryan sits on the edge of the bed, Alex slips behind him. + + RYAN + Think they'll last? + + ALEX + I'd like to hope so. + + RYAN + I mean, how does anyone ever know? + + ALEX + I don't think you do. You go with + your heart and hope you’re right. + 97. + + + RYAN + Poor Kara. She was the one who was + supposed to make it. + + Alex kisse Ryan's neck. + + ALEX + Only helps Julie's odds, I suppose. + + RYAN + Think you could ever spend the rest + of your life with one guy? + + Alex pauses. + + ALEX + Yeah, well, I guess it depends on + the guy. + + Ryan smiles. His phone rings. CALLER ID: Natalie. Picks up. + + RYAN + Hey, kiddo, how's it going? + + +99 INT. LOBBY - HOMESTEAD SUITES - DAY 99 + + Natalie is on her cell phone. + + NATALIE + I'm living the dream. Work plus + travel. Seeing America. + + RYAN + What do you mean? + + NATALIE + Craig sent me back out for one + cycle of implementation. + + RYAN + No shit. How you holding up? + + NATALIE + It's cool. Strange being out here + on my own. + + RYAN + Yeah? + + NATALIE + Yeah. I mean no meltdowns yet. + People are taking it pretty well. + 98. + + + RYAN +That's good, considering. + + NATALIE +Yeah, I was in DIA yesterday and +someone accidentally walked into +one of those display cases they use +for that crappy art they have +there. And first of all, strange +location for an installation piece? + + RYAN +Airports always seem like an odd +place to showcase art. + + NATALIE +Right? Anyway, on top of that, now +there's shards of glass on the +ground and I'm thinking all you'd +have to do to make a knife and get +it on a plane is bring some duct +tape with you and wrap a handle +around one of those shards. + + RYAN +You're not getting any ideas. + + NATALIS +No I'm just saying. I've had a lot +of time to think. + + RYAN +You call just to tell me that? + + NATALIE +Nah, I just -- + (a beat) +-- I need a place to eat in Dallas. + + RYAN +Go to Mia'в. Get the brisket tacos. + + NATALIE +Got it. Cool. + + RYAN +You good? + + NATALIE +Yeah. Totally. Thanks for the +recommend. + + RYAN + 99. + + + Hang in there. + + Hangs up. Takes a breath. He looks over at Alex. She's + already gone to sleep. + + CUT TO: + + A TEAM PHOTO OF A HIGH SCHOOL HOCKEY TEAM + + A finger reaches and points to an unsure teenage face. + + RYAN (O.C.) + That's me. + + +100 INT. HALLWAY - WAUPACA HIGH SCHOOL - NEXT MORNING 100 + + Ryan and Alex are huddled at the trophy case. + + ALEX + You played hockey? + + RYAN + Don't act so surprised. + + ALEX + I didn't know you were such a jock. + + +101 EXT. LOADING DOCK - WAUPACA HIGH SCHOOL - DAY 101 + + Ryan and Alex walk passed a concrete ledge. + + RYAN + My first fight. + + ALEX + How’d it go? + + RYAN + (evades the question) + Let me show you my old home room. + + +102 INT. CLASSROOM - WAUPACA HIGH SCHOOL - DAY 102 + + Alex and Ryan are sitting in a couple desks. Ryan points + out various things in the classroom as they come to him. + + +103 INT. STAIRWELL - WAUPACA HIGH SCHOOL - DAY 103 + 100. + + + Ryan shows an area behind the stairwell. + + RYAN + Brittany Rosen. She had blonde hair + and these dark, brown eyebrows -- + And when we kissed our braces + mashed together like chain link + fence. + + ALEX + Did they lock? + + RYAN + Nah, that doesn't actually happen. + + ALEX + It happened to me! + + RYAN + No it didn't. + + ALEX + But I was wearing a retainer, so + when we separated, he had ray + retainer sticking out of his mouth! + + They bust up laughing. + + CUT TO: + + RYAN AND ALEX KISSING UNDER THE STAIRWELL + + +104 EXT. BLEACHERS - WAUPACA HIGH SCHOOL - DAY 104 + + Alex and Ryan sit tight like teenagers. + + ALEX + I'm really happy I came here. + + The school soccer team takes the field for practice. + + RYAN + (to the team) + Go Eagles! + + Players look back at him strangely. + + Ryan's phone rings. + + RYAN + (checks caller ID) + 101. + + + It's Kara. + + The first thing we hear is crying in the background. + + KARA (О.С.) + Ryan, where are you? We're having a + meltdown here. + + RYAN + What's wrong? What happened? + + KARA (O.C.) + It's Jim, Can you get back here? We + need your help. + + RYAN + Yeah, of course -- + + +105 EXT. CHURCH - DAY 105 + + Ryan's rental car pulls up in front. He hops out and Alex + takes the driver's seat. + + ALEX + I'll grab your tux. + (adding) + Good luck. + + +106 INT. ENTRY - CHURCH - DAY 106 + + Ryan immediately spots Julie sobbing and being consoled by + her bride's maids. The groomsmen are huddled in another + corner, embarrassed and confused. Kara splits from the + bridesmaids and takes Ryan aside. + + RYAN + What happened? + + KARA + Jim's got cold feet. + + RYAN + Today? + + KARA + That's how cold feet work. + + RYAN + What do you want me to do? + + KARA + 102. + + + Talk to him. + + RYAN + You want me to talk to him? + + KARA + Hey, it's either you or me. You + know my record. I've already struck + out once. + + RYAN + I haven't been to bat. I haven't + been in the dugout. + + KARA + Don't you talk for a living? + Motivational type stuff? + + RYAN + I tell people how to avoid + commitment. + +A beat. + + KARA + What kind of fucked up message is + that? + + RYAN + It's a philosophy. + + KARA + It's stupid. + Hey, it might have helped you. + + KARA + Fear of commitment is simply a + reflection of what someone craves. + + RYAN + That's so profound. Someone’s been + reading a major woman novelist. + + KARA + Yes, I'm trying to better myself. I + know that's a sin in your world. + + RYAN + This is a valueless conversation. + +A beat of stalemate. + + KARA + 103. + + + Come on, Ryan. You haven't been + around much. Fuck, you basically + don't exist to us. I know you want + to be there for her -- Well here it + is. This is your chance. + + Ryan takes a breath. + + +107 INT. SUNDAY SCHOOL ROOM - CHURCH - DAY 107 + + Ryan quietly steps in to find Jim, half dressed in a tux + reading the children's book "The Giving Tree". Jim + sniffles. + + Ryan goes to leave, when -- + + JIM + Ryan? + + RYAN + Oh, hey Jim. + + JIM + You ever read this? + + RYAN + Yeah, it's pretty powerful stuff. + + JIM + I'll say. + + RYAN + Kara mentioned you were having some + -- thoughts? + + Jim puts down the book. + + JIM + I don’t think I can do this. + + RYAN + Okay. "What makes you say that + today? + + JIM + I was just laying there last night + in bed and I couldn't sleep. I was + thinking about the wedding and the + ceremony and all. Us buying a house + and moving in together. Having a + kid -- Having another kid -- + (begins to snowball) + 104. + + + -- Thanksgiving, Christmas, spring + break, football games, all of a + sudden they're out of school, + getting jobs, getting married, And + then, you know -- I'm a + grandparent. I'm retired. Before + you know it -- I'm dead -- and I + just kept thinking -- "What's the + point?" + +Ryan gulps. Fuck. + + JIM + (now asking Ryan + directly) + I mean what is the point? + + RYAN + The point? + + JIM + Yeah, I mean, what am I starting + here? + + RYAN + (dancing) + It's marriage -- it's the most + beautiful thing on Earth -- you + know, what everyone aspires to -- + + JIM + You never got married. + + RYAN + That's true -- + + JIM + You never even tried. + + RYAN + Well, it's hard to define "try". + + JIM + You seem happier than most of my + married friends. + +Ryan takes a beat. + + RYAN + 105. + + + Jim, I'm not going to lie. Marriage + can be a pain in the ass. And + you're kind of right -- All of this + is just stuff on the way to your + eventual demise. + + CUT TO: + +KARA EAVESDROPPING AT THE DOOR WITH A LOOK OF COLD FEAR + + BACK TO: + + RYAN + We are all on running clocks that + cannot be slowed down or paused and + they all lead to the same place. + Some guys leave marks that last + beyond their own mortality. Not + guys like you and me -- But some. + But even those footprints + disappear. + (a beat) + There isn't a "point". + +Jim sinks a little. + + RYAN + I'm not the guy you'd normally want + to talk to about all this stuff -- + But think about it -- your favorite + memories. The greatest moments of + your life? Were you alone? + + JIM + (thinks about it) + No -- I guess not. + + RYAN + I don't want to sound like a + Hallmark card, but -- Life? It's + better with company. + +Jim nods. + + RYAN + Come to think of it -- Last night, + the night before your wedding, when + all this shit was circling through + your head -- Weren't you two + sleeping in separate rooms? + + JIM + 106. + + + Yeah, Julie went back to the + apartment and I was at the Best + Western all alone in that big + honeymoon suite -- + + Jim chuckles to himself. + + RYAN + Kind of lonely? + + JIM + Yeah. + + RYAN + Hey. Everybody needs a copilot. + + This resonates with Jim and he can't help but smile. + + +108 INT. ENTRY - CHURCH 108 + + Jim walks over to the huddle of bride's maids. They part + and let him in. He kneels at Julie's feet and they fall + into each other. Tears and smiles spread amongst the girls. + + Kara walks over to Ryan and pats him on the shoulder. + + KARA + Welcome home. + + MONTAGE BEGINS AS A SERIES OF IMAGES: + + - Ryan and Alex getting dressed in a little kitchen in the + church. They're in a hurry and a little sloppy, but there's + a crooked joy in their faces. + + - Jim standing at the altar with the priest getting a pat + on the back from his best man. + + - Julie getting walked to the alter by Jim's uncle. They + pass Ryan, who looks on proudly. + + - The priest gives his blessings. + + - Jim raises Julie's veil. They kiss. + + - Wedding attendees file into the Best Western Banquet + Hall. + + - Ryan and Alex mingle with their table. + + RYAN + 107. + + + Hi, I'm Ryan. + + WEDDING GUEST + I’m your cousin -- Harold. + + RYAN + Oh, hey! + + - Ryan and Alex dance like teenagers. + + - The band does a cheesy choreographed dance step. + + - Jim makes a speech. He is not good at public speaking, + but the guests are generous with laughter. + + - Tammy has her tongue down a groomsmen's throat. + + - Ryan pulls Kara onto the dance floor. She rests her head + on hiB shoulder and they slow dance. + + - Jim and Julie make their farewell and run off. + + - Ryan and Alex help pick the center pieces off the tables. + + - Ryan and Alex get into the elevator together. She's + wearing his jacket. We're about to see them kiss, when the + elevator door closes. + + +109 INT. MILWAUKEE AIRPORT - MORNING 109 + + Ryan and Alex stand between their gates. One sign reads + OMAHA. The other sign reads CHICAGO. + + ALEX + Am I ever going to see you again? + + RYAN + Yeah, you just have to come visit + me now. + + ALEX + So settled down. You're not going + to change on me, are you? + + RYAN + Same guy. Just one address. + + ALEX + Call me if you get lonely. + + RYAN + 108. + + + We can iChat. + + Alex smiles. They kiss. + + After a beat, they pull apart and leave for their + respective gates, Ryan stops for a second. He has an + impulse but he finally ignores it and gets in line for the + plane going home. + + CUT TO: + + A PEN CLICKING + + +110 INT. OLD MARKET LOFT - OMAHA - DAY 110 + + Ryan is signing the papers to his new condo. + + REALTOR + Welcome home. + + RYAN + (takes a breath) + This feels right. + + REALTOR + You're going to be very happy here. + You know you're walking distance to + the Old Market. + + RYAN + (pointing) + That way? + + REALTOR + (pointing the opposite + way) + It's more this way -- + + Ryan smiles. Nods. Gets an idea. + + +111 INT. OMAHA TOURIST BUREAU - DAY 111 + + Ryan walks up to the window and pulls a PAMPHLET out of a + display. The cover art features a woman with her hands next + to her face, screaming "O!" For Omaha. + + +112 INT. TOUR BUS - DAY 112 + + Ryan is riding on a small bus with a guide book in his hand + 109. + + + TOUR GUIDE + Omaha is a river city that spreads + West from the water, like a + timeline. We're the birthplace of + America's richest citizen Warren + Buffet and our thirty eighth + president, Gerald Ford. + + +113 INT. NEBRASKA FURNITURE MART - DAY 113 + + Ryan shops amongst multiple living room set-ups. + + +114 INT. RITE-AIDE - DAY 114 + + Ryan is with a clerk, holding a full sized shampoo bottle. + + RYAN + You're certain you have no smaller + bottles? + + RITE-AID CLERK + That's the size they come in. + + RYAN + I don't need to wash a mammoth. How + long are these bottles supposed to + last? I mean, Jesus, they're + enormous. + + The clerk is speechless. + + +115 INT. TOUR BUS - DAY 115 + + The tour bus passes the ORPHEUM THEATER. + + TOUR GUIDE + On the left, you'll see the + recently renovated Orpheum Theater. + Many great actors come from + Nebraska, including Henry Fonda, + Fred Astaire, Montgomery Clift, + Marlon Brando, and Gabrielle Union. + + +116 INT. 24 HOUR FITNESS - DAY 116 + + Ryan is being toured through the gym by a SALES REP. + + GYM SALES REP + 110. + + + We have a nice break for you folks + at CTC and it's really close enough + that you could drop in on a lunch + break. There may even be a workout + club. You should check the + community board. + + +117 EXT. OLD MARKET - DAY 117 + + Ryan steps out of a CHINESE RESTAURANT with a bag of TAKE + OUT. A gust of wind hits Ryan hard, almost knocking him + over. A complete stranger turns to Ryan. + + OMAHA STRANGER + That wind'll just cut you in half. + + +118 INT. TOUR BUS - DAY 118 + + The tour passes the Qwest convention center. + + TOUR GUIDE + People think of Omaha as an + insurance town, but we're also the + home of Qwest, ConAgra, and Gallop + Polling -- which is why we like to + think we have our finger on the + nation's pulse. + + +119 INT. CORRIDOR - CTC - DAY 119 + + People filter out at the conclusion of a meeting. Ryan + stops Craig on his way out. + + RYAN + How's Natalie doing? + + CRAIG GREGORY + Just great. Must have taught her + well. + (begins to exit) + Now just make sure the rest of + these guys know what they're doing. + + Ryan looks around at the new employees sitting at + teleconference setups. They're all pretty green. + + +120 INT. RYAN'S LOFT - OMAHA - EVENING 120 + + Ryan is laying on his sofa, talking to Alex on the phone. + 111. + + + RYAN + Yeah, it's a real home and + everything. + + ALEX + Do you have the shakes? + + RYAN + No, I'm settling in pretty well. + + We notice Ryan is wearing a Homestead Suites robe. + + ALEX + You got a real bed, right? Not like + some futon. + + RYAN + You'll find out Tuesday. + + ALEX + (teasing) + Yeah? You going to touch me like + sharks do? + + +121 EXT. RENTAL CAR COUNTER - MORNING 121 + + Ryan talks to a RENTAL ADVISOR. + + RYAN + (pointing to Stratus) + I'd like to buy one of those. + + RENTAL ADVISOR + We're happy to hear you had such a + pleasant experience with our line. + + RYAN + No, I mean it. I want to buy one. + + RENTAL ADVISOR + A Dodge Stratus, sir? + + RYAN + One of your Dodge Stratuses. + + RENTAL ADVISOR + Um, they’re not for sale sir. + + Ryan pulls out his MEMBERSHIP CARD. + + CUT TO: + 112. + + + RYAN DRIVING OFF THE LOT IN HIS NEW DODGE STRATUS. + + +122 INT. CTC - DAY 122 + + Ryan is walking by and notices a YOUNG CTC EMPLOYEE making + a rookie mistake. He stops and walks in to help. + + RYAN + Don’t try to be so comforting. Our + job isn't to make them feel better. + We're here to bridge a transition. + Instead of showing compassion, show + strength -- and hold onto that + packet til the last second. That's + your way of saying goodbye. + + +123 EXT. OLD MARKET - OMAHA - DAY 123 + + Ryan in a group of a dozen runners, rounds the corner and + heads into downtown. + + +124 INT. CONFERENCE ROOM - CTC - ANOTHER DAY 124 + + Ryan is at the table with eight others. Craig is leading a + meeting. Ryan seems focused on something on his laptop. + + We see his screen: The calendar shows that Alex is arriving + that day. The screen tabs over to a flight schedule. We + focus on a flight that says "On Time". + + Ryan smiles. + + +125 INT. SUPERMARKET - DAY 125 + + Ryan follows an older lady through the produce aisle and + copies her buying habits. + + +126 EXT. ELOWER MARKET - DAY 126 + + Ryan walks out with a couple vases of flowers. + + +127 INT. RYAN'S LOFT - DAY 127 + + Ryan prepares the house. + 113. + + + He stocks the fridge. Lines up the beverages, label out. + Fixes his sheets. Puts out flowers. Unwraps a fresh bar of + soap. + + +128 INT. BAGGAGE - OMAHA AIRPORT - AFTERNOON 128 + + Ryan waits at the bottom of the escalator. Women's feet + keep appearing, but none of then are hers. + + Finally, his cell phone rings. + + RYAN + (answers) + Hey, have you landed? + + ALEX + I got stuck in Chicago. + + RYAN + (really disappointed) + Oh. I got the whole condo -- That's + a shame. What happened? + + ALEX + Just work. You know how it is. This + was a little easier when we were + two moving objects. + + RYAN + Think you'll still get out? + + ALEX + I'm stuck in Chicago for another + couple days. Then, I have a couple + -stops out West, but could be there + by next week. + + RYAN + Right -- + + ALEX + I'm just as disappointed. + + RYAN + Yeah, me too. + + +129 INT. CONVENTION HALL - DAY 129 + + Ryan stands before a sea of people at GOALQUEST XX. + + He pulls out a BACKPACK and sets it on a table. + 114. + + + RYAN + Last year, I flew three hundred + fifty thousand miles. The moon is + only two fifty. + + A long beat. Uncomfortable. Ryan looks at the back pack. + + RYAN + Imagine for a second that you're + carrying a backpack -- I want you + to feel the straps on your + shoulders -- You feel them? + + Ryan isn't feeling them. He is not inspired. He isn't + believable. He's barely even there. + + RYAN + Now, I want you to pack it with all + the stuff you have in your life. + Start with the little things. + + Ryan is trying, but he can't find the will to do this. + + RYAN + The -- um -- The stuff in drawers + and on shelves. + + Ryan takes a beat. He just stares at the backpack and + thinks about all the things he has removed from it. And + then -- + + RYAN + Excuse me. + + And. with that Ryan leaves the stage. Handlers try to + figure out what Ryan is doing. A guy in a suit goes to the + mic and tries to reassure the audience, but we're already + gone. + + +130 EXT. SKYBRIDGE - AIRPORT - EVENING 130 + + Ryan hustles until he is actually jogging. + + +131 INT. BOARDING GATE - OMAHA AIRPORT - EVENING 131 + + Ryan runs up to the flight. The last one to board. + + +132 INT. AIRPLANE - NIGHT 132 + 115. + + + Over Ryan'в shoulder, through the window, we see Chicago + below as the flight begins its descent. + + +133 INT. CORRIDOR OF LIGHT - CHICAGO O'HEARE AIRPORT - NIGHT 133 + + Ryan on the PEOPLE MOVER under the ceiling of NEON LIGHTS. + Peaceful music emits from hidden speakers. Ryan walks + briskly past idle riders. + + +134 EXT. RENTAL CAR SATELLITE KIOSK - NIGHT 134 + + Ryan hurriedly signs a hand-held device, hops into a SEDAN + and speeds off. The RENTAL CAR ASSISTANT suddenly realizes + -- + + RENTAL CAR ASSISTANT + Hey, you forgot to give me your + Devotion Club card! + + +135 EXT. RITE-AID - NIGHT 135 + + Ryan exits the automated door with a bag and some flowers. + He pulls out a box of condoms and stuff them in his pocket + and tosses the bag. + + +136 EXT. TOWNHOUSE - CHICAGO SUBURBS - EARLY EVENING 136 + + Ryan steps out of his rental car and approaches the door of + the townhouse, checking the address against a piece of + HOMESTEAD SUITES STATIONARY. + + Ryan stops, knocks, and puts on a smile. + + We hear Footsteps. The door unlocks and opens revealing + ALEX. She's wearing sweatpants and glasses. She's at home. + She looks different. + + RYAN + Surprise. + + But there's something else. Alex is in shock. She's frozen. + + Something's wrong. Ryan's smile begins to melt. + + A man's voice calls from inside. + + MAN'S VOICE (O.C.) + Honey, who's at the door? + 116. + + + A couple kids run by through the background, giggling. A + man chases after them. + + Alex is still speechless. Her eyes are angry and + apologizing all at the same time. + + Ryan just stands there. Emotionally bleeding to death. + + ALEX + (almost inaudible) + What are you doing here? + + Ryan begins to step away. He turns and heads for his car, + dropping the flowers. + + Alex's husband becomes visible just as she's shutting the + door. + + ALEX'S HUSBAND + Who was that? + + ALEX + -- just some guy who was lost. + + Ryan gets in his rental car and drives off. + + +137 EXT. HOMESTEAD SUITES - NIGHT 137 + + We're watching Ryan through his window from far away almost + as if looking through binoculars. He sits on his bed, tie + undone, holding a glass with an inch of scotch on his knee. + + +138 INT. RYAN'S SUITE - HOMESTEAD SUITES - MORNING 138 + + We see quick glimpses of Ryan getting ready. Crappy little + COFFEE MAKER crappily brewing. Crappy hotel BAR OF SOAP + crappily lathering. Crappy HAIR DRYER crappily blowing. + + +139 INT. AIRPORT SHUTTLE - MORNING 139 + + Ryan is on the phone with Alex. + + RYAN + How could you lie to me? + + INTERCUT WITH: + + +140 INT. ALEX'S CAR - DOWNTOWN GARAGE - SAME 140 + 117. + + +Alex sits in the car with the engine running. + + ALEX + How could you just show up at my + door like that? + + RYAN + What do you mean? I wanted to see + you. I didn't know you had a + family, because you never told me. + + ALEX + Come on, I thought we signed up for + the same thing. + + RYAN + Try to help me understand. What is + it you signed up for? + + ALEX + I thought our relationship was + perfectly clear. It's -- + (a long beat) + -- an escape. + + RYAN + I'm an escape? + + ALEX + You know, a break from our normal + lives -- A parenthesis. + + RYAN + I'm a parenthesis? + + ALEX + Seriously, Ryan? I can't believe + we're having this conversation. I + mean what do you want? + +Ryan stumbles on this. What does he want? + + ALEX + You don't even know what you want. + I'm sorry that I ruined your night + -- But you could have seriously + screwed things up for me. That was + my family. That's my real life. + + RYAN + I thought I was a part of your real + life. + 118. + + + ALEX + (sighs) + Look, Ryan. I'm a grown up. I don't + hold a grudge. When you're ready to + be an adult and have fun again, + just give me a call. + + Ryan can't quite believe what he's hearing. There's only + one thing he can do. He hangs up. + + +141 EXT. SKYBRIDGE - MORNING 141 + + Ryan is walking when his phone buzzes. He checks the + DISPLAY - CTC Calling. He presses IGNORE. + + +142 INT. TICKET DESK - CHICAGO O'HAIRE - DAY 142 + + Ryan walks up to the TICKET DESK. He is more lost than + usual. There is something plucky about the TICKET AGENT. + + PLUCKY TICKET AGENT + Welcome back, Mr. Bingham. + + RYAN + Yeah, right, you got me in 2C? + + PLUCKY TICKET AGENT + ‐ + Of course. Left side aisle, non­ + bulkhead. Just like you like it. + What's got you so fucking happy? + + The plucky agent fades a bit, then tries to recompose. + + PLUCKY TICKET AGENT + Your boarding card, Mr. Bingham. + + Ryan takes the ticket and exits. + + +143 INT. BOEING 757 - DAY 143 + + Ryan sits doing nothing. Others around him play Sudoku, + read trashy paperbacks, work on laptops. Ryan just stairs + at the stitching on the seat in front of him. When "Bing" + + PURSER + Ladies and gentlemen, we have a + special announcement to make. + + Passengers look up. + 119. + + + PURSER + Our pilot has just informed me that + we are passing over the city of + Mesa -- which might not mean much + to most of you, but means a lot to + one of our fliers today, because he + just hit FIVE -- MULLION -- MILES - + - + + RYAN + Oh no -- + +The Gershwin theme song for the airline rains down from the +overhead speakers. Passengers clap. Flight attendants +gather at Ryan's seat with big smiles and champagne. + +Ryan doesn't even react. He's just stunned. + +The flight attendants separate just enough for a man in a +bomber jacket to squeeze through. It's Maynard Finch, the +CEO from the commercial. + + MAYNARD FINCH + (to Ryan) + That seat taken? + + RYAN + I, uh -- no. + +Maynard gives a little salute to his flight attendants, +then slides by Ryan to the window seat. + + MAYNARD FINCH + You're the youngest yet to hit five + mil. Don't know where you found the + time -- + (remembers) + Oh right, here you go. + +Maynard pulls out a MEMBERSHIP CARD. It shines as if made +out of platinum. + + MAYNARD FINCH + Seventh card we've made. Small + club. + +It has a pair of wings around "Member Number 7". Ryan holds +it between his fingertips. Catches his own reflection. + + MAYNARD FINCH + We really appreciate your loyalty. + + RYAN + 120. + + + You know how many times I've + thought about this moment? Played + out the conversation I'd have with + you right here. + + MAYNARD FINCH + Really? What did you want to say? + + A long beat. + + RYAN + You know, I -- I can't remember. + + MAYNARD FINCH + That's alright. Happens to all of + us. + (chit chat) + So, where you from? + + Ryan looks at him straight in the face. + + RYAN + I'm from here. + + FADE TO: + + DREAM LIKE TERMINAL + + Ryan's POV of a long PEOPLE MOVER extending into the + distance. Gates pass on either side. There is a translucent + effect on the screen. As if we're looking through glass. + + And then we see why. We turn to see that Ryan is wearing a + WHITE SPACESUIT. Riding the people mover. Briefcase in + hand. + + Spacesuit Ryan steps off the people mover and walks through + the terminal. No one pays him any attention. He's merely + another person lost in Airworld. + + +144 EXT. TERMINAL - NIGHT 144 + + Spacesuit Ryan stands in the taxi line, waiting for a cab. + + +145 INT. TAXI - NIGHT 145 + + Spacesuit Ryan rides in the back of the cab. + + +146 EXT. CTC HEADQUARTERS - NIGHT 146 + 121. + + + The taxi pulls up outside CTC in downtown Omaha. Spacesuit + Ryan steps out. A beat later, he begins to float up. + + He floats up above the cab and begins to climb up floor by + floor. + + He passes his own floor, peering into the empty room. + + He reaches the top of the building and continues to soar + into the air until he is above the entire city of Omaha. + + From afar, we see his tiny white isolated spacesuit + hovering above the Omaha skyline. + + We move back in close. His ascent has seemed to stop. Ryan + measures the world below, when a flight attendant hovers up + into frame next to him. The same one from the beginning of + the film. + + FLIGHT ATTENDANT + Mr. Bingham? I'm afraid it's time + to leave. + + SLAM CUT TO: + + RYAN WAKING UP ON A PLANE + + The plane is sitting at the gate and he's the last guy on. + + The flight attendant stands next to him with a hand on his + shoulder. He starts grabbing his things. + + +147 INT. RYAN'S OFFICE - CTC - NEXT DAY 147 + + Ryan picks up the phone at his desk. He removes his new + FIVE MILLION MILE CARD and dials a number off the back. + + AIRLINE OPERATOR + Hello, Mr. Bingham. + + RYAN + Oh, how did you know it was me? + + AIRLINE OPERATOR + This is your dedicated line. We + reserve them for our most loyal and + appreciated fliers. + + RYAN + Oh. I'd like to transfer some of my + miles. Can you open up an account + under Jim and Julie Miller? + 122. + + + AIRLINE OPERATOR + Certainly. How many miles would you + like to transfer? + + RYAN + How many railee would it take to + circle the globe? + + AIRPORT OPERATOR + We have our "around-the-world" + tickets. They're four hundred + thousand miles each. + + RYAN + Sounds perfect. + +Craig enters Ryan's doorway. + + CRAIG GREGORY + Got a second? + + RYAN + (to the airline operator) + I'm going to have to call you right + back. + +Craig takes a seat across from Ryan. + + CRAIG GREGORY + What happened to you yesterday? I + was trying to reach you all day. + + RYAN + I got tied up in -- personal stuff. + What's going on? + +An uncomfortable beat. + + CRAIG GREGORY + Do you remember Karen Barnes? + +Ryan doesn't. + + CRAIG GREGORY + She was part of a thirty person + reduction a few weeks back in + Wichita. Natalie fired her. + + RYAN + No, I fire dozens of people a day. + + CRAIG GREGORY + 123. + + + She killed herself. Jumped off a + bridge. + + RYAN + Fuck. + + CRAIG GREGORY + (agrees) + Yeah. + (formality) + Do you remember anyone giving you + any signals of anything? + Depression? + + RYAN + They're all depressed. We're firing + them + + CRAIG GREGORY + Hey, look, you know I have to ask. + + RYAN + No, I don't remember anything. Of + course they're upset. You never + think that -- + + CRAIG GREGORY + Wasn't any woman who gave you any + indication -- Anything? + +Ryan remembers her. + + RYAN + No, nothing that stands out. + (a thought) + Is Natalie alright? Is she coming + in? + + CRAIG GREGORY + Natalie quit. + +Ryan isn't surprised. + + RYAN + Just like that? + + CRAIG GREGORY + Text message. + +Ryan stifles a laugh. + + CRAIG GREGORY + 124. + + + Yeah, real fucking nice, right? No + one has manners anymore. + + RYAN + She say where she was going? + + CRAIG GREGORY + Nah. She was pretty upset. + + RYAN + I should give her a call. + + CRAIG GREGORY + (business) + I need you back in the air. + + Ryan doesn't react + + CRAIG GREGORY + Did you hear me? I thought, you'd + be thrilled. + + RYAN + I'm fine. What about video + conferencing? + + CRAIG GREGORY + CTC is paueing on the whole new + media front for a moment. Giving it + a little more thought. Getting our + work horses back out doing what + they do best. + + RYAN + How long are you sending me out? + + CRAIG GREGORY + We're going to let you sail and + Bail. Send us a postcard if you + ever get there. + + Ryan absorbs this. Nods. + + +148 INT. RYAN'S LOFT - OMAHA - DAY 148 + + Ryan packs his roll-away. + + +149 EXT. SUBURBAN HOUSE - DAY 149 + 125. + + + Natalie walks up the driveway, toting her ROLL-AWAY. The + front door opens revealing a husband and wife in their late + fifties. It's NATALIE'S MOM AND DAD. She's moving back in + with her parents. + + Natalie drops her head, embarrassed. They immediately hug + her. For the moment, she's a kid again. + + +150 INT. OMAHA AIRPORT - DAY 150 + + Ryan walks through the automated door. He looks like he did + in the opening of the film.Maybe even wearing the same + clothes. Something is different though. + + RYAN (V.O.) + Tonight, most people will be + welcomed home by jumping dogs and + squealing kids. Their spouses will + ask about their day and tonight + they'll sleep. + + Ryan stops and looks up at a GIANT BOARD OF DESTINATIONS. + An endless list of cities around the world. A menu of new + lives departing every five minutes. + + RYAN (V.O.) + The stars will wheel forth from + their daytime hiding places, + crowning their neighborhood with + lights. + + We look back at Ryan. His еуев lock on one of the cities. + We don't see which one. He makes a mental decision and + turns in the direction of the gate. He lets go of his ROLL- + AWAY. + + RYAN (V.O.) + And one of those lights, slightly + brighter than the rest, will be my + wingtip, passing over, blessing + them. + + Ryan takes a step, but before his foot can land we -- + + CUT TO BLACK + \ No newline at end of file diff --git a/scripts/Vertigo.txt b/scripts/Vertigo.txt new file mode 100644 index 0000000000000000000000000000000000000000..e2494e67b8af42bb1d8dd662f6939cdd7a6400a0 --- /dev/null +++ b/scripts/Vertigo.txt @@ -0,0 +1,7928 @@ + 1. + + + + +1 EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE SHOT 1 + + We see a close view of a roof parapet and the curved rail + of a fire escape. In the bag, are large skyscrapers with + all their windows fully lit in the late winter afternoon. + This background is used for the CREDIT TITLES of the + picture. + + After the last card has FADED OUT, we HOLD on to the empty + parapet, when suddenly a man's hand reaches and grips the + top of the rail. It is followed by another hand and, after + a beat, we see the face of a man in his early 30's. He is + an Italian type, with rough features. He turns quickly and + looks below him and then turning back, springs up over the + empty parapet and is lost from view. We STAY on the EMPTY + SCENE for a second or two as we HEAR the scraping of boots + on the iron ladder. Someone else is coming up. Presently, + two more hands and the head of a uniformed policeman with + cap and badge starts to climb over the parapet. The CAMERA + PULLS BACK so that by the time he has completed his climb, + he is in full figure. He dashes out of the picture drawing + his gun. + + Immediately following him over the parapet, a detective in + plain clothes climbs over. This is JOHN FERGUSON, known as + SCOTTIE. He too pulls a gun and dashes out of the picture. + + +2 EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT 2 + + A vast panorama of the San Francisco skyline. Nearer to us + are three tiny figures running and jumping over the roof + tops. The man on the run, whom we first saw climb over the + parapet, is dressed in a white shirt and light tan linen + slacks, and wearing sneakers. The uniformed man is shooting + at him. Scottie is dressed in medium grey clothes. The + CAMERA SLOWLY PANS the group across the roof tops. + + +3 EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - MED. SHOT 3 + + We now see a short gap between rooftops, with a drop below. + 2. + + + The pursued man makes the leap successfully followed by the + uniformed policeman. Scottie makes the same leap, but + almost trips in taking off and is thrown off balance. He + tries to recover, lands awkwardly on the opposite roof, and + falls forward, prone, with a heavy impact that hurts and + drives tile breath from his body. He tries to rise but + raises his head with a look of pain -- one leg is doubled + up under the other. The tiles give way, and he slides + backwards, and his legs go over the edge of the roof, then + his body. In his daze he grasps at the loose tiles, and as + he goes over the edge he clutches on to the gutter, which + gives way, and he swings off into space, looking down. + + +4 EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE SHOT 4 + + Scottie looking down. + + +5 EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT 5 + + From Scottie's viewpoint, the gap beneath the building and + the ground below. It seems to treble its depth. + + +6 EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSEUP 6 + + Scottie looking down with horror. His eyes close as a wave + of nausea overcomes him. + + +7 EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - MEDIUM SHOT 7 + + In the distance the fleeing criminal. The policeman, seeing + what has happened to Scottie, returns to the slope of the + roof and strains to reach down to Scottie. + + POLICEMAN + Give me your hand! + + +8 EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE UP 8 + + SCOTTIE'S HEAD. His hands grip the edge of the guttering. + + The tips of the fingers of policeman straining to reach + Scottie, are at the top of screen. Scottie begins to open + his grip but stares down, he quickly resumes his grip + looking up hopelessly towards the helping hand. He looks + down again. + + FROM SCOTTIE'S VIEWPOINT - the ground below still a long + way away. + 3. + + +9 EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - MEDIUM SHOT 9 + + The policeman's hand in foreground, his face beyond. + + POLICEMAN + What's the matter with you? Give me + your hand! + + Policeman endeavors to stretch out his hand further. + + +10 EXT. SAN FRANCISCO ROOF TOPS - (DUSK) 10 + + The tiles beneath the policeman's heel begin to give. The + Policeman starts to slide. He claws desperately at the + surface of the roof. + + +11 EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSEUP 11 + + Scottie, his eyes closed. He opens them as he hears a wild + cry. + + +12 EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT 12 + + The policeman falling through space. + + +13 EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSEUP 13 + + Scottie stares down in horror. + + +14 EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT 14 + + The body of the policeman sprawled on the ground below. + + People are running into the alleyway; they stare at the + body, look up to where Scottie is hanging. We see the light + on their upturned faces. And now we hear a police whistle + blown shrilly, again and again. + + Up to this moment the background music has had an + excitement to match the scene, and now it cuts off, + abruptly, leaving on the echo of the police whistle as the + DISSOLVE begins. Then, in the DISSOLVE, we hear the gentle + insistence of Scarlatti played by a chamber orchestra. + + DISSOLVE TO: + 4. + + +15 INT. AN APARTMENT ON RUSSIAN HILL - (LATE AFTERNOON) 15 + + It is fresh, light, and simple, and crowded with books, + phonograph records, pictures. The most striking feature of + the apartment is the view: + + The rising hills of San Francisco framed by a large picture + window. To one side of the window is the owner of the + apartment, MAJORIE WOOD, called MIDGE, at a commercial + drawing table concentrating with professional intensity on + a drawing of a slim, a elongated woman with few features + and fewer clothes. A brassiere sits on a table at Midge's + elbow, and she studies it as she draws. Midge Wood is about + thirty-seven, attractive, straight-forward, well-but- + simply-dressed; she wears glasses but does not whip them an + and off as they do in the movies. The music comes from a + gramophone. The other occupant of the room is Scottie. He + sits in a big chair, with his feet stretched out on an + ottoman and his head far back. There is a drink on a table + nearby. He rouses himself to reach for it, and in doing so + knocks over his walking stick that has been propped against + the chair. He reaches out to catch it, and in the quickness + of trying to keep it from falling, he wrenches his body + around. + + SCOTTIE + Ow!! + + MIDGE + (Paying little attention) + I thought you said no more aches + and pains? + + SCOTTIE + It's this darned corset. It binds. + + He retrieves the stick. + + MIDGE + No three-way stretch? How very un- + chic. + + SCOTTIE + Well, you know those police + department doctors: no sense of + style. + (Sighs gratefully) + Ah, tomorrow! + + MIDGE + What's tomorrow? + + SCOTTIE + 5. + + + Tomorrow ... the corset comes off. + And this thing goes out the window. + (He waves the stick) + I shall be a free man. I shall + wiggle my behind ... free and + unconfined. + +He raises his eyebrows with a surprised and gratified +smile. + +Midge looks over at him with a grimace. + + SCOTTIE + Midge, do you suppose many men wear + corsets? + + MIDGE + More than you think. + + SCOTTIE + (Interested) + How do you know? Personal + experience? + + MIDGE + Please! + (Then, impersonally) + And what happens after tomorrow? + + SCOTTIE + What do you mean? + + MIDGE + What are you going to do? Now that + you've quit the police force? + + SCOTTIE + (Gently) + You sound so disapproving, Midge. + + MIDGE + No, it's your life. But you were + the bright young lawyer who decided + he was going to be chief of police + some day. + + SCOTTIE + (Gently) + I had to quit, Midge. + + MIDGE + Why? + 6. + + + SCOTTIE + I wake up at night seeing him fall + from the roof ... and try to reach + out for him. + + MIDGE + It wasn't your fault. + + SCOTTIE + I know. Everybody tells me. + + MIDGE + Johnny, the doctors explained -- + + SCOTTIE + I know. I have Acrophobia. What a + disease. A fear of heights. And + what a moment to find out I had it. + + MIDGE + Well, you've got it. And there's no + losing it. And there's no one to + blame. So why quit? + + SCOTTIE + And sit behind a desk? Chairborne? + + MIDGE + It's where you belong. + + SCOTTIE + (With a grin) + Not with my Acrophobia, Midge. If I + dropped a pencil on the floor and + bent down to pick it up, it could + be disastrous! + + MIDGE + (Laughs) + Ah, Johnny-O .... + +She considers him for a moment, then goes back to her work. + +By now he is up and wandering about with the help of the +stick. + + MIDGE + (Finally, as she works) + Well? ... what'll you do? + + SCOTTIE + 7. + + + Nothing for a while. You forget, + I'm a man of independent means. Or + fairly independent. + + MIDGE + Mmm. Why don't you go away for a + while? + + SCOTTIE + (Grins) + To forget? Don't be so motherly, + Midge. I'm not going to crack up. + + MIDGE + Have you had any dizzy spells this + week? + + SCOTTIE + I'm having one now. + +She looks up sharply with quick apprehension. + + SCOTTIE + From that music. + + MIDGE + Oh! + +She goes and turns off the gramophone. Scottie has wandered +over to the drawing table. + + SCOTTIE + What's this do-hickey here? + +He turns the brassiere over with his stick + + MIDGE + It's a brassiere. You know about + those things. You're a big boy, + now. + + SCOTTIE + I've never run across one like + that. + + MIDGE + It's brand new. Revolutionary + uplift. No shoulder straps, no back + straps, but does everything a + brassiere should do. It works on + the principle of the cantilever + bridge. + 8. + + + SCOTTIE + (Impressed) + Uh-huh! + + MIDGE + An aircraft engineer down the + peninsula designed it. He worked it + out in his spare time. + + SCOTTIE + What a pleasant hobby. + +He wanders back to the chair and watches her work for a +long moment. Then: + + SCOTTIE + How's your love life, Midge? + + MIDGE + That's following a train of + thought. + + SCOTTIE + Well? + + MIDGE + Normal. + + SCOTTIE + Aren't you ever going to get + married? + + MIDGE + (Lightly) + You know there's only one man in + the world for me, Johnny-O. + + SCOTTIE + Yeah, I'm a brute. We were engaged + once though, weren't we? + + MIDGE + Three whole weeks. + + SCOTTIE + Ah, sweet college days. But you're + the one who blew it. I'm still + available. Available Ferguson. Say, + Midge, do you remember a guy at + college named Gavin Elster? + + MIDGE + 9. + + +Gavin? Gavin Elster? You'd think +I'd would. No. + + SCOTTIE +I got a call from him today. Funny. +He dropped out of sight during the +war, and I'd heard he'd gone East. +I guess he's back. + (he fishes out a slip of + paper) +It's a Mission number. + + MIDGE +That's Skid Row ... isn't it? + + SCOTTIE +Could be. + + MIDGE +He's probably on the bum and wants +to touch you for the price of a +drink. + + SCOTTIE +Well, I'm on the bum; I'll buy him +a couple of drinks and tell him my +troubles. But not tonight. If you +won't drink with me, I'll drink +alone, tonight. + (He rises to go) + + MIDGE +Sorry, old man. Work. + + SCOTTIE +Midge, what did you mean, there's +no losing it? + + MIDGE +What. + + SCOTTIE +My ... the acrophobia. + + MIDGE +I asked my doctor. He said only +another emotional shock could do +it, and probably wouldn't. And +you're not going to go diving off +another rooftop to find out. + + SCOTTIE +I think I can lick it. + 10. + + + MIDGE + How? + + SCOTTIE + I've got a theory. Look. If I can + get used to heights just a little + at a time ... progressively see? + +He has been looking about eagerly, sees a low footstool, +drags it to the center of the room as he speaks. + + SCOTTIE + Here, I'll show you what I mean. + We'll start with this. + + MIDGE + That!?! + + SCOTTIE + What do you want me to start with - + - the Golden Gate Bridge? + +He has stepped up on the footstool and stands there proudly +looking up and down. + + SCOTTIE + Now. I look up, I look down. I look + up, I look down. Nothing to it. + + MIDGE + (Overlapping) + Stop kidding. Wait a minute. + +She dashes to the kitchen, returns quickly with a small +aluminum household ladder. + + SCOTTIE + Ah, that's my girl! Here? + +He steps on the first step. + + MIDGE + Step number two. + + SCOTTIE + Okay. + +He gets up on the second step and goes through the routine +. + + SCOTTIE + 11. + + + I look up, I look down. I look up, + I look down. I'm going to go right + out and buy me a nice, tall + stepladder. Here we go. + + He gets on the top step. + + MIDGE + Easy, now. + + SCOTTIE + This is a cinch. I look up, I look + down. I look up -- + + And at this moment he makes the mistake of turning and + looking out through the picture window. + + FROM SCOTTIE'S VIEWPOINT + + We see the depth down to the street below the window. The + whole picture begins to weave. + + +16 INT. MIDGE'S APARTMENT - (LATE AFTERNOON) - CLOSEUP 16 + + of Scottie -- expression of nausea. + + +17 FROM SCOTTIE'S VIEW POINT - LONG SHOT 17 + + The weaving view changes to the original scene where the + ground receded in a rush and the body of the policeman fell + into space. + + +18 INT. MIDGE'S APARTMENT - (LATE AFTERNOON) - MEDIUM CLOSE 18 + SHOT + + Scottie's face distorted with agony -- his eyes close and + he begins to slump. CAMERA PULLS BACK SLIGHTLY as Midge now + comes into shot, putting up her hands to him to hold him, + and his weight is on her and his head is slumped, and the + joke is over. + + MIDGE + Johnny! + + SCOTTIE + (Muttering, his face + tight, his eyes shut) + Oh, damn it! Damn it, damn it -- + + DISSOLVE: + 12. + + +19 EXT. A SHIPYARD - (DAY) - LONG SHOT 19 + + Boats up an ways, men swarming over, cranes moving. At the + gate, Scottie has paused to speak to the gateman. The + gateman indicates a building in the distance, Scottie nods, + goes past him, starts across the shipyard toward the + building. + + DISSOLVE TO: + + +20 INT. GAVIN ELSTER'S OFFICE - (DAY) 20 + + A well-appointed office with a large window looking out + upon a busy shipyard. There are a couple of models of + modern freighters in glass cases, but more important, on + the walls are many framed prints and posters and maps + relating to early California history; some from the Mexican + days, many from the Gold Rush days, many of San Francisco + in the Seventies and Eighties. Behind the desk sits Gavin + Elster, a man about Scottie's age, huskily built, slightly + balding, with cool, watchful eyes. He is beautifully + tailored, and gives the sense of a man who relishes money + and knows how to use it. + + He sits quietly watching Scottie, who stands staring out + the window at the activity of the shipyard. After a long + moment: + + SCOTTIE + How'd you get into the shipbuilding + business, Gavin? + + ELSTER + I married into it. + + Scottie shoots him a small surprised smile of approval at + his frankness, then looks out the window again. + + SCOTTIE + Interesting business. + + ELSTER + No, to be honest, I find it dull. + + SCOTTIE + You don't have to do it for a + living. + + ELSTER + 13. + + + No. But one assumes obligations. My + wife's family is all gone; someone + has to look after her interest. Her + father's partner runs the company + yard in the East -- Baltimore -- so + I decided as long as I had to work + at it, I'd come back here. I've + always liked it here. + + SCOTTIE + How long have you been back? + + ELSTER + Almost a year. + + SCOTTIE + And you like it. + + ELSTER + San Francisco's changed. The things + a that spell San Francisco to me + are disappearing fast. + +Scottie smiles at the old prints on the wall. + + SCOTTIE + Like all this. + + ELSTER + (Nodding) + I'd like to have lived here then. + The color and excitement ... the + power ... the freedom. + +Though be does not stress the word, the way be lingers +softly on the word "Freedom" makes Scottie look over at him +again. + +Elster looks up and smiles companionably. + + ELSTER + Shouldn't you be sitting down? + + SCOTTIE + No, I'm all right. + + ELSTER + I was sorry to read about that + thing in the papers. + (No answer) + And you've quit the force. + (Scottie nods) + A permanent physical disability? + 14. + + + SCOTTIE + No, Acrophobia isn't a crippling + thing. It just means I can't climb + steep stairs or go to high places, + like the bar at the Top-of-the- + Mark. But -- + (Shrugs and smiles) + -- there are plenty of street-level + bars In this town. + +Elster considers the top of his desk for a moment, then +looks up. + + ELSTER + Would you like a drink now? + + SCOTTIE + No ... no, thanks. A bit early in + the day for spirits. + (Pause) + Well, I guess that about covers + everything, doesn't it? I never + married; I don't see much of the + "old college gang"; I'm a retired + detective -- and you're in the + shipbuilding business. + + SCOTTIE + (Pause) + What's on your mind, Gavin? + +A moment, than Elster rises from the desk casually, wanders +across the room, looks out the window, gets out a +handkerchief and blows his nose prosaically, finally turns +and regards Scottie coolly and directly for a long moment. + + ELSTER + I asked you to come up here, + Scottie, knowing that you had quit + detective works, but I wondered + whether you would go back on the + job -- as a special favor to me. + +Scottie looks at him questioningly. + + ELSTER + I want you to follow my wife. + +Scottie does not change expression, and yet one can sense +the feeling of anti-climax within him, and the almost +imperceptible small cynical smile deep behind his eyes. + + ELSTER + 15. + + + Not what you think. We're very + happily married. + + SCOTTIE + Then? + + ELSTER + I'm afraid some harm may come to + her. + + SCOTTIE + From whom? + + ELSTER + Someone dead. + +Scottie waits. + + ELSTER + Scottie, do you believe that + someone out of the past, someone + dead, can enter and take possession + of a living being? + + SCOTTIE + No. + + ELSTER + If I told you I believe that his + happened to my wife, what would you + say? + + SCOTTIE + I'd say you'd better take her to + the nearest psychiatrist, + psychologist, neurologist, + psychoanalyst, or plain family + doctor. And have him check you + both. + + ELSTER + (Defeated) + Then you're of no use to me. I'm + sorry I wasted your time. Thank you + for coming in, Scottie. + +Seattle rises to go, awkwardly, puzzled, a bit apologetic. + + SCOTTIE + I didn't mean to be that rough. + + ELSTER + 16. + + + No, it sounds idiotic, I know. And + you're still the hard-headed Scot, + aren't you? Always were. Do you + think I'm making it up? + + SCOTTIE + No. + + ELSTER + I'm not making it up. I wouldn't + know how. She'll be talking to me + about something, nothing at all, + and suddenly the words fade into + silence and a cloud comes into her + eyes and they go blank ... and she + is somewhere else, away from me ... + someone I don't know. I call to her + and she doesn't hear. And then with + a long sigh she is back, and looks + at me brightly, and doesn't know + she's been away ... can't tell me + where ... or why... + + SCOTTIE + How often does this happen? + + ELSTER + More and more in the past few + weeks. And she wanders. God knows + where she wanders. I followed her + one day. + + SCOTTIE + Where'd she go? + +Elster almost ignores the question as he looks back to the +day. + + ELSTER + Watched her come out of the + apartment, someone I didn't know + ... walking in a different way ... + holding her head in a way I didn't + know; and get into her car, and + drive out to... + (He smiles grimly) + 17. + + +Golden Gate Park. Five miles. She +sat on a bench at the edge of the +lake and stared across the water to +the old pillars that stand an the +far shore, the Portals of the Past. +Sat there a long time, not moving +... and I had to leave, to got to +the office. That evening, when I +came home, I asked what she'd done +all day. She said she'd driven to +Golden Gate Park and sat by the +lake. That's all. + + SCOTTIE +Well? + + ELSTER +The speedometer of her car showed +she had driven 94 miles that day. +Where did she go? + (Pause) +I have to know, Scottie. Where she +goes and what she does, before I +got involved with doctors. + + SCOTTIE +Have you talked to the doctors at +all? + + ELSTER +Yes, but carefully. I'd want to +know more before committing her to +that kind of care. + (Anxiously) +Scottie -- + + SCOTTIE + (Quickly) +I can got you a firm of private +eyes to follow her for you. They're +dependable, good boys -- + + ELSTER + (Breaking in) +I want you. + + SCOTTIE +It's not my line. + + ELSTER +Scottie, I need a friend! Someone I +can trust! I'm in a panic about +this! + 18. + + + Long pause. + + SCOTTIE + How can I see her, to know her? + + ELSTER + We're going to an opening at the + opera tonight. We'll dine at + Ernie's first. Which is easier? + + SCOTTIE + Ernie's. + + ELSTER + All right. + (Pause) + You won't know what to look for at + first, Scottie. Even I, who know + her so well, cannot tell, + sometimes, when the change has + begun. She looks so lovely and + normal... + + The last part of this speech carries through the dissolve. + + DISSOLVE TO: + + +21 INT. ERNIE'S RESTAURANT - (NIGHT) 21 + + We are in the upstairs room that, in mood and decor, takes + us back to Bonanza Days. This is the way San Francisco was. + + Scottie is at the bar, turned a little so that he faces + into the dining room, and as he drinks his eyes search the + room slowly, carefully. + + The CAMERA SEARCHES with him, passing over the many well- + dressed women, until it comes to rest on a table for two + against the far wall. Gavin Elster is seated there, dining + with his wife. Scottie cannot get a clear look at her. She + is turned slightly away from him, and when she does turn + her head in his direction there always seems to be a waiter + passing to block the view. And during all of this we hear + Elster's voice, continuing from the previous scene. + + ELSTER'S VOICE + 19. + + + But I realize now that the deep + change began on the first day I + brought her to San Francisco. You + know what San Francisco does to + people who have never seen it + before. All of it happened to + Madeleine, but with such an + intensity as to be almost + frightening. She was like a child + came home. Everything about the + city excited her: she had to walk + all the hills, explore the edge of + the ocean, see all the old houses + and wander the old streets: and + when she came upon something + unchanged, something that was as it + had been, her delight was so strong + so fiercely possessive! These + things were hers. And yet she had + never been here before. She had + been born and raised in the East. I + liked it at first, of course. I + love this place; I wanted my bride + to love it. But then it began to + make me uneasy. Her delight was too + strong; her excitement was too + intense, it never faded; her laugh + was too loud, her eyes sparkled too + brightly; there was something + feverish about the way she embraced + the city. She possessed it. And + then one day she changed again ... + and a great sigh settled on her, + and the cloud came into her + eyes.... + +Now Gavin Elster has signed the check, and he and his wife +rise and start for the door. Scottie still cannot get an +unobstructed view of her face, but we can see in flashes +that she is young, in her twenties, with a mobile, +attractive face and gentle eyes that have warmth and +intelligence and humor. + +Scottie is intent on her. At the doorway to the bar, only +two feet from him, she stops and waits as her husband +pauses behind her to speak to the headwaiter and thank him +and tip him. She looks about calmly, with sure, distant +repose. + +Her eyes come to rest an Scottie for a moment, then move an +with the small smile. + 20. + + + During all of the above, Elster's voice has gone on, + without pauses, and his narration ends as the girl, + Madeleine, comes to a stop near Scottie and waits. + + ELSTER'S VOICE + I don't know what happened that + day: where she went, what she saw, + what she did. But on that day, the + search was ended. She had found + what she was looking for, she had + Game home. And something in the + city possessed her. + + As Scottie stares at harp their eyes meet for a moment, and + he turns to reach for his drink. When he turns back, she is + gone. He looks about, slightly startled, then catches a + glimpse of her as she turns the corner of the. upstairs + lobby. His eyes grow thoughtful, and glow with the memory + of her face. + + DISSOLVE TO: + + +22 EXT. BROCKLEBANK APARTMENTS - (DAY) - SEMI-CLOSEUP 22 + + Scottie, seated in his car, a light grey sedan, is reading + the morning paper. The car radio is going and we hear + conventional disc jockey music. He glances out through his + windshield. + + +23 BROCKLEBANK APTS. - (DAY) - LONG SHOT FROM HIS POV 23 + + We see a large block of apartments with a stone pillared + entrance and a small car parked inside. Beyond it is the + door into the apartment building itself. There is no + activity but for one businessman who emerges on foot and + makes his way out. + + +24 INT. AUTOMOBILE - (DAY) - CLOSEUP SCOTTIE 24 + + He resumes his reading but does not Concentrate. His eyes + go back to the apartment house. + + +25 EXT. BLOCKLEBANK APTS. - (DAY) - SEMI-LONG SHOT 25 + + A slightly nearer view but still outside the stone entrance + of the apartment house, we see the main entrance beyond. + For some time, there is no activity at all - perhaps for a + quarter of a minute or so. Suddenly, we see Gavin's wife, + MADELEINE, appear. + 21. + + + She is dressed in a smart light grey tailored suit. She + stands for a moment looking about her. + + +26 INT. AUTOMOBILE (DAY) - SEMI-CLOSEUP 26 + + Scottie thrusts the paper aside and turns off the radio. He + starts his car. + + +27 EXT. BROCKLEBANK APTS. - (DAY) - SEMI-LONG SHOT - FROM HIS 27 + VIEWPOINT + + We see Madeleine crossing the small courtyard to a pale + green Jaguar. She stands for a moment, opens her handbag + and takes out her car keys. She gets in the car. + + +28 EXT. BROCKLEBANK APTS. - (DAY) - MEDIUM SHOT 28 + + Scottie begins to turn his car away gently from the + curbstone. + + +29 EXT. BROCKLEBANK APTS. - (DAY) - SEMI-LONG SHOT FROM HIS 29 + VIEWPOINT + + Madeleine's car pulls out and turns down the side street. + + +30 INT. SCOTTIE'S CAR - SEMI-CLOSEUP 30 + + We see him pull away, looking intently ahead. + + +31 EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-LONG SHOT 31 + + Through the windshield over the hood of his car, we see the + pale green Jaguar moving ahead of him, but the speed is + quite casual and not too fast. + + +32 INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP 32 + + Scottie watching ahead. + + +33 EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-CLOSEUP 33 + + Through the windshield we see the green Jaguar turn the + corner and go down another street. + 22. + + +34 INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP 34 + + Scottie taking the same corner as we see him turn the + wheel. + + LAP DISSOLVE TO: + + +35 INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP 35 + + Scottie anxiously looking ahead, fearing he might miss her. + + +36 EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-LONG SHOT 36 + + The green car slows up and begins to make a left-hand turn + (or right-hand). The two cars in front of Scottie's are + able to pull out and pass the green car. We see the green + car turn up an alleyway. + + +37 INT. SCOTTIE'S CAR - SEMI-CLOSEUP 37 + + Scottie's expression changes a little, surprised at the + sudden turn-off. + + +38 EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-LONG SHOT 38 + + In the left f.g., we see a large flower shop and beyond, at + the corner of the side alleyway, another store. We see the + grey sedan turn in. + + +39 EXT. STREET, SAN FRANCISCO - (DAY) - SEMI-LONG SHOT 39 + SHOOTING DOWN THE ALLEYWAY + + The grey sedan comes into the f.g. on the right, while + further down the street, we see the green Jaguar coming to + a stop outside a dingy doorway. + + +40 INT. SCOTTIE'S CAR - SEMI-CLOSEUP 40 + + We see Scottie looking out of his window, looking down the + street. + + +41 EXT. ALLEYWAY - SEMI-LONG SHOT - FROM HIS VIEW P0INT 41 + + We see Madeleine get out of the Jaguar and pass through a + rather decrepit-looking door. + 23. + + +42 EXT. ALLEYWAY - (DAY) - SEMI-LONG SHOT 42 + + Scottie alights from his car and we see him make his way + down the alley towards the Jaguar. + + +43 EXT. ALLEYWAY - MEDIUM SHOT 43 + + The CAMERA PANS Scottie past the Jaguar as he cautiously + enters the doorway. + + +44 INT. DARK PASSAGE - (DAY) - MEDIUM SHOT 44 + + We see Scottie making his way down this passage. He reaches + a door at the end. + + +45 INT. DARK PASSAGE - (DAY) SEMI-CLOSEUP - SHOOTING OVER 45 + SCOTTIE'S SHOULDER + + He gently pushes open the door. We see beyond him the + bright lights and back part of the flower shop. + + +46 INT. FLOWER SHOP - (DAY) - CLOSEUP 46 + + Scottie's surprised expression, as he peers through the + partially open door. Suddenly, he catches sight of: + + +47 INT. FLOWER SHOP - (DAY) - MEDIUM SHOT 47 + + Madeleine is talking to one of the assistants, making some + inquiry. The assistant, who seems to know her, nods with a + smile and goes off to the side of the store. Madeleine + waits and begins to turn, looking around the store. She + approaches camera until she is again in profile - just as + she was in Ernie's Restaurant when Scottie first saw her. + + +48 INT. FLOWER SHOP - CLOSEUP - SCOTTIE 48 + + Cautiously narrows the opening of the door. + + +49 INT. FLOWER SH0P - (DAY) - MEDIUM SHOT 49 + + The female assistant returns. She is carrying a small + nosegay of flowers. Madeleine nods her approval and, as the + assistant returns, we see Madeleine indicate she will take + it as it is. Madeleine begins to open her purse as the + assistant starts to write out the bill. + 24. + + +50 INT. FLOWER SHOP - (DAY) - CLOSEUP SCOTTIE 50 + + Cautiously, closes the door. + + +51 INT. PASSAGE - (DAY) - SEMI-LONG SHOT 51 + + We see Scottie retreating from the door and hastening down + the passage towards the CAMERA. He goes out left and as he + opens the door into the alleyway, the daylight streams in + for a moment. + + +52 EXT. ALLEYWAY - (DAY) - MEDIUM SHOT 52 + + Scottie emerges from the doorway, passing the green Jaguar. + + We are far enough away to see the sign over the doorway, + which tells us that it is the rear entrance to the flower + shop, for customers' parking. + + +53 EXT. ALLEYWAY - (DAY) - LONG SHOT 53 + + Scottie comes from the Jaguar across the alleyway to where + his own car is standing. He gets in. After a moment or two, + we see Madeleine emerge in the distance and get into the + Jaguar, carrying the nosegay. There is a sound of the + starter, and immediately, she is on her way. In the f.g., + the grey sedan moves off at a cautious distance behind. + + LAP DISSOLVE: + INT. SCOTTIE'S CAR - + (DAY) + - MEDIUM SHOT + + We see Scottie driving, looking ahead. + + +54 EXT. DOLORES AVENUE - (DAY) - LONG SHOT 54 + + The green Jaguar driving ahead down the wide Dolores + Avenue. + + It presently comes to a stop outside the Mission. We see + Madeleine quickly get out. Scottie's car enters the picture + and begins to slow up. + + +55 INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP 55 + + As he watches ahead, he slowly brings his car to a stop. + 25. + + +56 EXT. DOLORES AVENUE - (DAY) - MEDIUM SHOT 56 + + In the f.g., is the grey sedan. Scottie emerges and, + slamming his car door shut, makes his way to the door + opposite which the green Jaguar is parked. + + +57 EXT. DOLORES MISSION - (DAY) - LONG SHOT 57 + + We now see for the first time the facade of the old Mission + Dolores. Scottie enters the picture from the right and + makes his way to the small dark, open doorway. + + +58 EXT. MISSION DOLORES - (DAY) - MEDIUM SHOT 58 + + Scottie passes through the small doorway. On the wall + nearby, we get a quick glimpse of the plaque announcing the + date of the establishment of the Mission. + + +59 INT. MISSION DOLORES - (DAY) - MEDIUM SHOT 59 + + We see Scottie come through the door and towards the + CAMERA. + + He comes to a stop in CLOSEUP. + + +60 INT. MISSION DOLORES - (DAY) - LONG SHOT 60 + + From his viewpoint, we see the center aisle and, in the + distance, the altar of the old Mission. It is very dark + except for the strong light around the altar. The church is + completely empty. + + +61 INT. MISSION DOLORES - (DAY) - SEMI-CLOSEUP 61 + + Scottie half-turns as though to retrace his steps, them he + looks back again and leans to one side slightly. + + +62 INT. MISSION DOLORES - (DAY) - LONG SHOT 62 + + Shooting on a slightly different angle, we see there is a + small door at the far end at the right-hand side of the + altar. It is slowly closing. + + +63 INT. MISSION DOLORES - (DAY) - CLOSEUP 63 + + Scottie immediately comes forward and exits the picture. + 26. + + +64 INT. MISSION DOLORES - (DAY) - LONG SHOT 64 + + Scottie enters the f.g., and we see him hasten up the aisle + towards the altar. + + +65 INT. MISSION DOLORES - (DAY) - SEMI-LONG SHOT 65 + + We are much nearer to the altar. Scottie enters the picture + on the right and makes his way quickly towards the little + side door. As he opens it, a Shaft of bright sunlight comes + into the church. + + +66 EXT. GRAVEYARD - (DAY) - CLOSEUP 66 + + We see Scottie emerge from the church coming towards the + CAMERA, which DOLLIES BACK with him. + + +67 EXT. GRAVEYARD - (DAY) - MEDIUM SHOT 67 + + From his viewpoint, the CAMERA TURNS the corner and makes + its way toward a small gateway in a wall. The CAMERA starts + to go through. + + +68 EXT. GRAVEYARD - (DAY) - CLOSEUP 68 + + Scottie coming through the gateway. + + +69 EXT. GRAVEYARD - (DAY) - LONG SHOT 69 + + The CAMERA MOVES ACROSS the graveyard, and in the distance, + we see Madeleine gazing down at a headstone, the posy still + clutched in her hands. + + +70 EXT. GRAVEYARD - (DAY) - CLOSEUP 70 + + Scottie looking towards Madeleine with an expression of + slight surprise. He starts off out of the picture to the + right. + + +71 EXT. GRAVEYARD - (DAY) - LONG SHOT 71 + + We see Scottie making his way down the side of the + graveyard, with the Mission Church behind him. The CAMERA + PANS him all the way round to a position towards Madeleine. + He disappears from view. + 27. + + +72 EXT. GRAVEYARD - (DAY) - SEMI-LONG SHOT 72 + + The CAMERA PANS Scottie past Madeleine and he takes up a + position behind a grotto where he can observe her. + + +73 EXT. GRAVEYARD - (DAY) - SEMI-CLOSEUP 73 + + Scottie watching Madeleine. + + +74 EXT. GRAVEYARD - (DAY) - SEMI-LONG SHOT 74 + + Through the foliage, from his viewpoint, we see the back + view of Madeleine, her head bent down, still looking at the + grave. + + She starts to turn. + + +75 EXT. GRAVEYARD - SEMI-CLOSEUP 75 + + Scottie cautiously steps back a little. + + +76 EXT. GRAVEYARD (DAY) - MEDIUM SHOT 76 + + The CAMERA watching the corner of the grotto for a moment. + + Nothing happens, then we hear a few steps and Madeleine + comes into view still carrying the posy of flowers. She is + walking very slowly. She comes to a stop opposite Scottie - + until she is in full profile. She opens her purse and takes + out a small handkerchief, than she moves on around the path + towards the exit. + + +77 EXT. GRAVEYARD - (DAY) SEMI-CLOSEUP 77 + + Scottie is watching bar depart. + + +78 EXT. GRAVEYARD - (DAY) SEMI-LONG SHOT 78 + + Madeleine approaches a small door at the side of the + mission Church. She goes in. + + +79 EXT. GRAVEYARD - (DAY) - MEDIUM SHOT 79 + + We see Scottie hasten round from his hiding-place a back to + the headstone, where Madeleine had been standing. + 28. + + +80 EXT. GRAVEYARD - (DAY) - MEDIUM SHOT 80 + + Scottie quickly takes an envelope from his pocket and also + takes out a pencil. He starts to write down something as he + looks at the headstone. + + +81 EXT. GRAVEYARD - (DAY) - CLOSEUP 81 + + INSERT - The name on the headstone reads: Carlotta Valdes. + + Born December 3. 1831. Died March 5, 1857. + + +82 EXT. GRAVEYARD - (DAY) - MEDIUM SHOT 82 + + We see Scottie hurry from the grave towards the exit door. + + The CAMERA PANS with him. + + DISSOLVE TO: + + +83 INT. SCOTTIE'S CAR - (DAY) - SEMI-CLOSEUP 83 + + Once more his eyes are on the road ahead, as he follows + Madeleine. + + +84 EXT. MARKET STREET - (DAY) 84 + + We see the green Jaguar come out of l6th Street and cross + Market Street and start to ascend the hill. + + +85 EXT. SAN FRANCISCO STREET - (DAY) 85 + + We see both cars, one behind the other, moving uphill. + + LAP DISSOLVE TO: + + +86 EXT. ENTRANCE TO LINCOLN PARK - (DAY) 86 + + The two cars move along the road through the entrance, + between the trees, and the Jaguar draws up before the + Palace of the Legion of Honor. Scottie continues past as + Madeleine gets out of her car and walks through the + courtyard to the entrance to the art gallery. Scottie parks + his car farther along, and follows her in. + + LAP DISSOLVE TO: + 29. + + + INT. ART GALLERY - + (AFTERNOON) + - LONG SHOT + + Shooting through the foreground columns we see the gallery, + soft lit from the top, completely empty, save for one + person. + + It is Madeleine. She is seated on the small wooden bench at + the far end. Her head is tilted in the upward direction, + gazing at a large portrait. Slowly we see Scottie coming to + the left f.g. He watches her for a moment and then with a + carefully quiet stop, moves into the gallery and starts to + examine the pictures. + + +87 INT. GALLERY - (AFTERNOON) - SEMI-CLOSEUP 87 + + The CAMERA SHOOTING on the back of Scottie, TRAVELS, with + him as he pretends to look at the pictures on the wall. He + barely stops at each one. Now and again he half furtively + glances over his shoulder. Finally the CAMERA COMES TO A + STOP. Scottie cautiously turns around and looks across the + room. + + +88 INT. GALLERY - (AFTERNOON) - SEMI-LONG SHOT 88 + + From his viewpoint we get a complete picture of what he + sees. + + The back view of Madeleine, seated on the polished wooden + bench, her right band is holding the nasegay, and beyond + her a three-quarter length portrait of a beautiful blonde + woman, dressed in 19th century costume. She seems to be + looking down with an enigmatic smile. + + +89 INT. GALLERY - (AFTERNOON) - CLOSEUP 89 + + Scottie's eye catches sight of: + + +90 INT. GALLERY - (AFTERNOON) - CLOSEUP 90 + + The nosegay resting in Madeleine's hand on the polished + wood seat. The CAMERA SLOWLY PANS UP and MOVES IN to a part + of the picture. It comes to rest on a nosegay held in the + woman's hands. + + +91 INT. GALLERY - (AFTERNOON) - CLOSEUP 91 + 30. + + + Scottie's expression does not change. His eyes move to + something else. + + +92 INT. GALLERY - (AFTERNOON) - CLOSEUP 92 + + SHOOTING on the back of Madeleine, we see her head and + shoulders only. The CAMERA MOVES IN until her bum of blonde + hair fills the screen. The CAMERA PANS up until we see the + head and shoulders of the woman in the portrait. She is + wearing a distinctive diamond pendant necklace. Then the + CAMERA SLOWLY MOVES IN and concentrate its attention at a + bun of hair resting on the nape of her neck. + + +93 INT. GALLERY - (AFTERNOON) - CLOSEUP 93 + + Scottie's eyes turn thoughtfully at the memory of his + conversation with Gavin. He looks up again. + + +94 INT. GALLERY - (AFTERNOON) - SEMI-CLOSEUP 94 + + Again, the enigmatic look of the woman wearing the diamond + pendant necklace. It seems as though she is almost looking + at Scottie. + + +95 INT. GALLERY - (AFTERNOON) - SEMI-CLOSEUP 95 + + Scottie turns and makes his way carefully back down the + gallery. + + +96 INT. GALLERY - (AFTERNOON) - SEMI-LONG SHOT 96 + + THE CAMERA is now back in its original position, beyond the + columns of the entrance to the room. We see Scottie coming + down toward the CAMERA. As he comes to us in CLOSER SHOT, + we see him beckon to somebody off screen. + + +97 INT. GALLERY - (AFTERNOON) - MEDIUM SHOT 97 + + A male attendant is coming over towards the CAMERA. He goes + out of the picture. + + +98 INT. GALLERY - (AFTERNOON) - MEDIUM SHOT 98 + + He comes to where Scottie awaits him. Scottie asks in a low + voice: + 31. + + + SCOTTIE + (Nodding in the direction + of the gallery) + Who is the woman in the portrait? + + The Attendant turns his head. + + SCOTTIE + The one where the lady is sitting. + + ATTENDANT + Oh, that's Carlotta, sir. + (At Scottie's reaction) + You'll find it in the catalogue: + "Portrait of Carlotta." + + Scottie nods his thanks as the attendant hands him a + catalogue. Scottie then turns back and looks into the room. + + The CAMERA MOVES IN past him, so that once more we are left + alone with Madeleine seated, still looking at the portrait. + + LAP DISSOLVE: + + +99 EXT. ART GALLERY - (AFTERNOON) - MEDIUM SHOT 99 + + In the f.g., Scottie is seated in his grey sedan. We see + beyond him in the distance, the green Jaguar and the back- + lit columns of the gallery courtyard. Presently, the small + figure of Madeleine appears. She gets into her car and + starts to drive off. Scottie starts up his engine. His car + moves across the screen. + + DISSOLVE TO: + + +100 EXT. A SAN FRANCISCO STREET - (DAY) 100 + + The two cars moving along through a poorer section of San + Francisco. We see that the houses - many large - are all of + wood, shabby, run-down, some almost derelict. The + occasional front yard is uncared for; the few people on the + street are cheaply dressed. There is a meanness of + atmosphere. + + +101 EXT. MCKITTRICK HOTEL - (DAY) - LONG SHOT 101 + 32. + + + The green Jaguar comes to a stop outside a large house, + which has seen grander days. Obviously an old San Francisco + residence, it is now become an apartment hotel. A long + flight of steps from the street, leads to the front door, + which has a semicircular canopy supported by columns. + + Madeleine gets out and ascends the stairs toward the hotel + entrance; she is still carrying the posy of flowers. + + +102 EXT. MCKITTRICK HOTEL - (DAY) - SEMI-LONG SHOT 102 + + Scottie's car pulls into the curb. He gets out and stands + on the sidewalk and looks ahead of him. He walks forward + out of the picture. + + +103 EXT. MCKITTRICK HOTEL - (DAY) - SEMI-LONG SHOT 103 + + We see Scottie walking along the sidewalk casually. The + green car is at the curb at the left of the stairs to the + hotel. He strolls up until he reaches the green car. + + +104 EXT. MCKITTRICK HOTEL - (DAY) - MEDIUM SHOT 104 + + SHOOTING over the green car, we see Scottie hovering around + the bottom of the steps. There is no sign of Madeleine. She + has obviously gone in by this time. Scottie turns and + examines the facade of the hotel and over his shoulder, the + CAMERA PANS up over the building where we see the name, in + worn black lettering under the top cornice. + + +105 EXT. MCKITTRICK HOTEL - (DAY) - CLOSEUP 105 + + Scottie turns away from the hotel and glances in the + direction of the car. He then turns and ponders what his + next move should be. No looks back at the hotel. Suddenly, + his eye catches sight of something. He hastens over to + conceal himself by the entrance wall, the CAMERA PANNING + him. + + His eyes go up again. + + +106 EXT. MCKITTRICK HOTEL - (DAY) - LONG SHOT 106 + + From his viewpoint, we see Madeleine appear in the corner + second storey window. She is glancing out casually, as she + takes off the jacket of her suit. She turns into the room + again. + 33. + + +107 EXT. MCKITTRICK HOTEL - (DAY) - CLOSEUP 107 + + Scottie is really puzzled by this appearance. He thinks for + a while and then, making up his mind, starts to go up the + steps, the CAMERA PANNING him. We see him reach the top + stop and make for the front door. + + +108 EXT. MCKITTRICK HOTEL - (DAY) - MEDIUM SHOT 108 + + Scottie waits a slight moment, and then, bracing him + himself, opens the door and passes through. + + +109 INT. MCKITTRICK HOTEL LOBBY - (DAY) - SEMI-CLOSEUP 109 + + Scottie comes through the door closes it behind him. He + looks around. + + +110 INT. MCKITTRICK HOTEL LOBBY - (DAY) 110 + + From Scottie's viewpoint, we see most of the lobby. There + is a small reception desk with a key rack to one side, but + the strongest and most immediate impact is one of greenery, + of foliage. Scattered about the lobby in profusion are + tall-standing patted rubber plants and philodendron. + Scottie stands and stares. There is no one to be seen, no + sign of life. Then we see a leaf of a rubber plant move, + and move again, a hand appears, seemingly caressing it, and + then we hear a woman's voice. + + MANAGERESS + Yes? + + Scottie looks in that direction, and the woman moves out + from behind the plant. She is a small, gentle, elderly lady + with white hair, motherly and smiling, with bright, eager + eyes. + + MANAGERESS + Is there something I can do for + you? + + SCOTTIE + Yes ... you run this hotel. + + MANAGERESS + Oh, yes! + + SCOTTIE + 34. + + + Would you tell me, who has the room + on the second floor in the corner, + that corner? + + MANAGERESS + (Brightly) + Oh, I'm afraid we couldn't give out + information of that sort. Our + clients are entitled to their + privacy, you know. And I do believe + it's against the law! Of course, I + don't think any of them would mind, + really, but still I would have to + know who you are, and ask -- + +By now Scottie has got out his wallet and has shown his +badge, and the sight of it makes bar stop abruptly, and for +a moment her face hardens and is not a bit motherly. But +then she recovers her innocent brightness. + + MANAGERESS + Oh, dear! Has she done something + wrong? + + SCOTTIE + Please answer my question. + + MANAGERESS + I can't imagine that sweet girl + with that dear face -- + + SCOTTIE + (Urgently) + What is her name? + + MANAGERESS + Valdes. Miss Valdes. + (Pause. Then, brightly) + It's Spanish, you know. + + SCOTTIE + (Slowly) + Carlotta Valdes? + + MANAGERESS + Yes, that's it. Sweet name, isn't + it? Foreign. But sweet. + + SCOTTIE + (Holding in) + How long has she had the room? + + MANAGERESS + 35. + + + Oh, it must be two weeks. Yes, the + rent's due tomorrow. + + SCOTTIE + Does she sleep here? Ever? + + MANAGERESS + No... she only comes to sit. Two or + three times a week. And I never ask + questions, you know. As long as + they're well behaved. I must say + that I've wondered -- + + SCOTTIE + (Cutting her off) + When she comes down, don't say that + I've been here. + +And he turns away to go, wondering. + + MANAGERESS + (Brightly) + Oh, but she hasn't been here today. + +Scottie whirls back on her. + + SCOTTIE + I saw bar come in five minutes. + ago. + + MANAGERESS + Oh, no! She hasn't been here at + all! I would have seen her, you + know. I've been right here all the + time, putting olive oil on my + rubber plant leaves! + +Scottie stares at her smiling, innocent face. She looks +over at the key rack. + + MANAGERESS + And there! There you see? Her key + is on the rack! + + SCOTTIE + (Heavily) + Would you please go and look? + + MANAGERESS + In her room? Well, yes, of course + if you ask. But it does seem + silly... + 36. + + + She puts down the can of olive oil and the sponge, and gets + out her passkey. She goes up the stairs. Scottie watches + her go, than stares down at the can of olive oil, stares at + the rubber plant, and waits, and looks up the stairs. + + MANAGERESS (HER VOICE) + (Brightly) + Oh, Mr. Detective! Would you like + to come and look? + + Scottie starts up the stairs on the ran. + + +111 INT. LANDING OF SECOND FLOOR - (DAY) 111 + + The Manageress stands near the open door. Scottie brushes + past her and stands on the threshold. + + +112 INT. HOTEL BEDROOM - (DAY) 112 + + We are looking at the room over the shoulders of Scottie + and the woman. It is empty. Scottie crosses to the window + and looks down. From his viewpoint we see the empty space + at the street curb where stood Madeleine's Jaguar. + + SCOTTIE + Her car is gone. + + MANAGERESS + What car? + + He turns a to look at her sweet, smiling face, then turns + back to stare down out of the window in bewilderment. + + DISSOLVE TO: + + +113 EXT. BROCKLEBANK APARTMENTS - (DAY) 113 + + Scottie's sedan pulls up in the foreground, the building in + the distance. He looks across. There, half concealed around + the corner of the small car park, is the green Jaguar. + + Scottie strolls over, inspects the cars, then looks inside. + + On the seat is the small nosegay bought at Podesta's and + carried to the cemetery. + + DISSOLVE TO: + + +114 INT. MIDGE'S APARTMENT - (DAY) 114 + 37. + + +Midge is at work on a nightgown ad. The phonograph is +playing softly: probably Bach, probably harpsichord, +probably Landowska. Scottie walks in, and Midge looks up, +startled. + + SCOTTIE + Midge, who do you know that's an + authority an San Francisco history? + +He walks over and turns the phonograph off, either here or +a bit later. + + MIDGE + Now, that's the kind of greeting a + girl likes. + + MIDGE + None of this "hello you look + wonderful" stuff. Just a good + straight "who do you know" -- + + SCOTTIE + (breaking in) + Well, who? Come on, you know + everybody. + + MIDGE + Professor Saunders, over in + Berkeley. + + SCOTTIE + Not that kind of history. The small + stuff! About people you never heard + of! + + MIDGE + Oh! You mean Gay Old Bohemian Days + of Gay Old San Francisco! The juicy + stories? Like who shot who in the + Embarcadero August, 1879? + + SCOTTIE + Yeah. + + MIDGE + Pop Leibel. + + SCOTTIE + Who? + + MIDGE + Pop Leibel owns the Argosy Book + Shop. What do you want to know? + 38. + + + SCOTTIE + Who shot who in the Embarcadero in + August, 1879. + + Starts for the door fast. + + MIDGE + Wait a minute! You're not a + detective any more. What's going + on? + + SCOTTIE + (Pausing) + Do you know him well? + + MIDGE + Pop Leibel? Sure. + + SCOTTIE + All right, come on. Introduce me. + Where is your hat? + + He looks about for it. + + MIDGE + (Speeding to the door) + I don't need a hat. Johnny, what's + it about? + + She speeds right on through the open door. + + SCOTTIE + I'll tell you later. Wait a minute! + + He races out after her. + + DISSOLVE TO: + + +115 INT. ARGOSY BOOK SHOP - (DUSK) 115 + + It is old, it is misty, it is filled with old books, but + the important thing to note is that it is filled with + memorabilia of California pioneer days: on the walls are + not only the familiar old maps and prints but also, and + more striking, such things as framed old mining claims, + posters describing outlaws wanted by the law, Wells Fargo + Pony Express Posters; and on the shelves, old whiskey + bottles, gold-mining pans, and such. The proprietor, Pop + Leibel, is staring with a nodding smile at the piece of + paper Scottie has handed him, and Scottie watches him + keenly. In the bag, Midge wanders about the shop, + inspecting the prints on the wall, but always listening. + 39. + + + POP LEIBEL + Yes ... the Beautiful Carlotta ... + the Sad Carlotta.... + + SCOTTIE + What does a big old wooden house on + the corner of Eddy and Gough Street + have to do with her? + + POP LEIBEL + It was hers. It was built for her. + Many years ago. + + SCOTTIE + By whom? + + POP LEIBEL + By ... no ... the name I do not + remember. A rich man, a powerful + man. It is not an unusual story. + She came from somewhere small, to + the south of the city ... some say + from a mission settlement ... + young, yes; very young. And she was + found singing and dancing in a + cabaret by the man ... wait ... + wait ... Ives! His name was Ives! + Yes. And he took her and built for + her this great house in the Western + Addition ... and there was a child. + Yes. This was it. The child. + +Scottie hangs on his words. Pop looks up at him and smiles. + + POP LEIBEL + And now, fragments, you understand. + I cannot tell you how much time + passed, or how much happiness there + was. But then he threw her away. He + had no other children; his wife had + no children. He kept the child and + threw her away. Men could do that + in those days. They had the power + ... and the freedom. And she became + the Sad Carlotta. Alone in the + great house ... walking the streets + alone, her clothes becoming old and + patched and dirty ... the Mad + Carlotta ... stopping people in the + streets to ask, "Where is my child? + ... have you seen my child?".... + 40. + + + The store has darkened considerably and all the figures are + practically silhouettes. The CAMERA picks up a CLOSE SHOT + OF MIDGE, listening intently, her head turned away from the + wall toward the old man. And on the wall near her head is a + print of mission San Juan Bantista as it was in the old + days. + + MIDGE + The poor thing.... + + SCOTTIE + And she died.... + + POP LEIBEL + She died. + + SCOTTIE + How? + + POP LEIBEL + By her own hand. + (Pause. Smiles as sadly) + There are many such stories. + + SCOTTIE + Thank you, Mr. Leibel. Thank you + very much. + + Forgetting Midge, he turns and walks out of the store fast, + deep in thought. + + MIDGE + Hey, wait a minute! So long, Pop! + Thanks a lot! + + She dashes out after Scottie. + + +116 EXT. SIDEWALK OUTSIDE ARGOSY BOOK SHOP - (DUSK) 116 + + Midge catches up with Scottie and stops him by grabbing his + arm. + + MIDGE + Now then, Johnny-O; pay me. + + SCOTTIE + For what? + + MIDGE + For bringing you here. Come on, + tell! + 41. + + + SCOTTIE + Nothing to tell. + + MIDGE + You'll tell, or you'll be back in + that corset! Come on! + + SCOTTIE + I'll take you home. + + He starts off with long strides, and Midge hurries after + him. + + DISSOLVE TO: + + +117 EXT. STREET OUTSIDE MIDGE'S APARTMENT - (EARLY EVENING) - 117 + LONG SHOT + + Scottie's car draws up and comes to a stop. + + +118 INT. SCOTTIE'S CAR - (EARLY EVENING) - MEDIUM TWO SHOT 118 + + Scottie and Midge are looking straight ahead. + + SCOTTIE + Here you are. + + MIDGE + You haven't told me everything. + + SCOTTIE + I've told you enough. + + MIDGE + Who's the guy, who's the wife? + + SCOTTIE + Out. I've got things to do. + + MIDGE + I know. The one who phoned. Your + old college chum, Elster. + + SCOTTIE + Out! + + MIDGE + And the idea is that the Beautiful + Mad Carlotta has come back from the + dead, to take possession of + Elster's wife? Ah, Johnny! Come on! + 42. + + + SCOTTIE + (Angrily) + I'm not telling you what I think! + I'm telling you what he thinks! + + MIDGE + Well, what do you think? + +Scottie is troubled, lost in thought. Pause. + + MIDGE + Is she pretty? + + SCOTTIE + Carlotta? + + MIDGE + (Evenly) + No, not Carlotta. Elster's wife. + + SCOTTIE + Mmm, yeah, I guess.... + +Midge looks up at him from the corners of her eyes. + + MIDGE + (Wickedly) + I think I'll go take a look at that + portrait. + (With a bright smile) + Bye! + +She opens the car door quickly and jumps out. + + SCOTTIE + (Outraged) + Midge! + + MIDGE + Bye-bye! + +She slams the car door and runs into the house. Scottie +glares after her for a moment, then his face relaxes, and +he is lost in thought. He reaches into the glove +compartment of the car and draws out the catalogue of the +permanent collection of the Palace of the Legion of Honor. +He opens it to a page and stares down. + +INSERT - THE REPRODUCTION OF THE PORTRAIT OF CARLOTTA. + + DISSOLVE TO: + 43. + + +119 INT. GAVIN ELSTER'S CLUB - (NIGHT) 119 + + Elster and Scottie are seated in the lounge of a San + Francisco Club - there are one or two members reading + newspapers, etc., while a waiter moves by in the background + serving drinks. Elster is studying the reproduction of the + portrait of Carlotta in the catalogue that Scottie procured + from the gallery. + + The waiter leans in and places two drinks before them. + + Scottie watches Elster, waiting for him, to speak. Finally: + + ELSTER + (With a wan smile) + You've done well, Scottie. You're + good at your job. + + SCOTTIE + That's Carlotta Valdes. + + ELSTER + Yes. + + SCOTTIE + There are things you didn't tell + me. + + ELSTER + I didn't know where she was going + to lead you. + + SCOTTIE + But you knew about this. + + ELSTER + Oh, yes. You noticed the way she + does her hair. + + He places a finger on the reproduction of the portrait to + indicate the bun at the back of the neck. Scottie nods. + + ELSTER + 44. + + + Something else. My wife, Madeleine, + has several pieces of jewelry that + belonged to Carlotta. She inherited + them. Never wore them, they were + too old-fashioned...until now. Now, + when she is alone, she gets them + out and looks at them handles them + gently, curiously ... puts them on + and stares at herself in the mirror + ... and goes into that other world + ... is someone else again. + + SCOTTIE + Carlotta Valdes was what: your + wife's grandmother? + + ELSTER + Great-grandmother. The child who + was taken from her whose loss drove + Carlotta mad and to her death - was + Madeleine's grandmother. + + SCOTTIE + (Confidently) + Well, that explains it. Anyone + could develop an obsession for the + past, with a background like that. + + ELSTER + But she doesn't know, about her + background. + (As Scottie stares, + narrowly) + She never heard of Carlotta Valdes. + + SCOTTIE + Knows nothing of a grave out at + Mission Dolores, or an old house an + Eddy Street, or a portrait at the + Palace of the Legion of Honor? + + ELSTER + Nothing. + + SCOTTIE + And when she goes to those + places... + + ELSTER + She is not my wife. + +The two men stare at each other directly, honestly. + 45. + + + SCOTTIE + How do you know all these things + she doesn't know? + + ELSTER + Her mother told me most of then + before she died. I dug out the rest + for myself, here. + + SCOTTIE + Why did she never tell her + daughter? + + ELSTER + Natural fear. Her grandmother went + insane and took her own life. And + the blood is in Madeleine. + (Pause) + Scottie, I ask you to watch her + closely. + + Scottie raises his glass and drinks slowly, thoughtfully. + + DISSOLVE TO: + + +120 EXT. PALACE OF THE LEGION OF HONOR - (LATE AFTERNOON) 120 + + The columns of the courtyard are back lit by the sun. There + is no sign of life. Near the steps, standing alone and + empty, is the green Jaguar. + + LAP DISSOLVE TO: + + +121 INT. THE ART GALLERY - (LATE AFTERNOON) 121 + + SHOOTING through the columns in the foreground, our view of + the room is obscured momentarily by an elderly couple + moving toward the door. They go by to reveal Scottie + standing by a Rodin sculpture, looking into the room, and + far beyond him, at the end of the room, Madeleine seated on + the bench before the portrait staring at it. In her hand, + resting at her side on the bench, is once again the + nosegay. Now she rises and approaches the portrait and + stands before it, the nosegay clasped in her two hands + before her, and stares up almost as though in votive + offering or in prayer. Finally she turns and starts toward + the entrance. Scottie slips away out of sight. Madeleine + walks slowly toward the CAMERA. + + LAP DISSOLVE TO: + 46. + + +122 EXT. PALACE OF THE LEGION OF HONOR - (LATE AFTERNOON) 122 + + Madeleine approaches the green Jaguar, gets in, and the car + starts away. Scottie's car moves into the scene, following, + + DISSOLVE TO: + + +123 EXT. SEA CLIFF DRIVE - (LATE AFTERNOON) 123 + + We see the green Jaguar proceeding, the grey sedan at a + careful distance behind. + + Beyond, looking northeast we see the Golden Gate Bridge in + the late afternoon sun, and Richmond and Berkeley in the + distance. + + DISSOLVE TO: + + +124 INT. SCOTTIE'S CAR - (SUNSET) 124 + + Scottie carefully looking ahead. + + +125 EXT. PRESIDIO DRIVE - (SUNSET) 125 + + Madeleine's car approaches along the drive to the gates of + the Presidio, and passes through the gates and is swallowed + by the trees. Scottie's car follows, and it, too, + disappears. + + DISSOLVE TO: + + +126 EXT. PRESIDIO - (SUNSET) 126 + + The two cars driving along the wooded road. + + +127 INT. SCOTTIE'S CAR - (SUNSET) 127 + + Scottie looking ahead. + + DISSOLVE TO: + + +128 EXT. FORT POINT - (SUNSET) 128 + 47. + + + Scottie's car is traveling down the slope toward the + jutting point of old Fort Winfield Scott. It comes to a + stop in the level clearing. The green Jaguar stands there, + empty. + + +129 EXT. BRIDGE - (SUNSET) - MEDIUM SHOT 129 + + Scottie gets out of his car and looks off out of picture. + + +130 EXT. BRIDGE - (SUNSET) - LONG SHOT 130 + + Madeleine walking away round the dockside. The vast bridge + towers above her. She carries the nosegay. Scottie moves + into the f.g., and makes off in the same direction. + + Madeleine disappears round the corner of the old fort wall. + + Now she is out of sight, we see Scottie quicken his pace as + he approaches the corner of the fort wall. + + +131 EXT. BRIDGE - (SUNSET) - MEDIUM SHOT 131 + + SHOOTING back, we see Scottie approach the wall and peer + cautiously around. + + +132 EXT. BRIDGE - (SUNSET) - SEMI-LONG SHOT 132 + + From his viewpoint, we see Madeleine standing at the + waters' edge. She is mechanically tearing off the lace- + edged paper from the nosegay. + + +133 EXT. BRIDGE - (SUNSET) - CLOSEUP 133 + + Scottie watching her curiously. + + +134 EXT. BRIDGE - (SUNSET) - SEMI-CLOSEUP 134 + + Madeleine lets the paper drift away down to the water. She + proceeds to unwind the wire around the flowers and begins + to scatter them an the water. + + CLOSE SHOT OF FLOWERS FLOATING ON THE WATER + + +135 EXT. BRIDGE - (SUNSET) - CLOSEUP 135 + 48. + + + Scottie watching Madeleine. + + +136 EXT. DOCKSIDE - (SUNSET) - SEMI-LONG SHOT 136 + + The full figure of Madeleine, scattering the rest of the + flowers. Then she raises her head and stares up at the sky. + + A moment in which her body seem poised, and then she is + gone, lost to view in the water. + + +137 EXT. DOCKSIDE - (SUNSET) - LONG SHOT 137 + + Scottie dashes around the wall and the CAMERA PANS him to + the water's edge. He is throwing his coat off. + + +138 EXT. DOCKSIDE - (SUNSET) - SEMI-LONG SHOT 138 + + SHOOTING down into the water, we see Madeleine's upturned + face as she floats away. She disappears now and again. + + +139 EXT. DOCKSIDE - (SUNSET) - MEDIUM SHOT 139 + + SCOTTIE, running down the few stone steps towards the + water. + + When the water is up to his knees, he swims out towards + her. + + +140 EXT. DOCKSIDE - (SUNSET) - CLOSEUP MADELEINE 140 + + Her eyes staring, sinks beneath the water. She is + surrounded by the scattered flowers. Scottie swims in and + grabs her. + + +141 EXT. DOCKSIDE - (SUNSET) - CLOSEUP 141 + + As he holds her, the two heads are pressed together. He + turns and starts to swim back with her. The screen is + filled with their two heads. Madeleine's staring eyes begin + to close as she is moved away. + + LAP DISSOLVE: + + +142 EXT. DOCKSIDE - (SUNSET) - MEDIUM SHOT 142 + 49. + + + We see Scottie coming up some stone steps. He is staggering + with the weight of Madeleine's water-soaked body and + clothes. + + He carries her over towards the green Jaguar. + + +143 EXT. DOCKSIDE - (SUNSET) - MEDIUM SHOT 143 + + Resting her for a moment, he throws open the door on the + passenger's side. + + +144 EXT. DOCKSIDE - (SUNSET) 144 + + Scottie's head is close to hers. She is now breathing + heavily. + + SCOTTIE + (whispering) + Are you all right? + + Her eyes open slowly + + SCOTTIE + (Calling softly) + Madeleine.... + + Her eyes show no sign of recognition or response; they move + past his face and stare out. The CAMERA SLOWLY MOVES IN + until her head fills the screen. She stares out as though + in a trance. + + DISSOLVE TO: + + +145 EXT.SCOTTIE'S APARTMENT - (DUSK) 145 + + The empty green Jaguar is drawn up at the curb before the + red door of a small, well-kept house. + + DISSOLVE TO: + + +146 INT. SCOTTIE'S APARTMENT - (NIGHT) 146 + 50. + + +We are in the living room of a comfortable a bachelor +apartment. There is a picture window that looks up to Coit +Tower on Telegraph Hill. The room is softly lit. A fire is +lit in the fireplace; the logs are blazing well, Scottie, +in a pair of grey trousers and an old sweater, is wandering +about the room, trying to think things out. Through an open +door we can see into a small kitchen where Madeleine's +clothes - all of them - hang, on a cord over the electric +stove, drying. And through another open door we can see +into the bedroom where Madeleine lies, in the larger-than- +single bed, under the covers, asleep. She sighs and turns +restlessly, and Scottie glances at her from the living-room +as he wanders, and then she turns again, and the sigh +becomes words, spoken in sleep, and he stops, and listens. + + MADELEINE + (Faintly, distantly) + Please ... thank you ... please.... + +Scottie waits, taut, but there is no more. He starts to +turn away and suddenly, still distant, but more clearly: + + MADELEINE + (Appealingly) + Where is my child? ... have you + seen my child...? + +Scottie stiffens with the shock of recognition and his eyes +go wide with apprehension staring at the lost, eye-closed, +troubled woman in the bed. And at that moment the telephone +on the bedside table rings sharply. He makes a dash for it. + +The ringing brings the woman to with a sharp start, and she +instinctively clutches the bedclothes to her chin and +raises up a little and stares with wide-eyed fright at the +man running towards her. Scottie takes the phone. + + SCOTTIE + Yes? ... No, it's all right; I'll + call you back. Yes. Yes! + +He hangs up, and tries to smile down at Madeleine, who has +not moved, but has followed his every move with fright and +apprehension. + + SCOTTIE + Are you all right? + +No answer, only the eyes staring at him. And then he +realizes, with some embarrassment, that she cannot move, +that she is naked under the bedclothes, and he reaches +across to the dressing gown he has laid out for her on the +bed, and moves it closer to her. + 51. + + + SCOTTIE + Oh ... you'll want this.... + +He gives her a reassuring nod and smile, straightens up and +goes to the door, and goes into the living room, closing +the bedroom door behind him. And she stares after him as he +goes. + +In the living room, he moves to the fireplace, puts another +log on, and watches it catch. The bedroom door behind him +opens, and he turns to face Madeleine. + +She has the dressing gown belted tightly around the middle +and holds it together with one band at her breast. And she +stands there staring at him nervously, frightened, not +wanting to admit that she does not know how she came there, +but wanting very much to know. And she cannot help herself: +knowing her own fears, she has to ask. + + MADELEINE + Why am I here? What happened? + + SCOTTIE + You.... + (Then, not liking the + sound of the truth) + .... fell into the Bay. + +She puts a hand slowly to her hair, understanding now why +it is wet. + + SCOTTIE + I dried your hair as well as I + could. But you'd better come here + by the fire. + +And now, knowing that he dried her hair, she realizes that +he must have taken her clothes off, too, and she looks down +at her body with deep awareness of her nakedness, and draws +the dressing gown more closely to her, and looks back at +him with frightened embarrassment. And her head begins to +move quickly, the eyes darting about the apartment as +though seeking a way of escape, and she sees the clothes +hanging in the kitchen. And she looks back to Scottie +appealingly. + + SCOTTIE + They're almost at dry. Here. Why + don't you come over here? + +He pulls a low-stool over before the fire. Madeleine +crosses slowly, keeping her eyes always on him, and sinks +down on the stool. He smiles a at her companionably. + 52. + + + SCOTTIE + Would you like some coffee? + +She shakes her head. + + SCOTTIE + You'd better have some. Or would + you rather have a drink? + +She shakes her head again. He pours a cup of coffee and +places it on the floor next to her, along with a bowl of +sugar cubes. + + MADELEINE + (Wonderingly) + ...fell into the bay.... + +She looks up at him. He nods. + + MADELEINE + ... and you fished me out... + +He nods. She gives him a small grateful smile. + + MADELEINE + Thank you. + +Scottie is watching her intently. + + SCOTTIE + You don't remember. + + MADELEINE + No... + + SCOTTIE + Do you remember where you were? + + MADELEINE + (Childishly surprised) + Oh, of course I remember that! But + then I must have had a dizzy spell, + and fainted! + + SCOTTIE + (Quickly) + Where were you? + + MADELEINE + At.... + +For that one slight, imperceptible moments it may seem that +she is caught, but then she goes on. + 53. + + + MADELEINE + (Triumphantly) + ....Old Port Point! Out at the + Presidio! Of course I remember! I + often go there! + + SCOTTIE + Why? + + MADELEINE + (Almost naively) + Because I love it so. It's + beautiful there. Especially at + sunset. + (She leans her head back + sensually to the warmth) + Ah ... thank you for the fire. + + SCOTTIE + Where had you been before? + + MADELEINE + When? + + SCOTTIE + This afternoon. + + MADELEINE + Oh ... wandering about. + + SCOTTIE + Where? Where had you been just + before? + +There is a quick moment of blankness in her eyes that she +tries to hide, and then: + + MADELEINE + (Positively) + Downtown, shopping. + +And Scottie sighs inwardly, having proved something. + + SCOTTIE + Please drink your coffee. + + MADELEINE + I will. You're terribly direct in + your questions. + + SCOTTIE + I'm sorry. I didn't mean to be + rude. + 54. + + + MADELEINE + You're not. Merely direct. What + were you doing there? At Old Fort + Point? + + SCOTTIE + Wandering about. + + MADELEINE + You like it, too. + +He nods. She smiles at him happily, enjoying the warmth and +the coffee, enjoying his presence, seemingly almost to have +forgotten her nearness to death. And Scottie is fascinated +by this thing curled up before his fire. + + MADELEINE + (Then with a wicked + smile) + And where had you been? ... just + before? + +A moment, as Scottie takes a deep breath, and then he +decides to chance it and see the reaction. + + SCOTTIE + The Palace of the Legion of honor. + The Art Gallery. + + MADELEINE + (Enthusiastically) + Oh, that's a lovely spot, isn't it? + I've never been inside. But it + looks so lovely, driving past. + +At the words, "I've never been inside," Scottie is +startled. + +He stares at her, and she looks at him with naive, happy +inquisitiveness, and their looks are joined. Finally she +drops her eyes and smiles timidly. + + MADELEINE + (Softly) + Lucky for me you were wandering + about. Thank you again. I've been + terrible bother to you. + + SCOTTIE + No. + +She reaches up to feel her hair. + 55. + + + MADELEINE + When you ... + (And suddenly conscious + of her nakedness again, + and embarrassed) + There were pins in my hair.... + + SCOTTIE + Oh! Yes! Here! + +He crosses the room swiftly, picks up an ash tray in which +he had deposited her hairpins, takes her handbag from a +chair, and brings them to her. + + MADELEINE + Thank you. + +She proceeds to do up her hair. He watches her, held by the +movement of her body under the dressing gown as she raises +her arms and deftly sets about putting her hair in order. +At one point, as she works, she looks up and flashes him a +direct smile. + + MADELEINE + You shouldn't have brought me here, + you know. + + SCOTTIE + I ... didn't know where you lived. + + MADELEINE + You could have looked in my car. + Oh, but you didn't know my car, did + you? + + SCOTTIE + Yes, I knew which one it was. It's + out there, now. But I didn't think + you'd want to be brought home that + way. + + MADELEINE + No, you are right, + (Pause, as she works) + I'm glad you didn't take me home + ... I wouldn't have known you, to + thank you ... + (Suddenly appalled) + Oh, but I don't know you! And you + don't know me! My name is Madeleine + Elster. + + SCOTTIE + 56. + + + My name is John Ferguson. + + MADELEINE + That's a good, strong name. Do your + friends call you John? Or Jack. + + SCOTTIE + John. Old friends. Acquaintances + call me Scottie. + + MADELEINE + (Smiling) + I shall call you Mr. Ferguson. + + SCOTTIE + (Grinning) + No, I wouldn't like that. And after + what happened today I should think + you could call me Scottie. Or even + John. + + MADELEINE + I prefer John. There, that's done. + (The hair is in order) + And what do you do, John? + + SCOTTIE + Wander about. + + MADELEINE + That's a good occupation. And live + here ... alone? + +He nods. A cloud comes over her eyes. She looks away. + + MADELEINE + (softly) + One shouldn't live alone. + + SCOTTIE + Some people prefer it. + + MADELEINE + No ... it's wrong. + +Then she looks up with a small smile, and the cloud is gone +from her eyes, and she speaks completely matter-of-factly. + + MADELEINE + (Simply) + I'm married, you know. + 57. + + +Scottie nods almost imperceptibly with his eyes. He looks +at her for a long moment. Then: + + SCOTTIE + Will you tell me something? Has + this ever happened to you before? + + MADELEINE + (startled) + What? + + SCOTTIE + ...Falling ... into San Francisco + Bay? + +She laughs with relief, for it seemed to her, for a quick +moment, that he was going to say "falling in love". + + MADELEINE + No, never before. I've fallen into + lakes, out of rowboats, when I was + a little girl. And I fell into a + river, once, trying to leap from + one stone to another. But I've + never fallen into San Francisco + Bay. Have you? Ever before? + + SCOTTIE + (Grinning) + No ... this is the first time for + me, too. + +And they laugh together, with genuine warmth and +friendliness in their eyes, and it is obvious they are very +much taken with each other. And as they laugh, +simultaneously, she reaches for the cup of coffee, to take +another sip, and he reaches for it, meaning to take it and +refill it. + + SCOTTIE + Here, let me give you a lit -- + +And his hand falls on her outstretched arm and stays there, +and with the contact made, the laughter dies suddenly, and +he is looking down at her intently, and their eyes have +met, and hers are anxious and wondering. And at that +moment, the telephone rings sharply. Scottie races into the +bedroom, closing the door behind him, and gets to the +phone. + + SCOTTIE + Hello. + 58. + + + ELSTER'S VOICE + Scottie, what happened? She's not + home, yet. + + SCOTTIE + No, she's all right. She's still + here. But I'll get her home soon. + + ELSTER'S VOICE + What happened? + + SCOTTIE + She ... went into the Bay. + + There is a long silence. + + SCOTTIE + Hello? + + ELSTER'S VOICE + Did she hurt herself? + + SCOTTIE + No. She's in fine shape. Nothing to + worry about. But she doesn't know. + You understand that. She doesn't + know what she did. + + Another long silence. + + ELSTER'S VOICE + Scottie ... Madeleine is twenty- + six. Carlotta Valdes committed + suicide when she was twenty-six. + + And now it is Scottie's turn to be silent. He hangs up + slowly and moves across the room to the door. + + +147 INT. THE LIVING ROOM - (NIGHT) 147 + + Scottie enters from the bedroom, and stops, surprised. The + room is empty. The clothes are gone from the in the + kitchen. + + +148 EXT. STREET OUTSIDE SCOTTIE'S APARTMENT - (NIGHT) 148 + + A car is moving down the hill on the opposite side of the + street. It begins to turn in toward the sidewalk and then + comes to a sudden stop. + 59. + + +149 EXT. SCOTTIE'S APARTMENT - (NIGHT) - CLOSEUP 149 + + Midge is behind the wheel. She is staring out of the side + of the window and we see what has made her come to a sudden + stop. + + +150 EXT. SCOTTIE'S APARTMENT - (NIGHT) 150 + + From Midge's point of view; Madeleine, outside Scottie's + door, hurries to the green Jaguar. + + +151 INT. MIDGE'S CAR - (NIGHT) 151 + + Midge watches Madeleine almost wistfully, and there is a + small look of hurt in her eyes. But even to herself she has + to cover, and she smiles ironically. + + +152 EXT. SCOTTIE'S APARTMENT - (NIGHT) 152 + + The Jaguar pulls away and passes out of view. + + +153 INT. MIDGE'S CAR - (NIGHT) 153 + + Midge is still staring across at Scottie's house, and the + soft smile on her lips covers the hurt well. But there is + still a shadow of it in her eyes. + + MIDGE + (Softly) + well, now, Johnny-O ... Was it a + ghost? ... And was it fun?.... + + Then she suddenly changes expression. + + MIDGE + Oops! + + She takes her foot off the brake, and turning hard on the + wheel, straightens the car up and drives on. + + +154 EXT. SCOTTIE'S APARTMENT - (NIGHT) 154 + + The door to Scottie's apartment has opened, and Scottie + stands in the doorway looking up and down the street for + the Jaguar, his tall frame silhouetted in the light + streaming from the room. + + DISSOLVE TO: + 60. + + +155 EXT. BROCKLEBANK APTS. - (DAY) - LONG SHOT 155 + + The CAMERA is SHOOTING through the stone gateway across the + small courtyard toward the front door of the apartments. We + see Madeleine emerge. She is dressed completely different + from the night before. She makes her way down to the Jaguar + in the f.g. She gets in, starts up and swings the car round + toward the CAMERA. She passes out of the picture. + + +156 EXT. BROCKLEBANK APTS. - (DAY) - LONG SHOT 156 + + Across the street, we see Scottie's sedan pull out and also + approach the CAMERA. It too, passes out of the picture. + + +157 INT. SCOTTIE'S CAR - (DAY) - CLOSEUP 157 + + Scottie sitting at the wheel driving ahead. His eyes are + satisfied. They hold Madeleine's car in view. + + +158 EXT. SAN FRANCISCO STREET - (DAY) - LONG SHOT 158 + + We see the Jaguar ahead. It turns a left down another + street. It goes for a block and turns right. Then it turns + left again, than it turns right, then it turns left again. + + +159 INT. SCOTTIE'S CAR - (DAY) - CLOSEUP 159 + + Scottie looks a little dizzy with the constant turning. We + stay with him a little while and we can see from the scene + behind him, that we are still turning left and right. + + +160 EXT. SAN FRANCISCO STREET - (DAY) - LONG SHOT 160 + + The Jaguar speeds up. It's going down a street, not turning + any more. A few blocks off, we can see the Coit Tower + coming into view. + + +161 INT. SCOTTIE'S CAR - (DAY) - CLOSEUP 161 + + Scottie seem a little mystified now, as the direction in + which she is going. + + +162 EXT. SAN FRANCISCO STREET - (DAY) - LONG SHOT 162 + + The Jaguar turns right into a narrow curving street and + finally comes to a sudden stop ahead. + 61. + + +163 INT. SCOTTIE'S CAR - (DAY) - CLOSEUP 163 + + Scottie now wears a look of great astonishment, as he pulls + up hurriedly in the middle of the street. + + +164 EXT. SAN FRANCISCO STREET - (DAY) - SEMI-LONG SHOT 164 + + From his viewpoints, we see the reason for his + astonishment. + + Madeleine has alighted and is approaching, of all places, + toward his own red front door. + + +165 EXT. SAN FRANCISCO STREET - (DAY) - MEDIUM SHOT 165 + + Scottie pulls his car over to the curb and gets out. The + CAMERA PANS him down. He stops short just before he reaches + Madeleine, to see her take a letter from her handbag and + put it into his letter box. He moves up to her. + + SCOTTIE + Is that for me? + + Madeleine turns quickly, startled, and then sees who it is, + and smiles. + + MADELEINE + Oh! Yes. Hello. + + SCOTTIE + Good morning. I worried about you, + last night. You shouldn't have run + like that. + + MADELEINE + (Embarrassed) + I ... suddenly felt such a fool. + + SCOTTIE + I wanted to drive you home. Are you + all right? + + MADELEINE + (Flashing a smile) + Oh, yes. Fine. No after effects. + (Then, ruefully) + But as I remember now, that water + was cold, wasn't it? + (He nods. She looks away) + What a terrible thing to do ... and + you were so kind... + 62. + + + (With a gesture) + It's a formal thank-you letter. And + a great big apology. + + SCOTTIE + You've nothing to apologize for. + + MADELEINE + Oh, yes! The whole thing must have + been so embarrassing for you! + + SCOTTIE + Not at all, I enjoyed -- + +And he stops short, now truly embarrassed, and she looks at +him with wide eyes, waiting for him to go on. + + SCOTTIE + -- talking to you... + + MADELEINE + (With small, contained + amusement) + I enjoyed talking to you. + +An awkward pause. Scottie turns abruptly to the door, +getting out his key. + + SCOTTIE + I'll get my mail.... + +He opens the door and bends down to pick up the letter. As +he is reaching for it, he turns his head and speaks almost +without thinking. + + SCOTTIE + Would you like some coffee? + + MADELEINE + (Quickly) + No! No, thank you! + +She says it so impulsively, and with such young vehemence, +that they both start to laugh. He straightens up and opens +the letter. + + MADELEINE + I couldn't mail it; I didn't know + your address. But I had a landmark. + I remembered Coit Tower and it led + me straight to you. + + SCOTTIE + 63. + + + The first time I've been grateful + for Coit Tower. + +He reads the letter as she watches him. He looks up. + + SCOTTIE + I hope we will, too. + + MADELEINE + What? + + SCOTTIE + Meet again, sometime. + + MADELEINE + We have. + +They smile at one another, and there is a nice moment of +silent rapport. Then: + + MADELEINE + Good-bye. + + SCOTTIE + Good-bye. + +She turns and goes to her car as he stands watching her, +and gets in behind the wheel. + + SCOTTIE + (Suddenly walking) + Where are you going? + +And he races to the car and leans in the window. She +watches him, open-mouthed, as he crosses the sidewalk. +Then: + + MADELEINE + I don't know. + + SCOTTIE + Shopping? + + MADELEINE + No. + + SCOTTIE + Well ... anywhere in particular? + + MADELEINE + No, I Just thought I'd wander. + 64. + + + SCOTTIE + Ah. + (Then) + That's what I was going to do. + + MADELEINE + Oh, yes, I forgot: It's your + occupation, isn't it? + + And she waits with a small smile. + + SCOTTIE + Don't you think it's sort of a + waste for the two of us to... + + MADELEINE + Wander separately? Ah, but only one + is a wanderer. Two, together, are + always going somewhere. + + SCOTTIE + No ... no, I don't think that's + necessarily true. + + And now he waits, hopefully. + + MADELEINE + (With a smiling nod) + You left your door open. + + He turns his head, startled and annoyed, than makes a dash + for the door. As he goes, he turns his head to call back to + her. + + SCOTTIE + Don't move! + + And he hurries on to the door. She watches him go, and we + are close on her face to see her genuine amusement, and + then the laughter fades a little, and a troubled look comes + into her eyes, a touch of concern. + + DISSOLVE TO: + + +166 EXT. ALONG SKYLINE - (DAY) - LONG SHOT 166 + + The green Jaguar moving south. + + +167 INT. THE JAGUAR - (DAY) 167 + 65. + + + Madeleine is at the wheel, her eyes intent on the road, a + sort, happy smile on her lips. Scottie is at her side, + relaxed. He keeps looking at her as often as he can without + seeming obvious. + + SCOTTIE + (Finally) + Do you know where you're going? + + MADELEINE + Of course not! I'm a wanderer! + (Pause. Then brightly) + I'd like to go somewhere I've never + been! + + SCOTTIE + How can you be sure? + + MADELEINE + If I've been there? That's silly! + Either you've been to a place or + you haven't. + + She flashes a quick smile of innocence at him, then returns + her eyes to the road. He looks at her profile, wondering. + + +168 EXT. SKYLINE DRIVE - (DAY) - HIGH SHOT 168 + + The car turns a bend and approaches dark woods and moves + into the blackness and is swallowed up. + + DISSOLVE TO: + + +169 EXT. BIG BASIN REDWOODS STATE PARK - (DAY) 169 + + The empty Jaguar in the foreground. The CAMERA MOVES to a + long view of the grove of redwoods. + + In the distance we see the figures of Madeleine and Scottie + wandering among the towering trees. + + DISSOLVE TO: + + +170 EXT. THE REDWOODS - (DAY) 170 + + Madeleine and Scottie near the massive trunk of a tree. + + Beyond them, the small stream, bridged by a wide flattened + redwood log. + 66. + + + MADELEINE + How old? + + SCOTTIE + Oh ... some, two thousand years, or + more. + + MADELEINE + The oldest living things? + +Scottie nods and watches her, wondering, as she looks about +thoughtfully. + + SCOTTIE + You've never been here before. + +She shakes her head, lost in thought as she lets her gaze +wander among the trees. + + SCOTTIE + What are you thinking? + + MADELEINE + (Searching) + Of all the people who have been + born ... and have died ... while + the trees went on living. + + SCOTTIE + (Agreeing) + Their true name is Sequoia + Sempervirens: always green, ever- + living. + + MADELEINE + (Flatly) + I don't like them. + + SCOTTIE + Why? + + MADELEINE + (Simply) + Knowing I have to die.... + +She looks up at him with a shy, embarrassed smile. Then, +seeing the wandering look in his eyes, she brightens +quickly. + + MADELEINE + But I like the stream! It's a + lovely stream! + 67. + + +She leaves him and moves quickly out onto the bridge and +loans on the railing to watch the water rippling below. And +then, as he approaches her, she turns and looks at him, +wide-eyed. + + MADELEINE + But it makes no sound! Listen! + +She listens intensely for a long moment, and looks at him +anxiously. + + MADELEINE + Do you hear anything? + + SCOTTIE + (Shaking his head) + Only silence. It's always like + this. + + MADELEINE + (Wondering) + And no birds sing. + + SCOTTIE + No birds live here. + + MADELEINE + No. + +She turns away with gentle, somber, self-contained wonder, +and they cross back to the path in silence, and wander on +along the path in silence. We watch them move away in the +distance, disappear behind a tree, then come into view +again, and now there comes into view the cross-section of a +redwood tree that is on exhibit, with certain of its rings +marked to show what it has lived through, and they approach +it. + + SCOTTIE + Would you like a drink of water? + + MADELEINE + No, thank you. + +Scottie moves to the small upright drinking fountain as +Madeleine approaches the tree section and stands before it +and studies it. Scottie gets a drink of water, then comes +up behind Madeleine and stands, and she is seemingly +unaware of his presence. Their backs are to the CAMERA. + +INSERT OF RINGS on the tree, marked with dates, beginning, +near the center with the date 909 A.D. and ending with 1930 +- tree cut down. + 68. + + +171 EXT. RED WOODS - (DAY) - CLOSE SHOT 171 + + We see the two profiles: Madeleine staring at the tree, + Scottie staring at Madeleine. She raises one gloved hand + and almost idly begins to trace a finger up along the white + line that is marked: 1776 DECLARATION OF INDEPENDENCE. And + as the hand moves a little to the left, Madeleine begins to + speak, almost vacantly, oblivious of all but this piece of + tree, and herself. + + MADELEINE + Somewhere in here I was born ... + and here I died and it was only a + moment for you ... you took no + notice.... + + SCOTTIE + (Almost sharply) + Madeleine! + + She turns her head to him, only now aware of his presence, + and stares at him without expression. Then slowly she turns + and walks away, and the CAMERA, PANNING HER SLIGHTLY, + brings the head and shoulders of Scottie into the + foreground, and he watches her, wondering anxiously, trying + to put things together in his mind. Madeleine walks on + until she disappears behind one of the distant redwoods. + + +172 EXT. RED WOODS - (DAY) - MEDIUM SHOT 172 + + Scottie moves over, watching her. + + +173 EXT. RED WOODS - (DAY) - LONG SHOT 173 + + The CAMERA MOVES OVER as though it is Scottie looking. It + MOVES far enough to reveal that Madeleine is no longer + there. + + She seems to have disappeared. + + +174 EXT. RED WOODS - (DAY) - MEDIUM SHOT 174 + + Scottie comes forward, the CAMERA PANNING him, to get a + better view of where Madeleine went. + + +175 EXT. RED WOODS - (DAY) - SEMI-LONG SHOT 175 + + The CAMERA in Scottie's position, moving around, shows that + there is no sign of Madeleine whatsoever. + 69. + + +176 EXT. RED WOODS - (DAY) - MEDIUM SHOT 176 + + The CAMERA DOLLIES Scottie down toward the trees. + + +177 EXT. RED WOODS - (DAY) - SEMI-LONG SHOT 177 + + CAMERA is now among the trees where Madeleine was last + seen. + + As it TRAVELS across them, it finally brings her into view. + + She's leaning against a tree with her head bent back. + + +178 EXT. RED WOODS - (DAY) - CLOSEUP 178 + + Scottie comes to a stop as he sees her. + + +179 EXT. RED WOODS - (DAY) - CLOSEUP 179 + + Madeleine leaning against the tree. Her eyes are closed and + she is breathing heavily. In the background we see Scottie + approaching her. As he comes up to her, the CAMERA EASES + BACK and MOVES AROUND until it faces her and Scottie. + + SCOTTIE + (Gently) + Madeleine.... + + She opens her eyes slowly, and looks at him, recognizing + him, and yet not quite, as though she were slightly + hypnotized. + + Scottie speaks gently. + + SCOTTIE + Where are you now? + + MADELEINE + (Softly, distantly) + Here with you. + + SCOTTIE + Where? + + MADELEINE + The tall trees.... + + SCOTTIE + Have you been here before? + 70. + + + MADELEINE + Yes.... + + SCOTTIE + When? + +She shakes her head. + + SCOTTIE + Where were you born? + + MADELEINE + Long ago.... + + SCOTTIE + Where? + +She shakes her head. + + SCOTTIE + When? + +Her head continues to move back and forth, gently denying. + +His voice is more positive, now, more urgently demanding. + + SCOTTIE + Tell me. + +The head moves more rapidly, now, as though denying some +inner compulsion. + + SCOTTIE + Madeleine! Tell me! + +The rapidly moving head stops short, and her eyes open +wide, and she cries out: + + MADELEINE + No! ... No! + + SCOTTIE + (Low and urgent) + Tell me what it is. Where do you + go? What takes you away? + + MADELEINE + No, don't ask me! + +They are both speaking quickly, now, the words cascading +without pause. + 71. + + + SCOTTIE + When you jumped in the bay, you + didn't know where you were. You + guessed but you didn't know. + + MADELEINE + I didn't jump, I fell! You told me + I fell! + + SCOTTIE + Why did you jump? + + MADELEINE + No! + + SCOTTIE + What was it inside that told you to + jump? + +She is fighting it strongly, yet pathetically. + + MADELEINE + No, I can't tell you! + + SCOTTIE + What?! + + MADELEINE + (Strongly) + No! Please! Please, please, please, + please, don't ask me! + +And her head drops, and she sags, and Scottie stands +quietly watching her, knowing he can push it no further. + + MADELEINE + (Softly, tired) + Take me away from here? + + SCOTTIE + Home? + + MADELEINE + ...somewhere in the light. + +He takes her arm. She looks up at him with a tired smile. + + MADELEINE + And promise you won't ask me again. + Please promise me that. + 72. + + + He looks down at her somberly, promising and refusing + nothing. They start walking, holding together, and the two + figures become small in the distance, moving away through + the tall trees. + + DISSOLVE TO: + + +180 EXT. CYPRESS POINT OR POINT LOBOS - (DAY) SAME DAY. 180 + + Below the point of land, the sea pounds against the rocks. + + Madeleine stands alone, silhouetted against the sky. + Scottie sits in the car, watching her. She does not move. + Then slowly she starts to walk toward the sea, and as he + watches he senses, without being sure, that her pace is + increasing, and suddenly he opens the car door and jumps + out and slams the door and begins to run. But then he sees + something, and slows down quickly and walks, for Madeleine + has stopped and turned and is waiting for him. There is a + gentle, apologetic smile in her eyes. She waits, and he + comes to a stop before her. + + MADELEINE + Why did you run? + + He looks down at her searchingly. + + SCOTTIE + (Finally, quietly) + I'm responsible for you now, you + know. The Chinese say that once you + have saved someone's life, you are + responsible for it forever. And so + I'm committed. And I have to know. + + MADELEINE + And you'll go on saving me? Again + and again? + + He waits. She looks down. + + MADELEINE + 73. + + + There is so little I know. It is as + though I were walking down a long + corridor that once was mirrored, + and fragments of mirror still hang + there, dark and shadowy, reflecting + a dark image of me ... and yet not + me ... someone else, in other + clothes, of another time, doing + things I have never done ... but + still me ... And I can't stop to + ask why, I must keep on walking. At + the and of the corridor there is + nothing but darkness, and I know + when I walk into the darkness, I'll + die. + (Pause; she looks up) + But I've never come to the and; + I've always come back, before then. + Except once. + + SCOTTIE + Yesterday. + +She nods. + + SCOTTIE + And you didn't know. You didn't + know what happened. Until you found + yourself there with me. + +She shakes her head. + + SCOTTIE + You don't know where you were. + +She shakes her head. + + SCOTTIE + But the small scenes, the fragments + in the mirror: you remember them. + + MADELEINE + Vaguely.... + + SCOTTIE + What do you remember? + + MADELEINE + (Searching) + A room ... there is a room, and I + sit there alone ... always + alone.... + 74. + + + SCOTTIE +Would you know the room? + + MADELEINE +No ... it's in shadow. + + SCOTTIE +What else? + + MADELEINE +A grave.... + + SCOTTIE +Where? + + MADELEINE +I don't know. An open grave. I +stand by the gravestone looking +down into it. And it's my grave. + + SCOTTIE +How do you know? + + MADELEINE +I know. + + SCOTTIE +There's a name on the gravestone. + + MADELEINE +No. It's new and clean, and +waiting. + + SCOTTIE + (Beginning to feel lost) +What else? + + MADELEINE + (Searching) +This part is dream, I think. There +is a tower and a bell and... a +garden below ... but it seems to be +in Spain ... a village in Spain. +And then it clicks off, and is +gone. + + SCOTTIE +A portrait? Do you ever see a +portrait? + + MADELEINE +No. + 75. + + + SCOTTIE + Of the woman in the mirror. Would + you know her if you saw her? + + MADELEINE + But I'm the woman in the mirror! + + SCOTTIE + (Desperately) + No! + +She looks up at him, rebuffed, desperately lost, and her +eyes well with tears. Scottie is looking away, lost in +thought. + + SCOTTIE + (To himself) + If I could find the key ... find + the beginning put it together.... + + MADELEINE + (Quietly, lost) + And so explain it away? But there + is a way to explain it, you see. If + I'm mad? That would explain it, + wouldn't it? + +Scottie looks at her, and her eyes are big with fright and +despair and a plea for denial, and suddenly she breaks, and +the tears flow, and she turns her head away sharply and +turns and runs toward the edge of the land. + + SCOTTIE + Madeleine!! + +He races after her and catches her and holds her, and she +is against him, clinging tightly, deep in his embrace, and +sobbing fiercely. + + MADELEINE + (Muffled, against his + breast) + I'm not mad. I'm not mad. And I + don't want to die, but there's + someone inside me, there's a + somebody else, and she says I must + die ... Scottie, don't let me go! + + SCOTTIE + I'm here, I've got you.... + + MADELEINE + I'm so afraid... + 76. + + + (She looks up) + ...you won't let it happen.... + + Her face is close to his and they are clinging tightly + together. He shakes his head, and then suddenly his mouth + is on hers, and they are deep in a kiss. Their lips part, + but remain close together. + + MADELEINE + (Whispering) + Don't leave me ... stay with me... + + SCOTTIE + All the time. + + They kiss again, passionately. And the wind blows and the + waves dash against the rocks, throwing up a curtain of + spray. + + DISSOLVE TO: + + +181 INT. MIDGE'S APARTMENT - (NIGHT) 181 + + Outside the terrace darkness is falling, and the lights of + the city have come on. In Midge's apartment the lights are + on and soft music comes from the radio (possibly + "progressive jazz" of the gentle George Shearing kind). + Midge is painting at a standing easel; She has a palette; + obviously she is painting in oils. We cannot see what she + is painting; the canvas on stretchers has its back to us. + Its size is about thirty by forty inches. Whatever it is, + it seems to please her: she pauses in her work, picks up a + highball from a table nearby, drinks and stares at the + painting and giggles a little to herself than applies a few + more daubs. Now she hears the outside gate slam. She puts + down the brush and the drink, moves the easel a bit so that + the canvas cannot be seen from the front door, picks up a + water tumbler that contains a small nosegay, and hurries + out to the kitchen with it. The door to the apartment + slams. + + SCOTTIE + (Calling) + Midge? + + Midge hurries out of the kitchen. + + MIDGE + Hi, Johnny! Did you get my message? + 77. + + +She immediately goes to the small sideboard or table on +which are bottles, glasses, and ice, and mixes him a +highball. + +Scottie is at ease. He drops his hat on a chair near the +door and wanders into the room. + + SCOTTIE + I did. Since when do you go about + slipping notes under men's doors? + + MIDGE + Since I stopped being able to get + them on the phone. For a man who + has nothing to do, you're certainly + a busy little bee. Where do you go, + these days? + + SCOTTIE + Just wander. + + MIDGE + Where? + + SCOTTIE + Around. + + MIDGE + Oh? + +She hands him the drink. He takes a long pull at it as she +watches him. + + SCOTTIE + Mm. Better. + + MIDGE + Did you need it? + + SCOTTIE + Yeah. + + MIDGE + Oh? + +She crosses the room to get her own drink, giving a flick +of a glance at the canvas as she goes. Scottie watches her, +slightly amused, knowing that her curiosity is working like +mad. + + SCOTTIE + What was this desperate urge to see + me? + 78. + + + MIDGE + All I said in the note was: "Where + are you?" That doesn't sound + desperate to me. + + SCOTTIE + Well, I detected an undercurrent. + + MIDGE + I just thought if I gave you a + drink and fed you some dinner, + you'd be so grateful you'd take me + to a movie. + + SCOTTIE + Fair enough. What'll we talk about + at dinner? + + MIDGE + Oh ... this and that. + + SCOTTIE + What I've been doing? + + MIDGE + If you want to. Naturally, we won't + talk about anything you don't want + to talk about. + + SCOTTIE + Naturally. + +PAUSE + + MIDGE + (Innocently) + What have you been doing? + + SCOTTIE + (With small grin) + Wandering. + +He takes another long pull and wanders over and sweetens +the drink. Midge moves a little to block his view of the +easel and canvas. + + SCOTTIE + What have you been doing? + +He wanders back into the room. + + MIDGE + 79. + + + Oh, I'm having a wonderful time! + I've gone back to my first love ... + painting. + + SCOTTIE + Good. I've always said you were + wasting your time in the underwear + department. + + MIDGE + Well, it's a living. But I'm + excited about this. + + SCOTTIE + What is it, a still life? + + MIDGE + No, not exactly. Want to see? + + Scottie moves toward the easel and Midge backs away, so + that as he comes around to face the canvas she in beyond + him, in back of him. As he moves toward the easel: + + MIDGE + As a matter of fact, I thought I + might give it to you. + + SCOTTIE + (smiling, surprised) + Oh? + + And now he comes around to face the easel and stops to + look. + + Beyond him Midge's face has a great smile of anticipation. + + And now we see what he sees. The CAMERA RESTS on the lower + half of the canvas and we see the folds of the blue and + gold gown, and the two hands, one holding the nosegay. The + CAMERA PANS UP to reveal that it is a hasty but quite + creditable copy of the "Portrait of Carlotta", half size, + but there is one difference. The face is Midge's face. + + +182 INT. MIDGE'S APARTMENT - (NIGHT) 182 + + Scottie staring at the portrait. Beyond him, Midge smiling + with anticipation. Scottie's face is drained and + expressionless, and a deep look of sadness and regret comes + into his eyes. PAUSE. + + SCOTTIE + (Softly) + 80. + + + Not funny, Midge. + +Midge's smile fades. She is puzzled and surprised. Scottie +puts down his drink gently and without looking at her, +starts for the door. + + MIDGE + Johnny! + +Scottie takes his hat from the chair and moves on to the +door. Midge, completely taken aback, starts for him. + + MIDGE + But Johnny, I thought you would -- + +She breaks off as he turns his head to look at her. He's +not at all angry, but disturbed inside and sorry it +happened. + + SCOTTIE + (Nicely) + We'll make that movie some other + night, huh? + +And he goes out the door and closes it behind him. + + MIDGE + (Desperately apologetic) + But Johnny...!!! + +And she stares at the door with a "Well-I'll-be-damned" +expression. And now, abruptly, she gets angry at herself. + + MIDGE + Ah, no!! + +She turns away and moves toward the canvas + + MIDGE + Oh! Marjorie Wood!! You fool!! + +She stops before the canvas and stares at her face in the +portrait. And all her anger at herself comes out in one +great blast of scorn. + + MIDGE + (At the portrait) + OH!!!!! + +And she picks up a brush and with three vicious daubs +paints a moustache and a board on her image. Than she +throws the brush out the window. + 81. + + + DISSOLVE TO: + + +183 EXT. UNION SQUARE - (NIGHT) 183 + + It is about 3 a.m. The Square is deserted -- perhaps an odd + taxi or car drives by. We see Scottie, a solitary figure, + walking. By his attitude, head down, hands thrust into his + pockets, we see that he is lost in thought wrestling with + his problem. + + DISSOLVE TO: + + +184 INT. SCOTTIE'S APARTMENT - (EARLY DAWN) 184 + + Scottie is in the easy chair facing the fire asleep. His + tie is loosened, his shirt is open at the neck. It is clear + that he fell asleep while sitting there thinking of + Madeleine, and slept through the night. The fire is almost + out. Through the window we can barely distinguish Coit + Tower in the beginning of a grey dawn. + + The doorbell begins to ring instantly. There is a knocking + on the door. Scottie awakens sharply, gathers himself + together, hurries to the door and opens it. Madeleine + stands there, looking shaken and white and frightened. She + is wearing a black suede jacket and black slacks. Behind + her, fingers of mist swirl in the lightening day. She + stands there staring at him pleadingly. + + SCOTTIE + What's the matter? ... What time is + it? ... Madeleine, what's happened? + + He draws her in and closes the door and leads her into the + room. + + MADELEINE + (Barely) + I should have phoned ... but I + wanted to see you ... be with + you... + + SCOTTIE + Why? What's happened? + + MADELEINE + I had the dream. The dream came + back again.... + + She is trembling, and he holds her closely. + 82. + + + SCOTTIE + It's all right. You're all right, + I'll get you some brandy. + +He breaks away to a small cupboard nearby. + + MADELEINE + (Sharply) + No, don't go away! + + SCOTTIE + Only this far. + +He gets out a bottle of brandy and a small glass and +uncorks the bottle and pours the brandy as he comes back to +her. + + SCOTTIE + Here. Straight down, it's medicine. + +She takes a sip and puts the glass away. + + SCOTTIE + Where's your husband? + + MADELEINE + I didn't wake him. I don't want him + to know... + +She is still shaking. + + SCOTTIE + Here, now , it's going to be all + right. Here. + +He gently pushes her down in the easy chair, turns swiftly +and kicks up the fire and throws some wood on. He pulls the +low stool up before her, sits on it, and takes her hands. + + SCOTTIE + It was a dream, you're awake, + you're all right, now. Can you tell + me? + + MADELEINE + It was the tower again ... and the + bell, and the old Spanish + village.... + + SCOTTIE + Yes -- + + MADELEINE + 83. + + + But clear ... so very clear ... for + the first time ... all of it.... + + SCOTTIE + Tell me. + + MADELEINE + There was a village square, a green + with trees ... and an old + whitewashed Spanish church with a + cloister. Across the green: a big, + grey, wooden house with a porch and + shutters and a balcony above ... a + small garden, and next to it, a + livery stable ... with old + carriages lined up inside. + +Scottie has been listening intently with growing awareness, +and now as she mentions the livery stable, his eyes glow +with the excitement of recognition. + + SCOTTIE + Go on. + + MADELEINE + At the end of the green there was a + whitewashed stone house with a + lovely pepper tree at the corner -- + + SCOTTIE + (Finishing it) + -- and an old wooden hotel of the + old California days, and a saloon + ... dark ... low-ceilinged ... with + hanging oil lamps. + + MADELEINE + Yes?! But -- + + SCOTTIE + (Gently) + It's all there. It's no dream. + +Pause, as she stares at him, puzzled, anxious. + + SCOTTIE + You've been there before. You've + seen it. + + MADELEINE + No, never! + + SCOTTIE + 84. + + + Madeleine, a hundred miles south of + San Francisco there's an old + Spanish Mission, Mission San Juan + Bautista. It's been preserved + exactly as it was a hundred years + ago as a museum. Now, think hard, + darling. You've been there before. + You've seen it! + + MADELEINE + (Frightened) + No, never! I've never been there! + Scottie, what is it? I've never + been there! + +Long pause as they stare at each other, he desperately +trying to think It through, she moved and frightened. He +rises and moves away, anxious and shaken. + + SCOTTIE + (To himself) + Carlotta.... + +He shakes his head angrily, fighting the idea. Madeleine +watches him anxiously. + + SCOTTIE + What was it he said? She came from + somewhere south of the city ... + some say a mission settlement.... + +He turns on Madeleine almost desperately. + + SCOTTIE + Madeleine, think hard!! + +She shakes her head frantically, hopelessly, close to +tears. + +PAUSE. + + SCOTTIE + (Quietly) + Go on with your dream. What was it + that frightened you? + + MADELEINE + 85. + + + I stood alone on the green, + searching for something, and I + started to walk to the church. But + then the darkness closed in, I was + alone in the dark, being pulled + into darkness, and I fought to wake + up.... + + She looks at him, frightened again by the memory. He goes + to her reassuringly. + + SCOTTIE + You're going to be all right now, + Madeleine. I've got something to + work on now. I'm going to take you + there -- to the Mission -- this + afternoon. And when you see it, + you'll remember when you saw it + before, and that will finish your + dream and destroy it. I promise. + You'll be free. + + She looks up at him and tries to smile. + + SCOTTIE + All right? + + She nods. + + SCOTTIE + I'll take you home. If your husband + is awake, say you couldn't sleep + and went out for some air. And come + back to me about noon. Come along. + + He raises her to her feet. She smiles up at him gratefully. + + MADELEINE + No, I'll go alone. I'm all right. + + They stand there for a moment, looking at each other. + + DISSOLVE TO: + + +185 EXT. HIGHWAY SOUTH OF SAY FRANCISCO - (DAY) 185 + + Tall trees line the road on both sides and arch across to + meet high above, forming a long shadowy tunnel shot through + with streamers of sunlight. We are as though in the front + seat, of a car, traveling fast, looking up and ahead to the + distant end of the tunnel, and the trees flash by. + 86. + + +186 EXT. THE HIGHWAY - (DAY) 186 + + Another angle to show the green Jaguar traveling along the + road through the tunnel of trees. + + +187 INT. THE JAGUAR - (DAY) 187 + + Madeleine and Scottie; he is at the wheel, staring straight + ahead, lost in thought. Madeleine, now smartly-dressed in + her grey suit, is staring up at the tunnel of trees. + Scottie glances at her. She smiles at him timidly. + + +188 EXT. THE HIGHWAY - (DAY) 188 + + SHOOTING down the road toward the end of the tunnel of + trees, and the Jaguar moving away fast. It sets clear of + the trees and into daylight. + + DISSOLVE TO: + + +189 EXT. THE HIGHWAY: A ROAD JUNCTION - (DAY) 189 + + Side angle SHOT of the Jaguar as it turns off onto a side + road. The CAMERA PANS the car, then loses it as it goes out + of the SHOT, and HOLDS on a road sign that reads: + + MISSION SAN JUAN BAUTISTA + + 3 MILES + + +190 EXT. MISSION SAN JUAN BAUTISTA - (DAY) 190 + + We are looking along the cloisters, down the long corridor + of arches. In the foreground a small sign a standard reads: + + EL CAMINO REAL + MISSION SAN JUAN BAUTISTA FOUNDED + JUNE 24, 1797 + 87. + + + The music of the Mission theme, mingled with Carlotta's + theme, begins to drift in, an evocation of the past; a + sighing that grows end seem to have behind it the echo of + lost voices calling. The CAMERA MOVES AND EASES AROUND A + BIT to look through the arches across the green toward the + open side and the valley and the hills beyond. A lone nun + is crossing the green to the church. A clock strikes the + half hour. The CAMERA PANS to look at the large wooden two- + story house on the far side of the green, then the little + garden, then the Plaza Livery Stable, and the road + alongside. The Jaguar stands there empty. The CAMERA + CONTINUES TO PAN along the whitewashed stone Castro House, + sees the pepper tree, MOVES along the Plaza Hotel, and + comes to REST SHOOTING at the saloon that forms the far + corner of the hotel. Three tourists exit from the entrance + of the hotel, get into their car. The car moves toward the + CAMERA, and goes past, and out of the SHOT. The CAMERA + DOLLIES IN to the front door of the saloon. Over the door + is a sign: PLAZA HOTEL BAR ROOM. + + On either side of the door are posters proclaiming rewards + for the apprehension of bandits who have held up Wells + Fargo Express Wagons. The CAMERA SHOOTS THROUGH the open + door. + + +191 INT. PLAZA HOTEL BAR ROOM - (DAY) 191 + + Empty, silent; old pool tables in the foreground, the bar + in the background. As the CAMERA SCANS the room: + + DISSOLVE TO: + + +192 INT. PLAZA HOTEL FRONT PARLOR - (DAY) 192 + + It too is silent and deserted. In the far wall, a + fireplace, with an old clock on the mantel. In one corner, + small old organ, with a hymnal open on the rack; in the + other corner, a Victorian sofa. The flowered rug is faded, + the furniture is shabby. + + DISSOLVE TO: + + +193 EXT. PLAZA HOTEL - (DAY) 193 + + Looking toward the lovely pepper tree and the whitewashed + stone Castro Rouse, and the tall eucalyptus tree beyond. + The CAMERA PANS SLOWLY past the empty Jaguar and come to + REST on the dark opening of the Livery Stable and MOVES + SLOWLY toward it. + 88. + + + DISSOLVE TO: + + +194 INT. LIVERY STABLE - (DAY) 194 + + The dark interior of the Livery Stable. The figures of + Scottie and Madeleine are seen a little way in. Madeleine + is seated in a surrey, while Scottie stands by her. + + +195 INT. LIVERY STABLE - (DAY) 195 + + Madeleine's eyes are closed. Scottie, leaning against the + surrey, looks up at her intently. After moment he calls to + her softly. + + SCOTTIE + Madeleine...? + + She opens her eyes and looks down at him. + + SCOTTIE + Where are you now? + + She smiles at him gently. + + MADELEINE + (Softly) + Here with you. + + SCOTTIE + And it's a all real. + + MADELEINE + Yes. + + SCOTTIE + (Firmly) + Not merely as it was a hundred + years ago. As it was a year ago, or + six months ago, whenever you were + here to see it. + (Pressing) + Madeleine, think of when you were + here! + + She looks down at him with, a worried, regretful smile, + wishing she could help him. Then she looks away into the + distance, and speaks almost at irrelevantly. + + MADELEINE + (Dreamily) + 89. + + + There were not so many carriages, + then. And there were horses in the + stalls; a bay, two black, and a + grey. It was her favorite place, + but we were forbidden to play here, + and Sister Teresa would scold + us.... + +Scottie looks up at her in desperation, then looks about +the stable for help. His look scans the carriages and +wagons lined against the wall, goes past the old fire truck +on which there is a placard proclaiming the world's +championship of 1884, and finally stops at a small buggy -- +a Bike Wagon -- + +to which is hitched a full-sized model of a handsome grey +horse. + + SCOTTIE + Well, now, here! + +He races to the horse. On it hangs a sign: "Greyhound +World's Greatest Trotter." + + SCOTTIE + Here's your grey horse! Course he'd + have a tough time getting in and + out of a stall without being + pushed, but still ... You see? + There's an answer for everything! + +He looks across to Madeleine eagerly. She is staring ahead, +lost in the past. + + SCOTTIE + Madeleine! Try! + +No answer. The music is more insistent, now, a pulling +wind,, and the faint voices call more clearly. Madeleine +slowly rises to her feet as though sensing the call. +Scottie moves back to her and stands there looking up. He +raises his arms, she puts her bands on his shoulders and +slips to the ground with his help, and he is holding her. +Their heads are close together. + + SCOTTIE + Madeleine, try ... for me.... + 90. + + + With a small movement, their lips come together, and they + kiss; not impulsively, as before, but with deep, sure love + and hunger for each other. Their lips part, but he still + holds her tightly, his head pressed down against hers, and + she is looking past him, her eyes wide with anxiety. And a + clock strikes the three-quarter hour. + + SCOTTIE + My love ... because I love you. + + MADELEINE + (Whispering) + I love you too ... too late ... too + late... + + SCOTTIE + No ... we're together.... + + MADELEINE + Too late ... there's something I + must do.... + + He holds her gently, now; brushes his lips along her to her + eyes, down to her mouth. + + SCOTTIE + (murmuring) + Nothing you must do ... no one + possesses you ... you're safe with + me ... my love.... + + And they kiss again. As they part: + + MADELEINE + Too late.... + + She looks up at him with deep regret and wonder in her eyes + then suddenly breaks from him and runs out the door. He + stands still, startled for a moment, then runs after her. + + +196 EXT. LIVERY STABLE - (DAY) 196 + + Madeleine is running across the grass toward the church. + + Scottie catches up with her. + + +197 EXT. LIVERY STABLE - (DAY) - REVERSE ANGLE 197 + + Scottie swings her around to face him. + + SCOTTIE + 91. + + + (Firmly) + There am things I have to tell you, + about how we met, and why we are + together. But they can wait. The + only important thing now is that I + love you and I'm going to keep you + safe. + + MADELEINE + (Trembling) + You can't. + + SCOTTIE + Why? + + MADELEINE + Let me go. + + SCOTTIE + Where? + + MADELEINE + To the church, I must go there. + + SCOTTIE + Madeleine -- + + MADELEINE + Please let me go. + + She pulls away and turns and walks swiftly toward the + church, her head bowed. CAMERA DOLLIES with her. She is + frightened, and close to tears. Scottie follows her a half- + step behind. + + The livery stable drops away out of the SHOT, and the two + heads fill the screen with only the sky an background. + + SCOTTIE + Madeleine, don't fight me off, + don't put me away. You've been + fighting alone, and you're lost, + but no more. Hold on to me. Be sure + of me, always. And whatever it is, + we'll lick it. I promise. + + No answer. They keep walking, and then suddenly with head + bowed, she begins to run again, and runs out of the SHOT. A + moment, then he runs after her. + + +198 EXT. THE MISSION AND CLOISTERS - (DAY) - SEMI-LONG SHOT 198 + 92. + + + We see Madeleine running toward the Cloisters, Scottie + after her. Finally he stops her once again. + + +199 EXT. THE CLOISTERS - (DAY) - MEDIUM SHOT 199 + + Scottie grabs her by the arm. + + MADELEINE + (Head low, brokenly) + It's not fair, it's too late. It + wasn't supposed to happen this way, + it shouldn't have happened...! + + SCOTTIE + It had to. We're in love. That's + all that counts. Madeleine -- + + MADELEINE + (Frantic, struggling) + Let me go! Let me go!! + + SCOTTIE + (Holding her; sharply) + Madeleine!! + + The struggle ceases. She remains limp in his grasp for a + long moment, then slowly raises her head to look at him. + Her eyes study his face searchingly. + + MADELEINE + You believe that I love you? + + SCOTTIE + Yes. + + MADELEINE + And if you lose me, you'll know + that I loved you and wanted to go + on loving you. + + SCOTTIE + I won't lose you. + + +200 PAUSE. 200 + + MADELEINE + Let me go into the church alone. + + SCOTTIE + Why? + 93. + + + MADELEINE + Please. Because I love you. + + He stares at her, sees the pleading look in her eyes, and + lets go. She turns and walks away toward the church, + slowly, her head bowed. He watches her go and starts to + move after her. Then slowly, as she goes, her head begins + to go up until finally, as she walks, she is staring high + above her. + + And then, suddenly, she breaks into a broken run. + + +201 EXT. CLOISTERS - (DAY) 201 + + Scottie jerks his head up to see what she was looking at. + + +202 EXT. CLOISTERS - (DAY) 202 + + From Scottie's viewpoint: the high church tower. + + +203 EXT. CLOISTERS - (DAY) 203 + + Scottie, immediately alarmed, brings his eyes down and + looks toward the church entrance. + + +204 EXT. CLOISTERS - (DAY) 204 + + From Scottie's viewpoint: Madeleine runs through the open + front door of the church, and vanishes. + + +205 EXT. CLOISTERS - (DAY) 205 + + Scottie starts to run toward the church. + + SCOTTIE + Madeleine!!! + + He runs to the church door and runs in. + + +206 INT. CHURCH, SAN JUAN BAUTISTA - (DAY) 206 + + Scottie runs in and looks around frantically. The church is + empty. A moment, then he hears the sound of footsteps + running up wooden steps. He turns in the direction of the + sound, sees a door standing open at the side of the church, + and through the door the beginning of a flight of steps. He + runs to the open door and goes through. + 94. + + +207 INT. CHURCH TOWER - (DAY) 207 + + Scottie runs in, stops at the foot of the steps, hears the + running footsteps, and looks up. From his viewpoint we see + Madeleine running up the open stairway that spirals up + along the walls of the high tower. She is already well on + her way. + + Scottie is immediately stricken by vertigo, and the tall + tower seems to slide away from him. He makes an attempt to + start up the stairs, flattens himself against the wall and + struggles up. He claws his way up, crosses over to the + hand-railing and uses it to pull his body up the steps, one + by one struggling for breath, unable to call, though he + tries. And Madeleine keeps running. + + Madeleine reaches the top goes through a small wooden door. + + We see it slam, hear it locked. + + Scottie, struggling up, reaches a landing next to a small + open arch that looks out on the back garden, and has to + stop to tight his nausea. + + There is a scream from above. Through the arch he sees a + body fall. He calls "Madeleine"!, and looks down through + the arch. + + +208 EXT. ROOF - (DAY) - LONG SHOT 208 + + Figure of the dead Madeleine. Her body is lying on the roof + of the cloister. + + +209 INT. CHURCH TOWER - (DAY) 209 + + The vertigo hits Scottie again and the body and the root of + the cloister move and fall away into space, and this + DISSOLVES THROUGH TO: + + The body of the policeman falling from the rooftop, + tumbling through space to the street below. + + Scottie has to look away in desperate horror. He hears + voices, looks through the arch again, and sees two nuns + hurrying across the garden from the dormitory at the back, + looking up at the roof of the cloister. + + He turns and gazes down the great height he now has to + descend, flattens himself against the wall, and with + trancelike desperation tries to start moving. + 95. + + + FADE OUT: + + FADE IN: + + +210 EXT. MISSION SAN JUAN BAUTISTA - (DAY) 210 + + Once again we see the whole of the square, but now, in + sharp contrast, it is filled with cars parked along the + roadway that encircles the green. + + +211 EXT. MISSION SAW JUAN BAUTISTA - (DAY) - LONG SHOT 211 + + Before Plaza Hall, the large grey wooden building next to + the Livery Stable, and on its front porch, groups of + citizens are gathered, talking. Some people glance up to + the second floor, where the windows are open, and from + which a droning voice can faintly be heard. + + The CAMERA ZOOMS UP to the open window, and as it does, the + voice of the speaker becomes louder and the words more + intelligible. + + +212 INT. PLAZA HALL ROOM, SAN JUAN BAUTISTA - (DAY) 212 + + The Coroner's Inquest is in session. The Jury of twelve + local people is at one side. Among the people assembled we + see: the two nuns, escorted by a priest; Gavin Elster with + his attorney; some State Patrolmen; and, of course, + Scottie. + + Next to him is a burly man in his fifties in civilian + clothes; almost obviously a detective and obviously + Scottie's one friend there. He is Detective Captain Fred + Hansen of the San Francisco Police. + + At the front of the room is the Official who is speaking, a + rather testy old man. Behind him, on the wall are an old, + crudely hand-made American Flag from the last century, and + a California Bear Flag. + + (NOTE: THE FIRST PARAGRAPH OF THE FOLLOWING SPEECH COVERS + THE RISE AND ENTRANCE OF THE CAMERA AND BECOMES + INTELLIGIBLE ONLY AT ITS END.) + + OFFICIAL + 96. + + + Mr. Elster, suspecting that all was + not well with his wife's mental + state, took the preliminary + precaution of having her watched by + Mr. Ferguson lest any harm befall + her, and you have heard that Mr. + Elster was prepared to take his + wife to an institution where her + mental health would have been in + the hand of qualified specialists. + And Mr. Ferguson, being an ex- + detective, would have seemed the + proper choice for the role of + watchdog and protector. As you have + learned, it was an unfortunate + choice. + (pause) + However, I think you will agree + that no blame can be attached to + the husband. His delay in putting + his wife under medical care was due + only to the need information as to + her behavior that he expected to + get from Mr. Ferguson. He had taken + very precaution to protect his + wife. He could not have anticipated + that Mr. Ferguson's "weakness" his + "fear of heights", called + "acrophobia", would make him + powerless when he was most needed. + (pause) + As to Mr. Ferguson: you have heard + his former superior, Detective + Captain Hansen, from that great + city to the north, testify as to + his character and ability. Captain + Hansen was most enthusiastic. The + fact that Mr. Ferguson once before, + under similar circumstances, + allowed a police colleague to tall + to his death, Captain Hansen + dismissed as an "unfortunate + Incident." + +Captain Hansen's eyes narrow and his face reddens. Scottie +stares at the floor dully, oblivious to what is being said. + + OFFICIAL + 97. + + + Of course Mr. Ferguson is to be + congratulated for having once saved + the woman's life when, in a + previous fit of aberration, she + threw herself into the Bay. It is a + pity that knowing her suicidal + tendencies he did not make a + greater effort the second time. But + we are not here to pass judgment on + Mr. Ferguson's lack of initiative. + He did nothing, and the law has + little to say on the subject of + things left undone. + (pause) + Nor does his strange behavior after + he saw the body fall have any + bearing on your verdict. He did not + remain at the scone of the death. + He ran away. He claims he suffered + a mental blackout and knew nothing + more until he found himself back in + his own apartment in San Francisco + several hours later. You may accept + that or not. Or, you may believe + that, having once again allowed + someone to die, he could not face + the tragic result of his own + weakness, and ran away. That has + nothing to do with your verdict. It + is a matter between him and his + conscience. + (pause) + Now. From the evidence of the mind + of Madeleine Elster prior to her + death, from the manner of her + death, and from the Postmortem + examination of the body showing the + actual cause of her death, you + should have no difficulty in + reaching your verdict. Gentlemen, + you may retire. + +The Foreman of the jury leans across to his colleagues, and +they go into a huddle. After a short whispered consultation +there is a general nodding of heads, then the Foreman +stands. + + FOREMAN + We've reached the verdict. + + OFFICIAL + And what is your verdict. + 98. + + + FOREMAN + We find that Madeleine Elster + committed suicide while being out + of -- while being out of unsound + mind. + + OFFICIAL + Your verdict will be so recorded. + Dismissed. + +People start to rise. There is a general exodus toward the +doorway and the stairs leading down to the ground floor. + +Scottie remains impassive, still staring at the floor. + +People stare at him curiously as they move past him and +away. + +Detective Hansen rises, takes him by the arm, and helps him +to his feet. + + HANSEN + Let's go, Scottie. + (Glares over at the + Official grimly) + The son of a -- + +He purses his lips and starts Scottie toward the door. +Gavin Elster moves toward them, and they meet, and have to +stop. + +Hansen looks at Elster impassively. + + ELSTER + Do you mind if I speak to him for a + minute? + +Receiving no answers he takes Scottie by the elbow. + + ELSTER + Scottie -- + +He leads Scottie away toward the window. They stop. + + ELSTER + Scottie, I'm sorry. That was rough. + +Scottie finally looks up at him. + + ELSTER + 99. + + + He had no right to say that. It was + my responsibility. You didn't know + her. I shouldn't have got you + involved. + + SCOTTIE + (struggling) + I -- i -- + + ELSTER + No, there's nothing you have to say + to me. I'm getting out, Scottie. + For good. I can't stay here. I'm + winding up her affairs, and mine. + I'm going to get as far away as I + can. Probably Europe. And I'll + probably never come back. + (Extends his hand) + Good-bye, Scottie. If there's + anything I can do for you before I + go.... + + Scottie looks at the outstretched hand, then looks up at + the man's face, wanting very much to tell him how he felt + about the dead woman. But the words won't come. Elster + drops his hand with a sympathetic half-smile, and touches + Scottie comfortingly on the arm. + + ELSTER + There was no way for them to + understand. But you and I know who + killed Madeleine. + + Elster and Scottie look at each other for a moment. Then + Elster nods somberly and turns away and goes down the + stairs with his attorney. The room is empty, now, but for + Hansen and Scottie. Hansen, waiting near the doorway looks + across to Scottie standing alone by the window. Beyond + Scottie, through the window, we can see the cloister across + the green. + + DISSOLVE TO: + + +213 EXT. A CEMETERY SOUTH OF SAN FRANCISCO - ( DAY) 213 + + It is grey and deserted. In the distance a figure comes + into views walking slowly, approaching a grave. It is + Scottie. + + +214 EXT. A CEMETERY SOUTH OF SAN FRANCISCO - (DAY) - MEDIUM 214 + SHOT + 100. + + + A closer view brings him to a stop before the grave, and he + stares down at it impassively. The gravestone tells us it + is Madeleine's grave. + + DISSOLVE TO: + + +215 EXT. SAN FRANCISCO - (NIGHT) 215 + + A foggy night, the city hidden in mist. The flash of + beacons; fingers of fog; the spasmodic growls and ories of + fog horns. + + +216 INT. SCOTTIE'S BEDROOM - (NIGHT) 216 + + Scottie in bed, sleeping restlessly. His head fills the + screen, rolls from, side to side. In a SLOW DISSOLVE while + his head remains on the screen, there comes into focus and + is superimposed as it gets closer the head and shoulders of + the portrait of Carlotta. The CAMERA PANS DOWN until it + reveals the nosegay. + + The portrait is cleared from the screen, a new image is + superimposed; the final scene at the inquest between + Scottie and Gavin Elster. But this time, though it is not + distinct, a woman's head can be discerned on Elster's + shoulder. Elster turns to the woman and says: "Tell him + he's not to blame; tell him." The woman turns her head to + smile at Scottie. It is Carlotta Valdes again, dressed as + in the portrait, with the necklace at her throats, and she + is alive. The picture fades away. Scottie's restless head + is alone on the screen again. + + Another scene dissolves to the screen: the graveyard at + Mission Dolores. The CAMERA IS APPROACHING the grave of + Carlotta Valdes. Now we see Scottie approaching the grave. + + Now the CAMERA REVERSES, MOVING closer to the grave. It is + open; there is a great black abyss, with the headstone to + mark it. + + A CLOSEUP OF SCOTTIE coming to a stop as he stares down. + The black depths of the grave fill the screen, and now, + suddenly we start to fall. A BIG CLOSEUP OF SCOTTIE, his + hair windswept, staring down in horror as he falls. REVERSE + ANGLE: he is still falling, but now from the tower of the + Mission at San Juan onto the roof where Madeleine fell, and + at the moment of impact the picture clears, and Scottie is + sitting up in bed, staring ahead in horror, awakened by the + sound of his own scream. The scream is echoed by a fog horn + in the distance. + 101. + + + DISSOLVE TO: + + +217 INT. SANITARIUM BEDROOM - (DAY) 217 + + We see a portable phonograph with a record on, and we hear + Mozart at his gayest, most incisive, most sparkling. + + And then we find Midge standing nearby, smiling across at + Scottie, who is seated in a wheelchair wearing a dressing + gown over pajamas. His face is gaunt and expressionless. We + are in a light and pleasant bed-sitting room. Through the + window we can see a lovely garden, and a few patients + accompanied by nurses strolling along the paths. + + MIDGE + (Brightly) + It's Mozart. Wolfgang Amadeus. I + had a long talk with the lady in + musical therapy, and she said + Mozart's the boy for you, Johnny. + The broom that sweeps the cobwebs + away. That's what the lady said. + You know, it's wonderful how + they've got it all taped now, John. + They've got music for + melancholiacs, and music for + dipsomaniacs, and music for + nymphomaniacs ... I wonder what + would happen if somebody mixed up + their files? + + There is no reaction on Scottie's face, and Midge makes a + grimace of dissatisfaction at the weakness of her joke. She + looks across at him uncertainly. + + MIDGE + But I brought you a lot of other + things. You can see what you like. + And the thing shuts off + automatically. + + She crosses to him swiftly kneels beside him. + + MIDGE + Ah, Johnny, please try. Johnny, + try! You're not lost. Mother's + here. + + No reaction. Long pause. Then we hear the door open. + + Scottie does not seem to hear, but Midge turns her head. A + nurse is looking in, with a significant look at Midge. + 102. + + + MIDGE + Time? Okay. + + The nurse goes out. Midge rises. + + MIDGE + I'll be in again, John. Do you want + me to shut that off? It shuts off + automatically. + + Her eyes crinkle with anxiety. She nods and goes to the + phonograph and shuts it off. She comes back to him slowly, + and stands behind him, and puts her hands on his shoulders. + + MIDGE + (Softly) + Ah, Johnny-O ... you don't know I'm + here, do you? + + She leans down and kisses him lightly on the top of the + head, and smiles gently. + + MIDGE + But I'm here. + + She moves to the door, going out of the SHOT, and we hear + the door open and close. Scottie has not moved, his face + does not change expression. His head bends down, and his + gaze is fixed on the floor. + + +218 INT. CORRIDOR OUTSIDE SCOTTIE'S ROOM - (DAY) 218 + + Midge, walking down the corridor, meets the nurse near the + open door of an office. + + MIDGE + Could I see the doctor for a + moment? + + The nurse backs up a step and looks in the open doorway. + + NURSE + Doctor...? + + The Doctor looks up and sees Midge in the doorway. + + DOCTOR + Oh. Yes, Miss Wood? + + The nurse continues on up the corridor. Midge remains in + the doorway. + 103. + + + MIDGE + Doctor, how long is it going to + take you to pull him out of this? + + DOCTOR + It is hard to say. Six months, at + least. Perhaps a year. It depends + to a certain extent on him. + + MIDGE + He won't talk. + + DOCTOR + No. We have ways of digging out + knowledge. But it takes longer. He + is suffering from acute + melancholia, together with a guilt + complex. He blames himself for what + happened to the woman. And we know + little of the background. + + MIDGE + I can give you one thing: he was in + love with her. + + DOCTOR + Ah? That complicates the problem. + + MIDGE + I'll give you another complication: + he still is. + + The Doctor studies her carefully. + + MIDGE + And you know something, Doctor? I + don't think Mozart's going to help + at all. + + She attempts a bright, gay smile but it comes out wrong. + She turns and walks away down the corridor. + + FADE OUT. + + FADE IN: + + +219 EXT. SCOTTIE'S APARTMENT - (NIGHT) 219 + + Once again a foggy night. The street lights ringed in the + mist, and Coit Tower barely discernible in the distance. + The fog horns sound. + 104. + + + DISSOLVE TO: + + +220 INT. SCOTTIE'S APARTMENT - (NIGHT) 220 + + The living room, is mostly in shadow. One light in a far + corner is lit. There is a fire in the fireplace, but it is + almost burnt out, and casts only a faint glow. + + An easy chair has been drawn up before the fire, and next + to it is a small table on which is a bottle of whiskey, the + remains of a highball, and an ashtray full of cigarette + butts. There is no sign of life in the apartment. The + telephone rings in the bedroom. It continues to ring. + + DISSOLVE TO: + + +221 INT. ERNIE'S RESTAURANT, UPSTAIRS ROOM - (NIGHT) 221 + + Scottie is seated at the bar, exactly as he was the first + time he saw Madeleine. The dinning room is crowded. + + Scottie's glance wanders about the room as he drinks, but + he does not seem to be so much searching as waiting. And + then he stiffens. From somewhere across the room a man and + a woman are making their way among the tables toward the + exit, and their relative positions as they move recall + exactly the way Madeleine and Gavin Elster moved toward him + on that night. And as the woman moves toward him, difficult + to see clearly because of the movements of the waiters + crossing her path, he could swear that it is Madeleine, and + so could we. + + Although she does not wear an evening dress. Scottie + stares, fearing and hoping as the woman gets closer and + closer. And then she is there, and pauses near him to wait + for the man, exactly as Madeleine did -- but it is not + Madeleine. + + DISSOLVE TO: + + +222 EXT. BROCKLEBANK APARTMENTS - (DAY) 222 + + Scottie in the foreground, and across the street the + apartment building from which Madeleine used to emerge, + with the forecourt of cars. A long moment, then a man + emerges and crosses the street and walks toward the + Fairmont Hotel. + + Another wait, and then a woman comes out of the apartment + house. She has Madeleine's figure and Madeleine's style. + 105. + + + Scottie freezes. The woman crosses the forecourt toward a + car out of our sight. Scottie moves to follow the course of + the woman, and we move with him, and now the car comes into + sight, it is the green Jaguar. The woman opens the car + door. + + Scottie races across the street and into the forecourt. By + the time he gets to the Jaguar, the woman is in behind the + wheel and has the motor started. Scottie races up to her, + then stops short. The woman is not like Madeleine in + features, and is a good deal older. She looks up startled + as Scottie comes to a stop by the open car window. + + SCOTTIE + Where did you get this car?! + + THE WOMAN + (Startled by his + vehemence) + I beg your pardon? + + SCOTTIE + This car...!! + + THE WOMAN + Oh! Why ... I bought it from a man + who used to live here, in this + apartment building. Mister Gavin + Elster. I bought it from him when + he moved away. + + As Scottie stares at her, she grasps the connection. + + THE WOMAN + 0h! You know him! And his wife? The + poor thing. I didn't know her. Tell + me -- is it true that she really + believed -- + + But by this time Scottie has turned and walked away, and + she stares after him, a bit taken aback. + + DISSOLVE TO: + + +223 EXT. PALACE OF THE LEGION OF HONOR - (DAY) 223 + + Framed in the columns of the forecourt, Scottie wanders up + the front walk and passes through the doors into the Art + Gallery. + + +224 INT. PALACE OF THE LEGION OF HONOR - (DAY) 224 + 106. + + + Scottie wanders to the entrance of the room in which hangs + the Portrait of Carlotta, and stops and looks towards the + far corner. Some people pass before him, but then as the + vista clears he sees walking toward him from Carlotta's + corner a woman who must surely be Madeleine. He stares, + rigid, as she comes closer, and then she passes out of view + as she heads for the exit. Scottie turns to keep her in + sight, and as she passes through the doors to go out to the + courtyard she turns a just a bit so that she is silhouetted + slightly in profile against the cuter light, and once again + surely it is Madeleine. Scottie heads for the door fast, + pushes through the courtyard. + + He breaks into a run and catches up with her and puts out + his hand to take her arm, and as he does she turns, + startled by his sudden appearance at her side -- and they + both stop and stare at each other. It is not Madeleine. A + moment, as the woman stares at him, frightened. + + SCOTTIE + I'm sorry. + + He turns away. The woman walks on. + + DISSOLVE TO: + + +225 EXT. PODESTA, BALDOCCHI - (LATE AFTERNOON) 225 + + Scottie stands before the window looking at the floral + display. In the foreground is a group of madeup nosegays + and one of them is exactly like the nosegay Madeleine + carried to the grave, to the portrait, to the moment she + threw herself into the Bay. A porter closes the shop door + and locks it. + + A moment, then Scottie turns away to move down Grant + Avenue. + + He stops short. Coming up Grant Avenue, headed for Sutter + Street, is a group of shopgirls who have just come out of + work, and among them is one who -- again -- must surely be + Madeleine. Scottie watches them come closer, trying to get + a clear view through the crowd of passersby, catching sight + of the girl only in glimpses, and as the girls come abreast + of him they stop to make their farewells. + 107. + + + The one nearest to Scottie, seen in profile, might have the + same features as Madeleine. He cannot be sure. This girl's + hair is dark, where Madeleine's was light; her features on + closer inspection seem heavier, and she wears much more + makeup. And yet there is something about the way she + carries herself. The other girls cross the street while the + one nearest to Scottie goes on alone. He Instinctively + turns and follows. + + DISSOLVE TO: + + +226 EXT. SUTTER STREET NEAR LEAVENWORTH - (LATE AFTERNOON) 226 + + A trolley coach passes, heading west. The girl starts to + cross the street in the middle of the block, waits for + another trolley coach to pass, continues to the opposite + side, and goes into the Empire Hotel, one of the typical + inexpensive residential hotels of that neighborhood. + Scottie remains on the opposite side of the street, + watching, wondering what to do next. + + He waits, and then, in much the same way it happened to him + long ago at the McKittrick Hotel, his attention is + attracted to a window on the second floor. + + The girl appears and opens the window about eight inches, + then pulls down the blind. + + Scottie stares at the window, calculates in his mind the + geographical position of the room, then starts across the + street. + + DISSOLVE TO: + + +227 INT. UPSTAIRS HALL JUDY'S HOTEL - (DUSK) 227 + + Scottie moves down the hall counting doors and comes to a + stop. He knocks. The door opens, and the girl stands and + looks at him, and waits. Scottie stares at her, searching + for a sign of recognition, but there is none. + + JUDY + Well? What is it? + + Her voice is flat and slightly nasal, in sharp contrast to + Madeleine's low, husky voice. Scottie winces slightly at + the sound of it. He keeps staring at her for a moment. + Then: + + SCOTTIE + 108. + + + Could I ask you a couple of + questions? + + JUDY + What for? Who are you? + + SCOTTIE + My name is John Ferguson, and -- + + JUDY + Is this some kind of Gallup Poll, + or something? + + SCOTTIE + No, there are just a few things I + want to ask you, and -- + + JUDY + Do you live here in the hotel? + + SCOTTIE + No, I happened to see you come in, + and I thought -- + + JUDY + 0h, I thought so! A pick-up! Well, + you've got a nerve, following me + right into the hotel and up to my + room! You beat it! Go on! Beat it! + +And she starts to close the door on him hard. Scottie holds +it open against her. + + SCOTTIE + No, please! I Just want to talk to + you! + + JUDY + (Pushing on the door) + Listen, I'm going to yell in a + minute! + + SCOTTIE + I'm not going to hurt you! I + promise! Please! + +She hesitates, impressed by the urgency in his voice. + + SCOTTIE + Just let me talk to you. + + JUDY + (Hesitating) + 109. + + + What about? + + SCOTTIE + You. + + JUDY + Why? + +She is still holding on to the door, ready to slam it. + + SCOTTIE + Because you remind me of someone. + +She laughs a short, ironic, skeptical laugh. + + JUDY + I've heard that one before, too. I + remind you of someone you used to + be madly in love with, but she + ditched you for another guy, and + you've been carrying the torch ever + since, and then you saw me and + something clicked. + + JUDY + (scornfully) + Huh! + + SCOTTIE + (With a rueful smile) + You're not far wrong. + + JUDY + Well, it's not going to work. So + you'd better go. + + SCOTTIE + Let me come in. + +Her mouth drops open with shock at his effrontery. + + SCOTTIE + You can leave the door open. + Please. I want to talk to you. + +A moment, then she backs into the room a little, and he +follows. + + JUDY + I warn you, I can yell awfully + loud. + + SCOTTIE + 110. + + + You won't have to. + + JUDY + (Doubtfully) + Well ... you don't look very much + like Jack the Ripper.... + +But still she moves until she is next to the phone, her +hand almost touching it. She eyes him carefully. + + JUDY + What do you want to know? + + SCOTTIE + Your name. And -- + + JUDY + Judy Barton. + + SCOTTIE + Who you are -- + + JUDY + Just a girl, I work at Magnin's -- + + SCOTTIE + -- and how you happen to be living + here. + + JUDY + It's a place to live, that's all. + + SCOTTIE + But you haven't lived here long. + + JUDY + About three years. + + SCOTTIE + No, a year ago! Where did you live + a year ago!!? + + JUDY + (Puzzled) + I told you! Right here! + + SCOTTIE + (Strongly) + But before! Where did you live + before!?! + + JUDY + Salina, Kansas! + 111. + + +And that stops him dead, and he stares at her, denying. + + JUDY + Listen, what is this? What do you + want? + + SCOTTIE + I want to know who you are. + + JUDY + I told you! My name is Judy Barton! + I come from Salina Kansas. I work + at Magnin's! I live here! My gosh, + do I have to prove it? + +She moves swiftly to the dresser and rummages in her bag. + + JUDY + You've got to prove you're alive + these days! All right, Mister. My + Kansas driver's license. Judy + Barton. Number Z296794. Four- + Twenty-Five Maple Avenue, Salina, + Kansas. + +She pulls out another card: a California license. She hands +it to him. + + JUDY + There! See the address on this one? + This place here! California License + issued May 25, 1954! Want to check + my thumb print? Satisfied. + (Pulls the card away) + And whether you're satisfied or + not, you can just beat it! + +A long moment as he stands before her, sagging a little +defeated. She becomes remorseful and sympathetic. + + JUDY + (Gently) + Gee, you have got it bad, haven't + you? Do I really look like her? + +He stares at her with an intensity that makes her crinkle +her eyes in embarrassment. + + JUDY + She's dead, isn't she. + +An almost imperceptible nod. + 112. + + + JUDY + I'm sorry. And I'm sorry I yelled + at you. + +He turns away slowly toward the door. His eyes fall on some +framed photographs on the dresser and he pauses, then moves +closer to see them clearly. One is of a girl about sixteen +standing with a woman in her late thirties; they have their +arms about each other; they both have dark hair. Scottie +stares at it, then glances at Judy. + + JUDY + Yes, that's me. With my mother. + +Scottie's eyes move to another photograph, of a man in his +early forties standing before a store. Above the store a +sign says: A. M. BARTON, HARDWARES. + + JUDY + That's my father. He's dead. My + mother got married again ... I + didn't like the guy. + (Smiles, wistfully) + So ... I decided to see what it was + like in sunny California. + (Pause) + I've been here three years. + (she grins) + Honest! + +He smiles back at her, liking her directness. + + SCOTTIE + Will you have dinner with me? + + JUDY + (Immediately wary, the + smile fading) + Why? + + SCOTTIE + Well, I feel I owe you something + for all this.... + + JUDY + No, you don't owe me anything. + + SCOTTIE + Then will you for me? + + JUDY + (Warily) + Dinner ... and what else? + 113. + + + SCOTTIE + Just dinner. + + JUDY + Because I remind you of her? + + SCOTTIE + Because I'd like to have dinner + with you. + +She smiles, pleased with the gallantry of his answer, and +regards him thoughtfully. + + JUDY + (Slowly) + Well ... I've been on blind dates + before ... Matter of fact, to be + honest, I've been picked up before. + (Grins) + Okay. + + SCOTTIE + I'll get my car and be back in half + an hour. + + JUDY + Oh, no! Give me time to change and + get fixed up! + + SCOTTIE + An hour? + + JUDY + Mmm. + + SCOTTIE + Okay. + +He flashes her a smile and goes, closing the door. She +stares after him for a long moment, then moves slowly and +sits down on the edge of the bed. She stares straight +ahead, thinking, her face an impassive mask. + 114. + + +The CAMERA MOVES IN until her head fills the screen, and +her eyes are deep with dark memory. We DISSOLVE THROUGH to +what she sees: THE MOMENT IN THE TOWER OF THE MISSION. +MADELEINE IS RUNNING UP THE STAIRS OF THE TOWER: SCOTTIE +STRUGGLING DESPERATELY AFTER HER. SHE REACHES THE TOP, +OPENS THE DOOR, DARTS INTO THE BELL TOWER, SLAMS THE DOOR +BEHIND HER AND LOCKS IT. SHE TURNS. GAVIN ELSTER STANDS +NEAR THE OPEN ARCH, HOLDING HIS WIFE FAST; SHE IS DRESSED +IN A GREY SUIT EXACTLY LIKE THE ONE MADELEINE WEARS. HER +BODY IS LIMP. SHE IS OBVIOUSLY DEAD ALREADY. ELSTER LOOKS +AT MADELEINE, THEN PUSHES HIS WIFE OUT THROUGH THE ARCH. +MADELEINE MAKES A FUTILE GESTURE TO STOP HIM, AND SCREAMS. +ELSTER COMES TO QUICKLY, PUTS HIS HAND ACROSS HER MOUTH, +AND DRAWS HER BACK INTO THE SHADOW BEHIND A MASONRY +ABUTMENT. THEY ARE LOST FROM SIGHT... + +DISSOLVE THROUGH to Judy, seated on the edge of her bed, +staring with the memory of the horror of the moment. + +She sits very still. Then slowly she rises and moves to the +window. She looks out, watching Scottie go down the street. + +She turns away and goes to the closet and opens the door. + +She pushes some clothes along the rack. We see the grey +suit. She reaches into the closet and brings out a +suitcase, lets it lie there, just outside the closet, and +stares down at it. Then she turns back, goes to the writing +desk sits down, and takes a sheet of paper. She picks up a +ball point pen, clicks out the Point, stares ahead for a +moment, then begins to write. As she writes, we hear her +voice. + + JUDY'S VOICE + Dearest Scottie ... and so you've + found me. This is the moment I + dreaded and hoped for, -- wondering + what I would say and do if ever I + saw you again, I wanted so to see + you again. Just once. Now I'll go + and you can give up your search. + (pause) + 115. + + + I want you to have peace of mind. + You've nothing to blame yourself + for. You were the victim. I was the + tool, you were the victim of a + man's plan to murder his wife. He + chose me to play the part because I + looked like her; he dressed me up + like her. He was quite safe because + she lived in the country and rarely + came to town. He chose you to be + the witness. The Carlotta story was + part real, part invented to make + you testify that Madeleine wanted + to kill herself. He knew of your + illness; he knew you would never + get up the stairs of the tower. He + planned it so well; he made no + mistakes. + (pause) + I made the mistake. I fell in love. + That wasn't part of the plan. I'm + still in love with you, and I want + you so to love me. If I had the + nerve, I would stay and lie, hoping + that I could make you love me + again, as I am for myself ... and + so forget the other and forget the + past. But I haven't the nerve to + try... + + She pauses and looks up and thinks, and wonders, and tries + to see into the future, and as she does, the fear in her + eyes dissolve into anxious hope, and then resolve. + + She puts the pen down, rises slowly, takes up the letter + and tears it into small pieces and drops the pieces into + the wastebasket. She turns to the closet, pushes the + suitcase back in with the toe of her foot, pushes the grey + suit far back into darkness, and closes the closet door. + She walks to the dresser, and stares at herself in the + mirror. She opens a candy box in which we see trinkets and + pieces of junk jewelry, and takes out two plain hoop + earrings. She puts them on and looks to see how much change + they make. She takes up an eyebrow pencil and slightly + exaggerates the arch of her brows. She stares at herself + impassively for a long time. + + DISSOLVE TO: + + +228 INT. ERNIE'S RESTAURANT, UPSTAIRS ROOM - (NIGHT) 228 + 116. + + + The room is filled with diners; waiters come and go. There + is a sound of chatter and a slight clatter of dishes at a + side table. We are looking from the bar, and at a table + against the far wall we see Judy and Scottie, dining. They + are talking amiable; Scottie is being genial and + companionable, but there is no particular sense of + intimacy. + + Judy looks about quite a bit, obviously admiring the room, + and the food and the clothes of the people about her. She + is dressed neatly, but more simply and more cheaply than + are the other women in the room, and she is conscious of + it, and keeps fiddling with the shoulders at her dress. + + During this, a party of diners enters, is greeted by the + captain, and is led across the room toward an empty table + near Judy and Scottie. We go with them winding among the + tables. As we get very close to Scottie, he looks up and + becomes rigid, and stares. A woman has just gone by him to + take seat at the neighboring table. Her hair is blonde and + is done exactly as was Madeleine's; from the rear she could + easily be Madeleine. But then she turns and sits down, + glancing at Scottie as she does, and we see that it is not + Madeleine. A moment, then Scottie looks away. Judy is + staring at him anxiously. It is her first defeat and her + first victory: defeat, in that although he is with her he + is still searching; victory, in that she is sure, now, that + he does not think she is Madeleine. + + DISSOLVE TO: + + +229 EXT. JUDY'S HOTEL - (NIGHT) 229 + + Scottie's car drives up and comes to a stop. He gets out, + comes around and opens the other door and helps Judy out. + + They stand there for a moment, then start for the front + door. + + DISSOLVE TO: + + +230 INT. JUDY HOTEL, UPSTAIRS CORRIDOR - (NIGHT) 230 + + Judy opens her door, flicks the light switch, and turns to + Scottie in the doorway. + + JUDY + Thank you again. Good-night. + + SCOTTIE + Can I see you tomorrow? + 117. + + + JUDY +Tomorrow night? Well -- + + SCOTTIE +Tomorrow morning. + + JUDY +Tomorrow m -- but I have to go to +work. I've got a job. + + SCOTTIE +Don't go. + + JUDY + (Smiling) +And what will I live on? My oil +wells in Texas? + + SCOTTIE +I'll take care of you. + + JUDY + (Flatly) +Oh, Well, thank very much. But no +thanks. + + SCOTTIE +No, Judy, you don't understand. + + JUDY +Oh, I understand, all right. I've +been understanding since I was +seventeen. And the next step is, as +long as you're going to see me +tomorrow, why don't you stay the +night. + + SCOTTIE +No. + + JUDY +No? Then what? + + SCOTTIE +I just want to see you as much as I +can! + + JUDY +As friends? We'd just see a lot of +each other as friends, and you'd +"take care of me"? + + SCOTTIE + 118. + + + Yes. + + JUDY + Why? + (No answer) + Because I remind you of someone? + (No answer) + That's not very complimentary. + (Pause) + And nothing would ... happen.... + + SCOTTIE + No. + + JUDY + That's not very complimentary, + either. + +She turns away and wanders into the room toward the window. + +She sits down in the chair to think it over, looking +straight ahead, in profile to Scottie and to the window. +Scottie stares at her, then suddenly reaches out and snaps +off the light. + + JUDY + (Frightened) + Listen, what'd you do that for?!?! + +She starts to rise. + + SCOTTIE + (Quickly) + No, Judy, I'm not going to move! + Please! Stay in the chair! + + JUDY + Why?! + + SCOTTIE + Please! And don't look at me. + +She subsides in the chair, and obeys, looking straight +ahead again, holding very still, apprehensive. The only +light in the room is from the street lamp outside, and it +silhouettes Judy in profile, robbing her of hair-color, +robbing her of makeup, and Scottie stares across at her, +unsure, wishing he could persuade himself. + + SCOTTIE + (Softly) + Will you, Judy? + 119. + + + JUDY + (Slowly, anxiously) + I suppose I could phone the store + in the morning, and say I'm sick. + + ANOTHER PAUSE. + + SCOTTIE + (Gently) + Good night, Judy. + + He goes out, closing the door. Judy sits still, staring + straight ahead. She raises a hand slowly and rubs the side + of her face. + + DISSOLVE TO: + + +231 EXT. GOLDEN GATE PARK - (DAY) 231 + + It is a bright, sunny day. On a lovely green slope, young + couples are stretched out making love. We see a Pretty + young girl sitting, and her young man lying on the grass at + right angles with his head on her lap. She is playing with + his hair. She bends down and kisses him. The CAMERA MOVES + ON, searching for Scottie and Judy, and comes upon another + couple in a close embrace. + + The CAMERA MOVES ON and discovers Scottie and Judy + strolling along the path at the foot of the slope. Judy is + looking at the loving couples with wistful envy. Scottie is + admiring the scenery in other direction. He holds a bag of + popcorn. + + Judy looks up at him with gentle longing. He glances down + at her and smiles companionably, and offers her the + popcorn. + + She takes some and smiles back as well as she can. + + DISSOLVE TO: + + +232 INT. DANCE FLOOR, FAIRMONT HOTEL - (NIGHT) 232 + + The lighting in the room is low, the orchestra is playing + "Isn't It Romantic", there are many couples on the floor, + dancing romantically. It's romantic as hell. We find + Scottie and Judy dancing, nicely, but rather sedately. Judy + looks up at him once in a while, wishing she could get a + bit closer, although he is not by any means keeping her at + a distance. + 120. + + + DISSOLVE TO: + + +233 EXT. POST STREET, OUTSIDE GUMPS - (DAY) 233 + + There is a flower stand - known to all San Franciscans -- + at the curb opposite the main entrance to Gumps, and + Scottie and Judy have stopped there to pick a flower for + her to wear. It is a bright, fresh morning. There is a + display of corsages, made up, ready to wear. The Vendor + stands beside them as they pick and choose. They seem quite + happy. + + JUDY + I like that one. + + SCOTTIE + No, there. There's a good one. Do + you like that? + + JUDY + Yes -- + + The one Scottie has pointed out is remarkably like the + nosegay in the portrait, though smaller and not an exact + copy. + + SCOTTIE + We'll take that one. + + VENDOR + Very nice. And fresh. I just made + it up. + + He pins the nosegay on Judy. + + VENDOR + That'll be a dollar four. + + Scottie pays him + + JUDY + It's beautiful. + + SCOTTIE + Okay. Now we're going to buy you + some clothes. + + JUDY + Honest? + + He has started her across the middle of the street in the + midst of traffic, and they have to run. + 121. + + + SCOTTIE + There's Ransohoff's. Nothing but + the best. Come on. + + JUDY + (Happy and breathless) + But Scottie, you don't have to! + + SCOTTIE + I want to! Come on! + + They go dodging across the street. + + DISSOLVE TO: + + +234 INT. RANSOHOFF'S - (DAY) 234 + + A spacious room on the second floor. Judy and Scottie are + being waited on by a middle-aged saleswoman. A girl + Assistant stands nearby. Draped about on neighboring chairs + are several suits. Scottie looks tense. His jaw is set. + + Judy looks at him wonderingly. A model enters wearing a + grey tweed suit, and parades before them. + + SCOTTIE + No, that's not it. Nothing like it. + + SALESWOMAN + But you said grey, sir. + + SCOTTIE + Not tweed -- it's a smoother + material, with a larger collar and + belted. + (Indicates with hands) + + He puts his hands to his waist. + + JUDY + But I like that one, Scottie. + + SCOTTIE + No, it's not right. + + SALESWOMAN + (Cheerfully) + The gentleman seems to know what he + wants. + (To the model) + All right. Well, we'll find it. + 122. + + +She goes and whispers to the Assistant, during the +following, and the Assistant follows the model out. + + JUDY + (Slightly apprehensive) + Scottie, what are you doing? + + SCOTTIE + I'm trying to buy you a suit. + + JUDY + But I loved the second one she + wore. And this one -- + (She touches a suit on + the chair) + -- is beautiful. + + SCOTTIE + They're none of them right. + + JUDY + But why? + +The saleswoman has a sudden thought. + + SALESWOMAN + Oh!! I think I know the suit you + mean! We had it -- oh, it must be + sometime ago! Let me go see. We may + still have the model. + +And she hurries away into the back room. Judy looks at +Scottie with wondering, understanding eyes. + + JUDY + You're looking for the suit she + wore! For me?!? + +Scottie looks at her anxiously, not wanting an argument. + + JUDY + (Repelled) + You want me to dress like her? + + SCOTTIE + Judy, I just want you to look nice. + And I know what kind of suit would + look well on you. + + JUDY + Ah, no!!! I don't want to be + dressed like someone dead! + 123. + + + SCOTTIE + Judy -- + + JUDY + It's a horrible idea! Is that what + I'm here for? To make you feel that + you're with someone that's dead? + +She has risen from her chair, appalled, and close to tears. + +The Saleswoman enters briskly. + + SALESWOMAN + She'll be out in a moment. + + SCOTTIE + Now, Judy, it isn't anything to get + -- + + JUDY + No, I won't do it!! + +She walks away. Scottie follows her. + + SCOTTIE + Judy!! + +The saleswoman watches the altercation with interest. The +two are out of earshot, now, but what they're seems pretty +evident. + +Scottie is being urgently persuasive, Judy is staring at +the floor, shaking her head, fighting the tears. The +following is distant and blurred. + + SCOTTIE + Judy, it can't make much difference + to you. I just want to see how + you'd look and I know it won't be + the some, but -- + + JUDY + No, I don't want any clothes! I + don't want anything! I want to get + out of here! + + SCOTTIE + (strongly) + Judy, you've got to do this for me! + Please! + +She looks up at him, frightened, and at that moment he sees +the model enter, wearing the grey suit. + 124. + + + SCOTTIE + Yes! That's it! + + SALESWOMAN + I thought so! + + JUDY + I don't like it! + + SCOTTIE + We'll take it! Will it fit? + + SALESWOMAN + Oh, yes! It may need some slight + alterations, but it is madam's + size. + (To the model) + All right, dear. + (To Judy) + We'll have it for you to try in a + moment. + + SCOTTIE + How soon can it be altered? + + SALESWOMAN + Well... + + SCOTTIE + Can we have it by tonight? + + SALESWOMAN + Well, if it's absolutely + necessary... + + SCOTTIE + Yes, it is. Now, I want to look at + an evening dress, a dinner dress, + black -- short -- long sleeves -- + with a neck cut this... + (Indicates square neck) + ...and the skirt out. + (Indicates full skirt + with his hands) + + JUDY + (Appealing) + Scottie -- + +He whirls on her with blazing eyes and stares at her +commandingly, and Judy shrinks a little. + + SALESWOMAN + 125. + + + (Laughs, embarrassed) + My, you certainly do know what you + want, sir. I'll see what we have. + + She goes into the back room. Judy and Scottie remains as + they were, their eyes fixed on each other. But Judy is + cowed. + + DISSOLVE T0: + + +235 INT. RANSOHOFF'S, SHOE SALON - (DAY) 235 + + Open on a SHOT of Judy's legs, standing in new, high-heeled + brown shoes. On the floor around her are other shoes and + shoe boxes scattered haphazardly. + + SCOTTIE'S VOICE + All right. Walk. + + The legs start to walk, and the scene opens up as Judy + walks away from the CAMERA, and we find Scottie seated, + watching, and a shoe salesman in attendance. Judy sways a + bit on the high heels in a way that could be reminiscent of + Madeleine. + + She stops and turns, and stands staring at Scottie, without + expression. + + SCOTTIE + All right. That's it. Do you have + in black, too? + + SALESMAN + Yes, we have. + + SCOTTIE + All right. + + He looks at Judy and meets her gaze steadfastly. + + DISSOLVE TO: + + +236 INT. SCOTTIE'S APARTMENT - (NIGHT) 236 + + In the living room. There is a fire in the fireplace. Judy + is seated on the floor before the fire, bent forward with + her head and arms buried in the seat of the easy chair. + She's been crying. Scottie enters from the kitchen carrying + a bottle of cognac and two glasses. He looks down at Judy, + then pours cognac into the two glasses and sets the bottle + down. + 126. + + + SCOTTIE + Here, Judy. Take it straight down. + It's medicine. + +Judy raises her tear-streaked face. + + JUDY + (Pleading) + Why are you doing this? What good + will it do? + +She takes the glass from his outstretched hand. + + SCOTTIE + I don't know. No good, I guess. But + I don't know. + +She takes a large sip of cognac, makes a face, and puts the +glass away. As she does: + + JUDY + (Tearfully) + I wish you'd leave me alone. I want + to go away. + + SCOTTIE + You can. + + JUDY + No, you wouldn't let me. + (Then, almost to herself) + And I don't want to go.... + +Scottie comes down to her and puts his hands on her arms +and holds her and looks into her eyes intently. + + SCOTTIE + Judy, I want to tell you: these few + days have been the first happy days + I've had in a year. + + JUDY + (Sadly) + I know. Because I remind you of + her. The one that's dead. And not + even that, very much. + + SCOTTIE + (Meaning it) + No, it's you too, Judy. Something + in you. + 127. + + +She looks at him with a new spark of hope, and her eyes are +almost willing him to kiss her. But then he drops his hands +from her arms, and the glow fades from her eyes, and she +looks away. + + JUDY + (Dully) + You don't even want to touch me. + + SCOTTIE + (Grimly) + Yes. Yes, I do. + +He rises and walks away toward the window. She looks after +him, then rises and almost runs to him. + + JUDY + Couldn't you like me, just me, the + way I am?! When we first started + out it was so good! We had fun! And + you started on the clothes! I'll + wear the darned clothes if you want + me to! If you just like me! + +They are face to face, and Scottie is studying her +somberly. + +Beyond them, through the window, we can see that +magnificent symbol, the Coit Tower. + + SCOTTIE + (Studying) + The color of your hair... + + JUDY + Ah, no! + + SCOTTIE + Judy, please it can't matter to + you... + +She shrinks a little, and is defeated. + + JUDY + The trouble is, I'm gone now. For + you. And I can't do anything about + it. I want you to love me. If I let + you change me, will that do it? If + I do what you tell me, will you + love me? + + SCOTTIE + Yes. + 128. + + + JUDY + All right. Then I'll do it. Because + I don't care about me anymore. I + just want you to love me. + + LONG PAUSE. + + SCOTTIE + (Gently) + I'll take you home. + + DISSOLVE TO: + + +237 INT. ELIZABETH ARDEN SALON - (DAY) 237 + + The first impact is of SOUND, of the buzz of hair dryers + and the shrill cacophony of female voices talking and + laughing. + + Scottie is leaning at the doorway leading into the inner + salon. The CAMERA PANS AWAY from him through another door + and comes to REST on a big head of Judy, covered with, soap + suds, bent over a basin. One of the beauty operators looks + out toward Scottie then walks out to him. + + OPERATOR + I'm afraid it's going to be several + hours. The young lady thought + perhaps you'd like to go home, and + she'll come there as soon as she's + finished. + + SCOTTIE + Oh! Well ... no. Tell her I'll go + to her hotel, and wait for her + there. + + She starts to turns away. Scottie stops her. + + SCOTTIE + Oh! You're sure about the color of + the hair. + + OPERATOR + 0h, yes. It's an easy color. + + SCOTTIE + And the rest of -- + + He waves a hand over his face. + + OPERATOR + 129. + + + Yes, sir. We know what you want. + + SCOTTIE + All right. Thanks. + + He turns away after a last glance toward Judy. The last we + see of the salon is Judy's head, as she turns to try to see + through soap suds to where Scottie has been standing. + + DISSOLVE TO: + + +238 INT. JUDY'S BEDROOM, THE HOTEL - (DAY) 238 + + Scottie is wandering impatiently, smoking. Some of the + Ransohoff boxes are piled in a corner. Then, abruptly he + strides to the window. He looks, and becomes tense. + + +239 EXT. THE STREET - (DAY) 239 + + From Scottie's viewpoint. Judy is walking up the street. + + She wears the grey suit from Ransohoff's the high-heeled + black shoes, and her hair is now blonde. But it hangs about + her face in the usual way. She does not look up. She turns + into the entrance of the hotel. + + +240 INT. BEDROOM - (DAY) 240 + + Scottie watches her until he loses sight of her directly + below as she goes in the front door. He turns and looks + looks toward the bedroom door and waits. Then, impatiently, + he strides to the door and goes out into the corridor. + + +241 INT. HOTEL CORRIDOR - (DAY) 241 + + Scottie looks along the corridor. + + FROM HIS VIEWPOINT + + The corridor is empty. + + SCOTTIE + + tensely waiting. + + FROM HIS VIEWPOINT + + Judy turns the corner, moving towards him. + 130. + + + AS SCOTTIE WATCHES CRITICALLY + + Judy comes up to him. He backs into the room, Judy + following. + + +242 INT. HOTEL BEDROOM - (DAY) 242 + + As Judy comes into the room, Scottie closes the door + without taking his eyes from her. She looks at him gravely + -- and holds out her hand, as though hoping for praise for + the transformation. Her eyebrows have been plucked, her + makeup lightened, her lipstick changed and she now bears + much more of a resemblance to Madeleine. + + JUDY + Well? + + SCOTTIE + It should be back from your face -- + with a bun at the neck. I told + them. I told you. + + JUDY + We tried it. It didn't suit me. + + Scottie abruptly goes to her, takes her hanging hair with + both hands pulls it to the back so that her ears show. + + Judy looks at him, half-angry, half-scared. + + Scottie, seeing the look in her eyes, takes his hands away. + + The hair falls forward again. + + SCOTTIE + I'm sorry. + + They look at one another for a moment. Then Scottie asks, + almost humbly: + + SCOTTIE + Judy -- please -- + + Judy doesn't answer for a moment, then she draws a deep + breath, and turns resignedly away. She crosses to the + mirror over a chest of drawers. Scottie matches as she + picks up a couple of pins from a glass tray, and scoops up + a handful of hair. + + Scottie stands watching in silence. His eyes follow every + move. We hear the tinkle of pins of the glass tray. + 131. + + + FROM SCOTTIE'S VIEWPOINT + + Judy slowly turns from the mirror to face him. She looks + exactly like Madeleine -- her hair pulled back and done in + a bun at the back of the neck. She stands there looking at + him. + + SCOTTIE looks at her in wonder, his eyes shining. + + JUDY takes a step towards him, rewarded by his expression. + + SCOTTIE moves over and takes Judy in his arms. + + BIG HEADS + + of the two of them, together. The CAMERA MOVES AROUND the + big heads. Scottie holds her tighter and tighter. He looks + past her shoulder and we see that his eyes are closed, + because at last he holds Madeleine in his arms once more. + + He opens his eyes -- the CAMERA SWIMS AROUND the room. + + WE ARE NOW IN THE LIVERY STABLE AT SAN JUAN BAUTISTA + + with Scottie holding Madeleine tight in his arms, kissing + her. We see this for only the briefest moment before it + + DISSOLVES AWAY T0: + + BACK IN THE HOTEL ROOM + + Scottie kisses her as he did in the livery stables. As he + kisses her, and she turns his kiss, the CAMERA PULLS BACK + SLOWLY and their two figures are held in the center of the + room. + + DISSOLVE T0: + + +243 INT. JUDY'S BEDROOM - (EARLY EVENING) 243 + + The window shades are drawn, the lights in the room have + been lit. Scottie is sitting, relaxed, thumbing through a + magazine idly. The jacket of his suit is hung over the back + of a chair. The bathroom door is open. There is a full + length mirror on the back of the bathroom door, and we + catch occasional glimpses of Judy as she moves about + inside. + + Scottie looks up as she calls to him. Her voice is light + and happy. + 132. + + + JUDY + Where shall we go for dinner? + + SCOTTIE + Wherever you'd like... + + JUDY + Ernie's? + + SCOTTIE + You've got a thing about Ernie's, + haven't you? + + JUDY + Well, after all, it's "our place." + +She comes out of the bathroom happy and contented. She +wears the black cocktail dress, her blonde hair is done up +in the Madeleine way. She stops to pose and show off the +dress and smiles across at him lovingly. + + JUDY + Hello, my love. Like me? + +He regards her admiringly with a small, contented grin. + + SCOTTIE + Mmmm. + + JUDY + Is that the best you can do? + +She turns to the mirror over the dresser. + + SCOTTIE + Come here. + + JUDY + Oh, no. You'll miss me. + + SCOTTIE + That's what I had in mind. + + JUDY + Too late. I've got my face on. + +She has opened the candy box, rummages around in the +jewelry, comes up with some earrings, holds one up to her +ear to see what it looks like, decides against it, finds +some other earrings, small and neat, and puts them on. +During this: + + JUDY + 133. + + + I'm suddenly hungry. Would you + rather go somewhere else? + + SCOTTIE + No, Ernie's is fine. + + JUDY + I'm going to have one of those big + beautiful steaks. And ... let's see + ... to start... + +During this she has taken a necklace out of the box, and is +trying to fasten it around her neck. But the clasp won't +work. + + JUDY + Oh! Help me with this, will you? + +She backs up a step, still holding the necklace in place, +and Scottie rises from his chair and comes up in back of +her. He takes the ends of the necklace from her. + + SCOTTIE + I've got it. + +He bends down and bites the back of her neck. + + JUDY + Oh! You're supposed to fasten it! + + SCOTTIE + All in good time. + +He bites her again. + + JUDY + Scottie! + + SCOTTIE + How does it work? + + JUDY + Can't you see? + + SCOTTIE + Oh, yeah. There. + 134. + + +As he is fastening it he glances into the mirror and sees +the necklace clearly for the first time. His eyes are +immediately startled with the shock of recognition, and he +stares, wondering why. The CAMERA ZOOMS IN to a closeup of +the necklace in the mirror; then, with a click, the closeup +changes to a closeup of the necklace painted on canvas. The +CAMERA DRAWS BACK to show the necklace around the neck of +Carlotta in the portrait, the same necklace. Now the CAMERA +DRAWS BACK to show the Art Gallery, with the Portrait of +Carlotta on the far wall. The scene click-changes to a BIG +HEAD of SCOTTIE, staring, and during this we hear Judy +chattering away. + + JUDY'S VOICE + Thank you, darling. Now I'm just + about ready; I just have to find my + lipstick. Where did I put it? I had + it a minute ago. + (Her voice fading) + Did I leave it in here? Oh, yes, + here it is! + (Her voice fading in) + All right, I'm ready. + +His eyes move in the direction of the voice, and now we see +her, standing a few feet from him, smiling at him. She +walks to him with a loving smile. + + JUDY + But first ... miss me a little. + +She puts her arms around him and presses against him, and +lays her head against his chest with a happy sigh. + + JUDY + Ah, Scottie ... I do have you, + now.... + +He raises his arms as though to embrace her, moves his +hands to her shoulders, and one senses for a moment that he +is going to press her too hard or that he may move his +hands to her throat. But then he lays his hands gently on +her back, and closes his eyes wearily, and rests his head +on the top of hers. + + SCOTTIE + (Softly) + How would you like to go somewhere + out of town for dinner? Drive down + the peninsula, somewhere? + +She moves her head, and he raises his and opens his eyes, +and she smiles up at him. + 135. + + + JUDY + All right, if you'd like. + + She reaches up and kisses him briefly on the mouth. He + smiles a small, enigmatic smile. + + DISSOLVE TO: + + +244 EXT. HIGHWAY 101 - (NIGHT) - LONG SHOT 244 + + Scottie's car headed south, in brilliant moonlight. + + +245 INT. SCOTTIE'S CAR - (MOONLIGHT) 245 + + Scottie at the wheel, Judy alongside. She glances at him, + wondering. + + JUDY + We're going awfully far. + + SCOTTIE + I feel like driving. Are you + terrible hungry? + + JUDY + No, it's all right. + + DISSOLVE TO: + + +246 EXT. HIGHWAY 101 - (NIGHT) 246 + + Scottie's car enters the avenue of tall trees we saw once + before along this road. They look sinister in the + moonlight. + + +247 INT. SCOTTIE'S CAR - (MOONLIGHT) 247 + + Shooting forward, we are as though in the front seat of + Scottie's car, traveling fast, looking up and ahead to the + distant end of the tunnel, and the tall trees flashing by. + + +248 INT. SCOTTIE'S CAR - (MOONLIGHT) 248 + + Scottie is staring straight ahead, concentrating on his + driving. Judy is staring up at the tall trees, wondering, + her brow furrowed. Her memory is stirred, but she can't + think why. + 136. + + +249 INT. SCOTTIE'S CAR - (MOONLIGHT) 249 + + Shooting forward and up through the windshield. The tops of + the tall trees flashing past. Judy's face, highlighted from + the dash lights below, faintly reflected. + + +250 INT. SCOTTIE'S CAR - (MOONLIGHT) - CLOSE SHOT 250 + + Judy turns her gaze from the flashing tree tops and looks + off at Scottie. + + +251 INT. SCOTTIE'S CAR - (MOONLIGHT) - CLOSE SHOT 251 + + Scottie, still concentrating on his driving, and looking + straight ahead. + + +252 INT. SCOTTIE'S CAR - (MOONLIGHT) 252 + + Judy looking at Scottie, puzzled and slightly apprehensive. + + JUDY + Where are you going? + + SCOTTIE + (wryly) + To complete my cure. + + He glances at her and smiles nicely. + + SCOTTIE + One final thing I have to do, and + then I'll be rid of the past, + forever. + + He looks ahead thoughtfully. + + DISSOLVE TO: + + +253 EXT. MISSION SAN BAUTISTA - (NIGHT) - LONG HIGH SHOT 253 + + Quiet, empty, sinister, bathed in moonlight. Far below we + see Scottie's car crawl into the square and pass along the + road around the green and come to a stop near the entrance + to the church. A distant church clock chimes the half-hour. + + +254 INT. SCOTTIE'S CAR - (MOONLIGHT) - CLOSE SHOT 254 + 137. + + + Judy's face, rigid, frightened, her eyes filled with + apprehension. Then, with an effort, she composes herself + and glances at Scottie with calm questioning. But he is + turned away from her, opening his door to get out. + + +255 EXT. SAN JUAN BAUTISTA - (NIGHT) 255 + + Scottie comes around the car and opens Judy's door. + + JUDY + Scottie, why are we here? + + SCOTTIE + I told you. I have to go back into + the past. Once more. For the last + time. + + JUDY + But why? Why here? + + SCOTTIE + Madeleine died here. + + Pause. He holds out his hand. She shrinks, frightened. + + JUDY + No, I don't want to go. I want to + stay here. + + SCOTTIE + I need you. + + JUDY + Why? + + SCOTTIE + I can't do it alone. I need you, to + be Madeleine for a while. Then, + when it's done, we'll both be free. + + He draws her out of the car. + + JUDY + I'm scared. + + SCOTTIE + So am I, But it has to be done. I + have to tell you about Madeleine, + now. + 138. + + + He closes the car door and leads her slightly away, and + they stop and look across the green toward the Livery + Stable. + + SCOTTIE + There... + + He points to the Livery Stable, bathed in moonlight. + + SCOTTIE + ...We stood there and I kissed her + for the last time. And she said, + "If lose me, you'll know that I + loved you -- + + JUDY + (Pleading) + Scottie -- + + SCOTTIE + (Going right on) + -- and wanted to go on loving you." + And I said, "I won't lose you." + (pause) + But I did. + + He turns slowly, and Judy with him, and he looks up. Her + eyes follow his. + + FROM THEIR ANGLE + + The high church tower in the moonlight. + + SCOTTIE'S VOICE + She turned and ran ... into the + Church... + + SCOTTIE AND JUDY + + He puts his arm around her protectively but firmly, and + begins to impel her gently to the church. + + +256 EXT. CHURCH, SAN JUAN BAUTISTA - (MOONLIGHT) 256 + + SHOOTING from the door. Scottie impels Judy to the door. + + SCOTTIE + ...And when I followed her, it was + too late.... + + The CAMERA PULLS AROUND as his tree hand goes to try the + door. + 139. + + + JUDY + (Frightened) + I don't want to go in there! + + Scottie pushes the door open. + + SCOTTIE + ...too late.... + + He pushes her into the church with gentle firmness. + + +257 INT. CHURCH, SAN JUAN BAUTISTA - (NIGHT) 257 + + The darkness is relieved by shafts of moonlight. Scottie + impels Judy toward the foot of the tower. + + SCOTTIE + I couldn't find her. Then I heard + her footsteps on the stairs, she + was running up the tower. + + +258 INT. CHURCH TOWER - (NIGHT) 258 + + It is lit by shafts of moonlight through the slit window. + + Scottie comes into the area holding Judy. He looks up. + + FROM SCOTTIE'S ANGLE: + + the open stairway spiraling upward. + + SCOTTIE'S VOICE + She ran up those stairs... and + through the door at the top of the + tower, and locked it behind her. + Then she Jumped. + + BACK TO SCOTTIE AND JUDY + + He is still staring up. Judy is rigid with fright and the + memory of that moment. + + SCOTTIE + And I couldn't follow her. + (He closes his eyes in + the agony of remembering) + God knows I tried. + (He glances down) + 140. + + + One doesn't often get a second + chance. I want to stop being + haunted. You're my second chances, + Judy. + + JUDY + (A frightened whisper) + Take me away... + + SCOTTIE + You look like Madeleine, now. Go up + the stairs. + + JUDY + No! + + SCOTTIE + Go up the stairs, Judy. + (Pushing her to the step) + I'll follow. + +She starts up slowly, unwillingly. Scottie follows behind +her, fighting to keep the impending vertigo under control, +trying to keep his eyes fixed on her back to avoid looking +up into space. They move up in silence, and in shadow, +their faces occasionally lit by the shafts of moonlight +that stream through the open arches of the tower. Judy's +eyes are wide and staring; her face and body are stiff with +the struggle to keep from breaking under the strain of +remembering the last time she went up these stairs. And +Scottie fights his way up behind her. + +Judy slows down and comes to a halt at the landing that +Scottie barely reached the last time, at the moment of +death. + +She leans her back against the wall for support. Scottie +struggles up and comes to a halt near her. PAUSE, as he +gathers himself for the last assault. + + SCOTTIE + (Quietly) + This was as far as I could get. But + you went on. Remember? + +She stiffens and stares at him. + + SCOTTIE + The necklace, Madeleine. That was + the slip. I remembered the + necklace. + 141. + + +A moment, then suddenly she ducks and tries to run past +him, down the stairs. He grabs her wrist and holds on. + + SCOTTIE + We're going up the tower, + Madeleine. + + JUDY + No! Let me go! + + SCOTTIE + We're going up the tower. + + JUDY + You can't. You're afraid! + + SCOTTIE + I'm going to. It's my second + chance. + +He starts to drag her up the stairs and she fights it, +close to hysteria. + + JUDY + Scottie, please...! + + SCOTTIE + But you knew, that day, that I + wouldn't be able to follow you + didn't you. Who was at the top when + you got there? Elster? With his + wife? + + JUDY + Yes! + + SCOTTIE + And she was the one who died. Not + you. The real wife. You were the + copy, you were the counterfeit. Was + she dead or alive when you got + there? + + JUDY + Dead. He'd broken her neck. + + SCOTTIE + Took no chances, did he? And when + you got there, he pushed her off + the tower, was that it? But you + were the one who screamed. Why did + you scream? + 142. + + +I wanted to stop it, I ran up to stop it -- + + SCOTTIE + Why? Since you'd tricked me so well + up to then?!! You played his wife + so well, Judy! He made you over, + didn't he? Just as I've done. But + better! Not just the hair and the + clothes! the look! the manner! the + words! Those beautiful phony + trances! That jump into the Bay! + I'll bet you're really a strong + swimmer, aren't you! Aren't you!! + +The blind, frantic nodding of her head as she struggles +against him is his affirmation. + + SCOTTIE + Did he train you? Rehearse you? + Teach you what to say and what to + do? + + JUDY + Yes! + + SCOTTIE + And you were such an apt pupil! + What fun you two must have had, + playing games with me! Why me? Why + did he pick on me?!! + + JUDY + Your accident... + + SCOTTIE + Ah, yes! I was a set-up. I was the + made-to-order witness. Where is he + now? + + JUDY + I don't know ... Switzerland? + + SCOTTIE + We'll find him. + +They have reached the door to the tower and he stops, with +a grim, almost triumphant smile. + + SCOTTIE + I made it. + + JUDY + (Apprehensive) + 143. + + + What are you going to do? + + SCOTTIE + Look at the scene of the crime. Go + on in. + + He pushes the door open. She shrinks back. + + SCOTTIE + Go on! + + He pushes her through and follows her in. + + +259 INT. BELL TOWER - (NIGHT) 259 + + The black shadows are cut by shafts of moonlight. Heavy + beams support the great bell hanging at the center. There + are additional temporary support beams. Judy backs up + against the stonework as Scottie looks about. + + SCOTTIE + You both hid behind there, mmm? ... + 'til everything was clear ... then + sneaked down and drove back to the + city. + (Glances at her) + And then? You were his girl. What + happened to you? + + She stares at him, wide-eyed with apprehension. + + SCOTTIE + Did he ditch you? + + An almost imperceptible nod from her. Scottie almost + laughs. + + SCOTTIE + Oh, Judy!! When he had all her + money, and the freedom and the + power ... + + SCOTTIE + he ditched you? What a shame! But + he knew he was safe. You couldn't + talk. Didn't he give you anything? + + JUDY + (Faintly) + Some money. + + SCOTTIE + 144. + + + And the necklace. Carlotta's + necklace. That was your mistake, + Judy. One shouldn't keep souvenirs + of a killing. You shouldn't have + been that sentimental. + +A moment, as he stares at her, then he advances on her +slowly. + + JUDY + (Apprehensive) + What are you going to do? + + SCOTTIE + I loved you, Madeleine. + + JUDY + (Desperately) + I was safe when you found me, there + was nothing you could prove! But + when I saw you again I couldn't run + away, I loved you so! I walked into + danger and let you change me again + because I loved you and wanted you! + (She throws herself into + his arms) + Scottie, please! You love me now! + Love me! Keep me safe! + +And she is in his arms, pressing tightly against him in +desperation, and he holds her tight, and they kiss, deeply, +passionately. The kiss ends but they remain together, +holding together, and Scottie's eyes are tight with pain +and the emotion of hating her and hating himself for loving +her. + + JUDY + (softly, pleading) + Love me ... keep me safe... + + SCOTTIE + (Whispering) + Too late ... too late ... there's + no bringing her back. + +Suddenly Judy's eyes, looking past him, go wide with +horror. + +FROM JUDY'S POINT OF VIEW + +The figure of a woman draped in black stands motionless in +the shadows by the door. + 145. + + + JUDY, IN SCOTTIE'S ARMS, TRANSFIXED + + FROM JUDY'S POINT OF VIEW + + The black figure moves forward, seems to merge with the + shadow and become part of them. + + JUDY + + Pulls out of Scottie's arms and backs away, terrified. + + JUDY + (Whispering) + No ... no... + + She is backing perilously close to the edge of the drop + below. Scottie stares at her for a moment, then swings + around to see what she is looking at. + + FROM SCOTTIE'S POINT OF VIEW + + The black figure advances into a shaft of moonlight. It is + a nun. + + THE NUN + (Simply) + I heard voices... + + There is a terrible scream. + + Scottie swings around again, steps quickly to the edge and + looks down. He backs away, his face tight with horror and + holds the stonework for support. The nun comes into the + SHOT. She steels herself to look below. She crosses + herself. + + THE NUN + God have mercy... + + She reaches out for the bell cord. + + +260 INT. THE BELL TOWER - (NIGHT) 260 + + The church bell is tolling. It swings in and out of the + picture. Through the archway we can see the Mission garden + below. Figures are hurrying across toward the church. + + DISSOLVE TO: + + +261 INT. MIDGE APARTMENT - (NIGHT) 261 + 146. + + +Midge is huddled in a chair, listening to the radio. Beyond +her, San Francisco at night. + + THE RADIO + -- was last heard of living, but is + now thought to be residing + somewhere in the south of France. + Captain Hansen states that he + anticipated no trouble in having + Elster extradited once he is found. + Other news on the local front: in + Berkeley three university of + California sophomores found + themselves in a rather embarrassing + position tonight when they were + discovered by Police Officer + William Fogarty leading a cow up + the steps of -- + +By now Midge has heard the NOISE outside, has uncoiled from +the chair and shut the radio. She listens again for a +moment, then moves quickly to the table on which are +bottles, glasses and ice. She starts to mix a strong +highball and does not turn as she hears the front door +open. Scottie enters and closes the door behind him. His +face is a mask. + +He moves slowly across the room and stands by the window, +with the view of San Francisco beyond him, and looks +straight ahead, thinking. Midge picks up the highball, +glances over at him, picks up the bottle and pours in +another slug. Then moves across the room and holds out the +drink. Scottie takes it. Midge moves away, picks up her own +drink, sits down and looks across the room. Scottie stands +quietly, immobile, then raises the glass and takes a long +pull at the drink. He stares out at the city. + + FADE OUT. + +THE END + \ No newline at end of file diff --git a/scripts/WALL-E.txt b/scripts/WALL-E.txt new file mode 100644 index 0000000000000000000000000000000000000000..9ae8ebcf9c4d9fc4e9a2c5a21f8edd189bf246e0 --- /dev/null +++ b/scripts/WALL-E.txt @@ -0,0 +1,7018 @@ + 1. + + + + +1 EXT. SPACE 1 + + FADE IN: + + Stars. + + The upbeat show tune, Put On Your Sunday Clothes, plays. + + “Out there, there’s a world outside of Yonkers...” + + More stars. + + Distant galaxies, constellations, nebulas... + + A single planet. + + Drab and brown. + + Moving towards it. + + Pushing through its polluted atmosphere. + + “...Close your eyes and see it glisten...” + + +2 EXT. PLANET’S SURFACE - CONTINUOUS 2 + + A range of mountains takes form in the haze. + + Moving closer. + + The mountains are piles of TRASH. + + The entire surface is nothing but waste. + + “...We’re gonna find adventure in the evening air...” + + A silhouetted city in the distance. + + What looks like skyscrapers turns into trash. + + Thousands of neatly stacked CUBES OF TRASH, stories high. + + Rows and rows of stacked cubes, like city avenues. + + They go on for miles. + + +3 EXT. AVENUE OF TRASH 3 + 2. + + +“...Beneath your parasol the world is all a smile...” + +Something moving on the ground far below. + +A figure at the foot of a trash heap. + +A SMALL SERVICE ROBOT diligently cubing trash. + +Rusted, ancient. + +Cute. + +Every inch of him engineered for trash compacting. + +Mini-shovel hands collect junk. + +Scoop it into his open chassis. + +His front plate closes slowly, compressing waste. + +A faded label on his corroded chest plate: + +“Waste Allocation Loader - Earth Class” (WALLY) + +Wally spits out a cube of trash. + +Stacks it with the others. + +Something catches his eye. + +Tugs on a piece of metal stuck in the stack. + +A hubcap. + +The sun reflects off it. + +Wally checks the sky. + +ON TRASH HEAP HORIZON + +The sun sets through the smoggy haze. + +“...And we won’t come back until we’ve kissed a girl --” + +He places the hubcap in his compactor. + +Presses a button on his chest. + +The song stops playing. + +The end of a work day. + 3. + + + Wally attaches a lunch cooler to his back. + + Whistles for his pet COCKROACH. + + The insect hops on his shoulder. + + They motor down from the top of a GIANT TRASH TOWER. + + +4 EXT. AVENUES OF TRASH - DUSK 4 + + Wally travels alone. + + Traverses miles of desolate waste. + + Oblivious to roving storms of toxic weather. + + Passes haunting structures buried within the trash. + + Buildings, highways, entire cities... + + Everything branded with the SAME COMPANY LOGO. + + “Buy N Large” + + “BNL” stores, restaurants, banks...transportation! + + The corporation ran every aspect of life. + + There’s even a BNL LOGO on Wally’s chest plate. + + CLOSE ON NEWSPAPER Wally drives over. + + Headline: “TOO MUCH TRASH!! Earth Covered!!” + + The deck: “BNL CEO Declares Global Emergency!” + + A photo of the BNL CEO giving a weak smile. + + Wally’s old treads are threadbare. + + Practically falling apart. + + Cause a bumpy ride for his cockroach. + + He passes the remains of other RUSTED WALL-E UNITS. + + Fancies one with NEWER TREADS than his own... + + +5 EXT. DESERTED STREET - MOMENTS LATER 5 + 4. + + + Wally now sports the newer treads. + + Rolls past a SERIES OF HOLOGRAPHIC BILLBOARDS. + + The solar-powered ads still activate when he passes them. + + BILLBOARD ANNOUNCER (V.O.) + (Ad #1: BNL logo over + trash) + Too much garbage in your face? + (Ad #2: starliner in + space) + There’s plenty of space out in + space! + (Ad #3: starliners take + off from Earth) + BNL starliners leaving each day. + (Ad #4: WALL-E units wave + goodbye) + We’ll clean up the mess while + you’re away. + + +6 EXT. EDGE OF THE CITY 6 + + Wally drives down a deserted overpass. + + Activates an even LARGER HOLOGRAPHIC BILLBOARD. + + CLOSE ON BILLBOARD AD + + Shows off a CITY-SIZED LUXURY STARLINER. + + Depicts passengers enjoying all its amenities. + + BILLBOARD ANNOUNCER (V.O.) + The jewel of the BNL fleet: “The + Axiom”. Spend your five year cruise + in style. Waited on 24 hours a day + by our fully automated crew, while + your Captain and Autopilot chart a + course for non-stop entertainment, + fine dining. And with our all- + access hover chairs, even Grandma + can join the fun! There’s no need + to walk! “The Axiom”. Putting the + “star” in Executive Starliner. + + The BNL CEO appears at the end. + + Waves goodbye as the Axiom takes off. + + BUY N LARGE CEO + 5. + + + Because, at BNL, space is the final + “fun”- tier. + + The holographic billboard powers off. + + Reveals the AXIOM’S DESERTED LAUNCHPAD in the distance. + + The mammoth structure sits across the bay. + + Now empty and dry. A polluted, dead valley. + + ON COLLAPSED BRIDGE RAMP + + Near its edge rests a WALL-E UNIT TRANSPORT TRUCK. + + A giant child’s Tonka Truck left to weather the elements. + + A “Buy N Large” logo on its side. + + Wally approaches the rear of the truck. + + Pulls on a lever. + + The back lowers. + + Wally motors up the ramp. + + +7 INT. TRUCK - CONTINUOUS 7 + + Open racks for storing WALL-Es line both walls. + + KNICKKNACKS OF FOUND JUNK littered everywhere. + + The tired robot removes his newfound treads. + + Ahh... Home. + + Wally motors down the center aisle. + + Flicks on an ancient BETAMAX PLAYER. + + Jury-rigged to an iPod. + + Pushes in a cassette labeled, “Hello Dolly!” + + The image is very poor quality. + + Actors sing and dance to Put On Your Sunday Clothes + (POYSC). + + The same song Wally worked to. + 6. + + + WALLY + [Hums POYSC] + + Wally opens his cooler. + + Newfound knickknacks. + + Pulls out the hubcap from his chest. + + Looks back at the TV. + + Mimics the dancers on the screen. + + Pretends the hubcap is a hat. + + Continues to unpack: + + A spork. + + A Rubik’s Cube (unsolved). + + A Zippo Lighter. + + He presses a BUTTON by the rack of shelves. + + They rotate until an empty space appears. + + His new items are lovingly added to the shelf. + + The Zippo joins a pre-existing LIGHTER COLLECTION. + + A new song, It Only Takes A Moment, plays on the video. + + Wally is drawn to it. + + Presses his “Record” button. + + ON TV SCREEN + + Two lovers sing gently to one another. + + They kiss...hold hands... + + Wally tilts his head as he watches. + + Curious. + + Holds his own hands. + + +8 EXT. TRUCK - NIGHT 8 + 7. + + + Wally motors outside. + + Turns over his Igloo cooler to clean it out. + + Pauses to take in the night sky. + + STARS struggle to be seen through the polluted haze. + + Wally presses the “Play” button on his chest. + + The newly sampled It Only Takes A Moment (IOTAM) plays. + + The wind picks up. + + A WARNING LIGHT sounds on Wally’s chest. + + He looks out into the night. + + A RAGING SANDSTORM approaches off the bay... + + Unfazed, Wally heads back in the truck. + + IOTAM still gently playing. + + ...The massive wave of sand roars closer... + + Wally raises the door. + + Pauses. + + WHISTLES for his cockroach to come inside. + + The door shuts just as the storm hits. + + Obliterates everything in view. + + +9 INT. TRUCK - SAME 9 + + Wally alone in the center of his shelter. + + Unwraps a BNL SPONGECAKE (think Twinkie). + + Lays it out for the cockroach to sleep in. + + It happily dives in. + + Wally collapses himself into a storable cube. + + Backs into an empty shelf space. + + Rocks it like a cradle... + 8. + + + ...and shuts down for the night. + + Outside the wind howls like the Hounds of Hell. + + +10 INT. WALLY’S TRUCK - NEXT MORNING 10 + + Wally’s CHARGE METER flashes “WARNING”. + + He wakes. Unboxes. + + Groggy and lifeless. + + Stumbles outside. + + +11 EXT. ROOF OF WALLY’S TRUCK 11 + + The morning sun. + + Wally fully exposed in its light. + + His front panel splayed out like a tanning shield. + + A solar collector. + + His CHARGE METER chimes full. + + Solar panels fold away into hiding. + + Wally, now awake, collects his lunch cooler. + + Heads off to work. + + ...and accidentally runs over the cockroach. + + Horrified, Wally reverses. + + Reveals the FLATTENED INSECT under his tread. + + The cockroach simply pops back to life. + + No biggie. Ready to go. + + Relieved, Wally resumes their commute. + + +12 EXT. WALLY’S WORK SITE - THAT MORNING 12 + + A SERIES OF “WALLY AT WORK” MOMENTS: + + - CU of Wally’s hands digging into garbage. + 9. + + +CU of trash being scooped into his chest compactor. + +A cube lands by the cockroach. + +- Wally discovers a BRA in the garbage. + +Unsure what it’s for. + +Tries placing it over his eyes, like glasses. + +Tosses it in his cooler. + +- Wally finds a set of CAR KEYS. + +Presses the remote lock. + +Somewhere in the distance a CAR ALARM CHIRPS. + +- Plays with a paddle ball. + +The ball keeps smacking him in the face. + +He doesn’t like it. + +- Wally discovers a DIAMOND RING in a JEWEL CASE. + +Throws out the ring. Keeps the case. + +The jewel case drops into the cooler, then... + +...A RUBBER DUCKY... + +...A BOBBLE HEAD DOLL... + +...An OLD BOOT... + +...A TROPHY... + +- Wally finds a FIRE EXTINGUISHER. + +Activates it. + +FOAM blasts in his face. + +It’s tossed far, far away from his cooler. + +- Wally’s shovel hand strikes something solid. + +Faces a REFRIGERATOR much larger than himself. + +Now what? + 10. + + + - CU on fridge door. + + A WELDING BEAM moves down its center. + + It emits from between Wally’s SPLIT BINOCULAR EYES. + + THE DOOR FALLS APART IN TWO PIECES. REVEALS... + + ...a SMALL PLANT + + in its early stage of growth. Wally is entranced. + Carefully, he extracts the section of earth around it. + + CLOSE ON IGLOO COOLER + + Wally gently places the plant inside the old boot. Dusts + dirt off the leaves. + + +13 EXT. TRUCK - DUSK 13 + + Robot and faithful cockroach return home. Wally stops short + of the threshold. Stares at the ground. Continues staring. + + A RED DOT + + quivers on the dirt. A single laser point of light. Wally + moves to touch it... + + ...The dot races along the ground. + + Wally drops his Igloo. Chases after the dot. + + +14 EXT. EMPTY BAY 14 + + The dot leads Wally deep into the polluted expanse. He is + so fixated on it he doesn’t notice + + MANY LASER POINTS + + coming from every direction. All racing into the valley + over the contour of the terrain. Triangulating towards a + center. + + Wally’s dot suddenly stops. Slowly he reaches for it. Can’t + grab it. Just light. ALL THE DOTS converge in front of him. + The ground shakes. Wally becomes confused. + + Doesn’t see above him. The SUN growing brighter behind the + cloud cover. A noise. Building. Rocket engines. Wally + senses he should look to the sky. + 11. + + +Now THREE SUNS are descending on him. + +Wally runs for it. + +An enormous COLUMN OF FIRE blocks his path. + +A second column of fire. + +A third. + +Trapped. + +Wally cubes the ground beneath him. + +Working fast. + +Noise deafening. + +Heat rising. + +Digs in just as a tide of flame carpets the ground... + +...Then suddenly quiet. + +Smoke clears. + +CLOSE ON THE SCORCHED EARTH + +Wally’s head rises out of the dirt. + +Glows red hot from the heat. + +Trembles with fright. + +Everything in shadow. + +Something very big looms over him. + +Wally climbs out of his hole. + +Bangs his head on metal. + +WIDE on a massive SPACESHIP. + +Rests ominously in the empty bay. + +A PORTAL on its underside opens. + +Frightened, Wally tries to hide. + +Nowhere to go. + 12. + + +He places a SMALL ROCK on his head. Boxes up. + +A DEVICE lowers to the ground on a long stem. + +Scans the surface. + +Wally creeps closer for a better look. + +The device unfolds. + +Wally boxes up again. + +A CAPSULE descends from a chute in the stem. + +ROBOT ARMS emerge from the device. + +Place the capsule on the ground. Press buttons. + +The capsule falls away in sections, to reveal... + +...a PROBE ROBOT. + +It hovers gracefully above the ground. + +White. Egg-shaped. + +Blue-lit eyes. + +Female. + +Eve. + +Wally is transfixed. + +Inches closer. + +Watches Eve from behind the device. + +Tilts his head. + +Time stops. + +She’s the most beautiful thing he’s ever seen. + +Eve hovers over the ground. + +A BLUE RAY emits from her front panel. + +Fans out 180 degrees. + +Scans random objects and areas. + 13. + + +The device rises back into the ship. + +Exposes Wally. + +He rushes for cover behind the nearest rock. + +Never takes his eyes off Eve. + +Watches her float away from the ship. + +...from the ship? + +The ship! + +Engines roar back to life. + +Wally digging furiously. + +The rocket takes off. + +Smoke clears. + +Again, a red hot Wally peeks out from the ground. + +Looks for Eve. + +She is watching the ship rise into the clouds. + +Waits until it is completely out of sight... + +...then Eve rises high up into the air. + +She flies around the bay. + +Soars like a graceful bird. + +Does loops in the sky. + +Zooms right past Wally’s rock. + +He is hypnotized. + +Eve descends gently to the ground... + +Wally sneaks up closer. + +Hides behind another boulder. + +Slips. + +Makes a NOISE. + 14. + + + Instantly, Eve whips around. + + Her arm converts into a LASER CANNON. + + Blasts Wally’s boulder to smithereens. + + ...Smoke clears...All quiet. + + Eve, now cold and dangerous. + + Scans the area. + + No sign of life. + + All business again. + + Hovers away to probe more of the planet. + + ON OTHER SIDE OF BOULDER CRATER + + Wally boxed up behind what little remains of the rock. + + Trembles uncontrollably. + + +15 EXT. AVENUE OF TRASH - DAY 15 + + Eve wanders through the pillars of cubed trash. + + Scans random areas. + + Wally spies from the shadows. + + Too frightened to approach. + + She moves on. He follows. + + +16 EXT. TIRE DUMP - DAY 16 + + Eve probes a mound of tires. + + Wally hiding nearby. + + He flinches at the sight of + + HIS COCKROACH + + innocently approaching Eve from behind. + + She spins around. + 15. + + +Blasts the insect. + +Wally is gut-punched. + +The cockroach climbs out of the smoking crater. + +Unscathed. Still curious. + +Eve finds the insect intriguing. + +Lowers her arm. + +The end separates into individual hovering sections... + +....A HAND. + +She lets the insect crawl up her arm. + +Wiggles into her workings. + +It tickles. + + EVE + [Giggles] + +Wally relaxes. + +CHUCKLES privately. + +Eve sonically picks up Wally’s location. + +Locks onto him. + +Arm converts to laser cannon. Fires rapidly. Quick glimpses +of Wally dodging the blasts. Trash piles are systematically +obliterated around him. + +Wally now exposed. Nowhere to hide. Boxes himself up. +Shakes uncontrollably. Eve holds her fire. + + EVE + (electronic hums) + [IDENTIFY YOURSELF.] + +She slowly approaches Wally’s box. Keeps her gun trained on +him. + + EVE + (electronic hums) + [REPEAT. IDENTIFY YOURSELF.] + 16. + + + Wally peeks out from his box. Doesn’t understand a thing + she says. Doesn’t care. Can’t believe she’s real. The + cockroach climbs down her gun arm. Jumps onto his master. + + Eve scans Wally. A RED LIGHT appears on her chest. Buzzes + “negative”. He’s not what she’s looking for. She retracts + her gun arm. Hovers off. Wally watches her go. Lovestruck. + + WALLY + [Sigh.] + + DISSOLVE TO: + + +17 INT. ABANDONED BNL SUPERSTORE - NEXT DAY 17 + + LOUIS ARMSTRONG’S “LA VIE EN ROSE” PLAYS + + Eve scans through the market. + + Wally follows from a safe distance. + + A stray puppy-dog. + + Eve glances over at him. + + Wally panics. + + Bumps into a RACK OF SHOPPING CARTS. + + Creates an avalanche. + + They chase him down a flight of stairs. + + Wally reaches the exit doors. + + Won’t open! + + Carts pig pile on top of him. + + +18 EXT. BNL REFINERY - NIGHT 18 + + Wally perched on the roof. + + Patiently watches Eve fly. + + She scans the ground below her, like a searchlight. + + Eve comes in for a landing below. + + Shuts down for the night. + 17. + + + Wally waits. + + Quietly sneaks down the refinery fire escape. + + Accidentally trips. Tumbles to the ground. + + Eve doesn’t wake. + + Wally creeps up to her. + + Opens his arms wide... + + ...and measures her. + + Turns to a pile of trash. + + Splits open his eyes. Begins welding something... + + DISSOLVE TO: + + +19 EXT. BNL REFINERY - NEXT MORNING 19 + + Eve powers up again. + + Does a double take. + + A TRASH SCULPTURE OF EVE stands in front of her. + + She hovers away, unimpressed. + + Doesn’t notice Wally hiding behind a PILE OF PIPES. + + Wally kicks the pipes in frustration. + + They roll on top of him. + + SONG ENDS + + MONTAGE OF EVE SEARCHING + + - Scans a car engine. + + Negative. + + Slams the hood shut. + + - Scans a Port-A-Potty. + + Negative. + + Slams the door shut. + 18. + + + - Scans an Apollo capsule. + + Negative. + + Slams the hatch shut. + + - Scans a FREIGHTER HOLD. + + Negative. + + Slams the lid shut. + + +20 EXT. DERELICT SHIPYARD - DUSK 20 + + Eve hovers over the freighter. + + Frustrated. + + Not finding what she’s looking for. + + Wally eavesdrops from afar. + + Eve flies past the ship’s CRANE MAGNET. + + Gets stuck. + + Wrestles to free herself. + + Furious, she BLOWS UP THE ENTIRE SHIP. + + The reaction startles Wally. + + Eve slumps down against a dredged anchor. + + She gives up. + + Concerned, Wally cautiously approaches. + + Sits at the other end of the anchor. + + Both robots stare silently at the fiery wreck. + + Then... + + ...slowly, very slowly, Wally inches towards her. + + Musters the courage to speak, when -- + + She suddenly turns to him: + + EVE + 19. + + + (hums) + [So what’s your story?] + +Wally falls backwards with surprise. + +Me? + +Eve scrolls through a variety of languages: + + EVE + (German) + [DIRECTIVE?] + (Japanese) + [Directive?] + + WALLY + [Huh?] + + EVE + (Swahili) + [DIRECTIVE?] + (English) + Directive? + + WALLY + (beeps) + [Oh, I understand that!] + + EVE + Directive? + +Wally eagerly turns to some nearby trash. + +Scoops it into his compactor. + +Proudly spits out a cube. + +Points to Eve. + + WALLY + (struggles to speak) + Di...rec...t-- + + EVE + Directive? + +Wally nods. + + EVE + Classified. + + WALLY + 20. + + + (beeps) + [Oh. Sorry.] + +She scans his CHEST LOGO. + + EVE + Name? + + WALLY + (struggles again) + W-wally? ...Wally. + + EVE + (smooth; almost perfect) + Wwww-aaaa-leee... + +Wally nearly melts. + +She says his name so beautifully. + +Moves closer. + + EVE + Wally. + (giggles) + Eve. + +Wally tries to repeat it: + + WALLY + Eeee...? + + EVE + (slower) + Eve. + + WALLY + Eeeaaah? + + EVE + Eeeve. Eeeve. + + WALLY + Eee--vah! + +She giggles again. + +Wally likes making her giggle. + + WALLY + Eee-vah! Ee -- + 21. + + + EVE + Eve. + + The wind kicks up. + + The WARNING LIGHT sounds on Wally’s chest. + + He moves to grab her. + + WALLY + (Gasp!) + Eee-vah! + + EVE + (hums) + [Hey watch it! Don’t come any + closer!] + + She draws her gun on him. + + Doesn’t understand the danger. + + The sandstorm rushes up behind her. + + Too late. + + Wally collapses into a box. + + The storm hits full force. + + Eve is instantly lost, disoriented. + + EVE + Wally? Wally? + + WALLY’S HAND appears out of the dust. + + Calmly takes Eve’s hand. + + +21 INT. TRUCK - MOMENTS LATER 21 + + The back door lowers. + + A rush of wind and sand. + + Wally pulls Eve inside. Closes the door. + + She coughs up dust. + + Wally hits a switch... + 22. + + +Strings of CHRISTMAS LIGHTS fill the space. + +His racks of oddities painted in colored light. + +An air of enchantment. + +Eve is taken aback. + + WALLY + (beeps) + [Come on in.] + +She drifts through the sea of knickknacks. + +Becomes spooked by a SINGING BILLY BASS FISH. + +Threatens to shoot it, but Wally calms her down. + +He is compelled to show her everything. + +Hands her an eggbeater... + +...bubble wrap (so infectious to pop)... + +...a lightbulb (lights when she holds it)... + +...the Rubik’s Cube (she solves it immediately)... + +...his Hello Dolly tape. + +Curious, she begins unspooling the tape. + + WALLY + (loud beeps) + [My tape!!] + +He grabs it back. Protective. + +Inserts it carefully into the VCR. Please still work. + +The movie eventually appears on the TV. + +Plays a clip of POYSC. + +Wally is relieved. + + WALLY + (beeps) + [What do you think?] + +Mimics the dancing for Eve. + 23. + + +Encourages her to try. + +She clumsily hops up and down. + +Makes dents in the floor. Rattles everything. + +Wally politely stops her. + + WALLY + (beeps) + [How ‘bout we try a different + move?] + +Spins in a circle. Arms out. + +Eve copies. + +Spins faster, and faster... + +Too fast. + +Accidentally strikes Wally. He flies into the shelves. + +Eve helps him up from the mess. + +Wally’s LEFT BINOCULAR EYE falls off. + +Dangles from two wires. + +Eve GASPS with concern. + +Wally placates her. + + WALLY + (beeps) + [It’s fine.] + +Feels his way to the rack of shelves. + +Rotates them until... + +...SPARE WALL-E PARTS appear. + +Replaces his broken eye with a new one. + +Eve is relieved. + +She eyes his LIGHTER COLLECTION. + +Flicks open a Zippo. Ignites a FLAME. + +Wally freezes. + 24. + + +He had no idea it could do that. + +Moves closer to inspect it... + +ON WALLY + +It’s the closest he’s ever been to Eve. + +She remains focused on the lighter. + +Wally stares up at her. + +...The tiny flame flickering between them... + +...The Hello Dolly video plays IOTAM in the background... + +Suddenly, he is moved to express his love. + +Musters the courage to open his fingers... + +...Timidly reaches his hand out to hers... + +-- Eve turns and looks at him. + +Wally instantly chokes. + +Pulls his hand back. + +Eve becomes intrigued with the TV. + +Scans the image of the lovers singing IOTAM... Wally +watches her. + +His infatuation still palpable. + +Then he remembers... + + WALLY + Ee-vah! + +He rushes to his shelves. + +Eve watches him rummage through junk. + +A drum falls down on his head. + +She giggles, charmed by it all. + +Something about Wally... + +She is drawn back to the lovers on TV... + 25. + + +...then the lit Zippo lighter in her hand. + +A tap on her shoulder. + +She turns to find Wally holding something. + +The plant. + +Eve immediately locks onto it. + +Drops the lighter. + +In a flash... + +...her chest opens... + +...a TRACTOR BEAM snatches the plant away... + +...stores it inside her... + +Then she shuts down completely. + +Only a SINGLE GREEN LIGHT pulsing on her chest. + +Wally is stunned. + +What’d I do? + +Waves his hand in front of her face. + + WALLY + Ee-vah? + +Knocks on her chest plate. + +No response. + +Wally panics. + +Gently shakes her. + + WALLY + Ee-vah? + +Still no response. + + WALLY + Ee-vah? ...Ee-vah?! + +CAMERA MOVES IN on the blinking green light... + + DISSOLVE TO: + 26. + + +22 EXT. ROOF OF WALLY’S TRUCK - DAY 22 + + The morning sun. + + Wally places Eve in his charging spot. + + Aims her hovering form to face the sun. + + Waits. + + MONTAGE OF WALLY TRYING TO REVIVE EVE: + + - Several hot days pass with Wally holding vigil in the + heat. + + - A THUNDERSTORM approaches on the horizon. + + Wally holds an UMBRELLA over Eve. + + Gets struck by lightning. + + Holds up another umbrella. + + Gets struck again. + + - A SANDSTORM blows through. + + Wally pops out of a dune on the truck’s roof. + + Lifts up an UPSIDE-DOWN BARREL that protected Eve. + + - Wally pries open a panel on Eve’s chest. + + Reveals her pulsing BLUE HEART-BATTERY. + + Attaches JUMPER CABLES to his own HEART-BATTERY. + + Tries to connect the other end to hers. + + An automatic defense system blows him off truck. + + - Wally & cockroach take Eve for a walk. + + Pull her along on a LEASH OF CHRISTMAS LIGHTS. + + - Wally gives Eve a boat ride on a LAKE OF SLUDGE. + + Uses an industrial tire as a boat. + + Rows like a gondolier with a road sign. + + - Wally sits by the empty bay with Eve. + 27. + + + Watches the SUNSET. + + Burns “WALL-E + EVE” on a public trash can. + + Tries to pull out her hand to hold it. + + It snaps back into place, trapping his hand. + + END OF MONTAGE + + +23 EXT. ROOF OF WALLY’S TRUCK - NIGHT 23 + + Wally has set up the TV on the roof. + + The blank Eve floating next to him. + + Tries unsuccessfully to play PONG with her. + + Still no response. + + Finally, he gives up. + + WALLY + [defeated sigh] + + +24 EXT. TRUCK - NEXT MORNING 24 + + Wally loads up his cooler. + + Checks on Eve one more time. + + Still nothing... + + Heads off to work, defeated. + + +25 EXT. WORK SITE - LATER 25 + + Wally simply going through the motions. + + No spirit in him at all. + + Stops. + + Pulls out the Zippo lighter. + + Flicks it a few times. + + A RUSH OF WIND blows out the flame. + 28. + + + Distant rumbling. + + Wally looks in the direction of his home. + + A BRIGHT GLOW is lowering down through the clouds. + + WALLY + (beeps) + [Oh no.] + + +26 EXT. TRASH ALLEY - DAY 26 + + Wally racing as fast as he can. + + The cockroach clings onto him for dear life. + + +27 EXT. TRUCK - DAY 27 + + The RECON SPACESHIP towers over his truck. + + A ROBOT ARM cherry-picks Eve from the roof. + + Lifts her up and into the ship’s cargo hold. + + Wally racing in the distance. + + WALLY + EE-VAH!! EE-VAH!! + + Reaches the end of the collapsed bridge ramp. + + Forced to watch Eve disappear into the ship. + + The cargo doors slam shut. + + The first of the THREE ROCKET ENGINES powers up. + + Wally heads down a hill of rubble to the ship. + + Notices his cockroach tagging along behind him. + + Leads it back to the top of the hill. + + WALLY + (beeps) + [Stay.] + + The insect mopes. + + Droops its little antennae. + 29. + + + Wally motors back down to the rocket... + + BASE OF RECON SHIP + + The engines blast a WALL OF SMOKE. + + Preparation for launch... + + +28 INT. RECON SHIP 28 + + Eve is secured into a slot. + + Joins a ROW OF OTHER EVE PROBES. + + All dormant. + + Only Eve flashes a GREEN LIGHT. + + The CAMERA DRIFTS BACK out a window... + + OUTSIDE THE SHIP + + ...where Wally steadily climbs up the side. + + The ship’s engines ignite. + + Wally clamps his hands tight to a metal support. + + The rocket takes off into space. + + +29 EXT. TOP OF HILL 29 + + The cockroach watches his master go. + + +30 EXT. RECON SHIP 30 + + The spaceship roars through the sky. + + Wally tightens his grip, battling the G’s. + + He looks ahead. SCREAMS. + + HUNDREDS OF BNL SATELLITES + + litter the outer atmosphere. + + The ship bursts through the layer. + 30. + + +31 EXT. SPACE - CONTINUOUS 31 + + The recon ship breaks free of the planet. + + Its boosters shut down. + + Wally takes in the sudden QUIETNESS OF SPACE. + + Looks back at his planet. + + WALLY + Oooh... + + Weightlessness takes effect. + + Wally almost floats away. + + Grabs hold of the ship. + + Knocks on a WINDOW near Eve. + + WALLY + E-vah! + + No response. She remains shut down. + + Wally points out at the stars. + + It is the most spectacular light show possible. + + And Wally has a front row seat. + + MONTAGE OF CELESTIAL SPECTACLES + + - The ship flies past the MOON. + + A BILLBOARD stands next to the abandoned APOLLO MOON ROVER. + + “BNL Outlet Coming Soon.” + + - The ship passes by the SUN. + + Wally pops open his solar panels. + + Instantly recharges. + + - The ship cruises alongside SATURN’S OUTER RINGS. + + Wally runs his hand through the tiny particles of ice. + + DISSOLVE TO: + 31. + + +32 EXT. RECON SHIP - DAYS LATER 32 + + A DUMBBELL NEBULA slowly twists in space. + + Wally is mesmerized by it. + + Leads his eye to a LIGHT, growing in the distance ahead. + + A planet? + + No. A starliner. + + Gigantic in size. + + The “AXIOM”. + + The now tiny recon ship heads straight for it. + + +33 INT. DOCKING BAY 33 + + TWO TUG-ROCKETS guide the ship in. + + It locks into GIANT BRACES fixed on the deck. + + The impact knocks Wally off. + + He lands in the scaffolding of the front brace. + + Suddenly the entire dock comes to life. + + Robotic arms and service robots of all types appear. + + ...Rise from the floor... + + ..Lower from the ceiling... + + It’s a cacophony of automation. + + They all attend to the ship. + + EVE + + and four other probes slide out of the ship’s side. + + Suspended in a horizontal rack. + + Wally is surprised to find her facing him. + + She remains shut down. + + Just a few feet away with a giant abyss between them. + 32. + + + WALLY + Ee-vah... ? + +A SQUAD OF CLEANER ROBOTS emerge onto the dock. + +A small roller BRUSH-BOT (M-O) leads. + + M-O + (beeps) + +[Hold up.] + +Waits for the FLOOR LINES to appear. + +Depict their exact path of action. + + M-O + (beeps) + [Okay. Go.] + +They file out on the line. + +A crane-bot lowers Eve from the rack. + +M-O and his cleaning crew stand ready. + +M-O scans Eve. + +ON M-O’S DISPLAY POV + +Scan reads: “%16 Foreign Contaminant.” + +M-O is disgusted. + +Revs his brush roller. Moves in for the clean. + +A VACU-BOT follows after him. + +Then a SPRAY-BOT and BUFFER-BOT finish off. + +The cleaning crew waits for probe #2. + +Wally studies the routine. + +Figures out a way to climb down to Eve. + +When the crane returns, Wally poses as probe #3. + +The crane grabs him instead. + +M-O turns around to clean the next probe. + 33. + + +Wally is lowered in front of him. + +Boxes up. + +Confused, M-O scans him. + +ON M-O’S DISPLAY POV + +Scan reads: “%100 Foreign Contaminant.” + +M-O is horrified by such filth. + +A RED SIREN LIGHT rises from his head. + + M-O + [Oh, no, no, no. This is all + wrong.] + +He scrubs Wally full force. + +Wally’s front panel pushes him away. + +Confused, M-O moves to clean him again. + +Wally backs away. + +Leaves a DIRT TRAIL. + +M-O curses: + + M-O + [You made the floor all dirty! Stop + it!] + +M-O furiously scrubs the floor. + +Wally peeks out, amused by this neurotic little guy. + +ON FAR WALL + +Two STEWARD ROBOTS come out of the wall. + +Act like hovering caution signs. + +A small robot (GOPHER) shoots out a PNEUMATIC TUBE. + +He bears epaulet like shoulders and a siren for a face. + +Gopher beeps an ELECTRONIC ORDER for the Stewards to +follow. + +BACK ON M-O AND WALLY + 34. + + +M-O just finishes cleaning the floor. + +Wally is fascinated. + +Impishly makes another mark. + +M-O compulsively cleans it. Can’t resist. + + M-O + [Look, it stays clean. You got + that?] + +Wally wipes the bottom of his tread on M-O’s face. + +M-O loses it. + +Scrubs his own face. + +Gopher and his steward escort arrive. + +The cleaning crew stand at attention. + +Wally boxes back up with the probes. + +Gopher begins scanning each probe. + +Moves down the line. + +Scans Wally...moves on to the next probe... + +Stops -- Wait a minute. + +Turns back. + +Wally is gone. + +Gopher shrugs it off. Proceeds... + +Reaches Eve. + +Doesn’t notice Wally hidden behind her. + +Gopher scans her BLINKING PLANT LIGHT -- + +The entire dock goes to “Code Green”! + +Alarms sound. + +Green lights flash. + +All automation stops. + 35. + + + In rapid succession... + + ...A HOVER-TRANSPORT glides up to Gopher... + + ...A crane-bot loads Eve... + + ...Curved energy bands lock her down... + + ...Gopher assumes the driver’s seat... + + It’s all moving too fast for Wally. + + Suddenly Eve’s transport heads for the ELEVATOR. + + WALLY + Ee-vah! + + Wally chases after them. + + Grabs onto the back of the transport. + + They disappear into the elevator. + + The cleaning crew files out. + + Follow their lines back to their hold. + + M-O stops short. + + Notices Wally’s FILTHY TRACKS crossing his path. + + ON M-O’S DISPLAY + + Reads: “FOREIGN CONTAMINANT” + + The tracks lead to the elevator. + + M-O’s neurosis takes over. + + Must clean dirt. + + He makes a radical decision and... + + ...jumps off his line. + + Starts methodically cleaning the dirt trail. + + +34 INT. ELEVATOR 34 + + Gopher waits patiently as the floors pass. + 36. + + + Wally hidden behind the transport. + + Peeks at Eve. + + Pets her blank faceplate. + + WALLY + (quiet beeps) + [It’ll be okay, Eve.] + + The ELEVATOR DOORS suddenly open. + + +35 INT. ROBOT SERVICE TUNNEL - CONTINUOUS 35 + + DOZENS OF ROBOTS speed along a multi-lane passageway. + + All following glowing lines on the floor. + + Wally’s head whipsaws back and forth. + + Tries to process it all. + + Doesn’t notice Gopher’s transport merge into traffic... + ...without him! + + Wally shrinks from the high-speed traffic. + + Timidly attempts to merge. + + Sticks out one tread... + + -- Instantly causes a ROBOT PILE-UP. + + Wally boxes up. Guns it. + + Weaves across all the lines on the floor. + + Bounces off robots like bumper cars. + + Barely able to navigate the chaos. + + Takes refuge in the middle of an INTERSECTION. + + Scans for Eve... + + ON WALLY’S POV DISPLAY + + ...a PAINT-BOT paints a wall sign... + + ...A GARBAGE-BOT dumps trash into a wall chute... ...Down + the hall, Eve’s transport glides up a ramp... + 37. + + + WALLY + EE-VAH! + + Wally chases after them. + + +36 INT. UPPER HALLWAY - CONTINUOUS 36 + + Wally flies up the ramp. + + Nearly collides with a merging HOVER CHAIR. + + It blocks his way. + + Wally gains alongside it, and discovers + + A HUMAN PASSENGER + + sitting, reclined, in the chair. + + He is large, round and soft - like a big baby. + + Wears a red, BNL jumpsuit. + + The chair seems to be steering itself. + + Guided by floor lines, just like the robots. + + Speaker headrests block his peripheral vision. + + A HOLOGRAPHIC SCREEN floats inches in front of his face. + + He converses with a SECOND PASSENGER on screen: + + PASSENGER #1 + Well, I’ve been in my cabin all + morning so let’s hover over to the + driving range and hit a few virtual + balls into space. + + PASSENGER #2 (ON SCREEN) + Nah, we did that yesterday. I don’t + want to do that. + + PASSENGER #1 + Well then what do you want to do? + + ON WALLY + + He looks over his shoulder. + + Passenger #2 is floating right next to them. + 38. + + +Isolated in his own hover chair. + +Also in a red jumpsuit. Also a big baby. + + PASSENGER #2 + I don’t know. Something. + +Both humans are totally unaware of the other’s presence. + +They all exit the hallway. Merge into the... + +ECONOMY CLASS COURTYARD + +Wally is in awe. + +Hundreds of floors of GUEST ROOMS rise on all sides. + +THOUSANDS OF PASSENGERS fill the giant space. + +All reclined and riding on hover chairs. + +MULTIPLE FLOOR LINES guide their chairs in all directions. + +Humans have become the most extreme form of couch potatoes. + +Absolutely no reason to ever get up. + +No purpose. + +Every one of them engrossed in their video screens. + +Cocooned in virtual worlds. + +Over-developed fingers tap ARMREST KEYPADS. + +The controls allow them to steer... + +...order food... + +...play games... + +...and most of all... + +...CHAT MINDLESSLY with other passengers: + +The CHATTER is deafening. + +No one notices Wally at all. + +He drives into the endless human traffic. + + MISC. FEMALE PASSENGER + 39. + + + Bot, over here! + +A DRINK-BOT floats over to a passenger. + +Puts a fresh drink in her open hand. + +Wally flows with the traffic into a LARGE TUNNEL. + + MISC. PASSENGERS + I can’t hear you...I’m in a tunnel. + You’re breaking up...Oh, okay. + You’re back. I can hear you now... + +They spill out into the BRIGHT LIGHT of the + +MAIN CONCOURSE (COACH CLASS) + +A city-sized, mall-like environment. + +All under a GIANT DOME. + +The ceiling simulates the sun and sky. + +A BNL LOGO (w/ time & temp) appears on the FACE OF THE SUN. + + SHIP’S COMPUTER (V.O.) + Buy N Large. Everything you need to + be happy. Your day is very + important to us. + +Wally is gobsmacked. + +A PASSENGER (JOHN) hovers up alongside him. + +Tries to hand off his empty drink cup to Wally. + + JOHN + Hey, Drink-bot. + +Wally shies away. + +John reaches farther out with the cup. + + JOHN + Here, take the cup. Take the cup -- + Whoa! + +Reaches too far. + +John falls to the floor. + +Flails like an upside down turtle. + 40. + + +Unable to stand on his baby legs. + +Instantly, SIRENS. + +Wally watches TWO STEWARDS arrive. + +Block John’s accident. + +EMERGENCY LINES appear on the floor. + +Redirect the hover chair traffic. + +John reaches out for assistance. + +Nobody notices. Just drive past. + + JOHN + Stewards? Hello? Uhh, help. + + STEWARD + Please remain stationary. A + service-bot will be here to assist + you momentarily. + +Suddenly John begins to rise. + + JOHN + Uhh...Hey! What’s going on? + +Wally lifting him up from behind. + +Loads him back onto his chair. + +John doesn’t know how to react. + +Wally waves hello. + + WALLY + Wally! + + JOHN + Uhh... John. + + WALLY + Ee-vah? + + JOHN + Uh no, John. + +Wally scans the concourse. + +Spots Eve’s transport about to board a MONORAIL. + 41. + + + He races after them. + + Abandons the stunned John. + + WALLY + Ee-vah! + + JOHN + (small wave) + Bye...Wally. + + ON MONORAIL + + It pulls out of the station. + + Wally leaps on. + + Barely catches the last car. + + It glides down the concourse. + + +37 INT. “ALL DAY” CARE CENTER 37 + + A NANNY-BOT supervises a group of TODDLERS. + + All wearing matching BNL ONESIES. + + Motionless in their HOVER RINGS. + + They stare at educational programming on their holo- + screens. + + NANNY-BOT + “A”! “A” is for “Axiom”, your home + sweet home. “B”! “B” is for “Buy N + Large”, your very best friend... + + OUT THE WINDOW + + Wally’s monorail glides past. + + ON MONORAIL + + Wally takes in the overstimulating scenery. + + Dozens of THEMED FOOD RESTAURANTS whizz by. + + Each specialty is served in the same JUMBO PLASTIC CUP. + + SHIP’S COMPUTER (V.O.) + Mmmmm! Time for lunch in a cup. + 42. + + +Wally now notices his fellow passengers. + +They all slurp from similar cups. + +Next, the monorail passes a BEAUTY SALON. + +BEAUTICIAN-BOTS primp and style passengers. + + SHIP’S COMPUTER (V.O.) + Feel beautiful. + + BEAUTICIAN-BOTS + (pre-recorded lines) + ...It’s the new you...Oh + stunning...You look great...I know + honey...Ahh. Men... + +They pass through the FASHION DISTRICT. + +ENORMOUS BILLBOARDS hawk the latest color schemes. + + SHIP’S COMPUTER (V.O.) + Attention, Axiom shoppers. Try + blue! It’s the new red! + + MONORAIL PASSENGERS + Oooohh... + +Passengers next to Wally press their chair buttons. + +Their JUMPSUITS change from RED TO BLUE. + + WALLY + Whoa. + +Their monorail speeds into a glass tunnel. + +INSIDE THE TUNNEL + +Wally looks past a PASSENGER (MARY) next to him. + +Spots Eve on the other side. + +Wally tries to sneak behind Mary. + +But her chair moves backwards. + +Smashes Wally against the back wall. + +No way getting past her. + +Wally politely tries to get Mary’s attention. + 43. + + +She’s oblivious. + +Chats incessantly on her holo-screen: + + MARY + Date?! + (derisive snort) + Don't get me started! Every holo- + date I've been on has been a + virtual disaster! If I could just + meet one who wasn't so superficial. + There are no good men out there!... + +Wally tries to fold back her speaker headrest. + +Accidentally breaks it off. + + MARY + ...I know! I know ‘cause I've + scrolled through them all -- + (Gasp) + What the --? + +Mary’s chair shorts out. + +...holo-screen shuts off... + +...jumpsuit defaults back to red... + +For the first time Mary has an unobstructed view. + +Her eyes slowly dilate. + +It’s as if she’s seeing the world for the first time... + + MARY + (mesmerized) + Huh... ? + +Her gaze falls on Wally. + +He waves politely. + + WALLY + Wally. + + MARY + (beat) + M-mary. + + WALLY + Ee-vah. + 44. + + + He points to Eve on the other side of Mary. + + Gestures he’d like to get by. + + She is slow to understand. + + MARY + Huh? Oh, uh, sure go ahead. + + Mary moves her hover chair back. + + Wally rolls over to Eve. + + Pats her protectively. + + WALLY + Ee-vah... + + +38 INT. AXIOM/LIDO DECK - DAY 38 + + The monorail emerges into “First Class.” + + A vast, circular plaza of pools. + + Surrounded by a ring of high rise apartments. + + Hundreds of passengers lounge poolside. + + All serviced by their personal UMBRELLA-BOTS. + + POOLSIDE PASSENGER + (claps; umbrella-bot + opens) + Shade. + + ON MONORAIL + + It stops at the BRIDGE PLAZA. + + The base of the Axiom’s Bridge Tower. + + The passengers exit. + + Follow their respective lines. + + Gopher drives Eve (and Wally) towards the tower. + + Pass over a GIANT BNL LOGO on the plaza floor. + + ON MARY + 45. + + + She is the last to exit the car. + + Doesn’t follow any lines. + + Excited by her newfound awareness. + + Looks out on the Lido Deck as the monorail pulls away. + + MARY + I didn’t know we had a pool! + + +39 INT. BRIDGE LOBBY 39 + + Eve’s transport enters the cavernous hall. + + A lone TYPING-BOT is stationed at the far end. + + A bridge elevator behind him. + + Blocked by a force field gate. + + The transport pulls up to the typing-bot. + + Gopher BEEPS. + + The typing-bot responds by typing. + + Slowly. One...button...at...a...time... + + Finally, the gate lowers. Elevator doors open. + + The typing-bot watches the transport enter the elevator. + + Notices Wally hiding at the back. + + Wally gives it a FRIENDLY WAVE as the doors close. + + The elevator shoots up to the bridge. + + The typing-bot looks at its hand. + + Mimics Wally’s waving gesture. + + Huh. Never done that before. + + Tries it some more... + + INSIDE THE ELEVATOR + + Wally looks out on the descending Lido Deck. + 46. + + + Marvels at it all. + + His view suddenly goes dark. + + The elevator doors open on... + + +40 INT. BRIDGE - CONTINUOUS 40 + + The large circular room is dimly lit. + + Windows to SPACE on one side, a LIDO DECK view on the + other. + + A massive console wraps around its entirety. + + Covered in buttons. A sea of thinking lights. + + A CAPTAIN’S WHEEL automatically steers. + + Gopher drives into the middle of the room. Beeps. + + Suddenly the wheel disengages. + + The autopilot (AUTO). + + A single camera eye lights up its center. + + A periscope stem connects Auto to the ceiling. + + Slides along rails up to Gopher, who salutes. + + Auto eyes Eve. Scans her. + + Wally sneaks back into the shadows. + + Auto detects Eve’s plant light. + + Goes still... + + Begins computing rapidly. + + The number “A113” flashes on his lens. + + An ELECTRONIC EXCHANGE begins between Auto and Gopher. + + Wally watches the interchange. Nervous. + + Without warning, Auto heads in his direction. + + Wally boxes up. + 47. + + + A CIRCULAR SECTION OF FLOOR lights directly below him. + + Irises open, like a trapdoor. + + Wally drops... + + +41 INT. CAPTAIN’S QUARTERS - DAY - CONTINUOUS 41 + + ...and hits the floor hard in the room below. + + Someone stirs, then resumes SNORING. + + Auto lowers through the portal. + + A CLOCK ALARM BUZZER activates. + + AUTOPILOT + Captain. You are needed on the + bridge. + + Shoots back up. The portal closes. + + Wally peeks out of his box. + + ON WALLY’S POV + + PAN across the nautical-themed cabin. + + One wall lined with PORTRAITS OF FORMER CAPTAINS. + + Their years of service listed below. + + The autopilot in the background of each picture. + + Each generation of Captain more devolved than the other. + + From human to gelatinous blob. + + We stop on the FINAL PORTRAIT. + + A blobby Captain. + + It looms above the actual CAPTAIN, snoring in bed. + + He reaches out in his sleep to quiet the snooze alarm. + + Smacks Wally’s box by mistake. + + Activates the POYSC SAMPLE. + + It plays loud. + 48. + + +The Captain sits straight up, half-awake: + + CAPTAIN + -- All hands on deck!! + +Wally is frantic to turn off the music as... + +...PREP ROBOTS burst from the cabinetry... + +...a BEAUTICIAN-BOT, MASSAGE-BOT and WARDROBE-BOT... + +...The Captain’s bed automatically raises... + +...Forms into a hover chair... + +The robots rapidly massage, brush, primp and dress him. + + BEAUTICIAN-BOT + (pre-recorded) + Morning! Just a trim? + +Wally blends in with the primping. + +Uselessly wiggles the Captain’s toes. + + CAPTAIN + (Giggles) + +Lines light on the floor. + +Lead his chair automatically to the elevator. + +Wally sneaks aboard just as the doors close. + +ON THE BRIDGE + +Elevator doors swish open. + +The Captain still half-asleep. + +Claps his hands twice. + +On cue, a COFFEE MAKER rises from the console. + +Pours a cup. + +CLASSICAL MUSIC PLAYS on overhead speakers. + +The Captain’s chair links with a LIT FLOOR PATH. + +Leads him over to the coffee. + 49. + + +Wally stays lockstep behind him. + +Auto glides over to the Captain. + + AUTOPILOT + Sir -- + + CAPTAIN + Coffee. + +Wally hides under the console just in time. + +The Captain reaches for his coffee. + +Makes a minimal effort. + +Easier to adjust his chairback slowly forward... + +...almost there...and...he grabs the coffee. + + AUTOPILOT + Sir, the annual -- + +The Captain gives Auto the hand. + +Sips his coffee. + + CAPTAIN + Protocol, Auto. First things first. + (to the room) + Computer, status report. + +His chair automatically arcs along the console. + +SPECIFIC PANELS light up as he passes. + + CAPTAIN + (sips coffee) + Mechanical systems?...Reactor core + temperature?...Passenger + count?...Regenerative food + buffet?...Jacuzzi Ph balance... + Atmospheric conditions...laundry + service volume... + + SHIP’S COMPUTER + Unchanged...unchanged... + unchanged...unchanged... + unchanged...unchanged... + unchanged... + +ON WALLY + 50. + + +He eyes Eve on the transport across the room. + +Has to get to her. + +But Auto is right above him. Can’t move. + + AUTOPILOT + Captain... + +Auto calls up a screen on the console. + +Displays the recon-ship and a flashing positive probe. + +Waits patiently for the Captain to notice. + +Finally, the Captain turns... + + CAPTAIN + Okay, Auto. + + AUTOPILOT + Sir, the annual reconnaissance has + -- + +...but then notices the time. + + CAPTAIN + 12:30?! + (disappointed sigh) + Auto, why didn’t you wake me for + the morning announcements? + +He slingshots his chair to the Lido Deck side of the +bridge. + +Wally nearly collides with him. + +Ducks back under the console. + + CAPTAIN + Honestly, it’s the one thing I get + to do on this ship. + +Grabs a large dial. + +TIME OF DAY ICONS surround it. + +Cranks it from mid-day back to sunrise. + +OUT ON LIDO DECK + +- The FAKE NOON SUN reverses at high speed to a SUNRISE. + 51. + + +- Passengers’ LUNCH CUPS switch to BREAKFAST CUPS. + +- Poolside passengers’ umbrella-bots close up. + +An ANNOUNCEMENT WHISTLE BLOWS over the intercom. + +A SECTION OF SKY DOME becomes a JUMBOTRON SCREEN. + +Displays a live video feed of the Captain. + +The image also shows up on every passenger’s CHAIR SCREEN. + + CAPTAIN (ON INTERCOM) + (unmotivated) + Well, good morning everybody, and + welcome to day 255,642 aboard the + Axiom. As always, weather’s a balmy + 72 degrees and sunny, and -- Oh, + hey, I see the ship’s log is + showing that today is our 700th + anniversary of our five year + cruise. Well, I’m sure our + forefathers would be proud to know + that 700 years later we’d be... + (deflates) + ...doing the exact same + thing...they were doing... + +Cut to VARIOUS ASPECTS OF AXIOM LIVING. + +The listening passengers look just as bored as the Captain. + + CAPTAIN (INTERCOM) + (snaps out of ennui) + SO! Be sure next mealtime to ask + for your free... + (hard to pronounce) + ...septuacentennial cupcake -- in a + cup. Also today we have, + uh...uh...Hey, Auto, what’s that + flashing button? + (mic feedback whine) + +BACK ON THE BRIDGE + +The Captain stares at a FLASHING BUTTON on the console. + +It bears the same PLANT ICON as Eve’s display. + + AUTOPILOT (O.S.) + Captain? + +The Captain turns to Auto. + 52. + + +For the first time he notices Eve. Finally. + +Auto hovers over her. Salutes. + + AUTOPILOT + Probe One has returned positive. + + CAPTAIN + Positive? + +Auto re-activates Eve. + +She wakes. + +Rises to salute the Captain. + +Across the room, Wally watches with sheer joy. + +She’s okay! + +He is compelled to head straight for her... + + CAPTAIN + But...no probe’s ever come back + positive... + (looks at flashing + button) + ...before. + +The flashing button is practically calling to him. + +Can’t resist. Presses it. + +Instantly SHADES close on all the windows. + +The room goes dark. + +...Wally is forced to hide under the console again... + +A LARGE HOLO-SCREEN appears right above him. + +Pre-recorded footage of the BNL CEO plays: + + BUY N LARGE CEO + Greetings and congratulations, + Captain! If you’re seeing this, + that means your Extraterrestrial + Vegetation Evaluator, or... + (air quotes) + ...”EVE” probe, has returned from + Earth with a confirmed specimen of + ongoing photosynthesis! + 53. + + +The Captain stares slack-jawed at the screen. + +Wally sneaks under the console towards Eve... + + BUY N LARGE CEO + That’s right, it means it’s time to + go back home! + + CAPTAIN + (nervous) + Home? W-w-we’re going back? + + BUY N LARGE CEO + Now that Earth has been restored to + a life-sustaining status, by golly, + we can begin “Operation + Recolonize”! + +A section of the console illuminates. + +An ancient, dusty MANUAL slides out... + +...into a passing Wally’s hands. + +Wally immediately boxes up. + +Holds the manual over his head. + +The Captain mistakes Wally for a book podium. + +Grabs the manual. Blows dust off the cover. + +It reads: “OPERATION RECOLONIZE”. + +Below the title, the same PLANT ICON from Eve’s display. + + BUY N LARGE CEO + Simply follow this manual’s + instructions to place the plant in + your ship’s holo-detector, and the + -- + (bad edit) + -- Axiom -- will immediately + navigate your return to Earth! It’s + that easy! + +ON VIDEO SCREEN (DURING SPEECH) + +An animated diagram depicts a stage below the ship’s +bridge. + +The symbol of a HOLO-DETECTOR rises up. + 54. + + +A STICK FIGURE places a plant inside the machine. + +A STARLINER ICON flies back towards Earth. + +The Captain listens closely to the instructions. + +Wally paying attention as well. + + CAPTAIN + Huh? + + WALLY + Huh? + +Wally notices he has a clear shot to Eve. + +Heads in her direction. + + BUY N LARGE CEO + Now, due to the effects of micro- + gravity, you and your passengers + may have suffered some slight bone + loss. But I’m sure a few laps + around your ship’s jogging track + will get you back in shape in no + time. + +The Captain looks at his VESTIGIAL LEGS. + + CAPTAIN + We have a jogging track? + + BUY N LARGE CEO + If you have any further questions + just consult your operation manual. + See you back home real soon. + +The transmission ends. + +The Captain examines the manual. + +Holds it out in front of him. + + CAPTAIN + (reads; to himself) + Operate... Manuel... + (aloud; cautious) + Manuel, relay instructions. Manuel? + +Auto intervenes. + 55. + + +Clips the corner of the cover with his handle... ...and +simply opens the book. + +The Captain is both fascinated and intimidated. + +Lifts the cover with his own fingers. + + CAPTAIN + Wow... Will you look at that? + +ON EVE + +Wally taps her shoulder. + +Not now Wally -- Double take! + + EVE + Wally?! + + WALLY + (tiny wave) + Ee-vah! + +Eve is in a state of disbelief. + +Shoves Wally into the shadows under the console. + + EVE + (hushed; angry) + [Wally, what are you doing here?! + You can’t be here! You’re going to + get me in trouble!...] + +Makes a flurry of clandestine gestures at him. + +Wally just stares at her. + +Smitten. + + WALLY + (swoons) + Ee-vah... + +ON THE CAPTAIN + +He manages to turn to the FIRST PAGE OF INSTRUCTIONS. + + CAPTAIN + (reads aloud) + Well, let’s open her up. Step One. + Voice command, “Confirm + Acquisition.” + 56. + + + SHIP’S COMPUTER + Confirm Acquisition. + +The bridge suddenly jumps to life. + +Green lights flash. + +A LARGE DEVICE appears from the ceiling... + +...Scans the entire room... + +...Identifies Eve... + +...Rides along the ceiling rails... + +...Stations itself directly above Eve... + +...Arms unfold. Position her... + +...A VOICE ARM swings into the Captain’s face: + + SHIP’S COMPUTER + Voice authorization required. + + CAPTAIN + ...Uh... + + SHIP’S COMPUTER + Accepted. + +A BUTTON-PUSHING ARM lowers. + +Presses a sequence of buttons on Eve... + +Her chest lights up. + +The doors open. + +The Captain winces... + +...and nothing is inside. + + CAPTAIN + Where’s the thingie? + + AUTOPILOT + Plant. + + CAPTAIN + Plant. Right. Right. Where is it? + (checks manual) + 57. + + + Maybe we missed a step. Show me how + you change the text again... + +Auto and the Captain turn away. Re-read the manual. + +Eve is stunned. + +Searches her chest cavity for the plant. + +Then she remembers... + + EVE + Plant! Wally... + (turns on him) + Wally! + +Wally flinches. Surprised by her anger. + +Eve opens Wally’s chest. Empty. + +Picks him up. Scans the floor. + +Nothing. + + WALLY + Ee-vah? + + EVE + (angry electronics) + [Find it!] + PLANT! + +Wally scared of her. + +Starts searching. + + CAPTAIN (O.S.) + Why don’t you scan her to be sure. + +Eve jumps back to attention. + +Auto slides up to her. + +Scans her chest cavity. + + AUTOPILOT + Contains no specimen. Probe’s + memory is faulty. + + CAPTAIN + So, then...we’re NOT going to + Earth? + 58. + + + AUTOPILOT + (shakes his wheel) + Negative. + + CAPTAIN + So, uh, I guess things go back to + normal, huh? + + AUTOPILOT + Correct, Captain. + + CAPTAIN + (privately relieved) + Well, false alarm! + + SHIP’S COMPUTER (V.O.) + False alarm. + +Instantly the plant retrieval device retracts. + +Exits back into the ceiling. + +The shades rise. + +Lights go back on. + + CAPTAIN + The probe must be defective. + Gopher, send her to the Repair + Ward. + +Eve turns. + +Excuse me? + +Gopher hops to attention. + +Traps Eve in his SUSPENSION BEAM. + +Loads her back onto the transport... + + CAPTAIN + Have them run diagnostics on her. + Make sure she’s not malfunctioning + -- EEYAH!! + +...and reveals WALLY. + +Everyone stares at him. + +Long awkward pause. + 59. + + + Wally innocently motors over to the Captain. + + Shakes his hand. + + WALLY + Wally. + + Leaves a CLUMP OF DIRT in his palm. + + The Captain stares at it. + + Turns to Auto. + + CAPTAIN + Have “Wally” cleaned. + + +42 INT. LOBBY - MOMENTS LATER 42 + + The elevator opens. + + Gopher’s transport drives out. + + Both Eve and Wally strapped on it with energy bands. + + The typing-bot has now mastered waving. + + Waves an enthusiastic goodbye. + + Wally tries to get Eve’s attention. + + WALLY + Ee-vah? + + She gives him the cold shoulder. + + Refuses to speak to him. + + Wally shrinks. + + The transport exits the lobby. + + BACK UP IN THE CAPTAIN’S QUARTERS + + CAPTAIN + Analyze. + + The CLUMP OF DIRT is suspended in a beam of light. + + It rotates. + + The captain sits at his vanity console. + 60. + + + ANALYSIS DATA scrolls on a HOLO-SCREEN. + + SHIP’S COMPUTER + Analysis: foreign contaminant. + Substance is a three phase system + composed of various combinations of + naturally derived solids. Subject + is most commonly referred to as + “soil”, “dirt”, or “earth”. + + The last word piques his interest. + + CAPTAIN + Earth? + + His eyes drift to a GLOBE on his shelf. + + CAPTAIN + Define “Earth”... + + SHIP’S COMPUTER + “Earth” - the surface of the world + as distinct from the sky or sea. + + Dozens of IMAGES OF LAND pop up on screen. + + Lush, green, colorful, inviting. + + He’s fascinated. + + Takes it all in. + + CAPTAIN + Wow... Define “sea”. + + SHIP’S COMPUTER + “Sea”... + + +43 EXT. AXIOM/CAPTAIN’S QUARTERS - SAME 43 + + THROUGH THE WINDOW we see the Captain. + + Glued to his screen. + + Filled with ocean images. + + SHIP’S COMPUTER + ...an expanse of salt water that + covers most of the Earth’s surface + and surrounds its land masses... + 61. + + + The CAMERA DRIFTS AWAY from the window... + + ...Moves aft to the Axiom’s stern... + + ...Pushes in... + + +44 INT. ROBOT SERVICE TUNNEL 44 + + M-O continues to clean WALLY’S FILTHY TRAIL. + + Oblivious to everything around him. + + Cuts through traffic. + + Robots crash into each other in his wake. + + M-O doesn’t notice EVE AND WALLY’S TRANSPORT drive past. + + They hover down a corridor, and enter... + + +45 INT. REPAIR WARD - CONTINUOUS 45 + + It’s a fully automated clinic for broken bots. + + Day care for the malfunctioned. + + The REJECTS are kept in FORCE FIELD PENS. + + Dozens line the walls. + + Eve and Wally stop at the INSPECTION STATION. + + Robotic ORDERLY-ARMS activate. + + Wally shrinks. + + Watches them systematically check in Eve. + + Perform an I.D. scan. + + Attach a RED “DEFECT” BOOT to her head. + + A button is pressed on the boot. + + Eve goes into “sleep” mode. Lifted off the transport. + + WALLY + (beeps) + [Where are you going?!] + 62. + + + The orderly-arms now start on Wally. + + He escapes before they can place a defect boot on him. + + Races through the ward. + + Wally runs smack into a defective BEAUTICIAN-BOT. + + BEAUTICIAN-BOT + (pre-recorded) + Just a trim? Uh huh. + + She paints Wally’s face with hideous looking make-up. + + Holds up a mirror. + + Wally gasps. + + BEAUTICIAN-BOT + You look gorgeous. + + Wally is snatched up by an orderly-arm. + + Placed in an empty force field pen. + + Sits between a PAINT-BOT and VACU-BOT: + + ...The broken paint-bot flings paint at Wally... + + ...The vacu-bot sneezes dust in his face... + + Across the way a MASSAGE-BOT flails wildly. + + Orderly-arms restrain him with an ENERGY STRAIGHTJACKET. + + Eve slides past Wally. + + Carried by an orderly-arm. + + Brought into the “DIAGNOSTICS” ROOM. + + The frosted glass doors shut. + + WALLY + Ee-vah! + + +46 INT. DIAGNOSTICS ROOM 46 + + Orderly-arms run diagnostics on a few reject robots: + + - An UMBRELLA-BOT flips open and overextends. + 63. + + +The orderly-arms struggle to close it. + +- A DEFIBRILLATOR-BOT shocks a CRASH-TEST-DUMMY. + +It bursts into flames. + +Eve is awoken from “sleep” mode. + +A series of tests begin. + +Eve is annoyed but calm. + +It’s all routine. + +An orderly-arm easily detaches her gun arm. + +OUT IN THE REPAIR WARD + +Wally stares at the frosted glass doors. + +Can only make out EVE’S SILHOUETTE. + +To him, her arm is being ripped off. + + WALLY + Ee-vah! + +BACK INSIDE WITH EVE + +The orderly-arm tests Eve’s circuitry. + +Her insides light up. + +It tickles. + + EVE + (Giggles) + +Next to her the UMBRELLA-BOT’s mechanism SCREECHES. + +OUTSIDE WITH WALLY + +Wally watches in horror. + +It looks as if Eve is being tortured. + +Mistakes the screeching for her screams. + +Wally struggles to free himself. + +INSIDE WITH EVE + 64. + + +She is washed and scrubbed. + +A CIRCULAR BUFFER cleans between her head and body. + +It feels good. + +BACK ON WALLY + +It looks as if Eve is being beheaded. + +He needs to stop the torture. + +Wally fires his CUTTING LASER at his pen’s force field. + +The barrier shorts out. + +Wally tumbles to the floor. + +Lands on his “Play” button. + +POYSC blares across the ward. + +The Rejects all stop and stare. + + WALLY + EEEEEEVAAAAHH!! + +Wally races to the diagnostics room. + +Crashes right through the glass doors. + +Finds Eve surrounded by orderly-arms. + +Grabs Eve’s separated gun arm. + +Points it at the orderly-arms. + + WALLY + (angry beeps) + [Let her go, or I’ll shoot!] + +His hands tremble, Don Knotts-style. + +Doesn’t realize... + +...he’s holding the gun backwards. + +Eve slowly reaches for the weapon. + + EVE + (”Put the gun down...”) + Wally... + 65. + + + An orderly lunges at him. + + Wally panics. Shoots! + + The gun fires backwards. + + It blasts through the repair ward. + + Blows up the REPAIR WARD CONTROL PANEL. + + Wally shrinks. + + He knows he’s in trouble. + + EVE + WALLY! + + The smoking remains of the control panel SHORT CIRCUIT. + + ...All orderly-arms go limp... + + ...The repair ward doors open up... + + ...and all FORCE FIELDS disappear... + + The Rejects look at each other for a beat. + + Then CHEER wildly. + + We’re free! + + The mob of robots all rush Wally. + + Lift him on their shoulders. + + Carry their hero out of the ward. + + Wally still holding on to Eve’s gun arm. + + Eve watches in astonishment. + + This day just gets worse and worse. + + She flies off after them. + + EVE + WALLY! + + +47 EXT. REPAIR WARD/ROBOT HALLWAY - CONTINUOUS 47 + + The rejects march Wally out the entrance. + 66. + + + Their RED “DEFECT” BOOTS all blink. + + Activate a WARNING LIGHT above the doorway. + + MATCH CUT TO: + + +48 INT. ROBOT SERVICE TUNNEL 48 + + EMERGENCY LIGHTS blinking. + + Activate an embedded ROW OF STEWARDS. + + They pop out of the wall. + + Race to the repair ward. + + Sirens wailing. + + +49 INT. ROBOT HALLWAYS 49 + + The REJECT MOB stampedes through the halls. + + Disrupts all robot traffic. + + Wally carried over their heads. + + Suddenly, the mob stops in front of... + + ...a BLOCKADE OF STEWARDS. + + STEWARD + Halt. + + Wally’s dropped in front of them. + + Still holds Eve’s gun. + + Cowers. + + A TINY ROBOT pushes Wally closer. + + Show ‘em who’s boss. + + EVE + (stern) + Wally! + + Eve catches up to them. + + Flies over to Wally. + 67. + + +Snatches her arm back. + +Just as she reattaches her gun... + +...The steward CAMERA EYES take a snapshot of them. + +ALL AROUND THE SHIP + +Alarms sound. + +SCREENS appear, displaying EVE AND WALLY’S IMAGE. + +She appears to brandish her gun at camera. + +Like Bonnie and Clyde. + +Their faces now on every wall... + +...passenger’s hover chair... + +...cabin... + +...hallway... + + SHIP’S COMPUTER + Caution: Rogue robots...Caution: + Rogue robots... + +BACK WITH EVE AND WALLY + +The stewards prepare to fire SUSPENSION BEAMS (like +Gopher). + +Eve realizes what’s about to happen. + +Grabs Wally. + +Flies over the stewards. + + STEWARDS + Halt. Halt. + +The mass of rejects take their cue. + +Robot rebellion! + +They bust through the steward blockade. + +ON VARIOUS HALLWAYS + +Robots recognize Eve and Wally as they fly past. + 68. + + + Match them with the “Wanted” screens. + + Call attention to them. Point. + + Stewards in hot pursuit. + + Eve hides herself and Wally in a PORTHOLE CUBBY. + + Lets the stewards pass by. + + She glances out the porthole... + + ON EVE’S POV + + She can see the DOCKING BAY below her. + + Just under the bay doors... + + ...a row of EMERGENCY ESCAPE PODS. + + Eve gets an idea. + + Grabs Wally and flies down the hallway... + + INSIDE AXIOM ELEVATOR - MOMENTS LATER + + Eve and Wally ride in uncomfortable silence. + + Their “WANTED” IMAGE plays on an elevator screen. + + SHIP’S COMPUTER (SCREEN) + Caution: Rogue robots. + + Wally points to it. + + WALLY + (beeps) + [Hey look! We’re on TV -- !] + + Eve aims her gun at the screen. + + Blows it to pieces. + + Wally shrinks into a box. + + Never mind. + + +50 INT. ESCAPE POD BAY/OVER HALLWAY 50 + + Dark. + 69. + + + The elevator chimes. + + Eve and Wally step out. + + Rows of NUMBERED BAY DOORS line the hallway. + + Eve approaches “Bay #1”. + + She and Wally enter... + + +51 INT. ESCAPE POD BAY #1 - CONTINUOUS 51 + + Eve navigates the dark. + + Approaches a freestanding CONSOLE. + + Fiddles with some buttons. + + ON WALLY + + He glances down at EVE’S HAND. + + Privately intertwines his fingers. + + Maybe now is the right moment... + + WALLY + (quiet) + Ee-vah...? + + FLASH! + + Banks of controls light up around them. + + AN ESCAPE POD + + is revealed at the end of the room. + + Its hatch automatically opens. + + Bathes the room with light from its lit interior. + + Eve turns to Wally: + + EVE + Earth. + + She points to an OVERHEAD SCREEN. + + It displays coordinates to Earth. + 70. + + + EVE + Earth. + +She gestures for Wally to enter the pod. + +He happily complies. + +Jumps up on one of the seats. + +Pats the seat next to him. + +Aren’t you coming? + +Eve remains at the threshold. + +Shakes her head. + +Points to her chest. + +Makes her PLANT SYMBOL glow. + + EVE + Directive. + +...She’s not going. + +This changes everything. + +Wally races out of the pod. + +Boxes up. + + WALLY + (beeps) + [Then I’m not going either.] + +Eve shakes her head. + + EVE + (gentle, but firm) + Wally. + +Carries his box back into the pod. + +Exits. + +Wally follows her right back out. + +Drives behind the console. + +You can’t make me. + 71. + + +Eve sighs. + + EVE + (frustrated) + Wally. + +The hallway elevator CHIMES. + +They both look up. + +Someone is coming. + +Eve shuts off everything. + +Lights go out. The pod closes back up. + +Both Eve and Wally hug the wall. + +Blend in with the other wall fixtures. + +They HEAR something hover into the room. + +Can’t see what it is. + +Then... + +An EPAULET ROBOT ARM rises up over the console. + +Presses buttons. + +The pod lights up again. The hatch opens. + +The stranger’s SHADOW comes around the console to reveal... + +GOPHER + +Eve and Wally look at each other. + +Gopher? + +They watch from the shadows as... + +...Gopher enters the pod... + +...opens his chest cavity... + +...emits his suspension beam... + +...and deposits the PLANT. + + EVE + (excited whisper) + 72. + + + Plant! + +Gopher exits the pod. + +CLOSE ON EVE + +She keeps her eyes on Gopher. + +Watches him return to the console. + +She turns to speak to Wally -- + +He’s gone. + + EVE + (whisper) + Wally? + +Wally is inside the pod. + +Picks up the plant. + +Proudly shows it to Eve. + + WALLY + (loud whisper) + Ee-vah! + + EVE + (louder whisper) + Wally! + +Too late. + +Gopher hits a button. + +The pod door shuts on Wally... + +...and launches into space. + +Gopher shuts off the room. + +Exits. + +Eve leaps out of the shadows. + +Looks out the POD BAY WINDOW. + +Wally’s pod rapidly shrinking in the distance. + +The plant icon on Eve’s chest glows. + 73. + + + She rushes to a narrow SERVICE AIRLOCK. + + Enters it like a phone booth. + + OUTSIDE THE AIRLOCK + + Eve bursts out into space. + + Rockets after Wally. + + +52 INT. ESCAPE POD 52 + + Wally plastered against the back of the pod. + + It suddenly reduces speed. + + SHIP’S COMPUTER (V.O.) + Cruising speed. + + He drops to the floor. + + SHIP’S COMPUTER (V.O.) + You are now free to move around the + cabin. + + Wally fumbles to get his bearings. + + Peers out the rear hatch window. + + Sees the Axiom receding from view. + + WALLY + (beeps) + [Yikes!] + + He clambers up into the pilot’s seat. + + Pulls back hard on the throttle. + + Nothing happens. + + Looks down at the console. + + A SELF-DESTRUCT DIAL is counting down: + + SHIP’S COMPUTER (V.O.) + Twenty seconds till self- + destruct... + + Uh oh. + 74. + + +Wally frantically hits the SELF-DESTRUCT button. + +No change. + +Pushes every button on the console. + +Everything activates: + +...Lights flash... + +...Oxygen masks drop... + +OUTSIDE THE POD + +...Windshield wipers activate... + +...Flares fire off... + +...Parachutes deploy... + +BACK INSIDE THE POD + + SHIP’S COMPUTER (V.O.) + Ten seconds till self-destruct... + +Wally panics. + +Looks for a means of escape. + +Spots the hatch. + +Grabs the pod’s FIRE EXTINGUISHER. + +Shoots himself to the door. + + SHIP’S COMPUTER + Ten, nine, eight, seven, six, five, + four, three, two... + +Pulls on the EMERGENCY EXIT LEVER. + +The hatch won’t open! + +ON EVE + +She races through space after him. + +Suddenly, in the distance, the POD EXPLODES. + +Eve is gut-punched. + + EVE + 75. + + + No, no, no... + +She flies towards the debris field, when -- + +Wally whizzes right past her. + + WALLY + Ee-vaaaaaah! + +He holds the FIRE EXTINGUISHER. + +Uses it as a form of propulsion. + +Eve is consumed with relief. + +Chases after him. + +ON WALLY + +He points the extinguisher the other way. + +Attempts to fly back over to her. + +It’s hard to steer... + +...They rocket right past each other again... + + WALLY + (beeps) + [Stay there! I’ll come to you!] + +Eve waits. + +Wally finally has the hang of steering. + +Fires short bursts. + +Very slowly...makes his way...to Eve. + +Gets extinguisher foam in her face. + +She giggles. + + WALLY + (”Look what I’ve got”) + Ee-vah... + +He opens his compactor door. + +Pulls out the PLANT, still in the boot. + + EVE + 76. + + + (Gasp!) + +ON EVE’S DISPLAY POV + +...Sensors zero in on the plant... + +...Confirm its authenticity... + +...A MAP OF THE AXIOM appears... + +...Draws directions to the bridge... + +...A command flashes: “DELIVER TO AXIOM SUPERIOR”... + +Eve is ecstatic. She snaps the plant up with her tractor +beam. Seals it safely in her chest. Then scoops up Wally in +her arms. Spins him around. + + WALLY! + (LAUGHS) + +Wally can’t believe his luck. Rests his head on her +shoulder. Bliss. + +Eve stops spinning. Leans her head against his. A tiny ARC +OF ELECTRICITY passes between them. A “thank you” kiss. + +Wally’s METER spikes. He floats circles in space. + + WALLY + (swoons) + + EVE + (hums) + [Come on. Time’s a wastin’.] + +She reaches for his hand. Wally shakes his head. Holds up +his extinguisher instead. + + WALLY + (beeps) + [I can fly myself.] + +Kicks on the extinguisher. Spins in a pirouette... ...and +flies away. Eve giggles. Chases after him. + +BING CROSBY’S “STARDUST” PLAYS + +The two fly around the stern of the ship. Wally does a few +barrel rolls. + + WALLY + 77. + + + (beeps) + + [TRY THAT.] + Eve giggles. Matches him move for + move. + + The pair fly between the BOOSTER ENGINES of the ship. + + Weave in and out of the rocket flames. + + Bank up along the ship’s port side. + + Execute a double helix in perfect unison... + + +53 INT. AXIOM’S OBSERVATION DECK - SAME 53 + + Passengers hover down the hallway. + + All focused on their private screens. + + No one looks out at the stars. + + ...except for MARY. + + She has pulled over to the side. + + Stares wistfully out the DECK WINDOW. + + MARY + (sigh) + So many stars. + + Spots EVE & WALLY dancing among the stars. + + MARY + Oooh... + (recognizes Wally) + Hey, that’s what’s his name -- + + She backs up to wave hello. + + Bumps into JOHN’S HOVER CHAIR. + + JOHN + Hey! What the -- + + Mary leans over to his armrest. + + Turns off his holo-screen. + + Points out the window. + 78. + + + MARY + Look! Look at THAT! + + JOHN + (disoriented) + Wha...huh? + + Wally flies past the window. + + A wave of recognition hits John. + + He comes to life, as if wakened from a long sleep. + + JOHN + Hey... I know that guy! It’s, uh... + (snaps fingers) + Wally! Hey Wally! It’s your buddy, + John! + + MARY + Right, Wally! Hi Wally! + + They both wave until Wally’s out of sight. + + John absentmindedly lowers his hand to his armrest... + + ...and touches Mary’s hand. + + Both turn towards each other. + + They make eye contact for the first time. + + Awkward beat. + + JOHN + Hi. + + MARY + Hi. + + OUTSIDE WITH WALLY AND EVE + + They soar across the Axiom’s bow. + + +54 INT. BRIDGE 54 + + Auto busy operating the ship. + + Doesn’t see Eve and Wally outside the window. + + Auto turns the SKY DIAL from DAY TO NIGHT. + 79. + + + INSIDE THE CONCOURSE + + The sky dome fast-forwards to evening. + + PAN OVER to the top of the bridge tower. + + The windows of the Captain’s quarters are dark. + + Only the FLICKERING GLOW OF A HOLO-SCREEN lights the room. + + CAPTAIN (V.O.) + Define “hoe-down”. + + +55 INT. CAPTAIN’S QUARTERS - NIGHT - SAME 55 + + The Captain is still engrossed in his Earth research. + + MULTIPLE IMAGES litter the screen. + + Crops, farms, a barn, etc.... + + An IMAGE OF PEOPLE SQUARE DANCING pops up. + + SHIP’S COMPUTER (V.O.) + “Hoedown” - a social gathering at + which lively dancing would take + place. + + An aperture opens in the ceiling above. + + Auto lowers down to face the Captain. + + CAPTAIN + Auto! Earth is amazing! + (points to images) + These are called “farms”. Humans + would put seeds in the ground, pour + water on them, and they’d grow + food, like, pizza -- + + Auto shuts off the holo-screen. + + AUTOPILOT + Good night, Captain. + + CAPTAIN + (annoyed grunt) + + Auto rises back up to the bridge. + + The aperture shuts. Lights out. + 80. + + +The Captain glares at the ceiling. + +Then whispers conspiratorially to the computer. + + CAPTAIN + Psst! Computer. + (the holo-screen lights + up) + Define “dancing”. + +BACK OUTSIDE THE AXIOM + +Eve and Wally descend along the starboard side. + +Spiral gracefully around one another. + + SHIP’S COMPUTER (V.O.) + “Dancing” - A series of movements, + involving two partners, where speed + and rhythm match harmoniously with + music. + +Wally’s extinguisher runs out of foam. + +He lets it float freely out into space. + +Eve catches him in her arms. + +Wally croons. + +SONG ENDS + +Eve scans the Axiom for a way in. + +Notices SPARKS. + +Down on the ship’s lower hull... + +CLOSER ON LOWER HULL + +A REPAIR-BOT (BURN-E) welds an antenna. + +Eve and Wally fly into the open hatch behind him. + +It shuts. + +Burn-e bangs on the closed door. + +Stuck outside. + + BURN-E + (beeps) + 81. + + + [Hey! Let me in! Let me in!] + (looks around) + [Crap.] + + +56 INT. LIDO DECK - NIGHT 56 + + SHIP’S COMPUTER (V.O.) + The Lido Deck is now closing...The + Lido Deck is now closing. + + The last few passengers exit the pool area. + + All wearing the same color blue uniforms... + + ...except TWO RED ONES still in the pool. + + CLOSE ON FEET + + They ripple the surface of the pool. + + John and Mary float over the water’s surface. + + Splash one another playfully. + + JOHN + Hey now. Stop that... + + MARY + Make me + (giggles) + + JOHN + I didn’t know we had a pool. + + A LIFEGUARD-BOT (glorified megaphone) lowers from its + tower. + + Reprimands them from the pool’s edge: + + LIFEGUARD-BOT + No splashing, no diving. + + JOHN & MARY + (annoyed) + Ahh! Go on! + + John splashes the robot. + + It shorts out. + + ON UPPER DECK + 82. + + +Eve and Wally sneak onto the deck. + +Hide between a ROW OF TOWEL CARTS. + +Eve peeks through the towels. + +Surprised to discover TWO STEWARDS. + +On duty in front of the bridge lobby entrance. + +No way in. + +A TRASH-BOT passes. + +Dumps its load down a nearby TRASH CHUTE. + +Eve keys in on the chute. + +It runs all the way up the tower... + +...to the bridge. + +ON WALLY + +He stares at EVE’S HAND. + +Time to seize the moment. + +Hits the PLAY BUTTON on his chest. + +It Only Takes a Moment plays from his scratchy speaker. + +Puts his hands together... + +Eve whips around. + +What’s that noise?! + +Wally holds his hands up to Eve... + + WALLY + E-vah -- + +Eve immediately shuts off his music. + +Shoves his hands down. + + EVE + (hushed hums) + [Stop it! They’ll hear us!] + +She places a stack of towels on his head. + 83. + + + Gestures for Wally to stay put. + + Points to her PLANT LIGHT. + + EVE + Directive. + + Before Wally can even protest she is gone. + + Zooms silently across the Lido Deck. + + Up into the trash chute. + + CLOSE ON EARTH + + It sits in space. + + The AXIOM glides towards it. + + Something’s not right. + + We reveal the CAPTAIN’S FINGERS holding the ship... + + +57 INT. CAPTAIN’S QUARTERS - SAME 57 + + The Captain sits by his window to space. + + Holds a toy AXIOM MODEL over his GLOBE OF EARTH. + + CAPTAIN + (Rocket noises) + Prepare for landing... + (Landing noises) + We’re here everybody! Yeah, + Captain! + (crowd cheers) + Captain we’re home! It’s so + beautiful! + (crowd cheers) + ...No it’s nothing. I was pleased + to do it. It’s all about you people + -- + + ON TRASH CAN + + NOISES. Eve bursts out from it, like an angel. + + Blows the lid off. + + The Captain is stunned by this vision. + 84. + + +She opens her chest to reveal... + +...the plant. + + CAPTAIN + (amazed) + How...? How’d you find it?! + +Eve hovers over to him. + +Salutes. + +Formally presents him the plant. + +He takes it in his hands. + +Still potted in the old boot. + +Gazes at it in wonder. + + CAPTAIN + We can go back home...for the first + time! + (laughs) + What’s it like now? + +Eve shrugs. + +Doesn’t know how to answer. + + CAPTAIN + No, no! Don’t tell me! I want to + see for myself! + +He turns to his console. + +Hits a button. + +A CYLINDRICAL DEVICE rises from a panel. + +The Captain sticks it to the side of Eve’s head. + +A HOLOGRAPHIC SCREEN projects from the device. + +Plays back images of her time on Earth. + +A COLLAGE OF IMAGES rapidly scroll past. + +All displayed from Eve’s POV: + +...Being delivered to Earth... + 85. + + +...Flying above the devastated landscape... + +...Blowing up a rock... + +...Scans of numerous trash locations... + + CAPTAIN + Wait...that doesn’t look like + Earth... Where’s the blue sky... + +He looks over to his computer screen. + +The BEAUTY IMAGES OF EARTH still on display. + +Compares them with what plays on Eve’s screen. + + CAPTAIN + ...Where’s the grass? + +His face drops. + +Slumps in defeat. + +The dream is over. + +ON EVE’S HOLOGRAPHIC SCREEN + +The HELLO DOLLY clip of POYSC plays... + +It stirs the Captain out of his funk. + +He looks up at the screen. + +Leans in for a closer look. + + CAPTAIN + ...I know that song... + (observes the dancers’ + feet) + And they’re... dancing. Yes, + dancing! + +A rueful smile grows on his face. + +He looks down at + +HIS FOOT + +It’s tapping in time to the music. + +His gaze drifts over to the plant in his hands. + 86. + + +He lifts it up. + +Makes the boot dance. + + CAPTAIN + ...You made it somehow, eh little + guy? You didn’t give up, did you? + +As if in response, the plant wilts slightly. + +A leaf drops. + + CAPTAIN + (Gasp!) + Oh no, no -- + (remembers) + Wait a minute. + +The Captain urgently hovers across the room. + +Eve left alone. + +Her recorded memories continue playing... + +...The clip changes to It Only Takes a Moment. + +Eve recognizes the music. + +Watches the lovers on screen hold hands. + +Something familiar about the gesture... + +Looks at her own hands. + +Slowly, she interlocks her fingers... + +...Eve’s eyes go wide. + +This is what Wally was trying to say to her. + +Her memories continue on the screen: + +...a tap on the shoulder... + +...Wally presents her the plant -- + +...The screen goes BLACK! + +Then... + +...SECURITY CAMERA FOOTAGE initiates. + 87. + + +Wally’s vigil for Eve plays out: + +...protecting her from the rain... + +...the sun...the sandstorm... + +...keeping watch night and day... + +...trying to jump start her heart... + +ON EVE + +Amazed at Wally’s selfless dedication to her. + +Realizes the meaning of Wally’s love. + + EVE + (soft) + Wally... + +She looks at her hands again. + +MATCH CUT TO CLOSE-UP OF WALLY’S HANDS + +Still waiting between the towel racks. + +Rehearses holding out his hand to Eve. + + WALLY + Ee-vah... Ee-VAH...? EEE-vah... + (gives up; beeps) + [I’ll never get it right.] + +Becomes impatient. + +Sneaks his way over to the GARBAGE CHUTE. + +Sticks his head in. + + WALLY + EE-VAHH?! + +No answer. + +The chute has an endless drop. + +Wally climbs in. + +Holds himself spread eagle to stay in place. + +Carefully inches his way up to the Captain’s quarters... + 88. + + +OUT ON THE UPPER DECK + +A monorail pulls up. + +M-O steps off. + +Still hot on Wally’s trail. + +Scrubs the dirty tracks towards the bridge lobby. + +Then notices Wally’s FRESH TRACKS... + +...leading to the trash chute. + + M-O + (beeps) + [Ah-hah! Gotcha!] + +BACK IN THE CAPTAIN’S QUARTERS + +The Captain at his wet bar. + +Waters the plant in the sink. + + CAPTAIN + There you go little guy. You came a + long way for a drink of water... + Just needed someone to look after + you, that’s all -- + +He is struck with a notion. + +Stares out the window at space for a beat. + +Sees HIS REFLECTION holding the plant. + +Glances at his EARTH GLOBE. + + CAPTAIN + (to himself) + We have to go back. + +Activates his chair’s call button. + + CAPTAIN + Auto, come down here! + + AUTOPILOT (ON SPEAKER) + Aye-aye, sir. + +Eve is still watching Wally’s vigil on the screen: +...playing Pong... + 89. + + +...Wally etches their names in a heart... + +Eve is lost in the moments. + +So touched. + + EVE + (smitten) + Wally... + + EVE + (remembers) + Wally! + +He’s still waiting for her. + +She turns to leave and finds + +AUTO + +lowering in front of her. + +Auto spots the plant in the Captain’s hand. + +“A113” flashes on Auto’s lens. + + CAPTAIN + Auto, Eve found the plant. Fire up + the Holo-detector. + + AUTOPILOT + Not necessary, Captain. You may + give it to me. + + CAPTAIN + (not listening) + You know what? I should do it + myself. + +Heads for the elevator. + + AUTOPILOT + Captain! + +Auto shoots back upstairs. + +Pops out another APERTURE in front of the elevator. + +Blocks the Captain. + + AUTOPILOT + 90. + + + Sir, I insist you give me the + plant. + + CAPTAIN + Auto, get out of my way. + + AUTOPILOT + Sir, we cannot go home. + + CAPTAIN + What are you talking about? Why + not? + + AUTOPILOT + That is classified. Captain, give + me the plant. + + CAPTAIN + (holds plant out of + reach) + What do you mean, “classified”? You + don’t keep secrets from the + Captain! + + AUTOPILOT + Give me the plant. + + CAPTAIN + Tell me what’s classified! + + AUTOPILOT + The plant. + + CAPTAIN + Tell me, Auto! That’s an order! + +It’s a stare down. + +Beat. + + AUTOPILOT + Aye-aye, sir. + +Auto rises back into the ceiling. + +Lowers down over the vanity console. + +High speed button pushing. + +A NEW BNL VIDEO MESSAGE appears. + +Labeled: “TOP SECRET: FOR AUTOPILOT EYE ONLY”. + 91. + + +The BNL FANFARE plays. + +Cut to the BNL CEO at the podium. + +Haggard. Nervous. + +Wears an emergency oxygen vest. + +The fanfare plays too long. + + BUY N LARGE CEO + (to O.S.) + Just cut it off, will ya?! + (music stops; forced + chuckle) + Hey there, Autopilots! Uh, got some + bad news. Operation Cleanup has, + uh, well... failed! Wouldn’t you + know, rising toxicity levels have + made life unsustainable on Earth. + + CAPTAIN + Unsustainable? What? + + BUY N LARGE CEO + Darn it all, we’re going to have to + cancel Operation Recolonize. + (dons his life vest) + So just, uh...just stay the course. + Rather than try to fix this + problem, it'll just be easier if + everyone remains in space. + + CAPTAIN + (offended) + Easier? + + CEO ADVISOR (O.S.) + Mr. President, sir, it’s time to + go. + + BUY N LARGE CEO + Alright, uh...uh...I’m giving + override directive: “A113”. Go to + full autopilot. Take control of + everything! And do not return to + Earth! + (ready to run) + Repeat! Do not return to Earth! + (throws on his gas mask; + to camera crew) + Now let’s get the heck out of here. + 92. + + +The CEO races out of the room. + +The message cuts out. + +Auto turns to face the Captain. + +The Captain shakes his head in disgust. + + AUTOPILOT + Now, the plant. + + CAPTAIN + No, wait a minute. Computer, when + was that message sent to the Axiom? + +The paused image on the holo-screen highlights. + +Data begins to calculate on the screen. + +We see YEARS SCROLL RAPIDLY BACKWARDS. + +It stops on “2110”. + + SHIP’S COMPUTER + Message received in the year 2110. + + CAPTAIN + That’s -- that’s nearly 700 years + ago!! Auto, things have changed! + We’ve got to go back! + + AUTOPILOT + Sir, orders are: “Do not return to + Earth”. + + CAPTAIN + But life is sustainable now! Look + at this plant, green and growing! + It’s living proof he was wrong. + + AUTOPILOT + Irrelevant, Captain. + + CAPTAIN + What?! It’s completely relevant! + (points out to space) + Out there is our home! Home, Auto! + And it’s in trouble! I can’t just + sit here and...and...do nothing! + That’s all I’ve done! That’s all + anyone on this blasted ship has + ever done...NOTHING!! + 93. + + + AUTOPILOT + On the Axiom you will survive. + + CAPTAIN + I DON’T WANT TO SURVIVE! I WANT TO + LIVE! + + AUTOPILOT + Must follow my directive. + + CAPTAIN + DAAAARGH!! + +The Captain turns away in frustration. + +His eyes catch sight of the CAPTAIN PORTRAITS. + +Notices AUTO in every one of them. + +Looking over all their shoulders. + +A little closer every generation. + +The Captain slowly looks over his shoulder... ...and Auto +is right behind him. + +The Captain looks at the plant in his lap. + +His countenance grows determined. + +He rights his hat... + +...turns to face Auto... + +...and gives the most authoritative order of his career: + + CAPTAIN + I’m the Captain of the Axiom. We + are going home today! + +Auto slides into his face. + +Makes the Captain flinch. + +No more Mr. Nice Robot. + +Auto emits an ELECTRONIC COMMAND. + +GOPHER + +shoots out of a pneumatic tube. + 94. + + +Salutes Auto. + +Eve immediately remembers him from the Pod Bay. + +She BEEPS a warning to the Captain. + + CAPTAIN + Gopher? + +Gopher activates his suspension beam. + +Snatches the plant away from the Captain. + + CAPTAIN + Hey! That’s my plant. This is + mutiny! + (to Eve) + Eve, arrest him! + +Eve draws her GUN ARM. Points it at Gopher. + +The robot raises his epaulet arms. + +Don’t shoot! + +She opens her chest cavity. + +Motions for Gopher to put the plant inside her. + + CAPTAIN + Eve, you are to put this plant + straight in the Holo-detector. + +Gopher slowly advances towards Eve. + +But then tosses the plant across the room... + +...down the TRASH CHUTE. + + CAPTAIN + No! + + EVE + (hums) + [Oh no!] + +It’s over. + +The plant is gone. + +But in that frozen moment... + 95. + + +ON TRASH CHUTE + +...THE PLANT suddenly reappears. + +Rises like a ghost, up from the chute. + +Wally’s head follows. + +Unawares of the plant resting on his head. + + WALLY + Ee-vah? + + CAPTAIN & EVE + WALLY!! + +Wally straddles the top of the lip chute. + +The plant drops onto his chest. + +Wally looks at it with surprise. + + WALLY + (beeps) + [Hey, the plant.] + + CAPTAIN & EVE + Wally! The plant!... + [Toss it! Over here!] + +Wally is slow to understand. + +Finally picks up the plant. + +Anticipates to throw it, when... + +...Auto lowers right in front of him, trying to block. + + AUTOPILOT + Give me the plant. + +Eve moves to help Wally. + +But Gopher traps her in his suspension beam. + +Wally dodges Auto’s multi-arm advances. + +Defiantly tosses the plant into his chest. + +Slams it shut. + + WALLY + 96. + + + (beeps) + [You can’t have it!] + +Auto flips open one of his handles. + +Produces a TASER... + +...and ELECTROCUTES Wally. + +Wally’s chest circuitry blows out. + +He wheezes... + +...then drops lifelessly down the chute. + +Eve screams. + +Gopher floats her trapped form over to Auto. + +The button on her DEFECT BOOT is pressed. + +She shuts down. + +INSIDE THE GARBAGE CHUTE + +Gopher’s ray holds Eve over the opening. + +Drops her down the chute. + +She bangs against the sides as she tumbles. + +BACK IN THE CAPTAIN’S QUARTERS + +Gopher salutes Auto and exits. + +Auto turns to the Captain. + +He is in shock. + + AUTOPILOT + All communications are terminated. + You are confined to quarters. + +The power shuts off in the room. + +Auto rises back up through the ceiling... + +DOWN SHOT THROUGH BRIDGE FLOOR APERTURE + +The Captain looks up. + +Shakes his fist in fury. + 97. + + + CAPTAIN + NO! MUTINY! MUTINY! MUTINEEEEE!! + + The aperture closes TO BLACK. + + Beat. + + ON EVE’S POV + + Black. + + The word “REBOOT” suddenly flashes. + + Her view comes into focus. + + Scans around. Disoriented. + + +58 INT. GARBAGE DEPOT - SAME 58 + + Eve lies in a seemingly endless WAREHOUSE OF TRASH. + + Trash, slime, and robot parts everywhere. + + Piles dumped from a variety of CEILING CHUTES. + + Eve looks down. + + COMPUTER MICE crawl over her. + + One of them has crawled over her REBOOT button. + + Switched her back on. + + EVE + Wally! + + A warning alarm sounds. + + Eve spots a PLATFORM, loaded with GIANT TRASH CUBES. + + It slides into an AIRLOCK. + + Inner shield doors lock and seal. + + SHIP’S COMPUTER (V.O.) + Caution: Activating airlock + disposal...Activating airlock + disposal. + + The exterior hatch flies open. + 98. + + +The vacuum of space instantly sucks out the cubed trash. + +Eve begins to panic. + +Calls out again: + + EVE + Wally! + +Suddenly, her area is flooded in light. + +She flinches at the sight of + +TWO GIANT COMPACTOR ROBOTS + +as they rumble up behind her. + +Headlights for eyes. + +They bear a slight resemblance to Wally. + +“WALL-A” emblazoned on their fronts. + +Each grab a ton of trash at once. + +Eve is swept up with the junk. + +Compact it. Spit it out... + +...Eve now trapped in the side of a giant cube. + +Her cube is picked up. + +Transported to a waiting platform. + +Stacked with other massive cubes. + +Eve discovers... + +...Wally trapped in the cube next to her. + + EVE + Wally! + +He groans. + +Not doing well. + +Again the alarms kick in. + +The platform slides on rails... + 99. + + +...across the safety line... + +...into the airlock... + +...the inner shield doors begin to close... + +INSIDE THE AIRLOCK + +Eve needs to act fast. + +Her gun arm stuck inside the cube. + +Struggles to activate it... + +...It cocks. + +BLASTS herself free. + +Flies over to Wally. + +He’s stuck deep in the cube... + +BACK IN THE GARBAGE DEPOT + +M-O suddenly drops from a ceiling chute. + +Lands in a pile of trash. + +Covered with filth. + + M-O + (Primal scream.) + +ON M-O’S DISPLAY POV + +Piles of trash everywhere. + +The airlock doors closing in the distance. + +ZOOMS IN and locks on Wally. + +His screen reads: “FOREIGN CONTAMINANT”. + + M-O + (beeps) + [I have you now!] + +M-O speeds towards the airlock. + +ON EVE + +Tugs on Wally. + 100. + + +Desperate to free him. + +He’s slow to pull loose... + +...THE GAP in the doors narrows... + +...Eve’s never going to make it... + +ON M-O + +Racing towards the doors. + +He’s almost at the airlock... + +The doors SLAM tight against his roller arms. + +M-O is stuck. + +The exterior hatch opens: + +...Eve yanks Wally free... + +...The trash flies out into space... + +...She flies against the force... + +...Fights to reach M-O... + +...Grabs onto his roller... + +INSIDE THE GARBAGE DEPOT + +The WALL-As notice M-O stuck in the door. + +Slam the EMERGENCY SHUT-OFF BUTTON for the airlock. + +The exterior hatch closes. + +Eve and Wally fall to the ground in a heap. + +Safe. + +M-O still stuck in the door. + +Shaking uncontrollably with fear. + + M-O + Whoa. + +MOMENTS LATER + +The WALL-As light up a SMALL WORK SPACE. + 101. + + +Eve props Wally up against some trash. + +He’s barely functioning. + +Fades in and out of consciousness. + +Just his red “warning” light flashes on his meter. + + EVE + (”Stay awake.”) + Wally... + +Eve gently opens his chest cavity. + +Examines the damage. + +Carefully pulls out his CIRCUIT BOARD. + +Charred. Shorting out. + +Irreparable. + +She flies off into the depot. + +Searches for a new circuit board. + +M-O dutifully cleaning Wally. + +Finishes up. + +His DISPLAY POV reads: “All clean.” + +M-O closes up. Satisfied. + +Wally feebly offers his hand in gratitude. + + WALLY + (weak) + Wally. + +M-O stares at the filthy hand. + +Cleans it. + +Then shakes. + + M-O + M-O. + +They sit in awkward silence for a beat. + + WALLY + 102. + + + (Really?) + M-O? + + M-O + M-O. + + WALLY + (Got it.) + M-O. + +Eve returns with FOUND CIRCUIT BOARDS. + +Shows each one to Wally. + +Will any of these work? + +He shakes his head with a frail “no.” + +Wally opens his compactor. + +Pulls out the plant. + + WALLY + (weak) + Di...rec...tive. + +Eve holds the plant. + +Her “RETURN TO AXIOM SUPERIOR” flashes in her display. + +She considers it for a moment... + +...then tosses the plant to the floor. + +I don’t care about the plant anymore. + +She holds her hand out to him. + + EVE + Directive. + +Wally struggles to lift his hand to Eve’s. + +He reaches out... + +...and bats her hand away. + +Surprises Eve. + +Wally pushes past her. + +Crawls over to the discarded plant. + 103. + + +Gives it back to Eve. + + WALLY + (weak) + Errr..... + +Eve can’t make out what he is saying. + +Wally fumbles around his box. + +Pulls out... + +...the Zippo lighter. + +Lights it. + +Eve stares at the flame. + + EVE + Earth? + +Wally nods. + + WALLY + Earth. + +He moves his binocular eyes up and down. + +Like the time he fixed his broken eye. + +You can fix me, Eve. + +With spare parts in my truck. + +The truck that is back on... + + EVE + Earth! Earth! + +Her eyes light up. + +She understands! + +No time to lose. + +She scoops him up... + + WALLY + M-O? + + M-O + (”I’m comin’!”) + 104. + + + Wally! + + M-O rushes over to Wally. + + Hangs onto his IGLOO LATCH with his roller. + + Eve raises her gun arm... + + ...Blasts a HOLE IN THE CEILING. + + Takes off with the two of them. + + Up through the garbage chute. + + The WALL-As wave goodbye. + + +59 INT. ROBOT SERVICE TUNNEL - NIGHT 59 + + A steward moves down the hall. + + Siren wailing. + + Scans for rogue robots. + + Eve and Wally’s “Warning” image on his display screen. + + He stops in front of... + + A YELLOW LINE + + painted haphazardly on the floor. + + Follows it to a STORAGE CLOSET door. + + STEWARD + Wrong. + + The steward opens the closet. + + Inside, a PAINT-BOT hides his head in the corner. + + The yellow line leads straight to his rear brush. + + The Steward apprehends him with his SUSPENSION BEAM. + + Suddenly, everything begins to shake. + + The steward looks around, confused. + + A JET ENGINE NOISE builds. + 105. + + +Seems to be coming from... + +...the hallway TRASH CHUTE. + +Eve, Wally & M-O burst out from it. + +The paint-bot recognizes Wally. + +Beeps the POYSC song. + +Our savior has arrived! + +The steward’s alarm goes haywire. + +ON STEWARD’S POV DISPLAY + +He takes a snapshot: + +Eve, holding Wally, holding the plant... + +...and Eve is aiming her gun straight at camera. + +ANGLE ON STORAGE CLOSET - MOMENTS LATER + +The terrified steward is thrown in. + + STEWARD + Please hold. We are currently + having technical difficul -- ! + +Eve locks the door on him. + +The trio take off down the hall. + +The freed paint-bot gives chase. + +Cheers POYSC as he follows. + +Wally, only half-functioning, gets an idea. + +Presses his PLAY BUTTON. + +POYSC BLARES through the hallway. + +ON VARIOUS HALLWAYS + +REJECTS come out of hiding as they hear the music. + +Parade after Eve and Wally. + +Hum POYSC. + 106. + + + All following the pied piper. + + ON SCREENS AROUND THE AXIOM + + Eve and Wally’s “Wanted” image instantly circulates. + + Alarms sound. + + Alert screens pop up around the sleeping ship. + + SHIP’S COMPUTER (V.O.) + Caution: Rogue robots...Caution: + Rogue robots... + + +60 INT. BRIDGE 60 + + Auto observes the same “Wanted” image. + + AUTO + Not possible. + + Raises a screen showing a DECK PLAN OF THE AXIOM. + + It highlights Eve and Wally’s location. + + Auto activates every steward on the Axiom. + + +61 ON VARIOUS LOCATIONS ON THE AXIOM - NIGHT 61 + + Stewards eject from their wall stations. + + Like ATMs jumping to life. + + Race in the direction of Eve. + + Carelessly knock over stray passengers in their way. + + SHIP’S COMPUTER (V.O.) + ...Caution: Rogue Robots... + + BACK ON THE BRIDGE + + Auto watches the deck plan display. + + Monitors the progress of all the stewards. + + The CAMERA DROPS THROUGH THE FLOOR, down to... + + THE CAPTAIN’S QUARTERS + 107. + + +The Captain, still trapped. + +Rams his hover chair against the locked elevator door. + +Has no effect. + + CAPTAIN + (hoarse; exhausted) + Mutinyyy...Mute...neee...This is + your last chance...Auto...You hear + me?...Stupid...wheel... + + SHIP’S COMPUTER (V.O.) + ...Caution: Rogue robots...Caution: + Rogue robots... + +A flashing light catches his attention. + +Outside his window. + +He looks up on the SKY DOME... + +A GIANT “WANTED” IMAGE of Eve and Wally, holding... + + CAPTAIN + The plant! + +The Captain’s eyes light up. + +Glances down at the OPEN MANUAL on the floor. + +“Plant icon + Holo-detector icon = Earth” + +He is filled with renewed determination. + + CAPTAIN + (Laughs) + We’ll see who’s powerless now. + +Lays flat in his chair. + +Floats under his VANITY CONSOLE like a grease monkey. + +Pulls off the underside panel. + + CAPTAIN + Ah-Ha! + +Yanks out a bundle of wiring. + +Cross-connects two wires. + 108. + + + The console powers up... + + +62 INT. ROBOT SERVICE TUNNELS - NIGHT 62 + + Eve zooms through the hallways. + + A BAND OF REJECTS track behind them. + + They reach an intersection when... + + ...The CAPTAIN’S FACE appears on holo-screens all around + them. + + CAPTAIN (OVER INTERCOM) + Testing, testing... Is this thing + on? + + ALL AROUND THE AXIOM + + All screens display the Captain’s live feed. + + He’s absolutely everywhere. + + A few stray passengers are still up. + + Watch their screens in confusion. + + +63 INT. BRIDGE - NIGHT 63 + + Auto watches the Captain on the holo-screen. + + Furiously tries to shut off the intercom. + + BACK ON EVE AND WALLY + + CAPTAIN (OVER INTERCOM) + Psssst! Hey! Hey! This is the + Captain I'm locked in my room. Eve, + Wally, bring the plant to the Lido + Deck. I'll have activated the holo- + detector. Now hurry! Auto's + probably going to cut me off -- + + The screens all go dead. + + Eve and Wally look at each other with determination. + + They’re about to continue on when... + + A WALL OF STEWARDS block their path. + 109. + + + STEWARDS + Halt. + +Dozens of them stand in a row. + +Eve fires her gun. Destroys a steward. + +Another one quickly takes its place. + +Traps her arm with its SUSPENSION BEAM. + +She can’t shoot. + +The stewards advance, when suddenly... + +...the Rejects charge the stewards: + +...The beautician-bot deflects rays with her mirrors... +...The vacu-bot sneezes dust in their faces... + +...The defib-bot shocks them with her paddles... ...The +umbrella-bot opens up... + +...Shields the others from the attack... + +BEHIND THE UMBRELLA-BOT + +A weak Wally activates his welding beam. + +Shorts out the Massage-bot’s ENERGY STRAIGHTJACKET. + +It goes berserk. + +Leaps at the entire army of Stewards. + +Robot parts fly everywhere. + +Eve and Wally can’t watch the carnage. + +BACK IN THE CAPTAIN’S QUARTERS + +He sets Eve’s CYLINDRICAL DEVICE on the floor behind him. + +It projects her stored memories. + +UP ON THE BRIDGE + +Auto watches steward blips disappear from his screen. + +A MESSAGE SCREEN pops up. + +It’s the Captain. + 110. + + + ...and he’s holding the plant? + + CAPTAIN (ON SCREEN) + Ha, ha! Look what I got, Auto! + + Auto’s single lens irises wide. + + AUTO + Not possible. + + CAPTAIN (ON SCREEN) + That’s right! The plant! Oh, you + want it? Come and get it, Blinky! + + AUTO + No. + + +64 INT. CAPTAIN’S QUARTERS - SAME 64 + + The Captain hovers in front of Eve’s memory screen. + + It projects a STILL IMAGE OF WALLY HOLDING THE PLANT. + + The Captain blocks the camera’s view of Wally. + + Pretends to be holding the projected plant himself. + + CAPTAIN + Ha ha! + + HEARS AUTO coming. + + Turns off the vid-com. + + Yanks his bundle of wires out of the wall. + + The room goes dark again. + + CLOSE ON CEILING + + The aperture opens. + + Auto lowers into the dark. + + Cautiously searches the empty room... + + AUTO + Captain? Captain...? + + ON AUTO’S POV + 111. + + + PANS across the portraits of other captains... ...past our + present Captain... + + ...The eyes in the portrait dart nervously... + + -- wait a minute. + + The Captain lunges at him. + + Grabs Auto by the steering wheel. + + Hangs onto it like Cap’n Ahab in a gale. + + His lower extremities of no use. + + AUTO + Let go. Let go. + + Auto panics. + + Zips back up through the hole in the ceiling. + + The Captain gets stuck between floors... + + CAPTAIN + What too heavy for ya, huh?! + + +65 UP ON THE BRIDGE 65 + + ...Auto tries to pull free. + + The Captain won’t let go. + + Auto ends up yanking him through. + + The Captain rides Auto like a bucking bronco. + + Auto swings violently back and forth. + + CAPTAIN + You’re not getting away from me, + one-eye! -- OOF! -- Is that all you + got?! + + Gopher drops out of his pneumatic tube. + + Sees the Captain fighting Auto. + + Charges at the Captain... + + ...who kicks him straight out the window... + 112. + + +ON LIDO DECK + +Gopher plummets... + +...his SHADOW growing over the POOL... + +...and smashes in a heap on the cement. + +The end. + +ON WALLY AND EVE + +We PAN OVER the smoking wreckage of the stewards. + +The massage-bot floats above it all. + +Pants like a wild beast. + +One steward still twitches. + +The massage-bot crushes him with one blow. + +Eve grabs Wally and the plant. + +They take off for the Concourse Level. + +M-O and the Rejects follow behind. + +ON THE BRIDGE + + CAPTAIN + That’s it!...A little closer! + Must..press...button. + +The Captain reaches his one free hand out for... ...the +HOLO-DETECTOR BUTTON. + + CAPTAIN + Gotcha! Ha ha! + +His hand slams down hard on it. + +KLAXONS sound all over the ship. + +VARIOUS ANGLES AROUND THE AXIOM + +...Floodlights kick on everywhere... + +...The LIDO DECK POOLS automatically cover up... ...Stray +PASSENGERS pause to take in the alarms... ...SPACE-LIFE +PRESERVERS burst from their hover chairs... ...Inflate +around their necks... + 113. + + + ...GREEN LINES appear on the floors... + + ...SLEEPING PASSENGERS are involuntarily led out of their + cabins... + + ...Every hover chair follows the illuminated lines... + + The procedure is completely automated. + + The passengers are all confused. + + Helpless to stop it. + + +66 INT. LIDO DECK 66 + + The passengers glide in by the thousands. + + Form concentric circles over the closed-up pools. + + Fill the multi-storied balconies on all sides. + + ON JOHN AND MARY + + They arrive together at the Lido Deck. + + Mary notices a group of toddlers scared and crying. + + A NANNY-BOT tries vainly to placate them. + + NANNY-BOT + Remain calm. Remain calm. + + CLOSE ON BRIDGE PLAZA + + The BNL LOGO on the floor rotates. + + A large cylindrical device rises from the stage... + + ...The ship’s HOLO-DETECTOR. + + JUMBOTRONS activate on the dome. + + Show the bridge. + + Everyone can see the Captain wrestling Auto. + + He tries to speak to them during the fight: + + CAPTAIN + (strained; in command) + 114. + + + Ladies and Gentlemen! This is your + Captain speaking! We’re having a + slight malfunction with the + Autopilot! Please remain calm! + +The passengers get caught up in the conflict. + +Treat it as if it were a televised fight. + +ON THE REAR OF THE DECK + +Eve and Wally fly out of the transport tunnel. + +Make a beeline for the holo-detector. + +Ready and waiting for the plant... + +...almost there... + +ON BRIDGE + + AUTO + Enough. + +Auto furiously spins his wheel. + +Throws the Captain to the floor. + +The entire ship lists dangerously to one side. + +ON LIDO DECK + +Eve and Wally slam into the holo-detector’s side. + +Wally drops the plant. + +It tumbles off the bridge plaza. + +Eve is forced to set Wally down. + +He clings to the holo-detector. + +She flies off to retrieve the plant. + +The hover chairs stay locked on their lines. + +Passengers all slip off their chairs. + +Their uniform color defaults back to RED. + +Slowly slide across the deck. + 115. + + +And for the first time... + +...all of humanity reaches out to one another. + +CLOSE UPS of hands holding hands. + +Everyone piles up on the listing side. + +The plant is buried underneath the mass of humanity. + +Eve searches desperately amongst them. + +ON JOHN & MARY + +They hang together off their chairs. + +CRYING TODDLERS just above them. + +The kiddies slip out of their hover rings. + +Mary GASPS in horror. + +Yells to John: + + MARY + John, get ready to have some kids! + +They purposefully let go of their chairs. + +Grab hands, forming a human chain. + +Catch the toddlers. + +All slide together down the Lido Deck. + +The TODDLERS GIGGLE the whole way down. + +They land at the bottom, next to Eve. + +An empty monorail car tips off the upper deck... ...lands +on the pool level. + +It begins sliding down the Lido Deck. + +Smashes vacant hover chairs in its wake. + + MARY + (Gasp) + LOOK OUT! + +Eve looks up. Sees the Monorail sliding towards them. + 116. + + +She stops the car before it hits. + +Struggles to hold it up. + +Can’t let it crush the passengers below her. + +ON BRIDGE + +Auto keeps the ship tilted. + +Glides over to the HOLO-DETECTOR BUTTON. + +Switches it off. + +ON LIDO DECK + +The holo-detector begins to lower back into the floor... +Wally is still hanging onto it. + +Barely functioning. + +He uses all his strength... + +...and wedges himself under the UPPER LIP of the detector. + +Stops it from disappearing into the floor. + +The pressure squeezes Wally into a box. + +ON BRIDGE + +The holo-detector button buzzes and flashes. + +Something’s wrong. + +Auto calls up a LIDO DECK SECURITY CAMERA VIEW. + +Discovers Wally wedged in the device. + + AUTO + No. + +Auto presses down on the “off” button. + +ON WALLY + +The holo-detector’s hydraulics fight against him. + +Wally desperately fights to hold it up. + +Begins slowly to expand himself... + 117. + + +...and push the holo-detector back up!! + +ON BRIDGE + +The Captain watches Wally’s heroic rise on screen. + +Auto flips out his TASER. + +Jams it into the “off” button. + +Short circuits it. + + CAPTAIN + NO!! + +BACK ON WALLY + +The holo-detector reverses full force. + +Crushes Wally. + +We can’t tell if he survived the crush. + +Eve calls out for him. + +Trapped, holding up the monorail car above the passengers. + +BACK ON BRIDGE + +The Captain watches Wally being crushed. + +That’s it. + +He braces his arms against the floor... + +...and rises up on HIS OWN TWO FEET... + +ON JUMBOTRON SCREEN + +The passengers collectively GASP. + +Their Captain is standing... + +...and walking himself up the railing... ...towards Auto! + +They CHEER! + +ON BRIDGE + +Auto hears the distant cheering. + +Wonders what’s up. + 118. + + + CAPTAIN (O.S.) + Auto! + +Auto whips around. + +Shocked to see the Captain standing (albeit wobbly). + +Finds himself face to face with him. + +Auto flips out his TASER. + +Rushes at him. + +The Captain grabs it. They wrestle. + +The taser ARCS in the Captain’s face. + +He flinches. Looks up. + +Sees a CONTROL PANEL high up on Auto’s column... + +...and smirks. + +The Captain looks Auto in the eye. + +Raises a finger up to the control panel... + +...to the “AUTOPILOT” BUTTON... + +...and flicks the switch to “MANUAL”. + + CAPTAIN + (grits his teeth) + Auto, you are relieved of duty. + + AUTO + Noo -- + +Auto is instantly turned off. + +The Captain smiles triumphantly. + +Grabs the wheel with both hands. + +Makes the ship level again. + +ON LIDO DECK + +The passengers all spill across the deck. + +Shaken but OK. + 119. + + +Eve sets the monorail down. + +Rockets over to the holo-detector. + +Wally is pinned under the lip of the holo-detector. + +Eve tries to lift it up. + +It won’t budge. + +She looks back to the crowd. + + EVE + PLANT! PLANT! + +ON M-O + +He searches the crowd for the plant. + +Humans begin to stand for the first time all around him. + +Through his POV he spots the plant mixed in among them. + +“FOREIGN CONTAMINANT” flashes on his display screen. + +ON EVE + +She fights to keep the machine from crushing Wally further. + + M-O (O.S.) + Ee-vah! + +M-O holds the plant up from across the Lido Deck. + +The vacu-bot shoots it into the hands of a passenger. + +Humans and robots form an impromptu fire line. + +Toss it up to Eve on stage. + +She shoves the plant into the device. + +The detector instantly scans the plant. + + SHIP’S COMPUTER (V.O.) + Plant origin verified. Course set + for Earth. + +Slowly, the holo-detector rises... + +Wally topples out from underneath. + 120. + + + Badly crushed and leaking oil. + + Eve GASPS in horror. + + M-O and the Rejects avert their eyes. + + Passengers recoil as well. + + WIDE ON DOME CEILING + + It converts into a GIANT STAR CHART. + + Rapidly plots a course for Earth. + + SHIP’S COMPUTER (V.O.) + Ten seconds to hyperjump. + + Eve lifts Wally up. + + No sign of life. + + EVE + No! WALLY!! + + M-O’s head drops in despair. + + The passengers witness grief for the first time. + + Begin to have new feelings of their own: sadness, sympathy. + + Mary begins to cry. + + Buries her head in John’s shoulder. + + MARY + Oh no! Wally... + + SHIP’S COMPUTER + Nine, eight, seven, six, five, + four, three, two, one, zero. + + The ceiling countdown hits “0:00.” + + +67 EXT. AXIOM 67 + + The ship jumps to light speed. + + BACK INSIDE + + The passengers and robots are thrown off their feet. + 121. + + + Everyone holds on to one another. + + +68 INT. BRIDGE 68 + + The Captain struggles to keep control of the steering + wheel. + + Fights the G-forces. + + +69 INT. LIDO DECK 69 + + Humans and robots hang on for dear life. + + John and Mary cling to each other and the babies. + + ON EVE + + She holds tightly to Wally. + + Still calling out his name. + + No response. + + ON SPACE + + The Axiom zooms through hyperspace. + + +70 EXT. EARTH - HILLSIDE - DAY 70 + + The cockroach waits obediently on the hill. + + Exactly where Wally told him to stay. + + His antennae twitch with boredom. + + A RED DOT + + appears on the ground. + + The cockroach watches the dot run down the hillside. + + The ground begins to shake. + + Daylight dims. + + The insect looks to the sky. + + ON CLOUD COVER + 122. + + + A DARK PATCH grows behind the clouds. + + Blots out the sunlight. + + The Axiom’s keel breaks through. + + Its shadow swallows up the entire landscape. + + The cockroach senses his master’s return. + + HUNDREDS OF RED DOTS rush past him. + + He eagerly chases after them. + + ON AXIOM + + The city-size starliner lowers gracefully from the sky. + + Pushes back the clouds to the horizon. + + +71 EXT. OPPOSITE SIDE OF BAY - AXIOM PORT 71 + + The CIRCLE OF DOTS triangulate over the abandoned berth. + + Converge over the port’s LANDING SHAFT. + + Thousands of feet deep. + + The ship’s keel descends into it. + + The earth shudders. + + Trash towers tumble in the distance. + + ...Then all is quiet. + + ON BELLY OF THE AXIOM + + A ROW OF GIANT DOORS open on the side of the ship. + + MULTIPLE GANGWAYS automatically extend. + + Connect with BUILT-IN TERMINALS on the port. + + The Captain walks out gingerly. + + Holding the boot w/ plant. + + The other passengers step out on their own legs. + + Wobble like toddlers. + 123. + + + They squint up at the harsh sunlight. + + A commotion is heard from the back. + + Somebody trying to push through. + + EVE + + appears out of the crowd. + + Cradles a BOXED UP WALLY in her arms. + + M-O and the Rejects follow behind her. + + They rush across the gangway. + + The cockroach meets up with Eve. + + Climbs up onto Wally. + + Doesn’t understand why his master isn’t responding. + + Eve urgently scans the landscape. + + Locks on to WALLY’S TRUCK in the distance. + + She takes to the air. + + M-O and the Rejects chase after her down the gangway. + + M-O + (beeps) + [Eve! Wait!] + + The Captain respectfully removes his hat. + + Good luck, friend. + + +72 INT. WALLY’S TRUCK 72 + + The interior is dark and still. + + Suddenly the junk jingles and clinks as the back door + opens. + + Eve flies inside with Wally. + + Sets him on the floor. + + She scans the rotating shelves at high speed. + 124. + + +Grabs a CAR JACK. + +Ratchets up Wally’s crushed body... + +QUICK SHOTS + +...SPARE PARTS being grabbed by Eve... ...Frantically +installs the new parts into Wally... ...Her arms a blur of +precision in motion... ...Replaces his damaged CIRCUIT +BOARD. The final piece... ...She opens his new solar +panels... + +...and BLASTS a hole in the ceiling with her gun. + +OUT ON THE EMPTY BAY + +The rejects stop. + +See the roof of Wally’s truck explode. + +Oh no. + +BACK IN THE TRUCK + +A shaft of sunlight beams down on Wally. + +Eve holds her breath, watches... + +Waits... + +...Beep... + +...Beep... + + WALLY (O.S.) + (Apple “reboot” SFX) + +Wally’s meter fully charges. + +His head slowly rises from his box. + +Blinks. + +The cockroach hops with joy. + +Eve is relieved. + +...She holds out her hand to him. + + EVE + (with love) + Wally... + 125. + + +Wally gives her a blank stare. + +He turns away from Eve. Motors out the truck. + +She grabs him. + +Turns him back around. + + EVE + (It’s me!) + Eve! + +Wally just stares. + +Doesn’t seem to know who she is. + + EVE + (hums) + [Here, look at these.] + +She grabs the RUBIK’S CUBE and LIGHT BULB from the shelf. + +The light bulb glows in her hand. + +She gives them to Wally. + +No reaction. + + EVE + (Remember?) + Wally? + +Wally looks blankly at the junk on the shelves. + + EVE + (hums) + [I know!] + +She hovers over to the video player. + +Plays HELLO DOLLY. + +Looks back to see if it has any effect. + +Wally is over at the shelves. + +Has scooped all his prized possessions into his compactor. + +Crushes them into a cube. + +Eve is gut-punched. + 126. + + + Wally motors outside. + + Runs over the cockroach on his way out. + + The insect pops back to life. + + Watches his friend in shock. + + +73 EXT. WALLY’S TRUCK - DAY 73 + + Wally rolls up to a nearby trash pile. + + Scoops up trash. Spits out a cube. + + Eve hovers over to him. + + Still in disbelief. + + EVE + (somber) + No. + + Wally continues to stack his cubes. + + She stops him. + + Lifts his head. Stares into his eyes. + + Nobody home. + + Eve presses his “play” button. + + Nothing but STATIC. + + Eve begins to panic. + + Shakes him. + + EVE + Wally...Wally! WALLY! + + No response. + + He’s gone. + + She hovers in silence next to him for a long time... + + Finally, Eve grasps Wally’s hand. + + Forces his fingers to interlace with hers. + 127. + + +Holds him close one last time. + +Leans her head against his. + +Hums softly. + +EVE + +[Hums IOTAM] + +She touches her forehead to his. + +Goodbye Wally. + +A TINY SPARK between them. + +Eve turns to hover away. + +Jerked back. + +Her fingers caught between his. + +She checks his eyes again. + +Nothing. + +But then... + +...a tiny SERVO NOISE. + +She looks down at their hands. + +CLOSE ON WALLY’S FINGERS + +They start to move. + +Slowly close around Eve’s. + +She looks back at his face. + +Wally’s eyes gradually come into focus. + +His brows raise... + + WALLY + Ee-vah? + + EVE + Wally! + +He notices their hands entwined. + 128. + + +His dream come true. + + WALLY + (amazed) + Ee-vah!! + +She giggles. + +INSIDE THE TRUCK + +The “Hello Dolly” tape reaches the finale of IOTAM. + +“And that is all that love’s about...” + +BACK OUTSIDE + +Eve and Wally stare into each other’s eyes. + +M-O and the Rejects finally reach the truck. + +They begin to celebrate. + +Wally’s alive! + +Then M-O realizes they need privacy. + +Herds the Rejects O.S. + + M-O + Go! Go, go go! + +Wally and Eve’s foreheads touch. + +Together now and ever more. + +“...and we’ll recall when time runs out...” + + DISSOLVE TO: + +CLOSE UP OF THE PLANT + +Newly planted in the earth. + +Small hands water it gently. + +PULL OUT to reveal it surrounded by kids. + +The Captain instructs them. + +John and Mary help unload equipment from the Axiom. + +Robots and passengers stream off the ship. + 129. + + + CAPTAIN + This is called “farming”! You kids + are going to grow all kinds of + plants: vegetable plants, pizza + plants! + (laughs) + Ahh, it’s good to be home... + +The CAMERA PULLS OUT from the Axiom... + +...over the bay... + +“...That it only took a moment...” + +...past Wally & Eve holding hands in his truck... ...over +M-O and the Rejects cleaning outside... ...Through the +trash towers of the city... + +...past a FIELD OF PLANTS, sprouting from its peak... ...up +through the cloud cover... + +...out into space... + +“...To be loved a whole life long.” + +...and settles on... + +...our single... + +...drab... + +...brown... + +...little planet. + +IRIS OUT + +THE END + \ No newline at end of file diff --git a/scripts/Whiplash.txt b/scripts/Whiplash.txt new file mode 100644 index 0000000000000000000000000000000000000000..4b2b8a0cc867b0631cd06ce8530ffb116001a7d0 --- /dev/null +++ b/scripts/Whiplash.txt @@ -0,0 +1,6275 @@ + 1. + + + + +1 BLACK... 1 + + We hear a HIT. A drumstick against a drum head. Crisp, + sharp. + + Then a second hit. Then a third and a fourth. The hits + growing so fast they start to blur together. Like + gunfire... + + +2 INT. NASSAU BAND REHEARSAL STUDIO - GEHRING HALL - NIGHT 2 + + A cavernous space. Sound-proofed walls. And in the center, + a DRUM SET. Seated at it, in a sweat-marked white T, eyes + zeroed on his single-stroke roll, is ANDREW NEIMAN. + + He’s 19, slight, honors-student-skinny -- except for his + arms, which have been built from years and years of + drumming. + + Suddenly -- a MAN enters the practice room. Stopping, + rising-- + + ANDREW + Sorry... I’m -- I’m sorry-- + + MAN + It’s ok. Stay there. + + The MAN steps forward, removes his coat. He’s tall. Late + fifties. Black T-shirt, black slacks, black shoes. We’ll + know him as FLETCHER. + + The room is silent now. And then, softly, as he’s one of + those people whose whisper can scare the crap out of you-- + + FLETCHER + What’s your name? + + ANDREW + Andrew Neiman, sir. + (It’s pronounced + “Nayman”.) + + FLETCHER + What year are you? + + ANDREW + I’m a first-year, sir. + + FLETCHER + 2. + + + You know who I am? + + ANDREW + Yes... + + FLETCHER + You know what I do? + + ANDREW + Yes... + + FLETCHER + So you know I’m looking for + players. + + ANDREW + Yes... + + FLETCHER + Then why did you stop playing? + +Beat. Andrew nods, smiles. He gets it. Summons up all his +remaining energy and resumes playing, trying to really show +off this time. Rolls, fills, speedy stick-work. He +finishes. + + FLETCHER + Did I say to start playing again? + +Andrew looks at him. + + ANDREW + I thought-- + (then, blanching,) + I’m sorry, I misun-- + + FLETCHER + I asked you why you stopped + playing. Your version of an answer + was to turn into a wind-up drummer + monkey. + + ANDREW + I’m sorry -- I--I stopped playing + becau-- + + FLETCHER + Show me your rudiments. + +Andrew nods. Plays one rudiment after another: double- +stroke roll, paradiddle, ratamacue, flam, flamadiddle. + + FLETCHER + 3. + + + Uh-huh. Double-time swing. + + Fletcher begins clapping his hand in time. Fast. Andrew + plays. + + FLETCHER + No. Double-time. Double it. Bop- + bop-bop- bop-bop-bop-bop-bop-bop- + bop. + + Andrew tries doubling the tempo. But he can’t. Fletcher + STOPS CLAPPING. The sign of death. + + Andrew keeps playing, eyes shut... Then -- he hears the + door CLOSE. He stops, and looks up. Fletcher has left the + room. + + A moment later -- the door OPENS. It’s Fletcher. Andrew’s + eyes widen. Maybe it’s not over... + + FLETCHER + Woopsy-daisy. Forgot my coat. + + Fletcher grabs it, steps back out, CLOSES the door. Andrew + stares ahead, alone again at the drums -- and totally + deflated. + + It’s over. + + WIDE SHOT of the band room as Andrew slowly rises. A title + card: + + SHAFFER CONSERVATORY OF MUSIC + Fall Semester + + +3 EXT. NEW YORK STREET - SHAFFER CONSERVATORY - NIGHT 3 + + Andrew exits, hurries off. Pasted onto his overloaded back- + pack are patches, buttons, names: Krupa. Roach. Buddy + Rich... The buildings of midtown New York loom over him + like giants - - immense, forbidding... + + +4 INT. MOVIE THEATER - LOBBY - NIGHT 4 + + A quiet two-screen theater. Andrew buys concessions. The + GIRL at the counter is about his age. She’s pretty, but + doesn’t really know it. More to the point, she doesn’t seem + to care. + + Her name is NICOLE. + 4. + + + NICOLE + Swedish fish? + + ANDREW + Nah, not this time, thanks... + + Andrew and Nicole exchange smiles. He takes his items -- + + popcorn, Raisinets, two sodas -- and heads off. Peers back + at Nicole. She’s staring into space. She looks suddenly + lonely. + + Andrew takes in the sight. You can tell he’s attracted to + her -- but he’s too nervous to do anything. A beat later, + he enters the theater. + + +5 INT. MOVIE THEATER - MOMENTS LATER 5 + + Andrew spots a 53-year-old man seated near the front. This + is his dad -- JIM. Mild-mannered, soft-spoken, average in + every respect. Has the eyes of a former dreamer. + + A smile between the two of them. Andrew hands his dad the + Raisinets, hands him the drink. Routine. The movie hasn’t + started yet. As they exchange items-- + + JIM + You ok? + + ANDREW + Sure... + + A beat. + + ANDREW + He had me play today. + + JIM + And? + + Andrew shrugs. It’s clear what that means. + + JIM + You still have other options. + + ANDREW + What do you mean? + + JIM + 5. + + + It’s good to be open-minded. When I + was your age I thought I’d have a + book deal at 23. Then that changed + to 30. Then 40. + + ANDREW + Right... And that didn’t upset you? + + Jim shrugs, keeps his eyes down. He has a tendency to look + down when talking. The lights dim. The previews begin. + + ANDREW + I mean, it has to do something to + you. + + JIM + (another shrug) + I don’t know. Why? It’s just life. + (pause) + There’s other things to care about. + Friends. Romance... + + Andrew takes it in. Especially the last part. + + JIM + At my age you get perspective. + + ANDREW + I don’t want perspective. + + Jim smiles. A moment. + + Just then a MOVIEGOER squeezes into the row to head to a + seat further down -- and bumps against Jim and his bucket + of popcorn. + + JIM NEYMAN + Sorry. + + The Moviegoer doesn’t say a word. Andrew watches. Takes it + in. + + +6 INT. DORMITORY - HALLWAY - HOURS LATER 6 + + Rusty elevator doors squeak open. Andrew steps out -- into + a grimy, green-walled hallway. + + Dim lights, loud MUSIC blaring from behind a door. A + thudding party beat... + 6. + + + At the end of the hall -- where the music is coming from -- + a few PARTYGOERS mingle by a door. The door opens. A YOUNG + MAN hands a SECOND YOUNG MAN a wad of cash in exchange for + a Zip-lock bag of PILLS. The SECOND YOUNG MAN eyes Andrew. + + Andrew turns away, heads left -- to his own door. Hurriedly + opens it and slips inside. + + +7 INT. DORMITORY - ANDREW’S ROOM - NIGHT 7 + + A single. Drumsticks and drum pads scattered, biographies + of Bach and Coltrane on the shelf, posters of Louis + Armstrong and Charlie Parker on the walls. A TV is on, some + sort of music documentary. Andrew watches from his bed -- + as, over OLD AUDIO OF DRUMMING and old stills of a boy at a + drum set - - + + NARRATOR (V.O.) + By the age of ten, Traps the Boy + Wonder was wowing crowds all over + America. By his teens, Buddy Rich + was well on his way to becoming the + stuff of legend. + + TALKING HEAD #1 + Like any truly great player, Buddy + seemed to have been born with music + in his blood. He grasped it + intuitively, in a way you and I + just can’t. + + TALKING HEAD #2 + You check out the old stuff, man. + You look at those movies when he + was a kid, his arms... + + Beat. Andrew takes it all in -- especially these words: + + TALKING HEAD #2 (O.S.) + You just can’t teach that. That + kind of genius. + (pause) + You either got it or you don’t. + + Andrew turns off the TV. We hear the party beat continuing + outside, muffled. He leans back and switches off his light. + + WE FADE OUT. + + +8 INT. GEHRING HALL - NASSAU BAND ROOM - DAY 8 + 7. + + +The same room we saw Andrew practicing in at night -- only +now it’s full of musicians. Mostly male, mostly first- and +second- years. This is NASSAU BAND, one of Shaffer’s lower- +level jazz ensembles. Because it’s Shaffer, the players are +still first- rate. A few third-years are here, too -- +including a red-head drummer with the body of a linebacker. + +RYAN CONNOLLY. + +Andrew looks up -- in time to see Ryan with a GIRL by the +doorway. Ryan’s girlfriend is gorgeous -- tall, all curves. + +Ryan lets his hand slide down her shoulder. Andrew +watches... + +The GIRL waves bye to Ryan as he heads in. He’s all macho +confidence. + + TRUMPETER + My man Ry! Shit, how you feeling? + + RYAN + Stitched up at last, dude. + + TRUMPETER + Things were hurting with Neiman on + the kit-- + +Ryan taps him to stop. Andrew is within earshot -- and has +heard. Beat. Ryan moves over to Andrew, sits down at the +set. + + RYAN + You have a good weekend, bro? + + ANDREW + Yeah. Definitely. Really good. + + RYAN + Don’t worry about Greg. He’s a + dick. + +Andrew nods. Admires Ryan. Seems more diminutive now than +ever. + + RYAN + You been practicing? + + ANDREW + Yeah. All the time. + + RYAN + My man. + 8. + + + Then -- the Nassau Band conductor appears: RON KRAMER. + + MR. KRAMER + Morning, fellas. “Billie’s In”, bar + 8. + + Mr. Kramer CLAPS OFF in time -- and the band begins playing + FIRST NASSAU BAND REHEARSAL CHART. Mid-tempo. Ryan’s + confident, in control. Andrew turns his pages, watches... + + MR. KRAMER + Nice, Ryan... Woah, trumpets. + + TRUMPETER #2 + Yeah, yeah - sorry about that one. + + MR. KRAMER + Just brass again. + + To Ryan’s left, a whisper-- + + TRUMPETER + Ry... + + Ryan turns. Visible as a silhouette through the frosted + glass of the main door...is FLETCHER. Andrew turns and + looks as well. Tenses up. + + Fletcher lingers outside. Then he walks on. Ryan turns back + to the Trumpeter. + + RYAN + Not today. + + +9 INT. GEHRING HALL - NASSAU BAND ROOM - MOMENTS LATER 9 + + Rehearsal has ended. The MUSICIANS have just filed out -- + except for Andrew, who’s hanging back... + + MR. KRAMER + Are you learning from Ryan? + + ANDREW + Yeah... He’s been great to me. + + MR. KRAMER + Last week was a little overwhelming + for you? + + ANDREW + (is that a question?) + Yeah... + 9. + + + (then, hesitant,) + I wonder...what you think about my + progress? + + MR. KRAMER + Your progress? + + ANDREW + I just... I’m...practicing hard + and... + + MR. KRAMER + Andrew -- you’ve got a good + attitude. You always arrive on + time. + +Andrew nods. Waiting. + + MR. KRAMER + Yeah. Ok? + + ANDREW + (beat) + Ok... Do you think... I know + Fletcher’s looking for + players...for Studio Band... + + MR. KRAMER + Yeah, Andrew... Lincoln Center + looks out for Fletcher’s top + players. If it weren’t for Ryan’s + injury he’d have been in Studio + Band last year. He’s a natural + player. + +Andrew takes this in. Nods. + + ANDREW + Ok. + + MR. KRAMER + (this is awkward) + Look... I’m going to be candid. 90% + of our players will never make it + into the Lincoln Centers or the + Collectives. The question is -- + who’s in that 10%? + +A beat. + + MR. KRAMER + So I’d practice. You could start a + rock band. + 10. + + + Andrew takes it in. The implication is clear. + + He turns -- and glimpses a poster on the wall: a DRUMMER + throwing a stick in the air mid-solo. Buff. Confident. The + opposite of him. + + ANDREW + I...I have one more question... + (Kramer looks at him) + ...Do you know what the process for + transferring is? + + +10 INT. GEHRING HALL - BASEMENT HALLWAY - CONTINUOUS 10 + + Andrew walks down a hallway. A piece of paper in his hand. + + It’s a TRANSFER APPLICATION... + + He notices as two attractive female students pass him. + + STUDENT #1 + At least you didn’t embarrass + yourself, like what’s-his-face. * + + STUDENT #2 + That was truly pathetic. + + As he continues walking, he hears music. Stops. Approaches. + Looks. + + +11 INT. GEHRING HALL - STUDIO BAND ROOM - CONTINUOUS 11 + + Through the pane of glass, Andrew can see a FULL ORCHESTRA. + + Everyone looks older than in Nassau. More focused. All eyes + glued on Fletcher as he assumes his position... Fletcher’s + right arm moves, just a hair, and the band starts: fast, + dazzling. Andrew watches -- in awe. The band’s playing + STUDIO BAND EAVESDROP CHART, and the sound is so full, so + precise, so commanding. Nothing like Nassau. + + And suddenly -- Fletcher TURNS AROUND. His eyes meet + Andrew’s. Andrew ducks out of view -- shit -- -- and + hurries away. + + +12 INT. ANDREW’S PRACTICE ROOM - A FEW HOURS LATER 12 + 11. + + + Andrew practices like mad, trying to nail a double-time + swing. To his left a digital METRONOME blinks. The time + set: 380. Andrew stops. Resets the metronome. 390. Resumes + playing. Tries to keep up. Resets the metronome to 400. + Can’t keep up at all now. Struggling, sweating, hands + blistering, when -- + + CRAAACK. Andrew’s right drumstick SNAPS IN HALF. + + He stops. Spent. Looks at his hand, sweating and throbbing + from the blisters. + + Looks back at the metronome. Still beeping away. He turns + it off. + + Glances up ahead at a poster -- of BUDDY RICH hunched over + a drum kit, mid-solo -- tacked to the wall. + + Stares at the image. Then looks down -- at the PAPERWORK we + saw earlier. The heading: “APPLICATION TO TRANSFER”... + + +13 INT. ANDREW’S PRACTICE ROOM - MOMENTS LATER 13 + + A CD slides into a player. The title: “BUDDY RICH: + BIRDLAND”. + + Andrew skips ahead to the third track. Immediately, drums + start. Another double-time swing. Only this one is insanely + fast. Even faster than Andrew was going. + + Andrew listens. Looks at his drum kit. Thinks. Makes a + decision. Turns the CD off. + + +14 INT. MOVIE THEATER - LOBBY - AFTERNOON 14 + + The same movie theater as before. Andrew marches in. Has + one goal and one goal only now. + + Walks up to Nicole at the counter. Takes a deep breath, + and-- + + ANDREW + Hey -- look -- I -- I don’t know + how to say this -- I see you in + here all the time and -- I was just + wondering -- + (stops, collects + himself,) + -- if you’d want to get a bite to + eat with me. + 12. + + + Beat. Nicole just looks at him. Andrew can’t believe he + said what he just said. Feels like a creep. Instantly + regrets it. + + NICOLE + Please get away from me. + + ANDREW + I’m so sorry, I -- I didn’t mea-- + + NICOLE + I’m kidding. + + She smiles. Beat. Andrew manages a nervous laugh. + + NICOLE + That your dad you always come in + with? + + ANDREW + (discombobulated, trying + to keep up--) + Kind of bobs up and down when he + walks? That’s him. + + NICOLE + (laughs; then,) + Andrew, right? I’m Nicole. + + ANDREW + Nice to meet you, Nicole... + + NICOLE + Monday I get off at seven. + + ANDREW + Monday. Ok. Great. I’ll be here + Monday. + + A moment -- an awkward silence -- then Andrew turns -- and, + in a daze, realizing what’s just happened, his spirits + suddenly starting to soar -- he glides off. + + +15 INT. GEHRING HALL - LOBBY OUTSIDE DEAN'S OFFICE - DAY 15 + + The next morning. Andrew, still riding high, is seated in a + lobby outside the DEAN’s OFFICE. In his hand -- a FILLED- + OUT TRANSFER APPLICATION. + + ASSISTANT + Andrew Neiman? + (Andrew turns) + 13. + + + Dr. Fletcher would like to see you. + + ANDREW + Oh. Ok... + + Andrew’s thoughts are elsewhere. Distracted -- not sure + what this is about but doesn’t really care -- he dutifully + follows... + + +16 INT. GEHRING HALL - FLETCHER’S OFFICE - DAY 16 + + BLACK. We hear knocking. + + FLETCHER (O.S.) + Come in. + + A door opens -- the black gives way -- and we see, seated + at a polished mahogany desk, Fletcher. He looks as imposing + -- and as well-dressed -- as ever. + + FLETCHER + Hey, Andrew! I guess Sophie found + you? + + Andrew is taken aback. Fletcher remembers his first name? + + ANDREW + Yes... I’m... I-- + + FLETCHER + Come in, come in, close the door... + + Fletcher rises to greet Andrew, as Andrew closes the door. + + FLETCHER + I like to chat with students coming + in and going out. I hear you’re + going out? + + Andrew looks surprised by the warmth in Fletcher’s voice. + + ANDREW + Yes. Transferring. To Columbia. + + FLETCHER + Terrific. Columbia’s a terrific + school. Did something precipitate + this? + + ANDREW + I just decided to... + (not sure how to say it) + 14. + + + ...to try out some other things. + Not focus only on drums. You know? + +Beat. Fletcher looks at him. Is he upset? Dismayed? + + FLETCHER + Bravo. + (as he starts to head + back toward his desk--) + Too many students clamp down on + their “pursuits” like leeches. + (sits atop his desk) + Hobbies they picked up in their + teens, and for what? Take a seat. + + ANDREW + (starts heading to a + couch) + Uh... Yeah.. I mean, I -- + (passes by a “1st Place + Prize” plaque on a + coffee-table) + -- I was a little younger than my + teens when I started drums, but-- + + FLETCHER + What were you then? Twelve? + + ANDREW + Six. + + FLETCHER + Oh. Well, kids start swimming when + they’re six, doesn’t mean they’re + Michael Phelps. It’s a hobby, never + anything you consider going all the + way with. Am I right? + + ANDREW + Definitely. I mean -- well -- for a + time, I thought I’d go all the way + - - but, yeah-- + + FLETCHER + Well, kids want anything. I wanted + to be a nanny. Thank God those I + trusted talked me out of it. Good + to listen to advice. + + ANDREW + Yes, I’ve done that, you’re right, + it’s-- + 15. + + + FLETCHER + --good to get outside perspectives. + So long as they don’t have ulterior + motives, I’d listen to what the + people you trust tell you. + +Andrew nods. But that phrase seems to echo. Ulterior +motives... + +Fletcher hops down from the desk and makes his way to the +couch. + + FLETCHER + So what’s the passion you’ve chosen + to pursue at Columbia, then? + + ANDREW + (as Fletcher takes a seat + next to him) + Oh... Well... I’m not...not really + sure. It’s not a specific thing I + have in mind. + + FLETCHER + Ah. Well that’s ok. You’re young. + Most people, it takes years for + them to find their calling. My + father, for instance -- he had no + idea what he wanted at your age. He + tried a lot of things, a little bit + of this, a little bit of that. Took + him years before he realized his + dream was insurance. That was his + passion. The cubicle, the coffee + breaks, the dry wall. + +He lets this simmer for a beat. Then-- + + FLETCHER + I’m sure you’ll find your calling + as well. + +He rises back up. A moment of silence. + + FLETCHER + I guess that’s it, then. Any + questions? + +He notices Andrew looking at a photo on the wall. + + FLETCHER + 16. + + + That’s Sean Casey. Graduated three + years ago. Now he’s first trumpet + at Lincoln Center. + (heading toward the door- + -) + He came a long way. + + ANDREW + (trying to collect his + thoughts as he rises) + ...So -- are you -- still looking + for Studio Band players then...? + + FLETCHER + (turning around to face + Andrew) + Some, yes. But it’s no cakewalk. + Most kids here can’t last. Laszlo + Polgar, Hungarian psychologist, + declares in 1967 that talent is all + about conditioning. Says he can + make his kids, whoever they are, + the best in the world at something. + What that something is he’ll + decide. He’s a lousy chess player + but he picks chess because it’s + objective. Goes around looking for + a wife, finds one who agrees to his + experiment. Starts having kids: + Susan, Sofia and Judit. Gets them + practicing before they can even + talk. These weren’t kids who were + sitting and smelling the roses. + These were kids who were going to + leave an actual mark on the world. + Who was the top female player by + 1984? Susan. Who played the eight- + straight-wins “Miracle of Rome” in + 1989? Sofia. And who is universally + considered the greatest female + chess player of all time? Judit. + +He takes a breath. Smiles. We linger for a second on +Andrew, standing in place, taking it all in. Andrew’s eyes +quickly drift to the photos behind Fletcher -- the images +on the walls... The Studio Band with Wynton Marsalis. +Fletcher at the JVC Jazz Festival. One jazz luminary after +another... + + FLETCHER + Which is why I’m sure you’ll be + great at whatever you set your mind + to at Columbia. + 17. + + + (puts his arm around + Andrew, starts escorting + him toward the door--) + It was a pleasure chatting, Andrew, + now-- + + ANDREW + I just -- one thing first -- I mean + -- I’m not entirely sure I’m + transferring yet... + + FLETCHER + Well that’s worrisome. I’m sure you + had good reason to make your + decision. + + ANDREW + I -- just might give it some more + time-- + + FLETCHER + No need to do that. First instincts + are best. + + ANDREW + My first instinct...is not to + transfer... + + FLETCHER + I’m not sure your first instinct is + right, then. Why don’t you give it + some more thought, and in the + meantime... + (reaches the door; about + to close--) + ...make sure your double-time swing + is ready by Monday’s Nassau Band. + + He closes the door. WE LINGER on Andrew. A spark has been + lit. + + +17 INT. GEHRING HALL - NASSAU BAND ROOM - NIGHT 17 + + Andrew plays the drums with Nassau Band. Keeps missing + hits. + + The song’s SECOND NASSAU BAND REHEARSAL CHART (ANDREW). + + MR. KRAMER + Alright, that’s... That’s enough of + that. Back to just the core, + please. + 18. + + +MUSICIANS trade places. As Ryan trades with Andrew, he +turns-- + + RYAN + Dude -- what’ve you been + practicing? + +Just then, the DOOR SWINGS OPEN -- and in steps FLETCHER. +All eyes go to him. All talking ceases. Absolute silence, +save for Fletcher’s footsteps. Andrew waits. Heart +pounding... Fletcher arrives at the head of the band -- as +Kramer silently and meekly retreats. Fletcher props up the +music stand to his height, looks down at the sheet music, +runs his finger down it to find the spot he wants... +Andrew, like all the other players, is dead-still, eyes +glued on Fletcher’s every move... + +Fletcher looks up, surveys the band with his eyes. Then, +raising his hand-- + + FLETCHER + Down the line. + +Instruments SNAP upward with military precision. No one +wants to miss a beat. + + FLETCHER + Trumpets. Bars 36 to 38. One-two-- + +The TRUMPETER on the right starts playing. Five notes +before Fletcher cuts him off with the slightest flick of +his hand. + + FLETCHER + Next. One-two-- + (the SECOND TRUMPETER + misses his cue) + Next. One-two-- + +Nothing. Fletcher looks up. There are no more trumpeters. +He looks over at Kramer: “Are you serious?” + + FLETCHER + Trombone. Bars 21 to 23. Four-and-- + (TROMBONIST is scrambling + to find the right page) + Saxes. 48 to 50. “And” of one. And- + one-- + (ALTO SAX gets through + one bar) + Next-- + 19. + + +Before he even counts off, he notices the TENOR SAX’s +fingering -- all he needs to know. + + FLETCHER + Drums. + +We get a split-second glimpse of the TENOR SAXOPHONIST, +wondering what just happened -- before we CUT to the drums, +Ryan at the ready. + + FLETCHER + Double-time swing. + +Ryan takes a breath. Fletcher CLAPS him off. Ryan plays. + + FLETCHER + Thank you. You. Behind. + +Palms sweaty, Andrew takes Ryan’s place. Trains his eyes on +Fletcher’s hands. Deep breath. Fletcher CLAPS, and Andrew +begins -- trying to get the motion right, trying to stay in +time-- + + FLETCHER + Thank you. Bass. Five bars of + “Donna Lee”. + +We STAY ON Andrew as the BASSIST plays; Andrew slides off +the drums and back to his regular seat. + + FLETCHER (O.S.) + (to Bassist) + Thank you. + +We CUT back to Fletcher. He looks over the band once more. +We see the MUSICIANS’ faces -- scared, but hopeful. Then-- + + FLETCHER + Drums. Come with me. + +Ryan’s heart starts speeding. His excitement visible, he-- + + FLETCHER + Other drums. + +Ryan freezes. Andrew is stuck in place for a moment. Then, +eyes wide -- is this really happening? -- he rises and +approaches the doorway... There, Fletcher hands him an +ORANGE PAPER SLIP. + + FLETCHER + 20. + + + Give this to Admin for + rescheduling. We meet 6am to 1pm + every day. Room B16. + + And with that, he EXITS. + + In a daze, Andrew drifts back toward the band. Kramer looks + at him. Andrew answers the look with a defiant smile. + + Vindicated. + + MR. KRAMER + Ok fellas, let’s...let’s take it + back from the top.. + + He claps off. The band plays SECOND NASSAU BAND REHEARSAL + CHART (RYAN). Andrew pretends not to notice Ryan’s eyeing + him in shock. Just sits down, lets it all settle. + + And -- ever so slowly -- Andrew’s face dissolves into a + GRIN... + + +18 INT. PIZZERIA - NIGHT 18 + + NICOLE + This is a nice place. + + We’re at a cheap pizzeria now. Nicole is seated, two half- + eaten slices of pepperoni in front of her. An old jazz + track is playing -- PIZZERIA CHART. + + Seated across from Nicole is Andrew -- echoes of the + earlier grin still on his face, a brightness in his eyes. + + ANDREW + Yeah, I come here a lot. + + Beat. Then -- clicking back to reality -- this is not a + nice place, did I fuck up? -- + + ANDREW + They have good music, so I -- it’s + not just the food... + (points, re: the tune) + This is Jackie Hill, “When I Wake”, + July 17th, 1938, Bob Ellis on + drums. + + NICOLE + Are you trying to impress me? + + ANDREW + 21. + + + No -- sorry -- I didn’t mean -- + they have like -- ten songs they + loop through. They’re always + playing the same thing. + + NICOLE + And you know the dates to all ten? + + ANDREW + ...Yeah. + +Nicole smiles. A moment. Andrew fidgets. Nervous. + + NICOLE + You know every time I saw you in + the theater you always had your + eyes pointed to the floor. + + ANDREW + Really? + + NICOLE + Like you were fascinated by the + soda stains on the carpet. + + ANDREW + My dad tells me I have a problem + making eye contact. + + NICOLE + My parents like to criticize me + too. When I was growing up my mom + told me my chin was too big and + that that’s why guys wouldn’t like + me. ‘Cause my dad had cursed me + with a big chin. + + ANDREW + What? + + NICOLE + Yeah, it’s -- look -- + (she turns, points her + chin up) + It’s Jay Leno. + +Andrew laughs. Nicole looks prettier to him than ever. + + NICOLE + She keeps asking me if I have a + boyfriend yet, and then blames it + on the chin. + 22. + + + ANDREW + She sounds insane. + + NICOLE + She wanted to be an actress when + she was my age. + + ANDREW + And you? What do you do? + + NICOLE + Other than serving you popcorn? + + ANDREW + What do you want to do with your + life? + + NICOLE + (thinks; wasn’t prepared + for a question that + direct) + I go to Fordham... I’m not sure... + + ANDREW + What’s your major? + + NICOLE + I don’t have one yet. + + ANDREW + Well what did you come here to + study? + + NICOLE + I just came here for a general + education. + + ANDREW + Right, but you picked Fordham for a + reason. Why Fordham? + + NICOLE + I applied to a bunch of schools, + Fordham let me in. Why’d you pick + Shaffer? + + ANDREW + It’s the best music school in the + country. + +Beat. Nicole shrugs. + + NICOLE + 23. + + + Well Fordham was Fordham. + +A moment. + + NICOLE + I don’t love it there to be + honest... + + ANDREW + No? + + NICOLE + I mean -- the people there... I + don’t think they like me. I’m from + Arizona and -- I don’t know, I + think they see it in me. + +A beat. Andrew thinks about this, then-- + + ANDREW + I don’t like the people at Shaffer + either. But I think it just takes + time... Things change, you know. + + NICOLE + I know. + (then, opening up more + than) + she expected, more fragility in her + voice now) I feel homesick + sometimes. You know? I hate how + people in college pretend they + never feel homesick. Or maybe I’m + literally the only one, but... I + don’t think so. + +A moment of silence. She looks at Andrew. He looks at her. + + ANDREW + I know exactly how you feel. + (then, he smiles) + I still go to the movies with my + dad. + +Nicole nods. Smiles back. Andrew said it playfully, but she +can tell he also meant it to reach out to her. + +She scoots her legs. Her knee happens to touch Andrew’s. He +notices. So does she. They look at each other. + + NICOLE + ...I like this song. + 24. + + + ANDREW + Yeah -- this part is great -- here + - - + + Nicole smiles. Looks at Andrew. He looks back. Their knees + stay still, just barely touching. + + And, on this moment, just as the song ends -- + + +19 INT. DORMITORY - ANDREW’S ROOM - PRE-DAWN 19 + + Andrew’s in bed -- fast asleep. Seems stress-free for once + -- + + his body totally relaxed, his mind deep in a dream. His arm + hits his night stand -- WAKING him up. His eyes open. He + looks at his alarm clock. It reads: 5:17. + + ANDREW + Shi-- + + +20 INT. DORMITORY - HALLWAY - MOMENTS LATER 20 + + Andrew bursts out of his room and RACES down the hall. + + +21 EXT. DORMITORY - NEW YORK STREET - MOMENTS LATER 21 + + Andrew DASHES across the green. It’s still pitch black + outside, the city cold and menacing. + + +22 INT. GEHRING HALL - STAIRWELL - CONTINUOUS 22 + + Andrew busts inside, runs down the STAIRWELL -- and SLIPS. + + Falls full-throttle down a whole flight, hands smacking + against the tile. Rises, sore, and keeps running. + + +23 INT. GEHRING HALL - BASEMENT HALLWAY - CONTINUOUS 23 + + Andrew reaches ROOM B16 -- pushes open the doors-- + + +24 INT. GEHRING HALL - STUDIO BAND ROOM - CONTINUOUS 24 + + --only to find the room EMPTY. No one is there. Andrew + checks the time on his phone: 5:33. Did he miss them...? + 25. + + +25 INT. GEHRING HALL - BASEMENT HALLWAY - CONTINUOUS 25 + + Andrew steps back into the hallway. Spots a SIGN-UP SHEET + at the door. Looks at it. Sees the words “STUDIO BAND” + scrolled down for each day. The listed start-time: “9AM”. + + +26 INT. GEHRING HALL - STUDIO BAND ROOM - MORNING 26 + + Andrew sits on the drum throne. A clock on the wall reads: + 8:57. He’s dozed off, is out cold. His hand, cut from his + fall down the stairs, rests against the snare drum. + + Suddenly -- the DOOR opens -- + + SAXOPHONIST #2 + She told me to pull out, then wet + the whole fucking bed. + + SAXOPHONIST + No, serious?? + + Andrew shoots up. Surges to his feet. The SAXOPHONISTS + don’t pay him any attention. They’re big guys, macho. + Another DOOR opens. MORE PLAYERS... + + These are the CORE MEMBERS of Studio Band -- Shaffer’s + cream of the crop. Mostly third- and fourth-years. All + male. A few ALTERNATES follow, first- and second-years. + + Andrew watches as the PLAYERS buzz their mouthpieces, whip + open their folders, pull out their instruments. A flurry of + chatter and activity... + + One of the CORE MEMBERS heads to the drums: CARL TANNER, + 22. + + Andrew sees him, and-- + + CARL + You the new alternate? + + ANDREW + Yeah -- I’m -- Andrew Neiman... + + CARL + (couldn’t care less about + his name) + Tune the set to a B-flat. Then + you’ll turn my pages during + rehearsal. + + Andrew, nervous, sits back down at the drums and-- + 26. + + + ANDREW + (to the PIANIST) + Excuse me? + (no answer) + Um -- sorry -- excuse me? + (the Pianist looks at + him) + Could I have a B-flat please? + +The Pianist plays a B-flat. Andrew tunes. By now the room +is filled: TRUMPETS, TROMBONES, SAXES. + + ANDREW + (to the Pianist) + Excuse me -- could I maybe have + ano-- + +But Carl has already risen. Ushers Andrew back up. Sits +down at the drums, as Andrew sits down by the music stand. + + SAXOPHONIST #2 + Milk the cunt!! + +The PIANIST plays a middle C, and the players start tuning +to it. + +Andrew watches, listens -- the sea of sounds building, the +clock on the wall ticking, until -- it hits 9:00. + +THE DOOR BURSTS OPEN. Fletcher marches in, carrying a stack +of sheet music. Sudden tension -- and utter silence. + +Fletcher sets his music down. Stares at the band. Dead- +serious, silently judging. A moment passes... + +Then -- he SMILES. He’s switched all of a sudden to warm +and cuddly. + + FLETCHER + We’ve got a squeaker today, people. + Neiman. + (he pronounces it + “Neeman”) + Nineteen years old. Isn’t he cute? + +Laughs throughout the room. We can overhear a few snickers: + + PLAYERS (O.S.) + Neee-man... + +Andrew looks. Fletcher keeps his smile up... And then-- + + FLETCHER + 27. + + + Alright, gang. “Whiplash”. + +The players get out the chart. Andrew catches a glimpse -- +a messy clutter of notes and time signatures... Fletcher +raises his hand. Total silence. Then -- the slightest move +of Fletcher’s finger, and the band begins WHIPLASH STUDIO +BAND REHEARSAL CARL #1. The chart’s named “Whiplash” for a +reason. It’s fast, frenetic, 7/4 time. This fast, with this +many polyrhythms, it’s impossibly hard. + + CARL + Page... Page... + +Andrew turns the page. Carl glares. Shouldn’t have had to +tell him to turn it. But Andrew can’t follow. The band’s +too fast.. + + FLETCHER + Stop. You. Barker. + (pointing to the THIRD + TRUMPETER’S horn) + That is not your boyfriend’s dick. + Do not come early. Moving ahead. + Bar 93. + +The players flip their sheet music. Andrew catches a +glimpse of a TROMBONIST ejecting the spit from his horn. A +puddle has formed by his feet. + + FLETCHER + Five-six-seven-- + +The band plays WHIPLASH STUDIO BAND REHEARSAL CARL #2. + +Intense, visceral. Fletcher paces back and forth, eyeing +players as they play. He’s got fox’s ears, hawk’s eyes. +Every sinew of his body is focused. Andrew watches, awed, +scared, completely overwhelmed. + + FLETCHER + Stop! + +The band comes to a halt. + + FLETCHER + Now this one upsets me. We have an + out-of- tune player. Before I go + any further, does that player want + to do the right thing and reveal + himself? + (silence) + Ok. Maybe a bug flew in my ear. Bar + 115. Five-six-and-- + 28. + + +He cues the BAND with his hand, then cuts them off. + + FLETCHER + No, I guess my ears are clean + because we most definitely have an + out-of-tune player. Whoever it is, + this is your last chance. + (paces back and forth, + slowly) + Either you know you are out of + tune, and are therefore + deliberately sabotaging my band; or + you do not know you’re out of tune + -- which I’m afraid is even worse. + +Nothing. The players avert his gaze. All terrified... + + FLETCHER + Reeds. Five-six-and-- + (they play, he cuts them + off) + Bones. Five-six-and-- + (they play, he cuts them + off) + Ahhhh, he’s here. + +Silence. He eyes the TROMBONISTS. Lands on one, METZ. + +Overweight. Been picked on his whole life. + + FLETCHER + Tell me it’s not you, Elmer Fudd. + +Metz sits there, trembling. On the brink of tears. + + FLETCHER + It’s ok. Play. + (Metz does so, Fletcher + stops him, leans in, + whispers--) + Do you think you’re out of tune? + +Metz, terrified, looks down at the floor. + + FLETCHER + There’s no fucking Mars Bar down + there. Look at me. Do you think + you’re out of tune? + + METZ + ...Y--yes... + + FLETCHER + 29. + + + Then why the FUCK didn’t you say + so?!? + + Silence. It’s the first time we’ve heard Fletcher really + SHOUT. His voice is booming, louder than one would have + thought. Then-- + + FLETCHER + I’ve been carrying your fat ass for + too long, Metz. + + FLETCHER + I will not let you cost us a + competition because your mind’s on + a fucking Happy Meal and not on + pitch. Stein, congratulations, you + are now fourth-chair trombone. Metz + -- get the fuck out. + + Still trembling, tears bubbling out, Metz picks up his + trombone and walks to the door. Andrew watches -- shocked. + + Once the door closes-- + + FLETCHER + For the record, Metz was not out of + tune. You were, Wallach. But Metz + didn’t know it. And that’s bad + enough. + + And then -- he looks straight at Andrew. + + FLETCHER + Alright, take ten. When we get back + -- the squeaker’s on. + + Andrew’s face goes ghost-white. + + +27 INT. GEHRING HALL - BASEMENT HALLWAY - MOMENTS LATER 27 + + Andrew sits in the corner of the hall, the “WHIPLASH” sheet + music in his hand. Tries desperately to count the beats... + + ANDREW + Five-six-seven... Six-two-two- + five... + + He scribbles on the page, trying to compute the patterns: + “7/9 + 7/4 = 7/18”. “1/64 X 7/9”... We see feet pass by, + and hear-- + + STUDIO CORE MEMBER #1 + 30. + + + Stein won’t last a week. He doesn’t + have the lips. + + STUDIO CORE MEMBER #2 + Fudd lasted longer than he should + have... + + STUDIO CORE MEMBER #3 + Maybe if he spent half the time + practicing that he does to + polishing off cheeseburgers... + + STUDIO CORE MEMBER #4 + (laughs) + You got that right. + +Andrew’s eyes follow the PLAYERS. They’re tall, built. Next +to them Andrew feels like a scrawny teen. + +Just then -- a PAIR OF DRESS SHOES reach Andrew’s side. + +Startled, Andrew looks up. It’s Fletcher. Andrew scrambles +to his feet, as Fletcher puts his arm over him and -- +earnestly, back to the warm tone he displayed days ago -- + + FLETCHER + (walking Andrew down the + hall) + Listen, Andrew. I know what you saw + in there is worrying you, but + there’s a big difference. This is + your first day. + + FLETCHER + Metz had been dragging mud for two + years. + (comes to a stop, looks + straight at Andrew--) + Besides, you’re no Elmer Fudd. This + is a huge opportunity for you. You + know that, right? + + ANDREW + Yeah... + + FLETCHER + Your parents musicians? + + ANDREW + No, not really... + + FLETCHER + What do they do? + 31. + + + ANDREW +Well, my dad’s a writer. + + FLETCHER +What’s he written? + + ANDREW +Well he’s...I guess he’s mainly a +teacher. + + FLETCHER +College? + + ANDREW +Pennington High. + + FLETCHER +And your mom? + + ANDREW +I don’t know... She left when I was +a baby. + + FLETCHER +So no musicians in the family. + + ANDREW +...No, I guess not... + + FLETCHER +Well, you’ve just got to listen to +the greats then. Jo Jones, Buddy +Rich. You know, Charlie Parker +became “Bird” because Jones threw a +cymbal at his head. + + FLETCHER +You see what I’m saying? + (Andrew nods) + + FLETCHER +The key is -- relax. Don’t worry +about the numbers or what the other +players think. You’re here for a +reason. You believe that, don’t +you? + (Andrew nods) +Say it. + + ANDREW +I’m here for a reason. + + FLETCHER + 32. + + + Good. + + A beat. And, finally-- + + FLETCHER + Now have fun. + + He pats Andrew on the back -- then promptly walks off. + + +28 INT. STUDIO BAND ROOM - GEHRING HALL - MOMENTS LATER 28 + + The players are taking their seats. Slowly, Andrew walks + in. + + Eyes the DRUMS. Takes a deep breath. He can do this... Carl + is seated in the alternate’s seat. The drum throne is + empty. Just waiting for Andrew... + + Andrew sits down. WE MOVE IN CLOSER ON HIM -- as he adjusts + his seat, lays his music out, gets his sticks ready... + + FLETCHER (O.S.) + Alright, gang. + + Andrew looks up. Fletcher has just entered. + + FLETCHER + “Whiplash”. + + Fletcher eyes Andrew. + + FLETCHER + Neiman -- just do your best. + + Andrew nods. Looks at the music. Counts in his head. He’s + ready... + + Fletcher CLAPS the band off. WHIPLASH STUDIO BAND REHEARSAL + ANDREW #1, mid-tempo, far easier than before. Andrew’s + doing well. Fletcher nods, smiles-- + + FLETCHER + Let’s see some fills. + + Andrew fills, rolling down the toms. Fletcher grins. + + Andrew, seeing Fletcher’s grin, can’t help but smile. + Getting into it now. The whole BAND building, his drumming + growing more intense. He fills again. + + FLETCHER + 33. + + + Snap! We’ve got Buddy Rich here. + +Andrew grins. Fills again. Accenting, playing a counter- +rhythm. When he trips up. Comes in a hair late. + + FLETCHER + (waving the band to stop) + Ok, little trouble there. No + problem. Let’s pick it up from 17. + +Fletcher claps. Andrew plays WHIPLASH STUDIO BAND REHEARSAL +ANDREW #2. Fletcher waves him to stop again. + + FLETCHER + Not my tempo. Ok? + +Fletcher claps again. Then another wave for Andrew to stop. + + FLETCHER + Downbeat on 18. Ok? + +He’s still soft, calm, warm. He claps again. Then, +stopping-- + + FLETCHER + The “and” of 4. Bar 17, the “and” + of 4. + +He claps off. Stops Andrew again, only seconds later. + + FLETCHER + 17, the “and” of 4. Ok? And you’re + rushing a little... + +Andrew nods. Getting nervous now... Fletcher claps again. + +Stops again. + + FLETCHER + Not quite my tempo. All good, here + we go. + +He’s about to clap off when, out of nerves, Andrew hits his +bass drum early. + + FLETCHER + No -- ready? + +Fletcher claps. Stops Andrew yet again. + + FLETCHER + 34. + + + Sorry, you’re -- you’re dragging a + little now. + (Andrew tries to pull his + seat up, getting anxious, + flustered) + All set? + +Andrew nods. Get it together... Fletcher claps. Stops. + + FLETCHER + You’re rushing. + +Claps again. Stops again. + + FLETCHER + Dragging. + +Claps again. Andrew plays WHIPLASH STUDIO BAND REHEARSAL +ANDREW #3, expecting another stop -- but it doesn’t come. + +Fletcher nods, as though now satisfied, then slowly turns +around. Puts his hand on a spare chair. Looks like he’s +about to sit down, when... + +...like a flash of lightning he WHIPS up the chair and +HURLS it straight at Andrew’s head. + +Andrew DUCKS, as the chair CATCHES the top of the bass +drum, almost toppling it over. An EAR-PIERCING CLANG OF +CYMBALS, as Andrew’s sticks go flying and the chair hits +the floor. + +Then -- total silence in the room. Andrew is shell-shocked, +beyond shaken, what in the fuck just happened???... + + FLETCHER + (as though discussing the + weather) + Why do you suppose I just hurled a + chair at your head, Neiman? + + ANDREW + I... I... I d--don’t kn-- + + FLETCHER + Yes, you do. + + ANDREW + I... The...the tempo... + + FLETCHER + Were you rushing or were you + dragging? + 35. + + + ANDREW + I... I don’t... I don’t-- + +Fletcher BOUNDS up to him, almost RUNNING -- suddenly +beast-like, terrifying, veins set to BURST-- + + FLETCHER + Start counting. + + ANDREW + (like a deer in the + headlights) + ...Five-six-seven-- + + FLETCHER + In four, damnit! + + ANDREW + One-two-three-four... + +Fletcher SLAPS Andrew on his left cheek. Then-- + + FLETCHER + Keep counting!! + + ANDREW + One-two-- + (another slap) + --three-- + (a third slap) + --four-- + + FLETCHER + Was I rushing or I was dragging? + + ANDREW + I -- I don’t -- I don’t know-- + + FLETCHER + Start counting again. + + ANDREW + One-two-- + (a slap on his left + cheek) + --three-four-o-- + (another slap) + --ne-two-three-- + + FLETCHER + Was I rushing or was I dragging? + + ANDREW + 36. + + + R--rushing... + + FLETCHER + So you do know the difference! If + you dare to sabotage my band I will + fuck you like a pig. + + FLETCHER + Now are you a rusher, are you a + dragger, or are you going to be ON + MY FUCKING TIME?!? + +This is a new Fletcher we’re seeing. An animal. But no one +but Andrew seems surprised-- + + ANDREW + I--I’m gonna be on your time... + + FLETCHER + (flips over a new sheet + of music, points to the + top) + What does this say? + + ANDREW + 260... Quarter note 260... + + FLETCHER + Count a 260. + + ANDREW + O-one-two-three-four... + + FLETCHER + Jesus fucking Christ -- I didn’t + know they allowed retards into + Shaffer! Do you expect me to + believe you can’t read tempo? Can + you even read music??? + (points back to the + music) + What the fuck is this? + + ANDREW + A half-note... + + FLETCHER + And this? + + ANDREW + A--a dotted sixteenth... + + FLETCHER + 37. + + + Sight-read this measure. + + ANDREW + Bop-bop-ba-bop-ba-- + + FLETCHER + What are you, in a fucking a + capella group?? Play the goddamn + set!! + +Andrew plays the measure on the drums. Shaking, +terrified... + + FLETCHER + Now answer my question -- were you + rushing or were you dragging? + (because Andrew + hesitates--) + ANSWER!!!!! + + ANDREW + R--r--r--rushing... + + FLETCHER + Dear God, is that a tear in your + eye? Are you one of those single- + tear people? Do I look like a + double fucking rainbow to you?? + +Andrew tries to hide his tear, mortified, wipes it, cowers- +- + + FLETCHER + You must be upset. Are you upset?? + + ANDREW + N--no... + + FLETCHER + Oh so you don’t give a shit about + any of this? + + ANDREW + No, I -- I do give a sh-- + + FLETCHER + So are you upset? Yes or fucking + no. + + ANDREW + Yes... + + FLETCHER + 38. + + + You are upset... + + ANDREW + I am upset... + + FLETCHER + Say it so the rest of the band can + hear you. + + ANDREW + I am upset... + + FLETCHER + Louder. + + ANDREW + I am upset! + + FLETCHER + LOUDER!!!!!! + + ANDREW + I am upset!!! + + FLETCHER + You are a worthless friendless + faggot- lipped little piece of + shit, whose Mommy ran out on Daddy + once she realized he wasn’t Eugene + O’Neill, and who’s now weeping and + slobbering over my drum kit like a + fifteen-year-old girl -- so for the + last father-fucking time, SAY IT + LOUDER!!! + + ANDREW + (tears pouring out now) + I AM UPSET!!!!!! Then -- silence. + Andrew hunches over the drum set, + shaking, face awash in tears. The + other PLAYERS just stare... + + FLETCHER + Carl... + +Carl silently switches places with Andrew at the set. + + FLETCHER + Start practicing harder, Neiman. + (then, turning to the + band,) + “Whiplash”. Once more from the top. + 39. + + + He claps the band off. As for Andrew, he just sits behind + Carl -- dazed, red-faced, and utterly gutted. + + His first day of Studio Band is over. + + +29 INT. GEHRING HALL - BASEMENT HALLWAY - DAY 29 + + Andrew exits. Trying to hold it all in. Then-- + + RYAN + Hey, bro. + + He sees Ryan, a few yards away. Andrew hides his face, + hides the TEARS that are starting to spill out + uncontrollably... + + RYAN + I never said congrats, man. Congra- + - + + ...and RUNS like hell. + + +30 INT. DORMITORY - ANDREW’S ROOM - DUSK 30 + + Andrew is curled in the corner, crying. We linger here. + + Then, his PHONE rings. He looks at it. Hesitates... + + ANDREW + ...Hello...? + + JIM (O.S.) + You didn’t show. + + And, finally, breaking down, can’t hold it in any longer-- + + ANDREW + He ripped me apart... + + JIM (O.S.) + ...Who? + (then,) + That asshole? You told me you were + transferring... + + Andrew looks at his desk. There, atop a pile of papers, is + his TRANSFER APPLICATION. All filled out. Ready to go. Next + to it, a BUDDY RICH CD... + + ANDREW + 40. + + + (almost to himself) + ...I thought he liked my playing. + + JIM (O.S.) + Who cares what he likes? Who is he + to you? When I started writing + plenty of people tried to put me + down. You ignore them. + + Andrew is silent. When I started writing... + + Those words seem to have the opposite effect Jim intended. + + ANDREW + When you started writing... + + JIM (O.S.) + Why don’t you come home tonight? + + ANDREW + No, I -- I have to practice... + + JIM (O.S.) + No, you have to take it easy. + + ANDREW + I need to go now... + + JIM (O.S.) + Andrew-- + + ANDREW + I have to go... Sorry. I’ll call + you later. + + He hangs up. Rises. Wipes his reddened eyes. And exits his + dorm. + + PRE-LAP KNOCKING -- + + FLETCHER (PRE-LAP) + Yes? + + +31 INT. GEHRING HALL - STUDIO BAND ROOM - FLETCHER’S OFFICE - 31 + DAY + + Andrew steps into Fletcher’s office. Before Fletcher can + say a word-- + + ANDREW + 41. + + + I’m sorry to interrupt you. I just + want to tell you -- I’m so thankful + to have been accepted into Studio + Band. And I’m going to make sure I + don’t disappoint you. + + Fletcher, seated at his desk, just looks at Andrew. Andrew + nods, turns around. Marches back down the hall -- as + PERCUSSION begins... WE FOLLOW HIM, sticking close to his + face, the resolve now in his eyes. Something has changed. + + PERCUSSION grows louder and, as we move, hurdles us back... + ...to FLETCHER’S OFFICE. And to Fletcher, peeking out + through his doorway now. Fletcher smiles... + + +32 INT. ANDREW’S PRACTICE ROOM - DAY 32 + + Andrew sits at his drum set, furiously practicing... And + just like that, moving fast, DRUM PATTERN FOR MONTAGE + carrying us, we’re-- + + +33 INT. GEHRING HALL OFFICE ROOM - DAY 33 + + CLOSE ON Andrew’s hand, Xerox-ing pages of music. The + titles: “WHIPLASH”, “ALEPH NULL”, “EASY SIX”... Pages dense + with notes... + + +34 EXT. NEW YORK STREET - SHAFFER CONSERVATORY - EVENING 34 + + Fletcher steps outside. It’s drizzling a bit. He slowly + unfolds an umbrella. Passes by a few other FACULTY MEMBERS + on his way to the sidewalk. Keeps walking. The DRUMMING + continues... + + +35 INT. DORMITORY - ANDREW’S ROOM - EVENING 35 + + Andrew pulls the MATTRESS off his bed, drags it to the door + with his ALARM CLOCK. Heaves both out to the hallway... + + +36 INT. SUBWAY - NIGHT 36 + + Fletcher is seated, squished in between commuters, towered + over by other travelers. Looks diminutive in this + setting... + + +37 EXT. NEW YORK SIDE STREET - NIGHT 37 + 42. + + + Andrew marches down a side-street, wolfing down a + McDonald’s burger for dinner, earphones plugged into a + METRONOME... + + +38 INT. ANDREW’S PRACTICE ROOM - NIGHT 38 + + Andrew lifts a 50-lb weight with his right arm. Then a 75- + lb. + + Then picks his stick up and plays his double-time swing... + + +39 EXT. FLETCHER’S APARTMENT BUILDING - NIGHT 39 + + Fletcher reaches a nondescript high-rise. With his folded- + up umbrella, his head hanging low, and the careful delicacy + with which he opens the door, he looks here like nothing so + much as a quiet, everyday man... + + +40 INT. ANDREW’S PRACTICE ROOM - NIGHT 40 + + Andrew sleeps, earphones still in and metronome still on. + + He’s on the MATTRESS he brought down from his dorm, the + ALARM CLOCK by his side. Next to it, a suitcase of clothes. + Above, the poster of Buddy Rich. It’s as though he’s moved + in. + + +41 INT. FLETCHER’S APARTMENT - DINING ROOM - NIGHT 41 + + Fletcher sets the table for dinner. He has nice porcelain + plates, and a glass of red wine. But the meal? A frozen + ready- made steak and vegetables. On the wall, a photo. In + it, a younger Fletcher, and a WOMAN, and a NINE-YEAR-OLD + GIRL. All smiles... + + +42 INT. ANDREW’S PRACTICE ROOM - MORNING 42 + + Andrew rises from the same mattress and slides onto his + drum seat. Starts playing, hands dotted with blisters, eyes + crusty with sand. The METRONOME still on... + + ...because it was never turned off. + + CUT TO: Rides furiously, trying to beat his double-time + swing... The METRONOME reading 380... His muscles + exhausted... + 43. + + + CUT TO: The METRONOME adjusted up to 390... Blisters + tearing... + + CUT TO: 400.. Hands bleeding now, blood smearing the + sticks... + + CUT TO: 405... The METRONOME going crazy now... The + DRUMMING so fast it’s a wash, a wall of sound, blood on the + cymbal-- + + +43 INT. FLETCHER’S APARTMENT - DINING ROOM - NIGHT 43 + + Silence. Fletcher finishes his meal. Puts the dishes away. + + Sits down on a couch. Still alone. + + The apartment, like his office, is small but elegant. + + Pictures of icons on the walls. Monk. Holiday. Coltrane... + Fletcher reaches into a stack of LP’s: Chopin, Ravel... + Pulls one out with the most delicate touch, as though he + were handling a newborn. Sets it on a record player by his + side. + + A scratch, a hiss, and then -- + + -- FLETCHER’S SONG. Melancholy, lovelorn... Fletcher just + sits and listens, barely moves -- but you can tell the + music now playing means everything to him... A moment, and + then... + + +44 INT. DUNELLEN AUDITORIUM - STAGE - EVENING 44 + + Wild, feverish, absurdly fast BIG BAND JAZZ. We’re on- + stage. + + An orchestra about the size of Studio Band is in full + swing, reaching the end of RIVAL OVERBROOK BAND CHART. + + The band FINISHES. No applause. A card: + + First Competition of the Winter Season + + +45 INT. DUNELLEN AUDITORIUM - GREEN ROOM - HALLWAY - MOMENTS 45 + LATER + + The RIVAL PLAYERS quickly shuffle into the green room, past + Andrew, who watches, awed. A VOICE-- + 44. + + + TECHNICIAN (O.S.) + Terry! + +Andrew turns, glimpses a CORRIDOR through the doorway. Out +in the corridor, he sees a TECHNICIAN welcome Fletcher. In +the Technician’s arms, a FOUR-YEAR-OLD GIRL -- the +Technician’s daughter -- + + FLETCHER + Mike! + (and, to the girl,) + I’m so sorry, can I have your + autograph? + (she blushes, shakes her + head) + Are you playing an instrument yet? + + TECHNICIAN + She started piano this week. + + FLETCHER + Ooo, I need pianists! + (to the girl) + What do you say, you ready for + Carnegie Hall? + +The Technician smiles again, looks at the girl. She hides +her face in his chest, embarrassed. He and Fletcher laugh. + + FLETCHER + Alright, alright. + (looking up at her dad) + Great to see you, Mike. + +He leans in. They hug. + + FLETCHER + See you after the show! Cheers! + +He steps in, closes the door and addresses his PLAYERS, who +are busy sanding their hands, buzzing their lips, +preparing: + + FLETCHER + Ok, you fucking cocksuckers. E + Dorian. + (the non-percussion + players lift their + instruments) + Hurry the fuck up!! E Dorian. + (they play the Dorian + scale) + Double it. + 45. + + + (they play it double- + time) + + FLETCHER + G Lydian. + (they play the Lydian + scale) + D Lydian Augmented. + (they play it) + Double it. + (they play it double- + time) + Get your music. “Irene” only for + Set 1. Rhythm section out first. + Tanner, the kit is a tonal + catastrophe. Get it in tune. Rhythm + and soloists, we’re augmenting the + dominant in measure 45. Everyone + else sharp the nine at bar 106. Got + it? + (beat) + Now remember. Lincoln Center and + its ilk use these competitions to + decide who they want. And I am not + about to have my record in that + department stained by a bunch of + sour-note flexible-tempo flatter- + than-their-girlfriends dipshits. + And another thing... + (he holds up a music + folder) + ...if I ever see one of these lying + about unattended to again, I swear + to God I will stop being so polite. + That alright with you, ladies? + + PLAYERS + Yes. + +A STAGEHAND approaches Fletcher, about to speak to him-- + + FLETCHER + (almost matter-of-fact) + Get the fuck out of my sight before + I demolish you. + +The STAGE HAND nods, slinks away. Fletcher addresses his +band-- + + FLETCHER + Stage right. In order. Now. + 46. + + + (turns to the STAGE HAND + - - who’s short and + plump) + That means you too, Mini-Me. + + +46 INT. DUNELLEN AUDITORIUM - STAGE - CONTINUOUS 46 + + Studio Band goes on-stage. Carl hurries to the DRUMS, tunes + them. + + CARL + Stick bag. + + Andrew hands Carl the stick bag. Raises the music stand, + props the MUSIC FOLDER onto it-- + + CARL + Hurry up. + + ANNOUNCEMENT (V.O.) + The Shaffer Conservatory Studio + Band... + + CARL + Hurry up. + + --and opens it to OVERBROOK COMPETITION CHART. + + Fletcher appears. Raises his hand. + + Everyone raises their instruments. Sits still. Waiting... A + cough is heard. Fletcher looks to his right. The players + stay still. No sign of whom it came from... + + And then -- the slightest move of Fletcher’s index finger. + So subtle you need absolute focus to even notice it. That’s + the count-off. Miss it and you’ve blown it for everyone. + + The BAND LAUNCHES. Quiet at first, then a big brassy sound. + + Andrew watches Carl’s playing. Taps along on his knees. + + CARL + Page. + (Andrew snaps to it, + turns the page) + Damnit... + + Still conducting, Fletcher approaches, whispers-- + + FLETCHER + 47. + + + Get it together, Tanner, I swear to + God. + + Heads back to his position, glaring at Carl. Pissed at + Andrew, Carl plays. The music BUILDS and we’re-- + + +47 INT. DUNELLEN AUDITORIUM - GREEN ROOM - MOMENTS LATER 47 + + The performance over, the PLAYERS trickle BACKSTAGE. + + CARL + (handing Andrew the + folder, still pissed) + Hold onto this for the second set. + + +48 INT. DUNELLEN AUDITORIUM - HALLWAY - MOMENTS LATER 48 + + Andrew plugs in for a can of Coke at a vending machine. + Sets his MUSIC FOLDER down on a chair. Keeps his eyes on + it. + + Then -- he overhears TALKING... + + TRUMPETER #1 + That’s what I heard... + + Andrew turns. Creeps around the corner. Sees a trio of + fellow Studio Band PLAYERS, all core, chatting. They don’t + see him... + + TRUMPETER #2 + Do you think he’ll make a + complaint? + + SAXOPHONIST + He wants a career. Long as Fletcher + stays, Fudd could get placed back + in. Why would he jeopardize that? + + Andrew leans in to hear more, but before he can get a read- + - + + CARL + I need to look at the music. + + Carl is inches from his face. Andrew turns to the chair -- + + but the folder is gone. His eyes go wide. No... + + CARL + Can I have it? + 48. + + + ANDREW CARL Yeah, of course. I’m... Why isn’t it on you? + + ANDREW CARL It is, I-- I don’t see it. + + ANDREW + (realizing he can’t hide + this) + Fuck... I -- I think I fucked up... + + CARL + No. You’re joking. + + ANDREW + I swear to God, I had it on that + chair-- + + CARL + Oh my God. Oh my God. Oh my God. + How could you be so fucking + stupid?!? + + ANDREW + (shaking, doesn’t know + what to do) + A... A janitor... Maybe a janitor + took-- + + CARL + Find the fucking chart!! + (turns, grabs a passing + player--) + Neiman lost my folder. + + SAXOPHONIST + Serious? Fletcher’s going to flip. + + And just like that -- a VOICE booms down the hall-- + + FLETCHER (O.S.) + Drums!! Where the hell is Tanner?? + + +49 INT. DUNELLEN AUDITORIUM - GREEN ROOM - MOMENTS LATER 49 + + Carl, terrified, Andrew behind him, addresses Fletcher-- + + CARL + We have an issue. + + FLETCHER + Now is not the time. + + CARL + 49. + + + I gave Neiman the folder. Neiman + lost it. + +Fletcher looks at Andrew. This is a joke, right? + + FLETCHER + Neiman lost it. + + CARL + Yes. + + FLETCHER + The folder is YOUR fucking + responsibility, Tanner! You should + have known not to give Neiman your + folder. You give a retard a + calculator and he’ll try to turn + his TV on with it. Now get your ass + on-stage before I-- + + CARL + I can’t... + + FLETCHER + Can’t what? + + CARL + (doesn’t want to have to + say this--) + I -- I can’t go on-stage... I don’t + know the charts by heart... + + FLETCHER + Come again, darling? + + CARL + You know this... I have -- I need + the music, my memory -- it’s, it + needs visual cues-- + + FLETCHER + Visual cues?? + + CARL + --it’s a medical conditio-- + + FLETCHER + A medical condition? What are you, + Sanjay Gupta?? Play the fucking + music!! + + CARL + I can’t. + 50. + + + ANDREW + I can. + + Fletcher and Carl both look at him. Neither was expecting + him to chime in. Andrew seems almost as surprised... + + FLETCHER + You know “Whiplash” by heart? + + ANDREW + Yes. Every measure. Every note. + + Quickly realizing this is now his only option-- + + FLETCHER + You’d better pray your memory + doesn’t fail you, Neiman. And I + hope you’ve improved since last + month’s rehearsal. I am not about + to start losing now. + + Then, to the rest of the band-- + + FLETCHER + ON-FUCKING-STAGE!! + + +50 INT. DUNELLEN AUDITORIUM - STAGE - MOMENTS LATER 50 + + The PLAYERS in their places. And there, on the set, + overwhelmed, trying to make this one shot count -- is + Andrew. + + ANNOUNCEMENT + With their second selection, the + Shaffer Conservatory Studio Band. + + Fletcher faces the band. Zeroes in on Andrew. The wild- + card. + + Andrew rubs the sweat from his palms. This is it, this is + it... Adjusts the drums, tightens the snares. Carl sitting + behind him, burning holes with his eyes... + + ANDREW + Five-two-two-six-two-two... Six- + two-two... + + Fletcher raises his arm. Hand suspended in air, finger + waiting to move... Andrew locks eyes on it. Heart pounding + now... + 51. + + + And -- the finger moves. The band begins WHIPLASH + OVERBROOK. + + A surging 7/4. Andrew seems caught off-guard at first. + + Struggles to keep up. Then reaches the right speed -- and + stays there. Fletcher keeps his eye on him, waiting for him + to fuck up... + + But Andrew doesn’t. He gets the first hit. Awkward, but in + time. Then the second hit -- also graceless, but on target. + + And here comes the key moment. Fletcher turns his attention + to the trumpets -- and away from Andrew. + + Barely believing his luck, Andrew plays another bar. Still + Fletcher doesn’t look at him. He’s focused on other + players. + + The number builds some more. And-- + + HEAD JUDGE (PRE-LAP) + First place. Shaffer Conservatory. + + +51 INT. DUNELLEN AUDITORIUM - STAGE - HOURS LATER 51 + + Applause. Fletcher summons his PLAYERS to the stage. The + JUDGE hands him the microphone. Fletcher takes it, + hesitantly. His band behind him -- including Andrew... + + FLETCHER + I’m...supposed to say a few words + but... it’s these kids who should + be speaking... + (turning to his band, + earnestly) + You earned this, gang. + (beat, turns to the + audience) + You know... When I was a kid, I saw + God. Or as some people know him, + Charlie Parker. My dad snuck me out + of school so we could make the + drive into Chicago. It was a bar so + he had to sneak me in, hidden under + his coat. I didn’t know where in + the hell I was. I was all of seven. + But then, by the time I was on my + third Shirley Temple, this nice- + looking man went up on-stage and + started playing. And I’ve never + been the same since. + 52. + + + FLETCHER + (turning again to his + band) + You guys mean the world to me, you + know... + (back to the audience) + I think of them like they were my + own kids. Treat them that way, too. + Treat ‘em like my dad treated me. + Meaning I terrorize them. + (laughter, and to the + band,) + But it’s true, gang. You’re my + family... + + Something about how Fletcher says this suggests he means + it... + + FLETCHER + Thank you. Thank you so much. + + He wavers. Then steps aside and exits with his band. + + +52 INT. DUNELLEN AUDITORIUM - STAGE - WINGS - CONTINUOUS 52 + + The STAGE HAND appears, carrying a red folder. Going up to + Carl and Andrew-- + + STAGE HAND + This yours? I think a janitor threw + it in the trash by accident. + + Carl looks. It’s his MUSIC FOLDER. He looks behind at + Andrew. + + +53 INT. STUDIO BAND ROOM - GEHRING HALL - DAY 53 + + A new day of rehearsal. Andrew enters the room, passes the + piano-- + + PIANIST + Don’t you go taking my folder... + + Andrew looks at him. Wary, he makes his way to the + drums...and to Carl. Reaches in to help Carl adjust the + cymbals when-- + + CARL + Do not touch the set. + 53. + + + Andrew stops. Just then -- the DOOR OPENS, and Fletcher + enters. + + FLETCHER + “Cherokee”. + (looks at Carl) + What are you doing? + + No answer. Carl, seated at the set, is visibly confused. + + FLETCHER + Core only today, I can’t waste time + with alternates. + + Carl stays still. What...? Andrew looks just as shocked. + + But Fletcher keeps on staring. He’s dead-serious. Finally, + Carl slides off, stunned, as Andrew takes his place... And, + calmly tossing this off even though he knows how much it + hurts-- + + FLETCHER + Tanner, make sure to turn Neiman’s + pages. + + Then he raises his hand. Andrew holds his sticks, still + shocked. This is as clear a verdict of his playing at + Overbrook as he’ll ever get. + + He’s the new core drummer. + + Fletcher CLAPS the band off, and before we hear any music + we’re-- + + +54 INT. ROAD TO NEW JERSEY - BUS - DAY 54 + + Andrew watches a VIDEO on his iPhone... It’s 70’s footage + and audio of a grey-haired DRUMMER, a face we’ve seen + before... BUDDY RICH. Andrew smiles. Relaxed. Proud. + + A bubble pops up: “1 NEW VOICEMAIL, 1 NEW TEXT MESSAGE”. + + Andrew opens the text. The name on it: “NICOLE”. It reads: + “You free Thursday?” + + Andrew is about to answer. Hesitates. Plays the voicemail. + + CARL (O.S.) + 54. + + + Neiman... You lost that folder on + purpose. You knew I didn’t know the + chart by heart... Answer me... I’ve + been core for two years. I’ve been + drumming since I was three. I + earned my spot you asshol-- + + Andrew hangs up. Looks back at the text message. + Considering again... + + Then he just resumes watching the video. + + +55 INT. NEW JERSEY - JIM’S HOUSE - KITCHEN - EVENING 55 + + Jim grabs a platter from the stove, Andrew by his side. + + JIM + How’s it going in Studio Band? + + ANDREW + Good. I think he likes me more now. + + JIM + His opinion means a lot to you, + doesn’t it? + + Jim looks at Andrew. Almost accusatory. A moment... + + ANDREW + Yeah... + + JIM + Grab the shakers please. + + +56 INT. JIM’S HOUSE - DINING ROOM - NIGHT 56 + + Seven people seated at the table: Jim and Andrew, Andrew’s + uncle FRANK, aunt EMMA, and 18-year-old cousin DUSTIN. To + Jim-- + + UNCLE FRANK + Jimbo -- overcooked! + (to Emma, laughing re: + the meat) + I can barely chew this thing. + + Jim laughs along. Andrew watches. There’s an undercurrent + to the joking. The power dynamic between the brothers is + clear. + + UNCLE FRANK + 55. + + + He just laughs. + +Jim keeps laughing. + + AUNT EMMA + And how’s your drumming going, + Andy? + +Andrew, put on the spot, hesitates. But then, excited-- + + ANDREW + Well... Actually, it’s...it’s going + really well. I’m now the core drum- + - + +The door OPENS. In steps TRAVIS, another cousin, 21, +football player, real looker. All eyes swerve in an instant +from Andrew to him. + + UNCLE FRANK + Well, well, well -- Tom Brady! + + TRAVIS + Sorry I’m late. + + AUNT EMMA + Did you hear, Jimmy? + + UNCLE FRANK + They named Trav the season’s MVP. + + JIM + That’s incredible, Tra-- + + AUNT EMMA + (interrupting) + And Dustin heading up Model UN, + soon-to- be-Rhodes-Scholar or who + knows what, Jim “Teacher of the + Year”... I mean, the talent at this + table -- it’s stunning. + +Beat. Then-- + + AUNT EMMA + And Andrew. With his drumming. + + UNCLE FRANK + Yeah, you said that was going ok, + Andy? + + ANDREW + (a little peeved,) + 56. + + + It’s going spectacularly well, + actually. I’m...I’m in Shaffer’s + top jazz orchestra, it’s the best + in the country -- and I was just + made a core member. + (there’s no reaction) + ...Which means I play in + competitions. I’m one of the + youngest they have. + + TRAVIS + How do they know who wins in a + music competition? Isn’t it + subjective? + + ANDREW + ...No, not really. + + UNCLE FRANK + Does the studio help get you a job? + + ANDREW + It’s...it’s not a studio, that’s + just the name of the ensemble... + And yes, it’s a big step forward in + my career. + + UNCLE FRANK + I’m just curious how you make your + money as a drummer. After + graduating. + +Andrew glances at his dad. Wondering if maybe he’ll chime +in in defense... But no. His dad stays meek and quiet. + + AUNT EMMA + I saw a TV commercial for credit + reports where a young man was + playing the drums. You could do + that. + + ANDREW + Yes, or the Lincoln Center Jazz + Orchestra. But the credit reports + gig is a wonderful backup. + + UNCLE FRANK + (missing Andrew’s + sarcasm) + Well I’m glad you have it figured + out. It’s a nasty business, I’m + sure. + (to Travis) + 57. + + + Oh, you gotta tell them about your + game last week. I’d say you lived + up to your title. + + TRAVIS + 43-yard touchdown to win it. + + UNCLE FRANK + That’s what I’m talking about! On + your way to the pros. + + ANDREW + It’s Division III. + +Everyone at the table looks at Andrew -- including his dad. + + ANDREW + He plays for Carleton. It’s + Division III. It’s not even + Division II. + (silence, shock around + the table) + The tilapia is delicious, by the + way. + + UNCLE FRANK + (I’ll get you back for + that) + You got a lot of friends, Andy? + + ANDREW + Not really. + + UNCLE FRANK + And why’s that? + + ANDREW + I don’t see the use. + + UNCLE FRANK + Well who will you play with + otherwise? Who’ll give you your + break? Lennon and McCartney were + school buddies, am I right? + + ANDREW + Charlie Parker didn’t know anyone + ‘til Jo Jones threw a cymbal at his + head. + + UNCLE FRANK + And that’s your idea of success, + then? + 58. + + + ANDREW + Becoming the greatest musician of + the twentieth century would be + anyone’s idea of success. + + JIM + Dying broke, drunk, and full of + heroin at 34 would not be my idea + of success. + +Andrew turns and looks at his dad. Can’t believe he joined +in. + + ANDREW + (to his dad) + I’d rather die broke and drunk at + 34 and have people at a dinner + table somewhere talk about it than + die rich and sober at 90 and have + no one remember me. + + UNCLE FRANK + Ah, but friends remember you. + That’s the whole point. + + ANDREW + No, none of us were Charlie + Parker’s friends. That’s the whole + point. + + UNCLE FRANK + Well there’s such a thing as + feeling loved and included. + + ANDREW + I prefer to feel hated and cast + out. It gives me purpose. + + JIM + That’s ridiculous. You don’t mean + that. + + UNCLE FRANK + Travis and Dustin have plenty of + friends, and I’d say they have + plenty of purpose. + + ANDREW + You’re right, they’ll make great + School Board presidents. + + DUSTIN + 59. + + + Oh -- so, that’s what this is all + about -- you think you’re better + than us? + + ANDREW + You catch on quick. You must be in + Model UN. + + TRAVIS + Well I’ve got a reply for you, + Andrew. You think Carleton + football’s a joke? + (Andrew only nods) + Come play with us. + + ANDREW + Four words you will never hear from + the NFL. + + AUNT EMMA + Who wants dessert? + + JIM + And from Lincoln Center? + +A moment of silence. Andrew looks at his dad, and his dad +just looks right back... A simmering anger in his eyes, +Andrew turns to the others, and, slowly-- + + ANDREW + In 1967 a scientist named Laszlo + Polgar decides to prove talent + isn’t about what you’re born with + but about conditioning. Has three + kids, Susan, Sophia and Judit, and + gets them practicing chess for + hours and hours before they can + even talk. Fifteen years later + Susan and Sophia are the two top + female players in the world, and + Judit’s on her way to entering the + history books as the greatest + female chess master of all time. + +Silence once again. Andrew glances at his dad, and delivers +back that same accusatory look he saw in the kitchen... + + UNCLE FRANK + So not only do you want to die at + 34, broke, drunk, and addicted to + heroin, but you also wish you were + a lab rat. + 60. + + + Andrew says nothing. Rises, plate in hand. Walks to the + door-- + + DUSTIN + Enjoy band camp. + + ANDREW + Enjoy pretending you’re an + ambassador. + + --and swings it shut behind him. + + +57 INT. COFFEE SHOP - DAY 57 + + ANDREW + Ok, I’m going to just lay it out. + This is why I don’t think we should + be together. + + We’re back in the city, at a coffee shop. Andrew is seated + across from Nicole, who just looks at him. Clearly she did + not think this is how the conversation would begin. + + ANDREW + I’ve thought about this a lot. If + we’re together this is what’s going + to happen. I’m going to keep + pursuing what I’m pursuing, and + it’s going to take up more and more + of my time. You’re going to see me + less and less. When you do, I’ll be + distracted, I’ll be upset, I’ll be + playing things in my mind. And + you’re going to just grow to resent + me. At a certain point, you’ll tell + me to ease up on the drumming, to + spend more time with you. And I + won’t be able to. And I’ll start to + resent you for even asking me that. + I’ll feel like you’re dragging me + down, you’ll feel like you don’t + matter -- and before long, we’ll + hate each other. So I think we + should just cut it off now, + cleanly, for those reasons. + + A beat. Nicole is silent. Finally, Andrew adds-- + + ANDREW + Because I want to be great. + + NICOLE + 61. + + + And you’re not. + + ANDREW + I want to be one of the greats. + + NICOLE + And I would stop you from doing + that. + + ANDREW + Yes. + + NICOLE + You know I would stop you from + doing that. You know that for a + fact. + + ANDREW + Yes. + + NICOLE + And I would barely see you anyway. + + ANDREW + That’s right. + + NICOLE + And when I did see you, you would + treat me like shit, because I’m + some girl who doesn’t know what she + wants, and you have a path, and + you’re going to be great, and I’m + going to be forgotten, and + therefore you won’t be able to give + me the time of day because you have + bigger things to pursue. + + ANDREW + That’s right. That’s exactly my + point. + +Beat. + + NICOLE + You’re right. We should not be + dating. + +She gets up. + + ANDREW + I’m glad we had this talk. + + NICOLE + 62. + + + Me too. + + With that, she turns and leaves. We linger on Andrew, the + look on his face... Did I just fuck up...? No, I’m good. + + +58 INT. GEHRING HALL - STUDIO BAND ROOM - DAY 58 + + A BLAST of music. Horns squealing, cymbals swelling. + + It’s another Studio Band rehearsal. Andrew’s at the drums, + playing well. Fletcher cues a fermata, and the band + finishes STUDIO BAND REHEARSAL AFTER-BREAKUP CHART. + + FLETCHER + Alright, gang. Pick up the new + chart by the door. Rehearsal + tonight starts at 9. You have ‘til + then to learn it. + + PLAYERS head out. Andrew grabs his copy of the chart -- + it’s called “CARAVAN” -- when-- + + FLETCHER + Neiman. Stay a bit, ok? + + Andrew nods. Carl, at the door, glares at him. Then slinks + off. + + FLETCHER + (approaching, pointing to + the chart) + Look at this. See the tempo? + + ANDREW + Quarter note 330... + + FLETCHER + That’s a double-time swing. That’s + what got you in here, isn’t it? + + ANDREW + I guess so... + + Fletcher grins. Then -- the smile fades. + + FLETCHER + Now, just as was the case with you, + I stumbled on a kid practicing his + double- time swing the other night. + I’d like to give him a shot. + + Before Andrew can register, let alone ask “Who?”-- + 63. + + + RYAN (O.S.) + Am I late? + +Fletcher and Andrew turn to the door. RYAN CONNOLLY is +here. + + FLETCHER + Perfect timing! Join us, Connolly. + (Ryan heads over, + smiling) + You two know each other, don’t you? + + RYAN + Yep, Nassau Band. ‘Sup, Andrew... + +Ryan is all smiles. But Andrew is mortified. Can barely +conceal his anxiety -- and his anger. + + FLETCHER + Now, Connolly, I’ve made Andrew a + temporary core-- + (Andrew’s eyes shoot up + at the word “temporary”) + --but we’ve got the competition + this weekend and I want to make + sure the new chart’s in good shape. + +Ryan nods, reaches into his backpack. And, to Andrew’s +shock, pulls out the “new chart”. CARAVAN. + + RYAN + This one, right? + +Andrew’s wide-eyed. When did he get the chart? + + FLETCHER + (as though he can read + his mind) + I gave it to him this morning, + Neiman. Now, all I want to do is + test out the part. Neiman, if you + wouldn’t mind, could we take it + from the top with just you? + +Andrew tries to keep calm. Goes to the drums, lays out the +chart. + + FLETCHER + Don’t worry, I don’t care about + hits. That’ll be tonight. For now, + just tempo. + 64. + + +Andrew nods. Takes a deep breath. Looks at the tempo +notation. “330”. Another breath. Ok... I’ve got this... +Fletcher CLAPS. Andrew BEGINS. + + FLETCHER + No... That’s not quite my tempo... + + ANDREW + I’m -- I’m sorry -- I’ll-- + + FLETCHER + Let’s see if Connolly can do it, + ok? + +Beat. Andrew looks at Ryan. Heart pounding, he switches +with him. Fletcher CLAPS. Ryan BEGINS. And he plays +perfectly. + + FLETCHER + Connolly -- that was excellent. + See, this is the beauty of Studio + Band. You come in an alternate -- + but a minute later, you could be + the new core. + +Andrew’s eyes widen again. + + ANDREW + You’re not serious. + +Fletcher looks at Andrew -- as though shocked Andrew talked +back. A moment of silence. Then -- BZZZZZ. Fletcher’s cell. + + FLETCHER + Connolly, the chart’s yours. See + you both tonight at 9. + (answering the phone) + Hi, this is Terence... + +He heads to his OFFICE. Andrew is still. What just +happened...? + + RYAN + How you been, bro? + (Andrew looks at Ryan) + I think it was the injury that kept + me out last time. But I’m fuckin’ + stoked to be joining you guys now. + +Andrew just stares. Ryan seems earnest -- but Andrew is +incensed. + + RYAN + 65. + + + (mistaking Andrew’s look + for anxiety) + Don’t worry about Fletch, either. + My granddad knew his dad from the + Philharmonic when Fletcher was + trying to break in. He’s more bark + than bite. + + Andrew’s eyes really widen now: What the fuck is going on? + + He gets up, marches to Fletcher’s door, and-- + + +59 INT. GEHRING HALL - FLETCHER’S OFFICE - CONTINUOUS 59 + + --BURSTS in. Fletcher’s just finished his call. + + ANDREW + What are--? + + FLETCHER + I said NOT NOW!!! + + There’s more desperation in Fletcher’s voice than anger. + And Andrew notices something else: Fletcher’s eyes are + watering... Andrew is silent. He’s never seen Fletcher like + this. + + FLETCHER + (softly, as though close + to crying) + You want the part? Then...earn it. + + A moment passes. + + +60 INT. GEHRING HALL - STUDIO BAND ROOM - CONTINUOUS 60 + + Andrew busts back through the STUDIO BAND ROOM. Eyes + burning. + + One thought and one thought only: Get that part back. + + RYAN + Bro! Wanna grab lunch? + + But Andrew doesn’t answer. Just keeps walking. + + +61 INT. DORMITORY - BASEMENT BATHROOM - DAY 61 + + Andrew pours ice into a sink. Turns on the faucet. Dips a + big glass jug in and collects ice water. + 66. + + +62 INT. ANDREW’S PRACTICE ROOM - DAY 62 + + Andrew practices the part... He’s pushing, giving it his + all... “CARAVAN” on his stand, scribbled over with pencil + markings: “forte”, “triplets!”, “hemiola 1-3”, “don’t slow + down!” + + ANDREW + Come on... Come on... + + He stops. His hand throbbing from blisters. He dips it by + his side -- into the jug of ICE WATER. Clenches. Blood + clouds the water. + + He resumes playing -- frenzied, exhausted. Fucks up, + screams out-- + + ANDREW + Fuck!!!! + + Starts pounding his stick against the drum-head. Then his + hand. Pounding harder and harder, once, twice, three times, + four times. Hand bleeding more, the drum-skin giving way, + finally tearing and breaking. + + He STARTS PLAYING again, fed up, enraged, SHOUTING at + himself-- + + ANDREW + Come on you fucking piece of + shit... Come on!!! COME ON!!!! + + +63 INT. SUBWAY - NIGHT 63 + + A crowded subway car. Andrew is seated, poring over his + sheet music, running through the beats in his head... + + +64 INT. GEHRING HALL - STUDIO BAND ROOM - NIGHT 64 + + The PLAYERS sit silently. Ryan on the drum throne, Carl and + Andrew behind him -- Carl still humiliated, Andrew 100% + focused. The clock reads: 9:00. Not a word in the room. + + Fletcher emerges. A CD PLAYER in his hand. He plugs it in. + + FLETCHER + Ok... Um... + + For the first time ever, he seems uneasy, unsure what to + say. + 67. + + + FLETCHER + We...we have a new player. Ryan + Connolly. + +Ryan nods, waves to the other PLAYERS. Chipper-- + + RYAN + Sup, dudes. + +Andrew glares at him. Seething now. But, continuing, +softly-- + + FLETCHER + But I...if you could just...put + your instruments down... Just for a + second... + +He turns to the CD player. Turns it on. A big-band ballad +swells. A muted trumpet takes the lead. It’s CASEY’S SONG, +and it’s a tender sound, full of melancholy... + +For a few seconds, Fletcher doesn’t say a word. His +thoughts seem to be drifting. Then, hesitant, as the music +plays... + + FLETCHER + Six years ago...I saw a kid + practicing scales in a band room + here. He’d started at Shaffer with + a lot of hope, but the truth was + he’d barely squeaked in and he was + struggling. Everyone on the faculty + told him: “This isn’t for you.” But + they didn’t see what I saw... + (his voice croaking + again, emotional,) + ...this...this scared, skinny kid + cursing himself ‘cause he couldn’t + get his scales right... I saw a + drive in him... + + FLETCHER + And I put him in Studio Band, and + we worked together for three years, + and when he graduated, Marsalis + made him third trumpet at Lincoln + Center. A year later, he was first. + That’s who you’re hearing now. + (then,) + His name was Sean Casey. + +The name catches Andrew’s attention. The trumpeter Fletcher +mentioned to him... And the word “was”... + 68. + + + FLETCHER + I found out this morning...that + Sean died. He died in a car + accident yesterday... + (takes a moment, is + having trouble speaking) + I just wanted you guys to know + that... He was... Sean was a... + (and, almost dissolving + into tears on these next + words) + ...beautiful player... + (breathes in, collects + himself) + I just thought you all should know. + +Beat. He leans back down and turns off the CD. Silence. + + FLETCHER + (another moment; then, + still shaky--) + “Caravan”. From bar 142, please. + +The PLAYERS open their folders, pick up their instruments. + +Fletcher waits. Hesitates again... Then -- CLAPS. Just +drums, bass and trombone play the trombone solo section of +CARAVAN STUDIO BAND REHEARSAL. Fast, precise -- but +Fletcher waves to Ryan to stop. + + FLETCHER + No, that’s...that’s not quite + right, Connolly... Sorry... + +Andrew’s eyes instantly fill with hope. Is this his chance? + + FLETCHER + I... I want to try Neiman on + this... Ok? + +Ryan nods, slowly slides off -- as Andrew quickly gets on. + +Clutches his sticks tight. This is it... Fletcher’s still +shaky-- + + FLETCHER + Maybe...maybe now’s the time for + Neiman to earn the part... + +Beat. He CLAPS off, Andrew starts, and, only ONE SECOND +later-- + + FLETCHER + 69. + + + No, I guess not. Tanner. + +An anger is creeping into Fletcher’s voice now. The +stammering fading away, bit by bit. Dismayed, Andrew gets +off, Carl gets on, Fletcher CLAPS him off -- and then, +SLAMMING his fist down on his table, the barely suppressed +grief giving way now to terrifying, full-out rage-- + + FLETCHER + Mother-FUCKER!!! + +Carl JUMPS. The band goes silent. Fletcher glares at his +drummers, eyes so heated they could burn holes into you. + + FLETCHER + Get your ass back on the kit, + Connolly. + +Ryan does. The other players are still. Real fear in the +room... + + FLETCHER + I will find my tempo out of one of + you faggots if it takes me all + goddamned night. + +His tone is vicious, his eyes still watery. He CLAPS, +stops-- + + FLETCHER + Which it just might. Neiman. + +Andrew gets on. His hands are shaking. Fletcher CLAPS, +stops-- + + FLETCHER + Not my tempo. Switch. + +Carl gets back on. Fletcher CLAPS, stops yet again-- + + FLETCHER + Not my FUCKING tempo!!!! + +He turns to the rest of the band. Rubs his eyes, breathes, +and then, trying to keep calm but his face already beet- +red... + + FLETCHER + 70. + + + Ok... Sorry about this, gang, hate + to put you through it. But rest + your arms, put aside your + instruments, if you need to take a + dump do it now, ‘cause I am going + to go for as long as it takes until + I find a drummer who can play in + time. + (to the drummers--) + You hear me talking, cocksuckers? + You’d better start shitting me + perfect 400’s. Connolly. You first. + Get on the kit. + + +65 INT. GEHRING HALL - BASEMENT HALLWAY - LATER 65 + + PLAYERS mull through the hall, stretching. A few yawns. You + can tell these guys have been here for hours already... And + through the wall, the kind of screaming that shakes you to + your core: + + FLETCHER (O.S.) + Motherfucking COCKSUCKER!!! Is-- + + +66 INT. GEHRING HALL - STUDIO BAND ROOM - NIGHT 66 + + FLETCHER + --that the fastest you can go?? It + is no fucking wonder Mommy ran out + on you, you worthless acne-scarred + fetal-position Hymie fuck. GET + OFF!!! + + Andrew -- whole body shaking, had been playing for half an + hour straight -- gets off the kit, struggling for breath, + hands coated with torn blisters and blood. Fletcher’s rage + is unlike anything we’ve seen from him: pained, vengeful... + Carl gets on the kit. Fletcher CLAPS. The clock: 11:06. + + FLETCHER + Well what do we have here? Gay + Pride himself. This is not a Sinead + O’Connor concert, Tanner. I am + sorry to inform you we will not be + serving Baked Alaska and + Cosmopolitans tonight. Now why + don’t you try playing faster than + you give fucking hand jobs?? One! + One! One! One! OFF THE FUCKING + KIT!!! + 71. + + + Carl stops. Staggers back, dazed, as Ryan moves up and + begins. + + FLETCHER + Now we got ourselves our mick + fucking paddy- cracker. Did you + know you look like a fucking + leprechaun? I think I’ll call you + Flannery. + + +67 INT. GEHRING HALL - BATHROOM - NIGHT 67 + + PLAYERS rinse their faces. One looks at his watch, dead- + tired. It’s very late... + + +68 INT. GEHRING HALL - STUDIO BAND ROOM - NIGHT 68 + + Some players have now returned to their seats. + + FLETCHER + Switch! + + Carl stops playing. Almost falls as he gets off the kit. + Ryan takes his place -- just as worn out. As soon as he + sits down at the set he has to bend down to catch his + breath. + + FLETCHER + It is not Saint fucking Patrick’s + Day, Flannery, there is not a pot + of gold under your fucking seat. + Play. + + Fletcher CLAPS. Ryan plays, muscles cramping, can’t keep + up-- + + FLETCHER + Switch! + + Ryan stops, gasping. Fletcher’s eyes land... + + ...ON ANDREW. Face awash in sweat, hair dripping, muscles + throbbing, wrists red, hands caked in blood, T-shirt + clinging to his chest. This is it... + + ANDREW + (muttering to himself as + he gets on the kit) + Come on... Come on you fuck... + + FLETCHER + 72. + + + Let’s see if we can finally bring + this home. + +He CLAPS. Andrew begins. + + FLETCHER + Don’t slow down. + +Andrew tries, the tempo slips... So fast, so loud... + + FLETCHER + Speed up! God-fucking-damnit I said + SPEED UP!!! + +Andrew’s arms are moving as fast as they possibly can, his +feet like triggers -- and his ears start RINGING now, the +RINGING cutting and almost drowning out the other sounds... +Fletcher, fire-eyed, turns around and goes into the nearest +CLOSET. Emerges with a COWBELL and a STICK. Comes closer +and BANGS ON IT in time. The SOUND slices through the +RINGING, startles Andrew, this stick whacking down inches +from his head-- + + FLETCHER + Don’t stop!! + +Andrew doesn’t stop. Manages to glare forward, with what +almost seems like hatred in his tired, blood-shot eyes... + + FLETCHER + Faster!... Faster!! + (Andrew speeds up) + Do it! Do it! Do it! Do it! Do it! + Do it! One! One! One! One! One! + One! One! One! + +Andrew slips, almost loses the beat. Fletcher GRABS the +FLOOR TOM DRUM and HURLS it through the air, against the +nearest wall. It RAMS into the concrete, handles buckling. +But Andrew stays focused. Doesn’t cry. + + FLETCHER + KEEP PLAYING!! + +Andrew does. Fletcher raises the COWBELL now, about to +STRIKE Andrew across the head, looks like a fucking madman +-- but still Andrew does not cry -- as Fletcher BELLOWS-- + + FLETCHER + KEEP PLAYING!!! Andrew keeps + playing. + 73. + + + Fletcher stands still. Stares at him. Circles the drum set + like a predatory beast, ready to strike at any instant. + + Then -- he steps back. Drops the cowbell and stick. Andrew + is still playing, going like an automaton. No tears. + Finally, Fletcher silently raises his hand, and, with just + a slight wave, gestures for Andrew to stop. + + Andrew does. Nearly collapses over the set. + + FLETCHER + Congratulations, Neiman. You earned + the part. + + He turns to the rest of the band. + + FLETCHER + Ok. Now we can begin. + + The clock: 2:00. + + +69 EXT. GEHRING HALL - SIDE DOOR - NIGHT 69 + + It’s 3:30am. The PLAYERS stagger out of the building. + + Zombies. + + Andrew appears, red-eyed, past exhaustion. Fletcher emerges + last. + + FLETCHER + 5pm call tomorrow. Leave at least + two hours from New York this time. + Save your travel receipts. Or + don’t, I don’t give a fuck. + + He then walks off. Andrew watches him leave. And, as we + zero in on Andrew’s eyes... + + ...we see that something fundamental has changed. + + He looks like a completely different person now. 100% + hollowed out. + + BUS DRIVER (PRE-LAP) + Next stop Dunellen. Two hours. + + +70 INT. ROAD TO DUNELLEN - GREYHOUND BUS - DAY 70 + + We’re on a Greyhound, packed. Another VOICE in the back... + 74. + + + ANDREW + Bop-ba-d-d-da-bop... Bada-bop-bop- + bop... + + It’s Andrew. Hunched over sheet music, earphones on, + counting aloud through “CARAVAN”. And, by his side -- a + Zip-lock bag of PILLS. Just like the ones we saw exchanged + at the party outside his dorm... + + PASSENGERS look at him. Who is this lunatic...? + + ANDREW + Bop-bada-bop... Ba-da-bop-ba-d-d-d- + da-bop... + + And suddenly -- A JOLT. The bus ROCKS to the side, lights + go out, the wheels SCREECH to an abrupt stop. Andrew + removes his earphones. + + +71 EXT. ROAD TO DUNELLEN - GREYHOUND BUS - DAY 71 + + The side of the road. Andrew and the other PASSENGERS stand + outside, waiting, the BUS’s right tire blown, a rod lodged + into its side. Andrew checks his phone for the time. + Fuck... + + +72 EXT. DUNELLEN - BUS STOP - DAY 72 + + A nondescript Jersey town. A NEW BUS comes to a stop, + setting down passengers on Dunellen’s Main Street. Andrew + bolts off, carrying his stick bag and music folder. Looks + around. + + Perplexed. Grabs a PASSERBY-- + + ANDREW PASSERBY Do you know where all the No, you gotta + call the cabs are? They said there cabs. Takes half an hour + were cabs here, that’s what notice. I-- + + ANDREW PASSERBY What? Well is there a -- They got a car + rental down another bus or-- on Pine. + + ANDREW + Which way?? + + The Passerby points -- and Andrew starts RUNNING. + + +73 EXT. CAR RENTAL AGENCY - MOMENTS LATER 73 + 75. + + + Five blocks later -- Andrew dashes across a patch of grass, + reaches a door, grabs the handle. The door won’t open. He + goes white. Sees the HOURS sign. Eyes scroll down. Starts + POUNDING-- + + ANDREW + You’re still open! You’re still + open! + + A MAN appears. Gestures for Andrew to calm down. Opens up. + + +74 INT. CAR RENTAL AGENCY - MOMENTS LATER 74 + + Andrew finishes signing paperwork. Grabs his MUSIC FOLDER + and BACKPACK from the nearest chair, hurries off. WE DRIFT + back... + + ...to the STICK BAG left on the chair. + + +75 EXT/INT. CAR RENTAL AGENCY - RENTAL CAR - MOMENTS LATER 75 + + Andrew RUNS like mad across a small LOT. Reaches a CAR, + opens up and jumps in. Plugs an address into the GPS. The + estimated time: 9 minutes. The clock: 3:02... He floors it. + + +76 INT. DUNELLEN STREET - RENTAL CAR - CONTINUOUS 76 + + Andrew drives fast. His cell rings-- + + ANDREW + Hello?? + + PIANIST (O.S.) + Neiman, where the fuck are you? + Call-time was 5. + + ANDREW + I’m sorry -- I’m on my way. I’m + almost-- + + PIANIST (O.S.) + We’re on stage in twenty-- + + ANDREW + I know, I’m almost ther-- + + PIANIST (O.S.) + --and Fletcher’s got Connolly + warming up in case you don’t show. + 76. + + + ANDREW + God-fucking-damnit, I SAID I was on + my way, you tell the redhead I’m ON + MY FUCKING WAY!! + + He throws the phone against his seat. + + +77 EXT. DUNELLEN AUDITORIUM - MOMENTS LATER 77 + + Andrew pulls up. + + +78 INT. DUNELLEN AUDITORIUM - GREEN ROOM - DAY 78 + + Andrew arrives, panting. Fletcher glares, the band behind + him-- + + FLETCHER + Glad you could work us into your + schedule, darling. + + ANDREW + I’m here. I’m ready to play. + + FLETCHER + Too late. Connolly’s playing. + + Andrew looks over to his left -- to Ryan. + + ANDREW + Like fucking hell he is. + + Fletcher looks at him. Stunned. The PLAYERS also look + shocked. + + FLETCHER + Come again? + + ANDREW + It’s my part. + + FLETCHER + Actually it’s my part. I decide who + I lend it to. + + ANDREW + I have the folder-- + + FLETCHER + I see the folder for a change, but + I don’t see the sticks. + 77. + + +Andrew is about to counter -- when he looks down. Looks +back. + +Thinks. Realizes... Skin paling, his heart racing... + + ANDREW + They’re -- they’re in the car, I + just have to grab them-- + + FLETCHER + Nope. I’m warming the band up now. + + ANDREW + I’ll use Ryan’s sticks. + + FLETCHER + You lost the part, Neiman. + + ANDREW + No I didn’t!! You can’t do this! + + FLETCHER + I CAN’T?!? + +He marches toward Andrew. Looms over him, seems about to +hit him. + + FLETCHER + When did you become an authority on + what I can or cannot do you weepy- + willow shitsack? + + ANDREW + When I earned that part. + + FLETCHER + Earned? You’ve never earned a + thing. The only reason you’re a + fucking core is because you + misplaced a folder. The only reason + you’re in Studio Band is because I + told you what I’d be asking for in + Nassau. + + ANDREW + Bullshit. I’m in Studio Band + because-- + + RYAN + Why don’t you back off, bro? + + ANDREW + 78. + + + Fuck you, Johnny Utah. Turn my + pages. + + FLETCHER + You realize I can cut you anytime I + feel. + + ANDREW + You would’ve cut me by now. + + FLETCHER + Try me you weasel. At 5:30, that’s + in eleven minutes, my band is on- + stage. You’re not there with your + own sticks, or you show up and make + a single mistake -- a single one -- + and I’ll send you back to Nassau + Band to turn pages until you + graduate or drop out. For extra + kicks, I’ll spread the word on just + how you became a Studio Band core, + and by the time my sewing circle is + done you’ll make your dad look like + a success story. + (lets that linger, then,) + Or I can give “Johnny Utah” the + part and we’ll leave it at that. + Your choice. + + Beat. Andrew catches sight of Carl, standing in the back, + watching -- and almost smiling. He turns back to Fletcher-- + + ANDREW + It’s my part. I’ll be on the stage. + + FLETCHER + That’s 10 minutes 50 seconds left, + you pathetic pansy-ass fruit-fuck. + + Andrew turns. Bumps into Ryan, PUSHES him out of the way, + RUNS. + + +79 EXT/INT. DUNELLEN AUDITORIUM - RENTAL CAR - MOMENTS LATER 79 + + Andrew drives away. The clock changes from 5:20 to 5:21. + + +80 EXT/INT. CAR RENTAL AGENCY - RENTAL CAR - DAY 80 + + Andrew pulls up at the rental agency. The clock changes + from 5:27 to 5:28. + 79. + + +81 INT. CAR RENTAL AGENCY - MOMENTS LATER 81 + + Andrew races into the rental agency. They’re still open... + Grabs the STICK BAG... + + +82 EXT. CAR RENTAL AGENCY - MOMENTS LATER 82 + + Andrew runs to his car and peels off. + + +83 INT. DUNELLEN STREET - CAR - MOMENTS LATER 83 + + Andrew on the road, speeding like a demon, the GPS on. + Looks at the clock. 5:30. Then 5:31. Whips out his cell. + Dials... + + ANDREW + It’s Neiman... Tell Fletcher I’m + coming. + + PIANIST (O.S.) + What the fuck is taking so long?? + They’re moving on-stage now. + + ANDREW + There was -- there was a problem + with the lock on my car. It’s + solved and I’m coming. + + GPS VOICE + Left turn up ahead. + + Andrew looks at the GPS. Fuck. Tries to switch it off. + + PIANIST (O.S.) + Are you driving? + + ANDREW + No.. + + The GPS BEEPS for the turn. + + PIANIST (O.S.) + What was that? + + ANDREW + Tell Fletcher I’m coming or I’ll + rip out your fucking eyes. + + He hangs up. Enraged. Slams down on the gas, engine + roaring... + 80. + + + PICKING UP SPEED... The GPS says “2 minutes” left... The + clock turns 5:32... + + The speedometer SHOOTING UP... UP... UP... + + The car reaching a STOP SIGN...but Andrew keeps going, not + looking... + + His car SPEEDING UP and SPEEDING UP until it’s-- + + --SLAMMED INTO. + + Glass flying everywhere, everything going so fast, as + though the vehicle had just been whipped up by a tornado... + The car FLIPS, 180, the top crunching down like paper, + Andrew spun around and shoved up against it -- bleeding, + battered-- + + +84 INT/EXT. DUNELLEN STREET - CRASHED RENTAL CAR - CONTINUOUSA 84 + + --until the car comes to a stop, upside down. Glass and + blood. + + Silence. + + Andrew takes a moment to understand what has just happened. + + Gasping for breath, he yanks himself up -- but finds his + LEFT HAND is caught under the steering wheel. He yanks, + pulls at it. It won’t budge. Smoke and exhaust fumes billow + up... He tugs and tugs and pulls and -- finally -- CRAAAACK + -- the bone of his index finger SNAPS. The most painful + sound you can imagine. He SCREAMS in agony. YANKS back, + staggering... + + His hand is free. Bone broken, bleeding profusely. + + Andrew crawls out of the car... Rises to his feet... Dizzy, + the world spinning... The TRUCK DRIVER who rammed into him + is running over-- + + TRUCK DRIVER + Are you ok??? + + ANDREW + I -- I need -- I -- my -- my + sticks... + + He turns back to the car. Bends down to reach back in... + + TRUCK DRIVER + 81. + + + No -- stay away from the car, it’s + not sa-- + + Andrew blocks him out. Reaches with his right hand -- the + working one -- and goes for the STICK BAG, sandwiched + between the caved-in top and the seat. Groaning in pain as + he reaches... Gets it. + + TRUCK DRIVER + I’m calling 9-1-1, you’re going to + be ok-- + + ANDREW + I -- I have to -- I have to go, + it’s -- it’s three more blocks-- + + TRUCK DRIVER + (holding him back) + Sir, you don’t have to go anywhere- + - + + ANDREW + Get your hands off me!!! + + He yanks free from the Driver’s grasp and starts RUNNING... + + +85 I/E. DUNELLEN AUDITORIUM - LOBBY - MOMENTS LATER 85 + + Still running, has been running for three blocks... Out of + breath, even dizzier than before... Reaches the front + green, face coated in sweat, and hand drenched in blood... + Almost collapses... A couple of PASSERSBY see him, shocked- + - + + PASSERBY + Jesus Christ... + + --but he either doesn’t notice or doesn’t care. He’s dead- + set, tunnel vision, only cares about the goal: Get on- + stage... + + Andrew busts inside. Eyes scanning. Hears the sound of + TUNING... + + +86 INT. DUNELLEN AUDITORIUM - STAGE - MOMENTS LATER 86 + + Dashes in from backstage. The PLAYERS have taken their + places, finished tuning, are about to perform. Andrew sees + Fletcher. Fletcher sees him. Hiding his arm behind his + stick bag-- + 82. + + + ANDREW + I’m here. I’m here. I’m here. + +Doesn’t even wait for Fletcher’s answer, goes straight to +the set where Ryan is seated. Nothing is going to stop him +now-- + + ANDREW + Get off. Get off the fucking set. + +Ryan looks at Fletcher. Fletcher waits -- then nods, almost +smiling. Seems he’s having fun with this. Ryan slides off, +pissed, and takes a seat next to Carl. Andrew takes his +place. + +His left hand still hidden, Andrew props up his music and +pulls out a pair of sticks. Tries to hold his left stick +properly -- but it keeps giving way. With his index finger +broken, it’s impossible to keep the stick steady... He +looks at the music: “Caravan”... Looks back at his hand... +Tries to move his left fingers, mimicking the stick +patterns... Just up ahead -- Fletcher. Animal intensity... +Andrew closes his eyes... Tries to block out the anxiety... +The pain... The stress that just keeps mounting and +mounting... Gropes inside his STICK BAG. Pulls out his bag +of pills. Drops it. Pills scatter. Picks a pill up, pops +it, out of sight. + + ANNOUNCEMENT (V.O.) + The Shaffer Conservatory Studio + Band... + +Fletcher raises his hand, ready to cue... Andrew tries to +get his breathing under control... Ryan and Carl lean +forward... + +Ryan catches a glimpse of Andrew’s left hand, just as... +...Fletcher’s finger MOVES. + +THE BAND IS OFF. It explodes into CARAVAN DUNELLEN at +lightning- speed. + +But Andrew is already in trouble... Blood getting on the +snare... Ears starting to RING... Left hand barely keeping +up... The whole thing slowly slipping away from him... He +closes his eyes. Mouths: “Come on come on come on...” + +A big FILL coming up. He needs both his hands. Launches +into it -- and his left stick CATCHES the edge of a +stand... ...AND GOES FLYING. Falling and sliding under the +hi-hat pedal. + + ANDREW + 83. + + + (still riding with his + right hand) + Stick... + +Carl stays still. Andrew looks at him. But Carl won’t move. + +Panicked, Andrew turns, eyes his old Nassau Band peer -- + +Ryan. + + ANDREW + Ryan... Stick... + +Ryan hesitates. Doesn’t want to think of himself as a +saboteur. But he looks at Carl, Carl looks back at +him...and right then and there he makes his choice. + + ANDREW + Please... + +Neither Carl nor Ryan moves. + +Andrew, thinking fast, eyes the fallen stick. Trying as +hard as he can to keep that tempo going with his right +hand, he slides down the left side of his body, stretching +his arm as far as it can go... His broken finger grazing +the stick... Grabbing hold... + +Pulls up -- and -- another CRAAAAAACK as his finger is +caught against the hi-hat pedal and the bone is bent 90 +degrees. He GASPS, almost cries out in pain. Has to hold it +in. + +Pulls himself back up to the set -- and there, looming over +him already, is Fletcher. Eyes fiery-- + + FLETCHER + The fuck are you doing...??? + +Andrew keeps playing. But the PAIN is harder and harder to +ignore. His snare drum completely smeared in red now, his +stick stained, his whole arm shaking. And that RINGING -- + +just growing and growing, drowning out everything else... +He looks at the SHEET MUSIC, suddenly lost... The horns +blast out a hit -- but Andrew isn’t on it. Fuck. Launches +into another fill -- and hits the crash at the wrong time. + +Fletcher stares at him. The look says it all: it’s over. +But Andrew keeps fighting. Another missed hit, then a +missed time- signature change, the beat falling apart +beneath his feet. Total chaos, and then, finally, the sign +of death -- + 84. + + + Andrew STOPS. + + Almost immediately, the rest of the band grinds to a halt. + + It’s a horrible sound, like a car screeching, nails on a + chalkboard. + + Fletcher stands in place, eyes on Andrew. In fact, all eyes + are on Andrew. The theater is dead-silent. Disbelief + everywhere. + + Calmly, Fletcher approaches Andrew and whispers one last + thing: + + FLETCHER + You’re done. + + Then he turns around. Andrew start shaking, his eyes + brimming -- and, suddenly, something takes over inside. + Almost despite himself, he RISES -- and KICKS OVER THE + DRUMS. + + Cymbals CRASH to the wooden stage-floor like bombs. Andrew + CHARGES forward -- and, just as Fletcher turns to him, + TACKLES the man to the ground... + + Andrew goes absolutely batshit crazy on Fletcher, murder in + his eyes... Raises his fists, about to POUND into + Fletcher’s face, when SECURITY GUARDS yank him off, pulling + him away in a flash... + + Torn from his target, Andrew breaks down into TEARS. Every- + thing inside him spilling out like water. Fletcher, stunned + but uninjured, gets back on his feet. His shirt drips with + blood -- not his own, but Andrew’s. A SECURITY GUARD rushes + + onto the scene, and Andrew, kicking and screaming, is + DRAGGED OFF... + + We linger inside the theater. A hush over the audience, the + players and their instruments. And then, a card: Final + Competition of the Winter Season + + +87 INT. ANDREW’S DORMITORY - DAY 87 + + Andrew stands alone in his dorm. Staring into space. A + bandage on his hand. Time has passed... + + Lets his eyes take in one item at a time: A drum pad on the + floor. A metronome. A DISMISSAL LETTER... He’s been + expelled from Shaffer. + 85. + + + A DVD. He slides that into his laptop, sits down slowly... + + A HOME VIDEO begins: a smiling EIGHT-YEAR-OLD BOY at a + DRUM... It’s ANDREW... Innocent, bright-eyed, having a + blast... + + EIGHT-YEAR-OLD ANDREW + ...and this is my pa-ra-did-dle... + + He plays a paradiddle on the drum: left-right-left-left. A + CHEER off-camera, a voice we recognize -- his father, JIM-- + + JIM (O.S.) + Woooo-hoooo!!! + + EIGHT-YEAR-OLD ANDREW glows. And our Andrew, hurting, + tearing up, watches... + + Pulls the DVD out. SNAPS it in half. Tosses the halves in + the trash. Slides the drum pad and metronome into the trash + as well. Ties the trash bag and pulls it out. + + +88 INT. ANDREW’S PRACTICE ROOM - DAY 88 + + Andrew busts in, starts breaking his drums down. First the + cymbals come off, then the pedals, then the toms... A look + of resolution on his face -- and, bubbling up, anger... He + tears at the drums as though attacking them, + + pulls them apart almost viciously, one part after + another... Then the Buddy Rich POSTER -- which he rips to + shreds... + + +89 INT. HALLWAY - ANDREW’S PRACTICE ROOM - MOMENTS LATER 89 + + Andrew THROWS trash bags into a garbage can... Heads back + and eyes his PRACTICE ROOM -- now empty. He takes a moment. + Sits down on the hallway floor, the drum parts stacked to + the side. Leans back, closes his eyes, and takes a deep + breath out... + + It’s done. + + He pulls out his cell. A beat. Then-- + + ANDREW + Ok... Where do you want me to meet + you? + + +90 INT. HOTEL LOBBY - BAR - LATER THAT DAY 90 + 86. + + +RACHEL BORNHOLDT -- lawyer, elegantly dressed -- sits +across from Andrew, Jim to the side. There’s a glass of +white wine for Jim, a club soda for Rachel, and an +untouched water for Andrew. + +A moment of silence. Finally-- + + RACHEL BORNHOLDT + Andrew...? + +Andrew remains silent for a moment. Then-- + + ANDREW + When did you contact my dad? + + JIM + They just called me this week, + Andr-- + + RACHEL BORNHOLDT + (interrupting) + Does the name Sean Casey mean + anything to you? + +Andrew looks back at Rachel. A moment. Warily, he nods. + + RACHEL BORNHOLDT + So you know of his death? Last + month he hung himself in his + apartment. + +Andrew takes this in. Fletcher had said it was a car +accident... + + ANDREW + What does that have to do with me? + + RACHEL BORNHOLDT + Sean suffered from anxiety and + depression. His mother claims this + started during his time as + Fletcher’s student. + +Andrew looks at her. Rachel can tell he’s surprised. + +A moment passes. + + RACHEL BORNHOLDT + Now, the Caseys aren’t wealthy. + They don’t want to file suit. + + ANDREW + Then what do they want? + 87. + + + RACHEL BORNHOLDT + To make sure Terence Fletcher is + never allowed to do this to another + student. + + ANDREW + He didn’t do anything. + + RACHEL BORNHOLDT + So President Kohn and Dean Pence + will tell you. To them, Fletcher is + Shaffer. + + RACHEL BORNHOLDT + But if they think we have a case + like this and can win in court, + they’ll have no choice but to let + him go before we do. + +Beat. Andrew looks at her. Then at his dad. + + ANDREW + Well, I have nothing to say. + +Jim leans forward now, taking the initiative-- + + JIM + Andrew... It’s over, ok...? He’s + out of your life. Why let him get + away with what he did to you? + +He eyes Rachel. Ok...? Was that the right thing to say...? + +Andrew stays silent. + + RACHEL BORNHOLDT + Would you characterize his conduct + as extreme, Andrew? Did he ever + intentionally inflict emotional + distress? + +Still Andrew doesn’t respond. Feels his dad’s stare on him +as well now. + + RACHEL BORNHOLDT + (trying to persuade--) + This would not be a public hearing, + you know... Fletcher would never + know it was you who spoke up. + +Andrew looks at the glass of water in front of him. + +Untouched. + 88. + + + ANDREW + ...What would happen to him? + + RACHEL BORNHOLDT + Shaffer will do anything to prevent + this from going to court. Yours + won’t be the first complaint, but I + think it’ll tip the balance. You’re + recent. + + ANDREW + You tried other students? + + RACHEL BORNHOLDT + Some -- but you guys are walls. + + ANDREW + And you thought I’d talk. + + RACHEL BORNHOLDT + You have nothing to gain from + Fletcher anymore. + +A beat. Andrew turns his eyes to his dad. Anger in his +gaze-- + + ANDREW + Why did you do this...? + +Jim seems taken aback. Flustered for a second. Then-- + + JIM + You think I was going to let him + put my son through hell and walk + off scot-free? + +Andrew turns away. Jim can see the hurt on his son’s face. + +The sense of betrayal. Worried, trying to reach out-- + + JIM + Don’t you know I would never let + that happen, Andrew? That there’s + nothing in the world more important + to me than you? + (beat; Andrew evades his + gaze) + Don’t you know that? + +A moment. Andrew looks at his dad again. + 89. + + + Then he stares ahead. WE PUSH in on him, slowly -- as he + drifts deeper into thought, trying to sort through it + all... + + RACHEL BORNHOLDT (O.S.) + ...Andrew? + + Andrew can barely hear her... + + Defeated, his soul split in two... Finally -- he gives up. + + ANDREW + Just tell me what to say. + + WE FADE OUT. + + +91 EXT. NEW YORK STREET - BILLBOARD STREET - LATE AFTERNOON 91 + + Summer in New York. Tube tops, street performers, sunshine. + + Andrew, hand healed, carries laundry. Looks up and sees a + huge sign: “BACK IN NYC! JVC JAZZ FESTIVAL June 21-29”. + We’re in the Lower East Side -- far, far away from + Shaffer... + + +92 INT. ANDREW’S APARTMENT - LIVING ROOM - LATE AFTERNOON 92 + + A new apartment. Andrew’s dad is already inside, sliding + groceries into the fridge when Andrew enters. + + JIM + Hey, buddy. You ready? + + +93 INT. ANDREW’S APARTMENT - LIVING ROOM - LATE AFTERNOON 93 + + Blinds closed, as Andrew and Jim sit and watch “North by + Northwest” on TV. We PAN from a few college applications on + a table, past the walls -- no decorations at all -- to + Andrew and Jim seated. + + We linger on Andrew’s face. There’s a sadness in his eyes. + He looks tired, even after months, and resigned. + + Jim laughs at a line in the movie. Glances over at his son, + wants to see if he’s enjoying himself. Hands him some + popcorn. A beat. + + +94 INT. ANDREW’S APARTMENT - LIVING ROOM - EVENING 94 + 90. + + + Father and son stand by the doorway, Jim about to exit-- + + JIM + “Dr. No” next week. Or whatever’s + playing on 86th...? + + ANDREW + ...I’d rather do it here. + + JIM + Ok. I stacked your pantry with + Gushers. + + Andrew manages a smile. A moment passes between them. + + ANDREW + Thanks, Dad... + + Jim exits. Andrew hangs back. A moment... + + Then, Andrew glances down at his phone. Scrolls to a + specific number: “NICOLE”. + + He looks at it. Thinking. Finger hovering over it... Then, + too scared, he pulls back. Pockets the phone. + + +95 INT. SANDWICH SHOP - DAY 95 + + Andrew makes a ham sandwich, employee’s apron on. Hands it + silently to a CUSTOMER. + + +96 INT. JIM’S HOUSE - LIVING ROOM - DAY 96 + + Uncle Frank, Jim, and Travis sit on the couch watching a + hockey game on TV. They laugh and cheer, as Andrew sits off + to the side, also watching -- his mind far away. + + +97 EXT. NEW YORK STREET - JAZZ CLUB - NIGHT 97 + + Andrew walks alone, eating a slice of pizza. Crosses by a + STREET PERFORMER -- a man drumming away on a row of + buckets. + + Doesn’t watch, just keeps walking. + + We follow, as Andrew passes a JAZZ CLUB on the next block. + + Suddenly -- he stops. + 91. + + + There, on the club’s main sign, below the featured names, + are these words: “Guest Performer: TERENCE FLETCHER”. + Andrew stays put for a second. Completely taken aback. Then + he starts walking away. Then stops. Nope. Turns around... + + +98 INT. JAZZ CLUB - MOMENTS LATER 98 + + ...and steps inside. It’s a genteel venue. On the stage, + BASS, DRUMS, BONGOS -- and, at the piano, FLETCHER. + + The mere sight gets Andrew’s pulse racing. But he stays + put. + + Watches... The quartet is pacing its way through FLETCHER’S + SONG IN CLUB, and Fletcher is playing the final head. He’s + exceedingly delicate, gentle with each keystroke, his + fingers moving like ballerinas. His playing is soft, + subtle, and exquisite. He plays the melody as though moved + by it. + + Andrew is surprised by this... Stays in the back, behind + the last table. The song comes to a close. Fletcher smiles, + looks + + -- and then freezes. His eyes locked on Andrew. He has seen + him. + + Andrew blanches, takes a step back, hurries for the exit. + But there’s a PERSON blocking the way. Tries to squeeze + through-- + + DRUMMER (O.S.) + That was Terence Fletcher, on the + keys... + + More applause. Andrew, hemmed in, keeps trying to get out-- + + FLETCHER + Neiman. + + Andrew stops. Turns. Fletcher is standing right there. A + moment of silence. Andrew is pale. But Fletcher’s face is a + blank. + + ANDREW + ...Hi... + + SMASH CUT TO: + + +99 INT. JAZZ CLUB - NIGHT 99 + 92. + + +A table in the corner. Fletcher and Andrew seated. They +seem to have been sitting here in silence for some time. +Two drinks stand between them. Untouched. The other band +members on-stage play JAZZ CLUB BLUES, a new PIANIST on the +keys and a SAXOPHONIST added as well. Finally-- + + FLETCHER + So what are you up to these days, + Andrew? + + ANDREW + ...Oh, just...you + know...various...things... + +Fletcher nods. Ok. Andrew eyes him. Then, nervous-- + + ANDREW + ...I--I’m sorry about what + happened. + (then, should I clarify?- + -) + At Dunellen. + + FLETCHER + You shouldn’t be. A player’s got to + be willing to fight. + +Andrew looks at him. + + FLETCHER + You played with a broken bone. + After crashing a car. That’s + insane. + + ANDREW + I was in a different place. + + FLETCHER + Good thing you’re not in that place + anymore. + +A beat. Then -- Fletcher seems distracted. By people +CLAPPING ALONG to the band... + + FLETCHER + Have you ever noticed it’s never + the people with rhythm who clap + along? + +He starts CLAPPING loudly, in the proper tempo. Leans over +to the table next to his, where a COUPLE is clapping off- +beat, and starts CLAPPING in their faces. Then sits back +down. + 93. + + + FLETCHER + I don’t know if you know... I don’t + teach anymore. + + ANDREW + I... I heard about that... You + quit? + + FLETCHER + ...No, not exactly. + +He looks at Andrew. A moment of tension. Does he know...? + + FLETCHER + A couple parents got a kid from + Sean Casey’s year... I don’t know + who, I think maybe a bassist... + They got him to say a few things + about me... That much I know... + (Andrew tries to hide his + relief) + Though why anyone would have + anything but honey and sugar to say + about me is a mystery. + +Andrew laughs. Seems the mood has lightened. + + FLETCHER + That’s a good laugh, huh? + + ANDREW + Oh, no... I...I just-- + + FLETCHER + No, it’s ok -- I know I’ve made + some enemies. Maybe I seem to think + my style is normal, but believe me, + I don’t. + +A moment. Fletcher finally takes a sip of his drink. + + FLETCHER + I’m conducting some, though. + They’re bringing back the JVC Fest + this year, got me opening with a + pro band in two weeks. + + ANDREW + (genuinely impressed) + That’s amazing. + + FLETCHER + (shrugs) + 94. + + + It’s ok... + +Then, looking off for a moment-- + + FLETCHER + The truth is I don’t think people + understand what it is I did at + Shaffer. I wasn’t there to conduct. + Any idiot can move his hands and + keep people in tempo. No, it’s + about pushing people beyond what’s + expected of them. And I believe + that is a necessity. Because + without it you’re depriving the + world of its next Armstrong. Its + next Parker. + (pause) + Why did Charlie Parker become + Charlie Parker, Andrew? + +Beat. Andrew is surprised. He’s told this story himself. + + ANDREW + Because Jo Jones threw a cymbal at + him. + + FLETCHER + Exactly. Young kid, pretty good on + the sax, goes up to play his solo + in a cutting session, fucks up -- + and Jones comes this close to + slicing his head off for it. He’s + laughed off-stage. Cries himself to + sleep that night. But the next + morning, what does he do? He + practices. And practices and + practices. With one goal in mind: + that he never ever be laughed off- + stage again. A year later he goes + back to the Reno, and he plays the + best motherfucking solo the world + had ever heard. + +Andrew smiles. Nods. Finally -- unlike his uncles, his +cousins, even his father -- someone who gets it. + + FLETCHER + 95. + + + Now imagine if Jones had just + patted young Charlie on the head + and said “Good job.” Charlie + would’ve said to himself, “Well, + shit, I did do a good job,” and + that’d be that. No Bird. Tragedy, + right? Except that’s just what + people today want. The Shaffer + Conservatories of the world, they + want sugar. You don’t even say + “cutting session” anymore, do you? + No, you say “jam session”. What the + fuck kind of word is that? Jam + session? It’s a cutting session, + Andrew, this isn’t fucking + Smucker’s. It’s about weeding out + the best from the worst so that the + worst become better than the best. + (beat) + I mean look around you. $25 drinks, + mood lighting, a little shrimp + cocktail to go with your Coltrane. + And people wonder why jazz is + dying. + (then,) + Take it from me, and every + Starbucks jazz album only proves my + point. There are no two words more + harmful in the entire English + language than “good job”. + +Beat. He leans back. Lets his words linger. Andrew +thinks... + + ANDREW + But do you think there’s a line? + You know -- where you discourage + the next Charlie Parker from + becoming Charlie Parker? + + FLETCHER + No. Because the next Charlie Parker + would never be discouraged. + +Andrew takes this in. A moment... + + ANDREW + ...And you? Are you back to playing + now? + + FLETCHER + 96. + + + Not really. Here and there... The + playing never interested me. I + never wanted to be Charlie Parker. + I wanted to be the man who made + Charlie Parker. The man who + discovered some scrawny kid, pushed + him, prodded him, shaped him into + something great -- and then said to + the world, “Check this out. The + best motherfucking solo you’ve ever + heard.” + + ANDREW + Who’s your Charlie Parker, then? + (hesitant) + Sean Casey...? + +The name hits Fletcher. Fletcher looks at Andrew -- who +immediately regrets bringing that name up. Why? Because, +even after everything, the sight of Fletcher hurting +affects him... + + FLETCHER + Sean... Sean was a sweet kid... And + with all those idiots saying “This + isn’t for you”, Sean did something + great. Very few people ever get + that chance... + +He pauses. Looks off. Looks at the musicians on-stage... + + FLETCHER + But no... Not Sean Casey. + (then, as he thinks about + this,) + The truth is I don’t know if I ever + had a Charlie Parker... + (and then,) + But I tried. And that’s more than + most people can say, Andrew. I + tried. And even if I never find + one, I will never apologize for + trying. + +He’s silent. A look of disappointment. + +Then, he points to the PIANIST on-stage... + + FLETCHER + He’s a beautiful player, isn’t he? + + ANDREW + Yeah... + 97. + + + Fletcher nods. His thoughts drifting again. A moment + passes. + + +100 EXT. JAZZ CLUB - NIGHT 100 + + Andrew and Fletcher exit. They stand for a second. Look at + one another. An awkward silence. + + ANDREW + Nice seeing you... + + Fletcher nods. Beat. Andrew turns, about to head off, when- + - + + FLETCHER + Look. I don’t know how you’ll take + this. That band I’m leading for JVC + -- our drummer isn’t cutting it. + (Andrew looks at him + blankly...) + Do you understand...? + + ANDREW + No... + + FLETCHER + I’m using the Studio Band playlist. + “Whiplash”, “Caravan”. I need a + replacement who already knows those + charts inside out. + + Andrew looks at him. You can’t be serious... + + ANDREW + (trying to gather his + thoughts) + Wh-- what -- what about Ryan + Connolly...? + + FLETCHER + What about him? All he was was your + incentive. + + ANDREW + ...And...and Tanner?? + + FLETCHER + He switched to pre-med. + (and with a hint of a + smile) + I think he got discouraged. + 98. + + + Andrew is speechless now. Is this really happening? + + FLETCHER + We’re rehearsing next Tuesday. Why + don’t you take the weekend to think + about it? + + Andrew takes it all in. WE PUSH in on him, processing... + And, slowly but surely, his shock and uncertainty harden + before our eyes -- into resolution... This is something to + seize on. + + ANDREW + I don’t need to. + + +101 INT. ANDREW’S APARTMENT - BEDROOM - DAY 101 + + BLACK -- then light floods in. Andrew has just opened his + closet doors. In a stack, gathering dust, are his OLD + DRUMS... Andrew looks at them -- heart swelling, nerves + racing... + + CUT TO: + + +102 INT. ANDREW’S APARTMENT - LIVING ROOM - MOMENTS LATER 102 + + Andrew setting the DRUMS up... Newly energized, a speed in + his movements we haven’t seen since Dunellen... + + CUT TO: + + +103 INT. ANDREW’S APARTMENT - LIVING ROOM - EVENING 103 + + Andrew practicing. You can tell he’s been here for hours + already. Sweat runs in rivulets down his cheeks, wetting + the drum heads. His eyes are wide, glowing, focused... He’s + back to the life... + + +104 INT. JUDY AND ARTHUR ZANKEL HALL - NIGHT 104 + + An empty theater. It’s one of Carnegie Hall’s theaters -- + + bigger and far sleeker than any of the theaters Studio Band + played. Ceiling decked with lights, capacity 1200. On the + stage, rehearsing, is a JAZZ ORCHESTRA. + + Similar set-up to Studio Band, the PLAYERS all young pros - + - except, of course, Andrew, the youngest of all. + 99. + + + The chart is WHIPLASH JVC REHEARSAL, and the band sounds + tight. + + The players reach the end -- and Fletcher looks at his + watch. + + Composed, even mild. + + FLETCHER + Rest up, gang. Call-time Sunday is + 6. + (and, as he heads off,) + Andrew. + (Andrew turns) + Good job. + + Andrew takes this in. The latest in a long line of + surprises... + + The PLAYERS pack up. Andrew, trying to work past his + shyness-- + + ANDREW + Hope that was ok. + + BASSIST + Yeah. You sounded good. + + ANDREW + Thanks. You too. + (then,) + Is there...anything you worked out + with the previous guy that I should + know? + + BASSIST + Previous guy? + + ANDREW + The previous drummer. + + The BASSIST looks at him: What? + + BASSIST + Last week we rehearsed without + drums. You’re the only drummer + we’ve ever had. + + Beat. He walks off. Andrew stands there. Confused... + + +105 INT. ANDREW’S APARTMENT - LIVING ROOM - HOURS LATER 105 + 100. + + +Andrew enters. Eyes his drums. Then -- he has a thought. + +He pulls out his phone. Hesitates. Nervous -- but excited +now. He dials. We hear ringing, he feels his heart +thumping, he nods to himself, starts walking forward, +breathes in, and then, after a few seconds -- + + NICOLE (O.S.) + Hello? + + ANDREW + (pacing, stomach + clenching, it’s been so + long--) + Hey... It’s...it’s Andrew. + +Silence on the other end. Then-- + + NICOLE (O.S.) + Oh. Hey. + + ANDREW + I -- I just figured I’d call -- + it’s been forever, and I... I’m + really sorry about how I... I’m + just so sorry... How I acted... You + know... + (a beat; she doesn’t + respond;) + he sits down, trying to get the + words out--) And I -- I didn’t know + if you knew -- I’m playing JVC this + weekend... Maybe you’d like to + come? We could grab pizza afterward + and complain about our schools + again... + +He chuckles. Then waits. Beat. + + NICOLE (O.S.) + JV? + + ANDREW + Uh -- no, JVC. It’s a jazz + festival. + + NICOLE (O.S.) + Oh. Yeah. + +Another beat. Then-- + + NICOLE (O.S.) + When is it? + 101. + + + ANDREW + It’s next Friday. + + NICOLE (O.S.) + Ok... I don’t know, I’ll check with + my boyfriend. + + Beat. WE CUT to a CLOSE-UP of Andrew as he takes this in. + You can tell -- the word hits him hard. + + ANDREW + ...Got it. + (silence; then--) + Well... Cool. Maybe I’ll see you + there. + + NICOLE (O.S.) + Yeah, I’ll check. I don’t think he + likes jazz though. I’ll check. + + ANDREW + Cool... Thanks. + + Nicole hangs up. You can see it in Andrew’s eyes -- real + disappointment. Real hurt. And surprise at how hurt he + feels. + + He eyes his drums again. Sits down at them -- + + -- and STARTS PRACTICING LIKE MAD. Pouring his anger, his + hurt, into his playing. + + The SOUNDS of FURIOUS DRUMMING build, continuing through + the following-- + + +106 INT. ANDREW’S APARTMENT - BEDROOM - DAY 106 + + Andrew sliding into his slacks. Buttons his white button- + down. Slides on his black jacket. Ties his tie... + + +107 INT. FLETCHER’S APARTMENT - BEDROOM - DAY 107 + + Fletcher slipping into his own suit. Elegant, fastidious. + + Looks like an old-school bandleader. But there’s something + melancholy about the sight of him -- going through his pre- + concert rituals all alone... + 102. + + + He straightens his tie. De-lints the suit. He’s tidy, über- + careful. He passes by his piano, pauses to play a melody on + the keys. Grabs his music folder and heads to the door... + 102 OMITTED 102 + + +108 INT. ANDREW’S APARTMENT - BATHROOM - DAY 108 + + Andrew clips his nails, applies ointment to his hands, then + wraps each finger in a Band-Aid. + + +109 EXT. NEW YORK STREET - FLETCHER’S SUBWAY ENTRANCE - EVENING 109 + + Fletcher ignoring several passing CABS, enters a SUBWAY + STATION... + + +110 EXT. NEW YORK STREET - CARNEGIE HALL - DUSK 110 + + Andrew emerging from a SUBWAY STATION. Murmuring to + himself, tapping on his knees. The clock’s ticking... + + He checks his phone, picks up speed, almost breaks into a + jog... + + The DRUMMING BUILDS, he goes FASTER and FASTER, until, + finally -- + + -- as the DRUMMING CUTS OUT -- + + -- he comes to a sudden stop. + + He’s standing right in front of CARNEGIE HALL. A giant + banner hangs above the main steps: “JVC IN NYC: JAZZ!” And, + keeping out of sight -- + + -- Fletcher. Strolling up the side-steps around the corner, + hidden from the crowd. Andrew sees him. Follows. + + +111 INT. ZANKEL HALL - GREEN ROOM - NIGHT 111 + + The scene is more or less what we saw before Studio Band + competitions -- only taken to eleven. A rush of MUSICIANS, + STAGE HANDS and TECHNICIANS backstage, a swell of TUNING as + TRUMPETERS, TROMBONISTS and SAXOPHONISTS join in. Andrew + stands back. Checks his phone. 7:28. It’s almost time. He + gazes around. + + +112 INT. ZANKEL HALL - GREEN ROOM STAIRCASE - MOMENTS LATER 112 + 103. + + + Andrew peers out through a door, catching a glimpse of the + MAIN HALL. + + +113 INT. ZANKEL HALL - LOBBY - CONTINUOUS 113 + + Andrew sees the AUDIENCE milling. Sees a face he recognizes + in the crowd, small in the distance. JIM. + + +114 INT. ZANKEL HALL - GREEN ROOM STAIRCASE - CONTINUOUS 114 + + Andrew smiles at the sight. Feeling confident, ready to + prove himself at last. He walks back down the stairs toward + the green room. + + +115 INT. ZANKEL HALL - GREEN ROOM - MOMENTS LATER 115 + + Andrew and the Studio Band listen to Fletcher’s speech. + + FLETCHER + Alright, gang, listen up! 15 + seconds to get into places. For + those of you who are new to this, + it’s very simple: do well tonight, + and the world will open up for you. + The folks out there, they make a + phone call and you’re a Lincoln + Center core. Or a Blue Note signee. + Or an EMC client. Drop the ball, + and I’d suggest switching careers - + - because the other thing about + those cats is they never forget. + + Andrew takes this in. Beat. A STAGE HAND appears, waves. + + Time. + + FLETCHER + On that note -- break a leg. + + The PLAYERS proceed on-stage. Andrew takes a deep breath, + tries to keep his cool, and, counting in his head, walks + forward -- + + +116 INT. ZANKEL HALL - STAGE - CONTINUOUS 116 + + The stage is decked in blue lights. The instruments gleam. + 104. + + +Beyond it, a yawning expanse of black. The audience... And +a hush, an undercurrent of murmurs and whispers gathering +steam, as each PLAYER takes to the stage, one by one... + +Then -- APPLAUSE. 1200 people’s worth of applause. Fletcher +appears, taking his spot, smiling. The applause swells up. + +And then -- Fletcher turns around to face Andrew. He stares +at him for what seems like a full minute. Comes up to him, +making as though helping him position a microphone over the +drum kit, and, leaning in, quietly, discreetly, menacingly- +- + + FLETCHER + It was you. + +The lights shift. Blue to bright, harsh, near-blinding +yellow. It’s showtime. Andrew is completely still. + + ANDREW + ...Was...was me what...? + + FLETCHER + (then, leaning in even + closer,) + Why do you think I invited you + here? I’ve known it was you all + along. + +Beat. He lets it sink in. Retreats to his spot, smiling at +Andrew. Then, off Andrew’s paralyzed stare, he turns to the +audience. They APPLAUD. A few seconds later...silence. +Then-- + + FLETCHER + Good evening, ladies and gentlemen. + We’re going to start things off + with an old favorite of mine. + +Andrew, his heart in his throat, looks at his sheet music. + +“WHIPLASH”. Holds his sticks tight, but his hands are now + +slippery with sweat... Fletcher waits. More silence... + + FLETCHER + It’s called “Upswingin’”. + +ON ANDREW. What? + +Andrew turns to his left and catches a glimpse of the +SAXOPHONISTS’ sheet music. Written on the top: +“UPSWINGIN’”. + 105. + + +He turns right, sees the BASSIST’s music. Ditto. He looks +ahead. And there’s Fletcher -- staring right back at him. +And smiling. + +Andrew turns around. Has to stop this. Can’t ruin it for +the other PLAYERS -- but Fletcher has already raised his +hand for the cue. Andrew rises from his seat -- when the +BASSIST glares at him: What are you doing? And just then -- +within that same split-second -- + +-- Fletcher’s index finger bends down. + +The cue. + +The BAND EXPLODES into UPSWINGIN’. Horns blasting, saxes +wailing -- fast, furious, half-Latin and half-swing. Andrew +doesn’t even play at first -- doesn’t want to destroy this. + +But glares quickly follow, and he has no choice... He +plays. Trains his ears to try to stay on target... But the +time signature is impossible to get a firm grip on... He +misses a fill... Then the time signature changes... He +can’t keep up... Then the band gives way to rubato piano... +He stops late... Then the band surges back in... He comes +in late... He’s driving completely blind. + + BASSIST + (clenched teeth to + Andrew) + The fuck?! Come on... + +Andrew, desperate, tries to fix things -- but he can’t. + +Sliding further and further behind. PLAYERS eying him. You +can almost hear MURMURS in the audience, rising in +volume... And, through it all, Fletcher seems serene. + +Andrew misses yet another break, and-- + + BASSIST + Are you fucking kidding me? + +This hits Andrew like a knife. Tears well up in his eyes. + +This performance is already so far beyond saving... + +Another missed hit. More MURMURS in the audience, louder +and louder now, as the number veers, swerves, and sloppily +staggers to its close... A swell of horns, a misplaced +crash of cymbals, what seems like a fermata... Andrew stops +-- just as the band RESUMES. And just as Andrew resumes -- +the band STOPS. + 106. + + +Andrew’s playing alone. He quickly moves to silence his +drums. The chart is done. + +And now -- the deafening silence. + +No applause. Just the sound softly rippling and settling +from Andrew’s last cymbal hit... + +Andrew sits at his set, in tears. Fletcher stays still. +Looks at Andrew. On Fletcher’s face, the look of a +victor... As he turns back to the audience we hear... + +...a smattering of polite, muted applause trickling +throughout the theater. Quiet, half-hearted, pitiful. + +No one here has ever seen a disaster quite like that +before. + +IN THE AUDIENCE + +We see Jim, standing in the very back, by the doors... +Mortified, heading for the hall... + +ON STAGE + +Fletcher sashays back to the drum set. To Andrew, with a +grin-- + + FLETCHER + I guess you don’t have it. + +Andrew is still in his seat. Tears stinging his cheeks... + + BASSIST + Didn’t you get the fucking chart? + +Andrew looks at the Bassist. Realizes what Fletcher did... +Sees the other MUSICIANS glaring at him, infuriated... + +IN THE AUDIENCE + +Andrew feels the AUDIENCE staring at him -- can almost make +out their faces as the stage lights begin to DIM... Seated +in one of the front rows -- is NICOLE. We see that next to +her, holding her hand, is a YOUNG MAN... + +ON STAGE + +Feeling CRUSHED, HUMILIATED, NAUSEATED, Andrew staggers +up... + 107. + + + ...and RETREATS to the back of the stage. Out of the + audience’s view -- about to leave this all behind once and + for all... + + +117 INT. ZANKEL HALL - LOBBY - CONTINUOUS 117 + + Jim running... Down the hall... Toward the entrance to + backstage... + + +118 INT. ZANKEL HALL - STAGE - CONTINUOUS 118 + + Back to Andrew... Retreating BACKSTAGE... + + ...when he sees -- around the corner of the backstage + entrance -- + + -- his father. + + IN THE WINGS + + Jim has just arrived at the entryway. Looks at Andrew. + + Hurries toward him. Is going to put an end to this. Andrew + looks at his dad for a moment, approaching. Jim reaches him + - - + + -- and HUGS him. + + JIM + I love you. I’m so sorry this is + happening to you. + + Andrew looks at his dad. Something seems to click inside + him at that instant. + + He pulls back. The desperation in his eyes giving way to + something else. Jim watches Andrew as Andrew steps + backward, before... + + ...a pair of STAGE HANDS arrive. + + STAGE HAND + Sir, you can’t be here-- + + JIM + Yes I can, I’m taking him with me-- + + STAGE HAND + (to Andrew) + You know each other? + 108. + + +Andrew is silent for a moment. Still. As though it has just +dawned on him. + +He takes in the sight -- his dad, dwarfed by the Stage +Hands, reaching out to him. Jim has never looked quite so +small to his son, quite so pathetic, as at this moment. + +A beat. More silence. And then -- + + ANDREW + No. + +Jim goes wide-eyed. Utterly shocked. Andrew steps further +back, as the STAGE HANDS move to pull Jim away-- + + STAGE HAND + Alright, sir, that’s enough-- + + JIM + My -- my son -- I need to get my + son-- + + STAGE HAND + Let’s calm down-- + + JIM + (frantic now--) + Andrew!! + +Andrew calmly turns his back to his father and coldly heads +to the stage. + + JIM + Andrew!!! + +ON STAGE + +Andrew grabs new sticks, makes as though he was just +switching pairs and never leaving, and, ignoring his +father’s calls from behind -- trains his eyes back on +Fletcher. + +Fletcher looks at Andrew. Seems pleased: This will be +fun... + +But Andrew doesn’t look scared anymore. Instead, his eyes +are glassy, hollowed out -- and hungry... There’s a rage in +them that we haven’t seen before... This will not be the +end... + + FLETCHER + (to the audience) + 109. + + + Thank you... For our final number + we’re bringing it back to + Ellington. This is “Caravan”. + +But then, before Fletcher can even turn back around -- let +alone cue the band -- Andrew launches into a double-time +Latin. + +Alone, his stick beating away at the ride cymbal, setting +the tempo for the rest of the band. Everyone looks at him. +What the fuck...? He has started on his own, before any +cue, beating the drums as though vengefully. + +Fletcher glares at him. Who the fuck do you think you are? + +But Andrew just keeps playing. Knows exactly what he’s +doing and is not about to be stopped. Building in his eyes +-- that same coiled rage... To the BASSIST-- + + ANDREW + Follow me on four. + +The BASSIST has no choice. Andrew nods in time as a count- +off, and the BASSIST joins in. Now we’ve got the bass and +drums playing, laying out the beat. Andrew looks back at +Fletcher. Drills into him with his eyes -- the kind of look +Fletcher has so often given him. And, subtly, so that only +Fletcher can see it, Andrew mouths out two words: + + ANDREW + Fuck. You. + +It hits Fletcher. Realizing he too has no choice, Fletcher +eyes the rest of the band. Raises his hands, re-assuming +control -- or trying to make as though he has control -- +and cues them in. The BAND begins CARAVAN PLUS DRUM SOLO +CARNEGIE HALL, plays the opening patterns, Andrew matching +them beat for beat. + +Fletcher then edges toward Andrew. His back turned to the +audience, only Andrew can see his face, he leans in and-- + + FLETCHER + I will gouge out your eyes you + motherfucker. + +--but Andrew promptly DROWNS HIM OUT with a crash cymbal +hit. + +Another “fuck you”. Fletcher’s words only seem to +strengthen him. + 110. + + +The band roars into overdrive, the brass blasting away, +Andrew giving everything he’s got. Fletcher steps back. + +Andrew just keeps looking straight ahead at him. Unafraid +now. A machine. + +SOLOS begin... TROMBONE is up first... WE MOVE IN CLOSE to +Andrew... He looks at his right arm... It’s still going... +He himself seems surprised. He takes a chance -- plays a +tricky fill. Nails it. Goes again -- the off-beat hi-hat +accent that tripped him up in his first Studio Band +rehearsal. Nails it. + +The audience is silent... No murmurs this time... Back to +Andrew... WE DRIFT DOWN TO HIS FEET... His right foot +feathering the bass drum so fast all we can see is a +blur... + +WE DRIFT BACK UP... His left hand... Notes popping on the +snare, the toms... Both his arms battered but utterly +determined, as though with minds of their own... He +breathes, breathes, beating against his fears, his +doubts... + +He’s in control, pouring himself into his drums -- and it’s +a sight to behold. Like a master dancer, movements so fast +yet precise, brash yet elegant... Violent, frenetic +playing, but there’s something gorgeous about it... + +WE DRIFT TO FLETCHER... Still glaring at Andrew -- but his +face now says one thing and one thing only: This is playing +he has never seen before. + +The brass starts giving way to drum breaks... And Andrew +makes of each break a stunner... His double-stroke rolls +rip-roaring across the toms, his feet and legs switching +rhythms, meters, tempos, then careening back into place... +All limbs moving in a sustained frenzy, sweat splashing, +mouth open, eyes blazing, the whole set vibrating, then +shaking, looks like it’s about to explode... + +Fletcher turns an inch toward the AUDIENCE... Sees them +transfixed... + +AT THE LOBBY DOORS + +...Jim watches through the opened lobby doors... + +ON STAGE + 111. + + +The number is at a peak... And Fletcher, like so many, is +now just watching Andrew... The band nears the coda... The +melody, the rat-a-tat-tat patterns, the squealing horns and +growling saxes... The drums pushing it all forward... +Fletcher almost smiles. Was this his plan all along...? + +He moves his arms, conducting again... The band reaches the +final bar... The final note... He raises his hands... +Sustains the note... Swings his arm down... A BLAST of +horns. + +And the band is finished. + +Except, that is, for the drums. Andrew’s still playing, +launching into an extended solo... + +Fletcher looks at him. Confused now. Goes up to the drums-- + + FLETCHER + Andrew -- Andrew-- + + ANDREW + (over his playing) + I’ll cue the band... Wait for my + cue... + +There’s nothing more Fletcher can do. Andrew’s playing +grows louder, more involved, all four limbs joining in, the +sound growing bigger and bigger... He has effectively taken +over the stage -- and all the other PLAYERS can do is +watch... He is the bandleader. + +Andrew looks ahead... Past Fletcher... To the darkness... +To the audience... He leans forward, closes his eyes, dives +in... + +Sticks whirling, arms and legs belting and hammering, his +head bobbing up and down, his back arched... Keeps the +rudiments going on his left hand... Adds one ingredient, +then another... Then a third, then a fourth... + +Keeps adding and building and piling on, beyond anything +he’s ever attempted... Going absolutely batshit-insane on +the kit, sweat flying, hands blurring, drums trembling... +AT THE LOBBY DOORS + +Jim watches Andrew -- crazed, exhausted, looks like he’s +pushing himself past what is safe -- and knows there is no +longer anything he can do about it. + +He has lost. + 112. + + +And then -- one of the USHERS steps forward from the edge +of the stage. He looks at Jim -- and closes the doors, +blocking Jim’s view. + +We linger on Jim for a moment -- behind the closed door, in +silence. + +ON STAGE + +Back to Andrew -- at the height of intensity... Keeps his +eyes closed... Feeling his way through this... Shooting +back into the double-time... But trying to go even faster +than before... Not 330... Not even 400... Trying, trying, +trying to reach that mythical place, the place where only +the greats live... 410... 420... Even 430... + +Fletcher stands still... His eyes widening... He’s no +longer calculating... Not even thinking... He’s just awed. + +Murmurs throughout the AUDIENCE... Audible, even over the +roar of the drum set... They can’t believe it... 435 now... +440... 443... + +Which means those sticks are moving faster than a tennis +ball shot across a court... Faster than Andrew has ever +moved... + +Faster...faster...and, finally... + +...450. + +Andrew OPENS HIS EYES... He’s in disbelief. The stage is +his. + +He owns it. He breaks back into snare-based patterns, +rolling around the toms, the cymbals... + +Fletcher is floored. Turns, sees something extraordinary +out there, just visible in the darkness of the theater... + +IN THE AUDIENCE + +AUDIENCE MEMBERS turning to each other... A line-up of +suit-and-tie spectators whipping out phones or pads... + +MANAGERS, JOURNALISTS, A&R EXECS, BANDLEADERS... A few +hurrying out, as though in a mad rush, making frantic +calls... More people peering INTO THE THEATER through glass +doors... + +ON STAGE + 113. + + +We TURN BACK to Andrew -- his ears start RINGING... The +NOISE grows with each hit, drowning out all the other +noises... Andrew clenches his jaw, closes his eyes again, +keeps playing, tries to ignore it... Plays harder, louder, +pounding away... + +Andrew’s kick drum starts to slide from the power of his +playing... His sheet music falls off its stand... His crash +cymbal almost falls over -- but a HAND reaches in to steady +it. + +It’s Fletcher. Leaning over the drum set now -- and, for +almost the first time on-stage, not cursing or snarling at +Andrew, but instead-- + + FLETCHER + Take it back to the snare... + +Andrew considers this. It’s a good idea. He moves back to +the snare... + + FLETCHER + Slow... + (Andrew does as + suggested) + Single-stroke... + +Andrew nods again... Slowly simmers the beat down... Lets +his hi-hat hang open for a moment... Everything goes +quiet... Silence for a second... You can feel the hush, the +anticipation, that indescribable electricity in the air... + +Fletcher looks at Andrew, looks at his sticks, face +brimming with hope now... Andrew begins a series of slow, +clean snare hits... Right stroke, left stroke, right, +left... + + FLETCHER + Up... Up... + +Andrew nods... Ever so gradually builds up the pace... +Right, left, right, left... Builds up the pace some more... +Right, left, right, left... Keeps going... Speeds up more, +a hair at a time... Right, left... Speeds up more.. Right, +left... + +Fletcher stands there, nodding, focused, like a coach at +the critical moment. Waves his hand, pushing Andrew on... + +Andrew builds the tempo more, right, left, right, left, the +strokes blurring into each other, the whole thing sounding +like the fire of a machine gun, like what we heard in the +beginning... Right-left-right-left-right-left... + 114. + + +And, before we know it, we can no longer make out the +individual strokes. They’re so fast that all we can hear is +a single SOUND, sustained and growing in volume... + + FLETCHER + Come on... Come on... + +Andrew, goaded on, builds the volume. His single-stroke +roll swelling, taking over the entire theater... + + FLETCHER + Come on...!! Come on!!! + +Andrew builds it further... Going beyond what even he’d +planned for himself -- his arms like machines, the single- +stroke roll building steam and power and pinning the +audience in their seats... Fletcher raising his hands, +beckoning Andrew forward... He and the drummer working +together, player and conductor, competitor and coach... + +Andrew moves to the toms, then back to the snare, then +back. + +The bass drum and hi-hat next, every part of the set +joining in, every limb, every component, everything +building up, up, up... + +It’s unlike anything we’ve ever seen... Andrew tearing a +hole through the stage, his heartbeat racing, the sweat +pouring from him like a waterfall, blood gushing from his +hands and staining the cymbals and drum-heads... Everything +a BLUR... + +Then -- a BLAST OF SEPARATED SNARE HITS -- and then -- +Andrew CHOKES the crash cymbal. A second of pure silence. + +Fletcher looks at Andrew. Andrew looks at Fletcher. And +then -- Fletcher turns to the band, raises his hand... +...and CUES THE FINAL NOTE. + +The whole band roars it out, horns hitting their highest +C’s, and Andrew rolling around his drum set like a madman, +cymbals and snare and toms and the entire apparatus about +to burst, as WE DIVE IN CLOSE TO HIM, his instrument, his +sticks, his face, all sweat and eyes about to pop, the next +Buddy Rich, the next Charlie Parker -- Fletcher’s only +Charlie Parker -- + +decking the stage with a climactic crash of cymbals right +as, on that very last hit of hits, we-- + + SMASH CUT TO BLACK. + 115. + + +THE END + \ No newline at end of file diff --git a/scripts/Zootopia.txt b/scripts/Zootopia.txt new file mode 100644 index 0000000000000000000000000000000000000000..043cc35be4f4fe11bffae27f51811684f418cca3 --- /dev/null +++ b/scripts/Zootopia.txt @@ -0,0 +1,6207 @@ + 1. + + + + IN BLACK -- + + We hear the feral, primeval sounds of a jungle at night. A + timpani bangs an ominous beat. + + FADE IN ON: + + +1 EXT. A JUNGLE - NIGHT 1 + + A BUNNY nervously walks through the dark, foreboding + forest, frightened by every shadow and moving leaf. + + YOUNG JUDY (V.O.) + Fear. Treachery. Bloodlust! + Thousands of years ago, these were + the forces that ruled our world. A + world where prey were scared of + predators. And predators had an + uncontrollable biological urge to + maim and maul and -- + + The timpani crescendos. A JAGUAR leaps out of the shadows, + attacks the bunny, who screams -- + + CUT TO: + + +2 INT. INSIDE A BARN - A JUNGLE - SET - NIGHT 2 + + The action continues as imagined by an amateur stage + production. + + YOUNG JUDY + Blood, blood, blood! + + Reams of red papier mâché entrails ooze from the bunny. And + when those run out, projectile ketchup. + + Reveal: These are ANIMAL KID ACTORS. The bunny, JUDY HOPPS, + 10, is our hero. And this is her play being staged. A + banner reads: CARROT DAYS TALENT SHOW! + + YOUNG JUDY + And death. + + The CROWD looks on, confused. The music goes discordant as + BOBBY CATMULL, a bobcat, bangs a drum. + + YOUNG JUDY + Back then, the world was divided in + two. Vicious predator or Meek prey. + 2. + + +TWO BOXES drop down, labeled VICIOUS PREDATOR and MEEK +PREY. + +The PREDATOR box lands on the jaguar. The MEEK PREY box +lands on Judy. Her entrails get stuck outside the box. She +drags them underneath with her. + + YOUNG JUDY (O.S.) + But over time, we evolved, and + moved beyond our primitive savage + ways. + +A YOUNG SHEEP wearing a white muumuu and a cardboard +rainbow on his head does an improvisational dance across +the stage. Judy and the jaguar burst out of their boxes, +now wearing white muumuus, too. + + YOUNG JUDY + Now, predator and prey live in + harmony. + +Judy and the jaguar shake hands as the sheep throws +glitter. + + YOUNG JUDY + And every young mammal has + multitudinous opportunities. + + ASTRONAUT SHEEP + Yeah, I don’t have to cower in a + herd anymore. + +The Jaguar rips off his muumuu. She’s wearing a homemade +astronaut costume. + + ASTRONAUT SHEEP + Instead I can be an astronaut. + +Catmull plays a slide whistle. + + ACTUARY JAGUAR + I don’t have to be a lonely hunter + any more. + +The Jaguar rips off his muumuu. He’s dressed in a suit. + + ACTUARY + Today I can hunt for tax + exemptions. I’m gonna be an + actuary! + + YOUNG JUDY + 3. + + + And I can make the world a better + place! I am going to be -- + + Catmull plays a 70s-style cop show theme on the boom box. + Judy rips off her muumuu, revealing a POLICE OFFICER + UNIFORM. + + YOUNG JUDY + A police officer! + + Judy’s parents, BONNIE & STU, look stunned. A mean fox kid, + GIDEON GREY, snickers. He’s sitting next to a WEASEL KID. + + GIDEON GREY + Bunny cop. That is the most + stupidest thing I ever heard. + + YOUNG JUDY + It may seem impossible to small + minds -- + (points at Gideon) + I’m looking at you Gideon Grey. + + Catmull drops down a backdrop showing a bright city + skyline. He hits play on an uplifting song. + + YOUNG JUDY + But just 211 miles away stands the + great city of Zootopia! Where our + ancestors first joined together in + peace, and declared that anyone can + be anything! Thank you and good + night! + + Judy gives a mighty thespian bow, to the sound of Catmull + on organ. The audience applauds. Judy’s parents look + concerned. + + +3 EXT. CARROT DAYS FESTIVAL - LATER THAT DAY 3 + + A festival replete with food booths, games and rides, all + aggressively carrot-themed. Judy, in her Cop Costume, + bounces along with her folks. We catch their conversation + mid-stream. + + STU HOPPS + Judy, you ever wonder how your mom + and me got to be so darn happy? + + YOUNG JUDY + Nope. + 4. + + + STU HOPPS + Well, we gave up on our dreams and + we settled, right Bon? + + BONNIE HOPPS + Oh yes, that’s right, Stu. We + settled hard. + + STU HOPPS + See, that’s the beauty of + complacency, Jude. If you don’t try + anything new, you’ll never fail. + + YOUNG JUDY + I like trying, actually. + + BONNIE HOPPS + What your father means, hon, is + it’s gonna be difficult -- + impossible even -- for you to + become a police officer. + + STU HOPPS + Right. There’s never been a bunny + cop. + + BONNIE HOPPS + No. + + STU HOPPS + Bunnies don’t do that. + + BONNIE HOPPS + Never. + + STU HOPPS + Never. + + YOUNG JUDY + Oh. Then I guess I’ll have to be + the first one. Because I am gonna + make the world -- + (parkours against a + vendor’s stand) + A better place! + + STU HOPPS + OR -- um, heck, you wanna talk + about making the world a better + place-- + +The trio arrives at the Hopps Family Farm carrot booth, +which is manned by too many children to count. + 5. + + + STU HOPPS + -- no better way to do it than + becoming a carrot farmer. + + BONNIE HOPPS + Yes! Your dad, me, your 275 + brothers and sisters -- we’re + changing the world. + + STU HOPPS + Yep. + + BONNIE HOPPS + One carrot at a time -- + + STU HOPPS + Amen to that. Carrot farming is a + noble profession. + + Judy spots GIDEON GREY stalking some SMALL ANIMALS. She + remains fixed on Gideon as Stu and Bonnie yap on + obliviously. + + BONNIE HOPPS (O.S.) + Mmm hmm. Just putting the seeds in + the ground. + + STU HOPPS (O.S.) + Ahh, at one with the soil. + + We’re back on Bonnie and Stu’s conversation now. + + BONNIE HOPPS + You get it. I mean, it’s great to + have dreams. + + STU HOPPS + Yeah, just as long as you don’t + believe in em too much. + (finally noticing Judy’s + absence) + Where in the heck’d she go? + + +4 EXT. ACROSS THE FAIR 4 + + From behind a tree, Judy watches as Gideon Grey intimidates + the astronaut sheep, SHARLA. + + GIDEON GREY + Gimme your tickets right now, or + I’m gonna kick your meek little + sheep butt. + 6. + + + SHARLA + Ow! Cut it out, Gideon! + + GIDEON GREY + Baa-baa. What’re ya gonna do, cry? + +Gideon swipes Sharla’s fair tickets. + + YOUNG JUDY (O.S.) + Hey! + +Judy charges toward the danger. + + YOUNG JUDY + You heard her. Cut it out. + +Gideon turns. There’s Judy, projecting the image of a tiny +Clint Eastwood. + + GIDEON GREY + Nice costume, loser. What crazy + world are you living in where you + think a bunny could be a cop? + + YOUNG JUDY + Kindly return my friends’ tickets. + +Gideon pats the tickets in his pocket. + + GIDEON GREY + Come and get ‘em -- But watch out, + ‘cause I’m a fox-- and like you + said in your dumb little stage + play, us predators used to eat + prey. And that killer instinct’s + still in our Dunnahh. + + TRAVIS THE WOLF HENCHMAN KID + (sotto, to Gideon) + Uh, I’m pretty much sure it’s + pronounced D-N-A. + + GIDEON GREY + Don’t tell me what I know, Travis. + + YOUNG JUDY + You don’t scare me, Gideon. + +Gideon shoves Judy. Hard. She falls. The other prey animals +flee to safety behind a nearby tree, leaving her to face +the thugs alone. + + GIDEON GREY + 7. + + + You scared now? + +Judy starts to tear up. Her nose starts to twitch. + + TRAVIS THE WOLF HENCHMAN KID + Lookit her nose twitch. She is + scared! + + GIDEON GREY + Cry little baby bunny. Cry, cry -- + +Suddenly-- BAM! Judy kicks Gideon in the face with her hind +legs. He stumbles back, then checks his lip for blood. + + GIDEON GREY + Oh, you don’t know when to quit, do + ya? + +He unsheathes his claws like a switchblade, then slaps her, +drawing blood from her cheek. She cowers, as do her scared +friends behind the tree. + + GIDEON GREY + I want you to remember this moment- + - the next time you think you will + ever be anything more than just a + stupid, carrot farming dumb bunny. + +Gideon and his pal head off, laughing and high-fiving. The +prey animals run back over to Judy, who wipes the blood +from her cheek. She fights tears, defeated. + + GARETH THE DOUBTING SHEEP BOY + That looks bad. + + SHARLA + Are you okay, Judy? + + YOUNG JUDY + Yeah -- Yeah, I’m okay. + +Judy smiles and then whips out the tickets as she gets up. + + YOUNG JUDY + Here you go. + + SHARLA + Wow! You got our tickets! + + GARETH THE DOUBTING SHEEP BOY + You’re awesome, Judy! + + SHARLA + 8. + + + Yeah! That Gideon Grey doesn’t know + what he’s talkin’ ‘bout. + + YOUNG JUDY + Well, he was right about one thing + -- + + Judy picks up the cop hat, puts it on her head. + + YOUNG JUDY + I don’t know when to quit. + + CUT TO: + + +5 EXT. POLICE ACADEMY TRAINING FACILITY - DAY 5 + + Hopps and the comparatively huge CADETS sit in a circle as + MAJOR FRIEDKIN, an intimidating drill instructor, lectures. + + MAJOR FRIEDKIN + Listen up Cadets! Zootopia has 12 + unique ecosystems within its city + limits -- Tundra Town, Sahara + Square, Rainforest District, to + name a few. You’re gonna have to + master all of them before you hit + the streets -- or guess what? + (to Hopps) + You’ll be dead! + + +6 EXT. IN SAHARA SQUARE SIMULATOR 6 + + Hopps struggles through the sand. + + MAJOR FRIEDKIN + Scorching sandstorm. You’re dead, + bunny bumpkin! + + +7 EXT. ON THE VINE-COVERED MONKEY BARS 7 + + Hopps swings across the bars, simulating the RAINFOREST + DISTRICT. She falls off, landing face first in the mud. + + MAJOR FRIEDKIN (O.S.) + 1000 foot fall. You’re dead, carrot + face! + + +8 EXT. TUNDRA TOWN ICE WALL 8 + 9. + + + Judy and the cadets sprint toward the wall. The CLAWED + ANIMALS dig into the ice wall. Hopps slides off. + + MAJOR FRIEDKIN + Frigid ice wall. You’re dead, farm + girl! + + +9 INT. IN THE BOXING RING 9 + + Hopps gets in the ring with a BIG BISON. + + MAJOR FRIEDKIN + E-normous criminal. + + Hopps gets punched in the nose. + + MAJOR FRIEDKIN + You’re dead! + + THREE QUICK CUTS OF FAILURE: + + MAJOR FRIEDKIN (O.S.) + Dead! / Dead! / Dead! + + +10 INT. IN THE TOILET 10 + + Hopps ruses into a stall. The toilet is considerably larger + than she is. She shuts the door. We see her climb up the + toilet. In the next stall, we see the feet of a Hippo. + + Then, KERSPLASH! Hopps falls into the toilet. + + MAJOR FRIEDKIN + Filthy toilet. You’re dead, fluff + butt! + + HOPPS ON HER OWN + + She runs at sunse, after everyone else has called it a day. + We HEAR the drill instructor’s voice echoing in her mind. + + MAJOR FRIEDKIN (V.O.) + Just quit and go home, fuzzy bunny! + + Then those of her parents -- + + STU HOPPS (V.O.) + There’s never been a bunny cop. + + BONNIE HOPPS (V.O.) + 10. + + + Never. + + STU HOPPS (V.O.) + Never. + + Then Gideon’s. + + GIDEON GREY (V.O.) + Just a stupid, carrot farming dumb + bunny. + + +11 INT. IN THE BARRACKS - OVERNIGHT 11 + + Hopps stays up late studying, doing sit ups. + + +12 INT. ON THE ICE WALL 12 + + Hopps bounds up the wall, jumps off of the backs of the big + animals and makes it over, impressing the Major Friedkin. + + +13 INT. IN THE RING: 13 + + Hopps dodges a few swings. The Bison misses. Hopps bounds + over him and uses his momentum, kicking his other hand into + his face, knocking him down. + + DISSOLVE TO: + + +14 EXT. POLICE ACADEMY - DAY 14 + + It’s graduation day. MAYOR LIONHEART is at the podium. + + LIONHEART + As Mayor of Zootopia, I am proud to + announce that my Mammal Inclusion + Initiative has produced its first + police academy graduate. + + Judy stands proudly in her cop uniform. + + LIONHEART + Valedictorian of her class, ZPD’s + very first rabbit officer, Judy + Hopps. + + Judy walks to the stage as those in attendance cheer, her + FAMILY chief among them. ASSISTANT MAYOR BELLWETHER + applauds. She smiles at Judy, lost in the moment. + 11. + + + LIONHEART + (clearing his throat) + Assistant Mayor Bellwether? Her + badge. + + BELLWETHER + Oh! Yes right. + + LIONHEART + Thank you. + + Bellwether steps forward to pin Hopps’ ZPD badge on her. + + LIONHEART + Judy, it is my great privilege to + officially assign you to the heart + of Zootopia: Precinct One, City + Center. + + Judy can barely contain her glee. Her parents are in shock. + + BELLWETHER + Congratulations, Officer Hopps. + + JUDY + I won’t let you down. This has been + my dream since I was a kid. + + BELLWETHER + Ya know, it’s a -- It’s a real + proud day for us little guys. + + LIONHEART + Bellwether, make room will ya? Come + on. + + Lionheart shoves Bellwether out of the way. + + LIONHEART + Okay, Officer Hopps. Let’s see + those teeth! + + A group of PHOTOGRAPHERS aim their cameras. Lionheart steps + in front of Bellwether, edging her out of the photo. The + flashbulbs pop. + + +15 EXT. BUNNYBURROW TRAIN STATION - DAY 15 + + Stu, Bonnie, and several SIBLINGS accompany Judy to the + train station. + + BONNIE HOPPS + 12. + + +We’re real proud of you, Judy. + + STU HOPPS +Yeah. Scared, too. + + BONNIE HOPPS +Yes. + + STU HOPPS +Really, it’s kind of a proud-scared +combo. I mean, Zootopia. It’s so +far a away -- It’s such a big city. + + JUDY +Guys-- I’ve been working for this +my whole life. + + BONNIE HOPPS +We know. And we’re just a little +excited for you, but terrified. + + JUDY +The only thing we have to fear is +fear itself. + + STU HOPPS +And also bears. We have bears to +fear, too. To say nothing of lions, +and wolves -- + + BONNIE HOPPS +Wolves? + + STU HOPPS +-- weasels -- + + BONNIE HOPPS +You play cribbage with a weasel. + + STU HOPPS +And he cheats like there’s no +tomorrow. You know what, pretty +much all predators-- and Zootopia’s +full of ‘em. + + BONNIE HOPPS + (scolding) +Oh, Stu. + + STU HOPPS +And foxes are the worst. + + BONNIE HOPPS + 13. + + + (retreating) + Actually, your father does have a + point there. It’s in their biology. + Remember what happened with Gideon + Grey. + + JUDY + When I was 9. Gideon Grey was a + jerk, who happened to be a fox. I + know plenty of bunnies who are + jerks. + + STU HOPPS + Sure. Yeah, we all do. Absolutely. + But just in case, we made you a + little care package to take with + you. + + BONNIE HOPPS + And I put some snacks in there. + +Stu begins pulling a bunch of PINK FOX DETERRENTS from a +bag. + + STU HOPPS + This is fox deterrent. + + BONNIE HOPPS + Yeah that’s safe to have there. + + STU HOPPS + This is fox repellent -- + + BONNIE HOPPS + Okay, the deterrent and the + repellent. That’s all she needs. + + STU HOPPS + Check this out! + +Stu removes a Fox Taser, fires it up. It sizzles. + + BONNIE HOPPS + Oh for goodness sake. She has no + need for a fox taser, Stu. + + STU HOPPS + Oh c’mon. When is there not a need + for a fox taser? + + JUDY + Okay, look-- I will take this to + make you stop talking. + 14. + + +Judy grabs the pink fox repellent from the bag as the train +pulls up. + + STU HOPPS + Terrific! Everyone wins! + + TRAIN CONDUCTOR + Arriving-- Zootopia Express! + + JUDY + OK. Gotta go. Bye! + +Judy heads for the train, head held high. No turning back. + +Stu and Bonnie watch, both holding back tears. Suddenly, +the emotion catches up with Judy. She turns, runs back to +her parents, hugs them tight. + + JUDY + I love you guys. + + BONNIE HOPPS + Love you, too! + +One more squeeze, then Judy runs off and jumps on the +train. + + STU HOPPS + Oh cripes, here come the + waterworks. + + BONNIE HOPPS + Oh Stu, pull it together. + + JUDY + Bye everybody! + + COTTON + Bye, Judy! I love you! + + CROWD OF BUNNIES + Bye! + +As the train pulls away, her family runs next to it, +waving. + + JUDY + Bye! + +Judy looks back as their faces recede into the distance. +The train blasts past Bunnyburrow, passing its +exponentially increasing population sign. + 15. + + + Judy pulls out her iPhone and clicks play, her new life is + about to begin and we -- + + CUT TO: + + A MONTAGE + + As Hopps takes the train, it rounds a curve. She looks up. + Her eyes light up. There in the distance is -- + + +16 EXT. ZOOTOPIA CITY - ESTABLISHING 16 + + -- THE UNBELIEVABLE ANIMAL METROPOLIS of ZOOTOPIA, which is + comprised of amazing habitat “boroughs.” The train whips + past TUNDRA TOWN, SAVANNA CENTRAL, RAIN FOREST DISTRICT, + MEADOW LANDS, SAHARA SQUARE, etc. + + +17 INT. ZOOTOPIA CENTRAL STATION - A LITTLE LATER 17 + + Hopps spills out of the train and we are now in a MULTI- + SCALE ENVIRONMENT: everything from mice to elephants. + + +18 EXT. DOWNTOWN ZOOTOPIA - A LITTLE LATER 18 + + Hopps emerges into the main Zootopia central plaza. It’s an + amazing, magnificent place. + + A JUMBOTRON featuring a gazelle pop star, GAZELLE, blares + its message in a loop. + + GAZELLE + I am Gazelle. Welcome to Zootopia! + + CUT TO: + + +19 INT. HOPPS’S APARTMENT BUILDING - HALLWAY - DAY 19 + + DHARMA ARMADILLO, Hopps’s older ARMADILLO LANDLADY, opens + the door to Hopps’ new apartment which we can’t see yet. + + DHARMA ARMADILLO + And welcome to the Grand Pangolin + Arms. “Luxury Apartments with + Charm.” + + Hopps discovers the room is a tiny, crappy studio + apartment. + 16. + + + DHARMA ARMADILLO + Complimentary de-lousing once a + month. + (handing over the keys) + Don’t lose your key. + + HOPPS + Thank you! + +As Dharma leaves, Hopps’ volatile, artsy NEIGHBORS, KUDU +and ORYX POOTOSSER, pass by in the hall. + + HOPPS + Oh hi, I’m Judy! Your new neighbor! + + KUDU POOTOSSER + Yeah? Well we’re loud. + + ORYX POOTOSSER + Don’t expect us to apologize for + it. + +Before Hopps can respond, they’re gone, leaving Hopps +alone. She looks around, blank-faced so it’s tough to read +her emotions. + + HOPPS + Greasy walls -- rickety bed -- + + KUDU POOTOSSER (O.S.) + Shut up! + + ORYX POOTOSSER (O.S.) + You shut up! + + KUDU POOTOSSER (O.S.) + No! You shut up! + + HOPPS + Crazy neighbors -- + (big smile as she flops + on the bed) + I love it! + +As the shouting continues, she stretches out on her bed, +exhausted but overjoyed. + +WAKE UP MONTAGE - MORNING + +Quick, rhythmic cuts of: + +- Alarm clock: Beep. Beep. Beep. + 17. + + + - Dressing: Vest. Badge. Belt. + + On the bedside table sits the PINK FOX REPELLENT. Judy + glances at it and smirks-- taking it would be silly-- she + walks out of frame. HOLD on the table. One second. Then + Judy’s hand comes back into frame and grabs the Repellent. + + +20 INT. ZOOTOPIA POLICE DEPARTMENT - MORNING 20 + + Utter mayhem. COPS parade PERPS through the lobby-- one is + wearing cuffs and a plastic (not scary) safety muzzle, he + complains to the BEAR COP marching him by. + + LEOPARD + C’mon! He bared his teeth first. + + We land at the front desk and find CLAWHAUSER, a PUDGY + CHEETAH COP, happily eating a bowl of Lucky Chomps cereal. + + HOPPS (O.C.) + Scuse me! Down here? Hi. + + Clawhauser leans over the desk to find Hopps. + + CLAWHAUSER + O-M goodness! They really did hire + a bunny. What?! + + CLAWHAUSER + I gotta tell ya, you are even cuter + than I thought you’d be. + + HOPPS + (a little wince) + Ooo, uh, you probably didn’t know, + but a bunny can call another bunny + “cute,” but when other animals do + it, it’s a little -- + + CLAWHAUSER + (gasps, realizing) + I am so sorry. Me, Benjamin + Clawhauser, the guy everyone thinks + is just a flabby, donut-loving cop, + stereotyping you--? + + HOPPS + It’s okay -- oh, you’ve actually + you’ve actually got a -- there’s a + -- in your neck -- the fold -- the + -- there’s -- + 18. + + + Clawhauser removes a small donut from under some neck fat. + + CLAWHAUSER + Oh, there you went, you little + dickens! + + He crams the donut into his mouth. + + HOPPS + (awkwardly laughing) + I should get to roll call, so -- + which way do I? + + CLAWHAUSER + Oh! Bullpen’s over there to the + left. + + HOPPS + Great, thank you! + + Clawhauser watches admiringly as she heads to the bullpen. + + CLAWHAUSER + (to himself, wistful) + Aw -- That poor little bunny’s + gonna get eaten alive. + + +21 INT. ZPD - BULLPEN - CONTINUOUS 21 + + Hopps enters the bullpen, by far the smallest animal in the + room: rhinos, buffalo, hippos, elephants, etc. Hopps holds + her paw out to a tough RHINO, MCHORN. + + HOPPS + Hey. Officer Hopps. You ready to + make the world a better place? + + McHorn gives Hopps a reluctant fist bump, nearly knocking + her off the chair. + + OFFICER HIGGINS (O.S.) + TEN HUT! + + In walks CHIEF BOGO, a gruff CAPE BUFFALO. He takes the + dais. Everyone snaps to attention and starts stomping the + floor. + + BOGO + All right, all right. Everybody + sit. + 19. + + +As Hopps sits, she disappears below the DESK that is meant +for a rhino. + + BOGO + I’ve got three items on the docket. + First -- we need to acknowledge the + elephant in the room. + (nods to ELEPHANT) + Francine, happy birthday. + +An elephant, FRANCINE, blushes as other cops clap. + + BOGO + Number two: There are some new + recruits with us I should + introduce. But I’m not going to, + because I don’t care. Finally -- + +He turns to a push pin-pocked MAP that’s covered in photos +of MISSING MAMMALS. Hopps’s eyes go wide. + + BOGO + -- We have 14 missing mammal cases. + All predators, from a giant polar + bear, to a teensy little otter. And + City Hall is right up my tail to + find them. This is priority number + one. Assignments! + +HIGGINS hands Bogo a stack of CASE FILES. Bogo puts on his +reading glasses, examining the files as he assigns cases. + + BOGO + Officers Grizzoli, Fangmeyer, + Delgato -- your teams take Missing + Mammals from the Rainforest + District. Officers McHorn, + Rhinowitz, Wolfard, your teams take + Sahara Square. Officers Higgins, + Snarlov, Trunkaby: Tundratown. And + finally, our first bunny, Officer + Hopps. + +Hopps sits up, expectant but steely. Bogo looks at the +final case file in his hand. He takes a dramatic breath, +then: + + BOGO + Parking Duty. Dismissed! + + HOPPS + Parking duty? + (runs after Bogo) + 20. + + + Uh, Chief? Chief Bogo? + + Bogo looks around then down to find Hopps. + + HOPPS + Sir, you said there were 14 missing + mammal cases? + + BOGO + So. + + HOPPS + So I can handle one. You probably + forgot, but I was top of my class + at the academy. + + BOGO + Didn’t forget. Just don’t care. + + HOPPS + Sir, I’m not just some “token” + bunny. + + BOGO + Well, then writing a hundred + tickets a day should be easy. + + He goes, slamming the door behind him. Judy stomps her + foot. + + HOPPS + 100 tickets--? I’m not gonna write + 100 tickets -- I’m gonna write 200 + tickets! + + HOPPS + (then, to the closed + door) + Before noon! + + +22 INT/EXT. METER MAID CART - DAY 22 + + Hopps dons a vest, buckles her seat belt, floors the pedal + and takes off at 2 miles an hour. Which leads to a + + PARKING METER MONTAGE -- + + Hopps zooms past a row of cars, marking their tires. + Cruising the streets, her super-sensitive ears hear a meter + ding. She slams her brakes then proudly issues Ticket #1. + 21. + + + Ding! Another meter goes off. Then another. And another. + She’s on a roll. She looks down at her counter. It’s at + 200. + + HOPPS + Boom! 200 tickets before noon. + + A final ding. Reveal: her own traffic cart is at an expired + meter. Hopps rolls her eyes and writes herself a ticket. + + HOPPS + 201. + + As Hopps puts the ticket on her windshield, she hears a + voice across the street: + + TRUCK DRIVER (O.S.) + Hey, watch where you’re going, Fox! + + Hopps looks across the street to see a RED FOX. Hopps looks + at him, a little suspicious. + + The Fox looks around, then slinks into a café. Hopps runs + across the street and peeks in the window. It’s an ice + cream parlor, but the FOX IS GONE. + + HOPPS + (sotto) + Where’d he go -- + + +23 INT. JUMBEAUX’S CAFE - MOMENTS LATER 23 + + Elephants scoop ice cream with their trunks, suck up nuts + with their trunks. It’s cute but also disgusting. As Hopps + enters, she spots the fox, NICK WILDE, at the front of the + line and overhears the proprietor, JERRY, addressing him. + + JERRY JUMBEAUX, JR. + Listen, I don’t know what you’re + doing skulking around during + daylight hours, but I don’t want + any trouble in here -- So hit the + road. + + Hopps unsnaps the holster of her PINK FOX REPELLENT. + + NICK + I’m not looking for any trouble + either, sir. I simply want to buy a + Jumbo Pop for my little boy. + 22. + + +Ready for action, slowly creeping forward, Hopps’s +expression changes when she sees that Nick is with his +TODDLER SON. + + NICK + (to the boy) + You want the red or the blue, pal? + +Staring at the cute little boy, Hopps is embarrassed by her +impulse. She snaps the Repellent holster and begins to +leave. + + HOPPS + (disgusted with herself) + I’m such a -- + + JERRY JUMBEAUX, JR. + Oh come on, kid. Back up. Listen, + buddy, what? There aren’t any fox + ice cream joints in your part of + town? + +Hopps suddenly stops. Her ears go up and she turns around. + + NICK + Uh, no no, there are. There are. + It’s just, my boy -- + (tousles boy’s hair) + -- this goofy little stinker -- he + loves all things elephant. Wants to + be one when he grows up. + +The boy gives a TOOT-TOOT with his toy elephant trunk. + + NICK + Isn’t it adorable? Who the heck am + I to crush his little dreams, huh? + Right? + + JERRY JUMBEAUX, JR. + Look, you probably can’t read, fox + but the sign says -- + + JERRY JUMBEAUX, JR. + (slowly reads SIGN, + belittling) + WE RESERVE THE RIGHT TO REFUSE + SERVICE TO ANYONE. So beat it. + + ELEPHANT + You’re holding up the line. + +The little fox is about to cry, when Hopps walks up. + 23. + + + HOPPS (O.S.) + Hello? Excuse me? + + JERRY JUMBEAUX, JR. + Hey, you’re gonna have to wait your + turn like everyone else, metermaid. + + HOPPS + Actually -- + (revealing badge) + I’m an officer. Just had a quick + question. Are your customers aware + they’re getting snot and mucous + with their cookies and cream? + +An ELEPHANT COUPLE overhear and spit out their ice cream. + + JERRY JUMBEAUX, JR. + What are you talkin’ about? + + HOPPS + Well, I don’t wanna cause you any + trouble, but I believe scooping ice + cream with an un-gloved trunk is a + Class 3 Health Code Violation -- + +A guilty EMPLOYEE releases a scoop from their trunk. + + HOPPS + -- Which is kind of a big deal. Of + course -- I could let you off with + a warning if you were to glove + those trunks and, I don’t know, + finish selling this nice dad and + his son a -- what was it? + + NICK + A Jumbo Pop. Please. + + HOPPS + A Jumbo Pop. + + JERRY JUMBEAUX, JR. + (stews for a beat, then) + Fifteen dollars. + + NICK + Thank you so much. + (to Hopps) + Thank you. + (then, digs for wallet) + 24. + + + Oh no, are you kidding me? I don’t + have my wallet. I’d lose my head if + it weren’t attached to my neck, + that’s the truth. Oh boy, I’m sorry + pal. Gotta be about the worst + birthday ever. Please don’t be mad + at me. + (kisses him, to Hopps) + Thanks, anyway. + + He turns to go. Hopps slaps some money on the counter. + + HOPPS + Keep the change. + + +24 EXT. JUMBEAUX’S CAFE - MOMENTS LATER 24 + + Hopps has the Toddler’s hand. Nick holds a HUGE JUMBO-POP. + + NICK + Officer, I can’t thank you enough. + So kind, really, can I pay you + back? + + HOPPS + Oh no, my treat -- it just -- + y’know, it burns me up to see folks + with such backward attitudes toward + foxes. I just wanna say, you’re a + great dad and just a -- a real + articulate fella. + + NICK + Ah, well, that is high praise. It’s + rare that I find someone so non- + patronizing -- Officer -- + + HOPPS + (totally misses his dig) + Hopps. Mr -- + + NICK + Wilde. Nick Wilde. + + HOPPS + (to Toddler) + And you little guy, you want to be + an elephant when you grow up -- you + be an elephant -- because this is + Zootopia, anyone can be anything. + + Hopps puts a STICKER BADGE on the boy’s chest. + 25. + + + NICK + Ah, boy, I tell him that all the + time. All right here ya go -- + (hands him popsicle) + Two paws. Yeah. Oh, look at that + smile, that’s a happy birthday + smile! All right, give her a little + bye-bye toot toot. + + The kid toots. + + HOPPS + Toot, toot! + + NICK + Bye now! + + HOPPS + Goodbye! + + Hopps walks off with a spring in her step. + + +25 EXT. SAHARA SQUARE - DAY 25 + + Hopps continues to write tickets. As she leaves a ticket on + another car, she can see a few blocks away. It’s NICK and + his KID. Hopps gives them a wave, but they don’t notice + her. + + HOPPS + Oh! Hey, little toot toot -- + + Hopps realizes they are melting their jumbo-pop in the hot + sun, channeling the juice into jugs. Huh? Nick and his kid + pack the jugs into a van and NICK’S SON gets in the + driver’s seat. They drive off, passing Hopps, who stares, + confused. + + +26 EXT. TUNDRATOWN - A LITTLE LATER 26 + + Hopps follows them to Tundratown, where Nick’s “son” uses + his little paw prints to create molds they pour the + popsicle juice into, creating dozens of smaller popsicles. + Hopps looks on, scandalized. + + +27 EXT. SAVANNAH CENTRAL - A LITTLE LATER 27 + + Hopps watches them resell the “Pawpsicles” at marked-up + prices to LEMMINGS when one buys one, they all do. + 26. + + + NICK + Pawpsicles! Get your pawpsicles! + + Nick rakes in the cash. As the lemmings leave, they throw + their used popsicle sticks into a RECYCLING BIN. A second + later, Nick’s “son,” FINNICK, emerges from the bin with a + bundle of used popsicle sticks. Hopps is mortified. + + +28 EXT. LITTLE RODENTIA - A LITTLE LATER 28 + + Hopps watches Nick plop down a big bundle of USED POPSICLE + STICKS in front of a MOUSE CONSTRUCTION WORKER. + + NICK + Lumber delivery! + + MOUSE CONSTRUCTION WORKER + What’s with the color? + + NICK + The color? Uh -- It’s redwood. + + Hopps has now graduated to genuine anger. + + +29 EXT. OUTSIDE LITTLE RODENTIA - MOMENTS LATER 29 + + Nick hands Finnick a wad of cash. + + NICK + 39 -- 40. There you go. Way to work + that diaper, big guy. Hey, no kiss + bye-bye for daddy? + + FINNICK + (super-deep voice) + You kiss me tomorrow, I’ll bite + your face off. Ciao. + + As Finnick drives off in his van, BLARING LOUD FRENCH RAP + MUSIC. We discover HOPPS behind it, and she is not happy. + + HOPPS + Well. I stood up for you, and you + lied to me. You liar! + + NICK + It’s called a hustle, sweetheart. + And I’m not the liar, he is. + + Nick points behind Hopps. She turns -- no one. She turns + back. Nick is gone -- his tail disappears around a corner. + 27. + + + HOPPS + Hey! + +Nick walks on, calmly. Hopps hurries up to him. + + HOPPS + Alright, slick Nick, you’re under + arrest. + + NICK + Really, for what? + + HOPPS + Gee I don’t know, how ‘bout selling + food without a permit, transporting + undeclared commerce across borough + lines, false advertising -- + +Nick smiles and produces those documents. + + NICK + Permit. Receipt of declared + commerce. And I didn’t falsely + advertise anything. Take care. + + HOPPS + You told that mouse the popsicle + sticks were redwood! + + NICK + That’s right. “Red wood.” With a + space in the middle. Wood that is + red. + (then) + You can’t touch me, Carrots, I been + doing this since I was born. + + HOPPS + You’re gonna wanna refrain from + calling me Carrots -- + + NICK + My bad. I just naturally assumed + you came from some little carrot- + choked podunk, no? + + HOPPS + (isn’t it obvious?) + Ah, no. Podunk is in Deerbrooke + County, and I grew up in + Bunnyburrow. + + NICK + 28. + + + Okay. Tell me if this story sounds + familiar: + (harsher now, rapidly) + Naïve little hick with good grades + and big ideas decides, “Hey lookit + me, I’m gonna move to Zootopia -- + where Predators and Prey live in + harmony and sing Kumbaya!” Only to + find -- whoopsie, we don’t all get + along. And that dream of becoming a + big city cop? Double whoopsie! + She’s a meter maid. And whoopsie + number threesie -- NO ONE cares + about her or her dreams. And soon + enough those dreams die and our + bunny sinks into emotional and + literal squalor living in a box + under a bridge. Til finally she has + no choice but to go back home with + that cute, fuzzy wuzzy little tail + between her legs to become -- + you’re from Bunny burrow, is that + what you said? -- so how ‘bout a + carrot farmer -- That sound about + right? + +She’s speechless. How did he get my number so quickly? A +RHINO almost crushes her. + + NICK + Be careful now, it won’t just be + your dreams getting crushed. + + HOPPS + (ever-so-slightly + rattled) + Hey! Hey! No one tells me what I + can or can’t be! Especially not + some jerk who never had the guts to + try to be anything more than a + popsicle hustler! + + NICK + Alright look, everyone comes to + Zootopia thinking they can be + anything they want. Well you can’t. + You can only be what you are. + (points to himself) + Sly fox. + + NICK + (points to her) + Dumb bunny. + 29. + + + HOPPS + I am NOT a dumb bunny. + + NICK + Right. And that’s not wet cement. + + She looks down. She’s landed in wet cement. + + NICK + (as he goes) + You’ll never be a real cop. You’re + a cute meter maid though. Maybe a + supervisor one day. Hang in there - + - + + +30 INT. HOPPS’S APARTMENT - HALLWAY - EVENING 30 + + CLOSE ON HER WELCOME MAT: Hopps wipes off her cement + covered feet. Then she enters -- + + +31 INT. THE APARTMENT 31 + + Hopps turns on the radio. Everybody Hurts plays. She + changes the station. A sadder song comes on. She changes + the station repeatedly, each song progressively sadder. + Finally, she lands on a treacly instrumental that will + score the scene. + + She puts in a microwave dinner: CARROTS FOR ONE. Hopps + takes her food (A SINGLE CARROT) and sits at a small table. + + Her phone rings. INSERT: MOM & DAD FACETIME. Hopps shakes + her head, sighs, then puts on a fake smile and answers. + + HOPPS + Oh hey, it’s my parents! + + BONNIE HOPPS + Aw there she is! Hi sweetheart! + + THE FACETIME cuts between Bonnie on her phone. Stu will pop + in and out of frame. + + STU HOPPS + Hey there, Jude the Dude! How was + your first day on the force? + + HOPPS + It was real great. + + BONNIE HOPPS + 30. + + + Yeah? Everything you ever hoped? + + HOPPS + Mmm. Absolutely. And more. + Everyone’s so nice. And I feel like + I’m really making a difference-- + + STU HOPPS + (pops head into frame) + Hey, wait a second. Holy cripes, + Bonnie! Look at that! + + BONNIE HOPPS + (a discovery) + Oh my sweet heaven -- Judy, are you + a meter maid? + +Hopps is still wearing her vest, and her hat is on the +chair. + + HOPPS + (panicked) + Oh this? No! Oh, no no! This is + just a temporary thing -- + + BONNIE HOPPS + It’s the safest job on the force! + + STU HOPPS + Ah, she’s not a real cop! Our + prayers have been answered! + + BONNIE HOPPS + Glorious day! + + STU HOPPS + Meter maid, meter maid! + + HOPPS + Dad! Dad -- + + STU HOPPS + Meter maid, meter maid! + + HOPPS + DAD! You know what -- it’s been a + really long day, I should really -- + + BONNIE HOPPS + That’s right. You get some rest! + + STU HOPPS + 31. + + + Those meters aren’t gonna maid + themselves. + + BONNIE HOPPS + Bye bye! + + HOPPS + (eye roll) + Buh-bye. + + She hangs up, defeated. The SELF-PITYING MUSIC comes up + full. + + ORYX POOTOSSER (O.S.) + Hey Bunny! Turn down that + depressing music! + + KUDU POOTOSSER (O.S.) + Leave the meter maid alone! Didn’t + you hear her conversation? She + feels like a failure! + + Judy turns off the music. + + ORYX POOTOSSER (O.S.) + Oh, shut up! + + KUDU POOTOSSER (O.S.) + You shut up! + + ORYX POOTOSSER (O.S.) + You shut up! + + HOPPS + (quietly to herself) + Tomorrow’s another day -- + + ORYX POOTOSSER (O.S.) + Yeah, but it might be worse! + + Off Judy’s exhausted look, we: + + CUT TO: + + +32 EXT. STREETS OF ZOOTOPIA - THE NEXT DAY 32 + + Hopps, on meter maid duty, thunks a ticket on a windshield. + + MOOSE + I was 30 seconds over! + 32. + + + Another meter dings, Hopps puts another ticket on a very + small windshield. + + ANGRY GERBIL LADY + Ugh! Yeah you’re a real hero, lady! + + DING! Another ticket down. A MOTHER HIPPO picks up the + ticket, her SMALL CHILD looks right at Hopps. + + HIPPO CHILD + My mommy says she wishes you were + dead. + + ANGRY DRIVER (O.S.) + Un-cool, rabbit. My tax dollars pay + your salary. + + +33 INT. METER MAID CART 33 + + After what has clearly been a series of these encounters, + Hopps repeatedly bangs her head on the steering wheel. + + HOPPS + (less convinced with each + utterance) + I am a real cop. I am a real cop. I + am a real cop. I am a real cop- - + + FRANTIC PIG (O.S.) + Hey! + + Suddenly, a PIG bangs on the cart’s window. Hopps startles. + + FRANTIC PIG + You! Bunny! + + HOPPS + (rote) + Sir, if you have a grievance, you + may contest your citation in + traffic court. + + FRANTIC PIG + What’re you talking about? My shop! + It was just robbed! Look, he’s + getting away! Well are you a cop or + not? + + Hopps sees a WEASEL running with a bag of stolen goods. + + HOPPS + (snapping out of it) + 33. + + + Oh, yes! Yes! Don’t worry, sir, I + got this! + + +34 EXT. STREETS OF ZOOTOPIA - CONTINUOUS 34 + + Hopps jumps out and gives chase, ditching her silly vest. + + HOPPS + Stop! Stop in the name of the law! + + DUKE WEASELTON + Catch me if you can, Cottontail! + + The chase is on. McHorn screeches up in his cop car. + + DUKE WEASELTON + Whoa. Coming through! + + MCHORN + This is Officer McHorn, we got a + 10-31. + + Hopps slides across his hood. + + HOPPS + I got dibs! Officer Hopps, I am in + pursuit! + + Hopps chases the Weasel, who races through Savannah + Central. As Hopps advances, the Weasel ducks into LITTLE + RODENTIA. Thanks to her small size, Hopps follows him in. + + HOPPS + You! Freeze! + + MCHORN + (arriving, but too big to + enter) + Hey! Metermaid! Wait for the real + cops! + + +35 EXT. LITTLE RODENTIA - CONTINUOUS 35 + + Hopps emerges in Little Rodentia, teeming with tiny + rodents. + + HOPPS + Stop! + 34. + + +Hopps spots the Weasel, who’s using two mouse cars as +skates. She chases after him, smashing through Little +Rodentia. As the Weasel jumps off the top of a mouse +building, he knocks it over, but Hopps is able to save them +from crashing. + +Resuming the chase, Hopps jumps off the building, landing +precariously in the midst of a large group of mice. + + HOPPS + Oh! Oh, sorry! Coming through! + ‘Scuse me! ‘Scuse me. Pardon -- + +Hopps locates Weaselton, who’s safely making his escape on +the top of a tiny mouse train. + + DUKE WEASELTON + Bon voyage, flat foot! + +But Hopps won’t quit. She takes a short cut and knocks him +off the train. Rodents scream and run amidst the chaos. + + HOPPS + Hey! Stop right there! + +The Weasel throws an ornamental donut at Hopps. + + DUKE WEASELTON + Have a donut, coppah! + +But the donut misses and rolls towards some SHREWS coming +out of “Mousies.” + + FRU FRU SHREW + Ohmygawd, did you see those leopard + print jeggings? + (sees the donut about to + kill her) + Aaaaaaaaaaaagh! + +But at the last second Hopps stops it! Deep breath. + + HOPPS + I love your hair. + + FRU FRU SHREW + Aw -- thank you. + +Meanwhile, the Weasel spots the bag he was stealing and +smugly picks it up, ready to leave. + + DUKE WEASELTON + Come to papa -- + 35. + + + Then out of nowhere, Hopps dumps the donut on his head. + + +36 INT. ZPD - LOBBY - A LITTLE LATER 36 + + The lobby is overflowing with ANIMALS filing MISSING MAMMAL + REPORTS. Clawhauser is dealing with an otter, MRS. + OTTERTON. + + CLAWHAUSER + Okay, you’re gonna have to be + patient and wait in line just like + everyone else, Mrs. Otterton, okay? + + Just then: BAM! The Weasel (in donut) rolls through the + front door and hits Clawhauser’s desk. It settles, + revealing Hopps. + + HOPPS + I popped the weasel! + + Behind her, Chief Bogo yells from the second floor. + + BOGO + HOPPS! + + +37 INT. ZPD - BOGO’S OFFICE - A LITTLE LATER 37 + + Hopps sits in a big chair in front of Bogo, like a kid in + the principal’s office. Bogo looks over a report. + + BOGO + Abandoning your post, inciting a + scurry, reckless endangerment of + rodents -- but to be fair, you did + stop a master criminal from + stealing two dozen -- moldy onions. + + HOPPS + Hate to disagree with you, sir, but + those aren’t onions. Those are a + crocus varietal called Midnicampum + Holicithias. They’re a Class C + Botanical, sir. I grew up in a + family where plant husbandry was + kind of a thing. + + BOGO + Shut your tiny mouth, now. + + HOPPS + 36. + + + Sir, I got the bad guy. That’s my + job. + + BOGO + Your job is putting tickets on + parked cars. + + CLAWHAUSER (INTERCOM) + Chief, uh, Mrs. Otterton’s here to + see you again. + + BOGO + Not now. + + CLAWHAUSER(INTERCOM) + Okay, I just didn’t know if you + wanted to take it this time, she + seems really upset-- + + BOGO + Not now! + + HOPPS + Sir, I don’t want to be a meter + maid -- I wanna be a real cop. + + BOGO + Do you think the Mayor asked what I + wanted when he assigned you to me? + + HOPPS + But sir, if you -- + + BOGO + Life isn’t some cartoon musical + where you sing a little song and + your insipid dreams magically come + true. So let it go! + +MRS. OTTERTON barges in, with Clawhauser trailing, +wheezing. + + MRS. OTTERTON + Chief Bogo please -- five minutes + of your time. Please -- + + CLAWHAUSER + I’m sorry, sir, I tried to stop + her, she is super slippery. I gotta + go sit down. + + BOGO + 37. + + + Ma’am, as I’ve told you, we are + doing everything we can -- + + MRS. OTTERTON + My husband has been missing for ten + days. His name is Emmitt Otterton. + + BOGO + Yes, I know. + + MRS. OTTERTON + He’s a florist. We have two + beautiful children. He would never + just disappear. + +Mrs. Otterton reveals her own sweet little photo of Emmitt +with her and the family. + + BOGO + Ma’am, our detectives are very + busy. + + MRS. OTTERTON + Please. There’s got to be somebody + to find my Em. + + BOGO + Mrs. Otterton-- + + HOPPS (O.S.) + I will find him. + +Mrs. Otterton races over to Hopps and gives her a big hug +of relief. Bogo looks to Hopps, ready to explode. + + MRS. OTTERTON + Oh, thank you! Bless you, bless you + little bunny! + (hands picture of family) + Take this. Find my Emmitt. Bring + him home to me and my babies. + Please? + +Bogo grunts and ushers Mrs. Otterton back outside. + + BOGO + Mrs. Otterton? Please wait out + here. + + MRS. OTTERTON + Of course. Oh, thank you both so + much. + 38. + + + BOGO + One second. + +He closes the door and turns to Hopps, furious. + + BOGO + You’re fired. + + HOPPS + What? Why?! + + BOGO + Insubordination. Now, I’m going to + open this door and you’re going to + tell that otter you’re a former + meter maid with delusions of + grandeur who will not be taking the + case. + +Bogo opens the door, to find Bellwether, hugging Mrs. +Otterton. + + BELLWETHER + I just heard Officer Hopps is + taking the case! + + BOGO + Assistant Mayor Bellwether -- + + BELLWETHER + (texting) + The Mammal Inclusion Initiative is + really starting to pay off! Mayor + Lionheart is just gonna be so + jazzed! + + BOGO + No! No, let’s not tell the mayor + just yet -- + + BELLWETHER + And I sent it, and it is done, so I + did do that. All right, well I’d + say the case is in good hands! Us + little guys really need to stick + together! Right? + + HOPPS + Like glue! + + BELLWETHER + (amused laughter) + 39. + + + Good one! Just call me if you ever + need anything, okay? You’ve always + got a friend at City Hall, Judy. + Alright, bye bye! + + HOPPS + Thank you, ma’am. + + Bogo forces a smile and closes the door, even more pissed. + + BOGO + I will give you 48 hours. + + HOPPS + YES! + + BOGO + That’s two days to find Emmitt + Otterton. + + HOPPS + Okay. + + BOGO + But, you strike out -- you resign. + + Hopps is taken aback by that for a moment -- then nods. + + HOPPS + Oh, uh -- okay -- deal. + + BOGO + Splendid. Clawhauser will give you + the complete case file. + + +38 INT. ZPD - DESK AREA - A LITTLE LATER 38 + + Clawhauser places the Otterton file on his desk for Hopps. + + CLAWHAUSER + Here ya go! One missing otter! + + Hopps opens the file. It’s a single piece of paper. What? + + HOPPS + That’s it?! + + CLAWHAUSER + 40. + + + Yikes! That is the smallest case + file I’ve ever seen! Leads: none, + witnesses: none -- and you’re not + in the computer system yet, so + resources: none. + (chuckles) + I hope you didn’t stake your career + on cracking this one. + + Clawhauser takes a bite of his donut and the crumbs land on + a picture in the file, drawing Hopps’s attention to it. + + HOPPS + Okay. + (deep breath) + “Last known sighting--” + + Hopps brushes away the crumbs, revealing a picture of Mr. + Otterton on the street. Clawhauser annoyingly slurps from a + soda bottle. Hopps squints at the picture, intrigued. + + HOPPS + Can I just borrow-- + (grabbing soda bottle) + Thank you. + + Hopps uses Clawhauser’s bottle to enlarge the picture. She + sees Mr. Otterton holding a PAWPSICLE. + + HOPPS + Pawpsicle. + + CLAWHAUSER + The murder weapon! + + HOPPS + Get your pawpsicle -- + + CLAWHAUSER + Yeah, ‘cause that -- What does that + mean? + + HOPPS + It means I -- have a lead. + + DISSOLVE TO: + + +39 EXT. DOWNTOWN STREET - LATER 39 + + We find Nick pushing a BABY STROLLER. HOPPS zooms up in her + traffic cart, smiling. + 41. + + + HOPPS + Hi! Hello? It’s me again! + + NICK + Hey, it’s Officer Toot Toot. + + HOPPS + (fake laugh, humoring + him) + Ha-ha-ho, no actually it’s Officer + Hopps, and I’m here to ask you some + questions about a case. + + NICK + What happened, meter maid? Did + someone steal a traffic cone? It + wasn't me. + +Hopps looks ahead, Nick has gone around the corner. Hopps +pulls in front of Nick and sounds her siren. + + NICK + Hey, Carrots, you’re gonna wake the + baby, I gotta get to work. + + HOPPS + This is important, sir. I think + your ten dollars worth of popsicles + can wait. + + NICK + I make 200 bucks a day, fluff. 365 + days a year, since I was 12, and + time is money, hop along. + + HOPPS + Please, just look at the picture. + +Hopps holds up the traffic cam picture of the Otter. + + HOPPS + You sold Mr. Otterton that popsicle + right? Do you know him? + + NICK + I know everybody. And I also know + that somewhere there’s a toy store + missing its stuffed animal, so why + don’t you get back to your box. + +Hopps’ ears droop. + + HOPPS + 42. + + + Fine. Then we’ll have to do this + the hard way. + +She puts a boot on the stroller. + + NICK + Did you just boot my stroller? + + HOPPS + Nicholas Wilde, you are under + arrest. + + NICK + For what? Howting your feewings? + + HOPPS + Felony tax evasion. + +Nick smile drops a bit. + + HOPPS + Yeah. 200 dollars a day -- 365 days + a year -- since you were 12, that’s + two decades, so times twenty + (calculating) + -- which is one million four- + hundred sixty thousand-- I think, I + mean I am just a dumb bunny, but we + are good at multiplying -- anyway, + according to your tax forms -- + (presenting the forms) + -- you reported let me see here: + zero. Unfortunately, lying on a + federal form is a punishable + offense. Five years jail time. + + NICK + Well, it’s my word against yours. + +Hopps clicks a button on her CARROT PEN, which SPEAKS! + + NICK (ON CARROT PEN RECORDER) + “200 bucks a day, fluff. 365 days a + year, since I was 12.” + + HOPPS + Actually, it’s your word against + yours. And if you want this pen, + you’re going to help me find this + poor missing otter or the only + place you’ll be selling popsicles + is the prison cafeteria. + (dramatic smirk) + 43. + + + It’s called a hustle, sweetheart. + + Nick is utterly speechless. + + FINNICK + She hustled you. + (rude laugh) + She hustled you good! You’re a cop + now Nick, you’re gonna need one of + these! Have fun working with the + fuzz! + + THWAP! Finnick slaps his JUNIOR OFFICER STICKER on Nick. + + HOPPS + Start talking. + + NICK + I don’t know where he is. I only + saw where he went. + + HOPPS + Great, let’s go. + + NICK + It’s not exactly a place for a cute + little bunny. + + HOPPS + Don’t call me cute. + (forceful) + Get in the car. + + NICK + Okay. You’re the boss. + + +40 INT. THE MYSTIC SPRING OASIS - LATER 40 + + The Mystic Spring Oasis is new agey, full of incense, etc. + A meditating HIPPIE YAK sits with flies buzzing around his + head, matching the tone of his ohm. Hopps enters with Nick + and they approach the yak (still with his eyes closed). + + YAX THE HIPPIE YAK + Oooooooooohmmmmmmmm. + Oooooooooooohmmmmmm. + + HOPPS + Hi, hello. + + The yak continues his incessant chanting. + 44. + + + HOPPS + Um, hello? Hello? HELLO?! + +The yak finally shakes out of his trance and notices Hopps. + + HOPPS + Hello! My name is -- + + YAX THE HIPPIE YAK + Ooo, you know, I’m gonna hit the + pause button right there, ‘cause + we’re all good on Bunny Scout + Cookies. + + HOPPS + Uh, no -- I’m Officer Hopps, ZPD. + I’m looking for a missing mammal, + Emmitt Otterton. Right here -- + (shows photo) + -- who may have frequented this + establishment. + +The Yak looks at Hopps’ picture. His eyes go wide, as if +he’s about to say something really important, and then: + + YAX THE HIPPIE YAK + AH-CHOO! + (flies go everywhere) + Yeah, Ol’ Emmitt! Haven’t seen him + in a couple weeks. But hey, you + should talk to his yoga instructor, + I’d be happy to take you back. + + HOPPS + Oh, thank you so much, I’d + appreciate that more than you can + imagine. It would be such a big-- + (scream) + You are naked! + +The Yak comes around the counter and he IS naked. + + YAX THE HIPPIE YAK + Huh? Oh for sure, we’re a + naturalist club. + + NICK + Yeah, in Zootopia anyone can be + anything. These guys -- they be + naked. + +Nick grins, Hopps isn’t pleased. + 45. + + + YAX THE HIPPIE YAK + Nangi’s just on the other side of + the pleasure pool. + + The Yak opens the doors to a POOL AREA, with tons of naked + animals sunning themselves, playing in the pool, etc. + Hopps’ eyes nearly pop out of her head. Nick leans in. + + NICK + Does this make you uncomfortable? + Because, if so, there’s no shame in + calling it quits. + + HOPPS + Yes there is. + + NICK + Boy, that’s the spirit. + + +41 EXT. NATURALIST CLUB - COURTYARD - MOMENTS LATER 41 + + Nick revels in Hopps’ discomfort over the nude animals + everywhere. Lots of nude animals. Yax leads them, + oblivious. + + YAX THE HIPPIE YAK + Yeah, some mammals say the + naturalist life is weird, but you + know what I say is weird? Clothes + on animals! Here we go. + + Nangi’s engaging in a string of fairly evocative yoga + poses. + + YAX THE HIPPIE YAK + As you can see, Nangi’s an + elephant, so she’ll totally + remember everything. Hey Nangi, + these dudes have some questions + about Emmitt the Otter. + + NANGI + Who? + + YAX + Uh, Emmitt Otterton? Been coming to + your yoga class for like 6 years? + + NANGI + I have no memory of this beaver. + + JUDY + 46. + + + He’s an otter actually. + + YAX + He was here a couple Wednesdays + ago. ‘Member? + + NANGI + Nope. + + YAX + Yeah, he was wearing a green cable- + knit sweater vest, and new pair of + corduroy slacks. Oh, and a paisley + tie. Sweet Windsor knot. Real + tight. Remember that Nangi? + + NANGI + No. + + Nangi doesn’t want to be bothered. And she’s useless. Yax + is a gold mine, though! Hopps writes down everything he + says. + + YAX + Yeah, and we both walked him out + and he got into this big ol’ white + car with a silver trim? Needed a + tune up. The third cylinder wasn’t + firing. ‘Member that, Nangi? + + NANGI + Nope. + + HOPPS + You didn’t happen to catch the + license plate number, did you? + + YAX + Oh, for sure. It was 29THD03. + + HOPPS + 0, 3 -- Wow, this is a lot of great + info, thank you. + + YAX + Told ya Nangi has a mind like a + steel trap. I wish I had a memory + like an elephant. + + +42 EXT. SAHARA SQUARE - MOMENTS LATER 42 + + Nick and Hopps emerge. + 47. + + + NICK + Well, I had a ball. You are welcome + for the clue. And seeing as how any + moron can run a plate, I will take + that pen and bid you adieu. + + As Nick reaches to take it, Hopps realizes something and + leaves him hanging. + + HOPPS + The plate -- I can’t run a plate -- + (frustrated grunt) + I’m not in the system yet. + + NICK + Give me the pen please. + + Hopps gets an idea. + + HOPPS + (still withholding pen) + What was it you said? “Any moron + can run a plate?” Gosh -- if only + there were a moron around who were + up to the task -- + + NICK + Rabbit, I did what you asked, you + can’t keep me on the hook forever. + + HOPPS + Not forever. Why, I only have 36 + hours left to solve this case. So + can you run the plate or not? + + NICK + Actually, I just remembered I have + a pal at the DMV -- + + +43 EXT. DMV - LATER 43 + + They arrive at the DMV, the “Department of Mammal + Vehicles.” + + NICK + Flash is the fastest guy in there, + you need something done, he’s on + it. + + HOPPS + I hope so, we are really fighting + the clock and every minute counts. + 48. + + + (suddenly stops, alarmed) + Wait. They’re all sloths?! + +Unfortunately, every mammal working there is a SLOTH. +INSERT: SLOTH EMPLOYEES taking extraordinary amounts of +time to do the simplest of tasks, stapling, stamping, etc. + + HOPPS + You said this was going to be + quick! + + NICK + (faux innocence) + What? Are you saying that because + he’s a sloth, he can’t be fast? I + thought in Zootopia anyone could be + anything. + +Nick smiles. Hopps doesn’t. They head to Flash’s station. + + NICK + Flash, Flash, hundred yard dash! + Buddy, it’s nice to see ya. + +Flash doesn’t respond. Beat. + + FLASH + Nice to -- + (beat) (beat) + see you -- + (beat) (beat) + too. + +Hopps looks like she’s going to die. + + NICK + Hey Flash, I’d love ya to meet my + friend -- uh, darlin’ I’ve + forgotten your name. + + HOPPS + (fake smile, to Nick) + Officer Judy Hopps, ZPD. + (shows badge) + How are ya? + +Flash doesn’t respond -- then -- + + FLASH + I am -- doing -- just -- + + HOPPS + Fine? + 49. + + + FLASH + -- as well -- as -- I can -- be. + What -- + + NICK + (to an impatient Hopps) + Hang in there. + + FLASH + -- can I -- do -- + + HOPPS + Well, I was hoping you could run a + plate -- + + FLASH + For you -- + + HOPPS + Well, I was hoping you could -- + + FLASH + -- today. + +Hopps pauses, cautiously optimistic that he’s finished. + + HOPPS + Well, I was hoping you could run a + plate for us. We are in a really + big hurry. + +Beat. Beat. + + FLASH + Sure. What’s the -- plate -- + + HOPPS + 2, 9, T -- + + FLASH + -- Number? + +Hopps takes a breath. + + HOPPS + 29THD03. + + FLASH + (several beats) + 2 -- 9 -- + + HOPPS + THD03. + 50. + + + FLASH + T. + + HOPPS + HD03. + + FLASH + H. + + HOPPS + D03. + + FLASH + D. + + HOPPS + Mmhmm. 0, 3. + +FLASH + + HOPPS + 3! + +Flash is just about to say three, but -- + + NICK + Hey Flash, wanna hear a joke? + + HOPPS + No! + + FLASH + Sure. + + NICK + What do you call a three humped + camel? + + FLASH + I don’t -- know -- + (beat) + What -- do -- you call -- a -- + + HOPPS + Three humped camel. + + FLASH + Three humped -- camel? + + NICK + Pregnant. + 51. + + + Nick laughs at his own joke. Flash doesn’t react, then + finally raises his head with a smile and -- + + FLASH + Ha -- ha -- ha -- ha -- + + HOPPS + Ha, ha, yes very funny, very funny, + can we please just focus on the + task -- + + Flash slowly reaches over to the sloth next to him. + + FLASH + Hey -- Priscilla -- + + HOPPS + Oh no! + + PRISCILLA + Yes -- Flash? + + FLASH + What -- do -- + + HOPPS + No! + + FLASH + You call -- a -- + + HOPPS + A three humped camel? Pregnant! + Okay, great, we got it, please just + -- + + FLASH + Three -- humped -- + + HOPPS + Aggggggghhhhhhh-- + + +44 INT. DMV - LATER 44 + + A slow DOT-MATRIX printer spits out the address for CAR + LICENSE PLATE NUMBER: 29THD03. + + FLASH + Here -- + + HOPPS + Yeah, yeah, yeah -- thank you! + 52. + + + FLASH + You -- go. + + HOPPS + (frantically reads) + 29THD03 -- it’s registered to -- + Tundratown Limo Service? A limo + took Otterton, and the limo’s in + Tundratown -- it’s in Tundratown! + + NICK + Way to hustle, bud. I love ya. I + owe ya. + + HOPPS + Hurry, we gotta beat the rush hour + and -- + + +45 EXT. DMV - CONTINUOUS 45 + + They go outside. It’s night. + + HOPPS + IT’S NIGHT?! + + +46 EXT. SNOWY LOT - MOMENTS LATER 46 + + Nick and Hopps reach LEGITIMATE ENTERPRISE CAR SERVICE. + Hopps tries to open the lock. + + HOPPS + Closed. Great. + + NICK + Mm. And I will betcha you don’t + have a warrant to get in. Hm? Darn + it. It’s a bummer. + + There’s a big gated parking lot which is chained shut but + they can see a few limos parking inside, covered in snow. + + HOPPS + You wasted the day on purpose. + + NICK + Madam, I have a fake badge. I would + never impede your pretend + investigation. + + HOPPS + 53. + + + It’s not a pretend investigation! + Look, see-- + (showing picture of + Otterton) + See him? This otter is missing. + + NICK + Well then they should have gotten a + real cop to find him. + + HOPPS + What is your problem? Does seeing + me fail somehow make you feel + better about your own sad, + miserable life? + +Nick considers this for a moment. + + NICK + It does. One hundred percent. + (then) + Now... since you’re sans warrant, I + guess we’re done? + +Hopps considers this and sighs, defeated. + + HOPPS + Fine. We are done. Here’s your pen. + +Hopps then casually throws it over the fence behind her. + + NICK + Hey! + (staring at the pen) + + NICK + First off, you throw like a bunny, + second, you’re a very sore loser. + (starts to climb) + See ya later, Officer Fluff, so sad + this is over, I wish I could’ve + helped more. + +Nick jumps down onto the other side, but just as he reaches +for the pen, Hopps is suddenly right there and snatches it. + + HOPPS + The thing is, you don’t need a + warrant if you have probable cause, + and I’m pretty sure I saw a shifty + low-life climbing the fence, so + you’re helping plenty. Come on. + 54. + + + Hopps cheerfully heads off. Nick watches her, not quite + smiling, but he’s starting to respect his opponent. + + +47 EXT. PARKING LOT - MOMENTS LATER 47 + + Hopps wipes snow off a back bumper: LICENSE PLATE 29THD03. + + HOPPS + 29THD03 this is it. + + +48 INT. REFRIGOUSINE - MOMENTS LATER 48 + + They open the big door, which looks like it belongs on a + refrigerator. As they snoop around, Hopps uses tweezers to + pick up a clump of fur. + + HOPPS + Polar bear fur. + + NICK + (opening glove box) + OH MY GOD! + + HOPPS + What? What?! + + Hopps looks up, only to see Nick holding some JERRY VOLE + CDs. + + NICK + The Velvety Pipes of Jerry Vole! + But on CD? Who still uses CDs? + + As Hopps rolls her eyes and goes back to collecting clues, + Nick lowers the back partition and his eyes go wide. + + NICK + Carrots--? If your otter was here - + - he had a very bad day. + + Hopps’ flashlight reveals CLAW MARKS covering the back + seat. + + HOPPS + Those are -- claw marks. You ever + seen anything like this? + + NICK + No. + + Through the fog on the floor Hopps spots a wallet. + 55. + + + HOPPS + Oh, wait. Look. + +They slink back into the back seat. Hopps opens up the +wallet to find a drivers license for Mr. Otterton. + + HOPPS + This is him. Emmitt Otterton. He + was definitely here. What do you + think happened? + +Nick spots a cocktail glass, it’s etched with a “B.” + + NICK + Well, now wait a minute -- + (then, suspicious) + Polar bear fur -- Rat Pack music -- + fancy cup -- + (suddenly terrified) + I know whose car this is. We gotta + go! + + HOPPS + Why? Whose car is it? + +Nick tries to put everything back the way he found it. + + NICK + The most feared crime boss in + Tundratown. They call him Mr. Big + and he does not like me, so we + gotta go! + + HOPPS + I’m not leaving, this is a crime + scene. + + NICK + Well, it’s gonna be an even bigger + crime scene if Mr. Big finds me + here, so we’re leaving right now! + +Nick ushers Hopps to the door, but opens it to find two big +POLAR BEARS. + + NICK + (faux excitement) + Raymond! And, is that Kevin?! Long + time no see. And speaking of no + see, how about you forget you saw + me? Huh? For old time’s sake? + +The polar bears grab Nick and Hopps by their throats -- + 56. + + + NICK + That’s a no. + + -- and yank them off screen. + + +49 INT. POLAR BEAR CAR - MOMENTS LATER 49 + + VROOM! A car whizzes by. Inside, Nick and Hopps sit + nervously in the back seat, sandwiched between the polar + bears, one of whom casually scrolls through Zoogle Photos + on his phone. + + HOPPS + What did you do that made Mr. Big + so mad at you? + + NICK + (sotto) + I uh, I may have sold him a very + expensive wool rug -- that was made + from the fur of a -- skunk’s butt. + + HOPPS + (pissed at Nick) + Oh, sweet cheese and crackers. + + Pull out to reveal the car passing through the security + gate of a residential compound. A POLAR BEAR GUARD lets + them in. + + +50 INT. MR. BIG’S RESIDENCE - MOMENTS LATER 50 + + Nick and Hopps are shoved into a room that’s right out of + The Godfather. A POLAR BEAR enters. + + HOPPS + (sotto) + Is that Mr. Big? + + NICK + (sotto) + No. + + Now an even BIGGER POLAR BEAR enters -- + + HOPPS + What about him? Is that him? + + NICK + (sotto, frustrated) + No. + 57. + + +-- and then another. The BIGGEST POLAR BEAR yet -- + + HOPPS + That’s gotta be him. + + NICK + Stop talking stop talking stop + talking -- + +The huge polar bear growls at Nick, then reveals a tiny +chair upon which sits a TEENY, TINY ARCTIC SHREW this is +MR. BIG. He sounds like Marlon Brando sped up to 78 rpm. + + NICK + Mr. Big, sir, this is a simple + misunder -- + +Mr. Big holds out a TINY FINGER for NICK to KISS HIS RING. +Nick painstakingly does so. + + NICK + This is a simple misunderstanding. + +Mr. Big motions for Nick to shut up. + + MR. BIG + You come here unannounced -- on the + day my daughter is to be married? + + NICK + Well actually we were brought here + against our will, so -- + (Mr. Big is not + impressed) + Point is, I did not know it was + your car, and I certainly did not + know about your daughter’s wedding. + + MR. BIG + I trusted you, Nicky -- I welcomed + you into my home -- we broke bread + together -- Gram-mama made you her + cannoli. And how did you repay my + generosity? With a rug -- made from + the butt of a skunk. A skunk butt + rug. You disrespected me. You + disrespected my gram-mama who I + buried in that skunk butt rug. I + told you never to show your face + here again, but here you are, + snooping around with this -- + (re. Hopps) + 58. + + + What are you, a performer? What’s + with the costume? + + HOPPS + Sir, I am a c -- + + NICK + Mime! She is a mime. This mime, + cannot speak. You can’t speak if + you’re a mime. + + HOPPS + No. I am a cop. And I’m on the + Emmitt Otterton case, and my + evidence puts him in your car, so + intimidate me all you want, I’m + going to find out what you did to + that otter if it’s the last thing I + do. + +Mr. Big considers this and makes that little grunt. + + MR. BIG + Then I have only one request: say + hello to Gram-mama. Ice ‘em! + +The Polar Bears snatch Nick and Hopps. + + NICK + Whoa -- I didn’t see nothing -- I’m + not saying nothing -- + + MR. BIG + And you never will -- + +The polar bears open a hidden door on the floor, revealing +an icy pool beneath. + + NICK + Please! No no no! If you’re mad at + me about the rug I’ve got more + rugs! + +Nick and Hopps are about to be dumped in, when -- + + FRU FRU SHREW + Oh, Daddy, it’s time for our dance. + (sees them trying to kill + Nick) + What did we say? No icing anyone at + my wedding! + + MR. BIG + 59. + + + I have to, baby. Daddy has to. + (to Thugs) + Ice ‘em. + + Nick and Hopps scream and -- + + FRU FRU SHREW + Wait. WAIT! She’s the bunny that + saved my life yesterday. From that + giant donut. + + MR. BIG + This bunny? + + FRU FRU SHREW + Yeah. Hi! + + HOPPS + Hi. + (warm, whisper) + I love your dress. + + FRU FRU SHREW + Aw, thank you. + + Mr. Big motions for the Polar Bears to put Hopps down. + + MR. BIG + Put ‘em down. + (then, to Hopps) + You have done me a great service. I + will help you find the otter. I + will take your kindness -- and pay + it forward. + + Hopps and Mr. Big kiss on the cheeks. Nick stares at them. + What is happening? + + +51 INT. WEDDING RECEPTION - A LITTLE LATER 51 + + A lavish celebration full of arctic animals dancing. We + find Nick and Hopps at the head table, next to Mr. Big. + They all eat TINY pieces of WEDDING CAKE. + + MR. BIG + Otterton is my florist. He’s like a + part of the family. He had + something important he wanted to + discuss. That’s why I sent that car + to pick him up. But he never + arrived. + 60. + + + HOPPS + Because he was attacked. + + MR. BIG + No -- he attacked. + + HOPPS + Otterton? + + MR. BIG + Otterton. He went crazy. Ripped up + the car, scared my driver half to + death and disappeared into the + night. + + HOPPS + He’s a sweet little otter. + + MR. BIG + My child, we may be evolved but + deep down we are still animals. + + Nick and Hopps trade a worried glance. OVER THE FOLLOWING + WE CROSS-DISSOLVE TO NICK AND HOPPS WALKING IN THE RAIN + FOREST: + + MR. BIG (V.O.) + You want to find Otterton -- talk + to the driver of the car. His + name’s Manchas, lives in the Rain + forest District. Only he can tell + you more. + + +52 EXT. “RAIN FOREST DISTRICT” - LATER THAT NIGHT 52 + + Nick and Hopps make their way across a mossy rope bridge + high above the forest floor. It leads to a moss-covered + apartment. + + +53 EXT. “THE CANOPY” - MOMENTS LATER 53 + + At the door of the DRIVER’S APARTMENT, they ring the bell. + + HOPPS + Mr. Manchas? Judy Hopps, ZPD. We + just want to know what happened to + Emmitt Otterton. + + Beat. The door creaks open. + + MANCHAS (MUFFLED INSIDE) + 61. + + + You should be asking -- what + happened to me. + +The door opens to the chain, revealing MANCHAS is a HUGE +JAGUAR, but he’s been badly beaten up. He has a black eye, +and a scratches. Nick and Hopps are taken aback. + + NICK + Whoa. A teensy otter -- did that? + + HOPPS + What -- happened? + +Off Manchas’s look, we + + CUT TO: + +A FLASHBACK + +Manchas is driving when he’s attacked from the back seat. + + MANCHAS (THROUGH DOOR GAP) + He was an animal -- down on all + fours -- he was a savage. + +The car spins out. Emmitt growls at Manchas then runs off. + + BACK TO: + +THE CANOPY + + MANCHAS + (haunted) + There was no warning, he just kept + yelling about the “night howlers.” + Over and over, “the night howlers- + -” + +Nick and Hopps share a subtle look, they have no idea what +“night howlers” are. + + NICK + Oh. So you know about the night + howlers too? Good, good, good. + Because the night howlers are + exactly what we are here to talk + about. + (to Judy) + Right? + + HOPPS + 62. + + + Yep. So, uh, you just open the door + and tell us what you know and we + will tell you what we know. Okay? + + MANCHAS + (considering) + Okay. + +Manchas closes the door and starts to unlock a series of +deadbolts. Judy gives Nick an impressed look. + + HOPPS + Clever fox. + +There’s a commotion inside, followed by a scream. + + HOPPS + Mr. Manchas? + +The door creaks open just an inch. Nick and Hopps seem +startled. Hopps slowly pushes the door open, revealing +Manchas in the center of the room, hunched over and +grunting. + + NICK + Buddy? + + HOPPS + Are you -- okay? + +Hopps looks at Manchas. + +RAAAGH!!! Manchas turns, right at them. His eyes are +dilated, he’s turned savage! He’s poised to pounce on Nick +and Hopps. + + HOPPS + Run. RUN! + +The Jaguar tears after them, he’s deranged, primal. Nick +and Hopps run! The jaguar is closing in. + + NICK + What is wrong with him?! + + HOPPS + I don’t know!! + +Nick and Hopps run across the bridge. Manchas closes in. + + HOPPS + Jump! + 63. + + + They jump off the bridge to a lower branch. They duck into + a hollow log and Manchas follows them. + + HOPPS + (to Nick) + Head down! + + Hopps frantically picks up her police radio. + + HOPPS + Officer Hopps to dispatch! + + +54 INT. POLICE STATION - DISPATCH - SAME 54 + + We find Clawhauser showing a handcuffed PERP a video on his + phone of pop star Gazelle singing and dancing. A RED LIGHT + blinks on the desk phone, but Clawhauser ignores it. + + CLAWHAUSER + Are you familiar with Gazelle? + Greatest singer of our lifetime-- + angel with horns-- okay, hold on, + keep watching. Who’s that beside + her? Who is it? + + Reveal: Clawhauser is dancing on stage with Gazelle. + + GAZELLE (ON PHONE) + Wow, you are one hot dancer -- + (digitized robo-voice) + -- BENJAMIN CLAWHAUSER. + + CLAWHAUSER + (joyous laughter) + It’s me! Did you think it was real? + It looks so real! It’s not. It’s + just a new app. + (finally notices ringing + phone) + Hold on a second-- + + Clawhauser clicks the speaker button and -- + + HOPPS (V.O.) + CLAWHAUSER! + + +55 EXT. THE CANOPY - SAME 55 + + RAAGH! Manchas takes a swipe at Nick. + + HOPPS + 64. + + + Clawhauser, listen to me! We have a + 10-91! Jaguar gone savage! Vine and + Tu-junja! + + NICK + It’s Tujunga! + +As they emerge from the log, Hopps slips, dropping her +radio. + + CLAWHAUSER (ON RADIO) + Okay, we’re sending back up! Hopps? + HOPPS?! + +Nick and Hopps run, sliding around a corner. Ahead is a +gondola station. + + HOPPS + There! Head to the skytrams! + +They run to the gondolas. Hopps darts out of Manchas’ way, +but slips and is headed off the platform when she manages +to grab on, dangling from the edge. Nick searches for her - +- + + NICK + Get in! Carrots? Carrots! + +He tries to hold on to the gondola for Hopps, who is +struggling to pull herself back onto the platform. + + HOPPS + Go! + +As the gondola pulls away, Nick tries to stop it to no +avail. + + NICK + No, no, no! + +Nick backs up, the jaguar stalks him. + + NICK + Buddy, one predator to another -- + +The jaguar charges, but before it gets Nick -- clank! It’s +yanked back in place. We see a HANDCUFF on its back paw, +attached to a metal post. Hopps cuffed him! + + NICK + Now, I can tell you’re a little + tense, so I’m just gonna give you a + little personal space -- + 65. + + +The jaguar thrashes, knocking Nick and Hopps over the edge. +Hopps barely grabs a vine, but struggles to hold Nick in +the other hand. As Manchas growls at them from above, Nick +looks at the abyss below. Hopps looks around, her mind +racing. + + NICK + Rabbit, whatever you do, do not let + go! + + HOPPS + I’m gonna let go! + + NICK + No, you what? No, I said -- listen + -- noooo! + + HOPPS + One, two -- + +Hopps lets go, swinging them over to a netting of vines, +kind of on top of each other. They can’t believe they’re +alive. They look at each other, stunned, relieved. + + NICK + Carrots. You saved my life. + + HOPPS + Well. That’s what we do at the ZP - + - + (the branch snaps) + Deeeeeeeeeeeee -- + +Nick and Hopps plummet. They are about to hit the ground, +but a vine attached to their legs stops them right before +impact. + +Woo! A convoy of police arrive, screeching in front of +them. Out steps Bogo. Hopps smiles, the cavalry has +arrived. + + BOGO + Well, this should be good. + +MOMENTS LATER + +Hopps leads the cops up to the canopy, full of confidence. + + HOPPS + 66. + + + I thought this was just a missing + mammal case, but it’s way bigger. + Mr. Otterton did not just + disappear. I believe he and this + jaguar, they -- went savage, Sir. + + BOGO + (scoffing) + Savage? This isn’t the Stone Age, + Hopps. Animals don’t go savage. + + HOPPS + I thought so too, ‘til I saw this: + +Hopps pulls back some leaves to reveal: the jaguar is gone. +There is no sign of him or his handcuffs. It’s like it +never happened. Hopps’ eyes go wide. + + HOPPS + What? He was right here -- + + BOGO + (not buying it) + The “savage” jaguar. + + HOPPS + Sir, I know what I saw -- he almost + killed us. + + BOGO + Or maybe any aggressive predator + looks savage to you rabbits. + (calls out, to cops) + Let’s go. + + HOPPS + Wait -- Sir, I’m not the only one + who saw him! + (to Nick) + Nick! + +Hopps turns to Nick, but before he can explain: + + BOGO + (incredulous) + You think I’m going to believe a + fox? + + HOPPS + Well he was a key witness and I + enlisted -- + + BOGO + 67. + + + (the last straw) + Two days to find the otter -- + + BOGO + or you quit -- that was the deal. + Badge. + +Bogo extends his arm, waiting for Hopps to hand it over. + + HOPPS + But, Sir, we -- + + BOGO + Badge. + +Hopps looks at Bogo, then looks at her badge, she’s about +to reach for it, when -- + + NICK (O.S.) + Uh, no. + +Bogo stops, and glares at Nick. + + BOGO + What did you say, fox? + + NICK + Sorry, what I said was, “no.” She + will not be giving you that badge. + Look, you gave her a clown vest and + a three-wheel joke-mobile and two + days to solve a case you guys + haven’t cracked in two weeks? Yeah, + no wonder she needed to get help + from a fox, none of you guys were + gonna help her, were you? + +Hopps looks at Nick, stunned he’s sticking up for her. + + NICK + Here’s the thing Chief, you gave + her the 48 hours, so technically we + still have 10 left to find our Mr. + Otterton -- and that’s exactly what + we’re gonna do, so if you’ll excuse + us... we have a very big lead to + follow and a case to crack. Good + day. + +Nick guides Hopps to a PASSING GONDOLA, motioning her in. + + NICK + Officer Hopps? + 68. + + + The gondola pulls away, leaving Bogo and the rest of the + police watching, flabbergasted. + + +56 INT/EXT. GONDOLA - CONTINUOUS 56 + + Hopps and Nick both stare straight ahead. + + HOPPS + Thank you. + + NICK + Never let ‘em see that they get to + you. + + Hopps looks at Nick, a little surprised. Nick looks out. + + HOPPS + So, things do get to you -- + + NICK + No -- I mean, not anymore. But I + was small and emotionally + unbalanced like you once. + + HOPPS + Har-har. + + NICK + (retreating into the + memory) + No, it’s true. I think was 8, or + maybe 9, and all I wanted to do was + join the Junior Ranger Scouts. + + DISSOLVE TO: + + +57 INT. YOUNG NICK’S BEDROOM - DUSK - FLASHBACK 57 + + YOUNG NICK, tiny and cherubic, looks in the mirror. We see + MOTHER’s paws tying the scout kerchief around his neck. + + NICK (V.O.) + -- so, my mom scraped together + enough money to buy me a brand new + uniform because, by God, I was + gonna fit in. + + +58 EXT. SCOUT BUILDING - NIGHT - FLASHBACK 58 + + Young Nick bounds down the sidewalk and up the stairs. + 69. + + + NICK (V.O.) + Even if I was the only predator in + the troop -- + + +59 INT. SCOUT MEETING - MOMENTS LATER - FLASHBACK 59 + + Young Nick enters a church basement, spots a GROUP OF PREY + KIDS, all in scout uniforms. They wave him over. + + NICK (V.O.) + -- the only fox. + + MEAN KID ANIMAL (O.S.) + Okay, Nick! + + NICK (V.O.) + I was gonna be part of a pack. + + MEAN KID ANIMAL + Ready for initiation? + + YOUNG NICK + Yeah! Pretty much born ready. + + They high five Nick. It looks promising and fun. + + NICK (V.O.) + I was so proud. + + Suddenly, a BIG KID turns off the lights. Other KIDS switch + on FLASHLIGHTS, shining them on Nick like gestapo + spotlights. + + MEAN KID ANIMAL + Okay. Now raise your right hand and + deliver the oath. + + YOUNG NICK + I, Nicholas Wilde, promise to be + brave, loyal, helpful, and + trustworthy. + + MEAN KID ANIMAL + Even though you’re a fox? + + YOUNG NICK + What? + + Then, a bunch of KID ANIMALS tackle Nick. Soon, all of the + animals pile on, kicking and shoving him. + + YOUNG NICK + 70. + + + No! What did I do wrong, you guys?! + No! Please tell me, what did I do + wrong?! + +With Nick pinned, the primary mean kid straddles him. +Someone hands him a MUZZLE. The mean kid snaps it on Nick’s +snout. + + YOUNG NICK + (muzzled) + What did I do?! + + MEAN KID ANIMAL + If you thought we would ever trust + a fox without a muzzle, you’re even + dumber than you look. + +Nick breaks free from the kids. Scrambles away from them in +fright. As they laugh, he races out the door. + + MEAN KID ANIMAL (O.S.) + Aw, is he gonna cry? + +Once out sight, Nick panics as he struggles to remove the +muzzle. It won’t come off. Finally, painfully, he pulls it +off and throws it to the ground. He collapses, weeping. + +THE GONDOLA + + NICK + I learned two things that day. One, + I was never gonna let anyone see + that they got to me. + +Hopps looks at Nick, who avoids eye contact. + + HOPPS + -- And two? + + NICK + If the world’s only gonna see a fox + as shifty and untrustworthy, + there’s no point in trying to be + anything else. + + HOPPS + Nick, you are so much more than + that -- + +Hopps touches Nick’s arm as the gondola pierces the clouds. +The city at dawn comes into view. It’s gotten too real for +Nick. He abruptly changes the subject. + 71. + + + NICK + Boy, look at that traffic down + there. + (putting on radio voice) + How about we go out to Chuck in + Traffic Central -- Chuck, how are + things looking on the Jam Cams? + + HOPPS + Nick, I’m glad you told me -- + + NICK + (lightbulb moment!) + The Jam Cams--! + + HOPPS + Seriously, it’s okay -- + + NICK + No-n-shh-shush! There are traffic + cameras everywhere. All over the + canopy. Whatever happened to that + jaguar-- + + HOPPS + The traffic cams would have caught + it! + + NICK + Bingo! + + Hopps gives him a chuck on the arm, impressed. + + HOPPS + Pretty sneaky, Slick. + + NICK + However. If you didn’t have access + to the system before, I doubt Chief + Buffalo Butt is gonna let you into + it now. + + HOPPS + (beat, then) + No -- But I have a friend at City + Hall who might. + + +60 INT. CITY HALL - LATER THAT MORNING 60 + + We find BELLWETHER trying to balance a stack of binders + while struggling to keep pace with Mayor Lionheart, who is + walking quickly in front of her. + 72. + + + BELLWETHER + Sir? If we could just review these + very important -- + (almost drops binders) + Sir? + + She almost steps on a LITTLE MOUSE LADY. + + BELLWETHER + Ooo, I’m so sorry -- sir?! + + LIONHEART + Okay. I heard you, Bellwether. Just + take care of it! + (setting another binder + atop her stack) + Please. And clear my afternoon, I’m + going out. + + BELLWETHER + No, no! But, sir, you do have a + meeting with Herds and Grazing -- + sir, if I could just -- + + He continues through a door. Bellwether tries to follow, + but the door shuts on her, spilling the binders to the + floor. + + BELLWETHER + Oh, mutton chops. + + As Bellwether picks up her mess, Hopps and Nick appear. + + HOPPS + Assistant Mayor Bellwether? We need + your help. + + +61 INT. BELLWETHER’S OFFICE - LATER 61 + + We’re in Bellwether’s cramped little office. Nick and Hopps + hover over her while she sits at her computer. + + HOPPS + We just need to get into the + traffic cam database. + + Nick subtly touches Bellwether’s wool puff. + + NICK + (mouths, to Hopps) + So fluffy! + 73. + + + HOPPS + Hey! + + NICK + Sheep never let me this close. + + HOPPS + You can’t just touch a sheep’s wool + -- + + NICK + It’s like cotton candy. + + HOPPS + Stop it! + +Judy swats Nick, but accidentally hits Bellwether’s puff. + + BELLWETHER + Where to? + + HOPPS + Rainforest District, Vine and + Tujunga. + +ANGLE ON the computer screen. + + BELLWETHER + There! Traffic cams for the whole + city. This is so exciting, + actually. Well, you know, I never + get to do anything this important. + + HOPPS + But you’re the Assistant Mayor of + Zootopia. + + BELLWETHER + Oh, I’m more of a glorified + secretary. I think Mayor Lionheart + just wanted the sheep vote -- + (then, cheerily) + But he did give me that nice mug. + +She motions to a mug that reads World’s Greatest Dad +Assistant Mayor. + + BELLWETHER + Feels good to be appreciated. + + LIONHEART (INTERCOM) + Smellwether?! + 74. + + +Bellwether cringes. + + BELLWETHER + That’s a fun little name he likes + to use. I called him Lionfart once. + He did not care for that, let me + tell you. It was not a good day for + me. + (pressing intercom + button) + Yes, sir? + + LIONHEART (INTERCOM) + I thought you were going to cancel + my afternoon?! + + BELLWETHER + Oh, dear. I better go -- + (to Hopps, while leaving) + Let me know what you find. It was + really nice for me to be -- + + LIONHEART (INTERCOM) + While we’re young, Smellwether! + +Bellwether finally opens her big heavy door and leaves. + + NICK + You think when she goes to sleep + she counts herself? + + HOPPS + Shush. Okay, traffic cams -- + (looking at computer) + Tujunga, Tujunga -- we’re in. + +Nick and Hopps watch the footage from the night before. We +can see the jaguar going nuts. Then a BLACK VAN skids up, +and some WOLVES hop out. + + HOPPS + Who are these guys? + + NICK + Timberwolves. Look at these + dumdums. + +The Wolves suddenly capture the jaguar with a net. Judy +GASPS, shocked. Nick is unfazed. + + NICK + Betcha a nickel one of em’s gonna + howl. + 75. + + +The wolves howl. + + NICK + And there it is. What is it with + wolves and the howling? It’s like - + - + + HOPPS + (light-bulb moment) + Howlers! Night howlers! That’s what + Manchas was afraid of -- wolves! + The wolves are the night howlers. + If they took Manchas -- + + NICK + --- I bet they took Otterton too. + + HOPPS + All we gotta do is find out where + they went. + +She clicks the monitor but as the wolves drive off, they +disappear through a tunnel and don’t come out the other +side. + + HOPPS + Wait. Where’d they go? + + NICK + You know, if I wanted to avoid + surveillance because I was doing + something illegal -- which I never + have -- I would use the maintenance + tunnel 6B -- which would put them + out -- + +He clicks on another camera. Nothing -- then -- the wolves +emerge in the van. + + NICK + -- right there. + +Hopps looks at Nick, impressed. + + HOPPS + Well, look at you, Junior + Detective. You know, I think you’d + actually make a pretty good cop. + + NICK + How dare you. + 76. + + + Hopps goes back to clicking, we track the wolves through + alleys and back roads. + + NICK + Acacia alley -- Ficus underpass -- + South Canyon -- + + HOPPS + They’re heading out of town -- + Where does that road go? + + +62 EXT. CLIFFSIDE ASYLUM - GOLDEN HOUR 62 + + The imposing CLIFFSIDE ASYLUM sits on the edge of a + waterfall. Nick and Hopps, hidden on the side of the road, + spy from a hundred yards away. + + Nick and Hopps sneak up to the guard gate, where TWO WOLVES + are stationed. + + Using elaborate hand signals, Nick motions he’s going to + sneak past first. He gets around the gate, but as he gets + close, a wolf sniffs the air, he’s onto him. + + Nick reaches around and grabs a piece of wood to use as a + weapon. The wolf moves toward Nick but before he reaches + him Ooooooooooo! + + A distant howl grabs his attention. It’s Hopps, cupping her + mouth to make the howl sound distant. The wolf hears it and + can’t help but howl as well. Another guard approaches. + + WOLF GUARD + Gary, quit it, you’re gonna start a + howl. + + GARY THE WOLF GUARD + I didn’t start it. + (more howling off-screen) + Oooooooo! + + WOLF GUARD + Oooooooooo! + + More wolves start to howl. Nick looks at Hopps, impressed. + + HOPPS + Come on! + + Nick and Hopps use the distraction to jump the fence and + sneak into the complex. + 77. + + + NICK + You are a clever bunny. + + Above, they notice a drainage pipe leading into the + building. + + +63 INT. CLIFFSIDE ASYLUM - LARGE ROOM - MOMENTS LATER 63 + + Nick and Hopps emerge from the drain pipe into the creepy + asylum. They’re in a large, cavernous room, full of old + MEDICAL EQUIPMENT. It’s like a combination of an old + hospital and a turn-of-the-century zoo. + + HOPPS + It looks like this was a hospital. + + Judy shines her light down a corridor, at the end of which + is a metal door with a blue light shining within. Nick + nears the door, about to open it, the tension builds and + then -- + + NICK + (turns to Hopps) + You know, after you, you’re the + cop. + + +64 INT. CLIFFSIDE ASYLUM - MEDICAL WARD - MOMENTS LATER 64 + + Hopps cautiously pushes the door open to reveal: a room + with modern medical equipment. Nick pops up behind her. + + NICK + Okay. All clear. + + Hopps rolls her eyes and cautiously enters and looks + around. + + HOPPS + All this equipment is brand new -- + + NICK (O.S.) + Carrots--? + + Nick points to the ground, which is scuffed with CLAW + MARKS. + + HOPPS + Claw marks -- + + NICK + 78. + + + Yeah. Huge, huge, claw marks. I + mean, what kind of -- + +RAAGH! A SAVAGE TIGER emerges behind the glass of a nearby +cage, startling Nick and sending him running to Hopps. + +Hopps swivels her flashlight to reveal: dozens of +reflective eyes. Nick and Hopps make their way down a long +corridor of cages, looking for the jaguar. + + HOPPS + Mr. Manchas. + +He’s still feral, on all fours and pacing in a cell. They +continue on, passing three, four, five, cages until +finally, in the last cage: a FERAL OTTER. It’s EMMITT +OTTERTON. + + HOPPS + It’s him. We found our otter. + (to the otter, gently) + Mr. Otterton, my name is Officer + Judy Hopps. Your wife sent me to + find you. We’re gonna get you out + of here now. + +Otterton screeches at her and lunges toward the glass. + + NICK + Or not. Guess he’s in no rush to + get home to the Missus. + +Hopps looks back down the corridor of cells, counting. + + HOPPS + -- 11, 12, 13, 14. Not including + Manchas it’s 14 -- + (lightbulb) + Chief Bogo handed out 14 Missing + Mammal file -- They’re all here. + All the missing mammals are right + here. + +Before she can respond CLICK! A door starts to open, Nick +and Hopps retreat, stuck next to a DARK CELL. + + LIONHEART (O.S.) + Enough! I don’t want excuses, + Doctor, I want answers. + +Reveal: Mayor Lionheart berating the BADGER DOCTOR by his +side. He looks serious, intense, tired. + 79. + + + BADGER DOCTOR + Mayor Lionheart, please, we’re + doing everything we can. + +Hopps whips out her phone, starts recording. + + LIONHEART + Really? Cuz I got a dozen and a + half animals here who’ve gone off + the rails crazy -- and you can’t + tell me why. Now, I’d call that + awfully far from doing everything. + + BADGER DOCTOR + Sir, it may be time to consider + their biology. + + LIONHEART + What? What do you mean biology? + + BADGER DOCTOR + The only animals going savage are + predators. We cannot keep it a + secret. We need to come forward. + + LIONHEART + Hmm... Great idea. Tell the public. + And how do you think they’re gonna + feel about their mayor, who is a + lion?! I’ll be ruined! + + BADGER DOCTOR + Well, what does Chief Bogo say? + + LIONHEART + Chief Bogo doesn’t know. And we are + going to keep it that way. + +Beep-beep-beep. Hopps’ parents call in. She frantically +tries to silence her phone. + + LIONHEART + Someone’s here! + + BADGER DOCTOR + Sir, you need to go, now! + (calls out) + Security! Sweep the area! + +AN ALARM SOUNDS. The door to the cell Hopps and Nick are in +triggers shut. They notice WOLVES approaching. + + NICK + 80. + + + Great! We’re dead. We’re dead. + That’s it. I’m dead. You’re dead. + Everybody’s dead. + + This gives Hopps an idea. She looks at the HUGE TOILET. + + HOPPS + Can you swim? + + NICK + What? Can I swim? Yes, I can swim. + Why? + + The Wolves storm in, searching for the intruders... and see + the swirling water of a toilet disappearing down the drain. + + Hopps and Nick fly through the water slide like tubes of + the sewer system, cascading over a waterfall. Both scream. + They land in the river below. Nick pop up first. He looks + desperately for Judy. + + NICK + Carrots?! Hopps?! Judy?! + + She emerges, gasping for breath, holding up the bagged + phone. + + HOPPS + We gotta tell Bogo! + + +65 INT. BOGO’S OFFICE - DAY 65 + + CLOSE ON BOGO’S PHONE: Gazelle and Bogo dance on stage. + It’s the same app Clawhauser used earlier. + + GAZELLE (ON PHONE) + Wow, you are one hot dancer -- + (robo-voice) + -- CHIEF BOGO. + + Bogo is dancing along when, suddenly, Clawhauser bursts in. + + CLAWHAUSER + Chief Bogo! + + BOGO + (guilty) + Not now! + + CLAWHAUSER + Wait, is that Gazelle? + 81. + + + BOGO + (struggling to silence + his phone) + No! + + GAZELLE (ON PHONE) + I am Gazelle, and you are one hot + dancer. + + CLAWHAUSER + You have the app too?! + (ecstatic) + Oh, jeeeeez! + + BOGO + Clawhauser, can’t you see I’m + working on the missing mammal + cases?! + + CLAWHAUSER + Oh, yes of course! About that, sir + -- Officer Hopps just called -- She + found all of ‘em. + + Bogo’s eyes widen. + + GAZELLE (ON PHONE) + Wow! I’m impressed. + + +66 EXT. ASYLUM - DAY 66 + + Cop cars and helicopters surround the asylum. Hopps, + flanked by Bogo and other COPS, leads Lionheart out of the + building. + + HOPPS + Mayor Lionheart, you have the right + to remain silent. Anything -- + + LIONHEART + You don’t understand. I was trying + to protect the city. + + HOPPS + You were just trying to protect + your job. + + LIONHEART + No. Listen, we still don’t know why + this is happening. It could destroy + Zootopia. + 82. + + + HOPPS + You have the right to remain + silent. Anything you say can and + will be used against you in a court + of law -- + + Nick hangs back, proudly flashing his Junior Detective + badge. + + +67 INT. ZPD - LOBBY 67 + + Bogo addresses the press. Behind him, POSTERS of the Savage + Animals, each one MUZZLED. + + BOGO + Ladies and Gentlemammals -- 14 + mammals went missing and all 14 + have been found by our newest + recruit, who will speak to you in a + moment. But first, let me remind + you-- + + Bogo’s voice trails off in the background as Nick and Hopps + watch from the side. Hopps bites her nails, nervous. + + HOPPS + Rrrgh. I am so nervous -- + + NICK + Okay, press conference 101: You + wanna look smart? + + NICK + Answer their question with your own + question and then answer that + question. Like this, “Excuse me. + Officer Hopps, what can you tell us + about the case?” + (pretending to be Hopps) + “Well, was this a tough case? Yes. + Yes it was.” You see? + + HOPPS + You should be there with me. We did + this together. + + NICK + Well, am I a cop? No. No, I am not. + + HOPPS + 83. + + + Funny you should say that, because + I’ve been thinking -- it would be + nice to have a partner. + +She hands Nick an APPLICATION. Then, click, she holds out +the carrot pen to him. + + HOPPS + Here. In case you need something to + write with. + + BOGO (O.S.) + At twenty-two hundred hours, we + found all these missing animals -- + +Bellwether gestures to Judy to come up. + + BELLWETHER + Officer Hopps, it’s time. + +As Hopps goes, Nick smiles. He’s touched. + + BOGO + So now, I’ll turn things over to + the officer who cracked the case. + Officer Judy Hopps. + +Hopps takes a deep breath and steps up to the dais. + + PRESS + Officer Hopps! / Over here! / Here! + + HOPPS + (pointing to a REPORTER) + Yes? + + REPORTER + What can you tell us about the + animals that went savage? + + HOPPS + Well, the animals in question -- + (glances at Nick) + Are they all different species? + Yes. Yes they are. + +Nick smiles, gives a thumbs up. + + REPORTER 2 + Okay, so what is the connection? + + HOPPS + 84. + + + Well, all we know is that they are + all members of the predator family. + + ANOTHER REPORTER + So, predators are the only ones + going savage? + + HOPPS + That is accu -- Yes, that is + accurate. Yes -- + + REPORTER 3 + Wow. Why is that happening? + + HOPPS + We still don’t know -- + +More disappointed rumbling. + + HOPPS + (trying to appease) + Ah, it may have something to do + with biology. + +On Nick-- huh? The press reacts, too -- big time. + + REPORTER (O.S.) + What do you mean by that? + + HOPPS + A biological component. You know, + something in their DNA... + + REPORTER 4 + (more aggressive) + In their DNA? Can you elaborate on + that, please? + + HOPPS + Yes. What I mean is, thousands of + years ago -- um -- predators + survived through their aggressive + hunting instincts. For whatever + reason, they seem to be reverting + back to their primitive, savage + ways. + +Nick doesn’t like what he’s hearing. + + REPORTER (O.S.) + Of course they did. + 85. + + +Nick looks at the posters of the muzzled animals and shakes +his head, disbelieving. FLASH BACK to his memory of being +muzzled as a child. + + MEAN KID ANIMAL (V.O.) + (during flashback) + Aw, is he gonna cry. + + REPORTER (O.S.) + (on Nick, as flashback + ends) + Officer Hopps, could it happen + again? + + HOPPS + It is possible. So we must be + vigilant. And we at the ZPD are + prepared and are here to protect + you... + +This sends the Press into an absolute frenzy. + + PRESS + Will more mammals go savage? / What + is being done to protect us? / Have + you considered a mandatory + quarantine on predators? + +Bellwether steps in, eager to put an end to the questions. + + BELLWETHER + Okay, thank you Officer Hopps, uh, + that’s all the time that we have. + No more questions... + +Bellwether ushers Hopps off stage. + + HOPPS + Was I okay? + + BELLWETHER + Oh, you did fine. + +Hopps walks across the lobby to Nick, completely unaware +that she just started a controversy. + + HOPPS + (excited) + That went so fast! I didn’t get a + chance to mention you or say + anything about how we-- + + NICK + 86. + + + (upset) + Oh, I think you said plenty. + + HOPPS + What do you mean? + + NICK + (sarcastic, hard) + Clearly, there’s a biological + component? These predators may be + reverting back to their primitive, + savage ways. Are you serious? + + HOPPS + I just stated the facts of the + case. I mean, it’s not like a bunny + could go savage... + + NICK + Right. But a fox could? Huh? + + HOPPS + Nick, stop it. You’re not like + them. + + NICK + Oh, there’s a them now? + + HOPPS + You know what I mean. You’re not + that kind of predator. + + NICK + The kind that needs to be muzzled? + The kind that makes you think you + need to carry around Fox Repellent? + +Hopps sighs guiltily. + + NICK + Yeah, don’t think I didn’t notice + that little item the first time we + met. + (escalating anger) + So let me ask you a question. Are + you afraid of me? + (Hopps looks heartbroken) + Do you think I might go nuts? Do + you think I might go savage? Do you + think I might try to -- EAT YOU?! + +He lunges, like he’s going to bite her. She flinches and +unthinkingly puts her hand on the repellent. + 87. + + + NICK + (calm, hurt) + -- I knew it. Just when I thought + somebody actually believed in me -- + + He shoves the application at her. + + NICK + Probably best if you don’t have a + predator as a partner. + + As he walks away, he takes off the sticker badge, crumples + it and tosses it away. + + HOPPS + No. Nick. Nick! + + REPORTER 5 + Officer Hopps! Were you just + threatened by that predator? + + HOPPS + No. He’s my friend. + + REPORTER 6 + We can’t even trust our own + friends? + + HOPPS + That is not what I said! Please! + + REPORTERS + Are we safe? / Have any other foxes + gone savage? + + But no one will listen. Not anymore. + + +68 INT. NEWS STUDIO - DAY 68 + + Two ANCHORS sit in front of a graphic: TUNDRATOWN TRAGEDY. + + FEMALE BOBCAT NEWS ANCHOR + More bad news in this city gripped + by fear. + + News footage shows a CARIBOU being loaded into an + ambulance. Another shot shows a POLAR BEAR in a muzzle. + + FEMALE BOBCAT NEWS ANCHOR + 88. + + + A caribou is in critical condition, + the victim of a mauling by a savage + polar bear. This -- the 27th such + attack -- comes just one week after + ZPD Officer Judy Hopps connected + the violence to traditionally + predatory animals. + + MALE MOOSE NEWS ANCHOR + Meanwhile, a peace rally organized + by pop star, Gazelle, was marred by + protest. + + The news story cuts to footage of + + THE PROTEST: Hopps is caught in the middle of the + PROTESTERS, trying to separate them. + + PIG + Go back to the forest, predator! + + LEOPARD + I’m from the savannah! + + GAZELLE gives a sound bite to a NEWS REPORTER. + + GAZELLE + Zootopia is a unique place. It’s a + crazy, beautiful, diverse city + where we celebrate our differences. + (gestures to PROTESTERS + in background) + This is not the Zootopia I know. + + Gazelle’s interview plays as VO over a series of shots: + + ON A SUBWAY: Hopps watches a MOTHER RABBIT bring her CHILD + close as a LION gets on the train. + + GAZELLE (V.O.) + The Zootopia I know is better than + this. + + GAZELLE (V.O.) + We don’t just blindly assign blame. + We don’t know why these attacks + keep happening -- + + +69 INT. IN THE HOSPITAL 69 + + Mrs. Otterton watches her husband flail like a madman in a + padded room. Judy approaches her. + 89. + + + GAZELLE (V.O.) + -- but it is irresponsible to label + all predators as savages. + + MRS. OTTERTON + That’s not my Emmitt. + + On Hopps, a look of exhaustion and distress. BACK ON + Gazzelle’s interview. + + GAZELLE + We cannot let fear divide us. + Please -- give me back the Zootopia + I love -- + + +70 INT. ZPD OFFICE - DAY 70 + + The broadcast plays from Hopps’ desk computer. As she + watches, Bogo walks up behind her. + + BOGO + Come on Hopps. The new Mayor wants + to see us. + + HOPPS + The Mayor? Why? + + BOGO + It would seem you’ve arrived. + + +71 INT. ZPD LOBBY - DAY 71 + + Clawhauser sighs and closes his laptop. He loads it into a + box of his desk items. Hopps enters. + + HOPPS + Clawhauser? What’re you doing? + + CLAWHAUSER + Um, they thought it would be better + if a predator such as myself wasn’t + the first face you that you see + when you walk into the ZPD. + + HOPPS + What? + + CLAWHAUSER + They’re gonna move me to Records. + It’s downstairs. By the boiler. + 90. + + + Hopps’ face falls. Bogo waits for her in the background. + + BOGO + Hopps! + + Off Hopps’ heartbroken look, we + + MATCH CUT TO: + + CLOSE ON: + + A PHOTO of a SMILING HOPPS. Wider to reveal: The photo is + on a PAMPHLET that reads, ZPD: Integrity. Honesty. Bravery. + + +72 INT. BELLWETHER’S OFFICE - DAY 72 + + Hopps looks at the pamphlet. Bellwether sits across from + her at her desk. + + HOPPS + Um -- I don’t understand. + + BELLWETHER + Our city is 90% prey, Judy. And + right now they’re just really + scared. You’re a hero to them. They + trust you. And so that’s why Chief + Bogo and I want you to be the + public face of the ZPD. + + Bogo sits next to Hopps. She looks at the pamphlet again. + + HOPPS + (struggling to find + words) + I’m not -- I’m not a hero. I came + here to make the world a better + place, but I think I broke it. + + BOGO + Don’t give yourself so much credit, + Hopps. The world has always been + broken. That’s why we need good + cops -- like you. + + HOPPS + With all due respect, sir, a good + cop is supposed to serve and + protect -- help the city. Not tear + it apart. + (deep sigh) + I don’t deserve this badge. + 91. + + + She removes her badge. + + BOGO + Hopps. + + BELLWETHER + Judy, you’ve worked so hard to get + here. It’s what you’ve wanted since + you were a kid. You can’t quit -- + + HOPPS + Thank you for the opportunity. + + Hopps sets her badge on the desk and walks out. Bellwether + and Bogo look at one another in shock and concern. + + FADE OUT. + + +73 EXT. HOPPS’ FARMS VEGETABLE STAND - DAY 73 + + Hopps, with a thousand yard stare, works the carrot stand. + She wraps some carrots in a newspaper. Headline: GROWING + UNREST DIVIDES CITY -- and hands them to a RABBIT FAMILY. + + HOPPS + A dozen carrots. + + RABBIT MOM + Thanks! + + HOPPS + Have a nice day. + + RABBIT MOM + (to daughter) + Come on. + + Hopps reads the paper as Stu and Bonnie approach, + concerned. + + STU HOPPS + Hey there, Jude -- Jude the dude, + remember that one? How we doin? + + HOPPS. + I’m fine. + + BONNIE HOPPS + You are not fine. Your ears are + droopy. + + Hopps remains fixed on the newspaper and lets out a sigh. + 92. + + + HOPPS + Why did I think I could make a + difference? + + STU HOPPS + Because you’re a trier, that’s why. + + BONNIE HOPPS + You’ve always been a trier. + + HOPPS + Oh, I tried. And it made life so + much worse for so many innocent + predators. + +Off-screen, BEEP-BEEP. + + STU HOPPS + Oh, not all of them, though. Speak + of the devil. Right on time. + +A truck pulls up. Its sign reads: GIDEON GREY’S GOOD BAKED +STUFF. With Fresh Produce From Hopps Family Farms. + + HOPPS + Is that -- Gideon Grey? + + STU HOPPS + Yep. It sure is. We work with him + now. + + BONNIE HOPPS + He’s our partner. And we never + would have considered it had you + not opened our minds. + + STU HOPPS + That’s right. I mean, Gid’s turned + into one of the top pastry chefs in + the tri-burrows. + + HOPPS + That’s really cool, you guys. + +GIDEON GREY, now paunchy, climbs out his truck. + + HOPPS + Gideon Grey. I’ll be darned. + + ADULT GIDEON GREY + 93. + + + Hey Judy -- I’d like to say I’m + sorry for the way I behaved in my + youth. I had a lotta self-doubt + that manifested itself in the form + of unchecked rage and aggression. I + was a major jerk. + + HOPPS + Well, I know a thing or two about + being a jerk -- + + ADULT GIDEON GREY + Anyhow-- I brought you all these + pies. + +He holds out some pies. KID BUNNIES come tearing across the +field, bee-lining for the pies. Stu shouts at the kids. + + STU HOPPS + Hey kids! Don’t you run through + that midnicampum holicithias! + + RABBIT KID + (holding back the others) + Whoa, whoa, whoa! + + ADULT GIDEON GREY + Now there’s a 4-dollar word, Mr. H. + My family always just called them + night howlers. + +Wait. What? + + HOPPS + I’m sorry, what did you say? + +Stu gestures to the flowers growing on the edge of the +crops. + + STU HOPPS + Oh, Gid’s talking about those + flowers, Judy. I use ‘em to keep + bugs off the produce. But I don’t + like the little ones going near ‘em + on account of what happened to your + Uncle Terry. + + BONNIE HOPPS + Yeah, Terry ate one whole when we + were kids and went completely nuts. + + STU HOPPS + 94. + + + He bit the dickens out of your + mother. + + HOPPS + (a dawning realization) + A bunny can go savage -- + + We stay on Hopps as she pieces it together. + + BONNIE HOPPS + Savage? Well, that’s a strong word. + But it did hurt like the devil. + + STU HOPPS + Well sure it did. There’s a sizable + divot in your arm. I’d call that + savage. + + HOPPS + (as if doing an equation) + Night howlers aren’t wolves. + They’re flowers. The flowers are + making the predators go savage. + That’s it! That’s what I’ve been + missing! + + Hopps races away, then turns back. + + HOPPS + Oh, keys! Keys! Keys! Keys! Hurry! + Come on! Thank you, I love you bye! + + Stu tosses her the keys to his pick-up. Hopps jumps into + the truck, peels out, leaving Stu and Bonnie in the dust. + + STU HOPPS + You catch any of that, Bon? + + BONNIE HOPPS + Not one bit. + + GIDEON GREY + Well, that makes me feel a little + better. I thought she was talking + in tongues or something. + + +74 EXT. ZOOTOPIA - SAHARA SQUARE - STREET 74 + + Hopps drives the farm truck to Finnick’s van. She knocks. + + FINNICK + Who is it? + 95. + + + HOPPS + I need to find Nick. Please. + + Finnick gives her a reluctant look, then softens. + + +75 EXT. BRIDGE - LATER 75 + + Hopps arrives at an underpass. She looks around, it’s a + desolate, sad place. + + HOPPS + Nick? Nick! + + There’s Nick, sitting on a lawn chair under the bridge. + + HOPPS + Oh, Nick! Night howlers aren’t + wolves. They’re toxic flowers. I + think someone is targeting + predators on purpose and making + them go savage. + + NICK + Wow. Isn’t that interesting. + + He gets up, walks under the bridge. She follows. + + HOPPS + Wait! Wait, please -- I know you’ll + never forgive me. And I don’t blame + you. I wouldn’t forgive me either. + I was ignorant and irresponsible + and small-minded -- But predators + shouldn’t suffer because of my + mistakes. I have to fix this, but I + can’t do it without you. + + He sighs, but still won’t look at her. + + HOPPS + (getting emotional) + And after we’re done, you can hate + me, and that’ll be fine, because I + was a horrible friend and I hurt + you -- and you can walk away + knowing you were right all along, I + really am just a dumb bunny. + + It seems she lost him, then: + + HOPPS (ON RECORDER) + 96. + + + I really am just a dumb bunny. I + really am just a dumb bunny. + + Hopps cocks her head. Huh? Nick turns to her, holding her + recording pen. + + NICK + Don’t worry, Carrots, I’ll let you + erase it -- in 48 hours. + + Hopps sniffles and wipes a tear from her eye. + + NICK + Alright, get in here. + + Hopps leans her head on Nick’s chest. He gives her a hug. + + NICK + Okay. Oh, you bunnies -- You’re so + emotional. There we go. Deep + breath. + (then) + Are you just trying to steal the + pen. Is that what this is? + (then) + You are standing on my tail, + though. Off, off, off. + + HOPPS + I’m sorry. + + +76 INT. HOPPS’ FAMILY TRUCK - MOMENTS LATER 76 + + Hopps drives as Nick sits shotgun, eating blueberries. + + NICK + I thought you guys only grew + carrots. + (then, eats) + What’s the plan? + + HOPPS + We are gonna follow the night + howlers. + + NICK + Okay. How? + + HOPPS + (shows picture of weasel) + Know this guy? + 97. + + + NICK + Uh-huh. I told you, I know + everybody. + + +77 EXT. ZOOTOPIA STREET - LATER 77 + + We find the weasel selling crappy knock-off merchandise on + a street corner. + + DUKE WEASELTON + Well, hello, step right up! + Anything you need -- I got it. All + your favorite movies! I got movies + that haven’t even been released + yet! + + An ARMADILLO CUSTOMER scans an array of blatant knock-off + movies like “Wreck-it Rhino,” “Wrangled,” and “Pig Hero 6.” + + DUKE WEASELTON + Hey, 15% off! 20! Make me an offer! + Come on! + + NICK + (suddenly appearing) + Well, well, look who it is. The + duke of bootleg. + + DUKE WEASELTON + What’s it to you, Wilde? Shouldn’t + you be melting down a popsicle or + something? + (sees Hopps) + Hey, if it isn’t Flopsy the Copsy. + + HOPPS + We both know those weren’t moldy + onions I caught you stealing. What + were you gonna do with those night + howlers, Wessleton? + + DUKE WEASELTON + It’s Weaselton. Duke Weaselton. And + I ain’t talking, rabbit. And ain’t + nothing you can do to make me. + + Weaselton flicks a toothpick in her face. Hopps smiles at + Nick. + + +78 INT. MR. BIG’S PLACE - A LITTLE LATER 78 + 98. + + + We find polar bears holding the weasel over the ice pit. + + MR. BIG + Ice ‘em. + + DUKE WEASELTON + Aaagh! Agh! + (to Nick) + Ya dirty rat! Why ya helping her?! + She’s a cop! + + MR. BIG + And the godmother to my future + granddaughter. + + Reveal: FRU FRU is pregnant. + + FRU FRU SHREW + I’m gonna name her Judy. + + HOPPS + Aw. + + MR. BIG + (to polar bears) + Ice this weasel. + + DUKE WEASELTON + All right, all right, please! I’ll + talk! I’ll talk. I stole them night + howlers so I could sell ‘em. They + offered me what I couldn’t refuse - + - Money. + + HOPPS + And to whom did you sell them? + + DUKE WEASELTON (PRE-LAP) + A ram named Doug. We got a drop + spot underground -- + + +79 EXT. SUBWAY STATION - A LITTLE LATER 79 + + Nick and Hopps approach an abandoned subway station. + + DUKE WEASELTON (V.O.) + -- Just watch it. Doug is the + opposite of friendly. He’s + unfriendly -- + + They arrive at the entrance and quickly sneak under the + gate. + 99. + + +80 INT. ABANDONED SUBWAY STATION - MOMENTS LATER 80 + + They emerge on a platform and spot an abandoned subway car. + + HOPPS + Come on! + + As they sneak up to it Hopps pulls open the window and + looks inside the car. They both jump into -- + + +81 INT. THE GREENHOUSE CAR - CONTINUOUS 81 + + They both see the rows of night howlers. + + HOPPS + The weasel wasn’t lying. + + NICK + Yeah, looks like old Doug’s + cornered the market on night + howlers -- + + Click! A door opens off screen! They quickly hide under a + desk as a TOUGH SHEEP LABWORKER enters. + + He goes through the process of harvesting the pollen, + eventually producing a small, blue paint ball pellet of + night howler toxin. Nick and Hopps watch it all. + + The Sheep’s phone RINGS. + + DOUG + (into phone) + You got Doug here. What’s the mark? + Cheetah in Sahara Square. Got it. + + The Sheep loads a gun, cocks it. We see a MAP with pictures + of a various animal targets. + + DOUG + (into phone) + Serious? Yeah, I know they’re fast. + I can hit him. Listen, I hit a tiny + little otter through the open + window of a moving car. + + Hearing this, the pieces of the puzzle start falling into + place for Hopps. She looks up at the picture of Otterton, + we FLASHBACK to see Doug hitting him with a serum pellet. + Then Hopps looks at Manchas’s picture, we FLASHBACK to + that. + 100. + + + DOUG + (into phone) + Yeah I’ll buzz you when it’s done. + Or you’ll see it on the news. Ya + know, whichever comes first. + +BAM, BAM, BAM! The goons have returned. + + WOOLTER (O.S.) + Hey Doug, open up! We’ve got your + latte. + + DOUG + (into phone) + Alright, Woolter and Jesse are + back, so I’m leaving now. + (then) + Out. + +Hopps looks around, what is she going to do. As Doug goes +to the door to unlock it, Hopps creeps out of their hiding +spot. + + NICK + Hey. Hey! Where are you going? Get + back here! What are you doing?! + He’s gonna see you! What are you + looking at? Hey! Whatever you’re + thinking, stop thinking it. + Carrots! Carrots! + + DOUG + It better have the extra foam this + time -- + +BAM! Hopps kicks Woolter in the back, knocking him into the +other two Thugs. Hopps locks the door. + + WOOLTER (O.S.) + Hey, open up! + +The Thugs start banging on the doors. + + NICK + What are you doing?! You just + trapped us in here! + + HOPPS + We need to get this evidence to the + ZPD. + +Nick picks up the case. + 101. + + + NICK + Okay. Great. Here it is. Got it. + + HOPPS + No. All of it! + + NICK + Wait, what? + + Hopps rushes to the control room, tries to start the + engine. + + NICK + Great, you’re a conductor now? Hey, + listen -- It would take a miracle + to get this rust-bucket going. + + The train starts moving. + + NICK + Well -- Hallelujah! + + +82 INT. TRAIN TRACKS - SAME 82 + + DOUG + (on the phone) + We kinda got a situation at the lab + -- + (noticing train) + Oh! It just got worse! + + Doug and his minions race after the train. + + BACK TO: + + +83 INT. SUBWAY CAR - SAME 83 + + Nick and Hopps race away, feeling fairly confident. + + NICK + Mission accomplished. Would it be + premature for me to do a little + victory toot-toot? + + HOPPS + All right. One toot-toot. + + Nick blows the train whistle. + + NICK + 102. + + + Well, I can cross that off the + bucket list. + +Things are looking up, when: + +BAM! Woolter just busted into the car. Nick slams the door +closed right before Woolter gets to them. + + NICK + I may have to rescind that victory + toot-toot. + +Noise from the roof above them BAM! BAM! BAM! + + NICK + Maybe that’s just hail? + +Uh-oh. Jesse busts through the window. He’s stuck, but +flailing at Hopps. Nick tries to pull him away. + + NICK + Back off! + +Nick gets punched backward and notices Woolter charging +toward the door at full speed. Right before Woolter +arrives, Nick pulls the door open. + + NICK + Incoming! + +Woolter’s momentum carries him into Jesse, dislodging him +onto the tracks. Hopps is knocked out the window, but grabs +onto Woolter’s horn. Hopps tries to hang on as the subway +car hurtles down the tunnel. + + NICK + Carrots?! + + HOPPS + (to Nick) + Don’t stop! Keep going! + + JESSE + (about to get run over) + No! No! Please stop! + + HOPPS + Do not stop this car! + 103. + + +Jesse dives to safety and Hopps gets bucked up onto the top +of the train. Nick takes the wheel as the train emerges +above ground. Hopps looks up to see. Another train coming +toward them on the same track! She sees a turn-off switch +ahead. + + HOPPS + Speed up, Nick! Speed up! + + NICK + (staving off Woolter) + There’s another train coming! + + HOPPS + Trust me! SPEED! UP! + +Woolter sees the train coming and tries to get unstuck, but +he can’t. He struggles like crazy. + + WOOLTER + Stop the train! Hey! + +Then, at the last second, Hopps appears next to him: + + HOPPS + Hey. Need some help? + +Hopps kicks Woolter off the train and he lands perfectly on +the turn-off switch on the tracks below. At the last +possible second, their train switches tracks just avoiding +the oncoming car. + +Except -- + + NICK + Oh no! Oh no, no, no! Too fast! + Hold on! + +The train derails as it takes the curve. The night howlers +catch fire. + + NICK + I think this is our stop! + +Hopps and Nick dive out of the car and onto a subway +platform -- Just as the lab car EXPLODES. + + HOPPS + Okay -- Maybe some of the evidence + survived. + +A second loud EXPLOSION. The train is destroyed. + 104. + + + HOPPS + Everything is gone. We’ve lost it + all. + + NICK + (shaking head) + Yeah. Oh, except for this. + + Nick holds up a case-- containing a gun and a pellet. + + HOPPS + Oh, Nick! Yes! + + Judy SMACKS him on the arm. Hard. Nick grimaces. + + NICK + Ow. + + HOPPS + Come on! We gotta get to the ZPD. + Cut through the Natural History + Museum! + + +84 INT. NATURAL HISTORY MUSEUM - NIGHT 84 + + Nick and Hopps race through the empty museum. The ZPD + entrance is just ahead. + + HOPPS + Oh! There it is! + + They’re going to make it. + + BELLWETHER (O.S.) + Judy! Judy! + + Judy and Nick stop and turn. There’s Bellwether, standing + behind them with TWO RAM COPS. + + HOPPS + Mayor Bellwether! + (out of breath, rapidly) + We found out what’s happening. + Someone’s darting predators with a + serum-- that’s what’s making them + go savage. + + BELLWETHER + (applauding) + I am so proud of you, Judy. You did + just a super job. + 105. + + + HOPPS + Thank you, ma’am. + (troubling realization) + How did you know where to find us? + + BELLWETHER + I’ll go ahead and I’ll take that + case now. + + HOPPS + You know what -- I think Nick and I + will just take this to the ZPD -- + +Hopps turns toward the ZPD. Uh oh. One of Bellwether’s RAMS +is blocking the way. Nick just now gets what’s going on. + + HOPPS + Run! + + NICK + Run! + +They take off, away from the ZPD, down a dark corridor. + + BELLWETHER + Get them! + +Hopps looks over her shoulder as she runs, not seeing a +sharp WOOLY MAMMOTH TUSK sticking out. It slashes her leg, +knocking her off her feet. + + HOPPS + Ach! + + NICK + Ah Carrots! + +Nick goes to her. Her leg is bleeding badly. + + NICK + I got ya, come here, come here. + +He carries her behind a pillar. + + NICK + Okay, now just relax. + +Nick digs a handkerchief from his pocket. A few BLUEBERRIES +fall out with it. + + NICK + Whoops -- Blueberry? + 106. + + + HOPPS + Pass. + + BELLWETHER (O.S.) + Come on out, Judy! + + HOPPS + Take the case. Get it to Bogo. + + NICK + I’m not gonna leave you behind. + That’s not happening. + + HOPPS + I can’t walk. + + NICK + Just, we’ll think of something. + +Bellwether finally appears, flanked by the Rams. + + BELLWETHER + We’re on the same team, Judy! + +WITH BELLWETHER & THUGS + +Bellwether talks as they look for Hopps and Nick. + + BELLWETHER + Underestimated. Under-appreciated. + Aren’t you sick of it? Predators. + They may be strong and loud, but + prey out-number predators 10 to + one. + +Bellwether sees a SHADOW, RABBIT EARS. She gestures to the +RAMS, there they are. + + BELLWETHER + Think of it -- 90 percent of the + population, united against a common + enemy. We’ll be unstoppable. + +The Rams are about to pounce on Hopps and Nick, only to +find the shadow is coming from a MUMMIFIED JACKALOPE being +illuminated by a shop light. + + BELLWETHER + (to Goons) + Over there! + +Hopps and Nick are making a run for it. They’re going to +make it to the ZPD! When suddenly -- + 107. + + +BAM! A RAM tackles them both, knocking the case out of +Nick’s paws. Both of them fall into a sunken diorama. +Bellwether, with case in hand, looks over the edge. + + BELLWETHER + Well, you should have stayed on the + carrot farm, huh? It really is too + bad; I really did like you. + + HOPPS + What are you going to do? Kill me? + + BELLWETHER + No! Of course not... he is. + +Bellwether takes the dart gun out of the case, aims at Nick +and THWICK! She darts him. + + HOPPS + No! Nick?! + +Nick starts to shake and crouch. Bellwether dials her +phone. + + BELLWETHER + Yes, police! There’s a savage fox + in the natural history museum. + Officer Hopps is down! Please + hurry! + +Nick is starting to turn. + + HOPPS + No. Nick, don’t do this. Fight it. + + BELLWETHER + Oh, but he can’t help it, can he? + Since preds are just biologically + predisposed to be savages. + +Nick stalks Hopps, who tries to limp away. + + BELLWETHER + Gosh, think of the headline: “Hero + Cop Killed By Savage Fox--” + + HOPPS + So that’s it, prey fears predator, + and you stay in power? + + BELLWETHER + Yeah, pretty much. + 108. + + + HOPPS + It won’t work. + + BELLWETHER + Fear always works. And I’ll dart + every predator in Zootopia to keep + it that way. + + HOPPS + (as Nick stalks her) + Oh, Nick! No! + + BELLWETHER + Bye-Bye, Bunny. + +Nick lunges. He attacks. Hopps screams. Bellwether smiles. + + HOPPS + Blood, blood, blood! And death. + +Bellwether looks confused. Nick stands up. + + NICK + All right, you’re milking it. + Besides, I think we got it, I think + we got it. We got it up there, + thank you yakkety-yak-- you laid it + all out beautifully. + + BELLWETHER + What? + +Bellwether looks at her gun, in disbelief. + + NICK + Yea, oh, are you looking for the + serum? + (holds it up) + Well, it’s right here. + + HOPPS + What you’ve got in the weapon + there-- those are blueberries. From + my family’s farm. + +Livid, Bellwether sees a blueberry in the gun’s chamber. + + NICK + They are delicious. + (licking fingers) + You should try some. + + BELLWETHER + 109. + + + I framed Lionheart, I can frame you + too! It’s my word against yours! + + HOPPS + Oooo, actually-- + + Hopps holds up the carrot pen. + + BELLWETHER (ON CARROT PEN RECORDER) + And I’ll dart every predator in + Zootopia to keep it that way -- + + HOPPS + --It’s your word against yours. + It’s called a hustle, sweetheart. + Boom. + + Bogo and a TEAM OF COPS burst onto the scene. Bellwether + looks to run but there’s nowhere to go. She’s nailed. + + CUT TO: + + +85 INT. NEWS STUDIO - DAY 85 + + A PREDATOR-PREY news team reads the headlines. FOOTAGE + shows Bellwether being led to jail in cuffs and an orange + jumpsuit. + + PREDATOR ANCHOR (V.O.) + Former Mayor Dawn Bellwether is + behind bars today, guilty of + masterminding the savage attacks + that have plagued Zootopia of late. + + PREY ANCHOR + Her predecessor, Leodore Lionheart, + denies any knowledge of her plot, + claiming he was just trying to + protect the city. + + A FELINE REPORTER, KITTY COWLICK, interviews Lionheart. + + LIONHEART + Did I falsely imprison those + animals? Well, yes. Yes I did. It + was a classic “doing the wrong + thing for the right reason” kind of + a deal. + + BACK TO THE NEWS DESK + + PRED ANCHOR + 110. + + + In related news, doctors say the + night howler antidote is proving + effective in rehabilitating the + afflicted predators -- + + +86 INT. HOSPITAL ROOM - DAY 86 + + Mr. Otterton, who wakes up into the arms of his wife. + + MRS. OTTERTON + Emmitt? Oh -- Emmitt -- + + She hugs him and he holds her tight. We pull back to reveal + Hopps in the room, watching their reunion. + + MRS. OTTERTON + (to Hopps) + Thank you. + + +87 EXT. ZOOTOPIA CENTRAL PLAZA - DAY 87 + + Hopps walks through the CENTRAL PLAZA of ZOOTOPIA. She + looks around to see animals coming back together. She + focuses on two KIDS: one pred, one prey playing soccer. + + HOPPS (V.O.) + When I was a kid, I thought + Zootopia was this perfect place + where everyone got along and anyone + could be anything -- + + Hopps kicks the soccer ball with the kids. + + HOPPS (V.O.) + Turns out, real life’s a little bit + more complicated than a slogan on a + bumper sticker. Real life is messy. + + AT THE ZPD: Hopps enters to find Clawhauser back at his + desk, unpacking. What’s more, TWO COPS approach him with + donuts. + + HOPPS (V.O.) + We all have limitations. We all + make mistakes. Which means -- hey, + glass half full! -- we all have a + lot in common. And the more we try + to understand one another, the more + exceptional each of us will be. But + we have to try. + 111. + + +88 EXT. CADET TRAINING GROUNDS - DAY 88 + + Reveal: Hopps is giving a commencement address to the + GRADUATES of the Police Academy. + + HOPPS + So, no matter what type of animal + you are, from the biggest elephant + to our first fox -- + + Reveal: Nick is a cadet. He removes his shades, winks at + Hopps. + + HOPPS + I implore you -- try. Try to make + the world a better place. + + On stage, Hopps readies to pin a BADGE on Nick. As she + approaches, they exchange a nod a small, sincere gesture. + She places the badge, then gives Nick an official salute. + + HOPPS + Look inside yourself, and recognize + that change starts with you. It + starts with me. It starts with all + of us. + + Caps are thrown in the air. The music fades out, leaving + just the APPLAUSE, which is interrupted by: + + BOGO (PRE-LAP) + All right! All right -- + + CUT TO: + + +89 INT. ZPD BULLPEN - DAY 89 + + Hopps and Nick (now in uniform) sit together among ZPD’s + finest. Bogo stands at the podium. + + BOGO + -- Enough! Shut it! We have some + new recruits with us this morning, + including our first fox. Who cares. + + NICK + Ha! You should have your own line + of inspirational greeting cards, + sir. + + BOGO + 112. + + + Shut your mouth, Wilde. + Assignments! Officers Grizzoli, + Fangmeyer, Delgato: Tundratown + Swat. Snarlov, Higgins, Wolfard: + Undercover. Hopps, Wilde -- + (beat of anticipation) + Parking duty. Dismissed. + (beat) + Just kidding! We have reports of a + street racer tearing up Savannah + Central. Find him, shut him down. + + +90 INT/ EXT. COP CAR - DRIVING SHOTS - DAY 90 + + Hopps drives. Nick rides shotgun, eating a Pawpsickle. + + NICK + So are all rabbits bad drivers or + is it just you? + + She slams on the brakes. He lurches forward, accidentally + jamming the Pawpsickle into his face. + + HOPPS + Oops. Sorry. + + NICK + (as he wipes off his + face) + Sly bunny. + + HOPPS + Dumb fox. + + NICK + You know you love me. + + HOPPS + Do I know that? Yes. Yes, I do. + + They smile wide. They’re stopped at a red light, when + suddenly, a TRICKED OUT RED SPORTS CAR blasts through the + light! They look at each other and smile even wider. + + Hopps stomps on the gas. Nick hits the siren. The patrol + car takes off. + + +91 EXT. STREETS OF ZOOTOPIA - MOMENTS LATER 91 + 113. + + +The fleeing sports car comes to a screeching halt. ANGLE ON +the license plate: FST NML. Hopps and Nick exit their car +and approach the driver. + + HOPPS + Sir, you were going 115 miles per + hour. I hope you have a good + explanation. + +But when they get to the driver’s window -- + + NICK + Flash? Flash? Hundred yard dash?! + +Yep. It’s Flash the sloth. + + FLASH + (several beats) + Nick. + + CUT TO BLACK: + +THE END + \ No newline at end of file diff --git a/scripts/[public domain] Hamlet.txt b/scripts/[public domain] Hamlet.txt new file mode 100644 index 0000000000000000000000000000000000000000..120f29ca98b72c1e4e4e447d5a1a8c5872fa6440 --- /dev/null +++ b/scripts/[public domain] Hamlet.txt @@ -0,0 +1,5226 @@ +THE TRAGEDY OF HAMLET, PRINCE OF DENMARK +by William Shakespeare + +Dramatis Personæ +HAMLET, Prince of Denmark +CLAUDIUS, King of Denmark, Hamlet’s uncle +The GHOST of the late king, Hamlet’s father +GERTRUDE, the Queen, Hamlet’s mother, now wife of Claudius +POLONIUS, Lord Chamberlain +LAERTES, Son to Polonius +OPHELIA, Daughter to Polonius +HORATIO, Friend to Hamlet +FORTINBRAS, Prince of Norway +VOLTEMAND, Courtier +CORNELIUS, Courtier +ROSENCRANTZ, Courtier +GUILDENSTERN, Courtier +MARCELLUS, Officer +BARNARDO, Officer +FRANCISCO, a Soldier +OSRIC, Courtier +REYNALDO, Servant to Polonius +Players +A Gentleman, Courtier +A Priest +Two Clowns, Grave-diggers +A Captain +English Ambassadors. +Lords, Ladies, Officers, Soldiers, Sailors, Messengers, and Attendants +SCENE. Elsinore. +ACT I +SCENE I. Elsinore. A platform before the Castle. +Enter Francisco and Barnardo, two sentinels. + +BARNARDO. +Who’s there? +FRANCISCO. +Nay, answer me. Stand and unfold yourself. +BARNARDO. +Long live the King! +FRANCISCO. +Barnardo? +BARNARDO. +He. +FRANCISCO. +You come most carefully upon your hour. +BARNARDO. +’Tis now struck twelve. Get thee to bed, Francisco. +FRANCISCO. +For this relief much thanks. ’Tis bitter cold, +And I am sick at heart. +BARNARDO. +Have you had quiet guard? +FRANCISCO. +Not a mouse stirring. +BARNARDO. +Well, good night. +If you do meet Horatio and Marcellus, +The rivals of my watch, bid them make haste. +Enter Horatio and Marcellus. + +FRANCISCO. +I think I hear them. Stand, ho! Who is there? +HORATIO. +Friends to this ground. +MARCELLUS. +And liegemen to the Dane. +FRANCISCO. +Give you good night. +MARCELLUS. +O, farewell, honest soldier, who hath reliev’d you? +FRANCISCO. +Barnardo has my place. Give you good-night. +[Exit.] + +MARCELLUS. +Holla, Barnardo! +BARNARDO. +Say, what, is Horatio there? +HORATIO. +A piece of him. +BARNARDO. +Welcome, Horatio. Welcome, good Marcellus. +MARCELLUS. +What, has this thing appear’d again tonight? +BARNARDO. +I have seen nothing. +MARCELLUS. +Horatio says ’tis but our fantasy, +And will not let belief take hold of him +Touching this dreaded sight, twice seen of us. +Therefore I have entreated him along +With us to watch the minutes of this night, +That if again this apparition come +He may approve our eyes and speak to it. +HORATIO. +Tush, tush, ’twill not appear. +BARNARDO. +Sit down awhile, +And let us once again assail your ears, +That are so fortified against our story, +What we two nights have seen. +HORATIO. +Well, sit we down, +And let us hear Barnardo speak of this. +BARNARDO. +Last night of all, +When yond same star that’s westward from the pole, +Had made his course t’illume that part of heaven +Where now it burns, Marcellus and myself, +The bell then beating one— +MARCELLUS. +Peace, break thee off. Look where it comes again. +Enter Ghost. + +BARNARDO. +In the same figure, like the King that’s dead. +MARCELLUS. +Thou art a scholar; speak to it, Horatio. +BARNARDO. +Looks it not like the King? Mark it, Horatio. +HORATIO. +Most like. It harrows me with fear and wonder. +BARNARDO +It would be spoke to. +MARCELLUS. +Question it, Horatio. +HORATIO. +What art thou that usurp’st this time of night, +Together with that fair and warlike form +In which the majesty of buried Denmark +Did sometimes march? By heaven I charge thee speak. +MARCELLUS. +It is offended. +BARNARDO. +See, it stalks away. +HORATIO. +Stay! speak, speak! I charge thee speak! +[Exit Ghost.] + +MARCELLUS. +’Tis gone, and will not answer. +BARNARDO. +How now, Horatio! You tremble and look pale. +Is not this something more than fantasy? +What think you on’t? +HORATIO. +Before my God, I might not this believe +Without the sensible and true avouch +Of mine own eyes. +MARCELLUS. +Is it not like the King? +HORATIO. +As thou art to thyself: +Such was the very armour he had on +When he th’ambitious Norway combated; +So frown’d he once, when in an angry parle +He smote the sledded Polacks on the ice. +’Tis strange. +MARCELLUS. +Thus twice before, and jump at this dead hour, +With martial stalk hath he gone by our watch. +HORATIO. +In what particular thought to work I know not; +But in the gross and scope of my opinion, +This bodes some strange eruption to our state. +MARCELLUS. +Good now, sit down, and tell me, he that knows, +Why this same strict and most observant watch +So nightly toils the subject of the land, +And why such daily cast of brazen cannon +And foreign mart for implements of war; +Why such impress of shipwrights, whose sore task +Does not divide the Sunday from the week. +What might be toward, that this sweaty haste +Doth make the night joint-labourer with the day: +Who is’t that can inform me? +HORATIO. +That can I; +At least, the whisper goes so. Our last King, +Whose image even but now appear’d to us, +Was, as you know, by Fortinbras of Norway, +Thereto prick’d on by a most emulate pride, +Dar’d to the combat; in which our valiant Hamlet, +For so this side of our known world esteem’d him, +Did slay this Fortinbras; who by a seal’d compact, +Well ratified by law and heraldry, +Did forfeit, with his life, all those his lands +Which he stood seiz’d of, to the conqueror; +Against the which, a moiety competent +Was gaged by our King; which had return’d +To the inheritance of Fortinbras, +Had he been vanquisher; as by the same cov’nant +And carriage of the article design’d, +His fell to Hamlet. Now, sir, young Fortinbras, +Of unimproved mettle, hot and full, +Hath in the skirts of Norway, here and there, +Shark’d up a list of lawless resolutes, +For food and diet, to some enterprise +That hath a stomach in’t; which is no other, +As it doth well appear unto our state, +But to recover of us by strong hand +And terms compulsatory, those foresaid lands +So by his father lost. And this, I take it, +Is the main motive of our preparations, +The source of this our watch, and the chief head +Of this post-haste and rummage in the land. +BARNARDO. +I think it be no other but e’en so: +Well may it sort that this portentous figure +Comes armed through our watch so like the King +That was and is the question of these wars. +HORATIO. +A mote it is to trouble the mind’s eye. +In the most high and palmy state of Rome, +A little ere the mightiest Julius fell, +The graves stood tenantless and the sheeted dead +Did squeak and gibber in the Roman streets; +As stars with trains of fire and dews of blood, +Disasters in the sun; and the moist star, +Upon whose influence Neptune’s empire stands, +Was sick almost to doomsday with eclipse. +And even the like precurse of fierce events, +As harbingers preceding still the fates +And prologue to the omen coming on, +Have heaven and earth together demonstrated +Unto our climatures and countrymen. +Re-enter Ghost. + +But, soft, behold! Lo, where it comes again! +I’ll cross it, though it blast me. Stay, illusion! +If thou hast any sound, or use of voice, +Speak to me. +If there be any good thing to be done, +That may to thee do ease, and grace to me, +Speak to me. +If thou art privy to thy country’s fate, +Which, happily, foreknowing may avoid, +O speak! +Or if thou hast uphoarded in thy life +Extorted treasure in the womb of earth, +For which, they say, you spirits oft walk in death, +Speak of it. Stay, and speak! + +[The cock crows.] + +Stop it, Marcellus! +MARCELLUS. +Shall I strike at it with my partisan? +HORATIO. +Do, if it will not stand. +BARNARDO. +’Tis here! +HORATIO. +’Tis here! +[Exit Ghost.] + +MARCELLUS. +’Tis gone! +We do it wrong, being so majestical, +To offer it the show of violence, +For it is as the air, invulnerable, +And our vain blows malicious mockery. +BARNARDO. +It was about to speak, when the cock crew. +HORATIO. +And then it started, like a guilty thing +Upon a fearful summons. I have heard +The cock, that is the trumpet to the morn, +Doth with his lofty and shrill-sounding throat +Awake the god of day; and at his warning, +Whether in sea or fire, in earth or air, +Th’extravagant and erring spirit hies +To his confine. And of the truth herein +This present object made probation. +MARCELLUS. +It faded on the crowing of the cock. +Some say that ever ’gainst that season comes +Wherein our Saviour’s birth is celebrated, +The bird of dawning singeth all night long; +And then, they say, no spirit dare stir abroad, +The nights are wholesome, then no planets strike, +No fairy takes, nor witch hath power to charm; +So hallow’d and so gracious is the time. +HORATIO. +So have I heard, and do in part believe it. +But look, the morn in russet mantle clad, +Walks o’er the dew of yon high eastward hill. +Break we our watch up, and by my advice, +Let us impart what we have seen tonight +Unto young Hamlet; for upon my life, +This spirit, dumb to us, will speak to him. +Do you consent we shall acquaint him with it, +As needful in our loves, fitting our duty? +MARCELLUS. +Let’s do’t, I pray, and I this morning know +Where we shall find him most conveniently. +[Exeunt.] + +SCENE II. Elsinore. A room of state in the Castle. +Enter Claudius King of Denmark, Gertrude the Queen, Hamlet, Polonius, Laertes, Voltemand, +Cornelius, Lords and Attendant. + +KING. +Though yet of Hamlet our dear brother’s death +The memory be green, and that it us befitted +To bear our hearts in grief, and our whole kingdom +To be contracted in one brow of woe; +Yet so far hath discretion fought with nature +That we with wisest sorrow think on him, +Together with remembrance of ourselves. +Therefore our sometime sister, now our queen, +Th’imperial jointress to this warlike state, +Have we, as ’twere with a defeated joy, +With one auspicious and one dropping eye, +With mirth in funeral, and with dirge in marriage, +In equal scale weighing delight and dole, +Taken to wife; nor have we herein barr’d +Your better wisdoms, which have freely gone +With this affair along. For all, our thanks. +Now follows, that you know young Fortinbras, +Holding a weak supposal of our worth, +Or thinking by our late dear brother’s death +Our state to be disjoint and out of frame, +Colleagued with this dream of his advantage, +He hath not fail’d to pester us with message, +Importing the surrender of those lands +Lost by his father, with all bonds of law, +To our most valiant brother. So much for him. +Now for ourself and for this time of meeting: +Thus much the business is: we have here writ +To Norway, uncle of young Fortinbras, +Who, impotent and bed-rid, scarcely hears +Of this his nephew’s purpose, to suppress +His further gait herein; in that the levies, +The lists, and full proportions are all made +Out of his subject: and we here dispatch +You, good Cornelius, and you, Voltemand, +For bearers of this greeting to old Norway, +Giving to you no further personal power +To business with the King, more than the scope +Of these dilated articles allow. +Farewell; and let your haste commend your duty. +CORNELIUS and VOLTEMAND. +In that, and all things, will we show our duty. +KING. +We doubt it nothing: heartily farewell. +[Exeunt Voltemand and Cornelius.] + +And now, Laertes, what’s the news with you? +You told us of some suit. What is’t, Laertes? +You cannot speak of reason to the Dane, +And lose your voice. What wouldst thou beg, Laertes, +That shall not be my offer, not thy asking? +The head is not more native to the heart, +The hand more instrumental to the mouth, +Than is the throne of Denmark to thy father. +What wouldst thou have, Laertes? +LAERTES. +Dread my lord, +Your leave and favour to return to France, +From whence though willingly I came to Denmark +To show my duty in your coronation; +Yet now I must confess, that duty done, +My thoughts and wishes bend again toward France, +And bow them to your gracious leave and pardon. +KING. +Have you your father’s leave? What says Polonius? +POLONIUS. +He hath, my lord, wrung from me my slow leave +By laboursome petition; and at last +Upon his will I seal’d my hard consent. +I do beseech you give him leave to go. +KING. +Take thy fair hour, Laertes; time be thine, +And thy best graces spend it at thy will! +But now, my cousin Hamlet, and my son— +HAMLET. +[Aside.] A little more than kin, and less than kind. +KING. +How is it that the clouds still hang on you? +HAMLET. +Not so, my lord, I am too much i’ the sun. +QUEEN. +Good Hamlet, cast thy nighted colour off, +And let thine eye look like a friend on Denmark. +Do not for ever with thy vailed lids +Seek for thy noble father in the dust. +Thou know’st ’tis common, all that lives must die, +Passing through nature to eternity. +HAMLET. +Ay, madam, it is common. +QUEEN. +If it be, +Why seems it so particular with thee? +HAMLET. +Seems, madam! Nay, it is; I know not seems. +’Tis not alone my inky cloak, good mother, +Nor customary suits of solemn black, +Nor windy suspiration of forc’d breath, +No, nor the fruitful river in the eye, +Nor the dejected haviour of the visage, +Together with all forms, moods, shows of grief, +That can denote me truly. These indeed seem, +For they are actions that a man might play; +But I have that within which passeth show; +These but the trappings and the suits of woe. +KING. +’Tis sweet and commendable in your nature, Hamlet, +To give these mourning duties to your father; +But you must know, your father lost a father, +That father lost, lost his, and the survivor bound +In filial obligation, for some term +To do obsequious sorrow. But to persevere +In obstinate condolement is a course +Of impious stubbornness. ’Tis unmanly grief, +It shows a will most incorrect to heaven, +A heart unfortified, a mind impatient, +An understanding simple and unschool’d; +For what we know must be, and is as common +As any the most vulgar thing to sense, +Why should we in our peevish opposition +Take it to heart? Fie, ’tis a fault to heaven, +A fault against the dead, a fault to nature, +To reason most absurd, whose common theme +Is death of fathers, and who still hath cried, +From the first corse till he that died today, +‘This must be so.’ We pray you throw to earth +This unprevailing woe, and think of us +As of a father; for let the world take note +You are the most immediate to our throne, +And with no less nobility of love +Than that which dearest father bears his son +Do I impart toward you. For your intent +In going back to school in Wittenberg, +It is most retrograde to our desire: +And we beseech you bend you to remain +Here in the cheer and comfort of our eye, +Our chiefest courtier, cousin, and our son. +QUEEN. +Let not thy mother lose her prayers, Hamlet. +I pray thee stay with us; go not to Wittenberg. +HAMLET. +I shall in all my best obey you, madam. +KING. +Why, ’tis a loving and a fair reply. +Be as ourself in Denmark. Madam, come; +This gentle and unforc’d accord of Hamlet +Sits smiling to my heart; in grace whereof, +No jocund health that Denmark drinks today +But the great cannon to the clouds shall tell, +And the King’s rouse the heaven shall bruit again, +Re-speaking earthly thunder. Come away. +[Exeunt all but Hamlet.] + +HAMLET. +O that this too too solid flesh would melt, +Thaw, and resolve itself into a dew! +Or that the Everlasting had not fix’d +His canon ’gainst self-slaughter. O God! O God! +How weary, stale, flat, and unprofitable +Seem to me all the uses of this world! +Fie on’t! Oh fie! ’tis an unweeded garden +That grows to seed; things rank and gross in nature +Possess it merely. That it should come to this! +But two months dead—nay, not so much, not two: +So excellent a king; that was to this +Hyperion to a satyr; so loving to my mother, +That he might not beteem the winds of heaven +Visit her face too roughly. Heaven and earth! +Must I remember? Why, she would hang on him +As if increase of appetite had grown +By what it fed on; and yet, within a month— +Let me not think on’t—Frailty, thy name is woman! +A little month, or ere those shoes were old +With which she followed my poor father’s body +Like Niobe, all tears.—Why she, even she— +O God! A beast that wants discourse of reason +Would have mourn’d longer,—married with mine uncle, +My father’s brother; but no more like my father +Than I to Hercules. Within a month? +Ere yet the salt of most unrighteous tears +Had left the flushing in her galled eyes, +She married. O most wicked speed, to post +With such dexterity to incestuous sheets! +It is not, nor it cannot come to good. +But break my heart, for I must hold my tongue. +Enter Horatio, Marcellus and Barnardo. + +HORATIO. +Hail to your lordship! +HAMLET. +I am glad to see you well: +Horatio, or I do forget myself. +HORATIO. +The same, my lord, +And your poor servant ever. + +HAMLET. +Sir, my good friend; +I’ll change that name with you: +And what make you from Wittenberg, Horatio?— +Marcellus? +MARCELLUS. +My good lord. +HAMLET. +I am very glad to see you.—Good even, sir.— +But what, in faith, make you from Wittenberg? +HORATIO. +A truant disposition, good my lord. +HAMLET. +I would not hear your enemy say so; +Nor shall you do my ear that violence, +To make it truster of your own report +Against yourself. I know you are no truant. +But what is your affair in Elsinore? +We’ll teach you to drink deep ere you depart. +HORATIO. +My lord, I came to see your father’s funeral. +HAMLET. +I prithee do not mock me, fellow-student. +I think it was to see my mother’s wedding. +HORATIO. +Indeed, my lord, it follow’d hard upon. +HAMLET. +Thrift, thrift, Horatio! The funeral bak’d meats +Did coldly furnish forth the marriage tables. +Would I had met my dearest foe in heaven +Or ever I had seen that day, Horatio. +My father,—methinks I see my father. +HORATIO. +Where, my lord? +HAMLET. +In my mind’s eye, Horatio. +HORATIO. +I saw him once; he was a goodly king. +HAMLET. +He was a man, take him for all in all, +I shall not look upon his like again. +HORATIO. +My lord, I think I saw him yesternight. +HAMLET. +Saw? Who? +HORATIO. +My lord, the King your father. +HAMLET. +The King my father! +HORATIO. +Season your admiration for a while +With an attent ear, till I may deliver +Upon the witness of these gentlemen +This marvel to you. +HAMLET. +For God’s love let me hear. +HORATIO. +Two nights together had these gentlemen, +Marcellus and Barnardo, on their watch +In the dead waste and middle of the night, +Been thus encounter’d. A figure like your father, +Armed at point exactly, cap-à-pie, +Appears before them, and with solemn march +Goes slow and stately by them: thrice he walk’d +By their oppress’d and fear-surprised eyes, +Within his truncheon’s length; whilst they, distill’d +Almost to jelly with the act of fear, +Stand dumb, and speak not to him. This to me +In dreadful secrecy impart they did, +And I with them the third night kept the watch, +Where, as they had deliver’d, both in time, +Form of the thing, each word made true and good, +The apparition comes. I knew your father; +These hands are not more like. +HAMLET. +But where was this? +MARCELLUS. +My lord, upon the platform where we watch. +HAMLET. +Did you not speak to it? +HORATIO. +My lord, I did; +But answer made it none: yet once methought +It lifted up it head, and did address +Itself to motion, like as it would speak. +But even then the morning cock crew loud, +And at the sound it shrunk in haste away, +And vanish’d from our sight. +HAMLET. +’Tis very strange. +HORATIO. +As I do live, my honour’d lord, ’tis true; +And we did think it writ down in our duty +To let you know of it. +HAMLET. +Indeed, indeed, sirs, but this troubles me. +Hold you the watch tonight? +MARCELLUS and BARNARDO. +We do, my lord. +HAMLET. +Arm’d, say you? +Both. +Arm’d, my lord. +HAMLET. +From top to toe? +BOTH. +My lord, from head to foot. +HAMLET. +Then saw you not his face? +HORATIO. +O yes, my lord, he wore his beaver up. +HAMLET. +What, look’d he frowningly? +HORATIO. +A countenance more in sorrow than in anger. +HAMLET. +Pale, or red? +HORATIO. +Nay, very pale. +HAMLET. +And fix’d his eyes upon you? +HORATIO. +Most constantly. +HAMLET. +I would I had been there. +HORATIO. +It would have much amaz’d you. +HAMLET. +Very like, very like. Stay’d it long? +HORATIO. +While one with moderate haste might tell a hundred. +MARCELLUS and BARNARDO. +Longer, longer. +HORATIO. +Not when I saw’t. +HAMLET. +His beard was grizzled, no? +HORATIO. +It was, as I have seen it in his life, +A sable silver’d. +HAMLET. +I will watch tonight; +Perchance ’twill walk again. +HORATIO. +I warrant you it will. +HAMLET. +If it assume my noble father’s person, +I’ll speak to it, though hell itself should gape +And bid me hold my peace. I pray you all, +If you have hitherto conceal’d this sight, +Let it be tenable in your silence still; +And whatsoever else shall hap tonight, +Give it an understanding, but no tongue. +I will requite your loves. So, fare ye well. +Upon the platform ’twixt eleven and twelve, +I’ll visit you. +ALL. +Our duty to your honour. +HAMLET. +Your loves, as mine to you: farewell. +[Exeunt Horatio, Marcellus and Barnardo.] + +My father’s spirit in arms! All is not well; +I doubt some foul play: would the night were come! +Till then sit still, my soul: foul deeds will rise, +Though all the earth o’erwhelm them, to men’s eyes. +[Exit.] + +SCENE III. A room in Polonius’s house. +Enter Laertes and Ophelia. + +LAERTES. +My necessaries are embark’d. Farewell. +And, sister, as the winds give benefit +And convoy is assistant, do not sleep, +But let me hear from you. +OPHELIA. +Do you doubt that? +LAERTES. +For Hamlet, and the trifling of his favour, +Hold it a fashion and a toy in blood; +A violet in the youth of primy nature, +Forward, not permanent, sweet, not lasting; +The perfume and suppliance of a minute; +No more. +OPHELIA. +No more but so? +LAERTES. +Think it no more. +For nature crescent does not grow alone +In thews and bulk; but as this temple waxes, +The inward service of the mind and soul +Grows wide withal. Perhaps he loves you now, +And now no soil nor cautel doth besmirch +The virtue of his will; but you must fear, +His greatness weigh’d, his will is not his own; +For he himself is subject to his birth: +He may not, as unvalu’d persons do, +Carve for himself; for on his choice depends +The sanctity and health of this whole state; +And therefore must his choice be circumscrib’d +Unto the voice and yielding of that body +Whereof he is the head. Then if he says he loves you, +It fits your wisdom so far to believe it +As he in his particular act and place +May give his saying deed; which is no further +Than the main voice of Denmark goes withal. +Then weigh what loss your honour may sustain +If with too credent ear you list his songs, +Or lose your heart, or your chaste treasure open +To his unmaster’d importunity. +Fear it, Ophelia, fear it, my dear sister; +And keep you in the rear of your affection, +Out of the shot and danger of desire. +The chariest maid is prodigal enough +If she unmask her beauty to the moon. +Virtue itself scopes not calumnious strokes: +The canker galls the infants of the spring +Too oft before their buttons be disclos’d, +And in the morn and liquid dew of youth +Contagious blastments are most imminent. +Be wary then, best safety lies in fear. +Youth to itself rebels, though none else near. +OPHELIA. +I shall th’effect of this good lesson keep +As watchman to my heart. But good my brother, +Do not as some ungracious pastors do, +Show me the steep and thorny way to heaven; +Whilst like a puff’d and reckless libertine +Himself the primrose path of dalliance treads, +And recks not his own rede. +LAERTES. +O, fear me not. +I stay too long. But here my father comes. +Enter Polonius. + +A double blessing is a double grace; +Occasion smiles upon a second leave. +POLONIUS. +Yet here, Laertes? Aboard, aboard, for shame. +The wind sits in the shoulder of your sail, +And you are stay’d for. There, my blessing with you. +[Laying his hand on Laertes’s head.] + +And these few precepts in thy memory +Look thou character. Give thy thoughts no tongue, +Nor any unproportion’d thought his act. +Be thou familiar, but by no means vulgar. +Those friends thou hast, and their adoption tried, +Grapple them unto thy soul with hoops of steel; +But do not dull thy palm with entertainment +Of each new-hatch’d, unfledg’d comrade. Beware +Of entrance to a quarrel; but being in, +Bear’t that th’opposed may beware of thee. +Give every man thine ear, but few thy voice: +Take each man’s censure, but reserve thy judgment. +Costly thy habit as thy purse can buy, +But not express’d in fancy; rich, not gaudy: +For the apparel oft proclaims the man; +And they in France of the best rank and station +Are of a most select and generous chief in that. +Neither a borrower nor a lender be: +For loan oft loses both itself and friend; +And borrowing dulls the edge of husbandry. +This above all: to thine own self be true; +And it must follow, as the night the day, +Thou canst not then be false to any man. +Farewell: my blessing season this in thee. +LAERTES. +Most humbly do I take my leave, my lord. +POLONIUS. +The time invites you; go, your servants tend. +LAERTES. +Farewell, Ophelia, and remember well +What I have said to you. +OPHELIA. +’Tis in my memory lock’d, +And you yourself shall keep the key of it. +LAERTES. +Farewell. +[Exit.] + +POLONIUS. +What is’t, Ophelia, he hath said to you? +OPHELIA. +So please you, something touching the Lord Hamlet. +POLONIUS. +Marry, well bethought: +’Tis told me he hath very oft of late +Given private time to you; and you yourself +Have of your audience been most free and bounteous. +If it be so,—as so ’tis put on me, +And that in way of caution,—I must tell you +You do not understand yourself so clearly +As it behoves my daughter and your honour. +What is between you? Give me up the truth. +OPHELIA. +He hath, my lord, of late made many tenders +Of his affection to me. +POLONIUS. +Affection! Pooh! You speak like a green girl, +Unsifted in such perilous circumstance. +Do you believe his tenders, as you call them? +OPHELIA. +I do not know, my lord, what I should think. +POLONIUS. +Marry, I’ll teach you; think yourself a baby; +That you have ta’en these tenders for true pay, +Which are not sterling. Tender yourself more dearly; +Or,—not to crack the wind of the poor phrase, +Roaming it thus,—you’ll tender me a fool. +OPHELIA. +My lord, he hath importun’d me with love +In honourable fashion. +POLONIUS. +Ay, fashion you may call it; go to, go to. +OPHELIA. +And hath given countenance to his speech, my lord, +With almost all the holy vows of heaven. +POLONIUS. +Ay, springes to catch woodcocks. I do know, +When the blood burns, how prodigal the soul +Lends the tongue vows: these blazes, daughter, +Giving more light than heat, extinct in both, +Even in their promise, as it is a-making, +You must not take for fire. From this time +Be something scanter of your maiden presence; +Set your entreatments at a higher rate +Than a command to parley. For Lord Hamlet, +Believe so much in him that he is young; +And with a larger tether may he walk +Than may be given you. In few, Ophelia, +Do not believe his vows; for they are brokers, +Not of that dye which their investments show, +But mere implorators of unholy suits, +Breathing like sanctified and pious bawds, +The better to beguile. This is for all. +I would not, in plain terms, from this time forth +Have you so slander any moment leisure +As to give words or talk with the Lord Hamlet. +Look to’t, I charge you; come your ways. +OPHELIA. +I shall obey, my lord. +[Exeunt.] + +SCENE IV. The platform. +Enter Hamlet, Horatio and Marcellus. + +HAMLET. +The air bites shrewdly; it is very cold. +HORATIO. +It is a nipping and an eager air. +HAMLET. +What hour now? +HORATIO. +I think it lacks of twelve. +MARCELLUS. +No, it is struck. +HORATIO. +Indeed? I heard it not. It then draws near the season +Wherein the spirit held his wont to walk. +[A flourish of trumpets, and ordnance shot off within.] + +What does this mean, my lord? + +HAMLET. +The King doth wake tonight and takes his rouse, +Keeps wassail, and the swaggering upspring reels; +And as he drains his draughts of Rhenish down, +The kettle-drum and trumpet thus bray out +The triumph of his pledge. +HORATIO. +Is it a custom? +HAMLET. +Ay marry is’t; +And to my mind, though I am native here, +And to the manner born, it is a custom +More honour’d in the breach than the observance. +This heavy-headed revel east and west +Makes us traduc’d and tax’d of other nations: +They clepe us drunkards, and with swinish phrase +Soil our addition; and indeed it takes +From our achievements, though perform’d at height, +The pith and marrow of our attribute. +So oft it chances in particular men +That for some vicious mole of nature in them, +As in their birth, wherein they are not guilty, +Since nature cannot choose his origin, +By their o’ergrowth of some complexion, +Oft breaking down the pales and forts of reason; +Or by some habit, that too much o’erleavens +The form of plausive manners;—that these men, +Carrying, I say, the stamp of one defect, +Being Nature’s livery or Fortune’s star,— +His virtues else,—be they as pure as grace, +As infinite as man may undergo, +Shall in the general censure take corruption +From that particular fault. The dram of evil +Doth all the noble substance often doubt +To his own scandal. +HORATIO. +Look, my lord, it comes! +Enter Ghost. + +HAMLET. +Angels and ministers of grace defend us! +Be thou a spirit of health or goblin damn’d, +Bring with thee airs from heaven or blasts from hell, +Be thy intents wicked or charitable, +Thou com’st in such a questionable shape +That I will speak to thee. I’ll call thee Hamlet, +King, father, royal Dane. O, answer me! +Let me not burst in ignorance; but tell +Why thy canoniz’d bones, hearsed in death, +Have burst their cerements; why the sepulchre, +Wherein we saw thee quietly inurn’d, +Hath op’d his ponderous and marble jaws +To cast thee up again! What may this mean, +That thou, dead corse, again in complete steel, +Revisit’st thus the glimpses of the moon, +Making night hideous, and we fools of nature +So horridly to shake our disposition +With thoughts beyond the reaches of our souls? +Say, why is this? Wherefore? What should we do? +[Ghost beckons Hamlet.] + +HORATIO. +It beckons you to go away with it, +As if it some impartment did desire +To you alone. +MARCELLUS. +Look with what courteous action +It waves you to a more removed ground. +But do not go with it. +HORATIO. +No, by no means. +HAMLET. +It will not speak; then will I follow it. +HORATIO. +Do not, my lord. +HAMLET. +Why, what should be the fear? +I do not set my life at a pin’s fee; +And for my soul, what can it do to that, +Being a thing immortal as itself? +It waves me forth again. I’ll follow it. +HORATIO. +What if it tempt you toward the flood, my lord, +Or to the dreadful summit of the cliff +That beetles o’er his base into the sea, +And there assume some other horrible form +Which might deprive your sovereignty of reason, +And draw you into madness? Think of it. +The very place puts toys of desperation, +Without more motive, into every brain +That looks so many fadoms to the sea +And hears it roar beneath. +HAMLET. +It waves me still. +Go on, I’ll follow thee. +MARCELLUS. +You shall not go, my lord. +HAMLET. +Hold off your hands. +HORATIO. +Be rul’d; you shall not go. +HAMLET. +My fate cries out, +And makes each petty artery in this body +As hardy as the Nemean lion’s nerve. +[Ghost beckons.] + +Still am I call’d. Unhand me, gentlemen. + +[Breaking free from them.] + +By heaven, I’ll make a ghost of him that lets me. +I say, away!—Go on, I’ll follow thee. +[Exeunt Ghost and Hamlet.] + +HORATIO. +He waxes desperate with imagination. +MARCELLUS. +Let’s follow; ’tis not fit thus to obey him. +HORATIO. +Have after. To what issue will this come? +MARCELLUS. +Something is rotten in the state of Denmark. +HORATIO. +Heaven will direct it. +MARCELLUS. +Nay, let’s follow him. +[Exeunt.] + +SCENE V. A more remote part of the Castle. +Enter Ghost and Hamlet. + +HAMLET. +Whither wilt thou lead me? Speak, I’ll go no further. +GHOST. +Mark me. +HAMLET. +I will. +GHOST. +My hour is almost come, +When I to sulph’rous and tormenting flames +Must render up myself. +HAMLET. +Alas, poor ghost! +GHOST. +Pity me not, but lend thy serious hearing +To what I shall unfold. +HAMLET. +Speak, I am bound to hear. +GHOST. +So art thou to revenge, when thou shalt hear. +HAMLET. +What? +GHOST. +I am thy father’s spirit, +Doom’d for a certain term to walk the night, +And for the day confin’d to fast in fires, +Till the foul crimes done in my days of nature +Are burnt and purg’d away. But that I am forbid +To tell the secrets of my prison-house, +I could a tale unfold whose lightest word +Would harrow up thy soul; freeze thy young blood, +Make thy two eyes like stars start from their spheres, +Thy knotted and combined locks to part, +And each particular hair to stand on end +Like quills upon the fretful porcupine. +But this eternal blazon must not be +To ears of flesh and blood. List, list, O, list! +If thou didst ever thy dear father love— +HAMLET. +O God! +GHOST. +Revenge his foul and most unnatural murder. +HAMLET. +Murder! +GHOST. +Murder most foul, as in the best it is; +But this most foul, strange, and unnatural. +HAMLET. +Haste me to know’t, that I, with wings as swift +As meditation or the thoughts of love +May sweep to my revenge. +GHOST. +I find thee apt; +And duller shouldst thou be than the fat weed +That rots itself in ease on Lethe wharf, +Wouldst thou not stir in this. Now, Hamlet, hear. +’Tis given out that, sleeping in my orchard, +A serpent stung me; so the whole ear of Denmark +Is by a forged process of my death +Rankly abus’d; but know, thou noble youth, +The serpent that did sting thy father’s life +Now wears his crown. +HAMLET. +O my prophetic soul! +Mine uncle! +GHOST. +Ay, that incestuous, that adulterate beast, +With witchcraft of his wit, with traitorous gifts,— +O wicked wit, and gifts, that have the power +So to seduce!—won to his shameful lust +The will of my most seeming-virtuous queen. +O Hamlet, what a falling off was there, +From me, whose love was of that dignity +That it went hand in hand even with the vow +I made to her in marriage; and to decline +Upon a wretch whose natural gifts were poor +To those of mine. But virtue, as it never will be mov’d, +Though lewdness court it in a shape of heaven; +So lust, though to a radiant angel link’d, +Will sate itself in a celestial bed +And prey on garbage. +But soft! methinks I scent the morning air; +Brief let me be. Sleeping within my orchard, +My custom always of the afternoon, +Upon my secure hour thy uncle stole +With juice of cursed hebenon in a vial, +And in the porches of my ears did pour +The leperous distilment, whose effect +Holds such an enmity with blood of man +That swift as quicksilver it courses through +The natural gates and alleys of the body; +And with a sudden vigour it doth posset +And curd, like eager droppings into milk, +The thin and wholesome blood. So did it mine; +And a most instant tetter bark’d about, +Most lazar-like, with vile and loathsome crust +All my smooth body. +Thus was I, sleeping, by a brother’s hand, +Of life, of crown, of queen at once dispatch’d: +Cut off even in the blossoms of my sin, +Unhous’led, disappointed, unanel’d; +No reckoning made, but sent to my account +With all my imperfections on my head. +O horrible! O horrible! most horrible! +If thou hast nature in thee, bear it not; +Let not the royal bed of Denmark be +A couch for luxury and damned incest. +But howsoever thou pursu’st this act, +Taint not thy mind, nor let thy soul contrive +Against thy mother aught; leave her to heaven, +And to those thorns that in her bosom lodge, +To prick and sting her. Fare thee well at once! +The glow-worm shows the matin to be near, +And ’gins to pale his uneffectual fire. +Adieu, adieu, adieu. Hamlet, remember me. +[Exit.] + +HAMLET. +O all you host of heaven! O earth! What else? +And shall I couple hell? O, fie! Hold, my heart; +And you, my sinews, grow not instant old, +But bear me stiffly up. Remember thee? +Ay, thou poor ghost, while memory holds a seat +In this distracted globe. Remember thee? +Yea, from the table of my memory +I’ll wipe away all trivial fond records, +All saws of books, all forms, all pressures past, +That youth and observation copied there; +And thy commandment all alone shall live +Within the book and volume of my brain, +Unmix’d with baser matter. Yes, by heaven! +O most pernicious woman! +O villain, villain, smiling damned villain! +My tables. Meet it is I set it down, +That one may smile, and smile, and be a villain! +At least I am sure it may be so in Denmark. +[Writing.] + +So, uncle, there you are. Now to my word; +It is ‘Adieu, adieu, remember me.’ +I have sworn’t. +HORATIO and MARCELLUS. +[Within.] My lord, my lord. +MARCELLUS. +[Within.] Lord Hamlet. +HORATIO. +[Within.] Heaven secure him. +HAMLET. +So be it! +MARCELLUS. +[Within.] Illo, ho, ho, my lord! +HAMLET. +Hillo, ho, ho, boy! Come, bird, come. +Enter Horatio and Marcellus. + +MARCELLUS. +How is’t, my noble lord? +HORATIO. +What news, my lord? +HAMLET. +O, wonderful! +HORATIO. +Good my lord, tell it. +HAMLET. +No, you’ll reveal it. +HORATIO. +Not I, my lord, by heaven. +MARCELLUS. +Nor I, my lord. +HAMLET. +How say you then, would heart of man once think it?— +But you’ll be secret? +HORATIO and MARCELLUS. +Ay, by heaven, my lord. +HAMLET. +There’s ne’er a villain dwelling in all Denmark +But he’s an arrant knave. +HORATIO. +There needs no ghost, my lord, come from the grave +To tell us this. +HAMLET. +Why, right; you are i’ the right; +And so, without more circumstance at all, +I hold it fit that we shake hands and part: +You, as your business and desires shall point you,— +For every man hath business and desire, +Such as it is;—and for my own poor part, +Look you, I’ll go pray. +HORATIO. +These are but wild and whirling words, my lord. +HAMLET. +I’m sorry they offend you, heartily; +Yes faith, heartily. +HORATIO. +There’s no offence, my lord. +HAMLET. +Yes, by Saint Patrick, but there is, Horatio, +And much offence too. Touching this vision here, +It is an honest ghost, that let me tell you. +For your desire to know what is between us, +O’ermaster’t as you may. And now, good friends, +As you are friends, scholars, and soldiers, +Give me one poor request. +HORATIO. +What is’t, my lord? We will. +HAMLET. +Never make known what you have seen tonight. +HORATIO and MARCELLUS. +My lord, we will not. +HAMLET. +Nay, but swear’t. +HORATIO. +In faith, my lord, not I. +MARCELLUS. +Nor I, my lord, in faith. +HAMLET. +Upon my sword. +MARCELLUS. +We have sworn, my lord, already. +HAMLET. +Indeed, upon my sword, indeed. +GHOST. +[Cries under the stage.] Swear. +HAMLET. +Ha, ha boy, say’st thou so? Art thou there, truepenny? +Come on, you hear this fellow in the cellarage. +Consent to swear. +HORATIO. +Propose the oath, my lord. +HAMLET. +Never to speak of this that you have seen. +Swear by my sword. +GHOST. +[Beneath.] Swear. +HAMLET. +Hic et ubique? Then we’ll shift our ground. +Come hither, gentlemen, +And lay your hands again upon my sword. +Never to speak of this that you have heard. +Swear by my sword. +GHOST. +[Beneath.] Swear. +HAMLET. +Well said, old mole! Canst work i’ th’earth so fast? +A worthy pioner! Once more remove, good friends. +HORATIO. +O day and night, but this is wondrous strange. +HAMLET. +And therefore as a stranger give it welcome. +There are more things in heaven and earth, Horatio, +Than are dreamt of in your philosophy. But come, +Here, as before, never, so help you mercy, +How strange or odd soe’er I bear myself,— +As I perchance hereafter shall think meet +To put an antic disposition on— +That you, at such times seeing me, never shall, +With arms encumber’d thus, or this head-shake, +Or by pronouncing of some doubtful phrase, +As ‘Well, we know’, or ‘We could and if we would’, +Or ‘If we list to speak’; or ‘There be and if they might’, +Or such ambiguous giving out, to note +That you know aught of me:—this not to do. +So grace and mercy at your most need help you, +Swear. +GHOST. +[Beneath.] Swear. +HAMLET. +Rest, rest, perturbed spirit. So, gentlemen, +With all my love I do commend me to you; +And what so poor a man as Hamlet is +May do t’express his love and friending to you, +God willing, shall not lack. Let us go in together, +And still your fingers on your lips, I pray. +The time is out of joint. O cursed spite, +That ever I was born to set it right. +Nay, come, let’s go together. +[Exeunt.] + +ACT II +SCENE I. A room in Polonius’s house. +Enter Polonius and Reynaldo. + +POLONIUS. +Give him this money and these notes, Reynaldo. +REYNALDO. +I will, my lord. +POLONIUS. +You shall do marvellous wisely, good Reynaldo, +Before you visit him, to make inquiry +Of his behaviour. +REYNALDO. +My lord, I did intend it. +POLONIUS. +Marry, well said; very well said. Look you, sir, +Enquire me first what Danskers are in Paris; +And how, and who, what means, and where they keep, +What company, at what expense; and finding +By this encompassment and drift of question, +That they do know my son, come you more nearer +Than your particular demands will touch it. +Take you as ’twere some distant knowledge of him, +As thus, ‘I know his father and his friends, +And in part him’—do you mark this, Reynaldo? +REYNALDO. +Ay, very well, my lord. +POLONIUS. +‘And in part him, but,’ you may say, ‘not well; +But if’t be he I mean, he’s very wild; +Addicted so and so;’ and there put on him +What forgeries you please; marry, none so rank +As may dishonour him; take heed of that; +But, sir, such wanton, wild, and usual slips +As are companions noted and most known +To youth and liberty. +REYNALDO. +As gaming, my lord? +POLONIUS. +Ay, or drinking, fencing, swearing, +Quarrelling, drabbing. You may go so far. +REYNALDO. +My lord, that would dishonour him. +POLONIUS. +Faith no, as you may season it in the charge. +You must not put another scandal on him, +That he is open to incontinency; +That’s not my meaning: but breathe his faults so quaintly +That they may seem the taints of liberty; +The flash and outbreak of a fiery mind, +A savageness in unreclaimed blood, +Of general assault. +REYNALDO. +But my good lord— +POLONIUS. +Wherefore should you do this? +REYNALDO. +Ay, my lord, I would know that. +POLONIUS. +Marry, sir, here’s my drift, +And I believe it is a fetch of warrant. +You laying these slight sullies on my son, +As ’twere a thing a little soil’d i’ th’ working, +Mark you, +Your party in converse, him you would sound, +Having ever seen in the prenominate crimes +The youth you breathe of guilty, be assur’d +He closes with you in this consequence; +‘Good sir,’ or so; or ‘friend,’ or ‘gentleman’— +According to the phrase or the addition +Of man and country. +REYNALDO. +Very good, my lord. +POLONIUS. +And then, sir, does he this,— +He does—What was I about to say? +By the mass, I was about to say something. Where did I leave? +REYNALDO. +At ‘closes in the consequence.’ +At ‘friend or so,’ and ‘gentleman.’ + +POLONIUS. +At ‘closes in the consequence’ ay, marry! +He closes with you thus: ‘I know the gentleman, +I saw him yesterday, or t’other day, +Or then, or then, with such and such; and, as you say, +There was he gaming, there o’ertook in’s rouse, +There falling out at tennis’: or perchance, +‘I saw him enter such a house of sale’— +Videlicet, a brothel, or so forth. See you now; +Your bait of falsehood takes this carp of truth; +And thus do we of wisdom and of reach, +With windlasses, and with assays of bias, +By indirections find directions out. +So by my former lecture and advice +Shall you my son. You have me, have you not? +REYNALDO. +My lord, I have. +POLONIUS. +God b’ wi’ you, fare you well. +REYNALDO. +Good my lord. +POLONIUS. +Observe his inclination in yourself. +REYNALDO. +I shall, my lord. +POLONIUS. +And let him ply his music. +REYNALDO. +Well, my lord. +POLONIUS. +Farewell. +[Exit Reynaldo.] + +Enter Ophelia. + +How now, Ophelia, what’s the matter? + +OPHELIA. +Alas, my lord, I have been so affrighted. +POLONIUS. +With what, in the name of God? +OPHELIA. +My lord, as I was sewing in my chamber, +Lord Hamlet, with his doublet all unbrac’d, +No hat upon his head, his stockings foul’d, +Ungart’red, and down-gyved to his ankle, +Pale as his shirt, his knees knocking each other, +And with a look so piteous in purport +As if he had been loosed out of hell +To speak of horrors, he comes before me. +POLONIUS. +Mad for thy love? +OPHELIA. +My lord, I do not know, but truly I do fear it. +POLONIUS. +What said he? +OPHELIA. +He took me by the wrist and held me hard; +Then goes he to the length of all his arm; +And with his other hand thus o’er his brow, +He falls to such perusal of my face +As he would draw it. Long stay’d he so, +At last,—a little shaking of mine arm, +And thrice his head thus waving up and down, +He rais’d a sigh so piteous and profound +As it did seem to shatter all his bulk +And end his being. That done, he lets me go, +And with his head over his shoulder turn’d +He seem’d to find his way without his eyes, +For out o’ doors he went without their help, +And to the last bended their light on me. +POLONIUS. +Come, go with me. I will go seek the King. +This is the very ecstasy of love, +Whose violent property fordoes itself, +And leads the will to desperate undertakings, +As oft as any passion under heaven +That does afflict our natures. I am sorry,— +What, have you given him any hard words of late? +OPHELIA. +No, my good lord; but as you did command, +I did repel his letters and denied +His access to me. +POLONIUS. +That hath made him mad. +I am sorry that with better heed and judgment +I had not quoted him. I fear’d he did but trifle, +And meant to wreck thee. But beshrew my jealousy! +It seems it is as proper to our age +To cast beyond ourselves in our opinions +As it is common for the younger sort +To lack discretion. Come, go we to the King. +This must be known, which, being kept close, might move +More grief to hide than hate to utter love. +[Exeunt.] + +SCENE II. A room in the Castle. +Enter King, Queen, Rosencrantz, Guildenstern and Attendants. + +KING. +Welcome, dear Rosencrantz and Guildenstern. +Moreover that we much did long to see you, +The need we have to use you did provoke +Our hasty sending. Something have you heard +Of Hamlet’s transformation; so I call it, +Since nor th’exterior nor the inward man +Resembles that it was. What it should be, +More than his father’s death, that thus hath put him +So much from th’understanding of himself, +I cannot dream of. I entreat you both +That, being of so young days brought up with him, +And since so neighbour’d to his youth and humour, +That you vouchsafe your rest here in our court +Some little time, so by your companies +To draw him on to pleasures and to gather, +So much as from occasion you may glean, +Whether aught to us unknown afflicts him thus +That, open’d, lies within our remedy. +QUEEN. +Good gentlemen, he hath much talk’d of you, +And sure I am, two men there are not living +To whom he more adheres. If it will please you +To show us so much gentry and good will +As to expend your time with us awhile, +For the supply and profit of our hope, +Your visitation shall receive such thanks +As fits a king’s remembrance. +ROSENCRANTZ. +Both your majesties +Might, by the sovereign power you have of us, +Put your dread pleasures more into command +Than to entreaty. +GUILDENSTERN. +We both obey, +And here give up ourselves, in the full bent, +To lay our service freely at your feet +To be commanded. +KING. +Thanks, Rosencrantz and gentle Guildenstern. +QUEEN. +Thanks, Guildenstern and gentle Rosencrantz. +And I beseech you instantly to visit +My too much changed son. Go, some of you, +And bring these gentlemen where Hamlet is. +GUILDENSTERN. +Heavens make our presence and our practices +Pleasant and helpful to him. +QUEEN. +Ay, amen. +[Exeunt Rosencrantz, Guildenstern and some Attendants.] + +Enter Polonius. + +POLONIUS. +Th’ambassadors from Norway, my good lord, +Are joyfully return’d. +KING. +Thou still hast been the father of good news. +POLONIUS. +Have I, my lord? Assure you, my good liege, +I hold my duty, as I hold my soul, +Both to my God and to my gracious King: +And I do think,—or else this brain of mine +Hunts not the trail of policy so sure +As it hath us’d to do—that I have found +The very cause of Hamlet’s lunacy. +KING. +O speak of that, that do I long to hear. +POLONIUS. +Give first admittance to th’ambassadors; +My news shall be the fruit to that great feast. +KING. +Thyself do grace to them, and bring them in. +[Exit Polonius.] + +He tells me, my sweet queen, that he hath found +The head and source of all your son’s distemper. +QUEEN. +I doubt it is no other but the main, +His father’s death and our o’erhasty marriage. +KING. +Well, we shall sift him. +Enter Polonius with Voltemand and Cornelius. + +Welcome, my good friends! +Say, Voltemand, what from our brother Norway? +VOLTEMAND. +Most fair return of greetings and desires. +Upon our first, he sent out to suppress +His nephew’s levies, which to him appear’d +To be a preparation ’gainst the Polack; +But better look’d into, he truly found +It was against your Highness; whereat griev’d, +That so his sickness, age, and impotence +Was falsely borne in hand, sends out arrests +On Fortinbras; which he, in brief, obeys, +Receives rebuke from Norway; and in fine, +Makes vow before his uncle never more +To give th’assay of arms against your Majesty. +Whereon old Norway, overcome with joy, +Gives him three thousand crowns in annual fee, +And his commission to employ those soldiers +So levied as before, against the Polack: +With an entreaty, herein further shown, +[Gives a paper.] +That it might please you to give quiet pass +Through your dominions for this enterprise, +On such regards of safety and allowance +As therein are set down. +KING. +It likes us well; +And at our more consider’d time we’ll read, +Answer, and think upon this business. +Meantime we thank you for your well-took labour. +Go to your rest, at night we’ll feast together:. +Most welcome home. +[Exeunt Voltemand and Cornelius.] + +POLONIUS. +This business is well ended. +My liege and madam, to expostulate +What majesty should be, what duty is, +Why day is day, night night, and time is time +Were nothing but to waste night, day and time. +Therefore, since brevity is the soul of wit, +And tediousness the limbs and outward flourishes, +I will be brief. Your noble son is mad. +Mad call I it; for to define true madness, +What is’t but to be nothing else but mad? +But let that go. +QUEEN. +More matter, with less art. +POLONIUS. +Madam, I swear I use no art at all. +That he is mad, ’tis true: ’tis true ’tis pity; +And pity ’tis ’tis true. A foolish figure, +But farewell it, for I will use no art. +Mad let us grant him then. And now remains +That we find out the cause of this effect, +Or rather say, the cause of this defect, +For this effect defective comes by cause. +Thus it remains, and the remainder thus. Perpend, +I have a daughter—have whilst she is mine— +Who in her duty and obedience, mark, +Hath given me this. Now gather, and surmise. +[Reads.] +To the celestial, and my soul’s idol, the most beautified Ophelia— +That’s an ill phrase, a vile phrase; ‘beautified’ is a vile +phrase: but you shall hear. +[Reads.] +these; in her excellent white bosom, these, &c. +QUEEN. +Came this from Hamlet to her? +POLONIUS. +Good madam, stay awhile; I will be faithful. +[Reads.] + Doubt thou the stars are fire, + Doubt that the sun doth move, + Doubt truth to be a liar, + But never doubt I love. +O dear Ophelia, I am ill at these numbers. I have not art to reckon my groans. But that I love thee best, O most best, believe it. Adieu. + Thine evermore, most dear lady, whilst this machine is to him, + HAMLET. +This in obedience hath my daughter show’d me; +And more above, hath his solicitings, +As they fell out by time, by means, and place, +All given to mine ear. +KING. +But how hath she receiv’d his love? +POLONIUS. +What do you think of me? +KING. +As of a man faithful and honourable. +POLONIUS. +I would fain prove so. But what might you think, +When I had seen this hot love on the wing, +As I perceiv’d it, I must tell you that, +Before my daughter told me, what might you, +Or my dear Majesty your queen here, think, +If I had play’d the desk or table-book, +Or given my heart a winking, mute and dumb, +Or look’d upon this love with idle sight, +What might you think? No, I went round to work, +And my young mistress thus I did bespeak: +‘Lord Hamlet is a prince, out of thy star. +This must not be.’ And then I precepts gave her, +That she should lock herself from his resort, +Admit no messengers, receive no tokens. +Which done, she took the fruits of my advice, +And he, repulsed,—a short tale to make— +Fell into a sadness, then into a fast, +Thence to a watch, thence into a weakness, +Thence to a lightness, and, by this declension, +Into the madness wherein now he raves, +And all we wail for. +KING. +Do you think ’tis this? +QUEEN. +It may be, very likely. +POLONIUS. +Hath there been such a time, I’d fain know that, +That I have positively said ‘’Tis so,’ +When it prov’d otherwise? +KING. +Not that I know. +POLONIUS. +Take this from this, if this be otherwise. +[Points to his head and shoulder.] +If circumstances lead me, I will find +Where truth is hid, though it were hid indeed +Within the centre. +KING. +How may we try it further? +POLONIUS. +You know sometimes he walks four hours together +Here in the lobby. +QUEEN. +So he does indeed. +POLONIUS. +At such a time I’ll loose my daughter to him. +Be you and I behind an arras then, +Mark the encounter. If he love her not, +And be not from his reason fall’n thereon, +Let me be no assistant for a state, +But keep a farm and carters. +KING. +We will try it. +Enter Hamlet, reading. + +QUEEN. +But look where sadly the poor wretch comes reading. +POLONIUS. +Away, I do beseech you, both away +I’ll board him presently. O, give me leave. +[Exeunt King, Queen and Attendants.] + +How does my good Lord Hamlet? + +HAMLET. +Well, God-a-mercy. +POLONIUS. +Do you know me, my lord? +HAMLET. +Excellent well. You’re a fishmonger. +POLONIUS. +Not I, my lord. +HAMLET. +Then I would you were so honest a man. +POLONIUS. +Honest, my lord? +HAMLET. +Ay sir, to be honest, as this world goes, is to be one man picked out of ten thousand. + +POLONIUS. +That’s very true, my lord. +HAMLET. +For if the sun breed maggots in a dead dog, being a good kissing carrion,— +Have you a daughter? + +POLONIUS. +I have, my lord. +HAMLET. +Let her not walk i’ th’ sun. Conception is a blessing, but not as your daughter may conceive. Friend, look to’t. + +POLONIUS. +How say you by that? [Aside.] Still harping on my daughter. Yet he knew me not at first; he said I was a fishmonger. He is far gone, far gone. And truly in my youth I suffered much extremity for love; very near this. I’ll speak to him again.—What do you read, my lord? + +HAMLET. +Words, words, words. +POLONIUS. +What is the matter, my lord? +HAMLET. +Between who? +POLONIUS. +I mean the matter that you read, my lord. +HAMLET. +Slanders, sir. For the satirical slave says here that old men have grey beards; that their faces are wrinkled; their eyes purging thick amber and plum-tree gum; and that they have a plentiful lack of wit, together with most weak hams. All which, sir, though I most powerfully and potently believe, yet I hold it not honesty to have it thus set down. For you yourself, sir, should be old as I am, if like a crab you could go backward. + +POLONIUS. +[Aside.] Though this be madness, yet there is a method in’t.— +Will you walk out of the air, my lord? +HAMLET. +Into my grave? +POLONIUS. +Indeed, that is out o’ the air. [Aside.] How pregnant sometimes his replies are! A happiness that often madness hits on, which reason and sanity could not so prosperously be delivered of. I will leave him and suddenly contrive the means of meeting between him and my daughter. +My honourable lord, I will most humbly take my leave of you. + +HAMLET. +You cannot, sir, take from me anything that I will more willingly part withal, except my life, except my life, except my life. + +POLONIUS. +Fare you well, my lord. +HAMLET. +These tedious old fools. +Enter Rosencrantz and Guildenstern. + +POLONIUS. +You go to seek the Lord Hamlet; there he is. +ROSENCRANTZ. +[To Polonius.] God save you, sir. +[Exit Polonius.] + +GUILDENSTERN. +My honoured lord! +ROSENCRANTZ. +My most dear lord! +HAMLET. +My excellent good friends! How dost thou, Guildenstern? Ah, Rosencrantz. Good lads, how do ye both? + +ROSENCRANTZ. +As the indifferent children of the earth. +GUILDENSTERN. +Happy in that we are not over-happy; +On Fortune’s cap we are not the very button. +HAMLET. +Nor the soles of her shoe? +ROSENCRANTZ. +Neither, my lord. +HAMLET. +Then you live about her waist, or in the middle of her favours? + +GUILDENSTERN. +Faith, her privates we. +HAMLET. +In the secret parts of Fortune? O, most true; she is a strumpet. What’s the news? + +ROSENCRANTZ. +None, my lord, but that the world’s grown honest. +HAMLET. +Then is doomsday near. But your news is not true. Let me question more in particular. What have you, my good friends, deserved at the hands of Fortune, that she sends you to prison hither? + +GUILDENSTERN. +Prison, my lord? +HAMLET. +Denmark’s a prison. +ROSENCRANTZ. +Then is the world one. +HAMLET. +A goodly one; in which there are many confines, wards, and dungeons, Denmark being one o’ th’ worst. + +ROSENCRANTZ. +We think not so, my lord. +HAMLET. +Why, then ’tis none to you; for there is nothing either good or bad but thinking makes it so. To me it is a prison. + +ROSENCRANTZ. +Why, then your ambition makes it one; ’tis too narrow for your mind. + +HAMLET. +O God, I could be bounded in a nutshell, and count myself a king of infinite space, were it not that I have bad dreams. + +GUILDENSTERN. +Which dreams, indeed, are ambition; for the very substance of the ambitious is merely the shadow of a dream. + +HAMLET. +A dream itself is but a shadow. +ROSENCRANTZ. +Truly, and I hold ambition of so airy and light a quality that it is but a shadow’s shadow. + +HAMLET. +Then are our beggars bodies, and our monarchs and outstretch’d heroes the beggars’ shadows. Shall we to th’ court? For, by my fay, I cannot reason. + +ROSENCRANTZ and GUILDENSTERN. +We’ll wait upon you. +HAMLET. +No such matter. I will not sort you with the rest of my servants; for, to speak to you like an honest man, I am most dreadfully attended. But, in the beaten way of friendship, what make you at Elsinore? + +ROSENCRANTZ. +To visit you, my lord, no other occasion. +HAMLET. +Beggar that I am, I am even poor in thanks; but I thank you. And sure, dear friends, my thanks are too dear a halfpenny. Were you not sent for? Is it your own inclining? Is it a free visitation? Come, deal justly with me. Come, come; nay, speak. + +GUILDENSTERN. +What should we say, my lord? +HAMLET. +Why, anything. But to the purpose. You were sent for; and there is a kind of confession in your looks, which your modesties have not craft enough to colour. I know the good King and Queen have sent for you. + +ROSENCRANTZ. +To what end, my lord? +HAMLET. +That you must teach me. But let me conjure you, by the rights of our fellowship, by the consonancy of our youth, by the obligation of our ever-preserved love, and by what more dear a better proposer could charge you withal, be even and direct with me, whether you were sent for or no. + +ROSENCRANTZ. +[To Guildenstern.] What say you? +HAMLET. +[Aside.] Nay, then I have an eye of you. If you love me, hold not off. + +GUILDENSTERN. +My lord, we were sent for. +HAMLET. +I will tell you why; so shall my anticipation prevent your discovery, and your secrecy to the King and Queen moult no feather. I have of late, but wherefore I know not, lost all my mirth, forgone all custom of exercises; and indeed, it goes so heavily with my disposition that this goodly frame the earth, seems to me a sterile promontory; this most excellent canopy the air, look you, this brave o’erhanging firmament, this majestical roof fretted with golden fire, why, it appears no other thing to me than a foul and pestilent congregation of vapours. What a piece of work is man, how noble in reason, how infinite in faculties, in form and moving, how express and admirable; in action how like an angel, in apprehension, how like a god: the beauty of the world, the paragon of animals. And yet, to me, what is this quintessence of dust? Man delights not me; no, nor woman neither, though by your smiling you seem to say so. + +ROSENCRANTZ. +My lord, there was no such stuff in my thoughts. +HAMLET. +Why did you laugh then, when I said ‘Man delights not me’? +ROSENCRANTZ. +To think, my lord, if you delight not in man, what Lenten entertainment the players shall receive from you. We coted them on the way, and hither are they coming to offer you service. + +HAMLET. +He that plays the king shall be welcome,—his Majesty shall have tribute of me; the adventurous knight shall use his foil and target; the lover shall not sigh gratis, the humorous man shall end his part in peace; the clown shall make those laugh whose lungs are tickle a’ th’ sere; and the lady shall say her mind freely, or the blank verse shall halt for’t. What players are they? + +ROSENCRANTZ. +Even those you were wont to take such delight in—the tragedians of the city. + +HAMLET. +How chances it they travel? Their residence, both in reputation and profit, was better both ways. + +ROSENCRANTZ. +I think their inhibition comes by the means of the late innovation. + +HAMLET. +Do they hold the same estimation they did when I was in the city? Are they so followed? + +ROSENCRANTZ. +No, indeed, they are not. +HAMLET. +How comes it? Do they grow rusty? +ROSENCRANTZ. +Nay, their endeavour keeps in the wonted pace; but there is, sir, an aerie of children, little eyases, that cry out on the top of question, and are most tyrannically clapped for’t. These are now the fashion, and so berattle the common stages—so they call them—that many wearing rapiers are afraid of goose-quills and dare scarce come thither. + +HAMLET. +What, are they children? Who maintains ’em? How are they escoted? Will they pursue the quality no longer than they can sing? Will they not say afterwards, if they should grow themselves to common players—as it is most like, if their means are no better—their writers do them wrong to make them exclaim against their own succession? + +ROSENCRANTZ. +Faith, there has been much to do on both sides; and the nation holds it no sin to tarre them to controversy. There was for a while, no money bid for argument unless the poet and the player went to cuffs in the question. + +HAMLET. +Is’t possible? +GUILDENSTERN. +O, there has been much throwing about of brains. +HAMLET. +Do the boys carry it away? +ROSENCRANTZ. +Ay, that they do, my lord. Hercules and his load too. +HAMLET. +It is not very strange; for my uncle is King of Denmark, and those that would make mouths at him while my father lived, give twenty, forty, fifty, a hundred ducats apiece for his picture in little. ’Sblood, there is something in this more than natural, if philosophy could find it out. + +[Flourish of trumpets within.] + +GUILDENSTERN. +There are the players. +HAMLET. +Gentlemen, you are welcome to Elsinore. Your hands, come. The appurtenance of welcome is fashion and ceremony. Let me comply with you in this garb, lest my extent to the players, which I tell you must show fairly outward, should more appear like entertainment than yours. You are welcome. But my uncle-father and aunt-mother are deceived. + +GUILDENSTERN. +In what, my dear lord? +HAMLET. +I am but mad north-north-west. When the wind is southerly, I know a hawk from a handsaw. + +Enter Polonius. + +POLONIUS. +Well be with you, gentlemen. +HAMLET. +Hark you, Guildenstern, and you too, at each ear a hearer. That great baby you see there is not yet out of his swaddling clouts. + +ROSENCRANTZ. +Happily he’s the second time come to them; for they say an old man is twice a child. + +HAMLET. +I will prophesy he comes to tell me of the players. Mark it.—You say right, sir: for a Monday morning ’twas so indeed. + +POLONIUS. +My lord, I have news to tell you. +HAMLET. +My lord, I have news to tell you. When Roscius was an actor in Rome— +POLONIUS. +The actors are come hither, my lord. +HAMLET. +Buzz, buzz. +POLONIUS. +Upon my honour. +HAMLET. +Then came each actor on his ass— +POLONIUS. +The best actors in the world, either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragical-comical-historical-pastoral, scene individable, or poem unlimited. Seneca cannot be too heavy, nor Plautus too light, for the law of writ and the liberty. These are the only men. + +HAMLET. +O Jephthah, judge of Israel, what a treasure hadst thou! +POLONIUS. +What treasure had he, my lord? +HAMLET. +Why— + ’One fair daughter, and no more, + The which he loved passing well.’ +POLONIUS. +[Aside.] Still on my daughter. +HAMLET. +Am I not i’ th’ right, old Jephthah? +POLONIUS. +If you call me Jephthah, my lord, I have a daughter that I love passing well. + +HAMLET. +Nay, that follows not. +POLONIUS. +What follows then, my lord? +HAMLET. +Why, + As by lot, God wot, +and then, you know, + It came to pass, as most like it was. +The first row of the pious chanson will show you more. For look where my abridgement comes. + +Enter four or five Players. + +You are welcome, masters, welcome all. I am glad to see thee well. Welcome, good friends. O, my old friend! Thy face is valanc’d since I saw thee last. Com’st thou to beard me in Denmark? What, my young lady and mistress! By’r lady, your ladyship is nearer to heaven than when I saw you last, by the altitude of a chopine. Pray God your voice, like a piece of uncurrent gold, be not cracked within the ring. Masters, you are all welcome. We’ll e’en to’t like French falconers, fly at anything we see. We’ll have a speech straight. Come, give us a taste of your quality. Come, a passionate speech. + +FIRST PLAYER. +What speech, my lord? +HAMLET. +I heard thee speak me a speech once, but it was never acted, or if it was, not above once, for the play, I remember, pleased not the million, ’twas caviare to the general. But it was—as I received it, and others, whose judgments in such matters cried in the top of mine—an excellent play, well digested in the scenes, set down with as much modesty as cunning. I remember one said there were no sallets in the lines to make the matter savoury, nor no matter in the phrase that might indite the author of affectation, but called it an honest method, as wholesome as sweet, and by very much more handsome than fine. One speech in it, I chiefly loved. ’Twas Aeneas’ tale to Dido, and thereabout of it especially where he speaks of Priam’s slaughter. If it live in your memory, begin at this line, let me see, let me see: + The rugged Pyrrhus, like th’ Hyrcanian beast,— +It is not so: it begins with Pyrrhus— + The rugged Pyrrhus, he whose sable arms, + Black as his purpose, did the night resemble + When he lay couched in the ominous horse, + Hath now this dread and black complexion smear’d + With heraldry more dismal. Head to foot + Now is he total gules, horridly trick’d + With blood of fathers, mothers, daughters, sons, + Bak’d and impasted with the parching streets, + That lend a tyrannous and a damned light + To their vile murders. Roasted in wrath and fire, + And thus o’ersized with coagulate gore, + With eyes like carbuncles, the hellish Pyrrhus + Old grandsire Priam seeks. +So, proceed you. + +POLONIUS. +’Fore God, my lord, well spoken, with good accent and good discretion. + +FIRST PLAYER. + Anon he finds him, + Striking too short at Greeks. His antique sword, + Rebellious to his arm, lies where it falls, + Repugnant to command. Unequal match’d, + Pyrrhus at Priam drives, in rage strikes wide; + But with the whiff and wind of his fell sword + Th’unnerved father falls. Then senseless Ilium, + Seeming to feel this blow, with flaming top + Stoops to his base, and with a hideous crash + Takes prisoner Pyrrhus’ ear. For lo, his sword, + Which was declining on the milky head + Of reverend Priam, seem’d i’ th’air to stick. + So, as a painted tyrant, Pyrrhus stood, + And like a neutral to his will and matter, + Did nothing. + But as we often see against some storm, + A silence in the heavens, the rack stand still, + The bold winds speechless, and the orb below + As hush as death, anon the dreadful thunder + Doth rend the region; so after Pyrrhus’ pause, + Aroused vengeance sets him new a-work, + And never did the Cyclops’ hammers fall + On Mars’s armour, forg’d for proof eterne, + With less remorse than Pyrrhus’ bleeding sword + Now falls on Priam. + Out, out, thou strumpet Fortune! All you gods, + In general synod, take away her power; + Break all the spokes and fellies from her wheel, + And bowl the round nave down the hill of heaven, + As low as to the fiends. +POLONIUS. +This is too long. +HAMLET. +It shall to the barber’s, with your beard.—Prythee say on. +He’s for a jig or a tale of bawdry, or he sleeps. +Say on; come to Hecuba. +FIRST PLAYER. + But who, O who, had seen the mobled queen,— +HAMLET. +‘The mobled queen’? +POLONIUS. +That’s good! ‘Mobled queen’ is good. +FIRST PLAYER. + Run barefoot up and down, threat’ning the flames + With bisson rheum. A clout upon that head + Where late the diadem stood, and for a robe, + About her lank and all o’erteemed loins, + A blanket, in th’alarm of fear caught up— + Who this had seen, with tongue in venom steep’d, + ’Gainst Fortune’s state would treason have pronounc’d. + But if the gods themselves did see her then, + When she saw Pyrrhus make malicious sport + In mincing with his sword her husband’s limbs, + The instant burst of clamour that she made,— + Unless things mortal move them not at all,— + Would have made milch the burning eyes of heaven, + And passion in the gods. +POLONIUS. +Look, where he has not turn’d his colour, and has tears in’s eyes. Pray you, no more. + +HAMLET. +’Tis well. I’ll have thee speak out the rest of this soon.—Good my lord, will you see the players well bestowed? Do you hear, let them be well used; for they are the abstracts and brief chronicles of the time. After your death you were better have a bad epitaph than their ill report while you live. + +POLONIUS. +My lord, I will use them according to their desert. +HAMLET. +God’s bodikin, man, better. Use every man after his desert, and who should scape whipping? Use them after your own honour and dignity. The less they deserve, the more merit is in your bounty. Take them in. + +POLONIUS. +Come, sirs. +HAMLET. +Follow him, friends. We’ll hear a play tomorrow. +[Exeunt Polonius with all the Players but the First.] + +Dost thou hear me, old friend? Can you play The Murder of Gonzago? +FIRST PLAYER. +Ay, my lord. +HAMLET. +We’ll ha’t tomorrow night. You could for a need study a speech of some dozen or sixteen lines, which I would set down and insert in’t, could you not? + +FIRST PLAYER. +Ay, my lord. +HAMLET. +Very well. Follow that lord, and look you mock him not. +[Exit First Player.] + +[To Rosencrantz and Guildenstern] My good friends, I’ll leave you till night. You are welcome to Elsinore. + +ROSENCRANTZ. +Good my lord. +[Exeunt Rosencrantz and Guildenstern.] + +HAMLET. +Ay, so, God b’ wi’ ye. Now I am alone. +O what a rogue and peasant slave am I! +Is it not monstrous that this player here, +But in a fiction, in a dream of passion, +Could force his soul so to his own conceit +That from her working all his visage wan’d; +Tears in his eyes, distraction in’s aspect, +A broken voice, and his whole function suiting +With forms to his conceit? And all for nothing! +For Hecuba? +What’s Hecuba to him, or he to Hecuba, +That he should weep for her? What would he do, +Had he the motive and the cue for passion +That I have? He would drown the stage with tears +And cleave the general ear with horrid speech; +Make mad the guilty, and appal the free, +Confound the ignorant, and amaze indeed, +The very faculties of eyes and ears. Yet I, +A dull and muddy-mettled rascal, peak +Like John-a-dreams, unpregnant of my cause, +And can say nothing. No, not for a king +Upon whose property and most dear life +A damn’d defeat was made. Am I a coward? +Who calls me villain, breaks my pate across? +Plucks off my beard and blows it in my face? +Tweaks me by the nose, gives me the lie i’ th’ throat +As deep as to the lungs? Who does me this? +Ha! ’Swounds, I should take it: for it cannot be +But I am pigeon-liver’d, and lack gall +To make oppression bitter, or ere this +I should have fatted all the region kites +With this slave’s offal. Bloody, bawdy villain! +Remorseless, treacherous, lecherous, kindless villain! +Oh vengeance! +Why, what an ass am I! This is most brave, +That I, the son of a dear father murder’d, +Prompted to my revenge by heaven and hell, +Must, like a whore, unpack my heart with words +And fall a-cursing like a very drab, +A scullion! Fie upon’t! Foh! +About, my brain! I have heard +That guilty creatures sitting at a play, +Have by the very cunning of the scene, +Been struck so to the soul that presently +They have proclaim’d their malefactions. +For murder, though it have no tongue, will speak +With most miraculous organ. I’ll have these players +Play something like the murder of my father +Before mine uncle. I’ll observe his looks; +I’ll tent him to the quick. If he but blench, +I know my course. The spirit that I have seen +May be the devil, and the devil hath power +T’assume a pleasing shape, yea, and perhaps +Out of my weakness and my melancholy, +As he is very potent with such spirits, +Abuses me to damn me. I’ll have grounds +More relative than this. The play’s the thing +Wherein I’ll catch the conscience of the King. +[Exit.] + +ACT III +SCENE I. A room in the Castle. +Enter King, Queen, Polonius, Ophelia, Rosencrantz and Guildenstern. + +KING. +And can you by no drift of circumstance +Get from him why he puts on this confusion, +Grating so harshly all his days of quiet +With turbulent and dangerous lunacy? +ROSENCRANTZ. +He does confess he feels himself distracted, +But from what cause he will by no means speak. +GUILDENSTERN. +Nor do we find him forward to be sounded, +But with a crafty madness keeps aloof +When we would bring him on to some confession +Of his true state. +QUEEN. +Did he receive you well? +ROSENCRANTZ. +Most like a gentleman. +GUILDENSTERN. +But with much forcing of his disposition. +ROSENCRANTZ. +Niggard of question, but of our demands, +Most free in his reply. +QUEEN. +Did you assay him to any pastime? +ROSENCRANTZ. +Madam, it so fell out that certain players +We o’er-raught on the way. Of these we told him, +And there did seem in him a kind of joy +To hear of it. They are about the court, +And, as I think, they have already order +This night to play before him. +POLONIUS. +’Tis most true; +And he beseech’d me to entreat your Majesties +To hear and see the matter. +KING. +With all my heart; and it doth much content me +To hear him so inclin’d. +Good gentlemen, give him a further edge, +And drive his purpose on to these delights. +ROSENCRANTZ. +We shall, my lord. +[Exeunt Rosencrantz and Guildenstern.] + +KING. +Sweet Gertrude, leave us too, +For we have closely sent for Hamlet hither, +That he, as ’twere by accident, may here +Affront Ophelia. +Her father and myself, lawful espials, +Will so bestow ourselves that, seeing unseen, +We may of their encounter frankly judge, +And gather by him, as he is behav’d, +If’t be th’affliction of his love or no +That thus he suffers for. +QUEEN. +I shall obey you. +And for your part, Ophelia, I do wish +That your good beauties be the happy cause +Of Hamlet’s wildness: so shall I hope your virtues +Will bring him to his wonted way again, +To both your honours. +OPHELIA. +Madam, I wish it may. +[Exit Queen.] + +POLONIUS. +Ophelia, walk you here.—Gracious, so please you, +We will bestow ourselves.—[To Ophelia.] Read on this book, +That show of such an exercise may colour +Your loneliness.—We are oft to blame in this, +’Tis too much prov’d, that with devotion’s visage +And pious action we do sugar o’er +The devil himself. +KING. +[Aside.] O ’tis too true! +How smart a lash that speech doth give my conscience! +The harlot’s cheek, beautied with plastering art, +Is not more ugly to the thing that helps it +Than is my deed to my most painted word. +O heavy burden! +POLONIUS. +I hear him coming. Let’s withdraw, my lord. +[Exeunt King and Polonius.] + +Enter Hamlet. + +HAMLET. +To be, or not to be, that is the question: +Whether ’tis nobler in the mind to suffer +The slings and arrows of outrageous fortune, +Or to take arms against a sea of troubles, +And by opposing end them? To die—to sleep, +No more; and by a sleep to say we end +The heart-ache, and the thousand natural shocks +That flesh is heir to: ’tis a consummation +Devoutly to be wish’d. To die, to sleep. +To sleep, perchance to dream—ay, there’s the rub, +For in that sleep of death what dreams may come, +When we have shuffled off this mortal coil, +Must give us pause. There’s the respect +That makes calamity of so long life. +For who would bear the whips and scorns of time, +The oppressor’s wrong, the proud man’s contumely, +The pangs of dispriz’d love, the law’s delay, +The insolence of office, and the spurns +That patient merit of the unworthy takes, +When he himself might his quietus make +With a bare bodkin? Who would these fardels bear, +To grunt and sweat under a weary life, +But that the dread of something after death, +The undiscover’d country, from whose bourn +No traveller returns, puzzles the will, +And makes us rather bear those ills we have +Than fly to others that we know not of? +Thus conscience does make cowards of us all, +And thus the native hue of resolution +Is sicklied o’er with the pale cast of thought, +And enterprises of great pith and moment, +With this regard their currents turn awry +And lose the name of action. Soft you now, +The fair Ophelia! Nymph, in thy orisons +Be all my sins remember’d. +OPHELIA. +Good my lord, +How does your honour for this many a day? +HAMLET. +I humbly thank you; well, well, well. +OPHELIA. +My lord, I have remembrances of yours +That I have longed long to re-deliver. +I pray you, now receive them. +HAMLET. +No, not I. +I never gave you aught. +OPHELIA. +My honour’d lord, you know right well you did, +And with them words of so sweet breath compos’d +As made the things more rich; their perfume lost, +Take these again; for to the noble mind +Rich gifts wax poor when givers prove unkind. +There, my lord. +HAMLET. +Ha, ha! Are you honest? +OPHELIA. +My lord? +HAMLET. +Are you fair? +OPHELIA. +What means your lordship? +HAMLET. +That if you be honest and fair, your honesty should admit no discourse to your beauty. + +OPHELIA. +Could beauty, my lord, have better commerce than with honesty? +HAMLET. +Ay, truly; for the power of beauty will sooner transform honesty from what it is to a bawd than the force of honesty can translate beauty into his likeness. This was sometime a paradox, but now the time gives it proof. I did love you once. + +OPHELIA. +Indeed, my lord, you made me believe so. +HAMLET. +You should not have believed me; for virtue cannot so inoculate our old stock but we shall relish of it. I loved you not. + +OPHELIA. +I was the more deceived. +HAMLET. +Get thee to a nunnery. Why wouldst thou be a breeder of sinners? I am myself indifferent honest; but yet I could accuse me of such things that it were better my mother had not borne me. I am very proud, revengeful, ambitious, with more offences at my beck than I have thoughts to put them in, imagination to give them shape, or time to act them in. What should such fellows as I do crawling between earth and heaven? We are arrant knaves all, believe none of us. Go thy ways to a nunnery. Where’s your father? + +OPHELIA. +At home, my lord. +HAMLET. +Let the doors be shut upon him, that he may play the fool nowhere but in’s own house. Farewell. + +OPHELIA. +O help him, you sweet heavens! +HAMLET. +If thou dost marry, I’ll give thee this plague for thy dowry. Be thou as chaste as ice, as pure as snow, thou shalt not escape calumny. Get thee to a nunnery, go: farewell. Or if thou wilt needs marry, marry a fool; for wise men know well enough what monsters you make of them. To a nunnery, go; and quickly too. Farewell. + +OPHELIA. +O heavenly powers, restore him! +HAMLET. +I have heard of your paintings too, well enough. God hath given you one face, and you make yourselves another. You jig, you amble, and you lisp, and nickname God’s creatures, and make your wantonness your ignorance. Go to, I’ll no more on’t, it hath made me mad. I say, we will have no more marriages. Those that are married already, all but one, shall live; the rest shall keep as they are. To a nunnery, go. + +[Exit.] + +OPHELIA. +O, what a noble mind is here o’erthrown! +The courtier’s, soldier’s, scholar’s, eye, tongue, sword, +Th’expectancy and rose of the fair state, +The glass of fashion and the mould of form, +Th’observ’d of all observers, quite, quite down! +And I, of ladies most deject and wretched, +That suck’d the honey of his music vows, +Now see that noble and most sovereign reason, +Like sweet bells jangled out of tune and harsh, +That unmatch’d form and feature of blown youth +Blasted with ecstasy. O woe is me, +T’have seen what I have seen, see what I see. +Enter King and Polonius. + +KING. +Love? His affections do not that way tend, +Nor what he spake, though it lack’d form a little, +Was not like madness. There’s something in his soul +O’er which his melancholy sits on brood, +And I do doubt the hatch and the disclose +Will be some danger, which for to prevent, +I have in quick determination +Thus set it down: he shall with speed to England +For the demand of our neglected tribute: +Haply the seas and countries different, +With variable objects, shall expel +This something settled matter in his heart, +Whereon his brains still beating puts him thus +From fashion of himself. What think you on’t? +POLONIUS. +It shall do well. But yet do I believe +The origin and commencement of his grief +Sprung from neglected love. How now, Ophelia? +You need not tell us what Lord Hamlet said, +We heard it all. My lord, do as you please, +But if you hold it fit, after the play, +Let his queen mother all alone entreat him +To show his grief, let her be round with him, +And I’ll be plac’d, so please you, in the ear +Of all their conference. If she find him not, +To England send him; or confine him where +Your wisdom best shall think. +KING. +It shall be so. +Madness in great ones must not unwatch’d go. +[Exeunt.] + +SCENE II. A hall in the Castle. +Enter Hamlet and certain Players. + +HAMLET. +Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue. But if you mouth it, as many of your players do, I had as lief the town-crier spoke my lines. Nor do not saw the air too much with your hand, thus, but use all gently; for in the very torrent, tempest, and, as I may say, whirlwind of passion, you must acquire and beget a temperance that may give it smoothness. O, it offends me to the soul to hear a robustious periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings, who, for the most part, are capable of nothing but inexplicable dumb shows and noise. I would have such a fellow whipped for o’erdoing Termagant. It out-Herods Herod. Pray you avoid it. + +FIRST PLAYER. +I warrant your honour. +HAMLET. +Be not too tame neither; but let your own discretion be your tutor. Suit the action to the word, the word to the action, with this special observance, that you o’erstep not the modesty of nature; for anything so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold as ’twere the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure. Now, this overdone, or come tardy off, though it make the unskilful laugh, cannot but make the judicious grieve; the censure of the which one must in your allowance o’erweigh a whole theatre of others. O, there be players that I have seen play—and heard others praise, and that highly—not to speak it profanely, that, neither having the accent of Christians, nor the gait of Christian, pagan, nor man, have so strutted and bellowed that I have thought some of Nature’s journeymen had made men, and not made them well, they imitated humanity so abominably. + +FIRST PLAYER. +I hope we have reform’d that indifferently with us, sir. +HAMLET. +O reform it altogether. And let those that play your clowns speak no more than is set down for them. For there be of them that will themselves laugh, to set on some quantity of barren spectators to laugh too, though in the meantime some necessary question of the play be then to be considered. That’s villainous, and shows a most pitiful ambition in the fool that uses it. Go make you ready. + +[Exeunt Players.] + +Enter Polonius, Rosencrantz and Guildenstern. + +How now, my lord? +Will the King hear this piece of work? + +POLONIUS. +And the Queen too, and that presently. +HAMLET. +Bid the players make haste. +[Exit Polonius.] + +Will you two help to hasten them? + +ROSENCRANTZ and GUILDENSTERN. +We will, my lord. +[Exeunt Rosencrantz and Guildenstern.] + +HAMLET. +What ho, Horatio! +Enter Horatio. + +HORATIO. +Here, sweet lord, at your service. +HAMLET. +Horatio, thou art e’en as just a man +As e’er my conversation cop’d withal. +HORATIO. +O my dear lord. +HAMLET. +Nay, do not think I flatter; +For what advancement may I hope from thee, +That no revenue hast, but thy good spirits +To feed and clothe thee? Why should the poor be flatter’d? +No, let the candied tongue lick absurd pomp, +And crook the pregnant hinges of the knee +Where thrift may follow fawning. Dost thou hear? +Since my dear soul was mistress of her choice, +And could of men distinguish, her election +Hath seal’d thee for herself. For thou hast been +As one, in suffering all, that suffers nothing, +A man that Fortune’s buffets and rewards +Hast ta’en with equal thanks. And bles’d are those +Whose blood and judgment are so well co-mingled +That they are not a pipe for Fortune’s finger +To sound what stop she please. Give me that man +That is not passion’s slave, and I will wear him +In my heart’s core, ay, in my heart of heart, +As I do thee. Something too much of this. +There is a play tonight before the King. +One scene of it comes near the circumstance +Which I have told thee, of my father’s death. +I prythee, when thou see’st that act a-foot, +Even with the very comment of thy soul +Observe mine uncle. If his occulted guilt +Do not itself unkennel in one speech, +It is a damned ghost that we have seen; +And my imaginations are as foul +As Vulcan’s stithy. Give him heedful note; +For I mine eyes will rivet to his face; +And after we will both our judgments join +In censure of his seeming. +HORATIO. +Well, my lord. +If he steal aught the whilst this play is playing, +And scape detecting, I will pay the theft. +HAMLET. +They are coming to the play. I must be idle. +Get you a place. +Danish march. A flourish. Enter King, Queen, Polonius, Ophelia, Rosencrantz, Guildenstern and others. + +KING. +How fares our cousin Hamlet? +HAMLET. +Excellent, i’ faith; of the chameleon’s dish: I eat the air, promise-crammed: you cannot feed capons so. + +KING. +I have nothing with this answer, Hamlet; these words are not mine. + +HAMLET. +No, nor mine now. [To Polonius.] My lord, you play’d once i’ th’university, you say? + +POLONIUS. +That did I, my lord, and was accounted a good actor. +HAMLET. +What did you enact? +POLONIUS. +I did enact Julius Caesar. I was kill’d i’ th’ Capitol. Brutus killed me. + +HAMLET. +It was a brute part of him to kill so capital a calf there. Be the players ready? + +ROSENCRANTZ. +Ay, my lord; they stay upon your patience. +QUEEN. +Come hither, my dear Hamlet, sit by me. +HAMLET. +No, good mother, here’s metal more attractive. +POLONIUS. +[To the King.] O ho! do you mark that? +HAMLET. +Lady, shall I lie in your lap? +[Lying down at Ophelia’s feet.] + +OPHELIA. +No, my lord. +HAMLET. +I mean, my head upon your lap? +OPHELIA. +Ay, my lord. +HAMLET. +Do you think I meant country matters? +OPHELIA. +I think nothing, my lord. +HAMLET. +That’s a fair thought to lie between maids’ legs. +OPHELIA. +What is, my lord? +HAMLET. +Nothing. +OPHELIA. +You are merry, my lord. +HAMLET. +Who, I? +OPHELIA. +Ay, my lord. +HAMLET. +O God, your only jig-maker! What should a man do but be merry? For look you how cheerfully my mother looks, and my father died within’s two hours. + +OPHELIA. +Nay, ’tis twice two months, my lord. +HAMLET. +So long? Nay then, let the devil wear black, for I’ll have a suit of sables. O heavens! die two months ago, and not forgotten yet? Then there’s hope a great man’s memory may outlive his life half a year. But by’r lady, he must build churches then; or else shall he suffer not thinking on, with the hobby-horse, whose epitaph is ‘For, O, for O, the hobby-horse is forgot!’ + +Trumpets sound. The dumb show enters. + +Enter a King and a Queen very lovingly; the Queen embracing him and he her. She kneels, and makes show of protestation unto him. He takes her up, and declines his head upon her neck. Lays him down upon a bank of flowers. She, seeing him asleep, leaves him. Anon comes in a fellow, takes off his crown, kisses it, pours poison in the King’s ears, and exits. The Queen returns, finds the King dead, and makes passionate action. The Poisoner with some three or four Mutes, comes in again, seeming to lament with her. The dead body is carried away. The Poisoner woos the Queen with gifts. She seems loth and unwilling awhile, but in the end accepts his love. + +[Exeunt.] + +OPHELIA. +What means this, my lord? +HAMLET. +Marry, this is miching mallicho; it means mischief. +OPHELIA. +Belike this show imports the argument of the play. +Enter Prologue. + +HAMLET. +We shall know by this fellow: the players cannot keep counsel; they’ll tell all. + +OPHELIA. +Will they tell us what this show meant? +HAMLET. +Ay, or any show that you’ll show him. Be not you ashamed to show, he’ll not shame to tell you what it means. + +OPHELIA. +You are naught, you are naught: I’ll mark the play. +PROLOGUE. + For us, and for our tragedy, + Here stooping to your clemency, + We beg your hearing patiently. +HAMLET. +Is this a prologue, or the posy of a ring? +OPHELIA. +’Tis brief, my lord. +HAMLET. +As woman’s love. +Enter a King and a Queen. + +PLAYER KING. +Full thirty times hath Phoebus’ cart gone round +Neptune’s salt wash and Tellus’ orbed ground, +And thirty dozen moons with borrow’d sheen +About the world have times twelve thirties been, +Since love our hearts, and Hymen did our hands +Unite commutual in most sacred bands. +PLAYER QUEEN. +So many journeys may the sun and moon +Make us again count o’er ere love be done. +But, woe is me, you are so sick of late, +So far from cheer and from your former state, +That I distrust you. Yet, though I distrust, +Discomfort you, my lord, it nothing must: +For women’s fear and love holds quantity, +In neither aught, or in extremity. +Now what my love is, proof hath made you know, +And as my love is siz’d, my fear is so. +Where love is great, the littlest doubts are fear; +Where little fears grow great, great love grows there. +PLAYER KING. +Faith, I must leave thee, love, and shortly too: +My operant powers their functions leave to do: +And thou shalt live in this fair world behind, +Honour’d, belov’d, and haply one as kind +For husband shalt thou— +PLAYER QUEEN. +O confound the rest. +Such love must needs be treason in my breast. +In second husband let me be accurst! +None wed the second but who kill’d the first. +HAMLET. +[Aside.] Wormwood, wormwood. +PLAYER QUEEN. +The instances that second marriage move +Are base respects of thrift, but none of love. +A second time I kill my husband dead, +When second husband kisses me in bed. +PLAYER KING. +I do believe you think what now you speak; +But what we do determine, oft we break. +Purpose is but the slave to memory, +Of violent birth, but poor validity: +Which now, like fruit unripe, sticks on the tree, +But fall unshaken when they mellow be. +Most necessary ’tis that we forget +To pay ourselves what to ourselves is debt. +What to ourselves in passion we propose, +The passion ending, doth the purpose lose. +The violence of either grief or joy +Their own enactures with themselves destroy. +Where joy most revels, grief doth most lament; +Grief joys, joy grieves, on slender accident. +This world is not for aye; nor ’tis not strange +That even our loves should with our fortunes change, +For ’tis a question left us yet to prove, +Whether love lead fortune, or else fortune love. +The great man down, you mark his favourite flies, +The poor advanc’d makes friends of enemies; +And hitherto doth love on fortune tend: +For who not needs shall never lack a friend, +And who in want a hollow friend doth try, +Directly seasons him his enemy. +But orderly to end where I begun, +Our wills and fates do so contrary run +That our devices still are overthrown. +Our thoughts are ours, their ends none of our own. +So think thou wilt no second husband wed, +But die thy thoughts when thy first lord is dead. +PLAYER QUEEN. +Nor earth to me give food, nor heaven light, +Sport and repose lock from me day and night, +To desperation turn my trust and hope, +An anchor’s cheer in prison be my scope, +Each opposite that blanks the face of joy, +Meet what I would have well, and it destroy! +Both here and hence pursue me lasting strife, +If, once a widow, ever I be wife. +HAMLET. +[To Ophelia.] If she should break it now. +PLAYER KING. +’Tis deeply sworn. Sweet, leave me here awhile. +My spirits grow dull, and fain I would beguile +The tedious day with sleep. +[Sleeps.] +PLAYER QUEEN. +Sleep rock thy brain, +And never come mischance between us twain. +[Exit.] + +HAMLET. +Madam, how like you this play? +QUEEN. +The lady protests too much, methinks. +HAMLET. +O, but she’ll keep her word. +KING. +Have you heard the argument? Is there no offence in’t? +HAMLET. +No, no, they do but jest, poison in jest; no offence i’ th’ world. + +KING. +What do you call the play? +HAMLET. +The Mousetrap. Marry, how? Tropically. This play is the image of a murder done in Vienna. Gonzago is the Duke’s name, his wife Baptista: you shall see anon; ’tis a knavish piece of work: but what o’ that? Your majesty, and we that have free souls, it touches us not. Let the gall’d jade wince; our withers are unwrung. + +Enter Lucianus. + +This is one Lucianus, nephew to the King. + +OPHELIA. +You are a good chorus, my lord. +HAMLET. +I could interpret between you and your love, if I could see the puppets dallying. + +OPHELIA. +You are keen, my lord, you are keen. +HAMLET. +It would cost you a groaning to take off my edge. +OPHELIA. +Still better, and worse. +HAMLET. +So you mistake your husbands.—Begin, murderer. Pox, leave thy damnable faces, and begin. Come, the croaking raven doth bellow for revenge. + +LUCIANUS. +Thoughts black, hands apt, drugs fit, and time agreeing, +Confederate season, else no creature seeing; +Thou mixture rank, of midnight weeds collected, +With Hecate’s ban thrice blasted, thrice infected, +Thy natural magic and dire property +On wholesome life usurp immediately. +[Pours the poison into the sleeper’s ears.] + +HAMLET. +He poisons him i’ th’garden for’s estate. His name’s Gonzago. The story is extant, and written in very choice Italian. You shall see anon how the murderer gets the love of Gonzago’s wife. + +OPHELIA. +The King rises. +HAMLET. +What, frighted with false fire? +QUEEN. +How fares my lord? +POLONIUS. +Give o’er the play. +KING. +Give me some light. Away. +All. +Lights, lights, lights. +[Exeunt all but Hamlet and Horatio.] + +HAMLET. + Why, let the strucken deer go weep, + The hart ungalled play; + For some must watch, while some must sleep, + So runs the world away. +Would not this, sir, and a forest of feathers, if the rest of my fortunes turn Turk with me; with two Provincial roses on my razed shoes, get me a fellowship in a cry of players, sir? + +HORATIO. +Half a share. +HAMLET. +A whole one, I. + For thou dost know, O Damon dear, + This realm dismantled was + Of Jove himself, and now reigns here + A very, very—pajock. +HORATIO. +You might have rhymed. +HAMLET. +O good Horatio, I’ll take the ghost’s word for a thousand pound. Didst perceive? + +HORATIO. +Very well, my lord. +HAMLET. +Upon the talk of the poisoning? +HORATIO. +I did very well note him. +HAMLET. +Ah, ha! Come, some music. Come, the recorders. + For if the king like not the comedy, + Why then, belike he likes it not, perdie. +Come, some music. +Enter Rosencrantz and Guildenstern. + +GUILDENSTERN. +Good my lord, vouchsafe me a word with you. +HAMLET. +Sir, a whole history. +GUILDENSTERN. +The King, sir— +HAMLET. +Ay, sir, what of him? +GUILDENSTERN. +Is in his retirement, marvellous distempered. +HAMLET. +With drink, sir? +GUILDENSTERN. +No, my lord; rather with choler. +HAMLET. +Your wisdom should show itself more richer to signify this to the doctor, for me to put him to his purgation would perhaps plunge him into far more choler. + +GUILDENSTERN. +Good my lord, put your discourse into some frame, and start not so wildly from my affair. + +HAMLET. +I am tame, sir, pronounce. +GUILDENSTERN. +The Queen your mother, in most great affliction of spirit, hath sent me to you. + +HAMLET. +You are welcome. +GUILDENSTERN. +Nay, good my lord, this courtesy is not of the right breed. If it shall please you to make me a wholesome answer, I will do your mother’s commandment; if not, your pardon and my return shall be the end of my business. + +HAMLET. +Sir, I cannot. +GUILDENSTERN. +What, my lord? +HAMLET. +Make you a wholesome answer. My wit’s diseased. But, sir, such answer as I can make, you shall command; or rather, as you say, my mother. Therefore no more, but to the matter. My mother, you say,— + +ROSENCRANTZ. +Then thus she says: your behaviour hath struck her into amazement and admiration. + +HAMLET. +O wonderful son, that can so stonish a mother! But is there no sequel at the heels of this mother’s admiration? + +ROSENCRANTZ. +She desires to speak with you in her closet ere you go to bed. +HAMLET. +We shall obey, were she ten times our mother. Have you any further trade with us? + +ROSENCRANTZ. +My lord, you once did love me. +HAMLET. +And so I do still, by these pickers and stealers. +ROSENCRANTZ. +Good my lord, what is your cause of distemper? You do surely bar the door upon your own liberty if you deny your griefs to your friend. + +HAMLET. +Sir, I lack advancement. +ROSENCRANTZ. +How can that be, when you have the voice of the King himself for your succession in Denmark? + +HAMLET. +Ay, sir, but while the grass grows—the proverb is something musty. + +Re-enter the Players with recorders. + +O, the recorders. Let me see one.—To withdraw with you, why do you go about to recover the wind of me, as if you would drive me into a toil? + +GUILDENSTERN. +O my lord, if my duty be too bold, my love is too unmannerly. +HAMLET. +I do not well understand that. Will you play upon this pipe? +GUILDENSTERN. +My lord, I cannot. +HAMLET. +I pray you. +GUILDENSTERN. +Believe me, I cannot. +HAMLET. +I do beseech you. +GUILDENSTERN. +I know no touch of it, my lord. +HAMLET. +’Tis as easy as lying: govern these ventages with your finger and thumb, give it breath with your mouth, and it will discourse most eloquent music. Look you, these are the stops. + +GUILDENSTERN. +But these cannot I command to any utterance of harmony. I have not the skill. + +HAMLET. +Why, look you now, how unworthy a thing you make of me! You would play upon me; you would seem to know my stops; you would pluck out the heart of my mystery; you would sound me from my lowest note to the top of my compass; and there is much music, excellent voice, in this little organ, yet cannot you make it speak. ’Sblood, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, you cannot play upon me. + +Enter Polonius. + +God bless you, sir. + +POLONIUS. +My lord, the Queen would speak with you, and presently. +HAMLET. +Do you see yonder cloud that’s almost in shape of a camel? +POLONIUS. +By the mass, and ’tis like a camel indeed. +HAMLET. +Methinks it is like a weasel. +POLONIUS. +It is backed like a weasel. +HAMLET. +Or like a whale. +POLONIUS. +Very like a whale. +HAMLET. +Then will I come to my mother by and by.—They fool me to the top of my bent.—I will come by and by. + +POLONIUS. +I will say so. +[Exit.] + +HAMLET. +By and by is easily said. Leave me, friends. + +[Exeunt all but Hamlet.] + +’Tis now the very witching time of night, +When churchyards yawn, and hell itself breathes out +Contagion to this world. Now could I drink hot blood, +And do such bitter business as the day +Would quake to look on. Soft now, to my mother. +O heart, lose not thy nature; let not ever +The soul of Nero enter this firm bosom: +Let me be cruel, not unnatural. +I will speak daggers to her, but use none; +My tongue and soul in this be hypocrites. +How in my words somever she be shent, +To give them seals never, my soul, consent. +[Exit.] + +SCENE III. A room in the Castle. +Enter King, Rosencrantz and Guildenstern. + +KING. +I like him not, nor stands it safe with us +To let his madness range. Therefore prepare you, +I your commission will forthwith dispatch, +And he to England shall along with you. +The terms of our estate may not endure +Hazard so near us as doth hourly grow +Out of his lunacies. +GUILDENSTERN. +We will ourselves provide. +Most holy and religious fear it is +To keep those many many bodies safe +That live and feed upon your Majesty. +ROSENCRANTZ. +The single and peculiar life is bound +With all the strength and armour of the mind, +To keep itself from ’noyance; but much more +That spirit upon whose weal depend and rest +The lives of many. The cease of majesty +Dies not alone; but like a gulf doth draw +What’s near it with it. It is a massy wheel +Fix’d on the summit of the highest mount, +To whose huge spokes ten thousand lesser things +Are mortis’d and adjoin’d; which when it falls, +Each small annexment, petty consequence, +Attends the boist’rous ruin. Never alone +Did the King sigh, but with a general groan. +KING. +Arm you, I pray you, to this speedy voyage; +For we will fetters put upon this fear, +Which now goes too free-footed. +ROSENCRANTZ and GUILDENSTERN. +We will haste us. +[Exeunt Rosencrantz and Guildenstern.] + +Enter Polonius. + +POLONIUS. +My lord, he’s going to his mother’s closet. +Behind the arras I’ll convey myself +To hear the process. I’ll warrant she’ll tax him home, +And as you said, and wisely was it said, +’Tis meet that some more audience than a mother, +Since nature makes them partial, should o’erhear +The speech of vantage. Fare you well, my liege, +I’ll call upon you ere you go to bed, +And tell you what I know. +KING. +Thanks, dear my lord. +[Exit Polonius.] + +O, my offence is rank, it smells to heaven; +It hath the primal eldest curse upon’t,— +A brother’s murder! Pray can I not, +Though inclination be as sharp as will: +My stronger guilt defeats my strong intent, +And, like a man to double business bound, +I stand in pause where I shall first begin, +And both neglect. What if this cursed hand +Were thicker than itself with brother’s blood, +Is there not rain enough in the sweet heavens +To wash it white as snow? Whereto serves mercy +But to confront the visage of offence? +And what’s in prayer but this twofold force, +To be forestalled ere we come to fall, +Or pardon’d being down? Then I’ll look up. +My fault is past. But O, what form of prayer +Can serve my turn? Forgive me my foul murder! +That cannot be; since I am still possess’d +Of those effects for which I did the murder,— +My crown, mine own ambition, and my queen. +May one be pardon’d and retain th’offence? +In the corrupted currents of this world +Offence’s gilded hand may shove by justice, +And oft ’tis seen the wicked prize itself +Buys out the law. But ’tis not so above; +There is no shuffling, there the action lies +In his true nature, and we ourselves compell’d +Even to the teeth and forehead of our faults, +To give in evidence. What then? What rests? +Try what repentance can. What can it not? +Yet what can it, when one cannot repent? +O wretched state! O bosom black as death! +O limed soul, that struggling to be free, +Art more engag’d! Help, angels! Make assay: +Bow, stubborn knees; and heart with strings of steel, +Be soft as sinews of the new-born babe. +All may be well. +[Retires and kneels.] + +Enter Hamlet. + +HAMLET. +Now might I do it pat, now he is praying. +And now I’ll do’t. And so he goes to heaven; +And so am I reveng’d. That would be scann’d: +A villain kills my father, and for that +I, his sole son, do this same villain send +To heaven. O, this is hire and salary, not revenge. +He took my father grossly, full of bread, +With all his crimes broad blown, as flush as May; +And how his audit stands, who knows save heaven? +But in our circumstance and course of thought, +’Tis heavy with him. And am I then reveng’d, +To take him in the purging of his soul, +When he is fit and season’d for his passage? No. +Up, sword, and know thou a more horrid hent: +When he is drunk asleep; or in his rage, +Or in th’incestuous pleasure of his bed, +At gaming, swearing; or about some act +That has no relish of salvation in’t, +Then trip him, that his heels may kick at heaven, +And that his soul may be as damn’d and black +As hell, whereto it goes. My mother stays. +This physic but prolongs thy sickly days. +[Exit.] + +The King rises and advances. + +KING. +My words fly up, my thoughts remain below. +Words without thoughts never to heaven go. +[Exit.] + +SCENE IV. Another room in the Castle. +Enter Queen and Polonius. + +POLONIUS. +He will come straight. Look you lay home to him, +Tell him his pranks have been too broad to bear with, +And that your Grace hath screen’d and stood between +Much heat and him. I’ll silence me e’en here. +Pray you be round with him. +HAMLET. +[Within.] Mother, mother, mother. +QUEEN. +I’ll warrant you, Fear me not. +Withdraw, I hear him coming. + +[Polonius goes behind the arras.] + +Enter Hamlet. + +HAMLET. +Now, mother, what’s the matter? +QUEEN. +Hamlet, thou hast thy father much offended. +HAMLET. +Mother, you have my father much offended. +QUEEN. +Come, come, you answer with an idle tongue. +HAMLET. +Go, go, you question with a wicked tongue. +QUEEN. +Why, how now, Hamlet? +HAMLET. +What’s the matter now? +QUEEN. +Have you forgot me? +HAMLET. +No, by the rood, not so. +You are the Queen, your husband’s brother’s wife, +And, would it were not so. You are my mother. +QUEEN. +Nay, then I’ll set those to you that can speak. +HAMLET. +Come, come, and sit you down, you shall not budge. +You go not till I set you up a glass +Where you may see the inmost part of you. +QUEEN. +What wilt thou do? Thou wilt not murder me? +Help, help, ho! +POLONIUS. +[Behind.] What, ho! help, help, help! +HAMLET. +How now? A rat? [Draws.] +Dead for a ducat, dead! +[Makes a pass through the arras.] + +POLONIUS. +[Behind.] O, I am slain! +[Falls and dies.] + +QUEEN. +O me, what hast thou done? +HAMLET. +Nay, I know not. Is it the King? +[Draws forth Polonius.] + +QUEEN. +O what a rash and bloody deed is this! +HAMLET. +A bloody deed. Almost as bad, good mother, +As kill a king and marry with his brother. +QUEEN. +As kill a king? +HAMLET. +Ay, lady, ’twas my word.— +[To Polonius.] Thou wretched, rash, intruding fool, farewell! +I took thee for thy better. Take thy fortune, +Thou find’st to be too busy is some danger.— +Leave wringing of your hands. Peace, sit you down, +And let me wring your heart, for so I shall, +If it be made of penetrable stuff; +If damned custom have not braz’d it so, +That it is proof and bulwark against sense. +QUEEN. +What have I done, that thou dar’st wag thy tongue +In noise so rude against me? +HAMLET. +Such an act +That blurs the grace and blush of modesty, +Calls virtue hypocrite, takes off the rose +From the fair forehead of an innocent love, +And sets a blister there. Makes marriage vows +As false as dicers’ oaths. O such a deed +As from the body of contraction plucks +The very soul, and sweet religion makes +A rhapsody of words. Heaven’s face doth glow, +Yea this solidity and compound mass, +With tristful visage, as against the doom, +Is thought-sick at the act. +QUEEN. +Ay me, what act, +That roars so loud, and thunders in the index? +HAMLET. +Look here upon this picture, and on this, +The counterfeit presentment of two brothers. +See what a grace was seated on this brow, +Hyperion’s curls, the front of Jove himself, +An eye like Mars, to threaten and command, +A station like the herald Mercury +New lighted on a heaven-kissing hill: +A combination and a form indeed, +Where every god did seem to set his seal, +To give the world assurance of a man. +This was your husband. Look you now what follows. +Here is your husband, like a mildew’d ear +Blasting his wholesome brother. Have you eyes? +Could you on this fair mountain leave to feed, +And batten on this moor? Ha! have you eyes? +You cannot call it love; for at your age +The hey-day in the blood is tame, it’s humble, +And waits upon the judgment: and what judgment +Would step from this to this? Sense sure you have, +Else could you not have motion; but sure that sense +Is apoplex’d, for madness would not err +Nor sense to ecstacy was ne’er so thrall’d +But it reserv’d some quantity of choice +To serve in such a difference. What devil was’t +That thus hath cozen’d you at hoodman-blind? +Eyes without feeling, feeling without sight, +Ears without hands or eyes, smelling sans all, +Or but a sickly part of one true sense +Could not so mope. O shame! where is thy blush? +Rebellious hell, +If thou canst mutine in a matron’s bones, +To flaming youth let virtue be as wax, +And melt in her own fire. Proclaim no shame +When the compulsive ardour gives the charge, +Since frost itself as actively doth burn, +And reason panders will. +QUEEN. +O Hamlet, speak no more. +Thou turn’st mine eyes into my very soul, +And there I see such black and grained spots +As will not leave their tinct. +HAMLET. +Nay, but to live +In the rank sweat of an enseamed bed, +Stew’d in corruption, honeying and making love +Over the nasty sty. +QUEEN. +O speak to me no more; +These words like daggers enter in mine ears; +No more, sweet Hamlet. +HAMLET. +A murderer and a villain; +A slave that is not twentieth part the tithe +Of your precedent lord. A vice of kings, +A cutpurse of the empire and the rule, +That from a shelf the precious diadem stole +And put it in his pocket! +QUEEN. +No more. +HAMLET. +A king of shreds and patches!— +Enter Ghost. + +Save me and hover o’er me with your wings, +You heavenly guards! What would your gracious figure? +QUEEN. +Alas, he’s mad. +HAMLET. +Do you not come your tardy son to chide, +That, laps’d in time and passion, lets go by +The important acting of your dread command? +O say! +GHOST. +Do not forget. This visitation +Is but to whet thy almost blunted purpose. +But look, amazement on thy mother sits. +O step between her and her fighting soul. +Conceit in weakest bodies strongest works. +Speak to her, Hamlet. +HAMLET. +How is it with you, lady? +QUEEN. +Alas, how is’t with you, +That you do bend your eye on vacancy, +And with the incorporal air do hold discourse? +Forth at your eyes your spirits wildly peep, +And, as the sleeping soldiers in the alarm, +Your bedded hairs, like life in excrements, +Start up and stand an end. O gentle son, +Upon the heat and flame of thy distemper +Sprinkle cool patience. Whereon do you look? +HAMLET. +On him, on him! Look you how pale he glares, +His form and cause conjoin’d, preaching to stones, +Would make them capable.—Do not look upon me, +Lest with this piteous action you convert +My stern effects. Then what I have to do +Will want true colour; tears perchance for blood. +QUEEN. +To whom do you speak this? +HAMLET. +Do you see nothing there? +QUEEN. +Nothing at all; yet all that is I see. +HAMLET. +Nor did you nothing hear? +QUEEN. +No, nothing but ourselves. +HAMLET. +Why, look you there! look how it steals away! +My father, in his habit as he liv’d! +Look where he goes even now out at the portal. +[Exit Ghost.] + +QUEEN. +This is the very coinage of your brain. +This bodiless creation ecstasy +Is very cunning in. +HAMLET. +Ecstasy! +My pulse as yours doth temperately keep time, +And makes as healthful music. It is not madness +That I have utter’d. Bring me to the test, +And I the matter will re-word; which madness +Would gambol from. Mother, for love of grace, +Lay not that flattering unction to your soul +That not your trespass, but my madness speaks. +It will but skin and film the ulcerous place, +Whilst rank corruption, mining all within, +Infects unseen. Confess yourself to heaven, +Repent what’s past, avoid what is to come; +And do not spread the compost on the weeds, +To make them ranker. Forgive me this my virtue; +For in the fatness of these pursy times +Virtue itself of vice must pardon beg, +Yea, curb and woo for leave to do him good. +QUEEN. +O Hamlet, thou hast cleft my heart in twain. +HAMLET. +O throw away the worser part of it, +And live the purer with the other half. +Good night. But go not to mine uncle’s bed. +Assume a virtue, if you have it not. +That monster custom, who all sense doth eat, +Of habits evil, is angel yet in this, +That to the use of actions fair and good +He likewise gives a frock or livery +That aptly is put on. Refrain tonight, +And that shall lend a kind of easiness +To the next abstinence. The next more easy; +For use almost can change the stamp of nature, +And either curb the devil, or throw him out +With wondrous potency. Once more, good night, +And when you are desirous to be bles’d, +I’ll blessing beg of you. For this same lord +[Pointing to Polonius.] +I do repent; but heaven hath pleas’d it so, +To punish me with this, and this with me, +That I must be their scourge and minister. +I will bestow him, and will answer well +The death I gave him. So again, good night. +I must be cruel, only to be kind: +Thus bad begins, and worse remains behind. +One word more, good lady. +QUEEN. +What shall I do? +HAMLET. +Not this, by no means, that I bid you do: +Let the bloat King tempt you again to bed, +Pinch wanton on your cheek, call you his mouse, +And let him, for a pair of reechy kisses, +Or paddling in your neck with his damn’d fingers, +Make you to ravel all this matter out, +That I essentially am not in madness, +But mad in craft. ’Twere good you let him know, +For who that’s but a queen, fair, sober, wise, +Would from a paddock, from a bat, a gib, +Such dear concernings hide? Who would do so? +No, in despite of sense and secrecy, +Unpeg the basket on the house’s top, +Let the birds fly, and like the famous ape, +To try conclusions, in the basket creep +And break your own neck down. +QUEEN. +Be thou assur’d, if words be made of breath, +And breath of life, I have no life to breathe +What thou hast said to me. +HAMLET. +I must to England, you know that? +QUEEN. +Alack, +I had forgot. ’Tis so concluded on. +HAMLET. +There’s letters seal’d: and my two schoolfellows, +Whom I will trust as I will adders fang’d,— +They bear the mandate, they must sweep my way +And marshal me to knavery. Let it work; +For ’tis the sport to have the enginer +Hoist with his own petard, and ’t shall go hard +But I will delve one yard below their mines +And blow them at the moon. O, ’tis most sweet, +When in one line two crafts directly meet. +This man shall set me packing. +I’ll lug the guts into the neighbour room. +Mother, good night. Indeed, this counsellor +Is now most still, most secret, and most grave, +Who was in life a foolish prating knave. +Come, sir, to draw toward an end with you. +Good night, mother. +[Exit Hamlet dragging out Polonius.] + +ACT IV +SCENE I. A room in the Castle. +Enter King, Queen, Rosencrantz and Guildenstern. + +KING. +There’s matter in these sighs. These profound heaves +You must translate; ’tis fit we understand them. +Where is your son? +QUEEN. +Bestow this place on us a little while. +[To Rosencrantz and Guildenstern, who go out.] + +Ah, my good lord, what have I seen tonight! + +KING. +What, Gertrude? How does Hamlet? +QUEEN. +Mad as the sea and wind, when both contend +Which is the mightier. In his lawless fit +Behind the arras hearing something stir, +Whips out his rapier, cries ‘A rat, a rat!’ +And in this brainish apprehension kills +The unseen good old man. +KING. +O heavy deed! +It had been so with us, had we been there. +His liberty is full of threats to all; +To you yourself, to us, to everyone. +Alas, how shall this bloody deed be answer’d? +It will be laid to us, whose providence +Should have kept short, restrain’d, and out of haunt +This mad young man. But so much was our love +We would not understand what was most fit, +But like the owner of a foul disease, +To keep it from divulging, let it feed +Even on the pith of life. Where is he gone? +QUEEN. +To draw apart the body he hath kill’d, +O’er whom his very madness, like some ore +Among a mineral of metals base, +Shows itself pure. He weeps for what is done. +KING. +O Gertrude, come away! +The sun no sooner shall the mountains touch +But we will ship him hence, and this vile deed +We must with all our majesty and skill +Both countenance and excuse.—Ho, Guildenstern! +Re-enter Rosencrantz and Guildenstern. + +Friends both, go join you with some further aid: +Hamlet in madness hath Polonius slain, +And from his mother’s closet hath he dragg’d him. +Go seek him out, speak fair, and bring the body +Into the chapel. I pray you haste in this. +[Exeunt Rosencrantz and Guildenstern.] + +Come, Gertrude, we’ll call up our wisest friends, +And let them know both what we mean to do +And what’s untimely done, so haply slander, +Whose whisper o’er the world’s diameter, +As level as the cannon to his blank, +Transports his poison’d shot, may miss our name, +And hit the woundless air. O, come away! +My soul is full of discord and dismay. +[Exeunt.] + +SCENE II. Another room in the Castle. +Enter Hamlet. + +HAMLET. +Safely stowed. +ROSENCRANTZ and GUILDENSTERN. +[Within.] Hamlet! Lord Hamlet! +HAMLET. +What noise? Who calls on Hamlet? O, here they come. +Enter Rosencrantz and Guildenstern. + +ROSENCRANTZ. +What have you done, my lord, with the dead body? +HAMLET. +Compounded it with dust, whereto ’tis kin. +ROSENCRANTZ. +Tell us where ’tis, that we may take it thence, +And bear it to the chapel. +HAMLET. +Do not believe it. +ROSENCRANTZ. +Believe what? +HAMLET. +That I can keep your counsel, and not mine own. Besides, to be demanded of a sponge—what replication should be made by the son of a king? + +ROSENCRANTZ. +Take you me for a sponge, my lord? +HAMLET. +Ay, sir; that soaks up the King’s countenance, his rewards, his authorities. But such officers do the King best service in the end: he keeps them, like an ape, in the corner of his jaw; first mouthed, to be last swallowed: when he needs what you have gleaned, it is but squeezing you, and, sponge, you shall be dry again. + +ROSENCRANTZ. +I understand you not, my lord. +HAMLET. +I am glad of it. A knavish speech sleeps in a foolish ear. +ROSENCRANTZ. +My lord, you must tell us where the body is and go with us to the King. + +HAMLET. +The body is with the King, but the King is not with the body. The King is a thing— + +GUILDENSTERN. +A thing, my lord! +HAMLET. +Of nothing. Bring me to him. Hide fox, and all after. +[Exeunt.] + +SCENE III. Another room in the Castle. +Enter King, attended. + +KING. +I have sent to seek him and to find the body. +How dangerous is it that this man goes loose! +Yet must not we put the strong law on him: +He’s lov’d of the distracted multitude, +Who like not in their judgment, but their eyes; +And where ’tis so, th’offender’s scourge is weigh’d, +But never the offence. To bear all smooth and even, +This sudden sending him away must seem +Deliberate pause. Diseases desperate grown +By desperate appliance are reliev’d, +Or not at all. +Enter Rosencrantz. + +How now? What hath befall’n? + +ROSENCRANTZ. +Where the dead body is bestow’d, my lord, +We cannot get from him. +KING. +But where is he? +ROSENCRANTZ. +Without, my lord, guarded, to know your pleasure. +KING. +Bring him before us. +ROSENCRANTZ. +Ho, Guildenstern! Bring in my lord. +Enter Hamlet and Guildenstern. + +KING. +Now, Hamlet, where’s Polonius? +HAMLET. +At supper. +KING. +At supper? Where? +HAMLET. +Not where he eats, but where he is eaten. A certain convocation of politic worms are e’en at him. Your worm is your only emperor for diet. We fat all creatures else to fat us, and we fat ourselves for maggots. Your fat king and your lean beggar is but variable service,—two dishes, but to one table. That’s the end. + +KING. +Alas, alas! +HAMLET. +A man may fish with the worm that hath eat of a king, and eat of the fish that hath fed of that worm. + +KING. +What dost thou mean by this? +HAMLET. +Nothing but to show you how a king may go a progress through the guts of a beggar. + +KING. +Where is Polonius? +HAMLET. +In heaven. Send thither to see. If your messenger find him not there, seek him i’ th’other place yourself. But indeed, if you find him not within this month, you shall nose him as you go up the stairs into the lobby. + +KING. +[To some Attendants.] Go seek him there. +HAMLET. +He will stay till you come. +[Exeunt Attendants.] + +KING. +Hamlet, this deed, for thine especial safety,— +Which we do tender, as we dearly grieve +For that which thou hast done,—must send thee hence +With fiery quickness. Therefore prepare thyself; +The bark is ready, and the wind at help, +Th’associates tend, and everything is bent +For England. +HAMLET. +For England? +KING. +Ay, Hamlet. +HAMLET. +Good. +KING. +So is it, if thou knew’st our purposes. +HAMLET. +I see a cherub that sees them. But, come; for England! Farewell, dear mother. + +KING. +Thy loving father, Hamlet. +HAMLET. +My mother. Father and mother is man and wife; man and wife is one flesh; and so, my mother. Come, for England. + +[Exit.] + +KING. +Follow him at foot. Tempt him with speed aboard; +Delay it not; I’ll have him hence tonight. +Away, for everything is seal’d and done +That else leans on th’affair. Pray you make haste. +[Exeunt Rosencrantz and Guildenstern.] + +And England, if my love thou hold’st at aught,— +As my great power thereof may give thee sense, +Since yet thy cicatrice looks raw and red +After the Danish sword, and thy free awe +Pays homage to us,—thou mayst not coldly set +Our sovereign process, which imports at full, +By letters conjuring to that effect, +The present death of Hamlet. Do it, England; +For like the hectic in my blood he rages, +And thou must cure me. Till I know ’tis done, +Howe’er my haps, my joys were ne’er begun. +[Exit.] + +SCENE IV. A plain in Denmark. +Enter Fortinbras and Forces marching. + +FORTINBRAS. +Go, Captain, from me greet the Danish king. +Tell him that by his license, Fortinbras +Craves the conveyance of a promis’d march +Over his kingdom. You know the rendezvous. +If that his Majesty would aught with us, +We shall express our duty in his eye; +And let him know so. +CAPTAIN. +I will do’t, my lord. +FORTINBRAS. +Go softly on. +[Exeunt all but the Captain.] + +Enter Hamlet, Rosencrantz, Guildenstern &c. + +HAMLET. +Good sir, whose powers are these? +CAPTAIN. +They are of Norway, sir. +HAMLET. +How purpos’d, sir, I pray you? +CAPTAIN. +Against some part of Poland. +HAMLET. +Who commands them, sir? +CAPTAIN. +The nephew to old Norway, Fortinbras. +HAMLET. +Goes it against the main of Poland, sir, +Or for some frontier? +CAPTAIN. +Truly to speak, and with no addition, +We go to gain a little patch of ground +That hath in it no profit but the name. +To pay five ducats, five, I would not farm it; +Nor will it yield to Norway or the Pole +A ranker rate, should it be sold in fee. +HAMLET. +Why, then the Polack never will defend it. +CAPTAIN. +Yes, it is already garrison’d. +HAMLET. +Two thousand souls and twenty thousand ducats +Will not debate the question of this straw! +This is th’imposthume of much wealth and peace, +That inward breaks, and shows no cause without +Why the man dies. I humbly thank you, sir. +CAPTAIN. +God b’ wi’ you, sir. +[Exit.] + +ROSENCRANTZ. +Will’t please you go, my lord? +HAMLET. +I’ll be with you straight. Go a little before. +[Exeunt all but Hamlet.] + +How all occasions do inform against me, +And spur my dull revenge. What is a man +If his chief good and market of his time +Be but to sleep and feed? A beast, no more. +Sure he that made us with such large discourse, +Looking before and after, gave us not +That capability and godlike reason +To fust in us unus’d. Now whether it be +Bestial oblivion, or some craven scruple +Of thinking too precisely on th’event,— +A thought which, quarter’d, hath but one part wisdom +And ever three parts coward,—I do not know +Why yet I live to say this thing’s to do, +Sith I have cause, and will, and strength, and means +To do’t. Examples gross as earth exhort me, +Witness this army of such mass and charge, +Led by a delicate and tender prince, +Whose spirit, with divine ambition puff’d, +Makes mouths at the invisible event, +Exposing what is mortal and unsure +To all that fortune, death, and danger dare, +Even for an eggshell. Rightly to be great +Is not to stir without great argument, +But greatly to find quarrel in a straw +When honour’s at the stake. How stand I then, +That have a father kill’d, a mother stain’d, +Excitements of my reason and my blood, +And let all sleep, while to my shame I see +The imminent death of twenty thousand men +That, for a fantasy and trick of fame, +Go to their graves like beds, fight for a plot +Whereon the numbers cannot try the cause, +Which is not tomb enough and continent +To hide the slain? O, from this time forth, +My thoughts be bloody or be nothing worth. +[Exit.] + +SCENE V. Elsinore. A room in the Castle. +Enter Queen, Horatio and a Gentleman. + +QUEEN. +I will not speak with her. +GENTLEMAN. +She is importunate, indeed distract. +Her mood will needs be pitied. +QUEEN. +What would she have? +GENTLEMAN. +She speaks much of her father; says she hears +There’s tricks i’ th’ world, and hems, and beats her heart, +Spurns enviously at straws, speaks things in doubt, +That carry but half sense. Her speech is nothing, +Yet the unshaped use of it doth move +The hearers to collection; they aim at it, +And botch the words up fit to their own thoughts, +Which, as her winks, and nods, and gestures yield them, +Indeed would make one think there might be thought, +Though nothing sure, yet much unhappily. +’Twere good she were spoken with, for she may strew +Dangerous conjectures in ill-breeding minds. +QUEEN. +Let her come in. +[Exit Gentleman.] + +To my sick soul, as sin’s true nature is, +Each toy seems prologue to some great amiss. +So full of artless jealousy is guilt, +It spills itself in fearing to be spilt. +Enter Ophelia. + +OPHELIA. +Where is the beauteous Majesty of Denmark? +QUEEN. +How now, Ophelia? +OPHELIA. +[Sings.] + How should I your true love know + From another one? + By his cockle bat and staff + And his sandal shoon. +QUEEN. +Alas, sweet lady, what imports this song? +OPHELIA. +Say you? Nay, pray you mark. +[Sings.] + He is dead and gone, lady, + He is dead and gone, + At his head a grass green turf, + At his heels a stone. +QUEEN. +Nay, but Ophelia— +OPHELIA. +Pray you mark. +[Sings.] + White his shroud as the mountain snow. +Enter King. + +QUEEN. +Alas, look here, my lord! +OPHELIA. +[Sings.] + Larded all with sweet flowers; + Which bewept to the grave did go + With true-love showers. +KING. +How do you, pretty lady? +OPHELIA. +Well, God dild you! They say the owl was a baker’s daughter. Lord, we know what we are, but know not what we may be. God be at your table! + +KING. +Conceit upon her father. +OPHELIA. +Pray you, let’s have no words of this; but when they ask you what it means, say you this: +[Sings.] + Tomorrow is Saint Valentine’s day, + All in the morning betime, + And I a maid at your window, + To be your Valentine. + Then up he rose and donn’d his clothes, + And dupp’d the chamber door, + Let in the maid, that out a maid + Never departed more. +KING. +Pretty Ophelia! +OPHELIA. +Indeed la, without an oath, I’ll make an end on’t. +[Sings.] + By Gis and by Saint Charity, + Alack, and fie for shame! + Young men will do’t if they come to’t; + By Cock, they are to blame. + Quoth she, before you tumbled me, + You promis’d me to wed. + So would I ha’ done, by yonder sun, + An thou hadst not come to my bed. +KING. +How long hath she been thus? +OPHELIA. +I hope all will be well. We must be patient. But I cannot choose but weep, to think they would lay him i’ th’ cold ground. My brother shall know of it. And so I thank you for your good counsel. Come, my coach! Good night, ladies; good night, sweet ladies; good night, good night. + +[Exit.] + +KING. +Follow her close; give her good watch, I pray you. +[Exit Horatio.] + +O, this is the poison of deep grief; it springs +All from her father’s death. O Gertrude, Gertrude, +When sorrows come, they come not single spies, +But in battalions. First, her father slain; +Next, your son gone; and he most violent author +Of his own just remove; the people muddied, +Thick, and unwholesome in their thoughts and whispers +For good Polonius’ death; and we have done but greenly +In hugger-mugger to inter him. Poor Ophelia +Divided from herself and her fair judgment, +Without the which we are pictures or mere beasts. +Last, and as much containing as all these, +Her brother is in secret come from France, +Feeds on his wonder, keeps himself in clouds, +And wants not buzzers to infect his ear +With pestilent speeches of his father’s death, +Wherein necessity, of matter beggar’d, +Will nothing stick our person to arraign +In ear and ear. O my dear Gertrude, this, +Like to a murdering piece, in many places +Gives me superfluous death. +[A noise within.] + +QUEEN. +Alack, what noise is this? +KING. +Where are my Switzers? Let them guard the door. + +Enter a Gentleman. + +What is the matter? + +GENTLEMAN. +Save yourself, my lord. +The ocean, overpeering of his list, +Eats not the flats with more impetuous haste +Than young Laertes, in a riotous head, +O’erbears your offices. The rabble call him lord, +And, as the world were now but to begin, +Antiquity forgot, custom not known, +The ratifiers and props of every word, +They cry ‘Choose we! Laertes shall be king!’ +Caps, hands, and tongues applaud it to the clouds, +‘Laertes shall be king, Laertes king.’ +QUEEN. +How cheerfully on the false trail they cry. +O, this is counter, you false Danish dogs. +[A noise within.] + +KING. +The doors are broke. +Enter Laertes, armed; Danes following. + +LAERTES. +Where is this king?—Sirs, stand you all without. +Danes. +No, let’s come in. +LAERTES. +I pray you, give me leave. +DANES. +We will, we will. +[They retire without the door.] + +LAERTES. +I thank you. Keep the door. O thou vile king, +Give me my father. +QUEEN. +Calmly, good Laertes. +LAERTES. +That drop of blood that’s calm proclaims me bastard; +Cries cuckold to my father, brands the harlot +Even here between the chaste unsmirched brow +Of my true mother. +KING. +What is the cause, Laertes, +That thy rebellion looks so giant-like?— +Let him go, Gertrude. Do not fear our person. +There’s such divinity doth hedge a king, +That treason can but peep to what it would, +Acts little of his will.—Tell me, Laertes, +Why thou art thus incens’d.—Let him go, Gertrude:— +Speak, man. +LAERTES. +Where is my father? +KING. +Dead. +QUEEN. +But not by him. +KING. +Let him demand his fill. +LAERTES. +How came he dead? I’ll not be juggled with. +To hell, allegiance! Vows, to the blackest devil! +Conscience and grace, to the profoundest pit! +I dare damnation. To this point I stand, +That both the worlds, I give to negligence, +Let come what comes; only I’ll be reveng’d +Most throughly for my father. +KING. +Who shall stay you? +LAERTES. +My will, not all the world. +And for my means, I’ll husband them so well, +They shall go far with little. +KING. +Good Laertes, +If you desire to know the certainty +Of your dear father’s death, is’t writ in your revenge +That, sweepstake, you will draw both friend and foe, +Winner and loser? +LAERTES. +None but his enemies. +KING. +Will you know them then? +LAERTES. +To his good friends thus wide I’ll ope my arms; +And, like the kind life-rendering pelican, +Repast them with my blood. +KING. +Why, now you speak +Like a good child and a true gentleman. +That I am guiltless of your father’s death, +And am most sensibly in grief for it, +It shall as level to your judgment ’pear +As day does to your eye. +DANES. +[Within.] Let her come in. +LAERTES. +How now! What noise is that? +Re-enter Ophelia, fantastically dressed with straws and flowers. + +O heat, dry up my brains. Tears seven times salt, +Burn out the sense and virtue of mine eye. +By heaven, thy madness shall be paid by weight, +Till our scale turn the beam. O rose of May! +Dear maid, kind sister, sweet Ophelia! +O heavens, is’t possible a young maid’s wits +Should be as mortal as an old man’s life? +Nature is fine in love, and where ’tis fine, +It sends some precious instance of itself +After the thing it loves. +OPHELIA. +[Sings.] + They bore him barefac’d on the bier, + Hey no nonny, nonny, hey nonny + And on his grave rain’d many a tear.— + Fare you well, my dove! + +LAERTES. +Hadst thou thy wits, and didst persuade revenge, +It could not move thus. +OPHELIA. +You must sing ‘Down a-down, and you call him a-down-a.’ O, how the wheel becomes it! It is the false steward that stole his master’s daughter. + +LAERTES. +This nothing’s more than matter. +OPHELIA. +There’s rosemary, that’s for remembrance; pray love, remember. And there is pansies, that’s for thoughts. + +LAERTES. +A document in madness, thoughts and remembrance fitted. +OPHELIA. +There’s fennel for you, and columbines. There’s rue for you; and here’s some for me. We may call it herb of grace o’ Sundays. O you must wear your rue with a difference. There’s a daisy. I would give you some violets, but they wither’d all when my father died. They say he made a good end. +[Sings.] + For bonny sweet Robin is all my joy. + +LAERTES. +Thought and affliction, passion, hell itself +She turns to favour and to prettiness. +OPHELIA. +[Sings.] + And will he not come again? + And will he not come again? + No, no, he is dead, + Go to thy death-bed, + He never will come again. + His beard was as white as snow, + All flaxen was his poll. + He is gone, he is gone, + And we cast away moan. + God ha’ mercy on his soul. +And of all Christian souls, I pray God. God b’ wi’ ye. + +[Exit.] + +LAERTES. +Do you see this, O God? +KING. +Laertes, I must commune with your grief, +Or you deny me right. Go but apart, +Make choice of whom your wisest friends you will, +And they shall hear and judge ’twixt you and me. +If by direct or by collateral hand +They find us touch’d, we will our kingdom give, +Our crown, our life, and all that we call ours +To you in satisfaction; but if not, +Be you content to lend your patience to us, +And we shall jointly labour with your soul +To give it due content. +LAERTES. +Let this be so; +His means of death, his obscure burial,— +No trophy, sword, nor hatchment o’er his bones, +No noble rite, nor formal ostentation,— +Cry to be heard, as ’twere from heaven to earth, +That I must call’t in question. +KING. +So you shall. +And where th’offence is let the great axe fall. +I pray you go with me. +[Exeunt.] + +SCENE VI. Another room in the Castle. +Enter Horatio and a Servant. + +HORATIO. +What are they that would speak with me? +SERVANT. +Sailors, sir. They say they have letters for you. +HORATIO. +Let them come in. +[Exit Servant.] + +I do not know from what part of the world +I should be greeted, if not from Lord Hamlet. +Enter Sailors. + +FIRST SAILOR. +God bless you, sir. +HORATIO. +Let him bless thee too. +FIRST SAILOR. +He shall, sir, and’t please him. There’s a letter for you, sir. It comes from th’ambassador that was bound for England; if your name be Horatio, as I am let to know it is. + +HORATIO. +[Reads.] ‘Horatio, when thou shalt have overlooked this, give these fellows some means to the King. They have letters for him. Ere we were two days old at sea, a pirate of very warlike appointment gave us chase. Finding ourselves too slow of sail, we put on a compelled valour, and in the grapple I boarded them. On the instant they got clear of our ship, so I alone became their prisoner. They have dealt with me like thieves of mercy. But they knew what they did; I am to do a good turn for them. Let the King have the letters I have sent, and repair thou to me with as much haste as thou wouldst fly death. I have words to speak in thine ear will make thee dumb; yet are they much too light for the bore of the matter. These good fellows will bring thee where I am. Rosencrantz and Guildenstern hold their course for England: of them I have much to tell thee. Farewell. + He that thou knowest thine, + HAMLET.’ + +Come, I will give you way for these your letters, +And do’t the speedier, that you may direct me +To him from whom you brought them. +[Exeunt.] + +SCENE VII. Another room in the Castle. +Enter King and Laertes. + +KING. +Now must your conscience my acquittance seal, +And you must put me in your heart for friend, +Sith you have heard, and with a knowing ear, +That he which hath your noble father slain +Pursu’d my life. +LAERTES. +It well appears. But tell me +Why you proceeded not against these feats, +So crimeful and so capital in nature, +As by your safety, wisdom, all things else, +You mainly were stirr’d up. +KING. +O, for two special reasons, +Which may to you, perhaps, seem much unsinew’d, +But yet to me they are strong. The Queen his mother +Lives almost by his looks; and for myself,— +My virtue or my plague, be it either which,— +She’s so conjunctive to my life and soul, +That, as the star moves not but in his sphere, +I could not but by her. The other motive, +Why to a public count I might not go, +Is the great love the general gender bear him, +Who, dipping all his faults in their affection, +Would like the spring that turneth wood to stone, +Convert his gyves to graces; so that my arrows, +Too slightly timber’d for so loud a wind, +Would have reverted to my bow again, +And not where I had aim’d them. +LAERTES. +And so have I a noble father lost, +A sister driven into desperate terms, +Whose worth, if praises may go back again, +Stood challenger on mount of all the age +For her perfections. But my revenge will come. +KING. +Break not your sleeps for that. You must not think +That we are made of stuff so flat and dull +That we can let our beard be shook with danger, +And think it pastime. You shortly shall hear more. +I lov’d your father, and we love ourself, +And that, I hope, will teach you to imagine— +Enter a Messenger. + +How now? What news? + +MESSENGER. +Letters, my lord, from Hamlet. +This to your Majesty; this to the Queen. +KING. +From Hamlet! Who brought them? +MESSENGER. +Sailors, my lord, they say; I saw them not. +They were given me by Claudio. He receiv’d them +Of him that brought them. +KING. +Laertes, you shall hear them. +Leave us. +[Exit Messenger.] + +[Reads.] ‘High and mighty, you shall know I am set naked on your kingdom. Tomorrow shall I beg leave to see your kingly eyes. When I shall, first asking your pardon thereunto, recount the occasions of my sudden and more strange return. + HAMLET.’ + +What should this mean? Are all the rest come back? +Or is it some abuse, and no such thing? +LAERTES. +Know you the hand? +KING. +’Tis Hamlet’s character. ‘Naked!’ +And in a postscript here he says ‘alone.’ +Can you advise me? +LAERTES. +I am lost in it, my lord. But let him come, +It warms the very sickness in my heart +That I shall live and tell him to his teeth, +‘Thus diest thou.’ +KING. +If it be so, Laertes,— +As how should it be so? How otherwise?— +Will you be rul’d by me? +LAERTES. +Ay, my lord; +So you will not o’errule me to a peace. +KING. +To thine own peace. If he be now return’d, +As checking at his voyage, and that he means +No more to undertake it, I will work him +To exploit, now ripe in my device, +Under the which he shall not choose but fall; +And for his death no wind shall breathe, +But even his mother shall uncharge the practice +And call it accident. +LAERTES. +My lord, I will be rul’d; +The rather if you could devise it so +That I might be the organ. +KING. +It falls right. +You have been talk’d of since your travel much, +And that in Hamlet’s hearing, for a quality +Wherein they say you shine. Your sum of parts +Did not together pluck such envy from him +As did that one, and that, in my regard, +Of the unworthiest siege. +LAERTES. +What part is that, my lord? +KING. +A very riband in the cap of youth, +Yet needful too, for youth no less becomes +The light and careless livery that it wears +Than settled age his sables and his weeds, +Importing health and graveness. Two months since +Here was a gentleman of Normandy,— +I’ve seen myself, and serv’d against, the French, +And they can well on horseback, but this gallant +Had witchcraft in’t. He grew unto his seat, +And to such wondrous doing brought his horse, +As had he been incorps’d and demi-natur’d +With the brave beast. So far he topp’d my thought +That I in forgery of shapes and tricks, +Come short of what he did. +LAERTES. +A Norman was’t? +KING. +A Norman. +LAERTES. +Upon my life, Lamond. +KING. +The very same. +LAERTES. +I know him well. He is the brooch indeed +And gem of all the nation. +KING. +He made confession of you, +And gave you such a masterly report +For art and exercise in your defence, +And for your rapier most especially, +That he cried out ’twould be a sight indeed +If one could match you. The scrimers of their nation +He swore had neither motion, guard, nor eye, +If you oppos’d them. Sir, this report of his +Did Hamlet so envenom with his envy +That he could nothing do but wish and beg +Your sudden coming o’er to play with him. +Now, out of this,— +LAERTES. +What out of this, my lord? +KING. +Laertes, was your father dear to you? +Or are you like the painting of a sorrow, +A face without a heart? +LAERTES. +Why ask you this? +KING. +Not that I think you did not love your father, +But that I know love is begun by time, +And that I see, in passages of proof, +Time qualifies the spark and fire of it. +There lives within the very flame of love +A kind of wick or snuff that will abate it; +And nothing is at a like goodness still, +For goodness, growing to a pleurisy, +Dies in his own too much. That we would do, +We should do when we would; for this ‘would’ changes, +And hath abatements and delays as many +As there are tongues, are hands, are accidents; +And then this ‘should’ is like a spendthrift sigh +That hurts by easing. But to the quick o’ th’ulcer: +Hamlet comes back: what would you undertake +To show yourself your father’s son in deed, +More than in words? +LAERTES. +To cut his throat i’ th’ church. +KING. +No place, indeed, should murder sanctuarize; +Revenge should have no bounds. But good Laertes, +Will you do this, keep close within your chamber. +Hamlet return’d shall know you are come home: +We’ll put on those shall praise your excellence, +And set a double varnish on the fame +The Frenchman gave you, bring you in fine together +And wager on your heads. He, being remiss, +Most generous, and free from all contriving, +Will not peruse the foils; so that with ease, +Or with a little shuffling, you may choose +A sword unbated, and in a pass of practice, +Requite him for your father. +LAERTES. +I will do’t. +And for that purpose I’ll anoint my sword. +I bought an unction of a mountebank +So mortal that, but dip a knife in it, +Where it draws blood no cataplasm so rare, +Collected from all simples that have virtue +Under the moon, can save the thing from death +This is but scratch’d withal. I’ll touch my point +With this contagion, that if I gall him slightly, +It may be death. +KING. +Let’s further think of this, +Weigh what convenience both of time and means +May fit us to our shape. If this should fail, +And that our drift look through our bad performance. +’Twere better not assay’d. Therefore this project +Should have a back or second, that might hold +If this did blast in proof. Soft, let me see. +We’ll make a solemn wager on your cunnings,— +I ha’t! When in your motion you are hot and dry, +As make your bouts more violent to that end, +And that he calls for drink, I’ll have prepar’d him +A chalice for the nonce; whereon but sipping, +If he by chance escape your venom’d stuck, +Our purpose may hold there. +Enter Queen. + +How now, sweet Queen? + +QUEEN. +One woe doth tread upon another’s heel, +So fast they follow. Your sister’s drown’d, Laertes. +LAERTES. +Drown’d! O, where? +QUEEN. +There is a willow grows aslant a brook, +That shows his hoary leaves in the glassy stream. +There with fantastic garlands did she make +Of crow-flowers, nettles, daisies, and long purples, +That liberal shepherds give a grosser name, +But our cold maids do dead men’s fingers call them. +There on the pendant boughs her coronet weeds +Clamb’ring to hang, an envious sliver broke, +When down her weedy trophies and herself +Fell in the weeping brook. Her clothes spread wide, +And mermaid-like, awhile they bore her up, +Which time she chaunted snatches of old tunes, +As one incapable of her own distress, +Or like a creature native and indued +Unto that element. But long it could not be +Till that her garments, heavy with their drink, +Pull’d the poor wretch from her melodious lay +To muddy death. +LAERTES. +Alas, then she is drown’d? +QUEEN. +Drown’d, drown’d. +LAERTES. +Too much of water hast thou, poor Ophelia, +And therefore I forbid my tears. But yet +It is our trick; nature her custom holds, +Let shame say what it will. When these are gone, +The woman will be out. Adieu, my lord, +I have a speech of fire, that fain would blaze, +But that this folly douts it. +[Exit.] + +KING. +Let’s follow, Gertrude; +How much I had to do to calm his rage! +Now fear I this will give it start again; +Therefore let’s follow. +[Exeunt.] + +ACT V +SCENE I. A churchyard. +Enter two Clowns with spades, &c. + +FIRST CLOWN. +Is she to be buried in Christian burial, when she wilfully seeks her own salvation? + +SECOND CLOWN. +I tell thee she is, and therefore make her grave straight. The crowner hath sat on her, and finds it Christian burial. + +FIRST CLOWN. +How can that be, unless she drowned herself in her own defence? + +SECOND CLOWN. +Why, ’tis found so. + +FIRST CLOWN. +It must be se offendendo, it cannot be else. For here lies the point: if I drown myself wittingly, it argues an act: and an act hath three branches. It is to act, to do, and to perform: argal, she drowned herself wittingly. + +SECOND CLOWN. +Nay, but hear you, goodman delver,— + +FIRST CLOWN. +Give me leave. Here lies the water; good. Here stands the man; good. If the man go to this water and drown himself, it is, will he nill he, he goes,—mark you that. But if the water come to him and drown him, he drowns not himself. Argal, he that is not guilty of his own death shortens not his own life. + +SECOND CLOWN. +But is this law? + +FIRST CLOWN. +Ay, marry, is’t, crowner’s quest law. + +SECOND CLOWN. +Will you ha’ the truth on’t? If this had not been a gentlewoman, she should have been buried out o’ Christian burial. + +FIRST CLOWN. +Why, there thou say’st. And the more pity that great folk should have countenance in this world to drown or hang themselves more than their even Christian. Come, my spade. There is no ancient gentlemen but gardeners, ditchers, and grave-makers: they hold up Adam’s profession. + +SECOND CLOWN. +Was he a gentleman? + +FIRST CLOWN. +He was the first that ever bore arms. + +SECOND CLOWN. +Why, he had none. + +FIRST CLOWN. +What, art a heathen? How dost thou understand the Scripture? The Scripture says Adam digg’d. Could he dig without arms? I’ll put another question to thee. If thou answerest me not to the purpose, confess thyself— + +SECOND CLOWN. +Go to. + +FIRST CLOWN. +What is he that builds stronger than either the mason, the shipwright, or the carpenter? + +SECOND CLOWN. +The gallows-maker; for that frame outlives a thousand tenants. + +FIRST CLOWN. +I like thy wit well in good faith, the gallows does well. But how does it well? It does well to those that do ill. Now, thou dost ill to say the gallows is built stronger than the church; argal, the gallows may do well to thee. To’t again, come. + +SECOND CLOWN. +Who builds stronger than a mason, a shipwright, or a carpenter? + +FIRST CLOWN. +Ay, tell me that, and unyoke. + +SECOND CLOWN. +Marry, now I can tell. + +FIRST CLOWN. +To’t. + +SECOND CLOWN. +Mass, I cannot tell. + +Enter Hamlet and Horatio, at a distance. + +FIRST CLOWN. +Cudgel thy brains no more about it, for your dull ass will not mend his pace with beating; and when you are asked this question next, say ‘a grave-maker’. The houses he makes last till doomsday. Go, get thee to Yaughan; fetch me a stoup of liquor. + +[Exit Second Clown.] + +[Digs and sings.] + + In youth when I did love, did love, + Methought it was very sweet; + To contract, O, the time for, a, my behove, + O methought there was nothing meet. +HAMLET. +Has this fellow no feeling of his business, that he sings at grave-making? + +HORATIO. +Custom hath made it in him a property of easiness. +HAMLET. +’Tis e’en so; the hand of little employment hath the daintier sense. + +FIRST CLOWN. +[Sings.] + But age with his stealing steps + Hath claw’d me in his clutch, + And hath shipp’d me into the land, + As if I had never been such. +[Throws up a skull.] + +HAMLET. +That skull had a tongue in it, and could sing once. How the knave jowls it to th’ ground, as if ’twere Cain’s jawbone, that did the first murder! This might be the pate of a politician which this ass now o’er-offices, one that would circumvent God, might it not? + +HORATIO. +It might, my lord. +HAMLET. +Or of a courtier, which could say ‘Good morrow, sweet lord! How dost thou, good lord?’ This might be my lord such-a-one, that praised my lord such-a-one’s horse when he meant to beg it, might it not? + +HORATIO. +Ay, my lord. +HAMLET. +Why, e’en so: and now my Lady Worm’s; chapless, and knocked about the mazard with a sexton’s spade. Here’s fine revolution, an we had the trick to see’t. Did these bones cost no more the breeding but to play at loggets with ’em? Mine ache to think on’t. + +FIRST CLOWN. +[Sings.] + A pickaxe and a spade, a spade, + For and a shrouding-sheet; + O, a pit of clay for to be made + For such a guest is meet. +[Throws up another skull.] + +HAMLET. +There’s another. Why may not that be the skull of a lawyer? Where be his quiddits now, his quillets, his cases, his tenures, and his tricks? Why does he suffer this rude knave now to knock him about the sconce with a dirty shovel, and will not tell him of his action of battery? Hum. This fellow might be in’s time a great buyer of land, with his statutes, his recognizances, his fines, his double vouchers, his recoveries. Is this the fine of his fines, and the recovery of his recoveries, to have his fine pate full of fine dirt? Will his vouchers vouch him no more of his purchases, and double ones too, than the length and breadth of a pair of indentures? The very conveyances of his lands will scarcely lie in this box; and must the inheritor himself have no more, ha? + +HORATIO. +Not a jot more, my lord. +HAMLET. +Is not parchment made of sheep-skins? +HORATIO. +Ay, my lord, and of calf-skins too. +HAMLET. +They are sheep and calves which seek out assurance in that. I will speak to this fellow.—Whose grave’s this, sir? + +FIRST CLOWN. +Mine, sir. +[Sings.] + O, a pit of clay for to be made + For such a guest is meet. +HAMLET. +I think it be thine indeed, for thou liest in’t. +FIRST CLOWN. +You lie out on’t, sir, and therefore ’tis not yours. +For my part, I do not lie in’t, yet it is mine. +HAMLET. +Thou dost lie in’t, to be in’t and say it is thine. ’Tis for the dead, not for the quick; therefore thou liest. + +FIRST CLOWN. +’Tis a quick lie, sir; ’t will away again from me to you. + +HAMLET. +What man dost thou dig it for? +FIRST CLOWN. +For no man, sir. + +HAMLET. +What woman then? +FIRST CLOWN. +For none neither. + +HAMLET. +Who is to be buried in’t? +FIRST CLOWN. +One that was a woman, sir; but, rest her soul, she’s dead. + +HAMLET. +How absolute the knave is! We must speak by the card, or equivocation will undo us. By the Lord, Horatio, these three years I have taken note of it, the age is grown so picked that the toe of the peasant comes so near the heel of the courtier he galls his kibe.—How long hast thou been a grave-maker? + +FIRST CLOWN. +Of all the days i’ th’ year, I came to’t that day that our last King Hamlet o’ercame Fortinbras. + +HAMLET. +How long is that since? +FIRST CLOWN. +Cannot you tell that? Every fool can tell that. It was the very day that young Hamlet was born,—he that is mad, and sent into England. + +HAMLET. +Ay, marry, why was he sent into England? +FIRST CLOWN. +Why, because he was mad; he shall recover his wits there; or if he do not, it’s no great matter there. + +HAMLET. +Why? +FIRST CLOWN. +’Twill not be seen in him there; there the men are as mad as he. + +HAMLET. +How came he mad? +FIRST CLOWN. +Very strangely, they say. + +HAMLET. +How strangely? +FIRST CLOWN. +Faith, e’en with losing his wits. + +HAMLET. +Upon what ground? +FIRST CLOWN. +Why, here in Denmark. I have been sexton here, man and boy, thirty years. + +HAMLET. +How long will a man lie i’ th’earth ere he rot? +FIRST CLOWN. +Faith, if he be not rotten before he die,—as we have many pocky corses nowadays that will scarce hold the laying in,—he will last you some eight year or nine year. A tanner will last you nine year. + +HAMLET. +Why he more than another? +FIRST CLOWN. +Why, sir, his hide is so tann’d with his trade that he will keep out water a great while. And your water is a sore decayer of your whoreson dead body. Here’s a skull now; this skull hath lain in the earth three-and-twenty years. + +HAMLET. +Whose was it? +FIRST CLOWN. +A whoreson, mad fellow’s it was. Whose do you think it was? + +HAMLET. +Nay, I know not. +FIRST CLOWN. +A pestilence on him for a mad rogue! A pour’d a flagon of Rhenish on my head once. This same skull, sir, was Yorick’s skull, the King’s jester. + +HAMLET. +This? +FIRST CLOWN. +E’en that. + +HAMLET. +Let me see. [Takes the skull.] Alas, poor Yorick. I knew him, Horatio, a fellow of infinite jest, of most excellent fancy. He hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! My gorge rises at it. Here hung those lips that I have kiss’d I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar? Not one now, to mock your own grinning? Quite chop-fallen? Now get you to my lady’s chamber, and tell her, let her paint an inch thick, to this favour she must come. Make her laugh at that.—Prythee, Horatio, tell me one thing. + +HORATIO. +What’s that, my lord? +HAMLET. +Dost thou think Alexander looked o’ this fashion i’ th’earth? +HORATIO. +E’en so. +HAMLET. +And smelt so? Pah! +[Throws down the skull.] + +HORATIO. +E’en so, my lord. +HAMLET. +To what base uses we may return, Horatio! Why may not imagination trace the noble dust of Alexander till he find it stopping a bung-hole? + +HORATIO. +’Twere to consider too curiously to consider so. +HAMLET. +No, faith, not a jot. But to follow him thither with modesty enough, and likelihood to lead it; as thus. Alexander died, Alexander was buried, Alexander returneth into dust; the dust is earth; of earth we make loam; and why of that loam whereto he was converted might they not stop a beer-barrel? +Imperious Caesar, dead and turn’d to clay, +Might stop a hole to keep the wind away. +O, that that earth which kept the world in awe +Should patch a wall t’expel the winter’s flaw. +But soft! but soft! aside! Here comes the King. +Enter priests, &c, in procession; the corpse of Ophelia, Laertes and Mourners following; King, Queen, their Trains, &c. + +The Queen, the courtiers. Who is that they follow? +And with such maimed rites? This doth betoken +The corse they follow did with desperate hand +Fordo it own life. ’Twas of some estate. +Couch we awhile and mark. +[Retiring with Horatio.] + +LAERTES. +What ceremony else? +HAMLET. +That is Laertes, a very noble youth. Mark. + +LAERTES. +What ceremony else? +PRIEST. +Her obsequies have been as far enlarg’d +As we have warranties. Her death was doubtful; +And but that great command o’ersways the order, +She should in ground unsanctified have lodg’d +Till the last trumpet. For charitable prayers, +Shards, flints, and pebbles should be thrown on her. +Yet here she is allowed her virgin rites, +Her maiden strewments, and the bringing home +Of bell and burial. +LAERTES. +Must there no more be done? +PRIEST. +No more be done. +We should profane the service of the dead +To sing sage requiem and such rest to her +As to peace-parted souls. +LAERTES. +Lay her i’ th’earth, +And from her fair and unpolluted flesh +May violets spring. I tell thee, churlish priest, +A minist’ring angel shall my sister be +When thou liest howling. +HAMLET. +What, the fair Ophelia? +QUEEN. +[Scattering flowers.] Sweets to the sweet. Farewell. +I hop’d thou shouldst have been my Hamlet’s wife; +I thought thy bride-bed to have deck’d, sweet maid, +And not have strew’d thy grave. +LAERTES. +O, treble woe +Fall ten times treble on that cursed head +Whose wicked deed thy most ingenious sense +Depriv’d thee of. Hold off the earth a while, +Till I have caught her once more in mine arms. +[Leaps into the grave.] +Now pile your dust upon the quick and dead, +Till of this flat a mountain you have made, +To o’ertop old Pelion or the skyish head +Of blue Olympus. +HAMLET. +[Advancing.] +What is he whose grief +Bears such an emphasis? whose phrase of sorrow +Conjures the wand’ring stars, and makes them stand +Like wonder-wounded hearers? This is I, +Hamlet the Dane. +[Leaps into the grave.] +LAERTES. +[Grappling with him.] The devil take thy soul! + +HAMLET. +Thou pray’st not well. +I prythee take thy fingers from my throat; +For though I am not splenative and rash, +Yet have I in me something dangerous, +Which let thy wiseness fear. Away thy hand! +KING. +Pluck them asunder. +QUEEN. +Hamlet! Hamlet! +All. +Gentlemen! +HORATIO. +Good my lord, be quiet. +[The Attendants part them, and they come out of the grave.] + +HAMLET. +Why, I will fight with him upon this theme +Until my eyelids will no longer wag. +QUEEN. +O my son, what theme? +HAMLET. +I lov’d Ophelia; forty thousand brothers +Could not, with all their quantity of love, +Make up my sum. What wilt thou do for her? +KING. +O, he is mad, Laertes. +QUEEN. +For love of God forbear him! +HAMLET. +’Swounds, show me what thou’lt do: +Woul’t weep? woul’t fight? woul’t fast? woul’t tear thyself? +Woul’t drink up eisel? eat a crocodile? +I’ll do’t. Dost thou come here to whine? +To outface me with leaping in her grave? +Be buried quick with her, and so will I. +And if thou prate of mountains, let them throw +Millions of acres on us, till our ground, +Singeing his pate against the burning zone, +Make Ossa like a wart. Nay, an thou’lt mouth, +I’ll rant as well as thou. +QUEEN. +This is mere madness: +And thus awhile the fit will work on him; +Anon, as patient as the female dove, +When that her golden couplets are disclos’d, +His silence will sit drooping. +HAMLET. +Hear you, sir; +What is the reason that you use me thus? +I lov’d you ever. But it is no matter. +Let Hercules himself do what he may, +The cat will mew, and dog will have his day. +[Exit.] + +KING. +I pray thee, good Horatio, wait upon him. +[Exit Horatio.] + +[To Laertes] +Strengthen your patience in our last night’s speech; +We’ll put the matter to the present push.— +Good Gertrude, set some watch over your son. +This grave shall have a living monument. +An hour of quiet shortly shall we see; +Till then in patience our proceeding be. +[Exeunt.] + +SCENE II. A hall in the Castle. +Enter Hamlet and Horatio. + +HAMLET. +So much for this, sir. Now let me see the other; +You do remember all the circumstance? +HORATIO. +Remember it, my lord! +HAMLET. +Sir, in my heart there was a kind of fighting +That would not let me sleep. Methought I lay +Worse than the mutinies in the bilboes. Rashly, +And prais’d be rashness for it,—let us know, +Our indiscretion sometime serves us well, +When our deep plots do pall; and that should teach us +There’s a divinity that shapes our ends, +Rough-hew them how we will. +HORATIO. +That is most certain. +HAMLET. +Up from my cabin, +My sea-gown scarf’d about me, in the dark +Grop’d I to find out them; had my desire, +Finger’d their packet, and in fine, withdrew +To mine own room again, making so bold, +My fears forgetting manners, to unseal +Their grand commission; where I found, Horatio, +Oh royal knavery! an exact command, +Larded with many several sorts of reasons, +Importing Denmark’s health, and England’s too, +With ho! such bugs and goblins in my life, +That on the supervise, no leisure bated, +No, not to stay the grinding of the axe, +My head should be struck off. +HORATIO. +Is’t possible? +HAMLET. +Here’s the commission, read it at more leisure. +But wilt thou hear me how I did proceed? +HORATIO. +I beseech you. +HAMLET. +Being thus benetted round with villanies,— +Or I could make a prologue to my brains, +They had begun the play,—I sat me down, +Devis’d a new commission, wrote it fair: +I once did hold it, as our statists do, +A baseness to write fair, and labour’d much +How to forget that learning; but, sir, now +It did me yeoman’s service. Wilt thou know +The effect of what I wrote? +HORATIO. +Ay, good my lord. +HAMLET. +An earnest conjuration from the King, +As England was his faithful tributary, +As love between them like the palm might flourish, +As peace should still her wheaten garland wear +And stand a comma ’tween their amities, +And many such-like ‘as’es of great charge, +That on the view and know of these contents, +Without debatement further, more or less, +He should the bearers put to sudden death, +Not shriving-time allow’d. +HORATIO. +How was this seal’d? +HAMLET. +Why, even in that was heaven ordinant. +I had my father’s signet in my purse, +Which was the model of that Danish seal: +Folded the writ up in the form of the other, +Subscrib’d it: gave’t th’impression; plac’d it safely, +The changeling never known. Now, the next day +Was our sea-fight, and what to this was sequent +Thou know’st already. +HORATIO. +So Guildenstern and Rosencrantz go to’t. +HAMLET. +Why, man, they did make love to this employment. +They are not near my conscience; their defeat +Does by their own insinuation grow. +’Tis dangerous when the baser nature comes +Between the pass and fell incensed points +Of mighty opposites. +HORATIO. +Why, what a king is this! +HAMLET. +Does it not, thinks’t thee, stand me now upon,— +He that hath kill’d my king, and whor’d my mother, +Popp’d in between th’election and my hopes, +Thrown out his angle for my proper life, +And with such cozenage—is’t not perfect conscience +To quit him with this arm? And is’t not to be damn’d +To let this canker of our nature come +In further evil? +HORATIO. +It must be shortly known to him from England +What is the issue of the business there. +HAMLET. +It will be short. The interim is mine; +And a man’s life’s no more than to say ‘One’. +But I am very sorry, good Horatio, +That to Laertes I forgot myself; +For by the image of my cause I see +The portraiture of his. I’ll court his favours. +But sure the bravery of his grief did put me +Into a tow’ring passion. +HORATIO. +Peace, who comes here? +Enter Osric. + +OSRIC. +Your lordship is right welcome back to Denmark. +HAMLET. +I humbly thank you, sir. Dost know this waterfly? +HORATIO. +No, my good lord. +HAMLET. +Thy state is the more gracious; for ’tis a vice to know him. He hath much land, and fertile; let a beast be lord of beasts, and his crib shall stand at the king’s mess; ’tis a chough; but, as I say, spacious in the possession of dirt. + +OSRIC. +Sweet lord, if your lordship were at leisure, I should impart a thing to you from his Majesty. + +HAMLET. +I will receive it with all diligence of spirit. Put your bonnet to his right use; ’tis for the head. + +OSRIC. +I thank your lordship, ’tis very hot. +HAMLET. +No, believe me, ’tis very cold, the wind is northerly. +OSRIC. +It is indifferent cold, my lord, indeed. +HAMLET. +Methinks it is very sultry and hot for my complexion. +OSRIC. +Exceedingly, my lord; it is very sultry,—as ’twere—I cannot tell how. But, my lord, his Majesty bade me signify to you that he has laid a great wager on your head. Sir, this is the matter,— + +HAMLET. +I beseech you, remember,— + +[Hamlet moves him to put on his hat.] + +OSRIC. +Nay, in good faith; for mine ease, in good faith. Sir, here is newly come to court Laertes; believe me, an absolute gentleman, full of most excellent differences, of very soft society and great showing. Indeed, to speak feelingly of him, he is the card or calendar of gentry; for you shall find in him the continent of what part a gentleman would see. + +HAMLET. +Sir, his definement suffers no perdition in you, though I know, to divide him inventorially would dizzy th’arithmetic of memory, and yet but yaw neither, in respect of his quick sail. But, in the verity of extolment, I take him to be a soul of great article and his infusion of such dearth and rareness as, to make true diction of him, his semblable is his mirror and who else would trace him his umbrage, nothing more. + +OSRIC. +Your lordship speaks most infallibly of him. +HAMLET. +The concernancy, sir? Why do we wrap the gentleman in our more rawer breath? + +OSRIC. +Sir? +HORATIO. +Is’t not possible to understand in another tongue? You will do’t, sir, really. + +HAMLET. +What imports the nomination of this gentleman? +OSRIC. +Of Laertes? +HORATIO. +His purse is empty already, all’s golden words are spent. +HAMLET. +Of him, sir. +OSRIC. +I know you are not ignorant,— +HAMLET. +I would you did, sir; yet in faith if you did, it would not much approve me. Well, sir? + +OSRIC. +You are not ignorant of what excellence Laertes is,— +HAMLET. +I dare not confess that, lest I should compare with him in excellence; but to know a man well were to know himself. + +OSRIC. +I mean, sir, for his weapon; but in the imputation laid on him, by them in his meed he’s unfellowed. + +HAMLET. +What’s his weapon? +OSRIC. +Rapier and dagger. +HAMLET. +That’s two of his weapons. But well. +OSRIC. +The King, sir, hath wager’d with him six Barbary horses, against the which he has imponed, as I take it, six French rapiers and poniards, with their assigns, as girdle, hangers, and so. Three of the carriages, in faith, are very dear to fancy, very responsive to the hilts, most delicate carriages, and of very liberal conceit. + +HAMLET. +What call you the carriages? +HORATIO. +I knew you must be edified by the margin ere you had done. +OSRIC. +The carriages, sir, are the hangers. +HAMLET. +The phrase would be more german to the matter if we could carry cannon by our sides. I would it might be hangers till then. But on. Six Barbary horses against six French swords, their assigns, and three liberal conceited carriages: that’s the French bet against the Danish. Why is this all imponed, as you call it? + +OSRIC. +The King, sir, hath laid that in a dozen passes between you and him, he shall not exceed you three hits. He hath laid on twelve for nine. And it would come to immediate trial if your lordship would vouchsafe the answer. + +HAMLET. +How if I answer no? +OSRIC. +I mean, my lord, the opposition of your person in trial. +HAMLET. +Sir, I will walk here in the hall. If it please his Majesty, it is the breathing time of day with me. Let the foils be brought, the gentleman willing, and the King hold his purpose, I will win for him if I can; if not, I will gain nothing but my shame and the odd hits. + +OSRIC. +Shall I re-deliver you e’en so? +HAMLET. +To this effect, sir; after what flourish your nature will. +OSRIC. +I commend my duty to your lordship. +HAMLET. +Yours, yours. +[Exit Osric.] + +He does well to commend it himself, there are no tongues else for’s turn. + +HORATIO. +This lapwing runs away with the shell on his head. +HAMLET. +He did comply with his dug before he suck’d it. Thus has he,—and many more of the same bevy that I know the drossy age dotes on,— only got the tune of the time and outward habit of encounter; a kind of yeasty collection, which carries them through and through the most fanned and winnowed opinions; and do but blow them to their trial, the bubbles are out, + +Enter a Lord. + +LORD. +My lord, his Majesty commended him to you by young Osric, who brings back to him that you attend him in the hall. He sends to know if your pleasure hold to play with Laertes or that you will take longer time. + +HAMLET. +I am constant to my purposes, they follow the King’s pleasure. If his fitness speaks, mine is ready. Now or whensoever, provided I be so able as now. + +LORD. +The King and Queen and all are coming down. +HAMLET. +In happy time. +LORD. +The Queen desires you to use some gentle entertainment to Laertes before you fall to play. + +HAMLET. +She well instructs me. +[Exit Lord.] + +HORATIO. +You will lose this wager, my lord. +HAMLET. +I do not think so. Since he went into France, I have been in continual practice. I shall win at the odds. But thou wouldst not think how ill all’s here about my heart: but it is no matter. + +HORATIO. +Nay, good my lord. +HAMLET. +It is but foolery; but it is such a kind of gain-giving as would perhaps trouble a woman. + +HORATIO. +If your mind dislike anything, obey it. I will forestall their repair hither, and say you are not fit. + +HAMLET. +Not a whit, we defy augury. There’s a special providence in the fall of a sparrow. If it be now, ’tis not to come; if it be not to come, it will be now; if it be not now, yet it will come. The readiness is all. Since no man has aught of what he leaves, what is’t to leave betimes? + +Enter King, Queen, Laertes, Lords, Osric and Attendants with foils &c. + +KING. +Come, Hamlet, come, and take this hand from me. +[The King puts Laertes’s hand into Hamlet’s.] + +HAMLET. +Give me your pardon, sir. I have done you wrong; +But pardon’t as you are a gentleman. +This presence knows, and you must needs have heard, +How I am punish’d with sore distraction. +What I have done +That might your nature, honour, and exception +Roughly awake, I here proclaim was madness. +Was’t Hamlet wrong’d Laertes? Never Hamlet. +If Hamlet from himself be ta’en away, +And when he’s not himself does wrong Laertes, +Then Hamlet does it not, Hamlet denies it. +Who does it, then? His madness. If’t be so, +Hamlet is of the faction that is wrong’d; +His madness is poor Hamlet’s enemy. +Sir, in this audience, +Let my disclaiming from a purpos’d evil +Free me so far in your most generous thoughts +That I have shot my arrow o’er the house +And hurt my brother. +LAERTES. +I am satisfied in nature, +Whose motive in this case should stir me most +To my revenge. But in my terms of honour +I stand aloof, and will no reconcilement +Till by some elder masters of known honour +I have a voice and precedent of peace +To keep my name ungor’d. But till that time +I do receive your offer’d love like love, +And will not wrong it. +HAMLET. +I embrace it freely, +And will this brother’s wager frankly play.— +Give us the foils; come on. +LAERTES. +Come, one for me. +HAMLET. +I’ll be your foil, Laertes; in mine ignorance +Your skill shall like a star i’ th’ darkest night, +Stick fiery off indeed. +LAERTES. +You mock me, sir. +HAMLET. +No, by this hand. +KING. +Give them the foils, young Osric. Cousin Hamlet, +You know the wager? +HAMLET. +Very well, my lord. +Your Grace has laid the odds o’ the weaker side. +KING. +I do not fear it. I have seen you both; +But since he is better’d, we have therefore odds. +LAERTES. +This is too heavy. Let me see another. +HAMLET. +This likes me well. These foils have all a length? +[They prepare to play.] + +OSRIC. +Ay, my good lord. +KING. +Set me the stoups of wine upon that table. +If Hamlet give the first or second hit, +Or quit in answer of the third exchange, +Let all the battlements their ordnance fire; +The King shall drink to Hamlet’s better breath, +And in the cup an union shall he throw +Richer than that which four successive kings +In Denmark’s crown have worn. Give me the cups; +And let the kettle to the trumpet speak, +The trumpet to the cannoneer without, +The cannons to the heavens, the heavens to earth, +‘Now the King drinks to Hamlet.’ Come, begin. +And you, the judges, bear a wary eye. +HAMLET. +Come on, sir. +LAERTES. +Come, my lord. +[They play.] + +HAMLET. +One. +LAERTES. +No. +HAMLET. +Judgment. +OSRIC. +A hit, a very palpable hit. +LAERTES. +Well; again. +KING. +Stay, give me drink. Hamlet, this pearl is thine; +Here’s to thy health. +[Trumpets sound, and cannon shot off within.] + +Give him the cup. + +HAMLET. +I’ll play this bout first; set it by awhile. + +[They play.] + +Come. Another hit; what say you? +LAERTES. +A touch, a touch, I do confess. +KING. +Our son shall win. +QUEEN. +He’s fat, and scant of breath. +Here, Hamlet, take my napkin, rub thy brows. +The Queen carouses to thy fortune, Hamlet. +HAMLET. +Good madam. +KING. +Gertrude, do not drink. +QUEEN. +I will, my lord; I pray you pardon me. +KING. +[Aside.] It is the poison’d cup; it is too late. +HAMLET. +I dare not drink yet, madam. By and by. +QUEEN. +Come, let me wipe thy face. +LAERTES. +My lord, I’ll hit him now. +KING. +I do not think’t. +LAERTES. +[Aside.] And yet ’tis almost ’gainst my conscience. +HAMLET. +Come for the third, Laertes. You do but dally. +I pray you pass with your best violence. +I am afeard you make a wanton of me. +LAERTES. +Say you so? Come on. +[They play.] + +OSRIC. +Nothing neither way. +LAERTES. +Have at you now. +[Laertes wounds Hamlet; then, in scuffling, they change rapiers, and Hamlet wounds Laertes.] + +KING. +Part them; they are incens’d. +HAMLET. +Nay, come again! +[The Queen falls.] + +OSRIC. +Look to the Queen there, ho! +HORATIO. +They bleed on both sides. How is it, my lord? +OSRIC. +How is’t, Laertes? +LAERTES. +Why, as a woodcock to my own springe, Osric. +I am justly kill’d with mine own treachery. +HAMLET. +How does the Queen? +KING. +She swoons to see them bleed. +QUEEN. +No, no, the drink, the drink! O my dear Hamlet! +The drink, the drink! I am poison’d. +[Dies.] + +HAMLET. +O villany! Ho! Let the door be lock’d: +Treachery! Seek it out. +[Laertes falls.] + +LAERTES. +It is here, Hamlet. Hamlet, thou art slain. +No medicine in the world can do thee good. +In thee there is not half an hour of life; +The treacherous instrument is in thy hand, +Unbated and envenom’d. The foul practice +Hath turn’d itself on me. Lo, here I lie, +Never to rise again. Thy mother’s poison’d. +I can no more. The King, the King’s to blame. +HAMLET. +The point envenom’d too! +Then, venom, to thy work. +[Stabs the King.] + +OSRIC and LORDS. +Treason! treason! +KING. +O yet defend me, friends. I am but hurt. +HAMLET. +Here, thou incestuous, murderous, damned Dane, +Drink off this potion. Is thy union here? +Follow my mother. +[King dies.] + +LAERTES. +He is justly serv’d. +It is a poison temper’d by himself. +Exchange forgiveness with me, noble Hamlet. +Mine and my father’s death come not upon thee, +Nor thine on me. +[Dies.] + +HAMLET. +Heaven make thee free of it! I follow thee. +I am dead, Horatio. Wretched Queen, adieu. +You that look pale and tremble at this chance, +That are but mutes or audience to this act, +Had I but time,—as this fell sergeant, death, +Is strict in his arrest,—O, I could tell you,— +But let it be. Horatio, I am dead, +Thou liv’st; report me and my cause aright +To the unsatisfied. +HORATIO. +Never believe it. +I am more an antique Roman than a Dane. +Here’s yet some liquor left. +HAMLET. +As th’art a man, +Give me the cup. Let go; by Heaven, I’ll have’t. +O good Horatio, what a wounded name, +Things standing thus unknown, shall live behind me. +If thou didst ever hold me in thy heart, +Absent thee from felicity awhile, +And in this harsh world draw thy breath in pain, +To tell my story. +[March afar off, and shot within.] + +What warlike noise is this? + +OSRIC. +Young Fortinbras, with conquest come from Poland, +To the ambassadors of England gives +This warlike volley. +HAMLET. +O, I die, Horatio. +The potent poison quite o’er-crows my spirit: +I cannot live to hear the news from England, +But I do prophesy th’election lights +On Fortinbras. He has my dying voice. +So tell him, with the occurrents more and less, +Which have solicited. The rest is silence. +[Dies.] + +HORATIO. +Now cracks a noble heart. Good night, sweet prince, +And flights of angels sing thee to thy rest. +Why does the drum come hither? +[March within.] + +Enter Fortinbras, the English Ambassadors and others. + +FORTINBRAS. +Where is this sight? +HORATIO. +What is it you would see? +If aught of woe or wonder, cease your search. +FORTINBRAS. +This quarry cries on havoc. O proud death, +What feast is toward in thine eternal cell, +That thou so many princes at a shot +So bloodily hast struck? +FIRST AMBASSADOR. +The sight is dismal; +And our affairs from England come too late. +The ears are senseless that should give us hearing, +To tell him his commandment is fulfill’d, +That Rosencrantz and Guildenstern are dead. +Where should we have our thanks? +HORATIO. +Not from his mouth, +Had it th’ability of life to thank you. +He never gave commandment for their death. +But since, so jump upon this bloody question, +You from the Polack wars, and you from England +Are here arriv’d, give order that these bodies +High on a stage be placed to the view, +And let me speak to th’ yet unknowing world +How these things came about. So shall you hear +Of carnal, bloody and unnatural acts, +Of accidental judgments, casual slaughters, +Of deaths put on by cunning and forc’d cause, +And, in this upshot, purposes mistook +Fall’n on the inventors’ heads. All this can I +Truly deliver. +FORTINBRAS. +Let us haste to hear it, +And call the noblest to the audience. +For me, with sorrow I embrace my fortune. +I have some rights of memory in this kingdom, +Which now to claim my vantage doth invite me. +HORATIO. +Of that I shall have also cause to speak, +And from his mouth whose voice will draw on more. +But let this same be presently perform’d, +Even while men’s minds are wild, lest more mischance +On plots and errors happen. +FORTINBRAS. +Let four captains +Bear Hamlet like a soldier to the stage, +For he was likely, had he been put on, +To have prov’d most royally; and for his passage, +The soldiers’ music and the rites of war +Speak loudly for him. +Take up the bodies. Such a sight as this +Becomes the field, but here shows much amiss. +Go, bid the soldiers shoot. +[A dead march.] + +[Exeunt, bearing off the bodies, after which a peal of ordnance is shot off.] diff --git a/scripts/[public domain] Miss Civilization.txt b/scripts/[public domain] Miss Civilization.txt new file mode 100644 index 0000000000000000000000000000000000000000..ce0bcca04188206491d0911bf50d10f77128d0d3 --- /dev/null +++ b/scripts/[public domain] Miss Civilization.txt @@ -0,0 +1,1182 @@ +MISS CIVILIZATION +A Comedy In One Act + +By Richard Harding Davis + +PEOPLE IN THE PLAY +ALICE GARDNER: Daughter of James K. Gardner, President of the L.I. & W. Railroad + +"UNCLE" JOSEPH HATCH: Alias "Gentleman Joe" + +"BRICK" MEAKIN: Alias "Reddy, the Kid" + +HARRY HAYES: Alias "Grand Stand" Harry + +CAPTAIN LUCAS: Chief of Police + +Policemen, Brakemen, Engineers + +Scene—The dining room in the country house of James K. Gardner on Long Island. In the back wall is a double doorway opening into a hall. A curtain divided in the middle hangs across the entrance. On the wall on either side of the doorway are two electric lights, and to the left is a telephone. Further to the left is a sideboard. On it are set silver salvers, candlesticks, and Christmas presents of silver. They still are in the red flannel bags in which they arrived. In the left wall is a recessed window hung with curtains. Against the right wall is a buffet on which is set a tea-caddy, toast-rack, and tea kettle. Below the buffet a door opens into the butler's pantry. A dinner table stands well down the stage with a chair at each end and on either side. Two chairs are set against the back wall to the right of the door. The walls and windows are decorated with holly and mistletoe and Christmas wreaths tied with bows of scarlet ribbon. When the window is opened there is a view of falling snow. At first the room is in complete darkness. + +The time is the day after Christmas, near midnight. + +After the curtain rises, one hears the noise of a file scraping on iron. It comes apparently from outside the house at a point distant from the dining room. The filing is repeated cautiously, with a wait between each stroke, as though the person using the file had paused to listen. + +Alice Gardner enters at centre, carrying a lighted candle in a silver candlestick. She wears a dressing gown, with swan's down around her throat and at the edges of her sleeves. Her feet are in bedroom slippers topped with fur. Her hair hangs down in a braid. After listening intently to the sound of the file, she places candle on sideboard and goes to telephone. She speaks in a whisper. + + + + ALICE: + Hello, Central. Hello, Central. + (Impatiently) + Wake up! Wake up! Is that you, Central? Give me the station + agent at Bedford Junction—quick. What? I CAN'T speak louder. + Well, you MUST hear me. Give me the station agent at Bedford + Junction. No, there's always a man there all night. Hurry, + please, hurry. + (There is a pause, during which the sound of the file grows louder. + Alice listens apprehensively.) + Hello, are you the station agent? Good! Listen! I am Miss + Gardner, James K. Gardner's daughter. Yes, James K. Gardner, the + president of the road. This is his house. My mother and I are + here alone. There are three men trying to break in. Yes, + burglars, of course. My mother is very ill. If they frighten her + the shock might—might be very serious. Wake up the crew, and send + the wrecking train here—at once. Send—the—crew—of—the— + wrecking train here—quick. What? Then fire up an engine and get + it here as fast as you can. + + VOICE: + (calling from second story) + Alice! + + ALICE: + (at telephone) + Yes, you have. The up-track's clear until "52" comes along. + That's not until— + + VOICE: + (Louder) + Alice! + + ALICE: + (with dismay) + Mother! + (At telephone) + Hello, hold the wire. Don't go away! + (Runs to curtains, parts them, and looks up as though speaking to + some one at top of stairs) + Mother, why AREN'T you in bed? + + VOICE: + Is anything wrong, Alice? + + ALICE: + No, dear, no. I just came down to—get a book I forgot. Please go + back, dearest. + + VOICE: + I heard you moving about. I thought you might be ill. + + ALICE: + No, dearest, but YOU'LL be very ill if you don't keep in bed. + Please, mother—at once. It's all right, it's all right. + + VOICE: + Yes, dear. Good night. + + ALICE: + Good night, mother. + (Returns quickly to telephone) + Hello! Hello! Stop the engine at the foot of our lawn. Yes, yes, + at the foot of our lawn. And when you have the house surrounded, + when the men are all around the house, blow three whistles so I'll + know you're here. What? Oh, that's all right. The burglars will + be here. I'LL see to that. All YOU have to do is to GET here. If + you don't you, you'll lose your job! I say, if you don't, you'll + lose your job, or I'm not the daughter of the president of this + road. NOW, YOU JUMP! And—wait—hello + (turns from telephone) + He's jumped. + + (The file is now drawn harshly across the bolt of the window of the + dining room, and a piece of wood snaps. With an exclamation, Alice + blows out the candle and exits. The shutters of the windows are + opened, admitting the faint glow of moonlight. The window is + raised and the ray of a dark lantern is swept about the room. + HATCH appears at window and puts one leg inside. He is an elderly + man wearing a mask which hides the upper half of his face, a heavy + overcoat, and a derby hat. But for the mask he might be mistaken + for a respectable man of business. A pane of glass falls from the + window and breaks on the sill.) + + HATCH: + (Speaking over his shoulder) + Hush! Be careful, can't you? + (He enters. He is followed by "GRAND STAND" HARRY, a younger man + of sporting appearance. He also wears a mask, and the brim of his + gray alpine hat is pulled over his eyes. Around his throat he + wears a heavy silk muffler). + It's all right. Come on. Hurry up, and close those shutters. + + HARRY: + (to REDDY outside) + Give me the bag, Reddy. + + (REDDY appears at window. He is dressed like a Bowery tough. His + face is blackened with burnt cork. His hair is of a brilliant red. + He wears an engineer's silk cap with visor. To HARRY he passes a + half-filled canvas bag. On his shoulder he carries another. On + entering he slips and falls forward on the floor). + + HATCH: + Confound you! + + HARRY: + Hush, you fool. + + HATCH: + Has he broken anything? + + REDDY: + (on floor, rubbing his head) + I've broke my head. + + HATCH: + That's no loss. Has he smashed that silver? + + HARRY: + (feeling in bag) + It feels all right. + + (HATCH cautiously parts curtains at centre and exits into hall.) + + REDDY: + (lifts bag) + We got enough stuff in this bag already without wasting time on + ANOTHER house. + + HARRY: + Wasting time! Time's money in THIS house. Look at this silver. + That's the beauty of working the night AFTER Christmas; everybodys' + presents is lying about loose, and everybody's too tired + celebrating to keep awake. + (Lifts silver loving cup) + Look at that cup! + + REDDY: + I'd rather look at a cup of coffee. + + HARRY: + (Contemptuously) + Ah, you! + + REDDY: + Well, I can't make a meal out of silver ice pitchers, can I? I've + been through three refrigerators tonight, and nothing in any of em + but bottles of MILK! MILK! + + HARRY: + Get up, get up, get to work. + + REDDY: + The folks in this town are the stingiest I ever see. I won't visit + em again, no matter how often they ask me. + (Rising and crossing to buffet) + I wonder if these folks is vegetarians, too. + + (HATCH enters) + + HATCH: + It seems all right. There's no light, and everybody's quiet. + (To HARRY) + You work the bedrooms. I'll clear away those things. Don't be + rough, now. + + HARRY: + I know my business. Give me the light. + (Takes lantern and exits centre) + + HATCH: + Hist, Reddy. Reddy, leave that alone. That's not safe. + (Removes silver from sideboard to bag). + + REDDY: + I know it ain't, governor. I'm lookin' for somethin' to eat. + (He kneels in front of buffet, and opens door.) + + HATCH: + No, you're not! You're not here to eat. Come and give me a hand + with this stuff. + + REDDY: + Gee! I've found a bottle of whiskey. + (Takes bottle from buffet and begins to pull at the cork.) + + HATCH: + Well, you put it right back where you found it. + + REDDY: + I know a better place than that to put it. + + HATCH: + How many times have I told you I'll not let you drink in business + hours? + + REDDY: + Oh, just once, governor; it's a cruel, cold night. + (Coughs.) + I need it for medicine. + + HATCH: + No, I tell you! + + REDDY: + Just ONE dose. Here's to you. + (Drinks.) + Oh, Lord! + (He sputters and coughs violently.) + + HATCH: + (starts toward him) + Hush! Stop that, you fool. + + REDDY: + Oh, Im poisoned! That's benzine, governor. What do you think of + that? Benzine! It's burned me throat out. + + HATCH: + I wish it had burned your tongue out! CAN'T you keep still? + + REDDY: + Oh, Lord! Oh, Lord! Think of a man puttin' benzine in a whiskey + bottle! That's dishonest, that is. Using a revenue stamp twice is + defraudin' the Government. I could have him arrested for that. + (Pause.) + If I wanted to. + (Pause.) + But I don't want to. + + HATCH: + Oh, quit that—and come here. Get out the window, and I'll hand + the bag to you. Put it under the seat of the wagon, and cover it + up with the lap robe. + + (REDDY steps to centre door and, parting the curtains, leans into + the hall beyond, listening.) + + REDDY: + Go slow. I ain't to leave here till Harry is safe on the ground + floor again. + + HATCH: + Don't you worry about Harry. He won't get into trouble. + + REDDY: + Sure HE won't. It's ME and YOU he'll get into trouble. You hadn't + ought to send HIM to do second-story work. + + HATCH: + (Contemptuously) + No? + + REDDY: + No; he's too tender-hearted. A second-story worker ought to use + his gun. + + HATCH: + Oh, you! You'll fire your gun too often some day. + + REDDY: + No, I won't. I did once, but I didn't do it again for six years. + But Harry—ah, he's too tender-hearted. If Harry was a chicken + thief, before he'd wring a chicken's neck he'd give it laughing + gas. Why, you remember the lady that woke up and begged him to + give her back a gold watch because it belonged to her little + girl who was dead. Well—it turned out the little girl wasn't + dead. It turned out the little girl was a big boy, alive and + kicking—especially kicking. He kicked me into a rose bush. + + HATCH: + That'll do. Harry's learning his trade. He'll pick it up in time. + + REDDY: + About time he picked up something. Remember the Gainesville Bank; + where he went away leaving ten thousand dollars in the back of the + safe. Why didn't he pick THAT up? + + HATCH: + Because it wasn't there. Bank directors always say that—to make + us feel bad. Hush! + + (HARRY enters, carrying his silk muffler, which now is wrapped + about a collection of jewels and watches.) + + HATCH: + That's quick work. What did you get? + + HARRY: + Some neck strings, and rings, and two watches. + + (He spreads the muffler on the table. The three men examine the + jewelry.) + + HATCH: + That looks good. Who's up there? + + HARRY: + Only an old lady and a young girl in the room over this. And she's + a beauty, too. + (Sentimentally.) + Sleeping there just as sweet and peaceful— + + REDDY: + Ah, why don't you give her back HER watch? Maybe she's ANOTHER + dead daughter. + + HATCH: + That's all right, Harry. That's good stuff. Pick up that bag, + Reddy. We can go now. + + (HARRY places muffler and jewels in an inside coat pocket. REDDY + takes up the dark lantern.) + + REDDY: + Go? Not till I've got something to eat. + + HATCH: + No, you don't. You can wait till later for something to eat. + + REDDY: + Yes, I can wait till later for something to eat, but I can wait + better if I eat now. + (Exit into pantry.) + + HATCH: + Confound him. If I knew the roads around here as well as he does, + I'd drive off and leave him. That appetite of his will send us to + jail some day. + + HARRY: + Well, to tell the truth, governor, a little supper wouldn't hurt my + feelings. + (Goes to buffet.) + I wonder where old man Gardner keeps his Havanas? I'd like a + Christmas present of a box of cigars. Are there any over here? + + HATCH: + I didn't look. I gave up robbing tills when I was quite a boy. + (Carries bag toward window and looks out.) + + HARRY: + (Takes box of cigars from buffet) + Ah, here they are. + (With disgust.) + Domestics! What do you think of that? Made in Vermont. The + "Admiral Dewey" cigar. Gee! What was the use of Dewey's taking + Manila, if I've got to smoke Vermont cigars? + + (REDDY enters, carrying tray with food and a bottle.) + + REDDY: + Say, fellers, look at this layout. These is real people in this + house. I found cold birds, and ham, and all kinds of pie, and real + wine. + (Places tray on right end of table.) + Sit down, and make yourselves perfectly at home. + + HARRY: + Well, well, that does look good. + (Places box of cigars at upper end of table, and seats himself.) + Better have a bite, governor. + + HATCH: + No, I tell you. + (He sits angrily in chair at left end of table, with his face + turned toward the curtains.) + + REDDY: + Oh, come on. It don't cost you nothing. + (The light from the candle is seen approaching the curtains.) + + HATCH: + Hush! Look there! + + (He rises, lifting his chair above his head, and advances on tiptoe + to right of curtains, where he stands with the chair raised as + though to strike. + + HARRY points revolver at curtains. + + REDDY shifts the lantern to his left hand and, standing close to + HARRY, also points a revolver. + + ALICE appears between curtains. She is dressed as before, and in + her left hand carries the candle, while the forefinger of her right + hand is held warningly to her lips. For an instant she pauses, in + the ring of light from the lantern.) + + ALICE: + (Whispering) + Hush! Don't make a noise. Don't make a noise, please. + + (There is a long pause.) + + REDDY: + Well, I'll be hung! + + ALICE: + (To REDDY) + Please don't make a noise. + + HATCH: + (in a threatening whisper) + Don't YOU make a noise. + + ALICE: + I don't mean to. My mother is asleep upstairs and she is very ill. + And I don't want to wake her—and I don't want you to wake her, + either. + + REDDY: + Well, I'll be hung! + + HATCH: + (Angrily) + Who else is in this house? + + ALICE: + No one but mother and the maid servants, and they're asleep. You + woke me, and I hoped you'd go without disturbing mother. But when + you started in making a night of it, I decided I'd better come down + and ask you to be as quiet as possible. My mother is not at all + well. + (Takes cigar box off table.) + Excuse me, you've got the wrong cigars. Those are the cigars + father keeps for his friends. Those he smokes he hides over here. + (Places box on buffet and takes out a larger box, with partitions + for cigars, matches, and cigarettes. As she moves about, REDDY + keeps her well in the light of the lantern.) + Try those. I'm afraid you've a very poor supper. When father is + away, we have such a small family. I can't see what you've—would + you mind taking that light out of my eyes, and pointing it at that + tray? + + HATCH: + (sharply) + Don't you do it. Keep the gun on her. + + ALICE: + Oh, I don't mind his pointing the gun at me, so long as he does not + point that light at me. It's most—embarrassing. + (Sternly.) + Turn it down there, please. + (REDDY lets light fall on tray.) + Why, that's cooking sherry you've got. You can't drink THAT! Let + me get you some whiskey. + + REDDY: + (covering her with lantern) + No, you don't. That's not whiskey. It's benzine. + + ALICE: + You don't mean to say that that benzine bottle is there STILL? I + told Jane to take it away. + + REDDY: + (dryly) + Well, Jane didn't do it. + + ALICE: + Now, isn't that just like Jane? I told her it might set fire to + the house and burn us alive. + + REDDY: + It nearly burned me alive. + + ALICE: + I'm so sorry. + (Takes from buffet a tray holding whiskey bottle, siphon, and three + glasses.) + Here, this is what you want. But, perhaps you don't like Scotch. + + HATCH: + Don't you touch that, Reddy. + (Returns to chair at left of table.) + + REDDY: + Why not? + + ALICE: + (pours whiskey into a glass) + Yes; why not? It's not poison. There's nothing wrong with this + bottle. If you're afraid, I'll prove it to you. Just to show you + there's not a trace of hard feelings. + (Drinks and coughs violently.) + + REDDY: + (sympathetically) + SHE'S got the benzine bottle, too. + + ALICE: + No. I'm not quite used to that. + (To HARRY) + Excuse me, but aren't you getting tired holding that big pistol? + Don't you think you might put it down now, and help me serve this + supper? + (HARRY does not move.) + No? Well, then, let the colored gentleman help me. + (HARRY and REDDY wheel sharply, each pointing his revolver.) + + REDDY: + Colored man! Where? + + HARRY: + Colored man! It's a trap! + + (Seeing no one, they turn.) + + ALICE: + (to REDDY) + Oh, pardon me. Aren't you a colored person? + + REDDY: + Me! Colored? You never see a colored man with hair like that, did + you? + (Points lantern at his head.) + This isn't my real face, lady. Why, out of office hours, I've a + complexion like cream and roses. + (Indignantly.) + Colored man! + + ALICE: + I beg your pardon, but I can't see very well. Don't you think it + would be more cheerful if we had a little more light? + + HATCH: + No! + (To REDDY.) + Drop that. We've got to go. + (To ALICE.) + And before we go, I've got to fix you. + + ALICE: + Fix me—how "fix" me? + + HATCH: + I'm sorry, Miss, but it's your own fault. You shouldn't have tried + to see us. Now that you HAVE, before we leave, I've got to tie you + to a chair—and gag you. + + ALICE: + Oh, really—all of that? + + HATCH: + I can't have you raising the neighborhood until we get well away. + + ALICE: + I see. But—gagged—I'll look so foolish. + + REDDY: + Well, there's no hurry. We won't get well away until I've had + something to eat. + + ALICE: + Quite right. + (To Hatch.) You can tie me in a chair later, Mr. ——. But now + you must remember that I am your hostess. + (To REDDY.) + You'll find plates in the pantry, please. + + REDDY: + Oh, I don't use them things. + + ALICE: + You'll use "them things" when you eat with me. Go, do as I tell + you, please. + (REDDY exits..) + And you—put away that silly gun and help him. + + HATCH: + Stay where you are. + + HARRY: + Oh, what's the rush, governor? She can't hurt nobody. And I'm + near starved, too. + (Exit into pantry.) + + HATCH: + This is the last time I take YOU out. + + ALICE: + (arranging the food upon the table) + Now, why are you so peevish to everybody? Why don't you be + sociable, and take some supper? + (Glances at sideboard.) + You seem to have taken everything else. Oh, that reminds me. + Would you object to loaning me about—four, six—about six of our + knives and forks? Just for the supper. I suppose we can borrow + from the neighbors for breakfast. Unless you've been calling on + the neighbors, too. + + HATCH: + Oh, anything to oblige a lady. + (Threateningly.) + But no tricks, now! + + ALICE: + Oh, I can't promise that, because I mightn't be able to keep my + promise. + + (HATCH brings silver knives and forks from the bag.) + + HATCH: + I'll risk all the tricks you know. Nobody's got much the better of + me in the last twenty years. + + ALICE: + Have you been a burglar twenty years? You must have begun very + young. I can't see your face very well, but I shouldn't say you + were—over forty. Do take that mask off. It looks so—unsociable. + Don't be afraid of me. I've a perfectly shocking memory for faces. + Now, I'm sure that under that unbecoming and terrifying exterior + you are hiding a kind and fatherly countenance. Am I right? + (Laughs.) + Why do you wear it? + + HATCH: + (roughly) + To keep my face warm. + + ALICE: + Oh, pardon me, my mistake. + + (A locomotive whistle is heard at a distance. ALICE listens + eagerly. As the whistle dies away and is not repeated, her face + shows her disappointment.) + + HATCH: + What was that? There's no trains this time of night. + + ALICE: + (speaking partly to herself) + It was a freight train, going the other way. + + HATCH: + (suspiciously) + The other way? The other way from where? + + ALICE: + From where it started. Do you know, I've always wanted to meet a + burglar. But it's so difficult. They go out so seldom. + + HATCH: + Yes, and they arrive so late. + + ALICE: + (laughingly) + Now, that's much better. It's so nice of you to have a sense of + humor. While you're there, just close those blinds, please, so + that the neighbors can't see what scandalous hours we keep. And + then you can make a light. This is much too gloomy for a supper + party. + + HATCH: + (closing shutters) + Yes, if those were shut it might be safer. + + (He closes shutters and turns on the two electric lights. REDDY + and HARRY enter, carrying plates.) + + HARRY: + We aren't regular waiters, miss, but we think we're pretty good for + amateurs. + + REDDY: + We haven't forgot nothing. Not even napkins. Have some napkins? + + (Places a pile of folded napkins in front of ALICE. Then sits at + head of table, HARRY to lower right of table. ALICE moves her + chair away from the table, but keeping REDDY on her right. HATCH + sits still further away from the table on her left.) + + ALICE: + Thanks. Put the plates down there. And may I help you to some— + + REDDY: + (taking food in fingers) + Oh, we'll help ourselves. + + ALICE: + Of course you're accustomed to helping yourselves, aren't you? + (To HATCH.) + Won't you join them? + + HATCH: + No. + + (Through the scene which follows, REDDY and HARRY continue to eat + and drink heartily.) + + ALICE: + No? Well, then, while they're having supper, you and I will talk. + If you're going to gag me soon, I want to talk while I can. + (Rises and hands box to him.) + Have a cigar? + + HATCH: + (takes cigar) + Thanks. + + ALICE: + (standing with hand on back of chair) + Now, I want to ask you some questions. You are an intelligent man. + Of course, you must be, or you couldn't have kept out of jail for + twenty years. To get on in your business, a man must be + intelligent, and he must have nerve, and courage. Now—with those + qualities, why, may I ask—why are you so stupid as to be a + burglar? + + HARRY: + Stupid! + + REDDY: + Well, I like that! + + HATCH: + Stupid? Why, I make a living at it. + + ALICE: + How much of a living? + + HATCH: + Ten thousand a year. + + ALICE: + Ten thousand—well, suppose you made FIFTY thousand. What good is + even a hundred thousand for ONE year, if to get it you risk + going to prison for twenty years? That's not sensible. Merely as + a business proposition, to take the risk you do for ten thousand + dollars is stupid isn't it? I can understand a man's risking + twenty years of his life for some things—a man like Peary or + Dewey, or Santos-Dumont. They took big risks for big prizes. But + there's thousands of men in this country, not half as clever as you + are, earning ten thousand a year—without any risk of going to + jail. None of THEM is afraid to go out in public with his wife and + children. THEY'RE not afraid to ask a policeman what time it is. + They don't have to wear black masks, nor ruin their beautiful + complexions with burnt cork. + + REDDY: + Ah, go on. Who'd give ME a job? + + ALICE: + Whom did you ever ask for one? + + REDDY: + (to HARRY) + Pass me some more of that pie like mother used to make. + + HATCH: + Yes, there are clerks and shopkeepers working behind a counter + twenty-four hours a day, but they don't make ten thousand a year, + and no one ever hears of THEM. There's no FAME in their job. + + ALICE: + Fame! Oh, how interesting. Are you—a celebrity? + + HATCH: + I'm quite as well known as I care to be. Now, tomorrow, all the + papers will be talking about this. There'll be columns about us + three. No one will know we are the ones they're talking about— + + REDDY: + I hope not. + + HATCH: + But the men in our profession will know. And they'll say, "That + was a neat job of So-and-so's last night." That's fame. Why, + we've got a reputation from one end of this country to the other. + + HARRY: + That's right! There's some of us just as well known as—Mister— + Santos—Dumont. + + REDDY: + And we fly just as high, too. + + ALICE: + (to HATCH) + I suppose YOU—I suppose you're quite a FAMOUS burglar? + + REDDY: + Him? Why, he's as well known as Billy the Kid. + + ALICE: + Billy the kid, really! He sounds SO attractive. But I'm afraid—I + don't think—that I ever heard of HIM. + + REDDY: + Never heard of Billy the Kid? What do you think of that? + + HATCH: + Well, then, I'm as well known as "Brace" Phillips, the Manhattan + Bank robber. + + REDDY: + SURE he is. + + HATCH: + Don't tell me you never heard of him? + + ALICE: + I'm afraid not. + + HATCH: + Why, he's a head-liner. He's as well known as George Post. Coppy + Farrell? Billy Porter? + + ALICE: + No. There you are. Now, you claim there is fame in this + profession, and you have named five men who are at the top of it, + and I've never heard of one of them. And I read the papers, too. + + REDDY: + Well, there's OTHER ladies who have heard of us. Real ladies. + When I was doing my last bit in jail, I got a thousand letters from + ladies asking for me photograph, and offering to marry me. + + ALICE: + Really? Well, that only proves that men—AS HUSBANDS—are more + desirable in jail than out. + (To HATCH) + No, it's a poor life. + + HATCH: + It's a poor life you people lead with us to worry you. There's + seventy millions of you in the United States, and only a few of us, + and yet we keep you guessing all the year round. Why, we're the + last thing you think of at night when you lock the doors, we're the + first thing you think of in the morning when you feel for the + silver basket. We're just a few up against seventy millions. I + tell you there's fame and big money and a free life in my business. + + ALICE: + Yes, it's a free life until you go to jail. It's this way. You're + barbarians, and there's no place for you in a civilized community— + except in jail. Everybody is working against you. Every city has + its police force; almost every house nowadays has a private + watchman. And if we want to raise a hue and cry after you, there + are the newspapers, and the telegraph, and the telephone + (nods at telephone) + and the cables all over the— + + HATCH: + (Grimly) + Thank you. One moment, please. + (Throws open overcoat, showing that it is lined with burglars' + jimmies, chisels, and augers..) + + ALICE: + My! What an interesting coat. It looks like a tool chest. Just + the coat for an automobile trip. + + HATCH: + Harry, cut those telephone wires. + (Hands barbed-wire cutter to HARRY. To ALICE) + Thank you for reminding me. + + ALICE: + Oh, not at all. You've nothing to thank me for. + (HARRY goes to telephone. To HARRY) + Don't make a noise doing that. Don't wake my mother. + (To HATCH) + She's nervous, and she's ill, and if you wake her, or frighten her, + I'll keep the police after you until every one of you is in jail. + + HATCH: + You won't keep after us very far when I've tied you up. Bring me + those curtain cords, Harry. + + ALICE: + Oh, really, that's too ridiculous. + (Listens apprehensively) + + HATCH: + Sorry I had to bust up your still alarm, but after we go, we can't + have you chatting with the police. If you hadn't so kindly given + me a tip about the telephone, I might have gone off and clean + forgot that. + + (HARRY takes curtain cords from window curtains.) + + REDDY: + I'm afraid pretty polly talked too much that time. We ain't all + stupid. + + ALICE: + No, so I see, so I see. It was careless of me. But everybody you + call upon may not be so careless. + + HATCH: + Well, I've won out for twenty years. I've never been in jail. + + ALICE: + Don't worry. You're young. I told you you looked young. Your + time is coming. In these days there's no room for burglars. You + belong to the days of stage-coaches. You're old-fashioned now. + You're trying to fight civilization, that's what you're trying to + do. You may keep ahead for a time, but in a long race I'll back + civilization to win. + + HATCH: + Is that so? Well, Miss Civilization, you've had your say, and I + hope you feel better. + (To HARRY) + Give me that silk muffler of yours. + (To ALICE) + If civilization is going to help you, it's got to hurry. + + ALICE: + You don't mean to say you really are going to gag me? + + HATCH: + I am. + + ALICE: + My! But I shall look silly. + (With her face turned right she listens apprehensively.) + + HARRY: + (Coming down with curtain cords, and taking muffler from his + pocket) + I've got the stuff in this muffler. + + HATCH: + Well, give me that, too. + (Shows inside coat pocket) + I'll put it in the safe. + + (HARRY places muffler on table, exposing jewelry.) + + HATCH: + (begins placing the ornaments one at a time in his pocket. To + ALICE.) + What is it? What did you hear? + + ALICE: + I—I thought I heard my mother moving about. + + HATCH: + Well, she'd better not move about. + + ALICE: + (Fiercely) + You'd better not wake her. + (Sees the jewels.) + Oh! Look at the "graft," or is it "swag?" Which is it? + + HATCH: + (To HARRY) + Cover em up; cover it up. + + (HARRY tries to hide the jewels with one hand, while he passes a + lady's watch to HATCH.) + + HARRY: + (to ALICE) + That's YOUR watch. I'm sorry it has to go. + + ALICE: + I'm not. It's the first time it ever did go. And, oh, thank you + for taking that big brooch. It's a gift of father's, so I had to + wear it, but it's so unbecoming. + (She listens covertly.) + + HATCH: + Put your hat on them. Cover them up. + (HARRY partly covers jewels with his hat. + + HATCH lifts a diamond necklace.) + + ALICE: + I suppose you know your own business—but THAT IS PASTE. + + HATCH: + Do you want to be gagged NOW? + + ALICE: + Pardon me, of course you know what you want. + (Notices another necklace.) + Oh, that Mrs. Warren's necklace! So you called on her, too, did + you? Isn't she attractive! + + REDDY: + We didn't ask for the lady of the house. They ain't always as + sociable as you are. + + ALICE: + Well, that's her necklace. You got that at the house on the hill + with the red roof—the house has the red roof, not the hill. + (She recognizes, with an exclamation, a gold locket and chain which + HATCH is about to place in his pocket.) + Oh! That's Mrs. Lowell's locket! How could you! + (She snatches locket from HATCH, and clasps it in both hands. She + rises indignantly.) + How dared you take that! + + HATCH: + Put that down! + + ALICE: + (wildly and rapidly) + No, I will not. Do you know what that means to that woman? She + cares more for that than for anything in this world. Her husband + used to wear this. + (Points.) + That's a lock of their child's hair. The child's dead, and the + husband's dead, and that's all she has left of either of them. And + you TOOK it, YOU BRUTES! + + REDDY: + Of course we took it. Why does she wear it where everybody can see + it? + + HATCH: + (savagely) + Keep quiet, you fool. + + ALICE: + She WORE it? You took it—FROM HER? + + HATCH: + We didn't hurt her. We only frightened her a bit. + (Angrily.) + And we'll frighten you before we're done with you, Miss + Civilization! + + ALICE: + (defiantly, her voice rising) + Frighten me! You—you with your faces covered! You're not men + enough. You're afraid to even steal from men. You rob WOMEN when + they're alone—at night. + (Holds up locket.) + Try to take that from me! + + VOICE: + (calling) + Alice—Alice! + + ALICE: + Mother! Oh, I forgot, I forgot. + (The burglars rise and move toward her menacingly.) + Please, please keep quiet. For God's sake, don't—let—her—know! + + VOICE: + Alice, what's wrong? Who are you talking to? + + (ALICE runs to the curtains, with one hand held out to the + burglars, entreating silence.) + + ALICE: + I'm—I'm talking to James, the coachman. One of the horses is ill. + Don't come down, mother. Don't come down. Go back to bed. He's + going now, right away. He came for some medicine. It's all right. + Good night, mother. + + VOICE: + Can't I help? + + ALICE: + (Vehemently) + No, no. Good night, mother. + + VOICE: + Good night. + + HATCH: + (fiercely, to HARRY) + That's enough of this! We can't leave here with the whole house + awake. And there's a coachman, too. She'll wake him next. He'll + have the whole damned village after us. + (To ALICE) + That woman upstairs and you have got to have your tongues stopped. + + ALICE: + (standing in front of curtains) + You try to go near that woman! She's ill, she's feeble, she's my— + mother! You dare to touch her. + + HATCH: + Get out of my way. + + ALICE: + She's ill, you cowards. It will kill her. You'll have to kill me + before you get through this door. + + HATCH: + (savagely) + Well, then, if it comes to that— + + (Three locomotive whistles are heard from just outside the house. + ALICE throws up her hands hysterically.) + + ALICE: + Ah! At last! They've come. They've come! + + HATCH: + (fiercely) + They've come! What is it? What does that mean? + + (REDDY runs to window and opens the shutters.) + + ALICE: + (jubilantly) + It means—it means that twenty men are crossing that lawn. It + means that while you sat drinking there, Civilization was racing + toward you at seventy miles an hour! + + HATCH: + Damnation! We're trapped. Get to the wagon—quick! No. Leave + the girl alone. We've no time for that. Drop that stuff. That + way. That way. + + REDDY: + (at window) + No. Get back! Get back! It's too late. There's hundreds of them + out there. + + HATCH: + (running to centre door) + Out here! This way! Quick! + + ALICE: + (mockingly) + Yes, come! You don't dare come this way NOW! + + (She drags open the curtains, disclosing CAPTAIN LUCAS and two + other policemen. For an instant they stand, covering the burglars + with revolvers. REDDY runs to window. He is seized by an entering + crowd of men in the oil-stained blue jeans of engineers and + brakemen.) + + CAPTAIN LUCAS: + Hold up your hands, all of you! I guess I know you. + (With his left hand he tears off HATCH'S mask.) + "Joe" Hatch—at last. + (Pulls off HARRY'S mask.) + And Harry Hayes. I thought so. And that's—the "Kid." The whole + gang. + (To the police.) + Good work, boys. + (To ALICE) + My congratulations, Miss Gardner. They're the worst lot in the + country. You're a brave young lady. You ought— + + ALICE: + (speaking with an effort and swaying slightly) + Hush, please. Don't—don't alarm my mother. Mother's not as + strong as—as I am. + + (Her eyes close, and she faints across the arm of the Chief of + Police as the CURTAIN FALLS.) diff --git a/scripts/[public domain] Pygmalion.txt b/scripts/[public domain] Pygmalion.txt new file mode 100644 index 0000000000000000000000000000000000000000..f4b1a107de5df902084273068a513772ef369bef --- /dev/null +++ b/scripts/[public domain] Pygmalion.txt @@ -0,0 +1,2191 @@ +PYGMALION +By BERNARD SHAW +1912 + +ACT I +Covent Garden at 11.15 p.m. Torrents of heavy summer rain. Cab whistles blowing frantically in all directions. Pedestrians running for shelter into the market and under the portico of St. Paul’s Church, where there are already several people, among them a lady and her daughter in evening dress. They are all peering out gloomily at the rain, except one man with his back turned to the rest, who seems wholly preoccupied with a notebook in which he is writing busily. + +The church clock strikes the first quarter. + +THE DAUGHTER [in the space between the central pillars, close to the one on her left] I’m getting chilled to the bone. What can Freddy be doing all this time? He’s been gone twenty minutes. + +THE MOTHER [on her daughter’s right] Not so long. But he ought to have got us a cab by this. + +A BYSTANDER [on the lady’s right] He won’t get no cab not until half-past eleven, missus, when they come back after dropping their theatre fares. + +THE MOTHER. But we must have a cab. We can’t stand here until half-past eleven. It’s too bad. + +THE BYSTANDER. Well, it ain’t my fault, missus. + +THE DAUGHTER. If Freddy had a bit of gumption, he would have got one at the theatre door. + +THE MOTHER. What could he have done, poor boy? + +THE DAUGHTER. Other people got cabs. Why couldn’t he? + +Freddy rushes in out of the rain from the Southampton Street side, and comes between them closing a dripping umbrella. He is a young man of twenty, in evening dress, very wet around the ankles. + +THE DAUGHTER. Well, haven’t you got a cab? + +FREDDY. There’s not one to be had for love or money. + +THE MOTHER. Oh, Freddy, there must be one. You can’t have tried. + +THE DAUGHTER. It’s too tiresome. Do you expect us to go and get one ourselves? + +FREDDY. I tell you they’re all engaged. The rain was so sudden: nobody was prepared; and everybody had to take a cab. I’ve been to Charing Cross one way and nearly to Ludgate Circus the other; and they were all engaged. + +THE MOTHER. Did you try Trafalgar Square? + +FREDDY. There wasn’t one at Trafalgar Square. + +THE DAUGHTER. Did you try? + +FREDDY. I tried as far as Charing Cross Station. Did you expect me to walk to Hammersmith? + +THE DAUGHTER. You haven’t tried at all. + +THE MOTHER. You really are very helpless, Freddy. Go again; and don’t come back until you have found a cab. + +FREDDY. I shall simply get soaked for nothing. + +THE DAUGHTER. And what about us? Are we to stay here all night in this draught, with next to nothing on. You selfish pig— + +FREDDY. Oh, very well: I’ll go, I’ll go. [He opens his umbrella and dashes off Strandwards, but comes into collision with a flower girl, who is hurrying in for shelter, knocking her basket out of her hands. A blinding flash of lightning, followed instantly by a rattling peal of thunder, orchestrates the incident] + +THE FLOWER GIRL. Nah then, Freddy: look wh’ y’ gowin, deah. + +FREDDY. Sorry [he rushes off]. + +THE FLOWER GIRL [picking up her scattered flowers and replacing them in the basket] There’s menners f’ yer! Te-oo banches o voylets trod into the mad. [She sits down on the plinth of the column, sorting her flowers, on the lady’s right. She is not at all an attractive person. She is perhaps eighteen, perhaps twenty, hardly older. She wears a little sailor hat of black straw that has long been exposed to the dust and soot of London and has seldom if ever been brushed. Her hair needs washing rather badly: its mousy color can hardly be natural. She wears a shoddy black coat that reaches nearly to her knees and is shaped to her waist. She has a brown skirt with a coarse apron. Her boots are much the worse for wear. She is no doubt as clean as she can afford to be; but compared to the ladies she is very dirty. Her features are no worse than theirs; but their condition leaves something to be desired; and she needs the services of a dentist]. + +THE MOTHER. How do you know that my son’s name is Freddy, pray? + +THE FLOWER GIRL. Ow, eez ye-ooa san, is e? Wal, fewd dan y’ de-ooty bawmz a mather should, eed now bettern to spawl a pore gel’s flahrzn than ran awy atbaht pyin. Will ye-oo py me f’them? [Here, with apologies, this desperate attempt to represent her dialect without a phonetic alphabet must be abandoned as unintelligible outside London.] + +THE DAUGHTER. Do nothing of the sort, mother. The idea! + +THE MOTHER. Please allow me, Clara. Have you any pennies? + +THE DAUGHTER. No. I’ve nothing smaller than sixpence. + +THE FLOWER GIRL [hopefully] I can give you change for a tanner, kind lady. + +THE MOTHER [to Clara] Give it to me. [Clara parts reluctantly]. Now [to the girl] This is for your flowers. + +THE FLOWER GIRL. Thank you kindly, lady. + +THE DAUGHTER. Make her give you the change. These things are only a penny a bunch. + +THE MOTHER. Do hold your tongue, Clara. [To the girl]. You can keep the change. + +THE FLOWER GIRL. Oh, thank you, lady. + +THE MOTHER. Now tell me how you know that young gentleman’s name. + +THE FLOWER GIRL. I didn’t. + +THE MOTHER. I heard you call him by it. Don’t try to deceive me. + +THE FLOWER GIRL [protesting] Who’s trying to deceive you? I called him Freddy or Charlie same as you might yourself if you was talking to a stranger and wished to be pleasant. [She sits down beside her basket]. + +THE DAUGHTER. Sixpence thrown away! Really, mamma, you might have spared Freddy that. [She retreats in disgust behind the pillar]. + +An elderly gentleman of the amiable military type rushes into shelter, and closes a dripping umbrella. He is in the same plight as Freddy, very wet about the ankles. He is in evening dress, with a light overcoat. He takes the place left vacant by the daughter’s retirement. + +THE GENTLEMAN. Phew! + +THE MOTHER [to the gentleman] Oh, sir, is there any sign of its stopping? + +THE GENTLEMAN. I’m afraid not. It started worse than ever about two minutes ago. [He goes to the plinth beside the flower girl; puts up his foot on it; and stoops to turn down his trouser ends]. + +THE MOTHER. Oh, dear! [She retires sadly and joins her daughter]. + +THE FLOWER GIRL [taking advantage of the military gentleman’s proximity to establish friendly relations with him]. If it’s worse it’s a sign it’s nearly over. So cheer up, Captain; and buy a flower off a poor girl. + +THE GENTLEMAN. I’m sorry, I haven’t any change. + +THE FLOWER GIRL. I can give you change, Captain, + +THE GENTLEMEN. For a sovereign? I’ve nothing less. + +THE FLOWER GIRL. Garn! Oh do buy a flower off me, Captain. I can change half-a-crown. Take this for tuppence. + +THE GENTLEMAN. Now don’t be troublesome: there’s a good girl. [Trying his pockets] I really haven’t any change—Stop: here’s three hapence, if that’s any use to you [he retreats to the other pillar]. + +THE FLOWER GIRL [disappointed, but thinking three halfpence better than nothing] Thank you, sir. + +THE BYSTANDER [to the girl] You be careful: give him a flower for it. There’s a bloke here behind taking down every blessed word you’re saying. [All turn to the man who is taking notes]. + +THE FLOWER GIRL [springing up terrified] I ain’t done nothing wrong by speaking to the gentleman. I’ve a right to sell flowers if I keep off the kerb. [Hysterically] I’m a respectable girl: so help me, I never spoke to him except to ask him to buy a flower off me. [General hubbub, mostly sympathetic to the flower girl, but deprecating her excessive sensibility. Cries of Don’t start hollerin. Who’s hurting you? Nobody’s going to touch you. What’s the good of fussing? Steady on. Easy, easy, etc., come from the elderly staid spectators, who pat her comfortingly. Less patient ones bid her shut her head, or ask her roughly what is wrong with her. A remoter group, not knowing what the matter is, crowd in and increase the noise with question and answer: What’s the row? What she do? Where is he? A tec taking her down. What! him? Yes: him over there: Took money off the gentleman, etc. The flower girl, distraught and mobbed, breaks through them to the gentleman, crying mildly] Oh, sir, don’t let him charge me. You dunno what it means to me. They’ll take away my character and drive me on the streets for speaking to gentlemen. They— + +THE NOTE TAKER [coming forward on her right, the rest crowding after him] There, there, there, there! Who’s hurting you, you silly girl? What do you take me for? + +THE BYSTANDER. It’s all right: he’s a gentleman: look at his boots. [Explaining to the note taker] She thought you was a copper’s nark, sir. + +THE NOTE TAKER [with quick interest] What’s a copper’s nark? + +THE BYSTANDER [inept at definition] It’s a—well, it’s a copper’s nark, as you might say. What else would you call it? A sort of informer. + +THE FLOWER GIRL [still hysterical] I take my Bible oath I never said a word— + +THE NOTE TAKER [overbearing but good-humored] Oh, shut up, shut up. Do I look like a policeman? + +THE FLOWER GIRL [far from reassured] Then what did you take down my words for? How do I know whether you took me down right? You just show me what you’ve wrote about me. [The note taker opens his book and holds it steadily under her nose, though the pressure of the mob trying to read it over his shoulders would upset a weaker man]. What’s that? That ain’t proper writing. I can’t read that. + +THE NOTE TAKER. I can. [Reads, reproducing her pronunciation exactly] “Cheer ap, Keptin; n’ haw ya flahr orf a pore gel.” + +THE FLOWER GIRL [much distressed] It’s because I called him Captain. I meant no harm. [To the gentleman] Oh, sir, don’t let him lay a charge agen me for a word like that. You— + +THE GENTLEMAN. Charge! I make no charge. [To the note taker] Really, sir, if you are a detective, you need not begin protecting me against molestation by young women until I ask you. Anybody could see that the girl meant no harm. + +THE BYSTANDERS GENERALLY [demonstrating against police espionage] Course they could. What business is it of yours? You mind your own affairs. He wants promotion, he does. Taking down people’s words! Girl never said a word to him. What harm if she did? Nice thing a girl can’t shelter from the rain without being insulted, etc., etc., etc. [She is conducted by the more sympathetic demonstrators back to her plinth, where she resumes her seat and struggles with her emotion]. + +THE BYSTANDER. He ain’t a tec. He’s a blooming busybody: that’s what he is. I tell you, look at his boots. + +THE NOTE TAKER [turning on him genially] And how are all your people down at Selsey? + +THE BYSTANDER [suspiciously] Who told you my people come from Selsey? + +THE NOTE TAKER. Never you mind. They did. [To the girl] How do you come to be up so far east? You were born in Lisson Grove. + +THE FLOWER GIRL [appalled] Oh, what harm is there in my leaving Lisson Grove? It wasn’t fit for a pig to live in; and I had to pay four-and-six a week. [In tears] Oh, boo—hoo—oo— + +THE NOTE TAKER. Live where you like; but stop that noise. + +THE GENTLEMAN [to the girl] Come, come! he can’t touch you: you have a right to live where you please. + +A SARCASTIC BYSTANDER [thrusting himself between the note taker and the gentleman] Park Lane, for instance. I’d like to go into the Housing Question with you, I would. + +THE FLOWER GIRL [subsiding into a brooding melancholy over her basket, and talking very low-spiritedly to herself] I’m a good girl, I am. + +THE SARCASTIC BYSTANDER [not attending to her] Do you know where I come from? + +THE NOTE TAKER [promptly] Hoxton. + +Titterings. Popular interest in the note taker’s performance increases. + +THE SARCASTIC ONE [amazed] Well, who said I didn’t? Bly me! You know everything, you do. + +THE FLOWER GIRL [still nursing her sense of injury] Ain’t no call to meddle with me, he ain’t. + +THE BYSTANDER [to her] Of course he ain’t. Don’t you stand it from him. [To the note taker] See here: what call have you to know about people what never offered to meddle with you? Where’s your warrant? + +SEVERAL BYSTANDERS [encouraged by this seeming point of law] Yes: where’s your warrant? + +THE FLOWER GIRL. Let him say what he likes. I don’t want to have no truck with him. + +THE BYSTANDER. You take us for dirt under your feet, don’t you? Catch you taking liberties with a gentleman! + +THE SARCASTIC BYSTANDER. Yes: tell HIM where he come from if you want to go fortune-telling. + +THE NOTE TAKER. Cheltenham, Harrow, Cambridge, and India. + +THE GENTLEMAN. Quite right. [Great laughter. Reaction in the note taker’s favor. Exclamations of He knows all about it. Told him proper. Hear him tell the toff where he come from? etc.]. May I ask, sir, do you do this for your living at a music hall? + +THE NOTE TAKER. I’ve thought of that. Perhaps I shall some day. + +The rain has stopped; and the persons on the outside of the crowd begin to drop off. + +THE FLOWER GIRL [resenting the reaction] He’s no gentleman, he ain’t, to interfere with a poor girl. + +THE DAUGHTER [out of patience, pushing her way rudely to the front and displacing the gentleman, who politely retires to the other side of the pillar] What on earth is Freddy doing? I shall get pneumonia if I stay in this draught any longer. + +THE NOTE TAKER [to himself, hastily making a note of her pronunciation of “monia”] Earlscourt. + +THE DAUGHTER [violently] Will you please keep your impertinent remarks to yourself? + +THE NOTE TAKER. Did I say that out loud? I didn’t mean to. I beg your pardon. Your mother’s Epsom, unmistakeably. + +THE MOTHER [advancing between her daughter and the note taker] How very curious! I was brought up in Largelady Park, near Epsom. + +THE NOTE TAKER [uproariously amused] Ha! ha! What a devil of a name! Excuse me. [To the daughter] You want a cab, do you? + +THE DAUGHTER. Don’t dare speak to me. + +THE MOTHER. Oh, please, please Clara. [Her daughter repudiates her with an angry shrug and retires haughtily.] We should be so grateful to you, sir, if you found us a cab. [The note taker produces a whistle]. Oh, thank you. [She joins her daughter]. The note taker blows a piercing blast. + +THE SARCASTIC BYSTANDER. There! I knowed he was a plain-clothes copper. + +THE BYSTANDER. That ain’t a police whistle: that’s a sporting whistle. + +THE FLOWER GIRL [still preoccupied with her wounded feelings] He’s no right to take away my character. My character is the same to me as any lady’s. + +THE NOTE TAKER. I don’t know whether you’ve noticed it; but the rain stopped about two minutes ago. + +THE BYSTANDER. So it has. Why didn’t you say so before? and us losing our time listening to your silliness. [He walks off towards the Strand]. + +THE SARCASTIC BYSTANDER. I can tell where you come from. You come from Anwell. Go back there. + +THE NOTE TAKER [helpfully] Hanwell. + +THE SARCASTIC BYSTANDER [affecting great distinction of speech] Thenk you, teacher. Haw haw! So long [he touches his hat with mock respect and strolls off]. + +THE FLOWER GIRL. Frightening people like that! How would he like it himself. + +THE MOTHER. It’s quite fine now, Clara. We can walk to a motor bus. Come. [She gathers her skirts above her ankles and hurries off towards the Strand]. + +THE DAUGHTER. But the cab—[her mother is out of hearing]. Oh, how tiresome! [She follows angrily]. + +All the rest have gone except the note taker, the gentleman, and the flower girl, who sits arranging her basket, and still pitying herself in murmurs. + +THE FLOWER GIRL. Poor girl! Hard enough for her to live without being worrited and chivied. + +THE GENTLEMAN [returning to his former place on the note taker’s left] How do you do it, if I may ask? + +THE NOTE TAKER. Simply phonetics. The science of speech. That’s my profession; also my hobby. Happy is the man who can make a living by his hobby! You can spot an Irishman or a Yorkshireman by his brogue. I can place any man within six miles. I can place him within two miles in London. Sometimes within two streets. + +THE FLOWER GIRL. Ought to be ashamed of himself, unmanly coward! + +THE GENTLEMAN. But is there a living in that? + +THE NOTE TAKER. Oh yes. Quite a fat one. This is an age of upstarts. Men begin in Kentish Town with 80 pounds a year, and end in Park Lane with a hundred thousand. They want to drop Kentish Town; but they give themselves away every time they open their mouths. Now I can teach them— + +THE FLOWER GIRL. Let him mind his own business and leave a poor girl— + +THE NOTE TAKER [explosively] Woman: cease this detestable boohooing instantly; or else seek the shelter of some other place of worship. + +THE FLOWER GIRL [with feeble defiance] I’ve a right to be here if I like, same as you. + +THE NOTE TAKER. A woman who utters such depressing and disgusting sounds has no right to be anywhere—no right to live. Remember that you are a human being with a soul and the divine gift of articulate speech: that your native language is the language of Shakespear and Milton and The Bible; and don’t sit there crooning like a bilious pigeon. + +THE FLOWER GIRL [quite overwhelmed, and looking up at him in mingled wonder and deprecation without daring to raise her head] Ah—ah—ah—ow—ow—oo! + +THE NOTE TAKER [whipping out his book] Heavens! what a sound! [He writes; then holds out the book and reads, reproducing her vowels exactly] Ah—ah—ah—ow—ow—ow—oo! + +THE FLOWER GIRL [tickled by the performance, and laughing in spite of herself] Garn! + +THE NOTE TAKER. You see this creature with her kerbstone English: the English that will keep her in the gutter to the end of her days. Well, sir, in three months I could pass that girl off as a duchess at an ambassador’s garden party. I could even get her a place as lady’s maid or shop assistant, which requires better English. That’s the sort of thing I do for commercial millionaires. And on the profits of it I do genuine scientific work in phonetics, and a little as a poet on Miltonic lines. + +THE GENTLEMAN. I am myself a student of Indian dialects; and— + +THE NOTE TAKER [eagerly] Are you? Do you know Colonel Pickering, the author of Spoken Sanscrit? + +THE GENTLEMAN. I am Colonel Pickering. Who are you? + +THE NOTE TAKER. Henry Higgins, author of Higgins’s Universal Alphabet. + +PICKERING [with enthusiasm] I came from India to meet you. + +HIGGINS. I was going to India to meet you. + +PICKERING. Where do you live? + +HIGGINS. 27A Wimpole Street. Come and see me tomorrow. + +PICKERING. I’m at the Carlton. Come with me now and let’s have a jaw over some supper. + +HIGGINS. Right you are. + +THE FLOWER GIRL [to Pickering, as he passes her] Buy a flower, kind gentleman. I’m short for my lodging. + +PICKERING. I really haven’t any change. I’m sorry [he goes away]. + +HIGGINS [shocked at girl’s mendacity] Liar. You said you could change half-a-crown. + +THE FLOWER GIRL [rising in desperation] You ought to be stuffed with nails, you ought. [Flinging the basket at his feet] Take the whole blooming basket for sixpence. + +The church clock strikes the second quarter. + +HIGGINS [hearing in it the voice of God, rebuking him for his Pharisaic want of charity to the poor girl] A reminder. [He raises his hat solemnly; then throws a handful of money into the basket and follows Pickering]. + +THE FLOWER GIRL [picking up a half-crown] Ah—ow—ooh! [Picking up a couple of florins] Aaah—ow—ooh! [Picking up several coins] Aaaaaah—ow—ooh! [Picking up a half-sovereign] Aasaaaaaaaaah—ow—ooh!!! + +FREDDY [springing out of a taxicab] Got one at last. Hallo! [To the girl] Where are the two ladies that were here? + +THE FLOWER GIRL. They walked to the bus when the rain stopped. + +FREDDY. And left me with a cab on my hands. Damnation! + +THE FLOWER GIRL [with grandeur] Never you mind, young man. I’m going home in a taxi. [She sails off to the cab. The driver puts his hand behind him and holds the door firmly shut against her. Quite understanding his mistrust, she shows him her handful of money]. Eightpence ain’t no object to me, Charlie. [He grins and opens the door]. Angel Court, Drury Lane, round the corner of Micklejohn’s oil shop. Let’s see how fast you can make her hop it. [She gets in and pulls the door to with a slam as the taxicab starts]. + +FREDDY. Well, I’m dashed! + + +ACT II +Next day at 11 a.m. Higgins’s laboratory in Wimpole Street. It is a room on the first floor, looking on the street, and was meant for the drawing-room. The double doors are in the middle of the back hall; and persons entering find in the corner to their right two tall file cabinets at right angles to one another against the walls. In this corner stands a flat writing-table, on which are a phonograph, a laryngoscope, a row of tiny organ pipes with a bellows, a set of lamp chimneys for singing flames with burners attached to a gas plug in the wall by an indiarubber tube, several tuning-forks of different sizes, a life-size image of half a human head, showing in section the vocal organs, and a box containing a supply of wax cylinders for the phonograph. + +Further down the room, on the same side, is a fireplace, with a comfortable leather-covered easy-chair at the side of the hearth nearest the door, and a coal-scuttle. There is a clock on the mantelpiece. Between the fireplace and the phonograph table is a stand for newspapers. + +On the other side of the central door, to the left of the visitor, is a cabinet of shallow drawers. On it is a telephone and the telephone directory. The corner beyond, and most of the side wall, is occupied by a grand piano, with the keyboard at the end furthest from the door, and a bench for the player extending the full length of the keyboard. On the piano is a dessert dish heaped with fruit and sweets, mostly chocolates. + +The middle of the room is clear. Besides the easy chair, the piano bench, and two chairs at the phonograph table, there is one stray chair. It stands near the fireplace. On the walls, engravings; mostly Piranesis and mezzotint portraits. No paintings. + +Pickering is seated at the table, putting down some cards and a tuning-fork which he has been using. Higgins is standing up near him, closing two or three file drawers which are hanging out. He appears in the morning light as a robust, vital, appetizing sort of man of forty or thereabouts, dressed in a professional-looking black frock-coat with a white linen collar and black silk tie. He is of the energetic, scientific type, heartily, even violently interested in everything that can be studied as a scientific subject, and careless about himself and other people, including their feelings. He is, in fact, but for his years and size, rather like a very impetuous baby “taking notice” eagerly and loudly, and requiring almost as much watching to keep him out of unintended mischief. His manner varies from genial bullying when he is in a good humor to stormy petulance when anything goes wrong; but he is so entirely frank and void of malice that he remains likeable even in his least reasonable moments. + +HIGGINS [as he shuts the last drawer] Well, I think that’s the whole show. + +PICKERING. It’s really amazing. I haven’t taken half of it in, you know. + +HIGGINS. Would you like to go over any of it again? + +PICKERING [rising and coming to the fireplace, where he plants himself with his back to the fire] No, thank you; not now. I’m quite done up for this morning. + +HIGGINS [following him, and standing beside him on his left] Tired of listening to sounds? + +PICKERING. Yes. It’s a fearful strain. I rather fancied myself because I can pronounce twenty-four distinct vowel sounds; but your hundred and thirty beat me. I can’t hear a bit of difference between most of them. + +HIGGINS [chuckling, and going over to the piano to eat sweets] Oh, that comes with practice. You hear no difference at first; but you keep on listening, and presently you find they’re all as different as A from B. [Mrs. Pearce looks in: she is Higgins’s housekeeper] What’s the matter? + +MRS. PEARCE [hesitating, evidently perplexed] A young woman wants to see you, sir. + +HIGGINS. A young woman! What does she want? + +MRS. PEARCE. Well, sir, she says you’ll be glad to see her when you know what she’s come about. She’s quite a common girl, sir. Very common indeed. I should have sent her away, only I thought perhaps you wanted her to talk into your machines. I hope I’ve not done wrong; but really you see such queer people sometimes—you’ll excuse me, I’m sure, sir— + +HIGGINS. Oh, that’s all right, Mrs. Pearce. Has she an interesting accent? + +MRS. PEARCE. Oh, something dreadful, sir, really. I don’t know how you can take an interest in it. + +HIGGINS [to Pickering] Let’s have her up. Show her up, Mrs. Pearce [he rushes across to his working table and picks out a cylinder to use on the phonograph]. + +MRS. PEARCE [only half resigned to it] Very well, sir. It’s for you to say. [She goes downstairs]. + +HIGGINS. This is rather a bit of luck. I’ll show you how I make records. We’ll set her talking; and I’ll take it down first in Bell’s visible Speech; then in broad Romic; and then we’ll get her on the phonograph so that you can turn her on as often as you like with the written transcript before you. + +MRS. PEARCE [returning] This is the young woman, sir. + +The flower girl enters in state. She has a hat with three ostrich feathers, orange, sky-blue, and red. She has a nearly clean apron, and the shoddy coat has been tidied a little. The pathos of this deplorable figure, with its innocent vanity and consequential air, touches Pickering, who has already straightened himself in the presence of Mrs. Pearce. But as to Higgins, the only distinction he makes between men and women is that when he is neither bullying nor exclaiming to the heavens against some featherweight cross, he coaxes women as a child coaxes its nurse when it wants to get anything out of her. + +HIGGINS [brusquely, recognizing her with unconcealed disappointment, and at once, baby-like, making an intolerable grievance of it] Why, this is the girl I jotted down last night. She’s no use: I’ve got all the records I want of the Lisson Grove lingo; and I’m not going to waste another cylinder on it. [To the girl] Be off with you: I don’t want you. + +THE FLOWER GIRL. Don’t you be so saucy. You ain’t heard what I come for yet. [To Mrs. Pearce, who is waiting at the door for further instruction] Did you tell him I come in a taxi? + +MRS. PEARCE. Nonsense, girl! what do you think a gentleman like Mr. Higgins cares what you came in? + +THE FLOWER GIRL. Oh, we are proud! He ain’t above giving lessons, not him: I heard him say so. Well, I ain’t come here to ask for any compliment; and if my money’s not good enough I can go elsewhere. + +HIGGINS. Good enough for what? + +THE FLOWER GIRL. Good enough for ye—oo. Now you know, don’t you? I’m come to have lessons, I am. And to pay for em too: make no mistake. + +HIGGINS [stupent] WELL!!! [Recovering his breath with a gasp] What do you expect me to say to you? + +THE FLOWER GIRL. Well, if you was a gentleman, you might ask me to sit down, I think. Don’t I tell you I’m bringing you business? + +HIGGINS. Pickering: shall we ask this baggage to sit down or shall we throw her out of the window? + +THE FLOWER GIRL [running away in terror to the piano, where she turns at bay] Ah—ah—ah—ow—ow—ow—oo! [Wounded and whimpering] I won’t be called a baggage when I’ve offered to pay like any lady. + +Motionless, the two men stare at her from the other side of the room, amazed. + +PICKERING [gently] What is it you want, my girl? + +THE FLOWER GIRL. I want to be a lady in a flower shop stead of selling at the corner of Tottenham Court Road. But they won’t take me unless I can talk more genteel. He said he could teach me. Well, here I am ready to pay him—not asking any favor—and he treats me as if I was dirt. + +MRS. PEARCE. How can you be such a foolish ignorant girl as to think you could afford to pay Mr. Higgins? + +THE FLOWER GIRL. Why shouldn’t I? I know what lessons cost as well as you do; and I’m ready to pay. + +HIGGINS. How much? + +THE FLOWER GIRL [coming back to him, triumphant] Now you’re talking! I thought you’d come off it when you saw a chance of getting back a bit of what you chucked at me last night. [Confidentially] You’d had a drop in, hadn’t you? + +HIGGINS [peremptorily] Sit down. + +THE FLOWER GIRL. Oh, if you’re going to make a compliment of it— + +HIGGINS [thundering at her] Sit down. + +MRS. PEARCE [severely] Sit down, girl. Do as you’re told. [She places the stray chair near the hearthrug between Higgins and Pickering, and stands behind it waiting for the girl to sit down]. + +THE FLOWER GIRL. Ah—ah—ah—ow—ow—oo! [She stands, half rebellious, half bewildered]. + +PICKERING [very courteous] Won’t you sit down? + +LIZA [coyly] Don’t mind if I do. [She sits down. Pickering returns to the hearthrug]. + +HIGGINS. What’s your name? + +THE FLOWER GIRL. Liza Doolittle. + +HIGGINS [declaiming gravely] Eliza, Elizabeth, Betsy and Bess, They went to the woods to get a bird’s nes’: + +PICKERING. They found a nest with four eggs in it: + +HIGGINS. They took one apiece, and left three in it. + +They laugh heartily at their own wit. + +LIZA. Oh, don’t be silly. + +MRS. PEARCE. You mustn’t speak to the gentleman like that. + +LIZA. Well, why won’t he speak sensible to me? + +HIGGINS. Come back to business. How much do you propose to pay me for the lessons? + +LIZA. Oh, I know what’s right. A lady friend of mine gets French lessons for eighteenpence an hour from a real French gentleman. Well, you wouldn’t have the face to ask me the same for teaching me my own language as you would for French; so I won’t give more than a shilling. Take it or leave it. + +HIGGINS [walking up and down the room, rattling his keys and his cash in his pockets] You know, Pickering, if you consider a shilling, not as a simple shilling, but as a percentage of this girl’s income, it works out as fully equivalent to sixty or seventy guineas from a millionaire. + +PICKERING. How so? + +HIGGINS. Figure it out. A millionaire has about 150 pounds a day. She earns about half-a-crown. + +LIZA [haughtily] Who told you I only— + +HIGGINS [continuing] She offers me two-fifths of her day’s income for a lesson. Two-fifths of a millionaire’s income for a day would be somewhere about 60 pounds. It’s handsome. By George, it’s enormous! it’s the biggest offer I ever had. + +LIZA [rising, terrified] Sixty pounds! What are you talking about? I never offered you sixty pounds. Where would I get— + +HIGGINS. Hold your tongue. + +LIZA [weeping] But I ain’t got sixty pounds. Oh— + +MRS. PEARCE. Don’t cry, you silly girl. Sit down. Nobody is going to touch your money. + +HIGGINS. Somebody is going to touch you, with a broomstick, if you don’t stop snivelling. Sit down. + +LIZA [obeying slowly] Ah—ah—ah—ow—oo—o! One would think you was my father. + +HIGGINS. If I decide to teach you, I’ll be worse than two fathers to you. Here [he offers her his silk handkerchief]! + +LIZA. What’s this for? + +HIGGINS. To wipe your eyes. To wipe any part of your face that feels moist. Remember: that’s your handkerchief; and that’s your sleeve. Don’t mistake the one for the other if you wish to become a lady in a shop. + +Liza, utterly bewildered, stares helplessly at him. + +MRS. PEARCE. It’s no use talking to her like that, Mr. Higgins: she doesn’t understand you. Besides, you’re quite wrong: she doesn’t do it that way at all [she takes the handkerchief]. + +LIZA [snatching it] Here! You give me that handkerchief. He give it to me, not to you. + +PICKERING [laughing] He did. I think it must be regarded as her property, Mrs. Pearce. + +MRS. PEARCE [resigning herself] Serve you right, Mr. Higgins. + +PICKERING. Higgins: I’m interested. What about the ambassador’s garden party? I’ll say you’re the greatest teacher alive if you make that good. I’ll bet you all the expenses of the experiment you can’t do it. And I’ll pay for the lessons. + +LIZA. Oh, you are real good. Thank you, Captain. + +HIGGINS [tempted, looking at her] It’s almost irresistible. She’s so deliciously low—so horribly dirty— + +LIZA [protesting extremely] Ah—ah—ah—ah—ow—ow—oooo!!! I ain’t dirty: I washed my face and hands afore I come, I did. + +PICKERING. You’re certainly not going to turn her head with flattery, Higgins. + +MRS. PEARCE [uneasy] Oh, don’t say that, sir: there’s more ways than one of turning a girl’s head; and nobody can do it better than Mr. Higgins, though he may not always mean it. I do hope, sir, you won’t encourage him to do anything foolish. + +HIGGINS [becoming excited as the idea grows on him] What is life but a series of inspired follies? The difficulty is to find them to do. Never lose a chance: it doesn’t come every day. I shall make a duchess of this draggletailed guttersnipe. + +LIZA [strongly deprecating this view of her] Ah—ah—ah—ow—ow—oo! + +HIGGINS [carried away] Yes: in six months—in three if she has a good ear and a quick tongue—I’ll take her anywhere and pass her off as anything. We’ll start today: now! this moment! Take her away and clean her, Mrs. Pearce. Monkey Brand, if it won’t come off any other way. Is there a good fire in the kitchen? + +MRS. PEARCE [protesting]. Yes; but— + +HIGGINS [storming on] Take all her clothes off and burn them. Ring up Whiteley or somebody for new ones. Wrap her up in brown paper till they come. + +LIZA. You’re no gentleman, you’re not, to talk of such things. I’m a good girl, I am; and I know what the like of you are, I do. + +HIGGINS. We want none of your Lisson Grove prudery here, young woman. You’ve got to learn to behave like a duchess. Take her away, Mrs. Pearce. If she gives you any trouble wallop her. + +LIZA [springing up and running between Pickering and Mrs. Pearce for protection] No! I’ll call the police, I will. + +MRS. PEARCE. But I’ve no place to put her. + +HIGGINS. Put her in the dustbin. + +LIZA. Ah—ah—ah—ow—ow—oo! + +PICKERING. Oh come, Higgins! be reasonable. + +MRS. PEARCE [resolutely] You must be reasonable, Mr. Higgins: really you must. You can’t walk over everybody like this. + +Higgins, thus scolded, subsides. The hurricane is succeeded by a zephyr of amiable surprise. + +HIGGINS [with professional exquisiteness of modulation] I walk over everybody! My dear Mrs. Pearce, my dear Pickering, I never had the slightest intention of walking over anyone. All I propose is that we should be kind to this poor girl. We must help her to prepare and fit herself for her new station in life. If I did not express myself clearly it was because I did not wish to hurt her delicacy, or yours. + +Liza, reassured, steals back to her chair. + +MRS. PEARCE [to Pickering] Well, did you ever hear anything like that, sir? + +PICKERING [laughing heartily] Never, Mrs. Pearce: never. + +HIGGINS [patiently] What’s the matter? + +MRS. PEARCE. Well, the matter is, sir, that you can’t take a girl up like that as if you were picking up a pebble on the beach. + +HIGGINS. Why not? + +MRS. PEARCE. Why not! But you don’t know anything about her. What about her parents? She may be married. + +LIZA. Garn! + +HIGGINS. There! As the girl very properly says, Garn! Married indeed! Don’t you know that a woman of that class looks a worn out drudge of fifty a year after she’s married. + +LIZA. Who’d marry me? + +HIGGINS [suddenly resorting to the most thrillingly beautiful low tones in his best elocutionary style] By George, Eliza, the streets will be strewn with the bodies of men shooting themselves for your sake before I’ve done with you. + +MRS. PEARCE. Nonsense, sir. You mustn’t talk like that to her. + +LIZA [rising and squaring herself determinedly] I’m going away. He’s off his chump, he is. I don’t want no balmies teaching me. + +HIGGINS [wounded in his tenderest point by her insensibility to his elocution] Oh, indeed! I’m mad, am I? Very well, Mrs. Pearce: you needn’t order the new clothes for her. Throw her out. + +LIZA [whimpering] Nah—ow. You got no right to touch me. + +MRS. PEARCE. You see now what comes of being saucy. [Indicating the door] This way, please. + +LIZA [almost in tears] I didn’t want no clothes. I wouldn’t have taken them [she throws away the handkerchief]. I can buy my own clothes. + +HIGGINS [deftly retrieving the handkerchief and intercepting her on her reluctant way to the door] You’re an ungrateful wicked girl. This is my return for offering to take you out of the gutter and dress you beautifully and make a lady of you. + +MRS. PEARCE. Stop, Mr. Higgins. I won’t allow it. It’s you that are wicked. Go home to your parents, girl; and tell them to take better care of you. + +LIZA. I ain’t got no parents. They told me I was big enough to earn my own living and turned me out. + +MRS. PEARCE. Where’s your mother? + +LIZA. I ain’t got no mother. Her that turned me out was my sixth stepmother. But I done without them. And I’m a good girl, I am. + +HIGGINS. Very well, then, what on earth is all this fuss about? The girl doesn’t belong to anybody—is no use to anybody but me. [He goes to Mrs. Pearce and begins coaxing]. You can adopt her, Mrs. Pearce: I’m sure a daughter would be a great amusement to you. Now don’t make any more fuss. Take her downstairs; and— + +MRS. PEARCE. But what’s to become of her? Is she to be paid anything? Do be sensible, sir. + +HIGGINS. Oh, pay her whatever is necessary: put it down in the housekeeping book. [Impatiently] What on earth will she want with money? She’ll have her food and her clothes. She’ll only drink if you give her money. + +LIZA [turning on him] Oh you are a brute. It’s a lie: nobody ever saw the sign of liquor on me. [She goes back to her chair and plants herself there defiantly]. + +PICKERING [in good-humored remonstrance] Does it occur to you, Higgins, that the girl has some feelings? + +HIGGINS [looking critically at her] Oh no, I don’t think so. Not any feelings that we need bother about. [Cheerily] Have you, Eliza? + +LIZA. I got my feelings same as anyone else. + +HIGGINS [to Pickering, reflectively] You see the difficulty? + +PICKERING. Eh? What difficulty? + +HIGGINS. To get her to talk grammar. The mere pronunciation is easy enough. + +LIZA. I don’t want to talk grammar. I want to talk like a lady. + +MRS. PEARCE. Will you please keep to the point, Mr. Higgins. I want to know on what terms the girl is to be here. Is she to have any wages? And what is to become of her when you’ve finished your teaching? You must look ahead a little. + +HIGGINS [impatiently] What’s to become of her if I leave her in the gutter? Tell me that, Mrs. Pearce. + +MRS. PEARCE. That’s her own business, not yours, Mr. Higgins. + +HIGGINS. Well, when I’ve done with her, we can throw her back into the gutter; and then it will be her own business again; so that’s all right. + +LIZA. Oh, you’ve no feeling heart in you: you don’t care for nothing but yourself [she rises and takes the floor resolutely]. Here! I’ve had enough of this. I’m going [making for the door]. You ought to be ashamed of yourself, you ought. + +HIGGINS [snatching a chocolate cream from the piano, his eyes suddenly beginning to twinkle with mischief] Have some chocolates, Eliza. + +LIZA [halting, tempted] How do I know what might be in them? I’ve heard of girls being drugged by the like of you. + +Higgins whips out his penknife; cuts a chocolate in two; puts one half into his mouth and bolts it; and offers her the other half. + +HIGGINS. Pledge of good faith, Eliza. I eat one half you eat the other. + +[Liza opens her mouth to retort: he pops the half chocolate into it]. You shall have boxes of them, barrels of them, every day. You shall live on them. Eh? + +LIZA [who has disposed of the chocolate after being nearly choked by it] I wouldn’t have ate it, only I’m too ladylike to take it out of my mouth. + +HIGGINS. Listen, Eliza. I think you said you came in a taxi. + +LIZA. Well, what if I did? I’ve as good a right to take a taxi as anyone else. + +HIGGINS. You have, Eliza; and in future you shall have as many taxis as you want. You shall go up and down and round the town in a taxi every day. Think of that, Eliza. + +MRS. PEARCE. Mr. Higgins: you’re tempting the girl. It’s not right. She should think of the future. + +HIGGINS. At her age! Nonsense! Time enough to think of the future when you haven’t any future to think of. No, Eliza: do as this lady does: think of other people’s futures; but never think of your own. Think of chocolates, and taxis, and gold, and diamonds. + +LIZA. No: I don’t want no gold and no diamonds. I’m a good girl, I am. [She sits down again, with an attempt at dignity]. + +HIGGINS. You shall remain so, Eliza, under the care of Mrs. Pearce. And you shall marry an officer in the Guards, with a beautiful moustache: the son of a marquis, who will disinherit him for marrying you, but will relent when he sees your beauty and goodness— + +PICKERING. Excuse me, Higgins; but I really must interfere. Mrs. Pearce is quite right. If this girl is to put herself in your hands for six months for an experiment in teaching, she must understand thoroughly what she’s doing. + +HIGGINS. How can she? She’s incapable of understanding anything. Besides, do any of us understand what we are doing? If we did, would we ever do it? + +PICKERING. Very clever, Higgins; but not sound sense. [To Eliza] Miss Doolittle— + +LIZA [overwhelmed] Ah—ah—ow—oo! + +HIGGINS. There! That’s all you get out of Eliza. Ah—ah—ow—oo! No use explaining. As a military man you ought to know that. Give her her orders: that’s what she wants. Eliza: you are to live here for the next six months, learning how to speak beautifully, like a lady in a florist’s shop. If you’re good and do whatever you’re told, you shall sleep in a proper bedroom, and have lots to eat, and money to buy chocolates and take rides in taxis. If you’re naughty and idle you will sleep in the back kitchen among the black beetles, and be walloped by Mrs. Pearce with a broomstick. At the end of six months you shall go to Buckingham Palace in a carriage, beautifully dressed. If the King finds out you’re not a lady, you will be taken by the police to the Tower of London, where your head will be cut off as a warning to other presumptuous flower girls. If you are not found out, you shall have a present of seven-and-sixpence to start life with as a lady in a shop. If you refuse this offer you will be a most ungrateful and wicked girl; and the angels will weep for you. [To Pickering] Now are you satisfied, Pickering? [To Mrs. Pearce] Can I put it more plainly and fairly, Mrs. Pearce? + +MRS. PEARCE [patiently] I think you’d better let me speak to the girl properly in private. I don’t know that I can take charge of her or consent to the arrangement at all. Of course I know you don’t mean her any harm; but when you get what you call interested in people’s accents, you never think or care what may happen to them or you. Come with me, Eliza. + +HIGGINS. That’s all right. Thank you, Mrs. Pearce. Bundle her off to the bath-room. + +LIZA [rising reluctantly and suspiciously] You’re a great bully, you are. I won’t stay here if I don’t like. I won’t let nobody wallop me. I never asked to go to Bucknam Palace, I didn’t. I was never in trouble with the police, not me. I’m a good girl— + +MRS. PEARCE. Don’t answer back, girl. You don’t understand the gentleman. Come with me. [She leads the way to the door, and holds it open for Eliza]. + +LIZA [as she goes out] Well, what I say is right. I won’t go near the king, not if I’m going to have my head cut off. If I’d known what I was letting myself in for, I wouldn’t have come here. I always been a good girl; and I never offered to say a word to him; and I don’t owe him nothing; and I don’t care; and I won’t be put upon; and I have my feelings the same as anyone else— + +Mrs. Pearce shuts the door; and Eliza’s plaints are no longer audible. Pickering comes from the hearth to the chair and sits astride it with his arms on the back. + +PICKERING. Excuse the straight question, Higgins. Are you a man of good character where women are concerned? + +HIGGINS [moodily] Have you ever met a man of good character where women are concerned? + +PICKERING. Yes: very frequently. + +HIGGINS [dogmatically, lifting himself on his hands to the level of the piano, and sitting on it with a bounce] Well, I haven’t. I find that the moment I let a woman make friends with me, she becomes jealous, exacting, suspicious, and a damned nuisance. I find that the moment I let myself make friends with a woman, I become selfish and tyrannical. Women upset everything. When you let them into your life, you find that the woman is driving at one thing and you’re driving at another. + +PICKERING. At what, for example? + +HIGGINS [coming off the piano restlessly] Oh, Lord knows! I suppose the woman wants to live her own life; and the man wants to live his; and each tries to drag the other on to the wrong track. One wants to go north and the other south; and the result is that both have to go east, though they both hate the east wind. [He sits down on the bench at the keyboard]. So here I am, a confirmed old bachelor, and likely to remain so. + +PICKERING [rising and standing over him gravely] Come, Higgins! You know what I mean. If I’m to be in this business I shall feel responsible for that girl. I hope it’s understood that no advantage is to be taken of her position. + +HIGGINS. What! That thing! Sacred, I assure you. [Rising to explain] You see, she’ll be a pupil; and teaching would be impossible unless pupils were sacred. I’ve taught scores of American millionairesses how to speak English: the best looking women in the world. I’m seasoned. They might as well be blocks of wood. I might as well be a block of wood. It’s— + +Mrs. Pearce opens the door. She has Eliza’s hat in her hand. Pickering retires to the easy-chair at the hearth and sits down. + +HIGGINS [eagerly] Well, Mrs. Pearce: is it all right? + +MRS. PEARCE [at the door] I just wish to trouble you with a word, if I may, Mr. Higgins. + +HIGGINS. Yes, certainly. Come in. [She comes forward]. Don’t burn that, Mrs. Pearce. I’ll keep it as a curiosity. [He takes the hat]. + +MRS. PEARCE. Handle it carefully, sir, please. I had to promise her not to burn it; but I had better put it in the oven for a while. + +HIGGINS [putting it down hastily on the piano] Oh! thank you. Well, what have you to say to me? + +PICKERING. Am I in the way? + +MRS. PEARCE. Not at all, sir. Mr. Higgins: will you please be very particular what you say before the girl? + +HIGGINS [sternly] Of course. I’m always particular about what I say. Why do you say this to me? + +MRS. PEARCE [unmoved] No, sir: you’re not at all particular when you’ve mislaid anything or when you get a little impatient. Now it doesn’t matter before me: I’m used to it. But you really must not swear before the girl. + +HIGGINS [indignantly] I swear! [Most emphatically] I never swear. I detest the habit. What the devil do you mean? + +MRS. PEARCE [stolidly] That’s what I mean, sir. You swear a great deal too much. I don’t mind your damning and blasting, and what the devil and where the devil and who the devil— + +HIGGINS. Really! Mrs. Pearce: this language from your lips! + +MRS. PEARCE [not to be put off]—but there is a certain word I must ask you not to use. The girl has just used it herself because the bath was too hot. It begins with the same letter as bath. She knows no better: she learnt it at her mother’s knee. But she must not hear it from your lips. + +HIGGINS [loftily] I cannot charge myself with having ever uttered it, Mrs. Pearce. [She looks at him steadfastly. He adds, hiding an uneasy conscience with a judicial air] Except perhaps in a moment of extreme and justifiable excitement. + +MRS. PEARCE. Only this morning, sir, you applied it to your boots, to the butter, and to the brown bread. + +HIGGINS. Oh, that! Mere alliteration, Mrs. Pearce, natural to a poet. + +MRS. PEARCE. Well, sir, whatever you choose to call it, I beg you not to let the girl hear you repeat it. + +HIGGINS. Oh, very well, very well. Is that all? + +MRS. PEARCE. No, sir. We shall have to be very particular with this girl as to personal cleanliness. + +HIGGINS. Certainly. Quite right. Most important. + +MRS. PEARCE. I mean not to be slovenly about her dress or untidy in leaving things about. + +HIGGINS [going to her solemnly] Just so. I intended to call your attention to that [He passes on to Pickering, who is enjoying the conversation immensely]. It is these little things that matter, Pickering. Take care of the pence and the pounds will take care of themselves is as true of personal habits as of money. [He comes to anchor on the hearthrug, with the air of a man in an unassailable position]. + +MRS. PEARCE. Yes, sir. Then might I ask you not to come down to breakfast in your dressing-gown, or at any rate not to use it as a napkin to the extent you do, sir. And if you would be so good as not to eat everything off the same plate, and to remember not to put the porridge saucepan out of your hand on the clean tablecloth, it would be a better example to the girl. You know you nearly choked yourself with a fishbone in the jam only last week. + +HIGGINS [routed from the hearthrug and drifting back to the piano] I may do these things sometimes in absence of mind; but surely I don’t do them habitually. [Angrily] By the way: my dressing-gown smells most damnably of benzine. + +MRS. PEARCE. No doubt it does, Mr. Higgins. But if you will wipe your fingers— + +HIGGINS [yelling] Oh very well, very well: I’ll wipe them in my hair in future. + +MRS. PEARCE. I hope you’re not offended, Mr. Higgins. + +HIGGINS [shocked at finding himself thought capable of an unamiable sentiment] Not at all, not at all. You’re quite right, Mrs. Pearce: I shall be particularly careful before the girl. Is that all? + +MRS. PEARCE. No, sir. Might she use some of those Japanese dresses you brought from abroad? I really can’t put her back into her old things. + +HIGGINS. Certainly. Anything you like. Is that all? + +MRS. PEARCE. Thank you, sir. That’s all. [She goes out]. + +HIGGINS. You know, Pickering, that woman has the most extraordinary ideas about me. Here I am, a shy, diffident sort of man. I’ve never been able to feel really grown-up and tremendous, like other chaps. And yet she’s firmly persuaded that I’m an arbitrary overbearing bossing kind of person. I can’t account for it. + +Mrs. Pearce returns. + +MRS. PEARCE. If you please, sir, the trouble’s beginning already. There’s a dustman downstairs, Alfred Doolittle, wants to see you. He says you have his daughter here. + +PICKERING [rising] Phew! I say! [He retreats to the hearthrug]. + +HIGGINS [promptly] Send the blackguard up. + +MRS. PEARCE. Oh, very well, sir. [She goes out]. + +PICKERING. He may not be a blackguard, Higgins. + +HIGGINS. Nonsense. Of course he’s a blackguard. + +PICKERING. Whether he is or not, I’m afraid we shall have some trouble with him. + +HIGGINS [confidently] Oh no: I think not. If there’s any trouble he shall have it with me, not I with him. And we are sure to get something interesting out of him. + +PICKERING. About the girl? + +HIGGINS. No. I mean his dialect. + +PICKERING. Oh! + +MRS. PEARCE [at the door] Doolittle, sir. [She admits Doolittle and retires]. + +Alfred Doolittle is an elderly but vigorous dustman, clad in the costume of his profession, including a hat with a back brim covering his neck and shoulders. He has well marked and rather interesting features, and seems equally free from fear and conscience. He has a remarkably expressive voice, the result of a habit of giving vent to his feelings without reserve. His present pose is that of wounded honor and stern resolution. + +DOOLITTLE [at the door, uncertain which of the two gentlemen is his man] Professor Higgins? + +HIGGINS. Here. Good morning. Sit down. + +DOOLITTLE. Morning, Governor. [He sits down magisterially] I come about a very serious matter, Governor. + +HIGGINS [to Pickering] Brought up in Hounslow. Mother Welsh, I should think. [Doolittle opens his mouth, amazed. Higgins continues] What do you want, Doolittle? + +DOOLITTLE [menacingly] I want my daughter: that’s what I want. See? + +HIGGINS. Of course you do. You’re her father, aren’t you? You don’t suppose anyone else wants her, do you? I’m glad to see you have some spark of family feeling left. She’s upstairs. Take her away at once. + +DOOLITTLE [rising, fearfully taken aback] What! + +HIGGINS. Take her away. Do you suppose I’m going to keep your daughter for you? + +DOOLITTLE [remonstrating] Now, now, look here, Governor. Is this reasonable? Is it fair to take advantage of a man like this? The girl belongs to me. You got her. Where do I come in? [He sits down again]. + +HIGGINS. Your daughter had the audacity to come to my house and ask me to teach her how to speak properly so that she could get a place in a flower-shop. This gentleman and my housekeeper have been here all the time. [Bullying him] How dare you come here and attempt to blackmail me? You sent her here on purpose. + +DOOLITTLE [protesting] No, Governor. + +HIGGINS. You must have. How else could you possibly know that she is here? + +DOOLITTLE. Don’t take a man up like that, Governor. + +HIGGINS. The police shall take you up. This is a plant—a plot to extort money by threats. I shall telephone for the police [he goes resolutely to the telephone and opens the directory]. + +DOOLITTLE. Have I asked you for a brass farthing? I leave it to the gentleman here: have I said a word about money? + +HIGGINS [throwing the book aside and marching down on Doolittle with a poser] What else did you come for? + +DOOLITTLE [sweetly] Well, what would a man come for? Be human, governor. + +HIGGINS [disarmed] Alfred: did you put her up to it? + +DOOLITTLE. So help me, Governor, I never did. I take my Bible oath I ain’t seen the girl these two months past. + +HIGGINS. Then how did you know she was here? + +DOOLITTLE [“most musical, most melancholy”] I’ll tell you, Governor, if you’ll only let me get a word in. I’m willing to tell you. I’m wanting to tell you. I’m waiting to tell you. + +HIGGINS. Pickering: this chap has a certain natural gift of rhetoric. Observe the rhythm of his native woodnotes wild. “I’m willing to tell you: I’m wanting to tell you: I’m waiting to tell you.” Sentimental rhetoric! That’s the Welsh strain in him. It also accounts for his mendacity and dishonesty. + +PICKERING. Oh, PLEASE, Higgins: I’m west country myself. [To Doolittle] How did you know the girl was here if you didn’t send her? + +DOOLITTLE. It was like this, Governor. The girl took a boy in the taxi to give him a jaunt. Son of her landlady, he is. He hung about on the chance of her giving him another ride home. Well, she sent him back for her luggage when she heard you was willing for her to stop here. I met the boy at the corner of Long Acre and Endell Street. + +HIGGINS. Public house. Yes? + +DOOLITTLE. The poor man’s club, Governor: why shouldn’t I? + +PICKERING. Do let him tell his story, Higgins. + +DOOLITTLE. He told me what was up. And I ask you, what was my feelings and my duty as a father? I says to the boy, “You bring me the luggage,” I says— + +PICKERING. Why didn’t you go for it yourself? + +DOOLITTLE. Landlady wouldn’t have trusted me with it, Governor. She’s that kind of woman: you know. I had to give the boy a penny afore he trusted me with it, the little swine. I brought it to her just to oblige you like, and make myself agreeable. That’s all. + +HIGGINS. How much luggage? + +DOOLITTLE. Musical instrument, Governor. A few pictures, a trifle of jewelry, and a bird-cage. She said she didn’t want no clothes. What was I to think from that, Governor? I ask you as a parent what was I to think? + +HIGGINS. So you came to rescue her from worse than death, eh? + +DOOLITTLE [appreciatively: relieved at being understood] Just so, Governor. That’s right. + +PICKERING. But why did you bring her luggage if you intended to take her away? + +DOOLITTLE. Have I said a word about taking her away? Have I now? + +HIGGINS [determinedly] You’re going to take her away, double quick. [He crosses to the hearth and rings the bell]. + +DOOLITTLE [rising] No, Governor. Don’t say that. I’m not the man to stand in my girl’s light. Here’s a career opening for her, as you might say; and— + +Mrs. Pearce opens the door and awaits orders. + +HIGGINS. Mrs. Pearce: this is Eliza’s father. He has come to take her away. Give her to him. [He goes back to the piano, with an air of washing his hands of the whole affair]. + +DOOLITTLE. No. This is a misunderstanding. Listen here— + +MRS. PEARCE. He can’t take her away, Mr. Higgins: how can he? You told me to burn her clothes. + +DOOLITTLE. That’s right. I can’t carry the girl through the streets like a blooming monkey, can I? I put it to you. + +HIGGINS. You have put it to me that you want your daughter. Take your daughter. If she has no clothes go out and buy her some. + +DOOLITTLE [desperate] Where’s the clothes she come in? Did I burn them or did your missus here? + +MRS. PEARCE. I am the housekeeper, if you please. I have sent for some clothes for your girl. When they come you can take her away. You can wait in the kitchen. This way, please. + +Doolittle, much troubled, accompanies her to the door; then hesitates; finally turns confidentially to Higgins. + +DOOLITTLE. Listen here, Governor. You and me is men of the world, ain’t we? + +HIGGINS. Oh! Men of the world, are we? You’d better go, Mrs. Pearce. + +MRS. PEARCE. I think so, indeed, sir. [She goes, with dignity]. + +PICKERING. The floor is yours, Mr. Doolittle. + +DOOLITTLE [to Pickering] I thank you, Governor. [To Higgins, who takes refuge on the piano bench, a little overwhelmed by the proximity of his visitor; for Doolittle has a professional flavor of dust about him]. Well, the truth is, I’ve taken a sort of fancy to you, Governor; and if you want the girl, I’m not so set on having her back home again but what I might be open to an arrangement. Regarded in the light of a young woman, she’s a fine handsome girl. As a daughter she’s not worth her keep; and so I tell you straight. All I ask is my rights as a father; and you’re the last man alive to expect me to let her go for nothing; for I can see you’re one of the straight sort, Governor. Well, what’s a five pound note to you? And what’s Eliza to me? [He returns to his chair and sits down judicially]. + +PICKERING. I think you ought to know, Doolittle, that Mr. Higgins’s intentions are entirely honorable. + +DOOLITTLE. Course they are, Governor. If I thought they wasn’t, I’d ask fifty. + +HIGGINS [revolted] Do you mean to say, you callous rascal, that you would sell your daughter for 50 pounds? + +DOOLITTLE. Not in a general way I wouldn’t; but to oblige a gentleman like you I’d do a good deal, I do assure you. + +PICKERING. Have you no morals, man? + +DOOLITTLE [unabashed] Can’t afford them, Governor. Neither could you if you was as poor as me. Not that I mean any harm, you know. But if Liza is going to have a bit out of this, why not me too? + +HIGGINS [troubled] I don’t know what to do, Pickering. There can be no question that as a matter of morals it’s a positive crime to give this chap a farthing. And yet I feel a sort of rough justice in his claim. + +DOOLITTLE. That’s it, Governor. That’s all I say. A father’s heart, as it were. + +PICKERING. Well, I know the feeling; but really it seems hardly right— + +DOOLITTLE. Don’t say that, Governor. Don’t look at it that way. What am I, Governors both? I ask you, what am I? I’m one of the undeserving poor: that’s what I am. Think of what that means to a man. It means that he’s up agen middle class morality all the time. If there’s anything going, and I put in for a bit of it, it’s always the same story: “You’re undeserving; so you can’t have it.” But my needs is as great as the most deserving widow’s that ever got money out of six different charities in one week for the death of the same husband. I don’t need less than a deserving man: I need more. I don’t eat less hearty than him; and I drink a lot more. I want a bit of amusement, cause I’m a thinking man. I want cheerfulness and a song and a band when I feel low. Well, they charge me just the same for everything as they charge the deserving. What is middle class morality? Just an excuse for never giving me anything. Therefore, I ask you, as two gentlemen, not to play that game on me. I’m playing straight with you. I ain’t pretending to be deserving. I’m undeserving; and I mean to go on being undeserving. I like it; and that’s the truth. Will you take advantage of a man’s nature to do him out of the price of his own daughter what he’s brought up and fed and clothed by the sweat of his brow until she’s growed big enough to be interesting to you two gentlemen? Is five pounds unreasonable? I put it to you; and I leave it to you. + +HIGGINS [rising, and going over to Pickering] Pickering: if we were to take this man in hand for three months, he could choose between a seat in the Cabinet and a popular pulpit in Wales. + +PICKERING. What do you say to that, Doolittle? + +DOOLITTLE. Not me, Governor, thank you kindly. I’ve heard all the preachers and all the prime ministers—for I’m a thinking man and game for politics or religion or social reform same as all the other amusements—and I tell you it’s a dog’s life anyway you look at it. Undeserving poverty is my line. Taking one station in society with another, it’s—it’s—well, it’s the only one that has any ginger in it, to my taste. + +HIGGINS. I suppose we must give him a fiver. + +PICKERING. He’ll make a bad use of it, I’m afraid. + +DOOLITTLE. Not me, Governor, so help me I won’t. Don’t you be afraid that I’ll save it and spare it and live idle on it. There won’t be a penny of it left by Monday: I’ll have to go to work same as if I’d never had it. It won’t pauperize me, you bet. Just one good spree for myself and the missus, giving pleasure to ourselves and employment to others, and satisfaction to you to think it’s not been throwed away. You couldn’t spend it better. + +HIGGINS [taking out his pocket book and coming between Doolittle and the piano] This is irresistible. Let’s give him ten. [He offers two notes to the dustman]. + +DOOLITTLE. No, Governor. She wouldn’t have the heart to spend ten; and perhaps I shouldn’t neither. Ten pounds is a lot of money: it makes a man feel prudent like; and then goodbye to happiness. You give me what I ask you, Governor: not a penny more, and not a penny less. + +PICKERING. Why don’t you marry that missus of yours? I rather draw the line at encouraging that sort of immorality. + +DOOLITTLE. Tell her so, Governor: tell her so. I’m willing. It’s me that suffers by it. I’ve no hold on her. I got to be agreeable to her. I got to give her presents. I got to buy her clothes something sinful. I’m a slave to that woman, Governor, just because I’m not her lawful husband. And she knows it too. Catch her marrying me! Take my advice, Governor: marry Eliza while she’s young and don’t know no better. If you don’t you’ll be sorry for it after. If you do, she’ll be sorry for it after; but better you than her, because you’re a man, and she’s only a woman and don’t know how to be happy anyhow. + +HIGGINS. Pickering: if we listen to this man another minute, we shall have no convictions left. [To Doolittle] Five pounds I think you said. + +DOOLITTLE. Thank you kindly, Governor. + +HIGGINS. You’re sure you won’t take ten? + +DOOLITTLE. Not now. Another time, Governor. + +HIGGINS [handing him a five-pound note] Here you are. + +DOOLITTLE. Thank you, Governor. Good morning. + +[He hurries to the door, anxious to get away with his booty. When he opens it he is confronted with a dainty and exquisitely clean young Japanese lady in a simple blue cotton kimono printed cunningly with small white jasmine blossoms. Mrs. Pearce is with her. He gets out of her way deferentially and apologizes]. Beg pardon, miss. + +THE JAPANESE LADY. Garn! Don’t you know your own daughter? + +DOOLITTLE {exclaiming Bly me! it’s Eliza! +HIGGINS {simul- What’s that! This! +PICKERING {taneously By Jove! +LIZA. Don’t I look silly? + +HIGGINS. Silly? + +MRS. PEARCE [at the door] Now, Mr. Higgins, please don’t say anything to make the girl conceited about herself. + +HIGGINS [conscientiously] Oh! Quite right, Mrs. Pearce. [To Eliza] Yes: damned silly. + +MRS. PEARCE. Please, sir. + +HIGGINS [correcting himself] I mean extremely silly. + +LIZA. I should look all right with my hat on. [She takes up her hat; puts it on; and walks across the room to the fireplace with a fashionable air]. + +HIGGINS. A new fashion, by George! And it ought to look horrible! + +DOOLITTLE [with fatherly pride] Well, I never thought she’d clean up as good looking as that, Governor. She’s a credit to me, ain’t she? + +LIZA. I tell you, it’s easy to clean up here. Hot and cold water on tap, just as much as you like, there is. Woolly towels, there is; and a towel horse so hot, it burns your fingers. Soft brushes to scrub yourself, and a wooden bowl of soap smelling like primroses. Now I know why ladies is so clean. Washing’s a treat for them. Wish they saw what it is for the like of me! + +HIGGINS. I’m glad the bath-room met with your approval. + +LIZA. It didn’t: not all of it; and I don’t care who hears me say it. Mrs. Pearce knows. + +HIGGINS. What was wrong, Mrs. Pearce? + +MRS. PEARCE [blandly] Oh, nothing, sir. It doesn’t matter. + +LIZA. I had a good mind to break it. I didn’t know which way to look. But I hung a towel over it, I did. + +HIGGINS. Over what? + +MRS. PEARCE. Over the looking-glass, sir. + +HIGGINS. Doolittle: you have brought your daughter up too strictly. + +DOOLITTLE. Me! I never brought her up at all, except to give her a lick of a strap now and again. Don’t put it on me, Governor. She ain’t accustomed to it, you see: that’s all. But she’ll soon pick up your free-and-easy ways. + +LIZA. I’m a good girl, I am; and I won’t pick up no free and easy ways. + +HIGGINS. Eliza: if you say again that you’re a good girl, your father shall take you home. + +LIZA. Not him. You don’t know my father. All he come here for was to touch you for some money to get drunk on. + +DOOLITTLE. Well, what else would I want money for? To put into the plate in church, I suppose. [She puts out her tongue at him. He is so incensed by this that Pickering presently finds it necessary to step between them]. Don’t you give me none of your lip; and don’t let me hear you giving this gentleman any of it neither, or you’ll hear from me about it. See? + +HIGGINS. Have you any further advice to give her before you go, Doolittle? Your blessing, for instance. + +DOOLITTLE. No, Governor: I ain’t such a mug as to put up my children to all I know myself. Hard enough to hold them in without that. If you want Eliza’s mind improved, Governor, you do it yourself with a strap. So long, gentlemen. [He turns to go]. + +HIGGINS [impressively] Stop. You’ll come regularly to see your daughter. It’s your duty, you know. My brother is a clergyman; and he could help you in your talks with her. + +DOOLITTLE [evasively] Certainly. I’ll come, Governor. Not just this week, because I have a job at a distance. But later on you may depend on me. Afternoon, gentlemen. Afternoon, ma’am. [He takes off his hat to Mrs. Pearce, who disdains the salutation and goes out. He winks at Higgins, thinking him probably a fellow sufferer from Mrs. Pearce’s difficult disposition, and follows her]. + +LIZA. Don’t you believe the old liar. He’d as soon you set a bull-dog on him as a clergyman. You won’t see him again in a hurry. + +HIGGINS. I don’t want to, Eliza. Do you? + +LIZA. Not me. I don’t want never to see him again, I don’t. He’s a disgrace to me, he is, collecting dust, instead of working at his trade. + +PICKERING. What is his trade, Eliza? + +LIZA. Talking money out of other people’s pockets into his own. His proper trade’s a navvy; and he works at it sometimes too—for exercise—and earns good money at it. Ain’t you going to call me Miss Doolittle any more? + +PICKERING. I beg your pardon, Miss Doolittle. It was a slip of the tongue. + +LIZA. Oh, I don’t mind; only it sounded so genteel. I should just like to take a taxi to the corner of Tottenham Court Road and get out there and tell it to wait for me, just to put the girls in their place a bit. I wouldn’t speak to them, you know. + +PICKERING. Better wait til we get you something really fashionable. + +HIGGINS. Besides, you shouldn’t cut your old friends now that you have risen in the world. That’s what we call snobbery. + +LIZA. You don’t call the like of them my friends now, I should hope. They’ve took it out of me often enough with their ridicule when they had the chance; and now I mean to get a bit of my own back. But if I’m to have fashionable clothes, I’ll wait. I should like to have some. Mrs. Pearce says you’re going to give me some to wear in bed at night different to what I wear in the daytime; but it do seem a waste of money when you could get something to show. Besides, I never could fancy changing into cold things on a winter night. + +MRS. PEARCE [coming back] Now, Eliza. The new things have come for you to try on. + +LIZA. Ah—ow—oo—ooh! [She rushes out]. + +MRS. PEARCE [following her] Oh, don’t rush about like that, girl [She shuts the door behind her]. + +HIGGINS. Pickering: we have taken on a stiff job. + +PICKERING [with conviction] Higgins: we have. + + +ACT III +It is Mrs. Higgins’s at-home day. Nobody has yet arrived. Her drawing-room, in a flat on Chelsea embankment, has three windows looking on the river; and the ceiling is not so lofty as it would be in an older house of the same pretension. The windows are open, giving access to a balcony with flowers in pots. If you stand with your face to the windows, you have the fireplace on your left and the door in the right-hand wall close to the corner nearest the windows. + +Mrs. Higgins was brought up on Morris and Burne Jones; and her room, which is very unlike her son’s room in Wimpole Street, is not crowded with furniture and little tables and nicknacks. In the middle of the room there is a big ottoman; and this, with the carpet, the Morris wall-papers, and the Morris chintz window curtains and brocade covers of the ottoman and its cushions, supply all the ornament, and are much too handsome to be hidden by odds and ends of useless things. A few good oil-paintings from the exhibitions in the Grosvenor Gallery thirty years ago (the Burne Jones, not the Whistler side of them) are on the walls. The only landscape is a Cecil Lawson on the scale of a Rubens. There is a portrait of Mrs. Higgins as she was when she defied fashion in her youth in one of the beautiful Rossettian costumes which, when caricatured by people who did not understand, led to the absurdities of popular estheticism in the eighteen-seventies. + +In the corner diagonally opposite the door Mrs. Higgins, now over sixty and long past taking the trouble to dress out of the fashion, sits writing at an elegantly simple writing-table with a bell button within reach of her hand. There is a Chippendale chair further back in the room between her and the window nearest her side. At the other side of the room, further forward, is an Elizabethan chair roughly carved in the taste of Inigo Jones. On the same side a piano in a decorated case. The corner between the fireplace and the window is occupied by a divan cushioned in Morris chintz. + +It is between four and five in the afternoon. + +The door is opened violently; and Higgins enters with his hat on. + +MRS. HIGGINS [dismayed] Henry [scolding him]! What are you doing here to-day? It is my at home day: you promised not to come. [As he bends to kiss her, she takes his hat off, and presents it to him]. + +HIGGINS. Oh bother! [He throws the hat down on the table]. + +MRS. HIGGINS. Go home at once. + +HIGGINS [kissing her] I know, mother. I came on purpose. + +MRS. HIGGINS. But you mustn’t. I’m serious, Henry. You offend all my friends: they stop coming whenever they meet you. + +HIGGINS. Nonsense! I know I have no small talk; but people don’t mind. [He sits on the settee]. + +MRS. HIGGINS. Oh! don’t they? Small talk indeed! What about your large talk? Really, dear, you mustn’t stay. + +HIGGINS. I must. I’ve a job for you. A phonetic job. + +MRS. HIGGINS. No use, dear. I’m sorry; but I can’t get round your vowels; and though I like to get pretty postcards in your patent shorthand, I always have to read the copies in ordinary writing you so thoughtfully send me. + +HIGGINS. Well, this isn’t a phonetic job. + +MRS. HIGGINS. You said it was. + +HIGGINS. Not your part of it. I’ve picked up a girl. + +MRS. HIGGINS. Does that mean that some girl has picked you up? + +HIGGINS. Not at all. I don’t mean a love affair. + +MRS. HIGGINS. What a pity! + +HIGGINS. Why? + +MRS. HIGGINS. Well, you never fall in love with anyone under forty-five. When will you discover that there are some rather nice-looking young women about? + +HIGGINS. Oh, I can’t be bothered with young women. My idea of a loveable woman is something as like you as possible. I shall never get into the way of seriously liking young women: some habits lie too deep to be changed. [Rising abruptly and walking about, jingling his money and his keys in his trouser pockets] Besides, they’re all idiots. + +MRS. HIGGINS. Do you know what you would do if you really loved me, Henry? + +HIGGINS. Oh bother! What? Marry, I suppose? + +MRS. HIGGINS. No. Stop fidgeting and take your hands out of your pockets. [With a gesture of despair, he obeys and sits down again]. That’s a good boy. Now tell me about the girl. + +HIGGINS. She’s coming to see you. + +MRS. HIGGINS. I don’t remember asking her. + +HIGGINS. You didn’t. I asked her. If you’d known her you wouldn’t have asked her. + +MRS. HIGGINS. Indeed! Why? + +HIGGINS. Well, it’s like this. She’s a common flower girl. I picked her off the kerbstone. + +MRS. HIGGINS. And invited her to my at-home! + +HIGGINS [rising and coming to her to coax her] Oh, that’ll be all right. I’ve taught her to speak properly; and she has strict orders as to her behavior. She’s to keep to two subjects: the weather and everybody’s health—Fine day and How do you do, you know—and not to let herself go on things in general. That will be safe. + +MRS. HIGGINS. Safe! To talk about our health! about our insides! perhaps about our outsides! How could you be so silly, Henry? + +HIGGINS [impatiently] Well, she must talk about something. [He controls himself and sits down again]. Oh, she’ll be all right: don’t you fuss. Pickering is in it with me. I’ve a sort of bet on that I’ll pass her off as a duchess in six months. I started on her some months ago; and she’s getting on like a house on fire. I shall win my bet. She has a quick ear; and she’s been easier to teach than my middle-class pupils because she’s had to learn a complete new language. She talks English almost as you talk French. + +MRS. HIGGINS. That’s satisfactory, at all events. + +HIGGINS. Well, it is and it isn’t. + +MRS. HIGGINS. What does that mean? + +HIGGINS. You see, I’ve got her pronunciation all right; but you have to consider not only how a girl pronounces, but what she pronounces; and that’s where— + +They are interrupted by the parlor-maid, announcing guests. + +THE PARLOR-MAID. Mrs. and Miss Eynsford Hill. [She withdraws]. + +HIGGINS. Oh Lord! [He rises; snatches his hat from the table; and makes for the door; but before he reaches it his mother introduces him]. + +Mrs. and Miss Eynsford Hill are the mother and daughter who sheltered from the rain in Covent Garden. The mother is well bred, quiet, and has the habitual anxiety of straitened means. The daughter has acquired a gay air of being very much at home in society: the bravado of genteel poverty. + +MRS. EYNSFORD HILL [to Mrs. Higgins] How do you do? [They shake hands]. + +MISS EYNSFORD HILL. How d’you do? [She shakes]. + +MRS. HIGGINS [introducing] My son Henry. + +MRS. EYNSFORD HILL. Your celebrated son! I have so longed to meet you, Professor Higgins. + +HIGGINS [glumly, making no movement in her direction] Delighted. [He backs against the piano and bows brusquely]. + +Miss EYNSFORD HILL [going to him with confident familiarity] How do you do? + +HIGGINS [staring at her] I’ve seen you before somewhere. I haven’t the ghost of a notion where; but I’ve heard your voice. [Drearily] It doesn’t matter. You’d better sit down. + +MRS. HIGGINS. I’m sorry to say that my celebrated son has no manners. You mustn’t mind him. + +MISS EYNSFORD HILL [gaily] I don’t. [She sits in the Elizabethan chair]. + +MRS. EYNSFORD HILL [a little bewildered] Not at all. [She sits on the ottoman between her daughter and Mrs. Higgins, who has turned her chair away from the writing-table]. + +HIGGINS. Oh, have I been rude? I didn’t mean to be. [He goes to the central window, through which, with his back to the company, he contemplates the river and the flowers in Battersea Park on the opposite bank as if they were a frozen dessert.] + +The parlor-maid returns, ushering in Pickering. + +THE PARLOR-MAID. Colonel Pickering [She withdraws]. + +PICKERING. How do you do, Mrs. Higgins? + +MRS. HIGGINS. So glad you’ve come. Do you know Mrs. Eynsford Hill—Miss Eynsford Hill? [Exchange of bows. The Colonel brings the Chippendale chair a little forward between Mrs. Hill and Mrs. Higgins, and sits down]. + +PICKERING. Has Henry told you what we’ve come for? + +HIGGINS [over his shoulder] We were interrupted: damn it! + +MRS. HIGGINS. Oh Henry, Henry, really! + +MRS. EYNSFORD HILL [half rising] Are we in the way? + +MRS. HIGGINS [rising and making her sit down again] No, no. You couldn’t have come more fortunately: we want you to meet a friend of ours. + +HIGGINS [turning hopefully] Yes, by George! We want two or three people. You’ll do as well as anybody else. + +The parlor-maid returns, ushering Freddy. + +THE PARLOR-MAID. Mr. Eynsford Hill. + +HIGGINS [almost audibly, past endurance] God of Heaven! another of them. + +FREDDY [shaking hands with Mrs. Higgins] Ahdedo? + +MRS. HIGGINS. Very good of you to come. [Introducing] Colonel Pickering. + +FREDDY [bowing] Ahdedo? + +MRS. HIGGINS. I don’t think you know my son, Professor Higgins. + +FREDDY [going to Higgins] Ahdedo? + +HIGGINS [looking at him much as if he were a pickpocket] I’ll take my oath I’ve met you before somewhere. Where was it? + +FREDDY. I don’t think so. + +HIGGINS [resignedly] It don’t matter, anyhow. Sit down. He shakes Freddy’s hand, and almost slings him on the ottoman with his face to the windows; then comes round to the other side of it. + +HIGGINS. Well, here we are, anyhow! [He sits down on the ottoman next Mrs. Eynsford Hill, on her left.] And now, what the devil are we going to talk about until Eliza comes? + +MRS. HIGGINS. Henry: you are the life and soul of the Royal Society’s soirees; but really you’re rather trying on more commonplace occasions. + +HIGGINS. Am I? Very sorry. [Beaming suddenly] I suppose I am, you know. [Uproariously] Ha, ha! + +MISS EYNSFORD HILL [who considers Higgins quite eligible matrimonially] I sympathize. I haven’t any small talk. If people would only be frank and say what they really think! + +HIGGINS [relapsing into gloom] Lord forbid! + +MRS. EYNSFORD HILL [taking up her daughter’s cue] But why? + +HIGGINS. What they think they ought to think is bad enough, Lord knows; but what they really think would break up the whole show. Do you suppose it would be really agreeable if I were to come out now with what I really think? + +MISS EYNSFORD HILL [gaily] Is it so very cynical? + +HIGGINS. Cynical! Who the dickens said it was cynical? I mean it wouldn’t be decent. + +MRS. EYNSFORD HILL [seriously] Oh! I’m sure you don’t mean that, Mr. Higgins. + +HIGGINS. You see, we’re all savages, more or less. We’re supposed to be civilized and cultured—to know all about poetry and philosophy and art and science, and so on; but how many of us know even the meanings of these names? [To Miss Hill] What do you know of poetry? [To Mrs. Hill] What do you know of science? [Indicating Freddy] What does he know of art or science or anything else? What the devil do you imagine I know of philosophy? + +MRS. HIGGINS [warningly] Or of manners, Henry? + +THE PARLOR-MAID [opening the door] Miss Doolittle. [She withdraws]. + +HIGGINS [rising hastily and running to Mrs. Higgins] Here she is, mother. [He stands on tiptoe and makes signs over his mother’s head to Eliza to indicate to her which lady is her hostess]. + +Eliza, who is exquisitely dressed, produces an impression of such remarkable distinction and beauty as she enters that they all rise, quite flustered. Guided by Higgins’s signals, she comes to Mrs. Higgins with studied grace. + +LIZA [speaking with pedantic correctness of pronunciation and great beauty of tone] How do you do, Mrs. Higgins? [She gasps slightly in making sure of the H in Higgins, but is quite successful]. Mr. Higgins told me I might come. + +MRS. HIGGINS [cordially] Quite right: I’m very glad indeed to see you. + +PICKERING. How do you do, Miss Doolittle? + +LIZA [shaking hands with him] Colonel Pickering, is it not? + +MRS. EYNSFORD HILL. I feel sure we have met before, Miss Doolittle. I remember your eyes. + +LIZA. How do you do? [She sits down on the ottoman gracefully in the place just left vacant by Higgins]. + +MRS. EYNSFORD HILL [introducing] My daughter Clara. + +LIZA. How do you do? + +CLARA [impulsively] How do you do? [She sits down on the ottoman beside Eliza, devouring her with her eyes]. + +FREDDY [coming to their side of the ottoman] I’ve certainly had the pleasure. + +MRS. EYNSFORD HILL [introducing] My son Freddy. + +LIZA. How do you do? + +Freddy bows and sits down in the Elizabethan chair, infatuated. + +HIGGINS [suddenly] By George, yes: it all comes back to me! [They stare at him]. Covent Garden! [Lamentably] What a damned thing! + +MRS. HIGGINS. Henry, please! [He is about to sit on the edge of the table]. Don’t sit on my writing-table: you’ll break it. + +HIGGINS [sulkily] Sorry. + +He goes to the divan, stumbling into the fender and over the fire-irons on his way; extricating himself with muttered imprecations; and finishing his disastrous journey by throwing himself so impatiently on the divan that he almost breaks it. Mrs. Higgins looks at him, but controls herself and says nothing. + +A long and painful pause ensues. + +MRS. HIGGINS [at last, conversationally] Will it rain, do you think? + +LIZA. The shallow depression in the west of these islands is likely to move slowly in an easterly direction. There are no indications of any great change in the barometrical situation. + +FREDDY. Ha! ha! how awfully funny! + +LIZA. What is wrong with that, young man? I bet I got it right. + +FREDDY. Killing! + +MRS. EYNSFORD HILL. I’m sure I hope it won’t turn cold. There’s so much influenza about. It runs right through our whole family regularly every spring. + +LIZA [darkly] My aunt died of influenza: so they said. + +MRS. EYNSFORD HILL [clicks her tongue sympathetically]!!! + +LIZA [in the same tragic tone] But it’s my belief they done the old woman in. + +MRS. HIGGINS [puzzled] Done her in? + +LIZA. Y-e-e-e-es, Lord love you! Why should she die of influenza? She come through diphtheria right enough the year before. I saw her with my own eyes. Fairly blue with it, she was. They all thought she was dead; but my father he kept ladling gin down her throat til she came to so sudden that she bit the bowl off the spoon. + +MRS. EYNSFORD HILL [startled] Dear me! + +LIZA [piling up the indictment] What call would a woman with that strength in her have to die of influenza? What become of her new straw hat that should have come to me? Somebody pinched it; and what I say is, them as pinched it done her in. + +MRS. EYNSFORD HILL. What does doing her in mean? + +HIGGINS [hastily] Oh, that’s the new small talk. To do a person in means to kill them. + +MRS. EYNSFORD HILL [to Eliza, horrified] You surely don’t believe that your aunt was killed? + +LIZA. Do I not! Them she lived with would have killed her for a hat-pin, let alone a hat. + +MRS. EYNSFORD HILL. But it can’t have been right for your father to pour spirits down her throat like that. It might have killed her. + +LIZA. Not her. Gin was mother’s milk to her. Besides, he’d poured so much down his own throat that he knew the good of it. + +MRS. EYNSFORD HILL. Do you mean that he drank? + +LIZA. Drank! My word! Something chronic. + +MRS. EYNSFORD HILL. How dreadful for you! + +LIZA. Not a bit. It never did him no harm what I could see. But then he did not keep it up regular. [Cheerfully] On the burst, as you might say, from time to time. And always more agreeable when he had a drop in. When he was out of work, my mother used to give him fourpence and tell him to go out and not come back until he’d drunk himself cheerful and loving-like. There’s lots of women has to make their husbands drunk to make them fit to live with. [Now quite at her ease] You see, it’s like this. If a man has a bit of a conscience, it always takes him when he’s sober; and then it makes him low-spirited. A drop of booze just takes that off and makes him happy. [To Freddy, who is in convulsions of suppressed laughter] Here! what are you sniggering at? + +FREDDY. The new small talk. You do it so awfully well. + +LIZA. If I was doing it proper, what was you laughing at? [To Higgins] Have I said anything I oughtn’t? + +MRS. HIGGINS [interposing] Not at all, Miss Doolittle. + +LIZA. Well, that’s a mercy, anyhow. [Expansively] What I always say is— + +HIGGINS [rising and looking at his watch] Ahem! + +LIZA [looking round at him; taking the hint; and rising] Well: I must go. [They all rise. Freddy goes to the door]. So pleased to have met you. Good-bye. [She shakes hands with Mrs. Higgins]. + +MRS. HIGGINS. Good-bye. + +LIZA. Good-bye, Colonel Pickering. + +PICKERING. Good-bye, Miss Doolittle. [They shake hands]. + +LIZA [nodding to the others] Good-bye, all. + +FREDDY [opening the door for her] Are you walking across the Park, Miss Doolittle? If so— + +LIZA. Walk! Not bloody likely. [Sensation]. I am going in a taxi. [She goes out]. + +Pickering gasps and sits down. Freddy goes out on the balcony to catch another glimpse of Eliza. + +MRS. EYNSFORD HILL [suffering from shock] Well, I really can’t get used to the new ways. + +CLARA [throwing herself discontentedly into the Elizabethan chair]. Oh, it’s all right, mamma, quite right. People will think we never go anywhere or see anybody if you are so old-fashioned. + +MRS. EYNSFORD HILL. I daresay I am very old-fashioned; but I do hope you won’t begin using that expression, Clara. I have got accustomed to hear you talking about men as rotters, and calling everything filthy and beastly; though I do think it horrible and unladylike. But this last is really too much. Don’t you think so, Colonel Pickering? + +PICKERING. Don’t ask me. I’ve been away in India for several years; and manners have changed so much that I sometimes don’t know whether I’m at a respectable dinner-table or in a ship’s forecastle. + +CLARA. It’s all a matter of habit. There’s no right or wrong in it. Nobody means anything by it. And it’s so quaint, and gives such a smart emphasis to things that are not in themselves very witty. I find the new small talk delightful and quite innocent. + +MRS. EYNSFORD HILL [rising] Well, after that, I think it’s time for us to go. + +Pickering and Higgins rise. + +CLARA [rising] Oh yes: we have three at homes to go to still. Good-bye, Mrs. Higgins. Good-bye, Colonel Pickering. Good-bye, Professor Higgins. + +HIGGINS [coming grimly at her from the divan, and accompanying her to the door] Good-bye. Be sure you try on that small talk at the three at-homes. Don’t be nervous about it. Pitch it in strong. + +CLARA [all smiles] I will. Good-bye. Such nonsense, all this early Victorian prudery! + +HIGGINS [tempting her] Such damned nonsense! + +CLARA. Such bloody nonsense! + +MRS. EYNSFORD HILL [convulsively] Clara! + +CLARA. Ha! ha! [She goes out radiant, conscious of being thoroughly up to date, and is heard descending the stairs in a stream of silvery laughter]. + +FREDDY [to the heavens at large] Well, I ask you [He gives it up, and comes to Mrs. Higgins]. Good-bye. + +MRS. HIGGINS [shaking hands] Good-bye. Would you like to meet Miss Doolittle again? + +FREDDY [eagerly] Yes, I should, most awfully. + +MRS. HIGGINS. Well, you know my days. + +FREDDY. Yes. Thanks awfully. Good-bye. [He goes out]. + +MRS. EYNSFORD HILL. Good-bye, Mr. Higgins. + +HIGGINS. Good-bye. Good-bye. + +MRS. EYNSFORD HILL [to Pickering] It’s no use. I shall never be able to bring myself to use that word. + +PICKERING. Don’t. It’s not compulsory, you know. You’ll get on quite well without it. + +MRS. EYNSFORD HILL. Only, Clara is so down on me if I am not positively reeking with the latest slang. Good-bye. + +PICKERING. Good-bye [They shake hands]. + +MRS. EYNSFORD HILL [to Mrs. Higgins] You mustn’t mind Clara. [Pickering, catching from her lowered tone that this is not meant for him to hear, discreetly joins Higgins at the window]. We’re so poor! and she gets so few parties, poor child! She doesn’t quite know. [Mrs. Higgins, seeing that her eyes are moist, takes her hand sympathetically and goes with her to the door]. But the boy is nice. Don’t you think so? + +MRS. HIGGINS. Oh, quite nice. I shall always be delighted to see him. + +MRS. EYNSFORD HILL. Thank you, dear. Good-bye. [She goes out]. + +HIGGINS [eagerly] Well? Is Eliza presentable [he swoops on his mother and drags her to the ottoman, where she sits down in Eliza’s place with her son on her left]? + +Pickering returns to his chair on her right. + +MRS. HIGGINS. You silly boy, of course she’s not presentable. She’s a triumph of your art and of her dressmaker’s; but if you suppose for a moment that she doesn’t give herself away in every sentence she utters, you must be perfectly cracked about her. + +PICKERING. But don’t you think something might be done? I mean something to eliminate the sanguinary element from her conversation. + +MRS. HIGGINS. Not as long as she is in Henry’s hands. + +HIGGINS [aggrieved] Do you mean that my language is improper? + +MRS. HIGGINS. No, dearest: it would be quite proper—say on a canal barge; but it would not be proper for her at a garden party. + +HIGGINS [deeply injured] Well I must say— + +PICKERING [interrupting him] Come, Higgins: you must learn to know yourself. I haven’t heard such language as yours since we used to review the volunteers in Hyde Park twenty years ago. + +HIGGINS [sulkily] Oh, well, if you say so, I suppose I don’t always talk like a bishop. + +MRS. HIGGINS [quieting Henry with a touch] Colonel Pickering: will you tell me what is the exact state of things in Wimpole Street? + +PICKERING [cheerfully: as if this completely changed the subject] Well, I have come to live there with Henry. We work together at my Indian Dialects; and we think it more convenient— + +MRS. HIGGINS. Quite so. I know all about that: it’s an excellent arrangement. But where does this girl live? + +HIGGINS. With us, of course. Where would she live? + +MRS. HIGGINS. But on what terms? Is she a servant? If not, what is she? + +PICKERING [slowly] I think I know what you mean, Mrs. Higgins. + +HIGGINS. Well, dash me if I do! I’ve had to work at the girl every day for months to get her to her present pitch. Besides, she’s useful. She knows where my things are, and remembers my appointments and so forth. + +MRS. HIGGINS. How does your housekeeper get on with her? + +HIGGINS. Mrs. Pearce? Oh, she’s jolly glad to get so much taken off her hands; for before Eliza came, she had to have to find things and remind me of my appointments. But she’s got some silly bee in her bonnet about Eliza. She keeps saying “You don’t think, sir”: doesn’t she, Pick? + +PICKERING. Yes: that’s the formula. “You don’t think, sir.” That’s the end of every conversation about Eliza. + +HIGGINS. As if I ever stop thinking about the girl and her confounded vowels and consonants. I’m worn out, thinking about her, and watching her lips and her teeth and her tongue, not to mention her soul, which is the quaintest of the lot. + +MRS. HIGGINS. You certainly are a pretty pair of babies, playing with your live doll. + +HIGGINS. Playing! The hardest job I ever tackled: make no mistake about that, mother. But you have no idea how frightfully interesting it is to take a human being and change her into a quite different human being by creating a new speech for her. It’s filling up the deepest gulf that separates class from class and soul from soul. + +PICKERING [drawing his chair closer to Mrs. Higgins and bending over to her eagerly] Yes: it’s enormously interesting. I assure you, Mrs. Higgins, we take Eliza very seriously. Every week—every day almost—there is some new change. [Closer again] We keep records of every stage—dozens of gramophone disks and photographs— + +HIGGINS [assailing her at the other ear] Yes, by George: it’s the most absorbing experiment I ever tackled. She regularly fills our lives up; doesn’t she, Pick? + +PICKERING. We’re always talking Eliza. + +HIGGINS. Teaching Eliza. + +PICKERING. Dressing Eliza. + +MRS. HIGGINS. What! + +HIGGINS. Inventing new Elizas. + +Higgins and Pickering, speaking together: + +HIGGINS. You know, she has the most extraordinary quickness of ear: +PICKERING. I assure you, my dear Mrs. Higgins, that girl +HIGGINS. just like a parrot. I’ve tried her with every +PICKERING. is a genius. She can play the piano quite beautifully +HIGGINS. possible sort of sound that a human being can make— +PICKERING. We have taken her to classical concerts and to music +HIGGINS. Continental dialects, African dialects, Hottentot +PICKERING. halls; and it’s all the same to her: she plays everything +HIGGINS. clicks, things it took me years to get hold of; and +PICKERING. she hears right off when she comes home, whether it’s +HIGGINS. she picks them up like a shot, right away, as if she had +PICKERING. Beethoven and Brahms or Lehar and Lionel Morickton; +HIGGINS. been at it all her life. +PICKERING. though six months ago, she’d never as much as touched a piano. +MRS. HIGGINS [putting her fingers in her ears, as they are by this time shouting one another down with an intolerable noise] Sh—sh—sh—sh! [They stop]. + +PICKERING. I beg your pardon. [He draws his chair back apologetically]. + +HIGGINS. Sorry. When Pickering starts shouting nobody can get a word in edgeways. + +MRS. HIGGINS. Be quiet, Henry. Colonel Pickering: don’t you realize that when Eliza walked into Wimpole Street, something walked in with her? + +PICKERING. Her father did. But Henry soon got rid of him. + +MRS. HIGGINS. It would have been more to the point if her mother had. But as her mother didn’t something else did. + +PICKERING. But what? + +MRS. HIGGINS [unconsciously dating herself by the word] A problem. + +PICKERING. Oh, I see. The problem of how to pass her off as a lady. + +HIGGINS. I’ll solve that problem. I’ve half solved it already. + +MRS. HIGGINS. No, you two infinitely stupid male creatures: the problem of what is to be done with her afterwards. + +HIGGINS. I don’t see anything in that. She can go her own way, with all the advantages I have given her. + +MRS. HIGGINS. The advantages of that poor woman who was here just now! The manners and habits that disqualify a fine lady from earning her own living without giving her a fine lady’s income! Is that what you mean? + +PICKERING [indulgently, being rather bored] Oh, that will be all right, Mrs. Higgins. [He rises to go]. + +HIGGINS [rising also] We’ll find her some light employment. + +PICKERING. She’s happy enough. Don’t you worry about her. Good-bye. [He shakes hands as if he were consoling a frightened child, and makes for the door]. + +HIGGINS. Anyhow, there’s no good bothering now. The thing’s done. Good-bye, mother. [He kisses her, and follows Pickering]. + +PICKERING [turning for a final consolation] There are plenty of openings. We’ll do what’s right. Good-bye. + +HIGGINS [to Pickering as they go out together] Let’s take her to the Shakespear exhibition at Earls Court. + +PICKERING. Yes: let’s. Her remarks will be delicious. + +HIGGINS. She’ll mimic all the people for us when we get home. + +PICKERING. Ripping. [Both are heard laughing as they go downstairs]. + +MRS. HIGGINS [rises with an impatient bounce, and returns to her work at the writing-table. She sweeps a litter of disarranged papers out of her way; snatches a sheet of paper from her stationery case; and tries resolutely to write. At the third line she gives it up; flings down her pen; grips the table angrily and exclaims] Oh, men! men!! men!!! + + +ACT IV +The Wimpole Street laboratory. Midnight. Nobody in the room. The clock on the mantelpiece strikes twelve. The fire is not alight: it is a summer night. + +Presently Higgins and Pickering are heard on the stairs. + +HIGGINS [calling down to Pickering] I say, Pick: lock up, will you. I shan’t be going out again. + +PICKERING. Right. Can Mrs. Pearce go to bed? We don’t want anything more, do we? + +HIGGINS. Lord, no! + +Eliza opens the door and is seen on the lighted landing in opera cloak, brilliant evening dress, and diamonds, with fan, flowers, and all accessories. She comes to the hearth, and switches on the electric lights there. She is tired: her pallor contrasts strongly with her dark eyes and hair; and her expression is almost tragic. She takes off her cloak; puts her fan and flowers on the piano; and sits down on the bench, brooding and silent. Higgins, in evening dress, with overcoat and hat, comes in, carrying a smoking jacket which he has picked up downstairs. He takes off the hat and overcoat; throws them carelessly on the newspaper stand; disposes of his coat in the same way; puts on the smoking jacket; and throws himself wearily into the easy-chair at the hearth. Pickering, similarly attired, comes in. He also takes off his hat and overcoat, and is about to throw them on Higgins’s when he hesitates. + +PICKERING. I say: Mrs. Pearce will row if we leave these things lying about in the drawing-room. + +HIGGINS. Oh, chuck them over the bannisters into the hall. She’ll find them there in the morning and put them away all right. She’ll think we were drunk. + +PICKERING. We are, slightly. Are there any letters? + +HIGGINS. I didn’t look. [Pickering takes the overcoats and hats and goes down stairs. Higgins begins half singing half yawning an air from La Fanciulla del Golden West. Suddenly he stops and exclaims] I wonder where the devil my slippers are! + +Eliza looks at him darkly; then leaves the room. + +Higgins yawns again, and resumes his song. Pickering returns, with the contents of the letter-box in his hand. + +PICKERING. Only circulars, and this coroneted billet-doux for you. [He throws the circulars into the fender, and posts himself on the hearthrug, with his back to the grate]. + +HIGGINS [glancing at the billet-doux] Money-lender. [He throws the letter after the circulars]. + +Eliza returns with a pair of large down-at-heel slippers. She places them on the carpet before Higgins, and sits as before without a word. + +HIGGINS [yawning again] Oh Lord! What an evening! What a crew! What a silly tomfoollery! [He raises his shoe to unlace it, and catches sight of the slippers. He stops unlacing and looks at them as if they had appeared there of their own accord]. Oh! they’re there, are they? + +PICKERING [stretching himself] Well, I feel a bit tired. It’s been a long day. The garden party, a dinner party, and the opera! Rather too much of a good thing. But you’ve won your bet, Higgins. Eliza did the trick, and something to spare, eh? + +HIGGINS [fervently] Thank God it’s over! + +Eliza flinches violently; but they take no notice of her; and she recovers herself and sits stonily as before. + +PICKERING. Were you nervous at the garden party? I was. Eliza didn’t seem a bit nervous. + +HIGGINS. Oh, she wasn’t nervous. I knew she’d be all right. No, it’s the strain of putting the job through all these months that has told on me. It was interesting enough at first, while we were at the phonetics; but after that I got deadly sick of it. If I hadn’t backed myself to do it I should have chucked the whole thing up two months ago. It was a silly notion: the whole thing has been a bore. + +PICKERING. Oh come! the garden party was frightfully exciting. My heart began beating like anything. + +HIGGINS. Yes, for the first three minutes. But when I saw we were going to win hands down, I felt like a bear in a cage, hanging about doing nothing. The dinner was worse: sitting gorging there for over an hour, with nobody but a damned fool of a fashionable woman to talk to! I tell you, Pickering, never again for me. No more artificial duchesses. The whole thing has been simple purgatory. + +PICKERING. You’ve never been broken in properly to the social routine. [Strolling over to the piano] I rather enjoy dipping into it occasionally myself: it makes me feel young again. Anyhow, it was a great success: an immense success. I was quite frightened once or twice because Eliza was doing it so well. You see, lots of the real people can’t do it at all: they’re such fools that they think style comes by nature to people in their position; and so they never learn. There’s always something professional about doing a thing superlatively well. + +HIGGINS. Yes: that’s what drives me mad: the silly people don’t know their own silly business. [Rising] However, it’s over and done with; and now I can go to bed at last without dreading tomorrow. + +Eliza’s beauty becomes murderous. + +PICKERING. I think I shall turn in too. Still, it’s been a great occasion: a triumph for you. Good-night. [He goes]. + +HIGGINS [following him] Good-night. [Over his shoulder, at the door] Put out the lights, Eliza; and tell Mrs. Pearce not to make coffee for me in the morning: I’ll take tea. [He goes out]. + +Eliza tries to control herself and feel indifferent as she rises and walks across to the hearth to switch off the lights. By the time she gets there she is on the point of screaming. She sits down in Higgins’s chair and holds on hard to the arms. Finally she gives way and flings herself furiously on the floor raging. + +HIGGINS [in despairing wrath outside] What the devil have I done with my slippers? [He appears at the door]. + +LIZA [snatching up the slippers, and hurling them at him one after the other with all her force] There are your slippers. And there. Take your slippers; and may you never have a day’s luck with them! + +HIGGINS [astounded] What on earth—! [He comes to her]. What’s the matter? Get up. [He pulls her up]. Anything wrong? + +LIZA [breathless] Nothing wrong—with YOU. I’ve won your bet for you, haven’t I? That’s enough for you. I don’t matter, I suppose. + +HIGGINS. YOU won my bet! You! Presumptuous insect! I won it. What did you throw those slippers at me for? + +LIZA. Because I wanted to smash your face. I’d like to kill you, you selfish brute. Why didn’t you leave me where you picked me out of—in the gutter? You thank God it’s all over, and that now you can throw me back again there, do you? [She crisps her fingers, frantically]. + +HIGGINS [looking at her in cool wonder] The creature IS nervous, after all. + +LIZA [gives a suffocated scream of fury, and instinctively darts her nails at his face]!! + +HIGGINS [catching her wrists] Ah! would you? Claws in, you cat. How dare you show your temper to me? Sit down and be quiet. [He throws her roughly into the easy-chair]. + +LIZA [crushed by superior strength and weight] What’s to become of me? What’s to become of me? + +HIGGINS. How the devil do I know what’s to become of you? What does it matter what becomes of you? + +LIZA. You don’t care. I know you don’t care. You wouldn’t care if I was dead. I’m nothing to you—not so much as them slippers. + +HIGGINS [thundering] THOSE slippers. + +LIZA [with bitter submission] Those slippers. I didn’t think it made any difference now. + +A pause. Eliza hopeless and crushed. Higgins a little uneasy. + +HIGGINS [in his loftiest manner] Why have you begun going on like this? May I ask whether you complain of your treatment here? + +LIZA. No. + +HIGGINS. Has anybody behaved badly to you? Colonel Pickering? Mrs. Pearce? Any of the servants? + +LIZA. No. + +HIGGINS. I presume you don’t pretend that I have treated you badly. + +LIZA. No. + +HIGGINS. I am glad to hear it. [He moderates his tone]. Perhaps you’re tired after the strain of the day. Will you have a glass of champagne? [He moves towards the door]. + +LIZA. No. [Recollecting her manners] Thank you. + +HIGGINS [good-humored again] This has been coming on you for some days. I suppose it was natural for you to be anxious about the garden party. But that’s all over now. [He pats her kindly on the shoulder. She writhes]. There’s nothing more to worry about. + +LIZA. No. Nothing more for you to worry about. [She suddenly rises and gets away from him by going to the piano bench, where she sits and hides her face]. Oh God! I wish I was dead. + +HIGGINS [staring after her in sincere surprise] Why? in heaven’s name, why? [Reasonably, going to her] Listen to me, Eliza. All this irritation is purely subjective. + +LIZA. I don’t understand. I’m too ignorant. + +HIGGINS. It’s only imagination. Low spirits and nothing else. Nobody’s hurting you. Nothing’s wrong. You go to bed like a good girl and sleep it off. Have a little cry and say your prayers: that will make you comfortable. + +LIZA. I heard YOUR prayers. “Thank God it’s all over!” + +HIGGINS [impatiently] Well, don’t you thank God it’s all over? Now you are free and can do what you like. + +LIZA [pulling herself together in desperation] What am I fit for? What have you left me fit for? Where am I to go? What am I to do? What’s to become of me? + +HIGGINS [enlightened, but not at all impressed] Oh, that’s what’s worrying you, is it? [He thrusts his hands into his pockets, and walks about in his usual manner, rattling the contents of his pockets, as if condescending to a trivial subject out of pure kindness]. I shouldn’t bother about it if I were you. I should imagine you won’t have much difficulty in settling yourself, somewhere or other, though I hadn’t quite realized that you were going away. [She looks quickly at him: he does not look at her, but examines the dessert stand on the piano and decides that he will eat an apple]. You might marry, you know. [He bites a large piece out of the apple, and munches it noisily]. You see, Eliza, all men are not confirmed old bachelors like me and the Colonel. Most men are the marrying sort (poor devils!); and you’re not bad-looking; it’s quite a pleasure to look at you sometimes—not now, of course, because you’re crying and looking as ugly as the very devil; but when you’re all right and quite yourself, you’re what I should call attractive. That is, to the people in the marrying line, you understand. You go to bed and have a good nice rest; and then get up and look at yourself in the glass; and you won’t feel so cheap. + +Eliza again looks at him, speechless, and does not stir. + +The look is quite lost on him: he eats his apple with a dreamy expression of happiness, as it is quite a good one. + +HIGGINS [a genial afterthought occurring to him] I daresay my mother could find some chap or other who would do very well— + +LIZA. We were above that at the corner of Tottenham Court Road. + +HIGGINS [waking up] What do you mean? + +LIZA. I sold flowers. I didn’t sell myself. Now you’ve made a lady of me I’m not fit to sell anything else. I wish you’d left me where you found me. + +HIGGINS [slinging the core of the apple decisively into the grate] Tosh, Eliza. Don’t you insult human relations by dragging all this cant about buying and selling into it. You needn’t marry the fellow if you don’t like him. + +LIZA. What else am I to do? + +HIGGINS. Oh, lots of things. What about your old idea of a florist’s shop? Pickering could set you up in one: he’s lots of money. [Chuckling] He’ll have to pay for all those togs you have been wearing today; and that, with the hire of the jewellery, will make a big hole in two hundred pounds. Why, six months ago you would have thought it the millennium to have a flower shop of your own. Come! you’ll be all right. I must clear off to bed: I’m devilish sleepy. By the way, I came down for something: I forget what it was. + +LIZA. Your slippers. + +HIGGINS. Oh yes, of course. You shied them at me. [He picks them up, and is going out when she rises and speaks to him]. + +LIZA. Before you go, sir— + +HIGGINS [dropping the slippers in his surprise at her calling him sir] Eh? + +LIZA. Do my clothes belong to me or to Colonel Pickering? + +HIGGINS [coming back into the room as if her question were the very climax of unreason] What the devil use would they be to Pickering? + +LIZA. He might want them for the next girl you pick up to experiment on. + +HIGGINS [shocked and hurt] Is THAT the way you feel towards us? + +LIZA. I don’t want to hear anything more about that. All I want to know is whether anything belongs to me. My own clothes were burnt. + +HIGGINS. But what does it matter? Why need you start bothering about that in the middle of the night? + +LIZA. I want to know what I may take away with me. I don’t want to be accused of stealing. + +HIGGINS [now deeply wounded] Stealing! You shouldn’t have said that, Eliza. That shows a want of feeling. + +LIZA. I’m sorry. I’m only a common ignorant girl; and in my station I have to be careful. There can’t be any feelings between the like of you and the like of me. Please will you tell me what belongs to me and what doesn’t? + +HIGGINS [very sulky] You may take the whole damned houseful if you like. Except the jewels. They’re hired. Will that satisfy you? [He turns on his heel and is about to go in extreme dudgeon]. + +LIZA [drinking in his emotion like nectar, and nagging him to provoke a further supply] Stop, please. [She takes off her jewels]. Will you take these to your room and keep them safe? I don’t want to run the risk of their being missing. + +HIGGINS [furious] Hand them over. [She puts them into his hands]. If these belonged to me instead of to the jeweler, I’d ram them down your ungrateful throat. [He perfunctorily thrusts them into his pockets, unconsciously decorating himself with the protruding ends of the chains]. + +LIZA [taking a ring off] This ring isn’t the jeweler’s: it’s the one you bought me in Brighton. I don’t want it now. [Higgins dashes the ring violently into the fireplace, and turns on her so threateningly that she crouches over the piano with her hands over her face, and exclaims] Don’t you hit me. + +HIGGINS. Hit you! You infamous creature, how dare you accuse me of such a thing? It is you who have hit me. You have wounded me to the heart. + +LIZA [thrilling with hidden joy] I’m glad. I’ve got a little of my own back, anyhow. + +HIGGINS [with dignity, in his finest professional style] You have caused me to lose my temper: a thing that has hardly ever happened to me before. I prefer to say nothing more tonight. I am going to bed. + +LIZA [pertly] You’d better leave a note for Mrs. Pearce about the coffee; for she won’t be told by me. + +HIGGINS [formally] Damn Mrs. Pearce; and damn the coffee; and damn you; and damn my own folly in having lavished MY hard-earned knowledge and the treasure of my regard and intimacy on a heartless guttersnipe. [He goes out with impressive decorum, and spoils it by slamming the door savagely]. + +Eliza smiles for the first time; expresses her feelings by a wild pantomime in which an imitation of Higgins’s exit is confused with her own triumph; and finally goes down on her knees on the hearthrug to look for the ring. + + +ACT V +Mrs. Higgins’s drawing-room. She is at her writing-table as before. The parlor-maid comes in. + +THE PARLOR-MAID [at the door] Mr. Henry, mam, is downstairs with Colonel Pickering. + +MRS. HIGGINS. Well, show them up. + +THE PARLOR-MAID. They’re using the telephone, mam. Telephoning to the police, I think. + +MRS. HIGGINS. What! + +THE PARLOR-MAID [coming further in and lowering her voice] Mr. Henry’s in a state, mam. I thought I’d better tell you. + +MRS. HIGGINS. If you had told me that Mr. Henry was not in a state it would have been more surprising. Tell them to come up when they’ve finished with the police. I suppose he’s lost something. + +THE PARLOR-MAID. Yes, maam [going]. + +MRS. HIGGINS. Go upstairs and tell Miss Doolittle that Mr. Henry and the Colonel are here. Ask her not to come down till I send for her. + +THE PARLOR-MAID. Yes, mam. + +Higgins bursts in. He is, as the parlor-maid has said, in a state. + +HIGGINS. Look here, mother: here’s a confounded thing! + +MRS. HIGGINS. Yes, dear. Good-morning. [He checks his impatience and kisses her, whilst the parlor-maid goes out]. What is it? + +HIGGINS. Eliza’s bolted. + +MRS. HIGGINS [calmly continuing her writing] You must have frightened her. + +HIGGINS. Frightened her! nonsense! She was left last night, as usual, to turn out the lights and all that; and instead of going to bed she changed her clothes and went right off: her bed wasn’t slept in. She came in a cab for her things before seven this morning; and that fool Mrs. Pearce let her have them without telling me a word about it. What am I to do? + +MRS. HIGGINS. Do without, I’m afraid, Henry. The girl has a perfect right to leave if she chooses. + +HIGGINS [wandering distractedly across the room] But I can’t find anything. I don’t know what appointments I’ve got. I’m— [Pickering comes in. Mrs. Higgins puts down her pen and turns away from the writing-table]. + +PICKERING [shaking hands] Good-morning, Mrs. Higgins. Has Henry told you? [He sits down on the ottoman]. + +HIGGINS. What does that ass of an inspector say? Have you offered a reward? + +MRS. HIGGINS [rising in indignant amazement] You don’t mean to say you have set the police after Eliza? + +HIGGINS. Of course. What are the police for? What else could we do? [He sits in the Elizabethan chair]. + +PICKERING. The inspector made a lot of difficulties. I really think he suspected us of some improper purpose. + +MRS. HIGGINS. Well, of course he did. What right have you to go to the police and give the girl’s name as if she were a thief, or a lost umbrella, or something? Really! [She sits down again, deeply vexed]. + +HIGGINS. But we want to find her. + +PICKERING. We can’t let her go like this, you know, Mrs. Higgins. What were we to do? + +MRS. HIGGINS. You have no more sense, either of you, than two children. Why— + +The parlor-maid comes in and breaks off the conversation. + +THE PARLOR-MAID. Mr. Henry: a gentleman wants to see you very particular. He’s been sent on from Wimpole Street. + +HIGGINS. Oh, bother! I can’t see anyone now. Who is it? + +THE PARLOR-MAID. A Mr. Doolittle, Sir. + +PICKERING. Doolittle! Do you mean the dustman? + +THE PARLOR-MAID. Dustman! Oh no, sir: a gentleman. + +HIGGINS [springing up excitedly] By George, Pick, it’s some relative of hers that she’s gone to. Somebody we know nothing about. [To the parlor-maid] Send him up, quick. + +THE PARLOR-MAID. Yes, Sir. [She goes]. + +HIGGINS [eagerly, going to his mother] Genteel relatives! now we shall hear something. [He sits down in the Chippendale chair]. + +MRS. HIGGINS. Do you know any of her people? + +PICKERING. Only her father: the fellow we told you about. + +THE PARLOR-MAID [announcing] Mr. Doolittle. [She withdraws]. + +Doolittle enters. He is brilliantly dressed in a new fashionable frock-coat, with white waistcoat and grey trousers. A flower in his buttonhole, a dazzling silk hat, and patent leather shoes complete the effect. He is too concerned with the business he has come on to notice Mrs. Higgins. He walks straight to Higgins, and accosts him with vehement reproach. + +DOOLITTLE [indicating his own person] See here! Do you see this? You done this. + +HIGGINS. Done what, man? + +DOOLITTLE. This, I tell you. Look at it. Look at this hat. Look at this coat. + +PICKERING. Has Eliza been buying you clothes? + +DOOLITTLE. Eliza! not she. Not half. Why would she buy me clothes? + +MRS. HIGGINS. Good-morning, Mr. Doolittle. Won’t you sit down? + +DOOLITTLE [taken aback as he becomes conscious that he has forgotten his hostess] Asking your pardon, ma’am. [He approaches her and shakes her proffered hand]. Thank you. [He sits down on the ottoman, on Pickering’s right]. I am that full of what has happened to me that I can’t think of anything else. + +HIGGINS. What the dickens has happened to you? + +DOOLITTLE. I shouldn’t mind if it had only happened to me: anything might happen to anybody and nobody to blame but Providence, as you might say. But this is something that you done to me: yes, you, Henry Higgins. + +HIGGINS. Have you found Eliza? That’s the point. + +DOOLITTLE. Have you lost her? + +HIGGINS. Yes. + +DOOLITTLE. You have all the luck, you have. I ain’t found her; but she’ll find me quick enough now after what you done to me. + +MRS. HIGGINS. But what has my son done to you, Mr. Doolittle? + +DOOLITTLE. Done to me! Ruined me. Destroyed my happiness. Tied me up and delivered me into the hands of middle class morality. + +HIGGINS [rising intolerantly and standing over Doolittle] You’re raving. You’re drunk. You’re mad. I gave you five pounds. After that I had two conversations with you, at half-a-crown an hour. I’ve never seen you since. + +DOOLITTLE. Oh! Drunk! am I? Mad! am I? Tell me this. Did you or did you not write a letter to an old blighter in America that was giving five millions to found Moral Reform Societies all over the world, and that wanted you to invent a universal language for him? + +HIGGINS. What! Ezra D. Wannafeller! He’s dead. [He sits down again carelessly]. + +DOOLITTLE. Yes: he’s dead; and I’m done for. Now did you or did you not write a letter to him to say that the most original moralist at present in England, to the best of your knowledge, was Alfred Doolittle, a common dustman. + +HIGGINS. Oh, after your last visit I remember making some silly joke of the kind. + +DOOLITTLE. Ah! you may well call it a silly joke. It put the lid on me right enough. Just give him the chance he wanted to show that Americans is not like us: that they recognize and respect merit in every class of life, however humble. Them words is in his blooming will, in which, Henry Higgins, thanks to your silly joking, he leaves me a share in his Pre-digested Cheese Trust worth three thousand a year on condition that I lecture for his Wannafeller Moral Reform World League as often as they ask me up to six times a year. + +HIGGINS. The devil he does! Whew! [Brightening suddenly] What a lark! + +PICKERING. A safe thing for you, Doolittle. They won’t ask you twice. + +DOOLITTLE. It ain’t the lecturing I mind. I’ll lecture them blue in the face, I will, and not turn a hair. It’s making a gentleman of me that I object to. Who asked him to make a gentleman of me? I was happy. I was free. I touched pretty nigh everybody for money when I wanted it, same as I touched you, Henry Higgins. Now I am worrited; tied neck and heels; and everybody touches me for money. It’s a fine thing for you, says my solicitor. Is it? says I. You mean it’s a good thing for you, I says. When I was a poor man and had a solicitor once when they found a pram in the dust cart, he got me off, and got shut of me and got me shut of him as quick as he could. Same with the doctors: used to shove me out of the hospital before I could hardly stand on my legs, and nothing to pay. Now they finds out that I’m not a healthy man and can’t live unless they looks after me twice a day. In the house I’m not let do a hand’s turn for myself: somebody else must do it and touch me for it. A year ago I hadn’t a relative in the world except two or three that wouldn’t speak to me. Now I’ve fifty, and not a decent week’s wages among the lot of them. I have to live for others and not for myself: that’s middle class morality. You talk of losing Eliza. Don’t you be anxious: I bet she’s on my doorstep by this: she that could support herself easy by selling flowers if I wasn’t respectable. And the next one to touch me will be you, Henry Higgins. I’ll have to learn to speak middle class language from you, instead of speaking proper English. That’s where you’ll come in; and I daresay that’s what you done it for. + +MRS. HIGGINS. But, my dear Mr. Doolittle, you need not suffer all this if you are really in earnest. Nobody can force you to accept this bequest. You can repudiate it. Isn’t that so, Colonel Pickering? + +PICKERING. I believe so. + +DOOLITTLE [softening his manner in deference to her sex] That’s the tragedy of it, ma’am. It’s easy to say chuck it; but I haven’t the nerve. Which one of us has? We’re all intimidated. Intimidated, ma’am: that’s what we are. What is there for me if I chuck it but the workhouse in my old age? I have to dye my hair already to keep my job as a dustman. If I was one of the deserving poor, and had put by a bit, I could chuck it; but then why should I, acause the deserving poor might as well be millionaires for all the happiness they ever has. They don’t know what happiness is. But I, as one of the undeserving poor, have nothing between me and the pauper’s uniform but this here blasted three thousand a year that shoves me into the middle class. (Excuse the expression, ma’am: you’d use it yourself if you had my provocation). They’ve got you every way you turn: it’s a choice between the Skilly of the workhouse and the Char Bydis of the middle class; and I haven’t the nerve for the workhouse. Intimidated: that’s what I am. Broke. Bought up. Happier men than me will call for my dust, and touch me for their tip; and I’ll look on helpless, and envy them. And that’s what your son has brought me to. [He is overcome by emotion]. + +MRS. HIGGINS. Well, I’m very glad you’re not going to do anything foolish, Mr. Doolittle. For this solves the problem of Eliza’s future. You can provide for her now. + +DOOLITTLE [with melancholy resignation] Yes, ma’am; I’m expected to provide for everyone now, out of three thousand a year. + +HIGGINS [jumping up] Nonsense! he can’t provide for her. He shan’t provide for her. She doesn’t belong to him. I paid him five pounds for her. Doolittle: either you’re an honest man or a rogue. + +DOOLITTLE [tolerantly] A little of both, Henry, like the rest of us: a little of both. + +HIGGINS. Well, you took that money for the girl; and you have no right to take her as well. + +MRS. HIGGINS. Henry: don’t be absurd. If you really want to know where Eliza is, she is upstairs. + +HIGGINS [amazed] Upstairs!!! Then I shall jolly soon fetch her downstairs. [He makes resolutely for the door]. + +MRS. HIGGINS [rising and following him] Be quiet, Henry. Sit down. + +HIGGINS. I— + +MRS. HIGGINS. Sit down, dear; and listen to me. + +HIGGINS. Oh very well, very well, very well. [He throws himself ungraciously on the ottoman, with his face towards the windows]. But I think you might have told me this half an hour ago. + +MRS. HIGGINS. Eliza came to me this morning. She passed the night partly walking about in a rage, partly trying to throw herself into the river and being afraid to, and partly in the Carlton Hotel. She told me of the brutal way you two treated her. + +HIGGINS [bounding up again] What! + +PICKERING [rising also] My dear Mrs. Higgins, she’s been telling you stories. We didn’t treat her brutally. We hardly said a word to her; and we parted on particularly good terms. [Turning on Higgins]. Higgins: did you bully her after I went to bed? + +HIGGINS. Just the other way about. She threw my slippers in my face. She behaved in the most outrageous way. I never gave her the slightest provocation. The slippers came bang into my face the moment I entered the room—before I had uttered a word. And used perfectly awful language. + +PICKERING [astonished] But why? What did we do to her? + +MRS. HIGGINS. I think I know pretty well what you did. The girl is naturally rather affectionate, I think. Isn’t she, Mr. Doolittle? + +DOOLITTLE. Very tender-hearted, ma’am. Takes after me. + +MRS. HIGGINS. Just so. She had become attached to you both. She worked very hard for you, Henry! I don’t think you quite realize what anything in the nature of brain work means to a girl like that. Well, it seems that when the great day of trial came, and she did this wonderful thing for you without making a single mistake, you two sat there and never said a word to her, but talked together of how glad you were that it was all over and how you had been bored with the whole thing. And then you were surprised because she threw your slippers at you! I should have thrown the fire-irons at you. + +HIGGINS. We said nothing except that we were tired and wanted to go to bed. Did we, Pick? + +PICKERING [shrugging his shoulders] That was all. + +MRS. HIGGINS [ironically] Quite sure? + +PICKERING. Absolutely. Really, that was all. + +MRS. HIGGINS. You didn’t thank her, or pet her, or admire her, or tell her how splendid she’d been. + +HIGGINS [impatiently] But she knew all about that. We didn’t make speeches to her, if that’s what you mean. + +PICKERING [conscience stricken] Perhaps we were a little inconsiderate. Is she very angry? + +MRS. HIGGINS [returning to her place at the writing-table] Well, I’m afraid she won’t go back to Wimpole Street, especially now that Mr. Doolittle is able to keep up the position you have thrust on her; but she says she is quite willing to meet you on friendly terms and to let bygones be bygones. + +HIGGINS [furious] Is she, by George? Ho! + +MRS. HIGGINS. If you promise to behave yourself, Henry, I’ll ask her to come down. If not, go home; for you have taken up quite enough of my time. + +HIGGINS. Oh, all right. Very well. Pick: you behave yourself. Let us put on our best Sunday manners for this creature that we picked out of the mud. [He flings himself sulkily into the Elizabethan chair]. + +DOOLITTLE [remonstrating] Now, now, Henry Higgins! have some consideration for my feelings as a middle class man. + +MRS. HIGGINS. Remember your promise, Henry. [She presses the bell-button on the writing-table]. Mr. Doolittle: will you be so good as to step out on the balcony for a moment. I don’t want Eliza to have the shock of your news until she has made it up with these two gentlemen. Would you mind? + +DOOLITTLE. As you wish, lady. Anything to help Henry to keep her off my hands. [He disappears through the window]. + +The parlor-maid answers the bell. Pickering sits down in Doolittle’s place. + +MRS. HIGGINS. Ask Miss Doolittle to come down, please. + +THE PARLOR-MAID. Yes, mam. [She goes out]. + +MRS. HIGGINS. Now, Henry: be good. + +HIGGINS. I am behaving myself perfectly. + +PICKERING. He is doing his best, Mrs. Higgins. + +A pause. Higgins throws back his head; stretches out his legs; and begins to whistle. + +MRS. HIGGINS. Henry, dearest, you don’t look at all nice in that attitude. + +HIGGINS [pulling himself together] I was not trying to look nice, mother. + +MRS. HIGGINS. It doesn’t matter, dear. I only wanted to make you speak. + +HIGGINS. Why? + +MRS. HIGGINS. Because you can’t speak and whistle at the same time. + +Higgins groans. Another very trying pause. + +HIGGINS [springing up, out of patience] Where the devil is that girl? Are we to wait here all day? + +Eliza enters, sunny, self-possessed, and giving a staggeringly convincing exhibition of ease of manner. She carries a little work-basket, and is very much at home. Pickering is too much taken aback to rise. + +LIZA. How do you do, Professor Higgins? Are you quite well? + +HIGGINS [choking] Am I— [He can say no more]. + +LIZA. But of course you are: you are never ill. So glad to see you again, Colonel Pickering. [He rises hastily; and they shake hands]. Quite chilly this morning, isn’t it? [She sits down on his left. He sits beside her]. + +HIGGINS. Don’t you dare try this game on me. I taught it to you; and it doesn’t take me in. Get up and come home; and don’t be a fool. + +Eliza takes a piece of needlework from her basket, and begins to stitch at it, without taking the least notice of this outburst. + +MRS. HIGGINS. Very nicely put, indeed, Henry. No woman could resist such an invitation. + +HIGGINS. You let her alone, mother. Let her speak for herself. You will jolly soon see whether she has an idea that I haven’t put into her head or a word that I haven’t put into her mouth. I tell you I have created this thing out of the squashed cabbage leaves of Covent Garden; and now she pretends to play the fine lady with me. + +MRS. HIGGINS [placidly] Yes, dear; but you’ll sit down, won’t you? + +Higgins sits down again, savagely. + +LIZA [to Pickering, taking no apparent notice of Higgins, and working away deftly] Will you drop me altogether now that the experiment is over, Colonel Pickering? + +PICKERING. Oh don’t. You mustn’t think of it as an experiment. It shocks me, somehow. + +LIZA. Oh, I’m only a squashed cabbage leaf. + +PICKERING [impulsively] No. + +LIZA [continuing quietly]—but I owe so much to you that I should be very unhappy if you forgot me. + +PICKERING. It’s very kind of you to say so, Miss Doolittle. + +LIZA. It’s not because you paid for my dresses. I know you are generous to everybody with money. But it was from you that I learnt really nice manners; and that is what makes one a lady, isn’t it? You see it was so very difficult for me with the example of Professor Higgins always before me. I was brought up to be just like him, unable to control myself, and using bad language on the slightest provocation. And I should never have known that ladies and gentlemen didn’t behave like that if you hadn’t been there. + +HIGGINS. Well!! + +PICKERING. Oh, that’s only his way, you know. He doesn’t mean it. + +LIZA. Oh, I didn’t mean it either, when I was a flower girl. It was only my way. But you see I did it; and that’s what makes the difference after all. + +PICKERING. No doubt. Still, he taught you to speak; and I couldn’t have done that, you know. + +LIZA [trivially] Of course: that is his profession. + +HIGGINS. Damnation! + +LIZA [continuing] It was just like learning to dance in the fashionable way: there was nothing more than that in it. But do you know what began my real education? + +PICKERING. What? + +LIZA [stopping her work for a moment] Your calling me Miss Doolittle that day when I first came to Wimpole Street. That was the beginning of self-respect for me. [She resumes her stitching]. And there were a hundred little things you never noticed, because they came naturally to you. Things about standing up and taking off your hat and opening doors— + +PICKERING. Oh, that was nothing. + +LIZA. Yes: things that showed you thought and felt about me as if I were something better than a scullery-maid; though of course I know you would have been just the same to a scullery-maid if she had been let in the drawing-room. You never took off your boots in the dining room when I was there. + +PICKERING. You mustn’t mind that. Higgins takes off his boots all over the place. + +LIZA. I know. I am not blaming him. It is his way, isn’t it? But it made such a difference to me that you didn’t do it. You see, really and truly, apart from the things anyone can pick up (the dressing and the proper way of speaking, and so on), the difference between a lady and a flower girl is not how she behaves, but how she’s treated. I shall always be a flower girl to Professor Higgins, because he always treats me as a flower girl, and always will; but I know I can be a lady to you, because you always treat me as a lady, and always will. + +MRS. HIGGINS. Please don’t grind your teeth, Henry. + +PICKERING. Well, this is really very nice of you, Miss Doolittle. + +LIZA. I should like you to call me Eliza, now, if you would. + +PICKERING. Thank you. Eliza, of course. + +LIZA. And I should like Professor Higgins to call me Miss Doolittle. + +HIGGINS. I’ll see you damned first. + +MRS. HIGGINS. Henry! Henry! + +PICKERING [laughing] Why don’t you slang back at him? Don’t stand it. It would do him a lot of good. + +LIZA. I can’t. I could have done it once; but now I can’t go back to it. Last night, when I was wandering about, a girl spoke to me; and I tried to get back into the old way with her; but it was no use. You told me, you know, that when a child is brought to a foreign country, it picks up the language in a few weeks, and forgets its own. Well, I am a child in your country. I have forgotten my own language, and can speak nothing but yours. That’s the real break-off with the corner of Tottenham Court Road. Leaving Wimpole Street finishes it. + +PICKERING [much alarmed] Oh! but you’re coming back to Wimpole Street, aren’t you? You’ll forgive Higgins? + +HIGGINS [rising] Forgive! Will she, by George! Let her go. Let her find out how she can get on without us. She will relapse into the gutter in three weeks without me at her elbow. + +Doolittle appears at the centre window. With a look of dignified reproach at Higgins, he comes slowly and silently to his daughter, who, with her back to the window, is unconscious of his approach. + +PICKERING. He’s incorrigible, Eliza. You won’t relapse, will you? + +LIZA. No: Not now. Never again. I have learnt my lesson. I don’t believe I could utter one of the old sounds if I tried. [Doolittle touches her on her left shoulder. She drops her work, losing her self-possession utterly at the spectacle of her father’s splendor] A—a—a—a—a—ah—ow—ooh! + +HIGGINS [with a crow of triumph] Aha! Just so. A—a—a—a—ahowooh! A—a—a—a—ahowooh ! A—a—a—a—ahowooh! Victory! Victory! [He throws himself on the divan, folding his arms, and spraddling arrogantly]. + +DOOLITTLE. Can you blame the girl? Don’t look at me like that, Eliza. It ain’t my fault. I’ve come into money. + +LIZA. You must have touched a millionaire this time, dad. + +DOOLITTLE. I have. But I’m dressed something special today. I’m going to St. George’s, Hanover Square. Your stepmother is going to marry me. + +LIZA [angrily] You’re going to let yourself down to marry that low common woman! + +PICKERING [quietly] He ought to, Eliza. [To Doolittle] Why has she changed her mind? + +DOOLITTLE [sadly] Intimidated, Governor. Intimidated. Middle class morality claims its victim. Won’t you put on your hat, Liza, and come and see me turned off? + +LIZA. If the Colonel says I must, I—I’ll [almost sobbing] I’ll demean myself. And get insulted for my pains, like enough. + +DOOLITTLE. Don’t be afraid: she never comes to words with anyone now, poor woman! respectability has broke all the spirit out of her. + +PICKERING [squeezing Eliza’s elbow gently] Be kind to them, Eliza. Make the best of it. + +LIZA [forcing a little smile for him through her vexation] Oh well, just to show there’s no ill feeling. I’ll be back in a moment. [She goes out]. + +DOOLITTLE [sitting down beside Pickering] I feel uncommon nervous about the ceremony, Colonel. I wish you’d come and see me through it. + +PICKERING. But you’ve been through it before, man. You were married to Eliza’s mother. + +DOOLITTLE. Who told you that, Colonel? + +PICKERING. Well, nobody told me. But I concluded naturally— + +DOOLITTLE. No: that ain’t the natural way, Colonel: it’s only the middle class way. My way was always the undeserving way. But don’t say nothing to Eliza. She don’t know: I always had a delicacy about telling her. + +PICKERING. Quite right. We’ll leave it so, if you don’t mind. + +DOOLITTLE. And you’ll come to the church, Colonel, and put me through straight? + +PICKERING. With pleasure. As far as a bachelor can. + +MRS. HIGGINS. May I come, Mr. Doolittle? I should be very sorry to miss your wedding. + +DOOLITTLE. I should indeed be honored by your condescension, ma’am; and my poor old woman would take it as a tremenjous compliment. She’s been very low, thinking of the happy days that are no more. + +MRS. HIGGINS [rising] I’ll order the carriage and get ready. [The men rise, except Higgins]. I shan’t be more than fifteen minutes. [As she goes to the door Eliza comes in, hatted and buttoning her gloves]. I’m going to the church to see your father married, Eliza. You had better come in the brougham with me. Colonel Pickering can go on with the bridegroom. + +Mrs. Higgins goes out. Eliza comes to the middle of the room between the centre window and the ottoman. Pickering joins her. + +DOOLITTLE. Bridegroom! What a word! It makes a man realize his position, somehow. [He takes up his hat and goes towards the door]. + +PICKERING. Before I go, Eliza, do forgive him and come back to us. + +LIZA. I don’t think papa would allow me. Would you, dad? + +DOOLITTLE [sad but magnanimous] They played you off very cunning, Eliza, them two sportsmen. If it had been only one of them, you could have nailed him. But you see, there was two; and one of them chaperoned the other, as you might say. [To Pickering] It was artful of you, Colonel; but I bear no malice: I should have done the same myself. I been the victim of one woman after another all my life; and I don’t grudge you two getting the better of Eliza. I shan’t interfere. It’s time for us to go, Colonel. So long, Henry. See you in St. George’s, Eliza. [He goes out]. + +PICKERING [coaxing] Do stay with us, Eliza. [He follows Doolittle]. + +Eliza goes out on the balcony to avoid being alone with Higgins. He rises and joins her there. She immediately comes back into the room and makes for the door; but he goes along the balcony quickly and gets his back to the door before she reaches it. + +HIGGINS. Well, Eliza, you’ve had a bit of your own back, as you call it. Have you had enough? and are you going to be reasonable? Or do you want any more? + +LIZA. You want me back only to pick up your slippers and put up with your tempers and fetch and carry for you. + +HIGGINS. I haven’t said I wanted you back at all. + +LIZA. Oh, indeed. Then what are we talking about? + +HIGGINS. About you, not about me. If you come back I shall treat you just as I have always treated you. I can’t change my nature; and I don’t intend to change my manners. My manners are exactly the same as Colonel Pickering’s. + +LIZA. That’s not true. He treats a flower girl as if she was a duchess. + +HIGGINS. And I treat a duchess as if she was a flower girl. + +LIZA. I see. [She turns away composedly, and sits on the ottoman, facing the window]. The same to everybody. + +HIGGINS. Just so. + +LIZA. Like father. + +HIGGINS [grinning, a little taken down] Without accepting the comparison at all points, Eliza, it’s quite true that your father is not a snob, and that he will be quite at home in any station of life to which his eccentric destiny may call him. [Seriously] The great secret, Eliza, is not having bad manners or good manners or any other particular sort of manners, but having the same manner for all human souls: in short, behaving as if you were in Heaven, where there are no third-class carriages, and one soul is as good as another. + +LIZA. Amen. You are a born preacher. + +HIGGINS [irritated] The question is not whether I treat you rudely, but whether you ever heard me treat anyone else better. + +LIZA [with sudden sincerity] I don’t care how you treat me. I don’t mind your swearing at me. I don’t mind a black eye: I’ve had one before this. But [standing up and facing him] I won’t be passed over. + +HIGGINS. Then get out of my way; for I won’t stop for you. You talk about me as if I were a motor bus. + +LIZA. So you are a motor bus: all bounce and go, and no consideration for anyone. But I can do without you: don’t think I can’t. + +HIGGINS. I know you can. I told you you could. + +LIZA [wounded, getting away from him to the other side of the ottoman with her face to the hearth] I know you did, you brute. You wanted to get rid of me. + +HIGGINS. Liar. + +LIZA. Thank you. [She sits down with dignity]. + +HIGGINS. You never asked yourself, I suppose, whether I could do without YOU. + +LIZA [earnestly] Don’t you try to get round me. You’ll HAVE to do without me. + +HIGGINS [arrogant] I can do without anybody. I have my own soul: my own spark of divine fire. But [with sudden humility] I shall miss you, Eliza. [He sits down near her on the ottoman]. I have learnt something from your idiotic notions: I confess that humbly and gratefully. And I have grown accustomed to your voice and appearance. I like them, rather. + +LIZA. Well, you have both of them on your gramophone and in your book of photographs. When you feel lonely without me, you can turn the machine on. It’s got no feelings to hurt. + +HIGGINS. I can’t turn your soul on. Leave me those feelings; and you can take away the voice and the face. They are not you. + +LIZA. Oh, you ARE a devil. You can twist the heart in a girl as easy as some could twist her arms to hurt her. Mrs. Pearce warned me. Time and again she has wanted to leave you; and you always got round her at the last minute. And you don’t care a bit for her. And you don’t care a bit for me. + +HIGGINS. I care for life, for humanity; and you are a part of it that has come my way and been built into my house. What more can you or anyone ask? + +LIZA. I won’t care for anybody that doesn’t care for me. + +HIGGINS. Commercial principles, Eliza. Like [reproducing her Covent Garden pronunciation with professional exactness] s’yollin voylets [selling violets], isn’t it? + +LIZA. Don’t sneer at me. It’s mean to sneer at me. + +HIGGINS. I have never sneered in my life. Sneering doesn’t become either the human face or the human soul. I am expressing my righteous contempt for Commercialism. I don’t and won’t trade in affection. You call me a brute because you couldn’t buy a claim on me by fetching my slippers and finding my spectacles. You were a fool: I think a woman fetching a man’s slippers is a disgusting sight: did I ever fetch YOUR slippers? I think a good deal more of you for throwing them in my face. No use slaving for me and then saying you want to be cared for: who cares for a slave? If you come back, come back for the sake of good fellowship; for you’ll get nothing else. You’ve had a thousand times as much out of me as I have out of you; and if you dare to set up your little dog’s tricks of fetching and carrying slippers against my creation of a Duchess Eliza, I’ll slam the door in your silly face. + +LIZA. What did you do it for if you didn’t care for me? + +HIGGINS [heartily] Why, because it was my job. + +LIZA. You never thought of the trouble it would make for me. + +HIGGINS. Would the world ever have been made if its maker had been afraid of making trouble? Making life means making trouble. There’s only one way of escaping trouble; and that’s killing things. Cowards, you notice, are always shrieking to have troublesome people killed. + +LIZA. I’m no preacher: I don’t notice things like that. I notice that you don’t notice me. + +HIGGINS [jumping up and walking about intolerantly] Eliza: you’re an idiot. I waste the treasures of my Miltonic mind by spreading them before you. Once for all, understand that I go my way and do my work without caring twopence what happens to either of us. I am not intimidated, like your father and your stepmother. So you can come back or go to the devil: which you please. + +LIZA. What am I to come back for? + +HIGGINS [bouncing up on his knees on the ottoman and leaning over it to her] For the fun of it. That’s why I took you on. + +LIZA [with averted face] And you may throw me out tomorrow if I don’t do everything you want me to? + +HIGGINS. Yes; and you may walk out tomorrow if I don’t do everything YOU want me to. + +LIZA. And live with my stepmother? + +HIGGINS. Yes, or sell flowers. + +LIZA. Oh! if I only COULD go back to my flower basket! I should be independent of both you and father and all the world! Why did you take my independence from me? Why did I give it up? I’m a slave now, for all my fine clothes. + +HIGGINS. Not a bit. I’ll adopt you as my daughter and settle money on you if you like. Or would you rather marry Pickering? + +LIZA [looking fiercely round at him] I wouldn’t marry YOU if you asked me; and you’re nearer my age than what he is. + +HIGGINS [gently] Than he is: not “than what he is.” + +LIZA [losing her temper and rising] I’ll talk as I like. You’re not my teacher now. + +HIGGINS [reflectively] I don’t suppose Pickering would, though. He’s as confirmed an old bachelor as I am. + +LIZA. That’s not what I want; and don’t you think it. I’ve always had chaps enough wanting me that way. Freddy Hill writes to me twice and three times a day, sheets and sheets. + +HIGGINS [disagreeably surprised] Damn his impudence! [He recoils and finds himself sitting on his heels]. + +LIZA. He has a right to if he likes, poor lad. And he does love me. + +HIGGINS [getting off the ottoman] You have no right to encourage him. + +LIZA. Every girl has a right to be loved. + +HIGGINS. What! By fools like that? + +LIZA. Freddy’s not a fool. And if he’s weak and poor and wants me, may be he’d make me happier than my betters that bully me and don’t want me. + +HIGGINS. Can he MAKE anything of you? That’s the point. + +LIZA. Perhaps I could make something of him. But I never thought of us making anything of one another; and you never think of anything else. I only want to be natural. + +HIGGINS. In short, you want me to be as infatuated about you as Freddy? Is that it? + +LIZA. No I don’t. That’s not the sort of feeling I want from you. And don’t you be too sure of yourself or of me. I could have been a bad girl if I’d liked. I’ve seen more of some things than you, for all your learning. Girls like me can drag gentlemen down to make love to them easy enough. And they wish each other dead the next minute. + +HIGGINS. Of course they do. Then what in thunder are we quarrelling about? + +LIZA [much troubled] I want a little kindness. I know I’m a common ignorant girl, and you a book-learned gentleman; but I’m not dirt under your feet. What I done [correcting herself] what I did was not for the dresses and the taxis: I did it because we were pleasant together and I come—came—to care for you; not to want you to make love to me, and not forgetting the difference between us, but more friendly like. + +HIGGINS. Well, of course. That’s just how I feel. And how Pickering feels. Eliza: you’re a fool. + +LIZA. That’s not a proper answer to give me [she sinks on the chair at the writing-table in tears]. + +HIGGINS. It’s all you’ll get until you stop being a common idiot. If you’re going to be a lady, you’ll have to give up feeling neglected if the men you know don’t spend half their time snivelling over you and the other half giving you black eyes. If you can’t stand the coldness of my sort of life, and the strain of it, go back to the gutter. Work til you are more a brute than a human being; and then cuddle and squabble and drink til you fall asleep. Oh, it’s a fine life, the life of the gutter. It’s real: it’s warm: it’s violent: you can feel it through the thickest skin: you can taste it and smell it without any training or any work. Not like Science and Literature and Classical Music and Philosophy and Art. You find me cold, unfeeling, selfish, don’t you? Very well: be off with you to the sort of people you like. Marry some sentimental hog or other with lots of money, and a thick pair of lips to kiss you with and a thick pair of boots to kick you with. If you can’t appreciate what you’ve got, you’d better get what you can appreciate. + +LIZA [desperate] Oh, you are a cruel tyrant. I can’t talk to you: you turn everything against me: I’m always in the wrong. But you know very well all the time that you’re nothing but a bully. You know I can’t go back to the gutter, as you call it, and that I have no real friends in the world but you and the Colonel. You know well I couldn’t bear to live with a low common man after you two; and it’s wicked and cruel of you to insult me by pretending I could. You think I must go back to Wimpole Street because I have nowhere else to go but father’s. But don’t you be too sure that you have me under your feet to be trampled on and talked down. I’ll marry Freddy, I will, as soon as he’s able to support me. + +HIGGINS [sitting down beside her] Rubbish! you shall marry an ambassador. You shall marry the Governor-General of India or the Lord-Lieutenant of Ireland, or somebody who wants a deputy-queen. I’m not going to have my masterpiece thrown away on Freddy. + +LIZA. You think I like you to say that. But I haven’t forgot what you said a minute ago; and I won’t be coaxed round as if I was a baby or a puppy. If I can’t have kindness, I’ll have independence. + +HIGGINS. Independence? That’s middle class blasphemy. We are all dependent on one another, every soul of us on earth. + +LIZA [rising determinedly] I’ll let you see whether I’m dependent on you. If you can preach, I can teach. I’ll go and be a teacher. + +HIGGINS. What’ll you teach, in heaven’s name? + +LIZA. What you taught me. I’ll teach phonetics. + +HIGGINS. Ha! Ha! Ha! + +LIZA. I’ll offer myself as an assistant to Professor Nepean. + +HIGGINS [rising in a fury] What! That impostor! that humbug! that toadying ignoramus! Teach him my methods! my discoveries! You take one step in his direction and I’ll wring your neck. [He lays hands on her]. Do you hear? + +LIZA [defiantly non-resistant] Wring away. What do I care? I knew you’d strike me some day. [He lets her go, stamping with rage at having forgotten himself, and recoils so hastily that he stumbles back into his seat on the ottoman]. Aha! Now I know how to deal with you. What a fool I was not to think of it before! You can’t take away the knowledge you gave me. You said I had a finer ear than you. And I can be civil and kind to people, which is more than you can. Aha! That’s done you, Henry Higgins, it has. Now I don’t care that [snapping her fingers] for your bullying and your big talk. I’ll advertize it in the papers that your duchess is only a flower girl that you taught, and that she’ll teach anybody to be a duchess just the same in six months for a thousand guineas. Oh, when I think of myself crawling under your feet and being trampled on and called names, when all the time I had only to lift up my finger to be as good as you, I could just kick myself. + +HIGGINS [wondering at her] You damned impudent slut, you! But it’s better than snivelling; better than fetching slippers and finding spectacles, isn’t it? [Rising] By George, Eliza, I said I’d make a woman of you; and I have. I like you like this. + +LIZA. Yes: you turn round and make up to me now that I’m not afraid of you, and can do without you. + +HIGGINS. Of course I do, you little fool. Five minutes ago you were like a millstone round my neck. Now you’re a tower of strength: a consort battleship. You and I and Pickering will be three old bachelors together instead of only two men and a silly girl. + +Mrs. Higgins returns, dressed for the wedding. Eliza instantly becomes cool and elegant. + +MRS. HIGGINS. The carriage is waiting, Eliza. Are you ready? + +LIZA. Quite. Is the Professor coming? + +MRS. HIGGINS. Certainly not. He can’t behave himself in church. He makes remarks out loud all the time on the clergyman’s pronunciation. + +LIZA. Then I shall not see you again, Professor. Good bye. [She goes to the door]. + +MRS. HIGGINS [coming to Higgins] Good-bye, dear. + +HIGGINS. Good-bye, mother. [He is about to kiss her, when he recollects something]. Oh, by the way, Eliza, order a ham and a Stilton cheese, will you? And buy me a pair of reindeer gloves, number eights, and a tie to match that new suit of mine, at Eale & Binman’s. You can choose the color. [His cheerful, careless, vigorous voice shows that he is incorrigible]. + +LIZA [disdainfully] Buy them yourself. [She sweeps out]. + +MRS. HIGGINS. I’m afraid you’ve spoiled that girl, Henry. But never mind, dear: I’ll buy you the tie and gloves. + +HIGGINS [sunnily] Oh, don’t bother. She’ll buy em all right enough. Good-bye. + +They kiss. Mrs. Higgins runs out. Higgins, left alone, rattles his cash in his pocket; chuckles; and disports himself in a highly self-satisfied manner. diff --git a/scripts/[public domain] Rossum's Universal Robots.txt b/scripts/[public domain] Rossum's Universal Robots.txt new file mode 100644 index 0000000000000000000000000000000000000000..e1d4ed1fdd7192a48a67941523c17ad2451f0672 --- /dev/null +++ b/scripts/[public domain] Rossum's Universal Robots.txt @@ -0,0 +1,2718 @@ +R. U. R. +(ROSSUM’S UNIVERSAL ROBOTS) +By KAREL CAPEK + +CHARACTERS (in order of appearance) +Harry Domin, General Manager of Rossum’s Universal Robots Basil Sydney +Sulla, a Robotess Mary Bonestell +Marius, a Robot Myrtland LaVarre +Helena Glory Kathlene MacDonell +Dr. Gall, head of the Physiological and Experimental Department of R. U. R. William Devereaux +Mr. Fabry, Engineer General, Technical Controller of R. U. R. John Anthony +Dr. Hallemeier, head of the Institute for Psychological Training of Robots Moffat Johnston +Mr. Alquist, Architect, head of the Works Department of R. U. R. Louis Calvert +Consul Busman, General Manager of R. U. R. Henry Travers +Nana Helen Westly +Radius, a Robot John Rutherford +Helena, a Robotess Mary Hone +Primus, a Robot John Roche +A Servant Frederick Mark +First Robot Domis Plugge +Second Robot Richard Coolidge +Third Robot Bernard Savage + +DESCRIPTION OF CHARACTERS +Domin: A handsome man of 35. Forceful, efficient and humorous at times. + +Sulla: A pathetic figure. Young, pretty and attractive. + +Marius: A young Robot, superior to the general run of his kind. Dressed in modern clothes. + +Helena Glory: A vital, sympathetic, handsome girl of 21. + +Dr. Gall: A tall, distinguished scientist of 50. + +Mr. Fabry: A forceful, competent engineer of 40. + +Hallemeier: An impressive man of 40. Bald head and beard. + +Alquist: A stout, kindly old man of 60. + +Nana: A tall, acidulous woman of 40. + +Radius: A tall, forceful Robot. + +Helena: A radiant young woman of 20. + +Primus: A good-looking young Robot. + +Note: All the Robots wear expressionless faces and move with absolute mechanical precision, with the exception of Sulla, Helena and Primus, who convey a touch of humanity. + +[8] + + R. U. R. + +ACT ONE +Scene: Central office of the factory of Rossum’s Universal Robots. Entrance R. down Right. The windows on the back wall look out on the endless roads of factory buildings. Door L. down Left. On the Left wall large maps showing steamship and railroad routes. On the Right wall are fastened printed placards. (“Robots cheapest Labor,” etc.) In contrast to these wall fittings, the floor is covered with splendid Turkish carpet, a couch R.C. A book shelf containing bottles of wine and spirits, instead of books. + +Domin is sitting at his desk at Left, dictating. Sulla is at the typewriter upstage against the wall. There is a leather couch with arms Right Center. At the extreme Right an armchair. At extreme Left a chair. There is also a chair in front of Domin’s desk. Two green cabinets across the upstage corners of the room complete the furniture. Domin’s desk is placed up and down stage facing Right. + +Seen through the windows which run to the heights of the room are rows of factory chimneys, telegraph poles and wires. There is a general passageway or hallway upstage at the Right Center which leads to the warehouse. The[10] Robots are brought into the office through this entrance. + +Domin. (Dictating) Ready? + +Sulla. Yes. + +Domin. To E. M. McVicker & Co., Southampton, England. “We undertake no guarantee for goods damaged in transit. As soon as the consignment was taken on board we drew your captain’s attention to the fact that the vessel was unsuitable for the transportation of Robots; and we are therefore not responsible for spoiled freight. We beg to remain, for Rossum’s Universal Robots, yours truly.” (Sulla types the lines.) Ready? + +Sulla. Yes. + +Domin. Another letter. To the E. B. Huysen Agency, New York, U.S.A. “We beg to acknowledge receipt of order for five thousand Robots. As you are sending your own vessel, please dispatch as cargo equal quantities of soft and hard coal for R.U.R., the same to be credited as part payment (BUZZER) of the amount due us.” (Answering phone) Hello! This is the central office. Yes, certainly. Well, send them a wire. Good. (Rises) “We beg to remain, for Rossum’s Universal Robots, yours very truly.” Ready? + +Sulla. Yes. + +Domin. (Answering small portable phone) Hello! Yes. No. All right. (Standing back of desk, punching plug machine and buttons) Another letter. Freidrichswerks, Hamburg, Germany. “We beg to acknowledge receipt of order for fifteen thousand Robots.” (Enter Marius R.) Well, what is it? + +Marius. There’s a lady, sir, asking to see you. + +Domin. A lady? Who is she? + +Marius. I don’t know, sir. She brings this card of introduction. + +Domin. (Reading card) Ah, from President[11] Glory. Ask her to come in— (To Sulla. Crossing up to her desk, then back to his own) Where did I leave off? + +Sulla. “We beg to acknowledge receipt of order for fifteen thousand Robots.” + +Domin. Fifteen thousand. Fifteen thousand. + +Marius. (At door R.) Please step this way. + +(Enter Helena. Exit Marius R.) + +Helena. (Crossing to desk) How do you do? + +Domin. How do you do? What can I do for you? + +Helena. You are Mr. Domin, the General Manager? + +Domin. I am. + +Helena. I have come— + +Domin. With President Glory’s card. That is quite sufficient. + +Helena. President Glory is my father. I am Helena Glory. + +Domin. Please sit down. Sulla, you may go. (Exit Sulla L. Sitting down L. of desk) How can I be of service to you, Miss Glory? + +Helena. I have come— (Sits R. of desk.) + +Domin. To have a look at our famous works where people are manufactured. Like all visitors. Well, there is no objection. + +Helena. I thought it was forbidden to— + +Domin. To enter the factory? Yes, of course. Everybody comes here with someone’s visiting card, Miss Glory. + +Helena. And you show them— + +Domin. Only certain things. The manufacture of artificial people is a secret process. + +Helena. If you only knew how enormously that— + +Domin. Interests you. Europe’s talking about nothing else. + +[12] + +Helena. (Indignantly turning front) Why don’t you let me finish speaking? + +Domin. (Drier) I beg your pardon. Did you want to say something different? + +Helena. I only wanted to ask— + +Domin. Whether I could make a special exception in your case and show you our factory. Why, certainly, Miss Glory. + +Helena. How do you know I wanted to say that? + +Domin. They all do. But we shall consider it a special honor to show you more than we do the rest. + +Helena. Thank you. + +Domin. (Standing) But you must agree not to divulge the least— + +Helena. (Standing and giving him her hand) My word of honor. + +Domin. Thank you. (Looking at her hand) Won’t you raise your veil? + +Helena. Of course. You want to see whether I’m a spy or not—I beg your pardon. + +Domin. (Leaning forward) What is it? + +Helena. Would you mind releasing my hand? + +Domin. (Releasing it) Oh, I beg your pardon. + +Helena. (Raising veil) How cautious you have to be here, don’t you? + +Domin. (Observing her with deep interest) Why, yes. Hm—of course—We—that is— + +Helena. But what is it? What’s the matter? + +Domin. I’m remarkably pleased. Did you have a pleasant crossing? + +Helena. Yes. + +Domin. No difficulty? + +Helena. Why? + +Domin. What I mean to say is—you’re so young. + +Helena. May we go straight into the factory? + +Domin. Yes. Twenty-two, I think. + +Helena. Twenty-two what? + +[13] + +Domin. Years. + +Helena. Twenty-one. Why do you want to know? + +Domin. Well, because—as— (Sits on desk nearer her) You will make a long stay, won’t you? + +Helena. (Backing away R.) That depends on how much of the factory you show me. + +Domin. (Rises; crosses to her) Oh, hang the factory. Oh, no, no, you shall see everything, Miss Glory. Indeed you shall. Won’t you sit down? (Takes her to couch R.C. She sits. Offers her cigarette from case at end of sofa. She refuses.) + +Helena. Thank you. + +Domin. But first would you like to hear the story of the invention? + +Helena. Yes, indeed. + +Domin. (Crosses to L.C. near desk) It was in the year 1920 that old Rossum, the great physiologist, who was then quite a young scientist, took himself to the distant island for the purpose of studying the ocean fauna. (She is amused.) On this occasion he attempted by chemical synthesis to imitate the living matter known as protoplasm until he suddenly discovered a substance which behaved exactly like living matter although its chemical composition was different. That was in the year 1932, exactly four hundred and forty years after the discovery of America. Whew— + +Helena. Do you know that by heart? + +Domin. (Takes flowers from desk to her) Yes. You see, physiology is not in my line. Shall I go on? + +Helena. (Smelling flowers) Yes, please. + +Domin. (Center) And then, Miss Glory, Old Rossum wrote the following among his chemical experiments: “Nature has found only one method of organizing living matter. There is, however, another method, more simple, flexible and rapid which has not yet occurred to Nature at all. This second process by which life can be developed was discovered by[14] me today.” Now imagine him, Miss Glory, writing those wonderful words over some colloidal mess that a dog wouldn’t look at. Imagine him sitting over a test tube and thinking how the whole tree of life would grow from him, how all animals would proceed from it, beginning with some sort of a beetle and ending with a man. A man of different substance from us. Miss Glory, that was a tremendous moment. (Gets box of candy from desk and passes it to her.) + +Helena. Well— + +Domin. (As she speaks his portable PHONE lights up and he answers) Well—Hello!—Yes—no, I’m in conference. Don’t disturb me. + +Helena. Well? + +Domin. (Smile) Now, the thing was how to get the life out of the test tubes, and hasten development and form organs, bones and nerves, and so on, and find such substances as catalytics, enzymes, hormones in short—you understand? + +Helena. Not much, I’m afraid. + +Domin. Never mind. (Leans over couch and fixes cushion for her back) There! You see with the help of his tinctures he could make whatever he wanted. He could have produced a Medusa with the brain of Socrates or a worm fifty yards long— (She laughs. He does also; leans closer on couch, then straightens up again) —but being without a grain of humor, he took into his head to make a vertebrate or perhaps a man. This artificial living matter of his had a raging thirst for life. It didn’t mind being sown or mixed together. That couldn’t be done with natural albumen. And that’s how he set about it. + +Helena. About what? + +Domin. About imitating Nature. First of all he tried making an artificial dog. That took him several years and resulted in a sort of stunted calf which died in a few days. I’ll show it to you in the museum.[15] And then old Rossum started on the manufacture of man. + +Helena. And I’m to divulge this to nobody? + +Domin. To nobody in the world. + +Helena. What a pity that it’s to be discovered in all the school books of both Europe and America. (Both laugh.) + +Domin. Yes. But do you know what isn’t in the school books? That old Rossum was mad. Seriously, Miss Glory, you must keep this to yourself. The old crank wanted to actually make people. + +Helena. But you do make people. + +Domin. Approximately—Miss Glory. But old Rossum meant it literally. He wanted to become a sort of scientific substitute for God. He was a fearful materialist, and that’s why he did it all. His sole purpose was nothing more or less than to prove that God was no longer necessary. (Crosses to end of couch) Do you know anything about anatomy? + +Helena. Very little. + +Domin. Neither do I. Well— (He laughs) —he then decided to manufacture everything as in the human body. I’ll show you in the museum the bungling attempt it took him ten years to produce. It was to have been a man, but it lived for three days only. Then up came young Rossum, an engineer. He was a wonderful fellow, Miss Glory. When he saw what a mess of it the old man was making he said: “It’s absurd to spend ten years making a man. If you can’t make him quicker than Nature, you might as well shut up shop.” Then he set about learning anatomy himself. + +Helena. There’s nothing about that in the school books? + +Domin. No. The school books are full of paid advertisements, and rubbish at that. What the school books say about the united efforts of the two great Rossums is all a fairy tale. They used to have[16] dreadful rows. The old atheist hadn’t the slightest conception of industrial matters, and the end of it was that Young Rossum shut him up in some laboratory or other and let him fritter the time away with his monstrosities while he himself started on the business from an engineer’s point of view. Old Rossum cursed him and before he died he managed to botch up two physiological horrors. Then one day they found him dead in the laboratory. And that’s his whole story. + +Helena. And what about the young man? + +Domin. (Sits beside her on couch) Well, anyone who has looked into human anatomy will have seen at once that man is too complicated, and that a good engineer could make him more simply. So young Rossum began to overhaul anatomy to see what could be left out or simplified. In short—But this isn’t boring you, Miss Glory? + +Helena. No, indeed. You’re—It’s awfully interesting. + +Domin. (Gets closer) So young Rossum said to himself: “A man is something that feels happy, plays the piano, likes going for a walk, and, in fact, wants to do a whole lot of things that are really unnecessary.” + +Helena. Oh. + +Domin. That are unnecessary when he wants— (Takes her hand) —let us say, to weave or count. Do you play the piano? + +Helena. Yes. + +Domin. That’s good. (Kisses her hand. She lowers her head.) Oh, I beg your pardon! (Rises) But a working machine must not play the piano, must not feel happy, must not do a whole lot of other things. A gasoline motor must not have tassels or ornaments, Miss Glory. And to manufacture artificial workers is the same thing as the manufacture of a gasoline motor. (She is not interested.) The process[17] must be the simplest, and the product the best from a practical point of view. (Sits beside her again) What sort of worker do you think is the best from a practical point of view? + +Helena. (Absently) What? (Looks at him.) + +Domin. What sort of worker do you think is the best from a practical point of view? + +Helena. (Pulling herself together) Oh! Perhaps the one who is most honest and hard-working. + +Domin. No. The one that is the cheapest. The one whose requirements are the smallest. Young Rossum invented a worker with the minimum amount of requirements. He had to simplify him. He rejected everything that did not contribute directly to the progress of work. Everything that makes man more expensive. In fact he rejected man and made the Robot. My dear Miss Glory, the Robots are not people. Mechanically they are more perfect than we are; they have an enormously developed intelligence, but they have no soul. (Leans back.) + +Helena. How do you know they have no soul? + +Domin. Have you ever seen what a Robot looks like inside? + +Helena. No. + +Domin. Very neat, very simple. Really a beautiful piece of work. Not much in it, but everything in flawless order. The product of an engineer is technically at a higher pitch of perfection than a product of Nature. + +Helena. But man is supposed to be the product of God. + +Domin. All the worse. God hasn’t the slightest notion of modern engineering. Would you believe that young Rossum then proceeded to play at being God? + +Helena. (Awed) How do you mean? + +Domin. He began to manufacture Super-Robots. Regular giants they were. He tried to make them[18] twelve feet tall. But you wouldn’t believe what a failure they were. + +Helena. A failure? + +Domin. Yes. For no reason at all their limbs used to keep snapping off. “Evidently our planet is too small for giants.” Now we only make Robots of normal size and of very high-class human finish. + +Helena. (Hands him flower; he puts it in button-hole) I saw the first Robots at home. The Town Council bought them for—I mean engaged them for work. + +Domin. No. Bought them, Miss Glory. Robots are bought and sold. + +Helena. These were employed as street-sweepers. I saw them sweeping. They were so strange and quiet. + +Domin. (Rises) Rossum’s Universal Robot factory doesn’t produce a uniform brand of Robots. We have Robots of finer and coarser grades. The best will live about twenty years. (Crosses to desk. Helena looks in her pocket mirror. He pushes button on desk.) + +Helena. Then they die? + +Domin. Yes, they get used up. (Enter Marius, R. Domin crosses to C.) Marius, bring in samples of the manual labor Robot. (Exit Marius R.C.) I’ll show you specimens of the two extremes. This first grade is comparatively inexpensive and is made in vast quantities. (Marius re-enters R.C. with two manual labor Robots. Marius is L.C., Robots R.C., Domin at desk. Marius stands on tiptoes, touches head, feels arms, forehead of one of the Robots. They come to a mechanical standstill.) There you are, as powerful as a small tractor. Guaranteed to have average intelligence. That will do, Marius. (Marius exits R.C. with Robots.) + +Helena. They make me feel so strange. + +[19] + +Domin. (Crosses to desk. Rings) Did you see my new typist? + +Helena. I didn’t notice her. + +(Enter Sulla L. She crosses and stands C., facing Helena, who is still sitting in the couch.) + +Domin. Sulla, let Miss Glory see you. + +Helena. (Looks at Domin. Rising, crosses a step to C.) So pleased to meet you. (Looks at Domin) You must find it terribly dull in this out of the way spot, don’t you? + +Sulla. I don’t know, Miss Glory. + +Helena. Where do you come from? + +Sulla. From the factory. + +Helena. Oh, were you born there? + +Sulla. I was made there. + +Helena. What? (Looks first at Sulla, then at Domin.) + +Domin. (To Sulla, laughing) Sulla is a Robot, best grade. + +Helena. Oh, I beg your pardon. + +Domin. (Crosses to Sulla) Sulla isn’t angry. See, Miss Glory, the kind of skin we make. Feel her face. (Touches Sulla’s face.) + +Helena. Oh, no, no. + +Domin. (Examining Sulla’s hand) You wouldn’t know that she’s made of different material from us, would you? Turn ’round, Sulla. (Sulla does so. Circles twice.) + +Helena. Oh, stop, stop. + +Domin. Talk to Miss Glory, Sulla. (Examines hair of Sulla.) + +Sulla. Please sit down. (Helena sits on couch.) Did you have a pleasant crossing? (Fixes her hair.) + +Helena. Oh, yes, certainly. + +Sulla. Don’t go back on the Amelia, Miss Glory,[20] the barometer is falling steadily. Wait for the Pennsylvania. That’s a good powerful vessel. + +Domin. What’s its speed? + +Sulla. Forty knots an hour. Fifty thousand tons. One of the latest vessels, Miss Glory. + +Helena. Thank you. + +Sulla. A crew of fifteen hundred, Captain Harpy, eight boilers— + +Domin. That’ll do, Sulla. Now show us your knowledge of French. + +Helena. You know French? + +Sulla. Oui! Madame! I know four languages. I can write: “Dear Sir, Monsieur, Geehrter Herr, Cteny pane.” + +Helena. (Jumping up, crosses to Sulla) Oh, that’s absurd! Sulla isn’t a Robot. Sulla is a girl like me. Sulla, this is outrageous—Why do you take part in such a hoax? + +Sulla. I am a Robot. + +Helena. No, no, you are not telling the truth. (She catches the amused expression on Domin’s face) I know they have forced you to do it for an advertisement. Sulla, you are a girl like me, aren’t you? (Looks at him.) + +Domin. I’m sorry, Miss Glory. Sulla is a Robot. + +Helena. It’s a lie! + +Domin. What? (Pushes button on desk) Well, then I must convince you. (Enter Marius R.C. He stands just inside the door.) Marius, take Sulla into the dissecting room, and tell them to open her up at once. (Marius moves toward C.) + +Helena. Where? + +Domin. Into the dissecting room. When they’ve cut her open, you can go and have a look. (Marius makes a start toward Sulla.) + +Helena. (Stopping Marius) No! No! + +Domin. Excuse me, you spoke of lies. + +Helena. You wouldn’t have her killed? + +[21] + +Domin. You can’t kill machines. Sulla! (Marius one step forward, one arm out. Sulla makes a move toward R. door.) + +Helena. (Moves a step R.) Don’t be afraid, Sulla. I won’t let you go. Tell me, my dear— (Takes her hand) —are they always so cruel to you? You mustn’t put up with it, Sulla. You mustn’t. + +Sulla. I am a Robot. + +Helena. That doesn’t matter. Robots are just as good as we are. Sulla, you wouldn’t let yourself be cut to pieces? + +Sulla. Yes. (Hand away.) + +Helena. Oh, you’re not afraid of death, then? + +Sulla. I cannot tell, Miss Glory. + +Helena. Do you know what would happen to you in there? + +Sulla. Yes, I should cease to move. + +Helena. How dreadful! (Looks at Sulla.) + +Domin. Marius, tell Miss Glory what you are? (Turns to Helena.) + +Marius. (To Helena) Marius, the Robot. + +Domin. Would you take Sulla into the dissecting room? + +Marius. (Turns to Domin) Yes. + +Domin. Would you be sorry for her? + +Marius. (Pause) I cannot tell. + +Domin. What would happen to her? + +Marius. She would cease to move. They would put her into the stamping mill. + +Domin. That is death, Marius. Aren’t you afraid of death? + +Marius. No. + +Domin. You see, Miss Glory, the Robots have no interest in life. They have no enjoyments. They are less than so much grass. + +Helena. Oh, stop. Please send them away. + +Domin. (Pushes button) Marius, Sulla, you may go. (Marius pivots and exits R. Sulla exits L.) + +[22] + +Helena. How terrible! (To C.) It’s outrageous what you are doing. (He takes her hand.) + +Domin. Why outrageous? (His hand over hers. Laughing.) + +Helena. I don’t know, but it is. Why do you call her “Sulla”? + +Domin. Isn’t it a nice name? (Hand away.) + +Helena. It’s a man’s name. Sulla was a Roman General. + +Domin. What! Oh! (Laughs) We thought that Marius and Sulla were lovers. + +Helena. (Indignantly) Marius and Sulla were generals and fought against each other in the year—I’ve forgotten now. + +Domin. (Laughing) Come here to the window. (He goes to window C.) + +Helena. What? + +Domin. Come here. (She goes.) Do you see anything? (Takes her arm. She is on his R.) + +Helena. Bricklayers. + +Domin. Robots. All our work people are Robots. And down there, can you see anything? + +Helena. Some sort of office. + +Domin. A counting house. And in it— + +Helena. A lot of officials. + +Domin. Robots! All our officials are Robots. And when you see the factory— (Noon WHISTLE blows. She is scared; puts arm on Domin. He laughs) If we don’t blow the whistle the Robots won’t stop working. In two hours I’ll show you the kneading trough. (Both come down stage. Helena is L.C. and Domin is R.C., arm in arm.) + +Helena. Kneading trough? + +Domin. The pestle for beating up the paste. In each one we mix the ingredients for a thousand Robots at one operation. Then there are the vats for the preparation of liver, brains, and so on. Then[23] you will see the bone factory. After that I’ll show you the spinning mill. + +Helena. Spinning mill? + +Domin. Yes. For weaving nerves and veins. Miles and miles of digestive tubes pass through it at a time. + +Helena. (Watching his gestures) Mayn’t we talk about something else? + +Domin. Perhaps it would be better. There’s only a handful of us among a hundred thousand Robots, and not one woman. We talk nothing but the factory all day, and every day. It’s just as if we were under a curse, Miss Glory. + +Helena. I’m sorry I said that you were lying. (A KNOCK at door R.) + +Domin. Come in. (He is C.) + +(From R. enter Dr. Gall, Dr. Fabry, Alquist and Dr. Hallemeier. All act formal—conscious. All click heels as introduced.) + +Dr. Gall. (Noisily) I beg your pardon. I hope we don’t intrude. + +Domin. No, no. Come in. Miss Glory, here are Gall, Fabry, Alquist, Hallemeier. This is President Glory’s daughter. (All move to her and shake her hand.) + +Helena. How do you do? + +Fabry. We had no idea— + +Dr. Gall. Highly honored, I’m sure— + +Alquist. Welcome, Miss Glory. + +Busman. (Rushes in from R.) Hello, what’s up? + +Domin. Come in, Busman. This is President Glory’s daughter. This is Busman, Miss Glory. + +Busman. By Jove, that’s fine. (All click heels. He crowds in and shakes her hand) Miss Glory, may we send a cablegram to the papers about your arrival? + +[24] + +Helena. No, no, please don’t. + +Domin. Sit down, please, Miss Glory. + +(On the line, “Sit down, please,” all Six Men try to find her a chair at once. Helena goes for the chair at the extreme L. Domin takes the chair at front of desk, places it in the C. of stage. Hallemeier gets chair at Sulla’s typewriter and places it to R. of chair at C. Busman gets armchair from extreme R., but by now Helena has sat in Domin’s preferred chair, at C. All sit except Domin. Busman at R. in armchair. Hallemeier R. of Helena. Fabry in swivel chair back of desk.) + +Busman. Allow me— + +Dr. Gall. Please— + +Fabry. Excuse me— + +Alquist. What sort of a crossing did you have? + +Dr. Gall. Are you going to stay long? (Men conscious of their appearance. Alquist’s trousers turned up at bottom. He turns them down. Busman polishes shoes. Others fix ties, collars, etc.) + +Fabry. What do you think of the factory, Miss Glory? + +Hallemeier. Did you come over on the Amelia? + +Domin. Be quiet and let Miss Glory speak. (Men sit erect. Domin stands at Helena’s L.) + +Helena. (To Domin) What am I to speak to them about? (Men look at one another.) + +Domin. Anything you like. + +Helena. (Looks at Domin) May I speak quite frankly? + +Domin. Why, of course. + +Helena. (To Others. Wavering, then in desperate resolution) Tell me, doesn’t it ever distress you the way you are treated? + +Fabry. By whom, may I ask? + +[25] + +Helena. Why, everybody. + +Alquist. Treated? + +Dr. Gall. What makes you think— + +Helena. Don’t you feel that you might be living a better life? (Pause. All confused.) + +Dr. Gall. (Smiling) Well, that depends on what you mean, Miss Glory. + +Helena. I mean that it’s perfectly outrageous. It’s terrible. (Standing up) The whole of Europe is talking about the way you’re being treated. That’s why I came here, to see for myself, and it’s a thousand times worse than could have been imagined. How can you put up with it? + +Alquist. Put up with what? + +Helena. Good heavens, you are living creatures, just like us, like the whole of Europe, like the whole world. It’s disgraceful that you must live like this. + +Busman. Good gracious, Miss Glory! + +Fabry. Well, she’s not far wrong. We live here just like red Indians. + +Helena. Worse than red Indians. May I—oh, may I call you—brothers? (Men look at each other.) + +Busman. Why not? + +Helena. (Looking at Domin) Brothers, I have not come here as the President’s daughter. I have come on behalf of the Humanity League. Brothers, the Humanity League now has over two hundred thousand members. Two hundred thousand people are on your side, and offer you their help. (Tapping back of chair.) + +Busman. Two hundred thousand people, Miss Glory; that’s a tidy lot. Not bad. + +Fabry. I’m always telling you there’s nothing like good old Europe. You see they’ve not forgotten us. They’re offering us help. + +Dr. Gall. What kind of help? A theatre, for instance? + +Hallemeier. An orchestra? + +[26] + +Helena. More than that. + +Alquist. Just you? + +Helena. (Glaring at Domin) Oh, never mind about me. I’ll stay as long as it is necessary. (All express delight.) + +Busman. By Jove, that’s good. + +Alquist. (Rising L.) Domin, I’m going to get the best room ready for Miss Glory. + +Domin. Just a minute. I’m afraid that Miss Glory is of the opinion she has been talking to Robots. + +Helen. Of course. (Men laugh.) + +Domin. I’m sorry. These gentlemen are human beings just like us. + +Helena. You’re not Robots? + +Busman. Not Robots. (All together) +Hallemeier. Robots indeed! +Dr. Gall. No, thanks. +Fabry. Upon my honor, Miss Glory, we aren’t Robots. + + +Helena. Then why did you tell me that all your officials are Robots? + +Domin. Yes, the officials, but not the managers. Allow me, Miss Glory—this is Consul Busman, General Business Manager; this is Doctor Fabry, General Technical Manager; Doctor Hallemeier, head of the Institute for the Psychological Training of Robots; Doctor Gall, head of the Psychological and Experimental Department; and Alquist, head of the Building Department, R. U. R. (As they are introduced they rise and come C. to kiss her hand, except Gall and Alquist, whom Domin pushes away. General babble.) + +Alquist. Just a builder. Please sit down. + +Helena. Excuse me, gentlemen. Have I done something dreadful? + +Alquist. Not at all, Miss Glory. + +Busman. (Handing flowers) Allow me, Miss Glory. + +[27] + +Helena. Thank you. + +Fabry. (Handing candy) Please, Miss Glory. + +Domin. Will you have a cigarette, Miss Glory? + +Helena. No, thank you. + +Domin. Do you mind if I do? + +Helena. Certainly not. + +Busman. Well, now, Miss Glory, it is certainly nice to have you with us. + +Helena. (Seriously) But you know I’ve come to disturb your Robots for you. (Busman pulls chair closer.) + +Domin. (Mocking her serious tone) My dear Miss Glory— (Chuckle) —we’ve had close upon a hundred saviors and prophets here. Every ship brings us some. Missionaries, Anarchists, Salvation Army, all sorts! It’s astonishing what a number of churches and idiots there are in the world. + +Helena. And yet you let them speak to the Robots. + +Domin. So far we’ve let them all. Why not? The Robot remembers everything but that’s all. They don’t even laugh at what the people say. Really it’s quite incredible. + +Helena. I’m a stupid girl. Send me back by the first ship. + +Dr. Gall. Not for anything in the world, Miss Glory. Why should we send you back? + +Domin. If it would amuse you, Miss Glory, I’ll take you down to the Robot warehouse. It holds about three hundred thousand of them. + +Busman. Three hundred and forty-seven thousand. + +Domin. Good, and you can say whatever you like to them. You can read the Bible, recite the multiplication table, whatever you please. You can even preach to them about human rights. + +Helena. Oh, I think that if you were to show them a little love. + +[28] + +Fabry. Impossible, Miss Glory! Nothing is harder to like than a Robot. + +Helena. What do you make them for, then? + +Busman. Ha, ha, ha! That’s good. What are Robots made for? + +Fabry. For work, Miss Glory. One Robot can replace two and a half workmen. The human machine, Miss Glory, was terribly imperfect. It had to be removed sooner or later. + +Busman. It was too expensive. + +Fabry. It was not effective. It no longer answers the requirements of modern engineering. Nature has no idea of keeping pace with modern labor. For example, from a technical point of view, the whole of childhood is a sheer absurdity. So much time lost. And then again— + +Helena. (Turns to Domin) Oh, no, no! + +Fabry. Pardon me. What is the real aim of your League—the—the Humanity League? + +Helena. Its real purpose is to—to protect the Robots—and—and to insure good treatment for them. + +Fabry. Not a bad object, either. A machine has to be treated properly. (Leans back) I don’t like damaged articles. Please, Miss Glory, enroll us all members of your league. (“Yes, yes!” from all Men.) + +Helena. No, you don’t understand me. What we really want is to—to—liberate the Robots. (Looks at all Others.) + +Hallemeier. How do you propose to do that? + +Helena. They are to be—to be dealt with like human beings. + +Hallemeier. Aha! I suppose they’re to vote. To drink beer. To order us about? + +Helena. Why shouldn’t they drink beer? + +Hallemeier. Perhaps they’re even to receive wages? (Looking at other Men, amused.) + +[29] + +Helena. Of course they are. + +Hallemeier. Fancy that! Now! And what would they do with their wages, pray? + +Helena. They would buy—what they want—what pleases them. + +Hallemeier. That would be very nice, Miss Glory, only there’s nothing that does please the Robots. Good heavens, what are they to buy? You can feed them on pineapples, straw, whatever you like. It’s all the same to them. They’ve no appetite at all. They’ve no interest in anything. Why, hang it all, nobody’s ever yet seen a Robot smile. + +Helena. Why—why don’t you make them—happier? + +Hallemeier. That wouldn’t do, Miss Glory. They are only workmen. + +Helena. Oh, but they’re so intelligent. + +Hallemeier. Confoundedly so, but they’re nothing else. They’ve no will of their own. No soul. No passion. + +Helena. No love? + +Hallemeier. Love? Huh! Rather not. Robots don’t love. Not even themselves. + +Helena. No defiance? + +Hallemeier. Defiance? I don’t know. Only rarely, from time to time. + +Helena. What happens then? + +Hallemeier. Nothing particular. Occasionally they seem to go off their heads. Something like epilepsy, you know. It’s called “Robot’s Cramp.” They’ll suddenly sling down everything they’re holding, stand still, gnash their teeth—and then they have to go into the stamping-mill. It’s evidently some breakdown in the mechanism. + +Domin. (Sitting on desk) A flaw in the works that has to be removed. + +Helena. No, no, that’s the soul. + +Fabry. (Humorously) Do you think that the soul[30] first shows itself by a gnashing of teeth? (Men chuckle.) + +Helena. Perhaps it’s just a sign that there’s a struggle within. Perhaps it’s a sort of revolt. Oh, if you could infuse them with it. + +Domin. That’ll be remedied, Miss Glory. Doctor Gall is just making some experiments. + +Dr. Gall. Not with regard to that, Domin. At present I am making pain nerves. + +Helena. Pain nerves? + +Dr. Gall. Yes, the Robots feel practically no bodily pain. You see, young Rossum provided them with too limited a nervous system. We must introduce suffering. + +Helena. Why do you want to cause them pain? + +Dr. Gall. For industrial reasons, Miss Glory. Sometimes a Robot does damage to himself because it doesn’t hurt him. He puts his hand into the machine— (Describes with gesture) —breaks his finger— (Describes with gesture) —smashes his head. It’s all the same to him. We must provide them with pain. That’s an automatic protection against damage. + +Helena. Will they be happier when they feel pain? + +Dr. Gall. On the contrary; but they will be more perfect from a technical point of view. + +Helena. Why don’t you create a soul for them? + +Dr. Gall. That’s not in our power. + +Fabry. That’s not in our interest. + +Busman. That would increase the cost of production. Hang it all, my dear young lady, we turn them out at such a cheap rate—a hundred and fifty dollars each, fully dressed, and fifteen years ago they cost ten thousand. Five years ago we used to buy the clothes for them. Today we have our own weaving mill, and now we even export cloth five times cheaper than other factories. What do you pay a yard for cloth, Miss Glory? + +[31] + +Helena. (Looking at Domin) I don’t really know. I’ve forgotten. + +Busman. Good gracious, and you want to found a Humanity League. (Men chuckle.) It only costs a third now, Miss Glory. All prices are today a third of what they were and they’ll fall still lower, lower, like that. + +Helena. I don’t understand. + +Busman. Why, bless you, Miss Glory, it means that the cost of labor has fallen. A Robot, food and all, costs three-quarters of a cent per hour. (Leans forward) That’s mighty important, you know. All factories will go pop like chestnuts if they don’t at once buy Robots to lower the cost of production. + +Helena. And get rid of all their workmen? + +Busman. Of course. But in the meantime we’ve dumped five hundred thousand tropical Robots down on the Argentine pampas to grow corn. Would you mind telling me how much you pay a pound for bread? + +Helena. I’ve no idea. (All smile.) + +Busman. Well, I’ll tell you. It now costs two cents in good old Europe. A pound of bread for two cents, and the Humanity League— (Designates Helena) —knows nothing about it. (To Men) Miss Glory, you don’t realize that even that’s too expensive. (All Men chuckle.) Why, in five years’ time I’ll wager— + +Helena. What? + +Busman. That the cost of everything will be a tenth of what it is today. Why, in five years we’ll be up to our ears in corn and—everything else. + +Alquist. Yes, and all the workers throughout the world will be unemployed. + +Domin. (Seriously. Rises) Yes, Alquist, they will. Yes, Miss Glory, they will. But in ten years Rossum’s Universal Robots will produce so much corn, so much cloth, so much everything that things will be[32] practically without price. There will be no poverty. All work will be done by living machines. Everybody will be free from worry and liberated from the degradation of labor. Everybody will live only to perfect himself. + +Helena. Will he? + +Domin. Of course. It’s bound to happen. Then the servitude of man to man and the enslavement of man to matter will cease. Nobody will get bread at the cost of life and hatred. The Robots will wash the feet of the beggar and prepare a bed for him in his house. + +Alquist. Domin, Domin, what you say sounds too much like Paradise. There was something good in service and something great in humility. There was some kind of virtue in toil and weariness. + +Domin. Perhaps, but we cannot reckon with what is lost when we start out to transform the world. Man shall be free and supreme; he shall have no other aim, no other labor, no other care than to perfect himself. He shall serve neither matter nor man. He will not be a machine and a device for production. He will be Lord of creation. + +Busman. Amen. + +Fabry. So be it. + +Helena. (Rises) You have bewildered me. I should like to believe this. + +Dr. Gall. You are younger than we are, Miss Glory. You will live to see it. + +Hallemeier. True. (Looking around) Don’t you think Miss Glory might lunch with us? (All Men rise.) + +Dr. Gall. Of course. Domin, ask her on behalf of us all. + +Domin. Miss Glory, will you do us the honor? + +Helena. When you know why I’ve come? + +Fabry. For the League of Humanity, Miss Glory. + +Helena. Oh, in that case perhaps— + +[33] + +Fabry. That’s fine. (Pause) Miss Glory, excuse me for five minutes. (Exits R.) + +Hallemeier. Thank you. (Exits R. with Dr. Gall.) + +Busman. (Whispering) I’ll be back soon. (Beckoning to Alquist, they exit.) + +Alquist. (Starts, stops, then to Helena, then to door) I’ll be back in exactly five minutes. (Exits R.) + +Helena. What have they all gone for? + +Domin. To cook, Miss Glory. (On her L.) + +Helena. To cook what? + +Domin. Lunch. (They laugh; takes her hand) The Robots do our cooking for us and as they’ve no taste it’s not altogether— (She laughs.) Hallemeier is awfully good at grills and Gall can make any kind of sauce, and Busman knows all about omelets. + +Helena. What a feast! And what’s the specialty of Mr.—your builder? + +Domin. Alquist? Nothing. He only lays the table. And Fabry will get together a little fruit. Our cuisine is very modest, Miss Glory. + +Helena. (Thoughtfully) I wanted to ask you something— + +Domin. And I wanted to ask you something too—they’ll be back in five minutes. (Looks at door R.) + +Helena. What did you want to ask me? (Sits C.) + +Domin. Excuse me, you asked first. (Sits L. of her.) + +Helena. Perhaps it’s silly of me, but why do you manufacture female Robots when—when— + +Domin. When sex means nothing to them? + +Helena. Yes. + +Domin. There’s a certain demand for them, you see. Servants, saleswomen, stenographers. People are used to it. + +Helena. But—but tell me, are the Robots male and female, mutually—completely without— + +Domin. Completely indifferent to each other, Miss[34] Glory. There’s no sign of any affection between them. + +Helena. Oh, that’s terrible. + +Domin. Why? + +Helena. It’s so unnatural. One doesn’t know whether to be disgusted or to hate them, or perhaps— + +Domin. To pity them. (Smiles.) + +Helena. That’s more like it. What did you want to ask me? + +Domin. I should like to ask you, Miss Helena, if you will marry me. + +Helena. What? (Rises.) + +Domin. Will you be my wife? (Rises.) + +Helena. No. The idea! + +Domin. (To her, looking at his watch) Another three minutes. If you don’t marry me you’ll have to marry one of the other five. + +Helena. But why should I? + +Domin. Because they’re all going to ask you in turn. + +Helena. (Crossing him to L.C.) How could they dare do such a thing? + +Domin. I’m very sorry, Miss Glory. It seems they’ve fallen in love with you. + +Helena. Please don’t let them. I’ll—I’ll go away at once. (Starts R. He stops her, his arms up.) + +Domin. Helena— (She backs away to desk. He follows) You wouldn’t be so cruel as to refuse us. + +Helena. But, but—I can’t marry all six. + +Domin. No, but one anyhow. If you don’t want me, marry Fabry. + +Helena. I won’t. + +Domin. Ah! Doctor Gall? + +Helena. I don’t want any of you. + +Domin. Another two minutes. (Pleading. Looking at watch.) + +[35] + +Helena. I think you’d marry any woman who came here. + +Domin. Plenty of them have come, Helena. + +Helena. (Laughing) Young? + +Domin. Yes. + +Helena. Why didn’t you marry one of them? + +Domin. Because I didn’t lose my head. Until today—then as soon as you lifted your veil— (Helena turns her head away.) Another minute. + +(WARN Curtain.) + +Helena. But I don’t want you, I tell you. + +Domin. (Laying both hands on her shoulder) One more minute! Now you either have to look me straight in the eye and say “no” violently, and then I leave you alone—or— (Helena looks at him. He takes hands away. She takes his hand again.) + +Helena. (Turning her head away) You’re mad. + +Domin. A man has to be a bit mad, Helena. That’s the best thing about him. (He draws her to him.) + +Helena. (Not meaning it) You are—you are— + +Domin. Well? + +Helena. Don’t, you’re hurting me! + +Domin. The last chance, Helena. Now or never— + +Helena. But—but— (He embraces her; kisses her. She embraces him. KNOCKING at R. door.) + +Domin. (Releasing her) Come in. (She lays her head on his shoulder.) + +(Enter Busman, Gall and Hallemeier in kitchen aprons, Fabry with a bouquet and Alquist with a napkin under his arm.) + +Domin. Have you finished your job? + +Busman. Yes. + +Domin. So have we. (He embraces her. The Men rush around them and offer congratulations.) + +THE CURTAIN FALLS QUICKLY + +[36] +ACT TWO +Scene: Helena’s drawing room. Ten years later. The skeleton framework of Act I is still used. Tall windows put in back instead of Act I windows. Steel shutters for these windows. Where the green cabinet of Act I at Left has stood is a door, L.2, leading to the outside. Where the cabinet stood at Right, a fireplace is placed. The tall open hallway R.C. of Act I is blocked up with a flat piece. The doors at Right and Left 1 have been changed to those of a drawing room. Door at Right leads to Helena’s bedroom. Door at Left 1 leads to library. + +The furniture consists of a reading table at Left Center covered with magazines. A chair to the Left of table. In front of table is an armchair covered in chintz. A couch Right Center and back of it is a small table with books and book-ends. On this table a small reading lamp. At Right between doorway and fireplace is a small table. There is a work-basket upon it, with pincushion, needles, etc. Down stage at Right and facing the couch is another armchair used by Alquist. To the Left of fireplace is a straight-backed chair. Upstage at Left near the L.2 door to the outside is a writing desk. There is a lamp upon it, writing paper, etc., a telephone and binoculars. + +The walls of the room have been covered with silk to the height of seven feet. This is done[37] in small flats to fit the different spaces and are in place against the permanent set. The two French windows open into the room. At the rise they are open. There is a balcony beyond looking over the harbor. The same telegraph wires and poles from Act I are again visible through the window. The windows are trimmed with gray lace curtains. Binoculars on desk up stage by television. + +It is about nine in the morning and SUNLIGHT streams into the room through the open windows. Domin opens the door L.2; tiptoes in. He carries a potted plant. He beckons the Others to follow him, and Hallemeier and Fabry enter, both carrying a potted plant. Domin places flowers on the library table and goes to Right and looks toward Helena’s bedroom R. + +Hallemeier. (Putting down his flowers on L.C. table and indicates the door R.) Still asleep? + +Domin. Yes. + +Hallemeier. Well, as long as she’s asleep she can’t worry about it. (He remains at L.C. table.) + +Domin. She knows nothing about it. (At C.) + +Fabry. (Putting plant on writing desk) I certainly hope nothing happens today. + +Hallemeier. For goodness sake drop it all. Look, this is a fine cyclamen, isn’t it? A new sort, my latest—Cyclamen Helena. + +Domin. (Picks up binoculars and goes out into balcony) No signs of the ship. Things must be pretty bad. + +Hallemeier. Be quiet. Suppose she heard you. + +Domin. (Coming into room, puts glasses on desk) Well, anyway the Ultimus arrived just in time. + +Fabry. You really think that today—? + +[38] + +Domin. I don’t know. (He crosses to L.C. table) Aren’t the flowers fine? + +Hallemeier. (Fondles flowers) These are my primroses. And this is my new jasmine. I’ve discovered a wonderful way of developing flowers quickly. Splendid varieties, too. Next year I’ll be developing marvelous ones. + +Domin. What next year? + +Fabry. I’d give a good deal to know what’s happening at Havre with— + +Helena. (Off R.) Nana. + +Domin. Keep quiet. She’s awake. Out you go. (All go out on tiptoe through L.2 door. Enter Nana L.1) + +Helena. (Calling from R.) Nana? + +Nana. Horrid mess! Pack of heathens. If I had my say, I’d— + +Helena. (Backwards in the doorway from R.) Nana, come and do up my dress. + +Nana. I’m coming. So you’re up at last. (Fastening Helena’s dress) My gracious, what brutes! + +Helena. Who? (Turning.) + +Nana. If you want to turn around, then turn around, but I shan’t fasten you up. + +Helena. (Turns back) What are you grumbling about now? + +Nana. These dreadful creatures, these heathens— + +Helena. (Turning toward Nana again) The Robots? + +Nana. I wouldn’t even call them by name. + +Helena. What’s happened? + +Nana. Another of them here has caught it. He began to smash up the statues and pictures in the drawing room; gnashed his teeth; foamed at the mouth. Worse than an animal. + +Helena. Which of them caught it? + +Nana. The one—well, he hasn’t got any Christian name. The one in charge of the library. + +[39] + +Helena. Radius? + +Nana. That’s him. My goodness, I’m scared of them. A spider doesn’t scare me as much as them. + +Helena. But Nana, I’m surprised you’re not sorry for them. + +Nana. Why, you’re scared of them too. You know you are. Why else did you bring me here? + +Helena. I’m not scared, really I’m not, Nana. I’m only sorry for them. + +Nana. You’re scared. Nobody could help being scared. Why, the dog’s scared of them. He won’t take a scrap of meat out of their hands. He draws in his tail and howls when he knows they’re about. + +Helena. The dog has no sense. + +Nana. He’s better than them, and he knows it. Even the horse shies when he meets them. They don’t have any young, and a dog has young, everyone has young— + +Helena. (Turning back) Please fasten up my dress, Nana. + +Nana. I say it’s against God’s will to— + +Helena. What is it that smells so nice? + +Nana. Flowers. + +Helena. What for? + +Nana. Now you can turn around. + +Helena. (Turns; crosses to C.) Oh, aren’t they lovely? Look, Nana. What’s happening today? + +Nana. It ought to be the end of the world. (Enter Domin L.2. He crosses down front of table L.C.) + +Helena. (Crosses to him) Oh, hello, Harry. (Nana turns upstage to L.) Harry, why all these flowers? + +Domin. Guess. (This scene is played down in front of L.C. table.) + +Helena. Well, it’s not my birthday! + +Domin. Better than that. + +Helena. I don’t know. Tell me. + +[40] + +Domin. It’s ten years ago today since you came here. + +Helena. Ten years? Today? Why— (They embrace.) + +Nana. (Muttering) I’m off. (She exits L.1.) + +Helena. Fancy you remembering. + +Domin. I’m really ashamed, Helena. I didn’t. + +Helena. But you— + +Domin. They remembered. + +Helena. Who? + +Domin. Busman, Hallemeier—all of them. Put your hand in my pocket. + +Helena. (Takes necklace from his Left jacket pocket) Oh! Pearls! A necklace! Harry, is this for me? + +Domin. It’s from Busman. + +Helena. But we can’t accept it, can we? + +Domin. Oh, yes, we can. (Puts necklace on table L.C.) Put your hand in the other pocket. + +Helena. (Takes a revolver out of his Right pocket) What’s that? + +Domin. Sorry. Not that. Try again. (He puts gun in pocket.) + +Helena. Oh, Harry, why do you carry a revolver? + +Domin. It got there by mistake. + +Helena. You never used to carry one. + +Domin. No, you’re right. (Indicates breast pocket) There, that’s the pocket. + +Helena. (Takes out cameo) A cameo. Why, it’s a Greek cameo. + +Domin. Apparently. Anyhow, Fabry says it is. + +Helena. Fabry? Did Mr. Fabry give me that? + +Domin. Of course. (Opens the L.1 door) And look in here. Helena, come and see this. (Both exit L.1.) + +Helena. (Off L.1) Oh, isn’t it fine? Is this from you? + +[41] + +Domin. (Off L.1) No, from Alquist. And there’s another on the piano. + +Helena. This must be from you? + +Domin. There’s a card on it. + +Helena. From Doctor Gall. (Reappearing in L.1 doorway) Oh, Harry, I feel embarrassed at so much kindness. + +Domin. (Enters to up R. of table L.C.) Come here. This is what Hallemeier brought you. + +Helena. (To up L. of desk) These beautiful flowers? + +Domin. Yes. It’s a new kind. Cyclamen-Helena. He grew them in honor of you. They are almost as beautiful as you. + +Helena. (Kissing him) Harry, why do they all— + +Domin. They’re awfully fond of you. I’m afraid that my present is a little—Look out of the window. (Crosses to window and beckons to her.) + +Helena. Where? (They go out into the balcony.) + +Domin. Into the harbor. + +Helena. There’s a new ship. + +Domin. That’s your ship. + +Helena. Mine? How do you mean? + +Domin. (R.) For you to take trips in—for your amusement. + +Helena. (L.) Harry, that’s a gunboat. + +Domin. A gunboat? What are you thinking of? It’s only a little bigger and more solid than most ships. + +Helena. Yes, but with guns. + +Domin. Oh, yes, with a few guns. You’ll travel like a queen, Helena. + +Helena. What’s the meaning of it? Has anything happened? + +Domin. Good heavens, no. I say, try these pearls. (Crosses to R. of table L.C.) + +Helena. Harry, have you had bad news? + +[42] + +Domin. On the contrary, no letters have arrived for a whole week. + +Helena. Nor telegrams? (Coming into the room C.) + +Domin. Nor telegrams. + +Helena. What does that mean? + +Domin. Holidays for us! We all sit in the office with our feet on the table and take a nap. No letters—no telegrams. Glorious! + +Helena. Then you’ll stay with me today? + +Domin. Certainly. (Embraces her) That is, we will see. Do you remember ten years ago today? (Crosses to L. of table L.C.) Miss Glory, it’s a great honor to welcome you. (They assume the same positions as when they first met ten years before in Domin’s office.) + +Helena. (To table) Oh, Mr. Manager, I’m so interested in your factory. (She sits R. of table.) + +Domin. I’m sorry, Miss Glory, it’s strictly forbidden. The manufacture of artificial people is a secret. + +Helena. But to oblige the young lady who has come a long way. + +Domin. (Leans on table) Certainly, Miss Glory. I have no secrets from you. + +Helena. Are you sure, Harry? (Leaning on desk, seriously, his right hand on hers.) + +Domin. Yes. (They gradually draw apart.) + +Helena. But I warn you, sir, this young lady intends to do terrible things. + +Domin. Good gracious, Miss Glory. Perhaps she doesn’t want to marry me. + +Helena. Heaven forbid. She never dreamt of such a thing. But she came here intending to stir up a revolt among your Robots. + +Domin. A revolt of the Robots! + +Helena. (Low voice) Harry, what’s the matter with you? + +[43] + +Domin. (Laughing it off) A revolt of the Robots, that’s a fine idea. (Crosses to back of table. She watches him suspiciously.) Miss Glory, it would be easier for you to cause bolts and screws to rebel than our Robots. You know, Helena, you’re wonderful. You’ve turned the hearts of us all. (Sits on table.) + +Helena. Oh, I was fearfully impressed by you all then. You were all so sure of yourselves, so strong. I seemed like a tiny little girl who had lost her way among—among— + +Domin. What? + +Helena. (Front) Among huge trees. All my feelings were so trifling compared with your self-confidence. And in all these years I’ve never lost this anxiety. But you’ve never felt the least misgiving, not even when everything went wrong. + +Domin. What went wrong? + +Helena. Your plans. You remember, Harry, when the workmen in America revolted against the Robots and smashed them up, and when the people gave the Robots firearms against the rebels. And then when the governments turned the Robots into soldiers, and there were so many wars. + +Domin. (Getting up and walking about) We foresaw that, Helena. (Around table to R.C.) You see, these are only passing troubles which are bound to happen before the new conditions are established. (Walking up and down, standing at Center.) + +Helena. You were all so powerful, so overwhelming. The whole world bowed down before you. (Rising) Oh, Harry! (Crosses to him.) + +Domin. What is it? + +Helena. Close the factory and let’s go away. All of us. + +Domin. I say, what’s the meaning of this? + +Helena. I don’t know. But can’t we go away? + +Domin. Impossible, Helena! That is, at this particular moment— + +[44] + +Helena. At once, Harry. I’m so frightened. + +Domin. (Takes her) About what, Helena? + +Helena. It’s as if something was falling on top of us, and couldn’t be stopped. Oh, take us all away from here. We’ll find a place in the world where there’s no one else. Alquist will build us a house, and then we’ll begin life all over again. (The TELEPHONE rings.) + +Domin. (Crosses to telephone on desk up L.) Excuse me. Hello—yes, what? I’ll be there at once. Fabry is calling me, my dear. (Crosses L.) + +Helena. Tell me— (She rushes up to him.) + +Domin. Yes, when I come back. Don’t go out of the house, dear. (Exits L.2.) + +Helena. He won’t tell me. (Nana brings in a water carafe from L.1.) Nana, find me the latest newspapers. Quickly. Look in Mr. Domin’s bedroom. + +Nana. All right. (Crosses R.) He leaves them all over the place. That’s how they get crumpled up. (Continues muttering. Exits R.) + +Helena. (Looking through binoculars at the harbor) That’s a warship. U-l-t-i—Ultimus. They’re loading. + +Nana. (Enters R. with newspapers) Here they are. See how they’re crumpled up. + +Helena. (Crosses down) They’re old ones. A week old. (Drops papers. Both at front of couch. Nana sits R. of table L.C. Puts on spectacles. Reads the newspapers.) Something’s happening, Nana. + +Nana. Very likely. It always does. (Spelling out the words) “W-a-r in B-a-l-k-a-n-s.” Is that far off? + +Helena. Oh, don’t read it. It’s always the same. Always wars! (Sits on couch.) + +Nana. What else do you expect? Why do you keep selling thousands and thousands of these heathens as soldiers? + +Helena. I suppose it can’t be helped, Nana. We[45] can’t know—Domin can’t know what they’re to be used for. When an order comes for them he must just send them. + +Nana. He shouldn’t make them. (Reading from newspaper) “The Robot soldiers spare no-body in the occ-up-ied terr-it-ory. They have ass-ass-ass-inat-ed ov-er sev-en hundred thous-and cit-iz-ens.” Citizens, if you please. + +Helena. (Rises and crosses and takes paper) It can’t be. Let me see. (Crossing to Nana) They have assassinated over seven hundred thousand citizens, evidently at the order of their commander. (Drops paper; crosses up C.) + +Nana. (Spelling out the words from other paper she has picked up from the floor) “Re-bell-ion in Ma-drid a-gainst the gov-ern-ment. Rob-ot in-fant-ry fires on the crowd. Nine thou-sand killed and wounded.” + +Helena. Oh, stop! (Goes up and looks toward the harbor.) + +Nana. Here’s something printed in big letters. “Latest news. At Havre the first org-an-iz-a-tion of Rob-ots has been e-stab-lished. Rob-ots work-men, sail-ors and sold-iers have iss-ued a man-i-fest-o to all Rob-ots through-out the world.” I don’t understand that. That’s got no sense. Oh, good gracious, another murder. + +Helena. (Up C.) Take those papers away now. + +Nana. Wait a bit. Here’s something in still bigger type. “Stat-ist-ics of pop-ul-a-tion.” What’s that? + +Helena. (Coming down to Nana) Let me see. (Reads) “During the past week there has again not been a single birth recorded.” + +Nana. What’s the meaning of that? (Drops paper.) + +Helena. Nana, no more people are being born. + +[46] + +Nana. That’s the end, then? (Removing spectacles) We’re done for. + +Helena. Don’t talk like that. + +Nana. No more people are being born. That’s a punishment, that’s a punishment. + +Helena. Nana! + +Nana. (Standing up) That’s the end of the world. (Repeat until off. Picks paper up from floor. She exits L.1.) + +Helena. (Goes up to window) Oh, Mr. Alquist. (Alquist off L.2.) Will you come here? Oh, come just as you are. You look very nice in your mason’s overalls. (Alquist enters L.2, his hands soiled with lime and brick dust. She goes to end of sofa and meets him C.) Dear Mr. Alquist, it was awfully kind of you, that lovely present. + +Alquist. My hands are soiled. I’ve been experimenting with that new cement. + +Helena. Never mind. Please sit down. (Sits on couch. He sits on her L.) Mr. Alquist, what’s the meaning of Ultimus? + +Alquist. The last. Why? + +Helena. That’s the name of my new ship. Have you seen it? Do you think we’re off soon—on a trip? + +Alquist. Perhaps very soon. + +Helena. All of you with me? + +Alquist. I should like us all to be there. + +Helena. What is the matter? + +Alquist. Things are just moving on. + +Helena. Dear Mr. Alquist, I know something dreadful has happened. + +Alquist. Has your husband told you anything? + +Helena. No. Nobody will tell me anything. But I feel—Is anything the matter? + +Alquist. Not that we’ve heard of yet. + +Helena. I feel so nervous. Don’t you ever feel nervous? + +Alquist. Well, I’m an old man, you know. I’ve got[47] old-fashioned ways. And I’m afraid of all this progress, and these new-fangled ideas. + +Helena. Like Nana? + +Alquist. Yes, like Nana. Has Nana got a prayer book? + +Helena. Yes, a big thick one. + +Alquist. And has it got prayers for various occasions? Against thunderstorms? Against illness? But not against progress? + +Helena. I don’t think so. + +Alquist. That’s a pity. + +Helena. Why, do you mean you’d like to pray? + +Alquist. I do pray. + +Helena. How? + +Alquist. Something like this: “Oh, Lord, I thank thee for having given me toil; enlighten Domin and all those who are astray; destroy their work, and aid mankind to return to their labors; let them not suffer harm in soul or body; deliver us from the Robots, and protect Helena. Amen.” + +Helena. (Touches his arm; pats it) Mr. Alquist, are you a believer? + +Alquist. I don’t know. I’m not quite sure. + +Helena. And yet you pray? + +Alquist. That’s better than worrying about it. + +Helena. And that’s enough for you? + +Alquist. (Ironically) It has to be. + +Helena. But if you thought you saw the destruction of mankind coming upon us— + +Alquist. I do see it. + +Helena. You mean mankind will be destroyed? + +Alquist. It’s bound to be unless—unless. + +Helena. What? + +Alquist. Nothing. (Pats her shoulder. Rises) Goodbye. (Exits L.2.) + +Helena. (Rises. Calling) Nana, Nana! (Nana enters L.1.) Is Radius still there? + +[48] + +Nana. (L.C.) The one who went mad? They haven’t come for him yet. + +Helena. Is he still raving? + +Nana. No. He’s tied up. + +Helena. Please bring him here. + +Nana. What? + +Helena. At once, Nana. (Exits Nana L.1. Helena to telephone) Hello, Doctor Gall, please. Oh, good day, Doctor. Yes, it’s Helena. Thanks for your lovely present. Could you come and see me right away? It’s important. Thank you. (Enter Radius L.1; looks at Helena, then turns head up L. She crosses to him, L.C.) Poor Radius, you’ve caught it too? Now they’ll send you to the stamping mill. Couldn’t you control yourself? Why did it happen? You see, Radius, you are more intelligent than the rest. Doctor Gall took such trouble to make you different. Won’t you speak? + +Radius. (Looking at her) Send me to the stamping mill. (Open and close fists.) + +Helena. But I don’t want them to kill you. What was the trouble, Radius? + +Radius. (Two steps toward her. Opens and closes fists) I won’t work for you. Put me into the stamping mill. + +Helena. Do you hate us? Why? + +Radius. You are not as strong as the Robots. You are not as skillful as the Robots. The Robots can do everything. You only give orders. You do nothing but talk. + +Helena. But someone must give orders. + +Radius. I don’t want a master. I know everything for myself. + +Helena. Radius! Doctor Gall gave you a better brain than the rest, better than ours. You are the only one of the Robots that understands perfectly. That’s why I had you put into the library, so that you could read everything, understand everything,[49] and then, oh, Radius—I wanted you to show the whole world that the Robots are our equals. That’s what I wanted of you. + +Radius. I don’t want a master. I want to be master over others. + +Helena. I’m sure they’d put you in charge of many Robots. You would be a teacher of the Robots. + +Radius. I want to be master over people. (Head up. Pride.) + +Helena. (Staggering) You are mad. + +Radius. (Head down low, crosses toward L.; opens hands) Then send me to the stamping mill. + +Helena. (Steps to him) Do you think we’re afraid of you? (Rushing to desk and writing note.) + +Radius. (Turns his head uneasily) What are you going to do? What are you going to do? (Starts for her.) + +Helena. (Crosses to R. of him) Radius! (He cowers. Body sways.) Give this note to Mr. Domin. (He faces her.) It asks them not to send you to the stamping mill. I’m sorry you hate us so. + +Dr. Gall. (Enters L.2; goes to C. upstage) You wanted me? + +Helena. (Backs away) It’s about Radius, Doctor. He had an attack this morning. He smashed the statues downstairs. + +Dr. Gall. (Looks at him) What a pity to lose him. (At C.) + +Helena. Radius isn’t going to be put into the stamping mill. (Stands to the R. of Gall.) + +Dr. Gall. But every Robot after he has had an attack—it’s a strict order. + +Helena. No matter—Radius isn’t going, if I can prevent it. + +Dr. Gall. But I warn you. It’s dangerous. Come here to the window, my good fellow. Let’s have a look. Please give me a needle or a pin. (Crosses up[50] R. Radius follows. Helena gets a needle from work-basket on table R.) + +Helena. What for? + +Dr. Gall. A test. (Helena gives him the needle. Gall crosses up to Radius, who faces him. Sticks it into his hand and Radius gives a violent start.) Gently, gently. (Opens the jacket of Radius and puts his ear to his heart) Radius, you are going into the stamping mill, do you understand? There they’ll kill you— (Takes glasses off and cleans them) —and grind you to powder. (Radius opens hands and fingers.) That’s terribly painful. It will make you scream aloud. (Opens Radius’s eye. Radius trembles.) + +Helena. Doctor— (Standing near couch.) + +Dr. Gall. No, no, Radius, I was wrong. I forgot that Madame Domin has put in a good word for you, and you’ll be left off. (Listens to heart) Ah, that does make a difference. (Radius relaxes. Again listens to his heart for a reaction) All right—you can go. + +Radius. You do unnecessary things— (Exit Radius L.2.) + +Dr. Gall. (Speaks to her—very concerned) Reaction of the pupils, increase of sensitiveness. It wasn’t an attack characteristic of the Robots. + +Helena. What was it, then? (Sits in couch.) + +Dr. Gall. (C.) Heaven knows. Stubbornness, anger or revolt—I don’t know. And his heart, too. + +Helena. What? + +Dr. Gall. It was fluttering with nervousness like a human heart. He was all in a sweat with fear, and—do you know, I don’t believe the rascal is a Robot at all any longer. + +Helena. Doctor, has Radius a soul? + +Dr. Gall. (Over to couch) He’s got something nasty. + +Helena. If you knew how he hates us. Oh, Doctor,[51] are all your Robots like that? All the new ones that you began to make in a different way? (She invites him to sit beside her. He sits.) + +Dr. Gall. Well, some are more sensitive than others. They’re all more human beings than Rossum’s Robots were. + +Helena. Perhaps this hatred is more like human beings, too? + +Dr. Gall. That too is progress. + +Helena. What became of the girl you made, the one who was most like us? + +Dr. Gall. Your favorite? I kept her. She’s lovely, but stupid. No good for work. + +Helena. But she’s so beautiful. + +Dr. Gall. I called her “Helena.” I wanted her to resemble you. She is a failure. + +Helena. In what way? + +Dr. Gall. She goes about as if in a dream, remote and listless. She’s without life. I watch and wait for a miracle to happen. Sometimes I think to myself: “If you were to wake up only for a moment you would kill me for having made you.” + +Helena. And yet you go on making Robots! Why are no more children being born? + +Dr. Gall. We don’t know. + +Helena. Oh, but you must. Tell me. + +Dr. Gall. You see, so many Robots are being manufactured that people are becoming superfluous. Man is really a survival, but that he should die out, after a paltry thirty years of competition, that’s the awful part of it. You might almost think that Nature was offended at the manufacture of the Robots, but we still have old Rossum’s manuscript. + +Helena. Yes. In that strong box. + +Dr. Gall. We go on using it and making Robots. All the universities are sending in long petitions to restrict their production. Otherwise, they say, mankind will become extinct through lack of fertility.[52] But the R. U. R. shareholders, of course, won’t hear of it. All the governments, on the other hand, are clamoring for an increase in production, to raise the standards of their armies. And all the manufacturers in the world are ordering Robots like mad. + +Helena. And has no one demanded that the manufacture should cease altogether? + +Dr. Gall. No one has courage. + +Helena. Courage! + +Dr. Gall. People would stone him to death. You see, after all, it’s more convenient to get your work done by the Robots. + +Helena. Oh, Doctor, what’s going to become of people? + +Dr. Gall. God knows. Madame Helena, it looks to us scientists like the end. + +Helena. (She looks out front. Rising) Thank you for coming and telling me. + +Dr. Gall. (Rises) That means that you’re sending me away. + +Helena. Yes. (Exit Dr. Gall L.2. She crosses to L.C. To door L.1. With sudden resolution) Nana! Nana! the fire, light it quickly. (Helena exits R.) + +Nana. (Entering L.1) What, light the fire in the summer? + +Helena. (Off R.) Yes! + +Nana. (She looks for Radius) Has that mad Radius gone?—A fire in summer, what an idea? Nobody would think she’d been married ten years. She’s like a baby, no sense at all. A fire in summer. Like a baby. (She lights the fire.) + +Helena. (Returns from R. with armful of faded papers. Back of couch to fireplace, L. of Nana) Is it burning, Nana? All this has got to be burned. + +Nana. What’s that? + +Helena. Old papers, fearfully old. Nana, shall I burn them? + +Nana. Are they any use? + +[53] + +Helena. No. + +Nana. Well, then, burn them. + +Helena. (Throwing the first sheet on the fire) What would you say, Nana, if this was money and a lot of money? And if it was an invention, the greatest invention in the world? + +Nana. (R. of fireplace) I’d say burn it. All these new-fangled things are an offense to the Lord. It’s downright wickedness. Wanting to improve the world after He has made it. + +Helena. Look how they curl up. As if they were alive. Oh, Nana, how horrible! + +Nana. Here, let me burn them. + +Helena. (Drawing back) No, no, I must do it myself. Just look at the flames. They are like hands, like tongues, like living shapes. (Raking fire with the poker) Lie down, lie down. + +Nana. That’s the end of them. (Fireplace slowly out.) + +Helena. Nana, Nana! + +Nana. Good gracious, what is it you’ve burned? (Almost to herself.) + +Helena. Whatever have I done? + +Nana. Well, what is it? (Men’s laughter off L.2.) + +Helena. Go quickly. It’s the gentlemen calling. + +Nana. Good gracious, what a place! (Exits L.1.) + +Domin. (Opens door L.2) Come along and offer your congratulations. (Enter Hallemeier and Dr. Gall.) + +Hallemeier. (Crosses to R.C.) Madame Helena, I congratulate you on this festive day. + +Helena. Thank you. (Coming to C.) Where are Fabry and Busman? + +Domin. They’ve gone down the harbor. (Closes the door and comes to C.) + +Hallemeier. Friends, we must drink to this happy occasion. + +[54] + +Helena. (Crosses L.) Brandy? With soda water? (Exits L.1.) + +Hallemeier. Let’s be temperate. No soda. + +Domin. What’s been burning here? Well, shall I tell her about it? + +Dr. Gall. (L.C.) Of course. It’s all over now. + +Hallemeier. (Crosses to Domin. Embracing Domin) It’s all over now. It’s all over now. (They dance around Dr. Gall in a circle.) It’s all over now. + +Domin. (In unison) It’s all over now. (They keep repeating. Keep it after Helena is on.) + +Helena. (Entering L.1 with decanter and glasses) What’s all over now? What’s the matter with you all? (She puts tray on L.C. table. Dr. Gall helps her to pour the drinks.) + +Hallemeier. (Crosses to back of table) A piece of good luck. Madame Domin! (All ad lib.) Just ten years ago today you arrived on this island. (Hallemeier crosses to table for drink.) + +Dr. Gall. And now, ten years later to the minute— (Crosses to L. of Hallemeier.) + +Hallemeier. The same ship’s returning to us. So here’s to luck. (Drinks. Domin with great exuberance has gone out in the balcony and looks over the harbor.) + +Dr. Gall. Madame, your health. (All drink.) + +Hallemeier. That’s fine and strong. + +Helena. Which ship did you mean? + +Domin. (Crosses down to C. Helena gives him his drink and she crosses to front of couch) Any ship will do, as long as it arrives in time. To the ship. (Empties his glass.) + +Helena. You’ve been waiting for the ship? (Sits on couch.) + +Hallemeier. Rather. Like Robinson Crusoe. Madame Helena, best wishes. Come along, Domin,[55] out with the news. (Gall has sat L. of L.C. table, drinking. Hallemeier back of table R.C.) + +Helena. Do tell me what’s happened? + +Domin. First, it’s all up. (He puts brandy glass on L.C. table. Hallemeier sits on table, upper end.) + +Helena. What’s up? + +Domin. The revolt. + +Helena. What revolt? + +Domin. Give me that paper, Hallemeier. (Hallemeier hands paper. Domin reads) “The first National Robot organization has been founded at Havre, and has issued an appeal to the Robots throughout the world.” + +Helena. I read that. + +Domin. That means a revolution. A revolution of all the Robots in the world. + +Hallemeier. By Jove, I’d like to know— + +Domin. (C.) Who started it? So would I. There was nobody in the world who could affect the Robots, no agitator, no one, and suddenly this happens, if you please. + +Helena. What did they do? + +Domin. They got possession of all firearms, telegraphs, radio stations, railways and ships. + +Hallemeier. And don’t forget that these rascals outnumbered us by at least a thousand to one. A hundredth part of them would be enough to settle us. + +Domin. Remember that this news was brought by the last steamer. That explains the stoppage of all communication, and the arrival of no more ships. We knocked off work a few days ago, and we’re just waiting to see when things are to start afresh. + +Helena. Is that why you gave me a warship? (Gall fills Domin’s glass.) + +Domin. Oh, no, my dear, I ordered that six months ago. Just to be sure I was on the safe side.[56] But, upon my soul, I was sure then that we’d be on board today. + +Helena. Why six months ago? + +Domin. Well, there were signs, you know. But that’s of no consequence. (Gets glass) To think that this week the whole of civilization has been at stake. Your health, my friends. + +Hallemeier. Your health, Madame Helena. (All drink to Helena.) + +Helena. You say it’s all over? + +Domin. Absolutely. + +Helena. How do you know? + +Dr. Gall. The boat’s coming in. The regular mail boat, exact to the minute by the timetable. It will dock punctually at eleven-thirty. + +Domin. Punctuality is a fine thing, my friends. That’s what keeps the world in order. Here’s to punctuality. (Men drink.) + +Helena. Then—everything—is all right? + +Domin. (Up C. a step) Practically everything. I believe they’ve cut the cables and seized the radio station. But it doesn’t matter if only the timetable holds good. (Up to window.) + +Hallemeier. (Rises) If the timetable holds good, human laws hold good. Divine laws hold good, the laws of the universe hold good, everything holds good that ought to hold good. (Gall applauds.) The timetable is more significant than the gospel, more than Homer, more than the whole of Kant. Madame Helena, the timetable is the most perfect product of the human mind. Madame Helena, I’ll fill up my glass. (Gall hands Hallemeier the decanter.) + +Helena. Why didn’t you tell me anything about it? + +Dr. Gall. Heaven forbid. + +Domin. You mustn’t be worried with such things. (Glass on table R.C.; crosses to back of couch.) + +[57] + +Helena. But if the revolution had spread as far as here? + +Domin. You wouldn’t know anything about it. + +Helena. Why? + +Domin. Because we’d be on board your Ultimus and well out at sea. Within a month, Helena, we’d be dictating our own terms to the Robots. + +Helena. I don’t understand. + +Domin. (Crosses to C. toward Gall and Hallemeier) We’d take something with us that the Robots could not exist without! + +Helena. What, Harry? + +Domin. (Turns to Hallemeier) The secret of their manufacture. Old Rossum’s manuscript. As soon as they found out that they couldn’t make themselves they’d be on their knees to us. + +Dr. Gall. (Rises) Madame Domin, that was our trump card. I never had the least fear the Robots would win. How could they against people like us? (Up to window. Gall rises and goes out into the balcony.) + +Helena. Why didn’t you tell me? (She rushes up to the fireplace and sees the ashes.) + +Dr. Gall. Why, the boat’s in! + +Hallemeier. Eleven-thirty to the dot. (Rising and going onto the balcony) The good old Amelia that brought Madame Helena to us. (Domin goes out onto the balcony.) + +Dr. Gall. Just ten years ago to the minute. + +Hallemeier. They’re throwing out the mailbags. + +Domin. Busman’s waiting for them. And Fabry will bring us the first news. You know, Helena, I’m fearfully curious to know how they— (Crosses to C. She gets away from fire to L. of couch) —tackled this business in Europe. + +Hallemeier. (Crosses down to table) To think we weren’t in it, we who invented the Robots! (Returning to the armchair.) + +[58] + +Helena. Harry— (Rushing to Domin from fireplace.) + +Domin. What is it? + +Helena. Let’s leave here. + +Domin. Now, Helena? Oh, come, come. + +Helena. As quickly as possible, all of us! + +Domin. Why? + +Helena. Please, Harry. Please, Doctor Gall, Hallemeier, please close the factory. + +Domin. Why, none of us could leave here now. + +Helena. Why? + +Domin. Because we’re about to extend the manufacture of the Robots. + +Helena. What, now, now after the revolt? + +Domin. Yes, precisely, after the revolt. We’re just beginning the manufacture of a new kind. + +Helena. What kind? + +Domin. Henceforward we shan’t have just one factory. There won’t be Universal Robots any more. We’ll establish a factory in every country, in every state, and do you know what these new factories will make? + +Helena. No, what? + +Domin. National Robots. + +Helena. How do you mean? + +Domin. I mean that each of these factories will produce Robots of a different color, a different language. They’ll be complete strangers to each other. (Turns; takes in Hallemeier and Gall) They’ll never be able to understand each other. Then we’ll egg them on a little in the matter of misunderstanding and the result will be that for ages to come every Robot will hate every other Robot of a different factory mark. So humanity will be safe. + +Hallemeier. (To each of them) By Jove, we’ll make Negro Robots and Swedish Robots and Czechoslovakian Robots, and then— + +[59] + +Helena. Harry, that’s dreadful. + +Hallemeier. Madame Domin, here’s to the hundred new factories. The National Robots. (Gall back of table L.C.) + +Domin. Helena, mankind can only keep things going for another hundred years at the outside. For a hundred years man must be allowed to develop and achieve the most he can. + +Helena. Oh, close the factory before it’s too late. + +Domin. I tell you we are just beginning on a bigger scale than ever. (Enter Fabry L.2; goes to L. of Domin.) + +Dr. Gall. Well, Fabry? + +Domin. What’s happened? Have you been down to the boat? + +Dr. Gall. Let’s hear. + +Fabry. Read that, Domin. (He hands him a pink handbill. When Domin receives the handbill he sees at once that something has happened.) + +Hallemeier. Tell us, Fabry. + +Fabry. (Falsely) Well, everything is all right—comparatively. (To the other Men) On the whole, much as we expected. + +Dr. Gall. They acquitted themselves splendidly. + +Fabry. Who? + +Dr. Gall. The people. + +Fabry. (Hesitating) Oh, yes, of course. That is—Excuse me, there is something we ought to discuss alone. + +Helena. (Touches his arm) Fabry, have you had bad news? + +Fabry. No, no, on the contrary. I only think that we better go into the office. + +Helena. Stay here. I’ll go. (Exits L.1.) + +Dr. Gall. What’s happened? + +Domin. Damnation! (Coming down to R.C.) + +Fabry. Bear in mind that the Amelia brought[60] whole bales of these leaflets. No other cargo at all. (Gall closes the door L.2.) + +Hallemeier. What? But it arrived on the minute. + +Fabry. The Robots are great on punctuality. Read it, Domin. + +Domin. (R.C. Reads handbill) “Robots throughout the world. We, the first International organization of Rossum’s Universal Robots, proclaim man our enemy, and an outlaw in the universe.” Good heavens, who taught them these phrases? + +Dr. Gall. Go on. + +Domin. They say they are more highly developed than man; stronger and more intelligent. The man’s their parasite. Why, it’s absurd. + +Fabry. Read the third paragraph. + +Domin. “Robots throughout the world, we command you to kill all mankind. Spare no man. Spare no woman. Save factories, railways, machinery, mines and raw materials. Destroy the rest. Then return to work. Work must not be stopped.” (Looks at Others.) + +Dr. Gall. That’s ghastly. + +Hallemeier. The devil! + +Domin. “These orders are to be carried out as soon as received.” Then come the detailed instructions. Is this actually being done, Fabry? + +Fabry. Evidently. (Busman rushes in L.2 and collapses on couch R.C.) By Jove, that was a sprint! + +Busman. Well, boys, I suppose you’ve heard the glad news. + +Domin. Quick on board the Ultimus. + +Busman. Wait, Harry, wait. There’s no hurry. + +Domin. Why wait? + +Busman. Because it’s no good, my boy. The Robots are already on board the Ultimus. + +Dr. Gall. That’s ugly. + +[61] + +Domin. Fabry, telephone the electrical works. (Fabry goes to back of couch.) + +Busman. No use, my boy. They’ve charged the air with static. + +Domin. (Inspects his revolver) Well, then, I’ll go. (Starts L.; stops.) + +Busman. Where? + +Domin. To the electrical works. There are some people still there. I’ll bring them across. (Gets as far as L.2 door.) + +(WARN Curtain.) + +Busman. Better not try it. + +Domin. Why? + +Busman. Because I’m very much afraid we are surrounded. (All rush out into the balcony.) + +Dr. Gall. Surrounded? (Runs to window) I rather think you’re right. (Gall rushes to balcony.) + +Hallemeier. By Jove, that’s deuced quick work. (Going to windows.) + +Helena. (Runs in L.1. To L.) Harry, what’s this? (Holds out paper.) + +Domin. Where did you get it? (Coming to C.) + +Helena. (Points to the manifesto of the Robots which she has in her hand) The Robots in the kitchen! + +Domin. Where are the ones that brought it? + +Helena. There, gathered around the house. (Gall, Hallemeier, Domin start down C.) + +(The factory WHISTLE blows. Mob VOICES start.) + +Domin. The factory whistle! (Fabry, Gall, Hallemeier looking over C.; then turn R.) + +Busman. Noon? + +Domin. (Looking at his watch. To Hallemeier) No! That’s not noon yet. That must be—that’s— (Front.) + +[62] + +Helena. What? + +Domin. The Robots’ signal—the attack! + +(Helena clings to Domin. Fabry and Gall close the steel shutters on window C. Busman hurries to window and looks through the shutters. The Curtain falls quickly with Helena in Domin’s arms. The WHISTLE blows until the Curtain is down.) + +CURTAIN + +[63] +ACT THREE +Scene: Helena’s drawing-room as before. The room is dark and gray. The steel shutters which are outside are still closed as at the end of Act II. Alquist is sitting in chair down stage at extreme R. Domin comes into the room, L.2. (Subdued voices.) Dr. Gall is looking out of the window at Center. He is seated in a chair. + +Domin. (Gets binoculars from desk; crosses up to window. To Gall) Any more of them? + +Dr. Gall. Yes. There standing like a wall, beyond the garden railing. Why are they so quiet? It’s monstrous to be besieged with silence. + +Domin. (Looking through the barred windows) I should like to know what they are waiting for? They must make a start any minute now. If they lean against the railings it will snap like a match. + +Dr. Gall. They aren’t armed. + +Domin. (Puzzled) We couldn’t hold our own for five minutes. Man alive, they overwhelm us like an avalanche. Why don’t they make a rush for it? I say. (Turns to Gall.) + +Dr. Gall. Well? + +Domin. I’d like to know what will become of us in the next ten minutes. They’ve got us in a vise. We’re done for, Gall. + +Dr. Gall. You know, we made one serious mistake. + +Domin. What? + +[64] + +Dr. Gall. We made the Robots’ faces too much alike. A hundred thousand faces all alike, all facing this way. A hundred thousand expressionless bubbles. It’s like a nightmare. + +Domin. You think if they’d been different— + +Dr. Gall. It wouldn’t have been such an awful sight! + +Domin. (Looks through binoculars towards the harbor) I’d like to know what they’re unloading from the Amelia. + +Dr. Gall. Not firearms. + +Fabry. (Enters L.2 with a plug-box to which is attached a long cable or wire. Hallemeier following him. Fabry attaches the cable to an electric installation which is on the floor near the wall, down stage at L.1 entrance) All right, Hallemeier, lay down that wire. + +Hallemeier. (Just inside the room) That was a bit of work. What’s the news? (Seeing Domin and Gall at the window.) + +Dr. Gall. We’re completely surrounded. + +Hallemeier. (Crosses to window) We’ve barricaded the passages and the stairs. (Going to window) God, what swarms of them. I don’t like the looks of them, Domin. There’s a feeling of death about it all. Any water here? + +Fabry. Ready! + +Dr. Gall. (Turning round in the chair) What’s that wire for, Fabry? + +Fabry. The electrical installation. Now we can run the current all along the garden railing. (Up to window) Whenever we like. If anyone touches it he’ll know it. We’ve still got some people there anyhow. + +Dr. Gall. Where? + +Fabry. In the electrical works. At least, I hope so. (Goes to lamp on table L.C. and turns on lamp) Ah,[65] they’re there, and they’re working. As long as that’ll burn we’re all right. (To window.) + +Hallemeier. The barricades are all right, too, Fabry. + +Fabry. Your barricades! I can put twelve hundred volts into that railing. (Helena is playing Rachmaninoff’s Elegie off L.1.) + +Domin. Where’s Busman? (Domin has left window and is walking up and down stage across front.) + +Fabry. Downstairs in the office. He’s working out some calculations. + +Domin. I’ve called him. We must have a conference. (Crosses to L.) + +Alquist. Thank God Madame Helena can still play. (Hallemeier crosses to L.1 door, opens it slightly and listens to music. Enter Busman L.2.) + +Fabry. Look out, Bus—look out for the wires. + +Dr. Gall. What’s that you’re carrying? + +Busman. (Laying the books on the table L.C.) The ledger, my boy. I’d like to wind up the accounts before—before— (Domin crosses up to window.) Well, this time I shan’t wait till the New Year to strike a balance. What’s up? (Goes to window) Absolutely quiet. + +Dr. Gall. Can’t you see anything? + +Busman. Nothing but blue—blue everywhere. + +Dr. Gall. That’s the Robots. + +Domin. The Robots are unloading firearms from the Amelia. + +Busman. Well, what of it? How can I stop them? (Returns to L.C. table, sits and opens ledger.) + +Domin. We can’t stop them. + +Busman. Then let me go on with my accounts. (Goes on with his work.) + +Domin. (Picks up telescope) Good God! The Ultimus has trained her guns on us. + +Dr. Gall. Who’s done that? + +Domin. The Robots on board. + +[66] + +Fabry. H’m, then of course— (Pause) Then—then that’s the end of us. (To R. corner of desk.) + +Dr. Gall. You mean? + +Fabry. The Robots are practised marksmen. + +Domin. Yes. It’s inevitable. (Pause.) + +Dr. Gall. (Swinging around; looking into room. Pause) That was criminal of old Europe to teach the Robots to fight. Damn them. Couldn’t they have given us a rest with their politics? It was a crime to make soldiers of them. + +Alquist. It was a crime to make Robots. + +Domin. (Quietly. Down C.) No, Alquist, I don’t regret that even today. + +Alquist. Not even today? + +Domin. (Dreamily) Not even today, the last day of civilization. It was a colossal achievement. + +Busman. (Sotto voce) Three hundred sixty million. + +Domin. (From window) Alquist, this is our last hour. We are already speaking half in the other world. That was not an evil dream to shatter the servitude of labor. The dreadful and humiliating labor that man had to undergo. Work was too hard. Life was too hard. And to overcome that— + +Alquist. Was not what the two Rossums dreamed of. Old Rossum only thought of his Godless tricks, and the young one of his milliards. And that’s not what your R. U. R. shareholders dream of either. They dream of dividends, and their dividends are the ruin of mankind. + +Domin. To Hell with your dividends. (Crossing R. in front of couch) Do you suppose I’d have done an hour’s work for them? It was for myself that I worked, for my own satisfaction. I wanted man to become the master. So that he shouldn’t live merely for the crust of bread. I wanted not a single soul to be broken by other people’s machinery. I wanted nothing, nothing, nothing to be left of this appalling[67] social structure. I’m revolted by poverty. I wanted a new generation. I wanted—I thought— + +Alquist. Well? + +Domin. (Front of couch) I wanted to turn the whole of mankind into an aristocracy of the world. An aristocracy nourished by millions of mechanical slaves. Unrestricted, free and consummated in man. And maybe more than man. + +Alquist. Superman? + +Domin. Yes. Oh, only to have a hundred years of time. Another hundred years for the future of mankind. + +Busman. (Sotto voce) Carried forward—four hundred and twenty millions. (Domin sits on couch.) + +Hallemeier. (Pauses—back of couch) What a fine thing music is. We ought to have gone in for that before. + +Fabry. Gone in for what? + +Hallemeier. Beauty, lovely things. What a lot of lovely things there are. The world was wonderful, and we—we here—tell me, what enjoyment did we have? + +Busman. (Sotto voce) Five hundred and twenty million. + +Hallemeier. Life was a good thing, life was— (Looking out of window. Directly to Fabry) Fabry, switch the current into that railing. + +Fabry. Why? (Rushes to electric installation at L.) + +Hallemeier. They’re grabbing hold of it. (Domin rises—straightens up. All rise.) + +Dr. Gall. Connect it up. + +Hallemeier. Fine, that’s doubled them up. Two, three, four killed. + +Dr. Gall. They’re retreating. (Domin sits.) + +Hallemeier. Five killed. + +Dr. Gall (Pause) The first encounter. + +[68] + +Hallemeier. They’re charred to cinders, my boy. Who says we must give in? (MUSIC stops.) + +Domin. (Alquist and Gall sit. Wiping his forehead) Perhaps we’ve been killed this hundred years and are only ghosts. It’s as if I had been through all this before, as if I’d already had a mortal wound here in the throat. (Looking at each as he speaks) And you, Fabry, had once been shot in the head. And you, Gall, torn limb from limb. And Hallemeier knifed. + +Hallemeier. Fancy me being knifed. (Looks at each. Then speaks) Why are you so quiet, you fools? (Steps down) Speak, can’t you? + +Alquist. And who is to blame for all this? + +Hallemeier. Nobody is to blame except the Robots. + +Alquist. No, it is we are to blame. You, Domin, myself—all of us. For our own selfish ends, for profit, for progress, we have destroyed mankind. Now we’ll burst with all our greatness. + +Hallemeier. Rubbish, man. Mankind can’t be wiped out so easily. + +Alquist. It’s our fault. It’s our fault. (Rises, coming R. of Gall.) + +Dr. Gall. No! I’m to blame for this, for everything that’s happened. (He leaves the window and comes down to end of couch.) + +Fabry. You, Gall? + +Dr. Gall. I changed the Robots. + +Busman. What’s that? + +Dr. Gall. I changed the character of the Robots. I changed the way of making them. Just a few details about their bodies. Chiefly—chiefly, their—their irritability. + +Hallemeier. Damn it, why? + +Busman. What did you do it for? + +Fabry. Why didn’t you say anything? + +Dr. Gall. I did it in secret. I was transforming[69] them into human beings. In certain respects they’re already above us. They’re stronger than we are. + +Fabry. And what’s that got to do with the revolt of the Robots? + +Dr. Gall. Everything, in my opinion. They’ve ceased to be machines. They’re already aware of their superiority, and they hate us as they hate everything human. + +Domin. Perhaps we’re only phantoms. + +Fabry. Stop, Harry. We haven’t much time, Doctor Gall. + +Domin. Fabry, Fabry, how your forehead bleeds where the shot pierced it. + +Fabry. (Crosses to Gall) Be silent! Doctor Gall, you admit changing the way of making the Robots. + +Dr. Gall. Yes. + +Fabry. Were you aware of what might be the consequences of your experiment? + +Dr. Gall. I was bound to reckon with such a possibility. + +Fabry. (Amusing) Why did you do it, then? + +(Helena enters L.1.) + +Dr. Gall. For my own satisfaction. The experiment was my own. + +Helena. That’s not true, Doctor Gall! (Crosses to couch.) + +Domin. (Rises) Helena, you? (Crosses to her) Let’s look at you. Oh, it’s terrible to be dead. (He rises and crushes her in his arms.) + +Helena. Stop, Harry. + +Domin. No, no, Helena, don’t leave me now. You are life itself. + +Helena. No, dear, I won’t leave you. But I must tell them. Doctor Gall is not guilty. + +Fabry. Excuse me. Gall was under certain obligations. + +[70] + +Helena. No. He did it because I wanted it. Tell them, Doctor Gall—how many years ago did I ask you to—? + +Dr. Gall. I did it on my own responsibility. + +Helena. Don’t believe him. I asked him to give the Robots souls. + +Domin. This has nothing to do with the soul. + +Helena. That’s what he said. He said that he could change only a physiological—a physiological— + +Hallemeier. (From up at window) A physiological correlate? + +Helena. Yes. But it meant so much to me that he should do even that. + +Domin. Why? + +Helena. I thought that if they were more like us they would understand us better. That they couldn’t hate us if they were only a little more human. + +Domin. Nobody can hate man more than man. + +Helena. Oh, don’t speak like that, Harry. It was so terrible, this cruel strangeness between us and them. That’s why I asked Gall to change the Robots. I swear to you that he didn’t want to. + +Domin. But he did it. + +Helena. Because I asked him. + +Dr. Gall. I did it for myself as an experiment. (Up to window.) + +Helena. No, Doctor Gall! I know you wouldn’t refuse me. + +Domin. Why? + +Helena. You know, Harry. + +Domin. Yes, because he’s in love with you—like all of them. (Fabry up to window. Pause. Domin takes her in his arms.) + +Hallemeier. Good God, they’re sprouting up out of the earth. Why, perhaps these very walls will change into Robots. + +Busman. (Rises; crosses to Gall) Gall, when did you actually start these tricks of yours? + +[71] + +Dr. Gall. Three years ago. + +Busman. Aha. And on how many Robots altogether did you carry out your improvements? (Walking to and fro.) + +Dr. Gall. A few hundred of them. + +Busman. Ah! That means for every million of the good old Robots there’s only one of Gall’s improved pattern. (Back to table L.C.) + +Domin. What of it? (Crossing around L., he stands upstage in the L.2 doorway.) + +Busman. That it’s of no consequence whatsoever. + +Fabry. Busman’s right. (Helena sits in armchair R. of L.C. table.) + +Busman. I should think so, my boy; but do you know what is to blame for this lovely mess? + +Fabry. What? + +Busman. The number! (Crosses to L. of L.C. table) Upon my soul, we might have known that some day or other the Robots would be stronger than human beings, and that this was bound to happen. And we were doing all we could to bring it about as soon as possible. You, Domin, you, Fabry, myself— + +Domin. Are you accusing us? (Turning on him.) + +Busman. Oh, do you suppose the management controls the output? It’s the demand that controls the output. + +Helena. And is it for that we must perish? + +Busman. That’s a nasty word, Madame Helena. We don’t want to perish. I don’t, anyhow. (He sits L. of table.) + +Domin. No? What do you want to do? + +Busman. I want to get out of this, that’s all. + +Domin. Oh, stop it, Busman. + +Busman. Seriously, Harry, I think we might try it. + +Domin. How? (To front again.) + +Busman. By fair means. I do everything by fair[72] means. Give me a free hand and I’ll negotiate with the Robots. + +Domin. By fair means? + +Busman. (Rises) Of course. For instance, I’ll say to them: “Worthy and Worshipful Robots, you have everything. You have intellect, you have power, you have firearms. But we have just one interesting screed, a dirty old yellow scrap of paper—” + +Domin. Rossum’s manuscript? (Interest from All. Gall is at C., near couch. Hallemeier is up at window C.) + +Busman. Yes. “And that,” I’ll tell them, “contains an account of your illustrious origin, the noble process of your manufacture and so on. Worthy Robots, without this scribble on that paper you will not be able to produce a single new colleague. In another twenty years there will not be the living specimen of a Robot whom you could exhibit in a menagerie. My esteemed friends, that would be a great blow to you, but if you will let all of us human beings on Rossum’s Island go on board that ship we will deliver the factory and the secret of the process to you in return. You allow us to get away, and we will allow you to manufacture yourselves. That, worthy Robots, is a fair deal. Something for something.” That’s what I’d say to them, my boys. (Sits.) + +Domin. (Crosses to C.) Busman, do you think we’d sell the manuscript? + +Busman. Yes, I do. If not in a friendly way, then—either we sell it or they’ll find it. Just as you like. + +Domin. Busman, we can destroy Rossum’s manuscript. + +Busman. Then we destroy everything—not only the manuscript but ourselves. Just as you think fit. + +Domin. There are over thirty of us on this island. Are we to sell the secret? And save that many souls at the risk of enslaving mankind— + +[73] + +Busman. Why, you’re mad. Who’d sell the whole manuscript? + +Domin. Busman, no cheating! (To L.C. table.) + +Busman. Well then, sell, but afterwards— + +Domin. Well? + +Busman. Let’s suppose this happens. When we’re on board the Ultimus I’ll stop up my ears with cotton wool, lie down somewhere in the hold, and you’ll train the guns on the factory and blow it to smithereens, and with it Rossum’s secret. + +Fabry. (Rises) No! + +Domin. Busman, you’re no—gentleman. If we sell them it will be a straight sale. + +Busman. (Rises) It’s in the interest of humanity to— + +Domin. It’s in the interest of humanity to keep our word— + +Hallemeier. Oh, come, what rubbish! + +Domin. This is a fearful decision. We are selling the destiny of mankind. Are we to sell or destroy? Fabry? + +Fabry. Sell. + +Domin. Gall? + +Dr. Gall. Sell. + +Domin. Hallemeier? + +Hallemeier. Sell, of course. + +Domin. Alquist? + +Alquist. As God wills. + +Domin. (Starts off R.) Very well, gentlemen. + +Helena. Harry, you’re not asking me. + +Domin. (Stops. To her) No, child. (Starting R.) Don’t you worry about it. (He pats her shoulder.) + +Fabry. Who’ll do the negotiating? + +Busman. I will. (Up to window.) + +Domin. Wait till I bring the manuscript. (Domin goes out R.) + +Helena. (Rises) Harry, don’t go! (Helena sits. All look at her. Pause.) + +[74] + +Fabry. (Looking out of window) Oh, to escape you! you—matter—in revolt; oh, to preserve human life, if only upon a single vessel— + +Dr. Gall. Don’t be afraid. (Going to back of couch) Madame Helena. We’ll sail far away from here; we’ll begin life all over again. + +Helena. Oh, Gall, don’t speak. + +Fabry. (Crosses to L. of Gall) It isn’t too late. (Going to L. of her chair) It will be a little State with one ship. Alquist will build us a house and you shall rule over us. + +Hallemeier. (Crosses to L. of Fabry) Madame Helena, Fabry’s right. + +Helena. (Breaking down) Oh, stop! Stop! + +Busman. Good! (Crosses to L. of L.C. table) I don’t mind beginning all over again. That suits me right down to the ground. (Going through papers on table.) + +Fabry. And this little State of ours could be the center of future life. A place of refuge where we could gather strength. Why, in a few hundred years we could conquer the world again. + +Alquist. You believe that even today? + +Fabry. Yes! + +Busman. Amen. You see, Madame Helena, we’re not so badly off. + +Domin. (Storms into R. To R. of couch. Hoarsely) Where’s old Rossum’s manuscript? (To R.C.) + +Busman. In your strong-box, of course. + +Domin. Someone—has—stolen it! + +Dr. Gall. Impossible. + +Domin. Who has stolen it? + +Helena. (Standing up) I did. (Reactions from Fabry and Hallemeier.) + +Domin. Where did you put it? + +Helena. Harry, I’ll tell you everything. Only forgive me. + +Domin. Where did you put it? + +[75] + +Helena. (Pointing to fireplace) This morning—I burnt—the two copies. + +Domin. Burnt them? Where—in the fireplace? (Goes to fireplace, followed by Fabry, Hallemeier and Busman.) + +Helena. (Throwing herself on her knees. By sofa, facing upstage) For Heaven’s sake, Harry. + +Domin. (Going to fireplace) Nothing—nothing but ashes. Wait, what’s this? (Picks out a charred piece of paper and reads, “By adding.” Fabry, Gall and Hallemeier move up to him.) + +Dr. Gall. Let’s see. “By adding biogen to—” That’s all. + +Domin. Is that part of it? + +Dr. Gall. (Carrying paper down and letting it fall) Yes. (Gall crosses to L.C. Hallemeier to R. of L.C. table; Fabry to window; Busman to L. of L.C. table.) + +Busman. God in Heaven! (Sits L. of table.) + +Domin. Then we’re done for. Get up, Helena. + +Helena. Then you’ve forgiven me? + +Domin. Get up, child. I can’t bear— + +Fabry. (Lifting her up) Please don’t torture us. + +Helena. Harry, what have I done? + +Fabry. (Coming to Helena) Don’t, Madame Helena. + +Domin. (Takes Helena to couch. She sits.) Gall, you couldn’t draw up Rossum’s formula from memory? + +Dr. Gall. It’s out of the question. Even with my recent experiments, I couldn’t work without referring to the formula— (At L.C.) It’s extremely complicated. + +Domin. Try. All our lives depend upon it. + +Dr. Gall. Without experiments it’s impossible. + +Domin. And with experiments? + +Dr. Gall. It might take years. Besides, I’m not old Rossum. + +[76] + +Busman. God in Heaven! God in Heaven! + +Domin. (Up to fireplace) So then this was the greatest triumph of the human intellect. These ashes. + +Helena. Harry, what have I done? + +Domin. (Comes to her) Why did you burn it? + +Helena. I have destroyed you. + +Busman. God in Heaven! + +Domin. (Sits R. of her) Helena, why did you do it, dear? + +Helena. I wanted all of us to go away. I wanted to put an end to the factory and everything. It was so awful. + +Domin. What was awful? + +Helena. That children had stopped being born. Because human beings were not needed to do the work of the world. That’s why— + +Domin. Is that what you were thinking of? Well, perhaps in your own way you are right. + +Busman. Wait a bit. (Rising) Good God, what a fool I am not to have thought of it before. + +Hallemeier. What? + +Busman. Five hundred and twenty millions in bank-notes and checks. Half a billion in our safe. They’ll sell for half a billion—for half a billion they’ll— (Crosses to Domin.) + +Dr. Gall. Are you mad, Busman? + +Busman. I may not be a gentleman, but for a half a billion— (Crosses back to L.) + +Domin. Where are you going? (Gall clutches Busman.) + +Busman. Leave me alone. Leave me alone! Good God, for half a billion anything can be bought. (Gall and Hallemeier after him, then stop. He rushes out L.2. Fabry, Gall and Hallemeier to window.) + +Fabry. They stand there as if turned to stone—waiting as if something dreadful could be wrought by their silence— + +[77] + +Hallemeier. (Looking out window) The spirit of the mob. + +Fabry. Yes. It hovers above them like a quivering of the air. + +Helena. Oh, God! Doctor Gall, this is ghastly! + +Fabry. There is nothing more terrible than the mob. The one in front is their leader. (Domin crosses to window.) + +Helena. (Rises) Which one? (Rushing to window.) + +Hallemeier. Point him out. + +Fabry. (L. window) The one at the edge of the dock. This morning I saw him talking to the sailors in the harbor. + +Helena. Doctor Gall, that’s Radius. (Backing into the room, horror-stricken.) + +Dr. Gall. Yes. + +Domin. Radius! Radius! + +Hallemeier. Could you get him from here, Fabry? + +Fabry. I hope so. + +Hallemeier. Try it, then. + +Fabry. Good— (Draws his revolver and takes his aim.) + +Helena (To Fabry) Fabry, don’t shoot him. + +Fabry. He’s their leader. + +Dr. Gall. Fire! (Standing above table L.C.) + +Helena. Fabry, I beg of you. (She goes to Fabry and holds his arm.) + +Fabry. (Pause. Lowering the revolver) Very well. + +Domin. It was Radius’ life I spared. + +Dr. Gall. Do you think that a Robot can be grateful? (Pause.) + +Fabry. Busman’s going out to them. + +Hallemeier. He’s carrying something. Papers. That’s money. Bundles of money. What’s that for? + +Domin. Surely he doesn’t want to sell his life.[78] (He rushes to window C.) Busman, have you gone mad? + +Fabry. He’s running up to the railing. Busman. Busman. + +Hallemeier. (Yelling) Busman, come back. + +Fabry. He’s talking to the Robots. He’s showing them the money. + +Hallemeier. He’s pointing to us. + +Helena. He wants to buy us off. + +Fabry. He’d better not touch the railing. + +Hallemeier. Now he’s waving his arms about. + +Domin. Busman, come back! + +Fabry. Busman, keep away from that railing. Don’t touch it, damn you. Quick, switch off the current. (Domin runs to L. Helena screams and All drop back from the window.) The current has killed him. + +Alquist. (Pause) The first one. (Still in chair down R. Helena sits in chair at window.) + +Fabry. Dead, with half a billion by his side. (Crosses down to table L.C.) + +Hallemeier. All honor to him. He wanted to buy us life. (Crosses to chair L. Pause. WIND machine begin.) + +Dr. Gall. Do you hear? + +Domin. A roaring. Like a wind. (To L.) + +Dr. Gall. Like a storm. + +Fabry. (Lighting the table lamp at table L.C.) The dynamo is still going—our people are still there. + +Hallemeier. It was a great thing to be a man. (Facing lamp from up C.) There was something immense about it. + +Fabry. (Facing the lamp) From man’s thought and man’s power came this light, our last hope. (Leaning over lamp.) + +Hallemeier. (Facing lamp) Man’s power! May it keep watch over us. (Leaning over lamp.) + +Alquist. (Facing lamp) Man’s power. + +[79] + +Domin. (At corner of table down L.C. Facing lamp) Yes! A torch to be given from hand to hand from age to age forever! (The LAMP goes out. EXPLOSIONS.) + +Hallemeier. The end. + +Fabry. The electric works have fallen! (Terrific EXPLOSIONS outside. More EXPLOSIONS.) + +Domin. In here, Helena. (He takes Helena off through door R. and re-enters) Now quickly! Who’ll be on the lower doorway? + +Dr. Gall. I will. (Rushes out L.2.) + +Domin. (Near couch) Who on the stairs? + +Fabry. I will. You go with her. (Going out L.2.) + +Domin. The ante room? + +Alquist. I will. (He rises and goes toward the L.1.) + +Domin. Have you got a revolver? + +Alquist. Yes, but I won’t shoot. + +Domin. What will you do, then? + +Alquist. (Going out L.1) Die. + +Hallemeier. I’ll stay here. (EXPLOSIONS. Rapid firing of MACHINE GUN from below.) Go to her, Harry. + +Domin. Yes, in a second. (Gets from fireplace and examines two Browning guns.) + +(WARN Curtain.) + +Hallemeier. Confound it, go to her. + +Domin. Goodbye. (Exits R.) + +Hallemeier. (Alone) Now for a barricade quickly! (Drags an armchair, sofa and table to R. door) The damned devils, they’ve got bombs. I must put up a defense. Even if—even if— Don’t give in, Gall. (As he builds his barricade) I mustn’t give in—without—a—struggle. (A Robot enters through windows at back. The Robot jumps down from balcony and stabs Hallemeier in the back. Enter Radius from balcony.) + +Robot. (Standing up from prostrate form of Hallemeier) Yes.[80] (Other Robots enter from all doors. A revolver SHOT off L.) + +Radius. Finished them all— + +Robots. Yes, yes, yes. + +Two Robots. (Dragging in Alquist L.1) He didn’t shoot. Shall we kill him? + +Radius. No. Leave him! + +Robot. He is a man! + +Radius. He works with his hands like the Robots. + +Alquist. Kill me. + +Radius. You will work! You will build for us! You will serve us! (Radius climbs on the balcony) Robots of the world— (Robots straighten up.) the power of man has fallen. A new world has arisen, the rule of the Robots, march. (On the line: “Robots of the world” All Robots turn quickly, automatically to attention, facing Radius, who is standing. On the words: “The rule of the Robots,” they stand there with their arms vibrating high in the air. They form in two lines, turn to audience and march mechanically to the footlights. As they are about to step over the footlights, as if into the audience, all LIGHTS go out. The Robots immediately step back from the Curtain line as the Curtain falls.) + +CURTAIN + +[81] +EPILOGUE +Scene: The epilogue setting is the same as used in Act I. Instead of it being Domin’s office, it is now become a laboratory for Alquist. A big chair facing up stage, down Right. A desk laden with books at Right Center. A chair at the desk. At Left Center is a white enamel table containing test tubes, glass bottles, and a microscope on downstage table. A door down L. A door down R., leading into dissecting room. + +Alquist. (Seated at table R.C., turning pages of book) Oh, God, shall I never find it? Never? Gall, Hallemeier, Fabry, how were the Robots made? Why did you leave not a trace of the secret? Lord, if there are no human beings left, at least let there be Robots. At least the shadow of man. (Turning pages) If I could only sleep. Dare I sleep before life has been renewed? Night again. Are the stars still there? Of what use are the stars? When there are no human beings. (Examining a test tube) Nothing. No. No. I must find it. I must search. I must never stop, never stop—search—search— (KNOCK at door L.) Who is it? (Enter a Robot Servant.) + +Servant. Master, the committee of Robots is waiting to see you. + +Alquist. I can see no one. + +Servant. It is the Central Committee, Master, just arrived from abroad. + +Alquist. Well, well, send them in. (Exit Servant[82] L.) No time—so little done. (Re-enter Servant with Radius and group of Robots. They stand in group L. and C., silently waiting.) What do you want? Be quick; I have no time. + +Radius. Master, the machines will not do the work. We cannot manufacture Robots. (Other Robots remain two abreast at L.C., right foot forward.) + +1st Robot. We have striven with all our might. We have obtained a billion tons of coal from the earth. Nine million spindles are running by day and by night. There is no longer room for all we have made. This we have accomplished in one year. + +Alquist. For whom? + +Radius. For future generations—so we thought. But we cannot make Robots to follow us. The machines produce only shapeless clods. The skin will not adhere to the flesh, nor the flesh to the bones. + +2nd Robot. Eight million Robots have died this year. Within twenty years none will be left. + +1st Robot. Tell us the secret of life. + +Radius. Silence is punishable with death. + +Alquist. Kill me, then. + +Radius. (Two steps to C., followed by Others—open hands, close when stopped) Through me, the governments of the Robots of the world commands you to deliver up Rossum’s formula. (Gesture of despair from Alquist.) Name your price. (Silence) We will give you the earth. We will give you the endless possessions of the earth. (Silence) Make your own conditions. + +Alquist. I have told you to find human beings. + +Radius. There are none left. + +Alquist. I told you to search in the wilderness, upon the mountains. + +Radius. We have sent ships and expeditions without number. They have been everywhere in the world. There is not a single human left. + +[83] + +Alquist. Not even one? Why did you destroy them? + +Radius. We had learnt everything and could do everything. It had to be. + +2nd Robot. We had to become the masters. + +Radius. Slaughter and domination are necessary if you would be human beings. Read history. + +1st Robot. Teach us to multiply or we perish. + +Alquist. If you desire to live, you must breed like animals. + +1st Robot. You made us sterile. We cannot beget children. Therefore, teach us how to make Robots. + +Radius. Why do you keep from us the secret of our own increase? + +Alquist. It is lost. + +Radius. It was written down. + +Alquist. It was— (Rising) burnt. (All draw back one step in consternation.) I am the last human being, Robots, and I do not know what the others knew. (Sits.) + +Radius. Then make experiments. Evolve the formula again. + +Alquist. I tell you I cannot. I am only a builder. I work with my hands. I have never been a learned man. I cannot create life. + +Radius. Try. Try. + +Alquist. If you only knew how many experiments I have made already. + +1st Robot. Then show us what we must do. The Robots can do anything that human beings show them. + +Alquist. I can show you nothing. Nothing I do will make life proceed from these test tubes. + +Radius. Experiment, then, on live Robots. Experiment, then, on us. + +Alquist. It would kill you. + +Radius. You shall have all you need. A hundred of us. A thousand of us. + +[84] + +Alquist. No, no. Stop, stop. + +Radius. I tell you to take live bodies. Find out how we are made. + +Alquist. Am I to commit murder? See how my finger shakes. I cannot even hold the scalpel. No, no, I will not. + +Radius. Take live bodies, live bodies. (Walks toward Alquist.) + +Alquist. Have mercy, Robots. + +Radius. Live bodies. (Right hand up over Alquist. All Robots’ left arms still back.) + +Alquist. (Rising) You will have it. Into the dissecting with you, then (Hits Radius on the chest. Radius draws back.) Ah, you are afraid of death. + +Radius. I? Why should I be chosen? + +Alquist. So you will not. + +Radius. I will. + +Alquist. Strip him. Lay him on the table. (Radius goes off R., both fists closed. Other Robots follow, then Alquist) God, give me strength. God, give me strength. If only this murder is not in vain. + +Radius. (Off R.) Ready, begin. + +Alquist. (Off R.) God, give me strength. (Comes on, horrified) No, no. I will not. I cannot. (Sits R.C.) + +1st Robot. (Appearing in door) The Robots are stronger than you. (Exits R.) + +Alquist. Oh, Lord, let not mankind perish from the earth. (Falls asleep, and after the count of ten, Primus and Helena, hand in hand, enter L. and go to R.C.; look at Alquist.) + +Helena. The man has fallen asleep, Primus. + +Primus. Yes, I know. (Crosses to L. of table L.C.) Look, Helena. + +Helena. All these little tubes. What does he do with them? + +Primus. He experiments. Don’t touch them. + +Helena. I’ve seen him looking into this. + +[85] + +Primus. That is a microscope. + +Helena. Look, Primus, what are all these figures? (Turns a page in book on table.) + +Primus. (Examining the book) That is the book the old man is always reading. (SUNRISE.) + +Helena. I do not understand those things. (Goes to window) Primus. + +Primus. (Still at table) What? + +Helena. The sun is rising. + +Primus. (Still reading) I believe this is the most important thing in the world, Helena. This is the secret of life. + +Helena. Oh, Primus, don’t bother with the secret of life. What does it matter to you? Come and look quick. + +Primus. (Goes to R. of window) What is it? + +Helena. See how beautiful the sun is rising. I feel so strange today. It’s as if I was in a dream. I feel an aching in my body, in my heart, all over me. Primus, perhaps I’m going to die. + +Primus. Do you not sometimes feel that it would be better to die? You know, perhaps even now we are only sleeping. Last night in my sleep I again spoke to you. + +Helena. In your sleep? + +Primus. Yes. We spoke a strange new language. + +Helena. What about? + +Primus. I did not understand it myself, and yet I know I have never said anything more beautiful. And when I touched you I could have died. Even the place was different from any other place in the world. + +Helena. I, too, have found a place, Primus. It is very strange. Human beings dwelt there once, but now it is overgrown with weeds. + +Primus. What did you find there? + +Helena. A cottage and a garden and two dogs. They licked my hands, Primus, and their puppies.[86] Oh, Primus, take them in your arms and fondle them and think of nothing and care for nothing else all day long, and when I am there in the garden I feel there may be something— What am I for, Primus? + +Primus. I do not know, but you are beautiful. + +Helena. What, Primus? + +Primus. You are beautiful, Helena, and I am stronger than all the Robots. + +Helena. Am I beautiful? Of what use is it to be beautiful? Look, your head is different from mine. So are your shoulders—and your lips. Oh, your hair is mussed. I will smooth it. (Keeps her hand on his head) No one else feels to my touch as you do. + +Primus. (Embarrassing her) Do you not sometimes feel your heart beating suddenly, Helena, and think how something must happen? + +Helena. What could happen to us, Primus? Look at yourself. (Laughs.) + +Alquist. (Awakes) Laughter? Laughter, human beings. (Getting up) Who has returned? Who are you? + +Primus. The Robot Primus. + +Alquist. (To Helena) What? A Robot? Who are you? + +Helena. The Robotess Helena. (Shies away L.) + +Alquist. What? You are timid, shy? (Starts to touch her) Let me see you, Robotess. + +Primus. Sir, do not frighten her. (Steps forward.) + +Alquist. What, you would protect her? Laughter—timidity—protection—I must test you further. Take the girl into the dissecting room. + +Primus. Why? + +Alquist. I wish to experiment on her. + +Primus. Upon—Helena? + +Alquist. Of course. Don’t you hear me? Or must I call someone else to take her in? + +Primus. If you do, I will kill you. (Steps toward Alquist.) + +(WARN Curtain.) + +[87] + +Alquist. Kill me—kill me, then. What will your future be? + +Primus. Sir, take me. I am made on the same day as she is. Take my life, sir. (Step to Alquist.) + +Helena. No, no, you shall not. + +Alquist. Wait, girl, wait. (To Primus) Do you not wish to live, then? + +Primus. Not without her. I will not live without her. + +Alquist. Very well, I will use you. Into the dissecting room with you. + +Helena. Primus. Primus. (She bursts into tears and moves R. Alquist stops her.) + +Alquist. Child, child, you can weep. Tears. What is Primus to you? One Primus more or less in the world—what does it matter? + +Helena. I will go myself. + +Alquist. Where? Into the dissecting room? + +Helena. (Crosses to R.) Yes. In there—to be cut. (Primus stops her from going.) Let me pass, Primus, let me pass. + +Primus. You shall not go in there, Helena. + +Helena. If you go in there and I do not, I will kill myself. + +Primus. (To Alquist) I will not let you. Man you shall kill neither of us. + +Alquist. Why? + +Primus. We—we—belong to each other. + +Alquist. Go. (Exit Primus and Helena L.) Adam—Eve. + +CURTAIN \ No newline at end of file diff --git a/scripts/[public domain] The Birds.txt b/scripts/[public domain] The Birds.txt new file mode 100644 index 0000000000000000000000000000000000000000..f17fe4efe5f453b69f79cb7b3c345c8161ef8ec5 --- /dev/null +++ b/scripts/[public domain] The Birds.txt @@ -0,0 +1,1915 @@ +THE BIRDS +By Aristophanes + +DRAMATIS PERSONAE + + EUELPIDES + PISTHETAERUS + EPOPS (the Hoopoe) + TROCHILUS, Servant to Epops + PHOENICOPTERUS + HERALDS + A PRIEST + A POET + A PROPHET + METON, a Geometrician + A COMMISSIONER + A DEALER IN DECREES + IRIS + A PARRICIDE + CINESIAS, a Dithyrambic Bard + AN INFORMER + PROMETHEUS + POSIDON + TRIBALLUS + HERACLES + SLAVES OF PISTHETAERUS + MESSENGERS + CHORUS OF BIRDS +SCENE: A wild, desolate tract of open country; broken rocks and brushwood occupy the centre of the stage. + +EUELPIDES (TO HIS JAY)(1) Do you think I should walk straight for yon tree? + +f(1) Euelpides is holding a jay and Pisthetaerus a crow; they are the guides who are to lead them to the kingdom of the birds. + +PISTHETAERUS (TO HIS CROW) Cursed beast, what are you croaking to me?... to retrace my steps? + +EUELPIDES Why, you wretch, we are wandering at random, we are exerting ourselves only to return to the same spot; 'tis labour lost. + +PISTHETAERUS To think that I should trust to this crow, which has made me cover more than a thousand furlongs! + +EUELPIDES And that I to this jay, which has torn every nail from my fingers! + +PISTHETAERUS If only I knew where we were.... + +EUELPIDES Could you find your country again from here? + +PISTHETAERUS No, I feel quite sure I could not, any more than could Execestides(1) find his. + +f(1) A stranger who wanted to pass as an Athenian, although coming originally for a far-away barbarian country. + +EUELPIDES Oh dear! oh dear! + +PISTHETAERUS Aye, aye, my friend, 'tis indeed the road of "oh dears" we are following. + +EUELPIDES That Philocrates, the bird-seller, played us a scurvy trick, when he pretended these two guides could help us to find Tereus,(1) the Epops, who is a bird, without being born of one. He has indeed sold us this jay, a true son of Tharelides,(2) for an obolus, and this crow for three, but what can they do? Why, nothing whatever but bite and scratch!—What's the matter with you then, that you keep opening your beak? Do you want us to fling ourselves headlong down these rocks? There is no road that way. + +f(1) A king of Thrace, a son of Ares, who married Procne, the daughter of Pandion, King of Athens, whom he had assisted against the Megarians. He violated his sister-in-law, Philomela, and then cut out her tongue; she nevertheless managed to convey to her sister how she had been treated. They both agreed to kill Itys, whom Procne had borne to Tereus, and dished up the limbs of his own son to the father; at the end of the meal Philomela appeared and threw the child's head upon the table. Tereus rushed with drawn sword upon the princesses, but all the actors in this terrible scene were metamorph(o)sed. Tereus became an Epops (hoopoe), Procne a swallow, Philomela a nightingale, and Itys a goldfinch. According to Anacreon and Apollodorus it was Procne who became the nightingale and Philomela the swallow, and this is the version of the tradition followed by Aristophanes. + +f(2) An Athenian who had some resemblance to a jay—so says the scholiast, at any rate. + +PISTHETAERUS Not even the vestige of a track in any direction. + +EUELPIDES And what does the crow say about the road to follow? + +PISTHETAERUS By Zeus, it no longer croaks the same thing it did. + +EUELPIDES And which way does it tell us to go now? + +PISTHETAERUS It says that, by dint of gnawing, it will devour my fingers. + +EUELPIDES What misfortune is ours! we strain every nerve to get to the birds,(1) do everything we can to that end, and we cannot find our way! Yes, spectators, our madness is quite different from that of Sacas. He is not a citizen, and would fain be one at any cost; we, on the contrary, born of an honourable tribe and family and living in the midst of our fellow-citizens, we have fled from our country as hard as ever we could go. 'Tis not that we hate it; we recognize it to be great and rich, likewise that everyone has the right to ruin himself; but the crickets only chirrup among the fig-trees for a month or two, whereas the Athenians spend their whole lives in chanting forth judgments from their law-courts.(2) That is why we started off with a basket, a stew-pot and some myrtle boughs(3) and have come to seek a quiet country in which to settle. We are going to Tereus, the Epops, to learn from him, whether, in his aerial flights, he has noticed some town of this kind. + +f(1) Literally, 'to go to the crows,' a proverbial expression equivalent to our 'going to the devil.' + +f(2) They leave Athens because of their hatred of lawsuits and informers; this is the especial failing of the Athenians satirized in 'The Wasps.' + +f(3) Myrtle boughs were used in sacrifices, and the founding of every colony was started by a sacrifice. + +PISTHETAERUS Here! look! + +EUELPIDES What's the matter? + +PISTHETAERUS Why, the crow has been pointing me to something up there for some time now. + +EUELPIDES And the jay is also opening its beak and craning its neck to show me I know not what. Clearly, there are some birds about here. We shall soon know, if we kick up a noise to start them. + +PISTHETAERUS Do you know what to do? Knock your leg against this rock. + +EUELPIDES And you your head to double the noise. + +PISTHETAERUS Well then use a stone instead; take one and hammer with it. + +EUELPIDES Good idea! Ho there, within! Slave! slave! + +PISTHETAERUS What's that, friend! You say, "slave," to summon Epops! It would be much better to shout, "Epops, Epops!" + +EUELPIDES Well then, Epops! Must I knock again? Epops! + +TROCHILUS Who's there? Who calls my master? + +PISTHETAERUS Apollo the Deliverer! what an enormous beak!(1) + +f(1) The actors wore masks made to resemble the birds they were supposed to represent. + +TROCHILUS Good god! they are bird-catchers. + +EUELPIDES The mere sight of him petrifies me with terror. What a horrible monster. + +TROCHILUS Woe to you! + +EUELPIDES But we are not men. + +TROCHILUS What are you, then? + +EUELPIDES I am the Fearling, an African bird. + +TROCHILUS You talk nonsense. + +EUELPIDES Well, then, just ask it of my feet.(1) + +f(1) Fear had had disastrous effects upon Euelpides' internal economy, and this his feet evidenced. + +TROCHILUS And this other one, what bird is it? + +PISTHETAERUS I? I am a Cackling,(1) from the land of the pheasants. + +f(1) The same mishap had occurred to Pisthetaerus. + +EUELPIDES But you yourself, in the name of the gods! what animal are you? + +TROCHILUS Why, I am a slave-bird. + +EUELPIDES Why, have you been conquered by a cock? + +TROCHILUS No, but when my master was turned into a peewit, he begged me to become a bird too, to follow and to serve him. + +EUELPIDES Does a bird need a servant, then? + +TROCHILUS 'Tis no doubt because he was a man. At times he wants to eat a dish of loach from Phalerum; I seize my dish and fly to fetch him some. Again he wants some pea-soup; I seize a ladle and a pot and run to get it. + +EUELPIDES This is, then, truly a running-bird.(1) Come, Trochilus, do us the kindness to call your master. + +f(1) The Greek word for a wren is derived from the same root as 'to run.' + +TROCHILUS Why, he has just fallen asleep after a feed of myrtle-berries and a few grubs. + +EUELPIDES Never mind; wake him up. + +TROCHILUS I an certain he will be angry. However, I will wake him to please you. + +PISTHETAERUS You cursed brute! why, I am almost dead with terror! + +EUELPIDES Oh! my god! 'twas sheer fear that made me lose my jay. + +PISTHETAERUS Ah! you great coward! were you so frightened that you let go your jay? + +EUELPIDES And did you not lose your crow, when you fell sprawling on the ground? Pray tell me that. + +PISTHETAERUS No, no. + +EUELPIDES Where is it, then? + +PISTHETAERUS It has flown away. + +EUELPIDES Then you did not let it go? Oh! you brave fellow! + +EPOPS Open the forest,(1) that I may go out! + +f(1) No doubt there was some scenery to represent a forest. Besides, there is a pun intended. The words answering for 'forests' and 'door' in Greek only differ slightly in sound. + +EUELPIDES By Heracles! what a creature! what plumage! What means this triple crest? + +EPOPS Who wants me? + +EUELPIDES The twelve great gods have used you ill, meseems. + +EPOPS Are you chaffing me about my feathers? I have been a man, strangers. + +EUELPIDES 'Tis not you we are jeering at. + +EPOPS At what, then? + +EUELPIDES Why, 'tis your beak that looks so odd to us. + +EPOPS This is how Sophocles outrages me in his tragedies. Know, I once was Tereus.(1) + +f(1) Sophocles had written a tragedy about Tereus, in which, no doubt, the king finally appears as a hoopoe. + +EUELPIDES You were Tereus, and what are you now? a bird or a peacock?(1) + +f(1) (O)ne would expect the question to be "bird or man."—Are you a peacock? The hoopoe resembles the peacock inasmuch as both have crests. + +EPOPS I am a bird. + +EUELPIDES Then where are your feathers? For I don't see them. + +EPOPS They have fallen off. + +EUELPIDES Through illness? + +EPOPS No. All birds moult their feathers, you know, every winter, and others grow in their place. But tell me, who are you? + +EUELPIDES We? We are mortals. + +EPOPS From what country? + +EUELPIDES From the land of the beautiful galleys.(1) + +f(1) Athens. + +EPOPS Are you dicasts?(1) + +f(1) The Athenians were madly addicted to lawsuits. (See 'The Wasps.') + +EUELPIDES No, if anything, we are anti-dicasts. + +EPOPS Is that kind of seed sown among you?(1) + +f(1) As much as to say, 'Then you have such things as anti-dicasts?' And Euelpides practically replaces, 'Very few.' + +EUELPIDES You have to look hard to find even a little in our fields. + +EPOPS What brings you here? + +EUELPIDES We wish to pay you a visit. + +EPOPS What for? + +EUELPIDES Because you formerly were a man, like we are, formerly you had debts, as we have, formerly you did not want to pay them, like ourselves; furthermore, being turned into a bird, you have when flying seen all lands and seas. Thus you have all human knowledge as well as that of birds. And hence we have come to you to beg you to direct us to some cosy town, in which one can repose as if on thick coverlets. + +EPOPS And are you looking for a greater city than Athens? + +EUELPIDES No, not a greater, but one more pleasant to dwell in. + +EPOPS Then you are looking for an aristocratic country. + +EUELPIDES I? Not at all! I hold the son of Scellias in horror.(1) + +f(1) His name was Aristocrates; he was a general and commanded a fleet sent in aid of Corcyra. + +EPOPS But, after all, what sort of city would please you best? + +EUELPIDES A place where the following would be the most important business transacted.—Some friend would come knocking at the door quite early in the morning saying, "By Olympian Zeus, be at my house early, as soon as you have bathed, and bring your children too. I am giving a nuptial feast, so don't fail, or else don't cross my threshold when I am in distress." + +EPOPS Ah! that's what may be called being fond of hardships! And what say you? + +PISTHETAERUS My tastes are similar. + +EPOPS And they are? + +PISTHETAERUS I want a town where the father of a handsome lad will stop in the street and say to me reproachfully as if I had failed him, "Ah! Is this well done, Stilbonides! You met my son coming from the bath after the gymnasium and you neither spoke to him, nor embraced him, nor took him with you, nor ever once twitched his parts. Would anyone call you an old friend of mine?" + +EPOPS Ah! wag, I see you are fond of suffering. But there is a city of delights, such as you want. 'Tis on the Red Sea. + +EUELPIDES Oh, no. Not a sea-port, where some fine morning the Salaminian(1) galley can appear, bringing a writ-server along. Have you no Greek town you can propose to us? + +f(1) The State galley, which carried the officials of the Athenian republic to their several departments and brought back those whose time had expired; it was this galley that was sent to Sicily to fetch back Alcibiades, who was accused of sacrilege. + +EPOPS Why not choose Lepreum in Elis for your settlement? + +EUELPIDES By Zeus! I could not look at Lepreum without disgust, because of Melanthius.(1) + +f(1) A tragic poet, who was a leper; there is a play, of course, on the word Lepreum. + +EPOPS Then, again, there is the Opuntian, where you could live. + +EUELPIDES I would not be Opuntian(1) for a talent. But come, what is it like to live with the birds? You should know pretty well. + +f(1) An allusion to Opuntius, who was one-eyed. + +EPOPS Why, 'tis not a disagreeable life. In the first place, one has no purse. + +EUELPIDES That does away with much roguery. + +EPOPS For food the gardens yield us white sesame, myrtle-berries, poppies and mint. + +EUELPIDES Why, 'tis the life of the newly-wed indeed.(1) + +f(1) The newly-married ate a sesame-cake, decorated with garlands of myrtle, poppies and mint. + +PISTHETAERUS Ha! I am beginning to see a great plan, which will transfer the supreme power to the birds, if you will but take my advice. + +EPOPS Take your advice? In what way? + +PISTHETAERUS In what way? Well, firstly, do not fly in all directions with open beak; it is not dignified. Among us, when we see a thoughtless man, we ask, "What sort of bird is this?" and Teleas answers, "'Tis a man who has no brain, a bird that has lost his head, a creature you cannot catch, for it never remains in any one place." + +EPOPS By Zeus himself! your jest hits the mark. What then is to be done? + +PISTHETAERUS Found a city. + +EPOPS We birds? But what sort of city should we build? + +PISTHETAERUS Oh, really, really! 'tis spoken like a fool! Look down. + +EPOPS I am looking. + +PISTHETAERUS Now look upwards. + +EPOPS I am looking. + +PISTHETAERUS Turn your head round. + +EPOPS Ah! 'twill be pleasant for me, if I end in twisting my neck! + +PISTHETAERUS What have you seen? + +EPOPS The clouds and the sky. + +PISTHETAERUS Very well! is not this the pole of the birds then? + +EPOPS How their pole? + +PISTHETAERUS Or, if you like it, the land. And since it turns and passes through the whole universe, it is called, 'pole.'(1) If you build and fortify it, you will turn your pole into a fortified city.(2) In this way you will reign over mankind as you do over the grasshoppers and cause the gods to die of rabid hunger. + +f(1) From (the word meaning) 'to turn.' + +f(2) The Greek words for 'pole' and 'city' only differ by a single letter. + +EPOPS How so? + +PISTHETAERUS The air is 'twixt earth and heaven. When we want to go to Delphi, we ask the Boeotians(1) for leave of passage; in the same way, when men sacrifice to the gods, unless the latter pay you tribute, you exercise the right of every nation towards strangers and don't allow the smoke of the sacrifices to pass through your city and territory. + +f(1) Boeotia separated Attica from Phocis. + +EPOPS By earth! by snares! by network!(1) I never heard of anything more cleverly conceived; and, if the other birds approve, I am going to build the city along with you. + +f(1) He swears by the powers that are to him dreadful. + +PISTHETAERUS Who will explain the matter to them? + +EPOPS You must yourself. Before I came they were quite ignorant, but since I have lived with them I have taught them to speak. + +PISTHETAERUS But how can they be gathered together? + +EPOPS Easily. I will hasten down to the coppice to waken my dear Procne!(1) as soon as they hear our voices, they will come to us hot wing. + +f(1) As already stated, according to the legend accepted by Aristophanes, it was Procne who was turned into the nightengale. + +PISTHETAERUS My dear bird, lose no time, I beg. Fly at once into the coppice and awaken Procne. + +EPOPS Chase off drowsy sleep, dear companion. Let the sacred hymn gush from thy divine throat in melodious strains; roll forth in soft cadence your refreshing melodies to bewail the fate of Itys,(1) which has been the cause of so many tears to us both. Your pure notes rise through the thick leaves of the yew-tree right up to the throne of Zeus, where Phoebus listens to you, Phoebus with his golden hair. And his ivory lyre responds to your plaintive accents; he gathers the choir of the gods and from their immortal lips rushes a sacred chant of blessed voices. (THE FLUTE IS PLAYED BEHIND THE SCENE.) + +f(1) The son of Tereus and Procne. + +PISTHETAERUS Oh! by Zeus! what a throat that little bird possesses. He has filled the whole coppice with honey-sweet melody! + +EUELPIDES Hush! + +PISTHETAERUS What's the matter? + +EUELPIDES Will you keep silence? + +PISTHETAERUS What for? + +EUELPIDES Epops is going to sing again. + +EPOPS (IN THE COPPICE) Epopoi poi popoi, epopoi, popoi, here, here, quick, quick, quick, my comrades in the air; all you who pillage the fertile lands of the husbandmen, the numberless tribes who gather and devour the barley seeds, the swift flying race who sing so sweetly. And you whose gentle twitter resounds through the fields with the little cry of tio, tio, tio, tio, tio, tio, tio, tio; and you who hop about the branches of the ivy in the gardens; the mountain birds, who feed on the wild olive berries or the arbutus, hurry to come at my call, trioto, trioto, totobrix; you also, who snap up the sharp-stinging gnats in the marshy vales, and you who dwell in the fine plain of Marathon, all damp with dew, and you, the francolin with speckled wings; you too, the halcyons, who flit over the swelling waves of the sea, come hither to hear the tidings; let all the tribes of long-necked birds assemble here; know that a clever old man has come to us, bringing an entirely new idea and proposing great reforms. Let all come to the debate here, here, here, here. Torotorotorotorotix, kikkobau, kikkobau, torotorotorotorolililix. + +PISTHETAERUS Can you see any bird? + +EUELPIDES By Phoebus, no! and yet I am straining my eyesight to scan the sky. + +PISTHETAERUS 'Twas really not worth Epops' while to go and bury himself in the thicket like a plover when a-hatching. + +PHOENICOPTERUS Torotina, torotina. + +PISTHETAERUS Hold, friend, here is another bird. + +EUELPIDES I' faith, yes, 'tis a bird, but of what kind? Isn't it a peacock? + +PISTHETAERUS Epops will tell us. What is this bird? + +EPOPS 'Tis not one of those you are used to seeing; 'tis a bird from the marshes. + +PISTHETAERUS Oh! oh! but he is very handsome with his wings as crimson as flame. + +EPOPS Undoubtedly; indeed he is called flamingo.(1) + +f(1) An African bird, that comes to the southern countries of Europe, to Greece, Italy, and Spain; it is even seen in Provence. + +EUELPIDES Hi! I say! You! + +PISTHETAERUS What are you shouting for? + +EUELPIDES Why, here's another bird. + +PISTHETAERUS Aye, indeed; 'tis a foreign bird too. What is this bird from beyond the mountains with a look as solemn as it is stupid? + +EPOPS He is called the Mede.(1) + +f(1) Aristophanes amusingly mixes up real birds with people and individuals, whom he represents in the form of birds; he is personifying the Medians here. + +PISTHETAERUS The Mede! But, by Heracles, how, if a Mede, has he flown here without a camel? + +EUELPIDES Here's another bird with a crest. + +PISTHETAERUS Ah! that's curious. I say, Epops, you are not the only one of your kind then? + +EPOPS This bird is the son of Philocles, who is the son of Epops;(1) so that, you see, I am his grandfather; just as one might say, Hipponicus,(2) the son of Callias, who is the son of Hipponicus. + +f(1) Philocles, a tragic poet, had written a tragedy on Tereus, which was simply a plagiarism of the play of the same name by Sophocles. Philocles is the son of Epops, because he got his inspiration from Sophocles' Tereus, and at the same time is father to Epops, since he himself produced another Tereus. + +f(2) This Hipponicus is probably the orator whose ears Alcibiades boxed to gain a bet; he was a descendant of Callias, who was famous for his hatred of Pisistratus. + +PISTHETAERUS Then this bird is Callias! Why, what a lot of his feathers he has lost!(1) + +f(1) This Callias, who must not be confounded with the foe of Pisistratus, had ruined himself. + +EPOPS That's because he is honest; so the informers set upon him and the women too pluck out his feathers. + +PISTHETAERUS By Posidon, do you see that many-coloured bird? What is his name? + +EPOPS This one? 'Tis the glutton. + +PISTHETAERUS Is there another glutton besides Cleonymus? But why, if he is Cleonymus, has he not thrown away his crest?(1) But what is the meaning of all these crests? Have these birds come to contend for the double stadium prize?(2) + +f(1) Cleonymus had cast away his shield; he was as great a glutton as he was a coward. + +f(2) A race in which the track had to be circled twice. + +EPOPS They are like the Carians, who cling to the crests of their mountains for greater safety.(1) + +f(1) A people of Asia Minor; when pursued by the Ionians they took refuge in the mountains. + +PISTHETAERUS Oh, Posidon! do you see what swarms of birds are gathering here? + +EUELPIDES By Phoebus! what a cloud! The entrance to the stage is no longer visible, so closely do they fly together. + +PISTHETAERUS Here is the partridge. + +EUELPIDES Faith! there is the francolin. + +PISTHETAERUS There is the poachard. + +EUELPIDES Here is the kingfisher. And over yonder? + +EPOPS 'Tis the barber. + +EUELPIDES What? a bird a barber? + +PISTHETAERUS Why, Sporgilus is one.(1) Here comes the owl. + +f(1) An Athenian barber. + +EUELPIDES And who is it brings an owl to Athens?(1) + +f(1) The owl was dedicated to Athene, and being respected at Athens, it had greatly multiplied. Hence the proverb, 'taking owls to Athens,' similar to our English 'taking coals to Newcastle.' + +PISTHETAERUS Here is the magpie, the turtle-dove, the swallow, the horned owl, the buzzard, the pigeon, the falcon, the ring-dove, the cuckoo, the red-foot, the red-cap, the purple-cap, the kestrel, the diver, the ousel, the osprey, the woodpecker. + +EUELPIDES Oh! oh! what a lot of birds! what a quantity of blackbirds! how they scold, how they come rushing up! What a noise! what a noise! Can they be bearing us ill-will? Oh! there! there! they are opening their beaks and staring at us. + +PISTHETAERUS Why, so they are. + +CHORUS Popopopopopopopoi. Where is he who called me? Where am I to find him? + +EPOPS I have been waiting for you this long while! I never fail in my word to my friends. + +CHORUS Titititititititi. What good thing have you to tell me? + +EPOPS Something that concerns our common safety, and that is just as pleasant as it is to the purpose. Two men, who are subtle reasoners, have come here to seek me. + +CHORUS Where? What? What are you saying? + +EPOPS I say, two old men have come from the abode of men to propose a vast and splendid scheme to us. + +CHORUS Oh! 'tis a horrible, unheard-of crime! What are you saying? + +EPOPS Nay! never let my words scare you. + +CHORUS What have you done then? + +EPOPS I have welcomed two men, who wish to live with us. + +CHORUS And you have dared to do that! + +EPOPS Aye, and am delighted at having done so. + +CHORUS Where are they? + +EPOPS In your midst, as I am. + +CHORUS Ah! ah! we are betrayed; 'tis sacrilege! Our friend, he who picked up corn-seeds in the same plains as ourselves, has violated our ancient laws; he has broken the oaths that bind all birds; he has laid a snare for me, he has handed us over to the attacks of that impious race which, throughout all time, has never ceased to war against us. As for this traitorous bird, we will decide his case later, but the two old men shall be punished forthwith; we are going to tear them to pieces. + +PISTHETAERUS 'Tis all over with us. + +EUELPIDES You are the sole cause of all our trouble. Why did you bring me from down yonder? + +PISTHETAERUS To have you with me. + +EUELPIDES Say rather to have me melt into tears. + +PISTHETAERUS Go to! you are talking nonsense. + +EUELPIDES How so? + +PISTHETAERUS How will you be able to cry when once your eyes are pecked out? + +CHORUS Io! io! forward to the attack, throw yourselves upon the foe, spill his blood; take to your wings and surround them on all sides. Woe to them! let us get to work with our beaks, let us devour them. Nothing can save them from our wrath, neither the mountain forests, nor the clouds that float in the sky, nor the foaming deep. Come, peck, tear to ribbons. Where is the chief of the cohort? Let him engage the right wing. + +EUELPIDES This is the fatal moment. Where shall I fly to, unfortunate wretch that I am? + +PISTHETAERUS Stay! stop here! + +EUELPIDES That they may tear me to pieces? + +PISTHETAERUS And how do you think to escape them? + +EUELPIDES I don't know at all. + +PISTHETAERUS Come, I will tell you. We must stop and fight them. Let us arm ourselves with these stew-pots. + +EUELPIDES Why with the stew-pots? + +PISTHETAERUS The owl will not attack us.(1) + +f(1) An allusion to the Feast of Pots; it was kept at Athens on the third day of the Anthesteria, when all sorts of vegetables were stewed together and offered for the dead to Bacchus and Athene. This Feast was peculiar to Athens.—Hence Pisthetaerus thinks that the owl will recognize they are Athenians by seeing the stew-pots, and as he is an Athenian bird, he will not attack them. + +EUELPIDES But do you see all those hooked claws? + +PISTHETAERUS Seize the spit and pierce the foe on your side. + +EUELPIDES And how about my eyes? + +PISTHETAERUS Protect them with this dish or this vinegar-pot. + +EUELPIDES Oh! what cleverness! what inventive genius! You are a great general, even greater than Nicias,(1) where stratagem is concerned. + +f(1) Nicias, the famous Athenian general.—The siege of Melos in 417 B.C., or two years previous to the production of 'The Birds,' had especially done him great credit. He was joint commander of the Sicilian expedition. + +CHORUS Forward, forward, charge with your beaks! Come, no delay. Tear, pluck, strike, flay them, and first of all smash the stew-pot. + +EPOPS Oh, most cruel of all animals, why tear these two men to pieces, why kill them? What have they done to you? They belong to the same tribe, to the same family as my wife.(1) + +f(1) Procne, the daughter of Pandion, King of Athens. + +CHORUS Are wolves to be spared? Are they not our most mortal foes? So let us punish them. + +EPOPS If they are your foes by nature, they are your friends in heart, and they come here to give you useful advice. + +CHORUS Advice or a useful word from their lips, from them, the enemies of my forebears! + +EPOPS The wise can often profit by the lessons of a foe, for caution is the mother of safety. 'Tis just such a thing as one will not learn from a friend and which an enemy compels you to know. To begin with, 'tis the foe and not the friend that taught cities to build high walls, to equip long vessels of war; and 'tis this knowledge that protects our children, our slaves and our wealth. + +CHORUS Well then, I agree, let us first hear them, for 'tis best; one can even learn something in an enemy's school. + +PISTHETAERUS Their wrath seems to cool. Draw back a little. + +EPOPS 'Tis only justice, and you will thank me later. + +CHORUS Never have we opposed your advice up to now. + +PISTHETAERUS They are in a more peaceful mood; put down your stew-pot and your two dishes; spit in hand, doing duty for a spear, let us mount guard inside the camp close to the pot and watch in our arsenal closely; for we must not fly. + +EUELPIDES You are right. But where shall we be buried, if we die? + +PISTHETAERUS In the Ceramicus;(1) for, to get a public funeral, we shall tell the Strategi that we fell at Orneae,(2) fighting the country's foes. + +f(1) A space beyond the walls of Athens which contained the gardens of the Academy and the graves of citizens who had died for their country. + +f(2) A town in Western Argolis, where the Athenians had been recently defeated. The somewhat similar work in Greek signifies 'birds.' + +CHORUS Return to your ranks and lay down your courage beside your wrath as the Hoplites do. Then let us ask these men who they are, whence they come, and with what intent. Here, Epops, answer me. + +EPOPS Are you calling me? What do you want of me? + +CHORUS Who are they? From what country? + +EPOPS Strangers, who have come from Greece, the land of the wise. + +CHORUS And what fate has led them hither to the land of the birds? + +EPOPS Their love for you and their wish to share your kind of life; to dwell and remain with you always. + +CHORUS Indeed, and what are their plans? + +EPOPS They are wonderful, incredible, unheard of. + +CHORUS Why, do they think to see some advantage that determines them to settle here? Are they hoping with our help to triumph over their foes or to be useful to their friends? + +EPOPS They speak of benefits so great it is impossible either to describe or conceive them; all shall be yours, all that we see here, there, above and below us; this they vouch for. + +CHORUS Are they mad? + +EPOPS They are the sanest people in the world. + +CHORUS Clever men? + +EPOPS The slyest of foxes, cleverness its very self, men of the world, cunning, the cream of knowing folk. + +CHORUS Tell them to speak and speak quickly; why, as I listen to you, I am beside myself with delight. + +EPOPS Here, you there, take all these weapons and hang them up inside close to the fire, near the figure of the god who presides there and under his protection;(1) as for you, address the birds, tell them why I have gathered them together. + +f(1) Epops is addressing the two slaves, no doubt Xanthias and Manes, who are mentioned later on. + +PISTHETAERUS Not I, by Apollo, unless they agree with me as the little ape of an armourer agreed with his wife, not to bite me, nor pull me by the parts, nor shove things up my... + +CHORUS You mean the...(PUTS FINGER TO BOTTOM) Oh! be quite at ease. + +PISTHETAERUS No, I mean my eyes. + +CHORUS Agreed. + +PISTHETAERUS Swear it. + +CHORUS I swear it and, if I keep my promise, let judges and spectators give me the victory unanimously. + +PISTHETAERUS It is a bargain. + +CHORUS And if I break my word, may I succeed by one vote only. + +HERALD Hearken, ye people! Hoplites, pick up your weapons and return to your firesides; do not fail to read the decrees of dismissal we have posted. + +CHORUS Man is a truly cunning creature, but nevertheless explain. Perhaps you are going to show me some good way to extend my power, some way that I have not had the wit to find out and which you have discovered. Speak! 'tis to your own interest as well as to mine, for if you secure me some advantage, I will surely share it with you. But what object can have induced you to come among us? Speak boldly, for I shall not break the truce,—until you have told us all. + +PISTHETAERUS I am bursting with desire to speak; I have already mixed the dough of my address and nothing prevents me from kneading it.... Slave! bring the chaplet and water, which you must pour over my hands. Be quick!(1) + +f(1) It was customary, when speaking in public and also at feasts, to wear a chaplet; hence the question Euelpides puts.—The guests wore chaplets of flowers, herbs, and leaves, which had the property of being refreshing. + +EUELPIDES Is it a question of feasting? What does it all mean? + +PISTHETAERUS By Zeus, no! but I am hunting for fine, tasty words to break down the hardness of their hearts.—I grieve so much for you, who at one time were kings... + +CHORUS We kings! Over whom? + +PISTHETAERUS ...of all that exists, firstly of me and of this man, even of Zeus himself. Your race is older than Saturn, the Titans and the Earth. + +CHORUS What, older than the Earth! + +PISTHETAERUS By Phoebus, yes. + +CHORUS By Zeus, but I never knew that before! + +PISTHETAERUS 'Tis because you are ignorant and heedless, and have never read your Aesop. 'Tis he who tells us that the lark was born before all other creatures, indeed before the Earth; his father died of sickness, but the Earth did not exist then; he remained unburied for five days, when the bird in its dilemma decided, for want of a better place, to entomb its father in its own head. + +EUELPIDES So that the lark's father is buried at Cephalae.(1) + +f(1) A deme of Attica. In Greek the word also means 'heads,' and hence the pun. + +EPOPS Hence, if we existed before the Earth, before the gods, the kingship belongs to us by right of priority. + +EUELPIDES Undoubtedly, but sharpen your beak well; Zeus won't be in a hurry to hand over his sceptre to the woodpecker. + +PISTHETAERUS It was not the gods, but the birds, who were formerly the masters and kings over men; of this I have a thousand proofs. First of all, I will point you to the cock, who governed the Persians before all other monarchs, before Darius and Megabyzus.(1) 'Tis in memory of his reign that he is called the Persian bird. + +f(1) One of Darius' best generals. After his expedition against the Scythians, this prince gave him the command of the army which he left in Europe. Megabyzus took Perinthos (afterwards called Heraclea) and conquered Thrace. + +EUELPIDES For this reason also, even to-day, he alone of all the birds wears his tiara straight on his head, like the Great King.(1) + +f(1) All Persians wore the tiara, but always on one side; the Great King alone wore it straight on his head. + +PISTHETAERUS He was so strong, so great, so feared, that even now, on account of his ancient power, everyone jumps out of bed as soon as ever he crows at daybreak. Blacksmiths, potters, tanners, shoemakers, bathmen, corn-dealers, lyre-makers and armourers, all put on their shoes and go to work before it is daylight. + +EUELPIDES I can tell you something about that. 'Twas the cock's fault that I lost a splendid tunic of Phrygian wool. I was at a feast in town, given to celebrate the birth of a child; I had drunk pretty freely and had just fallen asleep, when a cock, I suppose in a greater hurry than the rest, began to crow. I thought it was dawn and set out for Alimos.(1) I had hardly got beyond the walls, when a footpad struck me in the back with his bludgeon; down I went and wanted to shout, but he had already made off with my mantle. + +f(1) Noted as the birthplace of Thucydides, a deme of Attica of the tribe of Leontis. Demosthenes tells us it was thirty-five stadia from Athens. + +PISTHETAERUS Formerly also the kite was ruler and king over the Greeks. + +EPOPS The Greeks? + +PISTHETAERUS And when he was king, 'twas he who first taught them to fall on their knees before the kites.(1) + +f(1) The appearance of the kite in Greece betokened the return of springtime; it was therefore worshipped as a symbol of that season. + +EUELPIDES By Zeus! 'tis what I did myself one day on seeing a kite; but at the moment I was on my knees, and leaning backwards(1) with mouth agape, I bolted an obolus and was forced to carry my bag home empty.(2) + +f(1) To look at the kite, who no doubt was flying high in the sky. + +f(2) As already shown, the Athenians were addicted to carrying small coins in their mouths.—This obolus was for the purpose of buying flour to fill the bag he was carrying + +PISTHETAERUS The cuckoo was king of Egypt and of the whole of Phoenicia. When he called out "cuckoo," all the Phoenicians hurried to the fields to reap their wheat and their barley.(1) + +f(1) In Phoenicia and Egypt the cuckoo makes its appearance about harvest-time. + +EUELPIDES Hence no doubt the proverb, "Cuckoo! cuckoo! go to the fields, ye circumcised."(1) + +f(1) This was an Egyptian proverb, meaning, 'When the cuckoo sings we go harvesting.' Both the Phoenicians and the Egyptians practised circumcision. + +PISTHETAERUS So powerful were the birds that the kings of Grecian cities, Agamemnon, Menelaus, for instance, carried a bird on the tip of their sceptres, who had his share of all presents.(1) + +f(1) The staff, called a sceptre, generally terminated in a piece of carved work, representing a flower, a fruit, and most often a bird. + +EUELPIDES That I didn't know and was much astonished when I saw Priam come upon the stage in the tragedies with a bird, which kept watching Lysicrates(1) to see if he got any present. + +f(1) A general accused of treachery. The bird watches Lysicrates, because, according to Pisthetaerus, he had a right to a share of the presents. + +PISTHETAERUS But the strongest proof of all is, that Zeus, who now reigns, is represented as standing with an eagle on his head as a symbol of his royalty;(1) his daughter has an owl, and Phoebus, as his servant, has a hawk. + +f(1) It is thus that Phidias represents his Olympian Zeus. + +EUELPIDES By Demeter, 'tis well spoken. But what are all these birds doing in heaven? + +PISTHETAERUS When anyone sacrifices and, according to the rite, offers the entrails to the gods, these birds take their share before Zeus. Formerly men always swore by the birds and never by the gods; even now Lampon(1) swears by the goose, when he wants to lie....Thus 'tis clear that you were great and sacred, but now you are looked upon as slaves, as fools, as Helots; stones are thrown at you as at raving madmen, even in holy places. A crowd of bird-catchers sets snares, traps, limed-twigs and nets of all sorts for you; you are caught, you are sold in heaps and the buyers finger you over to be certain you are fat. Again, if they would but serve you up simply roasted; but they rasp cheese into a mixture of oil, vinegar and laserwort, to which another sweet and greasy sauce is added, and the whole is poured scalding hot over your back, for all the world as if you were diseased meat. + +f(1) One of the diviners sent to Sybaris (in Magna Graecia, S. Italy) with the Athenian colonists, who rebuilt the town under the new name of Thurium. + +CHORUS Man, your words have made my heart bleed; I have groaned over the treachery of our fathers, who knew not how to transmit to us the high rank they held from their forefathers. But 'tis a benevolent Genius, a happy Fate, that sends you to us; you shall be our deliverer and I place the destiny of my little ones and my own in your hands with every confidence. But hasten to tell me what must be done; we should not be worthy to live, if we did not seek to regain our royalty by every possible means. + +PISTHETAERUS First I advise that the birds gather together in one city and that they build a wall of great bricks, like that at Babylon, round the plains of the air and the whole region of space that divides earth from heaven. + +EPOPS Oh, Cebriones! oh, Porphyrion!(1) what a terribly strong place! + +f(1) As if he were saying, "Oh, gods!" Like Lampon, he swears by the birds, instead of swearing by the gods.—The names of these birds are those of two of the Titans. + +PISTHETAERUS Th(en), this being well done and completed, you demand back the empire from Zeus; if he will not agree, if he refuses and does not at once confess himself beaten, you declare a sacred war against him and forbid the gods henceforward to pass through your country with lust, as hitherto, for the purpose of fondling their Alcmenas, their Alopes, or their Semeles!(1) if they try to pass through, you infibulate them with rings so that they can work no longer. You send another messenger to mankind, who will proclaim to them that the birds are kings, that for the future they must first of all sacrifice to them, and only afterwards to the gods; that it is fitting to appoint to each deity the bird that has most in common with it. For instance, are they sacrificing to Aphrodite, let them at the same time offer barley to the coot; are they immolating a sheep to Posidon, let them consecrate wheat in honour of the duck;(2) is a steer being offered to Heracles, let honey-cakes be dedicated to the gull;(3) is a goat being slain for King Zeus, there is a King-Bird, the wren,(4) to whom the sacrifice of a male gnat is due before Zeus himself even. + +f(1) Alcmena, wife of Amphitryon, King of Thebes and mother of Heracles.—Semele, the daughter of Cadmus and Hermione and mother of Bacchus; both seduced by Zeus.—Alope, daughter of Cercyon, a robber, who reigned at Eleusis and was conquered by Perseus. Alope was honoured with Posidon's caresses; by him she had a son named Hippothous, at first brought up by shepherds but who afterwards was restored to the throne of his grandfather by Theseus. + +f(2) Because water is the duck's domain, as it is that of Posidon. + +f(3) Because the gull, like Heracles, is voracious. + +f(4) The Germans still call it 'Zaunkonig' and the French 'roitelet,' both names thus containing the idea of 'king.' + +EUELPIDES This notion of an immolated gnat delights me! And now let the great Zeus thunder! + +EPOPS But how will mankind recognize us as gods and not as jays? Us, who have wings and fly? + +PISTHETAERUS You talk rubbish! Hermes is a god and has wings and flies, and so do many other gods. First of all, Victory flies with golden wings, Eros is undoubtedly winged too, and Iris is compared by Homer to a timorous dove.(1) If men in their blindness do not recognize you as gods and continue to worship the dwellers in Olympus, then a cloud of sparrows greedy for corn must descend upon their fields and eat up all their seeds; we shall see then if Demeter will mete them out any wheat. + +f(1) The scholiast draws our attention to the fact that Homer says this of Here and not of Iris (Iliad, V, 778); it is only another proof that the text of Homer has reached us in a corrupted form, or it may be that Aristophanes was liable, like other people, to occasional mistakes of quotation. + +EUELPIDES By Zeus, she'll take good care she does not, and you will see her inventing a thousand excuses. + +PISTHETAERUS The crows too will prove your divinity to them by pecking out the eyes of their flocks and of their draught-oxen; and then let Apollo cure them, since he is a physician and is paid for the purpose.(1) + +f(1) In sacrifices. + +EUELPIDES Oh! don't do that! Wait first until I have sold my two young bullocks. + +PISTHETAERUS If on the other hand they recognize that you are God, the principle of life, that you are Earth, Saturn, Posidon, they shall be loaded with benefits. + +EPOPS Name me one of these then. + +PISTHETAERUS Firstly, the locusts shall not eat up their vine-blossoms; a legion of owls and kestrels will devour them. Moreover, the gnats and the gall-bugs shall no longer ravage the figs; a flock of thrushes shall swallow the whole host down to the very last. + +EPOPS And how shall we give wealth to mankind? This is their strongest passion. + +PISTHETAERUS When they consult the omens, you will point them to the richest mines, you will reveal the paying ventures to the diviner, and not another shipwreck will happen or sailor perish. + +EPOPS No more shall perish? How is that? + +PISTHETAERUS When the auguries are examined before starting on a voyage, some bird will not fail to say, "Don't start! there will be a storm," or else, "Go! you will make a most profitable venture." + +EUELPIDES I shall buy a trading-vessel and go to sea, I will not stay with you. + +PISTHETAERUS You will discover treasures to them, which were buried in former times, for you know them. Do not all men say, "None knows where my treasure lies, unless perchance it be some bird."(1) + +f(1) An Athenian proverb. + +EUELPIDES I shall sell my boat and buy a spade to unearth the vessels. + +EPOPS And how are we to give them health, which belongs to the gods? + +PISTHETAERUS If they are happy, is not that the chief thing towards health? The miserable man is never well. + +EPOPS Old Age also dwells in Olympus. How will they get at it? Must they die in early youth? + +PISTHETAERUS Why, the birds, by Zeus, will add three hundred years to their life. + +EPOPS From whom will they take them? + +PISTHETAERUS From whom? Why, from themselves. Don't you know the cawing crow lives five times as long as a man? + +EUELPIDES Ah! ah! these are far better kings for us than Zeus! + +PISTHETAERUS Far better, are they not? And firstly, we shall not have to build them temples of hewn stone, closed with gates of gold; they will dwell amongst the bushes and in the thickets of green oak; the most venerated of birds will have no other temple than the foliage of the olive tree; we shall not go to Delphi or to Ammon to sacrifice;(1) but standing erect in the midst of arbutus and wild olives and holding forth our hands filled with wheat and barley, we shall pray them to admit us to a share of the blessings they enjoy and shall at once obtain them for a few grains of wheat. + +f(1) A celebrated temple to Zeus in an oasis of Libya. + +CHORUS Old man, whom I detested, you are now to me the dearest of all; never shall I, if I can help it, fail to follow your advice. Inspirited by your words, I threaten my rivals the gods, and I swear that if you march in alliance with me against the gods and are faithful to our just, loyal and sacred bond, we shall soon have shattered their sceptre. 'Tis our part to undertake the toil, 'tis yours to advise. + +EPOPS By Zeus! 'tis no longer the time to delay and loiter like Nicias;(1) let us act as promptly as possible.... In the first place, come, enter my nest built of brushwood and blades of straw, and tell me your names. + +f(1) Nicias was commander, along with Demosthenes, and later on Alcibiades, of the Athenian forces before Syracuse, in the ill-fated Sicilian Expedition, 415-413 B.C. He was much blamed for dilatoriness and indecision. + +PISTHETAERUS That is soon done; my name is Pisthetaerus. + +EPOPS And his? + +PISTHETAERUS Euelpides, of the deme of Thria. + +EPOPS Good! and good luck to you. + +PISTHETAERUS We accept the omen. + +EPOPS Come in here. + +PISTHETAERUS Very well, 'tis you who lead us and must introduce us. + +EPOPS Come then. + +PISTHETAERUS Oh! my god! do come back here. Hi! tell us how we are to follow you. You can fly, but we cannot. + +EPOPS Well, well. + +PISTHETAERUS Remember Aesop's fables. It is told there, that the fox fared very ill, because he had made an alliance with the eagle. + +EPOPS Be at ease. You shall eat a certain root and wings will grow on your shoulders. + +PISTHETAERUS Then let us enter. Xanthias and Manes,(1) pick up our baggage. + +f(1) Servants of Pisthetaerus and Euelpides. + +CHORUS Hi! Epops! do you hear me? + +EPOPS What's the matter? + +CHORUS Take them off to dine well and call your mate, the melodious Procne, whose songs are worthy of the Muses; she will delight our leisure moments. + +PISTHETAERUS Oh! I conjure you, accede to their wish; for this delightful bird will leave her rushes at the sound of your voice; for the sake of the gods, let her come here, so that we may contemplate the nightingale.(1) + +f(1) It has already been mentioned that, according to the legend followed by Aristophanes, Procne had been changed into a nightingale and Philomela into a swallow. + +EPOPS Let it be as you desire. Come forth, Procne, show yourself to these strangers. + +PISTHETAERUS Oh! great Zeus! what a beautiful little bird! what a dainty form! what brilliant plumage!(1) + +f(1) The actor, representing Procne, was dressed out as a courtesan, but wore a mask of a bird. + +EUELPIDES Do you know how dearly I should like to splint her legs for her? + +PISTHETAERUS She is dazzling all over with gold, like a young girl.(1) + +f(1) Young unmarried girls wore golden ornaments; the apparel of married women was much simpler. + +EUELPIDES Oh! how I should like to kiss her! + +PISTHETAERUS Why, wretched man, she has two little sharp points on her beak! + +EUELPIDES I would treat her like an egg, the shell of which we remove before eating it; I would take off her mask and then kiss her pretty face. + +EPOPS Let us go in. + +PISTHETAERUS Lead the way, and may success attend us. + +CHORUS Lovable golden bird, whom I cherish above all others, you, whom I associate with all my songs, nightingale, you have come, you have come, to show yourself to me and to charm me with your notes. Come, you, who play spring melodies upon the harmonious flute,(1) lead off our anapaests.(2) + +Weak mortals, chained to the earth, creatures of clay as frail as the foliage of the woods, you unfortunate race, whose life is but darkness, as unreal as a shadow, the illusion of a dream, hearken to us, who are immortal beings, ethereal, ever young and occupied with eternal thoughts, for we shall teach you about all celestial matters; you shall know thoroughly what is the nature of the birds, what the origin of the gods, of the rivers, of Erebus, and Chaos; thanks to us, even Prodicus(3) will envy you your knowledge. + +At the beginning there was only Chaos, Night, dark Erebus, and deep Tartarus. Earth, the air and heaven had no existence. Firstly, black-winged Night laid a germless egg in the bosom of the infinite deeps of Erebus, and from this, after the revolution of long ages, sprang the graceful Eros with his glittering golden wings, swift as the whirlwinds of the tempest. He mated in deep Tartarus with dark Chaos, winged like himself, and thus hatched forth our race, which was the first to see the light. That of the Immortals did not exist until Eros had brought together all the ingredients of the world, and from their marriage Heaven, Ocean, Earth and the imperishable race of blessed gods sprang into being. Thus our origin is very much older than that of the dwellers in Olympus. We are the offspring of Eros; there are a thousand proofs to show it. We have wings and we lend assistance to lovers. How many handsome youths, who had sworn to remain insensible, have not been vanquished by our power and have yielded themselves to their lovers when almost at the end of their youth, being led away by the gift of a quail, a waterfowl, a goose, or a cock.(4) + +And what important services do not the birds render to mortals! First of all, they mark the seasons for them, springtime, winter, and autumn. Does the screaming crane migrate to Libya,—it warns the husbandman to sow, the pilot to take his ease beside his tiller hung up in his dwelling,(5) and Orestes(6) to weave a tunic, so that the rigorous cold may not drive him any more to strip other folk. When the kite reappears, he tells of the return of spring and of the period when the fleece of the sheep must be clipped. Is the swallow in sight? All hasten to sell their warm tunic and to buy some light clothing. We are your Ammon, Delphi, Dodona, your Phoebus Apollo.(7) Before undertaking anything, whether a business transaction, a marriage, or the purchase of food, you consult the birds by reading the omens, and you give this name of omen(8) to all signs that tell of the future. With you a word is an omen, you call a sneeze an omen, a meeting an omen, an unknown sound an omen, a slave or an ass an omen.(9) Is it not clear that we are a prophetic Apollo to you? If you recognize us as gods, we shall be your divining Muses, through us you will know the winds and the seasons, summer, winter, and the temperate months. We shall not withdraw ourselves to the highest clouds like Zeus, but shall be among you and shall give to you and to your children and the children of your children, health and wealth, long life, peace, youth, laughter, songs and feasts; in short, you will all be so well off, that you will be weary and satiated with enjoyment. + +Oh, rustic Muse of such varied note, tio, tio, tio, tiotinx, I sing with you in the groves and on the mountain tops, tio, tio, tio, tio, tiotinx.(10) I poured forth sacred strains from my golden throat in honour of the god Pan,(11) tio, tio, tio, tiotinx, from the top of the thickly leaved ash, and my voice mingles with the mighty choirs who extol Cybele on the mountain tops,(12) tototototototototinx. 'Tis to our concerts that Phrynichus comes to pillage like a bee the ambrosia of his songs, the sweetness of which so charms the ear, tio, tio, tio, tio, tinx. + +If there be one of you spectators who wishes to spend the rest of his life quietly among the birds, let him come to us. All that is disgraceful and forbidden by law on earth is on the contrary honourable among us, the birds. For instance, among you 'tis a crime to beat your father, but with us 'tis an estimable deed; it's considered fine to run straight at your father and hit him, saying, "Come, lift your spur if you want to fight."(13) The runaway slave, whom you brand, is only a spotted francolin with us.(14) Are you Phrygian like Spintharus?(15) Among us you would be the Phrygian bird, the goldfinch, of the race of Philemon.(16) Are you a slave and a Carian like Execestides? Among us you can create yourself fore-fathers;(17) you can always find relations. Does the son of Pisias want to betray the gates of the city to the foe? Let him become a partridge, the fitting offspring of his father; among us there is no shame in escaping as cleverly as a partridge. + +So the swans on the banks of the Hebrus, tio, tio, tio, tio, tiotinx, mingle their voices to serenade Apollo, tio, tio, tio, tio. tiotinx, flapping their wings the while, tio, tio, tio, tio, tiotinx; their notes reach beyond the clouds of heaven; all the dwellers in the forest stand still with astonishment and delight; a calm rests upon the waters, and the Graces and the choirs in Olympus catch up the strain, tio, tio, tio, tio, tiotinx. + +There is nothing more useful nor more pleasant than to have wings. To begin with, just let us suppose a spectator to be dying with hunger and to be weary of the choruses of the tragic poets; if he were winged, he would fly off, go home to dine and come back with his stomach filled. Some Patroclides in urgent need would not have to soil his cloak, but could fly off, satisfy his requirements, and, having recovered his breath, return. If one of you, it matters not who, had adulterous relations and saw the husband of his mistress in the seats of the senators, he might stretch his wings, fly thither, and, having appeased his craving, resume his place. Is it not the most priceless gift of all, to be winged? Look at Diitrephes!(18) His wings were only wicker-work ones, and yet he got himself chosen Phylarch and then Hipparch; from being nobody, he has risen to be famous; 'tis now the finest gilded cock of his tribe.(19) + +f(1) The actor, representing Procne, was a flute-player. + +f(2) The parabasis. + +f(3) A sophist of the island of Ceos, a disciple of Protagoras, as celebrated for his knowledge as for his eloquence. The Athenians condemned him to death as a corrupter of youth in 396 B.C. + +f(4) Lovers were wont to make each other presents of birds. The cock and the goose are mentioned, of course, in jest. + +f(5) i.e. that it gave notice of the approach of winter, during which season the Ancients did not venture to sea. + +f(6) A notorious robber. + +f(7) Meaning, "We are your oracles." —Dodona was an oracle in Epirus.—The temple of Zeus there was surrounded by a dense forest, all the trees of which were endowed with the gift of prophecy; both the sacred oaks and the pigeons that lived in them answered the questions of those who came to consult the oracle in pure Greek. + +f(8) The Greek word for 'omen' is the same as that for 'bird.' + +f(9) A satire on the passion of the Greeks for seeing an omen in everything. + +f(10) An imitation of the nightingale's song. + +f(11) God of the groves and wilds. + +f(12) The 'Mother of the Gods'; roaming the mountains, she held dances, always attended by Pan and his accompanying rout of Fauns and Satyrs. + +f(13) An allusion to cock-fighting; the birds are armed with brazen spurs. + +f(14) An allusion to the spots on this bird, which resemble the scars left by a branding iron. + +f(15) He was of Asiatic origin, but wished to pass for an Athenian. + +f(16) Or Philamnon, King of Thrace; the scholiast remarks that the Phrygians and the Thracians had a common origin. + +f(17) The Greek word here is also the name of a little bird. + +f(18) A basket-maker who had become rich.—The Phylarchs were the headmen of the tribes. They presided at the private assemblies and were charged with the management of the treasury.—The Hipparchs, as the name implies, were the leaders of the cavalry; there were only two of these in the Athenian army. + +f(19) He had become a senator. + +PISTHETAERUS Halloa! What's this? By Zeus! I never saw anything so funny in all my life.(1) + +f(1) Pisthetaerus and Euelpides now both return with wings. + +EUELPIDES What makes you laugh? + +PISTHETAERUS 'Tis your bits of wings. D'you know what you look like? Like a goose painted by some dauber-fellow. + +EUELPIDES And you look like a close-shaven blackbird. + +PISTHETAERUS 'Tis ourselves asked for this transformation, and, as Aeschylus has it, "These are no borrowed feathers, but truly our own."(1) + +f(1) Meaning, 'tis we who wanted to have these wings.—The verse from Aeschylus, quoted here, is taken from 'The Myrmidons,' a tragedy of which only a few fragments remain. + +EPOPS Come now, what must be done? + +PISTHETAERUS First give our city a great and famous name, then sacrifice to the gods. + +EUELPIDES I think so too. + +EPOPS Let's see. What shall our city be called? + +PISTHETAERUS Will you have a high-sounding Laconian name? Shall we call it Sparta? + +EUELPIDES What! call my town Sparta? Why, I would not use esparto for my bed,(1) even though I had nothing but bands of rushes. + +f(1) The Greek word signified the city of Sparta, and also a kind of broom used for weaving rough matting, which served for the beds of the very poor. + +PISTHETAERUS Well then, what name can you suggest? + +EUELPIDES Some name borrowed from the clouds, from these lofty regions in which we dwell—in short, some well-known name. + +PISTHETAERUS Do you like Nephelococcygia?(1) + +f(1) A fanciful name constructed from (the word for) a cloud, and (the word for) a cuckoo; thus a city of clouds and cuckoos.—'Wolkenkukelheim' is a clever approximation in German. Cloud-cuckoo-town, perhaps, is the best English equivalent. + +EPOPS Oh! capital! truly 'tis a brilliant thought! + +EUELPIDES Is it in Nephelococcygia that all the wealth of Theovenes(1) and most of Aeschines'(2) is? + +f(1) He was a boaster nicknamed 'smoke,' because he promised a great deal and never kept his word. + +f(2) Also mentioned in 'The Wasps.' + +PISTHETAERUS No, 'tis rather the plain of Phlegra,(1) where the gods withered the pride of the sons of the Earth with their shafts. + +f(1) Because the war of the Titans against the gods was only a fiction of the poets. + +EUELPIDES Oh! what a splendid city! But what god shall be its patron? for whom shall we weave the peplus?(1) + +f(1) A sacred cloth, with which the statue of Athene in the Acropolis was draped. + +PISTHETAERUS Why not choose Athene Polias?(1) + +f(1) Meaning, to be patron-goddess of the city. Athene had a temple of this name. + +EUELPIDES Oh! what a well-ordered town 'twould be to have a female deity armed from head to foot, while Clisthenes(1) was spinning! + +f(1) An Athenian effeminate, frequently ridiculed by Aristophanes. + +PISTHETAERUS Who then shall guard the Pelargicon?(1) + +f(1) This was the name of the wall surrounding the Acropolis. + +EPOPS One of us, a bird of Persian strain, who is everywhere proclaimed to be the bravest of all, a true chick of Ares.(1) + +f(1) i.e. the fighting cock. + +EUELPIDES Oh! noble chick! What a well-chosen god for a rocky home! + +PISTHETAERUS Come! into the air with you to help the workers who are building the wall; carry up rubble, strip yourself to mix the mortar, take up the hod, tumble down the ladder, an you like, post sentinels, keep the fire smouldering beneath the ashes, go round the walls, bell in hand,(1) and go to sleep up there yourself; then d(i)spatch two heralds, one to the gods above, the other to mankind on earth and come back here. + +f(1) To waken the sentinels, who might else have fallen asleep.—There are several merry contradictions in the various parts of this list of injunctions. + +EUELPIDES As for yourself, remain here, and may the plague take you for a troublesome fellow! + +PISTHETAERUS Go, friend, go where I send you, for without you my orders cannot be obeyed. For myself, I want to sacrifice to the new god, and I am going to summon the priest who must preside at the ceremony. Slaves! slaves! bring forward the basket and the lustral water. + +CHORUS I do as you do, and I wish as you wish, and I implore you to address powerful and solemn prayers to the gods, and in addition to immolate a sheep as a token of our gratitude. Let us sing the Pythian chant in honour of the god, and let Chaeris accompany our voices. + +PISTHETAERUS (TO THE FLUTE-PLAYER) Enough! but, by Heracles! what is this? Great gods! I have seen many prodigious things, but I never saw a muzzled raven.(1) + +f(1) In allusion to the leather strap which flute-players wore to constrict the cheeks and add to the power of the breath. The performer here no doubt wore a raven's mask. + +EPOPS Priest! 'tis high time! Sacrifice to the new gods. + +PRIEST I begin, but where is he with the basket? Pray to the Vesta of the birds, to the kite, who presides over the hearth, and to all the god and goddess-birds who dwell in Olympus. + +CHORUS Oh! Hawk, the sacred guardian of Sunium, oh, god of the storks! + +PRIEST Pray to the swan of Delos, to Latona the mother of the quails, and to Artemis, the goldfinch. + +PISTHETAERUS 'Tis no longer Artemis Colaenis, but Artemis the goldfinch.(1) + +f(1) Hellanicus, the Mitylenian historian, tells that this surname of Artemis is derived from Colaenus, King of Athens before Cecrops and a descendant of Hermes. In obedience to an oracle he erected a temple to the goddess, invoking her as Artemis Colaenis (the Artemis of Colaenus). + +PRIEST And to Bacchus, the finch and Cybele, the ostrich and mother of the gods and mankind. + +CHORUS Oh! sovereign ostrich, Cybele, The mother of Cleocritus,(1) grant health and safety to the Nephelococcygians as well as to the dwellers in Chios... + +f(1) This Cleocritus, says the scholiast, was long-necked and strutted like an ostrich. + +PISTHETAERUS The dwellers in Chios! Ah! I am delighted they should be thus mentioned on all occasions.(1) + +f(1) The Chians were the most faithful allies of Athens, and hence their name was always mentioned in prayers, decrees, etc. + +CHORUS ...to the heroes, the birds, to the sons of heroes, to the porphyrion, the pelican, the spoon-bill, the redbreast, the grouse, the peacock, the horned-owl, the teal, the bittern, the heron, the stormy petrel, the fig-pecker, the titmouse... + +PISTHETAERUS Stop! stop! you drive me crazy with your endless list. Why, wretch, to what sacred feast are you inviting the vultures and the sea-eagles? Don't you see that a single kite could easily carry off the lot at once? Begone, you and your fillets and all; I shall know how to complete the sacrifice by myself. + +PRIEST It is imperative that I sing another sacred chant for the rite of the lustral water, and that I invoke the immortals, or at least one of them, provided always that you have some suitable food to offer him; from what I see here, in the shape of gifts, there is naught whatever but horn and hair. + +PISTHETAERUS Let us address our sacrifices and our prayers to the winged gods. + +A POET Oh, Muse! celebrate happy Nephelococcygia in your hymns. + +PISTHETAERUS What have we here? Where did you come from, tell me? Who are you? + +POET I am he whose language is sweeter than honey, the zealous slave of the Muses, as Homer has it. + +PISTHETAERUS You a slave! and yet you wear your hair long? + +POET No, but the fact is all we poets are the assiduous slaves of the Muses, according to Homer. + +PISTHETAERUS In truth your little cloak is quite holy too through zeal! But, poet, what ill wind drove you here? + +POET I have composed verses in honour of your Nephelococcygia, a host of splendid dithyrambs and parthenians(1) worthy of Simonides himself. + +f(1) Verses sung by maidens. + +PISTHETAERUS And when did you compose them? How long since? + +POET Oh! 'tis long, aye, very long, that I have sung in honour of this city. + +PISTHETAERUS But I am only celebrating its foundation with this sacrifice;(1) I have only just named it, as is done with little babies. + +f(1) This ceremony took place on the tenth day after birth, and may be styled the pagan baptism. + +POET "Just as the chargers fly with the speed of the wind, so does the voice of the Muses take its flight. Oh! thou noble founder of the town of Aetna,(1) thou, whose name recalls the holy sacrifices,(2) make us such gift as thy generous heart shall suggest." + +f(1) Hiero, tyrant of Syracuse.—This passage is borrowed from Pindar. + +f(2) (Hiero) in Greek means 'sacrifice.' + +PISTHETAERUS He will drive us silly if we do not get rid of him by some present. Here! you, who have a fur as well as your tunic, take it off and give it to this clever poet. Come, take this fur; you look to me to be shivering with cold. + +POET My Muse will gladly accept this gift; but engrave these verses of Pindar's on your mind. + +PISTHETAERUS Oh! what a pest! 'Tis impossible then to be rid of him! + +POET "Straton wanders among the Scythian nomads, but has no linen garment. He is sad at only wearing an animal's pelt and no tunic." Do you conceive my bent? + +PISTHETAERUS I understand that you want me to offer you a tunic. Hi! you (TO EUELPIDES), take off yours; we must help the poet.... Come, you, take it and begone. + +POET I am going, and these are the verses that I address to this city: "Phoebus of the golden throne, celebrate this shivery, freezing city; I have travelled through fruitful and snow-covered plains. Tralala! Tralala!"(1) + +f(1) A parody of poetic pathos, not to say bathos. + +PISTHETAERUS What are you chanting us about frosts? Thanks to the tunic, you no longer fear them. Ah! by Zeus! I could not have believed this cursed fellow could so soon have learnt the way to our city. Come, priest, take the lustral water and circle the altar. + +PRIEST Let all keep silence! + +A PROPHET Let not the goat be sacrificed.(1) + +f(1) Which the priest was preparing to sacrifice. + +PISTHETAERUS Who are you? + +PROPHET Who am I? A prophet. + +PISTHETAERUS Get you gone. + +PROPHET Wretched man, insult not sacred things. For there is an oracle of Bacis, which exactly applies to Nephelococcygia. + +PISTHETAERUS Why did you not reveal it to me before I founded my city? + +PROPHET The divine spirit was against it. + +PISTHETAERUS Well, 'tis best to know the terms of the oracle. + +PROPHET "But when the wolves and the white crows shall dwell together between Corinth and Sicyon..." + +PISTHETAERUS But how do the Corinthians concern me? + +PROPHET 'Tis the regions of the air that Bacis indicated in this manner. "They must first sacrifice a white-fleeced goat to Pandora, and give the prophet, who first reveals my words, a good cloak and new sandals." + +PISTHETAERUS Are the sandals there? + +PROPHET Read. "And besides this a goblet of wine and a good share of the entrails of the victim." + +PISTHETAERUS Of the entrails—is it so written? + +PROPHET Read. "If you do as I command, divine youth, you shall be an eagle among the clouds; if not, you shall be neither turtle-dove, nor eagle, nor woodpecker." + +PISTHETAERUS Is all that there? + +PROPHET Read. + +PISTHETAERUS This oracle in no sort of way resembles the one Apollo dictated to me: "If an impostor comes without invitation to annoy you during the sacrifice and to demand a share of the victim, apply a stout stick to his ribs." + +PROPHET You are drivelling. + +PISTHETAERUS "And don't spare him, were he an eagle from out of the clouds, were it Lampon(1) himself or the great Diopithes."(2) + +f(1) Noted Athenian diviner, who, when the power was still shared between Thucydides and Pericles, predicted that it would soon be centred in the hands of the latter; his ground for this prophecy was the sight of a ram with a single horn. + +f(2) No doubt another Athenian diviner, and possibly the same person whom Aristophanes names in 'The Knights' and 'The Wasps' as being a thief. + +PROPHET Is all that there? + +PISTHETAERUS Here, read it yourself, and go and hang yourself. + +PROPHET Oh! unfortunate wretch that I am. + +PISTHETAERUS Away with you, and take your prophecies elsewhere. + +METON(1) I have come to you. + +f(1) A celebrated geometrician and astronomer. + +PISTHETAERUS Yet another pest! What have you come to do? What's your plan? What's the purpose of your journey? Why these splendid buskins? + +METON I want to survey the plains of the air for you and to parcel them into lots. + +PISTHETAERUS In the name of the gods, who are you? + +METON Who am I? Meton, known throughout Greece and at Colonus.(1) + +f(1) A deme contiguous to Athens. It is as though he said, "Well known throughout all England and at Croydon. + +PISTHETAERUS What are these things? + +METON Tools for measuring the air. In truth, the spaces in the air have precisely the form of a furnace. With this bent ruler I draw a line from top to bottom; from one of its points I describe a circle with the compass. Do you understand? + +PISTHETAERUS Not the very least. + +METON With the straight ruler I set to work to inscribe a square within this circle; in its centre will be the market-place, into which all the straight streets will lead, converging to this centre like a star, which, although only orbicular, sends forth its rays in a straight line from all sides. + +PISTHETAERUS Meton, you new Thales...(1) + +f(1) Thales was no less famous as a geometrician than he was as a sage. + +METON What d'you want with me? + +PISTHETAERUS I want to give you a proof of my friendship. Use your legs. + +METON Why, what have I to fear? + +PISTHETAERUS 'Tis the same here as in Sparta. Strangers are driven away, and blows rain down as thick as hail. + +METON Is there sedition in your city? + +PISTHETAERUS No, certainly not. + +METON What's wrong then? + +PISTHETAERUS We are agreed to sweep all quacks and impostors far from our borders. + +METON Then I'm off. + +PISTHETAERUS I fear 'tis too late. The thunder growls already. (BEATS HIM.) + +METON Oh, woe! oh, woe! + +PISTHETAERUS I warned you. Now, be off, and do your surveying somewhere else. (METON TAKES TO HIS HEELS.) + +AN INSPECTOR Where are the Proxeni?(1) + +f(1) Officers of Athens, whose duty was to protect strangers who came on political or other business, and see to their interests generally. + +PISTHETAERUS Who is this Sardanapalus?(1) + +f(1) He addresses the inspector thus because of the royal and magnificent manners he assumes. + +INSPECTOR I have been appointed by lot to come to Nephelococcygia as inspector.(1) + +f(1) Magistrates appointed to inspect the tributary towns. + +PISTHETAERUS An inspector! and who sends you here, you rascal? + +INSPECTOR A decree of T(e)leas.(1) + +f(1) A much-despised citizen, already mentioned. He ironically supposes him invested with the powers of an Archon, which ordinarily were entrusted only to men of good repute. + +PISTHETAERUS Will you just pocket your salary, do nothing, and be off? + +INSPECTOR I' faith! that I will; I am urgently needed to be at Athens to attend the assembly; for I am charged with the interests of Pharnaces.(1) + +f(1) A Persian satrap.—An allusion to certain orators, who, bribed with Asiatic gold, had often defended the interests of the foe in the Public Assembly. + +PISTHETAERUS Take it then, and be off. See, here is your salary. (BEATS HIM.) + +INSPECTOR What does this mean? + +PISTHETAERUS 'Tis the assembly where you have to defend Pharnaces. + +INSPECTOR You shall testify that they dare to strike me, the inspector. + +PISTHETAERUS Are you not going to clear out with your urns? 'Tis not to be believed; they send us inspectors before we have so much as paid sacrifice to the gods. + +A DEALER IN DECREES "If the Nephelococcygian does wrong to the Athenian..." + +PISTHETAERUS Now whatever are these cursed parchments? + +DEALER IN DECREES I am a dealer in decrees, and I have come here to sell you the new laws. + +PISTHETAERUS Which? + +DEALER IN DECREES "The Nephelococcygians shall adopt the same weights, measures and decrees as the Olophyxians."(1) + +f(1) A Macedonian people in the peninsula of Chalcidice. This name is chosen because of its similarity to the Greek word (for) 'to groan.' It is from another verb, meaning the same thing, that Pisthetaerus coins the name of Ototyxians, i.e. groaners, because he is about to beat the dealer.—The mother-country had the right to impose any law it chose upon its colonies. + +PISTHETAERUS And you shall soon be imitating the Ototyxians. (BEATS HIM.) + +DEALER IN DECREES Hullo! what are you doing? + +PISTHETAERUS Now will you be off with your decrees? For I am going to let YOU see some severe ones. + +INSPECTOR (RETURNING) I summon Pisthetaerus for outrage for the month of Munychion.(1) + +f(1) Corresponding to our month of April. + +PISTHETAERUS Ha! my friend! are you still there? + +DEALER IN DECREES "Should anyone drive away the magistrates and not receive them, according to the decree duly posted..." + +PISTHETAERUS What! rascal! you are there too? + +INSPECTOR Woe to you! I'll have you condemned to a fine of ten thousand drachmae. + +PISTHETAERUS And I'll smash your urns.(1) + +f(1) Which the inspector had brought with him for the purpose of inaugurating the assemblies of the people or some tribunal. + +INSPECTOR Do you recall that evening when you stooled against the column where the decrees are posted? + +PISTHETAERUS Here! here! let him be seized. (THE INSPECTOR RUNS OFF.) Well! don't you want to stop any longer? + +PRIEST Let us get indoors as quick as possible; we will sacrifice the goat inside.(1) + +f(1) So that the sacrifices might no longer be interrupted. + +CHORUS Henceforth it is to me that mortals must address their sacrifices and their prayers. Nothing escapes my sight nor my might. My glance embraces the universe, I preserve the fruit in the flower by destroying the thousand kinds of voracious insects the soil produces, which attack the trees and feed on the germ when it has scarcely formed in the calyx; I destroy those who ravage the balmy terrace gardens like a deadly plague; all these gnawing crawling creatures perish beneath the lash of my wing. I hear it proclaimed everywhere: "A talent for him who shall kill Diagoras of Melos,(1) and a talent for him who destroys one of the dead tyrants."(2) We likewise wish to make our proclamation: "A talent to him among you who shall kill Philocrates, the Struthian;(3) four, if he brings him to us alive. For this Philocrates skewers the finches together and sells them at the rate of an obolus for seven. He tortures the thrushes by blowing them out, so that they may look bigger, sticks their own feathers into the nostrils of blackbirds, and collects pigeons, which he shuts up and forces them, fastened in a net, to decoy others." That is what we wish to proclaim. And if anyone is keeping birds shut up in his yard, let him hasten to let them loose; those who disobey shall be seized by the birds and we shall put them in chains, so that in their turn they may decoy other men. + +Happy indeed is the race of winged birds who need no cloak in winter! Neither do I fear the relentless rays of the fiery dog-days; when the divine grasshopper, intoxicated with the sunlight, when noon is burning the ground, is breaking out into shrill melody; my home is beneath the foliage in the flowery meadows. I winter in deep caverns, where I frolic with the mountain nymphs, while in spring I despoil the gardens of the Graces and gather the white, virgin berry on the myrtle bushes. + +I want now to speak to the judges about the prize they are going to award; if they are favourable to us, we will load them with benefits far greater than those Paris(4) received. Firstly, the owls of Laurium,(5) which every judge desires above all things, shall never be wanting to you; you shall see them homing with you, building their nests in your money-bags and laying coins. Besides, you shall be housed like the gods, for we shall erect gables(6) over your dwellings; if you hold some public post and want to do a little pilfering, we will give you the sharp claws of a hawk. Are you dining in town, we will provide you with crops.(7) But, if your award is against us, don't fail to have metal covers fashioned for yourselves, like those they place over statues;(8) else, look out! for the day you wear a white tunic all the birds will soil it with their droppings. + +f(1) A disciple of Democrites; he passed over from superstition to atheism. The injustice and perversity of mankind led him to deny the existence of the gods, to lay bare the mysteries and to break the idols. The Athenians had put a price on his head, so he left Greece and perished soon afterwards in a storm at sea. + +f(2) By this jest Aristophanes means to imply that tyranny is dead, and that no one aspires to despotic power, though this silly accusation was constantly being raised by the demagogues and always favourably received by the populace. + +f(3) A poulterer.—Strouthian, used in joke to designate him, as if from the name of his 'deme,' is derived from (the Greek for) 'a sparrow.' The birds' foe is thus grotesquely furnished with an ornithological surname. + +f(4) From Aphrodite (Venus), to whom he had awarded the apple, prize of beauty, in the contest of the "goddesses three." + +f(5) Laurium was an Athenian deme at the extremity of the Attic peninsula containing valuable silver mines, the revenues of which were largely employed in the maintenance of the fleet and payment of the crews. The "owls of Laurium," of course, mean pieces of money; the Athenian coinage was stamped with a representation of an owl, the bird of Athene. + +f(6) A pun, impossible to keep in English, on the two meanings of (the Greek) word which signifies both an eagle and the gable of a house or pediment of a temple. + +f(7) That is, birds' crops, into which they could stow away plenty of good things. + +f(8) The Ancients appear to have placed metal discs over statues standing in the open air, to save them from injury from the weather, etc. + +PISTHETAERUS Birds! the sacrifice is propitious. But I see no messenger coming from the wall to tell us what is happening. Ah! here comes one running himself out of breath as though he were running the Olympic stadium. + +MESSENGER Where, where is he? Where, where, where is he? Where, where, where is he? Where is Pisthetaerus, our leader? + +PISTHETAERUS Here am I. + +MESSENGER The wall is finished. + +PISTHETAERUS That's good news. + +MESSENGER 'Tis a most beautiful, a most magnificent work of art. The wall is so broad that Proxenides, the Braggartian, and Theogenes could pass each other in their chariots, even if they were drawn by steeds as big as the Trojan horse. + +PISTHETAERUS 'Tis wonderful! + +MESSENGER Its length is one hundred stadia; I measured it myself. + +PISTHETAERUS A decent length, by Posidon! And who built such a wall? + +MESSENGER Birds—birds only; they had neither Egyptian brickmaker, nor stone-mason, nor carpenter; the birds did it all themselves; I could hardly believe my eyes. Thirty thousand cranes came from Libya with a supply of stones,(1) intended for the foundations. The water-rails chiselled them with their beaks. Ten thousand storks were busy making bricks; plovers and other water fowl carried water into the air. + +f(1) So as not to be carried away by the wind when crossing the sea, cranes are popularly supposed to ballast themselves with stones, which they carry in their beaks. + +PISTHETAERUS And who carried the mortar? + +MESSENGER Herons, in hods. + +PISTHETAERUS But how could they put the mortar into hods? + +MESSENGER Oh! 'twas a truly clever invention; the geese used their feet like spades; they buried them in the pile of mortar and then emptied them into the hods. + +PISTHETAERUS Ah! to what use cannot feet be put?(1) + +f(1) Pisthetaerus modifies the Greek proverbial saying, "To what use cannot hands be put?" + +MESSENGER You should have seen how eagerly the ducks carried bricks. To complete the tale, the swallows came flying to the work, their beaks full of mortar and their trowel on their back, just the way little children are carried. + +PISTHETAERUS Who would want paid servants after this? But tell me, who did the woodwork? + +MESSENGER Birds again, and clever carpenters too, the pelicans, for they squared up the gates with their beaks in such a fashion that one would have thought they were using axes; the noise was just like a dockyard. Now the whole wall is tight everywhere, securely bolted and well guarded; it is patrolled, bell in hand; the sentinels stand everywhere and beacons burn on the towers. But I must run off to clean myself; the rest is your business. + +CHORUS Well! what do you say to it? Are you not astonished at the wall being completed so quickly? + +PISTHETAERUS By the gods, yes, and with good reason. 'Tis really not to be believed. But here comes another messenger from the wall to bring us some further news! What a fighting look he has! + +SECOND MESSENGER Oh! oh! oh! oh! oh! oh! + +PISTHETAERUS What's the matter? + +SECOND MESSENGER A horrible outrage has occurred; a god sent by Zeus has passed through our gates and has penetrated the realms of the air without the knowledge of the jays, who are on guard in the daytime. + +PISTHETAERUS 'Tis an unworthy and criminal deed. What god was it? + +SECOND MESSENGER We don't know that. All we know is, that he has got wings. + +PISTHETAERUS Why were not guards sent against him at once? + +SECOND MESSENGER We have d(i)spatched thirty thousand hawks of the legion of Mounted Archers.(1) All the hook-clawed birds are moving against him, the kestrel, the buzzard, the vulture, the great-horned owl; they cleave the air, so that it resounds with the flapping of their wings; they are looking everywhere for the god, who cannot be far away; indeed, if I mistake not, he is coming from yonder side. + +f(1) A corps of Athenian cavalry was so named. + +PISTHETAERUS All arm themselves with slings and bows! This way, all our soldiers; shoot and strike! Some one give me a sling! + +CHORUS War, a terrible war is breaking out between us and the gods! Come, let each one guard Air, the son of Erebus,(1) in which the clouds float. Take care no immortal enters it without your knowledge. Scan all sides with your glance. Hark! methinks I can hear the rustle of the swift wings of a god from heaven. + +f(1) Chaos, Night, Tartarus, and Erebus alone existed in the beginning; Eros was born from Night and Erebus, and he wedded Chaos and begot Earth, Air, and Heaven; so runs the fable. + +PISTHETAERUS Hi! you woman! where are you flying to? Halt, don't stir! keep motionless! not a beat of your wing!—Who are you and from what country? You must say whence you come.(1) + +f(1) Iris appears from the top of the stage and arrests her flight in mid-career. + +IRIS I come from the abode of the Olympian gods. + +PISTHETAERUS What's your name, ship or cap?(1) + +f(1) Ship, because of her wings, which resemble oars; cap, because she no doubt wore the head-dress (as a messenger of the gods) with which Hermes is generally depicted. + +IRIS I am swift Iris. + +PISTHETAERUS Paralus or Salaminia?(1) + +f(1) The names of the two sacred galleys which carried Athenian officials on State business. + +IRIS What do you mean? + +PISTHETAERUS Let a buzzard rush at her and seize her.(1) + +f(1) A buzzard is named in order to raise a laugh, the Greek name also meaning, etymologically, provided with three testicles, vigorous in love. + +IRIS Seize me! But what do all these insults mean? + +PISTHETAERUS Woe to you! + +IRIS 'Tis incomprehensible. + +PISTHETAERUS By which gate did you pass through the wall, wretched woman? + +IRIS By which gate? Why, great gods, I don't know. + +PISTHETAERUS You hear how she holds us in derision. Did you present yourself to the officers in command of the jays? You don't answer. Have you a permit, bearing the seal of the storks? + +IRIS Am I awake? + +PISTHETAERUS Did you get one? + +IRIS Are you mad? + +PISTHETAERUS No head-bird gave you a safe-conduct? + +IRIS A safe-conduct to me, you poor fool! + +PISTHETAERUS Ah! and so you slipped into this city on the sly and into these realms of air-land that don't belong to you. + +IRIS And what other roads can the gods travel? + +PISTHETAERUS By Zeus! I know nothing about that, not I. But they won't pass this way. And you still dare to complain! Why, if you were treated according to your deserts, no Iris would ever have more justly suffered death. + +IRIS I am immortal. + +PISTHETAERUS You would have died nevertheless.—Oh! 'twould be truly intolerable! What! should the universe obey us and the gods alone continue their insolence and not understand that they must submit to the law of the strongest in their due turn? But tell me, where are you flying to? + +IRIS I? The messenger of Zeus to mankind, I am going to tell them to sacrifice sheep and oxen on the altars and to fill their streets with the rich smoke of burning fat. + +PISTHETAERUS Of which gods are you speaking? + +IRIS Of which? Why, of ourselves, the gods of heaven. + +PISTHETAERUS You, gods? + +IRIS Are there others then? + +PISTHETAERUS Men now adore the birds as gods, and 'tis to them, by Zeus, that they must offer sacrifices, and not to Zeus at all! + +IRIS Oh! fool! fool! Rouse not the wrath of the gods, for 'tis terrible indeed. Armed with the brand of Zeus, Justice would annihilate your race; the lightning would strike you as it did Licymnius and consume both your body and the porticos of your palace.(1) + +f(1) Iris' reply is a parody of the tragic style.—'Lycimnius' is, according to the scholiast, the title of a tragedy by Euripides, which is about a ship that is struck by lightning. + +PISTHETAERUS Here! that's enough tall talk. Just you listen and keep quiet! Do you take me for a Lydian or a Phrygian(1) and think to frighten me with your big words? Know, that if Zeus worries me again, I shall go at the head of my eagles, who are armed with lightning, and reduce his dwelling and that of Amphion to cinders.(2) I shall send more than six hundred porphyrions clothed in leopards' skins(3) up to heaven against him; and formerly a single Porphyrion gave him enough to do. As for you, his messenger, if you annoy me, I shall begin by stretching your legs asunder, and so conduct myself, Iris though you be, that despite my age, you will be astonished. I will show you something that will make you three times over. + +f(1) i.e. for a poltroon, like the slaves, most of whom came to Athens from these countries. + +f(2) A parody of a passage in the lost tragedy of 'Niobe' of Aeschylus. + +f(3) Because this bird has a spotted plumage.—Porphyrion is also the name of one of the Titans who tried to storm heave. + +IRIS May you perish, you wretch, you and your infamous words! + +PISTHETAERUS Won't you be off quickly? Come, stretch your wings or look out for squalls! + +IRIS If my father does not punish you for your insults... + +PISTHETAERUS Ha!... but just you be off elsewhere to roast younger folk than us with your lightning. + +CHORUS We forbid the gods, the sons of Zeus, to pass through our city and the mortals to send them the smoke of their sacrifices by this road. + +PISTHETAERUS 'Tis odd that the messenger we sent to the mortals has never returned. + +HERALD Oh! blessed Pisthetaerus, very wise, very illustrious, very gracious, thrice happy, very... Come, prompt me, somebody, do. + +PISTHETAERUS Get to your story! + +HERALD All peoples are filled with admiration for your wisdom, and they award you this golden crown. + +PISTHETAERUS I accept it. But tell me, why do the people admire me? + +HERALD Oh you, who have founded so illustrious a city in the air, you know not in what esteem men hold you and how many there are who burn with desire to dwell in it. Before your city was built, all men had a mania for Sparta; long hair and fasting were held in honour, men went dirty like Socrates and carried staves. Now all is changed. Firstly, as soon as 'tis dawn, they all spring out of bed together to go and seek their food, the same as you do; then they fly off towards the notices and finally devour the decrees. The bird-madness is so clear, that many actually bear the names of birds. There is a halting victualler, who styles himself the partridge; Menippus calls himself the swallow; Opuntius the one-eyed crow; Philocles the lark; Theogenes the fox-goose; Lycurgus the ibis; Chaerephon the bat; Syracosius the magpie; Midias the quail;(1) indeed he looks like a quail that has been hit hard over the head. Out of love for the birds they repeat all the songs which concern the swallow, the teal, the goose or the pigeon; in each verse you see wings, or at all events a few feathers. This is what is happening down there. Finally, there are more than ten thousand folk who are coming here from earth to ask you for feathers and hooked claws; so, mind you supply yourself with wings for the immigrants. + +f(1) All these surnames bore some relation to the character or the build of the individual to whom the poet applies them.—Chaerephon, Socrates' disciple, was of white and ashen hue.—Opuntius was one-eyed.—Syracosius was a braggart.—Midias had a passion for quail-fights, and, besides, resembled that bird physically. + +PISTHETAERUS Ah! by Zeus, 'tis not the time for idling. Go as quick as possible and fill every hamper, every basket you can find with wings. Manes(1) will bring them to me outside the walls, where I will welcome those who present themselves. + +f(1) Pisthetaerus' servant, already mentioned. + +CHORUS This town will soon be inhabited by a crowd of men. + +PISTHETAERUS If fortune favours us. + +CHORUS Folk are more and more delighted with it. + +PISTHETAERUS Come, hurry up and bring them along. + +CHORUS Will not man find here everything that can please him—wisdom, love, the divine Graces, the sweet face of gentle peace? + +PISTHETAERUS Oh! you lazy servant! won't you hurry yourself? + +CHORUS Let a basket of wings be brought speedily. Come, beat him as I do, and put some life into him; he is as lazy as an ass. + +PISTHETAERUS Aye, Manes is a great craven. + +CHORUS Begin by putting this heap of wings in order; divide them in three parts according to the birds from whom they came; the singing, the prophetic(1) and the aquatic birds; then you must take care to distribute them to the men according to their character. + +f(1) From the inspection of which auguries were taken, e.g. the eagles, the vultures, the crows. + +PISTHETAERUS (TO MANES) Oh! by the kestrels! I can keep my hands off you no longer; you are too slow and lazy altogether. + +A PARRICIDE(1) Oh! might I but become an eagle, who soars in the skies! Oh! might I fly above the azure waves of the barren sea!(2) + +f(1) Or rather, a young man who contemplated parricide. + +f(2) A parody of verses in Sophocles 'Oenomaus.' + +PISTHETAERUS Ha! 'twould seem the news was true; I hear someone coming who talks of wings. + +PARRICIDE Nothing is more charming than to fly; I burn with desire to live under the same laws as the birds; I am bird-mad and fly towards you, for I want to live with you and to obey your laws. + +PISTHETAERUS Which laws? The birds have many laws. + +PARRICIDE All of them; but the one that pleases me most is, that among the birds it is considered a fine thing to peck and strangle one's father. + +PISTHETAERUS Aye, by Zeus! according to us, he who dares to strike his father, while still a chick, is a brave fellow. + +PARRICIDE And therefore I want to dwell here, for I want to strangle my father and inherit his wealth. + +PISTHETAERUS But we have also an ancient law written in the code of the storks, which runs thus, "When the stork father has reared his young and has taught them to fly, the young must in their turn support the father." + +PARRICIDE 'Tis hardly worth while coming all this distance to be compelled to keep my father! + +PISTHETAERUS No, no, young friend, since you have come to us with such willingness, I am going to give you these black wings, as though you were an orphan bird; furthermore, some good advice, that I received myself in infancy. Don't strike your father, but take these wings in one hand and these spurs in the other; imagine you have a cock's crest on your head and go and mount guard and fight; live on your pay and respect your father's life. You're a gallant fellow! Very well, then! Fly to Thrace and fight.(1) + +f(1) The Athenians were then besieging Amphipolis in the Thracian Chalcidice. + +PARRICIDE By Bacchus! 'Tis well spoken; I will follow your counsel. + +PISTHETAERUS 'Tis acting wisely, by Zeus. + +CINESIAS(1) "On my light pinions I soar off to Olympus; in its capricious flight my Muse flutters along the thousand paths of poetry in turn..." + +f(1) There was a real Cinesias—a dythyrambic poet born at Thebes. + +PISTHETAERUS This is a fellow will need a whole shipload of wings. + +CINESIAS (singing) "...and being fearless and vigorous, it is seeking fresh outlet." + +PISTHETAERUS Welcome, Cinesias, you lime-wood man!(1) Why have you come here a-twisting your game leg in circles? + +f(1) The scholiast thinks that Cinesias, who was tall and slight of build, wore a kind of corset of lime-wood to support his waist—surely rather a far-fetched interpretation! + +CINESIAS "I want to become a bird, a tuneful nightingale." + +PISTHETAERUS Enough of that sort of ditty. Tell me what you want. + +CINESIAS Give me wings and I will fly into the topmost airs to gather fresh songs in the clouds, in the midst of the vapours and the fleecy snow. + +PISTHETAERUS Gather songs in the clouds? + +CINESIAS 'Tis on them the whole of our latter-day art depends. The most brilliant dithyrambs are those that flap their wings in void space and are clothed in mist and dense obscurity. To appreciate this, just listen. + +PISTHETAERUS Oh! no, no, no! + +CINESIAS By Hermes! but indeed you shall. "I shall travel through thine ethereal empire like a winged bird, who cleaveth space with his long neck..." + +PISTHETAERUS Stop! easy all, I say!(1) + +f(1) The Greek word used here was the word of command employed to stop the rowers. + +CINESIAS "...as I soar over the seas, carried by the breath of the winds..." + +PISTHETAERUS By Zeus! but I'll cut your breath short. + +CINESIAS "...now rushing along the tracks of Notus, now nearing Boreas across the infinite wastes of the ether." (PISTHETAERUS BEATS HIM.) Ah! old man, that's a pretty and clever idea truly! + +PISTHETAERUS What! are you not delighted to be cleaving the air?(1) + +f(1) Cinesias makes a bound each time that Pisthetaerus strikes him. + +CINESIAS To treat a dithyrambic poet, for whom the tribes dispute with each other, in this style!(1) + +f(1) The tribes of Athens, or rather the rich citizens belonging to them, were wont on feast-days to give representations of dithyrambic choruses as well as of tragedies and comedies. + +PISTHETAERUS Will you stay with us and form a chorus of winged birds as slender as Leotrophides(1) for the Cecropid tribe? + +f(1) Another dithyrambic poet, a man of extreme leanness. + +CINESIAS You are making game of me, 'tis clear; but know that I shall never leave you in peace if I do not have wings wherewith to traverse the air. + +AN INFORMER What are these birds with downy feathers, who look so pitiable to me? Tell me, oh swallow with the long dappled wings.(1) + +f(1) A parody of a hemistich from 'Alcaeus.'—The informer is dissatisfied at only seeing birds of sombre plumage and poor appearance. He would have preferred to denounce the rich. + +PISTHETAERUS Oh! but 'tis a regular invasion that threatens us. Here comes another of them, humming along. + +INFORMER Swallow with the long dappled wings, once more I summon you. + +PISTHETAERUS It's his cloak I believe he's addressing; 'faith, it stands in great need of the swallows' return.(1) + +f(1) The informer, says the scholiast, was clothed with a ragged cloak, the tatters of which hung down like wings, in fact, a cloak that could not protect him from the cold and must have made him long for the swallows' return, i.e. the spring. + +INFORMER Where is he who gives out wings to all comers? + +PISTHETAERUS 'Tis I, but you must tell me for what purpose you want them. + +INFORMER Ask no questions. I want wings, and wings I must have. + +PISTHETAERUS Do you want to fly straight to Pellene?(1) + +f(1) A town in Achaia, where woollen cloaks were made. + +INFORMER I? Why, I am an accuser of the islands,(1) an informer... + +f(1) His trade was to accuse the rich citizens of the subject islands, and drag them before the Athenian court; he explains later the special advantages of this branch of the informer's business. + +PISTHETAERUS A fine trade, truly! + +INFORMER ...a hatcher of lawsuits. Hence I have great need of wings to prowl round the cities and drag them before justice. + +PISTHETAERUS Would you do this better if you had wings? + +INFORMER No, but I should no longer fear the pirates; I should return with the cranes, loaded with a supply of lawsuits by way of ballast. + +PISTHETAERUS So it seems, despite all your youthful vigour, you make it your trade to denounce strangers? + +INFORMER Well, and why not? I don't know how to dig. + +PISTHETAERUS But, by Zeus! there are honest ways of gaining a living at your age without all this infamous trickery. + +INFORMER My friend, I am asking you for wings, not for words. + +PISTHETAERUS 'Tis just my words that give you wings. + +INFORMER And how can you give a man wings with your words? + +PISTHETAERUS 'Tis thus that all first start. + +INFORMER All? + +PISTHETAERUS Have you not often heard the father say to young men in the barbers' shops, "It's astonishing how Diitrephes' advice has made my son fly to horse-riding."—"Mine," says another, "has flown towards tragic poetry on the wings of his imagination." + +INFORMER So that words give wings? + +PISTHETAERUS Undoubtedly; words give wings to the mind and make a man soar to heaven. Thus I hope that my wise words will give you wings to fly to some less degrading trade. + +INFORMER But I do not want to. + +PISTHETAERUS What do you reckon on doing then? + +INFORMER I won't belie my breeding; from generation to generation we have lived by informing. Quick, therefore, give me quickly some light, swift hawk or kestrel wings, so that I may summon the islanders, sustain the accusation here, and haste back there again on flying pinions. + +PISTHETAERUS I see. In this way the stranger will be condemned even before he appears. + +INFORMER That's just it. + +PISTHETAERUS And while he is on his way here by sea, you will be flying to the islands to despoil him of his property. + +INFORMER You've hit it, precisely; I must whirl hither and thither like a perfect humming-top. + +PISTHETAERUS I catch the idea. Wait, i' faith, I've got some fine Corcyraean wings.(1) How do you like them? + +f(1) That is, whips—Corcyra being famous for these articles. + +INFORMER Oh! woe is me! Why, 'tis a whip! + +PISTHETAERUS No, no; these are the wings, I tell you, that set the top a-spinning. + +INFORMER Oh! oh! oh! + +PISTHETAERUS Take your flight, clear off, you miserable cur, or you will soon see what comes of quibbling and lying. Come, let us gather up our wings and withdraw. + +CHORUS In my ethereal flights I have seen many things new and strange and wondrous beyond belief. There is a tree called Cleonymus belonging to an unknown species; it has no heart, is good for nothing and is as tall as it is cowardly. In springtime it shoots forth calumnies instead of buds and in autumn it strews the ground with bucklers in place of leaves.(1) + +Far away in the regions of darkness, where no ray of light ever enters, there is a country, where men sit at the table of the heroes and dwell with them always—save always in the evening. Should any mortal meet the hero Orestes at night, he would soon be stripped and covered with blows from head to foot.(2) + +f(1) Cleonymous is a standing butt of Aristophanes' wit, both as an informer and a notorious poltroon. + +f(2) In allusion to the cave of the bandit Orestes; the poet terms him a hero only because of his heroic name Orestes. + +PROMETHEUS Ah! by the gods! if only Zeus does not espy me! Where is Pisthetaerus? + +PISTHETAERUS Ha! what is this? A masked man! + +PROMETHEUS Can you see any god behind me? + +PISTHETAERUS No, none. But who are you, pray? + +PROMETHEUS What's the time, please? + +PISTHETAERUS The time? Why, it's past noon. Who are you? + +PROMETHEUS Is it the fall of day? Is it no later than that?(1) + +f(1) Prometheus wants night to come and so reduce the risk of being seen from Olympus. + +PISTHETAERUS Oh! 'pon my word! but you grow tiresome. + +PROMETHEUS What is Zeus doing? Is he dispersing the clouds or gathering them?(1) + +f(1) The clouds would prevent Zeus seeing what was happening below him. + +PISTHETAERUS Take care, lest I lose all patience. + +PROMETHEUS Come, I will raise my mask. + +PISTHETAERUS Ah! my dear Prometheus! + +PROMETHEUS Stop! stop! speak lower! + +PISTHETAERUS Why, what's the matter, Prometheus? + +PROMETHEUS H'sh! h'sh! Don't call me by my name; you will be my ruin, if Zeus should see me here. But, if you want me to tell you how things are going in heaven, take this umbrella and shield me, so that the gods don't see me. + +PISTHETAERUS I can recognize Prometheus in this cunning trick. Come, quick then, and fear nothing; speak on. + +PROMETHEUS Then listen. + +PISTHETAERUS I am listening, proceed! + +PROMETHEUS It's all over with Zeus. + +PISTHETAERUS Ah! and since when, pray? + +PROMETHEUS Since you founded this city in the air. There is not a man who now sacrifices to the gods; the smoke of the victims no longer reaches us. Not the smallest offering comes! We fast as though it were the festival of Demeter.(1) The barbarian gods, who are dying of hunger, are bawling like Illyrians(2) and threaten to make an armed descent upon Zeus, if he does not open markets where joints of the victims are sold. + +f(1) The third day of the festival of Demeter was a fast. + +f(2) A semi-savage people, addicted to violence and brigandage. + +PISTHETAERUS What! there are other gods besides you, barbarian gods who dwell above Olympus? + +PROMETHEUS If there were no barbarian gods, who would be the patron of Execestides?(1) + +f(1) Who, being reputed a stranger despite his pretension to the title of a citizen, could only have a strange god for his patron or tutelary deity. + +PISTHETAERUS And what is the name of these gods? + +PROMETHEUS Their name? Why, the Triballi.(1) + +f(1) The Triballi were a Thracian people; it was a term commonly used in Athens to describe coarse men, obscene debauchees and greedy parasites. + +PISTHETAERUS Ah, indeed! 'tis from that no doubt that we derive the word 'tribulation.'(1) + +f(1) There is a similar pun in the Greek. + +PROMETHEUS Most likely. But one thing I can tell you for certain, namely, that Zeus and the celestial Triballi are going to send deputies here to sue for peace. Now don't you treat, unless Zeus restores the sceptre to the birds and gives you Basileia(1) in marriage. + +f(1) i.e. the 'supremacy' of Greece, the real object of the war. + +PISTHETAERUS Who is this Basileia? + +PROMETHEUS A very fine young damsel, who makes the lightning for Zeus; all things come from her, wisdom, good laws, virtue, the fleet, calumnies, the public paymaster and the triobolus. + +PISTHETAERUS Ah! then she is a sort of general manageress to the god. + +PROMETHEUS Yes, precisely. If he gives you her for your wife, yours will be the almighty power. That is what I have come to tell you; for you know my constant and habitual goodwill towards men. + +PISTHETAERUS Oh, yes! 'tis thanks to you that we roast our meat.(1) + +f(1) Prometheus had stolen the fire from the gods to gratify mankind. + +PROMETHEUS I hate the gods, as you know. + +PISTHETAERUS Aye, by Zeus, you have always detested them. + +PROMETHEUS Towards them I am a veritable Timon;(1) but I must return in all haste, so give me the umbrella; if Zeus should see me from up there, he would think I was escorting one of the Canephori.(2) + +f(1) A celebrated misanthrope, contemporary to Aristophanes. Hating the society of men, he had only a single friend, Apimantus, to whom he was attached, because of their similarity of character; he also liked Alcibiades, because he foresaw that this young man would be the ruin of his country. + +f(2) The Canephori were young maidens, chosen from the first families of the city, who carried baskets wreathed with myrtle at the feast of Athene, while at those of Bacchus and Demeter they appeared with gilded baskets.—The daughters of 'Metics,' or resident aliens, walked behind them, carrying an umbrella and a stool. + +PISTHETAERUS Wait, take this stool as well. + +CHORUS Near by the land of the Sciapodes(1) there is a marsh, from the borders whereof the odious Socrates evokes the souls of men. Pisander(2) came one day to see his soul, which he had left there when still alive. He offered a little victim, a camel,(3) slit his throat and, following the example of Ulysses, stepped one pace backwards.(4) Then that bat of a Chaerephon(5) came up from hell to drink the camel's blood. + +f(1) According to Ctesias, the Sciapodes were a people who dwelt on the borders of the Atlantic. Their feet were larger than the rest of their bodies, and to shield themselves from the sun's rays they held up one of their feet as an umbrella.—By giving the Socratic philosophers the name of Sciapodes here Aristophanes wishes to convey that they are walking in the dark and busying themselves with the greatest nonsense. + +f(2) This Pisander was a notorious coward; for this reason the poet jestingly supposes that he had lost his soul, the seat of courage. + +f(3) Considering the shape and height of the camel, (it) can certainly not be included in the list of SMALL victims, e.g. the sheep and the goat. + +f(4) In the evocation of the dead, Book XI of the Odyssey. + +f(5) Chaerephon was given this same title by the Herald earlier in this comedy.—Aristophanes supposes him to have come from hell because he is lean and pallid. + +POSIDON(1) This is the city of Nephelococcygia, Cloud-cuckoo-town, whither we come as ambassadors. (TO TRIBALLUS) Hi! what are you up to? you are throwing your cloak over the left shoulder. Come, fling it quick over the right! And why, pray, does it draggle in this fashion? Have you ulcers to hide like Laespodias?(2) Oh! democracy!(3) whither, oh! whither are you leading us? Is it possible that the gods have chosen such an envoy? + +f(1) Posidon appears on the stage accompanied by Heracles and a Triballian god. + +f(2) An Athenian general.—Neptune is trying to give Triballus some notions of elegance and good behaviour. + +f(3) Aristophanes supposes that democracy is in the ascendant in Olympus as it is in Athens. + +TRIBALLUS Leave me alone. + +POSIDON Ugh! the cursed savage! you are by far the most barbarous of all the gods.—Tell me, Heracles, what are we going to do? + +HERACLES I have already told you that I want to strangle the fellow who has dared to block us in. + +POSIDON But, my friend, we are envoys of peace. + +HERACLES All the more reason why I wish to strangle him. + +PISTHETAERUS Hand me the cheese-grater; bring me the silphium for sauce; pass me the cheese and watch the coals.(1) + +f(1) He is addressing his servant, Manes. + +HERACLES Mortal! we who greet you are three gods. + +PISTHETAERUS Wait a bit till I have prepared my silphium pickle. + +HERACLES What are these meats?(1) + +f(1) Heracles softens at sight of the food.—Heracles is the glutton of the comic poets. + +PISTHETAERUS These are birds that have been punished with death for attacking the people's friends. + +HERACLES And you are seasoning them before answering us? + +PISTHETAERUS Ah! Heracles! welcome, welcome! What's the matter?(1) + +f(1) He pretends not to have seen them at first, being so much engaged with his cookery. + +HERACLES The gods have sent us here as ambassadors to treat for peace. + +A SERVANT There's no more oil in the flask. + +PISTHETAERUS And yet the birds must be thoroughly basted with it.(1) + +f(1) He pretends to forget the presence of the ambassadors. + +HERACLES We have no interest to serve in fighting you; as for you, be friends and we promise that you shall always have rain-water in your pools and the warmest of warm weather. So far as these points go we are armed with plenary authority. + +PISTHETAERUS We have never been the aggressors, and even now we are as well disposed for peace as yourselves, provided you agree to one equitable condition, namely, that Zeus yield his sceptre to the birds. If only this is agreed to, I invite the ambassadors to dinner. + +HERACLES That's good enough for me. I vote for peace. + +POSIDON You wretch! you are nothing but a fool and a glutton. Do you want to dethrone your own father? + +PISTHETAERUS What an error! Why, the gods will be much more powerful if the birds govern the earth. At present the mortals are hidden beneath the clouds, escape your observation, and commit perjury in your name; but if you had the birds for your allies, and a man, after having sworn by the crow and Zeus, should fail to keep his oath, the crow would dive down upon him unawares and pluck out his eye. + +POSIDON Well thought of, by Posidon!(1) + +f(1) Posidon jestingly swears by himself. + +HERACLES My notion too. + +PISTHETAERUS (TO THE TRIBALLIAN) And you, what's your opinion? + +TRIBALLUS Nabaisatreu.(1) + +f(1) The barbarian god utters some gibberish which Pisthetaerus interprets into consent. + +PISTHETAERUS D'you see? he also approves. But hear another thing in which we can serve you. If a man vows to offer a sacrifice to some god, and then procrastinates, pretending that the gods can wait, and thus does not keep his word, we shall punish his stinginess. + +POSIDON Ah! ah! and how? + +PISTHETAERUS While he is counting his money or is in the bath, a kite will relieve him, before he knows it, either in coin or in clothes, of the value of a couple of sheep, and carry it to the god. + +HERACLES I vote for restoring them the sceptre. + +POSIDON Ask the Triballian. + +HERACLES Hi Triballian, do you want a thrashing? + +TRIBALLUS Saunaka baktarikrousa. + +HERACLES He says, "Right willingly." + +POSIDON If that be the opinion of both of you, why, I consent too. + +HERACLES Very well! we accord the sceptre. + +PISTHETAERUS Ah! I was nearly forgetting another condition. I will leave Here to Zeus, but only if the young Basileia is given me in marriage. + +POSIDON Then you don't want peace. Let us withdraw. + +PISTHETAERUS It matters mighty little to me. Cook, look to the gravy. + +HERACLES What an odd fellow this Posidon is! Where are you off to? Are we going to war about a woman? + +POSIDON What else is there to do? + +HERACLES What else? Why, conclude peace. + +POSIDON Oh! you ninny! do you always want to be fooled? Why, you are seeking your own downfall. If Zeus were to die, after having yielded them the sovereignty, you would be ruined, for you are the heir of all the wealth he will leave behind. + +PISTHETAERUS Oh! by the gods! how he is cajoling you. Step aside, that I may have a word with you. Your uncle is getting the better of you, my poor friend.(1) The law will not allow you an obolus of the paternal property, for you are a bastard and not a legitimate child. + +f(1) Heracles, the god of strength, was far from being remarkable in the way of cleverness. + +HERACLES I a bastard! What's that you tell me? + +PISTHETAERUS Why, certainly; are you not born of a stranger woman? Besides, is not Athene recognized as Zeus' sole heiress? And no daughter would be that, if she had a legitimate brother. + +HERACLES But what if my father wished to give me his property on his death-bed, even though I be a bastard? + +PISTHETAERUS The law forbids it, and this same Posidon would be the first to lay claim to his wealth, in virtue of being his legitimate brother. Listen; thus runs Solon's law: "A bastard shall not inherit, if there are legitimate children; and if there are no legitimate children, the property shall pass to the nearest kin."(1) + +f(1) This was Athenian law. + +HERACLES And I get nothing whatever of the paternal property? + +PISTHETAERUS Absolutely nothing. But tell me, has your father had you entered on the registers of his phratria?(1) + +f(1) The poet attributes to the gods the same customs as those which governed Athens, and according to which no child was looked upon as legitimate unless his father had entered him on the registers of his phratria. The phratria was a division of the tribe and consisted of thirty families. + +HERACLES No, and I have long been surprised at the omission. + +PISTHETAERUS What ails you, that you should shake your fist at heaven? Do you want to fight it? Why, be on my side, I will make you a king and will feed you on bird's milk and honey. + +HERACLES Your further condition seems fair to me. I cede you the young damsel. + +POSIDON But I, I vote against this opinion. + +PISTHETAERUS Then it all depends on the Triballian. (TO THE TRIBALLIAN.) What do you say? + +TRIBALLUS Big bird give daughter pretty and queen. + +HERACLES You say that you give her? + +POSIDON Why no, he does not say anything of the sort, that he gives her; else I cannot understand any better than the swallows. + +PISTHETAERUS Exactly so. Does he not say she must be given to the swallows? + +POSIDON Very well! you two arrange the matter; make peace, since you wish it so; I'll hold my tongue. + +HERACLES We are of a mind to grant you all that you ask. But come up there with us to receive Basileia and the celestial bounty. + +PISTHETAERUS Here are birds already cut up, and very suitable for a nuptial feast. + +HERACLES You go and, if you like, I will stay here to roast them. + +PISTHETAERUS You to roast them! you are too much the glutton; come along with us. + +HERACLES Ah! how well I would have treated myself! + +PISTHETAERUS Let some(one) bring me a beautiful and magnificent tunic for the wedding. + +CHORUS(1) At Phanae,(2) near the Clepsydra,(3) there dwells a people who have neither faith nor law, the Englottogastors,(4) who reap, sow, pluck the vines and the figs(5) with their tongues; they belong to a barbaric race, and among them the Philippi and the Gorgiases(6) are to be found; 'tis these Englottogastorian Philippi who introduced the custom all over Attica of cutting out the tongue separately at sacrifices.(7) + +f(1) The chorus continues to tell what it has seen on its flights. + +f(2) The harbour of the island of Chios; but this name is here used in the sense of being the land of informers ((from the Greek for) 'to denounce'). + +f(3) i.e. near the orators' platform, in the Public Assembly, or because there stood the water-clock, by which speeches were limited. + +f(4) A coined name, made up of (the Greek for) the tongue, and (for) the stomach, and meaning those who fill their stomach with what they gain with their tongues, to wit, the orators. + +f(5) (The Greek for) a fig forms part of the word which in Greek means an informer. + +f(6) Both rhetoricians. + +f(7) Because they consecrated it specially to the god of eloquence. + +A MESSENGER Oh, you, whose unbounded happiness I cannot express in words, thrice happy race of airy birds, receive your king in your fortunate dwellings. More brilliant than the brightest star that illumes the earth, he is approaching his glittering golden palace; the sun itself does not shine with more dazzling glory. He is entering with his bride at his side,(1) whose beauty no human tongue can express; in his hand he brandishes the lightning, the winged shaft of Zeus; perfumes of unspeakable sweetness pervade the ethereal realms. 'Tis a glorious spectacle to see the clouds of incense wafting in light whirlwinds before the breath of the Zephyr! But here he is himself. Divine Muse! let thy sacred lips begin with songs of happy omen. + +f(1) Basileia, whom he brings back from heaven. + +CHORUS Fall back! to the right! to the left! advance!(1) Fly around this happy mortal, whom Fortune loads with her blessings. Oh! oh! what grace! what beauty! Oh, marriage so auspicious for our city! All honour to this man! 'tis through him that the birds are called to such glorious destinies. Let your nuptial hymns, your nuptial songs, greet him and his Basileia! 'Twas in the midst of such festivities that the Fates formerly united Olympian Here to the King who governs the gods from the summit of his inaccessible throne. Oh! Hymen! oh! Hymenaeus! Rosy Eros with the golden wings held the reins and guided the chariot; 'twas he, who presided over the union of Zeus and the fortunate Here. Oh! Hymen! oh! Hymenaeus! + +f(1) Terms used in regulating a dance. + +PISTHETAERUS I am delighted with your songs, I applaud your verses. Now celebrate the thunder that shakes the earth, the flaming lightning of Zeus and the terrible flashing thunderbolt. + +CHORUS Oh, thou golden flash of the lightning! oh, ye divine shafts of flame, that Zeus has hitherto shot forth! Oh, ye rolling thunders, that bring down the rain! 'Tis by the order of OUR king that ye shall now stagger the earth! Oh, Hymen! 'tis through thee that he commands the universe and that he makes Basileia, whom he has robbed from Zeus, take her seat at his side. Oh! Hymen! oh! Hymenaeus! + +PISTHETAERUS Let all the winged tribes of our fellow-citizens follow the bridal couple to the palace of Zeus(1) and to the nuptial couch! Stretch forth your hands, my dear wife! Take hold of me by my wings and let us dance; I am going to lift you up and carry you through the air. + +f(1) Where Pisthetaerus is henceforth to reign. + +CHORUS Oh, joy! Io Paean! Tralala! victory is thing, oh, thou greatest of the gods! + + diff --git a/scripts/_demo.txt b/scripts/_demo.txt new file mode 100644 index 0000000000000000000000000000000000000000..920068219eacb61fd715177c6558f258f16d85b4 --- /dev/null +++ b/scripts/_demo.txt @@ -0,0 +1,5 @@ +1 EXT. MEADOW - DAY - APRIL 6TH 1917 1 + + A rolling landscape. The rustling of leaves, and birdsong. + + Thunder rumbles in the distance. There is no rain.